5%).\n\nThus, if and only if the lady properly categorized all 8 cups was Fisher willing to reject the null hypothesis – effectively acknowledging the lady's ability at a 1.4% significance level (but without quantifying her ability). Fisher later discussed the benefits of more trials and repeated tests.\n\nDavid Salsburg reports that a colleague of Fisher, H. Fairfield Smith, revealed that in the actual experiment the lady succeeded in identifying all eight cups correctly.\nThe chance of someone who just guesses of getting all correct, assuming she guesses that any four had the tea put in first and the other four the milk, would be only 1 in 70 (the combinations of 8 taken 4 at a time).\n\nThe Lady Tasting Tea book \n\nDavid Salsburg published a popular science book entitled The Lady Tasting Tea, which describes Fisher's experiment and ideas on randomization. Deb Basu wrote that \"the famous case of the 'lady tasting tea'\" was \"one of the two supporting pillars ... of the randomization analysis of experimental data.\"\n\nSee also\n Hypergeometric distribution\n Permutation test\n Random assignment\n Randomization test\n\nReferences\n\n \n \n Basu, D. (1980b). \"The Fisher Randomization Test\", reprinted with a new preface in Statistical Information and Likelihood : A Collection of Critical Essays by Dr. D. Basu ; J. K. Ghosh, editor. Springer 1988.\n \n Salsburg, D. (2002) The Lady Tasting Tea: How Statistics Revolutionized Science in the Twentieth Century, W.H. Freeman / Owl Book. \n\nDesign of experiments\nAnalysis of variance\nStatistical hypothesis testing\nScience experiments"],"string":"[\n \"In probability theory and statistics, the negative hypergeometric distribution describes probabilities for when sampling from a finite population without replacement in which each sample can be classified into two mutually exclusive categories like Pass/Fail, Male/Female or Employed/Unemployed. As random selections are made from the population, each subsequent draw decreases the population causing the probability of success to change with each draw. Unlike the standard hypergeometric distribution, which describes the number of successes in a fixed sample size, in the negative hypergeometric distribution, samples are drawn until failures have been found, and the distribution describes the probability of finding successes in such a sample. In other words, the negative hypergeometric distribution describes the likelihood of successes in a sample with exactly failures.\\n\\nDefinition \\nThere are elements, of which are defined as \\\"successes\\\" and the rest are \\\"failures\\\".\\n\\nElements are drawn one after the other, without replacements, until failures are encountered. Then, the drawing stops and the number of successes is counted. The negative hypergeometric distribution, is the discrete distribution of this .\\n\\nThe negative hypergeometric distribution is a special case of the beta-binomial distribution with parameters and both being integers (and ).\\n\\nThe outcome requires that we observe successes in draws and the bit must be a failure. The probability of the former can be found by the direct application of the hypergeometric distribution and the probability of the latter is simply the number of failures remaining divided by the size of the remaining population . The probability of having exactly successes up to the failure (i.e. the drawing stops as soon as the sample includes the predefined number of failures) is then the product of these two probabilities: \\n\\nTherefore, a random variable follows the negative hypergeometric distribution if its probability mass function (pmf) is given by\\n\\nwhere\\n is the population size,\\n is the number of success states in the population,\\n is the number of failures,\\n is the number of observed successes,\\n is a binomial coefficient\\nBy design the probabilities sum up to 1. However, in case we want show it explicitly we have:\\n\\nwhere we have used that,\\n\\nwhich can be derived using the binomial identity, , and the Chu–Vandermonde identity, , which holds for any complex-values and and any non-negative integer . \\n\\nThe relationship can also be found by examination of the coefficient of in the expansion of , using Newton's binomial series.\\n\\nExpectation \\nWhen counting the number of successes before failures, the expected number of successes is and can be derived as follows. \\n\\nwhere we have used the relationship , that we derived above to show that the negative hypergeometric distribution was properly normalized.\\n\\nVariance \\nThe variance can be derived by the following calculation.\\n\\nThen the variance is\\n\\nRelated distributions \\nIf the drawing stops after a constant number of draws (regardless of the number of failures), then the number of successes has the hypergeometric distribution, . The two functions are related in the following way:\\n\\nNegative-hypergeometric distribution (like the hypergeometric distribution) deals with draws without replacement, so that the probability of success is different in each draw. In contrast, negative-binomial distribution (like the binomial distribution) deals with draws with replacement, so that the probability of success is the same and the trials are independent. The following table summarizes the four distributions related to drawing items:\\n\\nReferences \\n\\nDiscrete distributions\\nFactorial and binomial topics\",\n \"In the design of experiments in statistics, the lady tasting tea is a randomized experiment devised by Ronald Fisher and reported in his book The Design of Experiments (1935). The experiment is the original exposition of Fisher's notion of a null hypothesis, which is \\\"never proved or established, but is possibly disproved, in the course of experimentation\\\".\\n\\nThe lady in question (Muriel Bristol) claimed to be able to tell whether the tea or the milk was added first to a cup. Fisher proposed to give her eight cups, four of each variety, in random order. One could then ask what the probability was for her getting the specific number of cups she identified correct, but just by chance.\\n\\nFisher's description is less than 10 pages in length and is notable for its simplicity and completeness regarding terminology, calculations and design of the experiment. The example is loosely based on an event in Fisher's life. The test used was Fisher's exact test.\\n\\nThe experiment \\nThe experiment provides a subject with 8 randomly ordered cups of tea – 4 prepared by first pouring the tea, then adding milk, 4 prepared by first pouring the milk, then adding the tea. The subject has to select 4 cups prepared by one method. Judging cups by direct comparison is allowed. The method employed in the experiment is fully disclosed to the subject.\\n\\nThe null hypothesis is that the subject has no ability to distinguish the teas. In Fisher's approach, there was no alternative hypothesis, unlike in the Neyman–Pearson approach.\\n\\nThe test statistic is a simple count of the number of successes in selecting the 4 cups (the number of cups of the given type successfully selected). The distribution of possible numbers of successes, assuming the null hypothesis is true, can be computed using the number of combinations. Using the combination formula, with total cups and cups chosen, there are\\n\\npossible combinations.\\n\\nThe frequencies of the possible numbers of successes, given in the final column of this table, are derived as follows. For 0 successes, there is clearly only one set of four choices (namely, choosing all four incorrect cups) giving this result. For one success and three failures, there are four correct cups of which one is selected, which by the combination formula can occur in different ways (as shown in column 2, with x denoting a correct cup that is chosen and o denoting a correct cup that is not chosen); and independently of that, there are four incorrect cups of which three are selected, which can occur in ways (as shown in the second column, this time with x interpreted as an incorrect cup which is not chosen, and o indicating an incorrect cup which is chosen). Thus a selection of any one correct cup and any three incorrect cups can occur in any of 4×4 = 16 ways. The frequencies of the other possible numbers of successes are calculated correspondingly. Thus the number of successes is distributed according to the hypergeometric distribution. The distribution of combinations for making k selections out of the 2k available selections corresponds to the kth row of Pascal's triangle, such that each integer in the row is squared. In this case, because 4 teacups are selected from the 8 available teacups.\\n\\nThe critical region for rejection of the null of no ability to distinguish was the single case of 4 successes of 4 possible, based on the conventional probability criterion < 5%. This is the critical region because under the null of no ability to distinguish, 4 successes has 1 chance out of 70 (≈ 1.4% < 5%) of occurring, whereas at least 3 of 4 successes has a probability of (16+1)/70 (≈ 24.3% > 5%).\\n\\nThus, if and only if the lady properly categorized all 8 cups was Fisher willing to reject the null hypothesis – effectively acknowledging the lady's ability at a 1.4% significance level (but without quantifying her ability). Fisher later discussed the benefits of more trials and repeated tests.\\n\\nDavid Salsburg reports that a colleague of Fisher, H. Fairfield Smith, revealed that in the actual experiment the lady succeeded in identifying all eight cups correctly.\\nThe chance of someone who just guesses of getting all correct, assuming she guesses that any four had the tea put in first and the other four the milk, would be only 1 in 70 (the combinations of 8 taken 4 at a time).\\n\\nThe Lady Tasting Tea book \\n\\nDavid Salsburg published a popular science book entitled The Lady Tasting Tea, which describes Fisher's experiment and ideas on randomization. Deb Basu wrote that \\\"the famous case of the 'lady tasting tea'\\\" was \\\"one of the two supporting pillars ... of the randomization analysis of experimental data.\\\"\\n\\nSee also\\n Hypergeometric distribution\\n Permutation test\\n Random assignment\\n Randomization test\\n\\nReferences\\n\\n \\n \\n Basu, D. (1980b). \\\"The Fisher Randomization Test\\\", reprinted with a new preface in Statistical Information and Likelihood : A Collection of Critical Essays by Dr. D. Basu ; J. K. Ghosh, editor. Springer 1988.\\n \\n Salsburg, D. (2002) The Lady Tasting Tea: How Statistics Revolutionized Science in the Twentieth Century, W.H. Freeman / Owl Book. \\n\\nDesign of experiments\\nAnalysis of variance\\nStatistical hypothesis testing\\nScience experiments\"\n]"},"chunked_article":{"kind":"list like","value":["Sir Pelham Grenville Wodehouse, ( ; 15 October 188114 February 1975) was an English author and one of the most widely read humorists of the 20th century. His creations include the feather-brained Bertie Wooster and his sagacious valet, Jeeves; the immaculate and loquacious Psmith; Lord Emsworth and the Blandings Castle set; the Oldest Member, with stories about golf; and Mr Mulliner, with tall tales on subjects ranging from bibulous bishops to megalomaniac movie moguls.","His creations include the feather-brained Bertie Wooster and his sagacious valet, Jeeves; the immaculate and loquacious Psmith; Lord Emsworth and the Blandings Castle set; the Oldest Member, with stories about golf; and Mr Mulliner, with tall tales on subjects ranging from bibulous bishops to megalomaniac movie moguls. Born in Guildford, the third son of a British magistrate based in Hong Kong, Wodehouse spent happy teenage years at Dulwich College, to which he remained devoted all his life.","Born in Guildford, the third son of a British magistrate based in Hong Kong, Wodehouse spent happy teenage years at Dulwich College, to which he remained devoted all his life. After leaving school he was employed by a bank but disliked the work and turned to writing in his spare time.","After leaving school he was employed by a bank but disliked the work and turned to writing in his spare time. His early novels were mostly school stories, but he later switched to comic fiction.","His early novels were mostly school stories, but he later switched to comic fiction. Most of Wodehouse's fiction is set in his native United Kingdom, although he spent much of his life in the US and used New York and Hollywood as settings for some of his novels and short stories.","Most of Wodehouse's fiction is set in his native United Kingdom, although he spent much of his life in the US and used New York and Hollywood as settings for some of his novels and short stories. He wrote a series of Broadway musical comedies during and after the First World War, together with Guy Bolton and Jerome Kern, that played an important part in the development of the American musical.","He wrote a series of Broadway musical comedies during and after the First World War, together with Guy Bolton and Jerome Kern, that played an important part in the development of the American musical. He began the 1930s writing for MGM in Hollywood.","He began the 1930s writing for MGM in Hollywood. In a 1931 interview, his naive revelations of incompetence and extravagance in the studios caused a furore. In the same decade, his literary career reached a new peak.","In the same decade, his literary career reached a new peak. In 1934 Wodehouse moved to France for tax reasons; in 1940 he was taken prisoner at Le Touquet by the invading Germans and interned for nearly a year.","In 1934 Wodehouse moved to France for tax reasons; in 1940 he was taken prisoner at Le Touquet by the invading Germans and interned for nearly a year. After his release he made six broadcasts from German radio in Berlin to the US, which had not yet entered the war.","After his release he made six broadcasts from German radio in Berlin to the US, which had not yet entered the war. The talks were comic and apolitical, but his broadcasting over enemy radio prompted anger and strident controversy in Britain, and a threat of prosecution. Wodehouse never returned to England.","Wodehouse never returned to England. Wodehouse never returned to England. From 1947 until his death he lived in the US, taking dual British-American citizenship in 1955. He died in 1975, at the age of 93, in Southampton, New York.","He died in 1975, at the age of 93, in Southampton, New York. Wodehouse was a prolific writer throughout his life, publishing more than ninety books, forty plays, two hundred short stories and other writings between 1902 and 1974. He worked extensively on his books, sometimes having two or more in preparation simultaneously.","He worked extensively on his books, sometimes having two or more in preparation simultaneously. He would take up to two years to build a plot and write a scenario of about thirty thousand words. After the scenario was complete he would write the story.","After the scenario was complete he would write the story. Early in his career Wodehouse would produce a novel in about three months, but he slowed in old age to around six months.","Early in his career Wodehouse would produce a novel in about three months, but he slowed in old age to around six months. He used a mixture of Edwardian slang, quotations from and allusions to numerous poets, and several literary techniques to produce a prose style that has been compared to comic poetry and musical comedy.","He used a mixture of Edwardian slang, quotations from and allusions to numerous poets, and several literary techniques to produce a prose style that has been compared to comic poetry and musical comedy. Some critics of Wodehouse have considered his work flippant, but among his fans are former British prime ministers and many of his fellow writers.","Some critics of Wodehouse have considered his work flippant, but among his fans are former British prime ministers and many of his fellow writers. Life and career Early years Wodehouse was born in Guildford, Surrey, the third son of Henry Ernest Wodehouse (1845–1929), a magistrate resident in the British colony of Hong Kong, and his wife, Eleanor (1861–1941), daughter of the Rev John Bathurst Deane.","Life and career Early years Wodehouse was born in Guildford, Surrey, the third son of Henry Ernest Wodehouse (1845–1929), a magistrate resident in the British colony of Hong Kong, and his wife, Eleanor (1861–1941), daughter of the Rev John Bathurst Deane. The Wodehouses, who traced their ancestry back to the 13th century, belonged to a cadet branch of the family of the earls of Kimberley.","The Wodehouses, who traced their ancestry back to the 13th century, belonged to a cadet branch of the family of the earls of Kimberley. Eleanor Wodehouse was also of ancient aristocratic ancestry. She was visiting her sister in Guildford when Wodehouse was born there prematurely.","She was visiting her sister in Guildford when Wodehouse was born there prematurely. The boy was baptised at the Church of St Nicolas, Guildford, and was named after his godfather, Pelham von Donop.","The boy was baptised at the Church of St Nicolas, Guildford, and was named after his godfather, Pelham von Donop. Wodehouse wrote in 1957, \"If you ask me to tell you frankly if I like the name Pelham Grenville Wodehouse, I must confess that I do not....","Wodehouse wrote in 1957, \"If you ask me to tell you frankly if I like the name Pelham Grenville Wodehouse, I must confess that I do not.... I was named after a godfather, and not a thing to show for it but a small silver mug which I lost in 1897.\"","I was named after a godfather, and not a thing to show for it but a small silver mug which I lost in 1897.\" The first name was rapidly elided to \"Plum\", the name by which Wodehouse became known to family and friends.","The first name was rapidly elided to \"Plum\", the name by which Wodehouse became known to family and friends. Mother and son sailed for Hong Kong, where for his first two years Wodehouse was raised by a Chinese amah (nurse), alongside his elder brothers Peveril (1877–1951) and Armine (1879–1936).","Mother and son sailed for Hong Kong, where for his first two years Wodehouse was raised by a Chinese amah (nurse), alongside his elder brothers Peveril (1877–1951) and Armine (1879–1936). When he was two, the brothers were brought to England, where they were placed under the care of an English nanny in a house adjoining that of Eleanor's father and mother.","When he was two, the brothers were brought to England, where they were placed under the care of an English nanny in a house adjoining that of Eleanor's father and mother. The boys' parents returned to Hong Kong and became virtual strangers to their sons.","The boys' parents returned to Hong Kong and became virtual strangers to their sons. Such an arrangement was then normal for middle-class families based in the colonies.","Such an arrangement was then normal for middle-class families based in the colonies. The lack of parental contact, and the harsh regime of some of those in loco parentis, left permanent emotional scars on many children from similar backgrounds, including the writers Thackeray, Saki, Kipling and Walpole.","The lack of parental contact, and the harsh regime of some of those in loco parentis, left permanent emotional scars on many children from similar backgrounds, including the writers Thackeray, Saki, Kipling and Walpole. Wodehouse was more fortunate; his nanny, Emma Roper, was strict but not unkind, and both with her and later at his different schools Wodehouse had a generally happy childhood.","Wodehouse was more fortunate; his nanny, Emma Roper, was strict but not unkind, and both with her and later at his different schools Wodehouse had a generally happy childhood. His recollection was that \"it went like a breeze from start to finish, with everybody I met understanding me perfectly\".","His recollection was that \"it went like a breeze from start to finish, with everybody I met understanding me perfectly\". The biographer Robert McCrum suggests that nonetheless Wodehouse's isolation from his parents left a psychological mark, causing him to avoid emotional engagement both in life and in his works.","The biographer Robert McCrum suggests that nonetheless Wodehouse's isolation from his parents left a psychological mark, causing him to avoid emotional engagement both in life and in his works. Another biographer, Frances Donaldson, writes, \"Deprived so early, not merely of maternal love, but of home life and even a stable background, Wodehouse consoled himself from the youngest age in an imaginary world of his own.\"","Another biographer, Frances Donaldson, writes, \"Deprived so early, not merely of maternal love, but of home life and even a stable background, Wodehouse consoled himself from the youngest age in an imaginary world of his own.\" In 1886 the brothers were sent to a dame-school in Croydon, where they spent three years.","In 1886 the brothers were sent to a dame-school in Croydon, where they spent three years. Peveril was then found to have a \"weak chest\"; sea air was prescribed, and the three boys were moved to Elizabeth College on the island of Guernsey.","Peveril was then found to have a \"weak chest\"; sea air was prescribed, and the three boys were moved to Elizabeth College on the island of Guernsey. In 1891 Wodehouse went on to Malvern House Preparatory School in Kent, which concentrated on preparing its pupils for entry to the Royal Navy.","In 1891 Wodehouse went on to Malvern House Preparatory School in Kent, which concentrated on preparing its pupils for entry to the Royal Navy. His father had planned a naval career for him, but the boy's eyesight was found to be too poor for it.","His father had planned a naval career for him, but the boy's eyesight was found to be too poor for it. He was unimpressed by the school's narrow curriculum and zealous discipline; he later parodied it in his novels, with Bertie Wooster recalling his early years as a pupil at a \"penitentiary... with the outward guise of a prep school\" called Malvern House.","He was unimpressed by the school's narrow curriculum and zealous discipline; he later parodied it in his novels, with Bertie Wooster recalling his early years as a pupil at a \"penitentiary... with the outward guise of a prep school\" called Malvern House. Throughout their school years the brothers were sent to stay during the holidays with various uncles and aunts from both sides of the family.","Throughout their school years the brothers were sent to stay during the holidays with various uncles and aunts from both sides of the family. In the Oxford Dictionary of National Biography, Iain Sproat counts twenty aunts and considers that they played an important part not only in Wodehouse's early life, but, thinly disguised, in his mature novels, as the formidable aunts who dominate the action in the Wooster, Blandings, and other stories.","In the Oxford Dictionary of National Biography, Iain Sproat counts twenty aunts and considers that they played an important part not only in Wodehouse's early life, but, thinly disguised, in his mature novels, as the formidable aunts who dominate the action in the Wooster, Blandings, and other stories. The boys had fifteen uncles, four of whom were clergymen.","The boys had fifteen uncles, four of whom were clergymen. Sproat writes that they inspired Wodehouse's \"pious but fallible curates, vicars, and bishops, of which he wrote with friendly irreverence but without mockery\".","Sproat writes that they inspired Wodehouse's \"pious but fallible curates, vicars, and bishops, of which he wrote with friendly irreverence but without mockery\". At the age of twelve in 1894, to his great joy, Wodehouse was able to follow his brother Armine to Dulwich College.","At the age of twelve in 1894, to his great joy, Wodehouse was able to follow his brother Armine to Dulwich College. He was entirely at home there; Donaldson comments that Dulwich gave him, for the first time, \"some continuity and a stable and ordered life\".","He was entirely at home there; Donaldson comments that Dulwich gave him, for the first time, \"some continuity and a stable and ordered life\". He loved the camaraderie, distinguished himself at cricket, rugby and boxing, and was a good, if not consistently diligent, student.","He loved the camaraderie, distinguished himself at cricket, rugby and boxing, and was a good, if not consistently diligent, student. The headmaster at the time was A. H. Gilkes, a respected classicist, who was a strong influence on Wodehouse.","The headmaster at the time was A. H. Gilkes, a respected classicist, who was a strong influence on Wodehouse. In a study of Wodehouse's works, Richard Usborne argues that \"only a writer who was himself a scholar and had had his face ground into Latin and Greek (especially Thucydides) as a boy\" could sustain the complex sequences of subordinate clauses sometimes found in Wodehouse's comic prose.","In a study of Wodehouse's works, Richard Usborne argues that \"only a writer who was himself a scholar and had had his face ground into Latin and Greek (especially Thucydides) as a boy\" could sustain the complex sequences of subordinate clauses sometimes found in Wodehouse's comic prose. Wodehouse's six years at Dulwich were among the happiest of his life: \"To me the years between 1894 and 1900 were like heaven.\"","Wodehouse's six years at Dulwich were among the happiest of his life: \"To me the years between 1894 and 1900 were like heaven.\" In addition to his sporting achievements he was a good singer and enjoyed taking part in school concerts; his literary leanings found an outlet in editing the school magazine, The Alleynian.","In addition to his sporting achievements he was a good singer and enjoyed taking part in school concerts; his literary leanings found an outlet in editing the school magazine, The Alleynian. For the rest of his life he remained devoted to the school.","For the rest of his life he remained devoted to the school. The biographer Barry Phelps writes that Wodehouse \"loved the college as much as he loved anything or anybody\".","The biographer Barry Phelps writes that Wodehouse \"loved the college as much as he loved anything or anybody\". Reluctant banker; budding writer: 1900–1908 Wodehouse expected to follow Armine to the University of Oxford, but the family's finances took a turn for the worse at the crucial moment.","Reluctant banker; budding writer: 1900–1908 Wodehouse expected to follow Armine to the University of Oxford, but the family's finances took a turn for the worse at the crucial moment. Ernest Wodehouse had retired in 1895, and his pension was paid in rupees; fluctuation against the pound reduced its value in Britain.","Ernest Wodehouse had retired in 1895, and his pension was paid in rupees; fluctuation against the pound reduced its value in Britain. Wodehouse recalled, \"The wolf was not actually whining at the door and there was always a little something in the kitty for the butcher and the grocer, but the finances would not run to anything in the nature of a splash\".","Wodehouse recalled, \"The wolf was not actually whining at the door and there was always a little something in the kitty for the butcher and the grocer, but the finances would not run to anything in the nature of a splash\". Instead of a university career, in September 1900 Wodehouse was engaged in a junior position in the London office of the Hongkong and Shanghai Bank.","Instead of a university career, in September 1900 Wodehouse was engaged in a junior position in the London office of the Hongkong and Shanghai Bank. He was unsuited to it and found the work baffling and uncongenial.","He was unsuited to it and found the work baffling and uncongenial. He later wrote a humorous account of his experiences at the bank, but at the time he longed for the end of each working day, when he could return to his rented lodgings in Chelsea and write.","He later wrote a humorous account of his experiences at the bank, but at the time he longed for the end of each working day, when he could return to his rented lodgings in Chelsea and write. At first he concentrated, with some success, on serious articles about school sports for Public School Magazine.","At first he concentrated, with some success, on serious articles about school sports for Public School Magazine. In November 1900 his first comic piece, \"Men Who Missed Their Own Weddings\", was accepted by Tit-Bits.","In November 1900 his first comic piece, \"Men Who Missed Their Own Weddings\", was accepted by Tit-Bits. A new magazine for boys, The Captain, provided further well-paid opportunities, and during his two years at the bank, Wodehouse had eighty pieces published in a total of nine magazines.","A new magazine for boys, The Captain, provided further well-paid opportunities, and during his two years at the bank, Wodehouse had eighty pieces published in a total of nine magazines. In 1901, with the help of a former Dulwich master, William Beach Thomas, Wodehouse secured an appointment—at first temporary and later permanent—writing for The Globes popular \"By the Way\" column.","In 1901, with the help of a former Dulwich master, William Beach Thomas, Wodehouse secured an appointment—at first temporary and later permanent—writing for The Globes popular \"By the Way\" column. He held the post until 1909.","He held the post until 1909. At around the same time his first novel was published—a school story called The Pothunters, serialised incomplete in Public School Magazine in early 1902, and issued in full in hardback in September. He resigned from the bank that month to devote himself to writing full-time.","He resigned from the bank that month to devote himself to writing full-time. Between the publication of The Pothunters 1902 and that of Mike in 1909, Wodehouse wrote eight novels and co-wrote another two.","Between the publication of The Pothunters 1902 and that of Mike in 1909, Wodehouse wrote eight novels and co-wrote another two. The critic R. D. B. French writes that, of Wodehouse's work from this period, almost all that deserves to survive is the school fiction.","The critic R. D. B. French writes that, of Wodehouse's work from this period, almost all that deserves to survive is the school fiction. Looking back in the 1950s Wodehouse viewed these as his apprentice years: \"I was practically in swaddling clothes and it is extremely creditable to me that I was able to write at all.\"","Looking back in the 1950s Wodehouse viewed these as his apprentice years: \"I was practically in swaddling clothes and it is extremely creditable to me that I was able to write at all.\" From his boyhood Wodehouse had been fascinated by America, which he conceived of as \"a land of romance\"; he \"yearned\" to visit the country, and by 1904 he had earned enough to do so.","From his boyhood Wodehouse had been fascinated by America, which he conceived of as \"a land of romance\"; he \"yearned\" to visit the country, and by 1904 he had earned enough to do so. In April he sailed to New York, which he found greatly to his liking.","In April he sailed to New York, which he found greatly to his liking. He noted in his diary: \"In New York gathering experience. Worth many guineas in the future but none for the moment.\"","Worth many guineas in the future but none for the moment.\" This prediction proved correct: few British writers had first-hand experience of the US, and his articles about life in New York brought him higher than usual fees.","This prediction proved correct: few British writers had first-hand experience of the US, and his articles about life in New York brought him higher than usual fees. He later recalled that \"in 1904 anyone in the London writing world who had been to America was regarded with awe and looked upon as an authority on that terra incognita.... After that trip to New York I was a man who counted.... My income rose like a rocketing pheasant.\"","He later recalled that \"in 1904 anyone in the London writing world who had been to America was regarded with awe and looked upon as an authority on that terra incognita.... After that trip to New York I was a man who counted.... My income rose like a rocketing pheasant.\" Wodehouse's other new venture in 1904 was writing for the stage.","Wodehouse's other new venture in 1904 was writing for the stage. Towards the end of the year the librettist Owen Hall invited him to contribute an additional lyric for a musical comedy Sergeant Brue. Wodehouse had loved theatre since his first visit, aged thirteen, when Gilbert and Sullivan's Patience had made him \"drunk with ecstasy\".","Wodehouse had loved theatre since his first visit, aged thirteen, when Gilbert and Sullivan's Patience had made him \"drunk with ecstasy\". His lyric for Hall, \"Put Me in My Little Cell\", was a Gilbertian number for a trio of comic crooks, with music by Frederick Rosse; it was well received and launched Wodehouse on a career as a theatre writer that spanned three decades.","His lyric for Hall, \"Put Me in My Little Cell\", was a Gilbertian number for a trio of comic crooks, with music by Frederick Rosse; it was well received and launched Wodehouse on a career as a theatre writer that spanned three decades. Although it made little impact on its first publication, the 1906 novel Love Among the Chickens contained what French calls the author's first original comic creation: Stanley Featherstonehaugh Ukridge.","Although it made little impact on its first publication, the 1906 novel Love Among the Chickens contained what French calls the author's first original comic creation: Stanley Featherstonehaugh Ukridge. The character, an amoral, bungling opportunist, is partly based on Wodehouse's Globe colleague Herbert Westbrook.","The character, an amoral, bungling opportunist, is partly based on Wodehouse's Globe colleague Herbert Westbrook. The two collaborated between 1907 and 1913 on two books, two music hall sketches, and a play, Brother Alfred. Wodehouse would return to the character in short stories over the next six decades.","Wodehouse would return to the character in short stories over the next six decades. In early 1906 the actor-manager Seymour Hicks invited Wodehouse to become resident lyricist at the Aldwych Theatre, to add topical verses to newly imported or long-running shows. Hicks had already recruited the young Jerome Kern to write the music for such songs.","Hicks had already recruited the young Jerome Kern to write the music for such songs. The first Kern-Wodehouse collaboration, a comic number for The Beauty of Bath titled \"Mr [Joseph] Chamberlain\", was a show-stopper and was briefly the most popular song in London.","The first Kern-Wodehouse collaboration, a comic number for The Beauty of Bath titled \"Mr [Joseph] Chamberlain\", was a show-stopper and was briefly the most popular song in London. Psmith, Blandings, Wooster and Jeeves: 1908–1915 Wodehouse's early period as a writer came to an end in 1908 with the serialisation of The Lost Lambs, published the following year in book form as the second half of the novel Mike.","Psmith, Blandings, Wooster and Jeeves: 1908–1915 Wodehouse's early period as a writer came to an end in 1908 with the serialisation of The Lost Lambs, published the following year in book form as the second half of the novel Mike. The work begins as a conventional school story, but Wodehouse introduces a new and strikingly original character, Psmith, whose creation both Evelyn Waugh and George Orwell regarded as a watershed in Wodehouse's development.","The work begins as a conventional school story, but Wodehouse introduces a new and strikingly original character, Psmith, whose creation both Evelyn Waugh and George Orwell regarded as a watershed in Wodehouse's development. Wodehouse said that he based Psmith on the hotelier and impresario Rupert D'Oyly Carte—\"the only thing in my literary career which was handed to me on a silver plate with watercress around it\".","Wodehouse said that he based Psmith on the hotelier and impresario Rupert D'Oyly Carte—\"the only thing in my literary career which was handed to me on a silver plate with watercress around it\". Wodehouse wrote in the 1970s that a cousin of his who had been at school with Carte told him of the latter's monocle, studied suavity, and stateliness of speech, all of which Wodehouse adopted for his new character.","Wodehouse wrote in the 1970s that a cousin of his who had been at school with Carte told him of the latter's monocle, studied suavity, and stateliness of speech, all of which Wodehouse adopted for his new character. Psmith featured in three more novels: Psmith in the City (1910), a burlesque of banking; Psmith, Journalist (1915) set in New York; and Leave It to Psmith (1923), set at Blandings Castle.","Psmith featured in three more novels: Psmith in the City (1910), a burlesque of banking; Psmith, Journalist (1915) set in New York; and Leave It to Psmith (1923), set at Blandings Castle. In May 1909 Wodehouse made his second visit to New York, where he sold two short stories to Cosmopolitan and Collier's for a total of $500, a much higher fee than he had commanded previously.","In May 1909 Wodehouse made his second visit to New York, where he sold two short stories to Cosmopolitan and Collier's for a total of $500, a much higher fee than he had commanded previously. He resigned from The Globe and stayed in New York for nearly a year.","He resigned from The Globe and stayed in New York for nearly a year. He sold many more stories, but none of the American publications offered a permanent relationship and guaranteed income. Wodehouse returned to England in late 1910, rejoining The Globe and also contributing regularly to The Strand Magazine.","Wodehouse returned to England in late 1910, rejoining The Globe and also contributing regularly to The Strand Magazine. Between then and the outbreak of the First World War in 1914 he revisited America frequently. Wodehouse was in New York when the war began.","Wodehouse was in New York when the war began. Ineligible for military service because of his poor eyesight, he remained in the US throughout the war, detached from the conflict in Europe and absorbed in his theatrical and literary concerns. In September 1914 he married Ethel May Wayman, née Newton (1885–1984), an English widow.","In September 1914 he married Ethel May Wayman, née Newton (1885–1984), an English widow. The marriage proved happy and lifelong. Ethel's personality was in contrast with her husband's: he was shy and impractical; she was gregarious, decisive and well organised.","Ethel's personality was in contrast with her husband's: he was shy and impractical; she was gregarious, decisive and well organised. In Sproat's phrase, she \"took charge of Wodehouse's life and made certain that he had the peace and quiet he needed to write\".","In Sproat's phrase, she \"took charge of Wodehouse's life and made certain that he had the peace and quiet he needed to write\". There were no children of the marriage, but Wodehouse came to love Ethel's daughter Leonora (1905–1944) and legally adopted her.","There were no children of the marriage, but Wodehouse came to love Ethel's daughter Leonora (1905–1944) and legally adopted her. Wodehouse experimented with different genres of fiction in these years; Psmith, Journalist, mixing comedy with social comment on slum landlords and racketeers, was published in 1915.","Wodehouse experimented with different genres of fiction in these years; Psmith, Journalist, mixing comedy with social comment on slum landlords and racketeers, was published in 1915. In the same year The Saturday Evening Post paid $3,500 to serialise Something New, the first of what became a series of novels set at Blandings Castle.","In the same year The Saturday Evening Post paid $3,500 to serialise Something New, the first of what became a series of novels set at Blandings Castle. It was published in hardback in the US and the UK in the same year (the British edition being retitled Something Fresh).","It was published in hardback in the US and the UK in the same year (the British edition being retitled Something Fresh). It was Wodehouse's first farcical novel; it was also his first best-seller, and although his later books included some gentler, lightly sentimental stories, it was as a farceur that he became known.","It was Wodehouse's first farcical novel; it was also his first best-seller, and although his later books included some gentler, lightly sentimental stories, it was as a farceur that he became known. Later in the same year \"Extricating Young Gussie\", the first story about Bertie and Jeeves, was published.","Later in the same year \"Extricating Young Gussie\", the first story about Bertie and Jeeves, was published. These stories introduced two sets of characters about whom Wodehouse wrote for the rest of his life.","These stories introduced two sets of characters about whom Wodehouse wrote for the rest of his life. The Blandings Castle stories, set in an English stately home, depict the attempts of the placid Lord Emsworth to evade the many distractions around him, which include successive pairs of young lovers, the machinations of his exuberant brother Galahad, the demands of his domineering sisters and super-efficient secretaries, and anything detrimental to his prize sow, the Empress of Blandings.","The Blandings Castle stories, set in an English stately home, depict the attempts of the placid Lord Emsworth to evade the many distractions around him, which include successive pairs of young lovers, the machinations of his exuberant brother Galahad, the demands of his domineering sisters and super-efficient secretaries, and anything detrimental to his prize sow, the Empress of Blandings. The Bertie and Jeeves stories feature an amiable young man-about-town, regularly rescued from the consequences of his idiocy by the benign interference of his valet.","The Bertie and Jeeves stories feature an amiable young man-about-town, regularly rescued from the consequences of his idiocy by the benign interference of his valet. Broadway: 1915–1919 A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator.","Broadway: 1915–1919 A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator. Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York.","Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York. The show was successful, but they thought the song lyrics weak and invited Wodehouse to join them on its successor. This was Miss Springtime (1916), which ran for 227 performances—a good run by the standards of the day.","This was Miss Springtime (1916), which ran for 227 performances—a good run by the standards of the day. The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917–18) and Oh, Lady! Lady!!","Lady!! Lady!! (1918), and Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin.","In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin. Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies.","Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies. Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do.","Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do. Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical.","Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical. In the Grove Dictionary of American Music Larry Stempel writes, \"By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy.\"","In the Grove Dictionary of American Music Larry Stempel writes, \"By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy.\" The theatre writer Gerald Bordman calls Wodehouse \"the most observant, literate, and witty lyricist of his day\".","The theatre writer Gerald Bordman calls Wodehouse \"the most observant, literate, and witty lyricist of his day\". The composer Richard Rodgers wrote, \"Before Larry Hart, only P.G. Wodehouse had made any real assault on the intelligence of the song-listening public.\"","Wodehouse had made any real assault on the intelligence of the song-listening public.\" 1920s In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones.","1920s In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones. Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest.","Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest. Various other young men-about-town appeared in short stories about members of the Drones Club.","Various other young men-about-town appeared in short stories about members of the Drones Club. The Wodehouses returned to England, where they had a house in London for some years, but Wodehouse continued to cross the Atlantic frequently, spending substantial periods in New York. He continued to work in the theatre.","He continued to work in the theatre. During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York).","During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York). He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnár, and A Damsel in Distress (1928), a dramatisation of his 1919 novel.","He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnár, and A Damsel in Distress (1928), a dramatisation of his 1919 novel. Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods.","Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods. Donaldson lists among those with whom he was on friendly terms writers including A. A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith Jr., Heather Thatcher and Dorothy Dickson.","A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith Jr., Heather Thatcher and Dorothy Dickson. Hollywood: 1929–1931 There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name.","Hollywood: 1929–1931 There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name. Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM).","Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM). Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week.","Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week. This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929.","This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929. The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories.","The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories. He commented, \"It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary.\"","He commented, \"It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary.\" Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used.","Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used. In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was \"as close to a success as Wodehouse was to have at MGM.","In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was \"as close to a success as Wodehouse was to have at MGM. His only other credits were minimal, and the other projects he worked on were not produced.\"","His only other credits were minimal, and the other projects he worked on were not produced.\" Wodehouse's contract ended after a year and was not renewed. At MGM's request, he gave an interview to The Los Angeles Times.","At MGM's request, he gave an interview to The Los Angeles Times. Wodehouse was described by Herbert Warren Wind as \"politically naive [and] fundamentally unworldly\", and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent.","Wodehouse was described by Herbert Warren Wind as \"politically naive [and] fundamentally unworldly\", and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent. The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry.","The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry. Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been \"a storm in a teacup\", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable.","Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been \"a storm in a teacup\", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable. Wind's view of Wodehouse's naïveté is not universally held.","Wind's view of Wodehouse's naïveté is not universally held. Biographers including Donaldson, McCrum and Phelps suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute.","Biographers including Donaldson, McCrum and Phelps suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute. He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire.","He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire. Best-seller: 1930s During the 1930s Wodehouse's theatrical work tailed off.","Best-seller: 1930s During the 1930s Wodehouse's theatrical work tailed off. He wrote or adapted four plays for the West End; Leave it to Psmith (1930), which he adapted in collaboration with Ian Hay, was the only one to have a long run.","He wrote or adapted four plays for the West End; Leave it to Psmith (1930), which he adapted in collaboration with Ian Hay, was the only one to have a long run. The reviewer in The Manchester Guardian praised the play, but commented: \"It is Mr Wodehouse's own inimitable narrative comments and descriptions in his own person of the antics of his puppets that one misses.","The reviewer in The Manchester Guardian praised the play, but commented: \"It is Mr Wodehouse's own inimitable narrative comments and descriptions in his own person of the antics of his puppets that one misses. They cannot be got into a play and they are at least half the fun of the novels.\"","They cannot be got into a play and they are at least half the fun of the novels.\" In 1934 Wodehouse collaborated with Bolton on the book for Cole Porter's Anything Goes (Porter wrote his own lyrics), but at the last minute their version was almost entirely rewritten by others at the instigation of the producer, who disliked the original script.","In 1934 Wodehouse collaborated with Bolton on the book for Cole Porter's Anything Goes (Porter wrote his own lyrics), but at the last minute their version was almost entirely rewritten by others at the instigation of the producer, who disliked the original script. Concentrating on writing novels and short stories, Wodehouse reached the peak of his productivity in this decade, averaging two books each year, and grossing an annual £100,000.","Concentrating on writing novels and short stories, Wodehouse reached the peak of his productivity in this decade, averaging two books each year, and grossing an annual £100,000. His practice of dividing his time between Britain and America caused Wodehouse difficulties with the tax authorities of both countries.","His practice of dividing his time between Britain and America caused Wodehouse difficulties with the tax authorities of both countries. Both the UK Inland Revenue and the US Internal Revenue Service sought to tax him as a resident.","Both the UK Inland Revenue and the US Internal Revenue Service sought to tax him as a resident. The matter was settled after lengthy negotiations, but the Wodehouses decided to change their residential status beyond doubt by moving to France, where they bought a house near Le Touquet in the north.","The matter was settled after lengthy negotiations, but the Wodehouses decided to change their residential status beyond doubt by moving to France, where they bought a house near Le Touquet in the north. In 1935 Wodehouse created the last of his regular cast of principal characters, Lord Ickenham, otherwise known as Uncle Fred, who, in Usborne's words, \"leads the dance in four novels and a short story... a whirring dynamo of misrule\".","In 1935 Wodehouse created the last of his regular cast of principal characters, Lord Ickenham, otherwise known as Uncle Fred, who, in Usborne's words, \"leads the dance in four novels and a short story... a whirring dynamo of misrule\". His other books from the decade include Right Ho, Jeeves, which Donaldson judged his best work, Uncle Fred in the Springtime, which the writer Bernard Levin considered the best, and Blandings Castle, which contains \"Lord Emsworth and the Girl Friend\", which Rudyard Kipling thought \"one of the most perfect short stories I have ever read\".","His other books from the decade include Right Ho, Jeeves, which Donaldson judged his best work, Uncle Fred in the Springtime, which the writer Bernard Levin considered the best, and Blandings Castle, which contains \"Lord Emsworth and the Girl Friend\", which Rudyard Kipling thought \"one of the most perfect short stories I have ever read\". Other leading literary figures who admired Wodehouse were A. E. Housman, Max Beerbohm and Hilaire Belloc; on the radio and in print Belloc called Wodehouse \"the best writer of our time: the best living writer of English... the head of my profession\".","Other leading literary figures who admired Wodehouse were A. E. Housman, Max Beerbohm and Hilaire Belloc; on the radio and in print Belloc called Wodehouse \"the best writer of our time: the best living writer of English... the head of my profession\". Wodehouse regarded Belloc's plaudit as \"a gag, to get a rise out of serious-minded authors whom he disliked\".","Wodehouse regarded Belloc's plaudit as \"a gag, to get a rise out of serious-minded authors whom he disliked\". Wodehouse was never sure that his books had literary merit as well as popular appeal, and, Donaldson suggests, must have been overwhelmed when the University of Oxford conferred an honorary doctorate of letters on him in June 1939.","Wodehouse was never sure that his books had literary merit as well as popular appeal, and, Donaldson suggests, must have been overwhelmed when the University of Oxford conferred an honorary doctorate of letters on him in June 1939. His visit to England for the awarding ceremony was the last time he set foot in his native land.","His visit to England for the awarding ceremony was the last time he set foot in his native land. Second World War: internment and broadcasts At the start of the Second World War Wodehouse and his wife remained at their Le Touquet house, where, during the Phoney War, he worked on Joy in the Morning.","Second World War: internment and broadcasts At the start of the Second World War Wodehouse and his wife remained at their Le Touquet house, where, during the Phoney War, he worked on Joy in the Morning. With the advance of the Germans, the nearby Royal Air Force base withdrew; Wodehouse was offered the sole spare seat in one of the fighter aircraft, but he turned down the opportunity as it would have meant leaving behind Ethel and their dog.","With the advance of the Germans, the nearby Royal Air Force base withdrew; Wodehouse was offered the sole spare seat in one of the fighter aircraft, but he turned down the opportunity as it would have meant leaving behind Ethel and their dog. On 21 May 1940, with German troops advancing through northern France, the Wodehouses decided to drive to Portugal and fly from there to the US.","On 21 May 1940, with German troops advancing through northern France, the Wodehouses decided to drive to Portugal and fly from there to the US. Two miles from home their car broke down, so they returned and borrowed a car from a neighbour; with the routes blocked with refugees, they returned home again.","Two miles from home their car broke down, so they returned and borrowed a car from a neighbour; with the routes blocked with refugees, they returned home again. The Germans occupied Le Touquet on 22 May 1940 and Wodehouse had to report to the authorities daily.","The Germans occupied Le Touquet on 22 May 1940 and Wodehouse had to report to the authorities daily. After two months of occupation the Germans interned all male enemy nationals under 60, and Wodehouse was sent to a former prison in Loos, a suburb of Lille, on 21 July; Ethel remained in Le Touquet.","After two months of occupation the Germans interned all male enemy nationals under 60, and Wodehouse was sent to a former prison in Loos, a suburb of Lille, on 21 July; Ethel remained in Le Touquet. The internees were placed four to a cell, each of which had been designed for one man.","The internees were placed four to a cell, each of which had been designed for one man. One bed was available per cell, which was made available to the eldest man—not Wodehouse, who slept on the granite floor.","One bed was available per cell, which was made available to the eldest man—not Wodehouse, who slept on the granite floor. The prisoners were not kept long in Loos before they were transported in cattle trucks to a former barracks in Liège, Belgium, which was run as a prison by the SS.","The prisoners were not kept long in Loos before they were transported in cattle trucks to a former barracks in Liège, Belgium, which was run as a prison by the SS. After a week the men were transferred to Huy in Liège, where they were incarcerated in the local citadel.","After a week the men were transferred to Huy in Liège, where they were incarcerated in the local citadel. They remained there until September 1940, when they were transported to Tost in Upper Silesia (then Germany, now Toszek in Poland).","They remained there until September 1940, when they were transported to Tost in Upper Silesia (then Germany, now Toszek in Poland). Wodehouse's family and friends had not had any news of his location after the fall of France, but an article from an Associated Press reporter who had visited Tost in December 1940 led to pressure on the German authorities to release the novelist.","Wodehouse's family and friends had not had any news of his location after the fall of France, but an article from an Associated Press reporter who had visited Tost in December 1940 led to pressure on the German authorities to release the novelist. This included a petition from influential people in the US; Senator W. Warren Barbour presented it to the German ambassador.","This included a petition from influential people in the US; Senator W. Warren Barbour presented it to the German ambassador. Although his captors refused to release him, Wodehouse was provided with a typewriter and, to pass the time, he wrote Money in the Bank.","Although his captors refused to release him, Wodehouse was provided with a typewriter and, to pass the time, he wrote Money in the Bank. Throughout his time in Tost, he sent postcards to his US literary agent asking for $5 to be sent to various people in Canada, mentioning his name.","Throughout his time in Tost, he sent postcards to his US literary agent asking for $5 to be sent to various people in Canada, mentioning his name. These were the families of Canadian prisoners of war, and the news from Wodehouse was the first indication that their sons were alive and well.","These were the families of Canadian prisoners of war, and the news from Wodehouse was the first indication that their sons were alive and well. Wodehouse risked severe punishment for the communication, but managed to evade the German censor.","Wodehouse risked severe punishment for the communication, but managed to evade the German censor. On 21 June 1941, while he was in the middle of playing a game of cricket, Wodehouse received a visit from two members of the Gestapo.","On 21 June 1941, while he was in the middle of playing a game of cricket, Wodehouse received a visit from two members of the Gestapo. He was given ten minutes to pack his things before he was taken to the Hotel Adlon, a top luxury hotel in Berlin.","He was given ten minutes to pack his things before he was taken to the Hotel Adlon, a top luxury hotel in Berlin. He stayed there at his own expense; royalties from the German editions of his books had been put into a special frozen bank account at the outset of the war, and Wodehouse was permitted to draw upon this money he had earned while staying in Berlin.","He stayed there at his own expense; royalties from the German editions of his books had been put into a special frozen bank account at the outset of the war, and Wodehouse was permitted to draw upon this money he had earned while staying in Berlin. He was thus released from internment a few months before his sixtieth birthday—the age at which civilian internees were released by the Nazis.","He was thus released from internment a few months before his sixtieth birthday—the age at which civilian internees were released by the Nazis. Shortly afterwards Wodehouse was, in the words of Phelps, \"cleverly trapped\" into making five broadcasts to the US via German radio, with the Berlin-based correspondent of the Columbia Broadcasting System.","Shortly afterwards Wodehouse was, in the words of Phelps, \"cleverly trapped\" into making five broadcasts to the US via German radio, with the Berlin-based correspondent of the Columbia Broadcasting System. The broadcasts—aired on 28 June, 9, 23 and 30 July and 6 August—were titled How to be an Internee Without Previous Training, and comprised humorous anecdotes about Wodehouse's experiences as a prisoner, including some gentle mocking of his captors.","The broadcasts—aired on 28 June, 9, 23 and 30 July and 6 August—were titled How to be an Internee Without Previous Training, and comprised humorous anecdotes about Wodehouse's experiences as a prisoner, including some gentle mocking of his captors. The German propaganda ministry arranged for the recordings to be broadcast to Britain in August.","The German propaganda ministry arranged for the recordings to be broadcast to Britain in August. The day after Wodehouse recorded his final programme, Ethel joined him in Berlin, having sold most of her jewellery to pay for the journey.","The day after Wodehouse recorded his final programme, Ethel joined him in Berlin, having sold most of her jewellery to pay for the journey. Aftermath: reactions and investigation The reaction in Britain to Wodehouse's broadcasts was hostile, and he was \"reviled ... as a traitor, collaborator, Nazi propagandist, and a coward\", although, Phelps observes, many of those who decried his actions had not heard the content of the programmes.","Aftermath: reactions and investigation The reaction in Britain to Wodehouse's broadcasts was hostile, and he was \"reviled ... as a traitor, collaborator, Nazi propagandist, and a coward\", although, Phelps observes, many of those who decried his actions had not heard the content of the programmes. A front-page article in The Daily Mirror stated that Wodehouse \"lived luxuriously because Britain laughed with him, but when the laughter was out of his country's heart, ... [he] was not ready to share her suffering.","A front-page article in The Daily Mirror stated that Wodehouse \"lived luxuriously because Britain laughed with him, but when the laughter was out of his country's heart, ... [he] was not ready to share her suffering. He hadn't the guts ... even to stick it out in the internment camp.\"","He hadn't the guts ... even to stick it out in the internment camp.\" In the House of Commons Anthony Eden, the Foreign Secretary, regretted Wodehouse's actions. Several libraries removed Wodehouse novels from their shelves.","Several libraries removed Wodehouse novels from their shelves. On 15 July the journalist William Connor, under his pen name Cassandra, broadcast a postscript to the news programme railing against Wodehouse. According to The Times, the broadcast \"provoked a storm of complaint ... from listeners all over the country\".","According to The Times, the broadcast \"provoked a storm of complaint ... from listeners all over the country\". Wodehouse's biographer, Joseph Connolly, thinks the broadcast \"inaccurate, spiteful and slanderous\"; Phelps calls it \"probably the most vituperative attack on an individual ever heard on British radio\".","Wodehouse's biographer, Joseph Connolly, thinks the broadcast \"inaccurate, spiteful and slanderous\"; Phelps calls it \"probably the most vituperative attack on an individual ever heard on British radio\". The broadcast was made at the direct instruction of Duff Cooper, the Minister of Information, who overruled strong protests made by the BBC against the decision to air the programme.","The broadcast was made at the direct instruction of Duff Cooper, the Minister of Information, who overruled strong protests made by the BBC against the decision to air the programme. Numerous letters appeared in the British press, both supporting and criticising Wodehouse.","Numerous letters appeared in the British press, both supporting and criticising Wodehouse. The letters page of The Daily Telegraph became a focus for censuring Wodehouse, including one from Wodehouse's friend, ; a reply from their fellow author Compton Mackenzie in defence of Wodehouse was not published because the editor claimed a lack of space.","The letters page of The Daily Telegraph became a focus for censuring Wodehouse, including one from Wodehouse's friend, ; a reply from their fellow author Compton Mackenzie in defence of Wodehouse was not published because the editor claimed a lack of space. Most of those defending Wodehouse against accusations of disloyalty, including Sax Rohmer, Dorothy L. Sayers and Gilbert Frankau, conceded that he had acted stupidly.","Most of those defending Wodehouse against accusations of disloyalty, including Sax Rohmer, Dorothy L. Sayers and Gilbert Frankau, conceded that he had acted stupidly. Some members of the public wrote to the newspapers to say that the full facts were not yet known and a fair judgment could not be made until they were.","Some members of the public wrote to the newspapers to say that the full facts were not yet known and a fair judgment could not be made until they were. The management of the BBC, who considered Wodehouse's actions no worse than \"ill advised\", pointed out to Cooper that there was no evidence at that point whether Wodehouse had acted voluntarily or under compulsion.","The management of the BBC, who considered Wodehouse's actions no worse than \"ill advised\", pointed out to Cooper that there was no evidence at that point whether Wodehouse had acted voluntarily or under compulsion. When Wodehouse heard of the furore the broadcasts had caused, he contacted the Foreign Office—through the Swiss embassy in Berlin—to explain his actions, and attempted to return home via neutral countries, but the German authorities refused to let him leave.","When Wodehouse heard of the furore the broadcasts had caused, he contacted the Foreign Office—through the Swiss embassy in Berlin—to explain his actions, and attempted to return home via neutral countries, but the German authorities refused to let him leave. In Performing Flea, a 1953 collection of letters, Wodehouse wrote, \"Of course I ought to have had the sense to see that it was a loony thing to do to use the German radio for even the most harmless stuff, but I didn't.","In Performing Flea, a 1953 collection of letters, Wodehouse wrote, \"Of course I ought to have had the sense to see that it was a loony thing to do to use the German radio for even the most harmless stuff, but I didn't. I suppose prison life saps the intellect\".","I suppose prison life saps the intellect\". The reaction in America was mixed: the left-leaning publication PM accused Wodehouse of \"play[ing] Jeeves to the Nazis\", but the Department of War used the interviews as an ideal representation of anti-Nazi propaganda.","The reaction in America was mixed: the left-leaning publication PM accused Wodehouse of \"play[ing] Jeeves to the Nazis\", but the Department of War used the interviews as an ideal representation of anti-Nazi propaganda. The Wodehouses remained in Germany until September 1943, when, because of the Allied bombings, they were allowed to move back to Paris.","The Wodehouses remained in Germany until September 1943, when, because of the Allied bombings, they were allowed to move back to Paris. They were living there when the city was liberated on 25 August 1944; Wodehouse reported to the American authorities the following day, asking them to inform the British of his whereabouts.","They were living there when the city was liberated on 25 August 1944; Wodehouse reported to the American authorities the following day, asking them to inform the British of his whereabouts. He was subsequently visited by Malcolm Muggeridge, recently arrived in Paris as an intelligence officer with MI6.","He was subsequently visited by Malcolm Muggeridge, recently arrived in Paris as an intelligence officer with MI6. The young officer quickly came to like Wodehouse and considered the question of treasonable behaviour as \"ludicrous\"; he summed up the writer as \"ill-fitted to live in an age of ideological conflict\".","The young officer quickly came to like Wodehouse and considered the question of treasonable behaviour as \"ludicrous\"; he summed up the writer as \"ill-fitted to live in an age of ideological conflict\". On 9 September Wodehouse was visited by an MI5 officer and former barrister, Major Edward Cussen, who formally investigated him, a process that stretched over four days.","On 9 September Wodehouse was visited by an MI5 officer and former barrister, Major Edward Cussen, who formally investigated him, a process that stretched over four days. On 28 September Cussen filed his report, which states that in regard to the broadcasts, Wodehouse's behaviour \"has been unwise\", but advised against further action.","On 28 September Cussen filed his report, which states that in regard to the broadcasts, Wodehouse's behaviour \"has been unwise\", but advised against further action. On 23 November Theobald Matthew, the Director of Public Prosecutions, decided there was no evidence to justify prosecuting Wodehouse.","On 23 November Theobald Matthew, the Director of Public Prosecutions, decided there was no evidence to justify prosecuting Wodehouse. In November 1944 Duff Cooper was appointed British ambassador to France and was provided accommodation at the Hôtel Le Bristol, where the Wodehouses were living.","In November 1944 Duff Cooper was appointed British ambassador to France and was provided accommodation at the Hôtel Le Bristol, where the Wodehouses were living. Cooper complained to the French authorities, and the couple were moved to a different hotel. They were subsequently arrested by French police and placed under preventive detention, despite no charges being presented.","They were subsequently arrested by French police and placed under preventive detention, despite no charges being presented. When Muggeridge tracked them down later, he managed to get Ethel released straight away and, four days later, ensured that the French authorities declared Wodehouse unwell and put him in a nearby hospital, which was more comfortable than where they had been detained.","When Muggeridge tracked them down later, he managed to get Ethel released straight away and, four days later, ensured that the French authorities declared Wodehouse unwell and put him in a nearby hospital, which was more comfortable than where they had been detained. While in this hospital, Wodehouse worked on his novel Uncle Dynamite.","While in this hospital, Wodehouse worked on his novel Uncle Dynamite. While still detained by the French, Wodehouse was again mentioned in questions in the House of Commons in December 1944 when MPs wondered if the French authorities could repatriate him to stand trial.","While still detained by the French, Wodehouse was again mentioned in questions in the House of Commons in December 1944 when MPs wondered if the French authorities could repatriate him to stand trial. Eden stated that the \"matter has been gone into, and, according to the advice given, there are no grounds upon which we could take action\".","Eden stated that the \"matter has been gone into, and, according to the advice given, there are no grounds upon which we could take action\". Two months later, Orwell wrote the essay \"In Defence of P.G.","Two months later, Orwell wrote the essay \"In Defence of P.G. Wodehouse\", where he stated that \"it is important to realise that the events of 1941 do not convict Wodehouse of anything worse than stupidity\".","Wodehouse\", where he stated that \"it is important to realise that the events of 1941 do not convict Wodehouse of anything worse than stupidity\". Orwell's rationale was that Wodehouse's \"moral outlook has remained that of a public-school boy, and according to the public-school code, treachery in time of war is the most unforgivable of all the sins\", which was compounded by his \"complete lack—so far as one can judge from his printed works—of political awareness\".","Orwell's rationale was that Wodehouse's \"moral outlook has remained that of a public-school boy, and according to the public-school code, treachery in time of war is the most unforgivable of all the sins\", which was compounded by his \"complete lack—so far as one can judge from his printed works—of political awareness\". On 15 January 1945 the French authorities released Wodehouse, but they did not inform him, until June 1946, that he would not face any official charges and was free to leave the country.","On 15 January 1945 the French authorities released Wodehouse, but they did not inform him, until June 1946, that he would not face any official charges and was free to leave the country. American exile: 1946–1975 Having secured American visas in July 1946, the Wodehouses made preparations to return to New York.","American exile: 1946–1975 Having secured American visas in July 1946, the Wodehouses made preparations to return to New York. They were delayed by Ethel's insistence on acquiring suitable new clothes and by Wodehouse's wish to finish writing his current novel, The Mating Season, in the peace of the French countryside.","They were delayed by Ethel's insistence on acquiring suitable new clothes and by Wodehouse's wish to finish writing his current novel, The Mating Season, in the peace of the French countryside. In April 1947 they sailed to New York, where Wodehouse was relieved at the friendly reception he received from the large press contingent awaiting his arrival.","In April 1947 they sailed to New York, where Wodehouse was relieved at the friendly reception he received from the large press contingent awaiting his arrival. Ethel secured a comfortable penthouse apartment in Manhattan's Upper East Side, but Wodehouse was not at ease. The New York that he had known before the war was much changed.","The New York that he had known before the war was much changed. The magazines that had paid lavishly for his stories were in decline, and those that remained were not much interested in him.","The magazines that had paid lavishly for his stories were in decline, and those that remained were not much interested in him. He was sounded out about writing for Broadway, but he was not at home in the post-war theatre; he had money problems, with large sums temporarily tied up in Britain, and for the first time in his career he had no ideas for a new novel.","He was sounded out about writing for Broadway, but he was not at home in the post-war theatre; he had money problems, with large sums temporarily tied up in Britain, and for the first time in his career he had no ideas for a new novel. He did not complete one until 1951.","He did not complete one until 1951. Wodehouse remained unsettled until he and Ethel left New York City for Long Island. Bolton and his wife lived in the prosperous hamlet of Remsenburg, part of the Southampton area of Long Island, east of Manhattan.","Bolton and his wife lived in the prosperous hamlet of Remsenburg, part of the Southampton area of Long Island, east of Manhattan. Wodehouse stayed with them frequently, and in 1952 he and Ethel bought a house nearby. They lived at Remsenburg for the rest of their lives.","They lived at Remsenburg for the rest of their lives. Between 1952 and 1975 he published more than twenty novels, as well as two collections of short stories, a heavily edited collection of his letters, a volume of memoirs, and a selection of his magazine articles. He continued to hanker after a revival of his theatrical career.","He continued to hanker after a revival of his theatrical career. A 1959 off-Broadway revival of the 1917 Bolton-Wodehouse-Kern Leave It to Jane was a surprise hit, running for 928 performances, but his few post-war stage works, some in collaboration with Bolton, made little impression.","A 1959 off-Broadway revival of the 1917 Bolton-Wodehouse-Kern Leave It to Jane was a surprise hit, running for 928 performances, but his few post-war stage works, some in collaboration with Bolton, made little impression. Although Ethel made a return visit to England in 1948 to shop and visit family and friends, Wodehouse never left America after his arrival in 1947.","Although Ethel made a return visit to England in 1948 to shop and visit family and friends, Wodehouse never left America after his arrival in 1947. It was not until 1965 that the British government indicated privately that he could return without fear of legal proceedings, and by then he felt too old to make the journey.","It was not until 1965 that the British government indicated privately that he could return without fear of legal proceedings, and by then he felt too old to make the journey. The biographers Benny Green and Robert McCrum both take the view that this exile benefited Wodehouse's writing, helping him to go on depicting an idealised England seen in his mind's eye, rather than as it actually was in the post-war decades.","The biographers Benny Green and Robert McCrum both take the view that this exile benefited Wodehouse's writing, helping him to go on depicting an idealised England seen in his mind's eye, rather than as it actually was in the post-war decades. During their years in Long Island, the couple often took in stray animals and contributed substantial funds to a local animal shelter.","During their years in Long Island, the couple often took in stray animals and contributed substantial funds to a local animal shelter. In 1955 Wodehouse became an American citizen, though he remained a British subject, and was therefore still eligible for UK state honours.","In 1955 Wodehouse became an American citizen, though he remained a British subject, and was therefore still eligible for UK state honours. He was considered for the award of a knighthood three times from 1967, but the honour was twice blocked by British officials.","He was considered for the award of a knighthood three times from 1967, but the honour was twice blocked by British officials. In 1974 the British prime minister, Harold Wilson, intervened to secure a knighthood (KBE) for Wodehouse, which was announced in the January 1975 New Year Honours list.","In 1974 the British prime minister, Harold Wilson, intervened to secure a knighthood (KBE) for Wodehouse, which was announced in the January 1975 New Year Honours list. The Times commented that Wodehouse's honour signalled \"official forgiveness for his wartime indiscretion....","The Times commented that Wodehouse's honour signalled \"official forgiveness for his wartime indiscretion.... It is late, but not too late, to take the sting out of that unhappy incident.\" The following month Wodehouse entered Southampton Hospital, Long Island, for treatment of a skin complaint.","The following month Wodehouse entered Southampton Hospital, Long Island, for treatment of a skin complaint. While there, he suffered a heart attack and died on 14 February 1975 at the age of 93. He was buried at Remsenburg Presbyterian Church four days later.","He was buried at Remsenburg Presbyterian Church four days later. Ethel outlived him by more than nine years; Leonora had predeceased him, dying suddenly in 1944.","Ethel outlived him by more than nine years; Leonora had predeceased him, dying suddenly in 1944. Writing Technique and approach Before starting a book Wodehouse would write up to four hundred pages of notes bringing together an outline of the plot; he acknowledged that \"It's the plots that I find so hard to work out.","Writing Technique and approach Before starting a book Wodehouse would write up to four hundred pages of notes bringing together an outline of the plot; he acknowledged that \"It's the plots that I find so hard to work out. It takes such a long time to work one out.\"","It takes such a long time to work one out.\" He always completed the plot before working on specific character actions. For a novel the note-writing process could take up to two years, and he would usually have two or more novels in preparation simultaneously.","For a novel the note-writing process could take up to two years, and he would usually have two or more novels in preparation simultaneously. After he had completed his notes, he would draw up a fuller scenario of about thirty thousand words, which ensured plot holes were avoided, and allowed for the dialogue to begin to develop.","After he had completed his notes, he would draw up a fuller scenario of about thirty thousand words, which ensured plot holes were avoided, and allowed for the dialogue to begin to develop. When interviewed in 1975 he revealed that \"For a humorous novel you've got to have a scenario, and you've got to test it so that you know where the comedy comes in, where the situations come in ... splitting it up into scenes (you can make a scene of almost anything) and have as little stuff in between as possible.\"","When interviewed in 1975 he revealed that \"For a humorous novel you've got to have a scenario, and you've got to test it so that you know where the comedy comes in, where the situations come in ... splitting it up into scenes (you can make a scene of almost anything) and have as little stuff in between as possible.\" He preferred working between 4 and 7 pm—but never after dinner—and would work seven days a week.","He preferred working between 4 and 7 pm—but never after dinner—and would work seven days a week. In his younger years, he would write around two to three thousand words a day, although he slowed as he aged, so that in his nineties he would produce a thousand.","In his younger years, he would write around two to three thousand words a day, although he slowed as he aged, so that in his nineties he would produce a thousand. The reduced speed in writing slowed his production of books: when younger he would produce a novel in about three months, while Bachelors Anonymous, published in 1973, took around six months.","The reduced speed in writing slowed his production of books: when younger he would produce a novel in about three months, while Bachelors Anonymous, published in 1973, took around six months. Although studies of language production in normal healthy ageing show a marked decline from the mid-70s on, a study of Wodehouse's works did not find any evidence of a decline in linguistic ability with age.","Although studies of language production in normal healthy ageing show a marked decline from the mid-70s on, a study of Wodehouse's works did not find any evidence of a decline in linguistic ability with age. Wodehouse believed that one of the factors that made his stories humorous was his view of life, and he stated that \"If you take life fairly easily, then you take a humorous view of things.","Wodehouse believed that one of the factors that made his stories humorous was his view of life, and he stated that \"If you take life fairly easily, then you take a humorous view of things. It's probably because you were born that way.\"","It's probably because you were born that way.\" He carried this view through into his writing, describing the approach as \"making the thing a sort of musical comedy without music, and ignoring real life altogether\".","He carried this view through into his writing, describing the approach as \"making the thing a sort of musical comedy without music, and ignoring real life altogether\". The literary critic Edward L. Galligan considers Wodehouse's stories to show his mastery in adapting the form of the American musical comedy for his writings.","The literary critic Edward L. Galligan considers Wodehouse's stories to show his mastery in adapting the form of the American musical comedy for his writings. Wodehouse would ensure that his first draft was as carefully and accurately done as possible, correcting and refining the prose as he wrote, and would then make another good copy, before proofreading again and then making a final copy for his publisher.","Wodehouse would ensure that his first draft was as carefully and accurately done as possible, correcting and refining the prose as he wrote, and would then make another good copy, before proofreading again and then making a final copy for his publisher. Most of Wodehouse's canon is set in an undated period around the 1920s and 1930s.","Most of Wodehouse's canon is set in an undated period around the 1920s and 1930s. The critic Anthony Lejeune describes the settings of Wodehouse's novels, such as the Drones Club and Blandings Castle, as \"a fairyland\".","The critic Anthony Lejeune describes the settings of Wodehouse's novels, such as the Drones Club and Blandings Castle, as \"a fairyland\". Although some critics thought Wodehouse's fiction was based on a world that had never existed, Wodehouse affirmed that \"it did.","Although some critics thought Wodehouse's fiction was based on a world that had never existed, Wodehouse affirmed that \"it did. It was going strong between the wars\", although he agreed that his version was to some extent \"a sort of artificial world of my own creation\".","It was going strong between the wars\", although he agreed that his version was to some extent \"a sort of artificial world of my own creation\". The novels showed a largely unchanging world, regardless of when they were written, and only rarely—and mistakenly in McCrum's view—did Wodehouse allow modernity to intrude, as he did in the 1966 story \"Bingo Bans the Bomb\".","The novels showed a largely unchanging world, regardless of when they were written, and only rarely—and mistakenly in McCrum's view—did Wodehouse allow modernity to intrude, as he did in the 1966 story \"Bingo Bans the Bomb\". When dealing with the dialogue in his novels, Wodehouse would consider the book's characters as if they were actors in a play, ensuring that the main roles were kept suitably employed throughout the storyline, which must be strong: \"If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them.\"","When dealing with the dialogue in his novels, Wodehouse would consider the book's characters as if they were actors in a play, ensuring that the main roles were kept suitably employed throughout the storyline, which must be strong: \"If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them.\" Many of Wodehouse's parts were stereotypes, and he acknowledged that \"a real character in one of my books sticks out like a sore thumb.\"","Many of Wodehouse's parts were stereotypes, and he acknowledged that \"a real character in one of my books sticks out like a sore thumb.\" The publisher Michael Joseph identifies that even within the stereotypes Wodehouse understood human nature, and therefore \"shares with [Charles] Dickens and Charles Chaplin the ability to present the comic resistance of the individual against those superior forces to which we are all subject\".","The publisher Michael Joseph identifies that even within the stereotypes Wodehouse understood human nature, and therefore \"shares with [Charles] Dickens and Charles Chaplin the ability to present the comic resistance of the individual against those superior forces to which we are all subject\". Much of Wodehouse's use of slang terms reflects the influence of his time at school in Dulwich, and partly reflects Edwardian slang.","Much of Wodehouse's use of slang terms reflects the influence of his time at school in Dulwich, and partly reflects Edwardian slang. As a young man he enjoyed the literary works of Arthur Conan Doyle and Jerome K. Jerome, and the operatic works of Gilbert and Sullivan. Wodehouse quotes from and alludes to numerous poets throughout his work.","Wodehouse quotes from and alludes to numerous poets throughout his work. The scholar Clarke Olney lists those quoted, including Milton, Byron, Longfellow, Coleridge, Swinburne, Tennyson, Wordsworth and Shakespeare. Another favoured source was the King James Bible.","Another favoured source was the King James Bible. Language In 1941 the Concise Cambridge History of English Literature opined that Wodehouse had \"a gift for highly original aptness of phrase that almost suggests a poet struggling for release among the wild extravagances of farce\", while McCrum thinks that Wodehouse manages to combine \"high farce with the inverted poetry of his mature comic style\", particularly in The Code of the Woosters; the novelist Anthony Powell believes Wodehouse to be a \"comic poet\".","Language In 1941 the Concise Cambridge History of English Literature opined that Wodehouse had \"a gift for highly original aptness of phrase that almost suggests a poet struggling for release among the wild extravagances of farce\", while McCrum thinks that Wodehouse manages to combine \"high farce with the inverted poetry of his mature comic style\", particularly in The Code of the Woosters; the novelist Anthony Powell believes Wodehouse to be a \"comic poet\". Robert A.","Robert A. Robert A. Hall Jr., in his study of Wodehouse's style and technique, describes the author as a master of prose, an opinion also shared by Levin, who considers Wodehouse \"one of the finest and purest writers of English prose\".","Hall Jr., in his study of Wodehouse's style and technique, describes the author as a master of prose, an opinion also shared by Levin, who considers Wodehouse \"one of the finest and purest writers of English prose\". Hall identifies several techniques used by Wodehouse to achieve comic effect, including the creation of new words through adding or removing prefixes and suffixes, so when Pongo Twistleton removes the housemaid Elsie Bean from a cupboard, Wodehouse writes that the character \"de-Beaned the cupboard\".","Hall identifies several techniques used by Wodehouse to achieve comic effect, including the creation of new words through adding or removing prefixes and suffixes, so when Pongo Twistleton removes the housemaid Elsie Bean from a cupboard, Wodehouse writes that the character \"de-Beaned the cupboard\". Wodehouse created new words by splitting others in two, thus Wodehouse divides \"hobnobbing\" when he writes: \"To offer a housemaid a cigarette is not hobbing.","Wodehouse created new words by splitting others in two, thus Wodehouse divides \"hobnobbing\" when he writes: \"To offer a housemaid a cigarette is not hobbing. Nor, when you light it for her, does that constitute nobbing.\"","Nor, when you light it for her, does that constitute nobbing.\" Richard Voorhees, Wodehouse's biographer, believes that the author used clichés in a deliberate and ironic manner.","Richard Voorhees, Wodehouse's biographer, believes that the author used clichés in a deliberate and ironic manner. His opinion is shared by the academic Stephen Medcalf, who deems Wodehouse's skill is to \"bring a cliché just enough to life to kill it\", although Pamela March, writing in The Christian Science Monitor, considers Wodehouse to have \"an ability to decliché a cliché\".","His opinion is shared by the academic Stephen Medcalf, who deems Wodehouse's skill is to \"bring a cliché just enough to life to kill it\", although Pamela March, writing in The Christian Science Monitor, considers Wodehouse to have \"an ability to decliché a cliché\". Medcalf provides an example from Right Ho, Jeeves in which the teetotal Gussie Fink-Nottle has surreptitiously been given whisky and gin in a punch prior to a prize-giving: 'It seems to me, Jeeves, that the ceremony may be one fraught with considerable interest.'","Medcalf provides an example from Right Ho, Jeeves in which the teetotal Gussie Fink-Nottle has surreptitiously been given whisky and gin in a punch prior to a prize-giving: 'It seems to me, Jeeves, that the ceremony may be one fraught with considerable interest.' 'Yes, sir.'","'Yes, sir.' 'Yes, sir.' 'What, in your opinion, will the harvest be?' 'One finds it difficult to hazard a conjecture, sir.' 'You mean imagination boggles?' 'Yes, sir.' I inspected my imagination. He was right. It boggled.","He was right. It boggled. It boggled. The stylistic device most commonly found in Wodehouse's work is his use of comparative imagery that includes similes. Hall opines that the humour comes from Wodehouse's ability to accentuate \"resemblances which at first glance seem highly incongruous\".","Hall opines that the humour comes from Wodehouse's ability to accentuate \"resemblances which at first glance seem highly incongruous\". Examples can be seen in Joy in the Morning, Chapter 29: \"There was a sound in the background like a distant sheep coughing gently on a mountainside.","Examples can be seen in Joy in the Morning, Chapter 29: \"There was a sound in the background like a distant sheep coughing gently on a mountainside. Jeeves sailing into action\", or Psmith, Chapter 7: \"A sound like two or three pigs feeding rather noisily in the middle of a thunderstorm interrupted his meditation.\"","Jeeves sailing into action\", or Psmith, Chapter 7: \"A sound like two or three pigs feeding rather noisily in the middle of a thunderstorm interrupted his meditation.\" Hall also identifies that periodically Wodehouse used the stylistic device of a transferred epithet, with an adjective that properly belongs to a person applied instead to some inanimate object.","Hall also identifies that periodically Wodehouse used the stylistic device of a transferred epithet, with an adjective that properly belongs to a person applied instead to some inanimate object. The form of expression is used sparingly by Wodehouse in comparison with other mechanisms, only once or twice in a story or novel, according to Hall.","The form of expression is used sparingly by Wodehouse in comparison with other mechanisms, only once or twice in a story or novel, according to Hall. \"I balanced a thoughtful lump of sugar on the teaspoon.\"","\"I balanced a thoughtful lump of sugar on the teaspoon.\" —Joy in the Morning, Chapter 5 \"As I sat in the bath-tub, soaping a meditative foot ...\" —Jeeves and the Feudal Spirit, Chapter 1 \"The first thing he did was to prod Jeeves in the lower ribs with an uncouth forefinger.\"","—Joy in the Morning, Chapter 5 \"As I sat in the bath-tub, soaping a meditative foot ...\" —Jeeves and the Feudal Spirit, Chapter 1 \"The first thing he did was to prod Jeeves in the lower ribs with an uncouth forefinger.\" —Much Obliged, Jeeves, Chapter 4 Wordplay is a key element in Wodehouse's writing.","—Much Obliged, Jeeves, Chapter 4 Wordplay is a key element in Wodehouse's writing. This can take the form of puns, such as in Jeeves and the Feudal Spirit, when Bertie is released after a night in the police cells, and says that he has \"a pinched look\" about him.","This can take the form of puns, such as in Jeeves and the Feudal Spirit, when Bertie is released after a night in the police cells, and says that he has \"a pinched look\" about him. Linguistic confusion is another humorous mechanism, such as in Uncle Dynamite when Constable Potter says he has been \"assaulted by the duck pond\".","Linguistic confusion is another humorous mechanism, such as in Uncle Dynamite when Constable Potter says he has been \"assaulted by the duck pond\". In reply, Sir Aylmer, confusing the two meanings of the word \"by\", asks: \"How the devil can you be assaulted by a duck pond?\"","In reply, Sir Aylmer, confusing the two meanings of the word \"by\", asks: \"How the devil can you be assaulted by a duck pond?\" Wodehouse also uses metaphor and mixed metaphor to add humour.","Wodehouse also uses metaphor and mixed metaphor to add humour. Some come through exaggeration, such as Bingo Little's infant child who \"not only has the aspect of a mass murderer, but that of a mass murderer suffering from an ingrown toenail\", or Wooster's complaint that \"the rumpuses that Bobbie Wickham is already starting may be amusing to her, but not to the unfortunate toads beneath the harrow whom she ruthlessly plunges into the soup.\"","Some come through exaggeration, such as Bingo Little's infant child who \"not only has the aspect of a mass murderer, but that of a mass murderer suffering from an ingrown toenail\", or Wooster's complaint that \"the rumpuses that Bobbie Wickham is already starting may be amusing to her, but not to the unfortunate toads beneath the harrow whom she ruthlessly plunges into the soup.\" Bertie Wooster's half-forgotten vocabulary also provides a further humorous device.","Bertie Wooster's half-forgotten vocabulary also provides a further humorous device. In Jeeves and the Feudal Spirit Bertie asks Jeeves \"Let a plugugly like young Thos loose in the community with a cosh, and you are inviting disaster and ... what's the word? Something about cats.\" Jeeves replies, \"Cataclysms, sir?\"","Jeeves replies, \"Cataclysms, sir?\" Reception and reputation Literary reception Wodehouse's early career as a lyricist and playwright was profitable, and his work with Bolton, according to The Guardian, \"was one of the most successful in the history of musical comedy\".","Reception and reputation Literary reception Wodehouse's early career as a lyricist and playwright was profitable, and his work with Bolton, according to The Guardian, \"was one of the most successful in the history of musical comedy\". At the outbreak of the Second World War he was earning £40,000 a year from his work, which had broadened to include novels and short stories.","At the outbreak of the Second World War he was earning £40,000 a year from his work, which had broadened to include novels and short stories. Following the furore ensuing from the wartime broadcasts, he suffered a downturn in his popularity and book sales; The Saturday Evening Post stopped publishing his short stories, a stance they reversed in 1965, although his popularity—and the sales figures—slowly recovered over time.","Following the furore ensuing from the wartime broadcasts, he suffered a downturn in his popularity and book sales; The Saturday Evening Post stopped publishing his short stories, a stance they reversed in 1965, although his popularity—and the sales figures—slowly recovered over time. Wodehouse received great praise from many of his contemporaries, including Max Beerbohm, Rudyard Kipling, A. E. Housman and Evelyn Waugh—the last of whom opines, \"One has to regard a man as a Master who can produce on average three uniquely brilliant and entirely original similes on each page.\"","Wodehouse received great praise from many of his contemporaries, including Max Beerbohm, Rudyard Kipling, A. E. Housman and Evelyn Waugh—the last of whom opines, \"One has to regard a man as a Master who can produce on average three uniquely brilliant and entirely original similes on each page.\" There are dissenters to the praise.","There are dissenters to the praise. The writer Alan Bennett thinks that \"inspired though his language is, I can never take more than ten pages of the novels at a time, their relentless flippancy wearing and tedious\", while the literary critic Q. D. Leavis writes that Wodehouse had a \"stereotyped humour ... of ingenious variations on a laugh in one place\".","The writer Alan Bennett thinks that \"inspired though his language is, I can never take more than ten pages of the novels at a time, their relentless flippancy wearing and tedious\", while the literary critic Q. D. Leavis writes that Wodehouse had a \"stereotyped humour ... of ingenious variations on a laugh in one place\". In a 2010 study of Wodehouse's few relatively serious novels, such as The Coming of Bill (1919), Jill the Reckless (1920) and The Adventures of Sally (1922), David Heddendorf concludes that though their literary quality does not match that of the farcical novels, they show a range of empathy and interests that in real life—and in his most comic works—the author seemed to lack.","In a 2010 study of Wodehouse's few relatively serious novels, such as The Coming of Bill (1919), Jill the Reckless (1920) and The Adventures of Sally (1922), David Heddendorf concludes that though their literary quality does not match that of the farcical novels, they show a range of empathy and interests that in real life—and in his most comic works—the author seemed to lack. \"Never oblivious to grief and despair, he opts in clear-eyed awareness for his timeless world of spats and woolly-headed peers.","\"Never oblivious to grief and despair, he opts in clear-eyed awareness for his timeless world of spats and woolly-headed peers. It's an austere, almost bloodless preference for pristine artifice over the pain and messy outcomes of actual existence, but it's a case of Wodehouse keeping faith with his own unique art.\"","It's an austere, almost bloodless preference for pristine artifice over the pain and messy outcomes of actual existence, but it's a case of Wodehouse keeping faith with his own unique art.\" The American literary analyst Robert F. Kiernan, defining \"camp\" as \"excessive stylization of whatever kind\", brackets Wodehouse as \"a master of the camp novel\", along with Thomas Love Peacock, Max Beerbohm, Ronald Firbank, E. F. Benson and Ivy Compton-Burnett.","The American literary analyst Robert F. Kiernan, defining \"camp\" as \"excessive stylization of whatever kind\", brackets Wodehouse as \"a master of the camp novel\", along with Thomas Love Peacock, Max Beerbohm, Ronald Firbank, E. F. Benson and Ivy Compton-Burnett. The literary critic and writer Cyril Connolly calls Wodehouse a \"politicians' author\"—one who does \"not like art to be exacting and difficult\".","The literary critic and writer Cyril Connolly calls Wodehouse a \"politicians' author\"—one who does \"not like art to be exacting and difficult\". Two former British prime ministers, H. H. Asquith and Tony Blair, are on record as Wodehouse aficionados, and the latter became a patron of the Wodehouse Society.","Two former British prime ministers, H. H. Asquith and Tony Blair, are on record as Wodehouse aficionados, and the latter became a patron of the Wodehouse Society. Seán O'Casey, a successful playwright of the 1920s, thought little of Wodehouse; he commented in 1941 that it was damaging to England's dignity that the public or \"the academic government of Oxford, dead from the chin up\" considered Wodehouse an important figure in English literature.","Seán O'Casey, a successful playwright of the 1920s, thought little of Wodehouse; he commented in 1941 that it was damaging to England's dignity that the public or \"the academic government of Oxford, dead from the chin up\" considered Wodehouse an important figure in English literature. His jibe that Wodehouse was \"English literature's performing flea\" provided his target with the title of his collected letters, published in 1953.","His jibe that Wodehouse was \"English literature's performing flea\" provided his target with the title of his collected letters, published in 1953. McCrum, writing in 2004, observes, \"Wodehouse is more popular today than on the day he died\", and \"his comic vision has an absolutely secure place in the English literary imagination.\"","McCrum, writing in 2004, observes, \"Wodehouse is more popular today than on the day he died\", and \"his comic vision has an absolutely secure place in the English literary imagination.\" Honours and influence The proposed nominations of Wodehouse for a knighthood in 1967 and 1971 were blocked for fear that such an award would \"revive the controversy of his wartime behaviour and give currency to a Bertie Wooster image of the British character which the embassy was doing its best to eradicate\".","Honours and influence The proposed nominations of Wodehouse for a knighthood in 1967 and 1971 were blocked for fear that such an award would \"revive the controversy of his wartime behaviour and give currency to a Bertie Wooster image of the British character which the embassy was doing its best to eradicate\". When Wodehouse was awarded the knighthood, only four years later, the journalist Dennis Barker wrote in The Guardian that the writer was \"the solitary surviving English literary comic genius\".","When Wodehouse was awarded the knighthood, only four years later, the journalist Dennis Barker wrote in The Guardian that the writer was \"the solitary surviving English literary comic genius\". After his death six weeks later, the journalist Michael Davie, writing in the same paper, observed that \"Many people regarded ... [Wodehouse] as he regarded Beachcomber, as 'one, if not more than one, of England's greatest men'\", while in the view of the obituarist for The Times Wodehouse \"was a comic genius recognized in his lifetime as a classic and an old master of farce\".","After his death six weeks later, the journalist Michael Davie, writing in the same paper, observed that \"Many people regarded ... [Wodehouse] as he regarded Beachcomber, as 'one, if not more than one, of England's greatest men'\", while in the view of the obituarist for The Times Wodehouse \"was a comic genius recognized in his lifetime as a classic and an old master of farce\". In September 2019 Wodehouse was commemorated with a memorial stone in Westminster Abbey; the dedication was held two days after it was installed.","In September 2019 Wodehouse was commemorated with a memorial stone in Westminster Abbey; the dedication was held two days after it was installed. Since Wodehouse's death there have been numerous adaptations and dramatisations of his work on television and film; Wodehouse himself has been portrayed on radio and screen numerous times.","Since Wodehouse's death there have been numerous adaptations and dramatisations of his work on television and film; Wodehouse himself has been portrayed on radio and screen numerous times. There are several literary societies dedicated to Wodehouse. The P.G. Wodehouse Society (UK) was founded in 1997 and has over 1,000 members as at 2015.","Wodehouse Society (UK) was founded in 1997 and has over 1,000 members as at 2015. The president of the society as at 2017 is Alexander Armstrong; past presidents have included Terry Wogan and Richard Briers.","The president of the society as at 2017 is Alexander Armstrong; past presidents have included Terry Wogan and Richard Briers. There are also other groups of Wodehouse fans in Australia, Belgium, France, Finland, India, Italy, Russia, Sweden and the US.","There are also other groups of Wodehouse fans in Australia, Belgium, France, Finland, India, Italy, Russia, Sweden and the US. As at 2015 the Oxford English Dictionary contains over 1,750 quotations from Wodehouse, illustrating terms from crispish to zippiness.","As at 2015 the Oxford English Dictionary contains over 1,750 quotations from Wodehouse, illustrating terms from crispish to zippiness. Voorhees, while acknowledging that Wodehouse's antecedents in literature range from Ben Jonson to Oscar Wilde, writes: Notes, references and sources Notes References Sources External links P. G. Wodehouse collection at One More Library P.G.","Voorhees, while acknowledging that Wodehouse's antecedents in literature range from Ben Jonson to Oscar Wilde, writes: Notes, references and sources Notes References Sources External links P. G. Wodehouse collection at One More Library P.G. Wodehouse Archive on loan to the British Library The Wodehouse Society The P. G. Wodehouse Society (UK) Transcripts of Wodehouse's Berlin Broadcasts \"P. G. Wodehouse: An English Master of American Slang\" from The American Legion Weekly, 24 October 1919 Orwell, George \"In Defence of P.G.","Wodehouse Archive on loan to the British Library The Wodehouse Society The P. G. Wodehouse Society (UK) Transcripts of Wodehouse's Berlin Broadcasts \"P. G. Wodehouse: An English Master of American Slang\" from The American Legion Weekly, 24 October 1919 Orwell, George \"In Defence of P.G. Wodehouse\" 1881 births 1975 deaths 20th-century English novelists 20th-century British dramatists and playwrights British emigrants to the United States English lyricists Knights Commander of the Order of the British Empire English male dramatists and playwrights British male novelists People educated at Dulwich College People educated at Elizabeth College, Guernsey People from Guildford People from Long Island PG People interned during World War II English humorists 20th-century American novelists American dramatists and playwrights American humorists American lyricists American male novelists Novelists from New York (state) Literature controversies English broadcasters for Nazi Germany 20th-century American male writers"],"string":"[\n \"Sir Pelham Grenville Wodehouse, ( ; 15 October 188114 February 1975) was an English author and one of the most widely read humorists of the 20th century. His creations include the feather-brained Bertie Wooster and his sagacious valet, Jeeves; the immaculate and loquacious Psmith; Lord Emsworth and the Blandings Castle set; the Oldest Member, with stories about golf; and Mr Mulliner, with tall tales on subjects ranging from bibulous bishops to megalomaniac movie moguls.\",\n \"His creations include the feather-brained Bertie Wooster and his sagacious valet, Jeeves; the immaculate and loquacious Psmith; Lord Emsworth and the Blandings Castle set; the Oldest Member, with stories about golf; and Mr Mulliner, with tall tales on subjects ranging from bibulous bishops to megalomaniac movie moguls. Born in Guildford, the third son of a British magistrate based in Hong Kong, Wodehouse spent happy teenage years at Dulwich College, to which he remained devoted all his life.\",\n \"Born in Guildford, the third son of a British magistrate based in Hong Kong, Wodehouse spent happy teenage years at Dulwich College, to which he remained devoted all his life. After leaving school he was employed by a bank but disliked the work and turned to writing in his spare time.\",\n \"After leaving school he was employed by a bank but disliked the work and turned to writing in his spare time. His early novels were mostly school stories, but he later switched to comic fiction.\",\n \"His early novels were mostly school stories, but he later switched to comic fiction. Most of Wodehouse's fiction is set in his native United Kingdom, although he spent much of his life in the US and used New York and Hollywood as settings for some of his novels and short stories.\",\n \"Most of Wodehouse's fiction is set in his native United Kingdom, although he spent much of his life in the US and used New York and Hollywood as settings for some of his novels and short stories. He wrote a series of Broadway musical comedies during and after the First World War, together with Guy Bolton and Jerome Kern, that played an important part in the development of the American musical.\",\n \"He wrote a series of Broadway musical comedies during and after the First World War, together with Guy Bolton and Jerome Kern, that played an important part in the development of the American musical. He began the 1930s writing for MGM in Hollywood.\",\n \"He began the 1930s writing for MGM in Hollywood. In a 1931 interview, his naive revelations of incompetence and extravagance in the studios caused a furore. In the same decade, his literary career reached a new peak.\",\n \"In the same decade, his literary career reached a new peak. In 1934 Wodehouse moved to France for tax reasons; in 1940 he was taken prisoner at Le Touquet by the invading Germans and interned for nearly a year.\",\n \"In 1934 Wodehouse moved to France for tax reasons; in 1940 he was taken prisoner at Le Touquet by the invading Germans and interned for nearly a year. After his release he made six broadcasts from German radio in Berlin to the US, which had not yet entered the war.\",\n \"After his release he made six broadcasts from German radio in Berlin to the US, which had not yet entered the war. The talks were comic and apolitical, but his broadcasting over enemy radio prompted anger and strident controversy in Britain, and a threat of prosecution. Wodehouse never returned to England.\",\n \"Wodehouse never returned to England. Wodehouse never returned to England. From 1947 until his death he lived in the US, taking dual British-American citizenship in 1955. He died in 1975, at the age of 93, in Southampton, New York.\",\n \"He died in 1975, at the age of 93, in Southampton, New York. Wodehouse was a prolific writer throughout his life, publishing more than ninety books, forty plays, two hundred short stories and other writings between 1902 and 1974. He worked extensively on his books, sometimes having two or more in preparation simultaneously.\",\n \"He worked extensively on his books, sometimes having two or more in preparation simultaneously. He would take up to two years to build a plot and write a scenario of about thirty thousand words. After the scenario was complete he would write the story.\",\n \"After the scenario was complete he would write the story. Early in his career Wodehouse would produce a novel in about three months, but he slowed in old age to around six months.\",\n \"Early in his career Wodehouse would produce a novel in about three months, but he slowed in old age to around six months. He used a mixture of Edwardian slang, quotations from and allusions to numerous poets, and several literary techniques to produce a prose style that has been compared to comic poetry and musical comedy.\",\n \"He used a mixture of Edwardian slang, quotations from and allusions to numerous poets, and several literary techniques to produce a prose style that has been compared to comic poetry and musical comedy. Some critics of Wodehouse have considered his work flippant, but among his fans are former British prime ministers and many of his fellow writers.\",\n \"Some critics of Wodehouse have considered his work flippant, but among his fans are former British prime ministers and many of his fellow writers. Life and career Early years Wodehouse was born in Guildford, Surrey, the third son of Henry Ernest Wodehouse (1845–1929), a magistrate resident in the British colony of Hong Kong, and his wife, Eleanor (1861–1941), daughter of the Rev John Bathurst Deane.\",\n \"Life and career Early years Wodehouse was born in Guildford, Surrey, the third son of Henry Ernest Wodehouse (1845–1929), a magistrate resident in the British colony of Hong Kong, and his wife, Eleanor (1861–1941), daughter of the Rev John Bathurst Deane. The Wodehouses, who traced their ancestry back to the 13th century, belonged to a cadet branch of the family of the earls of Kimberley.\",\n \"The Wodehouses, who traced their ancestry back to the 13th century, belonged to a cadet branch of the family of the earls of Kimberley. Eleanor Wodehouse was also of ancient aristocratic ancestry. She was visiting her sister in Guildford when Wodehouse was born there prematurely.\",\n \"She was visiting her sister in Guildford when Wodehouse was born there prematurely. The boy was baptised at the Church of St Nicolas, Guildford, and was named after his godfather, Pelham von Donop.\",\n \"The boy was baptised at the Church of St Nicolas, Guildford, and was named after his godfather, Pelham von Donop. Wodehouse wrote in 1957, \\\"If you ask me to tell you frankly if I like the name Pelham Grenville Wodehouse, I must confess that I do not....\",\n \"Wodehouse wrote in 1957, \\\"If you ask me to tell you frankly if I like the name Pelham Grenville Wodehouse, I must confess that I do not.... I was named after a godfather, and not a thing to show for it but a small silver mug which I lost in 1897.\\\"\",\n \"I was named after a godfather, and not a thing to show for it but a small silver mug which I lost in 1897.\\\" The first name was rapidly elided to \\\"Plum\\\", the name by which Wodehouse became known to family and friends.\",\n \"The first name was rapidly elided to \\\"Plum\\\", the name by which Wodehouse became known to family and friends. Mother and son sailed for Hong Kong, where for his first two years Wodehouse was raised by a Chinese amah (nurse), alongside his elder brothers Peveril (1877–1951) and Armine (1879–1936).\",\n \"Mother and son sailed for Hong Kong, where for his first two years Wodehouse was raised by a Chinese amah (nurse), alongside his elder brothers Peveril (1877–1951) and Armine (1879–1936). When he was two, the brothers were brought to England, where they were placed under the care of an English nanny in a house adjoining that of Eleanor's father and mother.\",\n \"When he was two, the brothers were brought to England, where they were placed under the care of an English nanny in a house adjoining that of Eleanor's father and mother. The boys' parents returned to Hong Kong and became virtual strangers to their sons.\",\n \"The boys' parents returned to Hong Kong and became virtual strangers to their sons. Such an arrangement was then normal for middle-class families based in the colonies.\",\n \"Such an arrangement was then normal for middle-class families based in the colonies. The lack of parental contact, and the harsh regime of some of those in loco parentis, left permanent emotional scars on many children from similar backgrounds, including the writers Thackeray, Saki, Kipling and Walpole.\",\n \"The lack of parental contact, and the harsh regime of some of those in loco parentis, left permanent emotional scars on many children from similar backgrounds, including the writers Thackeray, Saki, Kipling and Walpole. Wodehouse was more fortunate; his nanny, Emma Roper, was strict but not unkind, and both with her and later at his different schools Wodehouse had a generally happy childhood.\",\n \"Wodehouse was more fortunate; his nanny, Emma Roper, was strict but not unkind, and both with her and later at his different schools Wodehouse had a generally happy childhood. His recollection was that \\\"it went like a breeze from start to finish, with everybody I met understanding me perfectly\\\".\",\n \"His recollection was that \\\"it went like a breeze from start to finish, with everybody I met understanding me perfectly\\\". The biographer Robert McCrum suggests that nonetheless Wodehouse's isolation from his parents left a psychological mark, causing him to avoid emotional engagement both in life and in his works.\",\n \"The biographer Robert McCrum suggests that nonetheless Wodehouse's isolation from his parents left a psychological mark, causing him to avoid emotional engagement both in life and in his works. Another biographer, Frances Donaldson, writes, \\\"Deprived so early, not merely of maternal love, but of home life and even a stable background, Wodehouse consoled himself from the youngest age in an imaginary world of his own.\\\"\",\n \"Another biographer, Frances Donaldson, writes, \\\"Deprived so early, not merely of maternal love, but of home life and even a stable background, Wodehouse consoled himself from the youngest age in an imaginary world of his own.\\\" In 1886 the brothers were sent to a dame-school in Croydon, where they spent three years.\",\n \"In 1886 the brothers were sent to a dame-school in Croydon, where they spent three years. Peveril was then found to have a \\\"weak chest\\\"; sea air was prescribed, and the three boys were moved to Elizabeth College on the island of Guernsey.\",\n \"Peveril was then found to have a \\\"weak chest\\\"; sea air was prescribed, and the three boys were moved to Elizabeth College on the island of Guernsey. In 1891 Wodehouse went on to Malvern House Preparatory School in Kent, which concentrated on preparing its pupils for entry to the Royal Navy.\",\n \"In 1891 Wodehouse went on to Malvern House Preparatory School in Kent, which concentrated on preparing its pupils for entry to the Royal Navy. His father had planned a naval career for him, but the boy's eyesight was found to be too poor for it.\",\n \"His father had planned a naval career for him, but the boy's eyesight was found to be too poor for it. He was unimpressed by the school's narrow curriculum and zealous discipline; he later parodied it in his novels, with Bertie Wooster recalling his early years as a pupil at a \\\"penitentiary... with the outward guise of a prep school\\\" called Malvern House.\",\n \"He was unimpressed by the school's narrow curriculum and zealous discipline; he later parodied it in his novels, with Bertie Wooster recalling his early years as a pupil at a \\\"penitentiary... with the outward guise of a prep school\\\" called Malvern House. Throughout their school years the brothers were sent to stay during the holidays with various uncles and aunts from both sides of the family.\",\n \"Throughout their school years the brothers were sent to stay during the holidays with various uncles and aunts from both sides of the family. In the Oxford Dictionary of National Biography, Iain Sproat counts twenty aunts and considers that they played an important part not only in Wodehouse's early life, but, thinly disguised, in his mature novels, as the formidable aunts who dominate the action in the Wooster, Blandings, and other stories.\",\n \"In the Oxford Dictionary of National Biography, Iain Sproat counts twenty aunts and considers that they played an important part not only in Wodehouse's early life, but, thinly disguised, in his mature novels, as the formidable aunts who dominate the action in the Wooster, Blandings, and other stories. The boys had fifteen uncles, four of whom were clergymen.\",\n \"The boys had fifteen uncles, four of whom were clergymen. Sproat writes that they inspired Wodehouse's \\\"pious but fallible curates, vicars, and bishops, of which he wrote with friendly irreverence but without mockery\\\".\",\n \"Sproat writes that they inspired Wodehouse's \\\"pious but fallible curates, vicars, and bishops, of which he wrote with friendly irreverence but without mockery\\\". At the age of twelve in 1894, to his great joy, Wodehouse was able to follow his brother Armine to Dulwich College.\",\n \"At the age of twelve in 1894, to his great joy, Wodehouse was able to follow his brother Armine to Dulwich College. He was entirely at home there; Donaldson comments that Dulwich gave him, for the first time, \\\"some continuity and a stable and ordered life\\\".\",\n \"He was entirely at home there; Donaldson comments that Dulwich gave him, for the first time, \\\"some continuity and a stable and ordered life\\\". He loved the camaraderie, distinguished himself at cricket, rugby and boxing, and was a good, if not consistently diligent, student.\",\n \"He loved the camaraderie, distinguished himself at cricket, rugby and boxing, and was a good, if not consistently diligent, student. The headmaster at the time was A. H. Gilkes, a respected classicist, who was a strong influence on Wodehouse.\",\n \"The headmaster at the time was A. H. Gilkes, a respected classicist, who was a strong influence on Wodehouse. In a study of Wodehouse's works, Richard Usborne argues that \\\"only a writer who was himself a scholar and had had his face ground into Latin and Greek (especially Thucydides) as a boy\\\" could sustain the complex sequences of subordinate clauses sometimes found in Wodehouse's comic prose.\",\n \"In a study of Wodehouse's works, Richard Usborne argues that \\\"only a writer who was himself a scholar and had had his face ground into Latin and Greek (especially Thucydides) as a boy\\\" could sustain the complex sequences of subordinate clauses sometimes found in Wodehouse's comic prose. Wodehouse's six years at Dulwich were among the happiest of his life: \\\"To me the years between 1894 and 1900 were like heaven.\\\"\",\n \"Wodehouse's six years at Dulwich were among the happiest of his life: \\\"To me the years between 1894 and 1900 were like heaven.\\\" In addition to his sporting achievements he was a good singer and enjoyed taking part in school concerts; his literary leanings found an outlet in editing the school magazine, The Alleynian.\",\n \"In addition to his sporting achievements he was a good singer and enjoyed taking part in school concerts; his literary leanings found an outlet in editing the school magazine, The Alleynian. For the rest of his life he remained devoted to the school.\",\n \"For the rest of his life he remained devoted to the school. The biographer Barry Phelps writes that Wodehouse \\\"loved the college as much as he loved anything or anybody\\\".\",\n \"The biographer Barry Phelps writes that Wodehouse \\\"loved the college as much as he loved anything or anybody\\\". Reluctant banker; budding writer: 1900–1908 Wodehouse expected to follow Armine to the University of Oxford, but the family's finances took a turn for the worse at the crucial moment.\",\n \"Reluctant banker; budding writer: 1900–1908 Wodehouse expected to follow Armine to the University of Oxford, but the family's finances took a turn for the worse at the crucial moment. Ernest Wodehouse had retired in 1895, and his pension was paid in rupees; fluctuation against the pound reduced its value in Britain.\",\n \"Ernest Wodehouse had retired in 1895, and his pension was paid in rupees; fluctuation against the pound reduced its value in Britain. Wodehouse recalled, \\\"The wolf was not actually whining at the door and there was always a little something in the kitty for the butcher and the grocer, but the finances would not run to anything in the nature of a splash\\\".\",\n \"Wodehouse recalled, \\\"The wolf was not actually whining at the door and there was always a little something in the kitty for the butcher and the grocer, but the finances would not run to anything in the nature of a splash\\\". Instead of a university career, in September 1900 Wodehouse was engaged in a junior position in the London office of the Hongkong and Shanghai Bank.\",\n \"Instead of a university career, in September 1900 Wodehouse was engaged in a junior position in the London office of the Hongkong and Shanghai Bank. He was unsuited to it and found the work baffling and uncongenial.\",\n \"He was unsuited to it and found the work baffling and uncongenial. He later wrote a humorous account of his experiences at the bank, but at the time he longed for the end of each working day, when he could return to his rented lodgings in Chelsea and write.\",\n \"He later wrote a humorous account of his experiences at the bank, but at the time he longed for the end of each working day, when he could return to his rented lodgings in Chelsea and write. At first he concentrated, with some success, on serious articles about school sports for Public School Magazine.\",\n \"At first he concentrated, with some success, on serious articles about school sports for Public School Magazine. In November 1900 his first comic piece, \\\"Men Who Missed Their Own Weddings\\\", was accepted by Tit-Bits.\",\n \"In November 1900 his first comic piece, \\\"Men Who Missed Their Own Weddings\\\", was accepted by Tit-Bits. A new magazine for boys, The Captain, provided further well-paid opportunities, and during his two years at the bank, Wodehouse had eighty pieces published in a total of nine magazines.\",\n \"A new magazine for boys, The Captain, provided further well-paid opportunities, and during his two years at the bank, Wodehouse had eighty pieces published in a total of nine magazines. In 1901, with the help of a former Dulwich master, William Beach Thomas, Wodehouse secured an appointment—at first temporary and later permanent—writing for The Globes popular \\\"By the Way\\\" column.\",\n \"In 1901, with the help of a former Dulwich master, William Beach Thomas, Wodehouse secured an appointment—at first temporary and later permanent—writing for The Globes popular \\\"By the Way\\\" column. He held the post until 1909.\",\n \"He held the post until 1909. At around the same time his first novel was published—a school story called The Pothunters, serialised incomplete in Public School Magazine in early 1902, and issued in full in hardback in September. He resigned from the bank that month to devote himself to writing full-time.\",\n \"He resigned from the bank that month to devote himself to writing full-time. Between the publication of The Pothunters 1902 and that of Mike in 1909, Wodehouse wrote eight novels and co-wrote another two.\",\n \"Between the publication of The Pothunters 1902 and that of Mike in 1909, Wodehouse wrote eight novels and co-wrote another two. The critic R. D. B. French writes that, of Wodehouse's work from this period, almost all that deserves to survive is the school fiction.\",\n \"The critic R. D. B. French writes that, of Wodehouse's work from this period, almost all that deserves to survive is the school fiction. Looking back in the 1950s Wodehouse viewed these as his apprentice years: \\\"I was practically in swaddling clothes and it is extremely creditable to me that I was able to write at all.\\\"\",\n \"Looking back in the 1950s Wodehouse viewed these as his apprentice years: \\\"I was practically in swaddling clothes and it is extremely creditable to me that I was able to write at all.\\\" From his boyhood Wodehouse had been fascinated by America, which he conceived of as \\\"a land of romance\\\"; he \\\"yearned\\\" to visit the country, and by 1904 he had earned enough to do so.\",\n \"From his boyhood Wodehouse had been fascinated by America, which he conceived of as \\\"a land of romance\\\"; he \\\"yearned\\\" to visit the country, and by 1904 he had earned enough to do so. In April he sailed to New York, which he found greatly to his liking.\",\n \"In April he sailed to New York, which he found greatly to his liking. He noted in his diary: \\\"In New York gathering experience. Worth many guineas in the future but none for the moment.\\\"\",\n \"Worth many guineas in the future but none for the moment.\\\" This prediction proved correct: few British writers had first-hand experience of the US, and his articles about life in New York brought him higher than usual fees.\",\n \"This prediction proved correct: few British writers had first-hand experience of the US, and his articles about life in New York brought him higher than usual fees. He later recalled that \\\"in 1904 anyone in the London writing world who had been to America was regarded with awe and looked upon as an authority on that terra incognita.... After that trip to New York I was a man who counted.... My income rose like a rocketing pheasant.\\\"\",\n \"He later recalled that \\\"in 1904 anyone in the London writing world who had been to America was regarded with awe and looked upon as an authority on that terra incognita.... After that trip to New York I was a man who counted.... My income rose like a rocketing pheasant.\\\" Wodehouse's other new venture in 1904 was writing for the stage.\",\n \"Wodehouse's other new venture in 1904 was writing for the stage. Towards the end of the year the librettist Owen Hall invited him to contribute an additional lyric for a musical comedy Sergeant Brue. Wodehouse had loved theatre since his first visit, aged thirteen, when Gilbert and Sullivan's Patience had made him \\\"drunk with ecstasy\\\".\",\n \"Wodehouse had loved theatre since his first visit, aged thirteen, when Gilbert and Sullivan's Patience had made him \\\"drunk with ecstasy\\\". His lyric for Hall, \\\"Put Me in My Little Cell\\\", was a Gilbertian number for a trio of comic crooks, with music by Frederick Rosse; it was well received and launched Wodehouse on a career as a theatre writer that spanned three decades.\",\n \"His lyric for Hall, \\\"Put Me in My Little Cell\\\", was a Gilbertian number for a trio of comic crooks, with music by Frederick Rosse; it was well received and launched Wodehouse on a career as a theatre writer that spanned three decades. Although it made little impact on its first publication, the 1906 novel Love Among the Chickens contained what French calls the author's first original comic creation: Stanley Featherstonehaugh Ukridge.\",\n \"Although it made little impact on its first publication, the 1906 novel Love Among the Chickens contained what French calls the author's first original comic creation: Stanley Featherstonehaugh Ukridge. The character, an amoral, bungling opportunist, is partly based on Wodehouse's Globe colleague Herbert Westbrook.\",\n \"The character, an amoral, bungling opportunist, is partly based on Wodehouse's Globe colleague Herbert Westbrook. The two collaborated between 1907 and 1913 on two books, two music hall sketches, and a play, Brother Alfred. Wodehouse would return to the character in short stories over the next six decades.\",\n \"Wodehouse would return to the character in short stories over the next six decades. In early 1906 the actor-manager Seymour Hicks invited Wodehouse to become resident lyricist at the Aldwych Theatre, to add topical verses to newly imported or long-running shows. Hicks had already recruited the young Jerome Kern to write the music for such songs.\",\n \"Hicks had already recruited the young Jerome Kern to write the music for such songs. The first Kern-Wodehouse collaboration, a comic number for The Beauty of Bath titled \\\"Mr [Joseph] Chamberlain\\\", was a show-stopper and was briefly the most popular song in London.\",\n \"The first Kern-Wodehouse collaboration, a comic number for The Beauty of Bath titled \\\"Mr [Joseph] Chamberlain\\\", was a show-stopper and was briefly the most popular song in London. Psmith, Blandings, Wooster and Jeeves: 1908–1915 Wodehouse's early period as a writer came to an end in 1908 with the serialisation of The Lost Lambs, published the following year in book form as the second half of the novel Mike.\",\n \"Psmith, Blandings, Wooster and Jeeves: 1908–1915 Wodehouse's early period as a writer came to an end in 1908 with the serialisation of The Lost Lambs, published the following year in book form as the second half of the novel Mike. The work begins as a conventional school story, but Wodehouse introduces a new and strikingly original character, Psmith, whose creation both Evelyn Waugh and George Orwell regarded as a watershed in Wodehouse's development.\",\n \"The work begins as a conventional school story, but Wodehouse introduces a new and strikingly original character, Psmith, whose creation both Evelyn Waugh and George Orwell regarded as a watershed in Wodehouse's development. Wodehouse said that he based Psmith on the hotelier and impresario Rupert D'Oyly Carte—\\\"the only thing in my literary career which was handed to me on a silver plate with watercress around it\\\".\",\n \"Wodehouse said that he based Psmith on the hotelier and impresario Rupert D'Oyly Carte—\\\"the only thing in my literary career which was handed to me on a silver plate with watercress around it\\\". Wodehouse wrote in the 1970s that a cousin of his who had been at school with Carte told him of the latter's monocle, studied suavity, and stateliness of speech, all of which Wodehouse adopted for his new character.\",\n \"Wodehouse wrote in the 1970s that a cousin of his who had been at school with Carte told him of the latter's monocle, studied suavity, and stateliness of speech, all of which Wodehouse adopted for his new character. Psmith featured in three more novels: Psmith in the City (1910), a burlesque of banking; Psmith, Journalist (1915) set in New York; and Leave It to Psmith (1923), set at Blandings Castle.\",\n \"Psmith featured in three more novels: Psmith in the City (1910), a burlesque of banking; Psmith, Journalist (1915) set in New York; and Leave It to Psmith (1923), set at Blandings Castle. In May 1909 Wodehouse made his second visit to New York, where he sold two short stories to Cosmopolitan and Collier's for a total of $500, a much higher fee than he had commanded previously.\",\n \"In May 1909 Wodehouse made his second visit to New York, where he sold two short stories to Cosmopolitan and Collier's for a total of $500, a much higher fee than he had commanded previously. He resigned from The Globe and stayed in New York for nearly a year.\",\n \"He resigned from The Globe and stayed in New York for nearly a year. He sold many more stories, but none of the American publications offered a permanent relationship and guaranteed income. Wodehouse returned to England in late 1910, rejoining The Globe and also contributing regularly to The Strand Magazine.\",\n \"Wodehouse returned to England in late 1910, rejoining The Globe and also contributing regularly to The Strand Magazine. Between then and the outbreak of the First World War in 1914 he revisited America frequently. Wodehouse was in New York when the war began.\",\n \"Wodehouse was in New York when the war began. Ineligible for military service because of his poor eyesight, he remained in the US throughout the war, detached from the conflict in Europe and absorbed in his theatrical and literary concerns. In September 1914 he married Ethel May Wayman, née Newton (1885–1984), an English widow.\",\n \"In September 1914 he married Ethel May Wayman, née Newton (1885–1984), an English widow. The marriage proved happy and lifelong. Ethel's personality was in contrast with her husband's: he was shy and impractical; she was gregarious, decisive and well organised.\",\n \"Ethel's personality was in contrast with her husband's: he was shy and impractical; she was gregarious, decisive and well organised. In Sproat's phrase, she \\\"took charge of Wodehouse's life and made certain that he had the peace and quiet he needed to write\\\".\",\n \"In Sproat's phrase, she \\\"took charge of Wodehouse's life and made certain that he had the peace and quiet he needed to write\\\". There were no children of the marriage, but Wodehouse came to love Ethel's daughter Leonora (1905–1944) and legally adopted her.\",\n \"There were no children of the marriage, but Wodehouse came to love Ethel's daughter Leonora (1905–1944) and legally adopted her. Wodehouse experimented with different genres of fiction in these years; Psmith, Journalist, mixing comedy with social comment on slum landlords and racketeers, was published in 1915.\",\n \"Wodehouse experimented with different genres of fiction in these years; Psmith, Journalist, mixing comedy with social comment on slum landlords and racketeers, was published in 1915. In the same year The Saturday Evening Post paid $3,500 to serialise Something New, the first of what became a series of novels set at Blandings Castle.\",\n \"In the same year The Saturday Evening Post paid $3,500 to serialise Something New, the first of what became a series of novels set at Blandings Castle. It was published in hardback in the US and the UK in the same year (the British edition being retitled Something Fresh).\",\n \"It was published in hardback in the US and the UK in the same year (the British edition being retitled Something Fresh). It was Wodehouse's first farcical novel; it was also his first best-seller, and although his later books included some gentler, lightly sentimental stories, it was as a farceur that he became known.\",\n \"It was Wodehouse's first farcical novel; it was also his first best-seller, and although his later books included some gentler, lightly sentimental stories, it was as a farceur that he became known. Later in the same year \\\"Extricating Young Gussie\\\", the first story about Bertie and Jeeves, was published.\",\n \"Later in the same year \\\"Extricating Young Gussie\\\", the first story about Bertie and Jeeves, was published. These stories introduced two sets of characters about whom Wodehouse wrote for the rest of his life.\",\n \"These stories introduced two sets of characters about whom Wodehouse wrote for the rest of his life. The Blandings Castle stories, set in an English stately home, depict the attempts of the placid Lord Emsworth to evade the many distractions around him, which include successive pairs of young lovers, the machinations of his exuberant brother Galahad, the demands of his domineering sisters and super-efficient secretaries, and anything detrimental to his prize sow, the Empress of Blandings.\",\n \"The Blandings Castle stories, set in an English stately home, depict the attempts of the placid Lord Emsworth to evade the many distractions around him, which include successive pairs of young lovers, the machinations of his exuberant brother Galahad, the demands of his domineering sisters and super-efficient secretaries, and anything detrimental to his prize sow, the Empress of Blandings. The Bertie and Jeeves stories feature an amiable young man-about-town, regularly rescued from the consequences of his idiocy by the benign interference of his valet.\",\n \"The Bertie and Jeeves stories feature an amiable young man-about-town, regularly rescued from the consequences of his idiocy by the benign interference of his valet. Broadway: 1915–1919 A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator.\",\n \"Broadway: 1915–1919 A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator. Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York.\",\n \"Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York. The show was successful, but they thought the song lyrics weak and invited Wodehouse to join them on its successor. This was Miss Springtime (1916), which ran for 227 performances—a good run by the standards of the day.\",\n \"This was Miss Springtime (1916), which ran for 227 performances—a good run by the standards of the day. The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917–18) and Oh, Lady! Lady!!\",\n \"Lady!! Lady!! (1918), and Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin.\",\n \"In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin. Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies.\",\n \"Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies. Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do.\",\n \"Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do. Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical.\",\n \"Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical. In the Grove Dictionary of American Music Larry Stempel writes, \\\"By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy.\\\"\",\n \"In the Grove Dictionary of American Music Larry Stempel writes, \\\"By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy.\\\" The theatre writer Gerald Bordman calls Wodehouse \\\"the most observant, literate, and witty lyricist of his day\\\".\",\n \"The theatre writer Gerald Bordman calls Wodehouse \\\"the most observant, literate, and witty lyricist of his day\\\". The composer Richard Rodgers wrote, \\\"Before Larry Hart, only P.G. Wodehouse had made any real assault on the intelligence of the song-listening public.\\\"\",\n \"Wodehouse had made any real assault on the intelligence of the song-listening public.\\\" 1920s In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones.\",\n \"1920s In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones. Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest.\",\n \"Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest. Various other young men-about-town appeared in short stories about members of the Drones Club.\",\n \"Various other young men-about-town appeared in short stories about members of the Drones Club. The Wodehouses returned to England, where they had a house in London for some years, but Wodehouse continued to cross the Atlantic frequently, spending substantial periods in New York. He continued to work in the theatre.\",\n \"He continued to work in the theatre. During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York).\",\n \"During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York). He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnár, and A Damsel in Distress (1928), a dramatisation of his 1919 novel.\",\n \"He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnár, and A Damsel in Distress (1928), a dramatisation of his 1919 novel. Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods.\",\n \"Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods. Donaldson lists among those with whom he was on friendly terms writers including A. A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith Jr., Heather Thatcher and Dorothy Dickson.\",\n \"A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith Jr., Heather Thatcher and Dorothy Dickson. Hollywood: 1929–1931 There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name.\",\n \"Hollywood: 1929–1931 There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name. Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM).\",\n \"Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM). Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week.\",\n \"Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week. This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929.\",\n \"This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929. The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories.\",\n \"The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories. He commented, \\\"It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary.\\\"\",\n \"He commented, \\\"It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary.\\\" Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used.\",\n \"Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used. In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was \\\"as close to a success as Wodehouse was to have at MGM.\",\n \"In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was \\\"as close to a success as Wodehouse was to have at MGM. His only other credits were minimal, and the other projects he worked on were not produced.\\\"\",\n \"His only other credits were minimal, and the other projects he worked on were not produced.\\\" Wodehouse's contract ended after a year and was not renewed. At MGM's request, he gave an interview to The Los Angeles Times.\",\n \"At MGM's request, he gave an interview to The Los Angeles Times. Wodehouse was described by Herbert Warren Wind as \\\"politically naive [and] fundamentally unworldly\\\", and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent.\",\n \"Wodehouse was described by Herbert Warren Wind as \\\"politically naive [and] fundamentally unworldly\\\", and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent. The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry.\",\n \"The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry. Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been \\\"a storm in a teacup\\\", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable.\",\n \"Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been \\\"a storm in a teacup\\\", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable. Wind's view of Wodehouse's naïveté is not universally held.\",\n \"Wind's view of Wodehouse's naïveté is not universally held. Biographers including Donaldson, McCrum and Phelps suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute.\",\n \"Biographers including Donaldson, McCrum and Phelps suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute. He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire.\",\n \"He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire. Best-seller: 1930s During the 1930s Wodehouse's theatrical work tailed off.\",\n \"Best-seller: 1930s During the 1930s Wodehouse's theatrical work tailed off. He wrote or adapted four plays for the West End; Leave it to Psmith (1930), which he adapted in collaboration with Ian Hay, was the only one to have a long run.\",\n \"He wrote or adapted four plays for the West End; Leave it to Psmith (1930), which he adapted in collaboration with Ian Hay, was the only one to have a long run. The reviewer in The Manchester Guardian praised the play, but commented: \\\"It is Mr Wodehouse's own inimitable narrative comments and descriptions in his own person of the antics of his puppets that one misses.\",\n \"The reviewer in The Manchester Guardian praised the play, but commented: \\\"It is Mr Wodehouse's own inimitable narrative comments and descriptions in his own person of the antics of his puppets that one misses. They cannot be got into a play and they are at least half the fun of the novels.\\\"\",\n \"They cannot be got into a play and they are at least half the fun of the novels.\\\" In 1934 Wodehouse collaborated with Bolton on the book for Cole Porter's Anything Goes (Porter wrote his own lyrics), but at the last minute their version was almost entirely rewritten by others at the instigation of the producer, who disliked the original script.\",\n \"In 1934 Wodehouse collaborated with Bolton on the book for Cole Porter's Anything Goes (Porter wrote his own lyrics), but at the last minute their version was almost entirely rewritten by others at the instigation of the producer, who disliked the original script. Concentrating on writing novels and short stories, Wodehouse reached the peak of his productivity in this decade, averaging two books each year, and grossing an annual £100,000.\",\n \"Concentrating on writing novels and short stories, Wodehouse reached the peak of his productivity in this decade, averaging two books each year, and grossing an annual £100,000. His practice of dividing his time between Britain and America caused Wodehouse difficulties with the tax authorities of both countries.\",\n \"His practice of dividing his time between Britain and America caused Wodehouse difficulties with the tax authorities of both countries. Both the UK Inland Revenue and the US Internal Revenue Service sought to tax him as a resident.\",\n \"Both the UK Inland Revenue and the US Internal Revenue Service sought to tax him as a resident. The matter was settled after lengthy negotiations, but the Wodehouses decided to change their residential status beyond doubt by moving to France, where they bought a house near Le Touquet in the north.\",\n \"The matter was settled after lengthy negotiations, but the Wodehouses decided to change their residential status beyond doubt by moving to France, where they bought a house near Le Touquet in the north. In 1935 Wodehouse created the last of his regular cast of principal characters, Lord Ickenham, otherwise known as Uncle Fred, who, in Usborne's words, \\\"leads the dance in four novels and a short story... a whirring dynamo of misrule\\\".\",\n \"In 1935 Wodehouse created the last of his regular cast of principal characters, Lord Ickenham, otherwise known as Uncle Fred, who, in Usborne's words, \\\"leads the dance in four novels and a short story... a whirring dynamo of misrule\\\". His other books from the decade include Right Ho, Jeeves, which Donaldson judged his best work, Uncle Fred in the Springtime, which the writer Bernard Levin considered the best, and Blandings Castle, which contains \\\"Lord Emsworth and the Girl Friend\\\", which Rudyard Kipling thought \\\"one of the most perfect short stories I have ever read\\\".\",\n \"His other books from the decade include Right Ho, Jeeves, which Donaldson judged his best work, Uncle Fred in the Springtime, which the writer Bernard Levin considered the best, and Blandings Castle, which contains \\\"Lord Emsworth and the Girl Friend\\\", which Rudyard Kipling thought \\\"one of the most perfect short stories I have ever read\\\". Other leading literary figures who admired Wodehouse were A. E. Housman, Max Beerbohm and Hilaire Belloc; on the radio and in print Belloc called Wodehouse \\\"the best writer of our time: the best living writer of English... the head of my profession\\\".\",\n \"Other leading literary figures who admired Wodehouse were A. E. Housman, Max Beerbohm and Hilaire Belloc; on the radio and in print Belloc called Wodehouse \\\"the best writer of our time: the best living writer of English... the head of my profession\\\". Wodehouse regarded Belloc's plaudit as \\\"a gag, to get a rise out of serious-minded authors whom he disliked\\\".\",\n \"Wodehouse regarded Belloc's plaudit as \\\"a gag, to get a rise out of serious-minded authors whom he disliked\\\". Wodehouse was never sure that his books had literary merit as well as popular appeal, and, Donaldson suggests, must have been overwhelmed when the University of Oxford conferred an honorary doctorate of letters on him in June 1939.\",\n \"Wodehouse was never sure that his books had literary merit as well as popular appeal, and, Donaldson suggests, must have been overwhelmed when the University of Oxford conferred an honorary doctorate of letters on him in June 1939. His visit to England for the awarding ceremony was the last time he set foot in his native land.\",\n \"His visit to England for the awarding ceremony was the last time he set foot in his native land. Second World War: internment and broadcasts At the start of the Second World War Wodehouse and his wife remained at their Le Touquet house, where, during the Phoney War, he worked on Joy in the Morning.\",\n \"Second World War: internment and broadcasts At the start of the Second World War Wodehouse and his wife remained at their Le Touquet house, where, during the Phoney War, he worked on Joy in the Morning. With the advance of the Germans, the nearby Royal Air Force base withdrew; Wodehouse was offered the sole spare seat in one of the fighter aircraft, but he turned down the opportunity as it would have meant leaving behind Ethel and their dog.\",\n \"With the advance of the Germans, the nearby Royal Air Force base withdrew; Wodehouse was offered the sole spare seat in one of the fighter aircraft, but he turned down the opportunity as it would have meant leaving behind Ethel and their dog. On 21 May 1940, with German troops advancing through northern France, the Wodehouses decided to drive to Portugal and fly from there to the US.\",\n \"On 21 May 1940, with German troops advancing through northern France, the Wodehouses decided to drive to Portugal and fly from there to the US. Two miles from home their car broke down, so they returned and borrowed a car from a neighbour; with the routes blocked with refugees, they returned home again.\",\n \"Two miles from home their car broke down, so they returned and borrowed a car from a neighbour; with the routes blocked with refugees, they returned home again. The Germans occupied Le Touquet on 22 May 1940 and Wodehouse had to report to the authorities daily.\",\n \"The Germans occupied Le Touquet on 22 May 1940 and Wodehouse had to report to the authorities daily. After two months of occupation the Germans interned all male enemy nationals under 60, and Wodehouse was sent to a former prison in Loos, a suburb of Lille, on 21 July; Ethel remained in Le Touquet.\",\n \"After two months of occupation the Germans interned all male enemy nationals under 60, and Wodehouse was sent to a former prison in Loos, a suburb of Lille, on 21 July; Ethel remained in Le Touquet. The internees were placed four to a cell, each of which had been designed for one man.\",\n \"The internees were placed four to a cell, each of which had been designed for one man. One bed was available per cell, which was made available to the eldest man—not Wodehouse, who slept on the granite floor.\",\n \"One bed was available per cell, which was made available to the eldest man—not Wodehouse, who slept on the granite floor. The prisoners were not kept long in Loos before they were transported in cattle trucks to a former barracks in Liège, Belgium, which was run as a prison by the SS.\",\n \"The prisoners were not kept long in Loos before they were transported in cattle trucks to a former barracks in Liège, Belgium, which was run as a prison by the SS. After a week the men were transferred to Huy in Liège, where they were incarcerated in the local citadel.\",\n \"After a week the men were transferred to Huy in Liège, where they were incarcerated in the local citadel. They remained there until September 1940, when they were transported to Tost in Upper Silesia (then Germany, now Toszek in Poland).\",\n \"They remained there until September 1940, when they were transported to Tost in Upper Silesia (then Germany, now Toszek in Poland). Wodehouse's family and friends had not had any news of his location after the fall of France, but an article from an Associated Press reporter who had visited Tost in December 1940 led to pressure on the German authorities to release the novelist.\",\n \"Wodehouse's family and friends had not had any news of his location after the fall of France, but an article from an Associated Press reporter who had visited Tost in December 1940 led to pressure on the German authorities to release the novelist. This included a petition from influential people in the US; Senator W. Warren Barbour presented it to the German ambassador.\",\n \"This included a petition from influential people in the US; Senator W. Warren Barbour presented it to the German ambassador. Although his captors refused to release him, Wodehouse was provided with a typewriter and, to pass the time, he wrote Money in the Bank.\",\n \"Although his captors refused to release him, Wodehouse was provided with a typewriter and, to pass the time, he wrote Money in the Bank. Throughout his time in Tost, he sent postcards to his US literary agent asking for $5 to be sent to various people in Canada, mentioning his name.\",\n \"Throughout his time in Tost, he sent postcards to his US literary agent asking for $5 to be sent to various people in Canada, mentioning his name. These were the families of Canadian prisoners of war, and the news from Wodehouse was the first indication that their sons were alive and well.\",\n \"These were the families of Canadian prisoners of war, and the news from Wodehouse was the first indication that their sons were alive and well. Wodehouse risked severe punishment for the communication, but managed to evade the German censor.\",\n \"Wodehouse risked severe punishment for the communication, but managed to evade the German censor. On 21 June 1941, while he was in the middle of playing a game of cricket, Wodehouse received a visit from two members of the Gestapo.\",\n \"On 21 June 1941, while he was in the middle of playing a game of cricket, Wodehouse received a visit from two members of the Gestapo. He was given ten minutes to pack his things before he was taken to the Hotel Adlon, a top luxury hotel in Berlin.\",\n \"He was given ten minutes to pack his things before he was taken to the Hotel Adlon, a top luxury hotel in Berlin. He stayed there at his own expense; royalties from the German editions of his books had been put into a special frozen bank account at the outset of the war, and Wodehouse was permitted to draw upon this money he had earned while staying in Berlin.\",\n \"He stayed there at his own expense; royalties from the German editions of his books had been put into a special frozen bank account at the outset of the war, and Wodehouse was permitted to draw upon this money he had earned while staying in Berlin. He was thus released from internment a few months before his sixtieth birthday—the age at which civilian internees were released by the Nazis.\",\n \"He was thus released from internment a few months before his sixtieth birthday—the age at which civilian internees were released by the Nazis. Shortly afterwards Wodehouse was, in the words of Phelps, \\\"cleverly trapped\\\" into making five broadcasts to the US via German radio, with the Berlin-based correspondent of the Columbia Broadcasting System.\",\n \"Shortly afterwards Wodehouse was, in the words of Phelps, \\\"cleverly trapped\\\" into making five broadcasts to the US via German radio, with the Berlin-based correspondent of the Columbia Broadcasting System. The broadcasts—aired on 28 June, 9, 23 and 30 July and 6 August—were titled How to be an Internee Without Previous Training, and comprised humorous anecdotes about Wodehouse's experiences as a prisoner, including some gentle mocking of his captors.\",\n \"The broadcasts—aired on 28 June, 9, 23 and 30 July and 6 August—were titled How to be an Internee Without Previous Training, and comprised humorous anecdotes about Wodehouse's experiences as a prisoner, including some gentle mocking of his captors. The German propaganda ministry arranged for the recordings to be broadcast to Britain in August.\",\n \"The German propaganda ministry arranged for the recordings to be broadcast to Britain in August. The day after Wodehouse recorded his final programme, Ethel joined him in Berlin, having sold most of her jewellery to pay for the journey.\",\n \"The day after Wodehouse recorded his final programme, Ethel joined him in Berlin, having sold most of her jewellery to pay for the journey. Aftermath: reactions and investigation The reaction in Britain to Wodehouse's broadcasts was hostile, and he was \\\"reviled ... as a traitor, collaborator, Nazi propagandist, and a coward\\\", although, Phelps observes, many of those who decried his actions had not heard the content of the programmes.\",\n \"Aftermath: reactions and investigation The reaction in Britain to Wodehouse's broadcasts was hostile, and he was \\\"reviled ... as a traitor, collaborator, Nazi propagandist, and a coward\\\", although, Phelps observes, many of those who decried his actions had not heard the content of the programmes. A front-page article in The Daily Mirror stated that Wodehouse \\\"lived luxuriously because Britain laughed with him, but when the laughter was out of his country's heart, ... [he] was not ready to share her suffering.\",\n \"A front-page article in The Daily Mirror stated that Wodehouse \\\"lived luxuriously because Britain laughed with him, but when the laughter was out of his country's heart, ... [he] was not ready to share her suffering. He hadn't the guts ... even to stick it out in the internment camp.\\\"\",\n \"He hadn't the guts ... even to stick it out in the internment camp.\\\" In the House of Commons Anthony Eden, the Foreign Secretary, regretted Wodehouse's actions. Several libraries removed Wodehouse novels from their shelves.\",\n \"Several libraries removed Wodehouse novels from their shelves. On 15 July the journalist William Connor, under his pen name Cassandra, broadcast a postscript to the news programme railing against Wodehouse. According to The Times, the broadcast \\\"provoked a storm of complaint ... from listeners all over the country\\\".\",\n \"According to The Times, the broadcast \\\"provoked a storm of complaint ... from listeners all over the country\\\". Wodehouse's biographer, Joseph Connolly, thinks the broadcast \\\"inaccurate, spiteful and slanderous\\\"; Phelps calls it \\\"probably the most vituperative attack on an individual ever heard on British radio\\\".\",\n \"Wodehouse's biographer, Joseph Connolly, thinks the broadcast \\\"inaccurate, spiteful and slanderous\\\"; Phelps calls it \\\"probably the most vituperative attack on an individual ever heard on British radio\\\". The broadcast was made at the direct instruction of Duff Cooper, the Minister of Information, who overruled strong protests made by the BBC against the decision to air the programme.\",\n \"The broadcast was made at the direct instruction of Duff Cooper, the Minister of Information, who overruled strong protests made by the BBC against the decision to air the programme. Numerous letters appeared in the British press, both supporting and criticising Wodehouse.\",\n \"Numerous letters appeared in the British press, both supporting and criticising Wodehouse. The letters page of The Daily Telegraph became a focus for censuring Wodehouse, including one from Wodehouse's friend, ; a reply from their fellow author Compton Mackenzie in defence of Wodehouse was not published because the editor claimed a lack of space.\",\n \"The letters page of The Daily Telegraph became a focus for censuring Wodehouse, including one from Wodehouse's friend, ; a reply from their fellow author Compton Mackenzie in defence of Wodehouse was not published because the editor claimed a lack of space. Most of those defending Wodehouse against accusations of disloyalty, including Sax Rohmer, Dorothy L. Sayers and Gilbert Frankau, conceded that he had acted stupidly.\",\n \"Most of those defending Wodehouse against accusations of disloyalty, including Sax Rohmer, Dorothy L. Sayers and Gilbert Frankau, conceded that he had acted stupidly. Some members of the public wrote to the newspapers to say that the full facts were not yet known and a fair judgment could not be made until they were.\",\n \"Some members of the public wrote to the newspapers to say that the full facts were not yet known and a fair judgment could not be made until they were. The management of the BBC, who considered Wodehouse's actions no worse than \\\"ill advised\\\", pointed out to Cooper that there was no evidence at that point whether Wodehouse had acted voluntarily or under compulsion.\",\n \"The management of the BBC, who considered Wodehouse's actions no worse than \\\"ill advised\\\", pointed out to Cooper that there was no evidence at that point whether Wodehouse had acted voluntarily or under compulsion. When Wodehouse heard of the furore the broadcasts had caused, he contacted the Foreign Office—through the Swiss embassy in Berlin—to explain his actions, and attempted to return home via neutral countries, but the German authorities refused to let him leave.\",\n \"When Wodehouse heard of the furore the broadcasts had caused, he contacted the Foreign Office—through the Swiss embassy in Berlin—to explain his actions, and attempted to return home via neutral countries, but the German authorities refused to let him leave. In Performing Flea, a 1953 collection of letters, Wodehouse wrote, \\\"Of course I ought to have had the sense to see that it was a loony thing to do to use the German radio for even the most harmless stuff, but I didn't.\",\n \"In Performing Flea, a 1953 collection of letters, Wodehouse wrote, \\\"Of course I ought to have had the sense to see that it was a loony thing to do to use the German radio for even the most harmless stuff, but I didn't. I suppose prison life saps the intellect\\\".\",\n \"I suppose prison life saps the intellect\\\". The reaction in America was mixed: the left-leaning publication PM accused Wodehouse of \\\"play[ing] Jeeves to the Nazis\\\", but the Department of War used the interviews as an ideal representation of anti-Nazi propaganda.\",\n \"The reaction in America was mixed: the left-leaning publication PM accused Wodehouse of \\\"play[ing] Jeeves to the Nazis\\\", but the Department of War used the interviews as an ideal representation of anti-Nazi propaganda. The Wodehouses remained in Germany until September 1943, when, because of the Allied bombings, they were allowed to move back to Paris.\",\n \"The Wodehouses remained in Germany until September 1943, when, because of the Allied bombings, they were allowed to move back to Paris. They were living there when the city was liberated on 25 August 1944; Wodehouse reported to the American authorities the following day, asking them to inform the British of his whereabouts.\",\n \"They were living there when the city was liberated on 25 August 1944; Wodehouse reported to the American authorities the following day, asking them to inform the British of his whereabouts. He was subsequently visited by Malcolm Muggeridge, recently arrived in Paris as an intelligence officer with MI6.\",\n \"He was subsequently visited by Malcolm Muggeridge, recently arrived in Paris as an intelligence officer with MI6. The young officer quickly came to like Wodehouse and considered the question of treasonable behaviour as \\\"ludicrous\\\"; he summed up the writer as \\\"ill-fitted to live in an age of ideological conflict\\\".\",\n \"The young officer quickly came to like Wodehouse and considered the question of treasonable behaviour as \\\"ludicrous\\\"; he summed up the writer as \\\"ill-fitted to live in an age of ideological conflict\\\". On 9 September Wodehouse was visited by an MI5 officer and former barrister, Major Edward Cussen, who formally investigated him, a process that stretched over four days.\",\n \"On 9 September Wodehouse was visited by an MI5 officer and former barrister, Major Edward Cussen, who formally investigated him, a process that stretched over four days. On 28 September Cussen filed his report, which states that in regard to the broadcasts, Wodehouse's behaviour \\\"has been unwise\\\", but advised against further action.\",\n \"On 28 September Cussen filed his report, which states that in regard to the broadcasts, Wodehouse's behaviour \\\"has been unwise\\\", but advised against further action. On 23 November Theobald Matthew, the Director of Public Prosecutions, decided there was no evidence to justify prosecuting Wodehouse.\",\n \"On 23 November Theobald Matthew, the Director of Public Prosecutions, decided there was no evidence to justify prosecuting Wodehouse. In November 1944 Duff Cooper was appointed British ambassador to France and was provided accommodation at the Hôtel Le Bristol, where the Wodehouses were living.\",\n \"In November 1944 Duff Cooper was appointed British ambassador to France and was provided accommodation at the Hôtel Le Bristol, where the Wodehouses were living. Cooper complained to the French authorities, and the couple were moved to a different hotel. They were subsequently arrested by French police and placed under preventive detention, despite no charges being presented.\",\n \"They were subsequently arrested by French police and placed under preventive detention, despite no charges being presented. When Muggeridge tracked them down later, he managed to get Ethel released straight away and, four days later, ensured that the French authorities declared Wodehouse unwell and put him in a nearby hospital, which was more comfortable than where they had been detained.\",\n \"When Muggeridge tracked them down later, he managed to get Ethel released straight away and, four days later, ensured that the French authorities declared Wodehouse unwell and put him in a nearby hospital, which was more comfortable than where they had been detained. While in this hospital, Wodehouse worked on his novel Uncle Dynamite.\",\n \"While in this hospital, Wodehouse worked on his novel Uncle Dynamite. While still detained by the French, Wodehouse was again mentioned in questions in the House of Commons in December 1944 when MPs wondered if the French authorities could repatriate him to stand trial.\",\n \"While still detained by the French, Wodehouse was again mentioned in questions in the House of Commons in December 1944 when MPs wondered if the French authorities could repatriate him to stand trial. Eden stated that the \\\"matter has been gone into, and, according to the advice given, there are no grounds upon which we could take action\\\".\",\n \"Eden stated that the \\\"matter has been gone into, and, according to the advice given, there are no grounds upon which we could take action\\\". Two months later, Orwell wrote the essay \\\"In Defence of P.G.\",\n \"Two months later, Orwell wrote the essay \\\"In Defence of P.G. Wodehouse\\\", where he stated that \\\"it is important to realise that the events of 1941 do not convict Wodehouse of anything worse than stupidity\\\".\",\n \"Wodehouse\\\", where he stated that \\\"it is important to realise that the events of 1941 do not convict Wodehouse of anything worse than stupidity\\\". Orwell's rationale was that Wodehouse's \\\"moral outlook has remained that of a public-school boy, and according to the public-school code, treachery in time of war is the most unforgivable of all the sins\\\", which was compounded by his \\\"complete lack—so far as one can judge from his printed works—of political awareness\\\".\",\n \"Orwell's rationale was that Wodehouse's \\\"moral outlook has remained that of a public-school boy, and according to the public-school code, treachery in time of war is the most unforgivable of all the sins\\\", which was compounded by his \\\"complete lack—so far as one can judge from his printed works—of political awareness\\\". On 15 January 1945 the French authorities released Wodehouse, but they did not inform him, until June 1946, that he would not face any official charges and was free to leave the country.\",\n \"On 15 January 1945 the French authorities released Wodehouse, but they did not inform him, until June 1946, that he would not face any official charges and was free to leave the country. American exile: 1946–1975 Having secured American visas in July 1946, the Wodehouses made preparations to return to New York.\",\n \"American exile: 1946–1975 Having secured American visas in July 1946, the Wodehouses made preparations to return to New York. They were delayed by Ethel's insistence on acquiring suitable new clothes and by Wodehouse's wish to finish writing his current novel, The Mating Season, in the peace of the French countryside.\",\n \"They were delayed by Ethel's insistence on acquiring suitable new clothes and by Wodehouse's wish to finish writing his current novel, The Mating Season, in the peace of the French countryside. In April 1947 they sailed to New York, where Wodehouse was relieved at the friendly reception he received from the large press contingent awaiting his arrival.\",\n \"In April 1947 they sailed to New York, where Wodehouse was relieved at the friendly reception he received from the large press contingent awaiting his arrival. Ethel secured a comfortable penthouse apartment in Manhattan's Upper East Side, but Wodehouse was not at ease. The New York that he had known before the war was much changed.\",\n \"The New York that he had known before the war was much changed. The magazines that had paid lavishly for his stories were in decline, and those that remained were not much interested in him.\",\n \"The magazines that had paid lavishly for his stories were in decline, and those that remained were not much interested in him. He was sounded out about writing for Broadway, but he was not at home in the post-war theatre; he had money problems, with large sums temporarily tied up in Britain, and for the first time in his career he had no ideas for a new novel.\",\n \"He was sounded out about writing for Broadway, but he was not at home in the post-war theatre; he had money problems, with large sums temporarily tied up in Britain, and for the first time in his career he had no ideas for a new novel. He did not complete one until 1951.\",\n \"He did not complete one until 1951. Wodehouse remained unsettled until he and Ethel left New York City for Long Island. Bolton and his wife lived in the prosperous hamlet of Remsenburg, part of the Southampton area of Long Island, east of Manhattan.\",\n \"Bolton and his wife lived in the prosperous hamlet of Remsenburg, part of the Southampton area of Long Island, east of Manhattan. Wodehouse stayed with them frequently, and in 1952 he and Ethel bought a house nearby. They lived at Remsenburg for the rest of their lives.\",\n \"They lived at Remsenburg for the rest of their lives. Between 1952 and 1975 he published more than twenty novels, as well as two collections of short stories, a heavily edited collection of his letters, a volume of memoirs, and a selection of his magazine articles. He continued to hanker after a revival of his theatrical career.\",\n \"He continued to hanker after a revival of his theatrical career. A 1959 off-Broadway revival of the 1917 Bolton-Wodehouse-Kern Leave It to Jane was a surprise hit, running for 928 performances, but his few post-war stage works, some in collaboration with Bolton, made little impression.\",\n \"A 1959 off-Broadway revival of the 1917 Bolton-Wodehouse-Kern Leave It to Jane was a surprise hit, running for 928 performances, but his few post-war stage works, some in collaboration with Bolton, made little impression. Although Ethel made a return visit to England in 1948 to shop and visit family and friends, Wodehouse never left America after his arrival in 1947.\",\n \"Although Ethel made a return visit to England in 1948 to shop and visit family and friends, Wodehouse never left America after his arrival in 1947. It was not until 1965 that the British government indicated privately that he could return without fear of legal proceedings, and by then he felt too old to make the journey.\",\n \"It was not until 1965 that the British government indicated privately that he could return without fear of legal proceedings, and by then he felt too old to make the journey. The biographers Benny Green and Robert McCrum both take the view that this exile benefited Wodehouse's writing, helping him to go on depicting an idealised England seen in his mind's eye, rather than as it actually was in the post-war decades.\",\n \"The biographers Benny Green and Robert McCrum both take the view that this exile benefited Wodehouse's writing, helping him to go on depicting an idealised England seen in his mind's eye, rather than as it actually was in the post-war decades. During their years in Long Island, the couple often took in stray animals and contributed substantial funds to a local animal shelter.\",\n \"During their years in Long Island, the couple often took in stray animals and contributed substantial funds to a local animal shelter. In 1955 Wodehouse became an American citizen, though he remained a British subject, and was therefore still eligible for UK state honours.\",\n \"In 1955 Wodehouse became an American citizen, though he remained a British subject, and was therefore still eligible for UK state honours. He was considered for the award of a knighthood three times from 1967, but the honour was twice blocked by British officials.\",\n \"He was considered for the award of a knighthood three times from 1967, but the honour was twice blocked by British officials. In 1974 the British prime minister, Harold Wilson, intervened to secure a knighthood (KBE) for Wodehouse, which was announced in the January 1975 New Year Honours list.\",\n \"In 1974 the British prime minister, Harold Wilson, intervened to secure a knighthood (KBE) for Wodehouse, which was announced in the January 1975 New Year Honours list. The Times commented that Wodehouse's honour signalled \\\"official forgiveness for his wartime indiscretion....\",\n \"The Times commented that Wodehouse's honour signalled \\\"official forgiveness for his wartime indiscretion.... It is late, but not too late, to take the sting out of that unhappy incident.\\\" The following month Wodehouse entered Southampton Hospital, Long Island, for treatment of a skin complaint.\",\n \"The following month Wodehouse entered Southampton Hospital, Long Island, for treatment of a skin complaint. While there, he suffered a heart attack and died on 14 February 1975 at the age of 93. He was buried at Remsenburg Presbyterian Church four days later.\",\n \"He was buried at Remsenburg Presbyterian Church four days later. Ethel outlived him by more than nine years; Leonora had predeceased him, dying suddenly in 1944.\",\n \"Ethel outlived him by more than nine years; Leonora had predeceased him, dying suddenly in 1944. Writing Technique and approach Before starting a book Wodehouse would write up to four hundred pages of notes bringing together an outline of the plot; he acknowledged that \\\"It's the plots that I find so hard to work out.\",\n \"Writing Technique and approach Before starting a book Wodehouse would write up to four hundred pages of notes bringing together an outline of the plot; he acknowledged that \\\"It's the plots that I find so hard to work out. It takes such a long time to work one out.\\\"\",\n \"It takes such a long time to work one out.\\\" He always completed the plot before working on specific character actions. For a novel the note-writing process could take up to two years, and he would usually have two or more novels in preparation simultaneously.\",\n \"For a novel the note-writing process could take up to two years, and he would usually have two or more novels in preparation simultaneously. After he had completed his notes, he would draw up a fuller scenario of about thirty thousand words, which ensured plot holes were avoided, and allowed for the dialogue to begin to develop.\",\n \"After he had completed his notes, he would draw up a fuller scenario of about thirty thousand words, which ensured plot holes were avoided, and allowed for the dialogue to begin to develop. When interviewed in 1975 he revealed that \\\"For a humorous novel you've got to have a scenario, and you've got to test it so that you know where the comedy comes in, where the situations come in ... splitting it up into scenes (you can make a scene of almost anything) and have as little stuff in between as possible.\\\"\",\n \"When interviewed in 1975 he revealed that \\\"For a humorous novel you've got to have a scenario, and you've got to test it so that you know where the comedy comes in, where the situations come in ... splitting it up into scenes (you can make a scene of almost anything) and have as little stuff in between as possible.\\\" He preferred working between 4 and 7 pm—but never after dinner—and would work seven days a week.\",\n \"He preferred working between 4 and 7 pm—but never after dinner—and would work seven days a week. In his younger years, he would write around two to three thousand words a day, although he slowed as he aged, so that in his nineties he would produce a thousand.\",\n \"In his younger years, he would write around two to three thousand words a day, although he slowed as he aged, so that in his nineties he would produce a thousand. The reduced speed in writing slowed his production of books: when younger he would produce a novel in about three months, while Bachelors Anonymous, published in 1973, took around six months.\",\n \"The reduced speed in writing slowed his production of books: when younger he would produce a novel in about three months, while Bachelors Anonymous, published in 1973, took around six months. Although studies of language production in normal healthy ageing show a marked decline from the mid-70s on, a study of Wodehouse's works did not find any evidence of a decline in linguistic ability with age.\",\n \"Although studies of language production in normal healthy ageing show a marked decline from the mid-70s on, a study of Wodehouse's works did not find any evidence of a decline in linguistic ability with age. Wodehouse believed that one of the factors that made his stories humorous was his view of life, and he stated that \\\"If you take life fairly easily, then you take a humorous view of things.\",\n \"Wodehouse believed that one of the factors that made his stories humorous was his view of life, and he stated that \\\"If you take life fairly easily, then you take a humorous view of things. It's probably because you were born that way.\\\"\",\n \"It's probably because you were born that way.\\\" He carried this view through into his writing, describing the approach as \\\"making the thing a sort of musical comedy without music, and ignoring real life altogether\\\".\",\n \"He carried this view through into his writing, describing the approach as \\\"making the thing a sort of musical comedy without music, and ignoring real life altogether\\\". The literary critic Edward L. Galligan considers Wodehouse's stories to show his mastery in adapting the form of the American musical comedy for his writings.\",\n \"The literary critic Edward L. Galligan considers Wodehouse's stories to show his mastery in adapting the form of the American musical comedy for his writings. Wodehouse would ensure that his first draft was as carefully and accurately done as possible, correcting and refining the prose as he wrote, and would then make another good copy, before proofreading again and then making a final copy for his publisher.\",\n \"Wodehouse would ensure that his first draft was as carefully and accurately done as possible, correcting and refining the prose as he wrote, and would then make another good copy, before proofreading again and then making a final copy for his publisher. Most of Wodehouse's canon is set in an undated period around the 1920s and 1930s.\",\n \"Most of Wodehouse's canon is set in an undated period around the 1920s and 1930s. The critic Anthony Lejeune describes the settings of Wodehouse's novels, such as the Drones Club and Blandings Castle, as \\\"a fairyland\\\".\",\n \"The critic Anthony Lejeune describes the settings of Wodehouse's novels, such as the Drones Club and Blandings Castle, as \\\"a fairyland\\\". Although some critics thought Wodehouse's fiction was based on a world that had never existed, Wodehouse affirmed that \\\"it did.\",\n \"Although some critics thought Wodehouse's fiction was based on a world that had never existed, Wodehouse affirmed that \\\"it did. It was going strong between the wars\\\", although he agreed that his version was to some extent \\\"a sort of artificial world of my own creation\\\".\",\n \"It was going strong between the wars\\\", although he agreed that his version was to some extent \\\"a sort of artificial world of my own creation\\\". The novels showed a largely unchanging world, regardless of when they were written, and only rarely—and mistakenly in McCrum's view—did Wodehouse allow modernity to intrude, as he did in the 1966 story \\\"Bingo Bans the Bomb\\\".\",\n \"The novels showed a largely unchanging world, regardless of when they were written, and only rarely—and mistakenly in McCrum's view—did Wodehouse allow modernity to intrude, as he did in the 1966 story \\\"Bingo Bans the Bomb\\\". When dealing with the dialogue in his novels, Wodehouse would consider the book's characters as if they were actors in a play, ensuring that the main roles were kept suitably employed throughout the storyline, which must be strong: \\\"If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them.\\\"\",\n \"When dealing with the dialogue in his novels, Wodehouse would consider the book's characters as if they were actors in a play, ensuring that the main roles were kept suitably employed throughout the storyline, which must be strong: \\\"If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them.\\\" Many of Wodehouse's parts were stereotypes, and he acknowledged that \\\"a real character in one of my books sticks out like a sore thumb.\\\"\",\n \"Many of Wodehouse's parts were stereotypes, and he acknowledged that \\\"a real character in one of my books sticks out like a sore thumb.\\\" The publisher Michael Joseph identifies that even within the stereotypes Wodehouse understood human nature, and therefore \\\"shares with [Charles] Dickens and Charles Chaplin the ability to present the comic resistance of the individual against those superior forces to which we are all subject\\\".\",\n \"The publisher Michael Joseph identifies that even within the stereotypes Wodehouse understood human nature, and therefore \\\"shares with [Charles] Dickens and Charles Chaplin the ability to present the comic resistance of the individual against those superior forces to which we are all subject\\\". Much of Wodehouse's use of slang terms reflects the influence of his time at school in Dulwich, and partly reflects Edwardian slang.\",\n \"Much of Wodehouse's use of slang terms reflects the influence of his time at school in Dulwich, and partly reflects Edwardian slang. As a young man he enjoyed the literary works of Arthur Conan Doyle and Jerome K. Jerome, and the operatic works of Gilbert and Sullivan. Wodehouse quotes from and alludes to numerous poets throughout his work.\",\n \"Wodehouse quotes from and alludes to numerous poets throughout his work. The scholar Clarke Olney lists those quoted, including Milton, Byron, Longfellow, Coleridge, Swinburne, Tennyson, Wordsworth and Shakespeare. Another favoured source was the King James Bible.\",\n \"Another favoured source was the King James Bible. Language In 1941 the Concise Cambridge History of English Literature opined that Wodehouse had \\\"a gift for highly original aptness of phrase that almost suggests a poet struggling for release among the wild extravagances of farce\\\", while McCrum thinks that Wodehouse manages to combine \\\"high farce with the inverted poetry of his mature comic style\\\", particularly in The Code of the Woosters; the novelist Anthony Powell believes Wodehouse to be a \\\"comic poet\\\".\",\n \"Language In 1941 the Concise Cambridge History of English Literature opined that Wodehouse had \\\"a gift for highly original aptness of phrase that almost suggests a poet struggling for release among the wild extravagances of farce\\\", while McCrum thinks that Wodehouse manages to combine \\\"high farce with the inverted poetry of his mature comic style\\\", particularly in The Code of the Woosters; the novelist Anthony Powell believes Wodehouse to be a \\\"comic poet\\\". Robert A.\",\n \"Robert A. Robert A. Hall Jr., in his study of Wodehouse's style and technique, describes the author as a master of prose, an opinion also shared by Levin, who considers Wodehouse \\\"one of the finest and purest writers of English prose\\\".\",\n \"Hall Jr., in his study of Wodehouse's style and technique, describes the author as a master of prose, an opinion also shared by Levin, who considers Wodehouse \\\"one of the finest and purest writers of English prose\\\". Hall identifies several techniques used by Wodehouse to achieve comic effect, including the creation of new words through adding or removing prefixes and suffixes, so when Pongo Twistleton removes the housemaid Elsie Bean from a cupboard, Wodehouse writes that the character \\\"de-Beaned the cupboard\\\".\",\n \"Hall identifies several techniques used by Wodehouse to achieve comic effect, including the creation of new words through adding or removing prefixes and suffixes, so when Pongo Twistleton removes the housemaid Elsie Bean from a cupboard, Wodehouse writes that the character \\\"de-Beaned the cupboard\\\". Wodehouse created new words by splitting others in two, thus Wodehouse divides \\\"hobnobbing\\\" when he writes: \\\"To offer a housemaid a cigarette is not hobbing.\",\n \"Wodehouse created new words by splitting others in two, thus Wodehouse divides \\\"hobnobbing\\\" when he writes: \\\"To offer a housemaid a cigarette is not hobbing. Nor, when you light it for her, does that constitute nobbing.\\\"\",\n \"Nor, when you light it for her, does that constitute nobbing.\\\" Richard Voorhees, Wodehouse's biographer, believes that the author used clichés in a deliberate and ironic manner.\",\n \"Richard Voorhees, Wodehouse's biographer, believes that the author used clichés in a deliberate and ironic manner. His opinion is shared by the academic Stephen Medcalf, who deems Wodehouse's skill is to \\\"bring a cliché just enough to life to kill it\\\", although Pamela March, writing in The Christian Science Monitor, considers Wodehouse to have \\\"an ability to decliché a cliché\\\".\",\n \"His opinion is shared by the academic Stephen Medcalf, who deems Wodehouse's skill is to \\\"bring a cliché just enough to life to kill it\\\", although Pamela March, writing in The Christian Science Monitor, considers Wodehouse to have \\\"an ability to decliché a cliché\\\". Medcalf provides an example from Right Ho, Jeeves in which the teetotal Gussie Fink-Nottle has surreptitiously been given whisky and gin in a punch prior to a prize-giving: 'It seems to me, Jeeves, that the ceremony may be one fraught with considerable interest.'\",\n \"Medcalf provides an example from Right Ho, Jeeves in which the teetotal Gussie Fink-Nottle has surreptitiously been given whisky and gin in a punch prior to a prize-giving: 'It seems to me, Jeeves, that the ceremony may be one fraught with considerable interest.' 'Yes, sir.'\",\n \"'Yes, sir.' 'Yes, sir.' 'What, in your opinion, will the harvest be?' 'One finds it difficult to hazard a conjecture, sir.' 'You mean imagination boggles?' 'Yes, sir.' I inspected my imagination. He was right. It boggled.\",\n \"He was right. It boggled. It boggled. The stylistic device most commonly found in Wodehouse's work is his use of comparative imagery that includes similes. Hall opines that the humour comes from Wodehouse's ability to accentuate \\\"resemblances which at first glance seem highly incongruous\\\".\",\n \"Hall opines that the humour comes from Wodehouse's ability to accentuate \\\"resemblances which at first glance seem highly incongruous\\\". Examples can be seen in Joy in the Morning, Chapter 29: \\\"There was a sound in the background like a distant sheep coughing gently on a mountainside.\",\n \"Examples can be seen in Joy in the Morning, Chapter 29: \\\"There was a sound in the background like a distant sheep coughing gently on a mountainside. Jeeves sailing into action\\\", or Psmith, Chapter 7: \\\"A sound like two or three pigs feeding rather noisily in the middle of a thunderstorm interrupted his meditation.\\\"\",\n \"Jeeves sailing into action\\\", or Psmith, Chapter 7: \\\"A sound like two or three pigs feeding rather noisily in the middle of a thunderstorm interrupted his meditation.\\\" Hall also identifies that periodically Wodehouse used the stylistic device of a transferred epithet, with an adjective that properly belongs to a person applied instead to some inanimate object.\",\n \"Hall also identifies that periodically Wodehouse used the stylistic device of a transferred epithet, with an adjective that properly belongs to a person applied instead to some inanimate object. The form of expression is used sparingly by Wodehouse in comparison with other mechanisms, only once or twice in a story or novel, according to Hall.\",\n \"The form of expression is used sparingly by Wodehouse in comparison with other mechanisms, only once or twice in a story or novel, according to Hall. \\\"I balanced a thoughtful lump of sugar on the teaspoon.\\\"\",\n \"\\\"I balanced a thoughtful lump of sugar on the teaspoon.\\\" —Joy in the Morning, Chapter 5 \\\"As I sat in the bath-tub, soaping a meditative foot ...\\\" —Jeeves and the Feudal Spirit, Chapter 1 \\\"The first thing he did was to prod Jeeves in the lower ribs with an uncouth forefinger.\\\"\",\n \"—Joy in the Morning, Chapter 5 \\\"As I sat in the bath-tub, soaping a meditative foot ...\\\" —Jeeves and the Feudal Spirit, Chapter 1 \\\"The first thing he did was to prod Jeeves in the lower ribs with an uncouth forefinger.\\\" —Much Obliged, Jeeves, Chapter 4 Wordplay is a key element in Wodehouse's writing.\",\n \"—Much Obliged, Jeeves, Chapter 4 Wordplay is a key element in Wodehouse's writing. This can take the form of puns, such as in Jeeves and the Feudal Spirit, when Bertie is released after a night in the police cells, and says that he has \\\"a pinched look\\\" about him.\",\n \"This can take the form of puns, such as in Jeeves and the Feudal Spirit, when Bertie is released after a night in the police cells, and says that he has \\\"a pinched look\\\" about him. Linguistic confusion is another humorous mechanism, such as in Uncle Dynamite when Constable Potter says he has been \\\"assaulted by the duck pond\\\".\",\n \"Linguistic confusion is another humorous mechanism, such as in Uncle Dynamite when Constable Potter says he has been \\\"assaulted by the duck pond\\\". In reply, Sir Aylmer, confusing the two meanings of the word \\\"by\\\", asks: \\\"How the devil can you be assaulted by a duck pond?\\\"\",\n \"In reply, Sir Aylmer, confusing the two meanings of the word \\\"by\\\", asks: \\\"How the devil can you be assaulted by a duck pond?\\\" Wodehouse also uses metaphor and mixed metaphor to add humour.\",\n \"Wodehouse also uses metaphor and mixed metaphor to add humour. Some come through exaggeration, such as Bingo Little's infant child who \\\"not only has the aspect of a mass murderer, but that of a mass murderer suffering from an ingrown toenail\\\", or Wooster's complaint that \\\"the rumpuses that Bobbie Wickham is already starting may be amusing to her, but not to the unfortunate toads beneath the harrow whom she ruthlessly plunges into the soup.\\\"\",\n \"Some come through exaggeration, such as Bingo Little's infant child who \\\"not only has the aspect of a mass murderer, but that of a mass murderer suffering from an ingrown toenail\\\", or Wooster's complaint that \\\"the rumpuses that Bobbie Wickham is already starting may be amusing to her, but not to the unfortunate toads beneath the harrow whom she ruthlessly plunges into the soup.\\\" Bertie Wooster's half-forgotten vocabulary also provides a further humorous device.\",\n \"Bertie Wooster's half-forgotten vocabulary also provides a further humorous device. In Jeeves and the Feudal Spirit Bertie asks Jeeves \\\"Let a plugugly like young Thos loose in the community with a cosh, and you are inviting disaster and ... what's the word? Something about cats.\\\" Jeeves replies, \\\"Cataclysms, sir?\\\"\",\n \"Jeeves replies, \\\"Cataclysms, sir?\\\" Reception and reputation Literary reception Wodehouse's early career as a lyricist and playwright was profitable, and his work with Bolton, according to The Guardian, \\\"was one of the most successful in the history of musical comedy\\\".\",\n \"Reception and reputation Literary reception Wodehouse's early career as a lyricist and playwright was profitable, and his work with Bolton, according to The Guardian, \\\"was one of the most successful in the history of musical comedy\\\". At the outbreak of the Second World War he was earning £40,000 a year from his work, which had broadened to include novels and short stories.\",\n \"At the outbreak of the Second World War he was earning £40,000 a year from his work, which had broadened to include novels and short stories. Following the furore ensuing from the wartime broadcasts, he suffered a downturn in his popularity and book sales; The Saturday Evening Post stopped publishing his short stories, a stance they reversed in 1965, although his popularity—and the sales figures—slowly recovered over time.\",\n \"Following the furore ensuing from the wartime broadcasts, he suffered a downturn in his popularity and book sales; The Saturday Evening Post stopped publishing his short stories, a stance they reversed in 1965, although his popularity—and the sales figures—slowly recovered over time. Wodehouse received great praise from many of his contemporaries, including Max Beerbohm, Rudyard Kipling, A. E. Housman and Evelyn Waugh—the last of whom opines, \\\"One has to regard a man as a Master who can produce on average three uniquely brilliant and entirely original similes on each page.\\\"\",\n \"Wodehouse received great praise from many of his contemporaries, including Max Beerbohm, Rudyard Kipling, A. E. Housman and Evelyn Waugh—the last of whom opines, \\\"One has to regard a man as a Master who can produce on average three uniquely brilliant and entirely original similes on each page.\\\" There are dissenters to the praise.\",\n \"There are dissenters to the praise. The writer Alan Bennett thinks that \\\"inspired though his language is, I can never take more than ten pages of the novels at a time, their relentless flippancy wearing and tedious\\\", while the literary critic Q. D. Leavis writes that Wodehouse had a \\\"stereotyped humour ... of ingenious variations on a laugh in one place\\\".\",\n \"The writer Alan Bennett thinks that \\\"inspired though his language is, I can never take more than ten pages of the novels at a time, their relentless flippancy wearing and tedious\\\", while the literary critic Q. D. Leavis writes that Wodehouse had a \\\"stereotyped humour ... of ingenious variations on a laugh in one place\\\". In a 2010 study of Wodehouse's few relatively serious novels, such as The Coming of Bill (1919), Jill the Reckless (1920) and The Adventures of Sally (1922), David Heddendorf concludes that though their literary quality does not match that of the farcical novels, they show a range of empathy and interests that in real life—and in his most comic works—the author seemed to lack.\",\n \"In a 2010 study of Wodehouse's few relatively serious novels, such as The Coming of Bill (1919), Jill the Reckless (1920) and The Adventures of Sally (1922), David Heddendorf concludes that though their literary quality does not match that of the farcical novels, they show a range of empathy and interests that in real life—and in his most comic works—the author seemed to lack. \\\"Never oblivious to grief and despair, he opts in clear-eyed awareness for his timeless world of spats and woolly-headed peers.\",\n \"\\\"Never oblivious to grief and despair, he opts in clear-eyed awareness for his timeless world of spats and woolly-headed peers. It's an austere, almost bloodless preference for pristine artifice over the pain and messy outcomes of actual existence, but it's a case of Wodehouse keeping faith with his own unique art.\\\"\",\n \"It's an austere, almost bloodless preference for pristine artifice over the pain and messy outcomes of actual existence, but it's a case of Wodehouse keeping faith with his own unique art.\\\" The American literary analyst Robert F. Kiernan, defining \\\"camp\\\" as \\\"excessive stylization of whatever kind\\\", brackets Wodehouse as \\\"a master of the camp novel\\\", along with Thomas Love Peacock, Max Beerbohm, Ronald Firbank, E. F. Benson and Ivy Compton-Burnett.\",\n \"The American literary analyst Robert F. Kiernan, defining \\\"camp\\\" as \\\"excessive stylization of whatever kind\\\", brackets Wodehouse as \\\"a master of the camp novel\\\", along with Thomas Love Peacock, Max Beerbohm, Ronald Firbank, E. F. Benson and Ivy Compton-Burnett. The literary critic and writer Cyril Connolly calls Wodehouse a \\\"politicians' author\\\"—one who does \\\"not like art to be exacting and difficult\\\".\",\n \"The literary critic and writer Cyril Connolly calls Wodehouse a \\\"politicians' author\\\"—one who does \\\"not like art to be exacting and difficult\\\". Two former British prime ministers, H. H. Asquith and Tony Blair, are on record as Wodehouse aficionados, and the latter became a patron of the Wodehouse Society.\",\n \"Two former British prime ministers, H. H. Asquith and Tony Blair, are on record as Wodehouse aficionados, and the latter became a patron of the Wodehouse Society. Seán O'Casey, a successful playwright of the 1920s, thought little of Wodehouse; he commented in 1941 that it was damaging to England's dignity that the public or \\\"the academic government of Oxford, dead from the chin up\\\" considered Wodehouse an important figure in English literature.\",\n \"Seán O'Casey, a successful playwright of the 1920s, thought little of Wodehouse; he commented in 1941 that it was damaging to England's dignity that the public or \\\"the academic government of Oxford, dead from the chin up\\\" considered Wodehouse an important figure in English literature. His jibe that Wodehouse was \\\"English literature's performing flea\\\" provided his target with the title of his collected letters, published in 1953.\",\n \"His jibe that Wodehouse was \\\"English literature's performing flea\\\" provided his target with the title of his collected letters, published in 1953. McCrum, writing in 2004, observes, \\\"Wodehouse is more popular today than on the day he died\\\", and \\\"his comic vision has an absolutely secure place in the English literary imagination.\\\"\",\n \"McCrum, writing in 2004, observes, \\\"Wodehouse is more popular today than on the day he died\\\", and \\\"his comic vision has an absolutely secure place in the English literary imagination.\\\" Honours and influence The proposed nominations of Wodehouse for a knighthood in 1967 and 1971 were blocked for fear that such an award would \\\"revive the controversy of his wartime behaviour and give currency to a Bertie Wooster image of the British character which the embassy was doing its best to eradicate\\\".\",\n \"Honours and influence The proposed nominations of Wodehouse for a knighthood in 1967 and 1971 were blocked for fear that such an award would \\\"revive the controversy of his wartime behaviour and give currency to a Bertie Wooster image of the British character which the embassy was doing its best to eradicate\\\". When Wodehouse was awarded the knighthood, only four years later, the journalist Dennis Barker wrote in The Guardian that the writer was \\\"the solitary surviving English literary comic genius\\\".\",\n \"When Wodehouse was awarded the knighthood, only four years later, the journalist Dennis Barker wrote in The Guardian that the writer was \\\"the solitary surviving English literary comic genius\\\". After his death six weeks later, the journalist Michael Davie, writing in the same paper, observed that \\\"Many people regarded ... [Wodehouse] as he regarded Beachcomber, as 'one, if not more than one, of England's greatest men'\\\", while in the view of the obituarist for The Times Wodehouse \\\"was a comic genius recognized in his lifetime as a classic and an old master of farce\\\".\",\n \"After his death six weeks later, the journalist Michael Davie, writing in the same paper, observed that \\\"Many people regarded ... [Wodehouse] as he regarded Beachcomber, as 'one, if not more than one, of England's greatest men'\\\", while in the view of the obituarist for The Times Wodehouse \\\"was a comic genius recognized in his lifetime as a classic and an old master of farce\\\". In September 2019 Wodehouse was commemorated with a memorial stone in Westminster Abbey; the dedication was held two days after it was installed.\",\n \"In September 2019 Wodehouse was commemorated with a memorial stone in Westminster Abbey; the dedication was held two days after it was installed. Since Wodehouse's death there have been numerous adaptations and dramatisations of his work on television and film; Wodehouse himself has been portrayed on radio and screen numerous times.\",\n \"Since Wodehouse's death there have been numerous adaptations and dramatisations of his work on television and film; Wodehouse himself has been portrayed on radio and screen numerous times. There are several literary societies dedicated to Wodehouse. The P.G. Wodehouse Society (UK) was founded in 1997 and has over 1,000 members as at 2015.\",\n \"Wodehouse Society (UK) was founded in 1997 and has over 1,000 members as at 2015. The president of the society as at 2017 is Alexander Armstrong; past presidents have included Terry Wogan and Richard Briers.\",\n \"The president of the society as at 2017 is Alexander Armstrong; past presidents have included Terry Wogan and Richard Briers. There are also other groups of Wodehouse fans in Australia, Belgium, France, Finland, India, Italy, Russia, Sweden and the US.\",\n \"There are also other groups of Wodehouse fans in Australia, Belgium, France, Finland, India, Italy, Russia, Sweden and the US. As at 2015 the Oxford English Dictionary contains over 1,750 quotations from Wodehouse, illustrating terms from crispish to zippiness.\",\n \"As at 2015 the Oxford English Dictionary contains over 1,750 quotations from Wodehouse, illustrating terms from crispish to zippiness. Voorhees, while acknowledging that Wodehouse's antecedents in literature range from Ben Jonson to Oscar Wilde, writes: Notes, references and sources Notes References Sources External links P. G. Wodehouse collection at One More Library P.G.\",\n \"Voorhees, while acknowledging that Wodehouse's antecedents in literature range from Ben Jonson to Oscar Wilde, writes: Notes, references and sources Notes References Sources External links P. G. Wodehouse collection at One More Library P.G. Wodehouse Archive on loan to the British Library The Wodehouse Society The P. G. Wodehouse Society (UK) Transcripts of Wodehouse's Berlin Broadcasts \\\"P. G. Wodehouse: An English Master of American Slang\\\" from The American Legion Weekly, 24 October 1919 Orwell, George \\\"In Defence of P.G.\",\n \"Wodehouse Archive on loan to the British Library The Wodehouse Society The P. G. Wodehouse Society (UK) Transcripts of Wodehouse's Berlin Broadcasts \\\"P. G. Wodehouse: An English Master of American Slang\\\" from The American Legion Weekly, 24 October 1919 Orwell, George \\\"In Defence of P.G. Wodehouse\\\" 1881 births 1975 deaths 20th-century English novelists 20th-century British dramatists and playwrights British emigrants to the United States English lyricists Knights Commander of the Order of the British Empire English male dramatists and playwrights British male novelists People educated at Dulwich College People educated at Elizabeth College, Guernsey People from Guildford People from Long Island PG People interned during World War II English humorists 20th-century American novelists American dramatists and playwrights American humorists American lyricists American male novelists Novelists from New York (state) Literature controversies English broadcasters for Nazi Germany 20th-century American male writers\"\n]"}}},{"rowIdx":463,"cells":{"History":{"kind":"list like","value":["P. G. Wodehouse","Broadway: 1915-19","What happened in 1915?","Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator.","what did the two collaborate on?","This was Miss Springtime (1916), which ran for 227 performances--a good run by the standards of the day.","what did they do next?","The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917-18) and Oh, Lady! Lady!! (1918),","were there any other successes?","Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin.","what other composers?","I don't know."],"string":"[\n \"P. G. Wodehouse\",\n \"Broadway: 1915-19\",\n \"What happened in 1915?\",\n \"Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator.\",\n \"what did the two collaborate on?\",\n \"This was Miss Springtime (1916), which ran for 227 performances--a good run by the standards of the day.\",\n \"what did they do next?\",\n \"The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917-18) and Oh, Lady! Lady!! (1918),\",\n \"were there any other successes?\",\n \"Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin.\",\n \"what other composers?\",\n \"I don't know.\"\n]"},"QuAC_dialog_id":{"kind":"string","value":"C_01908f72800044fda5b1d74a25e24226_1"},"Question":{"kind":"string","value":"Did he do anything other than musicals?"},"Question_no":{"kind":"number","value":6,"string":"6"},"Rewrite":{"kind":"string","value":"Did PG Wodehouse do anything other than musicals?"},"true_page_title":{"kind":"string","value":"P. G. Wodehouse"},"true_contexts":{"kind":"string","value":"A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator. Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York. The show was successful, but they thought the song lyrics weak and invited Wodehouse to join them on its successor. This was Miss Springtime (1916), which ran for 227 performances--a good run by the standards of the day. The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917-18) and Oh, Lady! Lady!! (1918), and Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin. Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies. Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do. Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical. In the Grove Dictionary of American Music Larry Stempel writes, \"By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy.\" The theatre writer Gerald Bordman calls Wodehouse \"the most observant, literate, and witty lyricist of his day\". The composer Richard Rodgers wrote, \"Before Larry Hart, only P.G. Wodehouse had made any real assault on the intelligence of the song-listening public.\" In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones. Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest. Various other young men-about-town appeared in short stories about members of the Drones Club. The Wodehouses returned to England, where they had a house in London for some years, but Wodehouse continued to cross the Atlantic frequently, spending substantial periods in New York. He continued to work in the theatre. During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York). He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnar, and A Damsel in Distress (1928), a dramatisation of his 1919 novel. Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods. Donaldson lists among those with whom he was on friendly terms writers including A.A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith, Jr., Heather Thatcher and Dorothy Dickson. CANNOTANSWER"},"answer":{"kind":"string","value":"Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories;"},"true_contexts_wiki":{"kind":"string","value":"Sir Pelham Grenville Wodehouse, ( ; 15 October 188114 February 1975) was an English author and one of the most widely read humorists of the 20th century. His creations include the feather-brained Bertie Wooster and his sagacious valet, Jeeves; the immaculate and loquacious Psmith; Lord Emsworth and the Blandings Castle set; the Oldest Member, with stories about golf; and Mr Mulliner, with tall tales on subjects ranging from bibulous bishops to megalomaniac movie moguls.\n\nBorn in Guildford, the third son of a British magistrate based in Hong Kong, Wodehouse spent happy teenage years at Dulwich College, to which he remained devoted all his life. After leaving school he was employed by a bank but disliked the work and turned to writing in his spare time. His early novels were mostly school stories, but he later switched to comic fiction. Most of Wodehouse's fiction is set in his native United Kingdom, although he spent much of his life in the US and used New York and Hollywood as settings for some of his novels and short stories. He wrote a series of Broadway musical comedies during and after the First World War, together with Guy Bolton and Jerome Kern, that played an important part in the development of the American musical. He began the 1930s writing for MGM in Hollywood. In a 1931 interview, his naive revelations of incompetence and extravagance in the studios caused a furore. In the same decade, his literary career reached a new peak.\n\nIn 1934 Wodehouse moved to France for tax reasons; in 1940 he was taken prisoner at Le Touquet by the invading Germans and interned for nearly a year. After his release he made six broadcasts from German radio in Berlin to the US, which had not yet entered the war. The talks were comic and apolitical, but his broadcasting over enemy radio prompted anger and strident controversy in Britain, and a threat of prosecution. Wodehouse never returned to England. From 1947 until his death he lived in the US, taking dual British-American citizenship in 1955. He died in 1975, at the age of 93, in Southampton, New York.\n\nWodehouse was a prolific writer throughout his life, publishing more than ninety books, forty plays, two hundred short stories and other writings between 1902 and 1974. He worked extensively on his books, sometimes having two or more in preparation simultaneously. He would take up to two years to build a plot and write a scenario of about thirty thousand words. After the scenario was complete he would write the story. Early in his career Wodehouse would produce a novel in about three months, but he slowed in old age to around six months. He used a mixture of Edwardian slang, quotations from and allusions to numerous poets, and several literary techniques to produce a prose style that has been compared to comic poetry and musical comedy. Some critics of Wodehouse have considered his work flippant, but among his fans are former British prime ministers and many of his fellow writers.\n\nLife and career\n\nEarly years\nWodehouse was born in Guildford, Surrey, the third son of Henry Ernest Wodehouse (1845–1929), a magistrate resident in the British colony of Hong Kong, and his wife, Eleanor (1861–1941), daughter of the Rev John Bathurst Deane. The Wodehouses, who traced their ancestry back to the 13th century, belonged to a cadet branch of the family of the earls of Kimberley. Eleanor Wodehouse was also of ancient aristocratic ancestry. She was visiting her sister in Guildford when Wodehouse was born there prematurely.\n\nThe boy was baptised at the Church of St Nicolas, Guildford, and was named after his godfather, Pelham von Donop. Wodehouse wrote in 1957, \"If you ask me to tell you frankly if I like the name Pelham Grenville Wodehouse, I must confess that I do not.... I was named after a godfather, and not a thing to show for it but a small silver mug which I lost in 1897.\" The first name was rapidly elided to \"Plum\", the name by which Wodehouse became known to family and friends.\n\nMother and son sailed for Hong Kong, where for his first two years Wodehouse was raised by a Chinese amah (nurse), alongside his elder brothers Peveril (1877–1951) and Armine (1879–1936). When he was two, the brothers were brought to England, where they were placed under the care of an English nanny in a house adjoining that of Eleanor's father and mother. The boys' parents returned to Hong Kong and became virtual strangers to their sons. Such an arrangement was then normal for middle-class families based in the colonies. The lack of parental contact, and the harsh regime of some of those in loco parentis, left permanent emotional scars on many children from similar backgrounds, including the writers Thackeray, Saki, Kipling and Walpole. Wodehouse was more fortunate; his nanny, Emma Roper, was strict but not unkind, and both with her and later at his different schools Wodehouse had a generally happy childhood. His recollection was that \"it went like a breeze from start to finish, with everybody I met understanding me perfectly\". The biographer Robert McCrum suggests that nonetheless Wodehouse's isolation from his parents left a psychological mark, causing him to avoid emotional engagement both in life and in his works. Another biographer, Frances Donaldson, writes, \"Deprived so early, not merely of maternal love, but of home life and even a stable background, Wodehouse consoled himself from the youngest age in an imaginary world of his own.\"\n\nIn 1886 the brothers were sent to a dame-school in Croydon, where they spent three years. Peveril was then found to have a \"weak chest\"; sea air was prescribed, and the three boys were moved to Elizabeth College on the island of Guernsey. In 1891 Wodehouse went on to Malvern House Preparatory School in Kent, which concentrated on preparing its pupils for entry to the Royal Navy. His father had planned a naval career for him, but the boy's eyesight was found to be too poor for it. He was unimpressed by the school's narrow curriculum and zealous discipline; he later parodied it in his novels, with Bertie Wooster recalling his early years as a pupil at a \"penitentiary... with the outward guise of a prep school\" called Malvern House.\n\nThroughout their school years the brothers were sent to stay during the holidays with various uncles and aunts from both sides of the family. In the Oxford Dictionary of National Biography, Iain Sproat counts twenty aunts and considers that they played an important part not only in Wodehouse's early life, but, thinly disguised, in his mature novels, as the formidable aunts who dominate the action in the Wooster, Blandings, and other stories. The boys had fifteen uncles, four of whom were clergymen. Sproat writes that they inspired Wodehouse's \"pious but fallible curates, vicars, and bishops, of which he wrote with friendly irreverence but without mockery\".\n\nAt the age of twelve in 1894, to his great joy, Wodehouse was able to follow his brother Armine to Dulwich College. He was entirely at home there; Donaldson comments that Dulwich gave him, for the first time, \"some continuity and a stable and ordered life\". He loved the camaraderie, distinguished himself at cricket, rugby and boxing, and was a good, if not consistently diligent, student. The headmaster at the time was A. H. Gilkes, a respected classicist, who was a strong influence on Wodehouse. In a study of Wodehouse's works, Richard Usborne argues that \"only a writer who was himself a scholar and had had his face ground into Latin and Greek (especially Thucydides) as a boy\" could sustain the complex sequences of subordinate clauses sometimes found in Wodehouse's comic prose.\n\nWodehouse's six years at Dulwich were among the happiest of his life: \"To me the years between 1894 and 1900 were like heaven.\" In addition to his sporting achievements he was a good singer and enjoyed taking part in school concerts; his literary leanings found an outlet in editing the school magazine, The Alleynian. For the rest of his life he remained devoted to the school. The biographer Barry Phelps writes that Wodehouse \"loved the college as much as he loved anything or anybody\".\n\nReluctant banker; budding writer: 1900–1908\n\nWodehouse expected to follow Armine to the University of Oxford, but the family's finances took a turn for the worse at the crucial moment. Ernest Wodehouse had retired in 1895, and his pension was paid in rupees; fluctuation against the pound reduced its value in Britain. Wodehouse recalled, \"The wolf was not actually whining at the door and there was always a little something in the kitty for the butcher and the grocer, but the finances would not run to anything in the nature of a splash\". Instead of a university career, in September 1900 Wodehouse was engaged in a junior position in the London office of the Hongkong and Shanghai Bank. He was unsuited to it and found the work baffling and uncongenial. He later wrote a humorous account of his experiences at the bank, but at the time he longed for the end of each working day, when he could return to his rented lodgings in Chelsea and write. At first he concentrated, with some success, on serious articles about school sports for Public School Magazine. In November 1900 his first comic piece, \"Men Who Missed Their Own Weddings\", was accepted by Tit-Bits. A new magazine for boys, The Captain, provided further well-paid opportunities, and during his two years at the bank, Wodehouse had eighty pieces published in a total of nine magazines.\n\nIn 1901, with the help of a former Dulwich master, William Beach Thomas, Wodehouse secured an appointment—at first temporary and later permanent—writing for The Globes popular \"By the Way\" column. He held the post until 1909. At around the same time his first novel was published—a school story called The Pothunters, serialised incomplete in Public School Magazine in early 1902, and issued in full in hardback in September. He resigned from the bank that month to devote himself to writing full-time.\n\nBetween the publication of The Pothunters 1902 and that of Mike in 1909, Wodehouse wrote eight novels and co-wrote another two. The critic R. D. B. French writes that, of Wodehouse's work from this period, almost all that deserves to survive is the school fiction. Looking back in the 1950s Wodehouse viewed these as his apprentice years: \"I was practically in swaddling clothes and it is extremely creditable to me that I was able to write at all.\"\n\nFrom his boyhood Wodehouse had been fascinated by America, which he conceived of as \"a land of romance\"; he \"yearned\" to visit the country, and by 1904 he had earned enough to do so. In April he sailed to New York, which he found greatly to his liking. He noted in his diary: \"In New York gathering experience. Worth many guineas in the future but none for the moment.\" This prediction proved correct: few British writers had first-hand experience of the US, and his articles about life in New York brought him higher than usual fees. He later recalled that \"in 1904 anyone in the London writing world who had been to America was regarded with awe and looked upon as an authority on that terra incognita.... After that trip to New York I was a man who counted.... My income rose like a rocketing pheasant.\"\n\nWodehouse's other new venture in 1904 was writing for the stage. Towards the end of the year the librettist Owen Hall invited him to contribute an additional lyric for a musical comedy Sergeant Brue. Wodehouse had loved theatre since his first visit, aged thirteen, when Gilbert and Sullivan's Patience had made him \"drunk with ecstasy\". His lyric for Hall, \"Put Me in My Little Cell\", was a Gilbertian number for a trio of comic crooks, with music by Frederick Rosse; it was well received and launched Wodehouse on a career as a theatre writer that spanned three decades.\n\nAlthough it made little impact on its first publication, the 1906 novel Love Among the Chickens contained what French calls the author's first original comic creation: Stanley Featherstonehaugh Ukridge. The character, an amoral, bungling opportunist, is partly based on Wodehouse's Globe colleague Herbert Westbrook. The two collaborated between 1907 and 1913 on two books, two music hall sketches, and a play, Brother Alfred. Wodehouse would return to the character in short stories over the next six decades.\n\nIn early 1906 the actor-manager Seymour Hicks invited Wodehouse to become resident lyricist at the Aldwych Theatre, to add topical verses to newly imported or long-running shows. Hicks had already recruited the young Jerome Kern to write the music for such songs. The first Kern-Wodehouse collaboration, a comic number for The Beauty of Bath titled \"Mr [Joseph] Chamberlain\", was a show-stopper and was briefly the most popular song in London.\n\nPsmith, Blandings, Wooster and Jeeves: 1908–1915\n\nWodehouse's early period as a writer came to an end in 1908 with the serialisation of The Lost Lambs, published the following year in book form as the second half of the novel Mike. The work begins as a conventional school story, but Wodehouse introduces a new and strikingly original character, Psmith, whose creation both Evelyn Waugh and George Orwell regarded as a watershed in Wodehouse's development. Wodehouse said that he based Psmith on the hotelier and impresario Rupert D'Oyly Carte—\"the only thing in my literary career which was handed to me on a silver plate with watercress around it\". Wodehouse wrote in the 1970s that a cousin of his who had been at school with Carte told him of the latter's monocle, studied suavity, and stateliness of speech, all of which Wodehouse adopted for his new character. Psmith featured in three more novels: Psmith in the City (1910), a burlesque of banking; Psmith, Journalist (1915) set in New York; and Leave It to Psmith (1923), set at Blandings Castle.\n\nIn May 1909 Wodehouse made his second visit to New York, where he sold two short stories to Cosmopolitan and Collier's for a total of $500, a much higher fee than he had commanded previously. He resigned from The Globe and stayed in New York for nearly a year. He sold many more stories, but none of the American publications offered a permanent relationship and guaranteed income. Wodehouse returned to England in late 1910, rejoining The Globe and also contributing regularly to The Strand Magazine. Between then and the outbreak of the First World War in 1914 he revisited America frequently.\n\nWodehouse was in New York when the war began. Ineligible for military service because of his poor eyesight, he remained in the US throughout the war, detached from the conflict in Europe and absorbed in his theatrical and literary concerns. In September 1914 he married Ethel May Wayman, née Newton (1885–1984), an English widow. The marriage proved happy and lifelong. Ethel's personality was in contrast with her husband's: he was shy and impractical; she was gregarious, decisive and well organised. In Sproat's phrase, she \"took charge of Wodehouse's life and made certain that he had the peace and quiet he needed to write\". There were no children of the marriage, but Wodehouse came to love Ethel's daughter Leonora (1905–1944) and legally adopted her.\n\nWodehouse experimented with different genres of fiction in these years; Psmith, Journalist, mixing comedy with social comment on slum landlords and racketeers, was published in 1915. In the same year The Saturday Evening Post paid $3,500 to serialise Something New, the first of what became a series of novels set at Blandings Castle. It was published in hardback in the US and the UK in the same year (the British edition being retitled Something Fresh). It was Wodehouse's first farcical novel; it was also his first best-seller, and although his later books included some gentler, lightly sentimental stories, it was as a farceur that he became known. Later in the same year \"Extricating Young Gussie\", the first story about Bertie and Jeeves, was published. These stories introduced two sets of characters about whom Wodehouse wrote for the rest of his life. The Blandings Castle stories, set in an English stately home, depict the attempts of the placid Lord Emsworth to evade the many distractions around him, which include successive pairs of young lovers, the machinations of his exuberant brother Galahad, the demands of his domineering sisters and super-efficient secretaries, and anything detrimental to his prize sow, the Empress of Blandings. The Bertie and Jeeves stories feature an amiable young man-about-town, regularly rescued from the consequences of his idiocy by the benign interference of his valet.\n\nBroadway: 1915–1919\n\nA third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator. Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York. The show was successful, but they thought the song lyrics weak and invited Wodehouse to join them on its successor. This was Miss Springtime (1916), which ran for 227 performances—a good run by the standards of the day. The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917–18) and Oh, Lady! Lady!! (1918), and Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin.\n\nUnlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies. Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do. Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical. In the Grove Dictionary of American Music Larry Stempel writes, \"By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy.\" The theatre writer Gerald Bordman calls Wodehouse \"the most observant, literate, and witty lyricist of his day\". The composer Richard Rodgers wrote, \"Before Larry Hart, only P.G. Wodehouse had made any real assault on the intelligence of the song-listening public.\"\n\n1920s\nIn the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones. Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest. Various other young men-about-town appeared in short stories about members of the Drones Club.\n\nThe Wodehouses returned to England, where they had a house in London for some years, but Wodehouse continued to cross the Atlantic frequently, spending substantial periods in New York. He continued to work in the theatre. During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York). He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnár, and A Damsel in Distress (1928), a dramatisation of his 1919 novel.\n\nThough never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods. Donaldson lists among those with whom he was on friendly terms writers including A. A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith Jr., Heather Thatcher and Dorothy Dickson.\n\nHollywood: 1929–1931\nThere had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name. Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM). Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week. This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929.\n\nThe contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories. He commented, \"It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary.\" Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used. In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was \"as close to a success as Wodehouse was to have at MGM. His only other credits were minimal, and the other projects he worked on were not produced.\"\n\nWodehouse's contract ended after a year and was not renewed. At MGM's request, he gave an interview to The Los Angeles Times. Wodehouse was described by Herbert Warren Wind as \"politically naive [and] fundamentally unworldly\", and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent. The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry. Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been \"a storm in a teacup\", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable.\n\nWind's view of Wodehouse's naïveté is not universally held. Biographers including Donaldson, McCrum and Phelps suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute. He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire.\n\nBest-seller: 1930s\nDuring the 1930s Wodehouse's theatrical work tailed off. He wrote or adapted four plays for the West End; Leave it to Psmith (1930), which he adapted in collaboration with Ian Hay, was the only one to have a long run. The reviewer in The Manchester Guardian praised the play, but commented: \"It is Mr Wodehouse's own inimitable narrative comments and descriptions in his own person of the antics of his puppets that one misses. They cannot be got into a play and they are at least half the fun of the novels.\" In 1934 Wodehouse collaborated with Bolton on the book for Cole Porter's Anything Goes (Porter wrote his own lyrics), but at the last minute their version was almost entirely rewritten by others at the instigation of the producer, who disliked the original script. Concentrating on writing novels and short stories, Wodehouse reached the peak of his productivity in this decade, averaging two books each year, and grossing an annual £100,000.\n\nHis practice of dividing his time between Britain and America caused Wodehouse difficulties with the tax authorities of both countries. Both the UK Inland Revenue and the US Internal Revenue Service sought to tax him as a resident. The matter was settled after lengthy negotiations, but the Wodehouses decided to change their residential status beyond doubt by moving to France, where they bought a house near Le Touquet in the north.\n\nIn 1935 Wodehouse created the last of his regular cast of principal characters, Lord Ickenham, otherwise known as Uncle Fred, who, in Usborne's words, \"leads the dance in four novels and a short story... a whirring dynamo of misrule\". His other books from the decade include Right Ho, Jeeves, which Donaldson judged his best work, Uncle Fred in the Springtime, which the writer Bernard Levin considered the best, and Blandings Castle, which contains \"Lord Emsworth and the Girl Friend\", which Rudyard Kipling thought \"one of the most perfect short stories I have ever read\".\n\nOther leading literary figures who admired Wodehouse were A. E. Housman, Max Beerbohm and Hilaire Belloc; on the radio and in print Belloc called Wodehouse \"the best writer of our time: the best living writer of English... the head of my profession\". Wodehouse regarded Belloc's plaudit as \"a gag, to get a rise out of serious-minded authors whom he disliked\". Wodehouse was never sure that his books had literary merit as well as popular appeal, and, Donaldson suggests, must have been overwhelmed when the University of Oxford conferred an honorary doctorate of letters on him in June 1939. His visit to England for the awarding ceremony was the last time he set foot in his native land.\n\nSecond World War: internment and broadcasts\nAt the start of the Second World War Wodehouse and his wife remained at their Le Touquet house, where, during the Phoney War, he worked on Joy in the Morning. With the advance of the Germans, the nearby Royal Air Force base withdrew; Wodehouse was offered the sole spare seat in one of the fighter aircraft, but he turned down the opportunity as it would have meant leaving behind Ethel and their dog. On 21 May 1940, with German troops advancing through northern France, the Wodehouses decided to drive to Portugal and fly from there to the US. Two miles from home their car broke down, so they returned and borrowed a car from a neighbour; with the routes blocked with refugees, they returned home again.\n\nThe Germans occupied Le Touquet on 22 May 1940 and Wodehouse had to report to the authorities daily. After two months of occupation the Germans interned all male enemy nationals under 60, and Wodehouse was sent to a former prison in Loos, a suburb of Lille, on 21 July; Ethel remained in Le Touquet. The internees were placed four to a cell, each of which had been designed for one man. One bed was available per cell, which was made available to the eldest man—not Wodehouse, who slept on the granite floor. The prisoners were not kept long in Loos before they were transported in cattle trucks to a former barracks in Liège, Belgium, which was run as a prison by the SS. After a week the men were transferred to Huy in Liège, where they were incarcerated in the local citadel. They remained there until September 1940, when they were transported to Tost in Upper Silesia (then Germany, now Toszek in Poland).\n\nWodehouse's family and friends had not had any news of his location after the fall of France, but an article from an Associated Press reporter who had visited Tost in December 1940 led to pressure on the German authorities to release the novelist. This included a petition from influential people in the US; Senator W. Warren Barbour presented it to the German ambassador. Although his captors refused to release him, Wodehouse was provided with a typewriter and, to pass the time, he wrote Money in the Bank. Throughout his time in Tost, he sent postcards to his US literary agent asking for $5 to be sent to various people in Canada, mentioning his name. These were the families of Canadian prisoners of war, and the news from Wodehouse was the first indication that their sons were alive and well. Wodehouse risked severe punishment for the communication, but managed to evade the German censor.\n\nOn 21 June 1941, while he was in the middle of playing a game of cricket, Wodehouse received a visit from two members of the Gestapo. He was given ten minutes to pack his things before he was taken to the Hotel Adlon, a top luxury hotel in Berlin. He stayed there at his own expense; royalties from the German editions of his books had been put into a special frozen bank account at the outset of the war, and Wodehouse was permitted to draw upon this money he had earned while staying in Berlin. He was thus released from internment a few months before his sixtieth birthday—the age at which civilian internees were released by the Nazis. Shortly afterwards Wodehouse was, in the words of Phelps, \"cleverly trapped\" into making five broadcasts to the US via German radio, with the Berlin-based correspondent of the Columbia Broadcasting System. The broadcasts—aired on 28 June, 9, 23 and 30 July and 6 August—were titled How to be an Internee Without Previous Training, and comprised humorous anecdotes about Wodehouse's experiences as a prisoner, including some gentle mocking of his captors. The German propaganda ministry arranged for the recordings to be broadcast to Britain in August. The day after Wodehouse recorded his final programme, Ethel joined him in Berlin, having sold most of her jewellery to pay for the journey.\n\nAftermath: reactions and investigation\nThe reaction in Britain to Wodehouse's broadcasts was hostile, and he was \"reviled ... as a traitor, collaborator, Nazi propagandist, and a coward\", although, Phelps observes, many of those who decried his actions had not heard the content of the programmes. A front-page article in The Daily Mirror stated that Wodehouse \"lived luxuriously because Britain laughed with him, but when the laughter was out of his country's heart, ... [he] was not ready to share her suffering. He hadn't the guts ... even to stick it out in the internment camp.\" In the House of Commons Anthony Eden, the Foreign Secretary, regretted Wodehouse's actions. Several libraries removed Wodehouse novels from their shelves.\n\nOn 15 July the journalist William Connor, under his pen name Cassandra, broadcast a postscript to the news programme railing against Wodehouse. According to The Times, the broadcast \"provoked a storm of complaint ... from listeners all over the country\". Wodehouse's biographer, Joseph Connolly, thinks the broadcast \"inaccurate, spiteful and slanderous\"; Phelps calls it \"probably the most vituperative attack on an individual ever heard on British radio\". The broadcast was made at the direct instruction of Duff Cooper, the Minister of Information, who overruled strong protests made by the BBC against the decision to air the programme. Numerous letters appeared in the British press, both supporting and criticising Wodehouse. The letters page of The Daily Telegraph became a focus for censuring Wodehouse, including one from Wodehouse's friend, ; a reply from their fellow author Compton Mackenzie in defence of Wodehouse was not published because the editor claimed a lack of space. Most of those defending Wodehouse against accusations of disloyalty, including Sax Rohmer, Dorothy L. Sayers and Gilbert Frankau, conceded that he had acted stupidly. Some members of the public wrote to the newspapers to say that the full facts were not yet known and a fair judgment could not be made until they were. The management of the BBC, who considered Wodehouse's actions no worse than \"ill advised\", pointed out to Cooper that there was no evidence at that point whether Wodehouse had acted voluntarily or under compulsion.\n\nWhen Wodehouse heard of the furore the broadcasts had caused, he contacted the Foreign Office—through the Swiss embassy in Berlin—to explain his actions, and attempted to return home via neutral countries, but the German authorities refused to let him leave. In Performing Flea, a 1953 collection of letters, Wodehouse wrote, \"Of course I ought to have had the sense to see that it was a loony thing to do to use the German radio for even the most harmless stuff, but I didn't. I suppose prison life saps the intellect\". The reaction in America was mixed: the left-leaning publication PM accused Wodehouse of \"play[ing] Jeeves to the Nazis\", but the Department of War used the interviews as an ideal representation of anti-Nazi propaganda.\n\nThe Wodehouses remained in Germany until September 1943, when, because of the Allied bombings, they were allowed to move back to Paris. They were living there when the city was liberated on 25 August 1944; Wodehouse reported to the American authorities the following day, asking them to inform the British of his whereabouts. He was subsequently visited by Malcolm Muggeridge, recently arrived in Paris as an intelligence officer with MI6. The young officer quickly came to like Wodehouse and considered the question of treasonable behaviour as \"ludicrous\"; he summed up the writer as \"ill-fitted to live in an age of ideological conflict\". On 9 September Wodehouse was visited by an MI5 officer and former barrister, Major Edward Cussen, who formally investigated him, a process that stretched over four days. On 28 September Cussen filed his report, which states that in regard to the broadcasts, Wodehouse's behaviour \"has been unwise\", but advised against further action. On 23 November Theobald Matthew, the Director of Public Prosecutions, decided there was no evidence to justify prosecuting Wodehouse.\n\nIn November 1944 Duff Cooper was appointed British ambassador to France and was provided accommodation at the Hôtel Le Bristol, where the Wodehouses were living. Cooper complained to the French authorities, and the couple were moved to a different hotel. They were subsequently arrested by French police and placed under preventive detention, despite no charges being presented. When Muggeridge tracked them down later, he managed to get Ethel released straight away and, four days later, ensured that the French authorities declared Wodehouse unwell and put him in a nearby hospital, which was more comfortable than where they had been detained. While in this hospital, Wodehouse worked on his novel Uncle Dynamite.\n\nWhile still detained by the French, Wodehouse was again mentioned in questions in the House of Commons in December 1944 when MPs wondered if the French authorities could repatriate him to stand trial. Eden stated that the \"matter has been gone into, and, according to the advice given, there are no grounds upon which we could take action\". Two months later, Orwell wrote the essay \"In Defence of P.G. Wodehouse\", where he stated that \"it is important to realise that the events of 1941 do not convict Wodehouse of anything worse than stupidity\". Orwell's rationale was that Wodehouse's \"moral outlook has remained that of a public-school boy, and according to the public-school code, treachery in time of war is the most unforgivable of all the sins\", which was compounded by his \"complete lack—so far as one can judge from his printed works—of political awareness\".\n\nOn 15 January 1945 the French authorities released Wodehouse, but they did not inform him, until June 1946, that he would not face any official charges and was free to leave the country.\n\nAmerican exile: 1946–1975\nHaving secured American visas in July 1946, the Wodehouses made preparations to return to New York. They were delayed by Ethel's insistence on acquiring suitable new clothes and by Wodehouse's wish to finish writing his current novel, The Mating Season, in the peace of the French countryside. In April 1947 they sailed to New York, where Wodehouse was relieved at the friendly reception he received from the large press contingent awaiting his arrival. Ethel secured a comfortable penthouse apartment in Manhattan's Upper East Side, but Wodehouse was not at ease. The New York that he had known before the war was much changed. The magazines that had paid lavishly for his stories were in decline, and those that remained were not much interested in him. He was sounded out about writing for Broadway, but he was not at home in the post-war theatre; he had money problems, with large sums temporarily tied up in Britain, and for the first time in his career he had no ideas for a new novel. He did not complete one until 1951.\n\nWodehouse remained unsettled until he and Ethel left New York City for Long Island. Bolton and his wife lived in the prosperous hamlet of Remsenburg, part of the Southampton area of Long Island, east of Manhattan. Wodehouse stayed with them frequently, and in 1952 he and Ethel bought a house nearby. They lived at Remsenburg for the rest of their lives. Between 1952 and 1975 he published more than twenty novels, as well as two collections of short stories, a heavily edited collection of his letters, a volume of memoirs, and a selection of his magazine articles. He continued to hanker after a revival of his theatrical career. A 1959 off-Broadway revival of the 1917 Bolton-Wodehouse-Kern Leave It to Jane was a surprise hit, running for 928 performances, but his few post-war stage works, some in collaboration with Bolton, made little impression.\n\nAlthough Ethel made a return visit to England in 1948 to shop and visit family and friends, Wodehouse never left America after his arrival in 1947. It was not until 1965 that the British government indicated privately that he could return without fear of legal proceedings, and by then he felt too old to make the journey. The biographers Benny Green and Robert McCrum both take the view that this exile benefited Wodehouse's writing, helping him to go on depicting an idealised England seen in his mind's eye, rather than as it actually was in the post-war decades. During their years in Long Island, the couple often took in stray animals and contributed substantial funds to a local animal shelter.\n\nIn 1955 Wodehouse became an American citizen, though he remained a British subject, and was therefore still eligible for UK state honours. He was considered for the award of a knighthood three times from 1967, but the honour was twice blocked by British officials. In 1974 the British prime minister, Harold Wilson, intervened to secure a knighthood (KBE) for Wodehouse, which was announced in the January 1975 New Year Honours list. The Times commented that Wodehouse's honour signalled \"official forgiveness for his wartime indiscretion.... It is late, but not too late, to take the sting out of that unhappy incident.\"\n\nThe following month Wodehouse entered Southampton Hospital, Long Island, for treatment of a skin complaint. While there, he suffered a heart attack and died on 14 February 1975 at the age of 93. He was buried at Remsenburg Presbyterian Church four days later. Ethel outlived him by more than nine years; Leonora had predeceased him, dying suddenly in 1944.\n\nWriting\n\nTechnique and approach\n\nBefore starting a book Wodehouse would write up to four hundred pages of notes bringing together an outline of the plot; he acknowledged that \"It's the plots that I find so hard to work out. It takes such a long time to work one out.\" He always completed the plot before working on specific character actions. For a novel the note-writing process could take up to two years, and he would usually have two or more novels in preparation simultaneously. After he had completed his notes, he would draw up a fuller scenario of about thirty thousand words, which ensured plot holes were avoided, and allowed for the dialogue to begin to develop. When interviewed in 1975 he revealed that \"For a humorous novel you've got to have a scenario, and you've got to test it so that you know where the comedy comes in, where the situations come in ... splitting it up into scenes (you can make a scene of almost anything) and have as little stuff in between as possible.\" He preferred working between 4 and 7 pm—but never after dinner—and would work seven days a week. In his younger years, he would write around two to three thousand words a day, although he slowed as he aged, so that in his nineties he would produce a thousand. The reduced speed in writing slowed his production of books: when younger he would produce a novel in about three months, while Bachelors Anonymous, published in 1973, took around six months. Although studies of language production in normal healthy ageing show a marked decline from the mid-70s on, a study of Wodehouse's works did not find any evidence of a decline in linguistic ability with age.\n\nWodehouse believed that one of the factors that made his stories humorous was his view of life, and he stated that \"If you take life fairly easily, then you take a humorous view of things. It's probably because you were born that way.\" He carried this view through into his writing, describing the approach as \"making the thing a sort of musical comedy without music, and ignoring real life altogether\". The literary critic Edward L. Galligan considers Wodehouse's stories to show his mastery in adapting the form of the American musical comedy for his writings. Wodehouse would ensure that his first draft was as carefully and accurately done as possible, correcting and refining the prose as he wrote, and would then make another good copy, before proofreading again and then making a final copy for his publisher.\n\nMost of Wodehouse's canon is set in an undated period around the 1920s and 1930s. The critic Anthony Lejeune describes the settings of Wodehouse's novels, such as the Drones Club and Blandings Castle, as \"a fairyland\". Although some critics thought Wodehouse's fiction was based on a world that had never existed, Wodehouse affirmed that \"it did. It was going strong between the wars\", although he agreed that his version was to some extent \"a sort of artificial world of my own creation\". The novels showed a largely unchanging world, regardless of when they were written, and only rarely—and mistakenly in McCrum's view—did Wodehouse allow modernity to intrude, as he did in the 1966 story \"Bingo Bans the Bomb\".\n\nWhen dealing with the dialogue in his novels, Wodehouse would consider the book's characters as if they were actors in a play, ensuring that the main roles were kept suitably employed throughout the storyline, which must be strong: \"If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them.\" Many of Wodehouse's parts were stereotypes, and he acknowledged that \"a real character in one of my books sticks out like a sore thumb.\" The publisher Michael Joseph identifies that even within the stereotypes Wodehouse understood human nature, and therefore \"shares with [Charles] Dickens and Charles Chaplin the ability to present the comic resistance of the individual against those superior forces to which we are all subject\".\n\nMuch of Wodehouse's use of slang terms reflects the influence of his time at school in Dulwich, and partly reflects Edwardian slang. As a young man he enjoyed the literary works of Arthur Conan Doyle and Jerome K. Jerome, and the operatic works of Gilbert and Sullivan. Wodehouse quotes from and alludes to numerous poets throughout his work. The scholar Clarke Olney lists those quoted, including Milton, Byron, Longfellow, Coleridge, Swinburne, Tennyson, Wordsworth and Shakespeare. Another favoured source was the King James Bible.\n\nLanguage\n\nIn 1941 the Concise Cambridge History of English Literature opined that Wodehouse had \"a gift for highly original aptness of phrase that almost suggests a poet struggling for release among the wild extravagances of farce\", while McCrum thinks that Wodehouse manages to combine \"high farce with the inverted poetry of his mature comic style\", particularly in The Code of the Woosters; the novelist Anthony Powell believes Wodehouse to be a \"comic poet\". Robert A. Hall Jr., in his study of Wodehouse's style and technique, describes the author as a master of prose, an opinion also shared by Levin, who considers Wodehouse \"one of the finest and purest writers of English prose\". Hall identifies several techniques used by Wodehouse to achieve comic effect, including the creation of new words through adding or removing prefixes and suffixes, so when Pongo Twistleton removes the housemaid Elsie Bean from a cupboard, Wodehouse writes that the character \"de-Beaned the cupboard\". Wodehouse created new words by splitting others in two, thus Wodehouse divides \"hobnobbing\" when he writes: \"To offer a housemaid a cigarette is not hobbing. Nor, when you light it for her, does that constitute nobbing.\"\n\nRichard Voorhees, Wodehouse's biographer, believes that the author used clichés in a deliberate and ironic manner. His opinion is shared by the academic Stephen Medcalf, who deems Wodehouse's skill is to \"bring a cliché just enough to life to kill it\", although Pamela March, writing in The Christian Science Monitor, considers Wodehouse to have \"an ability to decliché a cliché\". Medcalf provides an example from Right Ho, Jeeves in which the teetotal Gussie Fink-Nottle has surreptitiously been given whisky and gin in a punch prior to a prize-giving:\n\n 'It seems to me, Jeeves, that the ceremony may be one fraught with considerable interest.'\n'Yes, sir.'\n'What, in your opinion, will the harvest be?'\n'One finds it difficult to hazard a conjecture, sir.'\n'You mean imagination boggles?'\n'Yes, sir.'\nI inspected my imagination. He was right. It boggled.\n\nThe stylistic device most commonly found in Wodehouse's work is his use of comparative imagery that includes similes. Hall opines that the humour comes from Wodehouse's ability to accentuate \"resemblances which at first glance seem highly incongruous\". Examples can be seen in Joy in the Morning, Chapter 29: \"There was a sound in the background like a distant sheep coughing gently on a mountainside. Jeeves sailing into action\", or Psmith, Chapter 7: \"A sound like two or three pigs feeding rather noisily in the middle of a thunderstorm interrupted his meditation.\" Hall also identifies that periodically Wodehouse used the stylistic device of a transferred epithet, with an adjective that properly belongs to a person applied instead to some inanimate object. The form of expression is used sparingly by Wodehouse in comparison with other mechanisms, only once or twice in a story or novel, according to Hall.\n\n\"I balanced a thoughtful lump of sugar on the teaspoon.\"\n—Joy in the Morning, Chapter 5\n\n\"As I sat in the bath-tub, soaping a meditative foot ...\"\n—Jeeves and the Feudal Spirit, Chapter 1\n\n\"The first thing he did was to prod Jeeves in the lower ribs with an uncouth forefinger.\"\n—Much Obliged, Jeeves, Chapter 4\n\nWordplay is a key element in Wodehouse's writing. This can take the form of puns, such as in Jeeves and the Feudal Spirit, when Bertie is released after a night in the police cells, and says that he has \"a pinched look\" about him. Linguistic confusion is another humorous mechanism, such as in Uncle Dynamite when Constable Potter says he has been \"assaulted by the duck pond\". In reply, Sir Aylmer, confusing the two meanings of the word \"by\", asks: \"How the devil can you be assaulted by a duck pond?\" Wodehouse also uses metaphor and mixed metaphor to add humour. Some come through exaggeration, such as Bingo Little's infant child who \"not only has the aspect of a mass murderer, but that of a mass murderer suffering from an ingrown toenail\", or Wooster's complaint that \"the rumpuses that Bobbie Wickham is already starting may be amusing to her, but not to the unfortunate toads beneath the harrow whom she ruthlessly plunges into the soup.\" Bertie Wooster's half-forgotten vocabulary also provides a further humorous device. In Jeeves and the Feudal Spirit Bertie asks Jeeves \"Let a plugugly like young Thos loose in the community with a cosh, and you are inviting disaster and ... what's the word? Something about cats.\" Jeeves replies, \"Cataclysms, sir?\"\n\nReception and reputation\n\nLiterary reception\nWodehouse's early career as a lyricist and playwright was profitable, and his work with Bolton, according to The Guardian, \"was one of the most successful in the history of musical comedy\". At the outbreak of the Second World War he was earning £40,000 a year from his work, which had broadened to include novels and short stories. Following the furore ensuing from the wartime broadcasts, he suffered a downturn in his popularity and book sales; The Saturday Evening Post stopped publishing his short stories, a stance they reversed in 1965, although his popularity—and the sales figures—slowly recovered over time.\n\nWodehouse received great praise from many of his contemporaries, including Max Beerbohm, Rudyard Kipling, A. E. Housman and Evelyn Waugh—the last of whom opines, \"One has to regard a man as a Master who can produce on average three uniquely brilliant and entirely original similes on each page.\" There are dissenters to the praise. The writer Alan Bennett thinks that \"inspired though his language is, I can never take more than ten pages of the novels at a time, their relentless flippancy wearing and tedious\", while the literary critic Q. D. Leavis writes that Wodehouse had a \"stereotyped humour ... of ingenious variations on a laugh in one place\". In a 2010 study of Wodehouse's few relatively serious novels, such as The Coming of Bill (1919), Jill the Reckless (1920) and The Adventures of Sally (1922), David Heddendorf concludes that though their literary quality does not match that of the farcical novels, they show a range of empathy and interests that in real life—and in his most comic works—the author seemed to lack. \"Never oblivious to grief and despair, he opts in clear-eyed awareness for his timeless world of spats and woolly-headed peers. It's an austere, almost bloodless preference for pristine artifice over the pain and messy outcomes of actual existence, but it's a case of Wodehouse keeping faith with his own unique art.\"\n\nThe American literary analyst Robert F. Kiernan, defining \"camp\" as \"excessive stylization of whatever kind\", brackets Wodehouse as \"a master of the camp novel\", along with Thomas Love Peacock, Max Beerbohm, Ronald Firbank, E. F. Benson and Ivy Compton-Burnett. The literary critic and writer Cyril Connolly calls Wodehouse a \"politicians' author\"—one who does \"not like art to be exacting and difficult\". Two former British prime ministers, H. H. Asquith and Tony Blair, are on record as Wodehouse aficionados, and the latter became a patron of the Wodehouse Society. Seán O'Casey, a successful playwright of the 1920s, thought little of Wodehouse; he commented in 1941 that it was damaging to England's dignity that the public or \"the academic government of Oxford, dead from the chin up\" considered Wodehouse an important figure in English literature. His jibe that Wodehouse was \"English literature's performing flea\" provided his target with the title of his collected letters, published in 1953. McCrum, writing in 2004, observes, \"Wodehouse is more popular today than on the day he died\", and \"his comic vision has an absolutely secure place in the English literary imagination.\"\n\nHonours and influence\n\nThe proposed nominations of Wodehouse for a knighthood in 1967 and 1971 were blocked for fear that such an award would \"revive the controversy of his wartime behaviour and give currency to a Bertie Wooster image of the British character which the embassy was doing its best to eradicate\". When Wodehouse was awarded the knighthood, only four years later, the journalist Dennis Barker wrote in The Guardian that the writer was \"the solitary surviving English literary comic genius\". After his death six weeks later, the journalist Michael Davie, writing in the same paper, observed that \"Many people regarded ... [Wodehouse] as he regarded Beachcomber, as 'one, if not more than one, of England's greatest men'\", while in the view of the obituarist for The Times Wodehouse \"was a comic genius recognized in his lifetime as a classic and an old master of farce\". In September 2019 Wodehouse was commemorated with a memorial stone in Westminster Abbey; the dedication was held two days after it was installed.\n\nSince Wodehouse's death there have been numerous adaptations and dramatisations of his work on television and film; Wodehouse himself has been portrayed on radio and screen numerous times. There are several literary societies dedicated to Wodehouse. The P.G. Wodehouse Society (UK) was founded in 1997 and has over 1,000 members as at 2015. The president of the society as at 2017 is Alexander Armstrong; past presidents have included Terry Wogan and Richard Briers. There are also other groups of Wodehouse fans in Australia, Belgium, France, Finland, India, Italy, Russia, Sweden and the US. As at 2015 the Oxford English Dictionary contains over 1,750 quotations from Wodehouse, illustrating terms from crispish to zippiness. Voorhees, while acknowledging that Wodehouse's antecedents in literature range from Ben Jonson to Oscar Wilde, writes:\n\nNotes, references and sources\n\nNotes\n\nReferences\n\nSources\n\nExternal links\n\n \n \n \n \n \n \n \n P. G. Wodehouse collection at One More Library\n \n \n P.G. Wodehouse Archive on loan to the British Library\n The Wodehouse Society\n The P. G. Wodehouse Society (UK)\n Transcripts of Wodehouse's Berlin Broadcasts\n \n\n \"P. G. Wodehouse: An English Master of American Slang\" from The American Legion Weekly, 24 October 1919\n Orwell, George \"In Defence of P.G. Wodehouse\"\n\n \n1881 births\n1975 deaths\n20th-century English novelists\n20th-century British dramatists and playwrights\nBritish emigrants to the United States\nEnglish lyricists\nKnights Commander of the Order of the British Empire\nEnglish male dramatists and playwrights\nBritish male novelists\nPeople educated at Dulwich College\nPeople educated at Elizabeth College, Guernsey\nPeople from Guildford\nPeople from Long Island\nPG\nPeople interned during World War II\nEnglish humorists\n20th-century American novelists\nAmerican dramatists and playwrights\nAmerican humorists\nAmerican lyricists\nAmerican male novelists\nNovelists from New York (state)\nLiterature controversies\nEnglish broadcasters for Nazi Germany\n20th-century American male writers"},"extractive":{"kind":"string","value":"true"},"retrieved_contexts":{"kind":"list like","value":["A , also known as an anime musical, is a type of modern Japanese musical theatre production based exclusively on popular Japanese anime, manga, or video games. The term \"2.5D musical\" was coined to describe stories presented in a two-dimensional medium being brought to real life.\n\nApproximately 70 2.5D musicals were produced in 2013 and attracted at least 1.6 million people, most of them young women in their teens and 20s. 2.5D musicals are often seen as the starting point of many young actors in Japan.\n\nDefinition\n\n2.5D musicals are defined through make-up and costuming that accurately depicts the actor as the original character, along with exaggerated acting that mimics the expressions in the original work. It also include special effects and stunts that reenact the setting and tone of the original work. Directors of the musicals are usually the ones who write the lyrics to the songs. With the evolution of technology, some of the modern 2.5D musicals uses projection mapping, in which backgrounds and special effects are projected onto the stage and screens. According to the Japan 2.5-Dimensional Musical Association, the term not only applies to musicals, but also plays, comedies, and dramas.\n\nHistory\n\nThe first successful manga-based musical production was The Rose of Versailles in 1974 by the Takarazuka Revue. At the time, these plays were simply known as \"musicals\" or \"anime musicals.\" Around the 1990s, a number of musicals and small stage skits produced were based on anime and manga series aimed at elementary school girls, such as Sailor Moon, Akazukin Chacha, and Hime-chan's Ribbon, which performed moderately well, but were not popular and were known as . However, in 2000, Hunter x Hunter was considered revolutionary for the time because the voice cast for the original anime series had also played the characters onstage.\n\nJapanese media-based musicals rose to popularity in 2003 with Musical: The Prince of Tennis through word-of-mouth and social media, which soon became a starting point for many up-and-coming actors. The shows attracted more than 2 million people during its run and was notable for using stage effects to simulate a tennis match, and it was popular enough to include its first overseas shows in South Korea and Taiwan in 2008. After its success, many productions based on anime, manga, and video games soon followed, some of the well-documented ones including Naruto, Yowamushi Pedal, Hyper Projection Engeki: Haikyu!! among others. Unlike productions featuring the Takarazuka Revue, which are supported by fans of the troupe, these musicals mainly draw anime and manga fans and other audiences that usually do not see plays on a regular basis.\n\nThe term \"2.5D musical\" was codified in 2014 when the initial director of Musical: The Prince of Tennis, Makoto Matsuda, first established the Japan 2.5-Dimensional Musical Association. At first, despite the success of Musical: The Prince of Tennis, he did not consider it a formal stage production on par with most modern theater performances imported from Western works such as Broadway productions. However, after a group of South Korean musical professionals had acknowledged Black Butler'''s production value and standards in performing arts, Matsuda decided to bring the genre worldwide. Plays certified by the Japan 2.5-Dimensional Musical Association offer theater glasses that contain subtitles in four other languages for people who do not speak Japanese. Since 2014, many 2.5D musicals have also been performed abroad in places like China, Taiwan, the United States, and parts of Europe.\n\nIn 2018, \"2.5D Musical Studies\" was added as a program at the Tokyo School of Anime. In April 2018, actor Kenta Suga, who has starred as Gaara in Naruto and Hinata in Hyper Projection Engeki: Haikyu!!'', was appointed as overseas ambassador by the Japan 2.5-Dimensional Musical Association, succeeding Ryo Kato. By the end of 2018, the 2.5D musical market had increased by 44.9% over the previous year, grossing .\n\nReferences\n\nExternal links\n Japan 2.5-Dimensional Musical Association\n\nAnime\nAnime and manga terminology\nJapanese musicals\n2.5D musicals\nJapan\nJapanese culture\nMusical theatre\nMusicals based on anime and manga\nMusicals based on video games\nOtaku\nPerforming arts in Japan\nTheatre in Japan\nTheatre","Brolle (born Kjell Junior Wallmark, November 10, 1981), is a Swedish singer and musician who was discovered in the Kanal 5 series Popstars in 2001.\n\nBrolle was born in Boden. Although he did not reach the final of Popstars, Brolle soon got a record deal and released his first single Playing with fire. He has also done musicals such as Footloose (in which he replaced Måns Zelmerlöw) and he performed music by Buddy Holly.\n\nDiscography\n\nAlbums\n\nSingles\n2002: \"Last Night\"\n2002: \"Playing with Fire\" \n2002: \"Heartbreak City\" \n2004: \"Watching the Stars\"\n2004: \"Sound of a Drum\"\n2004: \"Let It Rain\" \n2005: \"Sommarkort - En stund på jorden\" \n2008: \"Solo i Stockholm\" \n2008: \"Fashion\"\n2010: \"Anything She Wants\"\n\nReferences\n\nMelodifestivalen contestants\n1981 births\nLiving people\n21st-century Swedish singers\n21st-century Swedish male singers"],"string":"[\n \"A , also known as an anime musical, is a type of modern Japanese musical theatre production based exclusively on popular Japanese anime, manga, or video games. The term \\\"2.5D musical\\\" was coined to describe stories presented in a two-dimensional medium being brought to real life.\\n\\nApproximately 70 2.5D musicals were produced in 2013 and attracted at least 1.6 million people, most of them young women in their teens and 20s. 2.5D musicals are often seen as the starting point of many young actors in Japan.\\n\\nDefinition\\n\\n2.5D musicals are defined through make-up and costuming that accurately depicts the actor as the original character, along with exaggerated acting that mimics the expressions in the original work. It also include special effects and stunts that reenact the setting and tone of the original work. Directors of the musicals are usually the ones who write the lyrics to the songs. With the evolution of technology, some of the modern 2.5D musicals uses projection mapping, in which backgrounds and special effects are projected onto the stage and screens. According to the Japan 2.5-Dimensional Musical Association, the term not only applies to musicals, but also plays, comedies, and dramas.\\n\\nHistory\\n\\nThe first successful manga-based musical production was The Rose of Versailles in 1974 by the Takarazuka Revue. At the time, these plays were simply known as \\\"musicals\\\" or \\\"anime musicals.\\\" Around the 1990s, a number of musicals and small stage skits produced were based on anime and manga series aimed at elementary school girls, such as Sailor Moon, Akazukin Chacha, and Hime-chan's Ribbon, which performed moderately well, but were not popular and were known as . However, in 2000, Hunter x Hunter was considered revolutionary for the time because the voice cast for the original anime series had also played the characters onstage.\\n\\nJapanese media-based musicals rose to popularity in 2003 with Musical: The Prince of Tennis through word-of-mouth and social media, which soon became a starting point for many up-and-coming actors. The shows attracted more than 2 million people during its run and was notable for using stage effects to simulate a tennis match, and it was popular enough to include its first overseas shows in South Korea and Taiwan in 2008. After its success, many productions based on anime, manga, and video games soon followed, some of the well-documented ones including Naruto, Yowamushi Pedal, Hyper Projection Engeki: Haikyu!! among others. Unlike productions featuring the Takarazuka Revue, which are supported by fans of the troupe, these musicals mainly draw anime and manga fans and other audiences that usually do not see plays on a regular basis.\\n\\nThe term \\\"2.5D musical\\\" was codified in 2014 when the initial director of Musical: The Prince of Tennis, Makoto Matsuda, first established the Japan 2.5-Dimensional Musical Association. At first, despite the success of Musical: The Prince of Tennis, he did not consider it a formal stage production on par with most modern theater performances imported from Western works such as Broadway productions. However, after a group of South Korean musical professionals had acknowledged Black Butler'''s production value and standards in performing arts, Matsuda decided to bring the genre worldwide. Plays certified by the Japan 2.5-Dimensional Musical Association offer theater glasses that contain subtitles in four other languages for people who do not speak Japanese. Since 2014, many 2.5D musicals have also been performed abroad in places like China, Taiwan, the United States, and parts of Europe.\\n\\nIn 2018, \\\"2.5D Musical Studies\\\" was added as a program at the Tokyo School of Anime. In April 2018, actor Kenta Suga, who has starred as Gaara in Naruto and Hinata in Hyper Projection Engeki: Haikyu!!'', was appointed as overseas ambassador by the Japan 2.5-Dimensional Musical Association, succeeding Ryo Kato. By the end of 2018, the 2.5D musical market had increased by 44.9% over the previous year, grossing .\\n\\nReferences\\n\\nExternal links\\n Japan 2.5-Dimensional Musical Association\\n\\nAnime\\nAnime and manga terminology\\nJapanese musicals\\n2.5D musicals\\nJapan\\nJapanese culture\\nMusical theatre\\nMusicals based on anime and manga\\nMusicals based on video games\\nOtaku\\nPerforming arts in Japan\\nTheatre in Japan\\nTheatre\",\n \"Brolle (born Kjell Junior Wallmark, November 10, 1981), is a Swedish singer and musician who was discovered in the Kanal 5 series Popstars in 2001.\\n\\nBrolle was born in Boden. Although he did not reach the final of Popstars, Brolle soon got a record deal and released his first single Playing with fire. He has also done musicals such as Footloose (in which he replaced Måns Zelmerlöw) and he performed music by Buddy Holly.\\n\\nDiscography\\n\\nAlbums\\n\\nSingles\\n2002: \\\"Last Night\\\"\\n2002: \\\"Playing with Fire\\\" \\n2002: \\\"Heartbreak City\\\" \\n2004: \\\"Watching the Stars\\\"\\n2004: \\\"Sound of a Drum\\\"\\n2004: \\\"Let It Rain\\\" \\n2005: \\\"Sommarkort - En stund på jorden\\\" \\n2008: \\\"Solo i Stockholm\\\" \\n2008: \\\"Fashion\\\"\\n2010: \\\"Anything She Wants\\\"\\n\\nReferences\\n\\nMelodifestivalen contestants\\n1981 births\\nLiving people\\n21st-century Swedish singers\\n21st-century Swedish male singers\"\n]"},"chunked_article":{"kind":"list like","value":["Sir Pelham Grenville Wodehouse, ( ; 15 October 188114 February 1975) was an English author and one of the most widely read humorists of the 20th century. His creations include the feather-brained Bertie Wooster and his sagacious valet, Jeeves; the immaculate and loquacious Psmith; Lord Emsworth and the Blandings Castle set; the Oldest Member, with stories about golf; and Mr Mulliner, with tall tales on subjects ranging from bibulous bishops to megalomaniac movie moguls.","His creations include the feather-brained Bertie Wooster and his sagacious valet, Jeeves; the immaculate and loquacious Psmith; Lord Emsworth and the Blandings Castle set; the Oldest Member, with stories about golf; and Mr Mulliner, with tall tales on subjects ranging from bibulous bishops to megalomaniac movie moguls. Born in Guildford, the third son of a British magistrate based in Hong Kong, Wodehouse spent happy teenage years at Dulwich College, to which he remained devoted all his life.","Born in Guildford, the third son of a British magistrate based in Hong Kong, Wodehouse spent happy teenage years at Dulwich College, to which he remained devoted all his life. After leaving school he was employed by a bank but disliked the work and turned to writing in his spare time.","After leaving school he was employed by a bank but disliked the work and turned to writing in his spare time. His early novels were mostly school stories, but he later switched to comic fiction.","His early novels were mostly school stories, but he later switched to comic fiction. Most of Wodehouse's fiction is set in his native United Kingdom, although he spent much of his life in the US and used New York and Hollywood as settings for some of his novels and short stories.","Most of Wodehouse's fiction is set in his native United Kingdom, although he spent much of his life in the US and used New York and Hollywood as settings for some of his novels and short stories. He wrote a series of Broadway musical comedies during and after the First World War, together with Guy Bolton and Jerome Kern, that played an important part in the development of the American musical.","He wrote a series of Broadway musical comedies during and after the First World War, together with Guy Bolton and Jerome Kern, that played an important part in the development of the American musical. He began the 1930s writing for MGM in Hollywood.","He began the 1930s writing for MGM in Hollywood. In a 1931 interview, his naive revelations of incompetence and extravagance in the studios caused a furore. In the same decade, his literary career reached a new peak.","In the same decade, his literary career reached a new peak. In 1934 Wodehouse moved to France for tax reasons; in 1940 he was taken prisoner at Le Touquet by the invading Germans and interned for nearly a year.","In 1934 Wodehouse moved to France for tax reasons; in 1940 he was taken prisoner at Le Touquet by the invading Germans and interned for nearly a year. After his release he made six broadcasts from German radio in Berlin to the US, which had not yet entered the war.","After his release he made six broadcasts from German radio in Berlin to the US, which had not yet entered the war. The talks were comic and apolitical, but his broadcasting over enemy radio prompted anger and strident controversy in Britain, and a threat of prosecution. Wodehouse never returned to England.","Wodehouse never returned to England. Wodehouse never returned to England. From 1947 until his death he lived in the US, taking dual British-American citizenship in 1955. He died in 1975, at the age of 93, in Southampton, New York.","He died in 1975, at the age of 93, in Southampton, New York. Wodehouse was a prolific writer throughout his life, publishing more than ninety books, forty plays, two hundred short stories and other writings between 1902 and 1974. He worked extensively on his books, sometimes having two or more in preparation simultaneously.","He worked extensively on his books, sometimes having two or more in preparation simultaneously. He would take up to two years to build a plot and write a scenario of about thirty thousand words. After the scenario was complete he would write the story.","After the scenario was complete he would write the story. Early in his career Wodehouse would produce a novel in about three months, but he slowed in old age to around six months.","Early in his career Wodehouse would produce a novel in about three months, but he slowed in old age to around six months. He used a mixture of Edwardian slang, quotations from and allusions to numerous poets, and several literary techniques to produce a prose style that has been compared to comic poetry and musical comedy.","He used a mixture of Edwardian slang, quotations from and allusions to numerous poets, and several literary techniques to produce a prose style that has been compared to comic poetry and musical comedy. Some critics of Wodehouse have considered his work flippant, but among his fans are former British prime ministers and many of his fellow writers.","Some critics of Wodehouse have considered his work flippant, but among his fans are former British prime ministers and many of his fellow writers. Life and career Early years Wodehouse was born in Guildford, Surrey, the third son of Henry Ernest Wodehouse (1845–1929), a magistrate resident in the British colony of Hong Kong, and his wife, Eleanor (1861–1941), daughter of the Rev John Bathurst Deane.","Life and career Early years Wodehouse was born in Guildford, Surrey, the third son of Henry Ernest Wodehouse (1845–1929), a magistrate resident in the British colony of Hong Kong, and his wife, Eleanor (1861–1941), daughter of the Rev John Bathurst Deane. The Wodehouses, who traced their ancestry back to the 13th century, belonged to a cadet branch of the family of the earls of Kimberley.","The Wodehouses, who traced their ancestry back to the 13th century, belonged to a cadet branch of the family of the earls of Kimberley. Eleanor Wodehouse was also of ancient aristocratic ancestry. She was visiting her sister in Guildford when Wodehouse was born there prematurely.","She was visiting her sister in Guildford when Wodehouse was born there prematurely. The boy was baptised at the Church of St Nicolas, Guildford, and was named after his godfather, Pelham von Donop.","The boy was baptised at the Church of St Nicolas, Guildford, and was named after his godfather, Pelham von Donop. Wodehouse wrote in 1957, \"If you ask me to tell you frankly if I like the name Pelham Grenville Wodehouse, I must confess that I do not....","Wodehouse wrote in 1957, \"If you ask me to tell you frankly if I like the name Pelham Grenville Wodehouse, I must confess that I do not.... I was named after a godfather, and not a thing to show for it but a small silver mug which I lost in 1897.\"","I was named after a godfather, and not a thing to show for it but a small silver mug which I lost in 1897.\" The first name was rapidly elided to \"Plum\", the name by which Wodehouse became known to family and friends.","The first name was rapidly elided to \"Plum\", the name by which Wodehouse became known to family and friends. Mother and son sailed for Hong Kong, where for his first two years Wodehouse was raised by a Chinese amah (nurse), alongside his elder brothers Peveril (1877–1951) and Armine (1879–1936).","Mother and son sailed for Hong Kong, where for his first two years Wodehouse was raised by a Chinese amah (nurse), alongside his elder brothers Peveril (1877–1951) and Armine (1879–1936). When he was two, the brothers were brought to England, where they were placed under the care of an English nanny in a house adjoining that of Eleanor's father and mother.","When he was two, the brothers were brought to England, where they were placed under the care of an English nanny in a house adjoining that of Eleanor's father and mother. The boys' parents returned to Hong Kong and became virtual strangers to their sons.","The boys' parents returned to Hong Kong and became virtual strangers to their sons. Such an arrangement was then normal for middle-class families based in the colonies.","Such an arrangement was then normal for middle-class families based in the colonies. The lack of parental contact, and the harsh regime of some of those in loco parentis, left permanent emotional scars on many children from similar backgrounds, including the writers Thackeray, Saki, Kipling and Walpole.","The lack of parental contact, and the harsh regime of some of those in loco parentis, left permanent emotional scars on many children from similar backgrounds, including the writers Thackeray, Saki, Kipling and Walpole. Wodehouse was more fortunate; his nanny, Emma Roper, was strict but not unkind, and both with her and later at his different schools Wodehouse had a generally happy childhood.","Wodehouse was more fortunate; his nanny, Emma Roper, was strict but not unkind, and both with her and later at his different schools Wodehouse had a generally happy childhood. His recollection was that \"it went like a breeze from start to finish, with everybody I met understanding me perfectly\".","His recollection was that \"it went like a breeze from start to finish, with everybody I met understanding me perfectly\". The biographer Robert McCrum suggests that nonetheless Wodehouse's isolation from his parents left a psychological mark, causing him to avoid emotional engagement both in life and in his works.","The biographer Robert McCrum suggests that nonetheless Wodehouse's isolation from his parents left a psychological mark, causing him to avoid emotional engagement both in life and in his works. Another biographer, Frances Donaldson, writes, \"Deprived so early, not merely of maternal love, but of home life and even a stable background, Wodehouse consoled himself from the youngest age in an imaginary world of his own.\"","Another biographer, Frances Donaldson, writes, \"Deprived so early, not merely of maternal love, but of home life and even a stable background, Wodehouse consoled himself from the youngest age in an imaginary world of his own.\" In 1886 the brothers were sent to a dame-school in Croydon, where they spent three years.","In 1886 the brothers were sent to a dame-school in Croydon, where they spent three years. Peveril was then found to have a \"weak chest\"; sea air was prescribed, and the three boys were moved to Elizabeth College on the island of Guernsey.","Peveril was then found to have a \"weak chest\"; sea air was prescribed, and the three boys were moved to Elizabeth College on the island of Guernsey. In 1891 Wodehouse went on to Malvern House Preparatory School in Kent, which concentrated on preparing its pupils for entry to the Royal Navy.","In 1891 Wodehouse went on to Malvern House Preparatory School in Kent, which concentrated on preparing its pupils for entry to the Royal Navy. His father had planned a naval career for him, but the boy's eyesight was found to be too poor for it.","His father had planned a naval career for him, but the boy's eyesight was found to be too poor for it. He was unimpressed by the school's narrow curriculum and zealous discipline; he later parodied it in his novels, with Bertie Wooster recalling his early years as a pupil at a \"penitentiary... with the outward guise of a prep school\" called Malvern House.","He was unimpressed by the school's narrow curriculum and zealous discipline; he later parodied it in his novels, with Bertie Wooster recalling his early years as a pupil at a \"penitentiary... with the outward guise of a prep school\" called Malvern House. Throughout their school years the brothers were sent to stay during the holidays with various uncles and aunts from both sides of the family.","Throughout their school years the brothers were sent to stay during the holidays with various uncles and aunts from both sides of the family. In the Oxford Dictionary of National Biography, Iain Sproat counts twenty aunts and considers that they played an important part not only in Wodehouse's early life, but, thinly disguised, in his mature novels, as the formidable aunts who dominate the action in the Wooster, Blandings, and other stories.","In the Oxford Dictionary of National Biography, Iain Sproat counts twenty aunts and considers that they played an important part not only in Wodehouse's early life, but, thinly disguised, in his mature novels, as the formidable aunts who dominate the action in the Wooster, Blandings, and other stories. The boys had fifteen uncles, four of whom were clergymen.","The boys had fifteen uncles, four of whom were clergymen. Sproat writes that they inspired Wodehouse's \"pious but fallible curates, vicars, and bishops, of which he wrote with friendly irreverence but without mockery\".","Sproat writes that they inspired Wodehouse's \"pious but fallible curates, vicars, and bishops, of which he wrote with friendly irreverence but without mockery\". At the age of twelve in 1894, to his great joy, Wodehouse was able to follow his brother Armine to Dulwich College.","At the age of twelve in 1894, to his great joy, Wodehouse was able to follow his brother Armine to Dulwich College. He was entirely at home there; Donaldson comments that Dulwich gave him, for the first time, \"some continuity and a stable and ordered life\".","He was entirely at home there; Donaldson comments that Dulwich gave him, for the first time, \"some continuity and a stable and ordered life\". He loved the camaraderie, distinguished himself at cricket, rugby and boxing, and was a good, if not consistently diligent, student.","He loved the camaraderie, distinguished himself at cricket, rugby and boxing, and was a good, if not consistently diligent, student. The headmaster at the time was A. H. Gilkes, a respected classicist, who was a strong influence on Wodehouse.","The headmaster at the time was A. H. Gilkes, a respected classicist, who was a strong influence on Wodehouse. In a study of Wodehouse's works, Richard Usborne argues that \"only a writer who was himself a scholar and had had his face ground into Latin and Greek (especially Thucydides) as a boy\" could sustain the complex sequences of subordinate clauses sometimes found in Wodehouse's comic prose.","In a study of Wodehouse's works, Richard Usborne argues that \"only a writer who was himself a scholar and had had his face ground into Latin and Greek (especially Thucydides) as a boy\" could sustain the complex sequences of subordinate clauses sometimes found in Wodehouse's comic prose. Wodehouse's six years at Dulwich were among the happiest of his life: \"To me the years between 1894 and 1900 were like heaven.\"","Wodehouse's six years at Dulwich were among the happiest of his life: \"To me the years between 1894 and 1900 were like heaven.\" In addition to his sporting achievements he was a good singer and enjoyed taking part in school concerts; his literary leanings found an outlet in editing the school magazine, The Alleynian.","In addition to his sporting achievements he was a good singer and enjoyed taking part in school concerts; his literary leanings found an outlet in editing the school magazine, The Alleynian. For the rest of his life he remained devoted to the school.","For the rest of his life he remained devoted to the school. The biographer Barry Phelps writes that Wodehouse \"loved the college as much as he loved anything or anybody\".","The biographer Barry Phelps writes that Wodehouse \"loved the college as much as he loved anything or anybody\". Reluctant banker; budding writer: 1900–1908 Wodehouse expected to follow Armine to the University of Oxford, but the family's finances took a turn for the worse at the crucial moment.","Reluctant banker; budding writer: 1900–1908 Wodehouse expected to follow Armine to the University of Oxford, but the family's finances took a turn for the worse at the crucial moment. Ernest Wodehouse had retired in 1895, and his pension was paid in rupees; fluctuation against the pound reduced its value in Britain.","Ernest Wodehouse had retired in 1895, and his pension was paid in rupees; fluctuation against the pound reduced its value in Britain. Wodehouse recalled, \"The wolf was not actually whining at the door and there was always a little something in the kitty for the butcher and the grocer, but the finances would not run to anything in the nature of a splash\".","Wodehouse recalled, \"The wolf was not actually whining at the door and there was always a little something in the kitty for the butcher and the grocer, but the finances would not run to anything in the nature of a splash\". Instead of a university career, in September 1900 Wodehouse was engaged in a junior position in the London office of the Hongkong and Shanghai Bank.","Instead of a university career, in September 1900 Wodehouse was engaged in a junior position in the London office of the Hongkong and Shanghai Bank. He was unsuited to it and found the work baffling and uncongenial.","He was unsuited to it and found the work baffling and uncongenial. He later wrote a humorous account of his experiences at the bank, but at the time he longed for the end of each working day, when he could return to his rented lodgings in Chelsea and write.","He later wrote a humorous account of his experiences at the bank, but at the time he longed for the end of each working day, when he could return to his rented lodgings in Chelsea and write. At first he concentrated, with some success, on serious articles about school sports for Public School Magazine.","At first he concentrated, with some success, on serious articles about school sports for Public School Magazine. In November 1900 his first comic piece, \"Men Who Missed Their Own Weddings\", was accepted by Tit-Bits.","In November 1900 his first comic piece, \"Men Who Missed Their Own Weddings\", was accepted by Tit-Bits. A new magazine for boys, The Captain, provided further well-paid opportunities, and during his two years at the bank, Wodehouse had eighty pieces published in a total of nine magazines.","A new magazine for boys, The Captain, provided further well-paid opportunities, and during his two years at the bank, Wodehouse had eighty pieces published in a total of nine magazines. In 1901, with the help of a former Dulwich master, William Beach Thomas, Wodehouse secured an appointment—at first temporary and later permanent—writing for The Globes popular \"By the Way\" column.","In 1901, with the help of a former Dulwich master, William Beach Thomas, Wodehouse secured an appointment—at first temporary and later permanent—writing for The Globes popular \"By the Way\" column. He held the post until 1909.","He held the post until 1909. At around the same time his first novel was published—a school story called The Pothunters, serialised incomplete in Public School Magazine in early 1902, and issued in full in hardback in September. He resigned from the bank that month to devote himself to writing full-time.","He resigned from the bank that month to devote himself to writing full-time. Between the publication of The Pothunters 1902 and that of Mike in 1909, Wodehouse wrote eight novels and co-wrote another two.","Between the publication of The Pothunters 1902 and that of Mike in 1909, Wodehouse wrote eight novels and co-wrote another two. The critic R. D. B. French writes that, of Wodehouse's work from this period, almost all that deserves to survive is the school fiction.","The critic R. D. B. French writes that, of Wodehouse's work from this period, almost all that deserves to survive is the school fiction. Looking back in the 1950s Wodehouse viewed these as his apprentice years: \"I was practically in swaddling clothes and it is extremely creditable to me that I was able to write at all.\"","Looking back in the 1950s Wodehouse viewed these as his apprentice years: \"I was practically in swaddling clothes and it is extremely creditable to me that I was able to write at all.\" From his boyhood Wodehouse had been fascinated by America, which he conceived of as \"a land of romance\"; he \"yearned\" to visit the country, and by 1904 he had earned enough to do so.","From his boyhood Wodehouse had been fascinated by America, which he conceived of as \"a land of romance\"; he \"yearned\" to visit the country, and by 1904 he had earned enough to do so. In April he sailed to New York, which he found greatly to his liking.","In April he sailed to New York, which he found greatly to his liking. He noted in his diary: \"In New York gathering experience. Worth many guineas in the future but none for the moment.\"","Worth many guineas in the future but none for the moment.\" This prediction proved correct: few British writers had first-hand experience of the US, and his articles about life in New York brought him higher than usual fees.","This prediction proved correct: few British writers had first-hand experience of the US, and his articles about life in New York brought him higher than usual fees. He later recalled that \"in 1904 anyone in the London writing world who had been to America was regarded with awe and looked upon as an authority on that terra incognita.... After that trip to New York I was a man who counted.... My income rose like a rocketing pheasant.\"","He later recalled that \"in 1904 anyone in the London writing world who had been to America was regarded with awe and looked upon as an authority on that terra incognita.... After that trip to New York I was a man who counted.... My income rose like a rocketing pheasant.\" Wodehouse's other new venture in 1904 was writing for the stage.","Wodehouse's other new venture in 1904 was writing for the stage. Towards the end of the year the librettist Owen Hall invited him to contribute an additional lyric for a musical comedy Sergeant Brue. Wodehouse had loved theatre since his first visit, aged thirteen, when Gilbert and Sullivan's Patience had made him \"drunk with ecstasy\".","Wodehouse had loved theatre since his first visit, aged thirteen, when Gilbert and Sullivan's Patience had made him \"drunk with ecstasy\". His lyric for Hall, \"Put Me in My Little Cell\", was a Gilbertian number for a trio of comic crooks, with music by Frederick Rosse; it was well received and launched Wodehouse on a career as a theatre writer that spanned three decades.","His lyric for Hall, \"Put Me in My Little Cell\", was a Gilbertian number for a trio of comic crooks, with music by Frederick Rosse; it was well received and launched Wodehouse on a career as a theatre writer that spanned three decades. Although it made little impact on its first publication, the 1906 novel Love Among the Chickens contained what French calls the author's first original comic creation: Stanley Featherstonehaugh Ukridge.","Although it made little impact on its first publication, the 1906 novel Love Among the Chickens contained what French calls the author's first original comic creation: Stanley Featherstonehaugh Ukridge. The character, an amoral, bungling opportunist, is partly based on Wodehouse's Globe colleague Herbert Westbrook.","The character, an amoral, bungling opportunist, is partly based on Wodehouse's Globe colleague Herbert Westbrook. The two collaborated between 1907 and 1913 on two books, two music hall sketches, and a play, Brother Alfred. Wodehouse would return to the character in short stories over the next six decades.","Wodehouse would return to the character in short stories over the next six decades. In early 1906 the actor-manager Seymour Hicks invited Wodehouse to become resident lyricist at the Aldwych Theatre, to add topical verses to newly imported or long-running shows. Hicks had already recruited the young Jerome Kern to write the music for such songs.","Hicks had already recruited the young Jerome Kern to write the music for such songs. The first Kern-Wodehouse collaboration, a comic number for The Beauty of Bath titled \"Mr [Joseph] Chamberlain\", was a show-stopper and was briefly the most popular song in London.","The first Kern-Wodehouse collaboration, a comic number for The Beauty of Bath titled \"Mr [Joseph] Chamberlain\", was a show-stopper and was briefly the most popular song in London. Psmith, Blandings, Wooster and Jeeves: 1908–1915 Wodehouse's early period as a writer came to an end in 1908 with the serialisation of The Lost Lambs, published the following year in book form as the second half of the novel Mike.","Psmith, Blandings, Wooster and Jeeves: 1908–1915 Wodehouse's early period as a writer came to an end in 1908 with the serialisation of The Lost Lambs, published the following year in book form as the second half of the novel Mike. The work begins as a conventional school story, but Wodehouse introduces a new and strikingly original character, Psmith, whose creation both Evelyn Waugh and George Orwell regarded as a watershed in Wodehouse's development.","The work begins as a conventional school story, but Wodehouse introduces a new and strikingly original character, Psmith, whose creation both Evelyn Waugh and George Orwell regarded as a watershed in Wodehouse's development. Wodehouse said that he based Psmith on the hotelier and impresario Rupert D'Oyly Carte—\"the only thing in my literary career which was handed to me on a silver plate with watercress around it\".","Wodehouse said that he based Psmith on the hotelier and impresario Rupert D'Oyly Carte—\"the only thing in my literary career which was handed to me on a silver plate with watercress around it\". Wodehouse wrote in the 1970s that a cousin of his who had been at school with Carte told him of the latter's monocle, studied suavity, and stateliness of speech, all of which Wodehouse adopted for his new character.","Wodehouse wrote in the 1970s that a cousin of his who had been at school with Carte told him of the latter's monocle, studied suavity, and stateliness of speech, all of which Wodehouse adopted for his new character. Psmith featured in three more novels: Psmith in the City (1910), a burlesque of banking; Psmith, Journalist (1915) set in New York; and Leave It to Psmith (1923), set at Blandings Castle.","Psmith featured in three more novels: Psmith in the City (1910), a burlesque of banking; Psmith, Journalist (1915) set in New York; and Leave It to Psmith (1923), set at Blandings Castle. In May 1909 Wodehouse made his second visit to New York, where he sold two short stories to Cosmopolitan and Collier's for a total of $500, a much higher fee than he had commanded previously.","In May 1909 Wodehouse made his second visit to New York, where he sold two short stories to Cosmopolitan and Collier's for a total of $500, a much higher fee than he had commanded previously. He resigned from The Globe and stayed in New York for nearly a year.","He resigned from The Globe and stayed in New York for nearly a year. He sold many more stories, but none of the American publications offered a permanent relationship and guaranteed income. Wodehouse returned to England in late 1910, rejoining The Globe and also contributing regularly to The Strand Magazine.","Wodehouse returned to England in late 1910, rejoining The Globe and also contributing regularly to The Strand Magazine. Between then and the outbreak of the First World War in 1914 he revisited America frequently. Wodehouse was in New York when the war began.","Wodehouse was in New York when the war began. Ineligible for military service because of his poor eyesight, he remained in the US throughout the war, detached from the conflict in Europe and absorbed in his theatrical and literary concerns. In September 1914 he married Ethel May Wayman, née Newton (1885–1984), an English widow.","In September 1914 he married Ethel May Wayman, née Newton (1885–1984), an English widow. The marriage proved happy and lifelong. Ethel's personality was in contrast with her husband's: he was shy and impractical; she was gregarious, decisive and well organised.","Ethel's personality was in contrast with her husband's: he was shy and impractical; she was gregarious, decisive and well organised. In Sproat's phrase, she \"took charge of Wodehouse's life and made certain that he had the peace and quiet he needed to write\".","In Sproat's phrase, she \"took charge of Wodehouse's life and made certain that he had the peace and quiet he needed to write\". There were no children of the marriage, but Wodehouse came to love Ethel's daughter Leonora (1905–1944) and legally adopted her.","There were no children of the marriage, but Wodehouse came to love Ethel's daughter Leonora (1905–1944) and legally adopted her. Wodehouse experimented with different genres of fiction in these years; Psmith, Journalist, mixing comedy with social comment on slum landlords and racketeers, was published in 1915.","Wodehouse experimented with different genres of fiction in these years; Psmith, Journalist, mixing comedy with social comment on slum landlords and racketeers, was published in 1915. In the same year The Saturday Evening Post paid $3,500 to serialise Something New, the first of what became a series of novels set at Blandings Castle.","In the same year The Saturday Evening Post paid $3,500 to serialise Something New, the first of what became a series of novels set at Blandings Castle. It was published in hardback in the US and the UK in the same year (the British edition being retitled Something Fresh).","It was published in hardback in the US and the UK in the same year (the British edition being retitled Something Fresh). It was Wodehouse's first farcical novel; it was also his first best-seller, and although his later books included some gentler, lightly sentimental stories, it was as a farceur that he became known.","It was Wodehouse's first farcical novel; it was also his first best-seller, and although his later books included some gentler, lightly sentimental stories, it was as a farceur that he became known. Later in the same year \"Extricating Young Gussie\", the first story about Bertie and Jeeves, was published.","Later in the same year \"Extricating Young Gussie\", the first story about Bertie and Jeeves, was published. These stories introduced two sets of characters about whom Wodehouse wrote for the rest of his life.","These stories introduced two sets of characters about whom Wodehouse wrote for the rest of his life. The Blandings Castle stories, set in an English stately home, depict the attempts of the placid Lord Emsworth to evade the many distractions around him, which include successive pairs of young lovers, the machinations of his exuberant brother Galahad, the demands of his domineering sisters and super-efficient secretaries, and anything detrimental to his prize sow, the Empress of Blandings.","The Blandings Castle stories, set in an English stately home, depict the attempts of the placid Lord Emsworth to evade the many distractions around him, which include successive pairs of young lovers, the machinations of his exuberant brother Galahad, the demands of his domineering sisters and super-efficient secretaries, and anything detrimental to his prize sow, the Empress of Blandings. The Bertie and Jeeves stories feature an amiable young man-about-town, regularly rescued from the consequences of his idiocy by the benign interference of his valet.","The Bertie and Jeeves stories feature an amiable young man-about-town, regularly rescued from the consequences of his idiocy by the benign interference of his valet. Broadway: 1915–1919 A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator.","Broadway: 1915–1919 A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator. Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York.","Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York. The show was successful, but they thought the song lyrics weak and invited Wodehouse to join them on its successor. This was Miss Springtime (1916), which ran for 227 performances—a good run by the standards of the day.","This was Miss Springtime (1916), which ran for 227 performances—a good run by the standards of the day. The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917–18) and Oh, Lady! Lady!!","Lady!! Lady!! (1918), and Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin.","In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin. Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies.","Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies. Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do.","Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do. Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical.","Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical. In the Grove Dictionary of American Music Larry Stempel writes, \"By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy.\"","In the Grove Dictionary of American Music Larry Stempel writes, \"By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy.\" The theatre writer Gerald Bordman calls Wodehouse \"the most observant, literate, and witty lyricist of his day\".","The theatre writer Gerald Bordman calls Wodehouse \"the most observant, literate, and witty lyricist of his day\". The composer Richard Rodgers wrote, \"Before Larry Hart, only P.G. Wodehouse had made any real assault on the intelligence of the song-listening public.\"","Wodehouse had made any real assault on the intelligence of the song-listening public.\" 1920s In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones.","1920s In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones. Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest.","Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest. Various other young men-about-town appeared in short stories about members of the Drones Club.","Various other young men-about-town appeared in short stories about members of the Drones Club. The Wodehouses returned to England, where they had a house in London for some years, but Wodehouse continued to cross the Atlantic frequently, spending substantial periods in New York. He continued to work in the theatre.","He continued to work in the theatre. During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York).","During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York). He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnár, and A Damsel in Distress (1928), a dramatisation of his 1919 novel.","He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnár, and A Damsel in Distress (1928), a dramatisation of his 1919 novel. Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods.","Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods. Donaldson lists among those with whom he was on friendly terms writers including A. A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith Jr., Heather Thatcher and Dorothy Dickson.","A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith Jr., Heather Thatcher and Dorothy Dickson. Hollywood: 1929–1931 There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name.","Hollywood: 1929–1931 There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name. Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM).","Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM). Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week.","Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week. This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929.","This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929. The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories.","The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories. He commented, \"It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary.\"","He commented, \"It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary.\" Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used.","Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used. In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was \"as close to a success as Wodehouse was to have at MGM.","In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was \"as close to a success as Wodehouse was to have at MGM. His only other credits were minimal, and the other projects he worked on were not produced.\"","His only other credits were minimal, and the other projects he worked on were not produced.\" Wodehouse's contract ended after a year and was not renewed. At MGM's request, he gave an interview to The Los Angeles Times.","At MGM's request, he gave an interview to The Los Angeles Times. Wodehouse was described by Herbert Warren Wind as \"politically naive [and] fundamentally unworldly\", and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent.","Wodehouse was described by Herbert Warren Wind as \"politically naive [and] fundamentally unworldly\", and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent. The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry.","The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry. Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been \"a storm in a teacup\", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable.","Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been \"a storm in a teacup\", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable. Wind's view of Wodehouse's naïveté is not universally held.","Wind's view of Wodehouse's naïveté is not universally held. Biographers including Donaldson, McCrum and Phelps suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute.","Biographers including Donaldson, McCrum and Phelps suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute. He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire.","He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire. Best-seller: 1930s During the 1930s Wodehouse's theatrical work tailed off.","Best-seller: 1930s During the 1930s Wodehouse's theatrical work tailed off. He wrote or adapted four plays for the West End; Leave it to Psmith (1930), which he adapted in collaboration with Ian Hay, was the only one to have a long run.","He wrote or adapted four plays for the West End; Leave it to Psmith (1930), which he adapted in collaboration with Ian Hay, was the only one to have a long run. The reviewer in The Manchester Guardian praised the play, but commented: \"It is Mr Wodehouse's own inimitable narrative comments and descriptions in his own person of the antics of his puppets that one misses.","The reviewer in The Manchester Guardian praised the play, but commented: \"It is Mr Wodehouse's own inimitable narrative comments and descriptions in his own person of the antics of his puppets that one misses. They cannot be got into a play and they are at least half the fun of the novels.\"","They cannot be got into a play and they are at least half the fun of the novels.\" In 1934 Wodehouse collaborated with Bolton on the book for Cole Porter's Anything Goes (Porter wrote his own lyrics), but at the last minute their version was almost entirely rewritten by others at the instigation of the producer, who disliked the original script.","In 1934 Wodehouse collaborated with Bolton on the book for Cole Porter's Anything Goes (Porter wrote his own lyrics), but at the last minute their version was almost entirely rewritten by others at the instigation of the producer, who disliked the original script. Concentrating on writing novels and short stories, Wodehouse reached the peak of his productivity in this decade, averaging two books each year, and grossing an annual £100,000.","Concentrating on writing novels and short stories, Wodehouse reached the peak of his productivity in this decade, averaging two books each year, and grossing an annual £100,000. His practice of dividing his time between Britain and America caused Wodehouse difficulties with the tax authorities of both countries.","His practice of dividing his time between Britain and America caused Wodehouse difficulties with the tax authorities of both countries. Both the UK Inland Revenue and the US Internal Revenue Service sought to tax him as a resident.","Both the UK Inland Revenue and the US Internal Revenue Service sought to tax him as a resident. The matter was settled after lengthy negotiations, but the Wodehouses decided to change their residential status beyond doubt by moving to France, where they bought a house near Le Touquet in the north.","The matter was settled after lengthy negotiations, but the Wodehouses decided to change their residential status beyond doubt by moving to France, where they bought a house near Le Touquet in the north. In 1935 Wodehouse created the last of his regular cast of principal characters, Lord Ickenham, otherwise known as Uncle Fred, who, in Usborne's words, \"leads the dance in four novels and a short story... a whirring dynamo of misrule\".","In 1935 Wodehouse created the last of his regular cast of principal characters, Lord Ickenham, otherwise known as Uncle Fred, who, in Usborne's words, \"leads the dance in four novels and a short story... a whirring dynamo of misrule\". His other books from the decade include Right Ho, Jeeves, which Donaldson judged his best work, Uncle Fred in the Springtime, which the writer Bernard Levin considered the best, and Blandings Castle, which contains \"Lord Emsworth and the Girl Friend\", which Rudyard Kipling thought \"one of the most perfect short stories I have ever read\".","His other books from the decade include Right Ho, Jeeves, which Donaldson judged his best work, Uncle Fred in the Springtime, which the writer Bernard Levin considered the best, and Blandings Castle, which contains \"Lord Emsworth and the Girl Friend\", which Rudyard Kipling thought \"one of the most perfect short stories I have ever read\". Other leading literary figures who admired Wodehouse were A. E. Housman, Max Beerbohm and Hilaire Belloc; on the radio and in print Belloc called Wodehouse \"the best writer of our time: the best living writer of English... the head of my profession\".","Other leading literary figures who admired Wodehouse were A. E. Housman, Max Beerbohm and Hilaire Belloc; on the radio and in print Belloc called Wodehouse \"the best writer of our time: the best living writer of English... the head of my profession\". Wodehouse regarded Belloc's plaudit as \"a gag, to get a rise out of serious-minded authors whom he disliked\".","Wodehouse regarded Belloc's plaudit as \"a gag, to get a rise out of serious-minded authors whom he disliked\". Wodehouse was never sure that his books had literary merit as well as popular appeal, and, Donaldson suggests, must have been overwhelmed when the University of Oxford conferred an honorary doctorate of letters on him in June 1939.","Wodehouse was never sure that his books had literary merit as well as popular appeal, and, Donaldson suggests, must have been overwhelmed when the University of Oxford conferred an honorary doctorate of letters on him in June 1939. His visit to England for the awarding ceremony was the last time he set foot in his native land.","His visit to England for the awarding ceremony was the last time he set foot in his native land. Second World War: internment and broadcasts At the start of the Second World War Wodehouse and his wife remained at their Le Touquet house, where, during the Phoney War, he worked on Joy in the Morning.","Second World War: internment and broadcasts At the start of the Second World War Wodehouse and his wife remained at their Le Touquet house, where, during the Phoney War, he worked on Joy in the Morning. With the advance of the Germans, the nearby Royal Air Force base withdrew; Wodehouse was offered the sole spare seat in one of the fighter aircraft, but he turned down the opportunity as it would have meant leaving behind Ethel and their dog.","With the advance of the Germans, the nearby Royal Air Force base withdrew; Wodehouse was offered the sole spare seat in one of the fighter aircraft, but he turned down the opportunity as it would have meant leaving behind Ethel and their dog. On 21 May 1940, with German troops advancing through northern France, the Wodehouses decided to drive to Portugal and fly from there to the US.","On 21 May 1940, with German troops advancing through northern France, the Wodehouses decided to drive to Portugal and fly from there to the US. Two miles from home their car broke down, so they returned and borrowed a car from a neighbour; with the routes blocked with refugees, they returned home again.","Two miles from home their car broke down, so they returned and borrowed a car from a neighbour; with the routes blocked with refugees, they returned home again. The Germans occupied Le Touquet on 22 May 1940 and Wodehouse had to report to the authorities daily.","The Germans occupied Le Touquet on 22 May 1940 and Wodehouse had to report to the authorities daily. After two months of occupation the Germans interned all male enemy nationals under 60, and Wodehouse was sent to a former prison in Loos, a suburb of Lille, on 21 July; Ethel remained in Le Touquet.","After two months of occupation the Germans interned all male enemy nationals under 60, and Wodehouse was sent to a former prison in Loos, a suburb of Lille, on 21 July; Ethel remained in Le Touquet. The internees were placed four to a cell, each of which had been designed for one man.","The internees were placed four to a cell, each of which had been designed for one man. One bed was available per cell, which was made available to the eldest man—not Wodehouse, who slept on the granite floor.","One bed was available per cell, which was made available to the eldest man—not Wodehouse, who slept on the granite floor. The prisoners were not kept long in Loos before they were transported in cattle trucks to a former barracks in Liège, Belgium, which was run as a prison by the SS.","The prisoners were not kept long in Loos before they were transported in cattle trucks to a former barracks in Liège, Belgium, which was run as a prison by the SS. After a week the men were transferred to Huy in Liège, where they were incarcerated in the local citadel.","After a week the men were transferred to Huy in Liège, where they were incarcerated in the local citadel. They remained there until September 1940, when they were transported to Tost in Upper Silesia (then Germany, now Toszek in Poland).","They remained there until September 1940, when they were transported to Tost in Upper Silesia (then Germany, now Toszek in Poland). Wodehouse's family and friends had not had any news of his location after the fall of France, but an article from an Associated Press reporter who had visited Tost in December 1940 led to pressure on the German authorities to release the novelist.","Wodehouse's family and friends had not had any news of his location after the fall of France, but an article from an Associated Press reporter who had visited Tost in December 1940 led to pressure on the German authorities to release the novelist. This included a petition from influential people in the US; Senator W. Warren Barbour presented it to the German ambassador.","This included a petition from influential people in the US; Senator W. Warren Barbour presented it to the German ambassador. Although his captors refused to release him, Wodehouse was provided with a typewriter and, to pass the time, he wrote Money in the Bank.","Although his captors refused to release him, Wodehouse was provided with a typewriter and, to pass the time, he wrote Money in the Bank. Throughout his time in Tost, he sent postcards to his US literary agent asking for $5 to be sent to various people in Canada, mentioning his name.","Throughout his time in Tost, he sent postcards to his US literary agent asking for $5 to be sent to various people in Canada, mentioning his name. These were the families of Canadian prisoners of war, and the news from Wodehouse was the first indication that their sons were alive and well.","These were the families of Canadian prisoners of war, and the news from Wodehouse was the first indication that their sons were alive and well. Wodehouse risked severe punishment for the communication, but managed to evade the German censor.","Wodehouse risked severe punishment for the communication, but managed to evade the German censor. On 21 June 1941, while he was in the middle of playing a game of cricket, Wodehouse received a visit from two members of the Gestapo.","On 21 June 1941, while he was in the middle of playing a game of cricket, Wodehouse received a visit from two members of the Gestapo. He was given ten minutes to pack his things before he was taken to the Hotel Adlon, a top luxury hotel in Berlin.","He was given ten minutes to pack his things before he was taken to the Hotel Adlon, a top luxury hotel in Berlin. He stayed there at his own expense; royalties from the German editions of his books had been put into a special frozen bank account at the outset of the war, and Wodehouse was permitted to draw upon this money he had earned while staying in Berlin.","He stayed there at his own expense; royalties from the German editions of his books had been put into a special frozen bank account at the outset of the war, and Wodehouse was permitted to draw upon this money he had earned while staying in Berlin. He was thus released from internment a few months before his sixtieth birthday—the age at which civilian internees were released by the Nazis.","He was thus released from internment a few months before his sixtieth birthday—the age at which civilian internees were released by the Nazis. Shortly afterwards Wodehouse was, in the words of Phelps, \"cleverly trapped\" into making five broadcasts to the US via German radio, with the Berlin-based correspondent of the Columbia Broadcasting System.","Shortly afterwards Wodehouse was, in the words of Phelps, \"cleverly trapped\" into making five broadcasts to the US via German radio, with the Berlin-based correspondent of the Columbia Broadcasting System. The broadcasts—aired on 28 June, 9, 23 and 30 July and 6 August—were titled How to be an Internee Without Previous Training, and comprised humorous anecdotes about Wodehouse's experiences as a prisoner, including some gentle mocking of his captors.","The broadcasts—aired on 28 June, 9, 23 and 30 July and 6 August—were titled How to be an Internee Without Previous Training, and comprised humorous anecdotes about Wodehouse's experiences as a prisoner, including some gentle mocking of his captors. The German propaganda ministry arranged for the recordings to be broadcast to Britain in August.","The German propaganda ministry arranged for the recordings to be broadcast to Britain in August. The day after Wodehouse recorded his final programme, Ethel joined him in Berlin, having sold most of her jewellery to pay for the journey.","The day after Wodehouse recorded his final programme, Ethel joined him in Berlin, having sold most of her jewellery to pay for the journey. Aftermath: reactions and investigation The reaction in Britain to Wodehouse's broadcasts was hostile, and he was \"reviled ... as a traitor, collaborator, Nazi propagandist, and a coward\", although, Phelps observes, many of those who decried his actions had not heard the content of the programmes.","Aftermath: reactions and investigation The reaction in Britain to Wodehouse's broadcasts was hostile, and he was \"reviled ... as a traitor, collaborator, Nazi propagandist, and a coward\", although, Phelps observes, many of those who decried his actions had not heard the content of the programmes. A front-page article in The Daily Mirror stated that Wodehouse \"lived luxuriously because Britain laughed with him, but when the laughter was out of his country's heart, ... [he] was not ready to share her suffering.","A front-page article in The Daily Mirror stated that Wodehouse \"lived luxuriously because Britain laughed with him, but when the laughter was out of his country's heart, ... [he] was not ready to share her suffering. He hadn't the guts ... even to stick it out in the internment camp.\"","He hadn't the guts ... even to stick it out in the internment camp.\" In the House of Commons Anthony Eden, the Foreign Secretary, regretted Wodehouse's actions. Several libraries removed Wodehouse novels from their shelves.","Several libraries removed Wodehouse novels from their shelves. On 15 July the journalist William Connor, under his pen name Cassandra, broadcast a postscript to the news programme railing against Wodehouse. According to The Times, the broadcast \"provoked a storm of complaint ... from listeners all over the country\".","According to The Times, the broadcast \"provoked a storm of complaint ... from listeners all over the country\". Wodehouse's biographer, Joseph Connolly, thinks the broadcast \"inaccurate, spiteful and slanderous\"; Phelps calls it \"probably the most vituperative attack on an individual ever heard on British radio\".","Wodehouse's biographer, Joseph Connolly, thinks the broadcast \"inaccurate, spiteful and slanderous\"; Phelps calls it \"probably the most vituperative attack on an individual ever heard on British radio\". The broadcast was made at the direct instruction of Duff Cooper, the Minister of Information, who overruled strong protests made by the BBC against the decision to air the programme.","The broadcast was made at the direct instruction of Duff Cooper, the Minister of Information, who overruled strong protests made by the BBC against the decision to air the programme. Numerous letters appeared in the British press, both supporting and criticising Wodehouse.","Numerous letters appeared in the British press, both supporting and criticising Wodehouse. The letters page of The Daily Telegraph became a focus for censuring Wodehouse, including one from Wodehouse's friend, ; a reply from their fellow author Compton Mackenzie in defence of Wodehouse was not published because the editor claimed a lack of space.","The letters page of The Daily Telegraph became a focus for censuring Wodehouse, including one from Wodehouse's friend, ; a reply from their fellow author Compton Mackenzie in defence of Wodehouse was not published because the editor claimed a lack of space. Most of those defending Wodehouse against accusations of disloyalty, including Sax Rohmer, Dorothy L. Sayers and Gilbert Frankau, conceded that he had acted stupidly.","Most of those defending Wodehouse against accusations of disloyalty, including Sax Rohmer, Dorothy L. Sayers and Gilbert Frankau, conceded that he had acted stupidly. Some members of the public wrote to the newspapers to say that the full facts were not yet known and a fair judgment could not be made until they were.","Some members of the public wrote to the newspapers to say that the full facts were not yet known and a fair judgment could not be made until they were. The management of the BBC, who considered Wodehouse's actions no worse than \"ill advised\", pointed out to Cooper that there was no evidence at that point whether Wodehouse had acted voluntarily or under compulsion.","The management of the BBC, who considered Wodehouse's actions no worse than \"ill advised\", pointed out to Cooper that there was no evidence at that point whether Wodehouse had acted voluntarily or under compulsion. When Wodehouse heard of the furore the broadcasts had caused, he contacted the Foreign Office—through the Swiss embassy in Berlin—to explain his actions, and attempted to return home via neutral countries, but the German authorities refused to let him leave.","When Wodehouse heard of the furore the broadcasts had caused, he contacted the Foreign Office—through the Swiss embassy in Berlin—to explain his actions, and attempted to return home via neutral countries, but the German authorities refused to let him leave. In Performing Flea, a 1953 collection of letters, Wodehouse wrote, \"Of course I ought to have had the sense to see that it was a loony thing to do to use the German radio for even the most harmless stuff, but I didn't.","In Performing Flea, a 1953 collection of letters, Wodehouse wrote, \"Of course I ought to have had the sense to see that it was a loony thing to do to use the German radio for even the most harmless stuff, but I didn't. I suppose prison life saps the intellect\".","I suppose prison life saps the intellect\". The reaction in America was mixed: the left-leaning publication PM accused Wodehouse of \"play[ing] Jeeves to the Nazis\", but the Department of War used the interviews as an ideal representation of anti-Nazi propaganda.","The reaction in America was mixed: the left-leaning publication PM accused Wodehouse of \"play[ing] Jeeves to the Nazis\", but the Department of War used the interviews as an ideal representation of anti-Nazi propaganda. The Wodehouses remained in Germany until September 1943, when, because of the Allied bombings, they were allowed to move back to Paris.","The Wodehouses remained in Germany until September 1943, when, because of the Allied bombings, they were allowed to move back to Paris. They were living there when the city was liberated on 25 August 1944; Wodehouse reported to the American authorities the following day, asking them to inform the British of his whereabouts.","They were living there when the city was liberated on 25 August 1944; Wodehouse reported to the American authorities the following day, asking them to inform the British of his whereabouts. He was subsequently visited by Malcolm Muggeridge, recently arrived in Paris as an intelligence officer with MI6.","He was subsequently visited by Malcolm Muggeridge, recently arrived in Paris as an intelligence officer with MI6. The young officer quickly came to like Wodehouse and considered the question of treasonable behaviour as \"ludicrous\"; he summed up the writer as \"ill-fitted to live in an age of ideological conflict\".","The young officer quickly came to like Wodehouse and considered the question of treasonable behaviour as \"ludicrous\"; he summed up the writer as \"ill-fitted to live in an age of ideological conflict\". On 9 September Wodehouse was visited by an MI5 officer and former barrister, Major Edward Cussen, who formally investigated him, a process that stretched over four days.","On 9 September Wodehouse was visited by an MI5 officer and former barrister, Major Edward Cussen, who formally investigated him, a process that stretched over four days. On 28 September Cussen filed his report, which states that in regard to the broadcasts, Wodehouse's behaviour \"has been unwise\", but advised against further action.","On 28 September Cussen filed his report, which states that in regard to the broadcasts, Wodehouse's behaviour \"has been unwise\", but advised against further action. On 23 November Theobald Matthew, the Director of Public Prosecutions, decided there was no evidence to justify prosecuting Wodehouse.","On 23 November Theobald Matthew, the Director of Public Prosecutions, decided there was no evidence to justify prosecuting Wodehouse. In November 1944 Duff Cooper was appointed British ambassador to France and was provided accommodation at the Hôtel Le Bristol, where the Wodehouses were living.","In November 1944 Duff Cooper was appointed British ambassador to France and was provided accommodation at the Hôtel Le Bristol, where the Wodehouses were living. Cooper complained to the French authorities, and the couple were moved to a different hotel. They were subsequently arrested by French police and placed under preventive detention, despite no charges being presented.","They were subsequently arrested by French police and placed under preventive detention, despite no charges being presented. When Muggeridge tracked them down later, he managed to get Ethel released straight away and, four days later, ensured that the French authorities declared Wodehouse unwell and put him in a nearby hospital, which was more comfortable than where they had been detained.","When Muggeridge tracked them down later, he managed to get Ethel released straight away and, four days later, ensured that the French authorities declared Wodehouse unwell and put him in a nearby hospital, which was more comfortable than where they had been detained. While in this hospital, Wodehouse worked on his novel Uncle Dynamite.","While in this hospital, Wodehouse worked on his novel Uncle Dynamite. While still detained by the French, Wodehouse was again mentioned in questions in the House of Commons in December 1944 when MPs wondered if the French authorities could repatriate him to stand trial.","While still detained by the French, Wodehouse was again mentioned in questions in the House of Commons in December 1944 when MPs wondered if the French authorities could repatriate him to stand trial. Eden stated that the \"matter has been gone into, and, according to the advice given, there are no grounds upon which we could take action\".","Eden stated that the \"matter has been gone into, and, according to the advice given, there are no grounds upon which we could take action\". Two months later, Orwell wrote the essay \"In Defence of P.G.","Two months later, Orwell wrote the essay \"In Defence of P.G. Wodehouse\", where he stated that \"it is important to realise that the events of 1941 do not convict Wodehouse of anything worse than stupidity\".","Wodehouse\", where he stated that \"it is important to realise that the events of 1941 do not convict Wodehouse of anything worse than stupidity\". Orwell's rationale was that Wodehouse's \"moral outlook has remained that of a public-school boy, and according to the public-school code, treachery in time of war is the most unforgivable of all the sins\", which was compounded by his \"complete lack—so far as one can judge from his printed works—of political awareness\".","Orwell's rationale was that Wodehouse's \"moral outlook has remained that of a public-school boy, and according to the public-school code, treachery in time of war is the most unforgivable of all the sins\", which was compounded by his \"complete lack—so far as one can judge from his printed works—of political awareness\". On 15 January 1945 the French authorities released Wodehouse, but they did not inform him, until June 1946, that he would not face any official charges and was free to leave the country.","On 15 January 1945 the French authorities released Wodehouse, but they did not inform him, until June 1946, that he would not face any official charges and was free to leave the country. American exile: 1946–1975 Having secured American visas in July 1946, the Wodehouses made preparations to return to New York.","American exile: 1946–1975 Having secured American visas in July 1946, the Wodehouses made preparations to return to New York. They were delayed by Ethel's insistence on acquiring suitable new clothes and by Wodehouse's wish to finish writing his current novel, The Mating Season, in the peace of the French countryside.","They were delayed by Ethel's insistence on acquiring suitable new clothes and by Wodehouse's wish to finish writing his current novel, The Mating Season, in the peace of the French countryside. In April 1947 they sailed to New York, where Wodehouse was relieved at the friendly reception he received from the large press contingent awaiting his arrival.","In April 1947 they sailed to New York, where Wodehouse was relieved at the friendly reception he received from the large press contingent awaiting his arrival. Ethel secured a comfortable penthouse apartment in Manhattan's Upper East Side, but Wodehouse was not at ease. The New York that he had known before the war was much changed.","The New York that he had known before the war was much changed. The magazines that had paid lavishly for his stories were in decline, and those that remained were not much interested in him.","The magazines that had paid lavishly for his stories were in decline, and those that remained were not much interested in him. He was sounded out about writing for Broadway, but he was not at home in the post-war theatre; he had money problems, with large sums temporarily tied up in Britain, and for the first time in his career he had no ideas for a new novel.","He was sounded out about writing for Broadway, but he was not at home in the post-war theatre; he had money problems, with large sums temporarily tied up in Britain, and for the first time in his career he had no ideas for a new novel. He did not complete one until 1951.","He did not complete one until 1951. Wodehouse remained unsettled until he and Ethel left New York City for Long Island. Bolton and his wife lived in the prosperous hamlet of Remsenburg, part of the Southampton area of Long Island, east of Manhattan.","Bolton and his wife lived in the prosperous hamlet of Remsenburg, part of the Southampton area of Long Island, east of Manhattan. Wodehouse stayed with them frequently, and in 1952 he and Ethel bought a house nearby. They lived at Remsenburg for the rest of their lives.","They lived at Remsenburg for the rest of their lives. Between 1952 and 1975 he published more than twenty novels, as well as two collections of short stories, a heavily edited collection of his letters, a volume of memoirs, and a selection of his magazine articles. He continued to hanker after a revival of his theatrical career.","He continued to hanker after a revival of his theatrical career. A 1959 off-Broadway revival of the 1917 Bolton-Wodehouse-Kern Leave It to Jane was a surprise hit, running for 928 performances, but his few post-war stage works, some in collaboration with Bolton, made little impression.","A 1959 off-Broadway revival of the 1917 Bolton-Wodehouse-Kern Leave It to Jane was a surprise hit, running for 928 performances, but his few post-war stage works, some in collaboration with Bolton, made little impression. Although Ethel made a return visit to England in 1948 to shop and visit family and friends, Wodehouse never left America after his arrival in 1947.","Although Ethel made a return visit to England in 1948 to shop and visit family and friends, Wodehouse never left America after his arrival in 1947. It was not until 1965 that the British government indicated privately that he could return without fear of legal proceedings, and by then he felt too old to make the journey.","It was not until 1965 that the British government indicated privately that he could return without fear of legal proceedings, and by then he felt too old to make the journey. The biographers Benny Green and Robert McCrum both take the view that this exile benefited Wodehouse's writing, helping him to go on depicting an idealised England seen in his mind's eye, rather than as it actually was in the post-war decades.","The biographers Benny Green and Robert McCrum both take the view that this exile benefited Wodehouse's writing, helping him to go on depicting an idealised England seen in his mind's eye, rather than as it actually was in the post-war decades. During their years in Long Island, the couple often took in stray animals and contributed substantial funds to a local animal shelter.","During their years in Long Island, the couple often took in stray animals and contributed substantial funds to a local animal shelter. In 1955 Wodehouse became an American citizen, though he remained a British subject, and was therefore still eligible for UK state honours.","In 1955 Wodehouse became an American citizen, though he remained a British subject, and was therefore still eligible for UK state honours. He was considered for the award of a knighthood three times from 1967, but the honour was twice blocked by British officials.","He was considered for the award of a knighthood three times from 1967, but the honour was twice blocked by British officials. In 1974 the British prime minister, Harold Wilson, intervened to secure a knighthood (KBE) for Wodehouse, which was announced in the January 1975 New Year Honours list.","In 1974 the British prime minister, Harold Wilson, intervened to secure a knighthood (KBE) for Wodehouse, which was announced in the January 1975 New Year Honours list. The Times commented that Wodehouse's honour signalled \"official forgiveness for his wartime indiscretion....","The Times commented that Wodehouse's honour signalled \"official forgiveness for his wartime indiscretion.... It is late, but not too late, to take the sting out of that unhappy incident.\" The following month Wodehouse entered Southampton Hospital, Long Island, for treatment of a skin complaint.","The following month Wodehouse entered Southampton Hospital, Long Island, for treatment of a skin complaint. While there, he suffered a heart attack and died on 14 February 1975 at the age of 93. He was buried at Remsenburg Presbyterian Church four days later.","He was buried at Remsenburg Presbyterian Church four days later. Ethel outlived him by more than nine years; Leonora had predeceased him, dying suddenly in 1944.","Ethel outlived him by more than nine years; Leonora had predeceased him, dying suddenly in 1944. Writing Technique and approach Before starting a book Wodehouse would write up to four hundred pages of notes bringing together an outline of the plot; he acknowledged that \"It's the plots that I find so hard to work out.","Writing Technique and approach Before starting a book Wodehouse would write up to four hundred pages of notes bringing together an outline of the plot; he acknowledged that \"It's the plots that I find so hard to work out. It takes such a long time to work one out.\"","It takes such a long time to work one out.\" He always completed the plot before working on specific character actions. For a novel the note-writing process could take up to two years, and he would usually have two or more novels in preparation simultaneously.","For a novel the note-writing process could take up to two years, and he would usually have two or more novels in preparation simultaneously. After he had completed his notes, he would draw up a fuller scenario of about thirty thousand words, which ensured plot holes were avoided, and allowed for the dialogue to begin to develop.","After he had completed his notes, he would draw up a fuller scenario of about thirty thousand words, which ensured plot holes were avoided, and allowed for the dialogue to begin to develop. When interviewed in 1975 he revealed that \"For a humorous novel you've got to have a scenario, and you've got to test it so that you know where the comedy comes in, where the situations come in ... splitting it up into scenes (you can make a scene of almost anything) and have as little stuff in between as possible.\"","When interviewed in 1975 he revealed that \"For a humorous novel you've got to have a scenario, and you've got to test it so that you know where the comedy comes in, where the situations come in ... splitting it up into scenes (you can make a scene of almost anything) and have as little stuff in between as possible.\" He preferred working between 4 and 7 pm—but never after dinner—and would work seven days a week.","He preferred working between 4 and 7 pm—but never after dinner—and would work seven days a week. In his younger years, he would write around two to three thousand words a day, although he slowed as he aged, so that in his nineties he would produce a thousand.","In his younger years, he would write around two to three thousand words a day, although he slowed as he aged, so that in his nineties he would produce a thousand. The reduced speed in writing slowed his production of books: when younger he would produce a novel in about three months, while Bachelors Anonymous, published in 1973, took around six months.","The reduced speed in writing slowed his production of books: when younger he would produce a novel in about three months, while Bachelors Anonymous, published in 1973, took around six months. Although studies of language production in normal healthy ageing show a marked decline from the mid-70s on, a study of Wodehouse's works did not find any evidence of a decline in linguistic ability with age.","Although studies of language production in normal healthy ageing show a marked decline from the mid-70s on, a study of Wodehouse's works did not find any evidence of a decline in linguistic ability with age. Wodehouse believed that one of the factors that made his stories humorous was his view of life, and he stated that \"If you take life fairly easily, then you take a humorous view of things.","Wodehouse believed that one of the factors that made his stories humorous was his view of life, and he stated that \"If you take life fairly easily, then you take a humorous view of things. It's probably because you were born that way.\"","It's probably because you were born that way.\" He carried this view through into his writing, describing the approach as \"making the thing a sort of musical comedy without music, and ignoring real life altogether\".","He carried this view through into his writing, describing the approach as \"making the thing a sort of musical comedy without music, and ignoring real life altogether\". The literary critic Edward L. Galligan considers Wodehouse's stories to show his mastery in adapting the form of the American musical comedy for his writings.","The literary critic Edward L. Galligan considers Wodehouse's stories to show his mastery in adapting the form of the American musical comedy for his writings. Wodehouse would ensure that his first draft was as carefully and accurately done as possible, correcting and refining the prose as he wrote, and would then make another good copy, before proofreading again and then making a final copy for his publisher.","Wodehouse would ensure that his first draft was as carefully and accurately done as possible, correcting and refining the prose as he wrote, and would then make another good copy, before proofreading again and then making a final copy for his publisher. Most of Wodehouse's canon is set in an undated period around the 1920s and 1930s.","Most of Wodehouse's canon is set in an undated period around the 1920s and 1930s. The critic Anthony Lejeune describes the settings of Wodehouse's novels, such as the Drones Club and Blandings Castle, as \"a fairyland\".","The critic Anthony Lejeune describes the settings of Wodehouse's novels, such as the Drones Club and Blandings Castle, as \"a fairyland\". Although some critics thought Wodehouse's fiction was based on a world that had never existed, Wodehouse affirmed that \"it did.","Although some critics thought Wodehouse's fiction was based on a world that had never existed, Wodehouse affirmed that \"it did. It was going strong between the wars\", although he agreed that his version was to some extent \"a sort of artificial world of my own creation\".","It was going strong between the wars\", although he agreed that his version was to some extent \"a sort of artificial world of my own creation\". The novels showed a largely unchanging world, regardless of when they were written, and only rarely—and mistakenly in McCrum's view—did Wodehouse allow modernity to intrude, as he did in the 1966 story \"Bingo Bans the Bomb\".","The novels showed a largely unchanging world, regardless of when they were written, and only rarely—and mistakenly in McCrum's view—did Wodehouse allow modernity to intrude, as he did in the 1966 story \"Bingo Bans the Bomb\". When dealing with the dialogue in his novels, Wodehouse would consider the book's characters as if they were actors in a play, ensuring that the main roles were kept suitably employed throughout the storyline, which must be strong: \"If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them.\"","When dealing with the dialogue in his novels, Wodehouse would consider the book's characters as if they were actors in a play, ensuring that the main roles were kept suitably employed throughout the storyline, which must be strong: \"If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them.\" Many of Wodehouse's parts were stereotypes, and he acknowledged that \"a real character in one of my books sticks out like a sore thumb.\"","Many of Wodehouse's parts were stereotypes, and he acknowledged that \"a real character in one of my books sticks out like a sore thumb.\" The publisher Michael Joseph identifies that even within the stereotypes Wodehouse understood human nature, and therefore \"shares with [Charles] Dickens and Charles Chaplin the ability to present the comic resistance of the individual against those superior forces to which we are all subject\".","The publisher Michael Joseph identifies that even within the stereotypes Wodehouse understood human nature, and therefore \"shares with [Charles] Dickens and Charles Chaplin the ability to present the comic resistance of the individual against those superior forces to which we are all subject\". Much of Wodehouse's use of slang terms reflects the influence of his time at school in Dulwich, and partly reflects Edwardian slang.","Much of Wodehouse's use of slang terms reflects the influence of his time at school in Dulwich, and partly reflects Edwardian slang. As a young man he enjoyed the literary works of Arthur Conan Doyle and Jerome K. Jerome, and the operatic works of Gilbert and Sullivan. Wodehouse quotes from and alludes to numerous poets throughout his work.","Wodehouse quotes from and alludes to numerous poets throughout his work. The scholar Clarke Olney lists those quoted, including Milton, Byron, Longfellow, Coleridge, Swinburne, Tennyson, Wordsworth and Shakespeare. Another favoured source was the King James Bible.","Another favoured source was the King James Bible. Language In 1941 the Concise Cambridge History of English Literature opined that Wodehouse had \"a gift for highly original aptness of phrase that almost suggests a poet struggling for release among the wild extravagances of farce\", while McCrum thinks that Wodehouse manages to combine \"high farce with the inverted poetry of his mature comic style\", particularly in The Code of the Woosters; the novelist Anthony Powell believes Wodehouse to be a \"comic poet\".","Language In 1941 the Concise Cambridge History of English Literature opined that Wodehouse had \"a gift for highly original aptness of phrase that almost suggests a poet struggling for release among the wild extravagances of farce\", while McCrum thinks that Wodehouse manages to combine \"high farce with the inverted poetry of his mature comic style\", particularly in The Code of the Woosters; the novelist Anthony Powell believes Wodehouse to be a \"comic poet\". Robert A.","Robert A. Robert A. Hall Jr., in his study of Wodehouse's style and technique, describes the author as a master of prose, an opinion also shared by Levin, who considers Wodehouse \"one of the finest and purest writers of English prose\".","Hall Jr., in his study of Wodehouse's style and technique, describes the author as a master of prose, an opinion also shared by Levin, who considers Wodehouse \"one of the finest and purest writers of English prose\". Hall identifies several techniques used by Wodehouse to achieve comic effect, including the creation of new words through adding or removing prefixes and suffixes, so when Pongo Twistleton removes the housemaid Elsie Bean from a cupboard, Wodehouse writes that the character \"de-Beaned the cupboard\".","Hall identifies several techniques used by Wodehouse to achieve comic effect, including the creation of new words through adding or removing prefixes and suffixes, so when Pongo Twistleton removes the housemaid Elsie Bean from a cupboard, Wodehouse writes that the character \"de-Beaned the cupboard\". Wodehouse created new words by splitting others in two, thus Wodehouse divides \"hobnobbing\" when he writes: \"To offer a housemaid a cigarette is not hobbing.","Wodehouse created new words by splitting others in two, thus Wodehouse divides \"hobnobbing\" when he writes: \"To offer a housemaid a cigarette is not hobbing. Nor, when you light it for her, does that constitute nobbing.\"","Nor, when you light it for her, does that constitute nobbing.\" Richard Voorhees, Wodehouse's biographer, believes that the author used clichés in a deliberate and ironic manner.","Richard Voorhees, Wodehouse's biographer, believes that the author used clichés in a deliberate and ironic manner. His opinion is shared by the academic Stephen Medcalf, who deems Wodehouse's skill is to \"bring a cliché just enough to life to kill it\", although Pamela March, writing in The Christian Science Monitor, considers Wodehouse to have \"an ability to decliché a cliché\".","His opinion is shared by the academic Stephen Medcalf, who deems Wodehouse's skill is to \"bring a cliché just enough to life to kill it\", although Pamela March, writing in The Christian Science Monitor, considers Wodehouse to have \"an ability to decliché a cliché\". Medcalf provides an example from Right Ho, Jeeves in which the teetotal Gussie Fink-Nottle has surreptitiously been given whisky and gin in a punch prior to a prize-giving: 'It seems to me, Jeeves, that the ceremony may be one fraught with considerable interest.'","Medcalf provides an example from Right Ho, Jeeves in which the teetotal Gussie Fink-Nottle has surreptitiously been given whisky and gin in a punch prior to a prize-giving: 'It seems to me, Jeeves, that the ceremony may be one fraught with considerable interest.' 'Yes, sir.'","'Yes, sir.' 'Yes, sir.' 'What, in your opinion, will the harvest be?' 'One finds it difficult to hazard a conjecture, sir.' 'You mean imagination boggles?' 'Yes, sir.' I inspected my imagination. He was right. It boggled.","He was right. It boggled. It boggled. The stylistic device most commonly found in Wodehouse's work is his use of comparative imagery that includes similes. Hall opines that the humour comes from Wodehouse's ability to accentuate \"resemblances which at first glance seem highly incongruous\".","Hall opines that the humour comes from Wodehouse's ability to accentuate \"resemblances which at first glance seem highly incongruous\". Examples can be seen in Joy in the Morning, Chapter 29: \"There was a sound in the background like a distant sheep coughing gently on a mountainside.","Examples can be seen in Joy in the Morning, Chapter 29: \"There was a sound in the background like a distant sheep coughing gently on a mountainside. Jeeves sailing into action\", or Psmith, Chapter 7: \"A sound like two or three pigs feeding rather noisily in the middle of a thunderstorm interrupted his meditation.\"","Jeeves sailing into action\", or Psmith, Chapter 7: \"A sound like two or three pigs feeding rather noisily in the middle of a thunderstorm interrupted his meditation.\" Hall also identifies that periodically Wodehouse used the stylistic device of a transferred epithet, with an adjective that properly belongs to a person applied instead to some inanimate object.","Hall also identifies that periodically Wodehouse used the stylistic device of a transferred epithet, with an adjective that properly belongs to a person applied instead to some inanimate object. The form of expression is used sparingly by Wodehouse in comparison with other mechanisms, only once or twice in a story or novel, according to Hall.","The form of expression is used sparingly by Wodehouse in comparison with other mechanisms, only once or twice in a story or novel, according to Hall. \"I balanced a thoughtful lump of sugar on the teaspoon.\"","\"I balanced a thoughtful lump of sugar on the teaspoon.\" —Joy in the Morning, Chapter 5 \"As I sat in the bath-tub, soaping a meditative foot ...\" —Jeeves and the Feudal Spirit, Chapter 1 \"The first thing he did was to prod Jeeves in the lower ribs with an uncouth forefinger.\"","—Joy in the Morning, Chapter 5 \"As I sat in the bath-tub, soaping a meditative foot ...\" —Jeeves and the Feudal Spirit, Chapter 1 \"The first thing he did was to prod Jeeves in the lower ribs with an uncouth forefinger.\" —Much Obliged, Jeeves, Chapter 4 Wordplay is a key element in Wodehouse's writing.","—Much Obliged, Jeeves, Chapter 4 Wordplay is a key element in Wodehouse's writing. This can take the form of puns, such as in Jeeves and the Feudal Spirit, when Bertie is released after a night in the police cells, and says that he has \"a pinched look\" about him.","This can take the form of puns, such as in Jeeves and the Feudal Spirit, when Bertie is released after a night in the police cells, and says that he has \"a pinched look\" about him. Linguistic confusion is another humorous mechanism, such as in Uncle Dynamite when Constable Potter says he has been \"assaulted by the duck pond\".","Linguistic confusion is another humorous mechanism, such as in Uncle Dynamite when Constable Potter says he has been \"assaulted by the duck pond\". In reply, Sir Aylmer, confusing the two meanings of the word \"by\", asks: \"How the devil can you be assaulted by a duck pond?\"","In reply, Sir Aylmer, confusing the two meanings of the word \"by\", asks: \"How the devil can you be assaulted by a duck pond?\" Wodehouse also uses metaphor and mixed metaphor to add humour.","Wodehouse also uses metaphor and mixed metaphor to add humour. Some come through exaggeration, such as Bingo Little's infant child who \"not only has the aspect of a mass murderer, but that of a mass murderer suffering from an ingrown toenail\", or Wooster's complaint that \"the rumpuses that Bobbie Wickham is already starting may be amusing to her, but not to the unfortunate toads beneath the harrow whom she ruthlessly plunges into the soup.\"","Some come through exaggeration, such as Bingo Little's infant child who \"not only has the aspect of a mass murderer, but that of a mass murderer suffering from an ingrown toenail\", or Wooster's complaint that \"the rumpuses that Bobbie Wickham is already starting may be amusing to her, but not to the unfortunate toads beneath the harrow whom she ruthlessly plunges into the soup.\" Bertie Wooster's half-forgotten vocabulary also provides a further humorous device.","Bertie Wooster's half-forgotten vocabulary also provides a further humorous device. In Jeeves and the Feudal Spirit Bertie asks Jeeves \"Let a plugugly like young Thos loose in the community with a cosh, and you are inviting disaster and ... what's the word? Something about cats.\" Jeeves replies, \"Cataclysms, sir?\"","Jeeves replies, \"Cataclysms, sir?\" Reception and reputation Literary reception Wodehouse's early career as a lyricist and playwright was profitable, and his work with Bolton, according to The Guardian, \"was one of the most successful in the history of musical comedy\".","Reception and reputation Literary reception Wodehouse's early career as a lyricist and playwright was profitable, and his work with Bolton, according to The Guardian, \"was one of the most successful in the history of musical comedy\". At the outbreak of the Second World War he was earning £40,000 a year from his work, which had broadened to include novels and short stories.","At the outbreak of the Second World War he was earning £40,000 a year from his work, which had broadened to include novels and short stories. Following the furore ensuing from the wartime broadcasts, he suffered a downturn in his popularity and book sales; The Saturday Evening Post stopped publishing his short stories, a stance they reversed in 1965, although his popularity—and the sales figures—slowly recovered over time.","Following the furore ensuing from the wartime broadcasts, he suffered a downturn in his popularity and book sales; The Saturday Evening Post stopped publishing his short stories, a stance they reversed in 1965, although his popularity—and the sales figures—slowly recovered over time. Wodehouse received great praise from many of his contemporaries, including Max Beerbohm, Rudyard Kipling, A. E. Housman and Evelyn Waugh—the last of whom opines, \"One has to regard a man as a Master who can produce on average three uniquely brilliant and entirely original similes on each page.\"","Wodehouse received great praise from many of his contemporaries, including Max Beerbohm, Rudyard Kipling, A. E. Housman and Evelyn Waugh—the last of whom opines, \"One has to regard a man as a Master who can produce on average three uniquely brilliant and entirely original similes on each page.\" There are dissenters to the praise.","There are dissenters to the praise. The writer Alan Bennett thinks that \"inspired though his language is, I can never take more than ten pages of the novels at a time, their relentless flippancy wearing and tedious\", while the literary critic Q. D. Leavis writes that Wodehouse had a \"stereotyped humour ... of ingenious variations on a laugh in one place\".","The writer Alan Bennett thinks that \"inspired though his language is, I can never take more than ten pages of the novels at a time, their relentless flippancy wearing and tedious\", while the literary critic Q. D. Leavis writes that Wodehouse had a \"stereotyped humour ... of ingenious variations on a laugh in one place\". In a 2010 study of Wodehouse's few relatively serious novels, such as The Coming of Bill (1919), Jill the Reckless (1920) and The Adventures of Sally (1922), David Heddendorf concludes that though their literary quality does not match that of the farcical novels, they show a range of empathy and interests that in real life—and in his most comic works—the author seemed to lack.","In a 2010 study of Wodehouse's few relatively serious novels, such as The Coming of Bill (1919), Jill the Reckless (1920) and The Adventures of Sally (1922), David Heddendorf concludes that though their literary quality does not match that of the farcical novels, they show a range of empathy and interests that in real life—and in his most comic works—the author seemed to lack. \"Never oblivious to grief and despair, he opts in clear-eyed awareness for his timeless world of spats and woolly-headed peers.","\"Never oblivious to grief and despair, he opts in clear-eyed awareness for his timeless world of spats and woolly-headed peers. It's an austere, almost bloodless preference for pristine artifice over the pain and messy outcomes of actual existence, but it's a case of Wodehouse keeping faith with his own unique art.\"","It's an austere, almost bloodless preference for pristine artifice over the pain and messy outcomes of actual existence, but it's a case of Wodehouse keeping faith with his own unique art.\" The American literary analyst Robert F. Kiernan, defining \"camp\" as \"excessive stylization of whatever kind\", brackets Wodehouse as \"a master of the camp novel\", along with Thomas Love Peacock, Max Beerbohm, Ronald Firbank, E. F. Benson and Ivy Compton-Burnett.","The American literary analyst Robert F. Kiernan, defining \"camp\" as \"excessive stylization of whatever kind\", brackets Wodehouse as \"a master of the camp novel\", along with Thomas Love Peacock, Max Beerbohm, Ronald Firbank, E. F. Benson and Ivy Compton-Burnett. The literary critic and writer Cyril Connolly calls Wodehouse a \"politicians' author\"—one who does \"not like art to be exacting and difficult\".","The literary critic and writer Cyril Connolly calls Wodehouse a \"politicians' author\"—one who does \"not like art to be exacting and difficult\". Two former British prime ministers, H. H. Asquith and Tony Blair, are on record as Wodehouse aficionados, and the latter became a patron of the Wodehouse Society.","Two former British prime ministers, H. H. Asquith and Tony Blair, are on record as Wodehouse aficionados, and the latter became a patron of the Wodehouse Society. Seán O'Casey, a successful playwright of the 1920s, thought little of Wodehouse; he commented in 1941 that it was damaging to England's dignity that the public or \"the academic government of Oxford, dead from the chin up\" considered Wodehouse an important figure in English literature.","Seán O'Casey, a successful playwright of the 1920s, thought little of Wodehouse; he commented in 1941 that it was damaging to England's dignity that the public or \"the academic government of Oxford, dead from the chin up\" considered Wodehouse an important figure in English literature. His jibe that Wodehouse was \"English literature's performing flea\" provided his target with the title of his collected letters, published in 1953.","His jibe that Wodehouse was \"English literature's performing flea\" provided his target with the title of his collected letters, published in 1953. McCrum, writing in 2004, observes, \"Wodehouse is more popular today than on the day he died\", and \"his comic vision has an absolutely secure place in the English literary imagination.\"","McCrum, writing in 2004, observes, \"Wodehouse is more popular today than on the day he died\", and \"his comic vision has an absolutely secure place in the English literary imagination.\" Honours and influence The proposed nominations of Wodehouse for a knighthood in 1967 and 1971 were blocked for fear that such an award would \"revive the controversy of his wartime behaviour and give currency to a Bertie Wooster image of the British character which the embassy was doing its best to eradicate\".","Honours and influence The proposed nominations of Wodehouse for a knighthood in 1967 and 1971 were blocked for fear that such an award would \"revive the controversy of his wartime behaviour and give currency to a Bertie Wooster image of the British character which the embassy was doing its best to eradicate\". When Wodehouse was awarded the knighthood, only four years later, the journalist Dennis Barker wrote in The Guardian that the writer was \"the solitary surviving English literary comic genius\".","When Wodehouse was awarded the knighthood, only four years later, the journalist Dennis Barker wrote in The Guardian that the writer was \"the solitary surviving English literary comic genius\". After his death six weeks later, the journalist Michael Davie, writing in the same paper, observed that \"Many people regarded ... [Wodehouse] as he regarded Beachcomber, as 'one, if not more than one, of England's greatest men'\", while in the view of the obituarist for The Times Wodehouse \"was a comic genius recognized in his lifetime as a classic and an old master of farce\".","After his death six weeks later, the journalist Michael Davie, writing in the same paper, observed that \"Many people regarded ... [Wodehouse] as he regarded Beachcomber, as 'one, if not more than one, of England's greatest men'\", while in the view of the obituarist for The Times Wodehouse \"was a comic genius recognized in his lifetime as a classic and an old master of farce\". In September 2019 Wodehouse was commemorated with a memorial stone in Westminster Abbey; the dedication was held two days after it was installed.","In September 2019 Wodehouse was commemorated with a memorial stone in Westminster Abbey; the dedication was held two days after it was installed. Since Wodehouse's death there have been numerous adaptations and dramatisations of his work on television and film; Wodehouse himself has been portrayed on radio and screen numerous times.","Since Wodehouse's death there have been numerous adaptations and dramatisations of his work on television and film; Wodehouse himself has been portrayed on radio and screen numerous times. There are several literary societies dedicated to Wodehouse. The P.G. Wodehouse Society (UK) was founded in 1997 and has over 1,000 members as at 2015.","Wodehouse Society (UK) was founded in 1997 and has over 1,000 members as at 2015. The president of the society as at 2017 is Alexander Armstrong; past presidents have included Terry Wogan and Richard Briers.","The president of the society as at 2017 is Alexander Armstrong; past presidents have included Terry Wogan and Richard Briers. There are also other groups of Wodehouse fans in Australia, Belgium, France, Finland, India, Italy, Russia, Sweden and the US.","There are also other groups of Wodehouse fans in Australia, Belgium, France, Finland, India, Italy, Russia, Sweden and the US. As at 2015 the Oxford English Dictionary contains over 1,750 quotations from Wodehouse, illustrating terms from crispish to zippiness.","As at 2015 the Oxford English Dictionary contains over 1,750 quotations from Wodehouse, illustrating terms from crispish to zippiness. Voorhees, while acknowledging that Wodehouse's antecedents in literature range from Ben Jonson to Oscar Wilde, writes: Notes, references and sources Notes References Sources External links P. G. Wodehouse collection at One More Library P.G.","Voorhees, while acknowledging that Wodehouse's antecedents in literature range from Ben Jonson to Oscar Wilde, writes: Notes, references and sources Notes References Sources External links P. G. Wodehouse collection at One More Library P.G. Wodehouse Archive on loan to the British Library The Wodehouse Society The P. G. Wodehouse Society (UK) Transcripts of Wodehouse's Berlin Broadcasts \"P. G. Wodehouse: An English Master of American Slang\" from The American Legion Weekly, 24 October 1919 Orwell, George \"In Defence of P.G.","Wodehouse Archive on loan to the British Library The Wodehouse Society The P. G. Wodehouse Society (UK) Transcripts of Wodehouse's Berlin Broadcasts \"P. G. Wodehouse: An English Master of American Slang\" from The American Legion Weekly, 24 October 1919 Orwell, George \"In Defence of P.G. Wodehouse\" 1881 births 1975 deaths 20th-century English novelists 20th-century British dramatists and playwrights British emigrants to the United States English lyricists Knights Commander of the Order of the British Empire English male dramatists and playwrights British male novelists People educated at Dulwich College People educated at Elizabeth College, Guernsey People from Guildford People from Long Island PG People interned during World War II English humorists 20th-century American novelists American dramatists and playwrights American humorists American lyricists American male novelists Novelists from New York (state) Literature controversies English broadcasters for Nazi Germany 20th-century American male writers"],"string":"[\n \"Sir Pelham Grenville Wodehouse, ( ; 15 October 188114 February 1975) was an English author and one of the most widely read humorists of the 20th century. His creations include the feather-brained Bertie Wooster and his sagacious valet, Jeeves; the immaculate and loquacious Psmith; Lord Emsworth and the Blandings Castle set; the Oldest Member, with stories about golf; and Mr Mulliner, with tall tales on subjects ranging from bibulous bishops to megalomaniac movie moguls.\",\n \"His creations include the feather-brained Bertie Wooster and his sagacious valet, Jeeves; the immaculate and loquacious Psmith; Lord Emsworth and the Blandings Castle set; the Oldest Member, with stories about golf; and Mr Mulliner, with tall tales on subjects ranging from bibulous bishops to megalomaniac movie moguls. Born in Guildford, the third son of a British magistrate based in Hong Kong, Wodehouse spent happy teenage years at Dulwich College, to which he remained devoted all his life.\",\n \"Born in Guildford, the third son of a British magistrate based in Hong Kong, Wodehouse spent happy teenage years at Dulwich College, to which he remained devoted all his life. After leaving school he was employed by a bank but disliked the work and turned to writing in his spare time.\",\n \"After leaving school he was employed by a bank but disliked the work and turned to writing in his spare time. His early novels were mostly school stories, but he later switched to comic fiction.\",\n \"His early novels were mostly school stories, but he later switched to comic fiction. Most of Wodehouse's fiction is set in his native United Kingdom, although he spent much of his life in the US and used New York and Hollywood as settings for some of his novels and short stories.\",\n \"Most of Wodehouse's fiction is set in his native United Kingdom, although he spent much of his life in the US and used New York and Hollywood as settings for some of his novels and short stories. He wrote a series of Broadway musical comedies during and after the First World War, together with Guy Bolton and Jerome Kern, that played an important part in the development of the American musical.\",\n \"He wrote a series of Broadway musical comedies during and after the First World War, together with Guy Bolton and Jerome Kern, that played an important part in the development of the American musical. He began the 1930s writing for MGM in Hollywood.\",\n \"He began the 1930s writing for MGM in Hollywood. In a 1931 interview, his naive revelations of incompetence and extravagance in the studios caused a furore. In the same decade, his literary career reached a new peak.\",\n \"In the same decade, his literary career reached a new peak. In 1934 Wodehouse moved to France for tax reasons; in 1940 he was taken prisoner at Le Touquet by the invading Germans and interned for nearly a year.\",\n \"In 1934 Wodehouse moved to France for tax reasons; in 1940 he was taken prisoner at Le Touquet by the invading Germans and interned for nearly a year. After his release he made six broadcasts from German radio in Berlin to the US, which had not yet entered the war.\",\n \"After his release he made six broadcasts from German radio in Berlin to the US, which had not yet entered the war. The talks were comic and apolitical, but his broadcasting over enemy radio prompted anger and strident controversy in Britain, and a threat of prosecution. Wodehouse never returned to England.\",\n \"Wodehouse never returned to England. Wodehouse never returned to England. From 1947 until his death he lived in the US, taking dual British-American citizenship in 1955. He died in 1975, at the age of 93, in Southampton, New York.\",\n \"He died in 1975, at the age of 93, in Southampton, New York. Wodehouse was a prolific writer throughout his life, publishing more than ninety books, forty plays, two hundred short stories and other writings between 1902 and 1974. He worked extensively on his books, sometimes having two or more in preparation simultaneously.\",\n \"He worked extensively on his books, sometimes having two or more in preparation simultaneously. He would take up to two years to build a plot and write a scenario of about thirty thousand words. After the scenario was complete he would write the story.\",\n \"After the scenario was complete he would write the story. Early in his career Wodehouse would produce a novel in about three months, but he slowed in old age to around six months.\",\n \"Early in his career Wodehouse would produce a novel in about three months, but he slowed in old age to around six months. He used a mixture of Edwardian slang, quotations from and allusions to numerous poets, and several literary techniques to produce a prose style that has been compared to comic poetry and musical comedy.\",\n \"He used a mixture of Edwardian slang, quotations from and allusions to numerous poets, and several literary techniques to produce a prose style that has been compared to comic poetry and musical comedy. Some critics of Wodehouse have considered his work flippant, but among his fans are former British prime ministers and many of his fellow writers.\",\n \"Some critics of Wodehouse have considered his work flippant, but among his fans are former British prime ministers and many of his fellow writers. Life and career Early years Wodehouse was born in Guildford, Surrey, the third son of Henry Ernest Wodehouse (1845–1929), a magistrate resident in the British colony of Hong Kong, and his wife, Eleanor (1861–1941), daughter of the Rev John Bathurst Deane.\",\n \"Life and career Early years Wodehouse was born in Guildford, Surrey, the third son of Henry Ernest Wodehouse (1845–1929), a magistrate resident in the British colony of Hong Kong, and his wife, Eleanor (1861–1941), daughter of the Rev John Bathurst Deane. The Wodehouses, who traced their ancestry back to the 13th century, belonged to a cadet branch of the family of the earls of Kimberley.\",\n \"The Wodehouses, who traced their ancestry back to the 13th century, belonged to a cadet branch of the family of the earls of Kimberley. Eleanor Wodehouse was also of ancient aristocratic ancestry. She was visiting her sister in Guildford when Wodehouse was born there prematurely.\",\n \"She was visiting her sister in Guildford when Wodehouse was born there prematurely. The boy was baptised at the Church of St Nicolas, Guildford, and was named after his godfather, Pelham von Donop.\",\n \"The boy was baptised at the Church of St Nicolas, Guildford, and was named after his godfather, Pelham von Donop. Wodehouse wrote in 1957, \\\"If you ask me to tell you frankly if I like the name Pelham Grenville Wodehouse, I must confess that I do not....\",\n \"Wodehouse wrote in 1957, \\\"If you ask me to tell you frankly if I like the name Pelham Grenville Wodehouse, I must confess that I do not.... I was named after a godfather, and not a thing to show for it but a small silver mug which I lost in 1897.\\\"\",\n \"I was named after a godfather, and not a thing to show for it but a small silver mug which I lost in 1897.\\\" The first name was rapidly elided to \\\"Plum\\\", the name by which Wodehouse became known to family and friends.\",\n \"The first name was rapidly elided to \\\"Plum\\\", the name by which Wodehouse became known to family and friends. Mother and son sailed for Hong Kong, where for his first two years Wodehouse was raised by a Chinese amah (nurse), alongside his elder brothers Peveril (1877–1951) and Armine (1879–1936).\",\n \"Mother and son sailed for Hong Kong, where for his first two years Wodehouse was raised by a Chinese amah (nurse), alongside his elder brothers Peveril (1877–1951) and Armine (1879–1936). When he was two, the brothers were brought to England, where they were placed under the care of an English nanny in a house adjoining that of Eleanor's father and mother.\",\n \"When he was two, the brothers were brought to England, where they were placed under the care of an English nanny in a house adjoining that of Eleanor's father and mother. The boys' parents returned to Hong Kong and became virtual strangers to their sons.\",\n \"The boys' parents returned to Hong Kong and became virtual strangers to their sons. Such an arrangement was then normal for middle-class families based in the colonies.\",\n \"Such an arrangement was then normal for middle-class families based in the colonies. The lack of parental contact, and the harsh regime of some of those in loco parentis, left permanent emotional scars on many children from similar backgrounds, including the writers Thackeray, Saki, Kipling and Walpole.\",\n \"The lack of parental contact, and the harsh regime of some of those in loco parentis, left permanent emotional scars on many children from similar backgrounds, including the writers Thackeray, Saki, Kipling and Walpole. Wodehouse was more fortunate; his nanny, Emma Roper, was strict but not unkind, and both with her and later at his different schools Wodehouse had a generally happy childhood.\",\n \"Wodehouse was more fortunate; his nanny, Emma Roper, was strict but not unkind, and both with her and later at his different schools Wodehouse had a generally happy childhood. His recollection was that \\\"it went like a breeze from start to finish, with everybody I met understanding me perfectly\\\".\",\n \"His recollection was that \\\"it went like a breeze from start to finish, with everybody I met understanding me perfectly\\\". The biographer Robert McCrum suggests that nonetheless Wodehouse's isolation from his parents left a psychological mark, causing him to avoid emotional engagement both in life and in his works.\",\n \"The biographer Robert McCrum suggests that nonetheless Wodehouse's isolation from his parents left a psychological mark, causing him to avoid emotional engagement both in life and in his works. Another biographer, Frances Donaldson, writes, \\\"Deprived so early, not merely of maternal love, but of home life and even a stable background, Wodehouse consoled himself from the youngest age in an imaginary world of his own.\\\"\",\n \"Another biographer, Frances Donaldson, writes, \\\"Deprived so early, not merely of maternal love, but of home life and even a stable background, Wodehouse consoled himself from the youngest age in an imaginary world of his own.\\\" In 1886 the brothers were sent to a dame-school in Croydon, where they spent three years.\",\n \"In 1886 the brothers were sent to a dame-school in Croydon, where they spent three years. Peveril was then found to have a \\\"weak chest\\\"; sea air was prescribed, and the three boys were moved to Elizabeth College on the island of Guernsey.\",\n \"Peveril was then found to have a \\\"weak chest\\\"; sea air was prescribed, and the three boys were moved to Elizabeth College on the island of Guernsey. In 1891 Wodehouse went on to Malvern House Preparatory School in Kent, which concentrated on preparing its pupils for entry to the Royal Navy.\",\n \"In 1891 Wodehouse went on to Malvern House Preparatory School in Kent, which concentrated on preparing its pupils for entry to the Royal Navy. His father had planned a naval career for him, but the boy's eyesight was found to be too poor for it.\",\n \"His father had planned a naval career for him, but the boy's eyesight was found to be too poor for it. He was unimpressed by the school's narrow curriculum and zealous discipline; he later parodied it in his novels, with Bertie Wooster recalling his early years as a pupil at a \\\"penitentiary... with the outward guise of a prep school\\\" called Malvern House.\",\n \"He was unimpressed by the school's narrow curriculum and zealous discipline; he later parodied it in his novels, with Bertie Wooster recalling his early years as a pupil at a \\\"penitentiary... with the outward guise of a prep school\\\" called Malvern House. Throughout their school years the brothers were sent to stay during the holidays with various uncles and aunts from both sides of the family.\",\n \"Throughout their school years the brothers were sent to stay during the holidays with various uncles and aunts from both sides of the family. In the Oxford Dictionary of National Biography, Iain Sproat counts twenty aunts and considers that they played an important part not only in Wodehouse's early life, but, thinly disguised, in his mature novels, as the formidable aunts who dominate the action in the Wooster, Blandings, and other stories.\",\n \"In the Oxford Dictionary of National Biography, Iain Sproat counts twenty aunts and considers that they played an important part not only in Wodehouse's early life, but, thinly disguised, in his mature novels, as the formidable aunts who dominate the action in the Wooster, Blandings, and other stories. The boys had fifteen uncles, four of whom were clergymen.\",\n \"The boys had fifteen uncles, four of whom were clergymen. Sproat writes that they inspired Wodehouse's \\\"pious but fallible curates, vicars, and bishops, of which he wrote with friendly irreverence but without mockery\\\".\",\n \"Sproat writes that they inspired Wodehouse's \\\"pious but fallible curates, vicars, and bishops, of which he wrote with friendly irreverence but without mockery\\\". At the age of twelve in 1894, to his great joy, Wodehouse was able to follow his brother Armine to Dulwich College.\",\n \"At the age of twelve in 1894, to his great joy, Wodehouse was able to follow his brother Armine to Dulwich College. He was entirely at home there; Donaldson comments that Dulwich gave him, for the first time, \\\"some continuity and a stable and ordered life\\\".\",\n \"He was entirely at home there; Donaldson comments that Dulwich gave him, for the first time, \\\"some continuity and a stable and ordered life\\\". He loved the camaraderie, distinguished himself at cricket, rugby and boxing, and was a good, if not consistently diligent, student.\",\n \"He loved the camaraderie, distinguished himself at cricket, rugby and boxing, and was a good, if not consistently diligent, student. The headmaster at the time was A. H. Gilkes, a respected classicist, who was a strong influence on Wodehouse.\",\n \"The headmaster at the time was A. H. Gilkes, a respected classicist, who was a strong influence on Wodehouse. In a study of Wodehouse's works, Richard Usborne argues that \\\"only a writer who was himself a scholar and had had his face ground into Latin and Greek (especially Thucydides) as a boy\\\" could sustain the complex sequences of subordinate clauses sometimes found in Wodehouse's comic prose.\",\n \"In a study of Wodehouse's works, Richard Usborne argues that \\\"only a writer who was himself a scholar and had had his face ground into Latin and Greek (especially Thucydides) as a boy\\\" could sustain the complex sequences of subordinate clauses sometimes found in Wodehouse's comic prose. Wodehouse's six years at Dulwich were among the happiest of his life: \\\"To me the years between 1894 and 1900 were like heaven.\\\"\",\n \"Wodehouse's six years at Dulwich were among the happiest of his life: \\\"To me the years between 1894 and 1900 were like heaven.\\\" In addition to his sporting achievements he was a good singer and enjoyed taking part in school concerts; his literary leanings found an outlet in editing the school magazine, The Alleynian.\",\n \"In addition to his sporting achievements he was a good singer and enjoyed taking part in school concerts; his literary leanings found an outlet in editing the school magazine, The Alleynian. For the rest of his life he remained devoted to the school.\",\n \"For the rest of his life he remained devoted to the school. The biographer Barry Phelps writes that Wodehouse \\\"loved the college as much as he loved anything or anybody\\\".\",\n \"The biographer Barry Phelps writes that Wodehouse \\\"loved the college as much as he loved anything or anybody\\\". Reluctant banker; budding writer: 1900–1908 Wodehouse expected to follow Armine to the University of Oxford, but the family's finances took a turn for the worse at the crucial moment.\",\n \"Reluctant banker; budding writer: 1900–1908 Wodehouse expected to follow Armine to the University of Oxford, but the family's finances took a turn for the worse at the crucial moment. Ernest Wodehouse had retired in 1895, and his pension was paid in rupees; fluctuation against the pound reduced its value in Britain.\",\n \"Ernest Wodehouse had retired in 1895, and his pension was paid in rupees; fluctuation against the pound reduced its value in Britain. Wodehouse recalled, \\\"The wolf was not actually whining at the door and there was always a little something in the kitty for the butcher and the grocer, but the finances would not run to anything in the nature of a splash\\\".\",\n \"Wodehouse recalled, \\\"The wolf was not actually whining at the door and there was always a little something in the kitty for the butcher and the grocer, but the finances would not run to anything in the nature of a splash\\\". Instead of a university career, in September 1900 Wodehouse was engaged in a junior position in the London office of the Hongkong and Shanghai Bank.\",\n \"Instead of a university career, in September 1900 Wodehouse was engaged in a junior position in the London office of the Hongkong and Shanghai Bank. He was unsuited to it and found the work baffling and uncongenial.\",\n \"He was unsuited to it and found the work baffling and uncongenial. He later wrote a humorous account of his experiences at the bank, but at the time he longed for the end of each working day, when he could return to his rented lodgings in Chelsea and write.\",\n \"He later wrote a humorous account of his experiences at the bank, but at the time he longed for the end of each working day, when he could return to his rented lodgings in Chelsea and write. At first he concentrated, with some success, on serious articles about school sports for Public School Magazine.\",\n \"At first he concentrated, with some success, on serious articles about school sports for Public School Magazine. In November 1900 his first comic piece, \\\"Men Who Missed Their Own Weddings\\\", was accepted by Tit-Bits.\",\n \"In November 1900 his first comic piece, \\\"Men Who Missed Their Own Weddings\\\", was accepted by Tit-Bits. A new magazine for boys, The Captain, provided further well-paid opportunities, and during his two years at the bank, Wodehouse had eighty pieces published in a total of nine magazines.\",\n \"A new magazine for boys, The Captain, provided further well-paid opportunities, and during his two years at the bank, Wodehouse had eighty pieces published in a total of nine magazines. In 1901, with the help of a former Dulwich master, William Beach Thomas, Wodehouse secured an appointment—at first temporary and later permanent—writing for The Globes popular \\\"By the Way\\\" column.\",\n \"In 1901, with the help of a former Dulwich master, William Beach Thomas, Wodehouse secured an appointment—at first temporary and later permanent—writing for The Globes popular \\\"By the Way\\\" column. He held the post until 1909.\",\n \"He held the post until 1909. At around the same time his first novel was published—a school story called The Pothunters, serialised incomplete in Public School Magazine in early 1902, and issued in full in hardback in September. He resigned from the bank that month to devote himself to writing full-time.\",\n \"He resigned from the bank that month to devote himself to writing full-time. Between the publication of The Pothunters 1902 and that of Mike in 1909, Wodehouse wrote eight novels and co-wrote another two.\",\n \"Between the publication of The Pothunters 1902 and that of Mike in 1909, Wodehouse wrote eight novels and co-wrote another two. The critic R. D. B. French writes that, of Wodehouse's work from this period, almost all that deserves to survive is the school fiction.\",\n \"The critic R. D. B. French writes that, of Wodehouse's work from this period, almost all that deserves to survive is the school fiction. Looking back in the 1950s Wodehouse viewed these as his apprentice years: \\\"I was practically in swaddling clothes and it is extremely creditable to me that I was able to write at all.\\\"\",\n \"Looking back in the 1950s Wodehouse viewed these as his apprentice years: \\\"I was practically in swaddling clothes and it is extremely creditable to me that I was able to write at all.\\\" From his boyhood Wodehouse had been fascinated by America, which he conceived of as \\\"a land of romance\\\"; he \\\"yearned\\\" to visit the country, and by 1904 he had earned enough to do so.\",\n \"From his boyhood Wodehouse had been fascinated by America, which he conceived of as \\\"a land of romance\\\"; he \\\"yearned\\\" to visit the country, and by 1904 he had earned enough to do so. In April he sailed to New York, which he found greatly to his liking.\",\n \"In April he sailed to New York, which he found greatly to his liking. He noted in his diary: \\\"In New York gathering experience. Worth many guineas in the future but none for the moment.\\\"\",\n \"Worth many guineas in the future but none for the moment.\\\" This prediction proved correct: few British writers had first-hand experience of the US, and his articles about life in New York brought him higher than usual fees.\",\n \"This prediction proved correct: few British writers had first-hand experience of the US, and his articles about life in New York brought him higher than usual fees. He later recalled that \\\"in 1904 anyone in the London writing world who had been to America was regarded with awe and looked upon as an authority on that terra incognita.... After that trip to New York I was a man who counted.... My income rose like a rocketing pheasant.\\\"\",\n \"He later recalled that \\\"in 1904 anyone in the London writing world who had been to America was regarded with awe and looked upon as an authority on that terra incognita.... After that trip to New York I was a man who counted.... My income rose like a rocketing pheasant.\\\" Wodehouse's other new venture in 1904 was writing for the stage.\",\n \"Wodehouse's other new venture in 1904 was writing for the stage. Towards the end of the year the librettist Owen Hall invited him to contribute an additional lyric for a musical comedy Sergeant Brue. Wodehouse had loved theatre since his first visit, aged thirteen, when Gilbert and Sullivan's Patience had made him \\\"drunk with ecstasy\\\".\",\n \"Wodehouse had loved theatre since his first visit, aged thirteen, when Gilbert and Sullivan's Patience had made him \\\"drunk with ecstasy\\\". His lyric for Hall, \\\"Put Me in My Little Cell\\\", was a Gilbertian number for a trio of comic crooks, with music by Frederick Rosse; it was well received and launched Wodehouse on a career as a theatre writer that spanned three decades.\",\n \"His lyric for Hall, \\\"Put Me in My Little Cell\\\", was a Gilbertian number for a trio of comic crooks, with music by Frederick Rosse; it was well received and launched Wodehouse on a career as a theatre writer that spanned three decades. Although it made little impact on its first publication, the 1906 novel Love Among the Chickens contained what French calls the author's first original comic creation: Stanley Featherstonehaugh Ukridge.\",\n \"Although it made little impact on its first publication, the 1906 novel Love Among the Chickens contained what French calls the author's first original comic creation: Stanley Featherstonehaugh Ukridge. The character, an amoral, bungling opportunist, is partly based on Wodehouse's Globe colleague Herbert Westbrook.\",\n \"The character, an amoral, bungling opportunist, is partly based on Wodehouse's Globe colleague Herbert Westbrook. The two collaborated between 1907 and 1913 on two books, two music hall sketches, and a play, Brother Alfred. Wodehouse would return to the character in short stories over the next six decades.\",\n \"Wodehouse would return to the character in short stories over the next six decades. In early 1906 the actor-manager Seymour Hicks invited Wodehouse to become resident lyricist at the Aldwych Theatre, to add topical verses to newly imported or long-running shows. Hicks had already recruited the young Jerome Kern to write the music for such songs.\",\n \"Hicks had already recruited the young Jerome Kern to write the music for such songs. The first Kern-Wodehouse collaboration, a comic number for The Beauty of Bath titled \\\"Mr [Joseph] Chamberlain\\\", was a show-stopper and was briefly the most popular song in London.\",\n \"The first Kern-Wodehouse collaboration, a comic number for The Beauty of Bath titled \\\"Mr [Joseph] Chamberlain\\\", was a show-stopper and was briefly the most popular song in London. Psmith, Blandings, Wooster and Jeeves: 1908–1915 Wodehouse's early period as a writer came to an end in 1908 with the serialisation of The Lost Lambs, published the following year in book form as the second half of the novel Mike.\",\n \"Psmith, Blandings, Wooster and Jeeves: 1908–1915 Wodehouse's early period as a writer came to an end in 1908 with the serialisation of The Lost Lambs, published the following year in book form as the second half of the novel Mike. The work begins as a conventional school story, but Wodehouse introduces a new and strikingly original character, Psmith, whose creation both Evelyn Waugh and George Orwell regarded as a watershed in Wodehouse's development.\",\n \"The work begins as a conventional school story, but Wodehouse introduces a new and strikingly original character, Psmith, whose creation both Evelyn Waugh and George Orwell regarded as a watershed in Wodehouse's development. Wodehouse said that he based Psmith on the hotelier and impresario Rupert D'Oyly Carte—\\\"the only thing in my literary career which was handed to me on a silver plate with watercress around it\\\".\",\n \"Wodehouse said that he based Psmith on the hotelier and impresario Rupert D'Oyly Carte—\\\"the only thing in my literary career which was handed to me on a silver plate with watercress around it\\\". Wodehouse wrote in the 1970s that a cousin of his who had been at school with Carte told him of the latter's monocle, studied suavity, and stateliness of speech, all of which Wodehouse adopted for his new character.\",\n \"Wodehouse wrote in the 1970s that a cousin of his who had been at school with Carte told him of the latter's monocle, studied suavity, and stateliness of speech, all of which Wodehouse adopted for his new character. Psmith featured in three more novels: Psmith in the City (1910), a burlesque of banking; Psmith, Journalist (1915) set in New York; and Leave It to Psmith (1923), set at Blandings Castle.\",\n \"Psmith featured in three more novels: Psmith in the City (1910), a burlesque of banking; Psmith, Journalist (1915) set in New York; and Leave It to Psmith (1923), set at Blandings Castle. In May 1909 Wodehouse made his second visit to New York, where he sold two short stories to Cosmopolitan and Collier's for a total of $500, a much higher fee than he had commanded previously.\",\n \"In May 1909 Wodehouse made his second visit to New York, where he sold two short stories to Cosmopolitan and Collier's for a total of $500, a much higher fee than he had commanded previously. He resigned from The Globe and stayed in New York for nearly a year.\",\n \"He resigned from The Globe and stayed in New York for nearly a year. He sold many more stories, but none of the American publications offered a permanent relationship and guaranteed income. Wodehouse returned to England in late 1910, rejoining The Globe and also contributing regularly to The Strand Magazine.\",\n \"Wodehouse returned to England in late 1910, rejoining The Globe and also contributing regularly to The Strand Magazine. Between then and the outbreak of the First World War in 1914 he revisited America frequently. Wodehouse was in New York when the war began.\",\n \"Wodehouse was in New York when the war began. Ineligible for military service because of his poor eyesight, he remained in the US throughout the war, detached from the conflict in Europe and absorbed in his theatrical and literary concerns. In September 1914 he married Ethel May Wayman, née Newton (1885–1984), an English widow.\",\n \"In September 1914 he married Ethel May Wayman, née Newton (1885–1984), an English widow. The marriage proved happy and lifelong. Ethel's personality was in contrast with her husband's: he was shy and impractical; she was gregarious, decisive and well organised.\",\n \"Ethel's personality was in contrast with her husband's: he was shy and impractical; she was gregarious, decisive and well organised. In Sproat's phrase, she \\\"took charge of Wodehouse's life and made certain that he had the peace and quiet he needed to write\\\".\",\n \"In Sproat's phrase, she \\\"took charge of Wodehouse's life and made certain that he had the peace and quiet he needed to write\\\". There were no children of the marriage, but Wodehouse came to love Ethel's daughter Leonora (1905–1944) and legally adopted her.\",\n \"There were no children of the marriage, but Wodehouse came to love Ethel's daughter Leonora (1905–1944) and legally adopted her. Wodehouse experimented with different genres of fiction in these years; Psmith, Journalist, mixing comedy with social comment on slum landlords and racketeers, was published in 1915.\",\n \"Wodehouse experimented with different genres of fiction in these years; Psmith, Journalist, mixing comedy with social comment on slum landlords and racketeers, was published in 1915. In the same year The Saturday Evening Post paid $3,500 to serialise Something New, the first of what became a series of novels set at Blandings Castle.\",\n \"In the same year The Saturday Evening Post paid $3,500 to serialise Something New, the first of what became a series of novels set at Blandings Castle. It was published in hardback in the US and the UK in the same year (the British edition being retitled Something Fresh).\",\n \"It was published in hardback in the US and the UK in the same year (the British edition being retitled Something Fresh). It was Wodehouse's first farcical novel; it was also his first best-seller, and although his later books included some gentler, lightly sentimental stories, it was as a farceur that he became known.\",\n \"It was Wodehouse's first farcical novel; it was also his first best-seller, and although his later books included some gentler, lightly sentimental stories, it was as a farceur that he became known. Later in the same year \\\"Extricating Young Gussie\\\", the first story about Bertie and Jeeves, was published.\",\n \"Later in the same year \\\"Extricating Young Gussie\\\", the first story about Bertie and Jeeves, was published. These stories introduced two sets of characters about whom Wodehouse wrote for the rest of his life.\",\n \"These stories introduced two sets of characters about whom Wodehouse wrote for the rest of his life. The Blandings Castle stories, set in an English stately home, depict the attempts of the placid Lord Emsworth to evade the many distractions around him, which include successive pairs of young lovers, the machinations of his exuberant brother Galahad, the demands of his domineering sisters and super-efficient secretaries, and anything detrimental to his prize sow, the Empress of Blandings.\",\n \"The Blandings Castle stories, set in an English stately home, depict the attempts of the placid Lord Emsworth to evade the many distractions around him, which include successive pairs of young lovers, the machinations of his exuberant brother Galahad, the demands of his domineering sisters and super-efficient secretaries, and anything detrimental to his prize sow, the Empress of Blandings. The Bertie and Jeeves stories feature an amiable young man-about-town, regularly rescued from the consequences of his idiocy by the benign interference of his valet.\",\n \"The Bertie and Jeeves stories feature an amiable young man-about-town, regularly rescued from the consequences of his idiocy by the benign interference of his valet. Broadway: 1915–1919 A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator.\",\n \"Broadway: 1915–1919 A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator. Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York.\",\n \"Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York. The show was successful, but they thought the song lyrics weak and invited Wodehouse to join them on its successor. This was Miss Springtime (1916), which ran for 227 performances—a good run by the standards of the day.\",\n \"This was Miss Springtime (1916), which ran for 227 performances—a good run by the standards of the day. The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917–18) and Oh, Lady! Lady!!\",\n \"Lady!! Lady!! (1918), and Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin.\",\n \"In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin. Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies.\",\n \"Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies. Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do.\",\n \"Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do. Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical.\",\n \"Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical. In the Grove Dictionary of American Music Larry Stempel writes, \\\"By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy.\\\"\",\n \"In the Grove Dictionary of American Music Larry Stempel writes, \\\"By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy.\\\" The theatre writer Gerald Bordman calls Wodehouse \\\"the most observant, literate, and witty lyricist of his day\\\".\",\n \"The theatre writer Gerald Bordman calls Wodehouse \\\"the most observant, literate, and witty lyricist of his day\\\". The composer Richard Rodgers wrote, \\\"Before Larry Hart, only P.G. Wodehouse had made any real assault on the intelligence of the song-listening public.\\\"\",\n \"Wodehouse had made any real assault on the intelligence of the song-listening public.\\\" 1920s In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones.\",\n \"1920s In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones. Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest.\",\n \"Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest. Various other young men-about-town appeared in short stories about members of the Drones Club.\",\n \"Various other young men-about-town appeared in short stories about members of the Drones Club. The Wodehouses returned to England, where they had a house in London for some years, but Wodehouse continued to cross the Atlantic frequently, spending substantial periods in New York. He continued to work in the theatre.\",\n \"He continued to work in the theatre. During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York).\",\n \"During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York). He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnár, and A Damsel in Distress (1928), a dramatisation of his 1919 novel.\",\n \"He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnár, and A Damsel in Distress (1928), a dramatisation of his 1919 novel. Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods.\",\n \"Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods. Donaldson lists among those with whom he was on friendly terms writers including A. A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith Jr., Heather Thatcher and Dorothy Dickson.\",\n \"A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith Jr., Heather Thatcher and Dorothy Dickson. Hollywood: 1929–1931 There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name.\",\n \"Hollywood: 1929–1931 There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name. Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM).\",\n \"Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM). Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week.\",\n \"Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week. This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929.\",\n \"This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929. The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories.\",\n \"The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories. He commented, \\\"It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary.\\\"\",\n \"He commented, \\\"It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary.\\\" Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used.\",\n \"Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used. In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was \\\"as close to a success as Wodehouse was to have at MGM.\",\n \"In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was \\\"as close to a success as Wodehouse was to have at MGM. His only other credits were minimal, and the other projects he worked on were not produced.\\\"\",\n \"His only other credits were minimal, and the other projects he worked on were not produced.\\\" Wodehouse's contract ended after a year and was not renewed. At MGM's request, he gave an interview to The Los Angeles Times.\",\n \"At MGM's request, he gave an interview to The Los Angeles Times. Wodehouse was described by Herbert Warren Wind as \\\"politically naive [and] fundamentally unworldly\\\", and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent.\",\n \"Wodehouse was described by Herbert Warren Wind as \\\"politically naive [and] fundamentally unworldly\\\", and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent. The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry.\",\n \"The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry. Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been \\\"a storm in a teacup\\\", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable.\",\n \"Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been \\\"a storm in a teacup\\\", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable. Wind's view of Wodehouse's naïveté is not universally held.\",\n \"Wind's view of Wodehouse's naïveté is not universally held. Biographers including Donaldson, McCrum and Phelps suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute.\",\n \"Biographers including Donaldson, McCrum and Phelps suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute. He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire.\",\n \"He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire. Best-seller: 1930s During the 1930s Wodehouse's theatrical work tailed off.\",\n \"Best-seller: 1930s During the 1930s Wodehouse's theatrical work tailed off. He wrote or adapted four plays for the West End; Leave it to Psmith (1930), which he adapted in collaboration with Ian Hay, was the only one to have a long run.\",\n \"He wrote or adapted four plays for the West End; Leave it to Psmith (1930), which he adapted in collaboration with Ian Hay, was the only one to have a long run. The reviewer in The Manchester Guardian praised the play, but commented: \\\"It is Mr Wodehouse's own inimitable narrative comments and descriptions in his own person of the antics of his puppets that one misses.\",\n \"The reviewer in The Manchester Guardian praised the play, but commented: \\\"It is Mr Wodehouse's own inimitable narrative comments and descriptions in his own person of the antics of his puppets that one misses. They cannot be got into a play and they are at least half the fun of the novels.\\\"\",\n \"They cannot be got into a play and they are at least half the fun of the novels.\\\" In 1934 Wodehouse collaborated with Bolton on the book for Cole Porter's Anything Goes (Porter wrote his own lyrics), but at the last minute their version was almost entirely rewritten by others at the instigation of the producer, who disliked the original script.\",\n \"In 1934 Wodehouse collaborated with Bolton on the book for Cole Porter's Anything Goes (Porter wrote his own lyrics), but at the last minute their version was almost entirely rewritten by others at the instigation of the producer, who disliked the original script. Concentrating on writing novels and short stories, Wodehouse reached the peak of his productivity in this decade, averaging two books each year, and grossing an annual £100,000.\",\n \"Concentrating on writing novels and short stories, Wodehouse reached the peak of his productivity in this decade, averaging two books each year, and grossing an annual £100,000. His practice of dividing his time between Britain and America caused Wodehouse difficulties with the tax authorities of both countries.\",\n \"His practice of dividing his time between Britain and America caused Wodehouse difficulties with the tax authorities of both countries. Both the UK Inland Revenue and the US Internal Revenue Service sought to tax him as a resident.\",\n \"Both the UK Inland Revenue and the US Internal Revenue Service sought to tax him as a resident. The matter was settled after lengthy negotiations, but the Wodehouses decided to change their residential status beyond doubt by moving to France, where they bought a house near Le Touquet in the north.\",\n \"The matter was settled after lengthy negotiations, but the Wodehouses decided to change their residential status beyond doubt by moving to France, where they bought a house near Le Touquet in the north. In 1935 Wodehouse created the last of his regular cast of principal characters, Lord Ickenham, otherwise known as Uncle Fred, who, in Usborne's words, \\\"leads the dance in four novels and a short story... a whirring dynamo of misrule\\\".\",\n \"In 1935 Wodehouse created the last of his regular cast of principal characters, Lord Ickenham, otherwise known as Uncle Fred, who, in Usborne's words, \\\"leads the dance in four novels and a short story... a whirring dynamo of misrule\\\". His other books from the decade include Right Ho, Jeeves, which Donaldson judged his best work, Uncle Fred in the Springtime, which the writer Bernard Levin considered the best, and Blandings Castle, which contains \\\"Lord Emsworth and the Girl Friend\\\", which Rudyard Kipling thought \\\"one of the most perfect short stories I have ever read\\\".\",\n \"His other books from the decade include Right Ho, Jeeves, which Donaldson judged his best work, Uncle Fred in the Springtime, which the writer Bernard Levin considered the best, and Blandings Castle, which contains \\\"Lord Emsworth and the Girl Friend\\\", which Rudyard Kipling thought \\\"one of the most perfect short stories I have ever read\\\". Other leading literary figures who admired Wodehouse were A. E. Housman, Max Beerbohm and Hilaire Belloc; on the radio and in print Belloc called Wodehouse \\\"the best writer of our time: the best living writer of English... the head of my profession\\\".\",\n \"Other leading literary figures who admired Wodehouse were A. E. Housman, Max Beerbohm and Hilaire Belloc; on the radio and in print Belloc called Wodehouse \\\"the best writer of our time: the best living writer of English... the head of my profession\\\". Wodehouse regarded Belloc's plaudit as \\\"a gag, to get a rise out of serious-minded authors whom he disliked\\\".\",\n \"Wodehouse regarded Belloc's plaudit as \\\"a gag, to get a rise out of serious-minded authors whom he disliked\\\". Wodehouse was never sure that his books had literary merit as well as popular appeal, and, Donaldson suggests, must have been overwhelmed when the University of Oxford conferred an honorary doctorate of letters on him in June 1939.\",\n \"Wodehouse was never sure that his books had literary merit as well as popular appeal, and, Donaldson suggests, must have been overwhelmed when the University of Oxford conferred an honorary doctorate of letters on him in June 1939. His visit to England for the awarding ceremony was the last time he set foot in his native land.\",\n \"His visit to England for the awarding ceremony was the last time he set foot in his native land. Second World War: internment and broadcasts At the start of the Second World War Wodehouse and his wife remained at their Le Touquet house, where, during the Phoney War, he worked on Joy in the Morning.\",\n \"Second World War: internment and broadcasts At the start of the Second World War Wodehouse and his wife remained at their Le Touquet house, where, during the Phoney War, he worked on Joy in the Morning. With the advance of the Germans, the nearby Royal Air Force base withdrew; Wodehouse was offered the sole spare seat in one of the fighter aircraft, but he turned down the opportunity as it would have meant leaving behind Ethel and their dog.\",\n \"With the advance of the Germans, the nearby Royal Air Force base withdrew; Wodehouse was offered the sole spare seat in one of the fighter aircraft, but he turned down the opportunity as it would have meant leaving behind Ethel and their dog. On 21 May 1940, with German troops advancing through northern France, the Wodehouses decided to drive to Portugal and fly from there to the US.\",\n \"On 21 May 1940, with German troops advancing through northern France, the Wodehouses decided to drive to Portugal and fly from there to the US. Two miles from home their car broke down, so they returned and borrowed a car from a neighbour; with the routes blocked with refugees, they returned home again.\",\n \"Two miles from home their car broke down, so they returned and borrowed a car from a neighbour; with the routes blocked with refugees, they returned home again. The Germans occupied Le Touquet on 22 May 1940 and Wodehouse had to report to the authorities daily.\",\n \"The Germans occupied Le Touquet on 22 May 1940 and Wodehouse had to report to the authorities daily. After two months of occupation the Germans interned all male enemy nationals under 60, and Wodehouse was sent to a former prison in Loos, a suburb of Lille, on 21 July; Ethel remained in Le Touquet.\",\n \"After two months of occupation the Germans interned all male enemy nationals under 60, and Wodehouse was sent to a former prison in Loos, a suburb of Lille, on 21 July; Ethel remained in Le Touquet. The internees were placed four to a cell, each of which had been designed for one man.\",\n \"The internees were placed four to a cell, each of which had been designed for one man. One bed was available per cell, which was made available to the eldest man—not Wodehouse, who slept on the granite floor.\",\n \"One bed was available per cell, which was made available to the eldest man—not Wodehouse, who slept on the granite floor. The prisoners were not kept long in Loos before they were transported in cattle trucks to a former barracks in Liège, Belgium, which was run as a prison by the SS.\",\n \"The prisoners were not kept long in Loos before they were transported in cattle trucks to a former barracks in Liège, Belgium, which was run as a prison by the SS. After a week the men were transferred to Huy in Liège, where they were incarcerated in the local citadel.\",\n \"After a week the men were transferred to Huy in Liège, where they were incarcerated in the local citadel. They remained there until September 1940, when they were transported to Tost in Upper Silesia (then Germany, now Toszek in Poland).\",\n \"They remained there until September 1940, when they were transported to Tost in Upper Silesia (then Germany, now Toszek in Poland). Wodehouse's family and friends had not had any news of his location after the fall of France, but an article from an Associated Press reporter who had visited Tost in December 1940 led to pressure on the German authorities to release the novelist.\",\n \"Wodehouse's family and friends had not had any news of his location after the fall of France, but an article from an Associated Press reporter who had visited Tost in December 1940 led to pressure on the German authorities to release the novelist. This included a petition from influential people in the US; Senator W. Warren Barbour presented it to the German ambassador.\",\n \"This included a petition from influential people in the US; Senator W. Warren Barbour presented it to the German ambassador. Although his captors refused to release him, Wodehouse was provided with a typewriter and, to pass the time, he wrote Money in the Bank.\",\n \"Although his captors refused to release him, Wodehouse was provided with a typewriter and, to pass the time, he wrote Money in the Bank. Throughout his time in Tost, he sent postcards to his US literary agent asking for $5 to be sent to various people in Canada, mentioning his name.\",\n \"Throughout his time in Tost, he sent postcards to his US literary agent asking for $5 to be sent to various people in Canada, mentioning his name. These were the families of Canadian prisoners of war, and the news from Wodehouse was the first indication that their sons were alive and well.\",\n \"These were the families of Canadian prisoners of war, and the news from Wodehouse was the first indication that their sons were alive and well. Wodehouse risked severe punishment for the communication, but managed to evade the German censor.\",\n \"Wodehouse risked severe punishment for the communication, but managed to evade the German censor. On 21 June 1941, while he was in the middle of playing a game of cricket, Wodehouse received a visit from two members of the Gestapo.\",\n \"On 21 June 1941, while he was in the middle of playing a game of cricket, Wodehouse received a visit from two members of the Gestapo. He was given ten minutes to pack his things before he was taken to the Hotel Adlon, a top luxury hotel in Berlin.\",\n \"He was given ten minutes to pack his things before he was taken to the Hotel Adlon, a top luxury hotel in Berlin. He stayed there at his own expense; royalties from the German editions of his books had been put into a special frozen bank account at the outset of the war, and Wodehouse was permitted to draw upon this money he had earned while staying in Berlin.\",\n \"He stayed there at his own expense; royalties from the German editions of his books had been put into a special frozen bank account at the outset of the war, and Wodehouse was permitted to draw upon this money he had earned while staying in Berlin. He was thus released from internment a few months before his sixtieth birthday—the age at which civilian internees were released by the Nazis.\",\n \"He was thus released from internment a few months before his sixtieth birthday—the age at which civilian internees were released by the Nazis. Shortly afterwards Wodehouse was, in the words of Phelps, \\\"cleverly trapped\\\" into making five broadcasts to the US via German radio, with the Berlin-based correspondent of the Columbia Broadcasting System.\",\n \"Shortly afterwards Wodehouse was, in the words of Phelps, \\\"cleverly trapped\\\" into making five broadcasts to the US via German radio, with the Berlin-based correspondent of the Columbia Broadcasting System. The broadcasts—aired on 28 June, 9, 23 and 30 July and 6 August—were titled How to be an Internee Without Previous Training, and comprised humorous anecdotes about Wodehouse's experiences as a prisoner, including some gentle mocking of his captors.\",\n \"The broadcasts—aired on 28 June, 9, 23 and 30 July and 6 August—were titled How to be an Internee Without Previous Training, and comprised humorous anecdotes about Wodehouse's experiences as a prisoner, including some gentle mocking of his captors. The German propaganda ministry arranged for the recordings to be broadcast to Britain in August.\",\n \"The German propaganda ministry arranged for the recordings to be broadcast to Britain in August. The day after Wodehouse recorded his final programme, Ethel joined him in Berlin, having sold most of her jewellery to pay for the journey.\",\n \"The day after Wodehouse recorded his final programme, Ethel joined him in Berlin, having sold most of her jewellery to pay for the journey. Aftermath: reactions and investigation The reaction in Britain to Wodehouse's broadcasts was hostile, and he was \\\"reviled ... as a traitor, collaborator, Nazi propagandist, and a coward\\\", although, Phelps observes, many of those who decried his actions had not heard the content of the programmes.\",\n \"Aftermath: reactions and investigation The reaction in Britain to Wodehouse's broadcasts was hostile, and he was \\\"reviled ... as a traitor, collaborator, Nazi propagandist, and a coward\\\", although, Phelps observes, many of those who decried his actions had not heard the content of the programmes. A front-page article in The Daily Mirror stated that Wodehouse \\\"lived luxuriously because Britain laughed with him, but when the laughter was out of his country's heart, ... [he] was not ready to share her suffering.\",\n \"A front-page article in The Daily Mirror stated that Wodehouse \\\"lived luxuriously because Britain laughed with him, but when the laughter was out of his country's heart, ... [he] was not ready to share her suffering. He hadn't the guts ... even to stick it out in the internment camp.\\\"\",\n \"He hadn't the guts ... even to stick it out in the internment camp.\\\" In the House of Commons Anthony Eden, the Foreign Secretary, regretted Wodehouse's actions. Several libraries removed Wodehouse novels from their shelves.\",\n \"Several libraries removed Wodehouse novels from their shelves. On 15 July the journalist William Connor, under his pen name Cassandra, broadcast a postscript to the news programme railing against Wodehouse. According to The Times, the broadcast \\\"provoked a storm of complaint ... from listeners all over the country\\\".\",\n \"According to The Times, the broadcast \\\"provoked a storm of complaint ... from listeners all over the country\\\". Wodehouse's biographer, Joseph Connolly, thinks the broadcast \\\"inaccurate, spiteful and slanderous\\\"; Phelps calls it \\\"probably the most vituperative attack on an individual ever heard on British radio\\\".\",\n \"Wodehouse's biographer, Joseph Connolly, thinks the broadcast \\\"inaccurate, spiteful and slanderous\\\"; Phelps calls it \\\"probably the most vituperative attack on an individual ever heard on British radio\\\". The broadcast was made at the direct instruction of Duff Cooper, the Minister of Information, who overruled strong protests made by the BBC against the decision to air the programme.\",\n \"The broadcast was made at the direct instruction of Duff Cooper, the Minister of Information, who overruled strong protests made by the BBC against the decision to air the programme. Numerous letters appeared in the British press, both supporting and criticising Wodehouse.\",\n \"Numerous letters appeared in the British press, both supporting and criticising Wodehouse. The letters page of The Daily Telegraph became a focus for censuring Wodehouse, including one from Wodehouse's friend, ; a reply from their fellow author Compton Mackenzie in defence of Wodehouse was not published because the editor claimed a lack of space.\",\n \"The letters page of The Daily Telegraph became a focus for censuring Wodehouse, including one from Wodehouse's friend, ; a reply from their fellow author Compton Mackenzie in defence of Wodehouse was not published because the editor claimed a lack of space. Most of those defending Wodehouse against accusations of disloyalty, including Sax Rohmer, Dorothy L. Sayers and Gilbert Frankau, conceded that he had acted stupidly.\",\n \"Most of those defending Wodehouse against accusations of disloyalty, including Sax Rohmer, Dorothy L. Sayers and Gilbert Frankau, conceded that he had acted stupidly. Some members of the public wrote to the newspapers to say that the full facts were not yet known and a fair judgment could not be made until they were.\",\n \"Some members of the public wrote to the newspapers to say that the full facts were not yet known and a fair judgment could not be made until they were. The management of the BBC, who considered Wodehouse's actions no worse than \\\"ill advised\\\", pointed out to Cooper that there was no evidence at that point whether Wodehouse had acted voluntarily or under compulsion.\",\n \"The management of the BBC, who considered Wodehouse's actions no worse than \\\"ill advised\\\", pointed out to Cooper that there was no evidence at that point whether Wodehouse had acted voluntarily or under compulsion. When Wodehouse heard of the furore the broadcasts had caused, he contacted the Foreign Office—through the Swiss embassy in Berlin—to explain his actions, and attempted to return home via neutral countries, but the German authorities refused to let him leave.\",\n \"When Wodehouse heard of the furore the broadcasts had caused, he contacted the Foreign Office—through the Swiss embassy in Berlin—to explain his actions, and attempted to return home via neutral countries, but the German authorities refused to let him leave. In Performing Flea, a 1953 collection of letters, Wodehouse wrote, \\\"Of course I ought to have had the sense to see that it was a loony thing to do to use the German radio for even the most harmless stuff, but I didn't.\",\n \"In Performing Flea, a 1953 collection of letters, Wodehouse wrote, \\\"Of course I ought to have had the sense to see that it was a loony thing to do to use the German radio for even the most harmless stuff, but I didn't. I suppose prison life saps the intellect\\\".\",\n \"I suppose prison life saps the intellect\\\". The reaction in America was mixed: the left-leaning publication PM accused Wodehouse of \\\"play[ing] Jeeves to the Nazis\\\", but the Department of War used the interviews as an ideal representation of anti-Nazi propaganda.\",\n \"The reaction in America was mixed: the left-leaning publication PM accused Wodehouse of \\\"play[ing] Jeeves to the Nazis\\\", but the Department of War used the interviews as an ideal representation of anti-Nazi propaganda. The Wodehouses remained in Germany until September 1943, when, because of the Allied bombings, they were allowed to move back to Paris.\",\n \"The Wodehouses remained in Germany until September 1943, when, because of the Allied bombings, they were allowed to move back to Paris. They were living there when the city was liberated on 25 August 1944; Wodehouse reported to the American authorities the following day, asking them to inform the British of his whereabouts.\",\n \"They were living there when the city was liberated on 25 August 1944; Wodehouse reported to the American authorities the following day, asking them to inform the British of his whereabouts. He was subsequently visited by Malcolm Muggeridge, recently arrived in Paris as an intelligence officer with MI6.\",\n \"He was subsequently visited by Malcolm Muggeridge, recently arrived in Paris as an intelligence officer with MI6. The young officer quickly came to like Wodehouse and considered the question of treasonable behaviour as \\\"ludicrous\\\"; he summed up the writer as \\\"ill-fitted to live in an age of ideological conflict\\\".\",\n \"The young officer quickly came to like Wodehouse and considered the question of treasonable behaviour as \\\"ludicrous\\\"; he summed up the writer as \\\"ill-fitted to live in an age of ideological conflict\\\". On 9 September Wodehouse was visited by an MI5 officer and former barrister, Major Edward Cussen, who formally investigated him, a process that stretched over four days.\",\n \"On 9 September Wodehouse was visited by an MI5 officer and former barrister, Major Edward Cussen, who formally investigated him, a process that stretched over four days. On 28 September Cussen filed his report, which states that in regard to the broadcasts, Wodehouse's behaviour \\\"has been unwise\\\", but advised against further action.\",\n \"On 28 September Cussen filed his report, which states that in regard to the broadcasts, Wodehouse's behaviour \\\"has been unwise\\\", but advised against further action. On 23 November Theobald Matthew, the Director of Public Prosecutions, decided there was no evidence to justify prosecuting Wodehouse.\",\n \"On 23 November Theobald Matthew, the Director of Public Prosecutions, decided there was no evidence to justify prosecuting Wodehouse. In November 1944 Duff Cooper was appointed British ambassador to France and was provided accommodation at the Hôtel Le Bristol, where the Wodehouses were living.\",\n \"In November 1944 Duff Cooper was appointed British ambassador to France and was provided accommodation at the Hôtel Le Bristol, where the Wodehouses were living. Cooper complained to the French authorities, and the couple were moved to a different hotel. They were subsequently arrested by French police and placed under preventive detention, despite no charges being presented.\",\n \"They were subsequently arrested by French police and placed under preventive detention, despite no charges being presented. When Muggeridge tracked them down later, he managed to get Ethel released straight away and, four days later, ensured that the French authorities declared Wodehouse unwell and put him in a nearby hospital, which was more comfortable than where they had been detained.\",\n \"When Muggeridge tracked them down later, he managed to get Ethel released straight away and, four days later, ensured that the French authorities declared Wodehouse unwell and put him in a nearby hospital, which was more comfortable than where they had been detained. While in this hospital, Wodehouse worked on his novel Uncle Dynamite.\",\n \"While in this hospital, Wodehouse worked on his novel Uncle Dynamite. While still detained by the French, Wodehouse was again mentioned in questions in the House of Commons in December 1944 when MPs wondered if the French authorities could repatriate him to stand trial.\",\n \"While still detained by the French, Wodehouse was again mentioned in questions in the House of Commons in December 1944 when MPs wondered if the French authorities could repatriate him to stand trial. Eden stated that the \\\"matter has been gone into, and, according to the advice given, there are no grounds upon which we could take action\\\".\",\n \"Eden stated that the \\\"matter has been gone into, and, according to the advice given, there are no grounds upon which we could take action\\\". Two months later, Orwell wrote the essay \\\"In Defence of P.G.\",\n \"Two months later, Orwell wrote the essay \\\"In Defence of P.G. Wodehouse\\\", where he stated that \\\"it is important to realise that the events of 1941 do not convict Wodehouse of anything worse than stupidity\\\".\",\n \"Wodehouse\\\", where he stated that \\\"it is important to realise that the events of 1941 do not convict Wodehouse of anything worse than stupidity\\\". Orwell's rationale was that Wodehouse's \\\"moral outlook has remained that of a public-school boy, and according to the public-school code, treachery in time of war is the most unforgivable of all the sins\\\", which was compounded by his \\\"complete lack—so far as one can judge from his printed works—of political awareness\\\".\",\n \"Orwell's rationale was that Wodehouse's \\\"moral outlook has remained that of a public-school boy, and according to the public-school code, treachery in time of war is the most unforgivable of all the sins\\\", which was compounded by his \\\"complete lack—so far as one can judge from his printed works—of political awareness\\\". On 15 January 1945 the French authorities released Wodehouse, but they did not inform him, until June 1946, that he would not face any official charges and was free to leave the country.\",\n \"On 15 January 1945 the French authorities released Wodehouse, but they did not inform him, until June 1946, that he would not face any official charges and was free to leave the country. American exile: 1946–1975 Having secured American visas in July 1946, the Wodehouses made preparations to return to New York.\",\n \"American exile: 1946–1975 Having secured American visas in July 1946, the Wodehouses made preparations to return to New York. They were delayed by Ethel's insistence on acquiring suitable new clothes and by Wodehouse's wish to finish writing his current novel, The Mating Season, in the peace of the French countryside.\",\n \"They were delayed by Ethel's insistence on acquiring suitable new clothes and by Wodehouse's wish to finish writing his current novel, The Mating Season, in the peace of the French countryside. In April 1947 they sailed to New York, where Wodehouse was relieved at the friendly reception he received from the large press contingent awaiting his arrival.\",\n \"In April 1947 they sailed to New York, where Wodehouse was relieved at the friendly reception he received from the large press contingent awaiting his arrival. Ethel secured a comfortable penthouse apartment in Manhattan's Upper East Side, but Wodehouse was not at ease. The New York that he had known before the war was much changed.\",\n \"The New York that he had known before the war was much changed. The magazines that had paid lavishly for his stories were in decline, and those that remained were not much interested in him.\",\n \"The magazines that had paid lavishly for his stories were in decline, and those that remained were not much interested in him. He was sounded out about writing for Broadway, but he was not at home in the post-war theatre; he had money problems, with large sums temporarily tied up in Britain, and for the first time in his career he had no ideas for a new novel.\",\n \"He was sounded out about writing for Broadway, but he was not at home in the post-war theatre; he had money problems, with large sums temporarily tied up in Britain, and for the first time in his career he had no ideas for a new novel. He did not complete one until 1951.\",\n \"He did not complete one until 1951. Wodehouse remained unsettled until he and Ethel left New York City for Long Island. Bolton and his wife lived in the prosperous hamlet of Remsenburg, part of the Southampton area of Long Island, east of Manhattan.\",\n \"Bolton and his wife lived in the prosperous hamlet of Remsenburg, part of the Southampton area of Long Island, east of Manhattan. Wodehouse stayed with them frequently, and in 1952 he and Ethel bought a house nearby. They lived at Remsenburg for the rest of their lives.\",\n \"They lived at Remsenburg for the rest of their lives. Between 1952 and 1975 he published more than twenty novels, as well as two collections of short stories, a heavily edited collection of his letters, a volume of memoirs, and a selection of his magazine articles. He continued to hanker after a revival of his theatrical career.\",\n \"He continued to hanker after a revival of his theatrical career. A 1959 off-Broadway revival of the 1917 Bolton-Wodehouse-Kern Leave It to Jane was a surprise hit, running for 928 performances, but his few post-war stage works, some in collaboration with Bolton, made little impression.\",\n \"A 1959 off-Broadway revival of the 1917 Bolton-Wodehouse-Kern Leave It to Jane was a surprise hit, running for 928 performances, but his few post-war stage works, some in collaboration with Bolton, made little impression. Although Ethel made a return visit to England in 1948 to shop and visit family and friends, Wodehouse never left America after his arrival in 1947.\",\n \"Although Ethel made a return visit to England in 1948 to shop and visit family and friends, Wodehouse never left America after his arrival in 1947. It was not until 1965 that the British government indicated privately that he could return without fear of legal proceedings, and by then he felt too old to make the journey.\",\n \"It was not until 1965 that the British government indicated privately that he could return without fear of legal proceedings, and by then he felt too old to make the journey. The biographers Benny Green and Robert McCrum both take the view that this exile benefited Wodehouse's writing, helping him to go on depicting an idealised England seen in his mind's eye, rather than as it actually was in the post-war decades.\",\n \"The biographers Benny Green and Robert McCrum both take the view that this exile benefited Wodehouse's writing, helping him to go on depicting an idealised England seen in his mind's eye, rather than as it actually was in the post-war decades. During their years in Long Island, the couple often took in stray animals and contributed substantial funds to a local animal shelter.\",\n \"During their years in Long Island, the couple often took in stray animals and contributed substantial funds to a local animal shelter. In 1955 Wodehouse became an American citizen, though he remained a British subject, and was therefore still eligible for UK state honours.\",\n \"In 1955 Wodehouse became an American citizen, though he remained a British subject, and was therefore still eligible for UK state honours. He was considered for the award of a knighthood three times from 1967, but the honour was twice blocked by British officials.\",\n \"He was considered for the award of a knighthood three times from 1967, but the honour was twice blocked by British officials. In 1974 the British prime minister, Harold Wilson, intervened to secure a knighthood (KBE) for Wodehouse, which was announced in the January 1975 New Year Honours list.\",\n \"In 1974 the British prime minister, Harold Wilson, intervened to secure a knighthood (KBE) for Wodehouse, which was announced in the January 1975 New Year Honours list. The Times commented that Wodehouse's honour signalled \\\"official forgiveness for his wartime indiscretion....\",\n \"The Times commented that Wodehouse's honour signalled \\\"official forgiveness for his wartime indiscretion.... It is late, but not too late, to take the sting out of that unhappy incident.\\\" The following month Wodehouse entered Southampton Hospital, Long Island, for treatment of a skin complaint.\",\n \"The following month Wodehouse entered Southampton Hospital, Long Island, for treatment of a skin complaint. While there, he suffered a heart attack and died on 14 February 1975 at the age of 93. He was buried at Remsenburg Presbyterian Church four days later.\",\n \"He was buried at Remsenburg Presbyterian Church four days later. Ethel outlived him by more than nine years; Leonora had predeceased him, dying suddenly in 1944.\",\n \"Ethel outlived him by more than nine years; Leonora had predeceased him, dying suddenly in 1944. Writing Technique and approach Before starting a book Wodehouse would write up to four hundred pages of notes bringing together an outline of the plot; he acknowledged that \\\"It's the plots that I find so hard to work out.\",\n \"Writing Technique and approach Before starting a book Wodehouse would write up to four hundred pages of notes bringing together an outline of the plot; he acknowledged that \\\"It's the plots that I find so hard to work out. It takes such a long time to work one out.\\\"\",\n \"It takes such a long time to work one out.\\\" He always completed the plot before working on specific character actions. For a novel the note-writing process could take up to two years, and he would usually have two or more novels in preparation simultaneously.\",\n \"For a novel the note-writing process could take up to two years, and he would usually have two or more novels in preparation simultaneously. After he had completed his notes, he would draw up a fuller scenario of about thirty thousand words, which ensured plot holes were avoided, and allowed for the dialogue to begin to develop.\",\n \"After he had completed his notes, he would draw up a fuller scenario of about thirty thousand words, which ensured plot holes were avoided, and allowed for the dialogue to begin to develop. When interviewed in 1975 he revealed that \\\"For a humorous novel you've got to have a scenario, and you've got to test it so that you know where the comedy comes in, where the situations come in ... splitting it up into scenes (you can make a scene of almost anything) and have as little stuff in between as possible.\\\"\",\n \"When interviewed in 1975 he revealed that \\\"For a humorous novel you've got to have a scenario, and you've got to test it so that you know where the comedy comes in, where the situations come in ... splitting it up into scenes (you can make a scene of almost anything) and have as little stuff in between as possible.\\\" He preferred working between 4 and 7 pm—but never after dinner—and would work seven days a week.\",\n \"He preferred working between 4 and 7 pm—but never after dinner—and would work seven days a week. In his younger years, he would write around two to three thousand words a day, although he slowed as he aged, so that in his nineties he would produce a thousand.\",\n \"In his younger years, he would write around two to three thousand words a day, although he slowed as he aged, so that in his nineties he would produce a thousand. The reduced speed in writing slowed his production of books: when younger he would produce a novel in about three months, while Bachelors Anonymous, published in 1973, took around six months.\",\n \"The reduced speed in writing slowed his production of books: when younger he would produce a novel in about three months, while Bachelors Anonymous, published in 1973, took around six months. Although studies of language production in normal healthy ageing show a marked decline from the mid-70s on, a study of Wodehouse's works did not find any evidence of a decline in linguistic ability with age.\",\n \"Although studies of language production in normal healthy ageing show a marked decline from the mid-70s on, a study of Wodehouse's works did not find any evidence of a decline in linguistic ability with age. Wodehouse believed that one of the factors that made his stories humorous was his view of life, and he stated that \\\"If you take life fairly easily, then you take a humorous view of things.\",\n \"Wodehouse believed that one of the factors that made his stories humorous was his view of life, and he stated that \\\"If you take life fairly easily, then you take a humorous view of things. It's probably because you were born that way.\\\"\",\n \"It's probably because you were born that way.\\\" He carried this view through into his writing, describing the approach as \\\"making the thing a sort of musical comedy without music, and ignoring real life altogether\\\".\",\n \"He carried this view through into his writing, describing the approach as \\\"making the thing a sort of musical comedy without music, and ignoring real life altogether\\\". The literary critic Edward L. Galligan considers Wodehouse's stories to show his mastery in adapting the form of the American musical comedy for his writings.\",\n \"The literary critic Edward L. Galligan considers Wodehouse's stories to show his mastery in adapting the form of the American musical comedy for his writings. Wodehouse would ensure that his first draft was as carefully and accurately done as possible, correcting and refining the prose as he wrote, and would then make another good copy, before proofreading again and then making a final copy for his publisher.\",\n \"Wodehouse would ensure that his first draft was as carefully and accurately done as possible, correcting and refining the prose as he wrote, and would then make another good copy, before proofreading again and then making a final copy for his publisher. Most of Wodehouse's canon is set in an undated period around the 1920s and 1930s.\",\n \"Most of Wodehouse's canon is set in an undated period around the 1920s and 1930s. The critic Anthony Lejeune describes the settings of Wodehouse's novels, such as the Drones Club and Blandings Castle, as \\\"a fairyland\\\".\",\n \"The critic Anthony Lejeune describes the settings of Wodehouse's novels, such as the Drones Club and Blandings Castle, as \\\"a fairyland\\\". Although some critics thought Wodehouse's fiction was based on a world that had never existed, Wodehouse affirmed that \\\"it did.\",\n \"Although some critics thought Wodehouse's fiction was based on a world that had never existed, Wodehouse affirmed that \\\"it did. It was going strong between the wars\\\", although he agreed that his version was to some extent \\\"a sort of artificial world of my own creation\\\".\",\n \"It was going strong between the wars\\\", although he agreed that his version was to some extent \\\"a sort of artificial world of my own creation\\\". The novels showed a largely unchanging world, regardless of when they were written, and only rarely—and mistakenly in McCrum's view—did Wodehouse allow modernity to intrude, as he did in the 1966 story \\\"Bingo Bans the Bomb\\\".\",\n \"The novels showed a largely unchanging world, regardless of when they were written, and only rarely—and mistakenly in McCrum's view—did Wodehouse allow modernity to intrude, as he did in the 1966 story \\\"Bingo Bans the Bomb\\\". When dealing with the dialogue in his novels, Wodehouse would consider the book's characters as if they were actors in a play, ensuring that the main roles were kept suitably employed throughout the storyline, which must be strong: \\\"If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them.\\\"\",\n \"When dealing with the dialogue in his novels, Wodehouse would consider the book's characters as if they were actors in a play, ensuring that the main roles were kept suitably employed throughout the storyline, which must be strong: \\\"If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them.\\\" Many of Wodehouse's parts were stereotypes, and he acknowledged that \\\"a real character in one of my books sticks out like a sore thumb.\\\"\",\n \"Many of Wodehouse's parts were stereotypes, and he acknowledged that \\\"a real character in one of my books sticks out like a sore thumb.\\\" The publisher Michael Joseph identifies that even within the stereotypes Wodehouse understood human nature, and therefore \\\"shares with [Charles] Dickens and Charles Chaplin the ability to present the comic resistance of the individual against those superior forces to which we are all subject\\\".\",\n \"The publisher Michael Joseph identifies that even within the stereotypes Wodehouse understood human nature, and therefore \\\"shares with [Charles] Dickens and Charles Chaplin the ability to present the comic resistance of the individual against those superior forces to which we are all subject\\\". Much of Wodehouse's use of slang terms reflects the influence of his time at school in Dulwich, and partly reflects Edwardian slang.\",\n \"Much of Wodehouse's use of slang terms reflects the influence of his time at school in Dulwich, and partly reflects Edwardian slang. As a young man he enjoyed the literary works of Arthur Conan Doyle and Jerome K. Jerome, and the operatic works of Gilbert and Sullivan. Wodehouse quotes from and alludes to numerous poets throughout his work.\",\n \"Wodehouse quotes from and alludes to numerous poets throughout his work. The scholar Clarke Olney lists those quoted, including Milton, Byron, Longfellow, Coleridge, Swinburne, Tennyson, Wordsworth and Shakespeare. Another favoured source was the King James Bible.\",\n \"Another favoured source was the King James Bible. Language In 1941 the Concise Cambridge History of English Literature opined that Wodehouse had \\\"a gift for highly original aptness of phrase that almost suggests a poet struggling for release among the wild extravagances of farce\\\", while McCrum thinks that Wodehouse manages to combine \\\"high farce with the inverted poetry of his mature comic style\\\", particularly in The Code of the Woosters; the novelist Anthony Powell believes Wodehouse to be a \\\"comic poet\\\".\",\n \"Language In 1941 the Concise Cambridge History of English Literature opined that Wodehouse had \\\"a gift for highly original aptness of phrase that almost suggests a poet struggling for release among the wild extravagances of farce\\\", while McCrum thinks that Wodehouse manages to combine \\\"high farce with the inverted poetry of his mature comic style\\\", particularly in The Code of the Woosters; the novelist Anthony Powell believes Wodehouse to be a \\\"comic poet\\\". Robert A.\",\n \"Robert A. Robert A. Hall Jr., in his study of Wodehouse's style and technique, describes the author as a master of prose, an opinion also shared by Levin, who considers Wodehouse \\\"one of the finest and purest writers of English prose\\\".\",\n \"Hall Jr., in his study of Wodehouse's style and technique, describes the author as a master of prose, an opinion also shared by Levin, who considers Wodehouse \\\"one of the finest and purest writers of English prose\\\". Hall identifies several techniques used by Wodehouse to achieve comic effect, including the creation of new words through adding or removing prefixes and suffixes, so when Pongo Twistleton removes the housemaid Elsie Bean from a cupboard, Wodehouse writes that the character \\\"de-Beaned the cupboard\\\".\",\n \"Hall identifies several techniques used by Wodehouse to achieve comic effect, including the creation of new words through adding or removing prefixes and suffixes, so when Pongo Twistleton removes the housemaid Elsie Bean from a cupboard, Wodehouse writes that the character \\\"de-Beaned the cupboard\\\". Wodehouse created new words by splitting others in two, thus Wodehouse divides \\\"hobnobbing\\\" when he writes: \\\"To offer a housemaid a cigarette is not hobbing.\",\n \"Wodehouse created new words by splitting others in two, thus Wodehouse divides \\\"hobnobbing\\\" when he writes: \\\"To offer a housemaid a cigarette is not hobbing. Nor, when you light it for her, does that constitute nobbing.\\\"\",\n \"Nor, when you light it for her, does that constitute nobbing.\\\" Richard Voorhees, Wodehouse's biographer, believes that the author used clichés in a deliberate and ironic manner.\",\n \"Richard Voorhees, Wodehouse's biographer, believes that the author used clichés in a deliberate and ironic manner. His opinion is shared by the academic Stephen Medcalf, who deems Wodehouse's skill is to \\\"bring a cliché just enough to life to kill it\\\", although Pamela March, writing in The Christian Science Monitor, considers Wodehouse to have \\\"an ability to decliché a cliché\\\".\",\n \"His opinion is shared by the academic Stephen Medcalf, who deems Wodehouse's skill is to \\\"bring a cliché just enough to life to kill it\\\", although Pamela March, writing in The Christian Science Monitor, considers Wodehouse to have \\\"an ability to decliché a cliché\\\". Medcalf provides an example from Right Ho, Jeeves in which the teetotal Gussie Fink-Nottle has surreptitiously been given whisky and gin in a punch prior to a prize-giving: 'It seems to me, Jeeves, that the ceremony may be one fraught with considerable interest.'\",\n \"Medcalf provides an example from Right Ho, Jeeves in which the teetotal Gussie Fink-Nottle has surreptitiously been given whisky and gin in a punch prior to a prize-giving: 'It seems to me, Jeeves, that the ceremony may be one fraught with considerable interest.' 'Yes, sir.'\",\n \"'Yes, sir.' 'Yes, sir.' 'What, in your opinion, will the harvest be?' 'One finds it difficult to hazard a conjecture, sir.' 'You mean imagination boggles?' 'Yes, sir.' I inspected my imagination. He was right. It boggled.\",\n \"He was right. It boggled. It boggled. The stylistic device most commonly found in Wodehouse's work is his use of comparative imagery that includes similes. Hall opines that the humour comes from Wodehouse's ability to accentuate \\\"resemblances which at first glance seem highly incongruous\\\".\",\n \"Hall opines that the humour comes from Wodehouse's ability to accentuate \\\"resemblances which at first glance seem highly incongruous\\\". Examples can be seen in Joy in the Morning, Chapter 29: \\\"There was a sound in the background like a distant sheep coughing gently on a mountainside.\",\n \"Examples can be seen in Joy in the Morning, Chapter 29: \\\"There was a sound in the background like a distant sheep coughing gently on a mountainside. Jeeves sailing into action\\\", or Psmith, Chapter 7: \\\"A sound like two or three pigs feeding rather noisily in the middle of a thunderstorm interrupted his meditation.\\\"\",\n \"Jeeves sailing into action\\\", or Psmith, Chapter 7: \\\"A sound like two or three pigs feeding rather noisily in the middle of a thunderstorm interrupted his meditation.\\\" Hall also identifies that periodically Wodehouse used the stylistic device of a transferred epithet, with an adjective that properly belongs to a person applied instead to some inanimate object.\",\n \"Hall also identifies that periodically Wodehouse used the stylistic device of a transferred epithet, with an adjective that properly belongs to a person applied instead to some inanimate object. The form of expression is used sparingly by Wodehouse in comparison with other mechanisms, only once or twice in a story or novel, according to Hall.\",\n \"The form of expression is used sparingly by Wodehouse in comparison with other mechanisms, only once or twice in a story or novel, according to Hall. \\\"I balanced a thoughtful lump of sugar on the teaspoon.\\\"\",\n \"\\\"I balanced a thoughtful lump of sugar on the teaspoon.\\\" —Joy in the Morning, Chapter 5 \\\"As I sat in the bath-tub, soaping a meditative foot ...\\\" —Jeeves and the Feudal Spirit, Chapter 1 \\\"The first thing he did was to prod Jeeves in the lower ribs with an uncouth forefinger.\\\"\",\n \"—Joy in the Morning, Chapter 5 \\\"As I sat in the bath-tub, soaping a meditative foot ...\\\" —Jeeves and the Feudal Spirit, Chapter 1 \\\"The first thing he did was to prod Jeeves in the lower ribs with an uncouth forefinger.\\\" —Much Obliged, Jeeves, Chapter 4 Wordplay is a key element in Wodehouse's writing.\",\n \"—Much Obliged, Jeeves, Chapter 4 Wordplay is a key element in Wodehouse's writing. This can take the form of puns, such as in Jeeves and the Feudal Spirit, when Bertie is released after a night in the police cells, and says that he has \\\"a pinched look\\\" about him.\",\n \"This can take the form of puns, such as in Jeeves and the Feudal Spirit, when Bertie is released after a night in the police cells, and says that he has \\\"a pinched look\\\" about him. Linguistic confusion is another humorous mechanism, such as in Uncle Dynamite when Constable Potter says he has been \\\"assaulted by the duck pond\\\".\",\n \"Linguistic confusion is another humorous mechanism, such as in Uncle Dynamite when Constable Potter says he has been \\\"assaulted by the duck pond\\\". In reply, Sir Aylmer, confusing the two meanings of the word \\\"by\\\", asks: \\\"How the devil can you be assaulted by a duck pond?\\\"\",\n \"In reply, Sir Aylmer, confusing the two meanings of the word \\\"by\\\", asks: \\\"How the devil can you be assaulted by a duck pond?\\\" Wodehouse also uses metaphor and mixed metaphor to add humour.\",\n \"Wodehouse also uses metaphor and mixed metaphor to add humour. Some come through exaggeration, such as Bingo Little's infant child who \\\"not only has the aspect of a mass murderer, but that of a mass murderer suffering from an ingrown toenail\\\", or Wooster's complaint that \\\"the rumpuses that Bobbie Wickham is already starting may be amusing to her, but not to the unfortunate toads beneath the harrow whom she ruthlessly plunges into the soup.\\\"\",\n \"Some come through exaggeration, such as Bingo Little's infant child who \\\"not only has the aspect of a mass murderer, but that of a mass murderer suffering from an ingrown toenail\\\", or Wooster's complaint that \\\"the rumpuses that Bobbie Wickham is already starting may be amusing to her, but not to the unfortunate toads beneath the harrow whom she ruthlessly plunges into the soup.\\\" Bertie Wooster's half-forgotten vocabulary also provides a further humorous device.\",\n \"Bertie Wooster's half-forgotten vocabulary also provides a further humorous device. In Jeeves and the Feudal Spirit Bertie asks Jeeves \\\"Let a plugugly like young Thos loose in the community with a cosh, and you are inviting disaster and ... what's the word? Something about cats.\\\" Jeeves replies, \\\"Cataclysms, sir?\\\"\",\n \"Jeeves replies, \\\"Cataclysms, sir?\\\" Reception and reputation Literary reception Wodehouse's early career as a lyricist and playwright was profitable, and his work with Bolton, according to The Guardian, \\\"was one of the most successful in the history of musical comedy\\\".\",\n \"Reception and reputation Literary reception Wodehouse's early career as a lyricist and playwright was profitable, and his work with Bolton, according to The Guardian, \\\"was one of the most successful in the history of musical comedy\\\". At the outbreak of the Second World War he was earning £40,000 a year from his work, which had broadened to include novels and short stories.\",\n \"At the outbreak of the Second World War he was earning £40,000 a year from his work, which had broadened to include novels and short stories. Following the furore ensuing from the wartime broadcasts, he suffered a downturn in his popularity and book sales; The Saturday Evening Post stopped publishing his short stories, a stance they reversed in 1965, although his popularity—and the sales figures—slowly recovered over time.\",\n \"Following the furore ensuing from the wartime broadcasts, he suffered a downturn in his popularity and book sales; The Saturday Evening Post stopped publishing his short stories, a stance they reversed in 1965, although his popularity—and the sales figures—slowly recovered over time. Wodehouse received great praise from many of his contemporaries, including Max Beerbohm, Rudyard Kipling, A. E. Housman and Evelyn Waugh—the last of whom opines, \\\"One has to regard a man as a Master who can produce on average three uniquely brilliant and entirely original similes on each page.\\\"\",\n \"Wodehouse received great praise from many of his contemporaries, including Max Beerbohm, Rudyard Kipling, A. E. Housman and Evelyn Waugh—the last of whom opines, \\\"One has to regard a man as a Master who can produce on average three uniquely brilliant and entirely original similes on each page.\\\" There are dissenters to the praise.\",\n \"There are dissenters to the praise. The writer Alan Bennett thinks that \\\"inspired though his language is, I can never take more than ten pages of the novels at a time, their relentless flippancy wearing and tedious\\\", while the literary critic Q. D. Leavis writes that Wodehouse had a \\\"stereotyped humour ... of ingenious variations on a laugh in one place\\\".\",\n \"The writer Alan Bennett thinks that \\\"inspired though his language is, I can never take more than ten pages of the novels at a time, their relentless flippancy wearing and tedious\\\", while the literary critic Q. D. Leavis writes that Wodehouse had a \\\"stereotyped humour ... of ingenious variations on a laugh in one place\\\". In a 2010 study of Wodehouse's few relatively serious novels, such as The Coming of Bill (1919), Jill the Reckless (1920) and The Adventures of Sally (1922), David Heddendorf concludes that though their literary quality does not match that of the farcical novels, they show a range of empathy and interests that in real life—and in his most comic works—the author seemed to lack.\",\n \"In a 2010 study of Wodehouse's few relatively serious novels, such as The Coming of Bill (1919), Jill the Reckless (1920) and The Adventures of Sally (1922), David Heddendorf concludes that though their literary quality does not match that of the farcical novels, they show a range of empathy and interests that in real life—and in his most comic works—the author seemed to lack. \\\"Never oblivious to grief and despair, he opts in clear-eyed awareness for his timeless world of spats and woolly-headed peers.\",\n \"\\\"Never oblivious to grief and despair, he opts in clear-eyed awareness for his timeless world of spats and woolly-headed peers. It's an austere, almost bloodless preference for pristine artifice over the pain and messy outcomes of actual existence, but it's a case of Wodehouse keeping faith with his own unique art.\\\"\",\n \"It's an austere, almost bloodless preference for pristine artifice over the pain and messy outcomes of actual existence, but it's a case of Wodehouse keeping faith with his own unique art.\\\" The American literary analyst Robert F. Kiernan, defining \\\"camp\\\" as \\\"excessive stylization of whatever kind\\\", brackets Wodehouse as \\\"a master of the camp novel\\\", along with Thomas Love Peacock, Max Beerbohm, Ronald Firbank, E. F. Benson and Ivy Compton-Burnett.\",\n \"The American literary analyst Robert F. Kiernan, defining \\\"camp\\\" as \\\"excessive stylization of whatever kind\\\", brackets Wodehouse as \\\"a master of the camp novel\\\", along with Thomas Love Peacock, Max Beerbohm, Ronald Firbank, E. F. Benson and Ivy Compton-Burnett. The literary critic and writer Cyril Connolly calls Wodehouse a \\\"politicians' author\\\"—one who does \\\"not like art to be exacting and difficult\\\".\",\n \"The literary critic and writer Cyril Connolly calls Wodehouse a \\\"politicians' author\\\"—one who does \\\"not like art to be exacting and difficult\\\". Two former British prime ministers, H. H. Asquith and Tony Blair, are on record as Wodehouse aficionados, and the latter became a patron of the Wodehouse Society.\",\n \"Two former British prime ministers, H. H. Asquith and Tony Blair, are on record as Wodehouse aficionados, and the latter became a patron of the Wodehouse Society. Seán O'Casey, a successful playwright of the 1920s, thought little of Wodehouse; he commented in 1941 that it was damaging to England's dignity that the public or \\\"the academic government of Oxford, dead from the chin up\\\" considered Wodehouse an important figure in English literature.\",\n \"Seán O'Casey, a successful playwright of the 1920s, thought little of Wodehouse; he commented in 1941 that it was damaging to England's dignity that the public or \\\"the academic government of Oxford, dead from the chin up\\\" considered Wodehouse an important figure in English literature. His jibe that Wodehouse was \\\"English literature's performing flea\\\" provided his target with the title of his collected letters, published in 1953.\",\n \"His jibe that Wodehouse was \\\"English literature's performing flea\\\" provided his target with the title of his collected letters, published in 1953. McCrum, writing in 2004, observes, \\\"Wodehouse is more popular today than on the day he died\\\", and \\\"his comic vision has an absolutely secure place in the English literary imagination.\\\"\",\n \"McCrum, writing in 2004, observes, \\\"Wodehouse is more popular today than on the day he died\\\", and \\\"his comic vision has an absolutely secure place in the English literary imagination.\\\" Honours and influence The proposed nominations of Wodehouse for a knighthood in 1967 and 1971 were blocked for fear that such an award would \\\"revive the controversy of his wartime behaviour and give currency to a Bertie Wooster image of the British character which the embassy was doing its best to eradicate\\\".\",\n \"Honours and influence The proposed nominations of Wodehouse for a knighthood in 1967 and 1971 were blocked for fear that such an award would \\\"revive the controversy of his wartime behaviour and give currency to a Bertie Wooster image of the British character which the embassy was doing its best to eradicate\\\". When Wodehouse was awarded the knighthood, only four years later, the journalist Dennis Barker wrote in The Guardian that the writer was \\\"the solitary surviving English literary comic genius\\\".\",\n \"When Wodehouse was awarded the knighthood, only four years later, the journalist Dennis Barker wrote in The Guardian that the writer was \\\"the solitary surviving English literary comic genius\\\". After his death six weeks later, the journalist Michael Davie, writing in the same paper, observed that \\\"Many people regarded ... [Wodehouse] as he regarded Beachcomber, as 'one, if not more than one, of England's greatest men'\\\", while in the view of the obituarist for The Times Wodehouse \\\"was a comic genius recognized in his lifetime as a classic and an old master of farce\\\".\",\n \"After his death six weeks later, the journalist Michael Davie, writing in the same paper, observed that \\\"Many people regarded ... [Wodehouse] as he regarded Beachcomber, as 'one, if not more than one, of England's greatest men'\\\", while in the view of the obituarist for The Times Wodehouse \\\"was a comic genius recognized in his lifetime as a classic and an old master of farce\\\". In September 2019 Wodehouse was commemorated with a memorial stone in Westminster Abbey; the dedication was held two days after it was installed.\",\n \"In September 2019 Wodehouse was commemorated with a memorial stone in Westminster Abbey; the dedication was held two days after it was installed. Since Wodehouse's death there have been numerous adaptations and dramatisations of his work on television and film; Wodehouse himself has been portrayed on radio and screen numerous times.\",\n \"Since Wodehouse's death there have been numerous adaptations and dramatisations of his work on television and film; Wodehouse himself has been portrayed on radio and screen numerous times. There are several literary societies dedicated to Wodehouse. The P.G. Wodehouse Society (UK) was founded in 1997 and has over 1,000 members as at 2015.\",\n \"Wodehouse Society (UK) was founded in 1997 and has over 1,000 members as at 2015. The president of the society as at 2017 is Alexander Armstrong; past presidents have included Terry Wogan and Richard Briers.\",\n \"The president of the society as at 2017 is Alexander Armstrong; past presidents have included Terry Wogan and Richard Briers. There are also other groups of Wodehouse fans in Australia, Belgium, France, Finland, India, Italy, Russia, Sweden and the US.\",\n \"There are also other groups of Wodehouse fans in Australia, Belgium, France, Finland, India, Italy, Russia, Sweden and the US. As at 2015 the Oxford English Dictionary contains over 1,750 quotations from Wodehouse, illustrating terms from crispish to zippiness.\",\n \"As at 2015 the Oxford English Dictionary contains over 1,750 quotations from Wodehouse, illustrating terms from crispish to zippiness. Voorhees, while acknowledging that Wodehouse's antecedents in literature range from Ben Jonson to Oscar Wilde, writes: Notes, references and sources Notes References Sources External links P. G. Wodehouse collection at One More Library P.G.\",\n \"Voorhees, while acknowledging that Wodehouse's antecedents in literature range from Ben Jonson to Oscar Wilde, writes: Notes, references and sources Notes References Sources External links P. G. Wodehouse collection at One More Library P.G. Wodehouse Archive on loan to the British Library The Wodehouse Society The P. G. Wodehouse Society (UK) Transcripts of Wodehouse's Berlin Broadcasts \\\"P. G. Wodehouse: An English Master of American Slang\\\" from The American Legion Weekly, 24 October 1919 Orwell, George \\\"In Defence of P.G.\",\n \"Wodehouse Archive on loan to the British Library The Wodehouse Society The P. G. Wodehouse Society (UK) Transcripts of Wodehouse's Berlin Broadcasts \\\"P. G. Wodehouse: An English Master of American Slang\\\" from The American Legion Weekly, 24 October 1919 Orwell, George \\\"In Defence of P.G. Wodehouse\\\" 1881 births 1975 deaths 20th-century English novelists 20th-century British dramatists and playwrights British emigrants to the United States English lyricists Knights Commander of the Order of the British Empire English male dramatists and playwrights British male novelists People educated at Dulwich College People educated at Elizabeth College, Guernsey People from Guildford People from Long Island PG People interned during World War II English humorists 20th-century American novelists American dramatists and playwrights American humorists American lyricists American male novelists Novelists from New York (state) Literature controversies English broadcasters for Nazi Germany 20th-century American male writers\"\n]"}}},{"rowIdx":464,"cells":{"History":{"kind":"list like","value":["P. G. Wodehouse","Broadway: 1915-19","What happened in 1915?","Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator.","what did the two collaborate on?","This was Miss Springtime (1916), which ran for 227 performances--a good run by the standards of the day.","what did they do next?","The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917-18) and Oh, Lady! Lady!! (1918),","were there any other successes?","Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin.","what other composers?","I don't know.","Did he do anything other than musicals?","Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories;","were his novels popular?","I don't know."],"string":"[\n \"P. G. Wodehouse\",\n \"Broadway: 1915-19\",\n \"What happened in 1915?\",\n \"Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator.\",\n \"what did the two collaborate on?\",\n \"This was Miss Springtime (1916), which ran for 227 performances--a good run by the standards of the day.\",\n \"what did they do next?\",\n \"The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917-18) and Oh, Lady! Lady!! (1918),\",\n \"were there any other successes?\",\n \"Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin.\",\n \"what other composers?\",\n \"I don't know.\",\n \"Did he do anything other than musicals?\",\n \"Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories;\",\n \"were his novels popular?\",\n \"I don't know.\"\n]"},"QuAC_dialog_id":{"kind":"string","value":"C_01908f72800044fda5b1d74a25e24226_1"},"Question":{"kind":"string","value":"did he collaborate with anyone else?"},"Question_no":{"kind":"number","value":8,"string":"8"},"Rewrite":{"kind":"string","value":"Besides Guy Bolton did PG Wodehouse collaborate with anyone else?"},"true_page_title":{"kind":"string","value":"P. G. Wodehouse"},"true_contexts":{"kind":"string","value":"A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator. Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York. The show was successful, but they thought the song lyrics weak and invited Wodehouse to join them on its successor. This was Miss Springtime (1916), which ran for 227 performances--a good run by the standards of the day. The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917-18) and Oh, Lady! Lady!! (1918), and Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin. Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies. Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do. Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical. In the Grove Dictionary of American Music Larry Stempel writes, \"By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy.\" The theatre writer Gerald Bordman calls Wodehouse \"the most observant, literate, and witty lyricist of his day\". The composer Richard Rodgers wrote, \"Before Larry Hart, only P.G. Wodehouse had made any real assault on the intelligence of the song-listening public.\" In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones. Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest. Various other young men-about-town appeared in short stories about members of the Drones Club. The Wodehouses returned to England, where they had a house in London for some years, but Wodehouse continued to cross the Atlantic frequently, spending substantial periods in New York. He continued to work in the theatre. During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York). He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnar, and A Damsel in Distress (1928), a dramatisation of his 1919 novel. Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods. Donaldson lists among those with whom he was on friendly terms writers including A.A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith, Jr., Heather Thatcher and Dorothy Dickson. CANNOTANSWER"},"answer":{"kind":"string","value":"During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End,"},"true_contexts_wiki":{"kind":"string","value":"Sir Pelham Grenville Wodehouse, ( ; 15 October 188114 February 1975) was an English author and one of the most widely read humorists of the 20th century. His creations include the feather-brained Bertie Wooster and his sagacious valet, Jeeves; the immaculate and loquacious Psmith; Lord Emsworth and the Blandings Castle set; the Oldest Member, with stories about golf; and Mr Mulliner, with tall tales on subjects ranging from bibulous bishops to megalomaniac movie moguls.\n\nBorn in Guildford, the third son of a British magistrate based in Hong Kong, Wodehouse spent happy teenage years at Dulwich College, to which he remained devoted all his life. After leaving school he was employed by a bank but disliked the work and turned to writing in his spare time. His early novels were mostly school stories, but he later switched to comic fiction. Most of Wodehouse's fiction is set in his native United Kingdom, although he spent much of his life in the US and used New York and Hollywood as settings for some of his novels and short stories. He wrote a series of Broadway musical comedies during and after the First World War, together with Guy Bolton and Jerome Kern, that played an important part in the development of the American musical. He began the 1930s writing for MGM in Hollywood. In a 1931 interview, his naive revelations of incompetence and extravagance in the studios caused a furore. In the same decade, his literary career reached a new peak.\n\nIn 1934 Wodehouse moved to France for tax reasons; in 1940 he was taken prisoner at Le Touquet by the invading Germans and interned for nearly a year. After his release he made six broadcasts from German radio in Berlin to the US, which had not yet entered the war. The talks were comic and apolitical, but his broadcasting over enemy radio prompted anger and strident controversy in Britain, and a threat of prosecution. Wodehouse never returned to England. From 1947 until his death he lived in the US, taking dual British-American citizenship in 1955. He died in 1975, at the age of 93, in Southampton, New York.\n\nWodehouse was a prolific writer throughout his life, publishing more than ninety books, forty plays, two hundred short stories and other writings between 1902 and 1974. He worked extensively on his books, sometimes having two or more in preparation simultaneously. He would take up to two years to build a plot and write a scenario of about thirty thousand words. After the scenario was complete he would write the story. Early in his career Wodehouse would produce a novel in about three months, but he slowed in old age to around six months. He used a mixture of Edwardian slang, quotations from and allusions to numerous poets, and several literary techniques to produce a prose style that has been compared to comic poetry and musical comedy. Some critics of Wodehouse have considered his work flippant, but among his fans are former British prime ministers and many of his fellow writers.\n\nLife and career\n\nEarly years\nWodehouse was born in Guildford, Surrey, the third son of Henry Ernest Wodehouse (1845–1929), a magistrate resident in the British colony of Hong Kong, and his wife, Eleanor (1861–1941), daughter of the Rev John Bathurst Deane. The Wodehouses, who traced their ancestry back to the 13th century, belonged to a cadet branch of the family of the earls of Kimberley. Eleanor Wodehouse was also of ancient aristocratic ancestry. She was visiting her sister in Guildford when Wodehouse was born there prematurely.\n\nThe boy was baptised at the Church of St Nicolas, Guildford, and was named after his godfather, Pelham von Donop. Wodehouse wrote in 1957, \"If you ask me to tell you frankly if I like the name Pelham Grenville Wodehouse, I must confess that I do not.... I was named after a godfather, and not a thing to show for it but a small silver mug which I lost in 1897.\" The first name was rapidly elided to \"Plum\", the name by which Wodehouse became known to family and friends.\n\nMother and son sailed for Hong Kong, where for his first two years Wodehouse was raised by a Chinese amah (nurse), alongside his elder brothers Peveril (1877–1951) and Armine (1879–1936). When he was two, the brothers were brought to England, where they were placed under the care of an English nanny in a house adjoining that of Eleanor's father and mother. The boys' parents returned to Hong Kong and became virtual strangers to their sons. Such an arrangement was then normal for middle-class families based in the colonies. The lack of parental contact, and the harsh regime of some of those in loco parentis, left permanent emotional scars on many children from similar backgrounds, including the writers Thackeray, Saki, Kipling and Walpole. Wodehouse was more fortunate; his nanny, Emma Roper, was strict but not unkind, and both with her and later at his different schools Wodehouse had a generally happy childhood. His recollection was that \"it went like a breeze from start to finish, with everybody I met understanding me perfectly\". The biographer Robert McCrum suggests that nonetheless Wodehouse's isolation from his parents left a psychological mark, causing him to avoid emotional engagement both in life and in his works. Another biographer, Frances Donaldson, writes, \"Deprived so early, not merely of maternal love, but of home life and even a stable background, Wodehouse consoled himself from the youngest age in an imaginary world of his own.\"\n\nIn 1886 the brothers were sent to a dame-school in Croydon, where they spent three years. Peveril was then found to have a \"weak chest\"; sea air was prescribed, and the three boys were moved to Elizabeth College on the island of Guernsey. In 1891 Wodehouse went on to Malvern House Preparatory School in Kent, which concentrated on preparing its pupils for entry to the Royal Navy. His father had planned a naval career for him, but the boy's eyesight was found to be too poor for it. He was unimpressed by the school's narrow curriculum and zealous discipline; he later parodied it in his novels, with Bertie Wooster recalling his early years as a pupil at a \"penitentiary... with the outward guise of a prep school\" called Malvern House.\n\nThroughout their school years the brothers were sent to stay during the holidays with various uncles and aunts from both sides of the family. In the Oxford Dictionary of National Biography, Iain Sproat counts twenty aunts and considers that they played an important part not only in Wodehouse's early life, but, thinly disguised, in his mature novels, as the formidable aunts who dominate the action in the Wooster, Blandings, and other stories. The boys had fifteen uncles, four of whom were clergymen. Sproat writes that they inspired Wodehouse's \"pious but fallible curates, vicars, and bishops, of which he wrote with friendly irreverence but without mockery\".\n\nAt the age of twelve in 1894, to his great joy, Wodehouse was able to follow his brother Armine to Dulwich College. He was entirely at home there; Donaldson comments that Dulwich gave him, for the first time, \"some continuity and a stable and ordered life\". He loved the camaraderie, distinguished himself at cricket, rugby and boxing, and was a good, if not consistently diligent, student. The headmaster at the time was A. H. Gilkes, a respected classicist, who was a strong influence on Wodehouse. In a study of Wodehouse's works, Richard Usborne argues that \"only a writer who was himself a scholar and had had his face ground into Latin and Greek (especially Thucydides) as a boy\" could sustain the complex sequences of subordinate clauses sometimes found in Wodehouse's comic prose.\n\nWodehouse's six years at Dulwich were among the happiest of his life: \"To me the years between 1894 and 1900 were like heaven.\" In addition to his sporting achievements he was a good singer and enjoyed taking part in school concerts; his literary leanings found an outlet in editing the school magazine, The Alleynian. For the rest of his life he remained devoted to the school. The biographer Barry Phelps writes that Wodehouse \"loved the college as much as he loved anything or anybody\".\n\nReluctant banker; budding writer: 1900–1908\n\nWodehouse expected to follow Armine to the University of Oxford, but the family's finances took a turn for the worse at the crucial moment. Ernest Wodehouse had retired in 1895, and his pension was paid in rupees; fluctuation against the pound reduced its value in Britain. Wodehouse recalled, \"The wolf was not actually whining at the door and there was always a little something in the kitty for the butcher and the grocer, but the finances would not run to anything in the nature of a splash\". Instead of a university career, in September 1900 Wodehouse was engaged in a junior position in the London office of the Hongkong and Shanghai Bank. He was unsuited to it and found the work baffling and uncongenial. He later wrote a humorous account of his experiences at the bank, but at the time he longed for the end of each working day, when he could return to his rented lodgings in Chelsea and write. At first he concentrated, with some success, on serious articles about school sports for Public School Magazine. In November 1900 his first comic piece, \"Men Who Missed Their Own Weddings\", was accepted by Tit-Bits. A new magazine for boys, The Captain, provided further well-paid opportunities, and during his two years at the bank, Wodehouse had eighty pieces published in a total of nine magazines.\n\nIn 1901, with the help of a former Dulwich master, William Beach Thomas, Wodehouse secured an appointment—at first temporary and later permanent—writing for The Globes popular \"By the Way\" column. He held the post until 1909. At around the same time his first novel was published—a school story called The Pothunters, serialised incomplete in Public School Magazine in early 1902, and issued in full in hardback in September. He resigned from the bank that month to devote himself to writing full-time.\n\nBetween the publication of The Pothunters 1902 and that of Mike in 1909, Wodehouse wrote eight novels and co-wrote another two. The critic R. D. B. French writes that, of Wodehouse's work from this period, almost all that deserves to survive is the school fiction. Looking back in the 1950s Wodehouse viewed these as his apprentice years: \"I was practically in swaddling clothes and it is extremely creditable to me that I was able to write at all.\"\n\nFrom his boyhood Wodehouse had been fascinated by America, which he conceived of as \"a land of romance\"; he \"yearned\" to visit the country, and by 1904 he had earned enough to do so. In April he sailed to New York, which he found greatly to his liking. He noted in his diary: \"In New York gathering experience. Worth many guineas in the future but none for the moment.\" This prediction proved correct: few British writers had first-hand experience of the US, and his articles about life in New York brought him higher than usual fees. He later recalled that \"in 1904 anyone in the London writing world who had been to America was regarded with awe and looked upon as an authority on that terra incognita.... After that trip to New York I was a man who counted.... My income rose like a rocketing pheasant.\"\n\nWodehouse's other new venture in 1904 was writing for the stage. Towards the end of the year the librettist Owen Hall invited him to contribute an additional lyric for a musical comedy Sergeant Brue. Wodehouse had loved theatre since his first visit, aged thirteen, when Gilbert and Sullivan's Patience had made him \"drunk with ecstasy\". His lyric for Hall, \"Put Me in My Little Cell\", was a Gilbertian number for a trio of comic crooks, with music by Frederick Rosse; it was well received and launched Wodehouse on a career as a theatre writer that spanned three decades.\n\nAlthough it made little impact on its first publication, the 1906 novel Love Among the Chickens contained what French calls the author's first original comic creation: Stanley Featherstonehaugh Ukridge. The character, an amoral, bungling opportunist, is partly based on Wodehouse's Globe colleague Herbert Westbrook. The two collaborated between 1907 and 1913 on two books, two music hall sketches, and a play, Brother Alfred. Wodehouse would return to the character in short stories over the next six decades.\n\nIn early 1906 the actor-manager Seymour Hicks invited Wodehouse to become resident lyricist at the Aldwych Theatre, to add topical verses to newly imported or long-running shows. Hicks had already recruited the young Jerome Kern to write the music for such songs. The first Kern-Wodehouse collaboration, a comic number for The Beauty of Bath titled \"Mr [Joseph] Chamberlain\", was a show-stopper and was briefly the most popular song in London.\n\nPsmith, Blandings, Wooster and Jeeves: 1908–1915\n\nWodehouse's early period as a writer came to an end in 1908 with the serialisation of The Lost Lambs, published the following year in book form as the second half of the novel Mike. The work begins as a conventional school story, but Wodehouse introduces a new and strikingly original character, Psmith, whose creation both Evelyn Waugh and George Orwell regarded as a watershed in Wodehouse's development. Wodehouse said that he based Psmith on the hotelier and impresario Rupert D'Oyly Carte—\"the only thing in my literary career which was handed to me on a silver plate with watercress around it\". Wodehouse wrote in the 1970s that a cousin of his who had been at school with Carte told him of the latter's monocle, studied suavity, and stateliness of speech, all of which Wodehouse adopted for his new character. Psmith featured in three more novels: Psmith in the City (1910), a burlesque of banking; Psmith, Journalist (1915) set in New York; and Leave It to Psmith (1923), set at Blandings Castle.\n\nIn May 1909 Wodehouse made his second visit to New York, where he sold two short stories to Cosmopolitan and Collier's for a total of $500, a much higher fee than he had commanded previously. He resigned from The Globe and stayed in New York for nearly a year. He sold many more stories, but none of the American publications offered a permanent relationship and guaranteed income. Wodehouse returned to England in late 1910, rejoining The Globe and also contributing regularly to The Strand Magazine. Between then and the outbreak of the First World War in 1914 he revisited America frequently.\n\nWodehouse was in New York when the war began. Ineligible for military service because of his poor eyesight, he remained in the US throughout the war, detached from the conflict in Europe and absorbed in his theatrical and literary concerns. In September 1914 he married Ethel May Wayman, née Newton (1885–1984), an English widow. The marriage proved happy and lifelong. Ethel's personality was in contrast with her husband's: he was shy and impractical; she was gregarious, decisive and well organised. In Sproat's phrase, she \"took charge of Wodehouse's life and made certain that he had the peace and quiet he needed to write\". There were no children of the marriage, but Wodehouse came to love Ethel's daughter Leonora (1905–1944) and legally adopted her.\n\nWodehouse experimented with different genres of fiction in these years; Psmith, Journalist, mixing comedy with social comment on slum landlords and racketeers, was published in 1915. In the same year The Saturday Evening Post paid $3,500 to serialise Something New, the first of what became a series of novels set at Blandings Castle. It was published in hardback in the US and the UK in the same year (the British edition being retitled Something Fresh). It was Wodehouse's first farcical novel; it was also his first best-seller, and although his later books included some gentler, lightly sentimental stories, it was as a farceur that he became known. Later in the same year \"Extricating Young Gussie\", the first story about Bertie and Jeeves, was published. These stories introduced two sets of characters about whom Wodehouse wrote for the rest of his life. The Blandings Castle stories, set in an English stately home, depict the attempts of the placid Lord Emsworth to evade the many distractions around him, which include successive pairs of young lovers, the machinations of his exuberant brother Galahad, the demands of his domineering sisters and super-efficient secretaries, and anything detrimental to his prize sow, the Empress of Blandings. The Bertie and Jeeves stories feature an amiable young man-about-town, regularly rescued from the consequences of his idiocy by the benign interference of his valet.\n\nBroadway: 1915–1919\n\nA third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator. Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York. The show was successful, but they thought the song lyrics weak and invited Wodehouse to join them on its successor. This was Miss Springtime (1916), which ran for 227 performances—a good run by the standards of the day. The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917–18) and Oh, Lady! Lady!! (1918), and Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin.\n\nUnlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies. Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do. Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical. In the Grove Dictionary of American Music Larry Stempel writes, \"By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy.\" The theatre writer Gerald Bordman calls Wodehouse \"the most observant, literate, and witty lyricist of his day\". The composer Richard Rodgers wrote, \"Before Larry Hart, only P.G. Wodehouse had made any real assault on the intelligence of the song-listening public.\"\n\n1920s\nIn the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones. Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest. Various other young men-about-town appeared in short stories about members of the Drones Club.\n\nThe Wodehouses returned to England, where they had a house in London for some years, but Wodehouse continued to cross the Atlantic frequently, spending substantial periods in New York. He continued to work in the theatre. During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York). He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnár, and A Damsel in Distress (1928), a dramatisation of his 1919 novel.\n\nThough never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods. Donaldson lists among those with whom he was on friendly terms writers including A. A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith Jr., Heather Thatcher and Dorothy Dickson.\n\nHollywood: 1929–1931\nThere had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name. Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM). Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week. This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929.\n\nThe contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories. He commented, \"It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary.\" Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used. In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was \"as close to a success as Wodehouse was to have at MGM. His only other credits were minimal, and the other projects he worked on were not produced.\"\n\nWodehouse's contract ended after a year and was not renewed. At MGM's request, he gave an interview to The Los Angeles Times. Wodehouse was described by Herbert Warren Wind as \"politically naive [and] fundamentally unworldly\", and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent. The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry. Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been \"a storm in a teacup\", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable.\n\nWind's view of Wodehouse's naïveté is not universally held. Biographers including Donaldson, McCrum and Phelps suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute. He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire.\n\nBest-seller: 1930s\nDuring the 1930s Wodehouse's theatrical work tailed off. He wrote or adapted four plays for the West End; Leave it to Psmith (1930), which he adapted in collaboration with Ian Hay, was the only one to have a long run. The reviewer in The Manchester Guardian praised the play, but commented: \"It is Mr Wodehouse's own inimitable narrative comments and descriptions in his own person of the antics of his puppets that one misses. They cannot be got into a play and they are at least half the fun of the novels.\" In 1934 Wodehouse collaborated with Bolton on the book for Cole Porter's Anything Goes (Porter wrote his own lyrics), but at the last minute their version was almost entirely rewritten by others at the instigation of the producer, who disliked the original script. Concentrating on writing novels and short stories, Wodehouse reached the peak of his productivity in this decade, averaging two books each year, and grossing an annual £100,000.\n\nHis practice of dividing his time between Britain and America caused Wodehouse difficulties with the tax authorities of both countries. Both the UK Inland Revenue and the US Internal Revenue Service sought to tax him as a resident. The matter was settled after lengthy negotiations, but the Wodehouses decided to change their residential status beyond doubt by moving to France, where they bought a house near Le Touquet in the north.\n\nIn 1935 Wodehouse created the last of his regular cast of principal characters, Lord Ickenham, otherwise known as Uncle Fred, who, in Usborne's words, \"leads the dance in four novels and a short story... a whirring dynamo of misrule\". His other books from the decade include Right Ho, Jeeves, which Donaldson judged his best work, Uncle Fred in the Springtime, which the writer Bernard Levin considered the best, and Blandings Castle, which contains \"Lord Emsworth and the Girl Friend\", which Rudyard Kipling thought \"one of the most perfect short stories I have ever read\".\n\nOther leading literary figures who admired Wodehouse were A. E. Housman, Max Beerbohm and Hilaire Belloc; on the radio and in print Belloc called Wodehouse \"the best writer of our time: the best living writer of English... the head of my profession\". Wodehouse regarded Belloc's plaudit as \"a gag, to get a rise out of serious-minded authors whom he disliked\". Wodehouse was never sure that his books had literary merit as well as popular appeal, and, Donaldson suggests, must have been overwhelmed when the University of Oxford conferred an honorary doctorate of letters on him in June 1939. His visit to England for the awarding ceremony was the last time he set foot in his native land.\n\nSecond World War: internment and broadcasts\nAt the start of the Second World War Wodehouse and his wife remained at their Le Touquet house, where, during the Phoney War, he worked on Joy in the Morning. With the advance of the Germans, the nearby Royal Air Force base withdrew; Wodehouse was offered the sole spare seat in one of the fighter aircraft, but he turned down the opportunity as it would have meant leaving behind Ethel and their dog. On 21 May 1940, with German troops advancing through northern France, the Wodehouses decided to drive to Portugal and fly from there to the US. Two miles from home their car broke down, so they returned and borrowed a car from a neighbour; with the routes blocked with refugees, they returned home again.\n\nThe Germans occupied Le Touquet on 22 May 1940 and Wodehouse had to report to the authorities daily. After two months of occupation the Germans interned all male enemy nationals under 60, and Wodehouse was sent to a former prison in Loos, a suburb of Lille, on 21 July; Ethel remained in Le Touquet. The internees were placed four to a cell, each of which had been designed for one man. One bed was available per cell, which was made available to the eldest man—not Wodehouse, who slept on the granite floor. The prisoners were not kept long in Loos before they were transported in cattle trucks to a former barracks in Liège, Belgium, which was run as a prison by the SS. After a week the men were transferred to Huy in Liège, where they were incarcerated in the local citadel. They remained there until September 1940, when they were transported to Tost in Upper Silesia (then Germany, now Toszek in Poland).\n\nWodehouse's family and friends had not had any news of his location after the fall of France, but an article from an Associated Press reporter who had visited Tost in December 1940 led to pressure on the German authorities to release the novelist. This included a petition from influential people in the US; Senator W. Warren Barbour presented it to the German ambassador. Although his captors refused to release him, Wodehouse was provided with a typewriter and, to pass the time, he wrote Money in the Bank. Throughout his time in Tost, he sent postcards to his US literary agent asking for $5 to be sent to various people in Canada, mentioning his name. These were the families of Canadian prisoners of war, and the news from Wodehouse was the first indication that their sons were alive and well. Wodehouse risked severe punishment for the communication, but managed to evade the German censor.\n\nOn 21 June 1941, while he was in the middle of playing a game of cricket, Wodehouse received a visit from two members of the Gestapo. He was given ten minutes to pack his things before he was taken to the Hotel Adlon, a top luxury hotel in Berlin. He stayed there at his own expense; royalties from the German editions of his books had been put into a special frozen bank account at the outset of the war, and Wodehouse was permitted to draw upon this money he had earned while staying in Berlin. He was thus released from internment a few months before his sixtieth birthday—the age at which civilian internees were released by the Nazis. Shortly afterwards Wodehouse was, in the words of Phelps, \"cleverly trapped\" into making five broadcasts to the US via German radio, with the Berlin-based correspondent of the Columbia Broadcasting System. The broadcasts—aired on 28 June, 9, 23 and 30 July and 6 August—were titled How to be an Internee Without Previous Training, and comprised humorous anecdotes about Wodehouse's experiences as a prisoner, including some gentle mocking of his captors. The German propaganda ministry arranged for the recordings to be broadcast to Britain in August. The day after Wodehouse recorded his final programme, Ethel joined him in Berlin, having sold most of her jewellery to pay for the journey.\n\nAftermath: reactions and investigation\nThe reaction in Britain to Wodehouse's broadcasts was hostile, and he was \"reviled ... as a traitor, collaborator, Nazi propagandist, and a coward\", although, Phelps observes, many of those who decried his actions had not heard the content of the programmes. A front-page article in The Daily Mirror stated that Wodehouse \"lived luxuriously because Britain laughed with him, but when the laughter was out of his country's heart, ... [he] was not ready to share her suffering. He hadn't the guts ... even to stick it out in the internment camp.\" In the House of Commons Anthony Eden, the Foreign Secretary, regretted Wodehouse's actions. Several libraries removed Wodehouse novels from their shelves.\n\nOn 15 July the journalist William Connor, under his pen name Cassandra, broadcast a postscript to the news programme railing against Wodehouse. According to The Times, the broadcast \"provoked a storm of complaint ... from listeners all over the country\". Wodehouse's biographer, Joseph Connolly, thinks the broadcast \"inaccurate, spiteful and slanderous\"; Phelps calls it \"probably the most vituperative attack on an individual ever heard on British radio\". The broadcast was made at the direct instruction of Duff Cooper, the Minister of Information, who overruled strong protests made by the BBC against the decision to air the programme. Numerous letters appeared in the British press, both supporting and criticising Wodehouse. The letters page of The Daily Telegraph became a focus for censuring Wodehouse, including one from Wodehouse's friend, ; a reply from their fellow author Compton Mackenzie in defence of Wodehouse was not published because the editor claimed a lack of space. Most of those defending Wodehouse against accusations of disloyalty, including Sax Rohmer, Dorothy L. Sayers and Gilbert Frankau, conceded that he had acted stupidly. Some members of the public wrote to the newspapers to say that the full facts were not yet known and a fair judgment could not be made until they were. The management of the BBC, who considered Wodehouse's actions no worse than \"ill advised\", pointed out to Cooper that there was no evidence at that point whether Wodehouse had acted voluntarily or under compulsion.\n\nWhen Wodehouse heard of the furore the broadcasts had caused, he contacted the Foreign Office—through the Swiss embassy in Berlin—to explain his actions, and attempted to return home via neutral countries, but the German authorities refused to let him leave. In Performing Flea, a 1953 collection of letters, Wodehouse wrote, \"Of course I ought to have had the sense to see that it was a loony thing to do to use the German radio for even the most harmless stuff, but I didn't. I suppose prison life saps the intellect\". The reaction in America was mixed: the left-leaning publication PM accused Wodehouse of \"play[ing] Jeeves to the Nazis\", but the Department of War used the interviews as an ideal representation of anti-Nazi propaganda.\n\nThe Wodehouses remained in Germany until September 1943, when, because of the Allied bombings, they were allowed to move back to Paris. They were living there when the city was liberated on 25 August 1944; Wodehouse reported to the American authorities the following day, asking them to inform the British of his whereabouts. He was subsequently visited by Malcolm Muggeridge, recently arrived in Paris as an intelligence officer with MI6. The young officer quickly came to like Wodehouse and considered the question of treasonable behaviour as \"ludicrous\"; he summed up the writer as \"ill-fitted to live in an age of ideological conflict\". On 9 September Wodehouse was visited by an MI5 officer and former barrister, Major Edward Cussen, who formally investigated him, a process that stretched over four days. On 28 September Cussen filed his report, which states that in regard to the broadcasts, Wodehouse's behaviour \"has been unwise\", but advised against further action. On 23 November Theobald Matthew, the Director of Public Prosecutions, decided there was no evidence to justify prosecuting Wodehouse.\n\nIn November 1944 Duff Cooper was appointed British ambassador to France and was provided accommodation at the Hôtel Le Bristol, where the Wodehouses were living. Cooper complained to the French authorities, and the couple were moved to a different hotel. They were subsequently arrested by French police and placed under preventive detention, despite no charges being presented. When Muggeridge tracked them down later, he managed to get Ethel released straight away and, four days later, ensured that the French authorities declared Wodehouse unwell and put him in a nearby hospital, which was more comfortable than where they had been detained. While in this hospital, Wodehouse worked on his novel Uncle Dynamite.\n\nWhile still detained by the French, Wodehouse was again mentioned in questions in the House of Commons in December 1944 when MPs wondered if the French authorities could repatriate him to stand trial. Eden stated that the \"matter has been gone into, and, according to the advice given, there are no grounds upon which we could take action\". Two months later, Orwell wrote the essay \"In Defence of P.G. Wodehouse\", where he stated that \"it is important to realise that the events of 1941 do not convict Wodehouse of anything worse than stupidity\". Orwell's rationale was that Wodehouse's \"moral outlook has remained that of a public-school boy, and according to the public-school code, treachery in time of war is the most unforgivable of all the sins\", which was compounded by his \"complete lack—so far as one can judge from his printed works—of political awareness\".\n\nOn 15 January 1945 the French authorities released Wodehouse, but they did not inform him, until June 1946, that he would not face any official charges and was free to leave the country.\n\nAmerican exile: 1946–1975\nHaving secured American visas in July 1946, the Wodehouses made preparations to return to New York. They were delayed by Ethel's insistence on acquiring suitable new clothes and by Wodehouse's wish to finish writing his current novel, The Mating Season, in the peace of the French countryside. In April 1947 they sailed to New York, where Wodehouse was relieved at the friendly reception he received from the large press contingent awaiting his arrival. Ethel secured a comfortable penthouse apartment in Manhattan's Upper East Side, but Wodehouse was not at ease. The New York that he had known before the war was much changed. The magazines that had paid lavishly for his stories were in decline, and those that remained were not much interested in him. He was sounded out about writing for Broadway, but he was not at home in the post-war theatre; he had money problems, with large sums temporarily tied up in Britain, and for the first time in his career he had no ideas for a new novel. He did not complete one until 1951.\n\nWodehouse remained unsettled until he and Ethel left New York City for Long Island. Bolton and his wife lived in the prosperous hamlet of Remsenburg, part of the Southampton area of Long Island, east of Manhattan. Wodehouse stayed with them frequently, and in 1952 he and Ethel bought a house nearby. They lived at Remsenburg for the rest of their lives. Between 1952 and 1975 he published more than twenty novels, as well as two collections of short stories, a heavily edited collection of his letters, a volume of memoirs, and a selection of his magazine articles. He continued to hanker after a revival of his theatrical career. A 1959 off-Broadway revival of the 1917 Bolton-Wodehouse-Kern Leave It to Jane was a surprise hit, running for 928 performances, but his few post-war stage works, some in collaboration with Bolton, made little impression.\n\nAlthough Ethel made a return visit to England in 1948 to shop and visit family and friends, Wodehouse never left America after his arrival in 1947. It was not until 1965 that the British government indicated privately that he could return without fear of legal proceedings, and by then he felt too old to make the journey. The biographers Benny Green and Robert McCrum both take the view that this exile benefited Wodehouse's writing, helping him to go on depicting an idealised England seen in his mind's eye, rather than as it actually was in the post-war decades. During their years in Long Island, the couple often took in stray animals and contributed substantial funds to a local animal shelter.\n\nIn 1955 Wodehouse became an American citizen, though he remained a British subject, and was therefore still eligible for UK state honours. He was considered for the award of a knighthood three times from 1967, but the honour was twice blocked by British officials. In 1974 the British prime minister, Harold Wilson, intervened to secure a knighthood (KBE) for Wodehouse, which was announced in the January 1975 New Year Honours list. The Times commented that Wodehouse's honour signalled \"official forgiveness for his wartime indiscretion.... It is late, but not too late, to take the sting out of that unhappy incident.\"\n\nThe following month Wodehouse entered Southampton Hospital, Long Island, for treatment of a skin complaint. While there, he suffered a heart attack and died on 14 February 1975 at the age of 93. He was buried at Remsenburg Presbyterian Church four days later. Ethel outlived him by more than nine years; Leonora had predeceased him, dying suddenly in 1944.\n\nWriting\n\nTechnique and approach\n\nBefore starting a book Wodehouse would write up to four hundred pages of notes bringing together an outline of the plot; he acknowledged that \"It's the plots that I find so hard to work out. It takes such a long time to work one out.\" He always completed the plot before working on specific character actions. For a novel the note-writing process could take up to two years, and he would usually have two or more novels in preparation simultaneously. After he had completed his notes, he would draw up a fuller scenario of about thirty thousand words, which ensured plot holes were avoided, and allowed for the dialogue to begin to develop. When interviewed in 1975 he revealed that \"For a humorous novel you've got to have a scenario, and you've got to test it so that you know where the comedy comes in, where the situations come in ... splitting it up into scenes (you can make a scene of almost anything) and have as little stuff in between as possible.\" He preferred working between 4 and 7 pm—but never after dinner—and would work seven days a week. In his younger years, he would write around two to three thousand words a day, although he slowed as he aged, so that in his nineties he would produce a thousand. The reduced speed in writing slowed his production of books: when younger he would produce a novel in about three months, while Bachelors Anonymous, published in 1973, took around six months. Although studies of language production in normal healthy ageing show a marked decline from the mid-70s on, a study of Wodehouse's works did not find any evidence of a decline in linguistic ability with age.\n\nWodehouse believed that one of the factors that made his stories humorous was his view of life, and he stated that \"If you take life fairly easily, then you take a humorous view of things. It's probably because you were born that way.\" He carried this view through into his writing, describing the approach as \"making the thing a sort of musical comedy without music, and ignoring real life altogether\". The literary critic Edward L. Galligan considers Wodehouse's stories to show his mastery in adapting the form of the American musical comedy for his writings. Wodehouse would ensure that his first draft was as carefully and accurately done as possible, correcting and refining the prose as he wrote, and would then make another good copy, before proofreading again and then making a final copy for his publisher.\n\nMost of Wodehouse's canon is set in an undated period around the 1920s and 1930s. The critic Anthony Lejeune describes the settings of Wodehouse's novels, such as the Drones Club and Blandings Castle, as \"a fairyland\". Although some critics thought Wodehouse's fiction was based on a world that had never existed, Wodehouse affirmed that \"it did. It was going strong between the wars\", although he agreed that his version was to some extent \"a sort of artificial world of my own creation\". The novels showed a largely unchanging world, regardless of when they were written, and only rarely—and mistakenly in McCrum's view—did Wodehouse allow modernity to intrude, as he did in the 1966 story \"Bingo Bans the Bomb\".\n\nWhen dealing with the dialogue in his novels, Wodehouse would consider the book's characters as if they were actors in a play, ensuring that the main roles were kept suitably employed throughout the storyline, which must be strong: \"If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them.\" Many of Wodehouse's parts were stereotypes, and he acknowledged that \"a real character in one of my books sticks out like a sore thumb.\" The publisher Michael Joseph identifies that even within the stereotypes Wodehouse understood human nature, and therefore \"shares with [Charles] Dickens and Charles Chaplin the ability to present the comic resistance of the individual against those superior forces to which we are all subject\".\n\nMuch of Wodehouse's use of slang terms reflects the influence of his time at school in Dulwich, and partly reflects Edwardian slang. As a young man he enjoyed the literary works of Arthur Conan Doyle and Jerome K. Jerome, and the operatic works of Gilbert and Sullivan. Wodehouse quotes from and alludes to numerous poets throughout his work. The scholar Clarke Olney lists those quoted, including Milton, Byron, Longfellow, Coleridge, Swinburne, Tennyson, Wordsworth and Shakespeare. Another favoured source was the King James Bible.\n\nLanguage\n\nIn 1941 the Concise Cambridge History of English Literature opined that Wodehouse had \"a gift for highly original aptness of phrase that almost suggests a poet struggling for release among the wild extravagances of farce\", while McCrum thinks that Wodehouse manages to combine \"high farce with the inverted poetry of his mature comic style\", particularly in The Code of the Woosters; the novelist Anthony Powell believes Wodehouse to be a \"comic poet\". Robert A. Hall Jr., in his study of Wodehouse's style and technique, describes the author as a master of prose, an opinion also shared by Levin, who considers Wodehouse \"one of the finest and purest writers of English prose\". Hall identifies several techniques used by Wodehouse to achieve comic effect, including the creation of new words through adding or removing prefixes and suffixes, so when Pongo Twistleton removes the housemaid Elsie Bean from a cupboard, Wodehouse writes that the character \"de-Beaned the cupboard\". Wodehouse created new words by splitting others in two, thus Wodehouse divides \"hobnobbing\" when he writes: \"To offer a housemaid a cigarette is not hobbing. Nor, when you light it for her, does that constitute nobbing.\"\n\nRichard Voorhees, Wodehouse's biographer, believes that the author used clichés in a deliberate and ironic manner. His opinion is shared by the academic Stephen Medcalf, who deems Wodehouse's skill is to \"bring a cliché just enough to life to kill it\", although Pamela March, writing in The Christian Science Monitor, considers Wodehouse to have \"an ability to decliché a cliché\". Medcalf provides an example from Right Ho, Jeeves in which the teetotal Gussie Fink-Nottle has surreptitiously been given whisky and gin in a punch prior to a prize-giving:\n\n 'It seems to me, Jeeves, that the ceremony may be one fraught with considerable interest.'\n'Yes, sir.'\n'What, in your opinion, will the harvest be?'\n'One finds it difficult to hazard a conjecture, sir.'\n'You mean imagination boggles?'\n'Yes, sir.'\nI inspected my imagination. He was right. It boggled.\n\nThe stylistic device most commonly found in Wodehouse's work is his use of comparative imagery that includes similes. Hall opines that the humour comes from Wodehouse's ability to accentuate \"resemblances which at first glance seem highly incongruous\". Examples can be seen in Joy in the Morning, Chapter 29: \"There was a sound in the background like a distant sheep coughing gently on a mountainside. Jeeves sailing into action\", or Psmith, Chapter 7: \"A sound like two or three pigs feeding rather noisily in the middle of a thunderstorm interrupted his meditation.\" Hall also identifies that periodically Wodehouse used the stylistic device of a transferred epithet, with an adjective that properly belongs to a person applied instead to some inanimate object. The form of expression is used sparingly by Wodehouse in comparison with other mechanisms, only once or twice in a story or novel, according to Hall.\n\n\"I balanced a thoughtful lump of sugar on the teaspoon.\"\n—Joy in the Morning, Chapter 5\n\n\"As I sat in the bath-tub, soaping a meditative foot ...\"\n—Jeeves and the Feudal Spirit, Chapter 1\n\n\"The first thing he did was to prod Jeeves in the lower ribs with an uncouth forefinger.\"\n—Much Obliged, Jeeves, Chapter 4\n\nWordplay is a key element in Wodehouse's writing. This can take the form of puns, such as in Jeeves and the Feudal Spirit, when Bertie is released after a night in the police cells, and says that he has \"a pinched look\" about him. Linguistic confusion is another humorous mechanism, such as in Uncle Dynamite when Constable Potter says he has been \"assaulted by the duck pond\". In reply, Sir Aylmer, confusing the two meanings of the word \"by\", asks: \"How the devil can you be assaulted by a duck pond?\" Wodehouse also uses metaphor and mixed metaphor to add humour. Some come through exaggeration, such as Bingo Little's infant child who \"not only has the aspect of a mass murderer, but that of a mass murderer suffering from an ingrown toenail\", or Wooster's complaint that \"the rumpuses that Bobbie Wickham is already starting may be amusing to her, but not to the unfortunate toads beneath the harrow whom she ruthlessly plunges into the soup.\" Bertie Wooster's half-forgotten vocabulary also provides a further humorous device. In Jeeves and the Feudal Spirit Bertie asks Jeeves \"Let a plugugly like young Thos loose in the community with a cosh, and you are inviting disaster and ... what's the word? Something about cats.\" Jeeves replies, \"Cataclysms, sir?\"\n\nReception and reputation\n\nLiterary reception\nWodehouse's early career as a lyricist and playwright was profitable, and his work with Bolton, according to The Guardian, \"was one of the most successful in the history of musical comedy\". At the outbreak of the Second World War he was earning £40,000 a year from his work, which had broadened to include novels and short stories. Following the furore ensuing from the wartime broadcasts, he suffered a downturn in his popularity and book sales; The Saturday Evening Post stopped publishing his short stories, a stance they reversed in 1965, although his popularity—and the sales figures—slowly recovered over time.\n\nWodehouse received great praise from many of his contemporaries, including Max Beerbohm, Rudyard Kipling, A. E. Housman and Evelyn Waugh—the last of whom opines, \"One has to regard a man as a Master who can produce on average three uniquely brilliant and entirely original similes on each page.\" There are dissenters to the praise. The writer Alan Bennett thinks that \"inspired though his language is, I can never take more than ten pages of the novels at a time, their relentless flippancy wearing and tedious\", while the literary critic Q. D. Leavis writes that Wodehouse had a \"stereotyped humour ... of ingenious variations on a laugh in one place\". In a 2010 study of Wodehouse's few relatively serious novels, such as The Coming of Bill (1919), Jill the Reckless (1920) and The Adventures of Sally (1922), David Heddendorf concludes that though their literary quality does not match that of the farcical novels, they show a range of empathy and interests that in real life—and in his most comic works—the author seemed to lack. \"Never oblivious to grief and despair, he opts in clear-eyed awareness for his timeless world of spats and woolly-headed peers. It's an austere, almost bloodless preference for pristine artifice over the pain and messy outcomes of actual existence, but it's a case of Wodehouse keeping faith with his own unique art.\"\n\nThe American literary analyst Robert F. Kiernan, defining \"camp\" as \"excessive stylization of whatever kind\", brackets Wodehouse as \"a master of the camp novel\", along with Thomas Love Peacock, Max Beerbohm, Ronald Firbank, E. F. Benson and Ivy Compton-Burnett. The literary critic and writer Cyril Connolly calls Wodehouse a \"politicians' author\"—one who does \"not like art to be exacting and difficult\". Two former British prime ministers, H. H. Asquith and Tony Blair, are on record as Wodehouse aficionados, and the latter became a patron of the Wodehouse Society. Seán O'Casey, a successful playwright of the 1920s, thought little of Wodehouse; he commented in 1941 that it was damaging to England's dignity that the public or \"the academic government of Oxford, dead from the chin up\" considered Wodehouse an important figure in English literature. His jibe that Wodehouse was \"English literature's performing flea\" provided his target with the title of his collected letters, published in 1953. McCrum, writing in 2004, observes, \"Wodehouse is more popular today than on the day he died\", and \"his comic vision has an absolutely secure place in the English literary imagination.\"\n\nHonours and influence\n\nThe proposed nominations of Wodehouse for a knighthood in 1967 and 1971 were blocked for fear that such an award would \"revive the controversy of his wartime behaviour and give currency to a Bertie Wooster image of the British character which the embassy was doing its best to eradicate\". When Wodehouse was awarded the knighthood, only four years later, the journalist Dennis Barker wrote in The Guardian that the writer was \"the solitary surviving English literary comic genius\". After his death six weeks later, the journalist Michael Davie, writing in the same paper, observed that \"Many people regarded ... [Wodehouse] as he regarded Beachcomber, as 'one, if not more than one, of England's greatest men'\", while in the view of the obituarist for The Times Wodehouse \"was a comic genius recognized in his lifetime as a classic and an old master of farce\". In September 2019 Wodehouse was commemorated with a memorial stone in Westminster Abbey; the dedication was held two days after it was installed.\n\nSince Wodehouse's death there have been numerous adaptations and dramatisations of his work on television and film; Wodehouse himself has been portrayed on radio and screen numerous times. There are several literary societies dedicated to Wodehouse. The P.G. Wodehouse Society (UK) was founded in 1997 and has over 1,000 members as at 2015. The president of the society as at 2017 is Alexander Armstrong; past presidents have included Terry Wogan and Richard Briers. There are also other groups of Wodehouse fans in Australia, Belgium, France, Finland, India, Italy, Russia, Sweden and the US. As at 2015 the Oxford English Dictionary contains over 1,750 quotations from Wodehouse, illustrating terms from crispish to zippiness. Voorhees, while acknowledging that Wodehouse's antecedents in literature range from Ben Jonson to Oscar Wilde, writes:\n\nNotes, references and sources\n\nNotes\n\nReferences\n\nSources\n\nExternal links\n\n \n \n \n \n \n \n \n P. G. Wodehouse collection at One More Library\n \n \n P.G. Wodehouse Archive on loan to the British Library\n The Wodehouse Society\n The P. G. Wodehouse Society (UK)\n Transcripts of Wodehouse's Berlin Broadcasts\n \n\n \"P. G. Wodehouse: An English Master of American Slang\" from The American Legion Weekly, 24 October 1919\n Orwell, George \"In Defence of P.G. Wodehouse\"\n\n \n1881 births\n1975 deaths\n20th-century English novelists\n20th-century British dramatists and playwrights\nBritish emigrants to the United States\nEnglish lyricists\nKnights Commander of the Order of the British Empire\nEnglish male dramatists and playwrights\nBritish male novelists\nPeople educated at Dulwich College\nPeople educated at Elizabeth College, Guernsey\nPeople from Guildford\nPeople from Long Island\nPG\nPeople interned during World War II\nEnglish humorists\n20th-century American novelists\nAmerican dramatists and playwrights\nAmerican humorists\nAmerican lyricists\nAmerican male novelists\nNovelists from New York (state)\nLiterature controversies\nEnglish broadcasters for Nazi Germany\n20th-century American male writers"},"extractive":{"kind":"string","value":"true"},"retrieved_contexts":{"kind":"list like","value":["Ruwida El-Hubti (born 16 April 1989) is an Olympic athlete from Libya. At the 2004 Summer Olympics, she competed in the Women's 400 metres. She finished last in her heat with a time of 1:03.57, almost 11 seconds slower than anyone else in the heat, and the slowest of anyone in the competition. However, she did set a national record.\n\nReferences\n\n1989 births\nLiving people\nOlympic athletes of Libya\nAthletes (track and field) at the 2004 Summer Olympics","ARIA Number 1 Hits in Symphony is the sixth studio album by Australian pop singer Anthony Callea. It features instrumentation by the Melbourne Symphony Orchestra. The album features a selection of tracks that have peaked at number 1 on the ARIA Charts. The album was announced in June 2017 and was released on 1 September 2017.\n\nUpon announcement, Callea said \"[These are] Songs that have not only been part of my musical landscape for the past 30 years but have resonated with so many of us – the ARIA charts don't lie.\"\n\nTour\nCallea will also perform a one-off show alongside the Melbourne Symphony Orchestra at Hamer Hall in Melbourne on 8 September 2017.\nCallea said: \"As a singer who craves the art of live performance, I could not think of anyone else I would want to collaborate with than the Melbourne Symphony Orchestra, not only for their grandiose live concert experience, but also a stunning recorded body of work. With one of the finest orchestras in the world conducted by my dear friend and album producer John Foreman and collaborating also with my own incredible band members, these iconic ARIA Number #1 hits will be presented in a way you have never experienced before.\"\n\nTrack listing\n\nCharts\n\nRelease history\n\nSee also\n List of number-one albums of 2017 (Australia)\n\nReferences\n\n2017 albums\nAnthony Callea albums\nCovers albums\nSony Music Australia albums\nMelbourne Symphony Orchestra albums"],"string":"[\n \"Ruwida El-Hubti (born 16 April 1989) is an Olympic athlete from Libya. At the 2004 Summer Olympics, she competed in the Women's 400 metres. She finished last in her heat with a time of 1:03.57, almost 11 seconds slower than anyone else in the heat, and the slowest of anyone in the competition. However, she did set a national record.\\n\\nReferences\\n\\n1989 births\\nLiving people\\nOlympic athletes of Libya\\nAthletes (track and field) at the 2004 Summer Olympics\",\n \"ARIA Number 1 Hits in Symphony is the sixth studio album by Australian pop singer Anthony Callea. It features instrumentation by the Melbourne Symphony Orchestra. The album features a selection of tracks that have peaked at number 1 on the ARIA Charts. The album was announced in June 2017 and was released on 1 September 2017.\\n\\nUpon announcement, Callea said \\\"[These are] Songs that have not only been part of my musical landscape for the past 30 years but have resonated with so many of us – the ARIA charts don't lie.\\\"\\n\\nTour\\nCallea will also perform a one-off show alongside the Melbourne Symphony Orchestra at Hamer Hall in Melbourne on 8 September 2017.\\nCallea said: \\\"As a singer who craves the art of live performance, I could not think of anyone else I would want to collaborate with than the Melbourne Symphony Orchestra, not only for their grandiose live concert experience, but also a stunning recorded body of work. With one of the finest orchestras in the world conducted by my dear friend and album producer John Foreman and collaborating also with my own incredible band members, these iconic ARIA Number #1 hits will be presented in a way you have never experienced before.\\\"\\n\\nTrack listing\\n\\nCharts\\n\\nRelease history\\n\\nSee also\\n List of number-one albums of 2017 (Australia)\\n\\nReferences\\n\\n2017 albums\\nAnthony Callea albums\\nCovers albums\\nSony Music Australia albums\\nMelbourne Symphony Orchestra albums\"\n]"},"chunked_article":{"kind":"list like","value":["Sir Pelham Grenville Wodehouse, ( ; 15 October 188114 February 1975) was an English author and one of the most widely read humorists of the 20th century. His creations include the feather-brained Bertie Wooster and his sagacious valet, Jeeves; the immaculate and loquacious Psmith; Lord Emsworth and the Blandings Castle set; the Oldest Member, with stories about golf; and Mr Mulliner, with tall tales on subjects ranging from bibulous bishops to megalomaniac movie moguls.","His creations include the feather-brained Bertie Wooster and his sagacious valet, Jeeves; the immaculate and loquacious Psmith; Lord Emsworth and the Blandings Castle set; the Oldest Member, with stories about golf; and Mr Mulliner, with tall tales on subjects ranging from bibulous bishops to megalomaniac movie moguls. Born in Guildford, the third son of a British magistrate based in Hong Kong, Wodehouse spent happy teenage years at Dulwich College, to which he remained devoted all his life.","Born in Guildford, the third son of a British magistrate based in Hong Kong, Wodehouse spent happy teenage years at Dulwich College, to which he remained devoted all his life. After leaving school he was employed by a bank but disliked the work and turned to writing in his spare time.","After leaving school he was employed by a bank but disliked the work and turned to writing in his spare time. His early novels were mostly school stories, but he later switched to comic fiction.","His early novels were mostly school stories, but he later switched to comic fiction. Most of Wodehouse's fiction is set in his native United Kingdom, although he spent much of his life in the US and used New York and Hollywood as settings for some of his novels and short stories.","Most of Wodehouse's fiction is set in his native United Kingdom, although he spent much of his life in the US and used New York and Hollywood as settings for some of his novels and short stories. He wrote a series of Broadway musical comedies during and after the First World War, together with Guy Bolton and Jerome Kern, that played an important part in the development of the American musical.","He wrote a series of Broadway musical comedies during and after the First World War, together with Guy Bolton and Jerome Kern, that played an important part in the development of the American musical. He began the 1930s writing for MGM in Hollywood.","He began the 1930s writing for MGM in Hollywood. In a 1931 interview, his naive revelations of incompetence and extravagance in the studios caused a furore. In the same decade, his literary career reached a new peak.","In the same decade, his literary career reached a new peak. In 1934 Wodehouse moved to France for tax reasons; in 1940 he was taken prisoner at Le Touquet by the invading Germans and interned for nearly a year.","In 1934 Wodehouse moved to France for tax reasons; in 1940 he was taken prisoner at Le Touquet by the invading Germans and interned for nearly a year. After his release he made six broadcasts from German radio in Berlin to the US, which had not yet entered the war.","After his release he made six broadcasts from German radio in Berlin to the US, which had not yet entered the war. The talks were comic and apolitical, but his broadcasting over enemy radio prompted anger and strident controversy in Britain, and a threat of prosecution. Wodehouse never returned to England.","Wodehouse never returned to England. Wodehouse never returned to England. From 1947 until his death he lived in the US, taking dual British-American citizenship in 1955. He died in 1975, at the age of 93, in Southampton, New York.","He died in 1975, at the age of 93, in Southampton, New York. Wodehouse was a prolific writer throughout his life, publishing more than ninety books, forty plays, two hundred short stories and other writings between 1902 and 1974. He worked extensively on his books, sometimes having two or more in preparation simultaneously.","He worked extensively on his books, sometimes having two or more in preparation simultaneously. He would take up to two years to build a plot and write a scenario of about thirty thousand words. After the scenario was complete he would write the story.","After the scenario was complete he would write the story. Early in his career Wodehouse would produce a novel in about three months, but he slowed in old age to around six months.","Early in his career Wodehouse would produce a novel in about three months, but he slowed in old age to around six months. He used a mixture of Edwardian slang, quotations from and allusions to numerous poets, and several literary techniques to produce a prose style that has been compared to comic poetry and musical comedy.","He used a mixture of Edwardian slang, quotations from and allusions to numerous poets, and several literary techniques to produce a prose style that has been compared to comic poetry and musical comedy. Some critics of Wodehouse have considered his work flippant, but among his fans are former British prime ministers and many of his fellow writers.","Some critics of Wodehouse have considered his work flippant, but among his fans are former British prime ministers and many of his fellow writers. Life and career Early years Wodehouse was born in Guildford, Surrey, the third son of Henry Ernest Wodehouse (1845–1929), a magistrate resident in the British colony of Hong Kong, and his wife, Eleanor (1861–1941), daughter of the Rev John Bathurst Deane.","Life and career Early years Wodehouse was born in Guildford, Surrey, the third son of Henry Ernest Wodehouse (1845–1929), a magistrate resident in the British colony of Hong Kong, and his wife, Eleanor (1861–1941), daughter of the Rev John Bathurst Deane. The Wodehouses, who traced their ancestry back to the 13th century, belonged to a cadet branch of the family of the earls of Kimberley.","The Wodehouses, who traced their ancestry back to the 13th century, belonged to a cadet branch of the family of the earls of Kimberley. Eleanor Wodehouse was also of ancient aristocratic ancestry. She was visiting her sister in Guildford when Wodehouse was born there prematurely.","She was visiting her sister in Guildford when Wodehouse was born there prematurely. The boy was baptised at the Church of St Nicolas, Guildford, and was named after his godfather, Pelham von Donop.","The boy was baptised at the Church of St Nicolas, Guildford, and was named after his godfather, Pelham von Donop. Wodehouse wrote in 1957, \"If you ask me to tell you frankly if I like the name Pelham Grenville Wodehouse, I must confess that I do not....","Wodehouse wrote in 1957, \"If you ask me to tell you frankly if I like the name Pelham Grenville Wodehouse, I must confess that I do not.... I was named after a godfather, and not a thing to show for it but a small silver mug which I lost in 1897.\"","I was named after a godfather, and not a thing to show for it but a small silver mug which I lost in 1897.\" The first name was rapidly elided to \"Plum\", the name by which Wodehouse became known to family and friends.","The first name was rapidly elided to \"Plum\", the name by which Wodehouse became known to family and friends. Mother and son sailed for Hong Kong, where for his first two years Wodehouse was raised by a Chinese amah (nurse), alongside his elder brothers Peveril (1877–1951) and Armine (1879–1936).","Mother and son sailed for Hong Kong, where for his first two years Wodehouse was raised by a Chinese amah (nurse), alongside his elder brothers Peveril (1877–1951) and Armine (1879–1936). When he was two, the brothers were brought to England, where they were placed under the care of an English nanny in a house adjoining that of Eleanor's father and mother.","When he was two, the brothers were brought to England, where they were placed under the care of an English nanny in a house adjoining that of Eleanor's father and mother. The boys' parents returned to Hong Kong and became virtual strangers to their sons.","The boys' parents returned to Hong Kong and became virtual strangers to their sons. Such an arrangement was then normal for middle-class families based in the colonies.","Such an arrangement was then normal for middle-class families based in the colonies. The lack of parental contact, and the harsh regime of some of those in loco parentis, left permanent emotional scars on many children from similar backgrounds, including the writers Thackeray, Saki, Kipling and Walpole.","The lack of parental contact, and the harsh regime of some of those in loco parentis, left permanent emotional scars on many children from similar backgrounds, including the writers Thackeray, Saki, Kipling and Walpole. Wodehouse was more fortunate; his nanny, Emma Roper, was strict but not unkind, and both with her and later at his different schools Wodehouse had a generally happy childhood.","Wodehouse was more fortunate; his nanny, Emma Roper, was strict but not unkind, and both with her and later at his different schools Wodehouse had a generally happy childhood. His recollection was that \"it went like a breeze from start to finish, with everybody I met understanding me perfectly\".","His recollection was that \"it went like a breeze from start to finish, with everybody I met understanding me perfectly\". The biographer Robert McCrum suggests that nonetheless Wodehouse's isolation from his parents left a psychological mark, causing him to avoid emotional engagement both in life and in his works.","The biographer Robert McCrum suggests that nonetheless Wodehouse's isolation from his parents left a psychological mark, causing him to avoid emotional engagement both in life and in his works. Another biographer, Frances Donaldson, writes, \"Deprived so early, not merely of maternal love, but of home life and even a stable background, Wodehouse consoled himself from the youngest age in an imaginary world of his own.\"","Another biographer, Frances Donaldson, writes, \"Deprived so early, not merely of maternal love, but of home life and even a stable background, Wodehouse consoled himself from the youngest age in an imaginary world of his own.\" In 1886 the brothers were sent to a dame-school in Croydon, where they spent three years.","In 1886 the brothers were sent to a dame-school in Croydon, where they spent three years. Peveril was then found to have a \"weak chest\"; sea air was prescribed, and the three boys were moved to Elizabeth College on the island of Guernsey.","Peveril was then found to have a \"weak chest\"; sea air was prescribed, and the three boys were moved to Elizabeth College on the island of Guernsey. In 1891 Wodehouse went on to Malvern House Preparatory School in Kent, which concentrated on preparing its pupils for entry to the Royal Navy.","In 1891 Wodehouse went on to Malvern House Preparatory School in Kent, which concentrated on preparing its pupils for entry to the Royal Navy. His father had planned a naval career for him, but the boy's eyesight was found to be too poor for it.","His father had planned a naval career for him, but the boy's eyesight was found to be too poor for it. He was unimpressed by the school's narrow curriculum and zealous discipline; he later parodied it in his novels, with Bertie Wooster recalling his early years as a pupil at a \"penitentiary... with the outward guise of a prep school\" called Malvern House.","He was unimpressed by the school's narrow curriculum and zealous discipline; he later parodied it in his novels, with Bertie Wooster recalling his early years as a pupil at a \"penitentiary... with the outward guise of a prep school\" called Malvern House. Throughout their school years the brothers were sent to stay during the holidays with various uncles and aunts from both sides of the family.","Throughout their school years the brothers were sent to stay during the holidays with various uncles and aunts from both sides of the family. In the Oxford Dictionary of National Biography, Iain Sproat counts twenty aunts and considers that they played an important part not only in Wodehouse's early life, but, thinly disguised, in his mature novels, as the formidable aunts who dominate the action in the Wooster, Blandings, and other stories.","In the Oxford Dictionary of National Biography, Iain Sproat counts twenty aunts and considers that they played an important part not only in Wodehouse's early life, but, thinly disguised, in his mature novels, as the formidable aunts who dominate the action in the Wooster, Blandings, and other stories. The boys had fifteen uncles, four of whom were clergymen.","The boys had fifteen uncles, four of whom were clergymen. Sproat writes that they inspired Wodehouse's \"pious but fallible curates, vicars, and bishops, of which he wrote with friendly irreverence but without mockery\".","Sproat writes that they inspired Wodehouse's \"pious but fallible curates, vicars, and bishops, of which he wrote with friendly irreverence but without mockery\". At the age of twelve in 1894, to his great joy, Wodehouse was able to follow his brother Armine to Dulwich College.","At the age of twelve in 1894, to his great joy, Wodehouse was able to follow his brother Armine to Dulwich College. He was entirely at home there; Donaldson comments that Dulwich gave him, for the first time, \"some continuity and a stable and ordered life\".","He was entirely at home there; Donaldson comments that Dulwich gave him, for the first time, \"some continuity and a stable and ordered life\". He loved the camaraderie, distinguished himself at cricket, rugby and boxing, and was a good, if not consistently diligent, student.","He loved the camaraderie, distinguished himself at cricket, rugby and boxing, and was a good, if not consistently diligent, student. The headmaster at the time was A. H. Gilkes, a respected classicist, who was a strong influence on Wodehouse.","The headmaster at the time was A. H. Gilkes, a respected classicist, who was a strong influence on Wodehouse. In a study of Wodehouse's works, Richard Usborne argues that \"only a writer who was himself a scholar and had had his face ground into Latin and Greek (especially Thucydides) as a boy\" could sustain the complex sequences of subordinate clauses sometimes found in Wodehouse's comic prose.","In a study of Wodehouse's works, Richard Usborne argues that \"only a writer who was himself a scholar and had had his face ground into Latin and Greek (especially Thucydides) as a boy\" could sustain the complex sequences of subordinate clauses sometimes found in Wodehouse's comic prose. Wodehouse's six years at Dulwich were among the happiest of his life: \"To me the years between 1894 and 1900 were like heaven.\"","Wodehouse's six years at Dulwich were among the happiest of his life: \"To me the years between 1894 and 1900 were like heaven.\" In addition to his sporting achievements he was a good singer and enjoyed taking part in school concerts; his literary leanings found an outlet in editing the school magazine, The Alleynian.","In addition to his sporting achievements he was a good singer and enjoyed taking part in school concerts; his literary leanings found an outlet in editing the school magazine, The Alleynian. For the rest of his life he remained devoted to the school.","For the rest of his life he remained devoted to the school. The biographer Barry Phelps writes that Wodehouse \"loved the college as much as he loved anything or anybody\".","The biographer Barry Phelps writes that Wodehouse \"loved the college as much as he loved anything or anybody\". Reluctant banker; budding writer: 1900–1908 Wodehouse expected to follow Armine to the University of Oxford, but the family's finances took a turn for the worse at the crucial moment.","Reluctant banker; budding writer: 1900–1908 Wodehouse expected to follow Armine to the University of Oxford, but the family's finances took a turn for the worse at the crucial moment. Ernest Wodehouse had retired in 1895, and his pension was paid in rupees; fluctuation against the pound reduced its value in Britain.","Ernest Wodehouse had retired in 1895, and his pension was paid in rupees; fluctuation against the pound reduced its value in Britain. Wodehouse recalled, \"The wolf was not actually whining at the door and there was always a little something in the kitty for the butcher and the grocer, but the finances would not run to anything in the nature of a splash\".","Wodehouse recalled, \"The wolf was not actually whining at the door and there was always a little something in the kitty for the butcher and the grocer, but the finances would not run to anything in the nature of a splash\". Instead of a university career, in September 1900 Wodehouse was engaged in a junior position in the London office of the Hongkong and Shanghai Bank.","Instead of a university career, in September 1900 Wodehouse was engaged in a junior position in the London office of the Hongkong and Shanghai Bank. He was unsuited to it and found the work baffling and uncongenial.","He was unsuited to it and found the work baffling and uncongenial. He later wrote a humorous account of his experiences at the bank, but at the time he longed for the end of each working day, when he could return to his rented lodgings in Chelsea and write.","He later wrote a humorous account of his experiences at the bank, but at the time he longed for the end of each working day, when he could return to his rented lodgings in Chelsea and write. At first he concentrated, with some success, on serious articles about school sports for Public School Magazine.","At first he concentrated, with some success, on serious articles about school sports for Public School Magazine. In November 1900 his first comic piece, \"Men Who Missed Their Own Weddings\", was accepted by Tit-Bits.","In November 1900 his first comic piece, \"Men Who Missed Their Own Weddings\", was accepted by Tit-Bits. A new magazine for boys, The Captain, provided further well-paid opportunities, and during his two years at the bank, Wodehouse had eighty pieces published in a total of nine magazines.","A new magazine for boys, The Captain, provided further well-paid opportunities, and during his two years at the bank, Wodehouse had eighty pieces published in a total of nine magazines. In 1901, with the help of a former Dulwich master, William Beach Thomas, Wodehouse secured an appointment—at first temporary and later permanent—writing for The Globes popular \"By the Way\" column.","In 1901, with the help of a former Dulwich master, William Beach Thomas, Wodehouse secured an appointment—at first temporary and later permanent—writing for The Globes popular \"By the Way\" column. He held the post until 1909.","He held the post until 1909. At around the same time his first novel was published—a school story called The Pothunters, serialised incomplete in Public School Magazine in early 1902, and issued in full in hardback in September. He resigned from the bank that month to devote himself to writing full-time.","He resigned from the bank that month to devote himself to writing full-time. Between the publication of The Pothunters 1902 and that of Mike in 1909, Wodehouse wrote eight novels and co-wrote another two.","Between the publication of The Pothunters 1902 and that of Mike in 1909, Wodehouse wrote eight novels and co-wrote another two. The critic R. D. B. French writes that, of Wodehouse's work from this period, almost all that deserves to survive is the school fiction.","The critic R. D. B. French writes that, of Wodehouse's work from this period, almost all that deserves to survive is the school fiction. Looking back in the 1950s Wodehouse viewed these as his apprentice years: \"I was practically in swaddling clothes and it is extremely creditable to me that I was able to write at all.\"","Looking back in the 1950s Wodehouse viewed these as his apprentice years: \"I was practically in swaddling clothes and it is extremely creditable to me that I was able to write at all.\" From his boyhood Wodehouse had been fascinated by America, which he conceived of as \"a land of romance\"; he \"yearned\" to visit the country, and by 1904 he had earned enough to do so.","From his boyhood Wodehouse had been fascinated by America, which he conceived of as \"a land of romance\"; he \"yearned\" to visit the country, and by 1904 he had earned enough to do so. In April he sailed to New York, which he found greatly to his liking.","In April he sailed to New York, which he found greatly to his liking. He noted in his diary: \"In New York gathering experience. Worth many guineas in the future but none for the moment.\"","Worth many guineas in the future but none for the moment.\" This prediction proved correct: few British writers had first-hand experience of the US, and his articles about life in New York brought him higher than usual fees.","This prediction proved correct: few British writers had first-hand experience of the US, and his articles about life in New York brought him higher than usual fees. He later recalled that \"in 1904 anyone in the London writing world who had been to America was regarded with awe and looked upon as an authority on that terra incognita.... After that trip to New York I was a man who counted.... My income rose like a rocketing pheasant.\"","He later recalled that \"in 1904 anyone in the London writing world who had been to America was regarded with awe and looked upon as an authority on that terra incognita.... After that trip to New York I was a man who counted.... My income rose like a rocketing pheasant.\" Wodehouse's other new venture in 1904 was writing for the stage.","Wodehouse's other new venture in 1904 was writing for the stage. Towards the end of the year the librettist Owen Hall invited him to contribute an additional lyric for a musical comedy Sergeant Brue. Wodehouse had loved theatre since his first visit, aged thirteen, when Gilbert and Sullivan's Patience had made him \"drunk with ecstasy\".","Wodehouse had loved theatre since his first visit, aged thirteen, when Gilbert and Sullivan's Patience had made him \"drunk with ecstasy\". His lyric for Hall, \"Put Me in My Little Cell\", was a Gilbertian number for a trio of comic crooks, with music by Frederick Rosse; it was well received and launched Wodehouse on a career as a theatre writer that spanned three decades.","His lyric for Hall, \"Put Me in My Little Cell\", was a Gilbertian number for a trio of comic crooks, with music by Frederick Rosse; it was well received and launched Wodehouse on a career as a theatre writer that spanned three decades. Although it made little impact on its first publication, the 1906 novel Love Among the Chickens contained what French calls the author's first original comic creation: Stanley Featherstonehaugh Ukridge.","Although it made little impact on its first publication, the 1906 novel Love Among the Chickens contained what French calls the author's first original comic creation: Stanley Featherstonehaugh Ukridge. The character, an amoral, bungling opportunist, is partly based on Wodehouse's Globe colleague Herbert Westbrook.","The character, an amoral, bungling opportunist, is partly based on Wodehouse's Globe colleague Herbert Westbrook. The two collaborated between 1907 and 1913 on two books, two music hall sketches, and a play, Brother Alfred. Wodehouse would return to the character in short stories over the next six decades.","Wodehouse would return to the character in short stories over the next six decades. In early 1906 the actor-manager Seymour Hicks invited Wodehouse to become resident lyricist at the Aldwych Theatre, to add topical verses to newly imported or long-running shows. Hicks had already recruited the young Jerome Kern to write the music for such songs.","Hicks had already recruited the young Jerome Kern to write the music for such songs. The first Kern-Wodehouse collaboration, a comic number for The Beauty of Bath titled \"Mr [Joseph] Chamberlain\", was a show-stopper and was briefly the most popular song in London.","The first Kern-Wodehouse collaboration, a comic number for The Beauty of Bath titled \"Mr [Joseph] Chamberlain\", was a show-stopper and was briefly the most popular song in London. Psmith, Blandings, Wooster and Jeeves: 1908–1915 Wodehouse's early period as a writer came to an end in 1908 with the serialisation of The Lost Lambs, published the following year in book form as the second half of the novel Mike.","Psmith, Blandings, Wooster and Jeeves: 1908–1915 Wodehouse's early period as a writer came to an end in 1908 with the serialisation of The Lost Lambs, published the following year in book form as the second half of the novel Mike. The work begins as a conventional school story, but Wodehouse introduces a new and strikingly original character, Psmith, whose creation both Evelyn Waugh and George Orwell regarded as a watershed in Wodehouse's development.","The work begins as a conventional school story, but Wodehouse introduces a new and strikingly original character, Psmith, whose creation both Evelyn Waugh and George Orwell regarded as a watershed in Wodehouse's development. Wodehouse said that he based Psmith on the hotelier and impresario Rupert D'Oyly Carte—\"the only thing in my literary career which was handed to me on a silver plate with watercress around it\".","Wodehouse said that he based Psmith on the hotelier and impresario Rupert D'Oyly Carte—\"the only thing in my literary career which was handed to me on a silver plate with watercress around it\". Wodehouse wrote in the 1970s that a cousin of his who had been at school with Carte told him of the latter's monocle, studied suavity, and stateliness of speech, all of which Wodehouse adopted for his new character.","Wodehouse wrote in the 1970s that a cousin of his who had been at school with Carte told him of the latter's monocle, studied suavity, and stateliness of speech, all of which Wodehouse adopted for his new character. Psmith featured in three more novels: Psmith in the City (1910), a burlesque of banking; Psmith, Journalist (1915) set in New York; and Leave It to Psmith (1923), set at Blandings Castle.","Psmith featured in three more novels: Psmith in the City (1910), a burlesque of banking; Psmith, Journalist (1915) set in New York; and Leave It to Psmith (1923), set at Blandings Castle. In May 1909 Wodehouse made his second visit to New York, where he sold two short stories to Cosmopolitan and Collier's for a total of $500, a much higher fee than he had commanded previously.","In May 1909 Wodehouse made his second visit to New York, where he sold two short stories to Cosmopolitan and Collier's for a total of $500, a much higher fee than he had commanded previously. He resigned from The Globe and stayed in New York for nearly a year.","He resigned from The Globe and stayed in New York for nearly a year. He sold many more stories, but none of the American publications offered a permanent relationship and guaranteed income. Wodehouse returned to England in late 1910, rejoining The Globe and also contributing regularly to The Strand Magazine.","Wodehouse returned to England in late 1910, rejoining The Globe and also contributing regularly to The Strand Magazine. Between then and the outbreak of the First World War in 1914 he revisited America frequently. Wodehouse was in New York when the war began.","Wodehouse was in New York when the war began. Ineligible for military service because of his poor eyesight, he remained in the US throughout the war, detached from the conflict in Europe and absorbed in his theatrical and literary concerns. In September 1914 he married Ethel May Wayman, née Newton (1885–1984), an English widow.","In September 1914 he married Ethel May Wayman, née Newton (1885–1984), an English widow. The marriage proved happy and lifelong. Ethel's personality was in contrast with her husband's: he was shy and impractical; she was gregarious, decisive and well organised.","Ethel's personality was in contrast with her husband's: he was shy and impractical; she was gregarious, decisive and well organised. In Sproat's phrase, she \"took charge of Wodehouse's life and made certain that he had the peace and quiet he needed to write\".","In Sproat's phrase, she \"took charge of Wodehouse's life and made certain that he had the peace and quiet he needed to write\". There were no children of the marriage, but Wodehouse came to love Ethel's daughter Leonora (1905–1944) and legally adopted her.","There were no children of the marriage, but Wodehouse came to love Ethel's daughter Leonora (1905–1944) and legally adopted her. Wodehouse experimented with different genres of fiction in these years; Psmith, Journalist, mixing comedy with social comment on slum landlords and racketeers, was published in 1915.","Wodehouse experimented with different genres of fiction in these years; Psmith, Journalist, mixing comedy with social comment on slum landlords and racketeers, was published in 1915. In the same year The Saturday Evening Post paid $3,500 to serialise Something New, the first of what became a series of novels set at Blandings Castle.","In the same year The Saturday Evening Post paid $3,500 to serialise Something New, the first of what became a series of novels set at Blandings Castle. It was published in hardback in the US and the UK in the same year (the British edition being retitled Something Fresh).","It was published in hardback in the US and the UK in the same year (the British edition being retitled Something Fresh). It was Wodehouse's first farcical novel; it was also his first best-seller, and although his later books included some gentler, lightly sentimental stories, it was as a farceur that he became known.","It was Wodehouse's first farcical novel; it was also his first best-seller, and although his later books included some gentler, lightly sentimental stories, it was as a farceur that he became known. Later in the same year \"Extricating Young Gussie\", the first story about Bertie and Jeeves, was published.","Later in the same year \"Extricating Young Gussie\", the first story about Bertie and Jeeves, was published. These stories introduced two sets of characters about whom Wodehouse wrote for the rest of his life.","These stories introduced two sets of characters about whom Wodehouse wrote for the rest of his life. The Blandings Castle stories, set in an English stately home, depict the attempts of the placid Lord Emsworth to evade the many distractions around him, which include successive pairs of young lovers, the machinations of his exuberant brother Galahad, the demands of his domineering sisters and super-efficient secretaries, and anything detrimental to his prize sow, the Empress of Blandings.","The Blandings Castle stories, set in an English stately home, depict the attempts of the placid Lord Emsworth to evade the many distractions around him, which include successive pairs of young lovers, the machinations of his exuberant brother Galahad, the demands of his domineering sisters and super-efficient secretaries, and anything detrimental to his prize sow, the Empress of Blandings. The Bertie and Jeeves stories feature an amiable young man-about-town, regularly rescued from the consequences of his idiocy by the benign interference of his valet.","The Bertie and Jeeves stories feature an amiable young man-about-town, regularly rescued from the consequences of his idiocy by the benign interference of his valet. Broadway: 1915–1919 A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator.","Broadway: 1915–1919 A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator. Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York.","Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York. The show was successful, but they thought the song lyrics weak and invited Wodehouse to join them on its successor. This was Miss Springtime (1916), which ran for 227 performances—a good run by the standards of the day.","This was Miss Springtime (1916), which ran for 227 performances—a good run by the standards of the day. The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917–18) and Oh, Lady! Lady!!","Lady!! Lady!! (1918), and Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin.","In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin. Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies.","Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies. Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do.","Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do. Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical.","Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical. In the Grove Dictionary of American Music Larry Stempel writes, \"By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy.\"","In the Grove Dictionary of American Music Larry Stempel writes, \"By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy.\" The theatre writer Gerald Bordman calls Wodehouse \"the most observant, literate, and witty lyricist of his day\".","The theatre writer Gerald Bordman calls Wodehouse \"the most observant, literate, and witty lyricist of his day\". The composer Richard Rodgers wrote, \"Before Larry Hart, only P.G. Wodehouse had made any real assault on the intelligence of the song-listening public.\"","Wodehouse had made any real assault on the intelligence of the song-listening public.\" 1920s In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones.","1920s In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones. Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest.","Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest. Various other young men-about-town appeared in short stories about members of the Drones Club.","Various other young men-about-town appeared in short stories about members of the Drones Club. The Wodehouses returned to England, where they had a house in London for some years, but Wodehouse continued to cross the Atlantic frequently, spending substantial periods in New York. He continued to work in the theatre.","He continued to work in the theatre. During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York).","During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York). He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnár, and A Damsel in Distress (1928), a dramatisation of his 1919 novel.","He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnár, and A Damsel in Distress (1928), a dramatisation of his 1919 novel. Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods.","Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods. Donaldson lists among those with whom he was on friendly terms writers including A. A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith Jr., Heather Thatcher and Dorothy Dickson.","A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith Jr., Heather Thatcher and Dorothy Dickson. Hollywood: 1929–1931 There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name.","Hollywood: 1929–1931 There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name. Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM).","Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM). Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week.","Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week. This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929.","This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929. The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories.","The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories. He commented, \"It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary.\"","He commented, \"It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary.\" Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used.","Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used. In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was \"as close to a success as Wodehouse was to have at MGM.","In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was \"as close to a success as Wodehouse was to have at MGM. His only other credits were minimal, and the other projects he worked on were not produced.\"","His only other credits were minimal, and the other projects he worked on were not produced.\" Wodehouse's contract ended after a year and was not renewed. At MGM's request, he gave an interview to The Los Angeles Times.","At MGM's request, he gave an interview to The Los Angeles Times. Wodehouse was described by Herbert Warren Wind as \"politically naive [and] fundamentally unworldly\", and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent.","Wodehouse was described by Herbert Warren Wind as \"politically naive [and] fundamentally unworldly\", and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent. The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry.","The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry. Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been \"a storm in a teacup\", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable.","Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been \"a storm in a teacup\", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable. Wind's view of Wodehouse's naïveté is not universally held.","Wind's view of Wodehouse's naïveté is not universally held. Biographers including Donaldson, McCrum and Phelps suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute.","Biographers including Donaldson, McCrum and Phelps suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute. He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire.","He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire. Best-seller: 1930s During the 1930s Wodehouse's theatrical work tailed off.","Best-seller: 1930s During the 1930s Wodehouse's theatrical work tailed off. He wrote or adapted four plays for the West End; Leave it to Psmith (1930), which he adapted in collaboration with Ian Hay, was the only one to have a long run.","He wrote or adapted four plays for the West End; Leave it to Psmith (1930), which he adapted in collaboration with Ian Hay, was the only one to have a long run. The reviewer in The Manchester Guardian praised the play, but commented: \"It is Mr Wodehouse's own inimitable narrative comments and descriptions in his own person of the antics of his puppets that one misses.","The reviewer in The Manchester Guardian praised the play, but commented: \"It is Mr Wodehouse's own inimitable narrative comments and descriptions in his own person of the antics of his puppets that one misses. They cannot be got into a play and they are at least half the fun of the novels.\"","They cannot be got into a play and they are at least half the fun of the novels.\" In 1934 Wodehouse collaborated with Bolton on the book for Cole Porter's Anything Goes (Porter wrote his own lyrics), but at the last minute their version was almost entirely rewritten by others at the instigation of the producer, who disliked the original script.","In 1934 Wodehouse collaborated with Bolton on the book for Cole Porter's Anything Goes (Porter wrote his own lyrics), but at the last minute their version was almost entirely rewritten by others at the instigation of the producer, who disliked the original script. Concentrating on writing novels and short stories, Wodehouse reached the peak of his productivity in this decade, averaging two books each year, and grossing an annual £100,000.","Concentrating on writing novels and short stories, Wodehouse reached the peak of his productivity in this decade, averaging two books each year, and grossing an annual £100,000. His practice of dividing his time between Britain and America caused Wodehouse difficulties with the tax authorities of both countries.","His practice of dividing his time between Britain and America caused Wodehouse difficulties with the tax authorities of both countries. Both the UK Inland Revenue and the US Internal Revenue Service sought to tax him as a resident.","Both the UK Inland Revenue and the US Internal Revenue Service sought to tax him as a resident. The matter was settled after lengthy negotiations, but the Wodehouses decided to change their residential status beyond doubt by moving to France, where they bought a house near Le Touquet in the north.","The matter was settled after lengthy negotiations, but the Wodehouses decided to change their residential status beyond doubt by moving to France, where they bought a house near Le Touquet in the north. In 1935 Wodehouse created the last of his regular cast of principal characters, Lord Ickenham, otherwise known as Uncle Fred, who, in Usborne's words, \"leads the dance in four novels and a short story... a whirring dynamo of misrule\".","In 1935 Wodehouse created the last of his regular cast of principal characters, Lord Ickenham, otherwise known as Uncle Fred, who, in Usborne's words, \"leads the dance in four novels and a short story... a whirring dynamo of misrule\". His other books from the decade include Right Ho, Jeeves, which Donaldson judged his best work, Uncle Fred in the Springtime, which the writer Bernard Levin considered the best, and Blandings Castle, which contains \"Lord Emsworth and the Girl Friend\", which Rudyard Kipling thought \"one of the most perfect short stories I have ever read\".","His other books from the decade include Right Ho, Jeeves, which Donaldson judged his best work, Uncle Fred in the Springtime, which the writer Bernard Levin considered the best, and Blandings Castle, which contains \"Lord Emsworth and the Girl Friend\", which Rudyard Kipling thought \"one of the most perfect short stories I have ever read\". Other leading literary figures who admired Wodehouse were A. E. Housman, Max Beerbohm and Hilaire Belloc; on the radio and in print Belloc called Wodehouse \"the best writer of our time: the best living writer of English... the head of my profession\".","Other leading literary figures who admired Wodehouse were A. E. Housman, Max Beerbohm and Hilaire Belloc; on the radio and in print Belloc called Wodehouse \"the best writer of our time: the best living writer of English... the head of my profession\". Wodehouse regarded Belloc's plaudit as \"a gag, to get a rise out of serious-minded authors whom he disliked\".","Wodehouse regarded Belloc's plaudit as \"a gag, to get a rise out of serious-minded authors whom he disliked\". Wodehouse was never sure that his books had literary merit as well as popular appeal, and, Donaldson suggests, must have been overwhelmed when the University of Oxford conferred an honorary doctorate of letters on him in June 1939.","Wodehouse was never sure that his books had literary merit as well as popular appeal, and, Donaldson suggests, must have been overwhelmed when the University of Oxford conferred an honorary doctorate of letters on him in June 1939. His visit to England for the awarding ceremony was the last time he set foot in his native land.","His visit to England for the awarding ceremony was the last time he set foot in his native land. Second World War: internment and broadcasts At the start of the Second World War Wodehouse and his wife remained at their Le Touquet house, where, during the Phoney War, he worked on Joy in the Morning.","Second World War: internment and broadcasts At the start of the Second World War Wodehouse and his wife remained at their Le Touquet house, where, during the Phoney War, he worked on Joy in the Morning. With the advance of the Germans, the nearby Royal Air Force base withdrew; Wodehouse was offered the sole spare seat in one of the fighter aircraft, but he turned down the opportunity as it would have meant leaving behind Ethel and their dog.","With the advance of the Germans, the nearby Royal Air Force base withdrew; Wodehouse was offered the sole spare seat in one of the fighter aircraft, but he turned down the opportunity as it would have meant leaving behind Ethel and their dog. On 21 May 1940, with German troops advancing through northern France, the Wodehouses decided to drive to Portugal and fly from there to the US.","On 21 May 1940, with German troops advancing through northern France, the Wodehouses decided to drive to Portugal and fly from there to the US. Two miles from home their car broke down, so they returned and borrowed a car from a neighbour; with the routes blocked with refugees, they returned home again.","Two miles from home their car broke down, so they returned and borrowed a car from a neighbour; with the routes blocked with refugees, they returned home again. The Germans occupied Le Touquet on 22 May 1940 and Wodehouse had to report to the authorities daily.","The Germans occupied Le Touquet on 22 May 1940 and Wodehouse had to report to the authorities daily. After two months of occupation the Germans interned all male enemy nationals under 60, and Wodehouse was sent to a former prison in Loos, a suburb of Lille, on 21 July; Ethel remained in Le Touquet.","After two months of occupation the Germans interned all male enemy nationals under 60, and Wodehouse was sent to a former prison in Loos, a suburb of Lille, on 21 July; Ethel remained in Le Touquet. The internees were placed four to a cell, each of which had been designed for one man.","The internees were placed four to a cell, each of which had been designed for one man. One bed was available per cell, which was made available to the eldest man—not Wodehouse, who slept on the granite floor.","One bed was available per cell, which was made available to the eldest man—not Wodehouse, who slept on the granite floor. The prisoners were not kept long in Loos before they were transported in cattle trucks to a former barracks in Liège, Belgium, which was run as a prison by the SS.","The prisoners were not kept long in Loos before they were transported in cattle trucks to a former barracks in Liège, Belgium, which was run as a prison by the SS. After a week the men were transferred to Huy in Liège, where they were incarcerated in the local citadel.","After a week the men were transferred to Huy in Liège, where they were incarcerated in the local citadel. They remained there until September 1940, when they were transported to Tost in Upper Silesia (then Germany, now Toszek in Poland).","They remained there until September 1940, when they were transported to Tost in Upper Silesia (then Germany, now Toszek in Poland). Wodehouse's family and friends had not had any news of his location after the fall of France, but an article from an Associated Press reporter who had visited Tost in December 1940 led to pressure on the German authorities to release the novelist.","Wodehouse's family and friends had not had any news of his location after the fall of France, but an article from an Associated Press reporter who had visited Tost in December 1940 led to pressure on the German authorities to release the novelist. This included a petition from influential people in the US; Senator W. Warren Barbour presented it to the German ambassador.","This included a petition from influential people in the US; Senator W. Warren Barbour presented it to the German ambassador. Although his captors refused to release him, Wodehouse was provided with a typewriter and, to pass the time, he wrote Money in the Bank.","Although his captors refused to release him, Wodehouse was provided with a typewriter and, to pass the time, he wrote Money in the Bank. Throughout his time in Tost, he sent postcards to his US literary agent asking for $5 to be sent to various people in Canada, mentioning his name.","Throughout his time in Tost, he sent postcards to his US literary agent asking for $5 to be sent to various people in Canada, mentioning his name. These were the families of Canadian prisoners of war, and the news from Wodehouse was the first indication that their sons were alive and well.","These were the families of Canadian prisoners of war, and the news from Wodehouse was the first indication that their sons were alive and well. Wodehouse risked severe punishment for the communication, but managed to evade the German censor.","Wodehouse risked severe punishment for the communication, but managed to evade the German censor. On 21 June 1941, while he was in the middle of playing a game of cricket, Wodehouse received a visit from two members of the Gestapo.","On 21 June 1941, while he was in the middle of playing a game of cricket, Wodehouse received a visit from two members of the Gestapo. He was given ten minutes to pack his things before he was taken to the Hotel Adlon, a top luxury hotel in Berlin.","He was given ten minutes to pack his things before he was taken to the Hotel Adlon, a top luxury hotel in Berlin. He stayed there at his own expense; royalties from the German editions of his books had been put into a special frozen bank account at the outset of the war, and Wodehouse was permitted to draw upon this money he had earned while staying in Berlin.","He stayed there at his own expense; royalties from the German editions of his books had been put into a special frozen bank account at the outset of the war, and Wodehouse was permitted to draw upon this money he had earned while staying in Berlin. He was thus released from internment a few months before his sixtieth birthday—the age at which civilian internees were released by the Nazis.","He was thus released from internment a few months before his sixtieth birthday—the age at which civilian internees were released by the Nazis. Shortly afterwards Wodehouse was, in the words of Phelps, \"cleverly trapped\" into making five broadcasts to the US via German radio, with the Berlin-based correspondent of the Columbia Broadcasting System.","Shortly afterwards Wodehouse was, in the words of Phelps, \"cleverly trapped\" into making five broadcasts to the US via German radio, with the Berlin-based correspondent of the Columbia Broadcasting System. The broadcasts—aired on 28 June, 9, 23 and 30 July and 6 August—were titled How to be an Internee Without Previous Training, and comprised humorous anecdotes about Wodehouse's experiences as a prisoner, including some gentle mocking of his captors.","The broadcasts—aired on 28 June, 9, 23 and 30 July and 6 August—were titled How to be an Internee Without Previous Training, and comprised humorous anecdotes about Wodehouse's experiences as a prisoner, including some gentle mocking of his captors. The German propaganda ministry arranged for the recordings to be broadcast to Britain in August.","The German propaganda ministry arranged for the recordings to be broadcast to Britain in August. The day after Wodehouse recorded his final programme, Ethel joined him in Berlin, having sold most of her jewellery to pay for the journey.","The day after Wodehouse recorded his final programme, Ethel joined him in Berlin, having sold most of her jewellery to pay for the journey. Aftermath: reactions and investigation The reaction in Britain to Wodehouse's broadcasts was hostile, and he was \"reviled ... as a traitor, collaborator, Nazi propagandist, and a coward\", although, Phelps observes, many of those who decried his actions had not heard the content of the programmes.","Aftermath: reactions and investigation The reaction in Britain to Wodehouse's broadcasts was hostile, and he was \"reviled ... as a traitor, collaborator, Nazi propagandist, and a coward\", although, Phelps observes, many of those who decried his actions had not heard the content of the programmes. A front-page article in The Daily Mirror stated that Wodehouse \"lived luxuriously because Britain laughed with him, but when the laughter was out of his country's heart, ... [he] was not ready to share her suffering.","A front-page article in The Daily Mirror stated that Wodehouse \"lived luxuriously because Britain laughed with him, but when the laughter was out of his country's heart, ... [he] was not ready to share her suffering. He hadn't the guts ... even to stick it out in the internment camp.\"","He hadn't the guts ... even to stick it out in the internment camp.\" In the House of Commons Anthony Eden, the Foreign Secretary, regretted Wodehouse's actions. Several libraries removed Wodehouse novels from their shelves.","Several libraries removed Wodehouse novels from their shelves. On 15 July the journalist William Connor, under his pen name Cassandra, broadcast a postscript to the news programme railing against Wodehouse. According to The Times, the broadcast \"provoked a storm of complaint ... from listeners all over the country\".","According to The Times, the broadcast \"provoked a storm of complaint ... from listeners all over the country\". Wodehouse's biographer, Joseph Connolly, thinks the broadcast \"inaccurate, spiteful and slanderous\"; Phelps calls it \"probably the most vituperative attack on an individual ever heard on British radio\".","Wodehouse's biographer, Joseph Connolly, thinks the broadcast \"inaccurate, spiteful and slanderous\"; Phelps calls it \"probably the most vituperative attack on an individual ever heard on British radio\". The broadcast was made at the direct instruction of Duff Cooper, the Minister of Information, who overruled strong protests made by the BBC against the decision to air the programme.","The broadcast was made at the direct instruction of Duff Cooper, the Minister of Information, who overruled strong protests made by the BBC against the decision to air the programme. Numerous letters appeared in the British press, both supporting and criticising Wodehouse.","Numerous letters appeared in the British press, both supporting and criticising Wodehouse. The letters page of The Daily Telegraph became a focus for censuring Wodehouse, including one from Wodehouse's friend, ; a reply from their fellow author Compton Mackenzie in defence of Wodehouse was not published because the editor claimed a lack of space.","The letters page of The Daily Telegraph became a focus for censuring Wodehouse, including one from Wodehouse's friend, ; a reply from their fellow author Compton Mackenzie in defence of Wodehouse was not published because the editor claimed a lack of space. Most of those defending Wodehouse against accusations of disloyalty, including Sax Rohmer, Dorothy L. Sayers and Gilbert Frankau, conceded that he had acted stupidly.","Most of those defending Wodehouse against accusations of disloyalty, including Sax Rohmer, Dorothy L. Sayers and Gilbert Frankau, conceded that he had acted stupidly. Some members of the public wrote to the newspapers to say that the full facts were not yet known and a fair judgment could not be made until they were.","Some members of the public wrote to the newspapers to say that the full facts were not yet known and a fair judgment could not be made until they were. The management of the BBC, who considered Wodehouse's actions no worse than \"ill advised\", pointed out to Cooper that there was no evidence at that point whether Wodehouse had acted voluntarily or under compulsion.","The management of the BBC, who considered Wodehouse's actions no worse than \"ill advised\", pointed out to Cooper that there was no evidence at that point whether Wodehouse had acted voluntarily or under compulsion. When Wodehouse heard of the furore the broadcasts had caused, he contacted the Foreign Office—through the Swiss embassy in Berlin—to explain his actions, and attempted to return home via neutral countries, but the German authorities refused to let him leave.","When Wodehouse heard of the furore the broadcasts had caused, he contacted the Foreign Office—through the Swiss embassy in Berlin—to explain his actions, and attempted to return home via neutral countries, but the German authorities refused to let him leave. In Performing Flea, a 1953 collection of letters, Wodehouse wrote, \"Of course I ought to have had the sense to see that it was a loony thing to do to use the German radio for even the most harmless stuff, but I didn't.","In Performing Flea, a 1953 collection of letters, Wodehouse wrote, \"Of course I ought to have had the sense to see that it was a loony thing to do to use the German radio for even the most harmless stuff, but I didn't. I suppose prison life saps the intellect\".","I suppose prison life saps the intellect\". The reaction in America was mixed: the left-leaning publication PM accused Wodehouse of \"play[ing] Jeeves to the Nazis\", but the Department of War used the interviews as an ideal representation of anti-Nazi propaganda.","The reaction in America was mixed: the left-leaning publication PM accused Wodehouse of \"play[ing] Jeeves to the Nazis\", but the Department of War used the interviews as an ideal representation of anti-Nazi propaganda. The Wodehouses remained in Germany until September 1943, when, because of the Allied bombings, they were allowed to move back to Paris.","The Wodehouses remained in Germany until September 1943, when, because of the Allied bombings, they were allowed to move back to Paris. They were living there when the city was liberated on 25 August 1944; Wodehouse reported to the American authorities the following day, asking them to inform the British of his whereabouts.","They were living there when the city was liberated on 25 August 1944; Wodehouse reported to the American authorities the following day, asking them to inform the British of his whereabouts. He was subsequently visited by Malcolm Muggeridge, recently arrived in Paris as an intelligence officer with MI6.","He was subsequently visited by Malcolm Muggeridge, recently arrived in Paris as an intelligence officer with MI6. The young officer quickly came to like Wodehouse and considered the question of treasonable behaviour as \"ludicrous\"; he summed up the writer as \"ill-fitted to live in an age of ideological conflict\".","The young officer quickly came to like Wodehouse and considered the question of treasonable behaviour as \"ludicrous\"; he summed up the writer as \"ill-fitted to live in an age of ideological conflict\". On 9 September Wodehouse was visited by an MI5 officer and former barrister, Major Edward Cussen, who formally investigated him, a process that stretched over four days.","On 9 September Wodehouse was visited by an MI5 officer and former barrister, Major Edward Cussen, who formally investigated him, a process that stretched over four days. On 28 September Cussen filed his report, which states that in regard to the broadcasts, Wodehouse's behaviour \"has been unwise\", but advised against further action.","On 28 September Cussen filed his report, which states that in regard to the broadcasts, Wodehouse's behaviour \"has been unwise\", but advised against further action. On 23 November Theobald Matthew, the Director of Public Prosecutions, decided there was no evidence to justify prosecuting Wodehouse.","On 23 November Theobald Matthew, the Director of Public Prosecutions, decided there was no evidence to justify prosecuting Wodehouse. In November 1944 Duff Cooper was appointed British ambassador to France and was provided accommodation at the Hôtel Le Bristol, where the Wodehouses were living.","In November 1944 Duff Cooper was appointed British ambassador to France and was provided accommodation at the Hôtel Le Bristol, where the Wodehouses were living. Cooper complained to the French authorities, and the couple were moved to a different hotel. They were subsequently arrested by French police and placed under preventive detention, despite no charges being presented.","They were subsequently arrested by French police and placed under preventive detention, despite no charges being presented. When Muggeridge tracked them down later, he managed to get Ethel released straight away and, four days later, ensured that the French authorities declared Wodehouse unwell and put him in a nearby hospital, which was more comfortable than where they had been detained.","When Muggeridge tracked them down later, he managed to get Ethel released straight away and, four days later, ensured that the French authorities declared Wodehouse unwell and put him in a nearby hospital, which was more comfortable than where they had been detained. While in this hospital, Wodehouse worked on his novel Uncle Dynamite.","While in this hospital, Wodehouse worked on his novel Uncle Dynamite. While still detained by the French, Wodehouse was again mentioned in questions in the House of Commons in December 1944 when MPs wondered if the French authorities could repatriate him to stand trial.","While still detained by the French, Wodehouse was again mentioned in questions in the House of Commons in December 1944 when MPs wondered if the French authorities could repatriate him to stand trial. Eden stated that the \"matter has been gone into, and, according to the advice given, there are no grounds upon which we could take action\".","Eden stated that the \"matter has been gone into, and, according to the advice given, there are no grounds upon which we could take action\". Two months later, Orwell wrote the essay \"In Defence of P.G.","Two months later, Orwell wrote the essay \"In Defence of P.G. Wodehouse\", where he stated that \"it is important to realise that the events of 1941 do not convict Wodehouse of anything worse than stupidity\".","Wodehouse\", where he stated that \"it is important to realise that the events of 1941 do not convict Wodehouse of anything worse than stupidity\". Orwell's rationale was that Wodehouse's \"moral outlook has remained that of a public-school boy, and according to the public-school code, treachery in time of war is the most unforgivable of all the sins\", which was compounded by his \"complete lack—so far as one can judge from his printed works—of political awareness\".","Orwell's rationale was that Wodehouse's \"moral outlook has remained that of a public-school boy, and according to the public-school code, treachery in time of war is the most unforgivable of all the sins\", which was compounded by his \"complete lack—so far as one can judge from his printed works—of political awareness\". On 15 January 1945 the French authorities released Wodehouse, but they did not inform him, until June 1946, that he would not face any official charges and was free to leave the country.","On 15 January 1945 the French authorities released Wodehouse, but they did not inform him, until June 1946, that he would not face any official charges and was free to leave the country. American exile: 1946–1975 Having secured American visas in July 1946, the Wodehouses made preparations to return to New York.","American exile: 1946–1975 Having secured American visas in July 1946, the Wodehouses made preparations to return to New York. They were delayed by Ethel's insistence on acquiring suitable new clothes and by Wodehouse's wish to finish writing his current novel, The Mating Season, in the peace of the French countryside.","They were delayed by Ethel's insistence on acquiring suitable new clothes and by Wodehouse's wish to finish writing his current novel, The Mating Season, in the peace of the French countryside. In April 1947 they sailed to New York, where Wodehouse was relieved at the friendly reception he received from the large press contingent awaiting his arrival.","In April 1947 they sailed to New York, where Wodehouse was relieved at the friendly reception he received from the large press contingent awaiting his arrival. Ethel secured a comfortable penthouse apartment in Manhattan's Upper East Side, but Wodehouse was not at ease. The New York that he had known before the war was much changed.","The New York that he had known before the war was much changed. The magazines that had paid lavishly for his stories were in decline, and those that remained were not much interested in him.","The magazines that had paid lavishly for his stories were in decline, and those that remained were not much interested in him. He was sounded out about writing for Broadway, but he was not at home in the post-war theatre; he had money problems, with large sums temporarily tied up in Britain, and for the first time in his career he had no ideas for a new novel.","He was sounded out about writing for Broadway, but he was not at home in the post-war theatre; he had money problems, with large sums temporarily tied up in Britain, and for the first time in his career he had no ideas for a new novel. He did not complete one until 1951.","He did not complete one until 1951. Wodehouse remained unsettled until he and Ethel left New York City for Long Island. Bolton and his wife lived in the prosperous hamlet of Remsenburg, part of the Southampton area of Long Island, east of Manhattan.","Bolton and his wife lived in the prosperous hamlet of Remsenburg, part of the Southampton area of Long Island, east of Manhattan. Wodehouse stayed with them frequently, and in 1952 he and Ethel bought a house nearby. They lived at Remsenburg for the rest of their lives.","They lived at Remsenburg for the rest of their lives. Between 1952 and 1975 he published more than twenty novels, as well as two collections of short stories, a heavily edited collection of his letters, a volume of memoirs, and a selection of his magazine articles. He continued to hanker after a revival of his theatrical career.","He continued to hanker after a revival of his theatrical career. A 1959 off-Broadway revival of the 1917 Bolton-Wodehouse-Kern Leave It to Jane was a surprise hit, running for 928 performances, but his few post-war stage works, some in collaboration with Bolton, made little impression.","A 1959 off-Broadway revival of the 1917 Bolton-Wodehouse-Kern Leave It to Jane was a surprise hit, running for 928 performances, but his few post-war stage works, some in collaboration with Bolton, made little impression. Although Ethel made a return visit to England in 1948 to shop and visit family and friends, Wodehouse never left America after his arrival in 1947.","Although Ethel made a return visit to England in 1948 to shop and visit family and friends, Wodehouse never left America after his arrival in 1947. It was not until 1965 that the British government indicated privately that he could return without fear of legal proceedings, and by then he felt too old to make the journey.","It was not until 1965 that the British government indicated privately that he could return without fear of legal proceedings, and by then he felt too old to make the journey. The biographers Benny Green and Robert McCrum both take the view that this exile benefited Wodehouse's writing, helping him to go on depicting an idealised England seen in his mind's eye, rather than as it actually was in the post-war decades.","The biographers Benny Green and Robert McCrum both take the view that this exile benefited Wodehouse's writing, helping him to go on depicting an idealised England seen in his mind's eye, rather than as it actually was in the post-war decades. During their years in Long Island, the couple often took in stray animals and contributed substantial funds to a local animal shelter.","During their years in Long Island, the couple often took in stray animals and contributed substantial funds to a local animal shelter. In 1955 Wodehouse became an American citizen, though he remained a British subject, and was therefore still eligible for UK state honours.","In 1955 Wodehouse became an American citizen, though he remained a British subject, and was therefore still eligible for UK state honours. He was considered for the award of a knighthood three times from 1967, but the honour was twice blocked by British officials.","He was considered for the award of a knighthood three times from 1967, but the honour was twice blocked by British officials. In 1974 the British prime minister, Harold Wilson, intervened to secure a knighthood (KBE) for Wodehouse, which was announced in the January 1975 New Year Honours list.","In 1974 the British prime minister, Harold Wilson, intervened to secure a knighthood (KBE) for Wodehouse, which was announced in the January 1975 New Year Honours list. The Times commented that Wodehouse's honour signalled \"official forgiveness for his wartime indiscretion....","The Times commented that Wodehouse's honour signalled \"official forgiveness for his wartime indiscretion.... It is late, but not too late, to take the sting out of that unhappy incident.\" The following month Wodehouse entered Southampton Hospital, Long Island, for treatment of a skin complaint.","The following month Wodehouse entered Southampton Hospital, Long Island, for treatment of a skin complaint. While there, he suffered a heart attack and died on 14 February 1975 at the age of 93. He was buried at Remsenburg Presbyterian Church four days later.","He was buried at Remsenburg Presbyterian Church four days later. Ethel outlived him by more than nine years; Leonora had predeceased him, dying suddenly in 1944.","Ethel outlived him by more than nine years; Leonora had predeceased him, dying suddenly in 1944. Writing Technique and approach Before starting a book Wodehouse would write up to four hundred pages of notes bringing together an outline of the plot; he acknowledged that \"It's the plots that I find so hard to work out.","Writing Technique and approach Before starting a book Wodehouse would write up to four hundred pages of notes bringing together an outline of the plot; he acknowledged that \"It's the plots that I find so hard to work out. It takes such a long time to work one out.\"","It takes such a long time to work one out.\" He always completed the plot before working on specific character actions. For a novel the note-writing process could take up to two years, and he would usually have two or more novels in preparation simultaneously.","For a novel the note-writing process could take up to two years, and he would usually have two or more novels in preparation simultaneously. After he had completed his notes, he would draw up a fuller scenario of about thirty thousand words, which ensured plot holes were avoided, and allowed for the dialogue to begin to develop.","After he had completed his notes, he would draw up a fuller scenario of about thirty thousand words, which ensured plot holes were avoided, and allowed for the dialogue to begin to develop. When interviewed in 1975 he revealed that \"For a humorous novel you've got to have a scenario, and you've got to test it so that you know where the comedy comes in, where the situations come in ... splitting it up into scenes (you can make a scene of almost anything) and have as little stuff in between as possible.\"","When interviewed in 1975 he revealed that \"For a humorous novel you've got to have a scenario, and you've got to test it so that you know where the comedy comes in, where the situations come in ... splitting it up into scenes (you can make a scene of almost anything) and have as little stuff in between as possible.\" He preferred working between 4 and 7 pm—but never after dinner—and would work seven days a week.","He preferred working between 4 and 7 pm—but never after dinner—and would work seven days a week. In his younger years, he would write around two to three thousand words a day, although he slowed as he aged, so that in his nineties he would produce a thousand.","In his younger years, he would write around two to three thousand words a day, although he slowed as he aged, so that in his nineties he would produce a thousand. The reduced speed in writing slowed his production of books: when younger he would produce a novel in about three months, while Bachelors Anonymous, published in 1973, took around six months.","The reduced speed in writing slowed his production of books: when younger he would produce a novel in about three months, while Bachelors Anonymous, published in 1973, took around six months. Although studies of language production in normal healthy ageing show a marked decline from the mid-70s on, a study of Wodehouse's works did not find any evidence of a decline in linguistic ability with age.","Although studies of language production in normal healthy ageing show a marked decline from the mid-70s on, a study of Wodehouse's works did not find any evidence of a decline in linguistic ability with age. Wodehouse believed that one of the factors that made his stories humorous was his view of life, and he stated that \"If you take life fairly easily, then you take a humorous view of things.","Wodehouse believed that one of the factors that made his stories humorous was his view of life, and he stated that \"If you take life fairly easily, then you take a humorous view of things. It's probably because you were born that way.\"","It's probably because you were born that way.\" He carried this view through into his writing, describing the approach as \"making the thing a sort of musical comedy without music, and ignoring real life altogether\".","He carried this view through into his writing, describing the approach as \"making the thing a sort of musical comedy without music, and ignoring real life altogether\". The literary critic Edward L. Galligan considers Wodehouse's stories to show his mastery in adapting the form of the American musical comedy for his writings.","The literary critic Edward L. Galligan considers Wodehouse's stories to show his mastery in adapting the form of the American musical comedy for his writings. Wodehouse would ensure that his first draft was as carefully and accurately done as possible, correcting and refining the prose as he wrote, and would then make another good copy, before proofreading again and then making a final copy for his publisher.","Wodehouse would ensure that his first draft was as carefully and accurately done as possible, correcting and refining the prose as he wrote, and would then make another good copy, before proofreading again and then making a final copy for his publisher. Most of Wodehouse's canon is set in an undated period around the 1920s and 1930s.","Most of Wodehouse's canon is set in an undated period around the 1920s and 1930s. The critic Anthony Lejeune describes the settings of Wodehouse's novels, such as the Drones Club and Blandings Castle, as \"a fairyland\".","The critic Anthony Lejeune describes the settings of Wodehouse's novels, such as the Drones Club and Blandings Castle, as \"a fairyland\". Although some critics thought Wodehouse's fiction was based on a world that had never existed, Wodehouse affirmed that \"it did.","Although some critics thought Wodehouse's fiction was based on a world that had never existed, Wodehouse affirmed that \"it did. It was going strong between the wars\", although he agreed that his version was to some extent \"a sort of artificial world of my own creation\".","It was going strong between the wars\", although he agreed that his version was to some extent \"a sort of artificial world of my own creation\". The novels showed a largely unchanging world, regardless of when they were written, and only rarely—and mistakenly in McCrum's view—did Wodehouse allow modernity to intrude, as he did in the 1966 story \"Bingo Bans the Bomb\".","The novels showed a largely unchanging world, regardless of when they were written, and only rarely—and mistakenly in McCrum's view—did Wodehouse allow modernity to intrude, as he did in the 1966 story \"Bingo Bans the Bomb\". When dealing with the dialogue in his novels, Wodehouse would consider the book's characters as if they were actors in a play, ensuring that the main roles were kept suitably employed throughout the storyline, which must be strong: \"If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them.\"","When dealing with the dialogue in his novels, Wodehouse would consider the book's characters as if they were actors in a play, ensuring that the main roles were kept suitably employed throughout the storyline, which must be strong: \"If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them.\" Many of Wodehouse's parts were stereotypes, and he acknowledged that \"a real character in one of my books sticks out like a sore thumb.\"","Many of Wodehouse's parts were stereotypes, and he acknowledged that \"a real character in one of my books sticks out like a sore thumb.\" The publisher Michael Joseph identifies that even within the stereotypes Wodehouse understood human nature, and therefore \"shares with [Charles] Dickens and Charles Chaplin the ability to present the comic resistance of the individual against those superior forces to which we are all subject\".","The publisher Michael Joseph identifies that even within the stereotypes Wodehouse understood human nature, and therefore \"shares with [Charles] Dickens and Charles Chaplin the ability to present the comic resistance of the individual against those superior forces to which we are all subject\". Much of Wodehouse's use of slang terms reflects the influence of his time at school in Dulwich, and partly reflects Edwardian slang.","Much of Wodehouse's use of slang terms reflects the influence of his time at school in Dulwich, and partly reflects Edwardian slang. As a young man he enjoyed the literary works of Arthur Conan Doyle and Jerome K. Jerome, and the operatic works of Gilbert and Sullivan. Wodehouse quotes from and alludes to numerous poets throughout his work.","Wodehouse quotes from and alludes to numerous poets throughout his work. The scholar Clarke Olney lists those quoted, including Milton, Byron, Longfellow, Coleridge, Swinburne, Tennyson, Wordsworth and Shakespeare. Another favoured source was the King James Bible.","Another favoured source was the King James Bible. Language In 1941 the Concise Cambridge History of English Literature opined that Wodehouse had \"a gift for highly original aptness of phrase that almost suggests a poet struggling for release among the wild extravagances of farce\", while McCrum thinks that Wodehouse manages to combine \"high farce with the inverted poetry of his mature comic style\", particularly in The Code of the Woosters; the novelist Anthony Powell believes Wodehouse to be a \"comic poet\".","Language In 1941 the Concise Cambridge History of English Literature opined that Wodehouse had \"a gift for highly original aptness of phrase that almost suggests a poet struggling for release among the wild extravagances of farce\", while McCrum thinks that Wodehouse manages to combine \"high farce with the inverted poetry of his mature comic style\", particularly in The Code of the Woosters; the novelist Anthony Powell believes Wodehouse to be a \"comic poet\". Robert A.","Robert A. Robert A. Hall Jr., in his study of Wodehouse's style and technique, describes the author as a master of prose, an opinion also shared by Levin, who considers Wodehouse \"one of the finest and purest writers of English prose\".","Hall Jr., in his study of Wodehouse's style and technique, describes the author as a master of prose, an opinion also shared by Levin, who considers Wodehouse \"one of the finest and purest writers of English prose\". Hall identifies several techniques used by Wodehouse to achieve comic effect, including the creation of new words through adding or removing prefixes and suffixes, so when Pongo Twistleton removes the housemaid Elsie Bean from a cupboard, Wodehouse writes that the character \"de-Beaned the cupboard\".","Hall identifies several techniques used by Wodehouse to achieve comic effect, including the creation of new words through adding or removing prefixes and suffixes, so when Pongo Twistleton removes the housemaid Elsie Bean from a cupboard, Wodehouse writes that the character \"de-Beaned the cupboard\". Wodehouse created new words by splitting others in two, thus Wodehouse divides \"hobnobbing\" when he writes: \"To offer a housemaid a cigarette is not hobbing.","Wodehouse created new words by splitting others in two, thus Wodehouse divides \"hobnobbing\" when he writes: \"To offer a housemaid a cigarette is not hobbing. Nor, when you light it for her, does that constitute nobbing.\"","Nor, when you light it for her, does that constitute nobbing.\" Richard Voorhees, Wodehouse's biographer, believes that the author used clichés in a deliberate and ironic manner.","Richard Voorhees, Wodehouse's biographer, believes that the author used clichés in a deliberate and ironic manner. His opinion is shared by the academic Stephen Medcalf, who deems Wodehouse's skill is to \"bring a cliché just enough to life to kill it\", although Pamela March, writing in The Christian Science Monitor, considers Wodehouse to have \"an ability to decliché a cliché\".","His opinion is shared by the academic Stephen Medcalf, who deems Wodehouse's skill is to \"bring a cliché just enough to life to kill it\", although Pamela March, writing in The Christian Science Monitor, considers Wodehouse to have \"an ability to decliché a cliché\". Medcalf provides an example from Right Ho, Jeeves in which the teetotal Gussie Fink-Nottle has surreptitiously been given whisky and gin in a punch prior to a prize-giving: 'It seems to me, Jeeves, that the ceremony may be one fraught with considerable interest.'","Medcalf provides an example from Right Ho, Jeeves in which the teetotal Gussie Fink-Nottle has surreptitiously been given whisky and gin in a punch prior to a prize-giving: 'It seems to me, Jeeves, that the ceremony may be one fraught with considerable interest.' 'Yes, sir.'","'Yes, sir.' 'Yes, sir.' 'What, in your opinion, will the harvest be?' 'One finds it difficult to hazard a conjecture, sir.' 'You mean imagination boggles?' 'Yes, sir.' I inspected my imagination. He was right. It boggled.","He was right. It boggled. It boggled. The stylistic device most commonly found in Wodehouse's work is his use of comparative imagery that includes similes. Hall opines that the humour comes from Wodehouse's ability to accentuate \"resemblances which at first glance seem highly incongruous\".","Hall opines that the humour comes from Wodehouse's ability to accentuate \"resemblances which at first glance seem highly incongruous\". Examples can be seen in Joy in the Morning, Chapter 29: \"There was a sound in the background like a distant sheep coughing gently on a mountainside.","Examples can be seen in Joy in the Morning, Chapter 29: \"There was a sound in the background like a distant sheep coughing gently on a mountainside. Jeeves sailing into action\", or Psmith, Chapter 7: \"A sound like two or three pigs feeding rather noisily in the middle of a thunderstorm interrupted his meditation.\"","Jeeves sailing into action\", or Psmith, Chapter 7: \"A sound like two or three pigs feeding rather noisily in the middle of a thunderstorm interrupted his meditation.\" Hall also identifies that periodically Wodehouse used the stylistic device of a transferred epithet, with an adjective that properly belongs to a person applied instead to some inanimate object.","Hall also identifies that periodically Wodehouse used the stylistic device of a transferred epithet, with an adjective that properly belongs to a person applied instead to some inanimate object. The form of expression is used sparingly by Wodehouse in comparison with other mechanisms, only once or twice in a story or novel, according to Hall.","The form of expression is used sparingly by Wodehouse in comparison with other mechanisms, only once or twice in a story or novel, according to Hall. \"I balanced a thoughtful lump of sugar on the teaspoon.\"","\"I balanced a thoughtful lump of sugar on the teaspoon.\" —Joy in the Morning, Chapter 5 \"As I sat in the bath-tub, soaping a meditative foot ...\" —Jeeves and the Feudal Spirit, Chapter 1 \"The first thing he did was to prod Jeeves in the lower ribs with an uncouth forefinger.\"","—Joy in the Morning, Chapter 5 \"As I sat in the bath-tub, soaping a meditative foot ...\" —Jeeves and the Feudal Spirit, Chapter 1 \"The first thing he did was to prod Jeeves in the lower ribs with an uncouth forefinger.\" —Much Obliged, Jeeves, Chapter 4 Wordplay is a key element in Wodehouse's writing.","—Much Obliged, Jeeves, Chapter 4 Wordplay is a key element in Wodehouse's writing. This can take the form of puns, such as in Jeeves and the Feudal Spirit, when Bertie is released after a night in the police cells, and says that he has \"a pinched look\" about him.","This can take the form of puns, such as in Jeeves and the Feudal Spirit, when Bertie is released after a night in the police cells, and says that he has \"a pinched look\" about him. Linguistic confusion is another humorous mechanism, such as in Uncle Dynamite when Constable Potter says he has been \"assaulted by the duck pond\".","Linguistic confusion is another humorous mechanism, such as in Uncle Dynamite when Constable Potter says he has been \"assaulted by the duck pond\". In reply, Sir Aylmer, confusing the two meanings of the word \"by\", asks: \"How the devil can you be assaulted by a duck pond?\"","In reply, Sir Aylmer, confusing the two meanings of the word \"by\", asks: \"How the devil can you be assaulted by a duck pond?\" Wodehouse also uses metaphor and mixed metaphor to add humour.","Wodehouse also uses metaphor and mixed metaphor to add humour. Some come through exaggeration, such as Bingo Little's infant child who \"not only has the aspect of a mass murderer, but that of a mass murderer suffering from an ingrown toenail\", or Wooster's complaint that \"the rumpuses that Bobbie Wickham is already starting may be amusing to her, but not to the unfortunate toads beneath the harrow whom she ruthlessly plunges into the soup.\"","Some come through exaggeration, such as Bingo Little's infant child who \"not only has the aspect of a mass murderer, but that of a mass murderer suffering from an ingrown toenail\", or Wooster's complaint that \"the rumpuses that Bobbie Wickham is already starting may be amusing to her, but not to the unfortunate toads beneath the harrow whom she ruthlessly plunges into the soup.\" Bertie Wooster's half-forgotten vocabulary also provides a further humorous device.","Bertie Wooster's half-forgotten vocabulary also provides a further humorous device. In Jeeves and the Feudal Spirit Bertie asks Jeeves \"Let a plugugly like young Thos loose in the community with a cosh, and you are inviting disaster and ... what's the word? Something about cats.\" Jeeves replies, \"Cataclysms, sir?\"","Jeeves replies, \"Cataclysms, sir?\" Reception and reputation Literary reception Wodehouse's early career as a lyricist and playwright was profitable, and his work with Bolton, according to The Guardian, \"was one of the most successful in the history of musical comedy\".","Reception and reputation Literary reception Wodehouse's early career as a lyricist and playwright was profitable, and his work with Bolton, according to The Guardian, \"was one of the most successful in the history of musical comedy\". At the outbreak of the Second World War he was earning £40,000 a year from his work, which had broadened to include novels and short stories.","At the outbreak of the Second World War he was earning £40,000 a year from his work, which had broadened to include novels and short stories. Following the furore ensuing from the wartime broadcasts, he suffered a downturn in his popularity and book sales; The Saturday Evening Post stopped publishing his short stories, a stance they reversed in 1965, although his popularity—and the sales figures—slowly recovered over time.","Following the furore ensuing from the wartime broadcasts, he suffered a downturn in his popularity and book sales; The Saturday Evening Post stopped publishing his short stories, a stance they reversed in 1965, although his popularity—and the sales figures—slowly recovered over time. Wodehouse received great praise from many of his contemporaries, including Max Beerbohm, Rudyard Kipling, A. E. Housman and Evelyn Waugh—the last of whom opines, \"One has to regard a man as a Master who can produce on average three uniquely brilliant and entirely original similes on each page.\"","Wodehouse received great praise from many of his contemporaries, including Max Beerbohm, Rudyard Kipling, A. E. Housman and Evelyn Waugh—the last of whom opines, \"One has to regard a man as a Master who can produce on average three uniquely brilliant and entirely original similes on each page.\" There are dissenters to the praise.","There are dissenters to the praise. The writer Alan Bennett thinks that \"inspired though his language is, I can never take more than ten pages of the novels at a time, their relentless flippancy wearing and tedious\", while the literary critic Q. D. Leavis writes that Wodehouse had a \"stereotyped humour ... of ingenious variations on a laugh in one place\".","The writer Alan Bennett thinks that \"inspired though his language is, I can never take more than ten pages of the novels at a time, their relentless flippancy wearing and tedious\", while the literary critic Q. D. Leavis writes that Wodehouse had a \"stereotyped humour ... of ingenious variations on a laugh in one place\". In a 2010 study of Wodehouse's few relatively serious novels, such as The Coming of Bill (1919), Jill the Reckless (1920) and The Adventures of Sally (1922), David Heddendorf concludes that though their literary quality does not match that of the farcical novels, they show a range of empathy and interests that in real life—and in his most comic works—the author seemed to lack.","In a 2010 study of Wodehouse's few relatively serious novels, such as The Coming of Bill (1919), Jill the Reckless (1920) and The Adventures of Sally (1922), David Heddendorf concludes that though their literary quality does not match that of the farcical novels, they show a range of empathy and interests that in real life—and in his most comic works—the author seemed to lack. \"Never oblivious to grief and despair, he opts in clear-eyed awareness for his timeless world of spats and woolly-headed peers.","\"Never oblivious to grief and despair, he opts in clear-eyed awareness for his timeless world of spats and woolly-headed peers. It's an austere, almost bloodless preference for pristine artifice over the pain and messy outcomes of actual existence, but it's a case of Wodehouse keeping faith with his own unique art.\"","It's an austere, almost bloodless preference for pristine artifice over the pain and messy outcomes of actual existence, but it's a case of Wodehouse keeping faith with his own unique art.\" The American literary analyst Robert F. Kiernan, defining \"camp\" as \"excessive stylization of whatever kind\", brackets Wodehouse as \"a master of the camp novel\", along with Thomas Love Peacock, Max Beerbohm, Ronald Firbank, E. F. Benson and Ivy Compton-Burnett.","The American literary analyst Robert F. Kiernan, defining \"camp\" as \"excessive stylization of whatever kind\", brackets Wodehouse as \"a master of the camp novel\", along with Thomas Love Peacock, Max Beerbohm, Ronald Firbank, E. F. Benson and Ivy Compton-Burnett. The literary critic and writer Cyril Connolly calls Wodehouse a \"politicians' author\"—one who does \"not like art to be exacting and difficult\".","The literary critic and writer Cyril Connolly calls Wodehouse a \"politicians' author\"—one who does \"not like art to be exacting and difficult\". Two former British prime ministers, H. H. Asquith and Tony Blair, are on record as Wodehouse aficionados, and the latter became a patron of the Wodehouse Society.","Two former British prime ministers, H. H. Asquith and Tony Blair, are on record as Wodehouse aficionados, and the latter became a patron of the Wodehouse Society. Seán O'Casey, a successful playwright of the 1920s, thought little of Wodehouse; he commented in 1941 that it was damaging to England's dignity that the public or \"the academic government of Oxford, dead from the chin up\" considered Wodehouse an important figure in English literature.","Seán O'Casey, a successful playwright of the 1920s, thought little of Wodehouse; he commented in 1941 that it was damaging to England's dignity that the public or \"the academic government of Oxford, dead from the chin up\" considered Wodehouse an important figure in English literature. His jibe that Wodehouse was \"English literature's performing flea\" provided his target with the title of his collected letters, published in 1953.","His jibe that Wodehouse was \"English literature's performing flea\" provided his target with the title of his collected letters, published in 1953. McCrum, writing in 2004, observes, \"Wodehouse is more popular today than on the day he died\", and \"his comic vision has an absolutely secure place in the English literary imagination.\"","McCrum, writing in 2004, observes, \"Wodehouse is more popular today than on the day he died\", and \"his comic vision has an absolutely secure place in the English literary imagination.\" Honours and influence The proposed nominations of Wodehouse for a knighthood in 1967 and 1971 were blocked for fear that such an award would \"revive the controversy of his wartime behaviour and give currency to a Bertie Wooster image of the British character which the embassy was doing its best to eradicate\".","Honours and influence The proposed nominations of Wodehouse for a knighthood in 1967 and 1971 were blocked for fear that such an award would \"revive the controversy of his wartime behaviour and give currency to a Bertie Wooster image of the British character which the embassy was doing its best to eradicate\". When Wodehouse was awarded the knighthood, only four years later, the journalist Dennis Barker wrote in The Guardian that the writer was \"the solitary surviving English literary comic genius\".","When Wodehouse was awarded the knighthood, only four years later, the journalist Dennis Barker wrote in The Guardian that the writer was \"the solitary surviving English literary comic genius\". After his death six weeks later, the journalist Michael Davie, writing in the same paper, observed that \"Many people regarded ... [Wodehouse] as he regarded Beachcomber, as 'one, if not more than one, of England's greatest men'\", while in the view of the obituarist for The Times Wodehouse \"was a comic genius recognized in his lifetime as a classic and an old master of farce\".","After his death six weeks later, the journalist Michael Davie, writing in the same paper, observed that \"Many people regarded ... [Wodehouse] as he regarded Beachcomber, as 'one, if not more than one, of England's greatest men'\", while in the view of the obituarist for The Times Wodehouse \"was a comic genius recognized in his lifetime as a classic and an old master of farce\". In September 2019 Wodehouse was commemorated with a memorial stone in Westminster Abbey; the dedication was held two days after it was installed.","In September 2019 Wodehouse was commemorated with a memorial stone in Westminster Abbey; the dedication was held two days after it was installed. Since Wodehouse's death there have been numerous adaptations and dramatisations of his work on television and film; Wodehouse himself has been portrayed on radio and screen numerous times.","Since Wodehouse's death there have been numerous adaptations and dramatisations of his work on television and film; Wodehouse himself has been portrayed on radio and screen numerous times. There are several literary societies dedicated to Wodehouse. The P.G. Wodehouse Society (UK) was founded in 1997 and has over 1,000 members as at 2015.","Wodehouse Society (UK) was founded in 1997 and has over 1,000 members as at 2015. The president of the society as at 2017 is Alexander Armstrong; past presidents have included Terry Wogan and Richard Briers.","The president of the society as at 2017 is Alexander Armstrong; past presidents have included Terry Wogan and Richard Briers. There are also other groups of Wodehouse fans in Australia, Belgium, France, Finland, India, Italy, Russia, Sweden and the US.","There are also other groups of Wodehouse fans in Australia, Belgium, France, Finland, India, Italy, Russia, Sweden and the US. As at 2015 the Oxford English Dictionary contains over 1,750 quotations from Wodehouse, illustrating terms from crispish to zippiness.","As at 2015 the Oxford English Dictionary contains over 1,750 quotations from Wodehouse, illustrating terms from crispish to zippiness. Voorhees, while acknowledging that Wodehouse's antecedents in literature range from Ben Jonson to Oscar Wilde, writes: Notes, references and sources Notes References Sources External links P. G. Wodehouse collection at One More Library P.G.","Voorhees, while acknowledging that Wodehouse's antecedents in literature range from Ben Jonson to Oscar Wilde, writes: Notes, references and sources Notes References Sources External links P. G. Wodehouse collection at One More Library P.G. Wodehouse Archive on loan to the British Library The Wodehouse Society The P. G. Wodehouse Society (UK) Transcripts of Wodehouse's Berlin Broadcasts \"P. G. Wodehouse: An English Master of American Slang\" from The American Legion Weekly, 24 October 1919 Orwell, George \"In Defence of P.G.","Wodehouse Archive on loan to the British Library The Wodehouse Society The P. G. Wodehouse Society (UK) Transcripts of Wodehouse's Berlin Broadcasts \"P. G. Wodehouse: An English Master of American Slang\" from The American Legion Weekly, 24 October 1919 Orwell, George \"In Defence of P.G. Wodehouse\" 1881 births 1975 deaths 20th-century English novelists 20th-century British dramatists and playwrights British emigrants to the United States English lyricists Knights Commander of the Order of the British Empire English male dramatists and playwrights British male novelists People educated at Dulwich College People educated at Elizabeth College, Guernsey People from Guildford People from Long Island PG People interned during World War II English humorists 20th-century American novelists American dramatists and playwrights American humorists American lyricists American male novelists Novelists from New York (state) Literature controversies English broadcasters for Nazi Germany 20th-century American male writers"],"string":"[\n \"Sir Pelham Grenville Wodehouse, ( ; 15 October 188114 February 1975) was an English author and one of the most widely read humorists of the 20th century. His creations include the feather-brained Bertie Wooster and his sagacious valet, Jeeves; the immaculate and loquacious Psmith; Lord Emsworth and the Blandings Castle set; the Oldest Member, with stories about golf; and Mr Mulliner, with tall tales on subjects ranging from bibulous bishops to megalomaniac movie moguls.\",\n \"His creations include the feather-brained Bertie Wooster and his sagacious valet, Jeeves; the immaculate and loquacious Psmith; Lord Emsworth and the Blandings Castle set; the Oldest Member, with stories about golf; and Mr Mulliner, with tall tales on subjects ranging from bibulous bishops to megalomaniac movie moguls. Born in Guildford, the third son of a British magistrate based in Hong Kong, Wodehouse spent happy teenage years at Dulwich College, to which he remained devoted all his life.\",\n \"Born in Guildford, the third son of a British magistrate based in Hong Kong, Wodehouse spent happy teenage years at Dulwich College, to which he remained devoted all his life. After leaving school he was employed by a bank but disliked the work and turned to writing in his spare time.\",\n \"After leaving school he was employed by a bank but disliked the work and turned to writing in his spare time. His early novels were mostly school stories, but he later switched to comic fiction.\",\n \"His early novels were mostly school stories, but he later switched to comic fiction. Most of Wodehouse's fiction is set in his native United Kingdom, although he spent much of his life in the US and used New York and Hollywood as settings for some of his novels and short stories.\",\n \"Most of Wodehouse's fiction is set in his native United Kingdom, although he spent much of his life in the US and used New York and Hollywood as settings for some of his novels and short stories. He wrote a series of Broadway musical comedies during and after the First World War, together with Guy Bolton and Jerome Kern, that played an important part in the development of the American musical.\",\n \"He wrote a series of Broadway musical comedies during and after the First World War, together with Guy Bolton and Jerome Kern, that played an important part in the development of the American musical. He began the 1930s writing for MGM in Hollywood.\",\n \"He began the 1930s writing for MGM in Hollywood. In a 1931 interview, his naive revelations of incompetence and extravagance in the studios caused a furore. In the same decade, his literary career reached a new peak.\",\n \"In the same decade, his literary career reached a new peak. In 1934 Wodehouse moved to France for tax reasons; in 1940 he was taken prisoner at Le Touquet by the invading Germans and interned for nearly a year.\",\n \"In 1934 Wodehouse moved to France for tax reasons; in 1940 he was taken prisoner at Le Touquet by the invading Germans and interned for nearly a year. After his release he made six broadcasts from German radio in Berlin to the US, which had not yet entered the war.\",\n \"After his release he made six broadcasts from German radio in Berlin to the US, which had not yet entered the war. The talks were comic and apolitical, but his broadcasting over enemy radio prompted anger and strident controversy in Britain, and a threat of prosecution. Wodehouse never returned to England.\",\n \"Wodehouse never returned to England. Wodehouse never returned to England. From 1947 until his death he lived in the US, taking dual British-American citizenship in 1955. He died in 1975, at the age of 93, in Southampton, New York.\",\n \"He died in 1975, at the age of 93, in Southampton, New York. Wodehouse was a prolific writer throughout his life, publishing more than ninety books, forty plays, two hundred short stories and other writings between 1902 and 1974. He worked extensively on his books, sometimes having two or more in preparation simultaneously.\",\n \"He worked extensively on his books, sometimes having two or more in preparation simultaneously. He would take up to two years to build a plot and write a scenario of about thirty thousand words. After the scenario was complete he would write the story.\",\n \"After the scenario was complete he would write the story. Early in his career Wodehouse would produce a novel in about three months, but he slowed in old age to around six months.\",\n \"Early in his career Wodehouse would produce a novel in about three months, but he slowed in old age to around six months. He used a mixture of Edwardian slang, quotations from and allusions to numerous poets, and several literary techniques to produce a prose style that has been compared to comic poetry and musical comedy.\",\n \"He used a mixture of Edwardian slang, quotations from and allusions to numerous poets, and several literary techniques to produce a prose style that has been compared to comic poetry and musical comedy. Some critics of Wodehouse have considered his work flippant, but among his fans are former British prime ministers and many of his fellow writers.\",\n \"Some critics of Wodehouse have considered his work flippant, but among his fans are former British prime ministers and many of his fellow writers. Life and career Early years Wodehouse was born in Guildford, Surrey, the third son of Henry Ernest Wodehouse (1845–1929), a magistrate resident in the British colony of Hong Kong, and his wife, Eleanor (1861–1941), daughter of the Rev John Bathurst Deane.\",\n \"Life and career Early years Wodehouse was born in Guildford, Surrey, the third son of Henry Ernest Wodehouse (1845–1929), a magistrate resident in the British colony of Hong Kong, and his wife, Eleanor (1861–1941), daughter of the Rev John Bathurst Deane. The Wodehouses, who traced their ancestry back to the 13th century, belonged to a cadet branch of the family of the earls of Kimberley.\",\n \"The Wodehouses, who traced their ancestry back to the 13th century, belonged to a cadet branch of the family of the earls of Kimberley. Eleanor Wodehouse was also of ancient aristocratic ancestry. She was visiting her sister in Guildford when Wodehouse was born there prematurely.\",\n \"She was visiting her sister in Guildford when Wodehouse was born there prematurely. The boy was baptised at the Church of St Nicolas, Guildford, and was named after his godfather, Pelham von Donop.\",\n \"The boy was baptised at the Church of St Nicolas, Guildford, and was named after his godfather, Pelham von Donop. Wodehouse wrote in 1957, \\\"If you ask me to tell you frankly if I like the name Pelham Grenville Wodehouse, I must confess that I do not....\",\n \"Wodehouse wrote in 1957, \\\"If you ask me to tell you frankly if I like the name Pelham Grenville Wodehouse, I must confess that I do not.... I was named after a godfather, and not a thing to show for it but a small silver mug which I lost in 1897.\\\"\",\n \"I was named after a godfather, and not a thing to show for it but a small silver mug which I lost in 1897.\\\" The first name was rapidly elided to \\\"Plum\\\", the name by which Wodehouse became known to family and friends.\",\n \"The first name was rapidly elided to \\\"Plum\\\", the name by which Wodehouse became known to family and friends. Mother and son sailed for Hong Kong, where for his first two years Wodehouse was raised by a Chinese amah (nurse), alongside his elder brothers Peveril (1877–1951) and Armine (1879–1936).\",\n \"Mother and son sailed for Hong Kong, where for his first two years Wodehouse was raised by a Chinese amah (nurse), alongside his elder brothers Peveril (1877–1951) and Armine (1879–1936). When he was two, the brothers were brought to England, where they were placed under the care of an English nanny in a house adjoining that of Eleanor's father and mother.\",\n \"When he was two, the brothers were brought to England, where they were placed under the care of an English nanny in a house adjoining that of Eleanor's father and mother. The boys' parents returned to Hong Kong and became virtual strangers to their sons.\",\n \"The boys' parents returned to Hong Kong and became virtual strangers to their sons. Such an arrangement was then normal for middle-class families based in the colonies.\",\n \"Such an arrangement was then normal for middle-class families based in the colonies. The lack of parental contact, and the harsh regime of some of those in loco parentis, left permanent emotional scars on many children from similar backgrounds, including the writers Thackeray, Saki, Kipling and Walpole.\",\n \"The lack of parental contact, and the harsh regime of some of those in loco parentis, left permanent emotional scars on many children from similar backgrounds, including the writers Thackeray, Saki, Kipling and Walpole. Wodehouse was more fortunate; his nanny, Emma Roper, was strict but not unkind, and both with her and later at his different schools Wodehouse had a generally happy childhood.\",\n \"Wodehouse was more fortunate; his nanny, Emma Roper, was strict but not unkind, and both with her and later at his different schools Wodehouse had a generally happy childhood. His recollection was that \\\"it went like a breeze from start to finish, with everybody I met understanding me perfectly\\\".\",\n \"His recollection was that \\\"it went like a breeze from start to finish, with everybody I met understanding me perfectly\\\". The biographer Robert McCrum suggests that nonetheless Wodehouse's isolation from his parents left a psychological mark, causing him to avoid emotional engagement both in life and in his works.\",\n \"The biographer Robert McCrum suggests that nonetheless Wodehouse's isolation from his parents left a psychological mark, causing him to avoid emotional engagement both in life and in his works. Another biographer, Frances Donaldson, writes, \\\"Deprived so early, not merely of maternal love, but of home life and even a stable background, Wodehouse consoled himself from the youngest age in an imaginary world of his own.\\\"\",\n \"Another biographer, Frances Donaldson, writes, \\\"Deprived so early, not merely of maternal love, but of home life and even a stable background, Wodehouse consoled himself from the youngest age in an imaginary world of his own.\\\" In 1886 the brothers were sent to a dame-school in Croydon, where they spent three years.\",\n \"In 1886 the brothers were sent to a dame-school in Croydon, where they spent three years. Peveril was then found to have a \\\"weak chest\\\"; sea air was prescribed, and the three boys were moved to Elizabeth College on the island of Guernsey.\",\n \"Peveril was then found to have a \\\"weak chest\\\"; sea air was prescribed, and the three boys were moved to Elizabeth College on the island of Guernsey. In 1891 Wodehouse went on to Malvern House Preparatory School in Kent, which concentrated on preparing its pupils for entry to the Royal Navy.\",\n \"In 1891 Wodehouse went on to Malvern House Preparatory School in Kent, which concentrated on preparing its pupils for entry to the Royal Navy. His father had planned a naval career for him, but the boy's eyesight was found to be too poor for it.\",\n \"His father had planned a naval career for him, but the boy's eyesight was found to be too poor for it. He was unimpressed by the school's narrow curriculum and zealous discipline; he later parodied it in his novels, with Bertie Wooster recalling his early years as a pupil at a \\\"penitentiary... with the outward guise of a prep school\\\" called Malvern House.\",\n \"He was unimpressed by the school's narrow curriculum and zealous discipline; he later parodied it in his novels, with Bertie Wooster recalling his early years as a pupil at a \\\"penitentiary... with the outward guise of a prep school\\\" called Malvern House. Throughout their school years the brothers were sent to stay during the holidays with various uncles and aunts from both sides of the family.\",\n \"Throughout their school years the brothers were sent to stay during the holidays with various uncles and aunts from both sides of the family. In the Oxford Dictionary of National Biography, Iain Sproat counts twenty aunts and considers that they played an important part not only in Wodehouse's early life, but, thinly disguised, in his mature novels, as the formidable aunts who dominate the action in the Wooster, Blandings, and other stories.\",\n \"In the Oxford Dictionary of National Biography, Iain Sproat counts twenty aunts and considers that they played an important part not only in Wodehouse's early life, but, thinly disguised, in his mature novels, as the formidable aunts who dominate the action in the Wooster, Blandings, and other stories. The boys had fifteen uncles, four of whom were clergymen.\",\n \"The boys had fifteen uncles, four of whom were clergymen. Sproat writes that they inspired Wodehouse's \\\"pious but fallible curates, vicars, and bishops, of which he wrote with friendly irreverence but without mockery\\\".\",\n \"Sproat writes that they inspired Wodehouse's \\\"pious but fallible curates, vicars, and bishops, of which he wrote with friendly irreverence but without mockery\\\". At the age of twelve in 1894, to his great joy, Wodehouse was able to follow his brother Armine to Dulwich College.\",\n \"At the age of twelve in 1894, to his great joy, Wodehouse was able to follow his brother Armine to Dulwich College. He was entirely at home there; Donaldson comments that Dulwich gave him, for the first time, \\\"some continuity and a stable and ordered life\\\".\",\n \"He was entirely at home there; Donaldson comments that Dulwich gave him, for the first time, \\\"some continuity and a stable and ordered life\\\". He loved the camaraderie, distinguished himself at cricket, rugby and boxing, and was a good, if not consistently diligent, student.\",\n \"He loved the camaraderie, distinguished himself at cricket, rugby and boxing, and was a good, if not consistently diligent, student. The headmaster at the time was A. H. Gilkes, a respected classicist, who was a strong influence on Wodehouse.\",\n \"The headmaster at the time was A. H. Gilkes, a respected classicist, who was a strong influence on Wodehouse. In a study of Wodehouse's works, Richard Usborne argues that \\\"only a writer who was himself a scholar and had had his face ground into Latin and Greek (especially Thucydides) as a boy\\\" could sustain the complex sequences of subordinate clauses sometimes found in Wodehouse's comic prose.\",\n \"In a study of Wodehouse's works, Richard Usborne argues that \\\"only a writer who was himself a scholar and had had his face ground into Latin and Greek (especially Thucydides) as a boy\\\" could sustain the complex sequences of subordinate clauses sometimes found in Wodehouse's comic prose. Wodehouse's six years at Dulwich were among the happiest of his life: \\\"To me the years between 1894 and 1900 were like heaven.\\\"\",\n \"Wodehouse's six years at Dulwich were among the happiest of his life: \\\"To me the years between 1894 and 1900 were like heaven.\\\" In addition to his sporting achievements he was a good singer and enjoyed taking part in school concerts; his literary leanings found an outlet in editing the school magazine, The Alleynian.\",\n \"In addition to his sporting achievements he was a good singer and enjoyed taking part in school concerts; his literary leanings found an outlet in editing the school magazine, The Alleynian. For the rest of his life he remained devoted to the school.\",\n \"For the rest of his life he remained devoted to the school. The biographer Barry Phelps writes that Wodehouse \\\"loved the college as much as he loved anything or anybody\\\".\",\n \"The biographer Barry Phelps writes that Wodehouse \\\"loved the college as much as he loved anything or anybody\\\". Reluctant banker; budding writer: 1900–1908 Wodehouse expected to follow Armine to the University of Oxford, but the family's finances took a turn for the worse at the crucial moment.\",\n \"Reluctant banker; budding writer: 1900–1908 Wodehouse expected to follow Armine to the University of Oxford, but the family's finances took a turn for the worse at the crucial moment. Ernest Wodehouse had retired in 1895, and his pension was paid in rupees; fluctuation against the pound reduced its value in Britain.\",\n \"Ernest Wodehouse had retired in 1895, and his pension was paid in rupees; fluctuation against the pound reduced its value in Britain. Wodehouse recalled, \\\"The wolf was not actually whining at the door and there was always a little something in the kitty for the butcher and the grocer, but the finances would not run to anything in the nature of a splash\\\".\",\n \"Wodehouse recalled, \\\"The wolf was not actually whining at the door and there was always a little something in the kitty for the butcher and the grocer, but the finances would not run to anything in the nature of a splash\\\". Instead of a university career, in September 1900 Wodehouse was engaged in a junior position in the London office of the Hongkong and Shanghai Bank.\",\n \"Instead of a university career, in September 1900 Wodehouse was engaged in a junior position in the London office of the Hongkong and Shanghai Bank. He was unsuited to it and found the work baffling and uncongenial.\",\n \"He was unsuited to it and found the work baffling and uncongenial. He later wrote a humorous account of his experiences at the bank, but at the time he longed for the end of each working day, when he could return to his rented lodgings in Chelsea and write.\",\n \"He later wrote a humorous account of his experiences at the bank, but at the time he longed for the end of each working day, when he could return to his rented lodgings in Chelsea and write. At first he concentrated, with some success, on serious articles about school sports for Public School Magazine.\",\n \"At first he concentrated, with some success, on serious articles about school sports for Public School Magazine. In November 1900 his first comic piece, \\\"Men Who Missed Their Own Weddings\\\", was accepted by Tit-Bits.\",\n \"In November 1900 his first comic piece, \\\"Men Who Missed Their Own Weddings\\\", was accepted by Tit-Bits. A new magazine for boys, The Captain, provided further well-paid opportunities, and during his two years at the bank, Wodehouse had eighty pieces published in a total of nine magazines.\",\n \"A new magazine for boys, The Captain, provided further well-paid opportunities, and during his two years at the bank, Wodehouse had eighty pieces published in a total of nine magazines. In 1901, with the help of a former Dulwich master, William Beach Thomas, Wodehouse secured an appointment—at first temporary and later permanent—writing for The Globes popular \\\"By the Way\\\" column.\",\n \"In 1901, with the help of a former Dulwich master, William Beach Thomas, Wodehouse secured an appointment—at first temporary and later permanent—writing for The Globes popular \\\"By the Way\\\" column. He held the post until 1909.\",\n \"He held the post until 1909. At around the same time his first novel was published—a school story called The Pothunters, serialised incomplete in Public School Magazine in early 1902, and issued in full in hardback in September. He resigned from the bank that month to devote himself to writing full-time.\",\n \"He resigned from the bank that month to devote himself to writing full-time. Between the publication of The Pothunters 1902 and that of Mike in 1909, Wodehouse wrote eight novels and co-wrote another two.\",\n \"Between the publication of The Pothunters 1902 and that of Mike in 1909, Wodehouse wrote eight novels and co-wrote another two. The critic R. D. B. French writes that, of Wodehouse's work from this period, almost all that deserves to survive is the school fiction.\",\n \"The critic R. D. B. French writes that, of Wodehouse's work from this period, almost all that deserves to survive is the school fiction. Looking back in the 1950s Wodehouse viewed these as his apprentice years: \\\"I was practically in swaddling clothes and it is extremely creditable to me that I was able to write at all.\\\"\",\n \"Looking back in the 1950s Wodehouse viewed these as his apprentice years: \\\"I was practically in swaddling clothes and it is extremely creditable to me that I was able to write at all.\\\" From his boyhood Wodehouse had been fascinated by America, which he conceived of as \\\"a land of romance\\\"; he \\\"yearned\\\" to visit the country, and by 1904 he had earned enough to do so.\",\n \"From his boyhood Wodehouse had been fascinated by America, which he conceived of as \\\"a land of romance\\\"; he \\\"yearned\\\" to visit the country, and by 1904 he had earned enough to do so. In April he sailed to New York, which he found greatly to his liking.\",\n \"In April he sailed to New York, which he found greatly to his liking. He noted in his diary: \\\"In New York gathering experience. Worth many guineas in the future but none for the moment.\\\"\",\n \"Worth many guineas in the future but none for the moment.\\\" This prediction proved correct: few British writers had first-hand experience of the US, and his articles about life in New York brought him higher than usual fees.\",\n \"This prediction proved correct: few British writers had first-hand experience of the US, and his articles about life in New York brought him higher than usual fees. He later recalled that \\\"in 1904 anyone in the London writing world who had been to America was regarded with awe and looked upon as an authority on that terra incognita.... After that trip to New York I was a man who counted.... My income rose like a rocketing pheasant.\\\"\",\n \"He later recalled that \\\"in 1904 anyone in the London writing world who had been to America was regarded with awe and looked upon as an authority on that terra incognita.... After that trip to New York I was a man who counted.... My income rose like a rocketing pheasant.\\\" Wodehouse's other new venture in 1904 was writing for the stage.\",\n \"Wodehouse's other new venture in 1904 was writing for the stage. Towards the end of the year the librettist Owen Hall invited him to contribute an additional lyric for a musical comedy Sergeant Brue. Wodehouse had loved theatre since his first visit, aged thirteen, when Gilbert and Sullivan's Patience had made him \\\"drunk with ecstasy\\\".\",\n \"Wodehouse had loved theatre since his first visit, aged thirteen, when Gilbert and Sullivan's Patience had made him \\\"drunk with ecstasy\\\". His lyric for Hall, \\\"Put Me in My Little Cell\\\", was a Gilbertian number for a trio of comic crooks, with music by Frederick Rosse; it was well received and launched Wodehouse on a career as a theatre writer that spanned three decades.\",\n \"His lyric for Hall, \\\"Put Me in My Little Cell\\\", was a Gilbertian number for a trio of comic crooks, with music by Frederick Rosse; it was well received and launched Wodehouse on a career as a theatre writer that spanned three decades. Although it made little impact on its first publication, the 1906 novel Love Among the Chickens contained what French calls the author's first original comic creation: Stanley Featherstonehaugh Ukridge.\",\n \"Although it made little impact on its first publication, the 1906 novel Love Among the Chickens contained what French calls the author's first original comic creation: Stanley Featherstonehaugh Ukridge. The character, an amoral, bungling opportunist, is partly based on Wodehouse's Globe colleague Herbert Westbrook.\",\n \"The character, an amoral, bungling opportunist, is partly based on Wodehouse's Globe colleague Herbert Westbrook. The two collaborated between 1907 and 1913 on two books, two music hall sketches, and a play, Brother Alfred. Wodehouse would return to the character in short stories over the next six decades.\",\n \"Wodehouse would return to the character in short stories over the next six decades. In early 1906 the actor-manager Seymour Hicks invited Wodehouse to become resident lyricist at the Aldwych Theatre, to add topical verses to newly imported or long-running shows. Hicks had already recruited the young Jerome Kern to write the music for such songs.\",\n \"Hicks had already recruited the young Jerome Kern to write the music for such songs. The first Kern-Wodehouse collaboration, a comic number for The Beauty of Bath titled \\\"Mr [Joseph] Chamberlain\\\", was a show-stopper and was briefly the most popular song in London.\",\n \"The first Kern-Wodehouse collaboration, a comic number for The Beauty of Bath titled \\\"Mr [Joseph] Chamberlain\\\", was a show-stopper and was briefly the most popular song in London. Psmith, Blandings, Wooster and Jeeves: 1908–1915 Wodehouse's early period as a writer came to an end in 1908 with the serialisation of The Lost Lambs, published the following year in book form as the second half of the novel Mike.\",\n \"Psmith, Blandings, Wooster and Jeeves: 1908–1915 Wodehouse's early period as a writer came to an end in 1908 with the serialisation of The Lost Lambs, published the following year in book form as the second half of the novel Mike. The work begins as a conventional school story, but Wodehouse introduces a new and strikingly original character, Psmith, whose creation both Evelyn Waugh and George Orwell regarded as a watershed in Wodehouse's development.\",\n \"The work begins as a conventional school story, but Wodehouse introduces a new and strikingly original character, Psmith, whose creation both Evelyn Waugh and George Orwell regarded as a watershed in Wodehouse's development. Wodehouse said that he based Psmith on the hotelier and impresario Rupert D'Oyly Carte—\\\"the only thing in my literary career which was handed to me on a silver plate with watercress around it\\\".\",\n \"Wodehouse said that he based Psmith on the hotelier and impresario Rupert D'Oyly Carte—\\\"the only thing in my literary career which was handed to me on a silver plate with watercress around it\\\". Wodehouse wrote in the 1970s that a cousin of his who had been at school with Carte told him of the latter's monocle, studied suavity, and stateliness of speech, all of which Wodehouse adopted for his new character.\",\n \"Wodehouse wrote in the 1970s that a cousin of his who had been at school with Carte told him of the latter's monocle, studied suavity, and stateliness of speech, all of which Wodehouse adopted for his new character. Psmith featured in three more novels: Psmith in the City (1910), a burlesque of banking; Psmith, Journalist (1915) set in New York; and Leave It to Psmith (1923), set at Blandings Castle.\",\n \"Psmith featured in three more novels: Psmith in the City (1910), a burlesque of banking; Psmith, Journalist (1915) set in New York; and Leave It to Psmith (1923), set at Blandings Castle. In May 1909 Wodehouse made his second visit to New York, where he sold two short stories to Cosmopolitan and Collier's for a total of $500, a much higher fee than he had commanded previously.\",\n \"In May 1909 Wodehouse made his second visit to New York, where he sold two short stories to Cosmopolitan and Collier's for a total of $500, a much higher fee than he had commanded previously. He resigned from The Globe and stayed in New York for nearly a year.\",\n \"He resigned from The Globe and stayed in New York for nearly a year. He sold many more stories, but none of the American publications offered a permanent relationship and guaranteed income. Wodehouse returned to England in late 1910, rejoining The Globe and also contributing regularly to The Strand Magazine.\",\n \"Wodehouse returned to England in late 1910, rejoining The Globe and also contributing regularly to The Strand Magazine. Between then and the outbreak of the First World War in 1914 he revisited America frequently. Wodehouse was in New York when the war began.\",\n \"Wodehouse was in New York when the war began. Ineligible for military service because of his poor eyesight, he remained in the US throughout the war, detached from the conflict in Europe and absorbed in his theatrical and literary concerns. In September 1914 he married Ethel May Wayman, née Newton (1885–1984), an English widow.\",\n \"In September 1914 he married Ethel May Wayman, née Newton (1885–1984), an English widow. The marriage proved happy and lifelong. Ethel's personality was in contrast with her husband's: he was shy and impractical; she was gregarious, decisive and well organised.\",\n \"Ethel's personality was in contrast with her husband's: he was shy and impractical; she was gregarious, decisive and well organised. In Sproat's phrase, she \\\"took charge of Wodehouse's life and made certain that he had the peace and quiet he needed to write\\\".\",\n \"In Sproat's phrase, she \\\"took charge of Wodehouse's life and made certain that he had the peace and quiet he needed to write\\\". There were no children of the marriage, but Wodehouse came to love Ethel's daughter Leonora (1905–1944) and legally adopted her.\",\n \"There were no children of the marriage, but Wodehouse came to love Ethel's daughter Leonora (1905–1944) and legally adopted her. Wodehouse experimented with different genres of fiction in these years; Psmith, Journalist, mixing comedy with social comment on slum landlords and racketeers, was published in 1915.\",\n \"Wodehouse experimented with different genres of fiction in these years; Psmith, Journalist, mixing comedy with social comment on slum landlords and racketeers, was published in 1915. In the same year The Saturday Evening Post paid $3,500 to serialise Something New, the first of what became a series of novels set at Blandings Castle.\",\n \"In the same year The Saturday Evening Post paid $3,500 to serialise Something New, the first of what became a series of novels set at Blandings Castle. It was published in hardback in the US and the UK in the same year (the British edition being retitled Something Fresh).\",\n \"It was published in hardback in the US and the UK in the same year (the British edition being retitled Something Fresh). It was Wodehouse's first farcical novel; it was also his first best-seller, and although his later books included some gentler, lightly sentimental stories, it was as a farceur that he became known.\",\n \"It was Wodehouse's first farcical novel; it was also his first best-seller, and although his later books included some gentler, lightly sentimental stories, it was as a farceur that he became known. Later in the same year \\\"Extricating Young Gussie\\\", the first story about Bertie and Jeeves, was published.\",\n \"Later in the same year \\\"Extricating Young Gussie\\\", the first story about Bertie and Jeeves, was published. These stories introduced two sets of characters about whom Wodehouse wrote for the rest of his life.\",\n \"These stories introduced two sets of characters about whom Wodehouse wrote for the rest of his life. The Blandings Castle stories, set in an English stately home, depict the attempts of the placid Lord Emsworth to evade the many distractions around him, which include successive pairs of young lovers, the machinations of his exuberant brother Galahad, the demands of his domineering sisters and super-efficient secretaries, and anything detrimental to his prize sow, the Empress of Blandings.\",\n \"The Blandings Castle stories, set in an English stately home, depict the attempts of the placid Lord Emsworth to evade the many distractions around him, which include successive pairs of young lovers, the machinations of his exuberant brother Galahad, the demands of his domineering sisters and super-efficient secretaries, and anything detrimental to his prize sow, the Empress of Blandings. The Bertie and Jeeves stories feature an amiable young man-about-town, regularly rescued from the consequences of his idiocy by the benign interference of his valet.\",\n \"The Bertie and Jeeves stories feature an amiable young man-about-town, regularly rescued from the consequences of his idiocy by the benign interference of his valet. Broadway: 1915–1919 A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator.\",\n \"Broadway: 1915–1919 A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator. Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York.\",\n \"Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York. The show was successful, but they thought the song lyrics weak and invited Wodehouse to join them on its successor. This was Miss Springtime (1916), which ran for 227 performances—a good run by the standards of the day.\",\n \"This was Miss Springtime (1916), which ran for 227 performances—a good run by the standards of the day. The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917–18) and Oh, Lady! Lady!!\",\n \"Lady!! Lady!! (1918), and Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin.\",\n \"In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin. Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies.\",\n \"Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies. Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do.\",\n \"Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do. Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical.\",\n \"Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical. In the Grove Dictionary of American Music Larry Stempel writes, \\\"By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy.\\\"\",\n \"In the Grove Dictionary of American Music Larry Stempel writes, \\\"By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy.\\\" The theatre writer Gerald Bordman calls Wodehouse \\\"the most observant, literate, and witty lyricist of his day\\\".\",\n \"The theatre writer Gerald Bordman calls Wodehouse \\\"the most observant, literate, and witty lyricist of his day\\\". The composer Richard Rodgers wrote, \\\"Before Larry Hart, only P.G. Wodehouse had made any real assault on the intelligence of the song-listening public.\\\"\",\n \"Wodehouse had made any real assault on the intelligence of the song-listening public.\\\" 1920s In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones.\",\n \"1920s In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones. Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest.\",\n \"Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest. Various other young men-about-town appeared in short stories about members of the Drones Club.\",\n \"Various other young men-about-town appeared in short stories about members of the Drones Club. The Wodehouses returned to England, where they had a house in London for some years, but Wodehouse continued to cross the Atlantic frequently, spending substantial periods in New York. He continued to work in the theatre.\",\n \"He continued to work in the theatre. During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York).\",\n \"During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York). He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnár, and A Damsel in Distress (1928), a dramatisation of his 1919 novel.\",\n \"He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnár, and A Damsel in Distress (1928), a dramatisation of his 1919 novel. Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods.\",\n \"Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods. Donaldson lists among those with whom he was on friendly terms writers including A. A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith Jr., Heather Thatcher and Dorothy Dickson.\",\n \"A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith Jr., Heather Thatcher and Dorothy Dickson. Hollywood: 1929–1931 There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name.\",\n \"Hollywood: 1929–1931 There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name. Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM).\",\n \"Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM). Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week.\",\n \"Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week. This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929.\",\n \"This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929. The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories.\",\n \"The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories. He commented, \\\"It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary.\\\"\",\n \"He commented, \\\"It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary.\\\" Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used.\",\n \"Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used. In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was \\\"as close to a success as Wodehouse was to have at MGM.\",\n \"In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was \\\"as close to a success as Wodehouse was to have at MGM. His only other credits were minimal, and the other projects he worked on were not produced.\\\"\",\n \"His only other credits were minimal, and the other projects he worked on were not produced.\\\" Wodehouse's contract ended after a year and was not renewed. At MGM's request, he gave an interview to The Los Angeles Times.\",\n \"At MGM's request, he gave an interview to The Los Angeles Times. Wodehouse was described by Herbert Warren Wind as \\\"politically naive [and] fundamentally unworldly\\\", and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent.\",\n \"Wodehouse was described by Herbert Warren Wind as \\\"politically naive [and] fundamentally unworldly\\\", and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent. The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry.\",\n \"The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry. Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been \\\"a storm in a teacup\\\", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable.\",\n \"Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been \\\"a storm in a teacup\\\", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable. Wind's view of Wodehouse's naïveté is not universally held.\",\n \"Wind's view of Wodehouse's naïveté is not universally held. Biographers including Donaldson, McCrum and Phelps suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute.\",\n \"Biographers including Donaldson, McCrum and Phelps suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute. He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire.\",\n \"He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire. Best-seller: 1930s During the 1930s Wodehouse's theatrical work tailed off.\",\n \"Best-seller: 1930s During the 1930s Wodehouse's theatrical work tailed off. He wrote or adapted four plays for the West End; Leave it to Psmith (1930), which he adapted in collaboration with Ian Hay, was the only one to have a long run.\",\n \"He wrote or adapted four plays for the West End; Leave it to Psmith (1930), which he adapted in collaboration with Ian Hay, was the only one to have a long run. The reviewer in The Manchester Guardian praised the play, but commented: \\\"It is Mr Wodehouse's own inimitable narrative comments and descriptions in his own person of the antics of his puppets that one misses.\",\n \"The reviewer in The Manchester Guardian praised the play, but commented: \\\"It is Mr Wodehouse's own inimitable narrative comments and descriptions in his own person of the antics of his puppets that one misses. They cannot be got into a play and they are at least half the fun of the novels.\\\"\",\n \"They cannot be got into a play and they are at least half the fun of the novels.\\\" In 1934 Wodehouse collaborated with Bolton on the book for Cole Porter's Anything Goes (Porter wrote his own lyrics), but at the last minute their version was almost entirely rewritten by others at the instigation of the producer, who disliked the original script.\",\n \"In 1934 Wodehouse collaborated with Bolton on the book for Cole Porter's Anything Goes (Porter wrote his own lyrics), but at the last minute their version was almost entirely rewritten by others at the instigation of the producer, who disliked the original script. Concentrating on writing novels and short stories, Wodehouse reached the peak of his productivity in this decade, averaging two books each year, and grossing an annual £100,000.\",\n \"Concentrating on writing novels and short stories, Wodehouse reached the peak of his productivity in this decade, averaging two books each year, and grossing an annual £100,000. His practice of dividing his time between Britain and America caused Wodehouse difficulties with the tax authorities of both countries.\",\n \"His practice of dividing his time between Britain and America caused Wodehouse difficulties with the tax authorities of both countries. Both the UK Inland Revenue and the US Internal Revenue Service sought to tax him as a resident.\",\n \"Both the UK Inland Revenue and the US Internal Revenue Service sought to tax him as a resident. The matter was settled after lengthy negotiations, but the Wodehouses decided to change their residential status beyond doubt by moving to France, where they bought a house near Le Touquet in the north.\",\n \"The matter was settled after lengthy negotiations, but the Wodehouses decided to change their residential status beyond doubt by moving to France, where they bought a house near Le Touquet in the north. In 1935 Wodehouse created the last of his regular cast of principal characters, Lord Ickenham, otherwise known as Uncle Fred, who, in Usborne's words, \\\"leads the dance in four novels and a short story... a whirring dynamo of misrule\\\".\",\n \"In 1935 Wodehouse created the last of his regular cast of principal characters, Lord Ickenham, otherwise known as Uncle Fred, who, in Usborne's words, \\\"leads the dance in four novels and a short story... a whirring dynamo of misrule\\\". His other books from the decade include Right Ho, Jeeves, which Donaldson judged his best work, Uncle Fred in the Springtime, which the writer Bernard Levin considered the best, and Blandings Castle, which contains \\\"Lord Emsworth and the Girl Friend\\\", which Rudyard Kipling thought \\\"one of the most perfect short stories I have ever read\\\".\",\n \"His other books from the decade include Right Ho, Jeeves, which Donaldson judged his best work, Uncle Fred in the Springtime, which the writer Bernard Levin considered the best, and Blandings Castle, which contains \\\"Lord Emsworth and the Girl Friend\\\", which Rudyard Kipling thought \\\"one of the most perfect short stories I have ever read\\\". Other leading literary figures who admired Wodehouse were A. E. Housman, Max Beerbohm and Hilaire Belloc; on the radio and in print Belloc called Wodehouse \\\"the best writer of our time: the best living writer of English... the head of my profession\\\".\",\n \"Other leading literary figures who admired Wodehouse were A. E. Housman, Max Beerbohm and Hilaire Belloc; on the radio and in print Belloc called Wodehouse \\\"the best writer of our time: the best living writer of English... the head of my profession\\\". Wodehouse regarded Belloc's plaudit as \\\"a gag, to get a rise out of serious-minded authors whom he disliked\\\".\",\n \"Wodehouse regarded Belloc's plaudit as \\\"a gag, to get a rise out of serious-minded authors whom he disliked\\\". Wodehouse was never sure that his books had literary merit as well as popular appeal, and, Donaldson suggests, must have been overwhelmed when the University of Oxford conferred an honorary doctorate of letters on him in June 1939.\",\n \"Wodehouse was never sure that his books had literary merit as well as popular appeal, and, Donaldson suggests, must have been overwhelmed when the University of Oxford conferred an honorary doctorate of letters on him in June 1939. His visit to England for the awarding ceremony was the last time he set foot in his native land.\",\n \"His visit to England for the awarding ceremony was the last time he set foot in his native land. Second World War: internment and broadcasts At the start of the Second World War Wodehouse and his wife remained at their Le Touquet house, where, during the Phoney War, he worked on Joy in the Morning.\",\n \"Second World War: internment and broadcasts At the start of the Second World War Wodehouse and his wife remained at their Le Touquet house, where, during the Phoney War, he worked on Joy in the Morning. With the advance of the Germans, the nearby Royal Air Force base withdrew; Wodehouse was offered the sole spare seat in one of the fighter aircraft, but he turned down the opportunity as it would have meant leaving behind Ethel and their dog.\",\n \"With the advance of the Germans, the nearby Royal Air Force base withdrew; Wodehouse was offered the sole spare seat in one of the fighter aircraft, but he turned down the opportunity as it would have meant leaving behind Ethel and their dog. On 21 May 1940, with German troops advancing through northern France, the Wodehouses decided to drive to Portugal and fly from there to the US.\",\n \"On 21 May 1940, with German troops advancing through northern France, the Wodehouses decided to drive to Portugal and fly from there to the US. Two miles from home their car broke down, so they returned and borrowed a car from a neighbour; with the routes blocked with refugees, they returned home again.\",\n \"Two miles from home their car broke down, so they returned and borrowed a car from a neighbour; with the routes blocked with refugees, they returned home again. The Germans occupied Le Touquet on 22 May 1940 and Wodehouse had to report to the authorities daily.\",\n \"The Germans occupied Le Touquet on 22 May 1940 and Wodehouse had to report to the authorities daily. After two months of occupation the Germans interned all male enemy nationals under 60, and Wodehouse was sent to a former prison in Loos, a suburb of Lille, on 21 July; Ethel remained in Le Touquet.\",\n \"After two months of occupation the Germans interned all male enemy nationals under 60, and Wodehouse was sent to a former prison in Loos, a suburb of Lille, on 21 July; Ethel remained in Le Touquet. The internees were placed four to a cell, each of which had been designed for one man.\",\n \"The internees were placed four to a cell, each of which had been designed for one man. One bed was available per cell, which was made available to the eldest man—not Wodehouse, who slept on the granite floor.\",\n \"One bed was available per cell, which was made available to the eldest man—not Wodehouse, who slept on the granite floor. The prisoners were not kept long in Loos before they were transported in cattle trucks to a former barracks in Liège, Belgium, which was run as a prison by the SS.\",\n \"The prisoners were not kept long in Loos before they were transported in cattle trucks to a former barracks in Liège, Belgium, which was run as a prison by the SS. After a week the men were transferred to Huy in Liège, where they were incarcerated in the local citadel.\",\n \"After a week the men were transferred to Huy in Liège, where they were incarcerated in the local citadel. They remained there until September 1940, when they were transported to Tost in Upper Silesia (then Germany, now Toszek in Poland).\",\n \"They remained there until September 1940, when they were transported to Tost in Upper Silesia (then Germany, now Toszek in Poland). Wodehouse's family and friends had not had any news of his location after the fall of France, but an article from an Associated Press reporter who had visited Tost in December 1940 led to pressure on the German authorities to release the novelist.\",\n \"Wodehouse's family and friends had not had any news of his location after the fall of France, but an article from an Associated Press reporter who had visited Tost in December 1940 led to pressure on the German authorities to release the novelist. This included a petition from influential people in the US; Senator W. Warren Barbour presented it to the German ambassador.\",\n \"This included a petition from influential people in the US; Senator W. Warren Barbour presented it to the German ambassador. Although his captors refused to release him, Wodehouse was provided with a typewriter and, to pass the time, he wrote Money in the Bank.\",\n \"Although his captors refused to release him, Wodehouse was provided with a typewriter and, to pass the time, he wrote Money in the Bank. Throughout his time in Tost, he sent postcards to his US literary agent asking for $5 to be sent to various people in Canada, mentioning his name.\",\n \"Throughout his time in Tost, he sent postcards to his US literary agent asking for $5 to be sent to various people in Canada, mentioning his name. These were the families of Canadian prisoners of war, and the news from Wodehouse was the first indication that their sons were alive and well.\",\n \"These were the families of Canadian prisoners of war, and the news from Wodehouse was the first indication that their sons were alive and well. Wodehouse risked severe punishment for the communication, but managed to evade the German censor.\",\n \"Wodehouse risked severe punishment for the communication, but managed to evade the German censor. On 21 June 1941, while he was in the middle of playing a game of cricket, Wodehouse received a visit from two members of the Gestapo.\",\n \"On 21 June 1941, while he was in the middle of playing a game of cricket, Wodehouse received a visit from two members of the Gestapo. He was given ten minutes to pack his things before he was taken to the Hotel Adlon, a top luxury hotel in Berlin.\",\n \"He was given ten minutes to pack his things before he was taken to the Hotel Adlon, a top luxury hotel in Berlin. He stayed there at his own expense; royalties from the German editions of his books had been put into a special frozen bank account at the outset of the war, and Wodehouse was permitted to draw upon this money he had earned while staying in Berlin.\",\n \"He stayed there at his own expense; royalties from the German editions of his books had been put into a special frozen bank account at the outset of the war, and Wodehouse was permitted to draw upon this money he had earned while staying in Berlin. He was thus released from internment a few months before his sixtieth birthday—the age at which civilian internees were released by the Nazis.\",\n \"He was thus released from internment a few months before his sixtieth birthday—the age at which civilian internees were released by the Nazis. Shortly afterwards Wodehouse was, in the words of Phelps, \\\"cleverly trapped\\\" into making five broadcasts to the US via German radio, with the Berlin-based correspondent of the Columbia Broadcasting System.\",\n \"Shortly afterwards Wodehouse was, in the words of Phelps, \\\"cleverly trapped\\\" into making five broadcasts to the US via German radio, with the Berlin-based correspondent of the Columbia Broadcasting System. The broadcasts—aired on 28 June, 9, 23 and 30 July and 6 August—were titled How to be an Internee Without Previous Training, and comprised humorous anecdotes about Wodehouse's experiences as a prisoner, including some gentle mocking of his captors.\",\n \"The broadcasts—aired on 28 June, 9, 23 and 30 July and 6 August—were titled How to be an Internee Without Previous Training, and comprised humorous anecdotes about Wodehouse's experiences as a prisoner, including some gentle mocking of his captors. The German propaganda ministry arranged for the recordings to be broadcast to Britain in August.\",\n \"The German propaganda ministry arranged for the recordings to be broadcast to Britain in August. The day after Wodehouse recorded his final programme, Ethel joined him in Berlin, having sold most of her jewellery to pay for the journey.\",\n \"The day after Wodehouse recorded his final programme, Ethel joined him in Berlin, having sold most of her jewellery to pay for the journey. Aftermath: reactions and investigation The reaction in Britain to Wodehouse's broadcasts was hostile, and he was \\\"reviled ... as a traitor, collaborator, Nazi propagandist, and a coward\\\", although, Phelps observes, many of those who decried his actions had not heard the content of the programmes.\",\n \"Aftermath: reactions and investigation The reaction in Britain to Wodehouse's broadcasts was hostile, and he was \\\"reviled ... as a traitor, collaborator, Nazi propagandist, and a coward\\\", although, Phelps observes, many of those who decried his actions had not heard the content of the programmes. A front-page article in The Daily Mirror stated that Wodehouse \\\"lived luxuriously because Britain laughed with him, but when the laughter was out of his country's heart, ... [he] was not ready to share her suffering.\",\n \"A front-page article in The Daily Mirror stated that Wodehouse \\\"lived luxuriously because Britain laughed with him, but when the laughter was out of his country's heart, ... [he] was not ready to share her suffering. He hadn't the guts ... even to stick it out in the internment camp.\\\"\",\n \"He hadn't the guts ... even to stick it out in the internment camp.\\\" In the House of Commons Anthony Eden, the Foreign Secretary, regretted Wodehouse's actions. Several libraries removed Wodehouse novels from their shelves.\",\n \"Several libraries removed Wodehouse novels from their shelves. On 15 July the journalist William Connor, under his pen name Cassandra, broadcast a postscript to the news programme railing against Wodehouse. According to The Times, the broadcast \\\"provoked a storm of complaint ... from listeners all over the country\\\".\",\n \"According to The Times, the broadcast \\\"provoked a storm of complaint ... from listeners all over the country\\\". Wodehouse's biographer, Joseph Connolly, thinks the broadcast \\\"inaccurate, spiteful and slanderous\\\"; Phelps calls it \\\"probably the most vituperative attack on an individual ever heard on British radio\\\".\",\n \"Wodehouse's biographer, Joseph Connolly, thinks the broadcast \\\"inaccurate, spiteful and slanderous\\\"; Phelps calls it \\\"probably the most vituperative attack on an individual ever heard on British radio\\\". The broadcast was made at the direct instruction of Duff Cooper, the Minister of Information, who overruled strong protests made by the BBC against the decision to air the programme.\",\n \"The broadcast was made at the direct instruction of Duff Cooper, the Minister of Information, who overruled strong protests made by the BBC against the decision to air the programme. Numerous letters appeared in the British press, both supporting and criticising Wodehouse.\",\n \"Numerous letters appeared in the British press, both supporting and criticising Wodehouse. The letters page of The Daily Telegraph became a focus for censuring Wodehouse, including one from Wodehouse's friend, ; a reply from their fellow author Compton Mackenzie in defence of Wodehouse was not published because the editor claimed a lack of space.\",\n \"The letters page of The Daily Telegraph became a focus for censuring Wodehouse, including one from Wodehouse's friend, ; a reply from their fellow author Compton Mackenzie in defence of Wodehouse was not published because the editor claimed a lack of space. Most of those defending Wodehouse against accusations of disloyalty, including Sax Rohmer, Dorothy L. Sayers and Gilbert Frankau, conceded that he had acted stupidly.\",\n \"Most of those defending Wodehouse against accusations of disloyalty, including Sax Rohmer, Dorothy L. Sayers and Gilbert Frankau, conceded that he had acted stupidly. Some members of the public wrote to the newspapers to say that the full facts were not yet known and a fair judgment could not be made until they were.\",\n \"Some members of the public wrote to the newspapers to say that the full facts were not yet known and a fair judgment could not be made until they were. The management of the BBC, who considered Wodehouse's actions no worse than \\\"ill advised\\\", pointed out to Cooper that there was no evidence at that point whether Wodehouse had acted voluntarily or under compulsion.\",\n \"The management of the BBC, who considered Wodehouse's actions no worse than \\\"ill advised\\\", pointed out to Cooper that there was no evidence at that point whether Wodehouse had acted voluntarily or under compulsion. When Wodehouse heard of the furore the broadcasts had caused, he contacted the Foreign Office—through the Swiss embassy in Berlin—to explain his actions, and attempted to return home via neutral countries, but the German authorities refused to let him leave.\",\n \"When Wodehouse heard of the furore the broadcasts had caused, he contacted the Foreign Office—through the Swiss embassy in Berlin—to explain his actions, and attempted to return home via neutral countries, but the German authorities refused to let him leave. In Performing Flea, a 1953 collection of letters, Wodehouse wrote, \\\"Of course I ought to have had the sense to see that it was a loony thing to do to use the German radio for even the most harmless stuff, but I didn't.\",\n \"In Performing Flea, a 1953 collection of letters, Wodehouse wrote, \\\"Of course I ought to have had the sense to see that it was a loony thing to do to use the German radio for even the most harmless stuff, but I didn't. I suppose prison life saps the intellect\\\".\",\n \"I suppose prison life saps the intellect\\\". The reaction in America was mixed: the left-leaning publication PM accused Wodehouse of \\\"play[ing] Jeeves to the Nazis\\\", but the Department of War used the interviews as an ideal representation of anti-Nazi propaganda.\",\n \"The reaction in America was mixed: the left-leaning publication PM accused Wodehouse of \\\"play[ing] Jeeves to the Nazis\\\", but the Department of War used the interviews as an ideal representation of anti-Nazi propaganda. The Wodehouses remained in Germany until September 1943, when, because of the Allied bombings, they were allowed to move back to Paris.\",\n \"The Wodehouses remained in Germany until September 1943, when, because of the Allied bombings, they were allowed to move back to Paris. They were living there when the city was liberated on 25 August 1944; Wodehouse reported to the American authorities the following day, asking them to inform the British of his whereabouts.\",\n \"They were living there when the city was liberated on 25 August 1944; Wodehouse reported to the American authorities the following day, asking them to inform the British of his whereabouts. He was subsequently visited by Malcolm Muggeridge, recently arrived in Paris as an intelligence officer with MI6.\",\n \"He was subsequently visited by Malcolm Muggeridge, recently arrived in Paris as an intelligence officer with MI6. The young officer quickly came to like Wodehouse and considered the question of treasonable behaviour as \\\"ludicrous\\\"; he summed up the writer as \\\"ill-fitted to live in an age of ideological conflict\\\".\",\n \"The young officer quickly came to like Wodehouse and considered the question of treasonable behaviour as \\\"ludicrous\\\"; he summed up the writer as \\\"ill-fitted to live in an age of ideological conflict\\\". On 9 September Wodehouse was visited by an MI5 officer and former barrister, Major Edward Cussen, who formally investigated him, a process that stretched over four days.\",\n \"On 9 September Wodehouse was visited by an MI5 officer and former barrister, Major Edward Cussen, who formally investigated him, a process that stretched over four days. On 28 September Cussen filed his report, which states that in regard to the broadcasts, Wodehouse's behaviour \\\"has been unwise\\\", but advised against further action.\",\n \"On 28 September Cussen filed his report, which states that in regard to the broadcasts, Wodehouse's behaviour \\\"has been unwise\\\", but advised against further action. On 23 November Theobald Matthew, the Director of Public Prosecutions, decided there was no evidence to justify prosecuting Wodehouse.\",\n \"On 23 November Theobald Matthew, the Director of Public Prosecutions, decided there was no evidence to justify prosecuting Wodehouse. In November 1944 Duff Cooper was appointed British ambassador to France and was provided accommodation at the Hôtel Le Bristol, where the Wodehouses were living.\",\n \"In November 1944 Duff Cooper was appointed British ambassador to France and was provided accommodation at the Hôtel Le Bristol, where the Wodehouses were living. Cooper complained to the French authorities, and the couple were moved to a different hotel. They were subsequently arrested by French police and placed under preventive detention, despite no charges being presented.\",\n \"They were subsequently arrested by French police and placed under preventive detention, despite no charges being presented. When Muggeridge tracked them down later, he managed to get Ethel released straight away and, four days later, ensured that the French authorities declared Wodehouse unwell and put him in a nearby hospital, which was more comfortable than where they had been detained.\",\n \"When Muggeridge tracked them down later, he managed to get Ethel released straight away and, four days later, ensured that the French authorities declared Wodehouse unwell and put him in a nearby hospital, which was more comfortable than where they had been detained. While in this hospital, Wodehouse worked on his novel Uncle Dynamite.\",\n \"While in this hospital, Wodehouse worked on his novel Uncle Dynamite. While still detained by the French, Wodehouse was again mentioned in questions in the House of Commons in December 1944 when MPs wondered if the French authorities could repatriate him to stand trial.\",\n \"While still detained by the French, Wodehouse was again mentioned in questions in the House of Commons in December 1944 when MPs wondered if the French authorities could repatriate him to stand trial. Eden stated that the \\\"matter has been gone into, and, according to the advice given, there are no grounds upon which we could take action\\\".\",\n \"Eden stated that the \\\"matter has been gone into, and, according to the advice given, there are no grounds upon which we could take action\\\". Two months later, Orwell wrote the essay \\\"In Defence of P.G.\",\n \"Two months later, Orwell wrote the essay \\\"In Defence of P.G. Wodehouse\\\", where he stated that \\\"it is important to realise that the events of 1941 do not convict Wodehouse of anything worse than stupidity\\\".\",\n \"Wodehouse\\\", where he stated that \\\"it is important to realise that the events of 1941 do not convict Wodehouse of anything worse than stupidity\\\". Orwell's rationale was that Wodehouse's \\\"moral outlook has remained that of a public-school boy, and according to the public-school code, treachery in time of war is the most unforgivable of all the sins\\\", which was compounded by his \\\"complete lack—so far as one can judge from his printed works—of political awareness\\\".\",\n \"Orwell's rationale was that Wodehouse's \\\"moral outlook has remained that of a public-school boy, and according to the public-school code, treachery in time of war is the most unforgivable of all the sins\\\", which was compounded by his \\\"complete lack—so far as one can judge from his printed works—of political awareness\\\". On 15 January 1945 the French authorities released Wodehouse, but they did not inform him, until June 1946, that he would not face any official charges and was free to leave the country.\",\n \"On 15 January 1945 the French authorities released Wodehouse, but they did not inform him, until June 1946, that he would not face any official charges and was free to leave the country. American exile: 1946–1975 Having secured American visas in July 1946, the Wodehouses made preparations to return to New York.\",\n \"American exile: 1946–1975 Having secured American visas in July 1946, the Wodehouses made preparations to return to New York. They were delayed by Ethel's insistence on acquiring suitable new clothes and by Wodehouse's wish to finish writing his current novel, The Mating Season, in the peace of the French countryside.\",\n \"They were delayed by Ethel's insistence on acquiring suitable new clothes and by Wodehouse's wish to finish writing his current novel, The Mating Season, in the peace of the French countryside. In April 1947 they sailed to New York, where Wodehouse was relieved at the friendly reception he received from the large press contingent awaiting his arrival.\",\n \"In April 1947 they sailed to New York, where Wodehouse was relieved at the friendly reception he received from the large press contingent awaiting his arrival. Ethel secured a comfortable penthouse apartment in Manhattan's Upper East Side, but Wodehouse was not at ease. The New York that he had known before the war was much changed.\",\n \"The New York that he had known before the war was much changed. The magazines that had paid lavishly for his stories were in decline, and those that remained were not much interested in him.\",\n \"The magazines that had paid lavishly for his stories were in decline, and those that remained were not much interested in him. He was sounded out about writing for Broadway, but he was not at home in the post-war theatre; he had money problems, with large sums temporarily tied up in Britain, and for the first time in his career he had no ideas for a new novel.\",\n \"He was sounded out about writing for Broadway, but he was not at home in the post-war theatre; he had money problems, with large sums temporarily tied up in Britain, and for the first time in his career he had no ideas for a new novel. He did not complete one until 1951.\",\n \"He did not complete one until 1951. Wodehouse remained unsettled until he and Ethel left New York City for Long Island. Bolton and his wife lived in the prosperous hamlet of Remsenburg, part of the Southampton area of Long Island, east of Manhattan.\",\n \"Bolton and his wife lived in the prosperous hamlet of Remsenburg, part of the Southampton area of Long Island, east of Manhattan. Wodehouse stayed with them frequently, and in 1952 he and Ethel bought a house nearby. They lived at Remsenburg for the rest of their lives.\",\n \"They lived at Remsenburg for the rest of their lives. Between 1952 and 1975 he published more than twenty novels, as well as two collections of short stories, a heavily edited collection of his letters, a volume of memoirs, and a selection of his magazine articles. He continued to hanker after a revival of his theatrical career.\",\n \"He continued to hanker after a revival of his theatrical career. A 1959 off-Broadway revival of the 1917 Bolton-Wodehouse-Kern Leave It to Jane was a surprise hit, running for 928 performances, but his few post-war stage works, some in collaboration with Bolton, made little impression.\",\n \"A 1959 off-Broadway revival of the 1917 Bolton-Wodehouse-Kern Leave It to Jane was a surprise hit, running for 928 performances, but his few post-war stage works, some in collaboration with Bolton, made little impression. Although Ethel made a return visit to England in 1948 to shop and visit family and friends, Wodehouse never left America after his arrival in 1947.\",\n \"Although Ethel made a return visit to England in 1948 to shop and visit family and friends, Wodehouse never left America after his arrival in 1947. It was not until 1965 that the British government indicated privately that he could return without fear of legal proceedings, and by then he felt too old to make the journey.\",\n \"It was not until 1965 that the British government indicated privately that he could return without fear of legal proceedings, and by then he felt too old to make the journey. The biographers Benny Green and Robert McCrum both take the view that this exile benefited Wodehouse's writing, helping him to go on depicting an idealised England seen in his mind's eye, rather than as it actually was in the post-war decades.\",\n \"The biographers Benny Green and Robert McCrum both take the view that this exile benefited Wodehouse's writing, helping him to go on depicting an idealised England seen in his mind's eye, rather than as it actually was in the post-war decades. During their years in Long Island, the couple often took in stray animals and contributed substantial funds to a local animal shelter.\",\n \"During their years in Long Island, the couple often took in stray animals and contributed substantial funds to a local animal shelter. In 1955 Wodehouse became an American citizen, though he remained a British subject, and was therefore still eligible for UK state honours.\",\n \"In 1955 Wodehouse became an American citizen, though he remained a British subject, and was therefore still eligible for UK state honours. He was considered for the award of a knighthood three times from 1967, but the honour was twice blocked by British officials.\",\n \"He was considered for the award of a knighthood three times from 1967, but the honour was twice blocked by British officials. In 1974 the British prime minister, Harold Wilson, intervened to secure a knighthood (KBE) for Wodehouse, which was announced in the January 1975 New Year Honours list.\",\n \"In 1974 the British prime minister, Harold Wilson, intervened to secure a knighthood (KBE) for Wodehouse, which was announced in the January 1975 New Year Honours list. The Times commented that Wodehouse's honour signalled \\\"official forgiveness for his wartime indiscretion....\",\n \"The Times commented that Wodehouse's honour signalled \\\"official forgiveness for his wartime indiscretion.... It is late, but not too late, to take the sting out of that unhappy incident.\\\" The following month Wodehouse entered Southampton Hospital, Long Island, for treatment of a skin complaint.\",\n \"The following month Wodehouse entered Southampton Hospital, Long Island, for treatment of a skin complaint. While there, he suffered a heart attack and died on 14 February 1975 at the age of 93. He was buried at Remsenburg Presbyterian Church four days later.\",\n \"He was buried at Remsenburg Presbyterian Church four days later. Ethel outlived him by more than nine years; Leonora had predeceased him, dying suddenly in 1944.\",\n \"Ethel outlived him by more than nine years; Leonora had predeceased him, dying suddenly in 1944. Writing Technique and approach Before starting a book Wodehouse would write up to four hundred pages of notes bringing together an outline of the plot; he acknowledged that \\\"It's the plots that I find so hard to work out.\",\n \"Writing Technique and approach Before starting a book Wodehouse would write up to four hundred pages of notes bringing together an outline of the plot; he acknowledged that \\\"It's the plots that I find so hard to work out. It takes such a long time to work one out.\\\"\",\n \"It takes such a long time to work one out.\\\" He always completed the plot before working on specific character actions. For a novel the note-writing process could take up to two years, and he would usually have two or more novels in preparation simultaneously.\",\n \"For a novel the note-writing process could take up to two years, and he would usually have two or more novels in preparation simultaneously. After he had completed his notes, he would draw up a fuller scenario of about thirty thousand words, which ensured plot holes were avoided, and allowed for the dialogue to begin to develop.\",\n \"After he had completed his notes, he would draw up a fuller scenario of about thirty thousand words, which ensured plot holes were avoided, and allowed for the dialogue to begin to develop. When interviewed in 1975 he revealed that \\\"For a humorous novel you've got to have a scenario, and you've got to test it so that you know where the comedy comes in, where the situations come in ... splitting it up into scenes (you can make a scene of almost anything) and have as little stuff in between as possible.\\\"\",\n \"When interviewed in 1975 he revealed that \\\"For a humorous novel you've got to have a scenario, and you've got to test it so that you know where the comedy comes in, where the situations come in ... splitting it up into scenes (you can make a scene of almost anything) and have as little stuff in between as possible.\\\" He preferred working between 4 and 7 pm—but never after dinner—and would work seven days a week.\",\n \"He preferred working between 4 and 7 pm—but never after dinner—and would work seven days a week. In his younger years, he would write around two to three thousand words a day, although he slowed as he aged, so that in his nineties he would produce a thousand.\",\n \"In his younger years, he would write around two to three thousand words a day, although he slowed as he aged, so that in his nineties he would produce a thousand. The reduced speed in writing slowed his production of books: when younger he would produce a novel in about three months, while Bachelors Anonymous, published in 1973, took around six months.\",\n \"The reduced speed in writing slowed his production of books: when younger he would produce a novel in about three months, while Bachelors Anonymous, published in 1973, took around six months. Although studies of language production in normal healthy ageing show a marked decline from the mid-70s on, a study of Wodehouse's works did not find any evidence of a decline in linguistic ability with age.\",\n \"Although studies of language production in normal healthy ageing show a marked decline from the mid-70s on, a study of Wodehouse's works did not find any evidence of a decline in linguistic ability with age. Wodehouse believed that one of the factors that made his stories humorous was his view of life, and he stated that \\\"If you take life fairly easily, then you take a humorous view of things.\",\n \"Wodehouse believed that one of the factors that made his stories humorous was his view of life, and he stated that \\\"If you take life fairly easily, then you take a humorous view of things. It's probably because you were born that way.\\\"\",\n \"It's probably because you were born that way.\\\" He carried this view through into his writing, describing the approach as \\\"making the thing a sort of musical comedy without music, and ignoring real life altogether\\\".\",\n \"He carried this view through into his writing, describing the approach as \\\"making the thing a sort of musical comedy without music, and ignoring real life altogether\\\". The literary critic Edward L. Galligan considers Wodehouse's stories to show his mastery in adapting the form of the American musical comedy for his writings.\",\n \"The literary critic Edward L. Galligan considers Wodehouse's stories to show his mastery in adapting the form of the American musical comedy for his writings. Wodehouse would ensure that his first draft was as carefully and accurately done as possible, correcting and refining the prose as he wrote, and would then make another good copy, before proofreading again and then making a final copy for his publisher.\",\n \"Wodehouse would ensure that his first draft was as carefully and accurately done as possible, correcting and refining the prose as he wrote, and would then make another good copy, before proofreading again and then making a final copy for his publisher. Most of Wodehouse's canon is set in an undated period around the 1920s and 1930s.\",\n \"Most of Wodehouse's canon is set in an undated period around the 1920s and 1930s. The critic Anthony Lejeune describes the settings of Wodehouse's novels, such as the Drones Club and Blandings Castle, as \\\"a fairyland\\\".\",\n \"The critic Anthony Lejeune describes the settings of Wodehouse's novels, such as the Drones Club and Blandings Castle, as \\\"a fairyland\\\". Although some critics thought Wodehouse's fiction was based on a world that had never existed, Wodehouse affirmed that \\\"it did.\",\n \"Although some critics thought Wodehouse's fiction was based on a world that had never existed, Wodehouse affirmed that \\\"it did. It was going strong between the wars\\\", although he agreed that his version was to some extent \\\"a sort of artificial world of my own creation\\\".\",\n \"It was going strong between the wars\\\", although he agreed that his version was to some extent \\\"a sort of artificial world of my own creation\\\". The novels showed a largely unchanging world, regardless of when they were written, and only rarely—and mistakenly in McCrum's view—did Wodehouse allow modernity to intrude, as he did in the 1966 story \\\"Bingo Bans the Bomb\\\".\",\n \"The novels showed a largely unchanging world, regardless of when they were written, and only rarely—and mistakenly in McCrum's view—did Wodehouse allow modernity to intrude, as he did in the 1966 story \\\"Bingo Bans the Bomb\\\". When dealing with the dialogue in his novels, Wodehouse would consider the book's characters as if they were actors in a play, ensuring that the main roles were kept suitably employed throughout the storyline, which must be strong: \\\"If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them.\\\"\",\n \"When dealing with the dialogue in his novels, Wodehouse would consider the book's characters as if they were actors in a play, ensuring that the main roles were kept suitably employed throughout the storyline, which must be strong: \\\"If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them.\\\" Many of Wodehouse's parts were stereotypes, and he acknowledged that \\\"a real character in one of my books sticks out like a sore thumb.\\\"\",\n \"Many of Wodehouse's parts were stereotypes, and he acknowledged that \\\"a real character in one of my books sticks out like a sore thumb.\\\" The publisher Michael Joseph identifies that even within the stereotypes Wodehouse understood human nature, and therefore \\\"shares with [Charles] Dickens and Charles Chaplin the ability to present the comic resistance of the individual against those superior forces to which we are all subject\\\".\",\n \"The publisher Michael Joseph identifies that even within the stereotypes Wodehouse understood human nature, and therefore \\\"shares with [Charles] Dickens and Charles Chaplin the ability to present the comic resistance of the individual against those superior forces to which we are all subject\\\". Much of Wodehouse's use of slang terms reflects the influence of his time at school in Dulwich, and partly reflects Edwardian slang.\",\n \"Much of Wodehouse's use of slang terms reflects the influence of his time at school in Dulwich, and partly reflects Edwardian slang. As a young man he enjoyed the literary works of Arthur Conan Doyle and Jerome K. Jerome, and the operatic works of Gilbert and Sullivan. Wodehouse quotes from and alludes to numerous poets throughout his work.\",\n \"Wodehouse quotes from and alludes to numerous poets throughout his work. The scholar Clarke Olney lists those quoted, including Milton, Byron, Longfellow, Coleridge, Swinburne, Tennyson, Wordsworth and Shakespeare. Another favoured source was the King James Bible.\",\n \"Another favoured source was the King James Bible. Language In 1941 the Concise Cambridge History of English Literature opined that Wodehouse had \\\"a gift for highly original aptness of phrase that almost suggests a poet struggling for release among the wild extravagances of farce\\\", while McCrum thinks that Wodehouse manages to combine \\\"high farce with the inverted poetry of his mature comic style\\\", particularly in The Code of the Woosters; the novelist Anthony Powell believes Wodehouse to be a \\\"comic poet\\\".\",\n \"Language In 1941 the Concise Cambridge History of English Literature opined that Wodehouse had \\\"a gift for highly original aptness of phrase that almost suggests a poet struggling for release among the wild extravagances of farce\\\", while McCrum thinks that Wodehouse manages to combine \\\"high farce with the inverted poetry of his mature comic style\\\", particularly in The Code of the Woosters; the novelist Anthony Powell believes Wodehouse to be a \\\"comic poet\\\". Robert A.\",\n \"Robert A. Robert A. Hall Jr., in his study of Wodehouse's style and technique, describes the author as a master of prose, an opinion also shared by Levin, who considers Wodehouse \\\"one of the finest and purest writers of English prose\\\".\",\n \"Hall Jr., in his study of Wodehouse's style and technique, describes the author as a master of prose, an opinion also shared by Levin, who considers Wodehouse \\\"one of the finest and purest writers of English prose\\\". Hall identifies several techniques used by Wodehouse to achieve comic effect, including the creation of new words through adding or removing prefixes and suffixes, so when Pongo Twistleton removes the housemaid Elsie Bean from a cupboard, Wodehouse writes that the character \\\"de-Beaned the cupboard\\\".\",\n \"Hall identifies several techniques used by Wodehouse to achieve comic effect, including the creation of new words through adding or removing prefixes and suffixes, so when Pongo Twistleton removes the housemaid Elsie Bean from a cupboard, Wodehouse writes that the character \\\"de-Beaned the cupboard\\\". Wodehouse created new words by splitting others in two, thus Wodehouse divides \\\"hobnobbing\\\" when he writes: \\\"To offer a housemaid a cigarette is not hobbing.\",\n \"Wodehouse created new words by splitting others in two, thus Wodehouse divides \\\"hobnobbing\\\" when he writes: \\\"To offer a housemaid a cigarette is not hobbing. Nor, when you light it for her, does that constitute nobbing.\\\"\",\n \"Nor, when you light it for her, does that constitute nobbing.\\\" Richard Voorhees, Wodehouse's biographer, believes that the author used clichés in a deliberate and ironic manner.\",\n \"Richard Voorhees, Wodehouse's biographer, believes that the author used clichés in a deliberate and ironic manner. His opinion is shared by the academic Stephen Medcalf, who deems Wodehouse's skill is to \\\"bring a cliché just enough to life to kill it\\\", although Pamela March, writing in The Christian Science Monitor, considers Wodehouse to have \\\"an ability to decliché a cliché\\\".\",\n \"His opinion is shared by the academic Stephen Medcalf, who deems Wodehouse's skill is to \\\"bring a cliché just enough to life to kill it\\\", although Pamela March, writing in The Christian Science Monitor, considers Wodehouse to have \\\"an ability to decliché a cliché\\\". Medcalf provides an example from Right Ho, Jeeves in which the teetotal Gussie Fink-Nottle has surreptitiously been given whisky and gin in a punch prior to a prize-giving: 'It seems to me, Jeeves, that the ceremony may be one fraught with considerable interest.'\",\n \"Medcalf provides an example from Right Ho, Jeeves in which the teetotal Gussie Fink-Nottle has surreptitiously been given whisky and gin in a punch prior to a prize-giving: 'It seems to me, Jeeves, that the ceremony may be one fraught with considerable interest.' 'Yes, sir.'\",\n \"'Yes, sir.' 'Yes, sir.' 'What, in your opinion, will the harvest be?' 'One finds it difficult to hazard a conjecture, sir.' 'You mean imagination boggles?' 'Yes, sir.' I inspected my imagination. He was right. It boggled.\",\n \"He was right. It boggled. It boggled. The stylistic device most commonly found in Wodehouse's work is his use of comparative imagery that includes similes. Hall opines that the humour comes from Wodehouse's ability to accentuate \\\"resemblances which at first glance seem highly incongruous\\\".\",\n \"Hall opines that the humour comes from Wodehouse's ability to accentuate \\\"resemblances which at first glance seem highly incongruous\\\". Examples can be seen in Joy in the Morning, Chapter 29: \\\"There was a sound in the background like a distant sheep coughing gently on a mountainside.\",\n \"Examples can be seen in Joy in the Morning, Chapter 29: \\\"There was a sound in the background like a distant sheep coughing gently on a mountainside. Jeeves sailing into action\\\", or Psmith, Chapter 7: \\\"A sound like two or three pigs feeding rather noisily in the middle of a thunderstorm interrupted his meditation.\\\"\",\n \"Jeeves sailing into action\\\", or Psmith, Chapter 7: \\\"A sound like two or three pigs feeding rather noisily in the middle of a thunderstorm interrupted his meditation.\\\" Hall also identifies that periodically Wodehouse used the stylistic device of a transferred epithet, with an adjective that properly belongs to a person applied instead to some inanimate object.\",\n \"Hall also identifies that periodically Wodehouse used the stylistic device of a transferred epithet, with an adjective that properly belongs to a person applied instead to some inanimate object. The form of expression is used sparingly by Wodehouse in comparison with other mechanisms, only once or twice in a story or novel, according to Hall.\",\n \"The form of expression is used sparingly by Wodehouse in comparison with other mechanisms, only once or twice in a story or novel, according to Hall. \\\"I balanced a thoughtful lump of sugar on the teaspoon.\\\"\",\n \"\\\"I balanced a thoughtful lump of sugar on the teaspoon.\\\" —Joy in the Morning, Chapter 5 \\\"As I sat in the bath-tub, soaping a meditative foot ...\\\" —Jeeves and the Feudal Spirit, Chapter 1 \\\"The first thing he did was to prod Jeeves in the lower ribs with an uncouth forefinger.\\\"\",\n \"—Joy in the Morning, Chapter 5 \\\"As I sat in the bath-tub, soaping a meditative foot ...\\\" —Jeeves and the Feudal Spirit, Chapter 1 \\\"The first thing he did was to prod Jeeves in the lower ribs with an uncouth forefinger.\\\" —Much Obliged, Jeeves, Chapter 4 Wordplay is a key element in Wodehouse's writing.\",\n \"—Much Obliged, Jeeves, Chapter 4 Wordplay is a key element in Wodehouse's writing. This can take the form of puns, such as in Jeeves and the Feudal Spirit, when Bertie is released after a night in the police cells, and says that he has \\\"a pinched look\\\" about him.\",\n \"This can take the form of puns, such as in Jeeves and the Feudal Spirit, when Bertie is released after a night in the police cells, and says that he has \\\"a pinched look\\\" about him. Linguistic confusion is another humorous mechanism, such as in Uncle Dynamite when Constable Potter says he has been \\\"assaulted by the duck pond\\\".\",\n \"Linguistic confusion is another humorous mechanism, such as in Uncle Dynamite when Constable Potter says he has been \\\"assaulted by the duck pond\\\". In reply, Sir Aylmer, confusing the two meanings of the word \\\"by\\\", asks: \\\"How the devil can you be assaulted by a duck pond?\\\"\",\n \"In reply, Sir Aylmer, confusing the two meanings of the word \\\"by\\\", asks: \\\"How the devil can you be assaulted by a duck pond?\\\" Wodehouse also uses metaphor and mixed metaphor to add humour.\",\n \"Wodehouse also uses metaphor and mixed metaphor to add humour. Some come through exaggeration, such as Bingo Little's infant child who \\\"not only has the aspect of a mass murderer, but that of a mass murderer suffering from an ingrown toenail\\\", or Wooster's complaint that \\\"the rumpuses that Bobbie Wickham is already starting may be amusing to her, but not to the unfortunate toads beneath the harrow whom she ruthlessly plunges into the soup.\\\"\",\n \"Some come through exaggeration, such as Bingo Little's infant child who \\\"not only has the aspect of a mass murderer, but that of a mass murderer suffering from an ingrown toenail\\\", or Wooster's complaint that \\\"the rumpuses that Bobbie Wickham is already starting may be amusing to her, but not to the unfortunate toads beneath the harrow whom she ruthlessly plunges into the soup.\\\" Bertie Wooster's half-forgotten vocabulary also provides a further humorous device.\",\n \"Bertie Wooster's half-forgotten vocabulary also provides a further humorous device. In Jeeves and the Feudal Spirit Bertie asks Jeeves \\\"Let a plugugly like young Thos loose in the community with a cosh, and you are inviting disaster and ... what's the word? Something about cats.\\\" Jeeves replies, \\\"Cataclysms, sir?\\\"\",\n \"Jeeves replies, \\\"Cataclysms, sir?\\\" Reception and reputation Literary reception Wodehouse's early career as a lyricist and playwright was profitable, and his work with Bolton, according to The Guardian, \\\"was one of the most successful in the history of musical comedy\\\".\",\n \"Reception and reputation Literary reception Wodehouse's early career as a lyricist and playwright was profitable, and his work with Bolton, according to The Guardian, \\\"was one of the most successful in the history of musical comedy\\\". At the outbreak of the Second World War he was earning £40,000 a year from his work, which had broadened to include novels and short stories.\",\n \"At the outbreak of the Second World War he was earning £40,000 a year from his work, which had broadened to include novels and short stories. Following the furore ensuing from the wartime broadcasts, he suffered a downturn in his popularity and book sales; The Saturday Evening Post stopped publishing his short stories, a stance they reversed in 1965, although his popularity—and the sales figures—slowly recovered over time.\",\n \"Following the furore ensuing from the wartime broadcasts, he suffered a downturn in his popularity and book sales; The Saturday Evening Post stopped publishing his short stories, a stance they reversed in 1965, although his popularity—and the sales figures—slowly recovered over time. Wodehouse received great praise from many of his contemporaries, including Max Beerbohm, Rudyard Kipling, A. E. Housman and Evelyn Waugh—the last of whom opines, \\\"One has to regard a man as a Master who can produce on average three uniquely brilliant and entirely original similes on each page.\\\"\",\n \"Wodehouse received great praise from many of his contemporaries, including Max Beerbohm, Rudyard Kipling, A. E. Housman and Evelyn Waugh—the last of whom opines, \\\"One has to regard a man as a Master who can produce on average three uniquely brilliant and entirely original similes on each page.\\\" There are dissenters to the praise.\",\n \"There are dissenters to the praise. The writer Alan Bennett thinks that \\\"inspired though his language is, I can never take more than ten pages of the novels at a time, their relentless flippancy wearing and tedious\\\", while the literary critic Q. D. Leavis writes that Wodehouse had a \\\"stereotyped humour ... of ingenious variations on a laugh in one place\\\".\",\n \"The writer Alan Bennett thinks that \\\"inspired though his language is, I can never take more than ten pages of the novels at a time, their relentless flippancy wearing and tedious\\\", while the literary critic Q. D. Leavis writes that Wodehouse had a \\\"stereotyped humour ... of ingenious variations on a laugh in one place\\\". In a 2010 study of Wodehouse's few relatively serious novels, such as The Coming of Bill (1919), Jill the Reckless (1920) and The Adventures of Sally (1922), David Heddendorf concludes that though their literary quality does not match that of the farcical novels, they show a range of empathy and interests that in real life—and in his most comic works—the author seemed to lack.\",\n \"In a 2010 study of Wodehouse's few relatively serious novels, such as The Coming of Bill (1919), Jill the Reckless (1920) and The Adventures of Sally (1922), David Heddendorf concludes that though their literary quality does not match that of the farcical novels, they show a range of empathy and interests that in real life—and in his most comic works—the author seemed to lack. \\\"Never oblivious to grief and despair, he opts in clear-eyed awareness for his timeless world of spats and woolly-headed peers.\",\n \"\\\"Never oblivious to grief and despair, he opts in clear-eyed awareness for his timeless world of spats and woolly-headed peers. It's an austere, almost bloodless preference for pristine artifice over the pain and messy outcomes of actual existence, but it's a case of Wodehouse keeping faith with his own unique art.\\\"\",\n \"It's an austere, almost bloodless preference for pristine artifice over the pain and messy outcomes of actual existence, but it's a case of Wodehouse keeping faith with his own unique art.\\\" The American literary analyst Robert F. Kiernan, defining \\\"camp\\\" as \\\"excessive stylization of whatever kind\\\", brackets Wodehouse as \\\"a master of the camp novel\\\", along with Thomas Love Peacock, Max Beerbohm, Ronald Firbank, E. F. Benson and Ivy Compton-Burnett.\",\n \"The American literary analyst Robert F. Kiernan, defining \\\"camp\\\" as \\\"excessive stylization of whatever kind\\\", brackets Wodehouse as \\\"a master of the camp novel\\\", along with Thomas Love Peacock, Max Beerbohm, Ronald Firbank, E. F. Benson and Ivy Compton-Burnett. The literary critic and writer Cyril Connolly calls Wodehouse a \\\"politicians' author\\\"—one who does \\\"not like art to be exacting and difficult\\\".\",\n \"The literary critic and writer Cyril Connolly calls Wodehouse a \\\"politicians' author\\\"—one who does \\\"not like art to be exacting and difficult\\\". Two former British prime ministers, H. H. Asquith and Tony Blair, are on record as Wodehouse aficionados, and the latter became a patron of the Wodehouse Society.\",\n \"Two former British prime ministers, H. H. Asquith and Tony Blair, are on record as Wodehouse aficionados, and the latter became a patron of the Wodehouse Society. Seán O'Casey, a successful playwright of the 1920s, thought little of Wodehouse; he commented in 1941 that it was damaging to England's dignity that the public or \\\"the academic government of Oxford, dead from the chin up\\\" considered Wodehouse an important figure in English literature.\",\n \"Seán O'Casey, a successful playwright of the 1920s, thought little of Wodehouse; he commented in 1941 that it was damaging to England's dignity that the public or \\\"the academic government of Oxford, dead from the chin up\\\" considered Wodehouse an important figure in English literature. His jibe that Wodehouse was \\\"English literature's performing flea\\\" provided his target with the title of his collected letters, published in 1953.\",\n \"His jibe that Wodehouse was \\\"English literature's performing flea\\\" provided his target with the title of his collected letters, published in 1953. McCrum, writing in 2004, observes, \\\"Wodehouse is more popular today than on the day he died\\\", and \\\"his comic vision has an absolutely secure place in the English literary imagination.\\\"\",\n \"McCrum, writing in 2004, observes, \\\"Wodehouse is more popular today than on the day he died\\\", and \\\"his comic vision has an absolutely secure place in the English literary imagination.\\\" Honours and influence The proposed nominations of Wodehouse for a knighthood in 1967 and 1971 were blocked for fear that such an award would \\\"revive the controversy of his wartime behaviour and give currency to a Bertie Wooster image of the British character which the embassy was doing its best to eradicate\\\".\",\n \"Honours and influence The proposed nominations of Wodehouse for a knighthood in 1967 and 1971 were blocked for fear that such an award would \\\"revive the controversy of his wartime behaviour and give currency to a Bertie Wooster image of the British character which the embassy was doing its best to eradicate\\\". When Wodehouse was awarded the knighthood, only four years later, the journalist Dennis Barker wrote in The Guardian that the writer was \\\"the solitary surviving English literary comic genius\\\".\",\n \"When Wodehouse was awarded the knighthood, only four years later, the journalist Dennis Barker wrote in The Guardian that the writer was \\\"the solitary surviving English literary comic genius\\\". After his death six weeks later, the journalist Michael Davie, writing in the same paper, observed that \\\"Many people regarded ... [Wodehouse] as he regarded Beachcomber, as 'one, if not more than one, of England's greatest men'\\\", while in the view of the obituarist for The Times Wodehouse \\\"was a comic genius recognized in his lifetime as a classic and an old master of farce\\\".\",\n \"After his death six weeks later, the journalist Michael Davie, writing in the same paper, observed that \\\"Many people regarded ... [Wodehouse] as he regarded Beachcomber, as 'one, if not more than one, of England's greatest men'\\\", while in the view of the obituarist for The Times Wodehouse \\\"was a comic genius recognized in his lifetime as a classic and an old master of farce\\\". In September 2019 Wodehouse was commemorated with a memorial stone in Westminster Abbey; the dedication was held two days after it was installed.\",\n \"In September 2019 Wodehouse was commemorated with a memorial stone in Westminster Abbey; the dedication was held two days after it was installed. Since Wodehouse's death there have been numerous adaptations and dramatisations of his work on television and film; Wodehouse himself has been portrayed on radio and screen numerous times.\",\n \"Since Wodehouse's death there have been numerous adaptations and dramatisations of his work on television and film; Wodehouse himself has been portrayed on radio and screen numerous times. There are several literary societies dedicated to Wodehouse. The P.G. Wodehouse Society (UK) was founded in 1997 and has over 1,000 members as at 2015.\",\n \"Wodehouse Society (UK) was founded in 1997 and has over 1,000 members as at 2015. The president of the society as at 2017 is Alexander Armstrong; past presidents have included Terry Wogan and Richard Briers.\",\n \"The president of the society as at 2017 is Alexander Armstrong; past presidents have included Terry Wogan and Richard Briers. There are also other groups of Wodehouse fans in Australia, Belgium, France, Finland, India, Italy, Russia, Sweden and the US.\",\n \"There are also other groups of Wodehouse fans in Australia, Belgium, France, Finland, India, Italy, Russia, Sweden and the US. As at 2015 the Oxford English Dictionary contains over 1,750 quotations from Wodehouse, illustrating terms from crispish to zippiness.\",\n \"As at 2015 the Oxford English Dictionary contains over 1,750 quotations from Wodehouse, illustrating terms from crispish to zippiness. Voorhees, while acknowledging that Wodehouse's antecedents in literature range from Ben Jonson to Oscar Wilde, writes: Notes, references and sources Notes References Sources External links P. G. Wodehouse collection at One More Library P.G.\",\n \"Voorhees, while acknowledging that Wodehouse's antecedents in literature range from Ben Jonson to Oscar Wilde, writes: Notes, references and sources Notes References Sources External links P. G. Wodehouse collection at One More Library P.G. Wodehouse Archive on loan to the British Library The Wodehouse Society The P. G. Wodehouse Society (UK) Transcripts of Wodehouse's Berlin Broadcasts \\\"P. G. Wodehouse: An English Master of American Slang\\\" from The American Legion Weekly, 24 October 1919 Orwell, George \\\"In Defence of P.G.\",\n \"Wodehouse Archive on loan to the British Library The Wodehouse Society The P. G. Wodehouse Society (UK) Transcripts of Wodehouse's Berlin Broadcasts \\\"P. G. Wodehouse: An English Master of American Slang\\\" from The American Legion Weekly, 24 October 1919 Orwell, George \\\"In Defence of P.G. Wodehouse\\\" 1881 births 1975 deaths 20th-century English novelists 20th-century British dramatists and playwrights British emigrants to the United States English lyricists Knights Commander of the Order of the British Empire English male dramatists and playwrights British male novelists People educated at Dulwich College People educated at Elizabeth College, Guernsey People from Guildford People from Long Island PG People interned during World War II English humorists 20th-century American novelists American dramatists and playwrights American humorists American lyricists American male novelists Novelists from New York (state) Literature controversies English broadcasters for Nazi Germany 20th-century American male writers\"\n]"}}},{"rowIdx":465,"cells":{"History":{"kind":"list like","value":["P. G. Wodehouse","Broadway: 1915-19","What happened in 1915?","Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator.","what did the two collaborate on?","This was Miss Springtime (1916), which ran for 227 performances--a good run by the standards of the day.","what did they do next?","The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917-18) and Oh, Lady! Lady!! (1918),","were there any other successes?","Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin.","what other composers?","I don't know.","Did he do anything other than musicals?","Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories;","were his novels popular?","I don't know.","did he collaborate with anyone else?","During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End,","were they successful?","He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnar, and A Damsel in Distress (1928), a dramatisation of his 1919 novel."],"string":"[\n \"P. G. Wodehouse\",\n \"Broadway: 1915-19\",\n \"What happened in 1915?\",\n \"Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator.\",\n \"what did the two collaborate on?\",\n \"This was Miss Springtime (1916), which ran for 227 performances--a good run by the standards of the day.\",\n \"what did they do next?\",\n \"The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917-18) and Oh, Lady! Lady!! (1918),\",\n \"were there any other successes?\",\n \"Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin.\",\n \"what other composers?\",\n \"I don't know.\",\n \"Did he do anything other than musicals?\",\n \"Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories;\",\n \"were his novels popular?\",\n \"I don't know.\",\n \"did he collaborate with anyone else?\",\n \"During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End,\",\n \"were they successful?\",\n \"He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnar, and A Damsel in Distress (1928), a dramatisation of his 1919 novel.\"\n]"},"QuAC_dialog_id":{"kind":"string","value":"C_01908f72800044fda5b1d74a25e24226_1"},"Question":{"kind":"string","value":"Are there any other interesting aspects about this article?"},"Question_no":{"kind":"number","value":10,"string":"10"},"Rewrite":{"kind":"string","value":"Other than the novels and short storiesAre there any other interesting aspects about this article?"},"true_page_title":{"kind":"string","value":"P. G. Wodehouse"},"true_contexts":{"kind":"string","value":"A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator. Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York. The show was successful, but they thought the song lyrics weak and invited Wodehouse to join them on its successor. This was Miss Springtime (1916), which ran for 227 performances--a good run by the standards of the day. The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917-18) and Oh, Lady! Lady!! (1918), and Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin. Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies. Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do. Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical. In the Grove Dictionary of American Music Larry Stempel writes, \"By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy.\" The theatre writer Gerald Bordman calls Wodehouse \"the most observant, literate, and witty lyricist of his day\". The composer Richard Rodgers wrote, \"Before Larry Hart, only P.G. Wodehouse had made any real assault on the intelligence of the song-listening public.\" In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones. Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest. Various other young men-about-town appeared in short stories about members of the Drones Club. The Wodehouses returned to England, where they had a house in London for some years, but Wodehouse continued to cross the Atlantic frequently, spending substantial periods in New York. He continued to work in the theatre. During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York). He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnar, and A Damsel in Distress (1928), a dramatisation of his 1919 novel. Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods. Donaldson lists among those with whom he was on friendly terms writers including A.A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith, Jr., Heather Thatcher and Dorothy Dickson. CANNOTANSWER"},"answer":{"kind":"string","value":"Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods."},"true_contexts_wiki":{"kind":"string","value":"Sir Pelham Grenville Wodehouse, ( ; 15 October 188114 February 1975) was an English author and one of the most widely read humorists of the 20th century. His creations include the feather-brained Bertie Wooster and his sagacious valet, Jeeves; the immaculate and loquacious Psmith; Lord Emsworth and the Blandings Castle set; the Oldest Member, with stories about golf; and Mr Mulliner, with tall tales on subjects ranging from bibulous bishops to megalomaniac movie moguls.\n\nBorn in Guildford, the third son of a British magistrate based in Hong Kong, Wodehouse spent happy teenage years at Dulwich College, to which he remained devoted all his life. After leaving school he was employed by a bank but disliked the work and turned to writing in his spare time. His early novels were mostly school stories, but he later switched to comic fiction. Most of Wodehouse's fiction is set in his native United Kingdom, although he spent much of his life in the US and used New York and Hollywood as settings for some of his novels and short stories. He wrote a series of Broadway musical comedies during and after the First World War, together with Guy Bolton and Jerome Kern, that played an important part in the development of the American musical. He began the 1930s writing for MGM in Hollywood. In a 1931 interview, his naive revelations of incompetence and extravagance in the studios caused a furore. In the same decade, his literary career reached a new peak.\n\nIn 1934 Wodehouse moved to France for tax reasons; in 1940 he was taken prisoner at Le Touquet by the invading Germans and interned for nearly a year. After his release he made six broadcasts from German radio in Berlin to the US, which had not yet entered the war. The talks were comic and apolitical, but his broadcasting over enemy radio prompted anger and strident controversy in Britain, and a threat of prosecution. Wodehouse never returned to England. From 1947 until his death he lived in the US, taking dual British-American citizenship in 1955. He died in 1975, at the age of 93, in Southampton, New York.\n\nWodehouse was a prolific writer throughout his life, publishing more than ninety books, forty plays, two hundred short stories and other writings between 1902 and 1974. He worked extensively on his books, sometimes having two or more in preparation simultaneously. He would take up to two years to build a plot and write a scenario of about thirty thousand words. After the scenario was complete he would write the story. Early in his career Wodehouse would produce a novel in about three months, but he slowed in old age to around six months. He used a mixture of Edwardian slang, quotations from and allusions to numerous poets, and several literary techniques to produce a prose style that has been compared to comic poetry and musical comedy. Some critics of Wodehouse have considered his work flippant, but among his fans are former British prime ministers and many of his fellow writers.\n\nLife and career\n\nEarly years\nWodehouse was born in Guildford, Surrey, the third son of Henry Ernest Wodehouse (1845–1929), a magistrate resident in the British colony of Hong Kong, and his wife, Eleanor (1861–1941), daughter of the Rev John Bathurst Deane. The Wodehouses, who traced their ancestry back to the 13th century, belonged to a cadet branch of the family of the earls of Kimberley. Eleanor Wodehouse was also of ancient aristocratic ancestry. She was visiting her sister in Guildford when Wodehouse was born there prematurely.\n\nThe boy was baptised at the Church of St Nicolas, Guildford, and was named after his godfather, Pelham von Donop. Wodehouse wrote in 1957, \"If you ask me to tell you frankly if I like the name Pelham Grenville Wodehouse, I must confess that I do not.... I was named after a godfather, and not a thing to show for it but a small silver mug which I lost in 1897.\" The first name was rapidly elided to \"Plum\", the name by which Wodehouse became known to family and friends.\n\nMother and son sailed for Hong Kong, where for his first two years Wodehouse was raised by a Chinese amah (nurse), alongside his elder brothers Peveril (1877–1951) and Armine (1879–1936). When he was two, the brothers were brought to England, where they were placed under the care of an English nanny in a house adjoining that of Eleanor's father and mother. The boys' parents returned to Hong Kong and became virtual strangers to their sons. Such an arrangement was then normal for middle-class families based in the colonies. The lack of parental contact, and the harsh regime of some of those in loco parentis, left permanent emotional scars on many children from similar backgrounds, including the writers Thackeray, Saki, Kipling and Walpole. Wodehouse was more fortunate; his nanny, Emma Roper, was strict but not unkind, and both with her and later at his different schools Wodehouse had a generally happy childhood. His recollection was that \"it went like a breeze from start to finish, with everybody I met understanding me perfectly\". The biographer Robert McCrum suggests that nonetheless Wodehouse's isolation from his parents left a psychological mark, causing him to avoid emotional engagement both in life and in his works. Another biographer, Frances Donaldson, writes, \"Deprived so early, not merely of maternal love, but of home life and even a stable background, Wodehouse consoled himself from the youngest age in an imaginary world of his own.\"\n\nIn 1886 the brothers were sent to a dame-school in Croydon, where they spent three years. Peveril was then found to have a \"weak chest\"; sea air was prescribed, and the three boys were moved to Elizabeth College on the island of Guernsey. In 1891 Wodehouse went on to Malvern House Preparatory School in Kent, which concentrated on preparing its pupils for entry to the Royal Navy. His father had planned a naval career for him, but the boy's eyesight was found to be too poor for it. He was unimpressed by the school's narrow curriculum and zealous discipline; he later parodied it in his novels, with Bertie Wooster recalling his early years as a pupil at a \"penitentiary... with the outward guise of a prep school\" called Malvern House.\n\nThroughout their school years the brothers were sent to stay during the holidays with various uncles and aunts from both sides of the family. In the Oxford Dictionary of National Biography, Iain Sproat counts twenty aunts and considers that they played an important part not only in Wodehouse's early life, but, thinly disguised, in his mature novels, as the formidable aunts who dominate the action in the Wooster, Blandings, and other stories. The boys had fifteen uncles, four of whom were clergymen. Sproat writes that they inspired Wodehouse's \"pious but fallible curates, vicars, and bishops, of which he wrote with friendly irreverence but without mockery\".\n\nAt the age of twelve in 1894, to his great joy, Wodehouse was able to follow his brother Armine to Dulwich College. He was entirely at home there; Donaldson comments that Dulwich gave him, for the first time, \"some continuity and a stable and ordered life\". He loved the camaraderie, distinguished himself at cricket, rugby and boxing, and was a good, if not consistently diligent, student. The headmaster at the time was A. H. Gilkes, a respected classicist, who was a strong influence on Wodehouse. In a study of Wodehouse's works, Richard Usborne argues that \"only a writer who was himself a scholar and had had his face ground into Latin and Greek (especially Thucydides) as a boy\" could sustain the complex sequences of subordinate clauses sometimes found in Wodehouse's comic prose.\n\nWodehouse's six years at Dulwich were among the happiest of his life: \"To me the years between 1894 and 1900 were like heaven.\" In addition to his sporting achievements he was a good singer and enjoyed taking part in school concerts; his literary leanings found an outlet in editing the school magazine, The Alleynian. For the rest of his life he remained devoted to the school. The biographer Barry Phelps writes that Wodehouse \"loved the college as much as he loved anything or anybody\".\n\nReluctant banker; budding writer: 1900–1908\n\nWodehouse expected to follow Armine to the University of Oxford, but the family's finances took a turn for the worse at the crucial moment. Ernest Wodehouse had retired in 1895, and his pension was paid in rupees; fluctuation against the pound reduced its value in Britain. Wodehouse recalled, \"The wolf was not actually whining at the door and there was always a little something in the kitty for the butcher and the grocer, but the finances would not run to anything in the nature of a splash\". Instead of a university career, in September 1900 Wodehouse was engaged in a junior position in the London office of the Hongkong and Shanghai Bank. He was unsuited to it and found the work baffling and uncongenial. He later wrote a humorous account of his experiences at the bank, but at the time he longed for the end of each working day, when he could return to his rented lodgings in Chelsea and write. At first he concentrated, with some success, on serious articles about school sports for Public School Magazine. In November 1900 his first comic piece, \"Men Who Missed Their Own Weddings\", was accepted by Tit-Bits. A new magazine for boys, The Captain, provided further well-paid opportunities, and during his two years at the bank, Wodehouse had eighty pieces published in a total of nine magazines.\n\nIn 1901, with the help of a former Dulwich master, William Beach Thomas, Wodehouse secured an appointment—at first temporary and later permanent—writing for The Globes popular \"By the Way\" column. He held the post until 1909. At around the same time his first novel was published—a school story called The Pothunters, serialised incomplete in Public School Magazine in early 1902, and issued in full in hardback in September. He resigned from the bank that month to devote himself to writing full-time.\n\nBetween the publication of The Pothunters 1902 and that of Mike in 1909, Wodehouse wrote eight novels and co-wrote another two. The critic R. D. B. French writes that, of Wodehouse's work from this period, almost all that deserves to survive is the school fiction. Looking back in the 1950s Wodehouse viewed these as his apprentice years: \"I was practically in swaddling clothes and it is extremely creditable to me that I was able to write at all.\"\n\nFrom his boyhood Wodehouse had been fascinated by America, which he conceived of as \"a land of romance\"; he \"yearned\" to visit the country, and by 1904 he had earned enough to do so. In April he sailed to New York, which he found greatly to his liking. He noted in his diary: \"In New York gathering experience. Worth many guineas in the future but none for the moment.\" This prediction proved correct: few British writers had first-hand experience of the US, and his articles about life in New York brought him higher than usual fees. He later recalled that \"in 1904 anyone in the London writing world who had been to America was regarded with awe and looked upon as an authority on that terra incognita.... After that trip to New York I was a man who counted.... My income rose like a rocketing pheasant.\"\n\nWodehouse's other new venture in 1904 was writing for the stage. Towards the end of the year the librettist Owen Hall invited him to contribute an additional lyric for a musical comedy Sergeant Brue. Wodehouse had loved theatre since his first visit, aged thirteen, when Gilbert and Sullivan's Patience had made him \"drunk with ecstasy\". His lyric for Hall, \"Put Me in My Little Cell\", was a Gilbertian number for a trio of comic crooks, with music by Frederick Rosse; it was well received and launched Wodehouse on a career as a theatre writer that spanned three decades.\n\nAlthough it made little impact on its first publication, the 1906 novel Love Among the Chickens contained what French calls the author's first original comic creation: Stanley Featherstonehaugh Ukridge. The character, an amoral, bungling opportunist, is partly based on Wodehouse's Globe colleague Herbert Westbrook. The two collaborated between 1907 and 1913 on two books, two music hall sketches, and a play, Brother Alfred. Wodehouse would return to the character in short stories over the next six decades.\n\nIn early 1906 the actor-manager Seymour Hicks invited Wodehouse to become resident lyricist at the Aldwych Theatre, to add topical verses to newly imported or long-running shows. Hicks had already recruited the young Jerome Kern to write the music for such songs. The first Kern-Wodehouse collaboration, a comic number for The Beauty of Bath titled \"Mr [Joseph] Chamberlain\", was a show-stopper and was briefly the most popular song in London.\n\nPsmith, Blandings, Wooster and Jeeves: 1908–1915\n\nWodehouse's early period as a writer came to an end in 1908 with the serialisation of The Lost Lambs, published the following year in book form as the second half of the novel Mike. The work begins as a conventional school story, but Wodehouse introduces a new and strikingly original character, Psmith, whose creation both Evelyn Waugh and George Orwell regarded as a watershed in Wodehouse's development. Wodehouse said that he based Psmith on the hotelier and impresario Rupert D'Oyly Carte—\"the only thing in my literary career which was handed to me on a silver plate with watercress around it\". Wodehouse wrote in the 1970s that a cousin of his who had been at school with Carte told him of the latter's monocle, studied suavity, and stateliness of speech, all of which Wodehouse adopted for his new character. Psmith featured in three more novels: Psmith in the City (1910), a burlesque of banking; Psmith, Journalist (1915) set in New York; and Leave It to Psmith (1923), set at Blandings Castle.\n\nIn May 1909 Wodehouse made his second visit to New York, where he sold two short stories to Cosmopolitan and Collier's for a total of $500, a much higher fee than he had commanded previously. He resigned from The Globe and stayed in New York for nearly a year. He sold many more stories, but none of the American publications offered a permanent relationship and guaranteed income. Wodehouse returned to England in late 1910, rejoining The Globe and also contributing regularly to The Strand Magazine. Between then and the outbreak of the First World War in 1914 he revisited America frequently.\n\nWodehouse was in New York when the war began. Ineligible for military service because of his poor eyesight, he remained in the US throughout the war, detached from the conflict in Europe and absorbed in his theatrical and literary concerns. In September 1914 he married Ethel May Wayman, née Newton (1885–1984), an English widow. The marriage proved happy and lifelong. Ethel's personality was in contrast with her husband's: he was shy and impractical; she was gregarious, decisive and well organised. In Sproat's phrase, she \"took charge of Wodehouse's life and made certain that he had the peace and quiet he needed to write\". There were no children of the marriage, but Wodehouse came to love Ethel's daughter Leonora (1905–1944) and legally adopted her.\n\nWodehouse experimented with different genres of fiction in these years; Psmith, Journalist, mixing comedy with social comment on slum landlords and racketeers, was published in 1915. In the same year The Saturday Evening Post paid $3,500 to serialise Something New, the first of what became a series of novels set at Blandings Castle. It was published in hardback in the US and the UK in the same year (the British edition being retitled Something Fresh). It was Wodehouse's first farcical novel; it was also his first best-seller, and although his later books included some gentler, lightly sentimental stories, it was as a farceur that he became known. Later in the same year \"Extricating Young Gussie\", the first story about Bertie and Jeeves, was published. These stories introduced two sets of characters about whom Wodehouse wrote for the rest of his life. The Blandings Castle stories, set in an English stately home, depict the attempts of the placid Lord Emsworth to evade the many distractions around him, which include successive pairs of young lovers, the machinations of his exuberant brother Galahad, the demands of his domineering sisters and super-efficient secretaries, and anything detrimental to his prize sow, the Empress of Blandings. The Bertie and Jeeves stories feature an amiable young man-about-town, regularly rescued from the consequences of his idiocy by the benign interference of his valet.\n\nBroadway: 1915–1919\n\nA third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator. Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York. The show was successful, but they thought the song lyrics weak and invited Wodehouse to join them on its successor. This was Miss Springtime (1916), which ran for 227 performances—a good run by the standards of the day. The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917–18) and Oh, Lady! Lady!! (1918), and Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin.\n\nUnlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies. Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do. Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical. In the Grove Dictionary of American Music Larry Stempel writes, \"By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy.\" The theatre writer Gerald Bordman calls Wodehouse \"the most observant, literate, and witty lyricist of his day\". The composer Richard Rodgers wrote, \"Before Larry Hart, only P.G. Wodehouse had made any real assault on the intelligence of the song-listening public.\"\n\n1920s\nIn the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones. Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest. Various other young men-about-town appeared in short stories about members of the Drones Club.\n\nThe Wodehouses returned to England, where they had a house in London for some years, but Wodehouse continued to cross the Atlantic frequently, spending substantial periods in New York. He continued to work in the theatre. During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York). He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnár, and A Damsel in Distress (1928), a dramatisation of his 1919 novel.\n\nThough never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods. Donaldson lists among those with whom he was on friendly terms writers including A. A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith Jr., Heather Thatcher and Dorothy Dickson.\n\nHollywood: 1929–1931\nThere had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name. Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM). Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week. This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929.\n\nThe contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories. He commented, \"It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary.\" Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used. In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was \"as close to a success as Wodehouse was to have at MGM. His only other credits were minimal, and the other projects he worked on were not produced.\"\n\nWodehouse's contract ended after a year and was not renewed. At MGM's request, he gave an interview to The Los Angeles Times. Wodehouse was described by Herbert Warren Wind as \"politically naive [and] fundamentally unworldly\", and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent. The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry. Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been \"a storm in a teacup\", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable.\n\nWind's view of Wodehouse's naïveté is not universally held. Biographers including Donaldson, McCrum and Phelps suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute. He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire.\n\nBest-seller: 1930s\nDuring the 1930s Wodehouse's theatrical work tailed off. He wrote or adapted four plays for the West End; Leave it to Psmith (1930), which he adapted in collaboration with Ian Hay, was the only one to have a long run. The reviewer in The Manchester Guardian praised the play, but commented: \"It is Mr Wodehouse's own inimitable narrative comments and descriptions in his own person of the antics of his puppets that one misses. They cannot be got into a play and they are at least half the fun of the novels.\" In 1934 Wodehouse collaborated with Bolton on the book for Cole Porter's Anything Goes (Porter wrote his own lyrics), but at the last minute their version was almost entirely rewritten by others at the instigation of the producer, who disliked the original script. Concentrating on writing novels and short stories, Wodehouse reached the peak of his productivity in this decade, averaging two books each year, and grossing an annual £100,000.\n\nHis practice of dividing his time between Britain and America caused Wodehouse difficulties with the tax authorities of both countries. Both the UK Inland Revenue and the US Internal Revenue Service sought to tax him as a resident. The matter was settled after lengthy negotiations, but the Wodehouses decided to change their residential status beyond doubt by moving to France, where they bought a house near Le Touquet in the north.\n\nIn 1935 Wodehouse created the last of his regular cast of principal characters, Lord Ickenham, otherwise known as Uncle Fred, who, in Usborne's words, \"leads the dance in four novels and a short story... a whirring dynamo of misrule\". His other books from the decade include Right Ho, Jeeves, which Donaldson judged his best work, Uncle Fred in the Springtime, which the writer Bernard Levin considered the best, and Blandings Castle, which contains \"Lord Emsworth and the Girl Friend\", which Rudyard Kipling thought \"one of the most perfect short stories I have ever read\".\n\nOther leading literary figures who admired Wodehouse were A. E. Housman, Max Beerbohm and Hilaire Belloc; on the radio and in print Belloc called Wodehouse \"the best writer of our time: the best living writer of English... the head of my profession\". Wodehouse regarded Belloc's plaudit as \"a gag, to get a rise out of serious-minded authors whom he disliked\". Wodehouse was never sure that his books had literary merit as well as popular appeal, and, Donaldson suggests, must have been overwhelmed when the University of Oxford conferred an honorary doctorate of letters on him in June 1939. His visit to England for the awarding ceremony was the last time he set foot in his native land.\n\nSecond World War: internment and broadcasts\nAt the start of the Second World War Wodehouse and his wife remained at their Le Touquet house, where, during the Phoney War, he worked on Joy in the Morning. With the advance of the Germans, the nearby Royal Air Force base withdrew; Wodehouse was offered the sole spare seat in one of the fighter aircraft, but he turned down the opportunity as it would have meant leaving behind Ethel and their dog. On 21 May 1940, with German troops advancing through northern France, the Wodehouses decided to drive to Portugal and fly from there to the US. Two miles from home their car broke down, so they returned and borrowed a car from a neighbour; with the routes blocked with refugees, they returned home again.\n\nThe Germans occupied Le Touquet on 22 May 1940 and Wodehouse had to report to the authorities daily. After two months of occupation the Germans interned all male enemy nationals under 60, and Wodehouse was sent to a former prison in Loos, a suburb of Lille, on 21 July; Ethel remained in Le Touquet. The internees were placed four to a cell, each of which had been designed for one man. One bed was available per cell, which was made available to the eldest man—not Wodehouse, who slept on the granite floor. The prisoners were not kept long in Loos before they were transported in cattle trucks to a former barracks in Liège, Belgium, which was run as a prison by the SS. After a week the men were transferred to Huy in Liège, where they were incarcerated in the local citadel. They remained there until September 1940, when they were transported to Tost in Upper Silesia (then Germany, now Toszek in Poland).\n\nWodehouse's family and friends had not had any news of his location after the fall of France, but an article from an Associated Press reporter who had visited Tost in December 1940 led to pressure on the German authorities to release the novelist. This included a petition from influential people in the US; Senator W. Warren Barbour presented it to the German ambassador. Although his captors refused to release him, Wodehouse was provided with a typewriter and, to pass the time, he wrote Money in the Bank. Throughout his time in Tost, he sent postcards to his US literary agent asking for $5 to be sent to various people in Canada, mentioning his name. These were the families of Canadian prisoners of war, and the news from Wodehouse was the first indication that their sons were alive and well. Wodehouse risked severe punishment for the communication, but managed to evade the German censor.\n\nOn 21 June 1941, while he was in the middle of playing a game of cricket, Wodehouse received a visit from two members of the Gestapo. He was given ten minutes to pack his things before he was taken to the Hotel Adlon, a top luxury hotel in Berlin. He stayed there at his own expense; royalties from the German editions of his books had been put into a special frozen bank account at the outset of the war, and Wodehouse was permitted to draw upon this money he had earned while staying in Berlin. He was thus released from internment a few months before his sixtieth birthday—the age at which civilian internees were released by the Nazis. Shortly afterwards Wodehouse was, in the words of Phelps, \"cleverly trapped\" into making five broadcasts to the US via German radio, with the Berlin-based correspondent of the Columbia Broadcasting System. The broadcasts—aired on 28 June, 9, 23 and 30 July and 6 August—were titled How to be an Internee Without Previous Training, and comprised humorous anecdotes about Wodehouse's experiences as a prisoner, including some gentle mocking of his captors. The German propaganda ministry arranged for the recordings to be broadcast to Britain in August. The day after Wodehouse recorded his final programme, Ethel joined him in Berlin, having sold most of her jewellery to pay for the journey.\n\nAftermath: reactions and investigation\nThe reaction in Britain to Wodehouse's broadcasts was hostile, and he was \"reviled ... as a traitor, collaborator, Nazi propagandist, and a coward\", although, Phelps observes, many of those who decried his actions had not heard the content of the programmes. A front-page article in The Daily Mirror stated that Wodehouse \"lived luxuriously because Britain laughed with him, but when the laughter was out of his country's heart, ... [he] was not ready to share her suffering. He hadn't the guts ... even to stick it out in the internment camp.\" In the House of Commons Anthony Eden, the Foreign Secretary, regretted Wodehouse's actions. Several libraries removed Wodehouse novels from their shelves.\n\nOn 15 July the journalist William Connor, under his pen name Cassandra, broadcast a postscript to the news programme railing against Wodehouse. According to The Times, the broadcast \"provoked a storm of complaint ... from listeners all over the country\". Wodehouse's biographer, Joseph Connolly, thinks the broadcast \"inaccurate, spiteful and slanderous\"; Phelps calls it \"probably the most vituperative attack on an individual ever heard on British radio\". The broadcast was made at the direct instruction of Duff Cooper, the Minister of Information, who overruled strong protests made by the BBC against the decision to air the programme. Numerous letters appeared in the British press, both supporting and criticising Wodehouse. The letters page of The Daily Telegraph became a focus for censuring Wodehouse, including one from Wodehouse's friend, ; a reply from their fellow author Compton Mackenzie in defence of Wodehouse was not published because the editor claimed a lack of space. Most of those defending Wodehouse against accusations of disloyalty, including Sax Rohmer, Dorothy L. Sayers and Gilbert Frankau, conceded that he had acted stupidly. Some members of the public wrote to the newspapers to say that the full facts were not yet known and a fair judgment could not be made until they were. The management of the BBC, who considered Wodehouse's actions no worse than \"ill advised\", pointed out to Cooper that there was no evidence at that point whether Wodehouse had acted voluntarily or under compulsion.\n\nWhen Wodehouse heard of the furore the broadcasts had caused, he contacted the Foreign Office—through the Swiss embassy in Berlin—to explain his actions, and attempted to return home via neutral countries, but the German authorities refused to let him leave. In Performing Flea, a 1953 collection of letters, Wodehouse wrote, \"Of course I ought to have had the sense to see that it was a loony thing to do to use the German radio for even the most harmless stuff, but I didn't. I suppose prison life saps the intellect\". The reaction in America was mixed: the left-leaning publication PM accused Wodehouse of \"play[ing] Jeeves to the Nazis\", but the Department of War used the interviews as an ideal representation of anti-Nazi propaganda.\n\nThe Wodehouses remained in Germany until September 1943, when, because of the Allied bombings, they were allowed to move back to Paris. They were living there when the city was liberated on 25 August 1944; Wodehouse reported to the American authorities the following day, asking them to inform the British of his whereabouts. He was subsequently visited by Malcolm Muggeridge, recently arrived in Paris as an intelligence officer with MI6. The young officer quickly came to like Wodehouse and considered the question of treasonable behaviour as \"ludicrous\"; he summed up the writer as \"ill-fitted to live in an age of ideological conflict\". On 9 September Wodehouse was visited by an MI5 officer and former barrister, Major Edward Cussen, who formally investigated him, a process that stretched over four days. On 28 September Cussen filed his report, which states that in regard to the broadcasts, Wodehouse's behaviour \"has been unwise\", but advised against further action. On 23 November Theobald Matthew, the Director of Public Prosecutions, decided there was no evidence to justify prosecuting Wodehouse.\n\nIn November 1944 Duff Cooper was appointed British ambassador to France and was provided accommodation at the Hôtel Le Bristol, where the Wodehouses were living. Cooper complained to the French authorities, and the couple were moved to a different hotel. They were subsequently arrested by French police and placed under preventive detention, despite no charges being presented. When Muggeridge tracked them down later, he managed to get Ethel released straight away and, four days later, ensured that the French authorities declared Wodehouse unwell and put him in a nearby hospital, which was more comfortable than where they had been detained. While in this hospital, Wodehouse worked on his novel Uncle Dynamite.\n\nWhile still detained by the French, Wodehouse was again mentioned in questions in the House of Commons in December 1944 when MPs wondered if the French authorities could repatriate him to stand trial. Eden stated that the \"matter has been gone into, and, according to the advice given, there are no grounds upon which we could take action\". Two months later, Orwell wrote the essay \"In Defence of P.G. Wodehouse\", where he stated that \"it is important to realise that the events of 1941 do not convict Wodehouse of anything worse than stupidity\". Orwell's rationale was that Wodehouse's \"moral outlook has remained that of a public-school boy, and according to the public-school code, treachery in time of war is the most unforgivable of all the sins\", which was compounded by his \"complete lack—so far as one can judge from his printed works—of political awareness\".\n\nOn 15 January 1945 the French authorities released Wodehouse, but they did not inform him, until June 1946, that he would not face any official charges and was free to leave the country.\n\nAmerican exile: 1946–1975\nHaving secured American visas in July 1946, the Wodehouses made preparations to return to New York. They were delayed by Ethel's insistence on acquiring suitable new clothes and by Wodehouse's wish to finish writing his current novel, The Mating Season, in the peace of the French countryside. In April 1947 they sailed to New York, where Wodehouse was relieved at the friendly reception he received from the large press contingent awaiting his arrival. Ethel secured a comfortable penthouse apartment in Manhattan's Upper East Side, but Wodehouse was not at ease. The New York that he had known before the war was much changed. The magazines that had paid lavishly for his stories were in decline, and those that remained were not much interested in him. He was sounded out about writing for Broadway, but he was not at home in the post-war theatre; he had money problems, with large sums temporarily tied up in Britain, and for the first time in his career he had no ideas for a new novel. He did not complete one until 1951.\n\nWodehouse remained unsettled until he and Ethel left New York City for Long Island. Bolton and his wife lived in the prosperous hamlet of Remsenburg, part of the Southampton area of Long Island, east of Manhattan. Wodehouse stayed with them frequently, and in 1952 he and Ethel bought a house nearby. They lived at Remsenburg for the rest of their lives. Between 1952 and 1975 he published more than twenty novels, as well as two collections of short stories, a heavily edited collection of his letters, a volume of memoirs, and a selection of his magazine articles. He continued to hanker after a revival of his theatrical career. A 1959 off-Broadway revival of the 1917 Bolton-Wodehouse-Kern Leave It to Jane was a surprise hit, running for 928 performances, but his few post-war stage works, some in collaboration with Bolton, made little impression.\n\nAlthough Ethel made a return visit to England in 1948 to shop and visit family and friends, Wodehouse never left America after his arrival in 1947. It was not until 1965 that the British government indicated privately that he could return without fear of legal proceedings, and by then he felt too old to make the journey. The biographers Benny Green and Robert McCrum both take the view that this exile benefited Wodehouse's writing, helping him to go on depicting an idealised England seen in his mind's eye, rather than as it actually was in the post-war decades. During their years in Long Island, the couple often took in stray animals and contributed substantial funds to a local animal shelter.\n\nIn 1955 Wodehouse became an American citizen, though he remained a British subject, and was therefore still eligible for UK state honours. He was considered for the award of a knighthood three times from 1967, but the honour was twice blocked by British officials. In 1974 the British prime minister, Harold Wilson, intervened to secure a knighthood (KBE) for Wodehouse, which was announced in the January 1975 New Year Honours list. The Times commented that Wodehouse's honour signalled \"official forgiveness for his wartime indiscretion.... It is late, but not too late, to take the sting out of that unhappy incident.\"\n\nThe following month Wodehouse entered Southampton Hospital, Long Island, for treatment of a skin complaint. While there, he suffered a heart attack and died on 14 February 1975 at the age of 93. He was buried at Remsenburg Presbyterian Church four days later. Ethel outlived him by more than nine years; Leonora had predeceased him, dying suddenly in 1944.\n\nWriting\n\nTechnique and approach\n\nBefore starting a book Wodehouse would write up to four hundred pages of notes bringing together an outline of the plot; he acknowledged that \"It's the plots that I find so hard to work out. It takes such a long time to work one out.\" He always completed the plot before working on specific character actions. For a novel the note-writing process could take up to two years, and he would usually have two or more novels in preparation simultaneously. After he had completed his notes, he would draw up a fuller scenario of about thirty thousand words, which ensured plot holes were avoided, and allowed for the dialogue to begin to develop. When interviewed in 1975 he revealed that \"For a humorous novel you've got to have a scenario, and you've got to test it so that you know where the comedy comes in, where the situations come in ... splitting it up into scenes (you can make a scene of almost anything) and have as little stuff in between as possible.\" He preferred working between 4 and 7 pm—but never after dinner—and would work seven days a week. In his younger years, he would write around two to three thousand words a day, although he slowed as he aged, so that in his nineties he would produce a thousand. The reduced speed in writing slowed his production of books: when younger he would produce a novel in about three months, while Bachelors Anonymous, published in 1973, took around six months. Although studies of language production in normal healthy ageing show a marked decline from the mid-70s on, a study of Wodehouse's works did not find any evidence of a decline in linguistic ability with age.\n\nWodehouse believed that one of the factors that made his stories humorous was his view of life, and he stated that \"If you take life fairly easily, then you take a humorous view of things. It's probably because you were born that way.\" He carried this view through into his writing, describing the approach as \"making the thing a sort of musical comedy without music, and ignoring real life altogether\". The literary critic Edward L. Galligan considers Wodehouse's stories to show his mastery in adapting the form of the American musical comedy for his writings. Wodehouse would ensure that his first draft was as carefully and accurately done as possible, correcting and refining the prose as he wrote, and would then make another good copy, before proofreading again and then making a final copy for his publisher.\n\nMost of Wodehouse's canon is set in an undated period around the 1920s and 1930s. The critic Anthony Lejeune describes the settings of Wodehouse's novels, such as the Drones Club and Blandings Castle, as \"a fairyland\". Although some critics thought Wodehouse's fiction was based on a world that had never existed, Wodehouse affirmed that \"it did. It was going strong between the wars\", although he agreed that his version was to some extent \"a sort of artificial world of my own creation\". The novels showed a largely unchanging world, regardless of when they were written, and only rarely—and mistakenly in McCrum's view—did Wodehouse allow modernity to intrude, as he did in the 1966 story \"Bingo Bans the Bomb\".\n\nWhen dealing with the dialogue in his novels, Wodehouse would consider the book's characters as if they were actors in a play, ensuring that the main roles were kept suitably employed throughout the storyline, which must be strong: \"If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them.\" Many of Wodehouse's parts were stereotypes, and he acknowledged that \"a real character in one of my books sticks out like a sore thumb.\" The publisher Michael Joseph identifies that even within the stereotypes Wodehouse understood human nature, and therefore \"shares with [Charles] Dickens and Charles Chaplin the ability to present the comic resistance of the individual against those superior forces to which we are all subject\".\n\nMuch of Wodehouse's use of slang terms reflects the influence of his time at school in Dulwich, and partly reflects Edwardian slang. As a young man he enjoyed the literary works of Arthur Conan Doyle and Jerome K. Jerome, and the operatic works of Gilbert and Sullivan. Wodehouse quotes from and alludes to numerous poets throughout his work. The scholar Clarke Olney lists those quoted, including Milton, Byron, Longfellow, Coleridge, Swinburne, Tennyson, Wordsworth and Shakespeare. Another favoured source was the King James Bible.\n\nLanguage\n\nIn 1941 the Concise Cambridge History of English Literature opined that Wodehouse had \"a gift for highly original aptness of phrase that almost suggests a poet struggling for release among the wild extravagances of farce\", while McCrum thinks that Wodehouse manages to combine \"high farce with the inverted poetry of his mature comic style\", particularly in The Code of the Woosters; the novelist Anthony Powell believes Wodehouse to be a \"comic poet\". Robert A. Hall Jr., in his study of Wodehouse's style and technique, describes the author as a master of prose, an opinion also shared by Levin, who considers Wodehouse \"one of the finest and purest writers of English prose\". Hall identifies several techniques used by Wodehouse to achieve comic effect, including the creation of new words through adding or removing prefixes and suffixes, so when Pongo Twistleton removes the housemaid Elsie Bean from a cupboard, Wodehouse writes that the character \"de-Beaned the cupboard\". Wodehouse created new words by splitting others in two, thus Wodehouse divides \"hobnobbing\" when he writes: \"To offer a housemaid a cigarette is not hobbing. Nor, when you light it for her, does that constitute nobbing.\"\n\nRichard Voorhees, Wodehouse's biographer, believes that the author used clichés in a deliberate and ironic manner. His opinion is shared by the academic Stephen Medcalf, who deems Wodehouse's skill is to \"bring a cliché just enough to life to kill it\", although Pamela March, writing in The Christian Science Monitor, considers Wodehouse to have \"an ability to decliché a cliché\". Medcalf provides an example from Right Ho, Jeeves in which the teetotal Gussie Fink-Nottle has surreptitiously been given whisky and gin in a punch prior to a prize-giving:\n\n 'It seems to me, Jeeves, that the ceremony may be one fraught with considerable interest.'\n'Yes, sir.'\n'What, in your opinion, will the harvest be?'\n'One finds it difficult to hazard a conjecture, sir.'\n'You mean imagination boggles?'\n'Yes, sir.'\nI inspected my imagination. He was right. It boggled.\n\nThe stylistic device most commonly found in Wodehouse's work is his use of comparative imagery that includes similes. Hall opines that the humour comes from Wodehouse's ability to accentuate \"resemblances which at first glance seem highly incongruous\". Examples can be seen in Joy in the Morning, Chapter 29: \"There was a sound in the background like a distant sheep coughing gently on a mountainside. Jeeves sailing into action\", or Psmith, Chapter 7: \"A sound like two or three pigs feeding rather noisily in the middle of a thunderstorm interrupted his meditation.\" Hall also identifies that periodically Wodehouse used the stylistic device of a transferred epithet, with an adjective that properly belongs to a person applied instead to some inanimate object. The form of expression is used sparingly by Wodehouse in comparison with other mechanisms, only once or twice in a story or novel, according to Hall.\n\n\"I balanced a thoughtful lump of sugar on the teaspoon.\"\n—Joy in the Morning, Chapter 5\n\n\"As I sat in the bath-tub, soaping a meditative foot ...\"\n—Jeeves and the Feudal Spirit, Chapter 1\n\n\"The first thing he did was to prod Jeeves in the lower ribs with an uncouth forefinger.\"\n—Much Obliged, Jeeves, Chapter 4\n\nWordplay is a key element in Wodehouse's writing. This can take the form of puns, such as in Jeeves and the Feudal Spirit, when Bertie is released after a night in the police cells, and says that he has \"a pinched look\" about him. Linguistic confusion is another humorous mechanism, such as in Uncle Dynamite when Constable Potter says he has been \"assaulted by the duck pond\". In reply, Sir Aylmer, confusing the two meanings of the word \"by\", asks: \"How the devil can you be assaulted by a duck pond?\" Wodehouse also uses metaphor and mixed metaphor to add humour. Some come through exaggeration, such as Bingo Little's infant child who \"not only has the aspect of a mass murderer, but that of a mass murderer suffering from an ingrown toenail\", or Wooster's complaint that \"the rumpuses that Bobbie Wickham is already starting may be amusing to her, but not to the unfortunate toads beneath the harrow whom she ruthlessly plunges into the soup.\" Bertie Wooster's half-forgotten vocabulary also provides a further humorous device. In Jeeves and the Feudal Spirit Bertie asks Jeeves \"Let a plugugly like young Thos loose in the community with a cosh, and you are inviting disaster and ... what's the word? Something about cats.\" Jeeves replies, \"Cataclysms, sir?\"\n\nReception and reputation\n\nLiterary reception\nWodehouse's early career as a lyricist and playwright was profitable, and his work with Bolton, according to The Guardian, \"was one of the most successful in the history of musical comedy\". At the outbreak of the Second World War he was earning £40,000 a year from his work, which had broadened to include novels and short stories. Following the furore ensuing from the wartime broadcasts, he suffered a downturn in his popularity and book sales; The Saturday Evening Post stopped publishing his short stories, a stance they reversed in 1965, although his popularity—and the sales figures—slowly recovered over time.\n\nWodehouse received great praise from many of his contemporaries, including Max Beerbohm, Rudyard Kipling, A. E. Housman and Evelyn Waugh—the last of whom opines, \"One has to regard a man as a Master who can produce on average three uniquely brilliant and entirely original similes on each page.\" There are dissenters to the praise. The writer Alan Bennett thinks that \"inspired though his language is, I can never take more than ten pages of the novels at a time, their relentless flippancy wearing and tedious\", while the literary critic Q. D. Leavis writes that Wodehouse had a \"stereotyped humour ... of ingenious variations on a laugh in one place\". In a 2010 study of Wodehouse's few relatively serious novels, such as The Coming of Bill (1919), Jill the Reckless (1920) and The Adventures of Sally (1922), David Heddendorf concludes that though their literary quality does not match that of the farcical novels, they show a range of empathy and interests that in real life—and in his most comic works—the author seemed to lack. \"Never oblivious to grief and despair, he opts in clear-eyed awareness for his timeless world of spats and woolly-headed peers. It's an austere, almost bloodless preference for pristine artifice over the pain and messy outcomes of actual existence, but it's a case of Wodehouse keeping faith with his own unique art.\"\n\nThe American literary analyst Robert F. Kiernan, defining \"camp\" as \"excessive stylization of whatever kind\", brackets Wodehouse as \"a master of the camp novel\", along with Thomas Love Peacock, Max Beerbohm, Ronald Firbank, E. F. Benson and Ivy Compton-Burnett. The literary critic and writer Cyril Connolly calls Wodehouse a \"politicians' author\"—one who does \"not like art to be exacting and difficult\". Two former British prime ministers, H. H. Asquith and Tony Blair, are on record as Wodehouse aficionados, and the latter became a patron of the Wodehouse Society. Seán O'Casey, a successful playwright of the 1920s, thought little of Wodehouse; he commented in 1941 that it was damaging to England's dignity that the public or \"the academic government of Oxford, dead from the chin up\" considered Wodehouse an important figure in English literature. His jibe that Wodehouse was \"English literature's performing flea\" provided his target with the title of his collected letters, published in 1953. McCrum, writing in 2004, observes, \"Wodehouse is more popular today than on the day he died\", and \"his comic vision has an absolutely secure place in the English literary imagination.\"\n\nHonours and influence\n\nThe proposed nominations of Wodehouse for a knighthood in 1967 and 1971 were blocked for fear that such an award would \"revive the controversy of his wartime behaviour and give currency to a Bertie Wooster image of the British character which the embassy was doing its best to eradicate\". When Wodehouse was awarded the knighthood, only four years later, the journalist Dennis Barker wrote in The Guardian that the writer was \"the solitary surviving English literary comic genius\". After his death six weeks later, the journalist Michael Davie, writing in the same paper, observed that \"Many people regarded ... [Wodehouse] as he regarded Beachcomber, as 'one, if not more than one, of England's greatest men'\", while in the view of the obituarist for The Times Wodehouse \"was a comic genius recognized in his lifetime as a classic and an old master of farce\". In September 2019 Wodehouse was commemorated with a memorial stone in Westminster Abbey; the dedication was held two days after it was installed.\n\nSince Wodehouse's death there have been numerous adaptations and dramatisations of his work on television and film; Wodehouse himself has been portrayed on radio and screen numerous times. There are several literary societies dedicated to Wodehouse. The P.G. Wodehouse Society (UK) was founded in 1997 and has over 1,000 members as at 2015. The president of the society as at 2017 is Alexander Armstrong; past presidents have included Terry Wogan and Richard Briers. There are also other groups of Wodehouse fans in Australia, Belgium, France, Finland, India, Italy, Russia, Sweden and the US. As at 2015 the Oxford English Dictionary contains over 1,750 quotations from Wodehouse, illustrating terms from crispish to zippiness. Voorhees, while acknowledging that Wodehouse's antecedents in literature range from Ben Jonson to Oscar Wilde, writes:\n\nNotes, references and sources\n\nNotes\n\nReferences\n\nSources\n\nExternal links\n\n \n \n \n \n \n \n \n P. G. Wodehouse collection at One More Library\n \n \n P.G. Wodehouse Archive on loan to the British Library\n The Wodehouse Society\n The P. G. Wodehouse Society (UK)\n Transcripts of Wodehouse's Berlin Broadcasts\n \n\n \"P. G. Wodehouse: An English Master of American Slang\" from The American Legion Weekly, 24 October 1919\n Orwell, George \"In Defence of P.G. Wodehouse\"\n\n \n1881 births\n1975 deaths\n20th-century English novelists\n20th-century British dramatists and playwrights\nBritish emigrants to the United States\nEnglish lyricists\nKnights Commander of the Order of the British Empire\nEnglish male dramatists and playwrights\nBritish male novelists\nPeople educated at Dulwich College\nPeople educated at Elizabeth College, Guernsey\nPeople from Guildford\nPeople from Long Island\nPG\nPeople interned during World War II\nEnglish humorists\n20th-century American novelists\nAmerican dramatists and playwrights\nAmerican humorists\nAmerican lyricists\nAmerican male novelists\nNovelists from New York (state)\nLiterature controversies\nEnglish broadcasters for Nazi Germany\n20th-century American male writers"},"extractive":{"kind":"string","value":"true"},"retrieved_contexts":{"kind":"list like","value":["Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\n\nKobylinec and Ptáčovský kopeček\n\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\n\nPonds\n\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\n\nSyenitové skály near Pocoucov\n\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\n\nExternal links\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\n\nReferences\n\nExternal links\nNature near the village Trnava which is there\n\nTřebíč\nParks in the Czech Republic\nTourist attractions in the Vysočina Region","Damn Interesting is an independent website founded by Alan Bellows in 2005. The website presents true stories from science, history, and psychology, primarily as long-form articles, often illustrated with original artwork. Works are written by various authors, and published at irregular intervals. The website openly rejects advertising, relying on reader and listener donations to cover operating costs.\n\nAs of October 2012, each article is also published as a podcast under the same name. In November 2019, a second podcast was launched under the title Damn Interesting Week, featuring unscripted commentary on an assortment of news articles featured on the website's \"Curated Links\" section that week. In mid-2020, a third podcast called Damn Interesting Curio Cabinet began highlighting the website's periodic short-form articles in the same radioplay format as the original podcast.\n\nIn July 2009, Damn Interesting published the print book Alien Hand Syndrome through Workman Publishing. It contains some favorites from the site and some exclusive content.\n\nAwards and recognition \nIn August 2007, PC Magazine named Damn Interesting one of the \"Top 100 Undiscovered Web Sites\".\nThe article \"The Zero-Armed Bandit\" by Alan Bellows won a 2015 Sidney Award from David Brooks in The New York Times.\nThe article \"Ghoulish Acts and Dastardly Deeds\" by Alan Bellows was cited as \"nonfiction journalism from 2017 that will stand the test of time\" by Conor Friedersdorf in The Atlantic.\nThe article \"Dupes and Duplicity\" by Jennifer Lee Noonan won a 2020 Sidney Award from David Brooks in the New York Times.\n\nAccusing The Dollop of plagiarism \n\nOn July 9, 2015, Bellows posted an open letter accusing The Dollop, a comedy podcast about history, of plagiarism due to their repeated use of verbatim text from Damn Interesting articles without permission or attribution. Dave Anthony, the writer of The Dollop, responded on reddit, admitting to using Damn Interesting content, but claiming that the use was protected by fair use, and that \"historical facts are not copyrightable.\" In an article about the controversy on Plagiarism Today, Jonathan Bailey concluded, \"Any way one looks at it, The Dollop failed its ethical obligations to all of the people, not just those writing for Damn Interesting, who put in the time, energy and expertise into writing the original content upon which their show is based.\"\n\nReferences\n\nExternal links \n Official website\n\n2005 podcast debuts"],"string":"[\n \"Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\\n\\nKobylinec and Ptáčovský kopeček\\n\\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\\n\\nPonds\\n\\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\\n\\nSyenitové skály near Pocoucov\\n\\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\\n\\nExternal links\\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\\n\\nReferences\\n\\nExternal links\\nNature near the village Trnava which is there\\n\\nTřebíč\\nParks in the Czech Republic\\nTourist attractions in the Vysočina Region\",\n \"Damn Interesting is an independent website founded by Alan Bellows in 2005. The website presents true stories from science, history, and psychology, primarily as long-form articles, often illustrated with original artwork. Works are written by various authors, and published at irregular intervals. The website openly rejects advertising, relying on reader and listener donations to cover operating costs.\\n\\nAs of October 2012, each article is also published as a podcast under the same name. In November 2019, a second podcast was launched under the title Damn Interesting Week, featuring unscripted commentary on an assortment of news articles featured on the website's \\\"Curated Links\\\" section that week. In mid-2020, a third podcast called Damn Interesting Curio Cabinet began highlighting the website's periodic short-form articles in the same radioplay format as the original podcast.\\n\\nIn July 2009, Damn Interesting published the print book Alien Hand Syndrome through Workman Publishing. It contains some favorites from the site and some exclusive content.\\n\\nAwards and recognition \\nIn August 2007, PC Magazine named Damn Interesting one of the \\\"Top 100 Undiscovered Web Sites\\\".\\nThe article \\\"The Zero-Armed Bandit\\\" by Alan Bellows won a 2015 Sidney Award from David Brooks in The New York Times.\\nThe article \\\"Ghoulish Acts and Dastardly Deeds\\\" by Alan Bellows was cited as \\\"nonfiction journalism from 2017 that will stand the test of time\\\" by Conor Friedersdorf in The Atlantic.\\nThe article \\\"Dupes and Duplicity\\\" by Jennifer Lee Noonan won a 2020 Sidney Award from David Brooks in the New York Times.\\n\\nAccusing The Dollop of plagiarism \\n\\nOn July 9, 2015, Bellows posted an open letter accusing The Dollop, a comedy podcast about history, of plagiarism due to their repeated use of verbatim text from Damn Interesting articles without permission or attribution. Dave Anthony, the writer of The Dollop, responded on reddit, admitting to using Damn Interesting content, but claiming that the use was protected by fair use, and that \\\"historical facts are not copyrightable.\\\" In an article about the controversy on Plagiarism Today, Jonathan Bailey concluded, \\\"Any way one looks at it, The Dollop failed its ethical obligations to all of the people, not just those writing for Damn Interesting, who put in the time, energy and expertise into writing the original content upon which their show is based.\\\"\\n\\nReferences\\n\\nExternal links \\n Official website\\n\\n2005 podcast debuts\"\n]"},"chunked_article":{"kind":"list like","value":["Sir Pelham Grenville Wodehouse, ( ; 15 October 188114 February 1975) was an English author and one of the most widely read humorists of the 20th century. His creations include the feather-brained Bertie Wooster and his sagacious valet, Jeeves; the immaculate and loquacious Psmith; Lord Emsworth and the Blandings Castle set; the Oldest Member, with stories about golf; and Mr Mulliner, with tall tales on subjects ranging from bibulous bishops to megalomaniac movie moguls.","His creations include the feather-brained Bertie Wooster and his sagacious valet, Jeeves; the immaculate and loquacious Psmith; Lord Emsworth and the Blandings Castle set; the Oldest Member, with stories about golf; and Mr Mulliner, with tall tales on subjects ranging from bibulous bishops to megalomaniac movie moguls. Born in Guildford, the third son of a British magistrate based in Hong Kong, Wodehouse spent happy teenage years at Dulwich College, to which he remained devoted all his life.","Born in Guildford, the third son of a British magistrate based in Hong Kong, Wodehouse spent happy teenage years at Dulwich College, to which he remained devoted all his life. After leaving school he was employed by a bank but disliked the work and turned to writing in his spare time.","After leaving school he was employed by a bank but disliked the work and turned to writing in his spare time. His early novels were mostly school stories, but he later switched to comic fiction.","His early novels were mostly school stories, but he later switched to comic fiction. Most of Wodehouse's fiction is set in his native United Kingdom, although he spent much of his life in the US and used New York and Hollywood as settings for some of his novels and short stories.","Most of Wodehouse's fiction is set in his native United Kingdom, although he spent much of his life in the US and used New York and Hollywood as settings for some of his novels and short stories. He wrote a series of Broadway musical comedies during and after the First World War, together with Guy Bolton and Jerome Kern, that played an important part in the development of the American musical.","He wrote a series of Broadway musical comedies during and after the First World War, together with Guy Bolton and Jerome Kern, that played an important part in the development of the American musical. He began the 1930s writing for MGM in Hollywood.","He began the 1930s writing for MGM in Hollywood. In a 1931 interview, his naive revelations of incompetence and extravagance in the studios caused a furore. In the same decade, his literary career reached a new peak.","In the same decade, his literary career reached a new peak. In 1934 Wodehouse moved to France for tax reasons; in 1940 he was taken prisoner at Le Touquet by the invading Germans and interned for nearly a year.","In 1934 Wodehouse moved to France for tax reasons; in 1940 he was taken prisoner at Le Touquet by the invading Germans and interned for nearly a year. After his release he made six broadcasts from German radio in Berlin to the US, which had not yet entered the war.","After his release he made six broadcasts from German radio in Berlin to the US, which had not yet entered the war. The talks were comic and apolitical, but his broadcasting over enemy radio prompted anger and strident controversy in Britain, and a threat of prosecution. Wodehouse never returned to England.","Wodehouse never returned to England. Wodehouse never returned to England. From 1947 until his death he lived in the US, taking dual British-American citizenship in 1955. He died in 1975, at the age of 93, in Southampton, New York.","He died in 1975, at the age of 93, in Southampton, New York. Wodehouse was a prolific writer throughout his life, publishing more than ninety books, forty plays, two hundred short stories and other writings between 1902 and 1974. He worked extensively on his books, sometimes having two or more in preparation simultaneously.","He worked extensively on his books, sometimes having two or more in preparation simultaneously. He would take up to two years to build a plot and write a scenario of about thirty thousand words. After the scenario was complete he would write the story.","After the scenario was complete he would write the story. Early in his career Wodehouse would produce a novel in about three months, but he slowed in old age to around six months.","Early in his career Wodehouse would produce a novel in about three months, but he slowed in old age to around six months. He used a mixture of Edwardian slang, quotations from and allusions to numerous poets, and several literary techniques to produce a prose style that has been compared to comic poetry and musical comedy.","He used a mixture of Edwardian slang, quotations from and allusions to numerous poets, and several literary techniques to produce a prose style that has been compared to comic poetry and musical comedy. Some critics of Wodehouse have considered his work flippant, but among his fans are former British prime ministers and many of his fellow writers.","Some critics of Wodehouse have considered his work flippant, but among his fans are former British prime ministers and many of his fellow writers. Life and career Early years Wodehouse was born in Guildford, Surrey, the third son of Henry Ernest Wodehouse (1845–1929), a magistrate resident in the British colony of Hong Kong, and his wife, Eleanor (1861–1941), daughter of the Rev John Bathurst Deane.","Life and career Early years Wodehouse was born in Guildford, Surrey, the third son of Henry Ernest Wodehouse (1845–1929), a magistrate resident in the British colony of Hong Kong, and his wife, Eleanor (1861–1941), daughter of the Rev John Bathurst Deane. The Wodehouses, who traced their ancestry back to the 13th century, belonged to a cadet branch of the family of the earls of Kimberley.","The Wodehouses, who traced their ancestry back to the 13th century, belonged to a cadet branch of the family of the earls of Kimberley. Eleanor Wodehouse was also of ancient aristocratic ancestry. She was visiting her sister in Guildford when Wodehouse was born there prematurely.","She was visiting her sister in Guildford when Wodehouse was born there prematurely. The boy was baptised at the Church of St Nicolas, Guildford, and was named after his godfather, Pelham von Donop.","The boy was baptised at the Church of St Nicolas, Guildford, and was named after his godfather, Pelham von Donop. Wodehouse wrote in 1957, \"If you ask me to tell you frankly if I like the name Pelham Grenville Wodehouse, I must confess that I do not....","Wodehouse wrote in 1957, \"If you ask me to tell you frankly if I like the name Pelham Grenville Wodehouse, I must confess that I do not.... I was named after a godfather, and not a thing to show for it but a small silver mug which I lost in 1897.\"","I was named after a godfather, and not a thing to show for it but a small silver mug which I lost in 1897.\" The first name was rapidly elided to \"Plum\", the name by which Wodehouse became known to family and friends.","The first name was rapidly elided to \"Plum\", the name by which Wodehouse became known to family and friends. Mother and son sailed for Hong Kong, where for his first two years Wodehouse was raised by a Chinese amah (nurse), alongside his elder brothers Peveril (1877–1951) and Armine (1879–1936).","Mother and son sailed for Hong Kong, where for his first two years Wodehouse was raised by a Chinese amah (nurse), alongside his elder brothers Peveril (1877–1951) and Armine (1879–1936). When he was two, the brothers were brought to England, where they were placed under the care of an English nanny in a house adjoining that of Eleanor's father and mother.","When he was two, the brothers were brought to England, where they were placed under the care of an English nanny in a house adjoining that of Eleanor's father and mother. The boys' parents returned to Hong Kong and became virtual strangers to their sons.","The boys' parents returned to Hong Kong and became virtual strangers to their sons. Such an arrangement was then normal for middle-class families based in the colonies.","Such an arrangement was then normal for middle-class families based in the colonies. The lack of parental contact, and the harsh regime of some of those in loco parentis, left permanent emotional scars on many children from similar backgrounds, including the writers Thackeray, Saki, Kipling and Walpole.","The lack of parental contact, and the harsh regime of some of those in loco parentis, left permanent emotional scars on many children from similar backgrounds, including the writers Thackeray, Saki, Kipling and Walpole. Wodehouse was more fortunate; his nanny, Emma Roper, was strict but not unkind, and both with her and later at his different schools Wodehouse had a generally happy childhood.","Wodehouse was more fortunate; his nanny, Emma Roper, was strict but not unkind, and both with her and later at his different schools Wodehouse had a generally happy childhood. His recollection was that \"it went like a breeze from start to finish, with everybody I met understanding me perfectly\".","His recollection was that \"it went like a breeze from start to finish, with everybody I met understanding me perfectly\". The biographer Robert McCrum suggests that nonetheless Wodehouse's isolation from his parents left a psychological mark, causing him to avoid emotional engagement both in life and in his works.","The biographer Robert McCrum suggests that nonetheless Wodehouse's isolation from his parents left a psychological mark, causing him to avoid emotional engagement both in life and in his works. Another biographer, Frances Donaldson, writes, \"Deprived so early, not merely of maternal love, but of home life and even a stable background, Wodehouse consoled himself from the youngest age in an imaginary world of his own.\"","Another biographer, Frances Donaldson, writes, \"Deprived so early, not merely of maternal love, but of home life and even a stable background, Wodehouse consoled himself from the youngest age in an imaginary world of his own.\" In 1886 the brothers were sent to a dame-school in Croydon, where they spent three years.","In 1886 the brothers were sent to a dame-school in Croydon, where they spent three years. Peveril was then found to have a \"weak chest\"; sea air was prescribed, and the three boys were moved to Elizabeth College on the island of Guernsey.","Peveril was then found to have a \"weak chest\"; sea air was prescribed, and the three boys were moved to Elizabeth College on the island of Guernsey. In 1891 Wodehouse went on to Malvern House Preparatory School in Kent, which concentrated on preparing its pupils for entry to the Royal Navy.","In 1891 Wodehouse went on to Malvern House Preparatory School in Kent, which concentrated on preparing its pupils for entry to the Royal Navy. His father had planned a naval career for him, but the boy's eyesight was found to be too poor for it.","His father had planned a naval career for him, but the boy's eyesight was found to be too poor for it. He was unimpressed by the school's narrow curriculum and zealous discipline; he later parodied it in his novels, with Bertie Wooster recalling his early years as a pupil at a \"penitentiary... with the outward guise of a prep school\" called Malvern House.","He was unimpressed by the school's narrow curriculum and zealous discipline; he later parodied it in his novels, with Bertie Wooster recalling his early years as a pupil at a \"penitentiary... with the outward guise of a prep school\" called Malvern House. Throughout their school years the brothers were sent to stay during the holidays with various uncles and aunts from both sides of the family.","Throughout their school years the brothers were sent to stay during the holidays with various uncles and aunts from both sides of the family. In the Oxford Dictionary of National Biography, Iain Sproat counts twenty aunts and considers that they played an important part not only in Wodehouse's early life, but, thinly disguised, in his mature novels, as the formidable aunts who dominate the action in the Wooster, Blandings, and other stories.","In the Oxford Dictionary of National Biography, Iain Sproat counts twenty aunts and considers that they played an important part not only in Wodehouse's early life, but, thinly disguised, in his mature novels, as the formidable aunts who dominate the action in the Wooster, Blandings, and other stories. The boys had fifteen uncles, four of whom were clergymen.","The boys had fifteen uncles, four of whom were clergymen. Sproat writes that they inspired Wodehouse's \"pious but fallible curates, vicars, and bishops, of which he wrote with friendly irreverence but without mockery\".","Sproat writes that they inspired Wodehouse's \"pious but fallible curates, vicars, and bishops, of which he wrote with friendly irreverence but without mockery\". At the age of twelve in 1894, to his great joy, Wodehouse was able to follow his brother Armine to Dulwich College.","At the age of twelve in 1894, to his great joy, Wodehouse was able to follow his brother Armine to Dulwich College. He was entirely at home there; Donaldson comments that Dulwich gave him, for the first time, \"some continuity and a stable and ordered life\".","He was entirely at home there; Donaldson comments that Dulwich gave him, for the first time, \"some continuity and a stable and ordered life\". He loved the camaraderie, distinguished himself at cricket, rugby and boxing, and was a good, if not consistently diligent, student.","He loved the camaraderie, distinguished himself at cricket, rugby and boxing, and was a good, if not consistently diligent, student. The headmaster at the time was A. H. Gilkes, a respected classicist, who was a strong influence on Wodehouse.","The headmaster at the time was A. H. Gilkes, a respected classicist, who was a strong influence on Wodehouse. In a study of Wodehouse's works, Richard Usborne argues that \"only a writer who was himself a scholar and had had his face ground into Latin and Greek (especially Thucydides) as a boy\" could sustain the complex sequences of subordinate clauses sometimes found in Wodehouse's comic prose.","In a study of Wodehouse's works, Richard Usborne argues that \"only a writer who was himself a scholar and had had his face ground into Latin and Greek (especially Thucydides) as a boy\" could sustain the complex sequences of subordinate clauses sometimes found in Wodehouse's comic prose. Wodehouse's six years at Dulwich were among the happiest of his life: \"To me the years between 1894 and 1900 were like heaven.\"","Wodehouse's six years at Dulwich were among the happiest of his life: \"To me the years between 1894 and 1900 were like heaven.\" In addition to his sporting achievements he was a good singer and enjoyed taking part in school concerts; his literary leanings found an outlet in editing the school magazine, The Alleynian.","In addition to his sporting achievements he was a good singer and enjoyed taking part in school concerts; his literary leanings found an outlet in editing the school magazine, The Alleynian. For the rest of his life he remained devoted to the school.","For the rest of his life he remained devoted to the school. The biographer Barry Phelps writes that Wodehouse \"loved the college as much as he loved anything or anybody\".","The biographer Barry Phelps writes that Wodehouse \"loved the college as much as he loved anything or anybody\". Reluctant banker; budding writer: 1900–1908 Wodehouse expected to follow Armine to the University of Oxford, but the family's finances took a turn for the worse at the crucial moment.","Reluctant banker; budding writer: 1900–1908 Wodehouse expected to follow Armine to the University of Oxford, but the family's finances took a turn for the worse at the crucial moment. Ernest Wodehouse had retired in 1895, and his pension was paid in rupees; fluctuation against the pound reduced its value in Britain.","Ernest Wodehouse had retired in 1895, and his pension was paid in rupees; fluctuation against the pound reduced its value in Britain. Wodehouse recalled, \"The wolf was not actually whining at the door and there was always a little something in the kitty for the butcher and the grocer, but the finances would not run to anything in the nature of a splash\".","Wodehouse recalled, \"The wolf was not actually whining at the door and there was always a little something in the kitty for the butcher and the grocer, but the finances would not run to anything in the nature of a splash\". Instead of a university career, in September 1900 Wodehouse was engaged in a junior position in the London office of the Hongkong and Shanghai Bank.","Instead of a university career, in September 1900 Wodehouse was engaged in a junior position in the London office of the Hongkong and Shanghai Bank. He was unsuited to it and found the work baffling and uncongenial.","He was unsuited to it and found the work baffling and uncongenial. He later wrote a humorous account of his experiences at the bank, but at the time he longed for the end of each working day, when he could return to his rented lodgings in Chelsea and write.","He later wrote a humorous account of his experiences at the bank, but at the time he longed for the end of each working day, when he could return to his rented lodgings in Chelsea and write. At first he concentrated, with some success, on serious articles about school sports for Public School Magazine.","At first he concentrated, with some success, on serious articles about school sports for Public School Magazine. In November 1900 his first comic piece, \"Men Who Missed Their Own Weddings\", was accepted by Tit-Bits.","In November 1900 his first comic piece, \"Men Who Missed Their Own Weddings\", was accepted by Tit-Bits. A new magazine for boys, The Captain, provided further well-paid opportunities, and during his two years at the bank, Wodehouse had eighty pieces published in a total of nine magazines.","A new magazine for boys, The Captain, provided further well-paid opportunities, and during his two years at the bank, Wodehouse had eighty pieces published in a total of nine magazines. In 1901, with the help of a former Dulwich master, William Beach Thomas, Wodehouse secured an appointment—at first temporary and later permanent—writing for The Globes popular \"By the Way\" column.","In 1901, with the help of a former Dulwich master, William Beach Thomas, Wodehouse secured an appointment—at first temporary and later permanent—writing for The Globes popular \"By the Way\" column. He held the post until 1909.","He held the post until 1909. At around the same time his first novel was published—a school story called The Pothunters, serialised incomplete in Public School Magazine in early 1902, and issued in full in hardback in September. He resigned from the bank that month to devote himself to writing full-time.","He resigned from the bank that month to devote himself to writing full-time. Between the publication of The Pothunters 1902 and that of Mike in 1909, Wodehouse wrote eight novels and co-wrote another two.","Between the publication of The Pothunters 1902 and that of Mike in 1909, Wodehouse wrote eight novels and co-wrote another two. The critic R. D. B. French writes that, of Wodehouse's work from this period, almost all that deserves to survive is the school fiction.","The critic R. D. B. French writes that, of Wodehouse's work from this period, almost all that deserves to survive is the school fiction. Looking back in the 1950s Wodehouse viewed these as his apprentice years: \"I was practically in swaddling clothes and it is extremely creditable to me that I was able to write at all.\"","Looking back in the 1950s Wodehouse viewed these as his apprentice years: \"I was practically in swaddling clothes and it is extremely creditable to me that I was able to write at all.\" From his boyhood Wodehouse had been fascinated by America, which he conceived of as \"a land of romance\"; he \"yearned\" to visit the country, and by 1904 he had earned enough to do so.","From his boyhood Wodehouse had been fascinated by America, which he conceived of as \"a land of romance\"; he \"yearned\" to visit the country, and by 1904 he had earned enough to do so. In April he sailed to New York, which he found greatly to his liking.","In April he sailed to New York, which he found greatly to his liking. He noted in his diary: \"In New York gathering experience. Worth many guineas in the future but none for the moment.\"","Worth many guineas in the future but none for the moment.\" This prediction proved correct: few British writers had first-hand experience of the US, and his articles about life in New York brought him higher than usual fees.","This prediction proved correct: few British writers had first-hand experience of the US, and his articles about life in New York brought him higher than usual fees. He later recalled that \"in 1904 anyone in the London writing world who had been to America was regarded with awe and looked upon as an authority on that terra incognita.... After that trip to New York I was a man who counted.... My income rose like a rocketing pheasant.\"","He later recalled that \"in 1904 anyone in the London writing world who had been to America was regarded with awe and looked upon as an authority on that terra incognita.... After that trip to New York I was a man who counted.... My income rose like a rocketing pheasant.\" Wodehouse's other new venture in 1904 was writing for the stage.","Wodehouse's other new venture in 1904 was writing for the stage. Towards the end of the year the librettist Owen Hall invited him to contribute an additional lyric for a musical comedy Sergeant Brue. Wodehouse had loved theatre since his first visit, aged thirteen, when Gilbert and Sullivan's Patience had made him \"drunk with ecstasy\".","Wodehouse had loved theatre since his first visit, aged thirteen, when Gilbert and Sullivan's Patience had made him \"drunk with ecstasy\". His lyric for Hall, \"Put Me in My Little Cell\", was a Gilbertian number for a trio of comic crooks, with music by Frederick Rosse; it was well received and launched Wodehouse on a career as a theatre writer that spanned three decades.","His lyric for Hall, \"Put Me in My Little Cell\", was a Gilbertian number for a trio of comic crooks, with music by Frederick Rosse; it was well received and launched Wodehouse on a career as a theatre writer that spanned three decades. Although it made little impact on its first publication, the 1906 novel Love Among the Chickens contained what French calls the author's first original comic creation: Stanley Featherstonehaugh Ukridge.","Although it made little impact on its first publication, the 1906 novel Love Among the Chickens contained what French calls the author's first original comic creation: Stanley Featherstonehaugh Ukridge. The character, an amoral, bungling opportunist, is partly based on Wodehouse's Globe colleague Herbert Westbrook.","The character, an amoral, bungling opportunist, is partly based on Wodehouse's Globe colleague Herbert Westbrook. The two collaborated between 1907 and 1913 on two books, two music hall sketches, and a play, Brother Alfred. Wodehouse would return to the character in short stories over the next six decades.","Wodehouse would return to the character in short stories over the next six decades. In early 1906 the actor-manager Seymour Hicks invited Wodehouse to become resident lyricist at the Aldwych Theatre, to add topical verses to newly imported or long-running shows. Hicks had already recruited the young Jerome Kern to write the music for such songs.","Hicks had already recruited the young Jerome Kern to write the music for such songs. The first Kern-Wodehouse collaboration, a comic number for The Beauty of Bath titled \"Mr [Joseph] Chamberlain\", was a show-stopper and was briefly the most popular song in London.","The first Kern-Wodehouse collaboration, a comic number for The Beauty of Bath titled \"Mr [Joseph] Chamberlain\", was a show-stopper and was briefly the most popular song in London. Psmith, Blandings, Wooster and Jeeves: 1908–1915 Wodehouse's early period as a writer came to an end in 1908 with the serialisation of The Lost Lambs, published the following year in book form as the second half of the novel Mike.","Psmith, Blandings, Wooster and Jeeves: 1908–1915 Wodehouse's early period as a writer came to an end in 1908 with the serialisation of The Lost Lambs, published the following year in book form as the second half of the novel Mike. The work begins as a conventional school story, but Wodehouse introduces a new and strikingly original character, Psmith, whose creation both Evelyn Waugh and George Orwell regarded as a watershed in Wodehouse's development.","The work begins as a conventional school story, but Wodehouse introduces a new and strikingly original character, Psmith, whose creation both Evelyn Waugh and George Orwell regarded as a watershed in Wodehouse's development. Wodehouse said that he based Psmith on the hotelier and impresario Rupert D'Oyly Carte—\"the only thing in my literary career which was handed to me on a silver plate with watercress around it\".","Wodehouse said that he based Psmith on the hotelier and impresario Rupert D'Oyly Carte—\"the only thing in my literary career which was handed to me on a silver plate with watercress around it\". Wodehouse wrote in the 1970s that a cousin of his who had been at school with Carte told him of the latter's monocle, studied suavity, and stateliness of speech, all of which Wodehouse adopted for his new character.","Wodehouse wrote in the 1970s that a cousin of his who had been at school with Carte told him of the latter's monocle, studied suavity, and stateliness of speech, all of which Wodehouse adopted for his new character. Psmith featured in three more novels: Psmith in the City (1910), a burlesque of banking; Psmith, Journalist (1915) set in New York; and Leave It to Psmith (1923), set at Blandings Castle.","Psmith featured in three more novels: Psmith in the City (1910), a burlesque of banking; Psmith, Journalist (1915) set in New York; and Leave It to Psmith (1923), set at Blandings Castle. In May 1909 Wodehouse made his second visit to New York, where he sold two short stories to Cosmopolitan and Collier's for a total of $500, a much higher fee than he had commanded previously.","In May 1909 Wodehouse made his second visit to New York, where he sold two short stories to Cosmopolitan and Collier's for a total of $500, a much higher fee than he had commanded previously. He resigned from The Globe and stayed in New York for nearly a year.","He resigned from The Globe and stayed in New York for nearly a year. He sold many more stories, but none of the American publications offered a permanent relationship and guaranteed income. Wodehouse returned to England in late 1910, rejoining The Globe and also contributing regularly to The Strand Magazine.","Wodehouse returned to England in late 1910, rejoining The Globe and also contributing regularly to The Strand Magazine. Between then and the outbreak of the First World War in 1914 he revisited America frequently. Wodehouse was in New York when the war began.","Wodehouse was in New York when the war began. Ineligible for military service because of his poor eyesight, he remained in the US throughout the war, detached from the conflict in Europe and absorbed in his theatrical and literary concerns. In September 1914 he married Ethel May Wayman, née Newton (1885–1984), an English widow.","In September 1914 he married Ethel May Wayman, née Newton (1885–1984), an English widow. The marriage proved happy and lifelong. Ethel's personality was in contrast with her husband's: he was shy and impractical; she was gregarious, decisive and well organised.","Ethel's personality was in contrast with her husband's: he was shy and impractical; she was gregarious, decisive and well organised. In Sproat's phrase, she \"took charge of Wodehouse's life and made certain that he had the peace and quiet he needed to write\".","In Sproat's phrase, she \"took charge of Wodehouse's life and made certain that he had the peace and quiet he needed to write\". There were no children of the marriage, but Wodehouse came to love Ethel's daughter Leonora (1905–1944) and legally adopted her.","There were no children of the marriage, but Wodehouse came to love Ethel's daughter Leonora (1905–1944) and legally adopted her. Wodehouse experimented with different genres of fiction in these years; Psmith, Journalist, mixing comedy with social comment on slum landlords and racketeers, was published in 1915.","Wodehouse experimented with different genres of fiction in these years; Psmith, Journalist, mixing comedy with social comment on slum landlords and racketeers, was published in 1915. In the same year The Saturday Evening Post paid $3,500 to serialise Something New, the first of what became a series of novels set at Blandings Castle.","In the same year The Saturday Evening Post paid $3,500 to serialise Something New, the first of what became a series of novels set at Blandings Castle. It was published in hardback in the US and the UK in the same year (the British edition being retitled Something Fresh).","It was published in hardback in the US and the UK in the same year (the British edition being retitled Something Fresh). It was Wodehouse's first farcical novel; it was also his first best-seller, and although his later books included some gentler, lightly sentimental stories, it was as a farceur that he became known.","It was Wodehouse's first farcical novel; it was also his first best-seller, and although his later books included some gentler, lightly sentimental stories, it was as a farceur that he became known. Later in the same year \"Extricating Young Gussie\", the first story about Bertie and Jeeves, was published.","Later in the same year \"Extricating Young Gussie\", the first story about Bertie and Jeeves, was published. These stories introduced two sets of characters about whom Wodehouse wrote for the rest of his life.","These stories introduced two sets of characters about whom Wodehouse wrote for the rest of his life. The Blandings Castle stories, set in an English stately home, depict the attempts of the placid Lord Emsworth to evade the many distractions around him, which include successive pairs of young lovers, the machinations of his exuberant brother Galahad, the demands of his domineering sisters and super-efficient secretaries, and anything detrimental to his prize sow, the Empress of Blandings.","The Blandings Castle stories, set in an English stately home, depict the attempts of the placid Lord Emsworth to evade the many distractions around him, which include successive pairs of young lovers, the machinations of his exuberant brother Galahad, the demands of his domineering sisters and super-efficient secretaries, and anything detrimental to his prize sow, the Empress of Blandings. The Bertie and Jeeves stories feature an amiable young man-about-town, regularly rescued from the consequences of his idiocy by the benign interference of his valet.","The Bertie and Jeeves stories feature an amiable young man-about-town, regularly rescued from the consequences of his idiocy by the benign interference of his valet. Broadway: 1915–1919 A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator.","Broadway: 1915–1919 A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator. Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York.","Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York. The show was successful, but they thought the song lyrics weak and invited Wodehouse to join them on its successor. This was Miss Springtime (1916), which ran for 227 performances—a good run by the standards of the day.","This was Miss Springtime (1916), which ran for 227 performances—a good run by the standards of the day. The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917–18) and Oh, Lady! Lady!!","Lady!! Lady!! (1918), and Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin.","In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin. Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies.","Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies. Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do.","Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do. Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical.","Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical. In the Grove Dictionary of American Music Larry Stempel writes, \"By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy.\"","In the Grove Dictionary of American Music Larry Stempel writes, \"By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy.\" The theatre writer Gerald Bordman calls Wodehouse \"the most observant, literate, and witty lyricist of his day\".","The theatre writer Gerald Bordman calls Wodehouse \"the most observant, literate, and witty lyricist of his day\". The composer Richard Rodgers wrote, \"Before Larry Hart, only P.G. Wodehouse had made any real assault on the intelligence of the song-listening public.\"","Wodehouse had made any real assault on the intelligence of the song-listening public.\" 1920s In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones.","1920s In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones. Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest.","Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest. Various other young men-about-town appeared in short stories about members of the Drones Club.","Various other young men-about-town appeared in short stories about members of the Drones Club. The Wodehouses returned to England, where they had a house in London for some years, but Wodehouse continued to cross the Atlantic frequently, spending substantial periods in New York. He continued to work in the theatre.","He continued to work in the theatre. During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York).","During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York). He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnár, and A Damsel in Distress (1928), a dramatisation of his 1919 novel.","He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnár, and A Damsel in Distress (1928), a dramatisation of his 1919 novel. Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods.","Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods. Donaldson lists among those with whom he was on friendly terms writers including A. A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith Jr., Heather Thatcher and Dorothy Dickson.","A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith Jr., Heather Thatcher and Dorothy Dickson. Hollywood: 1929–1931 There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name.","Hollywood: 1929–1931 There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name. Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM).","Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM). Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week.","Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week. This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929.","This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929. The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories.","The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories. He commented, \"It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary.\"","He commented, \"It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary.\" Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used.","Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used. In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was \"as close to a success as Wodehouse was to have at MGM.","In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was \"as close to a success as Wodehouse was to have at MGM. His only other credits were minimal, and the other projects he worked on were not produced.\"","His only other credits were minimal, and the other projects he worked on were not produced.\" Wodehouse's contract ended after a year and was not renewed. At MGM's request, he gave an interview to The Los Angeles Times.","At MGM's request, he gave an interview to The Los Angeles Times. Wodehouse was described by Herbert Warren Wind as \"politically naive [and] fundamentally unworldly\", and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent.","Wodehouse was described by Herbert Warren Wind as \"politically naive [and] fundamentally unworldly\", and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent. The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry.","The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry. Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been \"a storm in a teacup\", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable.","Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been \"a storm in a teacup\", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable. Wind's view of Wodehouse's naïveté is not universally held.","Wind's view of Wodehouse's naïveté is not universally held. Biographers including Donaldson, McCrum and Phelps suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute.","Biographers including Donaldson, McCrum and Phelps suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute. He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire.","He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire. Best-seller: 1930s During the 1930s Wodehouse's theatrical work tailed off.","Best-seller: 1930s During the 1930s Wodehouse's theatrical work tailed off. He wrote or adapted four plays for the West End; Leave it to Psmith (1930), which he adapted in collaboration with Ian Hay, was the only one to have a long run.","He wrote or adapted four plays for the West End; Leave it to Psmith (1930), which he adapted in collaboration with Ian Hay, was the only one to have a long run. The reviewer in The Manchester Guardian praised the play, but commented: \"It is Mr Wodehouse's own inimitable narrative comments and descriptions in his own person of the antics of his puppets that one misses.","The reviewer in The Manchester Guardian praised the play, but commented: \"It is Mr Wodehouse's own inimitable narrative comments and descriptions in his own person of the antics of his puppets that one misses. They cannot be got into a play and they are at least half the fun of the novels.\"","They cannot be got into a play and they are at least half the fun of the novels.\" In 1934 Wodehouse collaborated with Bolton on the book for Cole Porter's Anything Goes (Porter wrote his own lyrics), but at the last minute their version was almost entirely rewritten by others at the instigation of the producer, who disliked the original script.","In 1934 Wodehouse collaborated with Bolton on the book for Cole Porter's Anything Goes (Porter wrote his own lyrics), but at the last minute their version was almost entirely rewritten by others at the instigation of the producer, who disliked the original script. Concentrating on writing novels and short stories, Wodehouse reached the peak of his productivity in this decade, averaging two books each year, and grossing an annual £100,000.","Concentrating on writing novels and short stories, Wodehouse reached the peak of his productivity in this decade, averaging two books each year, and grossing an annual £100,000. His practice of dividing his time between Britain and America caused Wodehouse difficulties with the tax authorities of both countries.","His practice of dividing his time between Britain and America caused Wodehouse difficulties with the tax authorities of both countries. Both the UK Inland Revenue and the US Internal Revenue Service sought to tax him as a resident.","Both the UK Inland Revenue and the US Internal Revenue Service sought to tax him as a resident. The matter was settled after lengthy negotiations, but the Wodehouses decided to change their residential status beyond doubt by moving to France, where they bought a house near Le Touquet in the north.","The matter was settled after lengthy negotiations, but the Wodehouses decided to change their residential status beyond doubt by moving to France, where they bought a house near Le Touquet in the north. In 1935 Wodehouse created the last of his regular cast of principal characters, Lord Ickenham, otherwise known as Uncle Fred, who, in Usborne's words, \"leads the dance in four novels and a short story... a whirring dynamo of misrule\".","In 1935 Wodehouse created the last of his regular cast of principal characters, Lord Ickenham, otherwise known as Uncle Fred, who, in Usborne's words, \"leads the dance in four novels and a short story... a whirring dynamo of misrule\". His other books from the decade include Right Ho, Jeeves, which Donaldson judged his best work, Uncle Fred in the Springtime, which the writer Bernard Levin considered the best, and Blandings Castle, which contains \"Lord Emsworth and the Girl Friend\", which Rudyard Kipling thought \"one of the most perfect short stories I have ever read\".","His other books from the decade include Right Ho, Jeeves, which Donaldson judged his best work, Uncle Fred in the Springtime, which the writer Bernard Levin considered the best, and Blandings Castle, which contains \"Lord Emsworth and the Girl Friend\", which Rudyard Kipling thought \"one of the most perfect short stories I have ever read\". Other leading literary figures who admired Wodehouse were A. E. Housman, Max Beerbohm and Hilaire Belloc; on the radio and in print Belloc called Wodehouse \"the best writer of our time: the best living writer of English... the head of my profession\".","Other leading literary figures who admired Wodehouse were A. E. Housman, Max Beerbohm and Hilaire Belloc; on the radio and in print Belloc called Wodehouse \"the best writer of our time: the best living writer of English... the head of my profession\". Wodehouse regarded Belloc's plaudit as \"a gag, to get a rise out of serious-minded authors whom he disliked\".","Wodehouse regarded Belloc's plaudit as \"a gag, to get a rise out of serious-minded authors whom he disliked\". Wodehouse was never sure that his books had literary merit as well as popular appeal, and, Donaldson suggests, must have been overwhelmed when the University of Oxford conferred an honorary doctorate of letters on him in June 1939.","Wodehouse was never sure that his books had literary merit as well as popular appeal, and, Donaldson suggests, must have been overwhelmed when the University of Oxford conferred an honorary doctorate of letters on him in June 1939. His visit to England for the awarding ceremony was the last time he set foot in his native land.","His visit to England for the awarding ceremony was the last time he set foot in his native land. Second World War: internment and broadcasts At the start of the Second World War Wodehouse and his wife remained at their Le Touquet house, where, during the Phoney War, he worked on Joy in the Morning.","Second World War: internment and broadcasts At the start of the Second World War Wodehouse and his wife remained at their Le Touquet house, where, during the Phoney War, he worked on Joy in the Morning. With the advance of the Germans, the nearby Royal Air Force base withdrew; Wodehouse was offered the sole spare seat in one of the fighter aircraft, but he turned down the opportunity as it would have meant leaving behind Ethel and their dog.","With the advance of the Germans, the nearby Royal Air Force base withdrew; Wodehouse was offered the sole spare seat in one of the fighter aircraft, but he turned down the opportunity as it would have meant leaving behind Ethel and their dog. On 21 May 1940, with German troops advancing through northern France, the Wodehouses decided to drive to Portugal and fly from there to the US.","On 21 May 1940, with German troops advancing through northern France, the Wodehouses decided to drive to Portugal and fly from there to the US. Two miles from home their car broke down, so they returned and borrowed a car from a neighbour; with the routes blocked with refugees, they returned home again.","Two miles from home their car broke down, so they returned and borrowed a car from a neighbour; with the routes blocked with refugees, they returned home again. The Germans occupied Le Touquet on 22 May 1940 and Wodehouse had to report to the authorities daily.","The Germans occupied Le Touquet on 22 May 1940 and Wodehouse had to report to the authorities daily. After two months of occupation the Germans interned all male enemy nationals under 60, and Wodehouse was sent to a former prison in Loos, a suburb of Lille, on 21 July; Ethel remained in Le Touquet.","After two months of occupation the Germans interned all male enemy nationals under 60, and Wodehouse was sent to a former prison in Loos, a suburb of Lille, on 21 July; Ethel remained in Le Touquet. The internees were placed four to a cell, each of which had been designed for one man.","The internees were placed four to a cell, each of which had been designed for one man. One bed was available per cell, which was made available to the eldest man—not Wodehouse, who slept on the granite floor.","One bed was available per cell, which was made available to the eldest man—not Wodehouse, who slept on the granite floor. The prisoners were not kept long in Loos before they were transported in cattle trucks to a former barracks in Liège, Belgium, which was run as a prison by the SS.","The prisoners were not kept long in Loos before they were transported in cattle trucks to a former barracks in Liège, Belgium, which was run as a prison by the SS. After a week the men were transferred to Huy in Liège, where they were incarcerated in the local citadel.","After a week the men were transferred to Huy in Liège, where they were incarcerated in the local citadel. They remained there until September 1940, when they were transported to Tost in Upper Silesia (then Germany, now Toszek in Poland).","They remained there until September 1940, when they were transported to Tost in Upper Silesia (then Germany, now Toszek in Poland). Wodehouse's family and friends had not had any news of his location after the fall of France, but an article from an Associated Press reporter who had visited Tost in December 1940 led to pressure on the German authorities to release the novelist.","Wodehouse's family and friends had not had any news of his location after the fall of France, but an article from an Associated Press reporter who had visited Tost in December 1940 led to pressure on the German authorities to release the novelist. This included a petition from influential people in the US; Senator W. Warren Barbour presented it to the German ambassador.","This included a petition from influential people in the US; Senator W. Warren Barbour presented it to the German ambassador. Although his captors refused to release him, Wodehouse was provided with a typewriter and, to pass the time, he wrote Money in the Bank.","Although his captors refused to release him, Wodehouse was provided with a typewriter and, to pass the time, he wrote Money in the Bank. Throughout his time in Tost, he sent postcards to his US literary agent asking for $5 to be sent to various people in Canada, mentioning his name.","Throughout his time in Tost, he sent postcards to his US literary agent asking for $5 to be sent to various people in Canada, mentioning his name. These were the families of Canadian prisoners of war, and the news from Wodehouse was the first indication that their sons were alive and well.","These were the families of Canadian prisoners of war, and the news from Wodehouse was the first indication that their sons were alive and well. Wodehouse risked severe punishment for the communication, but managed to evade the German censor.","Wodehouse risked severe punishment for the communication, but managed to evade the German censor. On 21 June 1941, while he was in the middle of playing a game of cricket, Wodehouse received a visit from two members of the Gestapo.","On 21 June 1941, while he was in the middle of playing a game of cricket, Wodehouse received a visit from two members of the Gestapo. He was given ten minutes to pack his things before he was taken to the Hotel Adlon, a top luxury hotel in Berlin.","He was given ten minutes to pack his things before he was taken to the Hotel Adlon, a top luxury hotel in Berlin. He stayed there at his own expense; royalties from the German editions of his books had been put into a special frozen bank account at the outset of the war, and Wodehouse was permitted to draw upon this money he had earned while staying in Berlin.","He stayed there at his own expense; royalties from the German editions of his books had been put into a special frozen bank account at the outset of the war, and Wodehouse was permitted to draw upon this money he had earned while staying in Berlin. He was thus released from internment a few months before his sixtieth birthday—the age at which civilian internees were released by the Nazis.","He was thus released from internment a few months before his sixtieth birthday—the age at which civilian internees were released by the Nazis. Shortly afterwards Wodehouse was, in the words of Phelps, \"cleverly trapped\" into making five broadcasts to the US via German radio, with the Berlin-based correspondent of the Columbia Broadcasting System.","Shortly afterwards Wodehouse was, in the words of Phelps, \"cleverly trapped\" into making five broadcasts to the US via German radio, with the Berlin-based correspondent of the Columbia Broadcasting System. The broadcasts—aired on 28 June, 9, 23 and 30 July and 6 August—were titled How to be an Internee Without Previous Training, and comprised humorous anecdotes about Wodehouse's experiences as a prisoner, including some gentle mocking of his captors.","The broadcasts—aired on 28 June, 9, 23 and 30 July and 6 August—were titled How to be an Internee Without Previous Training, and comprised humorous anecdotes about Wodehouse's experiences as a prisoner, including some gentle mocking of his captors. The German propaganda ministry arranged for the recordings to be broadcast to Britain in August.","The German propaganda ministry arranged for the recordings to be broadcast to Britain in August. The day after Wodehouse recorded his final programme, Ethel joined him in Berlin, having sold most of her jewellery to pay for the journey.","The day after Wodehouse recorded his final programme, Ethel joined him in Berlin, having sold most of her jewellery to pay for the journey. Aftermath: reactions and investigation The reaction in Britain to Wodehouse's broadcasts was hostile, and he was \"reviled ... as a traitor, collaborator, Nazi propagandist, and a coward\", although, Phelps observes, many of those who decried his actions had not heard the content of the programmes.","Aftermath: reactions and investigation The reaction in Britain to Wodehouse's broadcasts was hostile, and he was \"reviled ... as a traitor, collaborator, Nazi propagandist, and a coward\", although, Phelps observes, many of those who decried his actions had not heard the content of the programmes. A front-page article in The Daily Mirror stated that Wodehouse \"lived luxuriously because Britain laughed with him, but when the laughter was out of his country's heart, ... [he] was not ready to share her suffering.","A front-page article in The Daily Mirror stated that Wodehouse \"lived luxuriously because Britain laughed with him, but when the laughter was out of his country's heart, ... [he] was not ready to share her suffering. He hadn't the guts ... even to stick it out in the internment camp.\"","He hadn't the guts ... even to stick it out in the internment camp.\" In the House of Commons Anthony Eden, the Foreign Secretary, regretted Wodehouse's actions. Several libraries removed Wodehouse novels from their shelves.","Several libraries removed Wodehouse novels from their shelves. On 15 July the journalist William Connor, under his pen name Cassandra, broadcast a postscript to the news programme railing against Wodehouse. According to The Times, the broadcast \"provoked a storm of complaint ... from listeners all over the country\".","According to The Times, the broadcast \"provoked a storm of complaint ... from listeners all over the country\". Wodehouse's biographer, Joseph Connolly, thinks the broadcast \"inaccurate, spiteful and slanderous\"; Phelps calls it \"probably the most vituperative attack on an individual ever heard on British radio\".","Wodehouse's biographer, Joseph Connolly, thinks the broadcast \"inaccurate, spiteful and slanderous\"; Phelps calls it \"probably the most vituperative attack on an individual ever heard on British radio\". The broadcast was made at the direct instruction of Duff Cooper, the Minister of Information, who overruled strong protests made by the BBC against the decision to air the programme.","The broadcast was made at the direct instruction of Duff Cooper, the Minister of Information, who overruled strong protests made by the BBC against the decision to air the programme. Numerous letters appeared in the British press, both supporting and criticising Wodehouse.","Numerous letters appeared in the British press, both supporting and criticising Wodehouse. The letters page of The Daily Telegraph became a focus for censuring Wodehouse, including one from Wodehouse's friend, ; a reply from their fellow author Compton Mackenzie in defence of Wodehouse was not published because the editor claimed a lack of space.","The letters page of The Daily Telegraph became a focus for censuring Wodehouse, including one from Wodehouse's friend, ; a reply from their fellow author Compton Mackenzie in defence of Wodehouse was not published because the editor claimed a lack of space. Most of those defending Wodehouse against accusations of disloyalty, including Sax Rohmer, Dorothy L. Sayers and Gilbert Frankau, conceded that he had acted stupidly.","Most of those defending Wodehouse against accusations of disloyalty, including Sax Rohmer, Dorothy L. Sayers and Gilbert Frankau, conceded that he had acted stupidly. Some members of the public wrote to the newspapers to say that the full facts were not yet known and a fair judgment could not be made until they were.","Some members of the public wrote to the newspapers to say that the full facts were not yet known and a fair judgment could not be made until they were. The management of the BBC, who considered Wodehouse's actions no worse than \"ill advised\", pointed out to Cooper that there was no evidence at that point whether Wodehouse had acted voluntarily or under compulsion.","The management of the BBC, who considered Wodehouse's actions no worse than \"ill advised\", pointed out to Cooper that there was no evidence at that point whether Wodehouse had acted voluntarily or under compulsion. When Wodehouse heard of the furore the broadcasts had caused, he contacted the Foreign Office—through the Swiss embassy in Berlin—to explain his actions, and attempted to return home via neutral countries, but the German authorities refused to let him leave.","When Wodehouse heard of the furore the broadcasts had caused, he contacted the Foreign Office—through the Swiss embassy in Berlin—to explain his actions, and attempted to return home via neutral countries, but the German authorities refused to let him leave. In Performing Flea, a 1953 collection of letters, Wodehouse wrote, \"Of course I ought to have had the sense to see that it was a loony thing to do to use the German radio for even the most harmless stuff, but I didn't.","In Performing Flea, a 1953 collection of letters, Wodehouse wrote, \"Of course I ought to have had the sense to see that it was a loony thing to do to use the German radio for even the most harmless stuff, but I didn't. I suppose prison life saps the intellect\".","I suppose prison life saps the intellect\". The reaction in America was mixed: the left-leaning publication PM accused Wodehouse of \"play[ing] Jeeves to the Nazis\", but the Department of War used the interviews as an ideal representation of anti-Nazi propaganda.","The reaction in America was mixed: the left-leaning publication PM accused Wodehouse of \"play[ing] Jeeves to the Nazis\", but the Department of War used the interviews as an ideal representation of anti-Nazi propaganda. The Wodehouses remained in Germany until September 1943, when, because of the Allied bombings, they were allowed to move back to Paris.","The Wodehouses remained in Germany until September 1943, when, because of the Allied bombings, they were allowed to move back to Paris. They were living there when the city was liberated on 25 August 1944; Wodehouse reported to the American authorities the following day, asking them to inform the British of his whereabouts.","They were living there when the city was liberated on 25 August 1944; Wodehouse reported to the American authorities the following day, asking them to inform the British of his whereabouts. He was subsequently visited by Malcolm Muggeridge, recently arrived in Paris as an intelligence officer with MI6.","He was subsequently visited by Malcolm Muggeridge, recently arrived in Paris as an intelligence officer with MI6. The young officer quickly came to like Wodehouse and considered the question of treasonable behaviour as \"ludicrous\"; he summed up the writer as \"ill-fitted to live in an age of ideological conflict\".","The young officer quickly came to like Wodehouse and considered the question of treasonable behaviour as \"ludicrous\"; he summed up the writer as \"ill-fitted to live in an age of ideological conflict\". On 9 September Wodehouse was visited by an MI5 officer and former barrister, Major Edward Cussen, who formally investigated him, a process that stretched over four days.","On 9 September Wodehouse was visited by an MI5 officer and former barrister, Major Edward Cussen, who formally investigated him, a process that stretched over four days. On 28 September Cussen filed his report, which states that in regard to the broadcasts, Wodehouse's behaviour \"has been unwise\", but advised against further action.","On 28 September Cussen filed his report, which states that in regard to the broadcasts, Wodehouse's behaviour \"has been unwise\", but advised against further action. On 23 November Theobald Matthew, the Director of Public Prosecutions, decided there was no evidence to justify prosecuting Wodehouse.","On 23 November Theobald Matthew, the Director of Public Prosecutions, decided there was no evidence to justify prosecuting Wodehouse. In November 1944 Duff Cooper was appointed British ambassador to France and was provided accommodation at the Hôtel Le Bristol, where the Wodehouses were living.","In November 1944 Duff Cooper was appointed British ambassador to France and was provided accommodation at the Hôtel Le Bristol, where the Wodehouses were living. Cooper complained to the French authorities, and the couple were moved to a different hotel. They were subsequently arrested by French police and placed under preventive detention, despite no charges being presented.","They were subsequently arrested by French police and placed under preventive detention, despite no charges being presented. When Muggeridge tracked them down later, he managed to get Ethel released straight away and, four days later, ensured that the French authorities declared Wodehouse unwell and put him in a nearby hospital, which was more comfortable than where they had been detained.","When Muggeridge tracked them down later, he managed to get Ethel released straight away and, four days later, ensured that the French authorities declared Wodehouse unwell and put him in a nearby hospital, which was more comfortable than where they had been detained. While in this hospital, Wodehouse worked on his novel Uncle Dynamite.","While in this hospital, Wodehouse worked on his novel Uncle Dynamite. While still detained by the French, Wodehouse was again mentioned in questions in the House of Commons in December 1944 when MPs wondered if the French authorities could repatriate him to stand trial.","While still detained by the French, Wodehouse was again mentioned in questions in the House of Commons in December 1944 when MPs wondered if the French authorities could repatriate him to stand trial. Eden stated that the \"matter has been gone into, and, according to the advice given, there are no grounds upon which we could take action\".","Eden stated that the \"matter has been gone into, and, according to the advice given, there are no grounds upon which we could take action\". Two months later, Orwell wrote the essay \"In Defence of P.G.","Two months later, Orwell wrote the essay \"In Defence of P.G. Wodehouse\", where he stated that \"it is important to realise that the events of 1941 do not convict Wodehouse of anything worse than stupidity\".","Wodehouse\", where he stated that \"it is important to realise that the events of 1941 do not convict Wodehouse of anything worse than stupidity\". Orwell's rationale was that Wodehouse's \"moral outlook has remained that of a public-school boy, and according to the public-school code, treachery in time of war is the most unforgivable of all the sins\", which was compounded by his \"complete lack—so far as one can judge from his printed works—of political awareness\".","Orwell's rationale was that Wodehouse's \"moral outlook has remained that of a public-school boy, and according to the public-school code, treachery in time of war is the most unforgivable of all the sins\", which was compounded by his \"complete lack—so far as one can judge from his printed works—of political awareness\". On 15 January 1945 the French authorities released Wodehouse, but they did not inform him, until June 1946, that he would not face any official charges and was free to leave the country.","On 15 January 1945 the French authorities released Wodehouse, but they did not inform him, until June 1946, that he would not face any official charges and was free to leave the country. American exile: 1946–1975 Having secured American visas in July 1946, the Wodehouses made preparations to return to New York.","American exile: 1946–1975 Having secured American visas in July 1946, the Wodehouses made preparations to return to New York. They were delayed by Ethel's insistence on acquiring suitable new clothes and by Wodehouse's wish to finish writing his current novel, The Mating Season, in the peace of the French countryside.","They were delayed by Ethel's insistence on acquiring suitable new clothes and by Wodehouse's wish to finish writing his current novel, The Mating Season, in the peace of the French countryside. In April 1947 they sailed to New York, where Wodehouse was relieved at the friendly reception he received from the large press contingent awaiting his arrival.","In April 1947 they sailed to New York, where Wodehouse was relieved at the friendly reception he received from the large press contingent awaiting his arrival. Ethel secured a comfortable penthouse apartment in Manhattan's Upper East Side, but Wodehouse was not at ease. The New York that he had known before the war was much changed.","The New York that he had known before the war was much changed. The magazines that had paid lavishly for his stories were in decline, and those that remained were not much interested in him.","The magazines that had paid lavishly for his stories were in decline, and those that remained were not much interested in him. He was sounded out about writing for Broadway, but he was not at home in the post-war theatre; he had money problems, with large sums temporarily tied up in Britain, and for the first time in his career he had no ideas for a new novel.","He was sounded out about writing for Broadway, but he was not at home in the post-war theatre; he had money problems, with large sums temporarily tied up in Britain, and for the first time in his career he had no ideas for a new novel. He did not complete one until 1951.","He did not complete one until 1951. Wodehouse remained unsettled until he and Ethel left New York City for Long Island. Bolton and his wife lived in the prosperous hamlet of Remsenburg, part of the Southampton area of Long Island, east of Manhattan.","Bolton and his wife lived in the prosperous hamlet of Remsenburg, part of the Southampton area of Long Island, east of Manhattan. Wodehouse stayed with them frequently, and in 1952 he and Ethel bought a house nearby. They lived at Remsenburg for the rest of their lives.","They lived at Remsenburg for the rest of their lives. Between 1952 and 1975 he published more than twenty novels, as well as two collections of short stories, a heavily edited collection of his letters, a volume of memoirs, and a selection of his magazine articles. He continued to hanker after a revival of his theatrical career.","He continued to hanker after a revival of his theatrical career. A 1959 off-Broadway revival of the 1917 Bolton-Wodehouse-Kern Leave It to Jane was a surprise hit, running for 928 performances, but his few post-war stage works, some in collaboration with Bolton, made little impression.","A 1959 off-Broadway revival of the 1917 Bolton-Wodehouse-Kern Leave It to Jane was a surprise hit, running for 928 performances, but his few post-war stage works, some in collaboration with Bolton, made little impression. Although Ethel made a return visit to England in 1948 to shop and visit family and friends, Wodehouse never left America after his arrival in 1947.","Although Ethel made a return visit to England in 1948 to shop and visit family and friends, Wodehouse never left America after his arrival in 1947. It was not until 1965 that the British government indicated privately that he could return without fear of legal proceedings, and by then he felt too old to make the journey.","It was not until 1965 that the British government indicated privately that he could return without fear of legal proceedings, and by then he felt too old to make the journey. The biographers Benny Green and Robert McCrum both take the view that this exile benefited Wodehouse's writing, helping him to go on depicting an idealised England seen in his mind's eye, rather than as it actually was in the post-war decades.","The biographers Benny Green and Robert McCrum both take the view that this exile benefited Wodehouse's writing, helping him to go on depicting an idealised England seen in his mind's eye, rather than as it actually was in the post-war decades. During their years in Long Island, the couple often took in stray animals and contributed substantial funds to a local animal shelter.","During their years in Long Island, the couple often took in stray animals and contributed substantial funds to a local animal shelter. In 1955 Wodehouse became an American citizen, though he remained a British subject, and was therefore still eligible for UK state honours.","In 1955 Wodehouse became an American citizen, though he remained a British subject, and was therefore still eligible for UK state honours. He was considered for the award of a knighthood three times from 1967, but the honour was twice blocked by British officials.","He was considered for the award of a knighthood three times from 1967, but the honour was twice blocked by British officials. In 1974 the British prime minister, Harold Wilson, intervened to secure a knighthood (KBE) for Wodehouse, which was announced in the January 1975 New Year Honours list.","In 1974 the British prime minister, Harold Wilson, intervened to secure a knighthood (KBE) for Wodehouse, which was announced in the January 1975 New Year Honours list. The Times commented that Wodehouse's honour signalled \"official forgiveness for his wartime indiscretion....","The Times commented that Wodehouse's honour signalled \"official forgiveness for his wartime indiscretion.... It is late, but not too late, to take the sting out of that unhappy incident.\" The following month Wodehouse entered Southampton Hospital, Long Island, for treatment of a skin complaint.","The following month Wodehouse entered Southampton Hospital, Long Island, for treatment of a skin complaint. While there, he suffered a heart attack and died on 14 February 1975 at the age of 93. He was buried at Remsenburg Presbyterian Church four days later.","He was buried at Remsenburg Presbyterian Church four days later. Ethel outlived him by more than nine years; Leonora had predeceased him, dying suddenly in 1944.","Ethel outlived him by more than nine years; Leonora had predeceased him, dying suddenly in 1944. Writing Technique and approach Before starting a book Wodehouse would write up to four hundred pages of notes bringing together an outline of the plot; he acknowledged that \"It's the plots that I find so hard to work out.","Writing Technique and approach Before starting a book Wodehouse would write up to four hundred pages of notes bringing together an outline of the plot; he acknowledged that \"It's the plots that I find so hard to work out. It takes such a long time to work one out.\"","It takes such a long time to work one out.\" He always completed the plot before working on specific character actions. For a novel the note-writing process could take up to two years, and he would usually have two or more novels in preparation simultaneously.","For a novel the note-writing process could take up to two years, and he would usually have two or more novels in preparation simultaneously. After he had completed his notes, he would draw up a fuller scenario of about thirty thousand words, which ensured plot holes were avoided, and allowed for the dialogue to begin to develop.","After he had completed his notes, he would draw up a fuller scenario of about thirty thousand words, which ensured plot holes were avoided, and allowed for the dialogue to begin to develop. When interviewed in 1975 he revealed that \"For a humorous novel you've got to have a scenario, and you've got to test it so that you know where the comedy comes in, where the situations come in ... splitting it up into scenes (you can make a scene of almost anything) and have as little stuff in between as possible.\"","When interviewed in 1975 he revealed that \"For a humorous novel you've got to have a scenario, and you've got to test it so that you know where the comedy comes in, where the situations come in ... splitting it up into scenes (you can make a scene of almost anything) and have as little stuff in between as possible.\" He preferred working between 4 and 7 pm—but never after dinner—and would work seven days a week.","He preferred working between 4 and 7 pm—but never after dinner—and would work seven days a week. In his younger years, he would write around two to three thousand words a day, although he slowed as he aged, so that in his nineties he would produce a thousand.","In his younger years, he would write around two to three thousand words a day, although he slowed as he aged, so that in his nineties he would produce a thousand. The reduced speed in writing slowed his production of books: when younger he would produce a novel in about three months, while Bachelors Anonymous, published in 1973, took around six months.","The reduced speed in writing slowed his production of books: when younger he would produce a novel in about three months, while Bachelors Anonymous, published in 1973, took around six months. Although studies of language production in normal healthy ageing show a marked decline from the mid-70s on, a study of Wodehouse's works did not find any evidence of a decline in linguistic ability with age.","Although studies of language production in normal healthy ageing show a marked decline from the mid-70s on, a study of Wodehouse's works did not find any evidence of a decline in linguistic ability with age. Wodehouse believed that one of the factors that made his stories humorous was his view of life, and he stated that \"If you take life fairly easily, then you take a humorous view of things.","Wodehouse believed that one of the factors that made his stories humorous was his view of life, and he stated that \"If you take life fairly easily, then you take a humorous view of things. It's probably because you were born that way.\"","It's probably because you were born that way.\" He carried this view through into his writing, describing the approach as \"making the thing a sort of musical comedy without music, and ignoring real life altogether\".","He carried this view through into his writing, describing the approach as \"making the thing a sort of musical comedy without music, and ignoring real life altogether\". The literary critic Edward L. Galligan considers Wodehouse's stories to show his mastery in adapting the form of the American musical comedy for his writings.","The literary critic Edward L. Galligan considers Wodehouse's stories to show his mastery in adapting the form of the American musical comedy for his writings. Wodehouse would ensure that his first draft was as carefully and accurately done as possible, correcting and refining the prose as he wrote, and would then make another good copy, before proofreading again and then making a final copy for his publisher.","Wodehouse would ensure that his first draft was as carefully and accurately done as possible, correcting and refining the prose as he wrote, and would then make another good copy, before proofreading again and then making a final copy for his publisher. Most of Wodehouse's canon is set in an undated period around the 1920s and 1930s.","Most of Wodehouse's canon is set in an undated period around the 1920s and 1930s. The critic Anthony Lejeune describes the settings of Wodehouse's novels, such as the Drones Club and Blandings Castle, as \"a fairyland\".","The critic Anthony Lejeune describes the settings of Wodehouse's novels, such as the Drones Club and Blandings Castle, as \"a fairyland\". Although some critics thought Wodehouse's fiction was based on a world that had never existed, Wodehouse affirmed that \"it did.","Although some critics thought Wodehouse's fiction was based on a world that had never existed, Wodehouse affirmed that \"it did. It was going strong between the wars\", although he agreed that his version was to some extent \"a sort of artificial world of my own creation\".","It was going strong between the wars\", although he agreed that his version was to some extent \"a sort of artificial world of my own creation\". The novels showed a largely unchanging world, regardless of when they were written, and only rarely—and mistakenly in McCrum's view—did Wodehouse allow modernity to intrude, as he did in the 1966 story \"Bingo Bans the Bomb\".","The novels showed a largely unchanging world, regardless of when they were written, and only rarely—and mistakenly in McCrum's view—did Wodehouse allow modernity to intrude, as he did in the 1966 story \"Bingo Bans the Bomb\". When dealing with the dialogue in his novels, Wodehouse would consider the book's characters as if they were actors in a play, ensuring that the main roles were kept suitably employed throughout the storyline, which must be strong: \"If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them.\"","When dealing with the dialogue in his novels, Wodehouse would consider the book's characters as if they were actors in a play, ensuring that the main roles were kept suitably employed throughout the storyline, which must be strong: \"If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them.\" Many of Wodehouse's parts were stereotypes, and he acknowledged that \"a real character in one of my books sticks out like a sore thumb.\"","Many of Wodehouse's parts were stereotypes, and he acknowledged that \"a real character in one of my books sticks out like a sore thumb.\" The publisher Michael Joseph identifies that even within the stereotypes Wodehouse understood human nature, and therefore \"shares with [Charles] Dickens and Charles Chaplin the ability to present the comic resistance of the individual against those superior forces to which we are all subject\".","The publisher Michael Joseph identifies that even within the stereotypes Wodehouse understood human nature, and therefore \"shares with [Charles] Dickens and Charles Chaplin the ability to present the comic resistance of the individual against those superior forces to which we are all subject\". Much of Wodehouse's use of slang terms reflects the influence of his time at school in Dulwich, and partly reflects Edwardian slang.","Much of Wodehouse's use of slang terms reflects the influence of his time at school in Dulwich, and partly reflects Edwardian slang. As a young man he enjoyed the literary works of Arthur Conan Doyle and Jerome K. Jerome, and the operatic works of Gilbert and Sullivan. Wodehouse quotes from and alludes to numerous poets throughout his work.","Wodehouse quotes from and alludes to numerous poets throughout his work. The scholar Clarke Olney lists those quoted, including Milton, Byron, Longfellow, Coleridge, Swinburne, Tennyson, Wordsworth and Shakespeare. Another favoured source was the King James Bible.","Another favoured source was the King James Bible. Language In 1941 the Concise Cambridge History of English Literature opined that Wodehouse had \"a gift for highly original aptness of phrase that almost suggests a poet struggling for release among the wild extravagances of farce\", while McCrum thinks that Wodehouse manages to combine \"high farce with the inverted poetry of his mature comic style\", particularly in The Code of the Woosters; the novelist Anthony Powell believes Wodehouse to be a \"comic poet\".","Language In 1941 the Concise Cambridge History of English Literature opined that Wodehouse had \"a gift for highly original aptness of phrase that almost suggests a poet struggling for release among the wild extravagances of farce\", while McCrum thinks that Wodehouse manages to combine \"high farce with the inverted poetry of his mature comic style\", particularly in The Code of the Woosters; the novelist Anthony Powell believes Wodehouse to be a \"comic poet\". Robert A.","Robert A. Robert A. Hall Jr., in his study of Wodehouse's style and technique, describes the author as a master of prose, an opinion also shared by Levin, who considers Wodehouse \"one of the finest and purest writers of English prose\".","Hall Jr., in his study of Wodehouse's style and technique, describes the author as a master of prose, an opinion also shared by Levin, who considers Wodehouse \"one of the finest and purest writers of English prose\". Hall identifies several techniques used by Wodehouse to achieve comic effect, including the creation of new words through adding or removing prefixes and suffixes, so when Pongo Twistleton removes the housemaid Elsie Bean from a cupboard, Wodehouse writes that the character \"de-Beaned the cupboard\".","Hall identifies several techniques used by Wodehouse to achieve comic effect, including the creation of new words through adding or removing prefixes and suffixes, so when Pongo Twistleton removes the housemaid Elsie Bean from a cupboard, Wodehouse writes that the character \"de-Beaned the cupboard\". Wodehouse created new words by splitting others in two, thus Wodehouse divides \"hobnobbing\" when he writes: \"To offer a housemaid a cigarette is not hobbing.","Wodehouse created new words by splitting others in two, thus Wodehouse divides \"hobnobbing\" when he writes: \"To offer a housemaid a cigarette is not hobbing. Nor, when you light it for her, does that constitute nobbing.\"","Nor, when you light it for her, does that constitute nobbing.\" Richard Voorhees, Wodehouse's biographer, believes that the author used clichés in a deliberate and ironic manner.","Richard Voorhees, Wodehouse's biographer, believes that the author used clichés in a deliberate and ironic manner. His opinion is shared by the academic Stephen Medcalf, who deems Wodehouse's skill is to \"bring a cliché just enough to life to kill it\", although Pamela March, writing in The Christian Science Monitor, considers Wodehouse to have \"an ability to decliché a cliché\".","His opinion is shared by the academic Stephen Medcalf, who deems Wodehouse's skill is to \"bring a cliché just enough to life to kill it\", although Pamela March, writing in The Christian Science Monitor, considers Wodehouse to have \"an ability to decliché a cliché\". Medcalf provides an example from Right Ho, Jeeves in which the teetotal Gussie Fink-Nottle has surreptitiously been given whisky and gin in a punch prior to a prize-giving: 'It seems to me, Jeeves, that the ceremony may be one fraught with considerable interest.'","Medcalf provides an example from Right Ho, Jeeves in which the teetotal Gussie Fink-Nottle has surreptitiously been given whisky and gin in a punch prior to a prize-giving: 'It seems to me, Jeeves, that the ceremony may be one fraught with considerable interest.' 'Yes, sir.'","'Yes, sir.' 'Yes, sir.' 'What, in your opinion, will the harvest be?' 'One finds it difficult to hazard a conjecture, sir.' 'You mean imagination boggles?' 'Yes, sir.' I inspected my imagination. He was right. It boggled.","He was right. It boggled. It boggled. The stylistic device most commonly found in Wodehouse's work is his use of comparative imagery that includes similes. Hall opines that the humour comes from Wodehouse's ability to accentuate \"resemblances which at first glance seem highly incongruous\".","Hall opines that the humour comes from Wodehouse's ability to accentuate \"resemblances which at first glance seem highly incongruous\". Examples can be seen in Joy in the Morning, Chapter 29: \"There was a sound in the background like a distant sheep coughing gently on a mountainside.","Examples can be seen in Joy in the Morning, Chapter 29: \"There was a sound in the background like a distant sheep coughing gently on a mountainside. Jeeves sailing into action\", or Psmith, Chapter 7: \"A sound like two or three pigs feeding rather noisily in the middle of a thunderstorm interrupted his meditation.\"","Jeeves sailing into action\", or Psmith, Chapter 7: \"A sound like two or three pigs feeding rather noisily in the middle of a thunderstorm interrupted his meditation.\" Hall also identifies that periodically Wodehouse used the stylistic device of a transferred epithet, with an adjective that properly belongs to a person applied instead to some inanimate object.","Hall also identifies that periodically Wodehouse used the stylistic device of a transferred epithet, with an adjective that properly belongs to a person applied instead to some inanimate object. The form of expression is used sparingly by Wodehouse in comparison with other mechanisms, only once or twice in a story or novel, according to Hall.","The form of expression is used sparingly by Wodehouse in comparison with other mechanisms, only once or twice in a story or novel, according to Hall. \"I balanced a thoughtful lump of sugar on the teaspoon.\"","\"I balanced a thoughtful lump of sugar on the teaspoon.\" —Joy in the Morning, Chapter 5 \"As I sat in the bath-tub, soaping a meditative foot ...\" —Jeeves and the Feudal Spirit, Chapter 1 \"The first thing he did was to prod Jeeves in the lower ribs with an uncouth forefinger.\"","—Joy in the Morning, Chapter 5 \"As I sat in the bath-tub, soaping a meditative foot ...\" —Jeeves and the Feudal Spirit, Chapter 1 \"The first thing he did was to prod Jeeves in the lower ribs with an uncouth forefinger.\" —Much Obliged, Jeeves, Chapter 4 Wordplay is a key element in Wodehouse's writing.","—Much Obliged, Jeeves, Chapter 4 Wordplay is a key element in Wodehouse's writing. This can take the form of puns, such as in Jeeves and the Feudal Spirit, when Bertie is released after a night in the police cells, and says that he has \"a pinched look\" about him.","This can take the form of puns, such as in Jeeves and the Feudal Spirit, when Bertie is released after a night in the police cells, and says that he has \"a pinched look\" about him. Linguistic confusion is another humorous mechanism, such as in Uncle Dynamite when Constable Potter says he has been \"assaulted by the duck pond\".","Linguistic confusion is another humorous mechanism, such as in Uncle Dynamite when Constable Potter says he has been \"assaulted by the duck pond\". In reply, Sir Aylmer, confusing the two meanings of the word \"by\", asks: \"How the devil can you be assaulted by a duck pond?\"","In reply, Sir Aylmer, confusing the two meanings of the word \"by\", asks: \"How the devil can you be assaulted by a duck pond?\" Wodehouse also uses metaphor and mixed metaphor to add humour.","Wodehouse also uses metaphor and mixed metaphor to add humour. Some come through exaggeration, such as Bingo Little's infant child who \"not only has the aspect of a mass murderer, but that of a mass murderer suffering from an ingrown toenail\", or Wooster's complaint that \"the rumpuses that Bobbie Wickham is already starting may be amusing to her, but not to the unfortunate toads beneath the harrow whom she ruthlessly plunges into the soup.\"","Some come through exaggeration, such as Bingo Little's infant child who \"not only has the aspect of a mass murderer, but that of a mass murderer suffering from an ingrown toenail\", or Wooster's complaint that \"the rumpuses that Bobbie Wickham is already starting may be amusing to her, but not to the unfortunate toads beneath the harrow whom she ruthlessly plunges into the soup.\" Bertie Wooster's half-forgotten vocabulary also provides a further humorous device.","Bertie Wooster's half-forgotten vocabulary also provides a further humorous device. In Jeeves and the Feudal Spirit Bertie asks Jeeves \"Let a plugugly like young Thos loose in the community with a cosh, and you are inviting disaster and ... what's the word? Something about cats.\" Jeeves replies, \"Cataclysms, sir?\"","Jeeves replies, \"Cataclysms, sir?\" Reception and reputation Literary reception Wodehouse's early career as a lyricist and playwright was profitable, and his work with Bolton, according to The Guardian, \"was one of the most successful in the history of musical comedy\".","Reception and reputation Literary reception Wodehouse's early career as a lyricist and playwright was profitable, and his work with Bolton, according to The Guardian, \"was one of the most successful in the history of musical comedy\". At the outbreak of the Second World War he was earning £40,000 a year from his work, which had broadened to include novels and short stories.","At the outbreak of the Second World War he was earning £40,000 a year from his work, which had broadened to include novels and short stories. Following the furore ensuing from the wartime broadcasts, he suffered a downturn in his popularity and book sales; The Saturday Evening Post stopped publishing his short stories, a stance they reversed in 1965, although his popularity—and the sales figures—slowly recovered over time.","Following the furore ensuing from the wartime broadcasts, he suffered a downturn in his popularity and book sales; The Saturday Evening Post stopped publishing his short stories, a stance they reversed in 1965, although his popularity—and the sales figures—slowly recovered over time. Wodehouse received great praise from many of his contemporaries, including Max Beerbohm, Rudyard Kipling, A. E. Housman and Evelyn Waugh—the last of whom opines, \"One has to regard a man as a Master who can produce on average three uniquely brilliant and entirely original similes on each page.\"","Wodehouse received great praise from many of his contemporaries, including Max Beerbohm, Rudyard Kipling, A. E. Housman and Evelyn Waugh—the last of whom opines, \"One has to regard a man as a Master who can produce on average three uniquely brilliant and entirely original similes on each page.\" There are dissenters to the praise.","There are dissenters to the praise. The writer Alan Bennett thinks that \"inspired though his language is, I can never take more than ten pages of the novels at a time, their relentless flippancy wearing and tedious\", while the literary critic Q. D. Leavis writes that Wodehouse had a \"stereotyped humour ... of ingenious variations on a laugh in one place\".","The writer Alan Bennett thinks that \"inspired though his language is, I can never take more than ten pages of the novels at a time, their relentless flippancy wearing and tedious\", while the literary critic Q. D. Leavis writes that Wodehouse had a \"stereotyped humour ... of ingenious variations on a laugh in one place\". In a 2010 study of Wodehouse's few relatively serious novels, such as The Coming of Bill (1919), Jill the Reckless (1920) and The Adventures of Sally (1922), David Heddendorf concludes that though their literary quality does not match that of the farcical novels, they show a range of empathy and interests that in real life—and in his most comic works—the author seemed to lack.","In a 2010 study of Wodehouse's few relatively serious novels, such as The Coming of Bill (1919), Jill the Reckless (1920) and The Adventures of Sally (1922), David Heddendorf concludes that though their literary quality does not match that of the farcical novels, they show a range of empathy and interests that in real life—and in his most comic works—the author seemed to lack. \"Never oblivious to grief and despair, he opts in clear-eyed awareness for his timeless world of spats and woolly-headed peers.","\"Never oblivious to grief and despair, he opts in clear-eyed awareness for his timeless world of spats and woolly-headed peers. It's an austere, almost bloodless preference for pristine artifice over the pain and messy outcomes of actual existence, but it's a case of Wodehouse keeping faith with his own unique art.\"","It's an austere, almost bloodless preference for pristine artifice over the pain and messy outcomes of actual existence, but it's a case of Wodehouse keeping faith with his own unique art.\" The American literary analyst Robert F. Kiernan, defining \"camp\" as \"excessive stylization of whatever kind\", brackets Wodehouse as \"a master of the camp novel\", along with Thomas Love Peacock, Max Beerbohm, Ronald Firbank, E. F. Benson and Ivy Compton-Burnett.","The American literary analyst Robert F. Kiernan, defining \"camp\" as \"excessive stylization of whatever kind\", brackets Wodehouse as \"a master of the camp novel\", along with Thomas Love Peacock, Max Beerbohm, Ronald Firbank, E. F. Benson and Ivy Compton-Burnett. The literary critic and writer Cyril Connolly calls Wodehouse a \"politicians' author\"—one who does \"not like art to be exacting and difficult\".","The literary critic and writer Cyril Connolly calls Wodehouse a \"politicians' author\"—one who does \"not like art to be exacting and difficult\". Two former British prime ministers, H. H. Asquith and Tony Blair, are on record as Wodehouse aficionados, and the latter became a patron of the Wodehouse Society.","Two former British prime ministers, H. H. Asquith and Tony Blair, are on record as Wodehouse aficionados, and the latter became a patron of the Wodehouse Society. Seán O'Casey, a successful playwright of the 1920s, thought little of Wodehouse; he commented in 1941 that it was damaging to England's dignity that the public or \"the academic government of Oxford, dead from the chin up\" considered Wodehouse an important figure in English literature.","Seán O'Casey, a successful playwright of the 1920s, thought little of Wodehouse; he commented in 1941 that it was damaging to England's dignity that the public or \"the academic government of Oxford, dead from the chin up\" considered Wodehouse an important figure in English literature. His jibe that Wodehouse was \"English literature's performing flea\" provided his target with the title of his collected letters, published in 1953.","His jibe that Wodehouse was \"English literature's performing flea\" provided his target with the title of his collected letters, published in 1953. McCrum, writing in 2004, observes, \"Wodehouse is more popular today than on the day he died\", and \"his comic vision has an absolutely secure place in the English literary imagination.\"","McCrum, writing in 2004, observes, \"Wodehouse is more popular today than on the day he died\", and \"his comic vision has an absolutely secure place in the English literary imagination.\" Honours and influence The proposed nominations of Wodehouse for a knighthood in 1967 and 1971 were blocked for fear that such an award would \"revive the controversy of his wartime behaviour and give currency to a Bertie Wooster image of the British character which the embassy was doing its best to eradicate\".","Honours and influence The proposed nominations of Wodehouse for a knighthood in 1967 and 1971 were blocked for fear that such an award would \"revive the controversy of his wartime behaviour and give currency to a Bertie Wooster image of the British character which the embassy was doing its best to eradicate\". When Wodehouse was awarded the knighthood, only four years later, the journalist Dennis Barker wrote in The Guardian that the writer was \"the solitary surviving English literary comic genius\".","When Wodehouse was awarded the knighthood, only four years later, the journalist Dennis Barker wrote in The Guardian that the writer was \"the solitary surviving English literary comic genius\". After his death six weeks later, the journalist Michael Davie, writing in the same paper, observed that \"Many people regarded ... [Wodehouse] as he regarded Beachcomber, as 'one, if not more than one, of England's greatest men'\", while in the view of the obituarist for The Times Wodehouse \"was a comic genius recognized in his lifetime as a classic and an old master of farce\".","After his death six weeks later, the journalist Michael Davie, writing in the same paper, observed that \"Many people regarded ... [Wodehouse] as he regarded Beachcomber, as 'one, if not more than one, of England's greatest men'\", while in the view of the obituarist for The Times Wodehouse \"was a comic genius recognized in his lifetime as a classic and an old master of farce\". In September 2019 Wodehouse was commemorated with a memorial stone in Westminster Abbey; the dedication was held two days after it was installed.","In September 2019 Wodehouse was commemorated with a memorial stone in Westminster Abbey; the dedication was held two days after it was installed. Since Wodehouse's death there have been numerous adaptations and dramatisations of his work on television and film; Wodehouse himself has been portrayed on radio and screen numerous times.","Since Wodehouse's death there have been numerous adaptations and dramatisations of his work on television and film; Wodehouse himself has been portrayed on radio and screen numerous times. There are several literary societies dedicated to Wodehouse. The P.G. Wodehouse Society (UK) was founded in 1997 and has over 1,000 members as at 2015.","Wodehouse Society (UK) was founded in 1997 and has over 1,000 members as at 2015. The president of the society as at 2017 is Alexander Armstrong; past presidents have included Terry Wogan and Richard Briers.","The president of the society as at 2017 is Alexander Armstrong; past presidents have included Terry Wogan and Richard Briers. There are also other groups of Wodehouse fans in Australia, Belgium, France, Finland, India, Italy, Russia, Sweden and the US.","There are also other groups of Wodehouse fans in Australia, Belgium, France, Finland, India, Italy, Russia, Sweden and the US. As at 2015 the Oxford English Dictionary contains over 1,750 quotations from Wodehouse, illustrating terms from crispish to zippiness.","As at 2015 the Oxford English Dictionary contains over 1,750 quotations from Wodehouse, illustrating terms from crispish to zippiness. Voorhees, while acknowledging that Wodehouse's antecedents in literature range from Ben Jonson to Oscar Wilde, writes: Notes, references and sources Notes References Sources External links P. G. Wodehouse collection at One More Library P.G.","Voorhees, while acknowledging that Wodehouse's antecedents in literature range from Ben Jonson to Oscar Wilde, writes: Notes, references and sources Notes References Sources External links P. G. Wodehouse collection at One More Library P.G. Wodehouse Archive on loan to the British Library The Wodehouse Society The P. G. Wodehouse Society (UK) Transcripts of Wodehouse's Berlin Broadcasts \"P. G. Wodehouse: An English Master of American Slang\" from The American Legion Weekly, 24 October 1919 Orwell, George \"In Defence of P.G.","Wodehouse Archive on loan to the British Library The Wodehouse Society The P. G. Wodehouse Society (UK) Transcripts of Wodehouse's Berlin Broadcasts \"P. G. Wodehouse: An English Master of American Slang\" from The American Legion Weekly, 24 October 1919 Orwell, George \"In Defence of P.G. Wodehouse\" 1881 births 1975 deaths 20th-century English novelists 20th-century British dramatists and playwrights British emigrants to the United States English lyricists Knights Commander of the Order of the British Empire English male dramatists and playwrights British male novelists People educated at Dulwich College People educated at Elizabeth College, Guernsey People from Guildford People from Long Island PG People interned during World War II English humorists 20th-century American novelists American dramatists and playwrights American humorists American lyricists American male novelists Novelists from New York (state) Literature controversies English broadcasters for Nazi Germany 20th-century American male writers"],"string":"[\n \"Sir Pelham Grenville Wodehouse, ( ; 15 October 188114 February 1975) was an English author and one of the most widely read humorists of the 20th century. His creations include the feather-brained Bertie Wooster and his sagacious valet, Jeeves; the immaculate and loquacious Psmith; Lord Emsworth and the Blandings Castle set; the Oldest Member, with stories about golf; and Mr Mulliner, with tall tales on subjects ranging from bibulous bishops to megalomaniac movie moguls.\",\n \"His creations include the feather-brained Bertie Wooster and his sagacious valet, Jeeves; the immaculate and loquacious Psmith; Lord Emsworth and the Blandings Castle set; the Oldest Member, with stories about golf; and Mr Mulliner, with tall tales on subjects ranging from bibulous bishops to megalomaniac movie moguls. Born in Guildford, the third son of a British magistrate based in Hong Kong, Wodehouse spent happy teenage years at Dulwich College, to which he remained devoted all his life.\",\n \"Born in Guildford, the third son of a British magistrate based in Hong Kong, Wodehouse spent happy teenage years at Dulwich College, to which he remained devoted all his life. After leaving school he was employed by a bank but disliked the work and turned to writing in his spare time.\",\n \"After leaving school he was employed by a bank but disliked the work and turned to writing in his spare time. His early novels were mostly school stories, but he later switched to comic fiction.\",\n \"His early novels were mostly school stories, but he later switched to comic fiction. Most of Wodehouse's fiction is set in his native United Kingdom, although he spent much of his life in the US and used New York and Hollywood as settings for some of his novels and short stories.\",\n \"Most of Wodehouse's fiction is set in his native United Kingdom, although he spent much of his life in the US and used New York and Hollywood as settings for some of his novels and short stories. He wrote a series of Broadway musical comedies during and after the First World War, together with Guy Bolton and Jerome Kern, that played an important part in the development of the American musical.\",\n \"He wrote a series of Broadway musical comedies during and after the First World War, together with Guy Bolton and Jerome Kern, that played an important part in the development of the American musical. He began the 1930s writing for MGM in Hollywood.\",\n \"He began the 1930s writing for MGM in Hollywood. In a 1931 interview, his naive revelations of incompetence and extravagance in the studios caused a furore. In the same decade, his literary career reached a new peak.\",\n \"In the same decade, his literary career reached a new peak. In 1934 Wodehouse moved to France for tax reasons; in 1940 he was taken prisoner at Le Touquet by the invading Germans and interned for nearly a year.\",\n \"In 1934 Wodehouse moved to France for tax reasons; in 1940 he was taken prisoner at Le Touquet by the invading Germans and interned for nearly a year. After his release he made six broadcasts from German radio in Berlin to the US, which had not yet entered the war.\",\n \"After his release he made six broadcasts from German radio in Berlin to the US, which had not yet entered the war. The talks were comic and apolitical, but his broadcasting over enemy radio prompted anger and strident controversy in Britain, and a threat of prosecution. Wodehouse never returned to England.\",\n \"Wodehouse never returned to England. Wodehouse never returned to England. From 1947 until his death he lived in the US, taking dual British-American citizenship in 1955. He died in 1975, at the age of 93, in Southampton, New York.\",\n \"He died in 1975, at the age of 93, in Southampton, New York. Wodehouse was a prolific writer throughout his life, publishing more than ninety books, forty plays, two hundred short stories and other writings between 1902 and 1974. He worked extensively on his books, sometimes having two or more in preparation simultaneously.\",\n \"He worked extensively on his books, sometimes having two or more in preparation simultaneously. He would take up to two years to build a plot and write a scenario of about thirty thousand words. After the scenario was complete he would write the story.\",\n \"After the scenario was complete he would write the story. Early in his career Wodehouse would produce a novel in about three months, but he slowed in old age to around six months.\",\n \"Early in his career Wodehouse would produce a novel in about three months, but he slowed in old age to around six months. He used a mixture of Edwardian slang, quotations from and allusions to numerous poets, and several literary techniques to produce a prose style that has been compared to comic poetry and musical comedy.\",\n \"He used a mixture of Edwardian slang, quotations from and allusions to numerous poets, and several literary techniques to produce a prose style that has been compared to comic poetry and musical comedy. Some critics of Wodehouse have considered his work flippant, but among his fans are former British prime ministers and many of his fellow writers.\",\n \"Some critics of Wodehouse have considered his work flippant, but among his fans are former British prime ministers and many of his fellow writers. Life and career Early years Wodehouse was born in Guildford, Surrey, the third son of Henry Ernest Wodehouse (1845–1929), a magistrate resident in the British colony of Hong Kong, and his wife, Eleanor (1861–1941), daughter of the Rev John Bathurst Deane.\",\n \"Life and career Early years Wodehouse was born in Guildford, Surrey, the third son of Henry Ernest Wodehouse (1845–1929), a magistrate resident in the British colony of Hong Kong, and his wife, Eleanor (1861–1941), daughter of the Rev John Bathurst Deane. The Wodehouses, who traced their ancestry back to the 13th century, belonged to a cadet branch of the family of the earls of Kimberley.\",\n \"The Wodehouses, who traced their ancestry back to the 13th century, belonged to a cadet branch of the family of the earls of Kimberley. Eleanor Wodehouse was also of ancient aristocratic ancestry. She was visiting her sister in Guildford when Wodehouse was born there prematurely.\",\n \"She was visiting her sister in Guildford when Wodehouse was born there prematurely. The boy was baptised at the Church of St Nicolas, Guildford, and was named after his godfather, Pelham von Donop.\",\n \"The boy was baptised at the Church of St Nicolas, Guildford, and was named after his godfather, Pelham von Donop. Wodehouse wrote in 1957, \\\"If you ask me to tell you frankly if I like the name Pelham Grenville Wodehouse, I must confess that I do not....\",\n \"Wodehouse wrote in 1957, \\\"If you ask me to tell you frankly if I like the name Pelham Grenville Wodehouse, I must confess that I do not.... I was named after a godfather, and not a thing to show for it but a small silver mug which I lost in 1897.\\\"\",\n \"I was named after a godfather, and not a thing to show for it but a small silver mug which I lost in 1897.\\\" The first name was rapidly elided to \\\"Plum\\\", the name by which Wodehouse became known to family and friends.\",\n \"The first name was rapidly elided to \\\"Plum\\\", the name by which Wodehouse became known to family and friends. Mother and son sailed for Hong Kong, where for his first two years Wodehouse was raised by a Chinese amah (nurse), alongside his elder brothers Peveril (1877–1951) and Armine (1879–1936).\",\n \"Mother and son sailed for Hong Kong, where for his first two years Wodehouse was raised by a Chinese amah (nurse), alongside his elder brothers Peveril (1877–1951) and Armine (1879–1936). When he was two, the brothers were brought to England, where they were placed under the care of an English nanny in a house adjoining that of Eleanor's father and mother.\",\n \"When he was two, the brothers were brought to England, where they were placed under the care of an English nanny in a house adjoining that of Eleanor's father and mother. The boys' parents returned to Hong Kong and became virtual strangers to their sons.\",\n \"The boys' parents returned to Hong Kong and became virtual strangers to their sons. Such an arrangement was then normal for middle-class families based in the colonies.\",\n \"Such an arrangement was then normal for middle-class families based in the colonies. The lack of parental contact, and the harsh regime of some of those in loco parentis, left permanent emotional scars on many children from similar backgrounds, including the writers Thackeray, Saki, Kipling and Walpole.\",\n \"The lack of parental contact, and the harsh regime of some of those in loco parentis, left permanent emotional scars on many children from similar backgrounds, including the writers Thackeray, Saki, Kipling and Walpole. Wodehouse was more fortunate; his nanny, Emma Roper, was strict but not unkind, and both with her and later at his different schools Wodehouse had a generally happy childhood.\",\n \"Wodehouse was more fortunate; his nanny, Emma Roper, was strict but not unkind, and both with her and later at his different schools Wodehouse had a generally happy childhood. His recollection was that \\\"it went like a breeze from start to finish, with everybody I met understanding me perfectly\\\".\",\n \"His recollection was that \\\"it went like a breeze from start to finish, with everybody I met understanding me perfectly\\\". The biographer Robert McCrum suggests that nonetheless Wodehouse's isolation from his parents left a psychological mark, causing him to avoid emotional engagement both in life and in his works.\",\n \"The biographer Robert McCrum suggests that nonetheless Wodehouse's isolation from his parents left a psychological mark, causing him to avoid emotional engagement both in life and in his works. Another biographer, Frances Donaldson, writes, \\\"Deprived so early, not merely of maternal love, but of home life and even a stable background, Wodehouse consoled himself from the youngest age in an imaginary world of his own.\\\"\",\n \"Another biographer, Frances Donaldson, writes, \\\"Deprived so early, not merely of maternal love, but of home life and even a stable background, Wodehouse consoled himself from the youngest age in an imaginary world of his own.\\\" In 1886 the brothers were sent to a dame-school in Croydon, where they spent three years.\",\n \"In 1886 the brothers were sent to a dame-school in Croydon, where they spent three years. Peveril was then found to have a \\\"weak chest\\\"; sea air was prescribed, and the three boys were moved to Elizabeth College on the island of Guernsey.\",\n \"Peveril was then found to have a \\\"weak chest\\\"; sea air was prescribed, and the three boys were moved to Elizabeth College on the island of Guernsey. In 1891 Wodehouse went on to Malvern House Preparatory School in Kent, which concentrated on preparing its pupils for entry to the Royal Navy.\",\n \"In 1891 Wodehouse went on to Malvern House Preparatory School in Kent, which concentrated on preparing its pupils for entry to the Royal Navy. His father had planned a naval career for him, but the boy's eyesight was found to be too poor for it.\",\n \"His father had planned a naval career for him, but the boy's eyesight was found to be too poor for it. He was unimpressed by the school's narrow curriculum and zealous discipline; he later parodied it in his novels, with Bertie Wooster recalling his early years as a pupil at a \\\"penitentiary... with the outward guise of a prep school\\\" called Malvern House.\",\n \"He was unimpressed by the school's narrow curriculum and zealous discipline; he later parodied it in his novels, with Bertie Wooster recalling his early years as a pupil at a \\\"penitentiary... with the outward guise of a prep school\\\" called Malvern House. Throughout their school years the brothers were sent to stay during the holidays with various uncles and aunts from both sides of the family.\",\n \"Throughout their school years the brothers were sent to stay during the holidays with various uncles and aunts from both sides of the family. In the Oxford Dictionary of National Biography, Iain Sproat counts twenty aunts and considers that they played an important part not only in Wodehouse's early life, but, thinly disguised, in his mature novels, as the formidable aunts who dominate the action in the Wooster, Blandings, and other stories.\",\n \"In the Oxford Dictionary of National Biography, Iain Sproat counts twenty aunts and considers that they played an important part not only in Wodehouse's early life, but, thinly disguised, in his mature novels, as the formidable aunts who dominate the action in the Wooster, Blandings, and other stories. The boys had fifteen uncles, four of whom were clergymen.\",\n \"The boys had fifteen uncles, four of whom were clergymen. Sproat writes that they inspired Wodehouse's \\\"pious but fallible curates, vicars, and bishops, of which he wrote with friendly irreverence but without mockery\\\".\",\n \"Sproat writes that they inspired Wodehouse's \\\"pious but fallible curates, vicars, and bishops, of which he wrote with friendly irreverence but without mockery\\\". At the age of twelve in 1894, to his great joy, Wodehouse was able to follow his brother Armine to Dulwich College.\",\n \"At the age of twelve in 1894, to his great joy, Wodehouse was able to follow his brother Armine to Dulwich College. He was entirely at home there; Donaldson comments that Dulwich gave him, for the first time, \\\"some continuity and a stable and ordered life\\\".\",\n \"He was entirely at home there; Donaldson comments that Dulwich gave him, for the first time, \\\"some continuity and a stable and ordered life\\\". He loved the camaraderie, distinguished himself at cricket, rugby and boxing, and was a good, if not consistently diligent, student.\",\n \"He loved the camaraderie, distinguished himself at cricket, rugby and boxing, and was a good, if not consistently diligent, student. The headmaster at the time was A. H. Gilkes, a respected classicist, who was a strong influence on Wodehouse.\",\n \"The headmaster at the time was A. H. Gilkes, a respected classicist, who was a strong influence on Wodehouse. In a study of Wodehouse's works, Richard Usborne argues that \\\"only a writer who was himself a scholar and had had his face ground into Latin and Greek (especially Thucydides) as a boy\\\" could sustain the complex sequences of subordinate clauses sometimes found in Wodehouse's comic prose.\",\n \"In a study of Wodehouse's works, Richard Usborne argues that \\\"only a writer who was himself a scholar and had had his face ground into Latin and Greek (especially Thucydides) as a boy\\\" could sustain the complex sequences of subordinate clauses sometimes found in Wodehouse's comic prose. Wodehouse's six years at Dulwich were among the happiest of his life: \\\"To me the years between 1894 and 1900 were like heaven.\\\"\",\n \"Wodehouse's six years at Dulwich were among the happiest of his life: \\\"To me the years between 1894 and 1900 were like heaven.\\\" In addition to his sporting achievements he was a good singer and enjoyed taking part in school concerts; his literary leanings found an outlet in editing the school magazine, The Alleynian.\",\n \"In addition to his sporting achievements he was a good singer and enjoyed taking part in school concerts; his literary leanings found an outlet in editing the school magazine, The Alleynian. For the rest of his life he remained devoted to the school.\",\n \"For the rest of his life he remained devoted to the school. The biographer Barry Phelps writes that Wodehouse \\\"loved the college as much as he loved anything or anybody\\\".\",\n \"The biographer Barry Phelps writes that Wodehouse \\\"loved the college as much as he loved anything or anybody\\\". Reluctant banker; budding writer: 1900–1908 Wodehouse expected to follow Armine to the University of Oxford, but the family's finances took a turn for the worse at the crucial moment.\",\n \"Reluctant banker; budding writer: 1900–1908 Wodehouse expected to follow Armine to the University of Oxford, but the family's finances took a turn for the worse at the crucial moment. Ernest Wodehouse had retired in 1895, and his pension was paid in rupees; fluctuation against the pound reduced its value in Britain.\",\n \"Ernest Wodehouse had retired in 1895, and his pension was paid in rupees; fluctuation against the pound reduced its value in Britain. Wodehouse recalled, \\\"The wolf was not actually whining at the door and there was always a little something in the kitty for the butcher and the grocer, but the finances would not run to anything in the nature of a splash\\\".\",\n \"Wodehouse recalled, \\\"The wolf was not actually whining at the door and there was always a little something in the kitty for the butcher and the grocer, but the finances would not run to anything in the nature of a splash\\\". Instead of a university career, in September 1900 Wodehouse was engaged in a junior position in the London office of the Hongkong and Shanghai Bank.\",\n \"Instead of a university career, in September 1900 Wodehouse was engaged in a junior position in the London office of the Hongkong and Shanghai Bank. He was unsuited to it and found the work baffling and uncongenial.\",\n \"He was unsuited to it and found the work baffling and uncongenial. He later wrote a humorous account of his experiences at the bank, but at the time he longed for the end of each working day, when he could return to his rented lodgings in Chelsea and write.\",\n \"He later wrote a humorous account of his experiences at the bank, but at the time he longed for the end of each working day, when he could return to his rented lodgings in Chelsea and write. At first he concentrated, with some success, on serious articles about school sports for Public School Magazine.\",\n \"At first he concentrated, with some success, on serious articles about school sports for Public School Magazine. In November 1900 his first comic piece, \\\"Men Who Missed Their Own Weddings\\\", was accepted by Tit-Bits.\",\n \"In November 1900 his first comic piece, \\\"Men Who Missed Their Own Weddings\\\", was accepted by Tit-Bits. A new magazine for boys, The Captain, provided further well-paid opportunities, and during his two years at the bank, Wodehouse had eighty pieces published in a total of nine magazines.\",\n \"A new magazine for boys, The Captain, provided further well-paid opportunities, and during his two years at the bank, Wodehouse had eighty pieces published in a total of nine magazines. In 1901, with the help of a former Dulwich master, William Beach Thomas, Wodehouse secured an appointment—at first temporary and later permanent—writing for The Globes popular \\\"By the Way\\\" column.\",\n \"In 1901, with the help of a former Dulwich master, William Beach Thomas, Wodehouse secured an appointment—at first temporary and later permanent—writing for The Globes popular \\\"By the Way\\\" column. He held the post until 1909.\",\n \"He held the post until 1909. At around the same time his first novel was published—a school story called The Pothunters, serialised incomplete in Public School Magazine in early 1902, and issued in full in hardback in September. He resigned from the bank that month to devote himself to writing full-time.\",\n \"He resigned from the bank that month to devote himself to writing full-time. Between the publication of The Pothunters 1902 and that of Mike in 1909, Wodehouse wrote eight novels and co-wrote another two.\",\n \"Between the publication of The Pothunters 1902 and that of Mike in 1909, Wodehouse wrote eight novels and co-wrote another two. The critic R. D. B. French writes that, of Wodehouse's work from this period, almost all that deserves to survive is the school fiction.\",\n \"The critic R. D. B. French writes that, of Wodehouse's work from this period, almost all that deserves to survive is the school fiction. Looking back in the 1950s Wodehouse viewed these as his apprentice years: \\\"I was practically in swaddling clothes and it is extremely creditable to me that I was able to write at all.\\\"\",\n \"Looking back in the 1950s Wodehouse viewed these as his apprentice years: \\\"I was practically in swaddling clothes and it is extremely creditable to me that I was able to write at all.\\\" From his boyhood Wodehouse had been fascinated by America, which he conceived of as \\\"a land of romance\\\"; he \\\"yearned\\\" to visit the country, and by 1904 he had earned enough to do so.\",\n \"From his boyhood Wodehouse had been fascinated by America, which he conceived of as \\\"a land of romance\\\"; he \\\"yearned\\\" to visit the country, and by 1904 he had earned enough to do so. In April he sailed to New York, which he found greatly to his liking.\",\n \"In April he sailed to New York, which he found greatly to his liking. He noted in his diary: \\\"In New York gathering experience. Worth many guineas in the future but none for the moment.\\\"\",\n \"Worth many guineas in the future but none for the moment.\\\" This prediction proved correct: few British writers had first-hand experience of the US, and his articles about life in New York brought him higher than usual fees.\",\n \"This prediction proved correct: few British writers had first-hand experience of the US, and his articles about life in New York brought him higher than usual fees. He later recalled that \\\"in 1904 anyone in the London writing world who had been to America was regarded with awe and looked upon as an authority on that terra incognita.... After that trip to New York I was a man who counted.... My income rose like a rocketing pheasant.\\\"\",\n \"He later recalled that \\\"in 1904 anyone in the London writing world who had been to America was regarded with awe and looked upon as an authority on that terra incognita.... After that trip to New York I was a man who counted.... My income rose like a rocketing pheasant.\\\" Wodehouse's other new venture in 1904 was writing for the stage.\",\n \"Wodehouse's other new venture in 1904 was writing for the stage. Towards the end of the year the librettist Owen Hall invited him to contribute an additional lyric for a musical comedy Sergeant Brue. Wodehouse had loved theatre since his first visit, aged thirteen, when Gilbert and Sullivan's Patience had made him \\\"drunk with ecstasy\\\".\",\n \"Wodehouse had loved theatre since his first visit, aged thirteen, when Gilbert and Sullivan's Patience had made him \\\"drunk with ecstasy\\\". His lyric for Hall, \\\"Put Me in My Little Cell\\\", was a Gilbertian number for a trio of comic crooks, with music by Frederick Rosse; it was well received and launched Wodehouse on a career as a theatre writer that spanned three decades.\",\n \"His lyric for Hall, \\\"Put Me in My Little Cell\\\", was a Gilbertian number for a trio of comic crooks, with music by Frederick Rosse; it was well received and launched Wodehouse on a career as a theatre writer that spanned three decades. Although it made little impact on its first publication, the 1906 novel Love Among the Chickens contained what French calls the author's first original comic creation: Stanley Featherstonehaugh Ukridge.\",\n \"Although it made little impact on its first publication, the 1906 novel Love Among the Chickens contained what French calls the author's first original comic creation: Stanley Featherstonehaugh Ukridge. The character, an amoral, bungling opportunist, is partly based on Wodehouse's Globe colleague Herbert Westbrook.\",\n \"The character, an amoral, bungling opportunist, is partly based on Wodehouse's Globe colleague Herbert Westbrook. The two collaborated between 1907 and 1913 on two books, two music hall sketches, and a play, Brother Alfred. Wodehouse would return to the character in short stories over the next six decades.\",\n \"Wodehouse would return to the character in short stories over the next six decades. In early 1906 the actor-manager Seymour Hicks invited Wodehouse to become resident lyricist at the Aldwych Theatre, to add topical verses to newly imported or long-running shows. Hicks had already recruited the young Jerome Kern to write the music for such songs.\",\n \"Hicks had already recruited the young Jerome Kern to write the music for such songs. The first Kern-Wodehouse collaboration, a comic number for The Beauty of Bath titled \\\"Mr [Joseph] Chamberlain\\\", was a show-stopper and was briefly the most popular song in London.\",\n \"The first Kern-Wodehouse collaboration, a comic number for The Beauty of Bath titled \\\"Mr [Joseph] Chamberlain\\\", was a show-stopper and was briefly the most popular song in London. Psmith, Blandings, Wooster and Jeeves: 1908–1915 Wodehouse's early period as a writer came to an end in 1908 with the serialisation of The Lost Lambs, published the following year in book form as the second half of the novel Mike.\",\n \"Psmith, Blandings, Wooster and Jeeves: 1908–1915 Wodehouse's early period as a writer came to an end in 1908 with the serialisation of The Lost Lambs, published the following year in book form as the second half of the novel Mike. The work begins as a conventional school story, but Wodehouse introduces a new and strikingly original character, Psmith, whose creation both Evelyn Waugh and George Orwell regarded as a watershed in Wodehouse's development.\",\n \"The work begins as a conventional school story, but Wodehouse introduces a new and strikingly original character, Psmith, whose creation both Evelyn Waugh and George Orwell regarded as a watershed in Wodehouse's development. Wodehouse said that he based Psmith on the hotelier and impresario Rupert D'Oyly Carte—\\\"the only thing in my literary career which was handed to me on a silver plate with watercress around it\\\".\",\n \"Wodehouse said that he based Psmith on the hotelier and impresario Rupert D'Oyly Carte—\\\"the only thing in my literary career which was handed to me on a silver plate with watercress around it\\\". Wodehouse wrote in the 1970s that a cousin of his who had been at school with Carte told him of the latter's monocle, studied suavity, and stateliness of speech, all of which Wodehouse adopted for his new character.\",\n \"Wodehouse wrote in the 1970s that a cousin of his who had been at school with Carte told him of the latter's monocle, studied suavity, and stateliness of speech, all of which Wodehouse adopted for his new character. Psmith featured in three more novels: Psmith in the City (1910), a burlesque of banking; Psmith, Journalist (1915) set in New York; and Leave It to Psmith (1923), set at Blandings Castle.\",\n \"Psmith featured in three more novels: Psmith in the City (1910), a burlesque of banking; Psmith, Journalist (1915) set in New York; and Leave It to Psmith (1923), set at Blandings Castle. In May 1909 Wodehouse made his second visit to New York, where he sold two short stories to Cosmopolitan and Collier's for a total of $500, a much higher fee than he had commanded previously.\",\n \"In May 1909 Wodehouse made his second visit to New York, where he sold two short stories to Cosmopolitan and Collier's for a total of $500, a much higher fee than he had commanded previously. He resigned from The Globe and stayed in New York for nearly a year.\",\n \"He resigned from The Globe and stayed in New York for nearly a year. He sold many more stories, but none of the American publications offered a permanent relationship and guaranteed income. Wodehouse returned to England in late 1910, rejoining The Globe and also contributing regularly to The Strand Magazine.\",\n \"Wodehouse returned to England in late 1910, rejoining The Globe and also contributing regularly to The Strand Magazine. Between then and the outbreak of the First World War in 1914 he revisited America frequently. Wodehouse was in New York when the war began.\",\n \"Wodehouse was in New York when the war began. Ineligible for military service because of his poor eyesight, he remained in the US throughout the war, detached from the conflict in Europe and absorbed in his theatrical and literary concerns. In September 1914 he married Ethel May Wayman, née Newton (1885–1984), an English widow.\",\n \"In September 1914 he married Ethel May Wayman, née Newton (1885–1984), an English widow. The marriage proved happy and lifelong. Ethel's personality was in contrast with her husband's: he was shy and impractical; she was gregarious, decisive and well organised.\",\n \"Ethel's personality was in contrast with her husband's: he was shy and impractical; she was gregarious, decisive and well organised. In Sproat's phrase, she \\\"took charge of Wodehouse's life and made certain that he had the peace and quiet he needed to write\\\".\",\n \"In Sproat's phrase, she \\\"took charge of Wodehouse's life and made certain that he had the peace and quiet he needed to write\\\". There were no children of the marriage, but Wodehouse came to love Ethel's daughter Leonora (1905–1944) and legally adopted her.\",\n \"There were no children of the marriage, but Wodehouse came to love Ethel's daughter Leonora (1905–1944) and legally adopted her. Wodehouse experimented with different genres of fiction in these years; Psmith, Journalist, mixing comedy with social comment on slum landlords and racketeers, was published in 1915.\",\n \"Wodehouse experimented with different genres of fiction in these years; Psmith, Journalist, mixing comedy with social comment on slum landlords and racketeers, was published in 1915. In the same year The Saturday Evening Post paid $3,500 to serialise Something New, the first of what became a series of novels set at Blandings Castle.\",\n \"In the same year The Saturday Evening Post paid $3,500 to serialise Something New, the first of what became a series of novels set at Blandings Castle. It was published in hardback in the US and the UK in the same year (the British edition being retitled Something Fresh).\",\n \"It was published in hardback in the US and the UK in the same year (the British edition being retitled Something Fresh). It was Wodehouse's first farcical novel; it was also his first best-seller, and although his later books included some gentler, lightly sentimental stories, it was as a farceur that he became known.\",\n \"It was Wodehouse's first farcical novel; it was also his first best-seller, and although his later books included some gentler, lightly sentimental stories, it was as a farceur that he became known. Later in the same year \\\"Extricating Young Gussie\\\", the first story about Bertie and Jeeves, was published.\",\n \"Later in the same year \\\"Extricating Young Gussie\\\", the first story about Bertie and Jeeves, was published. These stories introduced two sets of characters about whom Wodehouse wrote for the rest of his life.\",\n \"These stories introduced two sets of characters about whom Wodehouse wrote for the rest of his life. The Blandings Castle stories, set in an English stately home, depict the attempts of the placid Lord Emsworth to evade the many distractions around him, which include successive pairs of young lovers, the machinations of his exuberant brother Galahad, the demands of his domineering sisters and super-efficient secretaries, and anything detrimental to his prize sow, the Empress of Blandings.\",\n \"The Blandings Castle stories, set in an English stately home, depict the attempts of the placid Lord Emsworth to evade the many distractions around him, which include successive pairs of young lovers, the machinations of his exuberant brother Galahad, the demands of his domineering sisters and super-efficient secretaries, and anything detrimental to his prize sow, the Empress of Blandings. The Bertie and Jeeves stories feature an amiable young man-about-town, regularly rescued from the consequences of his idiocy by the benign interference of his valet.\",\n \"The Bertie and Jeeves stories feature an amiable young man-about-town, regularly rescued from the consequences of his idiocy by the benign interference of his valet. Broadway: 1915–1919 A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator.\",\n \"Broadway: 1915–1919 A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator. Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York.\",\n \"Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York. The show was successful, but they thought the song lyrics weak and invited Wodehouse to join them on its successor. This was Miss Springtime (1916), which ran for 227 performances—a good run by the standards of the day.\",\n \"This was Miss Springtime (1916), which ran for 227 performances—a good run by the standards of the day. The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917–18) and Oh, Lady! Lady!!\",\n \"Lady!! Lady!! (1918), and Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin.\",\n \"In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin. Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies.\",\n \"Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies. Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do.\",\n \"Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do. Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical.\",\n \"Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical. In the Grove Dictionary of American Music Larry Stempel writes, \\\"By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy.\\\"\",\n \"In the Grove Dictionary of American Music Larry Stempel writes, \\\"By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy.\\\" The theatre writer Gerald Bordman calls Wodehouse \\\"the most observant, literate, and witty lyricist of his day\\\".\",\n \"The theatre writer Gerald Bordman calls Wodehouse \\\"the most observant, literate, and witty lyricist of his day\\\". The composer Richard Rodgers wrote, \\\"Before Larry Hart, only P.G. Wodehouse had made any real assault on the intelligence of the song-listening public.\\\"\",\n \"Wodehouse had made any real assault on the intelligence of the song-listening public.\\\" 1920s In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones.\",\n \"1920s In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones. Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest.\",\n \"Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest. Various other young men-about-town appeared in short stories about members of the Drones Club.\",\n \"Various other young men-about-town appeared in short stories about members of the Drones Club. The Wodehouses returned to England, where they had a house in London for some years, but Wodehouse continued to cross the Atlantic frequently, spending substantial periods in New York. He continued to work in the theatre.\",\n \"He continued to work in the theatre. During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York).\",\n \"During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York). He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnár, and A Damsel in Distress (1928), a dramatisation of his 1919 novel.\",\n \"He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnár, and A Damsel in Distress (1928), a dramatisation of his 1919 novel. Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods.\",\n \"Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods. Donaldson lists among those with whom he was on friendly terms writers including A. A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith Jr., Heather Thatcher and Dorothy Dickson.\",\n \"A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith Jr., Heather Thatcher and Dorothy Dickson. Hollywood: 1929–1931 There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name.\",\n \"Hollywood: 1929–1931 There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name. Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM).\",\n \"Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM). Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week.\",\n \"Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week. This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929.\",\n \"This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929. The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories.\",\n \"The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories. He commented, \\\"It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary.\\\"\",\n \"He commented, \\\"It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary.\\\" Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used.\",\n \"Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used. In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was \\\"as close to a success as Wodehouse was to have at MGM.\",\n \"In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was \\\"as close to a success as Wodehouse was to have at MGM. His only other credits were minimal, and the other projects he worked on were not produced.\\\"\",\n \"His only other credits were minimal, and the other projects he worked on were not produced.\\\" Wodehouse's contract ended after a year and was not renewed. At MGM's request, he gave an interview to The Los Angeles Times.\",\n \"At MGM's request, he gave an interview to The Los Angeles Times. Wodehouse was described by Herbert Warren Wind as \\\"politically naive [and] fundamentally unworldly\\\", and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent.\",\n \"Wodehouse was described by Herbert Warren Wind as \\\"politically naive [and] fundamentally unworldly\\\", and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent. The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry.\",\n \"The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry. Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been \\\"a storm in a teacup\\\", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable.\",\n \"Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been \\\"a storm in a teacup\\\", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable. Wind's view of Wodehouse's naïveté is not universally held.\",\n \"Wind's view of Wodehouse's naïveté is not universally held. Biographers including Donaldson, McCrum and Phelps suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute.\",\n \"Biographers including Donaldson, McCrum and Phelps suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute. He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire.\",\n \"He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire. Best-seller: 1930s During the 1930s Wodehouse's theatrical work tailed off.\",\n \"Best-seller: 1930s During the 1930s Wodehouse's theatrical work tailed off. He wrote or adapted four plays for the West End; Leave it to Psmith (1930), which he adapted in collaboration with Ian Hay, was the only one to have a long run.\",\n \"He wrote or adapted four plays for the West End; Leave it to Psmith (1930), which he adapted in collaboration with Ian Hay, was the only one to have a long run. The reviewer in The Manchester Guardian praised the play, but commented: \\\"It is Mr Wodehouse's own inimitable narrative comments and descriptions in his own person of the antics of his puppets that one misses.\",\n \"The reviewer in The Manchester Guardian praised the play, but commented: \\\"It is Mr Wodehouse's own inimitable narrative comments and descriptions in his own person of the antics of his puppets that one misses. They cannot be got into a play and they are at least half the fun of the novels.\\\"\",\n \"They cannot be got into a play and they are at least half the fun of the novels.\\\" In 1934 Wodehouse collaborated with Bolton on the book for Cole Porter's Anything Goes (Porter wrote his own lyrics), but at the last minute their version was almost entirely rewritten by others at the instigation of the producer, who disliked the original script.\",\n \"In 1934 Wodehouse collaborated with Bolton on the book for Cole Porter's Anything Goes (Porter wrote his own lyrics), but at the last minute their version was almost entirely rewritten by others at the instigation of the producer, who disliked the original script. Concentrating on writing novels and short stories, Wodehouse reached the peak of his productivity in this decade, averaging two books each year, and grossing an annual £100,000.\",\n \"Concentrating on writing novels and short stories, Wodehouse reached the peak of his productivity in this decade, averaging two books each year, and grossing an annual £100,000. His practice of dividing his time between Britain and America caused Wodehouse difficulties with the tax authorities of both countries.\",\n \"His practice of dividing his time between Britain and America caused Wodehouse difficulties with the tax authorities of both countries. Both the UK Inland Revenue and the US Internal Revenue Service sought to tax him as a resident.\",\n \"Both the UK Inland Revenue and the US Internal Revenue Service sought to tax him as a resident. The matter was settled after lengthy negotiations, but the Wodehouses decided to change their residential status beyond doubt by moving to France, where they bought a house near Le Touquet in the north.\",\n \"The matter was settled after lengthy negotiations, but the Wodehouses decided to change their residential status beyond doubt by moving to France, where they bought a house near Le Touquet in the north. In 1935 Wodehouse created the last of his regular cast of principal characters, Lord Ickenham, otherwise known as Uncle Fred, who, in Usborne's words, \\\"leads the dance in four novels and a short story... a whirring dynamo of misrule\\\".\",\n \"In 1935 Wodehouse created the last of his regular cast of principal characters, Lord Ickenham, otherwise known as Uncle Fred, who, in Usborne's words, \\\"leads the dance in four novels and a short story... a whirring dynamo of misrule\\\". His other books from the decade include Right Ho, Jeeves, which Donaldson judged his best work, Uncle Fred in the Springtime, which the writer Bernard Levin considered the best, and Blandings Castle, which contains \\\"Lord Emsworth and the Girl Friend\\\", which Rudyard Kipling thought \\\"one of the most perfect short stories I have ever read\\\".\",\n \"His other books from the decade include Right Ho, Jeeves, which Donaldson judged his best work, Uncle Fred in the Springtime, which the writer Bernard Levin considered the best, and Blandings Castle, which contains \\\"Lord Emsworth and the Girl Friend\\\", which Rudyard Kipling thought \\\"one of the most perfect short stories I have ever read\\\". Other leading literary figures who admired Wodehouse were A. E. Housman, Max Beerbohm and Hilaire Belloc; on the radio and in print Belloc called Wodehouse \\\"the best writer of our time: the best living writer of English... the head of my profession\\\".\",\n \"Other leading literary figures who admired Wodehouse were A. E. Housman, Max Beerbohm and Hilaire Belloc; on the radio and in print Belloc called Wodehouse \\\"the best writer of our time: the best living writer of English... the head of my profession\\\". Wodehouse regarded Belloc's plaudit as \\\"a gag, to get a rise out of serious-minded authors whom he disliked\\\".\",\n \"Wodehouse regarded Belloc's plaudit as \\\"a gag, to get a rise out of serious-minded authors whom he disliked\\\". Wodehouse was never sure that his books had literary merit as well as popular appeal, and, Donaldson suggests, must have been overwhelmed when the University of Oxford conferred an honorary doctorate of letters on him in June 1939.\",\n \"Wodehouse was never sure that his books had literary merit as well as popular appeal, and, Donaldson suggests, must have been overwhelmed when the University of Oxford conferred an honorary doctorate of letters on him in June 1939. His visit to England for the awarding ceremony was the last time he set foot in his native land.\",\n \"His visit to England for the awarding ceremony was the last time he set foot in his native land. Second World War: internment and broadcasts At the start of the Second World War Wodehouse and his wife remained at their Le Touquet house, where, during the Phoney War, he worked on Joy in the Morning.\",\n \"Second World War: internment and broadcasts At the start of the Second World War Wodehouse and his wife remained at their Le Touquet house, where, during the Phoney War, he worked on Joy in the Morning. With the advance of the Germans, the nearby Royal Air Force base withdrew; Wodehouse was offered the sole spare seat in one of the fighter aircraft, but he turned down the opportunity as it would have meant leaving behind Ethel and their dog.\",\n \"With the advance of the Germans, the nearby Royal Air Force base withdrew; Wodehouse was offered the sole spare seat in one of the fighter aircraft, but he turned down the opportunity as it would have meant leaving behind Ethel and their dog. On 21 May 1940, with German troops advancing through northern France, the Wodehouses decided to drive to Portugal and fly from there to the US.\",\n \"On 21 May 1940, with German troops advancing through northern France, the Wodehouses decided to drive to Portugal and fly from there to the US. Two miles from home their car broke down, so they returned and borrowed a car from a neighbour; with the routes blocked with refugees, they returned home again.\",\n \"Two miles from home their car broke down, so they returned and borrowed a car from a neighbour; with the routes blocked with refugees, they returned home again. The Germans occupied Le Touquet on 22 May 1940 and Wodehouse had to report to the authorities daily.\",\n \"The Germans occupied Le Touquet on 22 May 1940 and Wodehouse had to report to the authorities daily. After two months of occupation the Germans interned all male enemy nationals under 60, and Wodehouse was sent to a former prison in Loos, a suburb of Lille, on 21 July; Ethel remained in Le Touquet.\",\n \"After two months of occupation the Germans interned all male enemy nationals under 60, and Wodehouse was sent to a former prison in Loos, a suburb of Lille, on 21 July; Ethel remained in Le Touquet. The internees were placed four to a cell, each of which had been designed for one man.\",\n \"The internees were placed four to a cell, each of which had been designed for one man. One bed was available per cell, which was made available to the eldest man—not Wodehouse, who slept on the granite floor.\",\n \"One bed was available per cell, which was made available to the eldest man—not Wodehouse, who slept on the granite floor. The prisoners were not kept long in Loos before they were transported in cattle trucks to a former barracks in Liège, Belgium, which was run as a prison by the SS.\",\n \"The prisoners were not kept long in Loos before they were transported in cattle trucks to a former barracks in Liège, Belgium, which was run as a prison by the SS. After a week the men were transferred to Huy in Liège, where they were incarcerated in the local citadel.\",\n \"After a week the men were transferred to Huy in Liège, where they were incarcerated in the local citadel. They remained there until September 1940, when they were transported to Tost in Upper Silesia (then Germany, now Toszek in Poland).\",\n \"They remained there until September 1940, when they were transported to Tost in Upper Silesia (then Germany, now Toszek in Poland). Wodehouse's family and friends had not had any news of his location after the fall of France, but an article from an Associated Press reporter who had visited Tost in December 1940 led to pressure on the German authorities to release the novelist.\",\n \"Wodehouse's family and friends had not had any news of his location after the fall of France, but an article from an Associated Press reporter who had visited Tost in December 1940 led to pressure on the German authorities to release the novelist. This included a petition from influential people in the US; Senator W. Warren Barbour presented it to the German ambassador.\",\n \"This included a petition from influential people in the US; Senator W. Warren Barbour presented it to the German ambassador. Although his captors refused to release him, Wodehouse was provided with a typewriter and, to pass the time, he wrote Money in the Bank.\",\n \"Although his captors refused to release him, Wodehouse was provided with a typewriter and, to pass the time, he wrote Money in the Bank. Throughout his time in Tost, he sent postcards to his US literary agent asking for $5 to be sent to various people in Canada, mentioning his name.\",\n \"Throughout his time in Tost, he sent postcards to his US literary agent asking for $5 to be sent to various people in Canada, mentioning his name. These were the families of Canadian prisoners of war, and the news from Wodehouse was the first indication that their sons were alive and well.\",\n \"These were the families of Canadian prisoners of war, and the news from Wodehouse was the first indication that their sons were alive and well. Wodehouse risked severe punishment for the communication, but managed to evade the German censor.\",\n \"Wodehouse risked severe punishment for the communication, but managed to evade the German censor. On 21 June 1941, while he was in the middle of playing a game of cricket, Wodehouse received a visit from two members of the Gestapo.\",\n \"On 21 June 1941, while he was in the middle of playing a game of cricket, Wodehouse received a visit from two members of the Gestapo. He was given ten minutes to pack his things before he was taken to the Hotel Adlon, a top luxury hotel in Berlin.\",\n \"He was given ten minutes to pack his things before he was taken to the Hotel Adlon, a top luxury hotel in Berlin. He stayed there at his own expense; royalties from the German editions of his books had been put into a special frozen bank account at the outset of the war, and Wodehouse was permitted to draw upon this money he had earned while staying in Berlin.\",\n \"He stayed there at his own expense; royalties from the German editions of his books had been put into a special frozen bank account at the outset of the war, and Wodehouse was permitted to draw upon this money he had earned while staying in Berlin. He was thus released from internment a few months before his sixtieth birthday—the age at which civilian internees were released by the Nazis.\",\n \"He was thus released from internment a few months before his sixtieth birthday—the age at which civilian internees were released by the Nazis. Shortly afterwards Wodehouse was, in the words of Phelps, \\\"cleverly trapped\\\" into making five broadcasts to the US via German radio, with the Berlin-based correspondent of the Columbia Broadcasting System.\",\n \"Shortly afterwards Wodehouse was, in the words of Phelps, \\\"cleverly trapped\\\" into making five broadcasts to the US via German radio, with the Berlin-based correspondent of the Columbia Broadcasting System. The broadcasts—aired on 28 June, 9, 23 and 30 July and 6 August—were titled How to be an Internee Without Previous Training, and comprised humorous anecdotes about Wodehouse's experiences as a prisoner, including some gentle mocking of his captors.\",\n \"The broadcasts—aired on 28 June, 9, 23 and 30 July and 6 August—were titled How to be an Internee Without Previous Training, and comprised humorous anecdotes about Wodehouse's experiences as a prisoner, including some gentle mocking of his captors. The German propaganda ministry arranged for the recordings to be broadcast to Britain in August.\",\n \"The German propaganda ministry arranged for the recordings to be broadcast to Britain in August. The day after Wodehouse recorded his final programme, Ethel joined him in Berlin, having sold most of her jewellery to pay for the journey.\",\n \"The day after Wodehouse recorded his final programme, Ethel joined him in Berlin, having sold most of her jewellery to pay for the journey. Aftermath: reactions and investigation The reaction in Britain to Wodehouse's broadcasts was hostile, and he was \\\"reviled ... as a traitor, collaborator, Nazi propagandist, and a coward\\\", although, Phelps observes, many of those who decried his actions had not heard the content of the programmes.\",\n \"Aftermath: reactions and investigation The reaction in Britain to Wodehouse's broadcasts was hostile, and he was \\\"reviled ... as a traitor, collaborator, Nazi propagandist, and a coward\\\", although, Phelps observes, many of those who decried his actions had not heard the content of the programmes. A front-page article in The Daily Mirror stated that Wodehouse \\\"lived luxuriously because Britain laughed with him, but when the laughter was out of his country's heart, ... [he] was not ready to share her suffering.\",\n \"A front-page article in The Daily Mirror stated that Wodehouse \\\"lived luxuriously because Britain laughed with him, but when the laughter was out of his country's heart, ... [he] was not ready to share her suffering. He hadn't the guts ... even to stick it out in the internment camp.\\\"\",\n \"He hadn't the guts ... even to stick it out in the internment camp.\\\" In the House of Commons Anthony Eden, the Foreign Secretary, regretted Wodehouse's actions. Several libraries removed Wodehouse novels from their shelves.\",\n \"Several libraries removed Wodehouse novels from their shelves. On 15 July the journalist William Connor, under his pen name Cassandra, broadcast a postscript to the news programme railing against Wodehouse. According to The Times, the broadcast \\\"provoked a storm of complaint ... from listeners all over the country\\\".\",\n \"According to The Times, the broadcast \\\"provoked a storm of complaint ... from listeners all over the country\\\". Wodehouse's biographer, Joseph Connolly, thinks the broadcast \\\"inaccurate, spiteful and slanderous\\\"; Phelps calls it \\\"probably the most vituperative attack on an individual ever heard on British radio\\\".\",\n \"Wodehouse's biographer, Joseph Connolly, thinks the broadcast \\\"inaccurate, spiteful and slanderous\\\"; Phelps calls it \\\"probably the most vituperative attack on an individual ever heard on British radio\\\". The broadcast was made at the direct instruction of Duff Cooper, the Minister of Information, who overruled strong protests made by the BBC against the decision to air the programme.\",\n \"The broadcast was made at the direct instruction of Duff Cooper, the Minister of Information, who overruled strong protests made by the BBC against the decision to air the programme. Numerous letters appeared in the British press, both supporting and criticising Wodehouse.\",\n \"Numerous letters appeared in the British press, both supporting and criticising Wodehouse. The letters page of The Daily Telegraph became a focus for censuring Wodehouse, including one from Wodehouse's friend, ; a reply from their fellow author Compton Mackenzie in defence of Wodehouse was not published because the editor claimed a lack of space.\",\n \"The letters page of The Daily Telegraph became a focus for censuring Wodehouse, including one from Wodehouse's friend, ; a reply from their fellow author Compton Mackenzie in defence of Wodehouse was not published because the editor claimed a lack of space. Most of those defending Wodehouse against accusations of disloyalty, including Sax Rohmer, Dorothy L. Sayers and Gilbert Frankau, conceded that he had acted stupidly.\",\n \"Most of those defending Wodehouse against accusations of disloyalty, including Sax Rohmer, Dorothy L. Sayers and Gilbert Frankau, conceded that he had acted stupidly. Some members of the public wrote to the newspapers to say that the full facts were not yet known and a fair judgment could not be made until they were.\",\n \"Some members of the public wrote to the newspapers to say that the full facts were not yet known and a fair judgment could not be made until they were. The management of the BBC, who considered Wodehouse's actions no worse than \\\"ill advised\\\", pointed out to Cooper that there was no evidence at that point whether Wodehouse had acted voluntarily or under compulsion.\",\n \"The management of the BBC, who considered Wodehouse's actions no worse than \\\"ill advised\\\", pointed out to Cooper that there was no evidence at that point whether Wodehouse had acted voluntarily or under compulsion. When Wodehouse heard of the furore the broadcasts had caused, he contacted the Foreign Office—through the Swiss embassy in Berlin—to explain his actions, and attempted to return home via neutral countries, but the German authorities refused to let him leave.\",\n \"When Wodehouse heard of the furore the broadcasts had caused, he contacted the Foreign Office—through the Swiss embassy in Berlin—to explain his actions, and attempted to return home via neutral countries, but the German authorities refused to let him leave. In Performing Flea, a 1953 collection of letters, Wodehouse wrote, \\\"Of course I ought to have had the sense to see that it was a loony thing to do to use the German radio for even the most harmless stuff, but I didn't.\",\n \"In Performing Flea, a 1953 collection of letters, Wodehouse wrote, \\\"Of course I ought to have had the sense to see that it was a loony thing to do to use the German radio for even the most harmless stuff, but I didn't. I suppose prison life saps the intellect\\\".\",\n \"I suppose prison life saps the intellect\\\". The reaction in America was mixed: the left-leaning publication PM accused Wodehouse of \\\"play[ing] Jeeves to the Nazis\\\", but the Department of War used the interviews as an ideal representation of anti-Nazi propaganda.\",\n \"The reaction in America was mixed: the left-leaning publication PM accused Wodehouse of \\\"play[ing] Jeeves to the Nazis\\\", but the Department of War used the interviews as an ideal representation of anti-Nazi propaganda. The Wodehouses remained in Germany until September 1943, when, because of the Allied bombings, they were allowed to move back to Paris.\",\n \"The Wodehouses remained in Germany until September 1943, when, because of the Allied bombings, they were allowed to move back to Paris. They were living there when the city was liberated on 25 August 1944; Wodehouse reported to the American authorities the following day, asking them to inform the British of his whereabouts.\",\n \"They were living there when the city was liberated on 25 August 1944; Wodehouse reported to the American authorities the following day, asking them to inform the British of his whereabouts. He was subsequently visited by Malcolm Muggeridge, recently arrived in Paris as an intelligence officer with MI6.\",\n \"He was subsequently visited by Malcolm Muggeridge, recently arrived in Paris as an intelligence officer with MI6. The young officer quickly came to like Wodehouse and considered the question of treasonable behaviour as \\\"ludicrous\\\"; he summed up the writer as \\\"ill-fitted to live in an age of ideological conflict\\\".\",\n \"The young officer quickly came to like Wodehouse and considered the question of treasonable behaviour as \\\"ludicrous\\\"; he summed up the writer as \\\"ill-fitted to live in an age of ideological conflict\\\". On 9 September Wodehouse was visited by an MI5 officer and former barrister, Major Edward Cussen, who formally investigated him, a process that stretched over four days.\",\n \"On 9 September Wodehouse was visited by an MI5 officer and former barrister, Major Edward Cussen, who formally investigated him, a process that stretched over four days. On 28 September Cussen filed his report, which states that in regard to the broadcasts, Wodehouse's behaviour \\\"has been unwise\\\", but advised against further action.\",\n \"On 28 September Cussen filed his report, which states that in regard to the broadcasts, Wodehouse's behaviour \\\"has been unwise\\\", but advised against further action. On 23 November Theobald Matthew, the Director of Public Prosecutions, decided there was no evidence to justify prosecuting Wodehouse.\",\n \"On 23 November Theobald Matthew, the Director of Public Prosecutions, decided there was no evidence to justify prosecuting Wodehouse. In November 1944 Duff Cooper was appointed British ambassador to France and was provided accommodation at the Hôtel Le Bristol, where the Wodehouses were living.\",\n \"In November 1944 Duff Cooper was appointed British ambassador to France and was provided accommodation at the Hôtel Le Bristol, where the Wodehouses were living. Cooper complained to the French authorities, and the couple were moved to a different hotel. They were subsequently arrested by French police and placed under preventive detention, despite no charges being presented.\",\n \"They were subsequently arrested by French police and placed under preventive detention, despite no charges being presented. When Muggeridge tracked them down later, he managed to get Ethel released straight away and, four days later, ensured that the French authorities declared Wodehouse unwell and put him in a nearby hospital, which was more comfortable than where they had been detained.\",\n \"When Muggeridge tracked them down later, he managed to get Ethel released straight away and, four days later, ensured that the French authorities declared Wodehouse unwell and put him in a nearby hospital, which was more comfortable than where they had been detained. While in this hospital, Wodehouse worked on his novel Uncle Dynamite.\",\n \"While in this hospital, Wodehouse worked on his novel Uncle Dynamite. While still detained by the French, Wodehouse was again mentioned in questions in the House of Commons in December 1944 when MPs wondered if the French authorities could repatriate him to stand trial.\",\n \"While still detained by the French, Wodehouse was again mentioned in questions in the House of Commons in December 1944 when MPs wondered if the French authorities could repatriate him to stand trial. Eden stated that the \\\"matter has been gone into, and, according to the advice given, there are no grounds upon which we could take action\\\".\",\n \"Eden stated that the \\\"matter has been gone into, and, according to the advice given, there are no grounds upon which we could take action\\\". Two months later, Orwell wrote the essay \\\"In Defence of P.G.\",\n \"Two months later, Orwell wrote the essay \\\"In Defence of P.G. Wodehouse\\\", where he stated that \\\"it is important to realise that the events of 1941 do not convict Wodehouse of anything worse than stupidity\\\".\",\n \"Wodehouse\\\", where he stated that \\\"it is important to realise that the events of 1941 do not convict Wodehouse of anything worse than stupidity\\\". Orwell's rationale was that Wodehouse's \\\"moral outlook has remained that of a public-school boy, and according to the public-school code, treachery in time of war is the most unforgivable of all the sins\\\", which was compounded by his \\\"complete lack—so far as one can judge from his printed works—of political awareness\\\".\",\n \"Orwell's rationale was that Wodehouse's \\\"moral outlook has remained that of a public-school boy, and according to the public-school code, treachery in time of war is the most unforgivable of all the sins\\\", which was compounded by his \\\"complete lack—so far as one can judge from his printed works—of political awareness\\\". On 15 January 1945 the French authorities released Wodehouse, but they did not inform him, until June 1946, that he would not face any official charges and was free to leave the country.\",\n \"On 15 January 1945 the French authorities released Wodehouse, but they did not inform him, until June 1946, that he would not face any official charges and was free to leave the country. American exile: 1946–1975 Having secured American visas in July 1946, the Wodehouses made preparations to return to New York.\",\n \"American exile: 1946–1975 Having secured American visas in July 1946, the Wodehouses made preparations to return to New York. They were delayed by Ethel's insistence on acquiring suitable new clothes and by Wodehouse's wish to finish writing his current novel, The Mating Season, in the peace of the French countryside.\",\n \"They were delayed by Ethel's insistence on acquiring suitable new clothes and by Wodehouse's wish to finish writing his current novel, The Mating Season, in the peace of the French countryside. In April 1947 they sailed to New York, where Wodehouse was relieved at the friendly reception he received from the large press contingent awaiting his arrival.\",\n \"In April 1947 they sailed to New York, where Wodehouse was relieved at the friendly reception he received from the large press contingent awaiting his arrival. Ethel secured a comfortable penthouse apartment in Manhattan's Upper East Side, but Wodehouse was not at ease. The New York that he had known before the war was much changed.\",\n \"The New York that he had known before the war was much changed. The magazines that had paid lavishly for his stories were in decline, and those that remained were not much interested in him.\",\n \"The magazines that had paid lavishly for his stories were in decline, and those that remained were not much interested in him. He was sounded out about writing for Broadway, but he was not at home in the post-war theatre; he had money problems, with large sums temporarily tied up in Britain, and for the first time in his career he had no ideas for a new novel.\",\n \"He was sounded out about writing for Broadway, but he was not at home in the post-war theatre; he had money problems, with large sums temporarily tied up in Britain, and for the first time in his career he had no ideas for a new novel. He did not complete one until 1951.\",\n \"He did not complete one until 1951. Wodehouse remained unsettled until he and Ethel left New York City for Long Island. Bolton and his wife lived in the prosperous hamlet of Remsenburg, part of the Southampton area of Long Island, east of Manhattan.\",\n \"Bolton and his wife lived in the prosperous hamlet of Remsenburg, part of the Southampton area of Long Island, east of Manhattan. Wodehouse stayed with them frequently, and in 1952 he and Ethel bought a house nearby. They lived at Remsenburg for the rest of their lives.\",\n \"They lived at Remsenburg for the rest of their lives. Between 1952 and 1975 he published more than twenty novels, as well as two collections of short stories, a heavily edited collection of his letters, a volume of memoirs, and a selection of his magazine articles. He continued to hanker after a revival of his theatrical career.\",\n \"He continued to hanker after a revival of his theatrical career. A 1959 off-Broadway revival of the 1917 Bolton-Wodehouse-Kern Leave It to Jane was a surprise hit, running for 928 performances, but his few post-war stage works, some in collaboration with Bolton, made little impression.\",\n \"A 1959 off-Broadway revival of the 1917 Bolton-Wodehouse-Kern Leave It to Jane was a surprise hit, running for 928 performances, but his few post-war stage works, some in collaboration with Bolton, made little impression. Although Ethel made a return visit to England in 1948 to shop and visit family and friends, Wodehouse never left America after his arrival in 1947.\",\n \"Although Ethel made a return visit to England in 1948 to shop and visit family and friends, Wodehouse never left America after his arrival in 1947. It was not until 1965 that the British government indicated privately that he could return without fear of legal proceedings, and by then he felt too old to make the journey.\",\n \"It was not until 1965 that the British government indicated privately that he could return without fear of legal proceedings, and by then he felt too old to make the journey. The biographers Benny Green and Robert McCrum both take the view that this exile benefited Wodehouse's writing, helping him to go on depicting an idealised England seen in his mind's eye, rather than as it actually was in the post-war decades.\",\n \"The biographers Benny Green and Robert McCrum both take the view that this exile benefited Wodehouse's writing, helping him to go on depicting an idealised England seen in his mind's eye, rather than as it actually was in the post-war decades. During their years in Long Island, the couple often took in stray animals and contributed substantial funds to a local animal shelter.\",\n \"During their years in Long Island, the couple often took in stray animals and contributed substantial funds to a local animal shelter. In 1955 Wodehouse became an American citizen, though he remained a British subject, and was therefore still eligible for UK state honours.\",\n \"In 1955 Wodehouse became an American citizen, though he remained a British subject, and was therefore still eligible for UK state honours. He was considered for the award of a knighthood three times from 1967, but the honour was twice blocked by British officials.\",\n \"He was considered for the award of a knighthood three times from 1967, but the honour was twice blocked by British officials. In 1974 the British prime minister, Harold Wilson, intervened to secure a knighthood (KBE) for Wodehouse, which was announced in the January 1975 New Year Honours list.\",\n \"In 1974 the British prime minister, Harold Wilson, intervened to secure a knighthood (KBE) for Wodehouse, which was announced in the January 1975 New Year Honours list. The Times commented that Wodehouse's honour signalled \\\"official forgiveness for his wartime indiscretion....\",\n \"The Times commented that Wodehouse's honour signalled \\\"official forgiveness for his wartime indiscretion.... It is late, but not too late, to take the sting out of that unhappy incident.\\\" The following month Wodehouse entered Southampton Hospital, Long Island, for treatment of a skin complaint.\",\n \"The following month Wodehouse entered Southampton Hospital, Long Island, for treatment of a skin complaint. While there, he suffered a heart attack and died on 14 February 1975 at the age of 93. He was buried at Remsenburg Presbyterian Church four days later.\",\n \"He was buried at Remsenburg Presbyterian Church four days later. Ethel outlived him by more than nine years; Leonora had predeceased him, dying suddenly in 1944.\",\n \"Ethel outlived him by more than nine years; Leonora had predeceased him, dying suddenly in 1944. Writing Technique and approach Before starting a book Wodehouse would write up to four hundred pages of notes bringing together an outline of the plot; he acknowledged that \\\"It's the plots that I find so hard to work out.\",\n \"Writing Technique and approach Before starting a book Wodehouse would write up to four hundred pages of notes bringing together an outline of the plot; he acknowledged that \\\"It's the plots that I find so hard to work out. It takes such a long time to work one out.\\\"\",\n \"It takes such a long time to work one out.\\\" He always completed the plot before working on specific character actions. For a novel the note-writing process could take up to two years, and he would usually have two or more novels in preparation simultaneously.\",\n \"For a novel the note-writing process could take up to two years, and he would usually have two or more novels in preparation simultaneously. After he had completed his notes, he would draw up a fuller scenario of about thirty thousand words, which ensured plot holes were avoided, and allowed for the dialogue to begin to develop.\",\n \"After he had completed his notes, he would draw up a fuller scenario of about thirty thousand words, which ensured plot holes were avoided, and allowed for the dialogue to begin to develop. When interviewed in 1975 he revealed that \\\"For a humorous novel you've got to have a scenario, and you've got to test it so that you know where the comedy comes in, where the situations come in ... splitting it up into scenes (you can make a scene of almost anything) and have as little stuff in between as possible.\\\"\",\n \"When interviewed in 1975 he revealed that \\\"For a humorous novel you've got to have a scenario, and you've got to test it so that you know where the comedy comes in, where the situations come in ... splitting it up into scenes (you can make a scene of almost anything) and have as little stuff in between as possible.\\\" He preferred working between 4 and 7 pm—but never after dinner—and would work seven days a week.\",\n \"He preferred working between 4 and 7 pm—but never after dinner—and would work seven days a week. In his younger years, he would write around two to three thousand words a day, although he slowed as he aged, so that in his nineties he would produce a thousand.\",\n \"In his younger years, he would write around two to three thousand words a day, although he slowed as he aged, so that in his nineties he would produce a thousand. The reduced speed in writing slowed his production of books: when younger he would produce a novel in about three months, while Bachelors Anonymous, published in 1973, took around six months.\",\n \"The reduced speed in writing slowed his production of books: when younger he would produce a novel in about three months, while Bachelors Anonymous, published in 1973, took around six months. Although studies of language production in normal healthy ageing show a marked decline from the mid-70s on, a study of Wodehouse's works did not find any evidence of a decline in linguistic ability with age.\",\n \"Although studies of language production in normal healthy ageing show a marked decline from the mid-70s on, a study of Wodehouse's works did not find any evidence of a decline in linguistic ability with age. Wodehouse believed that one of the factors that made his stories humorous was his view of life, and he stated that \\\"If you take life fairly easily, then you take a humorous view of things.\",\n \"Wodehouse believed that one of the factors that made his stories humorous was his view of life, and he stated that \\\"If you take life fairly easily, then you take a humorous view of things. It's probably because you were born that way.\\\"\",\n \"It's probably because you were born that way.\\\" He carried this view through into his writing, describing the approach as \\\"making the thing a sort of musical comedy without music, and ignoring real life altogether\\\".\",\n \"He carried this view through into his writing, describing the approach as \\\"making the thing a sort of musical comedy without music, and ignoring real life altogether\\\". The literary critic Edward L. Galligan considers Wodehouse's stories to show his mastery in adapting the form of the American musical comedy for his writings.\",\n \"The literary critic Edward L. Galligan considers Wodehouse's stories to show his mastery in adapting the form of the American musical comedy for his writings. Wodehouse would ensure that his first draft was as carefully and accurately done as possible, correcting and refining the prose as he wrote, and would then make another good copy, before proofreading again and then making a final copy for his publisher.\",\n \"Wodehouse would ensure that his first draft was as carefully and accurately done as possible, correcting and refining the prose as he wrote, and would then make another good copy, before proofreading again and then making a final copy for his publisher. Most of Wodehouse's canon is set in an undated period around the 1920s and 1930s.\",\n \"Most of Wodehouse's canon is set in an undated period around the 1920s and 1930s. The critic Anthony Lejeune describes the settings of Wodehouse's novels, such as the Drones Club and Blandings Castle, as \\\"a fairyland\\\".\",\n \"The critic Anthony Lejeune describes the settings of Wodehouse's novels, such as the Drones Club and Blandings Castle, as \\\"a fairyland\\\". Although some critics thought Wodehouse's fiction was based on a world that had never existed, Wodehouse affirmed that \\\"it did.\",\n \"Although some critics thought Wodehouse's fiction was based on a world that had never existed, Wodehouse affirmed that \\\"it did. It was going strong between the wars\\\", although he agreed that his version was to some extent \\\"a sort of artificial world of my own creation\\\".\",\n \"It was going strong between the wars\\\", although he agreed that his version was to some extent \\\"a sort of artificial world of my own creation\\\". The novels showed a largely unchanging world, regardless of when they were written, and only rarely—and mistakenly in McCrum's view—did Wodehouse allow modernity to intrude, as he did in the 1966 story \\\"Bingo Bans the Bomb\\\".\",\n \"The novels showed a largely unchanging world, regardless of when they were written, and only rarely—and mistakenly in McCrum's view—did Wodehouse allow modernity to intrude, as he did in the 1966 story \\\"Bingo Bans the Bomb\\\". When dealing with the dialogue in his novels, Wodehouse would consider the book's characters as if they were actors in a play, ensuring that the main roles were kept suitably employed throughout the storyline, which must be strong: \\\"If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them.\\\"\",\n \"When dealing with the dialogue in his novels, Wodehouse would consider the book's characters as if they were actors in a play, ensuring that the main roles were kept suitably employed throughout the storyline, which must be strong: \\\"If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them.\\\" Many of Wodehouse's parts were stereotypes, and he acknowledged that \\\"a real character in one of my books sticks out like a sore thumb.\\\"\",\n \"Many of Wodehouse's parts were stereotypes, and he acknowledged that \\\"a real character in one of my books sticks out like a sore thumb.\\\" The publisher Michael Joseph identifies that even within the stereotypes Wodehouse understood human nature, and therefore \\\"shares with [Charles] Dickens and Charles Chaplin the ability to present the comic resistance of the individual against those superior forces to which we are all subject\\\".\",\n \"The publisher Michael Joseph identifies that even within the stereotypes Wodehouse understood human nature, and therefore \\\"shares with [Charles] Dickens and Charles Chaplin the ability to present the comic resistance of the individual against those superior forces to which we are all subject\\\". Much of Wodehouse's use of slang terms reflects the influence of his time at school in Dulwich, and partly reflects Edwardian slang.\",\n \"Much of Wodehouse's use of slang terms reflects the influence of his time at school in Dulwich, and partly reflects Edwardian slang. As a young man he enjoyed the literary works of Arthur Conan Doyle and Jerome K. Jerome, and the operatic works of Gilbert and Sullivan. Wodehouse quotes from and alludes to numerous poets throughout his work.\",\n \"Wodehouse quotes from and alludes to numerous poets throughout his work. The scholar Clarke Olney lists those quoted, including Milton, Byron, Longfellow, Coleridge, Swinburne, Tennyson, Wordsworth and Shakespeare. Another favoured source was the King James Bible.\",\n \"Another favoured source was the King James Bible. Language In 1941 the Concise Cambridge History of English Literature opined that Wodehouse had \\\"a gift for highly original aptness of phrase that almost suggests a poet struggling for release among the wild extravagances of farce\\\", while McCrum thinks that Wodehouse manages to combine \\\"high farce with the inverted poetry of his mature comic style\\\", particularly in The Code of the Woosters; the novelist Anthony Powell believes Wodehouse to be a \\\"comic poet\\\".\",\n \"Language In 1941 the Concise Cambridge History of English Literature opined that Wodehouse had \\\"a gift for highly original aptness of phrase that almost suggests a poet struggling for release among the wild extravagances of farce\\\", while McCrum thinks that Wodehouse manages to combine \\\"high farce with the inverted poetry of his mature comic style\\\", particularly in The Code of the Woosters; the novelist Anthony Powell believes Wodehouse to be a \\\"comic poet\\\". Robert A.\",\n \"Robert A. Robert A. Hall Jr., in his study of Wodehouse's style and technique, describes the author as a master of prose, an opinion also shared by Levin, who considers Wodehouse \\\"one of the finest and purest writers of English prose\\\".\",\n \"Hall Jr., in his study of Wodehouse's style and technique, describes the author as a master of prose, an opinion also shared by Levin, who considers Wodehouse \\\"one of the finest and purest writers of English prose\\\". Hall identifies several techniques used by Wodehouse to achieve comic effect, including the creation of new words through adding or removing prefixes and suffixes, so when Pongo Twistleton removes the housemaid Elsie Bean from a cupboard, Wodehouse writes that the character \\\"de-Beaned the cupboard\\\".\",\n \"Hall identifies several techniques used by Wodehouse to achieve comic effect, including the creation of new words through adding or removing prefixes and suffixes, so when Pongo Twistleton removes the housemaid Elsie Bean from a cupboard, Wodehouse writes that the character \\\"de-Beaned the cupboard\\\". Wodehouse created new words by splitting others in two, thus Wodehouse divides \\\"hobnobbing\\\" when he writes: \\\"To offer a housemaid a cigarette is not hobbing.\",\n \"Wodehouse created new words by splitting others in two, thus Wodehouse divides \\\"hobnobbing\\\" when he writes: \\\"To offer a housemaid a cigarette is not hobbing. Nor, when you light it for her, does that constitute nobbing.\\\"\",\n \"Nor, when you light it for her, does that constitute nobbing.\\\" Richard Voorhees, Wodehouse's biographer, believes that the author used clichés in a deliberate and ironic manner.\",\n \"Richard Voorhees, Wodehouse's biographer, believes that the author used clichés in a deliberate and ironic manner. His opinion is shared by the academic Stephen Medcalf, who deems Wodehouse's skill is to \\\"bring a cliché just enough to life to kill it\\\", although Pamela March, writing in The Christian Science Monitor, considers Wodehouse to have \\\"an ability to decliché a cliché\\\".\",\n \"His opinion is shared by the academic Stephen Medcalf, who deems Wodehouse's skill is to \\\"bring a cliché just enough to life to kill it\\\", although Pamela March, writing in The Christian Science Monitor, considers Wodehouse to have \\\"an ability to decliché a cliché\\\". Medcalf provides an example from Right Ho, Jeeves in which the teetotal Gussie Fink-Nottle has surreptitiously been given whisky and gin in a punch prior to a prize-giving: 'It seems to me, Jeeves, that the ceremony may be one fraught with considerable interest.'\",\n \"Medcalf provides an example from Right Ho, Jeeves in which the teetotal Gussie Fink-Nottle has surreptitiously been given whisky and gin in a punch prior to a prize-giving: 'It seems to me, Jeeves, that the ceremony may be one fraught with considerable interest.' 'Yes, sir.'\",\n \"'Yes, sir.' 'Yes, sir.' 'What, in your opinion, will the harvest be?' 'One finds it difficult to hazard a conjecture, sir.' 'You mean imagination boggles?' 'Yes, sir.' I inspected my imagination. He was right. It boggled.\",\n \"He was right. It boggled. It boggled. The stylistic device most commonly found in Wodehouse's work is his use of comparative imagery that includes similes. Hall opines that the humour comes from Wodehouse's ability to accentuate \\\"resemblances which at first glance seem highly incongruous\\\".\",\n \"Hall opines that the humour comes from Wodehouse's ability to accentuate \\\"resemblances which at first glance seem highly incongruous\\\". Examples can be seen in Joy in the Morning, Chapter 29: \\\"There was a sound in the background like a distant sheep coughing gently on a mountainside.\",\n \"Examples can be seen in Joy in the Morning, Chapter 29: \\\"There was a sound in the background like a distant sheep coughing gently on a mountainside. Jeeves sailing into action\\\", or Psmith, Chapter 7: \\\"A sound like two or three pigs feeding rather noisily in the middle of a thunderstorm interrupted his meditation.\\\"\",\n \"Jeeves sailing into action\\\", or Psmith, Chapter 7: \\\"A sound like two or three pigs feeding rather noisily in the middle of a thunderstorm interrupted his meditation.\\\" Hall also identifies that periodically Wodehouse used the stylistic device of a transferred epithet, with an adjective that properly belongs to a person applied instead to some inanimate object.\",\n \"Hall also identifies that periodically Wodehouse used the stylistic device of a transferred epithet, with an adjective that properly belongs to a person applied instead to some inanimate object. The form of expression is used sparingly by Wodehouse in comparison with other mechanisms, only once or twice in a story or novel, according to Hall.\",\n \"The form of expression is used sparingly by Wodehouse in comparison with other mechanisms, only once or twice in a story or novel, according to Hall. \\\"I balanced a thoughtful lump of sugar on the teaspoon.\\\"\",\n \"\\\"I balanced a thoughtful lump of sugar on the teaspoon.\\\" —Joy in the Morning, Chapter 5 \\\"As I sat in the bath-tub, soaping a meditative foot ...\\\" —Jeeves and the Feudal Spirit, Chapter 1 \\\"The first thing he did was to prod Jeeves in the lower ribs with an uncouth forefinger.\\\"\",\n \"—Joy in the Morning, Chapter 5 \\\"As I sat in the bath-tub, soaping a meditative foot ...\\\" —Jeeves and the Feudal Spirit, Chapter 1 \\\"The first thing he did was to prod Jeeves in the lower ribs with an uncouth forefinger.\\\" —Much Obliged, Jeeves, Chapter 4 Wordplay is a key element in Wodehouse's writing.\",\n \"—Much Obliged, Jeeves, Chapter 4 Wordplay is a key element in Wodehouse's writing. This can take the form of puns, such as in Jeeves and the Feudal Spirit, when Bertie is released after a night in the police cells, and says that he has \\\"a pinched look\\\" about him.\",\n \"This can take the form of puns, such as in Jeeves and the Feudal Spirit, when Bertie is released after a night in the police cells, and says that he has \\\"a pinched look\\\" about him. Linguistic confusion is another humorous mechanism, such as in Uncle Dynamite when Constable Potter says he has been \\\"assaulted by the duck pond\\\".\",\n \"Linguistic confusion is another humorous mechanism, such as in Uncle Dynamite when Constable Potter says he has been \\\"assaulted by the duck pond\\\". In reply, Sir Aylmer, confusing the two meanings of the word \\\"by\\\", asks: \\\"How the devil can you be assaulted by a duck pond?\\\"\",\n \"In reply, Sir Aylmer, confusing the two meanings of the word \\\"by\\\", asks: \\\"How the devil can you be assaulted by a duck pond?\\\" Wodehouse also uses metaphor and mixed metaphor to add humour.\",\n \"Wodehouse also uses metaphor and mixed metaphor to add humour. Some come through exaggeration, such as Bingo Little's infant child who \\\"not only has the aspect of a mass murderer, but that of a mass murderer suffering from an ingrown toenail\\\", or Wooster's complaint that \\\"the rumpuses that Bobbie Wickham is already starting may be amusing to her, but not to the unfortunate toads beneath the harrow whom she ruthlessly plunges into the soup.\\\"\",\n \"Some come through exaggeration, such as Bingo Little's infant child who \\\"not only has the aspect of a mass murderer, but that of a mass murderer suffering from an ingrown toenail\\\", or Wooster's complaint that \\\"the rumpuses that Bobbie Wickham is already starting may be amusing to her, but not to the unfortunate toads beneath the harrow whom she ruthlessly plunges into the soup.\\\" Bertie Wooster's half-forgotten vocabulary also provides a further humorous device.\",\n \"Bertie Wooster's half-forgotten vocabulary also provides a further humorous device. In Jeeves and the Feudal Spirit Bertie asks Jeeves \\\"Let a plugugly like young Thos loose in the community with a cosh, and you are inviting disaster and ... what's the word? Something about cats.\\\" Jeeves replies, \\\"Cataclysms, sir?\\\"\",\n \"Jeeves replies, \\\"Cataclysms, sir?\\\" Reception and reputation Literary reception Wodehouse's early career as a lyricist and playwright was profitable, and his work with Bolton, according to The Guardian, \\\"was one of the most successful in the history of musical comedy\\\".\",\n \"Reception and reputation Literary reception Wodehouse's early career as a lyricist and playwright was profitable, and his work with Bolton, according to The Guardian, \\\"was one of the most successful in the history of musical comedy\\\". At the outbreak of the Second World War he was earning £40,000 a year from his work, which had broadened to include novels and short stories.\",\n \"At the outbreak of the Second World War he was earning £40,000 a year from his work, which had broadened to include novels and short stories. Following the furore ensuing from the wartime broadcasts, he suffered a downturn in his popularity and book sales; The Saturday Evening Post stopped publishing his short stories, a stance they reversed in 1965, although his popularity—and the sales figures—slowly recovered over time.\",\n \"Following the furore ensuing from the wartime broadcasts, he suffered a downturn in his popularity and book sales; The Saturday Evening Post stopped publishing his short stories, a stance they reversed in 1965, although his popularity—and the sales figures—slowly recovered over time. Wodehouse received great praise from many of his contemporaries, including Max Beerbohm, Rudyard Kipling, A. E. Housman and Evelyn Waugh—the last of whom opines, \\\"One has to regard a man as a Master who can produce on average three uniquely brilliant and entirely original similes on each page.\\\"\",\n \"Wodehouse received great praise from many of his contemporaries, including Max Beerbohm, Rudyard Kipling, A. E. Housman and Evelyn Waugh—the last of whom opines, \\\"One has to regard a man as a Master who can produce on average three uniquely brilliant and entirely original similes on each page.\\\" There are dissenters to the praise.\",\n \"There are dissenters to the praise. The writer Alan Bennett thinks that \\\"inspired though his language is, I can never take more than ten pages of the novels at a time, their relentless flippancy wearing and tedious\\\", while the literary critic Q. D. Leavis writes that Wodehouse had a \\\"stereotyped humour ... of ingenious variations on a laugh in one place\\\".\",\n \"The writer Alan Bennett thinks that \\\"inspired though his language is, I can never take more than ten pages of the novels at a time, their relentless flippancy wearing and tedious\\\", while the literary critic Q. D. Leavis writes that Wodehouse had a \\\"stereotyped humour ... of ingenious variations on a laugh in one place\\\". In a 2010 study of Wodehouse's few relatively serious novels, such as The Coming of Bill (1919), Jill the Reckless (1920) and The Adventures of Sally (1922), David Heddendorf concludes that though their literary quality does not match that of the farcical novels, they show a range of empathy and interests that in real life—and in his most comic works—the author seemed to lack.\",\n \"In a 2010 study of Wodehouse's few relatively serious novels, such as The Coming of Bill (1919), Jill the Reckless (1920) and The Adventures of Sally (1922), David Heddendorf concludes that though their literary quality does not match that of the farcical novels, they show a range of empathy and interests that in real life—and in his most comic works—the author seemed to lack. \\\"Never oblivious to grief and despair, he opts in clear-eyed awareness for his timeless world of spats and woolly-headed peers.\",\n \"\\\"Never oblivious to grief and despair, he opts in clear-eyed awareness for his timeless world of spats and woolly-headed peers. It's an austere, almost bloodless preference for pristine artifice over the pain and messy outcomes of actual existence, but it's a case of Wodehouse keeping faith with his own unique art.\\\"\",\n \"It's an austere, almost bloodless preference for pristine artifice over the pain and messy outcomes of actual existence, but it's a case of Wodehouse keeping faith with his own unique art.\\\" The American literary analyst Robert F. Kiernan, defining \\\"camp\\\" as \\\"excessive stylization of whatever kind\\\", brackets Wodehouse as \\\"a master of the camp novel\\\", along with Thomas Love Peacock, Max Beerbohm, Ronald Firbank, E. F. Benson and Ivy Compton-Burnett.\",\n \"The American literary analyst Robert F. Kiernan, defining \\\"camp\\\" as \\\"excessive stylization of whatever kind\\\", brackets Wodehouse as \\\"a master of the camp novel\\\", along with Thomas Love Peacock, Max Beerbohm, Ronald Firbank, E. F. Benson and Ivy Compton-Burnett. The literary critic and writer Cyril Connolly calls Wodehouse a \\\"politicians' author\\\"—one who does \\\"not like art to be exacting and difficult\\\".\",\n \"The literary critic and writer Cyril Connolly calls Wodehouse a \\\"politicians' author\\\"—one who does \\\"not like art to be exacting and difficult\\\". Two former British prime ministers, H. H. Asquith and Tony Blair, are on record as Wodehouse aficionados, and the latter became a patron of the Wodehouse Society.\",\n \"Two former British prime ministers, H. H. Asquith and Tony Blair, are on record as Wodehouse aficionados, and the latter became a patron of the Wodehouse Society. Seán O'Casey, a successful playwright of the 1920s, thought little of Wodehouse; he commented in 1941 that it was damaging to England's dignity that the public or \\\"the academic government of Oxford, dead from the chin up\\\" considered Wodehouse an important figure in English literature.\",\n \"Seán O'Casey, a successful playwright of the 1920s, thought little of Wodehouse; he commented in 1941 that it was damaging to England's dignity that the public or \\\"the academic government of Oxford, dead from the chin up\\\" considered Wodehouse an important figure in English literature. His jibe that Wodehouse was \\\"English literature's performing flea\\\" provided his target with the title of his collected letters, published in 1953.\",\n \"His jibe that Wodehouse was \\\"English literature's performing flea\\\" provided his target with the title of his collected letters, published in 1953. McCrum, writing in 2004, observes, \\\"Wodehouse is more popular today than on the day he died\\\", and \\\"his comic vision has an absolutely secure place in the English literary imagination.\\\"\",\n \"McCrum, writing in 2004, observes, \\\"Wodehouse is more popular today than on the day he died\\\", and \\\"his comic vision has an absolutely secure place in the English literary imagination.\\\" Honours and influence The proposed nominations of Wodehouse for a knighthood in 1967 and 1971 were blocked for fear that such an award would \\\"revive the controversy of his wartime behaviour and give currency to a Bertie Wooster image of the British character which the embassy was doing its best to eradicate\\\".\",\n \"Honours and influence The proposed nominations of Wodehouse for a knighthood in 1967 and 1971 were blocked for fear that such an award would \\\"revive the controversy of his wartime behaviour and give currency to a Bertie Wooster image of the British character which the embassy was doing its best to eradicate\\\". When Wodehouse was awarded the knighthood, only four years later, the journalist Dennis Barker wrote in The Guardian that the writer was \\\"the solitary surviving English literary comic genius\\\".\",\n \"When Wodehouse was awarded the knighthood, only four years later, the journalist Dennis Barker wrote in The Guardian that the writer was \\\"the solitary surviving English literary comic genius\\\". After his death six weeks later, the journalist Michael Davie, writing in the same paper, observed that \\\"Many people regarded ... [Wodehouse] as he regarded Beachcomber, as 'one, if not more than one, of England's greatest men'\\\", while in the view of the obituarist for The Times Wodehouse \\\"was a comic genius recognized in his lifetime as a classic and an old master of farce\\\".\",\n \"After his death six weeks later, the journalist Michael Davie, writing in the same paper, observed that \\\"Many people regarded ... [Wodehouse] as he regarded Beachcomber, as 'one, if not more than one, of England's greatest men'\\\", while in the view of the obituarist for The Times Wodehouse \\\"was a comic genius recognized in his lifetime as a classic and an old master of farce\\\". In September 2019 Wodehouse was commemorated with a memorial stone in Westminster Abbey; the dedication was held two days after it was installed.\",\n \"In September 2019 Wodehouse was commemorated with a memorial stone in Westminster Abbey; the dedication was held two days after it was installed. Since Wodehouse's death there have been numerous adaptations and dramatisations of his work on television and film; Wodehouse himself has been portrayed on radio and screen numerous times.\",\n \"Since Wodehouse's death there have been numerous adaptations and dramatisations of his work on television and film; Wodehouse himself has been portrayed on radio and screen numerous times. There are several literary societies dedicated to Wodehouse. The P.G. Wodehouse Society (UK) was founded in 1997 and has over 1,000 members as at 2015.\",\n \"Wodehouse Society (UK) was founded in 1997 and has over 1,000 members as at 2015. The president of the society as at 2017 is Alexander Armstrong; past presidents have included Terry Wogan and Richard Briers.\",\n \"The president of the society as at 2017 is Alexander Armstrong; past presidents have included Terry Wogan and Richard Briers. There are also other groups of Wodehouse fans in Australia, Belgium, France, Finland, India, Italy, Russia, Sweden and the US.\",\n \"There are also other groups of Wodehouse fans in Australia, Belgium, France, Finland, India, Italy, Russia, Sweden and the US. As at 2015 the Oxford English Dictionary contains over 1,750 quotations from Wodehouse, illustrating terms from crispish to zippiness.\",\n \"As at 2015 the Oxford English Dictionary contains over 1,750 quotations from Wodehouse, illustrating terms from crispish to zippiness. Voorhees, while acknowledging that Wodehouse's antecedents in literature range from Ben Jonson to Oscar Wilde, writes: Notes, references and sources Notes References Sources External links P. G. Wodehouse collection at One More Library P.G.\",\n \"Voorhees, while acknowledging that Wodehouse's antecedents in literature range from Ben Jonson to Oscar Wilde, writes: Notes, references and sources Notes References Sources External links P. G. Wodehouse collection at One More Library P.G. Wodehouse Archive on loan to the British Library The Wodehouse Society The P. G. Wodehouse Society (UK) Transcripts of Wodehouse's Berlin Broadcasts \\\"P. G. Wodehouse: An English Master of American Slang\\\" from The American Legion Weekly, 24 October 1919 Orwell, George \\\"In Defence of P.G.\",\n \"Wodehouse Archive on loan to the British Library The Wodehouse Society The P. G. Wodehouse Society (UK) Transcripts of Wodehouse's Berlin Broadcasts \\\"P. G. Wodehouse: An English Master of American Slang\\\" from The American Legion Weekly, 24 October 1919 Orwell, George \\\"In Defence of P.G. Wodehouse\\\" 1881 births 1975 deaths 20th-century English novelists 20th-century British dramatists and playwrights British emigrants to the United States English lyricists Knights Commander of the Order of the British Empire English male dramatists and playwrights British male novelists People educated at Dulwich College People educated at Elizabeth College, Guernsey People from Guildford People from Long Island PG People interned during World War II English humorists 20th-century American novelists American dramatists and playwrights American humorists American lyricists American male novelists Novelists from New York (state) Literature controversies English broadcasters for Nazi Germany 20th-century American male writers\"\n]"}}},{"rowIdx":466,"cells":{"History":{"kind":"list like","value":["Tori Amos","The Epic Records years (2002-07)"],"string":"[\n \"Tori Amos\",\n \"The Epic Records years (2002-07)\"\n]"},"QuAC_dialog_id":{"kind":"string","value":"C_f2c7f26de77949ff80c91a7bd337fb42_1"},"Question":{"kind":"string","value":"Did Amos release any albums during these years?"},"Question_no":{"kind":"number","value":1,"string":"1"},"Rewrite":{"kind":"string","value":"Did Tori Amos release any albums during thee years of 2002-07?"},"true_page_title":{"kind":"string","value":"Tori Amos"},"true_contexts":{"kind":"string","value":"With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA. Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline. Amos would later hint in interviews that during the creation of her next album, those in charge at the label following the aforementioned merger were interested \"only in making money\", the effects of which on the album have not been disclosed. Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200. During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records. CANNOTANSWER"},"answer":{"kind":"string","value":"In October 2002, Amos released Scarlet's Walk, another concept album."},"true_contexts_wiki":{"kind":"string","value":"Tori Amos (born Myra Ellen Amos; August 22, 1963) is an American singer-songwriter and pianist. She is a classically trained musician with a mezzo-soprano vocal range. Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted. She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \"musical insubordination\". Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s. Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion.\n\nHer charting singles include \"Crucify\", \"Silent All These Years\", \"God\", \"Cornflake Girl\", \"Caught a Lite Sneeze\", \"Professional Widow\", \"Spark\", \"1000 Oceans\", \"Flavor\" and \"A Sorta Fairytale\", her most commercially successful single in the U.S. to date. Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album. She is listed on VH1's 1999 \"100 Greatest Women of Rock and Roll\" at number 71.\n\nEarly life and education\nAmos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos. She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity.\n\nWhen she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C. Her older brother and sister took piano lessons, but Tori did not need them. From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs. She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia:\n\nAt five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music. She studied classical piano at Peabody from 1968 to 1974. In 1974, when she was eleven, her scholarship was discontinued, and she was asked to leave. Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music.\n\nIn 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church. At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father.\n\nAmos won a county teen talent contest in 1977, singing a song called \"More Than Just a Friend\". As a senior at Richard Montgomery High School, she co-wrote \"Baltimore\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles. The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \"Walking With You\". Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast.\n\nCareer\n\n1979–1989: Career beginnings and Y Kant Tori Read\nBy the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers. Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released. Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her.\n\nIn 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area.\n\nIn 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading. In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber. The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time. Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released. Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \"The only good thing about that album is my ankle high boots.\"\n\nFollowing the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist. She also recorded a song called \"Distant Storm\" for the film China O'Brien. In the credits, the song is attributed to a band called Tess Makes Good.\n\n1990–1995: Little Earthquakes and Under the Pink\n\nDespite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990. The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented. The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault. This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15. Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \"Silent All These Years\".\n\nAmos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink. The album was received with mostly favorable reviews and sold enough copies to chart at No. 12 on the Billboard 200, a significantly higher position than the preceding album's position at No. 54 on the same chart. However, the album found its biggest success in the UK, debuting at number one upon release in February 1994.\n\n1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back\n\nHer third solo album, Boys for Pele, was released in January 1996. Prior to its release, the first single, \"Caught a Lite Sneeze\" became the first full song released for streaming online prior to an album's release.\n\nThe album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics. For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano. The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability. Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No. 2 on the UK Top 40 and No. 2 on the Billboard 200 upon its release.\n\nFueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios.\n\nFrom the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums. Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes. The underlying themes of both albums deal with womanhood and Amos's own miscarriages and marriage. Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality. Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week. To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download.\n\n2001–2004: Strange Little Girls and Scarlet's Walk\nShortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective. That became Strange Little Girls, released in September 2001. The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song. Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label.\n\nWith her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA.\n\nNot long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline.\n\n2005–2008: The Beekeeper and American Doll Posse\n\nAmos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200.\n\nDuring her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records.\n\n2008–2011: Abnormally Attracted to Sin and Midwinter Graces\n\nIn May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work. In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes. By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \"joint venture\" deal with Universal Republic Records.\n\nAbnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews. The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so. Abnormally Attracted to Sin, admitted Amos, is a \"personal album\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin. Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year. The album features reworked versions of traditional carols, as well as original songs written by Amos.\n\nDuring her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010. In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble.\n\nAfter a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010. The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow. The set was released exclusively through her website and only 2000 copies were produced.\n\n2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines\nIn September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group. Amos recorded the album with several musicians, including the Apollon Musagète string quartet.\n\nTo mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra. The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon.\n\nOn May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists.\n\nIn 2013, Amos collaborated with the Bullitts on the track \"Wait Until Tomorrow\" from their debut album, They Die by Dawn & Other Short Stories. She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \"return to contemporary music\".\n\nSeptember 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott. It premiered at London's Royal National Theatre and ended in February 2014. The Light Princess and its lead actress, Rosalie Craig, were nominated for Best Musical and Best Musical Performance respectively at the Evening Standard Award. Craig won the Best Musical Performance category.\n\nAmos's 14th studio album, Unrepentant Geraldines, was released on May 13, 2014, via Mercury Classics/Universal Music Classics in the US. Its first single, \"Trouble's Lament\", was released on March 28. The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014. In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House.\n\nAccording to a press release, Unrepentant Geraldines was a \"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years. [It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\"\n\nThe 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics. Apart from the original cast performances, the recording also includes two songs from the musical (\"Highness in the Sky\" and \"Darkest Hour') performed by Amos.\n\n2016–present: Native Invader, Christmastide and Ocean to Ocean\n\nOn November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release. This follows the deluxe re-releases of her first two albums in 2015.\n\nOn September 8, 2017, Amos released Native Invader, accompanied by a world tour. During the summer of 2017, Amos launched three songs from the album: \"Cloud Riders\", \"Up the Creek\" and \"Reindeer King\", the latter featuring string arrangements by John Philip Shenale. Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations.\n\nThe initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak. Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader. The album, released on September 8, 2017, has been presented in two formats: standard and deluxe. The standard version includes 13 songs, while the deluxe edition adds two extra songs to the tracklist: \"Upside Down 2\" and \"Russia\". Native Invader has been well received by most music critics upon release. The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \"generally favorable reviews\".\n\nOn November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl. The EP consists of four original songs and features her first work with bandmates Matt Chamberlain and Jon Evans since 2009. Amos recorded the EP remotely due to the impact of the COVID-19 pandemic.\n\nOn September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29. The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \"a universal story of going to rock bottom and renewing yourself all over again\". Amos will embark on a European tour in support of the album in 2022. Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces.\n\nIn print\nReleased in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005). The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records.\n\nImage Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos. Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore.\n\nAdditionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996).\n\nTori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process.\n\nAmos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020.\n\nPersonal life\nAmos married English sound engineer Mark Hawley on February 22, 1998. Their daughter was born in 2000. The family divides their time between Sewall's Point in Florida, US, and Bude, Cornwall in the UK.\n\nAmos' mother, Mary Ellen, died on May 11, 2019.\n\nEarly in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \"Tear in Your Hand\" and also in print interviews. Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \"steal shamelessly from each other\". She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo. Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009. In 2019, Amos performed the British standard \"A Nightingale Sang in Berkeley Square\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett.\n\nActivism\nIn June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded. Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline. She was the first national spokesperson for the organization and has continued to be closely associated with RAINN. On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN. On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA.\n\nDiscography\n\nStudio albums\n Little Earthquakes (1992)\n Under the Pink (1994)\n Boys for Pele (1996)\n From the Choirgirl Hotel (1998)\n To Venus and Back (1999)\n Strange Little Girls (2001)\n Scarlet's Walk (2002)\n The Beekeeper (2005)\n American Doll Posse (2007)\n Abnormally Attracted to Sin (2009)\n Midwinter Graces (2009)\n Night of Hunters (2011)\n Gold Dust (2012)\n Unrepentant Geraldines (2014)\n Native Invader (2017)\n Ocean to Ocean (2021)\n\nTours\nAmos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992. In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine. Her concerts are notable for their changing set lists from night to night.\n\nLittle Earthquakes Tour\n Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland. She performed solo with a Yamaha CP-70 unless the venue was able to provide a piano. The tour included 142 concerts around the globe.\n\nUnder the Pink Tour\n Amos's second world tour began on February 24, 1994 in Newcastle upon Tyne and ended on December 13, 1994 in Perth, Western Australia. Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \"Bells for Her\". The tour included 181 concerts.\n\nDew Drop Inn Tour\n The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder. Amos performed each night on piano, harpsichord, and harmonium, with Steve Caton on guitar on some songs. The tour included 187 concerts.\n\nPlugged '98 Tour\n Amos's first band tour. Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass. The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts.\n\n5 ½ Weeks Tour / To Dallas and Back\n Amos's fifth tour was North America–only. The first part of the tour was co-headlining with Alanis Morissette and featured the same band and equipment line-up as in 1998. Amos and the band continued for eight shows before Amos embarked on a series of solo shows. The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts.\n\nStrange Little Tour\n This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996). It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented. Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months. It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts.\n\nOn Scarlet's Walk / Lottapianos Tour\n Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton. The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening. The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts. The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album).\n\nOriginal Sinsuality Tour / Summer of Sin\n This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes. The tour also encompassed Australia for the first time since 1994. Amos announced at a concert on this tour that she would never stop touring but would scale down the tours. Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles. The tour featured \"Tori's Piano Bar\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show. One of the songs chosen was the Kylie Minogue hit \"Can't Get You Out of My Head\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public. Other songs performed by Amos include The Doors' \"People are Strange\", Depeche Mode's \"Personal Jesus\", Joni Mitchell's \"The Circle Game\", Madonna's \"Live to Tell\" and \"Like a Prayer\", Björk's \"Hyperballad\", Led Zeppelin's \"When the Levee Breaks\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \"And Dream of Sheep\" and Crowded House's \"Don't Dream It's Over\", dedicating it to drummer Paul Hester who had died a week before. The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs.\n\nAmerican Doll Posse World Tour\n This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band. Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards. The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles. Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show. The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series.\n\nSinful Attraction Tour\n For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard. The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009. A solo leg through Australia began in Melbourne on November 12, 2009 and ended in Brisbane on November 24, 2009. The entire tour featured 63 concerts.\n\nNight of Hunters tour\n Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa. It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas.\n\nGold Dust Orchestral Tour\n Amos began her 2012 tour in Rotterdam on October 1.\n\nUnrepentant Geraldines Tour\n Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts.\n\nNative Invader Tour\n Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October.\n\nOcean to Ocean Tour\n Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland.\n\nAwards and nominations \n{| class=\"wikitable sortable plainrowheaders\"\n|-\n! scope=\"col\" | Award\n! scope=\"col\" | Year\n! scope=\"col\" | Nominee(s)\n! scope=\"col\" | Category\n! scope=\"col\" | Result\n! scope=\"col\" class=\"unsortable\"| \n|-\n! scope=\"row\" rowspan=3|Brit Awards\n| rowspan=2|1993\n| rowspan=3|Herself\n| International Breakthrough Act\n| \n| rowspan=2|\n|-\n| International Solo Artist\n| \n|-\n| 1995\n| International Female Solo Artist\n| \n|\n|-\n! scope=\"row\"|Critics' Choice Documentary Awards\n| 2016\n| \"Flicker\"\n| Best Song in a Documentary\n| \n| \n|-\n!scope=\"row\"|ECHO Awards\n| 1995\n| Herself\n| Best International Female\n| \n|\n|-\n! scope=\"row\"|ECHO Klassik Awards\n| rowspan=1|2012\n| Night of Hunters\n| The Klassik-ohne-Grenzen Prize\n| \n|\n|-\n! scope=\"row\" rowspan=4|GAFFA Awards\n| 2000\n| rowspan=3|Herself\n| rowspan=2|Best Foreign Female Act\n| \n| rowspan=2|\n|-\n| 2003\n| \n|-\n| rowspan=2|2022\n| Best Foreign Solo Act\n| \n| \n|-\n| Ocean to Ocean\n| Best Foreign Album\n| \n|-\n! scope=\"row\"|George Peabody Medal\n| 2019\n| Herself\n| Outstanding Contributions to Music \n| \n|\n|-\n! scope=\"row\"|Glamour Awards\n| 1998\n| Herself\n| Woman of the Year\n| \n|\n|-\n! scope=\"row\" rowspan=8|Grammy Awards\n| 1995\n| Under the Pink\n| rowspan=3|Best Alternative Music Album\n| \n| rowspan=8|\n|-\n| 1997\n| Boys for Pele\n| \n|-\n| rowspan=2|1999\n| From the Choirgirl Hotel\n| \n|-\n| \"Raspberry Swirl\"\n| rowspan=2|Best Female Rock Vocal Performance\n| \n|-\n| rowspan=2|2000\n| \"Bliss\"\n| \n|-\n| To Venus and Back\n| rowspan=2|Best Alternative Music Album\n| \n|-\n| rowspan=2|2002\n| Strange Little Girls\n| \n|-\n| \"Strange Little Girl\"\n| Best Female Rock Vocal Performance\n| \n|-\n! scope=\"row\"|Hollywood Music in Media Awards\n| 2016\n| \"Flicker\"\n| Best Original Song in a Documentary\n| \n|\n|-\n! scope=\"row\"|Hungarian Music Awards\n| 2010\n| Abnormally Attracted to Sin\n| Best Foreign Alternative Album\n| \n| \n|-\n! scope=\"row\"|MTV Europe Music Awards\n| 1994\n| Herself\n| Best Female\n| \n|\n|-\n! scope=\"row\" rowspan=4|MTV Video Music Awards\n| rowspan=4|1992\n| rowspan=4|\"Silent All These Years\"\n| Best Female Video\n| \n|rowspan=4|\n|-\n| Best New Artist in a Video\n| \n|-\n| Breakthrough Video\n| \n|-\n| Best Cinematography in a Video\n| \n|-\n! scope=\"row\"|NME Awards\n| 2016\n| Under the Pink\n| Best Reissue\n| \n|\n|-\n! scope=\"row\"|North Carolina Music Hall of Fame\n| 2012\n| Herself\n| Inducted\n| \n|\n|-\n!scope=\"row\" rowspan=5|Pollstar Concert Industry Awards\n| rowspan=2|1993\n| rowspan=2|Little Earthquakes Tour\n| Best New Rock Artist\n| \n| rowspan=2|\n|-\n| Club Tour Of The Year\n| \n|-\n| 1995\n| Under the Pink Tour\n| rowspan=3|Small Hall Tour Of The Year\n| \n| \n|-\n| 1997\n| Dew Drop Inn Tour\n| \n| \n|-\n| 1999\n| 5 ½ Weeks Tour\n| \n| \n|-\n! scope=\"row\"|Q Awards\n| 1992\n| Herself\n| Best New Act\n| \n|\n|-\n! scope=\"row\" rowspan=2|WhatsOnStage Awards\n| rowspan=2|2014\n| rowspan=2|The Light Princess\n| Best New Musical\n| \n| rowspan=2|\n|-\n| Best London Newcomer of the Year\n| \n|-\n!scope=\"row\"|Žebřík Music Awards\n| 2001\n| Herself\n| Best International Female\n| \n| \n\n1999: Spin Readers' Poll Awards (Won)\n\nOn May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony. Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel.\n\nFilm appearances\nTori appears as a wedding singer in the film Mona Lisa Smile.\n\nReferences\n\nCitations\n\nWorks cited\n\nExternal links\n\n \n \n \n\n \n1963 births\n20th-century American composers\n20th-century American keyboardists\n20th-century American women pianists\n20th-century American pianists\n20th-century American women singers\n21st-century American keyboardists\n21st-century American women pianists\n21st-century American pianists\n21st-century American women singers\nAlternative rock keyboardists\nAlternative rock pianists\nAlternative rock singers\nAmerican alternative rock musicians\nAmerican expatriates in the Republic of Ireland\nAmerican expatriates in the United Kingdom\nAmerican women composers\nAmerican women singer-songwriters\nAmerican feminist writers\nAmerican harpsichordists\nAmerican mezzo-sopranos\nAmerican organists\nAmerican people who self-identify as being of Native American descent\nAmerican pop pianists\nAmerican rock pianists\nAmerican women rock singers\nAmerican rock songwriters\nArticles containing video clips\nArt rock musicians\nAtlantic Records artists\nChild classical musicians\nClavichordists\nDeutsche Grammophon artists\nElectronica musicians\nEpic Records artists\nFeminist musicians\nHarmonium players\nIsland Records artists\nLiving people\nMontgomery College alumni\nMusicians from Baltimore\nMusicians from County Cork\nMusicians from Rockville, Maryland\nPeople from Georgetown (Washington, D.C.)\nPeople from Newton, North Carolina\nPeople from Sewall's Point, Florida\nRepublic Records artists\nSexual abuse victim advocates\nSinger-songwriters from Maryland\nSinger-songwriters from North Carolina\nWomen organists\n20th-century women composers\nAmerican women in electronic music\n20th-century American singers\n21st-century American singers\nSinger-songwriters from Washington, D.C."},"extractive":{"kind":"string","value":"true"},"retrieved_contexts":{"kind":"list like","value":["Live at Montreux 1991/1992 is a Tori Amos live album and DVD set, released on September 22, 2008 in the United Kingdom and on September 30, 2008 in the United States, featuring two separate performances at the Montreux Jazz Festival early in her career. The first 10-song set was recorded on July 3, 1991 with the second 9-song set recorded one year later on July 7, 1992. The bulk of the set list for each show was taken from Amos' solo debut album Little Earthquakes.\n\nEagle Rock Entertainment, a distributor for many releases of Montreux Jazz Festival performances, released the CD and DVD sets over 15 years after these performances were originally recorded.\n\nTrack listing\nThe complete set lists for the 1991 and 1992 performances are available on the DVD and the two-disc European/Latin American CD. The single-disc North American CD release features all but three songs from both performances (the exceptions being \"Silent All These Years\", \"Crucify\" and \"Happy Phantom\" from the 1992 show). The three omitted tracks were made available as a digital download only.\n\nPersonnel\n Tori Amos – vocals, piano\n Jon Astley – Mastering\n\nRelease history\nWhile audio bootlegs of these two performances have been circulating for many years, this is the first official release for this pair of early Amos performances. The same footage was released on Blu-ray format in both the United Kingdom and the United States in December 2008. It was released on vinyl as a 2xLP in the UK and Europe in 2014, and again in Europe in 2019.\n\nReferences\n\nTori Amos video albums\nTori Amos live albums\n2008 video albums\nLive video albums\nAlbums recorded at the Montreux Jazz Festival\n2008 live albums","Little Earthquakes is a VHS video released by singer/songwriter Tori Amos in 1992, which serves as Amos' first video release. The release contains all four music videos released in conjunction with Amos' debut solo album of the same name interspersed\nwith live performances and interview footage.\n\nThe video, out of print as of 2005, is packaged in a regular cardboard video box and was released by A*Vision Videos, a subsidiary of Atlantic Records, with a catalogue number of 50335-3. \n\nThe contents are:\n\n Silent All These Years (Music Video)\n Leather (Live)\n Precious Things (Live)\n Crucify (Music Video)\n Me and a Gun (Live on Japanese Television)\n Little Earthquakes (Live)\n China (Music Video)\n Happy Phantom (Live)\n Here. In My Head (Live)\n Winter (Music Video)\n Song for Eric (Live)\n\nSee also\nLittle Earthquakes (album)\n\nTori Amos video albums\n1992 video albums\nLive video albums\n1992 live albums"],"string":"[\n \"Live at Montreux 1991/1992 is a Tori Amos live album and DVD set, released on September 22, 2008 in the United Kingdom and on September 30, 2008 in the United States, featuring two separate performances at the Montreux Jazz Festival early in her career. The first 10-song set was recorded on July 3, 1991 with the second 9-song set recorded one year later on July 7, 1992. The bulk of the set list for each show was taken from Amos' solo debut album Little Earthquakes.\\n\\nEagle Rock Entertainment, a distributor for many releases of Montreux Jazz Festival performances, released the CD and DVD sets over 15 years after these performances were originally recorded.\\n\\nTrack listing\\nThe complete set lists for the 1991 and 1992 performances are available on the DVD and the two-disc European/Latin American CD. The single-disc North American CD release features all but three songs from both performances (the exceptions being \\\"Silent All These Years\\\", \\\"Crucify\\\" and \\\"Happy Phantom\\\" from the 1992 show). The three omitted tracks were made available as a digital download only.\\n\\nPersonnel\\n Tori Amos – vocals, piano\\n Jon Astley – Mastering\\n\\nRelease history\\nWhile audio bootlegs of these two performances have been circulating for many years, this is the first official release for this pair of early Amos performances. The same footage was released on Blu-ray format in both the United Kingdom and the United States in December 2008. It was released on vinyl as a 2xLP in the UK and Europe in 2014, and again in Europe in 2019.\\n\\nReferences\\n\\nTori Amos video albums\\nTori Amos live albums\\n2008 video albums\\nLive video albums\\nAlbums recorded at the Montreux Jazz Festival\\n2008 live albums\",\n \"Little Earthquakes is a VHS video released by singer/songwriter Tori Amos in 1992, which serves as Amos' first video release. The release contains all four music videos released in conjunction with Amos' debut solo album of the same name interspersed\\nwith live performances and interview footage.\\n\\nThe video, out of print as of 2005, is packaged in a regular cardboard video box and was released by A*Vision Videos, a subsidiary of Atlantic Records, with a catalogue number of 50335-3. \\n\\nThe contents are:\\n\\n Silent All These Years (Music Video)\\n Leather (Live)\\n Precious Things (Live)\\n Crucify (Music Video)\\n Me and a Gun (Live on Japanese Television)\\n Little Earthquakes (Live)\\n China (Music Video)\\n Happy Phantom (Live)\\n Here. In My Head (Live)\\n Winter (Music Video)\\n Song for Eric (Live)\\n\\nSee also\\nLittle Earthquakes (album)\\n\\nTori Amos video albums\\n1992 video albums\\nLive video albums\\n1992 live albums\"\n]"},"chunked_article":{"kind":"list like","value":["Tori Amos (born Myra Ellen Amos; August 22, 1963) is an American singer-songwriter and pianist. She is a classically trained musician with a mezzo-soprano vocal range.","She is a classically trained musician with a mezzo-soprano vocal range. Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted.","Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted. She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \"musical insubordination\".","She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \"musical insubordination\". Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s.","Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s. Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion.","Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion. Her charting singles include \"Crucify\", \"Silent All These Years\", \"God\", \"Cornflake Girl\", \"Caught a Lite Sneeze\", \"Professional Widow\", \"Spark\", \"1000 Oceans\", \"Flavor\" and \"A Sorta Fairytale\", her most commercially successful single in the U.S. to date.","Her charting singles include \"Crucify\", \"Silent All These Years\", \"God\", \"Cornflake Girl\", \"Caught a Lite Sneeze\", \"Professional Widow\", \"Spark\", \"1000 Oceans\", \"Flavor\" and \"A Sorta Fairytale\", her most commercially successful single in the U.S. to date. Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album.","Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album. She is listed on VH1's 1999 \"100 Greatest Women of Rock and Roll\" at number 71.","She is listed on VH1's 1999 \"100 Greatest Women of Rock and Roll\" at number 71. Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos.","Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos. She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity.","She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity. When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C.","When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C. Her older brother and sister took piano lessons, but Tori did not need them.","Her older brother and sister took piano lessons, but Tori did not need them. From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs.","From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs. She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music.","She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music. She studied classical piano at Peabody from 1968 to 1974.","She studied classical piano at Peabody from 1968 to 1974. In 1974, when she was eleven, her scholarship was discontinued, and she was asked to leave. Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music.","Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music. In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church.","In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church. At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father.","At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father. Amos won a county teen talent contest in 1977, singing a song called \"More Than Just a Friend\".","Amos won a county teen talent contest in 1977, singing a song called \"More Than Just a Friend\". As a senior at Richard Montgomery High School, she co-wrote \"Baltimore\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles.","As a senior at Richard Montgomery High School, she co-wrote \"Baltimore\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles. The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \"Walking With You\".","The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \"Walking With You\". Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast.","Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast. Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers.","Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers. Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released.","Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released. Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her.","Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her. In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area.","In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area. In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading.","In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading. In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber.","In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber. The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time.","The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time. Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released.","Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released. Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \"The only good thing about that album is my ankle high boots.\"","Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \"The only good thing about that album is my ankle high boots.\" Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist.","Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist. She also recorded a song called \"Distant Storm\" for the film China O'Brien.","She also recorded a song called \"Distant Storm\" for the film China O'Brien. In the credits, the song is attributed to a band called Tess Makes Good.","In the credits, the song is attributed to a band called Tess Makes Good. 1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990.","1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990. The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented.","The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented. The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault.","The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault. This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15.","This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15. Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \"Silent All These Years\".","Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \"Silent All These Years\". Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink.","Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink. The album was received with mostly favorable reviews and sold enough copies to chart at No. 12 on the Billboard 200, a significantly higher position than the preceding album's position at No.","12 on the Billboard 200, a significantly higher position than the preceding album's position at No. 54 on the same chart. However, the album found its biggest success in the UK, debuting at number one upon release in February 1994.","However, the album found its biggest success in the UK, debuting at number one upon release in February 1994. 1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996.","1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996. Prior to its release, the first single, \"Caught a Lite Sneeze\" became the first full song released for streaming online prior to an album's release.","Prior to its release, the first single, \"Caught a Lite Sneeze\" became the first full song released for streaming online prior to an album's release. The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics.","The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics. For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano.","For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano. The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability.","The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability. Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No.","Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No. 2 on the UK Top 40 and No. 2 on the Billboard 200 upon its release.","2 on the Billboard 200 upon its release. Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios.","Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios. From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums.","From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums. Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes.","Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes. The underlying themes of both albums deal with womanhood and Amos's own miscarriages and marriage. Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality.","Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality. Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week.","Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week. To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download.","To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download. 2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective.","2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective. That became Strange Little Girls, released in September 2001.","That became Strange Little Girls, released in September 2001. The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song.","The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song. Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label.","Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label. With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001.","With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11.","Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny.","Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA.","Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA. Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003.","Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group.","Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline.","Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline. 2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007).","2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment.","The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics.","Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No.","The album debuted at No. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts.","5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it.","While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's.","American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No.","Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200.","5 on the Billboard 200. 5 on the Billboard 200. During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records.","During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records. 2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work.","2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work. In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes.","In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes. By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \"joint venture\" deal with Universal Republic Records.","By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \"joint venture\" deal with Universal Republic Records. Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews.","Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews. The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so.","The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so. Abnormally Attracted to Sin, admitted Amos, is a \"personal album\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin.","Abnormally Attracted to Sin, admitted Amos, is a \"personal album\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin. Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year.","Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year. The album features reworked versions of traditional carols, as well as original songs written by Amos.","The album features reworked versions of traditional carols, as well as original songs written by Amos. During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010.","During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010. In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble.","In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble. After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010.","After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010. The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow.","The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow. The set was released exclusively through her website and only 2000 copies were produced.","The set was released exclusively through her website and only 2000 copies were produced. 2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group.","2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group. Amos recorded the album with several musicians, including the Apollon Musagète string quartet.","Amos recorded the album with several musicians, including the Apollon Musagète string quartet. To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra.","To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra. The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon.","The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon. On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists.","On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists. In 2013, Amos collaborated with the Bullitts on the track \"Wait Until Tomorrow\" from their debut album, They Die by Dawn & Other Short Stories.","In 2013, Amos collaborated with the Bullitts on the track \"Wait Until Tomorrow\" from their debut album, They Die by Dawn & Other Short Stories. She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \"return to contemporary music\".","She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \"return to contemporary music\". September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott.","September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott. It premiered at London's Royal National Theatre and ended in February 2014.","It premiered at London's Royal National Theatre and ended in February 2014. The Light Princess and its lead actress, Rosalie Craig, were nominated for Best Musical and Best Musical Performance respectively at the Evening Standard Award. Craig won the Best Musical Performance category.","Craig won the Best Musical Performance category. Amos's 14th studio album, Unrepentant Geraldines, was released on May 13, 2014, via Mercury Classics/Universal Music Classics in the US. Its first single, \"Trouble's Lament\", was released on March 28.","Its first single, \"Trouble's Lament\", was released on March 28. The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014.","The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014. In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House.","In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House. According to a press release, Unrepentant Geraldines was a \"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years.","According to a press release, Unrepentant Geraldines was a \"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years. [It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\"","[It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\" The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics.","The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics. Apart from the original cast performances, the recording also includes two songs from the musical (\"Highness in the Sky\" and \"Darkest Hour') performed by Amos.","Apart from the original cast performances, the recording also includes two songs from the musical (\"Highness in the Sky\" and \"Darkest Hour') performed by Amos. 2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release.","2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release. This follows the deluxe re-releases of her first two albums in 2015.","This follows the deluxe re-releases of her first two albums in 2015. On September 8, 2017, Amos released Native Invader, accompanied by a world tour.","On September 8, 2017, Amos released Native Invader, accompanied by a world tour. During the summer of 2017, Amos launched three songs from the album: \"Cloud Riders\", \"Up the Creek\" and \"Reindeer King\", the latter featuring string arrangements by John Philip Shenale.","During the summer of 2017, Amos launched three songs from the album: \"Cloud Riders\", \"Up the Creek\" and \"Reindeer King\", the latter featuring string arrangements by John Philip Shenale. Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations.","Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations. The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak.","The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak. Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader.","Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader. The album, released on September 8, 2017, has been presented in two formats: standard and deluxe.","The album, released on September 8, 2017, has been presented in two formats: standard and deluxe. The standard version includes 13 songs, while the deluxe edition adds two extra songs to the tracklist: \"Upside Down 2\" and \"Russia\". Native Invader has been well received by most music critics upon release.","Native Invader has been well received by most music critics upon release. The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \"generally favorable reviews\".","The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \"generally favorable reviews\". On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl.","On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl. The EP consists of four original songs and features her first work with bandmates Matt Chamberlain and Jon Evans since 2009. Amos recorded the EP remotely due to the impact of the COVID-19 pandemic.","Amos recorded the EP remotely due to the impact of the COVID-19 pandemic. On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29.","On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29. The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \"a universal story of going to rock bottom and renewing yourself all over again\".","The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \"a universal story of going to rock bottom and renewing yourself all over again\". Amos will embark on a European tour in support of the album in 2022.","Amos will embark on a European tour in support of the album in 2022. Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces.","Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces. In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005).","In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005). The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records.","The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records. Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos.","Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos. Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore.","Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore. Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996).","Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996). Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process.","Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process. Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020.","Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020. Personal life Amos married English sound engineer Mark Hawley on February 22, 1998. Their daughter was born in 2000.","Their daughter was born in 2000. The family divides their time between Sewall's Point in Florida, US, and Bude, Cornwall in the UK. Amos' mother, Mary Ellen, died on May 11, 2019.","Amos' mother, Mary Ellen, died on May 11, 2019. Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \"Tear in Your Hand\" and also in print interviews.","Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \"Tear in Your Hand\" and also in print interviews. Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \"steal shamelessly from each other\".","Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \"steal shamelessly from each other\". She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo.","She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo. Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009.","Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009. In 2019, Amos performed the British standard \"A Nightingale Sang in Berkeley Square\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett.","In 2019, Amos performed the British standard \"A Nightingale Sang in Berkeley Square\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett. Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded.","Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded. Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline.","Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline. She was the first national spokesperson for the organization and has continued to be closely associated with RAINN.","She was the first national spokesperson for the organization and has continued to be closely associated with RAINN. On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN.","On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN. On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA.","On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA. Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992.","Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992. In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine.","In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine. Her concerts are notable for their changing set lists from night to night. Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland.","Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland. She performed solo with a Yamaha CP-70 unless the venue was able to provide a piano. The tour included 142 concerts around the globe.","The tour included 142 concerts around the globe. Under the Pink Tour Amos's second world tour began on February 24, 1994 in Newcastle upon Tyne and ended on December 13, 1994 in Perth, Western Australia. Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \"Bells for Her\".","Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \"Bells for Her\". The tour included 181 concerts. Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder.","Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder. Amos performed each night on piano, harpsichord, and harmonium, with Steve Caton on guitar on some songs. The tour included 187 concerts.","The tour included 187 concerts. The tour included 187 concerts. Plugged '98 Tour Amos's first band tour. Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass.","Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass. The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts.","The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts. 5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only.","5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only. The first part of the tour was co-headlining with Alanis Morissette and featured the same band and equipment line-up as in 1998. Amos and the band continued for eight shows before Amos embarked on a series of solo shows.","Amos and the band continued for eight shows before Amos embarked on a series of solo shows. The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts.","The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts. Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996).","Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996). It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented.","It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented. Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months.","Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months. It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts.","It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts. On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton.","On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton. The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening.","The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening. The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts.","The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts. The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album).","The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album). Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes.","Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes. The tour also encompassed Australia for the first time since 1994.","The tour also encompassed Australia for the first time since 1994. Amos announced at a concert on this tour that she would never stop touring but would scale down the tours. Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles.","Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles. The tour featured \"Tori's Piano Bar\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show.","The tour featured \"Tori's Piano Bar\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show. One of the songs chosen was the Kylie Minogue hit \"Can't Get You Out of My Head\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public.","One of the songs chosen was the Kylie Minogue hit \"Can't Get You Out of My Head\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public. Other songs performed by Amos include The Doors' \"People are Strange\", Depeche Mode's \"Personal Jesus\", Joni Mitchell's \"The Circle Game\", Madonna's \"Live to Tell\" and \"Like a Prayer\", Björk's \"Hyperballad\", Led Zeppelin's \"When the Levee Breaks\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \"And Dream of Sheep\" and Crowded House's \"Don't Dream It's Over\", dedicating it to drummer Paul Hester who had died a week before.","Other songs performed by Amos include The Doors' \"People are Strange\", Depeche Mode's \"Personal Jesus\", Joni Mitchell's \"The Circle Game\", Madonna's \"Live to Tell\" and \"Like a Prayer\", Björk's \"Hyperballad\", Led Zeppelin's \"When the Levee Breaks\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \"And Dream of Sheep\" and Crowded House's \"Don't Dream It's Over\", dedicating it to drummer Paul Hester who had died a week before. The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs.","The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs. American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band.","American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band. Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards.","Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards. The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles.","The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles. Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show.","Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show. The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series.","The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series. Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard.","Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard. The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009.","The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009. A solo leg through Australia began in Melbourne on November 12, 2009 and ended in Brisbane on November 24, 2009. The entire tour featured 63 concerts.","The entire tour featured 63 concerts. Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa.","Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa. It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas.","It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas. Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1.","Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1. Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts.","Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts. Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October.","Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October. Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland.","Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland. Awards and nominations {| class=\"wikitable sortable plainrowheaders\" |- ! scope=\"col\" | Award !","scope=\"col\" | Award ! scope=\"col\" | Year ! scope=\"col\" | Nominee(s) ! scope=\"col\" | Category ! scope=\"col\" | Result ! scope=\"col\" class=\"unsortable\"| |- !","scope=\"col\" class=\"unsortable\"| |- ! scope=\"row\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- !","scope=\"row\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- ! scope=\"row\"|Critics' Choice Documentary Awards | 2016 | \"Flicker\" | Best Song in a Documentary | | |- !scope=\"row\"|ECHO Awards | 1995 | Herself | Best International Female | | |- !","scope=\"row\"|Critics' Choice Documentary Awards | 2016 | \"Flicker\" | Best Song in a Documentary | | |- !scope=\"row\"|ECHO Awards | 1995 | Herself | Best International Female | | |- ! scope=\"row\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- !","scope=\"row\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- ! scope=\"row\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- !","scope=\"row\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- ! scope=\"row\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- !","scope=\"row\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- ! scope=\"row\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- !","scope=\"row\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- ! scope=\"row\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \"Raspberry Swirl\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \"Bliss\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \"Strange Little Girl\" | Best Female Rock Vocal Performance | |- !","scope=\"row\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \"Raspberry Swirl\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \"Bliss\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \"Strange Little Girl\" | Best Female Rock Vocal Performance | |- ! scope=\"row\"|Hollywood Music in Media Awards | 2016 | \"Flicker\" | Best Original Song in a Documentary | | |- !","scope=\"row\"|Hollywood Music in Media Awards | 2016 | \"Flicker\" | Best Original Song in a Documentary | | |- ! scope=\"row\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- !","scope=\"row\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- ! scope=\"row\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- !","scope=\"row\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- ! scope=\"row\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\"Silent All These Years\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- !","scope=\"row\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\"Silent All These Years\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- ! scope=\"row\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- !","scope=\"row\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- ! scope=\"row\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\"row\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- !","scope=\"row\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\"row\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- ! scope=\"row\"|Q Awards | 1992 | Herself | Best New Act | | |- !","scope=\"row\"|Q Awards | 1992 | Herself | Best New Act | | |- ! scope=\"row\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\"row\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony.","scope=\"row\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\"row\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony. Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel.","Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel. Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile.","Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile. References Citations Works cited External links 1963 births 20th-century American composers 20th-century American keyboardists 20th-century American women pianists 20th-century American pianists 20th-century American women singers 21st-century American keyboardists 21st-century American women pianists 21st-century American pianists 21st-century American women singers Alternative rock keyboardists Alternative rock pianists Alternative rock singers American alternative rock musicians American expatriates in the Republic of Ireland American expatriates in the United Kingdom American women composers American women singer-songwriters American feminist writers American harpsichordists American mezzo-sopranos American organists American people who self-identify as being of Native American descent American pop pianists American rock pianists American women rock singers American rock songwriters Articles containing video clips Art rock musicians Atlantic Records artists Child classical musicians Clavichordists Deutsche Grammophon artists Electronica musicians Epic Records artists Feminist musicians Harmonium players Island Records artists Living people Montgomery College alumni Musicians from Baltimore Musicians from County Cork Musicians from Rockville, Maryland People from Georgetown (Washington, D.C.) People from Newton, North Carolina People from Sewall's Point, Florida Republic Records artists Sexual abuse victim advocates Singer-songwriters from Maryland Singer-songwriters from North Carolina Women organists 20th-century women composers American women in electronic music 20th-century American singers 21st-century American singers Singer-songwriters from Washington, D.C."],"string":"[\n \"Tori Amos (born Myra Ellen Amos; August 22, 1963) is an American singer-songwriter and pianist. She is a classically trained musician with a mezzo-soprano vocal range.\",\n \"She is a classically trained musician with a mezzo-soprano vocal range. Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted.\",\n \"Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted. She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \\\"musical insubordination\\\".\",\n \"She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \\\"musical insubordination\\\". Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s.\",\n \"Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s. Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion.\",\n \"Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion. Her charting singles include \\\"Crucify\\\", \\\"Silent All These Years\\\", \\\"God\\\", \\\"Cornflake Girl\\\", \\\"Caught a Lite Sneeze\\\", \\\"Professional Widow\\\", \\\"Spark\\\", \\\"1000 Oceans\\\", \\\"Flavor\\\" and \\\"A Sorta Fairytale\\\", her most commercially successful single in the U.S. to date.\",\n \"Her charting singles include \\\"Crucify\\\", \\\"Silent All These Years\\\", \\\"God\\\", \\\"Cornflake Girl\\\", \\\"Caught a Lite Sneeze\\\", \\\"Professional Widow\\\", \\\"Spark\\\", \\\"1000 Oceans\\\", \\\"Flavor\\\" and \\\"A Sorta Fairytale\\\", her most commercially successful single in the U.S. to date. Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album.\",\n \"Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album. She is listed on VH1's 1999 \\\"100 Greatest Women of Rock and Roll\\\" at number 71.\",\n \"She is listed on VH1's 1999 \\\"100 Greatest Women of Rock and Roll\\\" at number 71. Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos.\",\n \"Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos. She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity.\",\n \"She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity. When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C.\",\n \"When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C. Her older brother and sister took piano lessons, but Tori did not need them.\",\n \"Her older brother and sister took piano lessons, but Tori did not need them. From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs.\",\n \"From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs. She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music.\",\n \"She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music. She studied classical piano at Peabody from 1968 to 1974.\",\n \"She studied classical piano at Peabody from 1968 to 1974. In 1974, when she was eleven, her scholarship was discontinued, and she was asked to leave. Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music.\",\n \"Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music. In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church.\",\n \"In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church. At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father.\",\n \"At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father. Amos won a county teen talent contest in 1977, singing a song called \\\"More Than Just a Friend\\\".\",\n \"Amos won a county teen talent contest in 1977, singing a song called \\\"More Than Just a Friend\\\". As a senior at Richard Montgomery High School, she co-wrote \\\"Baltimore\\\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles.\",\n \"As a senior at Richard Montgomery High School, she co-wrote \\\"Baltimore\\\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles. The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \\\"Walking With You\\\".\",\n \"The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \\\"Walking With You\\\". Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast.\",\n \"Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast. Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers.\",\n \"Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers. Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released.\",\n \"Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released. Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her.\",\n \"Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her. In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area.\",\n \"In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area. In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading.\",\n \"In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading. In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber.\",\n \"In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber. The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time.\",\n \"The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time. Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released.\",\n \"Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released. Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \\\"The only good thing about that album is my ankle high boots.\\\"\",\n \"Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \\\"The only good thing about that album is my ankle high boots.\\\" Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist.\",\n \"Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist. She also recorded a song called \\\"Distant Storm\\\" for the film China O'Brien.\",\n \"She also recorded a song called \\\"Distant Storm\\\" for the film China O'Brien. In the credits, the song is attributed to a band called Tess Makes Good.\",\n \"In the credits, the song is attributed to a band called Tess Makes Good. 1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990.\",\n \"1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990. The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented.\",\n \"The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented. The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault.\",\n \"The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault. This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15.\",\n \"This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15. Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \\\"Silent All These Years\\\".\",\n \"Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \\\"Silent All These Years\\\". Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink.\",\n \"Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink. The album was received with mostly favorable reviews and sold enough copies to chart at No. 12 on the Billboard 200, a significantly higher position than the preceding album's position at No.\",\n \"12 on the Billboard 200, a significantly higher position than the preceding album's position at No. 54 on the same chart. However, the album found its biggest success in the UK, debuting at number one upon release in February 1994.\",\n \"However, the album found its biggest success in the UK, debuting at number one upon release in February 1994. 1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996.\",\n \"1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996. Prior to its release, the first single, \\\"Caught a Lite Sneeze\\\" became the first full song released for streaming online prior to an album's release.\",\n \"Prior to its release, the first single, \\\"Caught a Lite Sneeze\\\" became the first full song released for streaming online prior to an album's release. The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics.\",\n \"The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics. For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano.\",\n \"For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano. The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability.\",\n \"The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability. Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No.\",\n \"Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No. 2 on the UK Top 40 and No. 2 on the Billboard 200 upon its release.\",\n \"2 on the Billboard 200 upon its release. Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios.\",\n \"Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios. From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums.\",\n \"From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums. Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes.\",\n \"Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes. The underlying themes of both albums deal with womanhood and Amos's own miscarriages and marriage. Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality.\",\n \"Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality. Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week.\",\n \"Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week. To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download.\",\n \"To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download. 2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective.\",\n \"2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective. That became Strange Little Girls, released in September 2001.\",\n \"That became Strange Little Girls, released in September 2001. The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song.\",\n \"The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song. Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label.\",\n \"Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label. With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001.\",\n \"With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a \\\"sonic novel\\\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11.\",\n \"Described as a \\\"sonic novel\\\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny.\",\n \"Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA.\",\n \"Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA. Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003.\",\n \"Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group.\",\n \"Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline.\",\n \"Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline. 2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007).\",\n \"2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment.\",\n \"The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics.\",\n \"Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No.\",\n \"The album debuted at No. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts.\",\n \"5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it.\",\n \"While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the \\\"posse\\\") who are used as a theme of alter-egos of Amos's.\",\n \"American Doll Posse, another concept album, is fashioned around a group of girls (the \\\"posse\\\") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No.\",\n \"Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200.\",\n \"5 on the Billboard 200. 5 on the Billboard 200. During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records.\",\n \"During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records. 2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work.\",\n \"2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work. In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes.\",\n \"In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes. By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \\\"joint venture\\\" deal with Universal Republic Records.\",\n \"By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \\\"joint venture\\\" deal with Universal Republic Records. Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews.\",\n \"Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews. The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so.\",\n \"The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so. Abnormally Attracted to Sin, admitted Amos, is a \\\"personal album\\\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin.\",\n \"Abnormally Attracted to Sin, admitted Amos, is a \\\"personal album\\\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin. Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year.\",\n \"Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year. The album features reworked versions of traditional carols, as well as original songs written by Amos.\",\n \"The album features reworked versions of traditional carols, as well as original songs written by Amos. During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010.\",\n \"During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010. In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble.\",\n \"In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble. After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010.\",\n \"After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010. The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow.\",\n \"The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow. The set was released exclusively through her website and only 2000 copies were produced.\",\n \"The set was released exclusively through her website and only 2000 copies were produced. 2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group.\",\n \"2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group. Amos recorded the album with several musicians, including the Apollon Musagète string quartet.\",\n \"Amos recorded the album with several musicians, including the Apollon Musagète string quartet. To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra.\",\n \"To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra. The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon.\",\n \"The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon. On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists.\",\n \"On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists. In 2013, Amos collaborated with the Bullitts on the track \\\"Wait Until Tomorrow\\\" from their debut album, They Die by Dawn & Other Short Stories.\",\n \"In 2013, Amos collaborated with the Bullitts on the track \\\"Wait Until Tomorrow\\\" from their debut album, They Die by Dawn & Other Short Stories. She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \\\"return to contemporary music\\\".\",\n \"She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \\\"return to contemporary music\\\". September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott.\",\n \"September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott. It premiered at London's Royal National Theatre and ended in February 2014.\",\n \"It premiered at London's Royal National Theatre and ended in February 2014. The Light Princess and its lead actress, Rosalie Craig, were nominated for Best Musical and Best Musical Performance respectively at the Evening Standard Award. Craig won the Best Musical Performance category.\",\n \"Craig won the Best Musical Performance category. Amos's 14th studio album, Unrepentant Geraldines, was released on May 13, 2014, via Mercury Classics/Universal Music Classics in the US. Its first single, \\\"Trouble's Lament\\\", was released on March 28.\",\n \"Its first single, \\\"Trouble's Lament\\\", was released on March 28. The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014.\",\n \"The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014. In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House.\",\n \"In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House. According to a press release, Unrepentant Geraldines was a \\\"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years.\",\n \"According to a press release, Unrepentant Geraldines was a \\\"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years. [It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\\\"\",\n \"[It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\\\" The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics.\",\n \"The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics. Apart from the original cast performances, the recording also includes two songs from the musical (\\\"Highness in the Sky\\\" and \\\"Darkest Hour') performed by Amos.\",\n \"Apart from the original cast performances, the recording also includes two songs from the musical (\\\"Highness in the Sky\\\" and \\\"Darkest Hour') performed by Amos. 2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release.\",\n \"2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release. This follows the deluxe re-releases of her first two albums in 2015.\",\n \"This follows the deluxe re-releases of her first two albums in 2015. On September 8, 2017, Amos released Native Invader, accompanied by a world tour.\",\n \"On September 8, 2017, Amos released Native Invader, accompanied by a world tour. During the summer of 2017, Amos launched three songs from the album: \\\"Cloud Riders\\\", \\\"Up the Creek\\\" and \\\"Reindeer King\\\", the latter featuring string arrangements by John Philip Shenale.\",\n \"During the summer of 2017, Amos launched three songs from the album: \\\"Cloud Riders\\\", \\\"Up the Creek\\\" and \\\"Reindeer King\\\", the latter featuring string arrangements by John Philip Shenale. Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations.\",\n \"Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations. The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak.\",\n \"The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak. Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader.\",\n \"Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader. The album, released on September 8, 2017, has been presented in two formats: standard and deluxe.\",\n \"The album, released on September 8, 2017, has been presented in two formats: standard and deluxe. The standard version includes 13 songs, while the deluxe edition adds two extra songs to the tracklist: \\\"Upside Down 2\\\" and \\\"Russia\\\". Native Invader has been well received by most music critics upon release.\",\n \"Native Invader has been well received by most music critics upon release. The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \\\"generally favorable reviews\\\".\",\n \"The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \\\"generally favorable reviews\\\". On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl.\",\n \"On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl. The EP consists of four original songs and features her first work with bandmates Matt Chamberlain and Jon Evans since 2009. Amos recorded the EP remotely due to the impact of the COVID-19 pandemic.\",\n \"Amos recorded the EP remotely due to the impact of the COVID-19 pandemic. On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29.\",\n \"On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29. The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \\\"a universal story of going to rock bottom and renewing yourself all over again\\\".\",\n \"The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \\\"a universal story of going to rock bottom and renewing yourself all over again\\\". Amos will embark on a European tour in support of the album in 2022.\",\n \"Amos will embark on a European tour in support of the album in 2022. Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces.\",\n \"Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces. In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005).\",\n \"In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005). The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records.\",\n \"The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records. Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos.\",\n \"Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos. Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore.\",\n \"Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore. Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996).\",\n \"Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996). Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process.\",\n \"Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process. Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020.\",\n \"Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020. Personal life Amos married English sound engineer Mark Hawley on February 22, 1998. Their daughter was born in 2000.\",\n \"Their daughter was born in 2000. The family divides their time between Sewall's Point in Florida, US, and Bude, Cornwall in the UK. Amos' mother, Mary Ellen, died on May 11, 2019.\",\n \"Amos' mother, Mary Ellen, died on May 11, 2019. Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \\\"Tear in Your Hand\\\" and also in print interviews.\",\n \"Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \\\"Tear in Your Hand\\\" and also in print interviews. Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \\\"steal shamelessly from each other\\\".\",\n \"Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \\\"steal shamelessly from each other\\\". She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo.\",\n \"She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo. Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009.\",\n \"Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009. In 2019, Amos performed the British standard \\\"A Nightingale Sang in Berkeley Square\\\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett.\",\n \"In 2019, Amos performed the British standard \\\"A Nightingale Sang in Berkeley Square\\\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett. Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded.\",\n \"Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded. Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline.\",\n \"Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline. She was the first national spokesperson for the organization and has continued to be closely associated with RAINN.\",\n \"She was the first national spokesperson for the organization and has continued to be closely associated with RAINN. On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN.\",\n \"On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN. On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA.\",\n \"On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA. Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992.\",\n \"Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992. In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine.\",\n \"In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine. Her concerts are notable for their changing set lists from night to night. Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland.\",\n \"Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland. She performed solo with a Yamaha CP-70 unless the venue was able to provide a piano. The tour included 142 concerts around the globe.\",\n \"The tour included 142 concerts around the globe. Under the Pink Tour Amos's second world tour began on February 24, 1994 in Newcastle upon Tyne and ended on December 13, 1994 in Perth, Western Australia. Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \\\"Bells for Her\\\".\",\n \"Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \\\"Bells for Her\\\". The tour included 181 concerts. Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder.\",\n \"Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder. Amos performed each night on piano, harpsichord, and harmonium, with Steve Caton on guitar on some songs. The tour included 187 concerts.\",\n \"The tour included 187 concerts. The tour included 187 concerts. Plugged '98 Tour Amos's first band tour. Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass.\",\n \"Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass. The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts.\",\n \"The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts. 5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only.\",\n \"5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only. The first part of the tour was co-headlining with Alanis Morissette and featured the same band and equipment line-up as in 1998. Amos and the band continued for eight shows before Amos embarked on a series of solo shows.\",\n \"Amos and the band continued for eight shows before Amos embarked on a series of solo shows. The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts.\",\n \"The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts. Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996).\",\n \"Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996). It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented.\",\n \"It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented. Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months.\",\n \"Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months. It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts.\",\n \"It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts. On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton.\",\n \"On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton. The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening.\",\n \"The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening. The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts.\",\n \"The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts. The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album).\",\n \"The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album). Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes.\",\n \"Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes. The tour also encompassed Australia for the first time since 1994.\",\n \"The tour also encompassed Australia for the first time since 1994. Amos announced at a concert on this tour that she would never stop touring but would scale down the tours. Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles.\",\n \"Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles. The tour featured \\\"Tori's Piano Bar\\\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show.\",\n \"The tour featured \\\"Tori's Piano Bar\\\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show. One of the songs chosen was the Kylie Minogue hit \\\"Can't Get You Out of My Head\\\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public.\",\n \"One of the songs chosen was the Kylie Minogue hit \\\"Can't Get You Out of My Head\\\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public. Other songs performed by Amos include The Doors' \\\"People are Strange\\\", Depeche Mode's \\\"Personal Jesus\\\", Joni Mitchell's \\\"The Circle Game\\\", Madonna's \\\"Live to Tell\\\" and \\\"Like a Prayer\\\", Björk's \\\"Hyperballad\\\", Led Zeppelin's \\\"When the Levee Breaks\\\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \\\"And Dream of Sheep\\\" and Crowded House's \\\"Don't Dream It's Over\\\", dedicating it to drummer Paul Hester who had died a week before.\",\n \"Other songs performed by Amos include The Doors' \\\"People are Strange\\\", Depeche Mode's \\\"Personal Jesus\\\", Joni Mitchell's \\\"The Circle Game\\\", Madonna's \\\"Live to Tell\\\" and \\\"Like a Prayer\\\", Björk's \\\"Hyperballad\\\", Led Zeppelin's \\\"When the Levee Breaks\\\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \\\"And Dream of Sheep\\\" and Crowded House's \\\"Don't Dream It's Over\\\", dedicating it to drummer Paul Hester who had died a week before. The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs.\",\n \"The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs. American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band.\",\n \"American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band. Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards.\",\n \"Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards. The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles.\",\n \"The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles. Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show.\",\n \"Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show. The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series.\",\n \"The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series. Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard.\",\n \"Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard. The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009.\",\n \"The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009. A solo leg through Australia began in Melbourne on November 12, 2009 and ended in Brisbane on November 24, 2009. The entire tour featured 63 concerts.\",\n \"The entire tour featured 63 concerts. Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa.\",\n \"Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa. It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas.\",\n \"It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas. Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1.\",\n \"Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1. Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts.\",\n \"Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts. Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October.\",\n \"Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October. Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland.\",\n \"Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland. Awards and nominations {| class=\\\"wikitable sortable plainrowheaders\\\" |- ! scope=\\\"col\\\" | Award !\",\n \"scope=\\\"col\\\" | Award ! scope=\\\"col\\\" | Year ! scope=\\\"col\\\" | Nominee(s) ! scope=\\\"col\\\" | Category ! scope=\\\"col\\\" | Result ! scope=\\\"col\\\" class=\\\"unsortable\\\"| |- !\",\n \"scope=\\\"col\\\" class=\\\"unsortable\\\"| |- ! scope=\\\"row\\\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- !\",\n \"scope=\\\"row\\\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- ! scope=\\\"row\\\"|Critics' Choice Documentary Awards | 2016 | \\\"Flicker\\\" | Best Song in a Documentary | | |- !scope=\\\"row\\\"|ECHO Awards | 1995 | Herself | Best International Female | | |- !\",\n \"scope=\\\"row\\\"|Critics' Choice Documentary Awards | 2016 | \\\"Flicker\\\" | Best Song in a Documentary | | |- !scope=\\\"row\\\"|ECHO Awards | 1995 | Herself | Best International Female | | |- ! scope=\\\"row\\\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- !\",\n \"scope=\\\"row\\\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- ! scope=\\\"row\\\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- !\",\n \"scope=\\\"row\\\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- ! scope=\\\"row\\\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- !\",\n \"scope=\\\"row\\\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- ! scope=\\\"row\\\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- !\",\n \"scope=\\\"row\\\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- ! scope=\\\"row\\\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \\\"Raspberry Swirl\\\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \\\"Bliss\\\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \\\"Strange Little Girl\\\" | Best Female Rock Vocal Performance | |- !\",\n \"scope=\\\"row\\\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \\\"Raspberry Swirl\\\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \\\"Bliss\\\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \\\"Strange Little Girl\\\" | Best Female Rock Vocal Performance | |- ! scope=\\\"row\\\"|Hollywood Music in Media Awards | 2016 | \\\"Flicker\\\" | Best Original Song in a Documentary | | |- !\",\n \"scope=\\\"row\\\"|Hollywood Music in Media Awards | 2016 | \\\"Flicker\\\" | Best Original Song in a Documentary | | |- ! scope=\\\"row\\\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- !\",\n \"scope=\\\"row\\\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- ! scope=\\\"row\\\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- !\",\n \"scope=\\\"row\\\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- ! scope=\\\"row\\\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\\\"Silent All These Years\\\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- !\",\n \"scope=\\\"row\\\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\\\"Silent All These Years\\\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- ! scope=\\\"row\\\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- !\",\n \"scope=\\\"row\\\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- ! scope=\\\"row\\\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\\\"row\\\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- !\",\n \"scope=\\\"row\\\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\\\"row\\\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- ! scope=\\\"row\\\"|Q Awards | 1992 | Herself | Best New Act | | |- !\",\n \"scope=\\\"row\\\"|Q Awards | 1992 | Herself | Best New Act | | |- ! scope=\\\"row\\\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\\\"row\\\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony.\",\n \"scope=\\\"row\\\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\\\"row\\\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony. Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel.\",\n \"Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel. Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile.\",\n \"Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile. References Citations Works cited External links 1963 births 20th-century American composers 20th-century American keyboardists 20th-century American women pianists 20th-century American pianists 20th-century American women singers 21st-century American keyboardists 21st-century American women pianists 21st-century American pianists 21st-century American women singers Alternative rock keyboardists Alternative rock pianists Alternative rock singers American alternative rock musicians American expatriates in the Republic of Ireland American expatriates in the United Kingdom American women composers American women singer-songwriters American feminist writers American harpsichordists American mezzo-sopranos American organists American people who self-identify as being of Native American descent American pop pianists American rock pianists American women rock singers American rock songwriters Articles containing video clips Art rock musicians Atlantic Records artists Child classical musicians Clavichordists Deutsche Grammophon artists Electronica musicians Epic Records artists Feminist musicians Harmonium players Island Records artists Living people Montgomery College alumni Musicians from Baltimore Musicians from County Cork Musicians from Rockville, Maryland People from Georgetown (Washington, D.C.) People from Newton, North Carolina People from Sewall's Point, Florida Republic Records artists Sexual abuse victim advocates Singer-songwriters from Maryland Singer-songwriters from North Carolina Women organists 20th-century women composers American women in electronic music 20th-century American singers 21st-century American singers Singer-songwriters from Washington, D.C.\"\n]"}}},{"rowIdx":467,"cells":{"History":{"kind":"list like","value":["Tori Amos","The Epic Records years (2002-07)","Did Amos release any albums during these years?","In October 2002, Amos released Scarlet's Walk, another concept album."],"string":"[\n \"Tori Amos\",\n \"The Epic Records years (2002-07)\",\n \"Did Amos release any albums during these years?\",\n \"In October 2002, Amos released Scarlet's Walk, another concept album.\"\n]"},"QuAC_dialog_id":{"kind":"string","value":"C_f2c7f26de77949ff80c91a7bd337fb42_1"},"Question":{"kind":"string","value":"Was the album successful?"},"Question_no":{"kind":"number","value":2,"string":"2"},"Rewrite":{"kind":"string","value":"Was the album Scarlet's Walk by Tori Amos successful?"},"true_page_title":{"kind":"string","value":"Tori Amos"},"true_contexts":{"kind":"string","value":"With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA. Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline. Amos would later hint in interviews that during the creation of her next album, those in charge at the label following the aforementioned merger were interested \"only in making money\", the effects of which on the album have not been disclosed. Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200. During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records. CANNOTANSWER"},"answer":{"kind":"string","value":"strong debut at No. 7 on the Billboard 200."},"true_contexts_wiki":{"kind":"string","value":"Tori Amos (born Myra Ellen Amos; August 22, 1963) is an American singer-songwriter and pianist. She is a classically trained musician with a mezzo-soprano vocal range. Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted. She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \"musical insubordination\". Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s. Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion.\n\nHer charting singles include \"Crucify\", \"Silent All These Years\", \"God\", \"Cornflake Girl\", \"Caught a Lite Sneeze\", \"Professional Widow\", \"Spark\", \"1000 Oceans\", \"Flavor\" and \"A Sorta Fairytale\", her most commercially successful single in the U.S. to date. Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album. She is listed on VH1's 1999 \"100 Greatest Women of Rock and Roll\" at number 71.\n\nEarly life and education\nAmos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos. She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity.\n\nWhen she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C. Her older brother and sister took piano lessons, but Tori did not need them. From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs. She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia:\n\nAt five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music. She studied classical piano at Peabody from 1968 to 1974. In 1974, when she was eleven, her scholarship was discontinued, and she was asked to leave. Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music.\n\nIn 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church. At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father.\n\nAmos won a county teen talent contest in 1977, singing a song called \"More Than Just a Friend\". As a senior at Richard Montgomery High School, she co-wrote \"Baltimore\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles. The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \"Walking With You\". Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast.\n\nCareer\n\n1979–1989: Career beginnings and Y Kant Tori Read\nBy the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers. Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released. Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her.\n\nIn 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area.\n\nIn 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading. In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber. The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time. Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released. Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \"The only good thing about that album is my ankle high boots.\"\n\nFollowing the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist. She also recorded a song called \"Distant Storm\" for the film China O'Brien. In the credits, the song is attributed to a band called Tess Makes Good.\n\n1990–1995: Little Earthquakes and Under the Pink\n\nDespite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990. The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented. The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault. This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15. Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \"Silent All These Years\".\n\nAmos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink. The album was received with mostly favorable reviews and sold enough copies to chart at No. 12 on the Billboard 200, a significantly higher position than the preceding album's position at No. 54 on the same chart. However, the album found its biggest success in the UK, debuting at number one upon release in February 1994.\n\n1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back\n\nHer third solo album, Boys for Pele, was released in January 1996. Prior to its release, the first single, \"Caught a Lite Sneeze\" became the first full song released for streaming online prior to an album's release.\n\nThe album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics. For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano. The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability. Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No. 2 on the UK Top 40 and No. 2 on the Billboard 200 upon its release.\n\nFueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios.\n\nFrom the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums. Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes. The underlying themes of both albums deal with womanhood and Amos's own miscarriages and marriage. Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality. Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week. To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download.\n\n2001–2004: Strange Little Girls and Scarlet's Walk\nShortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective. That became Strange Little Girls, released in September 2001. The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song. Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label.\n\nWith her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA.\n\nNot long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline.\n\n2005–2008: The Beekeeper and American Doll Posse\n\nAmos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200.\n\nDuring her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records.\n\n2008–2011: Abnormally Attracted to Sin and Midwinter Graces\n\nIn May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work. In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes. By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \"joint venture\" deal with Universal Republic Records.\n\nAbnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews. The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so. Abnormally Attracted to Sin, admitted Amos, is a \"personal album\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin. Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year. The album features reworked versions of traditional carols, as well as original songs written by Amos.\n\nDuring her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010. In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble.\n\nAfter a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010. The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow. The set was released exclusively through her website and only 2000 copies were produced.\n\n2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines\nIn September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group. Amos recorded the album with several musicians, including the Apollon Musagète string quartet.\n\nTo mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra. The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon.\n\nOn May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists.\n\nIn 2013, Amos collaborated with the Bullitts on the track \"Wait Until Tomorrow\" from their debut album, They Die by Dawn & Other Short Stories. She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \"return to contemporary music\".\n\nSeptember 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott. It premiered at London's Royal National Theatre and ended in February 2014. The Light Princess and its lead actress, Rosalie Craig, were nominated for Best Musical and Best Musical Performance respectively at the Evening Standard Award. Craig won the Best Musical Performance category.\n\nAmos's 14th studio album, Unrepentant Geraldines, was released on May 13, 2014, via Mercury Classics/Universal Music Classics in the US. Its first single, \"Trouble's Lament\", was released on March 28. The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014. In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House.\n\nAccording to a press release, Unrepentant Geraldines was a \"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years. [It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\"\n\nThe 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics. Apart from the original cast performances, the recording also includes two songs from the musical (\"Highness in the Sky\" and \"Darkest Hour') performed by Amos.\n\n2016–present: Native Invader, Christmastide and Ocean to Ocean\n\nOn November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release. This follows the deluxe re-releases of her first two albums in 2015.\n\nOn September 8, 2017, Amos released Native Invader, accompanied by a world tour. During the summer of 2017, Amos launched three songs from the album: \"Cloud Riders\", \"Up the Creek\" and \"Reindeer King\", the latter featuring string arrangements by John Philip Shenale. Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations.\n\nThe initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak. Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader. The album, released on September 8, 2017, has been presented in two formats: standard and deluxe. The standard version includes 13 songs, while the deluxe edition adds two extra songs to the tracklist: \"Upside Down 2\" and \"Russia\". Native Invader has been well received by most music critics upon release. The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \"generally favorable reviews\".\n\nOn November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl. The EP consists of four original songs and features her first work with bandmates Matt Chamberlain and Jon Evans since 2009. Amos recorded the EP remotely due to the impact of the COVID-19 pandemic.\n\nOn September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29. The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \"a universal story of going to rock bottom and renewing yourself all over again\". Amos will embark on a European tour in support of the album in 2022. Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces.\n\nIn print\nReleased in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005). The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records.\n\nImage Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos. Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore.\n\nAdditionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996).\n\nTori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process.\n\nAmos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020.\n\nPersonal life\nAmos married English sound engineer Mark Hawley on February 22, 1998. Their daughter was born in 2000. The family divides their time between Sewall's Point in Florida, US, and Bude, Cornwall in the UK.\n\nAmos' mother, Mary Ellen, died on May 11, 2019.\n\nEarly in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \"Tear in Your Hand\" and also in print interviews. Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \"steal shamelessly from each other\". She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo. Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009. In 2019, Amos performed the British standard \"A Nightingale Sang in Berkeley Square\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett.\n\nActivism\nIn June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded. Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline. She was the first national spokesperson for the organization and has continued to be closely associated with RAINN. On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN. On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA.\n\nDiscography\n\nStudio albums\n Little Earthquakes (1992)\n Under the Pink (1994)\n Boys for Pele (1996)\n From the Choirgirl Hotel (1998)\n To Venus and Back (1999)\n Strange Little Girls (2001)\n Scarlet's Walk (2002)\n The Beekeeper (2005)\n American Doll Posse (2007)\n Abnormally Attracted to Sin (2009)\n Midwinter Graces (2009)\n Night of Hunters (2011)\n Gold Dust (2012)\n Unrepentant Geraldines (2014)\n Native Invader (2017)\n Ocean to Ocean (2021)\n\nTours\nAmos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992. In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine. Her concerts are notable for their changing set lists from night to night.\n\nLittle Earthquakes Tour\n Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland. She performed solo with a Yamaha CP-70 unless the venue was able to provide a piano. The tour included 142 concerts around the globe.\n\nUnder the Pink Tour\n Amos's second world tour began on February 24, 1994 in Newcastle upon Tyne and ended on December 13, 1994 in Perth, Western Australia. Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \"Bells for Her\". The tour included 181 concerts.\n\nDew Drop Inn Tour\n The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder. Amos performed each night on piano, harpsichord, and harmonium, with Steve Caton on guitar on some songs. The tour included 187 concerts.\n\nPlugged '98 Tour\n Amos's first band tour. Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass. The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts.\n\n5 ½ Weeks Tour / To Dallas and Back\n Amos's fifth tour was North America–only. The first part of the tour was co-headlining with Alanis Morissette and featured the same band and equipment line-up as in 1998. Amos and the band continued for eight shows before Amos embarked on a series of solo shows. The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts.\n\nStrange Little Tour\n This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996). It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented. Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months. It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts.\n\nOn Scarlet's Walk / Lottapianos Tour\n Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton. The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening. The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts. The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album).\n\nOriginal Sinsuality Tour / Summer of Sin\n This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes. The tour also encompassed Australia for the first time since 1994. Amos announced at a concert on this tour that she would never stop touring but would scale down the tours. Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles. The tour featured \"Tori's Piano Bar\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show. One of the songs chosen was the Kylie Minogue hit \"Can't Get You Out of My Head\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public. Other songs performed by Amos include The Doors' \"People are Strange\", Depeche Mode's \"Personal Jesus\", Joni Mitchell's \"The Circle Game\", Madonna's \"Live to Tell\" and \"Like a Prayer\", Björk's \"Hyperballad\", Led Zeppelin's \"When the Levee Breaks\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \"And Dream of Sheep\" and Crowded House's \"Don't Dream It's Over\", dedicating it to drummer Paul Hester who had died a week before. The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs.\n\nAmerican Doll Posse World Tour\n This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band. Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards. The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles. Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show. The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series.\n\nSinful Attraction Tour\n For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard. The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009. A solo leg through Australia began in Melbourne on November 12, 2009 and ended in Brisbane on November 24, 2009. The entire tour featured 63 concerts.\n\nNight of Hunters tour\n Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa. It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas.\n\nGold Dust Orchestral Tour\n Amos began her 2012 tour in Rotterdam on October 1.\n\nUnrepentant Geraldines Tour\n Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts.\n\nNative Invader Tour\n Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October.\n\nOcean to Ocean Tour\n Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland.\n\nAwards and nominations \n{| class=\"wikitable sortable plainrowheaders\"\n|-\n! scope=\"col\" | Award\n! scope=\"col\" | Year\n! scope=\"col\" | Nominee(s)\n! scope=\"col\" | Category\n! scope=\"col\" | Result\n! scope=\"col\" class=\"unsortable\"| \n|-\n! scope=\"row\" rowspan=3|Brit Awards\n| rowspan=2|1993\n| rowspan=3|Herself\n| International Breakthrough Act\n| \n| rowspan=2|\n|-\n| International Solo Artist\n| \n|-\n| 1995\n| International Female Solo Artist\n| \n|\n|-\n! scope=\"row\"|Critics' Choice Documentary Awards\n| 2016\n| \"Flicker\"\n| Best Song in a Documentary\n| \n| \n|-\n!scope=\"row\"|ECHO Awards\n| 1995\n| Herself\n| Best International Female\n| \n|\n|-\n! scope=\"row\"|ECHO Klassik Awards\n| rowspan=1|2012\n| Night of Hunters\n| The Klassik-ohne-Grenzen Prize\n| \n|\n|-\n! scope=\"row\" rowspan=4|GAFFA Awards\n| 2000\n| rowspan=3|Herself\n| rowspan=2|Best Foreign Female Act\n| \n| rowspan=2|\n|-\n| 2003\n| \n|-\n| rowspan=2|2022\n| Best Foreign Solo Act\n| \n| \n|-\n| Ocean to Ocean\n| Best Foreign Album\n| \n|-\n! scope=\"row\"|George Peabody Medal\n| 2019\n| Herself\n| Outstanding Contributions to Music \n| \n|\n|-\n! scope=\"row\"|Glamour Awards\n| 1998\n| Herself\n| Woman of the Year\n| \n|\n|-\n! scope=\"row\" rowspan=8|Grammy Awards\n| 1995\n| Under the Pink\n| rowspan=3|Best Alternative Music Album\n| \n| rowspan=8|\n|-\n| 1997\n| Boys for Pele\n| \n|-\n| rowspan=2|1999\n| From the Choirgirl Hotel\n| \n|-\n| \"Raspberry Swirl\"\n| rowspan=2|Best Female Rock Vocal Performance\n| \n|-\n| rowspan=2|2000\n| \"Bliss\"\n| \n|-\n| To Venus and Back\n| rowspan=2|Best Alternative Music Album\n| \n|-\n| rowspan=2|2002\n| Strange Little Girls\n| \n|-\n| \"Strange Little Girl\"\n| Best Female Rock Vocal Performance\n| \n|-\n! scope=\"row\"|Hollywood Music in Media Awards\n| 2016\n| \"Flicker\"\n| Best Original Song in a Documentary\n| \n|\n|-\n! scope=\"row\"|Hungarian Music Awards\n| 2010\n| Abnormally Attracted to Sin\n| Best Foreign Alternative Album\n| \n| \n|-\n! scope=\"row\"|MTV Europe Music Awards\n| 1994\n| Herself\n| Best Female\n| \n|\n|-\n! scope=\"row\" rowspan=4|MTV Video Music Awards\n| rowspan=4|1992\n| rowspan=4|\"Silent All These Years\"\n| Best Female Video\n| \n|rowspan=4|\n|-\n| Best New Artist in a Video\n| \n|-\n| Breakthrough Video\n| \n|-\n| Best Cinematography in a Video\n| \n|-\n! scope=\"row\"|NME Awards\n| 2016\n| Under the Pink\n| Best Reissue\n| \n|\n|-\n! scope=\"row\"|North Carolina Music Hall of Fame\n| 2012\n| Herself\n| Inducted\n| \n|\n|-\n!scope=\"row\" rowspan=5|Pollstar Concert Industry Awards\n| rowspan=2|1993\n| rowspan=2|Little Earthquakes Tour\n| Best New Rock Artist\n| \n| rowspan=2|\n|-\n| Club Tour Of The Year\n| \n|-\n| 1995\n| Under the Pink Tour\n| rowspan=3|Small Hall Tour Of The Year\n| \n| \n|-\n| 1997\n| Dew Drop Inn Tour\n| \n| \n|-\n| 1999\n| 5 ½ Weeks Tour\n| \n| \n|-\n! scope=\"row\"|Q Awards\n| 1992\n| Herself\n| Best New Act\n| \n|\n|-\n! scope=\"row\" rowspan=2|WhatsOnStage Awards\n| rowspan=2|2014\n| rowspan=2|The Light Princess\n| Best New Musical\n| \n| rowspan=2|\n|-\n| Best London Newcomer of the Year\n| \n|-\n!scope=\"row\"|Žebřík Music Awards\n| 2001\n| Herself\n| Best International Female\n| \n| \n\n1999: Spin Readers' Poll Awards (Won)\n\nOn May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony. Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel.\n\nFilm appearances\nTori appears as a wedding singer in the film Mona Lisa Smile.\n\nReferences\n\nCitations\n\nWorks cited\n\nExternal links\n\n \n \n \n\n \n1963 births\n20th-century American composers\n20th-century American keyboardists\n20th-century American women pianists\n20th-century American pianists\n20th-century American women singers\n21st-century American keyboardists\n21st-century American women pianists\n21st-century American pianists\n21st-century American women singers\nAlternative rock keyboardists\nAlternative rock pianists\nAlternative rock singers\nAmerican alternative rock musicians\nAmerican expatriates in the Republic of Ireland\nAmerican expatriates in the United Kingdom\nAmerican women composers\nAmerican women singer-songwriters\nAmerican feminist writers\nAmerican harpsichordists\nAmerican mezzo-sopranos\nAmerican organists\nAmerican people who self-identify as being of Native American descent\nAmerican pop pianists\nAmerican rock pianists\nAmerican women rock singers\nAmerican rock songwriters\nArticles containing video clips\nArt rock musicians\nAtlantic Records artists\nChild classical musicians\nClavichordists\nDeutsche Grammophon artists\nElectronica musicians\nEpic Records artists\nFeminist musicians\nHarmonium players\nIsland Records artists\nLiving people\nMontgomery College alumni\nMusicians from Baltimore\nMusicians from County Cork\nMusicians from Rockville, Maryland\nPeople from Georgetown (Washington, D.C.)\nPeople from Newton, North Carolina\nPeople from Sewall's Point, Florida\nRepublic Records artists\nSexual abuse victim advocates\nSinger-songwriters from Maryland\nSinger-songwriters from North Carolina\nWomen organists\n20th-century women composers\nAmerican women in electronic music\n20th-century American singers\n21st-century American singers\nSinger-songwriters from Washington, D.C."},"extractive":{"kind":"string","value":"true"},"retrieved_contexts":{"kind":"list like","value":["Maria Arredondo is the first album by Norwegian singer Maria Arredondo, released in Norway on March 17, 2003, with a second edition released on June 30, 2003. The album was the most successful album by Arredondo either in critics or sales. It has 12 songs with the second edition and 5 singles were released. One of the singles, \"In Love With An Angel\", a duet with Christian Ingebrigtsen, was nominated for the 2003 Norwegian Grammy Awards as 'Song Of The Year'.\n\nHistory \nAfter two years recording the songs, Arredondo signed with Universal Music Norway. The album entered the Norwegian Top 40 and Norwegian Topp 30 Norsk at #2 and spent 23 weeks on the charts. It was recorded in Sweden and Norway, and was produced by several well-known Scandinavian producers such as Jonas von Der Burg, Espen Lind, Bluefish, Jonny Sjo, Harry Sommerdahl and Bjørn Erik Pedersen. Several successful songwriters also contributed, including Christian Ingebrigtsen, Jonas von Der Burg, Silje Nergaard, Espen Lind and Harry Sommerdahl. The first single released was \"Can Let Go\". The second single, \"Just A Little Heartache\" was very successful in the radio charts. \"In Love With An Angel\" was the third single and became the first and only #1 single for Arredondo.\n\nThe album was re-released with a new song, \"Hardly Hurts At All\", which was released as a single. The last single from the album was \"A Thousand Nights\". The album went platinum and sold more than 70,000 copies.\n\nTrack listing\n\nCharts\n\nAlbum\n\nSingles\n\nReferences \n\n2003 debut albums\nMaria Arredondo albums\nUniversal Music Norway albums","Black and White is the second studio album and major label debut by British hip hop recording artist Wretch 32. The album was released in the United Kingdom on 21 August 2011 through Ministry of Sound, debuting at number four on the UK Albums Chart with first week sales of nearly 25,000 copies. The album follows his independent debut album, Wretchrospective, which was released three years earlier, in 2008. The album spawned six singles over the course of eighteen months, all of which peaked inside the UK top 50, including three top five singles, and a number one single, \"Don't Go\". The album includes collaborations with Ed Sheeran, Daley, Etta Bond and Example.\n\nSingles\n \"Traktor\" was released as the first single released from the album on 16 January 2011. It peaked at number five on the UK Singles Chart, becoming the third most successful single from the album. The track features vocals from L Marshall and was produced by Yogi.\n \"Unorthodox\" was released as the second single from the album on 17 April 2011. It peaked at number two on the UK Singles Chart, becoming the second most successful single from the album. The track features vocals from Example.\n \"Don't Go\" was released as the third single from the album on 14 August 2011. It peaked at number one on the UK Singles Chart, becoming the album's most successful single. The track features vocals from upcoming musician and songwriter Josh Kumra.\n \"Forgiveness\" was released as the fourth single from the album on 11 December 2011. It peaked at number 39 on the UK Singles Chart, becoming the least successful single from the album. The track features vocals from Etta Bond, and was produced by Labrinth.\n \"Long Way Home\" was released as a single from the album on 14 February 2012, in promotion of the track's featuring artist, Daley. It was ineligible to chart on the UK Singles Chart, and was simply released in the form of a promotional music video.\n \"Hush Little Baby\" was released as the fifth and final single from the album on 27 May 2012. It peaked at number 35 on the UK Singles Chart, due to little promotion. The track features vocals from singer-songwriter Ed Sheeran.\n\nTrack listing \n\nNotes\n \"Forgiveness\" features uncredited vocals from Labrinth.\n\nSample credits\n \"Black and White\" samples \"Different Strokes\" by Syl Johnson\n \"Unorthodox\" samples \"Fools Gold\" by The Stone Roses.\n \"Hush Little Baby\" adapts lyrics from the lullaby \"Hush, Little Baby\".\n\nCharts\n\nRelease history\n\nReferences\n\n2011 albums\nWretch 32 albums\nMinistry of Sound albums\nAlbums produced by Labrinth"],"string":"[\n \"Maria Arredondo is the first album by Norwegian singer Maria Arredondo, released in Norway on March 17, 2003, with a second edition released on June 30, 2003. The album was the most successful album by Arredondo either in critics or sales. It has 12 songs with the second edition and 5 singles were released. One of the singles, \\\"In Love With An Angel\\\", a duet with Christian Ingebrigtsen, was nominated for the 2003 Norwegian Grammy Awards as 'Song Of The Year'.\\n\\nHistory \\nAfter two years recording the songs, Arredondo signed with Universal Music Norway. The album entered the Norwegian Top 40 and Norwegian Topp 30 Norsk at #2 and spent 23 weeks on the charts. It was recorded in Sweden and Norway, and was produced by several well-known Scandinavian producers such as Jonas von Der Burg, Espen Lind, Bluefish, Jonny Sjo, Harry Sommerdahl and Bjørn Erik Pedersen. Several successful songwriters also contributed, including Christian Ingebrigtsen, Jonas von Der Burg, Silje Nergaard, Espen Lind and Harry Sommerdahl. The first single released was \\\"Can Let Go\\\". The second single, \\\"Just A Little Heartache\\\" was very successful in the radio charts. \\\"In Love With An Angel\\\" was the third single and became the first and only #1 single for Arredondo.\\n\\nThe album was re-released with a new song, \\\"Hardly Hurts At All\\\", which was released as a single. The last single from the album was \\\"A Thousand Nights\\\". The album went platinum and sold more than 70,000 copies.\\n\\nTrack listing\\n\\nCharts\\n\\nAlbum\\n\\nSingles\\n\\nReferences \\n\\n2003 debut albums\\nMaria Arredondo albums\\nUniversal Music Norway albums\",\n \"Black and White is the second studio album and major label debut by British hip hop recording artist Wretch 32. The album was released in the United Kingdom on 21 August 2011 through Ministry of Sound, debuting at number four on the UK Albums Chart with first week sales of nearly 25,000 copies. The album follows his independent debut album, Wretchrospective, which was released three years earlier, in 2008. The album spawned six singles over the course of eighteen months, all of which peaked inside the UK top 50, including three top five singles, and a number one single, \\\"Don't Go\\\". The album includes collaborations with Ed Sheeran, Daley, Etta Bond and Example.\\n\\nSingles\\n \\\"Traktor\\\" was released as the first single released from the album on 16 January 2011. It peaked at number five on the UK Singles Chart, becoming the third most successful single from the album. The track features vocals from L Marshall and was produced by Yogi.\\n \\\"Unorthodox\\\" was released as the second single from the album on 17 April 2011. It peaked at number two on the UK Singles Chart, becoming the second most successful single from the album. The track features vocals from Example.\\n \\\"Don't Go\\\" was released as the third single from the album on 14 August 2011. It peaked at number one on the UK Singles Chart, becoming the album's most successful single. The track features vocals from upcoming musician and songwriter Josh Kumra.\\n \\\"Forgiveness\\\" was released as the fourth single from the album on 11 December 2011. It peaked at number 39 on the UK Singles Chart, becoming the least successful single from the album. The track features vocals from Etta Bond, and was produced by Labrinth.\\n \\\"Long Way Home\\\" was released as a single from the album on 14 February 2012, in promotion of the track's featuring artist, Daley. It was ineligible to chart on the UK Singles Chart, and was simply released in the form of a promotional music video.\\n \\\"Hush Little Baby\\\" was released as the fifth and final single from the album on 27 May 2012. It peaked at number 35 on the UK Singles Chart, due to little promotion. The track features vocals from singer-songwriter Ed Sheeran.\\n\\nTrack listing \\n\\nNotes\\n \\\"Forgiveness\\\" features uncredited vocals from Labrinth.\\n\\nSample credits\\n \\\"Black and White\\\" samples \\\"Different Strokes\\\" by Syl Johnson\\n \\\"Unorthodox\\\" samples \\\"Fools Gold\\\" by The Stone Roses.\\n \\\"Hush Little Baby\\\" adapts lyrics from the lullaby \\\"Hush, Little Baby\\\".\\n\\nCharts\\n\\nRelease history\\n\\nReferences\\n\\n2011 albums\\nWretch 32 albums\\nMinistry of Sound albums\\nAlbums produced by Labrinth\"\n]"},"chunked_article":{"kind":"list like","value":["Tori Amos (born Myra Ellen Amos; August 22, 1963) is an American singer-songwriter and pianist. She is a classically trained musician with a mezzo-soprano vocal range.","She is a classically trained musician with a mezzo-soprano vocal range. Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted.","Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted. She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \"musical insubordination\".","She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \"musical insubordination\". Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s.","Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s. Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion.","Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion. Her charting singles include \"Crucify\", \"Silent All These Years\", \"God\", \"Cornflake Girl\", \"Caught a Lite Sneeze\", \"Professional Widow\", \"Spark\", \"1000 Oceans\", \"Flavor\" and \"A Sorta Fairytale\", her most commercially successful single in the U.S. to date.","Her charting singles include \"Crucify\", \"Silent All These Years\", \"God\", \"Cornflake Girl\", \"Caught a Lite Sneeze\", \"Professional Widow\", \"Spark\", \"1000 Oceans\", \"Flavor\" and \"A Sorta Fairytale\", her most commercially successful single in the U.S. to date. Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album.","Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album. She is listed on VH1's 1999 \"100 Greatest Women of Rock and Roll\" at number 71.","She is listed on VH1's 1999 \"100 Greatest Women of Rock and Roll\" at number 71. Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos.","Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos. She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity.","She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity. When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C.","When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C. Her older brother and sister took piano lessons, but Tori did not need them.","Her older brother and sister took piano lessons, but Tori did not need them. From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs.","From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs. She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music.","She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music. She studied classical piano at Peabody from 1968 to 1974.","She studied classical piano at Peabody from 1968 to 1974. In 1974, when she was eleven, her scholarship was discontinued, and she was asked to leave. Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music.","Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music. In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church.","In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church. At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father.","At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father. Amos won a county teen talent contest in 1977, singing a song called \"More Than Just a Friend\".","Amos won a county teen talent contest in 1977, singing a song called \"More Than Just a Friend\". As a senior at Richard Montgomery High School, she co-wrote \"Baltimore\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles.","As a senior at Richard Montgomery High School, she co-wrote \"Baltimore\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles. The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \"Walking With You\".","The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \"Walking With You\". Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast.","Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast. Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers.","Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers. Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released.","Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released. Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her.","Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her. In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area.","In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area. In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading.","In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading. In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber.","In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber. The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time.","The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time. Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released.","Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released. Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \"The only good thing about that album is my ankle high boots.\"","Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \"The only good thing about that album is my ankle high boots.\" Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist.","Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist. She also recorded a song called \"Distant Storm\" for the film China O'Brien.","She also recorded a song called \"Distant Storm\" for the film China O'Brien. In the credits, the song is attributed to a band called Tess Makes Good.","In the credits, the song is attributed to a band called Tess Makes Good. 1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990.","1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990. The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented.","The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented. The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault.","The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault. This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15.","This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15. Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \"Silent All These Years\".","Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \"Silent All These Years\". Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink.","Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink. The album was received with mostly favorable reviews and sold enough copies to chart at No. 12 on the Billboard 200, a significantly higher position than the preceding album's position at No.","12 on the Billboard 200, a significantly higher position than the preceding album's position at No. 54 on the same chart. However, the album found its biggest success in the UK, debuting at number one upon release in February 1994.","However, the album found its biggest success in the UK, debuting at number one upon release in February 1994. 1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996.","1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996. Prior to its release, the first single, \"Caught a Lite Sneeze\" became the first full song released for streaming online prior to an album's release.","Prior to its release, the first single, \"Caught a Lite Sneeze\" became the first full song released for streaming online prior to an album's release. The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics.","The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics. For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano.","For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano. The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability.","The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability. Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No.","Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No. 2 on the UK Top 40 and No. 2 on the Billboard 200 upon its release.","2 on the Billboard 200 upon its release. Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios.","Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios. From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums.","From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums. Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes.","Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes. The underlying themes of both albums deal with womanhood and Amos's own miscarriages and marriage. Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality.","Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality. Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week.","Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week. To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download.","To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download. 2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective.","2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective. That became Strange Little Girls, released in September 2001.","That became Strange Little Girls, released in September 2001. The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song.","The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song. Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label.","Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label. With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001.","With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11.","Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny.","Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA.","Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA. Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003.","Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group.","Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline.","Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline. 2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007).","2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment.","The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics.","Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No.","The album debuted at No. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts.","5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it.","While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's.","American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No.","Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200.","5 on the Billboard 200. 5 on the Billboard 200. During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records.","During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records. 2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work.","2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work. In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes.","In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes. By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \"joint venture\" deal with Universal Republic Records.","By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \"joint venture\" deal with Universal Republic Records. Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews.","Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews. The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so.","The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so. Abnormally Attracted to Sin, admitted Amos, is a \"personal album\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin.","Abnormally Attracted to Sin, admitted Amos, is a \"personal album\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin. Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year.","Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year. The album features reworked versions of traditional carols, as well as original songs written by Amos.","The album features reworked versions of traditional carols, as well as original songs written by Amos. During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010.","During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010. In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble.","In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble. After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010.","After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010. The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow.","The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow. The set was released exclusively through her website and only 2000 copies were produced.","The set was released exclusively through her website and only 2000 copies were produced. 2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group.","2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group. Amos recorded the album with several musicians, including the Apollon Musagète string quartet.","Amos recorded the album with several musicians, including the Apollon Musagète string quartet. To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra.","To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra. The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon.","The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon. On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists.","On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists. In 2013, Amos collaborated with the Bullitts on the track \"Wait Until Tomorrow\" from their debut album, They Die by Dawn & Other Short Stories.","In 2013, Amos collaborated with the Bullitts on the track \"Wait Until Tomorrow\" from their debut album, They Die by Dawn & Other Short Stories. She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \"return to contemporary music\".","She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \"return to contemporary music\". September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott.","September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott. It premiered at London's Royal National Theatre and ended in February 2014.","It premiered at London's Royal National Theatre and ended in February 2014. The Light Princess and its lead actress, Rosalie Craig, were nominated for Best Musical and Best Musical Performance respectively at the Evening Standard Award. Craig won the Best Musical Performance category.","Craig won the Best Musical Performance category. Amos's 14th studio album, Unrepentant Geraldines, was released on May 13, 2014, via Mercury Classics/Universal Music Classics in the US. Its first single, \"Trouble's Lament\", was released on March 28.","Its first single, \"Trouble's Lament\", was released on March 28. The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014.","The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014. In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House.","In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House. According to a press release, Unrepentant Geraldines was a \"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years.","According to a press release, Unrepentant Geraldines was a \"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years. [It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\"","[It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\" The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics.","The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics. Apart from the original cast performances, the recording also includes two songs from the musical (\"Highness in the Sky\" and \"Darkest Hour') performed by Amos.","Apart from the original cast performances, the recording also includes two songs from the musical (\"Highness in the Sky\" and \"Darkest Hour') performed by Amos. 2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release.","2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release. This follows the deluxe re-releases of her first two albums in 2015.","This follows the deluxe re-releases of her first two albums in 2015. On September 8, 2017, Amos released Native Invader, accompanied by a world tour.","On September 8, 2017, Amos released Native Invader, accompanied by a world tour. During the summer of 2017, Amos launched three songs from the album: \"Cloud Riders\", \"Up the Creek\" and \"Reindeer King\", the latter featuring string arrangements by John Philip Shenale.","During the summer of 2017, Amos launched three songs from the album: \"Cloud Riders\", \"Up the Creek\" and \"Reindeer King\", the latter featuring string arrangements by John Philip Shenale. Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations.","Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations. The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak.","The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak. Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader.","Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader. The album, released on September 8, 2017, has been presented in two formats: standard and deluxe.","The album, released on September 8, 2017, has been presented in two formats: standard and deluxe. The standard version includes 13 songs, while the deluxe edition adds two extra songs to the tracklist: \"Upside Down 2\" and \"Russia\". Native Invader has been well received by most music critics upon release.","Native Invader has been well received by most music critics upon release. The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \"generally favorable reviews\".","The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \"generally favorable reviews\". On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl.","On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl. The EP consists of four original songs and features her first work with bandmates Matt Chamberlain and Jon Evans since 2009. Amos recorded the EP remotely due to the impact of the COVID-19 pandemic.","Amos recorded the EP remotely due to the impact of the COVID-19 pandemic. On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29.","On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29. The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \"a universal story of going to rock bottom and renewing yourself all over again\".","The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \"a universal story of going to rock bottom and renewing yourself all over again\". Amos will embark on a European tour in support of the album in 2022.","Amos will embark on a European tour in support of the album in 2022. Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces.","Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces. In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005).","In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005). The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records.","The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records. Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos.","Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos. Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore.","Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore. Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996).","Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996). Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process.","Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process. Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020.","Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020. Personal life Amos married English sound engineer Mark Hawley on February 22, 1998. Their daughter was born in 2000.","Their daughter was born in 2000. The family divides their time between Sewall's Point in Florida, US, and Bude, Cornwall in the UK. Amos' mother, Mary Ellen, died on May 11, 2019.","Amos' mother, Mary Ellen, died on May 11, 2019. Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \"Tear in Your Hand\" and also in print interviews.","Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \"Tear in Your Hand\" and also in print interviews. Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \"steal shamelessly from each other\".","Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \"steal shamelessly from each other\". She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo.","She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo. Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009.","Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009. In 2019, Amos performed the British standard \"A Nightingale Sang in Berkeley Square\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett.","In 2019, Amos performed the British standard \"A Nightingale Sang in Berkeley Square\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett. Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded.","Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded. Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline.","Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline. She was the first national spokesperson for the organization and has continued to be closely associated with RAINN.","She was the first national spokesperson for the organization and has continued to be closely associated with RAINN. On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN.","On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN. On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA.","On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA. Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992.","Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992. In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine.","In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine. Her concerts are notable for their changing set lists from night to night. Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland.","Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland. She performed solo with a Yamaha CP-70 unless the venue was able to provide a piano. The tour included 142 concerts around the globe.","The tour included 142 concerts around the globe. Under the Pink Tour Amos's second world tour began on February 24, 1994 in Newcastle upon Tyne and ended on December 13, 1994 in Perth, Western Australia. Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \"Bells for Her\".","Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \"Bells for Her\". The tour included 181 concerts. Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder.","Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder. Amos performed each night on piano, harpsichord, and harmonium, with Steve Caton on guitar on some songs. The tour included 187 concerts.","The tour included 187 concerts. The tour included 187 concerts. Plugged '98 Tour Amos's first band tour. Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass.","Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass. The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts.","The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts. 5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only.","5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only. The first part of the tour was co-headlining with Alanis Morissette and featured the same band and equipment line-up as in 1998. Amos and the band continued for eight shows before Amos embarked on a series of solo shows.","Amos and the band continued for eight shows before Amos embarked on a series of solo shows. The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts.","The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts. Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996).","Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996). It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented.","It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented. Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months.","Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months. It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts.","It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts. On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton.","On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton. The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening.","The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening. The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts.","The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts. The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album).","The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album). Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes.","Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes. The tour also encompassed Australia for the first time since 1994.","The tour also encompassed Australia for the first time since 1994. Amos announced at a concert on this tour that she would never stop touring but would scale down the tours. Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles.","Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles. The tour featured \"Tori's Piano Bar\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show.","The tour featured \"Tori's Piano Bar\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show. One of the songs chosen was the Kylie Minogue hit \"Can't Get You Out of My Head\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public.","One of the songs chosen was the Kylie Minogue hit \"Can't Get You Out of My Head\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public. Other songs performed by Amos include The Doors' \"People are Strange\", Depeche Mode's \"Personal Jesus\", Joni Mitchell's \"The Circle Game\", Madonna's \"Live to Tell\" and \"Like a Prayer\", Björk's \"Hyperballad\", Led Zeppelin's \"When the Levee Breaks\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \"And Dream of Sheep\" and Crowded House's \"Don't Dream It's Over\", dedicating it to drummer Paul Hester who had died a week before.","Other songs performed by Amos include The Doors' \"People are Strange\", Depeche Mode's \"Personal Jesus\", Joni Mitchell's \"The Circle Game\", Madonna's \"Live to Tell\" and \"Like a Prayer\", Björk's \"Hyperballad\", Led Zeppelin's \"When the Levee Breaks\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \"And Dream of Sheep\" and Crowded House's \"Don't Dream It's Over\", dedicating it to drummer Paul Hester who had died a week before. The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs.","The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs. American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band.","American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band. Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards.","Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards. The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles.","The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles. Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show.","Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show. The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series.","The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series. Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard.","Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard. The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009.","The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009. A solo leg through Australia began in Melbourne on November 12, 2009 and ended in Brisbane on November 24, 2009. The entire tour featured 63 concerts.","The entire tour featured 63 concerts. Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa.","Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa. It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas.","It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas. Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1.","Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1. Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts.","Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts. Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October.","Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October. Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland.","Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland. Awards and nominations {| class=\"wikitable sortable plainrowheaders\" |- ! scope=\"col\" | Award !","scope=\"col\" | Award ! scope=\"col\" | Year ! scope=\"col\" | Nominee(s) ! scope=\"col\" | Category ! scope=\"col\" | Result ! scope=\"col\" class=\"unsortable\"| |- !","scope=\"col\" class=\"unsortable\"| |- ! scope=\"row\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- !","scope=\"row\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- ! scope=\"row\"|Critics' Choice Documentary Awards | 2016 | \"Flicker\" | Best Song in a Documentary | | |- !scope=\"row\"|ECHO Awards | 1995 | Herself | Best International Female | | |- !","scope=\"row\"|Critics' Choice Documentary Awards | 2016 | \"Flicker\" | Best Song in a Documentary | | |- !scope=\"row\"|ECHO Awards | 1995 | Herself | Best International Female | | |- ! scope=\"row\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- !","scope=\"row\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- ! scope=\"row\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- !","scope=\"row\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- ! scope=\"row\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- !","scope=\"row\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- ! scope=\"row\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- !","scope=\"row\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- ! scope=\"row\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \"Raspberry Swirl\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \"Bliss\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \"Strange Little Girl\" | Best Female Rock Vocal Performance | |- !","scope=\"row\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \"Raspberry Swirl\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \"Bliss\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \"Strange Little Girl\" | Best Female Rock Vocal Performance | |- ! scope=\"row\"|Hollywood Music in Media Awards | 2016 | \"Flicker\" | Best Original Song in a Documentary | | |- !","scope=\"row\"|Hollywood Music in Media Awards | 2016 | \"Flicker\" | Best Original Song in a Documentary | | |- ! scope=\"row\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- !","scope=\"row\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- ! scope=\"row\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- !","scope=\"row\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- ! scope=\"row\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\"Silent All These Years\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- !","scope=\"row\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\"Silent All These Years\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- ! scope=\"row\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- !","scope=\"row\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- ! scope=\"row\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\"row\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- !","scope=\"row\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\"row\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- ! scope=\"row\"|Q Awards | 1992 | Herself | Best New Act | | |- !","scope=\"row\"|Q Awards | 1992 | Herself | Best New Act | | |- ! scope=\"row\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\"row\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony.","scope=\"row\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\"row\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony. Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel.","Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel. Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile.","Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile. References Citations Works cited External links 1963 births 20th-century American composers 20th-century American keyboardists 20th-century American women pianists 20th-century American pianists 20th-century American women singers 21st-century American keyboardists 21st-century American women pianists 21st-century American pianists 21st-century American women singers Alternative rock keyboardists Alternative rock pianists Alternative rock singers American alternative rock musicians American expatriates in the Republic of Ireland American expatriates in the United Kingdom American women composers American women singer-songwriters American feminist writers American harpsichordists American mezzo-sopranos American organists American people who self-identify as being of Native American descent American pop pianists American rock pianists American women rock singers American rock songwriters Articles containing video clips Art rock musicians Atlantic Records artists Child classical musicians Clavichordists Deutsche Grammophon artists Electronica musicians Epic Records artists Feminist musicians Harmonium players Island Records artists Living people Montgomery College alumni Musicians from Baltimore Musicians from County Cork Musicians from Rockville, Maryland People from Georgetown (Washington, D.C.) People from Newton, North Carolina People from Sewall's Point, Florida Republic Records artists Sexual abuse victim advocates Singer-songwriters from Maryland Singer-songwriters from North Carolina Women organists 20th-century women composers American women in electronic music 20th-century American singers 21st-century American singers Singer-songwriters from Washington, D.C."],"string":"[\n \"Tori Amos (born Myra Ellen Amos; August 22, 1963) is an American singer-songwriter and pianist. She is a classically trained musician with a mezzo-soprano vocal range.\",\n \"She is a classically trained musician with a mezzo-soprano vocal range. Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted.\",\n \"Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted. She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \\\"musical insubordination\\\".\",\n \"She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \\\"musical insubordination\\\". Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s.\",\n \"Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s. Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion.\",\n \"Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion. Her charting singles include \\\"Crucify\\\", \\\"Silent All These Years\\\", \\\"God\\\", \\\"Cornflake Girl\\\", \\\"Caught a Lite Sneeze\\\", \\\"Professional Widow\\\", \\\"Spark\\\", \\\"1000 Oceans\\\", \\\"Flavor\\\" and \\\"A Sorta Fairytale\\\", her most commercially successful single in the U.S. to date.\",\n \"Her charting singles include \\\"Crucify\\\", \\\"Silent All These Years\\\", \\\"God\\\", \\\"Cornflake Girl\\\", \\\"Caught a Lite Sneeze\\\", \\\"Professional Widow\\\", \\\"Spark\\\", \\\"1000 Oceans\\\", \\\"Flavor\\\" and \\\"A Sorta Fairytale\\\", her most commercially successful single in the U.S. to date. Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album.\",\n \"Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album. She is listed on VH1's 1999 \\\"100 Greatest Women of Rock and Roll\\\" at number 71.\",\n \"She is listed on VH1's 1999 \\\"100 Greatest Women of Rock and Roll\\\" at number 71. Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos.\",\n \"Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos. She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity.\",\n \"She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity. When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C.\",\n \"When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C. Her older brother and sister took piano lessons, but Tori did not need them.\",\n \"Her older brother and sister took piano lessons, but Tori did not need them. From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs.\",\n \"From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs. She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music.\",\n \"She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music. She studied classical piano at Peabody from 1968 to 1974.\",\n \"She studied classical piano at Peabody from 1968 to 1974. In 1974, when she was eleven, her scholarship was discontinued, and she was asked to leave. Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music.\",\n \"Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music. In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church.\",\n \"In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church. At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father.\",\n \"At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father. Amos won a county teen talent contest in 1977, singing a song called \\\"More Than Just a Friend\\\".\",\n \"Amos won a county teen talent contest in 1977, singing a song called \\\"More Than Just a Friend\\\". As a senior at Richard Montgomery High School, she co-wrote \\\"Baltimore\\\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles.\",\n \"As a senior at Richard Montgomery High School, she co-wrote \\\"Baltimore\\\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles. The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \\\"Walking With You\\\".\",\n \"The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \\\"Walking With You\\\". Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast.\",\n \"Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast. Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers.\",\n \"Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers. Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released.\",\n \"Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released. Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her.\",\n \"Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her. In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area.\",\n \"In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area. In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading.\",\n \"In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading. In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber.\",\n \"In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber. The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time.\",\n \"The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time. Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released.\",\n \"Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released. Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \\\"The only good thing about that album is my ankle high boots.\\\"\",\n \"Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \\\"The only good thing about that album is my ankle high boots.\\\" Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist.\",\n \"Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist. She also recorded a song called \\\"Distant Storm\\\" for the film China O'Brien.\",\n \"She also recorded a song called \\\"Distant Storm\\\" for the film China O'Brien. In the credits, the song is attributed to a band called Tess Makes Good.\",\n \"In the credits, the song is attributed to a band called Tess Makes Good. 1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990.\",\n \"1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990. The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented.\",\n \"The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented. The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault.\",\n \"The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault. This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15.\",\n \"This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15. Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \\\"Silent All These Years\\\".\",\n \"Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \\\"Silent All These Years\\\". Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink.\",\n \"Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink. The album was received with mostly favorable reviews and sold enough copies to chart at No. 12 on the Billboard 200, a significantly higher position than the preceding album's position at No.\",\n \"12 on the Billboard 200, a significantly higher position than the preceding album's position at No. 54 on the same chart. However, the album found its biggest success in the UK, debuting at number one upon release in February 1994.\",\n \"However, the album found its biggest success in the UK, debuting at number one upon release in February 1994. 1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996.\",\n \"1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996. Prior to its release, the first single, \\\"Caught a Lite Sneeze\\\" became the first full song released for streaming online prior to an album's release.\",\n \"Prior to its release, the first single, \\\"Caught a Lite Sneeze\\\" became the first full song released for streaming online prior to an album's release. The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics.\",\n \"The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics. For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano.\",\n \"For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano. The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability.\",\n \"The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability. Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No.\",\n \"Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No. 2 on the UK Top 40 and No. 2 on the Billboard 200 upon its release.\",\n \"2 on the Billboard 200 upon its release. Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios.\",\n \"Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios. From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums.\",\n \"From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums. Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes.\",\n \"Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes. The underlying themes of both albums deal with womanhood and Amos's own miscarriages and marriage. Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality.\",\n \"Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality. Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week.\",\n \"Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week. To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download.\",\n \"To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download. 2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective.\",\n \"2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective. That became Strange Little Girls, released in September 2001.\",\n \"That became Strange Little Girls, released in September 2001. The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song.\",\n \"The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song. Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label.\",\n \"Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label. With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001.\",\n \"With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a \\\"sonic novel\\\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11.\",\n \"Described as a \\\"sonic novel\\\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny.\",\n \"Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA.\",\n \"Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA. Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003.\",\n \"Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group.\",\n \"Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline.\",\n \"Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline. 2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007).\",\n \"2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment.\",\n \"The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics.\",\n \"Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No.\",\n \"The album debuted at No. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts.\",\n \"5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it.\",\n \"While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the \\\"posse\\\") who are used as a theme of alter-egos of Amos's.\",\n \"American Doll Posse, another concept album, is fashioned around a group of girls (the \\\"posse\\\") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No.\",\n \"Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200.\",\n \"5 on the Billboard 200. 5 on the Billboard 200. During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records.\",\n \"During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records. 2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work.\",\n \"2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work. In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes.\",\n \"In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes. By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \\\"joint venture\\\" deal with Universal Republic Records.\",\n \"By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \\\"joint venture\\\" deal with Universal Republic Records. Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews.\",\n \"Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews. The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so.\",\n \"The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so. Abnormally Attracted to Sin, admitted Amos, is a \\\"personal album\\\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin.\",\n \"Abnormally Attracted to Sin, admitted Amos, is a \\\"personal album\\\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin. Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year.\",\n \"Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year. The album features reworked versions of traditional carols, as well as original songs written by Amos.\",\n \"The album features reworked versions of traditional carols, as well as original songs written by Amos. During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010.\",\n \"During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010. In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble.\",\n \"In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble. After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010.\",\n \"After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010. The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow.\",\n \"The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow. The set was released exclusively through her website and only 2000 copies were produced.\",\n \"The set was released exclusively through her website and only 2000 copies were produced. 2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group.\",\n \"2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group. Amos recorded the album with several musicians, including the Apollon Musagète string quartet.\",\n \"Amos recorded the album with several musicians, including the Apollon Musagète string quartet. To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra.\",\n \"To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra. The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon.\",\n \"The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon. On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists.\",\n \"On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists. In 2013, Amos collaborated with the Bullitts on the track \\\"Wait Until Tomorrow\\\" from their debut album, They Die by Dawn & Other Short Stories.\",\n \"In 2013, Amos collaborated with the Bullitts on the track \\\"Wait Until Tomorrow\\\" from their debut album, They Die by Dawn & Other Short Stories. She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \\\"return to contemporary music\\\".\",\n \"She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \\\"return to contemporary music\\\". September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott.\",\n \"September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott. It premiered at London's Royal National Theatre and ended in February 2014.\",\n \"It premiered at London's Royal National Theatre and ended in February 2014. The Light Princess and its lead actress, Rosalie Craig, were nominated for Best Musical and Best Musical Performance respectively at the Evening Standard Award. Craig won the Best Musical Performance category.\",\n \"Craig won the Best Musical Performance category. Amos's 14th studio album, Unrepentant Geraldines, was released on May 13, 2014, via Mercury Classics/Universal Music Classics in the US. Its first single, \\\"Trouble's Lament\\\", was released on March 28.\",\n \"Its first single, \\\"Trouble's Lament\\\", was released on March 28. The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014.\",\n \"The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014. In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House.\",\n \"In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House. According to a press release, Unrepentant Geraldines was a \\\"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years.\",\n \"According to a press release, Unrepentant Geraldines was a \\\"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years. [It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\\\"\",\n \"[It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\\\" The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics.\",\n \"The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics. Apart from the original cast performances, the recording also includes two songs from the musical (\\\"Highness in the Sky\\\" and \\\"Darkest Hour') performed by Amos.\",\n \"Apart from the original cast performances, the recording also includes two songs from the musical (\\\"Highness in the Sky\\\" and \\\"Darkest Hour') performed by Amos. 2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release.\",\n \"2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release. This follows the deluxe re-releases of her first two albums in 2015.\",\n \"This follows the deluxe re-releases of her first two albums in 2015. On September 8, 2017, Amos released Native Invader, accompanied by a world tour.\",\n \"On September 8, 2017, Amos released Native Invader, accompanied by a world tour. During the summer of 2017, Amos launched three songs from the album: \\\"Cloud Riders\\\", \\\"Up the Creek\\\" and \\\"Reindeer King\\\", the latter featuring string arrangements by John Philip Shenale.\",\n \"During the summer of 2017, Amos launched three songs from the album: \\\"Cloud Riders\\\", \\\"Up the Creek\\\" and \\\"Reindeer King\\\", the latter featuring string arrangements by John Philip Shenale. Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations.\",\n \"Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations. The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak.\",\n \"The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak. Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader.\",\n \"Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader. The album, released on September 8, 2017, has been presented in two formats: standard and deluxe.\",\n \"The album, released on September 8, 2017, has been presented in two formats: standard and deluxe. The standard version includes 13 songs, while the deluxe edition adds two extra songs to the tracklist: \\\"Upside Down 2\\\" and \\\"Russia\\\". Native Invader has been well received by most music critics upon release.\",\n \"Native Invader has been well received by most music critics upon release. The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \\\"generally favorable reviews\\\".\",\n \"The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \\\"generally favorable reviews\\\". On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl.\",\n \"On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl. The EP consists of four original songs and features her first work with bandmates Matt Chamberlain and Jon Evans since 2009. Amos recorded the EP remotely due to the impact of the COVID-19 pandemic.\",\n \"Amos recorded the EP remotely due to the impact of the COVID-19 pandemic. On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29.\",\n \"On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29. The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \\\"a universal story of going to rock bottom and renewing yourself all over again\\\".\",\n \"The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \\\"a universal story of going to rock bottom and renewing yourself all over again\\\". Amos will embark on a European tour in support of the album in 2022.\",\n \"Amos will embark on a European tour in support of the album in 2022. Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces.\",\n \"Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces. In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005).\",\n \"In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005). The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records.\",\n \"The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records. Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos.\",\n \"Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos. Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore.\",\n \"Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore. Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996).\",\n \"Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996). Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process.\",\n \"Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process. Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020.\",\n \"Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020. Personal life Amos married English sound engineer Mark Hawley on February 22, 1998. Their daughter was born in 2000.\",\n \"Their daughter was born in 2000. The family divides their time between Sewall's Point in Florida, US, and Bude, Cornwall in the UK. Amos' mother, Mary Ellen, died on May 11, 2019.\",\n \"Amos' mother, Mary Ellen, died on May 11, 2019. Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \\\"Tear in Your Hand\\\" and also in print interviews.\",\n \"Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \\\"Tear in Your Hand\\\" and also in print interviews. Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \\\"steal shamelessly from each other\\\".\",\n \"Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \\\"steal shamelessly from each other\\\". She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo.\",\n \"She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo. Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009.\",\n \"Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009. In 2019, Amos performed the British standard \\\"A Nightingale Sang in Berkeley Square\\\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett.\",\n \"In 2019, Amos performed the British standard \\\"A Nightingale Sang in Berkeley Square\\\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett. Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded.\",\n \"Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded. Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline.\",\n \"Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline. She was the first national spokesperson for the organization and has continued to be closely associated with RAINN.\",\n \"She was the first national spokesperson for the organization and has continued to be closely associated with RAINN. On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN.\",\n \"On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN. On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA.\",\n \"On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA. Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992.\",\n \"Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992. In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine.\",\n \"In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine. Her concerts are notable for their changing set lists from night to night. Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland.\",\n \"Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland. She performed solo with a Yamaha CP-70 unless the venue was able to provide a piano. The tour included 142 concerts around the globe.\",\n \"The tour included 142 concerts around the globe. Under the Pink Tour Amos's second world tour began on February 24, 1994 in Newcastle upon Tyne and ended on December 13, 1994 in Perth, Western Australia. Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \\\"Bells for Her\\\".\",\n \"Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \\\"Bells for Her\\\". The tour included 181 concerts. Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder.\",\n \"Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder. Amos performed each night on piano, harpsichord, and harmonium, with Steve Caton on guitar on some songs. The tour included 187 concerts.\",\n \"The tour included 187 concerts. The tour included 187 concerts. Plugged '98 Tour Amos's first band tour. Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass.\",\n \"Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass. The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts.\",\n \"The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts. 5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only.\",\n \"5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only. The first part of the tour was co-headlining with Alanis Morissette and featured the same band and equipment line-up as in 1998. Amos and the band continued for eight shows before Amos embarked on a series of solo shows.\",\n \"Amos and the band continued for eight shows before Amos embarked on a series of solo shows. The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts.\",\n \"The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts. Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996).\",\n \"Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996). It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented.\",\n \"It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented. Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months.\",\n \"Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months. It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts.\",\n \"It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts. On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton.\",\n \"On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton. The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening.\",\n \"The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening. The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts.\",\n \"The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts. The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album).\",\n \"The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album). Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes.\",\n \"Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes. The tour also encompassed Australia for the first time since 1994.\",\n \"The tour also encompassed Australia for the first time since 1994. Amos announced at a concert on this tour that she would never stop touring but would scale down the tours. Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles.\",\n \"Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles. The tour featured \\\"Tori's Piano Bar\\\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show.\",\n \"The tour featured \\\"Tori's Piano Bar\\\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show. One of the songs chosen was the Kylie Minogue hit \\\"Can't Get You Out of My Head\\\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public.\",\n \"One of the songs chosen was the Kylie Minogue hit \\\"Can't Get You Out of My Head\\\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public. Other songs performed by Amos include The Doors' \\\"People are Strange\\\", Depeche Mode's \\\"Personal Jesus\\\", Joni Mitchell's \\\"The Circle Game\\\", Madonna's \\\"Live to Tell\\\" and \\\"Like a Prayer\\\", Björk's \\\"Hyperballad\\\", Led Zeppelin's \\\"When the Levee Breaks\\\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \\\"And Dream of Sheep\\\" and Crowded House's \\\"Don't Dream It's Over\\\", dedicating it to drummer Paul Hester who had died a week before.\",\n \"Other songs performed by Amos include The Doors' \\\"People are Strange\\\", Depeche Mode's \\\"Personal Jesus\\\", Joni Mitchell's \\\"The Circle Game\\\", Madonna's \\\"Live to Tell\\\" and \\\"Like a Prayer\\\", Björk's \\\"Hyperballad\\\", Led Zeppelin's \\\"When the Levee Breaks\\\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \\\"And Dream of Sheep\\\" and Crowded House's \\\"Don't Dream It's Over\\\", dedicating it to drummer Paul Hester who had died a week before. The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs.\",\n \"The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs. American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band.\",\n \"American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band. Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards.\",\n \"Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards. The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles.\",\n \"The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles. Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show.\",\n \"Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show. The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series.\",\n \"The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series. Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard.\",\n \"Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard. The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009.\",\n \"The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009. A solo leg through Australia began in Melbourne on November 12, 2009 and ended in Brisbane on November 24, 2009. The entire tour featured 63 concerts.\",\n \"The entire tour featured 63 concerts. Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa.\",\n \"Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa. It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas.\",\n \"It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas. Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1.\",\n \"Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1. Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts.\",\n \"Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts. Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October.\",\n \"Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October. Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland.\",\n \"Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland. Awards and nominations {| class=\\\"wikitable sortable plainrowheaders\\\" |- ! scope=\\\"col\\\" | Award !\",\n \"scope=\\\"col\\\" | Award ! scope=\\\"col\\\" | Year ! scope=\\\"col\\\" | Nominee(s) ! scope=\\\"col\\\" | Category ! scope=\\\"col\\\" | Result ! scope=\\\"col\\\" class=\\\"unsortable\\\"| |- !\",\n \"scope=\\\"col\\\" class=\\\"unsortable\\\"| |- ! scope=\\\"row\\\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- !\",\n \"scope=\\\"row\\\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- ! scope=\\\"row\\\"|Critics' Choice Documentary Awards | 2016 | \\\"Flicker\\\" | Best Song in a Documentary | | |- !scope=\\\"row\\\"|ECHO Awards | 1995 | Herself | Best International Female | | |- !\",\n \"scope=\\\"row\\\"|Critics' Choice Documentary Awards | 2016 | \\\"Flicker\\\" | Best Song in a Documentary | | |- !scope=\\\"row\\\"|ECHO Awards | 1995 | Herself | Best International Female | | |- ! scope=\\\"row\\\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- !\",\n \"scope=\\\"row\\\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- ! scope=\\\"row\\\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- !\",\n \"scope=\\\"row\\\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- ! scope=\\\"row\\\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- !\",\n \"scope=\\\"row\\\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- ! scope=\\\"row\\\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- !\",\n \"scope=\\\"row\\\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- ! scope=\\\"row\\\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \\\"Raspberry Swirl\\\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \\\"Bliss\\\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \\\"Strange Little Girl\\\" | Best Female Rock Vocal Performance | |- !\",\n \"scope=\\\"row\\\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \\\"Raspberry Swirl\\\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \\\"Bliss\\\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \\\"Strange Little Girl\\\" | Best Female Rock Vocal Performance | |- ! scope=\\\"row\\\"|Hollywood Music in Media Awards | 2016 | \\\"Flicker\\\" | Best Original Song in a Documentary | | |- !\",\n \"scope=\\\"row\\\"|Hollywood Music in Media Awards | 2016 | \\\"Flicker\\\" | Best Original Song in a Documentary | | |- ! scope=\\\"row\\\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- !\",\n \"scope=\\\"row\\\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- ! scope=\\\"row\\\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- !\",\n \"scope=\\\"row\\\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- ! scope=\\\"row\\\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\\\"Silent All These Years\\\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- !\",\n \"scope=\\\"row\\\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\\\"Silent All These Years\\\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- ! scope=\\\"row\\\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- !\",\n \"scope=\\\"row\\\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- ! scope=\\\"row\\\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\\\"row\\\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- !\",\n \"scope=\\\"row\\\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\\\"row\\\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- ! scope=\\\"row\\\"|Q Awards | 1992 | Herself | Best New Act | | |- !\",\n \"scope=\\\"row\\\"|Q Awards | 1992 | Herself | Best New Act | | |- ! scope=\\\"row\\\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\\\"row\\\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony.\",\n \"scope=\\\"row\\\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\\\"row\\\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony. Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel.\",\n \"Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel. Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile.\",\n \"Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile. References Citations Works cited External links 1963 births 20th-century American composers 20th-century American keyboardists 20th-century American women pianists 20th-century American pianists 20th-century American women singers 21st-century American keyboardists 21st-century American women pianists 21st-century American pianists 21st-century American women singers Alternative rock keyboardists Alternative rock pianists Alternative rock singers American alternative rock musicians American expatriates in the Republic of Ireland American expatriates in the United Kingdom American women composers American women singer-songwriters American feminist writers American harpsichordists American mezzo-sopranos American organists American people who self-identify as being of Native American descent American pop pianists American rock pianists American women rock singers American rock songwriters Articles containing video clips Art rock musicians Atlantic Records artists Child classical musicians Clavichordists Deutsche Grammophon artists Electronica musicians Epic Records artists Feminist musicians Harmonium players Island Records artists Living people Montgomery College alumni Musicians from Baltimore Musicians from County Cork Musicians from Rockville, Maryland People from Georgetown (Washington, D.C.) People from Newton, North Carolina People from Sewall's Point, Florida Republic Records artists Sexual abuse victim advocates Singer-songwriters from Maryland Singer-songwriters from North Carolina Women organists 20th-century women composers American women in electronic music 20th-century American singers 21st-century American singers Singer-songwriters from Washington, D.C.\"\n]"}}},{"rowIdx":468,"cells":{"History":{"kind":"list like","value":["Tori Amos","The Epic Records years (2002-07)","Did Amos release any albums during these years?","In October 2002, Amos released Scarlet's Walk, another concept album.","Was the album successful?","strong debut at No. 7 on the Billboard 200."],"string":"[\n \"Tori Amos\",\n \"The Epic Records years (2002-07)\",\n \"Did Amos release any albums during these years?\",\n \"In October 2002, Amos released Scarlet's Walk, another concept album.\",\n \"Was the album successful?\",\n \"strong debut at No. 7 on the Billboard 200.\"\n]"},"QuAC_dialog_id":{"kind":"string","value":"C_f2c7f26de77949ff80c91a7bd337fb42_1"},"Question":{"kind":"string","value":"Did Amos release any albums after Scarlet's Walk?"},"Question_no":{"kind":"number","value":3,"string":"3"},"Rewrite":{"kind":"string","value":"Did Tori Amos release any albums after Scarlet's Walk?"},"true_page_title":{"kind":"string","value":"Tori Amos"},"true_contexts":{"kind":"string","value":"With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA. Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline. Amos would later hint in interviews that during the creation of her next album, those in charge at the label following the aforementioned merger were interested \"only in making money\", the effects of which on the album have not been disclosed. Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200. During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records. CANNOTANSWER"},"answer":{"kind":"string","value":"The Beekeeper (2005) and American Doll Posse (2007)."},"true_contexts_wiki":{"kind":"string","value":"Tori Amos (born Myra Ellen Amos; August 22, 1963) is an American singer-songwriter and pianist. She is a classically trained musician with a mezzo-soprano vocal range. Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted. She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \"musical insubordination\". Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s. Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion.\n\nHer charting singles include \"Crucify\", \"Silent All These Years\", \"God\", \"Cornflake Girl\", \"Caught a Lite Sneeze\", \"Professional Widow\", \"Spark\", \"1000 Oceans\", \"Flavor\" and \"A Sorta Fairytale\", her most commercially successful single in the U.S. to date. Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album. She is listed on VH1's 1999 \"100 Greatest Women of Rock and Roll\" at number 71.\n\nEarly life and education\nAmos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos. She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity.\n\nWhen she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C. Her older brother and sister took piano lessons, but Tori did not need them. From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs. She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia:\n\nAt five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music. She studied classical piano at Peabody from 1968 to 1974. In 1974, when she was eleven, her scholarship was discontinued, and she was asked to leave. Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music.\n\nIn 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church. At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father.\n\nAmos won a county teen talent contest in 1977, singing a song called \"More Than Just a Friend\". As a senior at Richard Montgomery High School, she co-wrote \"Baltimore\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles. The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \"Walking With You\". Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast.\n\nCareer\n\n1979–1989: Career beginnings and Y Kant Tori Read\nBy the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers. Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released. Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her.\n\nIn 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area.\n\nIn 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading. In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber. The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time. Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released. Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \"The only good thing about that album is my ankle high boots.\"\n\nFollowing the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist. She also recorded a song called \"Distant Storm\" for the film China O'Brien. In the credits, the song is attributed to a band called Tess Makes Good.\n\n1990–1995: Little Earthquakes and Under the Pink\n\nDespite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990. The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented. The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault. This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15. Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \"Silent All These Years\".\n\nAmos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink. The album was received with mostly favorable reviews and sold enough copies to chart at No. 12 on the Billboard 200, a significantly higher position than the preceding album's position at No. 54 on the same chart. However, the album found its biggest success in the UK, debuting at number one upon release in February 1994.\n\n1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back\n\nHer third solo album, Boys for Pele, was released in January 1996. Prior to its release, the first single, \"Caught a Lite Sneeze\" became the first full song released for streaming online prior to an album's release.\n\nThe album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics. For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano. The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability. Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No. 2 on the UK Top 40 and No. 2 on the Billboard 200 upon its release.\n\nFueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios.\n\nFrom the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums. Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes. The underlying themes of both albums deal with womanhood and Amos's own miscarriages and marriage. Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality. Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week. To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download.\n\n2001–2004: Strange Little Girls and Scarlet's Walk\nShortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective. That became Strange Little Girls, released in September 2001. The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song. Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label.\n\nWith her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA.\n\nNot long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline.\n\n2005–2008: The Beekeeper and American Doll Posse\n\nAmos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200.\n\nDuring her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records.\n\n2008–2011: Abnormally Attracted to Sin and Midwinter Graces\n\nIn May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work. In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes. By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \"joint venture\" deal with Universal Republic Records.\n\nAbnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews. The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so. Abnormally Attracted to Sin, admitted Amos, is a \"personal album\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin. Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year. The album features reworked versions of traditional carols, as well as original songs written by Amos.\n\nDuring her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010. In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble.\n\nAfter a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010. The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow. The set was released exclusively through her website and only 2000 copies were produced.\n\n2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines\nIn September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group. Amos recorded the album with several musicians, including the Apollon Musagète string quartet.\n\nTo mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra. The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon.\n\nOn May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists.\n\nIn 2013, Amos collaborated with the Bullitts on the track \"Wait Until Tomorrow\" from their debut album, They Die by Dawn & Other Short Stories. She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \"return to contemporary music\".\n\nSeptember 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott. It premiered at London's Royal National Theatre and ended in February 2014. The Light Princess and its lead actress, Rosalie Craig, were nominated for Best Musical and Best Musical Performance respectively at the Evening Standard Award. Craig won the Best Musical Performance category.\n\nAmos's 14th studio album, Unrepentant Geraldines, was released on May 13, 2014, via Mercury Classics/Universal Music Classics in the US. Its first single, \"Trouble's Lament\", was released on March 28. The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014. In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House.\n\nAccording to a press release, Unrepentant Geraldines was a \"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years. [It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\"\n\nThe 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics. Apart from the original cast performances, the recording also includes two songs from the musical (\"Highness in the Sky\" and \"Darkest Hour') performed by Amos.\n\n2016–present: Native Invader, Christmastide and Ocean to Ocean\n\nOn November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release. This follows the deluxe re-releases of her first two albums in 2015.\n\nOn September 8, 2017, Amos released Native Invader, accompanied by a world tour. During the summer of 2017, Amos launched three songs from the album: \"Cloud Riders\", \"Up the Creek\" and \"Reindeer King\", the latter featuring string arrangements by John Philip Shenale. Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations.\n\nThe initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak. Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader. The album, released on September 8, 2017, has been presented in two formats: standard and deluxe. The standard version includes 13 songs, while the deluxe edition adds two extra songs to the tracklist: \"Upside Down 2\" and \"Russia\". Native Invader has been well received by most music critics upon release. The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \"generally favorable reviews\".\n\nOn November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl. The EP consists of four original songs and features her first work with bandmates Matt Chamberlain and Jon Evans since 2009. Amos recorded the EP remotely due to the impact of the COVID-19 pandemic.\n\nOn September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29. The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \"a universal story of going to rock bottom and renewing yourself all over again\". Amos will embark on a European tour in support of the album in 2022. Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces.\n\nIn print\nReleased in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005). The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records.\n\nImage Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos. Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore.\n\nAdditionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996).\n\nTori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process.\n\nAmos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020.\n\nPersonal life\nAmos married English sound engineer Mark Hawley on February 22, 1998. Their daughter was born in 2000. The family divides their time between Sewall's Point in Florida, US, and Bude, Cornwall in the UK.\n\nAmos' mother, Mary Ellen, died on May 11, 2019.\n\nEarly in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \"Tear in Your Hand\" and also in print interviews. Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \"steal shamelessly from each other\". She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo. Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009. In 2019, Amos performed the British standard \"A Nightingale Sang in Berkeley Square\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett.\n\nActivism\nIn June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded. Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline. She was the first national spokesperson for the organization and has continued to be closely associated with RAINN. On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN. On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA.\n\nDiscography\n\nStudio albums\n Little Earthquakes (1992)\n Under the Pink (1994)\n Boys for Pele (1996)\n From the Choirgirl Hotel (1998)\n To Venus and Back (1999)\n Strange Little Girls (2001)\n Scarlet's Walk (2002)\n The Beekeeper (2005)\n American Doll Posse (2007)\n Abnormally Attracted to Sin (2009)\n Midwinter Graces (2009)\n Night of Hunters (2011)\n Gold Dust (2012)\n Unrepentant Geraldines (2014)\n Native Invader (2017)\n Ocean to Ocean (2021)\n\nTours\nAmos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992. In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine. Her concerts are notable for their changing set lists from night to night.\n\nLittle Earthquakes Tour\n Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland. She performed solo with a Yamaha CP-70 unless the venue was able to provide a piano. The tour included 142 concerts around the globe.\n\nUnder the Pink Tour\n Amos's second world tour began on February 24, 1994 in Newcastle upon Tyne and ended on December 13, 1994 in Perth, Western Australia. Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \"Bells for Her\". The tour included 181 concerts.\n\nDew Drop Inn Tour\n The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder. Amos performed each night on piano, harpsichord, and harmonium, with Steve Caton on guitar on some songs. The tour included 187 concerts.\n\nPlugged '98 Tour\n Amos's first band tour. Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass. The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts.\n\n5 ½ Weeks Tour / To Dallas and Back\n Amos's fifth tour was North America–only. The first part of the tour was co-headlining with Alanis Morissette and featured the same band and equipment line-up as in 1998. Amos and the band continued for eight shows before Amos embarked on a series of solo shows. The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts.\n\nStrange Little Tour\n This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996). It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented. Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months. It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts.\n\nOn Scarlet's Walk / Lottapianos Tour\n Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton. The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening. The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts. The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album).\n\nOriginal Sinsuality Tour / Summer of Sin\n This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes. The tour also encompassed Australia for the first time since 1994. Amos announced at a concert on this tour that she would never stop touring but would scale down the tours. Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles. The tour featured \"Tori's Piano Bar\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show. One of the songs chosen was the Kylie Minogue hit \"Can't Get You Out of My Head\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public. Other songs performed by Amos include The Doors' \"People are Strange\", Depeche Mode's \"Personal Jesus\", Joni Mitchell's \"The Circle Game\", Madonna's \"Live to Tell\" and \"Like a Prayer\", Björk's \"Hyperballad\", Led Zeppelin's \"When the Levee Breaks\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \"And Dream of Sheep\" and Crowded House's \"Don't Dream It's Over\", dedicating it to drummer Paul Hester who had died a week before. The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs.\n\nAmerican Doll Posse World Tour\n This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band. Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards. The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles. Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show. The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series.\n\nSinful Attraction Tour\n For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard. The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009. A solo leg through Australia began in Melbourne on November 12, 2009 and ended in Brisbane on November 24, 2009. The entire tour featured 63 concerts.\n\nNight of Hunters tour\n Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa. It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas.\n\nGold Dust Orchestral Tour\n Amos began her 2012 tour in Rotterdam on October 1.\n\nUnrepentant Geraldines Tour\n Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts.\n\nNative Invader Tour\n Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October.\n\nOcean to Ocean Tour\n Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland.\n\nAwards and nominations \n{| class=\"wikitable sortable plainrowheaders\"\n|-\n! scope=\"col\" | Award\n! scope=\"col\" | Year\n! scope=\"col\" | Nominee(s)\n! scope=\"col\" | Category\n! scope=\"col\" | Result\n! scope=\"col\" class=\"unsortable\"| \n|-\n! scope=\"row\" rowspan=3|Brit Awards\n| rowspan=2|1993\n| rowspan=3|Herself\n| International Breakthrough Act\n| \n| rowspan=2|\n|-\n| International Solo Artist\n| \n|-\n| 1995\n| International Female Solo Artist\n| \n|\n|-\n! scope=\"row\"|Critics' Choice Documentary Awards\n| 2016\n| \"Flicker\"\n| Best Song in a Documentary\n| \n| \n|-\n!scope=\"row\"|ECHO Awards\n| 1995\n| Herself\n| Best International Female\n| \n|\n|-\n! scope=\"row\"|ECHO Klassik Awards\n| rowspan=1|2012\n| Night of Hunters\n| The Klassik-ohne-Grenzen Prize\n| \n|\n|-\n! scope=\"row\" rowspan=4|GAFFA Awards\n| 2000\n| rowspan=3|Herself\n| rowspan=2|Best Foreign Female Act\n| \n| rowspan=2|\n|-\n| 2003\n| \n|-\n| rowspan=2|2022\n| Best Foreign Solo Act\n| \n| \n|-\n| Ocean to Ocean\n| Best Foreign Album\n| \n|-\n! scope=\"row\"|George Peabody Medal\n| 2019\n| Herself\n| Outstanding Contributions to Music \n| \n|\n|-\n! scope=\"row\"|Glamour Awards\n| 1998\n| Herself\n| Woman of the Year\n| \n|\n|-\n! scope=\"row\" rowspan=8|Grammy Awards\n| 1995\n| Under the Pink\n| rowspan=3|Best Alternative Music Album\n| \n| rowspan=8|\n|-\n| 1997\n| Boys for Pele\n| \n|-\n| rowspan=2|1999\n| From the Choirgirl Hotel\n| \n|-\n| \"Raspberry Swirl\"\n| rowspan=2|Best Female Rock Vocal Performance\n| \n|-\n| rowspan=2|2000\n| \"Bliss\"\n| \n|-\n| To Venus and Back\n| rowspan=2|Best Alternative Music Album\n| \n|-\n| rowspan=2|2002\n| Strange Little Girls\n| \n|-\n| \"Strange Little Girl\"\n| Best Female Rock Vocal Performance\n| \n|-\n! scope=\"row\"|Hollywood Music in Media Awards\n| 2016\n| \"Flicker\"\n| Best Original Song in a Documentary\n| \n|\n|-\n! scope=\"row\"|Hungarian Music Awards\n| 2010\n| Abnormally Attracted to Sin\n| Best Foreign Alternative Album\n| \n| \n|-\n! scope=\"row\"|MTV Europe Music Awards\n| 1994\n| Herself\n| Best Female\n| \n|\n|-\n! scope=\"row\" rowspan=4|MTV Video Music Awards\n| rowspan=4|1992\n| rowspan=4|\"Silent All These Years\"\n| Best Female Video\n| \n|rowspan=4|\n|-\n| Best New Artist in a Video\n| \n|-\n| Breakthrough Video\n| \n|-\n| Best Cinematography in a Video\n| \n|-\n! scope=\"row\"|NME Awards\n| 2016\n| Under the Pink\n| Best Reissue\n| \n|\n|-\n! scope=\"row\"|North Carolina Music Hall of Fame\n| 2012\n| Herself\n| Inducted\n| \n|\n|-\n!scope=\"row\" rowspan=5|Pollstar Concert Industry Awards\n| rowspan=2|1993\n| rowspan=2|Little Earthquakes Tour\n| Best New Rock Artist\n| \n| rowspan=2|\n|-\n| Club Tour Of The Year\n| \n|-\n| 1995\n| Under the Pink Tour\n| rowspan=3|Small Hall Tour Of The Year\n| \n| \n|-\n| 1997\n| Dew Drop Inn Tour\n| \n| \n|-\n| 1999\n| 5 ½ Weeks Tour\n| \n| \n|-\n! scope=\"row\"|Q Awards\n| 1992\n| Herself\n| Best New Act\n| \n|\n|-\n! scope=\"row\" rowspan=2|WhatsOnStage Awards\n| rowspan=2|2014\n| rowspan=2|The Light Princess\n| Best New Musical\n| \n| rowspan=2|\n|-\n| Best London Newcomer of the Year\n| \n|-\n!scope=\"row\"|Žebřík Music Awards\n| 2001\n| Herself\n| Best International Female\n| \n| \n\n1999: Spin Readers' Poll Awards (Won)\n\nOn May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony. Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel.\n\nFilm appearances\nTori appears as a wedding singer in the film Mona Lisa Smile.\n\nReferences\n\nCitations\n\nWorks cited\n\nExternal links\n\n \n \n \n\n \n1963 births\n20th-century American composers\n20th-century American keyboardists\n20th-century American women pianists\n20th-century American pianists\n20th-century American women singers\n21st-century American keyboardists\n21st-century American women pianists\n21st-century American pianists\n21st-century American women singers\nAlternative rock keyboardists\nAlternative rock pianists\nAlternative rock singers\nAmerican alternative rock musicians\nAmerican expatriates in the Republic of Ireland\nAmerican expatriates in the United Kingdom\nAmerican women composers\nAmerican women singer-songwriters\nAmerican feminist writers\nAmerican harpsichordists\nAmerican mezzo-sopranos\nAmerican organists\nAmerican people who self-identify as being of Native American descent\nAmerican pop pianists\nAmerican rock pianists\nAmerican women rock singers\nAmerican rock songwriters\nArticles containing video clips\nArt rock musicians\nAtlantic Records artists\nChild classical musicians\nClavichordists\nDeutsche Grammophon artists\nElectronica musicians\nEpic Records artists\nFeminist musicians\nHarmonium players\nIsland Records artists\nLiving people\nMontgomery College alumni\nMusicians from Baltimore\nMusicians from County Cork\nMusicians from Rockville, Maryland\nPeople from Georgetown (Washington, D.C.)\nPeople from Newton, North Carolina\nPeople from Sewall's Point, Florida\nRepublic Records artists\nSexual abuse victim advocates\nSinger-songwriters from Maryland\nSinger-songwriters from North Carolina\nWomen organists\n20th-century women composers\nAmerican women in electronic music\n20th-century American singers\n21st-century American singers\nSinger-songwriters from Washington, D.C."},"extractive":{"kind":"string","value":"true"},"retrieved_contexts":{"kind":"list like","value":["Scarlet's Walk is the seventh studio album released by Tori Amos. The 18-track concept album details the cross-country travels of Scarlet, a character loosely based on Amos, as well as the concept of America post–September 11, 2001. The album was the first released by Amos on Epic Records after her split with former label Atlantic Records. After a period of trouble with her last label, Amos proved her fan base was still with her when the album debuted at number 7 in the US, selling 107,000 copies in its first week, and reaching RIAA Gold status about a month after its release.\n\nTheme description\nAccording to author Neil Gaiman, \"The CD's about America — it's a story that's also a journey, that begins in LA and crosses the country, slowly heading east. America's in there, and specific places and things, Native American history and pornography and a girl on a plane who'll never get to New York, and Oliver Stone and Andrew Jackson and madness and a lot more. Not to mention a girl called Scarlet who may be the land and may be a person and may be a trail of blood.\" The song \"Amber Waves\" is named after Julianne Moore's character in Boogie Nights.\n\nCritical reception\n\nKludge magazine included Scarlet's Walk on their list of best albums of 2002.\n\nTrack listing\n\nNotes\n Polaroids\n Commentary by Amos on Gold Dust and A Sorta Fairytale videos.\n\nSingles and B-sides\n\nSingles\nThe first single from the album was the track \"A Sorta Fairytale\" (released September 2002), which proved to be one of Amos's more successful singles, landing her in the US Top 10 Adult Contemporary chart. A commercial single was also released in the UK with a B-side entitled \"Operation Peter Pan\", based on the Cuban Missile Crisis of 1962. This served as the last commercial CD single of Amos's career to date.\n\n\"Taxi Ride\", a partial homage to the late make-up artist Kevyn Aucoin, a friend of Amos's who died in May 2002, served as the second single from the album. An on-line contest was held asking fans to direct and submit a music video for the song. The song reached the Top 40 Adult Contemporary chart in the US. The third single, \"Strange\", was released to radio in a redone version that was given a Country and Western feel with twangy guitars and additional vocals. A Timo Maas dance remix of \"Don't Make Me Come to Vegas\" served as the fourth single continued Amos's fortunes on the dance charts. Of the last three singles, only the latter was released commercially, exclusively on a 12\" vinyl single in the US.\n\nB-sides\nThe album, as with most of Amos's albums, is also known for its collection of original B-sides. Amos recorded a host of songs that did not make the album, but were released as B-sides to various singles or performed live in concerts.\n\nPersonnel\nTori Amos - Bösendorfer piano, Rhodes, Wurlitzer, ARP, vocals \nDavid Torn, Mac Aladdin, Robbie McIntosh - guitar\nJon Evans - bass\nMatt Chamberlain - drums, percussion\nSinfonia of London - strings\nJohn Philip Shenale - string arrangements\nDavid Firman - conductor\nPeter Willison - director of strings\n\nRelease history\nIn addition to the standard CD release, a limited edition of Scarlet’s Walk was released in a special box set containing the album, a bonus DVD, a map detailing Scarlet's journey, stickers, a bracelet-charm and mock Polaroid postcards. The album also provided entry to \"Scarlet's Web\" a web site that was the sole source for special concert ticket offers, photos, merchandise, and unreleased B-side tracks. The elaborate packaging of the limited edition version of the album garnered Amos a Grammy nomination. The UK limited edition did not include a charm bracelet as The Official Charts Company declared it would have been an unfair incentive to purchase the album, otherwise sales of the record would not have been chart eligible.\n\nIn an attempt to prevent Internet trading of the album, Amos, in conjunction with her husband and crew, used glue to bind closed portable CD players containing the album. These were then distributed to the press on the understanding that they would be returned within forty-eight hours. If an attempt was made to open the player, both it and the disc inside would shatter. The success of this attempt was so great that the record industry began to follow suit. As an additional incentive to buy the album rather than download its contents illicitly, the CD also served as a key to access \"Scarlet's Web\", a website which featured several songs (\"Tombigbee\", \"Seaside\", \"Mountain\") as well as various photographs and journal entries that were not available elsewhere.\n\nCharts\n\nWeekly charts\n\nSingles\n\n Billboard Hot Single Sales chart/ 2003 *\n\n∞ - Denotes position on Billboard Bubbling Under Hot 100 Singles\n\nCertifications\n\nReferences\n\nExternal links\n\nTori Amos albums\n2002 albums\nEpic Records albums\nConcept albums","\"Taxi Ride\" is a song by American recording artist Tori Amos from her seventh studio album Scarlet's Walk (2002). The song was released as the album's second single in January 2003. It was written, composed and produced by Amos. The song is a folk pop track, which features instrumentation of electric guitars, drums, bongos, and acoustic guitar. The track was her second offering after departing from Atlantic Records and signed with Epic Records.\n\n\"Taxi Ride\" received positive reviews from music critics, who complimented the song's production and lyrical delivery. The song charted at thirty-five on the Adult Top 40 and Radio & Records chart in the US. Amos has performed the song on several tours she has commissioned.\n\nBackground\nTori Amos' track \"Taxi Ride\" appears on her seventh studio album, Scarlet's Walk (2002). In September 2001, Amos released her first concept album Strange Little Girls. Motherhood inspired Amos to produce a cover album, recording songs written by men about women and reversing the gender roles to show a woman's perspective. Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them new original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label. Nevertheless, Strange Little Girls received mostly favorable reviews from music critics, some who complimented the idea of twisting the male perspective into female views and the composition, while some dismissed this. It sold over 110,000 units in its first week in the US, reaching number four on the Billboard 200.\n\nAfter leaving Atlantic, she signed to Epic Records to record the Scarlet's Walk album. However, Epic's President Polly Anthony announced her resignation that would be fulfilled in early 2003. Amos personally liked Anthony and was the reason why she signed to the label, so Amos formed Bridge Entertainment Group. However, Epic and Sony Music Entertainment merged with BMG as a result to the industry's sales decline. Despite this, Amos carried on recording the album. Scarlet's Walk was released in October 2002. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. It reached number seven on the Billboard 200 and was certified gold by the Recording Industry Association of America (RIAA).\n\nComposition\nWritten, composed and produced by Amos, \"Taxi Ride\" is a folk pop song. According to the music sheet at Musicnotes.com, \"Taxi Ride\" is set in the key of F minor. Performed in a moderately slow rhythmic pace of 80 beats per minute, Amos' vocals range span from F3 to E5. Lyrically, \"Taxi Ride\" is about the death of Amos' make-up artist and friend Kevyn Aucoin, who died of kidney and liver failure as a result of Acetaminophen toxicity in May 2002.\n\nAmos commented extensively about the lyrical content on the Scarlet Selections;\n\nRelease\n\"Taxi Ride\" was released as the second single by Epic from Scarlet's Walk. It was released as a promotional CD single in Europe, which contained the radio edit of the track. The cover artwork features a black-and-white image of Amos, surrounded by an orange-and-white border. A promotional CD was released in Poland by Sony Music Entertainment Polska, which featured the album version of \"Taxi Ride\".\n\nReception\n\"Taxi Ride\" received mostly positive reviews from music critics. Greg Fasolino and Michael Zwirn from Trouser Press highlighted \"Taxi Ride\" and Scarlet's Walk tracks \"Another Girl's Paradise\" and \"Don't Make Me Come to Vegas\" as good tracks. They commented “This is her strongest work since Boys for Pele, and one of the best albums of her career.” Stephen Thomas Erlewine from Allmusic highlighted the song as an album stand out. Rolling Stone's editor Greg Kot complimented the lyrical content for being fun, highlighting the line \"Even a glamorous bitch can be in need. Slant Magazine's Sal Cinquemani had cited \"Taxi Ride\" as the album's best track.\n\nTrack listing\nPromo-only single\n \"Taxi Ride\" (radio edit) – 3:56\n\nChart performance\n\nReferences\n\nTori Amos songs\n2003 singles\nEpic Records singles\nLGBT-related songs"],"string":"[\n \"Scarlet's Walk is the seventh studio album released by Tori Amos. The 18-track concept album details the cross-country travels of Scarlet, a character loosely based on Amos, as well as the concept of America post–September 11, 2001. The album was the first released by Amos on Epic Records after her split with former label Atlantic Records. After a period of trouble with her last label, Amos proved her fan base was still with her when the album debuted at number 7 in the US, selling 107,000 copies in its first week, and reaching RIAA Gold status about a month after its release.\\n\\nTheme description\\nAccording to author Neil Gaiman, \\\"The CD's about America — it's a story that's also a journey, that begins in LA and crosses the country, slowly heading east. America's in there, and specific places and things, Native American history and pornography and a girl on a plane who'll never get to New York, and Oliver Stone and Andrew Jackson and madness and a lot more. Not to mention a girl called Scarlet who may be the land and may be a person and may be a trail of blood.\\\" The song \\\"Amber Waves\\\" is named after Julianne Moore's character in Boogie Nights.\\n\\nCritical reception\\n\\nKludge magazine included Scarlet's Walk on their list of best albums of 2002.\\n\\nTrack listing\\n\\nNotes\\n Polaroids\\n Commentary by Amos on Gold Dust and A Sorta Fairytale videos.\\n\\nSingles and B-sides\\n\\nSingles\\nThe first single from the album was the track \\\"A Sorta Fairytale\\\" (released September 2002), which proved to be one of Amos's more successful singles, landing her in the US Top 10 Adult Contemporary chart. A commercial single was also released in the UK with a B-side entitled \\\"Operation Peter Pan\\\", based on the Cuban Missile Crisis of 1962. This served as the last commercial CD single of Amos's career to date.\\n\\n\\\"Taxi Ride\\\", a partial homage to the late make-up artist Kevyn Aucoin, a friend of Amos's who died in May 2002, served as the second single from the album. An on-line contest was held asking fans to direct and submit a music video for the song. The song reached the Top 40 Adult Contemporary chart in the US. The third single, \\\"Strange\\\", was released to radio in a redone version that was given a Country and Western feel with twangy guitars and additional vocals. A Timo Maas dance remix of \\\"Don't Make Me Come to Vegas\\\" served as the fourth single continued Amos's fortunes on the dance charts. Of the last three singles, only the latter was released commercially, exclusively on a 12\\\" vinyl single in the US.\\n\\nB-sides\\nThe album, as with most of Amos's albums, is also known for its collection of original B-sides. Amos recorded a host of songs that did not make the album, but were released as B-sides to various singles or performed live in concerts.\\n\\nPersonnel\\nTori Amos - Bösendorfer piano, Rhodes, Wurlitzer, ARP, vocals \\nDavid Torn, Mac Aladdin, Robbie McIntosh - guitar\\nJon Evans - bass\\nMatt Chamberlain - drums, percussion\\nSinfonia of London - strings\\nJohn Philip Shenale - string arrangements\\nDavid Firman - conductor\\nPeter Willison - director of strings\\n\\nRelease history\\nIn addition to the standard CD release, a limited edition of Scarlet’s Walk was released in a special box set containing the album, a bonus DVD, a map detailing Scarlet's journey, stickers, a bracelet-charm and mock Polaroid postcards. The album also provided entry to \\\"Scarlet's Web\\\" a web site that was the sole source for special concert ticket offers, photos, merchandise, and unreleased B-side tracks. The elaborate packaging of the limited edition version of the album garnered Amos a Grammy nomination. The UK limited edition did not include a charm bracelet as The Official Charts Company declared it would have been an unfair incentive to purchase the album, otherwise sales of the record would not have been chart eligible.\\n\\nIn an attempt to prevent Internet trading of the album, Amos, in conjunction with her husband and crew, used glue to bind closed portable CD players containing the album. These were then distributed to the press on the understanding that they would be returned within forty-eight hours. If an attempt was made to open the player, both it and the disc inside would shatter. The success of this attempt was so great that the record industry began to follow suit. As an additional incentive to buy the album rather than download its contents illicitly, the CD also served as a key to access \\\"Scarlet's Web\\\", a website which featured several songs (\\\"Tombigbee\\\", \\\"Seaside\\\", \\\"Mountain\\\") as well as various photographs and journal entries that were not available elsewhere.\\n\\nCharts\\n\\nWeekly charts\\n\\nSingles\\n\\n Billboard Hot Single Sales chart/ 2003 *\\n\\n∞ - Denotes position on Billboard Bubbling Under Hot 100 Singles\\n\\nCertifications\\n\\nReferences\\n\\nExternal links\\n\\nTori Amos albums\\n2002 albums\\nEpic Records albums\\nConcept albums\",\n \"\\\"Taxi Ride\\\" is a song by American recording artist Tori Amos from her seventh studio album Scarlet's Walk (2002). The song was released as the album's second single in January 2003. It was written, composed and produced by Amos. The song is a folk pop track, which features instrumentation of electric guitars, drums, bongos, and acoustic guitar. The track was her second offering after departing from Atlantic Records and signed with Epic Records.\\n\\n\\\"Taxi Ride\\\" received positive reviews from music critics, who complimented the song's production and lyrical delivery. The song charted at thirty-five on the Adult Top 40 and Radio & Records chart in the US. Amos has performed the song on several tours she has commissioned.\\n\\nBackground\\nTori Amos' track \\\"Taxi Ride\\\" appears on her seventh studio album, Scarlet's Walk (2002). In September 2001, Amos released her first concept album Strange Little Girls. Motherhood inspired Amos to produce a cover album, recording songs written by men about women and reversing the gender roles to show a woman's perspective. Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them new original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label. Nevertheless, Strange Little Girls received mostly favorable reviews from music critics, some who complimented the idea of twisting the male perspective into female views and the composition, while some dismissed this. It sold over 110,000 units in its first week in the US, reaching number four on the Billboard 200.\\n\\nAfter leaving Atlantic, she signed to Epic Records to record the Scarlet's Walk album. However, Epic's President Polly Anthony announced her resignation that would be fulfilled in early 2003. Amos personally liked Anthony and was the reason why she signed to the label, so Amos formed Bridge Entertainment Group. However, Epic and Sony Music Entertainment merged with BMG as a result to the industry's sales decline. Despite this, Amos carried on recording the album. Scarlet's Walk was released in October 2002. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. It reached number seven on the Billboard 200 and was certified gold by the Recording Industry Association of America (RIAA).\\n\\nComposition\\nWritten, composed and produced by Amos, \\\"Taxi Ride\\\" is a folk pop song. According to the music sheet at Musicnotes.com, \\\"Taxi Ride\\\" is set in the key of F minor. Performed in a moderately slow rhythmic pace of 80 beats per minute, Amos' vocals range span from F3 to E5. Lyrically, \\\"Taxi Ride\\\" is about the death of Amos' make-up artist and friend Kevyn Aucoin, who died of kidney and liver failure as a result of Acetaminophen toxicity in May 2002.\\n\\nAmos commented extensively about the lyrical content on the Scarlet Selections;\\n\\nRelease\\n\\\"Taxi Ride\\\" was released as the second single by Epic from Scarlet's Walk. It was released as a promotional CD single in Europe, which contained the radio edit of the track. The cover artwork features a black-and-white image of Amos, surrounded by an orange-and-white border. A promotional CD was released in Poland by Sony Music Entertainment Polska, which featured the album version of \\\"Taxi Ride\\\".\\n\\nReception\\n\\\"Taxi Ride\\\" received mostly positive reviews from music critics. Greg Fasolino and Michael Zwirn from Trouser Press highlighted \\\"Taxi Ride\\\" and Scarlet's Walk tracks \\\"Another Girl's Paradise\\\" and \\\"Don't Make Me Come to Vegas\\\" as good tracks. They commented “This is her strongest work since Boys for Pele, and one of the best albums of her career.” Stephen Thomas Erlewine from Allmusic highlighted the song as an album stand out. Rolling Stone's editor Greg Kot complimented the lyrical content for being fun, highlighting the line \\\"Even a glamorous bitch can be in need. Slant Magazine's Sal Cinquemani had cited \\\"Taxi Ride\\\" as the album's best track.\\n\\nTrack listing\\nPromo-only single\\n \\\"Taxi Ride\\\" (radio edit) – 3:56\\n\\nChart performance\\n\\nReferences\\n\\nTori Amos songs\\n2003 singles\\nEpic Records singles\\nLGBT-related songs\"\n]"},"chunked_article":{"kind":"list like","value":["Tori Amos (born Myra Ellen Amos; August 22, 1963) is an American singer-songwriter and pianist. She is a classically trained musician with a mezzo-soprano vocal range.","She is a classically trained musician with a mezzo-soprano vocal range. Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted.","Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted. She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \"musical insubordination\".","She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \"musical insubordination\". Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s.","Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s. Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion.","Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion. Her charting singles include \"Crucify\", \"Silent All These Years\", \"God\", \"Cornflake Girl\", \"Caught a Lite Sneeze\", \"Professional Widow\", \"Spark\", \"1000 Oceans\", \"Flavor\" and \"A Sorta Fairytale\", her most commercially successful single in the U.S. to date.","Her charting singles include \"Crucify\", \"Silent All These Years\", \"God\", \"Cornflake Girl\", \"Caught a Lite Sneeze\", \"Professional Widow\", \"Spark\", \"1000 Oceans\", \"Flavor\" and \"A Sorta Fairytale\", her most commercially successful single in the U.S. to date. Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album.","Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album. She is listed on VH1's 1999 \"100 Greatest Women of Rock and Roll\" at number 71.","She is listed on VH1's 1999 \"100 Greatest Women of Rock and Roll\" at number 71. Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos.","Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos. She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity.","She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity. When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C.","When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C. Her older brother and sister took piano lessons, but Tori did not need them.","Her older brother and sister took piano lessons, but Tori did not need them. From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs.","From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs. She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music.","She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music. She studied classical piano at Peabody from 1968 to 1974.","She studied classical piano at Peabody from 1968 to 1974. In 1974, when she was eleven, her scholarship was discontinued, and she was asked to leave. Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music.","Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music. In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church.","In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church. At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father.","At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father. Amos won a county teen talent contest in 1977, singing a song called \"More Than Just a Friend\".","Amos won a county teen talent contest in 1977, singing a song called \"More Than Just a Friend\". As a senior at Richard Montgomery High School, she co-wrote \"Baltimore\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles.","As a senior at Richard Montgomery High School, she co-wrote \"Baltimore\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles. The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \"Walking With You\".","The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \"Walking With You\". Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast.","Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast. Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers.","Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers. Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released.","Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released. Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her.","Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her. In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area.","In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area. In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading.","In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading. In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber.","In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber. The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time.","The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time. Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released.","Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released. Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \"The only good thing about that album is my ankle high boots.\"","Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \"The only good thing about that album is my ankle high boots.\" Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist.","Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist. She also recorded a song called \"Distant Storm\" for the film China O'Brien.","She also recorded a song called \"Distant Storm\" for the film China O'Brien. In the credits, the song is attributed to a band called Tess Makes Good.","In the credits, the song is attributed to a band called Tess Makes Good. 1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990.","1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990. The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented.","The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented. The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault.","The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault. This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15.","This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15. Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \"Silent All These Years\".","Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \"Silent All These Years\". Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink.","Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink. The album was received with mostly favorable reviews and sold enough copies to chart at No. 12 on the Billboard 200, a significantly higher position than the preceding album's position at No.","12 on the Billboard 200, a significantly higher position than the preceding album's position at No. 54 on the same chart. However, the album found its biggest success in the UK, debuting at number one upon release in February 1994.","However, the album found its biggest success in the UK, debuting at number one upon release in February 1994. 1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996.","1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996. Prior to its release, the first single, \"Caught a Lite Sneeze\" became the first full song released for streaming online prior to an album's release.","Prior to its release, the first single, \"Caught a Lite Sneeze\" became the first full song released for streaming online prior to an album's release. The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics.","The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics. For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano.","For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano. The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability.","The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability. Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No.","Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No. 2 on the UK Top 40 and No. 2 on the Billboard 200 upon its release.","2 on the Billboard 200 upon its release. Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios.","Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios. From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums.","From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums. Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes.","Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes. The underlying themes of both albums deal with womanhood and Amos's own miscarriages and marriage. Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality.","Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality. Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week.","Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week. To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download.","To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download. 2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective.","2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective. That became Strange Little Girls, released in September 2001.","That became Strange Little Girls, released in September 2001. The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song.","The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song. Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label.","Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label. With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001.","With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11.","Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny.","Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA.","Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA. Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003.","Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group.","Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline.","Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline. 2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007).","2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment.","The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics.","Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No.","The album debuted at No. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts.","5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it.","While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's.","American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No.","Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200.","5 on the Billboard 200. 5 on the Billboard 200. During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records.","During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records. 2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work.","2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work. In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes.","In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes. By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \"joint venture\" deal with Universal Republic Records.","By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \"joint venture\" deal with Universal Republic Records. Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews.","Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews. The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so.","The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so. Abnormally Attracted to Sin, admitted Amos, is a \"personal album\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin.","Abnormally Attracted to Sin, admitted Amos, is a \"personal album\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin. Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year.","Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year. The album features reworked versions of traditional carols, as well as original songs written by Amos.","The album features reworked versions of traditional carols, as well as original songs written by Amos. During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010.","During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010. In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble.","In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble. After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010.","After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010. The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow.","The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow. The set was released exclusively through her website and only 2000 copies were produced.","The set was released exclusively through her website and only 2000 copies were produced. 2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group.","2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group. Amos recorded the album with several musicians, including the Apollon Musagète string quartet.","Amos recorded the album with several musicians, including the Apollon Musagète string quartet. To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra.","To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra. The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon.","The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon. On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists.","On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists. In 2013, Amos collaborated with the Bullitts on the track \"Wait Until Tomorrow\" from their debut album, They Die by Dawn & Other Short Stories.","In 2013, Amos collaborated with the Bullitts on the track \"Wait Until Tomorrow\" from their debut album, They Die by Dawn & Other Short Stories. She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \"return to contemporary music\".","She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \"return to contemporary music\". September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott.","September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott. It premiered at London's Royal National Theatre and ended in February 2014.","It premiered at London's Royal National Theatre and ended in February 2014. The Light Princess and its lead actress, Rosalie Craig, were nominated for Best Musical and Best Musical Performance respectively at the Evening Standard Award. Craig won the Best Musical Performance category.","Craig won the Best Musical Performance category. Amos's 14th studio album, Unrepentant Geraldines, was released on May 13, 2014, via Mercury Classics/Universal Music Classics in the US. Its first single, \"Trouble's Lament\", was released on March 28.","Its first single, \"Trouble's Lament\", was released on March 28. The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014.","The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014. In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House.","In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House. According to a press release, Unrepentant Geraldines was a \"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years.","According to a press release, Unrepentant Geraldines was a \"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years. [It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\"","[It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\" The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics.","The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics. Apart from the original cast performances, the recording also includes two songs from the musical (\"Highness in the Sky\" and \"Darkest Hour') performed by Amos.","Apart from the original cast performances, the recording also includes two songs from the musical (\"Highness in the Sky\" and \"Darkest Hour') performed by Amos. 2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release.","2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release. This follows the deluxe re-releases of her first two albums in 2015.","This follows the deluxe re-releases of her first two albums in 2015. On September 8, 2017, Amos released Native Invader, accompanied by a world tour.","On September 8, 2017, Amos released Native Invader, accompanied by a world tour. During the summer of 2017, Amos launched three songs from the album: \"Cloud Riders\", \"Up the Creek\" and \"Reindeer King\", the latter featuring string arrangements by John Philip Shenale.","During the summer of 2017, Amos launched three songs from the album: \"Cloud Riders\", \"Up the Creek\" and \"Reindeer King\", the latter featuring string arrangements by John Philip Shenale. Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations.","Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations. The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak.","The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak. Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader.","Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader. The album, released on September 8, 2017, has been presented in two formats: standard and deluxe.","The album, released on September 8, 2017, has been presented in two formats: standard and deluxe. The standard version includes 13 songs, while the deluxe edition adds two extra songs to the tracklist: \"Upside Down 2\" and \"Russia\". Native Invader has been well received by most music critics upon release.","Native Invader has been well received by most music critics upon release. The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \"generally favorable reviews\".","The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \"generally favorable reviews\". On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl.","On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl. The EP consists of four original songs and features her first work with bandmates Matt Chamberlain and Jon Evans since 2009. Amos recorded the EP remotely due to the impact of the COVID-19 pandemic.","Amos recorded the EP remotely due to the impact of the COVID-19 pandemic. On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29.","On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29. The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \"a universal story of going to rock bottom and renewing yourself all over again\".","The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \"a universal story of going to rock bottom and renewing yourself all over again\". Amos will embark on a European tour in support of the album in 2022.","Amos will embark on a European tour in support of the album in 2022. Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces.","Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces. In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005).","In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005). The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records.","The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records. Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos.","Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos. Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore.","Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore. Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996).","Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996). Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process.","Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process. Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020.","Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020. Personal life Amos married English sound engineer Mark Hawley on February 22, 1998. Their daughter was born in 2000.","Their daughter was born in 2000. The family divides their time between Sewall's Point in Florida, US, and Bude, Cornwall in the UK. Amos' mother, Mary Ellen, died on May 11, 2019.","Amos' mother, Mary Ellen, died on May 11, 2019. Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \"Tear in Your Hand\" and also in print interviews.","Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \"Tear in Your Hand\" and also in print interviews. Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \"steal shamelessly from each other\".","Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \"steal shamelessly from each other\". She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo.","She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo. Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009.","Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009. In 2019, Amos performed the British standard \"A Nightingale Sang in Berkeley Square\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett.","In 2019, Amos performed the British standard \"A Nightingale Sang in Berkeley Square\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett. Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded.","Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded. Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline.","Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline. She was the first national spokesperson for the organization and has continued to be closely associated with RAINN.","She was the first national spokesperson for the organization and has continued to be closely associated with RAINN. On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN.","On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN. On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA.","On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA. Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992.","Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992. In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine.","In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine. Her concerts are notable for their changing set lists from night to night. Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland.","Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland. She performed solo with a Yamaha CP-70 unless the venue was able to provide a piano. The tour included 142 concerts around the globe.","The tour included 142 concerts around the globe. Under the Pink Tour Amos's second world tour began on February 24, 1994 in Newcastle upon Tyne and ended on December 13, 1994 in Perth, Western Australia. Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \"Bells for Her\".","Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \"Bells for Her\". The tour included 181 concerts. Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder.","Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder. Amos performed each night on piano, harpsichord, and harmonium, with Steve Caton on guitar on some songs. The tour included 187 concerts.","The tour included 187 concerts. The tour included 187 concerts. Plugged '98 Tour Amos's first band tour. Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass.","Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass. The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts.","The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts. 5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only.","5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only. The first part of the tour was co-headlining with Alanis Morissette and featured the same band and equipment line-up as in 1998. Amos and the band continued for eight shows before Amos embarked on a series of solo shows.","Amos and the band continued for eight shows before Amos embarked on a series of solo shows. The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts.","The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts. Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996).","Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996). It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented.","It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented. Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months.","Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months. It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts.","It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts. On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton.","On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton. The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening.","The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening. The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts.","The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts. The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album).","The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album). Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes.","Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes. The tour also encompassed Australia for the first time since 1994.","The tour also encompassed Australia for the first time since 1994. Amos announced at a concert on this tour that she would never stop touring but would scale down the tours. Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles.","Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles. The tour featured \"Tori's Piano Bar\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show.","The tour featured \"Tori's Piano Bar\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show. One of the songs chosen was the Kylie Minogue hit \"Can't Get You Out of My Head\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public.","One of the songs chosen was the Kylie Minogue hit \"Can't Get You Out of My Head\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public. Other songs performed by Amos include The Doors' \"People are Strange\", Depeche Mode's \"Personal Jesus\", Joni Mitchell's \"The Circle Game\", Madonna's \"Live to Tell\" and \"Like a Prayer\", Björk's \"Hyperballad\", Led Zeppelin's \"When the Levee Breaks\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \"And Dream of Sheep\" and Crowded House's \"Don't Dream It's Over\", dedicating it to drummer Paul Hester who had died a week before.","Other songs performed by Amos include The Doors' \"People are Strange\", Depeche Mode's \"Personal Jesus\", Joni Mitchell's \"The Circle Game\", Madonna's \"Live to Tell\" and \"Like a Prayer\", Björk's \"Hyperballad\", Led Zeppelin's \"When the Levee Breaks\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \"And Dream of Sheep\" and Crowded House's \"Don't Dream It's Over\", dedicating it to drummer Paul Hester who had died a week before. The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs.","The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs. American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band.","American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band. Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards.","Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards. The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles.","The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles. Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show.","Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show. The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series.","The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series. Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard.","Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard. The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009.","The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009. A solo leg through Australia began in Melbourne on November 12, 2009 and ended in Brisbane on November 24, 2009. The entire tour featured 63 concerts.","The entire tour featured 63 concerts. Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa.","Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa. It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas.","It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas. Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1.","Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1. Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts.","Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts. Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October.","Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October. Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland.","Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland. Awards and nominations {| class=\"wikitable sortable plainrowheaders\" |- ! scope=\"col\" | Award !","scope=\"col\" | Award ! scope=\"col\" | Year ! scope=\"col\" | Nominee(s) ! scope=\"col\" | Category ! scope=\"col\" | Result ! scope=\"col\" class=\"unsortable\"| |- !","scope=\"col\" class=\"unsortable\"| |- ! scope=\"row\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- !","scope=\"row\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- ! scope=\"row\"|Critics' Choice Documentary Awards | 2016 | \"Flicker\" | Best Song in a Documentary | | |- !scope=\"row\"|ECHO Awards | 1995 | Herself | Best International Female | | |- !","scope=\"row\"|Critics' Choice Documentary Awards | 2016 | \"Flicker\" | Best Song in a Documentary | | |- !scope=\"row\"|ECHO Awards | 1995 | Herself | Best International Female | | |- ! scope=\"row\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- !","scope=\"row\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- ! scope=\"row\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- !","scope=\"row\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- ! scope=\"row\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- !","scope=\"row\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- ! scope=\"row\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- !","scope=\"row\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- ! scope=\"row\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \"Raspberry Swirl\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \"Bliss\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \"Strange Little Girl\" | Best Female Rock Vocal Performance | |- !","scope=\"row\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \"Raspberry Swirl\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \"Bliss\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \"Strange Little Girl\" | Best Female Rock Vocal Performance | |- ! scope=\"row\"|Hollywood Music in Media Awards | 2016 | \"Flicker\" | Best Original Song in a Documentary | | |- !","scope=\"row\"|Hollywood Music in Media Awards | 2016 | \"Flicker\" | Best Original Song in a Documentary | | |- ! scope=\"row\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- !","scope=\"row\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- ! scope=\"row\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- !","scope=\"row\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- ! scope=\"row\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\"Silent All These Years\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- !","scope=\"row\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\"Silent All These Years\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- ! scope=\"row\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- !","scope=\"row\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- ! scope=\"row\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\"row\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- !","scope=\"row\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\"row\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- ! scope=\"row\"|Q Awards | 1992 | Herself | Best New Act | | |- !","scope=\"row\"|Q Awards | 1992 | Herself | Best New Act | | |- ! scope=\"row\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\"row\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony.","scope=\"row\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\"row\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony. Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel.","Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel. Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile.","Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile. References Citations Works cited External links 1963 births 20th-century American composers 20th-century American keyboardists 20th-century American women pianists 20th-century American pianists 20th-century American women singers 21st-century American keyboardists 21st-century American women pianists 21st-century American pianists 21st-century American women singers Alternative rock keyboardists Alternative rock pianists Alternative rock singers American alternative rock musicians American expatriates in the Republic of Ireland American expatriates in the United Kingdom American women composers American women singer-songwriters American feminist writers American harpsichordists American mezzo-sopranos American organists American people who self-identify as being of Native American descent American pop pianists American rock pianists American women rock singers American rock songwriters Articles containing video clips Art rock musicians Atlantic Records artists Child classical musicians Clavichordists Deutsche Grammophon artists Electronica musicians Epic Records artists Feminist musicians Harmonium players Island Records artists Living people Montgomery College alumni Musicians from Baltimore Musicians from County Cork Musicians from Rockville, Maryland People from Georgetown (Washington, D.C.) People from Newton, North Carolina People from Sewall's Point, Florida Republic Records artists Sexual abuse victim advocates Singer-songwriters from Maryland Singer-songwriters from North Carolina Women organists 20th-century women composers American women in electronic music 20th-century American singers 21st-century American singers Singer-songwriters from Washington, D.C."],"string":"[\n \"Tori Amos (born Myra Ellen Amos; August 22, 1963) is an American singer-songwriter and pianist. She is a classically trained musician with a mezzo-soprano vocal range.\",\n \"She is a classically trained musician with a mezzo-soprano vocal range. Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted.\",\n \"Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted. She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \\\"musical insubordination\\\".\",\n \"She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \\\"musical insubordination\\\". Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s.\",\n \"Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s. Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion.\",\n \"Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion. Her charting singles include \\\"Crucify\\\", \\\"Silent All These Years\\\", \\\"God\\\", \\\"Cornflake Girl\\\", \\\"Caught a Lite Sneeze\\\", \\\"Professional Widow\\\", \\\"Spark\\\", \\\"1000 Oceans\\\", \\\"Flavor\\\" and \\\"A Sorta Fairytale\\\", her most commercially successful single in the U.S. to date.\",\n \"Her charting singles include \\\"Crucify\\\", \\\"Silent All These Years\\\", \\\"God\\\", \\\"Cornflake Girl\\\", \\\"Caught a Lite Sneeze\\\", \\\"Professional Widow\\\", \\\"Spark\\\", \\\"1000 Oceans\\\", \\\"Flavor\\\" and \\\"A Sorta Fairytale\\\", her most commercially successful single in the U.S. to date. Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album.\",\n \"Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album. She is listed on VH1's 1999 \\\"100 Greatest Women of Rock and Roll\\\" at number 71.\",\n \"She is listed on VH1's 1999 \\\"100 Greatest Women of Rock and Roll\\\" at number 71. Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos.\",\n \"Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos. She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity.\",\n \"She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity. When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C.\",\n \"When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C. Her older brother and sister took piano lessons, but Tori did not need them.\",\n \"Her older brother and sister took piano lessons, but Tori did not need them. From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs.\",\n \"From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs. She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music.\",\n \"She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music. She studied classical piano at Peabody from 1968 to 1974.\",\n \"She studied classical piano at Peabody from 1968 to 1974. In 1974, when she was eleven, her scholarship was discontinued, and she was asked to leave. Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music.\",\n \"Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music. In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church.\",\n \"In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church. At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father.\",\n \"At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father. Amos won a county teen talent contest in 1977, singing a song called \\\"More Than Just a Friend\\\".\",\n \"Amos won a county teen talent contest in 1977, singing a song called \\\"More Than Just a Friend\\\". As a senior at Richard Montgomery High School, she co-wrote \\\"Baltimore\\\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles.\",\n \"As a senior at Richard Montgomery High School, she co-wrote \\\"Baltimore\\\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles. The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \\\"Walking With You\\\".\",\n \"The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \\\"Walking With You\\\". Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast.\",\n \"Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast. Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers.\",\n \"Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers. Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released.\",\n \"Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released. Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her.\",\n \"Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her. In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area.\",\n \"In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area. In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading.\",\n \"In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading. In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber.\",\n \"In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber. The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time.\",\n \"The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time. Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released.\",\n \"Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released. Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \\\"The only good thing about that album is my ankle high boots.\\\"\",\n \"Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \\\"The only good thing about that album is my ankle high boots.\\\" Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist.\",\n \"Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist. She also recorded a song called \\\"Distant Storm\\\" for the film China O'Brien.\",\n \"She also recorded a song called \\\"Distant Storm\\\" for the film China O'Brien. In the credits, the song is attributed to a band called Tess Makes Good.\",\n \"In the credits, the song is attributed to a band called Tess Makes Good. 1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990.\",\n \"1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990. The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented.\",\n \"The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented. The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault.\",\n \"The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault. This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15.\",\n \"This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15. Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \\\"Silent All These Years\\\".\",\n \"Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \\\"Silent All These Years\\\". Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink.\",\n \"Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink. The album was received with mostly favorable reviews and sold enough copies to chart at No. 12 on the Billboard 200, a significantly higher position than the preceding album's position at No.\",\n \"12 on the Billboard 200, a significantly higher position than the preceding album's position at No. 54 on the same chart. However, the album found its biggest success in the UK, debuting at number one upon release in February 1994.\",\n \"However, the album found its biggest success in the UK, debuting at number one upon release in February 1994. 1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996.\",\n \"1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996. Prior to its release, the first single, \\\"Caught a Lite Sneeze\\\" became the first full song released for streaming online prior to an album's release.\",\n \"Prior to its release, the first single, \\\"Caught a Lite Sneeze\\\" became the first full song released for streaming online prior to an album's release. The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics.\",\n \"The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics. For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano.\",\n \"For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano. The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability.\",\n \"The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability. Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No.\",\n \"Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No. 2 on the UK Top 40 and No. 2 on the Billboard 200 upon its release.\",\n \"2 on the Billboard 200 upon its release. Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios.\",\n \"Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios. From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums.\",\n \"From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums. Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes.\",\n \"Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes. The underlying themes of both albums deal with womanhood and Amos's own miscarriages and marriage. Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality.\",\n \"Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality. Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week.\",\n \"Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week. To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download.\",\n \"To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download. 2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective.\",\n \"2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective. That became Strange Little Girls, released in September 2001.\",\n \"That became Strange Little Girls, released in September 2001. The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song.\",\n \"The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song. Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label.\",\n \"Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label. With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001.\",\n \"With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a \\\"sonic novel\\\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11.\",\n \"Described as a \\\"sonic novel\\\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny.\",\n \"Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA.\",\n \"Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA. Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003.\",\n \"Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group.\",\n \"Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline.\",\n \"Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline. 2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007).\",\n \"2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment.\",\n \"The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics.\",\n \"Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No.\",\n \"The album debuted at No. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts.\",\n \"5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it.\",\n \"While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the \\\"posse\\\") who are used as a theme of alter-egos of Amos's.\",\n \"American Doll Posse, another concept album, is fashioned around a group of girls (the \\\"posse\\\") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No.\",\n \"Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200.\",\n \"5 on the Billboard 200. 5 on the Billboard 200. During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records.\",\n \"During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records. 2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work.\",\n \"2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work. In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes.\",\n \"In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes. By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \\\"joint venture\\\" deal with Universal Republic Records.\",\n \"By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \\\"joint venture\\\" deal with Universal Republic Records. Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews.\",\n \"Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews. The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so.\",\n \"The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so. Abnormally Attracted to Sin, admitted Amos, is a \\\"personal album\\\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin.\",\n \"Abnormally Attracted to Sin, admitted Amos, is a \\\"personal album\\\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin. Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year.\",\n \"Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year. The album features reworked versions of traditional carols, as well as original songs written by Amos.\",\n \"The album features reworked versions of traditional carols, as well as original songs written by Amos. During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010.\",\n \"During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010. In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble.\",\n \"In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble. After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010.\",\n \"After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010. The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow.\",\n \"The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow. The set was released exclusively through her website and only 2000 copies were produced.\",\n \"The set was released exclusively through her website and only 2000 copies were produced. 2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group.\",\n \"2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group. Amos recorded the album with several musicians, including the Apollon Musagète string quartet.\",\n \"Amos recorded the album with several musicians, including the Apollon Musagète string quartet. To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra.\",\n \"To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra. The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon.\",\n \"The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon. On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists.\",\n \"On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists. In 2013, Amos collaborated with the Bullitts on the track \\\"Wait Until Tomorrow\\\" from their debut album, They Die by Dawn & Other Short Stories.\",\n \"In 2013, Amos collaborated with the Bullitts on the track \\\"Wait Until Tomorrow\\\" from their debut album, They Die by Dawn & Other Short Stories. She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \\\"return to contemporary music\\\".\",\n \"She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \\\"return to contemporary music\\\". September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott.\",\n \"September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott. It premiered at London's Royal National Theatre and ended in February 2014.\",\n \"It premiered at London's Royal National Theatre and ended in February 2014. The Light Princess and its lead actress, Rosalie Craig, were nominated for Best Musical and Best Musical Performance respectively at the Evening Standard Award. Craig won the Best Musical Performance category.\",\n \"Craig won the Best Musical Performance category. Amos's 14th studio album, Unrepentant Geraldines, was released on May 13, 2014, via Mercury Classics/Universal Music Classics in the US. Its first single, \\\"Trouble's Lament\\\", was released on March 28.\",\n \"Its first single, \\\"Trouble's Lament\\\", was released on March 28. The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014.\",\n \"The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014. In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House.\",\n \"In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House. According to a press release, Unrepentant Geraldines was a \\\"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years.\",\n \"According to a press release, Unrepentant Geraldines was a \\\"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years. [It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\\\"\",\n \"[It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\\\" The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics.\",\n \"The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics. Apart from the original cast performances, the recording also includes two songs from the musical (\\\"Highness in the Sky\\\" and \\\"Darkest Hour') performed by Amos.\",\n \"Apart from the original cast performances, the recording also includes two songs from the musical (\\\"Highness in the Sky\\\" and \\\"Darkest Hour') performed by Amos. 2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release.\",\n \"2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release. This follows the deluxe re-releases of her first two albums in 2015.\",\n \"This follows the deluxe re-releases of her first two albums in 2015. On September 8, 2017, Amos released Native Invader, accompanied by a world tour.\",\n \"On September 8, 2017, Amos released Native Invader, accompanied by a world tour. During the summer of 2017, Amos launched three songs from the album: \\\"Cloud Riders\\\", \\\"Up the Creek\\\" and \\\"Reindeer King\\\", the latter featuring string arrangements by John Philip Shenale.\",\n \"During the summer of 2017, Amos launched three songs from the album: \\\"Cloud Riders\\\", \\\"Up the Creek\\\" and \\\"Reindeer King\\\", the latter featuring string arrangements by John Philip Shenale. Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations.\",\n \"Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations. The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak.\",\n \"The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak. Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader.\",\n \"Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader. The album, released on September 8, 2017, has been presented in two formats: standard and deluxe.\",\n \"The album, released on September 8, 2017, has been presented in two formats: standard and deluxe. The standard version includes 13 songs, while the deluxe edition adds two extra songs to the tracklist: \\\"Upside Down 2\\\" and \\\"Russia\\\". Native Invader has been well received by most music critics upon release.\",\n \"Native Invader has been well received by most music critics upon release. The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \\\"generally favorable reviews\\\".\",\n \"The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \\\"generally favorable reviews\\\". On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl.\",\n \"On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl. The EP consists of four original songs and features her first work with bandmates Matt Chamberlain and Jon Evans since 2009. Amos recorded the EP remotely due to the impact of the COVID-19 pandemic.\",\n \"Amos recorded the EP remotely due to the impact of the COVID-19 pandemic. On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29.\",\n \"On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29. The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \\\"a universal story of going to rock bottom and renewing yourself all over again\\\".\",\n \"The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \\\"a universal story of going to rock bottom and renewing yourself all over again\\\". Amos will embark on a European tour in support of the album in 2022.\",\n \"Amos will embark on a European tour in support of the album in 2022. Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces.\",\n \"Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces. In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005).\",\n \"In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005). The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records.\",\n \"The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records. Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos.\",\n \"Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos. Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore.\",\n \"Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore. Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996).\",\n \"Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996). Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process.\",\n \"Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process. Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020.\",\n \"Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020. Personal life Amos married English sound engineer Mark Hawley on February 22, 1998. Their daughter was born in 2000.\",\n \"Their daughter was born in 2000. The family divides their time between Sewall's Point in Florida, US, and Bude, Cornwall in the UK. Amos' mother, Mary Ellen, died on May 11, 2019.\",\n \"Amos' mother, Mary Ellen, died on May 11, 2019. Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \\\"Tear in Your Hand\\\" and also in print interviews.\",\n \"Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \\\"Tear in Your Hand\\\" and also in print interviews. Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \\\"steal shamelessly from each other\\\".\",\n \"Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \\\"steal shamelessly from each other\\\". She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo.\",\n \"She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo. Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009.\",\n \"Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009. In 2019, Amos performed the British standard \\\"A Nightingale Sang in Berkeley Square\\\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett.\",\n \"In 2019, Amos performed the British standard \\\"A Nightingale Sang in Berkeley Square\\\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett. Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded.\",\n \"Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded. Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline.\",\n \"Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline. She was the first national spokesperson for the organization and has continued to be closely associated with RAINN.\",\n \"She was the first national spokesperson for the organization and has continued to be closely associated with RAINN. On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN.\",\n \"On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN. On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA.\",\n \"On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA. Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992.\",\n \"Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992. In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine.\",\n \"In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine. Her concerts are notable for their changing set lists from night to night. Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland.\",\n \"Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland. She performed solo with a Yamaha CP-70 unless the venue was able to provide a piano. The tour included 142 concerts around the globe.\",\n \"The tour included 142 concerts around the globe. Under the Pink Tour Amos's second world tour began on February 24, 1994 in Newcastle upon Tyne and ended on December 13, 1994 in Perth, Western Australia. Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \\\"Bells for Her\\\".\",\n \"Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \\\"Bells for Her\\\". The tour included 181 concerts. Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder.\",\n \"Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder. Amos performed each night on piano, harpsichord, and harmonium, with Steve Caton on guitar on some songs. The tour included 187 concerts.\",\n \"The tour included 187 concerts. The tour included 187 concerts. Plugged '98 Tour Amos's first band tour. Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass.\",\n \"Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass. The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts.\",\n \"The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts. 5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only.\",\n \"5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only. The first part of the tour was co-headlining with Alanis Morissette and featured the same band and equipment line-up as in 1998. Amos and the band continued for eight shows before Amos embarked on a series of solo shows.\",\n \"Amos and the band continued for eight shows before Amos embarked on a series of solo shows. The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts.\",\n \"The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts. Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996).\",\n \"Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996). It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented.\",\n \"It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented. Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months.\",\n \"Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months. It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts.\",\n \"It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts. On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton.\",\n \"On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton. The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening.\",\n \"The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening. The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts.\",\n \"The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts. The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album).\",\n \"The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album). Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes.\",\n \"Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes. The tour also encompassed Australia for the first time since 1994.\",\n \"The tour also encompassed Australia for the first time since 1994. Amos announced at a concert on this tour that she would never stop touring but would scale down the tours. Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles.\",\n \"Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles. The tour featured \\\"Tori's Piano Bar\\\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show.\",\n \"The tour featured \\\"Tori's Piano Bar\\\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show. One of the songs chosen was the Kylie Minogue hit \\\"Can't Get You Out of My Head\\\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public.\",\n \"One of the songs chosen was the Kylie Minogue hit \\\"Can't Get You Out of My Head\\\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public. Other songs performed by Amos include The Doors' \\\"People are Strange\\\", Depeche Mode's \\\"Personal Jesus\\\", Joni Mitchell's \\\"The Circle Game\\\", Madonna's \\\"Live to Tell\\\" and \\\"Like a Prayer\\\", Björk's \\\"Hyperballad\\\", Led Zeppelin's \\\"When the Levee Breaks\\\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \\\"And Dream of Sheep\\\" and Crowded House's \\\"Don't Dream It's Over\\\", dedicating it to drummer Paul Hester who had died a week before.\",\n \"Other songs performed by Amos include The Doors' \\\"People are Strange\\\", Depeche Mode's \\\"Personal Jesus\\\", Joni Mitchell's \\\"The Circle Game\\\", Madonna's \\\"Live to Tell\\\" and \\\"Like a Prayer\\\", Björk's \\\"Hyperballad\\\", Led Zeppelin's \\\"When the Levee Breaks\\\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \\\"And Dream of Sheep\\\" and Crowded House's \\\"Don't Dream It's Over\\\", dedicating it to drummer Paul Hester who had died a week before. The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs.\",\n \"The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs. American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band.\",\n \"American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band. Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards.\",\n \"Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards. The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles.\",\n \"The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles. Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show.\",\n \"Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show. The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series.\",\n \"The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series. Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard.\",\n \"Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard. The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009.\",\n \"The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009. A solo leg through Australia began in Melbourne on November 12, 2009 and ended in Brisbane on November 24, 2009. The entire tour featured 63 concerts.\",\n \"The entire tour featured 63 concerts. Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa.\",\n \"Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa. It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas.\",\n \"It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas. Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1.\",\n \"Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1. Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts.\",\n \"Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts. Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October.\",\n \"Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October. Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland.\",\n \"Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland. Awards and nominations {| class=\\\"wikitable sortable plainrowheaders\\\" |- ! scope=\\\"col\\\" | Award !\",\n \"scope=\\\"col\\\" | Award ! scope=\\\"col\\\" | Year ! scope=\\\"col\\\" | Nominee(s) ! scope=\\\"col\\\" | Category ! scope=\\\"col\\\" | Result ! scope=\\\"col\\\" class=\\\"unsortable\\\"| |- !\",\n \"scope=\\\"col\\\" class=\\\"unsortable\\\"| |- ! scope=\\\"row\\\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- !\",\n \"scope=\\\"row\\\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- ! scope=\\\"row\\\"|Critics' Choice Documentary Awards | 2016 | \\\"Flicker\\\" | Best Song in a Documentary | | |- !scope=\\\"row\\\"|ECHO Awards | 1995 | Herself | Best International Female | | |- !\",\n \"scope=\\\"row\\\"|Critics' Choice Documentary Awards | 2016 | \\\"Flicker\\\" | Best Song in a Documentary | | |- !scope=\\\"row\\\"|ECHO Awards | 1995 | Herself | Best International Female | | |- ! scope=\\\"row\\\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- !\",\n \"scope=\\\"row\\\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- ! scope=\\\"row\\\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- !\",\n \"scope=\\\"row\\\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- ! scope=\\\"row\\\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- !\",\n \"scope=\\\"row\\\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- ! scope=\\\"row\\\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- !\",\n \"scope=\\\"row\\\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- ! scope=\\\"row\\\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \\\"Raspberry Swirl\\\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \\\"Bliss\\\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \\\"Strange Little Girl\\\" | Best Female Rock Vocal Performance | |- !\",\n \"scope=\\\"row\\\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \\\"Raspberry Swirl\\\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \\\"Bliss\\\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \\\"Strange Little Girl\\\" | Best Female Rock Vocal Performance | |- ! scope=\\\"row\\\"|Hollywood Music in Media Awards | 2016 | \\\"Flicker\\\" | Best Original Song in a Documentary | | |- !\",\n \"scope=\\\"row\\\"|Hollywood Music in Media Awards | 2016 | \\\"Flicker\\\" | Best Original Song in a Documentary | | |- ! scope=\\\"row\\\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- !\",\n \"scope=\\\"row\\\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- ! scope=\\\"row\\\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- !\",\n \"scope=\\\"row\\\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- ! scope=\\\"row\\\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\\\"Silent All These Years\\\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- !\",\n \"scope=\\\"row\\\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\\\"Silent All These Years\\\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- ! scope=\\\"row\\\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- !\",\n \"scope=\\\"row\\\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- ! scope=\\\"row\\\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\\\"row\\\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- !\",\n \"scope=\\\"row\\\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\\\"row\\\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- ! scope=\\\"row\\\"|Q Awards | 1992 | Herself | Best New Act | | |- !\",\n \"scope=\\\"row\\\"|Q Awards | 1992 | Herself | Best New Act | | |- ! scope=\\\"row\\\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\\\"row\\\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony.\",\n \"scope=\\\"row\\\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\\\"row\\\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony. Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel.\",\n \"Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel. Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile.\",\n \"Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile. References Citations Works cited External links 1963 births 20th-century American composers 20th-century American keyboardists 20th-century American women pianists 20th-century American pianists 20th-century American women singers 21st-century American keyboardists 21st-century American women pianists 21st-century American pianists 21st-century American women singers Alternative rock keyboardists Alternative rock pianists Alternative rock singers American alternative rock musicians American expatriates in the Republic of Ireland American expatriates in the United Kingdom American women composers American women singer-songwriters American feminist writers American harpsichordists American mezzo-sopranos American organists American people who self-identify as being of Native American descent American pop pianists American rock pianists American women rock singers American rock songwriters Articles containing video clips Art rock musicians Atlantic Records artists Child classical musicians Clavichordists Deutsche Grammophon artists Electronica musicians Epic Records artists Feminist musicians Harmonium players Island Records artists Living people Montgomery College alumni Musicians from Baltimore Musicians from County Cork Musicians from Rockville, Maryland People from Georgetown (Washington, D.C.) People from Newton, North Carolina People from Sewall's Point, Florida Republic Records artists Sexual abuse victim advocates Singer-songwriters from Maryland Singer-songwriters from North Carolina Women organists 20th-century women composers American women in electronic music 20th-century American singers 21st-century American singers Singer-songwriters from Washington, D.C.\"\n]"}}},{"rowIdx":469,"cells":{"History":{"kind":"list like","value":["Tori Amos","The Epic Records years (2002-07)","Did Amos release any albums during these years?","In October 2002, Amos released Scarlet's Walk, another concept album.","Was the album successful?","strong debut at No. 7 on the Billboard 200.","Did Amos release any albums after Scarlet's Walk?","The Beekeeper (2005) and American Doll Posse (2007)."],"string":"[\n \"Tori Amos\",\n \"The Epic Records years (2002-07)\",\n \"Did Amos release any albums during these years?\",\n \"In October 2002, Amos released Scarlet's Walk, another concept album.\",\n \"Was the album successful?\",\n \"strong debut at No. 7 on the Billboard 200.\",\n \"Did Amos release any albums after Scarlet's Walk?\",\n \"The Beekeeper (2005) and American Doll Posse (2007).\"\n]"},"QuAC_dialog_id":{"kind":"string","value":"C_f2c7f26de77949ff80c91a7bd337fb42_1"},"Question":{"kind":"string","value":"What can you tell me about The Beekeeper?"},"Question_no":{"kind":"number","value":4,"string":"4"},"Rewrite":{"kind":"string","value":"What can you tell me about The Beekeeper by Tori Amos?"},"true_page_title":{"kind":"string","value":"Tori Amos"},"true_contexts":{"kind":"string","value":"With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA. Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline. Amos would later hint in interviews that during the creation of her next album, those in charge at the label following the aforementioned merger were interested \"only in making money\", the effects of which on the album have not been disclosed. Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200. During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records. CANNOTANSWER"},"answer":{"kind":"string","value":"The Beekeeper was conceptually influenced by the ancient art of beekeeping,"},"true_contexts_wiki":{"kind":"string","value":"Tori Amos (born Myra Ellen Amos; August 22, 1963) is an American singer-songwriter and pianist. She is a classically trained musician with a mezzo-soprano vocal range. Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted. She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \"musical insubordination\". Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s. Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion.\n\nHer charting singles include \"Crucify\", \"Silent All These Years\", \"God\", \"Cornflake Girl\", \"Caught a Lite Sneeze\", \"Professional Widow\", \"Spark\", \"1000 Oceans\", \"Flavor\" and \"A Sorta Fairytale\", her most commercially successful single in the U.S. to date. Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album. She is listed on VH1's 1999 \"100 Greatest Women of Rock and Roll\" at number 71.\n\nEarly life and education\nAmos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos. She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity.\n\nWhen she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C. Her older brother and sister took piano lessons, but Tori did not need them. From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs. She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia:\n\nAt five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music. She studied classical piano at Peabody from 1968 to 1974. In 1974, when she was eleven, her scholarship was discontinued, and she was asked to leave. Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music.\n\nIn 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church. At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father.\n\nAmos won a county teen talent contest in 1977, singing a song called \"More Than Just a Friend\". As a senior at Richard Montgomery High School, she co-wrote \"Baltimore\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles. The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \"Walking With You\". Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast.\n\nCareer\n\n1979–1989: Career beginnings and Y Kant Tori Read\nBy the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers. Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released. Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her.\n\nIn 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area.\n\nIn 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading. In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber. The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time. Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released. Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \"The only good thing about that album is my ankle high boots.\"\n\nFollowing the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist. She also recorded a song called \"Distant Storm\" for the film China O'Brien. In the credits, the song is attributed to a band called Tess Makes Good.\n\n1990–1995: Little Earthquakes and Under the Pink\n\nDespite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990. The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented. The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault. This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15. Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \"Silent All These Years\".\n\nAmos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink. The album was received with mostly favorable reviews and sold enough copies to chart at No. 12 on the Billboard 200, a significantly higher position than the preceding album's position at No. 54 on the same chart. However, the album found its biggest success in the UK, debuting at number one upon release in February 1994.\n\n1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back\n\nHer third solo album, Boys for Pele, was released in January 1996. Prior to its release, the first single, \"Caught a Lite Sneeze\" became the first full song released for streaming online prior to an album's release.\n\nThe album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics. For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano. The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability. Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No. 2 on the UK Top 40 and No. 2 on the Billboard 200 upon its release.\n\nFueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios.\n\nFrom the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums. Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes. The underlying themes of both albums deal with womanhood and Amos's own miscarriages and marriage. Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality. Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week. To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download.\n\n2001–2004: Strange Little Girls and Scarlet's Walk\nShortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective. That became Strange Little Girls, released in September 2001. The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song. Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label.\n\nWith her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA.\n\nNot long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline.\n\n2005–2008: The Beekeeper and American Doll Posse\n\nAmos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200.\n\nDuring her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records.\n\n2008–2011: Abnormally Attracted to Sin and Midwinter Graces\n\nIn May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work. In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes. By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \"joint venture\" deal with Universal Republic Records.\n\nAbnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews. The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so. Abnormally Attracted to Sin, admitted Amos, is a \"personal album\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin. Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year. The album features reworked versions of traditional carols, as well as original songs written by Amos.\n\nDuring her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010. In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble.\n\nAfter a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010. The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow. The set was released exclusively through her website and only 2000 copies were produced.\n\n2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines\nIn September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group. Amos recorded the album with several musicians, including the Apollon Musagète string quartet.\n\nTo mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra. The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon.\n\nOn May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists.\n\nIn 2013, Amos collaborated with the Bullitts on the track \"Wait Until Tomorrow\" from their debut album, They Die by Dawn & Other Short Stories. She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \"return to contemporary music\".\n\nSeptember 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott. It premiered at London's Royal National Theatre and ended in February 2014. The Light Princess and its lead actress, Rosalie Craig, were nominated for Best Musical and Best Musical Performance respectively at the Evening Standard Award. Craig won the Best Musical Performance category.\n\nAmos's 14th studio album, Unrepentant Geraldines, was released on May 13, 2014, via Mercury Classics/Universal Music Classics in the US. Its first single, \"Trouble's Lament\", was released on March 28. The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014. In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House.\n\nAccording to a press release, Unrepentant Geraldines was a \"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years. [It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\"\n\nThe 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics. Apart from the original cast performances, the recording also includes two songs from the musical (\"Highness in the Sky\" and \"Darkest Hour') performed by Amos.\n\n2016–present: Native Invader, Christmastide and Ocean to Ocean\n\nOn November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release. This follows the deluxe re-releases of her first two albums in 2015.\n\nOn September 8, 2017, Amos released Native Invader, accompanied by a world tour. During the summer of 2017, Amos launched three songs from the album: \"Cloud Riders\", \"Up the Creek\" and \"Reindeer King\", the latter featuring string arrangements by John Philip Shenale. Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations.\n\nThe initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak. Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader. The album, released on September 8, 2017, has been presented in two formats: standard and deluxe. The standard version includes 13 songs, while the deluxe edition adds two extra songs to the tracklist: \"Upside Down 2\" and \"Russia\". Native Invader has been well received by most music critics upon release. The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \"generally favorable reviews\".\n\nOn November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl. The EP consists of four original songs and features her first work with bandmates Matt Chamberlain and Jon Evans since 2009. Amos recorded the EP remotely due to the impact of the COVID-19 pandemic.\n\nOn September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29. The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \"a universal story of going to rock bottom and renewing yourself all over again\". Amos will embark on a European tour in support of the album in 2022. Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces.\n\nIn print\nReleased in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005). The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records.\n\nImage Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos. Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore.\n\nAdditionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996).\n\nTori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process.\n\nAmos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020.\n\nPersonal life\nAmos married English sound engineer Mark Hawley on February 22, 1998. Their daughter was born in 2000. The family divides their time between Sewall's Point in Florida, US, and Bude, Cornwall in the UK.\n\nAmos' mother, Mary Ellen, died on May 11, 2019.\n\nEarly in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \"Tear in Your Hand\" and also in print interviews. Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \"steal shamelessly from each other\". She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo. Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009. In 2019, Amos performed the British standard \"A Nightingale Sang in Berkeley Square\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett.\n\nActivism\nIn June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded. Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline. She was the first national spokesperson for the organization and has continued to be closely associated with RAINN. On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN. On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA.\n\nDiscography\n\nStudio albums\n Little Earthquakes (1992)\n Under the Pink (1994)\n Boys for Pele (1996)\n From the Choirgirl Hotel (1998)\n To Venus and Back (1999)\n Strange Little Girls (2001)\n Scarlet's Walk (2002)\n The Beekeeper (2005)\n American Doll Posse (2007)\n Abnormally Attracted to Sin (2009)\n Midwinter Graces (2009)\n Night of Hunters (2011)\n Gold Dust (2012)\n Unrepentant Geraldines (2014)\n Native Invader (2017)\n Ocean to Ocean (2021)\n\nTours\nAmos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992. In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine. Her concerts are notable for their changing set lists from night to night.\n\nLittle Earthquakes Tour\n Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland. She performed solo with a Yamaha CP-70 unless the venue was able to provide a piano. The tour included 142 concerts around the globe.\n\nUnder the Pink Tour\n Amos's second world tour began on February 24, 1994 in Newcastle upon Tyne and ended on December 13, 1994 in Perth, Western Australia. Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \"Bells for Her\". The tour included 181 concerts.\n\nDew Drop Inn Tour\n The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder. Amos performed each night on piano, harpsichord, and harmonium, with Steve Caton on guitar on some songs. The tour included 187 concerts.\n\nPlugged '98 Tour\n Amos's first band tour. Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass. The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts.\n\n5 ½ Weeks Tour / To Dallas and Back\n Amos's fifth tour was North America–only. The first part of the tour was co-headlining with Alanis Morissette and featured the same band and equipment line-up as in 1998. Amos and the band continued for eight shows before Amos embarked on a series of solo shows. The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts.\n\nStrange Little Tour\n This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996). It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented. Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months. It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts.\n\nOn Scarlet's Walk / Lottapianos Tour\n Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton. The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening. The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts. The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album).\n\nOriginal Sinsuality Tour / Summer of Sin\n This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes. The tour also encompassed Australia for the first time since 1994. Amos announced at a concert on this tour that she would never stop touring but would scale down the tours. Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles. The tour featured \"Tori's Piano Bar\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show. One of the songs chosen was the Kylie Minogue hit \"Can't Get You Out of My Head\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public. Other songs performed by Amos include The Doors' \"People are Strange\", Depeche Mode's \"Personal Jesus\", Joni Mitchell's \"The Circle Game\", Madonna's \"Live to Tell\" and \"Like a Prayer\", Björk's \"Hyperballad\", Led Zeppelin's \"When the Levee Breaks\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \"And Dream of Sheep\" and Crowded House's \"Don't Dream It's Over\", dedicating it to drummer Paul Hester who had died a week before. The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs.\n\nAmerican Doll Posse World Tour\n This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band. Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards. The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles. Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show. The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series.\n\nSinful Attraction Tour\n For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard. The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009. A solo leg through Australia began in Melbourne on November 12, 2009 and ended in Brisbane on November 24, 2009. The entire tour featured 63 concerts.\n\nNight of Hunters tour\n Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa. It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas.\n\nGold Dust Orchestral Tour\n Amos began her 2012 tour in Rotterdam on October 1.\n\nUnrepentant Geraldines Tour\n Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts.\n\nNative Invader Tour\n Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October.\n\nOcean to Ocean Tour\n Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland.\n\nAwards and nominations \n{| class=\"wikitable sortable plainrowheaders\"\n|-\n! scope=\"col\" | Award\n! scope=\"col\" | Year\n! scope=\"col\" | Nominee(s)\n! scope=\"col\" | Category\n! scope=\"col\" | Result\n! scope=\"col\" class=\"unsortable\"| \n|-\n! scope=\"row\" rowspan=3|Brit Awards\n| rowspan=2|1993\n| rowspan=3|Herself\n| International Breakthrough Act\n| \n| rowspan=2|\n|-\n| International Solo Artist\n| \n|-\n| 1995\n| International Female Solo Artist\n| \n|\n|-\n! scope=\"row\"|Critics' Choice Documentary Awards\n| 2016\n| \"Flicker\"\n| Best Song in a Documentary\n| \n| \n|-\n!scope=\"row\"|ECHO Awards\n| 1995\n| Herself\n| Best International Female\n| \n|\n|-\n! scope=\"row\"|ECHO Klassik Awards\n| rowspan=1|2012\n| Night of Hunters\n| The Klassik-ohne-Grenzen Prize\n| \n|\n|-\n! scope=\"row\" rowspan=4|GAFFA Awards\n| 2000\n| rowspan=3|Herself\n| rowspan=2|Best Foreign Female Act\n| \n| rowspan=2|\n|-\n| 2003\n| \n|-\n| rowspan=2|2022\n| Best Foreign Solo Act\n| \n| \n|-\n| Ocean to Ocean\n| Best Foreign Album\n| \n|-\n! scope=\"row\"|George Peabody Medal\n| 2019\n| Herself\n| Outstanding Contributions to Music \n| \n|\n|-\n! scope=\"row\"|Glamour Awards\n| 1998\n| Herself\n| Woman of the Year\n| \n|\n|-\n! scope=\"row\" rowspan=8|Grammy Awards\n| 1995\n| Under the Pink\n| rowspan=3|Best Alternative Music Album\n| \n| rowspan=8|\n|-\n| 1997\n| Boys for Pele\n| \n|-\n| rowspan=2|1999\n| From the Choirgirl Hotel\n| \n|-\n| \"Raspberry Swirl\"\n| rowspan=2|Best Female Rock Vocal Performance\n| \n|-\n| rowspan=2|2000\n| \"Bliss\"\n| \n|-\n| To Venus and Back\n| rowspan=2|Best Alternative Music Album\n| \n|-\n| rowspan=2|2002\n| Strange Little Girls\n| \n|-\n| \"Strange Little Girl\"\n| Best Female Rock Vocal Performance\n| \n|-\n! scope=\"row\"|Hollywood Music in Media Awards\n| 2016\n| \"Flicker\"\n| Best Original Song in a Documentary\n| \n|\n|-\n! scope=\"row\"|Hungarian Music Awards\n| 2010\n| Abnormally Attracted to Sin\n| Best Foreign Alternative Album\n| \n| \n|-\n! scope=\"row\"|MTV Europe Music Awards\n| 1994\n| Herself\n| Best Female\n| \n|\n|-\n! scope=\"row\" rowspan=4|MTV Video Music Awards\n| rowspan=4|1992\n| rowspan=4|\"Silent All These Years\"\n| Best Female Video\n| \n|rowspan=4|\n|-\n| Best New Artist in a Video\n| \n|-\n| Breakthrough Video\n| \n|-\n| Best Cinematography in a Video\n| \n|-\n! scope=\"row\"|NME Awards\n| 2016\n| Under the Pink\n| Best Reissue\n| \n|\n|-\n! scope=\"row\"|North Carolina Music Hall of Fame\n| 2012\n| Herself\n| Inducted\n| \n|\n|-\n!scope=\"row\" rowspan=5|Pollstar Concert Industry Awards\n| rowspan=2|1993\n| rowspan=2|Little Earthquakes Tour\n| Best New Rock Artist\n| \n| rowspan=2|\n|-\n| Club Tour Of The Year\n| \n|-\n| 1995\n| Under the Pink Tour\n| rowspan=3|Small Hall Tour Of The Year\n| \n| \n|-\n| 1997\n| Dew Drop Inn Tour\n| \n| \n|-\n| 1999\n| 5 ½ Weeks Tour\n| \n| \n|-\n! scope=\"row\"|Q Awards\n| 1992\n| Herself\n| Best New Act\n| \n|\n|-\n! scope=\"row\" rowspan=2|WhatsOnStage Awards\n| rowspan=2|2014\n| rowspan=2|The Light Princess\n| Best New Musical\n| \n| rowspan=2|\n|-\n| Best London Newcomer of the Year\n| \n|-\n!scope=\"row\"|Žebřík Music Awards\n| 2001\n| Herself\n| Best International Female\n| \n| \n\n1999: Spin Readers' Poll Awards (Won)\n\nOn May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony. Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel.\n\nFilm appearances\nTori appears as a wedding singer in the film Mona Lisa Smile.\n\nReferences\n\nCitations\n\nWorks cited\n\nExternal links\n\n \n \n \n\n \n1963 births\n20th-century American composers\n20th-century American keyboardists\n20th-century American women pianists\n20th-century American pianists\n20th-century American women singers\n21st-century American keyboardists\n21st-century American women pianists\n21st-century American pianists\n21st-century American women singers\nAlternative rock keyboardists\nAlternative rock pianists\nAlternative rock singers\nAmerican alternative rock musicians\nAmerican expatriates in the Republic of Ireland\nAmerican expatriates in the United Kingdom\nAmerican women composers\nAmerican women singer-songwriters\nAmerican feminist writers\nAmerican harpsichordists\nAmerican mezzo-sopranos\nAmerican organists\nAmerican people who self-identify as being of Native American descent\nAmerican pop pianists\nAmerican rock pianists\nAmerican women rock singers\nAmerican rock songwriters\nArticles containing video clips\nArt rock musicians\nAtlantic Records artists\nChild classical musicians\nClavichordists\nDeutsche Grammophon artists\nElectronica musicians\nEpic Records artists\nFeminist musicians\nHarmonium players\nIsland Records artists\nLiving people\nMontgomery College alumni\nMusicians from Baltimore\nMusicians from County Cork\nMusicians from Rockville, Maryland\nPeople from Georgetown (Washington, D.C.)\nPeople from Newton, North Carolina\nPeople from Sewall's Point, Florida\nRepublic Records artists\nSexual abuse victim advocates\nSinger-songwriters from Maryland\nSinger-songwriters from North Carolina\nWomen organists\n20th-century women composers\nAmerican women in electronic music\n20th-century American singers\n21st-century American singers\nSinger-songwriters from Washington, D.C."},"extractive":{"kind":"string","value":"true"},"retrieved_contexts":{"kind":"list like","value":["\"Tell Me What You Want\" is the fourth single by English R&B band Loose Ends from their first studio album, A Little Spice, and was released in February 1984 by Virgin Records. The single reached number 74 in the UK Singles Chart.\n\nTrack listing\n7” Single: VS658\n \"Tell Me What You Want) 3.35\n \"Tell Me What You Want (Dub Mix)\" 3.34\n\n12” Single: VS658-12\n \"Tell Me What You Want (Extended Version)\" 6.11\n \"Tell Me What You Want (Extended Dub Mix)\" 5.41\n\nU.S. only release - 12” Single: MCA23596 (released 1985)\n \"Tell Me What You Want (U.S. Extended Remix)\" 6.08 *\n \"Tell Me What You Want (U.S. Dub Version)\" 5.18\n\n* The U.S. Extended Remix version was released on CD on the U.S. Version of the 'A Little Spice' album (MCAD27141).\n\nThe Extended Version also featured on Side D of the limited gatefold sleeve version of 'Magic Touch'\n\nChart performance\n\nReferences\n\nExternal links\n Tell Me What You Want at Discogs.\n\n1984 singles\nLoose Ends (band) songs\nSong recordings produced by Nick Martinelli\nSongs written by Carl McIntosh (musician)\nSongs written by Steve Nichol\n1984 songs\nVirgin Records singles","\"Tell Me What You Want Me to Do\" is the title of a number-one R&B single by singer Tevin Campbell. To date, the single is Campbell's biggest hit peaking at number 6 on the Billboard Hot 100 and spending one week at number-one on the US R&B chart. The hit song is also Tevin's one and only Adult Contemporary hit, where it peaked at number 43. The song showcases Campbell's four-octave vocal range from a low note of E2 to a D#6 during the bridge of the song.\n\nTrack listings\nUS 7\" vinyl\nA \"Tell Me What You Want Me to Do\" (edit) – 4:16\t\nB \"Tell Me What You Want Me to Do\" (instrumental) – 5:00\n\n12\" vinyl\nA \"Tell Me What You Want Me to Do\" (edit) – 4:16\t\nB \"Tell Me What You Want Me to Do\" (album version) – 5:02\n\nUK CD\n \"Tell Me What You Want Me to Do\" – 4:16\n \"Goodbye\" (7\" Remix Edit) – 3:48\n \"Goodbye\" (Sidub and Listen) – 4:58\n \"Goodbye\" (Tevin's Dub Pt 1 & 2) – 6:53\n\nJapan CD\n \"Tell Me What You Want Me to Do\" – 4:10\n \"Tell Me What You Want Me to Do\" (instrumental version) – 4:10\n\nGermany CD\n \"Tell Me What You Want Me to Do\" (edit) – 4:10\n \"Just Ask Me\" (featuring Chubb Rock) – 4:07\n \"Tomorrow\" (A Better You, Better Me) – 4:46\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nSee also\nList of number-one R&B singles of 1992 (U.S.)\n\nReferences\n\nTevin Campbell songs\n1991 singles\n1991 songs\nSongs written by Tevin Campbell\nSongs written by Narada Michael Walden\nSong recordings produced by Narada Michael Walden\nWarner Records singles\nContemporary R&B ballads\nPop ballads\nSoul ballads\n1990s ballads"],"string":"[\n \"\\\"Tell Me What You Want\\\" is the fourth single by English R&B band Loose Ends from their first studio album, A Little Spice, and was released in February 1984 by Virgin Records. The single reached number 74 in the UK Singles Chart.\\n\\nTrack listing\\n7” Single: VS658\\n \\\"Tell Me What You Want) 3.35\\n \\\"Tell Me What You Want (Dub Mix)\\\" 3.34\\n\\n12” Single: VS658-12\\n \\\"Tell Me What You Want (Extended Version)\\\" 6.11\\n \\\"Tell Me What You Want (Extended Dub Mix)\\\" 5.41\\n\\nU.S. only release - 12” Single: MCA23596 (released 1985)\\n \\\"Tell Me What You Want (U.S. Extended Remix)\\\" 6.08 *\\n \\\"Tell Me What You Want (U.S. Dub Version)\\\" 5.18\\n\\n* The U.S. Extended Remix version was released on CD on the U.S. Version of the 'A Little Spice' album (MCAD27141).\\n\\nThe Extended Version also featured on Side D of the limited gatefold sleeve version of 'Magic Touch'\\n\\nChart performance\\n\\nReferences\\n\\nExternal links\\n Tell Me What You Want at Discogs.\\n\\n1984 singles\\nLoose Ends (band) songs\\nSong recordings produced by Nick Martinelli\\nSongs written by Carl McIntosh (musician)\\nSongs written by Steve Nichol\\n1984 songs\\nVirgin Records singles\",\n \"\\\"Tell Me What You Want Me to Do\\\" is the title of a number-one R&B single by singer Tevin Campbell. To date, the single is Campbell's biggest hit peaking at number 6 on the Billboard Hot 100 and spending one week at number-one on the US R&B chart. The hit song is also Tevin's one and only Adult Contemporary hit, where it peaked at number 43. The song showcases Campbell's four-octave vocal range from a low note of E2 to a D#6 during the bridge of the song.\\n\\nTrack listings\\nUS 7\\\" vinyl\\nA \\\"Tell Me What You Want Me to Do\\\" (edit) – 4:16\\t\\nB \\\"Tell Me What You Want Me to Do\\\" (instrumental) – 5:00\\n\\n12\\\" vinyl\\nA \\\"Tell Me What You Want Me to Do\\\" (edit) – 4:16\\t\\nB \\\"Tell Me What You Want Me to Do\\\" (album version) – 5:02\\n\\nUK CD\\n \\\"Tell Me What You Want Me to Do\\\" – 4:16\\n \\\"Goodbye\\\" (7\\\" Remix Edit) – 3:48\\n \\\"Goodbye\\\" (Sidub and Listen) – 4:58\\n \\\"Goodbye\\\" (Tevin's Dub Pt 1 & 2) – 6:53\\n\\nJapan CD\\n \\\"Tell Me What You Want Me to Do\\\" – 4:10\\n \\\"Tell Me What You Want Me to Do\\\" (instrumental version) – 4:10\\n\\nGermany CD\\n \\\"Tell Me What You Want Me to Do\\\" (edit) – 4:10\\n \\\"Just Ask Me\\\" (featuring Chubb Rock) – 4:07\\n \\\"Tomorrow\\\" (A Better You, Better Me) – 4:46\\n\\nCharts\\n\\nWeekly charts\\n\\nYear-end charts\\n\\nSee also\\nList of number-one R&B singles of 1992 (U.S.)\\n\\nReferences\\n\\nTevin Campbell songs\\n1991 singles\\n1991 songs\\nSongs written by Tevin Campbell\\nSongs written by Narada Michael Walden\\nSong recordings produced by Narada Michael Walden\\nWarner Records singles\\nContemporary R&B ballads\\nPop ballads\\nSoul ballads\\n1990s ballads\"\n]"},"chunked_article":{"kind":"list like","value":["Tori Amos (born Myra Ellen Amos; August 22, 1963) is an American singer-songwriter and pianist. She is a classically trained musician with a mezzo-soprano vocal range.","She is a classically trained musician with a mezzo-soprano vocal range. Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted.","Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted. She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \"musical insubordination\".","She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \"musical insubordination\". Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s.","Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s. Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion.","Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion. Her charting singles include \"Crucify\", \"Silent All These Years\", \"God\", \"Cornflake Girl\", \"Caught a Lite Sneeze\", \"Professional Widow\", \"Spark\", \"1000 Oceans\", \"Flavor\" and \"A Sorta Fairytale\", her most commercially successful single in the U.S. to date.","Her charting singles include \"Crucify\", \"Silent All These Years\", \"God\", \"Cornflake Girl\", \"Caught a Lite Sneeze\", \"Professional Widow\", \"Spark\", \"1000 Oceans\", \"Flavor\" and \"A Sorta Fairytale\", her most commercially successful single in the U.S. to date. Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album.","Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album. She is listed on VH1's 1999 \"100 Greatest Women of Rock and Roll\" at number 71.","She is listed on VH1's 1999 \"100 Greatest Women of Rock and Roll\" at number 71. Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos.","Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos. She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity.","She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity. When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C.","When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C. Her older brother and sister took piano lessons, but Tori did not need them.","Her older brother and sister took piano lessons, but Tori did not need them. From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs.","From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs. She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music.","She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music. She studied classical piano at Peabody from 1968 to 1974.","She studied classical piano at Peabody from 1968 to 1974. In 1974, when she was eleven, her scholarship was discontinued, and she was asked to leave. Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music.","Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music. In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church.","In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church. At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father.","At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father. Amos won a county teen talent contest in 1977, singing a song called \"More Than Just a Friend\".","Amos won a county teen talent contest in 1977, singing a song called \"More Than Just a Friend\". As a senior at Richard Montgomery High School, she co-wrote \"Baltimore\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles.","As a senior at Richard Montgomery High School, she co-wrote \"Baltimore\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles. The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \"Walking With You\".","The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \"Walking With You\". Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast.","Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast. Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers.","Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers. Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released.","Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released. Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her.","Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her. In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area.","In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area. In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading.","In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading. In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber.","In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber. The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time.","The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time. Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released.","Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released. Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \"The only good thing about that album is my ankle high boots.\"","Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \"The only good thing about that album is my ankle high boots.\" Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist.","Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist. She also recorded a song called \"Distant Storm\" for the film China O'Brien.","She also recorded a song called \"Distant Storm\" for the film China O'Brien. In the credits, the song is attributed to a band called Tess Makes Good.","In the credits, the song is attributed to a band called Tess Makes Good. 1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990.","1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990. The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented.","The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented. The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault.","The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault. This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15.","This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15. Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \"Silent All These Years\".","Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \"Silent All These Years\". Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink.","Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink. The album was received with mostly favorable reviews and sold enough copies to chart at No. 12 on the Billboard 200, a significantly higher position than the preceding album's position at No.","12 on the Billboard 200, a significantly higher position than the preceding album's position at No. 54 on the same chart. However, the album found its biggest success in the UK, debuting at number one upon release in February 1994.","However, the album found its biggest success in the UK, debuting at number one upon release in February 1994. 1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996.","1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996. Prior to its release, the first single, \"Caught a Lite Sneeze\" became the first full song released for streaming online prior to an album's release.","Prior to its release, the first single, \"Caught a Lite Sneeze\" became the first full song released for streaming online prior to an album's release. The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics.","The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics. For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano.","For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano. The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability.","The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability. Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No.","Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No. 2 on the UK Top 40 and No. 2 on the Billboard 200 upon its release.","2 on the Billboard 200 upon its release. Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios.","Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios. From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums.","From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums. Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes.","Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes. The underlying themes of both albums deal with womanhood and Amos's own miscarriages and marriage. Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality.","Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality. Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week.","Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week. To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download.","To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download. 2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective.","2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective. That became Strange Little Girls, released in September 2001.","That became Strange Little Girls, released in September 2001. The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song.","The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song. Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label.","Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label. With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001.","With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11.","Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny.","Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA.","Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA. Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003.","Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group.","Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline.","Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline. 2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007).","2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment.","The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics.","Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No.","The album debuted at No. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts.","5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it.","While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's.","American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No.","Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200.","5 on the Billboard 200. 5 on the Billboard 200. During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records.","During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records. 2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work.","2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work. In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes.","In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes. By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \"joint venture\" deal with Universal Republic Records.","By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \"joint venture\" deal with Universal Republic Records. Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews.","Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews. The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so.","The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so. Abnormally Attracted to Sin, admitted Amos, is a \"personal album\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin.","Abnormally Attracted to Sin, admitted Amos, is a \"personal album\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin. Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year.","Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year. The album features reworked versions of traditional carols, as well as original songs written by Amos.","The album features reworked versions of traditional carols, as well as original songs written by Amos. During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010.","During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010. In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble.","In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble. After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010.","After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010. The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow.","The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow. The set was released exclusively through her website and only 2000 copies were produced.","The set was released exclusively through her website and only 2000 copies were produced. 2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group.","2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group. Amos recorded the album with several musicians, including the Apollon Musagète string quartet.","Amos recorded the album with several musicians, including the Apollon Musagète string quartet. To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra.","To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra. The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon.","The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon. On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists.","On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists. In 2013, Amos collaborated with the Bullitts on the track \"Wait Until Tomorrow\" from their debut album, They Die by Dawn & Other Short Stories.","In 2013, Amos collaborated with the Bullitts on the track \"Wait Until Tomorrow\" from their debut album, They Die by Dawn & Other Short Stories. She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \"return to contemporary music\".","She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \"return to contemporary music\". September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott.","September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott. It premiered at London's Royal National Theatre and ended in February 2014.","It premiered at London's Royal National Theatre and ended in February 2014. The Light Princess and its lead actress, Rosalie Craig, were nominated for Best Musical and Best Musical Performance respectively at the Evening Standard Award. Craig won the Best Musical Performance category.","Craig won the Best Musical Performance category. Amos's 14th studio album, Unrepentant Geraldines, was released on May 13, 2014, via Mercury Classics/Universal Music Classics in the US. Its first single, \"Trouble's Lament\", was released on March 28.","Its first single, \"Trouble's Lament\", was released on March 28. The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014.","The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014. In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House.","In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House. According to a press release, Unrepentant Geraldines was a \"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years.","According to a press release, Unrepentant Geraldines was a \"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years. [It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\"","[It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\" The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics.","The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics. Apart from the original cast performances, the recording also includes two songs from the musical (\"Highness in the Sky\" and \"Darkest Hour') performed by Amos.","Apart from the original cast performances, the recording also includes two songs from the musical (\"Highness in the Sky\" and \"Darkest Hour') performed by Amos. 2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release.","2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release. This follows the deluxe re-releases of her first two albums in 2015.","This follows the deluxe re-releases of her first two albums in 2015. On September 8, 2017, Amos released Native Invader, accompanied by a world tour.","On September 8, 2017, Amos released Native Invader, accompanied by a world tour. During the summer of 2017, Amos launched three songs from the album: \"Cloud Riders\", \"Up the Creek\" and \"Reindeer King\", the latter featuring string arrangements by John Philip Shenale.","During the summer of 2017, Amos launched three songs from the album: \"Cloud Riders\", \"Up the Creek\" and \"Reindeer King\", the latter featuring string arrangements by John Philip Shenale. Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations.","Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations. The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak.","The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak. Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader.","Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader. The album, released on September 8, 2017, has been presented in two formats: standard and deluxe.","The album, released on September 8, 2017, has been presented in two formats: standard and deluxe. The standard version includes 13 songs, while the deluxe edition adds two extra songs to the tracklist: \"Upside Down 2\" and \"Russia\". Native Invader has been well received by most music critics upon release.","Native Invader has been well received by most music critics upon release. The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \"generally favorable reviews\".","The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \"generally favorable reviews\". On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl.","On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl. The EP consists of four original songs and features her first work with bandmates Matt Chamberlain and Jon Evans since 2009. Amos recorded the EP remotely due to the impact of the COVID-19 pandemic.","Amos recorded the EP remotely due to the impact of the COVID-19 pandemic. On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29.","On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29. The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \"a universal story of going to rock bottom and renewing yourself all over again\".","The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \"a universal story of going to rock bottom and renewing yourself all over again\". Amos will embark on a European tour in support of the album in 2022.","Amos will embark on a European tour in support of the album in 2022. Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces.","Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces. In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005).","In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005). The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records.","The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records. Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos.","Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos. Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore.","Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore. Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996).","Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996). Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process.","Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process. Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020.","Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020. Personal life Amos married English sound engineer Mark Hawley on February 22, 1998. Their daughter was born in 2000.","Their daughter was born in 2000. The family divides their time between Sewall's Point in Florida, US, and Bude, Cornwall in the UK. Amos' mother, Mary Ellen, died on May 11, 2019.","Amos' mother, Mary Ellen, died on May 11, 2019. Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \"Tear in Your Hand\" and also in print interviews.","Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \"Tear in Your Hand\" and also in print interviews. Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \"steal shamelessly from each other\".","Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \"steal shamelessly from each other\". She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo.","She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo. Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009.","Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009. In 2019, Amos performed the British standard \"A Nightingale Sang in Berkeley Square\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett.","In 2019, Amos performed the British standard \"A Nightingale Sang in Berkeley Square\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett. Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded.","Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded. Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline.","Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline. She was the first national spokesperson for the organization and has continued to be closely associated with RAINN.","She was the first national spokesperson for the organization and has continued to be closely associated with RAINN. On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN.","On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN. On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA.","On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA. Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992.","Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992. In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine.","In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine. Her concerts are notable for their changing set lists from night to night. Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland.","Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland. She performed solo with a Yamaha CP-70 unless the venue was able to provide a piano. The tour included 142 concerts around the globe.","The tour included 142 concerts around the globe. Under the Pink Tour Amos's second world tour began on February 24, 1994 in Newcastle upon Tyne and ended on December 13, 1994 in Perth, Western Australia. Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \"Bells for Her\".","Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \"Bells for Her\". The tour included 181 concerts. Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder.","Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder. Amos performed each night on piano, harpsichord, and harmonium, with Steve Caton on guitar on some songs. The tour included 187 concerts.","The tour included 187 concerts. The tour included 187 concerts. Plugged '98 Tour Amos's first band tour. Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass.","Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass. The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts.","The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts. 5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only.","5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only. The first part of the tour was co-headlining with Alanis Morissette and featured the same band and equipment line-up as in 1998. Amos and the band continued for eight shows before Amos embarked on a series of solo shows.","Amos and the band continued for eight shows before Amos embarked on a series of solo shows. The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts.","The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts. Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996).","Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996). It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented.","It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented. Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months.","Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months. It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts.","It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts. On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton.","On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton. The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening.","The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening. The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts.","The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts. The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album).","The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album). Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes.","Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes. The tour also encompassed Australia for the first time since 1994.","The tour also encompassed Australia for the first time since 1994. Amos announced at a concert on this tour that she would never stop touring but would scale down the tours. Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles.","Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles. The tour featured \"Tori's Piano Bar\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show.","The tour featured \"Tori's Piano Bar\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show. One of the songs chosen was the Kylie Minogue hit \"Can't Get You Out of My Head\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public.","One of the songs chosen was the Kylie Minogue hit \"Can't Get You Out of My Head\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public. Other songs performed by Amos include The Doors' \"People are Strange\", Depeche Mode's \"Personal Jesus\", Joni Mitchell's \"The Circle Game\", Madonna's \"Live to Tell\" and \"Like a Prayer\", Björk's \"Hyperballad\", Led Zeppelin's \"When the Levee Breaks\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \"And Dream of Sheep\" and Crowded House's \"Don't Dream It's Over\", dedicating it to drummer Paul Hester who had died a week before.","Other songs performed by Amos include The Doors' \"People are Strange\", Depeche Mode's \"Personal Jesus\", Joni Mitchell's \"The Circle Game\", Madonna's \"Live to Tell\" and \"Like a Prayer\", Björk's \"Hyperballad\", Led Zeppelin's \"When the Levee Breaks\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \"And Dream of Sheep\" and Crowded House's \"Don't Dream It's Over\", dedicating it to drummer Paul Hester who had died a week before. The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs.","The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs. American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band.","American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band. Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards.","Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards. The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles.","The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles. Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show.","Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show. The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series.","The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series. Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard.","Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard. The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009.","The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009. A solo leg through Australia began in Melbourne on November 12, 2009 and ended in Brisbane on November 24, 2009. The entire tour featured 63 concerts.","The entire tour featured 63 concerts. Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa.","Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa. It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas.","It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas. Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1.","Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1. Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts.","Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts. Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October.","Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October. Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland.","Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland. Awards and nominations {| class=\"wikitable sortable plainrowheaders\" |- ! scope=\"col\" | Award !","scope=\"col\" | Award ! scope=\"col\" | Year ! scope=\"col\" | Nominee(s) ! scope=\"col\" | Category ! scope=\"col\" | Result ! scope=\"col\" class=\"unsortable\"| |- !","scope=\"col\" class=\"unsortable\"| |- ! scope=\"row\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- !","scope=\"row\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- ! scope=\"row\"|Critics' Choice Documentary Awards | 2016 | \"Flicker\" | Best Song in a Documentary | | |- !scope=\"row\"|ECHO Awards | 1995 | Herself | Best International Female | | |- !","scope=\"row\"|Critics' Choice Documentary Awards | 2016 | \"Flicker\" | Best Song in a Documentary | | |- !scope=\"row\"|ECHO Awards | 1995 | Herself | Best International Female | | |- ! scope=\"row\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- !","scope=\"row\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- ! scope=\"row\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- !","scope=\"row\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- ! scope=\"row\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- !","scope=\"row\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- ! scope=\"row\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- !","scope=\"row\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- ! scope=\"row\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \"Raspberry Swirl\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \"Bliss\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \"Strange Little Girl\" | Best Female Rock Vocal Performance | |- !","scope=\"row\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \"Raspberry Swirl\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \"Bliss\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \"Strange Little Girl\" | Best Female Rock Vocal Performance | |- ! scope=\"row\"|Hollywood Music in Media Awards | 2016 | \"Flicker\" | Best Original Song in a Documentary | | |- !","scope=\"row\"|Hollywood Music in Media Awards | 2016 | \"Flicker\" | Best Original Song in a Documentary | | |- ! scope=\"row\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- !","scope=\"row\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- ! scope=\"row\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- !","scope=\"row\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- ! scope=\"row\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\"Silent All These Years\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- !","scope=\"row\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\"Silent All These Years\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- ! scope=\"row\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- !","scope=\"row\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- ! scope=\"row\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\"row\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- !","scope=\"row\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\"row\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- ! scope=\"row\"|Q Awards | 1992 | Herself | Best New Act | | |- !","scope=\"row\"|Q Awards | 1992 | Herself | Best New Act | | |- ! scope=\"row\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\"row\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony.","scope=\"row\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\"row\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony. Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel.","Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel. Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile.","Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile. References Citations Works cited External links 1963 births 20th-century American composers 20th-century American keyboardists 20th-century American women pianists 20th-century American pianists 20th-century American women singers 21st-century American keyboardists 21st-century American women pianists 21st-century American pianists 21st-century American women singers Alternative rock keyboardists Alternative rock pianists Alternative rock singers American alternative rock musicians American expatriates in the Republic of Ireland American expatriates in the United Kingdom American women composers American women singer-songwriters American feminist writers American harpsichordists American mezzo-sopranos American organists American people who self-identify as being of Native American descent American pop pianists American rock pianists American women rock singers American rock songwriters Articles containing video clips Art rock musicians Atlantic Records artists Child classical musicians Clavichordists Deutsche Grammophon artists Electronica musicians Epic Records artists Feminist musicians Harmonium players Island Records artists Living people Montgomery College alumni Musicians from Baltimore Musicians from County Cork Musicians from Rockville, Maryland People from Georgetown (Washington, D.C.) People from Newton, North Carolina People from Sewall's Point, Florida Republic Records artists Sexual abuse victim advocates Singer-songwriters from Maryland Singer-songwriters from North Carolina Women organists 20th-century women composers American women in electronic music 20th-century American singers 21st-century American singers Singer-songwriters from Washington, D.C."],"string":"[\n \"Tori Amos (born Myra Ellen Amos; August 22, 1963) is an American singer-songwriter and pianist. She is a classically trained musician with a mezzo-soprano vocal range.\",\n \"She is a classically trained musician with a mezzo-soprano vocal range. Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted.\",\n \"Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted. She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \\\"musical insubordination\\\".\",\n \"She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \\\"musical insubordination\\\". Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s.\",\n \"Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s. Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion.\",\n \"Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion. Her charting singles include \\\"Crucify\\\", \\\"Silent All These Years\\\", \\\"God\\\", \\\"Cornflake Girl\\\", \\\"Caught a Lite Sneeze\\\", \\\"Professional Widow\\\", \\\"Spark\\\", \\\"1000 Oceans\\\", \\\"Flavor\\\" and \\\"A Sorta Fairytale\\\", her most commercially successful single in the U.S. to date.\",\n \"Her charting singles include \\\"Crucify\\\", \\\"Silent All These Years\\\", \\\"God\\\", \\\"Cornflake Girl\\\", \\\"Caught a Lite Sneeze\\\", \\\"Professional Widow\\\", \\\"Spark\\\", \\\"1000 Oceans\\\", \\\"Flavor\\\" and \\\"A Sorta Fairytale\\\", her most commercially successful single in the U.S. to date. Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album.\",\n \"Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album. She is listed on VH1's 1999 \\\"100 Greatest Women of Rock and Roll\\\" at number 71.\",\n \"She is listed on VH1's 1999 \\\"100 Greatest Women of Rock and Roll\\\" at number 71. Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos.\",\n \"Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos. She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity.\",\n \"She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity. When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C.\",\n \"When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C. Her older brother and sister took piano lessons, but Tori did not need them.\",\n \"Her older brother and sister took piano lessons, but Tori did not need them. From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs.\",\n \"From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs. She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music.\",\n \"She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music. She studied classical piano at Peabody from 1968 to 1974.\",\n \"She studied classical piano at Peabody from 1968 to 1974. In 1974, when she was eleven, her scholarship was discontinued, and she was asked to leave. Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music.\",\n \"Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music. In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church.\",\n \"In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church. At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father.\",\n \"At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father. Amos won a county teen talent contest in 1977, singing a song called \\\"More Than Just a Friend\\\".\",\n \"Amos won a county teen talent contest in 1977, singing a song called \\\"More Than Just a Friend\\\". As a senior at Richard Montgomery High School, she co-wrote \\\"Baltimore\\\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles.\",\n \"As a senior at Richard Montgomery High School, she co-wrote \\\"Baltimore\\\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles. The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \\\"Walking With You\\\".\",\n \"The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \\\"Walking With You\\\". Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast.\",\n \"Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast. Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers.\",\n \"Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers. Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released.\",\n \"Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released. Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her.\",\n \"Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her. In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area.\",\n \"In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area. In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading.\",\n \"In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading. In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber.\",\n \"In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber. The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time.\",\n \"The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time. Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released.\",\n \"Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released. Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \\\"The only good thing about that album is my ankle high boots.\\\"\",\n \"Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \\\"The only good thing about that album is my ankle high boots.\\\" Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist.\",\n \"Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist. She also recorded a song called \\\"Distant Storm\\\" for the film China O'Brien.\",\n \"She also recorded a song called \\\"Distant Storm\\\" for the film China O'Brien. In the credits, the song is attributed to a band called Tess Makes Good.\",\n \"In the credits, the song is attributed to a band called Tess Makes Good. 1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990.\",\n \"1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990. The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented.\",\n \"The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented. The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault.\",\n \"The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault. This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15.\",\n \"This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15. Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \\\"Silent All These Years\\\".\",\n \"Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \\\"Silent All These Years\\\". Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink.\",\n \"Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink. The album was received with mostly favorable reviews and sold enough copies to chart at No. 12 on the Billboard 200, a significantly higher position than the preceding album's position at No.\",\n \"12 on the Billboard 200, a significantly higher position than the preceding album's position at No. 54 on the same chart. However, the album found its biggest success in the UK, debuting at number one upon release in February 1994.\",\n \"However, the album found its biggest success in the UK, debuting at number one upon release in February 1994. 1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996.\",\n \"1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996. Prior to its release, the first single, \\\"Caught a Lite Sneeze\\\" became the first full song released for streaming online prior to an album's release.\",\n \"Prior to its release, the first single, \\\"Caught a Lite Sneeze\\\" became the first full song released for streaming online prior to an album's release. The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics.\",\n \"The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics. For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano.\",\n \"For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano. The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability.\",\n \"The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability. Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No.\",\n \"Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No. 2 on the UK Top 40 and No. 2 on the Billboard 200 upon its release.\",\n \"2 on the Billboard 200 upon its release. Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios.\",\n \"Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios. From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums.\",\n \"From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums. Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes.\",\n \"Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes. The underlying themes of both albums deal with womanhood and Amos's own miscarriages and marriage. Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality.\",\n \"Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality. Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week.\",\n \"Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week. To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download.\",\n \"To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download. 2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective.\",\n \"2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective. That became Strange Little Girls, released in September 2001.\",\n \"That became Strange Little Girls, released in September 2001. The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song.\",\n \"The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song. Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label.\",\n \"Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label. With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001.\",\n \"With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a \\\"sonic novel\\\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11.\",\n \"Described as a \\\"sonic novel\\\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny.\",\n \"Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA.\",\n \"Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA. Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003.\",\n \"Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group.\",\n \"Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline.\",\n \"Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline. 2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007).\",\n \"2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment.\",\n \"The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics.\",\n \"Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No.\",\n \"The album debuted at No. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts.\",\n \"5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it.\",\n \"While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the \\\"posse\\\") who are used as a theme of alter-egos of Amos's.\",\n \"American Doll Posse, another concept album, is fashioned around a group of girls (the \\\"posse\\\") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No.\",\n \"Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200.\",\n \"5 on the Billboard 200. 5 on the Billboard 200. During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records.\",\n \"During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records. 2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work.\",\n \"2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work. In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes.\",\n \"In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes. By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \\\"joint venture\\\" deal with Universal Republic Records.\",\n \"By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \\\"joint venture\\\" deal with Universal Republic Records. Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews.\",\n \"Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews. The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so.\",\n \"The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so. Abnormally Attracted to Sin, admitted Amos, is a \\\"personal album\\\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin.\",\n \"Abnormally Attracted to Sin, admitted Amos, is a \\\"personal album\\\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin. Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year.\",\n \"Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year. The album features reworked versions of traditional carols, as well as original songs written by Amos.\",\n \"The album features reworked versions of traditional carols, as well as original songs written by Amos. During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010.\",\n \"During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010. In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble.\",\n \"In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble. After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010.\",\n \"After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010. The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow.\",\n \"The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow. The set was released exclusively through her website and only 2000 copies were produced.\",\n \"The set was released exclusively through her website and only 2000 copies were produced. 2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group.\",\n \"2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group. Amos recorded the album with several musicians, including the Apollon Musagète string quartet.\",\n \"Amos recorded the album with several musicians, including the Apollon Musagète string quartet. To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra.\",\n \"To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra. The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon.\",\n \"The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon. On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists.\",\n \"On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists. In 2013, Amos collaborated with the Bullitts on the track \\\"Wait Until Tomorrow\\\" from their debut album, They Die by Dawn & Other Short Stories.\",\n \"In 2013, Amos collaborated with the Bullitts on the track \\\"Wait Until Tomorrow\\\" from their debut album, They Die by Dawn & Other Short Stories. She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \\\"return to contemporary music\\\".\",\n \"She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \\\"return to contemporary music\\\". September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott.\",\n \"September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott. It premiered at London's Royal National Theatre and ended in February 2014.\",\n \"It premiered at London's Royal National Theatre and ended in February 2014. The Light Princess and its lead actress, Rosalie Craig, were nominated for Best Musical and Best Musical Performance respectively at the Evening Standard Award. Craig won the Best Musical Performance category.\",\n \"Craig won the Best Musical Performance category. Amos's 14th studio album, Unrepentant Geraldines, was released on May 13, 2014, via Mercury Classics/Universal Music Classics in the US. Its first single, \\\"Trouble's Lament\\\", was released on March 28.\",\n \"Its first single, \\\"Trouble's Lament\\\", was released on March 28. The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014.\",\n \"The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014. In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House.\",\n \"In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House. According to a press release, Unrepentant Geraldines was a \\\"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years.\",\n \"According to a press release, Unrepentant Geraldines was a \\\"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years. [It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\\\"\",\n \"[It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\\\" The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics.\",\n \"The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics. Apart from the original cast performances, the recording also includes two songs from the musical (\\\"Highness in the Sky\\\" and \\\"Darkest Hour') performed by Amos.\",\n \"Apart from the original cast performances, the recording also includes two songs from the musical (\\\"Highness in the Sky\\\" and \\\"Darkest Hour') performed by Amos. 2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release.\",\n \"2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release. This follows the deluxe re-releases of her first two albums in 2015.\",\n \"This follows the deluxe re-releases of her first two albums in 2015. On September 8, 2017, Amos released Native Invader, accompanied by a world tour.\",\n \"On September 8, 2017, Amos released Native Invader, accompanied by a world tour. During the summer of 2017, Amos launched three songs from the album: \\\"Cloud Riders\\\", \\\"Up the Creek\\\" and \\\"Reindeer King\\\", the latter featuring string arrangements by John Philip Shenale.\",\n \"During the summer of 2017, Amos launched three songs from the album: \\\"Cloud Riders\\\", \\\"Up the Creek\\\" and \\\"Reindeer King\\\", the latter featuring string arrangements by John Philip Shenale. Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations.\",\n \"Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations. The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak.\",\n \"The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak. Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader.\",\n \"Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader. The album, released on September 8, 2017, has been presented in two formats: standard and deluxe.\",\n \"The album, released on September 8, 2017, has been presented in two formats: standard and deluxe. The standard version includes 13 songs, while the deluxe edition adds two extra songs to the tracklist: \\\"Upside Down 2\\\" and \\\"Russia\\\". Native Invader has been well received by most music critics upon release.\",\n \"Native Invader has been well received by most music critics upon release. The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \\\"generally favorable reviews\\\".\",\n \"The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \\\"generally favorable reviews\\\". On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl.\",\n \"On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl. The EP consists of four original songs and features her first work with bandmates Matt Chamberlain and Jon Evans since 2009. Amos recorded the EP remotely due to the impact of the COVID-19 pandemic.\",\n \"Amos recorded the EP remotely due to the impact of the COVID-19 pandemic. On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29.\",\n \"On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29. The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \\\"a universal story of going to rock bottom and renewing yourself all over again\\\".\",\n \"The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \\\"a universal story of going to rock bottom and renewing yourself all over again\\\". Amos will embark on a European tour in support of the album in 2022.\",\n \"Amos will embark on a European tour in support of the album in 2022. Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces.\",\n \"Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces. In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005).\",\n \"In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005). The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records.\",\n \"The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records. Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos.\",\n \"Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos. Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore.\",\n \"Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore. Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996).\",\n \"Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996). Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process.\",\n \"Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process. Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020.\",\n \"Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020. Personal life Amos married English sound engineer Mark Hawley on February 22, 1998. Their daughter was born in 2000.\",\n \"Their daughter was born in 2000. The family divides their time between Sewall's Point in Florida, US, and Bude, Cornwall in the UK. Amos' mother, Mary Ellen, died on May 11, 2019.\",\n \"Amos' mother, Mary Ellen, died on May 11, 2019. Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \\\"Tear in Your Hand\\\" and also in print interviews.\",\n \"Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \\\"Tear in Your Hand\\\" and also in print interviews. Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \\\"steal shamelessly from each other\\\".\",\n \"Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \\\"steal shamelessly from each other\\\". She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo.\",\n \"She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo. Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009.\",\n \"Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009. In 2019, Amos performed the British standard \\\"A Nightingale Sang in Berkeley Square\\\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett.\",\n \"In 2019, Amos performed the British standard \\\"A Nightingale Sang in Berkeley Square\\\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett. Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded.\",\n \"Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded. Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline.\",\n \"Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline. She was the first national spokesperson for the organization and has continued to be closely associated with RAINN.\",\n \"She was the first national spokesperson for the organization and has continued to be closely associated with RAINN. On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN.\",\n \"On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN. On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA.\",\n \"On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA. Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992.\",\n \"Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992. In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine.\",\n \"In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine. Her concerts are notable for their changing set lists from night to night. Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland.\",\n \"Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland. She performed solo with a Yamaha CP-70 unless the venue was able to provide a piano. The tour included 142 concerts around the globe.\",\n \"The tour included 142 concerts around the globe. Under the Pink Tour Amos's second world tour began on February 24, 1994 in Newcastle upon Tyne and ended on December 13, 1994 in Perth, Western Australia. Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \\\"Bells for Her\\\".\",\n \"Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \\\"Bells for Her\\\". The tour included 181 concerts. Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder.\",\n \"Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder. Amos performed each night on piano, harpsichord, and harmonium, with Steve Caton on guitar on some songs. The tour included 187 concerts.\",\n \"The tour included 187 concerts. The tour included 187 concerts. Plugged '98 Tour Amos's first band tour. Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass.\",\n \"Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass. The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts.\",\n \"The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts. 5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only.\",\n \"5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only. The first part of the tour was co-headlining with Alanis Morissette and featured the same band and equipment line-up as in 1998. Amos and the band continued for eight shows before Amos embarked on a series of solo shows.\",\n \"Amos and the band continued for eight shows before Amos embarked on a series of solo shows. The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts.\",\n \"The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts. Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996).\",\n \"Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996). It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented.\",\n \"It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented. Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months.\",\n \"Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months. It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts.\",\n \"It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts. On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton.\",\n \"On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton. The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening.\",\n \"The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening. The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts.\",\n \"The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts. The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album).\",\n \"The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album). Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes.\",\n \"Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes. The tour also encompassed Australia for the first time since 1994.\",\n \"The tour also encompassed Australia for the first time since 1994. Amos announced at a concert on this tour that she would never stop touring but would scale down the tours. Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles.\",\n \"Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles. The tour featured \\\"Tori's Piano Bar\\\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show.\",\n \"The tour featured \\\"Tori's Piano Bar\\\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show. One of the songs chosen was the Kylie Minogue hit \\\"Can't Get You Out of My Head\\\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public.\",\n \"One of the songs chosen was the Kylie Minogue hit \\\"Can't Get You Out of My Head\\\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public. Other songs performed by Amos include The Doors' \\\"People are Strange\\\", Depeche Mode's \\\"Personal Jesus\\\", Joni Mitchell's \\\"The Circle Game\\\", Madonna's \\\"Live to Tell\\\" and \\\"Like a Prayer\\\", Björk's \\\"Hyperballad\\\", Led Zeppelin's \\\"When the Levee Breaks\\\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \\\"And Dream of Sheep\\\" and Crowded House's \\\"Don't Dream It's Over\\\", dedicating it to drummer Paul Hester who had died a week before.\",\n \"Other songs performed by Amos include The Doors' \\\"People are Strange\\\", Depeche Mode's \\\"Personal Jesus\\\", Joni Mitchell's \\\"The Circle Game\\\", Madonna's \\\"Live to Tell\\\" and \\\"Like a Prayer\\\", Björk's \\\"Hyperballad\\\", Led Zeppelin's \\\"When the Levee Breaks\\\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \\\"And Dream of Sheep\\\" and Crowded House's \\\"Don't Dream It's Over\\\", dedicating it to drummer Paul Hester who had died a week before. The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs.\",\n \"The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs. American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band.\",\n \"American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band. Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards.\",\n \"Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards. The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles.\",\n \"The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles. Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show.\",\n \"Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show. The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series.\",\n \"The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series. Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard.\",\n \"Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard. The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009.\",\n \"The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009. A solo leg through Australia began in Melbourne on November 12, 2009 and ended in Brisbane on November 24, 2009. The entire tour featured 63 concerts.\",\n \"The entire tour featured 63 concerts. Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa.\",\n \"Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa. It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas.\",\n \"It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas. Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1.\",\n \"Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1. Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts.\",\n \"Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts. Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October.\",\n \"Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October. Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland.\",\n \"Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland. Awards and nominations {| class=\\\"wikitable sortable plainrowheaders\\\" |- ! scope=\\\"col\\\" | Award !\",\n \"scope=\\\"col\\\" | Award ! scope=\\\"col\\\" | Year ! scope=\\\"col\\\" | Nominee(s) ! scope=\\\"col\\\" | Category ! scope=\\\"col\\\" | Result ! scope=\\\"col\\\" class=\\\"unsortable\\\"| |- !\",\n \"scope=\\\"col\\\" class=\\\"unsortable\\\"| |- ! scope=\\\"row\\\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- !\",\n \"scope=\\\"row\\\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- ! scope=\\\"row\\\"|Critics' Choice Documentary Awards | 2016 | \\\"Flicker\\\" | Best Song in a Documentary | | |- !scope=\\\"row\\\"|ECHO Awards | 1995 | Herself | Best International Female | | |- !\",\n \"scope=\\\"row\\\"|Critics' Choice Documentary Awards | 2016 | \\\"Flicker\\\" | Best Song in a Documentary | | |- !scope=\\\"row\\\"|ECHO Awards | 1995 | Herself | Best International Female | | |- ! scope=\\\"row\\\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- !\",\n \"scope=\\\"row\\\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- ! scope=\\\"row\\\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- !\",\n \"scope=\\\"row\\\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- ! scope=\\\"row\\\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- !\",\n \"scope=\\\"row\\\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- ! scope=\\\"row\\\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- !\",\n \"scope=\\\"row\\\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- ! scope=\\\"row\\\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \\\"Raspberry Swirl\\\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \\\"Bliss\\\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \\\"Strange Little Girl\\\" | Best Female Rock Vocal Performance | |- !\",\n \"scope=\\\"row\\\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \\\"Raspberry Swirl\\\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \\\"Bliss\\\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \\\"Strange Little Girl\\\" | Best Female Rock Vocal Performance | |- ! scope=\\\"row\\\"|Hollywood Music in Media Awards | 2016 | \\\"Flicker\\\" | Best Original Song in a Documentary | | |- !\",\n \"scope=\\\"row\\\"|Hollywood Music in Media Awards | 2016 | \\\"Flicker\\\" | Best Original Song in a Documentary | | |- ! scope=\\\"row\\\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- !\",\n \"scope=\\\"row\\\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- ! scope=\\\"row\\\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- !\",\n \"scope=\\\"row\\\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- ! scope=\\\"row\\\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\\\"Silent All These Years\\\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- !\",\n \"scope=\\\"row\\\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\\\"Silent All These Years\\\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- ! scope=\\\"row\\\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- !\",\n \"scope=\\\"row\\\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- ! scope=\\\"row\\\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\\\"row\\\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- !\",\n \"scope=\\\"row\\\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\\\"row\\\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- ! scope=\\\"row\\\"|Q Awards | 1992 | Herself | Best New Act | | |- !\",\n \"scope=\\\"row\\\"|Q Awards | 1992 | Herself | Best New Act | | |- ! scope=\\\"row\\\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\\\"row\\\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony.\",\n \"scope=\\\"row\\\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\\\"row\\\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony. Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel.\",\n \"Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel. Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile.\",\n \"Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile. References Citations Works cited External links 1963 births 20th-century American composers 20th-century American keyboardists 20th-century American women pianists 20th-century American pianists 20th-century American women singers 21st-century American keyboardists 21st-century American women pianists 21st-century American pianists 21st-century American women singers Alternative rock keyboardists Alternative rock pianists Alternative rock singers American alternative rock musicians American expatriates in the Republic of Ireland American expatriates in the United Kingdom American women composers American women singer-songwriters American feminist writers American harpsichordists American mezzo-sopranos American organists American people who self-identify as being of Native American descent American pop pianists American rock pianists American women rock singers American rock songwriters Articles containing video clips Art rock musicians Atlantic Records artists Child classical musicians Clavichordists Deutsche Grammophon artists Electronica musicians Epic Records artists Feminist musicians Harmonium players Island Records artists Living people Montgomery College alumni Musicians from Baltimore Musicians from County Cork Musicians from Rockville, Maryland People from Georgetown (Washington, D.C.) People from Newton, North Carolina People from Sewall's Point, Florida Republic Records artists Sexual abuse victim advocates Singer-songwriters from Maryland Singer-songwriters from North Carolina Women organists 20th-century women composers American women in electronic music 20th-century American singers 21st-century American singers Singer-songwriters from Washington, D.C.\"\n]"}}},{"rowIdx":470,"cells":{"History":{"kind":"list like","value":["Tori Amos","The Epic Records years (2002-07)","Did Amos release any albums during these years?","In October 2002, Amos released Scarlet's Walk, another concept album.","Was the album successful?","strong debut at No. 7 on the Billboard 200.","Did Amos release any albums after Scarlet's Walk?","The Beekeeper (2005) and American Doll Posse (2007).","What can you tell me about The Beekeeper?","The Beekeeper was conceptually influenced by the ancient art of beekeeping,"],"string":"[\n \"Tori Amos\",\n \"The Epic Records years (2002-07)\",\n \"Did Amos release any albums during these years?\",\n \"In October 2002, Amos released Scarlet's Walk, another concept album.\",\n \"Was the album successful?\",\n \"strong debut at No. 7 on the Billboard 200.\",\n \"Did Amos release any albums after Scarlet's Walk?\",\n \"The Beekeeper (2005) and American Doll Posse (2007).\",\n \"What can you tell me about The Beekeeper?\",\n \"The Beekeeper was conceptually influenced by the ancient art of beekeeping,\"\n]"},"QuAC_dialog_id":{"kind":"string","value":"C_f2c7f26de77949ff80c91a7bd337fb42_1"},"Question":{"kind":"string","value":"Did either album win any awards?"},"Question_no":{"kind":"number","value":5,"string":"5"},"Rewrite":{"kind":"string","value":"Did either The Beekeeper or American Doll Posse by Tori Amos win any awards?"},"true_page_title":{"kind":"string","value":"Tori Amos"},"true_contexts":{"kind":"string","value":"With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA. Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline. Amos would later hint in interviews that during the creation of her next album, those in charge at the label following the aforementioned merger were interested \"only in making money\", the effects of which on the album have not been disclosed. Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200. During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records. CANNOTANSWER"},"answer":{"kind":"string","value":"Both albums received generally favorable reviews."},"true_contexts_wiki":{"kind":"string","value":"Tori Amos (born Myra Ellen Amos; August 22, 1963) is an American singer-songwriter and pianist. She is a classically trained musician with a mezzo-soprano vocal range. Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted. She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \"musical insubordination\". Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s. Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion.\n\nHer charting singles include \"Crucify\", \"Silent All These Years\", \"God\", \"Cornflake Girl\", \"Caught a Lite Sneeze\", \"Professional Widow\", \"Spark\", \"1000 Oceans\", \"Flavor\" and \"A Sorta Fairytale\", her most commercially successful single in the U.S. to date. Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album. She is listed on VH1's 1999 \"100 Greatest Women of Rock and Roll\" at number 71.\n\nEarly life and education\nAmos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos. She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity.\n\nWhen she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C. Her older brother and sister took piano lessons, but Tori did not need them. From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs. She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia:\n\nAt five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music. She studied classical piano at Peabody from 1968 to 1974. In 1974, when she was eleven, her scholarship was discontinued, and she was asked to leave. Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music.\n\nIn 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church. At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father.\n\nAmos won a county teen talent contest in 1977, singing a song called \"More Than Just a Friend\". As a senior at Richard Montgomery High School, she co-wrote \"Baltimore\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles. The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \"Walking With You\". Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast.\n\nCareer\n\n1979–1989: Career beginnings and Y Kant Tori Read\nBy the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers. Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released. Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her.\n\nIn 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area.\n\nIn 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading. In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber. The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time. Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released. Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \"The only good thing about that album is my ankle high boots.\"\n\nFollowing the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist. She also recorded a song called \"Distant Storm\" for the film China O'Brien. In the credits, the song is attributed to a band called Tess Makes Good.\n\n1990–1995: Little Earthquakes and Under the Pink\n\nDespite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990. The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented. The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault. This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15. Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \"Silent All These Years\".\n\nAmos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink. The album was received with mostly favorable reviews and sold enough copies to chart at No. 12 on the Billboard 200, a significantly higher position than the preceding album's position at No. 54 on the same chart. However, the album found its biggest success in the UK, debuting at number one upon release in February 1994.\n\n1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back\n\nHer third solo album, Boys for Pele, was released in January 1996. Prior to its release, the first single, \"Caught a Lite Sneeze\" became the first full song released for streaming online prior to an album's release.\n\nThe album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics. For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano. The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability. Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No. 2 on the UK Top 40 and No. 2 on the Billboard 200 upon its release.\n\nFueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios.\n\nFrom the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums. Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes. The underlying themes of both albums deal with womanhood and Amos's own miscarriages and marriage. Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality. Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week. To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download.\n\n2001–2004: Strange Little Girls and Scarlet's Walk\nShortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective. That became Strange Little Girls, released in September 2001. The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song. Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label.\n\nWith her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA.\n\nNot long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline.\n\n2005–2008: The Beekeeper and American Doll Posse\n\nAmos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200.\n\nDuring her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records.\n\n2008–2011: Abnormally Attracted to Sin and Midwinter Graces\n\nIn May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work. In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes. By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \"joint venture\" deal with Universal Republic Records.\n\nAbnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews. The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so. Abnormally Attracted to Sin, admitted Amos, is a \"personal album\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin. Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year. The album features reworked versions of traditional carols, as well as original songs written by Amos.\n\nDuring her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010. In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble.\n\nAfter a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010. The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow. The set was released exclusively through her website and only 2000 copies were produced.\n\n2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines\nIn September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group. Amos recorded the album with several musicians, including the Apollon Musagète string quartet.\n\nTo mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra. The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon.\n\nOn May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists.\n\nIn 2013, Amos collaborated with the Bullitts on the track \"Wait Until Tomorrow\" from their debut album, They Die by Dawn & Other Short Stories. She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \"return to contemporary music\".\n\nSeptember 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott. It premiered at London's Royal National Theatre and ended in February 2014. The Light Princess and its lead actress, Rosalie Craig, were nominated for Best Musical and Best Musical Performance respectively at the Evening Standard Award. Craig won the Best Musical Performance category.\n\nAmos's 14th studio album, Unrepentant Geraldines, was released on May 13, 2014, via Mercury Classics/Universal Music Classics in the US. Its first single, \"Trouble's Lament\", was released on March 28. The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014. In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House.\n\nAccording to a press release, Unrepentant Geraldines was a \"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years. [It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\"\n\nThe 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics. Apart from the original cast performances, the recording also includes two songs from the musical (\"Highness in the Sky\" and \"Darkest Hour') performed by Amos.\n\n2016–present: Native Invader, Christmastide and Ocean to Ocean\n\nOn November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release. This follows the deluxe re-releases of her first two albums in 2015.\n\nOn September 8, 2017, Amos released Native Invader, accompanied by a world tour. During the summer of 2017, Amos launched three songs from the album: \"Cloud Riders\", \"Up the Creek\" and \"Reindeer King\", the latter featuring string arrangements by John Philip Shenale. Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations.\n\nThe initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak. Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader. The album, released on September 8, 2017, has been presented in two formats: standard and deluxe. The standard version includes 13 songs, while the deluxe edition adds two extra songs to the tracklist: \"Upside Down 2\" and \"Russia\". Native Invader has been well received by most music critics upon release. The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \"generally favorable reviews\".\n\nOn November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl. The EP consists of four original songs and features her first work with bandmates Matt Chamberlain and Jon Evans since 2009. Amos recorded the EP remotely due to the impact of the COVID-19 pandemic.\n\nOn September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29. The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \"a universal story of going to rock bottom and renewing yourself all over again\". Amos will embark on a European tour in support of the album in 2022. Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces.\n\nIn print\nReleased in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005). The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records.\n\nImage Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos. Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore.\n\nAdditionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996).\n\nTori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process.\n\nAmos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020.\n\nPersonal life\nAmos married English sound engineer Mark Hawley on February 22, 1998. Their daughter was born in 2000. The family divides their time between Sewall's Point in Florida, US, and Bude, Cornwall in the UK.\n\nAmos' mother, Mary Ellen, died on May 11, 2019.\n\nEarly in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \"Tear in Your Hand\" and also in print interviews. Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \"steal shamelessly from each other\". She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo. Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009. In 2019, Amos performed the British standard \"A Nightingale Sang in Berkeley Square\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett.\n\nActivism\nIn June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded. Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline. She was the first national spokesperson for the organization and has continued to be closely associated with RAINN. On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN. On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA.\n\nDiscography\n\nStudio albums\n Little Earthquakes (1992)\n Under the Pink (1994)\n Boys for Pele (1996)\n From the Choirgirl Hotel (1998)\n To Venus and Back (1999)\n Strange Little Girls (2001)\n Scarlet's Walk (2002)\n The Beekeeper (2005)\n American Doll Posse (2007)\n Abnormally Attracted to Sin (2009)\n Midwinter Graces (2009)\n Night of Hunters (2011)\n Gold Dust (2012)\n Unrepentant Geraldines (2014)\n Native Invader (2017)\n Ocean to Ocean (2021)\n\nTours\nAmos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992. In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine. Her concerts are notable for their changing set lists from night to night.\n\nLittle Earthquakes Tour\n Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland. She performed solo with a Yamaha CP-70 unless the venue was able to provide a piano. The tour included 142 concerts around the globe.\n\nUnder the Pink Tour\n Amos's second world tour began on February 24, 1994 in Newcastle upon Tyne and ended on December 13, 1994 in Perth, Western Australia. Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \"Bells for Her\". The tour included 181 concerts.\n\nDew Drop Inn Tour\n The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder. Amos performed each night on piano, harpsichord, and harmonium, with Steve Caton on guitar on some songs. The tour included 187 concerts.\n\nPlugged '98 Tour\n Amos's first band tour. Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass. The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts.\n\n5 ½ Weeks Tour / To Dallas and Back\n Amos's fifth tour was North America–only. The first part of the tour was co-headlining with Alanis Morissette and featured the same band and equipment line-up as in 1998. Amos and the band continued for eight shows before Amos embarked on a series of solo shows. The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts.\n\nStrange Little Tour\n This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996). It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented. Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months. It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts.\n\nOn Scarlet's Walk / Lottapianos Tour\n Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton. The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening. The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts. The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album).\n\nOriginal Sinsuality Tour / Summer of Sin\n This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes. The tour also encompassed Australia for the first time since 1994. Amos announced at a concert on this tour that she would never stop touring but would scale down the tours. Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles. The tour featured \"Tori's Piano Bar\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show. One of the songs chosen was the Kylie Minogue hit \"Can't Get You Out of My Head\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public. Other songs performed by Amos include The Doors' \"People are Strange\", Depeche Mode's \"Personal Jesus\", Joni Mitchell's \"The Circle Game\", Madonna's \"Live to Tell\" and \"Like a Prayer\", Björk's \"Hyperballad\", Led Zeppelin's \"When the Levee Breaks\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \"And Dream of Sheep\" and Crowded House's \"Don't Dream It's Over\", dedicating it to drummer Paul Hester who had died a week before. The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs.\n\nAmerican Doll Posse World Tour\n This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band. Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards. The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles. Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show. The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series.\n\nSinful Attraction Tour\n For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard. The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009. A solo leg through Australia began in Melbourne on November 12, 2009 and ended in Brisbane on November 24, 2009. The entire tour featured 63 concerts.\n\nNight of Hunters tour\n Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa. It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas.\n\nGold Dust Orchestral Tour\n Amos began her 2012 tour in Rotterdam on October 1.\n\nUnrepentant Geraldines Tour\n Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts.\n\nNative Invader Tour\n Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October.\n\nOcean to Ocean Tour\n Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland.\n\nAwards and nominations \n{| class=\"wikitable sortable plainrowheaders\"\n|-\n! scope=\"col\" | Award\n! scope=\"col\" | Year\n! scope=\"col\" | Nominee(s)\n! scope=\"col\" | Category\n! scope=\"col\" | Result\n! scope=\"col\" class=\"unsortable\"| \n|-\n! scope=\"row\" rowspan=3|Brit Awards\n| rowspan=2|1993\n| rowspan=3|Herself\n| International Breakthrough Act\n| \n| rowspan=2|\n|-\n| International Solo Artist\n| \n|-\n| 1995\n| International Female Solo Artist\n| \n|\n|-\n! scope=\"row\"|Critics' Choice Documentary Awards\n| 2016\n| \"Flicker\"\n| Best Song in a Documentary\n| \n| \n|-\n!scope=\"row\"|ECHO Awards\n| 1995\n| Herself\n| Best International Female\n| \n|\n|-\n! scope=\"row\"|ECHO Klassik Awards\n| rowspan=1|2012\n| Night of Hunters\n| The Klassik-ohne-Grenzen Prize\n| \n|\n|-\n! scope=\"row\" rowspan=4|GAFFA Awards\n| 2000\n| rowspan=3|Herself\n| rowspan=2|Best Foreign Female Act\n| \n| rowspan=2|\n|-\n| 2003\n| \n|-\n| rowspan=2|2022\n| Best Foreign Solo Act\n| \n| \n|-\n| Ocean to Ocean\n| Best Foreign Album\n| \n|-\n! scope=\"row\"|George Peabody Medal\n| 2019\n| Herself\n| Outstanding Contributions to Music \n| \n|\n|-\n! scope=\"row\"|Glamour Awards\n| 1998\n| Herself\n| Woman of the Year\n| \n|\n|-\n! scope=\"row\" rowspan=8|Grammy Awards\n| 1995\n| Under the Pink\n| rowspan=3|Best Alternative Music Album\n| \n| rowspan=8|\n|-\n| 1997\n| Boys for Pele\n| \n|-\n| rowspan=2|1999\n| From the Choirgirl Hotel\n| \n|-\n| \"Raspberry Swirl\"\n| rowspan=2|Best Female Rock Vocal Performance\n| \n|-\n| rowspan=2|2000\n| \"Bliss\"\n| \n|-\n| To Venus and Back\n| rowspan=2|Best Alternative Music Album\n| \n|-\n| rowspan=2|2002\n| Strange Little Girls\n| \n|-\n| \"Strange Little Girl\"\n| Best Female Rock Vocal Performance\n| \n|-\n! scope=\"row\"|Hollywood Music in Media Awards\n| 2016\n| \"Flicker\"\n| Best Original Song in a Documentary\n| \n|\n|-\n! scope=\"row\"|Hungarian Music Awards\n| 2010\n| Abnormally Attracted to Sin\n| Best Foreign Alternative Album\n| \n| \n|-\n! scope=\"row\"|MTV Europe Music Awards\n| 1994\n| Herself\n| Best Female\n| \n|\n|-\n! scope=\"row\" rowspan=4|MTV Video Music Awards\n| rowspan=4|1992\n| rowspan=4|\"Silent All These Years\"\n| Best Female Video\n| \n|rowspan=4|\n|-\n| Best New Artist in a Video\n| \n|-\n| Breakthrough Video\n| \n|-\n| Best Cinematography in a Video\n| \n|-\n! scope=\"row\"|NME Awards\n| 2016\n| Under the Pink\n| Best Reissue\n| \n|\n|-\n! scope=\"row\"|North Carolina Music Hall of Fame\n| 2012\n| Herself\n| Inducted\n| \n|\n|-\n!scope=\"row\" rowspan=5|Pollstar Concert Industry Awards\n| rowspan=2|1993\n| rowspan=2|Little Earthquakes Tour\n| Best New Rock Artist\n| \n| rowspan=2|\n|-\n| Club Tour Of The Year\n| \n|-\n| 1995\n| Under the Pink Tour\n| rowspan=3|Small Hall Tour Of The Year\n| \n| \n|-\n| 1997\n| Dew Drop Inn Tour\n| \n| \n|-\n| 1999\n| 5 ½ Weeks Tour\n| \n| \n|-\n! scope=\"row\"|Q Awards\n| 1992\n| Herself\n| Best New Act\n| \n|\n|-\n! scope=\"row\" rowspan=2|WhatsOnStage Awards\n| rowspan=2|2014\n| rowspan=2|The Light Princess\n| Best New Musical\n| \n| rowspan=2|\n|-\n| Best London Newcomer of the Year\n| \n|-\n!scope=\"row\"|Žebřík Music Awards\n| 2001\n| Herself\n| Best International Female\n| \n| \n\n1999: Spin Readers' Poll Awards (Won)\n\nOn May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony. Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel.\n\nFilm appearances\nTori appears as a wedding singer in the film Mona Lisa Smile.\n\nReferences\n\nCitations\n\nWorks cited\n\nExternal links\n\n \n \n \n\n \n1963 births\n20th-century American composers\n20th-century American keyboardists\n20th-century American women pianists\n20th-century American pianists\n20th-century American women singers\n21st-century American keyboardists\n21st-century American women pianists\n21st-century American pianists\n21st-century American women singers\nAlternative rock keyboardists\nAlternative rock pianists\nAlternative rock singers\nAmerican alternative rock musicians\nAmerican expatriates in the Republic of Ireland\nAmerican expatriates in the United Kingdom\nAmerican women composers\nAmerican women singer-songwriters\nAmerican feminist writers\nAmerican harpsichordists\nAmerican mezzo-sopranos\nAmerican organists\nAmerican people who self-identify as being of Native American descent\nAmerican pop pianists\nAmerican rock pianists\nAmerican women rock singers\nAmerican rock songwriters\nArticles containing video clips\nArt rock musicians\nAtlantic Records artists\nChild classical musicians\nClavichordists\nDeutsche Grammophon artists\nElectronica musicians\nEpic Records artists\nFeminist musicians\nHarmonium players\nIsland Records artists\nLiving people\nMontgomery College alumni\nMusicians from Baltimore\nMusicians from County Cork\nMusicians from Rockville, Maryland\nPeople from Georgetown (Washington, D.C.)\nPeople from Newton, North Carolina\nPeople from Sewall's Point, Florida\nRepublic Records artists\nSexual abuse victim advocates\nSinger-songwriters from Maryland\nSinger-songwriters from North Carolina\nWomen organists\n20th-century women composers\nAmerican women in electronic music\n20th-century American singers\n21st-century American singers\nSinger-songwriters from Washington, D.C."},"extractive":{"kind":"string","value":"true"},"retrieved_contexts":{"kind":"list like","value":["The 54th Academy of Country Music Awards was held at the MGM Grand Garden Arena in Las Vegas, Nevada on April 7, 2019. Nominations were announced on February 20, 2019 by Reba McEntire during CBS This Morning, with Chris Stapleton and Dan + Shay leading with six nominations each. McEntire returned to host the awards for the sixteenth time.\n\nJason Aldean was presented with the ACM's rare honor \"Artist of the Decade\" by previous holder George Strait.\n\nWinners and Nominees \nThe winners are shown in bold.\n\nPerformances\n\nPresenters\n\nReception \nIn its review of the event, Rolling Stone Country praised that the ACMs took the opportunity to bring seasoned musicians Amanda Shires and Charlie Worsham \"into the fold\" by having them appear alongside Luke Combs and Keith Urban respectively but criticised that the ACMs did not introduce either of them or even feature them on screen. Worsham, who the reviewer believed should have been nominated for his own awards, performed \"mostly in the shadows\" and Shires, who \"helped transform [Combs' performance] with her lyrical playing\" was barely seen. Rolling Stone also praised Reba McEntire's hosting and the performances by Dierks Bentley and Brandi Carlile, Little Big Town, Miranda Lambert and Ashley McBryde but stated that it was \"baffling\" that Kacey Musgraves, who had five nominations and won the CMA Award for Album of the Year and four Grammy Awards including Best Country Album and the all-genre Album of the Year for Golden Hour, did not perform. Musgraves' win made her only the third artist (after Taylor Swift and the artists that appeared on Oh Brother, Where Art Thou?) to win the ACM, CMA and Grammy Awards for Best Country Album as well as the all-genre Grammy for Album of the Year.\n\nSee also\nAcademy of Country Music Awards\n\nReferences\n\nAcademy of Country Music Awards\nAcademy of Country Music Awards\nAcademy of Country Music Awards\nAcademy of Country Music Awards\nAcademy of Country Music Awards\nAcademy of Country Music Awards\nAcademy of Country Music Awards","Iz*One was a twelve-member South Korean and Japanese girl group formed in 2018 through Produce 48, a music competition reality show. The group achieved significant commercial success with its debut extended play Color*Iz (2018), released under Off the Record Entertainment, and won several new artist awards, including Best New Artist at the 20th Mnet Asian Music Awards, Rookie of the Year at the 33rd Golden Disc Awards, and the New Artist Award at the 28th Seoul Music Awards. The group's second EP, Heart*Iz (2019), was released to greater commercial success than its predecessor, and received Disc Bonsang nominations at the 34th Golden Disc Awards and the 29th Seoul Music Awards respectively. The EP's lead single, \"Violeta\", received a nomination for Song of the Year at the 21st Mnet Asian Music Awards.\n\nThe group earned its first ever daesang award nominations for its first studio album Bloom*Iz, released in February 2020. The album was nominated for Album of the Year at both the 12th Melon Music Awards and the 10th Gaon Chart Music Awards, while its lead single \"Fiesta\" was also nominated at both ceremonies for Best Dance – Female and Song of the Year – February respectively. Iz*One did not win any of the nominations but the group received its second Artist of the Year bonsang at the Melon Music Awards. Bloom*Iz garnered an additional Bonsang Award nomination at the 30th Seoul Music Awards. The group's follow-up EP, Oneiric Diary, released in June 2020, was also nominated alongside its predecessor at the Gaon Awards, for Album of the Year – 3rd Quarter. The group won its third Artist of the Year bonsang at the 3rd Fact Music Awards in December 2020.\n\nAwards and nominations\n\nNotes\n\nReferences \n\nIz*One\nAwards"],"string":"[\n \"The 54th Academy of Country Music Awards was held at the MGM Grand Garden Arena in Las Vegas, Nevada on April 7, 2019. Nominations were announced on February 20, 2019 by Reba McEntire during CBS This Morning, with Chris Stapleton and Dan + Shay leading with six nominations each. McEntire returned to host the awards for the sixteenth time.\\n\\nJason Aldean was presented with the ACM's rare honor \\\"Artist of the Decade\\\" by previous holder George Strait.\\n\\nWinners and Nominees \\nThe winners are shown in bold.\\n\\nPerformances\\n\\nPresenters\\n\\nReception \\nIn its review of the event, Rolling Stone Country praised that the ACMs took the opportunity to bring seasoned musicians Amanda Shires and Charlie Worsham \\\"into the fold\\\" by having them appear alongside Luke Combs and Keith Urban respectively but criticised that the ACMs did not introduce either of them or even feature them on screen. Worsham, who the reviewer believed should have been nominated for his own awards, performed \\\"mostly in the shadows\\\" and Shires, who \\\"helped transform [Combs' performance] with her lyrical playing\\\" was barely seen. Rolling Stone also praised Reba McEntire's hosting and the performances by Dierks Bentley and Brandi Carlile, Little Big Town, Miranda Lambert and Ashley McBryde but stated that it was \\\"baffling\\\" that Kacey Musgraves, who had five nominations and won the CMA Award for Album of the Year and four Grammy Awards including Best Country Album and the all-genre Album of the Year for Golden Hour, did not perform. Musgraves' win made her only the third artist (after Taylor Swift and the artists that appeared on Oh Brother, Where Art Thou?) to win the ACM, CMA and Grammy Awards for Best Country Album as well as the all-genre Grammy for Album of the Year.\\n\\nSee also\\nAcademy of Country Music Awards\\n\\nReferences\\n\\nAcademy of Country Music Awards\\nAcademy of Country Music Awards\\nAcademy of Country Music Awards\\nAcademy of Country Music Awards\\nAcademy of Country Music Awards\\nAcademy of Country Music Awards\\nAcademy of Country Music Awards\",\n \"Iz*One was a twelve-member South Korean and Japanese girl group formed in 2018 through Produce 48, a music competition reality show. The group achieved significant commercial success with its debut extended play Color*Iz (2018), released under Off the Record Entertainment, and won several new artist awards, including Best New Artist at the 20th Mnet Asian Music Awards, Rookie of the Year at the 33rd Golden Disc Awards, and the New Artist Award at the 28th Seoul Music Awards. The group's second EP, Heart*Iz (2019), was released to greater commercial success than its predecessor, and received Disc Bonsang nominations at the 34th Golden Disc Awards and the 29th Seoul Music Awards respectively. The EP's lead single, \\\"Violeta\\\", received a nomination for Song of the Year at the 21st Mnet Asian Music Awards.\\n\\nThe group earned its first ever daesang award nominations for its first studio album Bloom*Iz, released in February 2020. The album was nominated for Album of the Year at both the 12th Melon Music Awards and the 10th Gaon Chart Music Awards, while its lead single \\\"Fiesta\\\" was also nominated at both ceremonies for Best Dance – Female and Song of the Year – February respectively. Iz*One did not win any of the nominations but the group received its second Artist of the Year bonsang at the Melon Music Awards. Bloom*Iz garnered an additional Bonsang Award nomination at the 30th Seoul Music Awards. The group's follow-up EP, Oneiric Diary, released in June 2020, was also nominated alongside its predecessor at the Gaon Awards, for Album of the Year – 3rd Quarter. The group won its third Artist of the Year bonsang at the 3rd Fact Music Awards in December 2020.\\n\\nAwards and nominations\\n\\nNotes\\n\\nReferences \\n\\nIz*One\\nAwards\"\n]"},"chunked_article":{"kind":"list like","value":["Tori Amos (born Myra Ellen Amos; August 22, 1963) is an American singer-songwriter and pianist. She is a classically trained musician with a mezzo-soprano vocal range.","She is a classically trained musician with a mezzo-soprano vocal range. Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted.","Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted. She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \"musical insubordination\".","She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \"musical insubordination\". Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s.","Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s. Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion.","Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion. Her charting singles include \"Crucify\", \"Silent All These Years\", \"God\", \"Cornflake Girl\", \"Caught a Lite Sneeze\", \"Professional Widow\", \"Spark\", \"1000 Oceans\", \"Flavor\" and \"A Sorta Fairytale\", her most commercially successful single in the U.S. to date.","Her charting singles include \"Crucify\", \"Silent All These Years\", \"God\", \"Cornflake Girl\", \"Caught a Lite Sneeze\", \"Professional Widow\", \"Spark\", \"1000 Oceans\", \"Flavor\" and \"A Sorta Fairytale\", her most commercially successful single in the U.S. to date. Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album.","Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album. She is listed on VH1's 1999 \"100 Greatest Women of Rock and Roll\" at number 71.","She is listed on VH1's 1999 \"100 Greatest Women of Rock and Roll\" at number 71. Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos.","Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos. She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity.","She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity. When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C.","When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C. Her older brother and sister took piano lessons, but Tori did not need them.","Her older brother and sister took piano lessons, but Tori did not need them. From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs.","From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs. She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music.","She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music. She studied classical piano at Peabody from 1968 to 1974.","She studied classical piano at Peabody from 1968 to 1974. In 1974, when she was eleven, her scholarship was discontinued, and she was asked to leave. Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music.","Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music. In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church.","In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church. At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father.","At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father. Amos won a county teen talent contest in 1977, singing a song called \"More Than Just a Friend\".","Amos won a county teen talent contest in 1977, singing a song called \"More Than Just a Friend\". As a senior at Richard Montgomery High School, she co-wrote \"Baltimore\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles.","As a senior at Richard Montgomery High School, she co-wrote \"Baltimore\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles. The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \"Walking With You\".","The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \"Walking With You\". Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast.","Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast. Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers.","Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers. Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released.","Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released. Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her.","Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her. In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area.","In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area. In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading.","In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading. In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber.","In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber. The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time.","The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time. Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released.","Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released. Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \"The only good thing about that album is my ankle high boots.\"","Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \"The only good thing about that album is my ankle high boots.\" Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist.","Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist. She also recorded a song called \"Distant Storm\" for the film China O'Brien.","She also recorded a song called \"Distant Storm\" for the film China O'Brien. In the credits, the song is attributed to a band called Tess Makes Good.","In the credits, the song is attributed to a band called Tess Makes Good. 1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990.","1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990. The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented.","The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented. The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault.","The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault. This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15.","This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15. Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \"Silent All These Years\".","Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \"Silent All These Years\". Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink.","Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink. The album was received with mostly favorable reviews and sold enough copies to chart at No. 12 on the Billboard 200, a significantly higher position than the preceding album's position at No.","12 on the Billboard 200, a significantly higher position than the preceding album's position at No. 54 on the same chart. However, the album found its biggest success in the UK, debuting at number one upon release in February 1994.","However, the album found its biggest success in the UK, debuting at number one upon release in February 1994. 1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996.","1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996. Prior to its release, the first single, \"Caught a Lite Sneeze\" became the first full song released for streaming online prior to an album's release.","Prior to its release, the first single, \"Caught a Lite Sneeze\" became the first full song released for streaming online prior to an album's release. The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics.","The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics. For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano.","For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano. The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability.","The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability. Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No.","Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No. 2 on the UK Top 40 and No. 2 on the Billboard 200 upon its release.","2 on the Billboard 200 upon its release. Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios.","Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios. From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums.","From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums. Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes.","Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes. The underlying themes of both albums deal with womanhood and Amos's own miscarriages and marriage. Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality.","Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality. Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week.","Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week. To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download.","To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download. 2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective.","2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective. That became Strange Little Girls, released in September 2001.","That became Strange Little Girls, released in September 2001. The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song.","The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song. Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label.","Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label. With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001.","With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11.","Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny.","Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA.","Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA. Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003.","Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group.","Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline.","Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline. 2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007).","2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment.","The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics.","Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No.","The album debuted at No. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts.","5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it.","While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's.","American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No.","Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200.","5 on the Billboard 200. 5 on the Billboard 200. During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records.","During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records. 2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work.","2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work. In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes.","In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes. By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \"joint venture\" deal with Universal Republic Records.","By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \"joint venture\" deal with Universal Republic Records. Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews.","Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews. The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so.","The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so. Abnormally Attracted to Sin, admitted Amos, is a \"personal album\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin.","Abnormally Attracted to Sin, admitted Amos, is a \"personal album\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin. Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year.","Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year. The album features reworked versions of traditional carols, as well as original songs written by Amos.","The album features reworked versions of traditional carols, as well as original songs written by Amos. During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010.","During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010. In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble.","In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble. After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010.","After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010. The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow.","The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow. The set was released exclusively through her website and only 2000 copies were produced.","The set was released exclusively through her website and only 2000 copies were produced. 2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group.","2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group. Amos recorded the album with several musicians, including the Apollon Musagète string quartet.","Amos recorded the album with several musicians, including the Apollon Musagète string quartet. To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra.","To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra. The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon.","The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon. On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists.","On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists. In 2013, Amos collaborated with the Bullitts on the track \"Wait Until Tomorrow\" from their debut album, They Die by Dawn & Other Short Stories.","In 2013, Amos collaborated with the Bullitts on the track \"Wait Until Tomorrow\" from their debut album, They Die by Dawn & Other Short Stories. She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \"return to contemporary music\".","She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \"return to contemporary music\". September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott.","September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott. It premiered at London's Royal National Theatre and ended in February 2014.","It premiered at London's Royal National Theatre and ended in February 2014. The Light Princess and its lead actress, Rosalie Craig, were nominated for Best Musical and Best Musical Performance respectively at the Evening Standard Award. Craig won the Best Musical Performance category.","Craig won the Best Musical Performance category. Amos's 14th studio album, Unrepentant Geraldines, was released on May 13, 2014, via Mercury Classics/Universal Music Classics in the US. Its first single, \"Trouble's Lament\", was released on March 28.","Its first single, \"Trouble's Lament\", was released on March 28. The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014.","The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014. In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House.","In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House. According to a press release, Unrepentant Geraldines was a \"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years.","According to a press release, Unrepentant Geraldines was a \"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years. [It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\"","[It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\" The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics.","The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics. Apart from the original cast performances, the recording also includes two songs from the musical (\"Highness in the Sky\" and \"Darkest Hour') performed by Amos.","Apart from the original cast performances, the recording also includes two songs from the musical (\"Highness in the Sky\" and \"Darkest Hour') performed by Amos. 2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release.","2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release. This follows the deluxe re-releases of her first two albums in 2015.","This follows the deluxe re-releases of her first two albums in 2015. On September 8, 2017, Amos released Native Invader, accompanied by a world tour.","On September 8, 2017, Amos released Native Invader, accompanied by a world tour. During the summer of 2017, Amos launched three songs from the album: \"Cloud Riders\", \"Up the Creek\" and \"Reindeer King\", the latter featuring string arrangements by John Philip Shenale.","During the summer of 2017, Amos launched three songs from the album: \"Cloud Riders\", \"Up the Creek\" and \"Reindeer King\", the latter featuring string arrangements by John Philip Shenale. Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations.","Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations. The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak.","The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak. Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader.","Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader. The album, released on September 8, 2017, has been presented in two formats: standard and deluxe.","The album, released on September 8, 2017, has been presented in two formats: standard and deluxe. The standard version includes 13 songs, while the deluxe edition adds two extra songs to the tracklist: \"Upside Down 2\" and \"Russia\". Native Invader has been well received by most music critics upon release.","Native Invader has been well received by most music critics upon release. The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \"generally favorable reviews\".","The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \"generally favorable reviews\". On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl.","On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl. The EP consists of four original songs and features her first work with bandmates Matt Chamberlain and Jon Evans since 2009. Amos recorded the EP remotely due to the impact of the COVID-19 pandemic.","Amos recorded the EP remotely due to the impact of the COVID-19 pandemic. On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29.","On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29. The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \"a universal story of going to rock bottom and renewing yourself all over again\".","The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \"a universal story of going to rock bottom and renewing yourself all over again\". Amos will embark on a European tour in support of the album in 2022.","Amos will embark on a European tour in support of the album in 2022. Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces.","Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces. In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005).","In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005). The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records.","The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records. Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos.","Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos. Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore.","Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore. Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996).","Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996). Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process.","Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process. Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020.","Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020. Personal life Amos married English sound engineer Mark Hawley on February 22, 1998. Their daughter was born in 2000.","Their daughter was born in 2000. The family divides their time between Sewall's Point in Florida, US, and Bude, Cornwall in the UK. Amos' mother, Mary Ellen, died on May 11, 2019.","Amos' mother, Mary Ellen, died on May 11, 2019. Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \"Tear in Your Hand\" and also in print interviews.","Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \"Tear in Your Hand\" and also in print interviews. Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \"steal shamelessly from each other\".","Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \"steal shamelessly from each other\". She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo.","She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo. Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009.","Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009. In 2019, Amos performed the British standard \"A Nightingale Sang in Berkeley Square\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett.","In 2019, Amos performed the British standard \"A Nightingale Sang in Berkeley Square\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett. Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded.","Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded. Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline.","Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline. She was the first national spokesperson for the organization and has continued to be closely associated with RAINN.","She was the first national spokesperson for the organization and has continued to be closely associated with RAINN. On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN.","On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN. On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA.","On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA. Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992.","Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992. In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine.","In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine. Her concerts are notable for their changing set lists from night to night. Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland.","Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland. She performed solo with a Yamaha CP-70 unless the venue was able to provide a piano. The tour included 142 concerts around the globe.","The tour included 142 concerts around the globe. Under the Pink Tour Amos's second world tour began on February 24, 1994 in Newcastle upon Tyne and ended on December 13, 1994 in Perth, Western Australia. Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \"Bells for Her\".","Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \"Bells for Her\". The tour included 181 concerts. Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder.","Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder. Amos performed each night on piano, harpsichord, and harmonium, with Steve Caton on guitar on some songs. The tour included 187 concerts.","The tour included 187 concerts. The tour included 187 concerts. Plugged '98 Tour Amos's first band tour. Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass.","Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass. The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts.","The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts. 5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only.","5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only. The first part of the tour was co-headlining with Alanis Morissette and featured the same band and equipment line-up as in 1998. Amos and the band continued for eight shows before Amos embarked on a series of solo shows.","Amos and the band continued for eight shows before Amos embarked on a series of solo shows. The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts.","The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts. Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996).","Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996). It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented.","It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented. Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months.","Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months. It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts.","It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts. On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton.","On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton. The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening.","The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening. The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts.","The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts. The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album).","The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album). Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes.","Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes. The tour also encompassed Australia for the first time since 1994.","The tour also encompassed Australia for the first time since 1994. Amos announced at a concert on this tour that she would never stop touring but would scale down the tours. Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles.","Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles. The tour featured \"Tori's Piano Bar\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show.","The tour featured \"Tori's Piano Bar\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show. One of the songs chosen was the Kylie Minogue hit \"Can't Get You Out of My Head\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public.","One of the songs chosen was the Kylie Minogue hit \"Can't Get You Out of My Head\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public. Other songs performed by Amos include The Doors' \"People are Strange\", Depeche Mode's \"Personal Jesus\", Joni Mitchell's \"The Circle Game\", Madonna's \"Live to Tell\" and \"Like a Prayer\", Björk's \"Hyperballad\", Led Zeppelin's \"When the Levee Breaks\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \"And Dream of Sheep\" and Crowded House's \"Don't Dream It's Over\", dedicating it to drummer Paul Hester who had died a week before.","Other songs performed by Amos include The Doors' \"People are Strange\", Depeche Mode's \"Personal Jesus\", Joni Mitchell's \"The Circle Game\", Madonna's \"Live to Tell\" and \"Like a Prayer\", Björk's \"Hyperballad\", Led Zeppelin's \"When the Levee Breaks\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \"And Dream of Sheep\" and Crowded House's \"Don't Dream It's Over\", dedicating it to drummer Paul Hester who had died a week before. The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs.","The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs. American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band.","American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band. Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards.","Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards. The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles.","The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles. Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show.","Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show. The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series.","The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series. Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard.","Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard. The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009.","The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009. A solo leg through Australia began in Melbourne on November 12, 2009 and ended in Brisbane on November 24, 2009. The entire tour featured 63 concerts.","The entire tour featured 63 concerts. Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa.","Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa. It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas.","It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas. Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1.","Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1. Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts.","Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts. Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October.","Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October. Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland.","Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland. Awards and nominations {| class=\"wikitable sortable plainrowheaders\" |- ! scope=\"col\" | Award !","scope=\"col\" | Award ! scope=\"col\" | Year ! scope=\"col\" | Nominee(s) ! scope=\"col\" | Category ! scope=\"col\" | Result ! scope=\"col\" class=\"unsortable\"| |- !","scope=\"col\" class=\"unsortable\"| |- ! scope=\"row\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- !","scope=\"row\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- ! scope=\"row\"|Critics' Choice Documentary Awards | 2016 | \"Flicker\" | Best Song in a Documentary | | |- !scope=\"row\"|ECHO Awards | 1995 | Herself | Best International Female | | |- !","scope=\"row\"|Critics' Choice Documentary Awards | 2016 | \"Flicker\" | Best Song in a Documentary | | |- !scope=\"row\"|ECHO Awards | 1995 | Herself | Best International Female | | |- ! scope=\"row\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- !","scope=\"row\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- ! scope=\"row\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- !","scope=\"row\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- ! scope=\"row\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- !","scope=\"row\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- ! scope=\"row\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- !","scope=\"row\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- ! scope=\"row\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \"Raspberry Swirl\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \"Bliss\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \"Strange Little Girl\" | Best Female Rock Vocal Performance | |- !","scope=\"row\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \"Raspberry Swirl\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \"Bliss\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \"Strange Little Girl\" | Best Female Rock Vocal Performance | |- ! scope=\"row\"|Hollywood Music in Media Awards | 2016 | \"Flicker\" | Best Original Song in a Documentary | | |- !","scope=\"row\"|Hollywood Music in Media Awards | 2016 | \"Flicker\" | Best Original Song in a Documentary | | |- ! scope=\"row\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- !","scope=\"row\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- ! scope=\"row\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- !","scope=\"row\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- ! scope=\"row\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\"Silent All These Years\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- !","scope=\"row\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\"Silent All These Years\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- ! scope=\"row\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- !","scope=\"row\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- ! scope=\"row\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\"row\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- !","scope=\"row\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\"row\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- ! scope=\"row\"|Q Awards | 1992 | Herself | Best New Act | | |- !","scope=\"row\"|Q Awards | 1992 | Herself | Best New Act | | |- ! scope=\"row\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\"row\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony.","scope=\"row\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\"row\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony. Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel.","Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel. Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile.","Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile. References Citations Works cited External links 1963 births 20th-century American composers 20th-century American keyboardists 20th-century American women pianists 20th-century American pianists 20th-century American women singers 21st-century American keyboardists 21st-century American women pianists 21st-century American pianists 21st-century American women singers Alternative rock keyboardists Alternative rock pianists Alternative rock singers American alternative rock musicians American expatriates in the Republic of Ireland American expatriates in the United Kingdom American women composers American women singer-songwriters American feminist writers American harpsichordists American mezzo-sopranos American organists American people who self-identify as being of Native American descent American pop pianists American rock pianists American women rock singers American rock songwriters Articles containing video clips Art rock musicians Atlantic Records artists Child classical musicians Clavichordists Deutsche Grammophon artists Electronica musicians Epic Records artists Feminist musicians Harmonium players Island Records artists Living people Montgomery College alumni Musicians from Baltimore Musicians from County Cork Musicians from Rockville, Maryland People from Georgetown (Washington, D.C.) People from Newton, North Carolina People from Sewall's Point, Florida Republic Records artists Sexual abuse victim advocates Singer-songwriters from Maryland Singer-songwriters from North Carolina Women organists 20th-century women composers American women in electronic music 20th-century American singers 21st-century American singers Singer-songwriters from Washington, D.C."],"string":"[\n \"Tori Amos (born Myra Ellen Amos; August 22, 1963) is an American singer-songwriter and pianist. She is a classically trained musician with a mezzo-soprano vocal range.\",\n \"She is a classically trained musician with a mezzo-soprano vocal range. Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted.\",\n \"Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted. She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \\\"musical insubordination\\\".\",\n \"She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \\\"musical insubordination\\\". Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s.\",\n \"Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s. Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion.\",\n \"Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion. Her charting singles include \\\"Crucify\\\", \\\"Silent All These Years\\\", \\\"God\\\", \\\"Cornflake Girl\\\", \\\"Caught a Lite Sneeze\\\", \\\"Professional Widow\\\", \\\"Spark\\\", \\\"1000 Oceans\\\", \\\"Flavor\\\" and \\\"A Sorta Fairytale\\\", her most commercially successful single in the U.S. to date.\",\n \"Her charting singles include \\\"Crucify\\\", \\\"Silent All These Years\\\", \\\"God\\\", \\\"Cornflake Girl\\\", \\\"Caught a Lite Sneeze\\\", \\\"Professional Widow\\\", \\\"Spark\\\", \\\"1000 Oceans\\\", \\\"Flavor\\\" and \\\"A Sorta Fairytale\\\", her most commercially successful single in the U.S. to date. Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album.\",\n \"Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album. She is listed on VH1's 1999 \\\"100 Greatest Women of Rock and Roll\\\" at number 71.\",\n \"She is listed on VH1's 1999 \\\"100 Greatest Women of Rock and Roll\\\" at number 71. Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos.\",\n \"Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos. She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity.\",\n \"She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity. When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C.\",\n \"When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C. Her older brother and sister took piano lessons, but Tori did not need them.\",\n \"Her older brother and sister took piano lessons, but Tori did not need them. From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs.\",\n \"From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs. She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music.\",\n \"She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music. She studied classical piano at Peabody from 1968 to 1974.\",\n \"She studied classical piano at Peabody from 1968 to 1974. In 1974, when she was eleven, her scholarship was discontinued, and she was asked to leave. Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music.\",\n \"Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music. In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church.\",\n \"In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church. At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father.\",\n \"At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father. Amos won a county teen talent contest in 1977, singing a song called \\\"More Than Just a Friend\\\".\",\n \"Amos won a county teen talent contest in 1977, singing a song called \\\"More Than Just a Friend\\\". As a senior at Richard Montgomery High School, she co-wrote \\\"Baltimore\\\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles.\",\n \"As a senior at Richard Montgomery High School, she co-wrote \\\"Baltimore\\\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles. The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \\\"Walking With You\\\".\",\n \"The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \\\"Walking With You\\\". Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast.\",\n \"Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast. Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers.\",\n \"Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers. Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released.\",\n \"Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released. Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her.\",\n \"Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her. In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area.\",\n \"In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area. In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading.\",\n \"In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading. In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber.\",\n \"In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber. The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time.\",\n \"The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time. Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released.\",\n \"Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released. Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \\\"The only good thing about that album is my ankle high boots.\\\"\",\n \"Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \\\"The only good thing about that album is my ankle high boots.\\\" Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist.\",\n \"Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist. She also recorded a song called \\\"Distant Storm\\\" for the film China O'Brien.\",\n \"She also recorded a song called \\\"Distant Storm\\\" for the film China O'Brien. In the credits, the song is attributed to a band called Tess Makes Good.\",\n \"In the credits, the song is attributed to a band called Tess Makes Good. 1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990.\",\n \"1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990. The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented.\",\n \"The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented. The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault.\",\n \"The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault. This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15.\",\n \"This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15. Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \\\"Silent All These Years\\\".\",\n \"Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \\\"Silent All These Years\\\". Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink.\",\n \"Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink. The album was received with mostly favorable reviews and sold enough copies to chart at No. 12 on the Billboard 200, a significantly higher position than the preceding album's position at No.\",\n \"12 on the Billboard 200, a significantly higher position than the preceding album's position at No. 54 on the same chart. However, the album found its biggest success in the UK, debuting at number one upon release in February 1994.\",\n \"However, the album found its biggest success in the UK, debuting at number one upon release in February 1994. 1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996.\",\n \"1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996. Prior to its release, the first single, \\\"Caught a Lite Sneeze\\\" became the first full song released for streaming online prior to an album's release.\",\n \"Prior to its release, the first single, \\\"Caught a Lite Sneeze\\\" became the first full song released for streaming online prior to an album's release. The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics.\",\n \"The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics. For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano.\",\n \"For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano. The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability.\",\n \"The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability. Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No.\",\n \"Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No. 2 on the UK Top 40 and No. 2 on the Billboard 200 upon its release.\",\n \"2 on the Billboard 200 upon its release. Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios.\",\n \"Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios. From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums.\",\n \"From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums. Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes.\",\n \"Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes. The underlying themes of both albums deal with womanhood and Amos's own miscarriages and marriage. Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality.\",\n \"Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality. Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week.\",\n \"Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week. To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download.\",\n \"To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download. 2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective.\",\n \"2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective. That became Strange Little Girls, released in September 2001.\",\n \"That became Strange Little Girls, released in September 2001. The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song.\",\n \"The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song. Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label.\",\n \"Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label. With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001.\",\n \"With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a \\\"sonic novel\\\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11.\",\n \"Described as a \\\"sonic novel\\\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny.\",\n \"Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA.\",\n \"Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA. Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003.\",\n \"Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group.\",\n \"Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline.\",\n \"Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline. 2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007).\",\n \"2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment.\",\n \"The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics.\",\n \"Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No.\",\n \"The album debuted at No. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts.\",\n \"5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it.\",\n \"While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the \\\"posse\\\") who are used as a theme of alter-egos of Amos's.\",\n \"American Doll Posse, another concept album, is fashioned around a group of girls (the \\\"posse\\\") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No.\",\n \"Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200.\",\n \"5 on the Billboard 200. 5 on the Billboard 200. During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records.\",\n \"During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records. 2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work.\",\n \"2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work. In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes.\",\n \"In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes. By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \\\"joint venture\\\" deal with Universal Republic Records.\",\n \"By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \\\"joint venture\\\" deal with Universal Republic Records. Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews.\",\n \"Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews. The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so.\",\n \"The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so. Abnormally Attracted to Sin, admitted Amos, is a \\\"personal album\\\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin.\",\n \"Abnormally Attracted to Sin, admitted Amos, is a \\\"personal album\\\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin. Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year.\",\n \"Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year. The album features reworked versions of traditional carols, as well as original songs written by Amos.\",\n \"The album features reworked versions of traditional carols, as well as original songs written by Amos. During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010.\",\n \"During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010. In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble.\",\n \"In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble. After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010.\",\n \"After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010. The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow.\",\n \"The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow. The set was released exclusively through her website and only 2000 copies were produced.\",\n \"The set was released exclusively through her website and only 2000 copies were produced. 2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group.\",\n \"2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group. Amos recorded the album with several musicians, including the Apollon Musagète string quartet.\",\n \"Amos recorded the album with several musicians, including the Apollon Musagète string quartet. To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra.\",\n \"To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra. The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon.\",\n \"The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon. On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists.\",\n \"On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists. In 2013, Amos collaborated with the Bullitts on the track \\\"Wait Until Tomorrow\\\" from their debut album, They Die by Dawn & Other Short Stories.\",\n \"In 2013, Amos collaborated with the Bullitts on the track \\\"Wait Until Tomorrow\\\" from their debut album, They Die by Dawn & Other Short Stories. She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \\\"return to contemporary music\\\".\",\n \"She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \\\"return to contemporary music\\\". September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott.\",\n \"September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott. It premiered at London's Royal National Theatre and ended in February 2014.\",\n \"It premiered at London's Royal National Theatre and ended in February 2014. The Light Princess and its lead actress, Rosalie Craig, were nominated for Best Musical and Best Musical Performance respectively at the Evening Standard Award. Craig won the Best Musical Performance category.\",\n \"Craig won the Best Musical Performance category. Amos's 14th studio album, Unrepentant Geraldines, was released on May 13, 2014, via Mercury Classics/Universal Music Classics in the US. Its first single, \\\"Trouble's Lament\\\", was released on March 28.\",\n \"Its first single, \\\"Trouble's Lament\\\", was released on March 28. The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014.\",\n \"The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014. In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House.\",\n \"In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House. According to a press release, Unrepentant Geraldines was a \\\"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years.\",\n \"According to a press release, Unrepentant Geraldines was a \\\"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years. [It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\\\"\",\n \"[It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\\\" The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics.\",\n \"The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics. Apart from the original cast performances, the recording also includes two songs from the musical (\\\"Highness in the Sky\\\" and \\\"Darkest Hour') performed by Amos.\",\n \"Apart from the original cast performances, the recording also includes two songs from the musical (\\\"Highness in the Sky\\\" and \\\"Darkest Hour') performed by Amos. 2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release.\",\n \"2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release. This follows the deluxe re-releases of her first two albums in 2015.\",\n \"This follows the deluxe re-releases of her first two albums in 2015. On September 8, 2017, Amos released Native Invader, accompanied by a world tour.\",\n \"On September 8, 2017, Amos released Native Invader, accompanied by a world tour. During the summer of 2017, Amos launched three songs from the album: \\\"Cloud Riders\\\", \\\"Up the Creek\\\" and \\\"Reindeer King\\\", the latter featuring string arrangements by John Philip Shenale.\",\n \"During the summer of 2017, Amos launched three songs from the album: \\\"Cloud Riders\\\", \\\"Up the Creek\\\" and \\\"Reindeer King\\\", the latter featuring string arrangements by John Philip Shenale. Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations.\",\n \"Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations. The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak.\",\n \"The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak. Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader.\",\n \"Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader. The album, released on September 8, 2017, has been presented in two formats: standard and deluxe.\",\n \"The album, released on September 8, 2017, has been presented in two formats: standard and deluxe. The standard version includes 13 songs, while the deluxe edition adds two extra songs to the tracklist: \\\"Upside Down 2\\\" and \\\"Russia\\\". Native Invader has been well received by most music critics upon release.\",\n \"Native Invader has been well received by most music critics upon release. The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \\\"generally favorable reviews\\\".\",\n \"The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \\\"generally favorable reviews\\\". On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl.\",\n \"On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl. The EP consists of four original songs and features her first work with bandmates Matt Chamberlain and Jon Evans since 2009. Amos recorded the EP remotely due to the impact of the COVID-19 pandemic.\",\n \"Amos recorded the EP remotely due to the impact of the COVID-19 pandemic. On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29.\",\n \"On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29. The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \\\"a universal story of going to rock bottom and renewing yourself all over again\\\".\",\n \"The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \\\"a universal story of going to rock bottom and renewing yourself all over again\\\". Amos will embark on a European tour in support of the album in 2022.\",\n \"Amos will embark on a European tour in support of the album in 2022. Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces.\",\n \"Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces. In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005).\",\n \"In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005). The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records.\",\n \"The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records. Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos.\",\n \"Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos. Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore.\",\n \"Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore. Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996).\",\n \"Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996). Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process.\",\n \"Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process. Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020.\",\n \"Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020. Personal life Amos married English sound engineer Mark Hawley on February 22, 1998. Their daughter was born in 2000.\",\n \"Their daughter was born in 2000. The family divides their time between Sewall's Point in Florida, US, and Bude, Cornwall in the UK. Amos' mother, Mary Ellen, died on May 11, 2019.\",\n \"Amos' mother, Mary Ellen, died on May 11, 2019. Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \\\"Tear in Your Hand\\\" and also in print interviews.\",\n \"Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \\\"Tear in Your Hand\\\" and also in print interviews. Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \\\"steal shamelessly from each other\\\".\",\n \"Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \\\"steal shamelessly from each other\\\". She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo.\",\n \"She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo. Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009.\",\n \"Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009. In 2019, Amos performed the British standard \\\"A Nightingale Sang in Berkeley Square\\\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett.\",\n \"In 2019, Amos performed the British standard \\\"A Nightingale Sang in Berkeley Square\\\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett. Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded.\",\n \"Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded. Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline.\",\n \"Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline. She was the first national spokesperson for the organization and has continued to be closely associated with RAINN.\",\n \"She was the first national spokesperson for the organization and has continued to be closely associated with RAINN. On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN.\",\n \"On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN. On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA.\",\n \"On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA. Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992.\",\n \"Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992. In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine.\",\n \"In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine. Her concerts are notable for their changing set lists from night to night. Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland.\",\n \"Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland. She performed solo with a Yamaha CP-70 unless the venue was able to provide a piano. The tour included 142 concerts around the globe.\",\n \"The tour included 142 concerts around the globe. Under the Pink Tour Amos's second world tour began on February 24, 1994 in Newcastle upon Tyne and ended on December 13, 1994 in Perth, Western Australia. Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \\\"Bells for Her\\\".\",\n \"Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \\\"Bells for Her\\\". The tour included 181 concerts. Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder.\",\n \"Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder. Amos performed each night on piano, harpsichord, and harmonium, with Steve Caton on guitar on some songs. The tour included 187 concerts.\",\n \"The tour included 187 concerts. The tour included 187 concerts. Plugged '98 Tour Amos's first band tour. Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass.\",\n \"Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass. The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts.\",\n \"The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts. 5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only.\",\n \"5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only. The first part of the tour was co-headlining with Alanis Morissette and featured the same band and equipment line-up as in 1998. Amos and the band continued for eight shows before Amos embarked on a series of solo shows.\",\n \"Amos and the band continued for eight shows before Amos embarked on a series of solo shows. The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts.\",\n \"The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts. Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996).\",\n \"Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996). It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented.\",\n \"It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented. Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months.\",\n \"Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months. It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts.\",\n \"It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts. On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton.\",\n \"On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton. The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening.\",\n \"The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening. The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts.\",\n \"The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts. The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album).\",\n \"The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album). Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes.\",\n \"Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes. The tour also encompassed Australia for the first time since 1994.\",\n \"The tour also encompassed Australia for the first time since 1994. Amos announced at a concert on this tour that she would never stop touring but would scale down the tours. Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles.\",\n \"Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles. The tour featured \\\"Tori's Piano Bar\\\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show.\",\n \"The tour featured \\\"Tori's Piano Bar\\\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show. One of the songs chosen was the Kylie Minogue hit \\\"Can't Get You Out of My Head\\\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public.\",\n \"One of the songs chosen was the Kylie Minogue hit \\\"Can't Get You Out of My Head\\\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public. Other songs performed by Amos include The Doors' \\\"People are Strange\\\", Depeche Mode's \\\"Personal Jesus\\\", Joni Mitchell's \\\"The Circle Game\\\", Madonna's \\\"Live to Tell\\\" and \\\"Like a Prayer\\\", Björk's \\\"Hyperballad\\\", Led Zeppelin's \\\"When the Levee Breaks\\\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \\\"And Dream of Sheep\\\" and Crowded House's \\\"Don't Dream It's Over\\\", dedicating it to drummer Paul Hester who had died a week before.\",\n \"Other songs performed by Amos include The Doors' \\\"People are Strange\\\", Depeche Mode's \\\"Personal Jesus\\\", Joni Mitchell's \\\"The Circle Game\\\", Madonna's \\\"Live to Tell\\\" and \\\"Like a Prayer\\\", Björk's \\\"Hyperballad\\\", Led Zeppelin's \\\"When the Levee Breaks\\\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \\\"And Dream of Sheep\\\" and Crowded House's \\\"Don't Dream It's Over\\\", dedicating it to drummer Paul Hester who had died a week before. The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs.\",\n \"The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs. American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band.\",\n \"American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band. Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards.\",\n \"Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards. The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles.\",\n \"The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles. Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show.\",\n \"Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show. The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series.\",\n \"The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series. Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard.\",\n \"Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard. The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009.\",\n \"The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009. A solo leg through Australia began in Melbourne on November 12, 2009 and ended in Brisbane on November 24, 2009. The entire tour featured 63 concerts.\",\n \"The entire tour featured 63 concerts. Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa.\",\n \"Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa. It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas.\",\n \"It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas. Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1.\",\n \"Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1. Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts.\",\n \"Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts. Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October.\",\n \"Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October. Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland.\",\n \"Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland. Awards and nominations {| class=\\\"wikitable sortable plainrowheaders\\\" |- ! scope=\\\"col\\\" | Award !\",\n \"scope=\\\"col\\\" | Award ! scope=\\\"col\\\" | Year ! scope=\\\"col\\\" | Nominee(s) ! scope=\\\"col\\\" | Category ! scope=\\\"col\\\" | Result ! scope=\\\"col\\\" class=\\\"unsortable\\\"| |- !\",\n \"scope=\\\"col\\\" class=\\\"unsortable\\\"| |- ! scope=\\\"row\\\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- !\",\n \"scope=\\\"row\\\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- ! scope=\\\"row\\\"|Critics' Choice Documentary Awards | 2016 | \\\"Flicker\\\" | Best Song in a Documentary | | |- !scope=\\\"row\\\"|ECHO Awards | 1995 | Herself | Best International Female | | |- !\",\n \"scope=\\\"row\\\"|Critics' Choice Documentary Awards | 2016 | \\\"Flicker\\\" | Best Song in a Documentary | | |- !scope=\\\"row\\\"|ECHO Awards | 1995 | Herself | Best International Female | | |- ! scope=\\\"row\\\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- !\",\n \"scope=\\\"row\\\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- ! scope=\\\"row\\\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- !\",\n \"scope=\\\"row\\\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- ! scope=\\\"row\\\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- !\",\n \"scope=\\\"row\\\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- ! scope=\\\"row\\\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- !\",\n \"scope=\\\"row\\\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- ! scope=\\\"row\\\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \\\"Raspberry Swirl\\\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \\\"Bliss\\\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \\\"Strange Little Girl\\\" | Best Female Rock Vocal Performance | |- !\",\n \"scope=\\\"row\\\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \\\"Raspberry Swirl\\\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \\\"Bliss\\\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \\\"Strange Little Girl\\\" | Best Female Rock Vocal Performance | |- ! scope=\\\"row\\\"|Hollywood Music in Media Awards | 2016 | \\\"Flicker\\\" | Best Original Song in a Documentary | | |- !\",\n \"scope=\\\"row\\\"|Hollywood Music in Media Awards | 2016 | \\\"Flicker\\\" | Best Original Song in a Documentary | | |- ! scope=\\\"row\\\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- !\",\n \"scope=\\\"row\\\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- ! scope=\\\"row\\\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- !\",\n \"scope=\\\"row\\\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- ! scope=\\\"row\\\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\\\"Silent All These Years\\\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- !\",\n \"scope=\\\"row\\\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\\\"Silent All These Years\\\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- ! scope=\\\"row\\\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- !\",\n \"scope=\\\"row\\\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- ! scope=\\\"row\\\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\\\"row\\\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- !\",\n \"scope=\\\"row\\\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\\\"row\\\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- ! scope=\\\"row\\\"|Q Awards | 1992 | Herself | Best New Act | | |- !\",\n \"scope=\\\"row\\\"|Q Awards | 1992 | Herself | Best New Act | | |- ! scope=\\\"row\\\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\\\"row\\\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony.\",\n \"scope=\\\"row\\\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\\\"row\\\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony. Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel.\",\n \"Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel. Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile.\",\n \"Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile. References Citations Works cited External links 1963 births 20th-century American composers 20th-century American keyboardists 20th-century American women pianists 20th-century American pianists 20th-century American women singers 21st-century American keyboardists 21st-century American women pianists 21st-century American pianists 21st-century American women singers Alternative rock keyboardists Alternative rock pianists Alternative rock singers American alternative rock musicians American expatriates in the Republic of Ireland American expatriates in the United Kingdom American women composers American women singer-songwriters American feminist writers American harpsichordists American mezzo-sopranos American organists American people who self-identify as being of Native American descent American pop pianists American rock pianists American women rock singers American rock songwriters Articles containing video clips Art rock musicians Atlantic Records artists Child classical musicians Clavichordists Deutsche Grammophon artists Electronica musicians Epic Records artists Feminist musicians Harmonium players Island Records artists Living people Montgomery College alumni Musicians from Baltimore Musicians from County Cork Musicians from Rockville, Maryland People from Georgetown (Washington, D.C.) People from Newton, North Carolina People from Sewall's Point, Florida Republic Records artists Sexual abuse victim advocates Singer-songwriters from Maryland Singer-songwriters from North Carolina Women organists 20th-century women composers American women in electronic music 20th-century American singers 21st-century American singers Singer-songwriters from Washington, D.C.\"\n]"}}},{"rowIdx":471,"cells":{"History":{"kind":"list like","value":["Tori Amos","The Epic Records years (2002-07)","Did Amos release any albums during these years?","In October 2002, Amos released Scarlet's Walk, another concept album.","Was the album successful?","strong debut at No. 7 on the Billboard 200.","Did Amos release any albums after Scarlet's Walk?","The Beekeeper (2005) and American Doll Posse (2007).","What can you tell me about The Beekeeper?","The Beekeeper was conceptually influenced by the ancient art of beekeeping,","Did either album win any awards?","Both albums received generally favorable reviews.","Did she collaborate with anyone else on her albums?","I don't know."],"string":"[\n \"Tori Amos\",\n \"The Epic Records years (2002-07)\",\n \"Did Amos release any albums during these years?\",\n \"In October 2002, Amos released Scarlet's Walk, another concept album.\",\n \"Was the album successful?\",\n \"strong debut at No. 7 on the Billboard 200.\",\n \"Did Amos release any albums after Scarlet's Walk?\",\n \"The Beekeeper (2005) and American Doll Posse (2007).\",\n \"What can you tell me about The Beekeeper?\",\n \"The Beekeeper was conceptually influenced by the ancient art of beekeeping,\",\n \"Did either album win any awards?\",\n \"Both albums received generally favorable reviews.\",\n \"Did she collaborate with anyone else on her albums?\",\n \"I don't know.\"\n]"},"QuAC_dialog_id":{"kind":"string","value":"C_f2c7f26de77949ff80c91a7bd337fb42_1"},"Question":{"kind":"string","value":"Are there any other interesting aspects about this article?"},"Question_no":{"kind":"number","value":7,"string":"7"},"Rewrite":{"kind":"string","value":"Are there any other interesting aspects about this article, along with Tori Amos's The Beekeeper being conceptually influenced by the ancient art of beekeeping?"},"true_page_title":{"kind":"string","value":"Tori Amos"},"true_contexts":{"kind":"string","value":"With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA. Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline. Amos would later hint in interviews that during the creation of her next album, those in charge at the label following the aforementioned merger were interested \"only in making money\", the effects of which on the album have not been disclosed. Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200. During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records. CANNOTANSWER"},"answer":{"kind":"string","value":"Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned"},"true_contexts_wiki":{"kind":"string","value":"Tori Amos (born Myra Ellen Amos; August 22, 1963) is an American singer-songwriter and pianist. She is a classically trained musician with a mezzo-soprano vocal range. Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted. She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \"musical insubordination\". Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s. Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion.\n\nHer charting singles include \"Crucify\", \"Silent All These Years\", \"God\", \"Cornflake Girl\", \"Caught a Lite Sneeze\", \"Professional Widow\", \"Spark\", \"1000 Oceans\", \"Flavor\" and \"A Sorta Fairytale\", her most commercially successful single in the U.S. to date. Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album. She is listed on VH1's 1999 \"100 Greatest Women of Rock and Roll\" at number 71.\n\nEarly life and education\nAmos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos. She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity.\n\nWhen she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C. Her older brother and sister took piano lessons, but Tori did not need them. From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs. She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia:\n\nAt five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music. She studied classical piano at Peabody from 1968 to 1974. In 1974, when she was eleven, her scholarship was discontinued, and she was asked to leave. Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music.\n\nIn 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church. At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father.\n\nAmos won a county teen talent contest in 1977, singing a song called \"More Than Just a Friend\". As a senior at Richard Montgomery High School, she co-wrote \"Baltimore\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles. The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \"Walking With You\". Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast.\n\nCareer\n\n1979–1989: Career beginnings and Y Kant Tori Read\nBy the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers. Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released. Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her.\n\nIn 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area.\n\nIn 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading. In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber. The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time. Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released. Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \"The only good thing about that album is my ankle high boots.\"\n\nFollowing the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist. She also recorded a song called \"Distant Storm\" for the film China O'Brien. In the credits, the song is attributed to a band called Tess Makes Good.\n\n1990–1995: Little Earthquakes and Under the Pink\n\nDespite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990. The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented. The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault. This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15. Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \"Silent All These Years\".\n\nAmos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink. The album was received with mostly favorable reviews and sold enough copies to chart at No. 12 on the Billboard 200, a significantly higher position than the preceding album's position at No. 54 on the same chart. However, the album found its biggest success in the UK, debuting at number one upon release in February 1994.\n\n1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back\n\nHer third solo album, Boys for Pele, was released in January 1996. Prior to its release, the first single, \"Caught a Lite Sneeze\" became the first full song released for streaming online prior to an album's release.\n\nThe album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics. For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano. The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability. Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No. 2 on the UK Top 40 and No. 2 on the Billboard 200 upon its release.\n\nFueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios.\n\nFrom the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums. Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes. The underlying themes of both albums deal with womanhood and Amos's own miscarriages and marriage. Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality. Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week. To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download.\n\n2001–2004: Strange Little Girls and Scarlet's Walk\nShortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective. That became Strange Little Girls, released in September 2001. The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song. Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label.\n\nWith her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA.\n\nNot long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline.\n\n2005–2008: The Beekeeper and American Doll Posse\n\nAmos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200.\n\nDuring her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records.\n\n2008–2011: Abnormally Attracted to Sin and Midwinter Graces\n\nIn May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work. In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes. By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \"joint venture\" deal with Universal Republic Records.\n\nAbnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews. The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so. Abnormally Attracted to Sin, admitted Amos, is a \"personal album\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin. Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year. The album features reworked versions of traditional carols, as well as original songs written by Amos.\n\nDuring her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010. In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble.\n\nAfter a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010. The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow. The set was released exclusively through her website and only 2000 copies were produced.\n\n2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines\nIn September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group. Amos recorded the album with several musicians, including the Apollon Musagète string quartet.\n\nTo mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra. The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon.\n\nOn May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists.\n\nIn 2013, Amos collaborated with the Bullitts on the track \"Wait Until Tomorrow\" from their debut album, They Die by Dawn & Other Short Stories. She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \"return to contemporary music\".\n\nSeptember 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott. It premiered at London's Royal National Theatre and ended in February 2014. The Light Princess and its lead actress, Rosalie Craig, were nominated for Best Musical and Best Musical Performance respectively at the Evening Standard Award. Craig won the Best Musical Performance category.\n\nAmos's 14th studio album, Unrepentant Geraldines, was released on May 13, 2014, via Mercury Classics/Universal Music Classics in the US. Its first single, \"Trouble's Lament\", was released on March 28. The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014. In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House.\n\nAccording to a press release, Unrepentant Geraldines was a \"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years. [It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\"\n\nThe 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics. Apart from the original cast performances, the recording also includes two songs from the musical (\"Highness in the Sky\" and \"Darkest Hour') performed by Amos.\n\n2016–present: Native Invader, Christmastide and Ocean to Ocean\n\nOn November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release. This follows the deluxe re-releases of her first two albums in 2015.\n\nOn September 8, 2017, Amos released Native Invader, accompanied by a world tour. During the summer of 2017, Amos launched three songs from the album: \"Cloud Riders\", \"Up the Creek\" and \"Reindeer King\", the latter featuring string arrangements by John Philip Shenale. Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations.\n\nThe initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak. Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader. The album, released on September 8, 2017, has been presented in two formats: standard and deluxe. The standard version includes 13 songs, while the deluxe edition adds two extra songs to the tracklist: \"Upside Down 2\" and \"Russia\". Native Invader has been well received by most music critics upon release. The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \"generally favorable reviews\".\n\nOn November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl. The EP consists of four original songs and features her first work with bandmates Matt Chamberlain and Jon Evans since 2009. Amos recorded the EP remotely due to the impact of the COVID-19 pandemic.\n\nOn September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29. The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \"a universal story of going to rock bottom and renewing yourself all over again\". Amos will embark on a European tour in support of the album in 2022. Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces.\n\nIn print\nReleased in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005). The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records.\n\nImage Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos. Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore.\n\nAdditionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996).\n\nTori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process.\n\nAmos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020.\n\nPersonal life\nAmos married English sound engineer Mark Hawley on February 22, 1998. Their daughter was born in 2000. The family divides their time between Sewall's Point in Florida, US, and Bude, Cornwall in the UK.\n\nAmos' mother, Mary Ellen, died on May 11, 2019.\n\nEarly in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \"Tear in Your Hand\" and also in print interviews. Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \"steal shamelessly from each other\". She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo. Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009. In 2019, Amos performed the British standard \"A Nightingale Sang in Berkeley Square\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett.\n\nActivism\nIn June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded. Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline. She was the first national spokesperson for the organization and has continued to be closely associated with RAINN. On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN. On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA.\n\nDiscography\n\nStudio albums\n Little Earthquakes (1992)\n Under the Pink (1994)\n Boys for Pele (1996)\n From the Choirgirl Hotel (1998)\n To Venus and Back (1999)\n Strange Little Girls (2001)\n Scarlet's Walk (2002)\n The Beekeeper (2005)\n American Doll Posse (2007)\n Abnormally Attracted to Sin (2009)\n Midwinter Graces (2009)\n Night of Hunters (2011)\n Gold Dust (2012)\n Unrepentant Geraldines (2014)\n Native Invader (2017)\n Ocean to Ocean (2021)\n\nTours\nAmos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992. In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine. Her concerts are notable for their changing set lists from night to night.\n\nLittle Earthquakes Tour\n Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland. She performed solo with a Yamaha CP-70 unless the venue was able to provide a piano. The tour included 142 concerts around the globe.\n\nUnder the Pink Tour\n Amos's second world tour began on February 24, 1994 in Newcastle upon Tyne and ended on December 13, 1994 in Perth, Western Australia. Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \"Bells for Her\". The tour included 181 concerts.\n\nDew Drop Inn Tour\n The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder. Amos performed each night on piano, harpsichord, and harmonium, with Steve Caton on guitar on some songs. The tour included 187 concerts.\n\nPlugged '98 Tour\n Amos's first band tour. Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass. The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts.\n\n5 ½ Weeks Tour / To Dallas and Back\n Amos's fifth tour was North America–only. The first part of the tour was co-headlining with Alanis Morissette and featured the same band and equipment line-up as in 1998. Amos and the band continued for eight shows before Amos embarked on a series of solo shows. The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts.\n\nStrange Little Tour\n This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996). It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented. Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months. It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts.\n\nOn Scarlet's Walk / Lottapianos Tour\n Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton. The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening. The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts. The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album).\n\nOriginal Sinsuality Tour / Summer of Sin\n This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes. The tour also encompassed Australia for the first time since 1994. Amos announced at a concert on this tour that she would never stop touring but would scale down the tours. Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles. The tour featured \"Tori's Piano Bar\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show. One of the songs chosen was the Kylie Minogue hit \"Can't Get You Out of My Head\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public. Other songs performed by Amos include The Doors' \"People are Strange\", Depeche Mode's \"Personal Jesus\", Joni Mitchell's \"The Circle Game\", Madonna's \"Live to Tell\" and \"Like a Prayer\", Björk's \"Hyperballad\", Led Zeppelin's \"When the Levee Breaks\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \"And Dream of Sheep\" and Crowded House's \"Don't Dream It's Over\", dedicating it to drummer Paul Hester who had died a week before. The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs.\n\nAmerican Doll Posse World Tour\n This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band. Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards. The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles. Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show. The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series.\n\nSinful Attraction Tour\n For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard. The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009. A solo leg through Australia began in Melbourne on November 12, 2009 and ended in Brisbane on November 24, 2009. The entire tour featured 63 concerts.\n\nNight of Hunters tour\n Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa. It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas.\n\nGold Dust Orchestral Tour\n Amos began her 2012 tour in Rotterdam on October 1.\n\nUnrepentant Geraldines Tour\n Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts.\n\nNative Invader Tour\n Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October.\n\nOcean to Ocean Tour\n Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland.\n\nAwards and nominations \n{| class=\"wikitable sortable plainrowheaders\"\n|-\n! scope=\"col\" | Award\n! scope=\"col\" | Year\n! scope=\"col\" | Nominee(s)\n! scope=\"col\" | Category\n! scope=\"col\" | Result\n! scope=\"col\" class=\"unsortable\"| \n|-\n! scope=\"row\" rowspan=3|Brit Awards\n| rowspan=2|1993\n| rowspan=3|Herself\n| International Breakthrough Act\n| \n| rowspan=2|\n|-\n| International Solo Artist\n| \n|-\n| 1995\n| International Female Solo Artist\n| \n|\n|-\n! scope=\"row\"|Critics' Choice Documentary Awards\n| 2016\n| \"Flicker\"\n| Best Song in a Documentary\n| \n| \n|-\n!scope=\"row\"|ECHO Awards\n| 1995\n| Herself\n| Best International Female\n| \n|\n|-\n! scope=\"row\"|ECHO Klassik Awards\n| rowspan=1|2012\n| Night of Hunters\n| The Klassik-ohne-Grenzen Prize\n| \n|\n|-\n! scope=\"row\" rowspan=4|GAFFA Awards\n| 2000\n| rowspan=3|Herself\n| rowspan=2|Best Foreign Female Act\n| \n| rowspan=2|\n|-\n| 2003\n| \n|-\n| rowspan=2|2022\n| Best Foreign Solo Act\n| \n| \n|-\n| Ocean to Ocean\n| Best Foreign Album\n| \n|-\n! scope=\"row\"|George Peabody Medal\n| 2019\n| Herself\n| Outstanding Contributions to Music \n| \n|\n|-\n! scope=\"row\"|Glamour Awards\n| 1998\n| Herself\n| Woman of the Year\n| \n|\n|-\n! scope=\"row\" rowspan=8|Grammy Awards\n| 1995\n| Under the Pink\n| rowspan=3|Best Alternative Music Album\n| \n| rowspan=8|\n|-\n| 1997\n| Boys for Pele\n| \n|-\n| rowspan=2|1999\n| From the Choirgirl Hotel\n| \n|-\n| \"Raspberry Swirl\"\n| rowspan=2|Best Female Rock Vocal Performance\n| \n|-\n| rowspan=2|2000\n| \"Bliss\"\n| \n|-\n| To Venus and Back\n| rowspan=2|Best Alternative Music Album\n| \n|-\n| rowspan=2|2002\n| Strange Little Girls\n| \n|-\n| \"Strange Little Girl\"\n| Best Female Rock Vocal Performance\n| \n|-\n! scope=\"row\"|Hollywood Music in Media Awards\n| 2016\n| \"Flicker\"\n| Best Original Song in a Documentary\n| \n|\n|-\n! scope=\"row\"|Hungarian Music Awards\n| 2010\n| Abnormally Attracted to Sin\n| Best Foreign Alternative Album\n| \n| \n|-\n! scope=\"row\"|MTV Europe Music Awards\n| 1994\n| Herself\n| Best Female\n| \n|\n|-\n! scope=\"row\" rowspan=4|MTV Video Music Awards\n| rowspan=4|1992\n| rowspan=4|\"Silent All These Years\"\n| Best Female Video\n| \n|rowspan=4|\n|-\n| Best New Artist in a Video\n| \n|-\n| Breakthrough Video\n| \n|-\n| Best Cinematography in a Video\n| \n|-\n! scope=\"row\"|NME Awards\n| 2016\n| Under the Pink\n| Best Reissue\n| \n|\n|-\n! scope=\"row\"|North Carolina Music Hall of Fame\n| 2012\n| Herself\n| Inducted\n| \n|\n|-\n!scope=\"row\" rowspan=5|Pollstar Concert Industry Awards\n| rowspan=2|1993\n| rowspan=2|Little Earthquakes Tour\n| Best New Rock Artist\n| \n| rowspan=2|\n|-\n| Club Tour Of The Year\n| \n|-\n| 1995\n| Under the Pink Tour\n| rowspan=3|Small Hall Tour Of The Year\n| \n| \n|-\n| 1997\n| Dew Drop Inn Tour\n| \n| \n|-\n| 1999\n| 5 ½ Weeks Tour\n| \n| \n|-\n! scope=\"row\"|Q Awards\n| 1992\n| Herself\n| Best New Act\n| \n|\n|-\n! scope=\"row\" rowspan=2|WhatsOnStage Awards\n| rowspan=2|2014\n| rowspan=2|The Light Princess\n| Best New Musical\n| \n| rowspan=2|\n|-\n| Best London Newcomer of the Year\n| \n|-\n!scope=\"row\"|Žebřík Music Awards\n| 2001\n| Herself\n| Best International Female\n| \n| \n\n1999: Spin Readers' Poll Awards (Won)\n\nOn May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony. Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel.\n\nFilm appearances\nTori appears as a wedding singer in the film Mona Lisa Smile.\n\nReferences\n\nCitations\n\nWorks cited\n\nExternal links\n\n \n \n \n\n \n1963 births\n20th-century American composers\n20th-century American keyboardists\n20th-century American women pianists\n20th-century American pianists\n20th-century American women singers\n21st-century American keyboardists\n21st-century American women pianists\n21st-century American pianists\n21st-century American women singers\nAlternative rock keyboardists\nAlternative rock pianists\nAlternative rock singers\nAmerican alternative rock musicians\nAmerican expatriates in the Republic of Ireland\nAmerican expatriates in the United Kingdom\nAmerican women composers\nAmerican women singer-songwriters\nAmerican feminist writers\nAmerican harpsichordists\nAmerican mezzo-sopranos\nAmerican organists\nAmerican people who self-identify as being of Native American descent\nAmerican pop pianists\nAmerican rock pianists\nAmerican women rock singers\nAmerican rock songwriters\nArticles containing video clips\nArt rock musicians\nAtlantic Records artists\nChild classical musicians\nClavichordists\nDeutsche Grammophon artists\nElectronica musicians\nEpic Records artists\nFeminist musicians\nHarmonium players\nIsland Records artists\nLiving people\nMontgomery College alumni\nMusicians from Baltimore\nMusicians from County Cork\nMusicians from Rockville, Maryland\nPeople from Georgetown (Washington, D.C.)\nPeople from Newton, North Carolina\nPeople from Sewall's Point, Florida\nRepublic Records artists\nSexual abuse victim advocates\nSinger-songwriters from Maryland\nSinger-songwriters from North Carolina\nWomen organists\n20th-century women composers\nAmerican women in electronic music\n20th-century American singers\n21st-century American singers\nSinger-songwriters from Washington, D.C."},"extractive":{"kind":"string","value":"true"},"retrieved_contexts":{"kind":"list like","value":["Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\n\nKobylinec and Ptáčovský kopeček\n\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\n\nPonds\n\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\n\nSyenitové skály near Pocoucov\n\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\n\nExternal links\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\n\nReferences\n\nExternal links\nNature near the village Trnava which is there\n\nTřebíč\nParks in the Czech Republic\nTourist attractions in the Vysočina Region","Damn Interesting is an independent website founded by Alan Bellows in 2005. The website presents true stories from science, history, and psychology, primarily as long-form articles, often illustrated with original artwork. Works are written by various authors, and published at irregular intervals. The website openly rejects advertising, relying on reader and listener donations to cover operating costs.\n\nAs of October 2012, each article is also published as a podcast under the same name. In November 2019, a second podcast was launched under the title Damn Interesting Week, featuring unscripted commentary on an assortment of news articles featured on the website's \"Curated Links\" section that week. In mid-2020, a third podcast called Damn Interesting Curio Cabinet began highlighting the website's periodic short-form articles in the same radioplay format as the original podcast.\n\nIn July 2009, Damn Interesting published the print book Alien Hand Syndrome through Workman Publishing. It contains some favorites from the site and some exclusive content.\n\nAwards and recognition \nIn August 2007, PC Magazine named Damn Interesting one of the \"Top 100 Undiscovered Web Sites\".\nThe article \"The Zero-Armed Bandit\" by Alan Bellows won a 2015 Sidney Award from David Brooks in The New York Times.\nThe article \"Ghoulish Acts and Dastardly Deeds\" by Alan Bellows was cited as \"nonfiction journalism from 2017 that will stand the test of time\" by Conor Friedersdorf in The Atlantic.\nThe article \"Dupes and Duplicity\" by Jennifer Lee Noonan won a 2020 Sidney Award from David Brooks in the New York Times.\n\nAccusing The Dollop of plagiarism \n\nOn July 9, 2015, Bellows posted an open letter accusing The Dollop, a comedy podcast about history, of plagiarism due to their repeated use of verbatim text from Damn Interesting articles without permission or attribution. Dave Anthony, the writer of The Dollop, responded on reddit, admitting to using Damn Interesting content, but claiming that the use was protected by fair use, and that \"historical facts are not copyrightable.\" In an article about the controversy on Plagiarism Today, Jonathan Bailey concluded, \"Any way one looks at it, The Dollop failed its ethical obligations to all of the people, not just those writing for Damn Interesting, who put in the time, energy and expertise into writing the original content upon which their show is based.\"\n\nReferences\n\nExternal links \n Official website\n\n2005 podcast debuts"],"string":"[\n \"Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\\n\\nKobylinec and Ptáčovský kopeček\\n\\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\\n\\nPonds\\n\\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\\n\\nSyenitové skály near Pocoucov\\n\\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\\n\\nExternal links\\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\\n\\nReferences\\n\\nExternal links\\nNature near the village Trnava which is there\\n\\nTřebíč\\nParks in the Czech Republic\\nTourist attractions in the Vysočina Region\",\n \"Damn Interesting is an independent website founded by Alan Bellows in 2005. The website presents true stories from science, history, and psychology, primarily as long-form articles, often illustrated with original artwork. Works are written by various authors, and published at irregular intervals. The website openly rejects advertising, relying on reader and listener donations to cover operating costs.\\n\\nAs of October 2012, each article is also published as a podcast under the same name. In November 2019, a second podcast was launched under the title Damn Interesting Week, featuring unscripted commentary on an assortment of news articles featured on the website's \\\"Curated Links\\\" section that week. In mid-2020, a third podcast called Damn Interesting Curio Cabinet began highlighting the website's periodic short-form articles in the same radioplay format as the original podcast.\\n\\nIn July 2009, Damn Interesting published the print book Alien Hand Syndrome through Workman Publishing. It contains some favorites from the site and some exclusive content.\\n\\nAwards and recognition \\nIn August 2007, PC Magazine named Damn Interesting one of the \\\"Top 100 Undiscovered Web Sites\\\".\\nThe article \\\"The Zero-Armed Bandit\\\" by Alan Bellows won a 2015 Sidney Award from David Brooks in The New York Times.\\nThe article \\\"Ghoulish Acts and Dastardly Deeds\\\" by Alan Bellows was cited as \\\"nonfiction journalism from 2017 that will stand the test of time\\\" by Conor Friedersdorf in The Atlantic.\\nThe article \\\"Dupes and Duplicity\\\" by Jennifer Lee Noonan won a 2020 Sidney Award from David Brooks in the New York Times.\\n\\nAccusing The Dollop of plagiarism \\n\\nOn July 9, 2015, Bellows posted an open letter accusing The Dollop, a comedy podcast about history, of plagiarism due to their repeated use of verbatim text from Damn Interesting articles without permission or attribution. Dave Anthony, the writer of The Dollop, responded on reddit, admitting to using Damn Interesting content, but claiming that the use was protected by fair use, and that \\\"historical facts are not copyrightable.\\\" In an article about the controversy on Plagiarism Today, Jonathan Bailey concluded, \\\"Any way one looks at it, The Dollop failed its ethical obligations to all of the people, not just those writing for Damn Interesting, who put in the time, energy and expertise into writing the original content upon which their show is based.\\\"\\n\\nReferences\\n\\nExternal links \\n Official website\\n\\n2005 podcast debuts\"\n]"},"chunked_article":{"kind":"list like","value":["Tori Amos (born Myra Ellen Amos; August 22, 1963) is an American singer-songwriter and pianist. She is a classically trained musician with a mezzo-soprano vocal range.","She is a classically trained musician with a mezzo-soprano vocal range. Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted.","Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted. She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \"musical insubordination\".","She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \"musical insubordination\". Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s.","Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s. Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion.","Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion. Her charting singles include \"Crucify\", \"Silent All These Years\", \"God\", \"Cornflake Girl\", \"Caught a Lite Sneeze\", \"Professional Widow\", \"Spark\", \"1000 Oceans\", \"Flavor\" and \"A Sorta Fairytale\", her most commercially successful single in the U.S. to date.","Her charting singles include \"Crucify\", \"Silent All These Years\", \"God\", \"Cornflake Girl\", \"Caught a Lite Sneeze\", \"Professional Widow\", \"Spark\", \"1000 Oceans\", \"Flavor\" and \"A Sorta Fairytale\", her most commercially successful single in the U.S. to date. Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album.","Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album. She is listed on VH1's 1999 \"100 Greatest Women of Rock and Roll\" at number 71.","She is listed on VH1's 1999 \"100 Greatest Women of Rock and Roll\" at number 71. Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos.","Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos. She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity.","She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity. When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C.","When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C. Her older brother and sister took piano lessons, but Tori did not need them.","Her older brother and sister took piano lessons, but Tori did not need them. From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs.","From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs. She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music.","She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music. She studied classical piano at Peabody from 1968 to 1974.","She studied classical piano at Peabody from 1968 to 1974. In 1974, when she was eleven, her scholarship was discontinued, and she was asked to leave. Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music.","Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music. In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church.","In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church. At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father.","At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father. Amos won a county teen talent contest in 1977, singing a song called \"More Than Just a Friend\".","Amos won a county teen talent contest in 1977, singing a song called \"More Than Just a Friend\". As a senior at Richard Montgomery High School, she co-wrote \"Baltimore\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles.","As a senior at Richard Montgomery High School, she co-wrote \"Baltimore\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles. The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \"Walking With You\".","The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \"Walking With You\". Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast.","Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast. Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers.","Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers. Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released.","Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released. Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her.","Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her. In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area.","In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area. In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading.","In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading. In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber.","In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber. The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time.","The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time. Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released.","Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released. Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \"The only good thing about that album is my ankle high boots.\"","Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \"The only good thing about that album is my ankle high boots.\" Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist.","Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist. She also recorded a song called \"Distant Storm\" for the film China O'Brien.","She also recorded a song called \"Distant Storm\" for the film China O'Brien. In the credits, the song is attributed to a band called Tess Makes Good.","In the credits, the song is attributed to a band called Tess Makes Good. 1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990.","1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990. The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented.","The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented. The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault.","The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault. This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15.","This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15. Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \"Silent All These Years\".","Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \"Silent All These Years\". Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink.","Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink. The album was received with mostly favorable reviews and sold enough copies to chart at No. 12 on the Billboard 200, a significantly higher position than the preceding album's position at No.","12 on the Billboard 200, a significantly higher position than the preceding album's position at No. 54 on the same chart. However, the album found its biggest success in the UK, debuting at number one upon release in February 1994.","However, the album found its biggest success in the UK, debuting at number one upon release in February 1994. 1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996.","1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996. Prior to its release, the first single, \"Caught a Lite Sneeze\" became the first full song released for streaming online prior to an album's release.","Prior to its release, the first single, \"Caught a Lite Sneeze\" became the first full song released for streaming online prior to an album's release. The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics.","The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics. For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano.","For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano. The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability.","The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability. Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No.","Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No. 2 on the UK Top 40 and No. 2 on the Billboard 200 upon its release.","2 on the Billboard 200 upon its release. Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios.","Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios. From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums.","From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums. Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes.","Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes. The underlying themes of both albums deal with womanhood and Amos's own miscarriages and marriage. Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality.","Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality. Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week.","Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week. To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download.","To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download. 2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective.","2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective. That became Strange Little Girls, released in September 2001.","That became Strange Little Girls, released in September 2001. The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song.","The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song. Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label.","Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label. With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001.","With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11.","Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny.","Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA.","Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA. Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003.","Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group.","Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline.","Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline. 2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007).","2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment.","The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics.","Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No.","The album debuted at No. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts.","5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it.","While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's.","American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No.","Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200.","5 on the Billboard 200. 5 on the Billboard 200. During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records.","During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records. 2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work.","2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work. In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes.","In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes. By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \"joint venture\" deal with Universal Republic Records.","By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \"joint venture\" deal with Universal Republic Records. Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews.","Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews. The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so.","The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so. Abnormally Attracted to Sin, admitted Amos, is a \"personal album\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin.","Abnormally Attracted to Sin, admitted Amos, is a \"personal album\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin. Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year.","Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year. The album features reworked versions of traditional carols, as well as original songs written by Amos.","The album features reworked versions of traditional carols, as well as original songs written by Amos. During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010.","During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010. In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble.","In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble. After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010.","After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010. The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow.","The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow. The set was released exclusively through her website and only 2000 copies were produced.","The set was released exclusively through her website and only 2000 copies were produced. 2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group.","2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group. Amos recorded the album with several musicians, including the Apollon Musagète string quartet.","Amos recorded the album with several musicians, including the Apollon Musagète string quartet. To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra.","To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra. The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon.","The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon. On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists.","On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists. In 2013, Amos collaborated with the Bullitts on the track \"Wait Until Tomorrow\" from their debut album, They Die by Dawn & Other Short Stories.","In 2013, Amos collaborated with the Bullitts on the track \"Wait Until Tomorrow\" from their debut album, They Die by Dawn & Other Short Stories. She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \"return to contemporary music\".","She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \"return to contemporary music\". September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott.","September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott. It premiered at London's Royal National Theatre and ended in February 2014.","It premiered at London's Royal National Theatre and ended in February 2014. The Light Princess and its lead actress, Rosalie Craig, were nominated for Best Musical and Best Musical Performance respectively at the Evening Standard Award. Craig won the Best Musical Performance category.","Craig won the Best Musical Performance category. Amos's 14th studio album, Unrepentant Geraldines, was released on May 13, 2014, via Mercury Classics/Universal Music Classics in the US. Its first single, \"Trouble's Lament\", was released on March 28.","Its first single, \"Trouble's Lament\", was released on March 28. The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014.","The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014. In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House.","In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House. According to a press release, Unrepentant Geraldines was a \"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years.","According to a press release, Unrepentant Geraldines was a \"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years. [It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\"","[It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\" The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics.","The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics. Apart from the original cast performances, the recording also includes two songs from the musical (\"Highness in the Sky\" and \"Darkest Hour') performed by Amos.","Apart from the original cast performances, the recording also includes two songs from the musical (\"Highness in the Sky\" and \"Darkest Hour') performed by Amos. 2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release.","2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release. This follows the deluxe re-releases of her first two albums in 2015.","This follows the deluxe re-releases of her first two albums in 2015. On September 8, 2017, Amos released Native Invader, accompanied by a world tour.","On September 8, 2017, Amos released Native Invader, accompanied by a world tour. During the summer of 2017, Amos launched three songs from the album: \"Cloud Riders\", \"Up the Creek\" and \"Reindeer King\", the latter featuring string arrangements by John Philip Shenale.","During the summer of 2017, Amos launched three songs from the album: \"Cloud Riders\", \"Up the Creek\" and \"Reindeer King\", the latter featuring string arrangements by John Philip Shenale. Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations.","Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations. The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak.","The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak. Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader.","Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader. The album, released on September 8, 2017, has been presented in two formats: standard and deluxe.","The album, released on September 8, 2017, has been presented in two formats: standard and deluxe. The standard version includes 13 songs, while the deluxe edition adds two extra songs to the tracklist: \"Upside Down 2\" and \"Russia\". Native Invader has been well received by most music critics upon release.","Native Invader has been well received by most music critics upon release. The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \"generally favorable reviews\".","The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \"generally favorable reviews\". On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl.","On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl. The EP consists of four original songs and features her first work with bandmates Matt Chamberlain and Jon Evans since 2009. Amos recorded the EP remotely due to the impact of the COVID-19 pandemic.","Amos recorded the EP remotely due to the impact of the COVID-19 pandemic. On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29.","On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29. The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \"a universal story of going to rock bottom and renewing yourself all over again\".","The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \"a universal story of going to rock bottom and renewing yourself all over again\". Amos will embark on a European tour in support of the album in 2022.","Amos will embark on a European tour in support of the album in 2022. Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces.","Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces. In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005).","In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005). The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records.","The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records. Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos.","Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos. Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore.","Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore. Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996).","Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996). Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process.","Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process. Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020.","Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020. Personal life Amos married English sound engineer Mark Hawley on February 22, 1998. Their daughter was born in 2000.","Their daughter was born in 2000. The family divides their time between Sewall's Point in Florida, US, and Bude, Cornwall in the UK. Amos' mother, Mary Ellen, died on May 11, 2019.","Amos' mother, Mary Ellen, died on May 11, 2019. Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \"Tear in Your Hand\" and also in print interviews.","Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \"Tear in Your Hand\" and also in print interviews. Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \"steal shamelessly from each other\".","Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \"steal shamelessly from each other\". She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo.","She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo. Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009.","Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009. In 2019, Amos performed the British standard \"A Nightingale Sang in Berkeley Square\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett.","In 2019, Amos performed the British standard \"A Nightingale Sang in Berkeley Square\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett. Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded.","Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded. Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline.","Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline. She was the first national spokesperson for the organization and has continued to be closely associated with RAINN.","She was the first national spokesperson for the organization and has continued to be closely associated with RAINN. On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN.","On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN. On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA.","On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA. Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992.","Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992. In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine.","In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine. Her concerts are notable for their changing set lists from night to night. Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland.","Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland. She performed solo with a Yamaha CP-70 unless the venue was able to provide a piano. The tour included 142 concerts around the globe.","The tour included 142 concerts around the globe. Under the Pink Tour Amos's second world tour began on February 24, 1994 in Newcastle upon Tyne and ended on December 13, 1994 in Perth, Western Australia. Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \"Bells for Her\".","Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \"Bells for Her\". The tour included 181 concerts. Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder.","Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder. Amos performed each night on piano, harpsichord, and harmonium, with Steve Caton on guitar on some songs. The tour included 187 concerts.","The tour included 187 concerts. The tour included 187 concerts. Plugged '98 Tour Amos's first band tour. Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass.","Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass. The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts.","The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts. 5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only.","5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only. The first part of the tour was co-headlining with Alanis Morissette and featured the same band and equipment line-up as in 1998. Amos and the band continued for eight shows before Amos embarked on a series of solo shows.","Amos and the band continued for eight shows before Amos embarked on a series of solo shows. The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts.","The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts. Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996).","Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996). It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented.","It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented. Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months.","Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months. It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts.","It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts. On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton.","On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton. The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening.","The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening. The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts.","The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts. The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album).","The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album). Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes.","Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes. The tour also encompassed Australia for the first time since 1994.","The tour also encompassed Australia for the first time since 1994. Amos announced at a concert on this tour that she would never stop touring but would scale down the tours. Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles.","Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles. The tour featured \"Tori's Piano Bar\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show.","The tour featured \"Tori's Piano Bar\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show. One of the songs chosen was the Kylie Minogue hit \"Can't Get You Out of My Head\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public.","One of the songs chosen was the Kylie Minogue hit \"Can't Get You Out of My Head\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public. Other songs performed by Amos include The Doors' \"People are Strange\", Depeche Mode's \"Personal Jesus\", Joni Mitchell's \"The Circle Game\", Madonna's \"Live to Tell\" and \"Like a Prayer\", Björk's \"Hyperballad\", Led Zeppelin's \"When the Levee Breaks\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \"And Dream of Sheep\" and Crowded House's \"Don't Dream It's Over\", dedicating it to drummer Paul Hester who had died a week before.","Other songs performed by Amos include The Doors' \"People are Strange\", Depeche Mode's \"Personal Jesus\", Joni Mitchell's \"The Circle Game\", Madonna's \"Live to Tell\" and \"Like a Prayer\", Björk's \"Hyperballad\", Led Zeppelin's \"When the Levee Breaks\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \"And Dream of Sheep\" and Crowded House's \"Don't Dream It's Over\", dedicating it to drummer Paul Hester who had died a week before. The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs.","The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs. American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band.","American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band. Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards.","Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards. The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles.","The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles. Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show.","Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show. The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series.","The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series. Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard.","Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard. The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009.","The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009. A solo leg through Australia began in Melbourne on November 12, 2009 and ended in Brisbane on November 24, 2009. The entire tour featured 63 concerts.","The entire tour featured 63 concerts. Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa.","Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa. It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas.","It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas. Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1.","Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1. Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts.","Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts. Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October.","Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October. Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland.","Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland. Awards and nominations {| class=\"wikitable sortable plainrowheaders\" |- ! scope=\"col\" | Award !","scope=\"col\" | Award ! scope=\"col\" | Year ! scope=\"col\" | Nominee(s) ! scope=\"col\" | Category ! scope=\"col\" | Result ! scope=\"col\" class=\"unsortable\"| |- !","scope=\"col\" class=\"unsortable\"| |- ! scope=\"row\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- !","scope=\"row\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- ! scope=\"row\"|Critics' Choice Documentary Awards | 2016 | \"Flicker\" | Best Song in a Documentary | | |- !scope=\"row\"|ECHO Awards | 1995 | Herself | Best International Female | | |- !","scope=\"row\"|Critics' Choice Documentary Awards | 2016 | \"Flicker\" | Best Song in a Documentary | | |- !scope=\"row\"|ECHO Awards | 1995 | Herself | Best International Female | | |- ! scope=\"row\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- !","scope=\"row\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- ! scope=\"row\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- !","scope=\"row\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- ! scope=\"row\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- !","scope=\"row\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- ! scope=\"row\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- !","scope=\"row\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- ! scope=\"row\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \"Raspberry Swirl\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \"Bliss\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \"Strange Little Girl\" | Best Female Rock Vocal Performance | |- !","scope=\"row\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \"Raspberry Swirl\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \"Bliss\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \"Strange Little Girl\" | Best Female Rock Vocal Performance | |- ! scope=\"row\"|Hollywood Music in Media Awards | 2016 | \"Flicker\" | Best Original Song in a Documentary | | |- !","scope=\"row\"|Hollywood Music in Media Awards | 2016 | \"Flicker\" | Best Original Song in a Documentary | | |- ! scope=\"row\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- !","scope=\"row\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- ! scope=\"row\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- !","scope=\"row\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- ! scope=\"row\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\"Silent All These Years\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- !","scope=\"row\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\"Silent All These Years\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- ! scope=\"row\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- !","scope=\"row\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- ! scope=\"row\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\"row\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- !","scope=\"row\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\"row\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- ! scope=\"row\"|Q Awards | 1992 | Herself | Best New Act | | |- !","scope=\"row\"|Q Awards | 1992 | Herself | Best New Act | | |- ! scope=\"row\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\"row\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony.","scope=\"row\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\"row\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony. Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel.","Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel. Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile.","Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile. References Citations Works cited External links 1963 births 20th-century American composers 20th-century American keyboardists 20th-century American women pianists 20th-century American pianists 20th-century American women singers 21st-century American keyboardists 21st-century American women pianists 21st-century American pianists 21st-century American women singers Alternative rock keyboardists Alternative rock pianists Alternative rock singers American alternative rock musicians American expatriates in the Republic of Ireland American expatriates in the United Kingdom American women composers American women singer-songwriters American feminist writers American harpsichordists American mezzo-sopranos American organists American people who self-identify as being of Native American descent American pop pianists American rock pianists American women rock singers American rock songwriters Articles containing video clips Art rock musicians Atlantic Records artists Child classical musicians Clavichordists Deutsche Grammophon artists Electronica musicians Epic Records artists Feminist musicians Harmonium players Island Records artists Living people Montgomery College alumni Musicians from Baltimore Musicians from County Cork Musicians from Rockville, Maryland People from Georgetown (Washington, D.C.) People from Newton, North Carolina People from Sewall's Point, Florida Republic Records artists Sexual abuse victim advocates Singer-songwriters from Maryland Singer-songwriters from North Carolina Women organists 20th-century women composers American women in electronic music 20th-century American singers 21st-century American singers Singer-songwriters from Washington, D.C."],"string":"[\n \"Tori Amos (born Myra Ellen Amos; August 22, 1963) is an American singer-songwriter and pianist. She is a classically trained musician with a mezzo-soprano vocal range.\",\n \"She is a classically trained musician with a mezzo-soprano vocal range. Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted.\",\n \"Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted. She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \\\"musical insubordination\\\".\",\n \"She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \\\"musical insubordination\\\". Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s.\",\n \"Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s. Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion.\",\n \"Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion. Her charting singles include \\\"Crucify\\\", \\\"Silent All These Years\\\", \\\"God\\\", \\\"Cornflake Girl\\\", \\\"Caught a Lite Sneeze\\\", \\\"Professional Widow\\\", \\\"Spark\\\", \\\"1000 Oceans\\\", \\\"Flavor\\\" and \\\"A Sorta Fairytale\\\", her most commercially successful single in the U.S. to date.\",\n \"Her charting singles include \\\"Crucify\\\", \\\"Silent All These Years\\\", \\\"God\\\", \\\"Cornflake Girl\\\", \\\"Caught a Lite Sneeze\\\", \\\"Professional Widow\\\", \\\"Spark\\\", \\\"1000 Oceans\\\", \\\"Flavor\\\" and \\\"A Sorta Fairytale\\\", her most commercially successful single in the U.S. to date. Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album.\",\n \"Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album. She is listed on VH1's 1999 \\\"100 Greatest Women of Rock and Roll\\\" at number 71.\",\n \"She is listed on VH1's 1999 \\\"100 Greatest Women of Rock and Roll\\\" at number 71. Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos.\",\n \"Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos. She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity.\",\n \"She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity. When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C.\",\n \"When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C. Her older brother and sister took piano lessons, but Tori did not need them.\",\n \"Her older brother and sister took piano lessons, but Tori did not need them. From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs.\",\n \"From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs. She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music.\",\n \"She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music. She studied classical piano at Peabody from 1968 to 1974.\",\n \"She studied classical piano at Peabody from 1968 to 1974. In 1974, when she was eleven, her scholarship was discontinued, and she was asked to leave. Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music.\",\n \"Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music. In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church.\",\n \"In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church. At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father.\",\n \"At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father. Amos won a county teen talent contest in 1977, singing a song called \\\"More Than Just a Friend\\\".\",\n \"Amos won a county teen talent contest in 1977, singing a song called \\\"More Than Just a Friend\\\". As a senior at Richard Montgomery High School, she co-wrote \\\"Baltimore\\\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles.\",\n \"As a senior at Richard Montgomery High School, she co-wrote \\\"Baltimore\\\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles. The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \\\"Walking With You\\\".\",\n \"The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \\\"Walking With You\\\". Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast.\",\n \"Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast. Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers.\",\n \"Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers. Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released.\",\n \"Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released. Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her.\",\n \"Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her. In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area.\",\n \"In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area. In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading.\",\n \"In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading. In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber.\",\n \"In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber. The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time.\",\n \"The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time. Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released.\",\n \"Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released. Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \\\"The only good thing about that album is my ankle high boots.\\\"\",\n \"Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \\\"The only good thing about that album is my ankle high boots.\\\" Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist.\",\n \"Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist. She also recorded a song called \\\"Distant Storm\\\" for the film China O'Brien.\",\n \"She also recorded a song called \\\"Distant Storm\\\" for the film China O'Brien. In the credits, the song is attributed to a band called Tess Makes Good.\",\n \"In the credits, the song is attributed to a band called Tess Makes Good. 1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990.\",\n \"1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990. The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented.\",\n \"The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented. The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault.\",\n \"The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault. This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15.\",\n \"This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15. Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \\\"Silent All These Years\\\".\",\n \"Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \\\"Silent All These Years\\\". Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink.\",\n \"Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink. The album was received with mostly favorable reviews and sold enough copies to chart at No. 12 on the Billboard 200, a significantly higher position than the preceding album's position at No.\",\n \"12 on the Billboard 200, a significantly higher position than the preceding album's position at No. 54 on the same chart. However, the album found its biggest success in the UK, debuting at number one upon release in February 1994.\",\n \"However, the album found its biggest success in the UK, debuting at number one upon release in February 1994. 1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996.\",\n \"1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996. Prior to its release, the first single, \\\"Caught a Lite Sneeze\\\" became the first full song released for streaming online prior to an album's release.\",\n \"Prior to its release, the first single, \\\"Caught a Lite Sneeze\\\" became the first full song released for streaming online prior to an album's release. The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics.\",\n \"The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics. For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano.\",\n \"For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano. The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability.\",\n \"The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability. Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No.\",\n \"Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No. 2 on the UK Top 40 and No. 2 on the Billboard 200 upon its release.\",\n \"2 on the Billboard 200 upon its release. Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios.\",\n \"Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios. From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums.\",\n \"From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums. Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes.\",\n \"Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes. The underlying themes of both albums deal with womanhood and Amos's own miscarriages and marriage. Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality.\",\n \"Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality. Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week.\",\n \"Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week. To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download.\",\n \"To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download. 2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective.\",\n \"2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective. That became Strange Little Girls, released in September 2001.\",\n \"That became Strange Little Girls, released in September 2001. The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song.\",\n \"The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song. Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label.\",\n \"Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label. With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001.\",\n \"With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a \\\"sonic novel\\\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11.\",\n \"Described as a \\\"sonic novel\\\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny.\",\n \"Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA.\",\n \"Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA. Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003.\",\n \"Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group.\",\n \"Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline.\",\n \"Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline. 2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007).\",\n \"2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment.\",\n \"The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics.\",\n \"Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No.\",\n \"The album debuted at No. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts.\",\n \"5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it.\",\n \"While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the \\\"posse\\\") who are used as a theme of alter-egos of Amos's.\",\n \"American Doll Posse, another concept album, is fashioned around a group of girls (the \\\"posse\\\") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No.\",\n \"Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200.\",\n \"5 on the Billboard 200. 5 on the Billboard 200. During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records.\",\n \"During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records. 2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work.\",\n \"2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work. In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes.\",\n \"In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes. By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \\\"joint venture\\\" deal with Universal Republic Records.\",\n \"By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \\\"joint venture\\\" deal with Universal Republic Records. Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews.\",\n \"Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews. The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so.\",\n \"The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so. Abnormally Attracted to Sin, admitted Amos, is a \\\"personal album\\\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin.\",\n \"Abnormally Attracted to Sin, admitted Amos, is a \\\"personal album\\\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin. Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year.\",\n \"Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year. The album features reworked versions of traditional carols, as well as original songs written by Amos.\",\n \"The album features reworked versions of traditional carols, as well as original songs written by Amos. During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010.\",\n \"During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010. In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble.\",\n \"In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble. After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010.\",\n \"After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010. The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow.\",\n \"The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow. The set was released exclusively through her website and only 2000 copies were produced.\",\n \"The set was released exclusively through her website and only 2000 copies were produced. 2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group.\",\n \"2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group. Amos recorded the album with several musicians, including the Apollon Musagète string quartet.\",\n \"Amos recorded the album with several musicians, including the Apollon Musagète string quartet. To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra.\",\n \"To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra. The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon.\",\n \"The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon. On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists.\",\n \"On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists. In 2013, Amos collaborated with the Bullitts on the track \\\"Wait Until Tomorrow\\\" from their debut album, They Die by Dawn & Other Short Stories.\",\n \"In 2013, Amos collaborated with the Bullitts on the track \\\"Wait Until Tomorrow\\\" from their debut album, They Die by Dawn & Other Short Stories. She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \\\"return to contemporary music\\\".\",\n \"She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \\\"return to contemporary music\\\". September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott.\",\n \"September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott. It premiered at London's Royal National Theatre and ended in February 2014.\",\n \"It premiered at London's Royal National Theatre and ended in February 2014. The Light Princess and its lead actress, Rosalie Craig, were nominated for Best Musical and Best Musical Performance respectively at the Evening Standard Award. Craig won the Best Musical Performance category.\",\n \"Craig won the Best Musical Performance category. Amos's 14th studio album, Unrepentant Geraldines, was released on May 13, 2014, via Mercury Classics/Universal Music Classics in the US. Its first single, \\\"Trouble's Lament\\\", was released on March 28.\",\n \"Its first single, \\\"Trouble's Lament\\\", was released on March 28. The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014.\",\n \"The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014. In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House.\",\n \"In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House. According to a press release, Unrepentant Geraldines was a \\\"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years.\",\n \"According to a press release, Unrepentant Geraldines was a \\\"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years. [It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\\\"\",\n \"[It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\\\" The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics.\",\n \"The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics. Apart from the original cast performances, the recording also includes two songs from the musical (\\\"Highness in the Sky\\\" and \\\"Darkest Hour') performed by Amos.\",\n \"Apart from the original cast performances, the recording also includes two songs from the musical (\\\"Highness in the Sky\\\" and \\\"Darkest Hour') performed by Amos. 2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release.\",\n \"2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release. This follows the deluxe re-releases of her first two albums in 2015.\",\n \"This follows the deluxe re-releases of her first two albums in 2015. On September 8, 2017, Amos released Native Invader, accompanied by a world tour.\",\n \"On September 8, 2017, Amos released Native Invader, accompanied by a world tour. During the summer of 2017, Amos launched three songs from the album: \\\"Cloud Riders\\\", \\\"Up the Creek\\\" and \\\"Reindeer King\\\", the latter featuring string arrangements by John Philip Shenale.\",\n \"During the summer of 2017, Amos launched three songs from the album: \\\"Cloud Riders\\\", \\\"Up the Creek\\\" and \\\"Reindeer King\\\", the latter featuring string arrangements by John Philip Shenale. Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations.\",\n \"Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations. The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak.\",\n \"The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak. Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader.\",\n \"Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader. The album, released on September 8, 2017, has been presented in two formats: standard and deluxe.\",\n \"The album, released on September 8, 2017, has been presented in two formats: standard and deluxe. The standard version includes 13 songs, while the deluxe edition adds two extra songs to the tracklist: \\\"Upside Down 2\\\" and \\\"Russia\\\". Native Invader has been well received by most music critics upon release.\",\n \"Native Invader has been well received by most music critics upon release. The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \\\"generally favorable reviews\\\".\",\n \"The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \\\"generally favorable reviews\\\". On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl.\",\n \"On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl. The EP consists of four original songs and features her first work with bandmates Matt Chamberlain and Jon Evans since 2009. Amos recorded the EP remotely due to the impact of the COVID-19 pandemic.\",\n \"Amos recorded the EP remotely due to the impact of the COVID-19 pandemic. On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29.\",\n \"On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29. The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \\\"a universal story of going to rock bottom and renewing yourself all over again\\\".\",\n \"The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \\\"a universal story of going to rock bottom and renewing yourself all over again\\\". Amos will embark on a European tour in support of the album in 2022.\",\n \"Amos will embark on a European tour in support of the album in 2022. Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces.\",\n \"Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces. In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005).\",\n \"In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005). The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records.\",\n \"The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records. Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos.\",\n \"Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos. Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore.\",\n \"Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore. Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996).\",\n \"Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996). Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process.\",\n \"Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process. Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020.\",\n \"Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020. Personal life Amos married English sound engineer Mark Hawley on February 22, 1998. Their daughter was born in 2000.\",\n \"Their daughter was born in 2000. The family divides their time between Sewall's Point in Florida, US, and Bude, Cornwall in the UK. Amos' mother, Mary Ellen, died on May 11, 2019.\",\n \"Amos' mother, Mary Ellen, died on May 11, 2019. Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \\\"Tear in Your Hand\\\" and also in print interviews.\",\n \"Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \\\"Tear in Your Hand\\\" and also in print interviews. Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \\\"steal shamelessly from each other\\\".\",\n \"Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \\\"steal shamelessly from each other\\\". She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo.\",\n \"She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo. Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009.\",\n \"Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009. In 2019, Amos performed the British standard \\\"A Nightingale Sang in Berkeley Square\\\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett.\",\n \"In 2019, Amos performed the British standard \\\"A Nightingale Sang in Berkeley Square\\\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett. Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded.\",\n \"Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded. Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline.\",\n \"Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline. She was the first national spokesperson for the organization and has continued to be closely associated with RAINN.\",\n \"She was the first national spokesperson for the organization and has continued to be closely associated with RAINN. On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN.\",\n \"On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN. On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA.\",\n \"On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA. Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992.\",\n \"Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992. In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine.\",\n \"In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine. Her concerts are notable for their changing set lists from night to night. Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland.\",\n \"Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland. She performed solo with a Yamaha CP-70 unless the venue was able to provide a piano. The tour included 142 concerts around the globe.\",\n \"The tour included 142 concerts around the globe. Under the Pink Tour Amos's second world tour began on February 24, 1994 in Newcastle upon Tyne and ended on December 13, 1994 in Perth, Western Australia. Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \\\"Bells for Her\\\".\",\n \"Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \\\"Bells for Her\\\". The tour included 181 concerts. Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder.\",\n \"Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder. Amos performed each night on piano, harpsichord, and harmonium, with Steve Caton on guitar on some songs. The tour included 187 concerts.\",\n \"The tour included 187 concerts. The tour included 187 concerts. Plugged '98 Tour Amos's first band tour. Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass.\",\n \"Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass. The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts.\",\n \"The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts. 5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only.\",\n \"5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only. The first part of the tour was co-headlining with Alanis Morissette and featured the same band and equipment line-up as in 1998. Amos and the band continued for eight shows before Amos embarked on a series of solo shows.\",\n \"Amos and the band continued for eight shows before Amos embarked on a series of solo shows. The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts.\",\n \"The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts. Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996).\",\n \"Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996). It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented.\",\n \"It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented. Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months.\",\n \"Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months. It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts.\",\n \"It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts. On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton.\",\n \"On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton. The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening.\",\n \"The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening. The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts.\",\n \"The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts. The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album).\",\n \"The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album). Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes.\",\n \"Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes. The tour also encompassed Australia for the first time since 1994.\",\n \"The tour also encompassed Australia for the first time since 1994. Amos announced at a concert on this tour that she would never stop touring but would scale down the tours. Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles.\",\n \"Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles. The tour featured \\\"Tori's Piano Bar\\\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show.\",\n \"The tour featured \\\"Tori's Piano Bar\\\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show. One of the songs chosen was the Kylie Minogue hit \\\"Can't Get You Out of My Head\\\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public.\",\n \"One of the songs chosen was the Kylie Minogue hit \\\"Can't Get You Out of My Head\\\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public. Other songs performed by Amos include The Doors' \\\"People are Strange\\\", Depeche Mode's \\\"Personal Jesus\\\", Joni Mitchell's \\\"The Circle Game\\\", Madonna's \\\"Live to Tell\\\" and \\\"Like a Prayer\\\", Björk's \\\"Hyperballad\\\", Led Zeppelin's \\\"When the Levee Breaks\\\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \\\"And Dream of Sheep\\\" and Crowded House's \\\"Don't Dream It's Over\\\", dedicating it to drummer Paul Hester who had died a week before.\",\n \"Other songs performed by Amos include The Doors' \\\"People are Strange\\\", Depeche Mode's \\\"Personal Jesus\\\", Joni Mitchell's \\\"The Circle Game\\\", Madonna's \\\"Live to Tell\\\" and \\\"Like a Prayer\\\", Björk's \\\"Hyperballad\\\", Led Zeppelin's \\\"When the Levee Breaks\\\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \\\"And Dream of Sheep\\\" and Crowded House's \\\"Don't Dream It's Over\\\", dedicating it to drummer Paul Hester who had died a week before. The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs.\",\n \"The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs. American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band.\",\n \"American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band. Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards.\",\n \"Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards. The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles.\",\n \"The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles. Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show.\",\n \"Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show. The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series.\",\n \"The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series. Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard.\",\n \"Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard. The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009.\",\n \"The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009. A solo leg through Australia began in Melbourne on November 12, 2009 and ended in Brisbane on November 24, 2009. The entire tour featured 63 concerts.\",\n \"The entire tour featured 63 concerts. Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa.\",\n \"Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa. It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas.\",\n \"It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas. Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1.\",\n \"Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1. Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts.\",\n \"Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts. Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October.\",\n \"Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October. Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland.\",\n \"Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland. Awards and nominations {| class=\\\"wikitable sortable plainrowheaders\\\" |- ! scope=\\\"col\\\" | Award !\",\n \"scope=\\\"col\\\" | Award ! scope=\\\"col\\\" | Year ! scope=\\\"col\\\" | Nominee(s) ! scope=\\\"col\\\" | Category ! scope=\\\"col\\\" | Result ! scope=\\\"col\\\" class=\\\"unsortable\\\"| |- !\",\n \"scope=\\\"col\\\" class=\\\"unsortable\\\"| |- ! scope=\\\"row\\\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- !\",\n \"scope=\\\"row\\\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- ! scope=\\\"row\\\"|Critics' Choice Documentary Awards | 2016 | \\\"Flicker\\\" | Best Song in a Documentary | | |- !scope=\\\"row\\\"|ECHO Awards | 1995 | Herself | Best International Female | | |- !\",\n \"scope=\\\"row\\\"|Critics' Choice Documentary Awards | 2016 | \\\"Flicker\\\" | Best Song in a Documentary | | |- !scope=\\\"row\\\"|ECHO Awards | 1995 | Herself | Best International Female | | |- ! scope=\\\"row\\\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- !\",\n \"scope=\\\"row\\\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- ! scope=\\\"row\\\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- !\",\n \"scope=\\\"row\\\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- ! scope=\\\"row\\\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- !\",\n \"scope=\\\"row\\\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- ! scope=\\\"row\\\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- !\",\n \"scope=\\\"row\\\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- ! scope=\\\"row\\\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \\\"Raspberry Swirl\\\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \\\"Bliss\\\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \\\"Strange Little Girl\\\" | Best Female Rock Vocal Performance | |- !\",\n \"scope=\\\"row\\\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \\\"Raspberry Swirl\\\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \\\"Bliss\\\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \\\"Strange Little Girl\\\" | Best Female Rock Vocal Performance | |- ! scope=\\\"row\\\"|Hollywood Music in Media Awards | 2016 | \\\"Flicker\\\" | Best Original Song in a Documentary | | |- !\",\n \"scope=\\\"row\\\"|Hollywood Music in Media Awards | 2016 | \\\"Flicker\\\" | Best Original Song in a Documentary | | |- ! scope=\\\"row\\\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- !\",\n \"scope=\\\"row\\\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- ! scope=\\\"row\\\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- !\",\n \"scope=\\\"row\\\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- ! scope=\\\"row\\\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\\\"Silent All These Years\\\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- !\",\n \"scope=\\\"row\\\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\\\"Silent All These Years\\\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- ! scope=\\\"row\\\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- !\",\n \"scope=\\\"row\\\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- ! scope=\\\"row\\\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\\\"row\\\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- !\",\n \"scope=\\\"row\\\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\\\"row\\\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- ! scope=\\\"row\\\"|Q Awards | 1992 | Herself | Best New Act | | |- !\",\n \"scope=\\\"row\\\"|Q Awards | 1992 | Herself | Best New Act | | |- ! scope=\\\"row\\\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\\\"row\\\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony.\",\n \"scope=\\\"row\\\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\\\"row\\\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony. Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel.\",\n \"Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel. Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile.\",\n \"Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile. References Citations Works cited External links 1963 births 20th-century American composers 20th-century American keyboardists 20th-century American women pianists 20th-century American pianists 20th-century American women singers 21st-century American keyboardists 21st-century American women pianists 21st-century American pianists 21st-century American women singers Alternative rock keyboardists Alternative rock pianists Alternative rock singers American alternative rock musicians American expatriates in the Republic of Ireland American expatriates in the United Kingdom American women composers American women singer-songwriters American feminist writers American harpsichordists American mezzo-sopranos American organists American people who self-identify as being of Native American descent American pop pianists American rock pianists American women rock singers American rock songwriters Articles containing video clips Art rock musicians Atlantic Records artists Child classical musicians Clavichordists Deutsche Grammophon artists Electronica musicians Epic Records artists Feminist musicians Harmonium players Island Records artists Living people Montgomery College alumni Musicians from Baltimore Musicians from County Cork Musicians from Rockville, Maryland People from Georgetown (Washington, D.C.) People from Newton, North Carolina People from Sewall's Point, Florida Republic Records artists Sexual abuse victim advocates Singer-songwriters from Maryland Singer-songwriters from North Carolina Women organists 20th-century women composers American women in electronic music 20th-century American singers 21st-century American singers Singer-songwriters from Washington, D.C.\"\n]"}}},{"rowIdx":472,"cells":{"History":{"kind":"list like","value":["Tori Amos","The Epic Records years (2002-07)","Did Amos release any albums during these years?","In October 2002, Amos released Scarlet's Walk, another concept album.","Was the album successful?","strong debut at No. 7 on the Billboard 200.","Did Amos release any albums after Scarlet's Walk?","The Beekeeper (2005) and American Doll Posse (2007).","What can you tell me about The Beekeeper?","The Beekeeper was conceptually influenced by the ancient art of beekeeping,","Did either album win any awards?","Both albums received generally favorable reviews.","Did she collaborate with anyone else on her albums?","I don't know.","Are there any other interesting aspects about this article?","Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned","Why did Polly Anthony resign?","I don't know."],"string":"[\n \"Tori Amos\",\n \"The Epic Records years (2002-07)\",\n \"Did Amos release any albums during these years?\",\n \"In October 2002, Amos released Scarlet's Walk, another concept album.\",\n \"Was the album successful?\",\n \"strong debut at No. 7 on the Billboard 200.\",\n \"Did Amos release any albums after Scarlet's Walk?\",\n \"The Beekeeper (2005) and American Doll Posse (2007).\",\n \"What can you tell me about The Beekeeper?\",\n \"The Beekeeper was conceptually influenced by the ancient art of beekeeping,\",\n \"Did either album win any awards?\",\n \"Both albums received generally favorable reviews.\",\n \"Did she collaborate with anyone else on her albums?\",\n \"I don't know.\",\n \"Are there any other interesting aspects about this article?\",\n \"Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned\",\n \"Why did Polly Anthony resign?\",\n \"I don't know.\"\n]"},"QuAC_dialog_id":{"kind":"string","value":"C_f2c7f26de77949ff80c91a7bd337fb42_1"},"Question":{"kind":"string","value":"Why was the news of her resignation unsettling?"},"Question_no":{"kind":"number","value":9,"string":"9"},"Rewrite":{"kind":"string","value":"Why was the news of Polly Anthony's resignation unsettling for Tori Amos?"},"true_page_title":{"kind":"string","value":"Tori Amos"},"true_contexts":{"kind":"string","value":"With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA. Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline. Amos would later hint in interviews that during the creation of her next album, those in charge at the label following the aforementioned merger were interested \"only in making money\", the effects of which on the album have not been disclosed. Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200. During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records. CANNOTANSWER"},"answer":{"kind":"string","value":"Anthony had been one of the primary reasons Amos signed with the label"},"true_contexts_wiki":{"kind":"string","value":"Tori Amos (born Myra Ellen Amos; August 22, 1963) is an American singer-songwriter and pianist. She is a classically trained musician with a mezzo-soprano vocal range. Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted. She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \"musical insubordination\". Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s. Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion.\n\nHer charting singles include \"Crucify\", \"Silent All These Years\", \"God\", \"Cornflake Girl\", \"Caught a Lite Sneeze\", \"Professional Widow\", \"Spark\", \"1000 Oceans\", \"Flavor\" and \"A Sorta Fairytale\", her most commercially successful single in the U.S. to date. Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album. She is listed on VH1's 1999 \"100 Greatest Women of Rock and Roll\" at number 71.\n\nEarly life and education\nAmos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos. She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity.\n\nWhen she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C. Her older brother and sister took piano lessons, but Tori did not need them. From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs. She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia:\n\nAt five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music. She studied classical piano at Peabody from 1968 to 1974. In 1974, when she was eleven, her scholarship was discontinued, and she was asked to leave. Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music.\n\nIn 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church. At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father.\n\nAmos won a county teen talent contest in 1977, singing a song called \"More Than Just a Friend\". As a senior at Richard Montgomery High School, she co-wrote \"Baltimore\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles. The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \"Walking With You\". Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast.\n\nCareer\n\n1979–1989: Career beginnings and Y Kant Tori Read\nBy the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers. Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released. Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her.\n\nIn 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area.\n\nIn 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading. In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber. The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time. Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released. Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \"The only good thing about that album is my ankle high boots.\"\n\nFollowing the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist. She also recorded a song called \"Distant Storm\" for the film China O'Brien. In the credits, the song is attributed to a band called Tess Makes Good.\n\n1990–1995: Little Earthquakes and Under the Pink\n\nDespite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990. The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented. The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault. This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15. Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \"Silent All These Years\".\n\nAmos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink. The album was received with mostly favorable reviews and sold enough copies to chart at No. 12 on the Billboard 200, a significantly higher position than the preceding album's position at No. 54 on the same chart. However, the album found its biggest success in the UK, debuting at number one upon release in February 1994.\n\n1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back\n\nHer third solo album, Boys for Pele, was released in January 1996. Prior to its release, the first single, \"Caught a Lite Sneeze\" became the first full song released for streaming online prior to an album's release.\n\nThe album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics. For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano. The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability. Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No. 2 on the UK Top 40 and No. 2 on the Billboard 200 upon its release.\n\nFueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios.\n\nFrom the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums. Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes. The underlying themes of both albums deal with womanhood and Amos's own miscarriages and marriage. Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality. Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week. To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download.\n\n2001–2004: Strange Little Girls and Scarlet's Walk\nShortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective. That became Strange Little Girls, released in September 2001. The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song. Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label.\n\nWith her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA.\n\nNot long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline.\n\n2005–2008: The Beekeeper and American Doll Posse\n\nAmos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200.\n\nDuring her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records.\n\n2008–2011: Abnormally Attracted to Sin and Midwinter Graces\n\nIn May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work. In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes. By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \"joint venture\" deal with Universal Republic Records.\n\nAbnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews. The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so. Abnormally Attracted to Sin, admitted Amos, is a \"personal album\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin. Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year. The album features reworked versions of traditional carols, as well as original songs written by Amos.\n\nDuring her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010. In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble.\n\nAfter a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010. The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow. The set was released exclusively through her website and only 2000 copies were produced.\n\n2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines\nIn September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group. Amos recorded the album with several musicians, including the Apollon Musagète string quartet.\n\nTo mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra. The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon.\n\nOn May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists.\n\nIn 2013, Amos collaborated with the Bullitts on the track \"Wait Until Tomorrow\" from their debut album, They Die by Dawn & Other Short Stories. She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \"return to contemporary music\".\n\nSeptember 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott. It premiered at London's Royal National Theatre and ended in February 2014. The Light Princess and its lead actress, Rosalie Craig, were nominated for Best Musical and Best Musical Performance respectively at the Evening Standard Award. Craig won the Best Musical Performance category.\n\nAmos's 14th studio album, Unrepentant Geraldines, was released on May 13, 2014, via Mercury Classics/Universal Music Classics in the US. Its first single, \"Trouble's Lament\", was released on March 28. The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014. In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House.\n\nAccording to a press release, Unrepentant Geraldines was a \"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years. [It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\"\n\nThe 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics. Apart from the original cast performances, the recording also includes two songs from the musical (\"Highness in the Sky\" and \"Darkest Hour') performed by Amos.\n\n2016–present: Native Invader, Christmastide and Ocean to Ocean\n\nOn November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release. This follows the deluxe re-releases of her first two albums in 2015.\n\nOn September 8, 2017, Amos released Native Invader, accompanied by a world tour. During the summer of 2017, Amos launched three songs from the album: \"Cloud Riders\", \"Up the Creek\" and \"Reindeer King\", the latter featuring string arrangements by John Philip Shenale. Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations.\n\nThe initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak. Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader. The album, released on September 8, 2017, has been presented in two formats: standard and deluxe. The standard version includes 13 songs, while the deluxe edition adds two extra songs to the tracklist: \"Upside Down 2\" and \"Russia\". Native Invader has been well received by most music critics upon release. The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \"generally favorable reviews\".\n\nOn November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl. The EP consists of four original songs and features her first work with bandmates Matt Chamberlain and Jon Evans since 2009. Amos recorded the EP remotely due to the impact of the COVID-19 pandemic.\n\nOn September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29. The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \"a universal story of going to rock bottom and renewing yourself all over again\". Amos will embark on a European tour in support of the album in 2022. Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces.\n\nIn print\nReleased in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005). The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records.\n\nImage Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos. Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore.\n\nAdditionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996).\n\nTori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process.\n\nAmos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020.\n\nPersonal life\nAmos married English sound engineer Mark Hawley on February 22, 1998. Their daughter was born in 2000. The family divides their time between Sewall's Point in Florida, US, and Bude, Cornwall in the UK.\n\nAmos' mother, Mary Ellen, died on May 11, 2019.\n\nEarly in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \"Tear in Your Hand\" and also in print interviews. Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \"steal shamelessly from each other\". She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo. Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009. In 2019, Amos performed the British standard \"A Nightingale Sang in Berkeley Square\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett.\n\nActivism\nIn June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded. Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline. She was the first national spokesperson for the organization and has continued to be closely associated with RAINN. On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN. On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA.\n\nDiscography\n\nStudio albums\n Little Earthquakes (1992)\n Under the Pink (1994)\n Boys for Pele (1996)\n From the Choirgirl Hotel (1998)\n To Venus and Back (1999)\n Strange Little Girls (2001)\n Scarlet's Walk (2002)\n The Beekeeper (2005)\n American Doll Posse (2007)\n Abnormally Attracted to Sin (2009)\n Midwinter Graces (2009)\n Night of Hunters (2011)\n Gold Dust (2012)\n Unrepentant Geraldines (2014)\n Native Invader (2017)\n Ocean to Ocean (2021)\n\nTours\nAmos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992. In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine. Her concerts are notable for their changing set lists from night to night.\n\nLittle Earthquakes Tour\n Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland. She performed solo with a Yamaha CP-70 unless the venue was able to provide a piano. The tour included 142 concerts around the globe.\n\nUnder the Pink Tour\n Amos's second world tour began on February 24, 1994 in Newcastle upon Tyne and ended on December 13, 1994 in Perth, Western Australia. Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \"Bells for Her\". The tour included 181 concerts.\n\nDew Drop Inn Tour\n The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder. Amos performed each night on piano, harpsichord, and harmonium, with Steve Caton on guitar on some songs. The tour included 187 concerts.\n\nPlugged '98 Tour\n Amos's first band tour. Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass. The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts.\n\n5 ½ Weeks Tour / To Dallas and Back\n Amos's fifth tour was North America–only. The first part of the tour was co-headlining with Alanis Morissette and featured the same band and equipment line-up as in 1998. Amos and the band continued for eight shows before Amos embarked on a series of solo shows. The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts.\n\nStrange Little Tour\n This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996). It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented. Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months. It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts.\n\nOn Scarlet's Walk / Lottapianos Tour\n Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton. The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening. The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts. The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album).\n\nOriginal Sinsuality Tour / Summer of Sin\n This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes. The tour also encompassed Australia for the first time since 1994. Amos announced at a concert on this tour that she would never stop touring but would scale down the tours. Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles. The tour featured \"Tori's Piano Bar\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show. One of the songs chosen was the Kylie Minogue hit \"Can't Get You Out of My Head\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public. Other songs performed by Amos include The Doors' \"People are Strange\", Depeche Mode's \"Personal Jesus\", Joni Mitchell's \"The Circle Game\", Madonna's \"Live to Tell\" and \"Like a Prayer\", Björk's \"Hyperballad\", Led Zeppelin's \"When the Levee Breaks\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \"And Dream of Sheep\" and Crowded House's \"Don't Dream It's Over\", dedicating it to drummer Paul Hester who had died a week before. The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs.\n\nAmerican Doll Posse World Tour\n This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band. Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards. The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles. Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show. The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series.\n\nSinful Attraction Tour\n For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard. The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009. A solo leg through Australia began in Melbourne on November 12, 2009 and ended in Brisbane on November 24, 2009. The entire tour featured 63 concerts.\n\nNight of Hunters tour\n Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa. It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas.\n\nGold Dust Orchestral Tour\n Amos began her 2012 tour in Rotterdam on October 1.\n\nUnrepentant Geraldines Tour\n Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts.\n\nNative Invader Tour\n Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October.\n\nOcean to Ocean Tour\n Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland.\n\nAwards and nominations \n{| class=\"wikitable sortable plainrowheaders\"\n|-\n! scope=\"col\" | Award\n! scope=\"col\" | Year\n! scope=\"col\" | Nominee(s)\n! scope=\"col\" | Category\n! scope=\"col\" | Result\n! scope=\"col\" class=\"unsortable\"| \n|-\n! scope=\"row\" rowspan=3|Brit Awards\n| rowspan=2|1993\n| rowspan=3|Herself\n| International Breakthrough Act\n| \n| rowspan=2|\n|-\n| International Solo Artist\n| \n|-\n| 1995\n| International Female Solo Artist\n| \n|\n|-\n! scope=\"row\"|Critics' Choice Documentary Awards\n| 2016\n| \"Flicker\"\n| Best Song in a Documentary\n| \n| \n|-\n!scope=\"row\"|ECHO Awards\n| 1995\n| Herself\n| Best International Female\n| \n|\n|-\n! scope=\"row\"|ECHO Klassik Awards\n| rowspan=1|2012\n| Night of Hunters\n| The Klassik-ohne-Grenzen Prize\n| \n|\n|-\n! scope=\"row\" rowspan=4|GAFFA Awards\n| 2000\n| rowspan=3|Herself\n| rowspan=2|Best Foreign Female Act\n| \n| rowspan=2|\n|-\n| 2003\n| \n|-\n| rowspan=2|2022\n| Best Foreign Solo Act\n| \n| \n|-\n| Ocean to Ocean\n| Best Foreign Album\n| \n|-\n! scope=\"row\"|George Peabody Medal\n| 2019\n| Herself\n| Outstanding Contributions to Music \n| \n|\n|-\n! scope=\"row\"|Glamour Awards\n| 1998\n| Herself\n| Woman of the Year\n| \n|\n|-\n! scope=\"row\" rowspan=8|Grammy Awards\n| 1995\n| Under the Pink\n| rowspan=3|Best Alternative Music Album\n| \n| rowspan=8|\n|-\n| 1997\n| Boys for Pele\n| \n|-\n| rowspan=2|1999\n| From the Choirgirl Hotel\n| \n|-\n| \"Raspberry Swirl\"\n| rowspan=2|Best Female Rock Vocal Performance\n| \n|-\n| rowspan=2|2000\n| \"Bliss\"\n| \n|-\n| To Venus and Back\n| rowspan=2|Best Alternative Music Album\n| \n|-\n| rowspan=2|2002\n| Strange Little Girls\n| \n|-\n| \"Strange Little Girl\"\n| Best Female Rock Vocal Performance\n| \n|-\n! scope=\"row\"|Hollywood Music in Media Awards\n| 2016\n| \"Flicker\"\n| Best Original Song in a Documentary\n| \n|\n|-\n! scope=\"row\"|Hungarian Music Awards\n| 2010\n| Abnormally Attracted to Sin\n| Best Foreign Alternative Album\n| \n| \n|-\n! scope=\"row\"|MTV Europe Music Awards\n| 1994\n| Herself\n| Best Female\n| \n|\n|-\n! scope=\"row\" rowspan=4|MTV Video Music Awards\n| rowspan=4|1992\n| rowspan=4|\"Silent All These Years\"\n| Best Female Video\n| \n|rowspan=4|\n|-\n| Best New Artist in a Video\n| \n|-\n| Breakthrough Video\n| \n|-\n| Best Cinematography in a Video\n| \n|-\n! scope=\"row\"|NME Awards\n| 2016\n| Under the Pink\n| Best Reissue\n| \n|\n|-\n! scope=\"row\"|North Carolina Music Hall of Fame\n| 2012\n| Herself\n| Inducted\n| \n|\n|-\n!scope=\"row\" rowspan=5|Pollstar Concert Industry Awards\n| rowspan=2|1993\n| rowspan=2|Little Earthquakes Tour\n| Best New Rock Artist\n| \n| rowspan=2|\n|-\n| Club Tour Of The Year\n| \n|-\n| 1995\n| Under the Pink Tour\n| rowspan=3|Small Hall Tour Of The Year\n| \n| \n|-\n| 1997\n| Dew Drop Inn Tour\n| \n| \n|-\n| 1999\n| 5 ½ Weeks Tour\n| \n| \n|-\n! scope=\"row\"|Q Awards\n| 1992\n| Herself\n| Best New Act\n| \n|\n|-\n! scope=\"row\" rowspan=2|WhatsOnStage Awards\n| rowspan=2|2014\n| rowspan=2|The Light Princess\n| Best New Musical\n| \n| rowspan=2|\n|-\n| Best London Newcomer of the Year\n| \n|-\n!scope=\"row\"|Žebřík Music Awards\n| 2001\n| Herself\n| Best International Female\n| \n| \n\n1999: Spin Readers' Poll Awards (Won)\n\nOn May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony. Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel.\n\nFilm appearances\nTori appears as a wedding singer in the film Mona Lisa Smile.\n\nReferences\n\nCitations\n\nWorks cited\n\nExternal links\n\n \n \n \n\n \n1963 births\n20th-century American composers\n20th-century American keyboardists\n20th-century American women pianists\n20th-century American pianists\n20th-century American women singers\n21st-century American keyboardists\n21st-century American women pianists\n21st-century American pianists\n21st-century American women singers\nAlternative rock keyboardists\nAlternative rock pianists\nAlternative rock singers\nAmerican alternative rock musicians\nAmerican expatriates in the Republic of Ireland\nAmerican expatriates in the United Kingdom\nAmerican women composers\nAmerican women singer-songwriters\nAmerican feminist writers\nAmerican harpsichordists\nAmerican mezzo-sopranos\nAmerican organists\nAmerican people who self-identify as being of Native American descent\nAmerican pop pianists\nAmerican rock pianists\nAmerican women rock singers\nAmerican rock songwriters\nArticles containing video clips\nArt rock musicians\nAtlantic Records artists\nChild classical musicians\nClavichordists\nDeutsche Grammophon artists\nElectronica musicians\nEpic Records artists\nFeminist musicians\nHarmonium players\nIsland Records artists\nLiving people\nMontgomery College alumni\nMusicians from Baltimore\nMusicians from County Cork\nMusicians from Rockville, Maryland\nPeople from Georgetown (Washington, D.C.)\nPeople from Newton, North Carolina\nPeople from Sewall's Point, Florida\nRepublic Records artists\nSexual abuse victim advocates\nSinger-songwriters from Maryland\nSinger-songwriters from North Carolina\nWomen organists\n20th-century women composers\nAmerican women in electronic music\n20th-century American singers\n21st-century American singers\nSinger-songwriters from Washington, D.C."},"extractive":{"kind":"string","value":"true"},"retrieved_contexts":{"kind":"list like","value":["Hélène Casimir-Perier (1854–1912) was the wife of Jean Casimir-Perier, who was the President of France from 1894 to 1895.\n\nBiography\nHélène Perier-Vitet was born in Grosley-sur-Risle in Eure. She married Jean Casimir-Perier, a distant cousin, on 17 April 1873. He was the grandson of Casimir Pierre Périer, president of the Council of Ministers under Louis Philippe I. Her influence on him was strong; she was the driving force behind his run for the presidency.\n\nWife of the President of the Republic\nThe presidential couple, Jean and Hélène, and their two children Claude and Germaine, moved into the Élysée Palace from the family home, Château de Vizille, on 27 June 1894. Jean Casimir-Perier resigned just seven months after coming to power, giving him the shortest presidency in the history of the French Republic. His wife did not welcome the news of his resignation. She told him, \"If you had consulted me, I would have prevented you from such foolishness!\" () to which he responded, \"That's why I did not tell you.\" ()\n\nReferences\n\n1854 births\n1912 deaths\nSpouses of French presidents\nSpouses of prime ministers of France","Just Take My Heart is a romantic suspense novel by Mary Higgins Clark and her daughter, Carol. It was released in print and Audio CD on April 7, 2009.\n\nCritical reception\nTerri Schlichenmeyer of the Savannah Morning News said that the \"'bad guy' is one of the creepiest, most unsettling killers I've seen in a long time.\"\n\nReferences\n\nNovels by Mary Higgins Clark\nAmerican thriller novels\nAmerican romance novels\n\n2009 American novels\nSimon & Schuster books"],"string":"[\n \"Hélène Casimir-Perier (1854–1912) was the wife of Jean Casimir-Perier, who was the President of France from 1894 to 1895.\\n\\nBiography\\nHélène Perier-Vitet was born in Grosley-sur-Risle in Eure. She married Jean Casimir-Perier, a distant cousin, on 17 April 1873. He was the grandson of Casimir Pierre Périer, president of the Council of Ministers under Louis Philippe I. Her influence on him was strong; she was the driving force behind his run for the presidency.\\n\\nWife of the President of the Republic\\nThe presidential couple, Jean and Hélène, and their two children Claude and Germaine, moved into the Élysée Palace from the family home, Château de Vizille, on 27 June 1894. Jean Casimir-Perier resigned just seven months after coming to power, giving him the shortest presidency in the history of the French Republic. His wife did not welcome the news of his resignation. She told him, \\\"If you had consulted me, I would have prevented you from such foolishness!\\\" () to which he responded, \\\"That's why I did not tell you.\\\" ()\\n\\nReferences\\n\\n1854 births\\n1912 deaths\\nSpouses of French presidents\\nSpouses of prime ministers of France\",\n \"Just Take My Heart is a romantic suspense novel by Mary Higgins Clark and her daughter, Carol. It was released in print and Audio CD on April 7, 2009.\\n\\nCritical reception\\nTerri Schlichenmeyer of the Savannah Morning News said that the \\\"'bad guy' is one of the creepiest, most unsettling killers I've seen in a long time.\\\"\\n\\nReferences\\n\\nNovels by Mary Higgins Clark\\nAmerican thriller novels\\nAmerican romance novels\\n\\n2009 American novels\\nSimon & Schuster books\"\n]"},"chunked_article":{"kind":"list like","value":["Tori Amos (born Myra Ellen Amos; August 22, 1963) is an American singer-songwriter and pianist. She is a classically trained musician with a mezzo-soprano vocal range.","She is a classically trained musician with a mezzo-soprano vocal range. Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted.","Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted. She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \"musical insubordination\".","She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \"musical insubordination\". Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s.","Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s. Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion.","Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion. Her charting singles include \"Crucify\", \"Silent All These Years\", \"God\", \"Cornflake Girl\", \"Caught a Lite Sneeze\", \"Professional Widow\", \"Spark\", \"1000 Oceans\", \"Flavor\" and \"A Sorta Fairytale\", her most commercially successful single in the U.S. to date.","Her charting singles include \"Crucify\", \"Silent All These Years\", \"God\", \"Cornflake Girl\", \"Caught a Lite Sneeze\", \"Professional Widow\", \"Spark\", \"1000 Oceans\", \"Flavor\" and \"A Sorta Fairytale\", her most commercially successful single in the U.S. to date. Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album.","Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album. She is listed on VH1's 1999 \"100 Greatest Women of Rock and Roll\" at number 71.","She is listed on VH1's 1999 \"100 Greatest Women of Rock and Roll\" at number 71. Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos.","Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos. She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity.","She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity. When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C.","When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C. Her older brother and sister took piano lessons, but Tori did not need them.","Her older brother and sister took piano lessons, but Tori did not need them. From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs.","From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs. She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music.","She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music. She studied classical piano at Peabody from 1968 to 1974.","She studied classical piano at Peabody from 1968 to 1974. In 1974, when she was eleven, her scholarship was discontinued, and she was asked to leave. Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music.","Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music. In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church.","In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church. At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father.","At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father. Amos won a county teen talent contest in 1977, singing a song called \"More Than Just a Friend\".","Amos won a county teen talent contest in 1977, singing a song called \"More Than Just a Friend\". As a senior at Richard Montgomery High School, she co-wrote \"Baltimore\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles.","As a senior at Richard Montgomery High School, she co-wrote \"Baltimore\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles. The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \"Walking With You\".","The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \"Walking With You\". Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast.","Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast. Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers.","Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers. Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released.","Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released. Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her.","Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her. In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area.","In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area. In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading.","In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading. In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber.","In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber. The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time.","The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time. Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released.","Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released. Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \"The only good thing about that album is my ankle high boots.\"","Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \"The only good thing about that album is my ankle high boots.\" Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist.","Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist. She also recorded a song called \"Distant Storm\" for the film China O'Brien.","She also recorded a song called \"Distant Storm\" for the film China O'Brien. In the credits, the song is attributed to a band called Tess Makes Good.","In the credits, the song is attributed to a band called Tess Makes Good. 1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990.","1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990. The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented.","The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented. The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault.","The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault. This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15.","This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15. Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \"Silent All These Years\".","Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \"Silent All These Years\". Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink.","Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink. The album was received with mostly favorable reviews and sold enough copies to chart at No. 12 on the Billboard 200, a significantly higher position than the preceding album's position at No.","12 on the Billboard 200, a significantly higher position than the preceding album's position at No. 54 on the same chart. However, the album found its biggest success in the UK, debuting at number one upon release in February 1994.","However, the album found its biggest success in the UK, debuting at number one upon release in February 1994. 1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996.","1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996. Prior to its release, the first single, \"Caught a Lite Sneeze\" became the first full song released for streaming online prior to an album's release.","Prior to its release, the first single, \"Caught a Lite Sneeze\" became the first full song released for streaming online prior to an album's release. The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics.","The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics. For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano.","For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano. The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability.","The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability. Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No.","Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No. 2 on the UK Top 40 and No. 2 on the Billboard 200 upon its release.","2 on the Billboard 200 upon its release. Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios.","Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios. From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums.","From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums. Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes.","Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes. The underlying themes of both albums deal with womanhood and Amos's own miscarriages and marriage. Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality.","Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality. Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week.","Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week. To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download.","To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download. 2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective.","2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective. That became Strange Little Girls, released in September 2001.","That became Strange Little Girls, released in September 2001. The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song.","The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song. Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label.","Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label. With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001.","With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11.","Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny.","Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA.","Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA. Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003.","Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group.","Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline.","Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline. 2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007).","2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment.","The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics.","Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No.","The album debuted at No. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts.","5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it.","While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's.","American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No.","Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200.","5 on the Billboard 200. 5 on the Billboard 200. During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records.","During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records. 2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work.","2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work. In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes.","In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes. By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \"joint venture\" deal with Universal Republic Records.","By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \"joint venture\" deal with Universal Republic Records. Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews.","Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews. The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so.","The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so. Abnormally Attracted to Sin, admitted Amos, is a \"personal album\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin.","Abnormally Attracted to Sin, admitted Amos, is a \"personal album\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin. Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year.","Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year. The album features reworked versions of traditional carols, as well as original songs written by Amos.","The album features reworked versions of traditional carols, as well as original songs written by Amos. During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010.","During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010. In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble.","In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble. After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010.","After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010. The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow.","The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow. The set was released exclusively through her website and only 2000 copies were produced.","The set was released exclusively through her website and only 2000 copies were produced. 2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group.","2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group. Amos recorded the album with several musicians, including the Apollon Musagète string quartet.","Amos recorded the album with several musicians, including the Apollon Musagète string quartet. To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra.","To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra. The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon.","The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon. On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists.","On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists. In 2013, Amos collaborated with the Bullitts on the track \"Wait Until Tomorrow\" from their debut album, They Die by Dawn & Other Short Stories.","In 2013, Amos collaborated with the Bullitts on the track \"Wait Until Tomorrow\" from their debut album, They Die by Dawn & Other Short Stories. She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \"return to contemporary music\".","She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \"return to contemporary music\". September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott.","September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott. It premiered at London's Royal National Theatre and ended in February 2014.","It premiered at London's Royal National Theatre and ended in February 2014. The Light Princess and its lead actress, Rosalie Craig, were nominated for Best Musical and Best Musical Performance respectively at the Evening Standard Award. Craig won the Best Musical Performance category.","Craig won the Best Musical Performance category. Amos's 14th studio album, Unrepentant Geraldines, was released on May 13, 2014, via Mercury Classics/Universal Music Classics in the US. Its first single, \"Trouble's Lament\", was released on March 28.","Its first single, \"Trouble's Lament\", was released on March 28. The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014.","The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014. In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House.","In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House. According to a press release, Unrepentant Geraldines was a \"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years.","According to a press release, Unrepentant Geraldines was a \"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years. [It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\"","[It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\" The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics.","The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics. Apart from the original cast performances, the recording also includes two songs from the musical (\"Highness in the Sky\" and \"Darkest Hour') performed by Amos.","Apart from the original cast performances, the recording also includes two songs from the musical (\"Highness in the Sky\" and \"Darkest Hour') performed by Amos. 2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release.","2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release. This follows the deluxe re-releases of her first two albums in 2015.","This follows the deluxe re-releases of her first two albums in 2015. On September 8, 2017, Amos released Native Invader, accompanied by a world tour.","On September 8, 2017, Amos released Native Invader, accompanied by a world tour. During the summer of 2017, Amos launched three songs from the album: \"Cloud Riders\", \"Up the Creek\" and \"Reindeer King\", the latter featuring string arrangements by John Philip Shenale.","During the summer of 2017, Amos launched three songs from the album: \"Cloud Riders\", \"Up the Creek\" and \"Reindeer King\", the latter featuring string arrangements by John Philip Shenale. Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations.","Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations. The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak.","The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak. Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader.","Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader. The album, released on September 8, 2017, has been presented in two formats: standard and deluxe.","The album, released on September 8, 2017, has been presented in two formats: standard and deluxe. The standard version includes 13 songs, while the deluxe edition adds two extra songs to the tracklist: \"Upside Down 2\" and \"Russia\". Native Invader has been well received by most music critics upon release.","Native Invader has been well received by most music critics upon release. The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \"generally favorable reviews\".","The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \"generally favorable reviews\". On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl.","On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl. The EP consists of four original songs and features her first work with bandmates Matt Chamberlain and Jon Evans since 2009. Amos recorded the EP remotely due to the impact of the COVID-19 pandemic.","Amos recorded the EP remotely due to the impact of the COVID-19 pandemic. On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29.","On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29. The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \"a universal story of going to rock bottom and renewing yourself all over again\".","The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \"a universal story of going to rock bottom and renewing yourself all over again\". Amos will embark on a European tour in support of the album in 2022.","Amos will embark on a European tour in support of the album in 2022. Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces.","Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces. In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005).","In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005). The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records.","The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records. Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos.","Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos. Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore.","Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore. Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996).","Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996). Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process.","Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process. Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020.","Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020. Personal life Amos married English sound engineer Mark Hawley on February 22, 1998. Their daughter was born in 2000.","Their daughter was born in 2000. The family divides their time between Sewall's Point in Florida, US, and Bude, Cornwall in the UK. Amos' mother, Mary Ellen, died on May 11, 2019.","Amos' mother, Mary Ellen, died on May 11, 2019. Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \"Tear in Your Hand\" and also in print interviews.","Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \"Tear in Your Hand\" and also in print interviews. Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \"steal shamelessly from each other\".","Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \"steal shamelessly from each other\". She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo.","She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo. Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009.","Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009. In 2019, Amos performed the British standard \"A Nightingale Sang in Berkeley Square\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett.","In 2019, Amos performed the British standard \"A Nightingale Sang in Berkeley Square\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett. Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded.","Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded. Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline.","Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline. She was the first national spokesperson for the organization and has continued to be closely associated with RAINN.","She was the first national spokesperson for the organization and has continued to be closely associated with RAINN. On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN.","On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN. On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA.","On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA. Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992.","Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992. In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine.","In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine. Her concerts are notable for their changing set lists from night to night. Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland.","Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland. She performed solo with a Yamaha CP-70 unless the venue was able to provide a piano. The tour included 142 concerts around the globe.","The tour included 142 concerts around the globe. Under the Pink Tour Amos's second world tour began on February 24, 1994 in Newcastle upon Tyne and ended on December 13, 1994 in Perth, Western Australia. Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \"Bells for Her\".","Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \"Bells for Her\". The tour included 181 concerts. Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder.","Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder. Amos performed each night on piano, harpsichord, and harmonium, with Steve Caton on guitar on some songs. The tour included 187 concerts.","The tour included 187 concerts. The tour included 187 concerts. Plugged '98 Tour Amos's first band tour. Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass.","Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass. The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts.","The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts. 5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only.","5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only. The first part of the tour was co-headlining with Alanis Morissette and featured the same band and equipment line-up as in 1998. Amos and the band continued for eight shows before Amos embarked on a series of solo shows.","Amos and the band continued for eight shows before Amos embarked on a series of solo shows. The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts.","The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts. Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996).","Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996). It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented.","It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented. Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months.","Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months. It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts.","It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts. On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton.","On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton. The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening.","The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening. The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts.","The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts. The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album).","The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album). Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes.","Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes. The tour also encompassed Australia for the first time since 1994.","The tour also encompassed Australia for the first time since 1994. Amos announced at a concert on this tour that she would never stop touring but would scale down the tours. Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles.","Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles. The tour featured \"Tori's Piano Bar\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show.","The tour featured \"Tori's Piano Bar\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show. One of the songs chosen was the Kylie Minogue hit \"Can't Get You Out of My Head\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public.","One of the songs chosen was the Kylie Minogue hit \"Can't Get You Out of My Head\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public. Other songs performed by Amos include The Doors' \"People are Strange\", Depeche Mode's \"Personal Jesus\", Joni Mitchell's \"The Circle Game\", Madonna's \"Live to Tell\" and \"Like a Prayer\", Björk's \"Hyperballad\", Led Zeppelin's \"When the Levee Breaks\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \"And Dream of Sheep\" and Crowded House's \"Don't Dream It's Over\", dedicating it to drummer Paul Hester who had died a week before.","Other songs performed by Amos include The Doors' \"People are Strange\", Depeche Mode's \"Personal Jesus\", Joni Mitchell's \"The Circle Game\", Madonna's \"Live to Tell\" and \"Like a Prayer\", Björk's \"Hyperballad\", Led Zeppelin's \"When the Levee Breaks\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \"And Dream of Sheep\" and Crowded House's \"Don't Dream It's Over\", dedicating it to drummer Paul Hester who had died a week before. The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs.","The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs. American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band.","American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band. Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards.","Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards. The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles.","The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles. Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show.","Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show. The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series.","The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series. Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard.","Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard. The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009.","The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009. A solo leg through Australia began in Melbourne on November 12, 2009 and ended in Brisbane on November 24, 2009. The entire tour featured 63 concerts.","The entire tour featured 63 concerts. Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa.","Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa. It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas.","It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas. Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1.","Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1. Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts.","Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts. Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October.","Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October. Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland.","Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland. Awards and nominations {| class=\"wikitable sortable plainrowheaders\" |- ! scope=\"col\" | Award !","scope=\"col\" | Award ! scope=\"col\" | Year ! scope=\"col\" | Nominee(s) ! scope=\"col\" | Category ! scope=\"col\" | Result ! scope=\"col\" class=\"unsortable\"| |- !","scope=\"col\" class=\"unsortable\"| |- ! scope=\"row\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- !","scope=\"row\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- ! scope=\"row\"|Critics' Choice Documentary Awards | 2016 | \"Flicker\" | Best Song in a Documentary | | |- !scope=\"row\"|ECHO Awards | 1995 | Herself | Best International Female | | |- !","scope=\"row\"|Critics' Choice Documentary Awards | 2016 | \"Flicker\" | Best Song in a Documentary | | |- !scope=\"row\"|ECHO Awards | 1995 | Herself | Best International Female | | |- ! scope=\"row\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- !","scope=\"row\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- ! scope=\"row\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- !","scope=\"row\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- ! scope=\"row\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- !","scope=\"row\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- ! scope=\"row\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- !","scope=\"row\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- ! scope=\"row\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \"Raspberry Swirl\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \"Bliss\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \"Strange Little Girl\" | Best Female Rock Vocal Performance | |- !","scope=\"row\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \"Raspberry Swirl\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \"Bliss\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \"Strange Little Girl\" | Best Female Rock Vocal Performance | |- ! scope=\"row\"|Hollywood Music in Media Awards | 2016 | \"Flicker\" | Best Original Song in a Documentary | | |- !","scope=\"row\"|Hollywood Music in Media Awards | 2016 | \"Flicker\" | Best Original Song in a Documentary | | |- ! scope=\"row\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- !","scope=\"row\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- ! scope=\"row\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- !","scope=\"row\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- ! scope=\"row\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\"Silent All These Years\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- !","scope=\"row\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\"Silent All These Years\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- ! scope=\"row\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- !","scope=\"row\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- ! scope=\"row\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\"row\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- !","scope=\"row\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\"row\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- ! scope=\"row\"|Q Awards | 1992 | Herself | Best New Act | | |- !","scope=\"row\"|Q Awards | 1992 | Herself | Best New Act | | |- ! scope=\"row\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\"row\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony.","scope=\"row\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\"row\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony. Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel.","Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel. Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile.","Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile. References Citations Works cited External links 1963 births 20th-century American composers 20th-century American keyboardists 20th-century American women pianists 20th-century American pianists 20th-century American women singers 21st-century American keyboardists 21st-century American women pianists 21st-century American pianists 21st-century American women singers Alternative rock keyboardists Alternative rock pianists Alternative rock singers American alternative rock musicians American expatriates in the Republic of Ireland American expatriates in the United Kingdom American women composers American women singer-songwriters American feminist writers American harpsichordists American mezzo-sopranos American organists American people who self-identify as being of Native American descent American pop pianists American rock pianists American women rock singers American rock songwriters Articles containing video clips Art rock musicians Atlantic Records artists Child classical musicians Clavichordists Deutsche Grammophon artists Electronica musicians Epic Records artists Feminist musicians Harmonium players Island Records artists Living people Montgomery College alumni Musicians from Baltimore Musicians from County Cork Musicians from Rockville, Maryland People from Georgetown (Washington, D.C.) People from Newton, North Carolina People from Sewall's Point, Florida Republic Records artists Sexual abuse victim advocates Singer-songwriters from Maryland Singer-songwriters from North Carolina Women organists 20th-century women composers American women in electronic music 20th-century American singers 21st-century American singers Singer-songwriters from Washington, D.C."],"string":"[\n \"Tori Amos (born Myra Ellen Amos; August 22, 1963) is an American singer-songwriter and pianist. She is a classically trained musician with a mezzo-soprano vocal range.\",\n \"She is a classically trained musician with a mezzo-soprano vocal range. Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted.\",\n \"Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted. She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \\\"musical insubordination\\\".\",\n \"She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \\\"musical insubordination\\\". Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s.\",\n \"Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s. Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion.\",\n \"Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion. Her charting singles include \\\"Crucify\\\", \\\"Silent All These Years\\\", \\\"God\\\", \\\"Cornflake Girl\\\", \\\"Caught a Lite Sneeze\\\", \\\"Professional Widow\\\", \\\"Spark\\\", \\\"1000 Oceans\\\", \\\"Flavor\\\" and \\\"A Sorta Fairytale\\\", her most commercially successful single in the U.S. to date.\",\n \"Her charting singles include \\\"Crucify\\\", \\\"Silent All These Years\\\", \\\"God\\\", \\\"Cornflake Girl\\\", \\\"Caught a Lite Sneeze\\\", \\\"Professional Widow\\\", \\\"Spark\\\", \\\"1000 Oceans\\\", \\\"Flavor\\\" and \\\"A Sorta Fairytale\\\", her most commercially successful single in the U.S. to date. Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album.\",\n \"Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album. She is listed on VH1's 1999 \\\"100 Greatest Women of Rock and Roll\\\" at number 71.\",\n \"She is listed on VH1's 1999 \\\"100 Greatest Women of Rock and Roll\\\" at number 71. Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos.\",\n \"Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos. She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity.\",\n \"She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity. When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C.\",\n \"When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C. Her older brother and sister took piano lessons, but Tori did not need them.\",\n \"Her older brother and sister took piano lessons, but Tori did not need them. From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs.\",\n \"From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs. She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music.\",\n \"She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music. She studied classical piano at Peabody from 1968 to 1974.\",\n \"She studied classical piano at Peabody from 1968 to 1974. In 1974, when she was eleven, her scholarship was discontinued, and she was asked to leave. Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music.\",\n \"Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music. In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church.\",\n \"In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church. At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father.\",\n \"At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father. Amos won a county teen talent contest in 1977, singing a song called \\\"More Than Just a Friend\\\".\",\n \"Amos won a county teen talent contest in 1977, singing a song called \\\"More Than Just a Friend\\\". As a senior at Richard Montgomery High School, she co-wrote \\\"Baltimore\\\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles.\",\n \"As a senior at Richard Montgomery High School, she co-wrote \\\"Baltimore\\\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles. The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \\\"Walking With You\\\".\",\n \"The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \\\"Walking With You\\\". Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast.\",\n \"Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast. Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers.\",\n \"Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers. Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released.\",\n \"Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released. Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her.\",\n \"Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her. In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area.\",\n \"In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area. In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading.\",\n \"In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading. In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber.\",\n \"In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber. The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time.\",\n \"The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time. Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released.\",\n \"Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released. Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \\\"The only good thing about that album is my ankle high boots.\\\"\",\n \"Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \\\"The only good thing about that album is my ankle high boots.\\\" Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist.\",\n \"Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist. She also recorded a song called \\\"Distant Storm\\\" for the film China O'Brien.\",\n \"She also recorded a song called \\\"Distant Storm\\\" for the film China O'Brien. In the credits, the song is attributed to a band called Tess Makes Good.\",\n \"In the credits, the song is attributed to a band called Tess Makes Good. 1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990.\",\n \"1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990. The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented.\",\n \"The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented. The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault.\",\n \"The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault. This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15.\",\n \"This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15. Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \\\"Silent All These Years\\\".\",\n \"Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \\\"Silent All These Years\\\". Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink.\",\n \"Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink. The album was received with mostly favorable reviews and sold enough copies to chart at No. 12 on the Billboard 200, a significantly higher position than the preceding album's position at No.\",\n \"12 on the Billboard 200, a significantly higher position than the preceding album's position at No. 54 on the same chart. However, the album found its biggest success in the UK, debuting at number one upon release in February 1994.\",\n \"However, the album found its biggest success in the UK, debuting at number one upon release in February 1994. 1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996.\",\n \"1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996. Prior to its release, the first single, \\\"Caught a Lite Sneeze\\\" became the first full song released for streaming online prior to an album's release.\",\n \"Prior to its release, the first single, \\\"Caught a Lite Sneeze\\\" became the first full song released for streaming online prior to an album's release. The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics.\",\n \"The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics. For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano.\",\n \"For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano. The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability.\",\n \"The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability. Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No.\",\n \"Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No. 2 on the UK Top 40 and No. 2 on the Billboard 200 upon its release.\",\n \"2 on the Billboard 200 upon its release. Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios.\",\n \"Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios. From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums.\",\n \"From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums. Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes.\",\n \"Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes. The underlying themes of both albums deal with womanhood and Amos's own miscarriages and marriage. Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality.\",\n \"Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality. Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week.\",\n \"Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week. To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download.\",\n \"To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download. 2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective.\",\n \"2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective. That became Strange Little Girls, released in September 2001.\",\n \"That became Strange Little Girls, released in September 2001. The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song.\",\n \"The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song. Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label.\",\n \"Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label. With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001.\",\n \"With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a \\\"sonic novel\\\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11.\",\n \"Described as a \\\"sonic novel\\\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny.\",\n \"Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA.\",\n \"Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA. Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003.\",\n \"Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group.\",\n \"Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline.\",\n \"Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline. 2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007).\",\n \"2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment.\",\n \"The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics.\",\n \"Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No.\",\n \"The album debuted at No. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts.\",\n \"5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it.\",\n \"While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the \\\"posse\\\") who are used as a theme of alter-egos of Amos's.\",\n \"American Doll Posse, another concept album, is fashioned around a group of girls (the \\\"posse\\\") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No.\",\n \"Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200.\",\n \"5 on the Billboard 200. 5 on the Billboard 200. During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records.\",\n \"During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records. 2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work.\",\n \"2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work. In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes.\",\n \"In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes. By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \\\"joint venture\\\" deal with Universal Republic Records.\",\n \"By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \\\"joint venture\\\" deal with Universal Republic Records. Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews.\",\n \"Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews. The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so.\",\n \"The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so. Abnormally Attracted to Sin, admitted Amos, is a \\\"personal album\\\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin.\",\n \"Abnormally Attracted to Sin, admitted Amos, is a \\\"personal album\\\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin. Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year.\",\n \"Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year. The album features reworked versions of traditional carols, as well as original songs written by Amos.\",\n \"The album features reworked versions of traditional carols, as well as original songs written by Amos. During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010.\",\n \"During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010. In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble.\",\n \"In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble. After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010.\",\n \"After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010. The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow.\",\n \"The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow. The set was released exclusively through her website and only 2000 copies were produced.\",\n \"The set was released exclusively through her website and only 2000 copies were produced. 2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group.\",\n \"2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group. Amos recorded the album with several musicians, including the Apollon Musagète string quartet.\",\n \"Amos recorded the album with several musicians, including the Apollon Musagète string quartet. To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra.\",\n \"To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra. The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon.\",\n \"The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon. On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists.\",\n \"On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists. In 2013, Amos collaborated with the Bullitts on the track \\\"Wait Until Tomorrow\\\" from their debut album, They Die by Dawn & Other Short Stories.\",\n \"In 2013, Amos collaborated with the Bullitts on the track \\\"Wait Until Tomorrow\\\" from their debut album, They Die by Dawn & Other Short Stories. She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \\\"return to contemporary music\\\".\",\n \"She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \\\"return to contemporary music\\\". September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott.\",\n \"September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott. It premiered at London's Royal National Theatre and ended in February 2014.\",\n \"It premiered at London's Royal National Theatre and ended in February 2014. The Light Princess and its lead actress, Rosalie Craig, were nominated for Best Musical and Best Musical Performance respectively at the Evening Standard Award. Craig won the Best Musical Performance category.\",\n \"Craig won the Best Musical Performance category. Amos's 14th studio album, Unrepentant Geraldines, was released on May 13, 2014, via Mercury Classics/Universal Music Classics in the US. Its first single, \\\"Trouble's Lament\\\", was released on March 28.\",\n \"Its first single, \\\"Trouble's Lament\\\", was released on March 28. The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014.\",\n \"The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014. In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House.\",\n \"In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House. According to a press release, Unrepentant Geraldines was a \\\"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years.\",\n \"According to a press release, Unrepentant Geraldines was a \\\"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years. [It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\\\"\",\n \"[It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\\\" The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics.\",\n \"The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics. Apart from the original cast performances, the recording also includes two songs from the musical (\\\"Highness in the Sky\\\" and \\\"Darkest Hour') performed by Amos.\",\n \"Apart from the original cast performances, the recording also includes two songs from the musical (\\\"Highness in the Sky\\\" and \\\"Darkest Hour') performed by Amos. 2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release.\",\n \"2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release. This follows the deluxe re-releases of her first two albums in 2015.\",\n \"This follows the deluxe re-releases of her first two albums in 2015. On September 8, 2017, Amos released Native Invader, accompanied by a world tour.\",\n \"On September 8, 2017, Amos released Native Invader, accompanied by a world tour. During the summer of 2017, Amos launched three songs from the album: \\\"Cloud Riders\\\", \\\"Up the Creek\\\" and \\\"Reindeer King\\\", the latter featuring string arrangements by John Philip Shenale.\",\n \"During the summer of 2017, Amos launched three songs from the album: \\\"Cloud Riders\\\", \\\"Up the Creek\\\" and \\\"Reindeer King\\\", the latter featuring string arrangements by John Philip Shenale. Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations.\",\n \"Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations. The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak.\",\n \"The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak. Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader.\",\n \"Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader. The album, released on September 8, 2017, has been presented in two formats: standard and deluxe.\",\n \"The album, released on September 8, 2017, has been presented in two formats: standard and deluxe. The standard version includes 13 songs, while the deluxe edition adds two extra songs to the tracklist: \\\"Upside Down 2\\\" and \\\"Russia\\\". Native Invader has been well received by most music critics upon release.\",\n \"Native Invader has been well received by most music critics upon release. The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \\\"generally favorable reviews\\\".\",\n \"The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \\\"generally favorable reviews\\\". On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl.\",\n \"On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl. The EP consists of four original songs and features her first work with bandmates Matt Chamberlain and Jon Evans since 2009. Amos recorded the EP remotely due to the impact of the COVID-19 pandemic.\",\n \"Amos recorded the EP remotely due to the impact of the COVID-19 pandemic. On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29.\",\n \"On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29. The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \\\"a universal story of going to rock bottom and renewing yourself all over again\\\".\",\n \"The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \\\"a universal story of going to rock bottom and renewing yourself all over again\\\". Amos will embark on a European tour in support of the album in 2022.\",\n \"Amos will embark on a European tour in support of the album in 2022. Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces.\",\n \"Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces. In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005).\",\n \"In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005). The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records.\",\n \"The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records. Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos.\",\n \"Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos. Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore.\",\n \"Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore. Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996).\",\n \"Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996). Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process.\",\n \"Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process. Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020.\",\n \"Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020. Personal life Amos married English sound engineer Mark Hawley on February 22, 1998. Their daughter was born in 2000.\",\n \"Their daughter was born in 2000. The family divides their time between Sewall's Point in Florida, US, and Bude, Cornwall in the UK. Amos' mother, Mary Ellen, died on May 11, 2019.\",\n \"Amos' mother, Mary Ellen, died on May 11, 2019. Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \\\"Tear in Your Hand\\\" and also in print interviews.\",\n \"Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \\\"Tear in Your Hand\\\" and also in print interviews. Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \\\"steal shamelessly from each other\\\".\",\n \"Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \\\"steal shamelessly from each other\\\". She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo.\",\n \"She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo. Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009.\",\n \"Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009. In 2019, Amos performed the British standard \\\"A Nightingale Sang in Berkeley Square\\\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett.\",\n \"In 2019, Amos performed the British standard \\\"A Nightingale Sang in Berkeley Square\\\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett. Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded.\",\n \"Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded. Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline.\",\n \"Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline. She was the first national spokesperson for the organization and has continued to be closely associated with RAINN.\",\n \"She was the first national spokesperson for the organization and has continued to be closely associated with RAINN. On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN.\",\n \"On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN. On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA.\",\n \"On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA. Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992.\",\n \"Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992. In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine.\",\n \"In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine. Her concerts are notable for their changing set lists from night to night. Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland.\",\n \"Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland. She performed solo with a Yamaha CP-70 unless the venue was able to provide a piano. The tour included 142 concerts around the globe.\",\n \"The tour included 142 concerts around the globe. Under the Pink Tour Amos's second world tour began on February 24, 1994 in Newcastle upon Tyne and ended on December 13, 1994 in Perth, Western Australia. Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \\\"Bells for Her\\\".\",\n \"Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \\\"Bells for Her\\\". The tour included 181 concerts. Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder.\",\n \"Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder. Amos performed each night on piano, harpsichord, and harmonium, with Steve Caton on guitar on some songs. The tour included 187 concerts.\",\n \"The tour included 187 concerts. The tour included 187 concerts. Plugged '98 Tour Amos's first band tour. Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass.\",\n \"Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass. The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts.\",\n \"The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts. 5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only.\",\n \"5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only. The first part of the tour was co-headlining with Alanis Morissette and featured the same band and equipment line-up as in 1998. Amos and the band continued for eight shows before Amos embarked on a series of solo shows.\",\n \"Amos and the band continued for eight shows before Amos embarked on a series of solo shows. The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts.\",\n \"The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts. Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996).\",\n \"Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996). It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented.\",\n \"It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented. Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months.\",\n \"Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months. It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts.\",\n \"It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts. On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton.\",\n \"On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton. The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening.\",\n \"The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening. The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts.\",\n \"The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts. The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album).\",\n \"The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album). Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes.\",\n \"Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes. The tour also encompassed Australia for the first time since 1994.\",\n \"The tour also encompassed Australia for the first time since 1994. Amos announced at a concert on this tour that she would never stop touring but would scale down the tours. Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles.\",\n \"Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles. The tour featured \\\"Tori's Piano Bar\\\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show.\",\n \"The tour featured \\\"Tori's Piano Bar\\\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show. One of the songs chosen was the Kylie Minogue hit \\\"Can't Get You Out of My Head\\\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public.\",\n \"One of the songs chosen was the Kylie Minogue hit \\\"Can't Get You Out of My Head\\\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public. Other songs performed by Amos include The Doors' \\\"People are Strange\\\", Depeche Mode's \\\"Personal Jesus\\\", Joni Mitchell's \\\"The Circle Game\\\", Madonna's \\\"Live to Tell\\\" and \\\"Like a Prayer\\\", Björk's \\\"Hyperballad\\\", Led Zeppelin's \\\"When the Levee Breaks\\\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \\\"And Dream of Sheep\\\" and Crowded House's \\\"Don't Dream It's Over\\\", dedicating it to drummer Paul Hester who had died a week before.\",\n \"Other songs performed by Amos include The Doors' \\\"People are Strange\\\", Depeche Mode's \\\"Personal Jesus\\\", Joni Mitchell's \\\"The Circle Game\\\", Madonna's \\\"Live to Tell\\\" and \\\"Like a Prayer\\\", Björk's \\\"Hyperballad\\\", Led Zeppelin's \\\"When the Levee Breaks\\\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \\\"And Dream of Sheep\\\" and Crowded House's \\\"Don't Dream It's Over\\\", dedicating it to drummer Paul Hester who had died a week before. The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs.\",\n \"The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs. American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band.\",\n \"American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band. Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards.\",\n \"Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards. The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles.\",\n \"The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles. Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show.\",\n \"Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show. The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series.\",\n \"The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series. Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard.\",\n \"Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard. The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009.\",\n \"The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009. A solo leg through Australia began in Melbourne on November 12, 2009 and ended in Brisbane on November 24, 2009. The entire tour featured 63 concerts.\",\n \"The entire tour featured 63 concerts. Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa.\",\n \"Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa. It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas.\",\n \"It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas. Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1.\",\n \"Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1. Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts.\",\n \"Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts. Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October.\",\n \"Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October. Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland.\",\n \"Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland. Awards and nominations {| class=\\\"wikitable sortable plainrowheaders\\\" |- ! scope=\\\"col\\\" | Award !\",\n \"scope=\\\"col\\\" | Award ! scope=\\\"col\\\" | Year ! scope=\\\"col\\\" | Nominee(s) ! scope=\\\"col\\\" | Category ! scope=\\\"col\\\" | Result ! scope=\\\"col\\\" class=\\\"unsortable\\\"| |- !\",\n \"scope=\\\"col\\\" class=\\\"unsortable\\\"| |- ! scope=\\\"row\\\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- !\",\n \"scope=\\\"row\\\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- ! scope=\\\"row\\\"|Critics' Choice Documentary Awards | 2016 | \\\"Flicker\\\" | Best Song in a Documentary | | |- !scope=\\\"row\\\"|ECHO Awards | 1995 | Herself | Best International Female | | |- !\",\n \"scope=\\\"row\\\"|Critics' Choice Documentary Awards | 2016 | \\\"Flicker\\\" | Best Song in a Documentary | | |- !scope=\\\"row\\\"|ECHO Awards | 1995 | Herself | Best International Female | | |- ! scope=\\\"row\\\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- !\",\n \"scope=\\\"row\\\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- ! scope=\\\"row\\\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- !\",\n \"scope=\\\"row\\\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- ! scope=\\\"row\\\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- !\",\n \"scope=\\\"row\\\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- ! scope=\\\"row\\\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- !\",\n \"scope=\\\"row\\\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- ! scope=\\\"row\\\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \\\"Raspberry Swirl\\\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \\\"Bliss\\\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \\\"Strange Little Girl\\\" | Best Female Rock Vocal Performance | |- !\",\n \"scope=\\\"row\\\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \\\"Raspberry Swirl\\\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \\\"Bliss\\\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \\\"Strange Little Girl\\\" | Best Female Rock Vocal Performance | |- ! scope=\\\"row\\\"|Hollywood Music in Media Awards | 2016 | \\\"Flicker\\\" | Best Original Song in a Documentary | | |- !\",\n \"scope=\\\"row\\\"|Hollywood Music in Media Awards | 2016 | \\\"Flicker\\\" | Best Original Song in a Documentary | | |- ! scope=\\\"row\\\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- !\",\n \"scope=\\\"row\\\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- ! scope=\\\"row\\\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- !\",\n \"scope=\\\"row\\\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- ! scope=\\\"row\\\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\\\"Silent All These Years\\\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- !\",\n \"scope=\\\"row\\\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\\\"Silent All These Years\\\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- ! scope=\\\"row\\\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- !\",\n \"scope=\\\"row\\\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- ! scope=\\\"row\\\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\\\"row\\\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- !\",\n \"scope=\\\"row\\\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\\\"row\\\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- ! scope=\\\"row\\\"|Q Awards | 1992 | Herself | Best New Act | | |- !\",\n \"scope=\\\"row\\\"|Q Awards | 1992 | Herself | Best New Act | | |- ! scope=\\\"row\\\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\\\"row\\\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony.\",\n \"scope=\\\"row\\\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\\\"row\\\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony. Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel.\",\n \"Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel. Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile.\",\n \"Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile. References Citations Works cited External links 1963 births 20th-century American composers 20th-century American keyboardists 20th-century American women pianists 20th-century American pianists 20th-century American women singers 21st-century American keyboardists 21st-century American women pianists 21st-century American pianists 21st-century American women singers Alternative rock keyboardists Alternative rock pianists Alternative rock singers American alternative rock musicians American expatriates in the Republic of Ireland American expatriates in the United Kingdom American women composers American women singer-songwriters American feminist writers American harpsichordists American mezzo-sopranos American organists American people who self-identify as being of Native American descent American pop pianists American rock pianists American women rock singers American rock songwriters Articles containing video clips Art rock musicians Atlantic Records artists Child classical musicians Clavichordists Deutsche Grammophon artists Electronica musicians Epic Records artists Feminist musicians Harmonium players Island Records artists Living people Montgomery College alumni Musicians from Baltimore Musicians from County Cork Musicians from Rockville, Maryland People from Georgetown (Washington, D.C.) People from Newton, North Carolina People from Sewall's Point, Florida Republic Records artists Sexual abuse victim advocates Singer-songwriters from Maryland Singer-songwriters from North Carolina Women organists 20th-century women composers American women in electronic music 20th-century American singers 21st-century American singers Singer-songwriters from Washington, D.C.\"\n]"}}},{"rowIdx":473,"cells":{"History":{"kind":"list like","value":["Four Tops","ABC Records and Casablanca Records"],"string":"[\n \"Four Tops\",\n \"ABC Records and Casablanca Records\"\n]"},"QuAC_dialog_id":{"kind":"string","value":"C_a9ee71dcf4f84b50b0677e63a645e03c_1"},"Question":{"kind":"string","value":"Did they move from ABC to Casablanca?"},"Question_no":{"kind":"number","value":1,"string":"1"},"Rewrite":{"kind":"string","value":"Did Four Tops move from ABC to Casablanca?"},"true_page_title":{"kind":"string","value":"Four Tops"},"true_contexts":{"kind":"string","value":"Motown as a company began to change during the early 1970s. Older acts such as Martha and the Vandellas and The Marvelettes were slowly moved aside or dropped to focus on newer acts, such as Michael Jackson and The Jackson 5, Rare Earth, and the now-solo Diana Ross. In addition, the company moved its operations from Detroit to Los Angeles, California, where Berry Gordy planned to break into the motion picture and television industries. In 1972, it was announced that the entire company would move west and that all its artists had to move as well. Many of the older Motown acts, already neglected by the label, opted to stay in Detroit, including The Funk Brothers studio backing band, Martha Reeves, and the Four Tops. The Tops departed Motown for ABC-Dunhill, where they were assigned to writer-producers Dennis Lambert and Brian Potter and the label's head of A&R, Steve Barri as producer, with The Tops' own Lawrence Payton later also serving as a producer and writer. He also took over lead vocal duties on several tracks. The group's first release on the label, \"Keeper of the Castle\" was their first pop Top 10 hit since \"Bernadette\" in 1967. Follow-ups included the million-selling \"Ain't No Woman (Like the One I've Got)\", also a top 10 pop hit and their third R&B number 1, and the Top 20 hit, \"Are You Man Enough\", (from the movie \"Shaft in Africa\"). \"Sweet Understanding Love\"; \"Midnight Flower\"; and \"One Chain Don't Make No Prison\" all reached the R&B Top 10 between 1972 and 1974. Two ABC/Dunhill singles, 1974's \"I Just Can't Get You Out of My Mind\" and 1975's \"Seven Lonely Nights\" have become popular tunes in the southeast Beach/Shag Club Dance circuit. After the release of \"Catfish\" (a top 10 R&B hit) in 1976, the major hits started to dry up and the Tops left ABC after an album recorded in Philadelphia with the MFSB musicians resulted in only minor chart success in 1978. The group disappeared from the recording scene until the early 1980s. Signing a deal with Casablanca Records, the Tops made a comeback in 1981 with the #1 R&B hit \"When She Was My Girl\". Produced by David Wolfert, it just missed the Billboard pop Top 10, peaking at #11. The group also scored a UK Top 10 hit with the song and had another hit there with the follow-up, \"Don't Walk Away\". CANNOTANSWER"},"answer":{"kind":"string","value":"The Tops departed Motown for ABC-Dunhill,"},"true_contexts_wiki":{"kind":"string","value":"The Four Tops are an American vocal quartet from Detroit who helped to define the city's Motown sound of the 1960s. The group's repertoire has included soul music, R&B, disco, adult contemporary, doo-wop, jazz, and show tunes.\n\nFounded as the Four Aims, lead singer Levi Stubbs, Abdul \"Duke\" Fakir, Renaldo \"Obie\" Benson and Lawrence Payton remained together for over four decades, performing from 1953 until 1997 without a change in personnel. The Four Tops were among a number of groups, including the Miracles, the Marvelettes, Martha and the Vandellas, the Temptations, and the Supremes, who established the Motown Sound heard around the world during the 1960s. They were notable for having Stubbs, a baritone, as their lead singer, whereas most other male and mixed vocal groups of the time were fronted by tenors. \n\nThe group was the main male vocal group for the highly successful songwriting and production team of Holland–Dozier–Holland, who crafted a stream of hit singles for Motown. These included two Billboard Hot 100 number-one hits for the Tops: \"I Can't Help Myself (Sugar Pie Honey Bunch)\" in 1965 and \"Reach Out I'll Be There\" in 1966. The group continued to have chart singles into the 1970s, including the million-seller \"Ain't No Woman\" (1973). \n\nThe group was inducted into the Rock and Roll Hall of Fame in 1990 and into the Vocal Group Hall of Fame in 1999. In 2004, Rolling Stone ranked them #79 on its list of the 100 Greatest Artists of All Time.\n\nThe Four Tops continue to perform with Fakir as the last surviving original member.\n\nHistory\n\nEarly years\nAll four members of the group began their careers together while they were high-school students in Detroit. At the insistence of their friends, Pershing High students Levi Stubbs and Abdul \"Duke\" Fakir performed with Renaldo \"Obie\" Benson and Lawrence Payton from Northern High at a local birthday party. The quartet decided to remain together and named the group the Four Aims. With the help of Payton's songwriter cousin Roquel Davis, the Aims signed to Chess Records in 1956, changing their name to the Four Tops to avoid confusion with the Ames Brothers.\n\nOver the next seven years, the Tops had unsuccessful tenures at Chess, Red Top, Riverside Records and Columbia Records. Without any hit records to their name, they toured frequently, developing a polished stage presence and an experienced supper club act, as well as supporting Billy Eckstine. In 1963, Berry Gordy, Jr., who had worked with Roquel \"Billy\" Davis as a songwriter in the late 1950s, convinced the Tops to join the roster of his growing Motown record company.\n\nJoining Motown\nDuring their early Motown years, the Four Tops recorded jazz standards for the company's Workshop Jazz Records label. In addition, they sang backup on Motown singles by the Supremes (\"Run, Run, Run\", 1964), Martha and the Vandellas (on the 1966 hit \"My Baby Loves Me\") and others.\n\nIn 1964, Motown's main songwriting and production team, Holland–Dozier–Holland, created a complete instrumental track without any idea of what to do with it. They decided to craft the song as a more mainstream pop song for the Four Tops and proceeded to create \"Baby I Need Your Loving\" from the instrumental track. On its release in mid-1964, \"Baby I Need Your Loving\" made it to number 11 on the Billboard Hot 100.\n\nThe first follow-up single, \"Without the One You Love (Life's Not Worth While)\" (1964), just missed both the pop and R&B Top 40 charts, but \"Ask the Lonely\" (1965), written and produced by Motown A&R head William \"Mickey\" Stevenson with Ivy Jo Hunter, was a Top 30 pop hit and a Top 10 R&B hit in early 1965.\n\nSuccess\nAfter their first number 1 hit, \"I Can't Help Myself (Sugar Pie, Honey Bunch)\" in June 1965, the Four Tops released a long series of successful hit singles. Among the first wave of these hits were the Top 10 \"It's the Same Old Song\" (1965), \"Something About You\" (1965), \"Shake Me, Wake Me (When It's Over)\" (1966), and \"Loving You Is Sweeter Than Ever\" (1966). \n\nHolland-Dozier-Holland wrote most of Levi Stubbs's vocals in a tenor range, near the top of his range, in order to get a sense of strained urgency in his gospel preacher-inspired leads. They also wrote additional background vocals for a female group, the Andantes, on many of the songs, to add a high end to the low-voiced harmony of the Tops. Ivy Jo Hunter's \"Loving You Is Sweeter Than Ever\" (1966) was one of a few exceptions.\n\nAugust 1966 brought the release of the Four Tops' all-time biggest hit and one of the most popular Motown songs ever. \"Reach Out I'll Be There\" reached number 1 on the U.S. pop and R&B charts and the UK chart and soon became the Tops' signature song. It was almost immediately followed by the similar-sounding \"Standing in the Shadows of Love\"; its depiction of heartbreak reflecting the opposite of the optimism in \"Reach Out\". It was another Top 10 hit for the Tops.\n\nThe Top 10 U.S. hit \"Bernadette\" centered around a man's all-consuming obsession with his lover, continued the Four Tops' successful run into April 1967, followed by the Top 20 hits \"7-Rooms of Gloom\", and \"You Keep Running Away\". By now, the Tops were the most successful male Motown act in the United Kingdom (in the United States, they were second to the Temptations), and began experimenting with more mainstream pop hits. They scored hits with their versions of Tim Hardin's \"If I Were a Carpenter\" in late 1967 (mid-1968 in the U.S.) and the Left Banke's \"Walk Away Renée\" in early 1968. These singles and the original \"I'm in a Different World\" were their last hits produced by Holland-Dozier-Holland, who left Motown in 1967 after disputes with Berry Gordy, Jr.\n\nLate Motown period\nWithout Holland-Dozier-Holland, the hits became less frequent. The group worked with a wide array of Motown producers during the late 1960s, including Ivy Jo Hunter, Nickolas Ashford & Valerie Simpson, Norman Whitfield and Johnny Bristol, without significant chart success.\n\nTheir first major hit in a long time came in the form of 1970's \"It's All in the Game\", a pop Top 30/R&B Top Ten hit produced by Frank Wilson. Wilson and the Tops began working on a number of innovative tracks and albums together, echoing Whitfield's psychedelic soul work with the Temptations. Their 1970 album Still Waters Run Deep was a forerunner of the concept album. It also served as an inspiration for Marvin Gaye's 1971 classic album What's Going On, the title track of which was co-written by the Tops' Renaldo \"Obie\" Benson.\n\nIn addition to their own albums, the Tops were paired with The Supremes, who had just replaced lead singer Diana Ross with Jean Terrell, for a series of albums billed under the joint title The Magnificent 7 in 1970, and The Return of the Magnificent Seven and Dynamite! in 1971. Whilst the albums themselves did not perform really well on the charts, The Magnificent Seven featured a Top 20 version of Ike & Tina Turner's \"River Deep - Mountain High\", produced by Ashford & Simpson.\n\nThe 1971 single \"A Simple Game\" featured backing vocals from members of The Moody Blues. The song did not fare well on the U.S. charts, but reached number three on the UK chart.\n\nABC/Dunhill Records and Casablanca Records\nMotown as a company began to change during the early 1970s. Older acts such as Martha and the Vandellas and The Marvelettes were slowly moved aside or dropped to focus on newer acts, such as Michael Jackson and The Jackson 5, Rare Earth, and the now-solo Diana Ross. In addition, the company moved its operations from Detroit to Los Angeles, California, where Berry Gordy, Jr. planned to break into the motion picture and television industries. In 1972, it was announced that the entire company would move west and that all its artists had to move as well. Many of the older Motown acts, already neglected by the label, opted to stay in Detroit, including The Funk Brothers studio backing band, Martha Reeves, and the Four Tops.\n\nThe Tops departed Motown for ABC-Dunhill, where they were assigned to writer-producers Dennis Lambert and Brian Potter and the label's head of A&R, Steve Barri as producer, with The Tops' own Lawrence Payton later also serving as a producer and writer. He also took over lead vocal duties on several tracks.\n\nThe group's first release on the label, \"Keeper of the Castle\" (1972) was their first pop Top 10 hit since \"Bernadette\" in 1967. Follow-ups included the 1973 million-selling \"Ain't No Woman (Like the One I've Got)\", also a top 10 pop hit and their third R&B number 1, and the Top 20 hit, \"Are You Man Enough\" (1973), (from the 1973 movie Shaft in Africa). \"Sweet Understanding Love\" (1973); \"Midnight Flower (1974); and \"One Chain Don't Make No Prison\" (1974) all reached the R&B Top 10 between 1972 and 1974. Two ABC/Dunhill singles, 1974's \"I Just Can't Get You Out of My Mind\" and 1975's \"Seven Lonely Nights\" have become popular tunes in the southeast Beach/Shag Club Dance circuit.\n\nAfter the release of \"Catfish\" (a top 10 R&B hit) in 1976, the major hits started to dry up and the Tops left ABC after an album recorded in Philadelphia with the MFSB musicians resulted in only minor chart success in 1978. The group disappeared from the recording scene until the early 1980s. Signing a deal with Casablanca Records, the Tops made a comeback in 1981 with the number 1 R&B hit \"When She Was My Girl\". Produced by David Wolfert, it just missed the Billboard pop Top 10, peaking at number 11. The group also scored a UK Top 10 hit with the song and had another hit there with the follow-up, \"Don't Walk Away\". In 1982, their song \"Back to School Again\" appeared in both the movie Grease 2 and its soundtrack.\n\nReturn to Motown\nBy 1983, The Tops had rejoined Motown, where their former ABC-Dunhill producer, Barri was vice-president of A&R. They were featured on the company's 1983 television special Motown 25: Yesterday, Today, Forever, taking part in one of the highlights of the show - a battle of the bands between The Tops and The Temptations, patterned after similar competitions Berry Gordy, Jr. had staged during the 1960s. Levi Stubbs and Temptation Otis Williams decided the Temptations/Tops battle would be a good one to take on the road, and both groups began semi-regular joint tours.\n\nThe first of The Tops' albums under their new Motown contract was Back Where I Belong (1983). A whole side of the album was produced by the Holland-Dozier-Holland production team, including the R&B Top 40 single \"I Just Can't Walk Away\". Only one more Tops album would be released by Motown, Magic in 1985. The lead single from that album, \"Sexy Ways\", was almost a Top 20 R&B hit, peaking at number 21 in mid-1985. In July of that year, the group performed at the Live Aid concert, singing five of their hit songs.\n\nThe title track of 1988's Indestructible was the group's final Top 40 hit, reaching No. 35. It was also featured in the 1988 science-fiction cop film Alien Nation. Another track, \"Loco in Acapulco\", written and produced by British pop musician Phil Collins and former Motown composer-producer Lamont Dozier, climbed into the UK Top 10 and made number 7 in early 1989. The Arista contract provided an opportunity to pair Levi Stubbs with fellow Arista artist, another R&B vocalist from Detroit, Aretha Franklin, who was at the height of her own 1980s hit streak. This pairing resulted in the 1988 song \"If Ever a Love There Was\", which became a popular R&B and Adult Contemporary hit, as well as being featured on the soundtrack of the 1988 motion picture I'm Gonna Git You Sucka.\n\nIn December 1988, Pan Am Flight 103 (a disaster known as the Lockerbie bombing) became the group's scheduled return flight to the U.S. for Christmas after completing their European tour. A prolonged recording session and a performance at the British television show Top of the Pops caused them to oversleep and miss the ill-fated flight which crashed in Lockerbie, Scotland, after a terrorist bomb was detonated on board. They left London on a later British Airways flight.\n\nLater years\nFrom the late 1980s, the Four Tops focused on touring and live performances. They recorded only one album, returning again to Motown for 1995's Christmas Here with You. On June 20, 1997, 59-year-old Lawrence Payton died as a result of liver cancer, after singing for 44 years with the Four Tops who, unlike many other Motown groups, never had a single lineup change until then. At first, Levi Stubbs, Renaldo \"Obie\" Benson, and Abdul \"Duke\" Fakir toured as a trio called The Tops. In 1998, they recruited former member of the Temptations Theo Peoples to restore the group to a quartet. By the turn of the century, Stubbs had become ill from cancer; Ronnie McNeir was recruited to fill the Lawrence Payton position and Theo Peoples stepped into Stubbs' shoes as lead singer. Stubbs later died on October 17, 2008 at his home in Detroit. \n\nThe group was featured in several television specials during this time, including Motown 45, and several by PBS, including a 50th-anniversary concert dedicated to the group (available on DVD). The concert turned out to be bittersweet; it featured a brief appearance of Levi Stubbs using a wheelchair, and a memorial to Lawrence Payton, announced by Renaldo \"Obie\" Benson. Benson appeared on one more PBS special and died on July 1, 2005, from lung cancer. The final PBS special, titled Motown: The Early Years, featured a message of Benson's passing following the credits.\n\nThe group was inducted into the Rock and Roll Hall of Fame in 1990, and into the Vocal Group Hall of Fame in 1999. In 2004, Rolling Stone ranked them #79 on their list of the 100 Greatest Artists of All Time. The Four Tops were inducted into the Michigan Rock and Roll Legends Hall of Fame in 2005.\n\nThe Four Tops sang the National Anthem before the start of game 5 for the 2011 baseball American League Championship Series (ALCS) between the Texas Rangers & Detroit Tigers on October 13, 2011 in Detroit, MI. When singing the last line of \"The Star-Spangled Banner\", \"... and the home of the brave\", they quickly sang the words \"Ain't No country Like the One I Got\", before singing the last word, \"brave\". The Four Tops were honored with an induction into the R&B Music Hall of Fame at the Inaugural ceremony held at Cleveland State University's Waetejen Auditorium on Saturday August 17, 2013.\n\nThe Four Tops were among hundreds of artists whose material was destroyed in the 2008 Universal fire.\n\nThe Four Tops career awards\nThe Four Tops have won many awards, including the following:\n Rock and Roll Hall of Fame (1990)\n Vocal Group Hall of Fame (1999)\n Hollywood Walk of Fame (1997)\n Grammy Hall of Fame (Reach Out I'll Be There-1998)(\"I Can't Help Myself (Sugar Pie Honey Bunch-2018)\n Grammy Lifetime Achievement Award (2009-51st Annual Grammy Awards)\n Rhythm and Blues Foundation Pioneer Award (1997)\n Billboard magazine Top 100 Artists of All Time(#77)\n R&B Music Hall of Fame Induction (2013)\n 100 Greatest Artists of All Time (#79-Rolling Stone)\n Rolling Stone's 500 Greatest Songs of All Time (2003)\n Michigan Rock and Roll Legends Hall of Fame\n Grammy Lifetime Achievement Award\n\nIn early 2018, The Four Tops' 1965 #1 Pop Hit, \"I Can't Help Myself (Sugar Pie Honey Bunch)\" became their second song to be inducted into The Grammy Hall of Fame.\n\nPersonnel\n\nCurrent Members \n\n Abdul “Duke” Fakir (1953-present)\n Ronnie McNeir (1999-present)\n Lawrence Payton Jr. (2005-present)\n Alexander Morris (2019-present)\n\nFormer Members \n\n Levi Stubbs (1953-2000, 2004) (d. 2008)\n Renaldo “Obie” Benson (1953-2005) (d. 2005)\n Lawrence Payton (1953-1997) (d. 1997)\n Theo Peoples (1998-2010)\n Harold Bonhart (2010-2018)\n\nDiscography\n\nAlbums\nMotown releases\n 1965: Four Tops (US #63; UK #2)\n 1965: Four Tops' Second Album (US #20)\n 1966: Four Tops Live! (US #17; UK #4)\n 1966: On Top (US #32; UK #9)\n 1967: Four Tops' Greatest Hits (US #4; UK #1)\n 1967: Reach Out (US #11; UK #6)\n 1967: Four Tops on Broadway (US #79)\n 1968: Yesterday's Dreams (US #91)\n 1969: Four Tops Now! (US #74)\n 1969: Soul Spin (US #163)\n 1970: Still Waters Run Deep (US #21)\n 1970: Changing Times (US #109)\n 1970: The Magnificent 7 (with The Supremes) (US #113; UK #6)\n 1971: The Return of the Magnificent Seven (with The Supremes) (US #154)\n 1971: Dynamite (with the Supremes) (US #160)\n 1971: Mac Arthur Park\n 1972: Nature Planned It (US #50)\n 1973: The Best of the 4 Tops (US #103)\n\nABC releases\n 1972: Keeper of the Castle (US #33)\n 1973: Main Street People (US #66)\n 1974: Meeting of the Minds (US #118)\n 1974: Live & in Concert (US #92)\n 1975: Night Lights Harmony (US #148)\n 1976: Catfish (US #124)\n 1977: The Show Must Go On\n 1978: At the Top\n\nCasablanca releases\n 1981: Tonight! (US #37)\n 1982: One More Mountain\n\nMotown releases\n 1983: Back Where I Belong\n 1985: Magic (US #140)\n 1986: Hot Nights (unreleased)\n\nArista releases\n 1988: Indestructible (US #149)\n\nMotown releases\n 1995: Christmas Here with You\n\nPrism Leisure releases\n 2000: The Four Tops Collection (recorded live at the MGM grand 1996)\n\nU.S. Billboard Hot 100 and UK singles\nThe following singles reached the top 30 of the U.S. and UK singles charts.\n\nDVDs\n The Four Tops: Live at the MGM Grand: 40th Anniversary Special (1996)\n The Four Tops: The Four Tops (semi-documentary/concert rehearsal, recorded live for French TV in 1971) (2004)\n The Four Tops: From the Heart: The 50th Anniversary Concert (2006)\n The Four Tops: Reach Out: Definitive Performances 1965-1973 (2008), Motown/Universal\n\nSee also\n\n List of best-selling music artists\n\nReferences\n\nExternal links\n Four Tops biography by John Bush, discography and album reviews, credits & releases at AllMusic\n Four Tops discography, album releases & credits at Discogs\n Four Tops filmography on IMDb\n Four Tops Broadway musical productions at the Internet Broadway Database\n Four Tops discography at MusicBrainz\n Four Tops albums to be listened as stream on Spotify\n Vocal Group Hall of Fame page on the Four Tops\n Levi Stubbs/The Four Tops interview by Pete Lewis, 'Blues & Soul' October 1992 (republished November 2008)\n History of Rock article\n Four Tops on MySpace\n Four Tops appearances on The Ed Sullivan Show\n Ronnie McNeir 2012 Interview at Soulinterviews.com.\n\nMusical groups established in 1953\n\nMusical groups from Detroit\nAfrican-American musical groups\nAmerican soul musical groups\nMotown artists\nNorthern soul musicians\nABC Records artists\nDunhill Records artists\nChess Records artists\nVocal quartets\nColumbia Records artists\nCasablanca Records artists\nArista Records artists\n1953 establishments in Michigan"},"extractive":{"kind":"string","value":"true"},"retrieved_contexts":{"kind":"list like","value":["Rail transport in Morocco is operated by the national railway operator ONCF. It was initially developed during the protectorate.\n\nHigh speed rail\n\nOn 26 November 2018, the first high-speed rail line linking Casablanca and Tangier was launched. It is called Al-Boraq (البُراق) in reference to the mythical creature that transported the Islamic prophets. This 323-kilometer-long (201 mi) high-speed rail service is operated by the ONCF. The first of its kind on the African continent, the line was inaugurated on 15 November 2018, by King Mohammed VI of Morocco following over a decade of planning and construction.\n\nThe line is constructed in two sections—a new route from Tangier to Kenitra and an upgrade of the existing route from Kenitra to Casablanca.\nThe Tangier–Kenitra line has a top speed of , while the Kenitra–Casablanca line was rated for when service began, with a planned upgrade to . The trackage from Kenitra to Casablanca is planned to be eventually replaced by a new high-speed right of way, with construction scheduled to begin in 2020.\n\nAt the launch of service in 2018, the travel time between Casablanca and Tangier was reduced from 4 hours and 45 minutes to 2 hours and 10 minutes. The completion of dedicated high-speed trackage into Casablanca would further reduce the end-to-end travel time to 1 hour and 30 minutes. Al-Boraq trains are scheduled to depart Casablanca and Tangier every hour from 06:00 until 21:00 (from 07:00 on Sundays).\n\nAs of 2019, the rolling stock operating on the line consists of 12 Alstom Euroduplex trainsets, with each set comprising two power cars and eight bilevel passenger cars. The passenger capacity is 533 across two first-class cars, five second-class cars, and a food-service car.\n\nThe Tangier - Casablanca line is the first phase of what is planned to eventually be a 1,500 kilometers (930 mi) high-speed rail network in Morocco.\n\nMain connections\nThe main network for passenger-transport consists of a North–South link from Tangier via Rabat and Casablanca to Marrakech and the East–West connection linking Oujda in the East via Fes to Rabat. The North–South and East–West links interconnect at Sidi-Kacem. Major destinations currently not linked by rail are usually served by Supratours, a bus company operated by the ONCF.\n\nThe most important long-distance train services are:\n\nNight trains\nThe ONCF operates special night-trains on the long-distance main-line links. The following routes offer night-trains:\n Marrakech–Tangier section\n Casablanca–Oujda section\n Casablanca–Nador section\n Tangier–Nador section\n\nThese long-distance trains operate with non-motorized passenger cars that have individual compartments. Second class compartments have two couches opposite each other, each couch offering 4 places. In first-class cars each compartment offers 2 × 3 places and foldable arm-rests divides the places. In 1st class, each passenger has a reserved assigned seat.\n\nEach compartment has its own door to the aisle and curtains can be drawn to keep the compartment dark. In the night-trains, passengers in a 2nd class compartment tend to draw the curtains, switch off the lights and close the sliding door, hoping that no passengers will enter their compartment so the existing cabin passengers might have more space. In 1st class, however, each seat is manually assigned. Thus, the system is not used.\n\nWhen trains are not busy, couches are usually empty, so passengers can lie down at times.\n\nBesides these 'normal' compartments (that are also used on day-time trains and special night-trains) they also offer sleeper-cars with bedrooms/compartments or couchettes. A bed or couchette has fixed price, regardless of the travelling route or distance. Beds and couchettes have to be reserved when tickets are brought.\n\nMarrakech–Tangier section\nOn each day, there is only one train on the Marrakech-Tangier section in each direction. On this route the standard 6 or 8 person compartments are available as well as the 4 person couchette-compartments.\n\nTimetable for this section:\nNorthbound: Marrakech (21:00), Casablanca Voyageurs (0:45), Rabat-Ville (1:57), Kentira (2:37), Sidi-Kacem (3:33), Tangier (7:25).\nSouthbound: Tangier (21:05), Sidi-Kacem (1:30), Kentira (2:35), Rabat (3:15), Casablanca (4:30), Marrakech (08:05).\n\nCasablanca–Oujda section\nBesides normal running trains, this section also runs a special hotel train service. This train only offers reserved sleeping compartments, compared to other normal services. The train service opened on 29 June 2010. It was also featured in the James Bond film Spectre.\n\nTimetable for this section:\nWestbound: Oujda 21:00, Taourirt (22:43), Fez (3:00), Kentira (4:30), Rabat (6:15), Casablanca-Voyageurs (7:15)\nEastbound: Casablanca-Voyageurs (21:15), Rabat (22:23), Kentira (22:51), Fez (1:30), Taourirt (5:03), Oujda (7:00).\nHotel train service timetable:\nNorthbound: 21:00 Oujda-Casablanca\nSouthbound: 21:15 Casablanca-Oujda\n\nCasablanca–Nador section \n\nNador is not the start or terminus; trains run from/to nearby Bin Anşār or Nador Port.\nThe night-train on this route only offers 2 person sleeping compartments with full beds. No couchettes are available.\nAs the train does not go to Taourirt, there is no need to change driving-direction and thus no need to move the engine. The day trains all stop at Taourirt and as the link to Nador is actually before the station of Taourirt (coming from Fes) the direction of travel has to change, including moving the locomotive from one end to the other.\n\nTimetable for this section:\nWestbound: Nador (19:43), Fez (1:00), Casablanca (06:15).\nEastbound: Casablanca (19:45), Fez (0:15), Nador (06:00).\n\nTangier–Nador section\nTrains on this section normally run to and from Bin Anşār or Nador Port.\n\nTimetable for this section:\nNorthbound: Nador (17:43), Fes (23:00), Tangier (07:00)\nSouthbound: Tangier (21:35), Fes (2:30), Nador(09:32).\n\nUrban\n\nLight rail \n Casablanca tramway\n Rabat–Salé tramway\n Marrakech Tramway (proposed) Page in French\n Tangier Tramway (2 lines project, 25 km, 8.4 billion MAD)\n\nHeavy rail \n Train Navette Rapide : Rapid transit rail (since 1984) from Rabat to Casablanca extended to Kenitra and Settat (200 km);\n Casablanca Airport rail link (30 km, since 1993);\n Casablanca – El Jadida Rapid transit line (100 km, since 2002);\n Al Bidaoui : Casablanca overground rail (since 2002);\n Casablanca RER line (RER 63 km mass transit rail including 9 km underground rail, planned for 2020)\n Le Bouregreg : Rabat overground rail (since 2012);\n\nProjects\n\nThe national railway-operator ONCF is working on several projects. The largest project is a high-speed railway from Tangier via Rabat and Casablanca to Marrakech. Also a (passenger) rail connection between Tangier and Tangier MED, the port on the Mediterranean near Tangier, will give passengers arriving by ferry a connection to the main lines. A train will operate every 2 hours between the port and Tangier city. A freight-line from the Renault factory at Tangier MED is already operational The Marrakech to Agadir railway is also planned to be completed by 2025, becoming the first rail line to reach the southern Souss-Massa region.\n\nHistory\n\nRailway links to adjacent countries\n Algeria, route has been closed since the 1990s. – tracks use same gauge \n Gibraltar (UK), no connection; a ferry service connects Gibraltar to the Tanger-Med port and railway station\n Spain: Since 2003 there are studies being done about the creation of a direct link with Spain via a railway tunnel under the Strait of Gibraltar. This tunnel will connect the Moroccan rail-infrastructure with the European via Spain. In Tangier the tunnel would connect to the currently-being-built High Speed Line Tangier-Marrakech.\n Western Sahara: Via the proposed network-extension from Marrakech via Guelmim to El Aaiún would connect Morocco to the Western Sahara. Currently ONCF daughter-company Supratours operate bus-routes from Marrakech to Western-Sahara such as Tan-Tan or Laâyoune. Morocco claims Western Sahara as part of Morocco and thus as national routes.\nMauritania: A section of the Mauritania Railway; which (since the closure of the Choum Tunnel), cuts across the extreme south-eastern corner of the Western Sahara.\n\nSee also \n\n Economy of Morocco\n History of rail transport in Morocco\n Transport in Morocco\n For more information on the Taourirt-Nador branch line, see Nador Railway stations\n\nReferences\n\nNotes\n\nFurther reading\n\nExternal links","Suburgatory is an American television sitcom that aired from September 28, 2011 to May 14, 2014, on ABC. The series follows a single father who decides to get away from New York City to the suburbs so he can give his teenage daughter a better life. However, the move to suburbs has the daughter wondering if they just entered the world of The Stepford Wives after they see how \"perfect\" their new locale is, right down to the neighbors who welcome them into the cul-de-sac.\n\nSeries overview\n{| class=\"wikitable plainrowheaders\" style=\"text-align:center;\"\n|-\n! colspan=\"2\" rowspan=\"2\" |Season\n! rowspan=\"2\" |Episodes\n! colspan=\"2\" |Originally aired\n|-\n! First aired\n! Last aired\n |-\n |style=\"background: #1158A9;\"|\n |1\n |22\n | \n | \n |-\n |style=\"background: #FF579D;\"|\n |2\n | 22\n | \n | \n |-\n |style=\"background: #03C03C;\"|\n |3\n | 13\n | \n | \n|}\n\nEpisodes\n\nSeason 1 (2011–12)\n\nSeason 2 (2012–13)\n\nSeason 3 (2014)\nOn May 10, 2013, ABC renewed Suburgatory for a thirteen-episode third season, which premiered on January 15, 2014. Former regular cast member Rex Lee did not appear in season three, while Alan Tudyk was demoted to recurring status.\n\nReferences\n\nExternal links\n \n \n\nLists of American sitcom episodes"],"string":"[\n \"Rail transport in Morocco is operated by the national railway operator ONCF. It was initially developed during the protectorate.\\n\\nHigh speed rail\\n\\nOn 26 November 2018, the first high-speed rail line linking Casablanca and Tangier was launched. It is called Al-Boraq (البُراق) in reference to the mythical creature that transported the Islamic prophets. This 323-kilometer-long (201 mi) high-speed rail service is operated by the ONCF. The first of its kind on the African continent, the line was inaugurated on 15 November 2018, by King Mohammed VI of Morocco following over a decade of planning and construction.\\n\\nThe line is constructed in two sections—a new route from Tangier to Kenitra and an upgrade of the existing route from Kenitra to Casablanca.\\nThe Tangier–Kenitra line has a top speed of , while the Kenitra–Casablanca line was rated for when service began, with a planned upgrade to . The trackage from Kenitra to Casablanca is planned to be eventually replaced by a new high-speed right of way, with construction scheduled to begin in 2020.\\n\\nAt the launch of service in 2018, the travel time between Casablanca and Tangier was reduced from 4 hours and 45 minutes to 2 hours and 10 minutes. The completion of dedicated high-speed trackage into Casablanca would further reduce the end-to-end travel time to 1 hour and 30 minutes. Al-Boraq trains are scheduled to depart Casablanca and Tangier every hour from 06:00 until 21:00 (from 07:00 on Sundays).\\n\\nAs of 2019, the rolling stock operating on the line consists of 12 Alstom Euroduplex trainsets, with each set comprising two power cars and eight bilevel passenger cars. The passenger capacity is 533 across two first-class cars, five second-class cars, and a food-service car.\\n\\nThe Tangier - Casablanca line is the first phase of what is planned to eventually be a 1,500 kilometers (930 mi) high-speed rail network in Morocco.\\n\\nMain connections\\nThe main network for passenger-transport consists of a North–South link from Tangier via Rabat and Casablanca to Marrakech and the East–West connection linking Oujda in the East via Fes to Rabat. The North–South and East–West links interconnect at Sidi-Kacem. Major destinations currently not linked by rail are usually served by Supratours, a bus company operated by the ONCF.\\n\\nThe most important long-distance train services are:\\n\\nNight trains\\nThe ONCF operates special night-trains on the long-distance main-line links. The following routes offer night-trains:\\n Marrakech–Tangier section\\n Casablanca–Oujda section\\n Casablanca–Nador section\\n Tangier–Nador section\\n\\nThese long-distance trains operate with non-motorized passenger cars that have individual compartments. Second class compartments have two couches opposite each other, each couch offering 4 places. In first-class cars each compartment offers 2 × 3 places and foldable arm-rests divides the places. In 1st class, each passenger has a reserved assigned seat.\\n\\nEach compartment has its own door to the aisle and curtains can be drawn to keep the compartment dark. In the night-trains, passengers in a 2nd class compartment tend to draw the curtains, switch off the lights and close the sliding door, hoping that no passengers will enter their compartment so the existing cabin passengers might have more space. In 1st class, however, each seat is manually assigned. Thus, the system is not used.\\n\\nWhen trains are not busy, couches are usually empty, so passengers can lie down at times.\\n\\nBesides these 'normal' compartments (that are also used on day-time trains and special night-trains) they also offer sleeper-cars with bedrooms/compartments or couchettes. A bed or couchette has fixed price, regardless of the travelling route or distance. Beds and couchettes have to be reserved when tickets are brought.\\n\\nMarrakech–Tangier section\\nOn each day, there is only one train on the Marrakech-Tangier section in each direction. On this route the standard 6 or 8 person compartments are available as well as the 4 person couchette-compartments.\\n\\nTimetable for this section:\\nNorthbound: Marrakech (21:00), Casablanca Voyageurs (0:45), Rabat-Ville (1:57), Kentira (2:37), Sidi-Kacem (3:33), Tangier (7:25).\\nSouthbound: Tangier (21:05), Sidi-Kacem (1:30), Kentira (2:35), Rabat (3:15), Casablanca (4:30), Marrakech (08:05).\\n\\nCasablanca–Oujda section\\nBesides normal running trains, this section also runs a special hotel train service. This train only offers reserved sleeping compartments, compared to other normal services. The train service opened on 29 June 2010. It was also featured in the James Bond film Spectre.\\n\\nTimetable for this section:\\nWestbound: Oujda 21:00, Taourirt (22:43), Fez (3:00), Kentira (4:30), Rabat (6:15), Casablanca-Voyageurs (7:15)\\nEastbound: Casablanca-Voyageurs (21:15), Rabat (22:23), Kentira (22:51), Fez (1:30), Taourirt (5:03), Oujda (7:00).\\nHotel train service timetable:\\nNorthbound: 21:00 Oujda-Casablanca\\nSouthbound: 21:15 Casablanca-Oujda\\n\\nCasablanca–Nador section \\n\\nNador is not the start or terminus; trains run from/to nearby Bin Anşār or Nador Port.\\nThe night-train on this route only offers 2 person sleeping compartments with full beds. No couchettes are available.\\nAs the train does not go to Taourirt, there is no need to change driving-direction and thus no need to move the engine. The day trains all stop at Taourirt and as the link to Nador is actually before the station of Taourirt (coming from Fes) the direction of travel has to change, including moving the locomotive from one end to the other.\\n\\nTimetable for this section:\\nWestbound: Nador (19:43), Fez (1:00), Casablanca (06:15).\\nEastbound: Casablanca (19:45), Fez (0:15), Nador (06:00).\\n\\nTangier–Nador section\\nTrains on this section normally run to and from Bin Anşār or Nador Port.\\n\\nTimetable for this section:\\nNorthbound: Nador (17:43), Fes (23:00), Tangier (07:00)\\nSouthbound: Tangier (21:35), Fes (2:30), Nador(09:32).\\n\\nUrban\\n\\nLight rail \\n Casablanca tramway\\n Rabat–Salé tramway\\n Marrakech Tramway (proposed) Page in French\\n Tangier Tramway (2 lines project, 25 km, 8.4 billion MAD)\\n\\nHeavy rail \\n Train Navette Rapide : Rapid transit rail (since 1984) from Rabat to Casablanca extended to Kenitra and Settat (200 km);\\n Casablanca Airport rail link (30 km, since 1993);\\n Casablanca – El Jadida Rapid transit line (100 km, since 2002);\\n Al Bidaoui : Casablanca overground rail (since 2002);\\n Casablanca RER line (RER 63 km mass transit rail including 9 km underground rail, planned for 2020)\\n Le Bouregreg : Rabat overground rail (since 2012);\\n\\nProjects\\n\\nThe national railway-operator ONCF is working on several projects. The largest project is a high-speed railway from Tangier via Rabat and Casablanca to Marrakech. Also a (passenger) rail connection between Tangier and Tangier MED, the port on the Mediterranean near Tangier, will give passengers arriving by ferry a connection to the main lines. A train will operate every 2 hours between the port and Tangier city. A freight-line from the Renault factory at Tangier MED is already operational The Marrakech to Agadir railway is also planned to be completed by 2025, becoming the first rail line to reach the southern Souss-Massa region.\\n\\nHistory\\n\\nRailway links to adjacent countries\\n Algeria, route has been closed since the 1990s. – tracks use same gauge \\n Gibraltar (UK), no connection; a ferry service connects Gibraltar to the Tanger-Med port and railway station\\n Spain: Since 2003 there are studies being done about the creation of a direct link with Spain via a railway tunnel under the Strait of Gibraltar. This tunnel will connect the Moroccan rail-infrastructure with the European via Spain. In Tangier the tunnel would connect to the currently-being-built High Speed Line Tangier-Marrakech.\\n Western Sahara: Via the proposed network-extension from Marrakech via Guelmim to El Aaiún would connect Morocco to the Western Sahara. Currently ONCF daughter-company Supratours operate bus-routes from Marrakech to Western-Sahara such as Tan-Tan or Laâyoune. Morocco claims Western Sahara as part of Morocco and thus as national routes.\\nMauritania: A section of the Mauritania Railway; which (since the closure of the Choum Tunnel), cuts across the extreme south-eastern corner of the Western Sahara.\\n\\nSee also \\n\\n Economy of Morocco\\n History of rail transport in Morocco\\n Transport in Morocco\\n For more information on the Taourirt-Nador branch line, see Nador Railway stations\\n\\nReferences\\n\\nNotes\\n\\nFurther reading\\n\\nExternal links\",\n \"Suburgatory is an American television sitcom that aired from September 28, 2011 to May 14, 2014, on ABC. The series follows a single father who decides to get away from New York City to the suburbs so he can give his teenage daughter a better life. However, the move to suburbs has the daughter wondering if they just entered the world of The Stepford Wives after they see how \\\"perfect\\\" their new locale is, right down to the neighbors who welcome them into the cul-de-sac.\\n\\nSeries overview\\n{| class=\\\"wikitable plainrowheaders\\\" style=\\\"text-align:center;\\\"\\n|-\\n! colspan=\\\"2\\\" rowspan=\\\"2\\\" |Season\\n! rowspan=\\\"2\\\" |Episodes\\n! colspan=\\\"2\\\" |Originally aired\\n|-\\n! First aired\\n! Last aired\\n |-\\n |style=\\\"background: #1158A9;\\\"|\\n |1\\n |22\\n | \\n | \\n |-\\n |style=\\\"background: #FF579D;\\\"|\\n |2\\n | 22\\n | \\n | \\n |-\\n |style=\\\"background: #03C03C;\\\"|\\n |3\\n | 13\\n | \\n | \\n|}\\n\\nEpisodes\\n\\nSeason 1 (2011–12)\\n\\nSeason 2 (2012–13)\\n\\nSeason 3 (2014)\\nOn May 10, 2013, ABC renewed Suburgatory for a thirteen-episode third season, which premiered on January 15, 2014. Former regular cast member Rex Lee did not appear in season three, while Alan Tudyk was demoted to recurring status.\\n\\nReferences\\n\\nExternal links\\n \\n \\n\\nLists of American sitcom episodes\"\n]"},"chunked_article":{"kind":"list like","value":["The Four Tops are an American vocal quartet from Detroit who helped to define the city's Motown sound of the 1960s. The group's repertoire has included soul music, R&B, disco, adult contemporary, doo-wop, jazz, and show tunes.","The group's repertoire has included soul music, R&B, disco, adult contemporary, doo-wop, jazz, and show tunes. Founded as the Four Aims, lead singer Levi Stubbs, Abdul \"Duke\" Fakir, Renaldo \"Obie\" Benson and Lawrence Payton remained together for over four decades, performing from 1953 until 1997 without a change in personnel.","Founded as the Four Aims, lead singer Levi Stubbs, Abdul \"Duke\" Fakir, Renaldo \"Obie\" Benson and Lawrence Payton remained together for over four decades, performing from 1953 until 1997 without a change in personnel. The Four Tops were among a number of groups, including the Miracles, the Marvelettes, Martha and the Vandellas, the Temptations, and the Supremes, who established the Motown Sound heard around the world during the 1960s.","The Four Tops were among a number of groups, including the Miracles, the Marvelettes, Martha and the Vandellas, the Temptations, and the Supremes, who established the Motown Sound heard around the world during the 1960s. They were notable for having Stubbs, a baritone, as their lead singer, whereas most other male and mixed vocal groups of the time were fronted by tenors.","They were notable for having Stubbs, a baritone, as their lead singer, whereas most other male and mixed vocal groups of the time were fronted by tenors. The group was the main male vocal group for the highly successful songwriting and production team of Holland–Dozier–Holland, who crafted a stream of hit singles for Motown.","The group was the main male vocal group for the highly successful songwriting and production team of Holland–Dozier–Holland, who crafted a stream of hit singles for Motown. These included two Billboard Hot 100 number-one hits for the Tops: \"I Can't Help Myself (Sugar Pie Honey Bunch)\" in 1965 and \"Reach Out I'll Be There\" in 1966.","These included two Billboard Hot 100 number-one hits for the Tops: \"I Can't Help Myself (Sugar Pie Honey Bunch)\" in 1965 and \"Reach Out I'll Be There\" in 1966. The group continued to have chart singles into the 1970s, including the million-seller \"Ain't No Woman\" (1973).","The group continued to have chart singles into the 1970s, including the million-seller \"Ain't No Woman\" (1973). The group was inducted into the Rock and Roll Hall of Fame in 1990 and into the Vocal Group Hall of Fame in 1999.","The group was inducted into the Rock and Roll Hall of Fame in 1990 and into the Vocal Group Hall of Fame in 1999. In 2004, Rolling Stone ranked them #79 on its list of the 100 Greatest Artists of All Time. The Four Tops continue to perform with Fakir as the last surviving original member.","The Four Tops continue to perform with Fakir as the last surviving original member. History Early years All four members of the group began their careers together while they were high-school students in Detroit.","History Early years All four members of the group began their careers together while they were high-school students in Detroit. At the insistence of their friends, Pershing High students Levi Stubbs and Abdul \"Duke\" Fakir performed with Renaldo \"Obie\" Benson and Lawrence Payton from Northern High at a local birthday party.","At the insistence of their friends, Pershing High students Levi Stubbs and Abdul \"Duke\" Fakir performed with Renaldo \"Obie\" Benson and Lawrence Payton from Northern High at a local birthday party. The quartet decided to remain together and named the group the Four Aims.","The quartet decided to remain together and named the group the Four Aims. With the help of Payton's songwriter cousin Roquel Davis, the Aims signed to Chess Records in 1956, changing their name to the Four Tops to avoid confusion with the Ames Brothers.","With the help of Payton's songwriter cousin Roquel Davis, the Aims signed to Chess Records in 1956, changing their name to the Four Tops to avoid confusion with the Ames Brothers. Over the next seven years, the Tops had unsuccessful tenures at Chess, Red Top, Riverside Records and Columbia Records.","Over the next seven years, the Tops had unsuccessful tenures at Chess, Red Top, Riverside Records and Columbia Records. Without any hit records to their name, they toured frequently, developing a polished stage presence and an experienced supper club act, as well as supporting Billy Eckstine.","Without any hit records to their name, they toured frequently, developing a polished stage presence and an experienced supper club act, as well as supporting Billy Eckstine. In 1963, Berry Gordy, Jr., who had worked with Roquel \"Billy\" Davis as a songwriter in the late 1950s, convinced the Tops to join the roster of his growing Motown record company.","In 1963, Berry Gordy, Jr., who had worked with Roquel \"Billy\" Davis as a songwriter in the late 1950s, convinced the Tops to join the roster of his growing Motown record company. Joining Motown During their early Motown years, the Four Tops recorded jazz standards for the company's Workshop Jazz Records label.","Joining Motown During their early Motown years, the Four Tops recorded jazz standards for the company's Workshop Jazz Records label. In addition, they sang backup on Motown singles by the Supremes (\"Run, Run, Run\", 1964), Martha and the Vandellas (on the 1966 hit \"My Baby Loves Me\") and others.","In addition, they sang backup on Motown singles by the Supremes (\"Run, Run, Run\", 1964), Martha and the Vandellas (on the 1966 hit \"My Baby Loves Me\") and others. In 1964, Motown's main songwriting and production team, Holland–Dozier–Holland, created a complete instrumental track without any idea of what to do with it.","In 1964, Motown's main songwriting and production team, Holland–Dozier–Holland, created a complete instrumental track without any idea of what to do with it. They decided to craft the song as a more mainstream pop song for the Four Tops and proceeded to create \"Baby I Need Your Loving\" from the instrumental track.","They decided to craft the song as a more mainstream pop song for the Four Tops and proceeded to create \"Baby I Need Your Loving\" from the instrumental track. On its release in mid-1964, \"Baby I Need Your Loving\" made it to number 11 on the Billboard Hot 100.","On its release in mid-1964, \"Baby I Need Your Loving\" made it to number 11 on the Billboard Hot 100. The first follow-up single, \"Without the One You Love (Life's Not Worth While)\" (1964), just missed both the pop and R&B Top 40 charts, but \"Ask the Lonely\" (1965), written and produced by Motown A&R head William \"Mickey\" Stevenson with Ivy Jo Hunter, was a Top 30 pop hit and a Top 10 R&B hit in early 1965.","The first follow-up single, \"Without the One You Love (Life's Not Worth While)\" (1964), just missed both the pop and R&B Top 40 charts, but \"Ask the Lonely\" (1965), written and produced by Motown A&R head William \"Mickey\" Stevenson with Ivy Jo Hunter, was a Top 30 pop hit and a Top 10 R&B hit in early 1965. Success After their first number 1 hit, \"I Can't Help Myself (Sugar Pie, Honey Bunch)\" in June 1965, the Four Tops released a long series of successful hit singles.","Success After their first number 1 hit, \"I Can't Help Myself (Sugar Pie, Honey Bunch)\" in June 1965, the Four Tops released a long series of successful hit singles. Among the first wave of these hits were the Top 10 \"It's the Same Old Song\" (1965), \"Something About You\" (1965), \"Shake Me, Wake Me (When It's Over)\" (1966), and \"Loving You Is Sweeter Than Ever\" (1966).","Among the first wave of these hits were the Top 10 \"It's the Same Old Song\" (1965), \"Something About You\" (1965), \"Shake Me, Wake Me (When It's Over)\" (1966), and \"Loving You Is Sweeter Than Ever\" (1966). Holland-Dozier-Holland wrote most of Levi Stubbs's vocals in a tenor range, near the top of his range, in order to get a sense of strained urgency in his gospel preacher-inspired leads.","Holland-Dozier-Holland wrote most of Levi Stubbs's vocals in a tenor range, near the top of his range, in order to get a sense of strained urgency in his gospel preacher-inspired leads. They also wrote additional background vocals for a female group, the Andantes, on many of the songs, to add a high end to the low-voiced harmony of the Tops.","They also wrote additional background vocals for a female group, the Andantes, on many of the songs, to add a high end to the low-voiced harmony of the Tops. Ivy Jo Hunter's \"Loving You Is Sweeter Than Ever\" (1966) was one of a few exceptions.","Ivy Jo Hunter's \"Loving You Is Sweeter Than Ever\" (1966) was one of a few exceptions. August 1966 brought the release of the Four Tops' all-time biggest hit and one of the most popular Motown songs ever.","August 1966 brought the release of the Four Tops' all-time biggest hit and one of the most popular Motown songs ever. \"Reach Out I'll Be There\" reached number 1 on the U.S. pop and R&B charts and the UK chart and soon became the Tops' signature song.","\"Reach Out I'll Be There\" reached number 1 on the U.S. pop and R&B charts and the UK chart and soon became the Tops' signature song. It was almost immediately followed by the similar-sounding \"Standing in the Shadows of Love\"; its depiction of heartbreak reflecting the opposite of the optimism in \"Reach Out\".","It was almost immediately followed by the similar-sounding \"Standing in the Shadows of Love\"; its depiction of heartbreak reflecting the opposite of the optimism in \"Reach Out\". It was another Top 10 hit for the Tops.","It was another Top 10 hit for the Tops. The Top 10 U.S. hit \"Bernadette\" centered around a man's all-consuming obsession with his lover, continued the Four Tops' successful run into April 1967, followed by the Top 20 hits \"7-Rooms of Gloom\", and \"You Keep Running Away\".","The Top 10 U.S. hit \"Bernadette\" centered around a man's all-consuming obsession with his lover, continued the Four Tops' successful run into April 1967, followed by the Top 20 hits \"7-Rooms of Gloom\", and \"You Keep Running Away\". By now, the Tops were the most successful male Motown act in the United Kingdom (in the United States, they were second to the Temptations), and began experimenting with more mainstream pop hits.","By now, the Tops were the most successful male Motown act in the United Kingdom (in the United States, they were second to the Temptations), and began experimenting with more mainstream pop hits. They scored hits with their versions of Tim Hardin's \"If I Were a Carpenter\" in late 1967 (mid-1968 in the U.S.) and the Left Banke's \"Walk Away Renée\" in early 1968.","They scored hits with their versions of Tim Hardin's \"If I Were a Carpenter\" in late 1967 (mid-1968 in the U.S.) and the Left Banke's \"Walk Away Renée\" in early 1968. These singles and the original \"I'm in a Different World\" were their last hits produced by Holland-Dozier-Holland, who left Motown in 1967 after disputes with Berry Gordy, Jr. Late Motown period Without Holland-Dozier-Holland, the hits became less frequent.","These singles and the original \"I'm in a Different World\" were their last hits produced by Holland-Dozier-Holland, who left Motown in 1967 after disputes with Berry Gordy, Jr. Late Motown period Without Holland-Dozier-Holland, the hits became less frequent. The group worked with a wide array of Motown producers during the late 1960s, including Ivy Jo Hunter, Nickolas Ashford & Valerie Simpson, Norman Whitfield and Johnny Bristol, without significant chart success.","The group worked with a wide array of Motown producers during the late 1960s, including Ivy Jo Hunter, Nickolas Ashford & Valerie Simpson, Norman Whitfield and Johnny Bristol, without significant chart success. Their first major hit in a long time came in the form of 1970's \"It's All in the Game\", a pop Top 30/R&B Top Ten hit produced by Frank Wilson.","Their first major hit in a long time came in the form of 1970's \"It's All in the Game\", a pop Top 30/R&B Top Ten hit produced by Frank Wilson. Wilson and the Tops began working on a number of innovative tracks and albums together, echoing Whitfield's psychedelic soul work with the Temptations.","Wilson and the Tops began working on a number of innovative tracks and albums together, echoing Whitfield's psychedelic soul work with the Temptations. Their 1970 album Still Waters Run Deep was a forerunner of the concept album.","Their 1970 album Still Waters Run Deep was a forerunner of the concept album. It also served as an inspiration for Marvin Gaye's 1971 classic album What's Going On, the title track of which was co-written by the Tops' Renaldo \"Obie\" Benson.","It also served as an inspiration for Marvin Gaye's 1971 classic album What's Going On, the title track of which was co-written by the Tops' Renaldo \"Obie\" Benson. In addition to their own albums, the Tops were paired with The Supremes, who had just replaced lead singer Diana Ross with Jean Terrell, for a series of albums billed under the joint title The Magnificent 7 in 1970, and The Return of the Magnificent Seven and Dynamite!","In addition to their own albums, the Tops were paired with The Supremes, who had just replaced lead singer Diana Ross with Jean Terrell, for a series of albums billed under the joint title The Magnificent 7 in 1970, and The Return of the Magnificent Seven and Dynamite! in 1971.","in 1971. in 1971. Whilst the albums themselves did not perform really well on the charts, The Magnificent Seven featured a Top 20 version of Ike & Tina Turner's \"River Deep - Mountain High\", produced by Ashford & Simpson. The 1971 single \"A Simple Game\" featured backing vocals from members of The Moody Blues.","The 1971 single \"A Simple Game\" featured backing vocals from members of The Moody Blues. The song did not fare well on the U.S. charts, but reached number three on the UK chart. ABC/Dunhill Records and Casablanca Records Motown as a company began to change during the early 1970s.","ABC/Dunhill Records and Casablanca Records Motown as a company began to change during the early 1970s. Older acts such as Martha and the Vandellas and The Marvelettes were slowly moved aside or dropped to focus on newer acts, such as Michael Jackson and The Jackson 5, Rare Earth, and the now-solo Diana Ross.","Older acts such as Martha and the Vandellas and The Marvelettes were slowly moved aside or dropped to focus on newer acts, such as Michael Jackson and The Jackson 5, Rare Earth, and the now-solo Diana Ross. In addition, the company moved its operations from Detroit to Los Angeles, California, where Berry Gordy, Jr. planned to break into the motion picture and television industries.","In addition, the company moved its operations from Detroit to Los Angeles, California, where Berry Gordy, Jr. planned to break into the motion picture and television industries. In 1972, it was announced that the entire company would move west and that all its artists had to move as well.","In 1972, it was announced that the entire company would move west and that all its artists had to move as well. Many of the older Motown acts, already neglected by the label, opted to stay in Detroit, including The Funk Brothers studio backing band, Martha Reeves, and the Four Tops.","Many of the older Motown acts, already neglected by the label, opted to stay in Detroit, including The Funk Brothers studio backing band, Martha Reeves, and the Four Tops. The Tops departed Motown for ABC-Dunhill, where they were assigned to writer-producers Dennis Lambert and Brian Potter and the label's head of A&R, Steve Barri as producer, with The Tops' own Lawrence Payton later also serving as a producer and writer.","The Tops departed Motown for ABC-Dunhill, where they were assigned to writer-producers Dennis Lambert and Brian Potter and the label's head of A&R, Steve Barri as producer, with The Tops' own Lawrence Payton later also serving as a producer and writer. He also took over lead vocal duties on several tracks.","He also took over lead vocal duties on several tracks. The group's first release on the label, \"Keeper of the Castle\" (1972) was their first pop Top 10 hit since \"Bernadette\" in 1967.","The group's first release on the label, \"Keeper of the Castle\" (1972) was their first pop Top 10 hit since \"Bernadette\" in 1967. Follow-ups included the 1973 million-selling \"Ain't No Woman (Like the One I've Got)\", also a top 10 pop hit and their third R&B number 1, and the Top 20 hit, \"Are You Man Enough\" (1973), (from the 1973 movie Shaft in Africa).","Follow-ups included the 1973 million-selling \"Ain't No Woman (Like the One I've Got)\", also a top 10 pop hit and their third R&B number 1, and the Top 20 hit, \"Are You Man Enough\" (1973), (from the 1973 movie Shaft in Africa). \"Sweet Understanding Love\" (1973); \"Midnight Flower (1974); and \"One Chain Don't Make No Prison\" (1974) all reached the R&B Top 10 between 1972 and 1974.","\"Sweet Understanding Love\" (1973); \"Midnight Flower (1974); and \"One Chain Don't Make No Prison\" (1974) all reached the R&B Top 10 between 1972 and 1974. Two ABC/Dunhill singles, 1974's \"I Just Can't Get You Out of My Mind\" and 1975's \"Seven Lonely Nights\" have become popular tunes in the southeast Beach/Shag Club Dance circuit.","Two ABC/Dunhill singles, 1974's \"I Just Can't Get You Out of My Mind\" and 1975's \"Seven Lonely Nights\" have become popular tunes in the southeast Beach/Shag Club Dance circuit. After the release of \"Catfish\" (a top 10 R&B hit) in 1976, the major hits started to dry up and the Tops left ABC after an album recorded in Philadelphia with the MFSB musicians resulted in only minor chart success in 1978.","After the release of \"Catfish\" (a top 10 R&B hit) in 1976, the major hits started to dry up and the Tops left ABC after an album recorded in Philadelphia with the MFSB musicians resulted in only minor chart success in 1978. The group disappeared from the recording scene until the early 1980s.","The group disappeared from the recording scene until the early 1980s. Signing a deal with Casablanca Records, the Tops made a comeback in 1981 with the number 1 R&B hit \"When She Was My Girl\". Produced by David Wolfert, it just missed the Billboard pop Top 10, peaking at number 11.","Produced by David Wolfert, it just missed the Billboard pop Top 10, peaking at number 11. The group also scored a UK Top 10 hit with the song and had another hit there with the follow-up, \"Don't Walk Away\".","The group also scored a UK Top 10 hit with the song and had another hit there with the follow-up, \"Don't Walk Away\". In 1982, their song \"Back to School Again\" appeared in both the movie Grease 2 and its soundtrack.","In 1982, their song \"Back to School Again\" appeared in both the movie Grease 2 and its soundtrack. Return to Motown By 1983, The Tops had rejoined Motown, where their former ABC-Dunhill producer, Barri was vice-president of A&R.","Return to Motown By 1983, The Tops had rejoined Motown, where their former ABC-Dunhill producer, Barri was vice-president of A&R. They were featured on the company's 1983 television special Motown 25: Yesterday, Today, Forever, taking part in one of the highlights of the show - a battle of the bands between The Tops and The Temptations, patterned after similar competitions Berry Gordy, Jr. had staged during the 1960s.","They were featured on the company's 1983 television special Motown 25: Yesterday, Today, Forever, taking part in one of the highlights of the show - a battle of the bands between The Tops and The Temptations, patterned after similar competitions Berry Gordy, Jr. had staged during the 1960s. Levi Stubbs and Temptation Otis Williams decided the Temptations/Tops battle would be a good one to take on the road, and both groups began semi-regular joint tours.","Levi Stubbs and Temptation Otis Williams decided the Temptations/Tops battle would be a good one to take on the road, and both groups began semi-regular joint tours. The first of The Tops' albums under their new Motown contract was Back Where I Belong (1983).","The first of The Tops' albums under their new Motown contract was Back Where I Belong (1983). A whole side of the album was produced by the Holland-Dozier-Holland production team, including the R&B Top 40 single \"I Just Can't Walk Away\".","A whole side of the album was produced by the Holland-Dozier-Holland production team, including the R&B Top 40 single \"I Just Can't Walk Away\". Only one more Tops album would be released by Motown, Magic in 1985.","Only one more Tops album would be released by Motown, Magic in 1985. The lead single from that album, \"Sexy Ways\", was almost a Top 20 R&B hit, peaking at number 21 in mid-1985.","The lead single from that album, \"Sexy Ways\", was almost a Top 20 R&B hit, peaking at number 21 in mid-1985. In July of that year, the group performed at the Live Aid concert, singing five of their hit songs.","In July of that year, the group performed at the Live Aid concert, singing five of their hit songs. The title track of 1988's Indestructible was the group's final Top 40 hit, reaching No. 35. It was also featured in the 1988 science-fiction cop film Alien Nation.","It was also featured in the 1988 science-fiction cop film Alien Nation. Another track, \"Loco in Acapulco\", written and produced by British pop musician Phil Collins and former Motown composer-producer Lamont Dozier, climbed into the UK Top 10 and made number 7 in early 1989.","Another track, \"Loco in Acapulco\", written and produced by British pop musician Phil Collins and former Motown composer-producer Lamont Dozier, climbed into the UK Top 10 and made number 7 in early 1989. The Arista contract provided an opportunity to pair Levi Stubbs with fellow Arista artist, another R&B vocalist from Detroit, Aretha Franklin, who was at the height of her own 1980s hit streak.","The Arista contract provided an opportunity to pair Levi Stubbs with fellow Arista artist, another R&B vocalist from Detroit, Aretha Franklin, who was at the height of her own 1980s hit streak. This pairing resulted in the 1988 song \"If Ever a Love There Was\", which became a popular R&B and Adult Contemporary hit, as well as being featured on the soundtrack of the 1988 motion picture I'm Gonna Git You Sucka.","This pairing resulted in the 1988 song \"If Ever a Love There Was\", which became a popular R&B and Adult Contemporary hit, as well as being featured on the soundtrack of the 1988 motion picture I'm Gonna Git You Sucka. In December 1988, Pan Am Flight 103 (a disaster known as the Lockerbie bombing) became the group's scheduled return flight to the U.S. for Christmas after completing their European tour.","In December 1988, Pan Am Flight 103 (a disaster known as the Lockerbie bombing) became the group's scheduled return flight to the U.S. for Christmas after completing their European tour. A prolonged recording session and a performance at the British television show Top of the Pops caused them to oversleep and miss the ill-fated flight which crashed in Lockerbie, Scotland, after a terrorist bomb was detonated on board.","A prolonged recording session and a performance at the British television show Top of the Pops caused them to oversleep and miss the ill-fated flight which crashed in Lockerbie, Scotland, after a terrorist bomb was detonated on board. They left London on a later British Airways flight.","They left London on a later British Airways flight. Later years From the late 1980s, the Four Tops focused on touring and live performances. They recorded only one album, returning again to Motown for 1995's Christmas Here with You.","They recorded only one album, returning again to Motown for 1995's Christmas Here with You. On June 20, 1997, 59-year-old Lawrence Payton died as a result of liver cancer, after singing for 44 years with the Four Tops who, unlike many other Motown groups, never had a single lineup change until then.","On June 20, 1997, 59-year-old Lawrence Payton died as a result of liver cancer, after singing for 44 years with the Four Tops who, unlike many other Motown groups, never had a single lineup change until then. At first, Levi Stubbs, Renaldo \"Obie\" Benson, and Abdul \"Duke\" Fakir toured as a trio called The Tops.","At first, Levi Stubbs, Renaldo \"Obie\" Benson, and Abdul \"Duke\" Fakir toured as a trio called The Tops. In 1998, they recruited former member of the Temptations Theo Peoples to restore the group to a quartet.","In 1998, they recruited former member of the Temptations Theo Peoples to restore the group to a quartet. By the turn of the century, Stubbs had become ill from cancer; Ronnie McNeir was recruited to fill the Lawrence Payton position and Theo Peoples stepped into Stubbs' shoes as lead singer.","By the turn of the century, Stubbs had become ill from cancer; Ronnie McNeir was recruited to fill the Lawrence Payton position and Theo Peoples stepped into Stubbs' shoes as lead singer. Stubbs later died on October 17, 2008 at his home in Detroit.","Stubbs later died on October 17, 2008 at his home in Detroit. The group was featured in several television specials during this time, including Motown 45, and several by PBS, including a 50th-anniversary concert dedicated to the group (available on DVD).","The group was featured in several television specials during this time, including Motown 45, and several by PBS, including a 50th-anniversary concert dedicated to the group (available on DVD). The concert turned out to be bittersweet; it featured a brief appearance of Levi Stubbs using a wheelchair, and a memorial to Lawrence Payton, announced by Renaldo \"Obie\" Benson.","The concert turned out to be bittersweet; it featured a brief appearance of Levi Stubbs using a wheelchair, and a memorial to Lawrence Payton, announced by Renaldo \"Obie\" Benson. Benson appeared on one more PBS special and died on July 1, 2005, from lung cancer.","Benson appeared on one more PBS special and died on July 1, 2005, from lung cancer. The final PBS special, titled Motown: The Early Years, featured a message of Benson's passing following the credits.","The final PBS special, titled Motown: The Early Years, featured a message of Benson's passing following the credits. The group was inducted into the Rock and Roll Hall of Fame in 1990, and into the Vocal Group Hall of Fame in 1999.","The group was inducted into the Rock and Roll Hall of Fame in 1990, and into the Vocal Group Hall of Fame in 1999. In 2004, Rolling Stone ranked them #79 on their list of the 100 Greatest Artists of All Time.","In 2004, Rolling Stone ranked them #79 on their list of the 100 Greatest Artists of All Time. The Four Tops were inducted into the Michigan Rock and Roll Legends Hall of Fame in 2005.","The Four Tops were inducted into the Michigan Rock and Roll Legends Hall of Fame in 2005. The Four Tops sang the National Anthem before the start of game 5 for the 2011 baseball American League Championship Series (ALCS) between the Texas Rangers & Detroit Tigers on October 13, 2011 in Detroit, MI.","The Four Tops sang the National Anthem before the start of game 5 for the 2011 baseball American League Championship Series (ALCS) between the Texas Rangers & Detroit Tigers on October 13, 2011 in Detroit, MI. When singing the last line of \"The Star-Spangled Banner\", \"... and the home of the brave\", they quickly sang the words \"Ain't No country Like the One I Got\", before singing the last word, \"brave\".","When singing the last line of \"The Star-Spangled Banner\", \"... and the home of the brave\", they quickly sang the words \"Ain't No country Like the One I Got\", before singing the last word, \"brave\". The Four Tops were honored with an induction into the R&B Music Hall of Fame at the Inaugural ceremony held at Cleveland State University's Waetejen Auditorium on Saturday August 17, 2013.","The Four Tops were honored with an induction into the R&B Music Hall of Fame at the Inaugural ceremony held at Cleveland State University's Waetejen Auditorium on Saturday August 17, 2013. The Four Tops were among hundreds of artists whose material was destroyed in the 2008 Universal fire.","The Four Tops were among hundreds of artists whose material was destroyed in the 2008 Universal fire. The Four Tops career awards The Four Tops have won many awards, including the following: Rock and Roll Hall of Fame (1990) Vocal Group Hall of Fame (1999) Hollywood Walk of Fame (1997) Grammy Hall of Fame (Reach Out I'll Be There-1998)(\"I Can't Help Myself (Sugar Pie Honey Bunch-2018) Grammy Lifetime Achievement Award (2009-51st Annual Grammy Awards) Rhythm and Blues Foundation Pioneer Award (1997) Billboard magazine Top 100 Artists of All Time(#77) R&B Music Hall of Fame Induction (2013) 100 Greatest Artists of All Time (#79-Rolling Stone) Rolling Stone's 500 Greatest Songs of All Time (2003) Michigan Rock and Roll Legends Hall of Fame Grammy Lifetime Achievement Award In early 2018, The Four Tops' 1965 #1 Pop Hit, \"I Can't Help Myself (Sugar Pie Honey Bunch)\" became their second song to be inducted into The Grammy Hall of Fame.","The Four Tops career awards The Four Tops have won many awards, including the following: Rock and Roll Hall of Fame (1990) Vocal Group Hall of Fame (1999) Hollywood Walk of Fame (1997) Grammy Hall of Fame (Reach Out I'll Be There-1998)(\"I Can't Help Myself (Sugar Pie Honey Bunch-2018) Grammy Lifetime Achievement Award (2009-51st Annual Grammy Awards) Rhythm and Blues Foundation Pioneer Award (1997) Billboard magazine Top 100 Artists of All Time(#77) R&B Music Hall of Fame Induction (2013) 100 Greatest Artists of All Time (#79-Rolling Stone) Rolling Stone's 500 Greatest Songs of All Time (2003) Michigan Rock and Roll Legends Hall of Fame Grammy Lifetime Achievement Award In early 2018, The Four Tops' 1965 #1 Pop Hit, \"I Can't Help Myself (Sugar Pie Honey Bunch)\" became their second song to be inducted into The Grammy Hall of Fame. Personnel Current Members Abdul “Duke” Fakir (1953-present) Ronnie McNeir (1999-present) Lawrence Payton Jr. (2005-present) Alexander Morris (2019-present) Former Members Levi Stubbs (1953-2000, 2004) (d. 2008) Renaldo “Obie” Benson (1953-2005) (d. 2005) Lawrence Payton (1953-1997) (d. 1997) Theo Peoples (1998-2010) Harold Bonhart (2010-2018) Discography Albums Motown releases 1965: Four Tops (US #63; UK #2) 1965: Four Tops' Second Album (US #20) 1966: Four Tops Live!","Personnel Current Members Abdul “Duke” Fakir (1953-present) Ronnie McNeir (1999-present) Lawrence Payton Jr. (2005-present) Alexander Morris (2019-present) Former Members Levi Stubbs (1953-2000, 2004) (d. 2008) Renaldo “Obie” Benson (1953-2005) (d. 2005) Lawrence Payton (1953-1997) (d. 1997) Theo Peoples (1998-2010) Harold Bonhart (2010-2018) Discography Albums Motown releases 1965: Four Tops (US #63; UK #2) 1965: Four Tops' Second Album (US #20) 1966: Four Tops Live! (US #17; UK #4) 1966: On Top (US #32; UK #9) 1967: Four Tops' Greatest Hits (US #4; UK #1) 1967: Reach Out (US #11; UK #6) 1967: Four Tops on Broadway (US #79) 1968: Yesterday's Dreams (US #91) 1969: Four Tops Now!","(US #17; UK #4) 1966: On Top (US #32; UK #9) 1967: Four Tops' Greatest Hits (US #4; UK #1) 1967: Reach Out (US #11; UK #6) 1967: Four Tops on Broadway (US #79) 1968: Yesterday's Dreams (US #91) 1969: Four Tops Now! (US #74) 1969: Soul Spin (US #163) 1970: Still Waters Run Deep (US #21) 1970: Changing Times (US #109) 1970: The Magnificent 7 (with The Supremes) (US #113; UK #6) 1971: The Return of the Magnificent Seven (with The Supremes) (US #154) 1971: Dynamite (with the Supremes) (US #160) 1971: Mac Arthur Park 1972: Nature Planned It (US #50) 1973: The Best of the 4 Tops (US #103) ABC releases 1972: Keeper of the Castle (US #33) 1973: Main Street People (US #66) 1974: Meeting of the Minds (US #118) 1974: Live & in Concert (US #92) 1975: Night Lights Harmony (US #148) 1976: Catfish (US #124) 1977: The Show Must Go On 1978: At the Top Casablanca releases 1981: Tonight!","(US #74) 1969: Soul Spin (US #163) 1970: Still Waters Run Deep (US #21) 1970: Changing Times (US #109) 1970: The Magnificent 7 (with The Supremes) (US #113; UK #6) 1971: The Return of the Magnificent Seven (with The Supremes) (US #154) 1971: Dynamite (with the Supremes) (US #160) 1971: Mac Arthur Park 1972: Nature Planned It (US #50) 1973: The Best of the 4 Tops (US #103) ABC releases 1972: Keeper of the Castle (US #33) 1973: Main Street People (US #66) 1974: Meeting of the Minds (US #118) 1974: Live & in Concert (US #92) 1975: Night Lights Harmony (US #148) 1976: Catfish (US #124) 1977: The Show Must Go On 1978: At the Top Casablanca releases 1981: Tonight! (US #37) 1982: One More Mountain Motown releases 1983: Back Where I Belong 1985: Magic (US #140) 1986: Hot Nights (unreleased) Arista releases 1988: Indestructible (US #149) Motown releases 1995: Christmas Here with You Prism Leisure releases 2000: The Four Tops Collection (recorded live at the MGM grand 1996) U.S.","(US #37) 1982: One More Mountain Motown releases 1983: Back Where I Belong 1985: Magic (US #140) 1986: Hot Nights (unreleased) Arista releases 1988: Indestructible (US #149) Motown releases 1995: Christmas Here with You Prism Leisure releases 2000: The Four Tops Collection (recorded live at the MGM grand 1996) U.S. Billboard Hot 100 and UK singles The following singles reached the top 30 of the U.S. and UK singles charts.","Billboard Hot 100 and UK singles The following singles reached the top 30 of the U.S. and UK singles charts. DVDs The Four Tops: Live at the MGM Grand: 40th Anniversary Special (1996) The Four Tops: The Four Tops (semi-documentary/concert rehearsal, recorded live for French TV in 1971) (2004) The Four Tops: From the Heart: The 50th Anniversary Concert (2006) The Four Tops: Reach Out: Definitive Performances 1965-1973 (2008), Motown/Universal See also List of best-selling music artists References External links Four Tops biography by John Bush, discography and album reviews, credits & releases at AllMusic Four Tops discography, album releases & credits at Discogs Four Tops filmography on IMDb Four Tops Broadway musical productions at the Internet Broadway Database Four Tops discography at MusicBrainz Four Tops albums to be listened as stream on Spotify Vocal Group Hall of Fame page on the Four Tops Levi Stubbs/The Four Tops interview by Pete Lewis, 'Blues & Soul' October 1992 (republished November 2008) History of Rock article Four Tops on MySpace Four Tops appearances on The Ed Sullivan Show Ronnie McNeir 2012 Interview at Soulinterviews.com.","DVDs The Four Tops: Live at the MGM Grand: 40th Anniversary Special (1996) The Four Tops: The Four Tops (semi-documentary/concert rehearsal, recorded live for French TV in 1971) (2004) The Four Tops: From the Heart: The 50th Anniversary Concert (2006) The Four Tops: Reach Out: Definitive Performances 1965-1973 (2008), Motown/Universal See also List of best-selling music artists References External links Four Tops biography by John Bush, discography and album reviews, credits & releases at AllMusic Four Tops discography, album releases & credits at Discogs Four Tops filmography on IMDb Four Tops Broadway musical productions at the Internet Broadway Database Four Tops discography at MusicBrainz Four Tops albums to be listened as stream on Spotify Vocal Group Hall of Fame page on the Four Tops Levi Stubbs/The Four Tops interview by Pete Lewis, 'Blues & Soul' October 1992 (republished November 2008) History of Rock article Four Tops on MySpace Four Tops appearances on The Ed Sullivan Show Ronnie McNeir 2012 Interview at Soulinterviews.com. Musical groups established in 1953 Musical groups from Detroit African-American musical groups American soul musical groups Motown artists Northern soul musicians ABC Records artists Dunhill Records artists Chess Records artists Vocal quartets Columbia Records artists Casablanca Records artists Arista Records artists 1953 establishments in Michigan"],"string":"[\n \"The Four Tops are an American vocal quartet from Detroit who helped to define the city's Motown sound of the 1960s. The group's repertoire has included soul music, R&B, disco, adult contemporary, doo-wop, jazz, and show tunes.\",\n \"The group's repertoire has included soul music, R&B, disco, adult contemporary, doo-wop, jazz, and show tunes. Founded as the Four Aims, lead singer Levi Stubbs, Abdul \\\"Duke\\\" Fakir, Renaldo \\\"Obie\\\" Benson and Lawrence Payton remained together for over four decades, performing from 1953 until 1997 without a change in personnel.\",\n \"Founded as the Four Aims, lead singer Levi Stubbs, Abdul \\\"Duke\\\" Fakir, Renaldo \\\"Obie\\\" Benson and Lawrence Payton remained together for over four decades, performing from 1953 until 1997 without a change in personnel. The Four Tops were among a number of groups, including the Miracles, the Marvelettes, Martha and the Vandellas, the Temptations, and the Supremes, who established the Motown Sound heard around the world during the 1960s.\",\n \"The Four Tops were among a number of groups, including the Miracles, the Marvelettes, Martha and the Vandellas, the Temptations, and the Supremes, who established the Motown Sound heard around the world during the 1960s. They were notable for having Stubbs, a baritone, as their lead singer, whereas most other male and mixed vocal groups of the time were fronted by tenors.\",\n \"They were notable for having Stubbs, a baritone, as their lead singer, whereas most other male and mixed vocal groups of the time were fronted by tenors. The group was the main male vocal group for the highly successful songwriting and production team of Holland–Dozier–Holland, who crafted a stream of hit singles for Motown.\",\n \"The group was the main male vocal group for the highly successful songwriting and production team of Holland–Dozier–Holland, who crafted a stream of hit singles for Motown. These included two Billboard Hot 100 number-one hits for the Tops: \\\"I Can't Help Myself (Sugar Pie Honey Bunch)\\\" in 1965 and \\\"Reach Out I'll Be There\\\" in 1966.\",\n \"These included two Billboard Hot 100 number-one hits for the Tops: \\\"I Can't Help Myself (Sugar Pie Honey Bunch)\\\" in 1965 and \\\"Reach Out I'll Be There\\\" in 1966. The group continued to have chart singles into the 1970s, including the million-seller \\\"Ain't No Woman\\\" (1973).\",\n \"The group continued to have chart singles into the 1970s, including the million-seller \\\"Ain't No Woman\\\" (1973). The group was inducted into the Rock and Roll Hall of Fame in 1990 and into the Vocal Group Hall of Fame in 1999.\",\n \"The group was inducted into the Rock and Roll Hall of Fame in 1990 and into the Vocal Group Hall of Fame in 1999. In 2004, Rolling Stone ranked them #79 on its list of the 100 Greatest Artists of All Time. The Four Tops continue to perform with Fakir as the last surviving original member.\",\n \"The Four Tops continue to perform with Fakir as the last surviving original member. History Early years All four members of the group began their careers together while they were high-school students in Detroit.\",\n \"History Early years All four members of the group began their careers together while they were high-school students in Detroit. At the insistence of their friends, Pershing High students Levi Stubbs and Abdul \\\"Duke\\\" Fakir performed with Renaldo \\\"Obie\\\" Benson and Lawrence Payton from Northern High at a local birthday party.\",\n \"At the insistence of their friends, Pershing High students Levi Stubbs and Abdul \\\"Duke\\\" Fakir performed with Renaldo \\\"Obie\\\" Benson and Lawrence Payton from Northern High at a local birthday party. The quartet decided to remain together and named the group the Four Aims.\",\n \"The quartet decided to remain together and named the group the Four Aims. With the help of Payton's songwriter cousin Roquel Davis, the Aims signed to Chess Records in 1956, changing their name to the Four Tops to avoid confusion with the Ames Brothers.\",\n \"With the help of Payton's songwriter cousin Roquel Davis, the Aims signed to Chess Records in 1956, changing their name to the Four Tops to avoid confusion with the Ames Brothers. Over the next seven years, the Tops had unsuccessful tenures at Chess, Red Top, Riverside Records and Columbia Records.\",\n \"Over the next seven years, the Tops had unsuccessful tenures at Chess, Red Top, Riverside Records and Columbia Records. Without any hit records to their name, they toured frequently, developing a polished stage presence and an experienced supper club act, as well as supporting Billy Eckstine.\",\n \"Without any hit records to their name, they toured frequently, developing a polished stage presence and an experienced supper club act, as well as supporting Billy Eckstine. In 1963, Berry Gordy, Jr., who had worked with Roquel \\\"Billy\\\" Davis as a songwriter in the late 1950s, convinced the Tops to join the roster of his growing Motown record company.\",\n \"In 1963, Berry Gordy, Jr., who had worked with Roquel \\\"Billy\\\" Davis as a songwriter in the late 1950s, convinced the Tops to join the roster of his growing Motown record company. Joining Motown During their early Motown years, the Four Tops recorded jazz standards for the company's Workshop Jazz Records label.\",\n \"Joining Motown During their early Motown years, the Four Tops recorded jazz standards for the company's Workshop Jazz Records label. In addition, they sang backup on Motown singles by the Supremes (\\\"Run, Run, Run\\\", 1964), Martha and the Vandellas (on the 1966 hit \\\"My Baby Loves Me\\\") and others.\",\n \"In addition, they sang backup on Motown singles by the Supremes (\\\"Run, Run, Run\\\", 1964), Martha and the Vandellas (on the 1966 hit \\\"My Baby Loves Me\\\") and others. In 1964, Motown's main songwriting and production team, Holland–Dozier–Holland, created a complete instrumental track without any idea of what to do with it.\",\n \"In 1964, Motown's main songwriting and production team, Holland–Dozier–Holland, created a complete instrumental track without any idea of what to do with it. They decided to craft the song as a more mainstream pop song for the Four Tops and proceeded to create \\\"Baby I Need Your Loving\\\" from the instrumental track.\",\n \"They decided to craft the song as a more mainstream pop song for the Four Tops and proceeded to create \\\"Baby I Need Your Loving\\\" from the instrumental track. On its release in mid-1964, \\\"Baby I Need Your Loving\\\" made it to number 11 on the Billboard Hot 100.\",\n \"On its release in mid-1964, \\\"Baby I Need Your Loving\\\" made it to number 11 on the Billboard Hot 100. The first follow-up single, \\\"Without the One You Love (Life's Not Worth While)\\\" (1964), just missed both the pop and R&B Top 40 charts, but \\\"Ask the Lonely\\\" (1965), written and produced by Motown A&R head William \\\"Mickey\\\" Stevenson with Ivy Jo Hunter, was a Top 30 pop hit and a Top 10 R&B hit in early 1965.\",\n \"The first follow-up single, \\\"Without the One You Love (Life's Not Worth While)\\\" (1964), just missed both the pop and R&B Top 40 charts, but \\\"Ask the Lonely\\\" (1965), written and produced by Motown A&R head William \\\"Mickey\\\" Stevenson with Ivy Jo Hunter, was a Top 30 pop hit and a Top 10 R&B hit in early 1965. Success After their first number 1 hit, \\\"I Can't Help Myself (Sugar Pie, Honey Bunch)\\\" in June 1965, the Four Tops released a long series of successful hit singles.\",\n \"Success After their first number 1 hit, \\\"I Can't Help Myself (Sugar Pie, Honey Bunch)\\\" in June 1965, the Four Tops released a long series of successful hit singles. Among the first wave of these hits were the Top 10 \\\"It's the Same Old Song\\\" (1965), \\\"Something About You\\\" (1965), \\\"Shake Me, Wake Me (When It's Over)\\\" (1966), and \\\"Loving You Is Sweeter Than Ever\\\" (1966).\",\n \"Among the first wave of these hits were the Top 10 \\\"It's the Same Old Song\\\" (1965), \\\"Something About You\\\" (1965), \\\"Shake Me, Wake Me (When It's Over)\\\" (1966), and \\\"Loving You Is Sweeter Than Ever\\\" (1966). Holland-Dozier-Holland wrote most of Levi Stubbs's vocals in a tenor range, near the top of his range, in order to get a sense of strained urgency in his gospel preacher-inspired leads.\",\n \"Holland-Dozier-Holland wrote most of Levi Stubbs's vocals in a tenor range, near the top of his range, in order to get a sense of strained urgency in his gospel preacher-inspired leads. They also wrote additional background vocals for a female group, the Andantes, on many of the songs, to add a high end to the low-voiced harmony of the Tops.\",\n \"They also wrote additional background vocals for a female group, the Andantes, on many of the songs, to add a high end to the low-voiced harmony of the Tops. Ivy Jo Hunter's \\\"Loving You Is Sweeter Than Ever\\\" (1966) was one of a few exceptions.\",\n \"Ivy Jo Hunter's \\\"Loving You Is Sweeter Than Ever\\\" (1966) was one of a few exceptions. August 1966 brought the release of the Four Tops' all-time biggest hit and one of the most popular Motown songs ever.\",\n \"August 1966 brought the release of the Four Tops' all-time biggest hit and one of the most popular Motown songs ever. \\\"Reach Out I'll Be There\\\" reached number 1 on the U.S. pop and R&B charts and the UK chart and soon became the Tops' signature song.\",\n \"\\\"Reach Out I'll Be There\\\" reached number 1 on the U.S. pop and R&B charts and the UK chart and soon became the Tops' signature song. It was almost immediately followed by the similar-sounding \\\"Standing in the Shadows of Love\\\"; its depiction of heartbreak reflecting the opposite of the optimism in \\\"Reach Out\\\".\",\n \"It was almost immediately followed by the similar-sounding \\\"Standing in the Shadows of Love\\\"; its depiction of heartbreak reflecting the opposite of the optimism in \\\"Reach Out\\\". It was another Top 10 hit for the Tops.\",\n \"It was another Top 10 hit for the Tops. The Top 10 U.S. hit \\\"Bernadette\\\" centered around a man's all-consuming obsession with his lover, continued the Four Tops' successful run into April 1967, followed by the Top 20 hits \\\"7-Rooms of Gloom\\\", and \\\"You Keep Running Away\\\".\",\n \"The Top 10 U.S. hit \\\"Bernadette\\\" centered around a man's all-consuming obsession with his lover, continued the Four Tops' successful run into April 1967, followed by the Top 20 hits \\\"7-Rooms of Gloom\\\", and \\\"You Keep Running Away\\\". By now, the Tops were the most successful male Motown act in the United Kingdom (in the United States, they were second to the Temptations), and began experimenting with more mainstream pop hits.\",\n \"By now, the Tops were the most successful male Motown act in the United Kingdom (in the United States, they were second to the Temptations), and began experimenting with more mainstream pop hits. They scored hits with their versions of Tim Hardin's \\\"If I Were a Carpenter\\\" in late 1967 (mid-1968 in the U.S.) and the Left Banke's \\\"Walk Away Renée\\\" in early 1968.\",\n \"They scored hits with their versions of Tim Hardin's \\\"If I Were a Carpenter\\\" in late 1967 (mid-1968 in the U.S.) and the Left Banke's \\\"Walk Away Renée\\\" in early 1968. These singles and the original \\\"I'm in a Different World\\\" were their last hits produced by Holland-Dozier-Holland, who left Motown in 1967 after disputes with Berry Gordy, Jr. Late Motown period Without Holland-Dozier-Holland, the hits became less frequent.\",\n \"These singles and the original \\\"I'm in a Different World\\\" were their last hits produced by Holland-Dozier-Holland, who left Motown in 1967 after disputes with Berry Gordy, Jr. Late Motown period Without Holland-Dozier-Holland, the hits became less frequent. The group worked with a wide array of Motown producers during the late 1960s, including Ivy Jo Hunter, Nickolas Ashford & Valerie Simpson, Norman Whitfield and Johnny Bristol, without significant chart success.\",\n \"The group worked with a wide array of Motown producers during the late 1960s, including Ivy Jo Hunter, Nickolas Ashford & Valerie Simpson, Norman Whitfield and Johnny Bristol, without significant chart success. Their first major hit in a long time came in the form of 1970's \\\"It's All in the Game\\\", a pop Top 30/R&B Top Ten hit produced by Frank Wilson.\",\n \"Their first major hit in a long time came in the form of 1970's \\\"It's All in the Game\\\", a pop Top 30/R&B Top Ten hit produced by Frank Wilson. Wilson and the Tops began working on a number of innovative tracks and albums together, echoing Whitfield's psychedelic soul work with the Temptations.\",\n \"Wilson and the Tops began working on a number of innovative tracks and albums together, echoing Whitfield's psychedelic soul work with the Temptations. Their 1970 album Still Waters Run Deep was a forerunner of the concept album.\",\n \"Their 1970 album Still Waters Run Deep was a forerunner of the concept album. It also served as an inspiration for Marvin Gaye's 1971 classic album What's Going On, the title track of which was co-written by the Tops' Renaldo \\\"Obie\\\" Benson.\",\n \"It also served as an inspiration for Marvin Gaye's 1971 classic album What's Going On, the title track of which was co-written by the Tops' Renaldo \\\"Obie\\\" Benson. In addition to their own albums, the Tops were paired with The Supremes, who had just replaced lead singer Diana Ross with Jean Terrell, for a series of albums billed under the joint title The Magnificent 7 in 1970, and The Return of the Magnificent Seven and Dynamite!\",\n \"In addition to their own albums, the Tops were paired with The Supremes, who had just replaced lead singer Diana Ross with Jean Terrell, for a series of albums billed under the joint title The Magnificent 7 in 1970, and The Return of the Magnificent Seven and Dynamite! in 1971.\",\n \"in 1971. in 1971. Whilst the albums themselves did not perform really well on the charts, The Magnificent Seven featured a Top 20 version of Ike & Tina Turner's \\\"River Deep - Mountain High\\\", produced by Ashford & Simpson. The 1971 single \\\"A Simple Game\\\" featured backing vocals from members of The Moody Blues.\",\n \"The 1971 single \\\"A Simple Game\\\" featured backing vocals from members of The Moody Blues. The song did not fare well on the U.S. charts, but reached number three on the UK chart. ABC/Dunhill Records and Casablanca Records Motown as a company began to change during the early 1970s.\",\n \"ABC/Dunhill Records and Casablanca Records Motown as a company began to change during the early 1970s. Older acts such as Martha and the Vandellas and The Marvelettes were slowly moved aside or dropped to focus on newer acts, such as Michael Jackson and The Jackson 5, Rare Earth, and the now-solo Diana Ross.\",\n \"Older acts such as Martha and the Vandellas and The Marvelettes were slowly moved aside or dropped to focus on newer acts, such as Michael Jackson and The Jackson 5, Rare Earth, and the now-solo Diana Ross. In addition, the company moved its operations from Detroit to Los Angeles, California, where Berry Gordy, Jr. planned to break into the motion picture and television industries.\",\n \"In addition, the company moved its operations from Detroit to Los Angeles, California, where Berry Gordy, Jr. planned to break into the motion picture and television industries. In 1972, it was announced that the entire company would move west and that all its artists had to move as well.\",\n \"In 1972, it was announced that the entire company would move west and that all its artists had to move as well. Many of the older Motown acts, already neglected by the label, opted to stay in Detroit, including The Funk Brothers studio backing band, Martha Reeves, and the Four Tops.\",\n \"Many of the older Motown acts, already neglected by the label, opted to stay in Detroit, including The Funk Brothers studio backing band, Martha Reeves, and the Four Tops. The Tops departed Motown for ABC-Dunhill, where they were assigned to writer-producers Dennis Lambert and Brian Potter and the label's head of A&R, Steve Barri as producer, with The Tops' own Lawrence Payton later also serving as a producer and writer.\",\n \"The Tops departed Motown for ABC-Dunhill, where they were assigned to writer-producers Dennis Lambert and Brian Potter and the label's head of A&R, Steve Barri as producer, with The Tops' own Lawrence Payton later also serving as a producer and writer. He also took over lead vocal duties on several tracks.\",\n \"He also took over lead vocal duties on several tracks. The group's first release on the label, \\\"Keeper of the Castle\\\" (1972) was their first pop Top 10 hit since \\\"Bernadette\\\" in 1967.\",\n \"The group's first release on the label, \\\"Keeper of the Castle\\\" (1972) was their first pop Top 10 hit since \\\"Bernadette\\\" in 1967. Follow-ups included the 1973 million-selling \\\"Ain't No Woman (Like the One I've Got)\\\", also a top 10 pop hit and their third R&B number 1, and the Top 20 hit, \\\"Are You Man Enough\\\" (1973), (from the 1973 movie Shaft in Africa).\",\n \"Follow-ups included the 1973 million-selling \\\"Ain't No Woman (Like the One I've Got)\\\", also a top 10 pop hit and their third R&B number 1, and the Top 20 hit, \\\"Are You Man Enough\\\" (1973), (from the 1973 movie Shaft in Africa). \\\"Sweet Understanding Love\\\" (1973); \\\"Midnight Flower (1974); and \\\"One Chain Don't Make No Prison\\\" (1974) all reached the R&B Top 10 between 1972 and 1974.\",\n \"\\\"Sweet Understanding Love\\\" (1973); \\\"Midnight Flower (1974); and \\\"One Chain Don't Make No Prison\\\" (1974) all reached the R&B Top 10 between 1972 and 1974. Two ABC/Dunhill singles, 1974's \\\"I Just Can't Get You Out of My Mind\\\" and 1975's \\\"Seven Lonely Nights\\\" have become popular tunes in the southeast Beach/Shag Club Dance circuit.\",\n \"Two ABC/Dunhill singles, 1974's \\\"I Just Can't Get You Out of My Mind\\\" and 1975's \\\"Seven Lonely Nights\\\" have become popular tunes in the southeast Beach/Shag Club Dance circuit. After the release of \\\"Catfish\\\" (a top 10 R&B hit) in 1976, the major hits started to dry up and the Tops left ABC after an album recorded in Philadelphia with the MFSB musicians resulted in only minor chart success in 1978.\",\n \"After the release of \\\"Catfish\\\" (a top 10 R&B hit) in 1976, the major hits started to dry up and the Tops left ABC after an album recorded in Philadelphia with the MFSB musicians resulted in only minor chart success in 1978. The group disappeared from the recording scene until the early 1980s.\",\n \"The group disappeared from the recording scene until the early 1980s. Signing a deal with Casablanca Records, the Tops made a comeback in 1981 with the number 1 R&B hit \\\"When She Was My Girl\\\". Produced by David Wolfert, it just missed the Billboard pop Top 10, peaking at number 11.\",\n \"Produced by David Wolfert, it just missed the Billboard pop Top 10, peaking at number 11. The group also scored a UK Top 10 hit with the song and had another hit there with the follow-up, \\\"Don't Walk Away\\\".\",\n \"The group also scored a UK Top 10 hit with the song and had another hit there with the follow-up, \\\"Don't Walk Away\\\". In 1982, their song \\\"Back to School Again\\\" appeared in both the movie Grease 2 and its soundtrack.\",\n \"In 1982, their song \\\"Back to School Again\\\" appeared in both the movie Grease 2 and its soundtrack. Return to Motown By 1983, The Tops had rejoined Motown, where their former ABC-Dunhill producer, Barri was vice-president of A&R.\",\n \"Return to Motown By 1983, The Tops had rejoined Motown, where their former ABC-Dunhill producer, Barri was vice-president of A&R. They were featured on the company's 1983 television special Motown 25: Yesterday, Today, Forever, taking part in one of the highlights of the show - a battle of the bands between The Tops and The Temptations, patterned after similar competitions Berry Gordy, Jr. had staged during the 1960s.\",\n \"They were featured on the company's 1983 television special Motown 25: Yesterday, Today, Forever, taking part in one of the highlights of the show - a battle of the bands between The Tops and The Temptations, patterned after similar competitions Berry Gordy, Jr. had staged during the 1960s. Levi Stubbs and Temptation Otis Williams decided the Temptations/Tops battle would be a good one to take on the road, and both groups began semi-regular joint tours.\",\n \"Levi Stubbs and Temptation Otis Williams decided the Temptations/Tops battle would be a good one to take on the road, and both groups began semi-regular joint tours. The first of The Tops' albums under their new Motown contract was Back Where I Belong (1983).\",\n \"The first of The Tops' albums under their new Motown contract was Back Where I Belong (1983). A whole side of the album was produced by the Holland-Dozier-Holland production team, including the R&B Top 40 single \\\"I Just Can't Walk Away\\\".\",\n \"A whole side of the album was produced by the Holland-Dozier-Holland production team, including the R&B Top 40 single \\\"I Just Can't Walk Away\\\". Only one more Tops album would be released by Motown, Magic in 1985.\",\n \"Only one more Tops album would be released by Motown, Magic in 1985. The lead single from that album, \\\"Sexy Ways\\\", was almost a Top 20 R&B hit, peaking at number 21 in mid-1985.\",\n \"The lead single from that album, \\\"Sexy Ways\\\", was almost a Top 20 R&B hit, peaking at number 21 in mid-1985. In July of that year, the group performed at the Live Aid concert, singing five of their hit songs.\",\n \"In July of that year, the group performed at the Live Aid concert, singing five of their hit songs. The title track of 1988's Indestructible was the group's final Top 40 hit, reaching No. 35. It was also featured in the 1988 science-fiction cop film Alien Nation.\",\n \"It was also featured in the 1988 science-fiction cop film Alien Nation. Another track, \\\"Loco in Acapulco\\\", written and produced by British pop musician Phil Collins and former Motown composer-producer Lamont Dozier, climbed into the UK Top 10 and made number 7 in early 1989.\",\n \"Another track, \\\"Loco in Acapulco\\\", written and produced by British pop musician Phil Collins and former Motown composer-producer Lamont Dozier, climbed into the UK Top 10 and made number 7 in early 1989. The Arista contract provided an opportunity to pair Levi Stubbs with fellow Arista artist, another R&B vocalist from Detroit, Aretha Franklin, who was at the height of her own 1980s hit streak.\",\n \"The Arista contract provided an opportunity to pair Levi Stubbs with fellow Arista artist, another R&B vocalist from Detroit, Aretha Franklin, who was at the height of her own 1980s hit streak. This pairing resulted in the 1988 song \\\"If Ever a Love There Was\\\", which became a popular R&B and Adult Contemporary hit, as well as being featured on the soundtrack of the 1988 motion picture I'm Gonna Git You Sucka.\",\n \"This pairing resulted in the 1988 song \\\"If Ever a Love There Was\\\", which became a popular R&B and Adult Contemporary hit, as well as being featured on the soundtrack of the 1988 motion picture I'm Gonna Git You Sucka. In December 1988, Pan Am Flight 103 (a disaster known as the Lockerbie bombing) became the group's scheduled return flight to the U.S. for Christmas after completing their European tour.\",\n \"In December 1988, Pan Am Flight 103 (a disaster known as the Lockerbie bombing) became the group's scheduled return flight to the U.S. for Christmas after completing their European tour. A prolonged recording session and a performance at the British television show Top of the Pops caused them to oversleep and miss the ill-fated flight which crashed in Lockerbie, Scotland, after a terrorist bomb was detonated on board.\",\n \"A prolonged recording session and a performance at the British television show Top of the Pops caused them to oversleep and miss the ill-fated flight which crashed in Lockerbie, Scotland, after a terrorist bomb was detonated on board. They left London on a later British Airways flight.\",\n \"They left London on a later British Airways flight. Later years From the late 1980s, the Four Tops focused on touring and live performances. They recorded only one album, returning again to Motown for 1995's Christmas Here with You.\",\n \"They recorded only one album, returning again to Motown for 1995's Christmas Here with You. On June 20, 1997, 59-year-old Lawrence Payton died as a result of liver cancer, after singing for 44 years with the Four Tops who, unlike many other Motown groups, never had a single lineup change until then.\",\n \"On June 20, 1997, 59-year-old Lawrence Payton died as a result of liver cancer, after singing for 44 years with the Four Tops who, unlike many other Motown groups, never had a single lineup change until then. At first, Levi Stubbs, Renaldo \\\"Obie\\\" Benson, and Abdul \\\"Duke\\\" Fakir toured as a trio called The Tops.\",\n \"At first, Levi Stubbs, Renaldo \\\"Obie\\\" Benson, and Abdul \\\"Duke\\\" Fakir toured as a trio called The Tops. In 1998, they recruited former member of the Temptations Theo Peoples to restore the group to a quartet.\",\n \"In 1998, they recruited former member of the Temptations Theo Peoples to restore the group to a quartet. By the turn of the century, Stubbs had become ill from cancer; Ronnie McNeir was recruited to fill the Lawrence Payton position and Theo Peoples stepped into Stubbs' shoes as lead singer.\",\n \"By the turn of the century, Stubbs had become ill from cancer; Ronnie McNeir was recruited to fill the Lawrence Payton position and Theo Peoples stepped into Stubbs' shoes as lead singer. Stubbs later died on October 17, 2008 at his home in Detroit.\",\n \"Stubbs later died on October 17, 2008 at his home in Detroit. The group was featured in several television specials during this time, including Motown 45, and several by PBS, including a 50th-anniversary concert dedicated to the group (available on DVD).\",\n \"The group was featured in several television specials during this time, including Motown 45, and several by PBS, including a 50th-anniversary concert dedicated to the group (available on DVD). The concert turned out to be bittersweet; it featured a brief appearance of Levi Stubbs using a wheelchair, and a memorial to Lawrence Payton, announced by Renaldo \\\"Obie\\\" Benson.\",\n \"The concert turned out to be bittersweet; it featured a brief appearance of Levi Stubbs using a wheelchair, and a memorial to Lawrence Payton, announced by Renaldo \\\"Obie\\\" Benson. Benson appeared on one more PBS special and died on July 1, 2005, from lung cancer.\",\n \"Benson appeared on one more PBS special and died on July 1, 2005, from lung cancer. The final PBS special, titled Motown: The Early Years, featured a message of Benson's passing following the credits.\",\n \"The final PBS special, titled Motown: The Early Years, featured a message of Benson's passing following the credits. The group was inducted into the Rock and Roll Hall of Fame in 1990, and into the Vocal Group Hall of Fame in 1999.\",\n \"The group was inducted into the Rock and Roll Hall of Fame in 1990, and into the Vocal Group Hall of Fame in 1999. In 2004, Rolling Stone ranked them #79 on their list of the 100 Greatest Artists of All Time.\",\n \"In 2004, Rolling Stone ranked them #79 on their list of the 100 Greatest Artists of All Time. The Four Tops were inducted into the Michigan Rock and Roll Legends Hall of Fame in 2005.\",\n \"The Four Tops were inducted into the Michigan Rock and Roll Legends Hall of Fame in 2005. The Four Tops sang the National Anthem before the start of game 5 for the 2011 baseball American League Championship Series (ALCS) between the Texas Rangers & Detroit Tigers on October 13, 2011 in Detroit, MI.\",\n \"The Four Tops sang the National Anthem before the start of game 5 for the 2011 baseball American League Championship Series (ALCS) between the Texas Rangers & Detroit Tigers on October 13, 2011 in Detroit, MI. When singing the last line of \\\"The Star-Spangled Banner\\\", \\\"... and the home of the brave\\\", they quickly sang the words \\\"Ain't No country Like the One I Got\\\", before singing the last word, \\\"brave\\\".\",\n \"When singing the last line of \\\"The Star-Spangled Banner\\\", \\\"... and the home of the brave\\\", they quickly sang the words \\\"Ain't No country Like the One I Got\\\", before singing the last word, \\\"brave\\\". The Four Tops were honored with an induction into the R&B Music Hall of Fame at the Inaugural ceremony held at Cleveland State University's Waetejen Auditorium on Saturday August 17, 2013.\",\n \"The Four Tops were honored with an induction into the R&B Music Hall of Fame at the Inaugural ceremony held at Cleveland State University's Waetejen Auditorium on Saturday August 17, 2013. The Four Tops were among hundreds of artists whose material was destroyed in the 2008 Universal fire.\",\n \"The Four Tops were among hundreds of artists whose material was destroyed in the 2008 Universal fire. The Four Tops career awards The Four Tops have won many awards, including the following: Rock and Roll Hall of Fame (1990) Vocal Group Hall of Fame (1999) Hollywood Walk of Fame (1997) Grammy Hall of Fame (Reach Out I'll Be There-1998)(\\\"I Can't Help Myself (Sugar Pie Honey Bunch-2018) Grammy Lifetime Achievement Award (2009-51st Annual Grammy Awards) Rhythm and Blues Foundation Pioneer Award (1997) Billboard magazine Top 100 Artists of All Time(#77) R&B Music Hall of Fame Induction (2013) 100 Greatest Artists of All Time (#79-Rolling Stone) Rolling Stone's 500 Greatest Songs of All Time (2003) Michigan Rock and Roll Legends Hall of Fame Grammy Lifetime Achievement Award In early 2018, The Four Tops' 1965 #1 Pop Hit, \\\"I Can't Help Myself (Sugar Pie Honey Bunch)\\\" became their second song to be inducted into The Grammy Hall of Fame.\",\n \"The Four Tops career awards The Four Tops have won many awards, including the following: Rock and Roll Hall of Fame (1990) Vocal Group Hall of Fame (1999) Hollywood Walk of Fame (1997) Grammy Hall of Fame (Reach Out I'll Be There-1998)(\\\"I Can't Help Myself (Sugar Pie Honey Bunch-2018) Grammy Lifetime Achievement Award (2009-51st Annual Grammy Awards) Rhythm and Blues Foundation Pioneer Award (1997) Billboard magazine Top 100 Artists of All Time(#77) R&B Music Hall of Fame Induction (2013) 100 Greatest Artists of All Time (#79-Rolling Stone) Rolling Stone's 500 Greatest Songs of All Time (2003) Michigan Rock and Roll Legends Hall of Fame Grammy Lifetime Achievement Award In early 2018, The Four Tops' 1965 #1 Pop Hit, \\\"I Can't Help Myself (Sugar Pie Honey Bunch)\\\" became their second song to be inducted into The Grammy Hall of Fame. Personnel Current Members Abdul “Duke” Fakir (1953-present) Ronnie McNeir (1999-present) Lawrence Payton Jr. (2005-present) Alexander Morris (2019-present) Former Members Levi Stubbs (1953-2000, 2004) (d. 2008) Renaldo “Obie” Benson (1953-2005) (d. 2005) Lawrence Payton (1953-1997) (d. 1997) Theo Peoples (1998-2010) Harold Bonhart (2010-2018) Discography Albums Motown releases 1965: Four Tops (US #63; UK #2) 1965: Four Tops' Second Album (US #20) 1966: Four Tops Live!\",\n \"Personnel Current Members Abdul “Duke” Fakir (1953-present) Ronnie McNeir (1999-present) Lawrence Payton Jr. (2005-present) Alexander Morris (2019-present) Former Members Levi Stubbs (1953-2000, 2004) (d. 2008) Renaldo “Obie” Benson (1953-2005) (d. 2005) Lawrence Payton (1953-1997) (d. 1997) Theo Peoples (1998-2010) Harold Bonhart (2010-2018) Discography Albums Motown releases 1965: Four Tops (US #63; UK #2) 1965: Four Tops' Second Album (US #20) 1966: Four Tops Live! (US #17; UK #4) 1966: On Top (US #32; UK #9) 1967: Four Tops' Greatest Hits (US #4; UK #1) 1967: Reach Out (US #11; UK #6) 1967: Four Tops on Broadway (US #79) 1968: Yesterday's Dreams (US #91) 1969: Four Tops Now!\",\n \"(US #17; UK #4) 1966: On Top (US #32; UK #9) 1967: Four Tops' Greatest Hits (US #4; UK #1) 1967: Reach Out (US #11; UK #6) 1967: Four Tops on Broadway (US #79) 1968: Yesterday's Dreams (US #91) 1969: Four Tops Now! (US #74) 1969: Soul Spin (US #163) 1970: Still Waters Run Deep (US #21) 1970: Changing Times (US #109) 1970: The Magnificent 7 (with The Supremes) (US #113; UK #6) 1971: The Return of the Magnificent Seven (with The Supremes) (US #154) 1971: Dynamite (with the Supremes) (US #160) 1971: Mac Arthur Park 1972: Nature Planned It (US #50) 1973: The Best of the 4 Tops (US #103) ABC releases 1972: Keeper of the Castle (US #33) 1973: Main Street People (US #66) 1974: Meeting of the Minds (US #118) 1974: Live & in Concert (US #92) 1975: Night Lights Harmony (US #148) 1976: Catfish (US #124) 1977: The Show Must Go On 1978: At the Top Casablanca releases 1981: Tonight!\",\n \"(US #74) 1969: Soul Spin (US #163) 1970: Still Waters Run Deep (US #21) 1970: Changing Times (US #109) 1970: The Magnificent 7 (with The Supremes) (US #113; UK #6) 1971: The Return of the Magnificent Seven (with The Supremes) (US #154) 1971: Dynamite (with the Supremes) (US #160) 1971: Mac Arthur Park 1972: Nature Planned It (US #50) 1973: The Best of the 4 Tops (US #103) ABC releases 1972: Keeper of the Castle (US #33) 1973: Main Street People (US #66) 1974: Meeting of the Minds (US #118) 1974: Live & in Concert (US #92) 1975: Night Lights Harmony (US #148) 1976: Catfish (US #124) 1977: The Show Must Go On 1978: At the Top Casablanca releases 1981: Tonight! (US #37) 1982: One More Mountain Motown releases 1983: Back Where I Belong 1985: Magic (US #140) 1986: Hot Nights (unreleased) Arista releases 1988: Indestructible (US #149) Motown releases 1995: Christmas Here with You Prism Leisure releases 2000: The Four Tops Collection (recorded live at the MGM grand 1996) U.S.\",\n \"(US #37) 1982: One More Mountain Motown releases 1983: Back Where I Belong 1985: Magic (US #140) 1986: Hot Nights (unreleased) Arista releases 1988: Indestructible (US #149) Motown releases 1995: Christmas Here with You Prism Leisure releases 2000: The Four Tops Collection (recorded live at the MGM grand 1996) U.S. Billboard Hot 100 and UK singles The following singles reached the top 30 of the U.S. and UK singles charts.\",\n \"Billboard Hot 100 and UK singles The following singles reached the top 30 of the U.S. and UK singles charts. DVDs The Four Tops: Live at the MGM Grand: 40th Anniversary Special (1996) The Four Tops: The Four Tops (semi-documentary/concert rehearsal, recorded live for French TV in 1971) (2004) The Four Tops: From the Heart: The 50th Anniversary Concert (2006) The Four Tops: Reach Out: Definitive Performances 1965-1973 (2008), Motown/Universal See also List of best-selling music artists References External links Four Tops biography by John Bush, discography and album reviews, credits & releases at AllMusic Four Tops discography, album releases & credits at Discogs Four Tops filmography on IMDb Four Tops Broadway musical productions at the Internet Broadway Database Four Tops discography at MusicBrainz Four Tops albums to be listened as stream on Spotify Vocal Group Hall of Fame page on the Four Tops Levi Stubbs/The Four Tops interview by Pete Lewis, 'Blues & Soul' October 1992 (republished November 2008) History of Rock article Four Tops on MySpace Four Tops appearances on The Ed Sullivan Show Ronnie McNeir 2012 Interview at Soulinterviews.com.\",\n \"DVDs The Four Tops: Live at the MGM Grand: 40th Anniversary Special (1996) The Four Tops: The Four Tops (semi-documentary/concert rehearsal, recorded live for French TV in 1971) (2004) The Four Tops: From the Heart: The 50th Anniversary Concert (2006) The Four Tops: Reach Out: Definitive Performances 1965-1973 (2008), Motown/Universal See also List of best-selling music artists References External links Four Tops biography by John Bush, discography and album reviews, credits & releases at AllMusic Four Tops discography, album releases & credits at Discogs Four Tops filmography on IMDb Four Tops Broadway musical productions at the Internet Broadway Database Four Tops discography at MusicBrainz Four Tops albums to be listened as stream on Spotify Vocal Group Hall of Fame page on the Four Tops Levi Stubbs/The Four Tops interview by Pete Lewis, 'Blues & Soul' October 1992 (republished November 2008) History of Rock article Four Tops on MySpace Four Tops appearances on The Ed Sullivan Show Ronnie McNeir 2012 Interview at Soulinterviews.com. Musical groups established in 1953 Musical groups from Detroit African-American musical groups American soul musical groups Motown artists Northern soul musicians ABC Records artists Dunhill Records artists Chess Records artists Vocal quartets Columbia Records artists Casablanca Records artists Arista Records artists 1953 establishments in Michigan\"\n]"}}},{"rowIdx":474,"cells":{"History":{"kind":"list like","value":["Four Tops","ABC Records and Casablanca Records","Did they move from ABC to Casablanca?","The Tops departed Motown for ABC-Dunhill,"],"string":"[\n \"Four Tops\",\n \"ABC Records and Casablanca Records\",\n \"Did they move from ABC to Casablanca?\",\n \"The Tops departed Motown for ABC-Dunhill,\"\n]"},"QuAC_dialog_id":{"kind":"string","value":"C_a9ee71dcf4f84b50b0677e63a645e03c_1"},"Question":{"kind":"string","value":"Why did they depart motown?"},"Question_no":{"kind":"number","value":2,"string":"2"},"Rewrite":{"kind":"string","value":"Why did the Tops depart motown?"},"true_page_title":{"kind":"string","value":"Four Tops"},"true_contexts":{"kind":"string","value":"Motown as a company began to change during the early 1970s. Older acts such as Martha and the Vandellas and The Marvelettes were slowly moved aside or dropped to focus on newer acts, such as Michael Jackson and The Jackson 5, Rare Earth, and the now-solo Diana Ross. In addition, the company moved its operations from Detroit to Los Angeles, California, where Berry Gordy planned to break into the motion picture and television industries. In 1972, it was announced that the entire company would move west and that all its artists had to move as well. Many of the older Motown acts, already neglected by the label, opted to stay in Detroit, including The Funk Brothers studio backing band, Martha Reeves, and the Four Tops. The Tops departed Motown for ABC-Dunhill, where they were assigned to writer-producers Dennis Lambert and Brian Potter and the label's head of A&R, Steve Barri as producer, with The Tops' own Lawrence Payton later also serving as a producer and writer. He also took over lead vocal duties on several tracks. The group's first release on the label, \"Keeper of the Castle\" was their first pop Top 10 hit since \"Bernadette\" in 1967. Follow-ups included the million-selling \"Ain't No Woman (Like the One I've Got)\", also a top 10 pop hit and their third R&B number 1, and the Top 20 hit, \"Are You Man Enough\", (from the movie \"Shaft in Africa\"). \"Sweet Understanding Love\"; \"Midnight Flower\"; and \"One Chain Don't Make No Prison\" all reached the R&B Top 10 between 1972 and 1974. Two ABC/Dunhill singles, 1974's \"I Just Can't Get You Out of My Mind\" and 1975's \"Seven Lonely Nights\" have become popular tunes in the southeast Beach/Shag Club Dance circuit. After the release of \"Catfish\" (a top 10 R&B hit) in 1976, the major hits started to dry up and the Tops left ABC after an album recorded in Philadelphia with the MFSB musicians resulted in only minor chart success in 1978. The group disappeared from the recording scene until the early 1980s. Signing a deal with Casablanca Records, the Tops made a comeback in 1981 with the #1 R&B hit \"When She Was My Girl\". Produced by David Wolfert, it just missed the Billboard pop Top 10, peaking at #11. The group also scored a UK Top 10 hit with the song and had another hit there with the follow-up, \"Don't Walk Away\". CANNOTANSWER"},"answer":{"kind":"string","value":"In 1972, it was announced that the entire company would move west and that all its artists had to move as well."},"true_contexts_wiki":{"kind":"string","value":"The Four Tops are an American vocal quartet from Detroit who helped to define the city's Motown sound of the 1960s. The group's repertoire has included soul music, R&B, disco, adult contemporary, doo-wop, jazz, and show tunes.\n\nFounded as the Four Aims, lead singer Levi Stubbs, Abdul \"Duke\" Fakir, Renaldo \"Obie\" Benson and Lawrence Payton remained together for over four decades, performing from 1953 until 1997 without a change in personnel. The Four Tops were among a number of groups, including the Miracles, the Marvelettes, Martha and the Vandellas, the Temptations, and the Supremes, who established the Motown Sound heard around the world during the 1960s. They were notable for having Stubbs, a baritone, as their lead singer, whereas most other male and mixed vocal groups of the time were fronted by tenors. \n\nThe group was the main male vocal group for the highly successful songwriting and production team of Holland–Dozier–Holland, who crafted a stream of hit singles for Motown. These included two Billboard Hot 100 number-one hits for the Tops: \"I Can't Help Myself (Sugar Pie Honey Bunch)\" in 1965 and \"Reach Out I'll Be There\" in 1966. The group continued to have chart singles into the 1970s, including the million-seller \"Ain't No Woman\" (1973). \n\nThe group was inducted into the Rock and Roll Hall of Fame in 1990 and into the Vocal Group Hall of Fame in 1999. In 2004, Rolling Stone ranked them #79 on its list of the 100 Greatest Artists of All Time.\n\nThe Four Tops continue to perform with Fakir as the last surviving original member.\n\nHistory\n\nEarly years\nAll four members of the group began their careers together while they were high-school students in Detroit. At the insistence of their friends, Pershing High students Levi Stubbs and Abdul \"Duke\" Fakir performed with Renaldo \"Obie\" Benson and Lawrence Payton from Northern High at a local birthday party. The quartet decided to remain together and named the group the Four Aims. With the help of Payton's songwriter cousin Roquel Davis, the Aims signed to Chess Records in 1956, changing their name to the Four Tops to avoid confusion with the Ames Brothers.\n\nOver the next seven years, the Tops had unsuccessful tenures at Chess, Red Top, Riverside Records and Columbia Records. Without any hit records to their name, they toured frequently, developing a polished stage presence and an experienced supper club act, as well as supporting Billy Eckstine. In 1963, Berry Gordy, Jr., who had worked with Roquel \"Billy\" Davis as a songwriter in the late 1950s, convinced the Tops to join the roster of his growing Motown record company.\n\nJoining Motown\nDuring their early Motown years, the Four Tops recorded jazz standards for the company's Workshop Jazz Records label. In addition, they sang backup on Motown singles by the Supremes (\"Run, Run, Run\", 1964), Martha and the Vandellas (on the 1966 hit \"My Baby Loves Me\") and others.\n\nIn 1964, Motown's main songwriting and production team, Holland–Dozier–Holland, created a complete instrumental track without any idea of what to do with it. They decided to craft the song as a more mainstream pop song for the Four Tops and proceeded to create \"Baby I Need Your Loving\" from the instrumental track. On its release in mid-1964, \"Baby I Need Your Loving\" made it to number 11 on the Billboard Hot 100.\n\nThe first follow-up single, \"Without the One You Love (Life's Not Worth While)\" (1964), just missed both the pop and R&B Top 40 charts, but \"Ask the Lonely\" (1965), written and produced by Motown A&R head William \"Mickey\" Stevenson with Ivy Jo Hunter, was a Top 30 pop hit and a Top 10 R&B hit in early 1965.\n\nSuccess\nAfter their first number 1 hit, \"I Can't Help Myself (Sugar Pie, Honey Bunch)\" in June 1965, the Four Tops released a long series of successful hit singles. Among the first wave of these hits were the Top 10 \"It's the Same Old Song\" (1965), \"Something About You\" (1965), \"Shake Me, Wake Me (When It's Over)\" (1966), and \"Loving You Is Sweeter Than Ever\" (1966). \n\nHolland-Dozier-Holland wrote most of Levi Stubbs's vocals in a tenor range, near the top of his range, in order to get a sense of strained urgency in his gospel preacher-inspired leads. They also wrote additional background vocals for a female group, the Andantes, on many of the songs, to add a high end to the low-voiced harmony of the Tops. Ivy Jo Hunter's \"Loving You Is Sweeter Than Ever\" (1966) was one of a few exceptions.\n\nAugust 1966 brought the release of the Four Tops' all-time biggest hit and one of the most popular Motown songs ever. \"Reach Out I'll Be There\" reached number 1 on the U.S. pop and R&B charts and the UK chart and soon became the Tops' signature song. It was almost immediately followed by the similar-sounding \"Standing in the Shadows of Love\"; its depiction of heartbreak reflecting the opposite of the optimism in \"Reach Out\". It was another Top 10 hit for the Tops.\n\nThe Top 10 U.S. hit \"Bernadette\" centered around a man's all-consuming obsession with his lover, continued the Four Tops' successful run into April 1967, followed by the Top 20 hits \"7-Rooms of Gloom\", and \"You Keep Running Away\". By now, the Tops were the most successful male Motown act in the United Kingdom (in the United States, they were second to the Temptations), and began experimenting with more mainstream pop hits. They scored hits with their versions of Tim Hardin's \"If I Were a Carpenter\" in late 1967 (mid-1968 in the U.S.) and the Left Banke's \"Walk Away Renée\" in early 1968. These singles and the original \"I'm in a Different World\" were their last hits produced by Holland-Dozier-Holland, who left Motown in 1967 after disputes with Berry Gordy, Jr.\n\nLate Motown period\nWithout Holland-Dozier-Holland, the hits became less frequent. The group worked with a wide array of Motown producers during the late 1960s, including Ivy Jo Hunter, Nickolas Ashford & Valerie Simpson, Norman Whitfield and Johnny Bristol, without significant chart success.\n\nTheir first major hit in a long time came in the form of 1970's \"It's All in the Game\", a pop Top 30/R&B Top Ten hit produced by Frank Wilson. Wilson and the Tops began working on a number of innovative tracks and albums together, echoing Whitfield's psychedelic soul work with the Temptations. Their 1970 album Still Waters Run Deep was a forerunner of the concept album. It also served as an inspiration for Marvin Gaye's 1971 classic album What's Going On, the title track of which was co-written by the Tops' Renaldo \"Obie\" Benson.\n\nIn addition to their own albums, the Tops were paired with The Supremes, who had just replaced lead singer Diana Ross with Jean Terrell, for a series of albums billed under the joint title The Magnificent 7 in 1970, and The Return of the Magnificent Seven and Dynamite! in 1971. Whilst the albums themselves did not perform really well on the charts, The Magnificent Seven featured a Top 20 version of Ike & Tina Turner's \"River Deep - Mountain High\", produced by Ashford & Simpson.\n\nThe 1971 single \"A Simple Game\" featured backing vocals from members of The Moody Blues. The song did not fare well on the U.S. charts, but reached number three on the UK chart.\n\nABC/Dunhill Records and Casablanca Records\nMotown as a company began to change during the early 1970s. Older acts such as Martha and the Vandellas and The Marvelettes were slowly moved aside or dropped to focus on newer acts, such as Michael Jackson and The Jackson 5, Rare Earth, and the now-solo Diana Ross. In addition, the company moved its operations from Detroit to Los Angeles, California, where Berry Gordy, Jr. planned to break into the motion picture and television industries. In 1972, it was announced that the entire company would move west and that all its artists had to move as well. Many of the older Motown acts, already neglected by the label, opted to stay in Detroit, including The Funk Brothers studio backing band, Martha Reeves, and the Four Tops.\n\nThe Tops departed Motown for ABC-Dunhill, where they were assigned to writer-producers Dennis Lambert and Brian Potter and the label's head of A&R, Steve Barri as producer, with The Tops' own Lawrence Payton later also serving as a producer and writer. He also took over lead vocal duties on several tracks.\n\nThe group's first release on the label, \"Keeper of the Castle\" (1972) was their first pop Top 10 hit since \"Bernadette\" in 1967. Follow-ups included the 1973 million-selling \"Ain't No Woman (Like the One I've Got)\", also a top 10 pop hit and their third R&B number 1, and the Top 20 hit, \"Are You Man Enough\" (1973), (from the 1973 movie Shaft in Africa). \"Sweet Understanding Love\" (1973); \"Midnight Flower (1974); and \"One Chain Don't Make No Prison\" (1974) all reached the R&B Top 10 between 1972 and 1974. Two ABC/Dunhill singles, 1974's \"I Just Can't Get You Out of My Mind\" and 1975's \"Seven Lonely Nights\" have become popular tunes in the southeast Beach/Shag Club Dance circuit.\n\nAfter the release of \"Catfish\" (a top 10 R&B hit) in 1976, the major hits started to dry up and the Tops left ABC after an album recorded in Philadelphia with the MFSB musicians resulted in only minor chart success in 1978. The group disappeared from the recording scene until the early 1980s. Signing a deal with Casablanca Records, the Tops made a comeback in 1981 with the number 1 R&B hit \"When She Was My Girl\". Produced by David Wolfert, it just missed the Billboard pop Top 10, peaking at number 11. The group also scored a UK Top 10 hit with the song and had another hit there with the follow-up, \"Don't Walk Away\". In 1982, their song \"Back to School Again\" appeared in both the movie Grease 2 and its soundtrack.\n\nReturn to Motown\nBy 1983, The Tops had rejoined Motown, where their former ABC-Dunhill producer, Barri was vice-president of A&R. They were featured on the company's 1983 television special Motown 25: Yesterday, Today, Forever, taking part in one of the highlights of the show - a battle of the bands between The Tops and The Temptations, patterned after similar competitions Berry Gordy, Jr. had staged during the 1960s. Levi Stubbs and Temptation Otis Williams decided the Temptations/Tops battle would be a good one to take on the road, and both groups began semi-regular joint tours.\n\nThe first of The Tops' albums under their new Motown contract was Back Where I Belong (1983). A whole side of the album was produced by the Holland-Dozier-Holland production team, including the R&B Top 40 single \"I Just Can't Walk Away\". Only one more Tops album would be released by Motown, Magic in 1985. The lead single from that album, \"Sexy Ways\", was almost a Top 20 R&B hit, peaking at number 21 in mid-1985. In July of that year, the group performed at the Live Aid concert, singing five of their hit songs.\n\nThe title track of 1988's Indestructible was the group's final Top 40 hit, reaching No. 35. It was also featured in the 1988 science-fiction cop film Alien Nation. Another track, \"Loco in Acapulco\", written and produced by British pop musician Phil Collins and former Motown composer-producer Lamont Dozier, climbed into the UK Top 10 and made number 7 in early 1989. The Arista contract provided an opportunity to pair Levi Stubbs with fellow Arista artist, another R&B vocalist from Detroit, Aretha Franklin, who was at the height of her own 1980s hit streak. This pairing resulted in the 1988 song \"If Ever a Love There Was\", which became a popular R&B and Adult Contemporary hit, as well as being featured on the soundtrack of the 1988 motion picture I'm Gonna Git You Sucka.\n\nIn December 1988, Pan Am Flight 103 (a disaster known as the Lockerbie bombing) became the group's scheduled return flight to the U.S. for Christmas after completing their European tour. A prolonged recording session and a performance at the British television show Top of the Pops caused them to oversleep and miss the ill-fated flight which crashed in Lockerbie, Scotland, after a terrorist bomb was detonated on board. They left London on a later British Airways flight.\n\nLater years\nFrom the late 1980s, the Four Tops focused on touring and live performances. They recorded only one album, returning again to Motown for 1995's Christmas Here with You. On June 20, 1997, 59-year-old Lawrence Payton died as a result of liver cancer, after singing for 44 years with the Four Tops who, unlike many other Motown groups, never had a single lineup change until then. At first, Levi Stubbs, Renaldo \"Obie\" Benson, and Abdul \"Duke\" Fakir toured as a trio called The Tops. In 1998, they recruited former member of the Temptations Theo Peoples to restore the group to a quartet. By the turn of the century, Stubbs had become ill from cancer; Ronnie McNeir was recruited to fill the Lawrence Payton position and Theo Peoples stepped into Stubbs' shoes as lead singer. Stubbs later died on October 17, 2008 at his home in Detroit. \n\nThe group was featured in several television specials during this time, including Motown 45, and several by PBS, including a 50th-anniversary concert dedicated to the group (available on DVD). The concert turned out to be bittersweet; it featured a brief appearance of Levi Stubbs using a wheelchair, and a memorial to Lawrence Payton, announced by Renaldo \"Obie\" Benson. Benson appeared on one more PBS special and died on July 1, 2005, from lung cancer. The final PBS special, titled Motown: The Early Years, featured a message of Benson's passing following the credits.\n\nThe group was inducted into the Rock and Roll Hall of Fame in 1990, and into the Vocal Group Hall of Fame in 1999. In 2004, Rolling Stone ranked them #79 on their list of the 100 Greatest Artists of All Time. The Four Tops were inducted into the Michigan Rock and Roll Legends Hall of Fame in 2005.\n\nThe Four Tops sang the National Anthem before the start of game 5 for the 2011 baseball American League Championship Series (ALCS) between the Texas Rangers & Detroit Tigers on October 13, 2011 in Detroit, MI. When singing the last line of \"The Star-Spangled Banner\", \"... and the home of the brave\", they quickly sang the words \"Ain't No country Like the One I Got\", before singing the last word, \"brave\". The Four Tops were honored with an induction into the R&B Music Hall of Fame at the Inaugural ceremony held at Cleveland State University's Waetejen Auditorium on Saturday August 17, 2013.\n\nThe Four Tops were among hundreds of artists whose material was destroyed in the 2008 Universal fire.\n\nThe Four Tops career awards\nThe Four Tops have won many awards, including the following:\n Rock and Roll Hall of Fame (1990)\n Vocal Group Hall of Fame (1999)\n Hollywood Walk of Fame (1997)\n Grammy Hall of Fame (Reach Out I'll Be There-1998)(\"I Can't Help Myself (Sugar Pie Honey Bunch-2018)\n Grammy Lifetime Achievement Award (2009-51st Annual Grammy Awards)\n Rhythm and Blues Foundation Pioneer Award (1997)\n Billboard magazine Top 100 Artists of All Time(#77)\n R&B Music Hall of Fame Induction (2013)\n 100 Greatest Artists of All Time (#79-Rolling Stone)\n Rolling Stone's 500 Greatest Songs of All Time (2003)\n Michigan Rock and Roll Legends Hall of Fame\n Grammy Lifetime Achievement Award\n\nIn early 2018, The Four Tops' 1965 #1 Pop Hit, \"I Can't Help Myself (Sugar Pie Honey Bunch)\" became their second song to be inducted into The Grammy Hall of Fame.\n\nPersonnel\n\nCurrent Members \n\n Abdul “Duke” Fakir (1953-present)\n Ronnie McNeir (1999-present)\n Lawrence Payton Jr. (2005-present)\n Alexander Morris (2019-present)\n\nFormer Members \n\n Levi Stubbs (1953-2000, 2004) (d. 2008)\n Renaldo “Obie” Benson (1953-2005) (d. 2005)\n Lawrence Payton (1953-1997) (d. 1997)\n Theo Peoples (1998-2010)\n Harold Bonhart (2010-2018)\n\nDiscography\n\nAlbums\nMotown releases\n 1965: Four Tops (US #63; UK #2)\n 1965: Four Tops' Second Album (US #20)\n 1966: Four Tops Live! (US #17; UK #4)\n 1966: On Top (US #32; UK #9)\n 1967: Four Tops' Greatest Hits (US #4; UK #1)\n 1967: Reach Out (US #11; UK #6)\n 1967: Four Tops on Broadway (US #79)\n 1968: Yesterday's Dreams (US #91)\n 1969: Four Tops Now! (US #74)\n 1969: Soul Spin (US #163)\n 1970: Still Waters Run Deep (US #21)\n 1970: Changing Times (US #109)\n 1970: The Magnificent 7 (with The Supremes) (US #113; UK #6)\n 1971: The Return of the Magnificent Seven (with The Supremes) (US #154)\n 1971: Dynamite (with the Supremes) (US #160)\n 1971: Mac Arthur Park\n 1972: Nature Planned It (US #50)\n 1973: The Best of the 4 Tops (US #103)\n\nABC releases\n 1972: Keeper of the Castle (US #33)\n 1973: Main Street People (US #66)\n 1974: Meeting of the Minds (US #118)\n 1974: Live & in Concert (US #92)\n 1975: Night Lights Harmony (US #148)\n 1976: Catfish (US #124)\n 1977: The Show Must Go On\n 1978: At the Top\n\nCasablanca releases\n 1981: Tonight! (US #37)\n 1982: One More Mountain\n\nMotown releases\n 1983: Back Where I Belong\n 1985: Magic (US #140)\n 1986: Hot Nights (unreleased)\n\nArista releases\n 1988: Indestructible (US #149)\n\nMotown releases\n 1995: Christmas Here with You\n\nPrism Leisure releases\n 2000: The Four Tops Collection (recorded live at the MGM grand 1996)\n\nU.S. Billboard Hot 100 and UK singles\nThe following singles reached the top 30 of the U.S. and UK singles charts.\n\nDVDs\n The Four Tops: Live at the MGM Grand: 40th Anniversary Special (1996)\n The Four Tops: The Four Tops (semi-documentary/concert rehearsal, recorded live for French TV in 1971) (2004)\n The Four Tops: From the Heart: The 50th Anniversary Concert (2006)\n The Four Tops: Reach Out: Definitive Performances 1965-1973 (2008), Motown/Universal\n\nSee also\n\n List of best-selling music artists\n\nReferences\n\nExternal links\n Four Tops biography by John Bush, discography and album reviews, credits & releases at AllMusic\n Four Tops discography, album releases & credits at Discogs\n Four Tops filmography on IMDb\n Four Tops Broadway musical productions at the Internet Broadway Database\n Four Tops discography at MusicBrainz\n Four Tops albums to be listened as stream on Spotify\n Vocal Group Hall of Fame page on the Four Tops\n Levi Stubbs/The Four Tops interview by Pete Lewis, 'Blues & Soul' October 1992 (republished November 2008)\n History of Rock article\n Four Tops on MySpace\n Four Tops appearances on The Ed Sullivan Show\n Ronnie McNeir 2012 Interview at Soulinterviews.com.\n\nMusical groups established in 1953\n\nMusical groups from Detroit\nAfrican-American musical groups\nAmerican soul musical groups\nMotown artists\nNorthern soul musicians\nABC Records artists\nDunhill Records artists\nChess Records artists\nVocal quartets\nColumbia Records artists\nCasablanca Records artists\nArista Records artists\n1953 establishments in Michigan"},"extractive":{"kind":"string","value":"true"},"retrieved_contexts":{"kind":"list like","value":["Reba Jeanette Smith (February 1, 1928 – February 17, 2001), known professionally as Debbie Dean, was an American singer who was the first white solo artist to record for Motown.\n\nBiography\n\nBorn Reba Jeanette Smith on February 1, 1928, in Corbin, Kentucky. She was the fourth child of Walter B. Smith, a railroad engineer by his wife, Alma, a housewife. Debbie Dean recorded as Penny Smith and Debbie Stevens at various labels before arriving at Motown in the early 1960s, and was Motown's first white female solo recording artist, signed by Berry Gordy.\n\nUnlike most of the early Motown recording artists, she was neither an R&B or blues singer. Her first single at Motown was \"Don't Let Him Shop Around,\" (1961) an answer record to the Miracles #1 R&B and #2 pop hit, \"Shop Around.\" Dean's perky vocals with a noticeable southern twang barely reached Billboard's Hot 100 charts with the song.\n\nSubsequent singles were even less successful and at the age of 34 (significantly older than most Motown acts at the time), she was dropped from the label. Several years later, after a meeting with Motown producer/writer Deke Richards, Dean rejoined the Motown roster as a writer/singer, and collaborated with Richards (born Dennis Lussier) on songs for the Supremes, Temptations, Smokey Robinson, Martha and the Vandellas, Edwin Starr, and other Motown artists. She also co-wrote and recorded \"Why Am I Lovin' You\", which was released as a single on Motown's V.I.P. label. The song has since become a Northern Soul favourite. Dean also recorded several tracks that remained unreleased at the time, but have since seen release on various \"unreleased\" Motown compilations.\n\nShe died on February 17, 2001 in Ojai, California.\n\nSelected discography\n\nMotown Singles\n \"Don't Let Him Shop Around\" b/w \"A New Girl\" (M 1007)\n \"Itsy Bity Pity Love\" b/w \"But I'm Afraid\" (M 1014)\n \"Everybody's Talkin' About My Baby\" b/w \"I Cried All Night\" (M 1025)\n \"Why Am I Lovin' You\" b/w \"Stay My Love\" (V.I.P. 25044)\n\nReferences\n\n1928 births\n2001 deaths\nAmerican women pop singers\nMotown artists\nPeople from Corbin, Kentucky\nKentucky women singers\nMusicians from Appalachia\nSingers from Kentucky\nSongwriters from Kentucky\n20th-century American women singers\n20th-century American singers","\"Your Old Standby\" is a song written by Motown songwriters Smokey Robinson and Janie Bradford and released as a single by Motown star Mary Wells in 1963. The record marked her third top forty pop single to come out in 1963.\n\nSong information\nIn the song, the narrator opens up about a man who is still in a troubling relationship with one woman while having a relationship with another woman. The other woman struggles to comprehend why her lover refuses to leave his past flame so she could \"be with him permanently\" as she puts it in the end.\n\nChart positions\nAfter the successful but modest response to \"Laughing Boy\", this song was rushed trying to compete with that record's top 15 peak. However, this song got as high as number 40 on the Billboard Hot 100 (it did however made number 8 on the U.S. R&B charts). Wells' next Robinson-penned hit, \"What's So Easy for Two is Hard for One\" would fare better for Wells.\n\nPersonnel\nLead vocal by Mary Wells\nBackground vocals by The Andantes (Jackie Hicks, Louvain Demps, and Marlene Barrow)\nInstrumentation by The Funk Brothers\n\nReferences\n\n1963 singles\nMary Wells songs\nSongs written by Smokey Robinson\nSongs written by Janie Bradford\nSong recordings produced by Smokey Robinson\n1963 songs\nMotown singles"],"string":"[\n \"Reba Jeanette Smith (February 1, 1928 – February 17, 2001), known professionally as Debbie Dean, was an American singer who was the first white solo artist to record for Motown.\\n\\nBiography\\n\\nBorn Reba Jeanette Smith on February 1, 1928, in Corbin, Kentucky. She was the fourth child of Walter B. Smith, a railroad engineer by his wife, Alma, a housewife. Debbie Dean recorded as Penny Smith and Debbie Stevens at various labels before arriving at Motown in the early 1960s, and was Motown's first white female solo recording artist, signed by Berry Gordy.\\n\\nUnlike most of the early Motown recording artists, she was neither an R&B or blues singer. Her first single at Motown was \\\"Don't Let Him Shop Around,\\\" (1961) an answer record to the Miracles #1 R&B and #2 pop hit, \\\"Shop Around.\\\" Dean's perky vocals with a noticeable southern twang barely reached Billboard's Hot 100 charts with the song.\\n\\nSubsequent singles were even less successful and at the age of 34 (significantly older than most Motown acts at the time), she was dropped from the label. Several years later, after a meeting with Motown producer/writer Deke Richards, Dean rejoined the Motown roster as a writer/singer, and collaborated with Richards (born Dennis Lussier) on songs for the Supremes, Temptations, Smokey Robinson, Martha and the Vandellas, Edwin Starr, and other Motown artists. She also co-wrote and recorded \\\"Why Am I Lovin' You\\\", which was released as a single on Motown's V.I.P. label. The song has since become a Northern Soul favourite. Dean also recorded several tracks that remained unreleased at the time, but have since seen release on various \\\"unreleased\\\" Motown compilations.\\n\\nShe died on February 17, 2001 in Ojai, California.\\n\\nSelected discography\\n\\nMotown Singles\\n \\\"Don't Let Him Shop Around\\\" b/w \\\"A New Girl\\\" (M 1007)\\n \\\"Itsy Bity Pity Love\\\" b/w \\\"But I'm Afraid\\\" (M 1014)\\n \\\"Everybody's Talkin' About My Baby\\\" b/w \\\"I Cried All Night\\\" (M 1025)\\n \\\"Why Am I Lovin' You\\\" b/w \\\"Stay My Love\\\" (V.I.P. 25044)\\n\\nReferences\\n\\n1928 births\\n2001 deaths\\nAmerican women pop singers\\nMotown artists\\nPeople from Corbin, Kentucky\\nKentucky women singers\\nMusicians from Appalachia\\nSingers from Kentucky\\nSongwriters from Kentucky\\n20th-century American women singers\\n20th-century American singers\",\n \"\\\"Your Old Standby\\\" is a song written by Motown songwriters Smokey Robinson and Janie Bradford and released as a single by Motown star Mary Wells in 1963. The record marked her third top forty pop single to come out in 1963.\\n\\nSong information\\nIn the song, the narrator opens up about a man who is still in a troubling relationship with one woman while having a relationship with another woman. The other woman struggles to comprehend why her lover refuses to leave his past flame so she could \\\"be with him permanently\\\" as she puts it in the end.\\n\\nChart positions\\nAfter the successful but modest response to \\\"Laughing Boy\\\", this song was rushed trying to compete with that record's top 15 peak. However, this song got as high as number 40 on the Billboard Hot 100 (it did however made number 8 on the U.S. R&B charts). Wells' next Robinson-penned hit, \\\"What's So Easy for Two is Hard for One\\\" would fare better for Wells.\\n\\nPersonnel\\nLead vocal by Mary Wells\\nBackground vocals by The Andantes (Jackie Hicks, Louvain Demps, and Marlene Barrow)\\nInstrumentation by The Funk Brothers\\n\\nReferences\\n\\n1963 singles\\nMary Wells songs\\nSongs written by Smokey Robinson\\nSongs written by Janie Bradford\\nSong recordings produced by Smokey Robinson\\n1963 songs\\nMotown singles\"\n]"},"chunked_article":{"kind":"list like","value":["The Four Tops are an American vocal quartet from Detroit who helped to define the city's Motown sound of the 1960s. The group's repertoire has included soul music, R&B, disco, adult contemporary, doo-wop, jazz, and show tunes.","The group's repertoire has included soul music, R&B, disco, adult contemporary, doo-wop, jazz, and show tunes. Founded as the Four Aims, lead singer Levi Stubbs, Abdul \"Duke\" Fakir, Renaldo \"Obie\" Benson and Lawrence Payton remained together for over four decades, performing from 1953 until 1997 without a change in personnel.","Founded as the Four Aims, lead singer Levi Stubbs, Abdul \"Duke\" Fakir, Renaldo \"Obie\" Benson and Lawrence Payton remained together for over four decades, performing from 1953 until 1997 without a change in personnel. The Four Tops were among a number of groups, including the Miracles, the Marvelettes, Martha and the Vandellas, the Temptations, and the Supremes, who established the Motown Sound heard around the world during the 1960s.","The Four Tops were among a number of groups, including the Miracles, the Marvelettes, Martha and the Vandellas, the Temptations, and the Supremes, who established the Motown Sound heard around the world during the 1960s. They were notable for having Stubbs, a baritone, as their lead singer, whereas most other male and mixed vocal groups of the time were fronted by tenors.","They were notable for having Stubbs, a baritone, as their lead singer, whereas most other male and mixed vocal groups of the time were fronted by tenors. The group was the main male vocal group for the highly successful songwriting and production team of Holland–Dozier–Holland, who crafted a stream of hit singles for Motown.","The group was the main male vocal group for the highly successful songwriting and production team of Holland–Dozier–Holland, who crafted a stream of hit singles for Motown. These included two Billboard Hot 100 number-one hits for the Tops: \"I Can't Help Myself (Sugar Pie Honey Bunch)\" in 1965 and \"Reach Out I'll Be There\" in 1966.","These included two Billboard Hot 100 number-one hits for the Tops: \"I Can't Help Myself (Sugar Pie Honey Bunch)\" in 1965 and \"Reach Out I'll Be There\" in 1966. The group continued to have chart singles into the 1970s, including the million-seller \"Ain't No Woman\" (1973).","The group continued to have chart singles into the 1970s, including the million-seller \"Ain't No Woman\" (1973). The group was inducted into the Rock and Roll Hall of Fame in 1990 and into the Vocal Group Hall of Fame in 1999.","The group was inducted into the Rock and Roll Hall of Fame in 1990 and into the Vocal Group Hall of Fame in 1999. In 2004, Rolling Stone ranked them #79 on its list of the 100 Greatest Artists of All Time. The Four Tops continue to perform with Fakir as the last surviving original member.","The Four Tops continue to perform with Fakir as the last surviving original member. History Early years All four members of the group began their careers together while they were high-school students in Detroit.","History Early years All four members of the group began their careers together while they were high-school students in Detroit. At the insistence of their friends, Pershing High students Levi Stubbs and Abdul \"Duke\" Fakir performed with Renaldo \"Obie\" Benson and Lawrence Payton from Northern High at a local birthday party.","At the insistence of their friends, Pershing High students Levi Stubbs and Abdul \"Duke\" Fakir performed with Renaldo \"Obie\" Benson and Lawrence Payton from Northern High at a local birthday party. The quartet decided to remain together and named the group the Four Aims.","The quartet decided to remain together and named the group the Four Aims. With the help of Payton's songwriter cousin Roquel Davis, the Aims signed to Chess Records in 1956, changing their name to the Four Tops to avoid confusion with the Ames Brothers.","With the help of Payton's songwriter cousin Roquel Davis, the Aims signed to Chess Records in 1956, changing their name to the Four Tops to avoid confusion with the Ames Brothers. Over the next seven years, the Tops had unsuccessful tenures at Chess, Red Top, Riverside Records and Columbia Records.","Over the next seven years, the Tops had unsuccessful tenures at Chess, Red Top, Riverside Records and Columbia Records. Without any hit records to their name, they toured frequently, developing a polished stage presence and an experienced supper club act, as well as supporting Billy Eckstine.","Without any hit records to their name, they toured frequently, developing a polished stage presence and an experienced supper club act, as well as supporting Billy Eckstine. In 1963, Berry Gordy, Jr., who had worked with Roquel \"Billy\" Davis as a songwriter in the late 1950s, convinced the Tops to join the roster of his growing Motown record company.","In 1963, Berry Gordy, Jr., who had worked with Roquel \"Billy\" Davis as a songwriter in the late 1950s, convinced the Tops to join the roster of his growing Motown record company. Joining Motown During their early Motown years, the Four Tops recorded jazz standards for the company's Workshop Jazz Records label.","Joining Motown During their early Motown years, the Four Tops recorded jazz standards for the company's Workshop Jazz Records label. In addition, they sang backup on Motown singles by the Supremes (\"Run, Run, Run\", 1964), Martha and the Vandellas (on the 1966 hit \"My Baby Loves Me\") and others.","In addition, they sang backup on Motown singles by the Supremes (\"Run, Run, Run\", 1964), Martha and the Vandellas (on the 1966 hit \"My Baby Loves Me\") and others. In 1964, Motown's main songwriting and production team, Holland–Dozier–Holland, created a complete instrumental track without any idea of what to do with it.","In 1964, Motown's main songwriting and production team, Holland–Dozier–Holland, created a complete instrumental track without any idea of what to do with it. They decided to craft the song as a more mainstream pop song for the Four Tops and proceeded to create \"Baby I Need Your Loving\" from the instrumental track.","They decided to craft the song as a more mainstream pop song for the Four Tops and proceeded to create \"Baby I Need Your Loving\" from the instrumental track. On its release in mid-1964, \"Baby I Need Your Loving\" made it to number 11 on the Billboard Hot 100.","On its release in mid-1964, \"Baby I Need Your Loving\" made it to number 11 on the Billboard Hot 100. The first follow-up single, \"Without the One You Love (Life's Not Worth While)\" (1964), just missed both the pop and R&B Top 40 charts, but \"Ask the Lonely\" (1965), written and produced by Motown A&R head William \"Mickey\" Stevenson with Ivy Jo Hunter, was a Top 30 pop hit and a Top 10 R&B hit in early 1965.","The first follow-up single, \"Without the One You Love (Life's Not Worth While)\" (1964), just missed both the pop and R&B Top 40 charts, but \"Ask the Lonely\" (1965), written and produced by Motown A&R head William \"Mickey\" Stevenson with Ivy Jo Hunter, was a Top 30 pop hit and a Top 10 R&B hit in early 1965. Success After their first number 1 hit, \"I Can't Help Myself (Sugar Pie, Honey Bunch)\" in June 1965, the Four Tops released a long series of successful hit singles.","Success After their first number 1 hit, \"I Can't Help Myself (Sugar Pie, Honey Bunch)\" in June 1965, the Four Tops released a long series of successful hit singles. Among the first wave of these hits were the Top 10 \"It's the Same Old Song\" (1965), \"Something About You\" (1965), \"Shake Me, Wake Me (When It's Over)\" (1966), and \"Loving You Is Sweeter Than Ever\" (1966).","Among the first wave of these hits were the Top 10 \"It's the Same Old Song\" (1965), \"Something About You\" (1965), \"Shake Me, Wake Me (When It's Over)\" (1966), and \"Loving You Is Sweeter Than Ever\" (1966). Holland-Dozier-Holland wrote most of Levi Stubbs's vocals in a tenor range, near the top of his range, in order to get a sense of strained urgency in his gospel preacher-inspired leads.","Holland-Dozier-Holland wrote most of Levi Stubbs's vocals in a tenor range, near the top of his range, in order to get a sense of strained urgency in his gospel preacher-inspired leads. They also wrote additional background vocals for a female group, the Andantes, on many of the songs, to add a high end to the low-voiced harmony of the Tops.","They also wrote additional background vocals for a female group, the Andantes, on many of the songs, to add a high end to the low-voiced harmony of the Tops. Ivy Jo Hunter's \"Loving You Is Sweeter Than Ever\" (1966) was one of a few exceptions.","Ivy Jo Hunter's \"Loving You Is Sweeter Than Ever\" (1966) was one of a few exceptions. August 1966 brought the release of the Four Tops' all-time biggest hit and one of the most popular Motown songs ever.","August 1966 brought the release of the Four Tops' all-time biggest hit and one of the most popular Motown songs ever. \"Reach Out I'll Be There\" reached number 1 on the U.S. pop and R&B charts and the UK chart and soon became the Tops' signature song.","\"Reach Out I'll Be There\" reached number 1 on the U.S. pop and R&B charts and the UK chart and soon became the Tops' signature song. It was almost immediately followed by the similar-sounding \"Standing in the Shadows of Love\"; its depiction of heartbreak reflecting the opposite of the optimism in \"Reach Out\".","It was almost immediately followed by the similar-sounding \"Standing in the Shadows of Love\"; its depiction of heartbreak reflecting the opposite of the optimism in \"Reach Out\". It was another Top 10 hit for the Tops.","It was another Top 10 hit for the Tops. The Top 10 U.S. hit \"Bernadette\" centered around a man's all-consuming obsession with his lover, continued the Four Tops' successful run into April 1967, followed by the Top 20 hits \"7-Rooms of Gloom\", and \"You Keep Running Away\".","The Top 10 U.S. hit \"Bernadette\" centered around a man's all-consuming obsession with his lover, continued the Four Tops' successful run into April 1967, followed by the Top 20 hits \"7-Rooms of Gloom\", and \"You Keep Running Away\". By now, the Tops were the most successful male Motown act in the United Kingdom (in the United States, they were second to the Temptations), and began experimenting with more mainstream pop hits.","By now, the Tops were the most successful male Motown act in the United Kingdom (in the United States, they were second to the Temptations), and began experimenting with more mainstream pop hits. They scored hits with their versions of Tim Hardin's \"If I Were a Carpenter\" in late 1967 (mid-1968 in the U.S.) and the Left Banke's \"Walk Away Renée\" in early 1968.","They scored hits with their versions of Tim Hardin's \"If I Were a Carpenter\" in late 1967 (mid-1968 in the U.S.) and the Left Banke's \"Walk Away Renée\" in early 1968. These singles and the original \"I'm in a Different World\" were their last hits produced by Holland-Dozier-Holland, who left Motown in 1967 after disputes with Berry Gordy, Jr. Late Motown period Without Holland-Dozier-Holland, the hits became less frequent.","These singles and the original \"I'm in a Different World\" were their last hits produced by Holland-Dozier-Holland, who left Motown in 1967 after disputes with Berry Gordy, Jr. Late Motown period Without Holland-Dozier-Holland, the hits became less frequent. The group worked with a wide array of Motown producers during the late 1960s, including Ivy Jo Hunter, Nickolas Ashford & Valerie Simpson, Norman Whitfield and Johnny Bristol, without significant chart success.","The group worked with a wide array of Motown producers during the late 1960s, including Ivy Jo Hunter, Nickolas Ashford & Valerie Simpson, Norman Whitfield and Johnny Bristol, without significant chart success. Their first major hit in a long time came in the form of 1970's \"It's All in the Game\", a pop Top 30/R&B Top Ten hit produced by Frank Wilson.","Their first major hit in a long time came in the form of 1970's \"It's All in the Game\", a pop Top 30/R&B Top Ten hit produced by Frank Wilson. Wilson and the Tops began working on a number of innovative tracks and albums together, echoing Whitfield's psychedelic soul work with the Temptations.","Wilson and the Tops began working on a number of innovative tracks and albums together, echoing Whitfield's psychedelic soul work with the Temptations. Their 1970 album Still Waters Run Deep was a forerunner of the concept album.","Their 1970 album Still Waters Run Deep was a forerunner of the concept album. It also served as an inspiration for Marvin Gaye's 1971 classic album What's Going On, the title track of which was co-written by the Tops' Renaldo \"Obie\" Benson.","It also served as an inspiration for Marvin Gaye's 1971 classic album What's Going On, the title track of which was co-written by the Tops' Renaldo \"Obie\" Benson. In addition to their own albums, the Tops were paired with The Supremes, who had just replaced lead singer Diana Ross with Jean Terrell, for a series of albums billed under the joint title The Magnificent 7 in 1970, and The Return of the Magnificent Seven and Dynamite!","In addition to their own albums, the Tops were paired with The Supremes, who had just replaced lead singer Diana Ross with Jean Terrell, for a series of albums billed under the joint title The Magnificent 7 in 1970, and The Return of the Magnificent Seven and Dynamite! in 1971.","in 1971. in 1971. Whilst the albums themselves did not perform really well on the charts, The Magnificent Seven featured a Top 20 version of Ike & Tina Turner's \"River Deep - Mountain High\", produced by Ashford & Simpson. The 1971 single \"A Simple Game\" featured backing vocals from members of The Moody Blues.","The 1971 single \"A Simple Game\" featured backing vocals from members of The Moody Blues. The song did not fare well on the U.S. charts, but reached number three on the UK chart. ABC/Dunhill Records and Casablanca Records Motown as a company began to change during the early 1970s.","ABC/Dunhill Records and Casablanca Records Motown as a company began to change during the early 1970s. Older acts such as Martha and the Vandellas and The Marvelettes were slowly moved aside or dropped to focus on newer acts, such as Michael Jackson and The Jackson 5, Rare Earth, and the now-solo Diana Ross.","Older acts such as Martha and the Vandellas and The Marvelettes were slowly moved aside or dropped to focus on newer acts, such as Michael Jackson and The Jackson 5, Rare Earth, and the now-solo Diana Ross. In addition, the company moved its operations from Detroit to Los Angeles, California, where Berry Gordy, Jr. planned to break into the motion picture and television industries.","In addition, the company moved its operations from Detroit to Los Angeles, California, where Berry Gordy, Jr. planned to break into the motion picture and television industries. In 1972, it was announced that the entire company would move west and that all its artists had to move as well.","In 1972, it was announced that the entire company would move west and that all its artists had to move as well. Many of the older Motown acts, already neglected by the label, opted to stay in Detroit, including The Funk Brothers studio backing band, Martha Reeves, and the Four Tops.","Many of the older Motown acts, already neglected by the label, opted to stay in Detroit, including The Funk Brothers studio backing band, Martha Reeves, and the Four Tops. The Tops departed Motown for ABC-Dunhill, where they were assigned to writer-producers Dennis Lambert and Brian Potter and the label's head of A&R, Steve Barri as producer, with The Tops' own Lawrence Payton later also serving as a producer and writer.","The Tops departed Motown for ABC-Dunhill, where they were assigned to writer-producers Dennis Lambert and Brian Potter and the label's head of A&R, Steve Barri as producer, with The Tops' own Lawrence Payton later also serving as a producer and writer. He also took over lead vocal duties on several tracks.","He also took over lead vocal duties on several tracks. The group's first release on the label, \"Keeper of the Castle\" (1972) was their first pop Top 10 hit since \"Bernadette\" in 1967.","The group's first release on the label, \"Keeper of the Castle\" (1972) was their first pop Top 10 hit since \"Bernadette\" in 1967. Follow-ups included the 1973 million-selling \"Ain't No Woman (Like the One I've Got)\", also a top 10 pop hit and their third R&B number 1, and the Top 20 hit, \"Are You Man Enough\" (1973), (from the 1973 movie Shaft in Africa).","Follow-ups included the 1973 million-selling \"Ain't No Woman (Like the One I've Got)\", also a top 10 pop hit and their third R&B number 1, and the Top 20 hit, \"Are You Man Enough\" (1973), (from the 1973 movie Shaft in Africa). \"Sweet Understanding Love\" (1973); \"Midnight Flower (1974); and \"One Chain Don't Make No Prison\" (1974) all reached the R&B Top 10 between 1972 and 1974.","\"Sweet Understanding Love\" (1973); \"Midnight Flower (1974); and \"One Chain Don't Make No Prison\" (1974) all reached the R&B Top 10 between 1972 and 1974. Two ABC/Dunhill singles, 1974's \"I Just Can't Get You Out of My Mind\" and 1975's \"Seven Lonely Nights\" have become popular tunes in the southeast Beach/Shag Club Dance circuit.","Two ABC/Dunhill singles, 1974's \"I Just Can't Get You Out of My Mind\" and 1975's \"Seven Lonely Nights\" have become popular tunes in the southeast Beach/Shag Club Dance circuit. After the release of \"Catfish\" (a top 10 R&B hit) in 1976, the major hits started to dry up and the Tops left ABC after an album recorded in Philadelphia with the MFSB musicians resulted in only minor chart success in 1978.","After the release of \"Catfish\" (a top 10 R&B hit) in 1976, the major hits started to dry up and the Tops left ABC after an album recorded in Philadelphia with the MFSB musicians resulted in only minor chart success in 1978. The group disappeared from the recording scene until the early 1980s.","The group disappeared from the recording scene until the early 1980s. Signing a deal with Casablanca Records, the Tops made a comeback in 1981 with the number 1 R&B hit \"When She Was My Girl\". Produced by David Wolfert, it just missed the Billboard pop Top 10, peaking at number 11.","Produced by David Wolfert, it just missed the Billboard pop Top 10, peaking at number 11. The group also scored a UK Top 10 hit with the song and had another hit there with the follow-up, \"Don't Walk Away\".","The group also scored a UK Top 10 hit with the song and had another hit there with the follow-up, \"Don't Walk Away\". In 1982, their song \"Back to School Again\" appeared in both the movie Grease 2 and its soundtrack.","In 1982, their song \"Back to School Again\" appeared in both the movie Grease 2 and its soundtrack. Return to Motown By 1983, The Tops had rejoined Motown, where their former ABC-Dunhill producer, Barri was vice-president of A&R.","Return to Motown By 1983, The Tops had rejoined Motown, where their former ABC-Dunhill producer, Barri was vice-president of A&R. They were featured on the company's 1983 television special Motown 25: Yesterday, Today, Forever, taking part in one of the highlights of the show - a battle of the bands between The Tops and The Temptations, patterned after similar competitions Berry Gordy, Jr. had staged during the 1960s.","They were featured on the company's 1983 television special Motown 25: Yesterday, Today, Forever, taking part in one of the highlights of the show - a battle of the bands between The Tops and The Temptations, patterned after similar competitions Berry Gordy, Jr. had staged during the 1960s. Levi Stubbs and Temptation Otis Williams decided the Temptations/Tops battle would be a good one to take on the road, and both groups began semi-regular joint tours.","Levi Stubbs and Temptation Otis Williams decided the Temptations/Tops battle would be a good one to take on the road, and both groups began semi-regular joint tours. The first of The Tops' albums under their new Motown contract was Back Where I Belong (1983).","The first of The Tops' albums under their new Motown contract was Back Where I Belong (1983). A whole side of the album was produced by the Holland-Dozier-Holland production team, including the R&B Top 40 single \"I Just Can't Walk Away\".","A whole side of the album was produced by the Holland-Dozier-Holland production team, including the R&B Top 40 single \"I Just Can't Walk Away\". Only one more Tops album would be released by Motown, Magic in 1985.","Only one more Tops album would be released by Motown, Magic in 1985. The lead single from that album, \"Sexy Ways\", was almost a Top 20 R&B hit, peaking at number 21 in mid-1985.","The lead single from that album, \"Sexy Ways\", was almost a Top 20 R&B hit, peaking at number 21 in mid-1985. In July of that year, the group performed at the Live Aid concert, singing five of their hit songs.","In July of that year, the group performed at the Live Aid concert, singing five of their hit songs. The title track of 1988's Indestructible was the group's final Top 40 hit, reaching No. 35. It was also featured in the 1988 science-fiction cop film Alien Nation.","It was also featured in the 1988 science-fiction cop film Alien Nation. Another track, \"Loco in Acapulco\", written and produced by British pop musician Phil Collins and former Motown composer-producer Lamont Dozier, climbed into the UK Top 10 and made number 7 in early 1989.","Another track, \"Loco in Acapulco\", written and produced by British pop musician Phil Collins and former Motown composer-producer Lamont Dozier, climbed into the UK Top 10 and made number 7 in early 1989. The Arista contract provided an opportunity to pair Levi Stubbs with fellow Arista artist, another R&B vocalist from Detroit, Aretha Franklin, who was at the height of her own 1980s hit streak.","The Arista contract provided an opportunity to pair Levi Stubbs with fellow Arista artist, another R&B vocalist from Detroit, Aretha Franklin, who was at the height of her own 1980s hit streak. This pairing resulted in the 1988 song \"If Ever a Love There Was\", which became a popular R&B and Adult Contemporary hit, as well as being featured on the soundtrack of the 1988 motion picture I'm Gonna Git You Sucka.","This pairing resulted in the 1988 song \"If Ever a Love There Was\", which became a popular R&B and Adult Contemporary hit, as well as being featured on the soundtrack of the 1988 motion picture I'm Gonna Git You Sucka. In December 1988, Pan Am Flight 103 (a disaster known as the Lockerbie bombing) became the group's scheduled return flight to the U.S. for Christmas after completing their European tour.","In December 1988, Pan Am Flight 103 (a disaster known as the Lockerbie bombing) became the group's scheduled return flight to the U.S. for Christmas after completing their European tour. A prolonged recording session and a performance at the British television show Top of the Pops caused them to oversleep and miss the ill-fated flight which crashed in Lockerbie, Scotland, after a terrorist bomb was detonated on board.","A prolonged recording session and a performance at the British television show Top of the Pops caused them to oversleep and miss the ill-fated flight which crashed in Lockerbie, Scotland, after a terrorist bomb was detonated on board. They left London on a later British Airways flight.","They left London on a later British Airways flight. Later years From the late 1980s, the Four Tops focused on touring and live performances. They recorded only one album, returning again to Motown for 1995's Christmas Here with You.","They recorded only one album, returning again to Motown for 1995's Christmas Here with You. On June 20, 1997, 59-year-old Lawrence Payton died as a result of liver cancer, after singing for 44 years with the Four Tops who, unlike many other Motown groups, never had a single lineup change until then.","On June 20, 1997, 59-year-old Lawrence Payton died as a result of liver cancer, after singing for 44 years with the Four Tops who, unlike many other Motown groups, never had a single lineup change until then. At first, Levi Stubbs, Renaldo \"Obie\" Benson, and Abdul \"Duke\" Fakir toured as a trio called The Tops.","At first, Levi Stubbs, Renaldo \"Obie\" Benson, and Abdul \"Duke\" Fakir toured as a trio called The Tops. In 1998, they recruited former member of the Temptations Theo Peoples to restore the group to a quartet.","In 1998, they recruited former member of the Temptations Theo Peoples to restore the group to a quartet. By the turn of the century, Stubbs had become ill from cancer; Ronnie McNeir was recruited to fill the Lawrence Payton position and Theo Peoples stepped into Stubbs' shoes as lead singer.","By the turn of the century, Stubbs had become ill from cancer; Ronnie McNeir was recruited to fill the Lawrence Payton position and Theo Peoples stepped into Stubbs' shoes as lead singer. Stubbs later died on October 17, 2008 at his home in Detroit.","Stubbs later died on October 17, 2008 at his home in Detroit. The group was featured in several television specials during this time, including Motown 45, and several by PBS, including a 50th-anniversary concert dedicated to the group (available on DVD).","The group was featured in several television specials during this time, including Motown 45, and several by PBS, including a 50th-anniversary concert dedicated to the group (available on DVD). The concert turned out to be bittersweet; it featured a brief appearance of Levi Stubbs using a wheelchair, and a memorial to Lawrence Payton, announced by Renaldo \"Obie\" Benson.","The concert turned out to be bittersweet; it featured a brief appearance of Levi Stubbs using a wheelchair, and a memorial to Lawrence Payton, announced by Renaldo \"Obie\" Benson. Benson appeared on one more PBS special and died on July 1, 2005, from lung cancer.","Benson appeared on one more PBS special and died on July 1, 2005, from lung cancer. The final PBS special, titled Motown: The Early Years, featured a message of Benson's passing following the credits.","The final PBS special, titled Motown: The Early Years, featured a message of Benson's passing following the credits. The group was inducted into the Rock and Roll Hall of Fame in 1990, and into the Vocal Group Hall of Fame in 1999.","The group was inducted into the Rock and Roll Hall of Fame in 1990, and into the Vocal Group Hall of Fame in 1999. In 2004, Rolling Stone ranked them #79 on their list of the 100 Greatest Artists of All Time.","In 2004, Rolling Stone ranked them #79 on their list of the 100 Greatest Artists of All Time. The Four Tops were inducted into the Michigan Rock and Roll Legends Hall of Fame in 2005.","The Four Tops were inducted into the Michigan Rock and Roll Legends Hall of Fame in 2005. The Four Tops sang the National Anthem before the start of game 5 for the 2011 baseball American League Championship Series (ALCS) between the Texas Rangers & Detroit Tigers on October 13, 2011 in Detroit, MI.","The Four Tops sang the National Anthem before the start of game 5 for the 2011 baseball American League Championship Series (ALCS) between the Texas Rangers & Detroit Tigers on October 13, 2011 in Detroit, MI. When singing the last line of \"The Star-Spangled Banner\", \"... and the home of the brave\", they quickly sang the words \"Ain't No country Like the One I Got\", before singing the last word, \"brave\".","When singing the last line of \"The Star-Spangled Banner\", \"... and the home of the brave\", they quickly sang the words \"Ain't No country Like the One I Got\", before singing the last word, \"brave\". The Four Tops were honored with an induction into the R&B Music Hall of Fame at the Inaugural ceremony held at Cleveland State University's Waetejen Auditorium on Saturday August 17, 2013.","The Four Tops were honored with an induction into the R&B Music Hall of Fame at the Inaugural ceremony held at Cleveland State University's Waetejen Auditorium on Saturday August 17, 2013. The Four Tops were among hundreds of artists whose material was destroyed in the 2008 Universal fire.","The Four Tops were among hundreds of artists whose material was destroyed in the 2008 Universal fire. The Four Tops career awards The Four Tops have won many awards, including the following: Rock and Roll Hall of Fame (1990) Vocal Group Hall of Fame (1999) Hollywood Walk of Fame (1997) Grammy Hall of Fame (Reach Out I'll Be There-1998)(\"I Can't Help Myself (Sugar Pie Honey Bunch-2018) Grammy Lifetime Achievement Award (2009-51st Annual Grammy Awards) Rhythm and Blues Foundation Pioneer Award (1997) Billboard magazine Top 100 Artists of All Time(#77) R&B Music Hall of Fame Induction (2013) 100 Greatest Artists of All Time (#79-Rolling Stone) Rolling Stone's 500 Greatest Songs of All Time (2003) Michigan Rock and Roll Legends Hall of Fame Grammy Lifetime Achievement Award In early 2018, The Four Tops' 1965 #1 Pop Hit, \"I Can't Help Myself (Sugar Pie Honey Bunch)\" became their second song to be inducted into The Grammy Hall of Fame.","The Four Tops career awards The Four Tops have won many awards, including the following: Rock and Roll Hall of Fame (1990) Vocal Group Hall of Fame (1999) Hollywood Walk of Fame (1997) Grammy Hall of Fame (Reach Out I'll Be There-1998)(\"I Can't Help Myself (Sugar Pie Honey Bunch-2018) Grammy Lifetime Achievement Award (2009-51st Annual Grammy Awards) Rhythm and Blues Foundation Pioneer Award (1997) Billboard magazine Top 100 Artists of All Time(#77) R&B Music Hall of Fame Induction (2013) 100 Greatest Artists of All Time (#79-Rolling Stone) Rolling Stone's 500 Greatest Songs of All Time (2003) Michigan Rock and Roll Legends Hall of Fame Grammy Lifetime Achievement Award In early 2018, The Four Tops' 1965 #1 Pop Hit, \"I Can't Help Myself (Sugar Pie Honey Bunch)\" became their second song to be inducted into The Grammy Hall of Fame. Personnel Current Members Abdul “Duke” Fakir (1953-present) Ronnie McNeir (1999-present) Lawrence Payton Jr. (2005-present) Alexander Morris (2019-present) Former Members Levi Stubbs (1953-2000, 2004) (d. 2008) Renaldo “Obie” Benson (1953-2005) (d. 2005) Lawrence Payton (1953-1997) (d. 1997) Theo Peoples (1998-2010) Harold Bonhart (2010-2018) Discography Albums Motown releases 1965: Four Tops (US #63; UK #2) 1965: Four Tops' Second Album (US #20) 1966: Four Tops Live!","Personnel Current Members Abdul “Duke” Fakir (1953-present) Ronnie McNeir (1999-present) Lawrence Payton Jr. (2005-present) Alexander Morris (2019-present) Former Members Levi Stubbs (1953-2000, 2004) (d. 2008) Renaldo “Obie” Benson (1953-2005) (d. 2005) Lawrence Payton (1953-1997) (d. 1997) Theo Peoples (1998-2010) Harold Bonhart (2010-2018) Discography Albums Motown releases 1965: Four Tops (US #63; UK #2) 1965: Four Tops' Second Album (US #20) 1966: Four Tops Live! (US #17; UK #4) 1966: On Top (US #32; UK #9) 1967: Four Tops' Greatest Hits (US #4; UK #1) 1967: Reach Out (US #11; UK #6) 1967: Four Tops on Broadway (US #79) 1968: Yesterday's Dreams (US #91) 1969: Four Tops Now!","(US #17; UK #4) 1966: On Top (US #32; UK #9) 1967: Four Tops' Greatest Hits (US #4; UK #1) 1967: Reach Out (US #11; UK #6) 1967: Four Tops on Broadway (US #79) 1968: Yesterday's Dreams (US #91) 1969: Four Tops Now! (US #74) 1969: Soul Spin (US #163) 1970: Still Waters Run Deep (US #21) 1970: Changing Times (US #109) 1970: The Magnificent 7 (with The Supremes) (US #113; UK #6) 1971: The Return of the Magnificent Seven (with The Supremes) (US #154) 1971: Dynamite (with the Supremes) (US #160) 1971: Mac Arthur Park 1972: Nature Planned It (US #50) 1973: The Best of the 4 Tops (US #103) ABC releases 1972: Keeper of the Castle (US #33) 1973: Main Street People (US #66) 1974: Meeting of the Minds (US #118) 1974: Live & in Concert (US #92) 1975: Night Lights Harmony (US #148) 1976: Catfish (US #124) 1977: The Show Must Go On 1978: At the Top Casablanca releases 1981: Tonight!","(US #74) 1969: Soul Spin (US #163) 1970: Still Waters Run Deep (US #21) 1970: Changing Times (US #109) 1970: The Magnificent 7 (with The Supremes) (US #113; UK #6) 1971: The Return of the Magnificent Seven (with The Supremes) (US #154) 1971: Dynamite (with the Supremes) (US #160) 1971: Mac Arthur Park 1972: Nature Planned It (US #50) 1973: The Best of the 4 Tops (US #103) ABC releases 1972: Keeper of the Castle (US #33) 1973: Main Street People (US #66) 1974: Meeting of the Minds (US #118) 1974: Live & in Concert (US #92) 1975: Night Lights Harmony (US #148) 1976: Catfish (US #124) 1977: The Show Must Go On 1978: At the Top Casablanca releases 1981: Tonight! (US #37) 1982: One More Mountain Motown releases 1983: Back Where I Belong 1985: Magic (US #140) 1986: Hot Nights (unreleased) Arista releases 1988: Indestructible (US #149) Motown releases 1995: Christmas Here with You Prism Leisure releases 2000: The Four Tops Collection (recorded live at the MGM grand 1996) U.S.","(US #37) 1982: One More Mountain Motown releases 1983: Back Where I Belong 1985: Magic (US #140) 1986: Hot Nights (unreleased) Arista releases 1988: Indestructible (US #149) Motown releases 1995: Christmas Here with You Prism Leisure releases 2000: The Four Tops Collection (recorded live at the MGM grand 1996) U.S. Billboard Hot 100 and UK singles The following singles reached the top 30 of the U.S. and UK singles charts.","Billboard Hot 100 and UK singles The following singles reached the top 30 of the U.S. and UK singles charts. DVDs The Four Tops: Live at the MGM Grand: 40th Anniversary Special (1996) The Four Tops: The Four Tops (semi-documentary/concert rehearsal, recorded live for French TV in 1971) (2004) The Four Tops: From the Heart: The 50th Anniversary Concert (2006) The Four Tops: Reach Out: Definitive Performances 1965-1973 (2008), Motown/Universal See also List of best-selling music artists References External links Four Tops biography by John Bush, discography and album reviews, credits & releases at AllMusic Four Tops discography, album releases & credits at Discogs Four Tops filmography on IMDb Four Tops Broadway musical productions at the Internet Broadway Database Four Tops discography at MusicBrainz Four Tops albums to be listened as stream on Spotify Vocal Group Hall of Fame page on the Four Tops Levi Stubbs/The Four Tops interview by Pete Lewis, 'Blues & Soul' October 1992 (republished November 2008) History of Rock article Four Tops on MySpace Four Tops appearances on The Ed Sullivan Show Ronnie McNeir 2012 Interview at Soulinterviews.com.","DVDs The Four Tops: Live at the MGM Grand: 40th Anniversary Special (1996) The Four Tops: The Four Tops (semi-documentary/concert rehearsal, recorded live for French TV in 1971) (2004) The Four Tops: From the Heart: The 50th Anniversary Concert (2006) The Four Tops: Reach Out: Definitive Performances 1965-1973 (2008), Motown/Universal See also List of best-selling music artists References External links Four Tops biography by John Bush, discography and album reviews, credits & releases at AllMusic Four Tops discography, album releases & credits at Discogs Four Tops filmography on IMDb Four Tops Broadway musical productions at the Internet Broadway Database Four Tops discography at MusicBrainz Four Tops albums to be listened as stream on Spotify Vocal Group Hall of Fame page on the Four Tops Levi Stubbs/The Four Tops interview by Pete Lewis, 'Blues & Soul' October 1992 (republished November 2008) History of Rock article Four Tops on MySpace Four Tops appearances on The Ed Sullivan Show Ronnie McNeir 2012 Interview at Soulinterviews.com. Musical groups established in 1953 Musical groups from Detroit African-American musical groups American soul musical groups Motown artists Northern soul musicians ABC Records artists Dunhill Records artists Chess Records artists Vocal quartets Columbia Records artists Casablanca Records artists Arista Records artists 1953 establishments in Michigan"],"string":"[\n \"The Four Tops are an American vocal quartet from Detroit who helped to define the city's Motown sound of the 1960s. The group's repertoire has included soul music, R&B, disco, adult contemporary, doo-wop, jazz, and show tunes.\",\n \"The group's repertoire has included soul music, R&B, disco, adult contemporary, doo-wop, jazz, and show tunes. Founded as the Four Aims, lead singer Levi Stubbs, Abdul \\\"Duke\\\" Fakir, Renaldo \\\"Obie\\\" Benson and Lawrence Payton remained together for over four decades, performing from 1953 until 1997 without a change in personnel.\",\n \"Founded as the Four Aims, lead singer Levi Stubbs, Abdul \\\"Duke\\\" Fakir, Renaldo \\\"Obie\\\" Benson and Lawrence Payton remained together for over four decades, performing from 1953 until 1997 without a change in personnel. The Four Tops were among a number of groups, including the Miracles, the Marvelettes, Martha and the Vandellas, the Temptations, and the Supremes, who established the Motown Sound heard around the world during the 1960s.\",\n \"The Four Tops were among a number of groups, including the Miracles, the Marvelettes, Martha and the Vandellas, the Temptations, and the Supremes, who established the Motown Sound heard around the world during the 1960s. They were notable for having Stubbs, a baritone, as their lead singer, whereas most other male and mixed vocal groups of the time were fronted by tenors.\",\n \"They were notable for having Stubbs, a baritone, as their lead singer, whereas most other male and mixed vocal groups of the time were fronted by tenors. The group was the main male vocal group for the highly successful songwriting and production team of Holland–Dozier–Holland, who crafted a stream of hit singles for Motown.\",\n \"The group was the main male vocal group for the highly successful songwriting and production team of Holland–Dozier–Holland, who crafted a stream of hit singles for Motown. These included two Billboard Hot 100 number-one hits for the Tops: \\\"I Can't Help Myself (Sugar Pie Honey Bunch)\\\" in 1965 and \\\"Reach Out I'll Be There\\\" in 1966.\",\n \"These included two Billboard Hot 100 number-one hits for the Tops: \\\"I Can't Help Myself (Sugar Pie Honey Bunch)\\\" in 1965 and \\\"Reach Out I'll Be There\\\" in 1966. The group continued to have chart singles into the 1970s, including the million-seller \\\"Ain't No Woman\\\" (1973).\",\n \"The group continued to have chart singles into the 1970s, including the million-seller \\\"Ain't No Woman\\\" (1973). The group was inducted into the Rock and Roll Hall of Fame in 1990 and into the Vocal Group Hall of Fame in 1999.\",\n \"The group was inducted into the Rock and Roll Hall of Fame in 1990 and into the Vocal Group Hall of Fame in 1999. In 2004, Rolling Stone ranked them #79 on its list of the 100 Greatest Artists of All Time. The Four Tops continue to perform with Fakir as the last surviving original member.\",\n \"The Four Tops continue to perform with Fakir as the last surviving original member. History Early years All four members of the group began their careers together while they were high-school students in Detroit.\",\n \"History Early years All four members of the group began their careers together while they were high-school students in Detroit. At the insistence of their friends, Pershing High students Levi Stubbs and Abdul \\\"Duke\\\" Fakir performed with Renaldo \\\"Obie\\\" Benson and Lawrence Payton from Northern High at a local birthday party.\",\n \"At the insistence of their friends, Pershing High students Levi Stubbs and Abdul \\\"Duke\\\" Fakir performed with Renaldo \\\"Obie\\\" Benson and Lawrence Payton from Northern High at a local birthday party. The quartet decided to remain together and named the group the Four Aims.\",\n \"The quartet decided to remain together and named the group the Four Aims. With the help of Payton's songwriter cousin Roquel Davis, the Aims signed to Chess Records in 1956, changing their name to the Four Tops to avoid confusion with the Ames Brothers.\",\n \"With the help of Payton's songwriter cousin Roquel Davis, the Aims signed to Chess Records in 1956, changing their name to the Four Tops to avoid confusion with the Ames Brothers. Over the next seven years, the Tops had unsuccessful tenures at Chess, Red Top, Riverside Records and Columbia Records.\",\n \"Over the next seven years, the Tops had unsuccessful tenures at Chess, Red Top, Riverside Records and Columbia Records. Without any hit records to their name, they toured frequently, developing a polished stage presence and an experienced supper club act, as well as supporting Billy Eckstine.\",\n \"Without any hit records to their name, they toured frequently, developing a polished stage presence and an experienced supper club act, as well as supporting Billy Eckstine. In 1963, Berry Gordy, Jr., who had worked with Roquel \\\"Billy\\\" Davis as a songwriter in the late 1950s, convinced the Tops to join the roster of his growing Motown record company.\",\n \"In 1963, Berry Gordy, Jr., who had worked with Roquel \\\"Billy\\\" Davis as a songwriter in the late 1950s, convinced the Tops to join the roster of his growing Motown record company. Joining Motown During their early Motown years, the Four Tops recorded jazz standards for the company's Workshop Jazz Records label.\",\n \"Joining Motown During their early Motown years, the Four Tops recorded jazz standards for the company's Workshop Jazz Records label. In addition, they sang backup on Motown singles by the Supremes (\\\"Run, Run, Run\\\", 1964), Martha and the Vandellas (on the 1966 hit \\\"My Baby Loves Me\\\") and others.\",\n \"In addition, they sang backup on Motown singles by the Supremes (\\\"Run, Run, Run\\\", 1964), Martha and the Vandellas (on the 1966 hit \\\"My Baby Loves Me\\\") and others. In 1964, Motown's main songwriting and production team, Holland–Dozier–Holland, created a complete instrumental track without any idea of what to do with it.\",\n \"In 1964, Motown's main songwriting and production team, Holland–Dozier–Holland, created a complete instrumental track without any idea of what to do with it. They decided to craft the song as a more mainstream pop song for the Four Tops and proceeded to create \\\"Baby I Need Your Loving\\\" from the instrumental track.\",\n \"They decided to craft the song as a more mainstream pop song for the Four Tops and proceeded to create \\\"Baby I Need Your Loving\\\" from the instrumental track. On its release in mid-1964, \\\"Baby I Need Your Loving\\\" made it to number 11 on the Billboard Hot 100.\",\n \"On its release in mid-1964, \\\"Baby I Need Your Loving\\\" made it to number 11 on the Billboard Hot 100. The first follow-up single, \\\"Without the One You Love (Life's Not Worth While)\\\" (1964), just missed both the pop and R&B Top 40 charts, but \\\"Ask the Lonely\\\" (1965), written and produced by Motown A&R head William \\\"Mickey\\\" Stevenson with Ivy Jo Hunter, was a Top 30 pop hit and a Top 10 R&B hit in early 1965.\",\n \"The first follow-up single, \\\"Without the One You Love (Life's Not Worth While)\\\" (1964), just missed both the pop and R&B Top 40 charts, but \\\"Ask the Lonely\\\" (1965), written and produced by Motown A&R head William \\\"Mickey\\\" Stevenson with Ivy Jo Hunter, was a Top 30 pop hit and a Top 10 R&B hit in early 1965. Success After their first number 1 hit, \\\"I Can't Help Myself (Sugar Pie, Honey Bunch)\\\" in June 1965, the Four Tops released a long series of successful hit singles.\",\n \"Success After their first number 1 hit, \\\"I Can't Help Myself (Sugar Pie, Honey Bunch)\\\" in June 1965, the Four Tops released a long series of successful hit singles. Among the first wave of these hits were the Top 10 \\\"It's the Same Old Song\\\" (1965), \\\"Something About You\\\" (1965), \\\"Shake Me, Wake Me (When It's Over)\\\" (1966), and \\\"Loving You Is Sweeter Than Ever\\\" (1966).\",\n \"Among the first wave of these hits were the Top 10 \\\"It's the Same Old Song\\\" (1965), \\\"Something About You\\\" (1965), \\\"Shake Me, Wake Me (When It's Over)\\\" (1966), and \\\"Loving You Is Sweeter Than Ever\\\" (1966). Holland-Dozier-Holland wrote most of Levi Stubbs's vocals in a tenor range, near the top of his range, in order to get a sense of strained urgency in his gospel preacher-inspired leads.\",\n \"Holland-Dozier-Holland wrote most of Levi Stubbs's vocals in a tenor range, near the top of his range, in order to get a sense of strained urgency in his gospel preacher-inspired leads. They also wrote additional background vocals for a female group, the Andantes, on many of the songs, to add a high end to the low-voiced harmony of the Tops.\",\n \"They also wrote additional background vocals for a female group, the Andantes, on many of the songs, to add a high end to the low-voiced harmony of the Tops. Ivy Jo Hunter's \\\"Loving You Is Sweeter Than Ever\\\" (1966) was one of a few exceptions.\",\n \"Ivy Jo Hunter's \\\"Loving You Is Sweeter Than Ever\\\" (1966) was one of a few exceptions. August 1966 brought the release of the Four Tops' all-time biggest hit and one of the most popular Motown songs ever.\",\n \"August 1966 brought the release of the Four Tops' all-time biggest hit and one of the most popular Motown songs ever. \\\"Reach Out I'll Be There\\\" reached number 1 on the U.S. pop and R&B charts and the UK chart and soon became the Tops' signature song.\",\n \"\\\"Reach Out I'll Be There\\\" reached number 1 on the U.S. pop and R&B charts and the UK chart and soon became the Tops' signature song. It was almost immediately followed by the similar-sounding \\\"Standing in the Shadows of Love\\\"; its depiction of heartbreak reflecting the opposite of the optimism in \\\"Reach Out\\\".\",\n \"It was almost immediately followed by the similar-sounding \\\"Standing in the Shadows of Love\\\"; its depiction of heartbreak reflecting the opposite of the optimism in \\\"Reach Out\\\". It was another Top 10 hit for the Tops.\",\n \"It was another Top 10 hit for the Tops. The Top 10 U.S. hit \\\"Bernadette\\\" centered around a man's all-consuming obsession with his lover, continued the Four Tops' successful run into April 1967, followed by the Top 20 hits \\\"7-Rooms of Gloom\\\", and \\\"You Keep Running Away\\\".\",\n \"The Top 10 U.S. hit \\\"Bernadette\\\" centered around a man's all-consuming obsession with his lover, continued the Four Tops' successful run into April 1967, followed by the Top 20 hits \\\"7-Rooms of Gloom\\\", and \\\"You Keep Running Away\\\". By now, the Tops were the most successful male Motown act in the United Kingdom (in the United States, they were second to the Temptations), and began experimenting with more mainstream pop hits.\",\n \"By now, the Tops were the most successful male Motown act in the United Kingdom (in the United States, they were second to the Temptations), and began experimenting with more mainstream pop hits. They scored hits with their versions of Tim Hardin's \\\"If I Were a Carpenter\\\" in late 1967 (mid-1968 in the U.S.) and the Left Banke's \\\"Walk Away Renée\\\" in early 1968.\",\n \"They scored hits with their versions of Tim Hardin's \\\"If I Were a Carpenter\\\" in late 1967 (mid-1968 in the U.S.) and the Left Banke's \\\"Walk Away Renée\\\" in early 1968. These singles and the original \\\"I'm in a Different World\\\" were their last hits produced by Holland-Dozier-Holland, who left Motown in 1967 after disputes with Berry Gordy, Jr. Late Motown period Without Holland-Dozier-Holland, the hits became less frequent.\",\n \"These singles and the original \\\"I'm in a Different World\\\" were their last hits produced by Holland-Dozier-Holland, who left Motown in 1967 after disputes with Berry Gordy, Jr. Late Motown period Without Holland-Dozier-Holland, the hits became less frequent. The group worked with a wide array of Motown producers during the late 1960s, including Ivy Jo Hunter, Nickolas Ashford & Valerie Simpson, Norman Whitfield and Johnny Bristol, without significant chart success.\",\n \"The group worked with a wide array of Motown producers during the late 1960s, including Ivy Jo Hunter, Nickolas Ashford & Valerie Simpson, Norman Whitfield and Johnny Bristol, without significant chart success. Their first major hit in a long time came in the form of 1970's \\\"It's All in the Game\\\", a pop Top 30/R&B Top Ten hit produced by Frank Wilson.\",\n \"Their first major hit in a long time came in the form of 1970's \\\"It's All in the Game\\\", a pop Top 30/R&B Top Ten hit produced by Frank Wilson. Wilson and the Tops began working on a number of innovative tracks and albums together, echoing Whitfield's psychedelic soul work with the Temptations.\",\n \"Wilson and the Tops began working on a number of innovative tracks and albums together, echoing Whitfield's psychedelic soul work with the Temptations. Their 1970 album Still Waters Run Deep was a forerunner of the concept album.\",\n \"Their 1970 album Still Waters Run Deep was a forerunner of the concept album. It also served as an inspiration for Marvin Gaye's 1971 classic album What's Going On, the title track of which was co-written by the Tops' Renaldo \\\"Obie\\\" Benson.\",\n \"It also served as an inspiration for Marvin Gaye's 1971 classic album What's Going On, the title track of which was co-written by the Tops' Renaldo \\\"Obie\\\" Benson. In addition to their own albums, the Tops were paired with The Supremes, who had just replaced lead singer Diana Ross with Jean Terrell, for a series of albums billed under the joint title The Magnificent 7 in 1970, and The Return of the Magnificent Seven and Dynamite!\",\n \"In addition to their own albums, the Tops were paired with The Supremes, who had just replaced lead singer Diana Ross with Jean Terrell, for a series of albums billed under the joint title The Magnificent 7 in 1970, and The Return of the Magnificent Seven and Dynamite! in 1971.\",\n \"in 1971. in 1971. Whilst the albums themselves did not perform really well on the charts, The Magnificent Seven featured a Top 20 version of Ike & Tina Turner's \\\"River Deep - Mountain High\\\", produced by Ashford & Simpson. The 1971 single \\\"A Simple Game\\\" featured backing vocals from members of The Moody Blues.\",\n \"The 1971 single \\\"A Simple Game\\\" featured backing vocals from members of The Moody Blues. The song did not fare well on the U.S. charts, but reached number three on the UK chart. ABC/Dunhill Records and Casablanca Records Motown as a company began to change during the early 1970s.\",\n \"ABC/Dunhill Records and Casablanca Records Motown as a company began to change during the early 1970s. Older acts such as Martha and the Vandellas and The Marvelettes were slowly moved aside or dropped to focus on newer acts, such as Michael Jackson and The Jackson 5, Rare Earth, and the now-solo Diana Ross.\",\n \"Older acts such as Martha and the Vandellas and The Marvelettes were slowly moved aside or dropped to focus on newer acts, such as Michael Jackson and The Jackson 5, Rare Earth, and the now-solo Diana Ross. In addition, the company moved its operations from Detroit to Los Angeles, California, where Berry Gordy, Jr. planned to break into the motion picture and television industries.\",\n \"In addition, the company moved its operations from Detroit to Los Angeles, California, where Berry Gordy, Jr. planned to break into the motion picture and television industries. In 1972, it was announced that the entire company would move west and that all its artists had to move as well.\",\n \"In 1972, it was announced that the entire company would move west and that all its artists had to move as well. Many of the older Motown acts, already neglected by the label, opted to stay in Detroit, including The Funk Brothers studio backing band, Martha Reeves, and the Four Tops.\",\n \"Many of the older Motown acts, already neglected by the label, opted to stay in Detroit, including The Funk Brothers studio backing band, Martha Reeves, and the Four Tops. The Tops departed Motown for ABC-Dunhill, where they were assigned to writer-producers Dennis Lambert and Brian Potter and the label's head of A&R, Steve Barri as producer, with The Tops' own Lawrence Payton later also serving as a producer and writer.\",\n \"The Tops departed Motown for ABC-Dunhill, where they were assigned to writer-producers Dennis Lambert and Brian Potter and the label's head of A&R, Steve Barri as producer, with The Tops' own Lawrence Payton later also serving as a producer and writer. He also took over lead vocal duties on several tracks.\",\n \"He also took over lead vocal duties on several tracks. The group's first release on the label, \\\"Keeper of the Castle\\\" (1972) was their first pop Top 10 hit since \\\"Bernadette\\\" in 1967.\",\n \"The group's first release on the label, \\\"Keeper of the Castle\\\" (1972) was their first pop Top 10 hit since \\\"Bernadette\\\" in 1967. Follow-ups included the 1973 million-selling \\\"Ain't No Woman (Like the One I've Got)\\\", also a top 10 pop hit and their third R&B number 1, and the Top 20 hit, \\\"Are You Man Enough\\\" (1973), (from the 1973 movie Shaft in Africa).\",\n \"Follow-ups included the 1973 million-selling \\\"Ain't No Woman (Like the One I've Got)\\\", also a top 10 pop hit and their third R&B number 1, and the Top 20 hit, \\\"Are You Man Enough\\\" (1973), (from the 1973 movie Shaft in Africa). \\\"Sweet Understanding Love\\\" (1973); \\\"Midnight Flower (1974); and \\\"One Chain Don't Make No Prison\\\" (1974) all reached the R&B Top 10 between 1972 and 1974.\",\n \"\\\"Sweet Understanding Love\\\" (1973); \\\"Midnight Flower (1974); and \\\"One Chain Don't Make No Prison\\\" (1974) all reached the R&B Top 10 between 1972 and 1974. Two ABC/Dunhill singles, 1974's \\\"I Just Can't Get You Out of My Mind\\\" and 1975's \\\"Seven Lonely Nights\\\" have become popular tunes in the southeast Beach/Shag Club Dance circuit.\",\n \"Two ABC/Dunhill singles, 1974's \\\"I Just Can't Get You Out of My Mind\\\" and 1975's \\\"Seven Lonely Nights\\\" have become popular tunes in the southeast Beach/Shag Club Dance circuit. After the release of \\\"Catfish\\\" (a top 10 R&B hit) in 1976, the major hits started to dry up and the Tops left ABC after an album recorded in Philadelphia with the MFSB musicians resulted in only minor chart success in 1978.\",\n \"After the release of \\\"Catfish\\\" (a top 10 R&B hit) in 1976, the major hits started to dry up and the Tops left ABC after an album recorded in Philadelphia with the MFSB musicians resulted in only minor chart success in 1978. The group disappeared from the recording scene until the early 1980s.\",\n \"The group disappeared from the recording scene until the early 1980s. Signing a deal with Casablanca Records, the Tops made a comeback in 1981 with the number 1 R&B hit \\\"When She Was My Girl\\\". Produced by David Wolfert, it just missed the Billboard pop Top 10, peaking at number 11.\",\n \"Produced by David Wolfert, it just missed the Billboard pop Top 10, peaking at number 11. The group also scored a UK Top 10 hit with the song and had another hit there with the follow-up, \\\"Don't Walk Away\\\".\",\n \"The group also scored a UK Top 10 hit with the song and had another hit there with the follow-up, \\\"Don't Walk Away\\\". In 1982, their song \\\"Back to School Again\\\" appeared in both the movie Grease 2 and its soundtrack.\",\n \"In 1982, their song \\\"Back to School Again\\\" appeared in both the movie Grease 2 and its soundtrack. Return to Motown By 1983, The Tops had rejoined Motown, where their former ABC-Dunhill producer, Barri was vice-president of A&R.\",\n \"Return to Motown By 1983, The Tops had rejoined Motown, where their former ABC-Dunhill producer, Barri was vice-president of A&R. They were featured on the company's 1983 television special Motown 25: Yesterday, Today, Forever, taking part in one of the highlights of the show - a battle of the bands between The Tops and The Temptations, patterned after similar competitions Berry Gordy, Jr. had staged during the 1960s.\",\n \"They were featured on the company's 1983 television special Motown 25: Yesterday, Today, Forever, taking part in one of the highlights of the show - a battle of the bands between The Tops and The Temptations, patterned after similar competitions Berry Gordy, Jr. had staged during the 1960s. Levi Stubbs and Temptation Otis Williams decided the Temptations/Tops battle would be a good one to take on the road, and both groups began semi-regular joint tours.\",\n \"Levi Stubbs and Temptation Otis Williams decided the Temptations/Tops battle would be a good one to take on the road, and both groups began semi-regular joint tours. The first of The Tops' albums under their new Motown contract was Back Where I Belong (1983).\",\n \"The first of The Tops' albums under their new Motown contract was Back Where I Belong (1983). A whole side of the album was produced by the Holland-Dozier-Holland production team, including the R&B Top 40 single \\\"I Just Can't Walk Away\\\".\",\n \"A whole side of the album was produced by the Holland-Dozier-Holland production team, including the R&B Top 40 single \\\"I Just Can't Walk Away\\\". Only one more Tops album would be released by Motown, Magic in 1985.\",\n \"Only one more Tops album would be released by Motown, Magic in 1985. The lead single from that album, \\\"Sexy Ways\\\", was almost a Top 20 R&B hit, peaking at number 21 in mid-1985.\",\n \"The lead single from that album, \\\"Sexy Ways\\\", was almost a Top 20 R&B hit, peaking at number 21 in mid-1985. In July of that year, the group performed at the Live Aid concert, singing five of their hit songs.\",\n \"In July of that year, the group performed at the Live Aid concert, singing five of their hit songs. The title track of 1988's Indestructible was the group's final Top 40 hit, reaching No. 35. It was also featured in the 1988 science-fiction cop film Alien Nation.\",\n \"It was also featured in the 1988 science-fiction cop film Alien Nation. Another track, \\\"Loco in Acapulco\\\", written and produced by British pop musician Phil Collins and former Motown composer-producer Lamont Dozier, climbed into the UK Top 10 and made number 7 in early 1989.\",\n \"Another track, \\\"Loco in Acapulco\\\", written and produced by British pop musician Phil Collins and former Motown composer-producer Lamont Dozier, climbed into the UK Top 10 and made number 7 in early 1989. The Arista contract provided an opportunity to pair Levi Stubbs with fellow Arista artist, another R&B vocalist from Detroit, Aretha Franklin, who was at the height of her own 1980s hit streak.\",\n \"The Arista contract provided an opportunity to pair Levi Stubbs with fellow Arista artist, another R&B vocalist from Detroit, Aretha Franklin, who was at the height of her own 1980s hit streak. This pairing resulted in the 1988 song \\\"If Ever a Love There Was\\\", which became a popular R&B and Adult Contemporary hit, as well as being featured on the soundtrack of the 1988 motion picture I'm Gonna Git You Sucka.\",\n \"This pairing resulted in the 1988 song \\\"If Ever a Love There Was\\\", which became a popular R&B and Adult Contemporary hit, as well as being featured on the soundtrack of the 1988 motion picture I'm Gonna Git You Sucka. In December 1988, Pan Am Flight 103 (a disaster known as the Lockerbie bombing) became the group's scheduled return flight to the U.S. for Christmas after completing their European tour.\",\n \"In December 1988, Pan Am Flight 103 (a disaster known as the Lockerbie bombing) became the group's scheduled return flight to the U.S. for Christmas after completing their European tour. A prolonged recording session and a performance at the British television show Top of the Pops caused them to oversleep and miss the ill-fated flight which crashed in Lockerbie, Scotland, after a terrorist bomb was detonated on board.\",\n \"A prolonged recording session and a performance at the British television show Top of the Pops caused them to oversleep and miss the ill-fated flight which crashed in Lockerbie, Scotland, after a terrorist bomb was detonated on board. They left London on a later British Airways flight.\",\n \"They left London on a later British Airways flight. Later years From the late 1980s, the Four Tops focused on touring and live performances. They recorded only one album, returning again to Motown for 1995's Christmas Here with You.\",\n \"They recorded only one album, returning again to Motown for 1995's Christmas Here with You. On June 20, 1997, 59-year-old Lawrence Payton died as a result of liver cancer, after singing for 44 years with the Four Tops who, unlike many other Motown groups, never had a single lineup change until then.\",\n \"On June 20, 1997, 59-year-old Lawrence Payton died as a result of liver cancer, after singing for 44 years with the Four Tops who, unlike many other Motown groups, never had a single lineup change until then. At first, Levi Stubbs, Renaldo \\\"Obie\\\" Benson, and Abdul \\\"Duke\\\" Fakir toured as a trio called The Tops.\",\n \"At first, Levi Stubbs, Renaldo \\\"Obie\\\" Benson, and Abdul \\\"Duke\\\" Fakir toured as a trio called The Tops. In 1998, they recruited former member of the Temptations Theo Peoples to restore the group to a quartet.\",\n \"In 1998, they recruited former member of the Temptations Theo Peoples to restore the group to a quartet. By the turn of the century, Stubbs had become ill from cancer; Ronnie McNeir was recruited to fill the Lawrence Payton position and Theo Peoples stepped into Stubbs' shoes as lead singer.\",\n \"By the turn of the century, Stubbs had become ill from cancer; Ronnie McNeir was recruited to fill the Lawrence Payton position and Theo Peoples stepped into Stubbs' shoes as lead singer. Stubbs later died on October 17, 2008 at his home in Detroit.\",\n \"Stubbs later died on October 17, 2008 at his home in Detroit. The group was featured in several television specials during this time, including Motown 45, and several by PBS, including a 50th-anniversary concert dedicated to the group (available on DVD).\",\n \"The group was featured in several television specials during this time, including Motown 45, and several by PBS, including a 50th-anniversary concert dedicated to the group (available on DVD). The concert turned out to be bittersweet; it featured a brief appearance of Levi Stubbs using a wheelchair, and a memorial to Lawrence Payton, announced by Renaldo \\\"Obie\\\" Benson.\",\n \"The concert turned out to be bittersweet; it featured a brief appearance of Levi Stubbs using a wheelchair, and a memorial to Lawrence Payton, announced by Renaldo \\\"Obie\\\" Benson. Benson appeared on one more PBS special and died on July 1, 2005, from lung cancer.\",\n \"Benson appeared on one more PBS special and died on July 1, 2005, from lung cancer. The final PBS special, titled Motown: The Early Years, featured a message of Benson's passing following the credits.\",\n \"The final PBS special, titled Motown: The Early Years, featured a message of Benson's passing following the credits. The group was inducted into the Rock and Roll Hall of Fame in 1990, and into the Vocal Group Hall of Fame in 1999.\",\n \"The group was inducted into the Rock and Roll Hall of Fame in 1990, and into the Vocal Group Hall of Fame in 1999. In 2004, Rolling Stone ranked them #79 on their list of the 100 Greatest Artists of All Time.\",\n \"In 2004, Rolling Stone ranked them #79 on their list of the 100 Greatest Artists of All Time. The Four Tops were inducted into the Michigan Rock and Roll Legends Hall of Fame in 2005.\",\n \"The Four Tops were inducted into the Michigan Rock and Roll Legends Hall of Fame in 2005. The Four Tops sang the National Anthem before the start of game 5 for the 2011 baseball American League Championship Series (ALCS) between the Texas Rangers & Detroit Tigers on October 13, 2011 in Detroit, MI.\",\n \"The Four Tops sang the National Anthem before the start of game 5 for the 2011 baseball American League Championship Series (ALCS) between the Texas Rangers & Detroit Tigers on October 13, 2011 in Detroit, MI. When singing the last line of \\\"The Star-Spangled Banner\\\", \\\"... and the home of the brave\\\", they quickly sang the words \\\"Ain't No country Like the One I Got\\\", before singing the last word, \\\"brave\\\".\",\n \"When singing the last line of \\\"The Star-Spangled Banner\\\", \\\"... and the home of the brave\\\", they quickly sang the words \\\"Ain't No country Like the One I Got\\\", before singing the last word, \\\"brave\\\". The Four Tops were honored with an induction into the R&B Music Hall of Fame at the Inaugural ceremony held at Cleveland State University's Waetejen Auditorium on Saturday August 17, 2013.\",\n \"The Four Tops were honored with an induction into the R&B Music Hall of Fame at the Inaugural ceremony held at Cleveland State University's Waetejen Auditorium on Saturday August 17, 2013. The Four Tops were among hundreds of artists whose material was destroyed in the 2008 Universal fire.\",\n \"The Four Tops were among hundreds of artists whose material was destroyed in the 2008 Universal fire. The Four Tops career awards The Four Tops have won many awards, including the following: Rock and Roll Hall of Fame (1990) Vocal Group Hall of Fame (1999) Hollywood Walk of Fame (1997) Grammy Hall of Fame (Reach Out I'll Be There-1998)(\\\"I Can't Help Myself (Sugar Pie Honey Bunch-2018) Grammy Lifetime Achievement Award (2009-51st Annual Grammy Awards) Rhythm and Blues Foundation Pioneer Award (1997) Billboard magazine Top 100 Artists of All Time(#77) R&B Music Hall of Fame Induction (2013) 100 Greatest Artists of All Time (#79-Rolling Stone) Rolling Stone's 500 Greatest Songs of All Time (2003) Michigan Rock and Roll Legends Hall of Fame Grammy Lifetime Achievement Award In early 2018, The Four Tops' 1965 #1 Pop Hit, \\\"I Can't Help Myself (Sugar Pie Honey Bunch)\\\" became their second song to be inducted into The Grammy Hall of Fame.\",\n \"The Four Tops career awards The Four Tops have won many awards, including the following: Rock and Roll Hall of Fame (1990) Vocal Group Hall of Fame (1999) Hollywood Walk of Fame (1997) Grammy Hall of Fame (Reach Out I'll Be There-1998)(\\\"I Can't Help Myself (Sugar Pie Honey Bunch-2018) Grammy Lifetime Achievement Award (2009-51st Annual Grammy Awards) Rhythm and Blues Foundation Pioneer Award (1997) Billboard magazine Top 100 Artists of All Time(#77) R&B Music Hall of Fame Induction (2013) 100 Greatest Artists of All Time (#79-Rolling Stone) Rolling Stone's 500 Greatest Songs of All Time (2003) Michigan Rock and Roll Legends Hall of Fame Grammy Lifetime Achievement Award In early 2018, The Four Tops' 1965 #1 Pop Hit, \\\"I Can't Help Myself (Sugar Pie Honey Bunch)\\\" became their second song to be inducted into The Grammy Hall of Fame. Personnel Current Members Abdul “Duke” Fakir (1953-present) Ronnie McNeir (1999-present) Lawrence Payton Jr. (2005-present) Alexander Morris (2019-present) Former Members Levi Stubbs (1953-2000, 2004) (d. 2008) Renaldo “Obie” Benson (1953-2005) (d. 2005) Lawrence Payton (1953-1997) (d. 1997) Theo Peoples (1998-2010) Harold Bonhart (2010-2018) Discography Albums Motown releases 1965: Four Tops (US #63; UK #2) 1965: Four Tops' Second Album (US #20) 1966: Four Tops Live!\",\n \"Personnel Current Members Abdul “Duke” Fakir (1953-present) Ronnie McNeir (1999-present) Lawrence Payton Jr. (2005-present) Alexander Morris (2019-present) Former Members Levi Stubbs (1953-2000, 2004) (d. 2008) Renaldo “Obie” Benson (1953-2005) (d. 2005) Lawrence Payton (1953-1997) (d. 1997) Theo Peoples (1998-2010) Harold Bonhart (2010-2018) Discography Albums Motown releases 1965: Four Tops (US #63; UK #2) 1965: Four Tops' Second Album (US #20) 1966: Four Tops Live! (US #17; UK #4) 1966: On Top (US #32; UK #9) 1967: Four Tops' Greatest Hits (US #4; UK #1) 1967: Reach Out (US #11; UK #6) 1967: Four Tops on Broadway (US #79) 1968: Yesterday's Dreams (US #91) 1969: Four Tops Now!\",\n \"(US #17; UK #4) 1966: On Top (US #32; UK #9) 1967: Four Tops' Greatest Hits (US #4; UK #1) 1967: Reach Out (US #11; UK #6) 1967: Four Tops on Broadway (US #79) 1968: Yesterday's Dreams (US #91) 1969: Four Tops Now! (US #74) 1969: Soul Spin (US #163) 1970: Still Waters Run Deep (US #21) 1970: Changing Times (US #109) 1970: The Magnificent 7 (with The Supremes) (US #113; UK #6) 1971: The Return of the Magnificent Seven (with The Supremes) (US #154) 1971: Dynamite (with the Supremes) (US #160) 1971: Mac Arthur Park 1972: Nature Planned It (US #50) 1973: The Best of the 4 Tops (US #103) ABC releases 1972: Keeper of the Castle (US #33) 1973: Main Street People (US #66) 1974: Meeting of the Minds (US #118) 1974: Live & in Concert (US #92) 1975: Night Lights Harmony (US #148) 1976: Catfish (US #124) 1977: The Show Must Go On 1978: At the Top Casablanca releases 1981: Tonight!\",\n \"(US #74) 1969: Soul Spin (US #163) 1970: Still Waters Run Deep (US #21) 1970: Changing Times (US #109) 1970: The Magnificent 7 (with The Supremes) (US #113; UK #6) 1971: The Return of the Magnificent Seven (with The Supremes) (US #154) 1971: Dynamite (with the Supremes) (US #160) 1971: Mac Arthur Park 1972: Nature Planned It (US #50) 1973: The Best of the 4 Tops (US #103) ABC releases 1972: Keeper of the Castle (US #33) 1973: Main Street People (US #66) 1974: Meeting of the Minds (US #118) 1974: Live & in Concert (US #92) 1975: Night Lights Harmony (US #148) 1976: Catfish (US #124) 1977: The Show Must Go On 1978: At the Top Casablanca releases 1981: Tonight! (US #37) 1982: One More Mountain Motown releases 1983: Back Where I Belong 1985: Magic (US #140) 1986: Hot Nights (unreleased) Arista releases 1988: Indestructible (US #149) Motown releases 1995: Christmas Here with You Prism Leisure releases 2000: The Four Tops Collection (recorded live at the MGM grand 1996) U.S.\",\n \"(US #37) 1982: One More Mountain Motown releases 1983: Back Where I Belong 1985: Magic (US #140) 1986: Hot Nights (unreleased) Arista releases 1988: Indestructible (US #149) Motown releases 1995: Christmas Here with You Prism Leisure releases 2000: The Four Tops Collection (recorded live at the MGM grand 1996) U.S. Billboard Hot 100 and UK singles The following singles reached the top 30 of the U.S. and UK singles charts.\",\n \"Billboard Hot 100 and UK singles The following singles reached the top 30 of the U.S. and UK singles charts. DVDs The Four Tops: Live at the MGM Grand: 40th Anniversary Special (1996) The Four Tops: The Four Tops (semi-documentary/concert rehearsal, recorded live for French TV in 1971) (2004) The Four Tops: From the Heart: The 50th Anniversary Concert (2006) The Four Tops: Reach Out: Definitive Performances 1965-1973 (2008), Motown/Universal See also List of best-selling music artists References External links Four Tops biography by John Bush, discography and album reviews, credits & releases at AllMusic Four Tops discography, album releases & credits at Discogs Four Tops filmography on IMDb Four Tops Broadway musical productions at the Internet Broadway Database Four Tops discography at MusicBrainz Four Tops albums to be listened as stream on Spotify Vocal Group Hall of Fame page on the Four Tops Levi Stubbs/The Four Tops interview by Pete Lewis, 'Blues & Soul' October 1992 (republished November 2008) History of Rock article Four Tops on MySpace Four Tops appearances on The Ed Sullivan Show Ronnie McNeir 2012 Interview at Soulinterviews.com.\",\n \"DVDs The Four Tops: Live at the MGM Grand: 40th Anniversary Special (1996) The Four Tops: The Four Tops (semi-documentary/concert rehearsal, recorded live for French TV in 1971) (2004) The Four Tops: From the Heart: The 50th Anniversary Concert (2006) The Four Tops: Reach Out: Definitive Performances 1965-1973 (2008), Motown/Universal See also List of best-selling music artists References External links Four Tops biography by John Bush, discography and album reviews, credits & releases at AllMusic Four Tops discography, album releases & credits at Discogs Four Tops filmography on IMDb Four Tops Broadway musical productions at the Internet Broadway Database Four Tops discography at MusicBrainz Four Tops albums to be listened as stream on Spotify Vocal Group Hall of Fame page on the Four Tops Levi Stubbs/The Four Tops interview by Pete Lewis, 'Blues & Soul' October 1992 (republished November 2008) History of Rock article Four Tops on MySpace Four Tops appearances on The Ed Sullivan Show Ronnie McNeir 2012 Interview at Soulinterviews.com. Musical groups established in 1953 Musical groups from Detroit African-American musical groups American soul musical groups Motown artists Northern soul musicians ABC Records artists Dunhill Records artists Chess Records artists Vocal quartets Columbia Records artists Casablanca Records artists Arista Records artists 1953 establishments in Michigan\"\n]"}}},{"rowIdx":475,"cells":{"History":{"kind":"list like","value":["Four Tops","ABC Records and Casablanca Records","Did they move from ABC to Casablanca?","The Tops departed Motown for ABC-Dunhill,","Why did they depart motown?","In 1972, it was announced that the entire company would move west and that all its artists had to move as well."],"string":"[\n \"Four Tops\",\n \"ABC Records and Casablanca Records\",\n \"Did they move from ABC to Casablanca?\",\n \"The Tops departed Motown for ABC-Dunhill,\",\n \"Why did they depart motown?\",\n \"In 1972, it was announced that the entire company would move west and that all its artists had to move as well.\"\n]"},"QuAC_dialog_id":{"kind":"string","value":"C_a9ee71dcf4f84b50b0677e63a645e03c_1"},"Question":{"kind":"string","value":"So the tops moved west then?"},"Question_no":{"kind":"number","value":3,"string":"3"},"Rewrite":{"kind":"string","value":"So the tops moved west in 1972?"},"true_page_title":{"kind":"string","value":"Four Tops"},"true_contexts":{"kind":"string","value":"Motown as a company began to change during the early 1970s. Older acts such as Martha and the Vandellas and The Marvelettes were slowly moved aside or dropped to focus on newer acts, such as Michael Jackson and The Jackson 5, Rare Earth, and the now-solo Diana Ross. In addition, the company moved its operations from Detroit to Los Angeles, California, where Berry Gordy planned to break into the motion picture and television industries. In 1972, it was announced that the entire company would move west and that all its artists had to move as well. Many of the older Motown acts, already neglected by the label, opted to stay in Detroit, including The Funk Brothers studio backing band, Martha Reeves, and the Four Tops. The Tops departed Motown for ABC-Dunhill, where they were assigned to writer-producers Dennis Lambert and Brian Potter and the label's head of A&R, Steve Barri as producer, with The Tops' own Lawrence Payton later also serving as a producer and writer. He also took over lead vocal duties on several tracks. The group's first release on the label, \"Keeper of the Castle\" was their first pop Top 10 hit since \"Bernadette\" in 1967. Follow-ups included the million-selling \"Ain't No Woman (Like the One I've Got)\", also a top 10 pop hit and their third R&B number 1, and the Top 20 hit, \"Are You Man Enough\", (from the movie \"Shaft in Africa\"). \"Sweet Understanding Love\"; \"Midnight Flower\"; and \"One Chain Don't Make No Prison\" all reached the R&B Top 10 between 1972 and 1974. Two ABC/Dunhill singles, 1974's \"I Just Can't Get You Out of My Mind\" and 1975's \"Seven Lonely Nights\" have become popular tunes in the southeast Beach/Shag Club Dance circuit. After the release of \"Catfish\" (a top 10 R&B hit) in 1976, the major hits started to dry up and the Tops left ABC after an album recorded in Philadelphia with the MFSB musicians resulted in only minor chart success in 1978. The group disappeared from the recording scene until the early 1980s. Signing a deal with Casablanca Records, the Tops made a comeback in 1981 with the #1 R&B hit \"When She Was My Girl\". Produced by David Wolfert, it just missed the Billboard pop Top 10, peaking at #11. The group also scored a UK Top 10 hit with the song and had another hit there with the follow-up, \"Don't Walk Away\". CANNOTANSWER"},"answer":{"kind":"string","value":"The Tops departed Motown for ABC-Dunhill,"},"true_contexts_wiki":{"kind":"string","value":"The Four Tops are an American vocal quartet from Detroit who helped to define the city's Motown sound of the 1960s. The group's repertoire has included soul music, R&B, disco, adult contemporary, doo-wop, jazz, and show tunes.\n\nFounded as the Four Aims, lead singer Levi Stubbs, Abdul \"Duke\" Fakir, Renaldo \"Obie\" Benson and Lawrence Payton remained together for over four decades, performing from 1953 until 1997 without a change in personnel. The Four Tops were among a number of groups, including the Miracles, the Marvelettes, Martha and the Vandellas, the Temptations, and the Supremes, who established the Motown Sound heard around the world during the 1960s. They were notable for having Stubbs, a baritone, as their lead singer, whereas most other male and mixed vocal groups of the time were fronted by tenors. \n\nThe group was the main male vocal group for the highly successful songwriting and production team of Holland–Dozier–Holland, who crafted a stream of hit singles for Motown. These included two Billboard Hot 100 number-one hits for the Tops: \"I Can't Help Myself (Sugar Pie Honey Bunch)\" in 1965 and \"Reach Out I'll Be There\" in 1966. The group continued to have chart singles into the 1970s, including the million-seller \"Ain't No Woman\" (1973). \n\nThe group was inducted into the Rock and Roll Hall of Fame in 1990 and into the Vocal Group Hall of Fame in 1999. In 2004, Rolling Stone ranked them #79 on its list of the 100 Greatest Artists of All Time.\n\nThe Four Tops continue to perform with Fakir as the last surviving original member.\n\nHistory\n\nEarly years\nAll four members of the group began their careers together while they were high-school students in Detroit. At the insistence of their friends, Pershing High students Levi Stubbs and Abdul \"Duke\" Fakir performed with Renaldo \"Obie\" Benson and Lawrence Payton from Northern High at a local birthday party. The quartet decided to remain together and named the group the Four Aims. With the help of Payton's songwriter cousin Roquel Davis, the Aims signed to Chess Records in 1956, changing their name to the Four Tops to avoid confusion with the Ames Brothers.\n\nOver the next seven years, the Tops had unsuccessful tenures at Chess, Red Top, Riverside Records and Columbia Records. Without any hit records to their name, they toured frequently, developing a polished stage presence and an experienced supper club act, as well as supporting Billy Eckstine. In 1963, Berry Gordy, Jr., who had worked with Roquel \"Billy\" Davis as a songwriter in the late 1950s, convinced the Tops to join the roster of his growing Motown record company.\n\nJoining Motown\nDuring their early Motown years, the Four Tops recorded jazz standards for the company's Workshop Jazz Records label. In addition, they sang backup on Motown singles by the Supremes (\"Run, Run, Run\", 1964), Martha and the Vandellas (on the 1966 hit \"My Baby Loves Me\") and others.\n\nIn 1964, Motown's main songwriting and production team, Holland–Dozier–Holland, created a complete instrumental track without any idea of what to do with it. They decided to craft the song as a more mainstream pop song for the Four Tops and proceeded to create \"Baby I Need Your Loving\" from the instrumental track. On its release in mid-1964, \"Baby I Need Your Loving\" made it to number 11 on the Billboard Hot 100.\n\nThe first follow-up single, \"Without the One You Love (Life's Not Worth While)\" (1964), just missed both the pop and R&B Top 40 charts, but \"Ask the Lonely\" (1965), written and produced by Motown A&R head William \"Mickey\" Stevenson with Ivy Jo Hunter, was a Top 30 pop hit and a Top 10 R&B hit in early 1965.\n\nSuccess\nAfter their first number 1 hit, \"I Can't Help Myself (Sugar Pie, Honey Bunch)\" in June 1965, the Four Tops released a long series of successful hit singles. Among the first wave of these hits were the Top 10 \"It's the Same Old Song\" (1965), \"Something About You\" (1965), \"Shake Me, Wake Me (When It's Over)\" (1966), and \"Loving You Is Sweeter Than Ever\" (1966). \n\nHolland-Dozier-Holland wrote most of Levi Stubbs's vocals in a tenor range, near the top of his range, in order to get a sense of strained urgency in his gospel preacher-inspired leads. They also wrote additional background vocals for a female group, the Andantes, on many of the songs, to add a high end to the low-voiced harmony of the Tops. Ivy Jo Hunter's \"Loving You Is Sweeter Than Ever\" (1966) was one of a few exceptions.\n\nAugust 1966 brought the release of the Four Tops' all-time biggest hit and one of the most popular Motown songs ever. \"Reach Out I'll Be There\" reached number 1 on the U.S. pop and R&B charts and the UK chart and soon became the Tops' signature song. It was almost immediately followed by the similar-sounding \"Standing in the Shadows of Love\"; its depiction of heartbreak reflecting the opposite of the optimism in \"Reach Out\". It was another Top 10 hit for the Tops.\n\nThe Top 10 U.S. hit \"Bernadette\" centered around a man's all-consuming obsession with his lover, continued the Four Tops' successful run into April 1967, followed by the Top 20 hits \"7-Rooms of Gloom\", and \"You Keep Running Away\". By now, the Tops were the most successful male Motown act in the United Kingdom (in the United States, they were second to the Temptations), and began experimenting with more mainstream pop hits. They scored hits with their versions of Tim Hardin's \"If I Were a Carpenter\" in late 1967 (mid-1968 in the U.S.) and the Left Banke's \"Walk Away Renée\" in early 1968. These singles and the original \"I'm in a Different World\" were their last hits produced by Holland-Dozier-Holland, who left Motown in 1967 after disputes with Berry Gordy, Jr.\n\nLate Motown period\nWithout Holland-Dozier-Holland, the hits became less frequent. The group worked with a wide array of Motown producers during the late 1960s, including Ivy Jo Hunter, Nickolas Ashford & Valerie Simpson, Norman Whitfield and Johnny Bristol, without significant chart success.\n\nTheir first major hit in a long time came in the form of 1970's \"It's All in the Game\", a pop Top 30/R&B Top Ten hit produced by Frank Wilson. Wilson and the Tops began working on a number of innovative tracks and albums together, echoing Whitfield's psychedelic soul work with the Temptations. Their 1970 album Still Waters Run Deep was a forerunner of the concept album. It also served as an inspiration for Marvin Gaye's 1971 classic album What's Going On, the title track of which was co-written by the Tops' Renaldo \"Obie\" Benson.\n\nIn addition to their own albums, the Tops were paired with The Supremes, who had just replaced lead singer Diana Ross with Jean Terrell, for a series of albums billed under the joint title The Magnificent 7 in 1970, and The Return of the Magnificent Seven and Dynamite! in 1971. Whilst the albums themselves did not perform really well on the charts, The Magnificent Seven featured a Top 20 version of Ike & Tina Turner's \"River Deep - Mountain High\", produced by Ashford & Simpson.\n\nThe 1971 single \"A Simple Game\" featured backing vocals from members of The Moody Blues. The song did not fare well on the U.S. charts, but reached number three on the UK chart.\n\nABC/Dunhill Records and Casablanca Records\nMotown as a company began to change during the early 1970s. Older acts such as Martha and the Vandellas and The Marvelettes were slowly moved aside or dropped to focus on newer acts, such as Michael Jackson and The Jackson 5, Rare Earth, and the now-solo Diana Ross. In addition, the company moved its operations from Detroit to Los Angeles, California, where Berry Gordy, Jr. planned to break into the motion picture and television industries. In 1972, it was announced that the entire company would move west and that all its artists had to move as well. Many of the older Motown acts, already neglected by the label, opted to stay in Detroit, including The Funk Brothers studio backing band, Martha Reeves, and the Four Tops.\n\nThe Tops departed Motown for ABC-Dunhill, where they were assigned to writer-producers Dennis Lambert and Brian Potter and the label's head of A&R, Steve Barri as producer, with The Tops' own Lawrence Payton later also serving as a producer and writer. He also took over lead vocal duties on several tracks.\n\nThe group's first release on the label, \"Keeper of the Castle\" (1972) was their first pop Top 10 hit since \"Bernadette\" in 1967. Follow-ups included the 1973 million-selling \"Ain't No Woman (Like the One I've Got)\", also a top 10 pop hit and their third R&B number 1, and the Top 20 hit, \"Are You Man Enough\" (1973), (from the 1973 movie Shaft in Africa). \"Sweet Understanding Love\" (1973); \"Midnight Flower (1974); and \"One Chain Don't Make No Prison\" (1974) all reached the R&B Top 10 between 1972 and 1974. Two ABC/Dunhill singles, 1974's \"I Just Can't Get You Out of My Mind\" and 1975's \"Seven Lonely Nights\" have become popular tunes in the southeast Beach/Shag Club Dance circuit.\n\nAfter the release of \"Catfish\" (a top 10 R&B hit) in 1976, the major hits started to dry up and the Tops left ABC after an album recorded in Philadelphia with the MFSB musicians resulted in only minor chart success in 1978. The group disappeared from the recording scene until the early 1980s. Signing a deal with Casablanca Records, the Tops made a comeback in 1981 with the number 1 R&B hit \"When She Was My Girl\". Produced by David Wolfert, it just missed the Billboard pop Top 10, peaking at number 11. The group also scored a UK Top 10 hit with the song and had another hit there with the follow-up, \"Don't Walk Away\". In 1982, their song \"Back to School Again\" appeared in both the movie Grease 2 and its soundtrack.\n\nReturn to Motown\nBy 1983, The Tops had rejoined Motown, where their former ABC-Dunhill producer, Barri was vice-president of A&R. They were featured on the company's 1983 television special Motown 25: Yesterday, Today, Forever, taking part in one of the highlights of the show - a battle of the bands between The Tops and The Temptations, patterned after similar competitions Berry Gordy, Jr. had staged during the 1960s. Levi Stubbs and Temptation Otis Williams decided the Temptations/Tops battle would be a good one to take on the road, and both groups began semi-regular joint tours.\n\nThe first of The Tops' albums under their new Motown contract was Back Where I Belong (1983). A whole side of the album was produced by the Holland-Dozier-Holland production team, including the R&B Top 40 single \"I Just Can't Walk Away\". Only one more Tops album would be released by Motown, Magic in 1985. The lead single from that album, \"Sexy Ways\", was almost a Top 20 R&B hit, peaking at number 21 in mid-1985. In July of that year, the group performed at the Live Aid concert, singing five of their hit songs.\n\nThe title track of 1988's Indestructible was the group's final Top 40 hit, reaching No. 35. It was also featured in the 1988 science-fiction cop film Alien Nation. Another track, \"Loco in Acapulco\", written and produced by British pop musician Phil Collins and former Motown composer-producer Lamont Dozier, climbed into the UK Top 10 and made number 7 in early 1989. The Arista contract provided an opportunity to pair Levi Stubbs with fellow Arista artist, another R&B vocalist from Detroit, Aretha Franklin, who was at the height of her own 1980s hit streak. This pairing resulted in the 1988 song \"If Ever a Love There Was\", which became a popular R&B and Adult Contemporary hit, as well as being featured on the soundtrack of the 1988 motion picture I'm Gonna Git You Sucka.\n\nIn December 1988, Pan Am Flight 103 (a disaster known as the Lockerbie bombing) became the group's scheduled return flight to the U.S. for Christmas after completing their European tour. A prolonged recording session and a performance at the British television show Top of the Pops caused them to oversleep and miss the ill-fated flight which crashed in Lockerbie, Scotland, after a terrorist bomb was detonated on board. They left London on a later British Airways flight.\n\nLater years\nFrom the late 1980s, the Four Tops focused on touring and live performances. They recorded only one album, returning again to Motown for 1995's Christmas Here with You. On June 20, 1997, 59-year-old Lawrence Payton died as a result of liver cancer, after singing for 44 years with the Four Tops who, unlike many other Motown groups, never had a single lineup change until then. At first, Levi Stubbs, Renaldo \"Obie\" Benson, and Abdul \"Duke\" Fakir toured as a trio called The Tops. In 1998, they recruited former member of the Temptations Theo Peoples to restore the group to a quartet. By the turn of the century, Stubbs had become ill from cancer; Ronnie McNeir was recruited to fill the Lawrence Payton position and Theo Peoples stepped into Stubbs' shoes as lead singer. Stubbs later died on October 17, 2008 at his home in Detroit. \n\nThe group was featured in several television specials during this time, including Motown 45, and several by PBS, including a 50th-anniversary concert dedicated to the group (available on DVD). The concert turned out to be bittersweet; it featured a brief appearance of Levi Stubbs using a wheelchair, and a memorial to Lawrence Payton, announced by Renaldo \"Obie\" Benson. Benson appeared on one more PBS special and died on July 1, 2005, from lung cancer. The final PBS special, titled Motown: The Early Years, featured a message of Benson's passing following the credits.\n\nThe group was inducted into the Rock and Roll Hall of Fame in 1990, and into the Vocal Group Hall of Fame in 1999. In 2004, Rolling Stone ranked them #79 on their list of the 100 Greatest Artists of All Time. The Four Tops were inducted into the Michigan Rock and Roll Legends Hall of Fame in 2005.\n\nThe Four Tops sang the National Anthem before the start of game 5 for the 2011 baseball American League Championship Series (ALCS) between the Texas Rangers & Detroit Tigers on October 13, 2011 in Detroit, MI. When singing the last line of \"The Star-Spangled Banner\", \"... and the home of the brave\", they quickly sang the words \"Ain't No country Like the One I Got\", before singing the last word, \"brave\". The Four Tops were honored with an induction into the R&B Music Hall of Fame at the Inaugural ceremony held at Cleveland State University's Waetejen Auditorium on Saturday August 17, 2013.\n\nThe Four Tops were among hundreds of artists whose material was destroyed in the 2008 Universal fire.\n\nThe Four Tops career awards\nThe Four Tops have won many awards, including the following:\n Rock and Roll Hall of Fame (1990)\n Vocal Group Hall of Fame (1999)\n Hollywood Walk of Fame (1997)\n Grammy Hall of Fame (Reach Out I'll Be There-1998)(\"I Can't Help Myself (Sugar Pie Honey Bunch-2018)\n Grammy Lifetime Achievement Award (2009-51st Annual Grammy Awards)\n Rhythm and Blues Foundation Pioneer Award (1997)\n Billboard magazine Top 100 Artists of All Time(#77)\n R&B Music Hall of Fame Induction (2013)\n 100 Greatest Artists of All Time (#79-Rolling Stone)\n Rolling Stone's 500 Greatest Songs of All Time (2003)\n Michigan Rock and Roll Legends Hall of Fame\n Grammy Lifetime Achievement Award\n\nIn early 2018, The Four Tops' 1965 #1 Pop Hit, \"I Can't Help Myself (Sugar Pie Honey Bunch)\" became their second song to be inducted into The Grammy Hall of Fame.\n\nPersonnel\n\nCurrent Members \n\n Abdul “Duke” Fakir (1953-present)\n Ronnie McNeir (1999-present)\n Lawrence Payton Jr. (2005-present)\n Alexander Morris (2019-present)\n\nFormer Members \n\n Levi Stubbs (1953-2000, 2004) (d. 2008)\n Renaldo “Obie” Benson (1953-2005) (d. 2005)\n Lawrence Payton (1953-1997) (d. 1997)\n Theo Peoples (1998-2010)\n Harold Bonhart (2010-2018)\n\nDiscography\n\nAlbums\nMotown releases\n 1965: Four Tops (US #63; UK #2)\n 1965: Four Tops' Second Album (US #20)\n 1966: Four Tops Live! (US #17; UK #4)\n 1966: On Top (US #32; UK #9)\n 1967: Four Tops' Greatest Hits (US #4; UK #1)\n 1967: Reach Out (US #11; UK #6)\n 1967: Four Tops on Broadway (US #79)\n 1968: Yesterday's Dreams (US #91)\n 1969: Four Tops Now! (US #74)\n 1969: Soul Spin (US #163)\n 1970: Still Waters Run Deep (US #21)\n 1970: Changing Times (US #109)\n 1970: The Magnificent 7 (with The Supremes) (US #113; UK #6)\n 1971: The Return of the Magnificent Seven (with The Supremes) (US #154)\n 1971: Dynamite (with the Supremes) (US #160)\n 1971: Mac Arthur Park\n 1972: Nature Planned It (US #50)\n 1973: The Best of the 4 Tops (US #103)\n\nABC releases\n 1972: Keeper of the Castle (US #33)\n 1973: Main Street People (US #66)\n 1974: Meeting of the Minds (US #118)\n 1974: Live & in Concert (US #92)\n 1975: Night Lights Harmony (US #148)\n 1976: Catfish (US #124)\n 1977: The Show Must Go On\n 1978: At the Top\n\nCasablanca releases\n 1981: Tonight! (US #37)\n 1982: One More Mountain\n\nMotown releases\n 1983: Back Where I Belong\n 1985: Magic (US #140)\n 1986: Hot Nights (unreleased)\n\nArista releases\n 1988: Indestructible (US #149)\n\nMotown releases\n 1995: Christmas Here with You\n\nPrism Leisure releases\n 2000: The Four Tops Collection (recorded live at the MGM grand 1996)\n\nU.S. Billboard Hot 100 and UK singles\nThe following singles reached the top 30 of the U.S. and UK singles charts.\n\nDVDs\n The Four Tops: Live at the MGM Grand: 40th Anniversary Special (1996)\n The Four Tops: The Four Tops (semi-documentary/concert rehearsal, recorded live for French TV in 1971) (2004)\n The Four Tops: From the Heart: The 50th Anniversary Concert (2006)\n The Four Tops: Reach Out: Definitive Performances 1965-1973 (2008), Motown/Universal\n\nSee also\n\n List of best-selling music artists\n\nReferences\n\nExternal links\n Four Tops biography by John Bush, discography and album reviews, credits & releases at AllMusic\n Four Tops discography, album releases & credits at Discogs\n Four Tops filmography on IMDb\n Four Tops Broadway musical productions at the Internet Broadway Database\n Four Tops discography at MusicBrainz\n Four Tops albums to be listened as stream on Spotify\n Vocal Group Hall of Fame page on the Four Tops\n Levi Stubbs/The Four Tops interview by Pete Lewis, 'Blues & Soul' October 1992 (republished November 2008)\n History of Rock article\n Four Tops on MySpace\n Four Tops appearances on The Ed Sullivan Show\n Ronnie McNeir 2012 Interview at Soulinterviews.com.\n\nMusical groups established in 1953\n\nMusical groups from Detroit\nAfrican-American musical groups\nAmerican soul musical groups\nMotown artists\nNorthern soul musicians\nABC Records artists\nDunhill Records artists\nChess Records artists\nVocal quartets\nColumbia Records artists\nCasablanca Records artists\nArista Records artists\n1953 establishments in Michigan"},"extractive":{"kind":"string","value":"true"},"retrieved_contexts":{"kind":"list like","value":["TOPS (Transcendental OPerating System) is a peer-to-peer LAN-based file sharing system best known in its Macintosh implementation, but also available for DOS and able to interoperate with Unix's NFS. Originally written by Centram Systems West, the company was purchased by Sun Microsystems as part of Sun's development of the NFS ecosystem. The Centram company was renamed to TOPS after its acquisition by Sun. Sales of TOPS dried up after the introduction of System 7, which featured a similar file sharing system built-in, and Sun spun off their NFS developments to Sitka.\n\nEarly versions\nTOPS was implemented in the 1980s, an era where each computer system featured its own networking protocol and were generally unable to talk to each other. At the time Apple was in the midst of the Macintosh Office effort, and was working with two external companies to develop the Apple Filing Protocol (AFP), built on top of AppleTalk. The Macintosh Office effort ultimately failed, and one of the two companies, Centram, decided to implement a similar system on their own. This became the first version of TOPS.\n\nWhen TOPS was originally released there was no peer-to-peer file sharing solution on the Mac. According to PC Magazine, connecting a Mac to an Apple LaserWriter printer was the initial intended function of AppleTalk. Apple's own file sharing solution, AppleShare, was not released until later, and unlike TOPS it required a dedicated server machine to run on, at least a Mac Plus. For smaller offices TOPS was an attractive low-cost solution, and saw relatively widespread use. Even after the introduction of AppleShare, TOPS managed to hold on to an estimated 600,000 client installs.\n\nTOPS was initially a protocol using a custom set of remote procedure calls and able to talk only between TOPS clients. PCs generally lacked networking of any sort, and Centram addressed this problem by introducing a line of LocalTalk cards for the PC, along with a TOPS client. Files could be exchanged between the two computers, with filename conversion as required.\n\nFlashTalk\nCentram later introduced the \"FlashTalk\" networking system that used external clocking to improve LocalTalk performance. The Zilog SCC powering the serial ports on the Mac used an internal 3.6864 MHz clock that could then be divided down to provide different standard bit rates. The fastest rate available internally was 230.4 kbit/s, used by LocalTalk. However, the system also allowed the clock to be read from a pin in the serial port, giving rise to the possibility of faster speeds with the right external equipment.\n\nFlashTalk combined a conventional LocalTalk-like dongle with a clocking source and an external power supply. Using these connectors, and the associated software, TOPS could run at 770 kbit/s. This was not only a fairly dramatic improvement over LocalTalk, but also relatively speedy overall in an era when 1 Mbit/s networks were still common.\n\nTCP/IP Support\nAfter the Sun purchase, TOPS was given the problem of making a client that could also access Sun file shares using NFS. Centram solved this problem by porting their file sharing protocol to TCP/IP. This was not trivial; neither Mac OS nor Windows supported TCP/IP \"out of the box\", so what was now the TOPS Division of Sun had to write a complete IP stack for the Mac and Windows. Centram had already written such a stack for their \"TOPS Terminal\", a freeware (but not open source) Telnet terminal for the Mac.\n\nAdditionally, the majority of Macintosh systems used LocalTalk (or PhoneNet) for connectivity, and could not be directly connected to the Ethernet-based Unix LANs. They worked around this problem by supporting an emerging LocalTalk-to-Ethernet bridging standard known as \"KIP\", short for Kinetics Internet Protocol. KIP encapsulated TCP/IP packets inside AppleTalk packets, allowing them to be sent over existing LocalTalk connections. Dedicated KIP-supporting network bridges were available that stripped off the AppleTalk packaging, re-formed the IP packets inside, and sent them out over Ethernet.\n\nOne limitation of the TCP stack was that it did not support DNS, requiring users to type in IP addresses of the peers they wanted to communicate with. In a network of mostly Macs or Windows PCs this was not an issue, as DNS was not widely used with these systems at that time. KIP also reduced the need for DNS, as it allowed a Mac's existing Address Resolution Protocol (AARP) code within AppleTalk to look up the AppleTalk address of the remote peer, and then communicate with the TOPS stack on that machine to find the corresponding IP address.\n\nTOPS also added the new \"InBox Personal Connection\" e-mail system, first developed by Symantec.\n\nDecline\nTOPS' attractiveness was seriously eroded with the introduction of System 7 in 1991. TOPS had initially competed against the dedicated-server AppleShare, but System 7 included a file sharing server built-in, one that proved to be much faster than then-current versions of TOPS. TOPS sales dwindled and Sun spun off the division as Sitka, before closing it entirely in 1993.\n\nSee also\n MacServe\n Macintosh Office\n\nReferences\n\nNetwork file systems\nSun Microsystems software\nMacintosh platform\n1986 software\nComputer-related introductions in 1986","A spar tree is the tree used as the highest anchor point in a high lead cable logging setup. The spar tree is selected based on height, location and especially strength and lack of rot in order to withstand the weight and pressure required. Once a spar tree is selected, a climber would remove the tree's limbs and top the tree (a logging term for cutting off the top of the tree). Block and tackle is then affixed to the tree and cabling is run.\n\nA \"high climber\" is the member of the logging crew who scales the tree, limbs it, and tops it.\n\nSelecting a tree as a spar is a particularly important task, so the strength and importance of the spar came to hold symbolic meaning for early loggers of the West.\n\nThe use of spar trees in logging is now rare, having been replaced since the 1970s by portable towers, called yarders, which can be erected on logging sites and moved as needed.\n\nExternal links \n High Climbing\n\nLogging"],"string":"[\n \"TOPS (Transcendental OPerating System) is a peer-to-peer LAN-based file sharing system best known in its Macintosh implementation, but also available for DOS and able to interoperate with Unix's NFS. Originally written by Centram Systems West, the company was purchased by Sun Microsystems as part of Sun's development of the NFS ecosystem. The Centram company was renamed to TOPS after its acquisition by Sun. Sales of TOPS dried up after the introduction of System 7, which featured a similar file sharing system built-in, and Sun spun off their NFS developments to Sitka.\\n\\nEarly versions\\nTOPS was implemented in the 1980s, an era where each computer system featured its own networking protocol and were generally unable to talk to each other. At the time Apple was in the midst of the Macintosh Office effort, and was working with two external companies to develop the Apple Filing Protocol (AFP), built on top of AppleTalk. The Macintosh Office effort ultimately failed, and one of the two companies, Centram, decided to implement a similar system on their own. This became the first version of TOPS.\\n\\nWhen TOPS was originally released there was no peer-to-peer file sharing solution on the Mac. According to PC Magazine, connecting a Mac to an Apple LaserWriter printer was the initial intended function of AppleTalk. Apple's own file sharing solution, AppleShare, was not released until later, and unlike TOPS it required a dedicated server machine to run on, at least a Mac Plus. For smaller offices TOPS was an attractive low-cost solution, and saw relatively widespread use. Even after the introduction of AppleShare, TOPS managed to hold on to an estimated 600,000 client installs.\\n\\nTOPS was initially a protocol using a custom set of remote procedure calls and able to talk only between TOPS clients. PCs generally lacked networking of any sort, and Centram addressed this problem by introducing a line of LocalTalk cards for the PC, along with a TOPS client. Files could be exchanged between the two computers, with filename conversion as required.\\n\\nFlashTalk\\nCentram later introduced the \\\"FlashTalk\\\" networking system that used external clocking to improve LocalTalk performance. The Zilog SCC powering the serial ports on the Mac used an internal 3.6864 MHz clock that could then be divided down to provide different standard bit rates. The fastest rate available internally was 230.4 kbit/s, used by LocalTalk. However, the system also allowed the clock to be read from a pin in the serial port, giving rise to the possibility of faster speeds with the right external equipment.\\n\\nFlashTalk combined a conventional LocalTalk-like dongle with a clocking source and an external power supply. Using these connectors, and the associated software, TOPS could run at 770 kbit/s. This was not only a fairly dramatic improvement over LocalTalk, but also relatively speedy overall in an era when 1 Mbit/s networks were still common.\\n\\nTCP/IP Support\\nAfter the Sun purchase, TOPS was given the problem of making a client that could also access Sun file shares using NFS. Centram solved this problem by porting their file sharing protocol to TCP/IP. This was not trivial; neither Mac OS nor Windows supported TCP/IP \\\"out of the box\\\", so what was now the TOPS Division of Sun had to write a complete IP stack for the Mac and Windows. Centram had already written such a stack for their \\\"TOPS Terminal\\\", a freeware (but not open source) Telnet terminal for the Mac.\\n\\nAdditionally, the majority of Macintosh systems used LocalTalk (or PhoneNet) for connectivity, and could not be directly connected to the Ethernet-based Unix LANs. They worked around this problem by supporting an emerging LocalTalk-to-Ethernet bridging standard known as \\\"KIP\\\", short for Kinetics Internet Protocol. KIP encapsulated TCP/IP packets inside AppleTalk packets, allowing them to be sent over existing LocalTalk connections. Dedicated KIP-supporting network bridges were available that stripped off the AppleTalk packaging, re-formed the IP packets inside, and sent them out over Ethernet.\\n\\nOne limitation of the TCP stack was that it did not support DNS, requiring users to type in IP addresses of the peers they wanted to communicate with. In a network of mostly Macs or Windows PCs this was not an issue, as DNS was not widely used with these systems at that time. KIP also reduced the need for DNS, as it allowed a Mac's existing Address Resolution Protocol (AARP) code within AppleTalk to look up the AppleTalk address of the remote peer, and then communicate with the TOPS stack on that machine to find the corresponding IP address.\\n\\nTOPS also added the new \\\"InBox Personal Connection\\\" e-mail system, first developed by Symantec.\\n\\nDecline\\nTOPS' attractiveness was seriously eroded with the introduction of System 7 in 1991. TOPS had initially competed against the dedicated-server AppleShare, but System 7 included a file sharing server built-in, one that proved to be much faster than then-current versions of TOPS. TOPS sales dwindled and Sun spun off the division as Sitka, before closing it entirely in 1993.\\n\\nSee also\\n MacServe\\n Macintosh Office\\n\\nReferences\\n\\nNetwork file systems\\nSun Microsystems software\\nMacintosh platform\\n1986 software\\nComputer-related introductions in 1986\",\n \"A spar tree is the tree used as the highest anchor point in a high lead cable logging setup. The spar tree is selected based on height, location and especially strength and lack of rot in order to withstand the weight and pressure required. Once a spar tree is selected, a climber would remove the tree's limbs and top the tree (a logging term for cutting off the top of the tree). Block and tackle is then affixed to the tree and cabling is run.\\n\\nA \\\"high climber\\\" is the member of the logging crew who scales the tree, limbs it, and tops it.\\n\\nSelecting a tree as a spar is a particularly important task, so the strength and importance of the spar came to hold symbolic meaning for early loggers of the West.\\n\\nThe use of spar trees in logging is now rare, having been replaced since the 1970s by portable towers, called yarders, which can be erected on logging sites and moved as needed.\\n\\nExternal links \\n High Climbing\\n\\nLogging\"\n]"},"chunked_article":{"kind":"list like","value":["The Four Tops are an American vocal quartet from Detroit who helped to define the city's Motown sound of the 1960s. The group's repertoire has included soul music, R&B, disco, adult contemporary, doo-wop, jazz, and show tunes.","The group's repertoire has included soul music, R&B, disco, adult contemporary, doo-wop, jazz, and show tunes. Founded as the Four Aims, lead singer Levi Stubbs, Abdul \"Duke\" Fakir, Renaldo \"Obie\" Benson and Lawrence Payton remained together for over four decades, performing from 1953 until 1997 without a change in personnel.","Founded as the Four Aims, lead singer Levi Stubbs, Abdul \"Duke\" Fakir, Renaldo \"Obie\" Benson and Lawrence Payton remained together for over four decades, performing from 1953 until 1997 without a change in personnel. The Four Tops were among a number of groups, including the Miracles, the Marvelettes, Martha and the Vandellas, the Temptations, and the Supremes, who established the Motown Sound heard around the world during the 1960s.","The Four Tops were among a number of groups, including the Miracles, the Marvelettes, Martha and the Vandellas, the Temptations, and the Supremes, who established the Motown Sound heard around the world during the 1960s. They were notable for having Stubbs, a baritone, as their lead singer, whereas most other male and mixed vocal groups of the time were fronted by tenors.","They were notable for having Stubbs, a baritone, as their lead singer, whereas most other male and mixed vocal groups of the time were fronted by tenors. The group was the main male vocal group for the highly successful songwriting and production team of Holland–Dozier–Holland, who crafted a stream of hit singles for Motown.","The group was the main male vocal group for the highly successful songwriting and production team of Holland–Dozier–Holland, who crafted a stream of hit singles for Motown. These included two Billboard Hot 100 number-one hits for the Tops: \"I Can't Help Myself (Sugar Pie Honey Bunch)\" in 1965 and \"Reach Out I'll Be There\" in 1966.","These included two Billboard Hot 100 number-one hits for the Tops: \"I Can't Help Myself (Sugar Pie Honey Bunch)\" in 1965 and \"Reach Out I'll Be There\" in 1966. The group continued to have chart singles into the 1970s, including the million-seller \"Ain't No Woman\" (1973).","The group continued to have chart singles into the 1970s, including the million-seller \"Ain't No Woman\" (1973). The group was inducted into the Rock and Roll Hall of Fame in 1990 and into the Vocal Group Hall of Fame in 1999.","The group was inducted into the Rock and Roll Hall of Fame in 1990 and into the Vocal Group Hall of Fame in 1999. In 2004, Rolling Stone ranked them #79 on its list of the 100 Greatest Artists of All Time. The Four Tops continue to perform with Fakir as the last surviving original member.","The Four Tops continue to perform with Fakir as the last surviving original member. History Early years All four members of the group began their careers together while they were high-school students in Detroit.","History Early years All four members of the group began their careers together while they were high-school students in Detroit. At the insistence of their friends, Pershing High students Levi Stubbs and Abdul \"Duke\" Fakir performed with Renaldo \"Obie\" Benson and Lawrence Payton from Northern High at a local birthday party.","At the insistence of their friends, Pershing High students Levi Stubbs and Abdul \"Duke\" Fakir performed with Renaldo \"Obie\" Benson and Lawrence Payton from Northern High at a local birthday party. The quartet decided to remain together and named the group the Four Aims.","The quartet decided to remain together and named the group the Four Aims. With the help of Payton's songwriter cousin Roquel Davis, the Aims signed to Chess Records in 1956, changing their name to the Four Tops to avoid confusion with the Ames Brothers.","With the help of Payton's songwriter cousin Roquel Davis, the Aims signed to Chess Records in 1956, changing their name to the Four Tops to avoid confusion with the Ames Brothers. Over the next seven years, the Tops had unsuccessful tenures at Chess, Red Top, Riverside Records and Columbia Records.","Over the next seven years, the Tops had unsuccessful tenures at Chess, Red Top, Riverside Records and Columbia Records. Without any hit records to their name, they toured frequently, developing a polished stage presence and an experienced supper club act, as well as supporting Billy Eckstine.","Without any hit records to their name, they toured frequently, developing a polished stage presence and an experienced supper club act, as well as supporting Billy Eckstine. In 1963, Berry Gordy, Jr., who had worked with Roquel \"Billy\" Davis as a songwriter in the late 1950s, convinced the Tops to join the roster of his growing Motown record company.","In 1963, Berry Gordy, Jr., who had worked with Roquel \"Billy\" Davis as a songwriter in the late 1950s, convinced the Tops to join the roster of his growing Motown record company. Joining Motown During their early Motown years, the Four Tops recorded jazz standards for the company's Workshop Jazz Records label.","Joining Motown During their early Motown years, the Four Tops recorded jazz standards for the company's Workshop Jazz Records label. In addition, they sang backup on Motown singles by the Supremes (\"Run, Run, Run\", 1964), Martha and the Vandellas (on the 1966 hit \"My Baby Loves Me\") and others.","In addition, they sang backup on Motown singles by the Supremes (\"Run, Run, Run\", 1964), Martha and the Vandellas (on the 1966 hit \"My Baby Loves Me\") and others. In 1964, Motown's main songwriting and production team, Holland–Dozier–Holland, created a complete instrumental track without any idea of what to do with it.","In 1964, Motown's main songwriting and production team, Holland–Dozier–Holland, created a complete instrumental track without any idea of what to do with it. They decided to craft the song as a more mainstream pop song for the Four Tops and proceeded to create \"Baby I Need Your Loving\" from the instrumental track.","They decided to craft the song as a more mainstream pop song for the Four Tops and proceeded to create \"Baby I Need Your Loving\" from the instrumental track. On its release in mid-1964, \"Baby I Need Your Loving\" made it to number 11 on the Billboard Hot 100.","On its release in mid-1964, \"Baby I Need Your Loving\" made it to number 11 on the Billboard Hot 100. The first follow-up single, \"Without the One You Love (Life's Not Worth While)\" (1964), just missed both the pop and R&B Top 40 charts, but \"Ask the Lonely\" (1965), written and produced by Motown A&R head William \"Mickey\" Stevenson with Ivy Jo Hunter, was a Top 30 pop hit and a Top 10 R&B hit in early 1965.","The first follow-up single, \"Without the One You Love (Life's Not Worth While)\" (1964), just missed both the pop and R&B Top 40 charts, but \"Ask the Lonely\" (1965), written and produced by Motown A&R head William \"Mickey\" Stevenson with Ivy Jo Hunter, was a Top 30 pop hit and a Top 10 R&B hit in early 1965. Success After their first number 1 hit, \"I Can't Help Myself (Sugar Pie, Honey Bunch)\" in June 1965, the Four Tops released a long series of successful hit singles.","Success After their first number 1 hit, \"I Can't Help Myself (Sugar Pie, Honey Bunch)\" in June 1965, the Four Tops released a long series of successful hit singles. Among the first wave of these hits were the Top 10 \"It's the Same Old Song\" (1965), \"Something About You\" (1965), \"Shake Me, Wake Me (When It's Over)\" (1966), and \"Loving You Is Sweeter Than Ever\" (1966).","Among the first wave of these hits were the Top 10 \"It's the Same Old Song\" (1965), \"Something About You\" (1965), \"Shake Me, Wake Me (When It's Over)\" (1966), and \"Loving You Is Sweeter Than Ever\" (1966). Holland-Dozier-Holland wrote most of Levi Stubbs's vocals in a tenor range, near the top of his range, in order to get a sense of strained urgency in his gospel preacher-inspired leads.","Holland-Dozier-Holland wrote most of Levi Stubbs's vocals in a tenor range, near the top of his range, in order to get a sense of strained urgency in his gospel preacher-inspired leads. They also wrote additional background vocals for a female group, the Andantes, on many of the songs, to add a high end to the low-voiced harmony of the Tops.","They also wrote additional background vocals for a female group, the Andantes, on many of the songs, to add a high end to the low-voiced harmony of the Tops. Ivy Jo Hunter's \"Loving You Is Sweeter Than Ever\" (1966) was one of a few exceptions.","Ivy Jo Hunter's \"Loving You Is Sweeter Than Ever\" (1966) was one of a few exceptions. August 1966 brought the release of the Four Tops' all-time biggest hit and one of the most popular Motown songs ever.","August 1966 brought the release of the Four Tops' all-time biggest hit and one of the most popular Motown songs ever. \"Reach Out I'll Be There\" reached number 1 on the U.S. pop and R&B charts and the UK chart and soon became the Tops' signature song.","\"Reach Out I'll Be There\" reached number 1 on the U.S. pop and R&B charts and the UK chart and soon became the Tops' signature song. It was almost immediately followed by the similar-sounding \"Standing in the Shadows of Love\"; its depiction of heartbreak reflecting the opposite of the optimism in \"Reach Out\".","It was almost immediately followed by the similar-sounding \"Standing in the Shadows of Love\"; its depiction of heartbreak reflecting the opposite of the optimism in \"Reach Out\". It was another Top 10 hit for the Tops.","It was another Top 10 hit for the Tops. The Top 10 U.S. hit \"Bernadette\" centered around a man's all-consuming obsession with his lover, continued the Four Tops' successful run into April 1967, followed by the Top 20 hits \"7-Rooms of Gloom\", and \"You Keep Running Away\".","The Top 10 U.S. hit \"Bernadette\" centered around a man's all-consuming obsession with his lover, continued the Four Tops' successful run into April 1967, followed by the Top 20 hits \"7-Rooms of Gloom\", and \"You Keep Running Away\". By now, the Tops were the most successful male Motown act in the United Kingdom (in the United States, they were second to the Temptations), and began experimenting with more mainstream pop hits.","By now, the Tops were the most successful male Motown act in the United Kingdom (in the United States, they were second to the Temptations), and began experimenting with more mainstream pop hits. They scored hits with their versions of Tim Hardin's \"If I Were a Carpenter\" in late 1967 (mid-1968 in the U.S.) and the Left Banke's \"Walk Away Renée\" in early 1968.","They scored hits with their versions of Tim Hardin's \"If I Were a Carpenter\" in late 1967 (mid-1968 in the U.S.) and the Left Banke's \"Walk Away Renée\" in early 1968. These singles and the original \"I'm in a Different World\" were their last hits produced by Holland-Dozier-Holland, who left Motown in 1967 after disputes with Berry Gordy, Jr. Late Motown period Without Holland-Dozier-Holland, the hits became less frequent.","These singles and the original \"I'm in a Different World\" were their last hits produced by Holland-Dozier-Holland, who left Motown in 1967 after disputes with Berry Gordy, Jr. Late Motown period Without Holland-Dozier-Holland, the hits became less frequent. The group worked with a wide array of Motown producers during the late 1960s, including Ivy Jo Hunter, Nickolas Ashford & Valerie Simpson, Norman Whitfield and Johnny Bristol, without significant chart success.","The group worked with a wide array of Motown producers during the late 1960s, including Ivy Jo Hunter, Nickolas Ashford & Valerie Simpson, Norman Whitfield and Johnny Bristol, without significant chart success. Their first major hit in a long time came in the form of 1970's \"It's All in the Game\", a pop Top 30/R&B Top Ten hit produced by Frank Wilson.","Their first major hit in a long time came in the form of 1970's \"It's All in the Game\", a pop Top 30/R&B Top Ten hit produced by Frank Wilson. Wilson and the Tops began working on a number of innovative tracks and albums together, echoing Whitfield's psychedelic soul work with the Temptations.","Wilson and the Tops began working on a number of innovative tracks and albums together, echoing Whitfield's psychedelic soul work with the Temptations. Their 1970 album Still Waters Run Deep was a forerunner of the concept album.","Their 1970 album Still Waters Run Deep was a forerunner of the concept album. It also served as an inspiration for Marvin Gaye's 1971 classic album What's Going On, the title track of which was co-written by the Tops' Renaldo \"Obie\" Benson.","It also served as an inspiration for Marvin Gaye's 1971 classic album What's Going On, the title track of which was co-written by the Tops' Renaldo \"Obie\" Benson. In addition to their own albums, the Tops were paired with The Supremes, who had just replaced lead singer Diana Ross with Jean Terrell, for a series of albums billed under the joint title The Magnificent 7 in 1970, and The Return of the Magnificent Seven and Dynamite!","In addition to their own albums, the Tops were paired with The Supremes, who had just replaced lead singer Diana Ross with Jean Terrell, for a series of albums billed under the joint title The Magnificent 7 in 1970, and The Return of the Magnificent Seven and Dynamite! in 1971.","in 1971. in 1971. Whilst the albums themselves did not perform really well on the charts, The Magnificent Seven featured a Top 20 version of Ike & Tina Turner's \"River Deep - Mountain High\", produced by Ashford & Simpson. The 1971 single \"A Simple Game\" featured backing vocals from members of The Moody Blues.","The 1971 single \"A Simple Game\" featured backing vocals from members of The Moody Blues. The song did not fare well on the U.S. charts, but reached number three on the UK chart. ABC/Dunhill Records and Casablanca Records Motown as a company began to change during the early 1970s.","ABC/Dunhill Records and Casablanca Records Motown as a company began to change during the early 1970s. Older acts such as Martha and the Vandellas and The Marvelettes were slowly moved aside or dropped to focus on newer acts, such as Michael Jackson and The Jackson 5, Rare Earth, and the now-solo Diana Ross.","Older acts such as Martha and the Vandellas and The Marvelettes were slowly moved aside or dropped to focus on newer acts, such as Michael Jackson and The Jackson 5, Rare Earth, and the now-solo Diana Ross. In addition, the company moved its operations from Detroit to Los Angeles, California, where Berry Gordy, Jr. planned to break into the motion picture and television industries.","In addition, the company moved its operations from Detroit to Los Angeles, California, where Berry Gordy, Jr. planned to break into the motion picture and television industries. In 1972, it was announced that the entire company would move west and that all its artists had to move as well.","In 1972, it was announced that the entire company would move west and that all its artists had to move as well. Many of the older Motown acts, already neglected by the label, opted to stay in Detroit, including The Funk Brothers studio backing band, Martha Reeves, and the Four Tops.","Many of the older Motown acts, already neglected by the label, opted to stay in Detroit, including The Funk Brothers studio backing band, Martha Reeves, and the Four Tops. The Tops departed Motown for ABC-Dunhill, where they were assigned to writer-producers Dennis Lambert and Brian Potter and the label's head of A&R, Steve Barri as producer, with The Tops' own Lawrence Payton later also serving as a producer and writer.","The Tops departed Motown for ABC-Dunhill, where they were assigned to writer-producers Dennis Lambert and Brian Potter and the label's head of A&R, Steve Barri as producer, with The Tops' own Lawrence Payton later also serving as a producer and writer. He also took over lead vocal duties on several tracks.","He also took over lead vocal duties on several tracks. The group's first release on the label, \"Keeper of the Castle\" (1972) was their first pop Top 10 hit since \"Bernadette\" in 1967.","The group's first release on the label, \"Keeper of the Castle\" (1972) was their first pop Top 10 hit since \"Bernadette\" in 1967. Follow-ups included the 1973 million-selling \"Ain't No Woman (Like the One I've Got)\", also a top 10 pop hit and their third R&B number 1, and the Top 20 hit, \"Are You Man Enough\" (1973), (from the 1973 movie Shaft in Africa).","Follow-ups included the 1973 million-selling \"Ain't No Woman (Like the One I've Got)\", also a top 10 pop hit and their third R&B number 1, and the Top 20 hit, \"Are You Man Enough\" (1973), (from the 1973 movie Shaft in Africa). \"Sweet Understanding Love\" (1973); \"Midnight Flower (1974); and \"One Chain Don't Make No Prison\" (1974) all reached the R&B Top 10 between 1972 and 1974.","\"Sweet Understanding Love\" (1973); \"Midnight Flower (1974); and \"One Chain Don't Make No Prison\" (1974) all reached the R&B Top 10 between 1972 and 1974. Two ABC/Dunhill singles, 1974's \"I Just Can't Get You Out of My Mind\" and 1975's \"Seven Lonely Nights\" have become popular tunes in the southeast Beach/Shag Club Dance circuit.","Two ABC/Dunhill singles, 1974's \"I Just Can't Get You Out of My Mind\" and 1975's \"Seven Lonely Nights\" have become popular tunes in the southeast Beach/Shag Club Dance circuit. After the release of \"Catfish\" (a top 10 R&B hit) in 1976, the major hits started to dry up and the Tops left ABC after an album recorded in Philadelphia with the MFSB musicians resulted in only minor chart success in 1978.","After the release of \"Catfish\" (a top 10 R&B hit) in 1976, the major hits started to dry up and the Tops left ABC after an album recorded in Philadelphia with the MFSB musicians resulted in only minor chart success in 1978. The group disappeared from the recording scene until the early 1980s.","The group disappeared from the recording scene until the early 1980s. Signing a deal with Casablanca Records, the Tops made a comeback in 1981 with the number 1 R&B hit \"When She Was My Girl\". Produced by David Wolfert, it just missed the Billboard pop Top 10, peaking at number 11.","Produced by David Wolfert, it just missed the Billboard pop Top 10, peaking at number 11. The group also scored a UK Top 10 hit with the song and had another hit there with the follow-up, \"Don't Walk Away\".","The group also scored a UK Top 10 hit with the song and had another hit there with the follow-up, \"Don't Walk Away\". In 1982, their song \"Back to School Again\" appeared in both the movie Grease 2 and its soundtrack.","In 1982, their song \"Back to School Again\" appeared in both the movie Grease 2 and its soundtrack. Return to Motown By 1983, The Tops had rejoined Motown, where their former ABC-Dunhill producer, Barri was vice-president of A&R.","Return to Motown By 1983, The Tops had rejoined Motown, where their former ABC-Dunhill producer, Barri was vice-president of A&R. They were featured on the company's 1983 television special Motown 25: Yesterday, Today, Forever, taking part in one of the highlights of the show - a battle of the bands between The Tops and The Temptations, patterned after similar competitions Berry Gordy, Jr. had staged during the 1960s.","They were featured on the company's 1983 television special Motown 25: Yesterday, Today, Forever, taking part in one of the highlights of the show - a battle of the bands between The Tops and The Temptations, patterned after similar competitions Berry Gordy, Jr. had staged during the 1960s. Levi Stubbs and Temptation Otis Williams decided the Temptations/Tops battle would be a good one to take on the road, and both groups began semi-regular joint tours.","Levi Stubbs and Temptation Otis Williams decided the Temptations/Tops battle would be a good one to take on the road, and both groups began semi-regular joint tours. The first of The Tops' albums under their new Motown contract was Back Where I Belong (1983).","The first of The Tops' albums under their new Motown contract was Back Where I Belong (1983). A whole side of the album was produced by the Holland-Dozier-Holland production team, including the R&B Top 40 single \"I Just Can't Walk Away\".","A whole side of the album was produced by the Holland-Dozier-Holland production team, including the R&B Top 40 single \"I Just Can't Walk Away\". Only one more Tops album would be released by Motown, Magic in 1985.","Only one more Tops album would be released by Motown, Magic in 1985. The lead single from that album, \"Sexy Ways\", was almost a Top 20 R&B hit, peaking at number 21 in mid-1985.","The lead single from that album, \"Sexy Ways\", was almost a Top 20 R&B hit, peaking at number 21 in mid-1985. In July of that year, the group performed at the Live Aid concert, singing five of their hit songs.","In July of that year, the group performed at the Live Aid concert, singing five of their hit songs. The title track of 1988's Indestructible was the group's final Top 40 hit, reaching No. 35. It was also featured in the 1988 science-fiction cop film Alien Nation.","It was also featured in the 1988 science-fiction cop film Alien Nation. Another track, \"Loco in Acapulco\", written and produced by British pop musician Phil Collins and former Motown composer-producer Lamont Dozier, climbed into the UK Top 10 and made number 7 in early 1989.","Another track, \"Loco in Acapulco\", written and produced by British pop musician Phil Collins and former Motown composer-producer Lamont Dozier, climbed into the UK Top 10 and made number 7 in early 1989. The Arista contract provided an opportunity to pair Levi Stubbs with fellow Arista artist, another R&B vocalist from Detroit, Aretha Franklin, who was at the height of her own 1980s hit streak.","The Arista contract provided an opportunity to pair Levi Stubbs with fellow Arista artist, another R&B vocalist from Detroit, Aretha Franklin, who was at the height of her own 1980s hit streak. This pairing resulted in the 1988 song \"If Ever a Love There Was\", which became a popular R&B and Adult Contemporary hit, as well as being featured on the soundtrack of the 1988 motion picture I'm Gonna Git You Sucka.","This pairing resulted in the 1988 song \"If Ever a Love There Was\", which became a popular R&B and Adult Contemporary hit, as well as being featured on the soundtrack of the 1988 motion picture I'm Gonna Git You Sucka. In December 1988, Pan Am Flight 103 (a disaster known as the Lockerbie bombing) became the group's scheduled return flight to the U.S. for Christmas after completing their European tour.","In December 1988, Pan Am Flight 103 (a disaster known as the Lockerbie bombing) became the group's scheduled return flight to the U.S. for Christmas after completing their European tour. A prolonged recording session and a performance at the British television show Top of the Pops caused them to oversleep and miss the ill-fated flight which crashed in Lockerbie, Scotland, after a terrorist bomb was detonated on board.","A prolonged recording session and a performance at the British television show Top of the Pops caused them to oversleep and miss the ill-fated flight which crashed in Lockerbie, Scotland, after a terrorist bomb was detonated on board. They left London on a later British Airways flight.","They left London on a later British Airways flight. Later years From the late 1980s, the Four Tops focused on touring and live performances. They recorded only one album, returning again to Motown for 1995's Christmas Here with You.","They recorded only one album, returning again to Motown for 1995's Christmas Here with You. On June 20, 1997, 59-year-old Lawrence Payton died as a result of liver cancer, after singing for 44 years with the Four Tops who, unlike many other Motown groups, never had a single lineup change until then.","On June 20, 1997, 59-year-old Lawrence Payton died as a result of liver cancer, after singing for 44 years with the Four Tops who, unlike many other Motown groups, never had a single lineup change until then. At first, Levi Stubbs, Renaldo \"Obie\" Benson, and Abdul \"Duke\" Fakir toured as a trio called The Tops.","At first, Levi Stubbs, Renaldo \"Obie\" Benson, and Abdul \"Duke\" Fakir toured as a trio called The Tops. In 1998, they recruited former member of the Temptations Theo Peoples to restore the group to a quartet.","In 1998, they recruited former member of the Temptations Theo Peoples to restore the group to a quartet. By the turn of the century, Stubbs had become ill from cancer; Ronnie McNeir was recruited to fill the Lawrence Payton position and Theo Peoples stepped into Stubbs' shoes as lead singer.","By the turn of the century, Stubbs had become ill from cancer; Ronnie McNeir was recruited to fill the Lawrence Payton position and Theo Peoples stepped into Stubbs' shoes as lead singer. Stubbs later died on October 17, 2008 at his home in Detroit.","Stubbs later died on October 17, 2008 at his home in Detroit. The group was featured in several television specials during this time, including Motown 45, and several by PBS, including a 50th-anniversary concert dedicated to the group (available on DVD).","The group was featured in several television specials during this time, including Motown 45, and several by PBS, including a 50th-anniversary concert dedicated to the group (available on DVD). The concert turned out to be bittersweet; it featured a brief appearance of Levi Stubbs using a wheelchair, and a memorial to Lawrence Payton, announced by Renaldo \"Obie\" Benson.","The concert turned out to be bittersweet; it featured a brief appearance of Levi Stubbs using a wheelchair, and a memorial to Lawrence Payton, announced by Renaldo \"Obie\" Benson. Benson appeared on one more PBS special and died on July 1, 2005, from lung cancer.","Benson appeared on one more PBS special and died on July 1, 2005, from lung cancer. The final PBS special, titled Motown: The Early Years, featured a message of Benson's passing following the credits.","The final PBS special, titled Motown: The Early Years, featured a message of Benson's passing following the credits. The group was inducted into the Rock and Roll Hall of Fame in 1990, and into the Vocal Group Hall of Fame in 1999.","The group was inducted into the Rock and Roll Hall of Fame in 1990, and into the Vocal Group Hall of Fame in 1999. In 2004, Rolling Stone ranked them #79 on their list of the 100 Greatest Artists of All Time.","In 2004, Rolling Stone ranked them #79 on their list of the 100 Greatest Artists of All Time. The Four Tops were inducted into the Michigan Rock and Roll Legends Hall of Fame in 2005.","The Four Tops were inducted into the Michigan Rock and Roll Legends Hall of Fame in 2005. The Four Tops sang the National Anthem before the start of game 5 for the 2011 baseball American League Championship Series (ALCS) between the Texas Rangers & Detroit Tigers on October 13, 2011 in Detroit, MI.","The Four Tops sang the National Anthem before the start of game 5 for the 2011 baseball American League Championship Series (ALCS) between the Texas Rangers & Detroit Tigers on October 13, 2011 in Detroit, MI. When singing the last line of \"The Star-Spangled Banner\", \"... and the home of the brave\", they quickly sang the words \"Ain't No country Like the One I Got\", before singing the last word, \"brave\".","When singing the last line of \"The Star-Spangled Banner\", \"... and the home of the brave\", they quickly sang the words \"Ain't No country Like the One I Got\", before singing the last word, \"brave\". The Four Tops were honored with an induction into the R&B Music Hall of Fame at the Inaugural ceremony held at Cleveland State University's Waetejen Auditorium on Saturday August 17, 2013.","The Four Tops were honored with an induction into the R&B Music Hall of Fame at the Inaugural ceremony held at Cleveland State University's Waetejen Auditorium on Saturday August 17, 2013. The Four Tops were among hundreds of artists whose material was destroyed in the 2008 Universal fire.","The Four Tops were among hundreds of artists whose material was destroyed in the 2008 Universal fire. The Four Tops career awards The Four Tops have won many awards, including the following: Rock and Roll Hall of Fame (1990) Vocal Group Hall of Fame (1999) Hollywood Walk of Fame (1997) Grammy Hall of Fame (Reach Out I'll Be There-1998)(\"I Can't Help Myself (Sugar Pie Honey Bunch-2018) Grammy Lifetime Achievement Award (2009-51st Annual Grammy Awards) Rhythm and Blues Foundation Pioneer Award (1997) Billboard magazine Top 100 Artists of All Time(#77) R&B Music Hall of Fame Induction (2013) 100 Greatest Artists of All Time (#79-Rolling Stone) Rolling Stone's 500 Greatest Songs of All Time (2003) Michigan Rock and Roll Legends Hall of Fame Grammy Lifetime Achievement Award In early 2018, The Four Tops' 1965 #1 Pop Hit, \"I Can't Help Myself (Sugar Pie Honey Bunch)\" became their second song to be inducted into The Grammy Hall of Fame.","The Four Tops career awards The Four Tops have won many awards, including the following: Rock and Roll Hall of Fame (1990) Vocal Group Hall of Fame (1999) Hollywood Walk of Fame (1997) Grammy Hall of Fame (Reach Out I'll Be There-1998)(\"I Can't Help Myself (Sugar Pie Honey Bunch-2018) Grammy Lifetime Achievement Award (2009-51st Annual Grammy Awards) Rhythm and Blues Foundation Pioneer Award (1997) Billboard magazine Top 100 Artists of All Time(#77) R&B Music Hall of Fame Induction (2013) 100 Greatest Artists of All Time (#79-Rolling Stone) Rolling Stone's 500 Greatest Songs of All Time (2003) Michigan Rock and Roll Legends Hall of Fame Grammy Lifetime Achievement Award In early 2018, The Four Tops' 1965 #1 Pop Hit, \"I Can't Help Myself (Sugar Pie Honey Bunch)\" became their second song to be inducted into The Grammy Hall of Fame. Personnel Current Members Abdul “Duke” Fakir (1953-present) Ronnie McNeir (1999-present) Lawrence Payton Jr. (2005-present) Alexander Morris (2019-present) Former Members Levi Stubbs (1953-2000, 2004) (d. 2008) Renaldo “Obie” Benson (1953-2005) (d. 2005) Lawrence Payton (1953-1997) (d. 1997) Theo Peoples (1998-2010) Harold Bonhart (2010-2018) Discography Albums Motown releases 1965: Four Tops (US #63; UK #2) 1965: Four Tops' Second Album (US #20) 1966: Four Tops Live!","Personnel Current Members Abdul “Duke” Fakir (1953-present) Ronnie McNeir (1999-present) Lawrence Payton Jr. (2005-present) Alexander Morris (2019-present) Former Members Levi Stubbs (1953-2000, 2004) (d. 2008) Renaldo “Obie” Benson (1953-2005) (d. 2005) Lawrence Payton (1953-1997) (d. 1997) Theo Peoples (1998-2010) Harold Bonhart (2010-2018) Discography Albums Motown releases 1965: Four Tops (US #63; UK #2) 1965: Four Tops' Second Album (US #20) 1966: Four Tops Live! (US #17; UK #4) 1966: On Top (US #32; UK #9) 1967: Four Tops' Greatest Hits (US #4; UK #1) 1967: Reach Out (US #11; UK #6) 1967: Four Tops on Broadway (US #79) 1968: Yesterday's Dreams (US #91) 1969: Four Tops Now!","(US #17; UK #4) 1966: On Top (US #32; UK #9) 1967: Four Tops' Greatest Hits (US #4; UK #1) 1967: Reach Out (US #11; UK #6) 1967: Four Tops on Broadway (US #79) 1968: Yesterday's Dreams (US #91) 1969: Four Tops Now! (US #74) 1969: Soul Spin (US #163) 1970: Still Waters Run Deep (US #21) 1970: Changing Times (US #109) 1970: The Magnificent 7 (with The Supremes) (US #113; UK #6) 1971: The Return of the Magnificent Seven (with The Supremes) (US #154) 1971: Dynamite (with the Supremes) (US #160) 1971: Mac Arthur Park 1972: Nature Planned It (US #50) 1973: The Best of the 4 Tops (US #103) ABC releases 1972: Keeper of the Castle (US #33) 1973: Main Street People (US #66) 1974: Meeting of the Minds (US #118) 1974: Live & in Concert (US #92) 1975: Night Lights Harmony (US #148) 1976: Catfish (US #124) 1977: The Show Must Go On 1978: At the Top Casablanca releases 1981: Tonight!","(US #74) 1969: Soul Spin (US #163) 1970: Still Waters Run Deep (US #21) 1970: Changing Times (US #109) 1970: The Magnificent 7 (with The Supremes) (US #113; UK #6) 1971: The Return of the Magnificent Seven (with The Supremes) (US #154) 1971: Dynamite (with the Supremes) (US #160) 1971: Mac Arthur Park 1972: Nature Planned It (US #50) 1973: The Best of the 4 Tops (US #103) ABC releases 1972: Keeper of the Castle (US #33) 1973: Main Street People (US #66) 1974: Meeting of the Minds (US #118) 1974: Live & in Concert (US #92) 1975: Night Lights Harmony (US #148) 1976: Catfish (US #124) 1977: The Show Must Go On 1978: At the Top Casablanca releases 1981: Tonight! (US #37) 1982: One More Mountain Motown releases 1983: Back Where I Belong 1985: Magic (US #140) 1986: Hot Nights (unreleased) Arista releases 1988: Indestructible (US #149) Motown releases 1995: Christmas Here with You Prism Leisure releases 2000: The Four Tops Collection (recorded live at the MGM grand 1996) U.S.","(US #37) 1982: One More Mountain Motown releases 1983: Back Where I Belong 1985: Magic (US #140) 1986: Hot Nights (unreleased) Arista releases 1988: Indestructible (US #149) Motown releases 1995: Christmas Here with You Prism Leisure releases 2000: The Four Tops Collection (recorded live at the MGM grand 1996) U.S. Billboard Hot 100 and UK singles The following singles reached the top 30 of the U.S. and UK singles charts.","Billboard Hot 100 and UK singles The following singles reached the top 30 of the U.S. and UK singles charts. DVDs The Four Tops: Live at the MGM Grand: 40th Anniversary Special (1996) The Four Tops: The Four Tops (semi-documentary/concert rehearsal, recorded live for French TV in 1971) (2004) The Four Tops: From the Heart: The 50th Anniversary Concert (2006) The Four Tops: Reach Out: Definitive Performances 1965-1973 (2008), Motown/Universal See also List of best-selling music artists References External links Four Tops biography by John Bush, discography and album reviews, credits & releases at AllMusic Four Tops discography, album releases & credits at Discogs Four Tops filmography on IMDb Four Tops Broadway musical productions at the Internet Broadway Database Four Tops discography at MusicBrainz Four Tops albums to be listened as stream on Spotify Vocal Group Hall of Fame page on the Four Tops Levi Stubbs/The Four Tops interview by Pete Lewis, 'Blues & Soul' October 1992 (republished November 2008) History of Rock article Four Tops on MySpace Four Tops appearances on The Ed Sullivan Show Ronnie McNeir 2012 Interview at Soulinterviews.com.","DVDs The Four Tops: Live at the MGM Grand: 40th Anniversary Special (1996) The Four Tops: The Four Tops (semi-documentary/concert rehearsal, recorded live for French TV in 1971) (2004) The Four Tops: From the Heart: The 50th Anniversary Concert (2006) The Four Tops: Reach Out: Definitive Performances 1965-1973 (2008), Motown/Universal See also List of best-selling music artists References External links Four Tops biography by John Bush, discography and album reviews, credits & releases at AllMusic Four Tops discography, album releases & credits at Discogs Four Tops filmography on IMDb Four Tops Broadway musical productions at the Internet Broadway Database Four Tops discography at MusicBrainz Four Tops albums to be listened as stream on Spotify Vocal Group Hall of Fame page on the Four Tops Levi Stubbs/The Four Tops interview by Pete Lewis, 'Blues & Soul' October 1992 (republished November 2008) History of Rock article Four Tops on MySpace Four Tops appearances on The Ed Sullivan Show Ronnie McNeir 2012 Interview at Soulinterviews.com. Musical groups established in 1953 Musical groups from Detroit African-American musical groups American soul musical groups Motown artists Northern soul musicians ABC Records artists Dunhill Records artists Chess Records artists Vocal quartets Columbia Records artists Casablanca Records artists Arista Records artists 1953 establishments in Michigan"],"string":"[\n \"The Four Tops are an American vocal quartet from Detroit who helped to define the city's Motown sound of the 1960s. The group's repertoire has included soul music, R&B, disco, adult contemporary, doo-wop, jazz, and show tunes.\",\n \"The group's repertoire has included soul music, R&B, disco, adult contemporary, doo-wop, jazz, and show tunes. Founded as the Four Aims, lead singer Levi Stubbs, Abdul \\\"Duke\\\" Fakir, Renaldo \\\"Obie\\\" Benson and Lawrence Payton remained together for over four decades, performing from 1953 until 1997 without a change in personnel.\",\n \"Founded as the Four Aims, lead singer Levi Stubbs, Abdul \\\"Duke\\\" Fakir, Renaldo \\\"Obie\\\" Benson and Lawrence Payton remained together for over four decades, performing from 1953 until 1997 without a change in personnel. The Four Tops were among a number of groups, including the Miracles, the Marvelettes, Martha and the Vandellas, the Temptations, and the Supremes, who established the Motown Sound heard around the world during the 1960s.\",\n \"The Four Tops were among a number of groups, including the Miracles, the Marvelettes, Martha and the Vandellas, the Temptations, and the Supremes, who established the Motown Sound heard around the world during the 1960s. They were notable for having Stubbs, a baritone, as their lead singer, whereas most other male and mixed vocal groups of the time were fronted by tenors.\",\n \"They were notable for having Stubbs, a baritone, as their lead singer, whereas most other male and mixed vocal groups of the time were fronted by tenors. The group was the main male vocal group for the highly successful songwriting and production team of Holland–Dozier–Holland, who crafted a stream of hit singles for Motown.\",\n \"The group was the main male vocal group for the highly successful songwriting and production team of Holland–Dozier–Holland, who crafted a stream of hit singles for Motown. These included two Billboard Hot 100 number-one hits for the Tops: \\\"I Can't Help Myself (Sugar Pie Honey Bunch)\\\" in 1965 and \\\"Reach Out I'll Be There\\\" in 1966.\",\n \"These included two Billboard Hot 100 number-one hits for the Tops: \\\"I Can't Help Myself (Sugar Pie Honey Bunch)\\\" in 1965 and \\\"Reach Out I'll Be There\\\" in 1966. The group continued to have chart singles into the 1970s, including the million-seller \\\"Ain't No Woman\\\" (1973).\",\n \"The group continued to have chart singles into the 1970s, including the million-seller \\\"Ain't No Woman\\\" (1973). The group was inducted into the Rock and Roll Hall of Fame in 1990 and into the Vocal Group Hall of Fame in 1999.\",\n \"The group was inducted into the Rock and Roll Hall of Fame in 1990 and into the Vocal Group Hall of Fame in 1999. In 2004, Rolling Stone ranked them #79 on its list of the 100 Greatest Artists of All Time. The Four Tops continue to perform with Fakir as the last surviving original member.\",\n \"The Four Tops continue to perform with Fakir as the last surviving original member. History Early years All four members of the group began their careers together while they were high-school students in Detroit.\",\n \"History Early years All four members of the group began their careers together while they were high-school students in Detroit. At the insistence of their friends, Pershing High students Levi Stubbs and Abdul \\\"Duke\\\" Fakir performed with Renaldo \\\"Obie\\\" Benson and Lawrence Payton from Northern High at a local birthday party.\",\n \"At the insistence of their friends, Pershing High students Levi Stubbs and Abdul \\\"Duke\\\" Fakir performed with Renaldo \\\"Obie\\\" Benson and Lawrence Payton from Northern High at a local birthday party. The quartet decided to remain together and named the group the Four Aims.\",\n \"The quartet decided to remain together and named the group the Four Aims. With the help of Payton's songwriter cousin Roquel Davis, the Aims signed to Chess Records in 1956, changing their name to the Four Tops to avoid confusion with the Ames Brothers.\",\n \"With the help of Payton's songwriter cousin Roquel Davis, the Aims signed to Chess Records in 1956, changing their name to the Four Tops to avoid confusion with the Ames Brothers. Over the next seven years, the Tops had unsuccessful tenures at Chess, Red Top, Riverside Records and Columbia Records.\",\n \"Over the next seven years, the Tops had unsuccessful tenures at Chess, Red Top, Riverside Records and Columbia Records. Without any hit records to their name, they toured frequently, developing a polished stage presence and an experienced supper club act, as well as supporting Billy Eckstine.\",\n \"Without any hit records to their name, they toured frequently, developing a polished stage presence and an experienced supper club act, as well as supporting Billy Eckstine. In 1963, Berry Gordy, Jr., who had worked with Roquel \\\"Billy\\\" Davis as a songwriter in the late 1950s, convinced the Tops to join the roster of his growing Motown record company.\",\n \"In 1963, Berry Gordy, Jr., who had worked with Roquel \\\"Billy\\\" Davis as a songwriter in the late 1950s, convinced the Tops to join the roster of his growing Motown record company. Joining Motown During their early Motown years, the Four Tops recorded jazz standards for the company's Workshop Jazz Records label.\",\n \"Joining Motown During their early Motown years, the Four Tops recorded jazz standards for the company's Workshop Jazz Records label. In addition, they sang backup on Motown singles by the Supremes (\\\"Run, Run, Run\\\", 1964), Martha and the Vandellas (on the 1966 hit \\\"My Baby Loves Me\\\") and others.\",\n \"In addition, they sang backup on Motown singles by the Supremes (\\\"Run, Run, Run\\\", 1964), Martha and the Vandellas (on the 1966 hit \\\"My Baby Loves Me\\\") and others. In 1964, Motown's main songwriting and production team, Holland–Dozier–Holland, created a complete instrumental track without any idea of what to do with it.\",\n \"In 1964, Motown's main songwriting and production team, Holland–Dozier–Holland, created a complete instrumental track without any idea of what to do with it. They decided to craft the song as a more mainstream pop song for the Four Tops and proceeded to create \\\"Baby I Need Your Loving\\\" from the instrumental track.\",\n \"They decided to craft the song as a more mainstream pop song for the Four Tops and proceeded to create \\\"Baby I Need Your Loving\\\" from the instrumental track. On its release in mid-1964, \\\"Baby I Need Your Loving\\\" made it to number 11 on the Billboard Hot 100.\",\n \"On its release in mid-1964, \\\"Baby I Need Your Loving\\\" made it to number 11 on the Billboard Hot 100. The first follow-up single, \\\"Without the One You Love (Life's Not Worth While)\\\" (1964), just missed both the pop and R&B Top 40 charts, but \\\"Ask the Lonely\\\" (1965), written and produced by Motown A&R head William \\\"Mickey\\\" Stevenson with Ivy Jo Hunter, was a Top 30 pop hit and a Top 10 R&B hit in early 1965.\",\n \"The first follow-up single, \\\"Without the One You Love (Life's Not Worth While)\\\" (1964), just missed both the pop and R&B Top 40 charts, but \\\"Ask the Lonely\\\" (1965), written and produced by Motown A&R head William \\\"Mickey\\\" Stevenson with Ivy Jo Hunter, was a Top 30 pop hit and a Top 10 R&B hit in early 1965. Success After their first number 1 hit, \\\"I Can't Help Myself (Sugar Pie, Honey Bunch)\\\" in June 1965, the Four Tops released a long series of successful hit singles.\",\n \"Success After their first number 1 hit, \\\"I Can't Help Myself (Sugar Pie, Honey Bunch)\\\" in June 1965, the Four Tops released a long series of successful hit singles. Among the first wave of these hits were the Top 10 \\\"It's the Same Old Song\\\" (1965), \\\"Something About You\\\" (1965), \\\"Shake Me, Wake Me (When It's Over)\\\" (1966), and \\\"Loving You Is Sweeter Than Ever\\\" (1966).\",\n \"Among the first wave of these hits were the Top 10 \\\"It's the Same Old Song\\\" (1965), \\\"Something About You\\\" (1965), \\\"Shake Me, Wake Me (When It's Over)\\\" (1966), and \\\"Loving You Is Sweeter Than Ever\\\" (1966). Holland-Dozier-Holland wrote most of Levi Stubbs's vocals in a tenor range, near the top of his range, in order to get a sense of strained urgency in his gospel preacher-inspired leads.\",\n \"Holland-Dozier-Holland wrote most of Levi Stubbs's vocals in a tenor range, near the top of his range, in order to get a sense of strained urgency in his gospel preacher-inspired leads. They also wrote additional background vocals for a female group, the Andantes, on many of the songs, to add a high end to the low-voiced harmony of the Tops.\",\n \"They also wrote additional background vocals for a female group, the Andantes, on many of the songs, to add a high end to the low-voiced harmony of the Tops. Ivy Jo Hunter's \\\"Loving You Is Sweeter Than Ever\\\" (1966) was one of a few exceptions.\",\n \"Ivy Jo Hunter's \\\"Loving You Is Sweeter Than Ever\\\" (1966) was one of a few exceptions. August 1966 brought the release of the Four Tops' all-time biggest hit and one of the most popular Motown songs ever.\",\n \"August 1966 brought the release of the Four Tops' all-time biggest hit and one of the most popular Motown songs ever. \\\"Reach Out I'll Be There\\\" reached number 1 on the U.S. pop and R&B charts and the UK chart and soon became the Tops' signature song.\",\n \"\\\"Reach Out I'll Be There\\\" reached number 1 on the U.S. pop and R&B charts and the UK chart and soon became the Tops' signature song. It was almost immediately followed by the similar-sounding \\\"Standing in the Shadows of Love\\\"; its depiction of heartbreak reflecting the opposite of the optimism in \\\"Reach Out\\\".\",\n \"It was almost immediately followed by the similar-sounding \\\"Standing in the Shadows of Love\\\"; its depiction of heartbreak reflecting the opposite of the optimism in \\\"Reach Out\\\". It was another Top 10 hit for the Tops.\",\n \"It was another Top 10 hit for the Tops. The Top 10 U.S. hit \\\"Bernadette\\\" centered around a man's all-consuming obsession with his lover, continued the Four Tops' successful run into April 1967, followed by the Top 20 hits \\\"7-Rooms of Gloom\\\", and \\\"You Keep Running Away\\\".\",\n \"The Top 10 U.S. hit \\\"Bernadette\\\" centered around a man's all-consuming obsession with his lover, continued the Four Tops' successful run into April 1967, followed by the Top 20 hits \\\"7-Rooms of Gloom\\\", and \\\"You Keep Running Away\\\". By now, the Tops were the most successful male Motown act in the United Kingdom (in the United States, they were second to the Temptations), and began experimenting with more mainstream pop hits.\",\n \"By now, the Tops were the most successful male Motown act in the United Kingdom (in the United States, they were second to the Temptations), and began experimenting with more mainstream pop hits. They scored hits with their versions of Tim Hardin's \\\"If I Were a Carpenter\\\" in late 1967 (mid-1968 in the U.S.) and the Left Banke's \\\"Walk Away Renée\\\" in early 1968.\",\n \"They scored hits with their versions of Tim Hardin's \\\"If I Were a Carpenter\\\" in late 1967 (mid-1968 in the U.S.) and the Left Banke's \\\"Walk Away Renée\\\" in early 1968. These singles and the original \\\"I'm in a Different World\\\" were their last hits produced by Holland-Dozier-Holland, who left Motown in 1967 after disputes with Berry Gordy, Jr. Late Motown period Without Holland-Dozier-Holland, the hits became less frequent.\",\n \"These singles and the original \\\"I'm in a Different World\\\" were their last hits produced by Holland-Dozier-Holland, who left Motown in 1967 after disputes with Berry Gordy, Jr. Late Motown period Without Holland-Dozier-Holland, the hits became less frequent. The group worked with a wide array of Motown producers during the late 1960s, including Ivy Jo Hunter, Nickolas Ashford & Valerie Simpson, Norman Whitfield and Johnny Bristol, without significant chart success.\",\n \"The group worked with a wide array of Motown producers during the late 1960s, including Ivy Jo Hunter, Nickolas Ashford & Valerie Simpson, Norman Whitfield and Johnny Bristol, without significant chart success. Their first major hit in a long time came in the form of 1970's \\\"It's All in the Game\\\", a pop Top 30/R&B Top Ten hit produced by Frank Wilson.\",\n \"Their first major hit in a long time came in the form of 1970's \\\"It's All in the Game\\\", a pop Top 30/R&B Top Ten hit produced by Frank Wilson. Wilson and the Tops began working on a number of innovative tracks and albums together, echoing Whitfield's psychedelic soul work with the Temptations.\",\n \"Wilson and the Tops began working on a number of innovative tracks and albums together, echoing Whitfield's psychedelic soul work with the Temptations. Their 1970 album Still Waters Run Deep was a forerunner of the concept album.\",\n \"Their 1970 album Still Waters Run Deep was a forerunner of the concept album. It also served as an inspiration for Marvin Gaye's 1971 classic album What's Going On, the title track of which was co-written by the Tops' Renaldo \\\"Obie\\\" Benson.\",\n \"It also served as an inspiration for Marvin Gaye's 1971 classic album What's Going On, the title track of which was co-written by the Tops' Renaldo \\\"Obie\\\" Benson. In addition to their own albums, the Tops were paired with The Supremes, who had just replaced lead singer Diana Ross with Jean Terrell, for a series of albums billed under the joint title The Magnificent 7 in 1970, and The Return of the Magnificent Seven and Dynamite!\",\n \"In addition to their own albums, the Tops were paired with The Supremes, who had just replaced lead singer Diana Ross with Jean Terrell, for a series of albums billed under the joint title The Magnificent 7 in 1970, and The Return of the Magnificent Seven and Dynamite! in 1971.\",\n \"in 1971. in 1971. Whilst the albums themselves did not perform really well on the charts, The Magnificent Seven featured a Top 20 version of Ike & Tina Turner's \\\"River Deep - Mountain High\\\", produced by Ashford & Simpson. The 1971 single \\\"A Simple Game\\\" featured backing vocals from members of The Moody Blues.\",\n \"The 1971 single \\\"A Simple Game\\\" featured backing vocals from members of The Moody Blues. The song did not fare well on the U.S. charts, but reached number three on the UK chart. ABC/Dunhill Records and Casablanca Records Motown as a company began to change during the early 1970s.\",\n \"ABC/Dunhill Records and Casablanca Records Motown as a company began to change during the early 1970s. Older acts such as Martha and the Vandellas and The Marvelettes were slowly moved aside or dropped to focus on newer acts, such as Michael Jackson and The Jackson 5, Rare Earth, and the now-solo Diana Ross.\",\n \"Older acts such as Martha and the Vandellas and The Marvelettes were slowly moved aside or dropped to focus on newer acts, such as Michael Jackson and The Jackson 5, Rare Earth, and the now-solo Diana Ross. In addition, the company moved its operations from Detroit to Los Angeles, California, where Berry Gordy, Jr. planned to break into the motion picture and television industries.\",\n \"In addition, the company moved its operations from Detroit to Los Angeles, California, where Berry Gordy, Jr. planned to break into the motion picture and television industries. In 1972, it was announced that the entire company would move west and that all its artists had to move as well.\",\n \"In 1972, it was announced that the entire company would move west and that all its artists had to move as well. Many of the older Motown acts, already neglected by the label, opted to stay in Detroit, including The Funk Brothers studio backing band, Martha Reeves, and the Four Tops.\",\n \"Many of the older Motown acts, already neglected by the label, opted to stay in Detroit, including The Funk Brothers studio backing band, Martha Reeves, and the Four Tops. The Tops departed Motown for ABC-Dunhill, where they were assigned to writer-producers Dennis Lambert and Brian Potter and the label's head of A&R, Steve Barri as producer, with The Tops' own Lawrence Payton later also serving as a producer and writer.\",\n \"The Tops departed Motown for ABC-Dunhill, where they were assigned to writer-producers Dennis Lambert and Brian Potter and the label's head of A&R, Steve Barri as producer, with The Tops' own Lawrence Payton later also serving as a producer and writer. He also took over lead vocal duties on several tracks.\",\n \"He also took over lead vocal duties on several tracks. The group's first release on the label, \\\"Keeper of the Castle\\\" (1972) was their first pop Top 10 hit since \\\"Bernadette\\\" in 1967.\",\n \"The group's first release on the label, \\\"Keeper of the Castle\\\" (1972) was their first pop Top 10 hit since \\\"Bernadette\\\" in 1967. Follow-ups included the 1973 million-selling \\\"Ain't No Woman (Like the One I've Got)\\\", also a top 10 pop hit and their third R&B number 1, and the Top 20 hit, \\\"Are You Man Enough\\\" (1973), (from the 1973 movie Shaft in Africa).\",\n \"Follow-ups included the 1973 million-selling \\\"Ain't No Woman (Like the One I've Got)\\\", also a top 10 pop hit and their third R&B number 1, and the Top 20 hit, \\\"Are You Man Enough\\\" (1973), (from the 1973 movie Shaft in Africa). \\\"Sweet Understanding Love\\\" (1973); \\\"Midnight Flower (1974); and \\\"One Chain Don't Make No Prison\\\" (1974) all reached the R&B Top 10 between 1972 and 1974.\",\n \"\\\"Sweet Understanding Love\\\" (1973); \\\"Midnight Flower (1974); and \\\"One Chain Don't Make No Prison\\\" (1974) all reached the R&B Top 10 between 1972 and 1974. Two ABC/Dunhill singles, 1974's \\\"I Just Can't Get You Out of My Mind\\\" and 1975's \\\"Seven Lonely Nights\\\" have become popular tunes in the southeast Beach/Shag Club Dance circuit.\",\n \"Two ABC/Dunhill singles, 1974's \\\"I Just Can't Get You Out of My Mind\\\" and 1975's \\\"Seven Lonely Nights\\\" have become popular tunes in the southeast Beach/Shag Club Dance circuit. After the release of \\\"Catfish\\\" (a top 10 R&B hit) in 1976, the major hits started to dry up and the Tops left ABC after an album recorded in Philadelphia with the MFSB musicians resulted in only minor chart success in 1978.\",\n \"After the release of \\\"Catfish\\\" (a top 10 R&B hit) in 1976, the major hits started to dry up and the Tops left ABC after an album recorded in Philadelphia with the MFSB musicians resulted in only minor chart success in 1978. The group disappeared from the recording scene until the early 1980s.\",\n \"The group disappeared from the recording scene until the early 1980s. Signing a deal with Casablanca Records, the Tops made a comeback in 1981 with the number 1 R&B hit \\\"When She Was My Girl\\\". Produced by David Wolfert, it just missed the Billboard pop Top 10, peaking at number 11.\",\n \"Produced by David Wolfert, it just missed the Billboard pop Top 10, peaking at number 11. The group also scored a UK Top 10 hit with the song and had another hit there with the follow-up, \\\"Don't Walk Away\\\".\",\n \"The group also scored a UK Top 10 hit with the song and had another hit there with the follow-up, \\\"Don't Walk Away\\\". In 1982, their song \\\"Back to School Again\\\" appeared in both the movie Grease 2 and its soundtrack.\",\n \"In 1982, their song \\\"Back to School Again\\\" appeared in both the movie Grease 2 and its soundtrack. Return to Motown By 1983, The Tops had rejoined Motown, where their former ABC-Dunhill producer, Barri was vice-president of A&R.\",\n \"Return to Motown By 1983, The Tops had rejoined Motown, where their former ABC-Dunhill producer, Barri was vice-president of A&R. They were featured on the company's 1983 television special Motown 25: Yesterday, Today, Forever, taking part in one of the highlights of the show - a battle of the bands between The Tops and The Temptations, patterned after similar competitions Berry Gordy, Jr. had staged during the 1960s.\",\n \"They were featured on the company's 1983 television special Motown 25: Yesterday, Today, Forever, taking part in one of the highlights of the show - a battle of the bands between The Tops and The Temptations, patterned after similar competitions Berry Gordy, Jr. had staged during the 1960s. Levi Stubbs and Temptation Otis Williams decided the Temptations/Tops battle would be a good one to take on the road, and both groups began semi-regular joint tours.\",\n \"Levi Stubbs and Temptation Otis Williams decided the Temptations/Tops battle would be a good one to take on the road, and both groups began semi-regular joint tours. The first of The Tops' albums under their new Motown contract was Back Where I Belong (1983).\",\n \"The first of The Tops' albums under their new Motown contract was Back Where I Belong (1983). A whole side of the album was produced by the Holland-Dozier-Holland production team, including the R&B Top 40 single \\\"I Just Can't Walk Away\\\".\",\n \"A whole side of the album was produced by the Holland-Dozier-Holland production team, including the R&B Top 40 single \\\"I Just Can't Walk Away\\\". Only one more Tops album would be released by Motown, Magic in 1985.\",\n \"Only one more Tops album would be released by Motown, Magic in 1985. The lead single from that album, \\\"Sexy Ways\\\", was almost a Top 20 R&B hit, peaking at number 21 in mid-1985.\",\n \"The lead single from that album, \\\"Sexy Ways\\\", was almost a Top 20 R&B hit, peaking at number 21 in mid-1985. In July of that year, the group performed at the Live Aid concert, singing five of their hit songs.\",\n \"In July of that year, the group performed at the Live Aid concert, singing five of their hit songs. The title track of 1988's Indestructible was the group's final Top 40 hit, reaching No. 35. It was also featured in the 1988 science-fiction cop film Alien Nation.\",\n \"It was also featured in the 1988 science-fiction cop film Alien Nation. Another track, \\\"Loco in Acapulco\\\", written and produced by British pop musician Phil Collins and former Motown composer-producer Lamont Dozier, climbed into the UK Top 10 and made number 7 in early 1989.\",\n \"Another track, \\\"Loco in Acapulco\\\", written and produced by British pop musician Phil Collins and former Motown composer-producer Lamont Dozier, climbed into the UK Top 10 and made number 7 in early 1989. The Arista contract provided an opportunity to pair Levi Stubbs with fellow Arista artist, another R&B vocalist from Detroit, Aretha Franklin, who was at the height of her own 1980s hit streak.\",\n \"The Arista contract provided an opportunity to pair Levi Stubbs with fellow Arista artist, another R&B vocalist from Detroit, Aretha Franklin, who was at the height of her own 1980s hit streak. This pairing resulted in the 1988 song \\\"If Ever a Love There Was\\\", which became a popular R&B and Adult Contemporary hit, as well as being featured on the soundtrack of the 1988 motion picture I'm Gonna Git You Sucka.\",\n \"This pairing resulted in the 1988 song \\\"If Ever a Love There Was\\\", which became a popular R&B and Adult Contemporary hit, as well as being featured on the soundtrack of the 1988 motion picture I'm Gonna Git You Sucka. In December 1988, Pan Am Flight 103 (a disaster known as the Lockerbie bombing) became the group's scheduled return flight to the U.S. for Christmas after completing their European tour.\",\n \"In December 1988, Pan Am Flight 103 (a disaster known as the Lockerbie bombing) became the group's scheduled return flight to the U.S. for Christmas after completing their European tour. A prolonged recording session and a performance at the British television show Top of the Pops caused them to oversleep and miss the ill-fated flight which crashed in Lockerbie, Scotland, after a terrorist bomb was detonated on board.\",\n \"A prolonged recording session and a performance at the British television show Top of the Pops caused them to oversleep and miss the ill-fated flight which crashed in Lockerbie, Scotland, after a terrorist bomb was detonated on board. They left London on a later British Airways flight.\",\n \"They left London on a later British Airways flight. Later years From the late 1980s, the Four Tops focused on touring and live performances. They recorded only one album, returning again to Motown for 1995's Christmas Here with You.\",\n \"They recorded only one album, returning again to Motown for 1995's Christmas Here with You. On June 20, 1997, 59-year-old Lawrence Payton died as a result of liver cancer, after singing for 44 years with the Four Tops who, unlike many other Motown groups, never had a single lineup change until then.\",\n \"On June 20, 1997, 59-year-old Lawrence Payton died as a result of liver cancer, after singing for 44 years with the Four Tops who, unlike many other Motown groups, never had a single lineup change until then. At first, Levi Stubbs, Renaldo \\\"Obie\\\" Benson, and Abdul \\\"Duke\\\" Fakir toured as a trio called The Tops.\",\n \"At first, Levi Stubbs, Renaldo \\\"Obie\\\" Benson, and Abdul \\\"Duke\\\" Fakir toured as a trio called The Tops. In 1998, they recruited former member of the Temptations Theo Peoples to restore the group to a quartet.\",\n \"In 1998, they recruited former member of the Temptations Theo Peoples to restore the group to a quartet. By the turn of the century, Stubbs had become ill from cancer; Ronnie McNeir was recruited to fill the Lawrence Payton position and Theo Peoples stepped into Stubbs' shoes as lead singer.\",\n \"By the turn of the century, Stubbs had become ill from cancer; Ronnie McNeir was recruited to fill the Lawrence Payton position and Theo Peoples stepped into Stubbs' shoes as lead singer. Stubbs later died on October 17, 2008 at his home in Detroit.\",\n \"Stubbs later died on October 17, 2008 at his home in Detroit. The group was featured in several television specials during this time, including Motown 45, and several by PBS, including a 50th-anniversary concert dedicated to the group (available on DVD).\",\n \"The group was featured in several television specials during this time, including Motown 45, and several by PBS, including a 50th-anniversary concert dedicated to the group (available on DVD). The concert turned out to be bittersweet; it featured a brief appearance of Levi Stubbs using a wheelchair, and a memorial to Lawrence Payton, announced by Renaldo \\\"Obie\\\" Benson.\",\n \"The concert turned out to be bittersweet; it featured a brief appearance of Levi Stubbs using a wheelchair, and a memorial to Lawrence Payton, announced by Renaldo \\\"Obie\\\" Benson. Benson appeared on one more PBS special and died on July 1, 2005, from lung cancer.\",\n \"Benson appeared on one more PBS special and died on July 1, 2005, from lung cancer. The final PBS special, titled Motown: The Early Years, featured a message of Benson's passing following the credits.\",\n \"The final PBS special, titled Motown: The Early Years, featured a message of Benson's passing following the credits. The group was inducted into the Rock and Roll Hall of Fame in 1990, and into the Vocal Group Hall of Fame in 1999.\",\n \"The group was inducted into the Rock and Roll Hall of Fame in 1990, and into the Vocal Group Hall of Fame in 1999. In 2004, Rolling Stone ranked them #79 on their list of the 100 Greatest Artists of All Time.\",\n \"In 2004, Rolling Stone ranked them #79 on their list of the 100 Greatest Artists of All Time. The Four Tops were inducted into the Michigan Rock and Roll Legends Hall of Fame in 2005.\",\n \"The Four Tops were inducted into the Michigan Rock and Roll Legends Hall of Fame in 2005. The Four Tops sang the National Anthem before the start of game 5 for the 2011 baseball American League Championship Series (ALCS) between the Texas Rangers & Detroit Tigers on October 13, 2011 in Detroit, MI.\",\n \"The Four Tops sang the National Anthem before the start of game 5 for the 2011 baseball American League Championship Series (ALCS) between the Texas Rangers & Detroit Tigers on October 13, 2011 in Detroit, MI. When singing the last line of \\\"The Star-Spangled Banner\\\", \\\"... and the home of the brave\\\", they quickly sang the words \\\"Ain't No country Like the One I Got\\\", before singing the last word, \\\"brave\\\".\",\n \"When singing the last line of \\\"The Star-Spangled Banner\\\", \\\"... and the home of the brave\\\", they quickly sang the words \\\"Ain't No country Like the One I Got\\\", before singing the last word, \\\"brave\\\". The Four Tops were honored with an induction into the R&B Music Hall of Fame at the Inaugural ceremony held at Cleveland State University's Waetejen Auditorium on Saturday August 17, 2013.\",\n \"The Four Tops were honored with an induction into the R&B Music Hall of Fame at the Inaugural ceremony held at Cleveland State University's Waetejen Auditorium on Saturday August 17, 2013. The Four Tops were among hundreds of artists whose material was destroyed in the 2008 Universal fire.\",\n \"The Four Tops were among hundreds of artists whose material was destroyed in the 2008 Universal fire. The Four Tops career awards The Four Tops have won many awards, including the following: Rock and Roll Hall of Fame (1990) Vocal Group Hall of Fame (1999) Hollywood Walk of Fame (1997) Grammy Hall of Fame (Reach Out I'll Be There-1998)(\\\"I Can't Help Myself (Sugar Pie Honey Bunch-2018) Grammy Lifetime Achievement Award (2009-51st Annual Grammy Awards) Rhythm and Blues Foundation Pioneer Award (1997) Billboard magazine Top 100 Artists of All Time(#77) R&B Music Hall of Fame Induction (2013) 100 Greatest Artists of All Time (#79-Rolling Stone) Rolling Stone's 500 Greatest Songs of All Time (2003) Michigan Rock and Roll Legends Hall of Fame Grammy Lifetime Achievement Award In early 2018, The Four Tops' 1965 #1 Pop Hit, \\\"I Can't Help Myself (Sugar Pie Honey Bunch)\\\" became their second song to be inducted into The Grammy Hall of Fame.\",\n \"The Four Tops career awards The Four Tops have won many awards, including the following: Rock and Roll Hall of Fame (1990) Vocal Group Hall of Fame (1999) Hollywood Walk of Fame (1997) Grammy Hall of Fame (Reach Out I'll Be There-1998)(\\\"I Can't Help Myself (Sugar Pie Honey Bunch-2018) Grammy Lifetime Achievement Award (2009-51st Annual Grammy Awards) Rhythm and Blues Foundation Pioneer Award (1997) Billboard magazine Top 100 Artists of All Time(#77) R&B Music Hall of Fame Induction (2013) 100 Greatest Artists of All Time (#79-Rolling Stone) Rolling Stone's 500 Greatest Songs of All Time (2003) Michigan Rock and Roll Legends Hall of Fame Grammy Lifetime Achievement Award In early 2018, The Four Tops' 1965 #1 Pop Hit, \\\"I Can't Help Myself (Sugar Pie Honey Bunch)\\\" became their second song to be inducted into The Grammy Hall of Fame. Personnel Current Members Abdul “Duke” Fakir (1953-present) Ronnie McNeir (1999-present) Lawrence Payton Jr. (2005-present) Alexander Morris (2019-present) Former Members Levi Stubbs (1953-2000, 2004) (d. 2008) Renaldo “Obie” Benson (1953-2005) (d. 2005) Lawrence Payton (1953-1997) (d. 1997) Theo Peoples (1998-2010) Harold Bonhart (2010-2018) Discography Albums Motown releases 1965: Four Tops (US #63; UK #2) 1965: Four Tops' Second Album (US #20) 1966: Four Tops Live!\",\n \"Personnel Current Members Abdul “Duke” Fakir (1953-present) Ronnie McNeir (1999-present) Lawrence Payton Jr. (2005-present) Alexander Morris (2019-present) Former Members Levi Stubbs (1953-2000, 2004) (d. 2008) Renaldo “Obie” Benson (1953-2005) (d. 2005) Lawrence Payton (1953-1997) (d. 1997) Theo Peoples (1998-2010) Harold Bonhart (2010-2018) Discography Albums Motown releases 1965: Four Tops (US #63; UK #2) 1965: Four Tops' Second Album (US #20) 1966: Four Tops Live! (US #17; UK #4) 1966: On Top (US #32; UK #9) 1967: Four Tops' Greatest Hits (US #4; UK #1) 1967: Reach Out (US #11; UK #6) 1967: Four Tops on Broadway (US #79) 1968: Yesterday's Dreams (US #91) 1969: Four Tops Now!\",\n \"(US #17; UK #4) 1966: On Top (US #32; UK #9) 1967: Four Tops' Greatest Hits (US #4; UK #1) 1967: Reach Out (US #11; UK #6) 1967: Four Tops on Broadway (US #79) 1968: Yesterday's Dreams (US #91) 1969: Four Tops Now! (US #74) 1969: Soul Spin (US #163) 1970: Still Waters Run Deep (US #21) 1970: Changing Times (US #109) 1970: The Magnificent 7 (with The Supremes) (US #113; UK #6) 1971: The Return of the Magnificent Seven (with The Supremes) (US #154) 1971: Dynamite (with the Supremes) (US #160) 1971: Mac Arthur Park 1972: Nature Planned It (US #50) 1973: The Best of the 4 Tops (US #103) ABC releases 1972: Keeper of the Castle (US #33) 1973: Main Street People (US #66) 1974: Meeting of the Minds (US #118) 1974: Live & in Concert (US #92) 1975: Night Lights Harmony (US #148) 1976: Catfish (US #124) 1977: The Show Must Go On 1978: At the Top Casablanca releases 1981: Tonight!\",\n \"(US #74) 1969: Soul Spin (US #163) 1970: Still Waters Run Deep (US #21) 1970: Changing Times (US #109) 1970: The Magnificent 7 (with The Supremes) (US #113; UK #6) 1971: The Return of the Magnificent Seven (with The Supremes) (US #154) 1971: Dynamite (with the Supremes) (US #160) 1971: Mac Arthur Park 1972: Nature Planned It (US #50) 1973: The Best of the 4 Tops (US #103) ABC releases 1972: Keeper of the Castle (US #33) 1973: Main Street People (US #66) 1974: Meeting of the Minds (US #118) 1974: Live & in Concert (US #92) 1975: Night Lights Harmony (US #148) 1976: Catfish (US #124) 1977: The Show Must Go On 1978: At the Top Casablanca releases 1981: Tonight! (US #37) 1982: One More Mountain Motown releases 1983: Back Where I Belong 1985: Magic (US #140) 1986: Hot Nights (unreleased) Arista releases 1988: Indestructible (US #149) Motown releases 1995: Christmas Here with You Prism Leisure releases 2000: The Four Tops Collection (recorded live at the MGM grand 1996) U.S.\",\n \"(US #37) 1982: One More Mountain Motown releases 1983: Back Where I Belong 1985: Magic (US #140) 1986: Hot Nights (unreleased) Arista releases 1988: Indestructible (US #149) Motown releases 1995: Christmas Here with You Prism Leisure releases 2000: The Four Tops Collection (recorded live at the MGM grand 1996) U.S. Billboard Hot 100 and UK singles The following singles reached the top 30 of the U.S. and UK singles charts.\",\n \"Billboard Hot 100 and UK singles The following singles reached the top 30 of the U.S. and UK singles charts. DVDs The Four Tops: Live at the MGM Grand: 40th Anniversary Special (1996) The Four Tops: The Four Tops (semi-documentary/concert rehearsal, recorded live for French TV in 1971) (2004) The Four Tops: From the Heart: The 50th Anniversary Concert (2006) The Four Tops: Reach Out: Definitive Performances 1965-1973 (2008), Motown/Universal See also List of best-selling music artists References External links Four Tops biography by John Bush, discography and album reviews, credits & releases at AllMusic Four Tops discography, album releases & credits at Discogs Four Tops filmography on IMDb Four Tops Broadway musical productions at the Internet Broadway Database Four Tops discography at MusicBrainz Four Tops albums to be listened as stream on Spotify Vocal Group Hall of Fame page on the Four Tops Levi Stubbs/The Four Tops interview by Pete Lewis, 'Blues & Soul' October 1992 (republished November 2008) History of Rock article Four Tops on MySpace Four Tops appearances on The Ed Sullivan Show Ronnie McNeir 2012 Interview at Soulinterviews.com.\",\n \"DVDs The Four Tops: Live at the MGM Grand: 40th Anniversary Special (1996) The Four Tops: The Four Tops (semi-documentary/concert rehearsal, recorded live for French TV in 1971) (2004) The Four Tops: From the Heart: The 50th Anniversary Concert (2006) The Four Tops: Reach Out: Definitive Performances 1965-1973 (2008), Motown/Universal See also List of best-selling music artists References External links Four Tops biography by John Bush, discography and album reviews, credits & releases at AllMusic Four Tops discography, album releases & credits at Discogs Four Tops filmography on IMDb Four Tops Broadway musical productions at the Internet Broadway Database Four Tops discography at MusicBrainz Four Tops albums to be listened as stream on Spotify Vocal Group Hall of Fame page on the Four Tops Levi Stubbs/The Four Tops interview by Pete Lewis, 'Blues & Soul' October 1992 (republished November 2008) History of Rock article Four Tops on MySpace Four Tops appearances on The Ed Sullivan Show Ronnie McNeir 2012 Interview at Soulinterviews.com. Musical groups established in 1953 Musical groups from Detroit African-American musical groups American soul musical groups Motown artists Northern soul musicians ABC Records artists Dunhill Records artists Chess Records artists Vocal quartets Columbia Records artists Casablanca Records artists Arista Records artists 1953 establishments in Michigan\"\n]"}}},{"rowIdx":476,"cells":{"History":{"kind":"list like","value":["Four Tops","ABC Records and Casablanca Records","Did they move from ABC to Casablanca?","The Tops departed Motown for ABC-Dunhill,","Why did they depart motown?","In 1972, it was announced that the entire company would move west and that all its artists had to move as well.","So the tops moved west then?","The Tops departed Motown for ABC-Dunhill,","How did they do with ABC?","The group's first release on the label, \"Keeper of the Castle\" was their first pop Top 10 hit since \"Bernadette\" in 1967.","Did any singles come from this album?","Follow-ups included the million-selling \"Ain't No Woman (Like the One I've Got)\", also a top 10 pop hit","Were there any other singles?","and their third R&B number 1, and the Top 20 hit, \"Are You Man Enough\", (","Were those the only singles?","\"). \"Sweet Understanding Love\"; \"Midnight Flower\"; and \"One Chain Don't Make No Prison\""],"string":"[\n \"Four Tops\",\n \"ABC Records and Casablanca Records\",\n \"Did they move from ABC to Casablanca?\",\n \"The Tops departed Motown for ABC-Dunhill,\",\n \"Why did they depart motown?\",\n \"In 1972, it was announced that the entire company would move west and that all its artists had to move as well.\",\n \"So the tops moved west then?\",\n \"The Tops departed Motown for ABC-Dunhill,\",\n \"How did they do with ABC?\",\n \"The group's first release on the label, \\\"Keeper of the Castle\\\" was their first pop Top 10 hit since \\\"Bernadette\\\" in 1967.\",\n \"Did any singles come from this album?\",\n \"Follow-ups included the million-selling \\\"Ain't No Woman (Like the One I've Got)\\\", also a top 10 pop hit\",\n \"Were there any other singles?\",\n \"and their third R&B number 1, and the Top 20 hit, \\\"Are You Man Enough\\\", (\",\n \"Were those the only singles?\",\n \"\\\"). \\\"Sweet Understanding Love\\\"; \\\"Midnight Flower\\\"; and \\\"One Chain Don't Make No Prison\\\"\"\n]"},"QuAC_dialog_id":{"kind":"string","value":"C_a9ee71dcf4f84b50b0677e63a645e03c_1"},"Question":{"kind":"string","value":"When did they move to Casanblanca?"},"Question_no":{"kind":"number","value":8,"string":"8"},"Rewrite":{"kind":"string","value":"When did the Tops move to Casanblanca?"},"true_page_title":{"kind":"string","value":"Four Tops"},"true_contexts":{"kind":"string","value":"Motown as a company began to change during the early 1970s. Older acts such as Martha and the Vandellas and The Marvelettes were slowly moved aside or dropped to focus on newer acts, such as Michael Jackson and The Jackson 5, Rare Earth, and the now-solo Diana Ross. In addition, the company moved its operations from Detroit to Los Angeles, California, where Berry Gordy planned to break into the motion picture and television industries. In 1972, it was announced that the entire company would move west and that all its artists had to move as well. Many of the older Motown acts, already neglected by the label, opted to stay in Detroit, including The Funk Brothers studio backing band, Martha Reeves, and the Four Tops. The Tops departed Motown for ABC-Dunhill, where they were assigned to writer-producers Dennis Lambert and Brian Potter and the label's head of A&R, Steve Barri as producer, with The Tops' own Lawrence Payton later also serving as a producer and writer. He also took over lead vocal duties on several tracks. The group's first release on the label, \"Keeper of the Castle\" was their first pop Top 10 hit since \"Bernadette\" in 1967. Follow-ups included the million-selling \"Ain't No Woman (Like the One I've Got)\", also a top 10 pop hit and their third R&B number 1, and the Top 20 hit, \"Are You Man Enough\", (from the movie \"Shaft in Africa\"). \"Sweet Understanding Love\"; \"Midnight Flower\"; and \"One Chain Don't Make No Prison\" all reached the R&B Top 10 between 1972 and 1974. Two ABC/Dunhill singles, 1974's \"I Just Can't Get You Out of My Mind\" and 1975's \"Seven Lonely Nights\" have become popular tunes in the southeast Beach/Shag Club Dance circuit. After the release of \"Catfish\" (a top 10 R&B hit) in 1976, the major hits started to dry up and the Tops left ABC after an album recorded in Philadelphia with the MFSB musicians resulted in only minor chart success in 1978. The group disappeared from the recording scene until the early 1980s. Signing a deal with Casablanca Records, the Tops made a comeback in 1981 with the #1 R&B hit \"When She Was My Girl\". Produced by David Wolfert, it just missed the Billboard pop Top 10, peaking at #11. The group also scored a UK Top 10 hit with the song and had another hit there with the follow-up, \"Don't Walk Away\". CANNOTANSWER"},"answer":{"kind":"string","value":"The group disappeared from the recording scene until the early 1980s. Signing a deal with Casablanca Records, the Tops made a comeback in 1981"},"true_contexts_wiki":{"kind":"string","value":"The Four Tops are an American vocal quartet from Detroit who helped to define the city's Motown sound of the 1960s. The group's repertoire has included soul music, R&B, disco, adult contemporary, doo-wop, jazz, and show tunes.\n\nFounded as the Four Aims, lead singer Levi Stubbs, Abdul \"Duke\" Fakir, Renaldo \"Obie\" Benson and Lawrence Payton remained together for over four decades, performing from 1953 until 1997 without a change in personnel. The Four Tops were among a number of groups, including the Miracles, the Marvelettes, Martha and the Vandellas, the Temptations, and the Supremes, who established the Motown Sound heard around the world during the 1960s. They were notable for having Stubbs, a baritone, as their lead singer, whereas most other male and mixed vocal groups of the time were fronted by tenors. \n\nThe group was the main male vocal group for the highly successful songwriting and production team of Holland–Dozier–Holland, who crafted a stream of hit singles for Motown. These included two Billboard Hot 100 number-one hits for the Tops: \"I Can't Help Myself (Sugar Pie Honey Bunch)\" in 1965 and \"Reach Out I'll Be There\" in 1966. The group continued to have chart singles into the 1970s, including the million-seller \"Ain't No Woman\" (1973). \n\nThe group was inducted into the Rock and Roll Hall of Fame in 1990 and into the Vocal Group Hall of Fame in 1999. In 2004, Rolling Stone ranked them #79 on its list of the 100 Greatest Artists of All Time.\n\nThe Four Tops continue to perform with Fakir as the last surviving original member.\n\nHistory\n\nEarly years\nAll four members of the group began their careers together while they were high-school students in Detroit. At the insistence of their friends, Pershing High students Levi Stubbs and Abdul \"Duke\" Fakir performed with Renaldo \"Obie\" Benson and Lawrence Payton from Northern High at a local birthday party. The quartet decided to remain together and named the group the Four Aims. With the help of Payton's songwriter cousin Roquel Davis, the Aims signed to Chess Records in 1956, changing their name to the Four Tops to avoid confusion with the Ames Brothers.\n\nOver the next seven years, the Tops had unsuccessful tenures at Chess, Red Top, Riverside Records and Columbia Records. Without any hit records to their name, they toured frequently, developing a polished stage presence and an experienced supper club act, as well as supporting Billy Eckstine. In 1963, Berry Gordy, Jr., who had worked with Roquel \"Billy\" Davis as a songwriter in the late 1950s, convinced the Tops to join the roster of his growing Motown record company.\n\nJoining Motown\nDuring their early Motown years, the Four Tops recorded jazz standards for the company's Workshop Jazz Records label. In addition, they sang backup on Motown singles by the Supremes (\"Run, Run, Run\", 1964), Martha and the Vandellas (on the 1966 hit \"My Baby Loves Me\") and others.\n\nIn 1964, Motown's main songwriting and production team, Holland–Dozier–Holland, created a complete instrumental track without any idea of what to do with it. They decided to craft the song as a more mainstream pop song for the Four Tops and proceeded to create \"Baby I Need Your Loving\" from the instrumental track. On its release in mid-1964, \"Baby I Need Your Loving\" made it to number 11 on the Billboard Hot 100.\n\nThe first follow-up single, \"Without the One You Love (Life's Not Worth While)\" (1964), just missed both the pop and R&B Top 40 charts, but \"Ask the Lonely\" (1965), written and produced by Motown A&R head William \"Mickey\" Stevenson with Ivy Jo Hunter, was a Top 30 pop hit and a Top 10 R&B hit in early 1965.\n\nSuccess\nAfter their first number 1 hit, \"I Can't Help Myself (Sugar Pie, Honey Bunch)\" in June 1965, the Four Tops released a long series of successful hit singles. Among the first wave of these hits were the Top 10 \"It's the Same Old Song\" (1965), \"Something About You\" (1965), \"Shake Me, Wake Me (When It's Over)\" (1966), and \"Loving You Is Sweeter Than Ever\" (1966). \n\nHolland-Dozier-Holland wrote most of Levi Stubbs's vocals in a tenor range, near the top of his range, in order to get a sense of strained urgency in his gospel preacher-inspired leads. They also wrote additional background vocals for a female group, the Andantes, on many of the songs, to add a high end to the low-voiced harmony of the Tops. Ivy Jo Hunter's \"Loving You Is Sweeter Than Ever\" (1966) was one of a few exceptions.\n\nAugust 1966 brought the release of the Four Tops' all-time biggest hit and one of the most popular Motown songs ever. \"Reach Out I'll Be There\" reached number 1 on the U.S. pop and R&B charts and the UK chart and soon became the Tops' signature song. It was almost immediately followed by the similar-sounding \"Standing in the Shadows of Love\"; its depiction of heartbreak reflecting the opposite of the optimism in \"Reach Out\". It was another Top 10 hit for the Tops.\n\nThe Top 10 U.S. hit \"Bernadette\" centered around a man's all-consuming obsession with his lover, continued the Four Tops' successful run into April 1967, followed by the Top 20 hits \"7-Rooms of Gloom\", and \"You Keep Running Away\". By now, the Tops were the most successful male Motown act in the United Kingdom (in the United States, they were second to the Temptations), and began experimenting with more mainstream pop hits. They scored hits with their versions of Tim Hardin's \"If I Were a Carpenter\" in late 1967 (mid-1968 in the U.S.) and the Left Banke's \"Walk Away Renée\" in early 1968. These singles and the original \"I'm in a Different World\" were their last hits produced by Holland-Dozier-Holland, who left Motown in 1967 after disputes with Berry Gordy, Jr.\n\nLate Motown period\nWithout Holland-Dozier-Holland, the hits became less frequent. The group worked with a wide array of Motown producers during the late 1960s, including Ivy Jo Hunter, Nickolas Ashford & Valerie Simpson, Norman Whitfield and Johnny Bristol, without significant chart success.\n\nTheir first major hit in a long time came in the form of 1970's \"It's All in the Game\", a pop Top 30/R&B Top Ten hit produced by Frank Wilson. Wilson and the Tops began working on a number of innovative tracks and albums together, echoing Whitfield's psychedelic soul work with the Temptations. Their 1970 album Still Waters Run Deep was a forerunner of the concept album. It also served as an inspiration for Marvin Gaye's 1971 classic album What's Going On, the title track of which was co-written by the Tops' Renaldo \"Obie\" Benson.\n\nIn addition to their own albums, the Tops were paired with The Supremes, who had just replaced lead singer Diana Ross with Jean Terrell, for a series of albums billed under the joint title The Magnificent 7 in 1970, and The Return of the Magnificent Seven and Dynamite! in 1971. Whilst the albums themselves did not perform really well on the charts, The Magnificent Seven featured a Top 20 version of Ike & Tina Turner's \"River Deep - Mountain High\", produced by Ashford & Simpson.\n\nThe 1971 single \"A Simple Game\" featured backing vocals from members of The Moody Blues. The song did not fare well on the U.S. charts, but reached number three on the UK chart.\n\nABC/Dunhill Records and Casablanca Records\nMotown as a company began to change during the early 1970s. Older acts such as Martha and the Vandellas and The Marvelettes were slowly moved aside or dropped to focus on newer acts, such as Michael Jackson and The Jackson 5, Rare Earth, and the now-solo Diana Ross. In addition, the company moved its operations from Detroit to Los Angeles, California, where Berry Gordy, Jr. planned to break into the motion picture and television industries. In 1972, it was announced that the entire company would move west and that all its artists had to move as well. Many of the older Motown acts, already neglected by the label, opted to stay in Detroit, including The Funk Brothers studio backing band, Martha Reeves, and the Four Tops.\n\nThe Tops departed Motown for ABC-Dunhill, where they were assigned to writer-producers Dennis Lambert and Brian Potter and the label's head of A&R, Steve Barri as producer, with The Tops' own Lawrence Payton later also serving as a producer and writer. He also took over lead vocal duties on several tracks.\n\nThe group's first release on the label, \"Keeper of the Castle\" (1972) was their first pop Top 10 hit since \"Bernadette\" in 1967. Follow-ups included the 1973 million-selling \"Ain't No Woman (Like the One I've Got)\", also a top 10 pop hit and their third R&B number 1, and the Top 20 hit, \"Are You Man Enough\" (1973), (from the 1973 movie Shaft in Africa). \"Sweet Understanding Love\" (1973); \"Midnight Flower (1974); and \"One Chain Don't Make No Prison\" (1974) all reached the R&B Top 10 between 1972 and 1974. Two ABC/Dunhill singles, 1974's \"I Just Can't Get You Out of My Mind\" and 1975's \"Seven Lonely Nights\" have become popular tunes in the southeast Beach/Shag Club Dance circuit.\n\nAfter the release of \"Catfish\" (a top 10 R&B hit) in 1976, the major hits started to dry up and the Tops left ABC after an album recorded in Philadelphia with the MFSB musicians resulted in only minor chart success in 1978. The group disappeared from the recording scene until the early 1980s. Signing a deal with Casablanca Records, the Tops made a comeback in 1981 with the number 1 R&B hit \"When She Was My Girl\". Produced by David Wolfert, it just missed the Billboard pop Top 10, peaking at number 11. The group also scored a UK Top 10 hit with the song and had another hit there with the follow-up, \"Don't Walk Away\". In 1982, their song \"Back to School Again\" appeared in both the movie Grease 2 and its soundtrack.\n\nReturn to Motown\nBy 1983, The Tops had rejoined Motown, where their former ABC-Dunhill producer, Barri was vice-president of A&R. They were featured on the company's 1983 television special Motown 25: Yesterday, Today, Forever, taking part in one of the highlights of the show - a battle of the bands between The Tops and The Temptations, patterned after similar competitions Berry Gordy, Jr. had staged during the 1960s. Levi Stubbs and Temptation Otis Williams decided the Temptations/Tops battle would be a good one to take on the road, and both groups began semi-regular joint tours.\n\nThe first of The Tops' albums under their new Motown contract was Back Where I Belong (1983). A whole side of the album was produced by the Holland-Dozier-Holland production team, including the R&B Top 40 single \"I Just Can't Walk Away\". Only one more Tops album would be released by Motown, Magic in 1985. The lead single from that album, \"Sexy Ways\", was almost a Top 20 R&B hit, peaking at number 21 in mid-1985. In July of that year, the group performed at the Live Aid concert, singing five of their hit songs.\n\nThe title track of 1988's Indestructible was the group's final Top 40 hit, reaching No. 35. It was also featured in the 1988 science-fiction cop film Alien Nation. Another track, \"Loco in Acapulco\", written and produced by British pop musician Phil Collins and former Motown composer-producer Lamont Dozier, climbed into the UK Top 10 and made number 7 in early 1989. The Arista contract provided an opportunity to pair Levi Stubbs with fellow Arista artist, another R&B vocalist from Detroit, Aretha Franklin, who was at the height of her own 1980s hit streak. This pairing resulted in the 1988 song \"If Ever a Love There Was\", which became a popular R&B and Adult Contemporary hit, as well as being featured on the soundtrack of the 1988 motion picture I'm Gonna Git You Sucka.\n\nIn December 1988, Pan Am Flight 103 (a disaster known as the Lockerbie bombing) became the group's scheduled return flight to the U.S. for Christmas after completing their European tour. A prolonged recording session and a performance at the British television show Top of the Pops caused them to oversleep and miss the ill-fated flight which crashed in Lockerbie, Scotland, after a terrorist bomb was detonated on board. They left London on a later British Airways flight.\n\nLater years\nFrom the late 1980s, the Four Tops focused on touring and live performances. They recorded only one album, returning again to Motown for 1995's Christmas Here with You. On June 20, 1997, 59-year-old Lawrence Payton died as a result of liver cancer, after singing for 44 years with the Four Tops who, unlike many other Motown groups, never had a single lineup change until then. At first, Levi Stubbs, Renaldo \"Obie\" Benson, and Abdul \"Duke\" Fakir toured as a trio called The Tops. In 1998, they recruited former member of the Temptations Theo Peoples to restore the group to a quartet. By the turn of the century, Stubbs had become ill from cancer; Ronnie McNeir was recruited to fill the Lawrence Payton position and Theo Peoples stepped into Stubbs' shoes as lead singer. Stubbs later died on October 17, 2008 at his home in Detroit. \n\nThe group was featured in several television specials during this time, including Motown 45, and several by PBS, including a 50th-anniversary concert dedicated to the group (available on DVD). The concert turned out to be bittersweet; it featured a brief appearance of Levi Stubbs using a wheelchair, and a memorial to Lawrence Payton, announced by Renaldo \"Obie\" Benson. Benson appeared on one more PBS special and died on July 1, 2005, from lung cancer. The final PBS special, titled Motown: The Early Years, featured a message of Benson's passing following the credits.\n\nThe group was inducted into the Rock and Roll Hall of Fame in 1990, and into the Vocal Group Hall of Fame in 1999. In 2004, Rolling Stone ranked them #79 on their list of the 100 Greatest Artists of All Time. The Four Tops were inducted into the Michigan Rock and Roll Legends Hall of Fame in 2005.\n\nThe Four Tops sang the National Anthem before the start of game 5 for the 2011 baseball American League Championship Series (ALCS) between the Texas Rangers & Detroit Tigers on October 13, 2011 in Detroit, MI. When singing the last line of \"The Star-Spangled Banner\", \"... and the home of the brave\", they quickly sang the words \"Ain't No country Like the One I Got\", before singing the last word, \"brave\". The Four Tops were honored with an induction into the R&B Music Hall of Fame at the Inaugural ceremony held at Cleveland State University's Waetejen Auditorium on Saturday August 17, 2013.\n\nThe Four Tops were among hundreds of artists whose material was destroyed in the 2008 Universal fire.\n\nThe Four Tops career awards\nThe Four Tops have won many awards, including the following:\n Rock and Roll Hall of Fame (1990)\n Vocal Group Hall of Fame (1999)\n Hollywood Walk of Fame (1997)\n Grammy Hall of Fame (Reach Out I'll Be There-1998)(\"I Can't Help Myself (Sugar Pie Honey Bunch-2018)\n Grammy Lifetime Achievement Award (2009-51st Annual Grammy Awards)\n Rhythm and Blues Foundation Pioneer Award (1997)\n Billboard magazine Top 100 Artists of All Time(#77)\n R&B Music Hall of Fame Induction (2013)\n 100 Greatest Artists of All Time (#79-Rolling Stone)\n Rolling Stone's 500 Greatest Songs of All Time (2003)\n Michigan Rock and Roll Legends Hall of Fame\n Grammy Lifetime Achievement Award\n\nIn early 2018, The Four Tops' 1965 #1 Pop Hit, \"I Can't Help Myself (Sugar Pie Honey Bunch)\" became their second song to be inducted into The Grammy Hall of Fame.\n\nPersonnel\n\nCurrent Members \n\n Abdul “Duke” Fakir (1953-present)\n Ronnie McNeir (1999-present)\n Lawrence Payton Jr. (2005-present)\n Alexander Morris (2019-present)\n\nFormer Members \n\n Levi Stubbs (1953-2000, 2004) (d. 2008)\n Renaldo “Obie” Benson (1953-2005) (d. 2005)\n Lawrence Payton (1953-1997) (d. 1997)\n Theo Peoples (1998-2010)\n Harold Bonhart (2010-2018)\n\nDiscography\n\nAlbums\nMotown releases\n 1965: Four Tops (US #63; UK #2)\n 1965: Four Tops' Second Album (US #20)\n 1966: Four Tops Live! (US #17; UK #4)\n 1966: On Top (US #32; UK #9)\n 1967: Four Tops' Greatest Hits (US #4; UK #1)\n 1967: Reach Out (US #11; UK #6)\n 1967: Four Tops on Broadway (US #79)\n 1968: Yesterday's Dreams (US #91)\n 1969: Four Tops Now! (US #74)\n 1969: Soul Spin (US #163)\n 1970: Still Waters Run Deep (US #21)\n 1970: Changing Times (US #109)\n 1970: The Magnificent 7 (with The Supremes) (US #113; UK #6)\n 1971: The Return of the Magnificent Seven (with The Supremes) (US #154)\n 1971: Dynamite (with the Supremes) (US #160)\n 1971: Mac Arthur Park\n 1972: Nature Planned It (US #50)\n 1973: The Best of the 4 Tops (US #103)\n\nABC releases\n 1972: Keeper of the Castle (US #33)\n 1973: Main Street People (US #66)\n 1974: Meeting of the Minds (US #118)\n 1974: Live & in Concert (US #92)\n 1975: Night Lights Harmony (US #148)\n 1976: Catfish (US #124)\n 1977: The Show Must Go On\n 1978: At the Top\n\nCasablanca releases\n 1981: Tonight! (US #37)\n 1982: One More Mountain\n\nMotown releases\n 1983: Back Where I Belong\n 1985: Magic (US #140)\n 1986: Hot Nights (unreleased)\n\nArista releases\n 1988: Indestructible (US #149)\n\nMotown releases\n 1995: Christmas Here with You\n\nPrism Leisure releases\n 2000: The Four Tops Collection (recorded live at the MGM grand 1996)\n\nU.S. Billboard Hot 100 and UK singles\nThe following singles reached the top 30 of the U.S. and UK singles charts.\n\nDVDs\n The Four Tops: Live at the MGM Grand: 40th Anniversary Special (1996)\n The Four Tops: The Four Tops (semi-documentary/concert rehearsal, recorded live for French TV in 1971) (2004)\n The Four Tops: From the Heart: The 50th Anniversary Concert (2006)\n The Four Tops: Reach Out: Definitive Performances 1965-1973 (2008), Motown/Universal\n\nSee also\n\n List of best-selling music artists\n\nReferences\n\nExternal links\n Four Tops biography by John Bush, discography and album reviews, credits & releases at AllMusic\n Four Tops discography, album releases & credits at Discogs\n Four Tops filmography on IMDb\n Four Tops Broadway musical productions at the Internet Broadway Database\n Four Tops discography at MusicBrainz\n Four Tops albums to be listened as stream on Spotify\n Vocal Group Hall of Fame page on the Four Tops\n Levi Stubbs/The Four Tops interview by Pete Lewis, 'Blues & Soul' October 1992 (republished November 2008)\n History of Rock article\n Four Tops on MySpace\n Four Tops appearances on The Ed Sullivan Show\n Ronnie McNeir 2012 Interview at Soulinterviews.com.\n\nMusical groups established in 1953\n\nMusical groups from Detroit\nAfrican-American musical groups\nAmerican soul musical groups\nMotown artists\nNorthern soul musicians\nABC Records artists\nDunhill Records artists\nChess Records artists\nVocal quartets\nColumbia Records artists\nCasablanca Records artists\nArista Records artists\n1953 establishments in Michigan"},"extractive":{"kind":"string","value":"true"},"retrieved_contexts":{"kind":"list like","value":["The Treaty of Payne's Landing (Treaty with the Seminole, 1832) was an agreement signed on 9 May 1832 between the government of the United States and several chiefs of the Seminole Indians in the Territory of Florida, before it acquired statehood.\n\nBackground \n\nBy the Treaty of Moultrie Creek in 1823, the Seminoles had relinquished all claims to land in the Florida Territory in return for a reservation in the center of the Florida peninsula and certain payments, supplies and services to be provided by the U.S. government, guaranteed for twenty years. After the election of Andrew Jackson as President of the United States in 1828, the movement to transfer all Indians in the United States to west of the Mississippi River grew, and in 1830 the United States Congress passed the Indian Removal Act.\n\nDetermined to move the Seminoles west, the United States Department of War appointed James Gadsden to negotiate a new treaty with them. In the spring of 1832 the Seminoles on the reservation were called to a meeting at Payne's Landing on the Oklawaha River. The negotiations were conducted in obscurity, if not secrecy. No minutes were taken, nor were any detailed accounts of the negotiations ever published. This was to lead to trouble later.\n\nThe U.S. government wanted the Seminoles to move to the Creek Reservation in what was then part of the Arkansas Territory (which later became part of the Indian Territory), to become part of the Creek Nation, and to return all runaway slaves to their lawful owners. None of these demands were agreeable to the Seminoles. They had heard that the climate at the Creek Reservation was harsher than in Florida. The Seminoles of Florida did not consider themselves part of the Creeks. Although many of the groups in Florida had come from what whites called Creek tribes, they did not feel any connection. Some of the groups in Florida, such as the Choctaw, Yamasees and the Yuchis had never been grouped with the Creeks. Finally, runaway slaves, while often held as slaves by the Seminoles (under much milder conditions than with whites), were fairly well integrated into the bands, often inter-marrying, and rising to positions of influence and leadership.\n\nTreaty contents\nThe treaty negotiated at Payne's Landing called for the Seminoles to move west if the land were found to be suitable. The delegation of seven chiefs who were to inspect the new reservation did not leave Florida until October 1832. After touring the area for several months and conferring with the Creeks who had already been settled there, the seven chiefs signed on March 28, 1833 at Fort Gibson, Arkansas Territory a statement that the new land was acceptable. Upon their return to Florida, however, most of the chiefs renounced the statement, claiming that they had not signed it, or that they had been forced to sign it, and in any case, that they did not have the power to decide for all the tribes and bands that resided on the reservation. Even some U.S. Army officers observed that the chiefs \"had been wheedled and bullied into signing.\" Furthermore, \"there is evidence of trickery by the whites in the way the treaty is phrased.\"\n\nSeveral villages had been allowed to stay in the area of the Apalachicola River after 1823 when the rest of the Seminoles had been forced into the new reservation. Gadsden was able to persuade the chiefs of these villages to move, however, and they went west in 1834. The United States Senate finally ratified the Treaty of Payne's Landing in April 1834.\n\nRefusal to move\nThe treaty had given the Seminoles three years to move west of the Mississippi River. The government interpreted the three years as starting in 1832, and expected the Seminoles to move in 1835. Fort King, in what is now Ocala was reopened in 1834. A new Seminole agent, Wiley Thompson, was appointed in 1834, and the task of persuading the Seminoles to move fell to him. He called the chiefs together at Fort King in October 1834 to talk to them about the removal to the west. The Seminoles informed Thompson that they had no intention of moving, and that they did not feel bound by the Treaty of Payne's Landing. Thompson then requested reinforcements for Fort King and Fort Brooke, reporting that, \"the Indians after they had received the Annuity, purchased an unusually large quantity of Powder & Lead.\" Brigadier General Duncan L. Clinch, United States Army commander for Florida, also warned Washington that the Seminoles did not intend to move, and that more troops would be needed to force them to move. In March 1835 Thompson called the chiefs together to read a letter from Andrew Jackson to them. In his letter, Jackson said, \"Should you ... refuse to move, I have then directed the Commanding officer to remove you by force.\" The chiefs asked for thirty days to respond. A month later the Seminole chiefs told Thompson that they would not move west. Thompson and the chiefs began arguing, and General Clinch had to intervene to prevent bloodshed. Eventually, eight of the chiefs agreed to move west, but asked to delay the move until the end of the year, and Thompson and Clinch agreed.\n\nFive of the most important of the Seminole chiefs, including Micanopy of the Alachua Seminoles, had not agreed to the move. In retaliation, Thompson declared that those chiefs were removed from their positions. As relations with the Seminoles deteriorated, Thompson forbid the sale of guns and ammunition to the Seminoles. Osceola, a young warrior beginning to be noticed by the whites, was particularly upset by the ban, feeling that it equated Seminoles with slaves and said, \"The white man shall not make me black. I will make the white man red with blood; and then blacken him in the sun and rain ... and the buzzard live upon his flesh.\" In spite of this, Thompson considered Osceola to be a friend, and gave him a rifle. Later, though, when Osceola was causing trouble, Thompson had him locked up at Fort King for a night. The next day, in order to secure his release, Osceola agreed to abide by the Treaty of Payne's Landing and to bring his followers in.\n\nThe situation grew worse. In August 1835 Private Kinsley Dalton (for whom Dalton, Georgia is named) was killed by Seminoles as he was carrying the mail from Fort Brooke to Fort King. In November Chief Charley Emathla, wanting no part of a war, led his people towards Fort Brooke where they were to board ships to go west. This was considered a betrayal by other Seminoles. Osceola met Emathla on the trail and killed him. The Second Seminole War was beginning.\n\nSignatories \n\nJames Gadsden\nHolati Emartla, his x mark\nJumper, his x mark\nFuch-ta-lus-ta-Hadjo, his x mark\nCharley Emartla, his x mark\nCoa Hadjo, his x mark\nAr-pi-uck-i, or Sam Jones, his x mark\nYa-ha Hadjo, his x mark\nMico-Noha, his x mark\nTokose-Emartla, or Jno. Hicks. his x mark\nCat-sha-Tusta-nuck-i, his x mark\nHola-at-a-Mico, his x mark (aka Billy Bowlegs)\nHitch-it-i-Mico, his x mark\nE-ne-hah, his x mark\nYa- ha- emartla Chup- ko, his mark\nMoke-his-she-lar-ni, his x mark\n\nWitnesses:\nDouglas Vass, Secretary to Commissioner,\nJohn Phagan, Agent,\nStephen Richards, Interpreter,\nAbraham, Interpreter, his x mark,\nCudjo, Interpreter, his x mark,\nErastus Rogers,\nB. Joscan.\n\nNotes and references\n\nReferences \n Missal, John and Mary Lou Missal. 2004. Seminole Wars: America's Longest Indian Conflict. Gainesville, Florida: University Press of Florida.\n\nFurther reading\n Knetsch, Joe. 2003. Florida's Seminole Wars 18171858. Charleston, South Carolina: Arcadia Publishing. \n Mahon, John K. 1992 (Second paperback edition) [1967]. History of the Second Seminole War 18351842. Gainesville, Florida: University of Florida Press.\n\nExternal links \nTreaty of Payne's Landing original text from johnhorse.com\nTreaty of Payne's Landing original text from the Oklahoma State University Library\nRatified Indian Treaty 185 Indigenous Digital Archives \n\nPayne's Landing\nSeminole Wars\n1832 treaties\n1832 in the United States\nMay 1832 events","was a Japanese professional shogi player, ranked 9-dan.\n\nPromotion history\nManabe's promotion history is as follows:\n 1967: 6-kyū\n April 1, 1973: 4-dan\n April 1, 1976: 5-dan\n April 1, 1978: 6-dan\n April 1, 1980: 7-dan\n April 1, 1988: 8-dan\n November 24, 2007: Died as an active player\n November 24, 2007: 9-dan (conferred posthumously)\n\nThe B-42 \"Phantom\" move and Masuda Special Prize\n\nManabe is widely remembered for a move he theorized but did not play contesting his last professional game, on October 30, 2007, against Masayuki Toyoshima in a C2 ranking match. Manabe, in poor health, resigned after the 33rd move. Later that day, he confided to his colleague Hiroshi Kobayashi that he had come up with the B-42 move and believed he might have won had he played it. However, he feared this would extend the match against Toyoshima and felt he could not endure a longer game. When he was later interviewed, Toyoshima acknowledged that the move would indeed have required a long time to formulate a response. Kobayashi did not appreciate the move at the time, but his conversations with Isao Nakata about the potential move began to draw public attention.\n\nOn November 27, a wake was held for Manabe. Simultaneously, a game position identical to Toyishima's match was reached in the C2 ranking match between Yasuaki Murayama and Nobuyuki Ōuchi. Ōuchi, playing White (gote), played Manabe's ... B-42. Ōuchi would later claim he was not aware of the move's relationship to Manabe's last game. Much as Manabe had predicted, Murayama took over 110 minutes to respond to B-42. Though Murayama ultimately won the match, when Ōuchi was later told about Manabe's game with Toyoshima, he said \"I should have won.\" Amazed at the move's recurrence during Manabe's wake, Kobayashi claimed it was a kind of miracle. The coincidence quickly became a topic of conversation in the Shogi world, and the move soon became known as the \"splendid, phantom move\" (幻の妙手, Maboroshi no myōshu).\n\nThe move was proposed for consideration for the then-upcoming Masuda Special Award, which was granted to Manabe posthumously in 2008.\n\nReferences\n\nJapanese shogi players\nDeceased professional shogi players\n1952 births\n2007 deaths\nProfessional shogi players from Tokyo\nPeople from Arakawa, Tokyo"],"string":"[\n \"The Treaty of Payne's Landing (Treaty with the Seminole, 1832) was an agreement signed on 9 May 1832 between the government of the United States and several chiefs of the Seminole Indians in the Territory of Florida, before it acquired statehood.\\n\\nBackground \\n\\nBy the Treaty of Moultrie Creek in 1823, the Seminoles had relinquished all claims to land in the Florida Territory in return for a reservation in the center of the Florida peninsula and certain payments, supplies and services to be provided by the U.S. government, guaranteed for twenty years. After the election of Andrew Jackson as President of the United States in 1828, the movement to transfer all Indians in the United States to west of the Mississippi River grew, and in 1830 the United States Congress passed the Indian Removal Act.\\n\\nDetermined to move the Seminoles west, the United States Department of War appointed James Gadsden to negotiate a new treaty with them. In the spring of 1832 the Seminoles on the reservation were called to a meeting at Payne's Landing on the Oklawaha River. The negotiations were conducted in obscurity, if not secrecy. No minutes were taken, nor were any detailed accounts of the negotiations ever published. This was to lead to trouble later.\\n\\nThe U.S. government wanted the Seminoles to move to the Creek Reservation in what was then part of the Arkansas Territory (which later became part of the Indian Territory), to become part of the Creek Nation, and to return all runaway slaves to their lawful owners. None of these demands were agreeable to the Seminoles. They had heard that the climate at the Creek Reservation was harsher than in Florida. The Seminoles of Florida did not consider themselves part of the Creeks. Although many of the groups in Florida had come from what whites called Creek tribes, they did not feel any connection. Some of the groups in Florida, such as the Choctaw, Yamasees and the Yuchis had never been grouped with the Creeks. Finally, runaway slaves, while often held as slaves by the Seminoles (under much milder conditions than with whites), were fairly well integrated into the bands, often inter-marrying, and rising to positions of influence and leadership.\\n\\nTreaty contents\\nThe treaty negotiated at Payne's Landing called for the Seminoles to move west if the land were found to be suitable. The delegation of seven chiefs who were to inspect the new reservation did not leave Florida until October 1832. After touring the area for several months and conferring with the Creeks who had already been settled there, the seven chiefs signed on March 28, 1833 at Fort Gibson, Arkansas Territory a statement that the new land was acceptable. Upon their return to Florida, however, most of the chiefs renounced the statement, claiming that they had not signed it, or that they had been forced to sign it, and in any case, that they did not have the power to decide for all the tribes and bands that resided on the reservation. Even some U.S. Army officers observed that the chiefs \\\"had been wheedled and bullied into signing.\\\" Furthermore, \\\"there is evidence of trickery by the whites in the way the treaty is phrased.\\\"\\n\\nSeveral villages had been allowed to stay in the area of the Apalachicola River after 1823 when the rest of the Seminoles had been forced into the new reservation. Gadsden was able to persuade the chiefs of these villages to move, however, and they went west in 1834. The United States Senate finally ratified the Treaty of Payne's Landing in April 1834.\\n\\nRefusal to move\\nThe treaty had given the Seminoles three years to move west of the Mississippi River. The government interpreted the three years as starting in 1832, and expected the Seminoles to move in 1835. Fort King, in what is now Ocala was reopened in 1834. A new Seminole agent, Wiley Thompson, was appointed in 1834, and the task of persuading the Seminoles to move fell to him. He called the chiefs together at Fort King in October 1834 to talk to them about the removal to the west. The Seminoles informed Thompson that they had no intention of moving, and that they did not feel bound by the Treaty of Payne's Landing. Thompson then requested reinforcements for Fort King and Fort Brooke, reporting that, \\\"the Indians after they had received the Annuity, purchased an unusually large quantity of Powder & Lead.\\\" Brigadier General Duncan L. Clinch, United States Army commander for Florida, also warned Washington that the Seminoles did not intend to move, and that more troops would be needed to force them to move. In March 1835 Thompson called the chiefs together to read a letter from Andrew Jackson to them. In his letter, Jackson said, \\\"Should you ... refuse to move, I have then directed the Commanding officer to remove you by force.\\\" The chiefs asked for thirty days to respond. A month later the Seminole chiefs told Thompson that they would not move west. Thompson and the chiefs began arguing, and General Clinch had to intervene to prevent bloodshed. Eventually, eight of the chiefs agreed to move west, but asked to delay the move until the end of the year, and Thompson and Clinch agreed.\\n\\nFive of the most important of the Seminole chiefs, including Micanopy of the Alachua Seminoles, had not agreed to the move. In retaliation, Thompson declared that those chiefs were removed from their positions. As relations with the Seminoles deteriorated, Thompson forbid the sale of guns and ammunition to the Seminoles. Osceola, a young warrior beginning to be noticed by the whites, was particularly upset by the ban, feeling that it equated Seminoles with slaves and said, \\\"The white man shall not make me black. I will make the white man red with blood; and then blacken him in the sun and rain ... and the buzzard live upon his flesh.\\\" In spite of this, Thompson considered Osceola to be a friend, and gave him a rifle. Later, though, when Osceola was causing trouble, Thompson had him locked up at Fort King for a night. The next day, in order to secure his release, Osceola agreed to abide by the Treaty of Payne's Landing and to bring his followers in.\\n\\nThe situation grew worse. In August 1835 Private Kinsley Dalton (for whom Dalton, Georgia is named) was killed by Seminoles as he was carrying the mail from Fort Brooke to Fort King. In November Chief Charley Emathla, wanting no part of a war, led his people towards Fort Brooke where they were to board ships to go west. This was considered a betrayal by other Seminoles. Osceola met Emathla on the trail and killed him. The Second Seminole War was beginning.\\n\\nSignatories \\n\\nJames Gadsden\\nHolati Emartla, his x mark\\nJumper, his x mark\\nFuch-ta-lus-ta-Hadjo, his x mark\\nCharley Emartla, his x mark\\nCoa Hadjo, his x mark\\nAr-pi-uck-i, or Sam Jones, his x mark\\nYa-ha Hadjo, his x mark\\nMico-Noha, his x mark\\nTokose-Emartla, or Jno. Hicks. his x mark\\nCat-sha-Tusta-nuck-i, his x mark\\nHola-at-a-Mico, his x mark (aka Billy Bowlegs)\\nHitch-it-i-Mico, his x mark\\nE-ne-hah, his x mark\\nYa- ha- emartla Chup- ko, his mark\\nMoke-his-she-lar-ni, his x mark\\n\\nWitnesses:\\nDouglas Vass, Secretary to Commissioner,\\nJohn Phagan, Agent,\\nStephen Richards, Interpreter,\\nAbraham, Interpreter, his x mark,\\nCudjo, Interpreter, his x mark,\\nErastus Rogers,\\nB. Joscan.\\n\\nNotes and references\\n\\nReferences \\n Missal, John and Mary Lou Missal. 2004. Seminole Wars: America's Longest Indian Conflict. Gainesville, Florida: University Press of Florida.\\n\\nFurther reading\\n Knetsch, Joe. 2003. Florida's Seminole Wars 18171858. Charleston, South Carolina: Arcadia Publishing. \\n Mahon, John K. 1992 (Second paperback edition) [1967]. History of the Second Seminole War 18351842. Gainesville, Florida: University of Florida Press.\\n\\nExternal links \\nTreaty of Payne's Landing original text from johnhorse.com\\nTreaty of Payne's Landing original text from the Oklahoma State University Library\\nRatified Indian Treaty 185 Indigenous Digital Archives \\n\\nPayne's Landing\\nSeminole Wars\\n1832 treaties\\n1832 in the United States\\nMay 1832 events\",\n \"was a Japanese professional shogi player, ranked 9-dan.\\n\\nPromotion history\\nManabe's promotion history is as follows:\\n 1967: 6-kyū\\n April 1, 1973: 4-dan\\n April 1, 1976: 5-dan\\n April 1, 1978: 6-dan\\n April 1, 1980: 7-dan\\n April 1, 1988: 8-dan\\n November 24, 2007: Died as an active player\\n November 24, 2007: 9-dan (conferred posthumously)\\n\\nThe B-42 \\\"Phantom\\\" move and Masuda Special Prize\\n\\nManabe is widely remembered for a move he theorized but did not play contesting his last professional game, on October 30, 2007, against Masayuki Toyoshima in a C2 ranking match. Manabe, in poor health, resigned after the 33rd move. Later that day, he confided to his colleague Hiroshi Kobayashi that he had come up with the B-42 move and believed he might have won had he played it. However, he feared this would extend the match against Toyoshima and felt he could not endure a longer game. When he was later interviewed, Toyoshima acknowledged that the move would indeed have required a long time to formulate a response. Kobayashi did not appreciate the move at the time, but his conversations with Isao Nakata about the potential move began to draw public attention.\\n\\nOn November 27, a wake was held for Manabe. Simultaneously, a game position identical to Toyishima's match was reached in the C2 ranking match between Yasuaki Murayama and Nobuyuki Ōuchi. Ōuchi, playing White (gote), played Manabe's ... B-42. Ōuchi would later claim he was not aware of the move's relationship to Manabe's last game. Much as Manabe had predicted, Murayama took over 110 minutes to respond to B-42. Though Murayama ultimately won the match, when Ōuchi was later told about Manabe's game with Toyoshima, he said \\\"I should have won.\\\" Amazed at the move's recurrence during Manabe's wake, Kobayashi claimed it was a kind of miracle. The coincidence quickly became a topic of conversation in the Shogi world, and the move soon became known as the \\\"splendid, phantom move\\\" (幻の妙手, Maboroshi no myōshu).\\n\\nThe move was proposed for consideration for the then-upcoming Masuda Special Award, which was granted to Manabe posthumously in 2008.\\n\\nReferences\\n\\nJapanese shogi players\\nDeceased professional shogi players\\n1952 births\\n2007 deaths\\nProfessional shogi players from Tokyo\\nPeople from Arakawa, Tokyo\"\n]"},"chunked_article":{"kind":"list like","value":["The Four Tops are an American vocal quartet from Detroit who helped to define the city's Motown sound of the 1960s. The group's repertoire has included soul music, R&B, disco, adult contemporary, doo-wop, jazz, and show tunes.","The group's repertoire has included soul music, R&B, disco, adult contemporary, doo-wop, jazz, and show tunes. Founded as the Four Aims, lead singer Levi Stubbs, Abdul \"Duke\" Fakir, Renaldo \"Obie\" Benson and Lawrence Payton remained together for over four decades, performing from 1953 until 1997 without a change in personnel.","Founded as the Four Aims, lead singer Levi Stubbs, Abdul \"Duke\" Fakir, Renaldo \"Obie\" Benson and Lawrence Payton remained together for over four decades, performing from 1953 until 1997 without a change in personnel. The Four Tops were among a number of groups, including the Miracles, the Marvelettes, Martha and the Vandellas, the Temptations, and the Supremes, who established the Motown Sound heard around the world during the 1960s.","The Four Tops were among a number of groups, including the Miracles, the Marvelettes, Martha and the Vandellas, the Temptations, and the Supremes, who established the Motown Sound heard around the world during the 1960s. They were notable for having Stubbs, a baritone, as their lead singer, whereas most other male and mixed vocal groups of the time were fronted by tenors.","They were notable for having Stubbs, a baritone, as their lead singer, whereas most other male and mixed vocal groups of the time were fronted by tenors. The group was the main male vocal group for the highly successful songwriting and production team of Holland–Dozier–Holland, who crafted a stream of hit singles for Motown.","The group was the main male vocal group for the highly successful songwriting and production team of Holland–Dozier–Holland, who crafted a stream of hit singles for Motown. These included two Billboard Hot 100 number-one hits for the Tops: \"I Can't Help Myself (Sugar Pie Honey Bunch)\" in 1965 and \"Reach Out I'll Be There\" in 1966.","These included two Billboard Hot 100 number-one hits for the Tops: \"I Can't Help Myself (Sugar Pie Honey Bunch)\" in 1965 and \"Reach Out I'll Be There\" in 1966. The group continued to have chart singles into the 1970s, including the million-seller \"Ain't No Woman\" (1973).","The group continued to have chart singles into the 1970s, including the million-seller \"Ain't No Woman\" (1973). The group was inducted into the Rock and Roll Hall of Fame in 1990 and into the Vocal Group Hall of Fame in 1999.","The group was inducted into the Rock and Roll Hall of Fame in 1990 and into the Vocal Group Hall of Fame in 1999. In 2004, Rolling Stone ranked them #79 on its list of the 100 Greatest Artists of All Time. The Four Tops continue to perform with Fakir as the last surviving original member.","The Four Tops continue to perform with Fakir as the last surviving original member. History Early years All four members of the group began their careers together while they were high-school students in Detroit.","History Early years All four members of the group began their careers together while they were high-school students in Detroit. At the insistence of their friends, Pershing High students Levi Stubbs and Abdul \"Duke\" Fakir performed with Renaldo \"Obie\" Benson and Lawrence Payton from Northern High at a local birthday party.","At the insistence of their friends, Pershing High students Levi Stubbs and Abdul \"Duke\" Fakir performed with Renaldo \"Obie\" Benson and Lawrence Payton from Northern High at a local birthday party. The quartet decided to remain together and named the group the Four Aims.","The quartet decided to remain together and named the group the Four Aims. With the help of Payton's songwriter cousin Roquel Davis, the Aims signed to Chess Records in 1956, changing their name to the Four Tops to avoid confusion with the Ames Brothers.","With the help of Payton's songwriter cousin Roquel Davis, the Aims signed to Chess Records in 1956, changing their name to the Four Tops to avoid confusion with the Ames Brothers. Over the next seven years, the Tops had unsuccessful tenures at Chess, Red Top, Riverside Records and Columbia Records.","Over the next seven years, the Tops had unsuccessful tenures at Chess, Red Top, Riverside Records and Columbia Records. Without any hit records to their name, they toured frequently, developing a polished stage presence and an experienced supper club act, as well as supporting Billy Eckstine.","Without any hit records to their name, they toured frequently, developing a polished stage presence and an experienced supper club act, as well as supporting Billy Eckstine. In 1963, Berry Gordy, Jr., who had worked with Roquel \"Billy\" Davis as a songwriter in the late 1950s, convinced the Tops to join the roster of his growing Motown record company.","In 1963, Berry Gordy, Jr., who had worked with Roquel \"Billy\" Davis as a songwriter in the late 1950s, convinced the Tops to join the roster of his growing Motown record company. Joining Motown During their early Motown years, the Four Tops recorded jazz standards for the company's Workshop Jazz Records label.","Joining Motown During their early Motown years, the Four Tops recorded jazz standards for the company's Workshop Jazz Records label. In addition, they sang backup on Motown singles by the Supremes (\"Run, Run, Run\", 1964), Martha and the Vandellas (on the 1966 hit \"My Baby Loves Me\") and others.","In addition, they sang backup on Motown singles by the Supremes (\"Run, Run, Run\", 1964), Martha and the Vandellas (on the 1966 hit \"My Baby Loves Me\") and others. In 1964, Motown's main songwriting and production team, Holland–Dozier–Holland, created a complete instrumental track without any idea of what to do with it.","In 1964, Motown's main songwriting and production team, Holland–Dozier–Holland, created a complete instrumental track without any idea of what to do with it. They decided to craft the song as a more mainstream pop song for the Four Tops and proceeded to create \"Baby I Need Your Loving\" from the instrumental track.","They decided to craft the song as a more mainstream pop song for the Four Tops and proceeded to create \"Baby I Need Your Loving\" from the instrumental track. On its release in mid-1964, \"Baby I Need Your Loving\" made it to number 11 on the Billboard Hot 100.","On its release in mid-1964, \"Baby I Need Your Loving\" made it to number 11 on the Billboard Hot 100. The first follow-up single, \"Without the One You Love (Life's Not Worth While)\" (1964), just missed both the pop and R&B Top 40 charts, but \"Ask the Lonely\" (1965), written and produced by Motown A&R head William \"Mickey\" Stevenson with Ivy Jo Hunter, was a Top 30 pop hit and a Top 10 R&B hit in early 1965.","The first follow-up single, \"Without the One You Love (Life's Not Worth While)\" (1964), just missed both the pop and R&B Top 40 charts, but \"Ask the Lonely\" (1965), written and produced by Motown A&R head William \"Mickey\" Stevenson with Ivy Jo Hunter, was a Top 30 pop hit and a Top 10 R&B hit in early 1965. Success After their first number 1 hit, \"I Can't Help Myself (Sugar Pie, Honey Bunch)\" in June 1965, the Four Tops released a long series of successful hit singles.","Success After their first number 1 hit, \"I Can't Help Myself (Sugar Pie, Honey Bunch)\" in June 1965, the Four Tops released a long series of successful hit singles. Among the first wave of these hits were the Top 10 \"It's the Same Old Song\" (1965), \"Something About You\" (1965), \"Shake Me, Wake Me (When It's Over)\" (1966), and \"Loving You Is Sweeter Than Ever\" (1966).","Among the first wave of these hits were the Top 10 \"It's the Same Old Song\" (1965), \"Something About You\" (1965), \"Shake Me, Wake Me (When It's Over)\" (1966), and \"Loving You Is Sweeter Than Ever\" (1966). Holland-Dozier-Holland wrote most of Levi Stubbs's vocals in a tenor range, near the top of his range, in order to get a sense of strained urgency in his gospel preacher-inspired leads.","Holland-Dozier-Holland wrote most of Levi Stubbs's vocals in a tenor range, near the top of his range, in order to get a sense of strained urgency in his gospel preacher-inspired leads. They also wrote additional background vocals for a female group, the Andantes, on many of the songs, to add a high end to the low-voiced harmony of the Tops.","They also wrote additional background vocals for a female group, the Andantes, on many of the songs, to add a high end to the low-voiced harmony of the Tops. Ivy Jo Hunter's \"Loving You Is Sweeter Than Ever\" (1966) was one of a few exceptions.","Ivy Jo Hunter's \"Loving You Is Sweeter Than Ever\" (1966) was one of a few exceptions. August 1966 brought the release of the Four Tops' all-time biggest hit and one of the most popular Motown songs ever.","August 1966 brought the release of the Four Tops' all-time biggest hit and one of the most popular Motown songs ever. \"Reach Out I'll Be There\" reached number 1 on the U.S. pop and R&B charts and the UK chart and soon became the Tops' signature song.","\"Reach Out I'll Be There\" reached number 1 on the U.S. pop and R&B charts and the UK chart and soon became the Tops' signature song. It was almost immediately followed by the similar-sounding \"Standing in the Shadows of Love\"; its depiction of heartbreak reflecting the opposite of the optimism in \"Reach Out\".","It was almost immediately followed by the similar-sounding \"Standing in the Shadows of Love\"; its depiction of heartbreak reflecting the opposite of the optimism in \"Reach Out\". It was another Top 10 hit for the Tops.","It was another Top 10 hit for the Tops. The Top 10 U.S. hit \"Bernadette\" centered around a man's all-consuming obsession with his lover, continued the Four Tops' successful run into April 1967, followed by the Top 20 hits \"7-Rooms of Gloom\", and \"You Keep Running Away\".","The Top 10 U.S. hit \"Bernadette\" centered around a man's all-consuming obsession with his lover, continued the Four Tops' successful run into April 1967, followed by the Top 20 hits \"7-Rooms of Gloom\", and \"You Keep Running Away\". By now, the Tops were the most successful male Motown act in the United Kingdom (in the United States, they were second to the Temptations), and began experimenting with more mainstream pop hits.","By now, the Tops were the most successful male Motown act in the United Kingdom (in the United States, they were second to the Temptations), and began experimenting with more mainstream pop hits. They scored hits with their versions of Tim Hardin's \"If I Were a Carpenter\" in late 1967 (mid-1968 in the U.S.) and the Left Banke's \"Walk Away Renée\" in early 1968.","They scored hits with their versions of Tim Hardin's \"If I Were a Carpenter\" in late 1967 (mid-1968 in the U.S.) and the Left Banke's \"Walk Away Renée\" in early 1968. These singles and the original \"I'm in a Different World\" were their last hits produced by Holland-Dozier-Holland, who left Motown in 1967 after disputes with Berry Gordy, Jr. Late Motown period Without Holland-Dozier-Holland, the hits became less frequent.","These singles and the original \"I'm in a Different World\" were their last hits produced by Holland-Dozier-Holland, who left Motown in 1967 after disputes with Berry Gordy, Jr. Late Motown period Without Holland-Dozier-Holland, the hits became less frequent. The group worked with a wide array of Motown producers during the late 1960s, including Ivy Jo Hunter, Nickolas Ashford & Valerie Simpson, Norman Whitfield and Johnny Bristol, without significant chart success.","The group worked with a wide array of Motown producers during the late 1960s, including Ivy Jo Hunter, Nickolas Ashford & Valerie Simpson, Norman Whitfield and Johnny Bristol, without significant chart success. Their first major hit in a long time came in the form of 1970's \"It's All in the Game\", a pop Top 30/R&B Top Ten hit produced by Frank Wilson.","Their first major hit in a long time came in the form of 1970's \"It's All in the Game\", a pop Top 30/R&B Top Ten hit produced by Frank Wilson. Wilson and the Tops began working on a number of innovative tracks and albums together, echoing Whitfield's psychedelic soul work with the Temptations.","Wilson and the Tops began working on a number of innovative tracks and albums together, echoing Whitfield's psychedelic soul work with the Temptations. Their 1970 album Still Waters Run Deep was a forerunner of the concept album.","Their 1970 album Still Waters Run Deep was a forerunner of the concept album. It also served as an inspiration for Marvin Gaye's 1971 classic album What's Going On, the title track of which was co-written by the Tops' Renaldo \"Obie\" Benson.","It also served as an inspiration for Marvin Gaye's 1971 classic album What's Going On, the title track of which was co-written by the Tops' Renaldo \"Obie\" Benson. In addition to their own albums, the Tops were paired with The Supremes, who had just replaced lead singer Diana Ross with Jean Terrell, for a series of albums billed under the joint title The Magnificent 7 in 1970, and The Return of the Magnificent Seven and Dynamite!","In addition to their own albums, the Tops were paired with The Supremes, who had just replaced lead singer Diana Ross with Jean Terrell, for a series of albums billed under the joint title The Magnificent 7 in 1970, and The Return of the Magnificent Seven and Dynamite! in 1971.","in 1971. in 1971. Whilst the albums themselves did not perform really well on the charts, The Magnificent Seven featured a Top 20 version of Ike & Tina Turner's \"River Deep - Mountain High\", produced by Ashford & Simpson. The 1971 single \"A Simple Game\" featured backing vocals from members of The Moody Blues.","The 1971 single \"A Simple Game\" featured backing vocals from members of The Moody Blues. The song did not fare well on the U.S. charts, but reached number three on the UK chart. ABC/Dunhill Records and Casablanca Records Motown as a company began to change during the early 1970s.","ABC/Dunhill Records and Casablanca Records Motown as a company began to change during the early 1970s. Older acts such as Martha and the Vandellas and The Marvelettes were slowly moved aside or dropped to focus on newer acts, such as Michael Jackson and The Jackson 5, Rare Earth, and the now-solo Diana Ross.","Older acts such as Martha and the Vandellas and The Marvelettes were slowly moved aside or dropped to focus on newer acts, such as Michael Jackson and The Jackson 5, Rare Earth, and the now-solo Diana Ross. In addition, the company moved its operations from Detroit to Los Angeles, California, where Berry Gordy, Jr. planned to break into the motion picture and television industries.","In addition, the company moved its operations from Detroit to Los Angeles, California, where Berry Gordy, Jr. planned to break into the motion picture and television industries. In 1972, it was announced that the entire company would move west and that all its artists had to move as well.","In 1972, it was announced that the entire company would move west and that all its artists had to move as well. Many of the older Motown acts, already neglected by the label, opted to stay in Detroit, including The Funk Brothers studio backing band, Martha Reeves, and the Four Tops.","Many of the older Motown acts, already neglected by the label, opted to stay in Detroit, including The Funk Brothers studio backing band, Martha Reeves, and the Four Tops. The Tops departed Motown for ABC-Dunhill, where they were assigned to writer-producers Dennis Lambert and Brian Potter and the label's head of A&R, Steve Barri as producer, with The Tops' own Lawrence Payton later also serving as a producer and writer.","The Tops departed Motown for ABC-Dunhill, where they were assigned to writer-producers Dennis Lambert and Brian Potter and the label's head of A&R, Steve Barri as producer, with The Tops' own Lawrence Payton later also serving as a producer and writer. He also took over lead vocal duties on several tracks.","He also took over lead vocal duties on several tracks. The group's first release on the label, \"Keeper of the Castle\" (1972) was their first pop Top 10 hit since \"Bernadette\" in 1967.","The group's first release on the label, \"Keeper of the Castle\" (1972) was their first pop Top 10 hit since \"Bernadette\" in 1967. Follow-ups included the 1973 million-selling \"Ain't No Woman (Like the One I've Got)\", also a top 10 pop hit and their third R&B number 1, and the Top 20 hit, \"Are You Man Enough\" (1973), (from the 1973 movie Shaft in Africa).","Follow-ups included the 1973 million-selling \"Ain't No Woman (Like the One I've Got)\", also a top 10 pop hit and their third R&B number 1, and the Top 20 hit, \"Are You Man Enough\" (1973), (from the 1973 movie Shaft in Africa). \"Sweet Understanding Love\" (1973); \"Midnight Flower (1974); and \"One Chain Don't Make No Prison\" (1974) all reached the R&B Top 10 between 1972 and 1974.","\"Sweet Understanding Love\" (1973); \"Midnight Flower (1974); and \"One Chain Don't Make No Prison\" (1974) all reached the R&B Top 10 between 1972 and 1974. Two ABC/Dunhill singles, 1974's \"I Just Can't Get You Out of My Mind\" and 1975's \"Seven Lonely Nights\" have become popular tunes in the southeast Beach/Shag Club Dance circuit.","Two ABC/Dunhill singles, 1974's \"I Just Can't Get You Out of My Mind\" and 1975's \"Seven Lonely Nights\" have become popular tunes in the southeast Beach/Shag Club Dance circuit. After the release of \"Catfish\" (a top 10 R&B hit) in 1976, the major hits started to dry up and the Tops left ABC after an album recorded in Philadelphia with the MFSB musicians resulted in only minor chart success in 1978.","After the release of \"Catfish\" (a top 10 R&B hit) in 1976, the major hits started to dry up and the Tops left ABC after an album recorded in Philadelphia with the MFSB musicians resulted in only minor chart success in 1978. The group disappeared from the recording scene until the early 1980s.","The group disappeared from the recording scene until the early 1980s. Signing a deal with Casablanca Records, the Tops made a comeback in 1981 with the number 1 R&B hit \"When She Was My Girl\". Produced by David Wolfert, it just missed the Billboard pop Top 10, peaking at number 11.","Produced by David Wolfert, it just missed the Billboard pop Top 10, peaking at number 11. The group also scored a UK Top 10 hit with the song and had another hit there with the follow-up, \"Don't Walk Away\".","The group also scored a UK Top 10 hit with the song and had another hit there with the follow-up, \"Don't Walk Away\". In 1982, their song \"Back to School Again\" appeared in both the movie Grease 2 and its soundtrack.","In 1982, their song \"Back to School Again\" appeared in both the movie Grease 2 and its soundtrack. Return to Motown By 1983, The Tops had rejoined Motown, where their former ABC-Dunhill producer, Barri was vice-president of A&R.","Return to Motown By 1983, The Tops had rejoined Motown, where their former ABC-Dunhill producer, Barri was vice-president of A&R. They were featured on the company's 1983 television special Motown 25: Yesterday, Today, Forever, taking part in one of the highlights of the show - a battle of the bands between The Tops and The Temptations, patterned after similar competitions Berry Gordy, Jr. had staged during the 1960s.","They were featured on the company's 1983 television special Motown 25: Yesterday, Today, Forever, taking part in one of the highlights of the show - a battle of the bands between The Tops and The Temptations, patterned after similar competitions Berry Gordy, Jr. had staged during the 1960s. Levi Stubbs and Temptation Otis Williams decided the Temptations/Tops battle would be a good one to take on the road, and both groups began semi-regular joint tours.","Levi Stubbs and Temptation Otis Williams decided the Temptations/Tops battle would be a good one to take on the road, and both groups began semi-regular joint tours. The first of The Tops' albums under their new Motown contract was Back Where I Belong (1983).","The first of The Tops' albums under their new Motown contract was Back Where I Belong (1983). A whole side of the album was produced by the Holland-Dozier-Holland production team, including the R&B Top 40 single \"I Just Can't Walk Away\".","A whole side of the album was produced by the Holland-Dozier-Holland production team, including the R&B Top 40 single \"I Just Can't Walk Away\". Only one more Tops album would be released by Motown, Magic in 1985.","Only one more Tops album would be released by Motown, Magic in 1985. The lead single from that album, \"Sexy Ways\", was almost a Top 20 R&B hit, peaking at number 21 in mid-1985.","The lead single from that album, \"Sexy Ways\", was almost a Top 20 R&B hit, peaking at number 21 in mid-1985. In July of that year, the group performed at the Live Aid concert, singing five of their hit songs.","In July of that year, the group performed at the Live Aid concert, singing five of their hit songs. The title track of 1988's Indestructible was the group's final Top 40 hit, reaching No. 35. It was also featured in the 1988 science-fiction cop film Alien Nation.","It was also featured in the 1988 science-fiction cop film Alien Nation. Another track, \"Loco in Acapulco\", written and produced by British pop musician Phil Collins and former Motown composer-producer Lamont Dozier, climbed into the UK Top 10 and made number 7 in early 1989.","Another track, \"Loco in Acapulco\", written and produced by British pop musician Phil Collins and former Motown composer-producer Lamont Dozier, climbed into the UK Top 10 and made number 7 in early 1989. The Arista contract provided an opportunity to pair Levi Stubbs with fellow Arista artist, another R&B vocalist from Detroit, Aretha Franklin, who was at the height of her own 1980s hit streak.","The Arista contract provided an opportunity to pair Levi Stubbs with fellow Arista artist, another R&B vocalist from Detroit, Aretha Franklin, who was at the height of her own 1980s hit streak. This pairing resulted in the 1988 song \"If Ever a Love There Was\", which became a popular R&B and Adult Contemporary hit, as well as being featured on the soundtrack of the 1988 motion picture I'm Gonna Git You Sucka.","This pairing resulted in the 1988 song \"If Ever a Love There Was\", which became a popular R&B and Adult Contemporary hit, as well as being featured on the soundtrack of the 1988 motion picture I'm Gonna Git You Sucka. In December 1988, Pan Am Flight 103 (a disaster known as the Lockerbie bombing) became the group's scheduled return flight to the U.S. for Christmas after completing their European tour.","In December 1988, Pan Am Flight 103 (a disaster known as the Lockerbie bombing) became the group's scheduled return flight to the U.S. for Christmas after completing their European tour. A prolonged recording session and a performance at the British television show Top of the Pops caused them to oversleep and miss the ill-fated flight which crashed in Lockerbie, Scotland, after a terrorist bomb was detonated on board.","A prolonged recording session and a performance at the British television show Top of the Pops caused them to oversleep and miss the ill-fated flight which crashed in Lockerbie, Scotland, after a terrorist bomb was detonated on board. They left London on a later British Airways flight.","They left London on a later British Airways flight. Later years From the late 1980s, the Four Tops focused on touring and live performances. They recorded only one album, returning again to Motown for 1995's Christmas Here with You.","They recorded only one album, returning again to Motown for 1995's Christmas Here with You. On June 20, 1997, 59-year-old Lawrence Payton died as a result of liver cancer, after singing for 44 years with the Four Tops who, unlike many other Motown groups, never had a single lineup change until then.","On June 20, 1997, 59-year-old Lawrence Payton died as a result of liver cancer, after singing for 44 years with the Four Tops who, unlike many other Motown groups, never had a single lineup change until then. At first, Levi Stubbs, Renaldo \"Obie\" Benson, and Abdul \"Duke\" Fakir toured as a trio called The Tops.","At first, Levi Stubbs, Renaldo \"Obie\" Benson, and Abdul \"Duke\" Fakir toured as a trio called The Tops. In 1998, they recruited former member of the Temptations Theo Peoples to restore the group to a quartet.","In 1998, they recruited former member of the Temptations Theo Peoples to restore the group to a quartet. By the turn of the century, Stubbs had become ill from cancer; Ronnie McNeir was recruited to fill the Lawrence Payton position and Theo Peoples stepped into Stubbs' shoes as lead singer.","By the turn of the century, Stubbs had become ill from cancer; Ronnie McNeir was recruited to fill the Lawrence Payton position and Theo Peoples stepped into Stubbs' shoes as lead singer. Stubbs later died on October 17, 2008 at his home in Detroit.","Stubbs later died on October 17, 2008 at his home in Detroit. The group was featured in several television specials during this time, including Motown 45, and several by PBS, including a 50th-anniversary concert dedicated to the group (available on DVD).","The group was featured in several television specials during this time, including Motown 45, and several by PBS, including a 50th-anniversary concert dedicated to the group (available on DVD). The concert turned out to be bittersweet; it featured a brief appearance of Levi Stubbs using a wheelchair, and a memorial to Lawrence Payton, announced by Renaldo \"Obie\" Benson.","The concert turned out to be bittersweet; it featured a brief appearance of Levi Stubbs using a wheelchair, and a memorial to Lawrence Payton, announced by Renaldo \"Obie\" Benson. Benson appeared on one more PBS special and died on July 1, 2005, from lung cancer.","Benson appeared on one more PBS special and died on July 1, 2005, from lung cancer. The final PBS special, titled Motown: The Early Years, featured a message of Benson's passing following the credits.","The final PBS special, titled Motown: The Early Years, featured a message of Benson's passing following the credits. The group was inducted into the Rock and Roll Hall of Fame in 1990, and into the Vocal Group Hall of Fame in 1999.","The group was inducted into the Rock and Roll Hall of Fame in 1990, and into the Vocal Group Hall of Fame in 1999. In 2004, Rolling Stone ranked them #79 on their list of the 100 Greatest Artists of All Time.","In 2004, Rolling Stone ranked them #79 on their list of the 100 Greatest Artists of All Time. The Four Tops were inducted into the Michigan Rock and Roll Legends Hall of Fame in 2005.","The Four Tops were inducted into the Michigan Rock and Roll Legends Hall of Fame in 2005. The Four Tops sang the National Anthem before the start of game 5 for the 2011 baseball American League Championship Series (ALCS) between the Texas Rangers & Detroit Tigers on October 13, 2011 in Detroit, MI.","The Four Tops sang the National Anthem before the start of game 5 for the 2011 baseball American League Championship Series (ALCS) between the Texas Rangers & Detroit Tigers on October 13, 2011 in Detroit, MI. When singing the last line of \"The Star-Spangled Banner\", \"... and the home of the brave\", they quickly sang the words \"Ain't No country Like the One I Got\", before singing the last word, \"brave\".","When singing the last line of \"The Star-Spangled Banner\", \"... and the home of the brave\", they quickly sang the words \"Ain't No country Like the One I Got\", before singing the last word, \"brave\". The Four Tops were honored with an induction into the R&B Music Hall of Fame at the Inaugural ceremony held at Cleveland State University's Waetejen Auditorium on Saturday August 17, 2013.","The Four Tops were honored with an induction into the R&B Music Hall of Fame at the Inaugural ceremony held at Cleveland State University's Waetejen Auditorium on Saturday August 17, 2013. The Four Tops were among hundreds of artists whose material was destroyed in the 2008 Universal fire.","The Four Tops were among hundreds of artists whose material was destroyed in the 2008 Universal fire. The Four Tops career awards The Four Tops have won many awards, including the following: Rock and Roll Hall of Fame (1990) Vocal Group Hall of Fame (1999) Hollywood Walk of Fame (1997) Grammy Hall of Fame (Reach Out I'll Be There-1998)(\"I Can't Help Myself (Sugar Pie Honey Bunch-2018) Grammy Lifetime Achievement Award (2009-51st Annual Grammy Awards) Rhythm and Blues Foundation Pioneer Award (1997) Billboard magazine Top 100 Artists of All Time(#77) R&B Music Hall of Fame Induction (2013) 100 Greatest Artists of All Time (#79-Rolling Stone) Rolling Stone's 500 Greatest Songs of All Time (2003) Michigan Rock and Roll Legends Hall of Fame Grammy Lifetime Achievement Award In early 2018, The Four Tops' 1965 #1 Pop Hit, \"I Can't Help Myself (Sugar Pie Honey Bunch)\" became their second song to be inducted into The Grammy Hall of Fame.","The Four Tops career awards The Four Tops have won many awards, including the following: Rock and Roll Hall of Fame (1990) Vocal Group Hall of Fame (1999) Hollywood Walk of Fame (1997) Grammy Hall of Fame (Reach Out I'll Be There-1998)(\"I Can't Help Myself (Sugar Pie Honey Bunch-2018) Grammy Lifetime Achievement Award (2009-51st Annual Grammy Awards) Rhythm and Blues Foundation Pioneer Award (1997) Billboard magazine Top 100 Artists of All Time(#77) R&B Music Hall of Fame Induction (2013) 100 Greatest Artists of All Time (#79-Rolling Stone) Rolling Stone's 500 Greatest Songs of All Time (2003) Michigan Rock and Roll Legends Hall of Fame Grammy Lifetime Achievement Award In early 2018, The Four Tops' 1965 #1 Pop Hit, \"I Can't Help Myself (Sugar Pie Honey Bunch)\" became their second song to be inducted into The Grammy Hall of Fame. Personnel Current Members Abdul “Duke” Fakir (1953-present) Ronnie McNeir (1999-present) Lawrence Payton Jr. (2005-present) Alexander Morris (2019-present) Former Members Levi Stubbs (1953-2000, 2004) (d. 2008) Renaldo “Obie” Benson (1953-2005) (d. 2005) Lawrence Payton (1953-1997) (d. 1997) Theo Peoples (1998-2010) Harold Bonhart (2010-2018) Discography Albums Motown releases 1965: Four Tops (US #63; UK #2) 1965: Four Tops' Second Album (US #20) 1966: Four Tops Live!","Personnel Current Members Abdul “Duke” Fakir (1953-present) Ronnie McNeir (1999-present) Lawrence Payton Jr. (2005-present) Alexander Morris (2019-present) Former Members Levi Stubbs (1953-2000, 2004) (d. 2008) Renaldo “Obie” Benson (1953-2005) (d. 2005) Lawrence Payton (1953-1997) (d. 1997) Theo Peoples (1998-2010) Harold Bonhart (2010-2018) Discography Albums Motown releases 1965: Four Tops (US #63; UK #2) 1965: Four Tops' Second Album (US #20) 1966: Four Tops Live! (US #17; UK #4) 1966: On Top (US #32; UK #9) 1967: Four Tops' Greatest Hits (US #4; UK #1) 1967: Reach Out (US #11; UK #6) 1967: Four Tops on Broadway (US #79) 1968: Yesterday's Dreams (US #91) 1969: Four Tops Now!","(US #17; UK #4) 1966: On Top (US #32; UK #9) 1967: Four Tops' Greatest Hits (US #4; UK #1) 1967: Reach Out (US #11; UK #6) 1967: Four Tops on Broadway (US #79) 1968: Yesterday's Dreams (US #91) 1969: Four Tops Now! (US #74) 1969: Soul Spin (US #163) 1970: Still Waters Run Deep (US #21) 1970: Changing Times (US #109) 1970: The Magnificent 7 (with The Supremes) (US #113; UK #6) 1971: The Return of the Magnificent Seven (with The Supremes) (US #154) 1971: Dynamite (with the Supremes) (US #160) 1971: Mac Arthur Park 1972: Nature Planned It (US #50) 1973: The Best of the 4 Tops (US #103) ABC releases 1972: Keeper of the Castle (US #33) 1973: Main Street People (US #66) 1974: Meeting of the Minds (US #118) 1974: Live & in Concert (US #92) 1975: Night Lights Harmony (US #148) 1976: Catfish (US #124) 1977: The Show Must Go On 1978: At the Top Casablanca releases 1981: Tonight!","(US #74) 1969: Soul Spin (US #163) 1970: Still Waters Run Deep (US #21) 1970: Changing Times (US #109) 1970: The Magnificent 7 (with The Supremes) (US #113; UK #6) 1971: The Return of the Magnificent Seven (with The Supremes) (US #154) 1971: Dynamite (with the Supremes) (US #160) 1971: Mac Arthur Park 1972: Nature Planned It (US #50) 1973: The Best of the 4 Tops (US #103) ABC releases 1972: Keeper of the Castle (US #33) 1973: Main Street People (US #66) 1974: Meeting of the Minds (US #118) 1974: Live & in Concert (US #92) 1975: Night Lights Harmony (US #148) 1976: Catfish (US #124) 1977: The Show Must Go On 1978: At the Top Casablanca releases 1981: Tonight! (US #37) 1982: One More Mountain Motown releases 1983: Back Where I Belong 1985: Magic (US #140) 1986: Hot Nights (unreleased) Arista releases 1988: Indestructible (US #149) Motown releases 1995: Christmas Here with You Prism Leisure releases 2000: The Four Tops Collection (recorded live at the MGM grand 1996) U.S.","(US #37) 1982: One More Mountain Motown releases 1983: Back Where I Belong 1985: Magic (US #140) 1986: Hot Nights (unreleased) Arista releases 1988: Indestructible (US #149) Motown releases 1995: Christmas Here with You Prism Leisure releases 2000: The Four Tops Collection (recorded live at the MGM grand 1996) U.S. Billboard Hot 100 and UK singles The following singles reached the top 30 of the U.S. and UK singles charts.","Billboard Hot 100 and UK singles The following singles reached the top 30 of the U.S. and UK singles charts. DVDs The Four Tops: Live at the MGM Grand: 40th Anniversary Special (1996) The Four Tops: The Four Tops (semi-documentary/concert rehearsal, recorded live for French TV in 1971) (2004) The Four Tops: From the Heart: The 50th Anniversary Concert (2006) The Four Tops: Reach Out: Definitive Performances 1965-1973 (2008), Motown/Universal See also List of best-selling music artists References External links Four Tops biography by John Bush, discography and album reviews, credits & releases at AllMusic Four Tops discography, album releases & credits at Discogs Four Tops filmography on IMDb Four Tops Broadway musical productions at the Internet Broadway Database Four Tops discography at MusicBrainz Four Tops albums to be listened as stream on Spotify Vocal Group Hall of Fame page on the Four Tops Levi Stubbs/The Four Tops interview by Pete Lewis, 'Blues & Soul' October 1992 (republished November 2008) History of Rock article Four Tops on MySpace Four Tops appearances on The Ed Sullivan Show Ronnie McNeir 2012 Interview at Soulinterviews.com.","DVDs The Four Tops: Live at the MGM Grand: 40th Anniversary Special (1996) The Four Tops: The Four Tops (semi-documentary/concert rehearsal, recorded live for French TV in 1971) (2004) The Four Tops: From the Heart: The 50th Anniversary Concert (2006) The Four Tops: Reach Out: Definitive Performances 1965-1973 (2008), Motown/Universal See also List of best-selling music artists References External links Four Tops biography by John Bush, discography and album reviews, credits & releases at AllMusic Four Tops discography, album releases & credits at Discogs Four Tops filmography on IMDb Four Tops Broadway musical productions at the Internet Broadway Database Four Tops discography at MusicBrainz Four Tops albums to be listened as stream on Spotify Vocal Group Hall of Fame page on the Four Tops Levi Stubbs/The Four Tops interview by Pete Lewis, 'Blues & Soul' October 1992 (republished November 2008) History of Rock article Four Tops on MySpace Four Tops appearances on The Ed Sullivan Show Ronnie McNeir 2012 Interview at Soulinterviews.com. Musical groups established in 1953 Musical groups from Detroit African-American musical groups American soul musical groups Motown artists Northern soul musicians ABC Records artists Dunhill Records artists Chess Records artists Vocal quartets Columbia Records artists Casablanca Records artists Arista Records artists 1953 establishments in Michigan"],"string":"[\n \"The Four Tops are an American vocal quartet from Detroit who helped to define the city's Motown sound of the 1960s. The group's repertoire has included soul music, R&B, disco, adult contemporary, doo-wop, jazz, and show tunes.\",\n \"The group's repertoire has included soul music, R&B, disco, adult contemporary, doo-wop, jazz, and show tunes. Founded as the Four Aims, lead singer Levi Stubbs, Abdul \\\"Duke\\\" Fakir, Renaldo \\\"Obie\\\" Benson and Lawrence Payton remained together for over four decades, performing from 1953 until 1997 without a change in personnel.\",\n \"Founded as the Four Aims, lead singer Levi Stubbs, Abdul \\\"Duke\\\" Fakir, Renaldo \\\"Obie\\\" Benson and Lawrence Payton remained together for over four decades, performing from 1953 until 1997 without a change in personnel. The Four Tops were among a number of groups, including the Miracles, the Marvelettes, Martha and the Vandellas, the Temptations, and the Supremes, who established the Motown Sound heard around the world during the 1960s.\",\n \"The Four Tops were among a number of groups, including the Miracles, the Marvelettes, Martha and the Vandellas, the Temptations, and the Supremes, who established the Motown Sound heard around the world during the 1960s. They were notable for having Stubbs, a baritone, as their lead singer, whereas most other male and mixed vocal groups of the time were fronted by tenors.\",\n \"They were notable for having Stubbs, a baritone, as their lead singer, whereas most other male and mixed vocal groups of the time were fronted by tenors. The group was the main male vocal group for the highly successful songwriting and production team of Holland–Dozier–Holland, who crafted a stream of hit singles for Motown.\",\n \"The group was the main male vocal group for the highly successful songwriting and production team of Holland–Dozier–Holland, who crafted a stream of hit singles for Motown. These included two Billboard Hot 100 number-one hits for the Tops: \\\"I Can't Help Myself (Sugar Pie Honey Bunch)\\\" in 1965 and \\\"Reach Out I'll Be There\\\" in 1966.\",\n \"These included two Billboard Hot 100 number-one hits for the Tops: \\\"I Can't Help Myself (Sugar Pie Honey Bunch)\\\" in 1965 and \\\"Reach Out I'll Be There\\\" in 1966. The group continued to have chart singles into the 1970s, including the million-seller \\\"Ain't No Woman\\\" (1973).\",\n \"The group continued to have chart singles into the 1970s, including the million-seller \\\"Ain't No Woman\\\" (1973). The group was inducted into the Rock and Roll Hall of Fame in 1990 and into the Vocal Group Hall of Fame in 1999.\",\n \"The group was inducted into the Rock and Roll Hall of Fame in 1990 and into the Vocal Group Hall of Fame in 1999. In 2004, Rolling Stone ranked them #79 on its list of the 100 Greatest Artists of All Time. The Four Tops continue to perform with Fakir as the last surviving original member.\",\n \"The Four Tops continue to perform with Fakir as the last surviving original member. History Early years All four members of the group began their careers together while they were high-school students in Detroit.\",\n \"History Early years All four members of the group began their careers together while they were high-school students in Detroit. At the insistence of their friends, Pershing High students Levi Stubbs and Abdul \\\"Duke\\\" Fakir performed with Renaldo \\\"Obie\\\" Benson and Lawrence Payton from Northern High at a local birthday party.\",\n \"At the insistence of their friends, Pershing High students Levi Stubbs and Abdul \\\"Duke\\\" Fakir performed with Renaldo \\\"Obie\\\" Benson and Lawrence Payton from Northern High at a local birthday party. The quartet decided to remain together and named the group the Four Aims.\",\n \"The quartet decided to remain together and named the group the Four Aims. With the help of Payton's songwriter cousin Roquel Davis, the Aims signed to Chess Records in 1956, changing their name to the Four Tops to avoid confusion with the Ames Brothers.\",\n \"With the help of Payton's songwriter cousin Roquel Davis, the Aims signed to Chess Records in 1956, changing their name to the Four Tops to avoid confusion with the Ames Brothers. Over the next seven years, the Tops had unsuccessful tenures at Chess, Red Top, Riverside Records and Columbia Records.\",\n \"Over the next seven years, the Tops had unsuccessful tenures at Chess, Red Top, Riverside Records and Columbia Records. Without any hit records to their name, they toured frequently, developing a polished stage presence and an experienced supper club act, as well as supporting Billy Eckstine.\",\n \"Without any hit records to their name, they toured frequently, developing a polished stage presence and an experienced supper club act, as well as supporting Billy Eckstine. In 1963, Berry Gordy, Jr., who had worked with Roquel \\\"Billy\\\" Davis as a songwriter in the late 1950s, convinced the Tops to join the roster of his growing Motown record company.\",\n \"In 1963, Berry Gordy, Jr., who had worked with Roquel \\\"Billy\\\" Davis as a songwriter in the late 1950s, convinced the Tops to join the roster of his growing Motown record company. Joining Motown During their early Motown years, the Four Tops recorded jazz standards for the company's Workshop Jazz Records label.\",\n \"Joining Motown During their early Motown years, the Four Tops recorded jazz standards for the company's Workshop Jazz Records label. In addition, they sang backup on Motown singles by the Supremes (\\\"Run, Run, Run\\\", 1964), Martha and the Vandellas (on the 1966 hit \\\"My Baby Loves Me\\\") and others.\",\n \"In addition, they sang backup on Motown singles by the Supremes (\\\"Run, Run, Run\\\", 1964), Martha and the Vandellas (on the 1966 hit \\\"My Baby Loves Me\\\") and others. In 1964, Motown's main songwriting and production team, Holland–Dozier–Holland, created a complete instrumental track without any idea of what to do with it.\",\n \"In 1964, Motown's main songwriting and production team, Holland–Dozier–Holland, created a complete instrumental track without any idea of what to do with it. They decided to craft the song as a more mainstream pop song for the Four Tops and proceeded to create \\\"Baby I Need Your Loving\\\" from the instrumental track.\",\n \"They decided to craft the song as a more mainstream pop song for the Four Tops and proceeded to create \\\"Baby I Need Your Loving\\\" from the instrumental track. On its release in mid-1964, \\\"Baby I Need Your Loving\\\" made it to number 11 on the Billboard Hot 100.\",\n \"On its release in mid-1964, \\\"Baby I Need Your Loving\\\" made it to number 11 on the Billboard Hot 100. The first follow-up single, \\\"Without the One You Love (Life's Not Worth While)\\\" (1964), just missed both the pop and R&B Top 40 charts, but \\\"Ask the Lonely\\\" (1965), written and produced by Motown A&R head William \\\"Mickey\\\" Stevenson with Ivy Jo Hunter, was a Top 30 pop hit and a Top 10 R&B hit in early 1965.\",\n \"The first follow-up single, \\\"Without the One You Love (Life's Not Worth While)\\\" (1964), just missed both the pop and R&B Top 40 charts, but \\\"Ask the Lonely\\\" (1965), written and produced by Motown A&R head William \\\"Mickey\\\" Stevenson with Ivy Jo Hunter, was a Top 30 pop hit and a Top 10 R&B hit in early 1965. Success After their first number 1 hit, \\\"I Can't Help Myself (Sugar Pie, Honey Bunch)\\\" in June 1965, the Four Tops released a long series of successful hit singles.\",\n \"Success After their first number 1 hit, \\\"I Can't Help Myself (Sugar Pie, Honey Bunch)\\\" in June 1965, the Four Tops released a long series of successful hit singles. Among the first wave of these hits were the Top 10 \\\"It's the Same Old Song\\\" (1965), \\\"Something About You\\\" (1965), \\\"Shake Me, Wake Me (When It's Over)\\\" (1966), and \\\"Loving You Is Sweeter Than Ever\\\" (1966).\",\n \"Among the first wave of these hits were the Top 10 \\\"It's the Same Old Song\\\" (1965), \\\"Something About You\\\" (1965), \\\"Shake Me, Wake Me (When It's Over)\\\" (1966), and \\\"Loving You Is Sweeter Than Ever\\\" (1966). Holland-Dozier-Holland wrote most of Levi Stubbs's vocals in a tenor range, near the top of his range, in order to get a sense of strained urgency in his gospel preacher-inspired leads.\",\n \"Holland-Dozier-Holland wrote most of Levi Stubbs's vocals in a tenor range, near the top of his range, in order to get a sense of strained urgency in his gospel preacher-inspired leads. They also wrote additional background vocals for a female group, the Andantes, on many of the songs, to add a high end to the low-voiced harmony of the Tops.\",\n \"They also wrote additional background vocals for a female group, the Andantes, on many of the songs, to add a high end to the low-voiced harmony of the Tops. Ivy Jo Hunter's \\\"Loving You Is Sweeter Than Ever\\\" (1966) was one of a few exceptions.\",\n \"Ivy Jo Hunter's \\\"Loving You Is Sweeter Than Ever\\\" (1966) was one of a few exceptions. August 1966 brought the release of the Four Tops' all-time biggest hit and one of the most popular Motown songs ever.\",\n \"August 1966 brought the release of the Four Tops' all-time biggest hit and one of the most popular Motown songs ever. \\\"Reach Out I'll Be There\\\" reached number 1 on the U.S. pop and R&B charts and the UK chart and soon became the Tops' signature song.\",\n \"\\\"Reach Out I'll Be There\\\" reached number 1 on the U.S. pop and R&B charts and the UK chart and soon became the Tops' signature song. It was almost immediately followed by the similar-sounding \\\"Standing in the Shadows of Love\\\"; its depiction of heartbreak reflecting the opposite of the optimism in \\\"Reach Out\\\".\",\n \"It was almost immediately followed by the similar-sounding \\\"Standing in the Shadows of Love\\\"; its depiction of heartbreak reflecting the opposite of the optimism in \\\"Reach Out\\\". It was another Top 10 hit for the Tops.\",\n \"It was another Top 10 hit for the Tops. The Top 10 U.S. hit \\\"Bernadette\\\" centered around a man's all-consuming obsession with his lover, continued the Four Tops' successful run into April 1967, followed by the Top 20 hits \\\"7-Rooms of Gloom\\\", and \\\"You Keep Running Away\\\".\",\n \"The Top 10 U.S. hit \\\"Bernadette\\\" centered around a man's all-consuming obsession with his lover, continued the Four Tops' successful run into April 1967, followed by the Top 20 hits \\\"7-Rooms of Gloom\\\", and \\\"You Keep Running Away\\\". By now, the Tops were the most successful male Motown act in the United Kingdom (in the United States, they were second to the Temptations), and began experimenting with more mainstream pop hits.\",\n \"By now, the Tops were the most successful male Motown act in the United Kingdom (in the United States, they were second to the Temptations), and began experimenting with more mainstream pop hits. They scored hits with their versions of Tim Hardin's \\\"If I Were a Carpenter\\\" in late 1967 (mid-1968 in the U.S.) and the Left Banke's \\\"Walk Away Renée\\\" in early 1968.\",\n \"They scored hits with their versions of Tim Hardin's \\\"If I Were a Carpenter\\\" in late 1967 (mid-1968 in the U.S.) and the Left Banke's \\\"Walk Away Renée\\\" in early 1968. These singles and the original \\\"I'm in a Different World\\\" were their last hits produced by Holland-Dozier-Holland, who left Motown in 1967 after disputes with Berry Gordy, Jr. Late Motown period Without Holland-Dozier-Holland, the hits became less frequent.\",\n \"These singles and the original \\\"I'm in a Different World\\\" were their last hits produced by Holland-Dozier-Holland, who left Motown in 1967 after disputes with Berry Gordy, Jr. Late Motown period Without Holland-Dozier-Holland, the hits became less frequent. The group worked with a wide array of Motown producers during the late 1960s, including Ivy Jo Hunter, Nickolas Ashford & Valerie Simpson, Norman Whitfield and Johnny Bristol, without significant chart success.\",\n \"The group worked with a wide array of Motown producers during the late 1960s, including Ivy Jo Hunter, Nickolas Ashford & Valerie Simpson, Norman Whitfield and Johnny Bristol, without significant chart success. Their first major hit in a long time came in the form of 1970's \\\"It's All in the Game\\\", a pop Top 30/R&B Top Ten hit produced by Frank Wilson.\",\n \"Their first major hit in a long time came in the form of 1970's \\\"It's All in the Game\\\", a pop Top 30/R&B Top Ten hit produced by Frank Wilson. Wilson and the Tops began working on a number of innovative tracks and albums together, echoing Whitfield's psychedelic soul work with the Temptations.\",\n \"Wilson and the Tops began working on a number of innovative tracks and albums together, echoing Whitfield's psychedelic soul work with the Temptations. Their 1970 album Still Waters Run Deep was a forerunner of the concept album.\",\n \"Their 1970 album Still Waters Run Deep was a forerunner of the concept album. It also served as an inspiration for Marvin Gaye's 1971 classic album What's Going On, the title track of which was co-written by the Tops' Renaldo \\\"Obie\\\" Benson.\",\n \"It also served as an inspiration for Marvin Gaye's 1971 classic album What's Going On, the title track of which was co-written by the Tops' Renaldo \\\"Obie\\\" Benson. In addition to their own albums, the Tops were paired with The Supremes, who had just replaced lead singer Diana Ross with Jean Terrell, for a series of albums billed under the joint title The Magnificent 7 in 1970, and The Return of the Magnificent Seven and Dynamite!\",\n \"In addition to their own albums, the Tops were paired with The Supremes, who had just replaced lead singer Diana Ross with Jean Terrell, for a series of albums billed under the joint title The Magnificent 7 in 1970, and The Return of the Magnificent Seven and Dynamite! in 1971.\",\n \"in 1971. in 1971. Whilst the albums themselves did not perform really well on the charts, The Magnificent Seven featured a Top 20 version of Ike & Tina Turner's \\\"River Deep - Mountain High\\\", produced by Ashford & Simpson. The 1971 single \\\"A Simple Game\\\" featured backing vocals from members of The Moody Blues.\",\n \"The 1971 single \\\"A Simple Game\\\" featured backing vocals from members of The Moody Blues. The song did not fare well on the U.S. charts, but reached number three on the UK chart. ABC/Dunhill Records and Casablanca Records Motown as a company began to change during the early 1970s.\",\n \"ABC/Dunhill Records and Casablanca Records Motown as a company began to change during the early 1970s. Older acts such as Martha and the Vandellas and The Marvelettes were slowly moved aside or dropped to focus on newer acts, such as Michael Jackson and The Jackson 5, Rare Earth, and the now-solo Diana Ross.\",\n \"Older acts such as Martha and the Vandellas and The Marvelettes were slowly moved aside or dropped to focus on newer acts, such as Michael Jackson and The Jackson 5, Rare Earth, and the now-solo Diana Ross. In addition, the company moved its operations from Detroit to Los Angeles, California, where Berry Gordy, Jr. planned to break into the motion picture and television industries.\",\n \"In addition, the company moved its operations from Detroit to Los Angeles, California, where Berry Gordy, Jr. planned to break into the motion picture and television industries. In 1972, it was announced that the entire company would move west and that all its artists had to move as well.\",\n \"In 1972, it was announced that the entire company would move west and that all its artists had to move as well. Many of the older Motown acts, already neglected by the label, opted to stay in Detroit, including The Funk Brothers studio backing band, Martha Reeves, and the Four Tops.\",\n \"Many of the older Motown acts, already neglected by the label, opted to stay in Detroit, including The Funk Brothers studio backing band, Martha Reeves, and the Four Tops. The Tops departed Motown for ABC-Dunhill, where they were assigned to writer-producers Dennis Lambert and Brian Potter and the label's head of A&R, Steve Barri as producer, with The Tops' own Lawrence Payton later also serving as a producer and writer.\",\n \"The Tops departed Motown for ABC-Dunhill, where they were assigned to writer-producers Dennis Lambert and Brian Potter and the label's head of A&R, Steve Barri as producer, with The Tops' own Lawrence Payton later also serving as a producer and writer. He also took over lead vocal duties on several tracks.\",\n \"He also took over lead vocal duties on several tracks. The group's first release on the label, \\\"Keeper of the Castle\\\" (1972) was their first pop Top 10 hit since \\\"Bernadette\\\" in 1967.\",\n \"The group's first release on the label, \\\"Keeper of the Castle\\\" (1972) was their first pop Top 10 hit since \\\"Bernadette\\\" in 1967. Follow-ups included the 1973 million-selling \\\"Ain't No Woman (Like the One I've Got)\\\", also a top 10 pop hit and their third R&B number 1, and the Top 20 hit, \\\"Are You Man Enough\\\" (1973), (from the 1973 movie Shaft in Africa).\",\n \"Follow-ups included the 1973 million-selling \\\"Ain't No Woman (Like the One I've Got)\\\", also a top 10 pop hit and their third R&B number 1, and the Top 20 hit, \\\"Are You Man Enough\\\" (1973), (from the 1973 movie Shaft in Africa). \\\"Sweet Understanding Love\\\" (1973); \\\"Midnight Flower (1974); and \\\"One Chain Don't Make No Prison\\\" (1974) all reached the R&B Top 10 between 1972 and 1974.\",\n \"\\\"Sweet Understanding Love\\\" (1973); \\\"Midnight Flower (1974); and \\\"One Chain Don't Make No Prison\\\" (1974) all reached the R&B Top 10 between 1972 and 1974. Two ABC/Dunhill singles, 1974's \\\"I Just Can't Get You Out of My Mind\\\" and 1975's \\\"Seven Lonely Nights\\\" have become popular tunes in the southeast Beach/Shag Club Dance circuit.\",\n \"Two ABC/Dunhill singles, 1974's \\\"I Just Can't Get You Out of My Mind\\\" and 1975's \\\"Seven Lonely Nights\\\" have become popular tunes in the southeast Beach/Shag Club Dance circuit. After the release of \\\"Catfish\\\" (a top 10 R&B hit) in 1976, the major hits started to dry up and the Tops left ABC after an album recorded in Philadelphia with the MFSB musicians resulted in only minor chart success in 1978.\",\n \"After the release of \\\"Catfish\\\" (a top 10 R&B hit) in 1976, the major hits started to dry up and the Tops left ABC after an album recorded in Philadelphia with the MFSB musicians resulted in only minor chart success in 1978. The group disappeared from the recording scene until the early 1980s.\",\n \"The group disappeared from the recording scene until the early 1980s. Signing a deal with Casablanca Records, the Tops made a comeback in 1981 with the number 1 R&B hit \\\"When She Was My Girl\\\". Produced by David Wolfert, it just missed the Billboard pop Top 10, peaking at number 11.\",\n \"Produced by David Wolfert, it just missed the Billboard pop Top 10, peaking at number 11. The group also scored a UK Top 10 hit with the song and had another hit there with the follow-up, \\\"Don't Walk Away\\\".\",\n \"The group also scored a UK Top 10 hit with the song and had another hit there with the follow-up, \\\"Don't Walk Away\\\". In 1982, their song \\\"Back to School Again\\\" appeared in both the movie Grease 2 and its soundtrack.\",\n \"In 1982, their song \\\"Back to School Again\\\" appeared in both the movie Grease 2 and its soundtrack. Return to Motown By 1983, The Tops had rejoined Motown, where their former ABC-Dunhill producer, Barri was vice-president of A&R.\",\n \"Return to Motown By 1983, The Tops had rejoined Motown, where their former ABC-Dunhill producer, Barri was vice-president of A&R. They were featured on the company's 1983 television special Motown 25: Yesterday, Today, Forever, taking part in one of the highlights of the show - a battle of the bands between The Tops and The Temptations, patterned after similar competitions Berry Gordy, Jr. had staged during the 1960s.\",\n \"They were featured on the company's 1983 television special Motown 25: Yesterday, Today, Forever, taking part in one of the highlights of the show - a battle of the bands between The Tops and The Temptations, patterned after similar competitions Berry Gordy, Jr. had staged during the 1960s. Levi Stubbs and Temptation Otis Williams decided the Temptations/Tops battle would be a good one to take on the road, and both groups began semi-regular joint tours.\",\n \"Levi Stubbs and Temptation Otis Williams decided the Temptations/Tops battle would be a good one to take on the road, and both groups began semi-regular joint tours. The first of The Tops' albums under their new Motown contract was Back Where I Belong (1983).\",\n \"The first of The Tops' albums under their new Motown contract was Back Where I Belong (1983). A whole side of the album was produced by the Holland-Dozier-Holland production team, including the R&B Top 40 single \\\"I Just Can't Walk Away\\\".\",\n \"A whole side of the album was produced by the Holland-Dozier-Holland production team, including the R&B Top 40 single \\\"I Just Can't Walk Away\\\". Only one more Tops album would be released by Motown, Magic in 1985.\",\n \"Only one more Tops album would be released by Motown, Magic in 1985. The lead single from that album, \\\"Sexy Ways\\\", was almost a Top 20 R&B hit, peaking at number 21 in mid-1985.\",\n \"The lead single from that album, \\\"Sexy Ways\\\", was almost a Top 20 R&B hit, peaking at number 21 in mid-1985. In July of that year, the group performed at the Live Aid concert, singing five of their hit songs.\",\n \"In July of that year, the group performed at the Live Aid concert, singing five of their hit songs. The title track of 1988's Indestructible was the group's final Top 40 hit, reaching No. 35. It was also featured in the 1988 science-fiction cop film Alien Nation.\",\n \"It was also featured in the 1988 science-fiction cop film Alien Nation. Another track, \\\"Loco in Acapulco\\\", written and produced by British pop musician Phil Collins and former Motown composer-producer Lamont Dozier, climbed into the UK Top 10 and made number 7 in early 1989.\",\n \"Another track, \\\"Loco in Acapulco\\\", written and produced by British pop musician Phil Collins and former Motown composer-producer Lamont Dozier, climbed into the UK Top 10 and made number 7 in early 1989. The Arista contract provided an opportunity to pair Levi Stubbs with fellow Arista artist, another R&B vocalist from Detroit, Aretha Franklin, who was at the height of her own 1980s hit streak.\",\n \"The Arista contract provided an opportunity to pair Levi Stubbs with fellow Arista artist, another R&B vocalist from Detroit, Aretha Franklin, who was at the height of her own 1980s hit streak. This pairing resulted in the 1988 song \\\"If Ever a Love There Was\\\", which became a popular R&B and Adult Contemporary hit, as well as being featured on the soundtrack of the 1988 motion picture I'm Gonna Git You Sucka.\",\n \"This pairing resulted in the 1988 song \\\"If Ever a Love There Was\\\", which became a popular R&B and Adult Contemporary hit, as well as being featured on the soundtrack of the 1988 motion picture I'm Gonna Git You Sucka. In December 1988, Pan Am Flight 103 (a disaster known as the Lockerbie bombing) became the group's scheduled return flight to the U.S. for Christmas after completing their European tour.\",\n \"In December 1988, Pan Am Flight 103 (a disaster known as the Lockerbie bombing) became the group's scheduled return flight to the U.S. for Christmas after completing their European tour. A prolonged recording session and a performance at the British television show Top of the Pops caused them to oversleep and miss the ill-fated flight which crashed in Lockerbie, Scotland, after a terrorist bomb was detonated on board.\",\n \"A prolonged recording session and a performance at the British television show Top of the Pops caused them to oversleep and miss the ill-fated flight which crashed in Lockerbie, Scotland, after a terrorist bomb was detonated on board. They left London on a later British Airways flight.\",\n \"They left London on a later British Airways flight. Later years From the late 1980s, the Four Tops focused on touring and live performances. They recorded only one album, returning again to Motown for 1995's Christmas Here with You.\",\n \"They recorded only one album, returning again to Motown for 1995's Christmas Here with You. On June 20, 1997, 59-year-old Lawrence Payton died as a result of liver cancer, after singing for 44 years with the Four Tops who, unlike many other Motown groups, never had a single lineup change until then.\",\n \"On June 20, 1997, 59-year-old Lawrence Payton died as a result of liver cancer, after singing for 44 years with the Four Tops who, unlike many other Motown groups, never had a single lineup change until then. At first, Levi Stubbs, Renaldo \\\"Obie\\\" Benson, and Abdul \\\"Duke\\\" Fakir toured as a trio called The Tops.\",\n \"At first, Levi Stubbs, Renaldo \\\"Obie\\\" Benson, and Abdul \\\"Duke\\\" Fakir toured as a trio called The Tops. In 1998, they recruited former member of the Temptations Theo Peoples to restore the group to a quartet.\",\n \"In 1998, they recruited former member of the Temptations Theo Peoples to restore the group to a quartet. By the turn of the century, Stubbs had become ill from cancer; Ronnie McNeir was recruited to fill the Lawrence Payton position and Theo Peoples stepped into Stubbs' shoes as lead singer.\",\n \"By the turn of the century, Stubbs had become ill from cancer; Ronnie McNeir was recruited to fill the Lawrence Payton position and Theo Peoples stepped into Stubbs' shoes as lead singer. Stubbs later died on October 17, 2008 at his home in Detroit.\",\n \"Stubbs later died on October 17, 2008 at his home in Detroit. The group was featured in several television specials during this time, including Motown 45, and several by PBS, including a 50th-anniversary concert dedicated to the group (available on DVD).\",\n \"The group was featured in several television specials during this time, including Motown 45, and several by PBS, including a 50th-anniversary concert dedicated to the group (available on DVD). The concert turned out to be bittersweet; it featured a brief appearance of Levi Stubbs using a wheelchair, and a memorial to Lawrence Payton, announced by Renaldo \\\"Obie\\\" Benson.\",\n \"The concert turned out to be bittersweet; it featured a brief appearance of Levi Stubbs using a wheelchair, and a memorial to Lawrence Payton, announced by Renaldo \\\"Obie\\\" Benson. Benson appeared on one more PBS special and died on July 1, 2005, from lung cancer.\",\n \"Benson appeared on one more PBS special and died on July 1, 2005, from lung cancer. The final PBS special, titled Motown: The Early Years, featured a message of Benson's passing following the credits.\",\n \"The final PBS special, titled Motown: The Early Years, featured a message of Benson's passing following the credits. The group was inducted into the Rock and Roll Hall of Fame in 1990, and into the Vocal Group Hall of Fame in 1999.\",\n \"The group was inducted into the Rock and Roll Hall of Fame in 1990, and into the Vocal Group Hall of Fame in 1999. In 2004, Rolling Stone ranked them #79 on their list of the 100 Greatest Artists of All Time.\",\n \"In 2004, Rolling Stone ranked them #79 on their list of the 100 Greatest Artists of All Time. The Four Tops were inducted into the Michigan Rock and Roll Legends Hall of Fame in 2005.\",\n \"The Four Tops were inducted into the Michigan Rock and Roll Legends Hall of Fame in 2005. The Four Tops sang the National Anthem before the start of game 5 for the 2011 baseball American League Championship Series (ALCS) between the Texas Rangers & Detroit Tigers on October 13, 2011 in Detroit, MI.\",\n \"The Four Tops sang the National Anthem before the start of game 5 for the 2011 baseball American League Championship Series (ALCS) between the Texas Rangers & Detroit Tigers on October 13, 2011 in Detroit, MI. When singing the last line of \\\"The Star-Spangled Banner\\\", \\\"... and the home of the brave\\\", they quickly sang the words \\\"Ain't No country Like the One I Got\\\", before singing the last word, \\\"brave\\\".\",\n \"When singing the last line of \\\"The Star-Spangled Banner\\\", \\\"... and the home of the brave\\\", they quickly sang the words \\\"Ain't No country Like the One I Got\\\", before singing the last word, \\\"brave\\\". The Four Tops were honored with an induction into the R&B Music Hall of Fame at the Inaugural ceremony held at Cleveland State University's Waetejen Auditorium on Saturday August 17, 2013.\",\n \"The Four Tops were honored with an induction into the R&B Music Hall of Fame at the Inaugural ceremony held at Cleveland State University's Waetejen Auditorium on Saturday August 17, 2013. The Four Tops were among hundreds of artists whose material was destroyed in the 2008 Universal fire.\",\n \"The Four Tops were among hundreds of artists whose material was destroyed in the 2008 Universal fire. The Four Tops career awards The Four Tops have won many awards, including the following: Rock and Roll Hall of Fame (1990) Vocal Group Hall of Fame (1999) Hollywood Walk of Fame (1997) Grammy Hall of Fame (Reach Out I'll Be There-1998)(\\\"I Can't Help Myself (Sugar Pie Honey Bunch-2018) Grammy Lifetime Achievement Award (2009-51st Annual Grammy Awards) Rhythm and Blues Foundation Pioneer Award (1997) Billboard magazine Top 100 Artists of All Time(#77) R&B Music Hall of Fame Induction (2013) 100 Greatest Artists of All Time (#79-Rolling Stone) Rolling Stone's 500 Greatest Songs of All Time (2003) Michigan Rock and Roll Legends Hall of Fame Grammy Lifetime Achievement Award In early 2018, The Four Tops' 1965 #1 Pop Hit, \\\"I Can't Help Myself (Sugar Pie Honey Bunch)\\\" became their second song to be inducted into The Grammy Hall of Fame.\",\n \"The Four Tops career awards The Four Tops have won many awards, including the following: Rock and Roll Hall of Fame (1990) Vocal Group Hall of Fame (1999) Hollywood Walk of Fame (1997) Grammy Hall of Fame (Reach Out I'll Be There-1998)(\\\"I Can't Help Myself (Sugar Pie Honey Bunch-2018) Grammy Lifetime Achievement Award (2009-51st Annual Grammy Awards) Rhythm and Blues Foundation Pioneer Award (1997) Billboard magazine Top 100 Artists of All Time(#77) R&B Music Hall of Fame Induction (2013) 100 Greatest Artists of All Time (#79-Rolling Stone) Rolling Stone's 500 Greatest Songs of All Time (2003) Michigan Rock and Roll Legends Hall of Fame Grammy Lifetime Achievement Award In early 2018, The Four Tops' 1965 #1 Pop Hit, \\\"I Can't Help Myself (Sugar Pie Honey Bunch)\\\" became their second song to be inducted into The Grammy Hall of Fame. Personnel Current Members Abdul “Duke” Fakir (1953-present) Ronnie McNeir (1999-present) Lawrence Payton Jr. (2005-present) Alexander Morris (2019-present) Former Members Levi Stubbs (1953-2000, 2004) (d. 2008) Renaldo “Obie” Benson (1953-2005) (d. 2005) Lawrence Payton (1953-1997) (d. 1997) Theo Peoples (1998-2010) Harold Bonhart (2010-2018) Discography Albums Motown releases 1965: Four Tops (US #63; UK #2) 1965: Four Tops' Second Album (US #20) 1966: Four Tops Live!\",\n \"Personnel Current Members Abdul “Duke” Fakir (1953-present) Ronnie McNeir (1999-present) Lawrence Payton Jr. (2005-present) Alexander Morris (2019-present) Former Members Levi Stubbs (1953-2000, 2004) (d. 2008) Renaldo “Obie” Benson (1953-2005) (d. 2005) Lawrence Payton (1953-1997) (d. 1997) Theo Peoples (1998-2010) Harold Bonhart (2010-2018) Discography Albums Motown releases 1965: Four Tops (US #63; UK #2) 1965: Four Tops' Second Album (US #20) 1966: Four Tops Live! (US #17; UK #4) 1966: On Top (US #32; UK #9) 1967: Four Tops' Greatest Hits (US #4; UK #1) 1967: Reach Out (US #11; UK #6) 1967: Four Tops on Broadway (US #79) 1968: Yesterday's Dreams (US #91) 1969: Four Tops Now!\",\n \"(US #17; UK #4) 1966: On Top (US #32; UK #9) 1967: Four Tops' Greatest Hits (US #4; UK #1) 1967: Reach Out (US #11; UK #6) 1967: Four Tops on Broadway (US #79) 1968: Yesterday's Dreams (US #91) 1969: Four Tops Now! (US #74) 1969: Soul Spin (US #163) 1970: Still Waters Run Deep (US #21) 1970: Changing Times (US #109) 1970: The Magnificent 7 (with The Supremes) (US #113; UK #6) 1971: The Return of the Magnificent Seven (with The Supremes) (US #154) 1971: Dynamite (with the Supremes) (US #160) 1971: Mac Arthur Park 1972: Nature Planned It (US #50) 1973: The Best of the 4 Tops (US #103) ABC releases 1972: Keeper of the Castle (US #33) 1973: Main Street People (US #66) 1974: Meeting of the Minds (US #118) 1974: Live & in Concert (US #92) 1975: Night Lights Harmony (US #148) 1976: Catfish (US #124) 1977: The Show Must Go On 1978: At the Top Casablanca releases 1981: Tonight!\",\n \"(US #74) 1969: Soul Spin (US #163) 1970: Still Waters Run Deep (US #21) 1970: Changing Times (US #109) 1970: The Magnificent 7 (with The Supremes) (US #113; UK #6) 1971: The Return of the Magnificent Seven (with The Supremes) (US #154) 1971: Dynamite (with the Supremes) (US #160) 1971: Mac Arthur Park 1972: Nature Planned It (US #50) 1973: The Best of the 4 Tops (US #103) ABC releases 1972: Keeper of the Castle (US #33) 1973: Main Street People (US #66) 1974: Meeting of the Minds (US #118) 1974: Live & in Concert (US #92) 1975: Night Lights Harmony (US #148) 1976: Catfish (US #124) 1977: The Show Must Go On 1978: At the Top Casablanca releases 1981: Tonight! (US #37) 1982: One More Mountain Motown releases 1983: Back Where I Belong 1985: Magic (US #140) 1986: Hot Nights (unreleased) Arista releases 1988: Indestructible (US #149) Motown releases 1995: Christmas Here with You Prism Leisure releases 2000: The Four Tops Collection (recorded live at the MGM grand 1996) U.S.\",\n \"(US #37) 1982: One More Mountain Motown releases 1983: Back Where I Belong 1985: Magic (US #140) 1986: Hot Nights (unreleased) Arista releases 1988: Indestructible (US #149) Motown releases 1995: Christmas Here with You Prism Leisure releases 2000: The Four Tops Collection (recorded live at the MGM grand 1996) U.S. Billboard Hot 100 and UK singles The following singles reached the top 30 of the U.S. and UK singles charts.\",\n \"Billboard Hot 100 and UK singles The following singles reached the top 30 of the U.S. and UK singles charts. DVDs The Four Tops: Live at the MGM Grand: 40th Anniversary Special (1996) The Four Tops: The Four Tops (semi-documentary/concert rehearsal, recorded live for French TV in 1971) (2004) The Four Tops: From the Heart: The 50th Anniversary Concert (2006) The Four Tops: Reach Out: Definitive Performances 1965-1973 (2008), Motown/Universal See also List of best-selling music artists References External links Four Tops biography by John Bush, discography and album reviews, credits & releases at AllMusic Four Tops discography, album releases & credits at Discogs Four Tops filmography on IMDb Four Tops Broadway musical productions at the Internet Broadway Database Four Tops discography at MusicBrainz Four Tops albums to be listened as stream on Spotify Vocal Group Hall of Fame page on the Four Tops Levi Stubbs/The Four Tops interview by Pete Lewis, 'Blues & Soul' October 1992 (republished November 2008) History of Rock article Four Tops on MySpace Four Tops appearances on The Ed Sullivan Show Ronnie McNeir 2012 Interview at Soulinterviews.com.\",\n \"DVDs The Four Tops: Live at the MGM Grand: 40th Anniversary Special (1996) The Four Tops: The Four Tops (semi-documentary/concert rehearsal, recorded live for French TV in 1971) (2004) The Four Tops: From the Heart: The 50th Anniversary Concert (2006) The Four Tops: Reach Out: Definitive Performances 1965-1973 (2008), Motown/Universal See also List of best-selling music artists References External links Four Tops biography by John Bush, discography and album reviews, credits & releases at AllMusic Four Tops discography, album releases & credits at Discogs Four Tops filmography on IMDb Four Tops Broadway musical productions at the Internet Broadway Database Four Tops discography at MusicBrainz Four Tops albums to be listened as stream on Spotify Vocal Group Hall of Fame page on the Four Tops Levi Stubbs/The Four Tops interview by Pete Lewis, 'Blues & Soul' October 1992 (republished November 2008) History of Rock article Four Tops on MySpace Four Tops appearances on The Ed Sullivan Show Ronnie McNeir 2012 Interview at Soulinterviews.com. Musical groups established in 1953 Musical groups from Detroit African-American musical groups American soul musical groups Motown artists Northern soul musicians ABC Records artists Dunhill Records artists Chess Records artists Vocal quartets Columbia Records artists Casablanca Records artists Arista Records artists 1953 establishments in Michigan\"\n]"}}},{"rowIdx":477,"cells":{"History":{"kind":"list like","value":["Good Vibrations","Historical reception"],"string":"[\n \"Good Vibrations\",\n \"Historical reception\"\n]"},"QuAC_dialog_id":{"kind":"string","value":"C_3511c60eb57b41c2bebf1299ed0caeeb_0"},"Question":{"kind":"string","value":"What historical reception did the song get?"},"Question_no":{"kind":"number","value":1,"string":"1"},"Rewrite":{"kind":"string","value":"What historical reception did the song Good Vibrations get?"},"true_page_title":{"kind":"string","value":"Good Vibrations"},"true_contexts":{"kind":"string","value":"Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat. Sound on Sound highlights this change as the \"most savage edit in the track ... most people would go straight into a big splash hook-line section. Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ... Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian.\" Harrison says: The appearance of episode 1 was unusual enough but could be explained as an extended break between verse and refrain sections. Episode 2 however, makes that interpretation untenable, and both listener and analyst must entertain the idea that \"Good Vibrations\" develops under its own power, as it were, without the guidance of overdetermined formal patterns. Brian's [sic] own description of the song--a three-and-a-half-minute 'pocket symphony'--is a telling clue about his formal ambitions here. The slowed pace is complemented by the lyric (\"Gotta keep those loving good vibrations a-happening with her\"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony. This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2. The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats. Lambert calls it the song's \"wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments. As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say.\" Virtually every pop music critic recognizes \"Good Vibrations\" as one of the most important compositions and recordings of the entire rock era. It is a regular fixture on \"greatest of all-time\" song lists and is frequently hailed as one of the finest pop productions of all time. In 2004, Rolling Stone magazine ranked \"Good Vibrations\" at number 6 in \"The 500 Greatest Songs of All Time\", the highest position of seven Beach Boys songs cited in the list. In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list. As of 2016, \"Good Vibrations\" is ranked as the number four song of all time in an aggregation of critics' lists at Acclaimed Music. The song served as an anthem for the counterculture of the 1960s. According to Noel Murray of The A.V. Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's \"un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do.\" Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for \"Good Vibrations\". \"Heroes and Villains\", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967. In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of \"Good Vibrations\". When asked about the song in 1990, Paul McCartney responded: \"I thought it was a great record. It didn't quite have the emotional thing that Pet Sounds had for me. I've often played Pet Sounds and cried. It's that kind of an album for me.\" Pete Townshend of the Who was quoted in the 1960s as saying, \"'Good Vibrations' was probably a good record but who's to know? You had to play it about 90 bloody times to even hear what they were singing about.\" Townshend feared that the single would lead to a trend of overproduction. In a 1966 issue of Arts Magazine, Jonathan King said: \"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art. Computerized pop, mechanized music. Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons. It is long and split. ... impressive, fantastic, commercial--yes. Emotional, soul-destroying, shattering--no.\" In the 2000s, record producer Phil Spector criticized the single for depending too much on tape manipulation, negatively referring to it as an \"edit record ... It's like Psycho is a great film, but it's an 'edit film.' Without edits, it's not a film; with edits, it's a great film. But it's not Rebecca ... it's not a beautiful story.\" CANNOTANSWER"},"answer":{"kind":"string","value":"Virtually every pop music critic recognizes \"Good Vibrations\" as one of the most important compositions and recordings of the entire rock era."},"true_contexts_wiki":{"kind":"string","value":"\"Good Vibrations\" is a song by the American rock band the Beach Boys that was composed by Brian Wilson with lyrics by Mike Love. It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping record charts in several countries including the United States and the United Kingdom. Characterized by its complex soundscapes, episodic structure and subversions of pop music formula, it was the most expensive single ever recorded. \"Good Vibrations\" later became widely acclaimed as one of the finest and most important works of the rock era.\n\nAlso produced by Wilson, the title derived from his fascination with cosmic vibrations, as his mother would tell him as a child that dogs sometimes bark at people in response to their \"bad vibrations\". He used the concept to suggest extrasensory perception, while Love's lyrics were inspired by the nascent Flower Power movement. The song was written as it was recorded and in a similar fashion to other compositions from Wilson's Smile period. It was issued as a standalone single, backed with \"Let's Go Away for Awhile\", and was to be included on the never-finished album Smile. Instead, the track appeared on the September 1967 release Smiley Smile.\n\nThe making of \"Good Vibrations\" was unprecedented for any kind of recording. Building on his approach for Pet Sounds, Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of session musicians at four different Hollywood studios from February to September 1966, a process reflected in the song's several dramatic shifts in key, texture, instrumentation and mood. Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars. Band publicist Derek Taylor dubbed the unusual work a \"pocket symphony\". It helped develop the use of the studio as an instrument and heralded a wave of pop experimentation and the onset of psychedelic and progressive rock. The track featured a novel mix of instruments, including jaw harp and Electro-Theremin, and although the latter is not a true theremin, the song's success led to a renewed interest and sales of theremins and synthesizers.\n\n\"Good Vibrations\" received a Grammy nomination for Best Vocal Group performance in 1966 and was inducted into the Grammy Hall of Fame in 1994. The song was voted number one in Mojos \"Top 100 Records of All Time\" and number six on Rolling Stones \"500 Greatest Songs of All Time\", and it was included in the Rock and Roll Hall of Fame's \"500 Songs that Shaped Rock and Roll\". In later years, the song has been cited as a forerunner to the Beatles' \"A Day in the Life\" (1967) and Queen's \"Bohemian Rhapsody\" (1975). A 1976 cover version by Todd Rundgren peaked at number 34 on the Billboard Hot 100. The Beach Boys followed up \"Good Vibrations\" with another single pieced from sections, \"Heroes and Villains\" (1967), but it was less successful.\n\nInspiration and writing\n\nConcept and early lyrics\n\nThe Beach Boys' leader, Brian Wilson, was responsible for the musical composition and virtually all of the arrangement for \"Good Vibrations\". Most of the song's structure and arrangement was written as it was recorded. During the recording sessions for the 1966 album Pet Sounds, Wilson began changing his writing process. For \"Good Vibrations\", Wilson said, \"I had a lot of unfinished ideas, fragments of music I called 'feels.' Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic.\" Engineer Chuck Britz is quoted saying that Wilson considered the song to be \"his whole life performance in one track\". Wilson stated: \"I was an energetic 23-year-old. ... I said: 'This is going to be better than [the Phil Spector production] \"You've Lost That Lovin' Feelin'.\n\nWilson said that \"Good Vibrations\" was inspired by his mother: \"[She] used to tell me about vibrations. I didn't really understand too much of what it meant when I was just a boy. It scared me, the word 'vibrations.' She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel.\" Brian first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea. When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style. Asher remembered: \n\nWilson wanted to call the song \"Good Vibes\", but Asher advised that it was \"lightweight use of the language\", and suggested that \"Good Vibrations\" would sound less \"trendy\". The two proceeded to write lyrics for the verses that were ultimately discarded.\n\nTheremin and cello\n\nFrom the start, Wilson envisioned a theremin for the track. AllMusic reviewer John Bush pointed out: \"Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel—between the single's theme and its use of an instrument the player never even touched.\"\n\n\"Good Vibrations\" does not technically feature a theremin, but rather an Electro-Theremin, which is physically controlled by a knob on the side of the instrument. It was dubbed a \"theremin\" simply for convenience. At that time, theremins were most often associated with the 1945 Alfred Hitchcock film Spellbound, but their most common presence was in the theme music for the television sitcom My Favorite Martian, which ran from 1963 to 1966. Britz speculates: \"He just walked in and said, 'I have this new sound for you.' I think he must have heard the sound somewhere and loved it, and built a song around it.\" It is unclear whether Wilson knew that the instrument was not a real theremin.\n\nBrian credited his brother and bandmate Carl for suggesting the use of a cello on the track. He further stated that its triplet beat on the chorus was his own idea and that it was based on the Crystals' \"Da Doo Ron Ron\" (1963), produced by Spector. Conversely, arranger and session musician Van Dyke Parks said that it was himself who suggested having the cellist play triplets to Brian. Parks believed that having Brian exploit the cello \"to such a hyperbolic degree\" was what encouraged the duo to immediately collaborate on the never-finished album Smile. At some point, Wilson asked Parks to pen lyrics for \"Good Vibrations\", although Parks declined.\n\nInfluences and final lyrics\n\nWilson's cousin and bandmate Mike Love submitted the final lyrics for \"Good Vibrations\" and contributed its bass-baritone vocals in the chorus. He recalled that when he heard the unfinished backing track: \"[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it. How's this going to go over in the Midwest or Birmingham? It was such a departure from 'Surfin' U.S.A.' or 'Help Me, Rhonda.'\"\n\nLove said that he wrote the words while on the drive to the studio. Feeling that the song could be \"the Beach Boys' psychedelic anthem or flower power offering,\" he based the lyrics on the burgeoning psychedelic music and Flower Power movements occurring in San Francisco and some parts of the Los Angeles area. He described the lyrics as \"just a flowery poem. Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair.'\" Writing in his 1975 book The Beach Boys: Southern California Pastoral, Bruce Golden observed:\n\nCapitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his LSD experiences. Brian clarified that the song was written under the influence of marijuana, not LSD. He explained: \"I made ‘Good Vibrations’ on drugs; I used drugs to make that. ... I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity.\" In Steven Gaines's 1986 biography, Wilson is quoted on the lyrics: \"We talked about good vibrations with the song and the idea, and we decided on one hand that you could say ... those are sensual things. And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have. That's what we're really talking about.\"\n\nWilson said in 2012 that the song's \"gotta keep those good vibrations\" bridge was inspired by Stephen Foster. Bandmate Al Jardine compared that section to Foster and the Negro spiritual \"Down by the Riverside\". According to Love, the lyric \"'she goes with me to a blossom world' was originally meant to be followed by the words 'we find'\", but Wilson elected to cut off the line to highlight the bass track linking into the chorus.\n\nRecording and production\n\nModular approach\n\n\"Good Vibrations\" established a new method of operation for Wilson. Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or \"modules\"). Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time. This was the same modular approach used during the sessions for Smile and Smiley Smile. To mask each tape edit, vast reverb decays were added at the mixing and sub-mixing stages.\n\nFor instrumentation, Wilson employed the services of \"the Wrecking Crew\", the nickname for a conglomerate of session musicians active in Los Angeles at that time. Production for \"Good Vibrations\" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two. It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands, making it the costliest single recorded to that date. Biographer Peter Ames Carlin wrote that Wilson was so puzzled by the arranging of \"Good Vibrations\" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs.\n\nOne estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to $ and $ in ), By comparison, the whole of Pet Sounds had cost $70,000 ($), itself an unusually high cost for an album. In 2018, Wilson disputed the $50,000 figure for \"Good Vibrations\", saying that the overall expenses were closer to $25,000.\n\nContemporary advertisements reported $10,000 ($) as the track's total production costs. Domenic Priore wrote that the track cost between $10,000 and $15,000 ($). When asked in a 2005 interview if it was true that the Electro-Theremin work alone cost $100,000, Wilson replied \"No. $15,000.\"\n\nDevelopment\n\nThe instrumental of the first version of the song was recorded on February 17, 1966, at Gold Star Studios and was logged as a Pet Sounds session. On that day's session log, it was given the name \"#1 Untitled\" or \"Good, Good, Good Vibrations\", but on its master tape, Wilson distinctly states: \"'Good Vibrations' ... take one.\" After twenty-six takes, a rough mono mix completed the session. Some additional instruments and rough guide vocals were overdubbed on February 23. Brian and Carl shared vocals for this mix.\n\nThe original version of \"Good Vibrations\" contained the characteristics of a \"funky rhythm and blues number\" and would not yet resemble a \"pocket symphony\". There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor, Paul Tanner. It was Brian's second ever recorded use of the instrument, just three days after the Pet Sounds track \"I Just Wasn't Made for These Times\". Brian then placed \"Good Vibrations\" on hold in order to devote attention to the Pet Sounds album, which saw release on May 16. More instrumental sections for \"Good Vibrations\" were recorded between April and June. Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs.\n\nAccording to Brian's then-new friend David Anderle, during an early stage, Brian considered giving \"Good Vibrations\" to one of the black R&B groups signed with Warner Bros. Records such as Wilson Pickett, and then at Anderle's suggestion to singer Danny Hutton. He thought about abandoning the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single. In the meantime, he worked on writing and recording material for the group's forthcoming album, Smile.\n\nThe first Beach Boy to hear \"Good Vibrations\" in a semi-completed form, other than Brian, was Carl. Following a performance with the touring group in North Dakota, he remembered: \"I came back up into my hotel room one night and the phone rang. It was Brian on the other end. He called me from the recording studio and played this really bizarre sounding music over the phone. There were drums smashing, that kind of stuff, and then it refined itself and got into the cello. It was a real funky track.\" In 1976, Brian revealed that before the final mixdown, he had been confronted with resistance by members of the group, whom Brian declined to name. The subject of their worries and complaints was the song's length and \"modern\" sound: \"I said no, it's not going to be too long a record, it's going to be just right. ... They didn't quite understand what this jumping from studio to studio was all about. And they couldn't conceive of the record as I did. I saw the record as a totality piece.\"\n\nThe vocals for \"Good Vibrations\" were recorded at CBS Columbia Square, starting on August 24 and continuing sporadically until the very last day of assembly on September 21. The episodic structure of the composition was continuously revised as the group experimented with different ideas. Brian remembers that he began recording the \"bop bop good vibrations\" parts first, and that he came up with \"the high parts\" a week later. Mike Love recalled: \"I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long.\" Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute. In early September, the master tapes for \"Good Vibrations\" were stolen. Mysteriously, they reappeared inside Brian's home two days later.\n\nOn September 21, Brian completed the track after Tanner added a final Electro-Theremin overdub. In 1976 he elaborated on the event: \"It was at Columbia. I remember I had it right in the sack. I could just feel it when I dubbed it down, made the final mix from the 16-track down to mono. It was a feeling of power, it was a rush. A feeling of exaltation. Artistic beauty. It was everything ... I remember saying, 'Oh my God. Sit back and listen to this!'\"\n\nComposition and analysis\n\nGenre and dynamics\n\nThere are six unique sections to the piece. Music theorist Daniel Harrison refers to these sections individually as the verse, the refrain (or chorus), the \"first episodic digression\", the \"second episodic digression\", the \"retro-refrain\", and the coda. Each has a distinct musical texture, partly due to the nature of the song's recording. The track's instrumentation changes radically from section to section, and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a \"very long\" duration. Wilson is quoted in 1979:\n\nHe characterized the song as \"advanced rhythm and blues\". Tom Roland of American Songwriter described the piece, \"with its interlocking segments—a sort of pop version of the classical sonata, consisting of a series of musical movements\". New York Magazine compared it to \"a fugue with a rhythmic beat\". John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs. Music journal Sound on Sound argued that the song \"has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour\". It explained that the song subverts pop forms to a considerable degree: \n\nAccording to historian Lorenzo Candelaria, \"Good Vibrations\" has since been marketed as pop music \"possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know.\" Uncut called the song \"three minutes and thirty-six seconds of avant-garde pop\". Mixdown described it as a \"masterpiece of avant-pop\". The theremin and cello has been called the song's \"psychedelic ingredient\". In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin. Professor of American history John Robert Greene named \"Good Vibrations\" among examples of psychedelic or acid rock. Stebbins wrote that the song was \"replete with sunshine [and] psychedelia\". Steve Valdez says that, like Pet Sounds, Brian was attempting a more experimental rock style.\n\nComparing \"Good Vibrations\" to Wilson's previous work Pet Sounds, biographer Andrew Hickey said that the \"best way of thinking about [the song] is that it's taking the lowest common denominator of 'Here Today' and 'God Only Knows' and turned the result into an R&B track. We have the same minor-key change between verse and chorus we've seen throughout Pet Sounds, the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to funky.\" Author Jon Stebbins adds that \"unlike Pet Sounds the chorus of 'Good Vibrations' projects a definite 'rock and roll' energy and feel.\"\n\nAccording to academic Rikky Rooksby, \"Good Vibrations\" is an example of Brian Wilson's growing interest in musical development within a composition, something antithetical to popular music of the time. Suppressing tonic strength and cadential drive, the song makes use of descending harmonic motions through scale degrees controlled by a single tonic and \"radical disjunctions\" in key, texture, instrumentation, and mood while refusing to develop into a predictable formal pattern. It instead develops \"under its own power\" and \"luxuriates in harmonic variety\" exemplified by beginning and ending not only in different keys but also in different modes.\n\nVerses and refrains (0:00–1:40)\n\n\"Good Vibrations\" begins without introduction in a traditional verse/refrain format, opening with Carl Wilson singing the word \"I\", a triplet eighth note before the downbeat. The sparse first verse contains a repetition of chords played on a Hammond organ filtered through a Leslie speaker; underneath is a two-bar Fender bass melody. This sequence repeats once (0:15), but with the addition of two piccolos sustaining over a falling flute line. For percussion, bongo drums double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation. The beat projects a triplet feel despite being in time; this is sometimes called a \"shuffle beat\" or \"threes over fours\". The chord progression used is i–VII–VI–V, also called an Andalusian cadence. Although the verses begin in the minor mode of E, the mode is not used to express sadness or drudgery. Occurring at the very end of these verses is a passing chord, D.\n\nThe refrain (0:25) begins in the newly tonicized relative major G, which suggests III. Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music. The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat. This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals. The first section consists of only the couplet \"I'm picking up good vibrations/she's giving me the excitation\" sung by Mike Love in his bass-baritone register; the second repeats the lines and adds an \"ooo bop bop\" figure, sung in multiple-part harmony; the third time also adds a \"good, good, good, good vibrations\" in yet a higher harmony. This type of polyphony (counterpoint) is also rare in contemporary popular styles. Each repeat of the vocal lines also transposes up by a whole step, ascending from G to A and then B. It then returns to the verse, thus making a perfect cadence back into E minor. The verse and refrain then repeat without any changes to the patterns of its instrumentation and harmony. This is unusual, in that normally, a song's arrangement adds something once it reaches the second verse.\n\nEpisodic digressions\n\nFirst episode (1:41–2:13)\n\nThe first episode (1:41+) begins disjunctively with an abrupt tape splice. The refrain's B, which had received a dominant (V) charge, is now maintained as a tonic (I). There is harmonic ambiguity, in that the chord progression may be either interpreted as I–IV–I (in B) or V–I–V (in E). Stebbins says that this section \"might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply.\" A new sound is created by tack piano, jaw harp, and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, bass harmonica, and sleigh bells shaken on every beat. The lone line of vocals (aside from non-lexical harmonies) is \"I don't know where, but she sends me there\" sung in Mike Love's upper-register baritone. This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns.\n\nSecond episode (2:13–2:56)\n\nAnother tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat. Sound on Sound highlights this change as the \"most savage edit in the track ... most people would go straight into a big splash hook-line section. Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ... Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian.\" Harrison says: \n\nThe slowed pace is complemented by the lyric (\"Gotta keep those loving good vibrations a-happening with her\"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony. This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2. The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats. Lambert calls it the song's \"wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments. As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say.\"\n\nRetro-refrain and coda (2:57–3:35)\n\nA brief break at the end of the second musical digression creates tension which leads into the final sequence of the song. The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B, repeats at A, and then ends at G for an unexpectedly short single measure. The section uses a descending progression, which mirrors the ascending progression of the previous two refrains. There follows a short section of vocalizing in three-part counterpoint that references the original refrain by reproducing upward transposition. However, this time it settles on A, the concluding key of the song. By the end of \"Good Vibrations,\" all seven scale degrees of the opening E-minor tonic are activated on some level.\n\nRelease and promotion\nIn a July 1966 advertisement for Pet Sounds in Billboard magazine, the band thanked the music industry for the sales of their album, and said that \"We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations.\" This was the first public hint of the new single. Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was \"about a guy who picks up good vibrations from a girl\" and that it would be a \"monster\". He then suggested: \"It's still sticking pretty close to that same boy-girl thing, you know, but with a difference. And it's a start, it's definitely a start.\" Derek Taylor, who had recently been engaged as the band's publicist, is credited for coining the term a \"pocket symphony\" to describe the song. In a press release for the single, he stated: \"Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils. And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else.\"\n\nTo promote the single, four different music videos were shot. The first of these—which had Caleb Deschanel as cameraman—features the group at a fire station, sliding down its pole, and roaming the streets of Los Angeles in a fashion comparable to The Monkees. The second features the group during vocal rehearsals at United Western Recorders. The third contains footage recorded during the making of The Beach Boys in London, a documentary by Peter Whitehead of their concert performances. The fourth clip is an alternative edit of the third. Brian also made a rare television appearance on local station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record.\n\nOn October 15, 1966, Billboard predicted that the single would reach the top 20 in the Billboard Hot 100 chart. \"Good Vibrations\" was the Beach Boys' third US number one hit, after \"I Get Around\" and \"Help Me, Rhonda\", reaching the top of the Hot 100 in December. It was also their first number one in Britain. The single sold over 230,000 copies in the US within four days of its release and entered the Cash Box chart at number 61 on October 22. In the UK, the song sold over 50,000 copies in the first 15 days of its release. \"Good Vibrations\" quickly became the Beach Boys' first million-selling single. In December 1966, the record was their first single certified gold by the RIAA for sales of one million copies. On March 30, 2016, the digital single was certified platinum by the RIAA for the same sales level.\n\nIn the US, Cash Box said that it is a \"catchy, easy-driving ditty loaded with the Boys’ money-making sound.\" In Britain, the single received favorable reviews from the New Musical Express and Melody Maker. Soon after, the Beach Boys were voted the number one band in the world in the NME readers' poll, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops. Billboard said that this result was probably influenced by the success of \"Good Vibrations\" when the votes were cast, together with the band's recent tour, whereas the Beatles had neither a recent single nor had they toured the UK throughout 1966; the reporter added that \"The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak.\" In a readers' poll conducted by a Danish newspaper, Brian Wilson won the \"best foreign-produced recording award\", marking the first time that an American had won in that category.\n\nThe single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc.\n\nInfluence and legacy\n\nHistorical reception\n\nVirtually every pop music critic recognizes \"Good Vibrations\" as one of the most important compositions and recordings of the entire rock era. It is a regular fixture on \"greatest of all-time\" song lists and is frequently hailed as one of the finest pop productions of all time. In 2004, Rolling Stone magazine ranked \"Good Vibrations\" at number 6 in \"The 500 Greatest Songs of All Time\", the highest position of seven Beach Boys songs cited in the list. In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list. As of 2016, \"Good Vibrations\" is ranked as the number four song of all time in an aggregation of critics' lists at Acclaimed Music.\n\nThe song served as an anthem for the counterculture of the 1960s. According to Noel Murray of The A.V. Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's \"un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do.\" Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for \"Good Vibrations\". \"Heroes and Villains\", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967.\n\nIn contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of \"Good Vibrations\". When asked about the song in 1990, Paul McCartney responded: \"I thought it was a great record. It didn't quite have the emotional thing that Pet Sounds had for me. I've often played Pet Sounds and cried. It's that kind of an album for me.\" Pete Townshend of the Who was quoted in the 1960s as saying, \"'Good Vibrations' was probably a good record but who's to know? You had to play it about 90 bloody times to even hear what they were singing about.\" Townshend feared that the single would lead to a trend of overproduction. In a 1966 issue of Arts Magazine, Jonathan King said: \"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art. Computerized pop, mechanized music. Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons. It is long and split. ... impressive, fantastic, commercial—yes. Emotional, soul-destroying, shattering—no.\" In the 2000s, record producer Phil Spector criticized the single for depending too much on tape manipulation, negatively referring to it as an \"edit record ... It's like Psycho is a great film, but it's an 'edit film.' Without edits, it's not a film; with edits, it's a great film. But it's not Rebecca ... it's not a beautiful story.\"\n\nAdvancements\n\nRecording and popular music\n\n\"Good Vibrations\" is credited for having further developed the use of recording studios as a musical instrument. Author Domenic Priore commented that the song's making was \"unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording\". A milestone in the development of rock music, the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record. Musicologist Charlie Gillett called it \"one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance\". In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted:\n\nWriting for Popmatters in 2015, Scott Interrante stated: \"'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have.\" The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm. Microtonal composer Frank Oteri said that it \"sounds like no other pop song recorded up to that point\". According to Stebbins: \"This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original. But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century.\" He added that the single \"vaulted nearly every other rock act in their delivery of a Flower Power classic. It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop.\" John Bush wrote that the single \"announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies\". Gillett noted: \"For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording.\"\n\nPriore says that the song was a forerunner to works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes. In his appraisal for American Songwriter, Roland cites the song's \"format\" as the model for recordings by Wings (\"Band on the Run\"), the Beatles (\"A Day in the Life\"), and Elton John (\"Funeral for a Friend/Love Lies Bleeding\"). The song's approach was repeated in Queen's 1975 single \"Bohemian Rhapsody\", which was similarly pieced together using different sections. Wilson praised Queen's effort, calling it \"the most competitive thing that's come along in ages\" and \"a fulfillment and an answer to a teenage prayer—of artistic music\".\n\nPsychedelic and progressive rock\n\nWith \"Good Vibrations\", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages. Writing in 2009, Barney Hoskyns deemed it to be the era's \"ultimate psychedelic pop record\" from Los Angeles. Interrante adds: \"Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated, but its legacy as a pop hit is impressive as well.\" Former Atlantic Records executive Phillip Rauls recalled: \"I was in the music business at the time, and my very first recognition of acid rock—we didn't call it progressive rock then—was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [theremin] sent so many musicians back to the studio to create this music on acid.\" Author Bill Martin suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: \"The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life.'\"\n\nUse of theremin\n\nAlthough the song does not technically contain a theremin, \"Good Vibrations\" is the most frequently cited example of the instrument's use in pop music. Upon release, the single prompted an unexpected revival in theremins and increased the awareness of analog synthesizers. The notion that \"Good Vibrations\" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants. While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin.\n\nWhen the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments. Tanner recalls saying to Wilson, \"I've got the wrong sort of hair to be on stage with you fellas\", to which Wilson replied: \"We'll give you a Prince Valiant wig.\" The Beach Boys then requested the services of Walter Sear, who asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar. Sear remembers marking fretboard-like lines on the ribbon \"so they could play the damn thing.\" Moog began manufacturing his own models of theremins. He later noted: \"The pop record scene cleaned us out of our stock which we expected to last through Christmas.\"\n\nIn Steven M. Martin's 1993 documentary Theremin: An Electronic Odyssey, in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin due to \"Good Vibrations\" caused Russian authorities to exile its inventor, Leon Theremin.\n\nCover versions\n\nThe song has been covered by artists such as Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV. John Bush commented: \"'Good Vibrations' was rarely reprised by other acts, even during the cover-happy '60s. Its fragmented style made it essentially cover-proof.\" In 1976, a nearly identical cover version was released as a single by Todd Rundgren for his album Faithful. When asked for his opinion, Brian said: \"Oh, he did a marvelous job, he did a great job. I was very proud of his version.\" Rundgren's single peaked at number 34 on the Billboard Hot 100. Rundgren explained: \"I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting—like around Pet Sounds and 'Good Vibrations' ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal. ... I tried to do [the song] as literally as I could because in the intervening 10 years, radio had changed so much. Radio had become so formatted and so structured that that whole experience was already gone.\"\n\nIn 2004, Wilson re-recorded the song as a solo artist for his album Brian Wilson Presents Smile. It was sequenced as the album's closing track, following \"In Blue Hawaii\". In this version, \"Good Vibrations\" was the project's only track that eschewed the modular recording method. The song's verses and chorus were recorded as part of one whole take, and were not spliced together.\n\nIn 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated. Their version of \"Good Vibrations\", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on Billboards A/C chart.\n\nIn popular culture\nThe song's parody is used for the jingle of the Australian consumer electronics retailer The Good Guys.\nIn 1996, experimental rock group His Name Is Alive released an homage titled \"Universal Frequencies\" on their album Stars on E.S.P. Warren Defever reportedly listened to \"Good Vibrations\" repeatedly for a week before deciding that the song \"needed a sequel\"; he added: \"'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful.\" \nIn 1997, the movie Vegas Vacation used the song for the opening credits, with Clark Griswold (Chevy Chase) singing the song.\nThe song's lyrics \"I'm picking up good vibrations\" are quoted in Cyndi Lauper's 1984 single \"She Bop\". \nA live version of the song, from the album Live in London, appears as a playable track in the 2010 video game Rock Band 3.\nIn 2019, the song was used prominently in a scene for Jordan Peele's psychological horror thriller film Us.\nIn 2018, The song was featured in the animated film Hotel Transylvania 3: Summer Vacation.\n\nRelease history\n\nIn early 2011, the single was remastered and reissued as a four-sided 78 rpm vinyl for Record Store Day, as a teaser for the forthcoming The Smile Sessions box set. It contained \"Heroes and Villains\" as a B-side, along with previously released alternate takes and mixes.\n\nStereo version\nDue to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile. The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett. Fitzgerald's software extracted individual instrumental and vocal stems from the original mono master—as the multi-track vocals remained missing—to construct the stereo version that appears on the 2012 reissue of Smiley Smile.\n\n40th Anniversary Edition\n\nIn celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released. The EP includes \"Good Vibrations\", four alternate versions of the song, and the stereo mix of \"Let's Go Away for Awhile\". The EP artwork recreates that of the original 7-inch single sleeve. In 2016, the EP was reissued as a 12\" record for the single's 50th anniversary.\n\nPersonnel\n\nThe following people are identified as players on the \"Good Vibrations\" single.\n\nThe Beach Boys\n Mike Love – lead vocals in chorus \n Brian Wilson – vocals, tack piano, tambourine, production, mixing\n Carl Wilson – lead vocals in verses, guitar, shaker\n Dennis Wilson – Hammond organ during 2:13–2:56\n\nAdditional musicians and production staff\n Hal Blaine – drums, timpani, other percussion \n Al De Lory – piano, harpsichord \n Jesse Ehrlich – cello \n\n Larry Knechtel – organ in verses and choruses\n Tommy Morgan – harmonica\n Al Casey – guitar\n Ray Pohlman – electric bass\n Lyle Ritz – double bass\n Jim Horn – piccolo\n Paul Tanner – Electro-Theremin\n\nBassist Carol Kaye played on several of the \"Good Vibrations\" sessions, and has been identified as a prominent contributor to the track. However, analysis by Beach Boys archivist Craig Slowinski indicates that none of those recordings made the final edit as released on the single.\n\nCharts\n\nWeekly charts\nOriginal release\n\n1976 reissue\n\nTodd Rundgren version (1976)\n\nYear-end charts\n\nCertifications\n\nAwards and accolades\n\nFootnotes\n\nReferences\n\nBibliography\n\nExternal links\n\n Greg Panfile's Musical Analysis of \"Good Vibrations\"\n \n\n1966 singles\n1966 songs\n2004 singles\n2011 singles\nBrian Wilson songs\nPsychic TV songs\nThe Beach Boys songs\nTodd Rundgren songs\nCapitol Records singles\nGrammy Hall of Fame Award recipients\nBillboard Hot 100 number-one singles\nCashbox number-one singles\nNumber-one singles in Australia\nNumber-one singles in New Zealand\nUK Singles Chart number-one singles\nSongs written by Brian Wilson\nSongs written by Mike Love\nSongs written by Tony Asher\nSong recordings produced by Brian Wilson\nSong recordings with Wall of Sound arrangements\nArt pop songs\nAvant-pop songs\nPsychedelic pop songs\nAmerican psychedelic rock songs\nSongs used as jingles\nSongs composed in E-flat minor"},"extractive":{"kind":"string","value":"true"},"retrieved_contexts":{"kind":"list like","value":["What You See Is What You Get or WYSIWYG is where computer editing software allows content to be edited in a form that resembles its final appearance.\n\nWhat You See Is What You Get may also refer to:\n\nMusic\n What You See Is What You Get (EP), a 1998 EP by Pitchshifter\n What You See Is What You Get (Glen Goldsmith album), 1988\n What You See Is What You Get (Luke Combs album), 2019\n Whatcha See Is Whatcha Get (album), a 1971 debut album by the band The Dramatics\n\"Whatcha See Is Whatcha Get\" (song), title song from the above The Dramatics album\n \"What You See Is What You Get\" (song), a 1971 song by Stoney & Meatloaf\n \"What U See Is What U Get\", a 1998 song by rapper Xzibit\n \"What U See (Is What U Get)\", a song by Britney Spears from the 2000 album Oops!... I Did It Again\n\nOthers\n What you see is what you get, a term popularized by Geraldine Jones, a character from the television show The Flip Wilson Show\n What You See Is What You Get (book), a 2010 book written by Alan Sugar\n\nSee also\nWYSIWYG (disambiguation)\nWhatcha See Is Whatcha Get (disambiguation)\n\"What You Get Is What You See\", a song by Tina Turner from her 1987 album Break Every Rule\n Stand by Me (Whatcha See Is Whatcha Get), 1971 album by Pretty Purdie and The Playboys","\"What a Waster\" is the first single from The Libertines. The song received little airplay because it contains frequent profanity. \"What a Waster\" was initially left off the UK edition of the band's debut album Up the Bracket but was later included as the 13th track on a subsequent re-issue.\n\nThe song was used in the film The Football Factory.\n\nReception\nNME included the song at number 96 in their list of 500 Greatest Songs of All Time, writing that the song \"subscribed to all the classic pop single rules: under three minutes, catchy-as-hell, five chords max and instantly banned by broadcasters the world over.\"\n\nTrack listing \nAll songs written by Pete Doherty and Carl Barât.\n7\"\n \"What a Waster\" - 2:58 \n \"I Get Along\" - 2:53\n\nCD\n \"What a Waster\" - 2:58\n \"I Get Along\" - 2:53\n \"Mayday\" - 1:03\n\nChart performance\n\nReferences\n\n2002 debut singles\nThe Libertines songs\n2002 songs"],"string":"[\n \"What You See Is What You Get or WYSIWYG is where computer editing software allows content to be edited in a form that resembles its final appearance.\\n\\nWhat You See Is What You Get may also refer to:\\n\\nMusic\\n What You See Is What You Get (EP), a 1998 EP by Pitchshifter\\n What You See Is What You Get (Glen Goldsmith album), 1988\\n What You See Is What You Get (Luke Combs album), 2019\\n Whatcha See Is Whatcha Get (album), a 1971 debut album by the band The Dramatics\\n\\\"Whatcha See Is Whatcha Get\\\" (song), title song from the above The Dramatics album\\n \\\"What You See Is What You Get\\\" (song), a 1971 song by Stoney & Meatloaf\\n \\\"What U See Is What U Get\\\", a 1998 song by rapper Xzibit\\n \\\"What U See (Is What U Get)\\\", a song by Britney Spears from the 2000 album Oops!... I Did It Again\\n\\nOthers\\n What you see is what you get, a term popularized by Geraldine Jones, a character from the television show The Flip Wilson Show\\n What You See Is What You Get (book), a 2010 book written by Alan Sugar\\n\\nSee also\\nWYSIWYG (disambiguation)\\nWhatcha See Is Whatcha Get (disambiguation)\\n\\\"What You Get Is What You See\\\", a song by Tina Turner from her 1987 album Break Every Rule\\n Stand by Me (Whatcha See Is Whatcha Get), 1971 album by Pretty Purdie and The Playboys\",\n \"\\\"What a Waster\\\" is the first single from The Libertines. The song received little airplay because it contains frequent profanity. \\\"What a Waster\\\" was initially left off the UK edition of the band's debut album Up the Bracket but was later included as the 13th track on a subsequent re-issue.\\n\\nThe song was used in the film The Football Factory.\\n\\nReception\\nNME included the song at number 96 in their list of 500 Greatest Songs of All Time, writing that the song \\\"subscribed to all the classic pop single rules: under three minutes, catchy-as-hell, five chords max and instantly banned by broadcasters the world over.\\\"\\n\\nTrack listing \\nAll songs written by Pete Doherty and Carl Barât.\\n7\\\"\\n \\\"What a Waster\\\" - 2:58 \\n \\\"I Get Along\\\" - 2:53\\n\\nCD\\n \\\"What a Waster\\\" - 2:58\\n \\\"I Get Along\\\" - 2:53\\n \\\"Mayday\\\" - 1:03\\n\\nChart performance\\n\\nReferences\\n\\n2002 debut singles\\nThe Libertines songs\\n2002 songs\"\n]"},"chunked_article":{"kind":"list like","value":["\"Good Vibrations\" is a song by the American rock band the Beach Boys that was composed by Brian Wilson with lyrics by Mike Love. It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping record charts in several countries including the United States and the United Kingdom.","It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping record charts in several countries including the United States and the United Kingdom. Characterized by its complex soundscapes, episodic structure and subversions of pop music formula, it was the most expensive single ever recorded.","Characterized by its complex soundscapes, episodic structure and subversions of pop music formula, it was the most expensive single ever recorded. \"Good Vibrations\" later became widely acclaimed as one of the finest and most important works of the rock era.","\"Good Vibrations\" later became widely acclaimed as one of the finest and most important works of the rock era. Also produced by Wilson, the title derived from his fascination with cosmic vibrations, as his mother would tell him as a child that dogs sometimes bark at people in response to their \"bad vibrations\".","Also produced by Wilson, the title derived from his fascination with cosmic vibrations, as his mother would tell him as a child that dogs sometimes bark at people in response to their \"bad vibrations\". He used the concept to suggest extrasensory perception, while Love's lyrics were inspired by the nascent Flower Power movement.","He used the concept to suggest extrasensory perception, while Love's lyrics were inspired by the nascent Flower Power movement. The song was written as it was recorded and in a similar fashion to other compositions from Wilson's Smile period.","The song was written as it was recorded and in a similar fashion to other compositions from Wilson's Smile period. It was issued as a standalone single, backed with \"Let's Go Away for Awhile\", and was to be included on the never-finished album Smile.","It was issued as a standalone single, backed with \"Let's Go Away for Awhile\", and was to be included on the never-finished album Smile. Instead, the track appeared on the September 1967 release Smiley Smile. The making of \"Good Vibrations\" was unprecedented for any kind of recording.","The making of \"Good Vibrations\" was unprecedented for any kind of recording. Building on his approach for Pet Sounds, Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of session musicians at four different Hollywood studios from February to September 1966, a process reflected in the song's several dramatic shifts in key, texture, instrumentation and mood.","Building on his approach for Pet Sounds, Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of session musicians at four different Hollywood studios from February to September 1966, a process reflected in the song's several dramatic shifts in key, texture, instrumentation and mood. Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars.","Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars. Band publicist Derek Taylor dubbed the unusual work a \"pocket symphony\".","Band publicist Derek Taylor dubbed the unusual work a \"pocket symphony\". It helped develop the use of the studio as an instrument and heralded a wave of pop experimentation and the onset of psychedelic and progressive rock.","It helped develop the use of the studio as an instrument and heralded a wave of pop experimentation and the onset of psychedelic and progressive rock. The track featured a novel mix of instruments, including jaw harp and Electro-Theremin, and although the latter is not a true theremin, the song's success led to a renewed interest and sales of theremins and synthesizers.","The track featured a novel mix of instruments, including jaw harp and Electro-Theremin, and although the latter is not a true theremin, the song's success led to a renewed interest and sales of theremins and synthesizers. \"Good Vibrations\" received a Grammy nomination for Best Vocal Group performance in 1966 and was inducted into the Grammy Hall of Fame in 1994.","\"Good Vibrations\" received a Grammy nomination for Best Vocal Group performance in 1966 and was inducted into the Grammy Hall of Fame in 1994. The song was voted number one in Mojos \"Top 100 Records of All Time\" and number six on Rolling Stones \"500 Greatest Songs of All Time\", and it was included in the Rock and Roll Hall of Fame's \"500 Songs that Shaped Rock and Roll\".","The song was voted number one in Mojos \"Top 100 Records of All Time\" and number six on Rolling Stones \"500 Greatest Songs of All Time\", and it was included in the Rock and Roll Hall of Fame's \"500 Songs that Shaped Rock and Roll\". In later years, the song has been cited as a forerunner to the Beatles' \"A Day in the Life\" (1967) and Queen's \"Bohemian Rhapsody\" (1975).","In later years, the song has been cited as a forerunner to the Beatles' \"A Day in the Life\" (1967) and Queen's \"Bohemian Rhapsody\" (1975). A 1976 cover version by Todd Rundgren peaked at number 34 on the Billboard Hot 100.","A 1976 cover version by Todd Rundgren peaked at number 34 on the Billboard Hot 100. The Beach Boys followed up \"Good Vibrations\" with another single pieced from sections, \"Heroes and Villains\" (1967), but it was less successful.","The Beach Boys followed up \"Good Vibrations\" with another single pieced from sections, \"Heroes and Villains\" (1967), but it was less successful. Inspiration and writing Concept and early lyrics The Beach Boys' leader, Brian Wilson, was responsible for the musical composition and virtually all of the arrangement for \"Good Vibrations\".","Inspiration and writing Concept and early lyrics The Beach Boys' leader, Brian Wilson, was responsible for the musical composition and virtually all of the arrangement for \"Good Vibrations\". Most of the song's structure and arrangement was written as it was recorded.","Most of the song's structure and arrangement was written as it was recorded. During the recording sessions for the 1966 album Pet Sounds, Wilson began changing his writing process. For \"Good Vibrations\", Wilson said, \"I had a lot of unfinished ideas, fragments of music I called 'feels.'","For \"Good Vibrations\", Wilson said, \"I had a lot of unfinished ideas, fragments of music I called 'feels.' Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic.\"","Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic.\" Engineer Chuck Britz is quoted saying that Wilson considered the song to be \"his whole life performance in one track\". Wilson stated: \"I was an energetic 23-year-old. ...","Wilson stated: \"I was an energetic 23-year-old. ... ... I said: 'This is going to be better than [the Phil Spector production] \"You've Lost That Lovin' Feelin'. Wilson said that \"Good Vibrations\" was inspired by his mother: \"[She] used to tell me about vibrations.","Wilson said that \"Good Vibrations\" was inspired by his mother: \"[She] used to tell me about vibrations. I didn't really understand too much of what it meant when I was just a boy. It scared me, the word 'vibrations.'","It scared me, the word 'vibrations.' She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel.\"","She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel.\" Brian first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea.","Brian first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea. When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style.","When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style. Asher remembered: Wilson wanted to call the song \"Good Vibes\", but Asher advised that it was \"lightweight use of the language\", and suggested that \"Good Vibrations\" would sound less \"trendy\".","Asher remembered: Wilson wanted to call the song \"Good Vibes\", but Asher advised that it was \"lightweight use of the language\", and suggested that \"Good Vibrations\" would sound less \"trendy\". The two proceeded to write lyrics for the verses that were ultimately discarded.","The two proceeded to write lyrics for the verses that were ultimately discarded. Theremin and cello From the start, Wilson envisioned a theremin for the track.","Theremin and cello From the start, Wilson envisioned a theremin for the track. AllMusic reviewer John Bush pointed out: \"Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel—between the single's theme and its use of an instrument the player never even touched.\"","AllMusic reviewer John Bush pointed out: \"Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel—between the single's theme and its use of an instrument the player never even touched.\" \"Good Vibrations\" does not technically feature a theremin, but rather an Electro-Theremin, which is physically controlled by a knob on the side of the instrument.","\"Good Vibrations\" does not technically feature a theremin, but rather an Electro-Theremin, which is physically controlled by a knob on the side of the instrument. It was dubbed a \"theremin\" simply for convenience.","It was dubbed a \"theremin\" simply for convenience. At that time, theremins were most often associated with the 1945 Alfred Hitchcock film Spellbound, but their most common presence was in the theme music for the television sitcom My Favorite Martian, which ran from 1963 to 1966.","At that time, theremins were most often associated with the 1945 Alfred Hitchcock film Spellbound, but their most common presence was in the theme music for the television sitcom My Favorite Martian, which ran from 1963 to 1966. Britz speculates: \"He just walked in and said, 'I have this new sound for you.'","Britz speculates: \"He just walked in and said, 'I have this new sound for you.' I think he must have heard the sound somewhere and loved it, and built a song around it.\" It is unclear whether Wilson knew that the instrument was not a real theremin.","It is unclear whether Wilson knew that the instrument was not a real theremin. Brian credited his brother and bandmate Carl for suggesting the use of a cello on the track.","Brian credited his brother and bandmate Carl for suggesting the use of a cello on the track. He further stated that its triplet beat on the chorus was his own idea and that it was based on the Crystals' \"Da Doo Ron Ron\" (1963), produced by Spector.","He further stated that its triplet beat on the chorus was his own idea and that it was based on the Crystals' \"Da Doo Ron Ron\" (1963), produced by Spector. Conversely, arranger and session musician Van Dyke Parks said that it was himself who suggested having the cellist play triplets to Brian.","Conversely, arranger and session musician Van Dyke Parks said that it was himself who suggested having the cellist play triplets to Brian. Parks believed that having Brian exploit the cello \"to such a hyperbolic degree\" was what encouraged the duo to immediately collaborate on the never-finished album Smile.","Parks believed that having Brian exploit the cello \"to such a hyperbolic degree\" was what encouraged the duo to immediately collaborate on the never-finished album Smile. At some point, Wilson asked Parks to pen lyrics for \"Good Vibrations\", although Parks declined.","At some point, Wilson asked Parks to pen lyrics for \"Good Vibrations\", although Parks declined. Influences and final lyrics Wilson's cousin and bandmate Mike Love submitted the final lyrics for \"Good Vibrations\" and contributed its bass-baritone vocals in the chorus.","Influences and final lyrics Wilson's cousin and bandmate Mike Love submitted the final lyrics for \"Good Vibrations\" and contributed its bass-baritone vocals in the chorus. He recalled that when he heard the unfinished backing track: \"[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it.","He recalled that when he heard the unfinished backing track: \"[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it. How's this going to go over in the Midwest or Birmingham?","How's this going to go over in the Midwest or Birmingham? It was such a departure from 'Surfin' U.S.A.' or 'Help Me, Rhonda.'\" Love said that he wrote the words while on the drive to the studio.","Love said that he wrote the words while on the drive to the studio. Feeling that the song could be \"the Beach Boys' psychedelic anthem or flower power offering,\" he based the lyrics on the burgeoning psychedelic music and Flower Power movements occurring in San Francisco and some parts of the Los Angeles area.","Feeling that the song could be \"the Beach Boys' psychedelic anthem or flower power offering,\" he based the lyrics on the burgeoning psychedelic music and Flower Power movements occurring in San Francisco and some parts of the Los Angeles area. He described the lyrics as \"just a flowery poem.","He described the lyrics as \"just a flowery poem. Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair.'\"","Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair.'\" Writing in his 1975 book The Beach Boys: Southern California Pastoral, Bruce Golden observed: Capitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his LSD experiences.","Writing in his 1975 book The Beach Boys: Southern California Pastoral, Bruce Golden observed: Capitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his LSD experiences. Brian clarified that the song was written under the influence of marijuana, not LSD.","Brian clarified that the song was written under the influence of marijuana, not LSD. He explained: \"I made ‘Good Vibrations’ on drugs; I used drugs to make that. ... I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity.\"","I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity.\" In Steven Gaines's 1986 biography, Wilson is quoted on the lyrics: \"We talked about good vibrations with the song and the idea, and we decided on one hand that you could say ... those are sensual things.","In Steven Gaines's 1986 biography, Wilson is quoted on the lyrics: \"We talked about good vibrations with the song and the idea, and we decided on one hand that you could say ... those are sensual things. And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have.","And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have. That's what we're really talking about.\" Wilson said in 2012 that the song's \"gotta keep those good vibrations\" bridge was inspired by Stephen Foster.","Wilson said in 2012 that the song's \"gotta keep those good vibrations\" bridge was inspired by Stephen Foster. Bandmate Al Jardine compared that section to Foster and the Negro spiritual \"Down by the Riverside\".","Bandmate Al Jardine compared that section to Foster and the Negro spiritual \"Down by the Riverside\". According to Love, the lyric \"'she goes with me to a blossom world' was originally meant to be followed by the words 'we find'\", but Wilson elected to cut off the line to highlight the bass track linking into the chorus.","According to Love, the lyric \"'she goes with me to a blossom world' was originally meant to be followed by the words 'we find'\", but Wilson elected to cut off the line to highlight the bass track linking into the chorus. Recording and production Modular approach \"Good Vibrations\" established a new method of operation for Wilson.","Recording and production Modular approach \"Good Vibrations\" established a new method of operation for Wilson. Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or \"modules\").","Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or \"modules\"). Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time.","Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time. This was the same modular approach used during the sessions for Smile and Smiley Smile.","This was the same modular approach used during the sessions for Smile and Smiley Smile. To mask each tape edit, vast reverb decays were added at the mixing and sub-mixing stages. For instrumentation, Wilson employed the services of \"the Wrecking Crew\", the nickname for a conglomerate of session musicians active in Los Angeles at that time.","For instrumentation, Wilson employed the services of \"the Wrecking Crew\", the nickname for a conglomerate of session musicians active in Los Angeles at that time. Production for \"Good Vibrations\" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two.","Production for \"Good Vibrations\" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two. It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands, making it the costliest single recorded to that date.","It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands, making it the costliest single recorded to that date. Biographer Peter Ames Carlin wrote that Wilson was so puzzled by the arranging of \"Good Vibrations\" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs.","Biographer Peter Ames Carlin wrote that Wilson was so puzzled by the arranging of \"Good Vibrations\" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs. One estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to $ and $ in ), By comparison, the whole of Pet Sounds had cost $70,000 ($), itself an unusually high cost for an album.","One estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to $ and $ in ), By comparison, the whole of Pet Sounds had cost $70,000 ($), itself an unusually high cost for an album. In 2018, Wilson disputed the $50,000 figure for \"Good Vibrations\", saying that the overall expenses were closer to $25,000.","In 2018, Wilson disputed the $50,000 figure for \"Good Vibrations\", saying that the overall expenses were closer to $25,000. Contemporary advertisements reported $10,000 ($) as the track's total production costs. Domenic Priore wrote that the track cost between $10,000 and $15,000 ($).","Domenic Priore wrote that the track cost between $10,000 and $15,000 ($). When asked in a 2005 interview if it was true that the Electro-Theremin work alone cost $100,000, Wilson replied \"No. $15,000.\"","$15,000.\" $15,000.\" Development The instrumental of the first version of the song was recorded on February 17, 1966, at Gold Star Studios and was logged as a Pet Sounds session.","Development The instrumental of the first version of the song was recorded on February 17, 1966, at Gold Star Studios and was logged as a Pet Sounds session. On that day's session log, it was given the name \"#1 Untitled\" or \"Good, Good, Good Vibrations\", but on its master tape, Wilson distinctly states: \"'Good Vibrations' ... take one.\"","On that day's session log, it was given the name \"#1 Untitled\" or \"Good, Good, Good Vibrations\", but on its master tape, Wilson distinctly states: \"'Good Vibrations' ... take one.\" After twenty-six takes, a rough mono mix completed the session.","After twenty-six takes, a rough mono mix completed the session. Some additional instruments and rough guide vocals were overdubbed on February 23. Brian and Carl shared vocals for this mix.","Brian and Carl shared vocals for this mix. The original version of \"Good Vibrations\" contained the characteristics of a \"funky rhythm and blues number\" and would not yet resemble a \"pocket symphony\". There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor, Paul Tanner.","There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor, Paul Tanner. It was Brian's second ever recorded use of the instrument, just three days after the Pet Sounds track \"I Just Wasn't Made for These Times\".","It was Brian's second ever recorded use of the instrument, just three days after the Pet Sounds track \"I Just Wasn't Made for These Times\". Brian then placed \"Good Vibrations\" on hold in order to devote attention to the Pet Sounds album, which saw release on May 16.","Brian then placed \"Good Vibrations\" on hold in order to devote attention to the Pet Sounds album, which saw release on May 16. More instrumental sections for \"Good Vibrations\" were recorded between April and June.","More instrumental sections for \"Good Vibrations\" were recorded between April and June. Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs.","Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs. According to Brian's then-new friend David Anderle, during an early stage, Brian considered giving \"Good Vibrations\" to one of the black R&B groups signed with Warner Bros. Records such as Wilson Pickett, and then at Anderle's suggestion to singer Danny Hutton.","According to Brian's then-new friend David Anderle, during an early stage, Brian considered giving \"Good Vibrations\" to one of the black R&B groups signed with Warner Bros. Records such as Wilson Pickett, and then at Anderle's suggestion to singer Danny Hutton. He thought about abandoning the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single.","He thought about abandoning the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single. In the meantime, he worked on writing and recording material for the group's forthcoming album, Smile.","In the meantime, he worked on writing and recording material for the group's forthcoming album, Smile. The first Beach Boy to hear \"Good Vibrations\" in a semi-completed form, other than Brian, was Carl.","The first Beach Boy to hear \"Good Vibrations\" in a semi-completed form, other than Brian, was Carl. Following a performance with the touring group in North Dakota, he remembered: \"I came back up into my hotel room one night and the phone rang. It was Brian on the other end.","It was Brian on the other end. He called me from the recording studio and played this really bizarre sounding music over the phone. There were drums smashing, that kind of stuff, and then it refined itself and got into the cello. It was a real funky track.\"","It was a real funky track.\" In 1976, Brian revealed that before the final mixdown, he had been confronted with resistance by members of the group, whom Brian declined to name.","In 1976, Brian revealed that before the final mixdown, he had been confronted with resistance by members of the group, whom Brian declined to name. The subject of their worries and complaints was the song's length and \"modern\" sound: \"I said no, it's not going to be too long a record, it's going to be just right.","The subject of their worries and complaints was the song's length and \"modern\" sound: \"I said no, it's not going to be too long a record, it's going to be just right. ... They didn't quite understand what this jumping from studio to studio was all about.","They didn't quite understand what this jumping from studio to studio was all about. And they couldn't conceive of the record as I did. I saw the record as a totality piece.\"","I saw the record as a totality piece.\" The vocals for \"Good Vibrations\" were recorded at CBS Columbia Square, starting on August 24 and continuing sporadically until the very last day of assembly on September 21. The episodic structure of the composition was continuously revised as the group experimented with different ideas.","The episodic structure of the composition was continuously revised as the group experimented with different ideas. Brian remembers that he began recording the \"bop bop good vibrations\" parts first, and that he came up with \"the high parts\" a week later.","Brian remembers that he began recording the \"bop bop good vibrations\" parts first, and that he came up with \"the high parts\" a week later. Mike Love recalled: \"I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long.\"","Mike Love recalled: \"I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long.\" Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute.","Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute. In early September, the master tapes for \"Good Vibrations\" were stolen. Mysteriously, they reappeared inside Brian's home two days later.","Mysteriously, they reappeared inside Brian's home two days later. On September 21, Brian completed the track after Tanner added a final Electro-Theremin overdub. In 1976 he elaborated on the event: \"It was at Columbia. I remember I had it right in the sack.","I remember I had it right in the sack. I could just feel it when I dubbed it down, made the final mix from the 16-track down to mono. It was a feeling of power, it was a rush. A feeling of exaltation. Artistic beauty. It was everything ... I remember saying, 'Oh my God.","I remember saying, 'Oh my God. Sit back and listen to this!'\" Composition and analysis Genre and dynamics There are six unique sections to the piece.","Composition and analysis Genre and dynamics There are six unique sections to the piece. Music theorist Daniel Harrison refers to these sections individually as the verse, the refrain (or chorus), the \"first episodic digression\", the \"second episodic digression\", the \"retro-refrain\", and the coda.","Music theorist Daniel Harrison refers to these sections individually as the verse, the refrain (or chorus), the \"first episodic digression\", the \"second episodic digression\", the \"retro-refrain\", and the coda. Each has a distinct musical texture, partly due to the nature of the song's recording.","Each has a distinct musical texture, partly due to the nature of the song's recording. The track's instrumentation changes radically from section to section, and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a \"very long\" duration.","The track's instrumentation changes radically from section to section, and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a \"very long\" duration. Wilson is quoted in 1979: He characterized the song as \"advanced rhythm and blues\".","Wilson is quoted in 1979: He characterized the song as \"advanced rhythm and blues\". Tom Roland of American Songwriter described the piece, \"with its interlocking segments—a sort of pop version of the classical sonata, consisting of a series of musical movements\".","Tom Roland of American Songwriter described the piece, \"with its interlocking segments—a sort of pop version of the classical sonata, consisting of a series of musical movements\". New York Magazine compared it to \"a fugue with a rhythmic beat\".","New York Magazine compared it to \"a fugue with a rhythmic beat\". John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs.","John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs. Music journal Sound on Sound argued that the song \"has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour\".","Music journal Sound on Sound argued that the song \"has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour\". It explained that the song subverts pop forms to a considerable degree: According to historian Lorenzo Candelaria, \"Good Vibrations\" has since been marketed as pop music \"possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know.\"","It explained that the song subverts pop forms to a considerable degree: According to historian Lorenzo Candelaria, \"Good Vibrations\" has since been marketed as pop music \"possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know.\" Uncut called the song \"three minutes and thirty-six seconds of avant-garde pop\".","Uncut called the song \"three minutes and thirty-six seconds of avant-garde pop\". Mixdown described it as a \"masterpiece of avant-pop\". The theremin and cello has been called the song's \"psychedelic ingredient\".","The theremin and cello has been called the song's \"psychedelic ingredient\". In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin.","In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin. Professor of American history John Robert Greene named \"Good Vibrations\" among examples of psychedelic or acid rock.","Professor of American history John Robert Greene named \"Good Vibrations\" among examples of psychedelic or acid rock. Stebbins wrote that the song was \"replete with sunshine [and] psychedelia\". Steve Valdez says that, like Pet Sounds, Brian was attempting a more experimental rock style.","Steve Valdez says that, like Pet Sounds, Brian was attempting a more experimental rock style. Comparing \"Good Vibrations\" to Wilson's previous work Pet Sounds, biographer Andrew Hickey said that the \"best way of thinking about [the song] is that it's taking the lowest common denominator of 'Here Today' and 'God Only Knows' and turned the result into an R&B track.","Comparing \"Good Vibrations\" to Wilson's previous work Pet Sounds, biographer Andrew Hickey said that the \"best way of thinking about [the song] is that it's taking the lowest common denominator of 'Here Today' and 'God Only Knows' and turned the result into an R&B track. We have the same minor-key change between verse and chorus we've seen throughout Pet Sounds, the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to funky.\"","We have the same minor-key change between verse and chorus we've seen throughout Pet Sounds, the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to funky.\" Author Jon Stebbins adds that \"unlike Pet Sounds the chorus of 'Good Vibrations' projects a definite 'rock and roll' energy and feel.\"","Author Jon Stebbins adds that \"unlike Pet Sounds the chorus of 'Good Vibrations' projects a definite 'rock and roll' energy and feel.\" According to academic Rikky Rooksby, \"Good Vibrations\" is an example of Brian Wilson's growing interest in musical development within a composition, something antithetical to popular music of the time.","According to academic Rikky Rooksby, \"Good Vibrations\" is an example of Brian Wilson's growing interest in musical development within a composition, something antithetical to popular music of the time. Suppressing tonic strength and cadential drive, the song makes use of descending harmonic motions through scale degrees controlled by a single tonic and \"radical disjunctions\" in key, texture, instrumentation, and mood while refusing to develop into a predictable formal pattern.","Suppressing tonic strength and cadential drive, the song makes use of descending harmonic motions through scale degrees controlled by a single tonic and \"radical disjunctions\" in key, texture, instrumentation, and mood while refusing to develop into a predictable formal pattern. It instead develops \"under its own power\" and \"luxuriates in harmonic variety\" exemplified by beginning and ending not only in different keys but also in different modes.","It instead develops \"under its own power\" and \"luxuriates in harmonic variety\" exemplified by beginning and ending not only in different keys but also in different modes. Verses and refrains (0:00–1:40) \"Good Vibrations\" begins without introduction in a traditional verse/refrain format, opening with Carl Wilson singing the word \"I\", a triplet eighth note before the downbeat.","Verses and refrains (0:00–1:40) \"Good Vibrations\" begins without introduction in a traditional verse/refrain format, opening with Carl Wilson singing the word \"I\", a triplet eighth note before the downbeat. The sparse first verse contains a repetition of chords played on a Hammond organ filtered through a Leslie speaker; underneath is a two-bar Fender bass melody.","The sparse first verse contains a repetition of chords played on a Hammond organ filtered through a Leslie speaker; underneath is a two-bar Fender bass melody. This sequence repeats once (0:15), but with the addition of two piccolos sustaining over a falling flute line.","This sequence repeats once (0:15), but with the addition of two piccolos sustaining over a falling flute line. For percussion, bongo drums double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation.","For percussion, bongo drums double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation. The beat projects a triplet feel despite being in time; this is sometimes called a \"shuffle beat\" or \"threes over fours\".","The beat projects a triplet feel despite being in time; this is sometimes called a \"shuffle beat\" or \"threes over fours\". The chord progression used is i–VII–VI–V, also called an Andalusian cadence. Although the verses begin in the minor mode of E, the mode is not used to express sadness or drudgery.","Although the verses begin in the minor mode of E, the mode is not used to express sadness or drudgery. Occurring at the very end of these verses is a passing chord, D. The refrain (0:25) begins in the newly tonicized relative major G, which suggests III.","Occurring at the very end of these verses is a passing chord, D. The refrain (0:25) begins in the newly tonicized relative major G, which suggests III. Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music.","Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music. The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat.","The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat. This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals.","This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals. The first section consists of only the couplet \"I'm picking up good vibrations/she's giving me the excitation\" sung by Mike Love in his bass-baritone register; the second repeats the lines and adds an \"ooo bop bop\" figure, sung in multiple-part harmony; the third time also adds a \"good, good, good, good vibrations\" in yet a higher harmony.","The first section consists of only the couplet \"I'm picking up good vibrations/she's giving me the excitation\" sung by Mike Love in his bass-baritone register; the second repeats the lines and adds an \"ooo bop bop\" figure, sung in multiple-part harmony; the third time also adds a \"good, good, good, good vibrations\" in yet a higher harmony. This type of polyphony (counterpoint) is also rare in contemporary popular styles.","This type of polyphony (counterpoint) is also rare in contemporary popular styles. Each repeat of the vocal lines also transposes up by a whole step, ascending from G to A and then B. It then returns to the verse, thus making a perfect cadence back into E minor.","It then returns to the verse, thus making a perfect cadence back into E minor. The verse and refrain then repeat without any changes to the patterns of its instrumentation and harmony. This is unusual, in that normally, a song's arrangement adds something once it reaches the second verse.","This is unusual, in that normally, a song's arrangement adds something once it reaches the second verse. Episodic digressions First episode (1:41–2:13) The first episode (1:41+) begins disjunctively with an abrupt tape splice.","Episodic digressions First episode (1:41–2:13) The first episode (1:41+) begins disjunctively with an abrupt tape splice. The refrain's B, which had received a dominant (V) charge, is now maintained as a tonic (I).","The refrain's B, which had received a dominant (V) charge, is now maintained as a tonic (I). There is harmonic ambiguity, in that the chord progression may be either interpreted as I–IV–I (in B) or V–I–V (in E).","There is harmonic ambiguity, in that the chord progression may be either interpreted as I–IV–I (in B) or V–I–V (in E). Stebbins says that this section \"might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply.\"","Stebbins says that this section \"might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply.\" A new sound is created by tack piano, jaw harp, and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, bass harmonica, and sleigh bells shaken on every beat.","A new sound is created by tack piano, jaw harp, and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, bass harmonica, and sleigh bells shaken on every beat. The lone line of vocals (aside from non-lexical harmonies) is \"I don't know where, but she sends me there\" sung in Mike Love's upper-register baritone.","The lone line of vocals (aside from non-lexical harmonies) is \"I don't know where, but she sends me there\" sung in Mike Love's upper-register baritone. This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns.","This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns. Second episode (2:13–2:56) Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat.","Second episode (2:13–2:56) Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat. Sound on Sound highlights this change as the \"most savage edit in the track ... most people would go straight into a big splash hook-line section.","Sound on Sound highlights this change as the \"most savage edit in the track ... most people would go straight into a big splash hook-line section. Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ...","Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ... Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian.\"","Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian.\" Harrison says: The slowed pace is complemented by the lyric (\"Gotta keep those loving good vibrations a-happening with her\"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony.","Harrison says: The slowed pace is complemented by the lyric (\"Gotta keep those loving good vibrations a-happening with her\"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony. This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2.","This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2. The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats.","The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats. Lambert calls it the song's \"wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments.","Lambert calls it the song's \"wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments. As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say.\"","As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say.\" Retro-refrain and coda (2:57–3:35) A brief break at the end of the second musical digression creates tension which leads into the final sequence of the song.","Retro-refrain and coda (2:57–3:35) A brief break at the end of the second musical digression creates tension which leads into the final sequence of the song. The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B, repeats at A, and then ends at G for an unexpectedly short single measure.","The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B, repeats at A, and then ends at G for an unexpectedly short single measure. The section uses a descending progression, which mirrors the ascending progression of the previous two refrains.","The section uses a descending progression, which mirrors the ascending progression of the previous two refrains. There follows a short section of vocalizing in three-part counterpoint that references the original refrain by reproducing upward transposition. However, this time it settles on A, the concluding key of the song.","However, this time it settles on A, the concluding key of the song. By the end of \"Good Vibrations,\" all seven scale degrees of the opening E-minor tonic are activated on some level.","By the end of \"Good Vibrations,\" all seven scale degrees of the opening E-minor tonic are activated on some level. Release and promotion In a July 1966 advertisement for Pet Sounds in Billboard magazine, the band thanked the music industry for the sales of their album, and said that \"We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations.\"","Release and promotion In a July 1966 advertisement for Pet Sounds in Billboard magazine, the band thanked the music industry for the sales of their album, and said that \"We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations.\" This was the first public hint of the new single.","This was the first public hint of the new single. Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was \"about a guy who picks up good vibrations from a girl\" and that it would be a \"monster\".","Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was \"about a guy who picks up good vibrations from a girl\" and that it would be a \"monster\". He then suggested: \"It's still sticking pretty close to that same boy-girl thing, you know, but with a difference.","He then suggested: \"It's still sticking pretty close to that same boy-girl thing, you know, but with a difference. And it's a start, it's definitely a start.\"","And it's a start, it's definitely a start.\" Derek Taylor, who had recently been engaged as the band's publicist, is credited for coining the term a \"pocket symphony\" to describe the song.","Derek Taylor, who had recently been engaged as the band's publicist, is credited for coining the term a \"pocket symphony\" to describe the song. In a press release for the single, he stated: \"Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils.","In a press release for the single, he stated: \"Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils. And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else.\"","And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else.\" To promote the single, four different music videos were shot.","To promote the single, four different music videos were shot. The first of these—which had Caleb Deschanel as cameraman—features the group at a fire station, sliding down its pole, and roaming the streets of Los Angeles in a fashion comparable to The Monkees. The second features the group during vocal rehearsals at United Western Recorders.","The second features the group during vocal rehearsals at United Western Recorders. The third contains footage recorded during the making of The Beach Boys in London, a documentary by Peter Whitehead of their concert performances. The fourth clip is an alternative edit of the third.","The fourth clip is an alternative edit of the third. Brian also made a rare television appearance on local station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record.","Brian also made a rare television appearance on local station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record. On October 15, 1966, Billboard predicted that the single would reach the top 20 in the Billboard Hot 100 chart.","On October 15, 1966, Billboard predicted that the single would reach the top 20 in the Billboard Hot 100 chart. \"Good Vibrations\" was the Beach Boys' third US number one hit, after \"I Get Around\" and \"Help Me, Rhonda\", reaching the top of the Hot 100 in December.","\"Good Vibrations\" was the Beach Boys' third US number one hit, after \"I Get Around\" and \"Help Me, Rhonda\", reaching the top of the Hot 100 in December. It was also their first number one in Britain.","It was also their first number one in Britain. The single sold over 230,000 copies in the US within four days of its release and entered the Cash Box chart at number 61 on October 22. In the UK, the song sold over 50,000 copies in the first 15 days of its release.","In the UK, the song sold over 50,000 copies in the first 15 days of its release. \"Good Vibrations\" quickly became the Beach Boys' first million-selling single. In December 1966, the record was their first single certified gold by the RIAA for sales of one million copies.","In December 1966, the record was their first single certified gold by the RIAA for sales of one million copies. On March 30, 2016, the digital single was certified platinum by the RIAA for the same sales level.","On March 30, 2016, the digital single was certified platinum by the RIAA for the same sales level. In the US, Cash Box said that it is a \"catchy, easy-driving ditty loaded with the Boys’ money-making sound.\" In Britain, the single received favorable reviews from the New Musical Express and Melody Maker.","In Britain, the single received favorable reviews from the New Musical Express and Melody Maker. Soon after, the Beach Boys were voted the number one band in the world in the NME readers' poll, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops.","Soon after, the Beach Boys were voted the number one band in the world in the NME readers' poll, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops. Billboard said that this result was probably influenced by the success of \"Good Vibrations\" when the votes were cast, together with the band's recent tour, whereas the Beatles had neither a recent single nor had they toured the UK throughout 1966; the reporter added that \"The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak.\"","Billboard said that this result was probably influenced by the success of \"Good Vibrations\" when the votes were cast, together with the band's recent tour, whereas the Beatles had neither a recent single nor had they toured the UK throughout 1966; the reporter added that \"The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak.\" In a readers' poll conducted by a Danish newspaper, Brian Wilson won the \"best foreign-produced recording award\", marking the first time that an American had won in that category.","In a readers' poll conducted by a Danish newspaper, Brian Wilson won the \"best foreign-produced recording award\", marking the first time that an American had won in that category. The single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc.","The single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc. Influence and legacy Historical reception Virtually every pop music critic recognizes \"Good Vibrations\" as one of the most important compositions and recordings of the entire rock era.","Influence and legacy Historical reception Virtually every pop music critic recognizes \"Good Vibrations\" as one of the most important compositions and recordings of the entire rock era. It is a regular fixture on \"greatest of all-time\" song lists and is frequently hailed as one of the finest pop productions of all time.","It is a regular fixture on \"greatest of all-time\" song lists and is frequently hailed as one of the finest pop productions of all time. In 2004, Rolling Stone magazine ranked \"Good Vibrations\" at number 6 in \"The 500 Greatest Songs of All Time\", the highest position of seven Beach Boys songs cited in the list.","In 2004, Rolling Stone magazine ranked \"Good Vibrations\" at number 6 in \"The 500 Greatest Songs of All Time\", the highest position of seven Beach Boys songs cited in the list. In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list.","In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list. As of 2016, \"Good Vibrations\" is ranked as the number four song of all time in an aggregation of critics' lists at Acclaimed Music. The song served as an anthem for the counterculture of the 1960s.","The song served as an anthem for the counterculture of the 1960s. According to Noel Murray of The A.V.","According to Noel Murray of The A.V. Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's \"un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do.\"","Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's \"un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do.\" Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for \"Good Vibrations\".","Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for \"Good Vibrations\". \"Heroes and Villains\", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967.","\"Heroes and Villains\", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967. In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of \"Good Vibrations\".","In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of \"Good Vibrations\". When asked about the song in 1990, Paul McCartney responded: \"I thought it was a great record.","When asked about the song in 1990, Paul McCartney responded: \"I thought it was a great record. It didn't quite have the emotional thing that Pet Sounds had for me. I've often played Pet Sounds and cried. It's that kind of an album for me.\"","It's that kind of an album for me.\" Pete Townshend of the Who was quoted in the 1960s as saying, \"'Good Vibrations' was probably a good record but who's to know? You had to play it about 90 bloody times to even hear what they were singing about.\"","You had to play it about 90 bloody times to even hear what they were singing about.\" Townshend feared that the single would lead to a trend of overproduction. In a 1966 issue of Arts Magazine, Jonathan King said: \"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art.","In a 1966 issue of Arts Magazine, Jonathan King said: \"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art. Computerized pop, mechanized music. Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons.","Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons. It is long and split. ... impressive, fantastic, commercial—yes. Emotional, soul-destroying, shattering—no.\"","Emotional, soul-destroying, shattering—no.\" In the 2000s, record producer Phil Spector criticized the single for depending too much on tape manipulation, negatively referring to it as an \"edit record ... It's like Psycho is a great film, but it's an 'edit film.'","It's like Psycho is a great film, but it's an 'edit film.' Without edits, it's not a film; with edits, it's a great film. But it's not Rebecca ... it's not a beautiful story.\"","But it's not Rebecca ... it's not a beautiful story.\" Advancements Recording and popular music \"Good Vibrations\" is credited for having further developed the use of recording studios as a musical instrument.","Advancements Recording and popular music \"Good Vibrations\" is credited for having further developed the use of recording studios as a musical instrument. Author Domenic Priore commented that the song's making was \"unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording\".","Author Domenic Priore commented that the song's making was \"unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording\". A milestone in the development of rock music, the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record.","A milestone in the development of rock music, the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record. Musicologist Charlie Gillett called it \"one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance\".","Musicologist Charlie Gillett called it \"one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance\". In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted: Writing for Popmatters in 2015, Scott Interrante stated: \"'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have.\"","In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted: Writing for Popmatters in 2015, Scott Interrante stated: \"'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have.\" The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm.","The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm. Microtonal composer Frank Oteri said that it \"sounds like no other pop song recorded up to that point\".","Microtonal composer Frank Oteri said that it \"sounds like no other pop song recorded up to that point\". According to Stebbins: \"This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original.","According to Stebbins: \"This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original. But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century.\"","But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century.\" He added that the single \"vaulted nearly every other rock act in their delivery of a Flower Power classic. It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop.\"","It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop.\" John Bush wrote that the single \"announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies\".","John Bush wrote that the single \"announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies\". Gillett noted: \"For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording.\"","Gillett noted: \"For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording.\" Priore says that the song was a forerunner to works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes.","Priore says that the song was a forerunner to works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes. In his appraisal for American Songwriter, Roland cites the song's \"format\" as the model for recordings by Wings (\"Band on the Run\"), the Beatles (\"A Day in the Life\"), and Elton John (\"Funeral for a Friend/Love Lies Bleeding\").","In his appraisal for American Songwriter, Roland cites the song's \"format\" as the model for recordings by Wings (\"Band on the Run\"), the Beatles (\"A Day in the Life\"), and Elton John (\"Funeral for a Friend/Love Lies Bleeding\"). The song's approach was repeated in Queen's 1975 single \"Bohemian Rhapsody\", which was similarly pieced together using different sections.","The song's approach was repeated in Queen's 1975 single \"Bohemian Rhapsody\", which was similarly pieced together using different sections. Wilson praised Queen's effort, calling it \"the most competitive thing that's come along in ages\" and \"a fulfillment and an answer to a teenage prayer—of artistic music\".","Wilson praised Queen's effort, calling it \"the most competitive thing that's come along in ages\" and \"a fulfillment and an answer to a teenage prayer—of artistic music\". Psychedelic and progressive rock With \"Good Vibrations\", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages.","Psychedelic and progressive rock With \"Good Vibrations\", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages. Writing in 2009, Barney Hoskyns deemed it to be the era's \"ultimate psychedelic pop record\" from Los Angeles.","Writing in 2009, Barney Hoskyns deemed it to be the era's \"ultimate psychedelic pop record\" from Los Angeles. Interrante adds: \"Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated, but its legacy as a pop hit is impressive as well.\"","Interrante adds: \"Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated, but its legacy as a pop hit is impressive as well.\" Former Atlantic Records executive Phillip Rauls recalled: \"I was in the music business at the time, and my very first recognition of acid rock—we didn't call it progressive rock then—was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [theremin] sent so many musicians back to the studio to create this music on acid.\"","Former Atlantic Records executive Phillip Rauls recalled: \"I was in the music business at the time, and my very first recognition of acid rock—we didn't call it progressive rock then—was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [theremin] sent so many musicians back to the studio to create this music on acid.\" Author Bill Martin suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: \"The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life.'\"","Author Bill Martin suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: \"The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life.'\" Use of theremin Although the song does not technically contain a theremin, \"Good Vibrations\" is the most frequently cited example of the instrument's use in pop music.","Use of theremin Although the song does not technically contain a theremin, \"Good Vibrations\" is the most frequently cited example of the instrument's use in pop music. Upon release, the single prompted an unexpected revival in theremins and increased the awareness of analog synthesizers.","Upon release, the single prompted an unexpected revival in theremins and increased the awareness of analog synthesizers. The notion that \"Good Vibrations\" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants.","The notion that \"Good Vibrations\" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants. While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin.","While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin. When the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments.","When the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments. Tanner recalls saying to Wilson, \"I've got the wrong sort of hair to be on stage with you fellas\", to which Wilson replied: \"We'll give you a Prince Valiant wig.\"","Tanner recalls saying to Wilson, \"I've got the wrong sort of hair to be on stage with you fellas\", to which Wilson replied: \"We'll give you a Prince Valiant wig.\" The Beach Boys then requested the services of Walter Sear, who asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar.","The Beach Boys then requested the services of Walter Sear, who asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar. Sear remembers marking fretboard-like lines on the ribbon \"so they could play the damn thing.\" Moog began manufacturing his own models of theremins.","Moog began manufacturing his own models of theremins. He later noted: \"The pop record scene cleaned us out of our stock which we expected to last through Christmas.\"","He later noted: \"The pop record scene cleaned us out of our stock which we expected to last through Christmas.\" In Steven M. Martin's 1993 documentary Theremin: An Electronic Odyssey, in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin due to \"Good Vibrations\" caused Russian authorities to exile its inventor, Leon Theremin.","In Steven M. Martin's 1993 documentary Theremin: An Electronic Odyssey, in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin due to \"Good Vibrations\" caused Russian authorities to exile its inventor, Leon Theremin. Cover versions The song has been covered by artists such as Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV.","Cover versions The song has been covered by artists such as Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV. John Bush commented: \"'Good Vibrations' was rarely reprised by other acts, even during the cover-happy '60s. Its fragmented style made it essentially cover-proof.\"","Its fragmented style made it essentially cover-proof.\" In 1976, a nearly identical cover version was released as a single by Todd Rundgren for his album Faithful. When asked for his opinion, Brian said: \"Oh, he did a marvelous job, he did a great job. I was very proud of his version.\"","I was very proud of his version.\" Rundgren's single peaked at number 34 on the Billboard Hot 100.","Rundgren's single peaked at number 34 on the Billboard Hot 100. Rundgren explained: \"I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting—like around Pet Sounds and 'Good Vibrations' ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal.","Rundgren explained: \"I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting—like around Pet Sounds and 'Good Vibrations' ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal. ...","... ... I tried to do [the song] as literally as I could because in the intervening 10 years, radio had changed so much. Radio had become so formatted and so structured that that whole experience was already gone.\" In 2004, Wilson re-recorded the song as a solo artist for his album Brian Wilson Presents Smile.","In 2004, Wilson re-recorded the song as a solo artist for his album Brian Wilson Presents Smile. It was sequenced as the album's closing track, following \"In Blue Hawaii\". In this version, \"Good Vibrations\" was the project's only track that eschewed the modular recording method.","In this version, \"Good Vibrations\" was the project's only track that eschewed the modular recording method. The song's verses and chorus were recorded as part of one whole take, and were not spliced together.","The song's verses and chorus were recorded as part of one whole take, and were not spliced together. In 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated.","In 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated. Their version of \"Good Vibrations\", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on Billboards A/C chart.","Their version of \"Good Vibrations\", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on Billboards A/C chart. In popular culture The song's parody is used for the jingle of the Australian consumer electronics retailer The Good Guys.","In popular culture The song's parody is used for the jingle of the Australian consumer electronics retailer The Good Guys. In 1996, experimental rock group His Name Is Alive released an homage titled \"Universal Frequencies\" on their album Stars on E.S.P.","In 1996, experimental rock group His Name Is Alive released an homage titled \"Universal Frequencies\" on their album Stars on E.S.P. Warren Defever reportedly listened to \"Good Vibrations\" repeatedly for a week before deciding that the song \"needed a sequel\"; he added: \"'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful.\"","Warren Defever reportedly listened to \"Good Vibrations\" repeatedly for a week before deciding that the song \"needed a sequel\"; he added: \"'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful.\" In 1997, the movie Vegas Vacation used the song for the opening credits, with Clark Griswold (Chevy Chase) singing the song.","In 1997, the movie Vegas Vacation used the song for the opening credits, with Clark Griswold (Chevy Chase) singing the song. The song's lyrics \"I'm picking up good vibrations\" are quoted in Cyndi Lauper's 1984 single \"She Bop\".","The song's lyrics \"I'm picking up good vibrations\" are quoted in Cyndi Lauper's 1984 single \"She Bop\". A live version of the song, from the album Live in London, appears as a playable track in the 2010 video game Rock Band 3.","A live version of the song, from the album Live in London, appears as a playable track in the 2010 video game Rock Band 3. In 2019, the song was used prominently in a scene for Jordan Peele's psychological horror thriller film Us.","In 2019, the song was used prominently in a scene for Jordan Peele's psychological horror thriller film Us. In 2018, The song was featured in the animated film Hotel Transylvania 3: Summer Vacation.","In 2018, The song was featured in the animated film Hotel Transylvania 3: Summer Vacation. Release history In early 2011, the single was remastered and reissued as a four-sided 78 rpm vinyl for Record Store Day, as a teaser for the forthcoming The Smile Sessions box set.","Release history In early 2011, the single was remastered and reissued as a four-sided 78 rpm vinyl for Record Store Day, as a teaser for the forthcoming The Smile Sessions box set. It contained \"Heroes and Villains\" as a B-side, along with previously released alternate takes and mixes.","It contained \"Heroes and Villains\" as a B-side, along with previously released alternate takes and mixes. Stereo version Due to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile.","Stereo version Due to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile. The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett.","The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett. Fitzgerald's software extracted individual instrumental and vocal stems from the original mono master—as the multi-track vocals remained missing—to construct the stereo version that appears on the 2012 reissue of Smiley Smile.","Fitzgerald's software extracted individual instrumental and vocal stems from the original mono master—as the multi-track vocals remained missing—to construct the stereo version that appears on the 2012 reissue of Smiley Smile. 40th Anniversary Edition In celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released.","40th Anniversary Edition In celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released. The EP includes \"Good Vibrations\", four alternate versions of the song, and the stereo mix of \"Let's Go Away for Awhile\". The EP artwork recreates that of the original 7-inch single sleeve.","The EP artwork recreates that of the original 7-inch single sleeve. In 2016, the EP was reissued as a 12\" record for the single's 50th anniversary. Personnel The following people are identified as players on the \"Good Vibrations\" single.","Personnel The following people are identified as players on the \"Good Vibrations\" single. The Beach Boys Mike Love – lead vocals in chorus Brian Wilson – vocals, tack piano, tambourine, production, mixing Carl Wilson – lead vocals in verses, guitar, shaker Dennis Wilson – Hammond organ during 2:13–2:56 Additional musicians and production staff Hal Blaine – drums, timpani, other percussion Al De Lory – piano, harpsichord Jesse Ehrlich – cello Larry Knechtel – organ in verses and choruses Tommy Morgan – harmonica Al Casey – guitar Ray Pohlman – electric bass Lyle Ritz – double bass Jim Horn – piccolo Paul Tanner – Electro-Theremin Bassist Carol Kaye played on several of the \"Good Vibrations\" sessions, and has been identified as a prominent contributor to the track.","The Beach Boys Mike Love – lead vocals in chorus Brian Wilson – vocals, tack piano, tambourine, production, mixing Carl Wilson – lead vocals in verses, guitar, shaker Dennis Wilson – Hammond organ during 2:13–2:56 Additional musicians and production staff Hal Blaine – drums, timpani, other percussion Al De Lory – piano, harpsichord Jesse Ehrlich – cello Larry Knechtel – organ in verses and choruses Tommy Morgan – harmonica Al Casey – guitar Ray Pohlman – electric bass Lyle Ritz – double bass Jim Horn – piccolo Paul Tanner – Electro-Theremin Bassist Carol Kaye played on several of the \"Good Vibrations\" sessions, and has been identified as a prominent contributor to the track. However, analysis by Beach Boys archivist Craig Slowinski indicates that none of those recordings made the final edit as released on the single.","However, analysis by Beach Boys archivist Craig Slowinski indicates that none of those recordings made the final edit as released on the single. Charts Weekly charts Original release 1976 reissue Todd Rundgren version (1976) Year-end charts Certifications Awards and accolades Footnotes References Bibliography External links Greg Panfile's Musical Analysis of \"Good Vibrations\" 1966 singles 1966 songs 2004 singles 2011 singles Brian Wilson songs Psychic TV songs The Beach Boys songs Todd Rundgren songs Capitol Records singles Grammy Hall of Fame Award recipients Billboard Hot 100 number-one singles Cashbox number-one singles Number-one singles in Australia Number-one singles in New Zealand UK Singles Chart number-one singles Songs written by Brian Wilson Songs written by Mike Love Songs written by Tony Asher Song recordings produced by Brian Wilson Song recordings with Wall of Sound arrangements Art pop songs Avant-pop songs Psychedelic pop songs American psychedelic rock songs Songs used as jingles Songs composed in E-flat minor"],"string":"[\n \"\\\"Good Vibrations\\\" is a song by the American rock band the Beach Boys that was composed by Brian Wilson with lyrics by Mike Love. It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping record charts in several countries including the United States and the United Kingdom.\",\n \"It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping record charts in several countries including the United States and the United Kingdom. Characterized by its complex soundscapes, episodic structure and subversions of pop music formula, it was the most expensive single ever recorded.\",\n \"Characterized by its complex soundscapes, episodic structure and subversions of pop music formula, it was the most expensive single ever recorded. \\\"Good Vibrations\\\" later became widely acclaimed as one of the finest and most important works of the rock era.\",\n \"\\\"Good Vibrations\\\" later became widely acclaimed as one of the finest and most important works of the rock era. Also produced by Wilson, the title derived from his fascination with cosmic vibrations, as his mother would tell him as a child that dogs sometimes bark at people in response to their \\\"bad vibrations\\\".\",\n \"Also produced by Wilson, the title derived from his fascination with cosmic vibrations, as his mother would tell him as a child that dogs sometimes bark at people in response to their \\\"bad vibrations\\\". He used the concept to suggest extrasensory perception, while Love's lyrics were inspired by the nascent Flower Power movement.\",\n \"He used the concept to suggest extrasensory perception, while Love's lyrics were inspired by the nascent Flower Power movement. The song was written as it was recorded and in a similar fashion to other compositions from Wilson's Smile period.\",\n \"The song was written as it was recorded and in a similar fashion to other compositions from Wilson's Smile period. It was issued as a standalone single, backed with \\\"Let's Go Away for Awhile\\\", and was to be included on the never-finished album Smile.\",\n \"It was issued as a standalone single, backed with \\\"Let's Go Away for Awhile\\\", and was to be included on the never-finished album Smile. Instead, the track appeared on the September 1967 release Smiley Smile. The making of \\\"Good Vibrations\\\" was unprecedented for any kind of recording.\",\n \"The making of \\\"Good Vibrations\\\" was unprecedented for any kind of recording. Building on his approach for Pet Sounds, Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of session musicians at four different Hollywood studios from February to September 1966, a process reflected in the song's several dramatic shifts in key, texture, instrumentation and mood.\",\n \"Building on his approach for Pet Sounds, Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of session musicians at four different Hollywood studios from February to September 1966, a process reflected in the song's several dramatic shifts in key, texture, instrumentation and mood. Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars.\",\n \"Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars. Band publicist Derek Taylor dubbed the unusual work a \\\"pocket symphony\\\".\",\n \"Band publicist Derek Taylor dubbed the unusual work a \\\"pocket symphony\\\". It helped develop the use of the studio as an instrument and heralded a wave of pop experimentation and the onset of psychedelic and progressive rock.\",\n \"It helped develop the use of the studio as an instrument and heralded a wave of pop experimentation and the onset of psychedelic and progressive rock. The track featured a novel mix of instruments, including jaw harp and Electro-Theremin, and although the latter is not a true theremin, the song's success led to a renewed interest and sales of theremins and synthesizers.\",\n \"The track featured a novel mix of instruments, including jaw harp and Electro-Theremin, and although the latter is not a true theremin, the song's success led to a renewed interest and sales of theremins and synthesizers. \\\"Good Vibrations\\\" received a Grammy nomination for Best Vocal Group performance in 1966 and was inducted into the Grammy Hall of Fame in 1994.\",\n \"\\\"Good Vibrations\\\" received a Grammy nomination for Best Vocal Group performance in 1966 and was inducted into the Grammy Hall of Fame in 1994. The song was voted number one in Mojos \\\"Top 100 Records of All Time\\\" and number six on Rolling Stones \\\"500 Greatest Songs of All Time\\\", and it was included in the Rock and Roll Hall of Fame's \\\"500 Songs that Shaped Rock and Roll\\\".\",\n \"The song was voted number one in Mojos \\\"Top 100 Records of All Time\\\" and number six on Rolling Stones \\\"500 Greatest Songs of All Time\\\", and it was included in the Rock and Roll Hall of Fame's \\\"500 Songs that Shaped Rock and Roll\\\". In later years, the song has been cited as a forerunner to the Beatles' \\\"A Day in the Life\\\" (1967) and Queen's \\\"Bohemian Rhapsody\\\" (1975).\",\n \"In later years, the song has been cited as a forerunner to the Beatles' \\\"A Day in the Life\\\" (1967) and Queen's \\\"Bohemian Rhapsody\\\" (1975). A 1976 cover version by Todd Rundgren peaked at number 34 on the Billboard Hot 100.\",\n \"A 1976 cover version by Todd Rundgren peaked at number 34 on the Billboard Hot 100. The Beach Boys followed up \\\"Good Vibrations\\\" with another single pieced from sections, \\\"Heroes and Villains\\\" (1967), but it was less successful.\",\n \"The Beach Boys followed up \\\"Good Vibrations\\\" with another single pieced from sections, \\\"Heroes and Villains\\\" (1967), but it was less successful. Inspiration and writing Concept and early lyrics The Beach Boys' leader, Brian Wilson, was responsible for the musical composition and virtually all of the arrangement for \\\"Good Vibrations\\\".\",\n \"Inspiration and writing Concept and early lyrics The Beach Boys' leader, Brian Wilson, was responsible for the musical composition and virtually all of the arrangement for \\\"Good Vibrations\\\". Most of the song's structure and arrangement was written as it was recorded.\",\n \"Most of the song's structure and arrangement was written as it was recorded. During the recording sessions for the 1966 album Pet Sounds, Wilson began changing his writing process. For \\\"Good Vibrations\\\", Wilson said, \\\"I had a lot of unfinished ideas, fragments of music I called 'feels.'\",\n \"For \\\"Good Vibrations\\\", Wilson said, \\\"I had a lot of unfinished ideas, fragments of music I called 'feels.' Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic.\\\"\",\n \"Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic.\\\" Engineer Chuck Britz is quoted saying that Wilson considered the song to be \\\"his whole life performance in one track\\\". Wilson stated: \\\"I was an energetic 23-year-old. ...\",\n \"Wilson stated: \\\"I was an energetic 23-year-old. ... ... I said: 'This is going to be better than [the Phil Spector production] \\\"You've Lost That Lovin' Feelin'. Wilson said that \\\"Good Vibrations\\\" was inspired by his mother: \\\"[She] used to tell me about vibrations.\",\n \"Wilson said that \\\"Good Vibrations\\\" was inspired by his mother: \\\"[She] used to tell me about vibrations. I didn't really understand too much of what it meant when I was just a boy. It scared me, the word 'vibrations.'\",\n \"It scared me, the word 'vibrations.' She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel.\\\"\",\n \"She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel.\\\" Brian first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea.\",\n \"Brian first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea. When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style.\",\n \"When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style. Asher remembered: Wilson wanted to call the song \\\"Good Vibes\\\", but Asher advised that it was \\\"lightweight use of the language\\\", and suggested that \\\"Good Vibrations\\\" would sound less \\\"trendy\\\".\",\n \"Asher remembered: Wilson wanted to call the song \\\"Good Vibes\\\", but Asher advised that it was \\\"lightweight use of the language\\\", and suggested that \\\"Good Vibrations\\\" would sound less \\\"trendy\\\". The two proceeded to write lyrics for the verses that were ultimately discarded.\",\n \"The two proceeded to write lyrics for the verses that were ultimately discarded. Theremin and cello From the start, Wilson envisioned a theremin for the track.\",\n \"Theremin and cello From the start, Wilson envisioned a theremin for the track. AllMusic reviewer John Bush pointed out: \\\"Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel—between the single's theme and its use of an instrument the player never even touched.\\\"\",\n \"AllMusic reviewer John Bush pointed out: \\\"Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel—between the single's theme and its use of an instrument the player never even touched.\\\" \\\"Good Vibrations\\\" does not technically feature a theremin, but rather an Electro-Theremin, which is physically controlled by a knob on the side of the instrument.\",\n \"\\\"Good Vibrations\\\" does not technically feature a theremin, but rather an Electro-Theremin, which is physically controlled by a knob on the side of the instrument. It was dubbed a \\\"theremin\\\" simply for convenience.\",\n \"It was dubbed a \\\"theremin\\\" simply for convenience. At that time, theremins were most often associated with the 1945 Alfred Hitchcock film Spellbound, but their most common presence was in the theme music for the television sitcom My Favorite Martian, which ran from 1963 to 1966.\",\n \"At that time, theremins were most often associated with the 1945 Alfred Hitchcock film Spellbound, but their most common presence was in the theme music for the television sitcom My Favorite Martian, which ran from 1963 to 1966. Britz speculates: \\\"He just walked in and said, 'I have this new sound for you.'\",\n \"Britz speculates: \\\"He just walked in and said, 'I have this new sound for you.' I think he must have heard the sound somewhere and loved it, and built a song around it.\\\" It is unclear whether Wilson knew that the instrument was not a real theremin.\",\n \"It is unclear whether Wilson knew that the instrument was not a real theremin. Brian credited his brother and bandmate Carl for suggesting the use of a cello on the track.\",\n \"Brian credited his brother and bandmate Carl for suggesting the use of a cello on the track. He further stated that its triplet beat on the chorus was his own idea and that it was based on the Crystals' \\\"Da Doo Ron Ron\\\" (1963), produced by Spector.\",\n \"He further stated that its triplet beat on the chorus was his own idea and that it was based on the Crystals' \\\"Da Doo Ron Ron\\\" (1963), produced by Spector. Conversely, arranger and session musician Van Dyke Parks said that it was himself who suggested having the cellist play triplets to Brian.\",\n \"Conversely, arranger and session musician Van Dyke Parks said that it was himself who suggested having the cellist play triplets to Brian. Parks believed that having Brian exploit the cello \\\"to such a hyperbolic degree\\\" was what encouraged the duo to immediately collaborate on the never-finished album Smile.\",\n \"Parks believed that having Brian exploit the cello \\\"to such a hyperbolic degree\\\" was what encouraged the duo to immediately collaborate on the never-finished album Smile. At some point, Wilson asked Parks to pen lyrics for \\\"Good Vibrations\\\", although Parks declined.\",\n \"At some point, Wilson asked Parks to pen lyrics for \\\"Good Vibrations\\\", although Parks declined. Influences and final lyrics Wilson's cousin and bandmate Mike Love submitted the final lyrics for \\\"Good Vibrations\\\" and contributed its bass-baritone vocals in the chorus.\",\n \"Influences and final lyrics Wilson's cousin and bandmate Mike Love submitted the final lyrics for \\\"Good Vibrations\\\" and contributed its bass-baritone vocals in the chorus. He recalled that when he heard the unfinished backing track: \\\"[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it.\",\n \"He recalled that when he heard the unfinished backing track: \\\"[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it. How's this going to go over in the Midwest or Birmingham?\",\n \"How's this going to go over in the Midwest or Birmingham? It was such a departure from 'Surfin' U.S.A.' or 'Help Me, Rhonda.'\\\" Love said that he wrote the words while on the drive to the studio.\",\n \"Love said that he wrote the words while on the drive to the studio. Feeling that the song could be \\\"the Beach Boys' psychedelic anthem or flower power offering,\\\" he based the lyrics on the burgeoning psychedelic music and Flower Power movements occurring in San Francisco and some parts of the Los Angeles area.\",\n \"Feeling that the song could be \\\"the Beach Boys' psychedelic anthem or flower power offering,\\\" he based the lyrics on the burgeoning psychedelic music and Flower Power movements occurring in San Francisco and some parts of the Los Angeles area. He described the lyrics as \\\"just a flowery poem.\",\n \"He described the lyrics as \\\"just a flowery poem. Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair.'\\\"\",\n \"Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair.'\\\" Writing in his 1975 book The Beach Boys: Southern California Pastoral, Bruce Golden observed: Capitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his LSD experiences.\",\n \"Writing in his 1975 book The Beach Boys: Southern California Pastoral, Bruce Golden observed: Capitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his LSD experiences. Brian clarified that the song was written under the influence of marijuana, not LSD.\",\n \"Brian clarified that the song was written under the influence of marijuana, not LSD. He explained: \\\"I made ‘Good Vibrations’ on drugs; I used drugs to make that. ... I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity.\\\"\",\n \"I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity.\\\" In Steven Gaines's 1986 biography, Wilson is quoted on the lyrics: \\\"We talked about good vibrations with the song and the idea, and we decided on one hand that you could say ... those are sensual things.\",\n \"In Steven Gaines's 1986 biography, Wilson is quoted on the lyrics: \\\"We talked about good vibrations with the song and the idea, and we decided on one hand that you could say ... those are sensual things. And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have.\",\n \"And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have. That's what we're really talking about.\\\" Wilson said in 2012 that the song's \\\"gotta keep those good vibrations\\\" bridge was inspired by Stephen Foster.\",\n \"Wilson said in 2012 that the song's \\\"gotta keep those good vibrations\\\" bridge was inspired by Stephen Foster. Bandmate Al Jardine compared that section to Foster and the Negro spiritual \\\"Down by the Riverside\\\".\",\n \"Bandmate Al Jardine compared that section to Foster and the Negro spiritual \\\"Down by the Riverside\\\". According to Love, the lyric \\\"'she goes with me to a blossom world' was originally meant to be followed by the words 'we find'\\\", but Wilson elected to cut off the line to highlight the bass track linking into the chorus.\",\n \"According to Love, the lyric \\\"'she goes with me to a blossom world' was originally meant to be followed by the words 'we find'\\\", but Wilson elected to cut off the line to highlight the bass track linking into the chorus. Recording and production Modular approach \\\"Good Vibrations\\\" established a new method of operation for Wilson.\",\n \"Recording and production Modular approach \\\"Good Vibrations\\\" established a new method of operation for Wilson. Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or \\\"modules\\\").\",\n \"Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or \\\"modules\\\"). Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time.\",\n \"Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time. This was the same modular approach used during the sessions for Smile and Smiley Smile.\",\n \"This was the same modular approach used during the sessions for Smile and Smiley Smile. To mask each tape edit, vast reverb decays were added at the mixing and sub-mixing stages. For instrumentation, Wilson employed the services of \\\"the Wrecking Crew\\\", the nickname for a conglomerate of session musicians active in Los Angeles at that time.\",\n \"For instrumentation, Wilson employed the services of \\\"the Wrecking Crew\\\", the nickname for a conglomerate of session musicians active in Los Angeles at that time. Production for \\\"Good Vibrations\\\" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two.\",\n \"Production for \\\"Good Vibrations\\\" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two. It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands, making it the costliest single recorded to that date.\",\n \"It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands, making it the costliest single recorded to that date. Biographer Peter Ames Carlin wrote that Wilson was so puzzled by the arranging of \\\"Good Vibrations\\\" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs.\",\n \"Biographer Peter Ames Carlin wrote that Wilson was so puzzled by the arranging of \\\"Good Vibrations\\\" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs. One estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to $ and $ in ), By comparison, the whole of Pet Sounds had cost $70,000 ($), itself an unusually high cost for an album.\",\n \"One estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to $ and $ in ), By comparison, the whole of Pet Sounds had cost $70,000 ($), itself an unusually high cost for an album. In 2018, Wilson disputed the $50,000 figure for \\\"Good Vibrations\\\", saying that the overall expenses were closer to $25,000.\",\n \"In 2018, Wilson disputed the $50,000 figure for \\\"Good Vibrations\\\", saying that the overall expenses were closer to $25,000. Contemporary advertisements reported $10,000 ($) as the track's total production costs. Domenic Priore wrote that the track cost between $10,000 and $15,000 ($).\",\n \"Domenic Priore wrote that the track cost between $10,000 and $15,000 ($). When asked in a 2005 interview if it was true that the Electro-Theremin work alone cost $100,000, Wilson replied \\\"No. $15,000.\\\"\",\n \"$15,000.\\\" $15,000.\\\" Development The instrumental of the first version of the song was recorded on February 17, 1966, at Gold Star Studios and was logged as a Pet Sounds session.\",\n \"Development The instrumental of the first version of the song was recorded on February 17, 1966, at Gold Star Studios and was logged as a Pet Sounds session. On that day's session log, it was given the name \\\"#1 Untitled\\\" or \\\"Good, Good, Good Vibrations\\\", but on its master tape, Wilson distinctly states: \\\"'Good Vibrations' ... take one.\\\"\",\n \"On that day's session log, it was given the name \\\"#1 Untitled\\\" or \\\"Good, Good, Good Vibrations\\\", but on its master tape, Wilson distinctly states: \\\"'Good Vibrations' ... take one.\\\" After twenty-six takes, a rough mono mix completed the session.\",\n \"After twenty-six takes, a rough mono mix completed the session. Some additional instruments and rough guide vocals were overdubbed on February 23. Brian and Carl shared vocals for this mix.\",\n \"Brian and Carl shared vocals for this mix. The original version of \\\"Good Vibrations\\\" contained the characteristics of a \\\"funky rhythm and blues number\\\" and would not yet resemble a \\\"pocket symphony\\\". There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor, Paul Tanner.\",\n \"There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor, Paul Tanner. It was Brian's second ever recorded use of the instrument, just three days after the Pet Sounds track \\\"I Just Wasn't Made for These Times\\\".\",\n \"It was Brian's second ever recorded use of the instrument, just three days after the Pet Sounds track \\\"I Just Wasn't Made for These Times\\\". Brian then placed \\\"Good Vibrations\\\" on hold in order to devote attention to the Pet Sounds album, which saw release on May 16.\",\n \"Brian then placed \\\"Good Vibrations\\\" on hold in order to devote attention to the Pet Sounds album, which saw release on May 16. More instrumental sections for \\\"Good Vibrations\\\" were recorded between April and June.\",\n \"More instrumental sections for \\\"Good Vibrations\\\" were recorded between April and June. Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs.\",\n \"Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs. According to Brian's then-new friend David Anderle, during an early stage, Brian considered giving \\\"Good Vibrations\\\" to one of the black R&B groups signed with Warner Bros. Records such as Wilson Pickett, and then at Anderle's suggestion to singer Danny Hutton.\",\n \"According to Brian's then-new friend David Anderle, during an early stage, Brian considered giving \\\"Good Vibrations\\\" to one of the black R&B groups signed with Warner Bros. Records such as Wilson Pickett, and then at Anderle's suggestion to singer Danny Hutton. He thought about abandoning the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single.\",\n \"He thought about abandoning the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single. In the meantime, he worked on writing and recording material for the group's forthcoming album, Smile.\",\n \"In the meantime, he worked on writing and recording material for the group's forthcoming album, Smile. The first Beach Boy to hear \\\"Good Vibrations\\\" in a semi-completed form, other than Brian, was Carl.\",\n \"The first Beach Boy to hear \\\"Good Vibrations\\\" in a semi-completed form, other than Brian, was Carl. Following a performance with the touring group in North Dakota, he remembered: \\\"I came back up into my hotel room one night and the phone rang. It was Brian on the other end.\",\n \"It was Brian on the other end. He called me from the recording studio and played this really bizarre sounding music over the phone. There were drums smashing, that kind of stuff, and then it refined itself and got into the cello. It was a real funky track.\\\"\",\n \"It was a real funky track.\\\" In 1976, Brian revealed that before the final mixdown, he had been confronted with resistance by members of the group, whom Brian declined to name.\",\n \"In 1976, Brian revealed that before the final mixdown, he had been confronted with resistance by members of the group, whom Brian declined to name. The subject of their worries and complaints was the song's length and \\\"modern\\\" sound: \\\"I said no, it's not going to be too long a record, it's going to be just right.\",\n \"The subject of their worries and complaints was the song's length and \\\"modern\\\" sound: \\\"I said no, it's not going to be too long a record, it's going to be just right. ... They didn't quite understand what this jumping from studio to studio was all about.\",\n \"They didn't quite understand what this jumping from studio to studio was all about. And they couldn't conceive of the record as I did. I saw the record as a totality piece.\\\"\",\n \"I saw the record as a totality piece.\\\" The vocals for \\\"Good Vibrations\\\" were recorded at CBS Columbia Square, starting on August 24 and continuing sporadically until the very last day of assembly on September 21. The episodic structure of the composition was continuously revised as the group experimented with different ideas.\",\n \"The episodic structure of the composition was continuously revised as the group experimented with different ideas. Brian remembers that he began recording the \\\"bop bop good vibrations\\\" parts first, and that he came up with \\\"the high parts\\\" a week later.\",\n \"Brian remembers that he began recording the \\\"bop bop good vibrations\\\" parts first, and that he came up with \\\"the high parts\\\" a week later. Mike Love recalled: \\\"I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long.\\\"\",\n \"Mike Love recalled: \\\"I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long.\\\" Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute.\",\n \"Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute. In early September, the master tapes for \\\"Good Vibrations\\\" were stolen. Mysteriously, they reappeared inside Brian's home two days later.\",\n \"Mysteriously, they reappeared inside Brian's home two days later. On September 21, Brian completed the track after Tanner added a final Electro-Theremin overdub. In 1976 he elaborated on the event: \\\"It was at Columbia. I remember I had it right in the sack.\",\n \"I remember I had it right in the sack. I could just feel it when I dubbed it down, made the final mix from the 16-track down to mono. It was a feeling of power, it was a rush. A feeling of exaltation. Artistic beauty. It was everything ... I remember saying, 'Oh my God.\",\n \"I remember saying, 'Oh my God. Sit back and listen to this!'\\\" Composition and analysis Genre and dynamics There are six unique sections to the piece.\",\n \"Composition and analysis Genre and dynamics There are six unique sections to the piece. Music theorist Daniel Harrison refers to these sections individually as the verse, the refrain (or chorus), the \\\"first episodic digression\\\", the \\\"second episodic digression\\\", the \\\"retro-refrain\\\", and the coda.\",\n \"Music theorist Daniel Harrison refers to these sections individually as the verse, the refrain (or chorus), the \\\"first episodic digression\\\", the \\\"second episodic digression\\\", the \\\"retro-refrain\\\", and the coda. Each has a distinct musical texture, partly due to the nature of the song's recording.\",\n \"Each has a distinct musical texture, partly due to the nature of the song's recording. The track's instrumentation changes radically from section to section, and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a \\\"very long\\\" duration.\",\n \"The track's instrumentation changes radically from section to section, and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a \\\"very long\\\" duration. Wilson is quoted in 1979: He characterized the song as \\\"advanced rhythm and blues\\\".\",\n \"Wilson is quoted in 1979: He characterized the song as \\\"advanced rhythm and blues\\\". Tom Roland of American Songwriter described the piece, \\\"with its interlocking segments—a sort of pop version of the classical sonata, consisting of a series of musical movements\\\".\",\n \"Tom Roland of American Songwriter described the piece, \\\"with its interlocking segments—a sort of pop version of the classical sonata, consisting of a series of musical movements\\\". New York Magazine compared it to \\\"a fugue with a rhythmic beat\\\".\",\n \"New York Magazine compared it to \\\"a fugue with a rhythmic beat\\\". John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs.\",\n \"John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs. Music journal Sound on Sound argued that the song \\\"has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour\\\".\",\n \"Music journal Sound on Sound argued that the song \\\"has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour\\\". It explained that the song subverts pop forms to a considerable degree: According to historian Lorenzo Candelaria, \\\"Good Vibrations\\\" has since been marketed as pop music \\\"possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know.\\\"\",\n \"It explained that the song subverts pop forms to a considerable degree: According to historian Lorenzo Candelaria, \\\"Good Vibrations\\\" has since been marketed as pop music \\\"possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know.\\\" Uncut called the song \\\"three minutes and thirty-six seconds of avant-garde pop\\\".\",\n \"Uncut called the song \\\"three minutes and thirty-six seconds of avant-garde pop\\\". Mixdown described it as a \\\"masterpiece of avant-pop\\\". The theremin and cello has been called the song's \\\"psychedelic ingredient\\\".\",\n \"The theremin and cello has been called the song's \\\"psychedelic ingredient\\\". In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin.\",\n \"In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin. Professor of American history John Robert Greene named \\\"Good Vibrations\\\" among examples of psychedelic or acid rock.\",\n \"Professor of American history John Robert Greene named \\\"Good Vibrations\\\" among examples of psychedelic or acid rock. Stebbins wrote that the song was \\\"replete with sunshine [and] psychedelia\\\". Steve Valdez says that, like Pet Sounds, Brian was attempting a more experimental rock style.\",\n \"Steve Valdez says that, like Pet Sounds, Brian was attempting a more experimental rock style. Comparing \\\"Good Vibrations\\\" to Wilson's previous work Pet Sounds, biographer Andrew Hickey said that the \\\"best way of thinking about [the song] is that it's taking the lowest common denominator of 'Here Today' and 'God Only Knows' and turned the result into an R&B track.\",\n \"Comparing \\\"Good Vibrations\\\" to Wilson's previous work Pet Sounds, biographer Andrew Hickey said that the \\\"best way of thinking about [the song] is that it's taking the lowest common denominator of 'Here Today' and 'God Only Knows' and turned the result into an R&B track. We have the same minor-key change between verse and chorus we've seen throughout Pet Sounds, the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to funky.\\\"\",\n \"We have the same minor-key change between verse and chorus we've seen throughout Pet Sounds, the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to funky.\\\" Author Jon Stebbins adds that \\\"unlike Pet Sounds the chorus of 'Good Vibrations' projects a definite 'rock and roll' energy and feel.\\\"\",\n \"Author Jon Stebbins adds that \\\"unlike Pet Sounds the chorus of 'Good Vibrations' projects a definite 'rock and roll' energy and feel.\\\" According to academic Rikky Rooksby, \\\"Good Vibrations\\\" is an example of Brian Wilson's growing interest in musical development within a composition, something antithetical to popular music of the time.\",\n \"According to academic Rikky Rooksby, \\\"Good Vibrations\\\" is an example of Brian Wilson's growing interest in musical development within a composition, something antithetical to popular music of the time. Suppressing tonic strength and cadential drive, the song makes use of descending harmonic motions through scale degrees controlled by a single tonic and \\\"radical disjunctions\\\" in key, texture, instrumentation, and mood while refusing to develop into a predictable formal pattern.\",\n \"Suppressing tonic strength and cadential drive, the song makes use of descending harmonic motions through scale degrees controlled by a single tonic and \\\"radical disjunctions\\\" in key, texture, instrumentation, and mood while refusing to develop into a predictable formal pattern. It instead develops \\\"under its own power\\\" and \\\"luxuriates in harmonic variety\\\" exemplified by beginning and ending not only in different keys but also in different modes.\",\n \"It instead develops \\\"under its own power\\\" and \\\"luxuriates in harmonic variety\\\" exemplified by beginning and ending not only in different keys but also in different modes. Verses and refrains (0:00–1:40) \\\"Good Vibrations\\\" begins without introduction in a traditional verse/refrain format, opening with Carl Wilson singing the word \\\"I\\\", a triplet eighth note before the downbeat.\",\n \"Verses and refrains (0:00–1:40) \\\"Good Vibrations\\\" begins without introduction in a traditional verse/refrain format, opening with Carl Wilson singing the word \\\"I\\\", a triplet eighth note before the downbeat. The sparse first verse contains a repetition of chords played on a Hammond organ filtered through a Leslie speaker; underneath is a two-bar Fender bass melody.\",\n \"The sparse first verse contains a repetition of chords played on a Hammond organ filtered through a Leslie speaker; underneath is a two-bar Fender bass melody. This sequence repeats once (0:15), but with the addition of two piccolos sustaining over a falling flute line.\",\n \"This sequence repeats once (0:15), but with the addition of two piccolos sustaining over a falling flute line. For percussion, bongo drums double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation.\",\n \"For percussion, bongo drums double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation. The beat projects a triplet feel despite being in time; this is sometimes called a \\\"shuffle beat\\\" or \\\"threes over fours\\\".\",\n \"The beat projects a triplet feel despite being in time; this is sometimes called a \\\"shuffle beat\\\" or \\\"threes over fours\\\". The chord progression used is i–VII–VI–V, also called an Andalusian cadence. Although the verses begin in the minor mode of E, the mode is not used to express sadness or drudgery.\",\n \"Although the verses begin in the minor mode of E, the mode is not used to express sadness or drudgery. Occurring at the very end of these verses is a passing chord, D. The refrain (0:25) begins in the newly tonicized relative major G, which suggests III.\",\n \"Occurring at the very end of these verses is a passing chord, D. The refrain (0:25) begins in the newly tonicized relative major G, which suggests III. Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music.\",\n \"Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music. The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat.\",\n \"The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat. This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals.\",\n \"This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals. The first section consists of only the couplet \\\"I'm picking up good vibrations/she's giving me the excitation\\\" sung by Mike Love in his bass-baritone register; the second repeats the lines and adds an \\\"ooo bop bop\\\" figure, sung in multiple-part harmony; the third time also adds a \\\"good, good, good, good vibrations\\\" in yet a higher harmony.\",\n \"The first section consists of only the couplet \\\"I'm picking up good vibrations/she's giving me the excitation\\\" sung by Mike Love in his bass-baritone register; the second repeats the lines and adds an \\\"ooo bop bop\\\" figure, sung in multiple-part harmony; the third time also adds a \\\"good, good, good, good vibrations\\\" in yet a higher harmony. This type of polyphony (counterpoint) is also rare in contemporary popular styles.\",\n \"This type of polyphony (counterpoint) is also rare in contemporary popular styles. Each repeat of the vocal lines also transposes up by a whole step, ascending from G to A and then B. It then returns to the verse, thus making a perfect cadence back into E minor.\",\n \"It then returns to the verse, thus making a perfect cadence back into E minor. The verse and refrain then repeat without any changes to the patterns of its instrumentation and harmony. This is unusual, in that normally, a song's arrangement adds something once it reaches the second verse.\",\n \"This is unusual, in that normally, a song's arrangement adds something once it reaches the second verse. Episodic digressions First episode (1:41–2:13) The first episode (1:41+) begins disjunctively with an abrupt tape splice.\",\n \"Episodic digressions First episode (1:41–2:13) The first episode (1:41+) begins disjunctively with an abrupt tape splice. The refrain's B, which had received a dominant (V) charge, is now maintained as a tonic (I).\",\n \"The refrain's B, which had received a dominant (V) charge, is now maintained as a tonic (I). There is harmonic ambiguity, in that the chord progression may be either interpreted as I–IV–I (in B) or V–I–V (in E).\",\n \"There is harmonic ambiguity, in that the chord progression may be either interpreted as I–IV–I (in B) or V–I–V (in E). Stebbins says that this section \\\"might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply.\\\"\",\n \"Stebbins says that this section \\\"might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply.\\\" A new sound is created by tack piano, jaw harp, and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, bass harmonica, and sleigh bells shaken on every beat.\",\n \"A new sound is created by tack piano, jaw harp, and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, bass harmonica, and sleigh bells shaken on every beat. The lone line of vocals (aside from non-lexical harmonies) is \\\"I don't know where, but she sends me there\\\" sung in Mike Love's upper-register baritone.\",\n \"The lone line of vocals (aside from non-lexical harmonies) is \\\"I don't know where, but she sends me there\\\" sung in Mike Love's upper-register baritone. This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns.\",\n \"This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns. Second episode (2:13–2:56) Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat.\",\n \"Second episode (2:13–2:56) Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat. Sound on Sound highlights this change as the \\\"most savage edit in the track ... most people would go straight into a big splash hook-line section.\",\n \"Sound on Sound highlights this change as the \\\"most savage edit in the track ... most people would go straight into a big splash hook-line section. Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ...\",\n \"Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ... Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian.\\\"\",\n \"Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian.\\\" Harrison says: The slowed pace is complemented by the lyric (\\\"Gotta keep those loving good vibrations a-happening with her\\\"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony.\",\n \"Harrison says: The slowed pace is complemented by the lyric (\\\"Gotta keep those loving good vibrations a-happening with her\\\"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony. This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2.\",\n \"This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2. The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats.\",\n \"The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats. Lambert calls it the song's \\\"wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments.\",\n \"Lambert calls it the song's \\\"wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments. As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say.\\\"\",\n \"As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say.\\\" Retro-refrain and coda (2:57–3:35) A brief break at the end of the second musical digression creates tension which leads into the final sequence of the song.\",\n \"Retro-refrain and coda (2:57–3:35) A brief break at the end of the second musical digression creates tension which leads into the final sequence of the song. The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B, repeats at A, and then ends at G for an unexpectedly short single measure.\",\n \"The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B, repeats at A, and then ends at G for an unexpectedly short single measure. The section uses a descending progression, which mirrors the ascending progression of the previous two refrains.\",\n \"The section uses a descending progression, which mirrors the ascending progression of the previous two refrains. There follows a short section of vocalizing in three-part counterpoint that references the original refrain by reproducing upward transposition. However, this time it settles on A, the concluding key of the song.\",\n \"However, this time it settles on A, the concluding key of the song. By the end of \\\"Good Vibrations,\\\" all seven scale degrees of the opening E-minor tonic are activated on some level.\",\n \"By the end of \\\"Good Vibrations,\\\" all seven scale degrees of the opening E-minor tonic are activated on some level. Release and promotion In a July 1966 advertisement for Pet Sounds in Billboard magazine, the band thanked the music industry for the sales of their album, and said that \\\"We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations.\\\"\",\n \"Release and promotion In a July 1966 advertisement for Pet Sounds in Billboard magazine, the band thanked the music industry for the sales of their album, and said that \\\"We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations.\\\" This was the first public hint of the new single.\",\n \"This was the first public hint of the new single. Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was \\\"about a guy who picks up good vibrations from a girl\\\" and that it would be a \\\"monster\\\".\",\n \"Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was \\\"about a guy who picks up good vibrations from a girl\\\" and that it would be a \\\"monster\\\". He then suggested: \\\"It's still sticking pretty close to that same boy-girl thing, you know, but with a difference.\",\n \"He then suggested: \\\"It's still sticking pretty close to that same boy-girl thing, you know, but with a difference. And it's a start, it's definitely a start.\\\"\",\n \"And it's a start, it's definitely a start.\\\" Derek Taylor, who had recently been engaged as the band's publicist, is credited for coining the term a \\\"pocket symphony\\\" to describe the song.\",\n \"Derek Taylor, who had recently been engaged as the band's publicist, is credited for coining the term a \\\"pocket symphony\\\" to describe the song. In a press release for the single, he stated: \\\"Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils.\",\n \"In a press release for the single, he stated: \\\"Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils. And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else.\\\"\",\n \"And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else.\\\" To promote the single, four different music videos were shot.\",\n \"To promote the single, four different music videos were shot. The first of these—which had Caleb Deschanel as cameraman—features the group at a fire station, sliding down its pole, and roaming the streets of Los Angeles in a fashion comparable to The Monkees. The second features the group during vocal rehearsals at United Western Recorders.\",\n \"The second features the group during vocal rehearsals at United Western Recorders. The third contains footage recorded during the making of The Beach Boys in London, a documentary by Peter Whitehead of their concert performances. The fourth clip is an alternative edit of the third.\",\n \"The fourth clip is an alternative edit of the third. Brian also made a rare television appearance on local station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record.\",\n \"Brian also made a rare television appearance on local station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record. On October 15, 1966, Billboard predicted that the single would reach the top 20 in the Billboard Hot 100 chart.\",\n \"On October 15, 1966, Billboard predicted that the single would reach the top 20 in the Billboard Hot 100 chart. \\\"Good Vibrations\\\" was the Beach Boys' third US number one hit, after \\\"I Get Around\\\" and \\\"Help Me, Rhonda\\\", reaching the top of the Hot 100 in December.\",\n \"\\\"Good Vibrations\\\" was the Beach Boys' third US number one hit, after \\\"I Get Around\\\" and \\\"Help Me, Rhonda\\\", reaching the top of the Hot 100 in December. It was also their first number one in Britain.\",\n \"It was also their first number one in Britain. The single sold over 230,000 copies in the US within four days of its release and entered the Cash Box chart at number 61 on October 22. In the UK, the song sold over 50,000 copies in the first 15 days of its release.\",\n \"In the UK, the song sold over 50,000 copies in the first 15 days of its release. \\\"Good Vibrations\\\" quickly became the Beach Boys' first million-selling single. In December 1966, the record was their first single certified gold by the RIAA for sales of one million copies.\",\n \"In December 1966, the record was their first single certified gold by the RIAA for sales of one million copies. On March 30, 2016, the digital single was certified platinum by the RIAA for the same sales level.\",\n \"On March 30, 2016, the digital single was certified platinum by the RIAA for the same sales level. In the US, Cash Box said that it is a \\\"catchy, easy-driving ditty loaded with the Boys’ money-making sound.\\\" In Britain, the single received favorable reviews from the New Musical Express and Melody Maker.\",\n \"In Britain, the single received favorable reviews from the New Musical Express and Melody Maker. Soon after, the Beach Boys were voted the number one band in the world in the NME readers' poll, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops.\",\n \"Soon after, the Beach Boys were voted the number one band in the world in the NME readers' poll, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops. Billboard said that this result was probably influenced by the success of \\\"Good Vibrations\\\" when the votes were cast, together with the band's recent tour, whereas the Beatles had neither a recent single nor had they toured the UK throughout 1966; the reporter added that \\\"The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak.\\\"\",\n \"Billboard said that this result was probably influenced by the success of \\\"Good Vibrations\\\" when the votes were cast, together with the band's recent tour, whereas the Beatles had neither a recent single nor had they toured the UK throughout 1966; the reporter added that \\\"The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak.\\\" In a readers' poll conducted by a Danish newspaper, Brian Wilson won the \\\"best foreign-produced recording award\\\", marking the first time that an American had won in that category.\",\n \"In a readers' poll conducted by a Danish newspaper, Brian Wilson won the \\\"best foreign-produced recording award\\\", marking the first time that an American had won in that category. The single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc.\",\n \"The single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc. Influence and legacy Historical reception Virtually every pop music critic recognizes \\\"Good Vibrations\\\" as one of the most important compositions and recordings of the entire rock era.\",\n \"Influence and legacy Historical reception Virtually every pop music critic recognizes \\\"Good Vibrations\\\" as one of the most important compositions and recordings of the entire rock era. It is a regular fixture on \\\"greatest of all-time\\\" song lists and is frequently hailed as one of the finest pop productions of all time.\",\n \"It is a regular fixture on \\\"greatest of all-time\\\" song lists and is frequently hailed as one of the finest pop productions of all time. In 2004, Rolling Stone magazine ranked \\\"Good Vibrations\\\" at number 6 in \\\"The 500 Greatest Songs of All Time\\\", the highest position of seven Beach Boys songs cited in the list.\",\n \"In 2004, Rolling Stone magazine ranked \\\"Good Vibrations\\\" at number 6 in \\\"The 500 Greatest Songs of All Time\\\", the highest position of seven Beach Boys songs cited in the list. In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list.\",\n \"In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list. As of 2016, \\\"Good Vibrations\\\" is ranked as the number four song of all time in an aggregation of critics' lists at Acclaimed Music. The song served as an anthem for the counterculture of the 1960s.\",\n \"The song served as an anthem for the counterculture of the 1960s. According to Noel Murray of The A.V.\",\n \"According to Noel Murray of The A.V. Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's \\\"un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do.\\\"\",\n \"Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's \\\"un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do.\\\" Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for \\\"Good Vibrations\\\".\",\n \"Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for \\\"Good Vibrations\\\". \\\"Heroes and Villains\\\", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967.\",\n \"\\\"Heroes and Villains\\\", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967. In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of \\\"Good Vibrations\\\".\",\n \"In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of \\\"Good Vibrations\\\". When asked about the song in 1990, Paul McCartney responded: \\\"I thought it was a great record.\",\n \"When asked about the song in 1990, Paul McCartney responded: \\\"I thought it was a great record. It didn't quite have the emotional thing that Pet Sounds had for me. I've often played Pet Sounds and cried. It's that kind of an album for me.\\\"\",\n \"It's that kind of an album for me.\\\" Pete Townshend of the Who was quoted in the 1960s as saying, \\\"'Good Vibrations' was probably a good record but who's to know? You had to play it about 90 bloody times to even hear what they were singing about.\\\"\",\n \"You had to play it about 90 bloody times to even hear what they were singing about.\\\" Townshend feared that the single would lead to a trend of overproduction. In a 1966 issue of Arts Magazine, Jonathan King said: \\\"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art.\",\n \"In a 1966 issue of Arts Magazine, Jonathan King said: \\\"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art. Computerized pop, mechanized music. Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons.\",\n \"Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons. It is long and split. ... impressive, fantastic, commercial—yes. Emotional, soul-destroying, shattering—no.\\\"\",\n \"Emotional, soul-destroying, shattering—no.\\\" In the 2000s, record producer Phil Spector criticized the single for depending too much on tape manipulation, negatively referring to it as an \\\"edit record ... It's like Psycho is a great film, but it's an 'edit film.'\",\n \"It's like Psycho is a great film, but it's an 'edit film.' Without edits, it's not a film; with edits, it's a great film. But it's not Rebecca ... it's not a beautiful story.\\\"\",\n \"But it's not Rebecca ... it's not a beautiful story.\\\" Advancements Recording and popular music \\\"Good Vibrations\\\" is credited for having further developed the use of recording studios as a musical instrument.\",\n \"Advancements Recording and popular music \\\"Good Vibrations\\\" is credited for having further developed the use of recording studios as a musical instrument. Author Domenic Priore commented that the song's making was \\\"unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording\\\".\",\n \"Author Domenic Priore commented that the song's making was \\\"unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording\\\". A milestone in the development of rock music, the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record.\",\n \"A milestone in the development of rock music, the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record. Musicologist Charlie Gillett called it \\\"one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance\\\".\",\n \"Musicologist Charlie Gillett called it \\\"one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance\\\". In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted: Writing for Popmatters in 2015, Scott Interrante stated: \\\"'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have.\\\"\",\n \"In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted: Writing for Popmatters in 2015, Scott Interrante stated: \\\"'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have.\\\" The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm.\",\n \"The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm. Microtonal composer Frank Oteri said that it \\\"sounds like no other pop song recorded up to that point\\\".\",\n \"Microtonal composer Frank Oteri said that it \\\"sounds like no other pop song recorded up to that point\\\". According to Stebbins: \\\"This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original.\",\n \"According to Stebbins: \\\"This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original. But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century.\\\"\",\n \"But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century.\\\" He added that the single \\\"vaulted nearly every other rock act in their delivery of a Flower Power classic. It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop.\\\"\",\n \"It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop.\\\" John Bush wrote that the single \\\"announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies\\\".\",\n \"John Bush wrote that the single \\\"announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies\\\". Gillett noted: \\\"For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording.\\\"\",\n \"Gillett noted: \\\"For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording.\\\" Priore says that the song was a forerunner to works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes.\",\n \"Priore says that the song was a forerunner to works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes. In his appraisal for American Songwriter, Roland cites the song's \\\"format\\\" as the model for recordings by Wings (\\\"Band on the Run\\\"), the Beatles (\\\"A Day in the Life\\\"), and Elton John (\\\"Funeral for a Friend/Love Lies Bleeding\\\").\",\n \"In his appraisal for American Songwriter, Roland cites the song's \\\"format\\\" as the model for recordings by Wings (\\\"Band on the Run\\\"), the Beatles (\\\"A Day in the Life\\\"), and Elton John (\\\"Funeral for a Friend/Love Lies Bleeding\\\"). The song's approach was repeated in Queen's 1975 single \\\"Bohemian Rhapsody\\\", which was similarly pieced together using different sections.\",\n \"The song's approach was repeated in Queen's 1975 single \\\"Bohemian Rhapsody\\\", which was similarly pieced together using different sections. Wilson praised Queen's effort, calling it \\\"the most competitive thing that's come along in ages\\\" and \\\"a fulfillment and an answer to a teenage prayer—of artistic music\\\".\",\n \"Wilson praised Queen's effort, calling it \\\"the most competitive thing that's come along in ages\\\" and \\\"a fulfillment and an answer to a teenage prayer—of artistic music\\\". Psychedelic and progressive rock With \\\"Good Vibrations\\\", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages.\",\n \"Psychedelic and progressive rock With \\\"Good Vibrations\\\", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages. Writing in 2009, Barney Hoskyns deemed it to be the era's \\\"ultimate psychedelic pop record\\\" from Los Angeles.\",\n \"Writing in 2009, Barney Hoskyns deemed it to be the era's \\\"ultimate psychedelic pop record\\\" from Los Angeles. Interrante adds: \\\"Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated, but its legacy as a pop hit is impressive as well.\\\"\",\n \"Interrante adds: \\\"Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated, but its legacy as a pop hit is impressive as well.\\\" Former Atlantic Records executive Phillip Rauls recalled: \\\"I was in the music business at the time, and my very first recognition of acid rock—we didn't call it progressive rock then—was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [theremin] sent so many musicians back to the studio to create this music on acid.\\\"\",\n \"Former Atlantic Records executive Phillip Rauls recalled: \\\"I was in the music business at the time, and my very first recognition of acid rock—we didn't call it progressive rock then—was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [theremin] sent so many musicians back to the studio to create this music on acid.\\\" Author Bill Martin suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: \\\"The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life.'\\\"\",\n \"Author Bill Martin suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: \\\"The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life.'\\\" Use of theremin Although the song does not technically contain a theremin, \\\"Good Vibrations\\\" is the most frequently cited example of the instrument's use in pop music.\",\n \"Use of theremin Although the song does not technically contain a theremin, \\\"Good Vibrations\\\" is the most frequently cited example of the instrument's use in pop music. Upon release, the single prompted an unexpected revival in theremins and increased the awareness of analog synthesizers.\",\n \"Upon release, the single prompted an unexpected revival in theremins and increased the awareness of analog synthesizers. The notion that \\\"Good Vibrations\\\" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants.\",\n \"The notion that \\\"Good Vibrations\\\" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants. While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin.\",\n \"While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin. When the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments.\",\n \"When the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments. Tanner recalls saying to Wilson, \\\"I've got the wrong sort of hair to be on stage with you fellas\\\", to which Wilson replied: \\\"We'll give you a Prince Valiant wig.\\\"\",\n \"Tanner recalls saying to Wilson, \\\"I've got the wrong sort of hair to be on stage with you fellas\\\", to which Wilson replied: \\\"We'll give you a Prince Valiant wig.\\\" The Beach Boys then requested the services of Walter Sear, who asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar.\",\n \"The Beach Boys then requested the services of Walter Sear, who asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar. Sear remembers marking fretboard-like lines on the ribbon \\\"so they could play the damn thing.\\\" Moog began manufacturing his own models of theremins.\",\n \"Moog began manufacturing his own models of theremins. He later noted: \\\"The pop record scene cleaned us out of our stock which we expected to last through Christmas.\\\"\",\n \"He later noted: \\\"The pop record scene cleaned us out of our stock which we expected to last through Christmas.\\\" In Steven M. Martin's 1993 documentary Theremin: An Electronic Odyssey, in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin due to \\\"Good Vibrations\\\" caused Russian authorities to exile its inventor, Leon Theremin.\",\n \"In Steven M. Martin's 1993 documentary Theremin: An Electronic Odyssey, in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin due to \\\"Good Vibrations\\\" caused Russian authorities to exile its inventor, Leon Theremin. Cover versions The song has been covered by artists such as Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV.\",\n \"Cover versions The song has been covered by artists such as Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV. John Bush commented: \\\"'Good Vibrations' was rarely reprised by other acts, even during the cover-happy '60s. Its fragmented style made it essentially cover-proof.\\\"\",\n \"Its fragmented style made it essentially cover-proof.\\\" In 1976, a nearly identical cover version was released as a single by Todd Rundgren for his album Faithful. When asked for his opinion, Brian said: \\\"Oh, he did a marvelous job, he did a great job. I was very proud of his version.\\\"\",\n \"I was very proud of his version.\\\" Rundgren's single peaked at number 34 on the Billboard Hot 100.\",\n \"Rundgren's single peaked at number 34 on the Billboard Hot 100. Rundgren explained: \\\"I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting—like around Pet Sounds and 'Good Vibrations' ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal.\",\n \"Rundgren explained: \\\"I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting—like around Pet Sounds and 'Good Vibrations' ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal. ...\",\n \"... ... I tried to do [the song] as literally as I could because in the intervening 10 years, radio had changed so much. Radio had become so formatted and so structured that that whole experience was already gone.\\\" In 2004, Wilson re-recorded the song as a solo artist for his album Brian Wilson Presents Smile.\",\n \"In 2004, Wilson re-recorded the song as a solo artist for his album Brian Wilson Presents Smile. It was sequenced as the album's closing track, following \\\"In Blue Hawaii\\\". In this version, \\\"Good Vibrations\\\" was the project's only track that eschewed the modular recording method.\",\n \"In this version, \\\"Good Vibrations\\\" was the project's only track that eschewed the modular recording method. The song's verses and chorus were recorded as part of one whole take, and were not spliced together.\",\n \"The song's verses and chorus were recorded as part of one whole take, and were not spliced together. In 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated.\",\n \"In 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated. Their version of \\\"Good Vibrations\\\", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on Billboards A/C chart.\",\n \"Their version of \\\"Good Vibrations\\\", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on Billboards A/C chart. In popular culture The song's parody is used for the jingle of the Australian consumer electronics retailer The Good Guys.\",\n \"In popular culture The song's parody is used for the jingle of the Australian consumer electronics retailer The Good Guys. In 1996, experimental rock group His Name Is Alive released an homage titled \\\"Universal Frequencies\\\" on their album Stars on E.S.P.\",\n \"In 1996, experimental rock group His Name Is Alive released an homage titled \\\"Universal Frequencies\\\" on their album Stars on E.S.P. Warren Defever reportedly listened to \\\"Good Vibrations\\\" repeatedly for a week before deciding that the song \\\"needed a sequel\\\"; he added: \\\"'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful.\\\"\",\n \"Warren Defever reportedly listened to \\\"Good Vibrations\\\" repeatedly for a week before deciding that the song \\\"needed a sequel\\\"; he added: \\\"'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful.\\\" In 1997, the movie Vegas Vacation used the song for the opening credits, with Clark Griswold (Chevy Chase) singing the song.\",\n \"In 1997, the movie Vegas Vacation used the song for the opening credits, with Clark Griswold (Chevy Chase) singing the song. The song's lyrics \\\"I'm picking up good vibrations\\\" are quoted in Cyndi Lauper's 1984 single \\\"She Bop\\\".\",\n \"The song's lyrics \\\"I'm picking up good vibrations\\\" are quoted in Cyndi Lauper's 1984 single \\\"She Bop\\\". A live version of the song, from the album Live in London, appears as a playable track in the 2010 video game Rock Band 3.\",\n \"A live version of the song, from the album Live in London, appears as a playable track in the 2010 video game Rock Band 3. In 2019, the song was used prominently in a scene for Jordan Peele's psychological horror thriller film Us.\",\n \"In 2019, the song was used prominently in a scene for Jordan Peele's psychological horror thriller film Us. In 2018, The song was featured in the animated film Hotel Transylvania 3: Summer Vacation.\",\n \"In 2018, The song was featured in the animated film Hotel Transylvania 3: Summer Vacation. Release history In early 2011, the single was remastered and reissued as a four-sided 78 rpm vinyl for Record Store Day, as a teaser for the forthcoming The Smile Sessions box set.\",\n \"Release history In early 2011, the single was remastered and reissued as a four-sided 78 rpm vinyl for Record Store Day, as a teaser for the forthcoming The Smile Sessions box set. It contained \\\"Heroes and Villains\\\" as a B-side, along with previously released alternate takes and mixes.\",\n \"It contained \\\"Heroes and Villains\\\" as a B-side, along with previously released alternate takes and mixes. Stereo version Due to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile.\",\n \"Stereo version Due to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile. The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett.\",\n \"The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett. Fitzgerald's software extracted individual instrumental and vocal stems from the original mono master—as the multi-track vocals remained missing—to construct the stereo version that appears on the 2012 reissue of Smiley Smile.\",\n \"Fitzgerald's software extracted individual instrumental and vocal stems from the original mono master—as the multi-track vocals remained missing—to construct the stereo version that appears on the 2012 reissue of Smiley Smile. 40th Anniversary Edition In celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released.\",\n \"40th Anniversary Edition In celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released. The EP includes \\\"Good Vibrations\\\", four alternate versions of the song, and the stereo mix of \\\"Let's Go Away for Awhile\\\". The EP artwork recreates that of the original 7-inch single sleeve.\",\n \"The EP artwork recreates that of the original 7-inch single sleeve. In 2016, the EP was reissued as a 12\\\" record for the single's 50th anniversary. Personnel The following people are identified as players on the \\\"Good Vibrations\\\" single.\",\n \"Personnel The following people are identified as players on the \\\"Good Vibrations\\\" single. The Beach Boys Mike Love – lead vocals in chorus Brian Wilson – vocals, tack piano, tambourine, production, mixing Carl Wilson – lead vocals in verses, guitar, shaker Dennis Wilson – Hammond organ during 2:13–2:56 Additional musicians and production staff Hal Blaine – drums, timpani, other percussion Al De Lory – piano, harpsichord Jesse Ehrlich – cello Larry Knechtel – organ in verses and choruses Tommy Morgan – harmonica Al Casey – guitar Ray Pohlman – electric bass Lyle Ritz – double bass Jim Horn – piccolo Paul Tanner – Electro-Theremin Bassist Carol Kaye played on several of the \\\"Good Vibrations\\\" sessions, and has been identified as a prominent contributor to the track.\",\n \"The Beach Boys Mike Love – lead vocals in chorus Brian Wilson – vocals, tack piano, tambourine, production, mixing Carl Wilson – lead vocals in verses, guitar, shaker Dennis Wilson – Hammond organ during 2:13–2:56 Additional musicians and production staff Hal Blaine – drums, timpani, other percussion Al De Lory – piano, harpsichord Jesse Ehrlich – cello Larry Knechtel – organ in verses and choruses Tommy Morgan – harmonica Al Casey – guitar Ray Pohlman – electric bass Lyle Ritz – double bass Jim Horn – piccolo Paul Tanner – Electro-Theremin Bassist Carol Kaye played on several of the \\\"Good Vibrations\\\" sessions, and has been identified as a prominent contributor to the track. However, analysis by Beach Boys archivist Craig Slowinski indicates that none of those recordings made the final edit as released on the single.\",\n \"However, analysis by Beach Boys archivist Craig Slowinski indicates that none of those recordings made the final edit as released on the single. Charts Weekly charts Original release 1976 reissue Todd Rundgren version (1976) Year-end charts Certifications Awards and accolades Footnotes References Bibliography External links Greg Panfile's Musical Analysis of \\\"Good Vibrations\\\" 1966 singles 1966 songs 2004 singles 2011 singles Brian Wilson songs Psychic TV songs The Beach Boys songs Todd Rundgren songs Capitol Records singles Grammy Hall of Fame Award recipients Billboard Hot 100 number-one singles Cashbox number-one singles Number-one singles in Australia Number-one singles in New Zealand UK Singles Chart number-one singles Songs written by Brian Wilson Songs written by Mike Love Songs written by Tony Asher Song recordings produced by Brian Wilson Song recordings with Wall of Sound arrangements Art pop songs Avant-pop songs Psychedelic pop songs American psychedelic rock songs Songs used as jingles Songs composed in E-flat minor\"\n]"}}},{"rowIdx":478,"cells":{"History":{"kind":"list like","value":["Good Vibrations","Historical reception","What historical reception did the song get?","Virtually every pop music critic recognizes \"Good Vibrations\" as one of the most important compositions and recordings of the entire rock era."],"string":"[\n \"Good Vibrations\",\n \"Historical reception\",\n \"What historical reception did the song get?\",\n \"Virtually every pop music critic recognizes \\\"Good Vibrations\\\" as one of the most important compositions and recordings of the entire rock era.\"\n]"},"QuAC_dialog_id":{"kind":"string","value":"C_3511c60eb57b41c2bebf1299ed0caeeb_0"},"Question":{"kind":"string","value":"Why is it such an important song?"},"Question_no":{"kind":"number","value":2,"string":"2"},"Rewrite":{"kind":"string","value":"Why is Good Vibrations such an important song?"},"true_page_title":{"kind":"string","value":"Good Vibrations"},"true_contexts":{"kind":"string","value":"Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat. Sound on Sound highlights this change as the \"most savage edit in the track ... most people would go straight into a big splash hook-line section. Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ... Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian.\" Harrison says: The appearance of episode 1 was unusual enough but could be explained as an extended break between verse and refrain sections. Episode 2 however, makes that interpretation untenable, and both listener and analyst must entertain the idea that \"Good Vibrations\" develops under its own power, as it were, without the guidance of overdetermined formal patterns. Brian's [sic] own description of the song--a three-and-a-half-minute 'pocket symphony'--is a telling clue about his formal ambitions here. The slowed pace is complemented by the lyric (\"Gotta keep those loving good vibrations a-happening with her\"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony. This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2. The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats. Lambert calls it the song's \"wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments. As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say.\" Virtually every pop music critic recognizes \"Good Vibrations\" as one of the most important compositions and recordings of the entire rock era. It is a regular fixture on \"greatest of all-time\" song lists and is frequently hailed as one of the finest pop productions of all time. In 2004, Rolling Stone magazine ranked \"Good Vibrations\" at number 6 in \"The 500 Greatest Songs of All Time\", the highest position of seven Beach Boys songs cited in the list. In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list. As of 2016, \"Good Vibrations\" is ranked as the number four song of all time in an aggregation of critics' lists at Acclaimed Music. The song served as an anthem for the counterculture of the 1960s. According to Noel Murray of The A.V. Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's \"un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do.\" Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for \"Good Vibrations\". \"Heroes and Villains\", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967. In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of \"Good Vibrations\". When asked about the song in 1990, Paul McCartney responded: \"I thought it was a great record. It didn't quite have the emotional thing that Pet Sounds had for me. I've often played Pet Sounds and cried. It's that kind of an album for me.\" Pete Townshend of the Who was quoted in the 1960s as saying, \"'Good Vibrations' was probably a good record but who's to know? You had to play it about 90 bloody times to even hear what they were singing about.\" Townshend feared that the single would lead to a trend of overproduction. In a 1966 issue of Arts Magazine, Jonathan King said: \"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art. Computerized pop, mechanized music. Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons. It is long and split. ... impressive, fantastic, commercial--yes. Emotional, soul-destroying, shattering--no.\" In the 2000s, record producer Phil Spector criticized the single for depending too much on tape manipulation, negatively referring to it as an \"edit record ... It's like Psycho is a great film, but it's an 'edit film.' Without edits, it's not a film; with edits, it's a great film. But it's not Rebecca ... it's not a beautiful story.\" CANNOTANSWER"},"answer":{"kind":"string","value":"The song served as an anthem for the counterculture of the 1960s."},"true_contexts_wiki":{"kind":"string","value":"\"Good Vibrations\" is a song by the American rock band the Beach Boys that was composed by Brian Wilson with lyrics by Mike Love. It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping record charts in several countries including the United States and the United Kingdom. Characterized by its complex soundscapes, episodic structure and subversions of pop music formula, it was the most expensive single ever recorded. \"Good Vibrations\" later became widely acclaimed as one of the finest and most important works of the rock era.\n\nAlso produced by Wilson, the title derived from his fascination with cosmic vibrations, as his mother would tell him as a child that dogs sometimes bark at people in response to their \"bad vibrations\". He used the concept to suggest extrasensory perception, while Love's lyrics were inspired by the nascent Flower Power movement. The song was written as it was recorded and in a similar fashion to other compositions from Wilson's Smile period. It was issued as a standalone single, backed with \"Let's Go Away for Awhile\", and was to be included on the never-finished album Smile. Instead, the track appeared on the September 1967 release Smiley Smile.\n\nThe making of \"Good Vibrations\" was unprecedented for any kind of recording. Building on his approach for Pet Sounds, Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of session musicians at four different Hollywood studios from February to September 1966, a process reflected in the song's several dramatic shifts in key, texture, instrumentation and mood. Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars. Band publicist Derek Taylor dubbed the unusual work a \"pocket symphony\". It helped develop the use of the studio as an instrument and heralded a wave of pop experimentation and the onset of psychedelic and progressive rock. The track featured a novel mix of instruments, including jaw harp and Electro-Theremin, and although the latter is not a true theremin, the song's success led to a renewed interest and sales of theremins and synthesizers.\n\n\"Good Vibrations\" received a Grammy nomination for Best Vocal Group performance in 1966 and was inducted into the Grammy Hall of Fame in 1994. The song was voted number one in Mojos \"Top 100 Records of All Time\" and number six on Rolling Stones \"500 Greatest Songs of All Time\", and it was included in the Rock and Roll Hall of Fame's \"500 Songs that Shaped Rock and Roll\". In later years, the song has been cited as a forerunner to the Beatles' \"A Day in the Life\" (1967) and Queen's \"Bohemian Rhapsody\" (1975). A 1976 cover version by Todd Rundgren peaked at number 34 on the Billboard Hot 100. The Beach Boys followed up \"Good Vibrations\" with another single pieced from sections, \"Heroes and Villains\" (1967), but it was less successful.\n\nInspiration and writing\n\nConcept and early lyrics\n\nThe Beach Boys' leader, Brian Wilson, was responsible for the musical composition and virtually all of the arrangement for \"Good Vibrations\". Most of the song's structure and arrangement was written as it was recorded. During the recording sessions for the 1966 album Pet Sounds, Wilson began changing his writing process. For \"Good Vibrations\", Wilson said, \"I had a lot of unfinished ideas, fragments of music I called 'feels.' Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic.\" Engineer Chuck Britz is quoted saying that Wilson considered the song to be \"his whole life performance in one track\". Wilson stated: \"I was an energetic 23-year-old. ... I said: 'This is going to be better than [the Phil Spector production] \"You've Lost That Lovin' Feelin'.\n\nWilson said that \"Good Vibrations\" was inspired by his mother: \"[She] used to tell me about vibrations. I didn't really understand too much of what it meant when I was just a boy. It scared me, the word 'vibrations.' She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel.\" Brian first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea. When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style. Asher remembered: \n\nWilson wanted to call the song \"Good Vibes\", but Asher advised that it was \"lightweight use of the language\", and suggested that \"Good Vibrations\" would sound less \"trendy\". The two proceeded to write lyrics for the verses that were ultimately discarded.\n\nTheremin and cello\n\nFrom the start, Wilson envisioned a theremin for the track. AllMusic reviewer John Bush pointed out: \"Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel—between the single's theme and its use of an instrument the player never even touched.\"\n\n\"Good Vibrations\" does not technically feature a theremin, but rather an Electro-Theremin, which is physically controlled by a knob on the side of the instrument. It was dubbed a \"theremin\" simply for convenience. At that time, theremins were most often associated with the 1945 Alfred Hitchcock film Spellbound, but their most common presence was in the theme music for the television sitcom My Favorite Martian, which ran from 1963 to 1966. Britz speculates: \"He just walked in and said, 'I have this new sound for you.' I think he must have heard the sound somewhere and loved it, and built a song around it.\" It is unclear whether Wilson knew that the instrument was not a real theremin.\n\nBrian credited his brother and bandmate Carl for suggesting the use of a cello on the track. He further stated that its triplet beat on the chorus was his own idea and that it was based on the Crystals' \"Da Doo Ron Ron\" (1963), produced by Spector. Conversely, arranger and session musician Van Dyke Parks said that it was himself who suggested having the cellist play triplets to Brian. Parks believed that having Brian exploit the cello \"to such a hyperbolic degree\" was what encouraged the duo to immediately collaborate on the never-finished album Smile. At some point, Wilson asked Parks to pen lyrics for \"Good Vibrations\", although Parks declined.\n\nInfluences and final lyrics\n\nWilson's cousin and bandmate Mike Love submitted the final lyrics for \"Good Vibrations\" and contributed its bass-baritone vocals in the chorus. He recalled that when he heard the unfinished backing track: \"[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it. How's this going to go over in the Midwest or Birmingham? It was such a departure from 'Surfin' U.S.A.' or 'Help Me, Rhonda.'\"\n\nLove said that he wrote the words while on the drive to the studio. Feeling that the song could be \"the Beach Boys' psychedelic anthem or flower power offering,\" he based the lyrics on the burgeoning psychedelic music and Flower Power movements occurring in San Francisco and some parts of the Los Angeles area. He described the lyrics as \"just a flowery poem. Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair.'\" Writing in his 1975 book The Beach Boys: Southern California Pastoral, Bruce Golden observed:\n\nCapitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his LSD experiences. Brian clarified that the song was written under the influence of marijuana, not LSD. He explained: \"I made ‘Good Vibrations’ on drugs; I used drugs to make that. ... I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity.\" In Steven Gaines's 1986 biography, Wilson is quoted on the lyrics: \"We talked about good vibrations with the song and the idea, and we decided on one hand that you could say ... those are sensual things. And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have. That's what we're really talking about.\"\n\nWilson said in 2012 that the song's \"gotta keep those good vibrations\" bridge was inspired by Stephen Foster. Bandmate Al Jardine compared that section to Foster and the Negro spiritual \"Down by the Riverside\". According to Love, the lyric \"'she goes with me to a blossom world' was originally meant to be followed by the words 'we find'\", but Wilson elected to cut off the line to highlight the bass track linking into the chorus.\n\nRecording and production\n\nModular approach\n\n\"Good Vibrations\" established a new method of operation for Wilson. Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or \"modules\"). Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time. This was the same modular approach used during the sessions for Smile and Smiley Smile. To mask each tape edit, vast reverb decays were added at the mixing and sub-mixing stages.\n\nFor instrumentation, Wilson employed the services of \"the Wrecking Crew\", the nickname for a conglomerate of session musicians active in Los Angeles at that time. Production for \"Good Vibrations\" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two. It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands, making it the costliest single recorded to that date. Biographer Peter Ames Carlin wrote that Wilson was so puzzled by the arranging of \"Good Vibrations\" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs.\n\nOne estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to $ and $ in ), By comparison, the whole of Pet Sounds had cost $70,000 ($), itself an unusually high cost for an album. In 2018, Wilson disputed the $50,000 figure for \"Good Vibrations\", saying that the overall expenses were closer to $25,000.\n\nContemporary advertisements reported $10,000 ($) as the track's total production costs. Domenic Priore wrote that the track cost between $10,000 and $15,000 ($). When asked in a 2005 interview if it was true that the Electro-Theremin work alone cost $100,000, Wilson replied \"No. $15,000.\"\n\nDevelopment\n\nThe instrumental of the first version of the song was recorded on February 17, 1966, at Gold Star Studios and was logged as a Pet Sounds session. On that day's session log, it was given the name \"#1 Untitled\" or \"Good, Good, Good Vibrations\", but on its master tape, Wilson distinctly states: \"'Good Vibrations' ... take one.\" After twenty-six takes, a rough mono mix completed the session. Some additional instruments and rough guide vocals were overdubbed on February 23. Brian and Carl shared vocals for this mix.\n\nThe original version of \"Good Vibrations\" contained the characteristics of a \"funky rhythm and blues number\" and would not yet resemble a \"pocket symphony\". There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor, Paul Tanner. It was Brian's second ever recorded use of the instrument, just three days after the Pet Sounds track \"I Just Wasn't Made for These Times\". Brian then placed \"Good Vibrations\" on hold in order to devote attention to the Pet Sounds album, which saw release on May 16. More instrumental sections for \"Good Vibrations\" were recorded between April and June. Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs.\n\nAccording to Brian's then-new friend David Anderle, during an early stage, Brian considered giving \"Good Vibrations\" to one of the black R&B groups signed with Warner Bros. Records such as Wilson Pickett, and then at Anderle's suggestion to singer Danny Hutton. He thought about abandoning the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single. In the meantime, he worked on writing and recording material for the group's forthcoming album, Smile.\n\nThe first Beach Boy to hear \"Good Vibrations\" in a semi-completed form, other than Brian, was Carl. Following a performance with the touring group in North Dakota, he remembered: \"I came back up into my hotel room one night and the phone rang. It was Brian on the other end. He called me from the recording studio and played this really bizarre sounding music over the phone. There were drums smashing, that kind of stuff, and then it refined itself and got into the cello. It was a real funky track.\" In 1976, Brian revealed that before the final mixdown, he had been confronted with resistance by members of the group, whom Brian declined to name. The subject of their worries and complaints was the song's length and \"modern\" sound: \"I said no, it's not going to be too long a record, it's going to be just right. ... They didn't quite understand what this jumping from studio to studio was all about. And they couldn't conceive of the record as I did. I saw the record as a totality piece.\"\n\nThe vocals for \"Good Vibrations\" were recorded at CBS Columbia Square, starting on August 24 and continuing sporadically until the very last day of assembly on September 21. The episodic structure of the composition was continuously revised as the group experimented with different ideas. Brian remembers that he began recording the \"bop bop good vibrations\" parts first, and that he came up with \"the high parts\" a week later. Mike Love recalled: \"I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long.\" Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute. In early September, the master tapes for \"Good Vibrations\" were stolen. Mysteriously, they reappeared inside Brian's home two days later.\n\nOn September 21, Brian completed the track after Tanner added a final Electro-Theremin overdub. In 1976 he elaborated on the event: \"It was at Columbia. I remember I had it right in the sack. I could just feel it when I dubbed it down, made the final mix from the 16-track down to mono. It was a feeling of power, it was a rush. A feeling of exaltation. Artistic beauty. It was everything ... I remember saying, 'Oh my God. Sit back and listen to this!'\"\n\nComposition and analysis\n\nGenre and dynamics\n\nThere are six unique sections to the piece. Music theorist Daniel Harrison refers to these sections individually as the verse, the refrain (or chorus), the \"first episodic digression\", the \"second episodic digression\", the \"retro-refrain\", and the coda. Each has a distinct musical texture, partly due to the nature of the song's recording. The track's instrumentation changes radically from section to section, and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a \"very long\" duration. Wilson is quoted in 1979:\n\nHe characterized the song as \"advanced rhythm and blues\". Tom Roland of American Songwriter described the piece, \"with its interlocking segments—a sort of pop version of the classical sonata, consisting of a series of musical movements\". New York Magazine compared it to \"a fugue with a rhythmic beat\". John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs. Music journal Sound on Sound argued that the song \"has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour\". It explained that the song subverts pop forms to a considerable degree: \n\nAccording to historian Lorenzo Candelaria, \"Good Vibrations\" has since been marketed as pop music \"possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know.\" Uncut called the song \"three minutes and thirty-six seconds of avant-garde pop\". Mixdown described it as a \"masterpiece of avant-pop\". The theremin and cello has been called the song's \"psychedelic ingredient\". In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin. Professor of American history John Robert Greene named \"Good Vibrations\" among examples of psychedelic or acid rock. Stebbins wrote that the song was \"replete with sunshine [and] psychedelia\". Steve Valdez says that, like Pet Sounds, Brian was attempting a more experimental rock style.\n\nComparing \"Good Vibrations\" to Wilson's previous work Pet Sounds, biographer Andrew Hickey said that the \"best way of thinking about [the song] is that it's taking the lowest common denominator of 'Here Today' and 'God Only Knows' and turned the result into an R&B track. We have the same minor-key change between verse and chorus we've seen throughout Pet Sounds, the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to funky.\" Author Jon Stebbins adds that \"unlike Pet Sounds the chorus of 'Good Vibrations' projects a definite 'rock and roll' energy and feel.\"\n\nAccording to academic Rikky Rooksby, \"Good Vibrations\" is an example of Brian Wilson's growing interest in musical development within a composition, something antithetical to popular music of the time. Suppressing tonic strength and cadential drive, the song makes use of descending harmonic motions through scale degrees controlled by a single tonic and \"radical disjunctions\" in key, texture, instrumentation, and mood while refusing to develop into a predictable formal pattern. It instead develops \"under its own power\" and \"luxuriates in harmonic variety\" exemplified by beginning and ending not only in different keys but also in different modes.\n\nVerses and refrains (0:00–1:40)\n\n\"Good Vibrations\" begins without introduction in a traditional verse/refrain format, opening with Carl Wilson singing the word \"I\", a triplet eighth note before the downbeat. The sparse first verse contains a repetition of chords played on a Hammond organ filtered through a Leslie speaker; underneath is a two-bar Fender bass melody. This sequence repeats once (0:15), but with the addition of two piccolos sustaining over a falling flute line. For percussion, bongo drums double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation. The beat projects a triplet feel despite being in time; this is sometimes called a \"shuffle beat\" or \"threes over fours\". The chord progression used is i–VII–VI–V, also called an Andalusian cadence. Although the verses begin in the minor mode of E, the mode is not used to express sadness or drudgery. Occurring at the very end of these verses is a passing chord, D.\n\nThe refrain (0:25) begins in the newly tonicized relative major G, which suggests III. Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music. The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat. This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals. The first section consists of only the couplet \"I'm picking up good vibrations/she's giving me the excitation\" sung by Mike Love in his bass-baritone register; the second repeats the lines and adds an \"ooo bop bop\" figure, sung in multiple-part harmony; the third time also adds a \"good, good, good, good vibrations\" in yet a higher harmony. This type of polyphony (counterpoint) is also rare in contemporary popular styles. Each repeat of the vocal lines also transposes up by a whole step, ascending from G to A and then B. It then returns to the verse, thus making a perfect cadence back into E minor. The verse and refrain then repeat without any changes to the patterns of its instrumentation and harmony. This is unusual, in that normally, a song's arrangement adds something once it reaches the second verse.\n\nEpisodic digressions\n\nFirst episode (1:41–2:13)\n\nThe first episode (1:41+) begins disjunctively with an abrupt tape splice. The refrain's B, which had received a dominant (V) charge, is now maintained as a tonic (I). There is harmonic ambiguity, in that the chord progression may be either interpreted as I–IV–I (in B) or V–I–V (in E). Stebbins says that this section \"might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply.\" A new sound is created by tack piano, jaw harp, and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, bass harmonica, and sleigh bells shaken on every beat. The lone line of vocals (aside from non-lexical harmonies) is \"I don't know where, but she sends me there\" sung in Mike Love's upper-register baritone. This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns.\n\nSecond episode (2:13–2:56)\n\nAnother tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat. Sound on Sound highlights this change as the \"most savage edit in the track ... most people would go straight into a big splash hook-line section. Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ... Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian.\" Harrison says: \n\nThe slowed pace is complemented by the lyric (\"Gotta keep those loving good vibrations a-happening with her\"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony. This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2. The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats. Lambert calls it the song's \"wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments. As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say.\"\n\nRetro-refrain and coda (2:57–3:35)\n\nA brief break at the end of the second musical digression creates tension which leads into the final sequence of the song. The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B, repeats at A, and then ends at G for an unexpectedly short single measure. The section uses a descending progression, which mirrors the ascending progression of the previous two refrains. There follows a short section of vocalizing in three-part counterpoint that references the original refrain by reproducing upward transposition. However, this time it settles on A, the concluding key of the song. By the end of \"Good Vibrations,\" all seven scale degrees of the opening E-minor tonic are activated on some level.\n\nRelease and promotion\nIn a July 1966 advertisement for Pet Sounds in Billboard magazine, the band thanked the music industry for the sales of their album, and said that \"We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations.\" This was the first public hint of the new single. Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was \"about a guy who picks up good vibrations from a girl\" and that it would be a \"monster\". He then suggested: \"It's still sticking pretty close to that same boy-girl thing, you know, but with a difference. And it's a start, it's definitely a start.\" Derek Taylor, who had recently been engaged as the band's publicist, is credited for coining the term a \"pocket symphony\" to describe the song. In a press release for the single, he stated: \"Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils. And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else.\"\n\nTo promote the single, four different music videos were shot. The first of these—which had Caleb Deschanel as cameraman—features the group at a fire station, sliding down its pole, and roaming the streets of Los Angeles in a fashion comparable to The Monkees. The second features the group during vocal rehearsals at United Western Recorders. The third contains footage recorded during the making of The Beach Boys in London, a documentary by Peter Whitehead of their concert performances. The fourth clip is an alternative edit of the third. Brian also made a rare television appearance on local station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record.\n\nOn October 15, 1966, Billboard predicted that the single would reach the top 20 in the Billboard Hot 100 chart. \"Good Vibrations\" was the Beach Boys' third US number one hit, after \"I Get Around\" and \"Help Me, Rhonda\", reaching the top of the Hot 100 in December. It was also their first number one in Britain. The single sold over 230,000 copies in the US within four days of its release and entered the Cash Box chart at number 61 on October 22. In the UK, the song sold over 50,000 copies in the first 15 days of its release. \"Good Vibrations\" quickly became the Beach Boys' first million-selling single. In December 1966, the record was their first single certified gold by the RIAA for sales of one million copies. On March 30, 2016, the digital single was certified platinum by the RIAA for the same sales level.\n\nIn the US, Cash Box said that it is a \"catchy, easy-driving ditty loaded with the Boys’ money-making sound.\" In Britain, the single received favorable reviews from the New Musical Express and Melody Maker. Soon after, the Beach Boys were voted the number one band in the world in the NME readers' poll, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops. Billboard said that this result was probably influenced by the success of \"Good Vibrations\" when the votes were cast, together with the band's recent tour, whereas the Beatles had neither a recent single nor had they toured the UK throughout 1966; the reporter added that \"The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak.\" In a readers' poll conducted by a Danish newspaper, Brian Wilson won the \"best foreign-produced recording award\", marking the first time that an American had won in that category.\n\nThe single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc.\n\nInfluence and legacy\n\nHistorical reception\n\nVirtually every pop music critic recognizes \"Good Vibrations\" as one of the most important compositions and recordings of the entire rock era. It is a regular fixture on \"greatest of all-time\" song lists and is frequently hailed as one of the finest pop productions of all time. In 2004, Rolling Stone magazine ranked \"Good Vibrations\" at number 6 in \"The 500 Greatest Songs of All Time\", the highest position of seven Beach Boys songs cited in the list. In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list. As of 2016, \"Good Vibrations\" is ranked as the number four song of all time in an aggregation of critics' lists at Acclaimed Music.\n\nThe song served as an anthem for the counterculture of the 1960s. According to Noel Murray of The A.V. Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's \"un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do.\" Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for \"Good Vibrations\". \"Heroes and Villains\", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967.\n\nIn contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of \"Good Vibrations\". When asked about the song in 1990, Paul McCartney responded: \"I thought it was a great record. It didn't quite have the emotional thing that Pet Sounds had for me. I've often played Pet Sounds and cried. It's that kind of an album for me.\" Pete Townshend of the Who was quoted in the 1960s as saying, \"'Good Vibrations' was probably a good record but who's to know? You had to play it about 90 bloody times to even hear what they were singing about.\" Townshend feared that the single would lead to a trend of overproduction. In a 1966 issue of Arts Magazine, Jonathan King said: \"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art. Computerized pop, mechanized music. Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons. It is long and split. ... impressive, fantastic, commercial—yes. Emotional, soul-destroying, shattering—no.\" In the 2000s, record producer Phil Spector criticized the single for depending too much on tape manipulation, negatively referring to it as an \"edit record ... It's like Psycho is a great film, but it's an 'edit film.' Without edits, it's not a film; with edits, it's a great film. But it's not Rebecca ... it's not a beautiful story.\"\n\nAdvancements\n\nRecording and popular music\n\n\"Good Vibrations\" is credited for having further developed the use of recording studios as a musical instrument. Author Domenic Priore commented that the song's making was \"unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording\". A milestone in the development of rock music, the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record. Musicologist Charlie Gillett called it \"one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance\". In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted:\n\nWriting for Popmatters in 2015, Scott Interrante stated: \"'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have.\" The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm. Microtonal composer Frank Oteri said that it \"sounds like no other pop song recorded up to that point\". According to Stebbins: \"This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original. But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century.\" He added that the single \"vaulted nearly every other rock act in their delivery of a Flower Power classic. It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop.\" John Bush wrote that the single \"announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies\". Gillett noted: \"For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording.\"\n\nPriore says that the song was a forerunner to works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes. In his appraisal for American Songwriter, Roland cites the song's \"format\" as the model for recordings by Wings (\"Band on the Run\"), the Beatles (\"A Day in the Life\"), and Elton John (\"Funeral for a Friend/Love Lies Bleeding\"). The song's approach was repeated in Queen's 1975 single \"Bohemian Rhapsody\", which was similarly pieced together using different sections. Wilson praised Queen's effort, calling it \"the most competitive thing that's come along in ages\" and \"a fulfillment and an answer to a teenage prayer—of artistic music\".\n\nPsychedelic and progressive rock\n\nWith \"Good Vibrations\", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages. Writing in 2009, Barney Hoskyns deemed it to be the era's \"ultimate psychedelic pop record\" from Los Angeles. Interrante adds: \"Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated, but its legacy as a pop hit is impressive as well.\" Former Atlantic Records executive Phillip Rauls recalled: \"I was in the music business at the time, and my very first recognition of acid rock—we didn't call it progressive rock then—was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [theremin] sent so many musicians back to the studio to create this music on acid.\" Author Bill Martin suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: \"The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life.'\"\n\nUse of theremin\n\nAlthough the song does not technically contain a theremin, \"Good Vibrations\" is the most frequently cited example of the instrument's use in pop music. Upon release, the single prompted an unexpected revival in theremins and increased the awareness of analog synthesizers. The notion that \"Good Vibrations\" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants. While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin.\n\nWhen the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments. Tanner recalls saying to Wilson, \"I've got the wrong sort of hair to be on stage with you fellas\", to which Wilson replied: \"We'll give you a Prince Valiant wig.\" The Beach Boys then requested the services of Walter Sear, who asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar. Sear remembers marking fretboard-like lines on the ribbon \"so they could play the damn thing.\" Moog began manufacturing his own models of theremins. He later noted: \"The pop record scene cleaned us out of our stock which we expected to last through Christmas.\"\n\nIn Steven M. Martin's 1993 documentary Theremin: An Electronic Odyssey, in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin due to \"Good Vibrations\" caused Russian authorities to exile its inventor, Leon Theremin.\n\nCover versions\n\nThe song has been covered by artists such as Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV. John Bush commented: \"'Good Vibrations' was rarely reprised by other acts, even during the cover-happy '60s. Its fragmented style made it essentially cover-proof.\" In 1976, a nearly identical cover version was released as a single by Todd Rundgren for his album Faithful. When asked for his opinion, Brian said: \"Oh, he did a marvelous job, he did a great job. I was very proud of his version.\" Rundgren's single peaked at number 34 on the Billboard Hot 100. Rundgren explained: \"I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting—like around Pet Sounds and 'Good Vibrations' ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal. ... I tried to do [the song] as literally as I could because in the intervening 10 years, radio had changed so much. Radio had become so formatted and so structured that that whole experience was already gone.\"\n\nIn 2004, Wilson re-recorded the song as a solo artist for his album Brian Wilson Presents Smile. It was sequenced as the album's closing track, following \"In Blue Hawaii\". In this version, \"Good Vibrations\" was the project's only track that eschewed the modular recording method. The song's verses and chorus were recorded as part of one whole take, and were not spliced together.\n\nIn 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated. Their version of \"Good Vibrations\", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on Billboards A/C chart.\n\nIn popular culture\nThe song's parody is used for the jingle of the Australian consumer electronics retailer The Good Guys.\nIn 1996, experimental rock group His Name Is Alive released an homage titled \"Universal Frequencies\" on their album Stars on E.S.P. Warren Defever reportedly listened to \"Good Vibrations\" repeatedly for a week before deciding that the song \"needed a sequel\"; he added: \"'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful.\" \nIn 1997, the movie Vegas Vacation used the song for the opening credits, with Clark Griswold (Chevy Chase) singing the song.\nThe song's lyrics \"I'm picking up good vibrations\" are quoted in Cyndi Lauper's 1984 single \"She Bop\". \nA live version of the song, from the album Live in London, appears as a playable track in the 2010 video game Rock Band 3.\nIn 2019, the song was used prominently in a scene for Jordan Peele's psychological horror thriller film Us.\nIn 2018, The song was featured in the animated film Hotel Transylvania 3: Summer Vacation.\n\nRelease history\n\nIn early 2011, the single was remastered and reissued as a four-sided 78 rpm vinyl for Record Store Day, as a teaser for the forthcoming The Smile Sessions box set. It contained \"Heroes and Villains\" as a B-side, along with previously released alternate takes and mixes.\n\nStereo version\nDue to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile. The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett. Fitzgerald's software extracted individual instrumental and vocal stems from the original mono master—as the multi-track vocals remained missing—to construct the stereo version that appears on the 2012 reissue of Smiley Smile.\n\n40th Anniversary Edition\n\nIn celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released. The EP includes \"Good Vibrations\", four alternate versions of the song, and the stereo mix of \"Let's Go Away for Awhile\". The EP artwork recreates that of the original 7-inch single sleeve. In 2016, the EP was reissued as a 12\" record for the single's 50th anniversary.\n\nPersonnel\n\nThe following people are identified as players on the \"Good Vibrations\" single.\n\nThe Beach Boys\n Mike Love – lead vocals in chorus \n Brian Wilson – vocals, tack piano, tambourine, production, mixing\n Carl Wilson – lead vocals in verses, guitar, shaker\n Dennis Wilson – Hammond organ during 2:13–2:56\n\nAdditional musicians and production staff\n Hal Blaine – drums, timpani, other percussion \n Al De Lory – piano, harpsichord \n Jesse Ehrlich – cello \n\n Larry Knechtel – organ in verses and choruses\n Tommy Morgan – harmonica\n Al Casey – guitar\n Ray Pohlman – electric bass\n Lyle Ritz – double bass\n Jim Horn – piccolo\n Paul Tanner – Electro-Theremin\n\nBassist Carol Kaye played on several of the \"Good Vibrations\" sessions, and has been identified as a prominent contributor to the track. However, analysis by Beach Boys archivist Craig Slowinski indicates that none of those recordings made the final edit as released on the single.\n\nCharts\n\nWeekly charts\nOriginal release\n\n1976 reissue\n\nTodd Rundgren version (1976)\n\nYear-end charts\n\nCertifications\n\nAwards and accolades\n\nFootnotes\n\nReferences\n\nBibliography\n\nExternal links\n\n Greg Panfile's Musical Analysis of \"Good Vibrations\"\n \n\n1966 singles\n1966 songs\n2004 singles\n2011 singles\nBrian Wilson songs\nPsychic TV songs\nThe Beach Boys songs\nTodd Rundgren songs\nCapitol Records singles\nGrammy Hall of Fame Award recipients\nBillboard Hot 100 number-one singles\nCashbox number-one singles\nNumber-one singles in Australia\nNumber-one singles in New Zealand\nUK Singles Chart number-one singles\nSongs written by Brian Wilson\nSongs written by Mike Love\nSongs written by Tony Asher\nSong recordings produced by Brian Wilson\nSong recordings with Wall of Sound arrangements\nArt pop songs\nAvant-pop songs\nPsychedelic pop songs\nAmerican psychedelic rock songs\nSongs used as jingles\nSongs composed in E-flat minor"},"extractive":{"kind":"string","value":"true"},"retrieved_contexts":{"kind":"list like","value":["This Is Why We Can't Have Nice Things may refer to:\n\nMusic\n This Is Why We Can't Have Nice Things, an album by Leland Stanford Junior University Marching Band, 2003\n This is Why We Can’t Have Nice Things, an album by Alter Der Ruine, 2010\n \"I Don't Care (This Is Why We Can't Have Nice Things)\", a song by The Blackout from the album The Best in Town\n \"This Is Why We Can't Have Nice Things\", a song by Taylor Swift from the album Reputation, 2017\n\nOther\nThis is Why We Can't Have Nice Things, a book by David Carol (2011)","\"Why I Am\" is a song by Dave Matthews Band from their album Big Whiskey & the GrooGrux King\n\nWhy I Am and Why I Am Not may refer to:\n\nWhy I Am\nWhy I Am an Atheist, an essay by Indian revolutionary Bhagat Singh, published in 1930.\nWhy I Am Still a Christian is a book by Catholic theologian Hans Küng, published in 1987.\nWhy I Am a Christian, is a 2003 book by English author John Stott.\n Why I Am an Atheist is an essay by Indian revolutionary Bhagat Singh, published in 1930.\n\nWhy I Am Not\n Why I Am Not a Conservative, an essay by Austrian School economist Friedrich Hayek, published in 1960.\n Why I Am Not a Christian, by historian and philosopher Richard Carrier\n Why I Am Not a Communist, by Karel Čapek, a 1924 essay in Přítomnost magazine.\n Why I Am Not a Conservative is an essay by Austrian School economist Friedrich Hayek, published in 1960.\n Why I Am Not a Hindu, a 1996 book in a similar vein by Kancha Ilaiah, an activist opposed to the Indian caste system.\n Why I Am Not a Muslim, by Ibn Warraq, is a 1995 book also critical of the religion in which the author was brought up — in this case, Islam. The author mentions Why I Am Not a Christian towards the end of the first chapter, stating that many of its arguments also apply to Islam.\n Why I Am Not a Property Dualist, an essay by John Searle in which he criticises the philosophical position of property dualism.\n Why I Am Not a Scientist (2009) , by biological anthropologist Jonathan M. Marks\n\nSimilar titles\n How I Stopped Being a Jew, is a 2014 book by Israeli historian Shlomo Sand."],"string":"[\n \"This Is Why We Can't Have Nice Things may refer to:\\n\\nMusic\\n This Is Why We Can't Have Nice Things, an album by Leland Stanford Junior University Marching Band, 2003\\n This is Why We Can’t Have Nice Things, an album by Alter Der Ruine, 2010\\n \\\"I Don't Care (This Is Why We Can't Have Nice Things)\\\", a song by The Blackout from the album The Best in Town\\n \\\"This Is Why We Can't Have Nice Things\\\", a song by Taylor Swift from the album Reputation, 2017\\n\\nOther\\nThis is Why We Can't Have Nice Things, a book by David Carol (2011)\",\n \"\\\"Why I Am\\\" is a song by Dave Matthews Band from their album Big Whiskey & the GrooGrux King\\n\\nWhy I Am and Why I Am Not may refer to:\\n\\nWhy I Am\\nWhy I Am an Atheist, an essay by Indian revolutionary Bhagat Singh, published in 1930.\\nWhy I Am Still a Christian is a book by Catholic theologian Hans Küng, published in 1987.\\nWhy I Am a Christian, is a 2003 book by English author John Stott.\\n Why I Am an Atheist is an essay by Indian revolutionary Bhagat Singh, published in 1930.\\n\\nWhy I Am Not\\n Why I Am Not a Conservative, an essay by Austrian School economist Friedrich Hayek, published in 1960.\\n Why I Am Not a Christian, by historian and philosopher Richard Carrier\\n Why I Am Not a Communist, by Karel Čapek, a 1924 essay in Přítomnost magazine.\\n Why I Am Not a Conservative is an essay by Austrian School economist Friedrich Hayek, published in 1960.\\n Why I Am Not a Hindu, a 1996 book in a similar vein by Kancha Ilaiah, an activist opposed to the Indian caste system.\\n Why I Am Not a Muslim, by Ibn Warraq, is a 1995 book also critical of the religion in which the author was brought up — in this case, Islam. The author mentions Why I Am Not a Christian towards the end of the first chapter, stating that many of its arguments also apply to Islam.\\n Why I Am Not a Property Dualist, an essay by John Searle in which he criticises the philosophical position of property dualism.\\n Why I Am Not a Scientist (2009) , by biological anthropologist Jonathan M. Marks\\n\\nSimilar titles\\n How I Stopped Being a Jew, is a 2014 book by Israeli historian Shlomo Sand.\"\n]"},"chunked_article":{"kind":"list like","value":["\"Good Vibrations\" is a song by the American rock band the Beach Boys that was composed by Brian Wilson with lyrics by Mike Love. It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping record charts in several countries including the United States and the United Kingdom.","It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping record charts in several countries including the United States and the United Kingdom. Characterized by its complex soundscapes, episodic structure and subversions of pop music formula, it was the most expensive single ever recorded.","Characterized by its complex soundscapes, episodic structure and subversions of pop music formula, it was the most expensive single ever recorded. \"Good Vibrations\" later became widely acclaimed as one of the finest and most important works of the rock era.","\"Good Vibrations\" later became widely acclaimed as one of the finest and most important works of the rock era. Also produced by Wilson, the title derived from his fascination with cosmic vibrations, as his mother would tell him as a child that dogs sometimes bark at people in response to their \"bad vibrations\".","Also produced by Wilson, the title derived from his fascination with cosmic vibrations, as his mother would tell him as a child that dogs sometimes bark at people in response to their \"bad vibrations\". He used the concept to suggest extrasensory perception, while Love's lyrics were inspired by the nascent Flower Power movement.","He used the concept to suggest extrasensory perception, while Love's lyrics were inspired by the nascent Flower Power movement. The song was written as it was recorded and in a similar fashion to other compositions from Wilson's Smile period.","The song was written as it was recorded and in a similar fashion to other compositions from Wilson's Smile period. It was issued as a standalone single, backed with \"Let's Go Away for Awhile\", and was to be included on the never-finished album Smile.","It was issued as a standalone single, backed with \"Let's Go Away for Awhile\", and was to be included on the never-finished album Smile. Instead, the track appeared on the September 1967 release Smiley Smile. The making of \"Good Vibrations\" was unprecedented for any kind of recording.","The making of \"Good Vibrations\" was unprecedented for any kind of recording. Building on his approach for Pet Sounds, Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of session musicians at four different Hollywood studios from February to September 1966, a process reflected in the song's several dramatic shifts in key, texture, instrumentation and mood.","Building on his approach for Pet Sounds, Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of session musicians at four different Hollywood studios from February to September 1966, a process reflected in the song's several dramatic shifts in key, texture, instrumentation and mood. Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars.","Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars. Band publicist Derek Taylor dubbed the unusual work a \"pocket symphony\".","Band publicist Derek Taylor dubbed the unusual work a \"pocket symphony\". It helped develop the use of the studio as an instrument and heralded a wave of pop experimentation and the onset of psychedelic and progressive rock.","It helped develop the use of the studio as an instrument and heralded a wave of pop experimentation and the onset of psychedelic and progressive rock. The track featured a novel mix of instruments, including jaw harp and Electro-Theremin, and although the latter is not a true theremin, the song's success led to a renewed interest and sales of theremins and synthesizers.","The track featured a novel mix of instruments, including jaw harp and Electro-Theremin, and although the latter is not a true theremin, the song's success led to a renewed interest and sales of theremins and synthesizers. \"Good Vibrations\" received a Grammy nomination for Best Vocal Group performance in 1966 and was inducted into the Grammy Hall of Fame in 1994.","\"Good Vibrations\" received a Grammy nomination for Best Vocal Group performance in 1966 and was inducted into the Grammy Hall of Fame in 1994. The song was voted number one in Mojos \"Top 100 Records of All Time\" and number six on Rolling Stones \"500 Greatest Songs of All Time\", and it was included in the Rock and Roll Hall of Fame's \"500 Songs that Shaped Rock and Roll\".","The song was voted number one in Mojos \"Top 100 Records of All Time\" and number six on Rolling Stones \"500 Greatest Songs of All Time\", and it was included in the Rock and Roll Hall of Fame's \"500 Songs that Shaped Rock and Roll\". In later years, the song has been cited as a forerunner to the Beatles' \"A Day in the Life\" (1967) and Queen's \"Bohemian Rhapsody\" (1975).","In later years, the song has been cited as a forerunner to the Beatles' \"A Day in the Life\" (1967) and Queen's \"Bohemian Rhapsody\" (1975). A 1976 cover version by Todd Rundgren peaked at number 34 on the Billboard Hot 100.","A 1976 cover version by Todd Rundgren peaked at number 34 on the Billboard Hot 100. The Beach Boys followed up \"Good Vibrations\" with another single pieced from sections, \"Heroes and Villains\" (1967), but it was less successful.","The Beach Boys followed up \"Good Vibrations\" with another single pieced from sections, \"Heroes and Villains\" (1967), but it was less successful. Inspiration and writing Concept and early lyrics The Beach Boys' leader, Brian Wilson, was responsible for the musical composition and virtually all of the arrangement for \"Good Vibrations\".","Inspiration and writing Concept and early lyrics The Beach Boys' leader, Brian Wilson, was responsible for the musical composition and virtually all of the arrangement for \"Good Vibrations\". Most of the song's structure and arrangement was written as it was recorded.","Most of the song's structure and arrangement was written as it was recorded. During the recording sessions for the 1966 album Pet Sounds, Wilson began changing his writing process. For \"Good Vibrations\", Wilson said, \"I had a lot of unfinished ideas, fragments of music I called 'feels.'","For \"Good Vibrations\", Wilson said, \"I had a lot of unfinished ideas, fragments of music I called 'feels.' Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic.\"","Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic.\" Engineer Chuck Britz is quoted saying that Wilson considered the song to be \"his whole life performance in one track\". Wilson stated: \"I was an energetic 23-year-old. ...","Wilson stated: \"I was an energetic 23-year-old. ... ... I said: 'This is going to be better than [the Phil Spector production] \"You've Lost That Lovin' Feelin'. Wilson said that \"Good Vibrations\" was inspired by his mother: \"[She] used to tell me about vibrations.","Wilson said that \"Good Vibrations\" was inspired by his mother: \"[She] used to tell me about vibrations. I didn't really understand too much of what it meant when I was just a boy. It scared me, the word 'vibrations.'","It scared me, the word 'vibrations.' She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel.\"","She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel.\" Brian first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea.","Brian first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea. When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style.","When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style. Asher remembered: Wilson wanted to call the song \"Good Vibes\", but Asher advised that it was \"lightweight use of the language\", and suggested that \"Good Vibrations\" would sound less \"trendy\".","Asher remembered: Wilson wanted to call the song \"Good Vibes\", but Asher advised that it was \"lightweight use of the language\", and suggested that \"Good Vibrations\" would sound less \"trendy\". The two proceeded to write lyrics for the verses that were ultimately discarded.","The two proceeded to write lyrics for the verses that were ultimately discarded. Theremin and cello From the start, Wilson envisioned a theremin for the track.","Theremin and cello From the start, Wilson envisioned a theremin for the track. AllMusic reviewer John Bush pointed out: \"Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel—between the single's theme and its use of an instrument the player never even touched.\"","AllMusic reviewer John Bush pointed out: \"Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel—between the single's theme and its use of an instrument the player never even touched.\" \"Good Vibrations\" does not technically feature a theremin, but rather an Electro-Theremin, which is physically controlled by a knob on the side of the instrument.","\"Good Vibrations\" does not technically feature a theremin, but rather an Electro-Theremin, which is physically controlled by a knob on the side of the instrument. It was dubbed a \"theremin\" simply for convenience.","It was dubbed a \"theremin\" simply for convenience. At that time, theremins were most often associated with the 1945 Alfred Hitchcock film Spellbound, but their most common presence was in the theme music for the television sitcom My Favorite Martian, which ran from 1963 to 1966.","At that time, theremins were most often associated with the 1945 Alfred Hitchcock film Spellbound, but their most common presence was in the theme music for the television sitcom My Favorite Martian, which ran from 1963 to 1966. Britz speculates: \"He just walked in and said, 'I have this new sound for you.'","Britz speculates: \"He just walked in and said, 'I have this new sound for you.' I think he must have heard the sound somewhere and loved it, and built a song around it.\" It is unclear whether Wilson knew that the instrument was not a real theremin.","It is unclear whether Wilson knew that the instrument was not a real theremin. Brian credited his brother and bandmate Carl for suggesting the use of a cello on the track.","Brian credited his brother and bandmate Carl for suggesting the use of a cello on the track. He further stated that its triplet beat on the chorus was his own idea and that it was based on the Crystals' \"Da Doo Ron Ron\" (1963), produced by Spector.","He further stated that its triplet beat on the chorus was his own idea and that it was based on the Crystals' \"Da Doo Ron Ron\" (1963), produced by Spector. Conversely, arranger and session musician Van Dyke Parks said that it was himself who suggested having the cellist play triplets to Brian.","Conversely, arranger and session musician Van Dyke Parks said that it was himself who suggested having the cellist play triplets to Brian. Parks believed that having Brian exploit the cello \"to such a hyperbolic degree\" was what encouraged the duo to immediately collaborate on the never-finished album Smile.","Parks believed that having Brian exploit the cello \"to such a hyperbolic degree\" was what encouraged the duo to immediately collaborate on the never-finished album Smile. At some point, Wilson asked Parks to pen lyrics for \"Good Vibrations\", although Parks declined.","At some point, Wilson asked Parks to pen lyrics for \"Good Vibrations\", although Parks declined. Influences and final lyrics Wilson's cousin and bandmate Mike Love submitted the final lyrics for \"Good Vibrations\" and contributed its bass-baritone vocals in the chorus.","Influences and final lyrics Wilson's cousin and bandmate Mike Love submitted the final lyrics for \"Good Vibrations\" and contributed its bass-baritone vocals in the chorus. He recalled that when he heard the unfinished backing track: \"[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it.","He recalled that when he heard the unfinished backing track: \"[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it. How's this going to go over in the Midwest or Birmingham?","How's this going to go over in the Midwest or Birmingham? It was such a departure from 'Surfin' U.S.A.' or 'Help Me, Rhonda.'\" Love said that he wrote the words while on the drive to the studio.","Love said that he wrote the words while on the drive to the studio. Feeling that the song could be \"the Beach Boys' psychedelic anthem or flower power offering,\" he based the lyrics on the burgeoning psychedelic music and Flower Power movements occurring in San Francisco and some parts of the Los Angeles area.","Feeling that the song could be \"the Beach Boys' psychedelic anthem or flower power offering,\" he based the lyrics on the burgeoning psychedelic music and Flower Power movements occurring in San Francisco and some parts of the Los Angeles area. He described the lyrics as \"just a flowery poem.","He described the lyrics as \"just a flowery poem. Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair.'\"","Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair.'\" Writing in his 1975 book The Beach Boys: Southern California Pastoral, Bruce Golden observed: Capitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his LSD experiences.","Writing in his 1975 book The Beach Boys: Southern California Pastoral, Bruce Golden observed: Capitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his LSD experiences. Brian clarified that the song was written under the influence of marijuana, not LSD.","Brian clarified that the song was written under the influence of marijuana, not LSD. He explained: \"I made ‘Good Vibrations’ on drugs; I used drugs to make that. ... I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity.\"","I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity.\" In Steven Gaines's 1986 biography, Wilson is quoted on the lyrics: \"We talked about good vibrations with the song and the idea, and we decided on one hand that you could say ... those are sensual things.","In Steven Gaines's 1986 biography, Wilson is quoted on the lyrics: \"We talked about good vibrations with the song and the idea, and we decided on one hand that you could say ... those are sensual things. And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have.","And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have. That's what we're really talking about.\" Wilson said in 2012 that the song's \"gotta keep those good vibrations\" bridge was inspired by Stephen Foster.","Wilson said in 2012 that the song's \"gotta keep those good vibrations\" bridge was inspired by Stephen Foster. Bandmate Al Jardine compared that section to Foster and the Negro spiritual \"Down by the Riverside\".","Bandmate Al Jardine compared that section to Foster and the Negro spiritual \"Down by the Riverside\". According to Love, the lyric \"'she goes with me to a blossom world' was originally meant to be followed by the words 'we find'\", but Wilson elected to cut off the line to highlight the bass track linking into the chorus.","According to Love, the lyric \"'she goes with me to a blossom world' was originally meant to be followed by the words 'we find'\", but Wilson elected to cut off the line to highlight the bass track linking into the chorus. Recording and production Modular approach \"Good Vibrations\" established a new method of operation for Wilson.","Recording and production Modular approach \"Good Vibrations\" established a new method of operation for Wilson. Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or \"modules\").","Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or \"modules\"). Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time.","Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time. This was the same modular approach used during the sessions for Smile and Smiley Smile.","This was the same modular approach used during the sessions for Smile and Smiley Smile. To mask each tape edit, vast reverb decays were added at the mixing and sub-mixing stages. For instrumentation, Wilson employed the services of \"the Wrecking Crew\", the nickname for a conglomerate of session musicians active in Los Angeles at that time.","For instrumentation, Wilson employed the services of \"the Wrecking Crew\", the nickname for a conglomerate of session musicians active in Los Angeles at that time. Production for \"Good Vibrations\" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two.","Production for \"Good Vibrations\" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two. It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands, making it the costliest single recorded to that date.","It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands, making it the costliest single recorded to that date. Biographer Peter Ames Carlin wrote that Wilson was so puzzled by the arranging of \"Good Vibrations\" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs.","Biographer Peter Ames Carlin wrote that Wilson was so puzzled by the arranging of \"Good Vibrations\" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs. One estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to $ and $ in ), By comparison, the whole of Pet Sounds had cost $70,000 ($), itself an unusually high cost for an album.","One estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to $ and $ in ), By comparison, the whole of Pet Sounds had cost $70,000 ($), itself an unusually high cost for an album. In 2018, Wilson disputed the $50,000 figure for \"Good Vibrations\", saying that the overall expenses were closer to $25,000.","In 2018, Wilson disputed the $50,000 figure for \"Good Vibrations\", saying that the overall expenses were closer to $25,000. Contemporary advertisements reported $10,000 ($) as the track's total production costs. Domenic Priore wrote that the track cost between $10,000 and $15,000 ($).","Domenic Priore wrote that the track cost between $10,000 and $15,000 ($). When asked in a 2005 interview if it was true that the Electro-Theremin work alone cost $100,000, Wilson replied \"No. $15,000.\"","$15,000.\" $15,000.\" Development The instrumental of the first version of the song was recorded on February 17, 1966, at Gold Star Studios and was logged as a Pet Sounds session.","Development The instrumental of the first version of the song was recorded on February 17, 1966, at Gold Star Studios and was logged as a Pet Sounds session. On that day's session log, it was given the name \"#1 Untitled\" or \"Good, Good, Good Vibrations\", but on its master tape, Wilson distinctly states: \"'Good Vibrations' ... take one.\"","On that day's session log, it was given the name \"#1 Untitled\" or \"Good, Good, Good Vibrations\", but on its master tape, Wilson distinctly states: \"'Good Vibrations' ... take one.\" After twenty-six takes, a rough mono mix completed the session.","After twenty-six takes, a rough mono mix completed the session. Some additional instruments and rough guide vocals were overdubbed on February 23. Brian and Carl shared vocals for this mix.","Brian and Carl shared vocals for this mix. The original version of \"Good Vibrations\" contained the characteristics of a \"funky rhythm and blues number\" and would not yet resemble a \"pocket symphony\". There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor, Paul Tanner.","There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor, Paul Tanner. It was Brian's second ever recorded use of the instrument, just three days after the Pet Sounds track \"I Just Wasn't Made for These Times\".","It was Brian's second ever recorded use of the instrument, just three days after the Pet Sounds track \"I Just Wasn't Made for These Times\". Brian then placed \"Good Vibrations\" on hold in order to devote attention to the Pet Sounds album, which saw release on May 16.","Brian then placed \"Good Vibrations\" on hold in order to devote attention to the Pet Sounds album, which saw release on May 16. More instrumental sections for \"Good Vibrations\" were recorded between April and June.","More instrumental sections for \"Good Vibrations\" were recorded between April and June. Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs.","Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs. According to Brian's then-new friend David Anderle, during an early stage, Brian considered giving \"Good Vibrations\" to one of the black R&B groups signed with Warner Bros. Records such as Wilson Pickett, and then at Anderle's suggestion to singer Danny Hutton.","According to Brian's then-new friend David Anderle, during an early stage, Brian considered giving \"Good Vibrations\" to one of the black R&B groups signed with Warner Bros. Records such as Wilson Pickett, and then at Anderle's suggestion to singer Danny Hutton. He thought about abandoning the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single.","He thought about abandoning the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single. In the meantime, he worked on writing and recording material for the group's forthcoming album, Smile.","In the meantime, he worked on writing and recording material for the group's forthcoming album, Smile. The first Beach Boy to hear \"Good Vibrations\" in a semi-completed form, other than Brian, was Carl.","The first Beach Boy to hear \"Good Vibrations\" in a semi-completed form, other than Brian, was Carl. Following a performance with the touring group in North Dakota, he remembered: \"I came back up into my hotel room one night and the phone rang. It was Brian on the other end.","It was Brian on the other end. He called me from the recording studio and played this really bizarre sounding music over the phone. There were drums smashing, that kind of stuff, and then it refined itself and got into the cello. It was a real funky track.\"","It was a real funky track.\" In 1976, Brian revealed that before the final mixdown, he had been confronted with resistance by members of the group, whom Brian declined to name.","In 1976, Brian revealed that before the final mixdown, he had been confronted with resistance by members of the group, whom Brian declined to name. The subject of their worries and complaints was the song's length and \"modern\" sound: \"I said no, it's not going to be too long a record, it's going to be just right.","The subject of their worries and complaints was the song's length and \"modern\" sound: \"I said no, it's not going to be too long a record, it's going to be just right. ... They didn't quite understand what this jumping from studio to studio was all about.","They didn't quite understand what this jumping from studio to studio was all about. And they couldn't conceive of the record as I did. I saw the record as a totality piece.\"","I saw the record as a totality piece.\" The vocals for \"Good Vibrations\" were recorded at CBS Columbia Square, starting on August 24 and continuing sporadically until the very last day of assembly on September 21. The episodic structure of the composition was continuously revised as the group experimented with different ideas.","The episodic structure of the composition was continuously revised as the group experimented with different ideas. Brian remembers that he began recording the \"bop bop good vibrations\" parts first, and that he came up with \"the high parts\" a week later.","Brian remembers that he began recording the \"bop bop good vibrations\" parts first, and that he came up with \"the high parts\" a week later. Mike Love recalled: \"I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long.\"","Mike Love recalled: \"I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long.\" Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute.","Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute. In early September, the master tapes for \"Good Vibrations\" were stolen. Mysteriously, they reappeared inside Brian's home two days later.","Mysteriously, they reappeared inside Brian's home two days later. On September 21, Brian completed the track after Tanner added a final Electro-Theremin overdub. In 1976 he elaborated on the event: \"It was at Columbia. I remember I had it right in the sack.","I remember I had it right in the sack. I could just feel it when I dubbed it down, made the final mix from the 16-track down to mono. It was a feeling of power, it was a rush. A feeling of exaltation. Artistic beauty. It was everything ... I remember saying, 'Oh my God.","I remember saying, 'Oh my God. Sit back and listen to this!'\" Composition and analysis Genre and dynamics There are six unique sections to the piece.","Composition and analysis Genre and dynamics There are six unique sections to the piece. Music theorist Daniel Harrison refers to these sections individually as the verse, the refrain (or chorus), the \"first episodic digression\", the \"second episodic digression\", the \"retro-refrain\", and the coda.","Music theorist Daniel Harrison refers to these sections individually as the verse, the refrain (or chorus), the \"first episodic digression\", the \"second episodic digression\", the \"retro-refrain\", and the coda. Each has a distinct musical texture, partly due to the nature of the song's recording.","Each has a distinct musical texture, partly due to the nature of the song's recording. The track's instrumentation changes radically from section to section, and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a \"very long\" duration.","The track's instrumentation changes radically from section to section, and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a \"very long\" duration. Wilson is quoted in 1979: He characterized the song as \"advanced rhythm and blues\".","Wilson is quoted in 1979: He characterized the song as \"advanced rhythm and blues\". Tom Roland of American Songwriter described the piece, \"with its interlocking segments—a sort of pop version of the classical sonata, consisting of a series of musical movements\".","Tom Roland of American Songwriter described the piece, \"with its interlocking segments—a sort of pop version of the classical sonata, consisting of a series of musical movements\". New York Magazine compared it to \"a fugue with a rhythmic beat\".","New York Magazine compared it to \"a fugue with a rhythmic beat\". John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs.","John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs. Music journal Sound on Sound argued that the song \"has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour\".","Music journal Sound on Sound argued that the song \"has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour\". It explained that the song subverts pop forms to a considerable degree: According to historian Lorenzo Candelaria, \"Good Vibrations\" has since been marketed as pop music \"possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know.\"","It explained that the song subverts pop forms to a considerable degree: According to historian Lorenzo Candelaria, \"Good Vibrations\" has since been marketed as pop music \"possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know.\" Uncut called the song \"three minutes and thirty-six seconds of avant-garde pop\".","Uncut called the song \"three minutes and thirty-six seconds of avant-garde pop\". Mixdown described it as a \"masterpiece of avant-pop\". The theremin and cello has been called the song's \"psychedelic ingredient\".","The theremin and cello has been called the song's \"psychedelic ingredient\". In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin.","In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin. Professor of American history John Robert Greene named \"Good Vibrations\" among examples of psychedelic or acid rock.","Professor of American history John Robert Greene named \"Good Vibrations\" among examples of psychedelic or acid rock. Stebbins wrote that the song was \"replete with sunshine [and] psychedelia\". Steve Valdez says that, like Pet Sounds, Brian was attempting a more experimental rock style.","Steve Valdez says that, like Pet Sounds, Brian was attempting a more experimental rock style. Comparing \"Good Vibrations\" to Wilson's previous work Pet Sounds, biographer Andrew Hickey said that the \"best way of thinking about [the song] is that it's taking the lowest common denominator of 'Here Today' and 'God Only Knows' and turned the result into an R&B track.","Comparing \"Good Vibrations\" to Wilson's previous work Pet Sounds, biographer Andrew Hickey said that the \"best way of thinking about [the song] is that it's taking the lowest common denominator of 'Here Today' and 'God Only Knows' and turned the result into an R&B track. We have the same minor-key change between verse and chorus we've seen throughout Pet Sounds, the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to funky.\"","We have the same minor-key change between verse and chorus we've seen throughout Pet Sounds, the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to funky.\" Author Jon Stebbins adds that \"unlike Pet Sounds the chorus of 'Good Vibrations' projects a definite 'rock and roll' energy and feel.\"","Author Jon Stebbins adds that \"unlike Pet Sounds the chorus of 'Good Vibrations' projects a definite 'rock and roll' energy and feel.\" According to academic Rikky Rooksby, \"Good Vibrations\" is an example of Brian Wilson's growing interest in musical development within a composition, something antithetical to popular music of the time.","According to academic Rikky Rooksby, \"Good Vibrations\" is an example of Brian Wilson's growing interest in musical development within a composition, something antithetical to popular music of the time. Suppressing tonic strength and cadential drive, the song makes use of descending harmonic motions through scale degrees controlled by a single tonic and \"radical disjunctions\" in key, texture, instrumentation, and mood while refusing to develop into a predictable formal pattern.","Suppressing tonic strength and cadential drive, the song makes use of descending harmonic motions through scale degrees controlled by a single tonic and \"radical disjunctions\" in key, texture, instrumentation, and mood while refusing to develop into a predictable formal pattern. It instead develops \"under its own power\" and \"luxuriates in harmonic variety\" exemplified by beginning and ending not only in different keys but also in different modes.","It instead develops \"under its own power\" and \"luxuriates in harmonic variety\" exemplified by beginning and ending not only in different keys but also in different modes. Verses and refrains (0:00–1:40) \"Good Vibrations\" begins without introduction in a traditional verse/refrain format, opening with Carl Wilson singing the word \"I\", a triplet eighth note before the downbeat.","Verses and refrains (0:00–1:40) \"Good Vibrations\" begins without introduction in a traditional verse/refrain format, opening with Carl Wilson singing the word \"I\", a triplet eighth note before the downbeat. The sparse first verse contains a repetition of chords played on a Hammond organ filtered through a Leslie speaker; underneath is a two-bar Fender bass melody.","The sparse first verse contains a repetition of chords played on a Hammond organ filtered through a Leslie speaker; underneath is a two-bar Fender bass melody. This sequence repeats once (0:15), but with the addition of two piccolos sustaining over a falling flute line.","This sequence repeats once (0:15), but with the addition of two piccolos sustaining over a falling flute line. For percussion, bongo drums double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation.","For percussion, bongo drums double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation. The beat projects a triplet feel despite being in time; this is sometimes called a \"shuffle beat\" or \"threes over fours\".","The beat projects a triplet feel despite being in time; this is sometimes called a \"shuffle beat\" or \"threes over fours\". The chord progression used is i–VII–VI–V, also called an Andalusian cadence. Although the verses begin in the minor mode of E, the mode is not used to express sadness or drudgery.","Although the verses begin in the minor mode of E, the mode is not used to express sadness or drudgery. Occurring at the very end of these verses is a passing chord, D. The refrain (0:25) begins in the newly tonicized relative major G, which suggests III.","Occurring at the very end of these verses is a passing chord, D. The refrain (0:25) begins in the newly tonicized relative major G, which suggests III. Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music.","Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music. The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat.","The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat. This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals.","This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals. The first section consists of only the couplet \"I'm picking up good vibrations/she's giving me the excitation\" sung by Mike Love in his bass-baritone register; the second repeats the lines and adds an \"ooo bop bop\" figure, sung in multiple-part harmony; the third time also adds a \"good, good, good, good vibrations\" in yet a higher harmony.","The first section consists of only the couplet \"I'm picking up good vibrations/she's giving me the excitation\" sung by Mike Love in his bass-baritone register; the second repeats the lines and adds an \"ooo bop bop\" figure, sung in multiple-part harmony; the third time also adds a \"good, good, good, good vibrations\" in yet a higher harmony. This type of polyphony (counterpoint) is also rare in contemporary popular styles.","This type of polyphony (counterpoint) is also rare in contemporary popular styles. Each repeat of the vocal lines also transposes up by a whole step, ascending from G to A and then B. It then returns to the verse, thus making a perfect cadence back into E minor.","It then returns to the verse, thus making a perfect cadence back into E minor. The verse and refrain then repeat without any changes to the patterns of its instrumentation and harmony. This is unusual, in that normally, a song's arrangement adds something once it reaches the second verse.","This is unusual, in that normally, a song's arrangement adds something once it reaches the second verse. Episodic digressions First episode (1:41–2:13) The first episode (1:41+) begins disjunctively with an abrupt tape splice.","Episodic digressions First episode (1:41–2:13) The first episode (1:41+) begins disjunctively with an abrupt tape splice. The refrain's B, which had received a dominant (V) charge, is now maintained as a tonic (I).","The refrain's B, which had received a dominant (V) charge, is now maintained as a tonic (I). There is harmonic ambiguity, in that the chord progression may be either interpreted as I–IV–I (in B) or V–I–V (in E).","There is harmonic ambiguity, in that the chord progression may be either interpreted as I–IV–I (in B) or V–I–V (in E). Stebbins says that this section \"might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply.\"","Stebbins says that this section \"might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply.\" A new sound is created by tack piano, jaw harp, and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, bass harmonica, and sleigh bells shaken on every beat.","A new sound is created by tack piano, jaw harp, and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, bass harmonica, and sleigh bells shaken on every beat. The lone line of vocals (aside from non-lexical harmonies) is \"I don't know where, but she sends me there\" sung in Mike Love's upper-register baritone.","The lone line of vocals (aside from non-lexical harmonies) is \"I don't know where, but she sends me there\" sung in Mike Love's upper-register baritone. This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns.","This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns. Second episode (2:13–2:56) Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat.","Second episode (2:13–2:56) Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat. Sound on Sound highlights this change as the \"most savage edit in the track ... most people would go straight into a big splash hook-line section.","Sound on Sound highlights this change as the \"most savage edit in the track ... most people would go straight into a big splash hook-line section. Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ...","Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ... Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian.\"","Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian.\" Harrison says: The slowed pace is complemented by the lyric (\"Gotta keep those loving good vibrations a-happening with her\"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony.","Harrison says: The slowed pace is complemented by the lyric (\"Gotta keep those loving good vibrations a-happening with her\"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony. This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2.","This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2. The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats.","The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats. Lambert calls it the song's \"wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments.","Lambert calls it the song's \"wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments. As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say.\"","As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say.\" Retro-refrain and coda (2:57–3:35) A brief break at the end of the second musical digression creates tension which leads into the final sequence of the song.","Retro-refrain and coda (2:57–3:35) A brief break at the end of the second musical digression creates tension which leads into the final sequence of the song. The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B, repeats at A, and then ends at G for an unexpectedly short single measure.","The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B, repeats at A, and then ends at G for an unexpectedly short single measure. The section uses a descending progression, which mirrors the ascending progression of the previous two refrains.","The section uses a descending progression, which mirrors the ascending progression of the previous two refrains. There follows a short section of vocalizing in three-part counterpoint that references the original refrain by reproducing upward transposition. However, this time it settles on A, the concluding key of the song.","However, this time it settles on A, the concluding key of the song. By the end of \"Good Vibrations,\" all seven scale degrees of the opening E-minor tonic are activated on some level.","By the end of \"Good Vibrations,\" all seven scale degrees of the opening E-minor tonic are activated on some level. Release and promotion In a July 1966 advertisement for Pet Sounds in Billboard magazine, the band thanked the music industry for the sales of their album, and said that \"We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations.\"","Release and promotion In a July 1966 advertisement for Pet Sounds in Billboard magazine, the band thanked the music industry for the sales of their album, and said that \"We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations.\" This was the first public hint of the new single.","This was the first public hint of the new single. Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was \"about a guy who picks up good vibrations from a girl\" and that it would be a \"monster\".","Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was \"about a guy who picks up good vibrations from a girl\" and that it would be a \"monster\". He then suggested: \"It's still sticking pretty close to that same boy-girl thing, you know, but with a difference.","He then suggested: \"It's still sticking pretty close to that same boy-girl thing, you know, but with a difference. And it's a start, it's definitely a start.\"","And it's a start, it's definitely a start.\" Derek Taylor, who had recently been engaged as the band's publicist, is credited for coining the term a \"pocket symphony\" to describe the song.","Derek Taylor, who had recently been engaged as the band's publicist, is credited for coining the term a \"pocket symphony\" to describe the song. In a press release for the single, he stated: \"Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils.","In a press release for the single, he stated: \"Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils. And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else.\"","And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else.\" To promote the single, four different music videos were shot.","To promote the single, four different music videos were shot. The first of these—which had Caleb Deschanel as cameraman—features the group at a fire station, sliding down its pole, and roaming the streets of Los Angeles in a fashion comparable to The Monkees. The second features the group during vocal rehearsals at United Western Recorders.","The second features the group during vocal rehearsals at United Western Recorders. The third contains footage recorded during the making of The Beach Boys in London, a documentary by Peter Whitehead of their concert performances. The fourth clip is an alternative edit of the third.","The fourth clip is an alternative edit of the third. Brian also made a rare television appearance on local station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record.","Brian also made a rare television appearance on local station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record. On October 15, 1966, Billboard predicted that the single would reach the top 20 in the Billboard Hot 100 chart.","On October 15, 1966, Billboard predicted that the single would reach the top 20 in the Billboard Hot 100 chart. \"Good Vibrations\" was the Beach Boys' third US number one hit, after \"I Get Around\" and \"Help Me, Rhonda\", reaching the top of the Hot 100 in December.","\"Good Vibrations\" was the Beach Boys' third US number one hit, after \"I Get Around\" and \"Help Me, Rhonda\", reaching the top of the Hot 100 in December. It was also their first number one in Britain.","It was also their first number one in Britain. The single sold over 230,000 copies in the US within four days of its release and entered the Cash Box chart at number 61 on October 22. In the UK, the song sold over 50,000 copies in the first 15 days of its release.","In the UK, the song sold over 50,000 copies in the first 15 days of its release. \"Good Vibrations\" quickly became the Beach Boys' first million-selling single. In December 1966, the record was their first single certified gold by the RIAA for sales of one million copies.","In December 1966, the record was their first single certified gold by the RIAA for sales of one million copies. On March 30, 2016, the digital single was certified platinum by the RIAA for the same sales level.","On March 30, 2016, the digital single was certified platinum by the RIAA for the same sales level. In the US, Cash Box said that it is a \"catchy, easy-driving ditty loaded with the Boys’ money-making sound.\" In Britain, the single received favorable reviews from the New Musical Express and Melody Maker.","In Britain, the single received favorable reviews from the New Musical Express and Melody Maker. Soon after, the Beach Boys were voted the number one band in the world in the NME readers' poll, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops.","Soon after, the Beach Boys were voted the number one band in the world in the NME readers' poll, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops. Billboard said that this result was probably influenced by the success of \"Good Vibrations\" when the votes were cast, together with the band's recent tour, whereas the Beatles had neither a recent single nor had they toured the UK throughout 1966; the reporter added that \"The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak.\"","Billboard said that this result was probably influenced by the success of \"Good Vibrations\" when the votes were cast, together with the band's recent tour, whereas the Beatles had neither a recent single nor had they toured the UK throughout 1966; the reporter added that \"The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak.\" In a readers' poll conducted by a Danish newspaper, Brian Wilson won the \"best foreign-produced recording award\", marking the first time that an American had won in that category.","In a readers' poll conducted by a Danish newspaper, Brian Wilson won the \"best foreign-produced recording award\", marking the first time that an American had won in that category. The single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc.","The single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc. Influence and legacy Historical reception Virtually every pop music critic recognizes \"Good Vibrations\" as one of the most important compositions and recordings of the entire rock era.","Influence and legacy Historical reception Virtually every pop music critic recognizes \"Good Vibrations\" as one of the most important compositions and recordings of the entire rock era. It is a regular fixture on \"greatest of all-time\" song lists and is frequently hailed as one of the finest pop productions of all time.","It is a regular fixture on \"greatest of all-time\" song lists and is frequently hailed as one of the finest pop productions of all time. In 2004, Rolling Stone magazine ranked \"Good Vibrations\" at number 6 in \"The 500 Greatest Songs of All Time\", the highest position of seven Beach Boys songs cited in the list.","In 2004, Rolling Stone magazine ranked \"Good Vibrations\" at number 6 in \"The 500 Greatest Songs of All Time\", the highest position of seven Beach Boys songs cited in the list. In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list.","In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list. As of 2016, \"Good Vibrations\" is ranked as the number four song of all time in an aggregation of critics' lists at Acclaimed Music. The song served as an anthem for the counterculture of the 1960s.","The song served as an anthem for the counterculture of the 1960s. According to Noel Murray of The A.V.","According to Noel Murray of The A.V. Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's \"un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do.\"","Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's \"un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do.\" Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for \"Good Vibrations\".","Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for \"Good Vibrations\". \"Heroes and Villains\", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967.","\"Heroes and Villains\", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967. In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of \"Good Vibrations\".","In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of \"Good Vibrations\". When asked about the song in 1990, Paul McCartney responded: \"I thought it was a great record.","When asked about the song in 1990, Paul McCartney responded: \"I thought it was a great record. It didn't quite have the emotional thing that Pet Sounds had for me. I've often played Pet Sounds and cried. It's that kind of an album for me.\"","It's that kind of an album for me.\" Pete Townshend of the Who was quoted in the 1960s as saying, \"'Good Vibrations' was probably a good record but who's to know? You had to play it about 90 bloody times to even hear what they were singing about.\"","You had to play it about 90 bloody times to even hear what they were singing about.\" Townshend feared that the single would lead to a trend of overproduction. In a 1966 issue of Arts Magazine, Jonathan King said: \"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art.","In a 1966 issue of Arts Magazine, Jonathan King said: \"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art. Computerized pop, mechanized music. Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons.","Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons. It is long and split. ... impressive, fantastic, commercial—yes. Emotional, soul-destroying, shattering—no.\"","Emotional, soul-destroying, shattering—no.\" In the 2000s, record producer Phil Spector criticized the single for depending too much on tape manipulation, negatively referring to it as an \"edit record ... It's like Psycho is a great film, but it's an 'edit film.'","It's like Psycho is a great film, but it's an 'edit film.' Without edits, it's not a film; with edits, it's a great film. But it's not Rebecca ... it's not a beautiful story.\"","But it's not Rebecca ... it's not a beautiful story.\" Advancements Recording and popular music \"Good Vibrations\" is credited for having further developed the use of recording studios as a musical instrument.","Advancements Recording and popular music \"Good Vibrations\" is credited for having further developed the use of recording studios as a musical instrument. Author Domenic Priore commented that the song's making was \"unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording\".","Author Domenic Priore commented that the song's making was \"unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording\". A milestone in the development of rock music, the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record.","A milestone in the development of rock music, the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record. Musicologist Charlie Gillett called it \"one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance\".","Musicologist Charlie Gillett called it \"one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance\". In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted: Writing for Popmatters in 2015, Scott Interrante stated: \"'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have.\"","In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted: Writing for Popmatters in 2015, Scott Interrante stated: \"'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have.\" The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm.","The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm. Microtonal composer Frank Oteri said that it \"sounds like no other pop song recorded up to that point\".","Microtonal composer Frank Oteri said that it \"sounds like no other pop song recorded up to that point\". According to Stebbins: \"This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original.","According to Stebbins: \"This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original. But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century.\"","But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century.\" He added that the single \"vaulted nearly every other rock act in their delivery of a Flower Power classic. It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop.\"","It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop.\" John Bush wrote that the single \"announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies\".","John Bush wrote that the single \"announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies\". Gillett noted: \"For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording.\"","Gillett noted: \"For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording.\" Priore says that the song was a forerunner to works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes.","Priore says that the song was a forerunner to works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes. In his appraisal for American Songwriter, Roland cites the song's \"format\" as the model for recordings by Wings (\"Band on the Run\"), the Beatles (\"A Day in the Life\"), and Elton John (\"Funeral for a Friend/Love Lies Bleeding\").","In his appraisal for American Songwriter, Roland cites the song's \"format\" as the model for recordings by Wings (\"Band on the Run\"), the Beatles (\"A Day in the Life\"), and Elton John (\"Funeral for a Friend/Love Lies Bleeding\"). The song's approach was repeated in Queen's 1975 single \"Bohemian Rhapsody\", which was similarly pieced together using different sections.","The song's approach was repeated in Queen's 1975 single \"Bohemian Rhapsody\", which was similarly pieced together using different sections. Wilson praised Queen's effort, calling it \"the most competitive thing that's come along in ages\" and \"a fulfillment and an answer to a teenage prayer—of artistic music\".","Wilson praised Queen's effort, calling it \"the most competitive thing that's come along in ages\" and \"a fulfillment and an answer to a teenage prayer—of artistic music\". Psychedelic and progressive rock With \"Good Vibrations\", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages.","Psychedelic and progressive rock With \"Good Vibrations\", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages. Writing in 2009, Barney Hoskyns deemed it to be the era's \"ultimate psychedelic pop record\" from Los Angeles.","Writing in 2009, Barney Hoskyns deemed it to be the era's \"ultimate psychedelic pop record\" from Los Angeles. Interrante adds: \"Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated, but its legacy as a pop hit is impressive as well.\"","Interrante adds: \"Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated, but its legacy as a pop hit is impressive as well.\" Former Atlantic Records executive Phillip Rauls recalled: \"I was in the music business at the time, and my very first recognition of acid rock—we didn't call it progressive rock then—was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [theremin] sent so many musicians back to the studio to create this music on acid.\"","Former Atlantic Records executive Phillip Rauls recalled: \"I was in the music business at the time, and my very first recognition of acid rock—we didn't call it progressive rock then—was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [theremin] sent so many musicians back to the studio to create this music on acid.\" Author Bill Martin suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: \"The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life.'\"","Author Bill Martin suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: \"The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life.'\" Use of theremin Although the song does not technically contain a theremin, \"Good Vibrations\" is the most frequently cited example of the instrument's use in pop music.","Use of theremin Although the song does not technically contain a theremin, \"Good Vibrations\" is the most frequently cited example of the instrument's use in pop music. Upon release, the single prompted an unexpected revival in theremins and increased the awareness of analog synthesizers.","Upon release, the single prompted an unexpected revival in theremins and increased the awareness of analog synthesizers. The notion that \"Good Vibrations\" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants.","The notion that \"Good Vibrations\" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants. While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin.","While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin. When the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments.","When the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments. Tanner recalls saying to Wilson, \"I've got the wrong sort of hair to be on stage with you fellas\", to which Wilson replied: \"We'll give you a Prince Valiant wig.\"","Tanner recalls saying to Wilson, \"I've got the wrong sort of hair to be on stage with you fellas\", to which Wilson replied: \"We'll give you a Prince Valiant wig.\" The Beach Boys then requested the services of Walter Sear, who asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar.","The Beach Boys then requested the services of Walter Sear, who asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar. Sear remembers marking fretboard-like lines on the ribbon \"so they could play the damn thing.\" Moog began manufacturing his own models of theremins.","Moog began manufacturing his own models of theremins. He later noted: \"The pop record scene cleaned us out of our stock which we expected to last through Christmas.\"","He later noted: \"The pop record scene cleaned us out of our stock which we expected to last through Christmas.\" In Steven M. Martin's 1993 documentary Theremin: An Electronic Odyssey, in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin due to \"Good Vibrations\" caused Russian authorities to exile its inventor, Leon Theremin.","In Steven M. Martin's 1993 documentary Theremin: An Electronic Odyssey, in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin due to \"Good Vibrations\" caused Russian authorities to exile its inventor, Leon Theremin. Cover versions The song has been covered by artists such as Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV.","Cover versions The song has been covered by artists such as Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV. John Bush commented: \"'Good Vibrations' was rarely reprised by other acts, even during the cover-happy '60s. Its fragmented style made it essentially cover-proof.\"","Its fragmented style made it essentially cover-proof.\" In 1976, a nearly identical cover version was released as a single by Todd Rundgren for his album Faithful. When asked for his opinion, Brian said: \"Oh, he did a marvelous job, he did a great job. I was very proud of his version.\"","I was very proud of his version.\" Rundgren's single peaked at number 34 on the Billboard Hot 100.","Rundgren's single peaked at number 34 on the Billboard Hot 100. Rundgren explained: \"I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting—like around Pet Sounds and 'Good Vibrations' ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal.","Rundgren explained: \"I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting—like around Pet Sounds and 'Good Vibrations' ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal. ...","... ... I tried to do [the song] as literally as I could because in the intervening 10 years, radio had changed so much. Radio had become so formatted and so structured that that whole experience was already gone.\" In 2004, Wilson re-recorded the song as a solo artist for his album Brian Wilson Presents Smile.","In 2004, Wilson re-recorded the song as a solo artist for his album Brian Wilson Presents Smile. It was sequenced as the album's closing track, following \"In Blue Hawaii\". In this version, \"Good Vibrations\" was the project's only track that eschewed the modular recording method.","In this version, \"Good Vibrations\" was the project's only track that eschewed the modular recording method. The song's verses and chorus were recorded as part of one whole take, and were not spliced together.","The song's verses and chorus were recorded as part of one whole take, and were not spliced together. In 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated.","In 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated. Their version of \"Good Vibrations\", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on Billboards A/C chart.","Their version of \"Good Vibrations\", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on Billboards A/C chart. In popular culture The song's parody is used for the jingle of the Australian consumer electronics retailer The Good Guys.","In popular culture The song's parody is used for the jingle of the Australian consumer electronics retailer The Good Guys. In 1996, experimental rock group His Name Is Alive released an homage titled \"Universal Frequencies\" on their album Stars on E.S.P.","In 1996, experimental rock group His Name Is Alive released an homage titled \"Universal Frequencies\" on their album Stars on E.S.P. Warren Defever reportedly listened to \"Good Vibrations\" repeatedly for a week before deciding that the song \"needed a sequel\"; he added: \"'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful.\"","Warren Defever reportedly listened to \"Good Vibrations\" repeatedly for a week before deciding that the song \"needed a sequel\"; he added: \"'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful.\" In 1997, the movie Vegas Vacation used the song for the opening credits, with Clark Griswold (Chevy Chase) singing the song.","In 1997, the movie Vegas Vacation used the song for the opening credits, with Clark Griswold (Chevy Chase) singing the song. The song's lyrics \"I'm picking up good vibrations\" are quoted in Cyndi Lauper's 1984 single \"She Bop\".","The song's lyrics \"I'm picking up good vibrations\" are quoted in Cyndi Lauper's 1984 single \"She Bop\". A live version of the song, from the album Live in London, appears as a playable track in the 2010 video game Rock Band 3.","A live version of the song, from the album Live in London, appears as a playable track in the 2010 video game Rock Band 3. In 2019, the song was used prominently in a scene for Jordan Peele's psychological horror thriller film Us.","In 2019, the song was used prominently in a scene for Jordan Peele's psychological horror thriller film Us. In 2018, The song was featured in the animated film Hotel Transylvania 3: Summer Vacation.","In 2018, The song was featured in the animated film Hotel Transylvania 3: Summer Vacation. Release history In early 2011, the single was remastered and reissued as a four-sided 78 rpm vinyl for Record Store Day, as a teaser for the forthcoming The Smile Sessions box set.","Release history In early 2011, the single was remastered and reissued as a four-sided 78 rpm vinyl for Record Store Day, as a teaser for the forthcoming The Smile Sessions box set. It contained \"Heroes and Villains\" as a B-side, along with previously released alternate takes and mixes.","It contained \"Heroes and Villains\" as a B-side, along with previously released alternate takes and mixes. Stereo version Due to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile.","Stereo version Due to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile. The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett.","The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett. Fitzgerald's software extracted individual instrumental and vocal stems from the original mono master—as the multi-track vocals remained missing—to construct the stereo version that appears on the 2012 reissue of Smiley Smile.","Fitzgerald's software extracted individual instrumental and vocal stems from the original mono master—as the multi-track vocals remained missing—to construct the stereo version that appears on the 2012 reissue of Smiley Smile. 40th Anniversary Edition In celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released.","40th Anniversary Edition In celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released. The EP includes \"Good Vibrations\", four alternate versions of the song, and the stereo mix of \"Let's Go Away for Awhile\". The EP artwork recreates that of the original 7-inch single sleeve.","The EP artwork recreates that of the original 7-inch single sleeve. In 2016, the EP was reissued as a 12\" record for the single's 50th anniversary. Personnel The following people are identified as players on the \"Good Vibrations\" single.","Personnel The following people are identified as players on the \"Good Vibrations\" single. The Beach Boys Mike Love – lead vocals in chorus Brian Wilson – vocals, tack piano, tambourine, production, mixing Carl Wilson – lead vocals in verses, guitar, shaker Dennis Wilson – Hammond organ during 2:13–2:56 Additional musicians and production staff Hal Blaine – drums, timpani, other percussion Al De Lory – piano, harpsichord Jesse Ehrlich – cello Larry Knechtel – organ in verses and choruses Tommy Morgan – harmonica Al Casey – guitar Ray Pohlman – electric bass Lyle Ritz – double bass Jim Horn – piccolo Paul Tanner – Electro-Theremin Bassist Carol Kaye played on several of the \"Good Vibrations\" sessions, and has been identified as a prominent contributor to the track.","The Beach Boys Mike Love – lead vocals in chorus Brian Wilson – vocals, tack piano, tambourine, production, mixing Carl Wilson – lead vocals in verses, guitar, shaker Dennis Wilson – Hammond organ during 2:13–2:56 Additional musicians and production staff Hal Blaine – drums, timpani, other percussion Al De Lory – piano, harpsichord Jesse Ehrlich – cello Larry Knechtel – organ in verses and choruses Tommy Morgan – harmonica Al Casey – guitar Ray Pohlman – electric bass Lyle Ritz – double bass Jim Horn – piccolo Paul Tanner – Electro-Theremin Bassist Carol Kaye played on several of the \"Good Vibrations\" sessions, and has been identified as a prominent contributor to the track. However, analysis by Beach Boys archivist Craig Slowinski indicates that none of those recordings made the final edit as released on the single.","However, analysis by Beach Boys archivist Craig Slowinski indicates that none of those recordings made the final edit as released on the single. Charts Weekly charts Original release 1976 reissue Todd Rundgren version (1976) Year-end charts Certifications Awards and accolades Footnotes References Bibliography External links Greg Panfile's Musical Analysis of \"Good Vibrations\" 1966 singles 1966 songs 2004 singles 2011 singles Brian Wilson songs Psychic TV songs The Beach Boys songs Todd Rundgren songs Capitol Records singles Grammy Hall of Fame Award recipients Billboard Hot 100 number-one singles Cashbox number-one singles Number-one singles in Australia Number-one singles in New Zealand UK Singles Chart number-one singles Songs written by Brian Wilson Songs written by Mike Love Songs written by Tony Asher Song recordings produced by Brian Wilson Song recordings with Wall of Sound arrangements Art pop songs Avant-pop songs Psychedelic pop songs American psychedelic rock songs Songs used as jingles Songs composed in E-flat minor"],"string":"[\n \"\\\"Good Vibrations\\\" is a song by the American rock band the Beach Boys that was composed by Brian Wilson with lyrics by Mike Love. It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping record charts in several countries including the United States and the United Kingdom.\",\n \"It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping record charts in several countries including the United States and the United Kingdom. Characterized by its complex soundscapes, episodic structure and subversions of pop music formula, it was the most expensive single ever recorded.\",\n \"Characterized by its complex soundscapes, episodic structure and subversions of pop music formula, it was the most expensive single ever recorded. \\\"Good Vibrations\\\" later became widely acclaimed as one of the finest and most important works of the rock era.\",\n \"\\\"Good Vibrations\\\" later became widely acclaimed as one of the finest and most important works of the rock era. Also produced by Wilson, the title derived from his fascination with cosmic vibrations, as his mother would tell him as a child that dogs sometimes bark at people in response to their \\\"bad vibrations\\\".\",\n \"Also produced by Wilson, the title derived from his fascination with cosmic vibrations, as his mother would tell him as a child that dogs sometimes bark at people in response to their \\\"bad vibrations\\\". He used the concept to suggest extrasensory perception, while Love's lyrics were inspired by the nascent Flower Power movement.\",\n \"He used the concept to suggest extrasensory perception, while Love's lyrics were inspired by the nascent Flower Power movement. The song was written as it was recorded and in a similar fashion to other compositions from Wilson's Smile period.\",\n \"The song was written as it was recorded and in a similar fashion to other compositions from Wilson's Smile period. It was issued as a standalone single, backed with \\\"Let's Go Away for Awhile\\\", and was to be included on the never-finished album Smile.\",\n \"It was issued as a standalone single, backed with \\\"Let's Go Away for Awhile\\\", and was to be included on the never-finished album Smile. Instead, the track appeared on the September 1967 release Smiley Smile. The making of \\\"Good Vibrations\\\" was unprecedented for any kind of recording.\",\n \"The making of \\\"Good Vibrations\\\" was unprecedented for any kind of recording. Building on his approach for Pet Sounds, Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of session musicians at four different Hollywood studios from February to September 1966, a process reflected in the song's several dramatic shifts in key, texture, instrumentation and mood.\",\n \"Building on his approach for Pet Sounds, Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of session musicians at four different Hollywood studios from February to September 1966, a process reflected in the song's several dramatic shifts in key, texture, instrumentation and mood. Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars.\",\n \"Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars. Band publicist Derek Taylor dubbed the unusual work a \\\"pocket symphony\\\".\",\n \"Band publicist Derek Taylor dubbed the unusual work a \\\"pocket symphony\\\". It helped develop the use of the studio as an instrument and heralded a wave of pop experimentation and the onset of psychedelic and progressive rock.\",\n \"It helped develop the use of the studio as an instrument and heralded a wave of pop experimentation and the onset of psychedelic and progressive rock. The track featured a novel mix of instruments, including jaw harp and Electro-Theremin, and although the latter is not a true theremin, the song's success led to a renewed interest and sales of theremins and synthesizers.\",\n \"The track featured a novel mix of instruments, including jaw harp and Electro-Theremin, and although the latter is not a true theremin, the song's success led to a renewed interest and sales of theremins and synthesizers. \\\"Good Vibrations\\\" received a Grammy nomination for Best Vocal Group performance in 1966 and was inducted into the Grammy Hall of Fame in 1994.\",\n \"\\\"Good Vibrations\\\" received a Grammy nomination for Best Vocal Group performance in 1966 and was inducted into the Grammy Hall of Fame in 1994. The song was voted number one in Mojos \\\"Top 100 Records of All Time\\\" and number six on Rolling Stones \\\"500 Greatest Songs of All Time\\\", and it was included in the Rock and Roll Hall of Fame's \\\"500 Songs that Shaped Rock and Roll\\\".\",\n \"The song was voted number one in Mojos \\\"Top 100 Records of All Time\\\" and number six on Rolling Stones \\\"500 Greatest Songs of All Time\\\", and it was included in the Rock and Roll Hall of Fame's \\\"500 Songs that Shaped Rock and Roll\\\". In later years, the song has been cited as a forerunner to the Beatles' \\\"A Day in the Life\\\" (1967) and Queen's \\\"Bohemian Rhapsody\\\" (1975).\",\n \"In later years, the song has been cited as a forerunner to the Beatles' \\\"A Day in the Life\\\" (1967) and Queen's \\\"Bohemian Rhapsody\\\" (1975). A 1976 cover version by Todd Rundgren peaked at number 34 on the Billboard Hot 100.\",\n \"A 1976 cover version by Todd Rundgren peaked at number 34 on the Billboard Hot 100. The Beach Boys followed up \\\"Good Vibrations\\\" with another single pieced from sections, \\\"Heroes and Villains\\\" (1967), but it was less successful.\",\n \"The Beach Boys followed up \\\"Good Vibrations\\\" with another single pieced from sections, \\\"Heroes and Villains\\\" (1967), but it was less successful. Inspiration and writing Concept and early lyrics The Beach Boys' leader, Brian Wilson, was responsible for the musical composition and virtually all of the arrangement for \\\"Good Vibrations\\\".\",\n \"Inspiration and writing Concept and early lyrics The Beach Boys' leader, Brian Wilson, was responsible for the musical composition and virtually all of the arrangement for \\\"Good Vibrations\\\". Most of the song's structure and arrangement was written as it was recorded.\",\n \"Most of the song's structure and arrangement was written as it was recorded. During the recording sessions for the 1966 album Pet Sounds, Wilson began changing his writing process. For \\\"Good Vibrations\\\", Wilson said, \\\"I had a lot of unfinished ideas, fragments of music I called 'feels.'\",\n \"For \\\"Good Vibrations\\\", Wilson said, \\\"I had a lot of unfinished ideas, fragments of music I called 'feels.' Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic.\\\"\",\n \"Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic.\\\" Engineer Chuck Britz is quoted saying that Wilson considered the song to be \\\"his whole life performance in one track\\\". Wilson stated: \\\"I was an energetic 23-year-old. ...\",\n \"Wilson stated: \\\"I was an energetic 23-year-old. ... ... I said: 'This is going to be better than [the Phil Spector production] \\\"You've Lost That Lovin' Feelin'. Wilson said that \\\"Good Vibrations\\\" was inspired by his mother: \\\"[She] used to tell me about vibrations.\",\n \"Wilson said that \\\"Good Vibrations\\\" was inspired by his mother: \\\"[She] used to tell me about vibrations. I didn't really understand too much of what it meant when I was just a boy. It scared me, the word 'vibrations.'\",\n \"It scared me, the word 'vibrations.' She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel.\\\"\",\n \"She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel.\\\" Brian first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea.\",\n \"Brian first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea. When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style.\",\n \"When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style. Asher remembered: Wilson wanted to call the song \\\"Good Vibes\\\", but Asher advised that it was \\\"lightweight use of the language\\\", and suggested that \\\"Good Vibrations\\\" would sound less \\\"trendy\\\".\",\n \"Asher remembered: Wilson wanted to call the song \\\"Good Vibes\\\", but Asher advised that it was \\\"lightweight use of the language\\\", and suggested that \\\"Good Vibrations\\\" would sound less \\\"trendy\\\". The two proceeded to write lyrics for the verses that were ultimately discarded.\",\n \"The two proceeded to write lyrics for the verses that were ultimately discarded. Theremin and cello From the start, Wilson envisioned a theremin for the track.\",\n \"Theremin and cello From the start, Wilson envisioned a theremin for the track. AllMusic reviewer John Bush pointed out: \\\"Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel—between the single's theme and its use of an instrument the player never even touched.\\\"\",\n \"AllMusic reviewer John Bush pointed out: \\\"Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel—between the single's theme and its use of an instrument the player never even touched.\\\" \\\"Good Vibrations\\\" does not technically feature a theremin, but rather an Electro-Theremin, which is physically controlled by a knob on the side of the instrument.\",\n \"\\\"Good Vibrations\\\" does not technically feature a theremin, but rather an Electro-Theremin, which is physically controlled by a knob on the side of the instrument. It was dubbed a \\\"theremin\\\" simply for convenience.\",\n \"It was dubbed a \\\"theremin\\\" simply for convenience. At that time, theremins were most often associated with the 1945 Alfred Hitchcock film Spellbound, but their most common presence was in the theme music for the television sitcom My Favorite Martian, which ran from 1963 to 1966.\",\n \"At that time, theremins were most often associated with the 1945 Alfred Hitchcock film Spellbound, but their most common presence was in the theme music for the television sitcom My Favorite Martian, which ran from 1963 to 1966. Britz speculates: \\\"He just walked in and said, 'I have this new sound for you.'\",\n \"Britz speculates: \\\"He just walked in and said, 'I have this new sound for you.' I think he must have heard the sound somewhere and loved it, and built a song around it.\\\" It is unclear whether Wilson knew that the instrument was not a real theremin.\",\n \"It is unclear whether Wilson knew that the instrument was not a real theremin. Brian credited his brother and bandmate Carl for suggesting the use of a cello on the track.\",\n \"Brian credited his brother and bandmate Carl for suggesting the use of a cello on the track. He further stated that its triplet beat on the chorus was his own idea and that it was based on the Crystals' \\\"Da Doo Ron Ron\\\" (1963), produced by Spector.\",\n \"He further stated that its triplet beat on the chorus was his own idea and that it was based on the Crystals' \\\"Da Doo Ron Ron\\\" (1963), produced by Spector. Conversely, arranger and session musician Van Dyke Parks said that it was himself who suggested having the cellist play triplets to Brian.\",\n \"Conversely, arranger and session musician Van Dyke Parks said that it was himself who suggested having the cellist play triplets to Brian. Parks believed that having Brian exploit the cello \\\"to such a hyperbolic degree\\\" was what encouraged the duo to immediately collaborate on the never-finished album Smile.\",\n \"Parks believed that having Brian exploit the cello \\\"to such a hyperbolic degree\\\" was what encouraged the duo to immediately collaborate on the never-finished album Smile. At some point, Wilson asked Parks to pen lyrics for \\\"Good Vibrations\\\", although Parks declined.\",\n \"At some point, Wilson asked Parks to pen lyrics for \\\"Good Vibrations\\\", although Parks declined. Influences and final lyrics Wilson's cousin and bandmate Mike Love submitted the final lyrics for \\\"Good Vibrations\\\" and contributed its bass-baritone vocals in the chorus.\",\n \"Influences and final lyrics Wilson's cousin and bandmate Mike Love submitted the final lyrics for \\\"Good Vibrations\\\" and contributed its bass-baritone vocals in the chorus. He recalled that when he heard the unfinished backing track: \\\"[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it.\",\n \"He recalled that when he heard the unfinished backing track: \\\"[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it. How's this going to go over in the Midwest or Birmingham?\",\n \"How's this going to go over in the Midwest or Birmingham? It was such a departure from 'Surfin' U.S.A.' or 'Help Me, Rhonda.'\\\" Love said that he wrote the words while on the drive to the studio.\",\n \"Love said that he wrote the words while on the drive to the studio. Feeling that the song could be \\\"the Beach Boys' psychedelic anthem or flower power offering,\\\" he based the lyrics on the burgeoning psychedelic music and Flower Power movements occurring in San Francisco and some parts of the Los Angeles area.\",\n \"Feeling that the song could be \\\"the Beach Boys' psychedelic anthem or flower power offering,\\\" he based the lyrics on the burgeoning psychedelic music and Flower Power movements occurring in San Francisco and some parts of the Los Angeles area. He described the lyrics as \\\"just a flowery poem.\",\n \"He described the lyrics as \\\"just a flowery poem. Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair.'\\\"\",\n \"Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair.'\\\" Writing in his 1975 book The Beach Boys: Southern California Pastoral, Bruce Golden observed: Capitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his LSD experiences.\",\n \"Writing in his 1975 book The Beach Boys: Southern California Pastoral, Bruce Golden observed: Capitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his LSD experiences. Brian clarified that the song was written under the influence of marijuana, not LSD.\",\n \"Brian clarified that the song was written under the influence of marijuana, not LSD. He explained: \\\"I made ‘Good Vibrations’ on drugs; I used drugs to make that. ... I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity.\\\"\",\n \"I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity.\\\" In Steven Gaines's 1986 biography, Wilson is quoted on the lyrics: \\\"We talked about good vibrations with the song and the idea, and we decided on one hand that you could say ... those are sensual things.\",\n \"In Steven Gaines's 1986 biography, Wilson is quoted on the lyrics: \\\"We talked about good vibrations with the song and the idea, and we decided on one hand that you could say ... those are sensual things. And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have.\",\n \"And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have. That's what we're really talking about.\\\" Wilson said in 2012 that the song's \\\"gotta keep those good vibrations\\\" bridge was inspired by Stephen Foster.\",\n \"Wilson said in 2012 that the song's \\\"gotta keep those good vibrations\\\" bridge was inspired by Stephen Foster. Bandmate Al Jardine compared that section to Foster and the Negro spiritual \\\"Down by the Riverside\\\".\",\n \"Bandmate Al Jardine compared that section to Foster and the Negro spiritual \\\"Down by the Riverside\\\". According to Love, the lyric \\\"'she goes with me to a blossom world' was originally meant to be followed by the words 'we find'\\\", but Wilson elected to cut off the line to highlight the bass track linking into the chorus.\",\n \"According to Love, the lyric \\\"'she goes with me to a blossom world' was originally meant to be followed by the words 'we find'\\\", but Wilson elected to cut off the line to highlight the bass track linking into the chorus. Recording and production Modular approach \\\"Good Vibrations\\\" established a new method of operation for Wilson.\",\n \"Recording and production Modular approach \\\"Good Vibrations\\\" established a new method of operation for Wilson. Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or \\\"modules\\\").\",\n \"Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or \\\"modules\\\"). Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time.\",\n \"Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time. This was the same modular approach used during the sessions for Smile and Smiley Smile.\",\n \"This was the same modular approach used during the sessions for Smile and Smiley Smile. To mask each tape edit, vast reverb decays were added at the mixing and sub-mixing stages. For instrumentation, Wilson employed the services of \\\"the Wrecking Crew\\\", the nickname for a conglomerate of session musicians active in Los Angeles at that time.\",\n \"For instrumentation, Wilson employed the services of \\\"the Wrecking Crew\\\", the nickname for a conglomerate of session musicians active in Los Angeles at that time. Production for \\\"Good Vibrations\\\" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two.\",\n \"Production for \\\"Good Vibrations\\\" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two. It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands, making it the costliest single recorded to that date.\",\n \"It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands, making it the costliest single recorded to that date. Biographer Peter Ames Carlin wrote that Wilson was so puzzled by the arranging of \\\"Good Vibrations\\\" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs.\",\n \"Biographer Peter Ames Carlin wrote that Wilson was so puzzled by the arranging of \\\"Good Vibrations\\\" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs. One estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to $ and $ in ), By comparison, the whole of Pet Sounds had cost $70,000 ($), itself an unusually high cost for an album.\",\n \"One estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to $ and $ in ), By comparison, the whole of Pet Sounds had cost $70,000 ($), itself an unusually high cost for an album. In 2018, Wilson disputed the $50,000 figure for \\\"Good Vibrations\\\", saying that the overall expenses were closer to $25,000.\",\n \"In 2018, Wilson disputed the $50,000 figure for \\\"Good Vibrations\\\", saying that the overall expenses were closer to $25,000. Contemporary advertisements reported $10,000 ($) as the track's total production costs. Domenic Priore wrote that the track cost between $10,000 and $15,000 ($).\",\n \"Domenic Priore wrote that the track cost between $10,000 and $15,000 ($). When asked in a 2005 interview if it was true that the Electro-Theremin work alone cost $100,000, Wilson replied \\\"No. $15,000.\\\"\",\n \"$15,000.\\\" $15,000.\\\" Development The instrumental of the first version of the song was recorded on February 17, 1966, at Gold Star Studios and was logged as a Pet Sounds session.\",\n \"Development The instrumental of the first version of the song was recorded on February 17, 1966, at Gold Star Studios and was logged as a Pet Sounds session. On that day's session log, it was given the name \\\"#1 Untitled\\\" or \\\"Good, Good, Good Vibrations\\\", but on its master tape, Wilson distinctly states: \\\"'Good Vibrations' ... take one.\\\"\",\n \"On that day's session log, it was given the name \\\"#1 Untitled\\\" or \\\"Good, Good, Good Vibrations\\\", but on its master tape, Wilson distinctly states: \\\"'Good Vibrations' ... take one.\\\" After twenty-six takes, a rough mono mix completed the session.\",\n \"After twenty-six takes, a rough mono mix completed the session. Some additional instruments and rough guide vocals were overdubbed on February 23. Brian and Carl shared vocals for this mix.\",\n \"Brian and Carl shared vocals for this mix. The original version of \\\"Good Vibrations\\\" contained the characteristics of a \\\"funky rhythm and blues number\\\" and would not yet resemble a \\\"pocket symphony\\\". There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor, Paul Tanner.\",\n \"There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor, Paul Tanner. It was Brian's second ever recorded use of the instrument, just three days after the Pet Sounds track \\\"I Just Wasn't Made for These Times\\\".\",\n \"It was Brian's second ever recorded use of the instrument, just three days after the Pet Sounds track \\\"I Just Wasn't Made for These Times\\\". Brian then placed \\\"Good Vibrations\\\" on hold in order to devote attention to the Pet Sounds album, which saw release on May 16.\",\n \"Brian then placed \\\"Good Vibrations\\\" on hold in order to devote attention to the Pet Sounds album, which saw release on May 16. More instrumental sections for \\\"Good Vibrations\\\" were recorded between April and June.\",\n \"More instrumental sections for \\\"Good Vibrations\\\" were recorded between April and June. Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs.\",\n \"Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs. According to Brian's then-new friend David Anderle, during an early stage, Brian considered giving \\\"Good Vibrations\\\" to one of the black R&B groups signed with Warner Bros. Records such as Wilson Pickett, and then at Anderle's suggestion to singer Danny Hutton.\",\n \"According to Brian's then-new friend David Anderle, during an early stage, Brian considered giving \\\"Good Vibrations\\\" to one of the black R&B groups signed with Warner Bros. Records such as Wilson Pickett, and then at Anderle's suggestion to singer Danny Hutton. He thought about abandoning the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single.\",\n \"He thought about abandoning the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single. In the meantime, he worked on writing and recording material for the group's forthcoming album, Smile.\",\n \"In the meantime, he worked on writing and recording material for the group's forthcoming album, Smile. The first Beach Boy to hear \\\"Good Vibrations\\\" in a semi-completed form, other than Brian, was Carl.\",\n \"The first Beach Boy to hear \\\"Good Vibrations\\\" in a semi-completed form, other than Brian, was Carl. Following a performance with the touring group in North Dakota, he remembered: \\\"I came back up into my hotel room one night and the phone rang. It was Brian on the other end.\",\n \"It was Brian on the other end. He called me from the recording studio and played this really bizarre sounding music over the phone. There were drums smashing, that kind of stuff, and then it refined itself and got into the cello. It was a real funky track.\\\"\",\n \"It was a real funky track.\\\" In 1976, Brian revealed that before the final mixdown, he had been confronted with resistance by members of the group, whom Brian declined to name.\",\n \"In 1976, Brian revealed that before the final mixdown, he had been confronted with resistance by members of the group, whom Brian declined to name. The subject of their worries and complaints was the song's length and \\\"modern\\\" sound: \\\"I said no, it's not going to be too long a record, it's going to be just right.\",\n \"The subject of their worries and complaints was the song's length and \\\"modern\\\" sound: \\\"I said no, it's not going to be too long a record, it's going to be just right. ... They didn't quite understand what this jumping from studio to studio was all about.\",\n \"They didn't quite understand what this jumping from studio to studio was all about. And they couldn't conceive of the record as I did. I saw the record as a totality piece.\\\"\",\n \"I saw the record as a totality piece.\\\" The vocals for \\\"Good Vibrations\\\" were recorded at CBS Columbia Square, starting on August 24 and continuing sporadically until the very last day of assembly on September 21. The episodic structure of the composition was continuously revised as the group experimented with different ideas.\",\n \"The episodic structure of the composition was continuously revised as the group experimented with different ideas. Brian remembers that he began recording the \\\"bop bop good vibrations\\\" parts first, and that he came up with \\\"the high parts\\\" a week later.\",\n \"Brian remembers that he began recording the \\\"bop bop good vibrations\\\" parts first, and that he came up with \\\"the high parts\\\" a week later. Mike Love recalled: \\\"I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long.\\\"\",\n \"Mike Love recalled: \\\"I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long.\\\" Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute.\",\n \"Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute. In early September, the master tapes for \\\"Good Vibrations\\\" were stolen. Mysteriously, they reappeared inside Brian's home two days later.\",\n \"Mysteriously, they reappeared inside Brian's home two days later. On September 21, Brian completed the track after Tanner added a final Electro-Theremin overdub. In 1976 he elaborated on the event: \\\"It was at Columbia. I remember I had it right in the sack.\",\n \"I remember I had it right in the sack. I could just feel it when I dubbed it down, made the final mix from the 16-track down to mono. It was a feeling of power, it was a rush. A feeling of exaltation. Artistic beauty. It was everything ... I remember saying, 'Oh my God.\",\n \"I remember saying, 'Oh my God. Sit back and listen to this!'\\\" Composition and analysis Genre and dynamics There are six unique sections to the piece.\",\n \"Composition and analysis Genre and dynamics There are six unique sections to the piece. Music theorist Daniel Harrison refers to these sections individually as the verse, the refrain (or chorus), the \\\"first episodic digression\\\", the \\\"second episodic digression\\\", the \\\"retro-refrain\\\", and the coda.\",\n \"Music theorist Daniel Harrison refers to these sections individually as the verse, the refrain (or chorus), the \\\"first episodic digression\\\", the \\\"second episodic digression\\\", the \\\"retro-refrain\\\", and the coda. Each has a distinct musical texture, partly due to the nature of the song's recording.\",\n \"Each has a distinct musical texture, partly due to the nature of the song's recording. The track's instrumentation changes radically from section to section, and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a \\\"very long\\\" duration.\",\n \"The track's instrumentation changes radically from section to section, and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a \\\"very long\\\" duration. Wilson is quoted in 1979: He characterized the song as \\\"advanced rhythm and blues\\\".\",\n \"Wilson is quoted in 1979: He characterized the song as \\\"advanced rhythm and blues\\\". Tom Roland of American Songwriter described the piece, \\\"with its interlocking segments—a sort of pop version of the classical sonata, consisting of a series of musical movements\\\".\",\n \"Tom Roland of American Songwriter described the piece, \\\"with its interlocking segments—a sort of pop version of the classical sonata, consisting of a series of musical movements\\\". New York Magazine compared it to \\\"a fugue with a rhythmic beat\\\".\",\n \"New York Magazine compared it to \\\"a fugue with a rhythmic beat\\\". John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs.\",\n \"John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs. Music journal Sound on Sound argued that the song \\\"has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour\\\".\",\n \"Music journal Sound on Sound argued that the song \\\"has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour\\\". It explained that the song subverts pop forms to a considerable degree: According to historian Lorenzo Candelaria, \\\"Good Vibrations\\\" has since been marketed as pop music \\\"possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know.\\\"\",\n \"It explained that the song subverts pop forms to a considerable degree: According to historian Lorenzo Candelaria, \\\"Good Vibrations\\\" has since been marketed as pop music \\\"possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know.\\\" Uncut called the song \\\"three minutes and thirty-six seconds of avant-garde pop\\\".\",\n \"Uncut called the song \\\"three minutes and thirty-six seconds of avant-garde pop\\\". Mixdown described it as a \\\"masterpiece of avant-pop\\\". The theremin and cello has been called the song's \\\"psychedelic ingredient\\\".\",\n \"The theremin and cello has been called the song's \\\"psychedelic ingredient\\\". In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin.\",\n \"In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin. Professor of American history John Robert Greene named \\\"Good Vibrations\\\" among examples of psychedelic or acid rock.\",\n \"Professor of American history John Robert Greene named \\\"Good Vibrations\\\" among examples of psychedelic or acid rock. Stebbins wrote that the song was \\\"replete with sunshine [and] psychedelia\\\". Steve Valdez says that, like Pet Sounds, Brian was attempting a more experimental rock style.\",\n \"Steve Valdez says that, like Pet Sounds, Brian was attempting a more experimental rock style. Comparing \\\"Good Vibrations\\\" to Wilson's previous work Pet Sounds, biographer Andrew Hickey said that the \\\"best way of thinking about [the song] is that it's taking the lowest common denominator of 'Here Today' and 'God Only Knows' and turned the result into an R&B track.\",\n \"Comparing \\\"Good Vibrations\\\" to Wilson's previous work Pet Sounds, biographer Andrew Hickey said that the \\\"best way of thinking about [the song] is that it's taking the lowest common denominator of 'Here Today' and 'God Only Knows' and turned the result into an R&B track. We have the same minor-key change between verse and chorus we've seen throughout Pet Sounds, the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to funky.\\\"\",\n \"We have the same minor-key change between verse and chorus we've seen throughout Pet Sounds, the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to funky.\\\" Author Jon Stebbins adds that \\\"unlike Pet Sounds the chorus of 'Good Vibrations' projects a definite 'rock and roll' energy and feel.\\\"\",\n \"Author Jon Stebbins adds that \\\"unlike Pet Sounds the chorus of 'Good Vibrations' projects a definite 'rock and roll' energy and feel.\\\" According to academic Rikky Rooksby, \\\"Good Vibrations\\\" is an example of Brian Wilson's growing interest in musical development within a composition, something antithetical to popular music of the time.\",\n \"According to academic Rikky Rooksby, \\\"Good Vibrations\\\" is an example of Brian Wilson's growing interest in musical development within a composition, something antithetical to popular music of the time. Suppressing tonic strength and cadential drive, the song makes use of descending harmonic motions through scale degrees controlled by a single tonic and \\\"radical disjunctions\\\" in key, texture, instrumentation, and mood while refusing to develop into a predictable formal pattern.\",\n \"Suppressing tonic strength and cadential drive, the song makes use of descending harmonic motions through scale degrees controlled by a single tonic and \\\"radical disjunctions\\\" in key, texture, instrumentation, and mood while refusing to develop into a predictable formal pattern. It instead develops \\\"under its own power\\\" and \\\"luxuriates in harmonic variety\\\" exemplified by beginning and ending not only in different keys but also in different modes.\",\n \"It instead develops \\\"under its own power\\\" and \\\"luxuriates in harmonic variety\\\" exemplified by beginning and ending not only in different keys but also in different modes. Verses and refrains (0:00–1:40) \\\"Good Vibrations\\\" begins without introduction in a traditional verse/refrain format, opening with Carl Wilson singing the word \\\"I\\\", a triplet eighth note before the downbeat.\",\n \"Verses and refrains (0:00–1:40) \\\"Good Vibrations\\\" begins without introduction in a traditional verse/refrain format, opening with Carl Wilson singing the word \\\"I\\\", a triplet eighth note before the downbeat. The sparse first verse contains a repetition of chords played on a Hammond organ filtered through a Leslie speaker; underneath is a two-bar Fender bass melody.\",\n \"The sparse first verse contains a repetition of chords played on a Hammond organ filtered through a Leslie speaker; underneath is a two-bar Fender bass melody. This sequence repeats once (0:15), but with the addition of two piccolos sustaining over a falling flute line.\",\n \"This sequence repeats once (0:15), but with the addition of two piccolos sustaining over a falling flute line. For percussion, bongo drums double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation.\",\n \"For percussion, bongo drums double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation. The beat projects a triplet feel despite being in time; this is sometimes called a \\\"shuffle beat\\\" or \\\"threes over fours\\\".\",\n \"The beat projects a triplet feel despite being in time; this is sometimes called a \\\"shuffle beat\\\" or \\\"threes over fours\\\". The chord progression used is i–VII–VI–V, also called an Andalusian cadence. Although the verses begin in the minor mode of E, the mode is not used to express sadness or drudgery.\",\n \"Although the verses begin in the minor mode of E, the mode is not used to express sadness or drudgery. Occurring at the very end of these verses is a passing chord, D. The refrain (0:25) begins in the newly tonicized relative major G, which suggests III.\",\n \"Occurring at the very end of these verses is a passing chord, D. The refrain (0:25) begins in the newly tonicized relative major G, which suggests III. Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music.\",\n \"Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music. The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat.\",\n \"The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat. This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals.\",\n \"This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals. The first section consists of only the couplet \\\"I'm picking up good vibrations/she's giving me the excitation\\\" sung by Mike Love in his bass-baritone register; the second repeats the lines and adds an \\\"ooo bop bop\\\" figure, sung in multiple-part harmony; the third time also adds a \\\"good, good, good, good vibrations\\\" in yet a higher harmony.\",\n \"The first section consists of only the couplet \\\"I'm picking up good vibrations/she's giving me the excitation\\\" sung by Mike Love in his bass-baritone register; the second repeats the lines and adds an \\\"ooo bop bop\\\" figure, sung in multiple-part harmony; the third time also adds a \\\"good, good, good, good vibrations\\\" in yet a higher harmony. This type of polyphony (counterpoint) is also rare in contemporary popular styles.\",\n \"This type of polyphony (counterpoint) is also rare in contemporary popular styles. Each repeat of the vocal lines also transposes up by a whole step, ascending from G to A and then B. It then returns to the verse, thus making a perfect cadence back into E minor.\",\n \"It then returns to the verse, thus making a perfect cadence back into E minor. The verse and refrain then repeat without any changes to the patterns of its instrumentation and harmony. This is unusual, in that normally, a song's arrangement adds something once it reaches the second verse.\",\n \"This is unusual, in that normally, a song's arrangement adds something once it reaches the second verse. Episodic digressions First episode (1:41–2:13) The first episode (1:41+) begins disjunctively with an abrupt tape splice.\",\n \"Episodic digressions First episode (1:41–2:13) The first episode (1:41+) begins disjunctively with an abrupt tape splice. The refrain's B, which had received a dominant (V) charge, is now maintained as a tonic (I).\",\n \"The refrain's B, which had received a dominant (V) charge, is now maintained as a tonic (I). There is harmonic ambiguity, in that the chord progression may be either interpreted as I–IV–I (in B) or V–I–V (in E).\",\n \"There is harmonic ambiguity, in that the chord progression may be either interpreted as I–IV–I (in B) or V–I–V (in E). Stebbins says that this section \\\"might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply.\\\"\",\n \"Stebbins says that this section \\\"might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply.\\\" A new sound is created by tack piano, jaw harp, and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, bass harmonica, and sleigh bells shaken on every beat.\",\n \"A new sound is created by tack piano, jaw harp, and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, bass harmonica, and sleigh bells shaken on every beat. The lone line of vocals (aside from non-lexical harmonies) is \\\"I don't know where, but she sends me there\\\" sung in Mike Love's upper-register baritone.\",\n \"The lone line of vocals (aside from non-lexical harmonies) is \\\"I don't know where, but she sends me there\\\" sung in Mike Love's upper-register baritone. This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns.\",\n \"This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns. Second episode (2:13–2:56) Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat.\",\n \"Second episode (2:13–2:56) Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat. Sound on Sound highlights this change as the \\\"most savage edit in the track ... most people would go straight into a big splash hook-line section.\",\n \"Sound on Sound highlights this change as the \\\"most savage edit in the track ... most people would go straight into a big splash hook-line section. Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ...\",\n \"Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ... Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian.\\\"\",\n \"Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian.\\\" Harrison says: The slowed pace is complemented by the lyric (\\\"Gotta keep those loving good vibrations a-happening with her\\\"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony.\",\n \"Harrison says: The slowed pace is complemented by the lyric (\\\"Gotta keep those loving good vibrations a-happening with her\\\"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony. This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2.\",\n \"This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2. The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats.\",\n \"The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats. Lambert calls it the song's \\\"wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments.\",\n \"Lambert calls it the song's \\\"wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments. As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say.\\\"\",\n \"As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say.\\\" Retro-refrain and coda (2:57–3:35) A brief break at the end of the second musical digression creates tension which leads into the final sequence of the song.\",\n \"Retro-refrain and coda (2:57–3:35) A brief break at the end of the second musical digression creates tension which leads into the final sequence of the song. The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B, repeats at A, and then ends at G for an unexpectedly short single measure.\",\n \"The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B, repeats at A, and then ends at G for an unexpectedly short single measure. The section uses a descending progression, which mirrors the ascending progression of the previous two refrains.\",\n \"The section uses a descending progression, which mirrors the ascending progression of the previous two refrains. There follows a short section of vocalizing in three-part counterpoint that references the original refrain by reproducing upward transposition. However, this time it settles on A, the concluding key of the song.\",\n \"However, this time it settles on A, the concluding key of the song. By the end of \\\"Good Vibrations,\\\" all seven scale degrees of the opening E-minor tonic are activated on some level.\",\n \"By the end of \\\"Good Vibrations,\\\" all seven scale degrees of the opening E-minor tonic are activated on some level. Release and promotion In a July 1966 advertisement for Pet Sounds in Billboard magazine, the band thanked the music industry for the sales of their album, and said that \\\"We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations.\\\"\",\n \"Release and promotion In a July 1966 advertisement for Pet Sounds in Billboard magazine, the band thanked the music industry for the sales of their album, and said that \\\"We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations.\\\" This was the first public hint of the new single.\",\n \"This was the first public hint of the new single. Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was \\\"about a guy who picks up good vibrations from a girl\\\" and that it would be a \\\"monster\\\".\",\n \"Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was \\\"about a guy who picks up good vibrations from a girl\\\" and that it would be a \\\"monster\\\". He then suggested: \\\"It's still sticking pretty close to that same boy-girl thing, you know, but with a difference.\",\n \"He then suggested: \\\"It's still sticking pretty close to that same boy-girl thing, you know, but with a difference. And it's a start, it's definitely a start.\\\"\",\n \"And it's a start, it's definitely a start.\\\" Derek Taylor, who had recently been engaged as the band's publicist, is credited for coining the term a \\\"pocket symphony\\\" to describe the song.\",\n \"Derek Taylor, who had recently been engaged as the band's publicist, is credited for coining the term a \\\"pocket symphony\\\" to describe the song. In a press release for the single, he stated: \\\"Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils.\",\n \"In a press release for the single, he stated: \\\"Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils. And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else.\\\"\",\n \"And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else.\\\" To promote the single, four different music videos were shot.\",\n \"To promote the single, four different music videos were shot. The first of these—which had Caleb Deschanel as cameraman—features the group at a fire station, sliding down its pole, and roaming the streets of Los Angeles in a fashion comparable to The Monkees. The second features the group during vocal rehearsals at United Western Recorders.\",\n \"The second features the group during vocal rehearsals at United Western Recorders. The third contains footage recorded during the making of The Beach Boys in London, a documentary by Peter Whitehead of their concert performances. The fourth clip is an alternative edit of the third.\",\n \"The fourth clip is an alternative edit of the third. Brian also made a rare television appearance on local station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record.\",\n \"Brian also made a rare television appearance on local station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record. On October 15, 1966, Billboard predicted that the single would reach the top 20 in the Billboard Hot 100 chart.\",\n \"On October 15, 1966, Billboard predicted that the single would reach the top 20 in the Billboard Hot 100 chart. \\\"Good Vibrations\\\" was the Beach Boys' third US number one hit, after \\\"I Get Around\\\" and \\\"Help Me, Rhonda\\\", reaching the top of the Hot 100 in December.\",\n \"\\\"Good Vibrations\\\" was the Beach Boys' third US number one hit, after \\\"I Get Around\\\" and \\\"Help Me, Rhonda\\\", reaching the top of the Hot 100 in December. It was also their first number one in Britain.\",\n \"It was also their first number one in Britain. The single sold over 230,000 copies in the US within four days of its release and entered the Cash Box chart at number 61 on October 22. In the UK, the song sold over 50,000 copies in the first 15 days of its release.\",\n \"In the UK, the song sold over 50,000 copies in the first 15 days of its release. \\\"Good Vibrations\\\" quickly became the Beach Boys' first million-selling single. In December 1966, the record was their first single certified gold by the RIAA for sales of one million copies.\",\n \"In December 1966, the record was their first single certified gold by the RIAA for sales of one million copies. On March 30, 2016, the digital single was certified platinum by the RIAA for the same sales level.\",\n \"On March 30, 2016, the digital single was certified platinum by the RIAA for the same sales level. In the US, Cash Box said that it is a \\\"catchy, easy-driving ditty loaded with the Boys’ money-making sound.\\\" In Britain, the single received favorable reviews from the New Musical Express and Melody Maker.\",\n \"In Britain, the single received favorable reviews from the New Musical Express and Melody Maker. Soon after, the Beach Boys were voted the number one band in the world in the NME readers' poll, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops.\",\n \"Soon after, the Beach Boys were voted the number one band in the world in the NME readers' poll, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops. Billboard said that this result was probably influenced by the success of \\\"Good Vibrations\\\" when the votes were cast, together with the band's recent tour, whereas the Beatles had neither a recent single nor had they toured the UK throughout 1966; the reporter added that \\\"The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak.\\\"\",\n \"Billboard said that this result was probably influenced by the success of \\\"Good Vibrations\\\" when the votes were cast, together with the band's recent tour, whereas the Beatles had neither a recent single nor had they toured the UK throughout 1966; the reporter added that \\\"The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak.\\\" In a readers' poll conducted by a Danish newspaper, Brian Wilson won the \\\"best foreign-produced recording award\\\", marking the first time that an American had won in that category.\",\n \"In a readers' poll conducted by a Danish newspaper, Brian Wilson won the \\\"best foreign-produced recording award\\\", marking the first time that an American had won in that category. The single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc.\",\n \"The single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc. Influence and legacy Historical reception Virtually every pop music critic recognizes \\\"Good Vibrations\\\" as one of the most important compositions and recordings of the entire rock era.\",\n \"Influence and legacy Historical reception Virtually every pop music critic recognizes \\\"Good Vibrations\\\" as one of the most important compositions and recordings of the entire rock era. It is a regular fixture on \\\"greatest of all-time\\\" song lists and is frequently hailed as one of the finest pop productions of all time.\",\n \"It is a regular fixture on \\\"greatest of all-time\\\" song lists and is frequently hailed as one of the finest pop productions of all time. In 2004, Rolling Stone magazine ranked \\\"Good Vibrations\\\" at number 6 in \\\"The 500 Greatest Songs of All Time\\\", the highest position of seven Beach Boys songs cited in the list.\",\n \"In 2004, Rolling Stone magazine ranked \\\"Good Vibrations\\\" at number 6 in \\\"The 500 Greatest Songs of All Time\\\", the highest position of seven Beach Boys songs cited in the list. In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list.\",\n \"In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list. As of 2016, \\\"Good Vibrations\\\" is ranked as the number four song of all time in an aggregation of critics' lists at Acclaimed Music. The song served as an anthem for the counterculture of the 1960s.\",\n \"The song served as an anthem for the counterculture of the 1960s. According to Noel Murray of The A.V.\",\n \"According to Noel Murray of The A.V. Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's \\\"un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do.\\\"\",\n \"Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's \\\"un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do.\\\" Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for \\\"Good Vibrations\\\".\",\n \"Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for \\\"Good Vibrations\\\". \\\"Heroes and Villains\\\", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967.\",\n \"\\\"Heroes and Villains\\\", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967. In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of \\\"Good Vibrations\\\".\",\n \"In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of \\\"Good Vibrations\\\". When asked about the song in 1990, Paul McCartney responded: \\\"I thought it was a great record.\",\n \"When asked about the song in 1990, Paul McCartney responded: \\\"I thought it was a great record. It didn't quite have the emotional thing that Pet Sounds had for me. I've often played Pet Sounds and cried. It's that kind of an album for me.\\\"\",\n \"It's that kind of an album for me.\\\" Pete Townshend of the Who was quoted in the 1960s as saying, \\\"'Good Vibrations' was probably a good record but who's to know? You had to play it about 90 bloody times to even hear what they were singing about.\\\"\",\n \"You had to play it about 90 bloody times to even hear what they were singing about.\\\" Townshend feared that the single would lead to a trend of overproduction. In a 1966 issue of Arts Magazine, Jonathan King said: \\\"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art.\",\n \"In a 1966 issue of Arts Magazine, Jonathan King said: \\\"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art. Computerized pop, mechanized music. Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons.\",\n \"Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons. It is long and split. ... impressive, fantastic, commercial—yes. Emotional, soul-destroying, shattering—no.\\\"\",\n \"Emotional, soul-destroying, shattering—no.\\\" In the 2000s, record producer Phil Spector criticized the single for depending too much on tape manipulation, negatively referring to it as an \\\"edit record ... It's like Psycho is a great film, but it's an 'edit film.'\",\n \"It's like Psycho is a great film, but it's an 'edit film.' Without edits, it's not a film; with edits, it's a great film. But it's not Rebecca ... it's not a beautiful story.\\\"\",\n \"But it's not Rebecca ... it's not a beautiful story.\\\" Advancements Recording and popular music \\\"Good Vibrations\\\" is credited for having further developed the use of recording studios as a musical instrument.\",\n \"Advancements Recording and popular music \\\"Good Vibrations\\\" is credited for having further developed the use of recording studios as a musical instrument. Author Domenic Priore commented that the song's making was \\\"unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording\\\".\",\n \"Author Domenic Priore commented that the song's making was \\\"unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording\\\". A milestone in the development of rock music, the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record.\",\n \"A milestone in the development of rock music, the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record. Musicologist Charlie Gillett called it \\\"one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance\\\".\",\n \"Musicologist Charlie Gillett called it \\\"one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance\\\". In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted: Writing for Popmatters in 2015, Scott Interrante stated: \\\"'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have.\\\"\",\n \"In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted: Writing for Popmatters in 2015, Scott Interrante stated: \\\"'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have.\\\" The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm.\",\n \"The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm. Microtonal composer Frank Oteri said that it \\\"sounds like no other pop song recorded up to that point\\\".\",\n \"Microtonal composer Frank Oteri said that it \\\"sounds like no other pop song recorded up to that point\\\". According to Stebbins: \\\"This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original.\",\n \"According to Stebbins: \\\"This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original. But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century.\\\"\",\n \"But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century.\\\" He added that the single \\\"vaulted nearly every other rock act in their delivery of a Flower Power classic. It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop.\\\"\",\n \"It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop.\\\" John Bush wrote that the single \\\"announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies\\\".\",\n \"John Bush wrote that the single \\\"announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies\\\". Gillett noted: \\\"For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording.\\\"\",\n \"Gillett noted: \\\"For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording.\\\" Priore says that the song was a forerunner to works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes.\",\n \"Priore says that the song was a forerunner to works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes. In his appraisal for American Songwriter, Roland cites the song's \\\"format\\\" as the model for recordings by Wings (\\\"Band on the Run\\\"), the Beatles (\\\"A Day in the Life\\\"), and Elton John (\\\"Funeral for a Friend/Love Lies Bleeding\\\").\",\n \"In his appraisal for American Songwriter, Roland cites the song's \\\"format\\\" as the model for recordings by Wings (\\\"Band on the Run\\\"), the Beatles (\\\"A Day in the Life\\\"), and Elton John (\\\"Funeral for a Friend/Love Lies Bleeding\\\"). The song's approach was repeated in Queen's 1975 single \\\"Bohemian Rhapsody\\\", which was similarly pieced together using different sections.\",\n \"The song's approach was repeated in Queen's 1975 single \\\"Bohemian Rhapsody\\\", which was similarly pieced together using different sections. Wilson praised Queen's effort, calling it \\\"the most competitive thing that's come along in ages\\\" and \\\"a fulfillment and an answer to a teenage prayer—of artistic music\\\".\",\n \"Wilson praised Queen's effort, calling it \\\"the most competitive thing that's come along in ages\\\" and \\\"a fulfillment and an answer to a teenage prayer—of artistic music\\\". Psychedelic and progressive rock With \\\"Good Vibrations\\\", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages.\",\n \"Psychedelic and progressive rock With \\\"Good Vibrations\\\", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages. Writing in 2009, Barney Hoskyns deemed it to be the era's \\\"ultimate psychedelic pop record\\\" from Los Angeles.\",\n \"Writing in 2009, Barney Hoskyns deemed it to be the era's \\\"ultimate psychedelic pop record\\\" from Los Angeles. Interrante adds: \\\"Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated, but its legacy as a pop hit is impressive as well.\\\"\",\n \"Interrante adds: \\\"Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated, but its legacy as a pop hit is impressive as well.\\\" Former Atlantic Records executive Phillip Rauls recalled: \\\"I was in the music business at the time, and my very first recognition of acid rock—we didn't call it progressive rock then—was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [theremin] sent so many musicians back to the studio to create this music on acid.\\\"\",\n \"Former Atlantic Records executive Phillip Rauls recalled: \\\"I was in the music business at the time, and my very first recognition of acid rock—we didn't call it progressive rock then—was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [theremin] sent so many musicians back to the studio to create this music on acid.\\\" Author Bill Martin suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: \\\"The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life.'\\\"\",\n \"Author Bill Martin suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: \\\"The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life.'\\\" Use of theremin Although the song does not technically contain a theremin, \\\"Good Vibrations\\\" is the most frequently cited example of the instrument's use in pop music.\",\n \"Use of theremin Although the song does not technically contain a theremin, \\\"Good Vibrations\\\" is the most frequently cited example of the instrument's use in pop music. Upon release, the single prompted an unexpected revival in theremins and increased the awareness of analog synthesizers.\",\n \"Upon release, the single prompted an unexpected revival in theremins and increased the awareness of analog synthesizers. The notion that \\\"Good Vibrations\\\" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants.\",\n \"The notion that \\\"Good Vibrations\\\" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants. While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin.\",\n \"While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin. When the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments.\",\n \"When the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments. Tanner recalls saying to Wilson, \\\"I've got the wrong sort of hair to be on stage with you fellas\\\", to which Wilson replied: \\\"We'll give you a Prince Valiant wig.\\\"\",\n \"Tanner recalls saying to Wilson, \\\"I've got the wrong sort of hair to be on stage with you fellas\\\", to which Wilson replied: \\\"We'll give you a Prince Valiant wig.\\\" The Beach Boys then requested the services of Walter Sear, who asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar.\",\n \"The Beach Boys then requested the services of Walter Sear, who asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar. Sear remembers marking fretboard-like lines on the ribbon \\\"so they could play the damn thing.\\\" Moog began manufacturing his own models of theremins.\",\n \"Moog began manufacturing his own models of theremins. He later noted: \\\"The pop record scene cleaned us out of our stock which we expected to last through Christmas.\\\"\",\n \"He later noted: \\\"The pop record scene cleaned us out of our stock which we expected to last through Christmas.\\\" In Steven M. Martin's 1993 documentary Theremin: An Electronic Odyssey, in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin due to \\\"Good Vibrations\\\" caused Russian authorities to exile its inventor, Leon Theremin.\",\n \"In Steven M. Martin's 1993 documentary Theremin: An Electronic Odyssey, in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin due to \\\"Good Vibrations\\\" caused Russian authorities to exile its inventor, Leon Theremin. Cover versions The song has been covered by artists such as Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV.\",\n \"Cover versions The song has been covered by artists such as Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV. John Bush commented: \\\"'Good Vibrations' was rarely reprised by other acts, even during the cover-happy '60s. Its fragmented style made it essentially cover-proof.\\\"\",\n \"Its fragmented style made it essentially cover-proof.\\\" In 1976, a nearly identical cover version was released as a single by Todd Rundgren for his album Faithful. When asked for his opinion, Brian said: \\\"Oh, he did a marvelous job, he did a great job. I was very proud of his version.\\\"\",\n \"I was very proud of his version.\\\" Rundgren's single peaked at number 34 on the Billboard Hot 100.\",\n \"Rundgren's single peaked at number 34 on the Billboard Hot 100. Rundgren explained: \\\"I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting—like around Pet Sounds and 'Good Vibrations' ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal.\",\n \"Rundgren explained: \\\"I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting—like around Pet Sounds and 'Good Vibrations' ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal. ...\",\n \"... ... I tried to do [the song] as literally as I could because in the intervening 10 years, radio had changed so much. Radio had become so formatted and so structured that that whole experience was already gone.\\\" In 2004, Wilson re-recorded the song as a solo artist for his album Brian Wilson Presents Smile.\",\n \"In 2004, Wilson re-recorded the song as a solo artist for his album Brian Wilson Presents Smile. It was sequenced as the album's closing track, following \\\"In Blue Hawaii\\\". In this version, \\\"Good Vibrations\\\" was the project's only track that eschewed the modular recording method.\",\n \"In this version, \\\"Good Vibrations\\\" was the project's only track that eschewed the modular recording method. The song's verses and chorus were recorded as part of one whole take, and were not spliced together.\",\n \"The song's verses and chorus were recorded as part of one whole take, and were not spliced together. In 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated.\",\n \"In 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated. Their version of \\\"Good Vibrations\\\", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on Billboards A/C chart.\",\n \"Their version of \\\"Good Vibrations\\\", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on Billboards A/C chart. In popular culture The song's parody is used for the jingle of the Australian consumer electronics retailer The Good Guys.\",\n \"In popular culture The song's parody is used for the jingle of the Australian consumer electronics retailer The Good Guys. In 1996, experimental rock group His Name Is Alive released an homage titled \\\"Universal Frequencies\\\" on their album Stars on E.S.P.\",\n \"In 1996, experimental rock group His Name Is Alive released an homage titled \\\"Universal Frequencies\\\" on their album Stars on E.S.P. Warren Defever reportedly listened to \\\"Good Vibrations\\\" repeatedly for a week before deciding that the song \\\"needed a sequel\\\"; he added: \\\"'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful.\\\"\",\n \"Warren Defever reportedly listened to \\\"Good Vibrations\\\" repeatedly for a week before deciding that the song \\\"needed a sequel\\\"; he added: \\\"'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful.\\\" In 1997, the movie Vegas Vacation used the song for the opening credits, with Clark Griswold (Chevy Chase) singing the song.\",\n \"In 1997, the movie Vegas Vacation used the song for the opening credits, with Clark Griswold (Chevy Chase) singing the song. The song's lyrics \\\"I'm picking up good vibrations\\\" are quoted in Cyndi Lauper's 1984 single \\\"She Bop\\\".\",\n \"The song's lyrics \\\"I'm picking up good vibrations\\\" are quoted in Cyndi Lauper's 1984 single \\\"She Bop\\\". A live version of the song, from the album Live in London, appears as a playable track in the 2010 video game Rock Band 3.\",\n \"A live version of the song, from the album Live in London, appears as a playable track in the 2010 video game Rock Band 3. In 2019, the song was used prominently in a scene for Jordan Peele's psychological horror thriller film Us.\",\n \"In 2019, the song was used prominently in a scene for Jordan Peele's psychological horror thriller film Us. In 2018, The song was featured in the animated film Hotel Transylvania 3: Summer Vacation.\",\n \"In 2018, The song was featured in the animated film Hotel Transylvania 3: Summer Vacation. Release history In early 2011, the single was remastered and reissued as a four-sided 78 rpm vinyl for Record Store Day, as a teaser for the forthcoming The Smile Sessions box set.\",\n \"Release history In early 2011, the single was remastered and reissued as a four-sided 78 rpm vinyl for Record Store Day, as a teaser for the forthcoming The Smile Sessions box set. It contained \\\"Heroes and Villains\\\" as a B-side, along with previously released alternate takes and mixes.\",\n \"It contained \\\"Heroes and Villains\\\" as a B-side, along with previously released alternate takes and mixes. Stereo version Due to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile.\",\n \"Stereo version Due to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile. The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett.\",\n \"The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett. Fitzgerald's software extracted individual instrumental and vocal stems from the original mono master—as the multi-track vocals remained missing—to construct the stereo version that appears on the 2012 reissue of Smiley Smile.\",\n \"Fitzgerald's software extracted individual instrumental and vocal stems from the original mono master—as the multi-track vocals remained missing—to construct the stereo version that appears on the 2012 reissue of Smiley Smile. 40th Anniversary Edition In celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released.\",\n \"40th Anniversary Edition In celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released. The EP includes \\\"Good Vibrations\\\", four alternate versions of the song, and the stereo mix of \\\"Let's Go Away for Awhile\\\". The EP artwork recreates that of the original 7-inch single sleeve.\",\n \"The EP artwork recreates that of the original 7-inch single sleeve. In 2016, the EP was reissued as a 12\\\" record for the single's 50th anniversary. Personnel The following people are identified as players on the \\\"Good Vibrations\\\" single.\",\n \"Personnel The following people are identified as players on the \\\"Good Vibrations\\\" single. The Beach Boys Mike Love – lead vocals in chorus Brian Wilson – vocals, tack piano, tambourine, production, mixing Carl Wilson – lead vocals in verses, guitar, shaker Dennis Wilson – Hammond organ during 2:13–2:56 Additional musicians and production staff Hal Blaine – drums, timpani, other percussion Al De Lory – piano, harpsichord Jesse Ehrlich – cello Larry Knechtel – organ in verses and choruses Tommy Morgan – harmonica Al Casey – guitar Ray Pohlman – electric bass Lyle Ritz – double bass Jim Horn – piccolo Paul Tanner – Electro-Theremin Bassist Carol Kaye played on several of the \\\"Good Vibrations\\\" sessions, and has been identified as a prominent contributor to the track.\",\n \"The Beach Boys Mike Love – lead vocals in chorus Brian Wilson – vocals, tack piano, tambourine, production, mixing Carl Wilson – lead vocals in verses, guitar, shaker Dennis Wilson – Hammond organ during 2:13–2:56 Additional musicians and production staff Hal Blaine – drums, timpani, other percussion Al De Lory – piano, harpsichord Jesse Ehrlich – cello Larry Knechtel – organ in verses and choruses Tommy Morgan – harmonica Al Casey – guitar Ray Pohlman – electric bass Lyle Ritz – double bass Jim Horn – piccolo Paul Tanner – Electro-Theremin Bassist Carol Kaye played on several of the \\\"Good Vibrations\\\" sessions, and has been identified as a prominent contributor to the track. However, analysis by Beach Boys archivist Craig Slowinski indicates that none of those recordings made the final edit as released on the single.\",\n \"However, analysis by Beach Boys archivist Craig Slowinski indicates that none of those recordings made the final edit as released on the single. Charts Weekly charts Original release 1976 reissue Todd Rundgren version (1976) Year-end charts Certifications Awards and accolades Footnotes References Bibliography External links Greg Panfile's Musical Analysis of \\\"Good Vibrations\\\" 1966 singles 1966 songs 2004 singles 2011 singles Brian Wilson songs Psychic TV songs The Beach Boys songs Todd Rundgren songs Capitol Records singles Grammy Hall of Fame Award recipients Billboard Hot 100 number-one singles Cashbox number-one singles Number-one singles in Australia Number-one singles in New Zealand UK Singles Chart number-one singles Songs written by Brian Wilson Songs written by Mike Love Songs written by Tony Asher Song recordings produced by Brian Wilson Song recordings with Wall of Sound arrangements Art pop songs Avant-pop songs Psychedelic pop songs American psychedelic rock songs Songs used as jingles Songs composed in E-flat minor\"\n]"}}},{"rowIdx":479,"cells":{"History":{"kind":"list like","value":["Good Vibrations","Historical reception","What historical reception did the song get?","Virtually every pop music critic recognizes \"Good Vibrations\" as one of the most important compositions and recordings of the entire rock era.","Why is it such an important song?","The song served as an anthem for the counterculture of the 1960s."],"string":"[\n \"Good Vibrations\",\n \"Historical reception\",\n \"What historical reception did the song get?\",\n \"Virtually every pop music critic recognizes \\\"Good Vibrations\\\" as one of the most important compositions and recordings of the entire rock era.\",\n \"Why is it such an important song?\",\n \"The song served as an anthem for the counterculture of the 1960s.\"\n]"},"QuAC_dialog_id":{"kind":"string","value":"C_3511c60eb57b41c2bebf1299ed0caeeb_0"},"Question":{"kind":"string","value":"Did the song influence other artist?"},"Question_no":{"kind":"number","value":3,"string":"3"},"Rewrite":{"kind":"string","value":"Did Good Vibrations influence other artist?"},"true_page_title":{"kind":"string","value":"Good Vibrations"},"true_contexts":{"kind":"string","value":"Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat. Sound on Sound highlights this change as the \"most savage edit in the track ... most people would go straight into a big splash hook-line section. Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ... Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian.\" Harrison says: The appearance of episode 1 was unusual enough but could be explained as an extended break between verse and refrain sections. Episode 2 however, makes that interpretation untenable, and both listener and analyst must entertain the idea that \"Good Vibrations\" develops under its own power, as it were, without the guidance of overdetermined formal patterns. Brian's [sic] own description of the song--a three-and-a-half-minute 'pocket symphony'--is a telling clue about his formal ambitions here. The slowed pace is complemented by the lyric (\"Gotta keep those loving good vibrations a-happening with her\"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony. This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2. The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats. Lambert calls it the song's \"wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments. As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say.\" Virtually every pop music critic recognizes \"Good Vibrations\" as one of the most important compositions and recordings of the entire rock era. It is a regular fixture on \"greatest of all-time\" song lists and is frequently hailed as one of the finest pop productions of all time. In 2004, Rolling Stone magazine ranked \"Good Vibrations\" at number 6 in \"The 500 Greatest Songs of All Time\", the highest position of seven Beach Boys songs cited in the list. In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list. As of 2016, \"Good Vibrations\" is ranked as the number four song of all time in an aggregation of critics' lists at Acclaimed Music. The song served as an anthem for the counterculture of the 1960s. According to Noel Murray of The A.V. Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's \"un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do.\" Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for \"Good Vibrations\". \"Heroes and Villains\", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967. In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of \"Good Vibrations\". When asked about the song in 1990, Paul McCartney responded: \"I thought it was a great record. It didn't quite have the emotional thing that Pet Sounds had for me. I've often played Pet Sounds and cried. It's that kind of an album for me.\" Pete Townshend of the Who was quoted in the 1960s as saying, \"'Good Vibrations' was probably a good record but who's to know? You had to play it about 90 bloody times to even hear what they were singing about.\" Townshend feared that the single would lead to a trend of overproduction. In a 1966 issue of Arts Magazine, Jonathan King said: \"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art. Computerized pop, mechanized music. Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons. It is long and split. ... impressive, fantastic, commercial--yes. Emotional, soul-destroying, shattering--no.\" In the 2000s, record producer Phil Spector criticized the single for depending too much on tape manipulation, negatively referring to it as an \"edit record ... It's like Psycho is a great film, but it's an 'edit film.' Without edits, it's not a film; with edits, it's a great film. But it's not Rebecca ... it's not a beautiful story.\" CANNOTANSWER"},"answer":{"kind":"string","value":"Noel Murray"},"true_contexts_wiki":{"kind":"string","value":"\"Good Vibrations\" is a song by the American rock band the Beach Boys that was composed by Brian Wilson with lyrics by Mike Love. It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping record charts in several countries including the United States and the United Kingdom. Characterized by its complex soundscapes, episodic structure and subversions of pop music formula, it was the most expensive single ever recorded. \"Good Vibrations\" later became widely acclaimed as one of the finest and most important works of the rock era.\n\nAlso produced by Wilson, the title derived from his fascination with cosmic vibrations, as his mother would tell him as a child that dogs sometimes bark at people in response to their \"bad vibrations\". He used the concept to suggest extrasensory perception, while Love's lyrics were inspired by the nascent Flower Power movement. The song was written as it was recorded and in a similar fashion to other compositions from Wilson's Smile period. It was issued as a standalone single, backed with \"Let's Go Away for Awhile\", and was to be included on the never-finished album Smile. Instead, the track appeared on the September 1967 release Smiley Smile.\n\nThe making of \"Good Vibrations\" was unprecedented for any kind of recording. Building on his approach for Pet Sounds, Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of session musicians at four different Hollywood studios from February to September 1966, a process reflected in the song's several dramatic shifts in key, texture, instrumentation and mood. Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars. Band publicist Derek Taylor dubbed the unusual work a \"pocket symphony\". It helped develop the use of the studio as an instrument and heralded a wave of pop experimentation and the onset of psychedelic and progressive rock. The track featured a novel mix of instruments, including jaw harp and Electro-Theremin, and although the latter is not a true theremin, the song's success led to a renewed interest and sales of theremins and synthesizers.\n\n\"Good Vibrations\" received a Grammy nomination for Best Vocal Group performance in 1966 and was inducted into the Grammy Hall of Fame in 1994. The song was voted number one in Mojos \"Top 100 Records of All Time\" and number six on Rolling Stones \"500 Greatest Songs of All Time\", and it was included in the Rock and Roll Hall of Fame's \"500 Songs that Shaped Rock and Roll\". In later years, the song has been cited as a forerunner to the Beatles' \"A Day in the Life\" (1967) and Queen's \"Bohemian Rhapsody\" (1975). A 1976 cover version by Todd Rundgren peaked at number 34 on the Billboard Hot 100. The Beach Boys followed up \"Good Vibrations\" with another single pieced from sections, \"Heroes and Villains\" (1967), but it was less successful.\n\nInspiration and writing\n\nConcept and early lyrics\n\nThe Beach Boys' leader, Brian Wilson, was responsible for the musical composition and virtually all of the arrangement for \"Good Vibrations\". Most of the song's structure and arrangement was written as it was recorded. During the recording sessions for the 1966 album Pet Sounds, Wilson began changing his writing process. For \"Good Vibrations\", Wilson said, \"I had a lot of unfinished ideas, fragments of music I called 'feels.' Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic.\" Engineer Chuck Britz is quoted saying that Wilson considered the song to be \"his whole life performance in one track\". Wilson stated: \"I was an energetic 23-year-old. ... I said: 'This is going to be better than [the Phil Spector production] \"You've Lost That Lovin' Feelin'.\n\nWilson said that \"Good Vibrations\" was inspired by his mother: \"[She] used to tell me about vibrations. I didn't really understand too much of what it meant when I was just a boy. It scared me, the word 'vibrations.' She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel.\" Brian first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea. When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style. Asher remembered: \n\nWilson wanted to call the song \"Good Vibes\", but Asher advised that it was \"lightweight use of the language\", and suggested that \"Good Vibrations\" would sound less \"trendy\". The two proceeded to write lyrics for the verses that were ultimately discarded.\n\nTheremin and cello\n\nFrom the start, Wilson envisioned a theremin for the track. AllMusic reviewer John Bush pointed out: \"Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel—between the single's theme and its use of an instrument the player never even touched.\"\n\n\"Good Vibrations\" does not technically feature a theremin, but rather an Electro-Theremin, which is physically controlled by a knob on the side of the instrument. It was dubbed a \"theremin\" simply for convenience. At that time, theremins were most often associated with the 1945 Alfred Hitchcock film Spellbound, but their most common presence was in the theme music for the television sitcom My Favorite Martian, which ran from 1963 to 1966. Britz speculates: \"He just walked in and said, 'I have this new sound for you.' I think he must have heard the sound somewhere and loved it, and built a song around it.\" It is unclear whether Wilson knew that the instrument was not a real theremin.\n\nBrian credited his brother and bandmate Carl for suggesting the use of a cello on the track. He further stated that its triplet beat on the chorus was his own idea and that it was based on the Crystals' \"Da Doo Ron Ron\" (1963), produced by Spector. Conversely, arranger and session musician Van Dyke Parks said that it was himself who suggested having the cellist play triplets to Brian. Parks believed that having Brian exploit the cello \"to such a hyperbolic degree\" was what encouraged the duo to immediately collaborate on the never-finished album Smile. At some point, Wilson asked Parks to pen lyrics for \"Good Vibrations\", although Parks declined.\n\nInfluences and final lyrics\n\nWilson's cousin and bandmate Mike Love submitted the final lyrics for \"Good Vibrations\" and contributed its bass-baritone vocals in the chorus. He recalled that when he heard the unfinished backing track: \"[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it. How's this going to go over in the Midwest or Birmingham? It was such a departure from 'Surfin' U.S.A.' or 'Help Me, Rhonda.'\"\n\nLove said that he wrote the words while on the drive to the studio. Feeling that the song could be \"the Beach Boys' psychedelic anthem or flower power offering,\" he based the lyrics on the burgeoning psychedelic music and Flower Power movements occurring in San Francisco and some parts of the Los Angeles area. He described the lyrics as \"just a flowery poem. Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair.'\" Writing in his 1975 book The Beach Boys: Southern California Pastoral, Bruce Golden observed:\n\nCapitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his LSD experiences. Brian clarified that the song was written under the influence of marijuana, not LSD. He explained: \"I made ‘Good Vibrations’ on drugs; I used drugs to make that. ... I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity.\" In Steven Gaines's 1986 biography, Wilson is quoted on the lyrics: \"We talked about good vibrations with the song and the idea, and we decided on one hand that you could say ... those are sensual things. And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have. That's what we're really talking about.\"\n\nWilson said in 2012 that the song's \"gotta keep those good vibrations\" bridge was inspired by Stephen Foster. Bandmate Al Jardine compared that section to Foster and the Negro spiritual \"Down by the Riverside\". According to Love, the lyric \"'she goes with me to a blossom world' was originally meant to be followed by the words 'we find'\", but Wilson elected to cut off the line to highlight the bass track linking into the chorus.\n\nRecording and production\n\nModular approach\n\n\"Good Vibrations\" established a new method of operation for Wilson. Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or \"modules\"). Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time. This was the same modular approach used during the sessions for Smile and Smiley Smile. To mask each tape edit, vast reverb decays were added at the mixing and sub-mixing stages.\n\nFor instrumentation, Wilson employed the services of \"the Wrecking Crew\", the nickname for a conglomerate of session musicians active in Los Angeles at that time. Production for \"Good Vibrations\" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two. It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands, making it the costliest single recorded to that date. Biographer Peter Ames Carlin wrote that Wilson was so puzzled by the arranging of \"Good Vibrations\" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs.\n\nOne estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to $ and $ in ), By comparison, the whole of Pet Sounds had cost $70,000 ($), itself an unusually high cost for an album. In 2018, Wilson disputed the $50,000 figure for \"Good Vibrations\", saying that the overall expenses were closer to $25,000.\n\nContemporary advertisements reported $10,000 ($) as the track's total production costs. Domenic Priore wrote that the track cost between $10,000 and $15,000 ($). When asked in a 2005 interview if it was true that the Electro-Theremin work alone cost $100,000, Wilson replied \"No. $15,000.\"\n\nDevelopment\n\nThe instrumental of the first version of the song was recorded on February 17, 1966, at Gold Star Studios and was logged as a Pet Sounds session. On that day's session log, it was given the name \"#1 Untitled\" or \"Good, Good, Good Vibrations\", but on its master tape, Wilson distinctly states: \"'Good Vibrations' ... take one.\" After twenty-six takes, a rough mono mix completed the session. Some additional instruments and rough guide vocals were overdubbed on February 23. Brian and Carl shared vocals for this mix.\n\nThe original version of \"Good Vibrations\" contained the characteristics of a \"funky rhythm and blues number\" and would not yet resemble a \"pocket symphony\". There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor, Paul Tanner. It was Brian's second ever recorded use of the instrument, just three days after the Pet Sounds track \"I Just Wasn't Made for These Times\". Brian then placed \"Good Vibrations\" on hold in order to devote attention to the Pet Sounds album, which saw release on May 16. More instrumental sections for \"Good Vibrations\" were recorded between April and June. Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs.\n\nAccording to Brian's then-new friend David Anderle, during an early stage, Brian considered giving \"Good Vibrations\" to one of the black R&B groups signed with Warner Bros. Records such as Wilson Pickett, and then at Anderle's suggestion to singer Danny Hutton. He thought about abandoning the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single. In the meantime, he worked on writing and recording material for the group's forthcoming album, Smile.\n\nThe first Beach Boy to hear \"Good Vibrations\" in a semi-completed form, other than Brian, was Carl. Following a performance with the touring group in North Dakota, he remembered: \"I came back up into my hotel room one night and the phone rang. It was Brian on the other end. He called me from the recording studio and played this really bizarre sounding music over the phone. There were drums smashing, that kind of stuff, and then it refined itself and got into the cello. It was a real funky track.\" In 1976, Brian revealed that before the final mixdown, he had been confronted with resistance by members of the group, whom Brian declined to name. The subject of their worries and complaints was the song's length and \"modern\" sound: \"I said no, it's not going to be too long a record, it's going to be just right. ... They didn't quite understand what this jumping from studio to studio was all about. And they couldn't conceive of the record as I did. I saw the record as a totality piece.\"\n\nThe vocals for \"Good Vibrations\" were recorded at CBS Columbia Square, starting on August 24 and continuing sporadically until the very last day of assembly on September 21. The episodic structure of the composition was continuously revised as the group experimented with different ideas. Brian remembers that he began recording the \"bop bop good vibrations\" parts first, and that he came up with \"the high parts\" a week later. Mike Love recalled: \"I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long.\" Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute. In early September, the master tapes for \"Good Vibrations\" were stolen. Mysteriously, they reappeared inside Brian's home two days later.\n\nOn September 21, Brian completed the track after Tanner added a final Electro-Theremin overdub. In 1976 he elaborated on the event: \"It was at Columbia. I remember I had it right in the sack. I could just feel it when I dubbed it down, made the final mix from the 16-track down to mono. It was a feeling of power, it was a rush. A feeling of exaltation. Artistic beauty. It was everything ... I remember saying, 'Oh my God. Sit back and listen to this!'\"\n\nComposition and analysis\n\nGenre and dynamics\n\nThere are six unique sections to the piece. Music theorist Daniel Harrison refers to these sections individually as the verse, the refrain (or chorus), the \"first episodic digression\", the \"second episodic digression\", the \"retro-refrain\", and the coda. Each has a distinct musical texture, partly due to the nature of the song's recording. The track's instrumentation changes radically from section to section, and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a \"very long\" duration. Wilson is quoted in 1979:\n\nHe characterized the song as \"advanced rhythm and blues\". Tom Roland of American Songwriter described the piece, \"with its interlocking segments—a sort of pop version of the classical sonata, consisting of a series of musical movements\". New York Magazine compared it to \"a fugue with a rhythmic beat\". John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs. Music journal Sound on Sound argued that the song \"has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour\". It explained that the song subverts pop forms to a considerable degree: \n\nAccording to historian Lorenzo Candelaria, \"Good Vibrations\" has since been marketed as pop music \"possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know.\" Uncut called the song \"three minutes and thirty-six seconds of avant-garde pop\". Mixdown described it as a \"masterpiece of avant-pop\". The theremin and cello has been called the song's \"psychedelic ingredient\". In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin. Professor of American history John Robert Greene named \"Good Vibrations\" among examples of psychedelic or acid rock. Stebbins wrote that the song was \"replete with sunshine [and] psychedelia\". Steve Valdez says that, like Pet Sounds, Brian was attempting a more experimental rock style.\n\nComparing \"Good Vibrations\" to Wilson's previous work Pet Sounds, biographer Andrew Hickey said that the \"best way of thinking about [the song] is that it's taking the lowest common denominator of 'Here Today' and 'God Only Knows' and turned the result into an R&B track. We have the same minor-key change between verse and chorus we've seen throughout Pet Sounds, the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to funky.\" Author Jon Stebbins adds that \"unlike Pet Sounds the chorus of 'Good Vibrations' projects a definite 'rock and roll' energy and feel.\"\n\nAccording to academic Rikky Rooksby, \"Good Vibrations\" is an example of Brian Wilson's growing interest in musical development within a composition, something antithetical to popular music of the time. Suppressing tonic strength and cadential drive, the song makes use of descending harmonic motions through scale degrees controlled by a single tonic and \"radical disjunctions\" in key, texture, instrumentation, and mood while refusing to develop into a predictable formal pattern. It instead develops \"under its own power\" and \"luxuriates in harmonic variety\" exemplified by beginning and ending not only in different keys but also in different modes.\n\nVerses and refrains (0:00–1:40)\n\n\"Good Vibrations\" begins without introduction in a traditional verse/refrain format, opening with Carl Wilson singing the word \"I\", a triplet eighth note before the downbeat. The sparse first verse contains a repetition of chords played on a Hammond organ filtered through a Leslie speaker; underneath is a two-bar Fender bass melody. This sequence repeats once (0:15), but with the addition of two piccolos sustaining over a falling flute line. For percussion, bongo drums double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation. The beat projects a triplet feel despite being in time; this is sometimes called a \"shuffle beat\" or \"threes over fours\". The chord progression used is i–VII–VI–V, also called an Andalusian cadence. Although the verses begin in the minor mode of E, the mode is not used to express sadness or drudgery. Occurring at the very end of these verses is a passing chord, D.\n\nThe refrain (0:25) begins in the newly tonicized relative major G, which suggests III. Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music. The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat. This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals. The first section consists of only the couplet \"I'm picking up good vibrations/she's giving me the excitation\" sung by Mike Love in his bass-baritone register; the second repeats the lines and adds an \"ooo bop bop\" figure, sung in multiple-part harmony; the third time also adds a \"good, good, good, good vibrations\" in yet a higher harmony. This type of polyphony (counterpoint) is also rare in contemporary popular styles. Each repeat of the vocal lines also transposes up by a whole step, ascending from G to A and then B. It then returns to the verse, thus making a perfect cadence back into E minor. The verse and refrain then repeat without any changes to the patterns of its instrumentation and harmony. This is unusual, in that normally, a song's arrangement adds something once it reaches the second verse.\n\nEpisodic digressions\n\nFirst episode (1:41–2:13)\n\nThe first episode (1:41+) begins disjunctively with an abrupt tape splice. The refrain's B, which had received a dominant (V) charge, is now maintained as a tonic (I). There is harmonic ambiguity, in that the chord progression may be either interpreted as I–IV–I (in B) or V–I–V (in E). Stebbins says that this section \"might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply.\" A new sound is created by tack piano, jaw harp, and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, bass harmonica, and sleigh bells shaken on every beat. The lone line of vocals (aside from non-lexical harmonies) is \"I don't know where, but she sends me there\" sung in Mike Love's upper-register baritone. This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns.\n\nSecond episode (2:13–2:56)\n\nAnother tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat. Sound on Sound highlights this change as the \"most savage edit in the track ... most people would go straight into a big splash hook-line section. Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ... Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian.\" Harrison says: \n\nThe slowed pace is complemented by the lyric (\"Gotta keep those loving good vibrations a-happening with her\"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony. This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2. The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats. Lambert calls it the song's \"wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments. As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say.\"\n\nRetro-refrain and coda (2:57–3:35)\n\nA brief break at the end of the second musical digression creates tension which leads into the final sequence of the song. The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B, repeats at A, and then ends at G for an unexpectedly short single measure. The section uses a descending progression, which mirrors the ascending progression of the previous two refrains. There follows a short section of vocalizing in three-part counterpoint that references the original refrain by reproducing upward transposition. However, this time it settles on A, the concluding key of the song. By the end of \"Good Vibrations,\" all seven scale degrees of the opening E-minor tonic are activated on some level.\n\nRelease and promotion\nIn a July 1966 advertisement for Pet Sounds in Billboard magazine, the band thanked the music industry for the sales of their album, and said that \"We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations.\" This was the first public hint of the new single. Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was \"about a guy who picks up good vibrations from a girl\" and that it would be a \"monster\". He then suggested: \"It's still sticking pretty close to that same boy-girl thing, you know, but with a difference. And it's a start, it's definitely a start.\" Derek Taylor, who had recently been engaged as the band's publicist, is credited for coining the term a \"pocket symphony\" to describe the song. In a press release for the single, he stated: \"Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils. And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else.\"\n\nTo promote the single, four different music videos were shot. The first of these—which had Caleb Deschanel as cameraman—features the group at a fire station, sliding down its pole, and roaming the streets of Los Angeles in a fashion comparable to The Monkees. The second features the group during vocal rehearsals at United Western Recorders. The third contains footage recorded during the making of The Beach Boys in London, a documentary by Peter Whitehead of their concert performances. The fourth clip is an alternative edit of the third. Brian also made a rare television appearance on local station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record.\n\nOn October 15, 1966, Billboard predicted that the single would reach the top 20 in the Billboard Hot 100 chart. \"Good Vibrations\" was the Beach Boys' third US number one hit, after \"I Get Around\" and \"Help Me, Rhonda\", reaching the top of the Hot 100 in December. It was also their first number one in Britain. The single sold over 230,000 copies in the US within four days of its release and entered the Cash Box chart at number 61 on October 22. In the UK, the song sold over 50,000 copies in the first 15 days of its release. \"Good Vibrations\" quickly became the Beach Boys' first million-selling single. In December 1966, the record was their first single certified gold by the RIAA for sales of one million copies. On March 30, 2016, the digital single was certified platinum by the RIAA for the same sales level.\n\nIn the US, Cash Box said that it is a \"catchy, easy-driving ditty loaded with the Boys’ money-making sound.\" In Britain, the single received favorable reviews from the New Musical Express and Melody Maker. Soon after, the Beach Boys were voted the number one band in the world in the NME readers' poll, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops. Billboard said that this result was probably influenced by the success of \"Good Vibrations\" when the votes were cast, together with the band's recent tour, whereas the Beatles had neither a recent single nor had they toured the UK throughout 1966; the reporter added that \"The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak.\" In a readers' poll conducted by a Danish newspaper, Brian Wilson won the \"best foreign-produced recording award\", marking the first time that an American had won in that category.\n\nThe single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc.\n\nInfluence and legacy\n\nHistorical reception\n\nVirtually every pop music critic recognizes \"Good Vibrations\" as one of the most important compositions and recordings of the entire rock era. It is a regular fixture on \"greatest of all-time\" song lists and is frequently hailed as one of the finest pop productions of all time. In 2004, Rolling Stone magazine ranked \"Good Vibrations\" at number 6 in \"The 500 Greatest Songs of All Time\", the highest position of seven Beach Boys songs cited in the list. In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list. As of 2016, \"Good Vibrations\" is ranked as the number four song of all time in an aggregation of critics' lists at Acclaimed Music.\n\nThe song served as an anthem for the counterculture of the 1960s. According to Noel Murray of The A.V. Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's \"un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do.\" Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for \"Good Vibrations\". \"Heroes and Villains\", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967.\n\nIn contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of \"Good Vibrations\". When asked about the song in 1990, Paul McCartney responded: \"I thought it was a great record. It didn't quite have the emotional thing that Pet Sounds had for me. I've often played Pet Sounds and cried. It's that kind of an album for me.\" Pete Townshend of the Who was quoted in the 1960s as saying, \"'Good Vibrations' was probably a good record but who's to know? You had to play it about 90 bloody times to even hear what they were singing about.\" Townshend feared that the single would lead to a trend of overproduction. In a 1966 issue of Arts Magazine, Jonathan King said: \"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art. Computerized pop, mechanized music. Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons. It is long and split. ... impressive, fantastic, commercial—yes. Emotional, soul-destroying, shattering—no.\" In the 2000s, record producer Phil Spector criticized the single for depending too much on tape manipulation, negatively referring to it as an \"edit record ... It's like Psycho is a great film, but it's an 'edit film.' Without edits, it's not a film; with edits, it's a great film. But it's not Rebecca ... it's not a beautiful story.\"\n\nAdvancements\n\nRecording and popular music\n\n\"Good Vibrations\" is credited for having further developed the use of recording studios as a musical instrument. Author Domenic Priore commented that the song's making was \"unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording\". A milestone in the development of rock music, the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record. Musicologist Charlie Gillett called it \"one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance\". In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted:\n\nWriting for Popmatters in 2015, Scott Interrante stated: \"'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have.\" The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm. Microtonal composer Frank Oteri said that it \"sounds like no other pop song recorded up to that point\". According to Stebbins: \"This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original. But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century.\" He added that the single \"vaulted nearly every other rock act in their delivery of a Flower Power classic. It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop.\" John Bush wrote that the single \"announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies\". Gillett noted: \"For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording.\"\n\nPriore says that the song was a forerunner to works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes. In his appraisal for American Songwriter, Roland cites the song's \"format\" as the model for recordings by Wings (\"Band on the Run\"), the Beatles (\"A Day in the Life\"), and Elton John (\"Funeral for a Friend/Love Lies Bleeding\"). The song's approach was repeated in Queen's 1975 single \"Bohemian Rhapsody\", which was similarly pieced together using different sections. Wilson praised Queen's effort, calling it \"the most competitive thing that's come along in ages\" and \"a fulfillment and an answer to a teenage prayer—of artistic music\".\n\nPsychedelic and progressive rock\n\nWith \"Good Vibrations\", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages. Writing in 2009, Barney Hoskyns deemed it to be the era's \"ultimate psychedelic pop record\" from Los Angeles. Interrante adds: \"Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated, but its legacy as a pop hit is impressive as well.\" Former Atlantic Records executive Phillip Rauls recalled: \"I was in the music business at the time, and my very first recognition of acid rock—we didn't call it progressive rock then—was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [theremin] sent so many musicians back to the studio to create this music on acid.\" Author Bill Martin suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: \"The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life.'\"\n\nUse of theremin\n\nAlthough the song does not technically contain a theremin, \"Good Vibrations\" is the most frequently cited example of the instrument's use in pop music. Upon release, the single prompted an unexpected revival in theremins and increased the awareness of analog synthesizers. The notion that \"Good Vibrations\" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants. While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin.\n\nWhen the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments. Tanner recalls saying to Wilson, \"I've got the wrong sort of hair to be on stage with you fellas\", to which Wilson replied: \"We'll give you a Prince Valiant wig.\" The Beach Boys then requested the services of Walter Sear, who asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar. Sear remembers marking fretboard-like lines on the ribbon \"so they could play the damn thing.\" Moog began manufacturing his own models of theremins. He later noted: \"The pop record scene cleaned us out of our stock which we expected to last through Christmas.\"\n\nIn Steven M. Martin's 1993 documentary Theremin: An Electronic Odyssey, in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin due to \"Good Vibrations\" caused Russian authorities to exile its inventor, Leon Theremin.\n\nCover versions\n\nThe song has been covered by artists such as Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV. John Bush commented: \"'Good Vibrations' was rarely reprised by other acts, even during the cover-happy '60s. Its fragmented style made it essentially cover-proof.\" In 1976, a nearly identical cover version was released as a single by Todd Rundgren for his album Faithful. When asked for his opinion, Brian said: \"Oh, he did a marvelous job, he did a great job. I was very proud of his version.\" Rundgren's single peaked at number 34 on the Billboard Hot 100. Rundgren explained: \"I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting—like around Pet Sounds and 'Good Vibrations' ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal. ... I tried to do [the song] as literally as I could because in the intervening 10 years, radio had changed so much. Radio had become so formatted and so structured that that whole experience was already gone.\"\n\nIn 2004, Wilson re-recorded the song as a solo artist for his album Brian Wilson Presents Smile. It was sequenced as the album's closing track, following \"In Blue Hawaii\". In this version, \"Good Vibrations\" was the project's only track that eschewed the modular recording method. The song's verses and chorus were recorded as part of one whole take, and were not spliced together.\n\nIn 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated. Their version of \"Good Vibrations\", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on Billboards A/C chart.\n\nIn popular culture\nThe song's parody is used for the jingle of the Australian consumer electronics retailer The Good Guys.\nIn 1996, experimental rock group His Name Is Alive released an homage titled \"Universal Frequencies\" on their album Stars on E.S.P. Warren Defever reportedly listened to \"Good Vibrations\" repeatedly for a week before deciding that the song \"needed a sequel\"; he added: \"'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful.\" \nIn 1997, the movie Vegas Vacation used the song for the opening credits, with Clark Griswold (Chevy Chase) singing the song.\nThe song's lyrics \"I'm picking up good vibrations\" are quoted in Cyndi Lauper's 1984 single \"She Bop\". \nA live version of the song, from the album Live in London, appears as a playable track in the 2010 video game Rock Band 3.\nIn 2019, the song was used prominently in a scene for Jordan Peele's psychological horror thriller film Us.\nIn 2018, The song was featured in the animated film Hotel Transylvania 3: Summer Vacation.\n\nRelease history\n\nIn early 2011, the single was remastered and reissued as a four-sided 78 rpm vinyl for Record Store Day, as a teaser for the forthcoming The Smile Sessions box set. It contained \"Heroes and Villains\" as a B-side, along with previously released alternate takes and mixes.\n\nStereo version\nDue to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile. The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett. Fitzgerald's software extracted individual instrumental and vocal stems from the original mono master—as the multi-track vocals remained missing—to construct the stereo version that appears on the 2012 reissue of Smiley Smile.\n\n40th Anniversary Edition\n\nIn celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released. The EP includes \"Good Vibrations\", four alternate versions of the song, and the stereo mix of \"Let's Go Away for Awhile\". The EP artwork recreates that of the original 7-inch single sleeve. In 2016, the EP was reissued as a 12\" record for the single's 50th anniversary.\n\nPersonnel\n\nThe following people are identified as players on the \"Good Vibrations\" single.\n\nThe Beach Boys\n Mike Love – lead vocals in chorus \n Brian Wilson – vocals, tack piano, tambourine, production, mixing\n Carl Wilson – lead vocals in verses, guitar, shaker\n Dennis Wilson – Hammond organ during 2:13–2:56\n\nAdditional musicians and production staff\n Hal Blaine – drums, timpani, other percussion \n Al De Lory – piano, harpsichord \n Jesse Ehrlich – cello \n\n Larry Knechtel – organ in verses and choruses\n Tommy Morgan – harmonica\n Al Casey – guitar\n Ray Pohlman – electric bass\n Lyle Ritz – double bass\n Jim Horn – piccolo\n Paul Tanner – Electro-Theremin\n\nBassist Carol Kaye played on several of the \"Good Vibrations\" sessions, and has been identified as a prominent contributor to the track. However, analysis by Beach Boys archivist Craig Slowinski indicates that none of those recordings made the final edit as released on the single.\n\nCharts\n\nWeekly charts\nOriginal release\n\n1976 reissue\n\nTodd Rundgren version (1976)\n\nYear-end charts\n\nCertifications\n\nAwards and accolades\n\nFootnotes\n\nReferences\n\nBibliography\n\nExternal links\n\n Greg Panfile's Musical Analysis of \"Good Vibrations\"\n \n\n1966 singles\n1966 songs\n2004 singles\n2011 singles\nBrian Wilson songs\nPsychic TV songs\nThe Beach Boys songs\nTodd Rundgren songs\nCapitol Records singles\nGrammy Hall of Fame Award recipients\nBillboard Hot 100 number-one singles\nCashbox number-one singles\nNumber-one singles in Australia\nNumber-one singles in New Zealand\nUK Singles Chart number-one singles\nSongs written by Brian Wilson\nSongs written by Mike Love\nSongs written by Tony Asher\nSong recordings produced by Brian Wilson\nSong recordings with Wall of Sound arrangements\nArt pop songs\nAvant-pop songs\nPsychedelic pop songs\nAmerican psychedelic rock songs\nSongs used as jingles\nSongs composed in E-flat minor"},"extractive":{"kind":"string","value":"true"},"retrieved_contexts":{"kind":"list like","value":["Influence or influencer may refer to:\n\nSocial influence, in social psychology, influence in interpersonal relationships\nMinority influence, when the minority affect the behavior or beliefs of the majority\nInfluencer marketing, through individuals that have influence over potential buyers\n\nScience and technology\nSphere of influence (astrodynamics), the region around a celestial body in which it is the primary gravitational influence on orbiting objects\nSphere of influence (black hole), a region around a black hole in which the gravity of the black hole dominates that of the host galaxy's bulge\n\nPolitics\nUndue influence, in contract law, where one person takes advantage of a position of power over another person\nSphere of influence, in political science, an area over which a state or organization has some indirect control\nAgent of influence, an agent of some stature who uses his or her position to influence public opinion or decision making to produce results beneficial to the country whose intelligence service operates the agent\nOffice of Strategic Influence, a short-lived U.S. government department\n\nFilm and theatre\nThe Influence (2010 film), 2010 South Korean film\nThe Influence (2019 film), 2019 Spanish horror film \nLa Influencia (2007 film), 2007 Spanish drama film also known as The Influence in literal translation \nInfluence (play), a 2005 play by David Williamson\n\"Influence\" (Law & Order: Special Victims Unit), a 2006 American television episode\n\nMusic\nInfluence (band), a rock band formed in the 1960s\n\nAlbums\n The Influence (album), an album by jazz artist Jimmy Raney.\n Influences (album), a 1984 album by Mark King\n Influence (Ardijah album), a 1996 album by the New Zealand group Ardijah\n Influence (Sister Machine Gun album), a 2003 album by Sister Machine Gun\n Influence, a 1992 album by Little Caesar\n\nSongs\n\"Influence\", a song by Tove Lo from Lady Wood\n\"Influence\" (Sister Machine Gun song), a song by Sister Machine Gun from the album Influence (Sister Machine Gun album)\nInfluencer (song), a 2017 single from Japanese group Nogizaka46\n\nOther uses\nDriving under the influence, the criminal act of driving while intoxicated\nInfluence: Science and Practice, and Influence: The Psychology of Persuasion; two books by Robert Cialdini\nThe Influence (Monhegan, Maine), a house in the United States\n\nSee also\n\nPersuasion\nManipulation (disambiguation)\n Influenza (disambiguation)","\"America\" is the second studio-release single from American artist Deuce and is a politically themed song with a stronger metal influence than some of Deuce's other music. It was released on January 10, 2012, a week earlier than originally planned due to a leak of the full music video in late December 2011. The song is the third track on Deuce's debut album titled Nine Lives.\n\nTrack listing\nSingle\n\nAmerica(n) Pride\n\nCharts\n\nReferences\n\n2012 singles\n2012 songs\nDeuce (musician) songs\nPolitical songs"],"string":"[\n \"Influence or influencer may refer to:\\n\\nSocial influence, in social psychology, influence in interpersonal relationships\\nMinority influence, when the minority affect the behavior or beliefs of the majority\\nInfluencer marketing, through individuals that have influence over potential buyers\\n\\nScience and technology\\nSphere of influence (astrodynamics), the region around a celestial body in which it is the primary gravitational influence on orbiting objects\\nSphere of influence (black hole), a region around a black hole in which the gravity of the black hole dominates that of the host galaxy's bulge\\n\\nPolitics\\nUndue influence, in contract law, where one person takes advantage of a position of power over another person\\nSphere of influence, in political science, an area over which a state or organization has some indirect control\\nAgent of influence, an agent of some stature who uses his or her position to influence public opinion or decision making to produce results beneficial to the country whose intelligence service operates the agent\\nOffice of Strategic Influence, a short-lived U.S. government department\\n\\nFilm and theatre\\nThe Influence (2010 film), 2010 South Korean film\\nThe Influence (2019 film), 2019 Spanish horror film \\nLa Influencia (2007 film), 2007 Spanish drama film also known as The Influence in literal translation \\nInfluence (play), a 2005 play by David Williamson\\n\\\"Influence\\\" (Law & Order: Special Victims Unit), a 2006 American television episode\\n\\nMusic\\nInfluence (band), a rock band formed in the 1960s\\n\\nAlbums\\n The Influence (album), an album by jazz artist Jimmy Raney.\\n Influences (album), a 1984 album by Mark King\\n Influence (Ardijah album), a 1996 album by the New Zealand group Ardijah\\n Influence (Sister Machine Gun album), a 2003 album by Sister Machine Gun\\n Influence, a 1992 album by Little Caesar\\n\\nSongs\\n\\\"Influence\\\", a song by Tove Lo from Lady Wood\\n\\\"Influence\\\" (Sister Machine Gun song), a song by Sister Machine Gun from the album Influence (Sister Machine Gun album)\\nInfluencer (song), a 2017 single from Japanese group Nogizaka46\\n\\nOther uses\\nDriving under the influence, the criminal act of driving while intoxicated\\nInfluence: Science and Practice, and Influence: The Psychology of Persuasion; two books by Robert Cialdini\\nThe Influence (Monhegan, Maine), a house in the United States\\n\\nSee also\\n\\nPersuasion\\nManipulation (disambiguation)\\n Influenza (disambiguation)\",\n \"\\\"America\\\" is the second studio-release single from American artist Deuce and is a politically themed song with a stronger metal influence than some of Deuce's other music. It was released on January 10, 2012, a week earlier than originally planned due to a leak of the full music video in late December 2011. The song is the third track on Deuce's debut album titled Nine Lives.\\n\\nTrack listing\\nSingle\\n\\nAmerica(n) Pride\\n\\nCharts\\n\\nReferences\\n\\n2012 singles\\n2012 songs\\nDeuce (musician) songs\\nPolitical songs\"\n]"},"chunked_article":{"kind":"list like","value":["\"Good Vibrations\" is a song by the American rock band the Beach Boys that was composed by Brian Wilson with lyrics by Mike Love. It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping record charts in several countries including the United States and the United Kingdom.","It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping record charts in several countries including the United States and the United Kingdom. Characterized by its complex soundscapes, episodic structure and subversions of pop music formula, it was the most expensive single ever recorded.","Characterized by its complex soundscapes, episodic structure and subversions of pop music formula, it was the most expensive single ever recorded. \"Good Vibrations\" later became widely acclaimed as one of the finest and most important works of the rock era.","\"Good Vibrations\" later became widely acclaimed as one of the finest and most important works of the rock era. Also produced by Wilson, the title derived from his fascination with cosmic vibrations, as his mother would tell him as a child that dogs sometimes bark at people in response to their \"bad vibrations\".","Also produced by Wilson, the title derived from his fascination with cosmic vibrations, as his mother would tell him as a child that dogs sometimes bark at people in response to their \"bad vibrations\". He used the concept to suggest extrasensory perception, while Love's lyrics were inspired by the nascent Flower Power movement.","He used the concept to suggest extrasensory perception, while Love's lyrics were inspired by the nascent Flower Power movement. The song was written as it was recorded and in a similar fashion to other compositions from Wilson's Smile period.","The song was written as it was recorded and in a similar fashion to other compositions from Wilson's Smile period. It was issued as a standalone single, backed with \"Let's Go Away for Awhile\", and was to be included on the never-finished album Smile.","It was issued as a standalone single, backed with \"Let's Go Away for Awhile\", and was to be included on the never-finished album Smile. Instead, the track appeared on the September 1967 release Smiley Smile. The making of \"Good Vibrations\" was unprecedented for any kind of recording.","The making of \"Good Vibrations\" was unprecedented for any kind of recording. Building on his approach for Pet Sounds, Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of session musicians at four different Hollywood studios from February to September 1966, a process reflected in the song's several dramatic shifts in key, texture, instrumentation and mood.","Building on his approach for Pet Sounds, Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of session musicians at four different Hollywood studios from February to September 1966, a process reflected in the song's several dramatic shifts in key, texture, instrumentation and mood. Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars.","Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars. Band publicist Derek Taylor dubbed the unusual work a \"pocket symphony\".","Band publicist Derek Taylor dubbed the unusual work a \"pocket symphony\". It helped develop the use of the studio as an instrument and heralded a wave of pop experimentation and the onset of psychedelic and progressive rock.","It helped develop the use of the studio as an instrument and heralded a wave of pop experimentation and the onset of psychedelic and progressive rock. The track featured a novel mix of instruments, including jaw harp and Electro-Theremin, and although the latter is not a true theremin, the song's success led to a renewed interest and sales of theremins and synthesizers.","The track featured a novel mix of instruments, including jaw harp and Electro-Theremin, and although the latter is not a true theremin, the song's success led to a renewed interest and sales of theremins and synthesizers. \"Good Vibrations\" received a Grammy nomination for Best Vocal Group performance in 1966 and was inducted into the Grammy Hall of Fame in 1994.","\"Good Vibrations\" received a Grammy nomination for Best Vocal Group performance in 1966 and was inducted into the Grammy Hall of Fame in 1994. The song was voted number one in Mojos \"Top 100 Records of All Time\" and number six on Rolling Stones \"500 Greatest Songs of All Time\", and it was included in the Rock and Roll Hall of Fame's \"500 Songs that Shaped Rock and Roll\".","The song was voted number one in Mojos \"Top 100 Records of All Time\" and number six on Rolling Stones \"500 Greatest Songs of All Time\", and it was included in the Rock and Roll Hall of Fame's \"500 Songs that Shaped Rock and Roll\". In later years, the song has been cited as a forerunner to the Beatles' \"A Day in the Life\" (1967) and Queen's \"Bohemian Rhapsody\" (1975).","In later years, the song has been cited as a forerunner to the Beatles' \"A Day in the Life\" (1967) and Queen's \"Bohemian Rhapsody\" (1975). A 1976 cover version by Todd Rundgren peaked at number 34 on the Billboard Hot 100.","A 1976 cover version by Todd Rundgren peaked at number 34 on the Billboard Hot 100. The Beach Boys followed up \"Good Vibrations\" with another single pieced from sections, \"Heroes and Villains\" (1967), but it was less successful.","The Beach Boys followed up \"Good Vibrations\" with another single pieced from sections, \"Heroes and Villains\" (1967), but it was less successful. Inspiration and writing Concept and early lyrics The Beach Boys' leader, Brian Wilson, was responsible for the musical composition and virtually all of the arrangement for \"Good Vibrations\".","Inspiration and writing Concept and early lyrics The Beach Boys' leader, Brian Wilson, was responsible for the musical composition and virtually all of the arrangement for \"Good Vibrations\". Most of the song's structure and arrangement was written as it was recorded.","Most of the song's structure and arrangement was written as it was recorded. During the recording sessions for the 1966 album Pet Sounds, Wilson began changing his writing process. For \"Good Vibrations\", Wilson said, \"I had a lot of unfinished ideas, fragments of music I called 'feels.'","For \"Good Vibrations\", Wilson said, \"I had a lot of unfinished ideas, fragments of music I called 'feels.' Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic.\"","Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic.\" Engineer Chuck Britz is quoted saying that Wilson considered the song to be \"his whole life performance in one track\". Wilson stated: \"I was an energetic 23-year-old. ...","Wilson stated: \"I was an energetic 23-year-old. ... ... I said: 'This is going to be better than [the Phil Spector production] \"You've Lost That Lovin' Feelin'. Wilson said that \"Good Vibrations\" was inspired by his mother: \"[She] used to tell me about vibrations.","Wilson said that \"Good Vibrations\" was inspired by his mother: \"[She] used to tell me about vibrations. I didn't really understand too much of what it meant when I was just a boy. It scared me, the word 'vibrations.'","It scared me, the word 'vibrations.' She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel.\"","She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel.\" Brian first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea.","Brian first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea. When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style.","When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style. Asher remembered: Wilson wanted to call the song \"Good Vibes\", but Asher advised that it was \"lightweight use of the language\", and suggested that \"Good Vibrations\" would sound less \"trendy\".","Asher remembered: Wilson wanted to call the song \"Good Vibes\", but Asher advised that it was \"lightweight use of the language\", and suggested that \"Good Vibrations\" would sound less \"trendy\". The two proceeded to write lyrics for the verses that were ultimately discarded.","The two proceeded to write lyrics for the verses that were ultimately discarded. Theremin and cello From the start, Wilson envisioned a theremin for the track.","Theremin and cello From the start, Wilson envisioned a theremin for the track. AllMusic reviewer John Bush pointed out: \"Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel—between the single's theme and its use of an instrument the player never even touched.\"","AllMusic reviewer John Bush pointed out: \"Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel—between the single's theme and its use of an instrument the player never even touched.\" \"Good Vibrations\" does not technically feature a theremin, but rather an Electro-Theremin, which is physically controlled by a knob on the side of the instrument.","\"Good Vibrations\" does not technically feature a theremin, but rather an Electro-Theremin, which is physically controlled by a knob on the side of the instrument. It was dubbed a \"theremin\" simply for convenience.","It was dubbed a \"theremin\" simply for convenience. At that time, theremins were most often associated with the 1945 Alfred Hitchcock film Spellbound, but their most common presence was in the theme music for the television sitcom My Favorite Martian, which ran from 1963 to 1966.","At that time, theremins were most often associated with the 1945 Alfred Hitchcock film Spellbound, but their most common presence was in the theme music for the television sitcom My Favorite Martian, which ran from 1963 to 1966. Britz speculates: \"He just walked in and said, 'I have this new sound for you.'","Britz speculates: \"He just walked in and said, 'I have this new sound for you.' I think he must have heard the sound somewhere and loved it, and built a song around it.\" It is unclear whether Wilson knew that the instrument was not a real theremin.","It is unclear whether Wilson knew that the instrument was not a real theremin. Brian credited his brother and bandmate Carl for suggesting the use of a cello on the track.","Brian credited his brother and bandmate Carl for suggesting the use of a cello on the track. He further stated that its triplet beat on the chorus was his own idea and that it was based on the Crystals' \"Da Doo Ron Ron\" (1963), produced by Spector.","He further stated that its triplet beat on the chorus was his own idea and that it was based on the Crystals' \"Da Doo Ron Ron\" (1963), produced by Spector. Conversely, arranger and session musician Van Dyke Parks said that it was himself who suggested having the cellist play triplets to Brian.","Conversely, arranger and session musician Van Dyke Parks said that it was himself who suggested having the cellist play triplets to Brian. Parks believed that having Brian exploit the cello \"to such a hyperbolic degree\" was what encouraged the duo to immediately collaborate on the never-finished album Smile.","Parks believed that having Brian exploit the cello \"to such a hyperbolic degree\" was what encouraged the duo to immediately collaborate on the never-finished album Smile. At some point, Wilson asked Parks to pen lyrics for \"Good Vibrations\", although Parks declined.","At some point, Wilson asked Parks to pen lyrics for \"Good Vibrations\", although Parks declined. Influences and final lyrics Wilson's cousin and bandmate Mike Love submitted the final lyrics for \"Good Vibrations\" and contributed its bass-baritone vocals in the chorus.","Influences and final lyrics Wilson's cousin and bandmate Mike Love submitted the final lyrics for \"Good Vibrations\" and contributed its bass-baritone vocals in the chorus. He recalled that when he heard the unfinished backing track: \"[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it.","He recalled that when he heard the unfinished backing track: \"[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it. How's this going to go over in the Midwest or Birmingham?","How's this going to go over in the Midwest or Birmingham? It was such a departure from 'Surfin' U.S.A.' or 'Help Me, Rhonda.'\" Love said that he wrote the words while on the drive to the studio.","Love said that he wrote the words while on the drive to the studio. Feeling that the song could be \"the Beach Boys' psychedelic anthem or flower power offering,\" he based the lyrics on the burgeoning psychedelic music and Flower Power movements occurring in San Francisco and some parts of the Los Angeles area.","Feeling that the song could be \"the Beach Boys' psychedelic anthem or flower power offering,\" he based the lyrics on the burgeoning psychedelic music and Flower Power movements occurring in San Francisco and some parts of the Los Angeles area. He described the lyrics as \"just a flowery poem.","He described the lyrics as \"just a flowery poem. Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair.'\"","Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair.'\" Writing in his 1975 book The Beach Boys: Southern California Pastoral, Bruce Golden observed: Capitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his LSD experiences.","Writing in his 1975 book The Beach Boys: Southern California Pastoral, Bruce Golden observed: Capitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his LSD experiences. Brian clarified that the song was written under the influence of marijuana, not LSD.","Brian clarified that the song was written under the influence of marijuana, not LSD. He explained: \"I made ‘Good Vibrations’ on drugs; I used drugs to make that. ... I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity.\"","I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity.\" In Steven Gaines's 1986 biography, Wilson is quoted on the lyrics: \"We talked about good vibrations with the song and the idea, and we decided on one hand that you could say ... those are sensual things.","In Steven Gaines's 1986 biography, Wilson is quoted on the lyrics: \"We talked about good vibrations with the song and the idea, and we decided on one hand that you could say ... those are sensual things. And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have.","And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have. That's what we're really talking about.\" Wilson said in 2012 that the song's \"gotta keep those good vibrations\" bridge was inspired by Stephen Foster.","Wilson said in 2012 that the song's \"gotta keep those good vibrations\" bridge was inspired by Stephen Foster. Bandmate Al Jardine compared that section to Foster and the Negro spiritual \"Down by the Riverside\".","Bandmate Al Jardine compared that section to Foster and the Negro spiritual \"Down by the Riverside\". According to Love, the lyric \"'she goes with me to a blossom world' was originally meant to be followed by the words 'we find'\", but Wilson elected to cut off the line to highlight the bass track linking into the chorus.","According to Love, the lyric \"'she goes with me to a blossom world' was originally meant to be followed by the words 'we find'\", but Wilson elected to cut off the line to highlight the bass track linking into the chorus. Recording and production Modular approach \"Good Vibrations\" established a new method of operation for Wilson.","Recording and production Modular approach \"Good Vibrations\" established a new method of operation for Wilson. Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or \"modules\").","Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or \"modules\"). Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time.","Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time. This was the same modular approach used during the sessions for Smile and Smiley Smile.","This was the same modular approach used during the sessions for Smile and Smiley Smile. To mask each tape edit, vast reverb decays were added at the mixing and sub-mixing stages. For instrumentation, Wilson employed the services of \"the Wrecking Crew\", the nickname for a conglomerate of session musicians active in Los Angeles at that time.","For instrumentation, Wilson employed the services of \"the Wrecking Crew\", the nickname for a conglomerate of session musicians active in Los Angeles at that time. Production for \"Good Vibrations\" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two.","Production for \"Good Vibrations\" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two. It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands, making it the costliest single recorded to that date.","It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands, making it the costliest single recorded to that date. Biographer Peter Ames Carlin wrote that Wilson was so puzzled by the arranging of \"Good Vibrations\" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs.","Biographer Peter Ames Carlin wrote that Wilson was so puzzled by the arranging of \"Good Vibrations\" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs. One estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to $ and $ in ), By comparison, the whole of Pet Sounds had cost $70,000 ($), itself an unusually high cost for an album.","One estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to $ and $ in ), By comparison, the whole of Pet Sounds had cost $70,000 ($), itself an unusually high cost for an album. In 2018, Wilson disputed the $50,000 figure for \"Good Vibrations\", saying that the overall expenses were closer to $25,000.","In 2018, Wilson disputed the $50,000 figure for \"Good Vibrations\", saying that the overall expenses were closer to $25,000. Contemporary advertisements reported $10,000 ($) as the track's total production costs. Domenic Priore wrote that the track cost between $10,000 and $15,000 ($).","Domenic Priore wrote that the track cost between $10,000 and $15,000 ($). When asked in a 2005 interview if it was true that the Electro-Theremin work alone cost $100,000, Wilson replied \"No. $15,000.\"","$15,000.\" $15,000.\" Development The instrumental of the first version of the song was recorded on February 17, 1966, at Gold Star Studios and was logged as a Pet Sounds session.","Development The instrumental of the first version of the song was recorded on February 17, 1966, at Gold Star Studios and was logged as a Pet Sounds session. On that day's session log, it was given the name \"#1 Untitled\" or \"Good, Good, Good Vibrations\", but on its master tape, Wilson distinctly states: \"'Good Vibrations' ... take one.\"","On that day's session log, it was given the name \"#1 Untitled\" or \"Good, Good, Good Vibrations\", but on its master tape, Wilson distinctly states: \"'Good Vibrations' ... take one.\" After twenty-six takes, a rough mono mix completed the session.","After twenty-six takes, a rough mono mix completed the session. Some additional instruments and rough guide vocals were overdubbed on February 23. Brian and Carl shared vocals for this mix.","Brian and Carl shared vocals for this mix. The original version of \"Good Vibrations\" contained the characteristics of a \"funky rhythm and blues number\" and would not yet resemble a \"pocket symphony\". There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor, Paul Tanner.","There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor, Paul Tanner. It was Brian's second ever recorded use of the instrument, just three days after the Pet Sounds track \"I Just Wasn't Made for These Times\".","It was Brian's second ever recorded use of the instrument, just three days after the Pet Sounds track \"I Just Wasn't Made for These Times\". Brian then placed \"Good Vibrations\" on hold in order to devote attention to the Pet Sounds album, which saw release on May 16.","Brian then placed \"Good Vibrations\" on hold in order to devote attention to the Pet Sounds album, which saw release on May 16. More instrumental sections for \"Good Vibrations\" were recorded between April and June.","More instrumental sections for \"Good Vibrations\" were recorded between April and June. Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs.","Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs. According to Brian's then-new friend David Anderle, during an early stage, Brian considered giving \"Good Vibrations\" to one of the black R&B groups signed with Warner Bros. Records such as Wilson Pickett, and then at Anderle's suggestion to singer Danny Hutton.","According to Brian's then-new friend David Anderle, during an early stage, Brian considered giving \"Good Vibrations\" to one of the black R&B groups signed with Warner Bros. Records such as Wilson Pickett, and then at Anderle's suggestion to singer Danny Hutton. He thought about abandoning the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single.","He thought about abandoning the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single. In the meantime, he worked on writing and recording material for the group's forthcoming album, Smile.","In the meantime, he worked on writing and recording material for the group's forthcoming album, Smile. The first Beach Boy to hear \"Good Vibrations\" in a semi-completed form, other than Brian, was Carl.","The first Beach Boy to hear \"Good Vibrations\" in a semi-completed form, other than Brian, was Carl. Following a performance with the touring group in North Dakota, he remembered: \"I came back up into my hotel room one night and the phone rang. It was Brian on the other end.","It was Brian on the other end. He called me from the recording studio and played this really bizarre sounding music over the phone. There were drums smashing, that kind of stuff, and then it refined itself and got into the cello. It was a real funky track.\"","It was a real funky track.\" In 1976, Brian revealed that before the final mixdown, he had been confronted with resistance by members of the group, whom Brian declined to name.","In 1976, Brian revealed that before the final mixdown, he had been confronted with resistance by members of the group, whom Brian declined to name. The subject of their worries and complaints was the song's length and \"modern\" sound: \"I said no, it's not going to be too long a record, it's going to be just right.","The subject of their worries and complaints was the song's length and \"modern\" sound: \"I said no, it's not going to be too long a record, it's going to be just right. ... They didn't quite understand what this jumping from studio to studio was all about.","They didn't quite understand what this jumping from studio to studio was all about. And they couldn't conceive of the record as I did. I saw the record as a totality piece.\"","I saw the record as a totality piece.\" The vocals for \"Good Vibrations\" were recorded at CBS Columbia Square, starting on August 24 and continuing sporadically until the very last day of assembly on September 21. The episodic structure of the composition was continuously revised as the group experimented with different ideas.","The episodic structure of the composition was continuously revised as the group experimented with different ideas. Brian remembers that he began recording the \"bop bop good vibrations\" parts first, and that he came up with \"the high parts\" a week later.","Brian remembers that he began recording the \"bop bop good vibrations\" parts first, and that he came up with \"the high parts\" a week later. Mike Love recalled: \"I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long.\"","Mike Love recalled: \"I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long.\" Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute.","Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute. In early September, the master tapes for \"Good Vibrations\" were stolen. Mysteriously, they reappeared inside Brian's home two days later.","Mysteriously, they reappeared inside Brian's home two days later. On September 21, Brian completed the track after Tanner added a final Electro-Theremin overdub. In 1976 he elaborated on the event: \"It was at Columbia. I remember I had it right in the sack.","I remember I had it right in the sack. I could just feel it when I dubbed it down, made the final mix from the 16-track down to mono. It was a feeling of power, it was a rush. A feeling of exaltation. Artistic beauty. It was everything ... I remember saying, 'Oh my God.","I remember saying, 'Oh my God. Sit back and listen to this!'\" Composition and analysis Genre and dynamics There are six unique sections to the piece.","Composition and analysis Genre and dynamics There are six unique sections to the piece. Music theorist Daniel Harrison refers to these sections individually as the verse, the refrain (or chorus), the \"first episodic digression\", the \"second episodic digression\", the \"retro-refrain\", and the coda.","Music theorist Daniel Harrison refers to these sections individually as the verse, the refrain (or chorus), the \"first episodic digression\", the \"second episodic digression\", the \"retro-refrain\", and the coda. Each has a distinct musical texture, partly due to the nature of the song's recording.","Each has a distinct musical texture, partly due to the nature of the song's recording. The track's instrumentation changes radically from section to section, and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a \"very long\" duration.","The track's instrumentation changes radically from section to section, and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a \"very long\" duration. Wilson is quoted in 1979: He characterized the song as \"advanced rhythm and blues\".","Wilson is quoted in 1979: He characterized the song as \"advanced rhythm and blues\". Tom Roland of American Songwriter described the piece, \"with its interlocking segments—a sort of pop version of the classical sonata, consisting of a series of musical movements\".","Tom Roland of American Songwriter described the piece, \"with its interlocking segments—a sort of pop version of the classical sonata, consisting of a series of musical movements\". New York Magazine compared it to \"a fugue with a rhythmic beat\".","New York Magazine compared it to \"a fugue with a rhythmic beat\". John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs.","John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs. Music journal Sound on Sound argued that the song \"has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour\".","Music journal Sound on Sound argued that the song \"has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour\". It explained that the song subverts pop forms to a considerable degree: According to historian Lorenzo Candelaria, \"Good Vibrations\" has since been marketed as pop music \"possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know.\"","It explained that the song subverts pop forms to a considerable degree: According to historian Lorenzo Candelaria, \"Good Vibrations\" has since been marketed as pop music \"possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know.\" Uncut called the song \"three minutes and thirty-six seconds of avant-garde pop\".","Uncut called the song \"three minutes and thirty-six seconds of avant-garde pop\". Mixdown described it as a \"masterpiece of avant-pop\". The theremin and cello has been called the song's \"psychedelic ingredient\".","The theremin and cello has been called the song's \"psychedelic ingredient\". In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin.","In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin. Professor of American history John Robert Greene named \"Good Vibrations\" among examples of psychedelic or acid rock.","Professor of American history John Robert Greene named \"Good Vibrations\" among examples of psychedelic or acid rock. Stebbins wrote that the song was \"replete with sunshine [and] psychedelia\". Steve Valdez says that, like Pet Sounds, Brian was attempting a more experimental rock style.","Steve Valdez says that, like Pet Sounds, Brian was attempting a more experimental rock style. Comparing \"Good Vibrations\" to Wilson's previous work Pet Sounds, biographer Andrew Hickey said that the \"best way of thinking about [the song] is that it's taking the lowest common denominator of 'Here Today' and 'God Only Knows' and turned the result into an R&B track.","Comparing \"Good Vibrations\" to Wilson's previous work Pet Sounds, biographer Andrew Hickey said that the \"best way of thinking about [the song] is that it's taking the lowest common denominator of 'Here Today' and 'God Only Knows' and turned the result into an R&B track. We have the same minor-key change between verse and chorus we've seen throughout Pet Sounds, the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to funky.\"","We have the same minor-key change between verse and chorus we've seen throughout Pet Sounds, the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to funky.\" Author Jon Stebbins adds that \"unlike Pet Sounds the chorus of 'Good Vibrations' projects a definite 'rock and roll' energy and feel.\"","Author Jon Stebbins adds that \"unlike Pet Sounds the chorus of 'Good Vibrations' projects a definite 'rock and roll' energy and feel.\" According to academic Rikky Rooksby, \"Good Vibrations\" is an example of Brian Wilson's growing interest in musical development within a composition, something antithetical to popular music of the time.","According to academic Rikky Rooksby, \"Good Vibrations\" is an example of Brian Wilson's growing interest in musical development within a composition, something antithetical to popular music of the time. Suppressing tonic strength and cadential drive, the song makes use of descending harmonic motions through scale degrees controlled by a single tonic and \"radical disjunctions\" in key, texture, instrumentation, and mood while refusing to develop into a predictable formal pattern.","Suppressing tonic strength and cadential drive, the song makes use of descending harmonic motions through scale degrees controlled by a single tonic and \"radical disjunctions\" in key, texture, instrumentation, and mood while refusing to develop into a predictable formal pattern. It instead develops \"under its own power\" and \"luxuriates in harmonic variety\" exemplified by beginning and ending not only in different keys but also in different modes.","It instead develops \"under its own power\" and \"luxuriates in harmonic variety\" exemplified by beginning and ending not only in different keys but also in different modes. Verses and refrains (0:00–1:40) \"Good Vibrations\" begins without introduction in a traditional verse/refrain format, opening with Carl Wilson singing the word \"I\", a triplet eighth note before the downbeat.","Verses and refrains (0:00–1:40) \"Good Vibrations\" begins without introduction in a traditional verse/refrain format, opening with Carl Wilson singing the word \"I\", a triplet eighth note before the downbeat. The sparse first verse contains a repetition of chords played on a Hammond organ filtered through a Leslie speaker; underneath is a two-bar Fender bass melody.","The sparse first verse contains a repetition of chords played on a Hammond organ filtered through a Leslie speaker; underneath is a two-bar Fender bass melody. This sequence repeats once (0:15), but with the addition of two piccolos sustaining over a falling flute line.","This sequence repeats once (0:15), but with the addition of two piccolos sustaining over a falling flute line. For percussion, bongo drums double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation.","For percussion, bongo drums double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation. The beat projects a triplet feel despite being in time; this is sometimes called a \"shuffle beat\" or \"threes over fours\".","The beat projects a triplet feel despite being in time; this is sometimes called a \"shuffle beat\" or \"threes over fours\". The chord progression used is i–VII–VI–V, also called an Andalusian cadence. Although the verses begin in the minor mode of E, the mode is not used to express sadness or drudgery.","Although the verses begin in the minor mode of E, the mode is not used to express sadness or drudgery. Occurring at the very end of these verses is a passing chord, D. The refrain (0:25) begins in the newly tonicized relative major G, which suggests III.","Occurring at the very end of these verses is a passing chord, D. The refrain (0:25) begins in the newly tonicized relative major G, which suggests III. Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music.","Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music. The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat.","The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat. This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals.","This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals. The first section consists of only the couplet \"I'm picking up good vibrations/she's giving me the excitation\" sung by Mike Love in his bass-baritone register; the second repeats the lines and adds an \"ooo bop bop\" figure, sung in multiple-part harmony; the third time also adds a \"good, good, good, good vibrations\" in yet a higher harmony.","The first section consists of only the couplet \"I'm picking up good vibrations/she's giving me the excitation\" sung by Mike Love in his bass-baritone register; the second repeats the lines and adds an \"ooo bop bop\" figure, sung in multiple-part harmony; the third time also adds a \"good, good, good, good vibrations\" in yet a higher harmony. This type of polyphony (counterpoint) is also rare in contemporary popular styles.","This type of polyphony (counterpoint) is also rare in contemporary popular styles. Each repeat of the vocal lines also transposes up by a whole step, ascending from G to A and then B. It then returns to the verse, thus making a perfect cadence back into E minor.","It then returns to the verse, thus making a perfect cadence back into E minor. The verse and refrain then repeat without any changes to the patterns of its instrumentation and harmony. This is unusual, in that normally, a song's arrangement adds something once it reaches the second verse.","This is unusual, in that normally, a song's arrangement adds something once it reaches the second verse. Episodic digressions First episode (1:41–2:13) The first episode (1:41+) begins disjunctively with an abrupt tape splice.","Episodic digressions First episode (1:41–2:13) The first episode (1:41+) begins disjunctively with an abrupt tape splice. The refrain's B, which had received a dominant (V) charge, is now maintained as a tonic (I).","The refrain's B, which had received a dominant (V) charge, is now maintained as a tonic (I). There is harmonic ambiguity, in that the chord progression may be either interpreted as I–IV–I (in B) or V–I–V (in E).","There is harmonic ambiguity, in that the chord progression may be either interpreted as I–IV–I (in B) or V–I–V (in E). Stebbins says that this section \"might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply.\"","Stebbins says that this section \"might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply.\" A new sound is created by tack piano, jaw harp, and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, bass harmonica, and sleigh bells shaken on every beat.","A new sound is created by tack piano, jaw harp, and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, bass harmonica, and sleigh bells shaken on every beat. The lone line of vocals (aside from non-lexical harmonies) is \"I don't know where, but she sends me there\" sung in Mike Love's upper-register baritone.","The lone line of vocals (aside from non-lexical harmonies) is \"I don't know where, but she sends me there\" sung in Mike Love's upper-register baritone. This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns.","This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns. Second episode (2:13–2:56) Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat.","Second episode (2:13–2:56) Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat. Sound on Sound highlights this change as the \"most savage edit in the track ... most people would go straight into a big splash hook-line section.","Sound on Sound highlights this change as the \"most savage edit in the track ... most people would go straight into a big splash hook-line section. Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ...","Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ... Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian.\"","Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian.\" Harrison says: The slowed pace is complemented by the lyric (\"Gotta keep those loving good vibrations a-happening with her\"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony.","Harrison says: The slowed pace is complemented by the lyric (\"Gotta keep those loving good vibrations a-happening with her\"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony. This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2.","This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2. The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats.","The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats. Lambert calls it the song's \"wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments.","Lambert calls it the song's \"wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments. As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say.\"","As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say.\" Retro-refrain and coda (2:57–3:35) A brief break at the end of the second musical digression creates tension which leads into the final sequence of the song.","Retro-refrain and coda (2:57–3:35) A brief break at the end of the second musical digression creates tension which leads into the final sequence of the song. The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B, repeats at A, and then ends at G for an unexpectedly short single measure.","The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B, repeats at A, and then ends at G for an unexpectedly short single measure. The section uses a descending progression, which mirrors the ascending progression of the previous two refrains.","The section uses a descending progression, which mirrors the ascending progression of the previous two refrains. There follows a short section of vocalizing in three-part counterpoint that references the original refrain by reproducing upward transposition. However, this time it settles on A, the concluding key of the song.","However, this time it settles on A, the concluding key of the song. By the end of \"Good Vibrations,\" all seven scale degrees of the opening E-minor tonic are activated on some level.","By the end of \"Good Vibrations,\" all seven scale degrees of the opening E-minor tonic are activated on some level. Release and promotion In a July 1966 advertisement for Pet Sounds in Billboard magazine, the band thanked the music industry for the sales of their album, and said that \"We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations.\"","Release and promotion In a July 1966 advertisement for Pet Sounds in Billboard magazine, the band thanked the music industry for the sales of their album, and said that \"We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations.\" This was the first public hint of the new single.","This was the first public hint of the new single. Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was \"about a guy who picks up good vibrations from a girl\" and that it would be a \"monster\".","Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was \"about a guy who picks up good vibrations from a girl\" and that it would be a \"monster\". He then suggested: \"It's still sticking pretty close to that same boy-girl thing, you know, but with a difference.","He then suggested: \"It's still sticking pretty close to that same boy-girl thing, you know, but with a difference. And it's a start, it's definitely a start.\"","And it's a start, it's definitely a start.\" Derek Taylor, who had recently been engaged as the band's publicist, is credited for coining the term a \"pocket symphony\" to describe the song.","Derek Taylor, who had recently been engaged as the band's publicist, is credited for coining the term a \"pocket symphony\" to describe the song. In a press release for the single, he stated: \"Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils.","In a press release for the single, he stated: \"Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils. And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else.\"","And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else.\" To promote the single, four different music videos were shot.","To promote the single, four different music videos were shot. The first of these—which had Caleb Deschanel as cameraman—features the group at a fire station, sliding down its pole, and roaming the streets of Los Angeles in a fashion comparable to The Monkees. The second features the group during vocal rehearsals at United Western Recorders.","The second features the group during vocal rehearsals at United Western Recorders. The third contains footage recorded during the making of The Beach Boys in London, a documentary by Peter Whitehead of their concert performances. The fourth clip is an alternative edit of the third.","The fourth clip is an alternative edit of the third. Brian also made a rare television appearance on local station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record.","Brian also made a rare television appearance on local station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record. On October 15, 1966, Billboard predicted that the single would reach the top 20 in the Billboard Hot 100 chart.","On October 15, 1966, Billboard predicted that the single would reach the top 20 in the Billboard Hot 100 chart. \"Good Vibrations\" was the Beach Boys' third US number one hit, after \"I Get Around\" and \"Help Me, Rhonda\", reaching the top of the Hot 100 in December.","\"Good Vibrations\" was the Beach Boys' third US number one hit, after \"I Get Around\" and \"Help Me, Rhonda\", reaching the top of the Hot 100 in December. It was also their first number one in Britain.","It was also their first number one in Britain. The single sold over 230,000 copies in the US within four days of its release and entered the Cash Box chart at number 61 on October 22. In the UK, the song sold over 50,000 copies in the first 15 days of its release.","In the UK, the song sold over 50,000 copies in the first 15 days of its release. \"Good Vibrations\" quickly became the Beach Boys' first million-selling single. In December 1966, the record was their first single certified gold by the RIAA for sales of one million copies.","In December 1966, the record was their first single certified gold by the RIAA for sales of one million copies. On March 30, 2016, the digital single was certified platinum by the RIAA for the same sales level.","On March 30, 2016, the digital single was certified platinum by the RIAA for the same sales level. In the US, Cash Box said that it is a \"catchy, easy-driving ditty loaded with the Boys’ money-making sound.\" In Britain, the single received favorable reviews from the New Musical Express and Melody Maker.","In Britain, the single received favorable reviews from the New Musical Express and Melody Maker. Soon after, the Beach Boys were voted the number one band in the world in the NME readers' poll, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops.","Soon after, the Beach Boys were voted the number one band in the world in the NME readers' poll, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops. Billboard said that this result was probably influenced by the success of \"Good Vibrations\" when the votes were cast, together with the band's recent tour, whereas the Beatles had neither a recent single nor had they toured the UK throughout 1966; the reporter added that \"The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak.\"","Billboard said that this result was probably influenced by the success of \"Good Vibrations\" when the votes were cast, together with the band's recent tour, whereas the Beatles had neither a recent single nor had they toured the UK throughout 1966; the reporter added that \"The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak.\" In a readers' poll conducted by a Danish newspaper, Brian Wilson won the \"best foreign-produced recording award\", marking the first time that an American had won in that category.","In a readers' poll conducted by a Danish newspaper, Brian Wilson won the \"best foreign-produced recording award\", marking the first time that an American had won in that category. The single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc.","The single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc. Influence and legacy Historical reception Virtually every pop music critic recognizes \"Good Vibrations\" as one of the most important compositions and recordings of the entire rock era.","Influence and legacy Historical reception Virtually every pop music critic recognizes \"Good Vibrations\" as one of the most important compositions and recordings of the entire rock era. It is a regular fixture on \"greatest of all-time\" song lists and is frequently hailed as one of the finest pop productions of all time.","It is a regular fixture on \"greatest of all-time\" song lists and is frequently hailed as one of the finest pop productions of all time. In 2004, Rolling Stone magazine ranked \"Good Vibrations\" at number 6 in \"The 500 Greatest Songs of All Time\", the highest position of seven Beach Boys songs cited in the list.","In 2004, Rolling Stone magazine ranked \"Good Vibrations\" at number 6 in \"The 500 Greatest Songs of All Time\", the highest position of seven Beach Boys songs cited in the list. In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list.","In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list. As of 2016, \"Good Vibrations\" is ranked as the number four song of all time in an aggregation of critics' lists at Acclaimed Music. The song served as an anthem for the counterculture of the 1960s.","The song served as an anthem for the counterculture of the 1960s. According to Noel Murray of The A.V.","According to Noel Murray of The A.V. Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's \"un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do.\"","Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's \"un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do.\" Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for \"Good Vibrations\".","Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for \"Good Vibrations\". \"Heroes and Villains\", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967.","\"Heroes and Villains\", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967. In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of \"Good Vibrations\".","In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of \"Good Vibrations\". When asked about the song in 1990, Paul McCartney responded: \"I thought it was a great record.","When asked about the song in 1990, Paul McCartney responded: \"I thought it was a great record. It didn't quite have the emotional thing that Pet Sounds had for me. I've often played Pet Sounds and cried. It's that kind of an album for me.\"","It's that kind of an album for me.\" Pete Townshend of the Who was quoted in the 1960s as saying, \"'Good Vibrations' was probably a good record but who's to know? You had to play it about 90 bloody times to even hear what they were singing about.\"","You had to play it about 90 bloody times to even hear what they were singing about.\" Townshend feared that the single would lead to a trend of overproduction. In a 1966 issue of Arts Magazine, Jonathan King said: \"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art.","In a 1966 issue of Arts Magazine, Jonathan King said: \"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art. Computerized pop, mechanized music. Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons.","Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons. It is long and split. ... impressive, fantastic, commercial—yes. Emotional, soul-destroying, shattering—no.\"","Emotional, soul-destroying, shattering—no.\" In the 2000s, record producer Phil Spector criticized the single for depending too much on tape manipulation, negatively referring to it as an \"edit record ... It's like Psycho is a great film, but it's an 'edit film.'","It's like Psycho is a great film, but it's an 'edit film.' Without edits, it's not a film; with edits, it's a great film. But it's not Rebecca ... it's not a beautiful story.\"","But it's not Rebecca ... it's not a beautiful story.\" Advancements Recording and popular music \"Good Vibrations\" is credited for having further developed the use of recording studios as a musical instrument.","Advancements Recording and popular music \"Good Vibrations\" is credited for having further developed the use of recording studios as a musical instrument. Author Domenic Priore commented that the song's making was \"unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording\".","Author Domenic Priore commented that the song's making was \"unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording\". A milestone in the development of rock music, the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record.","A milestone in the development of rock music, the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record. Musicologist Charlie Gillett called it \"one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance\".","Musicologist Charlie Gillett called it \"one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance\". In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted: Writing for Popmatters in 2015, Scott Interrante stated: \"'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have.\"","In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted: Writing for Popmatters in 2015, Scott Interrante stated: \"'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have.\" The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm.","The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm. Microtonal composer Frank Oteri said that it \"sounds like no other pop song recorded up to that point\".","Microtonal composer Frank Oteri said that it \"sounds like no other pop song recorded up to that point\". According to Stebbins: \"This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original.","According to Stebbins: \"This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original. But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century.\"","But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century.\" He added that the single \"vaulted nearly every other rock act in their delivery of a Flower Power classic. It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop.\"","It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop.\" John Bush wrote that the single \"announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies\".","John Bush wrote that the single \"announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies\". Gillett noted: \"For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording.\"","Gillett noted: \"For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording.\" Priore says that the song was a forerunner to works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes.","Priore says that the song was a forerunner to works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes. In his appraisal for American Songwriter, Roland cites the song's \"format\" as the model for recordings by Wings (\"Band on the Run\"), the Beatles (\"A Day in the Life\"), and Elton John (\"Funeral for a Friend/Love Lies Bleeding\").","In his appraisal for American Songwriter, Roland cites the song's \"format\" as the model for recordings by Wings (\"Band on the Run\"), the Beatles (\"A Day in the Life\"), and Elton John (\"Funeral for a Friend/Love Lies Bleeding\"). The song's approach was repeated in Queen's 1975 single \"Bohemian Rhapsody\", which was similarly pieced together using different sections.","The song's approach was repeated in Queen's 1975 single \"Bohemian Rhapsody\", which was similarly pieced together using different sections. Wilson praised Queen's effort, calling it \"the most competitive thing that's come along in ages\" and \"a fulfillment and an answer to a teenage prayer—of artistic music\".","Wilson praised Queen's effort, calling it \"the most competitive thing that's come along in ages\" and \"a fulfillment and an answer to a teenage prayer—of artistic music\". Psychedelic and progressive rock With \"Good Vibrations\", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages.","Psychedelic and progressive rock With \"Good Vibrations\", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages. Writing in 2009, Barney Hoskyns deemed it to be the era's \"ultimate psychedelic pop record\" from Los Angeles.","Writing in 2009, Barney Hoskyns deemed it to be the era's \"ultimate psychedelic pop record\" from Los Angeles. Interrante adds: \"Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated, but its legacy as a pop hit is impressive as well.\"","Interrante adds: \"Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated, but its legacy as a pop hit is impressive as well.\" Former Atlantic Records executive Phillip Rauls recalled: \"I was in the music business at the time, and my very first recognition of acid rock—we didn't call it progressive rock then—was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [theremin] sent so many musicians back to the studio to create this music on acid.\"","Former Atlantic Records executive Phillip Rauls recalled: \"I was in the music business at the time, and my very first recognition of acid rock—we didn't call it progressive rock then—was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [theremin] sent so many musicians back to the studio to create this music on acid.\" Author Bill Martin suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: \"The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life.'\"","Author Bill Martin suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: \"The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life.'\" Use of theremin Although the song does not technically contain a theremin, \"Good Vibrations\" is the most frequently cited example of the instrument's use in pop music.","Use of theremin Although the song does not technically contain a theremin, \"Good Vibrations\" is the most frequently cited example of the instrument's use in pop music. Upon release, the single prompted an unexpected revival in theremins and increased the awareness of analog synthesizers.","Upon release, the single prompted an unexpected revival in theremins and increased the awareness of analog synthesizers. The notion that \"Good Vibrations\" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants.","The notion that \"Good Vibrations\" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants. While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin.","While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin. When the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments.","When the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments. Tanner recalls saying to Wilson, \"I've got the wrong sort of hair to be on stage with you fellas\", to which Wilson replied: \"We'll give you a Prince Valiant wig.\"","Tanner recalls saying to Wilson, \"I've got the wrong sort of hair to be on stage with you fellas\", to which Wilson replied: \"We'll give you a Prince Valiant wig.\" The Beach Boys then requested the services of Walter Sear, who asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar.","The Beach Boys then requested the services of Walter Sear, who asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar. Sear remembers marking fretboard-like lines on the ribbon \"so they could play the damn thing.\" Moog began manufacturing his own models of theremins.","Moog began manufacturing his own models of theremins. He later noted: \"The pop record scene cleaned us out of our stock which we expected to last through Christmas.\"","He later noted: \"The pop record scene cleaned us out of our stock which we expected to last through Christmas.\" In Steven M. Martin's 1993 documentary Theremin: An Electronic Odyssey, in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin due to \"Good Vibrations\" caused Russian authorities to exile its inventor, Leon Theremin.","In Steven M. Martin's 1993 documentary Theremin: An Electronic Odyssey, in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin due to \"Good Vibrations\" caused Russian authorities to exile its inventor, Leon Theremin. Cover versions The song has been covered by artists such as Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV.","Cover versions The song has been covered by artists such as Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV. John Bush commented: \"'Good Vibrations' was rarely reprised by other acts, even during the cover-happy '60s. Its fragmented style made it essentially cover-proof.\"","Its fragmented style made it essentially cover-proof.\" In 1976, a nearly identical cover version was released as a single by Todd Rundgren for his album Faithful. When asked for his opinion, Brian said: \"Oh, he did a marvelous job, he did a great job. I was very proud of his version.\"","I was very proud of his version.\" Rundgren's single peaked at number 34 on the Billboard Hot 100.","Rundgren's single peaked at number 34 on the Billboard Hot 100. Rundgren explained: \"I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting—like around Pet Sounds and 'Good Vibrations' ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal.","Rundgren explained: \"I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting—like around Pet Sounds and 'Good Vibrations' ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal. ...","... ... I tried to do [the song] as literally as I could because in the intervening 10 years, radio had changed so much. Radio had become so formatted and so structured that that whole experience was already gone.\" In 2004, Wilson re-recorded the song as a solo artist for his album Brian Wilson Presents Smile.","In 2004, Wilson re-recorded the song as a solo artist for his album Brian Wilson Presents Smile. It was sequenced as the album's closing track, following \"In Blue Hawaii\". In this version, \"Good Vibrations\" was the project's only track that eschewed the modular recording method.","In this version, \"Good Vibrations\" was the project's only track that eschewed the modular recording method. The song's verses and chorus were recorded as part of one whole take, and were not spliced together.","The song's verses and chorus were recorded as part of one whole take, and were not spliced together. In 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated.","In 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated. Their version of \"Good Vibrations\", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on Billboards A/C chart.","Their version of \"Good Vibrations\", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on Billboards A/C chart. In popular culture The song's parody is used for the jingle of the Australian consumer electronics retailer The Good Guys.","In popular culture The song's parody is used for the jingle of the Australian consumer electronics retailer The Good Guys. In 1996, experimental rock group His Name Is Alive released an homage titled \"Universal Frequencies\" on their album Stars on E.S.P.","In 1996, experimental rock group His Name Is Alive released an homage titled \"Universal Frequencies\" on their album Stars on E.S.P. Warren Defever reportedly listened to \"Good Vibrations\" repeatedly for a week before deciding that the song \"needed a sequel\"; he added: \"'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful.\"","Warren Defever reportedly listened to \"Good Vibrations\" repeatedly for a week before deciding that the song \"needed a sequel\"; he added: \"'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful.\" In 1997, the movie Vegas Vacation used the song for the opening credits, with Clark Griswold (Chevy Chase) singing the song.","In 1997, the movie Vegas Vacation used the song for the opening credits, with Clark Griswold (Chevy Chase) singing the song. The song's lyrics \"I'm picking up good vibrations\" are quoted in Cyndi Lauper's 1984 single \"She Bop\".","The song's lyrics \"I'm picking up good vibrations\" are quoted in Cyndi Lauper's 1984 single \"She Bop\". A live version of the song, from the album Live in London, appears as a playable track in the 2010 video game Rock Band 3.","A live version of the song, from the album Live in London, appears as a playable track in the 2010 video game Rock Band 3. In 2019, the song was used prominently in a scene for Jordan Peele's psychological horror thriller film Us.","In 2019, the song was used prominently in a scene for Jordan Peele's psychological horror thriller film Us. In 2018, The song was featured in the animated film Hotel Transylvania 3: Summer Vacation.","In 2018, The song was featured in the animated film Hotel Transylvania 3: Summer Vacation. Release history In early 2011, the single was remastered and reissued as a four-sided 78 rpm vinyl for Record Store Day, as a teaser for the forthcoming The Smile Sessions box set.","Release history In early 2011, the single was remastered and reissued as a four-sided 78 rpm vinyl for Record Store Day, as a teaser for the forthcoming The Smile Sessions box set. It contained \"Heroes and Villains\" as a B-side, along with previously released alternate takes and mixes.","It contained \"Heroes and Villains\" as a B-side, along with previously released alternate takes and mixes. Stereo version Due to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile.","Stereo version Due to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile. The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett.","The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett. Fitzgerald's software extracted individual instrumental and vocal stems from the original mono master—as the multi-track vocals remained missing—to construct the stereo version that appears on the 2012 reissue of Smiley Smile.","Fitzgerald's software extracted individual instrumental and vocal stems from the original mono master—as the multi-track vocals remained missing—to construct the stereo version that appears on the 2012 reissue of Smiley Smile. 40th Anniversary Edition In celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released.","40th Anniversary Edition In celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released. The EP includes \"Good Vibrations\", four alternate versions of the song, and the stereo mix of \"Let's Go Away for Awhile\". The EP artwork recreates that of the original 7-inch single sleeve.","The EP artwork recreates that of the original 7-inch single sleeve. In 2016, the EP was reissued as a 12\" record for the single's 50th anniversary. Personnel The following people are identified as players on the \"Good Vibrations\" single.","Personnel The following people are identified as players on the \"Good Vibrations\" single. The Beach Boys Mike Love – lead vocals in chorus Brian Wilson – vocals, tack piano, tambourine, production, mixing Carl Wilson – lead vocals in verses, guitar, shaker Dennis Wilson – Hammond organ during 2:13–2:56 Additional musicians and production staff Hal Blaine – drums, timpani, other percussion Al De Lory – piano, harpsichord Jesse Ehrlich – cello Larry Knechtel – organ in verses and choruses Tommy Morgan – harmonica Al Casey – guitar Ray Pohlman – electric bass Lyle Ritz – double bass Jim Horn – piccolo Paul Tanner – Electro-Theremin Bassist Carol Kaye played on several of the \"Good Vibrations\" sessions, and has been identified as a prominent contributor to the track.","The Beach Boys Mike Love – lead vocals in chorus Brian Wilson – vocals, tack piano, tambourine, production, mixing Carl Wilson – lead vocals in verses, guitar, shaker Dennis Wilson – Hammond organ during 2:13–2:56 Additional musicians and production staff Hal Blaine – drums, timpani, other percussion Al De Lory – piano, harpsichord Jesse Ehrlich – cello Larry Knechtel – organ in verses and choruses Tommy Morgan – harmonica Al Casey – guitar Ray Pohlman – electric bass Lyle Ritz – double bass Jim Horn – piccolo Paul Tanner – Electro-Theremin Bassist Carol Kaye played on several of the \"Good Vibrations\" sessions, and has been identified as a prominent contributor to the track. However, analysis by Beach Boys archivist Craig Slowinski indicates that none of those recordings made the final edit as released on the single.","However, analysis by Beach Boys archivist Craig Slowinski indicates that none of those recordings made the final edit as released on the single. Charts Weekly charts Original release 1976 reissue Todd Rundgren version (1976) Year-end charts Certifications Awards and accolades Footnotes References Bibliography External links Greg Panfile's Musical Analysis of \"Good Vibrations\" 1966 singles 1966 songs 2004 singles 2011 singles Brian Wilson songs Psychic TV songs The Beach Boys songs Todd Rundgren songs Capitol Records singles Grammy Hall of Fame Award recipients Billboard Hot 100 number-one singles Cashbox number-one singles Number-one singles in Australia Number-one singles in New Zealand UK Singles Chart number-one singles Songs written by Brian Wilson Songs written by Mike Love Songs written by Tony Asher Song recordings produced by Brian Wilson Song recordings with Wall of Sound arrangements Art pop songs Avant-pop songs Psychedelic pop songs American psychedelic rock songs Songs used as jingles Songs composed in E-flat minor"],"string":"[\n \"\\\"Good Vibrations\\\" is a song by the American rock band the Beach Boys that was composed by Brian Wilson with lyrics by Mike Love. It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping record charts in several countries including the United States and the United Kingdom.\",\n \"It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping record charts in several countries including the United States and the United Kingdom. Characterized by its complex soundscapes, episodic structure and subversions of pop music formula, it was the most expensive single ever recorded.\",\n \"Characterized by its complex soundscapes, episodic structure and subversions of pop music formula, it was the most expensive single ever recorded. \\\"Good Vibrations\\\" later became widely acclaimed as one of the finest and most important works of the rock era.\",\n \"\\\"Good Vibrations\\\" later became widely acclaimed as one of the finest and most important works of the rock era. Also produced by Wilson, the title derived from his fascination with cosmic vibrations, as his mother would tell him as a child that dogs sometimes bark at people in response to their \\\"bad vibrations\\\".\",\n \"Also produced by Wilson, the title derived from his fascination with cosmic vibrations, as his mother would tell him as a child that dogs sometimes bark at people in response to their \\\"bad vibrations\\\". He used the concept to suggest extrasensory perception, while Love's lyrics were inspired by the nascent Flower Power movement.\",\n \"He used the concept to suggest extrasensory perception, while Love's lyrics were inspired by the nascent Flower Power movement. The song was written as it was recorded and in a similar fashion to other compositions from Wilson's Smile period.\",\n \"The song was written as it was recorded and in a similar fashion to other compositions from Wilson's Smile period. It was issued as a standalone single, backed with \\\"Let's Go Away for Awhile\\\", and was to be included on the never-finished album Smile.\",\n \"It was issued as a standalone single, backed with \\\"Let's Go Away for Awhile\\\", and was to be included on the never-finished album Smile. Instead, the track appeared on the September 1967 release Smiley Smile. The making of \\\"Good Vibrations\\\" was unprecedented for any kind of recording.\",\n \"The making of \\\"Good Vibrations\\\" was unprecedented for any kind of recording. Building on his approach for Pet Sounds, Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of session musicians at four different Hollywood studios from February to September 1966, a process reflected in the song's several dramatic shifts in key, texture, instrumentation and mood.\",\n \"Building on his approach for Pet Sounds, Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of session musicians at four different Hollywood studios from February to September 1966, a process reflected in the song's several dramatic shifts in key, texture, instrumentation and mood. Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars.\",\n \"Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars. Band publicist Derek Taylor dubbed the unusual work a \\\"pocket symphony\\\".\",\n \"Band publicist Derek Taylor dubbed the unusual work a \\\"pocket symphony\\\". It helped develop the use of the studio as an instrument and heralded a wave of pop experimentation and the onset of psychedelic and progressive rock.\",\n \"It helped develop the use of the studio as an instrument and heralded a wave of pop experimentation and the onset of psychedelic and progressive rock. The track featured a novel mix of instruments, including jaw harp and Electro-Theremin, and although the latter is not a true theremin, the song's success led to a renewed interest and sales of theremins and synthesizers.\",\n \"The track featured a novel mix of instruments, including jaw harp and Electro-Theremin, and although the latter is not a true theremin, the song's success led to a renewed interest and sales of theremins and synthesizers. \\\"Good Vibrations\\\" received a Grammy nomination for Best Vocal Group performance in 1966 and was inducted into the Grammy Hall of Fame in 1994.\",\n \"\\\"Good Vibrations\\\" received a Grammy nomination for Best Vocal Group performance in 1966 and was inducted into the Grammy Hall of Fame in 1994. The song was voted number one in Mojos \\\"Top 100 Records of All Time\\\" and number six on Rolling Stones \\\"500 Greatest Songs of All Time\\\", and it was included in the Rock and Roll Hall of Fame's \\\"500 Songs that Shaped Rock and Roll\\\".\",\n \"The song was voted number one in Mojos \\\"Top 100 Records of All Time\\\" and number six on Rolling Stones \\\"500 Greatest Songs of All Time\\\", and it was included in the Rock and Roll Hall of Fame's \\\"500 Songs that Shaped Rock and Roll\\\". In later years, the song has been cited as a forerunner to the Beatles' \\\"A Day in the Life\\\" (1967) and Queen's \\\"Bohemian Rhapsody\\\" (1975).\",\n \"In later years, the song has been cited as a forerunner to the Beatles' \\\"A Day in the Life\\\" (1967) and Queen's \\\"Bohemian Rhapsody\\\" (1975). A 1976 cover version by Todd Rundgren peaked at number 34 on the Billboard Hot 100.\",\n \"A 1976 cover version by Todd Rundgren peaked at number 34 on the Billboard Hot 100. The Beach Boys followed up \\\"Good Vibrations\\\" with another single pieced from sections, \\\"Heroes and Villains\\\" (1967), but it was less successful.\",\n \"The Beach Boys followed up \\\"Good Vibrations\\\" with another single pieced from sections, \\\"Heroes and Villains\\\" (1967), but it was less successful. Inspiration and writing Concept and early lyrics The Beach Boys' leader, Brian Wilson, was responsible for the musical composition and virtually all of the arrangement for \\\"Good Vibrations\\\".\",\n \"Inspiration and writing Concept and early lyrics The Beach Boys' leader, Brian Wilson, was responsible for the musical composition and virtually all of the arrangement for \\\"Good Vibrations\\\". Most of the song's structure and arrangement was written as it was recorded.\",\n \"Most of the song's structure and arrangement was written as it was recorded. During the recording sessions for the 1966 album Pet Sounds, Wilson began changing his writing process. For \\\"Good Vibrations\\\", Wilson said, \\\"I had a lot of unfinished ideas, fragments of music I called 'feels.'\",\n \"For \\\"Good Vibrations\\\", Wilson said, \\\"I had a lot of unfinished ideas, fragments of music I called 'feels.' Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic.\\\"\",\n \"Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic.\\\" Engineer Chuck Britz is quoted saying that Wilson considered the song to be \\\"his whole life performance in one track\\\". Wilson stated: \\\"I was an energetic 23-year-old. ...\",\n \"Wilson stated: \\\"I was an energetic 23-year-old. ... ... I said: 'This is going to be better than [the Phil Spector production] \\\"You've Lost That Lovin' Feelin'. Wilson said that \\\"Good Vibrations\\\" was inspired by his mother: \\\"[She] used to tell me about vibrations.\",\n \"Wilson said that \\\"Good Vibrations\\\" was inspired by his mother: \\\"[She] used to tell me about vibrations. I didn't really understand too much of what it meant when I was just a boy. It scared me, the word 'vibrations.'\",\n \"It scared me, the word 'vibrations.' She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel.\\\"\",\n \"She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel.\\\" Brian first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea.\",\n \"Brian first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea. When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style.\",\n \"When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style. Asher remembered: Wilson wanted to call the song \\\"Good Vibes\\\", but Asher advised that it was \\\"lightweight use of the language\\\", and suggested that \\\"Good Vibrations\\\" would sound less \\\"trendy\\\".\",\n \"Asher remembered: Wilson wanted to call the song \\\"Good Vibes\\\", but Asher advised that it was \\\"lightweight use of the language\\\", and suggested that \\\"Good Vibrations\\\" would sound less \\\"trendy\\\". The two proceeded to write lyrics for the verses that were ultimately discarded.\",\n \"The two proceeded to write lyrics for the verses that were ultimately discarded. Theremin and cello From the start, Wilson envisioned a theremin for the track.\",\n \"Theremin and cello From the start, Wilson envisioned a theremin for the track. AllMusic reviewer John Bush pointed out: \\\"Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel—between the single's theme and its use of an instrument the player never even touched.\\\"\",\n \"AllMusic reviewer John Bush pointed out: \\\"Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel—between the single's theme and its use of an instrument the player never even touched.\\\" \\\"Good Vibrations\\\" does not technically feature a theremin, but rather an Electro-Theremin, which is physically controlled by a knob on the side of the instrument.\",\n \"\\\"Good Vibrations\\\" does not technically feature a theremin, but rather an Electro-Theremin, which is physically controlled by a knob on the side of the instrument. It was dubbed a \\\"theremin\\\" simply for convenience.\",\n \"It was dubbed a \\\"theremin\\\" simply for convenience. At that time, theremins were most often associated with the 1945 Alfred Hitchcock film Spellbound, but their most common presence was in the theme music for the television sitcom My Favorite Martian, which ran from 1963 to 1966.\",\n \"At that time, theremins were most often associated with the 1945 Alfred Hitchcock film Spellbound, but their most common presence was in the theme music for the television sitcom My Favorite Martian, which ran from 1963 to 1966. Britz speculates: \\\"He just walked in and said, 'I have this new sound for you.'\",\n \"Britz speculates: \\\"He just walked in and said, 'I have this new sound for you.' I think he must have heard the sound somewhere and loved it, and built a song around it.\\\" It is unclear whether Wilson knew that the instrument was not a real theremin.\",\n \"It is unclear whether Wilson knew that the instrument was not a real theremin. Brian credited his brother and bandmate Carl for suggesting the use of a cello on the track.\",\n \"Brian credited his brother and bandmate Carl for suggesting the use of a cello on the track. He further stated that its triplet beat on the chorus was his own idea and that it was based on the Crystals' \\\"Da Doo Ron Ron\\\" (1963), produced by Spector.\",\n \"He further stated that its triplet beat on the chorus was his own idea and that it was based on the Crystals' \\\"Da Doo Ron Ron\\\" (1963), produced by Spector. Conversely, arranger and session musician Van Dyke Parks said that it was himself who suggested having the cellist play triplets to Brian.\",\n \"Conversely, arranger and session musician Van Dyke Parks said that it was himself who suggested having the cellist play triplets to Brian. Parks believed that having Brian exploit the cello \\\"to such a hyperbolic degree\\\" was what encouraged the duo to immediately collaborate on the never-finished album Smile.\",\n \"Parks believed that having Brian exploit the cello \\\"to such a hyperbolic degree\\\" was what encouraged the duo to immediately collaborate on the never-finished album Smile. At some point, Wilson asked Parks to pen lyrics for \\\"Good Vibrations\\\", although Parks declined.\",\n \"At some point, Wilson asked Parks to pen lyrics for \\\"Good Vibrations\\\", although Parks declined. Influences and final lyrics Wilson's cousin and bandmate Mike Love submitted the final lyrics for \\\"Good Vibrations\\\" and contributed its bass-baritone vocals in the chorus.\",\n \"Influences and final lyrics Wilson's cousin and bandmate Mike Love submitted the final lyrics for \\\"Good Vibrations\\\" and contributed its bass-baritone vocals in the chorus. He recalled that when he heard the unfinished backing track: \\\"[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it.\",\n \"He recalled that when he heard the unfinished backing track: \\\"[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it. How's this going to go over in the Midwest or Birmingham?\",\n \"How's this going to go over in the Midwest or Birmingham? It was such a departure from 'Surfin' U.S.A.' or 'Help Me, Rhonda.'\\\" Love said that he wrote the words while on the drive to the studio.\",\n \"Love said that he wrote the words while on the drive to the studio. Feeling that the song could be \\\"the Beach Boys' psychedelic anthem or flower power offering,\\\" he based the lyrics on the burgeoning psychedelic music and Flower Power movements occurring in San Francisco and some parts of the Los Angeles area.\",\n \"Feeling that the song could be \\\"the Beach Boys' psychedelic anthem or flower power offering,\\\" he based the lyrics on the burgeoning psychedelic music and Flower Power movements occurring in San Francisco and some parts of the Los Angeles area. He described the lyrics as \\\"just a flowery poem.\",\n \"He described the lyrics as \\\"just a flowery poem. Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair.'\\\"\",\n \"Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair.'\\\" Writing in his 1975 book The Beach Boys: Southern California Pastoral, Bruce Golden observed: Capitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his LSD experiences.\",\n \"Writing in his 1975 book The Beach Boys: Southern California Pastoral, Bruce Golden observed: Capitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his LSD experiences. Brian clarified that the song was written under the influence of marijuana, not LSD.\",\n \"Brian clarified that the song was written under the influence of marijuana, not LSD. He explained: \\\"I made ‘Good Vibrations’ on drugs; I used drugs to make that. ... I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity.\\\"\",\n \"I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity.\\\" In Steven Gaines's 1986 biography, Wilson is quoted on the lyrics: \\\"We talked about good vibrations with the song and the idea, and we decided on one hand that you could say ... those are sensual things.\",\n \"In Steven Gaines's 1986 biography, Wilson is quoted on the lyrics: \\\"We talked about good vibrations with the song and the idea, and we decided on one hand that you could say ... those are sensual things. And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have.\",\n \"And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have. That's what we're really talking about.\\\" Wilson said in 2012 that the song's \\\"gotta keep those good vibrations\\\" bridge was inspired by Stephen Foster.\",\n \"Wilson said in 2012 that the song's \\\"gotta keep those good vibrations\\\" bridge was inspired by Stephen Foster. Bandmate Al Jardine compared that section to Foster and the Negro spiritual \\\"Down by the Riverside\\\".\",\n \"Bandmate Al Jardine compared that section to Foster and the Negro spiritual \\\"Down by the Riverside\\\". According to Love, the lyric \\\"'she goes with me to a blossom world' was originally meant to be followed by the words 'we find'\\\", but Wilson elected to cut off the line to highlight the bass track linking into the chorus.\",\n \"According to Love, the lyric \\\"'she goes with me to a blossom world' was originally meant to be followed by the words 'we find'\\\", but Wilson elected to cut off the line to highlight the bass track linking into the chorus. Recording and production Modular approach \\\"Good Vibrations\\\" established a new method of operation for Wilson.\",\n \"Recording and production Modular approach \\\"Good Vibrations\\\" established a new method of operation for Wilson. Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or \\\"modules\\\").\",\n \"Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or \\\"modules\\\"). Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time.\",\n \"Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time. This was the same modular approach used during the sessions for Smile and Smiley Smile.\",\n \"This was the same modular approach used during the sessions for Smile and Smiley Smile. To mask each tape edit, vast reverb decays were added at the mixing and sub-mixing stages. For instrumentation, Wilson employed the services of \\\"the Wrecking Crew\\\", the nickname for a conglomerate of session musicians active in Los Angeles at that time.\",\n \"For instrumentation, Wilson employed the services of \\\"the Wrecking Crew\\\", the nickname for a conglomerate of session musicians active in Los Angeles at that time. Production for \\\"Good Vibrations\\\" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two.\",\n \"Production for \\\"Good Vibrations\\\" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two. It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands, making it the costliest single recorded to that date.\",\n \"It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands, making it the costliest single recorded to that date. Biographer Peter Ames Carlin wrote that Wilson was so puzzled by the arranging of \\\"Good Vibrations\\\" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs.\",\n \"Biographer Peter Ames Carlin wrote that Wilson was so puzzled by the arranging of \\\"Good Vibrations\\\" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs. One estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to $ and $ in ), By comparison, the whole of Pet Sounds had cost $70,000 ($), itself an unusually high cost for an album.\",\n \"One estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to $ and $ in ), By comparison, the whole of Pet Sounds had cost $70,000 ($), itself an unusually high cost for an album. In 2018, Wilson disputed the $50,000 figure for \\\"Good Vibrations\\\", saying that the overall expenses were closer to $25,000.\",\n \"In 2018, Wilson disputed the $50,000 figure for \\\"Good Vibrations\\\", saying that the overall expenses were closer to $25,000. Contemporary advertisements reported $10,000 ($) as the track's total production costs. Domenic Priore wrote that the track cost between $10,000 and $15,000 ($).\",\n \"Domenic Priore wrote that the track cost between $10,000 and $15,000 ($). When asked in a 2005 interview if it was true that the Electro-Theremin work alone cost $100,000, Wilson replied \\\"No. $15,000.\\\"\",\n \"$15,000.\\\" $15,000.\\\" Development The instrumental of the first version of the song was recorded on February 17, 1966, at Gold Star Studios and was logged as a Pet Sounds session.\",\n \"Development The instrumental of the first version of the song was recorded on February 17, 1966, at Gold Star Studios and was logged as a Pet Sounds session. On that day's session log, it was given the name \\\"#1 Untitled\\\" or \\\"Good, Good, Good Vibrations\\\", but on its master tape, Wilson distinctly states: \\\"'Good Vibrations' ... take one.\\\"\",\n \"On that day's session log, it was given the name \\\"#1 Untitled\\\" or \\\"Good, Good, Good Vibrations\\\", but on its master tape, Wilson distinctly states: \\\"'Good Vibrations' ... take one.\\\" After twenty-six takes, a rough mono mix completed the session.\",\n \"After twenty-six takes, a rough mono mix completed the session. Some additional instruments and rough guide vocals were overdubbed on February 23. Brian and Carl shared vocals for this mix.\",\n \"Brian and Carl shared vocals for this mix. The original version of \\\"Good Vibrations\\\" contained the characteristics of a \\\"funky rhythm and blues number\\\" and would not yet resemble a \\\"pocket symphony\\\". There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor, Paul Tanner.\",\n \"There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor, Paul Tanner. It was Brian's second ever recorded use of the instrument, just three days after the Pet Sounds track \\\"I Just Wasn't Made for These Times\\\".\",\n \"It was Brian's second ever recorded use of the instrument, just three days after the Pet Sounds track \\\"I Just Wasn't Made for These Times\\\". Brian then placed \\\"Good Vibrations\\\" on hold in order to devote attention to the Pet Sounds album, which saw release on May 16.\",\n \"Brian then placed \\\"Good Vibrations\\\" on hold in order to devote attention to the Pet Sounds album, which saw release on May 16. More instrumental sections for \\\"Good Vibrations\\\" were recorded between April and June.\",\n \"More instrumental sections for \\\"Good Vibrations\\\" were recorded between April and June. Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs.\",\n \"Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs. According to Brian's then-new friend David Anderle, during an early stage, Brian considered giving \\\"Good Vibrations\\\" to one of the black R&B groups signed with Warner Bros. Records such as Wilson Pickett, and then at Anderle's suggestion to singer Danny Hutton.\",\n \"According to Brian's then-new friend David Anderle, during an early stage, Brian considered giving \\\"Good Vibrations\\\" to one of the black R&B groups signed with Warner Bros. Records such as Wilson Pickett, and then at Anderle's suggestion to singer Danny Hutton. He thought about abandoning the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single.\",\n \"He thought about abandoning the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single. In the meantime, he worked on writing and recording material for the group's forthcoming album, Smile.\",\n \"In the meantime, he worked on writing and recording material for the group's forthcoming album, Smile. The first Beach Boy to hear \\\"Good Vibrations\\\" in a semi-completed form, other than Brian, was Carl.\",\n \"The first Beach Boy to hear \\\"Good Vibrations\\\" in a semi-completed form, other than Brian, was Carl. Following a performance with the touring group in North Dakota, he remembered: \\\"I came back up into my hotel room one night and the phone rang. It was Brian on the other end.\",\n \"It was Brian on the other end. He called me from the recording studio and played this really bizarre sounding music over the phone. There were drums smashing, that kind of stuff, and then it refined itself and got into the cello. It was a real funky track.\\\"\",\n \"It was a real funky track.\\\" In 1976, Brian revealed that before the final mixdown, he had been confronted with resistance by members of the group, whom Brian declined to name.\",\n \"In 1976, Brian revealed that before the final mixdown, he had been confronted with resistance by members of the group, whom Brian declined to name. The subject of their worries and complaints was the song's length and \\\"modern\\\" sound: \\\"I said no, it's not going to be too long a record, it's going to be just right.\",\n \"The subject of their worries and complaints was the song's length and \\\"modern\\\" sound: \\\"I said no, it's not going to be too long a record, it's going to be just right. ... They didn't quite understand what this jumping from studio to studio was all about.\",\n \"They didn't quite understand what this jumping from studio to studio was all about. And they couldn't conceive of the record as I did. I saw the record as a totality piece.\\\"\",\n \"I saw the record as a totality piece.\\\" The vocals for \\\"Good Vibrations\\\" were recorded at CBS Columbia Square, starting on August 24 and continuing sporadically until the very last day of assembly on September 21. The episodic structure of the composition was continuously revised as the group experimented with different ideas.\",\n \"The episodic structure of the composition was continuously revised as the group experimented with different ideas. Brian remembers that he began recording the \\\"bop bop good vibrations\\\" parts first, and that he came up with \\\"the high parts\\\" a week later.\",\n \"Brian remembers that he began recording the \\\"bop bop good vibrations\\\" parts first, and that he came up with \\\"the high parts\\\" a week later. Mike Love recalled: \\\"I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long.\\\"\",\n \"Mike Love recalled: \\\"I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long.\\\" Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute.\",\n \"Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute. In early September, the master tapes for \\\"Good Vibrations\\\" were stolen. Mysteriously, they reappeared inside Brian's home two days later.\",\n \"Mysteriously, they reappeared inside Brian's home two days later. On September 21, Brian completed the track after Tanner added a final Electro-Theremin overdub. In 1976 he elaborated on the event: \\\"It was at Columbia. I remember I had it right in the sack.\",\n \"I remember I had it right in the sack. I could just feel it when I dubbed it down, made the final mix from the 16-track down to mono. It was a feeling of power, it was a rush. A feeling of exaltation. Artistic beauty. It was everything ... I remember saying, 'Oh my God.\",\n \"I remember saying, 'Oh my God. Sit back and listen to this!'\\\" Composition and analysis Genre and dynamics There are six unique sections to the piece.\",\n \"Composition and analysis Genre and dynamics There are six unique sections to the piece. Music theorist Daniel Harrison refers to these sections individually as the verse, the refrain (or chorus), the \\\"first episodic digression\\\", the \\\"second episodic digression\\\", the \\\"retro-refrain\\\", and the coda.\",\n \"Music theorist Daniel Harrison refers to these sections individually as the verse, the refrain (or chorus), the \\\"first episodic digression\\\", the \\\"second episodic digression\\\", the \\\"retro-refrain\\\", and the coda. Each has a distinct musical texture, partly due to the nature of the song's recording.\",\n \"Each has a distinct musical texture, partly due to the nature of the song's recording. The track's instrumentation changes radically from section to section, and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a \\\"very long\\\" duration.\",\n \"The track's instrumentation changes radically from section to section, and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a \\\"very long\\\" duration. Wilson is quoted in 1979: He characterized the song as \\\"advanced rhythm and blues\\\".\",\n \"Wilson is quoted in 1979: He characterized the song as \\\"advanced rhythm and blues\\\". Tom Roland of American Songwriter described the piece, \\\"with its interlocking segments—a sort of pop version of the classical sonata, consisting of a series of musical movements\\\".\",\n \"Tom Roland of American Songwriter described the piece, \\\"with its interlocking segments—a sort of pop version of the classical sonata, consisting of a series of musical movements\\\". New York Magazine compared it to \\\"a fugue with a rhythmic beat\\\".\",\n \"New York Magazine compared it to \\\"a fugue with a rhythmic beat\\\". John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs.\",\n \"John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs. Music journal Sound on Sound argued that the song \\\"has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour\\\".\",\n \"Music journal Sound on Sound argued that the song \\\"has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour\\\". It explained that the song subverts pop forms to a considerable degree: According to historian Lorenzo Candelaria, \\\"Good Vibrations\\\" has since been marketed as pop music \\\"possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know.\\\"\",\n \"It explained that the song subverts pop forms to a considerable degree: According to historian Lorenzo Candelaria, \\\"Good Vibrations\\\" has since been marketed as pop music \\\"possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know.\\\" Uncut called the song \\\"three minutes and thirty-six seconds of avant-garde pop\\\".\",\n \"Uncut called the song \\\"three minutes and thirty-six seconds of avant-garde pop\\\". Mixdown described it as a \\\"masterpiece of avant-pop\\\". The theremin and cello has been called the song's \\\"psychedelic ingredient\\\".\",\n \"The theremin and cello has been called the song's \\\"psychedelic ingredient\\\". In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin.\",\n \"In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin. Professor of American history John Robert Greene named \\\"Good Vibrations\\\" among examples of psychedelic or acid rock.\",\n \"Professor of American history John Robert Greene named \\\"Good Vibrations\\\" among examples of psychedelic or acid rock. Stebbins wrote that the song was \\\"replete with sunshine [and] psychedelia\\\". Steve Valdez says that, like Pet Sounds, Brian was attempting a more experimental rock style.\",\n \"Steve Valdez says that, like Pet Sounds, Brian was attempting a more experimental rock style. Comparing \\\"Good Vibrations\\\" to Wilson's previous work Pet Sounds, biographer Andrew Hickey said that the \\\"best way of thinking about [the song] is that it's taking the lowest common denominator of 'Here Today' and 'God Only Knows' and turned the result into an R&B track.\",\n \"Comparing \\\"Good Vibrations\\\" to Wilson's previous work Pet Sounds, biographer Andrew Hickey said that the \\\"best way of thinking about [the song] is that it's taking the lowest common denominator of 'Here Today' and 'God Only Knows' and turned the result into an R&B track. We have the same minor-key change between verse and chorus we've seen throughout Pet Sounds, the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to funky.\\\"\",\n \"We have the same minor-key change between verse and chorus we've seen throughout Pet Sounds, the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to funky.\\\" Author Jon Stebbins adds that \\\"unlike Pet Sounds the chorus of 'Good Vibrations' projects a definite 'rock and roll' energy and feel.\\\"\",\n \"Author Jon Stebbins adds that \\\"unlike Pet Sounds the chorus of 'Good Vibrations' projects a definite 'rock and roll' energy and feel.\\\" According to academic Rikky Rooksby, \\\"Good Vibrations\\\" is an example of Brian Wilson's growing interest in musical development within a composition, something antithetical to popular music of the time.\",\n \"According to academic Rikky Rooksby, \\\"Good Vibrations\\\" is an example of Brian Wilson's growing interest in musical development within a composition, something antithetical to popular music of the time. Suppressing tonic strength and cadential drive, the song makes use of descending harmonic motions through scale degrees controlled by a single tonic and \\\"radical disjunctions\\\" in key, texture, instrumentation, and mood while refusing to develop into a predictable formal pattern.\",\n \"Suppressing tonic strength and cadential drive, the song makes use of descending harmonic motions through scale degrees controlled by a single tonic and \\\"radical disjunctions\\\" in key, texture, instrumentation, and mood while refusing to develop into a predictable formal pattern. It instead develops \\\"under its own power\\\" and \\\"luxuriates in harmonic variety\\\" exemplified by beginning and ending not only in different keys but also in different modes.\",\n \"It instead develops \\\"under its own power\\\" and \\\"luxuriates in harmonic variety\\\" exemplified by beginning and ending not only in different keys but also in different modes. Verses and refrains (0:00–1:40) \\\"Good Vibrations\\\" begins without introduction in a traditional verse/refrain format, opening with Carl Wilson singing the word \\\"I\\\", a triplet eighth note before the downbeat.\",\n \"Verses and refrains (0:00–1:40) \\\"Good Vibrations\\\" begins without introduction in a traditional verse/refrain format, opening with Carl Wilson singing the word \\\"I\\\", a triplet eighth note before the downbeat. The sparse first verse contains a repetition of chords played on a Hammond organ filtered through a Leslie speaker; underneath is a two-bar Fender bass melody.\",\n \"The sparse first verse contains a repetition of chords played on a Hammond organ filtered through a Leslie speaker; underneath is a two-bar Fender bass melody. This sequence repeats once (0:15), but with the addition of two piccolos sustaining over a falling flute line.\",\n \"This sequence repeats once (0:15), but with the addition of two piccolos sustaining over a falling flute line. For percussion, bongo drums double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation.\",\n \"For percussion, bongo drums double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation. The beat projects a triplet feel despite being in time; this is sometimes called a \\\"shuffle beat\\\" or \\\"threes over fours\\\".\",\n \"The beat projects a triplet feel despite being in time; this is sometimes called a \\\"shuffle beat\\\" or \\\"threes over fours\\\". The chord progression used is i–VII–VI–V, also called an Andalusian cadence. Although the verses begin in the minor mode of E, the mode is not used to express sadness or drudgery.\",\n \"Although the verses begin in the minor mode of E, the mode is not used to express sadness or drudgery. Occurring at the very end of these verses is a passing chord, D. The refrain (0:25) begins in the newly tonicized relative major G, which suggests III.\",\n \"Occurring at the very end of these verses is a passing chord, D. The refrain (0:25) begins in the newly tonicized relative major G, which suggests III. Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music.\",\n \"Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music. The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat.\",\n \"The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat. This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals.\",\n \"This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals. The first section consists of only the couplet \\\"I'm picking up good vibrations/she's giving me the excitation\\\" sung by Mike Love in his bass-baritone register; the second repeats the lines and adds an \\\"ooo bop bop\\\" figure, sung in multiple-part harmony; the third time also adds a \\\"good, good, good, good vibrations\\\" in yet a higher harmony.\",\n \"The first section consists of only the couplet \\\"I'm picking up good vibrations/she's giving me the excitation\\\" sung by Mike Love in his bass-baritone register; the second repeats the lines and adds an \\\"ooo bop bop\\\" figure, sung in multiple-part harmony; the third time also adds a \\\"good, good, good, good vibrations\\\" in yet a higher harmony. This type of polyphony (counterpoint) is also rare in contemporary popular styles.\",\n \"This type of polyphony (counterpoint) is also rare in contemporary popular styles. Each repeat of the vocal lines also transposes up by a whole step, ascending from G to A and then B. It then returns to the verse, thus making a perfect cadence back into E minor.\",\n \"It then returns to the verse, thus making a perfect cadence back into E minor. The verse and refrain then repeat without any changes to the patterns of its instrumentation and harmony. This is unusual, in that normally, a song's arrangement adds something once it reaches the second verse.\",\n \"This is unusual, in that normally, a song's arrangement adds something once it reaches the second verse. Episodic digressions First episode (1:41–2:13) The first episode (1:41+) begins disjunctively with an abrupt tape splice.\",\n \"Episodic digressions First episode (1:41–2:13) The first episode (1:41+) begins disjunctively with an abrupt tape splice. The refrain's B, which had received a dominant (V) charge, is now maintained as a tonic (I).\",\n \"The refrain's B, which had received a dominant (V) charge, is now maintained as a tonic (I). There is harmonic ambiguity, in that the chord progression may be either interpreted as I–IV–I (in B) or V–I–V (in E).\",\n \"There is harmonic ambiguity, in that the chord progression may be either interpreted as I–IV–I (in B) or V–I–V (in E). Stebbins says that this section \\\"might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply.\\\"\",\n \"Stebbins says that this section \\\"might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply.\\\" A new sound is created by tack piano, jaw harp, and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, bass harmonica, and sleigh bells shaken on every beat.\",\n \"A new sound is created by tack piano, jaw harp, and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, bass harmonica, and sleigh bells shaken on every beat. The lone line of vocals (aside from non-lexical harmonies) is \\\"I don't know where, but she sends me there\\\" sung in Mike Love's upper-register baritone.\",\n \"The lone line of vocals (aside from non-lexical harmonies) is \\\"I don't know where, but she sends me there\\\" sung in Mike Love's upper-register baritone. This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns.\",\n \"This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns. Second episode (2:13–2:56) Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat.\",\n \"Second episode (2:13–2:56) Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat. Sound on Sound highlights this change as the \\\"most savage edit in the track ... most people would go straight into a big splash hook-line section.\",\n \"Sound on Sound highlights this change as the \\\"most savage edit in the track ... most people would go straight into a big splash hook-line section. Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ...\",\n \"Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ... Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian.\\\"\",\n \"Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian.\\\" Harrison says: The slowed pace is complemented by the lyric (\\\"Gotta keep those loving good vibrations a-happening with her\\\"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony.\",\n \"Harrison says: The slowed pace is complemented by the lyric (\\\"Gotta keep those loving good vibrations a-happening with her\\\"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony. This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2.\",\n \"This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2. The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats.\",\n \"The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats. Lambert calls it the song's \\\"wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments.\",\n \"Lambert calls it the song's \\\"wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments. As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say.\\\"\",\n \"As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say.\\\" Retro-refrain and coda (2:57–3:35) A brief break at the end of the second musical digression creates tension which leads into the final sequence of the song.\",\n \"Retro-refrain and coda (2:57–3:35) A brief break at the end of the second musical digression creates tension which leads into the final sequence of the song. The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B, repeats at A, and then ends at G for an unexpectedly short single measure.\",\n \"The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B, repeats at A, and then ends at G for an unexpectedly short single measure. The section uses a descending progression, which mirrors the ascending progression of the previous two refrains.\",\n \"The section uses a descending progression, which mirrors the ascending progression of the previous two refrains. There follows a short section of vocalizing in three-part counterpoint that references the original refrain by reproducing upward transposition. However, this time it settles on A, the concluding key of the song.\",\n \"However, this time it settles on A, the concluding key of the song. By the end of \\\"Good Vibrations,\\\" all seven scale degrees of the opening E-minor tonic are activated on some level.\",\n \"By the end of \\\"Good Vibrations,\\\" all seven scale degrees of the opening E-minor tonic are activated on some level. Release and promotion In a July 1966 advertisement for Pet Sounds in Billboard magazine, the band thanked the music industry for the sales of their album, and said that \\\"We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations.\\\"\",\n \"Release and promotion In a July 1966 advertisement for Pet Sounds in Billboard magazine, the band thanked the music industry for the sales of their album, and said that \\\"We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations.\\\" This was the first public hint of the new single.\",\n \"This was the first public hint of the new single. Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was \\\"about a guy who picks up good vibrations from a girl\\\" and that it would be a \\\"monster\\\".\",\n \"Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was \\\"about a guy who picks up good vibrations from a girl\\\" and that it would be a \\\"monster\\\". He then suggested: \\\"It's still sticking pretty close to that same boy-girl thing, you know, but with a difference.\",\n \"He then suggested: \\\"It's still sticking pretty close to that same boy-girl thing, you know, but with a difference. And it's a start, it's definitely a start.\\\"\",\n \"And it's a start, it's definitely a start.\\\" Derek Taylor, who had recently been engaged as the band's publicist, is credited for coining the term a \\\"pocket symphony\\\" to describe the song.\",\n \"Derek Taylor, who had recently been engaged as the band's publicist, is credited for coining the term a \\\"pocket symphony\\\" to describe the song. In a press release for the single, he stated: \\\"Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils.\",\n \"In a press release for the single, he stated: \\\"Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils. And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else.\\\"\",\n \"And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else.\\\" To promote the single, four different music videos were shot.\",\n \"To promote the single, four different music videos were shot. The first of these—which had Caleb Deschanel as cameraman—features the group at a fire station, sliding down its pole, and roaming the streets of Los Angeles in a fashion comparable to The Monkees. The second features the group during vocal rehearsals at United Western Recorders.\",\n \"The second features the group during vocal rehearsals at United Western Recorders. The third contains footage recorded during the making of The Beach Boys in London, a documentary by Peter Whitehead of their concert performances. The fourth clip is an alternative edit of the third.\",\n \"The fourth clip is an alternative edit of the third. Brian also made a rare television appearance on local station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record.\",\n \"Brian also made a rare television appearance on local station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record. On October 15, 1966, Billboard predicted that the single would reach the top 20 in the Billboard Hot 100 chart.\",\n \"On October 15, 1966, Billboard predicted that the single would reach the top 20 in the Billboard Hot 100 chart. \\\"Good Vibrations\\\" was the Beach Boys' third US number one hit, after \\\"I Get Around\\\" and \\\"Help Me, Rhonda\\\", reaching the top of the Hot 100 in December.\",\n \"\\\"Good Vibrations\\\" was the Beach Boys' third US number one hit, after \\\"I Get Around\\\" and \\\"Help Me, Rhonda\\\", reaching the top of the Hot 100 in December. It was also their first number one in Britain.\",\n \"It was also their first number one in Britain. The single sold over 230,000 copies in the US within four days of its release and entered the Cash Box chart at number 61 on October 22. In the UK, the song sold over 50,000 copies in the first 15 days of its release.\",\n \"In the UK, the song sold over 50,000 copies in the first 15 days of its release. \\\"Good Vibrations\\\" quickly became the Beach Boys' first million-selling single. In December 1966, the record was their first single certified gold by the RIAA for sales of one million copies.\",\n \"In December 1966, the record was their first single certified gold by the RIAA for sales of one million copies. On March 30, 2016, the digital single was certified platinum by the RIAA for the same sales level.\",\n \"On March 30, 2016, the digital single was certified platinum by the RIAA for the same sales level. In the US, Cash Box said that it is a \\\"catchy, easy-driving ditty loaded with the Boys’ money-making sound.\\\" In Britain, the single received favorable reviews from the New Musical Express and Melody Maker.\",\n \"In Britain, the single received favorable reviews from the New Musical Express and Melody Maker. Soon after, the Beach Boys were voted the number one band in the world in the NME readers' poll, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops.\",\n \"Soon after, the Beach Boys were voted the number one band in the world in the NME readers' poll, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops. Billboard said that this result was probably influenced by the success of \\\"Good Vibrations\\\" when the votes were cast, together with the band's recent tour, whereas the Beatles had neither a recent single nor had they toured the UK throughout 1966; the reporter added that \\\"The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak.\\\"\",\n \"Billboard said that this result was probably influenced by the success of \\\"Good Vibrations\\\" when the votes were cast, together with the band's recent tour, whereas the Beatles had neither a recent single nor had they toured the UK throughout 1966; the reporter added that \\\"The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak.\\\" In a readers' poll conducted by a Danish newspaper, Brian Wilson won the \\\"best foreign-produced recording award\\\", marking the first time that an American had won in that category.\",\n \"In a readers' poll conducted by a Danish newspaper, Brian Wilson won the \\\"best foreign-produced recording award\\\", marking the first time that an American had won in that category. The single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc.\",\n \"The single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc. Influence and legacy Historical reception Virtually every pop music critic recognizes \\\"Good Vibrations\\\" as one of the most important compositions and recordings of the entire rock era.\",\n \"Influence and legacy Historical reception Virtually every pop music critic recognizes \\\"Good Vibrations\\\" as one of the most important compositions and recordings of the entire rock era. It is a regular fixture on \\\"greatest of all-time\\\" song lists and is frequently hailed as one of the finest pop productions of all time.\",\n \"It is a regular fixture on \\\"greatest of all-time\\\" song lists and is frequently hailed as one of the finest pop productions of all time. In 2004, Rolling Stone magazine ranked \\\"Good Vibrations\\\" at number 6 in \\\"The 500 Greatest Songs of All Time\\\", the highest position of seven Beach Boys songs cited in the list.\",\n \"In 2004, Rolling Stone magazine ranked \\\"Good Vibrations\\\" at number 6 in \\\"The 500 Greatest Songs of All Time\\\", the highest position of seven Beach Boys songs cited in the list. In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list.\",\n \"In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list. As of 2016, \\\"Good Vibrations\\\" is ranked as the number four song of all time in an aggregation of critics' lists at Acclaimed Music. The song served as an anthem for the counterculture of the 1960s.\",\n \"The song served as an anthem for the counterculture of the 1960s. According to Noel Murray of The A.V.\",\n \"According to Noel Murray of The A.V. Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's \\\"un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do.\\\"\",\n \"Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's \\\"un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do.\\\" Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for \\\"Good Vibrations\\\".\",\n \"Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for \\\"Good Vibrations\\\". \\\"Heroes and Villains\\\", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967.\",\n \"\\\"Heroes and Villains\\\", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967. In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of \\\"Good Vibrations\\\".\",\n \"In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of \\\"Good Vibrations\\\". When asked about the song in 1990, Paul McCartney responded: \\\"I thought it was a great record.\",\n \"When asked about the song in 1990, Paul McCartney responded: \\\"I thought it was a great record. It didn't quite have the emotional thing that Pet Sounds had for me. I've often played Pet Sounds and cried. It's that kind of an album for me.\\\"\",\n \"It's that kind of an album for me.\\\" Pete Townshend of the Who was quoted in the 1960s as saying, \\\"'Good Vibrations' was probably a good record but who's to know? You had to play it about 90 bloody times to even hear what they were singing about.\\\"\",\n \"You had to play it about 90 bloody times to even hear what they were singing about.\\\" Townshend feared that the single would lead to a trend of overproduction. In a 1966 issue of Arts Magazine, Jonathan King said: \\\"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art.\",\n \"In a 1966 issue of Arts Magazine, Jonathan King said: \\\"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art. Computerized pop, mechanized music. Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons.\",\n \"Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons. It is long and split. ... impressive, fantastic, commercial—yes. Emotional, soul-destroying, shattering—no.\\\"\",\n \"Emotional, soul-destroying, shattering—no.\\\" In the 2000s, record producer Phil Spector criticized the single for depending too much on tape manipulation, negatively referring to it as an \\\"edit record ... It's like Psycho is a great film, but it's an 'edit film.'\",\n \"It's like Psycho is a great film, but it's an 'edit film.' Without edits, it's not a film; with edits, it's a great film. But it's not Rebecca ... it's not a beautiful story.\\\"\",\n \"But it's not Rebecca ... it's not a beautiful story.\\\" Advancements Recording and popular music \\\"Good Vibrations\\\" is credited for having further developed the use of recording studios as a musical instrument.\",\n \"Advancements Recording and popular music \\\"Good Vibrations\\\" is credited for having further developed the use of recording studios as a musical instrument. Author Domenic Priore commented that the song's making was \\\"unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording\\\".\",\n \"Author Domenic Priore commented that the song's making was \\\"unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording\\\". A milestone in the development of rock music, the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record.\",\n \"A milestone in the development of rock music, the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record. Musicologist Charlie Gillett called it \\\"one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance\\\".\",\n \"Musicologist Charlie Gillett called it \\\"one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance\\\". In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted: Writing for Popmatters in 2015, Scott Interrante stated: \\\"'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have.\\\"\",\n \"In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted: Writing for Popmatters in 2015, Scott Interrante stated: \\\"'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have.\\\" The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm.\",\n \"The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm. Microtonal composer Frank Oteri said that it \\\"sounds like no other pop song recorded up to that point\\\".\",\n \"Microtonal composer Frank Oteri said that it \\\"sounds like no other pop song recorded up to that point\\\". According to Stebbins: \\\"This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original.\",\n \"According to Stebbins: \\\"This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original. But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century.\\\"\",\n \"But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century.\\\" He added that the single \\\"vaulted nearly every other rock act in their delivery of a Flower Power classic. It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop.\\\"\",\n \"It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop.\\\" John Bush wrote that the single \\\"announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies\\\".\",\n \"John Bush wrote that the single \\\"announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies\\\". Gillett noted: \\\"For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording.\\\"\",\n \"Gillett noted: \\\"For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording.\\\" Priore says that the song was a forerunner to works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes.\",\n \"Priore says that the song was a forerunner to works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes. In his appraisal for American Songwriter, Roland cites the song's \\\"format\\\" as the model for recordings by Wings (\\\"Band on the Run\\\"), the Beatles (\\\"A Day in the Life\\\"), and Elton John (\\\"Funeral for a Friend/Love Lies Bleeding\\\").\",\n \"In his appraisal for American Songwriter, Roland cites the song's \\\"format\\\" as the model for recordings by Wings (\\\"Band on the Run\\\"), the Beatles (\\\"A Day in the Life\\\"), and Elton John (\\\"Funeral for a Friend/Love Lies Bleeding\\\"). The song's approach was repeated in Queen's 1975 single \\\"Bohemian Rhapsody\\\", which was similarly pieced together using different sections.\",\n \"The song's approach was repeated in Queen's 1975 single \\\"Bohemian Rhapsody\\\", which was similarly pieced together using different sections. Wilson praised Queen's effort, calling it \\\"the most competitive thing that's come along in ages\\\" and \\\"a fulfillment and an answer to a teenage prayer—of artistic music\\\".\",\n \"Wilson praised Queen's effort, calling it \\\"the most competitive thing that's come along in ages\\\" and \\\"a fulfillment and an answer to a teenage prayer—of artistic music\\\". Psychedelic and progressive rock With \\\"Good Vibrations\\\", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages.\",\n \"Psychedelic and progressive rock With \\\"Good Vibrations\\\", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages. Writing in 2009, Barney Hoskyns deemed it to be the era's \\\"ultimate psychedelic pop record\\\" from Los Angeles.\",\n \"Writing in 2009, Barney Hoskyns deemed it to be the era's \\\"ultimate psychedelic pop record\\\" from Los Angeles. Interrante adds: \\\"Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated, but its legacy as a pop hit is impressive as well.\\\"\",\n \"Interrante adds: \\\"Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated, but its legacy as a pop hit is impressive as well.\\\" Former Atlantic Records executive Phillip Rauls recalled: \\\"I was in the music business at the time, and my very first recognition of acid rock—we didn't call it progressive rock then—was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [theremin] sent so many musicians back to the studio to create this music on acid.\\\"\",\n \"Former Atlantic Records executive Phillip Rauls recalled: \\\"I was in the music business at the time, and my very first recognition of acid rock—we didn't call it progressive rock then—was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [theremin] sent so many musicians back to the studio to create this music on acid.\\\" Author Bill Martin suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: \\\"The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life.'\\\"\",\n \"Author Bill Martin suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: \\\"The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life.'\\\" Use of theremin Although the song does not technically contain a theremin, \\\"Good Vibrations\\\" is the most frequently cited example of the instrument's use in pop music.\",\n \"Use of theremin Although the song does not technically contain a theremin, \\\"Good Vibrations\\\" is the most frequently cited example of the instrument's use in pop music. Upon release, the single prompted an unexpected revival in theremins and increased the awareness of analog synthesizers.\",\n \"Upon release, the single prompted an unexpected revival in theremins and increased the awareness of analog synthesizers. The notion that \\\"Good Vibrations\\\" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants.\",\n \"The notion that \\\"Good Vibrations\\\" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants. While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin.\",\n \"While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin. When the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments.\",\n \"When the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments. Tanner recalls saying to Wilson, \\\"I've got the wrong sort of hair to be on stage with you fellas\\\", to which Wilson replied: \\\"We'll give you a Prince Valiant wig.\\\"\",\n \"Tanner recalls saying to Wilson, \\\"I've got the wrong sort of hair to be on stage with you fellas\\\", to which Wilson replied: \\\"We'll give you a Prince Valiant wig.\\\" The Beach Boys then requested the services of Walter Sear, who asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar.\",\n \"The Beach Boys then requested the services of Walter Sear, who asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar. Sear remembers marking fretboard-like lines on the ribbon \\\"so they could play the damn thing.\\\" Moog began manufacturing his own models of theremins.\",\n \"Moog began manufacturing his own models of theremins. He later noted: \\\"The pop record scene cleaned us out of our stock which we expected to last through Christmas.\\\"\",\n \"He later noted: \\\"The pop record scene cleaned us out of our stock which we expected to last through Christmas.\\\" In Steven M. Martin's 1993 documentary Theremin: An Electronic Odyssey, in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin due to \\\"Good Vibrations\\\" caused Russian authorities to exile its inventor, Leon Theremin.\",\n \"In Steven M. Martin's 1993 documentary Theremin: An Electronic Odyssey, in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin due to \\\"Good Vibrations\\\" caused Russian authorities to exile its inventor, Leon Theremin. Cover versions The song has been covered by artists such as Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV.\",\n \"Cover versions The song has been covered by artists such as Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV. John Bush commented: \\\"'Good Vibrations' was rarely reprised by other acts, even during the cover-happy '60s. Its fragmented style made it essentially cover-proof.\\\"\",\n \"Its fragmented style made it essentially cover-proof.\\\" In 1976, a nearly identical cover version was released as a single by Todd Rundgren for his album Faithful. When asked for his opinion, Brian said: \\\"Oh, he did a marvelous job, he did a great job. I was very proud of his version.\\\"\",\n \"I was very proud of his version.\\\" Rundgren's single peaked at number 34 on the Billboard Hot 100.\",\n \"Rundgren's single peaked at number 34 on the Billboard Hot 100. Rundgren explained: \\\"I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting—like around Pet Sounds and 'Good Vibrations' ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal.\",\n \"Rundgren explained: \\\"I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting—like around Pet Sounds and 'Good Vibrations' ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal. ...\",\n \"... ... I tried to do [the song] as literally as I could because in the intervening 10 years, radio had changed so much. Radio had become so formatted and so structured that that whole experience was already gone.\\\" In 2004, Wilson re-recorded the song as a solo artist for his album Brian Wilson Presents Smile.\",\n \"In 2004, Wilson re-recorded the song as a solo artist for his album Brian Wilson Presents Smile. It was sequenced as the album's closing track, following \\\"In Blue Hawaii\\\". In this version, \\\"Good Vibrations\\\" was the project's only track that eschewed the modular recording method.\",\n \"In this version, \\\"Good Vibrations\\\" was the project's only track that eschewed the modular recording method. The song's verses and chorus were recorded as part of one whole take, and were not spliced together.\",\n \"The song's verses and chorus were recorded as part of one whole take, and were not spliced together. In 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated.\",\n \"In 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated. Their version of \\\"Good Vibrations\\\", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on Billboards A/C chart.\",\n \"Their version of \\\"Good Vibrations\\\", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on Billboards A/C chart. In popular culture The song's parody is used for the jingle of the Australian consumer electronics retailer The Good Guys.\",\n \"In popular culture The song's parody is used for the jingle of the Australian consumer electronics retailer The Good Guys. In 1996, experimental rock group His Name Is Alive released an homage titled \\\"Universal Frequencies\\\" on their album Stars on E.S.P.\",\n \"In 1996, experimental rock group His Name Is Alive released an homage titled \\\"Universal Frequencies\\\" on their album Stars on E.S.P. Warren Defever reportedly listened to \\\"Good Vibrations\\\" repeatedly for a week before deciding that the song \\\"needed a sequel\\\"; he added: \\\"'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful.\\\"\",\n \"Warren Defever reportedly listened to \\\"Good Vibrations\\\" repeatedly for a week before deciding that the song \\\"needed a sequel\\\"; he added: \\\"'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful.\\\" In 1997, the movie Vegas Vacation used the song for the opening credits, with Clark Griswold (Chevy Chase) singing the song.\",\n \"In 1997, the movie Vegas Vacation used the song for the opening credits, with Clark Griswold (Chevy Chase) singing the song. The song's lyrics \\\"I'm picking up good vibrations\\\" are quoted in Cyndi Lauper's 1984 single \\\"She Bop\\\".\",\n \"The song's lyrics \\\"I'm picking up good vibrations\\\" are quoted in Cyndi Lauper's 1984 single \\\"She Bop\\\". A live version of the song, from the album Live in London, appears as a playable track in the 2010 video game Rock Band 3.\",\n \"A live version of the song, from the album Live in London, appears as a playable track in the 2010 video game Rock Band 3. In 2019, the song was used prominently in a scene for Jordan Peele's psychological horror thriller film Us.\",\n \"In 2019, the song was used prominently in a scene for Jordan Peele's psychological horror thriller film Us. In 2018, The song was featured in the animated film Hotel Transylvania 3: Summer Vacation.\",\n \"In 2018, The song was featured in the animated film Hotel Transylvania 3: Summer Vacation. Release history In early 2011, the single was remastered and reissued as a four-sided 78 rpm vinyl for Record Store Day, as a teaser for the forthcoming The Smile Sessions box set.\",\n \"Release history In early 2011, the single was remastered and reissued as a four-sided 78 rpm vinyl for Record Store Day, as a teaser for the forthcoming The Smile Sessions box set. It contained \\\"Heroes and Villains\\\" as a B-side, along with previously released alternate takes and mixes.\",\n \"It contained \\\"Heroes and Villains\\\" as a B-side, along with previously released alternate takes and mixes. Stereo version Due to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile.\",\n \"Stereo version Due to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile. The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett.\",\n \"The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett. Fitzgerald's software extracted individual instrumental and vocal stems from the original mono master—as the multi-track vocals remained missing—to construct the stereo version that appears on the 2012 reissue of Smiley Smile.\",\n \"Fitzgerald's software extracted individual instrumental and vocal stems from the original mono master—as the multi-track vocals remained missing—to construct the stereo version that appears on the 2012 reissue of Smiley Smile. 40th Anniversary Edition In celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released.\",\n \"40th Anniversary Edition In celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released. The EP includes \\\"Good Vibrations\\\", four alternate versions of the song, and the stereo mix of \\\"Let's Go Away for Awhile\\\". The EP artwork recreates that of the original 7-inch single sleeve.\",\n \"The EP artwork recreates that of the original 7-inch single sleeve. In 2016, the EP was reissued as a 12\\\" record for the single's 50th anniversary. Personnel The following people are identified as players on the \\\"Good Vibrations\\\" single.\",\n \"Personnel The following people are identified as players on the \\\"Good Vibrations\\\" single. The Beach Boys Mike Love – lead vocals in chorus Brian Wilson – vocals, tack piano, tambourine, production, mixing Carl Wilson – lead vocals in verses, guitar, shaker Dennis Wilson – Hammond organ during 2:13–2:56 Additional musicians and production staff Hal Blaine – drums, timpani, other percussion Al De Lory – piano, harpsichord Jesse Ehrlich – cello Larry Knechtel – organ in verses and choruses Tommy Morgan – harmonica Al Casey – guitar Ray Pohlman – electric bass Lyle Ritz – double bass Jim Horn – piccolo Paul Tanner – Electro-Theremin Bassist Carol Kaye played on several of the \\\"Good Vibrations\\\" sessions, and has been identified as a prominent contributor to the track.\",\n \"The Beach Boys Mike Love – lead vocals in chorus Brian Wilson – vocals, tack piano, tambourine, production, mixing Carl Wilson – lead vocals in verses, guitar, shaker Dennis Wilson – Hammond organ during 2:13–2:56 Additional musicians and production staff Hal Blaine – drums, timpani, other percussion Al De Lory – piano, harpsichord Jesse Ehrlich – cello Larry Knechtel – organ in verses and choruses Tommy Morgan – harmonica Al Casey – guitar Ray Pohlman – electric bass Lyle Ritz – double bass Jim Horn – piccolo Paul Tanner – Electro-Theremin Bassist Carol Kaye played on several of the \\\"Good Vibrations\\\" sessions, and has been identified as a prominent contributor to the track. However, analysis by Beach Boys archivist Craig Slowinski indicates that none of those recordings made the final edit as released on the single.\",\n \"However, analysis by Beach Boys archivist Craig Slowinski indicates that none of those recordings made the final edit as released on the single. Charts Weekly charts Original release 1976 reissue Todd Rundgren version (1976) Year-end charts Certifications Awards and accolades Footnotes References Bibliography External links Greg Panfile's Musical Analysis of \\\"Good Vibrations\\\" 1966 singles 1966 songs 2004 singles 2011 singles Brian Wilson songs Psychic TV songs The Beach Boys songs Todd Rundgren songs Capitol Records singles Grammy Hall of Fame Award recipients Billboard Hot 100 number-one singles Cashbox number-one singles Number-one singles in Australia Number-one singles in New Zealand UK Singles Chart number-one singles Songs written by Brian Wilson Songs written by Mike Love Songs written by Tony Asher Song recordings produced by Brian Wilson Song recordings with Wall of Sound arrangements Art pop songs Avant-pop songs Psychedelic pop songs American psychedelic rock songs Songs used as jingles Songs composed in E-flat minor\"\n]"}}},{"rowIdx":480,"cells":{"History":{"kind":"list like","value":["Good Vibrations","Historical reception","What historical reception did the song get?","Virtually every pop music critic recognizes \"Good Vibrations\" as one of the most important compositions and recordings of the entire rock era.","Why is it such an important song?","The song served as an anthem for the counterculture of the 1960s.","Did the song influence other artist?","Noel Murray"],"string":"[\n \"Good Vibrations\",\n \"Historical reception\",\n \"What historical reception did the song get?\",\n \"Virtually every pop music critic recognizes \\\"Good Vibrations\\\" as one of the most important compositions and recordings of the entire rock era.\",\n \"Why is it such an important song?\",\n \"The song served as an anthem for the counterculture of the 1960s.\",\n \"Did the song influence other artist?\",\n \"Noel Murray\"\n]"},"QuAC_dialog_id":{"kind":"string","value":"C_3511c60eb57b41c2bebf1299ed0caeeb_0"},"Question":{"kind":"string","value":"What are some other thoughts people had about the song?"},"Question_no":{"kind":"number","value":4,"string":"4"},"Rewrite":{"kind":"string","value":"What are some other thoughts people had about Good Vibrations other than Noel Murray?"},"true_page_title":{"kind":"string","value":"Good Vibrations"},"true_contexts":{"kind":"string","value":"Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat. Sound on Sound highlights this change as the \"most savage edit in the track ... most people would go straight into a big splash hook-line section. Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ... Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian.\" Harrison says: The appearance of episode 1 was unusual enough but could be explained as an extended break between verse and refrain sections. Episode 2 however, makes that interpretation untenable, and both listener and analyst must entertain the idea that \"Good Vibrations\" develops under its own power, as it were, without the guidance of overdetermined formal patterns. Brian's [sic] own description of the song--a three-and-a-half-minute 'pocket symphony'--is a telling clue about his formal ambitions here. The slowed pace is complemented by the lyric (\"Gotta keep those loving good vibrations a-happening with her\"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony. This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2. The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats. Lambert calls it the song's \"wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments. As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say.\" Virtually every pop music critic recognizes \"Good Vibrations\" as one of the most important compositions and recordings of the entire rock era. It is a regular fixture on \"greatest of all-time\" song lists and is frequently hailed as one of the finest pop productions of all time. In 2004, Rolling Stone magazine ranked \"Good Vibrations\" at number 6 in \"The 500 Greatest Songs of All Time\", the highest position of seven Beach Boys songs cited in the list. In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list. As of 2016, \"Good Vibrations\" is ranked as the number four song of all time in an aggregation of critics' lists at Acclaimed Music. The song served as an anthem for the counterculture of the 1960s. According to Noel Murray of The A.V. Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's \"un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do.\" Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for \"Good Vibrations\". \"Heroes and Villains\", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967. In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of \"Good Vibrations\". When asked about the song in 1990, Paul McCartney responded: \"I thought it was a great record. It didn't quite have the emotional thing that Pet Sounds had for me. I've often played Pet Sounds and cried. It's that kind of an album for me.\" Pete Townshend of the Who was quoted in the 1960s as saying, \"'Good Vibrations' was probably a good record but who's to know? You had to play it about 90 bloody times to even hear what they were singing about.\" Townshend feared that the single would lead to a trend of overproduction. In a 1966 issue of Arts Magazine, Jonathan King said: \"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art. Computerized pop, mechanized music. Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons. It is long and split. ... impressive, fantastic, commercial--yes. Emotional, soul-destroying, shattering--no.\" In the 2000s, record producer Phil Spector criticized the single for depending too much on tape manipulation, negatively referring to it as an \"edit record ... It's like Psycho is a great film, but it's an 'edit film.' Without edits, it's not a film; with edits, it's a great film. But it's not Rebecca ... it's not a beautiful story.\" CANNOTANSWER"},"answer":{"kind":"string","value":"In a 1966 issue of Arts Magazine, Jonathan King said: \"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art."},"true_contexts_wiki":{"kind":"string","value":"\"Good Vibrations\" is a song by the American rock band the Beach Boys that was composed by Brian Wilson with lyrics by Mike Love. It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping record charts in several countries including the United States and the United Kingdom. Characterized by its complex soundscapes, episodic structure and subversions of pop music formula, it was the most expensive single ever recorded. \"Good Vibrations\" later became widely acclaimed as one of the finest and most important works of the rock era.\n\nAlso produced by Wilson, the title derived from his fascination with cosmic vibrations, as his mother would tell him as a child that dogs sometimes bark at people in response to their \"bad vibrations\". He used the concept to suggest extrasensory perception, while Love's lyrics were inspired by the nascent Flower Power movement. The song was written as it was recorded and in a similar fashion to other compositions from Wilson's Smile period. It was issued as a standalone single, backed with \"Let's Go Away for Awhile\", and was to be included on the never-finished album Smile. Instead, the track appeared on the September 1967 release Smiley Smile.\n\nThe making of \"Good Vibrations\" was unprecedented for any kind of recording. Building on his approach for Pet Sounds, Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of session musicians at four different Hollywood studios from February to September 1966, a process reflected in the song's several dramatic shifts in key, texture, instrumentation and mood. Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars. Band publicist Derek Taylor dubbed the unusual work a \"pocket symphony\". It helped develop the use of the studio as an instrument and heralded a wave of pop experimentation and the onset of psychedelic and progressive rock. The track featured a novel mix of instruments, including jaw harp and Electro-Theremin, and although the latter is not a true theremin, the song's success led to a renewed interest and sales of theremins and synthesizers.\n\n\"Good Vibrations\" received a Grammy nomination for Best Vocal Group performance in 1966 and was inducted into the Grammy Hall of Fame in 1994. The song was voted number one in Mojos \"Top 100 Records of All Time\" and number six on Rolling Stones \"500 Greatest Songs of All Time\", and it was included in the Rock and Roll Hall of Fame's \"500 Songs that Shaped Rock and Roll\". In later years, the song has been cited as a forerunner to the Beatles' \"A Day in the Life\" (1967) and Queen's \"Bohemian Rhapsody\" (1975). A 1976 cover version by Todd Rundgren peaked at number 34 on the Billboard Hot 100. The Beach Boys followed up \"Good Vibrations\" with another single pieced from sections, \"Heroes and Villains\" (1967), but it was less successful.\n\nInspiration and writing\n\nConcept and early lyrics\n\nThe Beach Boys' leader, Brian Wilson, was responsible for the musical composition and virtually all of the arrangement for \"Good Vibrations\". Most of the song's structure and arrangement was written as it was recorded. During the recording sessions for the 1966 album Pet Sounds, Wilson began changing his writing process. For \"Good Vibrations\", Wilson said, \"I had a lot of unfinished ideas, fragments of music I called 'feels.' Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic.\" Engineer Chuck Britz is quoted saying that Wilson considered the song to be \"his whole life performance in one track\". Wilson stated: \"I was an energetic 23-year-old. ... I said: 'This is going to be better than [the Phil Spector production] \"You've Lost That Lovin' Feelin'.\n\nWilson said that \"Good Vibrations\" was inspired by his mother: \"[She] used to tell me about vibrations. I didn't really understand too much of what it meant when I was just a boy. It scared me, the word 'vibrations.' She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel.\" Brian first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea. When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style. Asher remembered: \n\nWilson wanted to call the song \"Good Vibes\", but Asher advised that it was \"lightweight use of the language\", and suggested that \"Good Vibrations\" would sound less \"trendy\". The two proceeded to write lyrics for the verses that were ultimately discarded.\n\nTheremin and cello\n\nFrom the start, Wilson envisioned a theremin for the track. AllMusic reviewer John Bush pointed out: \"Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel—between the single's theme and its use of an instrument the player never even touched.\"\n\n\"Good Vibrations\" does not technically feature a theremin, but rather an Electro-Theremin, which is physically controlled by a knob on the side of the instrument. It was dubbed a \"theremin\" simply for convenience. At that time, theremins were most often associated with the 1945 Alfred Hitchcock film Spellbound, but their most common presence was in the theme music for the television sitcom My Favorite Martian, which ran from 1963 to 1966. Britz speculates: \"He just walked in and said, 'I have this new sound for you.' I think he must have heard the sound somewhere and loved it, and built a song around it.\" It is unclear whether Wilson knew that the instrument was not a real theremin.\n\nBrian credited his brother and bandmate Carl for suggesting the use of a cello on the track. He further stated that its triplet beat on the chorus was his own idea and that it was based on the Crystals' \"Da Doo Ron Ron\" (1963), produced by Spector. Conversely, arranger and session musician Van Dyke Parks said that it was himself who suggested having the cellist play triplets to Brian. Parks believed that having Brian exploit the cello \"to such a hyperbolic degree\" was what encouraged the duo to immediately collaborate on the never-finished album Smile. At some point, Wilson asked Parks to pen lyrics for \"Good Vibrations\", although Parks declined.\n\nInfluences and final lyrics\n\nWilson's cousin and bandmate Mike Love submitted the final lyrics for \"Good Vibrations\" and contributed its bass-baritone vocals in the chorus. He recalled that when he heard the unfinished backing track: \"[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it. How's this going to go over in the Midwest or Birmingham? It was such a departure from 'Surfin' U.S.A.' or 'Help Me, Rhonda.'\"\n\nLove said that he wrote the words while on the drive to the studio. Feeling that the song could be \"the Beach Boys' psychedelic anthem or flower power offering,\" he based the lyrics on the burgeoning psychedelic music and Flower Power movements occurring in San Francisco and some parts of the Los Angeles area. He described the lyrics as \"just a flowery poem. Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair.'\" Writing in his 1975 book The Beach Boys: Southern California Pastoral, Bruce Golden observed:\n\nCapitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his LSD experiences. Brian clarified that the song was written under the influence of marijuana, not LSD. He explained: \"I made ‘Good Vibrations’ on drugs; I used drugs to make that. ... I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity.\" In Steven Gaines's 1986 biography, Wilson is quoted on the lyrics: \"We talked about good vibrations with the song and the idea, and we decided on one hand that you could say ... those are sensual things. And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have. That's what we're really talking about.\"\n\nWilson said in 2012 that the song's \"gotta keep those good vibrations\" bridge was inspired by Stephen Foster. Bandmate Al Jardine compared that section to Foster and the Negro spiritual \"Down by the Riverside\". According to Love, the lyric \"'she goes with me to a blossom world' was originally meant to be followed by the words 'we find'\", but Wilson elected to cut off the line to highlight the bass track linking into the chorus.\n\nRecording and production\n\nModular approach\n\n\"Good Vibrations\" established a new method of operation for Wilson. Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or \"modules\"). Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time. This was the same modular approach used during the sessions for Smile and Smiley Smile. To mask each tape edit, vast reverb decays were added at the mixing and sub-mixing stages.\n\nFor instrumentation, Wilson employed the services of \"the Wrecking Crew\", the nickname for a conglomerate of session musicians active in Los Angeles at that time. Production for \"Good Vibrations\" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two. It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands, making it the costliest single recorded to that date. Biographer Peter Ames Carlin wrote that Wilson was so puzzled by the arranging of \"Good Vibrations\" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs.\n\nOne estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to $ and $ in ), By comparison, the whole of Pet Sounds had cost $70,000 ($), itself an unusually high cost for an album. In 2018, Wilson disputed the $50,000 figure for \"Good Vibrations\", saying that the overall expenses were closer to $25,000.\n\nContemporary advertisements reported $10,000 ($) as the track's total production costs. Domenic Priore wrote that the track cost between $10,000 and $15,000 ($). When asked in a 2005 interview if it was true that the Electro-Theremin work alone cost $100,000, Wilson replied \"No. $15,000.\"\n\nDevelopment\n\nThe instrumental of the first version of the song was recorded on February 17, 1966, at Gold Star Studios and was logged as a Pet Sounds session. On that day's session log, it was given the name \"#1 Untitled\" or \"Good, Good, Good Vibrations\", but on its master tape, Wilson distinctly states: \"'Good Vibrations' ... take one.\" After twenty-six takes, a rough mono mix completed the session. Some additional instruments and rough guide vocals were overdubbed on February 23. Brian and Carl shared vocals for this mix.\n\nThe original version of \"Good Vibrations\" contained the characteristics of a \"funky rhythm and blues number\" and would not yet resemble a \"pocket symphony\". There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor, Paul Tanner. It was Brian's second ever recorded use of the instrument, just three days after the Pet Sounds track \"I Just Wasn't Made for These Times\". Brian then placed \"Good Vibrations\" on hold in order to devote attention to the Pet Sounds album, which saw release on May 16. More instrumental sections for \"Good Vibrations\" were recorded between April and June. Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs.\n\nAccording to Brian's then-new friend David Anderle, during an early stage, Brian considered giving \"Good Vibrations\" to one of the black R&B groups signed with Warner Bros. Records such as Wilson Pickett, and then at Anderle's suggestion to singer Danny Hutton. He thought about abandoning the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single. In the meantime, he worked on writing and recording material for the group's forthcoming album, Smile.\n\nThe first Beach Boy to hear \"Good Vibrations\" in a semi-completed form, other than Brian, was Carl. Following a performance with the touring group in North Dakota, he remembered: \"I came back up into my hotel room one night and the phone rang. It was Brian on the other end. He called me from the recording studio and played this really bizarre sounding music over the phone. There were drums smashing, that kind of stuff, and then it refined itself and got into the cello. It was a real funky track.\" In 1976, Brian revealed that before the final mixdown, he had been confronted with resistance by members of the group, whom Brian declined to name. The subject of their worries and complaints was the song's length and \"modern\" sound: \"I said no, it's not going to be too long a record, it's going to be just right. ... They didn't quite understand what this jumping from studio to studio was all about. And they couldn't conceive of the record as I did. I saw the record as a totality piece.\"\n\nThe vocals for \"Good Vibrations\" were recorded at CBS Columbia Square, starting on August 24 and continuing sporadically until the very last day of assembly on September 21. The episodic structure of the composition was continuously revised as the group experimented with different ideas. Brian remembers that he began recording the \"bop bop good vibrations\" parts first, and that he came up with \"the high parts\" a week later. Mike Love recalled: \"I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long.\" Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute. In early September, the master tapes for \"Good Vibrations\" were stolen. Mysteriously, they reappeared inside Brian's home two days later.\n\nOn September 21, Brian completed the track after Tanner added a final Electro-Theremin overdub. In 1976 he elaborated on the event: \"It was at Columbia. I remember I had it right in the sack. I could just feel it when I dubbed it down, made the final mix from the 16-track down to mono. It was a feeling of power, it was a rush. A feeling of exaltation. Artistic beauty. It was everything ... I remember saying, 'Oh my God. Sit back and listen to this!'\"\n\nComposition and analysis\n\nGenre and dynamics\n\nThere are six unique sections to the piece. Music theorist Daniel Harrison refers to these sections individually as the verse, the refrain (or chorus), the \"first episodic digression\", the \"second episodic digression\", the \"retro-refrain\", and the coda. Each has a distinct musical texture, partly due to the nature of the song's recording. The track's instrumentation changes radically from section to section, and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a \"very long\" duration. Wilson is quoted in 1979:\n\nHe characterized the song as \"advanced rhythm and blues\". Tom Roland of American Songwriter described the piece, \"with its interlocking segments—a sort of pop version of the classical sonata, consisting of a series of musical movements\". New York Magazine compared it to \"a fugue with a rhythmic beat\". John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs. Music journal Sound on Sound argued that the song \"has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour\". It explained that the song subverts pop forms to a considerable degree: \n\nAccording to historian Lorenzo Candelaria, \"Good Vibrations\" has since been marketed as pop music \"possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know.\" Uncut called the song \"three minutes and thirty-six seconds of avant-garde pop\". Mixdown described it as a \"masterpiece of avant-pop\". The theremin and cello has been called the song's \"psychedelic ingredient\". In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin. Professor of American history John Robert Greene named \"Good Vibrations\" among examples of psychedelic or acid rock. Stebbins wrote that the song was \"replete with sunshine [and] psychedelia\". Steve Valdez says that, like Pet Sounds, Brian was attempting a more experimental rock style.\n\nComparing \"Good Vibrations\" to Wilson's previous work Pet Sounds, biographer Andrew Hickey said that the \"best way of thinking about [the song] is that it's taking the lowest common denominator of 'Here Today' and 'God Only Knows' and turned the result into an R&B track. We have the same minor-key change between verse and chorus we've seen throughout Pet Sounds, the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to funky.\" Author Jon Stebbins adds that \"unlike Pet Sounds the chorus of 'Good Vibrations' projects a definite 'rock and roll' energy and feel.\"\n\nAccording to academic Rikky Rooksby, \"Good Vibrations\" is an example of Brian Wilson's growing interest in musical development within a composition, something antithetical to popular music of the time. Suppressing tonic strength and cadential drive, the song makes use of descending harmonic motions through scale degrees controlled by a single tonic and \"radical disjunctions\" in key, texture, instrumentation, and mood while refusing to develop into a predictable formal pattern. It instead develops \"under its own power\" and \"luxuriates in harmonic variety\" exemplified by beginning and ending not only in different keys but also in different modes.\n\nVerses and refrains (0:00–1:40)\n\n\"Good Vibrations\" begins without introduction in a traditional verse/refrain format, opening with Carl Wilson singing the word \"I\", a triplet eighth note before the downbeat. The sparse first verse contains a repetition of chords played on a Hammond organ filtered through a Leslie speaker; underneath is a two-bar Fender bass melody. This sequence repeats once (0:15), but with the addition of two piccolos sustaining over a falling flute line. For percussion, bongo drums double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation. The beat projects a triplet feel despite being in time; this is sometimes called a \"shuffle beat\" or \"threes over fours\". The chord progression used is i–VII–VI–V, also called an Andalusian cadence. Although the verses begin in the minor mode of E, the mode is not used to express sadness or drudgery. Occurring at the very end of these verses is a passing chord, D.\n\nThe refrain (0:25) begins in the newly tonicized relative major G, which suggests III. Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music. The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat. This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals. The first section consists of only the couplet \"I'm picking up good vibrations/she's giving me the excitation\" sung by Mike Love in his bass-baritone register; the second repeats the lines and adds an \"ooo bop bop\" figure, sung in multiple-part harmony; the third time also adds a \"good, good, good, good vibrations\" in yet a higher harmony. This type of polyphony (counterpoint) is also rare in contemporary popular styles. Each repeat of the vocal lines also transposes up by a whole step, ascending from G to A and then B. It then returns to the verse, thus making a perfect cadence back into E minor. The verse and refrain then repeat without any changes to the patterns of its instrumentation and harmony. This is unusual, in that normally, a song's arrangement adds something once it reaches the second verse.\n\nEpisodic digressions\n\nFirst episode (1:41–2:13)\n\nThe first episode (1:41+) begins disjunctively with an abrupt tape splice. The refrain's B, which had received a dominant (V) charge, is now maintained as a tonic (I). There is harmonic ambiguity, in that the chord progression may be either interpreted as I–IV–I (in B) or V–I–V (in E). Stebbins says that this section \"might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply.\" A new sound is created by tack piano, jaw harp, and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, bass harmonica, and sleigh bells shaken on every beat. The lone line of vocals (aside from non-lexical harmonies) is \"I don't know where, but she sends me there\" sung in Mike Love's upper-register baritone. This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns.\n\nSecond episode (2:13–2:56)\n\nAnother tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat. Sound on Sound highlights this change as the \"most savage edit in the track ... most people would go straight into a big splash hook-line section. Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ... Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian.\" Harrison says: \n\nThe slowed pace is complemented by the lyric (\"Gotta keep those loving good vibrations a-happening with her\"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony. This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2. The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats. Lambert calls it the song's \"wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments. As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say.\"\n\nRetro-refrain and coda (2:57–3:35)\n\nA brief break at the end of the second musical digression creates tension which leads into the final sequence of the song. The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B, repeats at A, and then ends at G for an unexpectedly short single measure. The section uses a descending progression, which mirrors the ascending progression of the previous two refrains. There follows a short section of vocalizing in three-part counterpoint that references the original refrain by reproducing upward transposition. However, this time it settles on A, the concluding key of the song. By the end of \"Good Vibrations,\" all seven scale degrees of the opening E-minor tonic are activated on some level.\n\nRelease and promotion\nIn a July 1966 advertisement for Pet Sounds in Billboard magazine, the band thanked the music industry for the sales of their album, and said that \"We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations.\" This was the first public hint of the new single. Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was \"about a guy who picks up good vibrations from a girl\" and that it would be a \"monster\". He then suggested: \"It's still sticking pretty close to that same boy-girl thing, you know, but with a difference. And it's a start, it's definitely a start.\" Derek Taylor, who had recently been engaged as the band's publicist, is credited for coining the term a \"pocket symphony\" to describe the song. In a press release for the single, he stated: \"Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils. And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else.\"\n\nTo promote the single, four different music videos were shot. The first of these—which had Caleb Deschanel as cameraman—features the group at a fire station, sliding down its pole, and roaming the streets of Los Angeles in a fashion comparable to The Monkees. The second features the group during vocal rehearsals at United Western Recorders. The third contains footage recorded during the making of The Beach Boys in London, a documentary by Peter Whitehead of their concert performances. The fourth clip is an alternative edit of the third. Brian also made a rare television appearance on local station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record.\n\nOn October 15, 1966, Billboard predicted that the single would reach the top 20 in the Billboard Hot 100 chart. \"Good Vibrations\" was the Beach Boys' third US number one hit, after \"I Get Around\" and \"Help Me, Rhonda\", reaching the top of the Hot 100 in December. It was also their first number one in Britain. The single sold over 230,000 copies in the US within four days of its release and entered the Cash Box chart at number 61 on October 22. In the UK, the song sold over 50,000 copies in the first 15 days of its release. \"Good Vibrations\" quickly became the Beach Boys' first million-selling single. In December 1966, the record was their first single certified gold by the RIAA for sales of one million copies. On March 30, 2016, the digital single was certified platinum by the RIAA for the same sales level.\n\nIn the US, Cash Box said that it is a \"catchy, easy-driving ditty loaded with the Boys’ money-making sound.\" In Britain, the single received favorable reviews from the New Musical Express and Melody Maker. Soon after, the Beach Boys were voted the number one band in the world in the NME readers' poll, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops. Billboard said that this result was probably influenced by the success of \"Good Vibrations\" when the votes were cast, together with the band's recent tour, whereas the Beatles had neither a recent single nor had they toured the UK throughout 1966; the reporter added that \"The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak.\" In a readers' poll conducted by a Danish newspaper, Brian Wilson won the \"best foreign-produced recording award\", marking the first time that an American had won in that category.\n\nThe single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc.\n\nInfluence and legacy\n\nHistorical reception\n\nVirtually every pop music critic recognizes \"Good Vibrations\" as one of the most important compositions and recordings of the entire rock era. It is a regular fixture on \"greatest of all-time\" song lists and is frequently hailed as one of the finest pop productions of all time. In 2004, Rolling Stone magazine ranked \"Good Vibrations\" at number 6 in \"The 500 Greatest Songs of All Time\", the highest position of seven Beach Boys songs cited in the list. In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list. As of 2016, \"Good Vibrations\" is ranked as the number four song of all time in an aggregation of critics' lists at Acclaimed Music.\n\nThe song served as an anthem for the counterculture of the 1960s. According to Noel Murray of The A.V. Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's \"un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do.\" Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for \"Good Vibrations\". \"Heroes and Villains\", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967.\n\nIn contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of \"Good Vibrations\". When asked about the song in 1990, Paul McCartney responded: \"I thought it was a great record. It didn't quite have the emotional thing that Pet Sounds had for me. I've often played Pet Sounds and cried. It's that kind of an album for me.\" Pete Townshend of the Who was quoted in the 1960s as saying, \"'Good Vibrations' was probably a good record but who's to know? You had to play it about 90 bloody times to even hear what they were singing about.\" Townshend feared that the single would lead to a trend of overproduction. In a 1966 issue of Arts Magazine, Jonathan King said: \"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art. Computerized pop, mechanized music. Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons. It is long and split. ... impressive, fantastic, commercial—yes. Emotional, soul-destroying, shattering—no.\" In the 2000s, record producer Phil Spector criticized the single for depending too much on tape manipulation, negatively referring to it as an \"edit record ... It's like Psycho is a great film, but it's an 'edit film.' Without edits, it's not a film; with edits, it's a great film. But it's not Rebecca ... it's not a beautiful story.\"\n\nAdvancements\n\nRecording and popular music\n\n\"Good Vibrations\" is credited for having further developed the use of recording studios as a musical instrument. Author Domenic Priore commented that the song's making was \"unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording\". A milestone in the development of rock music, the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record. Musicologist Charlie Gillett called it \"one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance\". In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted:\n\nWriting for Popmatters in 2015, Scott Interrante stated: \"'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have.\" The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm. Microtonal composer Frank Oteri said that it \"sounds like no other pop song recorded up to that point\". According to Stebbins: \"This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original. But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century.\" He added that the single \"vaulted nearly every other rock act in their delivery of a Flower Power classic. It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop.\" John Bush wrote that the single \"announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies\". Gillett noted: \"For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording.\"\n\nPriore says that the song was a forerunner to works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes. In his appraisal for American Songwriter, Roland cites the song's \"format\" as the model for recordings by Wings (\"Band on the Run\"), the Beatles (\"A Day in the Life\"), and Elton John (\"Funeral for a Friend/Love Lies Bleeding\"). The song's approach was repeated in Queen's 1975 single \"Bohemian Rhapsody\", which was similarly pieced together using different sections. Wilson praised Queen's effort, calling it \"the most competitive thing that's come along in ages\" and \"a fulfillment and an answer to a teenage prayer—of artistic music\".\n\nPsychedelic and progressive rock\n\nWith \"Good Vibrations\", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages. Writing in 2009, Barney Hoskyns deemed it to be the era's \"ultimate psychedelic pop record\" from Los Angeles. Interrante adds: \"Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated, but its legacy as a pop hit is impressive as well.\" Former Atlantic Records executive Phillip Rauls recalled: \"I was in the music business at the time, and my very first recognition of acid rock—we didn't call it progressive rock then—was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [theremin] sent so many musicians back to the studio to create this music on acid.\" Author Bill Martin suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: \"The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life.'\"\n\nUse of theremin\n\nAlthough the song does not technically contain a theremin, \"Good Vibrations\" is the most frequently cited example of the instrument's use in pop music. Upon release, the single prompted an unexpected revival in theremins and increased the awareness of analog synthesizers. The notion that \"Good Vibrations\" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants. While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin.\n\nWhen the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments. Tanner recalls saying to Wilson, \"I've got the wrong sort of hair to be on stage with you fellas\", to which Wilson replied: \"We'll give you a Prince Valiant wig.\" The Beach Boys then requested the services of Walter Sear, who asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar. Sear remembers marking fretboard-like lines on the ribbon \"so they could play the damn thing.\" Moog began manufacturing his own models of theremins. He later noted: \"The pop record scene cleaned us out of our stock which we expected to last through Christmas.\"\n\nIn Steven M. Martin's 1993 documentary Theremin: An Electronic Odyssey, in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin due to \"Good Vibrations\" caused Russian authorities to exile its inventor, Leon Theremin.\n\nCover versions\n\nThe song has been covered by artists such as Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV. John Bush commented: \"'Good Vibrations' was rarely reprised by other acts, even during the cover-happy '60s. Its fragmented style made it essentially cover-proof.\" In 1976, a nearly identical cover version was released as a single by Todd Rundgren for his album Faithful. When asked for his opinion, Brian said: \"Oh, he did a marvelous job, he did a great job. I was very proud of his version.\" Rundgren's single peaked at number 34 on the Billboard Hot 100. Rundgren explained: \"I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting—like around Pet Sounds and 'Good Vibrations' ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal. ... I tried to do [the song] as literally as I could because in the intervening 10 years, radio had changed so much. Radio had become so formatted and so structured that that whole experience was already gone.\"\n\nIn 2004, Wilson re-recorded the song as a solo artist for his album Brian Wilson Presents Smile. It was sequenced as the album's closing track, following \"In Blue Hawaii\". In this version, \"Good Vibrations\" was the project's only track that eschewed the modular recording method. The song's verses and chorus were recorded as part of one whole take, and were not spliced together.\n\nIn 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated. Their version of \"Good Vibrations\", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on Billboards A/C chart.\n\nIn popular culture\nThe song's parody is used for the jingle of the Australian consumer electronics retailer The Good Guys.\nIn 1996, experimental rock group His Name Is Alive released an homage titled \"Universal Frequencies\" on their album Stars on E.S.P. Warren Defever reportedly listened to \"Good Vibrations\" repeatedly for a week before deciding that the song \"needed a sequel\"; he added: \"'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful.\" \nIn 1997, the movie Vegas Vacation used the song for the opening credits, with Clark Griswold (Chevy Chase) singing the song.\nThe song's lyrics \"I'm picking up good vibrations\" are quoted in Cyndi Lauper's 1984 single \"She Bop\". \nA live version of the song, from the album Live in London, appears as a playable track in the 2010 video game Rock Band 3.\nIn 2019, the song was used prominently in a scene for Jordan Peele's psychological horror thriller film Us.\nIn 2018, The song was featured in the animated film Hotel Transylvania 3: Summer Vacation.\n\nRelease history\n\nIn early 2011, the single was remastered and reissued as a four-sided 78 rpm vinyl for Record Store Day, as a teaser for the forthcoming The Smile Sessions box set. It contained \"Heroes and Villains\" as a B-side, along with previously released alternate takes and mixes.\n\nStereo version\nDue to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile. The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett. Fitzgerald's software extracted individual instrumental and vocal stems from the original mono master—as the multi-track vocals remained missing—to construct the stereo version that appears on the 2012 reissue of Smiley Smile.\n\n40th Anniversary Edition\n\nIn celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released. The EP includes \"Good Vibrations\", four alternate versions of the song, and the stereo mix of \"Let's Go Away for Awhile\". The EP artwork recreates that of the original 7-inch single sleeve. In 2016, the EP was reissued as a 12\" record for the single's 50th anniversary.\n\nPersonnel\n\nThe following people are identified as players on the \"Good Vibrations\" single.\n\nThe Beach Boys\n Mike Love – lead vocals in chorus \n Brian Wilson – vocals, tack piano, tambourine, production, mixing\n Carl Wilson – lead vocals in verses, guitar, shaker\n Dennis Wilson – Hammond organ during 2:13–2:56\n\nAdditional musicians and production staff\n Hal Blaine – drums, timpani, other percussion \n Al De Lory – piano, harpsichord \n Jesse Ehrlich – cello \n\n Larry Knechtel – organ in verses and choruses\n Tommy Morgan – harmonica\n Al Casey – guitar\n Ray Pohlman – electric bass\n Lyle Ritz – double bass\n Jim Horn – piccolo\n Paul Tanner – Electro-Theremin\n\nBassist Carol Kaye played on several of the \"Good Vibrations\" sessions, and has been identified as a prominent contributor to the track. However, analysis by Beach Boys archivist Craig Slowinski indicates that none of those recordings made the final edit as released on the single.\n\nCharts\n\nWeekly charts\nOriginal release\n\n1976 reissue\n\nTodd Rundgren version (1976)\n\nYear-end charts\n\nCertifications\n\nAwards and accolades\n\nFootnotes\n\nReferences\n\nBibliography\n\nExternal links\n\n Greg Panfile's Musical Analysis of \"Good Vibrations\"\n \n\n1966 singles\n1966 songs\n2004 singles\n2011 singles\nBrian Wilson songs\nPsychic TV songs\nThe Beach Boys songs\nTodd Rundgren songs\nCapitol Records singles\nGrammy Hall of Fame Award recipients\nBillboard Hot 100 number-one singles\nCashbox number-one singles\nNumber-one singles in Australia\nNumber-one singles in New Zealand\nUK Singles Chart number-one singles\nSongs written by Brian Wilson\nSongs written by Mike Love\nSongs written by Tony Asher\nSong recordings produced by Brian Wilson\nSong recordings with Wall of Sound arrangements\nArt pop songs\nAvant-pop songs\nPsychedelic pop songs\nAmerican psychedelic rock songs\nSongs used as jingles\nSongs composed in E-flat minor"},"extractive":{"kind":"string","value":"true"},"retrieved_contexts":{"kind":"list like","value":["\"\" (Thoughts are free) is a German song about freedom of thought. The original lyricist and the composer are unknown, though the most popular version was rendered by Hoffmann von Fallersleben in 1842.\n\nText\nThe idea represented in the title—that thoughts are free—was expressed in antiquity and became prominent again in the Middle Ages, when Walther von der Vogelweide (c.1170–1230) wrote: (\"yet still thoughts are free\"). In the 12th century, it is thought that Austrian minnesinger Dietmar von Aist composed the song \"\" (\"only thoughts are free\"). About 1229, Freidank wrote: (\"this band may no one twine, that will my thoughts confine\").\n\nThe text as it first occurred on leaflets about 1780 originally had four strophes, to which a fifth was later added. Today, their order may vary. An early version in the shape of a dialogue between a captive and his beloved was published under the title \"\" (\"Song of the persecuted in the tower. After Swiss songs\") in Achim von Arnim and Clemens Brentano's circa 1805 folk poetry collection , Vol. III.\n\nThe text and the melody can be found in (songs of the girls from Brienz), printed in Bern, Switzerland, between 1810 and 1820. It was adopted by Hoffmann von Fallersleben in his (Silesian folk songs with melodies) collection published by Breitkopf & Härtel in 1842, who referred to it as \"from Neukirch bei Schönau\".\n\nLyrics \nDie Gedanken sind frei, wer kann sie erraten,\nsie fliehen vorbei wie nächtliche Schatten.\nKein Mensch kann sie wissen, kein Jäger sie schießen\nes bleibet dabei: Die Gedanken sind frei!\n\nIch denke was ich will und was mich beglücket,\ndoch alles in der Still', und wie es sich schicket.\nMein Wunsch und Begehren kann niemand verwehren,\nes bleibet dabei: Die Gedanken sind frei!\n\nIch liebe den Wein, mein Mädchen vor allen,\nsie tut mir allein am besten gefallen.\nIch bin nicht alleine bei meinem Glas Weine,\nmein Mädchen dabei: die Gedanken sind frei.\n\nUnd sperrt man mich ein im finsteren Kerker,\ndas alles sind rein vergebliche Werke;\ndenn meine Gedanken zerreißen die Schranken\nund Mauern entzwei: die Gedanken sind frei.\n\nDrum will ich auf immer den Sorgen entsagen\nund will mich auch nimmer mit Grillen mehr plagen.\nMan kann ja im Herzen stets lachen und scherzen\nund denken dabei: die Gedanken sind frei.\nThoughts are free, who can guess them?\nThey fly by like nocturnal shadows.\nNo person can know them, no hunter can shoot them\nand so it'll always be: Thoughts are free!\n\nI think what I want, and what delights me,\nstill always reticent, and as it is suitable.\nMy wish and desire, no one can deny me\nand so it'll always be: Thoughts are free!\n\nI love wine, and my girl even more,\nOnly her I like best of all.\nI'm not alone with my glass of wine,\nmy girl is with me: Thoughts are free!\n\nAnd if I am thrown into the darkest dungeon,\nall these are futile works,\nbecause my thoughts tear all gates\nand walls apart: Thoughts are free!\n\nSo I will renounce my sorrows forever,\nand never again will torture myself with whimsies.\nIn one's heart, one can always laugh and joke\nand think at the same time: Thoughts are free!\n\nThe rhyme scheme of the lyrics is a – B / a – B / C – C / d – d where capital letters indicate two-syllable feminine rhymes.\n\nMelody\n\nAdaptations\nSince the days of the Carlsbad Decrees and the Age of Metternich, \"Die Gedanken sind frei\" was a popular protest song against political repression and censorship, especially among the banned Burschenschaften student fraternities. In the aftermath of the failed 1848 German Revolution the song was banned. The Achim/Brentano text was given a new musical setting for voice and orchestra by Gustav Mahler in his 1898 Des Knaben Wunderhorn collection.\n\nThe song was important to certain anti-Nazi resistance movements in Germany. In 1942, Sophie Scholl, a member of the White Rose resistance group, played the song on her flute outside the walls of Ulm prison, where her father Robert had been detained for calling the Nazi dictator Adolf Hitler a \"scourge of God\". Earlier, in 1935, the guards at the Lichtenburg concentration camp had ordered prisoners to stage a performance in celebration of Hitler's 46th birthday; the imprisoned lawyer Hans Litten recited \"Die Gedanken sind frei\" in response.\n\nNotes\n\nExternal links \n\n \n Variant German lyrics and English translation\n \"Die Gedanken sind frei\", ingeb.org\n \n \n\nVolkslied\nPolitical songs\nFreedom of expression\n1780s songs\n1842 songs","\"When It Was Me\" is Paula DeAnda's third single on her debut album Paula DeAnda. Paula's pensive thoughts are expressed, nonetheless sung, about how her ex-boyfriend shows much affection to his new love, when that person used to be her. According to Paula, the way he treats his girlfriend is better than the way he treated her. Paula says throughout the first and second verses that she's not jealous, but overall she really is aware of the changes, and really wants what her ex-boyfriend is giving to the other girl.\n\nThis song was co-written by Ne-Yo. The song received some very minor airplay on a few Top 40/pop stations in Texas, but it didn't make the Mainstream Top 40 or Pop 100 Airplay charts. The song received moderate airplay on some rhythmic radio stations causing it to chart on the Rhythmic Top 40; it peaked at number 25 on the chart.\n\nChart performance\n\nReferences\n\n2007 singles\nPaula DeAnda songs\nPop ballads\nSongs written by Ne-Yo\n2005 songs\nSongs written by Shea Taylor\nSong recordings produced by Shea Taylor"],"string":"[\n \"\\\"\\\" (Thoughts are free) is a German song about freedom of thought. The original lyricist and the composer are unknown, though the most popular version was rendered by Hoffmann von Fallersleben in 1842.\\n\\nText\\nThe idea represented in the title—that thoughts are free—was expressed in antiquity and became prominent again in the Middle Ages, when Walther von der Vogelweide (c.1170–1230) wrote: (\\\"yet still thoughts are free\\\"). In the 12th century, it is thought that Austrian minnesinger Dietmar von Aist composed the song \\\"\\\" (\\\"only thoughts are free\\\"). About 1229, Freidank wrote: (\\\"this band may no one twine, that will my thoughts confine\\\").\\n\\nThe text as it first occurred on leaflets about 1780 originally had four strophes, to which a fifth was later added. Today, their order may vary. An early version in the shape of a dialogue between a captive and his beloved was published under the title \\\"\\\" (\\\"Song of the persecuted in the tower. After Swiss songs\\\") in Achim von Arnim and Clemens Brentano's circa 1805 folk poetry collection , Vol. III.\\n\\nThe text and the melody can be found in (songs of the girls from Brienz), printed in Bern, Switzerland, between 1810 and 1820. It was adopted by Hoffmann von Fallersleben in his (Silesian folk songs with melodies) collection published by Breitkopf & Härtel in 1842, who referred to it as \\\"from Neukirch bei Schönau\\\".\\n\\nLyrics \\nDie Gedanken sind frei, wer kann sie erraten,\\nsie fliehen vorbei wie nächtliche Schatten.\\nKein Mensch kann sie wissen, kein Jäger sie schießen\\nes bleibet dabei: Die Gedanken sind frei!\\n\\nIch denke was ich will und was mich beglücket,\\ndoch alles in der Still', und wie es sich schicket.\\nMein Wunsch und Begehren kann niemand verwehren,\\nes bleibet dabei: Die Gedanken sind frei!\\n\\nIch liebe den Wein, mein Mädchen vor allen,\\nsie tut mir allein am besten gefallen.\\nIch bin nicht alleine bei meinem Glas Weine,\\nmein Mädchen dabei: die Gedanken sind frei.\\n\\nUnd sperrt man mich ein im finsteren Kerker,\\ndas alles sind rein vergebliche Werke;\\ndenn meine Gedanken zerreißen die Schranken\\nund Mauern entzwei: die Gedanken sind frei.\\n\\nDrum will ich auf immer den Sorgen entsagen\\nund will mich auch nimmer mit Grillen mehr plagen.\\nMan kann ja im Herzen stets lachen und scherzen\\nund denken dabei: die Gedanken sind frei.\\nThoughts are free, who can guess them?\\nThey fly by like nocturnal shadows.\\nNo person can know them, no hunter can shoot them\\nand so it'll always be: Thoughts are free!\\n\\nI think what I want, and what delights me,\\nstill always reticent, and as it is suitable.\\nMy wish and desire, no one can deny me\\nand so it'll always be: Thoughts are free!\\n\\nI love wine, and my girl even more,\\nOnly her I like best of all.\\nI'm not alone with my glass of wine,\\nmy girl is with me: Thoughts are free!\\n\\nAnd if I am thrown into the darkest dungeon,\\nall these are futile works,\\nbecause my thoughts tear all gates\\nand walls apart: Thoughts are free!\\n\\nSo I will renounce my sorrows forever,\\nand never again will torture myself with whimsies.\\nIn one's heart, one can always laugh and joke\\nand think at the same time: Thoughts are free!\\n\\nThe rhyme scheme of the lyrics is a – B / a – B / C – C / d – d where capital letters indicate two-syllable feminine rhymes.\\n\\nMelody\\n\\nAdaptations\\nSince the days of the Carlsbad Decrees and the Age of Metternich, \\\"Die Gedanken sind frei\\\" was a popular protest song against political repression and censorship, especially among the banned Burschenschaften student fraternities. In the aftermath of the failed 1848 German Revolution the song was banned. The Achim/Brentano text was given a new musical setting for voice and orchestra by Gustav Mahler in his 1898 Des Knaben Wunderhorn collection.\\n\\nThe song was important to certain anti-Nazi resistance movements in Germany. In 1942, Sophie Scholl, a member of the White Rose resistance group, played the song on her flute outside the walls of Ulm prison, where her father Robert had been detained for calling the Nazi dictator Adolf Hitler a \\\"scourge of God\\\". Earlier, in 1935, the guards at the Lichtenburg concentration camp had ordered prisoners to stage a performance in celebration of Hitler's 46th birthday; the imprisoned lawyer Hans Litten recited \\\"Die Gedanken sind frei\\\" in response.\\n\\nNotes\\n\\nExternal links \\n\\n \\n Variant German lyrics and English translation\\n \\\"Die Gedanken sind frei\\\", ingeb.org\\n \\n \\n\\nVolkslied\\nPolitical songs\\nFreedom of expression\\n1780s songs\\n1842 songs\",\n \"\\\"When It Was Me\\\" is Paula DeAnda's third single on her debut album Paula DeAnda. Paula's pensive thoughts are expressed, nonetheless sung, about how her ex-boyfriend shows much affection to his new love, when that person used to be her. According to Paula, the way he treats his girlfriend is better than the way he treated her. Paula says throughout the first and second verses that she's not jealous, but overall she really is aware of the changes, and really wants what her ex-boyfriend is giving to the other girl.\\n\\nThis song was co-written by Ne-Yo. The song received some very minor airplay on a few Top 40/pop stations in Texas, but it didn't make the Mainstream Top 40 or Pop 100 Airplay charts. The song received moderate airplay on some rhythmic radio stations causing it to chart on the Rhythmic Top 40; it peaked at number 25 on the chart.\\n\\nChart performance\\n\\nReferences\\n\\n2007 singles\\nPaula DeAnda songs\\nPop ballads\\nSongs written by Ne-Yo\\n2005 songs\\nSongs written by Shea Taylor\\nSong recordings produced by Shea Taylor\"\n]"},"chunked_article":{"kind":"list like","value":["\"Good Vibrations\" is a song by the American rock band the Beach Boys that was composed by Brian Wilson with lyrics by Mike Love. It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping record charts in several countries including the United States and the United Kingdom.","It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping record charts in several countries including the United States and the United Kingdom. Characterized by its complex soundscapes, episodic structure and subversions of pop music formula, it was the most expensive single ever recorded.","Characterized by its complex soundscapes, episodic structure and subversions of pop music formula, it was the most expensive single ever recorded. \"Good Vibrations\" later became widely acclaimed as one of the finest and most important works of the rock era.","\"Good Vibrations\" later became widely acclaimed as one of the finest and most important works of the rock era. Also produced by Wilson, the title derived from his fascination with cosmic vibrations, as his mother would tell him as a child that dogs sometimes bark at people in response to their \"bad vibrations\".","Also produced by Wilson, the title derived from his fascination with cosmic vibrations, as his mother would tell him as a child that dogs sometimes bark at people in response to their \"bad vibrations\". He used the concept to suggest extrasensory perception, while Love's lyrics were inspired by the nascent Flower Power movement.","He used the concept to suggest extrasensory perception, while Love's lyrics were inspired by the nascent Flower Power movement. The song was written as it was recorded and in a similar fashion to other compositions from Wilson's Smile period.","The song was written as it was recorded and in a similar fashion to other compositions from Wilson's Smile period. It was issued as a standalone single, backed with \"Let's Go Away for Awhile\", and was to be included on the never-finished album Smile.","It was issued as a standalone single, backed with \"Let's Go Away for Awhile\", and was to be included on the never-finished album Smile. Instead, the track appeared on the September 1967 release Smiley Smile. The making of \"Good Vibrations\" was unprecedented for any kind of recording.","The making of \"Good Vibrations\" was unprecedented for any kind of recording. Building on his approach for Pet Sounds, Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of session musicians at four different Hollywood studios from February to September 1966, a process reflected in the song's several dramatic shifts in key, texture, instrumentation and mood.","Building on his approach for Pet Sounds, Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of session musicians at four different Hollywood studios from February to September 1966, a process reflected in the song's several dramatic shifts in key, texture, instrumentation and mood. Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars.","Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars. Band publicist Derek Taylor dubbed the unusual work a \"pocket symphony\".","Band publicist Derek Taylor dubbed the unusual work a \"pocket symphony\". It helped develop the use of the studio as an instrument and heralded a wave of pop experimentation and the onset of psychedelic and progressive rock.","It helped develop the use of the studio as an instrument and heralded a wave of pop experimentation and the onset of psychedelic and progressive rock. The track featured a novel mix of instruments, including jaw harp and Electro-Theremin, and although the latter is not a true theremin, the song's success led to a renewed interest and sales of theremins and synthesizers.","The track featured a novel mix of instruments, including jaw harp and Electro-Theremin, and although the latter is not a true theremin, the song's success led to a renewed interest and sales of theremins and synthesizers. \"Good Vibrations\" received a Grammy nomination for Best Vocal Group performance in 1966 and was inducted into the Grammy Hall of Fame in 1994.","\"Good Vibrations\" received a Grammy nomination for Best Vocal Group performance in 1966 and was inducted into the Grammy Hall of Fame in 1994. The song was voted number one in Mojos \"Top 100 Records of All Time\" and number six on Rolling Stones \"500 Greatest Songs of All Time\", and it was included in the Rock and Roll Hall of Fame's \"500 Songs that Shaped Rock and Roll\".","The song was voted number one in Mojos \"Top 100 Records of All Time\" and number six on Rolling Stones \"500 Greatest Songs of All Time\", and it was included in the Rock and Roll Hall of Fame's \"500 Songs that Shaped Rock and Roll\". In later years, the song has been cited as a forerunner to the Beatles' \"A Day in the Life\" (1967) and Queen's \"Bohemian Rhapsody\" (1975).","In later years, the song has been cited as a forerunner to the Beatles' \"A Day in the Life\" (1967) and Queen's \"Bohemian Rhapsody\" (1975). A 1976 cover version by Todd Rundgren peaked at number 34 on the Billboard Hot 100.","A 1976 cover version by Todd Rundgren peaked at number 34 on the Billboard Hot 100. The Beach Boys followed up \"Good Vibrations\" with another single pieced from sections, \"Heroes and Villains\" (1967), but it was less successful.","The Beach Boys followed up \"Good Vibrations\" with another single pieced from sections, \"Heroes and Villains\" (1967), but it was less successful. Inspiration and writing Concept and early lyrics The Beach Boys' leader, Brian Wilson, was responsible for the musical composition and virtually all of the arrangement for \"Good Vibrations\".","Inspiration and writing Concept and early lyrics The Beach Boys' leader, Brian Wilson, was responsible for the musical composition and virtually all of the arrangement for \"Good Vibrations\". Most of the song's structure and arrangement was written as it was recorded.","Most of the song's structure and arrangement was written as it was recorded. During the recording sessions for the 1966 album Pet Sounds, Wilson began changing his writing process. For \"Good Vibrations\", Wilson said, \"I had a lot of unfinished ideas, fragments of music I called 'feels.'","For \"Good Vibrations\", Wilson said, \"I had a lot of unfinished ideas, fragments of music I called 'feels.' Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic.\"","Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic.\" Engineer Chuck Britz is quoted saying that Wilson considered the song to be \"his whole life performance in one track\". Wilson stated: \"I was an energetic 23-year-old. ...","Wilson stated: \"I was an energetic 23-year-old. ... ... I said: 'This is going to be better than [the Phil Spector production] \"You've Lost That Lovin' Feelin'. Wilson said that \"Good Vibrations\" was inspired by his mother: \"[She] used to tell me about vibrations.","Wilson said that \"Good Vibrations\" was inspired by his mother: \"[She] used to tell me about vibrations. I didn't really understand too much of what it meant when I was just a boy. It scared me, the word 'vibrations.'","It scared me, the word 'vibrations.' She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel.\"","She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel.\" Brian first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea.","Brian first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea. When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style.","When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style. Asher remembered: Wilson wanted to call the song \"Good Vibes\", but Asher advised that it was \"lightweight use of the language\", and suggested that \"Good Vibrations\" would sound less \"trendy\".","Asher remembered: Wilson wanted to call the song \"Good Vibes\", but Asher advised that it was \"lightweight use of the language\", and suggested that \"Good Vibrations\" would sound less \"trendy\". The two proceeded to write lyrics for the verses that were ultimately discarded.","The two proceeded to write lyrics for the verses that were ultimately discarded. Theremin and cello From the start, Wilson envisioned a theremin for the track.","Theremin and cello From the start, Wilson envisioned a theremin for the track. AllMusic reviewer John Bush pointed out: \"Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel—between the single's theme and its use of an instrument the player never even touched.\"","AllMusic reviewer John Bush pointed out: \"Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel—between the single's theme and its use of an instrument the player never even touched.\" \"Good Vibrations\" does not technically feature a theremin, but rather an Electro-Theremin, which is physically controlled by a knob on the side of the instrument.","\"Good Vibrations\" does not technically feature a theremin, but rather an Electro-Theremin, which is physically controlled by a knob on the side of the instrument. It was dubbed a \"theremin\" simply for convenience.","It was dubbed a \"theremin\" simply for convenience. At that time, theremins were most often associated with the 1945 Alfred Hitchcock film Spellbound, but their most common presence was in the theme music for the television sitcom My Favorite Martian, which ran from 1963 to 1966.","At that time, theremins were most often associated with the 1945 Alfred Hitchcock film Spellbound, but their most common presence was in the theme music for the television sitcom My Favorite Martian, which ran from 1963 to 1966. Britz speculates: \"He just walked in and said, 'I have this new sound for you.'","Britz speculates: \"He just walked in and said, 'I have this new sound for you.' I think he must have heard the sound somewhere and loved it, and built a song around it.\" It is unclear whether Wilson knew that the instrument was not a real theremin.","It is unclear whether Wilson knew that the instrument was not a real theremin. Brian credited his brother and bandmate Carl for suggesting the use of a cello on the track.","Brian credited his brother and bandmate Carl for suggesting the use of a cello on the track. He further stated that its triplet beat on the chorus was his own idea and that it was based on the Crystals' \"Da Doo Ron Ron\" (1963), produced by Spector.","He further stated that its triplet beat on the chorus was his own idea and that it was based on the Crystals' \"Da Doo Ron Ron\" (1963), produced by Spector. Conversely, arranger and session musician Van Dyke Parks said that it was himself who suggested having the cellist play triplets to Brian.","Conversely, arranger and session musician Van Dyke Parks said that it was himself who suggested having the cellist play triplets to Brian. Parks believed that having Brian exploit the cello \"to such a hyperbolic degree\" was what encouraged the duo to immediately collaborate on the never-finished album Smile.","Parks believed that having Brian exploit the cello \"to such a hyperbolic degree\" was what encouraged the duo to immediately collaborate on the never-finished album Smile. At some point, Wilson asked Parks to pen lyrics for \"Good Vibrations\", although Parks declined.","At some point, Wilson asked Parks to pen lyrics for \"Good Vibrations\", although Parks declined. Influences and final lyrics Wilson's cousin and bandmate Mike Love submitted the final lyrics for \"Good Vibrations\" and contributed its bass-baritone vocals in the chorus.","Influences and final lyrics Wilson's cousin and bandmate Mike Love submitted the final lyrics for \"Good Vibrations\" and contributed its bass-baritone vocals in the chorus. He recalled that when he heard the unfinished backing track: \"[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it.","He recalled that when he heard the unfinished backing track: \"[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it. How's this going to go over in the Midwest or Birmingham?","How's this going to go over in the Midwest or Birmingham? It was such a departure from 'Surfin' U.S.A.' or 'Help Me, Rhonda.'\" Love said that he wrote the words while on the drive to the studio.","Love said that he wrote the words while on the drive to the studio. Feeling that the song could be \"the Beach Boys' psychedelic anthem or flower power offering,\" he based the lyrics on the burgeoning psychedelic music and Flower Power movements occurring in San Francisco and some parts of the Los Angeles area.","Feeling that the song could be \"the Beach Boys' psychedelic anthem or flower power offering,\" he based the lyrics on the burgeoning psychedelic music and Flower Power movements occurring in San Francisco and some parts of the Los Angeles area. He described the lyrics as \"just a flowery poem.","He described the lyrics as \"just a flowery poem. Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair.'\"","Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair.'\" Writing in his 1975 book The Beach Boys: Southern California Pastoral, Bruce Golden observed: Capitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his LSD experiences.","Writing in his 1975 book The Beach Boys: Southern California Pastoral, Bruce Golden observed: Capitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his LSD experiences. Brian clarified that the song was written under the influence of marijuana, not LSD.","Brian clarified that the song was written under the influence of marijuana, not LSD. He explained: \"I made ‘Good Vibrations’ on drugs; I used drugs to make that. ... I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity.\"","I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity.\" In Steven Gaines's 1986 biography, Wilson is quoted on the lyrics: \"We talked about good vibrations with the song and the idea, and we decided on one hand that you could say ... those are sensual things.","In Steven Gaines's 1986 biography, Wilson is quoted on the lyrics: \"We talked about good vibrations with the song and the idea, and we decided on one hand that you could say ... those are sensual things. And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have.","And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have. That's what we're really talking about.\" Wilson said in 2012 that the song's \"gotta keep those good vibrations\" bridge was inspired by Stephen Foster.","Wilson said in 2012 that the song's \"gotta keep those good vibrations\" bridge was inspired by Stephen Foster. Bandmate Al Jardine compared that section to Foster and the Negro spiritual \"Down by the Riverside\".","Bandmate Al Jardine compared that section to Foster and the Negro spiritual \"Down by the Riverside\". According to Love, the lyric \"'she goes with me to a blossom world' was originally meant to be followed by the words 'we find'\", but Wilson elected to cut off the line to highlight the bass track linking into the chorus.","According to Love, the lyric \"'she goes with me to a blossom world' was originally meant to be followed by the words 'we find'\", but Wilson elected to cut off the line to highlight the bass track linking into the chorus. Recording and production Modular approach \"Good Vibrations\" established a new method of operation for Wilson.","Recording and production Modular approach \"Good Vibrations\" established a new method of operation for Wilson. Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or \"modules\").","Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or \"modules\"). Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time.","Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time. This was the same modular approach used during the sessions for Smile and Smiley Smile.","This was the same modular approach used during the sessions for Smile and Smiley Smile. To mask each tape edit, vast reverb decays were added at the mixing and sub-mixing stages. For instrumentation, Wilson employed the services of \"the Wrecking Crew\", the nickname for a conglomerate of session musicians active in Los Angeles at that time.","For instrumentation, Wilson employed the services of \"the Wrecking Crew\", the nickname for a conglomerate of session musicians active in Los Angeles at that time. Production for \"Good Vibrations\" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two.","Production for \"Good Vibrations\" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two. It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands, making it the costliest single recorded to that date.","It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands, making it the costliest single recorded to that date. Biographer Peter Ames Carlin wrote that Wilson was so puzzled by the arranging of \"Good Vibrations\" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs.","Biographer Peter Ames Carlin wrote that Wilson was so puzzled by the arranging of \"Good Vibrations\" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs. One estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to $ and $ in ), By comparison, the whole of Pet Sounds had cost $70,000 ($), itself an unusually high cost for an album.","One estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to $ and $ in ), By comparison, the whole of Pet Sounds had cost $70,000 ($), itself an unusually high cost for an album. In 2018, Wilson disputed the $50,000 figure for \"Good Vibrations\", saying that the overall expenses were closer to $25,000.","In 2018, Wilson disputed the $50,000 figure for \"Good Vibrations\", saying that the overall expenses were closer to $25,000. Contemporary advertisements reported $10,000 ($) as the track's total production costs. Domenic Priore wrote that the track cost between $10,000 and $15,000 ($).","Domenic Priore wrote that the track cost between $10,000 and $15,000 ($). When asked in a 2005 interview if it was true that the Electro-Theremin work alone cost $100,000, Wilson replied \"No. $15,000.\"","$15,000.\" $15,000.\" Development The instrumental of the first version of the song was recorded on February 17, 1966, at Gold Star Studios and was logged as a Pet Sounds session.","Development The instrumental of the first version of the song was recorded on February 17, 1966, at Gold Star Studios and was logged as a Pet Sounds session. On that day's session log, it was given the name \"#1 Untitled\" or \"Good, Good, Good Vibrations\", but on its master tape, Wilson distinctly states: \"'Good Vibrations' ... take one.\"","On that day's session log, it was given the name \"#1 Untitled\" or \"Good, Good, Good Vibrations\", but on its master tape, Wilson distinctly states: \"'Good Vibrations' ... take one.\" After twenty-six takes, a rough mono mix completed the session.","After twenty-six takes, a rough mono mix completed the session. Some additional instruments and rough guide vocals were overdubbed on February 23. Brian and Carl shared vocals for this mix.","Brian and Carl shared vocals for this mix. The original version of \"Good Vibrations\" contained the characteristics of a \"funky rhythm and blues number\" and would not yet resemble a \"pocket symphony\". There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor, Paul Tanner.","There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor, Paul Tanner. It was Brian's second ever recorded use of the instrument, just three days after the Pet Sounds track \"I Just Wasn't Made for These Times\".","It was Brian's second ever recorded use of the instrument, just three days after the Pet Sounds track \"I Just Wasn't Made for These Times\". Brian then placed \"Good Vibrations\" on hold in order to devote attention to the Pet Sounds album, which saw release on May 16.","Brian then placed \"Good Vibrations\" on hold in order to devote attention to the Pet Sounds album, which saw release on May 16. More instrumental sections for \"Good Vibrations\" were recorded between April and June.","More instrumental sections for \"Good Vibrations\" were recorded between April and June. Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs.","Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs. According to Brian's then-new friend David Anderle, during an early stage, Brian considered giving \"Good Vibrations\" to one of the black R&B groups signed with Warner Bros. Records such as Wilson Pickett, and then at Anderle's suggestion to singer Danny Hutton.","According to Brian's then-new friend David Anderle, during an early stage, Brian considered giving \"Good Vibrations\" to one of the black R&B groups signed with Warner Bros. Records such as Wilson Pickett, and then at Anderle's suggestion to singer Danny Hutton. He thought about abandoning the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single.","He thought about abandoning the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single. In the meantime, he worked on writing and recording material for the group's forthcoming album, Smile.","In the meantime, he worked on writing and recording material for the group's forthcoming album, Smile. The first Beach Boy to hear \"Good Vibrations\" in a semi-completed form, other than Brian, was Carl.","The first Beach Boy to hear \"Good Vibrations\" in a semi-completed form, other than Brian, was Carl. Following a performance with the touring group in North Dakota, he remembered: \"I came back up into my hotel room one night and the phone rang. It was Brian on the other end.","It was Brian on the other end. He called me from the recording studio and played this really bizarre sounding music over the phone. There were drums smashing, that kind of stuff, and then it refined itself and got into the cello. It was a real funky track.\"","It was a real funky track.\" In 1976, Brian revealed that before the final mixdown, he had been confronted with resistance by members of the group, whom Brian declined to name.","In 1976, Brian revealed that before the final mixdown, he had been confronted with resistance by members of the group, whom Brian declined to name. The subject of their worries and complaints was the song's length and \"modern\" sound: \"I said no, it's not going to be too long a record, it's going to be just right.","The subject of their worries and complaints was the song's length and \"modern\" sound: \"I said no, it's not going to be too long a record, it's going to be just right. ... They didn't quite understand what this jumping from studio to studio was all about.","They didn't quite understand what this jumping from studio to studio was all about. And they couldn't conceive of the record as I did. I saw the record as a totality piece.\"","I saw the record as a totality piece.\" The vocals for \"Good Vibrations\" were recorded at CBS Columbia Square, starting on August 24 and continuing sporadically until the very last day of assembly on September 21. The episodic structure of the composition was continuously revised as the group experimented with different ideas.","The episodic structure of the composition was continuously revised as the group experimented with different ideas. Brian remembers that he began recording the \"bop bop good vibrations\" parts first, and that he came up with \"the high parts\" a week later.","Brian remembers that he began recording the \"bop bop good vibrations\" parts first, and that he came up with \"the high parts\" a week later. Mike Love recalled: \"I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long.\"","Mike Love recalled: \"I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long.\" Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute.","Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute. In early September, the master tapes for \"Good Vibrations\" were stolen. Mysteriously, they reappeared inside Brian's home two days later.","Mysteriously, they reappeared inside Brian's home two days later. On September 21, Brian completed the track after Tanner added a final Electro-Theremin overdub. In 1976 he elaborated on the event: \"It was at Columbia. I remember I had it right in the sack.","I remember I had it right in the sack. I could just feel it when I dubbed it down, made the final mix from the 16-track down to mono. It was a feeling of power, it was a rush. A feeling of exaltation. Artistic beauty. It was everything ... I remember saying, 'Oh my God.","I remember saying, 'Oh my God. Sit back and listen to this!'\" Composition and analysis Genre and dynamics There are six unique sections to the piece.","Composition and analysis Genre and dynamics There are six unique sections to the piece. Music theorist Daniel Harrison refers to these sections individually as the verse, the refrain (or chorus), the \"first episodic digression\", the \"second episodic digression\", the \"retro-refrain\", and the coda.","Music theorist Daniel Harrison refers to these sections individually as the verse, the refrain (or chorus), the \"first episodic digression\", the \"second episodic digression\", the \"retro-refrain\", and the coda. Each has a distinct musical texture, partly due to the nature of the song's recording.","Each has a distinct musical texture, partly due to the nature of the song's recording. The track's instrumentation changes radically from section to section, and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a \"very long\" duration.","The track's instrumentation changes radically from section to section, and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a \"very long\" duration. Wilson is quoted in 1979: He characterized the song as \"advanced rhythm and blues\".","Wilson is quoted in 1979: He characterized the song as \"advanced rhythm and blues\". Tom Roland of American Songwriter described the piece, \"with its interlocking segments—a sort of pop version of the classical sonata, consisting of a series of musical movements\".","Tom Roland of American Songwriter described the piece, \"with its interlocking segments—a sort of pop version of the classical sonata, consisting of a series of musical movements\". New York Magazine compared it to \"a fugue with a rhythmic beat\".","New York Magazine compared it to \"a fugue with a rhythmic beat\". John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs.","John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs. Music journal Sound on Sound argued that the song \"has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour\".","Music journal Sound on Sound argued that the song \"has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour\". It explained that the song subverts pop forms to a considerable degree: According to historian Lorenzo Candelaria, \"Good Vibrations\" has since been marketed as pop music \"possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know.\"","It explained that the song subverts pop forms to a considerable degree: According to historian Lorenzo Candelaria, \"Good Vibrations\" has since been marketed as pop music \"possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know.\" Uncut called the song \"three minutes and thirty-six seconds of avant-garde pop\".","Uncut called the song \"three minutes and thirty-six seconds of avant-garde pop\". Mixdown described it as a \"masterpiece of avant-pop\". The theremin and cello has been called the song's \"psychedelic ingredient\".","The theremin and cello has been called the song's \"psychedelic ingredient\". In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin.","In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin. Professor of American history John Robert Greene named \"Good Vibrations\" among examples of psychedelic or acid rock.","Professor of American history John Robert Greene named \"Good Vibrations\" among examples of psychedelic or acid rock. Stebbins wrote that the song was \"replete with sunshine [and] psychedelia\". Steve Valdez says that, like Pet Sounds, Brian was attempting a more experimental rock style.","Steve Valdez says that, like Pet Sounds, Brian was attempting a more experimental rock style. Comparing \"Good Vibrations\" to Wilson's previous work Pet Sounds, biographer Andrew Hickey said that the \"best way of thinking about [the song] is that it's taking the lowest common denominator of 'Here Today' and 'God Only Knows' and turned the result into an R&B track.","Comparing \"Good Vibrations\" to Wilson's previous work Pet Sounds, biographer Andrew Hickey said that the \"best way of thinking about [the song] is that it's taking the lowest common denominator of 'Here Today' and 'God Only Knows' and turned the result into an R&B track. We have the same minor-key change between verse and chorus we've seen throughout Pet Sounds, the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to funky.\"","We have the same minor-key change between verse and chorus we've seen throughout Pet Sounds, the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to funky.\" Author Jon Stebbins adds that \"unlike Pet Sounds the chorus of 'Good Vibrations' projects a definite 'rock and roll' energy and feel.\"","Author Jon Stebbins adds that \"unlike Pet Sounds the chorus of 'Good Vibrations' projects a definite 'rock and roll' energy and feel.\" According to academic Rikky Rooksby, \"Good Vibrations\" is an example of Brian Wilson's growing interest in musical development within a composition, something antithetical to popular music of the time.","According to academic Rikky Rooksby, \"Good Vibrations\" is an example of Brian Wilson's growing interest in musical development within a composition, something antithetical to popular music of the time. Suppressing tonic strength and cadential drive, the song makes use of descending harmonic motions through scale degrees controlled by a single tonic and \"radical disjunctions\" in key, texture, instrumentation, and mood while refusing to develop into a predictable formal pattern.","Suppressing tonic strength and cadential drive, the song makes use of descending harmonic motions through scale degrees controlled by a single tonic and \"radical disjunctions\" in key, texture, instrumentation, and mood while refusing to develop into a predictable formal pattern. It instead develops \"under its own power\" and \"luxuriates in harmonic variety\" exemplified by beginning and ending not only in different keys but also in different modes.","It instead develops \"under its own power\" and \"luxuriates in harmonic variety\" exemplified by beginning and ending not only in different keys but also in different modes. Verses and refrains (0:00–1:40) \"Good Vibrations\" begins without introduction in a traditional verse/refrain format, opening with Carl Wilson singing the word \"I\", a triplet eighth note before the downbeat.","Verses and refrains (0:00–1:40) \"Good Vibrations\" begins without introduction in a traditional verse/refrain format, opening with Carl Wilson singing the word \"I\", a triplet eighth note before the downbeat. The sparse first verse contains a repetition of chords played on a Hammond organ filtered through a Leslie speaker; underneath is a two-bar Fender bass melody.","The sparse first verse contains a repetition of chords played on a Hammond organ filtered through a Leslie speaker; underneath is a two-bar Fender bass melody. This sequence repeats once (0:15), but with the addition of two piccolos sustaining over a falling flute line.","This sequence repeats once (0:15), but with the addition of two piccolos sustaining over a falling flute line. For percussion, bongo drums double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation.","For percussion, bongo drums double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation. The beat projects a triplet feel despite being in time; this is sometimes called a \"shuffle beat\" or \"threes over fours\".","The beat projects a triplet feel despite being in time; this is sometimes called a \"shuffle beat\" or \"threes over fours\". The chord progression used is i–VII–VI–V, also called an Andalusian cadence. Although the verses begin in the minor mode of E, the mode is not used to express sadness or drudgery.","Although the verses begin in the minor mode of E, the mode is not used to express sadness or drudgery. Occurring at the very end of these verses is a passing chord, D. The refrain (0:25) begins in the newly tonicized relative major G, which suggests III.","Occurring at the very end of these verses is a passing chord, D. The refrain (0:25) begins in the newly tonicized relative major G, which suggests III. Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music.","Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music. The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat.","The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat. This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals.","This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals. The first section consists of only the couplet \"I'm picking up good vibrations/she's giving me the excitation\" sung by Mike Love in his bass-baritone register; the second repeats the lines and adds an \"ooo bop bop\" figure, sung in multiple-part harmony; the third time also adds a \"good, good, good, good vibrations\" in yet a higher harmony.","The first section consists of only the couplet \"I'm picking up good vibrations/she's giving me the excitation\" sung by Mike Love in his bass-baritone register; the second repeats the lines and adds an \"ooo bop bop\" figure, sung in multiple-part harmony; the third time also adds a \"good, good, good, good vibrations\" in yet a higher harmony. This type of polyphony (counterpoint) is also rare in contemporary popular styles.","This type of polyphony (counterpoint) is also rare in contemporary popular styles. Each repeat of the vocal lines also transposes up by a whole step, ascending from G to A and then B. It then returns to the verse, thus making a perfect cadence back into E minor.","It then returns to the verse, thus making a perfect cadence back into E minor. The verse and refrain then repeat without any changes to the patterns of its instrumentation and harmony. This is unusual, in that normally, a song's arrangement adds something once it reaches the second verse.","This is unusual, in that normally, a song's arrangement adds something once it reaches the second verse. Episodic digressions First episode (1:41–2:13) The first episode (1:41+) begins disjunctively with an abrupt tape splice.","Episodic digressions First episode (1:41–2:13) The first episode (1:41+) begins disjunctively with an abrupt tape splice. The refrain's B, which had received a dominant (V) charge, is now maintained as a tonic (I).","The refrain's B, which had received a dominant (V) charge, is now maintained as a tonic (I). There is harmonic ambiguity, in that the chord progression may be either interpreted as I–IV–I (in B) or V–I–V (in E).","There is harmonic ambiguity, in that the chord progression may be either interpreted as I–IV–I (in B) or V–I–V (in E). Stebbins says that this section \"might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply.\"","Stebbins says that this section \"might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply.\" A new sound is created by tack piano, jaw harp, and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, bass harmonica, and sleigh bells shaken on every beat.","A new sound is created by tack piano, jaw harp, and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, bass harmonica, and sleigh bells shaken on every beat. The lone line of vocals (aside from non-lexical harmonies) is \"I don't know where, but she sends me there\" sung in Mike Love's upper-register baritone.","The lone line of vocals (aside from non-lexical harmonies) is \"I don't know where, but she sends me there\" sung in Mike Love's upper-register baritone. This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns.","This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns. Second episode (2:13–2:56) Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat.","Second episode (2:13–2:56) Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat. Sound on Sound highlights this change as the \"most savage edit in the track ... most people would go straight into a big splash hook-line section.","Sound on Sound highlights this change as the \"most savage edit in the track ... most people would go straight into a big splash hook-line section. Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ...","Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ... Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian.\"","Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian.\" Harrison says: The slowed pace is complemented by the lyric (\"Gotta keep those loving good vibrations a-happening with her\"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony.","Harrison says: The slowed pace is complemented by the lyric (\"Gotta keep those loving good vibrations a-happening with her\"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony. This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2.","This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2. The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats.","The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats. Lambert calls it the song's \"wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments.","Lambert calls it the song's \"wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments. As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say.\"","As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say.\" Retro-refrain and coda (2:57–3:35) A brief break at the end of the second musical digression creates tension which leads into the final sequence of the song.","Retro-refrain and coda (2:57–3:35) A brief break at the end of the second musical digression creates tension which leads into the final sequence of the song. The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B, repeats at A, and then ends at G for an unexpectedly short single measure.","The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B, repeats at A, and then ends at G for an unexpectedly short single measure. The section uses a descending progression, which mirrors the ascending progression of the previous two refrains.","The section uses a descending progression, which mirrors the ascending progression of the previous two refrains. There follows a short section of vocalizing in three-part counterpoint that references the original refrain by reproducing upward transposition. However, this time it settles on A, the concluding key of the song.","However, this time it settles on A, the concluding key of the song. By the end of \"Good Vibrations,\" all seven scale degrees of the opening E-minor tonic are activated on some level.","By the end of \"Good Vibrations,\" all seven scale degrees of the opening E-minor tonic are activated on some level. Release and promotion In a July 1966 advertisement for Pet Sounds in Billboard magazine, the band thanked the music industry for the sales of their album, and said that \"We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations.\"","Release and promotion In a July 1966 advertisement for Pet Sounds in Billboard magazine, the band thanked the music industry for the sales of their album, and said that \"We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations.\" This was the first public hint of the new single.","This was the first public hint of the new single. Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was \"about a guy who picks up good vibrations from a girl\" and that it would be a \"monster\".","Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was \"about a guy who picks up good vibrations from a girl\" and that it would be a \"monster\". He then suggested: \"It's still sticking pretty close to that same boy-girl thing, you know, but with a difference.","He then suggested: \"It's still sticking pretty close to that same boy-girl thing, you know, but with a difference. And it's a start, it's definitely a start.\"","And it's a start, it's definitely a start.\" Derek Taylor, who had recently been engaged as the band's publicist, is credited for coining the term a \"pocket symphony\" to describe the song.","Derek Taylor, who had recently been engaged as the band's publicist, is credited for coining the term a \"pocket symphony\" to describe the song. In a press release for the single, he stated: \"Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils.","In a press release for the single, he stated: \"Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils. And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else.\"","And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else.\" To promote the single, four different music videos were shot.","To promote the single, four different music videos were shot. The first of these—which had Caleb Deschanel as cameraman—features the group at a fire station, sliding down its pole, and roaming the streets of Los Angeles in a fashion comparable to The Monkees. The second features the group during vocal rehearsals at United Western Recorders.","The second features the group during vocal rehearsals at United Western Recorders. The third contains footage recorded during the making of The Beach Boys in London, a documentary by Peter Whitehead of their concert performances. The fourth clip is an alternative edit of the third.","The fourth clip is an alternative edit of the third. Brian also made a rare television appearance on local station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record.","Brian also made a rare television appearance on local station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record. On October 15, 1966, Billboard predicted that the single would reach the top 20 in the Billboard Hot 100 chart.","On October 15, 1966, Billboard predicted that the single would reach the top 20 in the Billboard Hot 100 chart. \"Good Vibrations\" was the Beach Boys' third US number one hit, after \"I Get Around\" and \"Help Me, Rhonda\", reaching the top of the Hot 100 in December.","\"Good Vibrations\" was the Beach Boys' third US number one hit, after \"I Get Around\" and \"Help Me, Rhonda\", reaching the top of the Hot 100 in December. It was also their first number one in Britain.","It was also their first number one in Britain. The single sold over 230,000 copies in the US within four days of its release and entered the Cash Box chart at number 61 on October 22. In the UK, the song sold over 50,000 copies in the first 15 days of its release.","In the UK, the song sold over 50,000 copies in the first 15 days of its release. \"Good Vibrations\" quickly became the Beach Boys' first million-selling single. In December 1966, the record was their first single certified gold by the RIAA for sales of one million copies.","In December 1966, the record was their first single certified gold by the RIAA for sales of one million copies. On March 30, 2016, the digital single was certified platinum by the RIAA for the same sales level.","On March 30, 2016, the digital single was certified platinum by the RIAA for the same sales level. In the US, Cash Box said that it is a \"catchy, easy-driving ditty loaded with the Boys’ money-making sound.\" In Britain, the single received favorable reviews from the New Musical Express and Melody Maker.","In Britain, the single received favorable reviews from the New Musical Express and Melody Maker. Soon after, the Beach Boys were voted the number one band in the world in the NME readers' poll, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops.","Soon after, the Beach Boys were voted the number one band in the world in the NME readers' poll, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops. Billboard said that this result was probably influenced by the success of \"Good Vibrations\" when the votes were cast, together with the band's recent tour, whereas the Beatles had neither a recent single nor had they toured the UK throughout 1966; the reporter added that \"The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak.\"","Billboard said that this result was probably influenced by the success of \"Good Vibrations\" when the votes were cast, together with the band's recent tour, whereas the Beatles had neither a recent single nor had they toured the UK throughout 1966; the reporter added that \"The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak.\" In a readers' poll conducted by a Danish newspaper, Brian Wilson won the \"best foreign-produced recording award\", marking the first time that an American had won in that category.","In a readers' poll conducted by a Danish newspaper, Brian Wilson won the \"best foreign-produced recording award\", marking the first time that an American had won in that category. The single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc.","The single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc. Influence and legacy Historical reception Virtually every pop music critic recognizes \"Good Vibrations\" as one of the most important compositions and recordings of the entire rock era.","Influence and legacy Historical reception Virtually every pop music critic recognizes \"Good Vibrations\" as one of the most important compositions and recordings of the entire rock era. It is a regular fixture on \"greatest of all-time\" song lists and is frequently hailed as one of the finest pop productions of all time.","It is a regular fixture on \"greatest of all-time\" song lists and is frequently hailed as one of the finest pop productions of all time. In 2004, Rolling Stone magazine ranked \"Good Vibrations\" at number 6 in \"The 500 Greatest Songs of All Time\", the highest position of seven Beach Boys songs cited in the list.","In 2004, Rolling Stone magazine ranked \"Good Vibrations\" at number 6 in \"The 500 Greatest Songs of All Time\", the highest position of seven Beach Boys songs cited in the list. In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list.","In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list. As of 2016, \"Good Vibrations\" is ranked as the number four song of all time in an aggregation of critics' lists at Acclaimed Music. The song served as an anthem for the counterculture of the 1960s.","The song served as an anthem for the counterculture of the 1960s. According to Noel Murray of The A.V.","According to Noel Murray of The A.V. Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's \"un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do.\"","Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's \"un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do.\" Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for \"Good Vibrations\".","Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for \"Good Vibrations\". \"Heroes and Villains\", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967.","\"Heroes and Villains\", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967. In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of \"Good Vibrations\".","In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of \"Good Vibrations\". When asked about the song in 1990, Paul McCartney responded: \"I thought it was a great record.","When asked about the song in 1990, Paul McCartney responded: \"I thought it was a great record. It didn't quite have the emotional thing that Pet Sounds had for me. I've often played Pet Sounds and cried. It's that kind of an album for me.\"","It's that kind of an album for me.\" Pete Townshend of the Who was quoted in the 1960s as saying, \"'Good Vibrations' was probably a good record but who's to know? You had to play it about 90 bloody times to even hear what they were singing about.\"","You had to play it about 90 bloody times to even hear what they were singing about.\" Townshend feared that the single would lead to a trend of overproduction. In a 1966 issue of Arts Magazine, Jonathan King said: \"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art.","In a 1966 issue of Arts Magazine, Jonathan King said: \"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art. Computerized pop, mechanized music. Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons.","Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons. It is long and split. ... impressive, fantastic, commercial—yes. Emotional, soul-destroying, shattering—no.\"","Emotional, soul-destroying, shattering—no.\" In the 2000s, record producer Phil Spector criticized the single for depending too much on tape manipulation, negatively referring to it as an \"edit record ... It's like Psycho is a great film, but it's an 'edit film.'","It's like Psycho is a great film, but it's an 'edit film.' Without edits, it's not a film; with edits, it's a great film. But it's not Rebecca ... it's not a beautiful story.\"","But it's not Rebecca ... it's not a beautiful story.\" Advancements Recording and popular music \"Good Vibrations\" is credited for having further developed the use of recording studios as a musical instrument.","Advancements Recording and popular music \"Good Vibrations\" is credited for having further developed the use of recording studios as a musical instrument. Author Domenic Priore commented that the song's making was \"unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording\".","Author Domenic Priore commented that the song's making was \"unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording\". A milestone in the development of rock music, the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record.","A milestone in the development of rock music, the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record. Musicologist Charlie Gillett called it \"one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance\".","Musicologist Charlie Gillett called it \"one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance\". In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted: Writing for Popmatters in 2015, Scott Interrante stated: \"'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have.\"","In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted: Writing for Popmatters in 2015, Scott Interrante stated: \"'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have.\" The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm.","The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm. Microtonal composer Frank Oteri said that it \"sounds like no other pop song recorded up to that point\".","Microtonal composer Frank Oteri said that it \"sounds like no other pop song recorded up to that point\". According to Stebbins: \"This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original.","According to Stebbins: \"This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original. But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century.\"","But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century.\" He added that the single \"vaulted nearly every other rock act in their delivery of a Flower Power classic. It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop.\"","It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop.\" John Bush wrote that the single \"announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies\".","John Bush wrote that the single \"announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies\". Gillett noted: \"For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording.\"","Gillett noted: \"For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording.\" Priore says that the song was a forerunner to works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes.","Priore says that the song was a forerunner to works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes. In his appraisal for American Songwriter, Roland cites the song's \"format\" as the model for recordings by Wings (\"Band on the Run\"), the Beatles (\"A Day in the Life\"), and Elton John (\"Funeral for a Friend/Love Lies Bleeding\").","In his appraisal for American Songwriter, Roland cites the song's \"format\" as the model for recordings by Wings (\"Band on the Run\"), the Beatles (\"A Day in the Life\"), and Elton John (\"Funeral for a Friend/Love Lies Bleeding\"). The song's approach was repeated in Queen's 1975 single \"Bohemian Rhapsody\", which was similarly pieced together using different sections.","The song's approach was repeated in Queen's 1975 single \"Bohemian Rhapsody\", which was similarly pieced together using different sections. Wilson praised Queen's effort, calling it \"the most competitive thing that's come along in ages\" and \"a fulfillment and an answer to a teenage prayer—of artistic music\".","Wilson praised Queen's effort, calling it \"the most competitive thing that's come along in ages\" and \"a fulfillment and an answer to a teenage prayer—of artistic music\". Psychedelic and progressive rock With \"Good Vibrations\", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages.","Psychedelic and progressive rock With \"Good Vibrations\", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages. Writing in 2009, Barney Hoskyns deemed it to be the era's \"ultimate psychedelic pop record\" from Los Angeles.","Writing in 2009, Barney Hoskyns deemed it to be the era's \"ultimate psychedelic pop record\" from Los Angeles. Interrante adds: \"Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated, but its legacy as a pop hit is impressive as well.\"","Interrante adds: \"Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated, but its legacy as a pop hit is impressive as well.\" Former Atlantic Records executive Phillip Rauls recalled: \"I was in the music business at the time, and my very first recognition of acid rock—we didn't call it progressive rock then—was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [theremin] sent so many musicians back to the studio to create this music on acid.\"","Former Atlantic Records executive Phillip Rauls recalled: \"I was in the music business at the time, and my very first recognition of acid rock—we didn't call it progressive rock then—was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [theremin] sent so many musicians back to the studio to create this music on acid.\" Author Bill Martin suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: \"The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life.'\"","Author Bill Martin suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: \"The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life.'\" Use of theremin Although the song does not technically contain a theremin, \"Good Vibrations\" is the most frequently cited example of the instrument's use in pop music.","Use of theremin Although the song does not technically contain a theremin, \"Good Vibrations\" is the most frequently cited example of the instrument's use in pop music. Upon release, the single prompted an unexpected revival in theremins and increased the awareness of analog synthesizers.","Upon release, the single prompted an unexpected revival in theremins and increased the awareness of analog synthesizers. The notion that \"Good Vibrations\" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants.","The notion that \"Good Vibrations\" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants. While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin.","While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin. When the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments.","When the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments. Tanner recalls saying to Wilson, \"I've got the wrong sort of hair to be on stage with you fellas\", to which Wilson replied: \"We'll give you a Prince Valiant wig.\"","Tanner recalls saying to Wilson, \"I've got the wrong sort of hair to be on stage with you fellas\", to which Wilson replied: \"We'll give you a Prince Valiant wig.\" The Beach Boys then requested the services of Walter Sear, who asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar.","The Beach Boys then requested the services of Walter Sear, who asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar. Sear remembers marking fretboard-like lines on the ribbon \"so they could play the damn thing.\" Moog began manufacturing his own models of theremins.","Moog began manufacturing his own models of theremins. He later noted: \"The pop record scene cleaned us out of our stock which we expected to last through Christmas.\"","He later noted: \"The pop record scene cleaned us out of our stock which we expected to last through Christmas.\" In Steven M. Martin's 1993 documentary Theremin: An Electronic Odyssey, in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin due to \"Good Vibrations\" caused Russian authorities to exile its inventor, Leon Theremin.","In Steven M. Martin's 1993 documentary Theremin: An Electronic Odyssey, in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin due to \"Good Vibrations\" caused Russian authorities to exile its inventor, Leon Theremin. Cover versions The song has been covered by artists such as Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV.","Cover versions The song has been covered by artists such as Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV. John Bush commented: \"'Good Vibrations' was rarely reprised by other acts, even during the cover-happy '60s. Its fragmented style made it essentially cover-proof.\"","Its fragmented style made it essentially cover-proof.\" In 1976, a nearly identical cover version was released as a single by Todd Rundgren for his album Faithful. When asked for his opinion, Brian said: \"Oh, he did a marvelous job, he did a great job. I was very proud of his version.\"","I was very proud of his version.\" Rundgren's single peaked at number 34 on the Billboard Hot 100.","Rundgren's single peaked at number 34 on the Billboard Hot 100. Rundgren explained: \"I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting—like around Pet Sounds and 'Good Vibrations' ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal.","Rundgren explained: \"I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting—like around Pet Sounds and 'Good Vibrations' ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal. ...","... ... I tried to do [the song] as literally as I could because in the intervening 10 years, radio had changed so much. Radio had become so formatted and so structured that that whole experience was already gone.\" In 2004, Wilson re-recorded the song as a solo artist for his album Brian Wilson Presents Smile.","In 2004, Wilson re-recorded the song as a solo artist for his album Brian Wilson Presents Smile. It was sequenced as the album's closing track, following \"In Blue Hawaii\". In this version, \"Good Vibrations\" was the project's only track that eschewed the modular recording method.","In this version, \"Good Vibrations\" was the project's only track that eschewed the modular recording method. The song's verses and chorus were recorded as part of one whole take, and were not spliced together.","The song's verses and chorus were recorded as part of one whole take, and were not spliced together. In 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated.","In 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated. Their version of \"Good Vibrations\", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on Billboards A/C chart.","Their version of \"Good Vibrations\", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on Billboards A/C chart. In popular culture The song's parody is used for the jingle of the Australian consumer electronics retailer The Good Guys.","In popular culture The song's parody is used for the jingle of the Australian consumer electronics retailer The Good Guys. In 1996, experimental rock group His Name Is Alive released an homage titled \"Universal Frequencies\" on their album Stars on E.S.P.","In 1996, experimental rock group His Name Is Alive released an homage titled \"Universal Frequencies\" on their album Stars on E.S.P. Warren Defever reportedly listened to \"Good Vibrations\" repeatedly for a week before deciding that the song \"needed a sequel\"; he added: \"'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful.\"","Warren Defever reportedly listened to \"Good Vibrations\" repeatedly for a week before deciding that the song \"needed a sequel\"; he added: \"'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful.\" In 1997, the movie Vegas Vacation used the song for the opening credits, with Clark Griswold (Chevy Chase) singing the song.","In 1997, the movie Vegas Vacation used the song for the opening credits, with Clark Griswold (Chevy Chase) singing the song. The song's lyrics \"I'm picking up good vibrations\" are quoted in Cyndi Lauper's 1984 single \"She Bop\".","The song's lyrics \"I'm picking up good vibrations\" are quoted in Cyndi Lauper's 1984 single \"She Bop\". A live version of the song, from the album Live in London, appears as a playable track in the 2010 video game Rock Band 3.","A live version of the song, from the album Live in London, appears as a playable track in the 2010 video game Rock Band 3. In 2019, the song was used prominently in a scene for Jordan Peele's psychological horror thriller film Us.","In 2019, the song was used prominently in a scene for Jordan Peele's psychological horror thriller film Us. In 2018, The song was featured in the animated film Hotel Transylvania 3: Summer Vacation.","In 2018, The song was featured in the animated film Hotel Transylvania 3: Summer Vacation. Release history In early 2011, the single was remastered and reissued as a four-sided 78 rpm vinyl for Record Store Day, as a teaser for the forthcoming The Smile Sessions box set.","Release history In early 2011, the single was remastered and reissued as a four-sided 78 rpm vinyl for Record Store Day, as a teaser for the forthcoming The Smile Sessions box set. It contained \"Heroes and Villains\" as a B-side, along with previously released alternate takes and mixes.","It contained \"Heroes and Villains\" as a B-side, along with previously released alternate takes and mixes. Stereo version Due to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile.","Stereo version Due to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile. The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett.","The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett. Fitzgerald's software extracted individual instrumental and vocal stems from the original mono master—as the multi-track vocals remained missing—to construct the stereo version that appears on the 2012 reissue of Smiley Smile.","Fitzgerald's software extracted individual instrumental and vocal stems from the original mono master—as the multi-track vocals remained missing—to construct the stereo version that appears on the 2012 reissue of Smiley Smile. 40th Anniversary Edition In celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released.","40th Anniversary Edition In celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released. The EP includes \"Good Vibrations\", four alternate versions of the song, and the stereo mix of \"Let's Go Away for Awhile\". The EP artwork recreates that of the original 7-inch single sleeve.","The EP artwork recreates that of the original 7-inch single sleeve. In 2016, the EP was reissued as a 12\" record for the single's 50th anniversary. Personnel The following people are identified as players on the \"Good Vibrations\" single.","Personnel The following people are identified as players on the \"Good Vibrations\" single. The Beach Boys Mike Love – lead vocals in chorus Brian Wilson – vocals, tack piano, tambourine, production, mixing Carl Wilson – lead vocals in verses, guitar, shaker Dennis Wilson – Hammond organ during 2:13–2:56 Additional musicians and production staff Hal Blaine – drums, timpani, other percussion Al De Lory – piano, harpsichord Jesse Ehrlich – cello Larry Knechtel – organ in verses and choruses Tommy Morgan – harmonica Al Casey – guitar Ray Pohlman – electric bass Lyle Ritz – double bass Jim Horn – piccolo Paul Tanner – Electro-Theremin Bassist Carol Kaye played on several of the \"Good Vibrations\" sessions, and has been identified as a prominent contributor to the track.","The Beach Boys Mike Love – lead vocals in chorus Brian Wilson – vocals, tack piano, tambourine, production, mixing Carl Wilson – lead vocals in verses, guitar, shaker Dennis Wilson – Hammond organ during 2:13–2:56 Additional musicians and production staff Hal Blaine – drums, timpani, other percussion Al De Lory – piano, harpsichord Jesse Ehrlich – cello Larry Knechtel – organ in verses and choruses Tommy Morgan – harmonica Al Casey – guitar Ray Pohlman – electric bass Lyle Ritz – double bass Jim Horn – piccolo Paul Tanner – Electro-Theremin Bassist Carol Kaye played on several of the \"Good Vibrations\" sessions, and has been identified as a prominent contributor to the track. However, analysis by Beach Boys archivist Craig Slowinski indicates that none of those recordings made the final edit as released on the single.","However, analysis by Beach Boys archivist Craig Slowinski indicates that none of those recordings made the final edit as released on the single. Charts Weekly charts Original release 1976 reissue Todd Rundgren version (1976) Year-end charts Certifications Awards and accolades Footnotes References Bibliography External links Greg Panfile's Musical Analysis of \"Good Vibrations\" 1966 singles 1966 songs 2004 singles 2011 singles Brian Wilson songs Psychic TV songs The Beach Boys songs Todd Rundgren songs Capitol Records singles Grammy Hall of Fame Award recipients Billboard Hot 100 number-one singles Cashbox number-one singles Number-one singles in Australia Number-one singles in New Zealand UK Singles Chart number-one singles Songs written by Brian Wilson Songs written by Mike Love Songs written by Tony Asher Song recordings produced by Brian Wilson Song recordings with Wall of Sound arrangements Art pop songs Avant-pop songs Psychedelic pop songs American psychedelic rock songs Songs used as jingles Songs composed in E-flat minor"],"string":"[\n \"\\\"Good Vibrations\\\" is a song by the American rock band the Beach Boys that was composed by Brian Wilson with lyrics by Mike Love. It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping record charts in several countries including the United States and the United Kingdom.\",\n \"It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping record charts in several countries including the United States and the United Kingdom. Characterized by its complex soundscapes, episodic structure and subversions of pop music formula, it was the most expensive single ever recorded.\",\n \"Characterized by its complex soundscapes, episodic structure and subversions of pop music formula, it was the most expensive single ever recorded. \\\"Good Vibrations\\\" later became widely acclaimed as one of the finest and most important works of the rock era.\",\n \"\\\"Good Vibrations\\\" later became widely acclaimed as one of the finest and most important works of the rock era. Also produced by Wilson, the title derived from his fascination with cosmic vibrations, as his mother would tell him as a child that dogs sometimes bark at people in response to their \\\"bad vibrations\\\".\",\n \"Also produced by Wilson, the title derived from his fascination with cosmic vibrations, as his mother would tell him as a child that dogs sometimes bark at people in response to their \\\"bad vibrations\\\". He used the concept to suggest extrasensory perception, while Love's lyrics were inspired by the nascent Flower Power movement.\",\n \"He used the concept to suggest extrasensory perception, while Love's lyrics were inspired by the nascent Flower Power movement. The song was written as it was recorded and in a similar fashion to other compositions from Wilson's Smile period.\",\n \"The song was written as it was recorded and in a similar fashion to other compositions from Wilson's Smile period. It was issued as a standalone single, backed with \\\"Let's Go Away for Awhile\\\", and was to be included on the never-finished album Smile.\",\n \"It was issued as a standalone single, backed with \\\"Let's Go Away for Awhile\\\", and was to be included on the never-finished album Smile. Instead, the track appeared on the September 1967 release Smiley Smile. The making of \\\"Good Vibrations\\\" was unprecedented for any kind of recording.\",\n \"The making of \\\"Good Vibrations\\\" was unprecedented for any kind of recording. Building on his approach for Pet Sounds, Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of session musicians at four different Hollywood studios from February to September 1966, a process reflected in the song's several dramatic shifts in key, texture, instrumentation and mood.\",\n \"Building on his approach for Pet Sounds, Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of session musicians at four different Hollywood studios from February to September 1966, a process reflected in the song's several dramatic shifts in key, texture, instrumentation and mood. Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars.\",\n \"Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars. Band publicist Derek Taylor dubbed the unusual work a \\\"pocket symphony\\\".\",\n \"Band publicist Derek Taylor dubbed the unusual work a \\\"pocket symphony\\\". It helped develop the use of the studio as an instrument and heralded a wave of pop experimentation and the onset of psychedelic and progressive rock.\",\n \"It helped develop the use of the studio as an instrument and heralded a wave of pop experimentation and the onset of psychedelic and progressive rock. The track featured a novel mix of instruments, including jaw harp and Electro-Theremin, and although the latter is not a true theremin, the song's success led to a renewed interest and sales of theremins and synthesizers.\",\n \"The track featured a novel mix of instruments, including jaw harp and Electro-Theremin, and although the latter is not a true theremin, the song's success led to a renewed interest and sales of theremins and synthesizers. \\\"Good Vibrations\\\" received a Grammy nomination for Best Vocal Group performance in 1966 and was inducted into the Grammy Hall of Fame in 1994.\",\n \"\\\"Good Vibrations\\\" received a Grammy nomination for Best Vocal Group performance in 1966 and was inducted into the Grammy Hall of Fame in 1994. The song was voted number one in Mojos \\\"Top 100 Records of All Time\\\" and number six on Rolling Stones \\\"500 Greatest Songs of All Time\\\", and it was included in the Rock and Roll Hall of Fame's \\\"500 Songs that Shaped Rock and Roll\\\".\",\n \"The song was voted number one in Mojos \\\"Top 100 Records of All Time\\\" and number six on Rolling Stones \\\"500 Greatest Songs of All Time\\\", and it was included in the Rock and Roll Hall of Fame's \\\"500 Songs that Shaped Rock and Roll\\\". In later years, the song has been cited as a forerunner to the Beatles' \\\"A Day in the Life\\\" (1967) and Queen's \\\"Bohemian Rhapsody\\\" (1975).\",\n \"In later years, the song has been cited as a forerunner to the Beatles' \\\"A Day in the Life\\\" (1967) and Queen's \\\"Bohemian Rhapsody\\\" (1975). A 1976 cover version by Todd Rundgren peaked at number 34 on the Billboard Hot 100.\",\n \"A 1976 cover version by Todd Rundgren peaked at number 34 on the Billboard Hot 100. The Beach Boys followed up \\\"Good Vibrations\\\" with another single pieced from sections, \\\"Heroes and Villains\\\" (1967), but it was less successful.\",\n \"The Beach Boys followed up \\\"Good Vibrations\\\" with another single pieced from sections, \\\"Heroes and Villains\\\" (1967), but it was less successful. Inspiration and writing Concept and early lyrics The Beach Boys' leader, Brian Wilson, was responsible for the musical composition and virtually all of the arrangement for \\\"Good Vibrations\\\".\",\n \"Inspiration and writing Concept and early lyrics The Beach Boys' leader, Brian Wilson, was responsible for the musical composition and virtually all of the arrangement for \\\"Good Vibrations\\\". Most of the song's structure and arrangement was written as it was recorded.\",\n \"Most of the song's structure and arrangement was written as it was recorded. During the recording sessions for the 1966 album Pet Sounds, Wilson began changing his writing process. For \\\"Good Vibrations\\\", Wilson said, \\\"I had a lot of unfinished ideas, fragments of music I called 'feels.'\",\n \"For \\\"Good Vibrations\\\", Wilson said, \\\"I had a lot of unfinished ideas, fragments of music I called 'feels.' Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic.\\\"\",\n \"Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic.\\\" Engineer Chuck Britz is quoted saying that Wilson considered the song to be \\\"his whole life performance in one track\\\". Wilson stated: \\\"I was an energetic 23-year-old. ...\",\n \"Wilson stated: \\\"I was an energetic 23-year-old. ... ... I said: 'This is going to be better than [the Phil Spector production] \\\"You've Lost That Lovin' Feelin'. Wilson said that \\\"Good Vibrations\\\" was inspired by his mother: \\\"[She] used to tell me about vibrations.\",\n \"Wilson said that \\\"Good Vibrations\\\" was inspired by his mother: \\\"[She] used to tell me about vibrations. I didn't really understand too much of what it meant when I was just a boy. It scared me, the word 'vibrations.'\",\n \"It scared me, the word 'vibrations.' She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel.\\\"\",\n \"She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel.\\\" Brian first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea.\",\n \"Brian first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea. When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style.\",\n \"When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style. Asher remembered: Wilson wanted to call the song \\\"Good Vibes\\\", but Asher advised that it was \\\"lightweight use of the language\\\", and suggested that \\\"Good Vibrations\\\" would sound less \\\"trendy\\\".\",\n \"Asher remembered: Wilson wanted to call the song \\\"Good Vibes\\\", but Asher advised that it was \\\"lightweight use of the language\\\", and suggested that \\\"Good Vibrations\\\" would sound less \\\"trendy\\\". The two proceeded to write lyrics for the verses that were ultimately discarded.\",\n \"The two proceeded to write lyrics for the verses that were ultimately discarded. Theremin and cello From the start, Wilson envisioned a theremin for the track.\",\n \"Theremin and cello From the start, Wilson envisioned a theremin for the track. AllMusic reviewer John Bush pointed out: \\\"Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel—between the single's theme and its use of an instrument the player never even touched.\\\"\",\n \"AllMusic reviewer John Bush pointed out: \\\"Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel—between the single's theme and its use of an instrument the player never even touched.\\\" \\\"Good Vibrations\\\" does not technically feature a theremin, but rather an Electro-Theremin, which is physically controlled by a knob on the side of the instrument.\",\n \"\\\"Good Vibrations\\\" does not technically feature a theremin, but rather an Electro-Theremin, which is physically controlled by a knob on the side of the instrument. It was dubbed a \\\"theremin\\\" simply for convenience.\",\n \"It was dubbed a \\\"theremin\\\" simply for convenience. At that time, theremins were most often associated with the 1945 Alfred Hitchcock film Spellbound, but their most common presence was in the theme music for the television sitcom My Favorite Martian, which ran from 1963 to 1966.\",\n \"At that time, theremins were most often associated with the 1945 Alfred Hitchcock film Spellbound, but their most common presence was in the theme music for the television sitcom My Favorite Martian, which ran from 1963 to 1966. Britz speculates: \\\"He just walked in and said, 'I have this new sound for you.'\",\n \"Britz speculates: \\\"He just walked in and said, 'I have this new sound for you.' I think he must have heard the sound somewhere and loved it, and built a song around it.\\\" It is unclear whether Wilson knew that the instrument was not a real theremin.\",\n \"It is unclear whether Wilson knew that the instrument was not a real theremin. Brian credited his brother and bandmate Carl for suggesting the use of a cello on the track.\",\n \"Brian credited his brother and bandmate Carl for suggesting the use of a cello on the track. He further stated that its triplet beat on the chorus was his own idea and that it was based on the Crystals' \\\"Da Doo Ron Ron\\\" (1963), produced by Spector.\",\n \"He further stated that its triplet beat on the chorus was his own idea and that it was based on the Crystals' \\\"Da Doo Ron Ron\\\" (1963), produced by Spector. Conversely, arranger and session musician Van Dyke Parks said that it was himself who suggested having the cellist play triplets to Brian.\",\n \"Conversely, arranger and session musician Van Dyke Parks said that it was himself who suggested having the cellist play triplets to Brian. Parks believed that having Brian exploit the cello \\\"to such a hyperbolic degree\\\" was what encouraged the duo to immediately collaborate on the never-finished album Smile.\",\n \"Parks believed that having Brian exploit the cello \\\"to such a hyperbolic degree\\\" was what encouraged the duo to immediately collaborate on the never-finished album Smile. At some point, Wilson asked Parks to pen lyrics for \\\"Good Vibrations\\\", although Parks declined.\",\n \"At some point, Wilson asked Parks to pen lyrics for \\\"Good Vibrations\\\", although Parks declined. Influences and final lyrics Wilson's cousin and bandmate Mike Love submitted the final lyrics for \\\"Good Vibrations\\\" and contributed its bass-baritone vocals in the chorus.\",\n \"Influences and final lyrics Wilson's cousin and bandmate Mike Love submitted the final lyrics for \\\"Good Vibrations\\\" and contributed its bass-baritone vocals in the chorus. He recalled that when he heard the unfinished backing track: \\\"[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it.\",\n \"He recalled that when he heard the unfinished backing track: \\\"[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it. How's this going to go over in the Midwest or Birmingham?\",\n \"How's this going to go over in the Midwest or Birmingham? It was such a departure from 'Surfin' U.S.A.' or 'Help Me, Rhonda.'\\\" Love said that he wrote the words while on the drive to the studio.\",\n \"Love said that he wrote the words while on the drive to the studio. Feeling that the song could be \\\"the Beach Boys' psychedelic anthem or flower power offering,\\\" he based the lyrics on the burgeoning psychedelic music and Flower Power movements occurring in San Francisco and some parts of the Los Angeles area.\",\n \"Feeling that the song could be \\\"the Beach Boys' psychedelic anthem or flower power offering,\\\" he based the lyrics on the burgeoning psychedelic music and Flower Power movements occurring in San Francisco and some parts of the Los Angeles area. He described the lyrics as \\\"just a flowery poem.\",\n \"He described the lyrics as \\\"just a flowery poem. Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair.'\\\"\",\n \"Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair.'\\\" Writing in his 1975 book The Beach Boys: Southern California Pastoral, Bruce Golden observed: Capitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his LSD experiences.\",\n \"Writing in his 1975 book The Beach Boys: Southern California Pastoral, Bruce Golden observed: Capitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his LSD experiences. Brian clarified that the song was written under the influence of marijuana, not LSD.\",\n \"Brian clarified that the song was written under the influence of marijuana, not LSD. He explained: \\\"I made ‘Good Vibrations’ on drugs; I used drugs to make that. ... I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity.\\\"\",\n \"I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity.\\\" In Steven Gaines's 1986 biography, Wilson is quoted on the lyrics: \\\"We talked about good vibrations with the song and the idea, and we decided on one hand that you could say ... those are sensual things.\",\n \"In Steven Gaines's 1986 biography, Wilson is quoted on the lyrics: \\\"We talked about good vibrations with the song and the idea, and we decided on one hand that you could say ... those are sensual things. And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have.\",\n \"And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have. That's what we're really talking about.\\\" Wilson said in 2012 that the song's \\\"gotta keep those good vibrations\\\" bridge was inspired by Stephen Foster.\",\n \"Wilson said in 2012 that the song's \\\"gotta keep those good vibrations\\\" bridge was inspired by Stephen Foster. Bandmate Al Jardine compared that section to Foster and the Negro spiritual \\\"Down by the Riverside\\\".\",\n \"Bandmate Al Jardine compared that section to Foster and the Negro spiritual \\\"Down by the Riverside\\\". According to Love, the lyric \\\"'she goes with me to a blossom world' was originally meant to be followed by the words 'we find'\\\", but Wilson elected to cut off the line to highlight the bass track linking into the chorus.\",\n \"According to Love, the lyric \\\"'she goes with me to a blossom world' was originally meant to be followed by the words 'we find'\\\", but Wilson elected to cut off the line to highlight the bass track linking into the chorus. Recording and production Modular approach \\\"Good Vibrations\\\" established a new method of operation for Wilson.\",\n \"Recording and production Modular approach \\\"Good Vibrations\\\" established a new method of operation for Wilson. Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or \\\"modules\\\").\",\n \"Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or \\\"modules\\\"). Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time.\",\n \"Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time. This was the same modular approach used during the sessions for Smile and Smiley Smile.\",\n \"This was the same modular approach used during the sessions for Smile and Smiley Smile. To mask each tape edit, vast reverb decays were added at the mixing and sub-mixing stages. For instrumentation, Wilson employed the services of \\\"the Wrecking Crew\\\", the nickname for a conglomerate of session musicians active in Los Angeles at that time.\",\n \"For instrumentation, Wilson employed the services of \\\"the Wrecking Crew\\\", the nickname for a conglomerate of session musicians active in Los Angeles at that time. Production for \\\"Good Vibrations\\\" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two.\",\n \"Production for \\\"Good Vibrations\\\" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two. It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands, making it the costliest single recorded to that date.\",\n \"It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands, making it the costliest single recorded to that date. Biographer Peter Ames Carlin wrote that Wilson was so puzzled by the arranging of \\\"Good Vibrations\\\" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs.\",\n \"Biographer Peter Ames Carlin wrote that Wilson was so puzzled by the arranging of \\\"Good Vibrations\\\" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs. One estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to $ and $ in ), By comparison, the whole of Pet Sounds had cost $70,000 ($), itself an unusually high cost for an album.\",\n \"One estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to $ and $ in ), By comparison, the whole of Pet Sounds had cost $70,000 ($), itself an unusually high cost for an album. In 2018, Wilson disputed the $50,000 figure for \\\"Good Vibrations\\\", saying that the overall expenses were closer to $25,000.\",\n \"In 2018, Wilson disputed the $50,000 figure for \\\"Good Vibrations\\\", saying that the overall expenses were closer to $25,000. Contemporary advertisements reported $10,000 ($) as the track's total production costs. Domenic Priore wrote that the track cost between $10,000 and $15,000 ($).\",\n \"Domenic Priore wrote that the track cost between $10,000 and $15,000 ($). When asked in a 2005 interview if it was true that the Electro-Theremin work alone cost $100,000, Wilson replied \\\"No. $15,000.\\\"\",\n \"$15,000.\\\" $15,000.\\\" Development The instrumental of the first version of the song was recorded on February 17, 1966, at Gold Star Studios and was logged as a Pet Sounds session.\",\n \"Development The instrumental of the first version of the song was recorded on February 17, 1966, at Gold Star Studios and was logged as a Pet Sounds session. On that day's session log, it was given the name \\\"#1 Untitled\\\" or \\\"Good, Good, Good Vibrations\\\", but on its master tape, Wilson distinctly states: \\\"'Good Vibrations' ... take one.\\\"\",\n \"On that day's session log, it was given the name \\\"#1 Untitled\\\" or \\\"Good, Good, Good Vibrations\\\", but on its master tape, Wilson distinctly states: \\\"'Good Vibrations' ... take one.\\\" After twenty-six takes, a rough mono mix completed the session.\",\n \"After twenty-six takes, a rough mono mix completed the session. Some additional instruments and rough guide vocals were overdubbed on February 23. Brian and Carl shared vocals for this mix.\",\n \"Brian and Carl shared vocals for this mix. The original version of \\\"Good Vibrations\\\" contained the characteristics of a \\\"funky rhythm and blues number\\\" and would not yet resemble a \\\"pocket symphony\\\". There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor, Paul Tanner.\",\n \"There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor, Paul Tanner. It was Brian's second ever recorded use of the instrument, just three days after the Pet Sounds track \\\"I Just Wasn't Made for These Times\\\".\",\n \"It was Brian's second ever recorded use of the instrument, just three days after the Pet Sounds track \\\"I Just Wasn't Made for These Times\\\". Brian then placed \\\"Good Vibrations\\\" on hold in order to devote attention to the Pet Sounds album, which saw release on May 16.\",\n \"Brian then placed \\\"Good Vibrations\\\" on hold in order to devote attention to the Pet Sounds album, which saw release on May 16. More instrumental sections for \\\"Good Vibrations\\\" were recorded between April and June.\",\n \"More instrumental sections for \\\"Good Vibrations\\\" were recorded between April and June. Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs.\",\n \"Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs. According to Brian's then-new friend David Anderle, during an early stage, Brian considered giving \\\"Good Vibrations\\\" to one of the black R&B groups signed with Warner Bros. Records such as Wilson Pickett, and then at Anderle's suggestion to singer Danny Hutton.\",\n \"According to Brian's then-new friend David Anderle, during an early stage, Brian considered giving \\\"Good Vibrations\\\" to one of the black R&B groups signed with Warner Bros. Records such as Wilson Pickett, and then at Anderle's suggestion to singer Danny Hutton. He thought about abandoning the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single.\",\n \"He thought about abandoning the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single. In the meantime, he worked on writing and recording material for the group's forthcoming album, Smile.\",\n \"In the meantime, he worked on writing and recording material for the group's forthcoming album, Smile. The first Beach Boy to hear \\\"Good Vibrations\\\" in a semi-completed form, other than Brian, was Carl.\",\n \"The first Beach Boy to hear \\\"Good Vibrations\\\" in a semi-completed form, other than Brian, was Carl. Following a performance with the touring group in North Dakota, he remembered: \\\"I came back up into my hotel room one night and the phone rang. It was Brian on the other end.\",\n \"It was Brian on the other end. He called me from the recording studio and played this really bizarre sounding music over the phone. There were drums smashing, that kind of stuff, and then it refined itself and got into the cello. It was a real funky track.\\\"\",\n \"It was a real funky track.\\\" In 1976, Brian revealed that before the final mixdown, he had been confronted with resistance by members of the group, whom Brian declined to name.\",\n \"In 1976, Brian revealed that before the final mixdown, he had been confronted with resistance by members of the group, whom Brian declined to name. The subject of their worries and complaints was the song's length and \\\"modern\\\" sound: \\\"I said no, it's not going to be too long a record, it's going to be just right.\",\n \"The subject of their worries and complaints was the song's length and \\\"modern\\\" sound: \\\"I said no, it's not going to be too long a record, it's going to be just right. ... They didn't quite understand what this jumping from studio to studio was all about.\",\n \"They didn't quite understand what this jumping from studio to studio was all about. And they couldn't conceive of the record as I did. I saw the record as a totality piece.\\\"\",\n \"I saw the record as a totality piece.\\\" The vocals for \\\"Good Vibrations\\\" were recorded at CBS Columbia Square, starting on August 24 and continuing sporadically until the very last day of assembly on September 21. The episodic structure of the composition was continuously revised as the group experimented with different ideas.\",\n \"The episodic structure of the composition was continuously revised as the group experimented with different ideas. Brian remembers that he began recording the \\\"bop bop good vibrations\\\" parts first, and that he came up with \\\"the high parts\\\" a week later.\",\n \"Brian remembers that he began recording the \\\"bop bop good vibrations\\\" parts first, and that he came up with \\\"the high parts\\\" a week later. Mike Love recalled: \\\"I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long.\\\"\",\n \"Mike Love recalled: \\\"I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long.\\\" Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute.\",\n \"Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute. In early September, the master tapes for \\\"Good Vibrations\\\" were stolen. Mysteriously, they reappeared inside Brian's home two days later.\",\n \"Mysteriously, they reappeared inside Brian's home two days later. On September 21, Brian completed the track after Tanner added a final Electro-Theremin overdub. In 1976 he elaborated on the event: \\\"It was at Columbia. I remember I had it right in the sack.\",\n \"I remember I had it right in the sack. I could just feel it when I dubbed it down, made the final mix from the 16-track down to mono. It was a feeling of power, it was a rush. A feeling of exaltation. Artistic beauty. It was everything ... I remember saying, 'Oh my God.\",\n \"I remember saying, 'Oh my God. Sit back and listen to this!'\\\" Composition and analysis Genre and dynamics There are six unique sections to the piece.\",\n \"Composition and analysis Genre and dynamics There are six unique sections to the piece. Music theorist Daniel Harrison refers to these sections individually as the verse, the refrain (or chorus), the \\\"first episodic digression\\\", the \\\"second episodic digression\\\", the \\\"retro-refrain\\\", and the coda.\",\n \"Music theorist Daniel Harrison refers to these sections individually as the verse, the refrain (or chorus), the \\\"first episodic digression\\\", the \\\"second episodic digression\\\", the \\\"retro-refrain\\\", and the coda. Each has a distinct musical texture, partly due to the nature of the song's recording.\",\n \"Each has a distinct musical texture, partly due to the nature of the song's recording. The track's instrumentation changes radically from section to section, and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a \\\"very long\\\" duration.\",\n \"The track's instrumentation changes radically from section to section, and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a \\\"very long\\\" duration. Wilson is quoted in 1979: He characterized the song as \\\"advanced rhythm and blues\\\".\",\n \"Wilson is quoted in 1979: He characterized the song as \\\"advanced rhythm and blues\\\". Tom Roland of American Songwriter described the piece, \\\"with its interlocking segments—a sort of pop version of the classical sonata, consisting of a series of musical movements\\\".\",\n \"Tom Roland of American Songwriter described the piece, \\\"with its interlocking segments—a sort of pop version of the classical sonata, consisting of a series of musical movements\\\". New York Magazine compared it to \\\"a fugue with a rhythmic beat\\\".\",\n \"New York Magazine compared it to \\\"a fugue with a rhythmic beat\\\". John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs.\",\n \"John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs. Music journal Sound on Sound argued that the song \\\"has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour\\\".\",\n \"Music journal Sound on Sound argued that the song \\\"has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour\\\". It explained that the song subverts pop forms to a considerable degree: According to historian Lorenzo Candelaria, \\\"Good Vibrations\\\" has since been marketed as pop music \\\"possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know.\\\"\",\n \"It explained that the song subverts pop forms to a considerable degree: According to historian Lorenzo Candelaria, \\\"Good Vibrations\\\" has since been marketed as pop music \\\"possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know.\\\" Uncut called the song \\\"three minutes and thirty-six seconds of avant-garde pop\\\".\",\n \"Uncut called the song \\\"three minutes and thirty-six seconds of avant-garde pop\\\". Mixdown described it as a \\\"masterpiece of avant-pop\\\". The theremin and cello has been called the song's \\\"psychedelic ingredient\\\".\",\n \"The theremin and cello has been called the song's \\\"psychedelic ingredient\\\". In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin.\",\n \"In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin. Professor of American history John Robert Greene named \\\"Good Vibrations\\\" among examples of psychedelic or acid rock.\",\n \"Professor of American history John Robert Greene named \\\"Good Vibrations\\\" among examples of psychedelic or acid rock. Stebbins wrote that the song was \\\"replete with sunshine [and] psychedelia\\\". Steve Valdez says that, like Pet Sounds, Brian was attempting a more experimental rock style.\",\n \"Steve Valdez says that, like Pet Sounds, Brian was attempting a more experimental rock style. Comparing \\\"Good Vibrations\\\" to Wilson's previous work Pet Sounds, biographer Andrew Hickey said that the \\\"best way of thinking about [the song] is that it's taking the lowest common denominator of 'Here Today' and 'God Only Knows' and turned the result into an R&B track.\",\n \"Comparing \\\"Good Vibrations\\\" to Wilson's previous work Pet Sounds, biographer Andrew Hickey said that the \\\"best way of thinking about [the song] is that it's taking the lowest common denominator of 'Here Today' and 'God Only Knows' and turned the result into an R&B track. We have the same minor-key change between verse and chorus we've seen throughout Pet Sounds, the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to funky.\\\"\",\n \"We have the same minor-key change between verse and chorus we've seen throughout Pet Sounds, the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to funky.\\\" Author Jon Stebbins adds that \\\"unlike Pet Sounds the chorus of 'Good Vibrations' projects a definite 'rock and roll' energy and feel.\\\"\",\n \"Author Jon Stebbins adds that \\\"unlike Pet Sounds the chorus of 'Good Vibrations' projects a definite 'rock and roll' energy and feel.\\\" According to academic Rikky Rooksby, \\\"Good Vibrations\\\" is an example of Brian Wilson's growing interest in musical development within a composition, something antithetical to popular music of the time.\",\n \"According to academic Rikky Rooksby, \\\"Good Vibrations\\\" is an example of Brian Wilson's growing interest in musical development within a composition, something antithetical to popular music of the time. Suppressing tonic strength and cadential drive, the song makes use of descending harmonic motions through scale degrees controlled by a single tonic and \\\"radical disjunctions\\\" in key, texture, instrumentation, and mood while refusing to develop into a predictable formal pattern.\",\n \"Suppressing tonic strength and cadential drive, the song makes use of descending harmonic motions through scale degrees controlled by a single tonic and \\\"radical disjunctions\\\" in key, texture, instrumentation, and mood while refusing to develop into a predictable formal pattern. It instead develops \\\"under its own power\\\" and \\\"luxuriates in harmonic variety\\\" exemplified by beginning and ending not only in different keys but also in different modes.\",\n \"It instead develops \\\"under its own power\\\" and \\\"luxuriates in harmonic variety\\\" exemplified by beginning and ending not only in different keys but also in different modes. Verses and refrains (0:00–1:40) \\\"Good Vibrations\\\" begins without introduction in a traditional verse/refrain format, opening with Carl Wilson singing the word \\\"I\\\", a triplet eighth note before the downbeat.\",\n \"Verses and refrains (0:00–1:40) \\\"Good Vibrations\\\" begins without introduction in a traditional verse/refrain format, opening with Carl Wilson singing the word \\\"I\\\", a triplet eighth note before the downbeat. The sparse first verse contains a repetition of chords played on a Hammond organ filtered through a Leslie speaker; underneath is a two-bar Fender bass melody.\",\n \"The sparse first verse contains a repetition of chords played on a Hammond organ filtered through a Leslie speaker; underneath is a two-bar Fender bass melody. This sequence repeats once (0:15), but with the addition of two piccolos sustaining over a falling flute line.\",\n \"This sequence repeats once (0:15), but with the addition of two piccolos sustaining over a falling flute line. For percussion, bongo drums double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation.\",\n \"For percussion, bongo drums double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation. The beat projects a triplet feel despite being in time; this is sometimes called a \\\"shuffle beat\\\" or \\\"threes over fours\\\".\",\n \"The beat projects a triplet feel despite being in time; this is sometimes called a \\\"shuffle beat\\\" or \\\"threes over fours\\\". The chord progression used is i–VII–VI–V, also called an Andalusian cadence. Although the verses begin in the minor mode of E, the mode is not used to express sadness or drudgery.\",\n \"Although the verses begin in the minor mode of E, the mode is not used to express sadness or drudgery. Occurring at the very end of these verses is a passing chord, D. The refrain (0:25) begins in the newly tonicized relative major G, which suggests III.\",\n \"Occurring at the very end of these verses is a passing chord, D. The refrain (0:25) begins in the newly tonicized relative major G, which suggests III. Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music.\",\n \"Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music. The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat.\",\n \"The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat. This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals.\",\n \"This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals. The first section consists of only the couplet \\\"I'm picking up good vibrations/she's giving me the excitation\\\" sung by Mike Love in his bass-baritone register; the second repeats the lines and adds an \\\"ooo bop bop\\\" figure, sung in multiple-part harmony; the third time also adds a \\\"good, good, good, good vibrations\\\" in yet a higher harmony.\",\n \"The first section consists of only the couplet \\\"I'm picking up good vibrations/she's giving me the excitation\\\" sung by Mike Love in his bass-baritone register; the second repeats the lines and adds an \\\"ooo bop bop\\\" figure, sung in multiple-part harmony; the third time also adds a \\\"good, good, good, good vibrations\\\" in yet a higher harmony. This type of polyphony (counterpoint) is also rare in contemporary popular styles.\",\n \"This type of polyphony (counterpoint) is also rare in contemporary popular styles. Each repeat of the vocal lines also transposes up by a whole step, ascending from G to A and then B. It then returns to the verse, thus making a perfect cadence back into E minor.\",\n \"It then returns to the verse, thus making a perfect cadence back into E minor. The verse and refrain then repeat without any changes to the patterns of its instrumentation and harmony. This is unusual, in that normally, a song's arrangement adds something once it reaches the second verse.\",\n \"This is unusual, in that normally, a song's arrangement adds something once it reaches the second verse. Episodic digressions First episode (1:41–2:13) The first episode (1:41+) begins disjunctively with an abrupt tape splice.\",\n \"Episodic digressions First episode (1:41–2:13) The first episode (1:41+) begins disjunctively with an abrupt tape splice. The refrain's B, which had received a dominant (V) charge, is now maintained as a tonic (I).\",\n \"The refrain's B, which had received a dominant (V) charge, is now maintained as a tonic (I). There is harmonic ambiguity, in that the chord progression may be either interpreted as I–IV–I (in B) or V–I–V (in E).\",\n \"There is harmonic ambiguity, in that the chord progression may be either interpreted as I–IV–I (in B) or V–I–V (in E). Stebbins says that this section \\\"might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply.\\\"\",\n \"Stebbins says that this section \\\"might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply.\\\" A new sound is created by tack piano, jaw harp, and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, bass harmonica, and sleigh bells shaken on every beat.\",\n \"A new sound is created by tack piano, jaw harp, and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, bass harmonica, and sleigh bells shaken on every beat. The lone line of vocals (aside from non-lexical harmonies) is \\\"I don't know where, but she sends me there\\\" sung in Mike Love's upper-register baritone.\",\n \"The lone line of vocals (aside from non-lexical harmonies) is \\\"I don't know where, but she sends me there\\\" sung in Mike Love's upper-register baritone. This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns.\",\n \"This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns. Second episode (2:13–2:56) Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat.\",\n \"Second episode (2:13–2:56) Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat. Sound on Sound highlights this change as the \\\"most savage edit in the track ... most people would go straight into a big splash hook-line section.\",\n \"Sound on Sound highlights this change as the \\\"most savage edit in the track ... most people would go straight into a big splash hook-line section. Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ...\",\n \"Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ... Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian.\\\"\",\n \"Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian.\\\" Harrison says: The slowed pace is complemented by the lyric (\\\"Gotta keep those loving good vibrations a-happening with her\\\"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony.\",\n \"Harrison says: The slowed pace is complemented by the lyric (\\\"Gotta keep those loving good vibrations a-happening with her\\\"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony. This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2.\",\n \"This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2. The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats.\",\n \"The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats. Lambert calls it the song's \\\"wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments.\",\n \"Lambert calls it the song's \\\"wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments. As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say.\\\"\",\n \"As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say.\\\" Retro-refrain and coda (2:57–3:35) A brief break at the end of the second musical digression creates tension which leads into the final sequence of the song.\",\n \"Retro-refrain and coda (2:57–3:35) A brief break at the end of the second musical digression creates tension which leads into the final sequence of the song. The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B, repeats at A, and then ends at G for an unexpectedly short single measure.\",\n \"The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B, repeats at A, and then ends at G for an unexpectedly short single measure. The section uses a descending progression, which mirrors the ascending progression of the previous two refrains.\",\n \"The section uses a descending progression, which mirrors the ascending progression of the previous two refrains. There follows a short section of vocalizing in three-part counterpoint that references the original refrain by reproducing upward transposition. However, this time it settles on A, the concluding key of the song.\",\n \"However, this time it settles on A, the concluding key of the song. By the end of \\\"Good Vibrations,\\\" all seven scale degrees of the opening E-minor tonic are activated on some level.\",\n \"By the end of \\\"Good Vibrations,\\\" all seven scale degrees of the opening E-minor tonic are activated on some level. Release and promotion In a July 1966 advertisement for Pet Sounds in Billboard magazine, the band thanked the music industry for the sales of their album, and said that \\\"We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations.\\\"\",\n \"Release and promotion In a July 1966 advertisement for Pet Sounds in Billboard magazine, the band thanked the music industry for the sales of their album, and said that \\\"We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations.\\\" This was the first public hint of the new single.\",\n \"This was the first public hint of the new single. Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was \\\"about a guy who picks up good vibrations from a girl\\\" and that it would be a \\\"monster\\\".\",\n \"Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was \\\"about a guy who picks up good vibrations from a girl\\\" and that it would be a \\\"monster\\\". He then suggested: \\\"It's still sticking pretty close to that same boy-girl thing, you know, but with a difference.\",\n \"He then suggested: \\\"It's still sticking pretty close to that same boy-girl thing, you know, but with a difference. And it's a start, it's definitely a start.\\\"\",\n \"And it's a start, it's definitely a start.\\\" Derek Taylor, who had recently been engaged as the band's publicist, is credited for coining the term a \\\"pocket symphony\\\" to describe the song.\",\n \"Derek Taylor, who had recently been engaged as the band's publicist, is credited for coining the term a \\\"pocket symphony\\\" to describe the song. In a press release for the single, he stated: \\\"Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils.\",\n \"In a press release for the single, he stated: \\\"Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils. And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else.\\\"\",\n \"And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else.\\\" To promote the single, four different music videos were shot.\",\n \"To promote the single, four different music videos were shot. The first of these—which had Caleb Deschanel as cameraman—features the group at a fire station, sliding down its pole, and roaming the streets of Los Angeles in a fashion comparable to The Monkees. The second features the group during vocal rehearsals at United Western Recorders.\",\n \"The second features the group during vocal rehearsals at United Western Recorders. The third contains footage recorded during the making of The Beach Boys in London, a documentary by Peter Whitehead of their concert performances. The fourth clip is an alternative edit of the third.\",\n \"The fourth clip is an alternative edit of the third. Brian also made a rare television appearance on local station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record.\",\n \"Brian also made a rare television appearance on local station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record. On October 15, 1966, Billboard predicted that the single would reach the top 20 in the Billboard Hot 100 chart.\",\n \"On October 15, 1966, Billboard predicted that the single would reach the top 20 in the Billboard Hot 100 chart. \\\"Good Vibrations\\\" was the Beach Boys' third US number one hit, after \\\"I Get Around\\\" and \\\"Help Me, Rhonda\\\", reaching the top of the Hot 100 in December.\",\n \"\\\"Good Vibrations\\\" was the Beach Boys' third US number one hit, after \\\"I Get Around\\\" and \\\"Help Me, Rhonda\\\", reaching the top of the Hot 100 in December. It was also their first number one in Britain.\",\n \"It was also their first number one in Britain. The single sold over 230,000 copies in the US within four days of its release and entered the Cash Box chart at number 61 on October 22. In the UK, the song sold over 50,000 copies in the first 15 days of its release.\",\n \"In the UK, the song sold over 50,000 copies in the first 15 days of its release. \\\"Good Vibrations\\\" quickly became the Beach Boys' first million-selling single. In December 1966, the record was their first single certified gold by the RIAA for sales of one million copies.\",\n \"In December 1966, the record was their first single certified gold by the RIAA for sales of one million copies. On March 30, 2016, the digital single was certified platinum by the RIAA for the same sales level.\",\n \"On March 30, 2016, the digital single was certified platinum by the RIAA for the same sales level. In the US, Cash Box said that it is a \\\"catchy, easy-driving ditty loaded with the Boys’ money-making sound.\\\" In Britain, the single received favorable reviews from the New Musical Express and Melody Maker.\",\n \"In Britain, the single received favorable reviews from the New Musical Express and Melody Maker. Soon after, the Beach Boys were voted the number one band in the world in the NME readers' poll, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops.\",\n \"Soon after, the Beach Boys were voted the number one band in the world in the NME readers' poll, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops. Billboard said that this result was probably influenced by the success of \\\"Good Vibrations\\\" when the votes were cast, together with the band's recent tour, whereas the Beatles had neither a recent single nor had they toured the UK throughout 1966; the reporter added that \\\"The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak.\\\"\",\n \"Billboard said that this result was probably influenced by the success of \\\"Good Vibrations\\\" when the votes were cast, together with the band's recent tour, whereas the Beatles had neither a recent single nor had they toured the UK throughout 1966; the reporter added that \\\"The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak.\\\" In a readers' poll conducted by a Danish newspaper, Brian Wilson won the \\\"best foreign-produced recording award\\\", marking the first time that an American had won in that category.\",\n \"In a readers' poll conducted by a Danish newspaper, Brian Wilson won the \\\"best foreign-produced recording award\\\", marking the first time that an American had won in that category. The single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc.\",\n \"The single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc. Influence and legacy Historical reception Virtually every pop music critic recognizes \\\"Good Vibrations\\\" as one of the most important compositions and recordings of the entire rock era.\",\n \"Influence and legacy Historical reception Virtually every pop music critic recognizes \\\"Good Vibrations\\\" as one of the most important compositions and recordings of the entire rock era. It is a regular fixture on \\\"greatest of all-time\\\" song lists and is frequently hailed as one of the finest pop productions of all time.\",\n \"It is a regular fixture on \\\"greatest of all-time\\\" song lists and is frequently hailed as one of the finest pop productions of all time. In 2004, Rolling Stone magazine ranked \\\"Good Vibrations\\\" at number 6 in \\\"The 500 Greatest Songs of All Time\\\", the highest position of seven Beach Boys songs cited in the list.\",\n \"In 2004, Rolling Stone magazine ranked \\\"Good Vibrations\\\" at number 6 in \\\"The 500 Greatest Songs of All Time\\\", the highest position of seven Beach Boys songs cited in the list. In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list.\",\n \"In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list. As of 2016, \\\"Good Vibrations\\\" is ranked as the number four song of all time in an aggregation of critics' lists at Acclaimed Music. The song served as an anthem for the counterculture of the 1960s.\",\n \"The song served as an anthem for the counterculture of the 1960s. According to Noel Murray of The A.V.\",\n \"According to Noel Murray of The A.V. Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's \\\"un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do.\\\"\",\n \"Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's \\\"un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do.\\\" Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for \\\"Good Vibrations\\\".\",\n \"Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for \\\"Good Vibrations\\\". \\\"Heroes and Villains\\\", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967.\",\n \"\\\"Heroes and Villains\\\", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967. In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of \\\"Good Vibrations\\\".\",\n \"In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of \\\"Good Vibrations\\\". When asked about the song in 1990, Paul McCartney responded: \\\"I thought it was a great record.\",\n \"When asked about the song in 1990, Paul McCartney responded: \\\"I thought it was a great record. It didn't quite have the emotional thing that Pet Sounds had for me. I've often played Pet Sounds and cried. It's that kind of an album for me.\\\"\",\n \"It's that kind of an album for me.\\\" Pete Townshend of the Who was quoted in the 1960s as saying, \\\"'Good Vibrations' was probably a good record but who's to know? You had to play it about 90 bloody times to even hear what they were singing about.\\\"\",\n \"You had to play it about 90 bloody times to even hear what they were singing about.\\\" Townshend feared that the single would lead to a trend of overproduction. In a 1966 issue of Arts Magazine, Jonathan King said: \\\"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art.\",\n \"In a 1966 issue of Arts Magazine, Jonathan King said: \\\"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art. Computerized pop, mechanized music. Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons.\",\n \"Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons. It is long and split. ... impressive, fantastic, commercial—yes. Emotional, soul-destroying, shattering—no.\\\"\",\n \"Emotional, soul-destroying, shattering—no.\\\" In the 2000s, record producer Phil Spector criticized the single for depending too much on tape manipulation, negatively referring to it as an \\\"edit record ... It's like Psycho is a great film, but it's an 'edit film.'\",\n \"It's like Psycho is a great film, but it's an 'edit film.' Without edits, it's not a film; with edits, it's a great film. But it's not Rebecca ... it's not a beautiful story.\\\"\",\n \"But it's not Rebecca ... it's not a beautiful story.\\\" Advancements Recording and popular music \\\"Good Vibrations\\\" is credited for having further developed the use of recording studios as a musical instrument.\",\n \"Advancements Recording and popular music \\\"Good Vibrations\\\" is credited for having further developed the use of recording studios as a musical instrument. Author Domenic Priore commented that the song's making was \\\"unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording\\\".\",\n \"Author Domenic Priore commented that the song's making was \\\"unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording\\\". A milestone in the development of rock music, the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record.\",\n \"A milestone in the development of rock music, the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record. Musicologist Charlie Gillett called it \\\"one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance\\\".\",\n \"Musicologist Charlie Gillett called it \\\"one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance\\\". In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted: Writing for Popmatters in 2015, Scott Interrante stated: \\\"'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have.\\\"\",\n \"In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted: Writing for Popmatters in 2015, Scott Interrante stated: \\\"'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have.\\\" The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm.\",\n \"The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm. Microtonal composer Frank Oteri said that it \\\"sounds like no other pop song recorded up to that point\\\".\",\n \"Microtonal composer Frank Oteri said that it \\\"sounds like no other pop song recorded up to that point\\\". According to Stebbins: \\\"This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original.\",\n \"According to Stebbins: \\\"This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original. But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century.\\\"\",\n \"But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century.\\\" He added that the single \\\"vaulted nearly every other rock act in their delivery of a Flower Power classic. It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop.\\\"\",\n \"It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop.\\\" John Bush wrote that the single \\\"announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies\\\".\",\n \"John Bush wrote that the single \\\"announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies\\\". Gillett noted: \\\"For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording.\\\"\",\n \"Gillett noted: \\\"For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording.\\\" Priore says that the song was a forerunner to works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes.\",\n \"Priore says that the song was a forerunner to works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes. In his appraisal for American Songwriter, Roland cites the song's \\\"format\\\" as the model for recordings by Wings (\\\"Band on the Run\\\"), the Beatles (\\\"A Day in the Life\\\"), and Elton John (\\\"Funeral for a Friend/Love Lies Bleeding\\\").\",\n \"In his appraisal for American Songwriter, Roland cites the song's \\\"format\\\" as the model for recordings by Wings (\\\"Band on the Run\\\"), the Beatles (\\\"A Day in the Life\\\"), and Elton John (\\\"Funeral for a Friend/Love Lies Bleeding\\\"). The song's approach was repeated in Queen's 1975 single \\\"Bohemian Rhapsody\\\", which was similarly pieced together using different sections.\",\n \"The song's approach was repeated in Queen's 1975 single \\\"Bohemian Rhapsody\\\", which was similarly pieced together using different sections. Wilson praised Queen's effort, calling it \\\"the most competitive thing that's come along in ages\\\" and \\\"a fulfillment and an answer to a teenage prayer—of artistic music\\\".\",\n \"Wilson praised Queen's effort, calling it \\\"the most competitive thing that's come along in ages\\\" and \\\"a fulfillment and an answer to a teenage prayer—of artistic music\\\". Psychedelic and progressive rock With \\\"Good Vibrations\\\", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages.\",\n \"Psychedelic and progressive rock With \\\"Good Vibrations\\\", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages. Writing in 2009, Barney Hoskyns deemed it to be the era's \\\"ultimate psychedelic pop record\\\" from Los Angeles.\",\n \"Writing in 2009, Barney Hoskyns deemed it to be the era's \\\"ultimate psychedelic pop record\\\" from Los Angeles. Interrante adds: \\\"Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated, but its legacy as a pop hit is impressive as well.\\\"\",\n \"Interrante adds: \\\"Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated, but its legacy as a pop hit is impressive as well.\\\" Former Atlantic Records executive Phillip Rauls recalled: \\\"I was in the music business at the time, and my very first recognition of acid rock—we didn't call it progressive rock then—was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [theremin] sent so many musicians back to the studio to create this music on acid.\\\"\",\n \"Former Atlantic Records executive Phillip Rauls recalled: \\\"I was in the music business at the time, and my very first recognition of acid rock—we didn't call it progressive rock then—was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [theremin] sent so many musicians back to the studio to create this music on acid.\\\" Author Bill Martin suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: \\\"The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life.'\\\"\",\n \"Author Bill Martin suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: \\\"The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life.'\\\" Use of theremin Although the song does not technically contain a theremin, \\\"Good Vibrations\\\" is the most frequently cited example of the instrument's use in pop music.\",\n \"Use of theremin Although the song does not technically contain a theremin, \\\"Good Vibrations\\\" is the most frequently cited example of the instrument's use in pop music. Upon release, the single prompted an unexpected revival in theremins and increased the awareness of analog synthesizers.\",\n \"Upon release, the single prompted an unexpected revival in theremins and increased the awareness of analog synthesizers. The notion that \\\"Good Vibrations\\\" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants.\",\n \"The notion that \\\"Good Vibrations\\\" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants. While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin.\",\n \"While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin. When the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments.\",\n \"When the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments. Tanner recalls saying to Wilson, \\\"I've got the wrong sort of hair to be on stage with you fellas\\\", to which Wilson replied: \\\"We'll give you a Prince Valiant wig.\\\"\",\n \"Tanner recalls saying to Wilson, \\\"I've got the wrong sort of hair to be on stage with you fellas\\\", to which Wilson replied: \\\"We'll give you a Prince Valiant wig.\\\" The Beach Boys then requested the services of Walter Sear, who asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar.\",\n \"The Beach Boys then requested the services of Walter Sear, who asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar. Sear remembers marking fretboard-like lines on the ribbon \\\"so they could play the damn thing.\\\" Moog began manufacturing his own models of theremins.\",\n \"Moog began manufacturing his own models of theremins. He later noted: \\\"The pop record scene cleaned us out of our stock which we expected to last through Christmas.\\\"\",\n \"He later noted: \\\"The pop record scene cleaned us out of our stock which we expected to last through Christmas.\\\" In Steven M. Martin's 1993 documentary Theremin: An Electronic Odyssey, in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin due to \\\"Good Vibrations\\\" caused Russian authorities to exile its inventor, Leon Theremin.\",\n \"In Steven M. Martin's 1993 documentary Theremin: An Electronic Odyssey, in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin due to \\\"Good Vibrations\\\" caused Russian authorities to exile its inventor, Leon Theremin. Cover versions The song has been covered by artists such as Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV.\",\n \"Cover versions The song has been covered by artists such as Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV. John Bush commented: \\\"'Good Vibrations' was rarely reprised by other acts, even during the cover-happy '60s. Its fragmented style made it essentially cover-proof.\\\"\",\n \"Its fragmented style made it essentially cover-proof.\\\" In 1976, a nearly identical cover version was released as a single by Todd Rundgren for his album Faithful. When asked for his opinion, Brian said: \\\"Oh, he did a marvelous job, he did a great job. I was very proud of his version.\\\"\",\n \"I was very proud of his version.\\\" Rundgren's single peaked at number 34 on the Billboard Hot 100.\",\n \"Rundgren's single peaked at number 34 on the Billboard Hot 100. Rundgren explained: \\\"I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting—like around Pet Sounds and 'Good Vibrations' ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal.\",\n \"Rundgren explained: \\\"I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting—like around Pet Sounds and 'Good Vibrations' ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal. ...\",\n \"... ... I tried to do [the song] as literally as I could because in the intervening 10 years, radio had changed so much. Radio had become so formatted and so structured that that whole experience was already gone.\\\" In 2004, Wilson re-recorded the song as a solo artist for his album Brian Wilson Presents Smile.\",\n \"In 2004, Wilson re-recorded the song as a solo artist for his album Brian Wilson Presents Smile. It was sequenced as the album's closing track, following \\\"In Blue Hawaii\\\". In this version, \\\"Good Vibrations\\\" was the project's only track that eschewed the modular recording method.\",\n \"In this version, \\\"Good Vibrations\\\" was the project's only track that eschewed the modular recording method. The song's verses and chorus were recorded as part of one whole take, and were not spliced together.\",\n \"The song's verses and chorus were recorded as part of one whole take, and were not spliced together. In 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated.\",\n \"In 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated. Their version of \\\"Good Vibrations\\\", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on Billboards A/C chart.\",\n \"Their version of \\\"Good Vibrations\\\", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on Billboards A/C chart. In popular culture The song's parody is used for the jingle of the Australian consumer electronics retailer The Good Guys.\",\n \"In popular culture The song's parody is used for the jingle of the Australian consumer electronics retailer The Good Guys. In 1996, experimental rock group His Name Is Alive released an homage titled \\\"Universal Frequencies\\\" on their album Stars on E.S.P.\",\n \"In 1996, experimental rock group His Name Is Alive released an homage titled \\\"Universal Frequencies\\\" on their album Stars on E.S.P. Warren Defever reportedly listened to \\\"Good Vibrations\\\" repeatedly for a week before deciding that the song \\\"needed a sequel\\\"; he added: \\\"'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful.\\\"\",\n \"Warren Defever reportedly listened to \\\"Good Vibrations\\\" repeatedly for a week before deciding that the song \\\"needed a sequel\\\"; he added: \\\"'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful.\\\" In 1997, the movie Vegas Vacation used the song for the opening credits, with Clark Griswold (Chevy Chase) singing the song.\",\n \"In 1997, the movie Vegas Vacation used the song for the opening credits, with Clark Griswold (Chevy Chase) singing the song. The song's lyrics \\\"I'm picking up good vibrations\\\" are quoted in Cyndi Lauper's 1984 single \\\"She Bop\\\".\",\n \"The song's lyrics \\\"I'm picking up good vibrations\\\" are quoted in Cyndi Lauper's 1984 single \\\"She Bop\\\". A live version of the song, from the album Live in London, appears as a playable track in the 2010 video game Rock Band 3.\",\n \"A live version of the song, from the album Live in London, appears as a playable track in the 2010 video game Rock Band 3. In 2019, the song was used prominently in a scene for Jordan Peele's psychological horror thriller film Us.\",\n \"In 2019, the song was used prominently in a scene for Jordan Peele's psychological horror thriller film Us. In 2018, The song was featured in the animated film Hotel Transylvania 3: Summer Vacation.\",\n \"In 2018, The song was featured in the animated film Hotel Transylvania 3: Summer Vacation. Release history In early 2011, the single was remastered and reissued as a four-sided 78 rpm vinyl for Record Store Day, as a teaser for the forthcoming The Smile Sessions box set.\",\n \"Release history In early 2011, the single was remastered and reissued as a four-sided 78 rpm vinyl for Record Store Day, as a teaser for the forthcoming The Smile Sessions box set. It contained \\\"Heroes and Villains\\\" as a B-side, along with previously released alternate takes and mixes.\",\n \"It contained \\\"Heroes and Villains\\\" as a B-side, along with previously released alternate takes and mixes. Stereo version Due to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile.\",\n \"Stereo version Due to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile. The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett.\",\n \"The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett. Fitzgerald's software extracted individual instrumental and vocal stems from the original mono master—as the multi-track vocals remained missing—to construct the stereo version that appears on the 2012 reissue of Smiley Smile.\",\n \"Fitzgerald's software extracted individual instrumental and vocal stems from the original mono master—as the multi-track vocals remained missing—to construct the stereo version that appears on the 2012 reissue of Smiley Smile. 40th Anniversary Edition In celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released.\",\n \"40th Anniversary Edition In celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released. The EP includes \\\"Good Vibrations\\\", four alternate versions of the song, and the stereo mix of \\\"Let's Go Away for Awhile\\\". The EP artwork recreates that of the original 7-inch single sleeve.\",\n \"The EP artwork recreates that of the original 7-inch single sleeve. In 2016, the EP was reissued as a 12\\\" record for the single's 50th anniversary. Personnel The following people are identified as players on the \\\"Good Vibrations\\\" single.\",\n \"Personnel The following people are identified as players on the \\\"Good Vibrations\\\" single. The Beach Boys Mike Love – lead vocals in chorus Brian Wilson – vocals, tack piano, tambourine, production, mixing Carl Wilson – lead vocals in verses, guitar, shaker Dennis Wilson – Hammond organ during 2:13–2:56 Additional musicians and production staff Hal Blaine – drums, timpani, other percussion Al De Lory – piano, harpsichord Jesse Ehrlich – cello Larry Knechtel – organ in verses and choruses Tommy Morgan – harmonica Al Casey – guitar Ray Pohlman – electric bass Lyle Ritz – double bass Jim Horn – piccolo Paul Tanner – Electro-Theremin Bassist Carol Kaye played on several of the \\\"Good Vibrations\\\" sessions, and has been identified as a prominent contributor to the track.\",\n \"The Beach Boys Mike Love – lead vocals in chorus Brian Wilson – vocals, tack piano, tambourine, production, mixing Carl Wilson – lead vocals in verses, guitar, shaker Dennis Wilson – Hammond organ during 2:13–2:56 Additional musicians and production staff Hal Blaine – drums, timpani, other percussion Al De Lory – piano, harpsichord Jesse Ehrlich – cello Larry Knechtel – organ in verses and choruses Tommy Morgan – harmonica Al Casey – guitar Ray Pohlman – electric bass Lyle Ritz – double bass Jim Horn – piccolo Paul Tanner – Electro-Theremin Bassist Carol Kaye played on several of the \\\"Good Vibrations\\\" sessions, and has been identified as a prominent contributor to the track. However, analysis by Beach Boys archivist Craig Slowinski indicates that none of those recordings made the final edit as released on the single.\",\n \"However, analysis by Beach Boys archivist Craig Slowinski indicates that none of those recordings made the final edit as released on the single. Charts Weekly charts Original release 1976 reissue Todd Rundgren version (1976) Year-end charts Certifications Awards and accolades Footnotes References Bibliography External links Greg Panfile's Musical Analysis of \\\"Good Vibrations\\\" 1966 singles 1966 songs 2004 singles 2011 singles Brian Wilson songs Psychic TV songs The Beach Boys songs Todd Rundgren songs Capitol Records singles Grammy Hall of Fame Award recipients Billboard Hot 100 number-one singles Cashbox number-one singles Number-one singles in Australia Number-one singles in New Zealand UK Singles Chart number-one singles Songs written by Brian Wilson Songs written by Mike Love Songs written by Tony Asher Song recordings produced by Brian Wilson Song recordings with Wall of Sound arrangements Art pop songs Avant-pop songs Psychedelic pop songs American psychedelic rock songs Songs used as jingles Songs composed in E-flat minor\"\n]"}}},{"rowIdx":481,"cells":{"History":{"kind":"list like","value":["Good Vibrations","Historical reception","What historical reception did the song get?","Virtually every pop music critic recognizes \"Good Vibrations\" as one of the most important compositions and recordings of the entire rock era.","Why is it such an important song?","The song served as an anthem for the counterculture of the 1960s.","Did the song influence other artist?","Noel Murray","What are some other thoughts people had about the song?","In a 1966 issue of Arts Magazine, Jonathan King said: \"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art."],"string":"[\n \"Good Vibrations\",\n \"Historical reception\",\n \"What historical reception did the song get?\",\n \"Virtually every pop music critic recognizes \\\"Good Vibrations\\\" as one of the most important compositions and recordings of the entire rock era.\",\n \"Why is it such an important song?\",\n \"The song served as an anthem for the counterculture of the 1960s.\",\n \"Did the song influence other artist?\",\n \"Noel Murray\",\n \"What are some other thoughts people had about the song?\",\n \"In a 1966 issue of Arts Magazine, Jonathan King said: \\\"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art.\"\n]"},"QuAC_dialog_id":{"kind":"string","value":"C_3511c60eb57b41c2bebf1299ed0caeeb_0"},"Question":{"kind":"string","value":"Was the song popular when it was released or did it gain popularity over time?"},"Question_no":{"kind":"number","value":5,"string":"5"},"Rewrite":{"kind":"string","value":"Was the Good Vibrations popular when it was released or did Good Vibrations gain popularity over time?"},"true_page_title":{"kind":"string","value":"Good Vibrations"},"true_contexts":{"kind":"string","value":"Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat. Sound on Sound highlights this change as the \"most savage edit in the track ... most people would go straight into a big splash hook-line section. Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ... Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian.\" Harrison says: The appearance of episode 1 was unusual enough but could be explained as an extended break between verse and refrain sections. Episode 2 however, makes that interpretation untenable, and both listener and analyst must entertain the idea that \"Good Vibrations\" develops under its own power, as it were, without the guidance of overdetermined formal patterns. Brian's [sic] own description of the song--a three-and-a-half-minute 'pocket symphony'--is a telling clue about his formal ambitions here. The slowed pace is complemented by the lyric (\"Gotta keep those loving good vibrations a-happening with her\"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony. This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2. The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats. Lambert calls it the song's \"wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments. As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say.\" Virtually every pop music critic recognizes \"Good Vibrations\" as one of the most important compositions and recordings of the entire rock era. It is a regular fixture on \"greatest of all-time\" song lists and is frequently hailed as one of the finest pop productions of all time. In 2004, Rolling Stone magazine ranked \"Good Vibrations\" at number 6 in \"The 500 Greatest Songs of All Time\", the highest position of seven Beach Boys songs cited in the list. In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list. As of 2016, \"Good Vibrations\" is ranked as the number four song of all time in an aggregation of critics' lists at Acclaimed Music. The song served as an anthem for the counterculture of the 1960s. According to Noel Murray of The A.V. Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's \"un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do.\" Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for \"Good Vibrations\". \"Heroes and Villains\", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967. In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of \"Good Vibrations\". When asked about the song in 1990, Paul McCartney responded: \"I thought it was a great record. It didn't quite have the emotional thing that Pet Sounds had for me. I've often played Pet Sounds and cried. It's that kind of an album for me.\" Pete Townshend of the Who was quoted in the 1960s as saying, \"'Good Vibrations' was probably a good record but who's to know? You had to play it about 90 bloody times to even hear what they were singing about.\" Townshend feared that the single would lead to a trend of overproduction. In a 1966 issue of Arts Magazine, Jonathan King said: \"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art. Computerized pop, mechanized music. Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons. It is long and split. ... impressive, fantastic, commercial--yes. Emotional, soul-destroying, shattering--no.\" In the 2000s, record producer Phil Spector criticized the single for depending too much on tape manipulation, negatively referring to it as an \"edit record ... It's like Psycho is a great film, but it's an 'edit film.' Without edits, it's not a film; with edits, it's a great film. But it's not Rebecca ... it's not a beautiful story.\" CANNOTANSWER"},"answer":{"kind":"string","value":"Pete Townshend of the Who was quoted in the 1960s as saying, \"'Good Vibrations' was probably a good record but who's to know?"},"true_contexts_wiki":{"kind":"string","value":"\"Good Vibrations\" is a song by the American rock band the Beach Boys that was composed by Brian Wilson with lyrics by Mike Love. It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping record charts in several countries including the United States and the United Kingdom. Characterized by its complex soundscapes, episodic structure and subversions of pop music formula, it was the most expensive single ever recorded. \"Good Vibrations\" later became widely acclaimed as one of the finest and most important works of the rock era.\n\nAlso produced by Wilson, the title derived from his fascination with cosmic vibrations, as his mother would tell him as a child that dogs sometimes bark at people in response to their \"bad vibrations\". He used the concept to suggest extrasensory perception, while Love's lyrics were inspired by the nascent Flower Power movement. The song was written as it was recorded and in a similar fashion to other compositions from Wilson's Smile period. It was issued as a standalone single, backed with \"Let's Go Away for Awhile\", and was to be included on the never-finished album Smile. Instead, the track appeared on the September 1967 release Smiley Smile.\n\nThe making of \"Good Vibrations\" was unprecedented for any kind of recording. Building on his approach for Pet Sounds, Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of session musicians at four different Hollywood studios from February to September 1966, a process reflected in the song's several dramatic shifts in key, texture, instrumentation and mood. Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars. Band publicist Derek Taylor dubbed the unusual work a \"pocket symphony\". It helped develop the use of the studio as an instrument and heralded a wave of pop experimentation and the onset of psychedelic and progressive rock. The track featured a novel mix of instruments, including jaw harp and Electro-Theremin, and although the latter is not a true theremin, the song's success led to a renewed interest and sales of theremins and synthesizers.\n\n\"Good Vibrations\" received a Grammy nomination for Best Vocal Group performance in 1966 and was inducted into the Grammy Hall of Fame in 1994. The song was voted number one in Mojos \"Top 100 Records of All Time\" and number six on Rolling Stones \"500 Greatest Songs of All Time\", and it was included in the Rock and Roll Hall of Fame's \"500 Songs that Shaped Rock and Roll\". In later years, the song has been cited as a forerunner to the Beatles' \"A Day in the Life\" (1967) and Queen's \"Bohemian Rhapsody\" (1975). A 1976 cover version by Todd Rundgren peaked at number 34 on the Billboard Hot 100. The Beach Boys followed up \"Good Vibrations\" with another single pieced from sections, \"Heroes and Villains\" (1967), but it was less successful.\n\nInspiration and writing\n\nConcept and early lyrics\n\nThe Beach Boys' leader, Brian Wilson, was responsible for the musical composition and virtually all of the arrangement for \"Good Vibrations\". Most of the song's structure and arrangement was written as it was recorded. During the recording sessions for the 1966 album Pet Sounds, Wilson began changing his writing process. For \"Good Vibrations\", Wilson said, \"I had a lot of unfinished ideas, fragments of music I called 'feels.' Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic.\" Engineer Chuck Britz is quoted saying that Wilson considered the song to be \"his whole life performance in one track\". Wilson stated: \"I was an energetic 23-year-old. ... I said: 'This is going to be better than [the Phil Spector production] \"You've Lost That Lovin' Feelin'.\n\nWilson said that \"Good Vibrations\" was inspired by his mother: \"[She] used to tell me about vibrations. I didn't really understand too much of what it meant when I was just a boy. It scared me, the word 'vibrations.' She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel.\" Brian first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea. When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style. Asher remembered: \n\nWilson wanted to call the song \"Good Vibes\", but Asher advised that it was \"lightweight use of the language\", and suggested that \"Good Vibrations\" would sound less \"trendy\". The two proceeded to write lyrics for the verses that were ultimately discarded.\n\nTheremin and cello\n\nFrom the start, Wilson envisioned a theremin for the track. AllMusic reviewer John Bush pointed out: \"Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel—between the single's theme and its use of an instrument the player never even touched.\"\n\n\"Good Vibrations\" does not technically feature a theremin, but rather an Electro-Theremin, which is physically controlled by a knob on the side of the instrument. It was dubbed a \"theremin\" simply for convenience. At that time, theremins were most often associated with the 1945 Alfred Hitchcock film Spellbound, but their most common presence was in the theme music for the television sitcom My Favorite Martian, which ran from 1963 to 1966. Britz speculates: \"He just walked in and said, 'I have this new sound for you.' I think he must have heard the sound somewhere and loved it, and built a song around it.\" It is unclear whether Wilson knew that the instrument was not a real theremin.\n\nBrian credited his brother and bandmate Carl for suggesting the use of a cello on the track. He further stated that its triplet beat on the chorus was his own idea and that it was based on the Crystals' \"Da Doo Ron Ron\" (1963), produced by Spector. Conversely, arranger and session musician Van Dyke Parks said that it was himself who suggested having the cellist play triplets to Brian. Parks believed that having Brian exploit the cello \"to such a hyperbolic degree\" was what encouraged the duo to immediately collaborate on the never-finished album Smile. At some point, Wilson asked Parks to pen lyrics for \"Good Vibrations\", although Parks declined.\n\nInfluences and final lyrics\n\nWilson's cousin and bandmate Mike Love submitted the final lyrics for \"Good Vibrations\" and contributed its bass-baritone vocals in the chorus. He recalled that when he heard the unfinished backing track: \"[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it. How's this going to go over in the Midwest or Birmingham? It was such a departure from 'Surfin' U.S.A.' or 'Help Me, Rhonda.'\"\n\nLove said that he wrote the words while on the drive to the studio. Feeling that the song could be \"the Beach Boys' psychedelic anthem or flower power offering,\" he based the lyrics on the burgeoning psychedelic music and Flower Power movements occurring in San Francisco and some parts of the Los Angeles area. He described the lyrics as \"just a flowery poem. Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair.'\" Writing in his 1975 book The Beach Boys: Southern California Pastoral, Bruce Golden observed:\n\nCapitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his LSD experiences. Brian clarified that the song was written under the influence of marijuana, not LSD. He explained: \"I made ‘Good Vibrations’ on drugs; I used drugs to make that. ... I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity.\" In Steven Gaines's 1986 biography, Wilson is quoted on the lyrics: \"We talked about good vibrations with the song and the idea, and we decided on one hand that you could say ... those are sensual things. And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have. That's what we're really talking about.\"\n\nWilson said in 2012 that the song's \"gotta keep those good vibrations\" bridge was inspired by Stephen Foster. Bandmate Al Jardine compared that section to Foster and the Negro spiritual \"Down by the Riverside\". According to Love, the lyric \"'she goes with me to a blossom world' was originally meant to be followed by the words 'we find'\", but Wilson elected to cut off the line to highlight the bass track linking into the chorus.\n\nRecording and production\n\nModular approach\n\n\"Good Vibrations\" established a new method of operation for Wilson. Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or \"modules\"). Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time. This was the same modular approach used during the sessions for Smile and Smiley Smile. To mask each tape edit, vast reverb decays were added at the mixing and sub-mixing stages.\n\nFor instrumentation, Wilson employed the services of \"the Wrecking Crew\", the nickname for a conglomerate of session musicians active in Los Angeles at that time. Production for \"Good Vibrations\" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two. It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands, making it the costliest single recorded to that date. Biographer Peter Ames Carlin wrote that Wilson was so puzzled by the arranging of \"Good Vibrations\" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs.\n\nOne estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to $ and $ in ), By comparison, the whole of Pet Sounds had cost $70,000 ($), itself an unusually high cost for an album. In 2018, Wilson disputed the $50,000 figure for \"Good Vibrations\", saying that the overall expenses were closer to $25,000.\n\nContemporary advertisements reported $10,000 ($) as the track's total production costs. Domenic Priore wrote that the track cost between $10,000 and $15,000 ($). When asked in a 2005 interview if it was true that the Electro-Theremin work alone cost $100,000, Wilson replied \"No. $15,000.\"\n\nDevelopment\n\nThe instrumental of the first version of the song was recorded on February 17, 1966, at Gold Star Studios and was logged as a Pet Sounds session. On that day's session log, it was given the name \"#1 Untitled\" or \"Good, Good, Good Vibrations\", but on its master tape, Wilson distinctly states: \"'Good Vibrations' ... take one.\" After twenty-six takes, a rough mono mix completed the session. Some additional instruments and rough guide vocals were overdubbed on February 23. Brian and Carl shared vocals for this mix.\n\nThe original version of \"Good Vibrations\" contained the characteristics of a \"funky rhythm and blues number\" and would not yet resemble a \"pocket symphony\". There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor, Paul Tanner. It was Brian's second ever recorded use of the instrument, just three days after the Pet Sounds track \"I Just Wasn't Made for These Times\". Brian then placed \"Good Vibrations\" on hold in order to devote attention to the Pet Sounds album, which saw release on May 16. More instrumental sections for \"Good Vibrations\" were recorded between April and June. Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs.\n\nAccording to Brian's then-new friend David Anderle, during an early stage, Brian considered giving \"Good Vibrations\" to one of the black R&B groups signed with Warner Bros. Records such as Wilson Pickett, and then at Anderle's suggestion to singer Danny Hutton. He thought about abandoning the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single. In the meantime, he worked on writing and recording material for the group's forthcoming album, Smile.\n\nThe first Beach Boy to hear \"Good Vibrations\" in a semi-completed form, other than Brian, was Carl. Following a performance with the touring group in North Dakota, he remembered: \"I came back up into my hotel room one night and the phone rang. It was Brian on the other end. He called me from the recording studio and played this really bizarre sounding music over the phone. There were drums smashing, that kind of stuff, and then it refined itself and got into the cello. It was a real funky track.\" In 1976, Brian revealed that before the final mixdown, he had been confronted with resistance by members of the group, whom Brian declined to name. The subject of their worries and complaints was the song's length and \"modern\" sound: \"I said no, it's not going to be too long a record, it's going to be just right. ... They didn't quite understand what this jumping from studio to studio was all about. And they couldn't conceive of the record as I did. I saw the record as a totality piece.\"\n\nThe vocals for \"Good Vibrations\" were recorded at CBS Columbia Square, starting on August 24 and continuing sporadically until the very last day of assembly on September 21. The episodic structure of the composition was continuously revised as the group experimented with different ideas. Brian remembers that he began recording the \"bop bop good vibrations\" parts first, and that he came up with \"the high parts\" a week later. Mike Love recalled: \"I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long.\" Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute. In early September, the master tapes for \"Good Vibrations\" were stolen. Mysteriously, they reappeared inside Brian's home two days later.\n\nOn September 21, Brian completed the track after Tanner added a final Electro-Theremin overdub. In 1976 he elaborated on the event: \"It was at Columbia. I remember I had it right in the sack. I could just feel it when I dubbed it down, made the final mix from the 16-track down to mono. It was a feeling of power, it was a rush. A feeling of exaltation. Artistic beauty. It was everything ... I remember saying, 'Oh my God. Sit back and listen to this!'\"\n\nComposition and analysis\n\nGenre and dynamics\n\nThere are six unique sections to the piece. Music theorist Daniel Harrison refers to these sections individually as the verse, the refrain (or chorus), the \"first episodic digression\", the \"second episodic digression\", the \"retro-refrain\", and the coda. Each has a distinct musical texture, partly due to the nature of the song's recording. The track's instrumentation changes radically from section to section, and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a \"very long\" duration. Wilson is quoted in 1979:\n\nHe characterized the song as \"advanced rhythm and blues\". Tom Roland of American Songwriter described the piece, \"with its interlocking segments—a sort of pop version of the classical sonata, consisting of a series of musical movements\". New York Magazine compared it to \"a fugue with a rhythmic beat\". John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs. Music journal Sound on Sound argued that the song \"has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour\". It explained that the song subverts pop forms to a considerable degree: \n\nAccording to historian Lorenzo Candelaria, \"Good Vibrations\" has since been marketed as pop music \"possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know.\" Uncut called the song \"three minutes and thirty-six seconds of avant-garde pop\". Mixdown described it as a \"masterpiece of avant-pop\". The theremin and cello has been called the song's \"psychedelic ingredient\". In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin. Professor of American history John Robert Greene named \"Good Vibrations\" among examples of psychedelic or acid rock. Stebbins wrote that the song was \"replete with sunshine [and] psychedelia\". Steve Valdez says that, like Pet Sounds, Brian was attempting a more experimental rock style.\n\nComparing \"Good Vibrations\" to Wilson's previous work Pet Sounds, biographer Andrew Hickey said that the \"best way of thinking about [the song] is that it's taking the lowest common denominator of 'Here Today' and 'God Only Knows' and turned the result into an R&B track. We have the same minor-key change between verse and chorus we've seen throughout Pet Sounds, the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to funky.\" Author Jon Stebbins adds that \"unlike Pet Sounds the chorus of 'Good Vibrations' projects a definite 'rock and roll' energy and feel.\"\n\nAccording to academic Rikky Rooksby, \"Good Vibrations\" is an example of Brian Wilson's growing interest in musical development within a composition, something antithetical to popular music of the time. Suppressing tonic strength and cadential drive, the song makes use of descending harmonic motions through scale degrees controlled by a single tonic and \"radical disjunctions\" in key, texture, instrumentation, and mood while refusing to develop into a predictable formal pattern. It instead develops \"under its own power\" and \"luxuriates in harmonic variety\" exemplified by beginning and ending not only in different keys but also in different modes.\n\nVerses and refrains (0:00–1:40)\n\n\"Good Vibrations\" begins without introduction in a traditional verse/refrain format, opening with Carl Wilson singing the word \"I\", a triplet eighth note before the downbeat. The sparse first verse contains a repetition of chords played on a Hammond organ filtered through a Leslie speaker; underneath is a two-bar Fender bass melody. This sequence repeats once (0:15), but with the addition of two piccolos sustaining over a falling flute line. For percussion, bongo drums double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation. The beat projects a triplet feel despite being in time; this is sometimes called a \"shuffle beat\" or \"threes over fours\". The chord progression used is i–VII–VI–V, also called an Andalusian cadence. Although the verses begin in the minor mode of E, the mode is not used to express sadness or drudgery. Occurring at the very end of these verses is a passing chord, D.\n\nThe refrain (0:25) begins in the newly tonicized relative major G, which suggests III. Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music. The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat. This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals. The first section consists of only the couplet \"I'm picking up good vibrations/she's giving me the excitation\" sung by Mike Love in his bass-baritone register; the second repeats the lines and adds an \"ooo bop bop\" figure, sung in multiple-part harmony; the third time also adds a \"good, good, good, good vibrations\" in yet a higher harmony. This type of polyphony (counterpoint) is also rare in contemporary popular styles. Each repeat of the vocal lines also transposes up by a whole step, ascending from G to A and then B. It then returns to the verse, thus making a perfect cadence back into E minor. The verse and refrain then repeat without any changes to the patterns of its instrumentation and harmony. This is unusual, in that normally, a song's arrangement adds something once it reaches the second verse.\n\nEpisodic digressions\n\nFirst episode (1:41–2:13)\n\nThe first episode (1:41+) begins disjunctively with an abrupt tape splice. The refrain's B, which had received a dominant (V) charge, is now maintained as a tonic (I). There is harmonic ambiguity, in that the chord progression may be either interpreted as I–IV–I (in B) or V–I–V (in E). Stebbins says that this section \"might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply.\" A new sound is created by tack piano, jaw harp, and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, bass harmonica, and sleigh bells shaken on every beat. The lone line of vocals (aside from non-lexical harmonies) is \"I don't know where, but she sends me there\" sung in Mike Love's upper-register baritone. This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns.\n\nSecond episode (2:13–2:56)\n\nAnother tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat. Sound on Sound highlights this change as the \"most savage edit in the track ... most people would go straight into a big splash hook-line section. Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ... Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian.\" Harrison says: \n\nThe slowed pace is complemented by the lyric (\"Gotta keep those loving good vibrations a-happening with her\"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony. This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2. The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats. Lambert calls it the song's \"wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments. As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say.\"\n\nRetro-refrain and coda (2:57–3:35)\n\nA brief break at the end of the second musical digression creates tension which leads into the final sequence of the song. The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B, repeats at A, and then ends at G for an unexpectedly short single measure. The section uses a descending progression, which mirrors the ascending progression of the previous two refrains. There follows a short section of vocalizing in three-part counterpoint that references the original refrain by reproducing upward transposition. However, this time it settles on A, the concluding key of the song. By the end of \"Good Vibrations,\" all seven scale degrees of the opening E-minor tonic are activated on some level.\n\nRelease and promotion\nIn a July 1966 advertisement for Pet Sounds in Billboard magazine, the band thanked the music industry for the sales of their album, and said that \"We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations.\" This was the first public hint of the new single. Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was \"about a guy who picks up good vibrations from a girl\" and that it would be a \"monster\". He then suggested: \"It's still sticking pretty close to that same boy-girl thing, you know, but with a difference. And it's a start, it's definitely a start.\" Derek Taylor, who had recently been engaged as the band's publicist, is credited for coining the term a \"pocket symphony\" to describe the song. In a press release for the single, he stated: \"Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils. And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else.\"\n\nTo promote the single, four different music videos were shot. The first of these—which had Caleb Deschanel as cameraman—features the group at a fire station, sliding down its pole, and roaming the streets of Los Angeles in a fashion comparable to The Monkees. The second features the group during vocal rehearsals at United Western Recorders. The third contains footage recorded during the making of The Beach Boys in London, a documentary by Peter Whitehead of their concert performances. The fourth clip is an alternative edit of the third. Brian also made a rare television appearance on local station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record.\n\nOn October 15, 1966, Billboard predicted that the single would reach the top 20 in the Billboard Hot 100 chart. \"Good Vibrations\" was the Beach Boys' third US number one hit, after \"I Get Around\" and \"Help Me, Rhonda\", reaching the top of the Hot 100 in December. It was also their first number one in Britain. The single sold over 230,000 copies in the US within four days of its release and entered the Cash Box chart at number 61 on October 22. In the UK, the song sold over 50,000 copies in the first 15 days of its release. \"Good Vibrations\" quickly became the Beach Boys' first million-selling single. In December 1966, the record was their first single certified gold by the RIAA for sales of one million copies. On March 30, 2016, the digital single was certified platinum by the RIAA for the same sales level.\n\nIn the US, Cash Box said that it is a \"catchy, easy-driving ditty loaded with the Boys’ money-making sound.\" In Britain, the single received favorable reviews from the New Musical Express and Melody Maker. Soon after, the Beach Boys were voted the number one band in the world in the NME readers' poll, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops. Billboard said that this result was probably influenced by the success of \"Good Vibrations\" when the votes were cast, together with the band's recent tour, whereas the Beatles had neither a recent single nor had they toured the UK throughout 1966; the reporter added that \"The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak.\" In a readers' poll conducted by a Danish newspaper, Brian Wilson won the \"best foreign-produced recording award\", marking the first time that an American had won in that category.\n\nThe single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc.\n\nInfluence and legacy\n\nHistorical reception\n\nVirtually every pop music critic recognizes \"Good Vibrations\" as one of the most important compositions and recordings of the entire rock era. It is a regular fixture on \"greatest of all-time\" song lists and is frequently hailed as one of the finest pop productions of all time. In 2004, Rolling Stone magazine ranked \"Good Vibrations\" at number 6 in \"The 500 Greatest Songs of All Time\", the highest position of seven Beach Boys songs cited in the list. In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list. As of 2016, \"Good Vibrations\" is ranked as the number four song of all time in an aggregation of critics' lists at Acclaimed Music.\n\nThe song served as an anthem for the counterculture of the 1960s. According to Noel Murray of The A.V. Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's \"un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do.\" Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for \"Good Vibrations\". \"Heroes and Villains\", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967.\n\nIn contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of \"Good Vibrations\". When asked about the song in 1990, Paul McCartney responded: \"I thought it was a great record. It didn't quite have the emotional thing that Pet Sounds had for me. I've often played Pet Sounds and cried. It's that kind of an album for me.\" Pete Townshend of the Who was quoted in the 1960s as saying, \"'Good Vibrations' was probably a good record but who's to know? You had to play it about 90 bloody times to even hear what they were singing about.\" Townshend feared that the single would lead to a trend of overproduction. In a 1966 issue of Arts Magazine, Jonathan King said: \"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art. Computerized pop, mechanized music. Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons. It is long and split. ... impressive, fantastic, commercial—yes. Emotional, soul-destroying, shattering—no.\" In the 2000s, record producer Phil Spector criticized the single for depending too much on tape manipulation, negatively referring to it as an \"edit record ... It's like Psycho is a great film, but it's an 'edit film.' Without edits, it's not a film; with edits, it's a great film. But it's not Rebecca ... it's not a beautiful story.\"\n\nAdvancements\n\nRecording and popular music\n\n\"Good Vibrations\" is credited for having further developed the use of recording studios as a musical instrument. Author Domenic Priore commented that the song's making was \"unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording\". A milestone in the development of rock music, the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record. Musicologist Charlie Gillett called it \"one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance\". In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted:\n\nWriting for Popmatters in 2015, Scott Interrante stated: \"'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have.\" The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm. Microtonal composer Frank Oteri said that it \"sounds like no other pop song recorded up to that point\". According to Stebbins: \"This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original. But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century.\" He added that the single \"vaulted nearly every other rock act in their delivery of a Flower Power classic. It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop.\" John Bush wrote that the single \"announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies\". Gillett noted: \"For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording.\"\n\nPriore says that the song was a forerunner to works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes. In his appraisal for American Songwriter, Roland cites the song's \"format\" as the model for recordings by Wings (\"Band on the Run\"), the Beatles (\"A Day in the Life\"), and Elton John (\"Funeral for a Friend/Love Lies Bleeding\"). The song's approach was repeated in Queen's 1975 single \"Bohemian Rhapsody\", which was similarly pieced together using different sections. Wilson praised Queen's effort, calling it \"the most competitive thing that's come along in ages\" and \"a fulfillment and an answer to a teenage prayer—of artistic music\".\n\nPsychedelic and progressive rock\n\nWith \"Good Vibrations\", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages. Writing in 2009, Barney Hoskyns deemed it to be the era's \"ultimate psychedelic pop record\" from Los Angeles. Interrante adds: \"Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated, but its legacy as a pop hit is impressive as well.\" Former Atlantic Records executive Phillip Rauls recalled: \"I was in the music business at the time, and my very first recognition of acid rock—we didn't call it progressive rock then—was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [theremin] sent so many musicians back to the studio to create this music on acid.\" Author Bill Martin suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: \"The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life.'\"\n\nUse of theremin\n\nAlthough the song does not technically contain a theremin, \"Good Vibrations\" is the most frequently cited example of the instrument's use in pop music. Upon release, the single prompted an unexpected revival in theremins and increased the awareness of analog synthesizers. The notion that \"Good Vibrations\" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants. While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin.\n\nWhen the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments. Tanner recalls saying to Wilson, \"I've got the wrong sort of hair to be on stage with you fellas\", to which Wilson replied: \"We'll give you a Prince Valiant wig.\" The Beach Boys then requested the services of Walter Sear, who asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar. Sear remembers marking fretboard-like lines on the ribbon \"so they could play the damn thing.\" Moog began manufacturing his own models of theremins. He later noted: \"The pop record scene cleaned us out of our stock which we expected to last through Christmas.\"\n\nIn Steven M. Martin's 1993 documentary Theremin: An Electronic Odyssey, in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin due to \"Good Vibrations\" caused Russian authorities to exile its inventor, Leon Theremin.\n\nCover versions\n\nThe song has been covered by artists such as Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV. John Bush commented: \"'Good Vibrations' was rarely reprised by other acts, even during the cover-happy '60s. Its fragmented style made it essentially cover-proof.\" In 1976, a nearly identical cover version was released as a single by Todd Rundgren for his album Faithful. When asked for his opinion, Brian said: \"Oh, he did a marvelous job, he did a great job. I was very proud of his version.\" Rundgren's single peaked at number 34 on the Billboard Hot 100. Rundgren explained: \"I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting—like around Pet Sounds and 'Good Vibrations' ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal. ... I tried to do [the song] as literally as I could because in the intervening 10 years, radio had changed so much. Radio had become so formatted and so structured that that whole experience was already gone.\"\n\nIn 2004, Wilson re-recorded the song as a solo artist for his album Brian Wilson Presents Smile. It was sequenced as the album's closing track, following \"In Blue Hawaii\". In this version, \"Good Vibrations\" was the project's only track that eschewed the modular recording method. The song's verses and chorus were recorded as part of one whole take, and were not spliced together.\n\nIn 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated. Their version of \"Good Vibrations\", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on Billboards A/C chart.\n\nIn popular culture\nThe song's parody is used for the jingle of the Australian consumer electronics retailer The Good Guys.\nIn 1996, experimental rock group His Name Is Alive released an homage titled \"Universal Frequencies\" on their album Stars on E.S.P. Warren Defever reportedly listened to \"Good Vibrations\" repeatedly for a week before deciding that the song \"needed a sequel\"; he added: \"'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful.\" \nIn 1997, the movie Vegas Vacation used the song for the opening credits, with Clark Griswold (Chevy Chase) singing the song.\nThe song's lyrics \"I'm picking up good vibrations\" are quoted in Cyndi Lauper's 1984 single \"She Bop\". \nA live version of the song, from the album Live in London, appears as a playable track in the 2010 video game Rock Band 3.\nIn 2019, the song was used prominently in a scene for Jordan Peele's psychological horror thriller film Us.\nIn 2018, The song was featured in the animated film Hotel Transylvania 3: Summer Vacation.\n\nRelease history\n\nIn early 2011, the single was remastered and reissued as a four-sided 78 rpm vinyl for Record Store Day, as a teaser for the forthcoming The Smile Sessions box set. It contained \"Heroes and Villains\" as a B-side, along with previously released alternate takes and mixes.\n\nStereo version\nDue to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile. The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett. Fitzgerald's software extracted individual instrumental and vocal stems from the original mono master—as the multi-track vocals remained missing—to construct the stereo version that appears on the 2012 reissue of Smiley Smile.\n\n40th Anniversary Edition\n\nIn celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released. The EP includes \"Good Vibrations\", four alternate versions of the song, and the stereo mix of \"Let's Go Away for Awhile\". The EP artwork recreates that of the original 7-inch single sleeve. In 2016, the EP was reissued as a 12\" record for the single's 50th anniversary.\n\nPersonnel\n\nThe following people are identified as players on the \"Good Vibrations\" single.\n\nThe Beach Boys\n Mike Love – lead vocals in chorus \n Brian Wilson – vocals, tack piano, tambourine, production, mixing\n Carl Wilson – lead vocals in verses, guitar, shaker\n Dennis Wilson – Hammond organ during 2:13–2:56\n\nAdditional musicians and production staff\n Hal Blaine – drums, timpani, other percussion \n Al De Lory – piano, harpsichord \n Jesse Ehrlich – cello \n\n Larry Knechtel – organ in verses and choruses\n Tommy Morgan – harmonica\n Al Casey – guitar\n Ray Pohlman – electric bass\n Lyle Ritz – double bass\n Jim Horn – piccolo\n Paul Tanner – Electro-Theremin\n\nBassist Carol Kaye played on several of the \"Good Vibrations\" sessions, and has been identified as a prominent contributor to the track. However, analysis by Beach Boys archivist Craig Slowinski indicates that none of those recordings made the final edit as released on the single.\n\nCharts\n\nWeekly charts\nOriginal release\n\n1976 reissue\n\nTodd Rundgren version (1976)\n\nYear-end charts\n\nCertifications\n\nAwards and accolades\n\nFootnotes\n\nReferences\n\nBibliography\n\nExternal links\n\n Greg Panfile's Musical Analysis of \"Good Vibrations\"\n \n\n1966 singles\n1966 songs\n2004 singles\n2011 singles\nBrian Wilson songs\nPsychic TV songs\nThe Beach Boys songs\nTodd Rundgren songs\nCapitol Records singles\nGrammy Hall of Fame Award recipients\nBillboard Hot 100 number-one singles\nCashbox number-one singles\nNumber-one singles in Australia\nNumber-one singles in New Zealand\nUK Singles Chart number-one singles\nSongs written by Brian Wilson\nSongs written by Mike Love\nSongs written by Tony Asher\nSong recordings produced by Brian Wilson\nSong recordings with Wall of Sound arrangements\nArt pop songs\nAvant-pop songs\nPsychedelic pop songs\nAmerican psychedelic rock songs\nSongs used as jingles\nSongs composed in E-flat minor"},"extractive":{"kind":"string","value":"true"},"retrieved_contexts":{"kind":"list like","value":["\"Skrt\" (stylized in all caps; pronounced \"skirt\") is a song by American rapper Kodak Black. It was released in December 2014 and is the third single from his mixtape Heart of the Projects (2014). It was produced by SkipOnDaBeat. In October 2015, the song helped Kodak Black gain recognition, when a video of Canadian rapper Drake dancing to it went viral.\n\nBackground\nThe single was released on December 25, 2014, and a music video for the song was released on October 19, 2015. Five days later, on October 24, 2015, Canadian musician Drake posted a video on Instagram of him dancing to the song in his private jet. The video became popular, leading to Kodak Black achieving national popularity.\n\nComposition\nElias Leight wrote in The Fader that the song's beat \"combines a stream of percussion and a few floating keyboard notes\", and noted \"fierce, distressed qualities to Kodak's loneliness\". Zara Golden called the track melancholy.\n\nRemix\nCanadian rapper Roy Woods released a remix of the song on January 30, 2016.\n\nCharts\n\nCertifications\n\nReferences\n\n2014 songs\n2015 singles\nKodak Black songs\nSongs written by Kodak Black","\"Desire\" is a song by Ryan Adams from his 2002 album Demolition. The song, at the length of 3:41, was not released as a single from the album. It originally attracted little attention, and even though the review site Music Box described it as crossing \"U2 with Bob Dylan\", several major reviews – like Rolling Stone and The A.V. Club – did not even mention the song.\n\nThe song did however gain popularity later on, as a soundtrack for various popular television series. On 26 January 2005 the song was featured on the West Wing episode \"King Corn\". A year later, on 20 February 2006, it was also used for the House, M.D. episode \"Skin Deep\". It also played at the TV series John Doe (Episode 9), originally aired 12/6/2002. More recently, it was used on Beauty & the Beast episode 1x16 \"Insatiable\" aired on 21 March 2013. The song also features in the Nicholas Sparks film The Longest Ride.\n\nInstruments\nRyan Adams - Vocals, Guitar, Harmonica\nSheldon Gomberg - Bass\nEthan Johns - Drums, Ukulele\nGreg Leisz - Steel Guitar\nJulianna Raye - Background vocals\nChris Stills - B3\n\nReferences\n\nExternal links\nRyan Adams performing Desire at BBC4 Sessions.\n\n2002 songs\nRyan Adams songs\nSongs written by Ryan Adams"],"string":"[\n \"\\\"Skrt\\\" (stylized in all caps; pronounced \\\"skirt\\\") is a song by American rapper Kodak Black. It was released in December 2014 and is the third single from his mixtape Heart of the Projects (2014). It was produced by SkipOnDaBeat. In October 2015, the song helped Kodak Black gain recognition, when a video of Canadian rapper Drake dancing to it went viral.\\n\\nBackground\\nThe single was released on December 25, 2014, and a music video for the song was released on October 19, 2015. Five days later, on October 24, 2015, Canadian musician Drake posted a video on Instagram of him dancing to the song in his private jet. The video became popular, leading to Kodak Black achieving national popularity.\\n\\nComposition\\nElias Leight wrote in The Fader that the song's beat \\\"combines a stream of percussion and a few floating keyboard notes\\\", and noted \\\"fierce, distressed qualities to Kodak's loneliness\\\". Zara Golden called the track melancholy.\\n\\nRemix\\nCanadian rapper Roy Woods released a remix of the song on January 30, 2016.\\n\\nCharts\\n\\nCertifications\\n\\nReferences\\n\\n2014 songs\\n2015 singles\\nKodak Black songs\\nSongs written by Kodak Black\",\n \"\\\"Desire\\\" is a song by Ryan Adams from his 2002 album Demolition. The song, at the length of 3:41, was not released as a single from the album. It originally attracted little attention, and even though the review site Music Box described it as crossing \\\"U2 with Bob Dylan\\\", several major reviews – like Rolling Stone and The A.V. Club – did not even mention the song.\\n\\nThe song did however gain popularity later on, as a soundtrack for various popular television series. On 26 January 2005 the song was featured on the West Wing episode \\\"King Corn\\\". A year later, on 20 February 2006, it was also used for the House, M.D. episode \\\"Skin Deep\\\". It also played at the TV series John Doe (Episode 9), originally aired 12/6/2002. More recently, it was used on Beauty & the Beast episode 1x16 \\\"Insatiable\\\" aired on 21 March 2013. The song also features in the Nicholas Sparks film The Longest Ride.\\n\\nInstruments\\nRyan Adams - Vocals, Guitar, Harmonica\\nSheldon Gomberg - Bass\\nEthan Johns - Drums, Ukulele\\nGreg Leisz - Steel Guitar\\nJulianna Raye - Background vocals\\nChris Stills - B3\\n\\nReferences\\n\\nExternal links\\nRyan Adams performing Desire at BBC4 Sessions.\\n\\n2002 songs\\nRyan Adams songs\\nSongs written by Ryan Adams\"\n]"},"chunked_article":{"kind":"list like","value":["\"Good Vibrations\" is a song by the American rock band the Beach Boys that was composed by Brian Wilson with lyrics by Mike Love. It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping record charts in several countries including the United States and the United Kingdom.","It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping record charts in several countries including the United States and the United Kingdom. Characterized by its complex soundscapes, episodic structure and subversions of pop music formula, it was the most expensive single ever recorded.","Characterized by its complex soundscapes, episodic structure and subversions of pop music formula, it was the most expensive single ever recorded. \"Good Vibrations\" later became widely acclaimed as one of the finest and most important works of the rock era.","\"Good Vibrations\" later became widely acclaimed as one of the finest and most important works of the rock era. Also produced by Wilson, the title derived from his fascination with cosmic vibrations, as his mother would tell him as a child that dogs sometimes bark at people in response to their \"bad vibrations\".","Also produced by Wilson, the title derived from his fascination with cosmic vibrations, as his mother would tell him as a child that dogs sometimes bark at people in response to their \"bad vibrations\". He used the concept to suggest extrasensory perception, while Love's lyrics were inspired by the nascent Flower Power movement.","He used the concept to suggest extrasensory perception, while Love's lyrics were inspired by the nascent Flower Power movement. The song was written as it was recorded and in a similar fashion to other compositions from Wilson's Smile period.","The song was written as it was recorded and in a similar fashion to other compositions from Wilson's Smile period. It was issued as a standalone single, backed with \"Let's Go Away for Awhile\", and was to be included on the never-finished album Smile.","It was issued as a standalone single, backed with \"Let's Go Away for Awhile\", and was to be included on the never-finished album Smile. Instead, the track appeared on the September 1967 release Smiley Smile. The making of \"Good Vibrations\" was unprecedented for any kind of recording.","The making of \"Good Vibrations\" was unprecedented for any kind of recording. Building on his approach for Pet Sounds, Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of session musicians at four different Hollywood studios from February to September 1966, a process reflected in the song's several dramatic shifts in key, texture, instrumentation and mood.","Building on his approach for Pet Sounds, Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of session musicians at four different Hollywood studios from February to September 1966, a process reflected in the song's several dramatic shifts in key, texture, instrumentation and mood. Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars.","Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars. Band publicist Derek Taylor dubbed the unusual work a \"pocket symphony\".","Band publicist Derek Taylor dubbed the unusual work a \"pocket symphony\". It helped develop the use of the studio as an instrument and heralded a wave of pop experimentation and the onset of psychedelic and progressive rock.","It helped develop the use of the studio as an instrument and heralded a wave of pop experimentation and the onset of psychedelic and progressive rock. The track featured a novel mix of instruments, including jaw harp and Electro-Theremin, and although the latter is not a true theremin, the song's success led to a renewed interest and sales of theremins and synthesizers.","The track featured a novel mix of instruments, including jaw harp and Electro-Theremin, and although the latter is not a true theremin, the song's success led to a renewed interest and sales of theremins and synthesizers. \"Good Vibrations\" received a Grammy nomination for Best Vocal Group performance in 1966 and was inducted into the Grammy Hall of Fame in 1994.","\"Good Vibrations\" received a Grammy nomination for Best Vocal Group performance in 1966 and was inducted into the Grammy Hall of Fame in 1994. The song was voted number one in Mojos \"Top 100 Records of All Time\" and number six on Rolling Stones \"500 Greatest Songs of All Time\", and it was included in the Rock and Roll Hall of Fame's \"500 Songs that Shaped Rock and Roll\".","The song was voted number one in Mojos \"Top 100 Records of All Time\" and number six on Rolling Stones \"500 Greatest Songs of All Time\", and it was included in the Rock and Roll Hall of Fame's \"500 Songs that Shaped Rock and Roll\". In later years, the song has been cited as a forerunner to the Beatles' \"A Day in the Life\" (1967) and Queen's \"Bohemian Rhapsody\" (1975).","In later years, the song has been cited as a forerunner to the Beatles' \"A Day in the Life\" (1967) and Queen's \"Bohemian Rhapsody\" (1975). A 1976 cover version by Todd Rundgren peaked at number 34 on the Billboard Hot 100.","A 1976 cover version by Todd Rundgren peaked at number 34 on the Billboard Hot 100. The Beach Boys followed up \"Good Vibrations\" with another single pieced from sections, \"Heroes and Villains\" (1967), but it was less successful.","The Beach Boys followed up \"Good Vibrations\" with another single pieced from sections, \"Heroes and Villains\" (1967), but it was less successful. Inspiration and writing Concept and early lyrics The Beach Boys' leader, Brian Wilson, was responsible for the musical composition and virtually all of the arrangement for \"Good Vibrations\".","Inspiration and writing Concept and early lyrics The Beach Boys' leader, Brian Wilson, was responsible for the musical composition and virtually all of the arrangement for \"Good Vibrations\". Most of the song's structure and arrangement was written as it was recorded.","Most of the song's structure and arrangement was written as it was recorded. During the recording sessions for the 1966 album Pet Sounds, Wilson began changing his writing process. For \"Good Vibrations\", Wilson said, \"I had a lot of unfinished ideas, fragments of music I called 'feels.'","For \"Good Vibrations\", Wilson said, \"I had a lot of unfinished ideas, fragments of music I called 'feels.' Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic.\"","Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic.\" Engineer Chuck Britz is quoted saying that Wilson considered the song to be \"his whole life performance in one track\". Wilson stated: \"I was an energetic 23-year-old. ...","Wilson stated: \"I was an energetic 23-year-old. ... ... I said: 'This is going to be better than [the Phil Spector production] \"You've Lost That Lovin' Feelin'. Wilson said that \"Good Vibrations\" was inspired by his mother: \"[She] used to tell me about vibrations.","Wilson said that \"Good Vibrations\" was inspired by his mother: \"[She] used to tell me about vibrations. I didn't really understand too much of what it meant when I was just a boy. It scared me, the word 'vibrations.'","It scared me, the word 'vibrations.' She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel.\"","She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel.\" Brian first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea.","Brian first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea. When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style.","When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style. Asher remembered: Wilson wanted to call the song \"Good Vibes\", but Asher advised that it was \"lightweight use of the language\", and suggested that \"Good Vibrations\" would sound less \"trendy\".","Asher remembered: Wilson wanted to call the song \"Good Vibes\", but Asher advised that it was \"lightweight use of the language\", and suggested that \"Good Vibrations\" would sound less \"trendy\". The two proceeded to write lyrics for the verses that were ultimately discarded.","The two proceeded to write lyrics for the verses that were ultimately discarded. Theremin and cello From the start, Wilson envisioned a theremin for the track.","Theremin and cello From the start, Wilson envisioned a theremin for the track. AllMusic reviewer John Bush pointed out: \"Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel—between the single's theme and its use of an instrument the player never even touched.\"","AllMusic reviewer John Bush pointed out: \"Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel—between the single's theme and its use of an instrument the player never even touched.\" \"Good Vibrations\" does not technically feature a theremin, but rather an Electro-Theremin, which is physically controlled by a knob on the side of the instrument.","\"Good Vibrations\" does not technically feature a theremin, but rather an Electro-Theremin, which is physically controlled by a knob on the side of the instrument. It was dubbed a \"theremin\" simply for convenience.","It was dubbed a \"theremin\" simply for convenience. At that time, theremins were most often associated with the 1945 Alfred Hitchcock film Spellbound, but their most common presence was in the theme music for the television sitcom My Favorite Martian, which ran from 1963 to 1966.","At that time, theremins were most often associated with the 1945 Alfred Hitchcock film Spellbound, but their most common presence was in the theme music for the television sitcom My Favorite Martian, which ran from 1963 to 1966. Britz speculates: \"He just walked in and said, 'I have this new sound for you.'","Britz speculates: \"He just walked in and said, 'I have this new sound for you.' I think he must have heard the sound somewhere and loved it, and built a song around it.\" It is unclear whether Wilson knew that the instrument was not a real theremin.","It is unclear whether Wilson knew that the instrument was not a real theremin. Brian credited his brother and bandmate Carl for suggesting the use of a cello on the track.","Brian credited his brother and bandmate Carl for suggesting the use of a cello on the track. He further stated that its triplet beat on the chorus was his own idea and that it was based on the Crystals' \"Da Doo Ron Ron\" (1963), produced by Spector.","He further stated that its triplet beat on the chorus was his own idea and that it was based on the Crystals' \"Da Doo Ron Ron\" (1963), produced by Spector. Conversely, arranger and session musician Van Dyke Parks said that it was himself who suggested having the cellist play triplets to Brian.","Conversely, arranger and session musician Van Dyke Parks said that it was himself who suggested having the cellist play triplets to Brian. Parks believed that having Brian exploit the cello \"to such a hyperbolic degree\" was what encouraged the duo to immediately collaborate on the never-finished album Smile.","Parks believed that having Brian exploit the cello \"to such a hyperbolic degree\" was what encouraged the duo to immediately collaborate on the never-finished album Smile. At some point, Wilson asked Parks to pen lyrics for \"Good Vibrations\", although Parks declined.","At some point, Wilson asked Parks to pen lyrics for \"Good Vibrations\", although Parks declined. Influences and final lyrics Wilson's cousin and bandmate Mike Love submitted the final lyrics for \"Good Vibrations\" and contributed its bass-baritone vocals in the chorus.","Influences and final lyrics Wilson's cousin and bandmate Mike Love submitted the final lyrics for \"Good Vibrations\" and contributed its bass-baritone vocals in the chorus. He recalled that when he heard the unfinished backing track: \"[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it.","He recalled that when he heard the unfinished backing track: \"[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it. How's this going to go over in the Midwest or Birmingham?","How's this going to go over in the Midwest or Birmingham? It was such a departure from 'Surfin' U.S.A.' or 'Help Me, Rhonda.'\" Love said that he wrote the words while on the drive to the studio.","Love said that he wrote the words while on the drive to the studio. Feeling that the song could be \"the Beach Boys' psychedelic anthem or flower power offering,\" he based the lyrics on the burgeoning psychedelic music and Flower Power movements occurring in San Francisco and some parts of the Los Angeles area.","Feeling that the song could be \"the Beach Boys' psychedelic anthem or flower power offering,\" he based the lyrics on the burgeoning psychedelic music and Flower Power movements occurring in San Francisco and some parts of the Los Angeles area. He described the lyrics as \"just a flowery poem.","He described the lyrics as \"just a flowery poem. Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair.'\"","Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair.'\" Writing in his 1975 book The Beach Boys: Southern California Pastoral, Bruce Golden observed: Capitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his LSD experiences.","Writing in his 1975 book The Beach Boys: Southern California Pastoral, Bruce Golden observed: Capitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his LSD experiences. Brian clarified that the song was written under the influence of marijuana, not LSD.","Brian clarified that the song was written under the influence of marijuana, not LSD. He explained: \"I made ‘Good Vibrations’ on drugs; I used drugs to make that. ... I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity.\"","I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity.\" In Steven Gaines's 1986 biography, Wilson is quoted on the lyrics: \"We talked about good vibrations with the song and the idea, and we decided on one hand that you could say ... those are sensual things.","In Steven Gaines's 1986 biography, Wilson is quoted on the lyrics: \"We talked about good vibrations with the song and the idea, and we decided on one hand that you could say ... those are sensual things. And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have.","And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have. That's what we're really talking about.\" Wilson said in 2012 that the song's \"gotta keep those good vibrations\" bridge was inspired by Stephen Foster.","Wilson said in 2012 that the song's \"gotta keep those good vibrations\" bridge was inspired by Stephen Foster. Bandmate Al Jardine compared that section to Foster and the Negro spiritual \"Down by the Riverside\".","Bandmate Al Jardine compared that section to Foster and the Negro spiritual \"Down by the Riverside\". According to Love, the lyric \"'she goes with me to a blossom world' was originally meant to be followed by the words 'we find'\", but Wilson elected to cut off the line to highlight the bass track linking into the chorus.","According to Love, the lyric \"'she goes with me to a blossom world' was originally meant to be followed by the words 'we find'\", but Wilson elected to cut off the line to highlight the bass track linking into the chorus. Recording and production Modular approach \"Good Vibrations\" established a new method of operation for Wilson.","Recording and production Modular approach \"Good Vibrations\" established a new method of operation for Wilson. Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or \"modules\").","Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or \"modules\"). Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time.","Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time. This was the same modular approach used during the sessions for Smile and Smiley Smile.","This was the same modular approach used during the sessions for Smile and Smiley Smile. To mask each tape edit, vast reverb decays were added at the mixing and sub-mixing stages. For instrumentation, Wilson employed the services of \"the Wrecking Crew\", the nickname for a conglomerate of session musicians active in Los Angeles at that time.","For instrumentation, Wilson employed the services of \"the Wrecking Crew\", the nickname for a conglomerate of session musicians active in Los Angeles at that time. Production for \"Good Vibrations\" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two.","Production for \"Good Vibrations\" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two. It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands, making it the costliest single recorded to that date.","It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands, making it the costliest single recorded to that date. Biographer Peter Ames Carlin wrote that Wilson was so puzzled by the arranging of \"Good Vibrations\" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs.","Biographer Peter Ames Carlin wrote that Wilson was so puzzled by the arranging of \"Good Vibrations\" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs. One estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to $ and $ in ), By comparison, the whole of Pet Sounds had cost $70,000 ($), itself an unusually high cost for an album.","One estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to $ and $ in ), By comparison, the whole of Pet Sounds had cost $70,000 ($), itself an unusually high cost for an album. In 2018, Wilson disputed the $50,000 figure for \"Good Vibrations\", saying that the overall expenses were closer to $25,000.","In 2018, Wilson disputed the $50,000 figure for \"Good Vibrations\", saying that the overall expenses were closer to $25,000. Contemporary advertisements reported $10,000 ($) as the track's total production costs. Domenic Priore wrote that the track cost between $10,000 and $15,000 ($).","Domenic Priore wrote that the track cost between $10,000 and $15,000 ($). When asked in a 2005 interview if it was true that the Electro-Theremin work alone cost $100,000, Wilson replied \"No. $15,000.\"","$15,000.\" $15,000.\" Development The instrumental of the first version of the song was recorded on February 17, 1966, at Gold Star Studios and was logged as a Pet Sounds session.","Development The instrumental of the first version of the song was recorded on February 17, 1966, at Gold Star Studios and was logged as a Pet Sounds session. On that day's session log, it was given the name \"#1 Untitled\" or \"Good, Good, Good Vibrations\", but on its master tape, Wilson distinctly states: \"'Good Vibrations' ... take one.\"","On that day's session log, it was given the name \"#1 Untitled\" or \"Good, Good, Good Vibrations\", but on its master tape, Wilson distinctly states: \"'Good Vibrations' ... take one.\" After twenty-six takes, a rough mono mix completed the session.","After twenty-six takes, a rough mono mix completed the session. Some additional instruments and rough guide vocals were overdubbed on February 23. Brian and Carl shared vocals for this mix.","Brian and Carl shared vocals for this mix. The original version of \"Good Vibrations\" contained the characteristics of a \"funky rhythm and blues number\" and would not yet resemble a \"pocket symphony\". There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor, Paul Tanner.","There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor, Paul Tanner. It was Brian's second ever recorded use of the instrument, just three days after the Pet Sounds track \"I Just Wasn't Made for These Times\".","It was Brian's second ever recorded use of the instrument, just three days after the Pet Sounds track \"I Just Wasn't Made for These Times\". Brian then placed \"Good Vibrations\" on hold in order to devote attention to the Pet Sounds album, which saw release on May 16.","Brian then placed \"Good Vibrations\" on hold in order to devote attention to the Pet Sounds album, which saw release on May 16. More instrumental sections for \"Good Vibrations\" were recorded between April and June.","More instrumental sections for \"Good Vibrations\" were recorded between April and June. Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs.","Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs. According to Brian's then-new friend David Anderle, during an early stage, Brian considered giving \"Good Vibrations\" to one of the black R&B groups signed with Warner Bros. Records such as Wilson Pickett, and then at Anderle's suggestion to singer Danny Hutton.","According to Brian's then-new friend David Anderle, during an early stage, Brian considered giving \"Good Vibrations\" to one of the black R&B groups signed with Warner Bros. Records such as Wilson Pickett, and then at Anderle's suggestion to singer Danny Hutton. He thought about abandoning the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single.","He thought about abandoning the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single. In the meantime, he worked on writing and recording material for the group's forthcoming album, Smile.","In the meantime, he worked on writing and recording material for the group's forthcoming album, Smile. The first Beach Boy to hear \"Good Vibrations\" in a semi-completed form, other than Brian, was Carl.","The first Beach Boy to hear \"Good Vibrations\" in a semi-completed form, other than Brian, was Carl. Following a performance with the touring group in North Dakota, he remembered: \"I came back up into my hotel room one night and the phone rang. It was Brian on the other end.","It was Brian on the other end. He called me from the recording studio and played this really bizarre sounding music over the phone. There were drums smashing, that kind of stuff, and then it refined itself and got into the cello. It was a real funky track.\"","It was a real funky track.\" In 1976, Brian revealed that before the final mixdown, he had been confronted with resistance by members of the group, whom Brian declined to name.","In 1976, Brian revealed that before the final mixdown, he had been confronted with resistance by members of the group, whom Brian declined to name. The subject of their worries and complaints was the song's length and \"modern\" sound: \"I said no, it's not going to be too long a record, it's going to be just right.","The subject of their worries and complaints was the song's length and \"modern\" sound: \"I said no, it's not going to be too long a record, it's going to be just right. ... They didn't quite understand what this jumping from studio to studio was all about.","They didn't quite understand what this jumping from studio to studio was all about. And they couldn't conceive of the record as I did. I saw the record as a totality piece.\"","I saw the record as a totality piece.\" The vocals for \"Good Vibrations\" were recorded at CBS Columbia Square, starting on August 24 and continuing sporadically until the very last day of assembly on September 21. The episodic structure of the composition was continuously revised as the group experimented with different ideas.","The episodic structure of the composition was continuously revised as the group experimented with different ideas. Brian remembers that he began recording the \"bop bop good vibrations\" parts first, and that he came up with \"the high parts\" a week later.","Brian remembers that he began recording the \"bop bop good vibrations\" parts first, and that he came up with \"the high parts\" a week later. Mike Love recalled: \"I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long.\"","Mike Love recalled: \"I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long.\" Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute.","Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute. In early September, the master tapes for \"Good Vibrations\" were stolen. Mysteriously, they reappeared inside Brian's home two days later.","Mysteriously, they reappeared inside Brian's home two days later. On September 21, Brian completed the track after Tanner added a final Electro-Theremin overdub. In 1976 he elaborated on the event: \"It was at Columbia. I remember I had it right in the sack.","I remember I had it right in the sack. I could just feel it when I dubbed it down, made the final mix from the 16-track down to mono. It was a feeling of power, it was a rush. A feeling of exaltation. Artistic beauty. It was everything ... I remember saying, 'Oh my God.","I remember saying, 'Oh my God. Sit back and listen to this!'\" Composition and analysis Genre and dynamics There are six unique sections to the piece.","Composition and analysis Genre and dynamics There are six unique sections to the piece. Music theorist Daniel Harrison refers to these sections individually as the verse, the refrain (or chorus), the \"first episodic digression\", the \"second episodic digression\", the \"retro-refrain\", and the coda.","Music theorist Daniel Harrison refers to these sections individually as the verse, the refrain (or chorus), the \"first episodic digression\", the \"second episodic digression\", the \"retro-refrain\", and the coda. Each has a distinct musical texture, partly due to the nature of the song's recording.","Each has a distinct musical texture, partly due to the nature of the song's recording. The track's instrumentation changes radically from section to section, and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a \"very long\" duration.","The track's instrumentation changes radically from section to section, and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a \"very long\" duration. Wilson is quoted in 1979: He characterized the song as \"advanced rhythm and blues\".","Wilson is quoted in 1979: He characterized the song as \"advanced rhythm and blues\". Tom Roland of American Songwriter described the piece, \"with its interlocking segments—a sort of pop version of the classical sonata, consisting of a series of musical movements\".","Tom Roland of American Songwriter described the piece, \"with its interlocking segments—a sort of pop version of the classical sonata, consisting of a series of musical movements\". New York Magazine compared it to \"a fugue with a rhythmic beat\".","New York Magazine compared it to \"a fugue with a rhythmic beat\". John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs.","John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs. Music journal Sound on Sound argued that the song \"has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour\".","Music journal Sound on Sound argued that the song \"has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour\". It explained that the song subverts pop forms to a considerable degree: According to historian Lorenzo Candelaria, \"Good Vibrations\" has since been marketed as pop music \"possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know.\"","It explained that the song subverts pop forms to a considerable degree: According to historian Lorenzo Candelaria, \"Good Vibrations\" has since been marketed as pop music \"possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know.\" Uncut called the song \"three minutes and thirty-six seconds of avant-garde pop\".","Uncut called the song \"three minutes and thirty-six seconds of avant-garde pop\". Mixdown described it as a \"masterpiece of avant-pop\". The theremin and cello has been called the song's \"psychedelic ingredient\".","The theremin and cello has been called the song's \"psychedelic ingredient\". In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin.","In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin. Professor of American history John Robert Greene named \"Good Vibrations\" among examples of psychedelic or acid rock.","Professor of American history John Robert Greene named \"Good Vibrations\" among examples of psychedelic or acid rock. Stebbins wrote that the song was \"replete with sunshine [and] psychedelia\". Steve Valdez says that, like Pet Sounds, Brian was attempting a more experimental rock style.","Steve Valdez says that, like Pet Sounds, Brian was attempting a more experimental rock style. Comparing \"Good Vibrations\" to Wilson's previous work Pet Sounds, biographer Andrew Hickey said that the \"best way of thinking about [the song] is that it's taking the lowest common denominator of 'Here Today' and 'God Only Knows' and turned the result into an R&B track.","Comparing \"Good Vibrations\" to Wilson's previous work Pet Sounds, biographer Andrew Hickey said that the \"best way of thinking about [the song] is that it's taking the lowest common denominator of 'Here Today' and 'God Only Knows' and turned the result into an R&B track. We have the same minor-key change between verse and chorus we've seen throughout Pet Sounds, the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to funky.\"","We have the same minor-key change between verse and chorus we've seen throughout Pet Sounds, the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to funky.\" Author Jon Stebbins adds that \"unlike Pet Sounds the chorus of 'Good Vibrations' projects a definite 'rock and roll' energy and feel.\"","Author Jon Stebbins adds that \"unlike Pet Sounds the chorus of 'Good Vibrations' projects a definite 'rock and roll' energy and feel.\" According to academic Rikky Rooksby, \"Good Vibrations\" is an example of Brian Wilson's growing interest in musical development within a composition, something antithetical to popular music of the time.","According to academic Rikky Rooksby, \"Good Vibrations\" is an example of Brian Wilson's growing interest in musical development within a composition, something antithetical to popular music of the time. Suppressing tonic strength and cadential drive, the song makes use of descending harmonic motions through scale degrees controlled by a single tonic and \"radical disjunctions\" in key, texture, instrumentation, and mood while refusing to develop into a predictable formal pattern.","Suppressing tonic strength and cadential drive, the song makes use of descending harmonic motions through scale degrees controlled by a single tonic and \"radical disjunctions\" in key, texture, instrumentation, and mood while refusing to develop into a predictable formal pattern. It instead develops \"under its own power\" and \"luxuriates in harmonic variety\" exemplified by beginning and ending not only in different keys but also in different modes.","It instead develops \"under its own power\" and \"luxuriates in harmonic variety\" exemplified by beginning and ending not only in different keys but also in different modes. Verses and refrains (0:00–1:40) \"Good Vibrations\" begins without introduction in a traditional verse/refrain format, opening with Carl Wilson singing the word \"I\", a triplet eighth note before the downbeat.","Verses and refrains (0:00–1:40) \"Good Vibrations\" begins without introduction in a traditional verse/refrain format, opening with Carl Wilson singing the word \"I\", a triplet eighth note before the downbeat. The sparse first verse contains a repetition of chords played on a Hammond organ filtered through a Leslie speaker; underneath is a two-bar Fender bass melody.","The sparse first verse contains a repetition of chords played on a Hammond organ filtered through a Leslie speaker; underneath is a two-bar Fender bass melody. This sequence repeats once (0:15), but with the addition of two piccolos sustaining over a falling flute line.","This sequence repeats once (0:15), but with the addition of two piccolos sustaining over a falling flute line. For percussion, bongo drums double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation.","For percussion, bongo drums double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation. The beat projects a triplet feel despite being in time; this is sometimes called a \"shuffle beat\" or \"threes over fours\".","The beat projects a triplet feel despite being in time; this is sometimes called a \"shuffle beat\" or \"threes over fours\". The chord progression used is i–VII–VI–V, also called an Andalusian cadence. Although the verses begin in the minor mode of E, the mode is not used to express sadness or drudgery.","Although the verses begin in the minor mode of E, the mode is not used to express sadness or drudgery. Occurring at the very end of these verses is a passing chord, D. The refrain (0:25) begins in the newly tonicized relative major G, which suggests III.","Occurring at the very end of these verses is a passing chord, D. The refrain (0:25) begins in the newly tonicized relative major G, which suggests III. Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music.","Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music. The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat.","The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat. This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals.","This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals. The first section consists of only the couplet \"I'm picking up good vibrations/she's giving me the excitation\" sung by Mike Love in his bass-baritone register; the second repeats the lines and adds an \"ooo bop bop\" figure, sung in multiple-part harmony; the third time also adds a \"good, good, good, good vibrations\" in yet a higher harmony.","The first section consists of only the couplet \"I'm picking up good vibrations/she's giving me the excitation\" sung by Mike Love in his bass-baritone register; the second repeats the lines and adds an \"ooo bop bop\" figure, sung in multiple-part harmony; the third time also adds a \"good, good, good, good vibrations\" in yet a higher harmony. This type of polyphony (counterpoint) is also rare in contemporary popular styles.","This type of polyphony (counterpoint) is also rare in contemporary popular styles. Each repeat of the vocal lines also transposes up by a whole step, ascending from G to A and then B. It then returns to the verse, thus making a perfect cadence back into E minor.","It then returns to the verse, thus making a perfect cadence back into E minor. The verse and refrain then repeat without any changes to the patterns of its instrumentation and harmony. This is unusual, in that normally, a song's arrangement adds something once it reaches the second verse.","This is unusual, in that normally, a song's arrangement adds something once it reaches the second verse. Episodic digressions First episode (1:41–2:13) The first episode (1:41+) begins disjunctively with an abrupt tape splice.","Episodic digressions First episode (1:41–2:13) The first episode (1:41+) begins disjunctively with an abrupt tape splice. The refrain's B, which had received a dominant (V) charge, is now maintained as a tonic (I).","The refrain's B, which had received a dominant (V) charge, is now maintained as a tonic (I). There is harmonic ambiguity, in that the chord progression may be either interpreted as I–IV–I (in B) or V–I–V (in E).","There is harmonic ambiguity, in that the chord progression may be either interpreted as I–IV–I (in B) or V–I–V (in E). Stebbins says that this section \"might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply.\"","Stebbins says that this section \"might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply.\" A new sound is created by tack piano, jaw harp, and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, bass harmonica, and sleigh bells shaken on every beat.","A new sound is created by tack piano, jaw harp, and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, bass harmonica, and sleigh bells shaken on every beat. The lone line of vocals (aside from non-lexical harmonies) is \"I don't know where, but she sends me there\" sung in Mike Love's upper-register baritone.","The lone line of vocals (aside from non-lexical harmonies) is \"I don't know where, but she sends me there\" sung in Mike Love's upper-register baritone. This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns.","This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns. Second episode (2:13–2:56) Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat.","Second episode (2:13–2:56) Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat. Sound on Sound highlights this change as the \"most savage edit in the track ... most people would go straight into a big splash hook-line section.","Sound on Sound highlights this change as the \"most savage edit in the track ... most people would go straight into a big splash hook-line section. Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ...","Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ... Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian.\"","Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian.\" Harrison says: The slowed pace is complemented by the lyric (\"Gotta keep those loving good vibrations a-happening with her\"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony.","Harrison says: The slowed pace is complemented by the lyric (\"Gotta keep those loving good vibrations a-happening with her\"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony. This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2.","This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2. The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats.","The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats. Lambert calls it the song's \"wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments.","Lambert calls it the song's \"wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments. As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say.\"","As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say.\" Retro-refrain and coda (2:57–3:35) A brief break at the end of the second musical digression creates tension which leads into the final sequence of the song.","Retro-refrain and coda (2:57–3:35) A brief break at the end of the second musical digression creates tension which leads into the final sequence of the song. The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B, repeats at A, and then ends at G for an unexpectedly short single measure.","The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B, repeats at A, and then ends at G for an unexpectedly short single measure. The section uses a descending progression, which mirrors the ascending progression of the previous two refrains.","The section uses a descending progression, which mirrors the ascending progression of the previous two refrains. There follows a short section of vocalizing in three-part counterpoint that references the original refrain by reproducing upward transposition. However, this time it settles on A, the concluding key of the song.","However, this time it settles on A, the concluding key of the song. By the end of \"Good Vibrations,\" all seven scale degrees of the opening E-minor tonic are activated on some level.","By the end of \"Good Vibrations,\" all seven scale degrees of the opening E-minor tonic are activated on some level. Release and promotion In a July 1966 advertisement for Pet Sounds in Billboard magazine, the band thanked the music industry for the sales of their album, and said that \"We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations.\"","Release and promotion In a July 1966 advertisement for Pet Sounds in Billboard magazine, the band thanked the music industry for the sales of their album, and said that \"We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations.\" This was the first public hint of the new single.","This was the first public hint of the new single. Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was \"about a guy who picks up good vibrations from a girl\" and that it would be a \"monster\".","Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was \"about a guy who picks up good vibrations from a girl\" and that it would be a \"monster\". He then suggested: \"It's still sticking pretty close to that same boy-girl thing, you know, but with a difference.","He then suggested: \"It's still sticking pretty close to that same boy-girl thing, you know, but with a difference. And it's a start, it's definitely a start.\"","And it's a start, it's definitely a start.\" Derek Taylor, who had recently been engaged as the band's publicist, is credited for coining the term a \"pocket symphony\" to describe the song.","Derek Taylor, who had recently been engaged as the band's publicist, is credited for coining the term a \"pocket symphony\" to describe the song. In a press release for the single, he stated: \"Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils.","In a press release for the single, he stated: \"Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils. And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else.\"","And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else.\" To promote the single, four different music videos were shot.","To promote the single, four different music videos were shot. The first of these—which had Caleb Deschanel as cameraman—features the group at a fire station, sliding down its pole, and roaming the streets of Los Angeles in a fashion comparable to The Monkees. The second features the group during vocal rehearsals at United Western Recorders.","The second features the group during vocal rehearsals at United Western Recorders. The third contains footage recorded during the making of The Beach Boys in London, a documentary by Peter Whitehead of their concert performances. The fourth clip is an alternative edit of the third.","The fourth clip is an alternative edit of the third. Brian also made a rare television appearance on local station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record.","Brian also made a rare television appearance on local station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record. On October 15, 1966, Billboard predicted that the single would reach the top 20 in the Billboard Hot 100 chart.","On October 15, 1966, Billboard predicted that the single would reach the top 20 in the Billboard Hot 100 chart. \"Good Vibrations\" was the Beach Boys' third US number one hit, after \"I Get Around\" and \"Help Me, Rhonda\", reaching the top of the Hot 100 in December.","\"Good Vibrations\" was the Beach Boys' third US number one hit, after \"I Get Around\" and \"Help Me, Rhonda\", reaching the top of the Hot 100 in December. It was also their first number one in Britain.","It was also their first number one in Britain. The single sold over 230,000 copies in the US within four days of its release and entered the Cash Box chart at number 61 on October 22. In the UK, the song sold over 50,000 copies in the first 15 days of its release.","In the UK, the song sold over 50,000 copies in the first 15 days of its release. \"Good Vibrations\" quickly became the Beach Boys' first million-selling single. In December 1966, the record was their first single certified gold by the RIAA for sales of one million copies.","In December 1966, the record was their first single certified gold by the RIAA for sales of one million copies. On March 30, 2016, the digital single was certified platinum by the RIAA for the same sales level.","On March 30, 2016, the digital single was certified platinum by the RIAA for the same sales level. In the US, Cash Box said that it is a \"catchy, easy-driving ditty loaded with the Boys’ money-making sound.\" In Britain, the single received favorable reviews from the New Musical Express and Melody Maker.","In Britain, the single received favorable reviews from the New Musical Express and Melody Maker. Soon after, the Beach Boys were voted the number one band in the world in the NME readers' poll, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops.","Soon after, the Beach Boys were voted the number one band in the world in the NME readers' poll, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops. Billboard said that this result was probably influenced by the success of \"Good Vibrations\" when the votes were cast, together with the band's recent tour, whereas the Beatles had neither a recent single nor had they toured the UK throughout 1966; the reporter added that \"The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak.\"","Billboard said that this result was probably influenced by the success of \"Good Vibrations\" when the votes were cast, together with the band's recent tour, whereas the Beatles had neither a recent single nor had they toured the UK throughout 1966; the reporter added that \"The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak.\" In a readers' poll conducted by a Danish newspaper, Brian Wilson won the \"best foreign-produced recording award\", marking the first time that an American had won in that category.","In a readers' poll conducted by a Danish newspaper, Brian Wilson won the \"best foreign-produced recording award\", marking the first time that an American had won in that category. The single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc.","The single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc. Influence and legacy Historical reception Virtually every pop music critic recognizes \"Good Vibrations\" as one of the most important compositions and recordings of the entire rock era.","Influence and legacy Historical reception Virtually every pop music critic recognizes \"Good Vibrations\" as one of the most important compositions and recordings of the entire rock era. It is a regular fixture on \"greatest of all-time\" song lists and is frequently hailed as one of the finest pop productions of all time.","It is a regular fixture on \"greatest of all-time\" song lists and is frequently hailed as one of the finest pop productions of all time. In 2004, Rolling Stone magazine ranked \"Good Vibrations\" at number 6 in \"The 500 Greatest Songs of All Time\", the highest position of seven Beach Boys songs cited in the list.","In 2004, Rolling Stone magazine ranked \"Good Vibrations\" at number 6 in \"The 500 Greatest Songs of All Time\", the highest position of seven Beach Boys songs cited in the list. In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list.","In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list. As of 2016, \"Good Vibrations\" is ranked as the number four song of all time in an aggregation of critics' lists at Acclaimed Music. The song served as an anthem for the counterculture of the 1960s.","The song served as an anthem for the counterculture of the 1960s. According to Noel Murray of The A.V.","According to Noel Murray of The A.V. Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's \"un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do.\"","Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's \"un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do.\" Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for \"Good Vibrations\".","Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for \"Good Vibrations\". \"Heroes and Villains\", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967.","\"Heroes and Villains\", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967. In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of \"Good Vibrations\".","In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of \"Good Vibrations\". When asked about the song in 1990, Paul McCartney responded: \"I thought it was a great record.","When asked about the song in 1990, Paul McCartney responded: \"I thought it was a great record. It didn't quite have the emotional thing that Pet Sounds had for me. I've often played Pet Sounds and cried. It's that kind of an album for me.\"","It's that kind of an album for me.\" Pete Townshend of the Who was quoted in the 1960s as saying, \"'Good Vibrations' was probably a good record but who's to know? You had to play it about 90 bloody times to even hear what they were singing about.\"","You had to play it about 90 bloody times to even hear what they were singing about.\" Townshend feared that the single would lead to a trend of overproduction. In a 1966 issue of Arts Magazine, Jonathan King said: \"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art.","In a 1966 issue of Arts Magazine, Jonathan King said: \"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art. Computerized pop, mechanized music. Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons.","Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons. It is long and split. ... impressive, fantastic, commercial—yes. Emotional, soul-destroying, shattering—no.\"","Emotional, soul-destroying, shattering—no.\" In the 2000s, record producer Phil Spector criticized the single for depending too much on tape manipulation, negatively referring to it as an \"edit record ... It's like Psycho is a great film, but it's an 'edit film.'","It's like Psycho is a great film, but it's an 'edit film.' Without edits, it's not a film; with edits, it's a great film. But it's not Rebecca ... it's not a beautiful story.\"","But it's not Rebecca ... it's not a beautiful story.\" Advancements Recording and popular music \"Good Vibrations\" is credited for having further developed the use of recording studios as a musical instrument.","Advancements Recording and popular music \"Good Vibrations\" is credited for having further developed the use of recording studios as a musical instrument. Author Domenic Priore commented that the song's making was \"unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording\".","Author Domenic Priore commented that the song's making was \"unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording\". A milestone in the development of rock music, the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record.","A milestone in the development of rock music, the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record. Musicologist Charlie Gillett called it \"one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance\".","Musicologist Charlie Gillett called it \"one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance\". In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted: Writing for Popmatters in 2015, Scott Interrante stated: \"'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have.\"","In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted: Writing for Popmatters in 2015, Scott Interrante stated: \"'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have.\" The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm.","The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm. Microtonal composer Frank Oteri said that it \"sounds like no other pop song recorded up to that point\".","Microtonal composer Frank Oteri said that it \"sounds like no other pop song recorded up to that point\". According to Stebbins: \"This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original.","According to Stebbins: \"This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original. But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century.\"","But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century.\" He added that the single \"vaulted nearly every other rock act in their delivery of a Flower Power classic. It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop.\"","It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop.\" John Bush wrote that the single \"announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies\".","John Bush wrote that the single \"announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies\". Gillett noted: \"For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording.\"","Gillett noted: \"For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording.\" Priore says that the song was a forerunner to works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes.","Priore says that the song was a forerunner to works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes. In his appraisal for American Songwriter, Roland cites the song's \"format\" as the model for recordings by Wings (\"Band on the Run\"), the Beatles (\"A Day in the Life\"), and Elton John (\"Funeral for a Friend/Love Lies Bleeding\").","In his appraisal for American Songwriter, Roland cites the song's \"format\" as the model for recordings by Wings (\"Band on the Run\"), the Beatles (\"A Day in the Life\"), and Elton John (\"Funeral for a Friend/Love Lies Bleeding\"). The song's approach was repeated in Queen's 1975 single \"Bohemian Rhapsody\", which was similarly pieced together using different sections.","The song's approach was repeated in Queen's 1975 single \"Bohemian Rhapsody\", which was similarly pieced together using different sections. Wilson praised Queen's effort, calling it \"the most competitive thing that's come along in ages\" and \"a fulfillment and an answer to a teenage prayer—of artistic music\".","Wilson praised Queen's effort, calling it \"the most competitive thing that's come along in ages\" and \"a fulfillment and an answer to a teenage prayer—of artistic music\". Psychedelic and progressive rock With \"Good Vibrations\", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages.","Psychedelic and progressive rock With \"Good Vibrations\", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages. Writing in 2009, Barney Hoskyns deemed it to be the era's \"ultimate psychedelic pop record\" from Los Angeles.","Writing in 2009, Barney Hoskyns deemed it to be the era's \"ultimate psychedelic pop record\" from Los Angeles. Interrante adds: \"Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated, but its legacy as a pop hit is impressive as well.\"","Interrante adds: \"Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated, but its legacy as a pop hit is impressive as well.\" Former Atlantic Records executive Phillip Rauls recalled: \"I was in the music business at the time, and my very first recognition of acid rock—we didn't call it progressive rock then—was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [theremin] sent so many musicians back to the studio to create this music on acid.\"","Former Atlantic Records executive Phillip Rauls recalled: \"I was in the music business at the time, and my very first recognition of acid rock—we didn't call it progressive rock then—was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [theremin] sent so many musicians back to the studio to create this music on acid.\" Author Bill Martin suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: \"The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life.'\"","Author Bill Martin suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: \"The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life.'\" Use of theremin Although the song does not technically contain a theremin, \"Good Vibrations\" is the most frequently cited example of the instrument's use in pop music.","Use of theremin Although the song does not technically contain a theremin, \"Good Vibrations\" is the most frequently cited example of the instrument's use in pop music. Upon release, the single prompted an unexpected revival in theremins and increased the awareness of analog synthesizers.","Upon release, the single prompted an unexpected revival in theremins and increased the awareness of analog synthesizers. The notion that \"Good Vibrations\" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants.","The notion that \"Good Vibrations\" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants. While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin.","While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin. When the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments.","When the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments. Tanner recalls saying to Wilson, \"I've got the wrong sort of hair to be on stage with you fellas\", to which Wilson replied: \"We'll give you a Prince Valiant wig.\"","Tanner recalls saying to Wilson, \"I've got the wrong sort of hair to be on stage with you fellas\", to which Wilson replied: \"We'll give you a Prince Valiant wig.\" The Beach Boys then requested the services of Walter Sear, who asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar.","The Beach Boys then requested the services of Walter Sear, who asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar. Sear remembers marking fretboard-like lines on the ribbon \"so they could play the damn thing.\" Moog began manufacturing his own models of theremins.","Moog began manufacturing his own models of theremins. He later noted: \"The pop record scene cleaned us out of our stock which we expected to last through Christmas.\"","He later noted: \"The pop record scene cleaned us out of our stock which we expected to last through Christmas.\" In Steven M. Martin's 1993 documentary Theremin: An Electronic Odyssey, in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin due to \"Good Vibrations\" caused Russian authorities to exile its inventor, Leon Theremin.","In Steven M. Martin's 1993 documentary Theremin: An Electronic Odyssey, in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin due to \"Good Vibrations\" caused Russian authorities to exile its inventor, Leon Theremin. Cover versions The song has been covered by artists such as Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV.","Cover versions The song has been covered by artists such as Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV. John Bush commented: \"'Good Vibrations' was rarely reprised by other acts, even during the cover-happy '60s. Its fragmented style made it essentially cover-proof.\"","Its fragmented style made it essentially cover-proof.\" In 1976, a nearly identical cover version was released as a single by Todd Rundgren for his album Faithful. When asked for his opinion, Brian said: \"Oh, he did a marvelous job, he did a great job. I was very proud of his version.\"","I was very proud of his version.\" Rundgren's single peaked at number 34 on the Billboard Hot 100.","Rundgren's single peaked at number 34 on the Billboard Hot 100. Rundgren explained: \"I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting—like around Pet Sounds and 'Good Vibrations' ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal.","Rundgren explained: \"I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting—like around Pet Sounds and 'Good Vibrations' ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal. ...","... ... I tried to do [the song] as literally as I could because in the intervening 10 years, radio had changed so much. Radio had become so formatted and so structured that that whole experience was already gone.\" In 2004, Wilson re-recorded the song as a solo artist for his album Brian Wilson Presents Smile.","In 2004, Wilson re-recorded the song as a solo artist for his album Brian Wilson Presents Smile. It was sequenced as the album's closing track, following \"In Blue Hawaii\". In this version, \"Good Vibrations\" was the project's only track that eschewed the modular recording method.","In this version, \"Good Vibrations\" was the project's only track that eschewed the modular recording method. The song's verses and chorus were recorded as part of one whole take, and were not spliced together.","The song's verses and chorus were recorded as part of one whole take, and were not spliced together. In 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated.","In 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated. Their version of \"Good Vibrations\", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on Billboards A/C chart.","Their version of \"Good Vibrations\", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on Billboards A/C chart. In popular culture The song's parody is used for the jingle of the Australian consumer electronics retailer The Good Guys.","In popular culture The song's parody is used for the jingle of the Australian consumer electronics retailer The Good Guys. In 1996, experimental rock group His Name Is Alive released an homage titled \"Universal Frequencies\" on their album Stars on E.S.P.","In 1996, experimental rock group His Name Is Alive released an homage titled \"Universal Frequencies\" on their album Stars on E.S.P. Warren Defever reportedly listened to \"Good Vibrations\" repeatedly for a week before deciding that the song \"needed a sequel\"; he added: \"'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful.\"","Warren Defever reportedly listened to \"Good Vibrations\" repeatedly for a week before deciding that the song \"needed a sequel\"; he added: \"'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful.\" In 1997, the movie Vegas Vacation used the song for the opening credits, with Clark Griswold (Chevy Chase) singing the song.","In 1997, the movie Vegas Vacation used the song for the opening credits, with Clark Griswold (Chevy Chase) singing the song. The song's lyrics \"I'm picking up good vibrations\" are quoted in Cyndi Lauper's 1984 single \"She Bop\".","The song's lyrics \"I'm picking up good vibrations\" are quoted in Cyndi Lauper's 1984 single \"She Bop\". A live version of the song, from the album Live in London, appears as a playable track in the 2010 video game Rock Band 3.","A live version of the song, from the album Live in London, appears as a playable track in the 2010 video game Rock Band 3. In 2019, the song was used prominently in a scene for Jordan Peele's psychological horror thriller film Us.","In 2019, the song was used prominently in a scene for Jordan Peele's psychological horror thriller film Us. In 2018, The song was featured in the animated film Hotel Transylvania 3: Summer Vacation.","In 2018, The song was featured in the animated film Hotel Transylvania 3: Summer Vacation. Release history In early 2011, the single was remastered and reissued as a four-sided 78 rpm vinyl for Record Store Day, as a teaser for the forthcoming The Smile Sessions box set.","Release history In early 2011, the single was remastered and reissued as a four-sided 78 rpm vinyl for Record Store Day, as a teaser for the forthcoming The Smile Sessions box set. It contained \"Heroes and Villains\" as a B-side, along with previously released alternate takes and mixes.","It contained \"Heroes and Villains\" as a B-side, along with previously released alternate takes and mixes. Stereo version Due to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile.","Stereo version Due to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile. The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett.","The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett. Fitzgerald's software extracted individual instrumental and vocal stems from the original mono master—as the multi-track vocals remained missing—to construct the stereo version that appears on the 2012 reissue of Smiley Smile.","Fitzgerald's software extracted individual instrumental and vocal stems from the original mono master—as the multi-track vocals remained missing—to construct the stereo version that appears on the 2012 reissue of Smiley Smile. 40th Anniversary Edition In celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released.","40th Anniversary Edition In celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released. The EP includes \"Good Vibrations\", four alternate versions of the song, and the stereo mix of \"Let's Go Away for Awhile\". The EP artwork recreates that of the original 7-inch single sleeve.","The EP artwork recreates that of the original 7-inch single sleeve. In 2016, the EP was reissued as a 12\" record for the single's 50th anniversary. Personnel The following people are identified as players on the \"Good Vibrations\" single.","Personnel The following people are identified as players on the \"Good Vibrations\" single. The Beach Boys Mike Love – lead vocals in chorus Brian Wilson – vocals, tack piano, tambourine, production, mixing Carl Wilson – lead vocals in verses, guitar, shaker Dennis Wilson – Hammond organ during 2:13–2:56 Additional musicians and production staff Hal Blaine – drums, timpani, other percussion Al De Lory – piano, harpsichord Jesse Ehrlich – cello Larry Knechtel – organ in verses and choruses Tommy Morgan – harmonica Al Casey – guitar Ray Pohlman – electric bass Lyle Ritz – double bass Jim Horn – piccolo Paul Tanner – Electro-Theremin Bassist Carol Kaye played on several of the \"Good Vibrations\" sessions, and has been identified as a prominent contributor to the track.","The Beach Boys Mike Love – lead vocals in chorus Brian Wilson – vocals, tack piano, tambourine, production, mixing Carl Wilson – lead vocals in verses, guitar, shaker Dennis Wilson – Hammond organ during 2:13–2:56 Additional musicians and production staff Hal Blaine – drums, timpani, other percussion Al De Lory – piano, harpsichord Jesse Ehrlich – cello Larry Knechtel – organ in verses and choruses Tommy Morgan – harmonica Al Casey – guitar Ray Pohlman – electric bass Lyle Ritz – double bass Jim Horn – piccolo Paul Tanner – Electro-Theremin Bassist Carol Kaye played on several of the \"Good Vibrations\" sessions, and has been identified as a prominent contributor to the track. However, analysis by Beach Boys archivist Craig Slowinski indicates that none of those recordings made the final edit as released on the single.","However, analysis by Beach Boys archivist Craig Slowinski indicates that none of those recordings made the final edit as released on the single. Charts Weekly charts Original release 1976 reissue Todd Rundgren version (1976) Year-end charts Certifications Awards and accolades Footnotes References Bibliography External links Greg Panfile's Musical Analysis of \"Good Vibrations\" 1966 singles 1966 songs 2004 singles 2011 singles Brian Wilson songs Psychic TV songs The Beach Boys songs Todd Rundgren songs Capitol Records singles Grammy Hall of Fame Award recipients Billboard Hot 100 number-one singles Cashbox number-one singles Number-one singles in Australia Number-one singles in New Zealand UK Singles Chart number-one singles Songs written by Brian Wilson Songs written by Mike Love Songs written by Tony Asher Song recordings produced by Brian Wilson Song recordings with Wall of Sound arrangements Art pop songs Avant-pop songs Psychedelic pop songs American psychedelic rock songs Songs used as jingles Songs composed in E-flat minor"],"string":"[\n \"\\\"Good Vibrations\\\" is a song by the American rock band the Beach Boys that was composed by Brian Wilson with lyrics by Mike Love. It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping record charts in several countries including the United States and the United Kingdom.\",\n \"It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping record charts in several countries including the United States and the United Kingdom. Characterized by its complex soundscapes, episodic structure and subversions of pop music formula, it was the most expensive single ever recorded.\",\n \"Characterized by its complex soundscapes, episodic structure and subversions of pop music formula, it was the most expensive single ever recorded. \\\"Good Vibrations\\\" later became widely acclaimed as one of the finest and most important works of the rock era.\",\n \"\\\"Good Vibrations\\\" later became widely acclaimed as one of the finest and most important works of the rock era. Also produced by Wilson, the title derived from his fascination with cosmic vibrations, as his mother would tell him as a child that dogs sometimes bark at people in response to their \\\"bad vibrations\\\".\",\n \"Also produced by Wilson, the title derived from his fascination with cosmic vibrations, as his mother would tell him as a child that dogs sometimes bark at people in response to their \\\"bad vibrations\\\". He used the concept to suggest extrasensory perception, while Love's lyrics were inspired by the nascent Flower Power movement.\",\n \"He used the concept to suggest extrasensory perception, while Love's lyrics were inspired by the nascent Flower Power movement. The song was written as it was recorded and in a similar fashion to other compositions from Wilson's Smile period.\",\n \"The song was written as it was recorded and in a similar fashion to other compositions from Wilson's Smile period. It was issued as a standalone single, backed with \\\"Let's Go Away for Awhile\\\", and was to be included on the never-finished album Smile.\",\n \"It was issued as a standalone single, backed with \\\"Let's Go Away for Awhile\\\", and was to be included on the never-finished album Smile. Instead, the track appeared on the September 1967 release Smiley Smile. The making of \\\"Good Vibrations\\\" was unprecedented for any kind of recording.\",\n \"The making of \\\"Good Vibrations\\\" was unprecedented for any kind of recording. Building on his approach for Pet Sounds, Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of session musicians at four different Hollywood studios from February to September 1966, a process reflected in the song's several dramatic shifts in key, texture, instrumentation and mood.\",\n \"Building on his approach for Pet Sounds, Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of session musicians at four different Hollywood studios from February to September 1966, a process reflected in the song's several dramatic shifts in key, texture, instrumentation and mood. Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars.\",\n \"Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars. Band publicist Derek Taylor dubbed the unusual work a \\\"pocket symphony\\\".\",\n \"Band publicist Derek Taylor dubbed the unusual work a \\\"pocket symphony\\\". It helped develop the use of the studio as an instrument and heralded a wave of pop experimentation and the onset of psychedelic and progressive rock.\",\n \"It helped develop the use of the studio as an instrument and heralded a wave of pop experimentation and the onset of psychedelic and progressive rock. The track featured a novel mix of instruments, including jaw harp and Electro-Theremin, and although the latter is not a true theremin, the song's success led to a renewed interest and sales of theremins and synthesizers.\",\n \"The track featured a novel mix of instruments, including jaw harp and Electro-Theremin, and although the latter is not a true theremin, the song's success led to a renewed interest and sales of theremins and synthesizers. \\\"Good Vibrations\\\" received a Grammy nomination for Best Vocal Group performance in 1966 and was inducted into the Grammy Hall of Fame in 1994.\",\n \"\\\"Good Vibrations\\\" received a Grammy nomination for Best Vocal Group performance in 1966 and was inducted into the Grammy Hall of Fame in 1994. The song was voted number one in Mojos \\\"Top 100 Records of All Time\\\" and number six on Rolling Stones \\\"500 Greatest Songs of All Time\\\", and it was included in the Rock and Roll Hall of Fame's \\\"500 Songs that Shaped Rock and Roll\\\".\",\n \"The song was voted number one in Mojos \\\"Top 100 Records of All Time\\\" and number six on Rolling Stones \\\"500 Greatest Songs of All Time\\\", and it was included in the Rock and Roll Hall of Fame's \\\"500 Songs that Shaped Rock and Roll\\\". In later years, the song has been cited as a forerunner to the Beatles' \\\"A Day in the Life\\\" (1967) and Queen's \\\"Bohemian Rhapsody\\\" (1975).\",\n \"In later years, the song has been cited as a forerunner to the Beatles' \\\"A Day in the Life\\\" (1967) and Queen's \\\"Bohemian Rhapsody\\\" (1975). A 1976 cover version by Todd Rundgren peaked at number 34 on the Billboard Hot 100.\",\n \"A 1976 cover version by Todd Rundgren peaked at number 34 on the Billboard Hot 100. The Beach Boys followed up \\\"Good Vibrations\\\" with another single pieced from sections, \\\"Heroes and Villains\\\" (1967), but it was less successful.\",\n \"The Beach Boys followed up \\\"Good Vibrations\\\" with another single pieced from sections, \\\"Heroes and Villains\\\" (1967), but it was less successful. Inspiration and writing Concept and early lyrics The Beach Boys' leader, Brian Wilson, was responsible for the musical composition and virtually all of the arrangement for \\\"Good Vibrations\\\".\",\n \"Inspiration and writing Concept and early lyrics The Beach Boys' leader, Brian Wilson, was responsible for the musical composition and virtually all of the arrangement for \\\"Good Vibrations\\\". Most of the song's structure and arrangement was written as it was recorded.\",\n \"Most of the song's structure and arrangement was written as it was recorded. During the recording sessions for the 1966 album Pet Sounds, Wilson began changing his writing process. For \\\"Good Vibrations\\\", Wilson said, \\\"I had a lot of unfinished ideas, fragments of music I called 'feels.'\",\n \"For \\\"Good Vibrations\\\", Wilson said, \\\"I had a lot of unfinished ideas, fragments of music I called 'feels.' Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic.\\\"\",\n \"Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic.\\\" Engineer Chuck Britz is quoted saying that Wilson considered the song to be \\\"his whole life performance in one track\\\". Wilson stated: \\\"I was an energetic 23-year-old. ...\",\n \"Wilson stated: \\\"I was an energetic 23-year-old. ... ... I said: 'This is going to be better than [the Phil Spector production] \\\"You've Lost That Lovin' Feelin'. Wilson said that \\\"Good Vibrations\\\" was inspired by his mother: \\\"[She] used to tell me about vibrations.\",\n \"Wilson said that \\\"Good Vibrations\\\" was inspired by his mother: \\\"[She] used to tell me about vibrations. I didn't really understand too much of what it meant when I was just a boy. It scared me, the word 'vibrations.'\",\n \"It scared me, the word 'vibrations.' She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel.\\\"\",\n \"She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel.\\\" Brian first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea.\",\n \"Brian first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea. When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style.\",\n \"When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style. Asher remembered: Wilson wanted to call the song \\\"Good Vibes\\\", but Asher advised that it was \\\"lightweight use of the language\\\", and suggested that \\\"Good Vibrations\\\" would sound less \\\"trendy\\\".\",\n \"Asher remembered: Wilson wanted to call the song \\\"Good Vibes\\\", but Asher advised that it was \\\"lightweight use of the language\\\", and suggested that \\\"Good Vibrations\\\" would sound less \\\"trendy\\\". The two proceeded to write lyrics for the verses that were ultimately discarded.\",\n \"The two proceeded to write lyrics for the verses that were ultimately discarded. Theremin and cello From the start, Wilson envisioned a theremin for the track.\",\n \"Theremin and cello From the start, Wilson envisioned a theremin for the track. AllMusic reviewer John Bush pointed out: \\\"Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel—between the single's theme and its use of an instrument the player never even touched.\\\"\",\n \"AllMusic reviewer John Bush pointed out: \\\"Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel—between the single's theme and its use of an instrument the player never even touched.\\\" \\\"Good Vibrations\\\" does not technically feature a theremin, but rather an Electro-Theremin, which is physically controlled by a knob on the side of the instrument.\",\n \"\\\"Good Vibrations\\\" does not technically feature a theremin, but rather an Electro-Theremin, which is physically controlled by a knob on the side of the instrument. It was dubbed a \\\"theremin\\\" simply for convenience.\",\n \"It was dubbed a \\\"theremin\\\" simply for convenience. At that time, theremins were most often associated with the 1945 Alfred Hitchcock film Spellbound, but their most common presence was in the theme music for the television sitcom My Favorite Martian, which ran from 1963 to 1966.\",\n \"At that time, theremins were most often associated with the 1945 Alfred Hitchcock film Spellbound, but their most common presence was in the theme music for the television sitcom My Favorite Martian, which ran from 1963 to 1966. Britz speculates: \\\"He just walked in and said, 'I have this new sound for you.'\",\n \"Britz speculates: \\\"He just walked in and said, 'I have this new sound for you.' I think he must have heard the sound somewhere and loved it, and built a song around it.\\\" It is unclear whether Wilson knew that the instrument was not a real theremin.\",\n \"It is unclear whether Wilson knew that the instrument was not a real theremin. Brian credited his brother and bandmate Carl for suggesting the use of a cello on the track.\",\n \"Brian credited his brother and bandmate Carl for suggesting the use of a cello on the track. He further stated that its triplet beat on the chorus was his own idea and that it was based on the Crystals' \\\"Da Doo Ron Ron\\\" (1963), produced by Spector.\",\n \"He further stated that its triplet beat on the chorus was his own idea and that it was based on the Crystals' \\\"Da Doo Ron Ron\\\" (1963), produced by Spector. Conversely, arranger and session musician Van Dyke Parks said that it was himself who suggested having the cellist play triplets to Brian.\",\n \"Conversely, arranger and session musician Van Dyke Parks said that it was himself who suggested having the cellist play triplets to Brian. Parks believed that having Brian exploit the cello \\\"to such a hyperbolic degree\\\" was what encouraged the duo to immediately collaborate on the never-finished album Smile.\",\n \"Parks believed that having Brian exploit the cello \\\"to such a hyperbolic degree\\\" was what encouraged the duo to immediately collaborate on the never-finished album Smile. At some point, Wilson asked Parks to pen lyrics for \\\"Good Vibrations\\\", although Parks declined.\",\n \"At some point, Wilson asked Parks to pen lyrics for \\\"Good Vibrations\\\", although Parks declined. Influences and final lyrics Wilson's cousin and bandmate Mike Love submitted the final lyrics for \\\"Good Vibrations\\\" and contributed its bass-baritone vocals in the chorus.\",\n \"Influences and final lyrics Wilson's cousin and bandmate Mike Love submitted the final lyrics for \\\"Good Vibrations\\\" and contributed its bass-baritone vocals in the chorus. He recalled that when he heard the unfinished backing track: \\\"[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it.\",\n \"He recalled that when he heard the unfinished backing track: \\\"[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it. How's this going to go over in the Midwest or Birmingham?\",\n \"How's this going to go over in the Midwest or Birmingham? It was such a departure from 'Surfin' U.S.A.' or 'Help Me, Rhonda.'\\\" Love said that he wrote the words while on the drive to the studio.\",\n \"Love said that he wrote the words while on the drive to the studio. Feeling that the song could be \\\"the Beach Boys' psychedelic anthem or flower power offering,\\\" he based the lyrics on the burgeoning psychedelic music and Flower Power movements occurring in San Francisco and some parts of the Los Angeles area.\",\n \"Feeling that the song could be \\\"the Beach Boys' psychedelic anthem or flower power offering,\\\" he based the lyrics on the burgeoning psychedelic music and Flower Power movements occurring in San Francisco and some parts of the Los Angeles area. He described the lyrics as \\\"just a flowery poem.\",\n \"He described the lyrics as \\\"just a flowery poem. Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair.'\\\"\",\n \"Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair.'\\\" Writing in his 1975 book The Beach Boys: Southern California Pastoral, Bruce Golden observed: Capitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his LSD experiences.\",\n \"Writing in his 1975 book The Beach Boys: Southern California Pastoral, Bruce Golden observed: Capitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his LSD experiences. Brian clarified that the song was written under the influence of marijuana, not LSD.\",\n \"Brian clarified that the song was written under the influence of marijuana, not LSD. He explained: \\\"I made ‘Good Vibrations’ on drugs; I used drugs to make that. ... I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity.\\\"\",\n \"I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity.\\\" In Steven Gaines's 1986 biography, Wilson is quoted on the lyrics: \\\"We talked about good vibrations with the song and the idea, and we decided on one hand that you could say ... those are sensual things.\",\n \"In Steven Gaines's 1986 biography, Wilson is quoted on the lyrics: \\\"We talked about good vibrations with the song and the idea, and we decided on one hand that you could say ... those are sensual things. And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have.\",\n \"And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have. That's what we're really talking about.\\\" Wilson said in 2012 that the song's \\\"gotta keep those good vibrations\\\" bridge was inspired by Stephen Foster.\",\n \"Wilson said in 2012 that the song's \\\"gotta keep those good vibrations\\\" bridge was inspired by Stephen Foster. Bandmate Al Jardine compared that section to Foster and the Negro spiritual \\\"Down by the Riverside\\\".\",\n \"Bandmate Al Jardine compared that section to Foster and the Negro spiritual \\\"Down by the Riverside\\\". According to Love, the lyric \\\"'she goes with me to a blossom world' was originally meant to be followed by the words 'we find'\\\", but Wilson elected to cut off the line to highlight the bass track linking into the chorus.\",\n \"According to Love, the lyric \\\"'she goes with me to a blossom world' was originally meant to be followed by the words 'we find'\\\", but Wilson elected to cut off the line to highlight the bass track linking into the chorus. Recording and production Modular approach \\\"Good Vibrations\\\" established a new method of operation for Wilson.\",\n \"Recording and production Modular approach \\\"Good Vibrations\\\" established a new method of operation for Wilson. Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or \\\"modules\\\").\",\n \"Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or \\\"modules\\\"). Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time.\",\n \"Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time. This was the same modular approach used during the sessions for Smile and Smiley Smile.\",\n \"This was the same modular approach used during the sessions for Smile and Smiley Smile. To mask each tape edit, vast reverb decays were added at the mixing and sub-mixing stages. For instrumentation, Wilson employed the services of \\\"the Wrecking Crew\\\", the nickname for a conglomerate of session musicians active in Los Angeles at that time.\",\n \"For instrumentation, Wilson employed the services of \\\"the Wrecking Crew\\\", the nickname for a conglomerate of session musicians active in Los Angeles at that time. Production for \\\"Good Vibrations\\\" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two.\",\n \"Production for \\\"Good Vibrations\\\" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two. It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands, making it the costliest single recorded to that date.\",\n \"It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands, making it the costliest single recorded to that date. Biographer Peter Ames Carlin wrote that Wilson was so puzzled by the arranging of \\\"Good Vibrations\\\" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs.\",\n \"Biographer Peter Ames Carlin wrote that Wilson was so puzzled by the arranging of \\\"Good Vibrations\\\" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs. One estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to $ and $ in ), By comparison, the whole of Pet Sounds had cost $70,000 ($), itself an unusually high cost for an album.\",\n \"One estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to $ and $ in ), By comparison, the whole of Pet Sounds had cost $70,000 ($), itself an unusually high cost for an album. In 2018, Wilson disputed the $50,000 figure for \\\"Good Vibrations\\\", saying that the overall expenses were closer to $25,000.\",\n \"In 2018, Wilson disputed the $50,000 figure for \\\"Good Vibrations\\\", saying that the overall expenses were closer to $25,000. Contemporary advertisements reported $10,000 ($) as the track's total production costs. Domenic Priore wrote that the track cost between $10,000 and $15,000 ($).\",\n \"Domenic Priore wrote that the track cost between $10,000 and $15,000 ($). When asked in a 2005 interview if it was true that the Electro-Theremin work alone cost $100,000, Wilson replied \\\"No. $15,000.\\\"\",\n \"$15,000.\\\" $15,000.\\\" Development The instrumental of the first version of the song was recorded on February 17, 1966, at Gold Star Studios and was logged as a Pet Sounds session.\",\n \"Development The instrumental of the first version of the song was recorded on February 17, 1966, at Gold Star Studios and was logged as a Pet Sounds session. On that day's session log, it was given the name \\\"#1 Untitled\\\" or \\\"Good, Good, Good Vibrations\\\", but on its master tape, Wilson distinctly states: \\\"'Good Vibrations' ... take one.\\\"\",\n \"On that day's session log, it was given the name \\\"#1 Untitled\\\" or \\\"Good, Good, Good Vibrations\\\", but on its master tape, Wilson distinctly states: \\\"'Good Vibrations' ... take one.\\\" After twenty-six takes, a rough mono mix completed the session.\",\n \"After twenty-six takes, a rough mono mix completed the session. Some additional instruments and rough guide vocals were overdubbed on February 23. Brian and Carl shared vocals for this mix.\",\n \"Brian and Carl shared vocals for this mix. The original version of \\\"Good Vibrations\\\" contained the characteristics of a \\\"funky rhythm and blues number\\\" and would not yet resemble a \\\"pocket symphony\\\". There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor, Paul Tanner.\",\n \"There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor, Paul Tanner. It was Brian's second ever recorded use of the instrument, just three days after the Pet Sounds track \\\"I Just Wasn't Made for These Times\\\".\",\n \"It was Brian's second ever recorded use of the instrument, just three days after the Pet Sounds track \\\"I Just Wasn't Made for These Times\\\". Brian then placed \\\"Good Vibrations\\\" on hold in order to devote attention to the Pet Sounds album, which saw release on May 16.\",\n \"Brian then placed \\\"Good Vibrations\\\" on hold in order to devote attention to the Pet Sounds album, which saw release on May 16. More instrumental sections for \\\"Good Vibrations\\\" were recorded between April and June.\",\n \"More instrumental sections for \\\"Good Vibrations\\\" were recorded between April and June. Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs.\",\n \"Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs. According to Brian's then-new friend David Anderle, during an early stage, Brian considered giving \\\"Good Vibrations\\\" to one of the black R&B groups signed with Warner Bros. Records such as Wilson Pickett, and then at Anderle's suggestion to singer Danny Hutton.\",\n \"According to Brian's then-new friend David Anderle, during an early stage, Brian considered giving \\\"Good Vibrations\\\" to one of the black R&B groups signed with Warner Bros. Records such as Wilson Pickett, and then at Anderle's suggestion to singer Danny Hutton. He thought about abandoning the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single.\",\n \"He thought about abandoning the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single. In the meantime, he worked on writing and recording material for the group's forthcoming album, Smile.\",\n \"In the meantime, he worked on writing and recording material for the group's forthcoming album, Smile. The first Beach Boy to hear \\\"Good Vibrations\\\" in a semi-completed form, other than Brian, was Carl.\",\n \"The first Beach Boy to hear \\\"Good Vibrations\\\" in a semi-completed form, other than Brian, was Carl. Following a performance with the touring group in North Dakota, he remembered: \\\"I came back up into my hotel room one night and the phone rang. It was Brian on the other end.\",\n \"It was Brian on the other end. He called me from the recording studio and played this really bizarre sounding music over the phone. There were drums smashing, that kind of stuff, and then it refined itself and got into the cello. It was a real funky track.\\\"\",\n \"It was a real funky track.\\\" In 1976, Brian revealed that before the final mixdown, he had been confronted with resistance by members of the group, whom Brian declined to name.\",\n \"In 1976, Brian revealed that before the final mixdown, he had been confronted with resistance by members of the group, whom Brian declined to name. The subject of their worries and complaints was the song's length and \\\"modern\\\" sound: \\\"I said no, it's not going to be too long a record, it's going to be just right.\",\n \"The subject of their worries and complaints was the song's length and \\\"modern\\\" sound: \\\"I said no, it's not going to be too long a record, it's going to be just right. ... They didn't quite understand what this jumping from studio to studio was all about.\",\n \"They didn't quite understand what this jumping from studio to studio was all about. And they couldn't conceive of the record as I did. I saw the record as a totality piece.\\\"\",\n \"I saw the record as a totality piece.\\\" The vocals for \\\"Good Vibrations\\\" were recorded at CBS Columbia Square, starting on August 24 and continuing sporadically until the very last day of assembly on September 21. The episodic structure of the composition was continuously revised as the group experimented with different ideas.\",\n \"The episodic structure of the composition was continuously revised as the group experimented with different ideas. Brian remembers that he began recording the \\\"bop bop good vibrations\\\" parts first, and that he came up with \\\"the high parts\\\" a week later.\",\n \"Brian remembers that he began recording the \\\"bop bop good vibrations\\\" parts first, and that he came up with \\\"the high parts\\\" a week later. Mike Love recalled: \\\"I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long.\\\"\",\n \"Mike Love recalled: \\\"I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long.\\\" Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute.\",\n \"Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute. In early September, the master tapes for \\\"Good Vibrations\\\" were stolen. Mysteriously, they reappeared inside Brian's home two days later.\",\n \"Mysteriously, they reappeared inside Brian's home two days later. On September 21, Brian completed the track after Tanner added a final Electro-Theremin overdub. In 1976 he elaborated on the event: \\\"It was at Columbia. I remember I had it right in the sack.\",\n \"I remember I had it right in the sack. I could just feel it when I dubbed it down, made the final mix from the 16-track down to mono. It was a feeling of power, it was a rush. A feeling of exaltation. Artistic beauty. It was everything ... I remember saying, 'Oh my God.\",\n \"I remember saying, 'Oh my God. Sit back and listen to this!'\\\" Composition and analysis Genre and dynamics There are six unique sections to the piece.\",\n \"Composition and analysis Genre and dynamics There are six unique sections to the piece. Music theorist Daniel Harrison refers to these sections individually as the verse, the refrain (or chorus), the \\\"first episodic digression\\\", the \\\"second episodic digression\\\", the \\\"retro-refrain\\\", and the coda.\",\n \"Music theorist Daniel Harrison refers to these sections individually as the verse, the refrain (or chorus), the \\\"first episodic digression\\\", the \\\"second episodic digression\\\", the \\\"retro-refrain\\\", and the coda. Each has a distinct musical texture, partly due to the nature of the song's recording.\",\n \"Each has a distinct musical texture, partly due to the nature of the song's recording. The track's instrumentation changes radically from section to section, and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a \\\"very long\\\" duration.\",\n \"The track's instrumentation changes radically from section to section, and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a \\\"very long\\\" duration. Wilson is quoted in 1979: He characterized the song as \\\"advanced rhythm and blues\\\".\",\n \"Wilson is quoted in 1979: He characterized the song as \\\"advanced rhythm and blues\\\". Tom Roland of American Songwriter described the piece, \\\"with its interlocking segments—a sort of pop version of the classical sonata, consisting of a series of musical movements\\\".\",\n \"Tom Roland of American Songwriter described the piece, \\\"with its interlocking segments—a sort of pop version of the classical sonata, consisting of a series of musical movements\\\". New York Magazine compared it to \\\"a fugue with a rhythmic beat\\\".\",\n \"New York Magazine compared it to \\\"a fugue with a rhythmic beat\\\". John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs.\",\n \"John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs. Music journal Sound on Sound argued that the song \\\"has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour\\\".\",\n \"Music journal Sound on Sound argued that the song \\\"has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour\\\". It explained that the song subverts pop forms to a considerable degree: According to historian Lorenzo Candelaria, \\\"Good Vibrations\\\" has since been marketed as pop music \\\"possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know.\\\"\",\n \"It explained that the song subverts pop forms to a considerable degree: According to historian Lorenzo Candelaria, \\\"Good Vibrations\\\" has since been marketed as pop music \\\"possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know.\\\" Uncut called the song \\\"three minutes and thirty-six seconds of avant-garde pop\\\".\",\n \"Uncut called the song \\\"three minutes and thirty-six seconds of avant-garde pop\\\". Mixdown described it as a \\\"masterpiece of avant-pop\\\". The theremin and cello has been called the song's \\\"psychedelic ingredient\\\".\",\n \"The theremin and cello has been called the song's \\\"psychedelic ingredient\\\". In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin.\",\n \"In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin. Professor of American history John Robert Greene named \\\"Good Vibrations\\\" among examples of psychedelic or acid rock.\",\n \"Professor of American history John Robert Greene named \\\"Good Vibrations\\\" among examples of psychedelic or acid rock. Stebbins wrote that the song was \\\"replete with sunshine [and] psychedelia\\\". Steve Valdez says that, like Pet Sounds, Brian was attempting a more experimental rock style.\",\n \"Steve Valdez says that, like Pet Sounds, Brian was attempting a more experimental rock style. Comparing \\\"Good Vibrations\\\" to Wilson's previous work Pet Sounds, biographer Andrew Hickey said that the \\\"best way of thinking about [the song] is that it's taking the lowest common denominator of 'Here Today' and 'God Only Knows' and turned the result into an R&B track.\",\n \"Comparing \\\"Good Vibrations\\\" to Wilson's previous work Pet Sounds, biographer Andrew Hickey said that the \\\"best way of thinking about [the song] is that it's taking the lowest common denominator of 'Here Today' and 'God Only Knows' and turned the result into an R&B track. We have the same minor-key change between verse and chorus we've seen throughout Pet Sounds, the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to funky.\\\"\",\n \"We have the same minor-key change between verse and chorus we've seen throughout Pet Sounds, the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to funky.\\\" Author Jon Stebbins adds that \\\"unlike Pet Sounds the chorus of 'Good Vibrations' projects a definite 'rock and roll' energy and feel.\\\"\",\n \"Author Jon Stebbins adds that \\\"unlike Pet Sounds the chorus of 'Good Vibrations' projects a definite 'rock and roll' energy and feel.\\\" According to academic Rikky Rooksby, \\\"Good Vibrations\\\" is an example of Brian Wilson's growing interest in musical development within a composition, something antithetical to popular music of the time.\",\n \"According to academic Rikky Rooksby, \\\"Good Vibrations\\\" is an example of Brian Wilson's growing interest in musical development within a composition, something antithetical to popular music of the time. Suppressing tonic strength and cadential drive, the song makes use of descending harmonic motions through scale degrees controlled by a single tonic and \\\"radical disjunctions\\\" in key, texture, instrumentation, and mood while refusing to develop into a predictable formal pattern.\",\n \"Suppressing tonic strength and cadential drive, the song makes use of descending harmonic motions through scale degrees controlled by a single tonic and \\\"radical disjunctions\\\" in key, texture, instrumentation, and mood while refusing to develop into a predictable formal pattern. It instead develops \\\"under its own power\\\" and \\\"luxuriates in harmonic variety\\\" exemplified by beginning and ending not only in different keys but also in different modes.\",\n \"It instead develops \\\"under its own power\\\" and \\\"luxuriates in harmonic variety\\\" exemplified by beginning and ending not only in different keys but also in different modes. Verses and refrains (0:00–1:40) \\\"Good Vibrations\\\" begins without introduction in a traditional verse/refrain format, opening with Carl Wilson singing the word \\\"I\\\", a triplet eighth note before the downbeat.\",\n \"Verses and refrains (0:00–1:40) \\\"Good Vibrations\\\" begins without introduction in a traditional verse/refrain format, opening with Carl Wilson singing the word \\\"I\\\", a triplet eighth note before the downbeat. The sparse first verse contains a repetition of chords played on a Hammond organ filtered through a Leslie speaker; underneath is a two-bar Fender bass melody.\",\n \"The sparse first verse contains a repetition of chords played on a Hammond organ filtered through a Leslie speaker; underneath is a two-bar Fender bass melody. This sequence repeats once (0:15), but with the addition of two piccolos sustaining over a falling flute line.\",\n \"This sequence repeats once (0:15), but with the addition of two piccolos sustaining over a falling flute line. For percussion, bongo drums double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation.\",\n \"For percussion, bongo drums double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation. The beat projects a triplet feel despite being in time; this is sometimes called a \\\"shuffle beat\\\" or \\\"threes over fours\\\".\",\n \"The beat projects a triplet feel despite being in time; this is sometimes called a \\\"shuffle beat\\\" or \\\"threes over fours\\\". The chord progression used is i–VII–VI–V, also called an Andalusian cadence. Although the verses begin in the minor mode of E, the mode is not used to express sadness or drudgery.\",\n \"Although the verses begin in the minor mode of E, the mode is not used to express sadness or drudgery. Occurring at the very end of these verses is a passing chord, D. The refrain (0:25) begins in the newly tonicized relative major G, which suggests III.\",\n \"Occurring at the very end of these verses is a passing chord, D. The refrain (0:25) begins in the newly tonicized relative major G, which suggests III. Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music.\",\n \"Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music. The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat.\",\n \"The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat. This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals.\",\n \"This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals. The first section consists of only the couplet \\\"I'm picking up good vibrations/she's giving me the excitation\\\" sung by Mike Love in his bass-baritone register; the second repeats the lines and adds an \\\"ooo bop bop\\\" figure, sung in multiple-part harmony; the third time also adds a \\\"good, good, good, good vibrations\\\" in yet a higher harmony.\",\n \"The first section consists of only the couplet \\\"I'm picking up good vibrations/she's giving me the excitation\\\" sung by Mike Love in his bass-baritone register; the second repeats the lines and adds an \\\"ooo bop bop\\\" figure, sung in multiple-part harmony; the third time also adds a \\\"good, good, good, good vibrations\\\" in yet a higher harmony. This type of polyphony (counterpoint) is also rare in contemporary popular styles.\",\n \"This type of polyphony (counterpoint) is also rare in contemporary popular styles. Each repeat of the vocal lines also transposes up by a whole step, ascending from G to A and then B. It then returns to the verse, thus making a perfect cadence back into E minor.\",\n \"It then returns to the verse, thus making a perfect cadence back into E minor. The verse and refrain then repeat without any changes to the patterns of its instrumentation and harmony. This is unusual, in that normally, a song's arrangement adds something once it reaches the second verse.\",\n \"This is unusual, in that normally, a song's arrangement adds something once it reaches the second verse. Episodic digressions First episode (1:41–2:13) The first episode (1:41+) begins disjunctively with an abrupt tape splice.\",\n \"Episodic digressions First episode (1:41–2:13) The first episode (1:41+) begins disjunctively with an abrupt tape splice. The refrain's B, which had received a dominant (V) charge, is now maintained as a tonic (I).\",\n \"The refrain's B, which had received a dominant (V) charge, is now maintained as a tonic (I). There is harmonic ambiguity, in that the chord progression may be either interpreted as I–IV–I (in B) or V–I–V (in E).\",\n \"There is harmonic ambiguity, in that the chord progression may be either interpreted as I–IV–I (in B) or V–I–V (in E). Stebbins says that this section \\\"might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply.\\\"\",\n \"Stebbins says that this section \\\"might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply.\\\" A new sound is created by tack piano, jaw harp, and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, bass harmonica, and sleigh bells shaken on every beat.\",\n \"A new sound is created by tack piano, jaw harp, and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, bass harmonica, and sleigh bells shaken on every beat. The lone line of vocals (aside from non-lexical harmonies) is \\\"I don't know where, but she sends me there\\\" sung in Mike Love's upper-register baritone.\",\n \"The lone line of vocals (aside from non-lexical harmonies) is \\\"I don't know where, but she sends me there\\\" sung in Mike Love's upper-register baritone. This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns.\",\n \"This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns. Second episode (2:13–2:56) Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat.\",\n \"Second episode (2:13–2:56) Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat. Sound on Sound highlights this change as the \\\"most savage edit in the track ... most people would go straight into a big splash hook-line section.\",\n \"Sound on Sound highlights this change as the \\\"most savage edit in the track ... most people would go straight into a big splash hook-line section. Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ...\",\n \"Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ... Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian.\\\"\",\n \"Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian.\\\" Harrison says: The slowed pace is complemented by the lyric (\\\"Gotta keep those loving good vibrations a-happening with her\\\"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony.\",\n \"Harrison says: The slowed pace is complemented by the lyric (\\\"Gotta keep those loving good vibrations a-happening with her\\\"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony. This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2.\",\n \"This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2. The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats.\",\n \"The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats. Lambert calls it the song's \\\"wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments.\",\n \"Lambert calls it the song's \\\"wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments. As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say.\\\"\",\n \"As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say.\\\" Retro-refrain and coda (2:57–3:35) A brief break at the end of the second musical digression creates tension which leads into the final sequence of the song.\",\n \"Retro-refrain and coda (2:57–3:35) A brief break at the end of the second musical digression creates tension which leads into the final sequence of the song. The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B, repeats at A, and then ends at G for an unexpectedly short single measure.\",\n \"The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B, repeats at A, and then ends at G for an unexpectedly short single measure. The section uses a descending progression, which mirrors the ascending progression of the previous two refrains.\",\n \"The section uses a descending progression, which mirrors the ascending progression of the previous two refrains. There follows a short section of vocalizing in three-part counterpoint that references the original refrain by reproducing upward transposition. However, this time it settles on A, the concluding key of the song.\",\n \"However, this time it settles on A, the concluding key of the song. By the end of \\\"Good Vibrations,\\\" all seven scale degrees of the opening E-minor tonic are activated on some level.\",\n \"By the end of \\\"Good Vibrations,\\\" all seven scale degrees of the opening E-minor tonic are activated on some level. Release and promotion In a July 1966 advertisement for Pet Sounds in Billboard magazine, the band thanked the music industry for the sales of their album, and said that \\\"We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations.\\\"\",\n \"Release and promotion In a July 1966 advertisement for Pet Sounds in Billboard magazine, the band thanked the music industry for the sales of their album, and said that \\\"We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations.\\\" This was the first public hint of the new single.\",\n \"This was the first public hint of the new single. Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was \\\"about a guy who picks up good vibrations from a girl\\\" and that it would be a \\\"monster\\\".\",\n \"Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was \\\"about a guy who picks up good vibrations from a girl\\\" and that it would be a \\\"monster\\\". He then suggested: \\\"It's still sticking pretty close to that same boy-girl thing, you know, but with a difference.\",\n \"He then suggested: \\\"It's still sticking pretty close to that same boy-girl thing, you know, but with a difference. And it's a start, it's definitely a start.\\\"\",\n \"And it's a start, it's definitely a start.\\\" Derek Taylor, who had recently been engaged as the band's publicist, is credited for coining the term a \\\"pocket symphony\\\" to describe the song.\",\n \"Derek Taylor, who had recently been engaged as the band's publicist, is credited for coining the term a \\\"pocket symphony\\\" to describe the song. In a press release for the single, he stated: \\\"Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils.\",\n \"In a press release for the single, he stated: \\\"Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils. And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else.\\\"\",\n \"And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else.\\\" To promote the single, four different music videos were shot.\",\n \"To promote the single, four different music videos were shot. The first of these—which had Caleb Deschanel as cameraman—features the group at a fire station, sliding down its pole, and roaming the streets of Los Angeles in a fashion comparable to The Monkees. The second features the group during vocal rehearsals at United Western Recorders.\",\n \"The second features the group during vocal rehearsals at United Western Recorders. The third contains footage recorded during the making of The Beach Boys in London, a documentary by Peter Whitehead of their concert performances. The fourth clip is an alternative edit of the third.\",\n \"The fourth clip is an alternative edit of the third. Brian also made a rare television appearance on local station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record.\",\n \"Brian also made a rare television appearance on local station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record. On October 15, 1966, Billboard predicted that the single would reach the top 20 in the Billboard Hot 100 chart.\",\n \"On October 15, 1966, Billboard predicted that the single would reach the top 20 in the Billboard Hot 100 chart. \\\"Good Vibrations\\\" was the Beach Boys' third US number one hit, after \\\"I Get Around\\\" and \\\"Help Me, Rhonda\\\", reaching the top of the Hot 100 in December.\",\n \"\\\"Good Vibrations\\\" was the Beach Boys' third US number one hit, after \\\"I Get Around\\\" and \\\"Help Me, Rhonda\\\", reaching the top of the Hot 100 in December. It was also their first number one in Britain.\",\n \"It was also their first number one in Britain. The single sold over 230,000 copies in the US within four days of its release and entered the Cash Box chart at number 61 on October 22. In the UK, the song sold over 50,000 copies in the first 15 days of its release.\",\n \"In the UK, the song sold over 50,000 copies in the first 15 days of its release. \\\"Good Vibrations\\\" quickly became the Beach Boys' first million-selling single. In December 1966, the record was their first single certified gold by the RIAA for sales of one million copies.\",\n \"In December 1966, the record was their first single certified gold by the RIAA for sales of one million copies. On March 30, 2016, the digital single was certified platinum by the RIAA for the same sales level.\",\n \"On March 30, 2016, the digital single was certified platinum by the RIAA for the same sales level. In the US, Cash Box said that it is a \\\"catchy, easy-driving ditty loaded with the Boys’ money-making sound.\\\" In Britain, the single received favorable reviews from the New Musical Express and Melody Maker.\",\n \"In Britain, the single received favorable reviews from the New Musical Express and Melody Maker. Soon after, the Beach Boys were voted the number one band in the world in the NME readers' poll, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops.\",\n \"Soon after, the Beach Boys were voted the number one band in the world in the NME readers' poll, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops. Billboard said that this result was probably influenced by the success of \\\"Good Vibrations\\\" when the votes were cast, together with the band's recent tour, whereas the Beatles had neither a recent single nor had they toured the UK throughout 1966; the reporter added that \\\"The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak.\\\"\",\n \"Billboard said that this result was probably influenced by the success of \\\"Good Vibrations\\\" when the votes were cast, together with the band's recent tour, whereas the Beatles had neither a recent single nor had they toured the UK throughout 1966; the reporter added that \\\"The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak.\\\" In a readers' poll conducted by a Danish newspaper, Brian Wilson won the \\\"best foreign-produced recording award\\\", marking the first time that an American had won in that category.\",\n \"In a readers' poll conducted by a Danish newspaper, Brian Wilson won the \\\"best foreign-produced recording award\\\", marking the first time that an American had won in that category. The single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc.\",\n \"The single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc. Influence and legacy Historical reception Virtually every pop music critic recognizes \\\"Good Vibrations\\\" as one of the most important compositions and recordings of the entire rock era.\",\n \"Influence and legacy Historical reception Virtually every pop music critic recognizes \\\"Good Vibrations\\\" as one of the most important compositions and recordings of the entire rock era. It is a regular fixture on \\\"greatest of all-time\\\" song lists and is frequently hailed as one of the finest pop productions of all time.\",\n \"It is a regular fixture on \\\"greatest of all-time\\\" song lists and is frequently hailed as one of the finest pop productions of all time. In 2004, Rolling Stone magazine ranked \\\"Good Vibrations\\\" at number 6 in \\\"The 500 Greatest Songs of All Time\\\", the highest position of seven Beach Boys songs cited in the list.\",\n \"In 2004, Rolling Stone magazine ranked \\\"Good Vibrations\\\" at number 6 in \\\"The 500 Greatest Songs of All Time\\\", the highest position of seven Beach Boys songs cited in the list. In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list.\",\n \"In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list. As of 2016, \\\"Good Vibrations\\\" is ranked as the number four song of all time in an aggregation of critics' lists at Acclaimed Music. The song served as an anthem for the counterculture of the 1960s.\",\n \"The song served as an anthem for the counterculture of the 1960s. According to Noel Murray of The A.V.\",\n \"According to Noel Murray of The A.V. Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's \\\"un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do.\\\"\",\n \"Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's \\\"un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do.\\\" Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for \\\"Good Vibrations\\\".\",\n \"Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for \\\"Good Vibrations\\\". \\\"Heroes and Villains\\\", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967.\",\n \"\\\"Heroes and Villains\\\", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967. In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of \\\"Good Vibrations\\\".\",\n \"In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of \\\"Good Vibrations\\\". When asked about the song in 1990, Paul McCartney responded: \\\"I thought it was a great record.\",\n \"When asked about the song in 1990, Paul McCartney responded: \\\"I thought it was a great record. It didn't quite have the emotional thing that Pet Sounds had for me. I've often played Pet Sounds and cried. It's that kind of an album for me.\\\"\",\n \"It's that kind of an album for me.\\\" Pete Townshend of the Who was quoted in the 1960s as saying, \\\"'Good Vibrations' was probably a good record but who's to know? You had to play it about 90 bloody times to even hear what they were singing about.\\\"\",\n \"You had to play it about 90 bloody times to even hear what they were singing about.\\\" Townshend feared that the single would lead to a trend of overproduction. In a 1966 issue of Arts Magazine, Jonathan King said: \\\"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art.\",\n \"In a 1966 issue of Arts Magazine, Jonathan King said: \\\"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art. Computerized pop, mechanized music. Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons.\",\n \"Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons. It is long and split. ... impressive, fantastic, commercial—yes. Emotional, soul-destroying, shattering—no.\\\"\",\n \"Emotional, soul-destroying, shattering—no.\\\" In the 2000s, record producer Phil Spector criticized the single for depending too much on tape manipulation, negatively referring to it as an \\\"edit record ... It's like Psycho is a great film, but it's an 'edit film.'\",\n \"It's like Psycho is a great film, but it's an 'edit film.' Without edits, it's not a film; with edits, it's a great film. But it's not Rebecca ... it's not a beautiful story.\\\"\",\n \"But it's not Rebecca ... it's not a beautiful story.\\\" Advancements Recording and popular music \\\"Good Vibrations\\\" is credited for having further developed the use of recording studios as a musical instrument.\",\n \"Advancements Recording and popular music \\\"Good Vibrations\\\" is credited for having further developed the use of recording studios as a musical instrument. Author Domenic Priore commented that the song's making was \\\"unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording\\\".\",\n \"Author Domenic Priore commented that the song's making was \\\"unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording\\\". A milestone in the development of rock music, the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record.\",\n \"A milestone in the development of rock music, the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record. Musicologist Charlie Gillett called it \\\"one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance\\\".\",\n \"Musicologist Charlie Gillett called it \\\"one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance\\\". In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted: Writing for Popmatters in 2015, Scott Interrante stated: \\\"'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have.\\\"\",\n \"In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted: Writing for Popmatters in 2015, Scott Interrante stated: \\\"'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have.\\\" The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm.\",\n \"The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm. Microtonal composer Frank Oteri said that it \\\"sounds like no other pop song recorded up to that point\\\".\",\n \"Microtonal composer Frank Oteri said that it \\\"sounds like no other pop song recorded up to that point\\\". According to Stebbins: \\\"This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original.\",\n \"According to Stebbins: \\\"This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original. But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century.\\\"\",\n \"But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century.\\\" He added that the single \\\"vaulted nearly every other rock act in their delivery of a Flower Power classic. It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop.\\\"\",\n \"It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop.\\\" John Bush wrote that the single \\\"announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies\\\".\",\n \"John Bush wrote that the single \\\"announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies\\\". Gillett noted: \\\"For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording.\\\"\",\n \"Gillett noted: \\\"For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording.\\\" Priore says that the song was a forerunner to works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes.\",\n \"Priore says that the song was a forerunner to works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes. In his appraisal for American Songwriter, Roland cites the song's \\\"format\\\" as the model for recordings by Wings (\\\"Band on the Run\\\"), the Beatles (\\\"A Day in the Life\\\"), and Elton John (\\\"Funeral for a Friend/Love Lies Bleeding\\\").\",\n \"In his appraisal for American Songwriter, Roland cites the song's \\\"format\\\" as the model for recordings by Wings (\\\"Band on the Run\\\"), the Beatles (\\\"A Day in the Life\\\"), and Elton John (\\\"Funeral for a Friend/Love Lies Bleeding\\\"). The song's approach was repeated in Queen's 1975 single \\\"Bohemian Rhapsody\\\", which was similarly pieced together using different sections.\",\n \"The song's approach was repeated in Queen's 1975 single \\\"Bohemian Rhapsody\\\", which was similarly pieced together using different sections. Wilson praised Queen's effort, calling it \\\"the most competitive thing that's come along in ages\\\" and \\\"a fulfillment and an answer to a teenage prayer—of artistic music\\\".\",\n \"Wilson praised Queen's effort, calling it \\\"the most competitive thing that's come along in ages\\\" and \\\"a fulfillment and an answer to a teenage prayer—of artistic music\\\". Psychedelic and progressive rock With \\\"Good Vibrations\\\", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages.\",\n \"Psychedelic and progressive rock With \\\"Good Vibrations\\\", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages. Writing in 2009, Barney Hoskyns deemed it to be the era's \\\"ultimate psychedelic pop record\\\" from Los Angeles.\",\n \"Writing in 2009, Barney Hoskyns deemed it to be the era's \\\"ultimate psychedelic pop record\\\" from Los Angeles. Interrante adds: \\\"Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated, but its legacy as a pop hit is impressive as well.\\\"\",\n \"Interrante adds: \\\"Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated, but its legacy as a pop hit is impressive as well.\\\" Former Atlantic Records executive Phillip Rauls recalled: \\\"I was in the music business at the time, and my very first recognition of acid rock—we didn't call it progressive rock then—was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [theremin] sent so many musicians back to the studio to create this music on acid.\\\"\",\n \"Former Atlantic Records executive Phillip Rauls recalled: \\\"I was in the music business at the time, and my very first recognition of acid rock—we didn't call it progressive rock then—was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [theremin] sent so many musicians back to the studio to create this music on acid.\\\" Author Bill Martin suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: \\\"The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life.'\\\"\",\n \"Author Bill Martin suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: \\\"The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life.'\\\" Use of theremin Although the song does not technically contain a theremin, \\\"Good Vibrations\\\" is the most frequently cited example of the instrument's use in pop music.\",\n \"Use of theremin Although the song does not technically contain a theremin, \\\"Good Vibrations\\\" is the most frequently cited example of the instrument's use in pop music. Upon release, the single prompted an unexpected revival in theremins and increased the awareness of analog synthesizers.\",\n \"Upon release, the single prompted an unexpected revival in theremins and increased the awareness of analog synthesizers. The notion that \\\"Good Vibrations\\\" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants.\",\n \"The notion that \\\"Good Vibrations\\\" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants. While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin.\",\n \"While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin. When the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments.\",\n \"When the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments. Tanner recalls saying to Wilson, \\\"I've got the wrong sort of hair to be on stage with you fellas\\\", to which Wilson replied: \\\"We'll give you a Prince Valiant wig.\\\"\",\n \"Tanner recalls saying to Wilson, \\\"I've got the wrong sort of hair to be on stage with you fellas\\\", to which Wilson replied: \\\"We'll give you a Prince Valiant wig.\\\" The Beach Boys then requested the services of Walter Sear, who asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar.\",\n \"The Beach Boys then requested the services of Walter Sear, who asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar. Sear remembers marking fretboard-like lines on the ribbon \\\"so they could play the damn thing.\\\" Moog began manufacturing his own models of theremins.\",\n \"Moog began manufacturing his own models of theremins. He later noted: \\\"The pop record scene cleaned us out of our stock which we expected to last through Christmas.\\\"\",\n \"He later noted: \\\"The pop record scene cleaned us out of our stock which we expected to last through Christmas.\\\" In Steven M. Martin's 1993 documentary Theremin: An Electronic Odyssey, in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin due to \\\"Good Vibrations\\\" caused Russian authorities to exile its inventor, Leon Theremin.\",\n \"In Steven M. Martin's 1993 documentary Theremin: An Electronic Odyssey, in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin due to \\\"Good Vibrations\\\" caused Russian authorities to exile its inventor, Leon Theremin. Cover versions The song has been covered by artists such as Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV.\",\n \"Cover versions The song has been covered by artists such as Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV. John Bush commented: \\\"'Good Vibrations' was rarely reprised by other acts, even during the cover-happy '60s. Its fragmented style made it essentially cover-proof.\\\"\",\n \"Its fragmented style made it essentially cover-proof.\\\" In 1976, a nearly identical cover version was released as a single by Todd Rundgren for his album Faithful. When asked for his opinion, Brian said: \\\"Oh, he did a marvelous job, he did a great job. I was very proud of his version.\\\"\",\n \"I was very proud of his version.\\\" Rundgren's single peaked at number 34 on the Billboard Hot 100.\",\n \"Rundgren's single peaked at number 34 on the Billboard Hot 100. Rundgren explained: \\\"I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting—like around Pet Sounds and 'Good Vibrations' ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal.\",\n \"Rundgren explained: \\\"I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting—like around Pet Sounds and 'Good Vibrations' ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal. ...\",\n \"... ... I tried to do [the song] as literally as I could because in the intervening 10 years, radio had changed so much. Radio had become so formatted and so structured that that whole experience was already gone.\\\" In 2004, Wilson re-recorded the song as a solo artist for his album Brian Wilson Presents Smile.\",\n \"In 2004, Wilson re-recorded the song as a solo artist for his album Brian Wilson Presents Smile. It was sequenced as the album's closing track, following \\\"In Blue Hawaii\\\". In this version, \\\"Good Vibrations\\\" was the project's only track that eschewed the modular recording method.\",\n \"In this version, \\\"Good Vibrations\\\" was the project's only track that eschewed the modular recording method. The song's verses and chorus were recorded as part of one whole take, and were not spliced together.\",\n \"The song's verses and chorus were recorded as part of one whole take, and were not spliced together. In 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated.\",\n \"In 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated. Their version of \\\"Good Vibrations\\\", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on Billboards A/C chart.\",\n \"Their version of \\\"Good Vibrations\\\", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on Billboards A/C chart. In popular culture The song's parody is used for the jingle of the Australian consumer electronics retailer The Good Guys.\",\n \"In popular culture The song's parody is used for the jingle of the Australian consumer electronics retailer The Good Guys. In 1996, experimental rock group His Name Is Alive released an homage titled \\\"Universal Frequencies\\\" on their album Stars on E.S.P.\",\n \"In 1996, experimental rock group His Name Is Alive released an homage titled \\\"Universal Frequencies\\\" on their album Stars on E.S.P. Warren Defever reportedly listened to \\\"Good Vibrations\\\" repeatedly for a week before deciding that the song \\\"needed a sequel\\\"; he added: \\\"'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful.\\\"\",\n \"Warren Defever reportedly listened to \\\"Good Vibrations\\\" repeatedly for a week before deciding that the song \\\"needed a sequel\\\"; he added: \\\"'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful.\\\" In 1997, the movie Vegas Vacation used the song for the opening credits, with Clark Griswold (Chevy Chase) singing the song.\",\n \"In 1997, the movie Vegas Vacation used the song for the opening credits, with Clark Griswold (Chevy Chase) singing the song. The song's lyrics \\\"I'm picking up good vibrations\\\" are quoted in Cyndi Lauper's 1984 single \\\"She Bop\\\".\",\n \"The song's lyrics \\\"I'm picking up good vibrations\\\" are quoted in Cyndi Lauper's 1984 single \\\"She Bop\\\". A live version of the song, from the album Live in London, appears as a playable track in the 2010 video game Rock Band 3.\",\n \"A live version of the song, from the album Live in London, appears as a playable track in the 2010 video game Rock Band 3. In 2019, the song was used prominently in a scene for Jordan Peele's psychological horror thriller film Us.\",\n \"In 2019, the song was used prominently in a scene for Jordan Peele's psychological horror thriller film Us. In 2018, The song was featured in the animated film Hotel Transylvania 3: Summer Vacation.\",\n \"In 2018, The song was featured in the animated film Hotel Transylvania 3: Summer Vacation. Release history In early 2011, the single was remastered and reissued as a four-sided 78 rpm vinyl for Record Store Day, as a teaser for the forthcoming The Smile Sessions box set.\",\n \"Release history In early 2011, the single was remastered and reissued as a four-sided 78 rpm vinyl for Record Store Day, as a teaser for the forthcoming The Smile Sessions box set. It contained \\\"Heroes and Villains\\\" as a B-side, along with previously released alternate takes and mixes.\",\n \"It contained \\\"Heroes and Villains\\\" as a B-side, along with previously released alternate takes and mixes. Stereo version Due to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile.\",\n \"Stereo version Due to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile. The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett.\",\n \"The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett. Fitzgerald's software extracted individual instrumental and vocal stems from the original mono master—as the multi-track vocals remained missing—to construct the stereo version that appears on the 2012 reissue of Smiley Smile.\",\n \"Fitzgerald's software extracted individual instrumental and vocal stems from the original mono master—as the multi-track vocals remained missing—to construct the stereo version that appears on the 2012 reissue of Smiley Smile. 40th Anniversary Edition In celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released.\",\n \"40th Anniversary Edition In celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released. The EP includes \\\"Good Vibrations\\\", four alternate versions of the song, and the stereo mix of \\\"Let's Go Away for Awhile\\\". The EP artwork recreates that of the original 7-inch single sleeve.\",\n \"The EP artwork recreates that of the original 7-inch single sleeve. In 2016, the EP was reissued as a 12\\\" record for the single's 50th anniversary. Personnel The following people are identified as players on the \\\"Good Vibrations\\\" single.\",\n \"Personnel The following people are identified as players on the \\\"Good Vibrations\\\" single. The Beach Boys Mike Love – lead vocals in chorus Brian Wilson – vocals, tack piano, tambourine, production, mixing Carl Wilson – lead vocals in verses, guitar, shaker Dennis Wilson – Hammond organ during 2:13–2:56 Additional musicians and production staff Hal Blaine – drums, timpani, other percussion Al De Lory – piano, harpsichord Jesse Ehrlich – cello Larry Knechtel – organ in verses and choruses Tommy Morgan – harmonica Al Casey – guitar Ray Pohlman – electric bass Lyle Ritz – double bass Jim Horn – piccolo Paul Tanner – Electro-Theremin Bassist Carol Kaye played on several of the \\\"Good Vibrations\\\" sessions, and has been identified as a prominent contributor to the track.\",\n \"The Beach Boys Mike Love – lead vocals in chorus Brian Wilson – vocals, tack piano, tambourine, production, mixing Carl Wilson – lead vocals in verses, guitar, shaker Dennis Wilson – Hammond organ during 2:13–2:56 Additional musicians and production staff Hal Blaine – drums, timpani, other percussion Al De Lory – piano, harpsichord Jesse Ehrlich – cello Larry Knechtel – organ in verses and choruses Tommy Morgan – harmonica Al Casey – guitar Ray Pohlman – electric bass Lyle Ritz – double bass Jim Horn – piccolo Paul Tanner – Electro-Theremin Bassist Carol Kaye played on several of the \\\"Good Vibrations\\\" sessions, and has been identified as a prominent contributor to the track. However, analysis by Beach Boys archivist Craig Slowinski indicates that none of those recordings made the final edit as released on the single.\",\n \"However, analysis by Beach Boys archivist Craig Slowinski indicates that none of those recordings made the final edit as released on the single. Charts Weekly charts Original release 1976 reissue Todd Rundgren version (1976) Year-end charts Certifications Awards and accolades Footnotes References Bibliography External links Greg Panfile's Musical Analysis of \\\"Good Vibrations\\\" 1966 singles 1966 songs 2004 singles 2011 singles Brian Wilson songs Psychic TV songs The Beach Boys songs Todd Rundgren songs Capitol Records singles Grammy Hall of Fame Award recipients Billboard Hot 100 number-one singles Cashbox number-one singles Number-one singles in Australia Number-one singles in New Zealand UK Singles Chart number-one singles Songs written by Brian Wilson Songs written by Mike Love Songs written by Tony Asher Song recordings produced by Brian Wilson Song recordings with Wall of Sound arrangements Art pop songs Avant-pop songs Psychedelic pop songs American psychedelic rock songs Songs used as jingles Songs composed in E-flat minor\"\n]"}}},{"rowIdx":482,"cells":{"History":{"kind":"list like","value":["Hack Wilson","Early life and minor leagues"],"string":"[\n \"Hack Wilson\",\n \"Early life and minor leagues\"\n]"},"QuAC_dialog_id":{"kind":"string","value":"C_caf876f084ed435aae7dfb1e41e6fe73_1"},"Question":{"kind":"string","value":"what was Wilson's early life like?"},"Question_no":{"kind":"number","value":1,"string":"1"},"Rewrite":{"kind":"string","value":"what was Wilson's early life like?"},"true_page_title":{"kind":"string","value":"Hack Wilson"},"true_contexts":{"kind":"string","value":"Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker. His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24. In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week. Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes. Sportswriter Shirley Povich later observed that he was \"built along the lines of a beer keg, and was not wholly unfamiliar with its contents.\" While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of the Fetal Alcohol Syndrome. In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \"D\" Blue Ridge League. After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield. In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year. In 1923, playing for the \"B\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average. Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500. CANNOTANSWER"},"answer":{"kind":"string","value":"Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker."},"true_contexts_wiki":{"kind":"string","value":"Lewis Robert \"Hack\" Wilson (April 26, 1900 – November 23, 1948) was an American Major League Baseball player who played 12 seasons for the New York Giants, Chicago Cubs, Brooklyn Dodgers and Philadelphia Phillies. Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s. His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history. Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed. \"For a brief span of a few years\", wrote a sportswriter of the day, \"this hammered down little strongman actually rivaled the mighty Ruth.\"\n\nWhile Wilson's combativeness and excessive alcohol consumption made him one of the most colorful sports personalities of his era, his drinking and fighting undoubtedly contributed to a premature end to his athletic career and, ultimately, his premature death. He was inducted into the Baseball Hall of Fame in 1979.\n\nBaseball career\n\nEarly life and minor leagues\nLewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker. His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24.\n\nIn 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week. Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes. Sportswriter Shirley Povich later observed that he was \"built along the lines of a beer keg, and was not wholly unfamiliar with its contents.\" While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of Fetal Alcohol Syndrome.\n\nIn 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \"D\" Blue Ridge League. After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield. In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year. In 1923, playing for the \"B\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average. Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500 ($ in current dollar terms).\n\nNew York Giants\nWilson made his major league debut with the Giants on September 29, 1923, at the age of 23, and became the starting left fielder the following season. By mid-July he was ranked second in the National League (NL) in hitting. He ended the season with a .295 average, 10 home runs, and 57 runs batted in (RBIs) as New York won the NL pennant. In the 1924 World Series he averaged only .233 in a seven-game loss to the Washington Senators.\n\nMultiple stories exist to explain the origin of Wilson's nickname: By one account, a New York newspaper held a nicknaming contest; the winning entry was \"Hack\" because he reminded many fans of another stocky athlete, the popular wrestler Georg Hackenschmidt. In another version, McGraw is said to have remarked that Wilson's physique was reminiscent of a \"hack\" (slang for taxicab in that era). Giants teammate Bill Cunningham claimed that the nickname was based on Wilson's resemblance to Hack Miller, an outfielder with the Chicago Cubs. The New York Times printed the first documented usage of \"Hack\" on June 10, 1924.\n\nEarly in the 1925 season Wilson hit the longest home run on record at Ebbets Field against the Brooklyn Robins, but fell into a slump in May, and was replaced in left field by Irish Meusel. On July 2 he hit two home runs in one inning, tying Ken Williams' major league record set in 1922, but his hitting slump continued. In August McGraw told reporters that he had \"... made the mistake of rushing [Wilson] along,\" and sent him to the Giants' minor league affiliate, the Toledo Mud Hens of the American Association. At season's end, a front office oversight—or possibly, deliberate inaction—left him unprotected on the Toledo roster, and the last-place Chicago Cubs acquired him on waivers. \"They let go the best outfielder I ever played alongside\", said Giants right fielder Ross Youngs, \"and they're going to regret it.\"\n\nDuring the 1925 World Series — between the Senators and the Pittsburgh Pirates — Wilson's son, Robert, was born.\n\nGlory years with the Cubs\n\nWilson regained his form as the Cubs' center fielder in 1926, and he quickly became a favorite of Chicago fans. On May 24 he hit the center field scoreboard with one of the longest home runs in Wrigley Field history as the Cubs came from behind to defeat the Boston Braves. Later that evening he made news again when he was arrested during a police raid of a Prohibition-era speakeasy while trying to escape through the rear window, and was fined one dollar. He ended the season with a league-leading 21 home runs along with 36 doubles, 109 RBIs, a .321 batting average, and a .406 on-base percentage. The Cubs improved to fourth place, and Wilson ended the year ranked fifth in voting for the NL's Most Valuable Player (MVP) Award.\n\nAnother strong performance followed in 1927 as Wilson once again led the league in home runs. Although the Cubs were in first place heading into the final month of the season, the team faltered and again finished fourth. Wilson posted a .318 average with 30 home runs and 129 RBIs, and led NL outfielders with 400 putouts. He led the NL in home runs for a third consecutive year in 1928 with 31, along with 120 RBIs and a .313 average as the Cubs improved to third place.\n\nWilson had a combative streak and sometimes initiated fights with opposing players and fans. On June 22, 1928, a near-riot broke out in the ninth inning at Wrigley Field against the St. Louis Cardinals when Wilson jumped into the box seats to attack a heckling fan. An estimated 5,000 spectators swarmed the field before police could separate the combatants and restore order. The fan sued Wilson for $20,000, but a jury ruled in his favor. The following year he took offense at a remark by Cincinnati Reds pitcher Ray Kolp, and – upon reaching first base after hitting a single – he charged into the Reds dugout, punching Kolp several times before they could be separated. Later that evening at the train station, Wilson exchanged words and blows with Cincinnati player Pete Donohue. In late 1929 he signed a contract to fight Art Shires of the Chicago White Sox in a boxing match, but reneged after Cubs president William Veeck, Sr. enlisted Hack's wife Virginia to dissuade him, and then Shires lost a fight to George Trafton of the Chicago Bears. There was nothing to gain, Wilson said, by fighting a defeated boxer.\n\nWilson's \"penchant for festivities\" is also well documented. Biographer Clifton Blue Parker described him as \"... the Roaring '20s epitome of a baseball player, primed for an age of American excess ... at a time when baseball was America's favorite sport.\" His love of drinking and partying did not endear him to Cubs owner William Wrigley, who abhorred alcohol consumption. (Wilson always insisted that he never played drunk; \"hung over, yes; drunk, no.\") Manager Joe McCarthy worked hard to shield Wilson from Wrigley, and to keep him on an even keel. \"Better than any other manager,\" wrote sportswriter Frank Graham, \"Joe understood Hack, made allowances for him when he failed, and rewarded him with praise when he did well. Joe could be strict and stern with his players ... but he never was with Hack, and Hack repaid him by playing as he never had before, nor would again.\"\n\nIn 1929 Wilson hit .345 with 39 home runs and a league-record 159 RBIs. He and new teammate Rogers Hornsby (who also contributed 39 home runs) led the Cubs to their first NL pennant in eleven years. In the World Series against Connie Mack's Philadelphia Athletics, Wilson's .471 hitting performance was eclipsed by two fielding errors at Shibe Park. Though trailing the Series two games to one, the Cubs were leading by a score of 8–0 in the fourth game when the Athletics mounted a 10-run rally in the seventh inning. Wilson lost two fly balls in the sun; the second, with two runners on base, led to an inside-the-park home run by Mule Haas as the Athletics won 10–8. After the game, McCarthy reportedly told a boy asking for a souvenir baseball, \"Come back tomorrow and stand behind Wilson, and you'll be able to pick up all the balls you want!\" The Athletics won again the next day to take the Series in five games.\n\n1930 peak\nWilson's 1930 season, aided by a lively ball wound with special Australian wool, is considered one of the best single-season hitting performances in baseball history. By the middle of July he had accumulated 82 RBIs. In August he hit 13 home runs and 53 RBIs, and by September 17 he had reached 174 RBIs, breaking Lou Gehrig's major league record established three years earlier. He finished the season with 190 RBIs, along with an NL-record 56 home runs, .356 batting average, .454 on-base percentage, and league-leading .723 slugging percentage. He was unofficially voted the NL's most \"useful\" player by the Baseball Writers' Association of America (which did not inaugurate its official MVP award until 1931). \n\nIn 1999 the Commissioner of Baseball officially increased Wilson's 1930 RBI total to 191 after a box score analysis by baseball historian Jerome Holtzman revealed that Charlie Grimm had been mistakenly credited with an RBI actually driven home by Wilson during the second game of a doubleheader on July 28. Wilson's 191 RBIs remains one of baseball's most enduring records; only Gehrig (185) and Hank Greenberg (184) ever came close, and there have been no serious challenges in the last 75 years. (The best recent effort was 165 by Manny Ramirez in 1999.)\n\nReds catcher Clyde Sukeforth asserted that Wilson should have been credited with an additional home run in 1930 as well. \"He hit one in Cincinnati one day\", he said, \"way up in the seats, hit it so hard that it bounced right back onto the field. The umpire had a bad angle on it and ruled that it had hit the screen and bounced back. I was sitting in the Cincinnati bullpen, and of course, we weren't going to say anything. But Hack really hit 57 that year.\" Wilson's official total of 56 stood as the NL record until the 1998 season, when it was broken by Sammy Sosa (66) and Mark McGwire (70).\n\nDecline\nWilson's success in the 1930 season served only to fuel his drinking habits, and in 1931 he reported to spring training 20 pounds overweight. In addition, the NL responded to the prodigious offensive statistics of the previous year (the only season, other than 1894, in which the league as a whole batted over .300) by introducing a heavier ball with raised stitching to allow pitchers to gain a better grip and throw sharper curveballs. Wilson complained that the new Cubs manager, Hornsby, did not allow him to \"swing away\" as much as Joe McCarthy had. He hit his 200th career home run at Ebbets Field on June 18 — only the fourth player ever to do so, behind Ruth, Cy Williams, and Hornsby — but then fell into a protracted slump, and was benched in late May. By late August Wrigley publicly expressed his desire to trade him. On September 6 he was suspended without pay for the remainder of the season after a fight with reporters aboard a train in Cincinnati. He was hitting .261 with only 13 home runs (his 1930 production during August alone) at the time.\n\nIn December 1931, the Cubs traded Wilson, along with Bud Teachout, to the St. Louis Cardinals for Burleigh Grimes. Less than a month later, the Cardinals sent him to the Brooklyn Dodgers for minor league outfielder Bob Parham and $25,000 ($ in current dollar terms). Wilson hit .297 with 23 home runs and 123 RBIs for Brooklyn in 1932. He began 1933 with a ninth-inning game-winning pinch-hit inside-the-park grand slam home run at Ebbets Field—the first pinch-hit grand slam in Dodger history, and only the third inside-the-park pinch-hit grand slam in MLB history. By season's end his offensive totals had dropped substantially, and he was hitting .262 when the Dodgers released him mid-season in 1934. The Philadelphia Phillies signed him immediately, but after just two hits in 20 at bats he was released again a month later. After a final season with the Albany Senators of the Class \"A\" New York–Pennsylvania League, Wilson retired at the age of 35.\n\nCareer statistics\nIn a 12-year major league career, Wilson played in 1,348 games and accumulated 1,461 hits in 4,760 at-bats for a .307 career batting average and a .395 on-base percentage. He hit 244 home runs and batted in 1,063 runs, led the NL in home runs four times, and surpassed 100 RBIs six times. Defensively, he finished his career with a .965 fielding percentage.\n\nLife after baseball\n\nWilson returned to Martinsburg where he opened a pool hall, but encountered financial problems due to a failed sporting goods business venture, and then a rancorous divorce from Virginia. By 1938 he was working as a bartender near Brooklyn's Ebbets Field where he sang for drinks, but had to quit when customers became too abusive. A night club venture in suburban Chicago was another financial failure. In 1944 he took a job as a good will ambassador for a professional basketball team in Washington, D.C., where he lamented that fans remembered his two dropped fly balls in the 1929 World Series far more vividly than his 56 home runs and 191 RBIs in 1930. Unable to find work in professional baseball, he moved to Baltimore where he worked as a tool checker in an airplane manufacturing plant and later as a laborer for the City of Baltimore. When municipal authorities realized who he was, he was made the manager of a Baltimore public swimming pool.\n\nOn October 4, 1948 Wilson was discovered unconscious after a fall in his home. Though the accident did not appear serious at first, pneumonia and other complications developed and he died of internal hemorrhaging on November 23, 1948, at the age of 48.\n\nWilson — once the highest-paid player in the National League — died penniless; his son, Robert, refused to claim his remains. NL President Ford Frick finally sent money to cover his funeral expenses. His gray burial suit was donated by the undertaker. In marked contrast to Babe Ruth's funeral, which had been attended by thousands just three months earlier, only a few hundred people were present for Wilson's services. He was buried in Rosedale Cemetery in the town where he made his professional playing debut, Martinsburg, West Virginia.\n\nTen months later Joe McCarthy organized a second, more complete memorial service, attended by Kiki Cuyler, Charlie Grimm, Nick Altrock and other players from the Cubs and the Martinsburg team (by then renamed the Blue Sox). A granite tombstone was unveiled, with the inscription, \"One of Baseball's Immortals, Lewis R. (Hack) Wilson, Rests Here.\"\n\nOne week before his death, Wilson gave an interview to CBS Radio which was reprinted in Chicago newspapers. In 1949 Charlie Grimm, the Cubs' new manager, posted a framed excerpt from that interview in the Cubs clubhouse, where it remains. It reads, in part:\n\nTalent isn't enough. You need common sense and good advice. If anyone tries to tell you different, tell them the story of Hack Wilson. ... Kids in and out of baseball who think because they have talent they have the world by the tail. It isn't so. Kids, don't be too big to accept advice. Don't let what happened to me happen to you.\n\nIn 1979 Wilson was inducted into the Baseball Hall of Fame by the Veterans Committee. A Martinsburg street is named Hack Wilson Way in his honor, and the access road to a large city park within his home town, Ellwood City, Pennsylvania, is known as Hack Wilson Drive.\n\nSee also\n\n50 home run club\nList of Major League Baseball annual home run leaders\nList of Major League Baseball annual runs batted in leaders\nList of Major League Baseball players to hit for the cycle\nList of Major League Baseball career runs batted in leaders\nList of Major League Baseball career slugging percentage leaders\nList of Major League Baseball career OPS leaders\nList of Major League Baseball career home run leaders\n\nReferences\n\nFurther reading\n Subscription required.\n Subscription required.\n\nExternal links\n\n, or Retrosheet\n\nNational Baseball Hall of Fame inductees\nMajor League Baseball center fielders\nChicago Cubs players\nBrooklyn Dodgers players\nNew York Giants (NL) players\nPhiladelphia Phillies players\nNational League home run champions\nNational League RBI champions\nMartinsburg Mountaineers players\nMartinsburg Blue Sox players\nPortsmouth Truckers players\nToledo Mud Hens players\nAlbany Senators players\nBaseball players from Pennsylvania\nSportspeople from Martinsburg, West Virginia\nPeople from Ellwood City, Pennsylvania\nPeople from Lawrence County, Pennsylvania\n1900 births\n1948 deaths"},"extractive":{"kind":"string","value":"true"},"retrieved_contexts":{"kind":"list like","value":["Thomas Wilson was a southern American business entrepreneur and magnate. He was active from the early 1850s until his death in the early 20th century.\n\nEarly life and work\nWilson immigrated to the United States in the 1850s from Scotland, where he had been raised by his grandfather, a Scottish laird. Although he came from an aristocratic family, Wilson had little education. He and his wife arrived in New York City with less than one pound. He hired on as an apprentice boilermaker and rose quickly along the corporate ladder.\n\nBy the end of the American Civil War, Wilson owned a chain of foundries. He and his family moved to Sumter, South Carolina and established a number of companies throughout the South.\n\nWilson developed the Northwestern Railroad of South Carolina and later served as head of the Atlantic Coast Line Railroad, the St. Charles Hotel and the First National Bank of Sumter, among others.\n\nLater life, work, and death\nBy 1864 he had fathered several children, one of whom had died. He owned large swathes of land throughout the South; with especially large ones in Florida. His land holdings included all of what is now Myrtle Beach, South Carolina. By the end of his life, he was the wealthiest person in South Carolina.\n\nReferences\n\nAmerican manufacturing businesspeople\nAmerican boilermakers\nYear of death missing\nYear of birth missing","The Beach Boys: An American Family is a 2000 miniseries written by Kirk Ellis and directed by Jeff Bleckner. It is a dramatization of the early years of The Beach Boys, from their formation in the early 1960s to their peak of popularity as musical innovators, through their late-1960s decline (and Brian Wilson's beginning battle with mental illness), to their re-emergence in 1974 as a nostalgia and \"goodtime\" act.\n\nThe movie was shown in two parts on ABC Television, and featured a good deal of original studio and session material by the band, which forms the backdrop to the story. Music that couldn't be licensed for the production, but was important to the story (such as the Smile album sessions, and music by criminal Charles Manson, who had collaborated with Dennis Wilson), was filled in with sound-alikes, reminiscent of the original recordings.\n\nIn 2000, Brian Wilson stated of the film: \"I didn't like it, I thought it was in poor taste. ... And it stunk. I thought it stunk!\" He elaborated further: \"I didn't like the second part. It wasn't really true to the way things were. I'd like to see another movie if it was done right. But I just sort of turned my back to this one, or my other cheek, or whatever you wanna call it. It was best just to ignore it because it really wasn't true to life.\" Wilson also felt that he was poorly portrayed by actor Frederick Weller (\"He was a little more rough than me\") and that there was too much coverage of Charles Manson (\"That was a commercial fuckup\").\n\nCast\n\nAwards \nThe Beach Boys: An American Family was nominated in nine individual categories at different award ceremonies.\n\nThe film won three out of those 8 categories that it was nominated in. Listed below is the categories that the movie was nominated in as well as for what award:\n\n2000\nEmmy Awards\nOutstanding Mini-series\nSingle-Camera Picture Editing For A Mini-series, Movie Or A Special\nSingle-Camera Sound Mixing For A Mini-series Or A Movie\nArtios Awards\nBest Casting For TV Mini-Series\n2001\nEddie Awards\nBest Edited Miniseries or Motion Picture for Commercial Television (won)\nExcellence In Production Design Awards\nBest Television Movie or Mini-Series\nC.A.S. Awards\nOutstanding Achievement In Sound Mixing For A Television Movie-of-the-Week, Mini-Series (won)\nDGA Awards\nOutstanding Directorial Achievement In Movies For Television (won)\nGolden Satellite Awards\nBest Mini-series (nom)\n\nReferences\n\nExternal links\n \n\n2000s American television miniseries\nAmerican Broadcasting Company original programming\nEnglish-language television shows\nFilms directed by Jeff Bleckner\nCultural depictions of Charles Manson"],"string":"[\n \"Thomas Wilson was a southern American business entrepreneur and magnate. He was active from the early 1850s until his death in the early 20th century.\\n\\nEarly life and work\\nWilson immigrated to the United States in the 1850s from Scotland, where he had been raised by his grandfather, a Scottish laird. Although he came from an aristocratic family, Wilson had little education. He and his wife arrived in New York City with less than one pound. He hired on as an apprentice boilermaker and rose quickly along the corporate ladder.\\n\\nBy the end of the American Civil War, Wilson owned a chain of foundries. He and his family moved to Sumter, South Carolina and established a number of companies throughout the South.\\n\\nWilson developed the Northwestern Railroad of South Carolina and later served as head of the Atlantic Coast Line Railroad, the St. Charles Hotel and the First National Bank of Sumter, among others.\\n\\nLater life, work, and death\\nBy 1864 he had fathered several children, one of whom had died. He owned large swathes of land throughout the South; with especially large ones in Florida. His land holdings included all of what is now Myrtle Beach, South Carolina. By the end of his life, he was the wealthiest person in South Carolina.\\n\\nReferences\\n\\nAmerican manufacturing businesspeople\\nAmerican boilermakers\\nYear of death missing\\nYear of birth missing\",\n \"The Beach Boys: An American Family is a 2000 miniseries written by Kirk Ellis and directed by Jeff Bleckner. It is a dramatization of the early years of The Beach Boys, from their formation in the early 1960s to their peak of popularity as musical innovators, through their late-1960s decline (and Brian Wilson's beginning battle with mental illness), to their re-emergence in 1974 as a nostalgia and \\\"goodtime\\\" act.\\n\\nThe movie was shown in two parts on ABC Television, and featured a good deal of original studio and session material by the band, which forms the backdrop to the story. Music that couldn't be licensed for the production, but was important to the story (such as the Smile album sessions, and music by criminal Charles Manson, who had collaborated with Dennis Wilson), was filled in with sound-alikes, reminiscent of the original recordings.\\n\\nIn 2000, Brian Wilson stated of the film: \\\"I didn't like it, I thought it was in poor taste. ... And it stunk. I thought it stunk!\\\" He elaborated further: \\\"I didn't like the second part. It wasn't really true to the way things were. I'd like to see another movie if it was done right. But I just sort of turned my back to this one, or my other cheek, or whatever you wanna call it. It was best just to ignore it because it really wasn't true to life.\\\" Wilson also felt that he was poorly portrayed by actor Frederick Weller (\\\"He was a little more rough than me\\\") and that there was too much coverage of Charles Manson (\\\"That was a commercial fuckup\\\").\\n\\nCast\\n\\nAwards \\nThe Beach Boys: An American Family was nominated in nine individual categories at different award ceremonies.\\n\\nThe film won three out of those 8 categories that it was nominated in. Listed below is the categories that the movie was nominated in as well as for what award:\\n\\n2000\\nEmmy Awards\\nOutstanding Mini-series\\nSingle-Camera Picture Editing For A Mini-series, Movie Or A Special\\nSingle-Camera Sound Mixing For A Mini-series Or A Movie\\nArtios Awards\\nBest Casting For TV Mini-Series\\n2001\\nEddie Awards\\nBest Edited Miniseries or Motion Picture for Commercial Television (won)\\nExcellence In Production Design Awards\\nBest Television Movie or Mini-Series\\nC.A.S. Awards\\nOutstanding Achievement In Sound Mixing For A Television Movie-of-the-Week, Mini-Series (won)\\nDGA Awards\\nOutstanding Directorial Achievement In Movies For Television (won)\\nGolden Satellite Awards\\nBest Mini-series (nom)\\n\\nReferences\\n\\nExternal links\\n \\n\\n2000s American television miniseries\\nAmerican Broadcasting Company original programming\\nEnglish-language television shows\\nFilms directed by Jeff Bleckner\\nCultural depictions of Charles Manson\"\n]"},"chunked_article":{"kind":"list like","value":["Lewis Robert \"Hack\" Wilson (April 26, 1900 – November 23, 1948) was an American Major League Baseball player who played 12 seasons for the New York Giants, Chicago Cubs, Brooklyn Dodgers and Philadelphia Phillies. Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s.","Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s. His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history.","His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history. Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed.","Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed. \"For a brief span of a few years\", wrote a sportswriter of the day, \"this hammered down little strongman actually rivaled the mighty Ruth.\"","\"For a brief span of a few years\", wrote a sportswriter of the day, \"this hammered down little strongman actually rivaled the mighty Ruth.\" While Wilson's combativeness and excessive alcohol consumption made him one of the most colorful sports personalities of his era, his drinking and fighting undoubtedly contributed to a premature end to his athletic career and, ultimately, his premature death.","While Wilson's combativeness and excessive alcohol consumption made him one of the most colorful sports personalities of his era, his drinking and fighting undoubtedly contributed to a premature end to his athletic career and, ultimately, his premature death. He was inducted into the Baseball Hall of Fame in 1979.","He was inducted into the Baseball Hall of Fame in 1979. Baseball career Early life and minor leagues Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh.","Baseball career Early life and minor leagues Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker.","His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker. His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24.","His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24. In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week.","In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week. Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes.","Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes. Sportswriter Shirley Povich later observed that he was \"built along the lines of a beer keg, and was not wholly unfamiliar with its contents.\"","Sportswriter Shirley Povich later observed that he was \"built along the lines of a beer keg, and was not wholly unfamiliar with its contents.\" While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of Fetal Alcohol Syndrome.","While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of Fetal Alcohol Syndrome. In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \"D\" Blue Ridge League.","In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \"D\" Blue Ridge League. After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield.","After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield. In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year.","In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year. In 1923, playing for the \"B\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average.","In 1923, playing for the \"B\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average. Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500 ($ in current dollar terms).","Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500 ($ in current dollar terms). New York Giants Wilson made his major league debut with the Giants on September 29, 1923, at the age of 23, and became the starting left fielder the following season.","New York Giants Wilson made his major league debut with the Giants on September 29, 1923, at the age of 23, and became the starting left fielder the following season. By mid-July he was ranked second in the National League (NL) in hitting.","By mid-July he was ranked second in the National League (NL) in hitting. He ended the season with a .295 average, 10 home runs, and 57 runs batted in (RBIs) as New York won the NL pennant. In the 1924 World Series he averaged only .233 in a seven-game loss to the Washington Senators.","In the 1924 World Series he averaged only .233 in a seven-game loss to the Washington Senators. Multiple stories exist to explain the origin of Wilson's nickname: By one account, a New York newspaper held a nicknaming contest; the winning entry was \"Hack\" because he reminded many fans of another stocky athlete, the popular wrestler Georg Hackenschmidt.","Multiple stories exist to explain the origin of Wilson's nickname: By one account, a New York newspaper held a nicknaming contest; the winning entry was \"Hack\" because he reminded many fans of another stocky athlete, the popular wrestler Georg Hackenschmidt. In another version, McGraw is said to have remarked that Wilson's physique was reminiscent of a \"hack\" (slang for taxicab in that era).","In another version, McGraw is said to have remarked that Wilson's physique was reminiscent of a \"hack\" (slang for taxicab in that era). Giants teammate Bill Cunningham claimed that the nickname was based on Wilson's resemblance to Hack Miller, an outfielder with the Chicago Cubs.","Giants teammate Bill Cunningham claimed that the nickname was based on Wilson's resemblance to Hack Miller, an outfielder with the Chicago Cubs. The New York Times printed the first documented usage of \"Hack\" on June 10, 1924.","The New York Times printed the first documented usage of \"Hack\" on June 10, 1924. Early in the 1925 season Wilson hit the longest home run on record at Ebbets Field against the Brooklyn Robins, but fell into a slump in May, and was replaced in left field by Irish Meusel.","Early in the 1925 season Wilson hit the longest home run on record at Ebbets Field against the Brooklyn Robins, but fell into a slump in May, and was replaced in left field by Irish Meusel. On July 2 he hit two home runs in one inning, tying Ken Williams' major league record set in 1922, but his hitting slump continued.","On July 2 he hit two home runs in one inning, tying Ken Williams' major league record set in 1922, but his hitting slump continued. In August McGraw told reporters that he had \"... made the mistake of rushing [Wilson] along,\" and sent him to the Giants' minor league affiliate, the Toledo Mud Hens of the American Association.","In August McGraw told reporters that he had \"... made the mistake of rushing [Wilson] along,\" and sent him to the Giants' minor league affiliate, the Toledo Mud Hens of the American Association. At season's end, a front office oversight—or possibly, deliberate inaction—left him unprotected on the Toledo roster, and the last-place Chicago Cubs acquired him on waivers.","At season's end, a front office oversight—or possibly, deliberate inaction—left him unprotected on the Toledo roster, and the last-place Chicago Cubs acquired him on waivers. \"They let go the best outfielder I ever played alongside\", said Giants right fielder Ross Youngs, \"and they're going to regret it.\"","\"They let go the best outfielder I ever played alongside\", said Giants right fielder Ross Youngs, \"and they're going to regret it.\" During the 1925 World Series — between the Senators and the Pittsburgh Pirates — Wilson's son, Robert, was born.","During the 1925 World Series — between the Senators and the Pittsburgh Pirates — Wilson's son, Robert, was born. Glory years with the Cubs Wilson regained his form as the Cubs' center fielder in 1926, and he quickly became a favorite of Chicago fans.","Glory years with the Cubs Wilson regained his form as the Cubs' center fielder in 1926, and he quickly became a favorite of Chicago fans. On May 24 he hit the center field scoreboard with one of the longest home runs in Wrigley Field history as the Cubs came from behind to defeat the Boston Braves.","On May 24 he hit the center field scoreboard with one of the longest home runs in Wrigley Field history as the Cubs came from behind to defeat the Boston Braves. Later that evening he made news again when he was arrested during a police raid of a Prohibition-era speakeasy while trying to escape through the rear window, and was fined one dollar.","Later that evening he made news again when he was arrested during a police raid of a Prohibition-era speakeasy while trying to escape through the rear window, and was fined one dollar. He ended the season with a league-leading 21 home runs along with 36 doubles, 109 RBIs, a .321 batting average, and a .406 on-base percentage.","He ended the season with a league-leading 21 home runs along with 36 doubles, 109 RBIs, a .321 batting average, and a .406 on-base percentage. The Cubs improved to fourth place, and Wilson ended the year ranked fifth in voting for the NL's Most Valuable Player (MVP) Award.","The Cubs improved to fourth place, and Wilson ended the year ranked fifth in voting for the NL's Most Valuable Player (MVP) Award. Another strong performance followed in 1927 as Wilson once again led the league in home runs.","Another strong performance followed in 1927 as Wilson once again led the league in home runs. Although the Cubs were in first place heading into the final month of the season, the team faltered and again finished fourth. Wilson posted a .318 average with 30 home runs and 129 RBIs, and led NL outfielders with 400 putouts.","Wilson posted a .318 average with 30 home runs and 129 RBIs, and led NL outfielders with 400 putouts. He led the NL in home runs for a third consecutive year in 1928 with 31, along with 120 RBIs and a .313 average as the Cubs improved to third place.","He led the NL in home runs for a third consecutive year in 1928 with 31, along with 120 RBIs and a .313 average as the Cubs improved to third place. Wilson had a combative streak and sometimes initiated fights with opposing players and fans.","Wilson had a combative streak and sometimes initiated fights with opposing players and fans. On June 22, 1928, a near-riot broke out in the ninth inning at Wrigley Field against the St. Louis Cardinals when Wilson jumped into the box seats to attack a heckling fan.","On June 22, 1928, a near-riot broke out in the ninth inning at Wrigley Field against the St. Louis Cardinals when Wilson jumped into the box seats to attack a heckling fan. An estimated 5,000 spectators swarmed the field before police could separate the combatants and restore order.","An estimated 5,000 spectators swarmed the field before police could separate the combatants and restore order. The fan sued Wilson for $20,000, but a jury ruled in his favor.","The fan sued Wilson for $20,000, but a jury ruled in his favor. The following year he took offense at a remark by Cincinnati Reds pitcher Ray Kolp, and – upon reaching first base after hitting a single – he charged into the Reds dugout, punching Kolp several times before they could be separated.","The following year he took offense at a remark by Cincinnati Reds pitcher Ray Kolp, and – upon reaching first base after hitting a single – he charged into the Reds dugout, punching Kolp several times before they could be separated. Later that evening at the train station, Wilson exchanged words and blows with Cincinnati player Pete Donohue.","Later that evening at the train station, Wilson exchanged words and blows with Cincinnati player Pete Donohue. In late 1929 he signed a contract to fight Art Shires of the Chicago White Sox in a boxing match, but reneged after Cubs president William Veeck, Sr. enlisted Hack's wife Virginia to dissuade him, and then Shires lost a fight to George Trafton of the Chicago Bears.","In late 1929 he signed a contract to fight Art Shires of the Chicago White Sox in a boxing match, but reneged after Cubs president William Veeck, Sr. enlisted Hack's wife Virginia to dissuade him, and then Shires lost a fight to George Trafton of the Chicago Bears. There was nothing to gain, Wilson said, by fighting a defeated boxer.","There was nothing to gain, Wilson said, by fighting a defeated boxer. Wilson's \"penchant for festivities\" is also well documented.","Wilson's \"penchant for festivities\" is also well documented. Biographer Clifton Blue Parker described him as \"... the Roaring '20s epitome of a baseball player, primed for an age of American excess ... at a time when baseball was America's favorite sport.\"","Biographer Clifton Blue Parker described him as \"... the Roaring '20s epitome of a baseball player, primed for an age of American excess ... at a time when baseball was America's favorite sport.\" His love of drinking and partying did not endear him to Cubs owner William Wrigley, who abhorred alcohol consumption.","His love of drinking and partying did not endear him to Cubs owner William Wrigley, who abhorred alcohol consumption. (Wilson always insisted that he never played drunk; \"hung over, yes; drunk, no.\") Manager Joe McCarthy worked hard to shield Wilson from Wrigley, and to keep him on an even keel.","Manager Joe McCarthy worked hard to shield Wilson from Wrigley, and to keep him on an even keel. \"Better than any other manager,\" wrote sportswriter Frank Graham, \"Joe understood Hack, made allowances for him when he failed, and rewarded him with praise when he did well.","\"Better than any other manager,\" wrote sportswriter Frank Graham, \"Joe understood Hack, made allowances for him when he failed, and rewarded him with praise when he did well. Joe could be strict and stern with his players ... but he never was with Hack, and Hack repaid him by playing as he never had before, nor would again.\"","Joe could be strict and stern with his players ... but he never was with Hack, and Hack repaid him by playing as he never had before, nor would again.\" In 1929 Wilson hit .345 with 39 home runs and a league-record 159 RBIs.","In 1929 Wilson hit .345 with 39 home runs and a league-record 159 RBIs. He and new teammate Rogers Hornsby (who also contributed 39 home runs) led the Cubs to their first NL pennant in eleven years.","He and new teammate Rogers Hornsby (who also contributed 39 home runs) led the Cubs to their first NL pennant in eleven years. In the World Series against Connie Mack's Philadelphia Athletics, Wilson's .471 hitting performance was eclipsed by two fielding errors at Shibe Park.","In the World Series against Connie Mack's Philadelphia Athletics, Wilson's .471 hitting performance was eclipsed by two fielding errors at Shibe Park. Though trailing the Series two games to one, the Cubs were leading by a score of 8–0 in the fourth game when the Athletics mounted a 10-run rally in the seventh inning.","Though trailing the Series two games to one, the Cubs were leading by a score of 8–0 in the fourth game when the Athletics mounted a 10-run rally in the seventh inning. Wilson lost two fly balls in the sun; the second, with two runners on base, led to an inside-the-park home run by Mule Haas as the Athletics won 10–8.","Wilson lost two fly balls in the sun; the second, with two runners on base, led to an inside-the-park home run by Mule Haas as the Athletics won 10–8. After the game, McCarthy reportedly told a boy asking for a souvenir baseball, \"Come back tomorrow and stand behind Wilson, and you'll be able to pick up all the balls you want!\"","After the game, McCarthy reportedly told a boy asking for a souvenir baseball, \"Come back tomorrow and stand behind Wilson, and you'll be able to pick up all the balls you want!\" The Athletics won again the next day to take the Series in five games.","The Athletics won again the next day to take the Series in five games. 1930 peak Wilson's 1930 season, aided by a lively ball wound with special Australian wool, is considered one of the best single-season hitting performances in baseball history. By the middle of July he had accumulated 82 RBIs.","By the middle of July he had accumulated 82 RBIs. In August he hit 13 home runs and 53 RBIs, and by September 17 he had reached 174 RBIs, breaking Lou Gehrig's major league record established three years earlier.","In August he hit 13 home runs and 53 RBIs, and by September 17 he had reached 174 RBIs, breaking Lou Gehrig's major league record established three years earlier. He finished the season with 190 RBIs, along with an NL-record 56 home runs, .356 batting average, .454 on-base percentage, and league-leading .723 slugging percentage.","He finished the season with 190 RBIs, along with an NL-record 56 home runs, .356 batting average, .454 on-base percentage, and league-leading .723 slugging percentage. He was unofficially voted the NL's most \"useful\" player by the Baseball Writers' Association of America (which did not inaugurate its official MVP award until 1931).","He was unofficially voted the NL's most \"useful\" player by the Baseball Writers' Association of America (which did not inaugurate its official MVP award until 1931). In 1999 the Commissioner of Baseball officially increased Wilson's 1930 RBI total to 191 after a box score analysis by baseball historian Jerome Holtzman revealed that Charlie Grimm had been mistakenly credited with an RBI actually driven home by Wilson during the second game of a doubleheader on July 28.","In 1999 the Commissioner of Baseball officially increased Wilson's 1930 RBI total to 191 after a box score analysis by baseball historian Jerome Holtzman revealed that Charlie Grimm had been mistakenly credited with an RBI actually driven home by Wilson during the second game of a doubleheader on July 28. Wilson's 191 RBIs remains one of baseball's most enduring records; only Gehrig (185) and Hank Greenberg (184) ever came close, and there have been no serious challenges in the last 75 years.","Wilson's 191 RBIs remains one of baseball's most enduring records; only Gehrig (185) and Hank Greenberg (184) ever came close, and there have been no serious challenges in the last 75 years. (The best recent effort was 165 by Manny Ramirez in 1999.)","(The best recent effort was 165 by Manny Ramirez in 1999.) Reds catcher Clyde Sukeforth asserted that Wilson should have been credited with an additional home run in 1930 as well.","Reds catcher Clyde Sukeforth asserted that Wilson should have been credited with an additional home run in 1930 as well. \"He hit one in Cincinnati one day\", he said, \"way up in the seats, hit it so hard that it bounced right back onto the field.","\"He hit one in Cincinnati one day\", he said, \"way up in the seats, hit it so hard that it bounced right back onto the field. The umpire had a bad angle on it and ruled that it had hit the screen and bounced back.","The umpire had a bad angle on it and ruled that it had hit the screen and bounced back. I was sitting in the Cincinnati bullpen, and of course, we weren't going to say anything. But Hack really hit 57 that year.\"","But Hack really hit 57 that year.\" Wilson's official total of 56 stood as the NL record until the 1998 season, when it was broken by Sammy Sosa (66) and Mark McGwire (70).","Wilson's official total of 56 stood as the NL record until the 1998 season, when it was broken by Sammy Sosa (66) and Mark McGwire (70). Decline Wilson's success in the 1930 season served only to fuel his drinking habits, and in 1931 he reported to spring training 20 pounds overweight.","Decline Wilson's success in the 1930 season served only to fuel his drinking habits, and in 1931 he reported to spring training 20 pounds overweight. In addition, the NL responded to the prodigious offensive statistics of the previous year (the only season, other than 1894, in which the league as a whole batted over .300) by introducing a heavier ball with raised stitching to allow pitchers to gain a better grip and throw sharper curveballs.","In addition, the NL responded to the prodigious offensive statistics of the previous year (the only season, other than 1894, in which the league as a whole batted over .300) by introducing a heavier ball with raised stitching to allow pitchers to gain a better grip and throw sharper curveballs. Wilson complained that the new Cubs manager, Hornsby, did not allow him to \"swing away\" as much as Joe McCarthy had.","Wilson complained that the new Cubs manager, Hornsby, did not allow him to \"swing away\" as much as Joe McCarthy had. He hit his 200th career home run at Ebbets Field on June 18 — only the fourth player ever to do so, behind Ruth, Cy Williams, and Hornsby — but then fell into a protracted slump, and was benched in late May.","He hit his 200th career home run at Ebbets Field on June 18 — only the fourth player ever to do so, behind Ruth, Cy Williams, and Hornsby — but then fell into a protracted slump, and was benched in late May. By late August Wrigley publicly expressed his desire to trade him.","By late August Wrigley publicly expressed his desire to trade him. On September 6 he was suspended without pay for the remainder of the season after a fight with reporters aboard a train in Cincinnati. He was hitting .261 with only 13 home runs (his 1930 production during August alone) at the time.","He was hitting .261 with only 13 home runs (his 1930 production during August alone) at the time. In December 1931, the Cubs traded Wilson, along with Bud Teachout, to the St. Louis Cardinals for Burleigh Grimes.","In December 1931, the Cubs traded Wilson, along with Bud Teachout, to the St. Louis Cardinals for Burleigh Grimes. Less than a month later, the Cardinals sent him to the Brooklyn Dodgers for minor league outfielder Bob Parham and $25,000 ($ in current dollar terms).","Less than a month later, the Cardinals sent him to the Brooklyn Dodgers for minor league outfielder Bob Parham and $25,000 ($ in current dollar terms). Wilson hit .297 with 23 home runs and 123 RBIs for Brooklyn in 1932.","Wilson hit .297 with 23 home runs and 123 RBIs for Brooklyn in 1932. He began 1933 with a ninth-inning game-winning pinch-hit inside-the-park grand slam home run at Ebbets Field—the first pinch-hit grand slam in Dodger history, and only the third inside-the-park pinch-hit grand slam in MLB history.","He began 1933 with a ninth-inning game-winning pinch-hit inside-the-park grand slam home run at Ebbets Field—the first pinch-hit grand slam in Dodger history, and only the third inside-the-park pinch-hit grand slam in MLB history. By season's end his offensive totals had dropped substantially, and he was hitting .262 when the Dodgers released him mid-season in 1934.","By season's end his offensive totals had dropped substantially, and he was hitting .262 when the Dodgers released him mid-season in 1934. The Philadelphia Phillies signed him immediately, but after just two hits in 20 at bats he was released again a month later.","The Philadelphia Phillies signed him immediately, but after just two hits in 20 at bats he was released again a month later. After a final season with the Albany Senators of the Class \"A\" New York–Pennsylvania League, Wilson retired at the age of 35.","After a final season with the Albany Senators of the Class \"A\" New York–Pennsylvania League, Wilson retired at the age of 35. Career statistics In a 12-year major league career, Wilson played in 1,348 games and accumulated 1,461 hits in 4,760 at-bats for a .307 career batting average and a .395 on-base percentage.","Career statistics In a 12-year major league career, Wilson played in 1,348 games and accumulated 1,461 hits in 4,760 at-bats for a .307 career batting average and a .395 on-base percentage. He hit 244 home runs and batted in 1,063 runs, led the NL in home runs four times, and surpassed 100 RBIs six times.","He hit 244 home runs and batted in 1,063 runs, led the NL in home runs four times, and surpassed 100 RBIs six times. Defensively, he finished his career with a .965 fielding percentage.","Defensively, he finished his career with a .965 fielding percentage. Life after baseball Wilson returned to Martinsburg where he opened a pool hall, but encountered financial problems due to a failed sporting goods business venture, and then a rancorous divorce from Virginia.","Life after baseball Wilson returned to Martinsburg where he opened a pool hall, but encountered financial problems due to a failed sporting goods business venture, and then a rancorous divorce from Virginia. By 1938 he was working as a bartender near Brooklyn's Ebbets Field where he sang for drinks, but had to quit when customers became too abusive.","By 1938 he was working as a bartender near Brooklyn's Ebbets Field where he sang for drinks, but had to quit when customers became too abusive. A night club venture in suburban Chicago was another financial failure.","A night club venture in suburban Chicago was another financial failure. In 1944 he took a job as a good will ambassador for a professional basketball team in Washington, D.C., where he lamented that fans remembered his two dropped fly balls in the 1929 World Series far more vividly than his 56 home runs and 191 RBIs in 1930.","In 1944 he took a job as a good will ambassador for a professional basketball team in Washington, D.C., where he lamented that fans remembered his two dropped fly balls in the 1929 World Series far more vividly than his 56 home runs and 191 RBIs in 1930. Unable to find work in professional baseball, he moved to Baltimore where he worked as a tool checker in an airplane manufacturing plant and later as a laborer for the City of Baltimore.","Unable to find work in professional baseball, he moved to Baltimore where he worked as a tool checker in an airplane manufacturing plant and later as a laborer for the City of Baltimore. When municipal authorities realized who he was, he was made the manager of a Baltimore public swimming pool.","When municipal authorities realized who he was, he was made the manager of a Baltimore public swimming pool. On October 4, 1948 Wilson was discovered unconscious after a fall in his home.","On October 4, 1948 Wilson was discovered unconscious after a fall in his home. Though the accident did not appear serious at first, pneumonia and other complications developed and he died of internal hemorrhaging on November 23, 1948, at the age of 48.","Though the accident did not appear serious at first, pneumonia and other complications developed and he died of internal hemorrhaging on November 23, 1948, at the age of 48. Wilson — once the highest-paid player in the National League — died penniless; his son, Robert, refused to claim his remains.","Wilson — once the highest-paid player in the National League — died penniless; his son, Robert, refused to claim his remains. NL President Ford Frick finally sent money to cover his funeral expenses. His gray burial suit was donated by the undertaker.","His gray burial suit was donated by the undertaker. In marked contrast to Babe Ruth's funeral, which had been attended by thousands just three months earlier, only a few hundred people were present for Wilson's services. He was buried in Rosedale Cemetery in the town where he made his professional playing debut, Martinsburg, West Virginia.","He was buried in Rosedale Cemetery in the town where he made his professional playing debut, Martinsburg, West Virginia. Ten months later Joe McCarthy organized a second, more complete memorial service, attended by Kiki Cuyler, Charlie Grimm, Nick Altrock and other players from the Cubs and the Martinsburg team (by then renamed the Blue Sox).","Ten months later Joe McCarthy organized a second, more complete memorial service, attended by Kiki Cuyler, Charlie Grimm, Nick Altrock and other players from the Cubs and the Martinsburg team (by then renamed the Blue Sox). A granite tombstone was unveiled, with the inscription, \"One of Baseball's Immortals, Lewis R. (Hack) Wilson, Rests Here.\"","A granite tombstone was unveiled, with the inscription, \"One of Baseball's Immortals, Lewis R. (Hack) Wilson, Rests Here.\" One week before his death, Wilson gave an interview to CBS Radio which was reprinted in Chicago newspapers.","One week before his death, Wilson gave an interview to CBS Radio which was reprinted in Chicago newspapers. In 1949 Charlie Grimm, the Cubs' new manager, posted a framed excerpt from that interview in the Cubs clubhouse, where it remains. It reads, in part: Talent isn't enough.","It reads, in part: Talent isn't enough. You need common sense and good advice. If anyone tries to tell you different, tell them the story of Hack Wilson. ... Kids in and out of baseball who think because they have talent they have the world by the tail. It isn't so.","It isn't so. It isn't so. Kids, don't be too big to accept advice. Don't let what happened to me happen to you. In 1979 Wilson was inducted into the Baseball Hall of Fame by the Veterans Committee.","In 1979 Wilson was inducted into the Baseball Hall of Fame by the Veterans Committee. A Martinsburg street is named Hack Wilson Way in his honor, and the access road to a large city park within his home town, Ellwood City, Pennsylvania, is known as Hack Wilson Drive.","A Martinsburg street is named Hack Wilson Way in his honor, and the access road to a large city park within his home town, Ellwood City, Pennsylvania, is known as Hack Wilson Drive. See also 50 home run club List of Major League Baseball annual home run leaders List of Major League Baseball annual runs batted in leaders List of Major League Baseball players to hit for the cycle List of Major League Baseball career runs batted in leaders List of Major League Baseball career slugging percentage leaders List of Major League Baseball career OPS leaders List of Major League Baseball career home run leaders References Further reading Subscription required.","See also 50 home run club List of Major League Baseball annual home run leaders List of Major League Baseball annual runs batted in leaders List of Major League Baseball players to hit for the cycle List of Major League Baseball career runs batted in leaders List of Major League Baseball career slugging percentage leaders List of Major League Baseball career OPS leaders List of Major League Baseball career home run leaders References Further reading Subscription required. Subscription required.","Subscription required. Subscription required. External links , or Retrosheet National Baseball Hall of Fame inductees Major League Baseball center fielders Chicago Cubs players Brooklyn Dodgers players New York Giants (NL) players Philadelphia Phillies players National League home run champions National League RBI champions Martinsburg Mountaineers players Martinsburg Blue Sox players Portsmouth Truckers players Toledo Mud Hens players Albany Senators players Baseball players from Pennsylvania Sportspeople from Martinsburg, West Virginia People from Ellwood City, Pennsylvania People from Lawrence County, Pennsylvania 1900 births 1948 deaths"],"string":"[\n \"Lewis Robert \\\"Hack\\\" Wilson (April 26, 1900 – November 23, 1948) was an American Major League Baseball player who played 12 seasons for the New York Giants, Chicago Cubs, Brooklyn Dodgers and Philadelphia Phillies. Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s.\",\n \"Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s. His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history.\",\n \"His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history. Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed.\",\n \"Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed. \\\"For a brief span of a few years\\\", wrote a sportswriter of the day, \\\"this hammered down little strongman actually rivaled the mighty Ruth.\\\"\",\n \"\\\"For a brief span of a few years\\\", wrote a sportswriter of the day, \\\"this hammered down little strongman actually rivaled the mighty Ruth.\\\" While Wilson's combativeness and excessive alcohol consumption made him one of the most colorful sports personalities of his era, his drinking and fighting undoubtedly contributed to a premature end to his athletic career and, ultimately, his premature death.\",\n \"While Wilson's combativeness and excessive alcohol consumption made him one of the most colorful sports personalities of his era, his drinking and fighting undoubtedly contributed to a premature end to his athletic career and, ultimately, his premature death. He was inducted into the Baseball Hall of Fame in 1979.\",\n \"He was inducted into the Baseball Hall of Fame in 1979. Baseball career Early life and minor leagues Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh.\",\n \"Baseball career Early life and minor leagues Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker.\",\n \"His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker. His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24.\",\n \"His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24. In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week.\",\n \"In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week. Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes.\",\n \"Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes. Sportswriter Shirley Povich later observed that he was \\\"built along the lines of a beer keg, and was not wholly unfamiliar with its contents.\\\"\",\n \"Sportswriter Shirley Povich later observed that he was \\\"built along the lines of a beer keg, and was not wholly unfamiliar with its contents.\\\" While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of Fetal Alcohol Syndrome.\",\n \"While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of Fetal Alcohol Syndrome. In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \\\"D\\\" Blue Ridge League.\",\n \"In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \\\"D\\\" Blue Ridge League. After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield.\",\n \"After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield. In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year.\",\n \"In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year. In 1923, playing for the \\\"B\\\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average.\",\n \"In 1923, playing for the \\\"B\\\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average. Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500 ($ in current dollar terms).\",\n \"Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500 ($ in current dollar terms). New York Giants Wilson made his major league debut with the Giants on September 29, 1923, at the age of 23, and became the starting left fielder the following season.\",\n \"New York Giants Wilson made his major league debut with the Giants on September 29, 1923, at the age of 23, and became the starting left fielder the following season. By mid-July he was ranked second in the National League (NL) in hitting.\",\n \"By mid-July he was ranked second in the National League (NL) in hitting. He ended the season with a .295 average, 10 home runs, and 57 runs batted in (RBIs) as New York won the NL pennant. In the 1924 World Series he averaged only .233 in a seven-game loss to the Washington Senators.\",\n \"In the 1924 World Series he averaged only .233 in a seven-game loss to the Washington Senators. Multiple stories exist to explain the origin of Wilson's nickname: By one account, a New York newspaper held a nicknaming contest; the winning entry was \\\"Hack\\\" because he reminded many fans of another stocky athlete, the popular wrestler Georg Hackenschmidt.\",\n \"Multiple stories exist to explain the origin of Wilson's nickname: By one account, a New York newspaper held a nicknaming contest; the winning entry was \\\"Hack\\\" because he reminded many fans of another stocky athlete, the popular wrestler Georg Hackenschmidt. In another version, McGraw is said to have remarked that Wilson's physique was reminiscent of a \\\"hack\\\" (slang for taxicab in that era).\",\n \"In another version, McGraw is said to have remarked that Wilson's physique was reminiscent of a \\\"hack\\\" (slang for taxicab in that era). Giants teammate Bill Cunningham claimed that the nickname was based on Wilson's resemblance to Hack Miller, an outfielder with the Chicago Cubs.\",\n \"Giants teammate Bill Cunningham claimed that the nickname was based on Wilson's resemblance to Hack Miller, an outfielder with the Chicago Cubs. The New York Times printed the first documented usage of \\\"Hack\\\" on June 10, 1924.\",\n \"The New York Times printed the first documented usage of \\\"Hack\\\" on June 10, 1924. Early in the 1925 season Wilson hit the longest home run on record at Ebbets Field against the Brooklyn Robins, but fell into a slump in May, and was replaced in left field by Irish Meusel.\",\n \"Early in the 1925 season Wilson hit the longest home run on record at Ebbets Field against the Brooklyn Robins, but fell into a slump in May, and was replaced in left field by Irish Meusel. On July 2 he hit two home runs in one inning, tying Ken Williams' major league record set in 1922, but his hitting slump continued.\",\n \"On July 2 he hit two home runs in one inning, tying Ken Williams' major league record set in 1922, but his hitting slump continued. In August McGraw told reporters that he had \\\"... made the mistake of rushing [Wilson] along,\\\" and sent him to the Giants' minor league affiliate, the Toledo Mud Hens of the American Association.\",\n \"In August McGraw told reporters that he had \\\"... made the mistake of rushing [Wilson] along,\\\" and sent him to the Giants' minor league affiliate, the Toledo Mud Hens of the American Association. At season's end, a front office oversight—or possibly, deliberate inaction—left him unprotected on the Toledo roster, and the last-place Chicago Cubs acquired him on waivers.\",\n \"At season's end, a front office oversight—or possibly, deliberate inaction—left him unprotected on the Toledo roster, and the last-place Chicago Cubs acquired him on waivers. \\\"They let go the best outfielder I ever played alongside\\\", said Giants right fielder Ross Youngs, \\\"and they're going to regret it.\\\"\",\n \"\\\"They let go the best outfielder I ever played alongside\\\", said Giants right fielder Ross Youngs, \\\"and they're going to regret it.\\\" During the 1925 World Series — between the Senators and the Pittsburgh Pirates — Wilson's son, Robert, was born.\",\n \"During the 1925 World Series — between the Senators and the Pittsburgh Pirates — Wilson's son, Robert, was born. Glory years with the Cubs Wilson regained his form as the Cubs' center fielder in 1926, and he quickly became a favorite of Chicago fans.\",\n \"Glory years with the Cubs Wilson regained his form as the Cubs' center fielder in 1926, and he quickly became a favorite of Chicago fans. On May 24 he hit the center field scoreboard with one of the longest home runs in Wrigley Field history as the Cubs came from behind to defeat the Boston Braves.\",\n \"On May 24 he hit the center field scoreboard with one of the longest home runs in Wrigley Field history as the Cubs came from behind to defeat the Boston Braves. Later that evening he made news again when he was arrested during a police raid of a Prohibition-era speakeasy while trying to escape through the rear window, and was fined one dollar.\",\n \"Later that evening he made news again when he was arrested during a police raid of a Prohibition-era speakeasy while trying to escape through the rear window, and was fined one dollar. He ended the season with a league-leading 21 home runs along with 36 doubles, 109 RBIs, a .321 batting average, and a .406 on-base percentage.\",\n \"He ended the season with a league-leading 21 home runs along with 36 doubles, 109 RBIs, a .321 batting average, and a .406 on-base percentage. The Cubs improved to fourth place, and Wilson ended the year ranked fifth in voting for the NL's Most Valuable Player (MVP) Award.\",\n \"The Cubs improved to fourth place, and Wilson ended the year ranked fifth in voting for the NL's Most Valuable Player (MVP) Award. Another strong performance followed in 1927 as Wilson once again led the league in home runs.\",\n \"Another strong performance followed in 1927 as Wilson once again led the league in home runs. Although the Cubs were in first place heading into the final month of the season, the team faltered and again finished fourth. Wilson posted a .318 average with 30 home runs and 129 RBIs, and led NL outfielders with 400 putouts.\",\n \"Wilson posted a .318 average with 30 home runs and 129 RBIs, and led NL outfielders with 400 putouts. He led the NL in home runs for a third consecutive year in 1928 with 31, along with 120 RBIs and a .313 average as the Cubs improved to third place.\",\n \"He led the NL in home runs for a third consecutive year in 1928 with 31, along with 120 RBIs and a .313 average as the Cubs improved to third place. Wilson had a combative streak and sometimes initiated fights with opposing players and fans.\",\n \"Wilson had a combative streak and sometimes initiated fights with opposing players and fans. On June 22, 1928, a near-riot broke out in the ninth inning at Wrigley Field against the St. Louis Cardinals when Wilson jumped into the box seats to attack a heckling fan.\",\n \"On June 22, 1928, a near-riot broke out in the ninth inning at Wrigley Field against the St. Louis Cardinals when Wilson jumped into the box seats to attack a heckling fan. An estimated 5,000 spectators swarmed the field before police could separate the combatants and restore order.\",\n \"An estimated 5,000 spectators swarmed the field before police could separate the combatants and restore order. The fan sued Wilson for $20,000, but a jury ruled in his favor.\",\n \"The fan sued Wilson for $20,000, but a jury ruled in his favor. The following year he took offense at a remark by Cincinnati Reds pitcher Ray Kolp, and – upon reaching first base after hitting a single – he charged into the Reds dugout, punching Kolp several times before they could be separated.\",\n \"The following year he took offense at a remark by Cincinnati Reds pitcher Ray Kolp, and – upon reaching first base after hitting a single – he charged into the Reds dugout, punching Kolp several times before they could be separated. Later that evening at the train station, Wilson exchanged words and blows with Cincinnati player Pete Donohue.\",\n \"Later that evening at the train station, Wilson exchanged words and blows with Cincinnati player Pete Donohue. In late 1929 he signed a contract to fight Art Shires of the Chicago White Sox in a boxing match, but reneged after Cubs president William Veeck, Sr. enlisted Hack's wife Virginia to dissuade him, and then Shires lost a fight to George Trafton of the Chicago Bears.\",\n \"In late 1929 he signed a contract to fight Art Shires of the Chicago White Sox in a boxing match, but reneged after Cubs president William Veeck, Sr. enlisted Hack's wife Virginia to dissuade him, and then Shires lost a fight to George Trafton of the Chicago Bears. There was nothing to gain, Wilson said, by fighting a defeated boxer.\",\n \"There was nothing to gain, Wilson said, by fighting a defeated boxer. Wilson's \\\"penchant for festivities\\\" is also well documented.\",\n \"Wilson's \\\"penchant for festivities\\\" is also well documented. Biographer Clifton Blue Parker described him as \\\"... the Roaring '20s epitome of a baseball player, primed for an age of American excess ... at a time when baseball was America's favorite sport.\\\"\",\n \"Biographer Clifton Blue Parker described him as \\\"... the Roaring '20s epitome of a baseball player, primed for an age of American excess ... at a time when baseball was America's favorite sport.\\\" His love of drinking and partying did not endear him to Cubs owner William Wrigley, who abhorred alcohol consumption.\",\n \"His love of drinking and partying did not endear him to Cubs owner William Wrigley, who abhorred alcohol consumption. (Wilson always insisted that he never played drunk; \\\"hung over, yes; drunk, no.\\\") Manager Joe McCarthy worked hard to shield Wilson from Wrigley, and to keep him on an even keel.\",\n \"Manager Joe McCarthy worked hard to shield Wilson from Wrigley, and to keep him on an even keel. \\\"Better than any other manager,\\\" wrote sportswriter Frank Graham, \\\"Joe understood Hack, made allowances for him when he failed, and rewarded him with praise when he did well.\",\n \"\\\"Better than any other manager,\\\" wrote sportswriter Frank Graham, \\\"Joe understood Hack, made allowances for him when he failed, and rewarded him with praise when he did well. Joe could be strict and stern with his players ... but he never was with Hack, and Hack repaid him by playing as he never had before, nor would again.\\\"\",\n \"Joe could be strict and stern with his players ... but he never was with Hack, and Hack repaid him by playing as he never had before, nor would again.\\\" In 1929 Wilson hit .345 with 39 home runs and a league-record 159 RBIs.\",\n \"In 1929 Wilson hit .345 with 39 home runs and a league-record 159 RBIs. He and new teammate Rogers Hornsby (who also contributed 39 home runs) led the Cubs to their first NL pennant in eleven years.\",\n \"He and new teammate Rogers Hornsby (who also contributed 39 home runs) led the Cubs to their first NL pennant in eleven years. In the World Series against Connie Mack's Philadelphia Athletics, Wilson's .471 hitting performance was eclipsed by two fielding errors at Shibe Park.\",\n \"In the World Series against Connie Mack's Philadelphia Athletics, Wilson's .471 hitting performance was eclipsed by two fielding errors at Shibe Park. Though trailing the Series two games to one, the Cubs were leading by a score of 8–0 in the fourth game when the Athletics mounted a 10-run rally in the seventh inning.\",\n \"Though trailing the Series two games to one, the Cubs were leading by a score of 8–0 in the fourth game when the Athletics mounted a 10-run rally in the seventh inning. Wilson lost two fly balls in the sun; the second, with two runners on base, led to an inside-the-park home run by Mule Haas as the Athletics won 10–8.\",\n \"Wilson lost two fly balls in the sun; the second, with two runners on base, led to an inside-the-park home run by Mule Haas as the Athletics won 10–8. After the game, McCarthy reportedly told a boy asking for a souvenir baseball, \\\"Come back tomorrow and stand behind Wilson, and you'll be able to pick up all the balls you want!\\\"\",\n \"After the game, McCarthy reportedly told a boy asking for a souvenir baseball, \\\"Come back tomorrow and stand behind Wilson, and you'll be able to pick up all the balls you want!\\\" The Athletics won again the next day to take the Series in five games.\",\n \"The Athletics won again the next day to take the Series in five games. 1930 peak Wilson's 1930 season, aided by a lively ball wound with special Australian wool, is considered one of the best single-season hitting performances in baseball history. By the middle of July he had accumulated 82 RBIs.\",\n \"By the middle of July he had accumulated 82 RBIs. In August he hit 13 home runs and 53 RBIs, and by September 17 he had reached 174 RBIs, breaking Lou Gehrig's major league record established three years earlier.\",\n \"In August he hit 13 home runs and 53 RBIs, and by September 17 he had reached 174 RBIs, breaking Lou Gehrig's major league record established three years earlier. He finished the season with 190 RBIs, along with an NL-record 56 home runs, .356 batting average, .454 on-base percentage, and league-leading .723 slugging percentage.\",\n \"He finished the season with 190 RBIs, along with an NL-record 56 home runs, .356 batting average, .454 on-base percentage, and league-leading .723 slugging percentage. He was unofficially voted the NL's most \\\"useful\\\" player by the Baseball Writers' Association of America (which did not inaugurate its official MVP award until 1931).\",\n \"He was unofficially voted the NL's most \\\"useful\\\" player by the Baseball Writers' Association of America (which did not inaugurate its official MVP award until 1931). In 1999 the Commissioner of Baseball officially increased Wilson's 1930 RBI total to 191 after a box score analysis by baseball historian Jerome Holtzman revealed that Charlie Grimm had been mistakenly credited with an RBI actually driven home by Wilson during the second game of a doubleheader on July 28.\",\n \"In 1999 the Commissioner of Baseball officially increased Wilson's 1930 RBI total to 191 after a box score analysis by baseball historian Jerome Holtzman revealed that Charlie Grimm had been mistakenly credited with an RBI actually driven home by Wilson during the second game of a doubleheader on July 28. Wilson's 191 RBIs remains one of baseball's most enduring records; only Gehrig (185) and Hank Greenberg (184) ever came close, and there have been no serious challenges in the last 75 years.\",\n \"Wilson's 191 RBIs remains one of baseball's most enduring records; only Gehrig (185) and Hank Greenberg (184) ever came close, and there have been no serious challenges in the last 75 years. (The best recent effort was 165 by Manny Ramirez in 1999.)\",\n \"(The best recent effort was 165 by Manny Ramirez in 1999.) Reds catcher Clyde Sukeforth asserted that Wilson should have been credited with an additional home run in 1930 as well.\",\n \"Reds catcher Clyde Sukeforth asserted that Wilson should have been credited with an additional home run in 1930 as well. \\\"He hit one in Cincinnati one day\\\", he said, \\\"way up in the seats, hit it so hard that it bounced right back onto the field.\",\n \"\\\"He hit one in Cincinnati one day\\\", he said, \\\"way up in the seats, hit it so hard that it bounced right back onto the field. The umpire had a bad angle on it and ruled that it had hit the screen and bounced back.\",\n \"The umpire had a bad angle on it and ruled that it had hit the screen and bounced back. I was sitting in the Cincinnati bullpen, and of course, we weren't going to say anything. But Hack really hit 57 that year.\\\"\",\n \"But Hack really hit 57 that year.\\\" Wilson's official total of 56 stood as the NL record until the 1998 season, when it was broken by Sammy Sosa (66) and Mark McGwire (70).\",\n \"Wilson's official total of 56 stood as the NL record until the 1998 season, when it was broken by Sammy Sosa (66) and Mark McGwire (70). Decline Wilson's success in the 1930 season served only to fuel his drinking habits, and in 1931 he reported to spring training 20 pounds overweight.\",\n \"Decline Wilson's success in the 1930 season served only to fuel his drinking habits, and in 1931 he reported to spring training 20 pounds overweight. In addition, the NL responded to the prodigious offensive statistics of the previous year (the only season, other than 1894, in which the league as a whole batted over .300) by introducing a heavier ball with raised stitching to allow pitchers to gain a better grip and throw sharper curveballs.\",\n \"In addition, the NL responded to the prodigious offensive statistics of the previous year (the only season, other than 1894, in which the league as a whole batted over .300) by introducing a heavier ball with raised stitching to allow pitchers to gain a better grip and throw sharper curveballs. Wilson complained that the new Cubs manager, Hornsby, did not allow him to \\\"swing away\\\" as much as Joe McCarthy had.\",\n \"Wilson complained that the new Cubs manager, Hornsby, did not allow him to \\\"swing away\\\" as much as Joe McCarthy had. He hit his 200th career home run at Ebbets Field on June 18 — only the fourth player ever to do so, behind Ruth, Cy Williams, and Hornsby — but then fell into a protracted slump, and was benched in late May.\",\n \"He hit his 200th career home run at Ebbets Field on June 18 — only the fourth player ever to do so, behind Ruth, Cy Williams, and Hornsby — but then fell into a protracted slump, and was benched in late May. By late August Wrigley publicly expressed his desire to trade him.\",\n \"By late August Wrigley publicly expressed his desire to trade him. On September 6 he was suspended without pay for the remainder of the season after a fight with reporters aboard a train in Cincinnati. He was hitting .261 with only 13 home runs (his 1930 production during August alone) at the time.\",\n \"He was hitting .261 with only 13 home runs (his 1930 production during August alone) at the time. In December 1931, the Cubs traded Wilson, along with Bud Teachout, to the St. Louis Cardinals for Burleigh Grimes.\",\n \"In December 1931, the Cubs traded Wilson, along with Bud Teachout, to the St. Louis Cardinals for Burleigh Grimes. Less than a month later, the Cardinals sent him to the Brooklyn Dodgers for minor league outfielder Bob Parham and $25,000 ($ in current dollar terms).\",\n \"Less than a month later, the Cardinals sent him to the Brooklyn Dodgers for minor league outfielder Bob Parham and $25,000 ($ in current dollar terms). Wilson hit .297 with 23 home runs and 123 RBIs for Brooklyn in 1932.\",\n \"Wilson hit .297 with 23 home runs and 123 RBIs for Brooklyn in 1932. He began 1933 with a ninth-inning game-winning pinch-hit inside-the-park grand slam home run at Ebbets Field—the first pinch-hit grand slam in Dodger history, and only the third inside-the-park pinch-hit grand slam in MLB history.\",\n \"He began 1933 with a ninth-inning game-winning pinch-hit inside-the-park grand slam home run at Ebbets Field—the first pinch-hit grand slam in Dodger history, and only the third inside-the-park pinch-hit grand slam in MLB history. By season's end his offensive totals had dropped substantially, and he was hitting .262 when the Dodgers released him mid-season in 1934.\",\n \"By season's end his offensive totals had dropped substantially, and he was hitting .262 when the Dodgers released him mid-season in 1934. The Philadelphia Phillies signed him immediately, but after just two hits in 20 at bats he was released again a month later.\",\n \"The Philadelphia Phillies signed him immediately, but after just two hits in 20 at bats he was released again a month later. After a final season with the Albany Senators of the Class \\\"A\\\" New York–Pennsylvania League, Wilson retired at the age of 35.\",\n \"After a final season with the Albany Senators of the Class \\\"A\\\" New York–Pennsylvania League, Wilson retired at the age of 35. Career statistics In a 12-year major league career, Wilson played in 1,348 games and accumulated 1,461 hits in 4,760 at-bats for a .307 career batting average and a .395 on-base percentage.\",\n \"Career statistics In a 12-year major league career, Wilson played in 1,348 games and accumulated 1,461 hits in 4,760 at-bats for a .307 career batting average and a .395 on-base percentage. He hit 244 home runs and batted in 1,063 runs, led the NL in home runs four times, and surpassed 100 RBIs six times.\",\n \"He hit 244 home runs and batted in 1,063 runs, led the NL in home runs four times, and surpassed 100 RBIs six times. Defensively, he finished his career with a .965 fielding percentage.\",\n \"Defensively, he finished his career with a .965 fielding percentage. Life after baseball Wilson returned to Martinsburg where he opened a pool hall, but encountered financial problems due to a failed sporting goods business venture, and then a rancorous divorce from Virginia.\",\n \"Life after baseball Wilson returned to Martinsburg where he opened a pool hall, but encountered financial problems due to a failed sporting goods business venture, and then a rancorous divorce from Virginia. By 1938 he was working as a bartender near Brooklyn's Ebbets Field where he sang for drinks, but had to quit when customers became too abusive.\",\n \"By 1938 he was working as a bartender near Brooklyn's Ebbets Field where he sang for drinks, but had to quit when customers became too abusive. A night club venture in suburban Chicago was another financial failure.\",\n \"A night club venture in suburban Chicago was another financial failure. In 1944 he took a job as a good will ambassador for a professional basketball team in Washington, D.C., where he lamented that fans remembered his two dropped fly balls in the 1929 World Series far more vividly than his 56 home runs and 191 RBIs in 1930.\",\n \"In 1944 he took a job as a good will ambassador for a professional basketball team in Washington, D.C., where he lamented that fans remembered his two dropped fly balls in the 1929 World Series far more vividly than his 56 home runs and 191 RBIs in 1930. Unable to find work in professional baseball, he moved to Baltimore where he worked as a tool checker in an airplane manufacturing plant and later as a laborer for the City of Baltimore.\",\n \"Unable to find work in professional baseball, he moved to Baltimore where he worked as a tool checker in an airplane manufacturing plant and later as a laborer for the City of Baltimore. When municipal authorities realized who he was, he was made the manager of a Baltimore public swimming pool.\",\n \"When municipal authorities realized who he was, he was made the manager of a Baltimore public swimming pool. On October 4, 1948 Wilson was discovered unconscious after a fall in his home.\",\n \"On October 4, 1948 Wilson was discovered unconscious after a fall in his home. Though the accident did not appear serious at first, pneumonia and other complications developed and he died of internal hemorrhaging on November 23, 1948, at the age of 48.\",\n \"Though the accident did not appear serious at first, pneumonia and other complications developed and he died of internal hemorrhaging on November 23, 1948, at the age of 48. Wilson — once the highest-paid player in the National League — died penniless; his son, Robert, refused to claim his remains.\",\n \"Wilson — once the highest-paid player in the National League — died penniless; his son, Robert, refused to claim his remains. NL President Ford Frick finally sent money to cover his funeral expenses. His gray burial suit was donated by the undertaker.\",\n \"His gray burial suit was donated by the undertaker. In marked contrast to Babe Ruth's funeral, which had been attended by thousands just three months earlier, only a few hundred people were present for Wilson's services. He was buried in Rosedale Cemetery in the town where he made his professional playing debut, Martinsburg, West Virginia.\",\n \"He was buried in Rosedale Cemetery in the town where he made his professional playing debut, Martinsburg, West Virginia. Ten months later Joe McCarthy organized a second, more complete memorial service, attended by Kiki Cuyler, Charlie Grimm, Nick Altrock and other players from the Cubs and the Martinsburg team (by then renamed the Blue Sox).\",\n \"Ten months later Joe McCarthy organized a second, more complete memorial service, attended by Kiki Cuyler, Charlie Grimm, Nick Altrock and other players from the Cubs and the Martinsburg team (by then renamed the Blue Sox). A granite tombstone was unveiled, with the inscription, \\\"One of Baseball's Immortals, Lewis R. (Hack) Wilson, Rests Here.\\\"\",\n \"A granite tombstone was unveiled, with the inscription, \\\"One of Baseball's Immortals, Lewis R. (Hack) Wilson, Rests Here.\\\" One week before his death, Wilson gave an interview to CBS Radio which was reprinted in Chicago newspapers.\",\n \"One week before his death, Wilson gave an interview to CBS Radio which was reprinted in Chicago newspapers. In 1949 Charlie Grimm, the Cubs' new manager, posted a framed excerpt from that interview in the Cubs clubhouse, where it remains. It reads, in part: Talent isn't enough.\",\n \"It reads, in part: Talent isn't enough. You need common sense and good advice. If anyone tries to tell you different, tell them the story of Hack Wilson. ... Kids in and out of baseball who think because they have talent they have the world by the tail. It isn't so.\",\n \"It isn't so. It isn't so. Kids, don't be too big to accept advice. Don't let what happened to me happen to you. In 1979 Wilson was inducted into the Baseball Hall of Fame by the Veterans Committee.\",\n \"In 1979 Wilson was inducted into the Baseball Hall of Fame by the Veterans Committee. A Martinsburg street is named Hack Wilson Way in his honor, and the access road to a large city park within his home town, Ellwood City, Pennsylvania, is known as Hack Wilson Drive.\",\n \"A Martinsburg street is named Hack Wilson Way in his honor, and the access road to a large city park within his home town, Ellwood City, Pennsylvania, is known as Hack Wilson Drive. See also 50 home run club List of Major League Baseball annual home run leaders List of Major League Baseball annual runs batted in leaders List of Major League Baseball players to hit for the cycle List of Major League Baseball career runs batted in leaders List of Major League Baseball career slugging percentage leaders List of Major League Baseball career OPS leaders List of Major League Baseball career home run leaders References Further reading Subscription required.\",\n \"See also 50 home run club List of Major League Baseball annual home run leaders List of Major League Baseball annual runs batted in leaders List of Major League Baseball players to hit for the cycle List of Major League Baseball career runs batted in leaders List of Major League Baseball career slugging percentage leaders List of Major League Baseball career OPS leaders List of Major League Baseball career home run leaders References Further reading Subscription required. Subscription required.\",\n \"Subscription required. Subscription required. External links , or Retrosheet National Baseball Hall of Fame inductees Major League Baseball center fielders Chicago Cubs players Brooklyn Dodgers players New York Giants (NL) players Philadelphia Phillies players National League home run champions National League RBI champions Martinsburg Mountaineers players Martinsburg Blue Sox players Portsmouth Truckers players Toledo Mud Hens players Albany Senators players Baseball players from Pennsylvania Sportspeople from Martinsburg, West Virginia People from Ellwood City, Pennsylvania People from Lawrence County, Pennsylvania 1900 births 1948 deaths\"\n]"}}},{"rowIdx":483,"cells":{"History":{"kind":"list like","value":["Hack Wilson","Early life and minor leagues","what was Wilson's early life like?","Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker."],"string":"[\n \"Hack Wilson\",\n \"Early life and minor leagues\",\n \"what was Wilson's early life like?\",\n \"Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker.\"\n]"},"QuAC_dialog_id":{"kind":"string","value":"C_caf876f084ed435aae7dfb1e41e6fe73_1"},"Question":{"kind":"string","value":"did he stay in Ellwood City his whole childhood?"},"Question_no":{"kind":"number","value":2,"string":"2"},"Rewrite":{"kind":"string","value":"did Wilsonstay in Ellwood City his whole childhood?"},"true_page_title":{"kind":"string","value":"Hack Wilson"},"true_contexts":{"kind":"string","value":"Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker. His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24. In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week. Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes. Sportswriter Shirley Povich later observed that he was \"built along the lines of a beer keg, and was not wholly unfamiliar with its contents.\" While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of the Fetal Alcohol Syndrome. In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \"D\" Blue Ridge League. After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield. In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year. In 1923, playing for the \"B\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average. Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500. CANNOTANSWER"},"answer":{"kind":"string","value":"In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \"D\" Blue Ridge League."},"true_contexts_wiki":{"kind":"string","value":"Lewis Robert \"Hack\" Wilson (April 26, 1900 – November 23, 1948) was an American Major League Baseball player who played 12 seasons for the New York Giants, Chicago Cubs, Brooklyn Dodgers and Philadelphia Phillies. Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s. His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history. Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed. \"For a brief span of a few years\", wrote a sportswriter of the day, \"this hammered down little strongman actually rivaled the mighty Ruth.\"\n\nWhile Wilson's combativeness and excessive alcohol consumption made him one of the most colorful sports personalities of his era, his drinking and fighting undoubtedly contributed to a premature end to his athletic career and, ultimately, his premature death. He was inducted into the Baseball Hall of Fame in 1979.\n\nBaseball career\n\nEarly life and minor leagues\nLewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker. His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24.\n\nIn 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week. Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes. Sportswriter Shirley Povich later observed that he was \"built along the lines of a beer keg, and was not wholly unfamiliar with its contents.\" While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of Fetal Alcohol Syndrome.\n\nIn 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \"D\" Blue Ridge League. After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield. In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year. In 1923, playing for the \"B\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average. Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500 ($ in current dollar terms).\n\nNew York Giants\nWilson made his major league debut with the Giants on September 29, 1923, at the age of 23, and became the starting left fielder the following season. By mid-July he was ranked second in the National League (NL) in hitting. He ended the season with a .295 average, 10 home runs, and 57 runs batted in (RBIs) as New York won the NL pennant. In the 1924 World Series he averaged only .233 in a seven-game loss to the Washington Senators.\n\nMultiple stories exist to explain the origin of Wilson's nickname: By one account, a New York newspaper held a nicknaming contest; the winning entry was \"Hack\" because he reminded many fans of another stocky athlete, the popular wrestler Georg Hackenschmidt. In another version, McGraw is said to have remarked that Wilson's physique was reminiscent of a \"hack\" (slang for taxicab in that era). Giants teammate Bill Cunningham claimed that the nickname was based on Wilson's resemblance to Hack Miller, an outfielder with the Chicago Cubs. The New York Times printed the first documented usage of \"Hack\" on June 10, 1924.\n\nEarly in the 1925 season Wilson hit the longest home run on record at Ebbets Field against the Brooklyn Robins, but fell into a slump in May, and was replaced in left field by Irish Meusel. On July 2 he hit two home runs in one inning, tying Ken Williams' major league record set in 1922, but his hitting slump continued. In August McGraw told reporters that he had \"... made the mistake of rushing [Wilson] along,\" and sent him to the Giants' minor league affiliate, the Toledo Mud Hens of the American Association. At season's end, a front office oversight—or possibly, deliberate inaction—left him unprotected on the Toledo roster, and the last-place Chicago Cubs acquired him on waivers. \"They let go the best outfielder I ever played alongside\", said Giants right fielder Ross Youngs, \"and they're going to regret it.\"\n\nDuring the 1925 World Series — between the Senators and the Pittsburgh Pirates — Wilson's son, Robert, was born.\n\nGlory years with the Cubs\n\nWilson regained his form as the Cubs' center fielder in 1926, and he quickly became a favorite of Chicago fans. On May 24 he hit the center field scoreboard with one of the longest home runs in Wrigley Field history as the Cubs came from behind to defeat the Boston Braves. Later that evening he made news again when he was arrested during a police raid of a Prohibition-era speakeasy while trying to escape through the rear window, and was fined one dollar. He ended the season with a league-leading 21 home runs along with 36 doubles, 109 RBIs, a .321 batting average, and a .406 on-base percentage. The Cubs improved to fourth place, and Wilson ended the year ranked fifth in voting for the NL's Most Valuable Player (MVP) Award.\n\nAnother strong performance followed in 1927 as Wilson once again led the league in home runs. Although the Cubs were in first place heading into the final month of the season, the team faltered and again finished fourth. Wilson posted a .318 average with 30 home runs and 129 RBIs, and led NL outfielders with 400 putouts. He led the NL in home runs for a third consecutive year in 1928 with 31, along with 120 RBIs and a .313 average as the Cubs improved to third place.\n\nWilson had a combative streak and sometimes initiated fights with opposing players and fans. On June 22, 1928, a near-riot broke out in the ninth inning at Wrigley Field against the St. Louis Cardinals when Wilson jumped into the box seats to attack a heckling fan. An estimated 5,000 spectators swarmed the field before police could separate the combatants and restore order. The fan sued Wilson for $20,000, but a jury ruled in his favor. The following year he took offense at a remark by Cincinnati Reds pitcher Ray Kolp, and – upon reaching first base after hitting a single – he charged into the Reds dugout, punching Kolp several times before they could be separated. Later that evening at the train station, Wilson exchanged words and blows with Cincinnati player Pete Donohue. In late 1929 he signed a contract to fight Art Shires of the Chicago White Sox in a boxing match, but reneged after Cubs president William Veeck, Sr. enlisted Hack's wife Virginia to dissuade him, and then Shires lost a fight to George Trafton of the Chicago Bears. There was nothing to gain, Wilson said, by fighting a defeated boxer.\n\nWilson's \"penchant for festivities\" is also well documented. Biographer Clifton Blue Parker described him as \"... the Roaring '20s epitome of a baseball player, primed for an age of American excess ... at a time when baseball was America's favorite sport.\" His love of drinking and partying did not endear him to Cubs owner William Wrigley, who abhorred alcohol consumption. (Wilson always insisted that he never played drunk; \"hung over, yes; drunk, no.\") Manager Joe McCarthy worked hard to shield Wilson from Wrigley, and to keep him on an even keel. \"Better than any other manager,\" wrote sportswriter Frank Graham, \"Joe understood Hack, made allowances for him when he failed, and rewarded him with praise when he did well. Joe could be strict and stern with his players ... but he never was with Hack, and Hack repaid him by playing as he never had before, nor would again.\"\n\nIn 1929 Wilson hit .345 with 39 home runs and a league-record 159 RBIs. He and new teammate Rogers Hornsby (who also contributed 39 home runs) led the Cubs to their first NL pennant in eleven years. In the World Series against Connie Mack's Philadelphia Athletics, Wilson's .471 hitting performance was eclipsed by two fielding errors at Shibe Park. Though trailing the Series two games to one, the Cubs were leading by a score of 8–0 in the fourth game when the Athletics mounted a 10-run rally in the seventh inning. Wilson lost two fly balls in the sun; the second, with two runners on base, led to an inside-the-park home run by Mule Haas as the Athletics won 10–8. After the game, McCarthy reportedly told a boy asking for a souvenir baseball, \"Come back tomorrow and stand behind Wilson, and you'll be able to pick up all the balls you want!\" The Athletics won again the next day to take the Series in five games.\n\n1930 peak\nWilson's 1930 season, aided by a lively ball wound with special Australian wool, is considered one of the best single-season hitting performances in baseball history. By the middle of July he had accumulated 82 RBIs. In August he hit 13 home runs and 53 RBIs, and by September 17 he had reached 174 RBIs, breaking Lou Gehrig's major league record established three years earlier. He finished the season with 190 RBIs, along with an NL-record 56 home runs, .356 batting average, .454 on-base percentage, and league-leading .723 slugging percentage. He was unofficially voted the NL's most \"useful\" player by the Baseball Writers' Association of America (which did not inaugurate its official MVP award until 1931). \n\nIn 1999 the Commissioner of Baseball officially increased Wilson's 1930 RBI total to 191 after a box score analysis by baseball historian Jerome Holtzman revealed that Charlie Grimm had been mistakenly credited with an RBI actually driven home by Wilson during the second game of a doubleheader on July 28. Wilson's 191 RBIs remains one of baseball's most enduring records; only Gehrig (185) and Hank Greenberg (184) ever came close, and there have been no serious challenges in the last 75 years. (The best recent effort was 165 by Manny Ramirez in 1999.)\n\nReds catcher Clyde Sukeforth asserted that Wilson should have been credited with an additional home run in 1930 as well. \"He hit one in Cincinnati one day\", he said, \"way up in the seats, hit it so hard that it bounced right back onto the field. The umpire had a bad angle on it and ruled that it had hit the screen and bounced back. I was sitting in the Cincinnati bullpen, and of course, we weren't going to say anything. But Hack really hit 57 that year.\" Wilson's official total of 56 stood as the NL record until the 1998 season, when it was broken by Sammy Sosa (66) and Mark McGwire (70).\n\nDecline\nWilson's success in the 1930 season served only to fuel his drinking habits, and in 1931 he reported to spring training 20 pounds overweight. In addition, the NL responded to the prodigious offensive statistics of the previous year (the only season, other than 1894, in which the league as a whole batted over .300) by introducing a heavier ball with raised stitching to allow pitchers to gain a better grip and throw sharper curveballs. Wilson complained that the new Cubs manager, Hornsby, did not allow him to \"swing away\" as much as Joe McCarthy had. He hit his 200th career home run at Ebbets Field on June 18 — only the fourth player ever to do so, behind Ruth, Cy Williams, and Hornsby — but then fell into a protracted slump, and was benched in late May. By late August Wrigley publicly expressed his desire to trade him. On September 6 he was suspended without pay for the remainder of the season after a fight with reporters aboard a train in Cincinnati. He was hitting .261 with only 13 home runs (his 1930 production during August alone) at the time.\n\nIn December 1931, the Cubs traded Wilson, along with Bud Teachout, to the St. Louis Cardinals for Burleigh Grimes. Less than a month later, the Cardinals sent him to the Brooklyn Dodgers for minor league outfielder Bob Parham and $25,000 ($ in current dollar terms). Wilson hit .297 with 23 home runs and 123 RBIs for Brooklyn in 1932. He began 1933 with a ninth-inning game-winning pinch-hit inside-the-park grand slam home run at Ebbets Field—the first pinch-hit grand slam in Dodger history, and only the third inside-the-park pinch-hit grand slam in MLB history. By season's end his offensive totals had dropped substantially, and he was hitting .262 when the Dodgers released him mid-season in 1934. The Philadelphia Phillies signed him immediately, but after just two hits in 20 at bats he was released again a month later. After a final season with the Albany Senators of the Class \"A\" New York–Pennsylvania League, Wilson retired at the age of 35.\n\nCareer statistics\nIn a 12-year major league career, Wilson played in 1,348 games and accumulated 1,461 hits in 4,760 at-bats for a .307 career batting average and a .395 on-base percentage. He hit 244 home runs and batted in 1,063 runs, led the NL in home runs four times, and surpassed 100 RBIs six times. Defensively, he finished his career with a .965 fielding percentage.\n\nLife after baseball\n\nWilson returned to Martinsburg where he opened a pool hall, but encountered financial problems due to a failed sporting goods business venture, and then a rancorous divorce from Virginia. By 1938 he was working as a bartender near Brooklyn's Ebbets Field where he sang for drinks, but had to quit when customers became too abusive. A night club venture in suburban Chicago was another financial failure. In 1944 he took a job as a good will ambassador for a professional basketball team in Washington, D.C., where he lamented that fans remembered his two dropped fly balls in the 1929 World Series far more vividly than his 56 home runs and 191 RBIs in 1930. Unable to find work in professional baseball, he moved to Baltimore where he worked as a tool checker in an airplane manufacturing plant and later as a laborer for the City of Baltimore. When municipal authorities realized who he was, he was made the manager of a Baltimore public swimming pool.\n\nOn October 4, 1948 Wilson was discovered unconscious after a fall in his home. Though the accident did not appear serious at first, pneumonia and other complications developed and he died of internal hemorrhaging on November 23, 1948, at the age of 48.\n\nWilson — once the highest-paid player in the National League — died penniless; his son, Robert, refused to claim his remains. NL President Ford Frick finally sent money to cover his funeral expenses. His gray burial suit was donated by the undertaker. In marked contrast to Babe Ruth's funeral, which had been attended by thousands just three months earlier, only a few hundred people were present for Wilson's services. He was buried in Rosedale Cemetery in the town where he made his professional playing debut, Martinsburg, West Virginia.\n\nTen months later Joe McCarthy organized a second, more complete memorial service, attended by Kiki Cuyler, Charlie Grimm, Nick Altrock and other players from the Cubs and the Martinsburg team (by then renamed the Blue Sox). A granite tombstone was unveiled, with the inscription, \"One of Baseball's Immortals, Lewis R. (Hack) Wilson, Rests Here.\"\n\nOne week before his death, Wilson gave an interview to CBS Radio which was reprinted in Chicago newspapers. In 1949 Charlie Grimm, the Cubs' new manager, posted a framed excerpt from that interview in the Cubs clubhouse, where it remains. It reads, in part:\n\nTalent isn't enough. You need common sense and good advice. If anyone tries to tell you different, tell them the story of Hack Wilson. ... Kids in and out of baseball who think because they have talent they have the world by the tail. It isn't so. Kids, don't be too big to accept advice. Don't let what happened to me happen to you.\n\nIn 1979 Wilson was inducted into the Baseball Hall of Fame by the Veterans Committee. A Martinsburg street is named Hack Wilson Way in his honor, and the access road to a large city park within his home town, Ellwood City, Pennsylvania, is known as Hack Wilson Drive.\n\nSee also\n\n50 home run club\nList of Major League Baseball annual home run leaders\nList of Major League Baseball annual runs batted in leaders\nList of Major League Baseball players to hit for the cycle\nList of Major League Baseball career runs batted in leaders\nList of Major League Baseball career slugging percentage leaders\nList of Major League Baseball career OPS leaders\nList of Major League Baseball career home run leaders\n\nReferences\n\nFurther reading\n Subscription required.\n Subscription required.\n\nExternal links\n\n, or Retrosheet\n\nNational Baseball Hall of Fame inductees\nMajor League Baseball center fielders\nChicago Cubs players\nBrooklyn Dodgers players\nNew York Giants (NL) players\nPhiladelphia Phillies players\nNational League home run champions\nNational League RBI champions\nMartinsburg Mountaineers players\nMartinsburg Blue Sox players\nPortsmouth Truckers players\nToledo Mud Hens players\nAlbany Senators players\nBaseball players from Pennsylvania\nSportspeople from Martinsburg, West Virginia\nPeople from Ellwood City, Pennsylvania\nPeople from Lawrence County, Pennsylvania\n1900 births\n1948 deaths"},"extractive":{"kind":"string","value":"true"},"retrieved_contexts":{"kind":"list like","value":["Doug Ellwood is a New Zealand former rugby league footballer who represented New Zealand in the 1968 World Cup.\n\nPlaying career\nEllwood originally played for Ellerslie. During the Auckland Rugby League's \"district era\" he represented Eastern United, a combination that included the Ellerslie club. In 1967, while playing for City-Newton, Ellwood won both the Lipscombe Cup and Rothville Trophy, Auckland's sportsman of the year and player of the year awards.\n\nEllwood represented Auckland. He was involved in several notable victories with Auckland, including being part of the sides that defeated Australia 13-8 in 1961, Great Britain 46-13 in 1962 and South Africa 10-4 in 1963.\n\nEllwood was first selected for the New Zealand national rugby league team in 1963 and went on to play in seven test matches for New Zealand, starting at both fullback and stand off. Ellwood was part of the 1968 World Cup squad. The team did not win a match at the tournament.\n\nCoaching career\nEllwood later coached the Mount Wellington Warriors to a Phelan Shield victory.\n\nReferences\n\nLiving people\nNew Zealand rugby league players\nNew Zealand national rugby league team players\nAuckland rugby league team players\nEllerslie Eagles players\nCity Newton Dragons players\nRugby league fullbacks\nRugby league five-eighths\nNew Zealand rugby league coaches\nMount Wellington Warriors coaches\nYear of birth missing (living people)","Isaac Leonard Ellwood (August 3, 1833 – September 11, 1910) was an American rancher, businessman and barbed wire entrepreneur.\n\nEarly life\nEllwood was born in Salt Springville, New York. His first taste of business came as a young boy when he began selling sauerkraut. In 1851, Ellwood, like many others, headed west to the California Gold Rush.\n\nDeKalb, Illinois\n\nEllwood found some success in California and returned east in 1855, to DeKalb, Illinois, where he opened a hardware and implements store. On January 27, 1859, Ellwood married Harriet Augusta Miller; the couple would ultimately have seven children. As Ellwood rose to prominence he began acquiring farm properties in and around DeKalb, Illinois. After the Civil War ended he began to import Percheron draft horses, many from France. Eventually, this resulted in a stock farm near DeKalb.\n\nBirth of barbed wire\n\nIn late 1872, Waterman, Illinois farmer Henry Rose developed a wire fence with an attached wooden strip containing projecting wire points to dissuade encroaching livestock. He patented his fence in May, 1873 and exhibited it at the DeKalb County Fair that summer. This prompted Ellwood along with other DeKalb area residents Jacob Haish and Joseph Glidden to work on improving the concept. Ellwood patented a type of barbed wire in February 1874, but ever the businessman, concluded that Joseph Glidden's design was superior to his. He purchased one-half interest in Glidden's invention in July 1874. Glidden's patent issued in November, and together they formed the Barb Fence Company. In a few years, Glidden sold his half of that business to others, while retaining royalties from his patent. \n\nEllwood continued in the manufacture of barbed wire as I.L. Ellwood Manufacturing Company. In the beginning they produced two-strand, twisted barbed wire in the back of Ellwood's hardware store. The business was quickly successful. Ellwood's hiring of John Warne Gates as a salesman propelled sales of barbed wire in Texas. \n\nRanchers in the west found barbed wire fencing useful and much needed. As demand rose sharply, the company expanded, reorganized and merged and a successful Ellwood began construction on his Victorian mansion, the Ellwood House.\n\nIn 1881, I.L. Ellwood Manufacturing became Superior Barbed Wire Company under an expansion and reorganization plan. Seventeen years later the company would merge in the creation of John Warne Gates' American Steel and Wire monopoly, which was a predecessor of United States Steel.\n\nSupport for higher education\nDeKalb is home to Northern Illinois University and Ellwood played a major role in making it a reality. It was Clinton Rosette who helped persuade Ellwood that the new Northern Illinois State Normal School should be in DeKalb. So convinced was Ellwood that he used all methods at his disposal to support the cause. His own capital, his time and his political influence were all used to gain DeKalb the new college.\n\nGovernor John Altgeld appointed Ellwood to the Board of Trustees, who were responsible for selecting a site for the normal school. This allowed him to assert all the more political influence. In the name of securing the future school for DeKalb Ellwood reportedly donated $20,000 and fronted another $50,000 in a non-interest bearing loan, along with of land for the new school. The bid was ultimately successful and the normal school eventually became NIU.\n\nTexas ranching\n\nIn the ensuing time Ellwood's interest in ranching grew. On a trip to Texas in 1889 he purchased the 130,000 acre (530 km²) Renderbrook Ranch in Mitchell County. In 1891 he purchased an additional northwest of Lubbock, Texas. He acquired more area in 1902 and 1906 bringing his total holdings in Texas to . In all, at its height Spade Ranch and Ellwood's other Texas land holdings encompassed .\n\nHe built a ten-room \"cottage\" in Port Arthur, Texas which was an authentic copy of a Pompeiian villa from 74 CE.\n\nEllwood continued to acquire ranch land until almost the time he died, in Dekalb, Illinois in 1910.\n\nTrivia\n\nThe borough of Ellwood City, Pennsylvania is named after Isaac L. Ellwood.\nHe is the brother of United States Representative Reuben Ellwood\n\nNotes\n\nReferences\nEllwood biography: from the University of Texas at Austin\n\nExternal links\nBiographical timeline\nEllwood House and Museum\nEllwood Pompeiian villa: Port Arthur Chamber of Commerce\nBarbed Wire Museum\n – Isaac Ellwood, DeKalb, Illinois Improvement in Barbed Fences – \"single piece of metal with four points, attached to a flat rail\" (February, 1874)\nEllwood papers at Southwest Collection/Special Collections Library, Texas Tech University\n\n19th-century American inventors\n1833 births\n1910 deaths\nPeople from DeKalb, Illinois"],"string":"[\n \"Doug Ellwood is a New Zealand former rugby league footballer who represented New Zealand in the 1968 World Cup.\\n\\nPlaying career\\nEllwood originally played for Ellerslie. During the Auckland Rugby League's \\\"district era\\\" he represented Eastern United, a combination that included the Ellerslie club. In 1967, while playing for City-Newton, Ellwood won both the Lipscombe Cup and Rothville Trophy, Auckland's sportsman of the year and player of the year awards.\\n\\nEllwood represented Auckland. He was involved in several notable victories with Auckland, including being part of the sides that defeated Australia 13-8 in 1961, Great Britain 46-13 in 1962 and South Africa 10-4 in 1963.\\n\\nEllwood was first selected for the New Zealand national rugby league team in 1963 and went on to play in seven test matches for New Zealand, starting at both fullback and stand off. Ellwood was part of the 1968 World Cup squad. The team did not win a match at the tournament.\\n\\nCoaching career\\nEllwood later coached the Mount Wellington Warriors to a Phelan Shield victory.\\n\\nReferences\\n\\nLiving people\\nNew Zealand rugby league players\\nNew Zealand national rugby league team players\\nAuckland rugby league team players\\nEllerslie Eagles players\\nCity Newton Dragons players\\nRugby league fullbacks\\nRugby league five-eighths\\nNew Zealand rugby league coaches\\nMount Wellington Warriors coaches\\nYear of birth missing (living people)\",\n \"Isaac Leonard Ellwood (August 3, 1833 – September 11, 1910) was an American rancher, businessman and barbed wire entrepreneur.\\n\\nEarly life\\nEllwood was born in Salt Springville, New York. His first taste of business came as a young boy when he began selling sauerkraut. In 1851, Ellwood, like many others, headed west to the California Gold Rush.\\n\\nDeKalb, Illinois\\n\\nEllwood found some success in California and returned east in 1855, to DeKalb, Illinois, where he opened a hardware and implements store. On January 27, 1859, Ellwood married Harriet Augusta Miller; the couple would ultimately have seven children. As Ellwood rose to prominence he began acquiring farm properties in and around DeKalb, Illinois. After the Civil War ended he began to import Percheron draft horses, many from France. Eventually, this resulted in a stock farm near DeKalb.\\n\\nBirth of barbed wire\\n\\nIn late 1872, Waterman, Illinois farmer Henry Rose developed a wire fence with an attached wooden strip containing projecting wire points to dissuade encroaching livestock. He patented his fence in May, 1873 and exhibited it at the DeKalb County Fair that summer. This prompted Ellwood along with other DeKalb area residents Jacob Haish and Joseph Glidden to work on improving the concept. Ellwood patented a type of barbed wire in February 1874, but ever the businessman, concluded that Joseph Glidden's design was superior to his. He purchased one-half interest in Glidden's invention in July 1874. Glidden's patent issued in November, and together they formed the Barb Fence Company. In a few years, Glidden sold his half of that business to others, while retaining royalties from his patent. \\n\\nEllwood continued in the manufacture of barbed wire as I.L. Ellwood Manufacturing Company. In the beginning they produced two-strand, twisted barbed wire in the back of Ellwood's hardware store. The business was quickly successful. Ellwood's hiring of John Warne Gates as a salesman propelled sales of barbed wire in Texas. \\n\\nRanchers in the west found barbed wire fencing useful and much needed. As demand rose sharply, the company expanded, reorganized and merged and a successful Ellwood began construction on his Victorian mansion, the Ellwood House.\\n\\nIn 1881, I.L. Ellwood Manufacturing became Superior Barbed Wire Company under an expansion and reorganization plan. Seventeen years later the company would merge in the creation of John Warne Gates' American Steel and Wire monopoly, which was a predecessor of United States Steel.\\n\\nSupport for higher education\\nDeKalb is home to Northern Illinois University and Ellwood played a major role in making it a reality. It was Clinton Rosette who helped persuade Ellwood that the new Northern Illinois State Normal School should be in DeKalb. So convinced was Ellwood that he used all methods at his disposal to support the cause. His own capital, his time and his political influence were all used to gain DeKalb the new college.\\n\\nGovernor John Altgeld appointed Ellwood to the Board of Trustees, who were responsible for selecting a site for the normal school. This allowed him to assert all the more political influence. In the name of securing the future school for DeKalb Ellwood reportedly donated $20,000 and fronted another $50,000 in a non-interest bearing loan, along with of land for the new school. The bid was ultimately successful and the normal school eventually became NIU.\\n\\nTexas ranching\\n\\nIn the ensuing time Ellwood's interest in ranching grew. On a trip to Texas in 1889 he purchased the 130,000 acre (530 km²) Renderbrook Ranch in Mitchell County. In 1891 he purchased an additional northwest of Lubbock, Texas. He acquired more area in 1902 and 1906 bringing his total holdings in Texas to . In all, at its height Spade Ranch and Ellwood's other Texas land holdings encompassed .\\n\\nHe built a ten-room \\\"cottage\\\" in Port Arthur, Texas which was an authentic copy of a Pompeiian villa from 74 CE.\\n\\nEllwood continued to acquire ranch land until almost the time he died, in Dekalb, Illinois in 1910.\\n\\nTrivia\\n\\nThe borough of Ellwood City, Pennsylvania is named after Isaac L. Ellwood.\\nHe is the brother of United States Representative Reuben Ellwood\\n\\nNotes\\n\\nReferences\\nEllwood biography: from the University of Texas at Austin\\n\\nExternal links\\nBiographical timeline\\nEllwood House and Museum\\nEllwood Pompeiian villa: Port Arthur Chamber of Commerce\\nBarbed Wire Museum\\n – Isaac Ellwood, DeKalb, Illinois Improvement in Barbed Fences – \\\"single piece of metal with four points, attached to a flat rail\\\" (February, 1874)\\nEllwood papers at Southwest Collection/Special Collections Library, Texas Tech University\\n\\n19th-century American inventors\\n1833 births\\n1910 deaths\\nPeople from DeKalb, Illinois\"\n]"},"chunked_article":{"kind":"list like","value":["Lewis Robert \"Hack\" Wilson (April 26, 1900 – November 23, 1948) was an American Major League Baseball player who played 12 seasons for the New York Giants, Chicago Cubs, Brooklyn Dodgers and Philadelphia Phillies. Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s.","Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s. His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history.","His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history. Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed.","Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed. \"For a brief span of a few years\", wrote a sportswriter of the day, \"this hammered down little strongman actually rivaled the mighty Ruth.\"","\"For a brief span of a few years\", wrote a sportswriter of the day, \"this hammered down little strongman actually rivaled the mighty Ruth.\" While Wilson's combativeness and excessive alcohol consumption made him one of the most colorful sports personalities of his era, his drinking and fighting undoubtedly contributed to a premature end to his athletic career and, ultimately, his premature death.","While Wilson's combativeness and excessive alcohol consumption made him one of the most colorful sports personalities of his era, his drinking and fighting undoubtedly contributed to a premature end to his athletic career and, ultimately, his premature death. He was inducted into the Baseball Hall of Fame in 1979.","He was inducted into the Baseball Hall of Fame in 1979. Baseball career Early life and minor leagues Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh.","Baseball career Early life and minor leagues Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker.","His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker. His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24.","His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24. In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week.","In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week. Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes.","Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes. Sportswriter Shirley Povich later observed that he was \"built along the lines of a beer keg, and was not wholly unfamiliar with its contents.\"","Sportswriter Shirley Povich later observed that he was \"built along the lines of a beer keg, and was not wholly unfamiliar with its contents.\" While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of Fetal Alcohol Syndrome.","While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of Fetal Alcohol Syndrome. In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \"D\" Blue Ridge League.","In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \"D\" Blue Ridge League. After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield.","After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield. In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year.","In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year. In 1923, playing for the \"B\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average.","In 1923, playing for the \"B\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average. Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500 ($ in current dollar terms).","Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500 ($ in current dollar terms). New York Giants Wilson made his major league debut with the Giants on September 29, 1923, at the age of 23, and became the starting left fielder the following season.","New York Giants Wilson made his major league debut with the Giants on September 29, 1923, at the age of 23, and became the starting left fielder the following season. By mid-July he was ranked second in the National League (NL) in hitting.","By mid-July he was ranked second in the National League (NL) in hitting. He ended the season with a .295 average, 10 home runs, and 57 runs batted in (RBIs) as New York won the NL pennant. In the 1924 World Series he averaged only .233 in a seven-game loss to the Washington Senators.","In the 1924 World Series he averaged only .233 in a seven-game loss to the Washington Senators. Multiple stories exist to explain the origin of Wilson's nickname: By one account, a New York newspaper held a nicknaming contest; the winning entry was \"Hack\" because he reminded many fans of another stocky athlete, the popular wrestler Georg Hackenschmidt.","Multiple stories exist to explain the origin of Wilson's nickname: By one account, a New York newspaper held a nicknaming contest; the winning entry was \"Hack\" because he reminded many fans of another stocky athlete, the popular wrestler Georg Hackenschmidt. In another version, McGraw is said to have remarked that Wilson's physique was reminiscent of a \"hack\" (slang for taxicab in that era).","In another version, McGraw is said to have remarked that Wilson's physique was reminiscent of a \"hack\" (slang for taxicab in that era). Giants teammate Bill Cunningham claimed that the nickname was based on Wilson's resemblance to Hack Miller, an outfielder with the Chicago Cubs.","Giants teammate Bill Cunningham claimed that the nickname was based on Wilson's resemblance to Hack Miller, an outfielder with the Chicago Cubs. The New York Times printed the first documented usage of \"Hack\" on June 10, 1924.","The New York Times printed the first documented usage of \"Hack\" on June 10, 1924. Early in the 1925 season Wilson hit the longest home run on record at Ebbets Field against the Brooklyn Robins, but fell into a slump in May, and was replaced in left field by Irish Meusel.","Early in the 1925 season Wilson hit the longest home run on record at Ebbets Field against the Brooklyn Robins, but fell into a slump in May, and was replaced in left field by Irish Meusel. On July 2 he hit two home runs in one inning, tying Ken Williams' major league record set in 1922, but his hitting slump continued.","On July 2 he hit two home runs in one inning, tying Ken Williams' major league record set in 1922, but his hitting slump continued. In August McGraw told reporters that he had \"... made the mistake of rushing [Wilson] along,\" and sent him to the Giants' minor league affiliate, the Toledo Mud Hens of the American Association.","In August McGraw told reporters that he had \"... made the mistake of rushing [Wilson] along,\" and sent him to the Giants' minor league affiliate, the Toledo Mud Hens of the American Association. At season's end, a front office oversight—or possibly, deliberate inaction—left him unprotected on the Toledo roster, and the last-place Chicago Cubs acquired him on waivers.","At season's end, a front office oversight—or possibly, deliberate inaction—left him unprotected on the Toledo roster, and the last-place Chicago Cubs acquired him on waivers. \"They let go the best outfielder I ever played alongside\", said Giants right fielder Ross Youngs, \"and they're going to regret it.\"","\"They let go the best outfielder I ever played alongside\", said Giants right fielder Ross Youngs, \"and they're going to regret it.\" During the 1925 World Series — between the Senators and the Pittsburgh Pirates — Wilson's son, Robert, was born.","During the 1925 World Series — between the Senators and the Pittsburgh Pirates — Wilson's son, Robert, was born. Glory years with the Cubs Wilson regained his form as the Cubs' center fielder in 1926, and he quickly became a favorite of Chicago fans.","Glory years with the Cubs Wilson regained his form as the Cubs' center fielder in 1926, and he quickly became a favorite of Chicago fans. On May 24 he hit the center field scoreboard with one of the longest home runs in Wrigley Field history as the Cubs came from behind to defeat the Boston Braves.","On May 24 he hit the center field scoreboard with one of the longest home runs in Wrigley Field history as the Cubs came from behind to defeat the Boston Braves. Later that evening he made news again when he was arrested during a police raid of a Prohibition-era speakeasy while trying to escape through the rear window, and was fined one dollar.","Later that evening he made news again when he was arrested during a police raid of a Prohibition-era speakeasy while trying to escape through the rear window, and was fined one dollar. He ended the season with a league-leading 21 home runs along with 36 doubles, 109 RBIs, a .321 batting average, and a .406 on-base percentage.","He ended the season with a league-leading 21 home runs along with 36 doubles, 109 RBIs, a .321 batting average, and a .406 on-base percentage. The Cubs improved to fourth place, and Wilson ended the year ranked fifth in voting for the NL's Most Valuable Player (MVP) Award.","The Cubs improved to fourth place, and Wilson ended the year ranked fifth in voting for the NL's Most Valuable Player (MVP) Award. Another strong performance followed in 1927 as Wilson once again led the league in home runs.","Another strong performance followed in 1927 as Wilson once again led the league in home runs. Although the Cubs were in first place heading into the final month of the season, the team faltered and again finished fourth. Wilson posted a .318 average with 30 home runs and 129 RBIs, and led NL outfielders with 400 putouts.","Wilson posted a .318 average with 30 home runs and 129 RBIs, and led NL outfielders with 400 putouts. He led the NL in home runs for a third consecutive year in 1928 with 31, along with 120 RBIs and a .313 average as the Cubs improved to third place.","He led the NL in home runs for a third consecutive year in 1928 with 31, along with 120 RBIs and a .313 average as the Cubs improved to third place. Wilson had a combative streak and sometimes initiated fights with opposing players and fans.","Wilson had a combative streak and sometimes initiated fights with opposing players and fans. On June 22, 1928, a near-riot broke out in the ninth inning at Wrigley Field against the St. Louis Cardinals when Wilson jumped into the box seats to attack a heckling fan.","On June 22, 1928, a near-riot broke out in the ninth inning at Wrigley Field against the St. Louis Cardinals when Wilson jumped into the box seats to attack a heckling fan. An estimated 5,000 spectators swarmed the field before police could separate the combatants and restore order.","An estimated 5,000 spectators swarmed the field before police could separate the combatants and restore order. The fan sued Wilson for $20,000, but a jury ruled in his favor.","The fan sued Wilson for $20,000, but a jury ruled in his favor. The following year he took offense at a remark by Cincinnati Reds pitcher Ray Kolp, and – upon reaching first base after hitting a single – he charged into the Reds dugout, punching Kolp several times before they could be separated.","The following year he took offense at a remark by Cincinnati Reds pitcher Ray Kolp, and – upon reaching first base after hitting a single – he charged into the Reds dugout, punching Kolp several times before they could be separated. Later that evening at the train station, Wilson exchanged words and blows with Cincinnati player Pete Donohue.","Later that evening at the train station, Wilson exchanged words and blows with Cincinnati player Pete Donohue. In late 1929 he signed a contract to fight Art Shires of the Chicago White Sox in a boxing match, but reneged after Cubs president William Veeck, Sr. enlisted Hack's wife Virginia to dissuade him, and then Shires lost a fight to George Trafton of the Chicago Bears.","In late 1929 he signed a contract to fight Art Shires of the Chicago White Sox in a boxing match, but reneged after Cubs president William Veeck, Sr. enlisted Hack's wife Virginia to dissuade him, and then Shires lost a fight to George Trafton of the Chicago Bears. There was nothing to gain, Wilson said, by fighting a defeated boxer.","There was nothing to gain, Wilson said, by fighting a defeated boxer. Wilson's \"penchant for festivities\" is also well documented.","Wilson's \"penchant for festivities\" is also well documented. Biographer Clifton Blue Parker described him as \"... the Roaring '20s epitome of a baseball player, primed for an age of American excess ... at a time when baseball was America's favorite sport.\"","Biographer Clifton Blue Parker described him as \"... the Roaring '20s epitome of a baseball player, primed for an age of American excess ... at a time when baseball was America's favorite sport.\" His love of drinking and partying did not endear him to Cubs owner William Wrigley, who abhorred alcohol consumption.","His love of drinking and partying did not endear him to Cubs owner William Wrigley, who abhorred alcohol consumption. (Wilson always insisted that he never played drunk; \"hung over, yes; drunk, no.\") Manager Joe McCarthy worked hard to shield Wilson from Wrigley, and to keep him on an even keel.","Manager Joe McCarthy worked hard to shield Wilson from Wrigley, and to keep him on an even keel. \"Better than any other manager,\" wrote sportswriter Frank Graham, \"Joe understood Hack, made allowances for him when he failed, and rewarded him with praise when he did well.","\"Better than any other manager,\" wrote sportswriter Frank Graham, \"Joe understood Hack, made allowances for him when he failed, and rewarded him with praise when he did well. Joe could be strict and stern with his players ... but he never was with Hack, and Hack repaid him by playing as he never had before, nor would again.\"","Joe could be strict and stern with his players ... but he never was with Hack, and Hack repaid him by playing as he never had before, nor would again.\" In 1929 Wilson hit .345 with 39 home runs and a league-record 159 RBIs.","In 1929 Wilson hit .345 with 39 home runs and a league-record 159 RBIs. He and new teammate Rogers Hornsby (who also contributed 39 home runs) led the Cubs to their first NL pennant in eleven years.","He and new teammate Rogers Hornsby (who also contributed 39 home runs) led the Cubs to their first NL pennant in eleven years. In the World Series against Connie Mack's Philadelphia Athletics, Wilson's .471 hitting performance was eclipsed by two fielding errors at Shibe Park.","In the World Series against Connie Mack's Philadelphia Athletics, Wilson's .471 hitting performance was eclipsed by two fielding errors at Shibe Park. Though trailing the Series two games to one, the Cubs were leading by a score of 8–0 in the fourth game when the Athletics mounted a 10-run rally in the seventh inning.","Though trailing the Series two games to one, the Cubs were leading by a score of 8–0 in the fourth game when the Athletics mounted a 10-run rally in the seventh inning. Wilson lost two fly balls in the sun; the second, with two runners on base, led to an inside-the-park home run by Mule Haas as the Athletics won 10–8.","Wilson lost two fly balls in the sun; the second, with two runners on base, led to an inside-the-park home run by Mule Haas as the Athletics won 10–8. After the game, McCarthy reportedly told a boy asking for a souvenir baseball, \"Come back tomorrow and stand behind Wilson, and you'll be able to pick up all the balls you want!\"","After the game, McCarthy reportedly told a boy asking for a souvenir baseball, \"Come back tomorrow and stand behind Wilson, and you'll be able to pick up all the balls you want!\" The Athletics won again the next day to take the Series in five games.","The Athletics won again the next day to take the Series in five games. 1930 peak Wilson's 1930 season, aided by a lively ball wound with special Australian wool, is considered one of the best single-season hitting performances in baseball history. By the middle of July he had accumulated 82 RBIs.","By the middle of July he had accumulated 82 RBIs. In August he hit 13 home runs and 53 RBIs, and by September 17 he had reached 174 RBIs, breaking Lou Gehrig's major league record established three years earlier.","In August he hit 13 home runs and 53 RBIs, and by September 17 he had reached 174 RBIs, breaking Lou Gehrig's major league record established three years earlier. He finished the season with 190 RBIs, along with an NL-record 56 home runs, .356 batting average, .454 on-base percentage, and league-leading .723 slugging percentage.","He finished the season with 190 RBIs, along with an NL-record 56 home runs, .356 batting average, .454 on-base percentage, and league-leading .723 slugging percentage. He was unofficially voted the NL's most \"useful\" player by the Baseball Writers' Association of America (which did not inaugurate its official MVP award until 1931).","He was unofficially voted the NL's most \"useful\" player by the Baseball Writers' Association of America (which did not inaugurate its official MVP award until 1931). In 1999 the Commissioner of Baseball officially increased Wilson's 1930 RBI total to 191 after a box score analysis by baseball historian Jerome Holtzman revealed that Charlie Grimm had been mistakenly credited with an RBI actually driven home by Wilson during the second game of a doubleheader on July 28.","In 1999 the Commissioner of Baseball officially increased Wilson's 1930 RBI total to 191 after a box score analysis by baseball historian Jerome Holtzman revealed that Charlie Grimm had been mistakenly credited with an RBI actually driven home by Wilson during the second game of a doubleheader on July 28. Wilson's 191 RBIs remains one of baseball's most enduring records; only Gehrig (185) and Hank Greenberg (184) ever came close, and there have been no serious challenges in the last 75 years.","Wilson's 191 RBIs remains one of baseball's most enduring records; only Gehrig (185) and Hank Greenberg (184) ever came close, and there have been no serious challenges in the last 75 years. (The best recent effort was 165 by Manny Ramirez in 1999.)","(The best recent effort was 165 by Manny Ramirez in 1999.) Reds catcher Clyde Sukeforth asserted that Wilson should have been credited with an additional home run in 1930 as well.","Reds catcher Clyde Sukeforth asserted that Wilson should have been credited with an additional home run in 1930 as well. \"He hit one in Cincinnati one day\", he said, \"way up in the seats, hit it so hard that it bounced right back onto the field.","\"He hit one in Cincinnati one day\", he said, \"way up in the seats, hit it so hard that it bounced right back onto the field. The umpire had a bad angle on it and ruled that it had hit the screen and bounced back.","The umpire had a bad angle on it and ruled that it had hit the screen and bounced back. I was sitting in the Cincinnati bullpen, and of course, we weren't going to say anything. But Hack really hit 57 that year.\"","But Hack really hit 57 that year.\" Wilson's official total of 56 stood as the NL record until the 1998 season, when it was broken by Sammy Sosa (66) and Mark McGwire (70).","Wilson's official total of 56 stood as the NL record until the 1998 season, when it was broken by Sammy Sosa (66) and Mark McGwire (70). Decline Wilson's success in the 1930 season served only to fuel his drinking habits, and in 1931 he reported to spring training 20 pounds overweight.","Decline Wilson's success in the 1930 season served only to fuel his drinking habits, and in 1931 he reported to spring training 20 pounds overweight. In addition, the NL responded to the prodigious offensive statistics of the previous year (the only season, other than 1894, in which the league as a whole batted over .300) by introducing a heavier ball with raised stitching to allow pitchers to gain a better grip and throw sharper curveballs.","In addition, the NL responded to the prodigious offensive statistics of the previous year (the only season, other than 1894, in which the league as a whole batted over .300) by introducing a heavier ball with raised stitching to allow pitchers to gain a better grip and throw sharper curveballs. Wilson complained that the new Cubs manager, Hornsby, did not allow him to \"swing away\" as much as Joe McCarthy had.","Wilson complained that the new Cubs manager, Hornsby, did not allow him to \"swing away\" as much as Joe McCarthy had. He hit his 200th career home run at Ebbets Field on June 18 — only the fourth player ever to do so, behind Ruth, Cy Williams, and Hornsby — but then fell into a protracted slump, and was benched in late May.","He hit his 200th career home run at Ebbets Field on June 18 — only the fourth player ever to do so, behind Ruth, Cy Williams, and Hornsby — but then fell into a protracted slump, and was benched in late May. By late August Wrigley publicly expressed his desire to trade him.","By late August Wrigley publicly expressed his desire to trade him. On September 6 he was suspended without pay for the remainder of the season after a fight with reporters aboard a train in Cincinnati. He was hitting .261 with only 13 home runs (his 1930 production during August alone) at the time.","He was hitting .261 with only 13 home runs (his 1930 production during August alone) at the time. In December 1931, the Cubs traded Wilson, along with Bud Teachout, to the St. Louis Cardinals for Burleigh Grimes.","In December 1931, the Cubs traded Wilson, along with Bud Teachout, to the St. Louis Cardinals for Burleigh Grimes. Less than a month later, the Cardinals sent him to the Brooklyn Dodgers for minor league outfielder Bob Parham and $25,000 ($ in current dollar terms).","Less than a month later, the Cardinals sent him to the Brooklyn Dodgers for minor league outfielder Bob Parham and $25,000 ($ in current dollar terms). Wilson hit .297 with 23 home runs and 123 RBIs for Brooklyn in 1932.","Wilson hit .297 with 23 home runs and 123 RBIs for Brooklyn in 1932. He began 1933 with a ninth-inning game-winning pinch-hit inside-the-park grand slam home run at Ebbets Field—the first pinch-hit grand slam in Dodger history, and only the third inside-the-park pinch-hit grand slam in MLB history.","He began 1933 with a ninth-inning game-winning pinch-hit inside-the-park grand slam home run at Ebbets Field—the first pinch-hit grand slam in Dodger history, and only the third inside-the-park pinch-hit grand slam in MLB history. By season's end his offensive totals had dropped substantially, and he was hitting .262 when the Dodgers released him mid-season in 1934.","By season's end his offensive totals had dropped substantially, and he was hitting .262 when the Dodgers released him mid-season in 1934. The Philadelphia Phillies signed him immediately, but after just two hits in 20 at bats he was released again a month later.","The Philadelphia Phillies signed him immediately, but after just two hits in 20 at bats he was released again a month later. After a final season with the Albany Senators of the Class \"A\" New York–Pennsylvania League, Wilson retired at the age of 35.","After a final season with the Albany Senators of the Class \"A\" New York–Pennsylvania League, Wilson retired at the age of 35. Career statistics In a 12-year major league career, Wilson played in 1,348 games and accumulated 1,461 hits in 4,760 at-bats for a .307 career batting average and a .395 on-base percentage.","Career statistics In a 12-year major league career, Wilson played in 1,348 games and accumulated 1,461 hits in 4,760 at-bats for a .307 career batting average and a .395 on-base percentage. He hit 244 home runs and batted in 1,063 runs, led the NL in home runs four times, and surpassed 100 RBIs six times.","He hit 244 home runs and batted in 1,063 runs, led the NL in home runs four times, and surpassed 100 RBIs six times. Defensively, he finished his career with a .965 fielding percentage.","Defensively, he finished his career with a .965 fielding percentage. Life after baseball Wilson returned to Martinsburg where he opened a pool hall, but encountered financial problems due to a failed sporting goods business venture, and then a rancorous divorce from Virginia.","Life after baseball Wilson returned to Martinsburg where he opened a pool hall, but encountered financial problems due to a failed sporting goods business venture, and then a rancorous divorce from Virginia. By 1938 he was working as a bartender near Brooklyn's Ebbets Field where he sang for drinks, but had to quit when customers became too abusive.","By 1938 he was working as a bartender near Brooklyn's Ebbets Field where he sang for drinks, but had to quit when customers became too abusive. A night club venture in suburban Chicago was another financial failure.","A night club venture in suburban Chicago was another financial failure. In 1944 he took a job as a good will ambassador for a professional basketball team in Washington, D.C., where he lamented that fans remembered his two dropped fly balls in the 1929 World Series far more vividly than his 56 home runs and 191 RBIs in 1930.","In 1944 he took a job as a good will ambassador for a professional basketball team in Washington, D.C., where he lamented that fans remembered his two dropped fly balls in the 1929 World Series far more vividly than his 56 home runs and 191 RBIs in 1930. Unable to find work in professional baseball, he moved to Baltimore where he worked as a tool checker in an airplane manufacturing plant and later as a laborer for the City of Baltimore.","Unable to find work in professional baseball, he moved to Baltimore where he worked as a tool checker in an airplane manufacturing plant and later as a laborer for the City of Baltimore. When municipal authorities realized who he was, he was made the manager of a Baltimore public swimming pool.","When municipal authorities realized who he was, he was made the manager of a Baltimore public swimming pool. On October 4, 1948 Wilson was discovered unconscious after a fall in his home.","On October 4, 1948 Wilson was discovered unconscious after a fall in his home. Though the accident did not appear serious at first, pneumonia and other complications developed and he died of internal hemorrhaging on November 23, 1948, at the age of 48.","Though the accident did not appear serious at first, pneumonia and other complications developed and he died of internal hemorrhaging on November 23, 1948, at the age of 48. Wilson — once the highest-paid player in the National League — died penniless; his son, Robert, refused to claim his remains.","Wilson — once the highest-paid player in the National League — died penniless; his son, Robert, refused to claim his remains. NL President Ford Frick finally sent money to cover his funeral expenses. His gray burial suit was donated by the undertaker.","His gray burial suit was donated by the undertaker. In marked contrast to Babe Ruth's funeral, which had been attended by thousands just three months earlier, only a few hundred people were present for Wilson's services. He was buried in Rosedale Cemetery in the town where he made his professional playing debut, Martinsburg, West Virginia.","He was buried in Rosedale Cemetery in the town where he made his professional playing debut, Martinsburg, West Virginia. Ten months later Joe McCarthy organized a second, more complete memorial service, attended by Kiki Cuyler, Charlie Grimm, Nick Altrock and other players from the Cubs and the Martinsburg team (by then renamed the Blue Sox).","Ten months later Joe McCarthy organized a second, more complete memorial service, attended by Kiki Cuyler, Charlie Grimm, Nick Altrock and other players from the Cubs and the Martinsburg team (by then renamed the Blue Sox). A granite tombstone was unveiled, with the inscription, \"One of Baseball's Immortals, Lewis R. (Hack) Wilson, Rests Here.\"","A granite tombstone was unveiled, with the inscription, \"One of Baseball's Immortals, Lewis R. (Hack) Wilson, Rests Here.\" One week before his death, Wilson gave an interview to CBS Radio which was reprinted in Chicago newspapers.","One week before his death, Wilson gave an interview to CBS Radio which was reprinted in Chicago newspapers. In 1949 Charlie Grimm, the Cubs' new manager, posted a framed excerpt from that interview in the Cubs clubhouse, where it remains. It reads, in part: Talent isn't enough.","It reads, in part: Talent isn't enough. You need common sense and good advice. If anyone tries to tell you different, tell them the story of Hack Wilson. ... Kids in and out of baseball who think because they have talent they have the world by the tail. It isn't so.","It isn't so. It isn't so. Kids, don't be too big to accept advice. Don't let what happened to me happen to you. In 1979 Wilson was inducted into the Baseball Hall of Fame by the Veterans Committee.","In 1979 Wilson was inducted into the Baseball Hall of Fame by the Veterans Committee. A Martinsburg street is named Hack Wilson Way in his honor, and the access road to a large city park within his home town, Ellwood City, Pennsylvania, is known as Hack Wilson Drive.","A Martinsburg street is named Hack Wilson Way in his honor, and the access road to a large city park within his home town, Ellwood City, Pennsylvania, is known as Hack Wilson Drive. See also 50 home run club List of Major League Baseball annual home run leaders List of Major League Baseball annual runs batted in leaders List of Major League Baseball players to hit for the cycle List of Major League Baseball career runs batted in leaders List of Major League Baseball career slugging percentage leaders List of Major League Baseball career OPS leaders List of Major League Baseball career home run leaders References Further reading Subscription required.","See also 50 home run club List of Major League Baseball annual home run leaders List of Major League Baseball annual runs batted in leaders List of Major League Baseball players to hit for the cycle List of Major League Baseball career runs batted in leaders List of Major League Baseball career slugging percentage leaders List of Major League Baseball career OPS leaders List of Major League Baseball career home run leaders References Further reading Subscription required. Subscription required.","Subscription required. Subscription required. External links , or Retrosheet National Baseball Hall of Fame inductees Major League Baseball center fielders Chicago Cubs players Brooklyn Dodgers players New York Giants (NL) players Philadelphia Phillies players National League home run champions National League RBI champions Martinsburg Mountaineers players Martinsburg Blue Sox players Portsmouth Truckers players Toledo Mud Hens players Albany Senators players Baseball players from Pennsylvania Sportspeople from Martinsburg, West Virginia People from Ellwood City, Pennsylvania People from Lawrence County, Pennsylvania 1900 births 1948 deaths"],"string":"[\n \"Lewis Robert \\\"Hack\\\" Wilson (April 26, 1900 – November 23, 1948) was an American Major League Baseball player who played 12 seasons for the New York Giants, Chicago Cubs, Brooklyn Dodgers and Philadelphia Phillies. Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s.\",\n \"Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s. His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history.\",\n \"His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history. Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed.\",\n \"Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed. \\\"For a brief span of a few years\\\", wrote a sportswriter of the day, \\\"this hammered down little strongman actually rivaled the mighty Ruth.\\\"\",\n \"\\\"For a brief span of a few years\\\", wrote a sportswriter of the day, \\\"this hammered down little strongman actually rivaled the mighty Ruth.\\\" While Wilson's combativeness and excessive alcohol consumption made him one of the most colorful sports personalities of his era, his drinking and fighting undoubtedly contributed to a premature end to his athletic career and, ultimately, his premature death.\",\n \"While Wilson's combativeness and excessive alcohol consumption made him one of the most colorful sports personalities of his era, his drinking and fighting undoubtedly contributed to a premature end to his athletic career and, ultimately, his premature death. He was inducted into the Baseball Hall of Fame in 1979.\",\n \"He was inducted into the Baseball Hall of Fame in 1979. Baseball career Early life and minor leagues Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh.\",\n \"Baseball career Early life and minor leagues Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker.\",\n \"His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker. His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24.\",\n \"His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24. In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week.\",\n \"In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week. Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes.\",\n \"Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes. Sportswriter Shirley Povich later observed that he was \\\"built along the lines of a beer keg, and was not wholly unfamiliar with its contents.\\\"\",\n \"Sportswriter Shirley Povich later observed that he was \\\"built along the lines of a beer keg, and was not wholly unfamiliar with its contents.\\\" While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of Fetal Alcohol Syndrome.\",\n \"While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of Fetal Alcohol Syndrome. In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \\\"D\\\" Blue Ridge League.\",\n \"In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \\\"D\\\" Blue Ridge League. After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield.\",\n \"After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield. In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year.\",\n \"In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year. In 1923, playing for the \\\"B\\\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average.\",\n \"In 1923, playing for the \\\"B\\\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average. Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500 ($ in current dollar terms).\",\n \"Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500 ($ in current dollar terms). New York Giants Wilson made his major league debut with the Giants on September 29, 1923, at the age of 23, and became the starting left fielder the following season.\",\n \"New York Giants Wilson made his major league debut with the Giants on September 29, 1923, at the age of 23, and became the starting left fielder the following season. By mid-July he was ranked second in the National League (NL) in hitting.\",\n \"By mid-July he was ranked second in the National League (NL) in hitting. He ended the season with a .295 average, 10 home runs, and 57 runs batted in (RBIs) as New York won the NL pennant. In the 1924 World Series he averaged only .233 in a seven-game loss to the Washington Senators.\",\n \"In the 1924 World Series he averaged only .233 in a seven-game loss to the Washington Senators. Multiple stories exist to explain the origin of Wilson's nickname: By one account, a New York newspaper held a nicknaming contest; the winning entry was \\\"Hack\\\" because he reminded many fans of another stocky athlete, the popular wrestler Georg Hackenschmidt.\",\n \"Multiple stories exist to explain the origin of Wilson's nickname: By one account, a New York newspaper held a nicknaming contest; the winning entry was \\\"Hack\\\" because he reminded many fans of another stocky athlete, the popular wrestler Georg Hackenschmidt. In another version, McGraw is said to have remarked that Wilson's physique was reminiscent of a \\\"hack\\\" (slang for taxicab in that era).\",\n \"In another version, McGraw is said to have remarked that Wilson's physique was reminiscent of a \\\"hack\\\" (slang for taxicab in that era). Giants teammate Bill Cunningham claimed that the nickname was based on Wilson's resemblance to Hack Miller, an outfielder with the Chicago Cubs.\",\n \"Giants teammate Bill Cunningham claimed that the nickname was based on Wilson's resemblance to Hack Miller, an outfielder with the Chicago Cubs. The New York Times printed the first documented usage of \\\"Hack\\\" on June 10, 1924.\",\n \"The New York Times printed the first documented usage of \\\"Hack\\\" on June 10, 1924. Early in the 1925 season Wilson hit the longest home run on record at Ebbets Field against the Brooklyn Robins, but fell into a slump in May, and was replaced in left field by Irish Meusel.\",\n \"Early in the 1925 season Wilson hit the longest home run on record at Ebbets Field against the Brooklyn Robins, but fell into a slump in May, and was replaced in left field by Irish Meusel. On July 2 he hit two home runs in one inning, tying Ken Williams' major league record set in 1922, but his hitting slump continued.\",\n \"On July 2 he hit two home runs in one inning, tying Ken Williams' major league record set in 1922, but his hitting slump continued. In August McGraw told reporters that he had \\\"... made the mistake of rushing [Wilson] along,\\\" and sent him to the Giants' minor league affiliate, the Toledo Mud Hens of the American Association.\",\n \"In August McGraw told reporters that he had \\\"... made the mistake of rushing [Wilson] along,\\\" and sent him to the Giants' minor league affiliate, the Toledo Mud Hens of the American Association. At season's end, a front office oversight—or possibly, deliberate inaction—left him unprotected on the Toledo roster, and the last-place Chicago Cubs acquired him on waivers.\",\n \"At season's end, a front office oversight—or possibly, deliberate inaction—left him unprotected on the Toledo roster, and the last-place Chicago Cubs acquired him on waivers. \\\"They let go the best outfielder I ever played alongside\\\", said Giants right fielder Ross Youngs, \\\"and they're going to regret it.\\\"\",\n \"\\\"They let go the best outfielder I ever played alongside\\\", said Giants right fielder Ross Youngs, \\\"and they're going to regret it.\\\" During the 1925 World Series — between the Senators and the Pittsburgh Pirates — Wilson's son, Robert, was born.\",\n \"During the 1925 World Series — between the Senators and the Pittsburgh Pirates — Wilson's son, Robert, was born. Glory years with the Cubs Wilson regained his form as the Cubs' center fielder in 1926, and he quickly became a favorite of Chicago fans.\",\n \"Glory years with the Cubs Wilson regained his form as the Cubs' center fielder in 1926, and he quickly became a favorite of Chicago fans. On May 24 he hit the center field scoreboard with one of the longest home runs in Wrigley Field history as the Cubs came from behind to defeat the Boston Braves.\",\n \"On May 24 he hit the center field scoreboard with one of the longest home runs in Wrigley Field history as the Cubs came from behind to defeat the Boston Braves. Later that evening he made news again when he was arrested during a police raid of a Prohibition-era speakeasy while trying to escape through the rear window, and was fined one dollar.\",\n \"Later that evening he made news again when he was arrested during a police raid of a Prohibition-era speakeasy while trying to escape through the rear window, and was fined one dollar. He ended the season with a league-leading 21 home runs along with 36 doubles, 109 RBIs, a .321 batting average, and a .406 on-base percentage.\",\n \"He ended the season with a league-leading 21 home runs along with 36 doubles, 109 RBIs, a .321 batting average, and a .406 on-base percentage. The Cubs improved to fourth place, and Wilson ended the year ranked fifth in voting for the NL's Most Valuable Player (MVP) Award.\",\n \"The Cubs improved to fourth place, and Wilson ended the year ranked fifth in voting for the NL's Most Valuable Player (MVP) Award. Another strong performance followed in 1927 as Wilson once again led the league in home runs.\",\n \"Another strong performance followed in 1927 as Wilson once again led the league in home runs. Although the Cubs were in first place heading into the final month of the season, the team faltered and again finished fourth. Wilson posted a .318 average with 30 home runs and 129 RBIs, and led NL outfielders with 400 putouts.\",\n \"Wilson posted a .318 average with 30 home runs and 129 RBIs, and led NL outfielders with 400 putouts. He led the NL in home runs for a third consecutive year in 1928 with 31, along with 120 RBIs and a .313 average as the Cubs improved to third place.\",\n \"He led the NL in home runs for a third consecutive year in 1928 with 31, along with 120 RBIs and a .313 average as the Cubs improved to third place. Wilson had a combative streak and sometimes initiated fights with opposing players and fans.\",\n \"Wilson had a combative streak and sometimes initiated fights with opposing players and fans. On June 22, 1928, a near-riot broke out in the ninth inning at Wrigley Field against the St. Louis Cardinals when Wilson jumped into the box seats to attack a heckling fan.\",\n \"On June 22, 1928, a near-riot broke out in the ninth inning at Wrigley Field against the St. Louis Cardinals when Wilson jumped into the box seats to attack a heckling fan. An estimated 5,000 spectators swarmed the field before police could separate the combatants and restore order.\",\n \"An estimated 5,000 spectators swarmed the field before police could separate the combatants and restore order. The fan sued Wilson for $20,000, but a jury ruled in his favor.\",\n \"The fan sued Wilson for $20,000, but a jury ruled in his favor. The following year he took offense at a remark by Cincinnati Reds pitcher Ray Kolp, and – upon reaching first base after hitting a single – he charged into the Reds dugout, punching Kolp several times before they could be separated.\",\n \"The following year he took offense at a remark by Cincinnati Reds pitcher Ray Kolp, and – upon reaching first base after hitting a single – he charged into the Reds dugout, punching Kolp several times before they could be separated. Later that evening at the train station, Wilson exchanged words and blows with Cincinnati player Pete Donohue.\",\n \"Later that evening at the train station, Wilson exchanged words and blows with Cincinnati player Pete Donohue. In late 1929 he signed a contract to fight Art Shires of the Chicago White Sox in a boxing match, but reneged after Cubs president William Veeck, Sr. enlisted Hack's wife Virginia to dissuade him, and then Shires lost a fight to George Trafton of the Chicago Bears.\",\n \"In late 1929 he signed a contract to fight Art Shires of the Chicago White Sox in a boxing match, but reneged after Cubs president William Veeck, Sr. enlisted Hack's wife Virginia to dissuade him, and then Shires lost a fight to George Trafton of the Chicago Bears. There was nothing to gain, Wilson said, by fighting a defeated boxer.\",\n \"There was nothing to gain, Wilson said, by fighting a defeated boxer. Wilson's \\\"penchant for festivities\\\" is also well documented.\",\n \"Wilson's \\\"penchant for festivities\\\" is also well documented. Biographer Clifton Blue Parker described him as \\\"... the Roaring '20s epitome of a baseball player, primed for an age of American excess ... at a time when baseball was America's favorite sport.\\\"\",\n \"Biographer Clifton Blue Parker described him as \\\"... the Roaring '20s epitome of a baseball player, primed for an age of American excess ... at a time when baseball was America's favorite sport.\\\" His love of drinking and partying did not endear him to Cubs owner William Wrigley, who abhorred alcohol consumption.\",\n \"His love of drinking and partying did not endear him to Cubs owner William Wrigley, who abhorred alcohol consumption. (Wilson always insisted that he never played drunk; \\\"hung over, yes; drunk, no.\\\") Manager Joe McCarthy worked hard to shield Wilson from Wrigley, and to keep him on an even keel.\",\n \"Manager Joe McCarthy worked hard to shield Wilson from Wrigley, and to keep him on an even keel. \\\"Better than any other manager,\\\" wrote sportswriter Frank Graham, \\\"Joe understood Hack, made allowances for him when he failed, and rewarded him with praise when he did well.\",\n \"\\\"Better than any other manager,\\\" wrote sportswriter Frank Graham, \\\"Joe understood Hack, made allowances for him when he failed, and rewarded him with praise when he did well. Joe could be strict and stern with his players ... but he never was with Hack, and Hack repaid him by playing as he never had before, nor would again.\\\"\",\n \"Joe could be strict and stern with his players ... but he never was with Hack, and Hack repaid him by playing as he never had before, nor would again.\\\" In 1929 Wilson hit .345 with 39 home runs and a league-record 159 RBIs.\",\n \"In 1929 Wilson hit .345 with 39 home runs and a league-record 159 RBIs. He and new teammate Rogers Hornsby (who also contributed 39 home runs) led the Cubs to their first NL pennant in eleven years.\",\n \"He and new teammate Rogers Hornsby (who also contributed 39 home runs) led the Cubs to their first NL pennant in eleven years. In the World Series against Connie Mack's Philadelphia Athletics, Wilson's .471 hitting performance was eclipsed by two fielding errors at Shibe Park.\",\n \"In the World Series against Connie Mack's Philadelphia Athletics, Wilson's .471 hitting performance was eclipsed by two fielding errors at Shibe Park. Though trailing the Series two games to one, the Cubs were leading by a score of 8–0 in the fourth game when the Athletics mounted a 10-run rally in the seventh inning.\",\n \"Though trailing the Series two games to one, the Cubs were leading by a score of 8–0 in the fourth game when the Athletics mounted a 10-run rally in the seventh inning. Wilson lost two fly balls in the sun; the second, with two runners on base, led to an inside-the-park home run by Mule Haas as the Athletics won 10–8.\",\n \"Wilson lost two fly balls in the sun; the second, with two runners on base, led to an inside-the-park home run by Mule Haas as the Athletics won 10–8. After the game, McCarthy reportedly told a boy asking for a souvenir baseball, \\\"Come back tomorrow and stand behind Wilson, and you'll be able to pick up all the balls you want!\\\"\",\n \"After the game, McCarthy reportedly told a boy asking for a souvenir baseball, \\\"Come back tomorrow and stand behind Wilson, and you'll be able to pick up all the balls you want!\\\" The Athletics won again the next day to take the Series in five games.\",\n \"The Athletics won again the next day to take the Series in five games. 1930 peak Wilson's 1930 season, aided by a lively ball wound with special Australian wool, is considered one of the best single-season hitting performances in baseball history. By the middle of July he had accumulated 82 RBIs.\",\n \"By the middle of July he had accumulated 82 RBIs. In August he hit 13 home runs and 53 RBIs, and by September 17 he had reached 174 RBIs, breaking Lou Gehrig's major league record established three years earlier.\",\n \"In August he hit 13 home runs and 53 RBIs, and by September 17 he had reached 174 RBIs, breaking Lou Gehrig's major league record established three years earlier. He finished the season with 190 RBIs, along with an NL-record 56 home runs, .356 batting average, .454 on-base percentage, and league-leading .723 slugging percentage.\",\n \"He finished the season with 190 RBIs, along with an NL-record 56 home runs, .356 batting average, .454 on-base percentage, and league-leading .723 slugging percentage. He was unofficially voted the NL's most \\\"useful\\\" player by the Baseball Writers' Association of America (which did not inaugurate its official MVP award until 1931).\",\n \"He was unofficially voted the NL's most \\\"useful\\\" player by the Baseball Writers' Association of America (which did not inaugurate its official MVP award until 1931). In 1999 the Commissioner of Baseball officially increased Wilson's 1930 RBI total to 191 after a box score analysis by baseball historian Jerome Holtzman revealed that Charlie Grimm had been mistakenly credited with an RBI actually driven home by Wilson during the second game of a doubleheader on July 28.\",\n \"In 1999 the Commissioner of Baseball officially increased Wilson's 1930 RBI total to 191 after a box score analysis by baseball historian Jerome Holtzman revealed that Charlie Grimm had been mistakenly credited with an RBI actually driven home by Wilson during the second game of a doubleheader on July 28. Wilson's 191 RBIs remains one of baseball's most enduring records; only Gehrig (185) and Hank Greenberg (184) ever came close, and there have been no serious challenges in the last 75 years.\",\n \"Wilson's 191 RBIs remains one of baseball's most enduring records; only Gehrig (185) and Hank Greenberg (184) ever came close, and there have been no serious challenges in the last 75 years. (The best recent effort was 165 by Manny Ramirez in 1999.)\",\n \"(The best recent effort was 165 by Manny Ramirez in 1999.) Reds catcher Clyde Sukeforth asserted that Wilson should have been credited with an additional home run in 1930 as well.\",\n \"Reds catcher Clyde Sukeforth asserted that Wilson should have been credited with an additional home run in 1930 as well. \\\"He hit one in Cincinnati one day\\\", he said, \\\"way up in the seats, hit it so hard that it bounced right back onto the field.\",\n \"\\\"He hit one in Cincinnati one day\\\", he said, \\\"way up in the seats, hit it so hard that it bounced right back onto the field. The umpire had a bad angle on it and ruled that it had hit the screen and bounced back.\",\n \"The umpire had a bad angle on it and ruled that it had hit the screen and bounced back. I was sitting in the Cincinnati bullpen, and of course, we weren't going to say anything. But Hack really hit 57 that year.\\\"\",\n \"But Hack really hit 57 that year.\\\" Wilson's official total of 56 stood as the NL record until the 1998 season, when it was broken by Sammy Sosa (66) and Mark McGwire (70).\",\n \"Wilson's official total of 56 stood as the NL record until the 1998 season, when it was broken by Sammy Sosa (66) and Mark McGwire (70). Decline Wilson's success in the 1930 season served only to fuel his drinking habits, and in 1931 he reported to spring training 20 pounds overweight.\",\n \"Decline Wilson's success in the 1930 season served only to fuel his drinking habits, and in 1931 he reported to spring training 20 pounds overweight. In addition, the NL responded to the prodigious offensive statistics of the previous year (the only season, other than 1894, in which the league as a whole batted over .300) by introducing a heavier ball with raised stitching to allow pitchers to gain a better grip and throw sharper curveballs.\",\n \"In addition, the NL responded to the prodigious offensive statistics of the previous year (the only season, other than 1894, in which the league as a whole batted over .300) by introducing a heavier ball with raised stitching to allow pitchers to gain a better grip and throw sharper curveballs. Wilson complained that the new Cubs manager, Hornsby, did not allow him to \\\"swing away\\\" as much as Joe McCarthy had.\",\n \"Wilson complained that the new Cubs manager, Hornsby, did not allow him to \\\"swing away\\\" as much as Joe McCarthy had. He hit his 200th career home run at Ebbets Field on June 18 — only the fourth player ever to do so, behind Ruth, Cy Williams, and Hornsby — but then fell into a protracted slump, and was benched in late May.\",\n \"He hit his 200th career home run at Ebbets Field on June 18 — only the fourth player ever to do so, behind Ruth, Cy Williams, and Hornsby — but then fell into a protracted slump, and was benched in late May. By late August Wrigley publicly expressed his desire to trade him.\",\n \"By late August Wrigley publicly expressed his desire to trade him. On September 6 he was suspended without pay for the remainder of the season after a fight with reporters aboard a train in Cincinnati. He was hitting .261 with only 13 home runs (his 1930 production during August alone) at the time.\",\n \"He was hitting .261 with only 13 home runs (his 1930 production during August alone) at the time. In December 1931, the Cubs traded Wilson, along with Bud Teachout, to the St. Louis Cardinals for Burleigh Grimes.\",\n \"In December 1931, the Cubs traded Wilson, along with Bud Teachout, to the St. Louis Cardinals for Burleigh Grimes. Less than a month later, the Cardinals sent him to the Brooklyn Dodgers for minor league outfielder Bob Parham and $25,000 ($ in current dollar terms).\",\n \"Less than a month later, the Cardinals sent him to the Brooklyn Dodgers for minor league outfielder Bob Parham and $25,000 ($ in current dollar terms). Wilson hit .297 with 23 home runs and 123 RBIs for Brooklyn in 1932.\",\n \"Wilson hit .297 with 23 home runs and 123 RBIs for Brooklyn in 1932. He began 1933 with a ninth-inning game-winning pinch-hit inside-the-park grand slam home run at Ebbets Field—the first pinch-hit grand slam in Dodger history, and only the third inside-the-park pinch-hit grand slam in MLB history.\",\n \"He began 1933 with a ninth-inning game-winning pinch-hit inside-the-park grand slam home run at Ebbets Field—the first pinch-hit grand slam in Dodger history, and only the third inside-the-park pinch-hit grand slam in MLB history. By season's end his offensive totals had dropped substantially, and he was hitting .262 when the Dodgers released him mid-season in 1934.\",\n \"By season's end his offensive totals had dropped substantially, and he was hitting .262 when the Dodgers released him mid-season in 1934. The Philadelphia Phillies signed him immediately, but after just two hits in 20 at bats he was released again a month later.\",\n \"The Philadelphia Phillies signed him immediately, but after just two hits in 20 at bats he was released again a month later. After a final season with the Albany Senators of the Class \\\"A\\\" New York–Pennsylvania League, Wilson retired at the age of 35.\",\n \"After a final season with the Albany Senators of the Class \\\"A\\\" New York–Pennsylvania League, Wilson retired at the age of 35. Career statistics In a 12-year major league career, Wilson played in 1,348 games and accumulated 1,461 hits in 4,760 at-bats for a .307 career batting average and a .395 on-base percentage.\",\n \"Career statistics In a 12-year major league career, Wilson played in 1,348 games and accumulated 1,461 hits in 4,760 at-bats for a .307 career batting average and a .395 on-base percentage. He hit 244 home runs and batted in 1,063 runs, led the NL in home runs four times, and surpassed 100 RBIs six times.\",\n \"He hit 244 home runs and batted in 1,063 runs, led the NL in home runs four times, and surpassed 100 RBIs six times. Defensively, he finished his career with a .965 fielding percentage.\",\n \"Defensively, he finished his career with a .965 fielding percentage. Life after baseball Wilson returned to Martinsburg where he opened a pool hall, but encountered financial problems due to a failed sporting goods business venture, and then a rancorous divorce from Virginia.\",\n \"Life after baseball Wilson returned to Martinsburg where he opened a pool hall, but encountered financial problems due to a failed sporting goods business venture, and then a rancorous divorce from Virginia. By 1938 he was working as a bartender near Brooklyn's Ebbets Field where he sang for drinks, but had to quit when customers became too abusive.\",\n \"By 1938 he was working as a bartender near Brooklyn's Ebbets Field where he sang for drinks, but had to quit when customers became too abusive. A night club venture in suburban Chicago was another financial failure.\",\n \"A night club venture in suburban Chicago was another financial failure. In 1944 he took a job as a good will ambassador for a professional basketball team in Washington, D.C., where he lamented that fans remembered his two dropped fly balls in the 1929 World Series far more vividly than his 56 home runs and 191 RBIs in 1930.\",\n \"In 1944 he took a job as a good will ambassador for a professional basketball team in Washington, D.C., where he lamented that fans remembered his two dropped fly balls in the 1929 World Series far more vividly than his 56 home runs and 191 RBIs in 1930. Unable to find work in professional baseball, he moved to Baltimore where he worked as a tool checker in an airplane manufacturing plant and later as a laborer for the City of Baltimore.\",\n \"Unable to find work in professional baseball, he moved to Baltimore where he worked as a tool checker in an airplane manufacturing plant and later as a laborer for the City of Baltimore. When municipal authorities realized who he was, he was made the manager of a Baltimore public swimming pool.\",\n \"When municipal authorities realized who he was, he was made the manager of a Baltimore public swimming pool. On October 4, 1948 Wilson was discovered unconscious after a fall in his home.\",\n \"On October 4, 1948 Wilson was discovered unconscious after a fall in his home. Though the accident did not appear serious at first, pneumonia and other complications developed and he died of internal hemorrhaging on November 23, 1948, at the age of 48.\",\n \"Though the accident did not appear serious at first, pneumonia and other complications developed and he died of internal hemorrhaging on November 23, 1948, at the age of 48. Wilson — once the highest-paid player in the National League — died penniless; his son, Robert, refused to claim his remains.\",\n \"Wilson — once the highest-paid player in the National League — died penniless; his son, Robert, refused to claim his remains. NL President Ford Frick finally sent money to cover his funeral expenses. His gray burial suit was donated by the undertaker.\",\n \"His gray burial suit was donated by the undertaker. In marked contrast to Babe Ruth's funeral, which had been attended by thousands just three months earlier, only a few hundred people were present for Wilson's services. He was buried in Rosedale Cemetery in the town where he made his professional playing debut, Martinsburg, West Virginia.\",\n \"He was buried in Rosedale Cemetery in the town where he made his professional playing debut, Martinsburg, West Virginia. Ten months later Joe McCarthy organized a second, more complete memorial service, attended by Kiki Cuyler, Charlie Grimm, Nick Altrock and other players from the Cubs and the Martinsburg team (by then renamed the Blue Sox).\",\n \"Ten months later Joe McCarthy organized a second, more complete memorial service, attended by Kiki Cuyler, Charlie Grimm, Nick Altrock and other players from the Cubs and the Martinsburg team (by then renamed the Blue Sox). A granite tombstone was unveiled, with the inscription, \\\"One of Baseball's Immortals, Lewis R. (Hack) Wilson, Rests Here.\\\"\",\n \"A granite tombstone was unveiled, with the inscription, \\\"One of Baseball's Immortals, Lewis R. (Hack) Wilson, Rests Here.\\\" One week before his death, Wilson gave an interview to CBS Radio which was reprinted in Chicago newspapers.\",\n \"One week before his death, Wilson gave an interview to CBS Radio which was reprinted in Chicago newspapers. In 1949 Charlie Grimm, the Cubs' new manager, posted a framed excerpt from that interview in the Cubs clubhouse, where it remains. It reads, in part: Talent isn't enough.\",\n \"It reads, in part: Talent isn't enough. You need common sense and good advice. If anyone tries to tell you different, tell them the story of Hack Wilson. ... Kids in and out of baseball who think because they have talent they have the world by the tail. It isn't so.\",\n \"It isn't so. It isn't so. Kids, don't be too big to accept advice. Don't let what happened to me happen to you. In 1979 Wilson was inducted into the Baseball Hall of Fame by the Veterans Committee.\",\n \"In 1979 Wilson was inducted into the Baseball Hall of Fame by the Veterans Committee. A Martinsburg street is named Hack Wilson Way in his honor, and the access road to a large city park within his home town, Ellwood City, Pennsylvania, is known as Hack Wilson Drive.\",\n \"A Martinsburg street is named Hack Wilson Way in his honor, and the access road to a large city park within his home town, Ellwood City, Pennsylvania, is known as Hack Wilson Drive. See also 50 home run club List of Major League Baseball annual home run leaders List of Major League Baseball annual runs batted in leaders List of Major League Baseball players to hit for the cycle List of Major League Baseball career runs batted in leaders List of Major League Baseball career slugging percentage leaders List of Major League Baseball career OPS leaders List of Major League Baseball career home run leaders References Further reading Subscription required.\",\n \"See also 50 home run club List of Major League Baseball annual home run leaders List of Major League Baseball annual runs batted in leaders List of Major League Baseball players to hit for the cycle List of Major League Baseball career runs batted in leaders List of Major League Baseball career slugging percentage leaders List of Major League Baseball career OPS leaders List of Major League Baseball career home run leaders References Further reading Subscription required. Subscription required.\",\n \"Subscription required. Subscription required. External links , or Retrosheet National Baseball Hall of Fame inductees Major League Baseball center fielders Chicago Cubs players Brooklyn Dodgers players New York Giants (NL) players Philadelphia Phillies players National League home run champions National League RBI champions Martinsburg Mountaineers players Martinsburg Blue Sox players Portsmouth Truckers players Toledo Mud Hens players Albany Senators players Baseball players from Pennsylvania Sportspeople from Martinsburg, West Virginia People from Ellwood City, Pennsylvania People from Lawrence County, Pennsylvania 1900 births 1948 deaths\"\n]"}}},{"rowIdx":484,"cells":{"History":{"kind":"list like","value":["Hack Wilson","Early life and minor leagues","what was Wilson's early life like?","Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker.","did he stay in Ellwood City his whole childhood?","In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \"D\" Blue Ridge League."],"string":"[\n \"Hack Wilson\",\n \"Early life and minor leagues\",\n \"what was Wilson's early life like?\",\n \"Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker.\",\n \"did he stay in Ellwood City his whole childhood?\",\n \"In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \\\"D\\\" Blue Ridge League.\"\n]"},"QuAC_dialog_id":{"kind":"string","value":"C_caf876f084ed435aae7dfb1e41e6fe73_1"},"Question":{"kind":"string","value":"how long did he stay in West Virginia?"},"Question_no":{"kind":"number","value":3,"string":"3"},"Rewrite":{"kind":"string","value":"how long did Wilsonstay in West Virginia?"},"true_page_title":{"kind":"string","value":"Hack Wilson"},"true_contexts":{"kind":"string","value":"Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker. His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24. In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week. Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes. Sportswriter Shirley Povich later observed that he was \"built along the lines of a beer keg, and was not wholly unfamiliar with its contents.\" While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of the Fetal Alcohol Syndrome. In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \"D\" Blue Ridge League. After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield. In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year. In 1923, playing for the \"B\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average. Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500. CANNOTANSWER"},"answer":{"kind":"string","value":"In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year."},"true_contexts_wiki":{"kind":"string","value":"Lewis Robert \"Hack\" Wilson (April 26, 1900 – November 23, 1948) was an American Major League Baseball player who played 12 seasons for the New York Giants, Chicago Cubs, Brooklyn Dodgers and Philadelphia Phillies. Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s. His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history. Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed. \"For a brief span of a few years\", wrote a sportswriter of the day, \"this hammered down little strongman actually rivaled the mighty Ruth.\"\n\nWhile Wilson's combativeness and excessive alcohol consumption made him one of the most colorful sports personalities of his era, his drinking and fighting undoubtedly contributed to a premature end to his athletic career and, ultimately, his premature death. He was inducted into the Baseball Hall of Fame in 1979.\n\nBaseball career\n\nEarly life and minor leagues\nLewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker. His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24.\n\nIn 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week. Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes. Sportswriter Shirley Povich later observed that he was \"built along the lines of a beer keg, and was not wholly unfamiliar with its contents.\" While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of Fetal Alcohol Syndrome.\n\nIn 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \"D\" Blue Ridge League. After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield. In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year. In 1923, playing for the \"B\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average. Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500 ($ in current dollar terms).\n\nNew York Giants\nWilson made his major league debut with the Giants on September 29, 1923, at the age of 23, and became the starting left fielder the following season. By mid-July he was ranked second in the National League (NL) in hitting. He ended the season with a .295 average, 10 home runs, and 57 runs batted in (RBIs) as New York won the NL pennant. In the 1924 World Series he averaged only .233 in a seven-game loss to the Washington Senators.\n\nMultiple stories exist to explain the origin of Wilson's nickname: By one account, a New York newspaper held a nicknaming contest; the winning entry was \"Hack\" because he reminded many fans of another stocky athlete, the popular wrestler Georg Hackenschmidt. In another version, McGraw is said to have remarked that Wilson's physique was reminiscent of a \"hack\" (slang for taxicab in that era). Giants teammate Bill Cunningham claimed that the nickname was based on Wilson's resemblance to Hack Miller, an outfielder with the Chicago Cubs. The New York Times printed the first documented usage of \"Hack\" on June 10, 1924.\n\nEarly in the 1925 season Wilson hit the longest home run on record at Ebbets Field against the Brooklyn Robins, but fell into a slump in May, and was replaced in left field by Irish Meusel. On July 2 he hit two home runs in one inning, tying Ken Williams' major league record set in 1922, but his hitting slump continued. In August McGraw told reporters that he had \"... made the mistake of rushing [Wilson] along,\" and sent him to the Giants' minor league affiliate, the Toledo Mud Hens of the American Association. At season's end, a front office oversight—or possibly, deliberate inaction—left him unprotected on the Toledo roster, and the last-place Chicago Cubs acquired him on waivers. \"They let go the best outfielder I ever played alongside\", said Giants right fielder Ross Youngs, \"and they're going to regret it.\"\n\nDuring the 1925 World Series — between the Senators and the Pittsburgh Pirates — Wilson's son, Robert, was born.\n\nGlory years with the Cubs\n\nWilson regained his form as the Cubs' center fielder in 1926, and he quickly became a favorite of Chicago fans. On May 24 he hit the center field scoreboard with one of the longest home runs in Wrigley Field history as the Cubs came from behind to defeat the Boston Braves. Later that evening he made news again when he was arrested during a police raid of a Prohibition-era speakeasy while trying to escape through the rear window, and was fined one dollar. He ended the season with a league-leading 21 home runs along with 36 doubles, 109 RBIs, a .321 batting average, and a .406 on-base percentage. The Cubs improved to fourth place, and Wilson ended the year ranked fifth in voting for the NL's Most Valuable Player (MVP) Award.\n\nAnother strong performance followed in 1927 as Wilson once again led the league in home runs. Although the Cubs were in first place heading into the final month of the season, the team faltered and again finished fourth. Wilson posted a .318 average with 30 home runs and 129 RBIs, and led NL outfielders with 400 putouts. He led the NL in home runs for a third consecutive year in 1928 with 31, along with 120 RBIs and a .313 average as the Cubs improved to third place.\n\nWilson had a combative streak and sometimes initiated fights with opposing players and fans. On June 22, 1928, a near-riot broke out in the ninth inning at Wrigley Field against the St. Louis Cardinals when Wilson jumped into the box seats to attack a heckling fan. An estimated 5,000 spectators swarmed the field before police could separate the combatants and restore order. The fan sued Wilson for $20,000, but a jury ruled in his favor. The following year he took offense at a remark by Cincinnati Reds pitcher Ray Kolp, and – upon reaching first base after hitting a single – he charged into the Reds dugout, punching Kolp several times before they could be separated. Later that evening at the train station, Wilson exchanged words and blows with Cincinnati player Pete Donohue. In late 1929 he signed a contract to fight Art Shires of the Chicago White Sox in a boxing match, but reneged after Cubs president William Veeck, Sr. enlisted Hack's wife Virginia to dissuade him, and then Shires lost a fight to George Trafton of the Chicago Bears. There was nothing to gain, Wilson said, by fighting a defeated boxer.\n\nWilson's \"penchant for festivities\" is also well documented. Biographer Clifton Blue Parker described him as \"... the Roaring '20s epitome of a baseball player, primed for an age of American excess ... at a time when baseball was America's favorite sport.\" His love of drinking and partying did not endear him to Cubs owner William Wrigley, who abhorred alcohol consumption. (Wilson always insisted that he never played drunk; \"hung over, yes; drunk, no.\") Manager Joe McCarthy worked hard to shield Wilson from Wrigley, and to keep him on an even keel. \"Better than any other manager,\" wrote sportswriter Frank Graham, \"Joe understood Hack, made allowances for him when he failed, and rewarded him with praise when he did well. Joe could be strict and stern with his players ... but he never was with Hack, and Hack repaid him by playing as he never had before, nor would again.\"\n\nIn 1929 Wilson hit .345 with 39 home runs and a league-record 159 RBIs. He and new teammate Rogers Hornsby (who also contributed 39 home runs) led the Cubs to their first NL pennant in eleven years. In the World Series against Connie Mack's Philadelphia Athletics, Wilson's .471 hitting performance was eclipsed by two fielding errors at Shibe Park. Though trailing the Series two games to one, the Cubs were leading by a score of 8–0 in the fourth game when the Athletics mounted a 10-run rally in the seventh inning. Wilson lost two fly balls in the sun; the second, with two runners on base, led to an inside-the-park home run by Mule Haas as the Athletics won 10–8. After the game, McCarthy reportedly told a boy asking for a souvenir baseball, \"Come back tomorrow and stand behind Wilson, and you'll be able to pick up all the balls you want!\" The Athletics won again the next day to take the Series in five games.\n\n1930 peak\nWilson's 1930 season, aided by a lively ball wound with special Australian wool, is considered one of the best single-season hitting performances in baseball history. By the middle of July he had accumulated 82 RBIs. In August he hit 13 home runs and 53 RBIs, and by September 17 he had reached 174 RBIs, breaking Lou Gehrig's major league record established three years earlier. He finished the season with 190 RBIs, along with an NL-record 56 home runs, .356 batting average, .454 on-base percentage, and league-leading .723 slugging percentage. He was unofficially voted the NL's most \"useful\" player by the Baseball Writers' Association of America (which did not inaugurate its official MVP award until 1931). \n\nIn 1999 the Commissioner of Baseball officially increased Wilson's 1930 RBI total to 191 after a box score analysis by baseball historian Jerome Holtzman revealed that Charlie Grimm had been mistakenly credited with an RBI actually driven home by Wilson during the second game of a doubleheader on July 28. Wilson's 191 RBIs remains one of baseball's most enduring records; only Gehrig (185) and Hank Greenberg (184) ever came close, and there have been no serious challenges in the last 75 years. (The best recent effort was 165 by Manny Ramirez in 1999.)\n\nReds catcher Clyde Sukeforth asserted that Wilson should have been credited with an additional home run in 1930 as well. \"He hit one in Cincinnati one day\", he said, \"way up in the seats, hit it so hard that it bounced right back onto the field. The umpire had a bad angle on it and ruled that it had hit the screen and bounced back. I was sitting in the Cincinnati bullpen, and of course, we weren't going to say anything. But Hack really hit 57 that year.\" Wilson's official total of 56 stood as the NL record until the 1998 season, when it was broken by Sammy Sosa (66) and Mark McGwire (70).\n\nDecline\nWilson's success in the 1930 season served only to fuel his drinking habits, and in 1931 he reported to spring training 20 pounds overweight. In addition, the NL responded to the prodigious offensive statistics of the previous year (the only season, other than 1894, in which the league as a whole batted over .300) by introducing a heavier ball with raised stitching to allow pitchers to gain a better grip and throw sharper curveballs. Wilson complained that the new Cubs manager, Hornsby, did not allow him to \"swing away\" as much as Joe McCarthy had. He hit his 200th career home run at Ebbets Field on June 18 — only the fourth player ever to do so, behind Ruth, Cy Williams, and Hornsby — but then fell into a protracted slump, and was benched in late May. By late August Wrigley publicly expressed his desire to trade him. On September 6 he was suspended without pay for the remainder of the season after a fight with reporters aboard a train in Cincinnati. He was hitting .261 with only 13 home runs (his 1930 production during August alone) at the time.\n\nIn December 1931, the Cubs traded Wilson, along with Bud Teachout, to the St. Louis Cardinals for Burleigh Grimes. Less than a month later, the Cardinals sent him to the Brooklyn Dodgers for minor league outfielder Bob Parham and $25,000 ($ in current dollar terms). Wilson hit .297 with 23 home runs and 123 RBIs for Brooklyn in 1932. He began 1933 with a ninth-inning game-winning pinch-hit inside-the-park grand slam home run at Ebbets Field—the first pinch-hit grand slam in Dodger history, and only the third inside-the-park pinch-hit grand slam in MLB history. By season's end his offensive totals had dropped substantially, and he was hitting .262 when the Dodgers released him mid-season in 1934. The Philadelphia Phillies signed him immediately, but after just two hits in 20 at bats he was released again a month later. After a final season with the Albany Senators of the Class \"A\" New York–Pennsylvania League, Wilson retired at the age of 35.\n\nCareer statistics\nIn a 12-year major league career, Wilson played in 1,348 games and accumulated 1,461 hits in 4,760 at-bats for a .307 career batting average and a .395 on-base percentage. He hit 244 home runs and batted in 1,063 runs, led the NL in home runs four times, and surpassed 100 RBIs six times. Defensively, he finished his career with a .965 fielding percentage.\n\nLife after baseball\n\nWilson returned to Martinsburg where he opened a pool hall, but encountered financial problems due to a failed sporting goods business venture, and then a rancorous divorce from Virginia. By 1938 he was working as a bartender near Brooklyn's Ebbets Field where he sang for drinks, but had to quit when customers became too abusive. A night club venture in suburban Chicago was another financial failure. In 1944 he took a job as a good will ambassador for a professional basketball team in Washington, D.C., where he lamented that fans remembered his two dropped fly balls in the 1929 World Series far more vividly than his 56 home runs and 191 RBIs in 1930. Unable to find work in professional baseball, he moved to Baltimore where he worked as a tool checker in an airplane manufacturing plant and later as a laborer for the City of Baltimore. When municipal authorities realized who he was, he was made the manager of a Baltimore public swimming pool.\n\nOn October 4, 1948 Wilson was discovered unconscious after a fall in his home. Though the accident did not appear serious at first, pneumonia and other complications developed and he died of internal hemorrhaging on November 23, 1948, at the age of 48.\n\nWilson — once the highest-paid player in the National League — died penniless; his son, Robert, refused to claim his remains. NL President Ford Frick finally sent money to cover his funeral expenses. His gray burial suit was donated by the undertaker. In marked contrast to Babe Ruth's funeral, which had been attended by thousands just three months earlier, only a few hundred people were present for Wilson's services. He was buried in Rosedale Cemetery in the town where he made his professional playing debut, Martinsburg, West Virginia.\n\nTen months later Joe McCarthy organized a second, more complete memorial service, attended by Kiki Cuyler, Charlie Grimm, Nick Altrock and other players from the Cubs and the Martinsburg team (by then renamed the Blue Sox). A granite tombstone was unveiled, with the inscription, \"One of Baseball's Immortals, Lewis R. (Hack) Wilson, Rests Here.\"\n\nOne week before his death, Wilson gave an interview to CBS Radio which was reprinted in Chicago newspapers. In 1949 Charlie Grimm, the Cubs' new manager, posted a framed excerpt from that interview in the Cubs clubhouse, where it remains. It reads, in part:\n\nTalent isn't enough. You need common sense and good advice. If anyone tries to tell you different, tell them the story of Hack Wilson. ... Kids in and out of baseball who think because they have talent they have the world by the tail. It isn't so. Kids, don't be too big to accept advice. Don't let what happened to me happen to you.\n\nIn 1979 Wilson was inducted into the Baseball Hall of Fame by the Veterans Committee. A Martinsburg street is named Hack Wilson Way in his honor, and the access road to a large city park within his home town, Ellwood City, Pennsylvania, is known as Hack Wilson Drive.\n\nSee also\n\n50 home run club\nList of Major League Baseball annual home run leaders\nList of Major League Baseball annual runs batted in leaders\nList of Major League Baseball players to hit for the cycle\nList of Major League Baseball career runs batted in leaders\nList of Major League Baseball career slugging percentage leaders\nList of Major League Baseball career OPS leaders\nList of Major League Baseball career home run leaders\n\nReferences\n\nFurther reading\n Subscription required.\n Subscription required.\n\nExternal links\n\n, or Retrosheet\n\nNational Baseball Hall of Fame inductees\nMajor League Baseball center fielders\nChicago Cubs players\nBrooklyn Dodgers players\nNew York Giants (NL) players\nPhiladelphia Phillies players\nNational League home run champions\nNational League RBI champions\nMartinsburg Mountaineers players\nMartinsburg Blue Sox players\nPortsmouth Truckers players\nToledo Mud Hens players\nAlbany Senators players\nBaseball players from Pennsylvania\nSportspeople from Martinsburg, West Virginia\nPeople from Ellwood City, Pennsylvania\nPeople from Lawrence County, Pennsylvania\n1900 births\n1948 deaths"},"extractive":{"kind":"string","value":"true"},"retrieved_contexts":{"kind":"list like","value":["Robert Page Sims (1872-1944) was an early African American academic, civil rights leader, scientist, and college president who held positions at Virginia University of Lynchburg and Bluefield State College.\n\nSims was born in Meyerstown, West Virginia, to Charles and Lucy (Page) Sims and grew up working on a farm. Sims graduated from Storer College, a Freewill Baptist school, in Harpers Ferry, West Virginia, in 1893 and then Hillsdale College, a Free Will Baptist school in Michigan, in 1897. He also did post-graduate work at the University of Pennsylvania. In 1901 Sims married Professor Stella James Sims, a graduate of Bates College, whom he knew from Storer, and they had six children together.\n\nSims taught first at the Virginia Seminary (Virginia University of Lynchburg) as a science professor. Next he taught at the Douglass School in Huntington, West Virginia. He then served five years as assistant principal of Bluefield State College under President Hamilton Hatter before becoming president himself in 1906. While serving as president he maintained a correspondence and professional relationship with W.E.B. Dubois regarding civil rights issues for African Americans and attended the Pan-African Congress in Europe in 1921. Sims stepped down as president of Bluefield in 1936 but continued to stay involved with the school. He died in 1944. He was buried at the Cedar Hill Cemetery in Bolivar, West Virginia, near Harpers Ferry.\n\nReferences\n\n1872 births\n1944 deaths\nHillsdale College alumni\nUniversity of Pennsylvania alumni\nFree Will Baptists\nHeads of universities and colleges in the United States\nActivists from New Hampshire\nPeople from Jefferson County, West Virginia\nActivists for African-American civil rights\nAmerican academic administrators\nAfrican-American scientists\nStorer College alumni\nBluefield State College faculty","The U.S. state of West Virginia reported its first confirmed case relating to the COVID-19 pandemic on March 17, 2020, becoming the last state to do so. The patient had shown symptoms for several days prior. On March 29, 2020, the state reported its first COVID-19 death.\n\nAs of March 2022 West Virginia had 490,554 confirmed cases of COVID-19 and 6,339 deaths from the disease. The National Center for Health Statistics estimates that between 99 and 434 excess deaths have occurred in the state through May 9, 2020. West Virginia has administered 1,189,041 COVID-19 vaccine doses, equivalent to 660 doses per 1000 people. 64% of the population have received at least one dose of the vaccine, and 57% are fully vaccinated.\n\nTimeline\n\n2020 \nBy March 16, 2020, West Virginia had tested 84 suspected cases of COVID-19. The state announced its first case, in Shepherdstown, on March 17. On March 18, the second case was announced. Also on that date, 148 West Virginians had been tested for the virus. On March 20, West Virginia had confirmed 8 cases of COVID-19. And on March 22, there were 16 confirmed cases.\n\nWest Virginia's first death occurred on March 29 in Marion County. The state's first death due to COVID-19 was an 88-year-old woman. At the end of March, there were 4,143 persons in West Virginia tested, of which 162 were positive and 3,981 were negative, alongside this one death. Counties with the highest number of positive cases were in Kanawha and Monongalia counties.\n\nAt the end of April 2020, there were 44,700 COVID-19 lab results received in West Virginia, of which 1,125 were positive. The death tally stood at 44.\n\nAt the end of May 2020, there were a total of 97,622 COVID-19 laboratory results received, of which 2,010 were positive. The death tally stood at 75.\n\nAt the end of June 2020, there were a total of 171,663 COVID-19 laboratory results received, of which 2,905 were positive. The death tally stood at 93.\n\nOn July 1, 2020, the cumulative COVID-19 positive test rate was 1.69 percent.\n\nOn July 16, an employee who worked for the West Virginia House of Delegates tested positive for the virus according to Speaker Roger Hanshaw, which resulted in closure of the clerk's office until further notice.\n\nOn July 25, Doddridge County became the last county in the state to report a positive COVID-19 case.\n\n2021\n\n2022 \nOn January 11, Governor Jim Justice said he had tested positive for COVID-19 and felt \"extremely unwell\". He had been vaccinated and boosted.\n\nGovernment responses\nOn March 13, Governor Jim Justice announced all schools across the state would close indefinitely beginning on March 16, 2020, as a proactive measure.\n\nOn March 15, the mayor of Charleston, West Virginia, declared a state of emergency. Then, March 16, the Governor declared a state of emergency.\n\nOn March 17, Justice ordered restaurant dining rooms, bars, and casinos to close until March 31.\n\nBy March 21, several Mid-Ohio Valley counties had closed their courthouses to the public or limited access.\n\nBy March 22, Justice urged West Virginians to stay home as much as possible. Justice was joined by Dr. Clay Marsh, vice president of West Virginia University and executive dean for Health Sciences. Marsh said that New York was being hit by \"a tsunami wave of coronavirus cases\" and if West Virginians could stay home as much as possible for the next few weeks, the \"tsunami wave\" can become more \"like a stream\" for West Virginia.\n\nClay Marsh, vice president of West Virginia University and executive dean of Health Sciences, stated: \"We are faced with a pandemic by a virus that we have no immune system that responds to, so we can’t fight it ... If we do these things, we’ll continue to be the leaders. We have demonstrated how we too, as a state pulling together, can protect each other and protect our health care workers. Once this window of opportunity is gone, it won’t matter what we do then.\"\n\nOn March 23, Governor Justice ordered non-essential businesses to be closed immediately, and issued a stay-at-home order effective March 24 at 8 p.m.\n\nOn March 25, WV held a statewide Day of Prayer, a 45-minute service dedicated to the people affected with Coronavirus disease. It was held by Governor Jim Justice and moderator Dr. Dan Anderson.\n\nOn April 17, the West Virginia Department of Health and Human Resources announced it would work with the National Guard to test individuals for COVID-19 who resided or worked in the state's nursing homes.\n\nOn April 30, Justice announced \"West Virginia Strong: The Comeback\", a lifting of the present stay-at-home order that would transition to a safer-at-home plan. Specific sector businesses would be allowed to re-open over a month and a half after May 3, 2020, if certain parameters of COVID-19 testing were met. West Virginia's stay-at-home order would be lifted at 12:01 a.m. Monday, May 4 and be replaced with a safer-at-home program, which would strongly encourage residents to stay home but not make it mandatory to do so.\n\nOn May 14, the WV Governor and Dept. of Health and Human Resources announced plans to increase testing among minorities and otherwise vulnerable populations in counties with large populations and evidence of transmission. The next day, they announced free testing in WV counties that were medically underserved.\n\nReligious entities have been excluded from the virus closures in the state. The WV Dept. of Health and Human Resources reported on June 13, a fifth outbreak at churches in the state had occurred. This time it was in Greenbrier County, which followed prior outbreaks at churches in Boone, Hampshire, Jefferson and Marshall counties. The Graystone Baptist Church in Greenbrier County had some 33 COVID-19 cases.\n\nBy July 1, some 115 COVID-19 cases were reported across West Virginia, the Governor stated, were traced to residents traveling to Myrtle Beach, South Carolina. \"I strongly urge anybody that's been to Myrtle Beach to please get tested\" Justice said. In a July 1 press release, Justice reported testing over 10,000 inmates and 4,000 employees in the state's correctional system showed one active COVID-19 case in an inmate at the Huttonsville Correctional Center and Jail and two employees.\n\nOn July 2, Justice announced that he was considering making masks mandatory in indoor spaces where social distancing isn't possible. He issued an order on July 6 mandating masks in indoor public spaces outside of the home to reduce the spread of COVID-19.\n\nOn December 11, the governor announced that Pfizer vaccine will come soon for West Virginia. The vaccine deployment would be prioritized for hospital and long-term care facility workers, teachers, first responders, and essential sector workers in Phase One. Phase Two, planned to begin in March, are for the general populace that wanted to take the vaccine.\n\nFederal response \nWest Virginia would receive $5.6 million of federal money to fight COVID-19.\n\nOn July 1, 2020, in his press release, Justice reported that West Virginia had been awarded over $24 million through the federal CARES Act.\n\nImpact on sports and the economy\n\nOn March 12, the National Collegiate Athletic Association cancelled all winter and spring tournaments, most notably the Division I men's and women's basketball tournaments, affecting colleges and universities statewide. On March 16, the National Junior College Athletic Association also canceled the remainder of the winter seasons as well as the spring seasons.\n\nThe governor's reopening plan required the state's cumulative positive test rate for COVID-19 to stay below three percent for three days, in contrast to the prior benchmark of having cases decline for two weeks.\n\nThe Associated Press reported over 250,000 unemployment claims were processed in West Virginia since the pandemic shutdown in March. Workforce West Virginia surpassed $1 billion in unemployment benefits to West Virginia residents. The unemployment rate in the state fell two points to 12.9 percent in May as the state started its reopening. West Virginia received over 35,000 fraudulent pandemic claims in June.\n\nJustice, in his July 1 press release, announced \"historic revenue surplus\" in West Virginia for fiscal year 2020 amidst the COVID-19 pandemic. He also stated that overall consumer spending in the state returned to pre-pandemic levels in June, according to a state-by-state analysis he said was conduced by the Harvard-based research group Opportunity Insights.\n\nThe West Virginia Strong—The Comeback plan to restart the state's economy saw July 1 reopenings include fairs, festivals, amusement parks, and rides, along with outdoor open air concerts.\n\nStatistics\n\nSee also\n Timeline of the COVID-19 pandemic in the United States\n COVID-19 pandemic in the United States – for impact on the country\n COVID-19 pandemic – for impact on other countries\n\nReferences\n\nExternal links \n\n Information from the West Virginia Department of Health & Human Resources\n\ncoronavirus pandemic\ncoronavirus pandemic\nWest Virginia\nDisasters in West Virginia\nHealth in West Virginia"],"string":"[\n \"Robert Page Sims (1872-1944) was an early African American academic, civil rights leader, scientist, and college president who held positions at Virginia University of Lynchburg and Bluefield State College.\\n\\nSims was born in Meyerstown, West Virginia, to Charles and Lucy (Page) Sims and grew up working on a farm. Sims graduated from Storer College, a Freewill Baptist school, in Harpers Ferry, West Virginia, in 1893 and then Hillsdale College, a Free Will Baptist school in Michigan, in 1897. He also did post-graduate work at the University of Pennsylvania. In 1901 Sims married Professor Stella James Sims, a graduate of Bates College, whom he knew from Storer, and they had six children together.\\n\\nSims taught first at the Virginia Seminary (Virginia University of Lynchburg) as a science professor. Next he taught at the Douglass School in Huntington, West Virginia. He then served five years as assistant principal of Bluefield State College under President Hamilton Hatter before becoming president himself in 1906. While serving as president he maintained a correspondence and professional relationship with W.E.B. Dubois regarding civil rights issues for African Americans and attended the Pan-African Congress in Europe in 1921. Sims stepped down as president of Bluefield in 1936 but continued to stay involved with the school. He died in 1944. He was buried at the Cedar Hill Cemetery in Bolivar, West Virginia, near Harpers Ferry.\\n\\nReferences\\n\\n1872 births\\n1944 deaths\\nHillsdale College alumni\\nUniversity of Pennsylvania alumni\\nFree Will Baptists\\nHeads of universities and colleges in the United States\\nActivists from New Hampshire\\nPeople from Jefferson County, West Virginia\\nActivists for African-American civil rights\\nAmerican academic administrators\\nAfrican-American scientists\\nStorer College alumni\\nBluefield State College faculty\",\n \"The U.S. state of West Virginia reported its first confirmed case relating to the COVID-19 pandemic on March 17, 2020, becoming the last state to do so. The patient had shown symptoms for several days prior. On March 29, 2020, the state reported its first COVID-19 death.\\n\\nAs of March 2022 West Virginia had 490,554 confirmed cases of COVID-19 and 6,339 deaths from the disease. The National Center for Health Statistics estimates that between 99 and 434 excess deaths have occurred in the state through May 9, 2020. West Virginia has administered 1,189,041 COVID-19 vaccine doses, equivalent to 660 doses per 1000 people. 64% of the population have received at least one dose of the vaccine, and 57% are fully vaccinated.\\n\\nTimeline\\n\\n2020 \\nBy March 16, 2020, West Virginia had tested 84 suspected cases of COVID-19. The state announced its first case, in Shepherdstown, on March 17. On March 18, the second case was announced. Also on that date, 148 West Virginians had been tested for the virus. On March 20, West Virginia had confirmed 8 cases of COVID-19. And on March 22, there were 16 confirmed cases.\\n\\nWest Virginia's first death occurred on March 29 in Marion County. The state's first death due to COVID-19 was an 88-year-old woman. At the end of March, there were 4,143 persons in West Virginia tested, of which 162 were positive and 3,981 were negative, alongside this one death. Counties with the highest number of positive cases were in Kanawha and Monongalia counties.\\n\\nAt the end of April 2020, there were 44,700 COVID-19 lab results received in West Virginia, of which 1,125 were positive. The death tally stood at 44.\\n\\nAt the end of May 2020, there were a total of 97,622 COVID-19 laboratory results received, of which 2,010 were positive. The death tally stood at 75.\\n\\nAt the end of June 2020, there were a total of 171,663 COVID-19 laboratory results received, of which 2,905 were positive. The death tally stood at 93.\\n\\nOn July 1, 2020, the cumulative COVID-19 positive test rate was 1.69 percent.\\n\\nOn July 16, an employee who worked for the West Virginia House of Delegates tested positive for the virus according to Speaker Roger Hanshaw, which resulted in closure of the clerk's office until further notice.\\n\\nOn July 25, Doddridge County became the last county in the state to report a positive COVID-19 case.\\n\\n2021\\n\\n2022 \\nOn January 11, Governor Jim Justice said he had tested positive for COVID-19 and felt \\\"extremely unwell\\\". He had been vaccinated and boosted.\\n\\nGovernment responses\\nOn March 13, Governor Jim Justice announced all schools across the state would close indefinitely beginning on March 16, 2020, as a proactive measure.\\n\\nOn March 15, the mayor of Charleston, West Virginia, declared a state of emergency. Then, March 16, the Governor declared a state of emergency.\\n\\nOn March 17, Justice ordered restaurant dining rooms, bars, and casinos to close until March 31.\\n\\nBy March 21, several Mid-Ohio Valley counties had closed their courthouses to the public or limited access.\\n\\nBy March 22, Justice urged West Virginians to stay home as much as possible. Justice was joined by Dr. Clay Marsh, vice president of West Virginia University and executive dean for Health Sciences. Marsh said that New York was being hit by \\\"a tsunami wave of coronavirus cases\\\" and if West Virginians could stay home as much as possible for the next few weeks, the \\\"tsunami wave\\\" can become more \\\"like a stream\\\" for West Virginia.\\n\\nClay Marsh, vice president of West Virginia University and executive dean of Health Sciences, stated: \\\"We are faced with a pandemic by a virus that we have no immune system that responds to, so we can’t fight it ... If we do these things, we’ll continue to be the leaders. We have demonstrated how we too, as a state pulling together, can protect each other and protect our health care workers. Once this window of opportunity is gone, it won’t matter what we do then.\\\"\\n\\nOn March 23, Governor Justice ordered non-essential businesses to be closed immediately, and issued a stay-at-home order effective March 24 at 8 p.m.\\n\\nOn March 25, WV held a statewide Day of Prayer, a 45-minute service dedicated to the people affected with Coronavirus disease. It was held by Governor Jim Justice and moderator Dr. Dan Anderson.\\n\\nOn April 17, the West Virginia Department of Health and Human Resources announced it would work with the National Guard to test individuals for COVID-19 who resided or worked in the state's nursing homes.\\n\\nOn April 30, Justice announced \\\"West Virginia Strong: The Comeback\\\", a lifting of the present stay-at-home order that would transition to a safer-at-home plan. Specific sector businesses would be allowed to re-open over a month and a half after May 3, 2020, if certain parameters of COVID-19 testing were met. West Virginia's stay-at-home order would be lifted at 12:01 a.m. Monday, May 4 and be replaced with a safer-at-home program, which would strongly encourage residents to stay home but not make it mandatory to do so.\\n\\nOn May 14, the WV Governor and Dept. of Health and Human Resources announced plans to increase testing among minorities and otherwise vulnerable populations in counties with large populations and evidence of transmission. The next day, they announced free testing in WV counties that were medically underserved.\\n\\nReligious entities have been excluded from the virus closures in the state. The WV Dept. of Health and Human Resources reported on June 13, a fifth outbreak at churches in the state had occurred. This time it was in Greenbrier County, which followed prior outbreaks at churches in Boone, Hampshire, Jefferson and Marshall counties. The Graystone Baptist Church in Greenbrier County had some 33 COVID-19 cases.\\n\\nBy July 1, some 115 COVID-19 cases were reported across West Virginia, the Governor stated, were traced to residents traveling to Myrtle Beach, South Carolina. \\\"I strongly urge anybody that's been to Myrtle Beach to please get tested\\\" Justice said. In a July 1 press release, Justice reported testing over 10,000 inmates and 4,000 employees in the state's correctional system showed one active COVID-19 case in an inmate at the Huttonsville Correctional Center and Jail and two employees.\\n\\nOn July 2, Justice announced that he was considering making masks mandatory in indoor spaces where social distancing isn't possible. He issued an order on July 6 mandating masks in indoor public spaces outside of the home to reduce the spread of COVID-19.\\n\\nOn December 11, the governor announced that Pfizer vaccine will come soon for West Virginia. The vaccine deployment would be prioritized for hospital and long-term care facility workers, teachers, first responders, and essential sector workers in Phase One. Phase Two, planned to begin in March, are for the general populace that wanted to take the vaccine.\\n\\nFederal response \\nWest Virginia would receive $5.6 million of federal money to fight COVID-19.\\n\\nOn July 1, 2020, in his press release, Justice reported that West Virginia had been awarded over $24 million through the federal CARES Act.\\n\\nImpact on sports and the economy\\n\\nOn March 12, the National Collegiate Athletic Association cancelled all winter and spring tournaments, most notably the Division I men's and women's basketball tournaments, affecting colleges and universities statewide. On March 16, the National Junior College Athletic Association also canceled the remainder of the winter seasons as well as the spring seasons.\\n\\nThe governor's reopening plan required the state's cumulative positive test rate for COVID-19 to stay below three percent for three days, in contrast to the prior benchmark of having cases decline for two weeks.\\n\\nThe Associated Press reported over 250,000 unemployment claims were processed in West Virginia since the pandemic shutdown in March. Workforce West Virginia surpassed $1 billion in unemployment benefits to West Virginia residents. The unemployment rate in the state fell two points to 12.9 percent in May as the state started its reopening. West Virginia received over 35,000 fraudulent pandemic claims in June.\\n\\nJustice, in his July 1 press release, announced \\\"historic revenue surplus\\\" in West Virginia for fiscal year 2020 amidst the COVID-19 pandemic. He also stated that overall consumer spending in the state returned to pre-pandemic levels in June, according to a state-by-state analysis he said was conduced by the Harvard-based research group Opportunity Insights.\\n\\nThe West Virginia Strong—The Comeback plan to restart the state's economy saw July 1 reopenings include fairs, festivals, amusement parks, and rides, along with outdoor open air concerts.\\n\\nStatistics\\n\\nSee also\\n Timeline of the COVID-19 pandemic in the United States\\n COVID-19 pandemic in the United States – for impact on the country\\n COVID-19 pandemic – for impact on other countries\\n\\nReferences\\n\\nExternal links \\n\\n Information from the West Virginia Department of Health & Human Resources\\n\\ncoronavirus pandemic\\ncoronavirus pandemic\\nWest Virginia\\nDisasters in West Virginia\\nHealth in West Virginia\"\n]"},"chunked_article":{"kind":"list like","value":["Lewis Robert \"Hack\" Wilson (April 26, 1900 – November 23, 1948) was an American Major League Baseball player who played 12 seasons for the New York Giants, Chicago Cubs, Brooklyn Dodgers and Philadelphia Phillies. Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s.","Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s. His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history.","His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history. Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed.","Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed. \"For a brief span of a few years\", wrote a sportswriter of the day, \"this hammered down little strongman actually rivaled the mighty Ruth.\"","\"For a brief span of a few years\", wrote a sportswriter of the day, \"this hammered down little strongman actually rivaled the mighty Ruth.\" While Wilson's combativeness and excessive alcohol consumption made him one of the most colorful sports personalities of his era, his drinking and fighting undoubtedly contributed to a premature end to his athletic career and, ultimately, his premature death.","While Wilson's combativeness and excessive alcohol consumption made him one of the most colorful sports personalities of his era, his drinking and fighting undoubtedly contributed to a premature end to his athletic career and, ultimately, his premature death. He was inducted into the Baseball Hall of Fame in 1979.","He was inducted into the Baseball Hall of Fame in 1979. Baseball career Early life and minor leagues Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh.","Baseball career Early life and minor leagues Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker.","His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker. His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24.","His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24. In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week.","In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week. Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes.","Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes. Sportswriter Shirley Povich later observed that he was \"built along the lines of a beer keg, and was not wholly unfamiliar with its contents.\"","Sportswriter Shirley Povich later observed that he was \"built along the lines of a beer keg, and was not wholly unfamiliar with its contents.\" While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of Fetal Alcohol Syndrome.","While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of Fetal Alcohol Syndrome. In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \"D\" Blue Ridge League.","In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \"D\" Blue Ridge League. After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield.","After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield. In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year.","In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year. In 1923, playing for the \"B\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average.","In 1923, playing for the \"B\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average. Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500 ($ in current dollar terms).","Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500 ($ in current dollar terms). New York Giants Wilson made his major league debut with the Giants on September 29, 1923, at the age of 23, and became the starting left fielder the following season.","New York Giants Wilson made his major league debut with the Giants on September 29, 1923, at the age of 23, and became the starting left fielder the following season. By mid-July he was ranked second in the National League (NL) in hitting.","By mid-July he was ranked second in the National League (NL) in hitting. He ended the season with a .295 average, 10 home runs, and 57 runs batted in (RBIs) as New York won the NL pennant. In the 1924 World Series he averaged only .233 in a seven-game loss to the Washington Senators.","In the 1924 World Series he averaged only .233 in a seven-game loss to the Washington Senators. Multiple stories exist to explain the origin of Wilson's nickname: By one account, a New York newspaper held a nicknaming contest; the winning entry was \"Hack\" because he reminded many fans of another stocky athlete, the popular wrestler Georg Hackenschmidt.","Multiple stories exist to explain the origin of Wilson's nickname: By one account, a New York newspaper held a nicknaming contest; the winning entry was \"Hack\" because he reminded many fans of another stocky athlete, the popular wrestler Georg Hackenschmidt. In another version, McGraw is said to have remarked that Wilson's physique was reminiscent of a \"hack\" (slang for taxicab in that era).","In another version, McGraw is said to have remarked that Wilson's physique was reminiscent of a \"hack\" (slang for taxicab in that era). Giants teammate Bill Cunningham claimed that the nickname was based on Wilson's resemblance to Hack Miller, an outfielder with the Chicago Cubs.","Giants teammate Bill Cunningham claimed that the nickname was based on Wilson's resemblance to Hack Miller, an outfielder with the Chicago Cubs. The New York Times printed the first documented usage of \"Hack\" on June 10, 1924.","The New York Times printed the first documented usage of \"Hack\" on June 10, 1924. Early in the 1925 season Wilson hit the longest home run on record at Ebbets Field against the Brooklyn Robins, but fell into a slump in May, and was replaced in left field by Irish Meusel.","Early in the 1925 season Wilson hit the longest home run on record at Ebbets Field against the Brooklyn Robins, but fell into a slump in May, and was replaced in left field by Irish Meusel. On July 2 he hit two home runs in one inning, tying Ken Williams' major league record set in 1922, but his hitting slump continued.","On July 2 he hit two home runs in one inning, tying Ken Williams' major league record set in 1922, but his hitting slump continued. In August McGraw told reporters that he had \"... made the mistake of rushing [Wilson] along,\" and sent him to the Giants' minor league affiliate, the Toledo Mud Hens of the American Association.","In August McGraw told reporters that he had \"... made the mistake of rushing [Wilson] along,\" and sent him to the Giants' minor league affiliate, the Toledo Mud Hens of the American Association. At season's end, a front office oversight—or possibly, deliberate inaction—left him unprotected on the Toledo roster, and the last-place Chicago Cubs acquired him on waivers.","At season's end, a front office oversight—or possibly, deliberate inaction—left him unprotected on the Toledo roster, and the last-place Chicago Cubs acquired him on waivers. \"They let go the best outfielder I ever played alongside\", said Giants right fielder Ross Youngs, \"and they're going to regret it.\"","\"They let go the best outfielder I ever played alongside\", said Giants right fielder Ross Youngs, \"and they're going to regret it.\" During the 1925 World Series — between the Senators and the Pittsburgh Pirates — Wilson's son, Robert, was born.","During the 1925 World Series — between the Senators and the Pittsburgh Pirates — Wilson's son, Robert, was born. Glory years with the Cubs Wilson regained his form as the Cubs' center fielder in 1926, and he quickly became a favorite of Chicago fans.","Glory years with the Cubs Wilson regained his form as the Cubs' center fielder in 1926, and he quickly became a favorite of Chicago fans. On May 24 he hit the center field scoreboard with one of the longest home runs in Wrigley Field history as the Cubs came from behind to defeat the Boston Braves.","On May 24 he hit the center field scoreboard with one of the longest home runs in Wrigley Field history as the Cubs came from behind to defeat the Boston Braves. Later that evening he made news again when he was arrested during a police raid of a Prohibition-era speakeasy while trying to escape through the rear window, and was fined one dollar.","Later that evening he made news again when he was arrested during a police raid of a Prohibition-era speakeasy while trying to escape through the rear window, and was fined one dollar. He ended the season with a league-leading 21 home runs along with 36 doubles, 109 RBIs, a .321 batting average, and a .406 on-base percentage.","He ended the season with a league-leading 21 home runs along with 36 doubles, 109 RBIs, a .321 batting average, and a .406 on-base percentage. The Cubs improved to fourth place, and Wilson ended the year ranked fifth in voting for the NL's Most Valuable Player (MVP) Award.","The Cubs improved to fourth place, and Wilson ended the year ranked fifth in voting for the NL's Most Valuable Player (MVP) Award. Another strong performance followed in 1927 as Wilson once again led the league in home runs.","Another strong performance followed in 1927 as Wilson once again led the league in home runs. Although the Cubs were in first place heading into the final month of the season, the team faltered and again finished fourth. Wilson posted a .318 average with 30 home runs and 129 RBIs, and led NL outfielders with 400 putouts.","Wilson posted a .318 average with 30 home runs and 129 RBIs, and led NL outfielders with 400 putouts. He led the NL in home runs for a third consecutive year in 1928 with 31, along with 120 RBIs and a .313 average as the Cubs improved to third place.","He led the NL in home runs for a third consecutive year in 1928 with 31, along with 120 RBIs and a .313 average as the Cubs improved to third place. Wilson had a combative streak and sometimes initiated fights with opposing players and fans.","Wilson had a combative streak and sometimes initiated fights with opposing players and fans. On June 22, 1928, a near-riot broke out in the ninth inning at Wrigley Field against the St. Louis Cardinals when Wilson jumped into the box seats to attack a heckling fan.","On June 22, 1928, a near-riot broke out in the ninth inning at Wrigley Field against the St. Louis Cardinals when Wilson jumped into the box seats to attack a heckling fan. An estimated 5,000 spectators swarmed the field before police could separate the combatants and restore order.","An estimated 5,000 spectators swarmed the field before police could separate the combatants and restore order. The fan sued Wilson for $20,000, but a jury ruled in his favor.","The fan sued Wilson for $20,000, but a jury ruled in his favor. The following year he took offense at a remark by Cincinnati Reds pitcher Ray Kolp, and – upon reaching first base after hitting a single – he charged into the Reds dugout, punching Kolp several times before they could be separated.","The following year he took offense at a remark by Cincinnati Reds pitcher Ray Kolp, and – upon reaching first base after hitting a single – he charged into the Reds dugout, punching Kolp several times before they could be separated. Later that evening at the train station, Wilson exchanged words and blows with Cincinnati player Pete Donohue.","Later that evening at the train station, Wilson exchanged words and blows with Cincinnati player Pete Donohue. In late 1929 he signed a contract to fight Art Shires of the Chicago White Sox in a boxing match, but reneged after Cubs president William Veeck, Sr. enlisted Hack's wife Virginia to dissuade him, and then Shires lost a fight to George Trafton of the Chicago Bears.","In late 1929 he signed a contract to fight Art Shires of the Chicago White Sox in a boxing match, but reneged after Cubs president William Veeck, Sr. enlisted Hack's wife Virginia to dissuade him, and then Shires lost a fight to George Trafton of the Chicago Bears. There was nothing to gain, Wilson said, by fighting a defeated boxer.","There was nothing to gain, Wilson said, by fighting a defeated boxer. Wilson's \"penchant for festivities\" is also well documented.","Wilson's \"penchant for festivities\" is also well documented. Biographer Clifton Blue Parker described him as \"... the Roaring '20s epitome of a baseball player, primed for an age of American excess ... at a time when baseball was America's favorite sport.\"","Biographer Clifton Blue Parker described him as \"... the Roaring '20s epitome of a baseball player, primed for an age of American excess ... at a time when baseball was America's favorite sport.\" His love of drinking and partying did not endear him to Cubs owner William Wrigley, who abhorred alcohol consumption.","His love of drinking and partying did not endear him to Cubs owner William Wrigley, who abhorred alcohol consumption. (Wilson always insisted that he never played drunk; \"hung over, yes; drunk, no.\") Manager Joe McCarthy worked hard to shield Wilson from Wrigley, and to keep him on an even keel.","Manager Joe McCarthy worked hard to shield Wilson from Wrigley, and to keep him on an even keel. \"Better than any other manager,\" wrote sportswriter Frank Graham, \"Joe understood Hack, made allowances for him when he failed, and rewarded him with praise when he did well.","\"Better than any other manager,\" wrote sportswriter Frank Graham, \"Joe understood Hack, made allowances for him when he failed, and rewarded him with praise when he did well. Joe could be strict and stern with his players ... but he never was with Hack, and Hack repaid him by playing as he never had before, nor would again.\"","Joe could be strict and stern with his players ... but he never was with Hack, and Hack repaid him by playing as he never had before, nor would again.\" In 1929 Wilson hit .345 with 39 home runs and a league-record 159 RBIs.","In 1929 Wilson hit .345 with 39 home runs and a league-record 159 RBIs. He and new teammate Rogers Hornsby (who also contributed 39 home runs) led the Cubs to their first NL pennant in eleven years.","He and new teammate Rogers Hornsby (who also contributed 39 home runs) led the Cubs to their first NL pennant in eleven years. In the World Series against Connie Mack's Philadelphia Athletics, Wilson's .471 hitting performance was eclipsed by two fielding errors at Shibe Park.","In the World Series against Connie Mack's Philadelphia Athletics, Wilson's .471 hitting performance was eclipsed by two fielding errors at Shibe Park. Though trailing the Series two games to one, the Cubs were leading by a score of 8–0 in the fourth game when the Athletics mounted a 10-run rally in the seventh inning.","Though trailing the Series two games to one, the Cubs were leading by a score of 8–0 in the fourth game when the Athletics mounted a 10-run rally in the seventh inning. Wilson lost two fly balls in the sun; the second, with two runners on base, led to an inside-the-park home run by Mule Haas as the Athletics won 10–8.","Wilson lost two fly balls in the sun; the second, with two runners on base, led to an inside-the-park home run by Mule Haas as the Athletics won 10–8. After the game, McCarthy reportedly told a boy asking for a souvenir baseball, \"Come back tomorrow and stand behind Wilson, and you'll be able to pick up all the balls you want!\"","After the game, McCarthy reportedly told a boy asking for a souvenir baseball, \"Come back tomorrow and stand behind Wilson, and you'll be able to pick up all the balls you want!\" The Athletics won again the next day to take the Series in five games.","The Athletics won again the next day to take the Series in five games. 1930 peak Wilson's 1930 season, aided by a lively ball wound with special Australian wool, is considered one of the best single-season hitting performances in baseball history. By the middle of July he had accumulated 82 RBIs.","By the middle of July he had accumulated 82 RBIs. In August he hit 13 home runs and 53 RBIs, and by September 17 he had reached 174 RBIs, breaking Lou Gehrig's major league record established three years earlier.","In August he hit 13 home runs and 53 RBIs, and by September 17 he had reached 174 RBIs, breaking Lou Gehrig's major league record established three years earlier. He finished the season with 190 RBIs, along with an NL-record 56 home runs, .356 batting average, .454 on-base percentage, and league-leading .723 slugging percentage.","He finished the season with 190 RBIs, along with an NL-record 56 home runs, .356 batting average, .454 on-base percentage, and league-leading .723 slugging percentage. He was unofficially voted the NL's most \"useful\" player by the Baseball Writers' Association of America (which did not inaugurate its official MVP award until 1931).","He was unofficially voted the NL's most \"useful\" player by the Baseball Writers' Association of America (which did not inaugurate its official MVP award until 1931). In 1999 the Commissioner of Baseball officially increased Wilson's 1930 RBI total to 191 after a box score analysis by baseball historian Jerome Holtzman revealed that Charlie Grimm had been mistakenly credited with an RBI actually driven home by Wilson during the second game of a doubleheader on July 28.","In 1999 the Commissioner of Baseball officially increased Wilson's 1930 RBI total to 191 after a box score analysis by baseball historian Jerome Holtzman revealed that Charlie Grimm had been mistakenly credited with an RBI actually driven home by Wilson during the second game of a doubleheader on July 28. Wilson's 191 RBIs remains one of baseball's most enduring records; only Gehrig (185) and Hank Greenberg (184) ever came close, and there have been no serious challenges in the last 75 years.","Wilson's 191 RBIs remains one of baseball's most enduring records; only Gehrig (185) and Hank Greenberg (184) ever came close, and there have been no serious challenges in the last 75 years. (The best recent effort was 165 by Manny Ramirez in 1999.)","(The best recent effort was 165 by Manny Ramirez in 1999.) Reds catcher Clyde Sukeforth asserted that Wilson should have been credited with an additional home run in 1930 as well.","Reds catcher Clyde Sukeforth asserted that Wilson should have been credited with an additional home run in 1930 as well. \"He hit one in Cincinnati one day\", he said, \"way up in the seats, hit it so hard that it bounced right back onto the field.","\"He hit one in Cincinnati one day\", he said, \"way up in the seats, hit it so hard that it bounced right back onto the field. The umpire had a bad angle on it and ruled that it had hit the screen and bounced back.","The umpire had a bad angle on it and ruled that it had hit the screen and bounced back. I was sitting in the Cincinnati bullpen, and of course, we weren't going to say anything. But Hack really hit 57 that year.\"","But Hack really hit 57 that year.\" Wilson's official total of 56 stood as the NL record until the 1998 season, when it was broken by Sammy Sosa (66) and Mark McGwire (70).","Wilson's official total of 56 stood as the NL record until the 1998 season, when it was broken by Sammy Sosa (66) and Mark McGwire (70). Decline Wilson's success in the 1930 season served only to fuel his drinking habits, and in 1931 he reported to spring training 20 pounds overweight.","Decline Wilson's success in the 1930 season served only to fuel his drinking habits, and in 1931 he reported to spring training 20 pounds overweight. In addition, the NL responded to the prodigious offensive statistics of the previous year (the only season, other than 1894, in which the league as a whole batted over .300) by introducing a heavier ball with raised stitching to allow pitchers to gain a better grip and throw sharper curveballs.","In addition, the NL responded to the prodigious offensive statistics of the previous year (the only season, other than 1894, in which the league as a whole batted over .300) by introducing a heavier ball with raised stitching to allow pitchers to gain a better grip and throw sharper curveballs. Wilson complained that the new Cubs manager, Hornsby, did not allow him to \"swing away\" as much as Joe McCarthy had.","Wilson complained that the new Cubs manager, Hornsby, did not allow him to \"swing away\" as much as Joe McCarthy had. He hit his 200th career home run at Ebbets Field on June 18 — only the fourth player ever to do so, behind Ruth, Cy Williams, and Hornsby — but then fell into a protracted slump, and was benched in late May.","He hit his 200th career home run at Ebbets Field on June 18 — only the fourth player ever to do so, behind Ruth, Cy Williams, and Hornsby — but then fell into a protracted slump, and was benched in late May. By late August Wrigley publicly expressed his desire to trade him.","By late August Wrigley publicly expressed his desire to trade him. On September 6 he was suspended without pay for the remainder of the season after a fight with reporters aboard a train in Cincinnati. He was hitting .261 with only 13 home runs (his 1930 production during August alone) at the time.","He was hitting .261 with only 13 home runs (his 1930 production during August alone) at the time. In December 1931, the Cubs traded Wilson, along with Bud Teachout, to the St. Louis Cardinals for Burleigh Grimes.","In December 1931, the Cubs traded Wilson, along with Bud Teachout, to the St. Louis Cardinals for Burleigh Grimes. Less than a month later, the Cardinals sent him to the Brooklyn Dodgers for minor league outfielder Bob Parham and $25,000 ($ in current dollar terms).","Less than a month later, the Cardinals sent him to the Brooklyn Dodgers for minor league outfielder Bob Parham and $25,000 ($ in current dollar terms). Wilson hit .297 with 23 home runs and 123 RBIs for Brooklyn in 1932.","Wilson hit .297 with 23 home runs and 123 RBIs for Brooklyn in 1932. He began 1933 with a ninth-inning game-winning pinch-hit inside-the-park grand slam home run at Ebbets Field—the first pinch-hit grand slam in Dodger history, and only the third inside-the-park pinch-hit grand slam in MLB history.","He began 1933 with a ninth-inning game-winning pinch-hit inside-the-park grand slam home run at Ebbets Field—the first pinch-hit grand slam in Dodger history, and only the third inside-the-park pinch-hit grand slam in MLB history. By season's end his offensive totals had dropped substantially, and he was hitting .262 when the Dodgers released him mid-season in 1934.","By season's end his offensive totals had dropped substantially, and he was hitting .262 when the Dodgers released him mid-season in 1934. The Philadelphia Phillies signed him immediately, but after just two hits in 20 at bats he was released again a month later.","The Philadelphia Phillies signed him immediately, but after just two hits in 20 at bats he was released again a month later. After a final season with the Albany Senators of the Class \"A\" New York–Pennsylvania League, Wilson retired at the age of 35.","After a final season with the Albany Senators of the Class \"A\" New York–Pennsylvania League, Wilson retired at the age of 35. Career statistics In a 12-year major league career, Wilson played in 1,348 games and accumulated 1,461 hits in 4,760 at-bats for a .307 career batting average and a .395 on-base percentage.","Career statistics In a 12-year major league career, Wilson played in 1,348 games and accumulated 1,461 hits in 4,760 at-bats for a .307 career batting average and a .395 on-base percentage. He hit 244 home runs and batted in 1,063 runs, led the NL in home runs four times, and surpassed 100 RBIs six times.","He hit 244 home runs and batted in 1,063 runs, led the NL in home runs four times, and surpassed 100 RBIs six times. Defensively, he finished his career with a .965 fielding percentage.","Defensively, he finished his career with a .965 fielding percentage. Life after baseball Wilson returned to Martinsburg where he opened a pool hall, but encountered financial problems due to a failed sporting goods business venture, and then a rancorous divorce from Virginia.","Life after baseball Wilson returned to Martinsburg where he opened a pool hall, but encountered financial problems due to a failed sporting goods business venture, and then a rancorous divorce from Virginia. By 1938 he was working as a bartender near Brooklyn's Ebbets Field where he sang for drinks, but had to quit when customers became too abusive.","By 1938 he was working as a bartender near Brooklyn's Ebbets Field where he sang for drinks, but had to quit when customers became too abusive. A night club venture in suburban Chicago was another financial failure.","A night club venture in suburban Chicago was another financial failure. In 1944 he took a job as a good will ambassador for a professional basketball team in Washington, D.C., where he lamented that fans remembered his two dropped fly balls in the 1929 World Series far more vividly than his 56 home runs and 191 RBIs in 1930.","In 1944 he took a job as a good will ambassador for a professional basketball team in Washington, D.C., where he lamented that fans remembered his two dropped fly balls in the 1929 World Series far more vividly than his 56 home runs and 191 RBIs in 1930. Unable to find work in professional baseball, he moved to Baltimore where he worked as a tool checker in an airplane manufacturing plant and later as a laborer for the City of Baltimore.","Unable to find work in professional baseball, he moved to Baltimore where he worked as a tool checker in an airplane manufacturing plant and later as a laborer for the City of Baltimore. When municipal authorities realized who he was, he was made the manager of a Baltimore public swimming pool.","When municipal authorities realized who he was, he was made the manager of a Baltimore public swimming pool. On October 4, 1948 Wilson was discovered unconscious after a fall in his home.","On October 4, 1948 Wilson was discovered unconscious after a fall in his home. Though the accident did not appear serious at first, pneumonia and other complications developed and he died of internal hemorrhaging on November 23, 1948, at the age of 48.","Though the accident did not appear serious at first, pneumonia and other complications developed and he died of internal hemorrhaging on November 23, 1948, at the age of 48. Wilson — once the highest-paid player in the National League — died penniless; his son, Robert, refused to claim his remains.","Wilson — once the highest-paid player in the National League — died penniless; his son, Robert, refused to claim his remains. NL President Ford Frick finally sent money to cover his funeral expenses. His gray burial suit was donated by the undertaker.","His gray burial suit was donated by the undertaker. In marked contrast to Babe Ruth's funeral, which had been attended by thousands just three months earlier, only a few hundred people were present for Wilson's services. He was buried in Rosedale Cemetery in the town where he made his professional playing debut, Martinsburg, West Virginia.","He was buried in Rosedale Cemetery in the town where he made his professional playing debut, Martinsburg, West Virginia. Ten months later Joe McCarthy organized a second, more complete memorial service, attended by Kiki Cuyler, Charlie Grimm, Nick Altrock and other players from the Cubs and the Martinsburg team (by then renamed the Blue Sox).","Ten months later Joe McCarthy organized a second, more complete memorial service, attended by Kiki Cuyler, Charlie Grimm, Nick Altrock and other players from the Cubs and the Martinsburg team (by then renamed the Blue Sox). A granite tombstone was unveiled, with the inscription, \"One of Baseball's Immortals, Lewis R. (Hack) Wilson, Rests Here.\"","A granite tombstone was unveiled, with the inscription, \"One of Baseball's Immortals, Lewis R. (Hack) Wilson, Rests Here.\" One week before his death, Wilson gave an interview to CBS Radio which was reprinted in Chicago newspapers.","One week before his death, Wilson gave an interview to CBS Radio which was reprinted in Chicago newspapers. In 1949 Charlie Grimm, the Cubs' new manager, posted a framed excerpt from that interview in the Cubs clubhouse, where it remains. It reads, in part: Talent isn't enough.","It reads, in part: Talent isn't enough. You need common sense and good advice. If anyone tries to tell you different, tell them the story of Hack Wilson. ... Kids in and out of baseball who think because they have talent they have the world by the tail. It isn't so.","It isn't so. It isn't so. Kids, don't be too big to accept advice. Don't let what happened to me happen to you. In 1979 Wilson was inducted into the Baseball Hall of Fame by the Veterans Committee.","In 1979 Wilson was inducted into the Baseball Hall of Fame by the Veterans Committee. A Martinsburg street is named Hack Wilson Way in his honor, and the access road to a large city park within his home town, Ellwood City, Pennsylvania, is known as Hack Wilson Drive.","A Martinsburg street is named Hack Wilson Way in his honor, and the access road to a large city park within his home town, Ellwood City, Pennsylvania, is known as Hack Wilson Drive. See also 50 home run club List of Major League Baseball annual home run leaders List of Major League Baseball annual runs batted in leaders List of Major League Baseball players to hit for the cycle List of Major League Baseball career runs batted in leaders List of Major League Baseball career slugging percentage leaders List of Major League Baseball career OPS leaders List of Major League Baseball career home run leaders References Further reading Subscription required.","See also 50 home run club List of Major League Baseball annual home run leaders List of Major League Baseball annual runs batted in leaders List of Major League Baseball players to hit for the cycle List of Major League Baseball career runs batted in leaders List of Major League Baseball career slugging percentage leaders List of Major League Baseball career OPS leaders List of Major League Baseball career home run leaders References Further reading Subscription required. Subscription required.","Subscription required. Subscription required. External links , or Retrosheet National Baseball Hall of Fame inductees Major League Baseball center fielders Chicago Cubs players Brooklyn Dodgers players New York Giants (NL) players Philadelphia Phillies players National League home run champions National League RBI champions Martinsburg Mountaineers players Martinsburg Blue Sox players Portsmouth Truckers players Toledo Mud Hens players Albany Senators players Baseball players from Pennsylvania Sportspeople from Martinsburg, West Virginia People from Ellwood City, Pennsylvania People from Lawrence County, Pennsylvania 1900 births 1948 deaths"],"string":"[\n \"Lewis Robert \\\"Hack\\\" Wilson (April 26, 1900 – November 23, 1948) was an American Major League Baseball player who played 12 seasons for the New York Giants, Chicago Cubs, Brooklyn Dodgers and Philadelphia Phillies. Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s.\",\n \"Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s. His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history.\",\n \"His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history. Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed.\",\n \"Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed. \\\"For a brief span of a few years\\\", wrote a sportswriter of the day, \\\"this hammered down little strongman actually rivaled the mighty Ruth.\\\"\",\n \"\\\"For a brief span of a few years\\\", wrote a sportswriter of the day, \\\"this hammered down little strongman actually rivaled the mighty Ruth.\\\" While Wilson's combativeness and excessive alcohol consumption made him one of the most colorful sports personalities of his era, his drinking and fighting undoubtedly contributed to a premature end to his athletic career and, ultimately, his premature death.\",\n \"While Wilson's combativeness and excessive alcohol consumption made him one of the most colorful sports personalities of his era, his drinking and fighting undoubtedly contributed to a premature end to his athletic career and, ultimately, his premature death. He was inducted into the Baseball Hall of Fame in 1979.\",\n \"He was inducted into the Baseball Hall of Fame in 1979. Baseball career Early life and minor leagues Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh.\",\n \"Baseball career Early life and minor leagues Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker.\",\n \"His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker. His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24.\",\n \"His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24. In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week.\",\n \"In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week. Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes.\",\n \"Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes. Sportswriter Shirley Povich later observed that he was \\\"built along the lines of a beer keg, and was not wholly unfamiliar with its contents.\\\"\",\n \"Sportswriter Shirley Povich later observed that he was \\\"built along the lines of a beer keg, and was not wholly unfamiliar with its contents.\\\" While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of Fetal Alcohol Syndrome.\",\n \"While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of Fetal Alcohol Syndrome. In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \\\"D\\\" Blue Ridge League.\",\n \"In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \\\"D\\\" Blue Ridge League. After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield.\",\n \"After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield. In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year.\",\n \"In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year. In 1923, playing for the \\\"B\\\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average.\",\n \"In 1923, playing for the \\\"B\\\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average. Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500 ($ in current dollar terms).\",\n \"Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500 ($ in current dollar terms). New York Giants Wilson made his major league debut with the Giants on September 29, 1923, at the age of 23, and became the starting left fielder the following season.\",\n \"New York Giants Wilson made his major league debut with the Giants on September 29, 1923, at the age of 23, and became the starting left fielder the following season. By mid-July he was ranked second in the National League (NL) in hitting.\",\n \"By mid-July he was ranked second in the National League (NL) in hitting. He ended the season with a .295 average, 10 home runs, and 57 runs batted in (RBIs) as New York won the NL pennant. In the 1924 World Series he averaged only .233 in a seven-game loss to the Washington Senators.\",\n \"In the 1924 World Series he averaged only .233 in a seven-game loss to the Washington Senators. Multiple stories exist to explain the origin of Wilson's nickname: By one account, a New York newspaper held a nicknaming contest; the winning entry was \\\"Hack\\\" because he reminded many fans of another stocky athlete, the popular wrestler Georg Hackenschmidt.\",\n \"Multiple stories exist to explain the origin of Wilson's nickname: By one account, a New York newspaper held a nicknaming contest; the winning entry was \\\"Hack\\\" because he reminded many fans of another stocky athlete, the popular wrestler Georg Hackenschmidt. In another version, McGraw is said to have remarked that Wilson's physique was reminiscent of a \\\"hack\\\" (slang for taxicab in that era).\",\n \"In another version, McGraw is said to have remarked that Wilson's physique was reminiscent of a \\\"hack\\\" (slang for taxicab in that era). Giants teammate Bill Cunningham claimed that the nickname was based on Wilson's resemblance to Hack Miller, an outfielder with the Chicago Cubs.\",\n \"Giants teammate Bill Cunningham claimed that the nickname was based on Wilson's resemblance to Hack Miller, an outfielder with the Chicago Cubs. The New York Times printed the first documented usage of \\\"Hack\\\" on June 10, 1924.\",\n \"The New York Times printed the first documented usage of \\\"Hack\\\" on June 10, 1924. Early in the 1925 season Wilson hit the longest home run on record at Ebbets Field against the Brooklyn Robins, but fell into a slump in May, and was replaced in left field by Irish Meusel.\",\n \"Early in the 1925 season Wilson hit the longest home run on record at Ebbets Field against the Brooklyn Robins, but fell into a slump in May, and was replaced in left field by Irish Meusel. On July 2 he hit two home runs in one inning, tying Ken Williams' major league record set in 1922, but his hitting slump continued.\",\n \"On July 2 he hit two home runs in one inning, tying Ken Williams' major league record set in 1922, but his hitting slump continued. In August McGraw told reporters that he had \\\"... made the mistake of rushing [Wilson] along,\\\" and sent him to the Giants' minor league affiliate, the Toledo Mud Hens of the American Association.\",\n \"In August McGraw told reporters that he had \\\"... made the mistake of rushing [Wilson] along,\\\" and sent him to the Giants' minor league affiliate, the Toledo Mud Hens of the American Association. At season's end, a front office oversight—or possibly, deliberate inaction—left him unprotected on the Toledo roster, and the last-place Chicago Cubs acquired him on waivers.\",\n \"At season's end, a front office oversight—or possibly, deliberate inaction—left him unprotected on the Toledo roster, and the last-place Chicago Cubs acquired him on waivers. \\\"They let go the best outfielder I ever played alongside\\\", said Giants right fielder Ross Youngs, \\\"and they're going to regret it.\\\"\",\n \"\\\"They let go the best outfielder I ever played alongside\\\", said Giants right fielder Ross Youngs, \\\"and they're going to regret it.\\\" During the 1925 World Series — between the Senators and the Pittsburgh Pirates — Wilson's son, Robert, was born.\",\n \"During the 1925 World Series — between the Senators and the Pittsburgh Pirates — Wilson's son, Robert, was born. Glory years with the Cubs Wilson regained his form as the Cubs' center fielder in 1926, and he quickly became a favorite of Chicago fans.\",\n \"Glory years with the Cubs Wilson regained his form as the Cubs' center fielder in 1926, and he quickly became a favorite of Chicago fans. On May 24 he hit the center field scoreboard with one of the longest home runs in Wrigley Field history as the Cubs came from behind to defeat the Boston Braves.\",\n \"On May 24 he hit the center field scoreboard with one of the longest home runs in Wrigley Field history as the Cubs came from behind to defeat the Boston Braves. Later that evening he made news again when he was arrested during a police raid of a Prohibition-era speakeasy while trying to escape through the rear window, and was fined one dollar.\",\n \"Later that evening he made news again when he was arrested during a police raid of a Prohibition-era speakeasy while trying to escape through the rear window, and was fined one dollar. He ended the season with a league-leading 21 home runs along with 36 doubles, 109 RBIs, a .321 batting average, and a .406 on-base percentage.\",\n \"He ended the season with a league-leading 21 home runs along with 36 doubles, 109 RBIs, a .321 batting average, and a .406 on-base percentage. The Cubs improved to fourth place, and Wilson ended the year ranked fifth in voting for the NL's Most Valuable Player (MVP) Award.\",\n \"The Cubs improved to fourth place, and Wilson ended the year ranked fifth in voting for the NL's Most Valuable Player (MVP) Award. Another strong performance followed in 1927 as Wilson once again led the league in home runs.\",\n \"Another strong performance followed in 1927 as Wilson once again led the league in home runs. Although the Cubs were in first place heading into the final month of the season, the team faltered and again finished fourth. Wilson posted a .318 average with 30 home runs and 129 RBIs, and led NL outfielders with 400 putouts.\",\n \"Wilson posted a .318 average with 30 home runs and 129 RBIs, and led NL outfielders with 400 putouts. He led the NL in home runs for a third consecutive year in 1928 with 31, along with 120 RBIs and a .313 average as the Cubs improved to third place.\",\n \"He led the NL in home runs for a third consecutive year in 1928 with 31, along with 120 RBIs and a .313 average as the Cubs improved to third place. Wilson had a combative streak and sometimes initiated fights with opposing players and fans.\",\n \"Wilson had a combative streak and sometimes initiated fights with opposing players and fans. On June 22, 1928, a near-riot broke out in the ninth inning at Wrigley Field against the St. Louis Cardinals when Wilson jumped into the box seats to attack a heckling fan.\",\n \"On June 22, 1928, a near-riot broke out in the ninth inning at Wrigley Field against the St. Louis Cardinals when Wilson jumped into the box seats to attack a heckling fan. An estimated 5,000 spectators swarmed the field before police could separate the combatants and restore order.\",\n \"An estimated 5,000 spectators swarmed the field before police could separate the combatants and restore order. The fan sued Wilson for $20,000, but a jury ruled in his favor.\",\n \"The fan sued Wilson for $20,000, but a jury ruled in his favor. The following year he took offense at a remark by Cincinnati Reds pitcher Ray Kolp, and – upon reaching first base after hitting a single – he charged into the Reds dugout, punching Kolp several times before they could be separated.\",\n \"The following year he took offense at a remark by Cincinnati Reds pitcher Ray Kolp, and – upon reaching first base after hitting a single – he charged into the Reds dugout, punching Kolp several times before they could be separated. Later that evening at the train station, Wilson exchanged words and blows with Cincinnati player Pete Donohue.\",\n \"Later that evening at the train station, Wilson exchanged words and blows with Cincinnati player Pete Donohue. In late 1929 he signed a contract to fight Art Shires of the Chicago White Sox in a boxing match, but reneged after Cubs president William Veeck, Sr. enlisted Hack's wife Virginia to dissuade him, and then Shires lost a fight to George Trafton of the Chicago Bears.\",\n \"In late 1929 he signed a contract to fight Art Shires of the Chicago White Sox in a boxing match, but reneged after Cubs president William Veeck, Sr. enlisted Hack's wife Virginia to dissuade him, and then Shires lost a fight to George Trafton of the Chicago Bears. There was nothing to gain, Wilson said, by fighting a defeated boxer.\",\n \"There was nothing to gain, Wilson said, by fighting a defeated boxer. Wilson's \\\"penchant for festivities\\\" is also well documented.\",\n \"Wilson's \\\"penchant for festivities\\\" is also well documented. Biographer Clifton Blue Parker described him as \\\"... the Roaring '20s epitome of a baseball player, primed for an age of American excess ... at a time when baseball was America's favorite sport.\\\"\",\n \"Biographer Clifton Blue Parker described him as \\\"... the Roaring '20s epitome of a baseball player, primed for an age of American excess ... at a time when baseball was America's favorite sport.\\\" His love of drinking and partying did not endear him to Cubs owner William Wrigley, who abhorred alcohol consumption.\",\n \"His love of drinking and partying did not endear him to Cubs owner William Wrigley, who abhorred alcohol consumption. (Wilson always insisted that he never played drunk; \\\"hung over, yes; drunk, no.\\\") Manager Joe McCarthy worked hard to shield Wilson from Wrigley, and to keep him on an even keel.\",\n \"Manager Joe McCarthy worked hard to shield Wilson from Wrigley, and to keep him on an even keel. \\\"Better than any other manager,\\\" wrote sportswriter Frank Graham, \\\"Joe understood Hack, made allowances for him when he failed, and rewarded him with praise when he did well.\",\n \"\\\"Better than any other manager,\\\" wrote sportswriter Frank Graham, \\\"Joe understood Hack, made allowances for him when he failed, and rewarded him with praise when he did well. Joe could be strict and stern with his players ... but he never was with Hack, and Hack repaid him by playing as he never had before, nor would again.\\\"\",\n \"Joe could be strict and stern with his players ... but he never was with Hack, and Hack repaid him by playing as he never had before, nor would again.\\\" In 1929 Wilson hit .345 with 39 home runs and a league-record 159 RBIs.\",\n \"In 1929 Wilson hit .345 with 39 home runs and a league-record 159 RBIs. He and new teammate Rogers Hornsby (who also contributed 39 home runs) led the Cubs to their first NL pennant in eleven years.\",\n \"He and new teammate Rogers Hornsby (who also contributed 39 home runs) led the Cubs to their first NL pennant in eleven years. In the World Series against Connie Mack's Philadelphia Athletics, Wilson's .471 hitting performance was eclipsed by two fielding errors at Shibe Park.\",\n \"In the World Series against Connie Mack's Philadelphia Athletics, Wilson's .471 hitting performance was eclipsed by two fielding errors at Shibe Park. Though trailing the Series two games to one, the Cubs were leading by a score of 8–0 in the fourth game when the Athletics mounted a 10-run rally in the seventh inning.\",\n \"Though trailing the Series two games to one, the Cubs were leading by a score of 8–0 in the fourth game when the Athletics mounted a 10-run rally in the seventh inning. Wilson lost two fly balls in the sun; the second, with two runners on base, led to an inside-the-park home run by Mule Haas as the Athletics won 10–8.\",\n \"Wilson lost two fly balls in the sun; the second, with two runners on base, led to an inside-the-park home run by Mule Haas as the Athletics won 10–8. After the game, McCarthy reportedly told a boy asking for a souvenir baseball, \\\"Come back tomorrow and stand behind Wilson, and you'll be able to pick up all the balls you want!\\\"\",\n \"After the game, McCarthy reportedly told a boy asking for a souvenir baseball, \\\"Come back tomorrow and stand behind Wilson, and you'll be able to pick up all the balls you want!\\\" The Athletics won again the next day to take the Series in five games.\",\n \"The Athletics won again the next day to take the Series in five games. 1930 peak Wilson's 1930 season, aided by a lively ball wound with special Australian wool, is considered one of the best single-season hitting performances in baseball history. By the middle of July he had accumulated 82 RBIs.\",\n \"By the middle of July he had accumulated 82 RBIs. In August he hit 13 home runs and 53 RBIs, and by September 17 he had reached 174 RBIs, breaking Lou Gehrig's major league record established three years earlier.\",\n \"In August he hit 13 home runs and 53 RBIs, and by September 17 he had reached 174 RBIs, breaking Lou Gehrig's major league record established three years earlier. He finished the season with 190 RBIs, along with an NL-record 56 home runs, .356 batting average, .454 on-base percentage, and league-leading .723 slugging percentage.\",\n \"He finished the season with 190 RBIs, along with an NL-record 56 home runs, .356 batting average, .454 on-base percentage, and league-leading .723 slugging percentage. He was unofficially voted the NL's most \\\"useful\\\" player by the Baseball Writers' Association of America (which did not inaugurate its official MVP award until 1931).\",\n \"He was unofficially voted the NL's most \\\"useful\\\" player by the Baseball Writers' Association of America (which did not inaugurate its official MVP award until 1931). In 1999 the Commissioner of Baseball officially increased Wilson's 1930 RBI total to 191 after a box score analysis by baseball historian Jerome Holtzman revealed that Charlie Grimm had been mistakenly credited with an RBI actually driven home by Wilson during the second game of a doubleheader on July 28.\",\n \"In 1999 the Commissioner of Baseball officially increased Wilson's 1930 RBI total to 191 after a box score analysis by baseball historian Jerome Holtzman revealed that Charlie Grimm had been mistakenly credited with an RBI actually driven home by Wilson during the second game of a doubleheader on July 28. Wilson's 191 RBIs remains one of baseball's most enduring records; only Gehrig (185) and Hank Greenberg (184) ever came close, and there have been no serious challenges in the last 75 years.\",\n \"Wilson's 191 RBIs remains one of baseball's most enduring records; only Gehrig (185) and Hank Greenberg (184) ever came close, and there have been no serious challenges in the last 75 years. (The best recent effort was 165 by Manny Ramirez in 1999.)\",\n \"(The best recent effort was 165 by Manny Ramirez in 1999.) Reds catcher Clyde Sukeforth asserted that Wilson should have been credited with an additional home run in 1930 as well.\",\n \"Reds catcher Clyde Sukeforth asserted that Wilson should have been credited with an additional home run in 1930 as well. \\\"He hit one in Cincinnati one day\\\", he said, \\\"way up in the seats, hit it so hard that it bounced right back onto the field.\",\n \"\\\"He hit one in Cincinnati one day\\\", he said, \\\"way up in the seats, hit it so hard that it bounced right back onto the field. The umpire had a bad angle on it and ruled that it had hit the screen and bounced back.\",\n \"The umpire had a bad angle on it and ruled that it had hit the screen and bounced back. I was sitting in the Cincinnati bullpen, and of course, we weren't going to say anything. But Hack really hit 57 that year.\\\"\",\n \"But Hack really hit 57 that year.\\\" Wilson's official total of 56 stood as the NL record until the 1998 season, when it was broken by Sammy Sosa (66) and Mark McGwire (70).\",\n \"Wilson's official total of 56 stood as the NL record until the 1998 season, when it was broken by Sammy Sosa (66) and Mark McGwire (70). Decline Wilson's success in the 1930 season served only to fuel his drinking habits, and in 1931 he reported to spring training 20 pounds overweight.\",\n \"Decline Wilson's success in the 1930 season served only to fuel his drinking habits, and in 1931 he reported to spring training 20 pounds overweight. In addition, the NL responded to the prodigious offensive statistics of the previous year (the only season, other than 1894, in which the league as a whole batted over .300) by introducing a heavier ball with raised stitching to allow pitchers to gain a better grip and throw sharper curveballs.\",\n \"In addition, the NL responded to the prodigious offensive statistics of the previous year (the only season, other than 1894, in which the league as a whole batted over .300) by introducing a heavier ball with raised stitching to allow pitchers to gain a better grip and throw sharper curveballs. Wilson complained that the new Cubs manager, Hornsby, did not allow him to \\\"swing away\\\" as much as Joe McCarthy had.\",\n \"Wilson complained that the new Cubs manager, Hornsby, did not allow him to \\\"swing away\\\" as much as Joe McCarthy had. He hit his 200th career home run at Ebbets Field on June 18 — only the fourth player ever to do so, behind Ruth, Cy Williams, and Hornsby — but then fell into a protracted slump, and was benched in late May.\",\n \"He hit his 200th career home run at Ebbets Field on June 18 — only the fourth player ever to do so, behind Ruth, Cy Williams, and Hornsby — but then fell into a protracted slump, and was benched in late May. By late August Wrigley publicly expressed his desire to trade him.\",\n \"By late August Wrigley publicly expressed his desire to trade him. On September 6 he was suspended without pay for the remainder of the season after a fight with reporters aboard a train in Cincinnati. He was hitting .261 with only 13 home runs (his 1930 production during August alone) at the time.\",\n \"He was hitting .261 with only 13 home runs (his 1930 production during August alone) at the time. In December 1931, the Cubs traded Wilson, along with Bud Teachout, to the St. Louis Cardinals for Burleigh Grimes.\",\n \"In December 1931, the Cubs traded Wilson, along with Bud Teachout, to the St. Louis Cardinals for Burleigh Grimes. Less than a month later, the Cardinals sent him to the Brooklyn Dodgers for minor league outfielder Bob Parham and $25,000 ($ in current dollar terms).\",\n \"Less than a month later, the Cardinals sent him to the Brooklyn Dodgers for minor league outfielder Bob Parham and $25,000 ($ in current dollar terms). Wilson hit .297 with 23 home runs and 123 RBIs for Brooklyn in 1932.\",\n \"Wilson hit .297 with 23 home runs and 123 RBIs for Brooklyn in 1932. He began 1933 with a ninth-inning game-winning pinch-hit inside-the-park grand slam home run at Ebbets Field—the first pinch-hit grand slam in Dodger history, and only the third inside-the-park pinch-hit grand slam in MLB history.\",\n \"He began 1933 with a ninth-inning game-winning pinch-hit inside-the-park grand slam home run at Ebbets Field—the first pinch-hit grand slam in Dodger history, and only the third inside-the-park pinch-hit grand slam in MLB history. By season's end his offensive totals had dropped substantially, and he was hitting .262 when the Dodgers released him mid-season in 1934.\",\n \"By season's end his offensive totals had dropped substantially, and he was hitting .262 when the Dodgers released him mid-season in 1934. The Philadelphia Phillies signed him immediately, but after just two hits in 20 at bats he was released again a month later.\",\n \"The Philadelphia Phillies signed him immediately, but after just two hits in 20 at bats he was released again a month later. After a final season with the Albany Senators of the Class \\\"A\\\" New York–Pennsylvania League, Wilson retired at the age of 35.\",\n \"After a final season with the Albany Senators of the Class \\\"A\\\" New York–Pennsylvania League, Wilson retired at the age of 35. Career statistics In a 12-year major league career, Wilson played in 1,348 games and accumulated 1,461 hits in 4,760 at-bats for a .307 career batting average and a .395 on-base percentage.\",\n \"Career statistics In a 12-year major league career, Wilson played in 1,348 games and accumulated 1,461 hits in 4,760 at-bats for a .307 career batting average and a .395 on-base percentage. He hit 244 home runs and batted in 1,063 runs, led the NL in home runs four times, and surpassed 100 RBIs six times.\",\n \"He hit 244 home runs and batted in 1,063 runs, led the NL in home runs four times, and surpassed 100 RBIs six times. Defensively, he finished his career with a .965 fielding percentage.\",\n \"Defensively, he finished his career with a .965 fielding percentage. Life after baseball Wilson returned to Martinsburg where he opened a pool hall, but encountered financial problems due to a failed sporting goods business venture, and then a rancorous divorce from Virginia.\",\n \"Life after baseball Wilson returned to Martinsburg where he opened a pool hall, but encountered financial problems due to a failed sporting goods business venture, and then a rancorous divorce from Virginia. By 1938 he was working as a bartender near Brooklyn's Ebbets Field where he sang for drinks, but had to quit when customers became too abusive.\",\n \"By 1938 he was working as a bartender near Brooklyn's Ebbets Field where he sang for drinks, but had to quit when customers became too abusive. A night club venture in suburban Chicago was another financial failure.\",\n \"A night club venture in suburban Chicago was another financial failure. In 1944 he took a job as a good will ambassador for a professional basketball team in Washington, D.C., where he lamented that fans remembered his two dropped fly balls in the 1929 World Series far more vividly than his 56 home runs and 191 RBIs in 1930.\",\n \"In 1944 he took a job as a good will ambassador for a professional basketball team in Washington, D.C., where he lamented that fans remembered his two dropped fly balls in the 1929 World Series far more vividly than his 56 home runs and 191 RBIs in 1930. Unable to find work in professional baseball, he moved to Baltimore where he worked as a tool checker in an airplane manufacturing plant and later as a laborer for the City of Baltimore.\",\n \"Unable to find work in professional baseball, he moved to Baltimore where he worked as a tool checker in an airplane manufacturing plant and later as a laborer for the City of Baltimore. When municipal authorities realized who he was, he was made the manager of a Baltimore public swimming pool.\",\n \"When municipal authorities realized who he was, he was made the manager of a Baltimore public swimming pool. On October 4, 1948 Wilson was discovered unconscious after a fall in his home.\",\n \"On October 4, 1948 Wilson was discovered unconscious after a fall in his home. Though the accident did not appear serious at first, pneumonia and other complications developed and he died of internal hemorrhaging on November 23, 1948, at the age of 48.\",\n \"Though the accident did not appear serious at first, pneumonia and other complications developed and he died of internal hemorrhaging on November 23, 1948, at the age of 48. Wilson — once the highest-paid player in the National League — died penniless; his son, Robert, refused to claim his remains.\",\n \"Wilson — once the highest-paid player in the National League — died penniless; his son, Robert, refused to claim his remains. NL President Ford Frick finally sent money to cover his funeral expenses. His gray burial suit was donated by the undertaker.\",\n \"His gray burial suit was donated by the undertaker. In marked contrast to Babe Ruth's funeral, which had been attended by thousands just three months earlier, only a few hundred people were present for Wilson's services. He was buried in Rosedale Cemetery in the town where he made his professional playing debut, Martinsburg, West Virginia.\",\n \"He was buried in Rosedale Cemetery in the town where he made his professional playing debut, Martinsburg, West Virginia. Ten months later Joe McCarthy organized a second, more complete memorial service, attended by Kiki Cuyler, Charlie Grimm, Nick Altrock and other players from the Cubs and the Martinsburg team (by then renamed the Blue Sox).\",\n \"Ten months later Joe McCarthy organized a second, more complete memorial service, attended by Kiki Cuyler, Charlie Grimm, Nick Altrock and other players from the Cubs and the Martinsburg team (by then renamed the Blue Sox). A granite tombstone was unveiled, with the inscription, \\\"One of Baseball's Immortals, Lewis R. (Hack) Wilson, Rests Here.\\\"\",\n \"A granite tombstone was unveiled, with the inscription, \\\"One of Baseball's Immortals, Lewis R. (Hack) Wilson, Rests Here.\\\" One week before his death, Wilson gave an interview to CBS Radio which was reprinted in Chicago newspapers.\",\n \"One week before his death, Wilson gave an interview to CBS Radio which was reprinted in Chicago newspapers. In 1949 Charlie Grimm, the Cubs' new manager, posted a framed excerpt from that interview in the Cubs clubhouse, where it remains. It reads, in part: Talent isn't enough.\",\n \"It reads, in part: Talent isn't enough. You need common sense and good advice. If anyone tries to tell you different, tell them the story of Hack Wilson. ... Kids in and out of baseball who think because they have talent they have the world by the tail. It isn't so.\",\n \"It isn't so. It isn't so. Kids, don't be too big to accept advice. Don't let what happened to me happen to you. In 1979 Wilson was inducted into the Baseball Hall of Fame by the Veterans Committee.\",\n \"In 1979 Wilson was inducted into the Baseball Hall of Fame by the Veterans Committee. A Martinsburg street is named Hack Wilson Way in his honor, and the access road to a large city park within his home town, Ellwood City, Pennsylvania, is known as Hack Wilson Drive.\",\n \"A Martinsburg street is named Hack Wilson Way in his honor, and the access road to a large city park within his home town, Ellwood City, Pennsylvania, is known as Hack Wilson Drive. See also 50 home run club List of Major League Baseball annual home run leaders List of Major League Baseball annual runs batted in leaders List of Major League Baseball players to hit for the cycle List of Major League Baseball career runs batted in leaders List of Major League Baseball career slugging percentage leaders List of Major League Baseball career OPS leaders List of Major League Baseball career home run leaders References Further reading Subscription required.\",\n \"See also 50 home run club List of Major League Baseball annual home run leaders List of Major League Baseball annual runs batted in leaders List of Major League Baseball players to hit for the cycle List of Major League Baseball career runs batted in leaders List of Major League Baseball career slugging percentage leaders List of Major League Baseball career OPS leaders List of Major League Baseball career home run leaders References Further reading Subscription required. Subscription required.\",\n \"Subscription required. Subscription required. External links , or Retrosheet National Baseball Hall of Fame inductees Major League Baseball center fielders Chicago Cubs players Brooklyn Dodgers players New York Giants (NL) players Philadelphia Phillies players National League home run champions National League RBI champions Martinsburg Mountaineers players Martinsburg Blue Sox players Portsmouth Truckers players Toledo Mud Hens players Albany Senators players Baseball players from Pennsylvania Sportspeople from Martinsburg, West Virginia People from Ellwood City, Pennsylvania People from Lawrence County, Pennsylvania 1900 births 1948 deaths\"\n]"}}},{"rowIdx":485,"cells":{"History":{"kind":"list like","value":["Hack Wilson","Early life and minor leagues","what was Wilson's early life like?","Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker.","did he stay in Ellwood City his whole childhood?","In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \"D\" Blue Ridge League.","how long did he stay in West Virginia?","In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year."],"string":"[\n \"Hack Wilson\",\n \"Early life and minor leagues\",\n \"what was Wilson's early life like?\",\n \"Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker.\",\n \"did he stay in Ellwood City his whole childhood?\",\n \"In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \\\"D\\\" Blue Ridge League.\",\n \"how long did he stay in West Virginia?\",\n \"In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year.\"\n]"},"QuAC_dialog_id":{"kind":"string","value":"C_caf876f084ed435aae7dfb1e41e6fe73_1"},"Question":{"kind":"string","value":"What was his minor leagues like?"},"Question_no":{"kind":"number","value":4,"string":"4"},"Rewrite":{"kind":"string","value":"What was Wilson minor leagues like?"},"true_page_title":{"kind":"string","value":"Hack Wilson"},"true_contexts":{"kind":"string","value":"Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker. His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24. In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week. Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes. Sportswriter Shirley Povich later observed that he was \"built along the lines of a beer keg, and was not wholly unfamiliar with its contents.\" While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of the Fetal Alcohol Syndrome. In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \"D\" Blue Ridge League. After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield. In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year. In 1923, playing for the \"B\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average. Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500. CANNOTANSWER"},"answer":{"kind":"string","value":"In 1923, playing for the \"B\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average."},"true_contexts_wiki":{"kind":"string","value":"Lewis Robert \"Hack\" Wilson (April 26, 1900 – November 23, 1948) was an American Major League Baseball player who played 12 seasons for the New York Giants, Chicago Cubs, Brooklyn Dodgers and Philadelphia Phillies. Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s. His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history. Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed. \"For a brief span of a few years\", wrote a sportswriter of the day, \"this hammered down little strongman actually rivaled the mighty Ruth.\"\n\nWhile Wilson's combativeness and excessive alcohol consumption made him one of the most colorful sports personalities of his era, his drinking and fighting undoubtedly contributed to a premature end to his athletic career and, ultimately, his premature death. He was inducted into the Baseball Hall of Fame in 1979.\n\nBaseball career\n\nEarly life and minor leagues\nLewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker. His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24.\n\nIn 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week. Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes. Sportswriter Shirley Povich later observed that he was \"built along the lines of a beer keg, and was not wholly unfamiliar with its contents.\" While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of Fetal Alcohol Syndrome.\n\nIn 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \"D\" Blue Ridge League. After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield. In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year. In 1923, playing for the \"B\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average. Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500 ($ in current dollar terms).\n\nNew York Giants\nWilson made his major league debut with the Giants on September 29, 1923, at the age of 23, and became the starting left fielder the following season. By mid-July he was ranked second in the National League (NL) in hitting. He ended the season with a .295 average, 10 home runs, and 57 runs batted in (RBIs) as New York won the NL pennant. In the 1924 World Series he averaged only .233 in a seven-game loss to the Washington Senators.\n\nMultiple stories exist to explain the origin of Wilson's nickname: By one account, a New York newspaper held a nicknaming contest; the winning entry was \"Hack\" because he reminded many fans of another stocky athlete, the popular wrestler Georg Hackenschmidt. In another version, McGraw is said to have remarked that Wilson's physique was reminiscent of a \"hack\" (slang for taxicab in that era). Giants teammate Bill Cunningham claimed that the nickname was based on Wilson's resemblance to Hack Miller, an outfielder with the Chicago Cubs. The New York Times printed the first documented usage of \"Hack\" on June 10, 1924.\n\nEarly in the 1925 season Wilson hit the longest home run on record at Ebbets Field against the Brooklyn Robins, but fell into a slump in May, and was replaced in left field by Irish Meusel. On July 2 he hit two home runs in one inning, tying Ken Williams' major league record set in 1922, but his hitting slump continued. In August McGraw told reporters that he had \"... made the mistake of rushing [Wilson] along,\" and sent him to the Giants' minor league affiliate, the Toledo Mud Hens of the American Association. At season's end, a front office oversight—or possibly, deliberate inaction—left him unprotected on the Toledo roster, and the last-place Chicago Cubs acquired him on waivers. \"They let go the best outfielder I ever played alongside\", said Giants right fielder Ross Youngs, \"and they're going to regret it.\"\n\nDuring the 1925 World Series — between the Senators and the Pittsburgh Pirates — Wilson's son, Robert, was born.\n\nGlory years with the Cubs\n\nWilson regained his form as the Cubs' center fielder in 1926, and he quickly became a favorite of Chicago fans. On May 24 he hit the center field scoreboard with one of the longest home runs in Wrigley Field history as the Cubs came from behind to defeat the Boston Braves. Later that evening he made news again when he was arrested during a police raid of a Prohibition-era speakeasy while trying to escape through the rear window, and was fined one dollar. He ended the season with a league-leading 21 home runs along with 36 doubles, 109 RBIs, a .321 batting average, and a .406 on-base percentage. The Cubs improved to fourth place, and Wilson ended the year ranked fifth in voting for the NL's Most Valuable Player (MVP) Award.\n\nAnother strong performance followed in 1927 as Wilson once again led the league in home runs. Although the Cubs were in first place heading into the final month of the season, the team faltered and again finished fourth. Wilson posted a .318 average with 30 home runs and 129 RBIs, and led NL outfielders with 400 putouts. He led the NL in home runs for a third consecutive year in 1928 with 31, along with 120 RBIs and a .313 average as the Cubs improved to third place.\n\nWilson had a combative streak and sometimes initiated fights with opposing players and fans. On June 22, 1928, a near-riot broke out in the ninth inning at Wrigley Field against the St. Louis Cardinals when Wilson jumped into the box seats to attack a heckling fan. An estimated 5,000 spectators swarmed the field before police could separate the combatants and restore order. The fan sued Wilson for $20,000, but a jury ruled in his favor. The following year he took offense at a remark by Cincinnati Reds pitcher Ray Kolp, and – upon reaching first base after hitting a single – he charged into the Reds dugout, punching Kolp several times before they could be separated. Later that evening at the train station, Wilson exchanged words and blows with Cincinnati player Pete Donohue. In late 1929 he signed a contract to fight Art Shires of the Chicago White Sox in a boxing match, but reneged after Cubs president William Veeck, Sr. enlisted Hack's wife Virginia to dissuade him, and then Shires lost a fight to George Trafton of the Chicago Bears. There was nothing to gain, Wilson said, by fighting a defeated boxer.\n\nWilson's \"penchant for festivities\" is also well documented. Biographer Clifton Blue Parker described him as \"... the Roaring '20s epitome of a baseball player, primed for an age of American excess ... at a time when baseball was America's favorite sport.\" His love of drinking and partying did not endear him to Cubs owner William Wrigley, who abhorred alcohol consumption. (Wilson always insisted that he never played drunk; \"hung over, yes; drunk, no.\") Manager Joe McCarthy worked hard to shield Wilson from Wrigley, and to keep him on an even keel. \"Better than any other manager,\" wrote sportswriter Frank Graham, \"Joe understood Hack, made allowances for him when he failed, and rewarded him with praise when he did well. Joe could be strict and stern with his players ... but he never was with Hack, and Hack repaid him by playing as he never had before, nor would again.\"\n\nIn 1929 Wilson hit .345 with 39 home runs and a league-record 159 RBIs. He and new teammate Rogers Hornsby (who also contributed 39 home runs) led the Cubs to their first NL pennant in eleven years. In the World Series against Connie Mack's Philadelphia Athletics, Wilson's .471 hitting performance was eclipsed by two fielding errors at Shibe Park. Though trailing the Series two games to one, the Cubs were leading by a score of 8–0 in the fourth game when the Athletics mounted a 10-run rally in the seventh inning. Wilson lost two fly balls in the sun; the second, with two runners on base, led to an inside-the-park home run by Mule Haas as the Athletics won 10–8. After the game, McCarthy reportedly told a boy asking for a souvenir baseball, \"Come back tomorrow and stand behind Wilson, and you'll be able to pick up all the balls you want!\" The Athletics won again the next day to take the Series in five games.\n\n1930 peak\nWilson's 1930 season, aided by a lively ball wound with special Australian wool, is considered one of the best single-season hitting performances in baseball history. By the middle of July he had accumulated 82 RBIs. In August he hit 13 home runs and 53 RBIs, and by September 17 he had reached 174 RBIs, breaking Lou Gehrig's major league record established three years earlier. He finished the season with 190 RBIs, along with an NL-record 56 home runs, .356 batting average, .454 on-base percentage, and league-leading .723 slugging percentage. He was unofficially voted the NL's most \"useful\" player by the Baseball Writers' Association of America (which did not inaugurate its official MVP award until 1931). \n\nIn 1999 the Commissioner of Baseball officially increased Wilson's 1930 RBI total to 191 after a box score analysis by baseball historian Jerome Holtzman revealed that Charlie Grimm had been mistakenly credited with an RBI actually driven home by Wilson during the second game of a doubleheader on July 28. Wilson's 191 RBIs remains one of baseball's most enduring records; only Gehrig (185) and Hank Greenberg (184) ever came close, and there have been no serious challenges in the last 75 years. (The best recent effort was 165 by Manny Ramirez in 1999.)\n\nReds catcher Clyde Sukeforth asserted that Wilson should have been credited with an additional home run in 1930 as well. \"He hit one in Cincinnati one day\", he said, \"way up in the seats, hit it so hard that it bounced right back onto the field. The umpire had a bad angle on it and ruled that it had hit the screen and bounced back. I was sitting in the Cincinnati bullpen, and of course, we weren't going to say anything. But Hack really hit 57 that year.\" Wilson's official total of 56 stood as the NL record until the 1998 season, when it was broken by Sammy Sosa (66) and Mark McGwire (70).\n\nDecline\nWilson's success in the 1930 season served only to fuel his drinking habits, and in 1931 he reported to spring training 20 pounds overweight. In addition, the NL responded to the prodigious offensive statistics of the previous year (the only season, other than 1894, in which the league as a whole batted over .300) by introducing a heavier ball with raised stitching to allow pitchers to gain a better grip and throw sharper curveballs. Wilson complained that the new Cubs manager, Hornsby, did not allow him to \"swing away\" as much as Joe McCarthy had. He hit his 200th career home run at Ebbets Field on June 18 — only the fourth player ever to do so, behind Ruth, Cy Williams, and Hornsby — but then fell into a protracted slump, and was benched in late May. By late August Wrigley publicly expressed his desire to trade him. On September 6 he was suspended without pay for the remainder of the season after a fight with reporters aboard a train in Cincinnati. He was hitting .261 with only 13 home runs (his 1930 production during August alone) at the time.\n\nIn December 1931, the Cubs traded Wilson, along with Bud Teachout, to the St. Louis Cardinals for Burleigh Grimes. Less than a month later, the Cardinals sent him to the Brooklyn Dodgers for minor league outfielder Bob Parham and $25,000 ($ in current dollar terms). Wilson hit .297 with 23 home runs and 123 RBIs for Brooklyn in 1932. He began 1933 with a ninth-inning game-winning pinch-hit inside-the-park grand slam home run at Ebbets Field—the first pinch-hit grand slam in Dodger history, and only the third inside-the-park pinch-hit grand slam in MLB history. By season's end his offensive totals had dropped substantially, and he was hitting .262 when the Dodgers released him mid-season in 1934. The Philadelphia Phillies signed him immediately, but after just two hits in 20 at bats he was released again a month later. After a final season with the Albany Senators of the Class \"A\" New York–Pennsylvania League, Wilson retired at the age of 35.\n\nCareer statistics\nIn a 12-year major league career, Wilson played in 1,348 games and accumulated 1,461 hits in 4,760 at-bats for a .307 career batting average and a .395 on-base percentage. He hit 244 home runs and batted in 1,063 runs, led the NL in home runs four times, and surpassed 100 RBIs six times. Defensively, he finished his career with a .965 fielding percentage.\n\nLife after baseball\n\nWilson returned to Martinsburg where he opened a pool hall, but encountered financial problems due to a failed sporting goods business venture, and then a rancorous divorce from Virginia. By 1938 he was working as a bartender near Brooklyn's Ebbets Field where he sang for drinks, but had to quit when customers became too abusive. A night club venture in suburban Chicago was another financial failure. In 1944 he took a job as a good will ambassador for a professional basketball team in Washington, D.C., where he lamented that fans remembered his two dropped fly balls in the 1929 World Series far more vividly than his 56 home runs and 191 RBIs in 1930. Unable to find work in professional baseball, he moved to Baltimore where he worked as a tool checker in an airplane manufacturing plant and later as a laborer for the City of Baltimore. When municipal authorities realized who he was, he was made the manager of a Baltimore public swimming pool.\n\nOn October 4, 1948 Wilson was discovered unconscious after a fall in his home. Though the accident did not appear serious at first, pneumonia and other complications developed and he died of internal hemorrhaging on November 23, 1948, at the age of 48.\n\nWilson — once the highest-paid player in the National League — died penniless; his son, Robert, refused to claim his remains. NL President Ford Frick finally sent money to cover his funeral expenses. His gray burial suit was donated by the undertaker. In marked contrast to Babe Ruth's funeral, which had been attended by thousands just three months earlier, only a few hundred people were present for Wilson's services. He was buried in Rosedale Cemetery in the town where he made his professional playing debut, Martinsburg, West Virginia.\n\nTen months later Joe McCarthy organized a second, more complete memorial service, attended by Kiki Cuyler, Charlie Grimm, Nick Altrock and other players from the Cubs and the Martinsburg team (by then renamed the Blue Sox). A granite tombstone was unveiled, with the inscription, \"One of Baseball's Immortals, Lewis R. (Hack) Wilson, Rests Here.\"\n\nOne week before his death, Wilson gave an interview to CBS Radio which was reprinted in Chicago newspapers. In 1949 Charlie Grimm, the Cubs' new manager, posted a framed excerpt from that interview in the Cubs clubhouse, where it remains. It reads, in part:\n\nTalent isn't enough. You need common sense and good advice. If anyone tries to tell you different, tell them the story of Hack Wilson. ... Kids in and out of baseball who think because they have talent they have the world by the tail. It isn't so. Kids, don't be too big to accept advice. Don't let what happened to me happen to you.\n\nIn 1979 Wilson was inducted into the Baseball Hall of Fame by the Veterans Committee. A Martinsburg street is named Hack Wilson Way in his honor, and the access road to a large city park within his home town, Ellwood City, Pennsylvania, is known as Hack Wilson Drive.\n\nSee also\n\n50 home run club\nList of Major League Baseball annual home run leaders\nList of Major League Baseball annual runs batted in leaders\nList of Major League Baseball players to hit for the cycle\nList of Major League Baseball career runs batted in leaders\nList of Major League Baseball career slugging percentage leaders\nList of Major League Baseball career OPS leaders\nList of Major League Baseball career home run leaders\n\nReferences\n\nFurther reading\n Subscription required.\n Subscription required.\n\nExternal links\n\n, or Retrosheet\n\nNational Baseball Hall of Fame inductees\nMajor League Baseball center fielders\nChicago Cubs players\nBrooklyn Dodgers players\nNew York Giants (NL) players\nPhiladelphia Phillies players\nNational League home run champions\nNational League RBI champions\nMartinsburg Mountaineers players\nMartinsburg Blue Sox players\nPortsmouth Truckers players\nToledo Mud Hens players\nAlbany Senators players\nBaseball players from Pennsylvania\nSportspeople from Martinsburg, West Virginia\nPeople from Ellwood City, Pennsylvania\nPeople from Lawrence County, Pennsylvania\n1900 births\n1948 deaths"},"extractive":{"kind":"string","value":"true"},"retrieved_contexts":{"kind":"list like","value":["Howard \"Ben\" or \"Lefty\" Bennett Mallonee (March 31, 1894 – February 19, 1978) was an American professional baseball player who played in seven games for the Philadelphia Athletics during the season.\nHe was born in Baltimore, Maryland and died there at the age of 83.\n\nHe began his professional career in 1916 with the class D Blue Ridge League playing for the Chambersburg Maroons and the Hanover Hornets. After his time in the major leagues, he returned to the minor leagues, playing for several more years. His overall batting average in the minor leagues was .322. His best year was in 1924 with the Richmond Colts of the class B Virginia League, when he had an batting average of .368 in 546 at bats. He played his last season in the minor leagues with the Spartanburg, Greenville and Asheville of the South Atlantic League in 1929.\n\nExternal links\n\nBaseball players from Baltimore\nPhiladelphia Athletics players\nHanover Raiders players\n1894 births\n1978 deaths","Leo Meyer (March 29, 1888, in Iowa City, Iowa – September 2, 1968, in Smyrna, Delaware), was a Major League Baseball player who played shortstop for the Brooklyn Superbas in .\n\nAfter his year with the Superbas, he played several more years in the minor leagues. His best year in the minor leagues was with the Trenton Tigers of the Tri-State League. That year he had a .273 average 431 at bats. He also hit four home runs that year in the \"dead ball\" era. His last year in the minor leagues was with the Nashville Volunteers of the Southern Association in 1919.\n\nExternal links\n\n1888 births\n1968 deaths\nMajor League Baseball shortstops\nBrooklyn Superbas players\nBaseball players from Iowa\nSyracuse Stars (minor league baseball) players\nTrenton Tigers players\nFrederick Champs players\nHagerstown Terriers players\nChambersburg Maroons players\nCumberland Colts players\nNashville Vols players"],"string":"[\n \"Howard \\\"Ben\\\" or \\\"Lefty\\\" Bennett Mallonee (March 31, 1894 – February 19, 1978) was an American professional baseball player who played in seven games for the Philadelphia Athletics during the season.\\nHe was born in Baltimore, Maryland and died there at the age of 83.\\n\\nHe began his professional career in 1916 with the class D Blue Ridge League playing for the Chambersburg Maroons and the Hanover Hornets. After his time in the major leagues, he returned to the minor leagues, playing for several more years. His overall batting average in the minor leagues was .322. His best year was in 1924 with the Richmond Colts of the class B Virginia League, when he had an batting average of .368 in 546 at bats. He played his last season in the minor leagues with the Spartanburg, Greenville and Asheville of the South Atlantic League in 1929.\\n\\nExternal links\\n\\nBaseball players from Baltimore\\nPhiladelphia Athletics players\\nHanover Raiders players\\n1894 births\\n1978 deaths\",\n \"Leo Meyer (March 29, 1888, in Iowa City, Iowa – September 2, 1968, in Smyrna, Delaware), was a Major League Baseball player who played shortstop for the Brooklyn Superbas in .\\n\\nAfter his year with the Superbas, he played several more years in the minor leagues. His best year in the minor leagues was with the Trenton Tigers of the Tri-State League. That year he had a .273 average 431 at bats. He also hit four home runs that year in the \\\"dead ball\\\" era. His last year in the minor leagues was with the Nashville Volunteers of the Southern Association in 1919.\\n\\nExternal links\\n\\n1888 births\\n1968 deaths\\nMajor League Baseball shortstops\\nBrooklyn Superbas players\\nBaseball players from Iowa\\nSyracuse Stars (minor league baseball) players\\nTrenton Tigers players\\nFrederick Champs players\\nHagerstown Terriers players\\nChambersburg Maroons players\\nCumberland Colts players\\nNashville Vols players\"\n]"},"chunked_article":{"kind":"list like","value":["Lewis Robert \"Hack\" Wilson (April 26, 1900 – November 23, 1948) was an American Major League Baseball player who played 12 seasons for the New York Giants, Chicago Cubs, Brooklyn Dodgers and Philadelphia Phillies. Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s.","Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s. His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history.","His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history. Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed.","Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed. \"For a brief span of a few years\", wrote a sportswriter of the day, \"this hammered down little strongman actually rivaled the mighty Ruth.\"","\"For a brief span of a few years\", wrote a sportswriter of the day, \"this hammered down little strongman actually rivaled the mighty Ruth.\" While Wilson's combativeness and excessive alcohol consumption made him one of the most colorful sports personalities of his era, his drinking and fighting undoubtedly contributed to a premature end to his athletic career and, ultimately, his premature death.","While Wilson's combativeness and excessive alcohol consumption made him one of the most colorful sports personalities of his era, his drinking and fighting undoubtedly contributed to a premature end to his athletic career and, ultimately, his premature death. He was inducted into the Baseball Hall of Fame in 1979.","He was inducted into the Baseball Hall of Fame in 1979. Baseball career Early life and minor leagues Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh.","Baseball career Early life and minor leagues Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker.","His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker. His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24.","His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24. In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week.","In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week. Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes.","Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes. Sportswriter Shirley Povich later observed that he was \"built along the lines of a beer keg, and was not wholly unfamiliar with its contents.\"","Sportswriter Shirley Povich later observed that he was \"built along the lines of a beer keg, and was not wholly unfamiliar with its contents.\" While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of Fetal Alcohol Syndrome.","While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of Fetal Alcohol Syndrome. In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \"D\" Blue Ridge League.","In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \"D\" Blue Ridge League. After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield.","After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield. In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year.","In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year. In 1923, playing for the \"B\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average.","In 1923, playing for the \"B\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average. Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500 ($ in current dollar terms).","Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500 ($ in current dollar terms). New York Giants Wilson made his major league debut with the Giants on September 29, 1923, at the age of 23, and became the starting left fielder the following season.","New York Giants Wilson made his major league debut with the Giants on September 29, 1923, at the age of 23, and became the starting left fielder the following season. By mid-July he was ranked second in the National League (NL) in hitting.","By mid-July he was ranked second in the National League (NL) in hitting. He ended the season with a .295 average, 10 home runs, and 57 runs batted in (RBIs) as New York won the NL pennant. In the 1924 World Series he averaged only .233 in a seven-game loss to the Washington Senators.","In the 1924 World Series he averaged only .233 in a seven-game loss to the Washington Senators. Multiple stories exist to explain the origin of Wilson's nickname: By one account, a New York newspaper held a nicknaming contest; the winning entry was \"Hack\" because he reminded many fans of another stocky athlete, the popular wrestler Georg Hackenschmidt.","Multiple stories exist to explain the origin of Wilson's nickname: By one account, a New York newspaper held a nicknaming contest; the winning entry was \"Hack\" because he reminded many fans of another stocky athlete, the popular wrestler Georg Hackenschmidt. In another version, McGraw is said to have remarked that Wilson's physique was reminiscent of a \"hack\" (slang for taxicab in that era).","In another version, McGraw is said to have remarked that Wilson's physique was reminiscent of a \"hack\" (slang for taxicab in that era). Giants teammate Bill Cunningham claimed that the nickname was based on Wilson's resemblance to Hack Miller, an outfielder with the Chicago Cubs.","Giants teammate Bill Cunningham claimed that the nickname was based on Wilson's resemblance to Hack Miller, an outfielder with the Chicago Cubs. The New York Times printed the first documented usage of \"Hack\" on June 10, 1924.","The New York Times printed the first documented usage of \"Hack\" on June 10, 1924. Early in the 1925 season Wilson hit the longest home run on record at Ebbets Field against the Brooklyn Robins, but fell into a slump in May, and was replaced in left field by Irish Meusel.","Early in the 1925 season Wilson hit the longest home run on record at Ebbets Field against the Brooklyn Robins, but fell into a slump in May, and was replaced in left field by Irish Meusel. On July 2 he hit two home runs in one inning, tying Ken Williams' major league record set in 1922, but his hitting slump continued.","On July 2 he hit two home runs in one inning, tying Ken Williams' major league record set in 1922, but his hitting slump continued. In August McGraw told reporters that he had \"... made the mistake of rushing [Wilson] along,\" and sent him to the Giants' minor league affiliate, the Toledo Mud Hens of the American Association.","In August McGraw told reporters that he had \"... made the mistake of rushing [Wilson] along,\" and sent him to the Giants' minor league affiliate, the Toledo Mud Hens of the American Association. At season's end, a front office oversight—or possibly, deliberate inaction—left him unprotected on the Toledo roster, and the last-place Chicago Cubs acquired him on waivers.","At season's end, a front office oversight—or possibly, deliberate inaction—left him unprotected on the Toledo roster, and the last-place Chicago Cubs acquired him on waivers. \"They let go the best outfielder I ever played alongside\", said Giants right fielder Ross Youngs, \"and they're going to regret it.\"","\"They let go the best outfielder I ever played alongside\", said Giants right fielder Ross Youngs, \"and they're going to regret it.\" During the 1925 World Series — between the Senators and the Pittsburgh Pirates — Wilson's son, Robert, was born.","During the 1925 World Series — between the Senators and the Pittsburgh Pirates — Wilson's son, Robert, was born. Glory years with the Cubs Wilson regained his form as the Cubs' center fielder in 1926, and he quickly became a favorite of Chicago fans.","Glory years with the Cubs Wilson regained his form as the Cubs' center fielder in 1926, and he quickly became a favorite of Chicago fans. On May 24 he hit the center field scoreboard with one of the longest home runs in Wrigley Field history as the Cubs came from behind to defeat the Boston Braves.","On May 24 he hit the center field scoreboard with one of the longest home runs in Wrigley Field history as the Cubs came from behind to defeat the Boston Braves. Later that evening he made news again when he was arrested during a police raid of a Prohibition-era speakeasy while trying to escape through the rear window, and was fined one dollar.","Later that evening he made news again when he was arrested during a police raid of a Prohibition-era speakeasy while trying to escape through the rear window, and was fined one dollar. He ended the season with a league-leading 21 home runs along with 36 doubles, 109 RBIs, a .321 batting average, and a .406 on-base percentage.","He ended the season with a league-leading 21 home runs along with 36 doubles, 109 RBIs, a .321 batting average, and a .406 on-base percentage. The Cubs improved to fourth place, and Wilson ended the year ranked fifth in voting for the NL's Most Valuable Player (MVP) Award.","The Cubs improved to fourth place, and Wilson ended the year ranked fifth in voting for the NL's Most Valuable Player (MVP) Award. Another strong performance followed in 1927 as Wilson once again led the league in home runs.","Another strong performance followed in 1927 as Wilson once again led the league in home runs. Although the Cubs were in first place heading into the final month of the season, the team faltered and again finished fourth. Wilson posted a .318 average with 30 home runs and 129 RBIs, and led NL outfielders with 400 putouts.","Wilson posted a .318 average with 30 home runs and 129 RBIs, and led NL outfielders with 400 putouts. He led the NL in home runs for a third consecutive year in 1928 with 31, along with 120 RBIs and a .313 average as the Cubs improved to third place.","He led the NL in home runs for a third consecutive year in 1928 with 31, along with 120 RBIs and a .313 average as the Cubs improved to third place. Wilson had a combative streak and sometimes initiated fights with opposing players and fans.","Wilson had a combative streak and sometimes initiated fights with opposing players and fans. On June 22, 1928, a near-riot broke out in the ninth inning at Wrigley Field against the St. Louis Cardinals when Wilson jumped into the box seats to attack a heckling fan.","On June 22, 1928, a near-riot broke out in the ninth inning at Wrigley Field against the St. Louis Cardinals when Wilson jumped into the box seats to attack a heckling fan. An estimated 5,000 spectators swarmed the field before police could separate the combatants and restore order.","An estimated 5,000 spectators swarmed the field before police could separate the combatants and restore order. The fan sued Wilson for $20,000, but a jury ruled in his favor.","The fan sued Wilson for $20,000, but a jury ruled in his favor. The following year he took offense at a remark by Cincinnati Reds pitcher Ray Kolp, and – upon reaching first base after hitting a single – he charged into the Reds dugout, punching Kolp several times before they could be separated.","The following year he took offense at a remark by Cincinnati Reds pitcher Ray Kolp, and – upon reaching first base after hitting a single – he charged into the Reds dugout, punching Kolp several times before they could be separated. Later that evening at the train station, Wilson exchanged words and blows with Cincinnati player Pete Donohue.","Later that evening at the train station, Wilson exchanged words and blows with Cincinnati player Pete Donohue. In late 1929 he signed a contract to fight Art Shires of the Chicago White Sox in a boxing match, but reneged after Cubs president William Veeck, Sr. enlisted Hack's wife Virginia to dissuade him, and then Shires lost a fight to George Trafton of the Chicago Bears.","In late 1929 he signed a contract to fight Art Shires of the Chicago White Sox in a boxing match, but reneged after Cubs president William Veeck, Sr. enlisted Hack's wife Virginia to dissuade him, and then Shires lost a fight to George Trafton of the Chicago Bears. There was nothing to gain, Wilson said, by fighting a defeated boxer.","There was nothing to gain, Wilson said, by fighting a defeated boxer. Wilson's \"penchant for festivities\" is also well documented.","Wilson's \"penchant for festivities\" is also well documented. Biographer Clifton Blue Parker described him as \"... the Roaring '20s epitome of a baseball player, primed for an age of American excess ... at a time when baseball was America's favorite sport.\"","Biographer Clifton Blue Parker described him as \"... the Roaring '20s epitome of a baseball player, primed for an age of American excess ... at a time when baseball was America's favorite sport.\" His love of drinking and partying did not endear him to Cubs owner William Wrigley, who abhorred alcohol consumption.","His love of drinking and partying did not endear him to Cubs owner William Wrigley, who abhorred alcohol consumption. (Wilson always insisted that he never played drunk; \"hung over, yes; drunk, no.\") Manager Joe McCarthy worked hard to shield Wilson from Wrigley, and to keep him on an even keel.","Manager Joe McCarthy worked hard to shield Wilson from Wrigley, and to keep him on an even keel. \"Better than any other manager,\" wrote sportswriter Frank Graham, \"Joe understood Hack, made allowances for him when he failed, and rewarded him with praise when he did well.","\"Better than any other manager,\" wrote sportswriter Frank Graham, \"Joe understood Hack, made allowances for him when he failed, and rewarded him with praise when he did well. Joe could be strict and stern with his players ... but he never was with Hack, and Hack repaid him by playing as he never had before, nor would again.\"","Joe could be strict and stern with his players ... but he never was with Hack, and Hack repaid him by playing as he never had before, nor would again.\" In 1929 Wilson hit .345 with 39 home runs and a league-record 159 RBIs.","In 1929 Wilson hit .345 with 39 home runs and a league-record 159 RBIs. He and new teammate Rogers Hornsby (who also contributed 39 home runs) led the Cubs to their first NL pennant in eleven years.","He and new teammate Rogers Hornsby (who also contributed 39 home runs) led the Cubs to their first NL pennant in eleven years. In the World Series against Connie Mack's Philadelphia Athletics, Wilson's .471 hitting performance was eclipsed by two fielding errors at Shibe Park.","In the World Series against Connie Mack's Philadelphia Athletics, Wilson's .471 hitting performance was eclipsed by two fielding errors at Shibe Park. Though trailing the Series two games to one, the Cubs were leading by a score of 8–0 in the fourth game when the Athletics mounted a 10-run rally in the seventh inning.","Though trailing the Series two games to one, the Cubs were leading by a score of 8–0 in the fourth game when the Athletics mounted a 10-run rally in the seventh inning. Wilson lost two fly balls in the sun; the second, with two runners on base, led to an inside-the-park home run by Mule Haas as the Athletics won 10–8.","Wilson lost two fly balls in the sun; the second, with two runners on base, led to an inside-the-park home run by Mule Haas as the Athletics won 10–8. After the game, McCarthy reportedly told a boy asking for a souvenir baseball, \"Come back tomorrow and stand behind Wilson, and you'll be able to pick up all the balls you want!\"","After the game, McCarthy reportedly told a boy asking for a souvenir baseball, \"Come back tomorrow and stand behind Wilson, and you'll be able to pick up all the balls you want!\" The Athletics won again the next day to take the Series in five games.","The Athletics won again the next day to take the Series in five games. 1930 peak Wilson's 1930 season, aided by a lively ball wound with special Australian wool, is considered one of the best single-season hitting performances in baseball history. By the middle of July he had accumulated 82 RBIs.","By the middle of July he had accumulated 82 RBIs. In August he hit 13 home runs and 53 RBIs, and by September 17 he had reached 174 RBIs, breaking Lou Gehrig's major league record established three years earlier.","In August he hit 13 home runs and 53 RBIs, and by September 17 he had reached 174 RBIs, breaking Lou Gehrig's major league record established three years earlier. He finished the season with 190 RBIs, along with an NL-record 56 home runs, .356 batting average, .454 on-base percentage, and league-leading .723 slugging percentage.","He finished the season with 190 RBIs, along with an NL-record 56 home runs, .356 batting average, .454 on-base percentage, and league-leading .723 slugging percentage. He was unofficially voted the NL's most \"useful\" player by the Baseball Writers' Association of America (which did not inaugurate its official MVP award until 1931).","He was unofficially voted the NL's most \"useful\" player by the Baseball Writers' Association of America (which did not inaugurate its official MVP award until 1931). In 1999 the Commissioner of Baseball officially increased Wilson's 1930 RBI total to 191 after a box score analysis by baseball historian Jerome Holtzman revealed that Charlie Grimm had been mistakenly credited with an RBI actually driven home by Wilson during the second game of a doubleheader on July 28.","In 1999 the Commissioner of Baseball officially increased Wilson's 1930 RBI total to 191 after a box score analysis by baseball historian Jerome Holtzman revealed that Charlie Grimm had been mistakenly credited with an RBI actually driven home by Wilson during the second game of a doubleheader on July 28. Wilson's 191 RBIs remains one of baseball's most enduring records; only Gehrig (185) and Hank Greenberg (184) ever came close, and there have been no serious challenges in the last 75 years.","Wilson's 191 RBIs remains one of baseball's most enduring records; only Gehrig (185) and Hank Greenberg (184) ever came close, and there have been no serious challenges in the last 75 years. (The best recent effort was 165 by Manny Ramirez in 1999.)","(The best recent effort was 165 by Manny Ramirez in 1999.) Reds catcher Clyde Sukeforth asserted that Wilson should have been credited with an additional home run in 1930 as well.","Reds catcher Clyde Sukeforth asserted that Wilson should have been credited with an additional home run in 1930 as well. \"He hit one in Cincinnati one day\", he said, \"way up in the seats, hit it so hard that it bounced right back onto the field.","\"He hit one in Cincinnati one day\", he said, \"way up in the seats, hit it so hard that it bounced right back onto the field. The umpire had a bad angle on it and ruled that it had hit the screen and bounced back.","The umpire had a bad angle on it and ruled that it had hit the screen and bounced back. I was sitting in the Cincinnati bullpen, and of course, we weren't going to say anything. But Hack really hit 57 that year.\"","But Hack really hit 57 that year.\" Wilson's official total of 56 stood as the NL record until the 1998 season, when it was broken by Sammy Sosa (66) and Mark McGwire (70).","Wilson's official total of 56 stood as the NL record until the 1998 season, when it was broken by Sammy Sosa (66) and Mark McGwire (70). Decline Wilson's success in the 1930 season served only to fuel his drinking habits, and in 1931 he reported to spring training 20 pounds overweight.","Decline Wilson's success in the 1930 season served only to fuel his drinking habits, and in 1931 he reported to spring training 20 pounds overweight. In addition, the NL responded to the prodigious offensive statistics of the previous year (the only season, other than 1894, in which the league as a whole batted over .300) by introducing a heavier ball with raised stitching to allow pitchers to gain a better grip and throw sharper curveballs.","In addition, the NL responded to the prodigious offensive statistics of the previous year (the only season, other than 1894, in which the league as a whole batted over .300) by introducing a heavier ball with raised stitching to allow pitchers to gain a better grip and throw sharper curveballs. Wilson complained that the new Cubs manager, Hornsby, did not allow him to \"swing away\" as much as Joe McCarthy had.","Wilson complained that the new Cubs manager, Hornsby, did not allow him to \"swing away\" as much as Joe McCarthy had. He hit his 200th career home run at Ebbets Field on June 18 — only the fourth player ever to do so, behind Ruth, Cy Williams, and Hornsby — but then fell into a protracted slump, and was benched in late May.","He hit his 200th career home run at Ebbets Field on June 18 — only the fourth player ever to do so, behind Ruth, Cy Williams, and Hornsby — but then fell into a protracted slump, and was benched in late May. By late August Wrigley publicly expressed his desire to trade him.","By late August Wrigley publicly expressed his desire to trade him. On September 6 he was suspended without pay for the remainder of the season after a fight with reporters aboard a train in Cincinnati. He was hitting .261 with only 13 home runs (his 1930 production during August alone) at the time.","He was hitting .261 with only 13 home runs (his 1930 production during August alone) at the time. In December 1931, the Cubs traded Wilson, along with Bud Teachout, to the St. Louis Cardinals for Burleigh Grimes.","In December 1931, the Cubs traded Wilson, along with Bud Teachout, to the St. Louis Cardinals for Burleigh Grimes. Less than a month later, the Cardinals sent him to the Brooklyn Dodgers for minor league outfielder Bob Parham and $25,000 ($ in current dollar terms).","Less than a month later, the Cardinals sent him to the Brooklyn Dodgers for minor league outfielder Bob Parham and $25,000 ($ in current dollar terms). Wilson hit .297 with 23 home runs and 123 RBIs for Brooklyn in 1932.","Wilson hit .297 with 23 home runs and 123 RBIs for Brooklyn in 1932. He began 1933 with a ninth-inning game-winning pinch-hit inside-the-park grand slam home run at Ebbets Field—the first pinch-hit grand slam in Dodger history, and only the third inside-the-park pinch-hit grand slam in MLB history.","He began 1933 with a ninth-inning game-winning pinch-hit inside-the-park grand slam home run at Ebbets Field—the first pinch-hit grand slam in Dodger history, and only the third inside-the-park pinch-hit grand slam in MLB history. By season's end his offensive totals had dropped substantially, and he was hitting .262 when the Dodgers released him mid-season in 1934.","By season's end his offensive totals had dropped substantially, and he was hitting .262 when the Dodgers released him mid-season in 1934. The Philadelphia Phillies signed him immediately, but after just two hits in 20 at bats he was released again a month later.","The Philadelphia Phillies signed him immediately, but after just two hits in 20 at bats he was released again a month later. After a final season with the Albany Senators of the Class \"A\" New York–Pennsylvania League, Wilson retired at the age of 35.","After a final season with the Albany Senators of the Class \"A\" New York–Pennsylvania League, Wilson retired at the age of 35. Career statistics In a 12-year major league career, Wilson played in 1,348 games and accumulated 1,461 hits in 4,760 at-bats for a .307 career batting average and a .395 on-base percentage.","Career statistics In a 12-year major league career, Wilson played in 1,348 games and accumulated 1,461 hits in 4,760 at-bats for a .307 career batting average and a .395 on-base percentage. He hit 244 home runs and batted in 1,063 runs, led the NL in home runs four times, and surpassed 100 RBIs six times.","He hit 244 home runs and batted in 1,063 runs, led the NL in home runs four times, and surpassed 100 RBIs six times. Defensively, he finished his career with a .965 fielding percentage.","Defensively, he finished his career with a .965 fielding percentage. Life after baseball Wilson returned to Martinsburg where he opened a pool hall, but encountered financial problems due to a failed sporting goods business venture, and then a rancorous divorce from Virginia.","Life after baseball Wilson returned to Martinsburg where he opened a pool hall, but encountered financial problems due to a failed sporting goods business venture, and then a rancorous divorce from Virginia. By 1938 he was working as a bartender near Brooklyn's Ebbets Field where he sang for drinks, but had to quit when customers became too abusive.","By 1938 he was working as a bartender near Brooklyn's Ebbets Field where he sang for drinks, but had to quit when customers became too abusive. A night club venture in suburban Chicago was another financial failure.","A night club venture in suburban Chicago was another financial failure. In 1944 he took a job as a good will ambassador for a professional basketball team in Washington, D.C., where he lamented that fans remembered his two dropped fly balls in the 1929 World Series far more vividly than his 56 home runs and 191 RBIs in 1930.","In 1944 he took a job as a good will ambassador for a professional basketball team in Washington, D.C., where he lamented that fans remembered his two dropped fly balls in the 1929 World Series far more vividly than his 56 home runs and 191 RBIs in 1930. Unable to find work in professional baseball, he moved to Baltimore where he worked as a tool checker in an airplane manufacturing plant and later as a laborer for the City of Baltimore.","Unable to find work in professional baseball, he moved to Baltimore where he worked as a tool checker in an airplane manufacturing plant and later as a laborer for the City of Baltimore. When municipal authorities realized who he was, he was made the manager of a Baltimore public swimming pool.","When municipal authorities realized who he was, he was made the manager of a Baltimore public swimming pool. On October 4, 1948 Wilson was discovered unconscious after a fall in his home.","On October 4, 1948 Wilson was discovered unconscious after a fall in his home. Though the accident did not appear serious at first, pneumonia and other complications developed and he died of internal hemorrhaging on November 23, 1948, at the age of 48.","Though the accident did not appear serious at first, pneumonia and other complications developed and he died of internal hemorrhaging on November 23, 1948, at the age of 48. Wilson — once the highest-paid player in the National League — died penniless; his son, Robert, refused to claim his remains.","Wilson — once the highest-paid player in the National League — died penniless; his son, Robert, refused to claim his remains. NL President Ford Frick finally sent money to cover his funeral expenses. His gray burial suit was donated by the undertaker.","His gray burial suit was donated by the undertaker. In marked contrast to Babe Ruth's funeral, which had been attended by thousands just three months earlier, only a few hundred people were present for Wilson's services. He was buried in Rosedale Cemetery in the town where he made his professional playing debut, Martinsburg, West Virginia.","He was buried in Rosedale Cemetery in the town where he made his professional playing debut, Martinsburg, West Virginia. Ten months later Joe McCarthy organized a second, more complete memorial service, attended by Kiki Cuyler, Charlie Grimm, Nick Altrock and other players from the Cubs and the Martinsburg team (by then renamed the Blue Sox).","Ten months later Joe McCarthy organized a second, more complete memorial service, attended by Kiki Cuyler, Charlie Grimm, Nick Altrock and other players from the Cubs and the Martinsburg team (by then renamed the Blue Sox). A granite tombstone was unveiled, with the inscription, \"One of Baseball's Immortals, Lewis R. (Hack) Wilson, Rests Here.\"","A granite tombstone was unveiled, with the inscription, \"One of Baseball's Immortals, Lewis R. (Hack) Wilson, Rests Here.\" One week before his death, Wilson gave an interview to CBS Radio which was reprinted in Chicago newspapers.","One week before his death, Wilson gave an interview to CBS Radio which was reprinted in Chicago newspapers. In 1949 Charlie Grimm, the Cubs' new manager, posted a framed excerpt from that interview in the Cubs clubhouse, where it remains. It reads, in part: Talent isn't enough.","It reads, in part: Talent isn't enough. You need common sense and good advice. If anyone tries to tell you different, tell them the story of Hack Wilson. ... Kids in and out of baseball who think because they have talent they have the world by the tail. It isn't so.","It isn't so. It isn't so. Kids, don't be too big to accept advice. Don't let what happened to me happen to you. In 1979 Wilson was inducted into the Baseball Hall of Fame by the Veterans Committee.","In 1979 Wilson was inducted into the Baseball Hall of Fame by the Veterans Committee. A Martinsburg street is named Hack Wilson Way in his honor, and the access road to a large city park within his home town, Ellwood City, Pennsylvania, is known as Hack Wilson Drive.","A Martinsburg street is named Hack Wilson Way in his honor, and the access road to a large city park within his home town, Ellwood City, Pennsylvania, is known as Hack Wilson Drive. See also 50 home run club List of Major League Baseball annual home run leaders List of Major League Baseball annual runs batted in leaders List of Major League Baseball players to hit for the cycle List of Major League Baseball career runs batted in leaders List of Major League Baseball career slugging percentage leaders List of Major League Baseball career OPS leaders List of Major League Baseball career home run leaders References Further reading Subscription required.","See also 50 home run club List of Major League Baseball annual home run leaders List of Major League Baseball annual runs batted in leaders List of Major League Baseball players to hit for the cycle List of Major League Baseball career runs batted in leaders List of Major League Baseball career slugging percentage leaders List of Major League Baseball career OPS leaders List of Major League Baseball career home run leaders References Further reading Subscription required. Subscription required.","Subscription required. Subscription required. External links , or Retrosheet National Baseball Hall of Fame inductees Major League Baseball center fielders Chicago Cubs players Brooklyn Dodgers players New York Giants (NL) players Philadelphia Phillies players National League home run champions National League RBI champions Martinsburg Mountaineers players Martinsburg Blue Sox players Portsmouth Truckers players Toledo Mud Hens players Albany Senators players Baseball players from Pennsylvania Sportspeople from Martinsburg, West Virginia People from Ellwood City, Pennsylvania People from Lawrence County, Pennsylvania 1900 births 1948 deaths"],"string":"[\n \"Lewis Robert \\\"Hack\\\" Wilson (April 26, 1900 – November 23, 1948) was an American Major League Baseball player who played 12 seasons for the New York Giants, Chicago Cubs, Brooklyn Dodgers and Philadelphia Phillies. Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s.\",\n \"Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s. His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history.\",\n \"His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history. Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed.\",\n \"Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed. \\\"For a brief span of a few years\\\", wrote a sportswriter of the day, \\\"this hammered down little strongman actually rivaled the mighty Ruth.\\\"\",\n \"\\\"For a brief span of a few years\\\", wrote a sportswriter of the day, \\\"this hammered down little strongman actually rivaled the mighty Ruth.\\\" While Wilson's combativeness and excessive alcohol consumption made him one of the most colorful sports personalities of his era, his drinking and fighting undoubtedly contributed to a premature end to his athletic career and, ultimately, his premature death.\",\n \"While Wilson's combativeness and excessive alcohol consumption made him one of the most colorful sports personalities of his era, his drinking and fighting undoubtedly contributed to a premature end to his athletic career and, ultimately, his premature death. He was inducted into the Baseball Hall of Fame in 1979.\",\n \"He was inducted into the Baseball Hall of Fame in 1979. Baseball career Early life and minor leagues Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh.\",\n \"Baseball career Early life and minor leagues Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker.\",\n \"His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker. His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24.\",\n \"His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24. In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week.\",\n \"In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week. Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes.\",\n \"Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes. Sportswriter Shirley Povich later observed that he was \\\"built along the lines of a beer keg, and was not wholly unfamiliar with its contents.\\\"\",\n \"Sportswriter Shirley Povich later observed that he was \\\"built along the lines of a beer keg, and was not wholly unfamiliar with its contents.\\\" While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of Fetal Alcohol Syndrome.\",\n \"While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of Fetal Alcohol Syndrome. In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \\\"D\\\" Blue Ridge League.\",\n \"In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \\\"D\\\" Blue Ridge League. After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield.\",\n \"After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield. In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year.\",\n \"In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year. In 1923, playing for the \\\"B\\\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average.\",\n \"In 1923, playing for the \\\"B\\\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average. Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500 ($ in current dollar terms).\",\n \"Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500 ($ in current dollar terms). New York Giants Wilson made his major league debut with the Giants on September 29, 1923, at the age of 23, and became the starting left fielder the following season.\",\n \"New York Giants Wilson made his major league debut with the Giants on September 29, 1923, at the age of 23, and became the starting left fielder the following season. By mid-July he was ranked second in the National League (NL) in hitting.\",\n \"By mid-July he was ranked second in the National League (NL) in hitting. He ended the season with a .295 average, 10 home runs, and 57 runs batted in (RBIs) as New York won the NL pennant. In the 1924 World Series he averaged only .233 in a seven-game loss to the Washington Senators.\",\n \"In the 1924 World Series he averaged only .233 in a seven-game loss to the Washington Senators. Multiple stories exist to explain the origin of Wilson's nickname: By one account, a New York newspaper held a nicknaming contest; the winning entry was \\\"Hack\\\" because he reminded many fans of another stocky athlete, the popular wrestler Georg Hackenschmidt.\",\n \"Multiple stories exist to explain the origin of Wilson's nickname: By one account, a New York newspaper held a nicknaming contest; the winning entry was \\\"Hack\\\" because he reminded many fans of another stocky athlete, the popular wrestler Georg Hackenschmidt. In another version, McGraw is said to have remarked that Wilson's physique was reminiscent of a \\\"hack\\\" (slang for taxicab in that era).\",\n \"In another version, McGraw is said to have remarked that Wilson's physique was reminiscent of a \\\"hack\\\" (slang for taxicab in that era). Giants teammate Bill Cunningham claimed that the nickname was based on Wilson's resemblance to Hack Miller, an outfielder with the Chicago Cubs.\",\n \"Giants teammate Bill Cunningham claimed that the nickname was based on Wilson's resemblance to Hack Miller, an outfielder with the Chicago Cubs. The New York Times printed the first documented usage of \\\"Hack\\\" on June 10, 1924.\",\n \"The New York Times printed the first documented usage of \\\"Hack\\\" on June 10, 1924. Early in the 1925 season Wilson hit the longest home run on record at Ebbets Field against the Brooklyn Robins, but fell into a slump in May, and was replaced in left field by Irish Meusel.\",\n \"Early in the 1925 season Wilson hit the longest home run on record at Ebbets Field against the Brooklyn Robins, but fell into a slump in May, and was replaced in left field by Irish Meusel. On July 2 he hit two home runs in one inning, tying Ken Williams' major league record set in 1922, but his hitting slump continued.\",\n \"On July 2 he hit two home runs in one inning, tying Ken Williams' major league record set in 1922, but his hitting slump continued. In August McGraw told reporters that he had \\\"... made the mistake of rushing [Wilson] along,\\\" and sent him to the Giants' minor league affiliate, the Toledo Mud Hens of the American Association.\",\n \"In August McGraw told reporters that he had \\\"... made the mistake of rushing [Wilson] along,\\\" and sent him to the Giants' minor league affiliate, the Toledo Mud Hens of the American Association. At season's end, a front office oversight—or possibly, deliberate inaction—left him unprotected on the Toledo roster, and the last-place Chicago Cubs acquired him on waivers.\",\n \"At season's end, a front office oversight—or possibly, deliberate inaction—left him unprotected on the Toledo roster, and the last-place Chicago Cubs acquired him on waivers. \\\"They let go the best outfielder I ever played alongside\\\", said Giants right fielder Ross Youngs, \\\"and they're going to regret it.\\\"\",\n \"\\\"They let go the best outfielder I ever played alongside\\\", said Giants right fielder Ross Youngs, \\\"and they're going to regret it.\\\" During the 1925 World Series — between the Senators and the Pittsburgh Pirates — Wilson's son, Robert, was born.\",\n \"During the 1925 World Series — between the Senators and the Pittsburgh Pirates — Wilson's son, Robert, was born. Glory years with the Cubs Wilson regained his form as the Cubs' center fielder in 1926, and he quickly became a favorite of Chicago fans.\",\n \"Glory years with the Cubs Wilson regained his form as the Cubs' center fielder in 1926, and he quickly became a favorite of Chicago fans. On May 24 he hit the center field scoreboard with one of the longest home runs in Wrigley Field history as the Cubs came from behind to defeat the Boston Braves.\",\n \"On May 24 he hit the center field scoreboard with one of the longest home runs in Wrigley Field history as the Cubs came from behind to defeat the Boston Braves. Later that evening he made news again when he was arrested during a police raid of a Prohibition-era speakeasy while trying to escape through the rear window, and was fined one dollar.\",\n \"Later that evening he made news again when he was arrested during a police raid of a Prohibition-era speakeasy while trying to escape through the rear window, and was fined one dollar. He ended the season with a league-leading 21 home runs along with 36 doubles, 109 RBIs, a .321 batting average, and a .406 on-base percentage.\",\n \"He ended the season with a league-leading 21 home runs along with 36 doubles, 109 RBIs, a .321 batting average, and a .406 on-base percentage. The Cubs improved to fourth place, and Wilson ended the year ranked fifth in voting for the NL's Most Valuable Player (MVP) Award.\",\n \"The Cubs improved to fourth place, and Wilson ended the year ranked fifth in voting for the NL's Most Valuable Player (MVP) Award. Another strong performance followed in 1927 as Wilson once again led the league in home runs.\",\n \"Another strong performance followed in 1927 as Wilson once again led the league in home runs. Although the Cubs were in first place heading into the final month of the season, the team faltered and again finished fourth. Wilson posted a .318 average with 30 home runs and 129 RBIs, and led NL outfielders with 400 putouts.\",\n \"Wilson posted a .318 average with 30 home runs and 129 RBIs, and led NL outfielders with 400 putouts. He led the NL in home runs for a third consecutive year in 1928 with 31, along with 120 RBIs and a .313 average as the Cubs improved to third place.\",\n \"He led the NL in home runs for a third consecutive year in 1928 with 31, along with 120 RBIs and a .313 average as the Cubs improved to third place. Wilson had a combative streak and sometimes initiated fights with opposing players and fans.\",\n \"Wilson had a combative streak and sometimes initiated fights with opposing players and fans. On June 22, 1928, a near-riot broke out in the ninth inning at Wrigley Field against the St. Louis Cardinals when Wilson jumped into the box seats to attack a heckling fan.\",\n \"On June 22, 1928, a near-riot broke out in the ninth inning at Wrigley Field against the St. Louis Cardinals when Wilson jumped into the box seats to attack a heckling fan. An estimated 5,000 spectators swarmed the field before police could separate the combatants and restore order.\",\n \"An estimated 5,000 spectators swarmed the field before police could separate the combatants and restore order. The fan sued Wilson for $20,000, but a jury ruled in his favor.\",\n \"The fan sued Wilson for $20,000, but a jury ruled in his favor. The following year he took offense at a remark by Cincinnati Reds pitcher Ray Kolp, and – upon reaching first base after hitting a single – he charged into the Reds dugout, punching Kolp several times before they could be separated.\",\n \"The following year he took offense at a remark by Cincinnati Reds pitcher Ray Kolp, and – upon reaching first base after hitting a single – he charged into the Reds dugout, punching Kolp several times before they could be separated. Later that evening at the train station, Wilson exchanged words and blows with Cincinnati player Pete Donohue.\",\n \"Later that evening at the train station, Wilson exchanged words and blows with Cincinnati player Pete Donohue. In late 1929 he signed a contract to fight Art Shires of the Chicago White Sox in a boxing match, but reneged after Cubs president William Veeck, Sr. enlisted Hack's wife Virginia to dissuade him, and then Shires lost a fight to George Trafton of the Chicago Bears.\",\n \"In late 1929 he signed a contract to fight Art Shires of the Chicago White Sox in a boxing match, but reneged after Cubs president William Veeck, Sr. enlisted Hack's wife Virginia to dissuade him, and then Shires lost a fight to George Trafton of the Chicago Bears. There was nothing to gain, Wilson said, by fighting a defeated boxer.\",\n \"There was nothing to gain, Wilson said, by fighting a defeated boxer. Wilson's \\\"penchant for festivities\\\" is also well documented.\",\n \"Wilson's \\\"penchant for festivities\\\" is also well documented. Biographer Clifton Blue Parker described him as \\\"... the Roaring '20s epitome of a baseball player, primed for an age of American excess ... at a time when baseball was America's favorite sport.\\\"\",\n \"Biographer Clifton Blue Parker described him as \\\"... the Roaring '20s epitome of a baseball player, primed for an age of American excess ... at a time when baseball was America's favorite sport.\\\" His love of drinking and partying did not endear him to Cubs owner William Wrigley, who abhorred alcohol consumption.\",\n \"His love of drinking and partying did not endear him to Cubs owner William Wrigley, who abhorred alcohol consumption. (Wilson always insisted that he never played drunk; \\\"hung over, yes; drunk, no.\\\") Manager Joe McCarthy worked hard to shield Wilson from Wrigley, and to keep him on an even keel.\",\n \"Manager Joe McCarthy worked hard to shield Wilson from Wrigley, and to keep him on an even keel. \\\"Better than any other manager,\\\" wrote sportswriter Frank Graham, \\\"Joe understood Hack, made allowances for him when he failed, and rewarded him with praise when he did well.\",\n \"\\\"Better than any other manager,\\\" wrote sportswriter Frank Graham, \\\"Joe understood Hack, made allowances for him when he failed, and rewarded him with praise when he did well. Joe could be strict and stern with his players ... but he never was with Hack, and Hack repaid him by playing as he never had before, nor would again.\\\"\",\n \"Joe could be strict and stern with his players ... but he never was with Hack, and Hack repaid him by playing as he never had before, nor would again.\\\" In 1929 Wilson hit .345 with 39 home runs and a league-record 159 RBIs.\",\n \"In 1929 Wilson hit .345 with 39 home runs and a league-record 159 RBIs. He and new teammate Rogers Hornsby (who also contributed 39 home runs) led the Cubs to their first NL pennant in eleven years.\",\n \"He and new teammate Rogers Hornsby (who also contributed 39 home runs) led the Cubs to their first NL pennant in eleven years. In the World Series against Connie Mack's Philadelphia Athletics, Wilson's .471 hitting performance was eclipsed by two fielding errors at Shibe Park.\",\n \"In the World Series against Connie Mack's Philadelphia Athletics, Wilson's .471 hitting performance was eclipsed by two fielding errors at Shibe Park. Though trailing the Series two games to one, the Cubs were leading by a score of 8–0 in the fourth game when the Athletics mounted a 10-run rally in the seventh inning.\",\n \"Though trailing the Series two games to one, the Cubs were leading by a score of 8–0 in the fourth game when the Athletics mounted a 10-run rally in the seventh inning. Wilson lost two fly balls in the sun; the second, with two runners on base, led to an inside-the-park home run by Mule Haas as the Athletics won 10–8.\",\n \"Wilson lost two fly balls in the sun; the second, with two runners on base, led to an inside-the-park home run by Mule Haas as the Athletics won 10–8. After the game, McCarthy reportedly told a boy asking for a souvenir baseball, \\\"Come back tomorrow and stand behind Wilson, and you'll be able to pick up all the balls you want!\\\"\",\n \"After the game, McCarthy reportedly told a boy asking for a souvenir baseball, \\\"Come back tomorrow and stand behind Wilson, and you'll be able to pick up all the balls you want!\\\" The Athletics won again the next day to take the Series in five games.\",\n \"The Athletics won again the next day to take the Series in five games. 1930 peak Wilson's 1930 season, aided by a lively ball wound with special Australian wool, is considered one of the best single-season hitting performances in baseball history. By the middle of July he had accumulated 82 RBIs.\",\n \"By the middle of July he had accumulated 82 RBIs. In August he hit 13 home runs and 53 RBIs, and by September 17 he had reached 174 RBIs, breaking Lou Gehrig's major league record established three years earlier.\",\n \"In August he hit 13 home runs and 53 RBIs, and by September 17 he had reached 174 RBIs, breaking Lou Gehrig's major league record established three years earlier. He finished the season with 190 RBIs, along with an NL-record 56 home runs, .356 batting average, .454 on-base percentage, and league-leading .723 slugging percentage.\",\n \"He finished the season with 190 RBIs, along with an NL-record 56 home runs, .356 batting average, .454 on-base percentage, and league-leading .723 slugging percentage. He was unofficially voted the NL's most \\\"useful\\\" player by the Baseball Writers' Association of America (which did not inaugurate its official MVP award until 1931).\",\n \"He was unofficially voted the NL's most \\\"useful\\\" player by the Baseball Writers' Association of America (which did not inaugurate its official MVP award until 1931). In 1999 the Commissioner of Baseball officially increased Wilson's 1930 RBI total to 191 after a box score analysis by baseball historian Jerome Holtzman revealed that Charlie Grimm had been mistakenly credited with an RBI actually driven home by Wilson during the second game of a doubleheader on July 28.\",\n \"In 1999 the Commissioner of Baseball officially increased Wilson's 1930 RBI total to 191 after a box score analysis by baseball historian Jerome Holtzman revealed that Charlie Grimm had been mistakenly credited with an RBI actually driven home by Wilson during the second game of a doubleheader on July 28. Wilson's 191 RBIs remains one of baseball's most enduring records; only Gehrig (185) and Hank Greenberg (184) ever came close, and there have been no serious challenges in the last 75 years.\",\n \"Wilson's 191 RBIs remains one of baseball's most enduring records; only Gehrig (185) and Hank Greenberg (184) ever came close, and there have been no serious challenges in the last 75 years. (The best recent effort was 165 by Manny Ramirez in 1999.)\",\n \"(The best recent effort was 165 by Manny Ramirez in 1999.) Reds catcher Clyde Sukeforth asserted that Wilson should have been credited with an additional home run in 1930 as well.\",\n \"Reds catcher Clyde Sukeforth asserted that Wilson should have been credited with an additional home run in 1930 as well. \\\"He hit one in Cincinnati one day\\\", he said, \\\"way up in the seats, hit it so hard that it bounced right back onto the field.\",\n \"\\\"He hit one in Cincinnati one day\\\", he said, \\\"way up in the seats, hit it so hard that it bounced right back onto the field. The umpire had a bad angle on it and ruled that it had hit the screen and bounced back.\",\n \"The umpire had a bad angle on it and ruled that it had hit the screen and bounced back. I was sitting in the Cincinnati bullpen, and of course, we weren't going to say anything. But Hack really hit 57 that year.\\\"\",\n \"But Hack really hit 57 that year.\\\" Wilson's official total of 56 stood as the NL record until the 1998 season, when it was broken by Sammy Sosa (66) and Mark McGwire (70).\",\n \"Wilson's official total of 56 stood as the NL record until the 1998 season, when it was broken by Sammy Sosa (66) and Mark McGwire (70). Decline Wilson's success in the 1930 season served only to fuel his drinking habits, and in 1931 he reported to spring training 20 pounds overweight.\",\n \"Decline Wilson's success in the 1930 season served only to fuel his drinking habits, and in 1931 he reported to spring training 20 pounds overweight. In addition, the NL responded to the prodigious offensive statistics of the previous year (the only season, other than 1894, in which the league as a whole batted over .300) by introducing a heavier ball with raised stitching to allow pitchers to gain a better grip and throw sharper curveballs.\",\n \"In addition, the NL responded to the prodigious offensive statistics of the previous year (the only season, other than 1894, in which the league as a whole batted over .300) by introducing a heavier ball with raised stitching to allow pitchers to gain a better grip and throw sharper curveballs. Wilson complained that the new Cubs manager, Hornsby, did not allow him to \\\"swing away\\\" as much as Joe McCarthy had.\",\n \"Wilson complained that the new Cubs manager, Hornsby, did not allow him to \\\"swing away\\\" as much as Joe McCarthy had. He hit his 200th career home run at Ebbets Field on June 18 — only the fourth player ever to do so, behind Ruth, Cy Williams, and Hornsby — but then fell into a protracted slump, and was benched in late May.\",\n \"He hit his 200th career home run at Ebbets Field on June 18 — only the fourth player ever to do so, behind Ruth, Cy Williams, and Hornsby — but then fell into a protracted slump, and was benched in late May. By late August Wrigley publicly expressed his desire to trade him.\",\n \"By late August Wrigley publicly expressed his desire to trade him. On September 6 he was suspended without pay for the remainder of the season after a fight with reporters aboard a train in Cincinnati. He was hitting .261 with only 13 home runs (his 1930 production during August alone) at the time.\",\n \"He was hitting .261 with only 13 home runs (his 1930 production during August alone) at the time. In December 1931, the Cubs traded Wilson, along with Bud Teachout, to the St. Louis Cardinals for Burleigh Grimes.\",\n \"In December 1931, the Cubs traded Wilson, along with Bud Teachout, to the St. Louis Cardinals for Burleigh Grimes. Less than a month later, the Cardinals sent him to the Brooklyn Dodgers for minor league outfielder Bob Parham and $25,000 ($ in current dollar terms).\",\n \"Less than a month later, the Cardinals sent him to the Brooklyn Dodgers for minor league outfielder Bob Parham and $25,000 ($ in current dollar terms). Wilson hit .297 with 23 home runs and 123 RBIs for Brooklyn in 1932.\",\n \"Wilson hit .297 with 23 home runs and 123 RBIs for Brooklyn in 1932. He began 1933 with a ninth-inning game-winning pinch-hit inside-the-park grand slam home run at Ebbets Field—the first pinch-hit grand slam in Dodger history, and only the third inside-the-park pinch-hit grand slam in MLB history.\",\n \"He began 1933 with a ninth-inning game-winning pinch-hit inside-the-park grand slam home run at Ebbets Field—the first pinch-hit grand slam in Dodger history, and only the third inside-the-park pinch-hit grand slam in MLB history. By season's end his offensive totals had dropped substantially, and he was hitting .262 when the Dodgers released him mid-season in 1934.\",\n \"By season's end his offensive totals had dropped substantially, and he was hitting .262 when the Dodgers released him mid-season in 1934. The Philadelphia Phillies signed him immediately, but after just two hits in 20 at bats he was released again a month later.\",\n \"The Philadelphia Phillies signed him immediately, but after just two hits in 20 at bats he was released again a month later. After a final season with the Albany Senators of the Class \\\"A\\\" New York–Pennsylvania League, Wilson retired at the age of 35.\",\n \"After a final season with the Albany Senators of the Class \\\"A\\\" New York–Pennsylvania League, Wilson retired at the age of 35. Career statistics In a 12-year major league career, Wilson played in 1,348 games and accumulated 1,461 hits in 4,760 at-bats for a .307 career batting average and a .395 on-base percentage.\",\n \"Career statistics In a 12-year major league career, Wilson played in 1,348 games and accumulated 1,461 hits in 4,760 at-bats for a .307 career batting average and a .395 on-base percentage. He hit 244 home runs and batted in 1,063 runs, led the NL in home runs four times, and surpassed 100 RBIs six times.\",\n \"He hit 244 home runs and batted in 1,063 runs, led the NL in home runs four times, and surpassed 100 RBIs six times. Defensively, he finished his career with a .965 fielding percentage.\",\n \"Defensively, he finished his career with a .965 fielding percentage. Life after baseball Wilson returned to Martinsburg where he opened a pool hall, but encountered financial problems due to a failed sporting goods business venture, and then a rancorous divorce from Virginia.\",\n \"Life after baseball Wilson returned to Martinsburg where he opened a pool hall, but encountered financial problems due to a failed sporting goods business venture, and then a rancorous divorce from Virginia. By 1938 he was working as a bartender near Brooklyn's Ebbets Field where he sang for drinks, but had to quit when customers became too abusive.\",\n \"By 1938 he was working as a bartender near Brooklyn's Ebbets Field where he sang for drinks, but had to quit when customers became too abusive. A night club venture in suburban Chicago was another financial failure.\",\n \"A night club venture in suburban Chicago was another financial failure. In 1944 he took a job as a good will ambassador for a professional basketball team in Washington, D.C., where he lamented that fans remembered his two dropped fly balls in the 1929 World Series far more vividly than his 56 home runs and 191 RBIs in 1930.\",\n \"In 1944 he took a job as a good will ambassador for a professional basketball team in Washington, D.C., where he lamented that fans remembered his two dropped fly balls in the 1929 World Series far more vividly than his 56 home runs and 191 RBIs in 1930. Unable to find work in professional baseball, he moved to Baltimore where he worked as a tool checker in an airplane manufacturing plant and later as a laborer for the City of Baltimore.\",\n \"Unable to find work in professional baseball, he moved to Baltimore where he worked as a tool checker in an airplane manufacturing plant and later as a laborer for the City of Baltimore. When municipal authorities realized who he was, he was made the manager of a Baltimore public swimming pool.\",\n \"When municipal authorities realized who he was, he was made the manager of a Baltimore public swimming pool. On October 4, 1948 Wilson was discovered unconscious after a fall in his home.\",\n \"On October 4, 1948 Wilson was discovered unconscious after a fall in his home. Though the accident did not appear serious at first, pneumonia and other complications developed and he died of internal hemorrhaging on November 23, 1948, at the age of 48.\",\n \"Though the accident did not appear serious at first, pneumonia and other complications developed and he died of internal hemorrhaging on November 23, 1948, at the age of 48. Wilson — once the highest-paid player in the National League — died penniless; his son, Robert, refused to claim his remains.\",\n \"Wilson — once the highest-paid player in the National League — died penniless; his son, Robert, refused to claim his remains. NL President Ford Frick finally sent money to cover his funeral expenses. His gray burial suit was donated by the undertaker.\",\n \"His gray burial suit was donated by the undertaker. In marked contrast to Babe Ruth's funeral, which had been attended by thousands just three months earlier, only a few hundred people were present for Wilson's services. He was buried in Rosedale Cemetery in the town where he made his professional playing debut, Martinsburg, West Virginia.\",\n \"He was buried in Rosedale Cemetery in the town where he made his professional playing debut, Martinsburg, West Virginia. Ten months later Joe McCarthy organized a second, more complete memorial service, attended by Kiki Cuyler, Charlie Grimm, Nick Altrock and other players from the Cubs and the Martinsburg team (by then renamed the Blue Sox).\",\n \"Ten months later Joe McCarthy organized a second, more complete memorial service, attended by Kiki Cuyler, Charlie Grimm, Nick Altrock and other players from the Cubs and the Martinsburg team (by then renamed the Blue Sox). A granite tombstone was unveiled, with the inscription, \\\"One of Baseball's Immortals, Lewis R. (Hack) Wilson, Rests Here.\\\"\",\n \"A granite tombstone was unveiled, with the inscription, \\\"One of Baseball's Immortals, Lewis R. (Hack) Wilson, Rests Here.\\\" One week before his death, Wilson gave an interview to CBS Radio which was reprinted in Chicago newspapers.\",\n \"One week before his death, Wilson gave an interview to CBS Radio which was reprinted in Chicago newspapers. In 1949 Charlie Grimm, the Cubs' new manager, posted a framed excerpt from that interview in the Cubs clubhouse, where it remains. It reads, in part: Talent isn't enough.\",\n \"It reads, in part: Talent isn't enough. You need common sense and good advice. If anyone tries to tell you different, tell them the story of Hack Wilson. ... Kids in and out of baseball who think because they have talent they have the world by the tail. It isn't so.\",\n \"It isn't so. It isn't so. Kids, don't be too big to accept advice. Don't let what happened to me happen to you. In 1979 Wilson was inducted into the Baseball Hall of Fame by the Veterans Committee.\",\n \"In 1979 Wilson was inducted into the Baseball Hall of Fame by the Veterans Committee. A Martinsburg street is named Hack Wilson Way in his honor, and the access road to a large city park within his home town, Ellwood City, Pennsylvania, is known as Hack Wilson Drive.\",\n \"A Martinsburg street is named Hack Wilson Way in his honor, and the access road to a large city park within his home town, Ellwood City, Pennsylvania, is known as Hack Wilson Drive. See also 50 home run club List of Major League Baseball annual home run leaders List of Major League Baseball annual runs batted in leaders List of Major League Baseball players to hit for the cycle List of Major League Baseball career runs batted in leaders List of Major League Baseball career slugging percentage leaders List of Major League Baseball career OPS leaders List of Major League Baseball career home run leaders References Further reading Subscription required.\",\n \"See also 50 home run club List of Major League Baseball annual home run leaders List of Major League Baseball annual runs batted in leaders List of Major League Baseball players to hit for the cycle List of Major League Baseball career runs batted in leaders List of Major League Baseball career slugging percentage leaders List of Major League Baseball career OPS leaders List of Major League Baseball career home run leaders References Further reading Subscription required. Subscription required.\",\n \"Subscription required. Subscription required. External links , or Retrosheet National Baseball Hall of Fame inductees Major League Baseball center fielders Chicago Cubs players Brooklyn Dodgers players New York Giants (NL) players Philadelphia Phillies players National League home run champions National League RBI champions Martinsburg Mountaineers players Martinsburg Blue Sox players Portsmouth Truckers players Toledo Mud Hens players Albany Senators players Baseball players from Pennsylvania Sportspeople from Martinsburg, West Virginia People from Ellwood City, Pennsylvania People from Lawrence County, Pennsylvania 1900 births 1948 deaths\"\n]"}}},{"rowIdx":486,"cells":{"History":{"kind":"list like","value":["Hack Wilson","Early life and minor leagues","what was Wilson's early life like?","Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker.","did he stay in Ellwood City his whole childhood?","In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \"D\" Blue Ridge League.","how long did he stay in West Virginia?","In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year.","What was his minor leagues like?","In 1923, playing for the \"B\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average.","did he play for them long?","Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500.","How long did he play for the New York Giants?","I don't know."],"string":"[\n \"Hack Wilson\",\n \"Early life and minor leagues\",\n \"what was Wilson's early life like?\",\n \"Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker.\",\n \"did he stay in Ellwood City his whole childhood?\",\n \"In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \\\"D\\\" Blue Ridge League.\",\n \"how long did he stay in West Virginia?\",\n \"In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year.\",\n \"What was his minor leagues like?\",\n \"In 1923, playing for the \\\"B\\\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average.\",\n \"did he play for them long?\",\n \"Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500.\",\n \"How long did he play for the New York Giants?\",\n \"I don't know.\"\n]"},"QuAC_dialog_id":{"kind":"string","value":"C_caf876f084ed435aae7dfb1e41e6fe73_1"},"Question":{"kind":"string","value":"is there any other interesting fact in the article that you liked?"},"Question_no":{"kind":"number","value":7,"string":"7"},"Rewrite":{"kind":"string","value":"is there any other interesting fact in the article that you liked other than wilson professional career?"},"true_page_title":{"kind":"string","value":"Hack Wilson"},"true_contexts":{"kind":"string","value":"Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker. His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24. In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week. Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes. Sportswriter Shirley Povich later observed that he was \"built along the lines of a beer keg, and was not wholly unfamiliar with its contents.\" While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of the Fetal Alcohol Syndrome. In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \"D\" Blue Ridge League. After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield. In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year. In 1923, playing for the \"B\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average. Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500. CANNOTANSWER"},"answer":{"kind":"string","value":"Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes."},"true_contexts_wiki":{"kind":"string","value":"Lewis Robert \"Hack\" Wilson (April 26, 1900 – November 23, 1948) was an American Major League Baseball player who played 12 seasons for the New York Giants, Chicago Cubs, Brooklyn Dodgers and Philadelphia Phillies. Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s. His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history. Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed. \"For a brief span of a few years\", wrote a sportswriter of the day, \"this hammered down little strongman actually rivaled the mighty Ruth.\"\n\nWhile Wilson's combativeness and excessive alcohol consumption made him one of the most colorful sports personalities of his era, his drinking and fighting undoubtedly contributed to a premature end to his athletic career and, ultimately, his premature death. He was inducted into the Baseball Hall of Fame in 1979.\n\nBaseball career\n\nEarly life and minor leagues\nLewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker. His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24.\n\nIn 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week. Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes. Sportswriter Shirley Povich later observed that he was \"built along the lines of a beer keg, and was not wholly unfamiliar with its contents.\" While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of Fetal Alcohol Syndrome.\n\nIn 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \"D\" Blue Ridge League. After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield. In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year. In 1923, playing for the \"B\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average. Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500 ($ in current dollar terms).\n\nNew York Giants\nWilson made his major league debut with the Giants on September 29, 1923, at the age of 23, and became the starting left fielder the following season. By mid-July he was ranked second in the National League (NL) in hitting. He ended the season with a .295 average, 10 home runs, and 57 runs batted in (RBIs) as New York won the NL pennant. In the 1924 World Series he averaged only .233 in a seven-game loss to the Washington Senators.\n\nMultiple stories exist to explain the origin of Wilson's nickname: By one account, a New York newspaper held a nicknaming contest; the winning entry was \"Hack\" because he reminded many fans of another stocky athlete, the popular wrestler Georg Hackenschmidt. In another version, McGraw is said to have remarked that Wilson's physique was reminiscent of a \"hack\" (slang for taxicab in that era). Giants teammate Bill Cunningham claimed that the nickname was based on Wilson's resemblance to Hack Miller, an outfielder with the Chicago Cubs. The New York Times printed the first documented usage of \"Hack\" on June 10, 1924.\n\nEarly in the 1925 season Wilson hit the longest home run on record at Ebbets Field against the Brooklyn Robins, but fell into a slump in May, and was replaced in left field by Irish Meusel. On July 2 he hit two home runs in one inning, tying Ken Williams' major league record set in 1922, but his hitting slump continued. In August McGraw told reporters that he had \"... made the mistake of rushing [Wilson] along,\" and sent him to the Giants' minor league affiliate, the Toledo Mud Hens of the American Association. At season's end, a front office oversight—or possibly, deliberate inaction—left him unprotected on the Toledo roster, and the last-place Chicago Cubs acquired him on waivers. \"They let go the best outfielder I ever played alongside\", said Giants right fielder Ross Youngs, \"and they're going to regret it.\"\n\nDuring the 1925 World Series — between the Senators and the Pittsburgh Pirates — Wilson's son, Robert, was born.\n\nGlory years with the Cubs\n\nWilson regained his form as the Cubs' center fielder in 1926, and he quickly became a favorite of Chicago fans. On May 24 he hit the center field scoreboard with one of the longest home runs in Wrigley Field history as the Cubs came from behind to defeat the Boston Braves. Later that evening he made news again when he was arrested during a police raid of a Prohibition-era speakeasy while trying to escape through the rear window, and was fined one dollar. He ended the season with a league-leading 21 home runs along with 36 doubles, 109 RBIs, a .321 batting average, and a .406 on-base percentage. The Cubs improved to fourth place, and Wilson ended the year ranked fifth in voting for the NL's Most Valuable Player (MVP) Award.\n\nAnother strong performance followed in 1927 as Wilson once again led the league in home runs. Although the Cubs were in first place heading into the final month of the season, the team faltered and again finished fourth. Wilson posted a .318 average with 30 home runs and 129 RBIs, and led NL outfielders with 400 putouts. He led the NL in home runs for a third consecutive year in 1928 with 31, along with 120 RBIs and a .313 average as the Cubs improved to third place.\n\nWilson had a combative streak and sometimes initiated fights with opposing players and fans. On June 22, 1928, a near-riot broke out in the ninth inning at Wrigley Field against the St. Louis Cardinals when Wilson jumped into the box seats to attack a heckling fan. An estimated 5,000 spectators swarmed the field before police could separate the combatants and restore order. The fan sued Wilson for $20,000, but a jury ruled in his favor. The following year he took offense at a remark by Cincinnati Reds pitcher Ray Kolp, and – upon reaching first base after hitting a single – he charged into the Reds dugout, punching Kolp several times before they could be separated. Later that evening at the train station, Wilson exchanged words and blows with Cincinnati player Pete Donohue. In late 1929 he signed a contract to fight Art Shires of the Chicago White Sox in a boxing match, but reneged after Cubs president William Veeck, Sr. enlisted Hack's wife Virginia to dissuade him, and then Shires lost a fight to George Trafton of the Chicago Bears. There was nothing to gain, Wilson said, by fighting a defeated boxer.\n\nWilson's \"penchant for festivities\" is also well documented. Biographer Clifton Blue Parker described him as \"... the Roaring '20s epitome of a baseball player, primed for an age of American excess ... at a time when baseball was America's favorite sport.\" His love of drinking and partying did not endear him to Cubs owner William Wrigley, who abhorred alcohol consumption. (Wilson always insisted that he never played drunk; \"hung over, yes; drunk, no.\") Manager Joe McCarthy worked hard to shield Wilson from Wrigley, and to keep him on an even keel. \"Better than any other manager,\" wrote sportswriter Frank Graham, \"Joe understood Hack, made allowances for him when he failed, and rewarded him with praise when he did well. Joe could be strict and stern with his players ... but he never was with Hack, and Hack repaid him by playing as he never had before, nor would again.\"\n\nIn 1929 Wilson hit .345 with 39 home runs and a league-record 159 RBIs. He and new teammate Rogers Hornsby (who also contributed 39 home runs) led the Cubs to their first NL pennant in eleven years. In the World Series against Connie Mack's Philadelphia Athletics, Wilson's .471 hitting performance was eclipsed by two fielding errors at Shibe Park. Though trailing the Series two games to one, the Cubs were leading by a score of 8–0 in the fourth game when the Athletics mounted a 10-run rally in the seventh inning. Wilson lost two fly balls in the sun; the second, with two runners on base, led to an inside-the-park home run by Mule Haas as the Athletics won 10–8. After the game, McCarthy reportedly told a boy asking for a souvenir baseball, \"Come back tomorrow and stand behind Wilson, and you'll be able to pick up all the balls you want!\" The Athletics won again the next day to take the Series in five games.\n\n1930 peak\nWilson's 1930 season, aided by a lively ball wound with special Australian wool, is considered one of the best single-season hitting performances in baseball history. By the middle of July he had accumulated 82 RBIs. In August he hit 13 home runs and 53 RBIs, and by September 17 he had reached 174 RBIs, breaking Lou Gehrig's major league record established three years earlier. He finished the season with 190 RBIs, along with an NL-record 56 home runs, .356 batting average, .454 on-base percentage, and league-leading .723 slugging percentage. He was unofficially voted the NL's most \"useful\" player by the Baseball Writers' Association of America (which did not inaugurate its official MVP award until 1931). \n\nIn 1999 the Commissioner of Baseball officially increased Wilson's 1930 RBI total to 191 after a box score analysis by baseball historian Jerome Holtzman revealed that Charlie Grimm had been mistakenly credited with an RBI actually driven home by Wilson during the second game of a doubleheader on July 28. Wilson's 191 RBIs remains one of baseball's most enduring records; only Gehrig (185) and Hank Greenberg (184) ever came close, and there have been no serious challenges in the last 75 years. (The best recent effort was 165 by Manny Ramirez in 1999.)\n\nReds catcher Clyde Sukeforth asserted that Wilson should have been credited with an additional home run in 1930 as well. \"He hit one in Cincinnati one day\", he said, \"way up in the seats, hit it so hard that it bounced right back onto the field. The umpire had a bad angle on it and ruled that it had hit the screen and bounced back. I was sitting in the Cincinnati bullpen, and of course, we weren't going to say anything. But Hack really hit 57 that year.\" Wilson's official total of 56 stood as the NL record until the 1998 season, when it was broken by Sammy Sosa (66) and Mark McGwire (70).\n\nDecline\nWilson's success in the 1930 season served only to fuel his drinking habits, and in 1931 he reported to spring training 20 pounds overweight. In addition, the NL responded to the prodigious offensive statistics of the previous year (the only season, other than 1894, in which the league as a whole batted over .300) by introducing a heavier ball with raised stitching to allow pitchers to gain a better grip and throw sharper curveballs. Wilson complained that the new Cubs manager, Hornsby, did not allow him to \"swing away\" as much as Joe McCarthy had. He hit his 200th career home run at Ebbets Field on June 18 — only the fourth player ever to do so, behind Ruth, Cy Williams, and Hornsby — but then fell into a protracted slump, and was benched in late May. By late August Wrigley publicly expressed his desire to trade him. On September 6 he was suspended without pay for the remainder of the season after a fight with reporters aboard a train in Cincinnati. He was hitting .261 with only 13 home runs (his 1930 production during August alone) at the time.\n\nIn December 1931, the Cubs traded Wilson, along with Bud Teachout, to the St. Louis Cardinals for Burleigh Grimes. Less than a month later, the Cardinals sent him to the Brooklyn Dodgers for minor league outfielder Bob Parham and $25,000 ($ in current dollar terms). Wilson hit .297 with 23 home runs and 123 RBIs for Brooklyn in 1932. He began 1933 with a ninth-inning game-winning pinch-hit inside-the-park grand slam home run at Ebbets Field—the first pinch-hit grand slam in Dodger history, and only the third inside-the-park pinch-hit grand slam in MLB history. By season's end his offensive totals had dropped substantially, and he was hitting .262 when the Dodgers released him mid-season in 1934. The Philadelphia Phillies signed him immediately, but after just two hits in 20 at bats he was released again a month later. After a final season with the Albany Senators of the Class \"A\" New York–Pennsylvania League, Wilson retired at the age of 35.\n\nCareer statistics\nIn a 12-year major league career, Wilson played in 1,348 games and accumulated 1,461 hits in 4,760 at-bats for a .307 career batting average and a .395 on-base percentage. He hit 244 home runs and batted in 1,063 runs, led the NL in home runs four times, and surpassed 100 RBIs six times. Defensively, he finished his career with a .965 fielding percentage.\n\nLife after baseball\n\nWilson returned to Martinsburg where he opened a pool hall, but encountered financial problems due to a failed sporting goods business venture, and then a rancorous divorce from Virginia. By 1938 he was working as a bartender near Brooklyn's Ebbets Field where he sang for drinks, but had to quit when customers became too abusive. A night club venture in suburban Chicago was another financial failure. In 1944 he took a job as a good will ambassador for a professional basketball team in Washington, D.C., where he lamented that fans remembered his two dropped fly balls in the 1929 World Series far more vividly than his 56 home runs and 191 RBIs in 1930. Unable to find work in professional baseball, he moved to Baltimore where he worked as a tool checker in an airplane manufacturing plant and later as a laborer for the City of Baltimore. When municipal authorities realized who he was, he was made the manager of a Baltimore public swimming pool.\n\nOn October 4, 1948 Wilson was discovered unconscious after a fall in his home. Though the accident did not appear serious at first, pneumonia and other complications developed and he died of internal hemorrhaging on November 23, 1948, at the age of 48.\n\nWilson — once the highest-paid player in the National League — died penniless; his son, Robert, refused to claim his remains. NL President Ford Frick finally sent money to cover his funeral expenses. His gray burial suit was donated by the undertaker. In marked contrast to Babe Ruth's funeral, which had been attended by thousands just three months earlier, only a few hundred people were present for Wilson's services. He was buried in Rosedale Cemetery in the town where he made his professional playing debut, Martinsburg, West Virginia.\n\nTen months later Joe McCarthy organized a second, more complete memorial service, attended by Kiki Cuyler, Charlie Grimm, Nick Altrock and other players from the Cubs and the Martinsburg team (by then renamed the Blue Sox). A granite tombstone was unveiled, with the inscription, \"One of Baseball's Immortals, Lewis R. (Hack) Wilson, Rests Here.\"\n\nOne week before his death, Wilson gave an interview to CBS Radio which was reprinted in Chicago newspapers. In 1949 Charlie Grimm, the Cubs' new manager, posted a framed excerpt from that interview in the Cubs clubhouse, where it remains. It reads, in part:\n\nTalent isn't enough. You need common sense and good advice. If anyone tries to tell you different, tell them the story of Hack Wilson. ... Kids in and out of baseball who think because they have talent they have the world by the tail. It isn't so. Kids, don't be too big to accept advice. Don't let what happened to me happen to you.\n\nIn 1979 Wilson was inducted into the Baseball Hall of Fame by the Veterans Committee. A Martinsburg street is named Hack Wilson Way in his honor, and the access road to a large city park within his home town, Ellwood City, Pennsylvania, is known as Hack Wilson Drive.\n\nSee also\n\n50 home run club\nList of Major League Baseball annual home run leaders\nList of Major League Baseball annual runs batted in leaders\nList of Major League Baseball players to hit for the cycle\nList of Major League Baseball career runs batted in leaders\nList of Major League Baseball career slugging percentage leaders\nList of Major League Baseball career OPS leaders\nList of Major League Baseball career home run leaders\n\nReferences\n\nFurther reading\n Subscription required.\n Subscription required.\n\nExternal links\n\n, or Retrosheet\n\nNational Baseball Hall of Fame inductees\nMajor League Baseball center fielders\nChicago Cubs players\nBrooklyn Dodgers players\nNew York Giants (NL) players\nPhiladelphia Phillies players\nNational League home run champions\nNational League RBI champions\nMartinsburg Mountaineers players\nMartinsburg Blue Sox players\nPortsmouth Truckers players\nToledo Mud Hens players\nAlbany Senators players\nBaseball players from Pennsylvania\nSportspeople from Martinsburg, West Virginia\nPeople from Ellwood City, Pennsylvania\nPeople from Lawrence County, Pennsylvania\n1900 births\n1948 deaths"},"extractive":{"kind":"string","value":"true"},"retrieved_contexts":{"kind":"list like","value":["Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\n\nKobylinec and Ptáčovský kopeček\n\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\n\nPonds\n\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\n\nSyenitové skály near Pocoucov\n\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\n\nExternal links\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\n\nReferences\n\nExternal links\nNature near the village Trnava which is there\n\nTřebíč\nParks in the Czech Republic\nTourist attractions in the Vysočina Region","\"May you live in interesting times\" is an English expression that is claimed to be a translation of a traditional Chinese curse. While seemingly a blessing, the expression is normally used ironically; life is better in \"uninteresting times\" of peace and tranquility than in \"interesting\" ones, which are usually times of trouble.\n\nDespite being so common in English as to be known as the \"Chinese curse\", the saying is apocryphal, and no actual Chinese source has ever been produced. The most likely connection to Chinese culture may be deduced from analysis of the late-19th-century speeches of Joseph Chamberlain, probably erroneously transmitted and revised through his son Austen Chamberlain.\n\nOrigins\nDespite being widely attributed as a Chinese curse, there is no known equivalent expression in Chinese. The nearest related Chinese expression translates as \"Better to be a dog in times of tranquility than a human in times of chaos.\" () The expression originates from Volume 3 of the 1627 short story collection by Feng Menglong, Stories to Awaken the World.\n\nEvidence that the phrase was in use as early as 1936 is provided in a memoir written by Hughe Knatchbull-Hugessen, the British Ambassador to China in 1936 and 1937, and published in 1949. He mentions that before he left England for China in 1936, a friend told him of a Chinese curse, \"May you live in interesting times.\"\n\nThe phrase is again described as a \"Chinese curse\" in an article published in Child Study: A Journal of Parent Education in 1943.\n\nFrederic René Coudert Jr. also recounts having heard the phrase at the time:\n\nSome years ago, in 1936, I had to write to a very dear and honoured friend of mine, who has since died, Sir Austen Chamberlain, brother of the present Prime Minister, and I concluded my letter with a rather banal remark \"that we were living in an interesting age\". Evidently he read the whole letter, because by return mail he wrote to me and concluded as follows: \"Many years ago I learned from one of our diplomats in China that one of the principal Chinese curses heaped upon an enemy is, 'May you live in an interesting age. \"Surely\", he said, \"no age has been more fraught with insecurity than our own present time.\" That was three years ago.\n\n\"Chamberlain curse\" theory\nResearch by philologist Garson O'Toole shows a probable origin in the mind of Austen Chamberlain's father Joseph Chamberlain dating around the late-19th and early 20th centuries. Specifically, O'Toole cites the following statement Joseph made during a speech in 1898:\n\nI think that you will all agree that we are living in most interesting times. (Hear, hear.) I never remember myself a time in which our history was so full, in which day by day brought us new objects of interest, and, let me say also, new objects for anxiety. (Hear, hear.) [emphasis added]\n\nOver time, the Chamberlain family may have come to believe that the elder Chamberlain had not used his own phrase, but had repeated a phrase from Chinese.\n\n\"U-Turn\" by Eric Frank Russell \nThe supposed curse was described in a science-fiction story titled \"U-Turn\", credited to \"Duncan Munro\", in the April 1950 issue of Astounding Science Fiction. The text from the story is as follows:\n\nFor centuries the Chinese used an ancient curse: \"May you live in interesting times!\" It isn't a curse any more. It's a blessing. We're scientific and civilized. We've got so many rights and liberties and freedoms that one can yearn for chains for the sheer pleasure of busting them and shaking them off. Reckon life would be more livable if there were any chains left to bust.\n\n\"Duncan Munro\" was a pseudonym of Eric Frank Russell, Over the years since this has led many people to believe, almost certainly incorrectly, that Russell originated the myth.\n\nSee also\nChinese word for \"crisis\"\nInteresting Times, a Terry Pratchett novel\n\nReferences\n\nExternal links\n \n \n\nEnglish words and phrases\nUrban legends\nChinese folklore\nChinese words and phrases\nFakelore"],"string":"[\n \"Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\\n\\nKobylinec and Ptáčovský kopeček\\n\\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\\n\\nPonds\\n\\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\\n\\nSyenitové skály near Pocoucov\\n\\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\\n\\nExternal links\\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\\n\\nReferences\\n\\nExternal links\\nNature near the village Trnava which is there\\n\\nTřebíč\\nParks in the Czech Republic\\nTourist attractions in the Vysočina Region\",\n \"\\\"May you live in interesting times\\\" is an English expression that is claimed to be a translation of a traditional Chinese curse. While seemingly a blessing, the expression is normally used ironically; life is better in \\\"uninteresting times\\\" of peace and tranquility than in \\\"interesting\\\" ones, which are usually times of trouble.\\n\\nDespite being so common in English as to be known as the \\\"Chinese curse\\\", the saying is apocryphal, and no actual Chinese source has ever been produced. The most likely connection to Chinese culture may be deduced from analysis of the late-19th-century speeches of Joseph Chamberlain, probably erroneously transmitted and revised through his son Austen Chamberlain.\\n\\nOrigins\\nDespite being widely attributed as a Chinese curse, there is no known equivalent expression in Chinese. The nearest related Chinese expression translates as \\\"Better to be a dog in times of tranquility than a human in times of chaos.\\\" () The expression originates from Volume 3 of the 1627 short story collection by Feng Menglong, Stories to Awaken the World.\\n\\nEvidence that the phrase was in use as early as 1936 is provided in a memoir written by Hughe Knatchbull-Hugessen, the British Ambassador to China in 1936 and 1937, and published in 1949. He mentions that before he left England for China in 1936, a friend told him of a Chinese curse, \\\"May you live in interesting times.\\\"\\n\\nThe phrase is again described as a \\\"Chinese curse\\\" in an article published in Child Study: A Journal of Parent Education in 1943.\\n\\nFrederic René Coudert Jr. also recounts having heard the phrase at the time:\\n\\nSome years ago, in 1936, I had to write to a very dear and honoured friend of mine, who has since died, Sir Austen Chamberlain, brother of the present Prime Minister, and I concluded my letter with a rather banal remark \\\"that we were living in an interesting age\\\". Evidently he read the whole letter, because by return mail he wrote to me and concluded as follows: \\\"Many years ago I learned from one of our diplomats in China that one of the principal Chinese curses heaped upon an enemy is, 'May you live in an interesting age. \\\"Surely\\\", he said, \\\"no age has been more fraught with insecurity than our own present time.\\\" That was three years ago.\\n\\n\\\"Chamberlain curse\\\" theory\\nResearch by philologist Garson O'Toole shows a probable origin in the mind of Austen Chamberlain's father Joseph Chamberlain dating around the late-19th and early 20th centuries. Specifically, O'Toole cites the following statement Joseph made during a speech in 1898:\\n\\nI think that you will all agree that we are living in most interesting times. (Hear, hear.) I never remember myself a time in which our history was so full, in which day by day brought us new objects of interest, and, let me say also, new objects for anxiety. (Hear, hear.) [emphasis added]\\n\\nOver time, the Chamberlain family may have come to believe that the elder Chamberlain had not used his own phrase, but had repeated a phrase from Chinese.\\n\\n\\\"U-Turn\\\" by Eric Frank Russell \\nThe supposed curse was described in a science-fiction story titled \\\"U-Turn\\\", credited to \\\"Duncan Munro\\\", in the April 1950 issue of Astounding Science Fiction. The text from the story is as follows:\\n\\nFor centuries the Chinese used an ancient curse: \\\"May you live in interesting times!\\\" It isn't a curse any more. It's a blessing. We're scientific and civilized. We've got so many rights and liberties and freedoms that one can yearn for chains for the sheer pleasure of busting them and shaking them off. Reckon life would be more livable if there were any chains left to bust.\\n\\n\\\"Duncan Munro\\\" was a pseudonym of Eric Frank Russell, Over the years since this has led many people to believe, almost certainly incorrectly, that Russell originated the myth.\\n\\nSee also\\nChinese word for \\\"crisis\\\"\\nInteresting Times, a Terry Pratchett novel\\n\\nReferences\\n\\nExternal links\\n \\n \\n\\nEnglish words and phrases\\nUrban legends\\nChinese folklore\\nChinese words and phrases\\nFakelore\"\n]"},"chunked_article":{"kind":"list like","value":["Lewis Robert \"Hack\" Wilson (April 26, 1900 – November 23, 1948) was an American Major League Baseball player who played 12 seasons for the New York Giants, Chicago Cubs, Brooklyn Dodgers and Philadelphia Phillies. Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s.","Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s. His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history.","His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history. Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed.","Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed. \"For a brief span of a few years\", wrote a sportswriter of the day, \"this hammered down little strongman actually rivaled the mighty Ruth.\"","\"For a brief span of a few years\", wrote a sportswriter of the day, \"this hammered down little strongman actually rivaled the mighty Ruth.\" While Wilson's combativeness and excessive alcohol consumption made him one of the most colorful sports personalities of his era, his drinking and fighting undoubtedly contributed to a premature end to his athletic career and, ultimately, his premature death.","While Wilson's combativeness and excessive alcohol consumption made him one of the most colorful sports personalities of his era, his drinking and fighting undoubtedly contributed to a premature end to his athletic career and, ultimately, his premature death. He was inducted into the Baseball Hall of Fame in 1979.","He was inducted into the Baseball Hall of Fame in 1979. Baseball career Early life and minor leagues Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh.","Baseball career Early life and minor leagues Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker.","His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker. His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24.","His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24. In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week.","In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week. Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes.","Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes. Sportswriter Shirley Povich later observed that he was \"built along the lines of a beer keg, and was not wholly unfamiliar with its contents.\"","Sportswriter Shirley Povich later observed that he was \"built along the lines of a beer keg, and was not wholly unfamiliar with its contents.\" While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of Fetal Alcohol Syndrome.","While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of Fetal Alcohol Syndrome. In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \"D\" Blue Ridge League.","In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \"D\" Blue Ridge League. After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield.","After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield. In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year.","In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year. In 1923, playing for the \"B\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average.","In 1923, playing for the \"B\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average. Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500 ($ in current dollar terms).","Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500 ($ in current dollar terms). New York Giants Wilson made his major league debut with the Giants on September 29, 1923, at the age of 23, and became the starting left fielder the following season.","New York Giants Wilson made his major league debut with the Giants on September 29, 1923, at the age of 23, and became the starting left fielder the following season. By mid-July he was ranked second in the National League (NL) in hitting.","By mid-July he was ranked second in the National League (NL) in hitting. He ended the season with a .295 average, 10 home runs, and 57 runs batted in (RBIs) as New York won the NL pennant. In the 1924 World Series he averaged only .233 in a seven-game loss to the Washington Senators.","In the 1924 World Series he averaged only .233 in a seven-game loss to the Washington Senators. Multiple stories exist to explain the origin of Wilson's nickname: By one account, a New York newspaper held a nicknaming contest; the winning entry was \"Hack\" because he reminded many fans of another stocky athlete, the popular wrestler Georg Hackenschmidt.","Multiple stories exist to explain the origin of Wilson's nickname: By one account, a New York newspaper held a nicknaming contest; the winning entry was \"Hack\" because he reminded many fans of another stocky athlete, the popular wrestler Georg Hackenschmidt. In another version, McGraw is said to have remarked that Wilson's physique was reminiscent of a \"hack\" (slang for taxicab in that era).","In another version, McGraw is said to have remarked that Wilson's physique was reminiscent of a \"hack\" (slang for taxicab in that era). Giants teammate Bill Cunningham claimed that the nickname was based on Wilson's resemblance to Hack Miller, an outfielder with the Chicago Cubs.","Giants teammate Bill Cunningham claimed that the nickname was based on Wilson's resemblance to Hack Miller, an outfielder with the Chicago Cubs. The New York Times printed the first documented usage of \"Hack\" on June 10, 1924.","The New York Times printed the first documented usage of \"Hack\" on June 10, 1924. Early in the 1925 season Wilson hit the longest home run on record at Ebbets Field against the Brooklyn Robins, but fell into a slump in May, and was replaced in left field by Irish Meusel.","Early in the 1925 season Wilson hit the longest home run on record at Ebbets Field against the Brooklyn Robins, but fell into a slump in May, and was replaced in left field by Irish Meusel. On July 2 he hit two home runs in one inning, tying Ken Williams' major league record set in 1922, but his hitting slump continued.","On July 2 he hit two home runs in one inning, tying Ken Williams' major league record set in 1922, but his hitting slump continued. In August McGraw told reporters that he had \"... made the mistake of rushing [Wilson] along,\" and sent him to the Giants' minor league affiliate, the Toledo Mud Hens of the American Association.","In August McGraw told reporters that he had \"... made the mistake of rushing [Wilson] along,\" and sent him to the Giants' minor league affiliate, the Toledo Mud Hens of the American Association. At season's end, a front office oversight—or possibly, deliberate inaction—left him unprotected on the Toledo roster, and the last-place Chicago Cubs acquired him on waivers.","At season's end, a front office oversight—or possibly, deliberate inaction—left him unprotected on the Toledo roster, and the last-place Chicago Cubs acquired him on waivers. \"They let go the best outfielder I ever played alongside\", said Giants right fielder Ross Youngs, \"and they're going to regret it.\"","\"They let go the best outfielder I ever played alongside\", said Giants right fielder Ross Youngs, \"and they're going to regret it.\" During the 1925 World Series — between the Senators and the Pittsburgh Pirates — Wilson's son, Robert, was born.","During the 1925 World Series — between the Senators and the Pittsburgh Pirates — Wilson's son, Robert, was born. Glory years with the Cubs Wilson regained his form as the Cubs' center fielder in 1926, and he quickly became a favorite of Chicago fans.","Glory years with the Cubs Wilson regained his form as the Cubs' center fielder in 1926, and he quickly became a favorite of Chicago fans. On May 24 he hit the center field scoreboard with one of the longest home runs in Wrigley Field history as the Cubs came from behind to defeat the Boston Braves.","On May 24 he hit the center field scoreboard with one of the longest home runs in Wrigley Field history as the Cubs came from behind to defeat the Boston Braves. Later that evening he made news again when he was arrested during a police raid of a Prohibition-era speakeasy while trying to escape through the rear window, and was fined one dollar.","Later that evening he made news again when he was arrested during a police raid of a Prohibition-era speakeasy while trying to escape through the rear window, and was fined one dollar. He ended the season with a league-leading 21 home runs along with 36 doubles, 109 RBIs, a .321 batting average, and a .406 on-base percentage.","He ended the season with a league-leading 21 home runs along with 36 doubles, 109 RBIs, a .321 batting average, and a .406 on-base percentage. The Cubs improved to fourth place, and Wilson ended the year ranked fifth in voting for the NL's Most Valuable Player (MVP) Award.","The Cubs improved to fourth place, and Wilson ended the year ranked fifth in voting for the NL's Most Valuable Player (MVP) Award. Another strong performance followed in 1927 as Wilson once again led the league in home runs.","Another strong performance followed in 1927 as Wilson once again led the league in home runs. Although the Cubs were in first place heading into the final month of the season, the team faltered and again finished fourth. Wilson posted a .318 average with 30 home runs and 129 RBIs, and led NL outfielders with 400 putouts.","Wilson posted a .318 average with 30 home runs and 129 RBIs, and led NL outfielders with 400 putouts. He led the NL in home runs for a third consecutive year in 1928 with 31, along with 120 RBIs and a .313 average as the Cubs improved to third place.","He led the NL in home runs for a third consecutive year in 1928 with 31, along with 120 RBIs and a .313 average as the Cubs improved to third place. Wilson had a combative streak and sometimes initiated fights with opposing players and fans.","Wilson had a combative streak and sometimes initiated fights with opposing players and fans. On June 22, 1928, a near-riot broke out in the ninth inning at Wrigley Field against the St. Louis Cardinals when Wilson jumped into the box seats to attack a heckling fan.","On June 22, 1928, a near-riot broke out in the ninth inning at Wrigley Field against the St. Louis Cardinals when Wilson jumped into the box seats to attack a heckling fan. An estimated 5,000 spectators swarmed the field before police could separate the combatants and restore order.","An estimated 5,000 spectators swarmed the field before police could separate the combatants and restore order. The fan sued Wilson for $20,000, but a jury ruled in his favor.","The fan sued Wilson for $20,000, but a jury ruled in his favor. The following year he took offense at a remark by Cincinnati Reds pitcher Ray Kolp, and – upon reaching first base after hitting a single – he charged into the Reds dugout, punching Kolp several times before they could be separated.","The following year he took offense at a remark by Cincinnati Reds pitcher Ray Kolp, and – upon reaching first base after hitting a single – he charged into the Reds dugout, punching Kolp several times before they could be separated. Later that evening at the train station, Wilson exchanged words and blows with Cincinnati player Pete Donohue.","Later that evening at the train station, Wilson exchanged words and blows with Cincinnati player Pete Donohue. In late 1929 he signed a contract to fight Art Shires of the Chicago White Sox in a boxing match, but reneged after Cubs president William Veeck, Sr. enlisted Hack's wife Virginia to dissuade him, and then Shires lost a fight to George Trafton of the Chicago Bears.","In late 1929 he signed a contract to fight Art Shires of the Chicago White Sox in a boxing match, but reneged after Cubs president William Veeck, Sr. enlisted Hack's wife Virginia to dissuade him, and then Shires lost a fight to George Trafton of the Chicago Bears. There was nothing to gain, Wilson said, by fighting a defeated boxer.","There was nothing to gain, Wilson said, by fighting a defeated boxer. Wilson's \"penchant for festivities\" is also well documented.","Wilson's \"penchant for festivities\" is also well documented. Biographer Clifton Blue Parker described him as \"... the Roaring '20s epitome of a baseball player, primed for an age of American excess ... at a time when baseball was America's favorite sport.\"","Biographer Clifton Blue Parker described him as \"... the Roaring '20s epitome of a baseball player, primed for an age of American excess ... at a time when baseball was America's favorite sport.\" His love of drinking and partying did not endear him to Cubs owner William Wrigley, who abhorred alcohol consumption.","His love of drinking and partying did not endear him to Cubs owner William Wrigley, who abhorred alcohol consumption. (Wilson always insisted that he never played drunk; \"hung over, yes; drunk, no.\") Manager Joe McCarthy worked hard to shield Wilson from Wrigley, and to keep him on an even keel.","Manager Joe McCarthy worked hard to shield Wilson from Wrigley, and to keep him on an even keel. \"Better than any other manager,\" wrote sportswriter Frank Graham, \"Joe understood Hack, made allowances for him when he failed, and rewarded him with praise when he did well.","\"Better than any other manager,\" wrote sportswriter Frank Graham, \"Joe understood Hack, made allowances for him when he failed, and rewarded him with praise when he did well. Joe could be strict and stern with his players ... but he never was with Hack, and Hack repaid him by playing as he never had before, nor would again.\"","Joe could be strict and stern with his players ... but he never was with Hack, and Hack repaid him by playing as he never had before, nor would again.\" In 1929 Wilson hit .345 with 39 home runs and a league-record 159 RBIs.","In 1929 Wilson hit .345 with 39 home runs and a league-record 159 RBIs. He and new teammate Rogers Hornsby (who also contributed 39 home runs) led the Cubs to their first NL pennant in eleven years.","He and new teammate Rogers Hornsby (who also contributed 39 home runs) led the Cubs to their first NL pennant in eleven years. In the World Series against Connie Mack's Philadelphia Athletics, Wilson's .471 hitting performance was eclipsed by two fielding errors at Shibe Park.","In the World Series against Connie Mack's Philadelphia Athletics, Wilson's .471 hitting performance was eclipsed by two fielding errors at Shibe Park. Though trailing the Series two games to one, the Cubs were leading by a score of 8–0 in the fourth game when the Athletics mounted a 10-run rally in the seventh inning.","Though trailing the Series two games to one, the Cubs were leading by a score of 8–0 in the fourth game when the Athletics mounted a 10-run rally in the seventh inning. Wilson lost two fly balls in the sun; the second, with two runners on base, led to an inside-the-park home run by Mule Haas as the Athletics won 10–8.","Wilson lost two fly balls in the sun; the second, with two runners on base, led to an inside-the-park home run by Mule Haas as the Athletics won 10–8. After the game, McCarthy reportedly told a boy asking for a souvenir baseball, \"Come back tomorrow and stand behind Wilson, and you'll be able to pick up all the balls you want!\"","After the game, McCarthy reportedly told a boy asking for a souvenir baseball, \"Come back tomorrow and stand behind Wilson, and you'll be able to pick up all the balls you want!\" The Athletics won again the next day to take the Series in five games.","The Athletics won again the next day to take the Series in five games. 1930 peak Wilson's 1930 season, aided by a lively ball wound with special Australian wool, is considered one of the best single-season hitting performances in baseball history. By the middle of July he had accumulated 82 RBIs.","By the middle of July he had accumulated 82 RBIs. In August he hit 13 home runs and 53 RBIs, and by September 17 he had reached 174 RBIs, breaking Lou Gehrig's major league record established three years earlier.","In August he hit 13 home runs and 53 RBIs, and by September 17 he had reached 174 RBIs, breaking Lou Gehrig's major league record established three years earlier. He finished the season with 190 RBIs, along with an NL-record 56 home runs, .356 batting average, .454 on-base percentage, and league-leading .723 slugging percentage.","He finished the season with 190 RBIs, along with an NL-record 56 home runs, .356 batting average, .454 on-base percentage, and league-leading .723 slugging percentage. He was unofficially voted the NL's most \"useful\" player by the Baseball Writers' Association of America (which did not inaugurate its official MVP award until 1931).","He was unofficially voted the NL's most \"useful\" player by the Baseball Writers' Association of America (which did not inaugurate its official MVP award until 1931). In 1999 the Commissioner of Baseball officially increased Wilson's 1930 RBI total to 191 after a box score analysis by baseball historian Jerome Holtzman revealed that Charlie Grimm had been mistakenly credited with an RBI actually driven home by Wilson during the second game of a doubleheader on July 28.","In 1999 the Commissioner of Baseball officially increased Wilson's 1930 RBI total to 191 after a box score analysis by baseball historian Jerome Holtzman revealed that Charlie Grimm had been mistakenly credited with an RBI actually driven home by Wilson during the second game of a doubleheader on July 28. Wilson's 191 RBIs remains one of baseball's most enduring records; only Gehrig (185) and Hank Greenberg (184) ever came close, and there have been no serious challenges in the last 75 years.","Wilson's 191 RBIs remains one of baseball's most enduring records; only Gehrig (185) and Hank Greenberg (184) ever came close, and there have been no serious challenges in the last 75 years. (The best recent effort was 165 by Manny Ramirez in 1999.)","(The best recent effort was 165 by Manny Ramirez in 1999.) Reds catcher Clyde Sukeforth asserted that Wilson should have been credited with an additional home run in 1930 as well.","Reds catcher Clyde Sukeforth asserted that Wilson should have been credited with an additional home run in 1930 as well. \"He hit one in Cincinnati one day\", he said, \"way up in the seats, hit it so hard that it bounced right back onto the field.","\"He hit one in Cincinnati one day\", he said, \"way up in the seats, hit it so hard that it bounced right back onto the field. The umpire had a bad angle on it and ruled that it had hit the screen and bounced back.","The umpire had a bad angle on it and ruled that it had hit the screen and bounced back. I was sitting in the Cincinnati bullpen, and of course, we weren't going to say anything. But Hack really hit 57 that year.\"","But Hack really hit 57 that year.\" Wilson's official total of 56 stood as the NL record until the 1998 season, when it was broken by Sammy Sosa (66) and Mark McGwire (70).","Wilson's official total of 56 stood as the NL record until the 1998 season, when it was broken by Sammy Sosa (66) and Mark McGwire (70). Decline Wilson's success in the 1930 season served only to fuel his drinking habits, and in 1931 he reported to spring training 20 pounds overweight.","Decline Wilson's success in the 1930 season served only to fuel his drinking habits, and in 1931 he reported to spring training 20 pounds overweight. In addition, the NL responded to the prodigious offensive statistics of the previous year (the only season, other than 1894, in which the league as a whole batted over .300) by introducing a heavier ball with raised stitching to allow pitchers to gain a better grip and throw sharper curveballs.","In addition, the NL responded to the prodigious offensive statistics of the previous year (the only season, other than 1894, in which the league as a whole batted over .300) by introducing a heavier ball with raised stitching to allow pitchers to gain a better grip and throw sharper curveballs. Wilson complained that the new Cubs manager, Hornsby, did not allow him to \"swing away\" as much as Joe McCarthy had.","Wilson complained that the new Cubs manager, Hornsby, did not allow him to \"swing away\" as much as Joe McCarthy had. He hit his 200th career home run at Ebbets Field on June 18 — only the fourth player ever to do so, behind Ruth, Cy Williams, and Hornsby — but then fell into a protracted slump, and was benched in late May.","He hit his 200th career home run at Ebbets Field on June 18 — only the fourth player ever to do so, behind Ruth, Cy Williams, and Hornsby — but then fell into a protracted slump, and was benched in late May. By late August Wrigley publicly expressed his desire to trade him.","By late August Wrigley publicly expressed his desire to trade him. On September 6 he was suspended without pay for the remainder of the season after a fight with reporters aboard a train in Cincinnati. He was hitting .261 with only 13 home runs (his 1930 production during August alone) at the time.","He was hitting .261 with only 13 home runs (his 1930 production during August alone) at the time. In December 1931, the Cubs traded Wilson, along with Bud Teachout, to the St. Louis Cardinals for Burleigh Grimes.","In December 1931, the Cubs traded Wilson, along with Bud Teachout, to the St. Louis Cardinals for Burleigh Grimes. Less than a month later, the Cardinals sent him to the Brooklyn Dodgers for minor league outfielder Bob Parham and $25,000 ($ in current dollar terms).","Less than a month later, the Cardinals sent him to the Brooklyn Dodgers for minor league outfielder Bob Parham and $25,000 ($ in current dollar terms). Wilson hit .297 with 23 home runs and 123 RBIs for Brooklyn in 1932.","Wilson hit .297 with 23 home runs and 123 RBIs for Brooklyn in 1932. He began 1933 with a ninth-inning game-winning pinch-hit inside-the-park grand slam home run at Ebbets Field—the first pinch-hit grand slam in Dodger history, and only the third inside-the-park pinch-hit grand slam in MLB history.","He began 1933 with a ninth-inning game-winning pinch-hit inside-the-park grand slam home run at Ebbets Field—the first pinch-hit grand slam in Dodger history, and only the third inside-the-park pinch-hit grand slam in MLB history. By season's end his offensive totals had dropped substantially, and he was hitting .262 when the Dodgers released him mid-season in 1934.","By season's end his offensive totals had dropped substantially, and he was hitting .262 when the Dodgers released him mid-season in 1934. The Philadelphia Phillies signed him immediately, but after just two hits in 20 at bats he was released again a month later.","The Philadelphia Phillies signed him immediately, but after just two hits in 20 at bats he was released again a month later. After a final season with the Albany Senators of the Class \"A\" New York–Pennsylvania League, Wilson retired at the age of 35.","After a final season with the Albany Senators of the Class \"A\" New York–Pennsylvania League, Wilson retired at the age of 35. Career statistics In a 12-year major league career, Wilson played in 1,348 games and accumulated 1,461 hits in 4,760 at-bats for a .307 career batting average and a .395 on-base percentage.","Career statistics In a 12-year major league career, Wilson played in 1,348 games and accumulated 1,461 hits in 4,760 at-bats for a .307 career batting average and a .395 on-base percentage. He hit 244 home runs and batted in 1,063 runs, led the NL in home runs four times, and surpassed 100 RBIs six times.","He hit 244 home runs and batted in 1,063 runs, led the NL in home runs four times, and surpassed 100 RBIs six times. Defensively, he finished his career with a .965 fielding percentage.","Defensively, he finished his career with a .965 fielding percentage. Life after baseball Wilson returned to Martinsburg where he opened a pool hall, but encountered financial problems due to a failed sporting goods business venture, and then a rancorous divorce from Virginia.","Life after baseball Wilson returned to Martinsburg where he opened a pool hall, but encountered financial problems due to a failed sporting goods business venture, and then a rancorous divorce from Virginia. By 1938 he was working as a bartender near Brooklyn's Ebbets Field where he sang for drinks, but had to quit when customers became too abusive.","By 1938 he was working as a bartender near Brooklyn's Ebbets Field where he sang for drinks, but had to quit when customers became too abusive. A night club venture in suburban Chicago was another financial failure.","A night club venture in suburban Chicago was another financial failure. In 1944 he took a job as a good will ambassador for a professional basketball team in Washington, D.C., where he lamented that fans remembered his two dropped fly balls in the 1929 World Series far more vividly than his 56 home runs and 191 RBIs in 1930.","In 1944 he took a job as a good will ambassador for a professional basketball team in Washington, D.C., where he lamented that fans remembered his two dropped fly balls in the 1929 World Series far more vividly than his 56 home runs and 191 RBIs in 1930. Unable to find work in professional baseball, he moved to Baltimore where he worked as a tool checker in an airplane manufacturing plant and later as a laborer for the City of Baltimore.","Unable to find work in professional baseball, he moved to Baltimore where he worked as a tool checker in an airplane manufacturing plant and later as a laborer for the City of Baltimore. When municipal authorities realized who he was, he was made the manager of a Baltimore public swimming pool.","When municipal authorities realized who he was, he was made the manager of a Baltimore public swimming pool. On October 4, 1948 Wilson was discovered unconscious after a fall in his home.","On October 4, 1948 Wilson was discovered unconscious after a fall in his home. Though the accident did not appear serious at first, pneumonia and other complications developed and he died of internal hemorrhaging on November 23, 1948, at the age of 48.","Though the accident did not appear serious at first, pneumonia and other complications developed and he died of internal hemorrhaging on November 23, 1948, at the age of 48. Wilson — once the highest-paid player in the National League — died penniless; his son, Robert, refused to claim his remains.","Wilson — once the highest-paid player in the National League — died penniless; his son, Robert, refused to claim his remains. NL President Ford Frick finally sent money to cover his funeral expenses. His gray burial suit was donated by the undertaker.","His gray burial suit was donated by the undertaker. In marked contrast to Babe Ruth's funeral, which had been attended by thousands just three months earlier, only a few hundred people were present for Wilson's services. He was buried in Rosedale Cemetery in the town where he made his professional playing debut, Martinsburg, West Virginia.","He was buried in Rosedale Cemetery in the town where he made his professional playing debut, Martinsburg, West Virginia. Ten months later Joe McCarthy organized a second, more complete memorial service, attended by Kiki Cuyler, Charlie Grimm, Nick Altrock and other players from the Cubs and the Martinsburg team (by then renamed the Blue Sox).","Ten months later Joe McCarthy organized a second, more complete memorial service, attended by Kiki Cuyler, Charlie Grimm, Nick Altrock and other players from the Cubs and the Martinsburg team (by then renamed the Blue Sox). A granite tombstone was unveiled, with the inscription, \"One of Baseball's Immortals, Lewis R. (Hack) Wilson, Rests Here.\"","A granite tombstone was unveiled, with the inscription, \"One of Baseball's Immortals, Lewis R. (Hack) Wilson, Rests Here.\" One week before his death, Wilson gave an interview to CBS Radio which was reprinted in Chicago newspapers.","One week before his death, Wilson gave an interview to CBS Radio which was reprinted in Chicago newspapers. In 1949 Charlie Grimm, the Cubs' new manager, posted a framed excerpt from that interview in the Cubs clubhouse, where it remains. It reads, in part: Talent isn't enough.","It reads, in part: Talent isn't enough. You need common sense and good advice. If anyone tries to tell you different, tell them the story of Hack Wilson. ... Kids in and out of baseball who think because they have talent they have the world by the tail. It isn't so.","It isn't so. It isn't so. Kids, don't be too big to accept advice. Don't let what happened to me happen to you. In 1979 Wilson was inducted into the Baseball Hall of Fame by the Veterans Committee.","In 1979 Wilson was inducted into the Baseball Hall of Fame by the Veterans Committee. A Martinsburg street is named Hack Wilson Way in his honor, and the access road to a large city park within his home town, Ellwood City, Pennsylvania, is known as Hack Wilson Drive.","A Martinsburg street is named Hack Wilson Way in his honor, and the access road to a large city park within his home town, Ellwood City, Pennsylvania, is known as Hack Wilson Drive. See also 50 home run club List of Major League Baseball annual home run leaders List of Major League Baseball annual runs batted in leaders List of Major League Baseball players to hit for the cycle List of Major League Baseball career runs batted in leaders List of Major League Baseball career slugging percentage leaders List of Major League Baseball career OPS leaders List of Major League Baseball career home run leaders References Further reading Subscription required.","See also 50 home run club List of Major League Baseball annual home run leaders List of Major League Baseball annual runs batted in leaders List of Major League Baseball players to hit for the cycle List of Major League Baseball career runs batted in leaders List of Major League Baseball career slugging percentage leaders List of Major League Baseball career OPS leaders List of Major League Baseball career home run leaders References Further reading Subscription required. Subscription required.","Subscription required. Subscription required. External links , or Retrosheet National Baseball Hall of Fame inductees Major League Baseball center fielders Chicago Cubs players Brooklyn Dodgers players New York Giants (NL) players Philadelphia Phillies players National League home run champions National League RBI champions Martinsburg Mountaineers players Martinsburg Blue Sox players Portsmouth Truckers players Toledo Mud Hens players Albany Senators players Baseball players from Pennsylvania Sportspeople from Martinsburg, West Virginia People from Ellwood City, Pennsylvania People from Lawrence County, Pennsylvania 1900 births 1948 deaths"],"string":"[\n \"Lewis Robert \\\"Hack\\\" Wilson (April 26, 1900 – November 23, 1948) was an American Major League Baseball player who played 12 seasons for the New York Giants, Chicago Cubs, Brooklyn Dodgers and Philadelphia Phillies. Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s.\",\n \"Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s. His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history.\",\n \"His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history. Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed.\",\n \"Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed. \\\"For a brief span of a few years\\\", wrote a sportswriter of the day, \\\"this hammered down little strongman actually rivaled the mighty Ruth.\\\"\",\n \"\\\"For a brief span of a few years\\\", wrote a sportswriter of the day, \\\"this hammered down little strongman actually rivaled the mighty Ruth.\\\" While Wilson's combativeness and excessive alcohol consumption made him one of the most colorful sports personalities of his era, his drinking and fighting undoubtedly contributed to a premature end to his athletic career and, ultimately, his premature death.\",\n \"While Wilson's combativeness and excessive alcohol consumption made him one of the most colorful sports personalities of his era, his drinking and fighting undoubtedly contributed to a premature end to his athletic career and, ultimately, his premature death. He was inducted into the Baseball Hall of Fame in 1979.\",\n \"He was inducted into the Baseball Hall of Fame in 1979. Baseball career Early life and minor leagues Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh.\",\n \"Baseball career Early life and minor leagues Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker.\",\n \"His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker. His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24.\",\n \"His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24. In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week.\",\n \"In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week. Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes.\",\n \"Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes. Sportswriter Shirley Povich later observed that he was \\\"built along the lines of a beer keg, and was not wholly unfamiliar with its contents.\\\"\",\n \"Sportswriter Shirley Povich later observed that he was \\\"built along the lines of a beer keg, and was not wholly unfamiliar with its contents.\\\" While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of Fetal Alcohol Syndrome.\",\n \"While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of Fetal Alcohol Syndrome. In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \\\"D\\\" Blue Ridge League.\",\n \"In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \\\"D\\\" Blue Ridge League. After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield.\",\n \"After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield. In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year.\",\n \"In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year. In 1923, playing for the \\\"B\\\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average.\",\n \"In 1923, playing for the \\\"B\\\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average. Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500 ($ in current dollar terms).\",\n \"Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500 ($ in current dollar terms). New York Giants Wilson made his major league debut with the Giants on September 29, 1923, at the age of 23, and became the starting left fielder the following season.\",\n \"New York Giants Wilson made his major league debut with the Giants on September 29, 1923, at the age of 23, and became the starting left fielder the following season. By mid-July he was ranked second in the National League (NL) in hitting.\",\n \"By mid-July he was ranked second in the National League (NL) in hitting. He ended the season with a .295 average, 10 home runs, and 57 runs batted in (RBIs) as New York won the NL pennant. In the 1924 World Series he averaged only .233 in a seven-game loss to the Washington Senators.\",\n \"In the 1924 World Series he averaged only .233 in a seven-game loss to the Washington Senators. Multiple stories exist to explain the origin of Wilson's nickname: By one account, a New York newspaper held a nicknaming contest; the winning entry was \\\"Hack\\\" because he reminded many fans of another stocky athlete, the popular wrestler Georg Hackenschmidt.\",\n \"Multiple stories exist to explain the origin of Wilson's nickname: By one account, a New York newspaper held a nicknaming contest; the winning entry was \\\"Hack\\\" because he reminded many fans of another stocky athlete, the popular wrestler Georg Hackenschmidt. In another version, McGraw is said to have remarked that Wilson's physique was reminiscent of a \\\"hack\\\" (slang for taxicab in that era).\",\n \"In another version, McGraw is said to have remarked that Wilson's physique was reminiscent of a \\\"hack\\\" (slang for taxicab in that era). Giants teammate Bill Cunningham claimed that the nickname was based on Wilson's resemblance to Hack Miller, an outfielder with the Chicago Cubs.\",\n \"Giants teammate Bill Cunningham claimed that the nickname was based on Wilson's resemblance to Hack Miller, an outfielder with the Chicago Cubs. The New York Times printed the first documented usage of \\\"Hack\\\" on June 10, 1924.\",\n \"The New York Times printed the first documented usage of \\\"Hack\\\" on June 10, 1924. Early in the 1925 season Wilson hit the longest home run on record at Ebbets Field against the Brooklyn Robins, but fell into a slump in May, and was replaced in left field by Irish Meusel.\",\n \"Early in the 1925 season Wilson hit the longest home run on record at Ebbets Field against the Brooklyn Robins, but fell into a slump in May, and was replaced in left field by Irish Meusel. On July 2 he hit two home runs in one inning, tying Ken Williams' major league record set in 1922, but his hitting slump continued.\",\n \"On July 2 he hit two home runs in one inning, tying Ken Williams' major league record set in 1922, but his hitting slump continued. In August McGraw told reporters that he had \\\"... made the mistake of rushing [Wilson] along,\\\" and sent him to the Giants' minor league affiliate, the Toledo Mud Hens of the American Association.\",\n \"In August McGraw told reporters that he had \\\"... made the mistake of rushing [Wilson] along,\\\" and sent him to the Giants' minor league affiliate, the Toledo Mud Hens of the American Association. At season's end, a front office oversight—or possibly, deliberate inaction—left him unprotected on the Toledo roster, and the last-place Chicago Cubs acquired him on waivers.\",\n \"At season's end, a front office oversight—or possibly, deliberate inaction—left him unprotected on the Toledo roster, and the last-place Chicago Cubs acquired him on waivers. \\\"They let go the best outfielder I ever played alongside\\\", said Giants right fielder Ross Youngs, \\\"and they're going to regret it.\\\"\",\n \"\\\"They let go the best outfielder I ever played alongside\\\", said Giants right fielder Ross Youngs, \\\"and they're going to regret it.\\\" During the 1925 World Series — between the Senators and the Pittsburgh Pirates — Wilson's son, Robert, was born.\",\n \"During the 1925 World Series — between the Senators and the Pittsburgh Pirates — Wilson's son, Robert, was born. Glory years with the Cubs Wilson regained his form as the Cubs' center fielder in 1926, and he quickly became a favorite of Chicago fans.\",\n \"Glory years with the Cubs Wilson regained his form as the Cubs' center fielder in 1926, and he quickly became a favorite of Chicago fans. On May 24 he hit the center field scoreboard with one of the longest home runs in Wrigley Field history as the Cubs came from behind to defeat the Boston Braves.\",\n \"On May 24 he hit the center field scoreboard with one of the longest home runs in Wrigley Field history as the Cubs came from behind to defeat the Boston Braves. Later that evening he made news again when he was arrested during a police raid of a Prohibition-era speakeasy while trying to escape through the rear window, and was fined one dollar.\",\n \"Later that evening he made news again when he was arrested during a police raid of a Prohibition-era speakeasy while trying to escape through the rear window, and was fined one dollar. He ended the season with a league-leading 21 home runs along with 36 doubles, 109 RBIs, a .321 batting average, and a .406 on-base percentage.\",\n \"He ended the season with a league-leading 21 home runs along with 36 doubles, 109 RBIs, a .321 batting average, and a .406 on-base percentage. The Cubs improved to fourth place, and Wilson ended the year ranked fifth in voting for the NL's Most Valuable Player (MVP) Award.\",\n \"The Cubs improved to fourth place, and Wilson ended the year ranked fifth in voting for the NL's Most Valuable Player (MVP) Award. Another strong performance followed in 1927 as Wilson once again led the league in home runs.\",\n \"Another strong performance followed in 1927 as Wilson once again led the league in home runs. Although the Cubs were in first place heading into the final month of the season, the team faltered and again finished fourth. Wilson posted a .318 average with 30 home runs and 129 RBIs, and led NL outfielders with 400 putouts.\",\n \"Wilson posted a .318 average with 30 home runs and 129 RBIs, and led NL outfielders with 400 putouts. He led the NL in home runs for a third consecutive year in 1928 with 31, along with 120 RBIs and a .313 average as the Cubs improved to third place.\",\n \"He led the NL in home runs for a third consecutive year in 1928 with 31, along with 120 RBIs and a .313 average as the Cubs improved to third place. Wilson had a combative streak and sometimes initiated fights with opposing players and fans.\",\n \"Wilson had a combative streak and sometimes initiated fights with opposing players and fans. On June 22, 1928, a near-riot broke out in the ninth inning at Wrigley Field against the St. Louis Cardinals when Wilson jumped into the box seats to attack a heckling fan.\",\n \"On June 22, 1928, a near-riot broke out in the ninth inning at Wrigley Field against the St. Louis Cardinals when Wilson jumped into the box seats to attack a heckling fan. An estimated 5,000 spectators swarmed the field before police could separate the combatants and restore order.\",\n \"An estimated 5,000 spectators swarmed the field before police could separate the combatants and restore order. The fan sued Wilson for $20,000, but a jury ruled in his favor.\",\n \"The fan sued Wilson for $20,000, but a jury ruled in his favor. The following year he took offense at a remark by Cincinnati Reds pitcher Ray Kolp, and – upon reaching first base after hitting a single – he charged into the Reds dugout, punching Kolp several times before they could be separated.\",\n \"The following year he took offense at a remark by Cincinnati Reds pitcher Ray Kolp, and – upon reaching first base after hitting a single – he charged into the Reds dugout, punching Kolp several times before they could be separated. Later that evening at the train station, Wilson exchanged words and blows with Cincinnati player Pete Donohue.\",\n \"Later that evening at the train station, Wilson exchanged words and blows with Cincinnati player Pete Donohue. In late 1929 he signed a contract to fight Art Shires of the Chicago White Sox in a boxing match, but reneged after Cubs president William Veeck, Sr. enlisted Hack's wife Virginia to dissuade him, and then Shires lost a fight to George Trafton of the Chicago Bears.\",\n \"In late 1929 he signed a contract to fight Art Shires of the Chicago White Sox in a boxing match, but reneged after Cubs president William Veeck, Sr. enlisted Hack's wife Virginia to dissuade him, and then Shires lost a fight to George Trafton of the Chicago Bears. There was nothing to gain, Wilson said, by fighting a defeated boxer.\",\n \"There was nothing to gain, Wilson said, by fighting a defeated boxer. Wilson's \\\"penchant for festivities\\\" is also well documented.\",\n \"Wilson's \\\"penchant for festivities\\\" is also well documented. Biographer Clifton Blue Parker described him as \\\"... the Roaring '20s epitome of a baseball player, primed for an age of American excess ... at a time when baseball was America's favorite sport.\\\"\",\n \"Biographer Clifton Blue Parker described him as \\\"... the Roaring '20s epitome of a baseball player, primed for an age of American excess ... at a time when baseball was America's favorite sport.\\\" His love of drinking and partying did not endear him to Cubs owner William Wrigley, who abhorred alcohol consumption.\",\n \"His love of drinking and partying did not endear him to Cubs owner William Wrigley, who abhorred alcohol consumption. (Wilson always insisted that he never played drunk; \\\"hung over, yes; drunk, no.\\\") Manager Joe McCarthy worked hard to shield Wilson from Wrigley, and to keep him on an even keel.\",\n \"Manager Joe McCarthy worked hard to shield Wilson from Wrigley, and to keep him on an even keel. \\\"Better than any other manager,\\\" wrote sportswriter Frank Graham, \\\"Joe understood Hack, made allowances for him when he failed, and rewarded him with praise when he did well.\",\n \"\\\"Better than any other manager,\\\" wrote sportswriter Frank Graham, \\\"Joe understood Hack, made allowances for him when he failed, and rewarded him with praise when he did well. Joe could be strict and stern with his players ... but he never was with Hack, and Hack repaid him by playing as he never had before, nor would again.\\\"\",\n \"Joe could be strict and stern with his players ... but he never was with Hack, and Hack repaid him by playing as he never had before, nor would again.\\\" In 1929 Wilson hit .345 with 39 home runs and a league-record 159 RBIs.\",\n \"In 1929 Wilson hit .345 with 39 home runs and a league-record 159 RBIs. He and new teammate Rogers Hornsby (who also contributed 39 home runs) led the Cubs to their first NL pennant in eleven years.\",\n \"He and new teammate Rogers Hornsby (who also contributed 39 home runs) led the Cubs to their first NL pennant in eleven years. In the World Series against Connie Mack's Philadelphia Athletics, Wilson's .471 hitting performance was eclipsed by two fielding errors at Shibe Park.\",\n \"In the World Series against Connie Mack's Philadelphia Athletics, Wilson's .471 hitting performance was eclipsed by two fielding errors at Shibe Park. Though trailing the Series two games to one, the Cubs were leading by a score of 8–0 in the fourth game when the Athletics mounted a 10-run rally in the seventh inning.\",\n \"Though trailing the Series two games to one, the Cubs were leading by a score of 8–0 in the fourth game when the Athletics mounted a 10-run rally in the seventh inning. Wilson lost two fly balls in the sun; the second, with two runners on base, led to an inside-the-park home run by Mule Haas as the Athletics won 10–8.\",\n \"Wilson lost two fly balls in the sun; the second, with two runners on base, led to an inside-the-park home run by Mule Haas as the Athletics won 10–8. After the game, McCarthy reportedly told a boy asking for a souvenir baseball, \\\"Come back tomorrow and stand behind Wilson, and you'll be able to pick up all the balls you want!\\\"\",\n \"After the game, McCarthy reportedly told a boy asking for a souvenir baseball, \\\"Come back tomorrow and stand behind Wilson, and you'll be able to pick up all the balls you want!\\\" The Athletics won again the next day to take the Series in five games.\",\n \"The Athletics won again the next day to take the Series in five games. 1930 peak Wilson's 1930 season, aided by a lively ball wound with special Australian wool, is considered one of the best single-season hitting performances in baseball history. By the middle of July he had accumulated 82 RBIs.\",\n \"By the middle of July he had accumulated 82 RBIs. In August he hit 13 home runs and 53 RBIs, and by September 17 he had reached 174 RBIs, breaking Lou Gehrig's major league record established three years earlier.\",\n \"In August he hit 13 home runs and 53 RBIs, and by September 17 he had reached 174 RBIs, breaking Lou Gehrig's major league record established three years earlier. He finished the season with 190 RBIs, along with an NL-record 56 home runs, .356 batting average, .454 on-base percentage, and league-leading .723 slugging percentage.\",\n \"He finished the season with 190 RBIs, along with an NL-record 56 home runs, .356 batting average, .454 on-base percentage, and league-leading .723 slugging percentage. He was unofficially voted the NL's most \\\"useful\\\" player by the Baseball Writers' Association of America (which did not inaugurate its official MVP award until 1931).\",\n \"He was unofficially voted the NL's most \\\"useful\\\" player by the Baseball Writers' Association of America (which did not inaugurate its official MVP award until 1931). In 1999 the Commissioner of Baseball officially increased Wilson's 1930 RBI total to 191 after a box score analysis by baseball historian Jerome Holtzman revealed that Charlie Grimm had been mistakenly credited with an RBI actually driven home by Wilson during the second game of a doubleheader on July 28.\",\n \"In 1999 the Commissioner of Baseball officially increased Wilson's 1930 RBI total to 191 after a box score analysis by baseball historian Jerome Holtzman revealed that Charlie Grimm had been mistakenly credited with an RBI actually driven home by Wilson during the second game of a doubleheader on July 28. Wilson's 191 RBIs remains one of baseball's most enduring records; only Gehrig (185) and Hank Greenberg (184) ever came close, and there have been no serious challenges in the last 75 years.\",\n \"Wilson's 191 RBIs remains one of baseball's most enduring records; only Gehrig (185) and Hank Greenberg (184) ever came close, and there have been no serious challenges in the last 75 years. (The best recent effort was 165 by Manny Ramirez in 1999.)\",\n \"(The best recent effort was 165 by Manny Ramirez in 1999.) Reds catcher Clyde Sukeforth asserted that Wilson should have been credited with an additional home run in 1930 as well.\",\n \"Reds catcher Clyde Sukeforth asserted that Wilson should have been credited with an additional home run in 1930 as well. \\\"He hit one in Cincinnati one day\\\", he said, \\\"way up in the seats, hit it so hard that it bounced right back onto the field.\",\n \"\\\"He hit one in Cincinnati one day\\\", he said, \\\"way up in the seats, hit it so hard that it bounced right back onto the field. The umpire had a bad angle on it and ruled that it had hit the screen and bounced back.\",\n \"The umpire had a bad angle on it and ruled that it had hit the screen and bounced back. I was sitting in the Cincinnati bullpen, and of course, we weren't going to say anything. But Hack really hit 57 that year.\\\"\",\n \"But Hack really hit 57 that year.\\\" Wilson's official total of 56 stood as the NL record until the 1998 season, when it was broken by Sammy Sosa (66) and Mark McGwire (70).\",\n \"Wilson's official total of 56 stood as the NL record until the 1998 season, when it was broken by Sammy Sosa (66) and Mark McGwire (70). Decline Wilson's success in the 1930 season served only to fuel his drinking habits, and in 1931 he reported to spring training 20 pounds overweight.\",\n \"Decline Wilson's success in the 1930 season served only to fuel his drinking habits, and in 1931 he reported to spring training 20 pounds overweight. In addition, the NL responded to the prodigious offensive statistics of the previous year (the only season, other than 1894, in which the league as a whole batted over .300) by introducing a heavier ball with raised stitching to allow pitchers to gain a better grip and throw sharper curveballs.\",\n \"In addition, the NL responded to the prodigious offensive statistics of the previous year (the only season, other than 1894, in which the league as a whole batted over .300) by introducing a heavier ball with raised stitching to allow pitchers to gain a better grip and throw sharper curveballs. Wilson complained that the new Cubs manager, Hornsby, did not allow him to \\\"swing away\\\" as much as Joe McCarthy had.\",\n \"Wilson complained that the new Cubs manager, Hornsby, did not allow him to \\\"swing away\\\" as much as Joe McCarthy had. He hit his 200th career home run at Ebbets Field on June 18 — only the fourth player ever to do so, behind Ruth, Cy Williams, and Hornsby — but then fell into a protracted slump, and was benched in late May.\",\n \"He hit his 200th career home run at Ebbets Field on June 18 — only the fourth player ever to do so, behind Ruth, Cy Williams, and Hornsby — but then fell into a protracted slump, and was benched in late May. By late August Wrigley publicly expressed his desire to trade him.\",\n \"By late August Wrigley publicly expressed his desire to trade him. On September 6 he was suspended without pay for the remainder of the season after a fight with reporters aboard a train in Cincinnati. He was hitting .261 with only 13 home runs (his 1930 production during August alone) at the time.\",\n \"He was hitting .261 with only 13 home runs (his 1930 production during August alone) at the time. In December 1931, the Cubs traded Wilson, along with Bud Teachout, to the St. Louis Cardinals for Burleigh Grimes.\",\n \"In December 1931, the Cubs traded Wilson, along with Bud Teachout, to the St. Louis Cardinals for Burleigh Grimes. Less than a month later, the Cardinals sent him to the Brooklyn Dodgers for minor league outfielder Bob Parham and $25,000 ($ in current dollar terms).\",\n \"Less than a month later, the Cardinals sent him to the Brooklyn Dodgers for minor league outfielder Bob Parham and $25,000 ($ in current dollar terms). Wilson hit .297 with 23 home runs and 123 RBIs for Brooklyn in 1932.\",\n \"Wilson hit .297 with 23 home runs and 123 RBIs for Brooklyn in 1932. He began 1933 with a ninth-inning game-winning pinch-hit inside-the-park grand slam home run at Ebbets Field—the first pinch-hit grand slam in Dodger history, and only the third inside-the-park pinch-hit grand slam in MLB history.\",\n \"He began 1933 with a ninth-inning game-winning pinch-hit inside-the-park grand slam home run at Ebbets Field—the first pinch-hit grand slam in Dodger history, and only the third inside-the-park pinch-hit grand slam in MLB history. By season's end his offensive totals had dropped substantially, and he was hitting .262 when the Dodgers released him mid-season in 1934.\",\n \"By season's end his offensive totals had dropped substantially, and he was hitting .262 when the Dodgers released him mid-season in 1934. The Philadelphia Phillies signed him immediately, but after just two hits in 20 at bats he was released again a month later.\",\n \"The Philadelphia Phillies signed him immediately, but after just two hits in 20 at bats he was released again a month later. After a final season with the Albany Senators of the Class \\\"A\\\" New York–Pennsylvania League, Wilson retired at the age of 35.\",\n \"After a final season with the Albany Senators of the Class \\\"A\\\" New York–Pennsylvania League, Wilson retired at the age of 35. Career statistics In a 12-year major league career, Wilson played in 1,348 games and accumulated 1,461 hits in 4,760 at-bats for a .307 career batting average and a .395 on-base percentage.\",\n \"Career statistics In a 12-year major league career, Wilson played in 1,348 games and accumulated 1,461 hits in 4,760 at-bats for a .307 career batting average and a .395 on-base percentage. He hit 244 home runs and batted in 1,063 runs, led the NL in home runs four times, and surpassed 100 RBIs six times.\",\n \"He hit 244 home runs and batted in 1,063 runs, led the NL in home runs four times, and surpassed 100 RBIs six times. Defensively, he finished his career with a .965 fielding percentage.\",\n \"Defensively, he finished his career with a .965 fielding percentage. Life after baseball Wilson returned to Martinsburg where he opened a pool hall, but encountered financial problems due to a failed sporting goods business venture, and then a rancorous divorce from Virginia.\",\n \"Life after baseball Wilson returned to Martinsburg where he opened a pool hall, but encountered financial problems due to a failed sporting goods business venture, and then a rancorous divorce from Virginia. By 1938 he was working as a bartender near Brooklyn's Ebbets Field where he sang for drinks, but had to quit when customers became too abusive.\",\n \"By 1938 he was working as a bartender near Brooklyn's Ebbets Field where he sang for drinks, but had to quit when customers became too abusive. A night club venture in suburban Chicago was another financial failure.\",\n \"A night club venture in suburban Chicago was another financial failure. In 1944 he took a job as a good will ambassador for a professional basketball team in Washington, D.C., where he lamented that fans remembered his two dropped fly balls in the 1929 World Series far more vividly than his 56 home runs and 191 RBIs in 1930.\",\n \"In 1944 he took a job as a good will ambassador for a professional basketball team in Washington, D.C., where he lamented that fans remembered his two dropped fly balls in the 1929 World Series far more vividly than his 56 home runs and 191 RBIs in 1930. Unable to find work in professional baseball, he moved to Baltimore where he worked as a tool checker in an airplane manufacturing plant and later as a laborer for the City of Baltimore.\",\n \"Unable to find work in professional baseball, he moved to Baltimore where he worked as a tool checker in an airplane manufacturing plant and later as a laborer for the City of Baltimore. When municipal authorities realized who he was, he was made the manager of a Baltimore public swimming pool.\",\n \"When municipal authorities realized who he was, he was made the manager of a Baltimore public swimming pool. On October 4, 1948 Wilson was discovered unconscious after a fall in his home.\",\n \"On October 4, 1948 Wilson was discovered unconscious after a fall in his home. Though the accident did not appear serious at first, pneumonia and other complications developed and he died of internal hemorrhaging on November 23, 1948, at the age of 48.\",\n \"Though the accident did not appear serious at first, pneumonia and other complications developed and he died of internal hemorrhaging on November 23, 1948, at the age of 48. Wilson — once the highest-paid player in the National League — died penniless; his son, Robert, refused to claim his remains.\",\n \"Wilson — once the highest-paid player in the National League — died penniless; his son, Robert, refused to claim his remains. NL President Ford Frick finally sent money to cover his funeral expenses. His gray burial suit was donated by the undertaker.\",\n \"His gray burial suit was donated by the undertaker. In marked contrast to Babe Ruth's funeral, which had been attended by thousands just three months earlier, only a few hundred people were present for Wilson's services. He was buried in Rosedale Cemetery in the town where he made his professional playing debut, Martinsburg, West Virginia.\",\n \"He was buried in Rosedale Cemetery in the town where he made his professional playing debut, Martinsburg, West Virginia. Ten months later Joe McCarthy organized a second, more complete memorial service, attended by Kiki Cuyler, Charlie Grimm, Nick Altrock and other players from the Cubs and the Martinsburg team (by then renamed the Blue Sox).\",\n \"Ten months later Joe McCarthy organized a second, more complete memorial service, attended by Kiki Cuyler, Charlie Grimm, Nick Altrock and other players from the Cubs and the Martinsburg team (by then renamed the Blue Sox). A granite tombstone was unveiled, with the inscription, \\\"One of Baseball's Immortals, Lewis R. (Hack) Wilson, Rests Here.\\\"\",\n \"A granite tombstone was unveiled, with the inscription, \\\"One of Baseball's Immortals, Lewis R. (Hack) Wilson, Rests Here.\\\" One week before his death, Wilson gave an interview to CBS Radio which was reprinted in Chicago newspapers.\",\n \"One week before his death, Wilson gave an interview to CBS Radio which was reprinted in Chicago newspapers. In 1949 Charlie Grimm, the Cubs' new manager, posted a framed excerpt from that interview in the Cubs clubhouse, where it remains. It reads, in part: Talent isn't enough.\",\n \"It reads, in part: Talent isn't enough. You need common sense and good advice. If anyone tries to tell you different, tell them the story of Hack Wilson. ... Kids in and out of baseball who think because they have talent they have the world by the tail. It isn't so.\",\n \"It isn't so. It isn't so. Kids, don't be too big to accept advice. Don't let what happened to me happen to you. In 1979 Wilson was inducted into the Baseball Hall of Fame by the Veterans Committee.\",\n \"In 1979 Wilson was inducted into the Baseball Hall of Fame by the Veterans Committee. A Martinsburg street is named Hack Wilson Way in his honor, and the access road to a large city park within his home town, Ellwood City, Pennsylvania, is known as Hack Wilson Drive.\",\n \"A Martinsburg street is named Hack Wilson Way in his honor, and the access road to a large city park within his home town, Ellwood City, Pennsylvania, is known as Hack Wilson Drive. See also 50 home run club List of Major League Baseball annual home run leaders List of Major League Baseball annual runs batted in leaders List of Major League Baseball players to hit for the cycle List of Major League Baseball career runs batted in leaders List of Major League Baseball career slugging percentage leaders List of Major League Baseball career OPS leaders List of Major League Baseball career home run leaders References Further reading Subscription required.\",\n \"See also 50 home run club List of Major League Baseball annual home run leaders List of Major League Baseball annual runs batted in leaders List of Major League Baseball players to hit for the cycle List of Major League Baseball career runs batted in leaders List of Major League Baseball career slugging percentage leaders List of Major League Baseball career OPS leaders List of Major League Baseball career home run leaders References Further reading Subscription required. Subscription required.\",\n \"Subscription required. Subscription required. External links , or Retrosheet National Baseball Hall of Fame inductees Major League Baseball center fielders Chicago Cubs players Brooklyn Dodgers players New York Giants (NL) players Philadelphia Phillies players National League home run champions National League RBI champions Martinsburg Mountaineers players Martinsburg Blue Sox players Portsmouth Truckers players Toledo Mud Hens players Albany Senators players Baseball players from Pennsylvania Sportspeople from Martinsburg, West Virginia People from Ellwood City, Pennsylvania People from Lawrence County, Pennsylvania 1900 births 1948 deaths\"\n]"}}},{"rowIdx":487,"cells":{"History":{"kind":"list like","value":["Sinhalese people","Language and literature","what language did the sinhalese people use?","The Sinhalese speak Sinhala, also known as \"Helabasa\";","is it a widely known language?","I don't know."],"string":"[\n \"Sinhalese people\",\n \"Language and literature\",\n \"what language did the sinhalese people use?\",\n \"The Sinhalese speak Sinhala, also known as \\\"Helabasa\\\";\",\n \"is it a widely known language?\",\n \"I don't know.\"\n]"},"QuAC_dialog_id":{"kind":"string","value":"C_6531bbbb4dba4483bed9d12220555c4f_1"},"Question":{"kind":"string","value":"Are there any other interesting aspects about this article?"},"Question_no":{"kind":"number","value":3,"string":"3"},"Rewrite":{"kind":"string","value":"Other than the language of the Sinhalese people, Are there any other interesting aspects about this article?"},"true_page_title":{"kind":"string","value":"Sinhalese people"},"true_contexts":{"kind":"string","value":"The Sinhalese speak Sinhala, also known as \"Helabasa\"; this language has two varieties, spoken and written. Sinhala is an Indo-Aryan language within the broader group of Indo-European languages. The language was brought to Sri Lanka by the ancestors of the Sinhalese from northern India who settled on the island in the 6th century BCE. Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages. Sinhala was influenced by many languages, prominently Pali, the sacred language of Southern Buddhism, and Sanskrit. Many early Sinhala texts such as the Hela Atuwa were lost after their translation into Pali. Other significant Sinhala texts include Amavatura, Kavu Silumina, Jathaka Potha and Sala Liheeniya. Sinhala has also adopted many loanwords of foreign origin, including from many Indian languages and colonial languages Portuguese, Dutch, and English. Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world. The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages. Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and Hollywood movies. Additionally many Dutch and Portuguese words can be seen in the coastal areas. Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today. Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance. Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son. In the modern period, Sinhala writers such as Martin Wickremasinghe and G. B. Senanayake have drawn widespread acclaim. Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake. Martin Wickramasinghe wrote the immensely popular children's novel Madol Duwa. Munadasa Cumaratunga's Hath Pana is also widely known. CANNOTANSWER"},"answer":{"kind":"string","value":"Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today."},"true_contexts_wiki":{"kind":"string","value":"Sinhalese people () are an Indo-Aryan ethnic group native to the island of Sri Lanka. They were historically known as Hela people (). They constitute about 75% of the Sri Lankan population and number greater than 16.2 million. The Sinhalese identity is based on language, cultural heritage and nationality. The Sinhalese people speak Sinhala, an insular Indo-Aryan language, and are predominantly Theravada Buddhists, although a minority of Sinhalese follow branches of Christianity and \nother religions. Since 1815, they were broadly divided into two respective groups: The 'Up-country Sinhalese' in the central mountainous regions, and the 'Low-country Sinhalese' in the coastal regions; although both groups speak the same language, they are distinguished as they observe different cultural customs.\n\nAccording to the Mahavamsa and the Dipavamsa, a 3rd–5th century treatise written in Pali by Buddhist monks of the Anuradhapura Maha Viharaya in Sri Lanka, the Sinhalese descend from settlers who came to the island in 543 BCE from Sinhapura led by Prince Vijaya who mixed with the indigenous Yakka and later settlers from the Pandya kingdom.\n\nEtymology\nFrom the Sanskrit word Sinhala, meaning literally \"of lions\".\n\nThe Mahavamsa records the origin of the Sinhalese people and related historical events. It traces the historical origin of the Sinhalese people back to the first king who mentioned in the documentary history of Sri Lanka, Vijaya, who is the son of Sinhabahu (Sanskrit meaning 'Sinha' (lion) + 'bahu' (hands, feet), the ruler of Sinhapura. Some versions suggest Vijaya is the grandson of Sinhabahu. According to the Mahavamsa, Sinhabahu was the son of princess Suppadevi of Vanga, who copulated with a lion and gave birth to a daughter called Sinhasivali and to a son, Sinhabahu, whose hands and feet were like the paws of a lion and who had the strength of a lion. King Vijaya, the lineage of Sinhabahu, according to the Mahavamsa and other historical sources, arrived on the island of Tambapanni (Sri Lanka) and gave origin to the lion people, Sinhalese.\n\nThe story of the arrival of Prince Vijaya in Sri Lanka and the origin of the Sinhalese people is also depicted in the Ajanta caves, in a mural of cave number 17. According to Arisen Ahubudu, there were four major clans of \"hela\" in ancient Sri Lanka even before the arrival of Prince Vijaya, and that Sri Lanka was called as \"Siv hela\" (siv=four in the Sinhala language) and later it was changed into \"Sinhala\".\n\nHistory\n\nThe early recorded history of the Sinhalese is chronicled in two documents, the Mahavamsa, written in Pāli around the 4th century CE, and the later Culavamsa (the first segment probably penned in the 13th century CE by the Buddhist monk Dhammakitti). These are ancient sources that cover the histories of the powerful ancient Sinhalese kingdoms of Anuradhapura and Polonnaruwa which lasted for 1500 years. The Mahavamsa describes the existence of fields of rice and reservoirs, indicating a well-developed agrarian society.\n\nPre Anuradhapura period\n\nAccording to Mahavamsa, Prince Vijaya and his 700 followers left Suppāraka, landed on the island at a site believed by historians to be in the district of Puttalam, south of modern-day Mannar and founded the Kingdom of Thambapanni. It is recorded the Vijaya made his landing on the day of Buddha's Parinirvana. Vijaya claimed Tambapanni his capital and soon the whole island come under this name. Tambapanni was originally inhabited and governed by Yakkhas, having their capital at Sirīsavatthu and their queen Kuveni. According to the Samyutta Commentary, Tambapanni was one hundred leagues in extent.\n\nAt the end of his reign, Vijaya, having trouble choosing a successor, sent a letter to the city of his ancestors, Sinhapura, in order to invite his brother Sumitta to take over the throne. However, Vijaya had died before the letter had reached its destination, so the elected minister of the people Upatissa, the Chief government minister or prime minister and leading chief among the Sinhalese became regent and acted as regent for a year. After his coronation, which was held in the Kingdom of Tambapanni, he left it, building another one, bearing his own name. While he was king, Upatissa established the new capital Upatissa, in which the kingdom was moved to from the Kingdom of Tambapanni. When Vijaya's letter arrived, Sumitta had already succeeded his father as king of his country, and so he sent his son Panduvasdeva to rule Upatissa Nuwara.\n\nUpatissa Nuwara was seven or eight miles further north of the Kingdom of Tambapanni.\nIt was named after the regent king Upatissa, who was the prime minister of Vijaya, and was founded in 505 BC after the death of Vijaya and the end of the Kingdom of Tambapanni.\n\nAnuradhapura period\n\nIn 377 BC, King Pandukabhaya (437–367 BC) moved the capital to Anuradhapura and developed it into a prosperous city. Anuradhapura (Anurapura) was named after the minister who first established the village and after a grandfather of Pandukabhaya who lived there. The name was also derived from the city's establishment on the auspicious asterism called Anura. Anuradhapura was the capital of all the monarchs who ruled from the dynasty.\n\nRulers such as Dutthagamani, Valagamba, and Dhatusena are noted for defeating the South Indians and regaining control of the kingdom. Other rulers who are notable for military achievements include Gajabahu I, who launched an invasion against the invaders, and Sena II, who sent his armies to assist a Pandyan prince.\n\nPolonnaruwa period\n\nDuring the Middle Ages Sri Lanka was well known for its agricultural prosperity under king Parakramabahu in Polonnaruwa during which period the island was famous around the world as the rice mill of the east.\n\nTransitional period\n\nLater in the 13th century the country's administrative provinces were divided into independent kingdoms and chieftaincies: Kingdom of Sitawaka, Kingdom of Kotte, Jaffna Kingdom and the Kandyan kingdom. The invasion by the Hindu king Magha in the 13th century led to migrations by the Buddhists (mostly Sinhalese) to areas not under his control. This migration was followed by a period of conflict among the Sinhalese chiefs who tried to exert political supremacy. Parakramabahu VI, a Sinhalese king invaded the Jaffna Kingdom and conquered it, bringing the entire country back under the Sinhalese kingdom. Trade also increased during this period, as Sri Lanka began to trade cinnamon and a large number of Muslim traders were bought into the island.\n\nIn the 15th century a Kandyan Kingdom formed which divided the Sinhalese politically into low-country and up-country. In this period, the Sinhalese caste structure absorbed recent Dravidian Hindu immigrants from South India leading to the emergence of three new Sinhalese caste groups - the Salagama, the Durava and the Karava.\n\nModern history\n\nThe Sinhalese have a stable birth rate and a population that has been growing at a slow pace relative to India and other Asian countries.\n\nSociety\n\nDemographics\n\nSri Lanka\n\nWithin Sri Lanka the majority of the Sinhalese reside in the South, Central, Sabaragamuwa and Western parts of the country. This coincides with the largest Sinhalese populations areas in Sri Lanka. Cities with more than 90% Sinhalese population include Hambantota, Galle, Gampaha, Kurunegala, Monaragala, Anuradhapura and Polonnaruwa.\n\nDiaspora\n\nSinhalese people have emigrated out to many countries for a variety of reasons. The larger diaspora communities are situated in the United Kingdom, Australia, United States and Canada among others. In addition to this there are many Sinhalese, who reside in the Middle East, Southeast Asia and Europe, temporarily in connection with employment and/or education. They are often employed as guest workers in the Middle East and professionals in the other regions.\n\nThe largest population centres of the Sinhalese diaspora are mainly situated in Europe, North America and Australia. The city of Melbourne contains just under half of the Sri Lankan Australians. The 2011 census recorded 86,412 Sri Lanka born in Australia. There are 73,849 Australians (0.4 of the population) who reported having Sinhalese ancestry in 2006. Sinhala was also reported to be the 29th-fastest-growing language in Australia (ranking above Somali but behind Hindi and Belarusian). Sinhalese Australians have an exceptionally low rate of return migration to Sri Lanka. In the 2011 Canadian Census, 7,220 people identified themselves as of Sinhalese ancestry, out of 139,415 Sri Lankans. There are a small number of Sinhalese people in India, scattered around the country, but mainly living in and around the northern and southern regions. Sri Lankan New Zealanders comprised 3% of the Asian population of New Zealand in 2001. The numbers arriving continued to increase, and at the 2018 census there were over 16,000 Sri Lankans living in New Zealand among those 9,171 were Sinhalese.\n\nIn the U.S, the Sinhalese number about 12,000 people. The New York City Metropolitan Area contains the largest Sri Lankan community in the United States, receiving the highest legal permanent resident Sri Lankan immigrant population, followed by Central New Jersey and the Los Angeles metropolitan area. Many Sinhalese have migrated to Italy since the 1970s. Italy was attractive to the Sinhalese due to perceived easier employment opportunities and entry, compared to other European countries. It is estimated that there are 30,000-33,000 Sinhalese in Italy. The major Sinhalese communities in Italy are located in Lombardia (In the districts Loreto and Lazzaretto), Milan, Lazio, Rome, Naples, and Southern Italy (Particularly Palermo, Messina and Catania). It should be noted however that many countries census list Sri Lankan which also includes Sri Lankan Tamils so the numbers of just Sinhalese are not as accurate when the census states Sri Lankan and not Sinhalese. Though Sinhalese people in particular and Sri Lankans in general have migrated to the UK over the centuries beginning from the colonial times, the number of Sinhalese people in the UK cannot be estimated accurately due to inadequacies of census in the UK. The UK government does not record statistics on the basis of language or ethnicity and all Sri Lankans are classified into one group as Asian British or Asian Other.\n\nLanguage and literature\n\nSinhalese people speak Sinhala, also known as \"Helabasa\"; this language has two varieties, spoken and written. Sinhala is an Indo-Aryan language within the broader group of Indo-European languages. The early form of the language was brought to Sri Lanka by the ancestors of the Sinhalese people from northern India who settled on the island in the 6th century BCE. Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages. It was influenced by many languages, prominently Pali, the sacred language of Southern Buddhism, Telugu and Sanskrit. Many early texts in the language such as the Hela Atuwa were lost after their translation into Pali. Other significant Sinhala texts include Amāvatura, Kavu Silumina, Jathaka Potha and Sala Liheeniya. Sinhala has also adopted many loanwords of foreign origin, including from many Indian such as Tamil and European languages such as Portuguese, Dutch, and English.\n\nSandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world. The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages. Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and foreign films. Additionally many Dutch and Portuguese words can be seen in the coastal areas. Sinhalese people, depending on where they live in Sri Lanka, may also additionally speak English and or Tamil. According to the 2012 Census 23.8% or 3,033,659 Sinhalese people also spoke English and 6.4% or 812,738 Sinhalese people also spoke Tamil. In the Negombo area bilingual fishermen who generally identify themselves as Sinhalese also speak the Negombo Tamil dialect. This dialect has undergone considerable convergence with spoken Sinhala.\n\nFolk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today. Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance. Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son.\n\nIn the modern period, Sinhala writers such as Martin Wickremasinghe and G. B. Senanayake have drawn widespread acclaim. Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake. Martin Wickramasinghe wrote the immensely popular children's novel Madol Duwa. Munadasa Cumaratunga's Hath Pana is also widely known.\n\nReligion\n\nThe form of Buddhism in Sri Lanka is known as Theravada (school of elders). The Pali chronicles (e.g., the Mahavansa) claim that the Sinhalese as an ethnic group are destined to preserve and protect Buddhism. In 1988 almost 93% of the Sinhala speaking population in Sri Lanka were Buddhist. Observations of current religious beliefs and practices demonstrate that the Sinhalese, as a religious community, have a complex worldview as Buddhists. Due to the proximity and on some occasions similarity of certain doctrines, there are many areas where Buddhists and Hindus share religious views and practices. Sinhalese Buddhists have adopted religious elements from Hindu traditions in their religious practices. Some of these practices may relate to ancient indigenous beliefs and traditions on spirits (folk religion), and the worship of Hindu deities. Some of these figures are used in healing rituals and may be native to the island. Gods and goddess derived from Hindu deities are worshiped by Sinhalese. Kataragama Deviyo from Kartikeya, Upulvan from Vishnu and Ayyanayake from Aiyanar can be named as examples. Though these gods take the same place as their Hindu counterparts in mythology, some of their aspects are different compared to the original gods.\n\nProminent Sri Lankan anthropologists Gananath Obeyesekere and Kitsiri Malalgoda used the term \"Protestant Buddhism\" to describe a type of Buddhism that appeared among the Sinhalese in Sri Lanka as a response to Protestant Christian missionaries and their evangelical activities during the British colonial period. This kind of Buddhism involved emulating the Protestant strategies of organising religious practices. They saw the need to establish Buddhist schools for educating Buddhist youth and organising Buddhists with new organisations such as the Young Men's Buddhist Association, as well as printing pamphlets to encourage people to participate in debates and religious controversies to defend Buddhism.\n\nChristianity\nThere is a significant Sinhalese Christian community, in the maritime provinces of Sri Lanka. Christianity was brought to the Sinhalese by Portuguese, Dutch, and British missionary groups during their respective periods of rule. Most Sinhalese Christians are Roman Catholic; a minority are Protestant. Their cultural centre is Negombo.\n\nReligion is considered very important among the Sinhalese. According to a 2008 Gallup poll, 99% of Sri Lankans considered religion an important aspect of their daily lives.\n\nGenetics\n\nModern studies point towards a predominantly Bengali contribution and a minor Tamil influence. Gujarati and Punjabi lineages are also visible. In relation to the former, other studies also show the Sinhalese possess some genetic admixture from Southeast Asian populations, especially from Austroasiatic groups. Certain Y-DNA and mtDNA haplogroups and genetic markers of immunoglobulin among the Sinhalese, for example, show Southeast Asian genetic influences many of which are also found among certain Northeast Indian populations to whom the Sinhalese are genetically related.\n\nCulture\n\nSinhalese culture is a unique one dating as far back as 2600 years and has been nourished by Theravada Buddhism. Its main domains are sculpture, fine arts, literature, dancing, poetry and a wide variety of folk beliefs and rituals traditionally. Ancient Sinhala stone sculpture and inscriptions are known worldwide and is a main foreign attraction in modern tourism. Sigirirya is famous for its frescoes. Folk poems were sung by workers to accompany their work and narrate the story of their lives. Ideally these poems consisted of four lines and, in the composition of these poems, special attention had been paid to the rhyming patterns. Buddhist festivals are dotted by unique music using traditionally Sinhalese instruments. More ancient rituals like (devil exorcism) continue to enthrall audiences today and often praised and invoked the good powers of the Buddha and the gods in order to exorcise the demons.\n\nFolklore and national mythology\nAccording to the Mahavamsa, the Sinhalese are descended from the exiled Prince Vijaya and his party of seven hundred followers who arrived on the island in 543 BCE. Vijaya and his followers were said to have arrived in Sri Lanka after being exiled from the city of Sinhapura in Bengal. The modern Sinhalese people were found genetically to be most closely related to the people of North-East India (Bengal). It is thought throughout Sri Lanka's history, since the founding of the Sinhalese in the 5th century BC that an influx of Indians from North India came to the island. This is further supported from Sinhala being part of the Indo-Aryan language group.\n\nTraditionally during recreation the Sinhalese wear a sarong (sarama in Sinhala). Men may wear a long-sleeved shirt with a sarong. Clothing varies by region for women. Low country Sinhalese women wear a white Long sleeved jacket, and a tight wrap around skirt, which usually is embedded with a floral or pattern design. As for the up country Sinhalese, women wear a similar outfit, but with a puffed up shoulder jacket, and a tucked in frill that lines the top of the skirt (Reda and Hatte in Sinhala). Traditionally, high caste Kandyan women wear a Kandyan style sari, which is similar to the Maharashtrian sari, with the drape but with a frill lining the bottom half and sometimes puffed up sleeves. It’s also called an Osariya. The low country high caste women wear a South Indian style saree. Within the more populated areas, Sinhalese men also wear Western-style clothing — wearing suits while the women wear skirts and blouses. For formal and ceremonial occasions women wear the traditional Kandyan (Osariya) style, which consists of a full blouse which covers the midriff completely, and is partially tucked in at the front. However, modern intermingling of styles has led to most wearers baring the midriff. The Kandyan style is considered as the national dress of Sinhalese women. In many occasions and functions, even the saree plays an important role in women's clothing and has become the de facto clothing for female office workers especially in government sector. An example of its use is the uniform of air hostesses of Sri Lankan Airlines.\n\nCuisine\n\nSinhalese cuisine is one of the most complex cuisines of South Asia. As a major trade hub, it draws influence from colonial powers that were involved in Sri Lanka and by foreign traders. Rice, which is consumed daily, can be found at any occasion, while spicy curries are favourite dishes for lunch and dinner. Some of the Sri Lankan dishes have striking resemblance to Kerala cuisine, which could be due to the similar geographic and agricultural features with Kerala. A well-known rice dish with Sinhalese is Kiribath, meaning ‘milk rice’. In addition to , Sinhalese eat , chopped leaves mixed with grated coconut and red onions. Coconut milk is found in most Sri Lankan dishes to give the cuisine its unique flavour.\n\nSri Lanka has long been renowned for its spices. The best known is cinnamon which is native to Sri Lanka. In the 15th and 16th centuries, spice and ivory traders from all over the world who came to Sri Lanka brought their native cuisines to the island, resulting in a rich diversity of cooking styles and techniques. Lamprais, rice boiled in stock with a special curry, accompanied by frikkadels (meatballs), all of which is then wrapped in a banana leaf and baked as a Dutch-influenced Sri Lankan dish. Dutch and Portuguese sweets also continue to be popular. British influences include roast beef and roast chicken. Also, the influence of the Indian cooking methods and food have played a major role in what Sri Lankans eat.\n\nThe island nation's cuisine mainly consists of boiled or steamed rice served with curry. This usually consists of a main curry of fish or chicken, as well as several other curries made with vegetables, lentils and even fruit curries. Side-dishes include pickles, chutneys and . The most famous of these is the coconut sambol, made of ground coconut mixed with chili peppers, dried Maldive fish and lime juice. This is ground to a paste and eaten with rice, as it gives zest to the meal and is believed to increase appetite.\n\nArt and architecture\n\nMany forms of Sri Lankan arts and crafts take inspiration from the island's long and lasting Buddhist culture which in turn has absorbed and adopted countless regional and local traditions. In most instances Sri Lankan art originates from religious beliefs, and is represented in many forms such as painting, sculpture, and architecture. One of the most notable aspects of Sri Lankan art are caves and temple paintings, such as the frescoes found at Sigiriya, and religious paintings found in temples in Dambulla and Temple of the Tooth Relic in Kandy. Other popular forms of art have been influenced by both natives as well as outside settlers. For example, traditional wooden handicrafts and clay pottery are found around the hill country while Portuguese-inspired lacework and Indonesian-inspired Batik have become notable. It has many different and beautiful drawings.\n\nDeveloped upon Indo-Aryan architectural skills in the late 6th century BCE Sinhalese people who lived upon greater kingdoms such as Anuradhapura and Polonnaruwa have built so many architectural examples such as Ruwanwelisaya, Jetavanaramaya - second tallest brick building in the ancient world after Great Pyramid of Giza, and Abayagiriya - third tallest brick building in the ancient world. And also with the ancient hydraulic technology which is also unique to Sinhalese people to build ancient tanks, systematic ponds with fountains moats and Irrigational reservoirs such as Parakrama Samudra, Kaudulla and Kandalama. Sigiriya which is considered by many as the 8th wonder of the world, it is a combination of natural and man made fortress, which consists so many architectural aspects.\n\nMusic\n\nThere are extensive folk poems relating to specific jobs of the ancient society. These poems were communal songs which had a rhythm that were sung when performing day-to-day tasks like harvesting and sowing.\n\nConcerning popular music, Ananda Samarakoon developed the reflective and poignant Sarala gee style with his work in the late 1930s/early 1940s. He has been followed by artists of repute such as Sunil Shantha, W. D. Amaradeva, Premasiri Khemadasa, Nanda Malini, Victor Ratnayake, Austin Munasinghe, T. M. Jayaratne, Sanath Nandasiri, Sunil Edirisinghe, Neela Wickremasinghe, Gunadasa Kapuge, Malini Bulathsinghala and Edward Jayakody.\n\nFilm and theatre\n\nDramatist Ediriweera Sarachchandra revitalised the drama form with Maname in 1956. The same year, film director Lester James Peries created the artistic masterwork Rekava which sought to create a uniquely Sinhalese cinema with artistic integrity. Since then, Peries and other directors like Vasantha Obeysekera, Dharmasena Pathiraja, Mahagama Sekera, W. A. B. de Silva, Dharmasiri Bandaranayake, Sunil Ariyaratne, Siri Gunasinghe, G. D. L. Perera, Piyasiri Gunaratne, Titus Thotawatte, D. B. Nihalsinghe, Ranjith Lal, Dayananda Gunawardena, Mudalinayake Somaratne, Asoka Handagama, and Prasanna Vithanage have developed an artistic Sinhalese cinema. Sinhala cinema is often made colourful with the incorporation of songs and dance adding more uniqueness to the industry.\n\nIn the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success.\n\nPerforming arts\n\nPerforming arts of the Sinhalese people can be categorised into few groups:\n\nKandyan dance consist of 18 Wannam (dance routines) featuring behaviours of various animals such as elephant, eagle, cobra, monkey, peacock and rabbit, mainly performing in the annual Perahara pageant in Sri Dalada Maligawa Kandy.\nPahatharata dance have a significant dancing style which is used to cure illnesses and spiritual clarification. The main feature of these dances is dancers wear masks representing various gods and demons, and use elements such as fire and water to bless people.\nSabaragamuwa dances have also a significant dancing style, mainly to entertain people.\nFolk music and dances differ according to the casts of Sinhalese people and also some times regionally—mainly popular among small children, especially girls. These arts are widely performed during the Sinhalese New Year period.\n\nMartial arts\n\nAngampora is the traditional martial art of the Sinhalese people. It combines combat techniques, self-defence, sport, exercise and meditation. Key techniques observed in Angampora are: Angam, which incorporates hand-to-hand fighting, and Illangam, which uses indigenous weapons such as Velayudaya, staves, knives and swords. Its most distinct feature is the use of pressure point attacks to inflict pain or permanently paralyse the opponent. Fighters usually make use of both striking and grappling techniques, and fight until the opponent is caught in a submission lock that they cannot escape. Usage of weapons is discretionary. Perimeters of fighting are defined in advance, and in some of the cases is a pit. Angampora became nearly extinct after the country came under British rule in 1815, but survived in a few families until the country regained independence.\n\nScience and education\n\nThe Sinhalese have a long history of literacy and formal learning. Instruction in basic fields like writing and reading by Buddhist Monks pre-date the birth of Christ. This traditional system followed religious rule and was meant to foster Buddhist understanding. Training of officials in such skills as keeping track of revenue and other records for administrative purposes occurred under this institution.\n\nTechnical education such as the building of reservoirs and canals was passed down from generation to generation through home training and outside craft apprenticeships.\n\nThe arrival of the Portuguese and Dutch and the subsequent colonisation maintained religion as the centre of education though in certain communities under Catholic and Presbyterian hierarchy. The British in the 1800s initially followed the same course. Following 1870 however they began a campaign for better education facilities in the region. Christian missionary groups were at the forefront of this development contributing to a high literacy among Christians.\n\nBy 1901 schools in the South and the North were well tended. The inner regions lagged behind however. Also, English education facilities presented hurdles for the general populace through fees and lack of access.\n\nMedicine\nTraditional Sinhalese villages in early days had at least one chief Medical personnel called Weda Mahaththaya (Doctor). These people practice their clinical activities by inheritance. Sinhalese Medicine resembles some of Ayurvedic practices in contrast for some treatments they use Buddhist Chantings (Pirith) in order to strengthen the effectiveness.\n\nAccording to the Mahavamsa, the ancient chronicle, Pandukabhaya of Sri Lanka (437 BC – 367 BC) had lying-in-homes and Ayurvedic hospitals (Sivikasotthi-Sala) built in various parts of the country. This is the earliest documentary evidence we have of institutions specifically dedicated to the care of the sick anywhere in the world. Mihintale Hospital is the oldest in the world.\n\nSee also\n List of Sinhalese people\n Sinhalese Buddhist nationalism\n\nReferences\n\nCitations\n\nSources \n\n De Silva, K. M. History of Sri Lanka (Univ. of Calif. Press, 1981)\n Gunasekera, Tamara. Hierarchy and Egalitarianism: Caste, Class, and Power in Sinhalese Peasant Society (Athlone, 1994).\n Roberts, Michael. Sri Lanka: Collective Identities Revisited (Colombo-Marga Institute, 1997).\n Wickremeratne, Ananda. Buddhism and Ethnicity in Sri Lanka: A Historical Analysis (New Delhi-Vikas Publishing House, 1995).\n\nExternal links \n\n CIA Factbook-Sri Lanka\n Department of Census and Statistics-Sri Lanka\n Ethnologue-Sinhala, a language of Sri Lanka\n CIA Factbook-Sri Lanka\n Sinhalese\n Who are the Sinhalese\n\n \nBuddhist communities of Sri Lanka\nEthnic groups in Sri Lanka\nEthnic groups in the Indian Ocean\nIndo-Aryan peoples\nSinhalese diaspora\nSinhalese culture"},"extractive":{"kind":"string","value":"true"},"retrieved_contexts":{"kind":"list like","value":["Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\n\nKobylinec and Ptáčovský kopeček\n\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\n\nPonds\n\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\n\nSyenitové skály near Pocoucov\n\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\n\nExternal links\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\n\nReferences\n\nExternal links\nNature near the village Trnava which is there\n\nTřebíč\nParks in the Czech Republic\nTourist attractions in the Vysočina Region","Damn Interesting is an independent website founded by Alan Bellows in 2005. The website presents true stories from science, history, and psychology, primarily as long-form articles, often illustrated with original artwork. Works are written by various authors, and published at irregular intervals. The website openly rejects advertising, relying on reader and listener donations to cover operating costs.\n\nAs of October 2012, each article is also published as a podcast under the same name. In November 2019, a second podcast was launched under the title Damn Interesting Week, featuring unscripted commentary on an assortment of news articles featured on the website's \"Curated Links\" section that week. In mid-2020, a third podcast called Damn Interesting Curio Cabinet began highlighting the website's periodic short-form articles in the same radioplay format as the original podcast.\n\nIn July 2009, Damn Interesting published the print book Alien Hand Syndrome through Workman Publishing. It contains some favorites from the site and some exclusive content.\n\nAwards and recognition \nIn August 2007, PC Magazine named Damn Interesting one of the \"Top 100 Undiscovered Web Sites\".\nThe article \"The Zero-Armed Bandit\" by Alan Bellows won a 2015 Sidney Award from David Brooks in The New York Times.\nThe article \"Ghoulish Acts and Dastardly Deeds\" by Alan Bellows was cited as \"nonfiction journalism from 2017 that will stand the test of time\" by Conor Friedersdorf in The Atlantic.\nThe article \"Dupes and Duplicity\" by Jennifer Lee Noonan won a 2020 Sidney Award from David Brooks in the New York Times.\n\nAccusing The Dollop of plagiarism \n\nOn July 9, 2015, Bellows posted an open letter accusing The Dollop, a comedy podcast about history, of plagiarism due to their repeated use of verbatim text from Damn Interesting articles without permission or attribution. Dave Anthony, the writer of The Dollop, responded on reddit, admitting to using Damn Interesting content, but claiming that the use was protected by fair use, and that \"historical facts are not copyrightable.\" In an article about the controversy on Plagiarism Today, Jonathan Bailey concluded, \"Any way one looks at it, The Dollop failed its ethical obligations to all of the people, not just those writing for Damn Interesting, who put in the time, energy and expertise into writing the original content upon which their show is based.\"\n\nReferences\n\nExternal links \n Official website\n\n2005 podcast debuts"],"string":"[\n \"Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\\n\\nKobylinec and Ptáčovský kopeček\\n\\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\\n\\nPonds\\n\\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\\n\\nSyenitové skály near Pocoucov\\n\\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\\n\\nExternal links\\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\\n\\nReferences\\n\\nExternal links\\nNature near the village Trnava which is there\\n\\nTřebíč\\nParks in the Czech Republic\\nTourist attractions in the Vysočina Region\",\n \"Damn Interesting is an independent website founded by Alan Bellows in 2005. The website presents true stories from science, history, and psychology, primarily as long-form articles, often illustrated with original artwork. Works are written by various authors, and published at irregular intervals. The website openly rejects advertising, relying on reader and listener donations to cover operating costs.\\n\\nAs of October 2012, each article is also published as a podcast under the same name. In November 2019, a second podcast was launched under the title Damn Interesting Week, featuring unscripted commentary on an assortment of news articles featured on the website's \\\"Curated Links\\\" section that week. In mid-2020, a third podcast called Damn Interesting Curio Cabinet began highlighting the website's periodic short-form articles in the same radioplay format as the original podcast.\\n\\nIn July 2009, Damn Interesting published the print book Alien Hand Syndrome through Workman Publishing. It contains some favorites from the site and some exclusive content.\\n\\nAwards and recognition \\nIn August 2007, PC Magazine named Damn Interesting one of the \\\"Top 100 Undiscovered Web Sites\\\".\\nThe article \\\"The Zero-Armed Bandit\\\" by Alan Bellows won a 2015 Sidney Award from David Brooks in The New York Times.\\nThe article \\\"Ghoulish Acts and Dastardly Deeds\\\" by Alan Bellows was cited as \\\"nonfiction journalism from 2017 that will stand the test of time\\\" by Conor Friedersdorf in The Atlantic.\\nThe article \\\"Dupes and Duplicity\\\" by Jennifer Lee Noonan won a 2020 Sidney Award from David Brooks in the New York Times.\\n\\nAccusing The Dollop of plagiarism \\n\\nOn July 9, 2015, Bellows posted an open letter accusing The Dollop, a comedy podcast about history, of plagiarism due to their repeated use of verbatim text from Damn Interesting articles without permission or attribution. Dave Anthony, the writer of The Dollop, responded on reddit, admitting to using Damn Interesting content, but claiming that the use was protected by fair use, and that \\\"historical facts are not copyrightable.\\\" In an article about the controversy on Plagiarism Today, Jonathan Bailey concluded, \\\"Any way one looks at it, The Dollop failed its ethical obligations to all of the people, not just those writing for Damn Interesting, who put in the time, energy and expertise into writing the original content upon which their show is based.\\\"\\n\\nReferences\\n\\nExternal links \\n Official website\\n\\n2005 podcast debuts\"\n]"},"chunked_article":{"kind":"list like","value":["Sinhalese people () are an Indo-Aryan ethnic group native to the island of Sri Lanka. They were historically known as Hela people (). They constitute about 75% of the Sri Lankan population and number greater than 16.2 million. The Sinhalese identity is based on language, cultural heritage and nationality.","The Sinhalese identity is based on language, cultural heritage and nationality. The Sinhalese people speak Sinhala, an insular Indo-Aryan language, and are predominantly Theravada Buddhists, although a minority of Sinhalese follow branches of Christianity and other religions.","The Sinhalese people speak Sinhala, an insular Indo-Aryan language, and are predominantly Theravada Buddhists, although a minority of Sinhalese follow branches of Christianity and other religions. Since 1815, they were broadly divided into two respective groups: The 'Up-country Sinhalese' in the central mountainous regions, and the 'Low-country Sinhalese' in the coastal regions; although both groups speak the same language, they are distinguished as they observe different cultural customs.","Since 1815, they were broadly divided into two respective groups: The 'Up-country Sinhalese' in the central mountainous regions, and the 'Low-country Sinhalese' in the coastal regions; although both groups speak the same language, they are distinguished as they observe different cultural customs. According to the Mahavamsa and the Dipavamsa, a 3rd–5th century treatise written in Pali by Buddhist monks of the Anuradhapura Maha Viharaya in Sri Lanka, the Sinhalese descend from settlers who came to the island in 543 BCE from Sinhapura led by Prince Vijaya who mixed with the indigenous Yakka and later settlers from the Pandya kingdom.","According to the Mahavamsa and the Dipavamsa, a 3rd–5th century treatise written in Pali by Buddhist monks of the Anuradhapura Maha Viharaya in Sri Lanka, the Sinhalese descend from settlers who came to the island in 543 BCE from Sinhapura led by Prince Vijaya who mixed with the indigenous Yakka and later settlers from the Pandya kingdom. Etymology From the Sanskrit word Sinhala, meaning literally \"of lions\".","Etymology From the Sanskrit word Sinhala, meaning literally \"of lions\". The Mahavamsa records the origin of the Sinhalese people and related historical events.","The Mahavamsa records the origin of the Sinhalese people and related historical events. It traces the historical origin of the Sinhalese people back to the first king who mentioned in the documentary history of Sri Lanka, Vijaya, who is the son of Sinhabahu (Sanskrit meaning 'Sinha' (lion) + 'bahu' (hands, feet), the ruler of Sinhapura.","It traces the historical origin of the Sinhalese people back to the first king who mentioned in the documentary history of Sri Lanka, Vijaya, who is the son of Sinhabahu (Sanskrit meaning 'Sinha' (lion) + 'bahu' (hands, feet), the ruler of Sinhapura. Some versions suggest Vijaya is the grandson of Sinhabahu.","Some versions suggest Vijaya is the grandson of Sinhabahu. According to the Mahavamsa, Sinhabahu was the son of princess Suppadevi of Vanga, who copulated with a lion and gave birth to a daughter called Sinhasivali and to a son, Sinhabahu, whose hands and feet were like the paws of a lion and who had the strength of a lion.","According to the Mahavamsa, Sinhabahu was the son of princess Suppadevi of Vanga, who copulated with a lion and gave birth to a daughter called Sinhasivali and to a son, Sinhabahu, whose hands and feet were like the paws of a lion and who had the strength of a lion. King Vijaya, the lineage of Sinhabahu, according to the Mahavamsa and other historical sources, arrived on the island of Tambapanni (Sri Lanka) and gave origin to the lion people, Sinhalese.","King Vijaya, the lineage of Sinhabahu, according to the Mahavamsa and other historical sources, arrived on the island of Tambapanni (Sri Lanka) and gave origin to the lion people, Sinhalese. The story of the arrival of Prince Vijaya in Sri Lanka and the origin of the Sinhalese people is also depicted in the Ajanta caves, in a mural of cave number 17.","The story of the arrival of Prince Vijaya in Sri Lanka and the origin of the Sinhalese people is also depicted in the Ajanta caves, in a mural of cave number 17. According to Arisen Ahubudu, there were four major clans of \"hela\" in ancient Sri Lanka even before the arrival of Prince Vijaya, and that Sri Lanka was called as \"Siv hela\" (siv=four in the Sinhala language) and later it was changed into \"Sinhala\".","According to Arisen Ahubudu, there were four major clans of \"hela\" in ancient Sri Lanka even before the arrival of Prince Vijaya, and that Sri Lanka was called as \"Siv hela\" (siv=four in the Sinhala language) and later it was changed into \"Sinhala\". History The early recorded history of the Sinhalese is chronicled in two documents, the Mahavamsa, written in Pāli around the 4th century CE, and the later Culavamsa (the first segment probably penned in the 13th century CE by the Buddhist monk Dhammakitti).","History The early recorded history of the Sinhalese is chronicled in two documents, the Mahavamsa, written in Pāli around the 4th century CE, and the later Culavamsa (the first segment probably penned in the 13th century CE by the Buddhist monk Dhammakitti). These are ancient sources that cover the histories of the powerful ancient Sinhalese kingdoms of Anuradhapura and Polonnaruwa which lasted for 1500 years.","These are ancient sources that cover the histories of the powerful ancient Sinhalese kingdoms of Anuradhapura and Polonnaruwa which lasted for 1500 years. The Mahavamsa describes the existence of fields of rice and reservoirs, indicating a well-developed agrarian society.","The Mahavamsa describes the existence of fields of rice and reservoirs, indicating a well-developed agrarian society. Pre Anuradhapura period According to Mahavamsa, Prince Vijaya and his 700 followers left Suppāraka, landed on the island at a site believed by historians to be in the district of Puttalam, south of modern-day Mannar and founded the Kingdom of Thambapanni.","Pre Anuradhapura period According to Mahavamsa, Prince Vijaya and his 700 followers left Suppāraka, landed on the island at a site believed by historians to be in the district of Puttalam, south of modern-day Mannar and founded the Kingdom of Thambapanni. It is recorded the Vijaya made his landing on the day of Buddha's Parinirvana.","It is recorded the Vijaya made his landing on the day of Buddha's Parinirvana. Vijaya claimed Tambapanni his capital and soon the whole island come under this name. Tambapanni was originally inhabited and governed by Yakkhas, having their capital at Sirīsavatthu and their queen Kuveni. According to the Samyutta Commentary, Tambapanni was one hundred leagues in extent.","According to the Samyutta Commentary, Tambapanni was one hundred leagues in extent. At the end of his reign, Vijaya, having trouble choosing a successor, sent a letter to the city of his ancestors, Sinhapura, in order to invite his brother Sumitta to take over the throne.","At the end of his reign, Vijaya, having trouble choosing a successor, sent a letter to the city of his ancestors, Sinhapura, in order to invite his brother Sumitta to take over the throne. However, Vijaya had died before the letter had reached its destination, so the elected minister of the people Upatissa, the Chief government minister or prime minister and leading chief among the Sinhalese became regent and acted as regent for a year.","However, Vijaya had died before the letter had reached its destination, so the elected minister of the people Upatissa, the Chief government minister or prime minister and leading chief among the Sinhalese became regent and acted as regent for a year. After his coronation, which was held in the Kingdom of Tambapanni, he left it, building another one, bearing his own name.","After his coronation, which was held in the Kingdom of Tambapanni, he left it, building another one, bearing his own name. While he was king, Upatissa established the new capital Upatissa, in which the kingdom was moved to from the Kingdom of Tambapanni.","While he was king, Upatissa established the new capital Upatissa, in which the kingdom was moved to from the Kingdom of Tambapanni. When Vijaya's letter arrived, Sumitta had already succeeded his father as king of his country, and so he sent his son Panduvasdeva to rule Upatissa Nuwara.","When Vijaya's letter arrived, Sumitta had already succeeded his father as king of his country, and so he sent his son Panduvasdeva to rule Upatissa Nuwara. Upatissa Nuwara was seven or eight miles further north of the Kingdom of Tambapanni.","Upatissa Nuwara was seven or eight miles further north of the Kingdom of Tambapanni. It was named after the regent king Upatissa, who was the prime minister of Vijaya, and was founded in 505 BC after the death of Vijaya and the end of the Kingdom of Tambapanni.","It was named after the regent king Upatissa, who was the prime minister of Vijaya, and was founded in 505 BC after the death of Vijaya and the end of the Kingdom of Tambapanni. Anuradhapura period In 377 BC, King Pandukabhaya (437–367 BC) moved the capital to Anuradhapura and developed it into a prosperous city.","Anuradhapura period In 377 BC, King Pandukabhaya (437–367 BC) moved the capital to Anuradhapura and developed it into a prosperous city. Anuradhapura (Anurapura) was named after the minister who first established the village and after a grandfather of Pandukabhaya who lived there.","Anuradhapura (Anurapura) was named after the minister who first established the village and after a grandfather of Pandukabhaya who lived there. The name was also derived from the city's establishment on the auspicious asterism called Anura. Anuradhapura was the capital of all the monarchs who ruled from the dynasty.","Anuradhapura was the capital of all the monarchs who ruled from the dynasty. Rulers such as Dutthagamani, Valagamba, and Dhatusena are noted for defeating the South Indians and regaining control of the kingdom.","Rulers such as Dutthagamani, Valagamba, and Dhatusena are noted for defeating the South Indians and regaining control of the kingdom. Other rulers who are notable for military achievements include Gajabahu I, who launched an invasion against the invaders, and Sena II, who sent his armies to assist a Pandyan prince.","Other rulers who are notable for military achievements include Gajabahu I, who launched an invasion against the invaders, and Sena II, who sent his armies to assist a Pandyan prince. Polonnaruwa period During the Middle Ages Sri Lanka was well known for its agricultural prosperity under king Parakramabahu in Polonnaruwa during which period the island was famous around the world as the rice mill of the east.","Polonnaruwa period During the Middle Ages Sri Lanka was well known for its agricultural prosperity under king Parakramabahu in Polonnaruwa during which period the island was famous around the world as the rice mill of the east. Transitional period Later in the 13th century the country's administrative provinces were divided into independent kingdoms and chieftaincies: Kingdom of Sitawaka, Kingdom of Kotte, Jaffna Kingdom and the Kandyan kingdom.","Transitional period Later in the 13th century the country's administrative provinces were divided into independent kingdoms and chieftaincies: Kingdom of Sitawaka, Kingdom of Kotte, Jaffna Kingdom and the Kandyan kingdom. The invasion by the Hindu king Magha in the 13th century led to migrations by the Buddhists (mostly Sinhalese) to areas not under his control.","The invasion by the Hindu king Magha in the 13th century led to migrations by the Buddhists (mostly Sinhalese) to areas not under his control. This migration was followed by a period of conflict among the Sinhalese chiefs who tried to exert political supremacy.","This migration was followed by a period of conflict among the Sinhalese chiefs who tried to exert political supremacy. Parakramabahu VI, a Sinhalese king invaded the Jaffna Kingdom and conquered it, bringing the entire country back under the Sinhalese kingdom.","Parakramabahu VI, a Sinhalese king invaded the Jaffna Kingdom and conquered it, bringing the entire country back under the Sinhalese kingdom. Trade also increased during this period, as Sri Lanka began to trade cinnamon and a large number of Muslim traders were bought into the island.","Trade also increased during this period, as Sri Lanka began to trade cinnamon and a large number of Muslim traders were bought into the island. In the 15th century a Kandyan Kingdom formed which divided the Sinhalese politically into low-country and up-country.","In the 15th century a Kandyan Kingdom formed which divided the Sinhalese politically into low-country and up-country. In this period, the Sinhalese caste structure absorbed recent Dravidian Hindu immigrants from South India leading to the emergence of three new Sinhalese caste groups - the Salagama, the Durava and the Karava.","In this period, the Sinhalese caste structure absorbed recent Dravidian Hindu immigrants from South India leading to the emergence of three new Sinhalese caste groups - the Salagama, the Durava and the Karava. Modern history The Sinhalese have a stable birth rate and a population that has been growing at a slow pace relative to India and other Asian countries.","Modern history The Sinhalese have a stable birth rate and a population that has been growing at a slow pace relative to India and other Asian countries. Society Demographics Sri Lanka Within Sri Lanka the majority of the Sinhalese reside in the South, Central, Sabaragamuwa and Western parts of the country.","Society Demographics Sri Lanka Within Sri Lanka the majority of the Sinhalese reside in the South, Central, Sabaragamuwa and Western parts of the country. This coincides with the largest Sinhalese populations areas in Sri Lanka. Cities with more than 90% Sinhalese population include Hambantota, Galle, Gampaha, Kurunegala, Monaragala, Anuradhapura and Polonnaruwa.","Cities with more than 90% Sinhalese population include Hambantota, Galle, Gampaha, Kurunegala, Monaragala, Anuradhapura and Polonnaruwa. Diaspora Sinhalese people have emigrated out to many countries for a variety of reasons. The larger diaspora communities are situated in the United Kingdom, Australia, United States and Canada among others.","The larger diaspora communities are situated in the United Kingdom, Australia, United States and Canada among others. In addition to this there are many Sinhalese, who reside in the Middle East, Southeast Asia and Europe, temporarily in connection with employment and/or education.","In addition to this there are many Sinhalese, who reside in the Middle East, Southeast Asia and Europe, temporarily in connection with employment and/or education. They are often employed as guest workers in the Middle East and professionals in the other regions.","They are often employed as guest workers in the Middle East and professionals in the other regions. The largest population centres of the Sinhalese diaspora are mainly situated in Europe, North America and Australia. The city of Melbourne contains just under half of the Sri Lankan Australians. The 2011 census recorded 86,412 Sri Lanka born in Australia.","The 2011 census recorded 86,412 Sri Lanka born in Australia. There are 73,849 Australians (0.4 of the population) who reported having Sinhalese ancestry in 2006. Sinhala was also reported to be the 29th-fastest-growing language in Australia (ranking above Somali but behind Hindi and Belarusian).","Sinhala was also reported to be the 29th-fastest-growing language in Australia (ranking above Somali but behind Hindi and Belarusian). Sinhalese Australians have an exceptionally low rate of return migration to Sri Lanka. In the 2011 Canadian Census, 7,220 people identified themselves as of Sinhalese ancestry, out of 139,415 Sri Lankans.","In the 2011 Canadian Census, 7,220 people identified themselves as of Sinhalese ancestry, out of 139,415 Sri Lankans. There are a small number of Sinhalese people in India, scattered around the country, but mainly living in and around the northern and southern regions.","There are a small number of Sinhalese people in India, scattered around the country, but mainly living in and around the northern and southern regions. Sri Lankan New Zealanders comprised 3% of the Asian population of New Zealand in 2001.","Sri Lankan New Zealanders comprised 3% of the Asian population of New Zealand in 2001. The numbers arriving continued to increase, and at the 2018 census there were over 16,000 Sri Lankans living in New Zealand among those 9,171 were Sinhalese. In the U.S, the Sinhalese number about 12,000 people.","In the U.S, the Sinhalese number about 12,000 people. The New York City Metropolitan Area contains the largest Sri Lankan community in the United States, receiving the highest legal permanent resident Sri Lankan immigrant population, followed by Central New Jersey and the Los Angeles metropolitan area. Many Sinhalese have migrated to Italy since the 1970s.","Many Sinhalese have migrated to Italy since the 1970s. Italy was attractive to the Sinhalese due to perceived easier employment opportunities and entry, compared to other European countries. It is estimated that there are 30,000-33,000 Sinhalese in Italy.","It is estimated that there are 30,000-33,000 Sinhalese in Italy. The major Sinhalese communities in Italy are located in Lombardia (In the districts Loreto and Lazzaretto), Milan, Lazio, Rome, Naples, and Southern Italy (Particularly Palermo, Messina and Catania).","The major Sinhalese communities in Italy are located in Lombardia (In the districts Loreto and Lazzaretto), Milan, Lazio, Rome, Naples, and Southern Italy (Particularly Palermo, Messina and Catania). It should be noted however that many countries census list Sri Lankan which also includes Sri Lankan Tamils so the numbers of just Sinhalese are not as accurate when the census states Sri Lankan and not Sinhalese.","It should be noted however that many countries census list Sri Lankan which also includes Sri Lankan Tamils so the numbers of just Sinhalese are not as accurate when the census states Sri Lankan and not Sinhalese. Though Sinhalese people in particular and Sri Lankans in general have migrated to the UK over the centuries beginning from the colonial times, the number of Sinhalese people in the UK cannot be estimated accurately due to inadequacies of census in the UK.","Though Sinhalese people in particular and Sri Lankans in general have migrated to the UK over the centuries beginning from the colonial times, the number of Sinhalese people in the UK cannot be estimated accurately due to inadequacies of census in the UK. The UK government does not record statistics on the basis of language or ethnicity and all Sri Lankans are classified into one group as Asian British or Asian Other.","The UK government does not record statistics on the basis of language or ethnicity and all Sri Lankans are classified into one group as Asian British or Asian Other. Language and literature Sinhalese people speak Sinhala, also known as \"Helabasa\"; this language has two varieties, spoken and written.","Language and literature Sinhalese people speak Sinhala, also known as \"Helabasa\"; this language has two varieties, spoken and written. Sinhala is an Indo-Aryan language within the broader group of Indo-European languages.","Sinhala is an Indo-Aryan language within the broader group of Indo-European languages. The early form of the language was brought to Sri Lanka by the ancestors of the Sinhalese people from northern India who settled on the island in the 6th century BCE.","The early form of the language was brought to Sri Lanka by the ancestors of the Sinhalese people from northern India who settled on the island in the 6th century BCE. Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages.","Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages. It was influenced by many languages, prominently Pali, the sacred language of Southern Buddhism, Telugu and Sanskrit. Many early texts in the language such as the Hela Atuwa were lost after their translation into Pali.","Many early texts in the language such as the Hela Atuwa were lost after their translation into Pali. Other significant Sinhala texts include Amāvatura, Kavu Silumina, Jathaka Potha and Sala Liheeniya. Sinhala has also adopted many loanwords of foreign origin, including from many Indian such as Tamil and European languages such as Portuguese, Dutch, and English.","Sinhala has also adopted many loanwords of foreign origin, including from many Indian such as Tamil and European languages such as Portuguese, Dutch, and English. Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world.","Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world. The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages.","The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages. Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and foreign films.","Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and foreign films. Additionally many Dutch and Portuguese words can be seen in the coastal areas.","Additionally many Dutch and Portuguese words can be seen in the coastal areas. Sinhalese people, depending on where they live in Sri Lanka, may also additionally speak English and or Tamil. According to the 2012 Census 23.8% or 3,033,659 Sinhalese people also spoke English and 6.4% or 812,738 Sinhalese people also spoke Tamil.","According to the 2012 Census 23.8% or 3,033,659 Sinhalese people also spoke English and 6.4% or 812,738 Sinhalese people also spoke Tamil. In the Negombo area bilingual fishermen who generally identify themselves as Sinhalese also speak the Negombo Tamil dialect. This dialect has undergone considerable convergence with spoken Sinhala.","This dialect has undergone considerable convergence with spoken Sinhala. Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today. Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance.","Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance. Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son.","Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son. In the modern period, Sinhala writers such as Martin Wickremasinghe and G. B. Senanayake have drawn widespread acclaim. Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake.","Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake. Martin Wickramasinghe wrote the immensely popular children's novel Madol Duwa. Munadasa Cumaratunga's Hath Pana is also widely known. Religion The form of Buddhism in Sri Lanka is known as Theravada (school of elders).","Religion The form of Buddhism in Sri Lanka is known as Theravada (school of elders). The Pali chronicles (e.g., the Mahavansa) claim that the Sinhalese as an ethnic group are destined to preserve and protect Buddhism. In 1988 almost 93% of the Sinhala speaking population in Sri Lanka were Buddhist.","In 1988 almost 93% of the Sinhala speaking population in Sri Lanka were Buddhist. Observations of current religious beliefs and practices demonstrate that the Sinhalese, as a religious community, have a complex worldview as Buddhists.","Observations of current religious beliefs and practices demonstrate that the Sinhalese, as a religious community, have a complex worldview as Buddhists. Due to the proximity and on some occasions similarity of certain doctrines, there are many areas where Buddhists and Hindus share religious views and practices.","Due to the proximity and on some occasions similarity of certain doctrines, there are many areas where Buddhists and Hindus share religious views and practices. Sinhalese Buddhists have adopted religious elements from Hindu traditions in their religious practices.","Sinhalese Buddhists have adopted religious elements from Hindu traditions in their religious practices. Some of these practices may relate to ancient indigenous beliefs and traditions on spirits (folk religion), and the worship of Hindu deities. Some of these figures are used in healing rituals and may be native to the island.","Some of these figures are used in healing rituals and may be native to the island. Gods and goddess derived from Hindu deities are worshiped by Sinhalese. Kataragama Deviyo from Kartikeya, Upulvan from Vishnu and Ayyanayake from Aiyanar can be named as examples.","Kataragama Deviyo from Kartikeya, Upulvan from Vishnu and Ayyanayake from Aiyanar can be named as examples. Though these gods take the same place as their Hindu counterparts in mythology, some of their aspects are different compared to the original gods.","Though these gods take the same place as their Hindu counterparts in mythology, some of their aspects are different compared to the original gods. Prominent Sri Lankan anthropologists Gananath Obeyesekere and Kitsiri Malalgoda used the term \"Protestant Buddhism\" to describe a type of Buddhism that appeared among the Sinhalese in Sri Lanka as a response to Protestant Christian missionaries and their evangelical activities during the British colonial period.","Prominent Sri Lankan anthropologists Gananath Obeyesekere and Kitsiri Malalgoda used the term \"Protestant Buddhism\" to describe a type of Buddhism that appeared among the Sinhalese in Sri Lanka as a response to Protestant Christian missionaries and their evangelical activities during the British colonial period. This kind of Buddhism involved emulating the Protestant strategies of organising religious practices.","This kind of Buddhism involved emulating the Protestant strategies of organising religious practices. They saw the need to establish Buddhist schools for educating Buddhist youth and organising Buddhists with new organisations such as the Young Men's Buddhist Association, as well as printing pamphlets to encourage people to participate in debates and religious controversies to defend Buddhism.","They saw the need to establish Buddhist schools for educating Buddhist youth and organising Buddhists with new organisations such as the Young Men's Buddhist Association, as well as printing pamphlets to encourage people to participate in debates and religious controversies to defend Buddhism. Christianity There is a significant Sinhalese Christian community, in the maritime provinces of Sri Lanka.","Christianity There is a significant Sinhalese Christian community, in the maritime provinces of Sri Lanka. Christianity was brought to the Sinhalese by Portuguese, Dutch, and British missionary groups during their respective periods of rule. Most Sinhalese Christians are Roman Catholic; a minority are Protestant. Their cultural centre is Negombo.","Their cultural centre is Negombo. Their cultural centre is Negombo. Religion is considered very important among the Sinhalese. According to a 2008 Gallup poll, 99% of Sri Lankans considered religion an important aspect of their daily lives. Genetics Modern studies point towards a predominantly Bengali contribution and a minor Tamil influence.","Genetics Modern studies point towards a predominantly Bengali contribution and a minor Tamil influence. Gujarati and Punjabi lineages are also visible. In relation to the former, other studies also show the Sinhalese possess some genetic admixture from Southeast Asian populations, especially from Austroasiatic groups.","In relation to the former, other studies also show the Sinhalese possess some genetic admixture from Southeast Asian populations, especially from Austroasiatic groups. Certain Y-DNA and mtDNA haplogroups and genetic markers of immunoglobulin among the Sinhalese, for example, show Southeast Asian genetic influences many of which are also found among certain Northeast Indian populations to whom the Sinhalese are genetically related.","Certain Y-DNA and mtDNA haplogroups and genetic markers of immunoglobulin among the Sinhalese, for example, show Southeast Asian genetic influences many of which are also found among certain Northeast Indian populations to whom the Sinhalese are genetically related. Culture Sinhalese culture is a unique one dating as far back as 2600 years and has been nourished by Theravada Buddhism.","Culture Sinhalese culture is a unique one dating as far back as 2600 years and has been nourished by Theravada Buddhism. Its main domains are sculpture, fine arts, literature, dancing, poetry and a wide variety of folk beliefs and rituals traditionally.","Its main domains are sculpture, fine arts, literature, dancing, poetry and a wide variety of folk beliefs and rituals traditionally. Ancient Sinhala stone sculpture and inscriptions are known worldwide and is a main foreign attraction in modern tourism. Sigirirya is famous for its frescoes.","Sigirirya is famous for its frescoes. Folk poems were sung by workers to accompany their work and narrate the story of their lives. Ideally these poems consisted of four lines and, in the composition of these poems, special attention had been paid to the rhyming patterns. Buddhist festivals are dotted by unique music using traditionally Sinhalese instruments.","Buddhist festivals are dotted by unique music using traditionally Sinhalese instruments. More ancient rituals like (devil exorcism) continue to enthrall audiences today and often praised and invoked the good powers of the Buddha and the gods in order to exorcise the demons.","More ancient rituals like (devil exorcism) continue to enthrall audiences today and often praised and invoked the good powers of the Buddha and the gods in order to exorcise the demons. Folklore and national mythology According to the Mahavamsa, the Sinhalese are descended from the exiled Prince Vijaya and his party of seven hundred followers who arrived on the island in 543 BCE.","Folklore and national mythology According to the Mahavamsa, the Sinhalese are descended from the exiled Prince Vijaya and his party of seven hundred followers who arrived on the island in 543 BCE. Vijaya and his followers were said to have arrived in Sri Lanka after being exiled from the city of Sinhapura in Bengal.","Vijaya and his followers were said to have arrived in Sri Lanka after being exiled from the city of Sinhapura in Bengal. The modern Sinhalese people were found genetically to be most closely related to the people of North-East India (Bengal).","The modern Sinhalese people were found genetically to be most closely related to the people of North-East India (Bengal). It is thought throughout Sri Lanka's history, since the founding of the Sinhalese in the 5th century BC that an influx of Indians from North India came to the island.","It is thought throughout Sri Lanka's history, since the founding of the Sinhalese in the 5th century BC that an influx of Indians from North India came to the island. This is further supported from Sinhala being part of the Indo-Aryan language group. Traditionally during recreation the Sinhalese wear a sarong (sarama in Sinhala).","Traditionally during recreation the Sinhalese wear a sarong (sarama in Sinhala). Men may wear a long-sleeved shirt with a sarong. Clothing varies by region for women. Low country Sinhalese women wear a white Long sleeved jacket, and a tight wrap around skirt, which usually is embedded with a floral or pattern design.","Low country Sinhalese women wear a white Long sleeved jacket, and a tight wrap around skirt, which usually is embedded with a floral or pattern design. As for the up country Sinhalese, women wear a similar outfit, but with a puffed up shoulder jacket, and a tucked in frill that lines the top of the skirt (Reda and Hatte in Sinhala).","As for the up country Sinhalese, women wear a similar outfit, but with a puffed up shoulder jacket, and a tucked in frill that lines the top of the skirt (Reda and Hatte in Sinhala). Traditionally, high caste Kandyan women wear a Kandyan style sari, which is similar to the Maharashtrian sari, with the drape but with a frill lining the bottom half and sometimes puffed up sleeves.","Traditionally, high caste Kandyan women wear a Kandyan style sari, which is similar to the Maharashtrian sari, with the drape but with a frill lining the bottom half and sometimes puffed up sleeves. It’s also called an Osariya. The low country high caste women wear a South Indian style saree.","The low country high caste women wear a South Indian style saree. Within the more populated areas, Sinhalese men also wear Western-style clothing — wearing suits while the women wear skirts and blouses.","Within the more populated areas, Sinhalese men also wear Western-style clothing — wearing suits while the women wear skirts and blouses. For formal and ceremonial occasions women wear the traditional Kandyan (Osariya) style, which consists of a full blouse which covers the midriff completely, and is partially tucked in at the front.","For formal and ceremonial occasions women wear the traditional Kandyan (Osariya) style, which consists of a full blouse which covers the midriff completely, and is partially tucked in at the front. However, modern intermingling of styles has led to most wearers baring the midriff. The Kandyan style is considered as the national dress of Sinhalese women.","The Kandyan style is considered as the national dress of Sinhalese women. In many occasions and functions, even the saree plays an important role in women's clothing and has become the de facto clothing for female office workers especially in government sector. An example of its use is the uniform of air hostesses of Sri Lankan Airlines.","An example of its use is the uniform of air hostesses of Sri Lankan Airlines. Cuisine Sinhalese cuisine is one of the most complex cuisines of South Asia. As a major trade hub, it draws influence from colonial powers that were involved in Sri Lanka and by foreign traders.","As a major trade hub, it draws influence from colonial powers that were involved in Sri Lanka and by foreign traders. Rice, which is consumed daily, can be found at any occasion, while spicy curries are favourite dishes for lunch and dinner.","Rice, which is consumed daily, can be found at any occasion, while spicy curries are favourite dishes for lunch and dinner. Some of the Sri Lankan dishes have striking resemblance to Kerala cuisine, which could be due to the similar geographic and agricultural features with Kerala.","Some of the Sri Lankan dishes have striking resemblance to Kerala cuisine, which could be due to the similar geographic and agricultural features with Kerala. A well-known rice dish with Sinhalese is Kiribath, meaning ‘milk rice’. In addition to , Sinhalese eat , chopped leaves mixed with grated coconut and red onions.","In addition to , Sinhalese eat , chopped leaves mixed with grated coconut and red onions. Coconut milk is found in most Sri Lankan dishes to give the cuisine its unique flavour. Sri Lanka has long been renowned for its spices. The best known is cinnamon which is native to Sri Lanka.","The best known is cinnamon which is native to Sri Lanka. In the 15th and 16th centuries, spice and ivory traders from all over the world who came to Sri Lanka brought their native cuisines to the island, resulting in a rich diversity of cooking styles and techniques.","In the 15th and 16th centuries, spice and ivory traders from all over the world who came to Sri Lanka brought their native cuisines to the island, resulting in a rich diversity of cooking styles and techniques. Lamprais, rice boiled in stock with a special curry, accompanied by frikkadels (meatballs), all of which is then wrapped in a banana leaf and baked as a Dutch-influenced Sri Lankan dish.","Lamprais, rice boiled in stock with a special curry, accompanied by frikkadels (meatballs), all of which is then wrapped in a banana leaf and baked as a Dutch-influenced Sri Lankan dish. Dutch and Portuguese sweets also continue to be popular. British influences include roast beef and roast chicken.","British influences include roast beef and roast chicken. Also, the influence of the Indian cooking methods and food have played a major role in what Sri Lankans eat. The island nation's cuisine mainly consists of boiled or steamed rice served with curry.","The island nation's cuisine mainly consists of boiled or steamed rice served with curry. This usually consists of a main curry of fish or chicken, as well as several other curries made with vegetables, lentils and even fruit curries. Side-dishes include pickles, chutneys and .","Side-dishes include pickles, chutneys and . The most famous of these is the coconut sambol, made of ground coconut mixed with chili peppers, dried Maldive fish and lime juice. This is ground to a paste and eaten with rice, as it gives zest to the meal and is believed to increase appetite.","This is ground to a paste and eaten with rice, as it gives zest to the meal and is believed to increase appetite. Art and architecture Many forms of Sri Lankan arts and crafts take inspiration from the island's long and lasting Buddhist culture which in turn has absorbed and adopted countless regional and local traditions.","Art and architecture Many forms of Sri Lankan arts and crafts take inspiration from the island's long and lasting Buddhist culture which in turn has absorbed and adopted countless regional and local traditions. In most instances Sri Lankan art originates from religious beliefs, and is represented in many forms such as painting, sculpture, and architecture.","In most instances Sri Lankan art originates from religious beliefs, and is represented in many forms such as painting, sculpture, and architecture. One of the most notable aspects of Sri Lankan art are caves and temple paintings, such as the frescoes found at Sigiriya, and religious paintings found in temples in Dambulla and Temple of the Tooth Relic in Kandy.","One of the most notable aspects of Sri Lankan art are caves and temple paintings, such as the frescoes found at Sigiriya, and religious paintings found in temples in Dambulla and Temple of the Tooth Relic in Kandy. Other popular forms of art have been influenced by both natives as well as outside settlers.","Other popular forms of art have been influenced by both natives as well as outside settlers. For example, traditional wooden handicrafts and clay pottery are found around the hill country while Portuguese-inspired lacework and Indonesian-inspired Batik have become notable. It has many different and beautiful drawings.","It has many different and beautiful drawings. Developed upon Indo-Aryan architectural skills in the late 6th century BCE Sinhalese people who lived upon greater kingdoms such as Anuradhapura and Polonnaruwa have built so many architectural examples such as Ruwanwelisaya, Jetavanaramaya - second tallest brick building in the ancient world after Great Pyramid of Giza, and Abayagiriya - third tallest brick building in the ancient world.","Developed upon Indo-Aryan architectural skills in the late 6th century BCE Sinhalese people who lived upon greater kingdoms such as Anuradhapura and Polonnaruwa have built so many architectural examples such as Ruwanwelisaya, Jetavanaramaya - second tallest brick building in the ancient world after Great Pyramid of Giza, and Abayagiriya - third tallest brick building in the ancient world. And also with the ancient hydraulic technology which is also unique to Sinhalese people to build ancient tanks, systematic ponds with fountains moats and Irrigational reservoirs such as Parakrama Samudra, Kaudulla and Kandalama.","And also with the ancient hydraulic technology which is also unique to Sinhalese people to build ancient tanks, systematic ponds with fountains moats and Irrigational reservoirs such as Parakrama Samudra, Kaudulla and Kandalama. Sigiriya which is considered by many as the 8th wonder of the world, it is a combination of natural and man made fortress, which consists so many architectural aspects.","Sigiriya which is considered by many as the 8th wonder of the world, it is a combination of natural and man made fortress, which consists so many architectural aspects. Music There are extensive folk poems relating to specific jobs of the ancient society.","Music There are extensive folk poems relating to specific jobs of the ancient society. These poems were communal songs which had a rhythm that were sung when performing day-to-day tasks like harvesting and sowing. Concerning popular music, Ananda Samarakoon developed the reflective and poignant Sarala gee style with his work in the late 1930s/early 1940s.","Concerning popular music, Ananda Samarakoon developed the reflective and poignant Sarala gee style with his work in the late 1930s/early 1940s. He has been followed by artists of repute such as Sunil Shantha, W. D. Amaradeva, Premasiri Khemadasa, Nanda Malini, Victor Ratnayake, Austin Munasinghe, T. M. Jayaratne, Sanath Nandasiri, Sunil Edirisinghe, Neela Wickremasinghe, Gunadasa Kapuge, Malini Bulathsinghala and Edward Jayakody.","He has been followed by artists of repute such as Sunil Shantha, W. D. Amaradeva, Premasiri Khemadasa, Nanda Malini, Victor Ratnayake, Austin Munasinghe, T. M. Jayaratne, Sanath Nandasiri, Sunil Edirisinghe, Neela Wickremasinghe, Gunadasa Kapuge, Malini Bulathsinghala and Edward Jayakody. Film and theatre Dramatist Ediriweera Sarachchandra revitalised the drama form with Maname in 1956.","Film and theatre Dramatist Ediriweera Sarachchandra revitalised the drama form with Maname in 1956. The same year, film director Lester James Peries created the artistic masterwork Rekava which sought to create a uniquely Sinhalese cinema with artistic integrity. Since then, Peries and other directors like Vasantha Obeysekera, Dharmasena Pathiraja, Mahagama Sekera, W. A.","Since then, Peries and other directors like Vasantha Obeysekera, Dharmasena Pathiraja, Mahagama Sekera, W. A. B. de Silva, Dharmasiri Bandaranayake, Sunil Ariyaratne, Siri Gunasinghe, G. D. L. Perera, Piyasiri Gunaratne, Titus Thotawatte, D. B. Nihalsinghe, Ranjith Lal, Dayananda Gunawardena, Mudalinayake Somaratne, Asoka Handagama, and Prasanna Vithanage have developed an artistic Sinhalese cinema.","B. de Silva, Dharmasiri Bandaranayake, Sunil Ariyaratne, Siri Gunasinghe, G. D. L. Perera, Piyasiri Gunaratne, Titus Thotawatte, D. B. Nihalsinghe, Ranjith Lal, Dayananda Gunawardena, Mudalinayake Somaratne, Asoka Handagama, and Prasanna Vithanage have developed an artistic Sinhalese cinema. Sinhala cinema is often made colourful with the incorporation of songs and dance adding more uniqueness to the industry.","Sinhala cinema is often made colourful with the incorporation of songs and dance adding more uniqueness to the industry. In the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success.","In the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success. Performing arts Performing arts of the Sinhalese people can be categorised into few groups: Kandyan dance consist of 18 Wannam (dance routines) featuring behaviours of various animals such as elephant, eagle, cobra, monkey, peacock and rabbit, mainly performing in the annual Perahara pageant in Sri Dalada Maligawa Kandy.","Performing arts Performing arts of the Sinhalese people can be categorised into few groups: Kandyan dance consist of 18 Wannam (dance routines) featuring behaviours of various animals such as elephant, eagle, cobra, monkey, peacock and rabbit, mainly performing in the annual Perahara pageant in Sri Dalada Maligawa Kandy. Pahatharata dance have a significant dancing style which is used to cure illnesses and spiritual clarification.","Pahatharata dance have a significant dancing style which is used to cure illnesses and spiritual clarification. The main feature of these dances is dancers wear masks representing various gods and demons, and use elements such as fire and water to bless people. Sabaragamuwa dances have also a significant dancing style, mainly to entertain people.","Sabaragamuwa dances have also a significant dancing style, mainly to entertain people. Folk music and dances differ according to the casts of Sinhalese people and also some times regionally—mainly popular among small children, especially girls. These arts are widely performed during the Sinhalese New Year period. Martial arts Angampora is the traditional martial art of the Sinhalese people.","Martial arts Angampora is the traditional martial art of the Sinhalese people. It combines combat techniques, self-defence, sport, exercise and meditation. Key techniques observed in Angampora are: Angam, which incorporates hand-to-hand fighting, and Illangam, which uses indigenous weapons such as Velayudaya, staves, knives and swords.","Key techniques observed in Angampora are: Angam, which incorporates hand-to-hand fighting, and Illangam, which uses indigenous weapons such as Velayudaya, staves, knives and swords. Its most distinct feature is the use of pressure point attacks to inflict pain or permanently paralyse the opponent.","Its most distinct feature is the use of pressure point attacks to inflict pain or permanently paralyse the opponent. Fighters usually make use of both striking and grappling techniques, and fight until the opponent is caught in a submission lock that they cannot escape. Usage of weapons is discretionary.","Usage of weapons is discretionary. Usage of weapons is discretionary. Perimeters of fighting are defined in advance, and in some of the cases is a pit. Angampora became nearly extinct after the country came under British rule in 1815, but survived in a few families until the country regained independence.","Angampora became nearly extinct after the country came under British rule in 1815, but survived in a few families until the country regained independence. Science and education The Sinhalese have a long history of literacy and formal learning. Instruction in basic fields like writing and reading by Buddhist Monks pre-date the birth of Christ.","Instruction in basic fields like writing and reading by Buddhist Monks pre-date the birth of Christ. This traditional system followed religious rule and was meant to foster Buddhist understanding. Training of officials in such skills as keeping track of revenue and other records for administrative purposes occurred under this institution.","Training of officials in such skills as keeping track of revenue and other records for administrative purposes occurred under this institution. Technical education such as the building of reservoirs and canals was passed down from generation to generation through home training and outside craft apprenticeships.","Technical education such as the building of reservoirs and canals was passed down from generation to generation through home training and outside craft apprenticeships. The arrival of the Portuguese and Dutch and the subsequent colonisation maintained religion as the centre of education though in certain communities under Catholic and Presbyterian hierarchy. The British in the 1800s initially followed the same course.","The British in the 1800s initially followed the same course. Following 1870 however they began a campaign for better education facilities in the region. Christian missionary groups were at the forefront of this development contributing to a high literacy among Christians. By 1901 schools in the South and the North were well tended. The inner regions lagged behind however.","The inner regions lagged behind however. Also, English education facilities presented hurdles for the general populace through fees and lack of access. Medicine Traditional Sinhalese villages in early days had at least one chief Medical personnel called Weda Mahaththaya (Doctor). These people practice their clinical activities by inheritance.","These people practice their clinical activities by inheritance. Sinhalese Medicine resembles some of Ayurvedic practices in contrast for some treatments they use Buddhist Chantings (Pirith) in order to strengthen the effectiveness.","Sinhalese Medicine resembles some of Ayurvedic practices in contrast for some treatments they use Buddhist Chantings (Pirith) in order to strengthen the effectiveness. According to the Mahavamsa, the ancient chronicle, Pandukabhaya of Sri Lanka (437 BC – 367 BC) had lying-in-homes and Ayurvedic hospitals (Sivikasotthi-Sala) built in various parts of the country.","According to the Mahavamsa, the ancient chronicle, Pandukabhaya of Sri Lanka (437 BC – 367 BC) had lying-in-homes and Ayurvedic hospitals (Sivikasotthi-Sala) built in various parts of the country. This is the earliest documentary evidence we have of institutions specifically dedicated to the care of the sick anywhere in the world.","This is the earliest documentary evidence we have of institutions specifically dedicated to the care of the sick anywhere in the world. Mihintale Hospital is the oldest in the world. See also List of Sinhalese people Sinhalese Buddhist nationalism References Citations Sources De Silva, K. M. History of Sri Lanka (Univ.","See also List of Sinhalese people Sinhalese Buddhist nationalism References Citations Sources De Silva, K. M. History of Sri Lanka (Univ. of Calif. Press, 1981) Gunasekera, Tamara. Hierarchy and Egalitarianism: Caste, Class, and Power in Sinhalese Peasant Society (Athlone, 1994). Roberts, Michael.","Roberts, Michael. Roberts, Michael. Sri Lanka: Collective Identities Revisited (Colombo-Marga Institute, 1997). Wickremeratne, Ananda. Buddhism and Ethnicity in Sri Lanka: A Historical Analysis (New Delhi-Vikas Publishing House, 1995).","Buddhism and Ethnicity in Sri Lanka: A Historical Analysis (New Delhi-Vikas Publishing House, 1995). External links CIA Factbook-Sri Lanka Department of Census and Statistics-Sri Lanka Ethnologue-Sinhala, a language of Sri Lanka CIA Factbook-Sri Lanka Sinhalese Who are the Sinhalese Buddhist communities of Sri Lanka Ethnic groups in Sri Lanka Ethnic groups in the Indian Ocean Indo-Aryan peoples Sinhalese diaspora Sinhalese culture"],"string":"[\n \"Sinhalese people () are an Indo-Aryan ethnic group native to the island of Sri Lanka. They were historically known as Hela people (). They constitute about 75% of the Sri Lankan population and number greater than 16.2 million. The Sinhalese identity is based on language, cultural heritage and nationality.\",\n \"The Sinhalese identity is based on language, cultural heritage and nationality. The Sinhalese people speak Sinhala, an insular Indo-Aryan language, and are predominantly Theravada Buddhists, although a minority of Sinhalese follow branches of Christianity and other religions.\",\n \"The Sinhalese people speak Sinhala, an insular Indo-Aryan language, and are predominantly Theravada Buddhists, although a minority of Sinhalese follow branches of Christianity and other religions. Since 1815, they were broadly divided into two respective groups: The 'Up-country Sinhalese' in the central mountainous regions, and the 'Low-country Sinhalese' in the coastal regions; although both groups speak the same language, they are distinguished as they observe different cultural customs.\",\n \"Since 1815, they were broadly divided into two respective groups: The 'Up-country Sinhalese' in the central mountainous regions, and the 'Low-country Sinhalese' in the coastal regions; although both groups speak the same language, they are distinguished as they observe different cultural customs. According to the Mahavamsa and the Dipavamsa, a 3rd–5th century treatise written in Pali by Buddhist monks of the Anuradhapura Maha Viharaya in Sri Lanka, the Sinhalese descend from settlers who came to the island in 543 BCE from Sinhapura led by Prince Vijaya who mixed with the indigenous Yakka and later settlers from the Pandya kingdom.\",\n \"According to the Mahavamsa and the Dipavamsa, a 3rd–5th century treatise written in Pali by Buddhist monks of the Anuradhapura Maha Viharaya in Sri Lanka, the Sinhalese descend from settlers who came to the island in 543 BCE from Sinhapura led by Prince Vijaya who mixed with the indigenous Yakka and later settlers from the Pandya kingdom. Etymology From the Sanskrit word Sinhala, meaning literally \\\"of lions\\\".\",\n \"Etymology From the Sanskrit word Sinhala, meaning literally \\\"of lions\\\". The Mahavamsa records the origin of the Sinhalese people and related historical events.\",\n \"The Mahavamsa records the origin of the Sinhalese people and related historical events. It traces the historical origin of the Sinhalese people back to the first king who mentioned in the documentary history of Sri Lanka, Vijaya, who is the son of Sinhabahu (Sanskrit meaning 'Sinha' (lion) + 'bahu' (hands, feet), the ruler of Sinhapura.\",\n \"It traces the historical origin of the Sinhalese people back to the first king who mentioned in the documentary history of Sri Lanka, Vijaya, who is the son of Sinhabahu (Sanskrit meaning 'Sinha' (lion) + 'bahu' (hands, feet), the ruler of Sinhapura. Some versions suggest Vijaya is the grandson of Sinhabahu.\",\n \"Some versions suggest Vijaya is the grandson of Sinhabahu. According to the Mahavamsa, Sinhabahu was the son of princess Suppadevi of Vanga, who copulated with a lion and gave birth to a daughter called Sinhasivali and to a son, Sinhabahu, whose hands and feet were like the paws of a lion and who had the strength of a lion.\",\n \"According to the Mahavamsa, Sinhabahu was the son of princess Suppadevi of Vanga, who copulated with a lion and gave birth to a daughter called Sinhasivali and to a son, Sinhabahu, whose hands and feet were like the paws of a lion and who had the strength of a lion. King Vijaya, the lineage of Sinhabahu, according to the Mahavamsa and other historical sources, arrived on the island of Tambapanni (Sri Lanka) and gave origin to the lion people, Sinhalese.\",\n \"King Vijaya, the lineage of Sinhabahu, according to the Mahavamsa and other historical sources, arrived on the island of Tambapanni (Sri Lanka) and gave origin to the lion people, Sinhalese. The story of the arrival of Prince Vijaya in Sri Lanka and the origin of the Sinhalese people is also depicted in the Ajanta caves, in a mural of cave number 17.\",\n \"The story of the arrival of Prince Vijaya in Sri Lanka and the origin of the Sinhalese people is also depicted in the Ajanta caves, in a mural of cave number 17. According to Arisen Ahubudu, there were four major clans of \\\"hela\\\" in ancient Sri Lanka even before the arrival of Prince Vijaya, and that Sri Lanka was called as \\\"Siv hela\\\" (siv=four in the Sinhala language) and later it was changed into \\\"Sinhala\\\".\",\n \"According to Arisen Ahubudu, there were four major clans of \\\"hela\\\" in ancient Sri Lanka even before the arrival of Prince Vijaya, and that Sri Lanka was called as \\\"Siv hela\\\" (siv=four in the Sinhala language) and later it was changed into \\\"Sinhala\\\". History The early recorded history of the Sinhalese is chronicled in two documents, the Mahavamsa, written in Pāli around the 4th century CE, and the later Culavamsa (the first segment probably penned in the 13th century CE by the Buddhist monk Dhammakitti).\",\n \"History The early recorded history of the Sinhalese is chronicled in two documents, the Mahavamsa, written in Pāli around the 4th century CE, and the later Culavamsa (the first segment probably penned in the 13th century CE by the Buddhist monk Dhammakitti). These are ancient sources that cover the histories of the powerful ancient Sinhalese kingdoms of Anuradhapura and Polonnaruwa which lasted for 1500 years.\",\n \"These are ancient sources that cover the histories of the powerful ancient Sinhalese kingdoms of Anuradhapura and Polonnaruwa which lasted for 1500 years. The Mahavamsa describes the existence of fields of rice and reservoirs, indicating a well-developed agrarian society.\",\n \"The Mahavamsa describes the existence of fields of rice and reservoirs, indicating a well-developed agrarian society. Pre Anuradhapura period According to Mahavamsa, Prince Vijaya and his 700 followers left Suppāraka, landed on the island at a site believed by historians to be in the district of Puttalam, south of modern-day Mannar and founded the Kingdom of Thambapanni.\",\n \"Pre Anuradhapura period According to Mahavamsa, Prince Vijaya and his 700 followers left Suppāraka, landed on the island at a site believed by historians to be in the district of Puttalam, south of modern-day Mannar and founded the Kingdom of Thambapanni. It is recorded the Vijaya made his landing on the day of Buddha's Parinirvana.\",\n \"It is recorded the Vijaya made his landing on the day of Buddha's Parinirvana. Vijaya claimed Tambapanni his capital and soon the whole island come under this name. Tambapanni was originally inhabited and governed by Yakkhas, having their capital at Sirīsavatthu and their queen Kuveni. According to the Samyutta Commentary, Tambapanni was one hundred leagues in extent.\",\n \"According to the Samyutta Commentary, Tambapanni was one hundred leagues in extent. At the end of his reign, Vijaya, having trouble choosing a successor, sent a letter to the city of his ancestors, Sinhapura, in order to invite his brother Sumitta to take over the throne.\",\n \"At the end of his reign, Vijaya, having trouble choosing a successor, sent a letter to the city of his ancestors, Sinhapura, in order to invite his brother Sumitta to take over the throne. However, Vijaya had died before the letter had reached its destination, so the elected minister of the people Upatissa, the Chief government minister or prime minister and leading chief among the Sinhalese became regent and acted as regent for a year.\",\n \"However, Vijaya had died before the letter had reached its destination, so the elected minister of the people Upatissa, the Chief government minister or prime minister and leading chief among the Sinhalese became regent and acted as regent for a year. After his coronation, which was held in the Kingdom of Tambapanni, he left it, building another one, bearing his own name.\",\n \"After his coronation, which was held in the Kingdom of Tambapanni, he left it, building another one, bearing his own name. While he was king, Upatissa established the new capital Upatissa, in which the kingdom was moved to from the Kingdom of Tambapanni.\",\n \"While he was king, Upatissa established the new capital Upatissa, in which the kingdom was moved to from the Kingdom of Tambapanni. When Vijaya's letter arrived, Sumitta had already succeeded his father as king of his country, and so he sent his son Panduvasdeva to rule Upatissa Nuwara.\",\n \"When Vijaya's letter arrived, Sumitta had already succeeded his father as king of his country, and so he sent his son Panduvasdeva to rule Upatissa Nuwara. Upatissa Nuwara was seven or eight miles further north of the Kingdom of Tambapanni.\",\n \"Upatissa Nuwara was seven or eight miles further north of the Kingdom of Tambapanni. It was named after the regent king Upatissa, who was the prime minister of Vijaya, and was founded in 505 BC after the death of Vijaya and the end of the Kingdom of Tambapanni.\",\n \"It was named after the regent king Upatissa, who was the prime minister of Vijaya, and was founded in 505 BC after the death of Vijaya and the end of the Kingdom of Tambapanni. Anuradhapura period In 377 BC, King Pandukabhaya (437–367 BC) moved the capital to Anuradhapura and developed it into a prosperous city.\",\n \"Anuradhapura period In 377 BC, King Pandukabhaya (437–367 BC) moved the capital to Anuradhapura and developed it into a prosperous city. Anuradhapura (Anurapura) was named after the minister who first established the village and after a grandfather of Pandukabhaya who lived there.\",\n \"Anuradhapura (Anurapura) was named after the minister who first established the village and after a grandfather of Pandukabhaya who lived there. The name was also derived from the city's establishment on the auspicious asterism called Anura. Anuradhapura was the capital of all the monarchs who ruled from the dynasty.\",\n \"Anuradhapura was the capital of all the monarchs who ruled from the dynasty. Rulers such as Dutthagamani, Valagamba, and Dhatusena are noted for defeating the South Indians and regaining control of the kingdom.\",\n \"Rulers such as Dutthagamani, Valagamba, and Dhatusena are noted for defeating the South Indians and regaining control of the kingdom. Other rulers who are notable for military achievements include Gajabahu I, who launched an invasion against the invaders, and Sena II, who sent his armies to assist a Pandyan prince.\",\n \"Other rulers who are notable for military achievements include Gajabahu I, who launched an invasion against the invaders, and Sena II, who sent his armies to assist a Pandyan prince. Polonnaruwa period During the Middle Ages Sri Lanka was well known for its agricultural prosperity under king Parakramabahu in Polonnaruwa during which period the island was famous around the world as the rice mill of the east.\",\n \"Polonnaruwa period During the Middle Ages Sri Lanka was well known for its agricultural prosperity under king Parakramabahu in Polonnaruwa during which period the island was famous around the world as the rice mill of the east. Transitional period Later in the 13th century the country's administrative provinces were divided into independent kingdoms and chieftaincies: Kingdom of Sitawaka, Kingdom of Kotte, Jaffna Kingdom and the Kandyan kingdom.\",\n \"Transitional period Later in the 13th century the country's administrative provinces were divided into independent kingdoms and chieftaincies: Kingdom of Sitawaka, Kingdom of Kotte, Jaffna Kingdom and the Kandyan kingdom. The invasion by the Hindu king Magha in the 13th century led to migrations by the Buddhists (mostly Sinhalese) to areas not under his control.\",\n \"The invasion by the Hindu king Magha in the 13th century led to migrations by the Buddhists (mostly Sinhalese) to areas not under his control. This migration was followed by a period of conflict among the Sinhalese chiefs who tried to exert political supremacy.\",\n \"This migration was followed by a period of conflict among the Sinhalese chiefs who tried to exert political supremacy. Parakramabahu VI, a Sinhalese king invaded the Jaffna Kingdom and conquered it, bringing the entire country back under the Sinhalese kingdom.\",\n \"Parakramabahu VI, a Sinhalese king invaded the Jaffna Kingdom and conquered it, bringing the entire country back under the Sinhalese kingdom. Trade also increased during this period, as Sri Lanka began to trade cinnamon and a large number of Muslim traders were bought into the island.\",\n \"Trade also increased during this period, as Sri Lanka began to trade cinnamon and a large number of Muslim traders were bought into the island. In the 15th century a Kandyan Kingdom formed which divided the Sinhalese politically into low-country and up-country.\",\n \"In the 15th century a Kandyan Kingdom formed which divided the Sinhalese politically into low-country and up-country. In this period, the Sinhalese caste structure absorbed recent Dravidian Hindu immigrants from South India leading to the emergence of three new Sinhalese caste groups - the Salagama, the Durava and the Karava.\",\n \"In this period, the Sinhalese caste structure absorbed recent Dravidian Hindu immigrants from South India leading to the emergence of three new Sinhalese caste groups - the Salagama, the Durava and the Karava. Modern history The Sinhalese have a stable birth rate and a population that has been growing at a slow pace relative to India and other Asian countries.\",\n \"Modern history The Sinhalese have a stable birth rate and a population that has been growing at a slow pace relative to India and other Asian countries. Society Demographics Sri Lanka Within Sri Lanka the majority of the Sinhalese reside in the South, Central, Sabaragamuwa and Western parts of the country.\",\n \"Society Demographics Sri Lanka Within Sri Lanka the majority of the Sinhalese reside in the South, Central, Sabaragamuwa and Western parts of the country. This coincides with the largest Sinhalese populations areas in Sri Lanka. Cities with more than 90% Sinhalese population include Hambantota, Galle, Gampaha, Kurunegala, Monaragala, Anuradhapura and Polonnaruwa.\",\n \"Cities with more than 90% Sinhalese population include Hambantota, Galle, Gampaha, Kurunegala, Monaragala, Anuradhapura and Polonnaruwa. Diaspora Sinhalese people have emigrated out to many countries for a variety of reasons. The larger diaspora communities are situated in the United Kingdom, Australia, United States and Canada among others.\",\n \"The larger diaspora communities are situated in the United Kingdom, Australia, United States and Canada among others. In addition to this there are many Sinhalese, who reside in the Middle East, Southeast Asia and Europe, temporarily in connection with employment and/or education.\",\n \"In addition to this there are many Sinhalese, who reside in the Middle East, Southeast Asia and Europe, temporarily in connection with employment and/or education. They are often employed as guest workers in the Middle East and professionals in the other regions.\",\n \"They are often employed as guest workers in the Middle East and professionals in the other regions. The largest population centres of the Sinhalese diaspora are mainly situated in Europe, North America and Australia. The city of Melbourne contains just under half of the Sri Lankan Australians. The 2011 census recorded 86,412 Sri Lanka born in Australia.\",\n \"The 2011 census recorded 86,412 Sri Lanka born in Australia. There are 73,849 Australians (0.4 of the population) who reported having Sinhalese ancestry in 2006. Sinhala was also reported to be the 29th-fastest-growing language in Australia (ranking above Somali but behind Hindi and Belarusian).\",\n \"Sinhala was also reported to be the 29th-fastest-growing language in Australia (ranking above Somali but behind Hindi and Belarusian). Sinhalese Australians have an exceptionally low rate of return migration to Sri Lanka. In the 2011 Canadian Census, 7,220 people identified themselves as of Sinhalese ancestry, out of 139,415 Sri Lankans.\",\n \"In the 2011 Canadian Census, 7,220 people identified themselves as of Sinhalese ancestry, out of 139,415 Sri Lankans. There are a small number of Sinhalese people in India, scattered around the country, but mainly living in and around the northern and southern regions.\",\n \"There are a small number of Sinhalese people in India, scattered around the country, but mainly living in and around the northern and southern regions. Sri Lankan New Zealanders comprised 3% of the Asian population of New Zealand in 2001.\",\n \"Sri Lankan New Zealanders comprised 3% of the Asian population of New Zealand in 2001. The numbers arriving continued to increase, and at the 2018 census there were over 16,000 Sri Lankans living in New Zealand among those 9,171 were Sinhalese. In the U.S, the Sinhalese number about 12,000 people.\",\n \"In the U.S, the Sinhalese number about 12,000 people. The New York City Metropolitan Area contains the largest Sri Lankan community in the United States, receiving the highest legal permanent resident Sri Lankan immigrant population, followed by Central New Jersey and the Los Angeles metropolitan area. Many Sinhalese have migrated to Italy since the 1970s.\",\n \"Many Sinhalese have migrated to Italy since the 1970s. Italy was attractive to the Sinhalese due to perceived easier employment opportunities and entry, compared to other European countries. It is estimated that there are 30,000-33,000 Sinhalese in Italy.\",\n \"It is estimated that there are 30,000-33,000 Sinhalese in Italy. The major Sinhalese communities in Italy are located in Lombardia (In the districts Loreto and Lazzaretto), Milan, Lazio, Rome, Naples, and Southern Italy (Particularly Palermo, Messina and Catania).\",\n \"The major Sinhalese communities in Italy are located in Lombardia (In the districts Loreto and Lazzaretto), Milan, Lazio, Rome, Naples, and Southern Italy (Particularly Palermo, Messina and Catania). It should be noted however that many countries census list Sri Lankan which also includes Sri Lankan Tamils so the numbers of just Sinhalese are not as accurate when the census states Sri Lankan and not Sinhalese.\",\n \"It should be noted however that many countries census list Sri Lankan which also includes Sri Lankan Tamils so the numbers of just Sinhalese are not as accurate when the census states Sri Lankan and not Sinhalese. Though Sinhalese people in particular and Sri Lankans in general have migrated to the UK over the centuries beginning from the colonial times, the number of Sinhalese people in the UK cannot be estimated accurately due to inadequacies of census in the UK.\",\n \"Though Sinhalese people in particular and Sri Lankans in general have migrated to the UK over the centuries beginning from the colonial times, the number of Sinhalese people in the UK cannot be estimated accurately due to inadequacies of census in the UK. The UK government does not record statistics on the basis of language or ethnicity and all Sri Lankans are classified into one group as Asian British or Asian Other.\",\n \"The UK government does not record statistics on the basis of language or ethnicity and all Sri Lankans are classified into one group as Asian British or Asian Other. Language and literature Sinhalese people speak Sinhala, also known as \\\"Helabasa\\\"; this language has two varieties, spoken and written.\",\n \"Language and literature Sinhalese people speak Sinhala, also known as \\\"Helabasa\\\"; this language has two varieties, spoken and written. Sinhala is an Indo-Aryan language within the broader group of Indo-European languages.\",\n \"Sinhala is an Indo-Aryan language within the broader group of Indo-European languages. The early form of the language was brought to Sri Lanka by the ancestors of the Sinhalese people from northern India who settled on the island in the 6th century BCE.\",\n \"The early form of the language was brought to Sri Lanka by the ancestors of the Sinhalese people from northern India who settled on the island in the 6th century BCE. Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages.\",\n \"Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages. It was influenced by many languages, prominently Pali, the sacred language of Southern Buddhism, Telugu and Sanskrit. Many early texts in the language such as the Hela Atuwa were lost after their translation into Pali.\",\n \"Many early texts in the language such as the Hela Atuwa were lost after their translation into Pali. Other significant Sinhala texts include Amāvatura, Kavu Silumina, Jathaka Potha and Sala Liheeniya. Sinhala has also adopted many loanwords of foreign origin, including from many Indian such as Tamil and European languages such as Portuguese, Dutch, and English.\",\n \"Sinhala has also adopted many loanwords of foreign origin, including from many Indian such as Tamil and European languages such as Portuguese, Dutch, and English. Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world.\",\n \"Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world. The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages.\",\n \"The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages. Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and foreign films.\",\n \"Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and foreign films. Additionally many Dutch and Portuguese words can be seen in the coastal areas.\",\n \"Additionally many Dutch and Portuguese words can be seen in the coastal areas. Sinhalese people, depending on where they live in Sri Lanka, may also additionally speak English and or Tamil. According to the 2012 Census 23.8% or 3,033,659 Sinhalese people also spoke English and 6.4% or 812,738 Sinhalese people also spoke Tamil.\",\n \"According to the 2012 Census 23.8% or 3,033,659 Sinhalese people also spoke English and 6.4% or 812,738 Sinhalese people also spoke Tamil. In the Negombo area bilingual fishermen who generally identify themselves as Sinhalese also speak the Negombo Tamil dialect. This dialect has undergone considerable convergence with spoken Sinhala.\",\n \"This dialect has undergone considerable convergence with spoken Sinhala. Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today. Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance.\",\n \"Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance. Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son.\",\n \"Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son. In the modern period, Sinhala writers such as Martin Wickremasinghe and G. B. Senanayake have drawn widespread acclaim. Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake.\",\n \"Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake. Martin Wickramasinghe wrote the immensely popular children's novel Madol Duwa. Munadasa Cumaratunga's Hath Pana is also widely known. Religion The form of Buddhism in Sri Lanka is known as Theravada (school of elders).\",\n \"Religion The form of Buddhism in Sri Lanka is known as Theravada (school of elders). The Pali chronicles (e.g., the Mahavansa) claim that the Sinhalese as an ethnic group are destined to preserve and protect Buddhism. In 1988 almost 93% of the Sinhala speaking population in Sri Lanka were Buddhist.\",\n \"In 1988 almost 93% of the Sinhala speaking population in Sri Lanka were Buddhist. Observations of current religious beliefs and practices demonstrate that the Sinhalese, as a religious community, have a complex worldview as Buddhists.\",\n \"Observations of current religious beliefs and practices demonstrate that the Sinhalese, as a religious community, have a complex worldview as Buddhists. Due to the proximity and on some occasions similarity of certain doctrines, there are many areas where Buddhists and Hindus share religious views and practices.\",\n \"Due to the proximity and on some occasions similarity of certain doctrines, there are many areas where Buddhists and Hindus share religious views and practices. Sinhalese Buddhists have adopted religious elements from Hindu traditions in their religious practices.\",\n \"Sinhalese Buddhists have adopted religious elements from Hindu traditions in their religious practices. Some of these practices may relate to ancient indigenous beliefs and traditions on spirits (folk religion), and the worship of Hindu deities. Some of these figures are used in healing rituals and may be native to the island.\",\n \"Some of these figures are used in healing rituals and may be native to the island. Gods and goddess derived from Hindu deities are worshiped by Sinhalese. Kataragama Deviyo from Kartikeya, Upulvan from Vishnu and Ayyanayake from Aiyanar can be named as examples.\",\n \"Kataragama Deviyo from Kartikeya, Upulvan from Vishnu and Ayyanayake from Aiyanar can be named as examples. Though these gods take the same place as their Hindu counterparts in mythology, some of their aspects are different compared to the original gods.\",\n \"Though these gods take the same place as their Hindu counterparts in mythology, some of their aspects are different compared to the original gods. Prominent Sri Lankan anthropologists Gananath Obeyesekere and Kitsiri Malalgoda used the term \\\"Protestant Buddhism\\\" to describe a type of Buddhism that appeared among the Sinhalese in Sri Lanka as a response to Protestant Christian missionaries and their evangelical activities during the British colonial period.\",\n \"Prominent Sri Lankan anthropologists Gananath Obeyesekere and Kitsiri Malalgoda used the term \\\"Protestant Buddhism\\\" to describe a type of Buddhism that appeared among the Sinhalese in Sri Lanka as a response to Protestant Christian missionaries and their evangelical activities during the British colonial period. This kind of Buddhism involved emulating the Protestant strategies of organising religious practices.\",\n \"This kind of Buddhism involved emulating the Protestant strategies of organising religious practices. They saw the need to establish Buddhist schools for educating Buddhist youth and organising Buddhists with new organisations such as the Young Men's Buddhist Association, as well as printing pamphlets to encourage people to participate in debates and religious controversies to defend Buddhism.\",\n \"They saw the need to establish Buddhist schools for educating Buddhist youth and organising Buddhists with new organisations such as the Young Men's Buddhist Association, as well as printing pamphlets to encourage people to participate in debates and religious controversies to defend Buddhism. Christianity There is a significant Sinhalese Christian community, in the maritime provinces of Sri Lanka.\",\n \"Christianity There is a significant Sinhalese Christian community, in the maritime provinces of Sri Lanka. Christianity was brought to the Sinhalese by Portuguese, Dutch, and British missionary groups during their respective periods of rule. Most Sinhalese Christians are Roman Catholic; a minority are Protestant. Their cultural centre is Negombo.\",\n \"Their cultural centre is Negombo. Their cultural centre is Negombo. Religion is considered very important among the Sinhalese. According to a 2008 Gallup poll, 99% of Sri Lankans considered religion an important aspect of their daily lives. Genetics Modern studies point towards a predominantly Bengali contribution and a minor Tamil influence.\",\n \"Genetics Modern studies point towards a predominantly Bengali contribution and a minor Tamil influence. Gujarati and Punjabi lineages are also visible. In relation to the former, other studies also show the Sinhalese possess some genetic admixture from Southeast Asian populations, especially from Austroasiatic groups.\",\n \"In relation to the former, other studies also show the Sinhalese possess some genetic admixture from Southeast Asian populations, especially from Austroasiatic groups. Certain Y-DNA and mtDNA haplogroups and genetic markers of immunoglobulin among the Sinhalese, for example, show Southeast Asian genetic influences many of which are also found among certain Northeast Indian populations to whom the Sinhalese are genetically related.\",\n \"Certain Y-DNA and mtDNA haplogroups and genetic markers of immunoglobulin among the Sinhalese, for example, show Southeast Asian genetic influences many of which are also found among certain Northeast Indian populations to whom the Sinhalese are genetically related. Culture Sinhalese culture is a unique one dating as far back as 2600 years and has been nourished by Theravada Buddhism.\",\n \"Culture Sinhalese culture is a unique one dating as far back as 2600 years and has been nourished by Theravada Buddhism. Its main domains are sculpture, fine arts, literature, dancing, poetry and a wide variety of folk beliefs and rituals traditionally.\",\n \"Its main domains are sculpture, fine arts, literature, dancing, poetry and a wide variety of folk beliefs and rituals traditionally. Ancient Sinhala stone sculpture and inscriptions are known worldwide and is a main foreign attraction in modern tourism. Sigirirya is famous for its frescoes.\",\n \"Sigirirya is famous for its frescoes. Folk poems were sung by workers to accompany their work and narrate the story of their lives. Ideally these poems consisted of four lines and, in the composition of these poems, special attention had been paid to the rhyming patterns. Buddhist festivals are dotted by unique music using traditionally Sinhalese instruments.\",\n \"Buddhist festivals are dotted by unique music using traditionally Sinhalese instruments. More ancient rituals like (devil exorcism) continue to enthrall audiences today and often praised and invoked the good powers of the Buddha and the gods in order to exorcise the demons.\",\n \"More ancient rituals like (devil exorcism) continue to enthrall audiences today and often praised and invoked the good powers of the Buddha and the gods in order to exorcise the demons. Folklore and national mythology According to the Mahavamsa, the Sinhalese are descended from the exiled Prince Vijaya and his party of seven hundred followers who arrived on the island in 543 BCE.\",\n \"Folklore and national mythology According to the Mahavamsa, the Sinhalese are descended from the exiled Prince Vijaya and his party of seven hundred followers who arrived on the island in 543 BCE. Vijaya and his followers were said to have arrived in Sri Lanka after being exiled from the city of Sinhapura in Bengal.\",\n \"Vijaya and his followers were said to have arrived in Sri Lanka after being exiled from the city of Sinhapura in Bengal. The modern Sinhalese people were found genetically to be most closely related to the people of North-East India (Bengal).\",\n \"The modern Sinhalese people were found genetically to be most closely related to the people of North-East India (Bengal). It is thought throughout Sri Lanka's history, since the founding of the Sinhalese in the 5th century BC that an influx of Indians from North India came to the island.\",\n \"It is thought throughout Sri Lanka's history, since the founding of the Sinhalese in the 5th century BC that an influx of Indians from North India came to the island. This is further supported from Sinhala being part of the Indo-Aryan language group. Traditionally during recreation the Sinhalese wear a sarong (sarama in Sinhala).\",\n \"Traditionally during recreation the Sinhalese wear a sarong (sarama in Sinhala). Men may wear a long-sleeved shirt with a sarong. Clothing varies by region for women. Low country Sinhalese women wear a white Long sleeved jacket, and a tight wrap around skirt, which usually is embedded with a floral or pattern design.\",\n \"Low country Sinhalese women wear a white Long sleeved jacket, and a tight wrap around skirt, which usually is embedded with a floral or pattern design. As for the up country Sinhalese, women wear a similar outfit, but with a puffed up shoulder jacket, and a tucked in frill that lines the top of the skirt (Reda and Hatte in Sinhala).\",\n \"As for the up country Sinhalese, women wear a similar outfit, but with a puffed up shoulder jacket, and a tucked in frill that lines the top of the skirt (Reda and Hatte in Sinhala). Traditionally, high caste Kandyan women wear a Kandyan style sari, which is similar to the Maharashtrian sari, with the drape but with a frill lining the bottom half and sometimes puffed up sleeves.\",\n \"Traditionally, high caste Kandyan women wear a Kandyan style sari, which is similar to the Maharashtrian sari, with the drape but with a frill lining the bottom half and sometimes puffed up sleeves. It’s also called an Osariya. The low country high caste women wear a South Indian style saree.\",\n \"The low country high caste women wear a South Indian style saree. Within the more populated areas, Sinhalese men also wear Western-style clothing — wearing suits while the women wear skirts and blouses.\",\n \"Within the more populated areas, Sinhalese men also wear Western-style clothing — wearing suits while the women wear skirts and blouses. For formal and ceremonial occasions women wear the traditional Kandyan (Osariya) style, which consists of a full blouse which covers the midriff completely, and is partially tucked in at the front.\",\n \"For formal and ceremonial occasions women wear the traditional Kandyan (Osariya) style, which consists of a full blouse which covers the midriff completely, and is partially tucked in at the front. However, modern intermingling of styles has led to most wearers baring the midriff. The Kandyan style is considered as the national dress of Sinhalese women.\",\n \"The Kandyan style is considered as the national dress of Sinhalese women. In many occasions and functions, even the saree plays an important role in women's clothing and has become the de facto clothing for female office workers especially in government sector. An example of its use is the uniform of air hostesses of Sri Lankan Airlines.\",\n \"An example of its use is the uniform of air hostesses of Sri Lankan Airlines. Cuisine Sinhalese cuisine is one of the most complex cuisines of South Asia. As a major trade hub, it draws influence from colonial powers that were involved in Sri Lanka and by foreign traders.\",\n \"As a major trade hub, it draws influence from colonial powers that were involved in Sri Lanka and by foreign traders. Rice, which is consumed daily, can be found at any occasion, while spicy curries are favourite dishes for lunch and dinner.\",\n \"Rice, which is consumed daily, can be found at any occasion, while spicy curries are favourite dishes for lunch and dinner. Some of the Sri Lankan dishes have striking resemblance to Kerala cuisine, which could be due to the similar geographic and agricultural features with Kerala.\",\n \"Some of the Sri Lankan dishes have striking resemblance to Kerala cuisine, which could be due to the similar geographic and agricultural features with Kerala. A well-known rice dish with Sinhalese is Kiribath, meaning ‘milk rice’. In addition to , Sinhalese eat , chopped leaves mixed with grated coconut and red onions.\",\n \"In addition to , Sinhalese eat , chopped leaves mixed with grated coconut and red onions. Coconut milk is found in most Sri Lankan dishes to give the cuisine its unique flavour. Sri Lanka has long been renowned for its spices. The best known is cinnamon which is native to Sri Lanka.\",\n \"The best known is cinnamon which is native to Sri Lanka. In the 15th and 16th centuries, spice and ivory traders from all over the world who came to Sri Lanka brought their native cuisines to the island, resulting in a rich diversity of cooking styles and techniques.\",\n \"In the 15th and 16th centuries, spice and ivory traders from all over the world who came to Sri Lanka brought their native cuisines to the island, resulting in a rich diversity of cooking styles and techniques. Lamprais, rice boiled in stock with a special curry, accompanied by frikkadels (meatballs), all of which is then wrapped in a banana leaf and baked as a Dutch-influenced Sri Lankan dish.\",\n \"Lamprais, rice boiled in stock with a special curry, accompanied by frikkadels (meatballs), all of which is then wrapped in a banana leaf and baked as a Dutch-influenced Sri Lankan dish. Dutch and Portuguese sweets also continue to be popular. British influences include roast beef and roast chicken.\",\n \"British influences include roast beef and roast chicken. Also, the influence of the Indian cooking methods and food have played a major role in what Sri Lankans eat. The island nation's cuisine mainly consists of boiled or steamed rice served with curry.\",\n \"The island nation's cuisine mainly consists of boiled or steamed rice served with curry. This usually consists of a main curry of fish or chicken, as well as several other curries made with vegetables, lentils and even fruit curries. Side-dishes include pickles, chutneys and .\",\n \"Side-dishes include pickles, chutneys and . The most famous of these is the coconut sambol, made of ground coconut mixed with chili peppers, dried Maldive fish and lime juice. This is ground to a paste and eaten with rice, as it gives zest to the meal and is believed to increase appetite.\",\n \"This is ground to a paste and eaten with rice, as it gives zest to the meal and is believed to increase appetite. Art and architecture Many forms of Sri Lankan arts and crafts take inspiration from the island's long and lasting Buddhist culture which in turn has absorbed and adopted countless regional and local traditions.\",\n \"Art and architecture Many forms of Sri Lankan arts and crafts take inspiration from the island's long and lasting Buddhist culture which in turn has absorbed and adopted countless regional and local traditions. In most instances Sri Lankan art originates from religious beliefs, and is represented in many forms such as painting, sculpture, and architecture.\",\n \"In most instances Sri Lankan art originates from religious beliefs, and is represented in many forms such as painting, sculpture, and architecture. One of the most notable aspects of Sri Lankan art are caves and temple paintings, such as the frescoes found at Sigiriya, and religious paintings found in temples in Dambulla and Temple of the Tooth Relic in Kandy.\",\n \"One of the most notable aspects of Sri Lankan art are caves and temple paintings, such as the frescoes found at Sigiriya, and religious paintings found in temples in Dambulla and Temple of the Tooth Relic in Kandy. Other popular forms of art have been influenced by both natives as well as outside settlers.\",\n \"Other popular forms of art have been influenced by both natives as well as outside settlers. For example, traditional wooden handicrafts and clay pottery are found around the hill country while Portuguese-inspired lacework and Indonesian-inspired Batik have become notable. It has many different and beautiful drawings.\",\n \"It has many different and beautiful drawings. Developed upon Indo-Aryan architectural skills in the late 6th century BCE Sinhalese people who lived upon greater kingdoms such as Anuradhapura and Polonnaruwa have built so many architectural examples such as Ruwanwelisaya, Jetavanaramaya - second tallest brick building in the ancient world after Great Pyramid of Giza, and Abayagiriya - third tallest brick building in the ancient world.\",\n \"Developed upon Indo-Aryan architectural skills in the late 6th century BCE Sinhalese people who lived upon greater kingdoms such as Anuradhapura and Polonnaruwa have built so many architectural examples such as Ruwanwelisaya, Jetavanaramaya - second tallest brick building in the ancient world after Great Pyramid of Giza, and Abayagiriya - third tallest brick building in the ancient world. And also with the ancient hydraulic technology which is also unique to Sinhalese people to build ancient tanks, systematic ponds with fountains moats and Irrigational reservoirs such as Parakrama Samudra, Kaudulla and Kandalama.\",\n \"And also with the ancient hydraulic technology which is also unique to Sinhalese people to build ancient tanks, systematic ponds with fountains moats and Irrigational reservoirs such as Parakrama Samudra, Kaudulla and Kandalama. Sigiriya which is considered by many as the 8th wonder of the world, it is a combination of natural and man made fortress, which consists so many architectural aspects.\",\n \"Sigiriya which is considered by many as the 8th wonder of the world, it is a combination of natural and man made fortress, which consists so many architectural aspects. Music There are extensive folk poems relating to specific jobs of the ancient society.\",\n \"Music There are extensive folk poems relating to specific jobs of the ancient society. These poems were communal songs which had a rhythm that were sung when performing day-to-day tasks like harvesting and sowing. Concerning popular music, Ananda Samarakoon developed the reflective and poignant Sarala gee style with his work in the late 1930s/early 1940s.\",\n \"Concerning popular music, Ananda Samarakoon developed the reflective and poignant Sarala gee style with his work in the late 1930s/early 1940s. He has been followed by artists of repute such as Sunil Shantha, W. D. Amaradeva, Premasiri Khemadasa, Nanda Malini, Victor Ratnayake, Austin Munasinghe, T. M. Jayaratne, Sanath Nandasiri, Sunil Edirisinghe, Neela Wickremasinghe, Gunadasa Kapuge, Malini Bulathsinghala and Edward Jayakody.\",\n \"He has been followed by artists of repute such as Sunil Shantha, W. D. Amaradeva, Premasiri Khemadasa, Nanda Malini, Victor Ratnayake, Austin Munasinghe, T. M. Jayaratne, Sanath Nandasiri, Sunil Edirisinghe, Neela Wickremasinghe, Gunadasa Kapuge, Malini Bulathsinghala and Edward Jayakody. Film and theatre Dramatist Ediriweera Sarachchandra revitalised the drama form with Maname in 1956.\",\n \"Film and theatre Dramatist Ediriweera Sarachchandra revitalised the drama form with Maname in 1956. The same year, film director Lester James Peries created the artistic masterwork Rekava which sought to create a uniquely Sinhalese cinema with artistic integrity. Since then, Peries and other directors like Vasantha Obeysekera, Dharmasena Pathiraja, Mahagama Sekera, W. A.\",\n \"Since then, Peries and other directors like Vasantha Obeysekera, Dharmasena Pathiraja, Mahagama Sekera, W. A. B. de Silva, Dharmasiri Bandaranayake, Sunil Ariyaratne, Siri Gunasinghe, G. D. L. Perera, Piyasiri Gunaratne, Titus Thotawatte, D. B. Nihalsinghe, Ranjith Lal, Dayananda Gunawardena, Mudalinayake Somaratne, Asoka Handagama, and Prasanna Vithanage have developed an artistic Sinhalese cinema.\",\n \"B. de Silva, Dharmasiri Bandaranayake, Sunil Ariyaratne, Siri Gunasinghe, G. D. L. Perera, Piyasiri Gunaratne, Titus Thotawatte, D. B. Nihalsinghe, Ranjith Lal, Dayananda Gunawardena, Mudalinayake Somaratne, Asoka Handagama, and Prasanna Vithanage have developed an artistic Sinhalese cinema. Sinhala cinema is often made colourful with the incorporation of songs and dance adding more uniqueness to the industry.\",\n \"Sinhala cinema is often made colourful with the incorporation of songs and dance adding more uniqueness to the industry. In the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success.\",\n \"In the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success. Performing arts Performing arts of the Sinhalese people can be categorised into few groups: Kandyan dance consist of 18 Wannam (dance routines) featuring behaviours of various animals such as elephant, eagle, cobra, monkey, peacock and rabbit, mainly performing in the annual Perahara pageant in Sri Dalada Maligawa Kandy.\",\n \"Performing arts Performing arts of the Sinhalese people can be categorised into few groups: Kandyan dance consist of 18 Wannam (dance routines) featuring behaviours of various animals such as elephant, eagle, cobra, monkey, peacock and rabbit, mainly performing in the annual Perahara pageant in Sri Dalada Maligawa Kandy. Pahatharata dance have a significant dancing style which is used to cure illnesses and spiritual clarification.\",\n \"Pahatharata dance have a significant dancing style which is used to cure illnesses and spiritual clarification. The main feature of these dances is dancers wear masks representing various gods and demons, and use elements such as fire and water to bless people. Sabaragamuwa dances have also a significant dancing style, mainly to entertain people.\",\n \"Sabaragamuwa dances have also a significant dancing style, mainly to entertain people. Folk music and dances differ according to the casts of Sinhalese people and also some times regionally—mainly popular among small children, especially girls. These arts are widely performed during the Sinhalese New Year period. Martial arts Angampora is the traditional martial art of the Sinhalese people.\",\n \"Martial arts Angampora is the traditional martial art of the Sinhalese people. It combines combat techniques, self-defence, sport, exercise and meditation. Key techniques observed in Angampora are: Angam, which incorporates hand-to-hand fighting, and Illangam, which uses indigenous weapons such as Velayudaya, staves, knives and swords.\",\n \"Key techniques observed in Angampora are: Angam, which incorporates hand-to-hand fighting, and Illangam, which uses indigenous weapons such as Velayudaya, staves, knives and swords. Its most distinct feature is the use of pressure point attacks to inflict pain or permanently paralyse the opponent.\",\n \"Its most distinct feature is the use of pressure point attacks to inflict pain or permanently paralyse the opponent. Fighters usually make use of both striking and grappling techniques, and fight until the opponent is caught in a submission lock that they cannot escape. Usage of weapons is discretionary.\",\n \"Usage of weapons is discretionary. Usage of weapons is discretionary. Perimeters of fighting are defined in advance, and in some of the cases is a pit. Angampora became nearly extinct after the country came under British rule in 1815, but survived in a few families until the country regained independence.\",\n \"Angampora became nearly extinct after the country came under British rule in 1815, but survived in a few families until the country regained independence. Science and education The Sinhalese have a long history of literacy and formal learning. Instruction in basic fields like writing and reading by Buddhist Monks pre-date the birth of Christ.\",\n \"Instruction in basic fields like writing and reading by Buddhist Monks pre-date the birth of Christ. This traditional system followed religious rule and was meant to foster Buddhist understanding. Training of officials in such skills as keeping track of revenue and other records for administrative purposes occurred under this institution.\",\n \"Training of officials in such skills as keeping track of revenue and other records for administrative purposes occurred under this institution. Technical education such as the building of reservoirs and canals was passed down from generation to generation through home training and outside craft apprenticeships.\",\n \"Technical education such as the building of reservoirs and canals was passed down from generation to generation through home training and outside craft apprenticeships. The arrival of the Portuguese and Dutch and the subsequent colonisation maintained religion as the centre of education though in certain communities under Catholic and Presbyterian hierarchy. The British in the 1800s initially followed the same course.\",\n \"The British in the 1800s initially followed the same course. Following 1870 however they began a campaign for better education facilities in the region. Christian missionary groups were at the forefront of this development contributing to a high literacy among Christians. By 1901 schools in the South and the North were well tended. The inner regions lagged behind however.\",\n \"The inner regions lagged behind however. Also, English education facilities presented hurdles for the general populace through fees and lack of access. Medicine Traditional Sinhalese villages in early days had at least one chief Medical personnel called Weda Mahaththaya (Doctor). These people practice their clinical activities by inheritance.\",\n \"These people practice their clinical activities by inheritance. Sinhalese Medicine resembles some of Ayurvedic practices in contrast for some treatments they use Buddhist Chantings (Pirith) in order to strengthen the effectiveness.\",\n \"Sinhalese Medicine resembles some of Ayurvedic practices in contrast for some treatments they use Buddhist Chantings (Pirith) in order to strengthen the effectiveness. According to the Mahavamsa, the ancient chronicle, Pandukabhaya of Sri Lanka (437 BC – 367 BC) had lying-in-homes and Ayurvedic hospitals (Sivikasotthi-Sala) built in various parts of the country.\",\n \"According to the Mahavamsa, the ancient chronicle, Pandukabhaya of Sri Lanka (437 BC – 367 BC) had lying-in-homes and Ayurvedic hospitals (Sivikasotthi-Sala) built in various parts of the country. This is the earliest documentary evidence we have of institutions specifically dedicated to the care of the sick anywhere in the world.\",\n \"This is the earliest documentary evidence we have of institutions specifically dedicated to the care of the sick anywhere in the world. Mihintale Hospital is the oldest in the world. See also List of Sinhalese people Sinhalese Buddhist nationalism References Citations Sources De Silva, K. M. History of Sri Lanka (Univ.\",\n \"See also List of Sinhalese people Sinhalese Buddhist nationalism References Citations Sources De Silva, K. M. History of Sri Lanka (Univ. of Calif. Press, 1981) Gunasekera, Tamara. Hierarchy and Egalitarianism: Caste, Class, and Power in Sinhalese Peasant Society (Athlone, 1994). Roberts, Michael.\",\n \"Roberts, Michael. Roberts, Michael. Sri Lanka: Collective Identities Revisited (Colombo-Marga Institute, 1997). Wickremeratne, Ananda. Buddhism and Ethnicity in Sri Lanka: A Historical Analysis (New Delhi-Vikas Publishing House, 1995).\",\n \"Buddhism and Ethnicity in Sri Lanka: A Historical Analysis (New Delhi-Vikas Publishing House, 1995). External links CIA Factbook-Sri Lanka Department of Census and Statistics-Sri Lanka Ethnologue-Sinhala, a language of Sri Lanka CIA Factbook-Sri Lanka Sinhalese Who are the Sinhalese Buddhist communities of Sri Lanka Ethnic groups in Sri Lanka Ethnic groups in the Indian Ocean Indo-Aryan peoples Sinhalese diaspora Sinhalese culture\"\n]"}}},{"rowIdx":488,"cells":{"History":{"kind":"list like","value":["Sinhalese people","Language and literature","what language did the sinhalese people use?","The Sinhalese speak Sinhala, also known as \"Helabasa\";","is it a widely known language?","I don't know.","Are there any other interesting aspects about this article?","Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today."],"string":"[\n \"Sinhalese people\",\n \"Language and literature\",\n \"what language did the sinhalese people use?\",\n \"The Sinhalese speak Sinhala, also known as \\\"Helabasa\\\";\",\n \"is it a widely known language?\",\n \"I don't know.\",\n \"Are there any other interesting aspects about this article?\",\n \"Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today.\"\n]"},"QuAC_dialog_id":{"kind":"string","value":"C_6531bbbb4dba4483bed9d12220555c4f_1"},"Question":{"kind":"string","value":"what were the folk tales about?"},"Question_no":{"kind":"number","value":4,"string":"4"},"Rewrite":{"kind":"string","value":"what were the folk tales of the Sinhalese people about?"},"true_page_title":{"kind":"string","value":"Sinhalese people"},"true_contexts":{"kind":"string","value":"The Sinhalese speak Sinhala, also known as \"Helabasa\"; this language has two varieties, spoken and written. Sinhala is an Indo-Aryan language within the broader group of Indo-European languages. The language was brought to Sri Lanka by the ancestors of the Sinhalese from northern India who settled on the island in the 6th century BCE. Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages. Sinhala was influenced by many languages, prominently Pali, the sacred language of Southern Buddhism, and Sanskrit. Many early Sinhala texts such as the Hela Atuwa were lost after their translation into Pali. Other significant Sinhala texts include Amavatura, Kavu Silumina, Jathaka Potha and Sala Liheeniya. Sinhala has also adopted many loanwords of foreign origin, including from many Indian languages and colonial languages Portuguese, Dutch, and English. Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world. The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages. Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and Hollywood movies. Additionally many Dutch and Portuguese words can be seen in the coastal areas. Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today. Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance. Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son. In the modern period, Sinhala writers such as Martin Wickremasinghe and G. B. Senanayake have drawn widespread acclaim. Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake. Martin Wickramasinghe wrote the immensely popular children's novel Madol Duwa. Munadasa Cumaratunga's Hath Pana is also widely known. CANNOTANSWER"},"answer":{"kind":"string","value":"Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance."},"true_contexts_wiki":{"kind":"string","value":"Sinhalese people () are an Indo-Aryan ethnic group native to the island of Sri Lanka. They were historically known as Hela people (). They constitute about 75% of the Sri Lankan population and number greater than 16.2 million. The Sinhalese identity is based on language, cultural heritage and nationality. The Sinhalese people speak Sinhala, an insular Indo-Aryan language, and are predominantly Theravada Buddhists, although a minority of Sinhalese follow branches of Christianity and \nother religions. Since 1815, they were broadly divided into two respective groups: The 'Up-country Sinhalese' in the central mountainous regions, and the 'Low-country Sinhalese' in the coastal regions; although both groups speak the same language, they are distinguished as they observe different cultural customs.\n\nAccording to the Mahavamsa and the Dipavamsa, a 3rd–5th century treatise written in Pali by Buddhist monks of the Anuradhapura Maha Viharaya in Sri Lanka, the Sinhalese descend from settlers who came to the island in 543 BCE from Sinhapura led by Prince Vijaya who mixed with the indigenous Yakka and later settlers from the Pandya kingdom.\n\nEtymology\nFrom the Sanskrit word Sinhala, meaning literally \"of lions\".\n\nThe Mahavamsa records the origin of the Sinhalese people and related historical events. It traces the historical origin of the Sinhalese people back to the first king who mentioned in the documentary history of Sri Lanka, Vijaya, who is the son of Sinhabahu (Sanskrit meaning 'Sinha' (lion) + 'bahu' (hands, feet), the ruler of Sinhapura. Some versions suggest Vijaya is the grandson of Sinhabahu. According to the Mahavamsa, Sinhabahu was the son of princess Suppadevi of Vanga, who copulated with a lion and gave birth to a daughter called Sinhasivali and to a son, Sinhabahu, whose hands and feet were like the paws of a lion and who had the strength of a lion. King Vijaya, the lineage of Sinhabahu, according to the Mahavamsa and other historical sources, arrived on the island of Tambapanni (Sri Lanka) and gave origin to the lion people, Sinhalese.\n\nThe story of the arrival of Prince Vijaya in Sri Lanka and the origin of the Sinhalese people is also depicted in the Ajanta caves, in a mural of cave number 17. According to Arisen Ahubudu, there were four major clans of \"hela\" in ancient Sri Lanka even before the arrival of Prince Vijaya, and that Sri Lanka was called as \"Siv hela\" (siv=four in the Sinhala language) and later it was changed into \"Sinhala\".\n\nHistory\n\nThe early recorded history of the Sinhalese is chronicled in two documents, the Mahavamsa, written in Pāli around the 4th century CE, and the later Culavamsa (the first segment probably penned in the 13th century CE by the Buddhist monk Dhammakitti). These are ancient sources that cover the histories of the powerful ancient Sinhalese kingdoms of Anuradhapura and Polonnaruwa which lasted for 1500 years. The Mahavamsa describes the existence of fields of rice and reservoirs, indicating a well-developed agrarian society.\n\nPre Anuradhapura period\n\nAccording to Mahavamsa, Prince Vijaya and his 700 followers left Suppāraka, landed on the island at a site believed by historians to be in the district of Puttalam, south of modern-day Mannar and founded the Kingdom of Thambapanni. It is recorded the Vijaya made his landing on the day of Buddha's Parinirvana. Vijaya claimed Tambapanni his capital and soon the whole island come under this name. Tambapanni was originally inhabited and governed by Yakkhas, having their capital at Sirīsavatthu and their queen Kuveni. According to the Samyutta Commentary, Tambapanni was one hundred leagues in extent.\n\nAt the end of his reign, Vijaya, having trouble choosing a successor, sent a letter to the city of his ancestors, Sinhapura, in order to invite his brother Sumitta to take over the throne. However, Vijaya had died before the letter had reached its destination, so the elected minister of the people Upatissa, the Chief government minister or prime minister and leading chief among the Sinhalese became regent and acted as regent for a year. After his coronation, which was held in the Kingdom of Tambapanni, he left it, building another one, bearing his own name. While he was king, Upatissa established the new capital Upatissa, in which the kingdom was moved to from the Kingdom of Tambapanni. When Vijaya's letter arrived, Sumitta had already succeeded his father as king of his country, and so he sent his son Panduvasdeva to rule Upatissa Nuwara.\n\nUpatissa Nuwara was seven or eight miles further north of the Kingdom of Tambapanni.\nIt was named after the regent king Upatissa, who was the prime minister of Vijaya, and was founded in 505 BC after the death of Vijaya and the end of the Kingdom of Tambapanni.\n\nAnuradhapura period\n\nIn 377 BC, King Pandukabhaya (437–367 BC) moved the capital to Anuradhapura and developed it into a prosperous city. Anuradhapura (Anurapura) was named after the minister who first established the village and after a grandfather of Pandukabhaya who lived there. The name was also derived from the city's establishment on the auspicious asterism called Anura. Anuradhapura was the capital of all the monarchs who ruled from the dynasty.\n\nRulers such as Dutthagamani, Valagamba, and Dhatusena are noted for defeating the South Indians and regaining control of the kingdom. Other rulers who are notable for military achievements include Gajabahu I, who launched an invasion against the invaders, and Sena II, who sent his armies to assist a Pandyan prince.\n\nPolonnaruwa period\n\nDuring the Middle Ages Sri Lanka was well known for its agricultural prosperity under king Parakramabahu in Polonnaruwa during which period the island was famous around the world as the rice mill of the east.\n\nTransitional period\n\nLater in the 13th century the country's administrative provinces were divided into independent kingdoms and chieftaincies: Kingdom of Sitawaka, Kingdom of Kotte, Jaffna Kingdom and the Kandyan kingdom. The invasion by the Hindu king Magha in the 13th century led to migrations by the Buddhists (mostly Sinhalese) to areas not under his control. This migration was followed by a period of conflict among the Sinhalese chiefs who tried to exert political supremacy. Parakramabahu VI, a Sinhalese king invaded the Jaffna Kingdom and conquered it, bringing the entire country back under the Sinhalese kingdom. Trade also increased during this period, as Sri Lanka began to trade cinnamon and a large number of Muslim traders were bought into the island.\n\nIn the 15th century a Kandyan Kingdom formed which divided the Sinhalese politically into low-country and up-country. In this period, the Sinhalese caste structure absorbed recent Dravidian Hindu immigrants from South India leading to the emergence of three new Sinhalese caste groups - the Salagama, the Durava and the Karava.\n\nModern history\n\nThe Sinhalese have a stable birth rate and a population that has been growing at a slow pace relative to India and other Asian countries.\n\nSociety\n\nDemographics\n\nSri Lanka\n\nWithin Sri Lanka the majority of the Sinhalese reside in the South, Central, Sabaragamuwa and Western parts of the country. This coincides with the largest Sinhalese populations areas in Sri Lanka. Cities with more than 90% Sinhalese population include Hambantota, Galle, Gampaha, Kurunegala, Monaragala, Anuradhapura and Polonnaruwa.\n\nDiaspora\n\nSinhalese people have emigrated out to many countries for a variety of reasons. The larger diaspora communities are situated in the United Kingdom, Australia, United States and Canada among others. In addition to this there are many Sinhalese, who reside in the Middle East, Southeast Asia and Europe, temporarily in connection with employment and/or education. They are often employed as guest workers in the Middle East and professionals in the other regions.\n\nThe largest population centres of the Sinhalese diaspora are mainly situated in Europe, North America and Australia. The city of Melbourne contains just under half of the Sri Lankan Australians. The 2011 census recorded 86,412 Sri Lanka born in Australia. There are 73,849 Australians (0.4 of the population) who reported having Sinhalese ancestry in 2006. Sinhala was also reported to be the 29th-fastest-growing language in Australia (ranking above Somali but behind Hindi and Belarusian). Sinhalese Australians have an exceptionally low rate of return migration to Sri Lanka. In the 2011 Canadian Census, 7,220 people identified themselves as of Sinhalese ancestry, out of 139,415 Sri Lankans. There are a small number of Sinhalese people in India, scattered around the country, but mainly living in and around the northern and southern regions. Sri Lankan New Zealanders comprised 3% of the Asian population of New Zealand in 2001. The numbers arriving continued to increase, and at the 2018 census there were over 16,000 Sri Lankans living in New Zealand among those 9,171 were Sinhalese.\n\nIn the U.S, the Sinhalese number about 12,000 people. The New York City Metropolitan Area contains the largest Sri Lankan community in the United States, receiving the highest legal permanent resident Sri Lankan immigrant population, followed by Central New Jersey and the Los Angeles metropolitan area. Many Sinhalese have migrated to Italy since the 1970s. Italy was attractive to the Sinhalese due to perceived easier employment opportunities and entry, compared to other European countries. It is estimated that there are 30,000-33,000 Sinhalese in Italy. The major Sinhalese communities in Italy are located in Lombardia (In the districts Loreto and Lazzaretto), Milan, Lazio, Rome, Naples, and Southern Italy (Particularly Palermo, Messina and Catania). It should be noted however that many countries census list Sri Lankan which also includes Sri Lankan Tamils so the numbers of just Sinhalese are not as accurate when the census states Sri Lankan and not Sinhalese. Though Sinhalese people in particular and Sri Lankans in general have migrated to the UK over the centuries beginning from the colonial times, the number of Sinhalese people in the UK cannot be estimated accurately due to inadequacies of census in the UK. The UK government does not record statistics on the basis of language or ethnicity and all Sri Lankans are classified into one group as Asian British or Asian Other.\n\nLanguage and literature\n\nSinhalese people speak Sinhala, also known as \"Helabasa\"; this language has two varieties, spoken and written. Sinhala is an Indo-Aryan language within the broader group of Indo-European languages. The early form of the language was brought to Sri Lanka by the ancestors of the Sinhalese people from northern India who settled on the island in the 6th century BCE. Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages. It was influenced by many languages, prominently Pali, the sacred language of Southern Buddhism, Telugu and Sanskrit. Many early texts in the language such as the Hela Atuwa were lost after their translation into Pali. Other significant Sinhala texts include Amāvatura, Kavu Silumina, Jathaka Potha and Sala Liheeniya. Sinhala has also adopted many loanwords of foreign origin, including from many Indian such as Tamil and European languages such as Portuguese, Dutch, and English.\n\nSandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world. The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages. Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and foreign films. Additionally many Dutch and Portuguese words can be seen in the coastal areas. Sinhalese people, depending on where they live in Sri Lanka, may also additionally speak English and or Tamil. According to the 2012 Census 23.8% or 3,033,659 Sinhalese people also spoke English and 6.4% or 812,738 Sinhalese people also spoke Tamil. In the Negombo area bilingual fishermen who generally identify themselves as Sinhalese also speak the Negombo Tamil dialect. This dialect has undergone considerable convergence with spoken Sinhala.\n\nFolk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today. Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance. Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son.\n\nIn the modern period, Sinhala writers such as Martin Wickremasinghe and G. B. Senanayake have drawn widespread acclaim. Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake. Martin Wickramasinghe wrote the immensely popular children's novel Madol Duwa. Munadasa Cumaratunga's Hath Pana is also widely known.\n\nReligion\n\nThe form of Buddhism in Sri Lanka is known as Theravada (school of elders). The Pali chronicles (e.g., the Mahavansa) claim that the Sinhalese as an ethnic group are destined to preserve and protect Buddhism. In 1988 almost 93% of the Sinhala speaking population in Sri Lanka were Buddhist. Observations of current religious beliefs and practices demonstrate that the Sinhalese, as a religious community, have a complex worldview as Buddhists. Due to the proximity and on some occasions similarity of certain doctrines, there are many areas where Buddhists and Hindus share religious views and practices. Sinhalese Buddhists have adopted religious elements from Hindu traditions in their religious practices. Some of these practices may relate to ancient indigenous beliefs and traditions on spirits (folk religion), and the worship of Hindu deities. Some of these figures are used in healing rituals and may be native to the island. Gods and goddess derived from Hindu deities are worshiped by Sinhalese. Kataragama Deviyo from Kartikeya, Upulvan from Vishnu and Ayyanayake from Aiyanar can be named as examples. Though these gods take the same place as their Hindu counterparts in mythology, some of their aspects are different compared to the original gods.\n\nProminent Sri Lankan anthropologists Gananath Obeyesekere and Kitsiri Malalgoda used the term \"Protestant Buddhism\" to describe a type of Buddhism that appeared among the Sinhalese in Sri Lanka as a response to Protestant Christian missionaries and their evangelical activities during the British colonial period. This kind of Buddhism involved emulating the Protestant strategies of organising religious practices. They saw the need to establish Buddhist schools for educating Buddhist youth and organising Buddhists with new organisations such as the Young Men's Buddhist Association, as well as printing pamphlets to encourage people to participate in debates and religious controversies to defend Buddhism.\n\nChristianity\nThere is a significant Sinhalese Christian community, in the maritime provinces of Sri Lanka. Christianity was brought to the Sinhalese by Portuguese, Dutch, and British missionary groups during their respective periods of rule. Most Sinhalese Christians are Roman Catholic; a minority are Protestant. Their cultural centre is Negombo.\n\nReligion is considered very important among the Sinhalese. According to a 2008 Gallup poll, 99% of Sri Lankans considered religion an important aspect of their daily lives.\n\nGenetics\n\nModern studies point towards a predominantly Bengali contribution and a minor Tamil influence. Gujarati and Punjabi lineages are also visible. In relation to the former, other studies also show the Sinhalese possess some genetic admixture from Southeast Asian populations, especially from Austroasiatic groups. Certain Y-DNA and mtDNA haplogroups and genetic markers of immunoglobulin among the Sinhalese, for example, show Southeast Asian genetic influences many of which are also found among certain Northeast Indian populations to whom the Sinhalese are genetically related.\n\nCulture\n\nSinhalese culture is a unique one dating as far back as 2600 years and has been nourished by Theravada Buddhism. Its main domains are sculpture, fine arts, literature, dancing, poetry and a wide variety of folk beliefs and rituals traditionally. Ancient Sinhala stone sculpture and inscriptions are known worldwide and is a main foreign attraction in modern tourism. Sigirirya is famous for its frescoes. Folk poems were sung by workers to accompany their work and narrate the story of their lives. Ideally these poems consisted of four lines and, in the composition of these poems, special attention had been paid to the rhyming patterns. Buddhist festivals are dotted by unique music using traditionally Sinhalese instruments. More ancient rituals like (devil exorcism) continue to enthrall audiences today and often praised and invoked the good powers of the Buddha and the gods in order to exorcise the demons.\n\nFolklore and national mythology\nAccording to the Mahavamsa, the Sinhalese are descended from the exiled Prince Vijaya and his party of seven hundred followers who arrived on the island in 543 BCE. Vijaya and his followers were said to have arrived in Sri Lanka after being exiled from the city of Sinhapura in Bengal. The modern Sinhalese people were found genetically to be most closely related to the people of North-East India (Bengal). It is thought throughout Sri Lanka's history, since the founding of the Sinhalese in the 5th century BC that an influx of Indians from North India came to the island. This is further supported from Sinhala being part of the Indo-Aryan language group.\n\nTraditionally during recreation the Sinhalese wear a sarong (sarama in Sinhala). Men may wear a long-sleeved shirt with a sarong. Clothing varies by region for women. Low country Sinhalese women wear a white Long sleeved jacket, and a tight wrap around skirt, which usually is embedded with a floral or pattern design. As for the up country Sinhalese, women wear a similar outfit, but with a puffed up shoulder jacket, and a tucked in frill that lines the top of the skirt (Reda and Hatte in Sinhala). Traditionally, high caste Kandyan women wear a Kandyan style sari, which is similar to the Maharashtrian sari, with the drape but with a frill lining the bottom half and sometimes puffed up sleeves. It’s also called an Osariya. The low country high caste women wear a South Indian style saree. Within the more populated areas, Sinhalese men also wear Western-style clothing — wearing suits while the women wear skirts and blouses. For formal and ceremonial occasions women wear the traditional Kandyan (Osariya) style, which consists of a full blouse which covers the midriff completely, and is partially tucked in at the front. However, modern intermingling of styles has led to most wearers baring the midriff. The Kandyan style is considered as the national dress of Sinhalese women. In many occasions and functions, even the saree plays an important role in women's clothing and has become the de facto clothing for female office workers especially in government sector. An example of its use is the uniform of air hostesses of Sri Lankan Airlines.\n\nCuisine\n\nSinhalese cuisine is one of the most complex cuisines of South Asia. As a major trade hub, it draws influence from colonial powers that were involved in Sri Lanka and by foreign traders. Rice, which is consumed daily, can be found at any occasion, while spicy curries are favourite dishes for lunch and dinner. Some of the Sri Lankan dishes have striking resemblance to Kerala cuisine, which could be due to the similar geographic and agricultural features with Kerala. A well-known rice dish with Sinhalese is Kiribath, meaning ‘milk rice’. In addition to , Sinhalese eat , chopped leaves mixed with grated coconut and red onions. Coconut milk is found in most Sri Lankan dishes to give the cuisine its unique flavour.\n\nSri Lanka has long been renowned for its spices. The best known is cinnamon which is native to Sri Lanka. In the 15th and 16th centuries, spice and ivory traders from all over the world who came to Sri Lanka brought their native cuisines to the island, resulting in a rich diversity of cooking styles and techniques. Lamprais, rice boiled in stock with a special curry, accompanied by frikkadels (meatballs), all of which is then wrapped in a banana leaf and baked as a Dutch-influenced Sri Lankan dish. Dutch and Portuguese sweets also continue to be popular. British influences include roast beef and roast chicken. Also, the influence of the Indian cooking methods and food have played a major role in what Sri Lankans eat.\n\nThe island nation's cuisine mainly consists of boiled or steamed rice served with curry. This usually consists of a main curry of fish or chicken, as well as several other curries made with vegetables, lentils and even fruit curries. Side-dishes include pickles, chutneys and . The most famous of these is the coconut sambol, made of ground coconut mixed with chili peppers, dried Maldive fish and lime juice. This is ground to a paste and eaten with rice, as it gives zest to the meal and is believed to increase appetite.\n\nArt and architecture\n\nMany forms of Sri Lankan arts and crafts take inspiration from the island's long and lasting Buddhist culture which in turn has absorbed and adopted countless regional and local traditions. In most instances Sri Lankan art originates from religious beliefs, and is represented in many forms such as painting, sculpture, and architecture. One of the most notable aspects of Sri Lankan art are caves and temple paintings, such as the frescoes found at Sigiriya, and religious paintings found in temples in Dambulla and Temple of the Tooth Relic in Kandy. Other popular forms of art have been influenced by both natives as well as outside settlers. For example, traditional wooden handicrafts and clay pottery are found around the hill country while Portuguese-inspired lacework and Indonesian-inspired Batik have become notable. It has many different and beautiful drawings.\n\nDeveloped upon Indo-Aryan architectural skills in the late 6th century BCE Sinhalese people who lived upon greater kingdoms such as Anuradhapura and Polonnaruwa have built so many architectural examples such as Ruwanwelisaya, Jetavanaramaya - second tallest brick building in the ancient world after Great Pyramid of Giza, and Abayagiriya - third tallest brick building in the ancient world. And also with the ancient hydraulic technology which is also unique to Sinhalese people to build ancient tanks, systematic ponds with fountains moats and Irrigational reservoirs such as Parakrama Samudra, Kaudulla and Kandalama. Sigiriya which is considered by many as the 8th wonder of the world, it is a combination of natural and man made fortress, which consists so many architectural aspects.\n\nMusic\n\nThere are extensive folk poems relating to specific jobs of the ancient society. These poems were communal songs which had a rhythm that were sung when performing day-to-day tasks like harvesting and sowing.\n\nConcerning popular music, Ananda Samarakoon developed the reflective and poignant Sarala gee style with his work in the late 1930s/early 1940s. He has been followed by artists of repute such as Sunil Shantha, W. D. Amaradeva, Premasiri Khemadasa, Nanda Malini, Victor Ratnayake, Austin Munasinghe, T. M. Jayaratne, Sanath Nandasiri, Sunil Edirisinghe, Neela Wickremasinghe, Gunadasa Kapuge, Malini Bulathsinghala and Edward Jayakody.\n\nFilm and theatre\n\nDramatist Ediriweera Sarachchandra revitalised the drama form with Maname in 1956. The same year, film director Lester James Peries created the artistic masterwork Rekava which sought to create a uniquely Sinhalese cinema with artistic integrity. Since then, Peries and other directors like Vasantha Obeysekera, Dharmasena Pathiraja, Mahagama Sekera, W. A. B. de Silva, Dharmasiri Bandaranayake, Sunil Ariyaratne, Siri Gunasinghe, G. D. L. Perera, Piyasiri Gunaratne, Titus Thotawatte, D. B. Nihalsinghe, Ranjith Lal, Dayananda Gunawardena, Mudalinayake Somaratne, Asoka Handagama, and Prasanna Vithanage have developed an artistic Sinhalese cinema. Sinhala cinema is often made colourful with the incorporation of songs and dance adding more uniqueness to the industry.\n\nIn the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success.\n\nPerforming arts\n\nPerforming arts of the Sinhalese people can be categorised into few groups:\n\nKandyan dance consist of 18 Wannam (dance routines) featuring behaviours of various animals such as elephant, eagle, cobra, monkey, peacock and rabbit, mainly performing in the annual Perahara pageant in Sri Dalada Maligawa Kandy.\nPahatharata dance have a significant dancing style which is used to cure illnesses and spiritual clarification. The main feature of these dances is dancers wear masks representing various gods and demons, and use elements such as fire and water to bless people.\nSabaragamuwa dances have also a significant dancing style, mainly to entertain people.\nFolk music and dances differ according to the casts of Sinhalese people and also some times regionally—mainly popular among small children, especially girls. These arts are widely performed during the Sinhalese New Year period.\n\nMartial arts\n\nAngampora is the traditional martial art of the Sinhalese people. It combines combat techniques, self-defence, sport, exercise and meditation. Key techniques observed in Angampora are: Angam, which incorporates hand-to-hand fighting, and Illangam, which uses indigenous weapons such as Velayudaya, staves, knives and swords. Its most distinct feature is the use of pressure point attacks to inflict pain or permanently paralyse the opponent. Fighters usually make use of both striking and grappling techniques, and fight until the opponent is caught in a submission lock that they cannot escape. Usage of weapons is discretionary. Perimeters of fighting are defined in advance, and in some of the cases is a pit. Angampora became nearly extinct after the country came under British rule in 1815, but survived in a few families until the country regained independence.\n\nScience and education\n\nThe Sinhalese have a long history of literacy and formal learning. Instruction in basic fields like writing and reading by Buddhist Monks pre-date the birth of Christ. This traditional system followed religious rule and was meant to foster Buddhist understanding. Training of officials in such skills as keeping track of revenue and other records for administrative purposes occurred under this institution.\n\nTechnical education such as the building of reservoirs and canals was passed down from generation to generation through home training and outside craft apprenticeships.\n\nThe arrival of the Portuguese and Dutch and the subsequent colonisation maintained religion as the centre of education though in certain communities under Catholic and Presbyterian hierarchy. The British in the 1800s initially followed the same course. Following 1870 however they began a campaign for better education facilities in the region. Christian missionary groups were at the forefront of this development contributing to a high literacy among Christians.\n\nBy 1901 schools in the South and the North were well tended. The inner regions lagged behind however. Also, English education facilities presented hurdles for the general populace through fees and lack of access.\n\nMedicine\nTraditional Sinhalese villages in early days had at least one chief Medical personnel called Weda Mahaththaya (Doctor). These people practice their clinical activities by inheritance. Sinhalese Medicine resembles some of Ayurvedic practices in contrast for some treatments they use Buddhist Chantings (Pirith) in order to strengthen the effectiveness.\n\nAccording to the Mahavamsa, the ancient chronicle, Pandukabhaya of Sri Lanka (437 BC – 367 BC) had lying-in-homes and Ayurvedic hospitals (Sivikasotthi-Sala) built in various parts of the country. This is the earliest documentary evidence we have of institutions specifically dedicated to the care of the sick anywhere in the world. Mihintale Hospital is the oldest in the world.\n\nSee also\n List of Sinhalese people\n Sinhalese Buddhist nationalism\n\nReferences\n\nCitations\n\nSources \n\n De Silva, K. M. History of Sri Lanka (Univ. of Calif. Press, 1981)\n Gunasekera, Tamara. Hierarchy and Egalitarianism: Caste, Class, and Power in Sinhalese Peasant Society (Athlone, 1994).\n Roberts, Michael. Sri Lanka: Collective Identities Revisited (Colombo-Marga Institute, 1997).\n Wickremeratne, Ananda. Buddhism and Ethnicity in Sri Lanka: A Historical Analysis (New Delhi-Vikas Publishing House, 1995).\n\nExternal links \n\n CIA Factbook-Sri Lanka\n Department of Census and Statistics-Sri Lanka\n Ethnologue-Sinhala, a language of Sri Lanka\n CIA Factbook-Sri Lanka\n Sinhalese\n Who are the Sinhalese\n\n \nBuddhist communities of Sri Lanka\nEthnic groups in Sri Lanka\nEthnic groups in the Indian Ocean\nIndo-Aryan peoples\nSinhalese diaspora\nSinhalese culture"},"extractive":{"kind":"string","value":"true"},"retrieved_contexts":{"kind":"list like","value":["A region-by-region list of fairy and folk tales collected and retold by Ruth Manning-Sanders (1886–1988). Regions (or cultural groups) are as listed by Manning-Sanders in either the table of contents, the forewords or the introductions of her various fairy tale anthologies. This list contains most of the fairy-tale titles that have links from Manning-Sanders' biography page. Exceptions are Stories from the English and Scottish Ballads and A Book of Magical Beasts, an anthology of others' works that she edited.\n\nAfrica\nThe Kindly Ghost, A Book of Ghosts and Goblins\nMainu the Frog, A Book of Magic Animals\nNiassa and the Ogre, A Book of Princes and Princesses\nThe Pick Handle, A Book of Enchantments and Curses\nThe Seven Monsters, A Book of Monsters\nThe spirits in the rat-hole, The Haunted Castle\nTerry Gong-Gong, Fox Tales\nThe Two Wizards, A Book of Wizards and A Choice of Magic\nWalker by Moonlight, The Three Witch Maidens\nWhat Came of Quarreling, A Book of Magic Horses\nWhat did you do? Fox Tales\n\nAlaska\nThe Caribou Wife, Folk and Fairy Tales\n\nAlsace\nThe Kittle-Kittle Car, A Book of Devils and Demons\n\nAmerican Indian\nAdventures of Coyote, Red Indian Folk and Fairy Tales\nAdventures of Rabbit, Red Indian Folk and Fairy Tales\nBeautiful Girl, Red Indian Folk and Fairy Tales\nBeaver and Porcupine, Red Indian Folk and Fairy Tales\nThe Fat Grandmother, Red Indian Folk and Fairy Tales\nThe Forbidden Valley, The Haunted Castle\nGood Man and Bad Man, Red Indian Folk and Fairy Tales\nGrasshopper and Fox, Tortoise Tales\nHare Running, Tortoise Tales\nThe Magic Pebble, Red Indian Folk and Fairy Tales\nMicabo's Island, Red Indian Folk and Fairy Tales\nNapi and Nip, Red Indian Folk and Fairy Tales\nThe Ogre, the Sun, and the Raven, A Book of Charms and Changelings\nOtter Heart and the Magic Kettle, Red Indian Folk and Fairy Tales\nProud Girl and Bold Eagle, Red Indian Folk and Fairy Tales\nRabbit and the Wolves, Tortoise Tales\nRaven and the Wicked One, Red Indian Folk and Fairy Tales\nRaven Boy and Little Hawk, Red Indian Folk and Fairy Tales\nSmoke Bones, Folk and Fairy Tales\nSnake Ogre, Red Indian Folk and Fairy Tales\nStar Maiden, Red Indian Folk and Fairy Tales\nSun Arrow, Red Indian Folk and Fairy Tales\nTortoise and the Children, Tortoise Tales\nTortoise and Ogre, Tortoise Tales\nUgly Thing, Red Indian Folk and Fairy Tales\nYoung Mouse, Red Indian Folk and Fairy Tales\nZini and the Witches, Red Indian Folk and Fairy Tales\n\nArabia\nAladdin, A Book of Wizards and A Choice of Magic\nThe Four Abdallahs, A Book of Mermaids\nHassan the Ropemaker, Sir Green Hat and the Wizard\nLittle Mukra, A Book of Dwarfs\n\nArchangel\nThe Leeshy Cat, A Book of Cats and Creatures\nThe Princess's Slippers, A Book of Princes and Princesses and A Choice of Magic\n\nAustralia\nThe Bunyip, Old Witch Boneyleg\nCrow and the Pelicans, The Haunted Castle\nGoralasi and the Spectres, A Book of Spooks and Spectres\n\nAustria\nOda and the Snake, A Book of Sorcerers and Spells\nThe Tailor and the Hunter, Sir Green Hat and the Wizard\n\nBavaria\nPlain Peter, Sir Green Hat and the Wizard\n\nBohemia\nDunber, A Book of Monsters\nThe Giants in the Valley, The Three Witch Maidens\nJohnny and the Witch-Maidens, A Book of Witches and A Choice of Magic\nLong, Broad and Sharpsight, A Book of Wizards and Folk and Fairy Tales\nThe Princess in the Iron Tower, A Book of Magic Horses\nRubizal and the Miller's Daughter, A Book of Spooks and Spectres\nRubizal's Black Horse, A Book of Magic Horses\nThe Spook and the Pigs, A Book of Spooks and Spectres\n\nBosnia\nThe Magic Bridle, A Book of Charms and Changelings\nWhat Happened to Ivan, A Book of Kings and Queens\n\nBrittany\nThe Groach of the Isle of Lok, A Book of Mermaids\nLittle Barbette, A Book of Magic Animals\nThe Magic Belt, A Book of Princes and Princesses\nMargrette, A Book of Mermaids\nThe North-west Wind, A Book of Magic Animals\nPippi Menou and the Hanging Palace, Sir Green Hat and the Wizard\nThe White Cat and the Green Snake, A Book of Princes and Princesses\nThe White Lamb, A Book of Charms and Changelings\n\nBukovina\nThe Hazel-Nut Child, A Book of Dwarfs\n\nCarpathian Mountains\nThe Little Red Mannikin, A Book of Devils and Demons\n\nCaucasus\nThe little cake, Fox Tales\n\nChina\nBaskets in a Little Cart, A Book of Dragons\nChien Tang, A Book of Dragons\nChien-Nang, A Book of Charms and Changelings\nFootball on a Lake, A Book of Spooks and Spectres\nThe Yellow Dragon, A Book of Dragons\n\nCornwall\nBarker's Knee, Peter and the Piskies: Cornish Folk and Fairy Tales\nBetty Stogs' Baby, Peter and the Piskies: Cornish Folk and Fairy Tales\nThe Boy and the Bull, Peter and the Piskies: Cornish Folk and Fairy Tales\nBucca Dhu and Bucca Gwidden, Peter and the Piskies: Cornish Folk and Fairy Tales\nCherry, Peter and the Piskies: Cornish Folk and Fairy Tales\nThe Cock-Crow Stone, Peter and the Piskies: Cornish Folk and Fairy Tales\nThe Crowza Stones, Peter and the Piskies: Cornish Folk and Fairy Tales\nThe Demon Mason, Peter and the Piskies: Cornish Folk and Fairy Tales\nDuffy and the Devil, Peter and the Piskies: Cornish Folk and Fairy Tales\nFairies on the Gump, Peter and the Piskies: Cornish Folk and Fairy Tales\nFrom the Head Downward, Peter and the Piskies: Cornish Folk and Fairy Tales\nThe Giant Holiburn, Peter and the Piskies: Cornish Folk and Fairy Tales\nThe Giant of the Mount, Peter and the Piskies: Cornish Folk and Fairy Tales\nHow Jack Made His Fortune, A Book of Magic Horses\nJack the Giant-Killer, A Book of Giants\nThe Knockers of Ballowal, Peter and the Piskies: Cornish Folk and Fairy Tales\nLutey and the Mermaid, Peter and the Piskies: Cornish Folk and Fairy Tales\nLyonesse, Peter and the Piskies: Cornish Folk and Fairy Tales\nMadgy Figgey and the Sow, Peter and the Piskies: Cornish Folk and Fairy Tales\nMaster Billy, A Book of Magic Horses\nThe Mermaid in Church, Peter and the Piskies: Cornish Folk and Fairy Tales\nMr Noy, Peter and the Piskies: Cornish Folk and Fairy Tales\nParson Wood and the Devil, Peter and the Piskies: Cornish Folk and Fairy Tales\nPeepan Pee, Peter and the Piskies: Cornish Folk and Fairy Tales\nPeter and the Piskies, Peter and the Piskies: Cornish Folk and Fairy Tales\nThe Piskie Thresher, Peter and the Piskies: Cornish Folk and Fairy Tales\nSaint Margery Daw, Peter and the Piskies: Cornish Folk and Fairy Tales\nSaint Neot, Peter and the Piskies: Cornish Folk and Fairy Tales\nSkillywidden, Peter and the Piskies: Cornish Folk and Fairy Tales\nThe Small People's Cow, Peter and the Piskies: Cornish Folk and Fairy Tales\nSneezy Snatcher and Sammy Small, A Book of Giants\nThe Spriggans' Treasure, Peter and the Piskies: Cornish Folk and Fairy Tales\nThe Tinner, the Dog, the Jew, and the Cake, Peter and the Piskies: Cornish Folk and Fairy Tales\nTom and Giant Blunderbus, Peter and the Piskies: Cornish Folk and Fairy Tales\nTredrill, A Book of Charms and Changelings\nTregeagle, Peter and the Piskies: Cornish Folk and Fairy Tales\nThe Two Sillies, Peter and the Piskies: Cornish Folk and Fairy Tales\nThe Wish-hound, Peter and the Piskies: Cornish Folk and Fairy Tales\nThe Witch of Fraddam, Peter and the Piskies: Cornish Folk and Fairy Tales\n\nCorsica\nGolden Hair, A Book of Ghosts and Goblins and A Choice of Magic\n\nCreole\nHyena and Hare, Tortoise Tales\n\nCzechoslovakia\nKing Josef, A Book of Kings and Queens and Folk and Fairy Tales\nLittle pot, cook!, The Haunted Castle\nThe Tailor, the Devil, and the Frogs, The Three Witch Maidens\nThe Water Nick, A Book of Cats and Creatures\n\nDenmark\nEsben and the Witch, A Book of Witches and A Choice of Magic\nFranz the Garden Boy, A Book of Magic Horses\nHeaven Forbid!, A Book of Spooks and Spectres\nLittle Wonder, A Book of Cats and Creatures\nMons Tro, A Choice of Magic\nNils in the Forest, A Book of Ogres and Trolls\nRake Up!, A Book of Mermaids and A Choice of Magic\nA Ride to Hell, A Book of Devils and Demons\nSir Green Hat and the Wizard, Sir Green Hat and the Wizard\nThe Spook and the Beer Barrel, A Book of Spooks and Spectres\nThe Story of Maia, A Book of Dwarfs\nSven and Lilli, A Book of Mermaids and A Choice of Magic\nTossen the Fool, Old Witch Boneyleg\nTripple-Trapple, A Book of Devils and Demons\nThe Troll's Little Daughter, A Book of Ogres and Trolls\nThe White Dove, A Book of Witches\n\nEast Africa\nFox and Weasel, Fox Tales\nTortoise and Elephant, Tortoise Tales\n\nEgypt\nFox and Crow, Fox Tales\n\nEngland\nThe Cauld Lad of Hilton, Old Witch Boneyleg\nThe Golden Ball, A Book of Ghosts and Goblins\nJack and the Beanstalk, A Book of Giants and A Choice of Magic\nLittle Jip, A Book of Ghosts and Goblins\nOld Tommy and the Spectre, A Book of Spooks and Spectres\nThe Old Witch, A Book of Witches and Folk and Fairy Tales\nThe Small-tooth Dog, A Book of Magic Animals\nSneezy Snatcher and Sammy Small, A Choice of Magic\n\nEstonia\nThe Cook and the House Goblin, A Book of Ghosts and Goblins\nFox the gooseherd, Fox Tales\nThe Goblins at the Bath House, A Book of Ghosts and Goblins and A Choice of Magic\nThe Hat, A Book of Charms and Changelings\nThe Haunted Castle, The Haunted Castle\nThe Lake, A Book of Spooks and Spectres\nWater Drops, A Book of Ghosts and Goblins\n\nEthiopia\nHare's Ears, Tortoise Tales\n\nFinland\nThe fish cart, Fox Tales\nThe Flute Player, A Book of Charms and Changelings\nRabbit and Our Old Woman, Tortoise Tales\nSomething Wonderful, A Book of Devils and Demons and Folk and Fairy Tales\nThe well, Fox Tales\n\nFlanders\nRich Woman, Poor Woman, A Book of Wizards\n\nFrance\nThe Antmolly Birds, Jonnikin and the Flying Basket: French Folk and Fairy Tales\nThe Beauty and Her Gallant, A Book of Ghosts and Goblins\nThe Broken Pitcher, Old Witch Boneyleg\nThe Dapple Horse, A Book of Magic Horses\nThe Gold Dragoon, Jonnikin and the Flying Basket: French Folk and Fairy Tales\nThe Handsome Apprentice, Jonnikin and the Flying Basket: French Folk and Fairy Tales\nJonnikin and the Flying Basket, Jonnikin and the Flying Basket: French Folk and Fairy Tales\nThe King of the Crows, Jonnikin and the Flying Basket: French Folk and Fairy Tales\nThe Leg of Gold, A Book of Ghosts and Goblins\nThe Little Milleress, Jonnikin and the Flying Basket: French Folk and Fairy Tales\nThe Magic Wand, Jonnikin and the Flying Basket: French Folk and Fairy Tales\nThe Night of Four Times, Jonnikin and the Flying Basket: French Folk and Fairy Tales\nThe Nine White Sheep, Jonnikin and the Flying Basket: French Folk and Fairy Tales\nPappa Greatnose, A Book of Ghosts and Goblins\nThe Prince of the Seven Golden Cows, Jonnikin and the Flying Basket: French Folk and Fairy Tales\nPrincess Felicity, A Book of Princes and Princesses\nThe Small Men and the Weaver, Jonnikin and the Flying Basket: French Folk and Fairy Tales\nThe Snake Monster, Jonnikin and the Flying Basket: French Folk and Fairy Tales\nThe Son of the King of Spain, Jonnikin and the Flying Basket: French Folk and Fairy Tales\nThe Sword of the Stone, Jonnikin and the Flying Basket: French Folk and Fairy Tales\nTam and Tessa, Jonnikin and the Flying Basket: French Folk and Fairy Tales\nThe Thirteen Flies, Jonnikin and the Flying Basket: French Folk and Fairy Tales\nThe Young Shepherd, Jonnikin and the Flying Basket: French Folk and Fairy Tales\n\nFrench Canada\nJon and his Brothers, A Book of Magic Animals and Folk and Fairy Tales\n\nGascony\nThe Blacksmith and the Devil, A Book of Devils and Demons\n\nGeorgia\nThe Giant and the Dwarf, A Book of Giants\n\nGermany\nThe Brave Little Tailor, A Book of Giants\nThe Cobbler and the Dwarfs, A Book of Dwarfs\nThe Comb, the Flute and the Spinning Wheel, A Book of Mermaids\nThe Curse of the Very Small Man, A Book of Enchantments and Curses\nThe Dancing Pigs, Old Witch Boneyleg\nThe Donkey Lettuce, A Book of Witches\nThe Dragon and His Grandmother, A Book of Dragons\nElsa and the Bear, A Book of Magic Animals\nFir Cones, A Book of Dwarfs\nThe Girl Who Picked Strawberries, A Book of Dwarfs and A Choice of Magic\nThe Gold Stag, Old Witch Boneyleg\nThe Golden Kingdom, The Haunted Castle\nHa! ha! ha!, A Book of Spooks and Spectres\nHansel and Gretel, A Book of Witches\nThe Imp Cat, A Book of Cats and Creatures\nThe Inn of the Stone and Spectre, A Book of Spooks and Spectres\nKatchen the Cat, A Book of Cats and Creatures\nLazy Hans, A Book of Witches\nThe Little Tailor and the Three Dogs, A Book of Ogres and Trolls and Folk and Fairy Tales\nMannikin Spanalong, A Book of Sorcerers and Spells\nPeter, A Book of Enchantments and Curses\nThe queen in the garden, The Haunted Castle\nRapunzel, A Book of Witches\nSnow White and the Seven Dwarfs, A Book of Dwarfs\nTangletop, A Book of Spooks and Spectres\nThe Three Dogs, A Book of Dragons\nThe Three Golden Hairs of the King of the Cave Giants, A Book of Giants\nThe Three Little Men in the Wood, A Book of Dwarfs\nThumbkin, A Book of Dwarfs\nThe very little man, Fox Tales\n\nGreece\nAlas!, Damian and the Dragon: Modern Greek Folk-Tales\nThe Bay-Tree Maiden, Damian and the Dragon: Modern Greek Folk-Tales\nThe Beardless One, Damian and the Dragon: Modern Greek Folk-Tales\nBig Matsiko, Damian and the Dragon: Modern Greek Folk-Tales\nThe Cats, Damian and the Dragon: Modern Greek Folk-Tales\nConstantes and the Dragon, A Book of Dragons and A Choice of Magic\nThe Cunning Old Man and the Three Rogues, Damian and the Dragon: Modern Greek Folk-Tales\nDamian and the Dragon, Damian and the Dragon: Modern Greek Folk-Tales\nThe Dragon of the Well, A Book of Dragons\nThe Four Fishes, Damian and the Dragon: Modern Greek Folk-Tales\nThe Golden Casket, Damian and the Dragon: Modern Greek Folk-Tales\nThe King's Beard, Old Witch Boneyleg\nThe Lion, the Tiger and the Eagle, Damian and the Dragon: Modern Greek Folk-Tales\nLuck, Damian and the Dragon: Modern Greek Folk-Tales\nThe Melodious Napkin, Damian and the Dragon: Modern Greek Folk-Tales\nMy Candlestick, Damian and the Dragon: Modern Greek Folk-Tales\nMy Lady Sea, Damian and the Dragon: Modern Greek Folk-Tales\nThe Nine Doves, A Book of Dragons and A Choice of Magic\nPenteclemas and the Pea, Damian and the Dragon: Modern Greek Folk-Tales\nPepito, A Book of Dragons\nThe Prince and the Vizier's Son, Damian and the Dragon: Modern Greek Folk-Tales\nThe Sleeping Prince, Damian and the Dragon: Modern Greek Folk-Tales\nThe Sneezing Ring, The Three Witch Maidens\nThe Three Precepts, Damian and the Dragon: Modern Greek Folk-Tales\nThe Twins, Damian and the Dragon: Modern Greek Folk-Tales\nThe Wild Man, Damian and the Dragon: Modern Greek Folk-Tales\nYiankos, Damian and the Dragon: Modern Greek Folk-Tales\n\nGreek Isles\nSelim and the Snake Queen, A Book of Kings and Queens and Folk and Fairy Tales\n\nGypsy\nBald Pate, The Red King and the Witch: Gypsy Folk and Fairy Tales\nThe Black Dog of the Wild Forest, The Red King and the Witch: Gypsy Folk and Fairy Tales\nBrian and the Fox, The Red King and the Witch: Gypsy Folk and Fairy Tales\nThe Brigands and the Miller's Daughter, The Red King and the Witch: Gypsy Folk and Fairy Tales\nThe Deluded Dragon, The Red King and the Witch: Gypsy Folk and Fairy Tales\nThe Dog and the Maiden, The Red King and the Witch: Gypsy Folk and Fairy Tales\nThe Dragon and the Stepmother, The Red King and the Witch: Gypsy Folk and Fairy Tales\nFedor and the Fairy, A Book of Charms and Changelings\nThe Foam Maiden, A Book of Sorcerers and Spells\nHappy Boz'll, The Red King and the Witch: Gypsy Folk and Fairy Tales\nThe Hen That Laid Diamond Eggs, The Red King and the Witch: Gypsy Folk and Fairy Tales\nIt All Comes To Light, The Red King and the Witch: Gypsy Folk and Fairy Tales\nJack and His Golden Snuff-Box, The Red King and the Witch: Gypsy Folk and Fairy Tales\nJankyn and the Witch, The Red King and the Witch: Gypsy Folk and Fairy Tales\nThe Little Bull-Calf, The Red King and the Witch: Gypsy Folk and Fairy Tales\nThe Little Fox, The Red King and the Witch: Gypsy Folk and Fairy Tales\nThe Little Nobleman, The Red King and the Witch: Gypsy Folk and Fairy Tales\nAn Old King and His Three Sons of England, The Red King and the Witch: Gypsy Folk and Fairy Tales\nThe Old Soldier and the Mischief, The Red King and the Witch: Gypsy Folk and Fairy Tales\nThe Red King and the Witch, The Red King and the Witch: Gypsy Folk and Fairy Tales\nThe Riddle, The Red King and the Witch: Gypsy Folk and Fairy Tales\nThe Snake, The Red King and the Witch: Gypsy Folk and Fairy Tales\nSylvester, The Red King and the Witch: Gypsy Folk and Fairy Tales\nThe Tale of a Foolish Brother and of a Wonderful Bush, The Red King and the Witch: Gypsy Folk and Fairy Tales\nThe Three Princesses and the Unclean Spirit, The Red King and the Witch: Gypsy Folk and Fairy Tales\nThe Tinker and His Wife, The Red King and the Witch: Gypsy Folk and Fairy Tales\nTropsyn, The Red King and the Witch: Gypsy Folk and Fairy Tales\n\nHanover\nThe Porridge Pot, Sir Green Hat and the Wizard\n\nHartz Mountains\nThe Eighteen Soldiers, The Three Witch Maidens\n\nHolland\nThe Sailor and the Devil, Folk and Fairy Tales\n\nHungary\nThe Adventures of Pengo, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\nThe Cock and the Hen, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\nDummling, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\nThe Enchanted Prince, A Book of Princes and Princesses and A Choice of Magic\nThe Fairy Helena, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\nThe Fiddle, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\nGiant Babolna, Old Witch Boneyleg\nGisella and the Goat, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\nThe Glass Man and the Golden Bird, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\nA Handful of Hay, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\nHans and His Master, A Book of Ghosts and Goblins and A Choice of Magic\nIn the wolf pit, Fox Tales\nIronhead, A Book of Devils and Demons\nJack at Hell Gate, A Book of Devils and Demons\nKate Contrary, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\nLittle Firenko, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\nThe Lost Children, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\nMelitsa the Beautiful, The Haunted Castle\nThe Nine Peahens and the Golden Apples, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\nThe Nine Ravens, The Three Witch Maidens\nThe Peppercorn Oxen, A Book of Devils and Demons\nPrince Mirko, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\nThe Ram with the Golden Fleece, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\nThe Secret-Keeping Boy, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\nThe Seven Simons, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\nThe Silver Penny, A Book of Wizards and Folk and Fairy Tales\nThe Spotted Cow, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\nThe Three Lemons, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\nUletka, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\nThe Witch and the Swan Maiden, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\nThe Wonderful Tree, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\n\nIceland\nCow Bu-cola, A Book of Ogres and Trolls\nDilly-dilly-doh!, A Book of Spooks and Spectres\nThe Farmer and the Water Fairies, Old Witch Boneyleg\nThe Gold Knob, A Book of Ogres and Trolls\nThe Headless Horseman, A Book of Ghosts and Goblins\nJon and the Troll Wife, A Book of Ogres and Trolls\nThe Lost Prince, A Book of Mermaids and Folk and Fairy Tales\nSigurd the King's Son, A Book of Ogres and Trolls\n\nIndia\nFox and Crocodile, Fox Tales\nA Game of Cards with the King of Demons, The Three Witch Maidens\nThe good old man, the thief, and the ghost, The Haunted Castle\nThe Kingdom of Ocean, A Book of Mermaids\nLittle Hiram, A Choice of Magic\nLucky or unlucky? Fox Tales\nThe Monkey Nursemaid, A Book of Devils and Demons\n\nIreland\nThe Adventures of Billy MacDaniel, A Choice of Magic\nThe Blackstairs Mountain, A Book of Witches\nBottle Hill, A Book of Dwarfs and A Choice of Magic\nConall Yellowclaw, A Book of Giants\nThe Field of Ragwort, A Book of Dwarfs\nFin M'Coul and Cucullin, A Book of Giants and Folk and Fairy Tales\nThe Good Woman, A Book of Ghosts and Goblins\nThe Great Bear of Orange, A Book of Sorcerers and Spells\nThe Magic Lake, A Book of Mermaids and A Choice of Magic\nThe Magical Tune, A Book of Mermaids\nThe Palace of the Seven Little Hills, A Book of Sorcerers and Spells\nThe Sleeper, A Book of Sorcerers and Spells\nThe Strange Adventure of Paddy O'Toole, A Book of Ghosts and Goblins\nThe Teapot Spout, A Book of Kings and Queens\nThe Thirteenth Son of the King of Erin, A Book of Dragons\nTritil, Litil, and the Birds, A Book of Ogres and Trolls\n\nItaly\nThe Black Spectre, A Book of Spooks and Spectres (in South Tyrol)\nCannetella, A Book of Wizards\nThe Girl in the Basket, A Book of Ogres and Trolls and Folk and Fairy Tales\nThe Magic Monkeys, A Book of Sorcerers and Spells\nPrunella, A Book of Witches\nThe She-Bear, A Book of Princes and Princesses\nThe Three Mermaids, A Book of Mermaids and A Choice of Magic\nThe Three Silver Balls, A Book of Ghosts and Goblins\n\nJamaica\nBeedul-a-bup!, A Book of Magic Horses\nGar-room!, Tortoise Tales\nSarah Winyan, A Book of Enchantments and Curses\n\nJapan\nThe Little Jizo, Sir Green Hat and the Wizard\nMy Lord Bag of Rice, A Book of Dragons and Folk and Fairy Tales\nTimimoto, A Book of Dwarfs\n\nJutland\nHans, the Horn, and the Magic Sword, A Book of Giants\nThe Skipper and the Dwarfs, A Book of Dwarfs and Folk and Fairy Tales\n\nKashmir\nStupid Head, A Book of Princes and Princesses\n\nKorea\nThe Enchanted Wine Jug, A Book of Charms and Changelings\nStrange Visitors, A Book of Spooks and Spectres\nYi Chang and the Spectres, A Book of Spooks and Spectres\n\nLatvia\nMonster Grabber and the King's Daughter, A Book of Magic Horses\n\nMacedonia\nThe Monster in the Mill, A Book of Monsters and Folk and Fairy Tales\nPentalina, A Book of Monsters\nYanni, A Book of Dragons\n\nMadagascar\nThe Monster with Seven Heads, A Book of Kings and Queens and Folk and Fairy Tales\nOh Mr Crocodile, A Book of Cats and Creatures\n\nMajorca\nA Box on the Ear, A Book of Ghosts and Goblins\nThe Dolphin, A Book of Magic Animals\n\nMediterranean Sea\nA-tishoo!, Gianni and the Ogre\nBardiello, Gianni and the Ogre\nThe Bean Tree, Gianni and the Ogre\nCelery, Gianni and the Ogre\nThe Daughter of the Dwarf, Gianni and the Ogre\nThe Doll, Gianni and the Ogre\nThe Fiddler Going Home, Gianni and the Ogre\nGianni and the Ogre, Gianni and the Ogre\nGrillo, Gianni and the Ogre\nKabadaluk, Gianni and the Ogre\nKing Fox, Gianni and the Ogre\nLittle Finger, Gianni and the Ogre\nMother Sunday, Gianni and the Ogre\nOudelette, Gianni and the Ogre\nPeppino, Gianni and the Ogre\nThe Spider, Gianni and the Ogre\nThe Three Ravens, Gianni and the Ogre\nTrim Tram Turvey, Gianni and the Ogre\n\nMongolia\nThe Blue-grey Fleece, Sir Green Hat and the Wizard\n\nNetherlands\nMalegy's Palfrey, A Book of Magic Horses\n\nNew Zealand\nTawhaki, The Three Witch Maidens\n\nNorse and/or Norway\nFarmer Weathersky, A Book of Wizards\nFreddy and his Fiddle, A Book of Dwarfs\nThe Giant Who Had No Heart in His Body, A Book of Giants and Folk and Fairy Tales\nThe Hill Demon, A Book of Devils and Demons\nTatterhood, A Book of Witches and A Choice of Magic\n\nNorth Africa\nThe Mossy Rock, A Book of Sorcerers and Spells\n\nNova Scotia\nFox and Hare, Fox Tales\n\nPoland\nThe Adventures of Gregor, A Book of Magic Horses\nThe Cat Johann, A Book of Cats and Creatures\n\nPomerania\nThe Cow, The Three Witch Maidens\nDear Grey, The Haunted Castle\nFather Wren and King Tiger, A Book of Cats and Creatures\nThe Glassy Bridge, Sir Green Hat and the Wizard\nThe gold spinner, The Haunted Castle\nA Lying Story, A Book of Enchantments and Curses\nThe Two Enemy Kings, A Book of Kings and Queens\nThe Queen's Ring, A Book of Enchantments and Curses\n\nPortugal\nThe Geese and the Golden Chain, A Book of Mermaids\n\nRomania\nPrince Loaf, A Book of Giants and A Choice of Magic\nStan Bolovan, A Book of Dragons and A Choice of Magic\n\nRügen\nThe Silver Bell, A Book of Dwarfs\n\nRussia\nBull's Winter House, A Book of Magic Animals\nCatrinella, Come up Higher!, A Book of Enchantments and Curses\nThe Children on the Pillar, A Book of Ogres and Trolls\nThe Crane's Purse, Sir Green Hat and the Wizard\nEh! Eh! Tralala!, A Book of Magic Animals\nGo I Know Not Whither and Fetch I Know Not What, A Book of Sorcerers and Spells\nThe Goat in the Sky, A Book of Cats and Creatures\nThe Good Ogre, A Book of Ogres and Trolls\nThe Great Golloping Wolf, A Book of Monsters\nKing Eagle, A Book of Kings and Queens\nKojata, A Book of Wizards\nLittle Cat and Little Hen, Tortoise Tales\nThe Little Humpbacked Horse, A Book of Magic Animals\nLittle Sister Fox, Tortoise Tales\nMonster Copper Forehead, A Book of Monsters\nNanny Goat with Nuts, Tortoise Tales\nNatasha Most Lovely, Old Witch Boneyleg\nOld Man Zackery and the Cranes, A Book of Cats and Creatures\nOld Verlooka, A Choice of Magic\nOld Witch Boneyleg, Old Witch Boneyleg\nPancakes and Pies, A Book of Charms and Changelings\nA Pool of Bright Water, A Book of Cats and Creatures\nThe Queen's Children, A Book of Kings and Queens\nThe Silver Dish, The Three Witch Maidens\nThe Spooks' Party, A Book of Spooks and Spectres\nThe Straw Horse, A Book of Magic Horses\nThe Three Ivans, A Book of Sorcerers and Spells\nTwo Minutes, Old Witch Boneyleg\nThe Twins and the Snarling Witch, A Book of Witches\nUmbrella, Fox Tales\nVanka, Sir Green Hat and the Wizard\nVasilissa Most Lovely, A Book of Enchantments and Curses and Folk and Fairy Tales\nVanooshka, A Book of Kings and Queens\nWhoa-ho!, A Book of Magic Horses\nWits But No Money, A Book of Magic Horses\nThe Wizard King, A Book of Princes and Princesses\nA Wonderful Bird, A Book of Cats and Creatures\nThe Wonderful Shirt, A Choice of Magic\n\nSavoy\nThe Dance of the Spectres, A Book of Spooks and Spectres\n\nSchleswig-Holstein\nThe New Horse, A Book of Magic Horses\nTummeldink, A Book of Spooks and Spectres\n\nScotland\nThe Black Bull of Norroway, Scottish Folk Tales\nConall Yellowclaw, A Book of Giants\nFlitting, Scottish Folk Tales\nThe Giant in the Cave, A Book of Giants\nGreen caps, Scottish Folk Tales\nIn a sack, Scottish Folk Tales\nThe Laird of Co, Scottish Folk Tales\nThe little wee man, Scottish Folk Tales\nThe Loch Ness Kelpie, Scottish Folk Tales\nMester Stoorworm, Scottish Folk Tales\nMerman Rosmer, A Book of Mermaids and Folk and Fairy Tales\nMy own self, Scottish Folk Tales\nThe seal-hunter and the mermen, Scottish Folk Tales\nThe seal-wife, Scottish Folk Tales\nSeven Inches, Scottish Folk Tales\nThe shadow, Scottish Folk Tales\nShort Hoggers, Scottish Folk Tales\nThe Strange Visitor, Scottish Folk Tales\nThe Tailor in the Church, A Book of Ghosts and Goblins\nThe Untidy Mermaid, A Book of Mermaids\nThe wee bit mousikie, Scottish Folk Tales\nThe Well at the World's End, Scottish Folk Tales\nWhirra whirra bump!, Scottish Folk Tales\n\nSerbia\nThe Prince and the Dragons, A Book of Princes and Princesses\n\nSiberia\nThe Bird Wife, A Book of Cats and Creatures\nThe Maiden Suvarna, A Book of Ghosts and Goblins\n\nSicily\nThe All-seeing Sun, Sir Green Hat and the Wizard\nAniello, A Book of Wizards and A Choice of Magic\nThe Beauty of the Golden Star, A Book of Magic Horses\nDough, A Book of Kings and Queens\nThe Goat in Bed, The Three Witch Maidens\nThe Golden Valley, A Book of Monsters\nThe Green Bird, A Book of Ogres and Trolls\nThe Ogre's Breath, A Book of Ogres and Trolls\nPeppi, A Book of Charms and Changelings\nRags and Tatters, A Book of Princes and Princesses\nUnfortunate, A Book of Enchantments and Curses\n\nSilesia\nRubizal, A Book of Charms and Changelings\n\nSlavic\nThe Dwarf with the Long Beard, A Book of Charms and Changelings\nGold Lambs and Silver Lambs, Sir Green Hat and the Wizard\nKing Johnny, A Book of Giants and A Choice of Magic\nThe Prince with the Golden Hand, A Book of Dragons\n\nSlavonia\nThe old woman and the oak tree, The Haunted Castle\n\nSouth Africa\nVoo-too-koo, Sir Green Hat and the Wizard (also listed as a Zulu tale)\n\nSouth America\nThe King of the Vultures, The Three Witch Maidens\nThe Magic Roots, Folk and Fairy Tales\n\nSpain\nBlack, Red, and Gold, A Book of Enchantments and Curses\nBring me a Light, A Book of Ghosts and Goblins\nThe Knights of the Fish, A Book of Enchantments and Curses and Folk and Fairy Tales\nThe Ring, A Book of Ghosts and Goblins\n\nSudan\nFoni and Fotia, A Book of Sorcerers and Spells\n\nSweden\nThe Juniper Bush, A Book of Cats and Creatures\nLassy my Boy!, The Three Witch Maidens\nLilla Rosa, A Book of Magic Animals and Folk and Fairy Tales\nPrince Lindworm, A Book of Monsters\n\nSwitzerland\nThe Enchanted Candle, A Book of Enchantments and Curses\nThe Owl, A Book of Spooks and Spectres\nPussy Cat Twinkle, A Book of Cats and Creatures\n\nTadjakistan\nThe Big Bird Katchka, A Book of Cats and Creatures\n\nTartary\nThe Golden Knucklebone, A Book of Cats and Creatures\nUbir, A Book of Monsters\n\nTransylvania\nThe Demon's Daughter, A Book of Devils and Demons\nIron Hans, Old Witch Boneyleg\nThe Princess in the Mountain, A Book of Enchantments and Curses\nSausages, Folk and Fairy Tales\nSorcerer Kaldoon, A Book of Sorcerers and Spells\nThe Story of the Three Young Shepherds, A Book of Monsters\nThe Sun Mother, A Book of Charms and Changelings\nThe Three Witch Maidens, The Three Witch Maidens\n\nTurkey\nBuns and honey, Fox Tales\nOver the wall, Fox Tales\n\nTyrol\nGold, A Book of Wizards\nThe Singing Leaves, A Book of Monsters\nThe Skull, A Book of Ghosts and Goblins\nSpooks a-hunting, A Book of Spooks and Spectres\n\nUkraine\nThe Frog, A Book of Princes and Princesses and A Choice of Magic\n\nUnited States\nLa-lee-lu, A Book of Spooks and Spectres\nLong John and the Mermaid, A Book of Mermaids\nThe Small, Small Cat, A Book of Cats and Creatures\nThe Spectre Wolf, A Book of Spooks and Spectres\n\nValley of the Nile\nThe Forty Goats, A Book of Charms and Changelings\nThe Good Oum-Aly, The Three Witch Maidens\n\nWales\nJack and the Wizard, A Book of Wizards and A Choice of Magic\nThe Lake Maiden, A Book of Mermaids\n\nWest Africa\nLu-bo-bo, A Book of Monsters\n\nYugoslavia\nThe Little Old Man in the Tree, A Book of Spooks and Spectres\nThe Prince and the Sky-Blue Filly, A Book of Princes and Princesses\n\nZeeland\nKnurremurre, A Book of Dwarfs and A Choice of Magic\n\nZulu\nVoo-too-koo, Sir Green Hat and the Wizard (also listed as a South African tale)","Petre Ispirescu (; January 1830 – 21 November 1887) was a Romanian editor, folklorist, printer, and publicist. He is best known for his work as a gatherer of Romanian folk tales, recounting them with a remarkable talent.\n\nCareer \nPetre Ispirescu was born in Bucharest, the son of Gheorghe Ispirescu, a barber, and Elena Ispirescu, a remarkable story teller. He grew up listening to countless folk tales told by his parents and his father's customers and apprentices. His parents wanted him to be a priest and he was entrusted to study with a monk at the Metropolitan Church, after which he studied with a priest at the Domnița Bălașa Church.\n\nHe dropped out in 1844 at age fourteen and became an apprentice at the printing house headed by Zaharia Carcalechi, hoping to further his education by reading the books printed there. Working 14 hours a day, he became a qualified printer in 1848. In 1854, he was hired at the Copainie typography. In 1858, within the context of talks about the unification of the Romanian Principalities, the printing house accepted to publish the secret correspondence of Prince Nicolae Vogoride, without the accord of the censors. The police arrested all those involved and Petre Ispirescu was jailed for a month, losing his job. By the end of the year, Vasile Boerescu - a supporter of the union of the Romanian Principalities and future Foreign Minister - offered him the manager position of a modern typography that owned the first mechanical printing press in Bucharest and published the Naționalul newspaper. His position introduced him to contemporary politicians and writers like \nIon Ionescu de la Brad, Nicolae Filimon, Ion Ghica, and Dimitrie Bolintineanu. In 1863, Vasile Boerescu sold the typography and Petre Ispirescu became the manager of the typography publishing the Liberal Party newspaper Romanul. At the time, the Liberal Party was the main opposition party. The newspaper was suppressed in 1864. Ispirescu, together with Walter Scarlat and Frederick Gobl, then founded the United Workers Typography. A year later, Ispirescu published the Romanian Typographer pamphlet. The abdication in 1866 of the first ruler of the United Principalities of Moldavia and Wallachia, Alexandru Ioan Cuza, is recorded with sadness there. After becoming the sole associate of the printing house, he renamed it Romanian Academy Publishing House in 1878.\n\nInvited by the Interior Minister Ion Ghica, Ispirescu became the head of the State Printing House in 1866. He resigned two years later.\n\nIspirescu left Bucharest for the first time in his life in 1880 for a short trip to Roșiorii de Vede, a small town 74.5 miles away. In 1883 he had a first stroke; he suffered a second stroke while sitting at his desk, and died on 21 November 1887. He is buried at Bellu Cemetery in Bucharest along many other famous Romanians.\n\nIspirescu began to publish Romanian folk stories in 1862, at the incentive of Nicolae Filimon. His first collection of six folk tales appeared in Țăranul Român and later as a booklet. Subsequently, these tales were added to his renowned collection, Romanian Fairy Tales, today a bibliographic rarity. He resumed his publishing work in 1872 with the collection Romanian Folk Tales. Riddles and Proverbs with a preface by Bogdan Petriceicu Hasdeu, followed by Folk Anecdotes and Folk Tales in 1874, and The Life and Feats of Mihai Viteazu in 1876. He was praised for the deep and invaluable knowledge of the Romanian folk works. In 1879 he published Tales of the Wise Old Man - a retelling in an accessible language for children of universal myths and fragments of Greek mythology - with a preface by Alexandru Odobescu.\n\nHis major work, Romanian Fairy Tales, was published in 1882 with a preface by Vasile Alecsandri.\n\nWorks\n\nIspirescu is especially known for his collections of Romanian folk tales.\n\nColecție de șase basme in Țăranul Român (1862, a collection of six folk tales published in Țăranul Român)\nLegende sau basmele românilor. Ghicitori și Proverburi (1872, \"Romanian Legends and Folk Tales. Riddles and Proverbs\")\nSnoave și Povești populare (1874, \"Folk Anecdotes and Folk Tales\")\nIsprăvile și viața lui Mihai Viteazu (1876, \"The Life and Feats of Mihai Viteazu\")\nPoveștele unchiașului sfătos (1879, \"Tales of the Wise Old Man\")\nPilde și ghicitori (1880, \"Parables and riddles\")\nLegendele sau basmele Românilor (1882, \"Romanian Fairy Tales\")\nBasme, snoave și glume (1883, \"Tales, Anecdotes, and Jests\")\nJucării şi jocuri de copil (1885, \"Children's Toys and Games\")\nPovești morale. Despre pomul Crăciunului (1886, \"Moral Stories. About the Christmas Tree\")\n\nSee also\n Kingdom in the Clouds (a 1969 film directed by Elisabeta Bostan)\n Dan Petrescu, Romanian businessman, nicknamed \"Petre Ispirescu\" by his friends in honor to Ispirescu\n\nReferences\n\nDimitrie R Rosetti (1897) Dicţionarul contimporanilor, Editura Lito-Tipografiei \"Populara\"\n\nExternal links\n \n \n\nRomanian collectors of fairy tales\nRomanian folklorists\nRomanian printers\nWriters from Bucharest\nBurials at Bellu Cemetery\n1830 births\n1887 deaths\n19th-century Romanian writers"],"string":"[\n \"A region-by-region list of fairy and folk tales collected and retold by Ruth Manning-Sanders (1886–1988). Regions (or cultural groups) are as listed by Manning-Sanders in either the table of contents, the forewords or the introductions of her various fairy tale anthologies. This list contains most of the fairy-tale titles that have links from Manning-Sanders' biography page. Exceptions are Stories from the English and Scottish Ballads and A Book of Magical Beasts, an anthology of others' works that she edited.\\n\\nAfrica\\nThe Kindly Ghost, A Book of Ghosts and Goblins\\nMainu the Frog, A Book of Magic Animals\\nNiassa and the Ogre, A Book of Princes and Princesses\\nThe Pick Handle, A Book of Enchantments and Curses\\nThe Seven Monsters, A Book of Monsters\\nThe spirits in the rat-hole, The Haunted Castle\\nTerry Gong-Gong, Fox Tales\\nThe Two Wizards, A Book of Wizards and A Choice of Magic\\nWalker by Moonlight, The Three Witch Maidens\\nWhat Came of Quarreling, A Book of Magic Horses\\nWhat did you do? Fox Tales\\n\\nAlaska\\nThe Caribou Wife, Folk and Fairy Tales\\n\\nAlsace\\nThe Kittle-Kittle Car, A Book of Devils and Demons\\n\\nAmerican Indian\\nAdventures of Coyote, Red Indian Folk and Fairy Tales\\nAdventures of Rabbit, Red Indian Folk and Fairy Tales\\nBeautiful Girl, Red Indian Folk and Fairy Tales\\nBeaver and Porcupine, Red Indian Folk and Fairy Tales\\nThe Fat Grandmother, Red Indian Folk and Fairy Tales\\nThe Forbidden Valley, The Haunted Castle\\nGood Man and Bad Man, Red Indian Folk and Fairy Tales\\nGrasshopper and Fox, Tortoise Tales\\nHare Running, Tortoise Tales\\nThe Magic Pebble, Red Indian Folk and Fairy Tales\\nMicabo's Island, Red Indian Folk and Fairy Tales\\nNapi and Nip, Red Indian Folk and Fairy Tales\\nThe Ogre, the Sun, and the Raven, A Book of Charms and Changelings\\nOtter Heart and the Magic Kettle, Red Indian Folk and Fairy Tales\\nProud Girl and Bold Eagle, Red Indian Folk and Fairy Tales\\nRabbit and the Wolves, Tortoise Tales\\nRaven and the Wicked One, Red Indian Folk and Fairy Tales\\nRaven Boy and Little Hawk, Red Indian Folk and Fairy Tales\\nSmoke Bones, Folk and Fairy Tales\\nSnake Ogre, Red Indian Folk and Fairy Tales\\nStar Maiden, Red Indian Folk and Fairy Tales\\nSun Arrow, Red Indian Folk and Fairy Tales\\nTortoise and the Children, Tortoise Tales\\nTortoise and Ogre, Tortoise Tales\\nUgly Thing, Red Indian Folk and Fairy Tales\\nYoung Mouse, Red Indian Folk and Fairy Tales\\nZini and the Witches, Red Indian Folk and Fairy Tales\\n\\nArabia\\nAladdin, A Book of Wizards and A Choice of Magic\\nThe Four Abdallahs, A Book of Mermaids\\nHassan the Ropemaker, Sir Green Hat and the Wizard\\nLittle Mukra, A Book of Dwarfs\\n\\nArchangel\\nThe Leeshy Cat, A Book of Cats and Creatures\\nThe Princess's Slippers, A Book of Princes and Princesses and A Choice of Magic\\n\\nAustralia\\nThe Bunyip, Old Witch Boneyleg\\nCrow and the Pelicans, The Haunted Castle\\nGoralasi and the Spectres, A Book of Spooks and Spectres\\n\\nAustria\\nOda and the Snake, A Book of Sorcerers and Spells\\nThe Tailor and the Hunter, Sir Green Hat and the Wizard\\n\\nBavaria\\nPlain Peter, Sir Green Hat and the Wizard\\n\\nBohemia\\nDunber, A Book of Monsters\\nThe Giants in the Valley, The Three Witch Maidens\\nJohnny and the Witch-Maidens, A Book of Witches and A Choice of Magic\\nLong, Broad and Sharpsight, A Book of Wizards and Folk and Fairy Tales\\nThe Princess in the Iron Tower, A Book of Magic Horses\\nRubizal and the Miller's Daughter, A Book of Spooks and Spectres\\nRubizal's Black Horse, A Book of Magic Horses\\nThe Spook and the Pigs, A Book of Spooks and Spectres\\n\\nBosnia\\nThe Magic Bridle, A Book of Charms and Changelings\\nWhat Happened to Ivan, A Book of Kings and Queens\\n\\nBrittany\\nThe Groach of the Isle of Lok, A Book of Mermaids\\nLittle Barbette, A Book of Magic Animals\\nThe Magic Belt, A Book of Princes and Princesses\\nMargrette, A Book of Mermaids\\nThe North-west Wind, A Book of Magic Animals\\nPippi Menou and the Hanging Palace, Sir Green Hat and the Wizard\\nThe White Cat and the Green Snake, A Book of Princes and Princesses\\nThe White Lamb, A Book of Charms and Changelings\\n\\nBukovina\\nThe Hazel-Nut Child, A Book of Dwarfs\\n\\nCarpathian Mountains\\nThe Little Red Mannikin, A Book of Devils and Demons\\n\\nCaucasus\\nThe little cake, Fox Tales\\n\\nChina\\nBaskets in a Little Cart, A Book of Dragons\\nChien Tang, A Book of Dragons\\nChien-Nang, A Book of Charms and Changelings\\nFootball on a Lake, A Book of Spooks and Spectres\\nThe Yellow Dragon, A Book of Dragons\\n\\nCornwall\\nBarker's Knee, Peter and the Piskies: Cornish Folk and Fairy Tales\\nBetty Stogs' Baby, Peter and the Piskies: Cornish Folk and Fairy Tales\\nThe Boy and the Bull, Peter and the Piskies: Cornish Folk and Fairy Tales\\nBucca Dhu and Bucca Gwidden, Peter and the Piskies: Cornish Folk and Fairy Tales\\nCherry, Peter and the Piskies: Cornish Folk and Fairy Tales\\nThe Cock-Crow Stone, Peter and the Piskies: Cornish Folk and Fairy Tales\\nThe Crowza Stones, Peter and the Piskies: Cornish Folk and Fairy Tales\\nThe Demon Mason, Peter and the Piskies: Cornish Folk and Fairy Tales\\nDuffy and the Devil, Peter and the Piskies: Cornish Folk and Fairy Tales\\nFairies on the Gump, Peter and the Piskies: Cornish Folk and Fairy Tales\\nFrom the Head Downward, Peter and the Piskies: Cornish Folk and Fairy Tales\\nThe Giant Holiburn, Peter and the Piskies: Cornish Folk and Fairy Tales\\nThe Giant of the Mount, Peter and the Piskies: Cornish Folk and Fairy Tales\\nHow Jack Made His Fortune, A Book of Magic Horses\\nJack the Giant-Killer, A Book of Giants\\nThe Knockers of Ballowal, Peter and the Piskies: Cornish Folk and Fairy Tales\\nLutey and the Mermaid, Peter and the Piskies: Cornish Folk and Fairy Tales\\nLyonesse, Peter and the Piskies: Cornish Folk and Fairy Tales\\nMadgy Figgey and the Sow, Peter and the Piskies: Cornish Folk and Fairy Tales\\nMaster Billy, A Book of Magic Horses\\nThe Mermaid in Church, Peter and the Piskies: Cornish Folk and Fairy Tales\\nMr Noy, Peter and the Piskies: Cornish Folk and Fairy Tales\\nParson Wood and the Devil, Peter and the Piskies: Cornish Folk and Fairy Tales\\nPeepan Pee, Peter and the Piskies: Cornish Folk and Fairy Tales\\nPeter and the Piskies, Peter and the Piskies: Cornish Folk and Fairy Tales\\nThe Piskie Thresher, Peter and the Piskies: Cornish Folk and Fairy Tales\\nSaint Margery Daw, Peter and the Piskies: Cornish Folk and Fairy Tales\\nSaint Neot, Peter and the Piskies: Cornish Folk and Fairy Tales\\nSkillywidden, Peter and the Piskies: Cornish Folk and Fairy Tales\\nThe Small People's Cow, Peter and the Piskies: Cornish Folk and Fairy Tales\\nSneezy Snatcher and Sammy Small, A Book of Giants\\nThe Spriggans' Treasure, Peter and the Piskies: Cornish Folk and Fairy Tales\\nThe Tinner, the Dog, the Jew, and the Cake, Peter and the Piskies: Cornish Folk and Fairy Tales\\nTom and Giant Blunderbus, Peter and the Piskies: Cornish Folk and Fairy Tales\\nTredrill, A Book of Charms and Changelings\\nTregeagle, Peter and the Piskies: Cornish Folk and Fairy Tales\\nThe Two Sillies, Peter and the Piskies: Cornish Folk and Fairy Tales\\nThe Wish-hound, Peter and the Piskies: Cornish Folk and Fairy Tales\\nThe Witch of Fraddam, Peter and the Piskies: Cornish Folk and Fairy Tales\\n\\nCorsica\\nGolden Hair, A Book of Ghosts and Goblins and A Choice of Magic\\n\\nCreole\\nHyena and Hare, Tortoise Tales\\n\\nCzechoslovakia\\nKing Josef, A Book of Kings and Queens and Folk and Fairy Tales\\nLittle pot, cook!, The Haunted Castle\\nThe Tailor, the Devil, and the Frogs, The Three Witch Maidens\\nThe Water Nick, A Book of Cats and Creatures\\n\\nDenmark\\nEsben and the Witch, A Book of Witches and A Choice of Magic\\nFranz the Garden Boy, A Book of Magic Horses\\nHeaven Forbid!, A Book of Spooks and Spectres\\nLittle Wonder, A Book of Cats and Creatures\\nMons Tro, A Choice of Magic\\nNils in the Forest, A Book of Ogres and Trolls\\nRake Up!, A Book of Mermaids and A Choice of Magic\\nA Ride to Hell, A Book of Devils and Demons\\nSir Green Hat and the Wizard, Sir Green Hat and the Wizard\\nThe Spook and the Beer Barrel, A Book of Spooks and Spectres\\nThe Story of Maia, A Book of Dwarfs\\nSven and Lilli, A Book of Mermaids and A Choice of Magic\\nTossen the Fool, Old Witch Boneyleg\\nTripple-Trapple, A Book of Devils and Demons\\nThe Troll's Little Daughter, A Book of Ogres and Trolls\\nThe White Dove, A Book of Witches\\n\\nEast Africa\\nFox and Weasel, Fox Tales\\nTortoise and Elephant, Tortoise Tales\\n\\nEgypt\\nFox and Crow, Fox Tales\\n\\nEngland\\nThe Cauld Lad of Hilton, Old Witch Boneyleg\\nThe Golden Ball, A Book of Ghosts and Goblins\\nJack and the Beanstalk, A Book of Giants and A Choice of Magic\\nLittle Jip, A Book of Ghosts and Goblins\\nOld Tommy and the Spectre, A Book of Spooks and Spectres\\nThe Old Witch, A Book of Witches and Folk and Fairy Tales\\nThe Small-tooth Dog, A Book of Magic Animals\\nSneezy Snatcher and Sammy Small, A Choice of Magic\\n\\nEstonia\\nThe Cook and the House Goblin, A Book of Ghosts and Goblins\\nFox the gooseherd, Fox Tales\\nThe Goblins at the Bath House, A Book of Ghosts and Goblins and A Choice of Magic\\nThe Hat, A Book of Charms and Changelings\\nThe Haunted Castle, The Haunted Castle\\nThe Lake, A Book of Spooks and Spectres\\nWater Drops, A Book of Ghosts and Goblins\\n\\nEthiopia\\nHare's Ears, Tortoise Tales\\n\\nFinland\\nThe fish cart, Fox Tales\\nThe Flute Player, A Book of Charms and Changelings\\nRabbit and Our Old Woman, Tortoise Tales\\nSomething Wonderful, A Book of Devils and Demons and Folk and Fairy Tales\\nThe well, Fox Tales\\n\\nFlanders\\nRich Woman, Poor Woman, A Book of Wizards\\n\\nFrance\\nThe Antmolly Birds, Jonnikin and the Flying Basket: French Folk and Fairy Tales\\nThe Beauty and Her Gallant, A Book of Ghosts and Goblins\\nThe Broken Pitcher, Old Witch Boneyleg\\nThe Dapple Horse, A Book of Magic Horses\\nThe Gold Dragoon, Jonnikin and the Flying Basket: French Folk and Fairy Tales\\nThe Handsome Apprentice, Jonnikin and the Flying Basket: French Folk and Fairy Tales\\nJonnikin and the Flying Basket, Jonnikin and the Flying Basket: French Folk and Fairy Tales\\nThe King of the Crows, Jonnikin and the Flying Basket: French Folk and Fairy Tales\\nThe Leg of Gold, A Book of Ghosts and Goblins\\nThe Little Milleress, Jonnikin and the Flying Basket: French Folk and Fairy Tales\\nThe Magic Wand, Jonnikin and the Flying Basket: French Folk and Fairy Tales\\nThe Night of Four Times, Jonnikin and the Flying Basket: French Folk and Fairy Tales\\nThe Nine White Sheep, Jonnikin and the Flying Basket: French Folk and Fairy Tales\\nPappa Greatnose, A Book of Ghosts and Goblins\\nThe Prince of the Seven Golden Cows, Jonnikin and the Flying Basket: French Folk and Fairy Tales\\nPrincess Felicity, A Book of Princes and Princesses\\nThe Small Men and the Weaver, Jonnikin and the Flying Basket: French Folk and Fairy Tales\\nThe Snake Monster, Jonnikin and the Flying Basket: French Folk and Fairy Tales\\nThe Son of the King of Spain, Jonnikin and the Flying Basket: French Folk and Fairy Tales\\nThe Sword of the Stone, Jonnikin and the Flying Basket: French Folk and Fairy Tales\\nTam and Tessa, Jonnikin and the Flying Basket: French Folk and Fairy Tales\\nThe Thirteen Flies, Jonnikin and the Flying Basket: French Folk and Fairy Tales\\nThe Young Shepherd, Jonnikin and the Flying Basket: French Folk and Fairy Tales\\n\\nFrench Canada\\nJon and his Brothers, A Book of Magic Animals and Folk and Fairy Tales\\n\\nGascony\\nThe Blacksmith and the Devil, A Book of Devils and Demons\\n\\nGeorgia\\nThe Giant and the Dwarf, A Book of Giants\\n\\nGermany\\nThe Brave Little Tailor, A Book of Giants\\nThe Cobbler and the Dwarfs, A Book of Dwarfs\\nThe Comb, the Flute and the Spinning Wheel, A Book of Mermaids\\nThe Curse of the Very Small Man, A Book of Enchantments and Curses\\nThe Dancing Pigs, Old Witch Boneyleg\\nThe Donkey Lettuce, A Book of Witches\\nThe Dragon and His Grandmother, A Book of Dragons\\nElsa and the Bear, A Book of Magic Animals\\nFir Cones, A Book of Dwarfs\\nThe Girl Who Picked Strawberries, A Book of Dwarfs and A Choice of Magic\\nThe Gold Stag, Old Witch Boneyleg\\nThe Golden Kingdom, The Haunted Castle\\nHa! ha! ha!, A Book of Spooks and Spectres\\nHansel and Gretel, A Book of Witches\\nThe Imp Cat, A Book of Cats and Creatures\\nThe Inn of the Stone and Spectre, A Book of Spooks and Spectres\\nKatchen the Cat, A Book of Cats and Creatures\\nLazy Hans, A Book of Witches\\nThe Little Tailor and the Three Dogs, A Book of Ogres and Trolls and Folk and Fairy Tales\\nMannikin Spanalong, A Book of Sorcerers and Spells\\nPeter, A Book of Enchantments and Curses\\nThe queen in the garden, The Haunted Castle\\nRapunzel, A Book of Witches\\nSnow White and the Seven Dwarfs, A Book of Dwarfs\\nTangletop, A Book of Spooks and Spectres\\nThe Three Dogs, A Book of Dragons\\nThe Three Golden Hairs of the King of the Cave Giants, A Book of Giants\\nThe Three Little Men in the Wood, A Book of Dwarfs\\nThumbkin, A Book of Dwarfs\\nThe very little man, Fox Tales\\n\\nGreece\\nAlas!, Damian and the Dragon: Modern Greek Folk-Tales\\nThe Bay-Tree Maiden, Damian and the Dragon: Modern Greek Folk-Tales\\nThe Beardless One, Damian and the Dragon: Modern Greek Folk-Tales\\nBig Matsiko, Damian and the Dragon: Modern Greek Folk-Tales\\nThe Cats, Damian and the Dragon: Modern Greek Folk-Tales\\nConstantes and the Dragon, A Book of Dragons and A Choice of Magic\\nThe Cunning Old Man and the Three Rogues, Damian and the Dragon: Modern Greek Folk-Tales\\nDamian and the Dragon, Damian and the Dragon: Modern Greek Folk-Tales\\nThe Dragon of the Well, A Book of Dragons\\nThe Four Fishes, Damian and the Dragon: Modern Greek Folk-Tales\\nThe Golden Casket, Damian and the Dragon: Modern Greek Folk-Tales\\nThe King's Beard, Old Witch Boneyleg\\nThe Lion, the Tiger and the Eagle, Damian and the Dragon: Modern Greek Folk-Tales\\nLuck, Damian and the Dragon: Modern Greek Folk-Tales\\nThe Melodious Napkin, Damian and the Dragon: Modern Greek Folk-Tales\\nMy Candlestick, Damian and the Dragon: Modern Greek Folk-Tales\\nMy Lady Sea, Damian and the Dragon: Modern Greek Folk-Tales\\nThe Nine Doves, A Book of Dragons and A Choice of Magic\\nPenteclemas and the Pea, Damian and the Dragon: Modern Greek Folk-Tales\\nPepito, A Book of Dragons\\nThe Prince and the Vizier's Son, Damian and the Dragon: Modern Greek Folk-Tales\\nThe Sleeping Prince, Damian and the Dragon: Modern Greek Folk-Tales\\nThe Sneezing Ring, The Three Witch Maidens\\nThe Three Precepts, Damian and the Dragon: Modern Greek Folk-Tales\\nThe Twins, Damian and the Dragon: Modern Greek Folk-Tales\\nThe Wild Man, Damian and the Dragon: Modern Greek Folk-Tales\\nYiankos, Damian and the Dragon: Modern Greek Folk-Tales\\n\\nGreek Isles\\nSelim and the Snake Queen, A Book of Kings and Queens and Folk and Fairy Tales\\n\\nGypsy\\nBald Pate, The Red King and the Witch: Gypsy Folk and Fairy Tales\\nThe Black Dog of the Wild Forest, The Red King and the Witch: Gypsy Folk and Fairy Tales\\nBrian and the Fox, The Red King and the Witch: Gypsy Folk and Fairy Tales\\nThe Brigands and the Miller's Daughter, The Red King and the Witch: Gypsy Folk and Fairy Tales\\nThe Deluded Dragon, The Red King and the Witch: Gypsy Folk and Fairy Tales\\nThe Dog and the Maiden, The Red King and the Witch: Gypsy Folk and Fairy Tales\\nThe Dragon and the Stepmother, The Red King and the Witch: Gypsy Folk and Fairy Tales\\nFedor and the Fairy, A Book of Charms and Changelings\\nThe Foam Maiden, A Book of Sorcerers and Spells\\nHappy Boz'll, The Red King and the Witch: Gypsy Folk and Fairy Tales\\nThe Hen That Laid Diamond Eggs, The Red King and the Witch: Gypsy Folk and Fairy Tales\\nIt All Comes To Light, The Red King and the Witch: Gypsy Folk and Fairy Tales\\nJack and His Golden Snuff-Box, The Red King and the Witch: Gypsy Folk and Fairy Tales\\nJankyn and the Witch, The Red King and the Witch: Gypsy Folk and Fairy Tales\\nThe Little Bull-Calf, The Red King and the Witch: Gypsy Folk and Fairy Tales\\nThe Little Fox, The Red King and the Witch: Gypsy Folk and Fairy Tales\\nThe Little Nobleman, The Red King and the Witch: Gypsy Folk and Fairy Tales\\nAn Old King and His Three Sons of England, The Red King and the Witch: Gypsy Folk and Fairy Tales\\nThe Old Soldier and the Mischief, The Red King and the Witch: Gypsy Folk and Fairy Tales\\nThe Red King and the Witch, The Red King and the Witch: Gypsy Folk and Fairy Tales\\nThe Riddle, The Red King and the Witch: Gypsy Folk and Fairy Tales\\nThe Snake, The Red King and the Witch: Gypsy Folk and Fairy Tales\\nSylvester, The Red King and the Witch: Gypsy Folk and Fairy Tales\\nThe Tale of a Foolish Brother and of a Wonderful Bush, The Red King and the Witch: Gypsy Folk and Fairy Tales\\nThe Three Princesses and the Unclean Spirit, The Red King and the Witch: Gypsy Folk and Fairy Tales\\nThe Tinker and His Wife, The Red King and the Witch: Gypsy Folk and Fairy Tales\\nTropsyn, The Red King and the Witch: Gypsy Folk and Fairy Tales\\n\\nHanover\\nThe Porridge Pot, Sir Green Hat and the Wizard\\n\\nHartz Mountains\\nThe Eighteen Soldiers, The Three Witch Maidens\\n\\nHolland\\nThe Sailor and the Devil, Folk and Fairy Tales\\n\\nHungary\\nThe Adventures of Pengo, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\\nThe Cock and the Hen, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\\nDummling, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\\nThe Enchanted Prince, A Book of Princes and Princesses and A Choice of Magic\\nThe Fairy Helena, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\\nThe Fiddle, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\\nGiant Babolna, Old Witch Boneyleg\\nGisella and the Goat, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\\nThe Glass Man and the Golden Bird, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\\nA Handful of Hay, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\\nHans and His Master, A Book of Ghosts and Goblins and A Choice of Magic\\nIn the wolf pit, Fox Tales\\nIronhead, A Book of Devils and Demons\\nJack at Hell Gate, A Book of Devils and Demons\\nKate Contrary, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\\nLittle Firenko, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\\nThe Lost Children, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\\nMelitsa the Beautiful, The Haunted Castle\\nThe Nine Peahens and the Golden Apples, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\\nThe Nine Ravens, The Three Witch Maidens\\nThe Peppercorn Oxen, A Book of Devils and Demons\\nPrince Mirko, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\\nThe Ram with the Golden Fleece, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\\nThe Secret-Keeping Boy, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\\nThe Seven Simons, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\\nThe Silver Penny, A Book of Wizards and Folk and Fairy Tales\\nThe Spotted Cow, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\\nThe Three Lemons, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\\nUletka, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\\nThe Witch and the Swan Maiden, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\\nThe Wonderful Tree, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\\n\\nIceland\\nCow Bu-cola, A Book of Ogres and Trolls\\nDilly-dilly-doh!, A Book of Spooks and Spectres\\nThe Farmer and the Water Fairies, Old Witch Boneyleg\\nThe Gold Knob, A Book of Ogres and Trolls\\nThe Headless Horseman, A Book of Ghosts and Goblins\\nJon and the Troll Wife, A Book of Ogres and Trolls\\nThe Lost Prince, A Book of Mermaids and Folk and Fairy Tales\\nSigurd the King's Son, A Book of Ogres and Trolls\\n\\nIndia\\nFox and Crocodile, Fox Tales\\nA Game of Cards with the King of Demons, The Three Witch Maidens\\nThe good old man, the thief, and the ghost, The Haunted Castle\\nThe Kingdom of Ocean, A Book of Mermaids\\nLittle Hiram, A Choice of Magic\\nLucky or unlucky? Fox Tales\\nThe Monkey Nursemaid, A Book of Devils and Demons\\n\\nIreland\\nThe Adventures of Billy MacDaniel, A Choice of Magic\\nThe Blackstairs Mountain, A Book of Witches\\nBottle Hill, A Book of Dwarfs and A Choice of Magic\\nConall Yellowclaw, A Book of Giants\\nThe Field of Ragwort, A Book of Dwarfs\\nFin M'Coul and Cucullin, A Book of Giants and Folk and Fairy Tales\\nThe Good Woman, A Book of Ghosts and Goblins\\nThe Great Bear of Orange, A Book of Sorcerers and Spells\\nThe Magic Lake, A Book of Mermaids and A Choice of Magic\\nThe Magical Tune, A Book of Mermaids\\nThe Palace of the Seven Little Hills, A Book of Sorcerers and Spells\\nThe Sleeper, A Book of Sorcerers and Spells\\nThe Strange Adventure of Paddy O'Toole, A Book of Ghosts and Goblins\\nThe Teapot Spout, A Book of Kings and Queens\\nThe Thirteenth Son of the King of Erin, A Book of Dragons\\nTritil, Litil, and the Birds, A Book of Ogres and Trolls\\n\\nItaly\\nThe Black Spectre, A Book of Spooks and Spectres (in South Tyrol)\\nCannetella, A Book of Wizards\\nThe Girl in the Basket, A Book of Ogres and Trolls and Folk and Fairy Tales\\nThe Magic Monkeys, A Book of Sorcerers and Spells\\nPrunella, A Book of Witches\\nThe She-Bear, A Book of Princes and Princesses\\nThe Three Mermaids, A Book of Mermaids and A Choice of Magic\\nThe Three Silver Balls, A Book of Ghosts and Goblins\\n\\nJamaica\\nBeedul-a-bup!, A Book of Magic Horses\\nGar-room!, Tortoise Tales\\nSarah Winyan, A Book of Enchantments and Curses\\n\\nJapan\\nThe Little Jizo, Sir Green Hat and the Wizard\\nMy Lord Bag of Rice, A Book of Dragons and Folk and Fairy Tales\\nTimimoto, A Book of Dwarfs\\n\\nJutland\\nHans, the Horn, and the Magic Sword, A Book of Giants\\nThe Skipper and the Dwarfs, A Book of Dwarfs and Folk and Fairy Tales\\n\\nKashmir\\nStupid Head, A Book of Princes and Princesses\\n\\nKorea\\nThe Enchanted Wine Jug, A Book of Charms and Changelings\\nStrange Visitors, A Book of Spooks and Spectres\\nYi Chang and the Spectres, A Book of Spooks and Spectres\\n\\nLatvia\\nMonster Grabber and the King's Daughter, A Book of Magic Horses\\n\\nMacedonia\\nThe Monster in the Mill, A Book of Monsters and Folk and Fairy Tales\\nPentalina, A Book of Monsters\\nYanni, A Book of Dragons\\n\\nMadagascar\\nThe Monster with Seven Heads, A Book of Kings and Queens and Folk and Fairy Tales\\nOh Mr Crocodile, A Book of Cats and Creatures\\n\\nMajorca\\nA Box on the Ear, A Book of Ghosts and Goblins\\nThe Dolphin, A Book of Magic Animals\\n\\nMediterranean Sea\\nA-tishoo!, Gianni and the Ogre\\nBardiello, Gianni and the Ogre\\nThe Bean Tree, Gianni and the Ogre\\nCelery, Gianni and the Ogre\\nThe Daughter of the Dwarf, Gianni and the Ogre\\nThe Doll, Gianni and the Ogre\\nThe Fiddler Going Home, Gianni and the Ogre\\nGianni and the Ogre, Gianni and the Ogre\\nGrillo, Gianni and the Ogre\\nKabadaluk, Gianni and the Ogre\\nKing Fox, Gianni and the Ogre\\nLittle Finger, Gianni and the Ogre\\nMother Sunday, Gianni and the Ogre\\nOudelette, Gianni and the Ogre\\nPeppino, Gianni and the Ogre\\nThe Spider, Gianni and the Ogre\\nThe Three Ravens, Gianni and the Ogre\\nTrim Tram Turvey, Gianni and the Ogre\\n\\nMongolia\\nThe Blue-grey Fleece, Sir Green Hat and the Wizard\\n\\nNetherlands\\nMalegy's Palfrey, A Book of Magic Horses\\n\\nNew Zealand\\nTawhaki, The Three Witch Maidens\\n\\nNorse and/or Norway\\nFarmer Weathersky, A Book of Wizards\\nFreddy and his Fiddle, A Book of Dwarfs\\nThe Giant Who Had No Heart in His Body, A Book of Giants and Folk and Fairy Tales\\nThe Hill Demon, A Book of Devils and Demons\\nTatterhood, A Book of Witches and A Choice of Magic\\n\\nNorth Africa\\nThe Mossy Rock, A Book of Sorcerers and Spells\\n\\nNova Scotia\\nFox and Hare, Fox Tales\\n\\nPoland\\nThe Adventures of Gregor, A Book of Magic Horses\\nThe Cat Johann, A Book of Cats and Creatures\\n\\nPomerania\\nThe Cow, The Three Witch Maidens\\nDear Grey, The Haunted Castle\\nFather Wren and King Tiger, A Book of Cats and Creatures\\nThe Glassy Bridge, Sir Green Hat and the Wizard\\nThe gold spinner, The Haunted Castle\\nA Lying Story, A Book of Enchantments and Curses\\nThe Two Enemy Kings, A Book of Kings and Queens\\nThe Queen's Ring, A Book of Enchantments and Curses\\n\\nPortugal\\nThe Geese and the Golden Chain, A Book of Mermaids\\n\\nRomania\\nPrince Loaf, A Book of Giants and A Choice of Magic\\nStan Bolovan, A Book of Dragons and A Choice of Magic\\n\\nRügen\\nThe Silver Bell, A Book of Dwarfs\\n\\nRussia\\nBull's Winter House, A Book of Magic Animals\\nCatrinella, Come up Higher!, A Book of Enchantments and Curses\\nThe Children on the Pillar, A Book of Ogres and Trolls\\nThe Crane's Purse, Sir Green Hat and the Wizard\\nEh! Eh! Tralala!, A Book of Magic Animals\\nGo I Know Not Whither and Fetch I Know Not What, A Book of Sorcerers and Spells\\nThe Goat in the Sky, A Book of Cats and Creatures\\nThe Good Ogre, A Book of Ogres and Trolls\\nThe Great Golloping Wolf, A Book of Monsters\\nKing Eagle, A Book of Kings and Queens\\nKojata, A Book of Wizards\\nLittle Cat and Little Hen, Tortoise Tales\\nThe Little Humpbacked Horse, A Book of Magic Animals\\nLittle Sister Fox, Tortoise Tales\\nMonster Copper Forehead, A Book of Monsters\\nNanny Goat with Nuts, Tortoise Tales\\nNatasha Most Lovely, Old Witch Boneyleg\\nOld Man Zackery and the Cranes, A Book of Cats and Creatures\\nOld Verlooka, A Choice of Magic\\nOld Witch Boneyleg, Old Witch Boneyleg\\nPancakes and Pies, A Book of Charms and Changelings\\nA Pool of Bright Water, A Book of Cats and Creatures\\nThe Queen's Children, A Book of Kings and Queens\\nThe Silver Dish, The Three Witch Maidens\\nThe Spooks' Party, A Book of Spooks and Spectres\\nThe Straw Horse, A Book of Magic Horses\\nThe Three Ivans, A Book of Sorcerers and Spells\\nTwo Minutes, Old Witch Boneyleg\\nThe Twins and the Snarling Witch, A Book of Witches\\nUmbrella, Fox Tales\\nVanka, Sir Green Hat and the Wizard\\nVasilissa Most Lovely, A Book of Enchantments and Curses and Folk and Fairy Tales\\nVanooshka, A Book of Kings and Queens\\nWhoa-ho!, A Book of Magic Horses\\nWits But No Money, A Book of Magic Horses\\nThe Wizard King, A Book of Princes and Princesses\\nA Wonderful Bird, A Book of Cats and Creatures\\nThe Wonderful Shirt, A Choice of Magic\\n\\nSavoy\\nThe Dance of the Spectres, A Book of Spooks and Spectres\\n\\nSchleswig-Holstein\\nThe New Horse, A Book of Magic Horses\\nTummeldink, A Book of Spooks and Spectres\\n\\nScotland\\nThe Black Bull of Norroway, Scottish Folk Tales\\nConall Yellowclaw, A Book of Giants\\nFlitting, Scottish Folk Tales\\nThe Giant in the Cave, A Book of Giants\\nGreen caps, Scottish Folk Tales\\nIn a sack, Scottish Folk Tales\\nThe Laird of Co, Scottish Folk Tales\\nThe little wee man, Scottish Folk Tales\\nThe Loch Ness Kelpie, Scottish Folk Tales\\nMester Stoorworm, Scottish Folk Tales\\nMerman Rosmer, A Book of Mermaids and Folk and Fairy Tales\\nMy own self, Scottish Folk Tales\\nThe seal-hunter and the mermen, Scottish Folk Tales\\nThe seal-wife, Scottish Folk Tales\\nSeven Inches, Scottish Folk Tales\\nThe shadow, Scottish Folk Tales\\nShort Hoggers, Scottish Folk Tales\\nThe Strange Visitor, Scottish Folk Tales\\nThe Tailor in the Church, A Book of Ghosts and Goblins\\nThe Untidy Mermaid, A Book of Mermaids\\nThe wee bit mousikie, Scottish Folk Tales\\nThe Well at the World's End, Scottish Folk Tales\\nWhirra whirra bump!, Scottish Folk Tales\\n\\nSerbia\\nThe Prince and the Dragons, A Book of Princes and Princesses\\n\\nSiberia\\nThe Bird Wife, A Book of Cats and Creatures\\nThe Maiden Suvarna, A Book of Ghosts and Goblins\\n\\nSicily\\nThe All-seeing Sun, Sir Green Hat and the Wizard\\nAniello, A Book of Wizards and A Choice of Magic\\nThe Beauty of the Golden Star, A Book of Magic Horses\\nDough, A Book of Kings and Queens\\nThe Goat in Bed, The Three Witch Maidens\\nThe Golden Valley, A Book of Monsters\\nThe Green Bird, A Book of Ogres and Trolls\\nThe Ogre's Breath, A Book of Ogres and Trolls\\nPeppi, A Book of Charms and Changelings\\nRags and Tatters, A Book of Princes and Princesses\\nUnfortunate, A Book of Enchantments and Curses\\n\\nSilesia\\nRubizal, A Book of Charms and Changelings\\n\\nSlavic\\nThe Dwarf with the Long Beard, A Book of Charms and Changelings\\nGold Lambs and Silver Lambs, Sir Green Hat and the Wizard\\nKing Johnny, A Book of Giants and A Choice of Magic\\nThe Prince with the Golden Hand, A Book of Dragons\\n\\nSlavonia\\nThe old woman and the oak tree, The Haunted Castle\\n\\nSouth Africa\\nVoo-too-koo, Sir Green Hat and the Wizard (also listed as a Zulu tale)\\n\\nSouth America\\nThe King of the Vultures, The Three Witch Maidens\\nThe Magic Roots, Folk and Fairy Tales\\n\\nSpain\\nBlack, Red, and Gold, A Book of Enchantments and Curses\\nBring me a Light, A Book of Ghosts and Goblins\\nThe Knights of the Fish, A Book of Enchantments and Curses and Folk and Fairy Tales\\nThe Ring, A Book of Ghosts and Goblins\\n\\nSudan\\nFoni and Fotia, A Book of Sorcerers and Spells\\n\\nSweden\\nThe Juniper Bush, A Book of Cats and Creatures\\nLassy my Boy!, The Three Witch Maidens\\nLilla Rosa, A Book of Magic Animals and Folk and Fairy Tales\\nPrince Lindworm, A Book of Monsters\\n\\nSwitzerland\\nThe Enchanted Candle, A Book of Enchantments and Curses\\nThe Owl, A Book of Spooks and Spectres\\nPussy Cat Twinkle, A Book of Cats and Creatures\\n\\nTadjakistan\\nThe Big Bird Katchka, A Book of Cats and Creatures\\n\\nTartary\\nThe Golden Knucklebone, A Book of Cats and Creatures\\nUbir, A Book of Monsters\\n\\nTransylvania\\nThe Demon's Daughter, A Book of Devils and Demons\\nIron Hans, Old Witch Boneyleg\\nThe Princess in the Mountain, A Book of Enchantments and Curses\\nSausages, Folk and Fairy Tales\\nSorcerer Kaldoon, A Book of Sorcerers and Spells\\nThe Story of the Three Young Shepherds, A Book of Monsters\\nThe Sun Mother, A Book of Charms and Changelings\\nThe Three Witch Maidens, The Three Witch Maidens\\n\\nTurkey\\nBuns and honey, Fox Tales\\nOver the wall, Fox Tales\\n\\nTyrol\\nGold, A Book of Wizards\\nThe Singing Leaves, A Book of Monsters\\nThe Skull, A Book of Ghosts and Goblins\\nSpooks a-hunting, A Book of Spooks and Spectres\\n\\nUkraine\\nThe Frog, A Book of Princes and Princesses and A Choice of Magic\\n\\nUnited States\\nLa-lee-lu, A Book of Spooks and Spectres\\nLong John and the Mermaid, A Book of Mermaids\\nThe Small, Small Cat, A Book of Cats and Creatures\\nThe Spectre Wolf, A Book of Spooks and Spectres\\n\\nValley of the Nile\\nThe Forty Goats, A Book of Charms and Changelings\\nThe Good Oum-Aly, The Three Witch Maidens\\n\\nWales\\nJack and the Wizard, A Book of Wizards and A Choice of Magic\\nThe Lake Maiden, A Book of Mermaids\\n\\nWest Africa\\nLu-bo-bo, A Book of Monsters\\n\\nYugoslavia\\nThe Little Old Man in the Tree, A Book of Spooks and Spectres\\nThe Prince and the Sky-Blue Filly, A Book of Princes and Princesses\\n\\nZeeland\\nKnurremurre, A Book of Dwarfs and A Choice of Magic\\n\\nZulu\\nVoo-too-koo, Sir Green Hat and the Wizard (also listed as a South African tale)\",\n \"Petre Ispirescu (; January 1830 – 21 November 1887) was a Romanian editor, folklorist, printer, and publicist. He is best known for his work as a gatherer of Romanian folk tales, recounting them with a remarkable talent.\\n\\nCareer \\nPetre Ispirescu was born in Bucharest, the son of Gheorghe Ispirescu, a barber, and Elena Ispirescu, a remarkable story teller. He grew up listening to countless folk tales told by his parents and his father's customers and apprentices. His parents wanted him to be a priest and he was entrusted to study with a monk at the Metropolitan Church, after which he studied with a priest at the Domnița Bălașa Church.\\n\\nHe dropped out in 1844 at age fourteen and became an apprentice at the printing house headed by Zaharia Carcalechi, hoping to further his education by reading the books printed there. Working 14 hours a day, he became a qualified printer in 1848. In 1854, he was hired at the Copainie typography. In 1858, within the context of talks about the unification of the Romanian Principalities, the printing house accepted to publish the secret correspondence of Prince Nicolae Vogoride, without the accord of the censors. The police arrested all those involved and Petre Ispirescu was jailed for a month, losing his job. By the end of the year, Vasile Boerescu - a supporter of the union of the Romanian Principalities and future Foreign Minister - offered him the manager position of a modern typography that owned the first mechanical printing press in Bucharest and published the Naționalul newspaper. His position introduced him to contemporary politicians and writers like \\nIon Ionescu de la Brad, Nicolae Filimon, Ion Ghica, and Dimitrie Bolintineanu. In 1863, Vasile Boerescu sold the typography and Petre Ispirescu became the manager of the typography publishing the Liberal Party newspaper Romanul. At the time, the Liberal Party was the main opposition party. The newspaper was suppressed in 1864. Ispirescu, together with Walter Scarlat and Frederick Gobl, then founded the United Workers Typography. A year later, Ispirescu published the Romanian Typographer pamphlet. The abdication in 1866 of the first ruler of the United Principalities of Moldavia and Wallachia, Alexandru Ioan Cuza, is recorded with sadness there. After becoming the sole associate of the printing house, he renamed it Romanian Academy Publishing House in 1878.\\n\\nInvited by the Interior Minister Ion Ghica, Ispirescu became the head of the State Printing House in 1866. He resigned two years later.\\n\\nIspirescu left Bucharest for the first time in his life in 1880 for a short trip to Roșiorii de Vede, a small town 74.5 miles away. In 1883 he had a first stroke; he suffered a second stroke while sitting at his desk, and died on 21 November 1887. He is buried at Bellu Cemetery in Bucharest along many other famous Romanians.\\n\\nIspirescu began to publish Romanian folk stories in 1862, at the incentive of Nicolae Filimon. His first collection of six folk tales appeared in Țăranul Român and later as a booklet. Subsequently, these tales were added to his renowned collection, Romanian Fairy Tales, today a bibliographic rarity. He resumed his publishing work in 1872 with the collection Romanian Folk Tales. Riddles and Proverbs with a preface by Bogdan Petriceicu Hasdeu, followed by Folk Anecdotes and Folk Tales in 1874, and The Life and Feats of Mihai Viteazu in 1876. He was praised for the deep and invaluable knowledge of the Romanian folk works. In 1879 he published Tales of the Wise Old Man - a retelling in an accessible language for children of universal myths and fragments of Greek mythology - with a preface by Alexandru Odobescu.\\n\\nHis major work, Romanian Fairy Tales, was published in 1882 with a preface by Vasile Alecsandri.\\n\\nWorks\\n\\nIspirescu is especially known for his collections of Romanian folk tales.\\n\\nColecție de șase basme in Țăranul Român (1862, a collection of six folk tales published in Țăranul Român)\\nLegende sau basmele românilor. Ghicitori și Proverburi (1872, \\\"Romanian Legends and Folk Tales. Riddles and Proverbs\\\")\\nSnoave și Povești populare (1874, \\\"Folk Anecdotes and Folk Tales\\\")\\nIsprăvile și viața lui Mihai Viteazu (1876, \\\"The Life and Feats of Mihai Viteazu\\\")\\nPoveștele unchiașului sfătos (1879, \\\"Tales of the Wise Old Man\\\")\\nPilde și ghicitori (1880, \\\"Parables and riddles\\\")\\nLegendele sau basmele Românilor (1882, \\\"Romanian Fairy Tales\\\")\\nBasme, snoave și glume (1883, \\\"Tales, Anecdotes, and Jests\\\")\\nJucării şi jocuri de copil (1885, \\\"Children's Toys and Games\\\")\\nPovești morale. Despre pomul Crăciunului (1886, \\\"Moral Stories. About the Christmas Tree\\\")\\n\\nSee also\\n Kingdom in the Clouds (a 1969 film directed by Elisabeta Bostan)\\n Dan Petrescu, Romanian businessman, nicknamed \\\"Petre Ispirescu\\\" by his friends in honor to Ispirescu\\n\\nReferences\\n\\nDimitrie R Rosetti (1897) Dicţionarul contimporanilor, Editura Lito-Tipografiei \\\"Populara\\\"\\n\\nExternal links\\n \\n \\n\\nRomanian collectors of fairy tales\\nRomanian folklorists\\nRomanian printers\\nWriters from Bucharest\\nBurials at Bellu Cemetery\\n1830 births\\n1887 deaths\\n19th-century Romanian writers\"\n]"},"chunked_article":{"kind":"list like","value":["Sinhalese people () are an Indo-Aryan ethnic group native to the island of Sri Lanka. They were historically known as Hela people (). They constitute about 75% of the Sri Lankan population and number greater than 16.2 million. The Sinhalese identity is based on language, cultural heritage and nationality.","The Sinhalese identity is based on language, cultural heritage and nationality. The Sinhalese people speak Sinhala, an insular Indo-Aryan language, and are predominantly Theravada Buddhists, although a minority of Sinhalese follow branches of Christianity and other religions.","The Sinhalese people speak Sinhala, an insular Indo-Aryan language, and are predominantly Theravada Buddhists, although a minority of Sinhalese follow branches of Christianity and other religions. Since 1815, they were broadly divided into two respective groups: The 'Up-country Sinhalese' in the central mountainous regions, and the 'Low-country Sinhalese' in the coastal regions; although both groups speak the same language, they are distinguished as they observe different cultural customs.","Since 1815, they were broadly divided into two respective groups: The 'Up-country Sinhalese' in the central mountainous regions, and the 'Low-country Sinhalese' in the coastal regions; although both groups speak the same language, they are distinguished as they observe different cultural customs. According to the Mahavamsa and the Dipavamsa, a 3rd–5th century treatise written in Pali by Buddhist monks of the Anuradhapura Maha Viharaya in Sri Lanka, the Sinhalese descend from settlers who came to the island in 543 BCE from Sinhapura led by Prince Vijaya who mixed with the indigenous Yakka and later settlers from the Pandya kingdom.","According to the Mahavamsa and the Dipavamsa, a 3rd–5th century treatise written in Pali by Buddhist monks of the Anuradhapura Maha Viharaya in Sri Lanka, the Sinhalese descend from settlers who came to the island in 543 BCE from Sinhapura led by Prince Vijaya who mixed with the indigenous Yakka and later settlers from the Pandya kingdom. Etymology From the Sanskrit word Sinhala, meaning literally \"of lions\".","Etymology From the Sanskrit word Sinhala, meaning literally \"of lions\". The Mahavamsa records the origin of the Sinhalese people and related historical events.","The Mahavamsa records the origin of the Sinhalese people and related historical events. It traces the historical origin of the Sinhalese people back to the first king who mentioned in the documentary history of Sri Lanka, Vijaya, who is the son of Sinhabahu (Sanskrit meaning 'Sinha' (lion) + 'bahu' (hands, feet), the ruler of Sinhapura.","It traces the historical origin of the Sinhalese people back to the first king who mentioned in the documentary history of Sri Lanka, Vijaya, who is the son of Sinhabahu (Sanskrit meaning 'Sinha' (lion) + 'bahu' (hands, feet), the ruler of Sinhapura. Some versions suggest Vijaya is the grandson of Sinhabahu.","Some versions suggest Vijaya is the grandson of Sinhabahu. According to the Mahavamsa, Sinhabahu was the son of princess Suppadevi of Vanga, who copulated with a lion and gave birth to a daughter called Sinhasivali and to a son, Sinhabahu, whose hands and feet were like the paws of a lion and who had the strength of a lion.","According to the Mahavamsa, Sinhabahu was the son of princess Suppadevi of Vanga, who copulated with a lion and gave birth to a daughter called Sinhasivali and to a son, Sinhabahu, whose hands and feet were like the paws of a lion and who had the strength of a lion. King Vijaya, the lineage of Sinhabahu, according to the Mahavamsa and other historical sources, arrived on the island of Tambapanni (Sri Lanka) and gave origin to the lion people, Sinhalese.","King Vijaya, the lineage of Sinhabahu, according to the Mahavamsa and other historical sources, arrived on the island of Tambapanni (Sri Lanka) and gave origin to the lion people, Sinhalese. The story of the arrival of Prince Vijaya in Sri Lanka and the origin of the Sinhalese people is also depicted in the Ajanta caves, in a mural of cave number 17.","The story of the arrival of Prince Vijaya in Sri Lanka and the origin of the Sinhalese people is also depicted in the Ajanta caves, in a mural of cave number 17. According to Arisen Ahubudu, there were four major clans of \"hela\" in ancient Sri Lanka even before the arrival of Prince Vijaya, and that Sri Lanka was called as \"Siv hela\" (siv=four in the Sinhala language) and later it was changed into \"Sinhala\".","According to Arisen Ahubudu, there were four major clans of \"hela\" in ancient Sri Lanka even before the arrival of Prince Vijaya, and that Sri Lanka was called as \"Siv hela\" (siv=four in the Sinhala language) and later it was changed into \"Sinhala\". History The early recorded history of the Sinhalese is chronicled in two documents, the Mahavamsa, written in Pāli around the 4th century CE, and the later Culavamsa (the first segment probably penned in the 13th century CE by the Buddhist monk Dhammakitti).","History The early recorded history of the Sinhalese is chronicled in two documents, the Mahavamsa, written in Pāli around the 4th century CE, and the later Culavamsa (the first segment probably penned in the 13th century CE by the Buddhist monk Dhammakitti). These are ancient sources that cover the histories of the powerful ancient Sinhalese kingdoms of Anuradhapura and Polonnaruwa which lasted for 1500 years.","These are ancient sources that cover the histories of the powerful ancient Sinhalese kingdoms of Anuradhapura and Polonnaruwa which lasted for 1500 years. The Mahavamsa describes the existence of fields of rice and reservoirs, indicating a well-developed agrarian society.","The Mahavamsa describes the existence of fields of rice and reservoirs, indicating a well-developed agrarian society. Pre Anuradhapura period According to Mahavamsa, Prince Vijaya and his 700 followers left Suppāraka, landed on the island at a site believed by historians to be in the district of Puttalam, south of modern-day Mannar and founded the Kingdom of Thambapanni.","Pre Anuradhapura period According to Mahavamsa, Prince Vijaya and his 700 followers left Suppāraka, landed on the island at a site believed by historians to be in the district of Puttalam, south of modern-day Mannar and founded the Kingdom of Thambapanni. It is recorded the Vijaya made his landing on the day of Buddha's Parinirvana.","It is recorded the Vijaya made his landing on the day of Buddha's Parinirvana. Vijaya claimed Tambapanni his capital and soon the whole island come under this name. Tambapanni was originally inhabited and governed by Yakkhas, having their capital at Sirīsavatthu and their queen Kuveni. According to the Samyutta Commentary, Tambapanni was one hundred leagues in extent.","According to the Samyutta Commentary, Tambapanni was one hundred leagues in extent. At the end of his reign, Vijaya, having trouble choosing a successor, sent a letter to the city of his ancestors, Sinhapura, in order to invite his brother Sumitta to take over the throne.","At the end of his reign, Vijaya, having trouble choosing a successor, sent a letter to the city of his ancestors, Sinhapura, in order to invite his brother Sumitta to take over the throne. However, Vijaya had died before the letter had reached its destination, so the elected minister of the people Upatissa, the Chief government minister or prime minister and leading chief among the Sinhalese became regent and acted as regent for a year.","However, Vijaya had died before the letter had reached its destination, so the elected minister of the people Upatissa, the Chief government minister or prime minister and leading chief among the Sinhalese became regent and acted as regent for a year. After his coronation, which was held in the Kingdom of Tambapanni, he left it, building another one, bearing his own name.","After his coronation, which was held in the Kingdom of Tambapanni, he left it, building another one, bearing his own name. While he was king, Upatissa established the new capital Upatissa, in which the kingdom was moved to from the Kingdom of Tambapanni.","While he was king, Upatissa established the new capital Upatissa, in which the kingdom was moved to from the Kingdom of Tambapanni. When Vijaya's letter arrived, Sumitta had already succeeded his father as king of his country, and so he sent his son Panduvasdeva to rule Upatissa Nuwara.","When Vijaya's letter arrived, Sumitta had already succeeded his father as king of his country, and so he sent his son Panduvasdeva to rule Upatissa Nuwara. Upatissa Nuwara was seven or eight miles further north of the Kingdom of Tambapanni.","Upatissa Nuwara was seven or eight miles further north of the Kingdom of Tambapanni. It was named after the regent king Upatissa, who was the prime minister of Vijaya, and was founded in 505 BC after the death of Vijaya and the end of the Kingdom of Tambapanni.","It was named after the regent king Upatissa, who was the prime minister of Vijaya, and was founded in 505 BC after the death of Vijaya and the end of the Kingdom of Tambapanni. Anuradhapura period In 377 BC, King Pandukabhaya (437–367 BC) moved the capital to Anuradhapura and developed it into a prosperous city.","Anuradhapura period In 377 BC, King Pandukabhaya (437–367 BC) moved the capital to Anuradhapura and developed it into a prosperous city. Anuradhapura (Anurapura) was named after the minister who first established the village and after a grandfather of Pandukabhaya who lived there.","Anuradhapura (Anurapura) was named after the minister who first established the village and after a grandfather of Pandukabhaya who lived there. The name was also derived from the city's establishment on the auspicious asterism called Anura. Anuradhapura was the capital of all the monarchs who ruled from the dynasty.","Anuradhapura was the capital of all the monarchs who ruled from the dynasty. Rulers such as Dutthagamani, Valagamba, and Dhatusena are noted for defeating the South Indians and regaining control of the kingdom.","Rulers such as Dutthagamani, Valagamba, and Dhatusena are noted for defeating the South Indians and regaining control of the kingdom. Other rulers who are notable for military achievements include Gajabahu I, who launched an invasion against the invaders, and Sena II, who sent his armies to assist a Pandyan prince.","Other rulers who are notable for military achievements include Gajabahu I, who launched an invasion against the invaders, and Sena II, who sent his armies to assist a Pandyan prince. Polonnaruwa period During the Middle Ages Sri Lanka was well known for its agricultural prosperity under king Parakramabahu in Polonnaruwa during which period the island was famous around the world as the rice mill of the east.","Polonnaruwa period During the Middle Ages Sri Lanka was well known for its agricultural prosperity under king Parakramabahu in Polonnaruwa during which period the island was famous around the world as the rice mill of the east. Transitional period Later in the 13th century the country's administrative provinces were divided into independent kingdoms and chieftaincies: Kingdom of Sitawaka, Kingdom of Kotte, Jaffna Kingdom and the Kandyan kingdom.","Transitional period Later in the 13th century the country's administrative provinces were divided into independent kingdoms and chieftaincies: Kingdom of Sitawaka, Kingdom of Kotte, Jaffna Kingdom and the Kandyan kingdom. The invasion by the Hindu king Magha in the 13th century led to migrations by the Buddhists (mostly Sinhalese) to areas not under his control.","The invasion by the Hindu king Magha in the 13th century led to migrations by the Buddhists (mostly Sinhalese) to areas not under his control. This migration was followed by a period of conflict among the Sinhalese chiefs who tried to exert political supremacy.","This migration was followed by a period of conflict among the Sinhalese chiefs who tried to exert political supremacy. Parakramabahu VI, a Sinhalese king invaded the Jaffna Kingdom and conquered it, bringing the entire country back under the Sinhalese kingdom.","Parakramabahu VI, a Sinhalese king invaded the Jaffna Kingdom and conquered it, bringing the entire country back under the Sinhalese kingdom. Trade also increased during this period, as Sri Lanka began to trade cinnamon and a large number of Muslim traders were bought into the island.","Trade also increased during this period, as Sri Lanka began to trade cinnamon and a large number of Muslim traders were bought into the island. In the 15th century a Kandyan Kingdom formed which divided the Sinhalese politically into low-country and up-country.","In the 15th century a Kandyan Kingdom formed which divided the Sinhalese politically into low-country and up-country. In this period, the Sinhalese caste structure absorbed recent Dravidian Hindu immigrants from South India leading to the emergence of three new Sinhalese caste groups - the Salagama, the Durava and the Karava.","In this period, the Sinhalese caste structure absorbed recent Dravidian Hindu immigrants from South India leading to the emergence of three new Sinhalese caste groups - the Salagama, the Durava and the Karava. Modern history The Sinhalese have a stable birth rate and a population that has been growing at a slow pace relative to India and other Asian countries.","Modern history The Sinhalese have a stable birth rate and a population that has been growing at a slow pace relative to India and other Asian countries. Society Demographics Sri Lanka Within Sri Lanka the majority of the Sinhalese reside in the South, Central, Sabaragamuwa and Western parts of the country.","Society Demographics Sri Lanka Within Sri Lanka the majority of the Sinhalese reside in the South, Central, Sabaragamuwa and Western parts of the country. This coincides with the largest Sinhalese populations areas in Sri Lanka. Cities with more than 90% Sinhalese population include Hambantota, Galle, Gampaha, Kurunegala, Monaragala, Anuradhapura and Polonnaruwa.","Cities with more than 90% Sinhalese population include Hambantota, Galle, Gampaha, Kurunegala, Monaragala, Anuradhapura and Polonnaruwa. Diaspora Sinhalese people have emigrated out to many countries for a variety of reasons. The larger diaspora communities are situated in the United Kingdom, Australia, United States and Canada among others.","The larger diaspora communities are situated in the United Kingdom, Australia, United States and Canada among others. In addition to this there are many Sinhalese, who reside in the Middle East, Southeast Asia and Europe, temporarily in connection with employment and/or education.","In addition to this there are many Sinhalese, who reside in the Middle East, Southeast Asia and Europe, temporarily in connection with employment and/or education. They are often employed as guest workers in the Middle East and professionals in the other regions.","They are often employed as guest workers in the Middle East and professionals in the other regions. The largest population centres of the Sinhalese diaspora are mainly situated in Europe, North America and Australia. The city of Melbourne contains just under half of the Sri Lankan Australians. The 2011 census recorded 86,412 Sri Lanka born in Australia.","The 2011 census recorded 86,412 Sri Lanka born in Australia. There are 73,849 Australians (0.4 of the population) who reported having Sinhalese ancestry in 2006. Sinhala was also reported to be the 29th-fastest-growing language in Australia (ranking above Somali but behind Hindi and Belarusian).","Sinhala was also reported to be the 29th-fastest-growing language in Australia (ranking above Somali but behind Hindi and Belarusian). Sinhalese Australians have an exceptionally low rate of return migration to Sri Lanka. In the 2011 Canadian Census, 7,220 people identified themselves as of Sinhalese ancestry, out of 139,415 Sri Lankans.","In the 2011 Canadian Census, 7,220 people identified themselves as of Sinhalese ancestry, out of 139,415 Sri Lankans. There are a small number of Sinhalese people in India, scattered around the country, but mainly living in and around the northern and southern regions.","There are a small number of Sinhalese people in India, scattered around the country, but mainly living in and around the northern and southern regions. Sri Lankan New Zealanders comprised 3% of the Asian population of New Zealand in 2001.","Sri Lankan New Zealanders comprised 3% of the Asian population of New Zealand in 2001. The numbers arriving continued to increase, and at the 2018 census there were over 16,000 Sri Lankans living in New Zealand among those 9,171 were Sinhalese. In the U.S, the Sinhalese number about 12,000 people.","In the U.S, the Sinhalese number about 12,000 people. The New York City Metropolitan Area contains the largest Sri Lankan community in the United States, receiving the highest legal permanent resident Sri Lankan immigrant population, followed by Central New Jersey and the Los Angeles metropolitan area. Many Sinhalese have migrated to Italy since the 1970s.","Many Sinhalese have migrated to Italy since the 1970s. Italy was attractive to the Sinhalese due to perceived easier employment opportunities and entry, compared to other European countries. It is estimated that there are 30,000-33,000 Sinhalese in Italy.","It is estimated that there are 30,000-33,000 Sinhalese in Italy. The major Sinhalese communities in Italy are located in Lombardia (In the districts Loreto and Lazzaretto), Milan, Lazio, Rome, Naples, and Southern Italy (Particularly Palermo, Messina and Catania).","The major Sinhalese communities in Italy are located in Lombardia (In the districts Loreto and Lazzaretto), Milan, Lazio, Rome, Naples, and Southern Italy (Particularly Palermo, Messina and Catania). It should be noted however that many countries census list Sri Lankan which also includes Sri Lankan Tamils so the numbers of just Sinhalese are not as accurate when the census states Sri Lankan and not Sinhalese.","It should be noted however that many countries census list Sri Lankan which also includes Sri Lankan Tamils so the numbers of just Sinhalese are not as accurate when the census states Sri Lankan and not Sinhalese. Though Sinhalese people in particular and Sri Lankans in general have migrated to the UK over the centuries beginning from the colonial times, the number of Sinhalese people in the UK cannot be estimated accurately due to inadequacies of census in the UK.","Though Sinhalese people in particular and Sri Lankans in general have migrated to the UK over the centuries beginning from the colonial times, the number of Sinhalese people in the UK cannot be estimated accurately due to inadequacies of census in the UK. The UK government does not record statistics on the basis of language or ethnicity and all Sri Lankans are classified into one group as Asian British or Asian Other.","The UK government does not record statistics on the basis of language or ethnicity and all Sri Lankans are classified into one group as Asian British or Asian Other. Language and literature Sinhalese people speak Sinhala, also known as \"Helabasa\"; this language has two varieties, spoken and written.","Language and literature Sinhalese people speak Sinhala, also known as \"Helabasa\"; this language has two varieties, spoken and written. Sinhala is an Indo-Aryan language within the broader group of Indo-European languages.","Sinhala is an Indo-Aryan language within the broader group of Indo-European languages. The early form of the language was brought to Sri Lanka by the ancestors of the Sinhalese people from northern India who settled on the island in the 6th century BCE.","The early form of the language was brought to Sri Lanka by the ancestors of the Sinhalese people from northern India who settled on the island in the 6th century BCE. Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages.","Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages. It was influenced by many languages, prominently Pali, the sacred language of Southern Buddhism, Telugu and Sanskrit. Many early texts in the language such as the Hela Atuwa were lost after their translation into Pali.","Many early texts in the language such as the Hela Atuwa were lost after their translation into Pali. Other significant Sinhala texts include Amāvatura, Kavu Silumina, Jathaka Potha and Sala Liheeniya. Sinhala has also adopted many loanwords of foreign origin, including from many Indian such as Tamil and European languages such as Portuguese, Dutch, and English.","Sinhala has also adopted many loanwords of foreign origin, including from many Indian such as Tamil and European languages such as Portuguese, Dutch, and English. Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world.","Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world. The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages.","The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages. Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and foreign films.","Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and foreign films. Additionally many Dutch and Portuguese words can be seen in the coastal areas.","Additionally many Dutch and Portuguese words can be seen in the coastal areas. Sinhalese people, depending on where they live in Sri Lanka, may also additionally speak English and or Tamil. According to the 2012 Census 23.8% or 3,033,659 Sinhalese people also spoke English and 6.4% or 812,738 Sinhalese people also spoke Tamil.","According to the 2012 Census 23.8% or 3,033,659 Sinhalese people also spoke English and 6.4% or 812,738 Sinhalese people also spoke Tamil. In the Negombo area bilingual fishermen who generally identify themselves as Sinhalese also speak the Negombo Tamil dialect. This dialect has undergone considerable convergence with spoken Sinhala.","This dialect has undergone considerable convergence with spoken Sinhala. Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today. Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance.","Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance. Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son.","Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son. In the modern period, Sinhala writers such as Martin Wickremasinghe and G. B. Senanayake have drawn widespread acclaim. Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake.","Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake. Martin Wickramasinghe wrote the immensely popular children's novel Madol Duwa. Munadasa Cumaratunga's Hath Pana is also widely known. Religion The form of Buddhism in Sri Lanka is known as Theravada (school of elders).","Religion The form of Buddhism in Sri Lanka is known as Theravada (school of elders). The Pali chronicles (e.g., the Mahavansa) claim that the Sinhalese as an ethnic group are destined to preserve and protect Buddhism. In 1988 almost 93% of the Sinhala speaking population in Sri Lanka were Buddhist.","In 1988 almost 93% of the Sinhala speaking population in Sri Lanka were Buddhist. Observations of current religious beliefs and practices demonstrate that the Sinhalese, as a religious community, have a complex worldview as Buddhists.","Observations of current religious beliefs and practices demonstrate that the Sinhalese, as a religious community, have a complex worldview as Buddhists. Due to the proximity and on some occasions similarity of certain doctrines, there are many areas where Buddhists and Hindus share religious views and practices.","Due to the proximity and on some occasions similarity of certain doctrines, there are many areas where Buddhists and Hindus share religious views and practices. Sinhalese Buddhists have adopted religious elements from Hindu traditions in their religious practices.","Sinhalese Buddhists have adopted religious elements from Hindu traditions in their religious practices. Some of these practices may relate to ancient indigenous beliefs and traditions on spirits (folk religion), and the worship of Hindu deities. Some of these figures are used in healing rituals and may be native to the island.","Some of these figures are used in healing rituals and may be native to the island. Gods and goddess derived from Hindu deities are worshiped by Sinhalese. Kataragama Deviyo from Kartikeya, Upulvan from Vishnu and Ayyanayake from Aiyanar can be named as examples.","Kataragama Deviyo from Kartikeya, Upulvan from Vishnu and Ayyanayake from Aiyanar can be named as examples. Though these gods take the same place as their Hindu counterparts in mythology, some of their aspects are different compared to the original gods.","Though these gods take the same place as their Hindu counterparts in mythology, some of their aspects are different compared to the original gods. Prominent Sri Lankan anthropologists Gananath Obeyesekere and Kitsiri Malalgoda used the term \"Protestant Buddhism\" to describe a type of Buddhism that appeared among the Sinhalese in Sri Lanka as a response to Protestant Christian missionaries and their evangelical activities during the British colonial period.","Prominent Sri Lankan anthropologists Gananath Obeyesekere and Kitsiri Malalgoda used the term \"Protestant Buddhism\" to describe a type of Buddhism that appeared among the Sinhalese in Sri Lanka as a response to Protestant Christian missionaries and their evangelical activities during the British colonial period. This kind of Buddhism involved emulating the Protestant strategies of organising religious practices.","This kind of Buddhism involved emulating the Protestant strategies of organising religious practices. They saw the need to establish Buddhist schools for educating Buddhist youth and organising Buddhists with new organisations such as the Young Men's Buddhist Association, as well as printing pamphlets to encourage people to participate in debates and religious controversies to defend Buddhism.","They saw the need to establish Buddhist schools for educating Buddhist youth and organising Buddhists with new organisations such as the Young Men's Buddhist Association, as well as printing pamphlets to encourage people to participate in debates and religious controversies to defend Buddhism. Christianity There is a significant Sinhalese Christian community, in the maritime provinces of Sri Lanka.","Christianity There is a significant Sinhalese Christian community, in the maritime provinces of Sri Lanka. Christianity was brought to the Sinhalese by Portuguese, Dutch, and British missionary groups during their respective periods of rule. Most Sinhalese Christians are Roman Catholic; a minority are Protestant. Their cultural centre is Negombo.","Their cultural centre is Negombo. Their cultural centre is Negombo. Religion is considered very important among the Sinhalese. According to a 2008 Gallup poll, 99% of Sri Lankans considered religion an important aspect of their daily lives. Genetics Modern studies point towards a predominantly Bengali contribution and a minor Tamil influence.","Genetics Modern studies point towards a predominantly Bengali contribution and a minor Tamil influence. Gujarati and Punjabi lineages are also visible. In relation to the former, other studies also show the Sinhalese possess some genetic admixture from Southeast Asian populations, especially from Austroasiatic groups.","In relation to the former, other studies also show the Sinhalese possess some genetic admixture from Southeast Asian populations, especially from Austroasiatic groups. Certain Y-DNA and mtDNA haplogroups and genetic markers of immunoglobulin among the Sinhalese, for example, show Southeast Asian genetic influences many of which are also found among certain Northeast Indian populations to whom the Sinhalese are genetically related.","Certain Y-DNA and mtDNA haplogroups and genetic markers of immunoglobulin among the Sinhalese, for example, show Southeast Asian genetic influences many of which are also found among certain Northeast Indian populations to whom the Sinhalese are genetically related. Culture Sinhalese culture is a unique one dating as far back as 2600 years and has been nourished by Theravada Buddhism.","Culture Sinhalese culture is a unique one dating as far back as 2600 years and has been nourished by Theravada Buddhism. Its main domains are sculpture, fine arts, literature, dancing, poetry and a wide variety of folk beliefs and rituals traditionally.","Its main domains are sculpture, fine arts, literature, dancing, poetry and a wide variety of folk beliefs and rituals traditionally. Ancient Sinhala stone sculpture and inscriptions are known worldwide and is a main foreign attraction in modern tourism. Sigirirya is famous for its frescoes.","Sigirirya is famous for its frescoes. Folk poems were sung by workers to accompany their work and narrate the story of their lives. Ideally these poems consisted of four lines and, in the composition of these poems, special attention had been paid to the rhyming patterns. Buddhist festivals are dotted by unique music using traditionally Sinhalese instruments.","Buddhist festivals are dotted by unique music using traditionally Sinhalese instruments. More ancient rituals like (devil exorcism) continue to enthrall audiences today and often praised and invoked the good powers of the Buddha and the gods in order to exorcise the demons.","More ancient rituals like (devil exorcism) continue to enthrall audiences today and often praised and invoked the good powers of the Buddha and the gods in order to exorcise the demons. Folklore and national mythology According to the Mahavamsa, the Sinhalese are descended from the exiled Prince Vijaya and his party of seven hundred followers who arrived on the island in 543 BCE.","Folklore and national mythology According to the Mahavamsa, the Sinhalese are descended from the exiled Prince Vijaya and his party of seven hundred followers who arrived on the island in 543 BCE. Vijaya and his followers were said to have arrived in Sri Lanka after being exiled from the city of Sinhapura in Bengal.","Vijaya and his followers were said to have arrived in Sri Lanka after being exiled from the city of Sinhapura in Bengal. The modern Sinhalese people were found genetically to be most closely related to the people of North-East India (Bengal).","The modern Sinhalese people were found genetically to be most closely related to the people of North-East India (Bengal). It is thought throughout Sri Lanka's history, since the founding of the Sinhalese in the 5th century BC that an influx of Indians from North India came to the island.","It is thought throughout Sri Lanka's history, since the founding of the Sinhalese in the 5th century BC that an influx of Indians from North India came to the island. This is further supported from Sinhala being part of the Indo-Aryan language group. Traditionally during recreation the Sinhalese wear a sarong (sarama in Sinhala).","Traditionally during recreation the Sinhalese wear a sarong (sarama in Sinhala). Men may wear a long-sleeved shirt with a sarong. Clothing varies by region for women. Low country Sinhalese women wear a white Long sleeved jacket, and a tight wrap around skirt, which usually is embedded with a floral or pattern design.","Low country Sinhalese women wear a white Long sleeved jacket, and a tight wrap around skirt, which usually is embedded with a floral or pattern design. As for the up country Sinhalese, women wear a similar outfit, but with a puffed up shoulder jacket, and a tucked in frill that lines the top of the skirt (Reda and Hatte in Sinhala).","As for the up country Sinhalese, women wear a similar outfit, but with a puffed up shoulder jacket, and a tucked in frill that lines the top of the skirt (Reda and Hatte in Sinhala). Traditionally, high caste Kandyan women wear a Kandyan style sari, which is similar to the Maharashtrian sari, with the drape but with a frill lining the bottom half and sometimes puffed up sleeves.","Traditionally, high caste Kandyan women wear a Kandyan style sari, which is similar to the Maharashtrian sari, with the drape but with a frill lining the bottom half and sometimes puffed up sleeves. It’s also called an Osariya. The low country high caste women wear a South Indian style saree.","The low country high caste women wear a South Indian style saree. Within the more populated areas, Sinhalese men also wear Western-style clothing — wearing suits while the women wear skirts and blouses.","Within the more populated areas, Sinhalese men also wear Western-style clothing — wearing suits while the women wear skirts and blouses. For formal and ceremonial occasions women wear the traditional Kandyan (Osariya) style, which consists of a full blouse which covers the midriff completely, and is partially tucked in at the front.","For formal and ceremonial occasions women wear the traditional Kandyan (Osariya) style, which consists of a full blouse which covers the midriff completely, and is partially tucked in at the front. However, modern intermingling of styles has led to most wearers baring the midriff. The Kandyan style is considered as the national dress of Sinhalese women.","The Kandyan style is considered as the national dress of Sinhalese women. In many occasions and functions, even the saree plays an important role in women's clothing and has become the de facto clothing for female office workers especially in government sector. An example of its use is the uniform of air hostesses of Sri Lankan Airlines.","An example of its use is the uniform of air hostesses of Sri Lankan Airlines. Cuisine Sinhalese cuisine is one of the most complex cuisines of South Asia. As a major trade hub, it draws influence from colonial powers that were involved in Sri Lanka and by foreign traders.","As a major trade hub, it draws influence from colonial powers that were involved in Sri Lanka and by foreign traders. Rice, which is consumed daily, can be found at any occasion, while spicy curries are favourite dishes for lunch and dinner.","Rice, which is consumed daily, can be found at any occasion, while spicy curries are favourite dishes for lunch and dinner. Some of the Sri Lankan dishes have striking resemblance to Kerala cuisine, which could be due to the similar geographic and agricultural features with Kerala.","Some of the Sri Lankan dishes have striking resemblance to Kerala cuisine, which could be due to the similar geographic and agricultural features with Kerala. A well-known rice dish with Sinhalese is Kiribath, meaning ‘milk rice’. In addition to , Sinhalese eat , chopped leaves mixed with grated coconut and red onions.","In addition to , Sinhalese eat , chopped leaves mixed with grated coconut and red onions. Coconut milk is found in most Sri Lankan dishes to give the cuisine its unique flavour. Sri Lanka has long been renowned for its spices. The best known is cinnamon which is native to Sri Lanka.","The best known is cinnamon which is native to Sri Lanka. In the 15th and 16th centuries, spice and ivory traders from all over the world who came to Sri Lanka brought their native cuisines to the island, resulting in a rich diversity of cooking styles and techniques.","In the 15th and 16th centuries, spice and ivory traders from all over the world who came to Sri Lanka brought their native cuisines to the island, resulting in a rich diversity of cooking styles and techniques. Lamprais, rice boiled in stock with a special curry, accompanied by frikkadels (meatballs), all of which is then wrapped in a banana leaf and baked as a Dutch-influenced Sri Lankan dish.","Lamprais, rice boiled in stock with a special curry, accompanied by frikkadels (meatballs), all of which is then wrapped in a banana leaf and baked as a Dutch-influenced Sri Lankan dish. Dutch and Portuguese sweets also continue to be popular. British influences include roast beef and roast chicken.","British influences include roast beef and roast chicken. Also, the influence of the Indian cooking methods and food have played a major role in what Sri Lankans eat. The island nation's cuisine mainly consists of boiled or steamed rice served with curry.","The island nation's cuisine mainly consists of boiled or steamed rice served with curry. This usually consists of a main curry of fish or chicken, as well as several other curries made with vegetables, lentils and even fruit curries. Side-dishes include pickles, chutneys and .","Side-dishes include pickles, chutneys and . The most famous of these is the coconut sambol, made of ground coconut mixed with chili peppers, dried Maldive fish and lime juice. This is ground to a paste and eaten with rice, as it gives zest to the meal and is believed to increase appetite.","This is ground to a paste and eaten with rice, as it gives zest to the meal and is believed to increase appetite. Art and architecture Many forms of Sri Lankan arts and crafts take inspiration from the island's long and lasting Buddhist culture which in turn has absorbed and adopted countless regional and local traditions.","Art and architecture Many forms of Sri Lankan arts and crafts take inspiration from the island's long and lasting Buddhist culture which in turn has absorbed and adopted countless regional and local traditions. In most instances Sri Lankan art originates from religious beliefs, and is represented in many forms such as painting, sculpture, and architecture.","In most instances Sri Lankan art originates from religious beliefs, and is represented in many forms such as painting, sculpture, and architecture. One of the most notable aspects of Sri Lankan art are caves and temple paintings, such as the frescoes found at Sigiriya, and religious paintings found in temples in Dambulla and Temple of the Tooth Relic in Kandy.","One of the most notable aspects of Sri Lankan art are caves and temple paintings, such as the frescoes found at Sigiriya, and religious paintings found in temples in Dambulla and Temple of the Tooth Relic in Kandy. Other popular forms of art have been influenced by both natives as well as outside settlers.","Other popular forms of art have been influenced by both natives as well as outside settlers. For example, traditional wooden handicrafts and clay pottery are found around the hill country while Portuguese-inspired lacework and Indonesian-inspired Batik have become notable. It has many different and beautiful drawings.","It has many different and beautiful drawings. Developed upon Indo-Aryan architectural skills in the late 6th century BCE Sinhalese people who lived upon greater kingdoms such as Anuradhapura and Polonnaruwa have built so many architectural examples such as Ruwanwelisaya, Jetavanaramaya - second tallest brick building in the ancient world after Great Pyramid of Giza, and Abayagiriya - third tallest brick building in the ancient world.","Developed upon Indo-Aryan architectural skills in the late 6th century BCE Sinhalese people who lived upon greater kingdoms such as Anuradhapura and Polonnaruwa have built so many architectural examples such as Ruwanwelisaya, Jetavanaramaya - second tallest brick building in the ancient world after Great Pyramid of Giza, and Abayagiriya - third tallest brick building in the ancient world. And also with the ancient hydraulic technology which is also unique to Sinhalese people to build ancient tanks, systematic ponds with fountains moats and Irrigational reservoirs such as Parakrama Samudra, Kaudulla and Kandalama.","And also with the ancient hydraulic technology which is also unique to Sinhalese people to build ancient tanks, systematic ponds with fountains moats and Irrigational reservoirs such as Parakrama Samudra, Kaudulla and Kandalama. Sigiriya which is considered by many as the 8th wonder of the world, it is a combination of natural and man made fortress, which consists so many architectural aspects.","Sigiriya which is considered by many as the 8th wonder of the world, it is a combination of natural and man made fortress, which consists so many architectural aspects. Music There are extensive folk poems relating to specific jobs of the ancient society.","Music There are extensive folk poems relating to specific jobs of the ancient society. These poems were communal songs which had a rhythm that were sung when performing day-to-day tasks like harvesting and sowing. Concerning popular music, Ananda Samarakoon developed the reflective and poignant Sarala gee style with his work in the late 1930s/early 1940s.","Concerning popular music, Ananda Samarakoon developed the reflective and poignant Sarala gee style with his work in the late 1930s/early 1940s. He has been followed by artists of repute such as Sunil Shantha, W. D. Amaradeva, Premasiri Khemadasa, Nanda Malini, Victor Ratnayake, Austin Munasinghe, T. M. Jayaratne, Sanath Nandasiri, Sunil Edirisinghe, Neela Wickremasinghe, Gunadasa Kapuge, Malini Bulathsinghala and Edward Jayakody.","He has been followed by artists of repute such as Sunil Shantha, W. D. Amaradeva, Premasiri Khemadasa, Nanda Malini, Victor Ratnayake, Austin Munasinghe, T. M. Jayaratne, Sanath Nandasiri, Sunil Edirisinghe, Neela Wickremasinghe, Gunadasa Kapuge, Malini Bulathsinghala and Edward Jayakody. Film and theatre Dramatist Ediriweera Sarachchandra revitalised the drama form with Maname in 1956.","Film and theatre Dramatist Ediriweera Sarachchandra revitalised the drama form with Maname in 1956. The same year, film director Lester James Peries created the artistic masterwork Rekava which sought to create a uniquely Sinhalese cinema with artistic integrity. Since then, Peries and other directors like Vasantha Obeysekera, Dharmasena Pathiraja, Mahagama Sekera, W. A.","Since then, Peries and other directors like Vasantha Obeysekera, Dharmasena Pathiraja, Mahagama Sekera, W. A. B. de Silva, Dharmasiri Bandaranayake, Sunil Ariyaratne, Siri Gunasinghe, G. D. L. Perera, Piyasiri Gunaratne, Titus Thotawatte, D. B. Nihalsinghe, Ranjith Lal, Dayananda Gunawardena, Mudalinayake Somaratne, Asoka Handagama, and Prasanna Vithanage have developed an artistic Sinhalese cinema.","B. de Silva, Dharmasiri Bandaranayake, Sunil Ariyaratne, Siri Gunasinghe, G. D. L. Perera, Piyasiri Gunaratne, Titus Thotawatte, D. B. Nihalsinghe, Ranjith Lal, Dayananda Gunawardena, Mudalinayake Somaratne, Asoka Handagama, and Prasanna Vithanage have developed an artistic Sinhalese cinema. Sinhala cinema is often made colourful with the incorporation of songs and dance adding more uniqueness to the industry.","Sinhala cinema is often made colourful with the incorporation of songs and dance adding more uniqueness to the industry. In the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success.","In the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success. Performing arts Performing arts of the Sinhalese people can be categorised into few groups: Kandyan dance consist of 18 Wannam (dance routines) featuring behaviours of various animals such as elephant, eagle, cobra, monkey, peacock and rabbit, mainly performing in the annual Perahara pageant in Sri Dalada Maligawa Kandy.","Performing arts Performing arts of the Sinhalese people can be categorised into few groups: Kandyan dance consist of 18 Wannam (dance routines) featuring behaviours of various animals such as elephant, eagle, cobra, monkey, peacock and rabbit, mainly performing in the annual Perahara pageant in Sri Dalada Maligawa Kandy. Pahatharata dance have a significant dancing style which is used to cure illnesses and spiritual clarification.","Pahatharata dance have a significant dancing style which is used to cure illnesses and spiritual clarification. The main feature of these dances is dancers wear masks representing various gods and demons, and use elements such as fire and water to bless people. Sabaragamuwa dances have also a significant dancing style, mainly to entertain people.","Sabaragamuwa dances have also a significant dancing style, mainly to entertain people. Folk music and dances differ according to the casts of Sinhalese people and also some times regionally—mainly popular among small children, especially girls. These arts are widely performed during the Sinhalese New Year period. Martial arts Angampora is the traditional martial art of the Sinhalese people.","Martial arts Angampora is the traditional martial art of the Sinhalese people. It combines combat techniques, self-defence, sport, exercise and meditation. Key techniques observed in Angampora are: Angam, which incorporates hand-to-hand fighting, and Illangam, which uses indigenous weapons such as Velayudaya, staves, knives and swords.","Key techniques observed in Angampora are: Angam, which incorporates hand-to-hand fighting, and Illangam, which uses indigenous weapons such as Velayudaya, staves, knives and swords. Its most distinct feature is the use of pressure point attacks to inflict pain or permanently paralyse the opponent.","Its most distinct feature is the use of pressure point attacks to inflict pain or permanently paralyse the opponent. Fighters usually make use of both striking and grappling techniques, and fight until the opponent is caught in a submission lock that they cannot escape. Usage of weapons is discretionary.","Usage of weapons is discretionary. Usage of weapons is discretionary. Perimeters of fighting are defined in advance, and in some of the cases is a pit. Angampora became nearly extinct after the country came under British rule in 1815, but survived in a few families until the country regained independence.","Angampora became nearly extinct after the country came under British rule in 1815, but survived in a few families until the country regained independence. Science and education The Sinhalese have a long history of literacy and formal learning. Instruction in basic fields like writing and reading by Buddhist Monks pre-date the birth of Christ.","Instruction in basic fields like writing and reading by Buddhist Monks pre-date the birth of Christ. This traditional system followed religious rule and was meant to foster Buddhist understanding. Training of officials in such skills as keeping track of revenue and other records for administrative purposes occurred under this institution.","Training of officials in such skills as keeping track of revenue and other records for administrative purposes occurred under this institution. Technical education such as the building of reservoirs and canals was passed down from generation to generation through home training and outside craft apprenticeships.","Technical education such as the building of reservoirs and canals was passed down from generation to generation through home training and outside craft apprenticeships. The arrival of the Portuguese and Dutch and the subsequent colonisation maintained religion as the centre of education though in certain communities under Catholic and Presbyterian hierarchy. The British in the 1800s initially followed the same course.","The British in the 1800s initially followed the same course. Following 1870 however they began a campaign for better education facilities in the region. Christian missionary groups were at the forefront of this development contributing to a high literacy among Christians. By 1901 schools in the South and the North were well tended. The inner regions lagged behind however.","The inner regions lagged behind however. Also, English education facilities presented hurdles for the general populace through fees and lack of access. Medicine Traditional Sinhalese villages in early days had at least one chief Medical personnel called Weda Mahaththaya (Doctor). These people practice their clinical activities by inheritance.","These people practice their clinical activities by inheritance. Sinhalese Medicine resembles some of Ayurvedic practices in contrast for some treatments they use Buddhist Chantings (Pirith) in order to strengthen the effectiveness.","Sinhalese Medicine resembles some of Ayurvedic practices in contrast for some treatments they use Buddhist Chantings (Pirith) in order to strengthen the effectiveness. According to the Mahavamsa, the ancient chronicle, Pandukabhaya of Sri Lanka (437 BC – 367 BC) had lying-in-homes and Ayurvedic hospitals (Sivikasotthi-Sala) built in various parts of the country.","According to the Mahavamsa, the ancient chronicle, Pandukabhaya of Sri Lanka (437 BC – 367 BC) had lying-in-homes and Ayurvedic hospitals (Sivikasotthi-Sala) built in various parts of the country. This is the earliest documentary evidence we have of institutions specifically dedicated to the care of the sick anywhere in the world.","This is the earliest documentary evidence we have of institutions specifically dedicated to the care of the sick anywhere in the world. Mihintale Hospital is the oldest in the world. See also List of Sinhalese people Sinhalese Buddhist nationalism References Citations Sources De Silva, K. M. History of Sri Lanka (Univ.","See also List of Sinhalese people Sinhalese Buddhist nationalism References Citations Sources De Silva, K. M. History of Sri Lanka (Univ. of Calif. Press, 1981) Gunasekera, Tamara. Hierarchy and Egalitarianism: Caste, Class, and Power in Sinhalese Peasant Society (Athlone, 1994). Roberts, Michael.","Roberts, Michael. Roberts, Michael. Sri Lanka: Collective Identities Revisited (Colombo-Marga Institute, 1997). Wickremeratne, Ananda. Buddhism and Ethnicity in Sri Lanka: A Historical Analysis (New Delhi-Vikas Publishing House, 1995).","Buddhism and Ethnicity in Sri Lanka: A Historical Analysis (New Delhi-Vikas Publishing House, 1995). External links CIA Factbook-Sri Lanka Department of Census and Statistics-Sri Lanka Ethnologue-Sinhala, a language of Sri Lanka CIA Factbook-Sri Lanka Sinhalese Who are the Sinhalese Buddhist communities of Sri Lanka Ethnic groups in Sri Lanka Ethnic groups in the Indian Ocean Indo-Aryan peoples Sinhalese diaspora Sinhalese culture"],"string":"[\n \"Sinhalese people () are an Indo-Aryan ethnic group native to the island of Sri Lanka. They were historically known as Hela people (). They constitute about 75% of the Sri Lankan population and number greater than 16.2 million. The Sinhalese identity is based on language, cultural heritage and nationality.\",\n \"The Sinhalese identity is based on language, cultural heritage and nationality. The Sinhalese people speak Sinhala, an insular Indo-Aryan language, and are predominantly Theravada Buddhists, although a minority of Sinhalese follow branches of Christianity and other religions.\",\n \"The Sinhalese people speak Sinhala, an insular Indo-Aryan language, and are predominantly Theravada Buddhists, although a minority of Sinhalese follow branches of Christianity and other religions. Since 1815, they were broadly divided into two respective groups: The 'Up-country Sinhalese' in the central mountainous regions, and the 'Low-country Sinhalese' in the coastal regions; although both groups speak the same language, they are distinguished as they observe different cultural customs.\",\n \"Since 1815, they were broadly divided into two respective groups: The 'Up-country Sinhalese' in the central mountainous regions, and the 'Low-country Sinhalese' in the coastal regions; although both groups speak the same language, they are distinguished as they observe different cultural customs. According to the Mahavamsa and the Dipavamsa, a 3rd–5th century treatise written in Pali by Buddhist monks of the Anuradhapura Maha Viharaya in Sri Lanka, the Sinhalese descend from settlers who came to the island in 543 BCE from Sinhapura led by Prince Vijaya who mixed with the indigenous Yakka and later settlers from the Pandya kingdom.\",\n \"According to the Mahavamsa and the Dipavamsa, a 3rd–5th century treatise written in Pali by Buddhist monks of the Anuradhapura Maha Viharaya in Sri Lanka, the Sinhalese descend from settlers who came to the island in 543 BCE from Sinhapura led by Prince Vijaya who mixed with the indigenous Yakka and later settlers from the Pandya kingdom. Etymology From the Sanskrit word Sinhala, meaning literally \\\"of lions\\\".\",\n \"Etymology From the Sanskrit word Sinhala, meaning literally \\\"of lions\\\". The Mahavamsa records the origin of the Sinhalese people and related historical events.\",\n \"The Mahavamsa records the origin of the Sinhalese people and related historical events. It traces the historical origin of the Sinhalese people back to the first king who mentioned in the documentary history of Sri Lanka, Vijaya, who is the son of Sinhabahu (Sanskrit meaning 'Sinha' (lion) + 'bahu' (hands, feet), the ruler of Sinhapura.\",\n \"It traces the historical origin of the Sinhalese people back to the first king who mentioned in the documentary history of Sri Lanka, Vijaya, who is the son of Sinhabahu (Sanskrit meaning 'Sinha' (lion) + 'bahu' (hands, feet), the ruler of Sinhapura. Some versions suggest Vijaya is the grandson of Sinhabahu.\",\n \"Some versions suggest Vijaya is the grandson of Sinhabahu. According to the Mahavamsa, Sinhabahu was the son of princess Suppadevi of Vanga, who copulated with a lion and gave birth to a daughter called Sinhasivali and to a son, Sinhabahu, whose hands and feet were like the paws of a lion and who had the strength of a lion.\",\n \"According to the Mahavamsa, Sinhabahu was the son of princess Suppadevi of Vanga, who copulated with a lion and gave birth to a daughter called Sinhasivali and to a son, Sinhabahu, whose hands and feet were like the paws of a lion and who had the strength of a lion. King Vijaya, the lineage of Sinhabahu, according to the Mahavamsa and other historical sources, arrived on the island of Tambapanni (Sri Lanka) and gave origin to the lion people, Sinhalese.\",\n \"King Vijaya, the lineage of Sinhabahu, according to the Mahavamsa and other historical sources, arrived on the island of Tambapanni (Sri Lanka) and gave origin to the lion people, Sinhalese. The story of the arrival of Prince Vijaya in Sri Lanka and the origin of the Sinhalese people is also depicted in the Ajanta caves, in a mural of cave number 17.\",\n \"The story of the arrival of Prince Vijaya in Sri Lanka and the origin of the Sinhalese people is also depicted in the Ajanta caves, in a mural of cave number 17. According to Arisen Ahubudu, there were four major clans of \\\"hela\\\" in ancient Sri Lanka even before the arrival of Prince Vijaya, and that Sri Lanka was called as \\\"Siv hela\\\" (siv=four in the Sinhala language) and later it was changed into \\\"Sinhala\\\".\",\n \"According to Arisen Ahubudu, there were four major clans of \\\"hela\\\" in ancient Sri Lanka even before the arrival of Prince Vijaya, and that Sri Lanka was called as \\\"Siv hela\\\" (siv=four in the Sinhala language) and later it was changed into \\\"Sinhala\\\". History The early recorded history of the Sinhalese is chronicled in two documents, the Mahavamsa, written in Pāli around the 4th century CE, and the later Culavamsa (the first segment probably penned in the 13th century CE by the Buddhist monk Dhammakitti).\",\n \"History The early recorded history of the Sinhalese is chronicled in two documents, the Mahavamsa, written in Pāli around the 4th century CE, and the later Culavamsa (the first segment probably penned in the 13th century CE by the Buddhist monk Dhammakitti). These are ancient sources that cover the histories of the powerful ancient Sinhalese kingdoms of Anuradhapura and Polonnaruwa which lasted for 1500 years.\",\n \"These are ancient sources that cover the histories of the powerful ancient Sinhalese kingdoms of Anuradhapura and Polonnaruwa which lasted for 1500 years. The Mahavamsa describes the existence of fields of rice and reservoirs, indicating a well-developed agrarian society.\",\n \"The Mahavamsa describes the existence of fields of rice and reservoirs, indicating a well-developed agrarian society. Pre Anuradhapura period According to Mahavamsa, Prince Vijaya and his 700 followers left Suppāraka, landed on the island at a site believed by historians to be in the district of Puttalam, south of modern-day Mannar and founded the Kingdom of Thambapanni.\",\n \"Pre Anuradhapura period According to Mahavamsa, Prince Vijaya and his 700 followers left Suppāraka, landed on the island at a site believed by historians to be in the district of Puttalam, south of modern-day Mannar and founded the Kingdom of Thambapanni. It is recorded the Vijaya made his landing on the day of Buddha's Parinirvana.\",\n \"It is recorded the Vijaya made his landing on the day of Buddha's Parinirvana. Vijaya claimed Tambapanni his capital and soon the whole island come under this name. Tambapanni was originally inhabited and governed by Yakkhas, having their capital at Sirīsavatthu and their queen Kuveni. According to the Samyutta Commentary, Tambapanni was one hundred leagues in extent.\",\n \"According to the Samyutta Commentary, Tambapanni was one hundred leagues in extent. At the end of his reign, Vijaya, having trouble choosing a successor, sent a letter to the city of his ancestors, Sinhapura, in order to invite his brother Sumitta to take over the throne.\",\n \"At the end of his reign, Vijaya, having trouble choosing a successor, sent a letter to the city of his ancestors, Sinhapura, in order to invite his brother Sumitta to take over the throne. However, Vijaya had died before the letter had reached its destination, so the elected minister of the people Upatissa, the Chief government minister or prime minister and leading chief among the Sinhalese became regent and acted as regent for a year.\",\n \"However, Vijaya had died before the letter had reached its destination, so the elected minister of the people Upatissa, the Chief government minister or prime minister and leading chief among the Sinhalese became regent and acted as regent for a year. After his coronation, which was held in the Kingdom of Tambapanni, he left it, building another one, bearing his own name.\",\n \"After his coronation, which was held in the Kingdom of Tambapanni, he left it, building another one, bearing his own name. While he was king, Upatissa established the new capital Upatissa, in which the kingdom was moved to from the Kingdom of Tambapanni.\",\n \"While he was king, Upatissa established the new capital Upatissa, in which the kingdom was moved to from the Kingdom of Tambapanni. When Vijaya's letter arrived, Sumitta had already succeeded his father as king of his country, and so he sent his son Panduvasdeva to rule Upatissa Nuwara.\",\n \"When Vijaya's letter arrived, Sumitta had already succeeded his father as king of his country, and so he sent his son Panduvasdeva to rule Upatissa Nuwara. Upatissa Nuwara was seven or eight miles further north of the Kingdom of Tambapanni.\",\n \"Upatissa Nuwara was seven or eight miles further north of the Kingdom of Tambapanni. It was named after the regent king Upatissa, who was the prime minister of Vijaya, and was founded in 505 BC after the death of Vijaya and the end of the Kingdom of Tambapanni.\",\n \"It was named after the regent king Upatissa, who was the prime minister of Vijaya, and was founded in 505 BC after the death of Vijaya and the end of the Kingdom of Tambapanni. Anuradhapura period In 377 BC, King Pandukabhaya (437–367 BC) moved the capital to Anuradhapura and developed it into a prosperous city.\",\n \"Anuradhapura period In 377 BC, King Pandukabhaya (437–367 BC) moved the capital to Anuradhapura and developed it into a prosperous city. Anuradhapura (Anurapura) was named after the minister who first established the village and after a grandfather of Pandukabhaya who lived there.\",\n \"Anuradhapura (Anurapura) was named after the minister who first established the village and after a grandfather of Pandukabhaya who lived there. The name was also derived from the city's establishment on the auspicious asterism called Anura. Anuradhapura was the capital of all the monarchs who ruled from the dynasty.\",\n \"Anuradhapura was the capital of all the monarchs who ruled from the dynasty. Rulers such as Dutthagamani, Valagamba, and Dhatusena are noted for defeating the South Indians and regaining control of the kingdom.\",\n \"Rulers such as Dutthagamani, Valagamba, and Dhatusena are noted for defeating the South Indians and regaining control of the kingdom. Other rulers who are notable for military achievements include Gajabahu I, who launched an invasion against the invaders, and Sena II, who sent his armies to assist a Pandyan prince.\",\n \"Other rulers who are notable for military achievements include Gajabahu I, who launched an invasion against the invaders, and Sena II, who sent his armies to assist a Pandyan prince. Polonnaruwa period During the Middle Ages Sri Lanka was well known for its agricultural prosperity under king Parakramabahu in Polonnaruwa during which period the island was famous around the world as the rice mill of the east.\",\n \"Polonnaruwa period During the Middle Ages Sri Lanka was well known for its agricultural prosperity under king Parakramabahu in Polonnaruwa during which period the island was famous around the world as the rice mill of the east. Transitional period Later in the 13th century the country's administrative provinces were divided into independent kingdoms and chieftaincies: Kingdom of Sitawaka, Kingdom of Kotte, Jaffna Kingdom and the Kandyan kingdom.\",\n \"Transitional period Later in the 13th century the country's administrative provinces were divided into independent kingdoms and chieftaincies: Kingdom of Sitawaka, Kingdom of Kotte, Jaffna Kingdom and the Kandyan kingdom. The invasion by the Hindu king Magha in the 13th century led to migrations by the Buddhists (mostly Sinhalese) to areas not under his control.\",\n \"The invasion by the Hindu king Magha in the 13th century led to migrations by the Buddhists (mostly Sinhalese) to areas not under his control. This migration was followed by a period of conflict among the Sinhalese chiefs who tried to exert political supremacy.\",\n \"This migration was followed by a period of conflict among the Sinhalese chiefs who tried to exert political supremacy. Parakramabahu VI, a Sinhalese king invaded the Jaffna Kingdom and conquered it, bringing the entire country back under the Sinhalese kingdom.\",\n \"Parakramabahu VI, a Sinhalese king invaded the Jaffna Kingdom and conquered it, bringing the entire country back under the Sinhalese kingdom. Trade also increased during this period, as Sri Lanka began to trade cinnamon and a large number of Muslim traders were bought into the island.\",\n \"Trade also increased during this period, as Sri Lanka began to trade cinnamon and a large number of Muslim traders were bought into the island. In the 15th century a Kandyan Kingdom formed which divided the Sinhalese politically into low-country and up-country.\",\n \"In the 15th century a Kandyan Kingdom formed which divided the Sinhalese politically into low-country and up-country. In this period, the Sinhalese caste structure absorbed recent Dravidian Hindu immigrants from South India leading to the emergence of three new Sinhalese caste groups - the Salagama, the Durava and the Karava.\",\n \"In this period, the Sinhalese caste structure absorbed recent Dravidian Hindu immigrants from South India leading to the emergence of three new Sinhalese caste groups - the Salagama, the Durava and the Karava. Modern history The Sinhalese have a stable birth rate and a population that has been growing at a slow pace relative to India and other Asian countries.\",\n \"Modern history The Sinhalese have a stable birth rate and a population that has been growing at a slow pace relative to India and other Asian countries. Society Demographics Sri Lanka Within Sri Lanka the majority of the Sinhalese reside in the South, Central, Sabaragamuwa and Western parts of the country.\",\n \"Society Demographics Sri Lanka Within Sri Lanka the majority of the Sinhalese reside in the South, Central, Sabaragamuwa and Western parts of the country. This coincides with the largest Sinhalese populations areas in Sri Lanka. Cities with more than 90% Sinhalese population include Hambantota, Galle, Gampaha, Kurunegala, Monaragala, Anuradhapura and Polonnaruwa.\",\n \"Cities with more than 90% Sinhalese population include Hambantota, Galle, Gampaha, Kurunegala, Monaragala, Anuradhapura and Polonnaruwa. Diaspora Sinhalese people have emigrated out to many countries for a variety of reasons. The larger diaspora communities are situated in the United Kingdom, Australia, United States and Canada among others.\",\n \"The larger diaspora communities are situated in the United Kingdom, Australia, United States and Canada among others. In addition to this there are many Sinhalese, who reside in the Middle East, Southeast Asia and Europe, temporarily in connection with employment and/or education.\",\n \"In addition to this there are many Sinhalese, who reside in the Middle East, Southeast Asia and Europe, temporarily in connection with employment and/or education. They are often employed as guest workers in the Middle East and professionals in the other regions.\",\n \"They are often employed as guest workers in the Middle East and professionals in the other regions. The largest population centres of the Sinhalese diaspora are mainly situated in Europe, North America and Australia. The city of Melbourne contains just under half of the Sri Lankan Australians. The 2011 census recorded 86,412 Sri Lanka born in Australia.\",\n \"The 2011 census recorded 86,412 Sri Lanka born in Australia. There are 73,849 Australians (0.4 of the population) who reported having Sinhalese ancestry in 2006. Sinhala was also reported to be the 29th-fastest-growing language in Australia (ranking above Somali but behind Hindi and Belarusian).\",\n \"Sinhala was also reported to be the 29th-fastest-growing language in Australia (ranking above Somali but behind Hindi and Belarusian). Sinhalese Australians have an exceptionally low rate of return migration to Sri Lanka. In the 2011 Canadian Census, 7,220 people identified themselves as of Sinhalese ancestry, out of 139,415 Sri Lankans.\",\n \"In the 2011 Canadian Census, 7,220 people identified themselves as of Sinhalese ancestry, out of 139,415 Sri Lankans. There are a small number of Sinhalese people in India, scattered around the country, but mainly living in and around the northern and southern regions.\",\n \"There are a small number of Sinhalese people in India, scattered around the country, but mainly living in and around the northern and southern regions. Sri Lankan New Zealanders comprised 3% of the Asian population of New Zealand in 2001.\",\n \"Sri Lankan New Zealanders comprised 3% of the Asian population of New Zealand in 2001. The numbers arriving continued to increase, and at the 2018 census there were over 16,000 Sri Lankans living in New Zealand among those 9,171 were Sinhalese. In the U.S, the Sinhalese number about 12,000 people.\",\n \"In the U.S, the Sinhalese number about 12,000 people. The New York City Metropolitan Area contains the largest Sri Lankan community in the United States, receiving the highest legal permanent resident Sri Lankan immigrant population, followed by Central New Jersey and the Los Angeles metropolitan area. Many Sinhalese have migrated to Italy since the 1970s.\",\n \"Many Sinhalese have migrated to Italy since the 1970s. Italy was attractive to the Sinhalese due to perceived easier employment opportunities and entry, compared to other European countries. It is estimated that there are 30,000-33,000 Sinhalese in Italy.\",\n \"It is estimated that there are 30,000-33,000 Sinhalese in Italy. The major Sinhalese communities in Italy are located in Lombardia (In the districts Loreto and Lazzaretto), Milan, Lazio, Rome, Naples, and Southern Italy (Particularly Palermo, Messina and Catania).\",\n \"The major Sinhalese communities in Italy are located in Lombardia (In the districts Loreto and Lazzaretto), Milan, Lazio, Rome, Naples, and Southern Italy (Particularly Palermo, Messina and Catania). It should be noted however that many countries census list Sri Lankan which also includes Sri Lankan Tamils so the numbers of just Sinhalese are not as accurate when the census states Sri Lankan and not Sinhalese.\",\n \"It should be noted however that many countries census list Sri Lankan which also includes Sri Lankan Tamils so the numbers of just Sinhalese are not as accurate when the census states Sri Lankan and not Sinhalese. Though Sinhalese people in particular and Sri Lankans in general have migrated to the UK over the centuries beginning from the colonial times, the number of Sinhalese people in the UK cannot be estimated accurately due to inadequacies of census in the UK.\",\n \"Though Sinhalese people in particular and Sri Lankans in general have migrated to the UK over the centuries beginning from the colonial times, the number of Sinhalese people in the UK cannot be estimated accurately due to inadequacies of census in the UK. The UK government does not record statistics on the basis of language or ethnicity and all Sri Lankans are classified into one group as Asian British or Asian Other.\",\n \"The UK government does not record statistics on the basis of language or ethnicity and all Sri Lankans are classified into one group as Asian British or Asian Other. Language and literature Sinhalese people speak Sinhala, also known as \\\"Helabasa\\\"; this language has two varieties, spoken and written.\",\n \"Language and literature Sinhalese people speak Sinhala, also known as \\\"Helabasa\\\"; this language has two varieties, spoken and written. Sinhala is an Indo-Aryan language within the broader group of Indo-European languages.\",\n \"Sinhala is an Indo-Aryan language within the broader group of Indo-European languages. The early form of the language was brought to Sri Lanka by the ancestors of the Sinhalese people from northern India who settled on the island in the 6th century BCE.\",\n \"The early form of the language was brought to Sri Lanka by the ancestors of the Sinhalese people from northern India who settled on the island in the 6th century BCE. Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages.\",\n \"Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages. It was influenced by many languages, prominently Pali, the sacred language of Southern Buddhism, Telugu and Sanskrit. Many early texts in the language such as the Hela Atuwa were lost after their translation into Pali.\",\n \"Many early texts in the language such as the Hela Atuwa were lost after their translation into Pali. Other significant Sinhala texts include Amāvatura, Kavu Silumina, Jathaka Potha and Sala Liheeniya. Sinhala has also adopted many loanwords of foreign origin, including from many Indian such as Tamil and European languages such as Portuguese, Dutch, and English.\",\n \"Sinhala has also adopted many loanwords of foreign origin, including from many Indian such as Tamil and European languages such as Portuguese, Dutch, and English. Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world.\",\n \"Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world. The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages.\",\n \"The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages. Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and foreign films.\",\n \"Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and foreign films. Additionally many Dutch and Portuguese words can be seen in the coastal areas.\",\n \"Additionally many Dutch and Portuguese words can be seen in the coastal areas. Sinhalese people, depending on where they live in Sri Lanka, may also additionally speak English and or Tamil. According to the 2012 Census 23.8% or 3,033,659 Sinhalese people also spoke English and 6.4% or 812,738 Sinhalese people also spoke Tamil.\",\n \"According to the 2012 Census 23.8% or 3,033,659 Sinhalese people also spoke English and 6.4% or 812,738 Sinhalese people also spoke Tamil. In the Negombo area bilingual fishermen who generally identify themselves as Sinhalese also speak the Negombo Tamil dialect. This dialect has undergone considerable convergence with spoken Sinhala.\",\n \"This dialect has undergone considerable convergence with spoken Sinhala. Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today. Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance.\",\n \"Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance. Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son.\",\n \"Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son. In the modern period, Sinhala writers such as Martin Wickremasinghe and G. B. Senanayake have drawn widespread acclaim. Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake.\",\n \"Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake. Martin Wickramasinghe wrote the immensely popular children's novel Madol Duwa. Munadasa Cumaratunga's Hath Pana is also widely known. Religion The form of Buddhism in Sri Lanka is known as Theravada (school of elders).\",\n \"Religion The form of Buddhism in Sri Lanka is known as Theravada (school of elders). The Pali chronicles (e.g., the Mahavansa) claim that the Sinhalese as an ethnic group are destined to preserve and protect Buddhism. In 1988 almost 93% of the Sinhala speaking population in Sri Lanka were Buddhist.\",\n \"In 1988 almost 93% of the Sinhala speaking population in Sri Lanka were Buddhist. Observations of current religious beliefs and practices demonstrate that the Sinhalese, as a religious community, have a complex worldview as Buddhists.\",\n \"Observations of current religious beliefs and practices demonstrate that the Sinhalese, as a religious community, have a complex worldview as Buddhists. Due to the proximity and on some occasions similarity of certain doctrines, there are many areas where Buddhists and Hindus share religious views and practices.\",\n \"Due to the proximity and on some occasions similarity of certain doctrines, there are many areas where Buddhists and Hindus share religious views and practices. Sinhalese Buddhists have adopted religious elements from Hindu traditions in their religious practices.\",\n \"Sinhalese Buddhists have adopted religious elements from Hindu traditions in their religious practices. Some of these practices may relate to ancient indigenous beliefs and traditions on spirits (folk religion), and the worship of Hindu deities. Some of these figures are used in healing rituals and may be native to the island.\",\n \"Some of these figures are used in healing rituals and may be native to the island. Gods and goddess derived from Hindu deities are worshiped by Sinhalese. Kataragama Deviyo from Kartikeya, Upulvan from Vishnu and Ayyanayake from Aiyanar can be named as examples.\",\n \"Kataragama Deviyo from Kartikeya, Upulvan from Vishnu and Ayyanayake from Aiyanar can be named as examples. Though these gods take the same place as their Hindu counterparts in mythology, some of their aspects are different compared to the original gods.\",\n \"Though these gods take the same place as their Hindu counterparts in mythology, some of their aspects are different compared to the original gods. Prominent Sri Lankan anthropologists Gananath Obeyesekere and Kitsiri Malalgoda used the term \\\"Protestant Buddhism\\\" to describe a type of Buddhism that appeared among the Sinhalese in Sri Lanka as a response to Protestant Christian missionaries and their evangelical activities during the British colonial period.\",\n \"Prominent Sri Lankan anthropologists Gananath Obeyesekere and Kitsiri Malalgoda used the term \\\"Protestant Buddhism\\\" to describe a type of Buddhism that appeared among the Sinhalese in Sri Lanka as a response to Protestant Christian missionaries and their evangelical activities during the British colonial period. This kind of Buddhism involved emulating the Protestant strategies of organising religious practices.\",\n \"This kind of Buddhism involved emulating the Protestant strategies of organising religious practices. They saw the need to establish Buddhist schools for educating Buddhist youth and organising Buddhists with new organisations such as the Young Men's Buddhist Association, as well as printing pamphlets to encourage people to participate in debates and religious controversies to defend Buddhism.\",\n \"They saw the need to establish Buddhist schools for educating Buddhist youth and organising Buddhists with new organisations such as the Young Men's Buddhist Association, as well as printing pamphlets to encourage people to participate in debates and religious controversies to defend Buddhism. Christianity There is a significant Sinhalese Christian community, in the maritime provinces of Sri Lanka.\",\n \"Christianity There is a significant Sinhalese Christian community, in the maritime provinces of Sri Lanka. Christianity was brought to the Sinhalese by Portuguese, Dutch, and British missionary groups during their respective periods of rule. Most Sinhalese Christians are Roman Catholic; a minority are Protestant. Their cultural centre is Negombo.\",\n \"Their cultural centre is Negombo. Their cultural centre is Negombo. Religion is considered very important among the Sinhalese. According to a 2008 Gallup poll, 99% of Sri Lankans considered religion an important aspect of their daily lives. Genetics Modern studies point towards a predominantly Bengali contribution and a minor Tamil influence.\",\n \"Genetics Modern studies point towards a predominantly Bengali contribution and a minor Tamil influence. Gujarati and Punjabi lineages are also visible. In relation to the former, other studies also show the Sinhalese possess some genetic admixture from Southeast Asian populations, especially from Austroasiatic groups.\",\n \"In relation to the former, other studies also show the Sinhalese possess some genetic admixture from Southeast Asian populations, especially from Austroasiatic groups. Certain Y-DNA and mtDNA haplogroups and genetic markers of immunoglobulin among the Sinhalese, for example, show Southeast Asian genetic influences many of which are also found among certain Northeast Indian populations to whom the Sinhalese are genetically related.\",\n \"Certain Y-DNA and mtDNA haplogroups and genetic markers of immunoglobulin among the Sinhalese, for example, show Southeast Asian genetic influences many of which are also found among certain Northeast Indian populations to whom the Sinhalese are genetically related. Culture Sinhalese culture is a unique one dating as far back as 2600 years and has been nourished by Theravada Buddhism.\",\n \"Culture Sinhalese culture is a unique one dating as far back as 2600 years and has been nourished by Theravada Buddhism. Its main domains are sculpture, fine arts, literature, dancing, poetry and a wide variety of folk beliefs and rituals traditionally.\",\n \"Its main domains are sculpture, fine arts, literature, dancing, poetry and a wide variety of folk beliefs and rituals traditionally. Ancient Sinhala stone sculpture and inscriptions are known worldwide and is a main foreign attraction in modern tourism. Sigirirya is famous for its frescoes.\",\n \"Sigirirya is famous for its frescoes. Folk poems were sung by workers to accompany their work and narrate the story of their lives. Ideally these poems consisted of four lines and, in the composition of these poems, special attention had been paid to the rhyming patterns. Buddhist festivals are dotted by unique music using traditionally Sinhalese instruments.\",\n \"Buddhist festivals are dotted by unique music using traditionally Sinhalese instruments. More ancient rituals like (devil exorcism) continue to enthrall audiences today and often praised and invoked the good powers of the Buddha and the gods in order to exorcise the demons.\",\n \"More ancient rituals like (devil exorcism) continue to enthrall audiences today and often praised and invoked the good powers of the Buddha and the gods in order to exorcise the demons. Folklore and national mythology According to the Mahavamsa, the Sinhalese are descended from the exiled Prince Vijaya and his party of seven hundred followers who arrived on the island in 543 BCE.\",\n \"Folklore and national mythology According to the Mahavamsa, the Sinhalese are descended from the exiled Prince Vijaya and his party of seven hundred followers who arrived on the island in 543 BCE. Vijaya and his followers were said to have arrived in Sri Lanka after being exiled from the city of Sinhapura in Bengal.\",\n \"Vijaya and his followers were said to have arrived in Sri Lanka after being exiled from the city of Sinhapura in Bengal. The modern Sinhalese people were found genetically to be most closely related to the people of North-East India (Bengal).\",\n \"The modern Sinhalese people were found genetically to be most closely related to the people of North-East India (Bengal). It is thought throughout Sri Lanka's history, since the founding of the Sinhalese in the 5th century BC that an influx of Indians from North India came to the island.\",\n \"It is thought throughout Sri Lanka's history, since the founding of the Sinhalese in the 5th century BC that an influx of Indians from North India came to the island. This is further supported from Sinhala being part of the Indo-Aryan language group. Traditionally during recreation the Sinhalese wear a sarong (sarama in Sinhala).\",\n \"Traditionally during recreation the Sinhalese wear a sarong (sarama in Sinhala). Men may wear a long-sleeved shirt with a sarong. Clothing varies by region for women. Low country Sinhalese women wear a white Long sleeved jacket, and a tight wrap around skirt, which usually is embedded with a floral or pattern design.\",\n \"Low country Sinhalese women wear a white Long sleeved jacket, and a tight wrap around skirt, which usually is embedded with a floral or pattern design. As for the up country Sinhalese, women wear a similar outfit, but with a puffed up shoulder jacket, and a tucked in frill that lines the top of the skirt (Reda and Hatte in Sinhala).\",\n \"As for the up country Sinhalese, women wear a similar outfit, but with a puffed up shoulder jacket, and a tucked in frill that lines the top of the skirt (Reda and Hatte in Sinhala). Traditionally, high caste Kandyan women wear a Kandyan style sari, which is similar to the Maharashtrian sari, with the drape but with a frill lining the bottom half and sometimes puffed up sleeves.\",\n \"Traditionally, high caste Kandyan women wear a Kandyan style sari, which is similar to the Maharashtrian sari, with the drape but with a frill lining the bottom half and sometimes puffed up sleeves. It’s also called an Osariya. The low country high caste women wear a South Indian style saree.\",\n \"The low country high caste women wear a South Indian style saree. Within the more populated areas, Sinhalese men also wear Western-style clothing — wearing suits while the women wear skirts and blouses.\",\n \"Within the more populated areas, Sinhalese men also wear Western-style clothing — wearing suits while the women wear skirts and blouses. For formal and ceremonial occasions women wear the traditional Kandyan (Osariya) style, which consists of a full blouse which covers the midriff completely, and is partially tucked in at the front.\",\n \"For formal and ceremonial occasions women wear the traditional Kandyan (Osariya) style, which consists of a full blouse which covers the midriff completely, and is partially tucked in at the front. However, modern intermingling of styles has led to most wearers baring the midriff. The Kandyan style is considered as the national dress of Sinhalese women.\",\n \"The Kandyan style is considered as the national dress of Sinhalese women. In many occasions and functions, even the saree plays an important role in women's clothing and has become the de facto clothing for female office workers especially in government sector. An example of its use is the uniform of air hostesses of Sri Lankan Airlines.\",\n \"An example of its use is the uniform of air hostesses of Sri Lankan Airlines. Cuisine Sinhalese cuisine is one of the most complex cuisines of South Asia. As a major trade hub, it draws influence from colonial powers that were involved in Sri Lanka and by foreign traders.\",\n \"As a major trade hub, it draws influence from colonial powers that were involved in Sri Lanka and by foreign traders. Rice, which is consumed daily, can be found at any occasion, while spicy curries are favourite dishes for lunch and dinner.\",\n \"Rice, which is consumed daily, can be found at any occasion, while spicy curries are favourite dishes for lunch and dinner. Some of the Sri Lankan dishes have striking resemblance to Kerala cuisine, which could be due to the similar geographic and agricultural features with Kerala.\",\n \"Some of the Sri Lankan dishes have striking resemblance to Kerala cuisine, which could be due to the similar geographic and agricultural features with Kerala. A well-known rice dish with Sinhalese is Kiribath, meaning ‘milk rice’. In addition to , Sinhalese eat , chopped leaves mixed with grated coconut and red onions.\",\n \"In addition to , Sinhalese eat , chopped leaves mixed with grated coconut and red onions. Coconut milk is found in most Sri Lankan dishes to give the cuisine its unique flavour. Sri Lanka has long been renowned for its spices. The best known is cinnamon which is native to Sri Lanka.\",\n \"The best known is cinnamon which is native to Sri Lanka. In the 15th and 16th centuries, spice and ivory traders from all over the world who came to Sri Lanka brought their native cuisines to the island, resulting in a rich diversity of cooking styles and techniques.\",\n \"In the 15th and 16th centuries, spice and ivory traders from all over the world who came to Sri Lanka brought their native cuisines to the island, resulting in a rich diversity of cooking styles and techniques. Lamprais, rice boiled in stock with a special curry, accompanied by frikkadels (meatballs), all of which is then wrapped in a banana leaf and baked as a Dutch-influenced Sri Lankan dish.\",\n \"Lamprais, rice boiled in stock with a special curry, accompanied by frikkadels (meatballs), all of which is then wrapped in a banana leaf and baked as a Dutch-influenced Sri Lankan dish. Dutch and Portuguese sweets also continue to be popular. British influences include roast beef and roast chicken.\",\n \"British influences include roast beef and roast chicken. Also, the influence of the Indian cooking methods and food have played a major role in what Sri Lankans eat. The island nation's cuisine mainly consists of boiled or steamed rice served with curry.\",\n \"The island nation's cuisine mainly consists of boiled or steamed rice served with curry. This usually consists of a main curry of fish or chicken, as well as several other curries made with vegetables, lentils and even fruit curries. Side-dishes include pickles, chutneys and .\",\n \"Side-dishes include pickles, chutneys and . The most famous of these is the coconut sambol, made of ground coconut mixed with chili peppers, dried Maldive fish and lime juice. This is ground to a paste and eaten with rice, as it gives zest to the meal and is believed to increase appetite.\",\n \"This is ground to a paste and eaten with rice, as it gives zest to the meal and is believed to increase appetite. Art and architecture Many forms of Sri Lankan arts and crafts take inspiration from the island's long and lasting Buddhist culture which in turn has absorbed and adopted countless regional and local traditions.\",\n \"Art and architecture Many forms of Sri Lankan arts and crafts take inspiration from the island's long and lasting Buddhist culture which in turn has absorbed and adopted countless regional and local traditions. In most instances Sri Lankan art originates from religious beliefs, and is represented in many forms such as painting, sculpture, and architecture.\",\n \"In most instances Sri Lankan art originates from religious beliefs, and is represented in many forms such as painting, sculpture, and architecture. One of the most notable aspects of Sri Lankan art are caves and temple paintings, such as the frescoes found at Sigiriya, and religious paintings found in temples in Dambulla and Temple of the Tooth Relic in Kandy.\",\n \"One of the most notable aspects of Sri Lankan art are caves and temple paintings, such as the frescoes found at Sigiriya, and religious paintings found in temples in Dambulla and Temple of the Tooth Relic in Kandy. Other popular forms of art have been influenced by both natives as well as outside settlers.\",\n \"Other popular forms of art have been influenced by both natives as well as outside settlers. For example, traditional wooden handicrafts and clay pottery are found around the hill country while Portuguese-inspired lacework and Indonesian-inspired Batik have become notable. It has many different and beautiful drawings.\",\n \"It has many different and beautiful drawings. Developed upon Indo-Aryan architectural skills in the late 6th century BCE Sinhalese people who lived upon greater kingdoms such as Anuradhapura and Polonnaruwa have built so many architectural examples such as Ruwanwelisaya, Jetavanaramaya - second tallest brick building in the ancient world after Great Pyramid of Giza, and Abayagiriya - third tallest brick building in the ancient world.\",\n \"Developed upon Indo-Aryan architectural skills in the late 6th century BCE Sinhalese people who lived upon greater kingdoms such as Anuradhapura and Polonnaruwa have built so many architectural examples such as Ruwanwelisaya, Jetavanaramaya - second tallest brick building in the ancient world after Great Pyramid of Giza, and Abayagiriya - third tallest brick building in the ancient world. And also with the ancient hydraulic technology which is also unique to Sinhalese people to build ancient tanks, systematic ponds with fountains moats and Irrigational reservoirs such as Parakrama Samudra, Kaudulla and Kandalama.\",\n \"And also with the ancient hydraulic technology which is also unique to Sinhalese people to build ancient tanks, systematic ponds with fountains moats and Irrigational reservoirs such as Parakrama Samudra, Kaudulla and Kandalama. Sigiriya which is considered by many as the 8th wonder of the world, it is a combination of natural and man made fortress, which consists so many architectural aspects.\",\n \"Sigiriya which is considered by many as the 8th wonder of the world, it is a combination of natural and man made fortress, which consists so many architectural aspects. Music There are extensive folk poems relating to specific jobs of the ancient society.\",\n \"Music There are extensive folk poems relating to specific jobs of the ancient society. These poems were communal songs which had a rhythm that were sung when performing day-to-day tasks like harvesting and sowing. Concerning popular music, Ananda Samarakoon developed the reflective and poignant Sarala gee style with his work in the late 1930s/early 1940s.\",\n \"Concerning popular music, Ananda Samarakoon developed the reflective and poignant Sarala gee style with his work in the late 1930s/early 1940s. He has been followed by artists of repute such as Sunil Shantha, W. D. Amaradeva, Premasiri Khemadasa, Nanda Malini, Victor Ratnayake, Austin Munasinghe, T. M. Jayaratne, Sanath Nandasiri, Sunil Edirisinghe, Neela Wickremasinghe, Gunadasa Kapuge, Malini Bulathsinghala and Edward Jayakody.\",\n \"He has been followed by artists of repute such as Sunil Shantha, W. D. Amaradeva, Premasiri Khemadasa, Nanda Malini, Victor Ratnayake, Austin Munasinghe, T. M. Jayaratne, Sanath Nandasiri, Sunil Edirisinghe, Neela Wickremasinghe, Gunadasa Kapuge, Malini Bulathsinghala and Edward Jayakody. Film and theatre Dramatist Ediriweera Sarachchandra revitalised the drama form with Maname in 1956.\",\n \"Film and theatre Dramatist Ediriweera Sarachchandra revitalised the drama form with Maname in 1956. The same year, film director Lester James Peries created the artistic masterwork Rekava which sought to create a uniquely Sinhalese cinema with artistic integrity. Since then, Peries and other directors like Vasantha Obeysekera, Dharmasena Pathiraja, Mahagama Sekera, W. A.\",\n \"Since then, Peries and other directors like Vasantha Obeysekera, Dharmasena Pathiraja, Mahagama Sekera, W. A. B. de Silva, Dharmasiri Bandaranayake, Sunil Ariyaratne, Siri Gunasinghe, G. D. L. Perera, Piyasiri Gunaratne, Titus Thotawatte, D. B. Nihalsinghe, Ranjith Lal, Dayananda Gunawardena, Mudalinayake Somaratne, Asoka Handagama, and Prasanna Vithanage have developed an artistic Sinhalese cinema.\",\n \"B. de Silva, Dharmasiri Bandaranayake, Sunil Ariyaratne, Siri Gunasinghe, G. D. L. Perera, Piyasiri Gunaratne, Titus Thotawatte, D. B. Nihalsinghe, Ranjith Lal, Dayananda Gunawardena, Mudalinayake Somaratne, Asoka Handagama, and Prasanna Vithanage have developed an artistic Sinhalese cinema. Sinhala cinema is often made colourful with the incorporation of songs and dance adding more uniqueness to the industry.\",\n \"Sinhala cinema is often made colourful with the incorporation of songs and dance adding more uniqueness to the industry. In the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success.\",\n \"In the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success. Performing arts Performing arts of the Sinhalese people can be categorised into few groups: Kandyan dance consist of 18 Wannam (dance routines) featuring behaviours of various animals such as elephant, eagle, cobra, monkey, peacock and rabbit, mainly performing in the annual Perahara pageant in Sri Dalada Maligawa Kandy.\",\n \"Performing arts Performing arts of the Sinhalese people can be categorised into few groups: Kandyan dance consist of 18 Wannam (dance routines) featuring behaviours of various animals such as elephant, eagle, cobra, monkey, peacock and rabbit, mainly performing in the annual Perahara pageant in Sri Dalada Maligawa Kandy. Pahatharata dance have a significant dancing style which is used to cure illnesses and spiritual clarification.\",\n \"Pahatharata dance have a significant dancing style which is used to cure illnesses and spiritual clarification. The main feature of these dances is dancers wear masks representing various gods and demons, and use elements such as fire and water to bless people. Sabaragamuwa dances have also a significant dancing style, mainly to entertain people.\",\n \"Sabaragamuwa dances have also a significant dancing style, mainly to entertain people. Folk music and dances differ according to the casts of Sinhalese people and also some times regionally—mainly popular among small children, especially girls. These arts are widely performed during the Sinhalese New Year period. Martial arts Angampora is the traditional martial art of the Sinhalese people.\",\n \"Martial arts Angampora is the traditional martial art of the Sinhalese people. It combines combat techniques, self-defence, sport, exercise and meditation. Key techniques observed in Angampora are: Angam, which incorporates hand-to-hand fighting, and Illangam, which uses indigenous weapons such as Velayudaya, staves, knives and swords.\",\n \"Key techniques observed in Angampora are: Angam, which incorporates hand-to-hand fighting, and Illangam, which uses indigenous weapons such as Velayudaya, staves, knives and swords. Its most distinct feature is the use of pressure point attacks to inflict pain or permanently paralyse the opponent.\",\n \"Its most distinct feature is the use of pressure point attacks to inflict pain or permanently paralyse the opponent. Fighters usually make use of both striking and grappling techniques, and fight until the opponent is caught in a submission lock that they cannot escape. Usage of weapons is discretionary.\",\n \"Usage of weapons is discretionary. Usage of weapons is discretionary. Perimeters of fighting are defined in advance, and in some of the cases is a pit. Angampora became nearly extinct after the country came under British rule in 1815, but survived in a few families until the country regained independence.\",\n \"Angampora became nearly extinct after the country came under British rule in 1815, but survived in a few families until the country regained independence. Science and education The Sinhalese have a long history of literacy and formal learning. Instruction in basic fields like writing and reading by Buddhist Monks pre-date the birth of Christ.\",\n \"Instruction in basic fields like writing and reading by Buddhist Monks pre-date the birth of Christ. This traditional system followed religious rule and was meant to foster Buddhist understanding. Training of officials in such skills as keeping track of revenue and other records for administrative purposes occurred under this institution.\",\n \"Training of officials in such skills as keeping track of revenue and other records for administrative purposes occurred under this institution. Technical education such as the building of reservoirs and canals was passed down from generation to generation through home training and outside craft apprenticeships.\",\n \"Technical education such as the building of reservoirs and canals was passed down from generation to generation through home training and outside craft apprenticeships. The arrival of the Portuguese and Dutch and the subsequent colonisation maintained religion as the centre of education though in certain communities under Catholic and Presbyterian hierarchy. The British in the 1800s initially followed the same course.\",\n \"The British in the 1800s initially followed the same course. Following 1870 however they began a campaign for better education facilities in the region. Christian missionary groups were at the forefront of this development contributing to a high literacy among Christians. By 1901 schools in the South and the North were well tended. The inner regions lagged behind however.\",\n \"The inner regions lagged behind however. Also, English education facilities presented hurdles for the general populace through fees and lack of access. Medicine Traditional Sinhalese villages in early days had at least one chief Medical personnel called Weda Mahaththaya (Doctor). These people practice their clinical activities by inheritance.\",\n \"These people practice their clinical activities by inheritance. Sinhalese Medicine resembles some of Ayurvedic practices in contrast for some treatments they use Buddhist Chantings (Pirith) in order to strengthen the effectiveness.\",\n \"Sinhalese Medicine resembles some of Ayurvedic practices in contrast for some treatments they use Buddhist Chantings (Pirith) in order to strengthen the effectiveness. According to the Mahavamsa, the ancient chronicle, Pandukabhaya of Sri Lanka (437 BC – 367 BC) had lying-in-homes and Ayurvedic hospitals (Sivikasotthi-Sala) built in various parts of the country.\",\n \"According to the Mahavamsa, the ancient chronicle, Pandukabhaya of Sri Lanka (437 BC – 367 BC) had lying-in-homes and Ayurvedic hospitals (Sivikasotthi-Sala) built in various parts of the country. This is the earliest documentary evidence we have of institutions specifically dedicated to the care of the sick anywhere in the world.\",\n \"This is the earliest documentary evidence we have of institutions specifically dedicated to the care of the sick anywhere in the world. Mihintale Hospital is the oldest in the world. See also List of Sinhalese people Sinhalese Buddhist nationalism References Citations Sources De Silva, K. M. History of Sri Lanka (Univ.\",\n \"See also List of Sinhalese people Sinhalese Buddhist nationalism References Citations Sources De Silva, K. M. History of Sri Lanka (Univ. of Calif. Press, 1981) Gunasekera, Tamara. Hierarchy and Egalitarianism: Caste, Class, and Power in Sinhalese Peasant Society (Athlone, 1994). Roberts, Michael.\",\n \"Roberts, Michael. Roberts, Michael. Sri Lanka: Collective Identities Revisited (Colombo-Marga Institute, 1997). Wickremeratne, Ananda. Buddhism and Ethnicity in Sri Lanka: A Historical Analysis (New Delhi-Vikas Publishing House, 1995).\",\n \"Buddhism and Ethnicity in Sri Lanka: A Historical Analysis (New Delhi-Vikas Publishing House, 1995). External links CIA Factbook-Sri Lanka Department of Census and Statistics-Sri Lanka Ethnologue-Sinhala, a language of Sri Lanka CIA Factbook-Sri Lanka Sinhalese Who are the Sinhalese Buddhist communities of Sri Lanka Ethnic groups in Sri Lanka Ethnic groups in the Indian Ocean Indo-Aryan peoples Sinhalese diaspora Sinhalese culture\"\n]"}}},{"rowIdx":489,"cells":{"History":{"kind":"list like","value":["Sinhalese people","Language and literature","what language did the sinhalese people use?","The Sinhalese speak Sinhala, also known as \"Helabasa\";","is it a widely known language?","I don't know.","Are there any other interesting aspects about this article?","Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today.","what were the folk tales about?","Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance."],"string":"[\n \"Sinhalese people\",\n \"Language and literature\",\n \"what language did the sinhalese people use?\",\n \"The Sinhalese speak Sinhala, also known as \\\"Helabasa\\\";\",\n \"is it a widely known language?\",\n \"I don't know.\",\n \"Are there any other interesting aspects about this article?\",\n \"Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today.\",\n \"what were the folk tales about?\",\n \"Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance.\"\n]"},"QuAC_dialog_id":{"kind":"string","value":"C_6531bbbb4dba4483bed9d12220555c4f_1"},"Question":{"kind":"string","value":"are any of these folks books to this day?"},"Question_no":{"kind":"number","value":5,"string":"5"},"Rewrite":{"kind":"string","value":"are any of the Sinhalese folks books people today?"},"true_page_title":{"kind":"string","value":"Sinhalese people"},"true_contexts":{"kind":"string","value":"The Sinhalese speak Sinhala, also known as \"Helabasa\"; this language has two varieties, spoken and written. Sinhala is an Indo-Aryan language within the broader group of Indo-European languages. The language was brought to Sri Lanka by the ancestors of the Sinhalese from northern India who settled on the island in the 6th century BCE. Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages. Sinhala was influenced by many languages, prominently Pali, the sacred language of Southern Buddhism, and Sanskrit. Many early Sinhala texts such as the Hela Atuwa were lost after their translation into Pali. Other significant Sinhala texts include Amavatura, Kavu Silumina, Jathaka Potha and Sala Liheeniya. Sinhala has also adopted many loanwords of foreign origin, including from many Indian languages and colonial languages Portuguese, Dutch, and English. Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world. The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages. Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and Hollywood movies. Additionally many Dutch and Portuguese words can be seen in the coastal areas. Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today. Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance. Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son. In the modern period, Sinhala writers such as Martin Wickremasinghe and G. B. Senanayake have drawn widespread acclaim. Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake. Martin Wickramasinghe wrote the immensely popular children's novel Madol Duwa. Munadasa Cumaratunga's Hath Pana is also widely known. CANNOTANSWER"},"answer":{"kind":"string","value":"continue to entertain children today."},"true_contexts_wiki":{"kind":"string","value":"Sinhalese people () are an Indo-Aryan ethnic group native to the island of Sri Lanka. They were historically known as Hela people (). They constitute about 75% of the Sri Lankan population and number greater than 16.2 million. The Sinhalese identity is based on language, cultural heritage and nationality. The Sinhalese people speak Sinhala, an insular Indo-Aryan language, and are predominantly Theravada Buddhists, although a minority of Sinhalese follow branches of Christianity and \nother religions. Since 1815, they were broadly divided into two respective groups: The 'Up-country Sinhalese' in the central mountainous regions, and the 'Low-country Sinhalese' in the coastal regions; although both groups speak the same language, they are distinguished as they observe different cultural customs.\n\nAccording to the Mahavamsa and the Dipavamsa, a 3rd–5th century treatise written in Pali by Buddhist monks of the Anuradhapura Maha Viharaya in Sri Lanka, the Sinhalese descend from settlers who came to the island in 543 BCE from Sinhapura led by Prince Vijaya who mixed with the indigenous Yakka and later settlers from the Pandya kingdom.\n\nEtymology\nFrom the Sanskrit word Sinhala, meaning literally \"of lions\".\n\nThe Mahavamsa records the origin of the Sinhalese people and related historical events. It traces the historical origin of the Sinhalese people back to the first king who mentioned in the documentary history of Sri Lanka, Vijaya, who is the son of Sinhabahu (Sanskrit meaning 'Sinha' (lion) + 'bahu' (hands, feet), the ruler of Sinhapura. Some versions suggest Vijaya is the grandson of Sinhabahu. According to the Mahavamsa, Sinhabahu was the son of princess Suppadevi of Vanga, who copulated with a lion and gave birth to a daughter called Sinhasivali and to a son, Sinhabahu, whose hands and feet were like the paws of a lion and who had the strength of a lion. King Vijaya, the lineage of Sinhabahu, according to the Mahavamsa and other historical sources, arrived on the island of Tambapanni (Sri Lanka) and gave origin to the lion people, Sinhalese.\n\nThe story of the arrival of Prince Vijaya in Sri Lanka and the origin of the Sinhalese people is also depicted in the Ajanta caves, in a mural of cave number 17. According to Arisen Ahubudu, there were four major clans of \"hela\" in ancient Sri Lanka even before the arrival of Prince Vijaya, and that Sri Lanka was called as \"Siv hela\" (siv=four in the Sinhala language) and later it was changed into \"Sinhala\".\n\nHistory\n\nThe early recorded history of the Sinhalese is chronicled in two documents, the Mahavamsa, written in Pāli around the 4th century CE, and the later Culavamsa (the first segment probably penned in the 13th century CE by the Buddhist monk Dhammakitti). These are ancient sources that cover the histories of the powerful ancient Sinhalese kingdoms of Anuradhapura and Polonnaruwa which lasted for 1500 years. The Mahavamsa describes the existence of fields of rice and reservoirs, indicating a well-developed agrarian society.\n\nPre Anuradhapura period\n\nAccording to Mahavamsa, Prince Vijaya and his 700 followers left Suppāraka, landed on the island at a site believed by historians to be in the district of Puttalam, south of modern-day Mannar and founded the Kingdom of Thambapanni. It is recorded the Vijaya made his landing on the day of Buddha's Parinirvana. Vijaya claimed Tambapanni his capital and soon the whole island come under this name. Tambapanni was originally inhabited and governed by Yakkhas, having their capital at Sirīsavatthu and their queen Kuveni. According to the Samyutta Commentary, Tambapanni was one hundred leagues in extent.\n\nAt the end of his reign, Vijaya, having trouble choosing a successor, sent a letter to the city of his ancestors, Sinhapura, in order to invite his brother Sumitta to take over the throne. However, Vijaya had died before the letter had reached its destination, so the elected minister of the people Upatissa, the Chief government minister or prime minister and leading chief among the Sinhalese became regent and acted as regent for a year. After his coronation, which was held in the Kingdom of Tambapanni, he left it, building another one, bearing his own name. While he was king, Upatissa established the new capital Upatissa, in which the kingdom was moved to from the Kingdom of Tambapanni. When Vijaya's letter arrived, Sumitta had already succeeded his father as king of his country, and so he sent his son Panduvasdeva to rule Upatissa Nuwara.\n\nUpatissa Nuwara was seven or eight miles further north of the Kingdom of Tambapanni.\nIt was named after the regent king Upatissa, who was the prime minister of Vijaya, and was founded in 505 BC after the death of Vijaya and the end of the Kingdom of Tambapanni.\n\nAnuradhapura period\n\nIn 377 BC, King Pandukabhaya (437–367 BC) moved the capital to Anuradhapura and developed it into a prosperous city. Anuradhapura (Anurapura) was named after the minister who first established the village and after a grandfather of Pandukabhaya who lived there. The name was also derived from the city's establishment on the auspicious asterism called Anura. Anuradhapura was the capital of all the monarchs who ruled from the dynasty.\n\nRulers such as Dutthagamani, Valagamba, and Dhatusena are noted for defeating the South Indians and regaining control of the kingdom. Other rulers who are notable for military achievements include Gajabahu I, who launched an invasion against the invaders, and Sena II, who sent his armies to assist a Pandyan prince.\n\nPolonnaruwa period\n\nDuring the Middle Ages Sri Lanka was well known for its agricultural prosperity under king Parakramabahu in Polonnaruwa during which period the island was famous around the world as the rice mill of the east.\n\nTransitional period\n\nLater in the 13th century the country's administrative provinces were divided into independent kingdoms and chieftaincies: Kingdom of Sitawaka, Kingdom of Kotte, Jaffna Kingdom and the Kandyan kingdom. The invasion by the Hindu king Magha in the 13th century led to migrations by the Buddhists (mostly Sinhalese) to areas not under his control. This migration was followed by a period of conflict among the Sinhalese chiefs who tried to exert political supremacy. Parakramabahu VI, a Sinhalese king invaded the Jaffna Kingdom and conquered it, bringing the entire country back under the Sinhalese kingdom. Trade also increased during this period, as Sri Lanka began to trade cinnamon and a large number of Muslim traders were bought into the island.\n\nIn the 15th century a Kandyan Kingdom formed which divided the Sinhalese politically into low-country and up-country. In this period, the Sinhalese caste structure absorbed recent Dravidian Hindu immigrants from South India leading to the emergence of three new Sinhalese caste groups - the Salagama, the Durava and the Karava.\n\nModern history\n\nThe Sinhalese have a stable birth rate and a population that has been growing at a slow pace relative to India and other Asian countries.\n\nSociety\n\nDemographics\n\nSri Lanka\n\nWithin Sri Lanka the majority of the Sinhalese reside in the South, Central, Sabaragamuwa and Western parts of the country. This coincides with the largest Sinhalese populations areas in Sri Lanka. Cities with more than 90% Sinhalese population include Hambantota, Galle, Gampaha, Kurunegala, Monaragala, Anuradhapura and Polonnaruwa.\n\nDiaspora\n\nSinhalese people have emigrated out to many countries for a variety of reasons. The larger diaspora communities are situated in the United Kingdom, Australia, United States and Canada among others. In addition to this there are many Sinhalese, who reside in the Middle East, Southeast Asia and Europe, temporarily in connection with employment and/or education. They are often employed as guest workers in the Middle East and professionals in the other regions.\n\nThe largest population centres of the Sinhalese diaspora are mainly situated in Europe, North America and Australia. The city of Melbourne contains just under half of the Sri Lankan Australians. The 2011 census recorded 86,412 Sri Lanka born in Australia. There are 73,849 Australians (0.4 of the population) who reported having Sinhalese ancestry in 2006. Sinhala was also reported to be the 29th-fastest-growing language in Australia (ranking above Somali but behind Hindi and Belarusian). Sinhalese Australians have an exceptionally low rate of return migration to Sri Lanka. In the 2011 Canadian Census, 7,220 people identified themselves as of Sinhalese ancestry, out of 139,415 Sri Lankans. There are a small number of Sinhalese people in India, scattered around the country, but mainly living in and around the northern and southern regions. Sri Lankan New Zealanders comprised 3% of the Asian population of New Zealand in 2001. The numbers arriving continued to increase, and at the 2018 census there were over 16,000 Sri Lankans living in New Zealand among those 9,171 were Sinhalese.\n\nIn the U.S, the Sinhalese number about 12,000 people. The New York City Metropolitan Area contains the largest Sri Lankan community in the United States, receiving the highest legal permanent resident Sri Lankan immigrant population, followed by Central New Jersey and the Los Angeles metropolitan area. Many Sinhalese have migrated to Italy since the 1970s. Italy was attractive to the Sinhalese due to perceived easier employment opportunities and entry, compared to other European countries. It is estimated that there are 30,000-33,000 Sinhalese in Italy. The major Sinhalese communities in Italy are located in Lombardia (In the districts Loreto and Lazzaretto), Milan, Lazio, Rome, Naples, and Southern Italy (Particularly Palermo, Messina and Catania). It should be noted however that many countries census list Sri Lankan which also includes Sri Lankan Tamils so the numbers of just Sinhalese are not as accurate when the census states Sri Lankan and not Sinhalese. Though Sinhalese people in particular and Sri Lankans in general have migrated to the UK over the centuries beginning from the colonial times, the number of Sinhalese people in the UK cannot be estimated accurately due to inadequacies of census in the UK. The UK government does not record statistics on the basis of language or ethnicity and all Sri Lankans are classified into one group as Asian British or Asian Other.\n\nLanguage and literature\n\nSinhalese people speak Sinhala, also known as \"Helabasa\"; this language has two varieties, spoken and written. Sinhala is an Indo-Aryan language within the broader group of Indo-European languages. The early form of the language was brought to Sri Lanka by the ancestors of the Sinhalese people from northern India who settled on the island in the 6th century BCE. Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages. It was influenced by many languages, prominently Pali, the sacred language of Southern Buddhism, Telugu and Sanskrit. Many early texts in the language such as the Hela Atuwa were lost after their translation into Pali. Other significant Sinhala texts include Amāvatura, Kavu Silumina, Jathaka Potha and Sala Liheeniya. Sinhala has also adopted many loanwords of foreign origin, including from many Indian such as Tamil and European languages such as Portuguese, Dutch, and English.\n\nSandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world. The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages. Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and foreign films. Additionally many Dutch and Portuguese words can be seen in the coastal areas. Sinhalese people, depending on where they live in Sri Lanka, may also additionally speak English and or Tamil. According to the 2012 Census 23.8% or 3,033,659 Sinhalese people also spoke English and 6.4% or 812,738 Sinhalese people also spoke Tamil. In the Negombo area bilingual fishermen who generally identify themselves as Sinhalese also speak the Negombo Tamil dialect. This dialect has undergone considerable convergence with spoken Sinhala.\n\nFolk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today. Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance. Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son.\n\nIn the modern period, Sinhala writers such as Martin Wickremasinghe and G. B. Senanayake have drawn widespread acclaim. Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake. Martin Wickramasinghe wrote the immensely popular children's novel Madol Duwa. Munadasa Cumaratunga's Hath Pana is also widely known.\n\nReligion\n\nThe form of Buddhism in Sri Lanka is known as Theravada (school of elders). The Pali chronicles (e.g., the Mahavansa) claim that the Sinhalese as an ethnic group are destined to preserve and protect Buddhism. In 1988 almost 93% of the Sinhala speaking population in Sri Lanka were Buddhist. Observations of current religious beliefs and practices demonstrate that the Sinhalese, as a religious community, have a complex worldview as Buddhists. Due to the proximity and on some occasions similarity of certain doctrines, there are many areas where Buddhists and Hindus share religious views and practices. Sinhalese Buddhists have adopted religious elements from Hindu traditions in their religious practices. Some of these practices may relate to ancient indigenous beliefs and traditions on spirits (folk religion), and the worship of Hindu deities. Some of these figures are used in healing rituals and may be native to the island. Gods and goddess derived from Hindu deities are worshiped by Sinhalese. Kataragama Deviyo from Kartikeya, Upulvan from Vishnu and Ayyanayake from Aiyanar can be named as examples. Though these gods take the same place as their Hindu counterparts in mythology, some of their aspects are different compared to the original gods.\n\nProminent Sri Lankan anthropologists Gananath Obeyesekere and Kitsiri Malalgoda used the term \"Protestant Buddhism\" to describe a type of Buddhism that appeared among the Sinhalese in Sri Lanka as a response to Protestant Christian missionaries and their evangelical activities during the British colonial period. This kind of Buddhism involved emulating the Protestant strategies of organising religious practices. They saw the need to establish Buddhist schools for educating Buddhist youth and organising Buddhists with new organisations such as the Young Men's Buddhist Association, as well as printing pamphlets to encourage people to participate in debates and religious controversies to defend Buddhism.\n\nChristianity\nThere is a significant Sinhalese Christian community, in the maritime provinces of Sri Lanka. Christianity was brought to the Sinhalese by Portuguese, Dutch, and British missionary groups during their respective periods of rule. Most Sinhalese Christians are Roman Catholic; a minority are Protestant. Their cultural centre is Negombo.\n\nReligion is considered very important among the Sinhalese. According to a 2008 Gallup poll, 99% of Sri Lankans considered religion an important aspect of their daily lives.\n\nGenetics\n\nModern studies point towards a predominantly Bengali contribution and a minor Tamil influence. Gujarati and Punjabi lineages are also visible. In relation to the former, other studies also show the Sinhalese possess some genetic admixture from Southeast Asian populations, especially from Austroasiatic groups. Certain Y-DNA and mtDNA haplogroups and genetic markers of immunoglobulin among the Sinhalese, for example, show Southeast Asian genetic influences many of which are also found among certain Northeast Indian populations to whom the Sinhalese are genetically related.\n\nCulture\n\nSinhalese culture is a unique one dating as far back as 2600 years and has been nourished by Theravada Buddhism. Its main domains are sculpture, fine arts, literature, dancing, poetry and a wide variety of folk beliefs and rituals traditionally. Ancient Sinhala stone sculpture and inscriptions are known worldwide and is a main foreign attraction in modern tourism. Sigirirya is famous for its frescoes. Folk poems were sung by workers to accompany their work and narrate the story of their lives. Ideally these poems consisted of four lines and, in the composition of these poems, special attention had been paid to the rhyming patterns. Buddhist festivals are dotted by unique music using traditionally Sinhalese instruments. More ancient rituals like (devil exorcism) continue to enthrall audiences today and often praised and invoked the good powers of the Buddha and the gods in order to exorcise the demons.\n\nFolklore and national mythology\nAccording to the Mahavamsa, the Sinhalese are descended from the exiled Prince Vijaya and his party of seven hundred followers who arrived on the island in 543 BCE. Vijaya and his followers were said to have arrived in Sri Lanka after being exiled from the city of Sinhapura in Bengal. The modern Sinhalese people were found genetically to be most closely related to the people of North-East India (Bengal). It is thought throughout Sri Lanka's history, since the founding of the Sinhalese in the 5th century BC that an influx of Indians from North India came to the island. This is further supported from Sinhala being part of the Indo-Aryan language group.\n\nTraditionally during recreation the Sinhalese wear a sarong (sarama in Sinhala). Men may wear a long-sleeved shirt with a sarong. Clothing varies by region for women. Low country Sinhalese women wear a white Long sleeved jacket, and a tight wrap around skirt, which usually is embedded with a floral or pattern design. As for the up country Sinhalese, women wear a similar outfit, but with a puffed up shoulder jacket, and a tucked in frill that lines the top of the skirt (Reda and Hatte in Sinhala). Traditionally, high caste Kandyan women wear a Kandyan style sari, which is similar to the Maharashtrian sari, with the drape but with a frill lining the bottom half and sometimes puffed up sleeves. It’s also called an Osariya. The low country high caste women wear a South Indian style saree. Within the more populated areas, Sinhalese men also wear Western-style clothing — wearing suits while the women wear skirts and blouses. For formal and ceremonial occasions women wear the traditional Kandyan (Osariya) style, which consists of a full blouse which covers the midriff completely, and is partially tucked in at the front. However, modern intermingling of styles has led to most wearers baring the midriff. The Kandyan style is considered as the national dress of Sinhalese women. In many occasions and functions, even the saree plays an important role in women's clothing and has become the de facto clothing for female office workers especially in government sector. An example of its use is the uniform of air hostesses of Sri Lankan Airlines.\n\nCuisine\n\nSinhalese cuisine is one of the most complex cuisines of South Asia. As a major trade hub, it draws influence from colonial powers that were involved in Sri Lanka and by foreign traders. Rice, which is consumed daily, can be found at any occasion, while spicy curries are favourite dishes for lunch and dinner. Some of the Sri Lankan dishes have striking resemblance to Kerala cuisine, which could be due to the similar geographic and agricultural features with Kerala. A well-known rice dish with Sinhalese is Kiribath, meaning ‘milk rice’. In addition to , Sinhalese eat , chopped leaves mixed with grated coconut and red onions. Coconut milk is found in most Sri Lankan dishes to give the cuisine its unique flavour.\n\nSri Lanka has long been renowned for its spices. The best known is cinnamon which is native to Sri Lanka. In the 15th and 16th centuries, spice and ivory traders from all over the world who came to Sri Lanka brought their native cuisines to the island, resulting in a rich diversity of cooking styles and techniques. Lamprais, rice boiled in stock with a special curry, accompanied by frikkadels (meatballs), all of which is then wrapped in a banana leaf and baked as a Dutch-influenced Sri Lankan dish. Dutch and Portuguese sweets also continue to be popular. British influences include roast beef and roast chicken. Also, the influence of the Indian cooking methods and food have played a major role in what Sri Lankans eat.\n\nThe island nation's cuisine mainly consists of boiled or steamed rice served with curry. This usually consists of a main curry of fish or chicken, as well as several other curries made with vegetables, lentils and even fruit curries. Side-dishes include pickles, chutneys and . The most famous of these is the coconut sambol, made of ground coconut mixed with chili peppers, dried Maldive fish and lime juice. This is ground to a paste and eaten with rice, as it gives zest to the meal and is believed to increase appetite.\n\nArt and architecture\n\nMany forms of Sri Lankan arts and crafts take inspiration from the island's long and lasting Buddhist culture which in turn has absorbed and adopted countless regional and local traditions. In most instances Sri Lankan art originates from religious beliefs, and is represented in many forms such as painting, sculpture, and architecture. One of the most notable aspects of Sri Lankan art are caves and temple paintings, such as the frescoes found at Sigiriya, and religious paintings found in temples in Dambulla and Temple of the Tooth Relic in Kandy. Other popular forms of art have been influenced by both natives as well as outside settlers. For example, traditional wooden handicrafts and clay pottery are found around the hill country while Portuguese-inspired lacework and Indonesian-inspired Batik have become notable. It has many different and beautiful drawings.\n\nDeveloped upon Indo-Aryan architectural skills in the late 6th century BCE Sinhalese people who lived upon greater kingdoms such as Anuradhapura and Polonnaruwa have built so many architectural examples such as Ruwanwelisaya, Jetavanaramaya - second tallest brick building in the ancient world after Great Pyramid of Giza, and Abayagiriya - third tallest brick building in the ancient world. And also with the ancient hydraulic technology which is also unique to Sinhalese people to build ancient tanks, systematic ponds with fountains moats and Irrigational reservoirs such as Parakrama Samudra, Kaudulla and Kandalama. Sigiriya which is considered by many as the 8th wonder of the world, it is a combination of natural and man made fortress, which consists so many architectural aspects.\n\nMusic\n\nThere are extensive folk poems relating to specific jobs of the ancient society. These poems were communal songs which had a rhythm that were sung when performing day-to-day tasks like harvesting and sowing.\n\nConcerning popular music, Ananda Samarakoon developed the reflective and poignant Sarala gee style with his work in the late 1930s/early 1940s. He has been followed by artists of repute such as Sunil Shantha, W. D. Amaradeva, Premasiri Khemadasa, Nanda Malini, Victor Ratnayake, Austin Munasinghe, T. M. Jayaratne, Sanath Nandasiri, Sunil Edirisinghe, Neela Wickremasinghe, Gunadasa Kapuge, Malini Bulathsinghala and Edward Jayakody.\n\nFilm and theatre\n\nDramatist Ediriweera Sarachchandra revitalised the drama form with Maname in 1956. The same year, film director Lester James Peries created the artistic masterwork Rekava which sought to create a uniquely Sinhalese cinema with artistic integrity. Since then, Peries and other directors like Vasantha Obeysekera, Dharmasena Pathiraja, Mahagama Sekera, W. A. B. de Silva, Dharmasiri Bandaranayake, Sunil Ariyaratne, Siri Gunasinghe, G. D. L. Perera, Piyasiri Gunaratne, Titus Thotawatte, D. B. Nihalsinghe, Ranjith Lal, Dayananda Gunawardena, Mudalinayake Somaratne, Asoka Handagama, and Prasanna Vithanage have developed an artistic Sinhalese cinema. Sinhala cinema is often made colourful with the incorporation of songs and dance adding more uniqueness to the industry.\n\nIn the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success.\n\nPerforming arts\n\nPerforming arts of the Sinhalese people can be categorised into few groups:\n\nKandyan dance consist of 18 Wannam (dance routines) featuring behaviours of various animals such as elephant, eagle, cobra, monkey, peacock and rabbit, mainly performing in the annual Perahara pageant in Sri Dalada Maligawa Kandy.\nPahatharata dance have a significant dancing style which is used to cure illnesses and spiritual clarification. The main feature of these dances is dancers wear masks representing various gods and demons, and use elements such as fire and water to bless people.\nSabaragamuwa dances have also a significant dancing style, mainly to entertain people.\nFolk music and dances differ according to the casts of Sinhalese people and also some times regionally—mainly popular among small children, especially girls. These arts are widely performed during the Sinhalese New Year period.\n\nMartial arts\n\nAngampora is the traditional martial art of the Sinhalese people. It combines combat techniques, self-defence, sport, exercise and meditation. Key techniques observed in Angampora are: Angam, which incorporates hand-to-hand fighting, and Illangam, which uses indigenous weapons such as Velayudaya, staves, knives and swords. Its most distinct feature is the use of pressure point attacks to inflict pain or permanently paralyse the opponent. Fighters usually make use of both striking and grappling techniques, and fight until the opponent is caught in a submission lock that they cannot escape. Usage of weapons is discretionary. Perimeters of fighting are defined in advance, and in some of the cases is a pit. Angampora became nearly extinct after the country came under British rule in 1815, but survived in a few families until the country regained independence.\n\nScience and education\n\nThe Sinhalese have a long history of literacy and formal learning. Instruction in basic fields like writing and reading by Buddhist Monks pre-date the birth of Christ. This traditional system followed religious rule and was meant to foster Buddhist understanding. Training of officials in such skills as keeping track of revenue and other records for administrative purposes occurred under this institution.\n\nTechnical education such as the building of reservoirs and canals was passed down from generation to generation through home training and outside craft apprenticeships.\n\nThe arrival of the Portuguese and Dutch and the subsequent colonisation maintained religion as the centre of education though in certain communities under Catholic and Presbyterian hierarchy. The British in the 1800s initially followed the same course. Following 1870 however they began a campaign for better education facilities in the region. Christian missionary groups were at the forefront of this development contributing to a high literacy among Christians.\n\nBy 1901 schools in the South and the North were well tended. The inner regions lagged behind however. Also, English education facilities presented hurdles for the general populace through fees and lack of access.\n\nMedicine\nTraditional Sinhalese villages in early days had at least one chief Medical personnel called Weda Mahaththaya (Doctor). These people practice their clinical activities by inheritance. Sinhalese Medicine resembles some of Ayurvedic practices in contrast for some treatments they use Buddhist Chantings (Pirith) in order to strengthen the effectiveness.\n\nAccording to the Mahavamsa, the ancient chronicle, Pandukabhaya of Sri Lanka (437 BC – 367 BC) had lying-in-homes and Ayurvedic hospitals (Sivikasotthi-Sala) built in various parts of the country. This is the earliest documentary evidence we have of institutions specifically dedicated to the care of the sick anywhere in the world. Mihintale Hospital is the oldest in the world.\n\nSee also\n List of Sinhalese people\n Sinhalese Buddhist nationalism\n\nReferences\n\nCitations\n\nSources \n\n De Silva, K. M. History of Sri Lanka (Univ. of Calif. Press, 1981)\n Gunasekera, Tamara. Hierarchy and Egalitarianism: Caste, Class, and Power in Sinhalese Peasant Society (Athlone, 1994).\n Roberts, Michael. Sri Lanka: Collective Identities Revisited (Colombo-Marga Institute, 1997).\n Wickremeratne, Ananda. Buddhism and Ethnicity in Sri Lanka: A Historical Analysis (New Delhi-Vikas Publishing House, 1995).\n\nExternal links \n\n CIA Factbook-Sri Lanka\n Department of Census and Statistics-Sri Lanka\n Ethnologue-Sinhala, a language of Sri Lanka\n CIA Factbook-Sri Lanka\n Sinhalese\n Who are the Sinhalese\n\n \nBuddhist communities of Sri Lanka\nEthnic groups in Sri Lanka\nEthnic groups in the Indian Ocean\nIndo-Aryan peoples\nSinhalese diaspora\nSinhalese culture"},"extractive":{"kind":"string","value":"true"},"retrieved_contexts":{"kind":"list like","value":["Eighth Day Books is an independent bookstore founded in 1988 and located in Wichita, Kansas. It is known for its books that are classics of their genres, or else modern or contemporary works linked to the intellectual, artistic, and religious traditions of the East and West.\n\nHistory\nWarren Farha, the founder of the bookstore, has written on the notion of bookselling as a vocation, citing a personal tragedy as the turning point in his life that led him to devote his life to the trade. The name of the store is drawn from the Patristic notion of the Eighth Day, referring literally to Sunday, and metaphorically to the eternal \"day\" of Jesus' resurrection.\n\nPhilosophy\nAccording to their website, Eighth Day \"offer[s] an eccentric community of books based on this organizing principle: if a book—be it literary, scientific, historical, or theological—sheds light on ultimate questions in an excellent way, then it's a worthy candidate for inclusion in our catalog.\" The writer Lauren Winner reports that Farha defines the store's specialty as \"the 'lasting' books...perennially important books.\" Mark Oppenheimer suggests that is \"filled only with books Mr. Farha would read.\"\n\nIn addition, Eighth Day Books are known for their collection of religious—especially but not exclusively Christian—texts, particularly Roman Catholic and Eastern Orthodox works. Farha, who is Antiochian Orthodox, has summarized his vision for the bookstore as \"about the unbreakable connections between all things that are true and good and beautiful. We'll live and die for Fr. Schmemann's insistence that you can't compartmentalize reality — separating things into 'religious' and 'secular, not religious.' We believe that doing so is a denial of God's 'very good' creation.\"\n\nEighth Day Press\nTo date, Eighth Day Press has published seven books, focused primarily on works exploring or emanating from Catholic and Orthodox spirituality. The Press publishes the two most significant works of German writer Max Picard, Flight From God and The World of Silence; Recovered Body, a collection of poetry by Scott Cairns; Discerning the Mystery: An Essay on the Nature of Theology, by Andrew Louth; Clinging:The Experience of Prayer, by Emilie Griffin; Orthodox Spirituality and the Philokalia, by Placide Deseille; and The Feast of Friendship, by Fr. Paul O'Callaghan.\n\nInfluence\nEighth Day Books is well-known within Christian intellectual and artistic circles, having been called by the writer Harold Fickett \"surely the most idealistic (and one of the best) bookstores in America\". Former Dallas Morning News columnist and religion author Rod Dreher has written that Eighth Day Books is \"the best bookstore in the world\" and the \"Garden of Eden for Christian intellectuals–Catholic, Protestant, and Orthodox–interested in the Permanent Things\". Image Journal, which invites Eighth Day Books to host a book table at its Glen Workshop each year, has dubbed Eighth Day Books the \"Miracle of Wichita\" and \"Heaven's Bookstore\". Other conferences at which Eighth Day Books' traveling book table is a regular fixture include Calvin College's Festival of Faith and Writing, Trinity Arts Conference in Dallas, Texas, Notre Dame's Center for Ethics and Culture Fall Conference, Baylor University's Symposium on Faith and Culture, and The CIRCE Institute.\n\nCatalog\nEighth Day Books previously published an annual catalog following the model made famous by A Common Reader, annotating each book with intimate, often whimsical, reviews. Writer, theologian and activist Jim Forest, in a blog entry titled \"the vocational bookseller,\" singles out the book descriptions written for the catalog in saying \"I know of no book shop so likely to have books -- new and used -- of special interest to Orthodox or Catholic Christians.\". Eric Scheske, a lawyer and writer who keeps the noted Daily Eudemon blog says, \"Their annual catalog isn't just a catalog: it's a piece of literature. Anyone who loves books and wisdom as much as these folks, anyone who passes along excellent reading advice by the shelf-load like these folks, merits patronage\". James Kushiner, Executive Editor of Touchstone Magazine has also singled out the writing of Eighth Day's catalog as worthy of mention, saying it's \"the most fun I've had reading a catalog in a while\".\n\nAt its height, the catalog was mailed to 25,000 recipients per year. After its suspension in 2012, the publication was revived in 2020.\n\nReferences\n\nExternal links\nEighth Day Books\nThe Enduring Niche of Eighth Day Books (CIRCE Institute)\n\"Local Booksellers Hopeful,\" from the Wichita Eagle, December 9, 2010\n\nIndependent bookstores of the United States\nCompanies based in Wichita, Kansas\nChristian publishing companies\nRetail companies established in 1988\n1988 establishments in the United States","Li'l Folks, the first comic strip by Peanuts creator Charles M. Schulz, was a weekly panel that appeared mainly in Schulz's hometown paper, the St. Paul Pioneer Press, from June 22, 1947, to January 22, 1950. Schulz's first regular cartoon, Li'l Folks can be regarded as an embryonic version of Peanuts, containing characters and themes which were to reappear in the later strip: a well-dressed young boy with a fondness for Beethoven, à la Schroeder; a dog with a resemblance to Snoopy; and a boy named Charlie Brown.\n\nPublication history \nSchulz was 24 at the time he began drawing Li'l Folks, and he was living with his father in a four-bedroom apartment above his father's barber shop. He earned $10 for each submission to the paper.\n\nThe first two installments of Li'l Folks ran June 8 and 15, 1947, in the Minneapolis Tribune. It then moved to the St. Paul Pioneer Press; Li'l Folks ran in the women's section of the paper.\n\nIn 1948, Schulz tried to have Li'l Folks syndicated through the Newspaper Enterprise Association (a Scripps Company). He would have been an independent contractor for the syndicate, unheard of in the 1940s, but the deal fell through.\n\nSchulz quit two years into the strip after the editor turned down his requests for a pay increase and a move of Li'l Folks from the women's section to the comics pages.\n\nLater that year, Schulz approached the United Feature Syndicate (also a Scripps Company) with Li'l Folks, and the syndicate became interested. However, by that time Schulz had also developed a comic strip (also called Li'l Folks), typically using four panels rather than one. The strip was similar in spirit to the panel comic, but it had a set cast of characters, rather than different nameless little folk for each page. The syndicate preferred the strip; however, the name Li'l Folks was too close to the names of two other comics of the time: Al Capp's Li'l Abner and a strip titled Little Folks. To avoid confusion, the syndicate chose the name Peanuts, after the peanut gallery featured in the Howdy Doody TV show. Peanuts made its first appearance on October 2, 1950, in seven newspapers.\n\nCharacters and story \nLi'l Folks saw the first use of the name Charlie Brown on May 30, 1948, although Schulz applied the name in four gags to three different boys, as well as one buried in sand, during 1948–1949. The strip also featured a dog named Rover that looked much like Snoopy. Like most of Peanuts, adult characters were not shown in the strip.\n\nCollected editions \nThe newspaper never returned Schulz's original artwork, so he clipped each week's strip from the paper and placed it in his scrapbook, which eventually housed over 7,000 pieces of artwork.\n\nIn 2004, the complete run of the strip was collected by the Charles M. Schulz Museum and Research Center (Santa Rosa, California) in a book, Li'l Beginnings, by Derrick Bang with a foreword by Jean Schulz. It is available from the Museum and distributed by Fantagraphics Books. The complete run of the strip was also included in the penultimate volume of The Complete Peanuts, published in May 2016 by Fantagraphics Books.\n\nReferences\n\nAmerican comic strips\n1947 comics debuts\n1950 comics endings\nCharles M. Schulz\nChild characters in comics\nGag cartoon comics"],"string":"[\n \"Eighth Day Books is an independent bookstore founded in 1988 and located in Wichita, Kansas. It is known for its books that are classics of their genres, or else modern or contemporary works linked to the intellectual, artistic, and religious traditions of the East and West.\\n\\nHistory\\nWarren Farha, the founder of the bookstore, has written on the notion of bookselling as a vocation, citing a personal tragedy as the turning point in his life that led him to devote his life to the trade. The name of the store is drawn from the Patristic notion of the Eighth Day, referring literally to Sunday, and metaphorically to the eternal \\\"day\\\" of Jesus' resurrection.\\n\\nPhilosophy\\nAccording to their website, Eighth Day \\\"offer[s] an eccentric community of books based on this organizing principle: if a book—be it literary, scientific, historical, or theological—sheds light on ultimate questions in an excellent way, then it's a worthy candidate for inclusion in our catalog.\\\" The writer Lauren Winner reports that Farha defines the store's specialty as \\\"the 'lasting' books...perennially important books.\\\" Mark Oppenheimer suggests that is \\\"filled only with books Mr. Farha would read.\\\"\\n\\nIn addition, Eighth Day Books are known for their collection of religious—especially but not exclusively Christian—texts, particularly Roman Catholic and Eastern Orthodox works. Farha, who is Antiochian Orthodox, has summarized his vision for the bookstore as \\\"about the unbreakable connections between all things that are true and good and beautiful. We'll live and die for Fr. Schmemann's insistence that you can't compartmentalize reality — separating things into 'religious' and 'secular, not religious.' We believe that doing so is a denial of God's 'very good' creation.\\\"\\n\\nEighth Day Press\\nTo date, Eighth Day Press has published seven books, focused primarily on works exploring or emanating from Catholic and Orthodox spirituality. The Press publishes the two most significant works of German writer Max Picard, Flight From God and The World of Silence; Recovered Body, a collection of poetry by Scott Cairns; Discerning the Mystery: An Essay on the Nature of Theology, by Andrew Louth; Clinging:The Experience of Prayer, by Emilie Griffin; Orthodox Spirituality and the Philokalia, by Placide Deseille; and The Feast of Friendship, by Fr. Paul O'Callaghan.\\n\\nInfluence\\nEighth Day Books is well-known within Christian intellectual and artistic circles, having been called by the writer Harold Fickett \\\"surely the most idealistic (and one of the best) bookstores in America\\\". Former Dallas Morning News columnist and religion author Rod Dreher has written that Eighth Day Books is \\\"the best bookstore in the world\\\" and the \\\"Garden of Eden for Christian intellectuals–Catholic, Protestant, and Orthodox–interested in the Permanent Things\\\". Image Journal, which invites Eighth Day Books to host a book table at its Glen Workshop each year, has dubbed Eighth Day Books the \\\"Miracle of Wichita\\\" and \\\"Heaven's Bookstore\\\". Other conferences at which Eighth Day Books' traveling book table is a regular fixture include Calvin College's Festival of Faith and Writing, Trinity Arts Conference in Dallas, Texas, Notre Dame's Center for Ethics and Culture Fall Conference, Baylor University's Symposium on Faith and Culture, and The CIRCE Institute.\\n\\nCatalog\\nEighth Day Books previously published an annual catalog following the model made famous by A Common Reader, annotating each book with intimate, often whimsical, reviews. Writer, theologian and activist Jim Forest, in a blog entry titled \\\"the vocational bookseller,\\\" singles out the book descriptions written for the catalog in saying \\\"I know of no book shop so likely to have books -- new and used -- of special interest to Orthodox or Catholic Christians.\\\". Eric Scheske, a lawyer and writer who keeps the noted Daily Eudemon blog says, \\\"Their annual catalog isn't just a catalog: it's a piece of literature. Anyone who loves books and wisdom as much as these folks, anyone who passes along excellent reading advice by the shelf-load like these folks, merits patronage\\\". James Kushiner, Executive Editor of Touchstone Magazine has also singled out the writing of Eighth Day's catalog as worthy of mention, saying it's \\\"the most fun I've had reading a catalog in a while\\\".\\n\\nAt its height, the catalog was mailed to 25,000 recipients per year. After its suspension in 2012, the publication was revived in 2020.\\n\\nReferences\\n\\nExternal links\\nEighth Day Books\\nThe Enduring Niche of Eighth Day Books (CIRCE Institute)\\n\\\"Local Booksellers Hopeful,\\\" from the Wichita Eagle, December 9, 2010\\n\\nIndependent bookstores of the United States\\nCompanies based in Wichita, Kansas\\nChristian publishing companies\\nRetail companies established in 1988\\n1988 establishments in the United States\",\n \"Li'l Folks, the first comic strip by Peanuts creator Charles M. Schulz, was a weekly panel that appeared mainly in Schulz's hometown paper, the St. Paul Pioneer Press, from June 22, 1947, to January 22, 1950. Schulz's first regular cartoon, Li'l Folks can be regarded as an embryonic version of Peanuts, containing characters and themes which were to reappear in the later strip: a well-dressed young boy with a fondness for Beethoven, à la Schroeder; a dog with a resemblance to Snoopy; and a boy named Charlie Brown.\\n\\nPublication history \\nSchulz was 24 at the time he began drawing Li'l Folks, and he was living with his father in a four-bedroom apartment above his father's barber shop. He earned $10 for each submission to the paper.\\n\\nThe first two installments of Li'l Folks ran June 8 and 15, 1947, in the Minneapolis Tribune. It then moved to the St. Paul Pioneer Press; Li'l Folks ran in the women's section of the paper.\\n\\nIn 1948, Schulz tried to have Li'l Folks syndicated through the Newspaper Enterprise Association (a Scripps Company). He would have been an independent contractor for the syndicate, unheard of in the 1940s, but the deal fell through.\\n\\nSchulz quit two years into the strip after the editor turned down his requests for a pay increase and a move of Li'l Folks from the women's section to the comics pages.\\n\\nLater that year, Schulz approached the United Feature Syndicate (also a Scripps Company) with Li'l Folks, and the syndicate became interested. However, by that time Schulz had also developed a comic strip (also called Li'l Folks), typically using four panels rather than one. The strip was similar in spirit to the panel comic, but it had a set cast of characters, rather than different nameless little folk for each page. The syndicate preferred the strip; however, the name Li'l Folks was too close to the names of two other comics of the time: Al Capp's Li'l Abner and a strip titled Little Folks. To avoid confusion, the syndicate chose the name Peanuts, after the peanut gallery featured in the Howdy Doody TV show. Peanuts made its first appearance on October 2, 1950, in seven newspapers.\\n\\nCharacters and story \\nLi'l Folks saw the first use of the name Charlie Brown on May 30, 1948, although Schulz applied the name in four gags to three different boys, as well as one buried in sand, during 1948–1949. The strip also featured a dog named Rover that looked much like Snoopy. Like most of Peanuts, adult characters were not shown in the strip.\\n\\nCollected editions \\nThe newspaper never returned Schulz's original artwork, so he clipped each week's strip from the paper and placed it in his scrapbook, which eventually housed over 7,000 pieces of artwork.\\n\\nIn 2004, the complete run of the strip was collected by the Charles M. Schulz Museum and Research Center (Santa Rosa, California) in a book, Li'l Beginnings, by Derrick Bang with a foreword by Jean Schulz. It is available from the Museum and distributed by Fantagraphics Books. The complete run of the strip was also included in the penultimate volume of The Complete Peanuts, published in May 2016 by Fantagraphics Books.\\n\\nReferences\\n\\nAmerican comic strips\\n1947 comics debuts\\n1950 comics endings\\nCharles M. Schulz\\nChild characters in comics\\nGag cartoon comics\"\n]"},"chunked_article":{"kind":"list like","value":["Sinhalese people () are an Indo-Aryan ethnic group native to the island of Sri Lanka. They were historically known as Hela people (). They constitute about 75% of the Sri Lankan population and number greater than 16.2 million. The Sinhalese identity is based on language, cultural heritage and nationality.","The Sinhalese identity is based on language, cultural heritage and nationality. The Sinhalese people speak Sinhala, an insular Indo-Aryan language, and are predominantly Theravada Buddhists, although a minority of Sinhalese follow branches of Christianity and other religions.","The Sinhalese people speak Sinhala, an insular Indo-Aryan language, and are predominantly Theravada Buddhists, although a minority of Sinhalese follow branches of Christianity and other religions. Since 1815, they were broadly divided into two respective groups: The 'Up-country Sinhalese' in the central mountainous regions, and the 'Low-country Sinhalese' in the coastal regions; although both groups speak the same language, they are distinguished as they observe different cultural customs.","Since 1815, they were broadly divided into two respective groups: The 'Up-country Sinhalese' in the central mountainous regions, and the 'Low-country Sinhalese' in the coastal regions; although both groups speak the same language, they are distinguished as they observe different cultural customs. According to the Mahavamsa and the Dipavamsa, a 3rd–5th century treatise written in Pali by Buddhist monks of the Anuradhapura Maha Viharaya in Sri Lanka, the Sinhalese descend from settlers who came to the island in 543 BCE from Sinhapura led by Prince Vijaya who mixed with the indigenous Yakka and later settlers from the Pandya kingdom.","According to the Mahavamsa and the Dipavamsa, a 3rd–5th century treatise written in Pali by Buddhist monks of the Anuradhapura Maha Viharaya in Sri Lanka, the Sinhalese descend from settlers who came to the island in 543 BCE from Sinhapura led by Prince Vijaya who mixed with the indigenous Yakka and later settlers from the Pandya kingdom. Etymology From the Sanskrit word Sinhala, meaning literally \"of lions\".","Etymology From the Sanskrit word Sinhala, meaning literally \"of lions\". The Mahavamsa records the origin of the Sinhalese people and related historical events.","The Mahavamsa records the origin of the Sinhalese people and related historical events. It traces the historical origin of the Sinhalese people back to the first king who mentioned in the documentary history of Sri Lanka, Vijaya, who is the son of Sinhabahu (Sanskrit meaning 'Sinha' (lion) + 'bahu' (hands, feet), the ruler of Sinhapura.","It traces the historical origin of the Sinhalese people back to the first king who mentioned in the documentary history of Sri Lanka, Vijaya, who is the son of Sinhabahu (Sanskrit meaning 'Sinha' (lion) + 'bahu' (hands, feet), the ruler of Sinhapura. Some versions suggest Vijaya is the grandson of Sinhabahu.","Some versions suggest Vijaya is the grandson of Sinhabahu. According to the Mahavamsa, Sinhabahu was the son of princess Suppadevi of Vanga, who copulated with a lion and gave birth to a daughter called Sinhasivali and to a son, Sinhabahu, whose hands and feet were like the paws of a lion and who had the strength of a lion.","According to the Mahavamsa, Sinhabahu was the son of princess Suppadevi of Vanga, who copulated with a lion and gave birth to a daughter called Sinhasivali and to a son, Sinhabahu, whose hands and feet were like the paws of a lion and who had the strength of a lion. King Vijaya, the lineage of Sinhabahu, according to the Mahavamsa and other historical sources, arrived on the island of Tambapanni (Sri Lanka) and gave origin to the lion people, Sinhalese.","King Vijaya, the lineage of Sinhabahu, according to the Mahavamsa and other historical sources, arrived on the island of Tambapanni (Sri Lanka) and gave origin to the lion people, Sinhalese. The story of the arrival of Prince Vijaya in Sri Lanka and the origin of the Sinhalese people is also depicted in the Ajanta caves, in a mural of cave number 17.","The story of the arrival of Prince Vijaya in Sri Lanka and the origin of the Sinhalese people is also depicted in the Ajanta caves, in a mural of cave number 17. According to Arisen Ahubudu, there were four major clans of \"hela\" in ancient Sri Lanka even before the arrival of Prince Vijaya, and that Sri Lanka was called as \"Siv hela\" (siv=four in the Sinhala language) and later it was changed into \"Sinhala\".","According to Arisen Ahubudu, there were four major clans of \"hela\" in ancient Sri Lanka even before the arrival of Prince Vijaya, and that Sri Lanka was called as \"Siv hela\" (siv=four in the Sinhala language) and later it was changed into \"Sinhala\". History The early recorded history of the Sinhalese is chronicled in two documents, the Mahavamsa, written in Pāli around the 4th century CE, and the later Culavamsa (the first segment probably penned in the 13th century CE by the Buddhist monk Dhammakitti).","History The early recorded history of the Sinhalese is chronicled in two documents, the Mahavamsa, written in Pāli around the 4th century CE, and the later Culavamsa (the first segment probably penned in the 13th century CE by the Buddhist monk Dhammakitti). These are ancient sources that cover the histories of the powerful ancient Sinhalese kingdoms of Anuradhapura and Polonnaruwa which lasted for 1500 years.","These are ancient sources that cover the histories of the powerful ancient Sinhalese kingdoms of Anuradhapura and Polonnaruwa which lasted for 1500 years. The Mahavamsa describes the existence of fields of rice and reservoirs, indicating a well-developed agrarian society.","The Mahavamsa describes the existence of fields of rice and reservoirs, indicating a well-developed agrarian society. Pre Anuradhapura period According to Mahavamsa, Prince Vijaya and his 700 followers left Suppāraka, landed on the island at a site believed by historians to be in the district of Puttalam, south of modern-day Mannar and founded the Kingdom of Thambapanni.","Pre Anuradhapura period According to Mahavamsa, Prince Vijaya and his 700 followers left Suppāraka, landed on the island at a site believed by historians to be in the district of Puttalam, south of modern-day Mannar and founded the Kingdom of Thambapanni. It is recorded the Vijaya made his landing on the day of Buddha's Parinirvana.","It is recorded the Vijaya made his landing on the day of Buddha's Parinirvana. Vijaya claimed Tambapanni his capital and soon the whole island come under this name. Tambapanni was originally inhabited and governed by Yakkhas, having their capital at Sirīsavatthu and their queen Kuveni. According to the Samyutta Commentary, Tambapanni was one hundred leagues in extent.","According to the Samyutta Commentary, Tambapanni was one hundred leagues in extent. At the end of his reign, Vijaya, having trouble choosing a successor, sent a letter to the city of his ancestors, Sinhapura, in order to invite his brother Sumitta to take over the throne.","At the end of his reign, Vijaya, having trouble choosing a successor, sent a letter to the city of his ancestors, Sinhapura, in order to invite his brother Sumitta to take over the throne. However, Vijaya had died before the letter had reached its destination, so the elected minister of the people Upatissa, the Chief government minister or prime minister and leading chief among the Sinhalese became regent and acted as regent for a year.","However, Vijaya had died before the letter had reached its destination, so the elected minister of the people Upatissa, the Chief government minister or prime minister and leading chief among the Sinhalese became regent and acted as regent for a year. After his coronation, which was held in the Kingdom of Tambapanni, he left it, building another one, bearing his own name.","After his coronation, which was held in the Kingdom of Tambapanni, he left it, building another one, bearing his own name. While he was king, Upatissa established the new capital Upatissa, in which the kingdom was moved to from the Kingdom of Tambapanni.","While he was king, Upatissa established the new capital Upatissa, in which the kingdom was moved to from the Kingdom of Tambapanni. When Vijaya's letter arrived, Sumitta had already succeeded his father as king of his country, and so he sent his son Panduvasdeva to rule Upatissa Nuwara.","When Vijaya's letter arrived, Sumitta had already succeeded his father as king of his country, and so he sent his son Panduvasdeva to rule Upatissa Nuwara. Upatissa Nuwara was seven or eight miles further north of the Kingdom of Tambapanni.","Upatissa Nuwara was seven or eight miles further north of the Kingdom of Tambapanni. It was named after the regent king Upatissa, who was the prime minister of Vijaya, and was founded in 505 BC after the death of Vijaya and the end of the Kingdom of Tambapanni.","It was named after the regent king Upatissa, who was the prime minister of Vijaya, and was founded in 505 BC after the death of Vijaya and the end of the Kingdom of Tambapanni. Anuradhapura period In 377 BC, King Pandukabhaya (437–367 BC) moved the capital to Anuradhapura and developed it into a prosperous city.","Anuradhapura period In 377 BC, King Pandukabhaya (437–367 BC) moved the capital to Anuradhapura and developed it into a prosperous city. Anuradhapura (Anurapura) was named after the minister who first established the village and after a grandfather of Pandukabhaya who lived there.","Anuradhapura (Anurapura) was named after the minister who first established the village and after a grandfather of Pandukabhaya who lived there. The name was also derived from the city's establishment on the auspicious asterism called Anura. Anuradhapura was the capital of all the monarchs who ruled from the dynasty.","Anuradhapura was the capital of all the monarchs who ruled from the dynasty. Rulers such as Dutthagamani, Valagamba, and Dhatusena are noted for defeating the South Indians and regaining control of the kingdom.","Rulers such as Dutthagamani, Valagamba, and Dhatusena are noted for defeating the South Indians and regaining control of the kingdom. Other rulers who are notable for military achievements include Gajabahu I, who launched an invasion against the invaders, and Sena II, who sent his armies to assist a Pandyan prince.","Other rulers who are notable for military achievements include Gajabahu I, who launched an invasion against the invaders, and Sena II, who sent his armies to assist a Pandyan prince. Polonnaruwa period During the Middle Ages Sri Lanka was well known for its agricultural prosperity under king Parakramabahu in Polonnaruwa during which period the island was famous around the world as the rice mill of the east.","Polonnaruwa period During the Middle Ages Sri Lanka was well known for its agricultural prosperity under king Parakramabahu in Polonnaruwa during which period the island was famous around the world as the rice mill of the east. Transitional period Later in the 13th century the country's administrative provinces were divided into independent kingdoms and chieftaincies: Kingdom of Sitawaka, Kingdom of Kotte, Jaffna Kingdom and the Kandyan kingdom.","Transitional period Later in the 13th century the country's administrative provinces were divided into independent kingdoms and chieftaincies: Kingdom of Sitawaka, Kingdom of Kotte, Jaffna Kingdom and the Kandyan kingdom. The invasion by the Hindu king Magha in the 13th century led to migrations by the Buddhists (mostly Sinhalese) to areas not under his control.","The invasion by the Hindu king Magha in the 13th century led to migrations by the Buddhists (mostly Sinhalese) to areas not under his control. This migration was followed by a period of conflict among the Sinhalese chiefs who tried to exert political supremacy.","This migration was followed by a period of conflict among the Sinhalese chiefs who tried to exert political supremacy. Parakramabahu VI, a Sinhalese king invaded the Jaffna Kingdom and conquered it, bringing the entire country back under the Sinhalese kingdom.","Parakramabahu VI, a Sinhalese king invaded the Jaffna Kingdom and conquered it, bringing the entire country back under the Sinhalese kingdom. Trade also increased during this period, as Sri Lanka began to trade cinnamon and a large number of Muslim traders were bought into the island.","Trade also increased during this period, as Sri Lanka began to trade cinnamon and a large number of Muslim traders were bought into the island. In the 15th century a Kandyan Kingdom formed which divided the Sinhalese politically into low-country and up-country.","In the 15th century a Kandyan Kingdom formed which divided the Sinhalese politically into low-country and up-country. In this period, the Sinhalese caste structure absorbed recent Dravidian Hindu immigrants from South India leading to the emergence of three new Sinhalese caste groups - the Salagama, the Durava and the Karava.","In this period, the Sinhalese caste structure absorbed recent Dravidian Hindu immigrants from South India leading to the emergence of three new Sinhalese caste groups - the Salagama, the Durava and the Karava. Modern history The Sinhalese have a stable birth rate and a population that has been growing at a slow pace relative to India and other Asian countries.","Modern history The Sinhalese have a stable birth rate and a population that has been growing at a slow pace relative to India and other Asian countries. Society Demographics Sri Lanka Within Sri Lanka the majority of the Sinhalese reside in the South, Central, Sabaragamuwa and Western parts of the country.","Society Demographics Sri Lanka Within Sri Lanka the majority of the Sinhalese reside in the South, Central, Sabaragamuwa and Western parts of the country. This coincides with the largest Sinhalese populations areas in Sri Lanka. Cities with more than 90% Sinhalese population include Hambantota, Galle, Gampaha, Kurunegala, Monaragala, Anuradhapura and Polonnaruwa.","Cities with more than 90% Sinhalese population include Hambantota, Galle, Gampaha, Kurunegala, Monaragala, Anuradhapura and Polonnaruwa. Diaspora Sinhalese people have emigrated out to many countries for a variety of reasons. The larger diaspora communities are situated in the United Kingdom, Australia, United States and Canada among others.","The larger diaspora communities are situated in the United Kingdom, Australia, United States and Canada among others. In addition to this there are many Sinhalese, who reside in the Middle East, Southeast Asia and Europe, temporarily in connection with employment and/or education.","In addition to this there are many Sinhalese, who reside in the Middle East, Southeast Asia and Europe, temporarily in connection with employment and/or education. They are often employed as guest workers in the Middle East and professionals in the other regions.","They are often employed as guest workers in the Middle East and professionals in the other regions. The largest population centres of the Sinhalese diaspora are mainly situated in Europe, North America and Australia. The city of Melbourne contains just under half of the Sri Lankan Australians. The 2011 census recorded 86,412 Sri Lanka born in Australia.","The 2011 census recorded 86,412 Sri Lanka born in Australia. There are 73,849 Australians (0.4 of the population) who reported having Sinhalese ancestry in 2006. Sinhala was also reported to be the 29th-fastest-growing language in Australia (ranking above Somali but behind Hindi and Belarusian).","Sinhala was also reported to be the 29th-fastest-growing language in Australia (ranking above Somali but behind Hindi and Belarusian). Sinhalese Australians have an exceptionally low rate of return migration to Sri Lanka. In the 2011 Canadian Census, 7,220 people identified themselves as of Sinhalese ancestry, out of 139,415 Sri Lankans.","In the 2011 Canadian Census, 7,220 people identified themselves as of Sinhalese ancestry, out of 139,415 Sri Lankans. There are a small number of Sinhalese people in India, scattered around the country, but mainly living in and around the northern and southern regions.","There are a small number of Sinhalese people in India, scattered around the country, but mainly living in and around the northern and southern regions. Sri Lankan New Zealanders comprised 3% of the Asian population of New Zealand in 2001.","Sri Lankan New Zealanders comprised 3% of the Asian population of New Zealand in 2001. The numbers arriving continued to increase, and at the 2018 census there were over 16,000 Sri Lankans living in New Zealand among those 9,171 were Sinhalese. In the U.S, the Sinhalese number about 12,000 people.","In the U.S, the Sinhalese number about 12,000 people. The New York City Metropolitan Area contains the largest Sri Lankan community in the United States, receiving the highest legal permanent resident Sri Lankan immigrant population, followed by Central New Jersey and the Los Angeles metropolitan area. Many Sinhalese have migrated to Italy since the 1970s.","Many Sinhalese have migrated to Italy since the 1970s. Italy was attractive to the Sinhalese due to perceived easier employment opportunities and entry, compared to other European countries. It is estimated that there are 30,000-33,000 Sinhalese in Italy.","It is estimated that there are 30,000-33,000 Sinhalese in Italy. The major Sinhalese communities in Italy are located in Lombardia (In the districts Loreto and Lazzaretto), Milan, Lazio, Rome, Naples, and Southern Italy (Particularly Palermo, Messina and Catania).","The major Sinhalese communities in Italy are located in Lombardia (In the districts Loreto and Lazzaretto), Milan, Lazio, Rome, Naples, and Southern Italy (Particularly Palermo, Messina and Catania). It should be noted however that many countries census list Sri Lankan which also includes Sri Lankan Tamils so the numbers of just Sinhalese are not as accurate when the census states Sri Lankan and not Sinhalese.","It should be noted however that many countries census list Sri Lankan which also includes Sri Lankan Tamils so the numbers of just Sinhalese are not as accurate when the census states Sri Lankan and not Sinhalese. Though Sinhalese people in particular and Sri Lankans in general have migrated to the UK over the centuries beginning from the colonial times, the number of Sinhalese people in the UK cannot be estimated accurately due to inadequacies of census in the UK.","Though Sinhalese people in particular and Sri Lankans in general have migrated to the UK over the centuries beginning from the colonial times, the number of Sinhalese people in the UK cannot be estimated accurately due to inadequacies of census in the UK. The UK government does not record statistics on the basis of language or ethnicity and all Sri Lankans are classified into one group as Asian British or Asian Other.","The UK government does not record statistics on the basis of language or ethnicity and all Sri Lankans are classified into one group as Asian British or Asian Other. Language and literature Sinhalese people speak Sinhala, also known as \"Helabasa\"; this language has two varieties, spoken and written.","Language and literature Sinhalese people speak Sinhala, also known as \"Helabasa\"; this language has two varieties, spoken and written. Sinhala is an Indo-Aryan language within the broader group of Indo-European languages.","Sinhala is an Indo-Aryan language within the broader group of Indo-European languages. The early form of the language was brought to Sri Lanka by the ancestors of the Sinhalese people from northern India who settled on the island in the 6th century BCE.","The early form of the language was brought to Sri Lanka by the ancestors of the Sinhalese people from northern India who settled on the island in the 6th century BCE. Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages.","Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages. It was influenced by many languages, prominently Pali, the sacred language of Southern Buddhism, Telugu and Sanskrit. Many early texts in the language such as the Hela Atuwa were lost after their translation into Pali.","Many early texts in the language such as the Hela Atuwa were lost after their translation into Pali. Other significant Sinhala texts include Amāvatura, Kavu Silumina, Jathaka Potha and Sala Liheeniya. Sinhala has also adopted many loanwords of foreign origin, including from many Indian such as Tamil and European languages such as Portuguese, Dutch, and English.","Sinhala has also adopted many loanwords of foreign origin, including from many Indian such as Tamil and European languages such as Portuguese, Dutch, and English. Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world.","Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world. The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages.","The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages. Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and foreign films.","Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and foreign films. Additionally many Dutch and Portuguese words can be seen in the coastal areas.","Additionally many Dutch and Portuguese words can be seen in the coastal areas. Sinhalese people, depending on where they live in Sri Lanka, may also additionally speak English and or Tamil. According to the 2012 Census 23.8% or 3,033,659 Sinhalese people also spoke English and 6.4% or 812,738 Sinhalese people also spoke Tamil.","According to the 2012 Census 23.8% or 3,033,659 Sinhalese people also spoke English and 6.4% or 812,738 Sinhalese people also spoke Tamil. In the Negombo area bilingual fishermen who generally identify themselves as Sinhalese also speak the Negombo Tamil dialect. This dialect has undergone considerable convergence with spoken Sinhala.","This dialect has undergone considerable convergence with spoken Sinhala. Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today. Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance.","Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance. Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son.","Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son. In the modern period, Sinhala writers such as Martin Wickremasinghe and G. B. Senanayake have drawn widespread acclaim. Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake.","Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake. Martin Wickramasinghe wrote the immensely popular children's novel Madol Duwa. Munadasa Cumaratunga's Hath Pana is also widely known. Religion The form of Buddhism in Sri Lanka is known as Theravada (school of elders).","Religion The form of Buddhism in Sri Lanka is known as Theravada (school of elders). The Pali chronicles (e.g., the Mahavansa) claim that the Sinhalese as an ethnic group are destined to preserve and protect Buddhism. In 1988 almost 93% of the Sinhala speaking population in Sri Lanka were Buddhist.","In 1988 almost 93% of the Sinhala speaking population in Sri Lanka were Buddhist. Observations of current religious beliefs and practices demonstrate that the Sinhalese, as a religious community, have a complex worldview as Buddhists.","Observations of current religious beliefs and practices demonstrate that the Sinhalese, as a religious community, have a complex worldview as Buddhists. Due to the proximity and on some occasions similarity of certain doctrines, there are many areas where Buddhists and Hindus share religious views and practices.","Due to the proximity and on some occasions similarity of certain doctrines, there are many areas where Buddhists and Hindus share religious views and practices. Sinhalese Buddhists have adopted religious elements from Hindu traditions in their religious practices.","Sinhalese Buddhists have adopted religious elements from Hindu traditions in their religious practices. Some of these practices may relate to ancient indigenous beliefs and traditions on spirits (folk religion), and the worship of Hindu deities. Some of these figures are used in healing rituals and may be native to the island.","Some of these figures are used in healing rituals and may be native to the island. Gods and goddess derived from Hindu deities are worshiped by Sinhalese. Kataragama Deviyo from Kartikeya, Upulvan from Vishnu and Ayyanayake from Aiyanar can be named as examples.","Kataragama Deviyo from Kartikeya, Upulvan from Vishnu and Ayyanayake from Aiyanar can be named as examples. Though these gods take the same place as their Hindu counterparts in mythology, some of their aspects are different compared to the original gods.","Though these gods take the same place as their Hindu counterparts in mythology, some of their aspects are different compared to the original gods. Prominent Sri Lankan anthropologists Gananath Obeyesekere and Kitsiri Malalgoda used the term \"Protestant Buddhism\" to describe a type of Buddhism that appeared among the Sinhalese in Sri Lanka as a response to Protestant Christian missionaries and their evangelical activities during the British colonial period.","Prominent Sri Lankan anthropologists Gananath Obeyesekere and Kitsiri Malalgoda used the term \"Protestant Buddhism\" to describe a type of Buddhism that appeared among the Sinhalese in Sri Lanka as a response to Protestant Christian missionaries and their evangelical activities during the British colonial period. This kind of Buddhism involved emulating the Protestant strategies of organising religious practices.","This kind of Buddhism involved emulating the Protestant strategies of organising religious practices. They saw the need to establish Buddhist schools for educating Buddhist youth and organising Buddhists with new organisations such as the Young Men's Buddhist Association, as well as printing pamphlets to encourage people to participate in debates and religious controversies to defend Buddhism.","They saw the need to establish Buddhist schools for educating Buddhist youth and organising Buddhists with new organisations such as the Young Men's Buddhist Association, as well as printing pamphlets to encourage people to participate in debates and religious controversies to defend Buddhism. Christianity There is a significant Sinhalese Christian community, in the maritime provinces of Sri Lanka.","Christianity There is a significant Sinhalese Christian community, in the maritime provinces of Sri Lanka. Christianity was brought to the Sinhalese by Portuguese, Dutch, and British missionary groups during their respective periods of rule. Most Sinhalese Christians are Roman Catholic; a minority are Protestant. Their cultural centre is Negombo.","Their cultural centre is Negombo. Their cultural centre is Negombo. Religion is considered very important among the Sinhalese. According to a 2008 Gallup poll, 99% of Sri Lankans considered religion an important aspect of their daily lives. Genetics Modern studies point towards a predominantly Bengali contribution and a minor Tamil influence.","Genetics Modern studies point towards a predominantly Bengali contribution and a minor Tamil influence. Gujarati and Punjabi lineages are also visible. In relation to the former, other studies also show the Sinhalese possess some genetic admixture from Southeast Asian populations, especially from Austroasiatic groups.","In relation to the former, other studies also show the Sinhalese possess some genetic admixture from Southeast Asian populations, especially from Austroasiatic groups. Certain Y-DNA and mtDNA haplogroups and genetic markers of immunoglobulin among the Sinhalese, for example, show Southeast Asian genetic influences many of which are also found among certain Northeast Indian populations to whom the Sinhalese are genetically related.","Certain Y-DNA and mtDNA haplogroups and genetic markers of immunoglobulin among the Sinhalese, for example, show Southeast Asian genetic influences many of which are also found among certain Northeast Indian populations to whom the Sinhalese are genetically related. Culture Sinhalese culture is a unique one dating as far back as 2600 years and has been nourished by Theravada Buddhism.","Culture Sinhalese culture is a unique one dating as far back as 2600 years and has been nourished by Theravada Buddhism. Its main domains are sculpture, fine arts, literature, dancing, poetry and a wide variety of folk beliefs and rituals traditionally.","Its main domains are sculpture, fine arts, literature, dancing, poetry and a wide variety of folk beliefs and rituals traditionally. Ancient Sinhala stone sculpture and inscriptions are known worldwide and is a main foreign attraction in modern tourism. Sigirirya is famous for its frescoes.","Sigirirya is famous for its frescoes. Folk poems were sung by workers to accompany their work and narrate the story of their lives. Ideally these poems consisted of four lines and, in the composition of these poems, special attention had been paid to the rhyming patterns. Buddhist festivals are dotted by unique music using traditionally Sinhalese instruments.","Buddhist festivals are dotted by unique music using traditionally Sinhalese instruments. More ancient rituals like (devil exorcism) continue to enthrall audiences today and often praised and invoked the good powers of the Buddha and the gods in order to exorcise the demons.","More ancient rituals like (devil exorcism) continue to enthrall audiences today and often praised and invoked the good powers of the Buddha and the gods in order to exorcise the demons. Folklore and national mythology According to the Mahavamsa, the Sinhalese are descended from the exiled Prince Vijaya and his party of seven hundred followers who arrived on the island in 543 BCE.","Folklore and national mythology According to the Mahavamsa, the Sinhalese are descended from the exiled Prince Vijaya and his party of seven hundred followers who arrived on the island in 543 BCE. Vijaya and his followers were said to have arrived in Sri Lanka after being exiled from the city of Sinhapura in Bengal.","Vijaya and his followers were said to have arrived in Sri Lanka after being exiled from the city of Sinhapura in Bengal. The modern Sinhalese people were found genetically to be most closely related to the people of North-East India (Bengal).","The modern Sinhalese people were found genetically to be most closely related to the people of North-East India (Bengal). It is thought throughout Sri Lanka's history, since the founding of the Sinhalese in the 5th century BC that an influx of Indians from North India came to the island.","It is thought throughout Sri Lanka's history, since the founding of the Sinhalese in the 5th century BC that an influx of Indians from North India came to the island. This is further supported from Sinhala being part of the Indo-Aryan language group. Traditionally during recreation the Sinhalese wear a sarong (sarama in Sinhala).","Traditionally during recreation the Sinhalese wear a sarong (sarama in Sinhala). Men may wear a long-sleeved shirt with a sarong. Clothing varies by region for women. Low country Sinhalese women wear a white Long sleeved jacket, and a tight wrap around skirt, which usually is embedded with a floral or pattern design.","Low country Sinhalese women wear a white Long sleeved jacket, and a tight wrap around skirt, which usually is embedded with a floral or pattern design. As for the up country Sinhalese, women wear a similar outfit, but with a puffed up shoulder jacket, and a tucked in frill that lines the top of the skirt (Reda and Hatte in Sinhala).","As for the up country Sinhalese, women wear a similar outfit, but with a puffed up shoulder jacket, and a tucked in frill that lines the top of the skirt (Reda and Hatte in Sinhala). Traditionally, high caste Kandyan women wear a Kandyan style sari, which is similar to the Maharashtrian sari, with the drape but with a frill lining the bottom half and sometimes puffed up sleeves.","Traditionally, high caste Kandyan women wear a Kandyan style sari, which is similar to the Maharashtrian sari, with the drape but with a frill lining the bottom half and sometimes puffed up sleeves. It’s also called an Osariya. The low country high caste women wear a South Indian style saree.","The low country high caste women wear a South Indian style saree. Within the more populated areas, Sinhalese men also wear Western-style clothing — wearing suits while the women wear skirts and blouses.","Within the more populated areas, Sinhalese men also wear Western-style clothing — wearing suits while the women wear skirts and blouses. For formal and ceremonial occasions women wear the traditional Kandyan (Osariya) style, which consists of a full blouse which covers the midriff completely, and is partially tucked in at the front.","For formal and ceremonial occasions women wear the traditional Kandyan (Osariya) style, which consists of a full blouse which covers the midriff completely, and is partially tucked in at the front. However, modern intermingling of styles has led to most wearers baring the midriff. The Kandyan style is considered as the national dress of Sinhalese women.","The Kandyan style is considered as the national dress of Sinhalese women. In many occasions and functions, even the saree plays an important role in women's clothing and has become the de facto clothing for female office workers especially in government sector. An example of its use is the uniform of air hostesses of Sri Lankan Airlines.","An example of its use is the uniform of air hostesses of Sri Lankan Airlines. Cuisine Sinhalese cuisine is one of the most complex cuisines of South Asia. As a major trade hub, it draws influence from colonial powers that were involved in Sri Lanka and by foreign traders.","As a major trade hub, it draws influence from colonial powers that were involved in Sri Lanka and by foreign traders. Rice, which is consumed daily, can be found at any occasion, while spicy curries are favourite dishes for lunch and dinner.","Rice, which is consumed daily, can be found at any occasion, while spicy curries are favourite dishes for lunch and dinner. Some of the Sri Lankan dishes have striking resemblance to Kerala cuisine, which could be due to the similar geographic and agricultural features with Kerala.","Some of the Sri Lankan dishes have striking resemblance to Kerala cuisine, which could be due to the similar geographic and agricultural features with Kerala. A well-known rice dish with Sinhalese is Kiribath, meaning ‘milk rice’. In addition to , Sinhalese eat , chopped leaves mixed with grated coconut and red onions.","In addition to , Sinhalese eat , chopped leaves mixed with grated coconut and red onions. Coconut milk is found in most Sri Lankan dishes to give the cuisine its unique flavour. Sri Lanka has long been renowned for its spices. The best known is cinnamon which is native to Sri Lanka.","The best known is cinnamon which is native to Sri Lanka. In the 15th and 16th centuries, spice and ivory traders from all over the world who came to Sri Lanka brought their native cuisines to the island, resulting in a rich diversity of cooking styles and techniques.","In the 15th and 16th centuries, spice and ivory traders from all over the world who came to Sri Lanka brought their native cuisines to the island, resulting in a rich diversity of cooking styles and techniques. Lamprais, rice boiled in stock with a special curry, accompanied by frikkadels (meatballs), all of which is then wrapped in a banana leaf and baked as a Dutch-influenced Sri Lankan dish.","Lamprais, rice boiled in stock with a special curry, accompanied by frikkadels (meatballs), all of which is then wrapped in a banana leaf and baked as a Dutch-influenced Sri Lankan dish. Dutch and Portuguese sweets also continue to be popular. British influences include roast beef and roast chicken.","British influences include roast beef and roast chicken. Also, the influence of the Indian cooking methods and food have played a major role in what Sri Lankans eat. The island nation's cuisine mainly consists of boiled or steamed rice served with curry.","The island nation's cuisine mainly consists of boiled or steamed rice served with curry. This usually consists of a main curry of fish or chicken, as well as several other curries made with vegetables, lentils and even fruit curries. Side-dishes include pickles, chutneys and .","Side-dishes include pickles, chutneys and . The most famous of these is the coconut sambol, made of ground coconut mixed with chili peppers, dried Maldive fish and lime juice. This is ground to a paste and eaten with rice, as it gives zest to the meal and is believed to increase appetite.","This is ground to a paste and eaten with rice, as it gives zest to the meal and is believed to increase appetite. Art and architecture Many forms of Sri Lankan arts and crafts take inspiration from the island's long and lasting Buddhist culture which in turn has absorbed and adopted countless regional and local traditions.","Art and architecture Many forms of Sri Lankan arts and crafts take inspiration from the island's long and lasting Buddhist culture which in turn has absorbed and adopted countless regional and local traditions. In most instances Sri Lankan art originates from religious beliefs, and is represented in many forms such as painting, sculpture, and architecture.","In most instances Sri Lankan art originates from religious beliefs, and is represented in many forms such as painting, sculpture, and architecture. One of the most notable aspects of Sri Lankan art are caves and temple paintings, such as the frescoes found at Sigiriya, and religious paintings found in temples in Dambulla and Temple of the Tooth Relic in Kandy.","One of the most notable aspects of Sri Lankan art are caves and temple paintings, such as the frescoes found at Sigiriya, and religious paintings found in temples in Dambulla and Temple of the Tooth Relic in Kandy. Other popular forms of art have been influenced by both natives as well as outside settlers.","Other popular forms of art have been influenced by both natives as well as outside settlers. For example, traditional wooden handicrafts and clay pottery are found around the hill country while Portuguese-inspired lacework and Indonesian-inspired Batik have become notable. It has many different and beautiful drawings.","It has many different and beautiful drawings. Developed upon Indo-Aryan architectural skills in the late 6th century BCE Sinhalese people who lived upon greater kingdoms such as Anuradhapura and Polonnaruwa have built so many architectural examples such as Ruwanwelisaya, Jetavanaramaya - second tallest brick building in the ancient world after Great Pyramid of Giza, and Abayagiriya - third tallest brick building in the ancient world.","Developed upon Indo-Aryan architectural skills in the late 6th century BCE Sinhalese people who lived upon greater kingdoms such as Anuradhapura and Polonnaruwa have built so many architectural examples such as Ruwanwelisaya, Jetavanaramaya - second tallest brick building in the ancient world after Great Pyramid of Giza, and Abayagiriya - third tallest brick building in the ancient world. And also with the ancient hydraulic technology which is also unique to Sinhalese people to build ancient tanks, systematic ponds with fountains moats and Irrigational reservoirs such as Parakrama Samudra, Kaudulla and Kandalama.","And also with the ancient hydraulic technology which is also unique to Sinhalese people to build ancient tanks, systematic ponds with fountains moats and Irrigational reservoirs such as Parakrama Samudra, Kaudulla and Kandalama. Sigiriya which is considered by many as the 8th wonder of the world, it is a combination of natural and man made fortress, which consists so many architectural aspects.","Sigiriya which is considered by many as the 8th wonder of the world, it is a combination of natural and man made fortress, which consists so many architectural aspects. Music There are extensive folk poems relating to specific jobs of the ancient society.","Music There are extensive folk poems relating to specific jobs of the ancient society. These poems were communal songs which had a rhythm that were sung when performing day-to-day tasks like harvesting and sowing. Concerning popular music, Ananda Samarakoon developed the reflective and poignant Sarala gee style with his work in the late 1930s/early 1940s.","Concerning popular music, Ananda Samarakoon developed the reflective and poignant Sarala gee style with his work in the late 1930s/early 1940s. He has been followed by artists of repute such as Sunil Shantha, W. D. Amaradeva, Premasiri Khemadasa, Nanda Malini, Victor Ratnayake, Austin Munasinghe, T. M. Jayaratne, Sanath Nandasiri, Sunil Edirisinghe, Neela Wickremasinghe, Gunadasa Kapuge, Malini Bulathsinghala and Edward Jayakody.","He has been followed by artists of repute such as Sunil Shantha, W. D. Amaradeva, Premasiri Khemadasa, Nanda Malini, Victor Ratnayake, Austin Munasinghe, T. M. Jayaratne, Sanath Nandasiri, Sunil Edirisinghe, Neela Wickremasinghe, Gunadasa Kapuge, Malini Bulathsinghala and Edward Jayakody. Film and theatre Dramatist Ediriweera Sarachchandra revitalised the drama form with Maname in 1956.","Film and theatre Dramatist Ediriweera Sarachchandra revitalised the drama form with Maname in 1956. The same year, film director Lester James Peries created the artistic masterwork Rekava which sought to create a uniquely Sinhalese cinema with artistic integrity. Since then, Peries and other directors like Vasantha Obeysekera, Dharmasena Pathiraja, Mahagama Sekera, W. A.","Since then, Peries and other directors like Vasantha Obeysekera, Dharmasena Pathiraja, Mahagama Sekera, W. A. B. de Silva, Dharmasiri Bandaranayake, Sunil Ariyaratne, Siri Gunasinghe, G. D. L. Perera, Piyasiri Gunaratne, Titus Thotawatte, D. B. Nihalsinghe, Ranjith Lal, Dayananda Gunawardena, Mudalinayake Somaratne, Asoka Handagama, and Prasanna Vithanage have developed an artistic Sinhalese cinema.","B. de Silva, Dharmasiri Bandaranayake, Sunil Ariyaratne, Siri Gunasinghe, G. D. L. Perera, Piyasiri Gunaratne, Titus Thotawatte, D. B. Nihalsinghe, Ranjith Lal, Dayananda Gunawardena, Mudalinayake Somaratne, Asoka Handagama, and Prasanna Vithanage have developed an artistic Sinhalese cinema. Sinhala cinema is often made colourful with the incorporation of songs and dance adding more uniqueness to the industry.","Sinhala cinema is often made colourful with the incorporation of songs and dance adding more uniqueness to the industry. In the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success.","In the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success. Performing arts Performing arts of the Sinhalese people can be categorised into few groups: Kandyan dance consist of 18 Wannam (dance routines) featuring behaviours of various animals such as elephant, eagle, cobra, monkey, peacock and rabbit, mainly performing in the annual Perahara pageant in Sri Dalada Maligawa Kandy.","Performing arts Performing arts of the Sinhalese people can be categorised into few groups: Kandyan dance consist of 18 Wannam (dance routines) featuring behaviours of various animals such as elephant, eagle, cobra, monkey, peacock and rabbit, mainly performing in the annual Perahara pageant in Sri Dalada Maligawa Kandy. Pahatharata dance have a significant dancing style which is used to cure illnesses and spiritual clarification.","Pahatharata dance have a significant dancing style which is used to cure illnesses and spiritual clarification. The main feature of these dances is dancers wear masks representing various gods and demons, and use elements such as fire and water to bless people. Sabaragamuwa dances have also a significant dancing style, mainly to entertain people.","Sabaragamuwa dances have also a significant dancing style, mainly to entertain people. Folk music and dances differ according to the casts of Sinhalese people and also some times regionally—mainly popular among small children, especially girls. These arts are widely performed during the Sinhalese New Year period. Martial arts Angampora is the traditional martial art of the Sinhalese people.","Martial arts Angampora is the traditional martial art of the Sinhalese people. It combines combat techniques, self-defence, sport, exercise and meditation. Key techniques observed in Angampora are: Angam, which incorporates hand-to-hand fighting, and Illangam, which uses indigenous weapons such as Velayudaya, staves, knives and swords.","Key techniques observed in Angampora are: Angam, which incorporates hand-to-hand fighting, and Illangam, which uses indigenous weapons such as Velayudaya, staves, knives and swords. Its most distinct feature is the use of pressure point attacks to inflict pain or permanently paralyse the opponent.","Its most distinct feature is the use of pressure point attacks to inflict pain or permanently paralyse the opponent. Fighters usually make use of both striking and grappling techniques, and fight until the opponent is caught in a submission lock that they cannot escape. Usage of weapons is discretionary.","Usage of weapons is discretionary. Usage of weapons is discretionary. Perimeters of fighting are defined in advance, and in some of the cases is a pit. Angampora became nearly extinct after the country came under British rule in 1815, but survived in a few families until the country regained independence.","Angampora became nearly extinct after the country came under British rule in 1815, but survived in a few families until the country regained independence. Science and education The Sinhalese have a long history of literacy and formal learning. Instruction in basic fields like writing and reading by Buddhist Monks pre-date the birth of Christ.","Instruction in basic fields like writing and reading by Buddhist Monks pre-date the birth of Christ. This traditional system followed religious rule and was meant to foster Buddhist understanding. Training of officials in such skills as keeping track of revenue and other records for administrative purposes occurred under this institution.","Training of officials in such skills as keeping track of revenue and other records for administrative purposes occurred under this institution. Technical education such as the building of reservoirs and canals was passed down from generation to generation through home training and outside craft apprenticeships.","Technical education such as the building of reservoirs and canals was passed down from generation to generation through home training and outside craft apprenticeships. The arrival of the Portuguese and Dutch and the subsequent colonisation maintained religion as the centre of education though in certain communities under Catholic and Presbyterian hierarchy. The British in the 1800s initially followed the same course.","The British in the 1800s initially followed the same course. Following 1870 however they began a campaign for better education facilities in the region. Christian missionary groups were at the forefront of this development contributing to a high literacy among Christians. By 1901 schools in the South and the North were well tended. The inner regions lagged behind however.","The inner regions lagged behind however. Also, English education facilities presented hurdles for the general populace through fees and lack of access. Medicine Traditional Sinhalese villages in early days had at least one chief Medical personnel called Weda Mahaththaya (Doctor). These people practice their clinical activities by inheritance.","These people practice their clinical activities by inheritance. Sinhalese Medicine resembles some of Ayurvedic practices in contrast for some treatments they use Buddhist Chantings (Pirith) in order to strengthen the effectiveness.","Sinhalese Medicine resembles some of Ayurvedic practices in contrast for some treatments they use Buddhist Chantings (Pirith) in order to strengthen the effectiveness. According to the Mahavamsa, the ancient chronicle, Pandukabhaya of Sri Lanka (437 BC – 367 BC) had lying-in-homes and Ayurvedic hospitals (Sivikasotthi-Sala) built in various parts of the country.","According to the Mahavamsa, the ancient chronicle, Pandukabhaya of Sri Lanka (437 BC – 367 BC) had lying-in-homes and Ayurvedic hospitals (Sivikasotthi-Sala) built in various parts of the country. This is the earliest documentary evidence we have of institutions specifically dedicated to the care of the sick anywhere in the world.","This is the earliest documentary evidence we have of institutions specifically dedicated to the care of the sick anywhere in the world. Mihintale Hospital is the oldest in the world. See also List of Sinhalese people Sinhalese Buddhist nationalism References Citations Sources De Silva, K. M. History of Sri Lanka (Univ.","See also List of Sinhalese people Sinhalese Buddhist nationalism References Citations Sources De Silva, K. M. History of Sri Lanka (Univ. of Calif. Press, 1981) Gunasekera, Tamara. Hierarchy and Egalitarianism: Caste, Class, and Power in Sinhalese Peasant Society (Athlone, 1994). Roberts, Michael.","Roberts, Michael. Roberts, Michael. Sri Lanka: Collective Identities Revisited (Colombo-Marga Institute, 1997). Wickremeratne, Ananda. Buddhism and Ethnicity in Sri Lanka: A Historical Analysis (New Delhi-Vikas Publishing House, 1995).","Buddhism and Ethnicity in Sri Lanka: A Historical Analysis (New Delhi-Vikas Publishing House, 1995). External links CIA Factbook-Sri Lanka Department of Census and Statistics-Sri Lanka Ethnologue-Sinhala, a language of Sri Lanka CIA Factbook-Sri Lanka Sinhalese Who are the Sinhalese Buddhist communities of Sri Lanka Ethnic groups in Sri Lanka Ethnic groups in the Indian Ocean Indo-Aryan peoples Sinhalese diaspora Sinhalese culture"],"string":"[\n \"Sinhalese people () are an Indo-Aryan ethnic group native to the island of Sri Lanka. They were historically known as Hela people (). They constitute about 75% of the Sri Lankan population and number greater than 16.2 million. The Sinhalese identity is based on language, cultural heritage and nationality.\",\n \"The Sinhalese identity is based on language, cultural heritage and nationality. The Sinhalese people speak Sinhala, an insular Indo-Aryan language, and are predominantly Theravada Buddhists, although a minority of Sinhalese follow branches of Christianity and other religions.\",\n \"The Sinhalese people speak Sinhala, an insular Indo-Aryan language, and are predominantly Theravada Buddhists, although a minority of Sinhalese follow branches of Christianity and other religions. Since 1815, they were broadly divided into two respective groups: The 'Up-country Sinhalese' in the central mountainous regions, and the 'Low-country Sinhalese' in the coastal regions; although both groups speak the same language, they are distinguished as they observe different cultural customs.\",\n \"Since 1815, they were broadly divided into two respective groups: The 'Up-country Sinhalese' in the central mountainous regions, and the 'Low-country Sinhalese' in the coastal regions; although both groups speak the same language, they are distinguished as they observe different cultural customs. According to the Mahavamsa and the Dipavamsa, a 3rd–5th century treatise written in Pali by Buddhist monks of the Anuradhapura Maha Viharaya in Sri Lanka, the Sinhalese descend from settlers who came to the island in 543 BCE from Sinhapura led by Prince Vijaya who mixed with the indigenous Yakka and later settlers from the Pandya kingdom.\",\n \"According to the Mahavamsa and the Dipavamsa, a 3rd–5th century treatise written in Pali by Buddhist monks of the Anuradhapura Maha Viharaya in Sri Lanka, the Sinhalese descend from settlers who came to the island in 543 BCE from Sinhapura led by Prince Vijaya who mixed with the indigenous Yakka and later settlers from the Pandya kingdom. Etymology From the Sanskrit word Sinhala, meaning literally \\\"of lions\\\".\",\n \"Etymology From the Sanskrit word Sinhala, meaning literally \\\"of lions\\\". The Mahavamsa records the origin of the Sinhalese people and related historical events.\",\n \"The Mahavamsa records the origin of the Sinhalese people and related historical events. It traces the historical origin of the Sinhalese people back to the first king who mentioned in the documentary history of Sri Lanka, Vijaya, who is the son of Sinhabahu (Sanskrit meaning 'Sinha' (lion) + 'bahu' (hands, feet), the ruler of Sinhapura.\",\n \"It traces the historical origin of the Sinhalese people back to the first king who mentioned in the documentary history of Sri Lanka, Vijaya, who is the son of Sinhabahu (Sanskrit meaning 'Sinha' (lion) + 'bahu' (hands, feet), the ruler of Sinhapura. Some versions suggest Vijaya is the grandson of Sinhabahu.\",\n \"Some versions suggest Vijaya is the grandson of Sinhabahu. According to the Mahavamsa, Sinhabahu was the son of princess Suppadevi of Vanga, who copulated with a lion and gave birth to a daughter called Sinhasivali and to a son, Sinhabahu, whose hands and feet were like the paws of a lion and who had the strength of a lion.\",\n \"According to the Mahavamsa, Sinhabahu was the son of princess Suppadevi of Vanga, who copulated with a lion and gave birth to a daughter called Sinhasivali and to a son, Sinhabahu, whose hands and feet were like the paws of a lion and who had the strength of a lion. King Vijaya, the lineage of Sinhabahu, according to the Mahavamsa and other historical sources, arrived on the island of Tambapanni (Sri Lanka) and gave origin to the lion people, Sinhalese.\",\n \"King Vijaya, the lineage of Sinhabahu, according to the Mahavamsa and other historical sources, arrived on the island of Tambapanni (Sri Lanka) and gave origin to the lion people, Sinhalese. The story of the arrival of Prince Vijaya in Sri Lanka and the origin of the Sinhalese people is also depicted in the Ajanta caves, in a mural of cave number 17.\",\n \"The story of the arrival of Prince Vijaya in Sri Lanka and the origin of the Sinhalese people is also depicted in the Ajanta caves, in a mural of cave number 17. According to Arisen Ahubudu, there were four major clans of \\\"hela\\\" in ancient Sri Lanka even before the arrival of Prince Vijaya, and that Sri Lanka was called as \\\"Siv hela\\\" (siv=four in the Sinhala language) and later it was changed into \\\"Sinhala\\\".\",\n \"According to Arisen Ahubudu, there were four major clans of \\\"hela\\\" in ancient Sri Lanka even before the arrival of Prince Vijaya, and that Sri Lanka was called as \\\"Siv hela\\\" (siv=four in the Sinhala language) and later it was changed into \\\"Sinhala\\\". History The early recorded history of the Sinhalese is chronicled in two documents, the Mahavamsa, written in Pāli around the 4th century CE, and the later Culavamsa (the first segment probably penned in the 13th century CE by the Buddhist monk Dhammakitti).\",\n \"History The early recorded history of the Sinhalese is chronicled in two documents, the Mahavamsa, written in Pāli around the 4th century CE, and the later Culavamsa (the first segment probably penned in the 13th century CE by the Buddhist monk Dhammakitti). These are ancient sources that cover the histories of the powerful ancient Sinhalese kingdoms of Anuradhapura and Polonnaruwa which lasted for 1500 years.\",\n \"These are ancient sources that cover the histories of the powerful ancient Sinhalese kingdoms of Anuradhapura and Polonnaruwa which lasted for 1500 years. The Mahavamsa describes the existence of fields of rice and reservoirs, indicating a well-developed agrarian society.\",\n \"The Mahavamsa describes the existence of fields of rice and reservoirs, indicating a well-developed agrarian society. Pre Anuradhapura period According to Mahavamsa, Prince Vijaya and his 700 followers left Suppāraka, landed on the island at a site believed by historians to be in the district of Puttalam, south of modern-day Mannar and founded the Kingdom of Thambapanni.\",\n \"Pre Anuradhapura period According to Mahavamsa, Prince Vijaya and his 700 followers left Suppāraka, landed on the island at a site believed by historians to be in the district of Puttalam, south of modern-day Mannar and founded the Kingdom of Thambapanni. It is recorded the Vijaya made his landing on the day of Buddha's Parinirvana.\",\n \"It is recorded the Vijaya made his landing on the day of Buddha's Parinirvana. Vijaya claimed Tambapanni his capital and soon the whole island come under this name. Tambapanni was originally inhabited and governed by Yakkhas, having their capital at Sirīsavatthu and their queen Kuveni. According to the Samyutta Commentary, Tambapanni was one hundred leagues in extent.\",\n \"According to the Samyutta Commentary, Tambapanni was one hundred leagues in extent. At the end of his reign, Vijaya, having trouble choosing a successor, sent a letter to the city of his ancestors, Sinhapura, in order to invite his brother Sumitta to take over the throne.\",\n \"At the end of his reign, Vijaya, having trouble choosing a successor, sent a letter to the city of his ancestors, Sinhapura, in order to invite his brother Sumitta to take over the throne. However, Vijaya had died before the letter had reached its destination, so the elected minister of the people Upatissa, the Chief government minister or prime minister and leading chief among the Sinhalese became regent and acted as regent for a year.\",\n \"However, Vijaya had died before the letter had reached its destination, so the elected minister of the people Upatissa, the Chief government minister or prime minister and leading chief among the Sinhalese became regent and acted as regent for a year. After his coronation, which was held in the Kingdom of Tambapanni, he left it, building another one, bearing his own name.\",\n \"After his coronation, which was held in the Kingdom of Tambapanni, he left it, building another one, bearing his own name. While he was king, Upatissa established the new capital Upatissa, in which the kingdom was moved to from the Kingdom of Tambapanni.\",\n \"While he was king, Upatissa established the new capital Upatissa, in which the kingdom was moved to from the Kingdom of Tambapanni. When Vijaya's letter arrived, Sumitta had already succeeded his father as king of his country, and so he sent his son Panduvasdeva to rule Upatissa Nuwara.\",\n \"When Vijaya's letter arrived, Sumitta had already succeeded his father as king of his country, and so he sent his son Panduvasdeva to rule Upatissa Nuwara. Upatissa Nuwara was seven or eight miles further north of the Kingdom of Tambapanni.\",\n \"Upatissa Nuwara was seven or eight miles further north of the Kingdom of Tambapanni. It was named after the regent king Upatissa, who was the prime minister of Vijaya, and was founded in 505 BC after the death of Vijaya and the end of the Kingdom of Tambapanni.\",\n \"It was named after the regent king Upatissa, who was the prime minister of Vijaya, and was founded in 505 BC after the death of Vijaya and the end of the Kingdom of Tambapanni. Anuradhapura period In 377 BC, King Pandukabhaya (437–367 BC) moved the capital to Anuradhapura and developed it into a prosperous city.\",\n \"Anuradhapura period In 377 BC, King Pandukabhaya (437–367 BC) moved the capital to Anuradhapura and developed it into a prosperous city. Anuradhapura (Anurapura) was named after the minister who first established the village and after a grandfather of Pandukabhaya who lived there.\",\n \"Anuradhapura (Anurapura) was named after the minister who first established the village and after a grandfather of Pandukabhaya who lived there. The name was also derived from the city's establishment on the auspicious asterism called Anura. Anuradhapura was the capital of all the monarchs who ruled from the dynasty.\",\n \"Anuradhapura was the capital of all the monarchs who ruled from the dynasty. Rulers such as Dutthagamani, Valagamba, and Dhatusena are noted for defeating the South Indians and regaining control of the kingdom.\",\n \"Rulers such as Dutthagamani, Valagamba, and Dhatusena are noted for defeating the South Indians and regaining control of the kingdom. Other rulers who are notable for military achievements include Gajabahu I, who launched an invasion against the invaders, and Sena II, who sent his armies to assist a Pandyan prince.\",\n \"Other rulers who are notable for military achievements include Gajabahu I, who launched an invasion against the invaders, and Sena II, who sent his armies to assist a Pandyan prince. Polonnaruwa period During the Middle Ages Sri Lanka was well known for its agricultural prosperity under king Parakramabahu in Polonnaruwa during which period the island was famous around the world as the rice mill of the east.\",\n \"Polonnaruwa period During the Middle Ages Sri Lanka was well known for its agricultural prosperity under king Parakramabahu in Polonnaruwa during which period the island was famous around the world as the rice mill of the east. Transitional period Later in the 13th century the country's administrative provinces were divided into independent kingdoms and chieftaincies: Kingdom of Sitawaka, Kingdom of Kotte, Jaffna Kingdom and the Kandyan kingdom.\",\n \"Transitional period Later in the 13th century the country's administrative provinces were divided into independent kingdoms and chieftaincies: Kingdom of Sitawaka, Kingdom of Kotte, Jaffna Kingdom and the Kandyan kingdom. The invasion by the Hindu king Magha in the 13th century led to migrations by the Buddhists (mostly Sinhalese) to areas not under his control.\",\n \"The invasion by the Hindu king Magha in the 13th century led to migrations by the Buddhists (mostly Sinhalese) to areas not under his control. This migration was followed by a period of conflict among the Sinhalese chiefs who tried to exert political supremacy.\",\n \"This migration was followed by a period of conflict among the Sinhalese chiefs who tried to exert political supremacy. Parakramabahu VI, a Sinhalese king invaded the Jaffna Kingdom and conquered it, bringing the entire country back under the Sinhalese kingdom.\",\n \"Parakramabahu VI, a Sinhalese king invaded the Jaffna Kingdom and conquered it, bringing the entire country back under the Sinhalese kingdom. Trade also increased during this period, as Sri Lanka began to trade cinnamon and a large number of Muslim traders were bought into the island.\",\n \"Trade also increased during this period, as Sri Lanka began to trade cinnamon and a large number of Muslim traders were bought into the island. In the 15th century a Kandyan Kingdom formed which divided the Sinhalese politically into low-country and up-country.\",\n \"In the 15th century a Kandyan Kingdom formed which divided the Sinhalese politically into low-country and up-country. In this period, the Sinhalese caste structure absorbed recent Dravidian Hindu immigrants from South India leading to the emergence of three new Sinhalese caste groups - the Salagama, the Durava and the Karava.\",\n \"In this period, the Sinhalese caste structure absorbed recent Dravidian Hindu immigrants from South India leading to the emergence of three new Sinhalese caste groups - the Salagama, the Durava and the Karava. Modern history The Sinhalese have a stable birth rate and a population that has been growing at a slow pace relative to India and other Asian countries.\",\n \"Modern history The Sinhalese have a stable birth rate and a population that has been growing at a slow pace relative to India and other Asian countries. Society Demographics Sri Lanka Within Sri Lanka the majority of the Sinhalese reside in the South, Central, Sabaragamuwa and Western parts of the country.\",\n \"Society Demographics Sri Lanka Within Sri Lanka the majority of the Sinhalese reside in the South, Central, Sabaragamuwa and Western parts of the country. This coincides with the largest Sinhalese populations areas in Sri Lanka. Cities with more than 90% Sinhalese population include Hambantota, Galle, Gampaha, Kurunegala, Monaragala, Anuradhapura and Polonnaruwa.\",\n \"Cities with more than 90% Sinhalese population include Hambantota, Galle, Gampaha, Kurunegala, Monaragala, Anuradhapura and Polonnaruwa. Diaspora Sinhalese people have emigrated out to many countries for a variety of reasons. The larger diaspora communities are situated in the United Kingdom, Australia, United States and Canada among others.\",\n \"The larger diaspora communities are situated in the United Kingdom, Australia, United States and Canada among others. In addition to this there are many Sinhalese, who reside in the Middle East, Southeast Asia and Europe, temporarily in connection with employment and/or education.\",\n \"In addition to this there are many Sinhalese, who reside in the Middle East, Southeast Asia and Europe, temporarily in connection with employment and/or education. They are often employed as guest workers in the Middle East and professionals in the other regions.\",\n \"They are often employed as guest workers in the Middle East and professionals in the other regions. The largest population centres of the Sinhalese diaspora are mainly situated in Europe, North America and Australia. The city of Melbourne contains just under half of the Sri Lankan Australians. The 2011 census recorded 86,412 Sri Lanka born in Australia.\",\n \"The 2011 census recorded 86,412 Sri Lanka born in Australia. There are 73,849 Australians (0.4 of the population) who reported having Sinhalese ancestry in 2006. Sinhala was also reported to be the 29th-fastest-growing language in Australia (ranking above Somali but behind Hindi and Belarusian).\",\n \"Sinhala was also reported to be the 29th-fastest-growing language in Australia (ranking above Somali but behind Hindi and Belarusian). Sinhalese Australians have an exceptionally low rate of return migration to Sri Lanka. In the 2011 Canadian Census, 7,220 people identified themselves as of Sinhalese ancestry, out of 139,415 Sri Lankans.\",\n \"In the 2011 Canadian Census, 7,220 people identified themselves as of Sinhalese ancestry, out of 139,415 Sri Lankans. There are a small number of Sinhalese people in India, scattered around the country, but mainly living in and around the northern and southern regions.\",\n \"There are a small number of Sinhalese people in India, scattered around the country, but mainly living in and around the northern and southern regions. Sri Lankan New Zealanders comprised 3% of the Asian population of New Zealand in 2001.\",\n \"Sri Lankan New Zealanders comprised 3% of the Asian population of New Zealand in 2001. The numbers arriving continued to increase, and at the 2018 census there were over 16,000 Sri Lankans living in New Zealand among those 9,171 were Sinhalese. In the U.S, the Sinhalese number about 12,000 people.\",\n \"In the U.S, the Sinhalese number about 12,000 people. The New York City Metropolitan Area contains the largest Sri Lankan community in the United States, receiving the highest legal permanent resident Sri Lankan immigrant population, followed by Central New Jersey and the Los Angeles metropolitan area. Many Sinhalese have migrated to Italy since the 1970s.\",\n \"Many Sinhalese have migrated to Italy since the 1970s. Italy was attractive to the Sinhalese due to perceived easier employment opportunities and entry, compared to other European countries. It is estimated that there are 30,000-33,000 Sinhalese in Italy.\",\n \"It is estimated that there are 30,000-33,000 Sinhalese in Italy. The major Sinhalese communities in Italy are located in Lombardia (In the districts Loreto and Lazzaretto), Milan, Lazio, Rome, Naples, and Southern Italy (Particularly Palermo, Messina and Catania).\",\n \"The major Sinhalese communities in Italy are located in Lombardia (In the districts Loreto and Lazzaretto), Milan, Lazio, Rome, Naples, and Southern Italy (Particularly Palermo, Messina and Catania). It should be noted however that many countries census list Sri Lankan which also includes Sri Lankan Tamils so the numbers of just Sinhalese are not as accurate when the census states Sri Lankan and not Sinhalese.\",\n \"It should be noted however that many countries census list Sri Lankan which also includes Sri Lankan Tamils so the numbers of just Sinhalese are not as accurate when the census states Sri Lankan and not Sinhalese. Though Sinhalese people in particular and Sri Lankans in general have migrated to the UK over the centuries beginning from the colonial times, the number of Sinhalese people in the UK cannot be estimated accurately due to inadequacies of census in the UK.\",\n \"Though Sinhalese people in particular and Sri Lankans in general have migrated to the UK over the centuries beginning from the colonial times, the number of Sinhalese people in the UK cannot be estimated accurately due to inadequacies of census in the UK. The UK government does not record statistics on the basis of language or ethnicity and all Sri Lankans are classified into one group as Asian British or Asian Other.\",\n \"The UK government does not record statistics on the basis of language or ethnicity and all Sri Lankans are classified into one group as Asian British or Asian Other. Language and literature Sinhalese people speak Sinhala, also known as \\\"Helabasa\\\"; this language has two varieties, spoken and written.\",\n \"Language and literature Sinhalese people speak Sinhala, also known as \\\"Helabasa\\\"; this language has two varieties, spoken and written. Sinhala is an Indo-Aryan language within the broader group of Indo-European languages.\",\n \"Sinhala is an Indo-Aryan language within the broader group of Indo-European languages. The early form of the language was brought to Sri Lanka by the ancestors of the Sinhalese people from northern India who settled on the island in the 6th century BCE.\",\n \"The early form of the language was brought to Sri Lanka by the ancestors of the Sinhalese people from northern India who settled on the island in the 6th century BCE. Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages.\",\n \"Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages. It was influenced by many languages, prominently Pali, the sacred language of Southern Buddhism, Telugu and Sanskrit. Many early texts in the language such as the Hela Atuwa were lost after their translation into Pali.\",\n \"Many early texts in the language such as the Hela Atuwa were lost after their translation into Pali. Other significant Sinhala texts include Amāvatura, Kavu Silumina, Jathaka Potha and Sala Liheeniya. Sinhala has also adopted many loanwords of foreign origin, including from many Indian such as Tamil and European languages such as Portuguese, Dutch, and English.\",\n \"Sinhala has also adopted many loanwords of foreign origin, including from many Indian such as Tamil and European languages such as Portuguese, Dutch, and English. Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world.\",\n \"Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world. The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages.\",\n \"The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages. Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and foreign films.\",\n \"Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and foreign films. Additionally many Dutch and Portuguese words can be seen in the coastal areas.\",\n \"Additionally many Dutch and Portuguese words can be seen in the coastal areas. Sinhalese people, depending on where they live in Sri Lanka, may also additionally speak English and or Tamil. According to the 2012 Census 23.8% or 3,033,659 Sinhalese people also spoke English and 6.4% or 812,738 Sinhalese people also spoke Tamil.\",\n \"According to the 2012 Census 23.8% or 3,033,659 Sinhalese people also spoke English and 6.4% or 812,738 Sinhalese people also spoke Tamil. In the Negombo area bilingual fishermen who generally identify themselves as Sinhalese also speak the Negombo Tamil dialect. This dialect has undergone considerable convergence with spoken Sinhala.\",\n \"This dialect has undergone considerable convergence with spoken Sinhala. Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today. Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance.\",\n \"Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance. Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son.\",\n \"Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son. In the modern period, Sinhala writers such as Martin Wickremasinghe and G. B. Senanayake have drawn widespread acclaim. Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake.\",\n \"Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake. Martin Wickramasinghe wrote the immensely popular children's novel Madol Duwa. Munadasa Cumaratunga's Hath Pana is also widely known. Religion The form of Buddhism in Sri Lanka is known as Theravada (school of elders).\",\n \"Religion The form of Buddhism in Sri Lanka is known as Theravada (school of elders). The Pali chronicles (e.g., the Mahavansa) claim that the Sinhalese as an ethnic group are destined to preserve and protect Buddhism. In 1988 almost 93% of the Sinhala speaking population in Sri Lanka were Buddhist.\",\n \"In 1988 almost 93% of the Sinhala speaking population in Sri Lanka were Buddhist. Observations of current religious beliefs and practices demonstrate that the Sinhalese, as a religious community, have a complex worldview as Buddhists.\",\n \"Observations of current religious beliefs and practices demonstrate that the Sinhalese, as a religious community, have a complex worldview as Buddhists. Due to the proximity and on some occasions similarity of certain doctrines, there are many areas where Buddhists and Hindus share religious views and practices.\",\n \"Due to the proximity and on some occasions similarity of certain doctrines, there are many areas where Buddhists and Hindus share religious views and practices. Sinhalese Buddhists have adopted religious elements from Hindu traditions in their religious practices.\",\n \"Sinhalese Buddhists have adopted religious elements from Hindu traditions in their religious practices. Some of these practices may relate to ancient indigenous beliefs and traditions on spirits (folk religion), and the worship of Hindu deities. Some of these figures are used in healing rituals and may be native to the island.\",\n \"Some of these figures are used in healing rituals and may be native to the island. Gods and goddess derived from Hindu deities are worshiped by Sinhalese. Kataragama Deviyo from Kartikeya, Upulvan from Vishnu and Ayyanayake from Aiyanar can be named as examples.\",\n \"Kataragama Deviyo from Kartikeya, Upulvan from Vishnu and Ayyanayake from Aiyanar can be named as examples. Though these gods take the same place as their Hindu counterparts in mythology, some of their aspects are different compared to the original gods.\",\n \"Though these gods take the same place as their Hindu counterparts in mythology, some of their aspects are different compared to the original gods. Prominent Sri Lankan anthropologists Gananath Obeyesekere and Kitsiri Malalgoda used the term \\\"Protestant Buddhism\\\" to describe a type of Buddhism that appeared among the Sinhalese in Sri Lanka as a response to Protestant Christian missionaries and their evangelical activities during the British colonial period.\",\n \"Prominent Sri Lankan anthropologists Gananath Obeyesekere and Kitsiri Malalgoda used the term \\\"Protestant Buddhism\\\" to describe a type of Buddhism that appeared among the Sinhalese in Sri Lanka as a response to Protestant Christian missionaries and their evangelical activities during the British colonial period. This kind of Buddhism involved emulating the Protestant strategies of organising religious practices.\",\n \"This kind of Buddhism involved emulating the Protestant strategies of organising religious practices. They saw the need to establish Buddhist schools for educating Buddhist youth and organising Buddhists with new organisations such as the Young Men's Buddhist Association, as well as printing pamphlets to encourage people to participate in debates and religious controversies to defend Buddhism.\",\n \"They saw the need to establish Buddhist schools for educating Buddhist youth and organising Buddhists with new organisations such as the Young Men's Buddhist Association, as well as printing pamphlets to encourage people to participate in debates and religious controversies to defend Buddhism. Christianity There is a significant Sinhalese Christian community, in the maritime provinces of Sri Lanka.\",\n \"Christianity There is a significant Sinhalese Christian community, in the maritime provinces of Sri Lanka. Christianity was brought to the Sinhalese by Portuguese, Dutch, and British missionary groups during their respective periods of rule. Most Sinhalese Christians are Roman Catholic; a minority are Protestant. Their cultural centre is Negombo.\",\n \"Their cultural centre is Negombo. Their cultural centre is Negombo. Religion is considered very important among the Sinhalese. According to a 2008 Gallup poll, 99% of Sri Lankans considered religion an important aspect of their daily lives. Genetics Modern studies point towards a predominantly Bengali contribution and a minor Tamil influence.\",\n \"Genetics Modern studies point towards a predominantly Bengali contribution and a minor Tamil influence. Gujarati and Punjabi lineages are also visible. In relation to the former, other studies also show the Sinhalese possess some genetic admixture from Southeast Asian populations, especially from Austroasiatic groups.\",\n \"In relation to the former, other studies also show the Sinhalese possess some genetic admixture from Southeast Asian populations, especially from Austroasiatic groups. Certain Y-DNA and mtDNA haplogroups and genetic markers of immunoglobulin among the Sinhalese, for example, show Southeast Asian genetic influences many of which are also found among certain Northeast Indian populations to whom the Sinhalese are genetically related.\",\n \"Certain Y-DNA and mtDNA haplogroups and genetic markers of immunoglobulin among the Sinhalese, for example, show Southeast Asian genetic influences many of which are also found among certain Northeast Indian populations to whom the Sinhalese are genetically related. Culture Sinhalese culture is a unique one dating as far back as 2600 years and has been nourished by Theravada Buddhism.\",\n \"Culture Sinhalese culture is a unique one dating as far back as 2600 years and has been nourished by Theravada Buddhism. Its main domains are sculpture, fine arts, literature, dancing, poetry and a wide variety of folk beliefs and rituals traditionally.\",\n \"Its main domains are sculpture, fine arts, literature, dancing, poetry and a wide variety of folk beliefs and rituals traditionally. Ancient Sinhala stone sculpture and inscriptions are known worldwide and is a main foreign attraction in modern tourism. Sigirirya is famous for its frescoes.\",\n \"Sigirirya is famous for its frescoes. Folk poems were sung by workers to accompany their work and narrate the story of their lives. Ideally these poems consisted of four lines and, in the composition of these poems, special attention had been paid to the rhyming patterns. Buddhist festivals are dotted by unique music using traditionally Sinhalese instruments.\",\n \"Buddhist festivals are dotted by unique music using traditionally Sinhalese instruments. More ancient rituals like (devil exorcism) continue to enthrall audiences today and often praised and invoked the good powers of the Buddha and the gods in order to exorcise the demons.\",\n \"More ancient rituals like (devil exorcism) continue to enthrall audiences today and often praised and invoked the good powers of the Buddha and the gods in order to exorcise the demons. Folklore and national mythology According to the Mahavamsa, the Sinhalese are descended from the exiled Prince Vijaya and his party of seven hundred followers who arrived on the island in 543 BCE.\",\n \"Folklore and national mythology According to the Mahavamsa, the Sinhalese are descended from the exiled Prince Vijaya and his party of seven hundred followers who arrived on the island in 543 BCE. Vijaya and his followers were said to have arrived in Sri Lanka after being exiled from the city of Sinhapura in Bengal.\",\n \"Vijaya and his followers were said to have arrived in Sri Lanka after being exiled from the city of Sinhapura in Bengal. The modern Sinhalese people were found genetically to be most closely related to the people of North-East India (Bengal).\",\n \"The modern Sinhalese people were found genetically to be most closely related to the people of North-East India (Bengal). It is thought throughout Sri Lanka's history, since the founding of the Sinhalese in the 5th century BC that an influx of Indians from North India came to the island.\",\n \"It is thought throughout Sri Lanka's history, since the founding of the Sinhalese in the 5th century BC that an influx of Indians from North India came to the island. This is further supported from Sinhala being part of the Indo-Aryan language group. Traditionally during recreation the Sinhalese wear a sarong (sarama in Sinhala).\",\n \"Traditionally during recreation the Sinhalese wear a sarong (sarama in Sinhala). Men may wear a long-sleeved shirt with a sarong. Clothing varies by region for women. Low country Sinhalese women wear a white Long sleeved jacket, and a tight wrap around skirt, which usually is embedded with a floral or pattern design.\",\n \"Low country Sinhalese women wear a white Long sleeved jacket, and a tight wrap around skirt, which usually is embedded with a floral or pattern design. As for the up country Sinhalese, women wear a similar outfit, but with a puffed up shoulder jacket, and a tucked in frill that lines the top of the skirt (Reda and Hatte in Sinhala).\",\n \"As for the up country Sinhalese, women wear a similar outfit, but with a puffed up shoulder jacket, and a tucked in frill that lines the top of the skirt (Reda and Hatte in Sinhala). Traditionally, high caste Kandyan women wear a Kandyan style sari, which is similar to the Maharashtrian sari, with the drape but with a frill lining the bottom half and sometimes puffed up sleeves.\",\n \"Traditionally, high caste Kandyan women wear a Kandyan style sari, which is similar to the Maharashtrian sari, with the drape but with a frill lining the bottom half and sometimes puffed up sleeves. It’s also called an Osariya. The low country high caste women wear a South Indian style saree.\",\n \"The low country high caste women wear a South Indian style saree. Within the more populated areas, Sinhalese men also wear Western-style clothing — wearing suits while the women wear skirts and blouses.\",\n \"Within the more populated areas, Sinhalese men also wear Western-style clothing — wearing suits while the women wear skirts and blouses. For formal and ceremonial occasions women wear the traditional Kandyan (Osariya) style, which consists of a full blouse which covers the midriff completely, and is partially tucked in at the front.\",\n \"For formal and ceremonial occasions women wear the traditional Kandyan (Osariya) style, which consists of a full blouse which covers the midriff completely, and is partially tucked in at the front. However, modern intermingling of styles has led to most wearers baring the midriff. The Kandyan style is considered as the national dress of Sinhalese women.\",\n \"The Kandyan style is considered as the national dress of Sinhalese women. In many occasions and functions, even the saree plays an important role in women's clothing and has become the de facto clothing for female office workers especially in government sector. An example of its use is the uniform of air hostesses of Sri Lankan Airlines.\",\n \"An example of its use is the uniform of air hostesses of Sri Lankan Airlines. Cuisine Sinhalese cuisine is one of the most complex cuisines of South Asia. As a major trade hub, it draws influence from colonial powers that were involved in Sri Lanka and by foreign traders.\",\n \"As a major trade hub, it draws influence from colonial powers that were involved in Sri Lanka and by foreign traders. Rice, which is consumed daily, can be found at any occasion, while spicy curries are favourite dishes for lunch and dinner.\",\n \"Rice, which is consumed daily, can be found at any occasion, while spicy curries are favourite dishes for lunch and dinner. Some of the Sri Lankan dishes have striking resemblance to Kerala cuisine, which could be due to the similar geographic and agricultural features with Kerala.\",\n \"Some of the Sri Lankan dishes have striking resemblance to Kerala cuisine, which could be due to the similar geographic and agricultural features with Kerala. A well-known rice dish with Sinhalese is Kiribath, meaning ‘milk rice’. In addition to , Sinhalese eat , chopped leaves mixed with grated coconut and red onions.\",\n \"In addition to , Sinhalese eat , chopped leaves mixed with grated coconut and red onions. Coconut milk is found in most Sri Lankan dishes to give the cuisine its unique flavour. Sri Lanka has long been renowned for its spices. The best known is cinnamon which is native to Sri Lanka.\",\n \"The best known is cinnamon which is native to Sri Lanka. In the 15th and 16th centuries, spice and ivory traders from all over the world who came to Sri Lanka brought their native cuisines to the island, resulting in a rich diversity of cooking styles and techniques.\",\n \"In the 15th and 16th centuries, spice and ivory traders from all over the world who came to Sri Lanka brought their native cuisines to the island, resulting in a rich diversity of cooking styles and techniques. Lamprais, rice boiled in stock with a special curry, accompanied by frikkadels (meatballs), all of which is then wrapped in a banana leaf and baked as a Dutch-influenced Sri Lankan dish.\",\n \"Lamprais, rice boiled in stock with a special curry, accompanied by frikkadels (meatballs), all of which is then wrapped in a banana leaf and baked as a Dutch-influenced Sri Lankan dish. Dutch and Portuguese sweets also continue to be popular. British influences include roast beef and roast chicken.\",\n \"British influences include roast beef and roast chicken. Also, the influence of the Indian cooking methods and food have played a major role in what Sri Lankans eat. The island nation's cuisine mainly consists of boiled or steamed rice served with curry.\",\n \"The island nation's cuisine mainly consists of boiled or steamed rice served with curry. This usually consists of a main curry of fish or chicken, as well as several other curries made with vegetables, lentils and even fruit curries. Side-dishes include pickles, chutneys and .\",\n \"Side-dishes include pickles, chutneys and . The most famous of these is the coconut sambol, made of ground coconut mixed with chili peppers, dried Maldive fish and lime juice. This is ground to a paste and eaten with rice, as it gives zest to the meal and is believed to increase appetite.\",\n \"This is ground to a paste and eaten with rice, as it gives zest to the meal and is believed to increase appetite. Art and architecture Many forms of Sri Lankan arts and crafts take inspiration from the island's long and lasting Buddhist culture which in turn has absorbed and adopted countless regional and local traditions.\",\n \"Art and architecture Many forms of Sri Lankan arts and crafts take inspiration from the island's long and lasting Buddhist culture which in turn has absorbed and adopted countless regional and local traditions. In most instances Sri Lankan art originates from religious beliefs, and is represented in many forms such as painting, sculpture, and architecture.\",\n \"In most instances Sri Lankan art originates from religious beliefs, and is represented in many forms such as painting, sculpture, and architecture. One of the most notable aspects of Sri Lankan art are caves and temple paintings, such as the frescoes found at Sigiriya, and religious paintings found in temples in Dambulla and Temple of the Tooth Relic in Kandy.\",\n \"One of the most notable aspects of Sri Lankan art are caves and temple paintings, such as the frescoes found at Sigiriya, and religious paintings found in temples in Dambulla and Temple of the Tooth Relic in Kandy. Other popular forms of art have been influenced by both natives as well as outside settlers.\",\n \"Other popular forms of art have been influenced by both natives as well as outside settlers. For example, traditional wooden handicrafts and clay pottery are found around the hill country while Portuguese-inspired lacework and Indonesian-inspired Batik have become notable. It has many different and beautiful drawings.\",\n \"It has many different and beautiful drawings. Developed upon Indo-Aryan architectural skills in the late 6th century BCE Sinhalese people who lived upon greater kingdoms such as Anuradhapura and Polonnaruwa have built so many architectural examples such as Ruwanwelisaya, Jetavanaramaya - second tallest brick building in the ancient world after Great Pyramid of Giza, and Abayagiriya - third tallest brick building in the ancient world.\",\n \"Developed upon Indo-Aryan architectural skills in the late 6th century BCE Sinhalese people who lived upon greater kingdoms such as Anuradhapura and Polonnaruwa have built so many architectural examples such as Ruwanwelisaya, Jetavanaramaya - second tallest brick building in the ancient world after Great Pyramid of Giza, and Abayagiriya - third tallest brick building in the ancient world. And also with the ancient hydraulic technology which is also unique to Sinhalese people to build ancient tanks, systematic ponds with fountains moats and Irrigational reservoirs such as Parakrama Samudra, Kaudulla and Kandalama.\",\n \"And also with the ancient hydraulic technology which is also unique to Sinhalese people to build ancient tanks, systematic ponds with fountains moats and Irrigational reservoirs such as Parakrama Samudra, Kaudulla and Kandalama. Sigiriya which is considered by many as the 8th wonder of the world, it is a combination of natural and man made fortress, which consists so many architectural aspects.\",\n \"Sigiriya which is considered by many as the 8th wonder of the world, it is a combination of natural and man made fortress, which consists so many architectural aspects. Music There are extensive folk poems relating to specific jobs of the ancient society.\",\n \"Music There are extensive folk poems relating to specific jobs of the ancient society. These poems were communal songs which had a rhythm that were sung when performing day-to-day tasks like harvesting and sowing. Concerning popular music, Ananda Samarakoon developed the reflective and poignant Sarala gee style with his work in the late 1930s/early 1940s.\",\n \"Concerning popular music, Ananda Samarakoon developed the reflective and poignant Sarala gee style with his work in the late 1930s/early 1940s. He has been followed by artists of repute such as Sunil Shantha, W. D. Amaradeva, Premasiri Khemadasa, Nanda Malini, Victor Ratnayake, Austin Munasinghe, T. M. Jayaratne, Sanath Nandasiri, Sunil Edirisinghe, Neela Wickremasinghe, Gunadasa Kapuge, Malini Bulathsinghala and Edward Jayakody.\",\n \"He has been followed by artists of repute such as Sunil Shantha, W. D. Amaradeva, Premasiri Khemadasa, Nanda Malini, Victor Ratnayake, Austin Munasinghe, T. M. Jayaratne, Sanath Nandasiri, Sunil Edirisinghe, Neela Wickremasinghe, Gunadasa Kapuge, Malini Bulathsinghala and Edward Jayakody. Film and theatre Dramatist Ediriweera Sarachchandra revitalised the drama form with Maname in 1956.\",\n \"Film and theatre Dramatist Ediriweera Sarachchandra revitalised the drama form with Maname in 1956. The same year, film director Lester James Peries created the artistic masterwork Rekava which sought to create a uniquely Sinhalese cinema with artistic integrity. Since then, Peries and other directors like Vasantha Obeysekera, Dharmasena Pathiraja, Mahagama Sekera, W. A.\",\n \"Since then, Peries and other directors like Vasantha Obeysekera, Dharmasena Pathiraja, Mahagama Sekera, W. A. B. de Silva, Dharmasiri Bandaranayake, Sunil Ariyaratne, Siri Gunasinghe, G. D. L. Perera, Piyasiri Gunaratne, Titus Thotawatte, D. B. Nihalsinghe, Ranjith Lal, Dayananda Gunawardena, Mudalinayake Somaratne, Asoka Handagama, and Prasanna Vithanage have developed an artistic Sinhalese cinema.\",\n \"B. de Silva, Dharmasiri Bandaranayake, Sunil Ariyaratne, Siri Gunasinghe, G. D. L. Perera, Piyasiri Gunaratne, Titus Thotawatte, D. B. Nihalsinghe, Ranjith Lal, Dayananda Gunawardena, Mudalinayake Somaratne, Asoka Handagama, and Prasanna Vithanage have developed an artistic Sinhalese cinema. Sinhala cinema is often made colourful with the incorporation of songs and dance adding more uniqueness to the industry.\",\n \"Sinhala cinema is often made colourful with the incorporation of songs and dance adding more uniqueness to the industry. In the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success.\",\n \"In the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success. Performing arts Performing arts of the Sinhalese people can be categorised into few groups: Kandyan dance consist of 18 Wannam (dance routines) featuring behaviours of various animals such as elephant, eagle, cobra, monkey, peacock and rabbit, mainly performing in the annual Perahara pageant in Sri Dalada Maligawa Kandy.\",\n \"Performing arts Performing arts of the Sinhalese people can be categorised into few groups: Kandyan dance consist of 18 Wannam (dance routines) featuring behaviours of various animals such as elephant, eagle, cobra, monkey, peacock and rabbit, mainly performing in the annual Perahara pageant in Sri Dalada Maligawa Kandy. Pahatharata dance have a significant dancing style which is used to cure illnesses and spiritual clarification.\",\n \"Pahatharata dance have a significant dancing style which is used to cure illnesses and spiritual clarification. The main feature of these dances is dancers wear masks representing various gods and demons, and use elements such as fire and water to bless people. Sabaragamuwa dances have also a significant dancing style, mainly to entertain people.\",\n \"Sabaragamuwa dances have also a significant dancing style, mainly to entertain people. Folk music and dances differ according to the casts of Sinhalese people and also some times regionally—mainly popular among small children, especially girls. These arts are widely performed during the Sinhalese New Year period. Martial arts Angampora is the traditional martial art of the Sinhalese people.\",\n \"Martial arts Angampora is the traditional martial art of the Sinhalese people. It combines combat techniques, self-defence, sport, exercise and meditation. Key techniques observed in Angampora are: Angam, which incorporates hand-to-hand fighting, and Illangam, which uses indigenous weapons such as Velayudaya, staves, knives and swords.\",\n \"Key techniques observed in Angampora are: Angam, which incorporates hand-to-hand fighting, and Illangam, which uses indigenous weapons such as Velayudaya, staves, knives and swords. Its most distinct feature is the use of pressure point attacks to inflict pain or permanently paralyse the opponent.\",\n \"Its most distinct feature is the use of pressure point attacks to inflict pain or permanently paralyse the opponent. Fighters usually make use of both striking and grappling techniques, and fight until the opponent is caught in a submission lock that they cannot escape. Usage of weapons is discretionary.\",\n \"Usage of weapons is discretionary. Usage of weapons is discretionary. Perimeters of fighting are defined in advance, and in some of the cases is a pit. Angampora became nearly extinct after the country came under British rule in 1815, but survived in a few families until the country regained independence.\",\n \"Angampora became nearly extinct after the country came under British rule in 1815, but survived in a few families until the country regained independence. Science and education The Sinhalese have a long history of literacy and formal learning. Instruction in basic fields like writing and reading by Buddhist Monks pre-date the birth of Christ.\",\n \"Instruction in basic fields like writing and reading by Buddhist Monks pre-date the birth of Christ. This traditional system followed religious rule and was meant to foster Buddhist understanding. Training of officials in such skills as keeping track of revenue and other records for administrative purposes occurred under this institution.\",\n \"Training of officials in such skills as keeping track of revenue and other records for administrative purposes occurred under this institution. Technical education such as the building of reservoirs and canals was passed down from generation to generation through home training and outside craft apprenticeships.\",\n \"Technical education such as the building of reservoirs and canals was passed down from generation to generation through home training and outside craft apprenticeships. The arrival of the Portuguese and Dutch and the subsequent colonisation maintained religion as the centre of education though in certain communities under Catholic and Presbyterian hierarchy. The British in the 1800s initially followed the same course.\",\n \"The British in the 1800s initially followed the same course. Following 1870 however they began a campaign for better education facilities in the region. Christian missionary groups were at the forefront of this development contributing to a high literacy among Christians. By 1901 schools in the South and the North were well tended. The inner regions lagged behind however.\",\n \"The inner regions lagged behind however. Also, English education facilities presented hurdles for the general populace through fees and lack of access. Medicine Traditional Sinhalese villages in early days had at least one chief Medical personnel called Weda Mahaththaya (Doctor). These people practice their clinical activities by inheritance.\",\n \"These people practice their clinical activities by inheritance. Sinhalese Medicine resembles some of Ayurvedic practices in contrast for some treatments they use Buddhist Chantings (Pirith) in order to strengthen the effectiveness.\",\n \"Sinhalese Medicine resembles some of Ayurvedic practices in contrast for some treatments they use Buddhist Chantings (Pirith) in order to strengthen the effectiveness. According to the Mahavamsa, the ancient chronicle, Pandukabhaya of Sri Lanka (437 BC – 367 BC) had lying-in-homes and Ayurvedic hospitals (Sivikasotthi-Sala) built in various parts of the country.\",\n \"According to the Mahavamsa, the ancient chronicle, Pandukabhaya of Sri Lanka (437 BC – 367 BC) had lying-in-homes and Ayurvedic hospitals (Sivikasotthi-Sala) built in various parts of the country. This is the earliest documentary evidence we have of institutions specifically dedicated to the care of the sick anywhere in the world.\",\n \"This is the earliest documentary evidence we have of institutions specifically dedicated to the care of the sick anywhere in the world. Mihintale Hospital is the oldest in the world. See also List of Sinhalese people Sinhalese Buddhist nationalism References Citations Sources De Silva, K. M. History of Sri Lanka (Univ.\",\n \"See also List of Sinhalese people Sinhalese Buddhist nationalism References Citations Sources De Silva, K. M. History of Sri Lanka (Univ. of Calif. Press, 1981) Gunasekera, Tamara. Hierarchy and Egalitarianism: Caste, Class, and Power in Sinhalese Peasant Society (Athlone, 1994). Roberts, Michael.\",\n \"Roberts, Michael. Roberts, Michael. Sri Lanka: Collective Identities Revisited (Colombo-Marga Institute, 1997). Wickremeratne, Ananda. Buddhism and Ethnicity in Sri Lanka: A Historical Analysis (New Delhi-Vikas Publishing House, 1995).\",\n \"Buddhism and Ethnicity in Sri Lanka: A Historical Analysis (New Delhi-Vikas Publishing House, 1995). External links CIA Factbook-Sri Lanka Department of Census and Statistics-Sri Lanka Ethnologue-Sinhala, a language of Sri Lanka CIA Factbook-Sri Lanka Sinhalese Who are the Sinhalese Buddhist communities of Sri Lanka Ethnic groups in Sri Lanka Ethnic groups in the Indian Ocean Indo-Aryan peoples Sinhalese diaspora Sinhalese culture\"\n]"}}},{"rowIdx":490,"cells":{"History":{"kind":"list like","value":["Sinhalese people","Language and literature","what language did the sinhalese people use?","The Sinhalese speak Sinhala, also known as \"Helabasa\";","is it a widely known language?","I don't know.","Are there any other interesting aspects about this article?","Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today.","what were the folk tales about?","Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance.","are any of these folks books to this day?","continue to entertain children today.","who created these folks?","I don't know."],"string":"[\n \"Sinhalese people\",\n \"Language and literature\",\n \"what language did the sinhalese people use?\",\n \"The Sinhalese speak Sinhala, also known as \\\"Helabasa\\\";\",\n \"is it a widely known language?\",\n \"I don't know.\",\n \"Are there any other interesting aspects about this article?\",\n \"Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today.\",\n \"what were the folk tales about?\",\n \"Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance.\",\n \"are any of these folks books to this day?\",\n \"continue to entertain children today.\",\n \"who created these folks?\",\n \"I don't know.\"\n]"},"QuAC_dialog_id":{"kind":"string","value":"C_6531bbbb4dba4483bed9d12220555c4f_1"},"Question":{"kind":"string","value":"what's the most interesting part of the article, to you?"},"Question_no":{"kind":"number","value":7,"string":"7"},"Rewrite":{"kind":"string","value":"what's the most interesting part of the article on Sinhalese people, to you?"},"true_page_title":{"kind":"string","value":"Sinhalese people"},"true_contexts":{"kind":"string","value":"The Sinhalese speak Sinhala, also known as \"Helabasa\"; this language has two varieties, spoken and written. Sinhala is an Indo-Aryan language within the broader group of Indo-European languages. The language was brought to Sri Lanka by the ancestors of the Sinhalese from northern India who settled on the island in the 6th century BCE. Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages. Sinhala was influenced by many languages, prominently Pali, the sacred language of Southern Buddhism, and Sanskrit. Many early Sinhala texts such as the Hela Atuwa were lost after their translation into Pali. Other significant Sinhala texts include Amavatura, Kavu Silumina, Jathaka Potha and Sala Liheeniya. Sinhala has also adopted many loanwords of foreign origin, including from many Indian languages and colonial languages Portuguese, Dutch, and English. Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world. The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages. Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and Hollywood movies. Additionally many Dutch and Portuguese words can be seen in the coastal areas. Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today. Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance. Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son. In the modern period, Sinhala writers such as Martin Wickremasinghe and G. B. Senanayake have drawn widespread acclaim. Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake. Martin Wickramasinghe wrote the immensely popular children's novel Madol Duwa. Munadasa Cumaratunga's Hath Pana is also widely known. CANNOTANSWER"},"answer":{"kind":"string","value":"The Sinhala language was mainly inspired by Sanskrit and Pali,"},"true_contexts_wiki":{"kind":"string","value":"Sinhalese people () are an Indo-Aryan ethnic group native to the island of Sri Lanka. They were historically known as Hela people (). They constitute about 75% of the Sri Lankan population and number greater than 16.2 million. The Sinhalese identity is based on language, cultural heritage and nationality. The Sinhalese people speak Sinhala, an insular Indo-Aryan language, and are predominantly Theravada Buddhists, although a minority of Sinhalese follow branches of Christianity and \nother religions. Since 1815, they were broadly divided into two respective groups: The 'Up-country Sinhalese' in the central mountainous regions, and the 'Low-country Sinhalese' in the coastal regions; although both groups speak the same language, they are distinguished as they observe different cultural customs.\n\nAccording to the Mahavamsa and the Dipavamsa, a 3rd–5th century treatise written in Pali by Buddhist monks of the Anuradhapura Maha Viharaya in Sri Lanka, the Sinhalese descend from settlers who came to the island in 543 BCE from Sinhapura led by Prince Vijaya who mixed with the indigenous Yakka and later settlers from the Pandya kingdom.\n\nEtymology\nFrom the Sanskrit word Sinhala, meaning literally \"of lions\".\n\nThe Mahavamsa records the origin of the Sinhalese people and related historical events. It traces the historical origin of the Sinhalese people back to the first king who mentioned in the documentary history of Sri Lanka, Vijaya, who is the son of Sinhabahu (Sanskrit meaning 'Sinha' (lion) + 'bahu' (hands, feet), the ruler of Sinhapura. Some versions suggest Vijaya is the grandson of Sinhabahu. According to the Mahavamsa, Sinhabahu was the son of princess Suppadevi of Vanga, who copulated with a lion and gave birth to a daughter called Sinhasivali and to a son, Sinhabahu, whose hands and feet were like the paws of a lion and who had the strength of a lion. King Vijaya, the lineage of Sinhabahu, according to the Mahavamsa and other historical sources, arrived on the island of Tambapanni (Sri Lanka) and gave origin to the lion people, Sinhalese.\n\nThe story of the arrival of Prince Vijaya in Sri Lanka and the origin of the Sinhalese people is also depicted in the Ajanta caves, in a mural of cave number 17. According to Arisen Ahubudu, there were four major clans of \"hela\" in ancient Sri Lanka even before the arrival of Prince Vijaya, and that Sri Lanka was called as \"Siv hela\" (siv=four in the Sinhala language) and later it was changed into \"Sinhala\".\n\nHistory\n\nThe early recorded history of the Sinhalese is chronicled in two documents, the Mahavamsa, written in Pāli around the 4th century CE, and the later Culavamsa (the first segment probably penned in the 13th century CE by the Buddhist monk Dhammakitti). These are ancient sources that cover the histories of the powerful ancient Sinhalese kingdoms of Anuradhapura and Polonnaruwa which lasted for 1500 years. The Mahavamsa describes the existence of fields of rice and reservoirs, indicating a well-developed agrarian society.\n\nPre Anuradhapura period\n\nAccording to Mahavamsa, Prince Vijaya and his 700 followers left Suppāraka, landed on the island at a site believed by historians to be in the district of Puttalam, south of modern-day Mannar and founded the Kingdom of Thambapanni. It is recorded the Vijaya made his landing on the day of Buddha's Parinirvana. Vijaya claimed Tambapanni his capital and soon the whole island come under this name. Tambapanni was originally inhabited and governed by Yakkhas, having their capital at Sirīsavatthu and their queen Kuveni. According to the Samyutta Commentary, Tambapanni was one hundred leagues in extent.\n\nAt the end of his reign, Vijaya, having trouble choosing a successor, sent a letter to the city of his ancestors, Sinhapura, in order to invite his brother Sumitta to take over the throne. However, Vijaya had died before the letter had reached its destination, so the elected minister of the people Upatissa, the Chief government minister or prime minister and leading chief among the Sinhalese became regent and acted as regent for a year. After his coronation, which was held in the Kingdom of Tambapanni, he left it, building another one, bearing his own name. While he was king, Upatissa established the new capital Upatissa, in which the kingdom was moved to from the Kingdom of Tambapanni. When Vijaya's letter arrived, Sumitta had already succeeded his father as king of his country, and so he sent his son Panduvasdeva to rule Upatissa Nuwara.\n\nUpatissa Nuwara was seven or eight miles further north of the Kingdom of Tambapanni.\nIt was named after the regent king Upatissa, who was the prime minister of Vijaya, and was founded in 505 BC after the death of Vijaya and the end of the Kingdom of Tambapanni.\n\nAnuradhapura period\n\nIn 377 BC, King Pandukabhaya (437–367 BC) moved the capital to Anuradhapura and developed it into a prosperous city. Anuradhapura (Anurapura) was named after the minister who first established the village and after a grandfather of Pandukabhaya who lived there. The name was also derived from the city's establishment on the auspicious asterism called Anura. Anuradhapura was the capital of all the monarchs who ruled from the dynasty.\n\nRulers such as Dutthagamani, Valagamba, and Dhatusena are noted for defeating the South Indians and regaining control of the kingdom. Other rulers who are notable for military achievements include Gajabahu I, who launched an invasion against the invaders, and Sena II, who sent his armies to assist a Pandyan prince.\n\nPolonnaruwa period\n\nDuring the Middle Ages Sri Lanka was well known for its agricultural prosperity under king Parakramabahu in Polonnaruwa during which period the island was famous around the world as the rice mill of the east.\n\nTransitional period\n\nLater in the 13th century the country's administrative provinces were divided into independent kingdoms and chieftaincies: Kingdom of Sitawaka, Kingdom of Kotte, Jaffna Kingdom and the Kandyan kingdom. The invasion by the Hindu king Magha in the 13th century led to migrations by the Buddhists (mostly Sinhalese) to areas not under his control. This migration was followed by a period of conflict among the Sinhalese chiefs who tried to exert political supremacy. Parakramabahu VI, a Sinhalese king invaded the Jaffna Kingdom and conquered it, bringing the entire country back under the Sinhalese kingdom. Trade also increased during this period, as Sri Lanka began to trade cinnamon and a large number of Muslim traders were bought into the island.\n\nIn the 15th century a Kandyan Kingdom formed which divided the Sinhalese politically into low-country and up-country. In this period, the Sinhalese caste structure absorbed recent Dravidian Hindu immigrants from South India leading to the emergence of three new Sinhalese caste groups - the Salagama, the Durava and the Karava.\n\nModern history\n\nThe Sinhalese have a stable birth rate and a population that has been growing at a slow pace relative to India and other Asian countries.\n\nSociety\n\nDemographics\n\nSri Lanka\n\nWithin Sri Lanka the majority of the Sinhalese reside in the South, Central, Sabaragamuwa and Western parts of the country. This coincides with the largest Sinhalese populations areas in Sri Lanka. Cities with more than 90% Sinhalese population include Hambantota, Galle, Gampaha, Kurunegala, Monaragala, Anuradhapura and Polonnaruwa.\n\nDiaspora\n\nSinhalese people have emigrated out to many countries for a variety of reasons. The larger diaspora communities are situated in the United Kingdom, Australia, United States and Canada among others. In addition to this there are many Sinhalese, who reside in the Middle East, Southeast Asia and Europe, temporarily in connection with employment and/or education. They are often employed as guest workers in the Middle East and professionals in the other regions.\n\nThe largest population centres of the Sinhalese diaspora are mainly situated in Europe, North America and Australia. The city of Melbourne contains just under half of the Sri Lankan Australians. The 2011 census recorded 86,412 Sri Lanka born in Australia. There are 73,849 Australians (0.4 of the population) who reported having Sinhalese ancestry in 2006. Sinhala was also reported to be the 29th-fastest-growing language in Australia (ranking above Somali but behind Hindi and Belarusian). Sinhalese Australians have an exceptionally low rate of return migration to Sri Lanka. In the 2011 Canadian Census, 7,220 people identified themselves as of Sinhalese ancestry, out of 139,415 Sri Lankans. There are a small number of Sinhalese people in India, scattered around the country, but mainly living in and around the northern and southern regions. Sri Lankan New Zealanders comprised 3% of the Asian population of New Zealand in 2001. The numbers arriving continued to increase, and at the 2018 census there were over 16,000 Sri Lankans living in New Zealand among those 9,171 were Sinhalese.\n\nIn the U.S, the Sinhalese number about 12,000 people. The New York City Metropolitan Area contains the largest Sri Lankan community in the United States, receiving the highest legal permanent resident Sri Lankan immigrant population, followed by Central New Jersey and the Los Angeles metropolitan area. Many Sinhalese have migrated to Italy since the 1970s. Italy was attractive to the Sinhalese due to perceived easier employment opportunities and entry, compared to other European countries. It is estimated that there are 30,000-33,000 Sinhalese in Italy. The major Sinhalese communities in Italy are located in Lombardia (In the districts Loreto and Lazzaretto), Milan, Lazio, Rome, Naples, and Southern Italy (Particularly Palermo, Messina and Catania). It should be noted however that many countries census list Sri Lankan which also includes Sri Lankan Tamils so the numbers of just Sinhalese are not as accurate when the census states Sri Lankan and not Sinhalese. Though Sinhalese people in particular and Sri Lankans in general have migrated to the UK over the centuries beginning from the colonial times, the number of Sinhalese people in the UK cannot be estimated accurately due to inadequacies of census in the UK. The UK government does not record statistics on the basis of language or ethnicity and all Sri Lankans are classified into one group as Asian British or Asian Other.\n\nLanguage and literature\n\nSinhalese people speak Sinhala, also known as \"Helabasa\"; this language has two varieties, spoken and written. Sinhala is an Indo-Aryan language within the broader group of Indo-European languages. The early form of the language was brought to Sri Lanka by the ancestors of the Sinhalese people from northern India who settled on the island in the 6th century BCE. Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages. It was influenced by many languages, prominently Pali, the sacred language of Southern Buddhism, Telugu and Sanskrit. Many early texts in the language such as the Hela Atuwa were lost after their translation into Pali. Other significant Sinhala texts include Amāvatura, Kavu Silumina, Jathaka Potha and Sala Liheeniya. Sinhala has also adopted many loanwords of foreign origin, including from many Indian such as Tamil and European languages such as Portuguese, Dutch, and English.\n\nSandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world. The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages. Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and foreign films. Additionally many Dutch and Portuguese words can be seen in the coastal areas. Sinhalese people, depending on where they live in Sri Lanka, may also additionally speak English and or Tamil. According to the 2012 Census 23.8% or 3,033,659 Sinhalese people also spoke English and 6.4% or 812,738 Sinhalese people also spoke Tamil. In the Negombo area bilingual fishermen who generally identify themselves as Sinhalese also speak the Negombo Tamil dialect. This dialect has undergone considerable convergence with spoken Sinhala.\n\nFolk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today. Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance. Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son.\n\nIn the modern period, Sinhala writers such as Martin Wickremasinghe and G. B. Senanayake have drawn widespread acclaim. Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake. Martin Wickramasinghe wrote the immensely popular children's novel Madol Duwa. Munadasa Cumaratunga's Hath Pana is also widely known.\n\nReligion\n\nThe form of Buddhism in Sri Lanka is known as Theravada (school of elders). The Pali chronicles (e.g., the Mahavansa) claim that the Sinhalese as an ethnic group are destined to preserve and protect Buddhism. In 1988 almost 93% of the Sinhala speaking population in Sri Lanka were Buddhist. Observations of current religious beliefs and practices demonstrate that the Sinhalese, as a religious community, have a complex worldview as Buddhists. Due to the proximity and on some occasions similarity of certain doctrines, there are many areas where Buddhists and Hindus share religious views and practices. Sinhalese Buddhists have adopted religious elements from Hindu traditions in their religious practices. Some of these practices may relate to ancient indigenous beliefs and traditions on spirits (folk religion), and the worship of Hindu deities. Some of these figures are used in healing rituals and may be native to the island. Gods and goddess derived from Hindu deities are worshiped by Sinhalese. Kataragama Deviyo from Kartikeya, Upulvan from Vishnu and Ayyanayake from Aiyanar can be named as examples. Though these gods take the same place as their Hindu counterparts in mythology, some of their aspects are different compared to the original gods.\n\nProminent Sri Lankan anthropologists Gananath Obeyesekere and Kitsiri Malalgoda used the term \"Protestant Buddhism\" to describe a type of Buddhism that appeared among the Sinhalese in Sri Lanka as a response to Protestant Christian missionaries and their evangelical activities during the British colonial period. This kind of Buddhism involved emulating the Protestant strategies of organising religious practices. They saw the need to establish Buddhist schools for educating Buddhist youth and organising Buddhists with new organisations such as the Young Men's Buddhist Association, as well as printing pamphlets to encourage people to participate in debates and religious controversies to defend Buddhism.\n\nChristianity\nThere is a significant Sinhalese Christian community, in the maritime provinces of Sri Lanka. Christianity was brought to the Sinhalese by Portuguese, Dutch, and British missionary groups during their respective periods of rule. Most Sinhalese Christians are Roman Catholic; a minority are Protestant. Their cultural centre is Negombo.\n\nReligion is considered very important among the Sinhalese. According to a 2008 Gallup poll, 99% of Sri Lankans considered religion an important aspect of their daily lives.\n\nGenetics\n\nModern studies point towards a predominantly Bengali contribution and a minor Tamil influence. Gujarati and Punjabi lineages are also visible. In relation to the former, other studies also show the Sinhalese possess some genetic admixture from Southeast Asian populations, especially from Austroasiatic groups. Certain Y-DNA and mtDNA haplogroups and genetic markers of immunoglobulin among the Sinhalese, for example, show Southeast Asian genetic influences many of which are also found among certain Northeast Indian populations to whom the Sinhalese are genetically related.\n\nCulture\n\nSinhalese culture is a unique one dating as far back as 2600 years and has been nourished by Theravada Buddhism. Its main domains are sculpture, fine arts, literature, dancing, poetry and a wide variety of folk beliefs and rituals traditionally. Ancient Sinhala stone sculpture and inscriptions are known worldwide and is a main foreign attraction in modern tourism. Sigirirya is famous for its frescoes. Folk poems were sung by workers to accompany their work and narrate the story of their lives. Ideally these poems consisted of four lines and, in the composition of these poems, special attention had been paid to the rhyming patterns. Buddhist festivals are dotted by unique music using traditionally Sinhalese instruments. More ancient rituals like (devil exorcism) continue to enthrall audiences today and often praised and invoked the good powers of the Buddha and the gods in order to exorcise the demons.\n\nFolklore and national mythology\nAccording to the Mahavamsa, the Sinhalese are descended from the exiled Prince Vijaya and his party of seven hundred followers who arrived on the island in 543 BCE. Vijaya and his followers were said to have arrived in Sri Lanka after being exiled from the city of Sinhapura in Bengal. The modern Sinhalese people were found genetically to be most closely related to the people of North-East India (Bengal). It is thought throughout Sri Lanka's history, since the founding of the Sinhalese in the 5th century BC that an influx of Indians from North India came to the island. This is further supported from Sinhala being part of the Indo-Aryan language group.\n\nTraditionally during recreation the Sinhalese wear a sarong (sarama in Sinhala). Men may wear a long-sleeved shirt with a sarong. Clothing varies by region for women. Low country Sinhalese women wear a white Long sleeved jacket, and a tight wrap around skirt, which usually is embedded with a floral or pattern design. As for the up country Sinhalese, women wear a similar outfit, but with a puffed up shoulder jacket, and a tucked in frill that lines the top of the skirt (Reda and Hatte in Sinhala). Traditionally, high caste Kandyan women wear a Kandyan style sari, which is similar to the Maharashtrian sari, with the drape but with a frill lining the bottom half and sometimes puffed up sleeves. It’s also called an Osariya. The low country high caste women wear a South Indian style saree. Within the more populated areas, Sinhalese men also wear Western-style clothing — wearing suits while the women wear skirts and blouses. For formal and ceremonial occasions women wear the traditional Kandyan (Osariya) style, which consists of a full blouse which covers the midriff completely, and is partially tucked in at the front. However, modern intermingling of styles has led to most wearers baring the midriff. The Kandyan style is considered as the national dress of Sinhalese women. In many occasions and functions, even the saree plays an important role in women's clothing and has become the de facto clothing for female office workers especially in government sector. An example of its use is the uniform of air hostesses of Sri Lankan Airlines.\n\nCuisine\n\nSinhalese cuisine is one of the most complex cuisines of South Asia. As a major trade hub, it draws influence from colonial powers that were involved in Sri Lanka and by foreign traders. Rice, which is consumed daily, can be found at any occasion, while spicy curries are favourite dishes for lunch and dinner. Some of the Sri Lankan dishes have striking resemblance to Kerala cuisine, which could be due to the similar geographic and agricultural features with Kerala. A well-known rice dish with Sinhalese is Kiribath, meaning ‘milk rice’. In addition to , Sinhalese eat , chopped leaves mixed with grated coconut and red onions. Coconut milk is found in most Sri Lankan dishes to give the cuisine its unique flavour.\n\nSri Lanka has long been renowned for its spices. The best known is cinnamon which is native to Sri Lanka. In the 15th and 16th centuries, spice and ivory traders from all over the world who came to Sri Lanka brought their native cuisines to the island, resulting in a rich diversity of cooking styles and techniques. Lamprais, rice boiled in stock with a special curry, accompanied by frikkadels (meatballs), all of which is then wrapped in a banana leaf and baked as a Dutch-influenced Sri Lankan dish. Dutch and Portuguese sweets also continue to be popular. British influences include roast beef and roast chicken. Also, the influence of the Indian cooking methods and food have played a major role in what Sri Lankans eat.\n\nThe island nation's cuisine mainly consists of boiled or steamed rice served with curry. This usually consists of a main curry of fish or chicken, as well as several other curries made with vegetables, lentils and even fruit curries. Side-dishes include pickles, chutneys and . The most famous of these is the coconut sambol, made of ground coconut mixed with chili peppers, dried Maldive fish and lime juice. This is ground to a paste and eaten with rice, as it gives zest to the meal and is believed to increase appetite.\n\nArt and architecture\n\nMany forms of Sri Lankan arts and crafts take inspiration from the island's long and lasting Buddhist culture which in turn has absorbed and adopted countless regional and local traditions. In most instances Sri Lankan art originates from religious beliefs, and is represented in many forms such as painting, sculpture, and architecture. One of the most notable aspects of Sri Lankan art are caves and temple paintings, such as the frescoes found at Sigiriya, and religious paintings found in temples in Dambulla and Temple of the Tooth Relic in Kandy. Other popular forms of art have been influenced by both natives as well as outside settlers. For example, traditional wooden handicrafts and clay pottery are found around the hill country while Portuguese-inspired lacework and Indonesian-inspired Batik have become notable. It has many different and beautiful drawings.\n\nDeveloped upon Indo-Aryan architectural skills in the late 6th century BCE Sinhalese people who lived upon greater kingdoms such as Anuradhapura and Polonnaruwa have built so many architectural examples such as Ruwanwelisaya, Jetavanaramaya - second tallest brick building in the ancient world after Great Pyramid of Giza, and Abayagiriya - third tallest brick building in the ancient world. And also with the ancient hydraulic technology which is also unique to Sinhalese people to build ancient tanks, systematic ponds with fountains moats and Irrigational reservoirs such as Parakrama Samudra, Kaudulla and Kandalama. Sigiriya which is considered by many as the 8th wonder of the world, it is a combination of natural and man made fortress, which consists so many architectural aspects.\n\nMusic\n\nThere are extensive folk poems relating to specific jobs of the ancient society. These poems were communal songs which had a rhythm that were sung when performing day-to-day tasks like harvesting and sowing.\n\nConcerning popular music, Ananda Samarakoon developed the reflective and poignant Sarala gee style with his work in the late 1930s/early 1940s. He has been followed by artists of repute such as Sunil Shantha, W. D. Amaradeva, Premasiri Khemadasa, Nanda Malini, Victor Ratnayake, Austin Munasinghe, T. M. Jayaratne, Sanath Nandasiri, Sunil Edirisinghe, Neela Wickremasinghe, Gunadasa Kapuge, Malini Bulathsinghala and Edward Jayakody.\n\nFilm and theatre\n\nDramatist Ediriweera Sarachchandra revitalised the drama form with Maname in 1956. The same year, film director Lester James Peries created the artistic masterwork Rekava which sought to create a uniquely Sinhalese cinema with artistic integrity. Since then, Peries and other directors like Vasantha Obeysekera, Dharmasena Pathiraja, Mahagama Sekera, W. A. B. de Silva, Dharmasiri Bandaranayake, Sunil Ariyaratne, Siri Gunasinghe, G. D. L. Perera, Piyasiri Gunaratne, Titus Thotawatte, D. B. Nihalsinghe, Ranjith Lal, Dayananda Gunawardena, Mudalinayake Somaratne, Asoka Handagama, and Prasanna Vithanage have developed an artistic Sinhalese cinema. Sinhala cinema is often made colourful with the incorporation of songs and dance adding more uniqueness to the industry.\n\nIn the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success.\n\nPerforming arts\n\nPerforming arts of the Sinhalese people can be categorised into few groups:\n\nKandyan dance consist of 18 Wannam (dance routines) featuring behaviours of various animals such as elephant, eagle, cobra, monkey, peacock and rabbit, mainly performing in the annual Perahara pageant in Sri Dalada Maligawa Kandy.\nPahatharata dance have a significant dancing style which is used to cure illnesses and spiritual clarification. The main feature of these dances is dancers wear masks representing various gods and demons, and use elements such as fire and water to bless people.\nSabaragamuwa dances have also a significant dancing style, mainly to entertain people.\nFolk music and dances differ according to the casts of Sinhalese people and also some times regionally—mainly popular among small children, especially girls. These arts are widely performed during the Sinhalese New Year period.\n\nMartial arts\n\nAngampora is the traditional martial art of the Sinhalese people. It combines combat techniques, self-defence, sport, exercise and meditation. Key techniques observed in Angampora are: Angam, which incorporates hand-to-hand fighting, and Illangam, which uses indigenous weapons such as Velayudaya, staves, knives and swords. Its most distinct feature is the use of pressure point attacks to inflict pain or permanently paralyse the opponent. Fighters usually make use of both striking and grappling techniques, and fight until the opponent is caught in a submission lock that they cannot escape. Usage of weapons is discretionary. Perimeters of fighting are defined in advance, and in some of the cases is a pit. Angampora became nearly extinct after the country came under British rule in 1815, but survived in a few families until the country regained independence.\n\nScience and education\n\nThe Sinhalese have a long history of literacy and formal learning. Instruction in basic fields like writing and reading by Buddhist Monks pre-date the birth of Christ. This traditional system followed religious rule and was meant to foster Buddhist understanding. Training of officials in such skills as keeping track of revenue and other records for administrative purposes occurred under this institution.\n\nTechnical education such as the building of reservoirs and canals was passed down from generation to generation through home training and outside craft apprenticeships.\n\nThe arrival of the Portuguese and Dutch and the subsequent colonisation maintained religion as the centre of education though in certain communities under Catholic and Presbyterian hierarchy. The British in the 1800s initially followed the same course. Following 1870 however they began a campaign for better education facilities in the region. Christian missionary groups were at the forefront of this development contributing to a high literacy among Christians.\n\nBy 1901 schools in the South and the North were well tended. The inner regions lagged behind however. Also, English education facilities presented hurdles for the general populace through fees and lack of access.\n\nMedicine\nTraditional Sinhalese villages in early days had at least one chief Medical personnel called Weda Mahaththaya (Doctor). These people practice their clinical activities by inheritance. Sinhalese Medicine resembles some of Ayurvedic practices in contrast for some treatments they use Buddhist Chantings (Pirith) in order to strengthen the effectiveness.\n\nAccording to the Mahavamsa, the ancient chronicle, Pandukabhaya of Sri Lanka (437 BC – 367 BC) had lying-in-homes and Ayurvedic hospitals (Sivikasotthi-Sala) built in various parts of the country. This is the earliest documentary evidence we have of institutions specifically dedicated to the care of the sick anywhere in the world. Mihintale Hospital is the oldest in the world.\n\nSee also\n List of Sinhalese people\n Sinhalese Buddhist nationalism\n\nReferences\n\nCitations\n\nSources \n\n De Silva, K. M. History of Sri Lanka (Univ. of Calif. Press, 1981)\n Gunasekera, Tamara. Hierarchy and Egalitarianism: Caste, Class, and Power in Sinhalese Peasant Society (Athlone, 1994).\n Roberts, Michael. Sri Lanka: Collective Identities Revisited (Colombo-Marga Institute, 1997).\n Wickremeratne, Ananda. Buddhism and Ethnicity in Sri Lanka: A Historical Analysis (New Delhi-Vikas Publishing House, 1995).\n\nExternal links \n\n CIA Factbook-Sri Lanka\n Department of Census and Statistics-Sri Lanka\n Ethnologue-Sinhala, a language of Sri Lanka\n CIA Factbook-Sri Lanka\n Sinhalese\n Who are the Sinhalese\n\n \nBuddhist communities of Sri Lanka\nEthnic groups in Sri Lanka\nEthnic groups in the Indian Ocean\nIndo-Aryan peoples\nSinhalese diaspora\nSinhalese culture"},"extractive":{"kind":"string","value":"true"},"retrieved_contexts":{"kind":"list like","value":["Andrew Dornenburg (born December 18, 1958, in Concord, California) along with his wife Karen A. Page, is a James Beard Award-winning author of a number of culinary-themed books. Among their books are Becoming a Chef (1995; 2003, 2nd ed.), Culinary Artistry (1996), Dining Out (1998), Chef's Night Out (2001), The New American Chef (2003), What to Drink With What You Eat (2006), The Flavor Bible (2008), and The Food Lover's Guide to Wine (2011).\n\nAndrew Dornenburg married Karen Page in 1990; the couple lives in New York City.\n\nAwards\nReceived Completion Medal for the Montreal International Marathon, 1990.\nReceived the James Beard Foundation Book Award for Best Writing on Food for Becoming a Chef, 1996.\nReceived the Gourmand World Cookbook Award for Dining Out, 1998.\nReceived Completion Medal for the New York City Marathon, 1998.\nNamed Finalist for the International Association of Culinary Professionals (IACP) Book Award for Dining Out, 1999.\nNamed Finalist for the James Beard Book Award for Dining Out, 1999.\nReceived Completion Medal for the New York City Marathon, 1999.\nReceived Completion Medal for the Chicago Marathon (3:23:13), 2002.\nNamed Finalist for the International Association of Culinary Professionals (IACP) Book Award for The New American Chef, 2004.\nNamed honorary Culinary Ambassador at The Culinary Institute of America, 2006.\nReceived the Georges Duboeuf \"Wine Book of the Year\" Award for What to Drink with What You Eat, 2006.\nReceived the Gourmand World Cookbook Award for What to Drink with What You Eat, 2006.\nReceived the International Association of Culinary Professionals \"Best Book on Wine, Beer or Spirits\" Award for What to Drink with What You Eat, 2007.\nReceived the International Association of Culinary Professionals \"Book of the Year\" Award for What to Drink with What You Eat, 2007.\nReceived the James Beard Book Award for The Flavor Bible, 2009.\nReceived the Nautilus Book Award for The Flavor Bible, 2010.\nThe Flavor Bible named one of \"The 10 Best Cookbooks in the World of the last 100 years\" by Alex Munipov in Forbes, April 2011.\nReceived the 2011 Gourmand Wine Book Award - USA for The Food Lover's Guide to Wine, December 2011.\nThe Food Lover's Guide to Wine named \"The #1 Wine Book of the Year\" as chosen by 195 \"best of\" lists (including those of the Chicago Tribune, Huffington Post, LA Weekly, Minneapolis Star Tribune, San Francisco Chronicle, Vancouver Sun, and Wall Street Journal) compiled by the website Eat Your Books, December 2011.\nThe Food Lover's Guide to Wine named \"Best in the World\" in its category at the 2011 Gourmand World Cookbook Awards in Paris, March 2012.\nThe Food Lover's Guide to Wine one of three books named a Finalist for the 2012 IACP Book Award in the category of \"Wine, Beer or Spirits,\" 2012.\nThe Food Lover's Guide to Wine one of three books named a Finalist for the 2012 James Beard Book Award in the category of \"Reference & Scholarship,\" 2012.\n\nReferences\n The New York Times wedding announcement \"Karen Page Wed in Boston\" (August 26, 1990)\n The New York Times Business section article \"Can't Stand the Heat? Get in the Kitchen and Learn How to Manage,\" on Becoming a Chef as \"A Chef's Guide for Executives\" (August 11, 1996)\n U.S. News & World Report article \"Secrets of the Restaurant Critics,\" on Dining Out (November 29, 1998)\n FabulousFoods.com's \"Top 10 Cookbooks of 2001,\" which lists Chef's Night Out as #1 (December 2001)\n The Washington Post citation of Dining Out as \"the single best book on the field\" (June 11, 2003)\n Restaurants & Institutions magazine article \"CEOs in White,\" on Becoming a Chef's status as a \"cult classic\" (March 1, 2004)\n Publishers Weekly'''s \"highly recommended\" review of What to Drink with What You Eat'' (June 19, 2006)\n MegNut.com article on \"The Meaning of Celebrity\" by Michael Ruhlman, which cites Becoming a Chef (July 19, 2006)\n Chicago magazine article \"The Innovators,\" in which chef Grant Achatz cites Culinary Artistry as his \"most-used cookbook\" (November 2006)\n Copley News Service wine columnist Robert Whitley on What to Drink with What You Eat (December 16, 2006)\n The Los Angeles Times \"Hot List\" of bestselling books on food and wine, which mentions What to Drink with What You Eat (January 24, 2007)\n The New York Post \"Page Six\" article \"Burger Benefits,\" on McDonald's \"10 Most Famous Former Employees,\" who include Shania Twain, Sharon Stone, Jay Leno, Jeff Bezos, Pink, and Andrew Dornenburg (February 15, 2007)\n The Toronto Star article \"Cookbook Store Cookin' After 25 Years,\" which named Culinary Artistry one of the store's \"Top 10 must-have\" cookbook picks (June 18, 2008)\n Newsweek \"Book Pick of the Week: The Flavor Bible\" (September 9, 2008)\n Publishers Weekly starred review of The Flavor Bible (September 15, 2008)\n Chicago Sun-Times article \"Savor the Flavor,\" on The Flavor Bible (October 1, 2008)\n People magazine article recommending The Flavor Bible as one of the year's best cookbooks (Holidays 2008)\n KCRW's Ellen Rose on her list of 19 \"must-have food books,\" which includes The Flavor Bible (December 3, 2008)\n \"Good Morning America\" on \"The Best Cookbooks of 2008,\" which mentions The Flavor Bible (December 23, 2008)\n Publishers Weekly article \"Cooking the Books with Ellen Clark,\" on ''The Flavor Bible'''s surprisingly strong holiday sales (January 20, 2009)\n Chicago Tribune article \"Flavor First,\" on The Flavor Bible (January 28, 2009)\n Runner's World article \"The Athlete's Palate: Andrew Dornenburg and Karen Page\" (April 2009)\n Oprah Winfrey's O magazine article \"The Creative Cook,\" on The Flavor Bible (April 2009)\n 2009 James Beard Foundation Award winners (May 4, 2009)\n\nExternal links\nOfficial website\nBiography and timeline\n\nAmerican food writers\nAmerican male bloggers\nAmerican bloggers\nLiving people\n1958 births\nJames Beard Foundation Award winners\n21st-century American non-fiction writers","The 'Good Wife's Guide\" is a magazine article rumored to have been published in the May 13, 1955 issue of Housekeeping Monthly, describing how a good wife should act, containing material that reflects a very different role assignment from contemporary American society. The text and supposed scan of the article have been widely circulated via email. Lack of confirming evidence has cast significant doubt on its origins. The list is very similar to the advice written in the book, 'Fascinating Womanhood' by Helen B. Andelin, published in 1963 (9780911094008). An interesting quote from the author is, \"It is not always possible or even right for a man to make his wife number one in his life. This is due to the nature of his life. His number one responsibility is to provide the living.\" (https://quotesgram.com/helen-andelin-quotes/)\n\nAuthenticity\nInvestigations found this to be a hoax. According to snopes.com, the wording \"The Advertising Archives\" located on the right side of the image suggests a fraud, since the Archives itself was not started until 1990. Additionally, the image used is claimed to be from a 1957 cover of John Bull magazine. The \"Good Wife\" version of this image appears to be cropped just below where the textbox containing the words \"WOMAN AT THE WHEEL\" appeared on the John Bull cover image. Finally, when viewed with increased contrast, square boxes are seen around all the listed points. This would only be made if created digitally and then selectively copied into the seen \"magazine\" format. One source claims that the text of this article has been circulating since at least the 1980s via fax. Others have claimed that the article is real. However, there was no magazine called Housekeeping Monthly; also, the fact that the article mentions \"light him a fire\" questions its authenticity; even in 1950 many houses did not have open fires.\n\nThe text of the article is as follows:\n\n Have dinner ready. Plan ahead, even the night before, to have a delicious meal ready on time for his return. This is a way of letting him know that you have been thinking about him and are concerned about his needs. Most men are hungry when they get home and the prospect of a good meal is part of the warm welcome needed.\n Prepare yourself. Take 15 minutes to rest so you'll be refreshed when he arrives. Touch up your make-up, put a ribbon in your hair and be fresh-looking. He has just been with a lot of work-weary people.\n Be a little gay and a little more interesting for him. His boring day may need a lift and one of your duties is to provide it.\n Clear away the clutter. Make one last trip through the main part of the house just before your husband arrives. Run a dustcloth over the tables.\n During the cooler months of the year you should prepare and light a fire for him to unwind by. Your husband will feel he has reached a haven of rest and order, and it will give you a lift too. After all, catering to his comfort will provide you with immense personal satisfaction.\n Minimize all noise. At the time of his arrival, eliminate all noise of the washer, dryer or vacuum. Encourage the children to be quiet.\n Be happy to see him.\n Greet him with a warm smile and show sincerity in your desire to please him.\n Listen to him. You may have a dozen important things to tell him, but the moment of his arrival is not the time. Let him talk first – remember his topics of conversation are more important than yours.\n Don't greet him with complaints and problems.\n Don't complain if he's late for dinner or even if he stays out all night. Count this as minor compared to what he might have gone through at work.\n Make him comfortable. Have him lean back in a comfortable chair or lie him down in the bedroom. Have a cool or warm drink ready for him.\n Arrange his pillow and offer to take off his shoes. Speak in a low, soothing and pleasant voice.\n Don't ask him questions about his actions or question his judgment or integrity. Remember, he is the master of the house and as such will always exercise his will with fairness and truthfulness. You have no right to question him.\n A good wife always knows her place.\n\nCultural usage\n\nNCIS Season 2 Episode 2 \"The Good Wives Club\" makes extensive reference to this alleged document.\n\nSee also\nCulture of Domesticity\n The Compleat Housewife or Accomplish'd Gentlewoman's Companion, an actual English cookbook and how to manual\nThe Stepford Wives\nUrban Legends Reference Pages\n\nReferences\n\nExternal links\nThe Good Wife's Guide \nA copy of the original John Bull cover\n\nUrban legends\n1950s hoaxes\nFeminism and history\nFeminism and the family\nMagazine articles"],"string":"[\n \"Andrew Dornenburg (born December 18, 1958, in Concord, California) along with his wife Karen A. Page, is a James Beard Award-winning author of a number of culinary-themed books. Among their books are Becoming a Chef (1995; 2003, 2nd ed.), Culinary Artistry (1996), Dining Out (1998), Chef's Night Out (2001), The New American Chef (2003), What to Drink With What You Eat (2006), The Flavor Bible (2008), and The Food Lover's Guide to Wine (2011).\\n\\nAndrew Dornenburg married Karen Page in 1990; the couple lives in New York City.\\n\\nAwards\\nReceived Completion Medal for the Montreal International Marathon, 1990.\\nReceived the James Beard Foundation Book Award for Best Writing on Food for Becoming a Chef, 1996.\\nReceived the Gourmand World Cookbook Award for Dining Out, 1998.\\nReceived Completion Medal for the New York City Marathon, 1998.\\nNamed Finalist for the International Association of Culinary Professionals (IACP) Book Award for Dining Out, 1999.\\nNamed Finalist for the James Beard Book Award for Dining Out, 1999.\\nReceived Completion Medal for the New York City Marathon, 1999.\\nReceived Completion Medal for the Chicago Marathon (3:23:13), 2002.\\nNamed Finalist for the International Association of Culinary Professionals (IACP) Book Award for The New American Chef, 2004.\\nNamed honorary Culinary Ambassador at The Culinary Institute of America, 2006.\\nReceived the Georges Duboeuf \\\"Wine Book of the Year\\\" Award for What to Drink with What You Eat, 2006.\\nReceived the Gourmand World Cookbook Award for What to Drink with What You Eat, 2006.\\nReceived the International Association of Culinary Professionals \\\"Best Book on Wine, Beer or Spirits\\\" Award for What to Drink with What You Eat, 2007.\\nReceived the International Association of Culinary Professionals \\\"Book of the Year\\\" Award for What to Drink with What You Eat, 2007.\\nReceived the James Beard Book Award for The Flavor Bible, 2009.\\nReceived the Nautilus Book Award for The Flavor Bible, 2010.\\nThe Flavor Bible named one of \\\"The 10 Best Cookbooks in the World of the last 100 years\\\" by Alex Munipov in Forbes, April 2011.\\nReceived the 2011 Gourmand Wine Book Award - USA for The Food Lover's Guide to Wine, December 2011.\\nThe Food Lover's Guide to Wine named \\\"The #1 Wine Book of the Year\\\" as chosen by 195 \\\"best of\\\" lists (including those of the Chicago Tribune, Huffington Post, LA Weekly, Minneapolis Star Tribune, San Francisco Chronicle, Vancouver Sun, and Wall Street Journal) compiled by the website Eat Your Books, December 2011.\\nThe Food Lover's Guide to Wine named \\\"Best in the World\\\" in its category at the 2011 Gourmand World Cookbook Awards in Paris, March 2012.\\nThe Food Lover's Guide to Wine one of three books named a Finalist for the 2012 IACP Book Award in the category of \\\"Wine, Beer or Spirits,\\\" 2012.\\nThe Food Lover's Guide to Wine one of three books named a Finalist for the 2012 James Beard Book Award in the category of \\\"Reference & Scholarship,\\\" 2012.\\n\\nReferences\\n The New York Times wedding announcement \\\"Karen Page Wed in Boston\\\" (August 26, 1990)\\n The New York Times Business section article \\\"Can't Stand the Heat? Get in the Kitchen and Learn How to Manage,\\\" on Becoming a Chef as \\\"A Chef's Guide for Executives\\\" (August 11, 1996)\\n U.S. News & World Report article \\\"Secrets of the Restaurant Critics,\\\" on Dining Out (November 29, 1998)\\n FabulousFoods.com's \\\"Top 10 Cookbooks of 2001,\\\" which lists Chef's Night Out as #1 (December 2001)\\n The Washington Post citation of Dining Out as \\\"the single best book on the field\\\" (June 11, 2003)\\n Restaurants & Institutions magazine article \\\"CEOs in White,\\\" on Becoming a Chef's status as a \\\"cult classic\\\" (March 1, 2004)\\n Publishers Weekly'''s \\\"highly recommended\\\" review of What to Drink with What You Eat'' (June 19, 2006)\\n MegNut.com article on \\\"The Meaning of Celebrity\\\" by Michael Ruhlman, which cites Becoming a Chef (July 19, 2006)\\n Chicago magazine article \\\"The Innovators,\\\" in which chef Grant Achatz cites Culinary Artistry as his \\\"most-used cookbook\\\" (November 2006)\\n Copley News Service wine columnist Robert Whitley on What to Drink with What You Eat (December 16, 2006)\\n The Los Angeles Times \\\"Hot List\\\" of bestselling books on food and wine, which mentions What to Drink with What You Eat (January 24, 2007)\\n The New York Post \\\"Page Six\\\" article \\\"Burger Benefits,\\\" on McDonald's \\\"10 Most Famous Former Employees,\\\" who include Shania Twain, Sharon Stone, Jay Leno, Jeff Bezos, Pink, and Andrew Dornenburg (February 15, 2007)\\n The Toronto Star article \\\"Cookbook Store Cookin' After 25 Years,\\\" which named Culinary Artistry one of the store's \\\"Top 10 must-have\\\" cookbook picks (June 18, 2008)\\n Newsweek \\\"Book Pick of the Week: The Flavor Bible\\\" (September 9, 2008)\\n Publishers Weekly starred review of The Flavor Bible (September 15, 2008)\\n Chicago Sun-Times article \\\"Savor the Flavor,\\\" on The Flavor Bible (October 1, 2008)\\n People magazine article recommending The Flavor Bible as one of the year's best cookbooks (Holidays 2008)\\n KCRW's Ellen Rose on her list of 19 \\\"must-have food books,\\\" which includes The Flavor Bible (December 3, 2008)\\n \\\"Good Morning America\\\" on \\\"The Best Cookbooks of 2008,\\\" which mentions The Flavor Bible (December 23, 2008)\\n Publishers Weekly article \\\"Cooking the Books with Ellen Clark,\\\" on ''The Flavor Bible'''s surprisingly strong holiday sales (January 20, 2009)\\n Chicago Tribune article \\\"Flavor First,\\\" on The Flavor Bible (January 28, 2009)\\n Runner's World article \\\"The Athlete's Palate: Andrew Dornenburg and Karen Page\\\" (April 2009)\\n Oprah Winfrey's O magazine article \\\"The Creative Cook,\\\" on The Flavor Bible (April 2009)\\n 2009 James Beard Foundation Award winners (May 4, 2009)\\n\\nExternal links\\nOfficial website\\nBiography and timeline\\n\\nAmerican food writers\\nAmerican male bloggers\\nAmerican bloggers\\nLiving people\\n1958 births\\nJames Beard Foundation Award winners\\n21st-century American non-fiction writers\",\n \"The 'Good Wife's Guide\\\" is a magazine article rumored to have been published in the May 13, 1955 issue of Housekeeping Monthly, describing how a good wife should act, containing material that reflects a very different role assignment from contemporary American society. The text and supposed scan of the article have been widely circulated via email. Lack of confirming evidence has cast significant doubt on its origins. The list is very similar to the advice written in the book, 'Fascinating Womanhood' by Helen B. Andelin, published in 1963 (9780911094008). An interesting quote from the author is, \\\"It is not always possible or even right for a man to make his wife number one in his life. This is due to the nature of his life. His number one responsibility is to provide the living.\\\" (https://quotesgram.com/helen-andelin-quotes/)\\n\\nAuthenticity\\nInvestigations found this to be a hoax. According to snopes.com, the wording \\\"The Advertising Archives\\\" located on the right side of the image suggests a fraud, since the Archives itself was not started until 1990. Additionally, the image used is claimed to be from a 1957 cover of John Bull magazine. The \\\"Good Wife\\\" version of this image appears to be cropped just below where the textbox containing the words \\\"WOMAN AT THE WHEEL\\\" appeared on the John Bull cover image. Finally, when viewed with increased contrast, square boxes are seen around all the listed points. This would only be made if created digitally and then selectively copied into the seen \\\"magazine\\\" format. One source claims that the text of this article has been circulating since at least the 1980s via fax. Others have claimed that the article is real. However, there was no magazine called Housekeeping Monthly; also, the fact that the article mentions \\\"light him a fire\\\" questions its authenticity; even in 1950 many houses did not have open fires.\\n\\nThe text of the article is as follows:\\n\\n Have dinner ready. Plan ahead, even the night before, to have a delicious meal ready on time for his return. This is a way of letting him know that you have been thinking about him and are concerned about his needs. Most men are hungry when they get home and the prospect of a good meal is part of the warm welcome needed.\\n Prepare yourself. Take 15 minutes to rest so you'll be refreshed when he arrives. Touch up your make-up, put a ribbon in your hair and be fresh-looking. He has just been with a lot of work-weary people.\\n Be a little gay and a little more interesting for him. His boring day may need a lift and one of your duties is to provide it.\\n Clear away the clutter. Make one last trip through the main part of the house just before your husband arrives. Run a dustcloth over the tables.\\n During the cooler months of the year you should prepare and light a fire for him to unwind by. Your husband will feel he has reached a haven of rest and order, and it will give you a lift too. After all, catering to his comfort will provide you with immense personal satisfaction.\\n Minimize all noise. At the time of his arrival, eliminate all noise of the washer, dryer or vacuum. Encourage the children to be quiet.\\n Be happy to see him.\\n Greet him with a warm smile and show sincerity in your desire to please him.\\n Listen to him. You may have a dozen important things to tell him, but the moment of his arrival is not the time. Let him talk first – remember his topics of conversation are more important than yours.\\n Don't greet him with complaints and problems.\\n Don't complain if he's late for dinner or even if he stays out all night. Count this as minor compared to what he might have gone through at work.\\n Make him comfortable. Have him lean back in a comfortable chair or lie him down in the bedroom. Have a cool or warm drink ready for him.\\n Arrange his pillow and offer to take off his shoes. Speak in a low, soothing and pleasant voice.\\n Don't ask him questions about his actions or question his judgment or integrity. Remember, he is the master of the house and as such will always exercise his will with fairness and truthfulness. You have no right to question him.\\n A good wife always knows her place.\\n\\nCultural usage\\n\\nNCIS Season 2 Episode 2 \\\"The Good Wives Club\\\" makes extensive reference to this alleged document.\\n\\nSee also\\nCulture of Domesticity\\n The Compleat Housewife or Accomplish'd Gentlewoman's Companion, an actual English cookbook and how to manual\\nThe Stepford Wives\\nUrban Legends Reference Pages\\n\\nReferences\\n\\nExternal links\\nThe Good Wife's Guide \\nA copy of the original John Bull cover\\n\\nUrban legends\\n1950s hoaxes\\nFeminism and history\\nFeminism and the family\\nMagazine articles\"\n]"},"chunked_article":{"kind":"list like","value":["Sinhalese people () are an Indo-Aryan ethnic group native to the island of Sri Lanka. They were historically known as Hela people (). They constitute about 75% of the Sri Lankan population and number greater than 16.2 million. The Sinhalese identity is based on language, cultural heritage and nationality.","The Sinhalese identity is based on language, cultural heritage and nationality. The Sinhalese people speak Sinhala, an insular Indo-Aryan language, and are predominantly Theravada Buddhists, although a minority of Sinhalese follow branches of Christianity and other religions.","The Sinhalese people speak Sinhala, an insular Indo-Aryan language, and are predominantly Theravada Buddhists, although a minority of Sinhalese follow branches of Christianity and other religions. Since 1815, they were broadly divided into two respective groups: The 'Up-country Sinhalese' in the central mountainous regions, and the 'Low-country Sinhalese' in the coastal regions; although both groups speak the same language, they are distinguished as they observe different cultural customs.","Since 1815, they were broadly divided into two respective groups: The 'Up-country Sinhalese' in the central mountainous regions, and the 'Low-country Sinhalese' in the coastal regions; although both groups speak the same language, they are distinguished as they observe different cultural customs. According to the Mahavamsa and the Dipavamsa, a 3rd–5th century treatise written in Pali by Buddhist monks of the Anuradhapura Maha Viharaya in Sri Lanka, the Sinhalese descend from settlers who came to the island in 543 BCE from Sinhapura led by Prince Vijaya who mixed with the indigenous Yakka and later settlers from the Pandya kingdom.","According to the Mahavamsa and the Dipavamsa, a 3rd–5th century treatise written in Pali by Buddhist monks of the Anuradhapura Maha Viharaya in Sri Lanka, the Sinhalese descend from settlers who came to the island in 543 BCE from Sinhapura led by Prince Vijaya who mixed with the indigenous Yakka and later settlers from the Pandya kingdom. Etymology From the Sanskrit word Sinhala, meaning literally \"of lions\".","Etymology From the Sanskrit word Sinhala, meaning literally \"of lions\". The Mahavamsa records the origin of the Sinhalese people and related historical events.","The Mahavamsa records the origin of the Sinhalese people and related historical events. It traces the historical origin of the Sinhalese people back to the first king who mentioned in the documentary history of Sri Lanka, Vijaya, who is the son of Sinhabahu (Sanskrit meaning 'Sinha' (lion) + 'bahu' (hands, feet), the ruler of Sinhapura.","It traces the historical origin of the Sinhalese people back to the first king who mentioned in the documentary history of Sri Lanka, Vijaya, who is the son of Sinhabahu (Sanskrit meaning 'Sinha' (lion) + 'bahu' (hands, feet), the ruler of Sinhapura. Some versions suggest Vijaya is the grandson of Sinhabahu.","Some versions suggest Vijaya is the grandson of Sinhabahu. According to the Mahavamsa, Sinhabahu was the son of princess Suppadevi of Vanga, who copulated with a lion and gave birth to a daughter called Sinhasivali and to a son, Sinhabahu, whose hands and feet were like the paws of a lion and who had the strength of a lion.","According to the Mahavamsa, Sinhabahu was the son of princess Suppadevi of Vanga, who copulated with a lion and gave birth to a daughter called Sinhasivali and to a son, Sinhabahu, whose hands and feet were like the paws of a lion and who had the strength of a lion. King Vijaya, the lineage of Sinhabahu, according to the Mahavamsa and other historical sources, arrived on the island of Tambapanni (Sri Lanka) and gave origin to the lion people, Sinhalese.","King Vijaya, the lineage of Sinhabahu, according to the Mahavamsa and other historical sources, arrived on the island of Tambapanni (Sri Lanka) and gave origin to the lion people, Sinhalese. The story of the arrival of Prince Vijaya in Sri Lanka and the origin of the Sinhalese people is also depicted in the Ajanta caves, in a mural of cave number 17.","The story of the arrival of Prince Vijaya in Sri Lanka and the origin of the Sinhalese people is also depicted in the Ajanta caves, in a mural of cave number 17. According to Arisen Ahubudu, there were four major clans of \"hela\" in ancient Sri Lanka even before the arrival of Prince Vijaya, and that Sri Lanka was called as \"Siv hela\" (siv=four in the Sinhala language) and later it was changed into \"Sinhala\".","According to Arisen Ahubudu, there were four major clans of \"hela\" in ancient Sri Lanka even before the arrival of Prince Vijaya, and that Sri Lanka was called as \"Siv hela\" (siv=four in the Sinhala language) and later it was changed into \"Sinhala\". History The early recorded history of the Sinhalese is chronicled in two documents, the Mahavamsa, written in Pāli around the 4th century CE, and the later Culavamsa (the first segment probably penned in the 13th century CE by the Buddhist monk Dhammakitti).","History The early recorded history of the Sinhalese is chronicled in two documents, the Mahavamsa, written in Pāli around the 4th century CE, and the later Culavamsa (the first segment probably penned in the 13th century CE by the Buddhist monk Dhammakitti). These are ancient sources that cover the histories of the powerful ancient Sinhalese kingdoms of Anuradhapura and Polonnaruwa which lasted for 1500 years.","These are ancient sources that cover the histories of the powerful ancient Sinhalese kingdoms of Anuradhapura and Polonnaruwa which lasted for 1500 years. The Mahavamsa describes the existence of fields of rice and reservoirs, indicating a well-developed agrarian society.","The Mahavamsa describes the existence of fields of rice and reservoirs, indicating a well-developed agrarian society. Pre Anuradhapura period According to Mahavamsa, Prince Vijaya and his 700 followers left Suppāraka, landed on the island at a site believed by historians to be in the district of Puttalam, south of modern-day Mannar and founded the Kingdom of Thambapanni.","Pre Anuradhapura period According to Mahavamsa, Prince Vijaya and his 700 followers left Suppāraka, landed on the island at a site believed by historians to be in the district of Puttalam, south of modern-day Mannar and founded the Kingdom of Thambapanni. It is recorded the Vijaya made his landing on the day of Buddha's Parinirvana.","It is recorded the Vijaya made his landing on the day of Buddha's Parinirvana. Vijaya claimed Tambapanni his capital and soon the whole island come under this name. Tambapanni was originally inhabited and governed by Yakkhas, having their capital at Sirīsavatthu and their queen Kuveni. According to the Samyutta Commentary, Tambapanni was one hundred leagues in extent.","According to the Samyutta Commentary, Tambapanni was one hundred leagues in extent. At the end of his reign, Vijaya, having trouble choosing a successor, sent a letter to the city of his ancestors, Sinhapura, in order to invite his brother Sumitta to take over the throne.","At the end of his reign, Vijaya, having trouble choosing a successor, sent a letter to the city of his ancestors, Sinhapura, in order to invite his brother Sumitta to take over the throne. However, Vijaya had died before the letter had reached its destination, so the elected minister of the people Upatissa, the Chief government minister or prime minister and leading chief among the Sinhalese became regent and acted as regent for a year.","However, Vijaya had died before the letter had reached its destination, so the elected minister of the people Upatissa, the Chief government minister or prime minister and leading chief among the Sinhalese became regent and acted as regent for a year. After his coronation, which was held in the Kingdom of Tambapanni, he left it, building another one, bearing his own name.","After his coronation, which was held in the Kingdom of Tambapanni, he left it, building another one, bearing his own name. While he was king, Upatissa established the new capital Upatissa, in which the kingdom was moved to from the Kingdom of Tambapanni.","While he was king, Upatissa established the new capital Upatissa, in which the kingdom was moved to from the Kingdom of Tambapanni. When Vijaya's letter arrived, Sumitta had already succeeded his father as king of his country, and so he sent his son Panduvasdeva to rule Upatissa Nuwara.","When Vijaya's letter arrived, Sumitta had already succeeded his father as king of his country, and so he sent his son Panduvasdeva to rule Upatissa Nuwara. Upatissa Nuwara was seven or eight miles further north of the Kingdom of Tambapanni.","Upatissa Nuwara was seven or eight miles further north of the Kingdom of Tambapanni. It was named after the regent king Upatissa, who was the prime minister of Vijaya, and was founded in 505 BC after the death of Vijaya and the end of the Kingdom of Tambapanni.","It was named after the regent king Upatissa, who was the prime minister of Vijaya, and was founded in 505 BC after the death of Vijaya and the end of the Kingdom of Tambapanni. Anuradhapura period In 377 BC, King Pandukabhaya (437–367 BC) moved the capital to Anuradhapura and developed it into a prosperous city.","Anuradhapura period In 377 BC, King Pandukabhaya (437–367 BC) moved the capital to Anuradhapura and developed it into a prosperous city. Anuradhapura (Anurapura) was named after the minister who first established the village and after a grandfather of Pandukabhaya who lived there.","Anuradhapura (Anurapura) was named after the minister who first established the village and after a grandfather of Pandukabhaya who lived there. The name was also derived from the city's establishment on the auspicious asterism called Anura. Anuradhapura was the capital of all the monarchs who ruled from the dynasty.","Anuradhapura was the capital of all the monarchs who ruled from the dynasty. Rulers such as Dutthagamani, Valagamba, and Dhatusena are noted for defeating the South Indians and regaining control of the kingdom.","Rulers such as Dutthagamani, Valagamba, and Dhatusena are noted for defeating the South Indians and regaining control of the kingdom. Other rulers who are notable for military achievements include Gajabahu I, who launched an invasion against the invaders, and Sena II, who sent his armies to assist a Pandyan prince.","Other rulers who are notable for military achievements include Gajabahu I, who launched an invasion against the invaders, and Sena II, who sent his armies to assist a Pandyan prince. Polonnaruwa period During the Middle Ages Sri Lanka was well known for its agricultural prosperity under king Parakramabahu in Polonnaruwa during which period the island was famous around the world as the rice mill of the east.","Polonnaruwa period During the Middle Ages Sri Lanka was well known for its agricultural prosperity under king Parakramabahu in Polonnaruwa during which period the island was famous around the world as the rice mill of the east. Transitional period Later in the 13th century the country's administrative provinces were divided into independent kingdoms and chieftaincies: Kingdom of Sitawaka, Kingdom of Kotte, Jaffna Kingdom and the Kandyan kingdom.","Transitional period Later in the 13th century the country's administrative provinces were divided into independent kingdoms and chieftaincies: Kingdom of Sitawaka, Kingdom of Kotte, Jaffna Kingdom and the Kandyan kingdom. The invasion by the Hindu king Magha in the 13th century led to migrations by the Buddhists (mostly Sinhalese) to areas not under his control.","The invasion by the Hindu king Magha in the 13th century led to migrations by the Buddhists (mostly Sinhalese) to areas not under his control. This migration was followed by a period of conflict among the Sinhalese chiefs who tried to exert political supremacy.","This migration was followed by a period of conflict among the Sinhalese chiefs who tried to exert political supremacy. Parakramabahu VI, a Sinhalese king invaded the Jaffna Kingdom and conquered it, bringing the entire country back under the Sinhalese kingdom.","Parakramabahu VI, a Sinhalese king invaded the Jaffna Kingdom and conquered it, bringing the entire country back under the Sinhalese kingdom. Trade also increased during this period, as Sri Lanka began to trade cinnamon and a large number of Muslim traders were bought into the island.","Trade also increased during this period, as Sri Lanka began to trade cinnamon and a large number of Muslim traders were bought into the island. In the 15th century a Kandyan Kingdom formed which divided the Sinhalese politically into low-country and up-country.","In the 15th century a Kandyan Kingdom formed which divided the Sinhalese politically into low-country and up-country. In this period, the Sinhalese caste structure absorbed recent Dravidian Hindu immigrants from South India leading to the emergence of three new Sinhalese caste groups - the Salagama, the Durava and the Karava.","In this period, the Sinhalese caste structure absorbed recent Dravidian Hindu immigrants from South India leading to the emergence of three new Sinhalese caste groups - the Salagama, the Durava and the Karava. Modern history The Sinhalese have a stable birth rate and a population that has been growing at a slow pace relative to India and other Asian countries.","Modern history The Sinhalese have a stable birth rate and a population that has been growing at a slow pace relative to India and other Asian countries. Society Demographics Sri Lanka Within Sri Lanka the majority of the Sinhalese reside in the South, Central, Sabaragamuwa and Western parts of the country.","Society Demographics Sri Lanka Within Sri Lanka the majority of the Sinhalese reside in the South, Central, Sabaragamuwa and Western parts of the country. This coincides with the largest Sinhalese populations areas in Sri Lanka. Cities with more than 90% Sinhalese population include Hambantota, Galle, Gampaha, Kurunegala, Monaragala, Anuradhapura and Polonnaruwa.","Cities with more than 90% Sinhalese population include Hambantota, Galle, Gampaha, Kurunegala, Monaragala, Anuradhapura and Polonnaruwa. Diaspora Sinhalese people have emigrated out to many countries for a variety of reasons. The larger diaspora communities are situated in the United Kingdom, Australia, United States and Canada among others.","The larger diaspora communities are situated in the United Kingdom, Australia, United States and Canada among others. In addition to this there are many Sinhalese, who reside in the Middle East, Southeast Asia and Europe, temporarily in connection with employment and/or education.","In addition to this there are many Sinhalese, who reside in the Middle East, Southeast Asia and Europe, temporarily in connection with employment and/or education. They are often employed as guest workers in the Middle East and professionals in the other regions.","They are often employed as guest workers in the Middle East and professionals in the other regions. The largest population centres of the Sinhalese diaspora are mainly situated in Europe, North America and Australia. The city of Melbourne contains just under half of the Sri Lankan Australians. The 2011 census recorded 86,412 Sri Lanka born in Australia.","The 2011 census recorded 86,412 Sri Lanka born in Australia. There are 73,849 Australians (0.4 of the population) who reported having Sinhalese ancestry in 2006. Sinhala was also reported to be the 29th-fastest-growing language in Australia (ranking above Somali but behind Hindi and Belarusian).","Sinhala was also reported to be the 29th-fastest-growing language in Australia (ranking above Somali but behind Hindi and Belarusian). Sinhalese Australians have an exceptionally low rate of return migration to Sri Lanka. In the 2011 Canadian Census, 7,220 people identified themselves as of Sinhalese ancestry, out of 139,415 Sri Lankans.","In the 2011 Canadian Census, 7,220 people identified themselves as of Sinhalese ancestry, out of 139,415 Sri Lankans. There are a small number of Sinhalese people in India, scattered around the country, but mainly living in and around the northern and southern regions.","There are a small number of Sinhalese people in India, scattered around the country, but mainly living in and around the northern and southern regions. Sri Lankan New Zealanders comprised 3% of the Asian population of New Zealand in 2001.","Sri Lankan New Zealanders comprised 3% of the Asian population of New Zealand in 2001. The numbers arriving continued to increase, and at the 2018 census there were over 16,000 Sri Lankans living in New Zealand among those 9,171 were Sinhalese. In the U.S, the Sinhalese number about 12,000 people.","In the U.S, the Sinhalese number about 12,000 people. The New York City Metropolitan Area contains the largest Sri Lankan community in the United States, receiving the highest legal permanent resident Sri Lankan immigrant population, followed by Central New Jersey and the Los Angeles metropolitan area. Many Sinhalese have migrated to Italy since the 1970s.","Many Sinhalese have migrated to Italy since the 1970s. Italy was attractive to the Sinhalese due to perceived easier employment opportunities and entry, compared to other European countries. It is estimated that there are 30,000-33,000 Sinhalese in Italy.","It is estimated that there are 30,000-33,000 Sinhalese in Italy. The major Sinhalese communities in Italy are located in Lombardia (In the districts Loreto and Lazzaretto), Milan, Lazio, Rome, Naples, and Southern Italy (Particularly Palermo, Messina and Catania).","The major Sinhalese communities in Italy are located in Lombardia (In the districts Loreto and Lazzaretto), Milan, Lazio, Rome, Naples, and Southern Italy (Particularly Palermo, Messina and Catania). It should be noted however that many countries census list Sri Lankan which also includes Sri Lankan Tamils so the numbers of just Sinhalese are not as accurate when the census states Sri Lankan and not Sinhalese.","It should be noted however that many countries census list Sri Lankan which also includes Sri Lankan Tamils so the numbers of just Sinhalese are not as accurate when the census states Sri Lankan and not Sinhalese. Though Sinhalese people in particular and Sri Lankans in general have migrated to the UK over the centuries beginning from the colonial times, the number of Sinhalese people in the UK cannot be estimated accurately due to inadequacies of census in the UK.","Though Sinhalese people in particular and Sri Lankans in general have migrated to the UK over the centuries beginning from the colonial times, the number of Sinhalese people in the UK cannot be estimated accurately due to inadequacies of census in the UK. The UK government does not record statistics on the basis of language or ethnicity and all Sri Lankans are classified into one group as Asian British or Asian Other.","The UK government does not record statistics on the basis of language or ethnicity and all Sri Lankans are classified into one group as Asian British or Asian Other. Language and literature Sinhalese people speak Sinhala, also known as \"Helabasa\"; this language has two varieties, spoken and written.","Language and literature Sinhalese people speak Sinhala, also known as \"Helabasa\"; this language has two varieties, spoken and written. Sinhala is an Indo-Aryan language within the broader group of Indo-European languages.","Sinhala is an Indo-Aryan language within the broader group of Indo-European languages. The early form of the language was brought to Sri Lanka by the ancestors of the Sinhalese people from northern India who settled on the island in the 6th century BCE.","The early form of the language was brought to Sri Lanka by the ancestors of the Sinhalese people from northern India who settled on the island in the 6th century BCE. Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages.","Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages. It was influenced by many languages, prominently Pali, the sacred language of Southern Buddhism, Telugu and Sanskrit. Many early texts in the language such as the Hela Atuwa were lost after their translation into Pali.","Many early texts in the language such as the Hela Atuwa were lost after their translation into Pali. Other significant Sinhala texts include Amāvatura, Kavu Silumina, Jathaka Potha and Sala Liheeniya. Sinhala has also adopted many loanwords of foreign origin, including from many Indian such as Tamil and European languages such as Portuguese, Dutch, and English.","Sinhala has also adopted many loanwords of foreign origin, including from many Indian such as Tamil and European languages such as Portuguese, Dutch, and English. Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world.","Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world. The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages.","The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages. Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and foreign films.","Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and foreign films. Additionally many Dutch and Portuguese words can be seen in the coastal areas.","Additionally many Dutch and Portuguese words can be seen in the coastal areas. Sinhalese people, depending on where they live in Sri Lanka, may also additionally speak English and or Tamil. According to the 2012 Census 23.8% or 3,033,659 Sinhalese people also spoke English and 6.4% or 812,738 Sinhalese people also spoke Tamil.","According to the 2012 Census 23.8% or 3,033,659 Sinhalese people also spoke English and 6.4% or 812,738 Sinhalese people also spoke Tamil. In the Negombo area bilingual fishermen who generally identify themselves as Sinhalese also speak the Negombo Tamil dialect. This dialect has undergone considerable convergence with spoken Sinhala.","This dialect has undergone considerable convergence with spoken Sinhala. Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today. Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance.","Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance. Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son.","Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son. In the modern period, Sinhala writers such as Martin Wickremasinghe and G. B. Senanayake have drawn widespread acclaim. Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake.","Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake. Martin Wickramasinghe wrote the immensely popular children's novel Madol Duwa. Munadasa Cumaratunga's Hath Pana is also widely known. Religion The form of Buddhism in Sri Lanka is known as Theravada (school of elders).","Religion The form of Buddhism in Sri Lanka is known as Theravada (school of elders). The Pali chronicles (e.g., the Mahavansa) claim that the Sinhalese as an ethnic group are destined to preserve and protect Buddhism. In 1988 almost 93% of the Sinhala speaking population in Sri Lanka were Buddhist.","In 1988 almost 93% of the Sinhala speaking population in Sri Lanka were Buddhist. Observations of current religious beliefs and practices demonstrate that the Sinhalese, as a religious community, have a complex worldview as Buddhists.","Observations of current religious beliefs and practices demonstrate that the Sinhalese, as a religious community, have a complex worldview as Buddhists. Due to the proximity and on some occasions similarity of certain doctrines, there are many areas where Buddhists and Hindus share religious views and practices.","Due to the proximity and on some occasions similarity of certain doctrines, there are many areas where Buddhists and Hindus share religious views and practices. Sinhalese Buddhists have adopted religious elements from Hindu traditions in their religious practices.","Sinhalese Buddhists have adopted religious elements from Hindu traditions in their religious practices. Some of these practices may relate to ancient indigenous beliefs and traditions on spirits (folk religion), and the worship of Hindu deities. Some of these figures are used in healing rituals and may be native to the island.","Some of these figures are used in healing rituals and may be native to the island. Gods and goddess derived from Hindu deities are worshiped by Sinhalese. Kataragama Deviyo from Kartikeya, Upulvan from Vishnu and Ayyanayake from Aiyanar can be named as examples.","Kataragama Deviyo from Kartikeya, Upulvan from Vishnu and Ayyanayake from Aiyanar can be named as examples. Though these gods take the same place as their Hindu counterparts in mythology, some of their aspects are different compared to the original gods.","Though these gods take the same place as their Hindu counterparts in mythology, some of their aspects are different compared to the original gods. Prominent Sri Lankan anthropologists Gananath Obeyesekere and Kitsiri Malalgoda used the term \"Protestant Buddhism\" to describe a type of Buddhism that appeared among the Sinhalese in Sri Lanka as a response to Protestant Christian missionaries and their evangelical activities during the British colonial period.","Prominent Sri Lankan anthropologists Gananath Obeyesekere and Kitsiri Malalgoda used the term \"Protestant Buddhism\" to describe a type of Buddhism that appeared among the Sinhalese in Sri Lanka as a response to Protestant Christian missionaries and their evangelical activities during the British colonial period. This kind of Buddhism involved emulating the Protestant strategies of organising religious practices.","This kind of Buddhism involved emulating the Protestant strategies of organising religious practices. They saw the need to establish Buddhist schools for educating Buddhist youth and organising Buddhists with new organisations such as the Young Men's Buddhist Association, as well as printing pamphlets to encourage people to participate in debates and religious controversies to defend Buddhism.","They saw the need to establish Buddhist schools for educating Buddhist youth and organising Buddhists with new organisations such as the Young Men's Buddhist Association, as well as printing pamphlets to encourage people to participate in debates and religious controversies to defend Buddhism. Christianity There is a significant Sinhalese Christian community, in the maritime provinces of Sri Lanka.","Christianity There is a significant Sinhalese Christian community, in the maritime provinces of Sri Lanka. Christianity was brought to the Sinhalese by Portuguese, Dutch, and British missionary groups during their respective periods of rule. Most Sinhalese Christians are Roman Catholic; a minority are Protestant. Their cultural centre is Negombo.","Their cultural centre is Negombo. Their cultural centre is Negombo. Religion is considered very important among the Sinhalese. According to a 2008 Gallup poll, 99% of Sri Lankans considered religion an important aspect of their daily lives. Genetics Modern studies point towards a predominantly Bengali contribution and a minor Tamil influence.","Genetics Modern studies point towards a predominantly Bengali contribution and a minor Tamil influence. Gujarati and Punjabi lineages are also visible. In relation to the former, other studies also show the Sinhalese possess some genetic admixture from Southeast Asian populations, especially from Austroasiatic groups.","In relation to the former, other studies also show the Sinhalese possess some genetic admixture from Southeast Asian populations, especially from Austroasiatic groups. Certain Y-DNA and mtDNA haplogroups and genetic markers of immunoglobulin among the Sinhalese, for example, show Southeast Asian genetic influences many of which are also found among certain Northeast Indian populations to whom the Sinhalese are genetically related.","Certain Y-DNA and mtDNA haplogroups and genetic markers of immunoglobulin among the Sinhalese, for example, show Southeast Asian genetic influences many of which are also found among certain Northeast Indian populations to whom the Sinhalese are genetically related. Culture Sinhalese culture is a unique one dating as far back as 2600 years and has been nourished by Theravada Buddhism.","Culture Sinhalese culture is a unique one dating as far back as 2600 years and has been nourished by Theravada Buddhism. Its main domains are sculpture, fine arts, literature, dancing, poetry and a wide variety of folk beliefs and rituals traditionally.","Its main domains are sculpture, fine arts, literature, dancing, poetry and a wide variety of folk beliefs and rituals traditionally. Ancient Sinhala stone sculpture and inscriptions are known worldwide and is a main foreign attraction in modern tourism. Sigirirya is famous for its frescoes.","Sigirirya is famous for its frescoes. Folk poems were sung by workers to accompany their work and narrate the story of their lives. Ideally these poems consisted of four lines and, in the composition of these poems, special attention had been paid to the rhyming patterns. Buddhist festivals are dotted by unique music using traditionally Sinhalese instruments.","Buddhist festivals are dotted by unique music using traditionally Sinhalese instruments. More ancient rituals like (devil exorcism) continue to enthrall audiences today and often praised and invoked the good powers of the Buddha and the gods in order to exorcise the demons.","More ancient rituals like (devil exorcism) continue to enthrall audiences today and often praised and invoked the good powers of the Buddha and the gods in order to exorcise the demons. Folklore and national mythology According to the Mahavamsa, the Sinhalese are descended from the exiled Prince Vijaya and his party of seven hundred followers who arrived on the island in 543 BCE.","Folklore and national mythology According to the Mahavamsa, the Sinhalese are descended from the exiled Prince Vijaya and his party of seven hundred followers who arrived on the island in 543 BCE. Vijaya and his followers were said to have arrived in Sri Lanka after being exiled from the city of Sinhapura in Bengal.","Vijaya and his followers were said to have arrived in Sri Lanka after being exiled from the city of Sinhapura in Bengal. The modern Sinhalese people were found genetically to be most closely related to the people of North-East India (Bengal).","The modern Sinhalese people were found genetically to be most closely related to the people of North-East India (Bengal). It is thought throughout Sri Lanka's history, since the founding of the Sinhalese in the 5th century BC that an influx of Indians from North India came to the island.","It is thought throughout Sri Lanka's history, since the founding of the Sinhalese in the 5th century BC that an influx of Indians from North India came to the island. This is further supported from Sinhala being part of the Indo-Aryan language group. Traditionally during recreation the Sinhalese wear a sarong (sarama in Sinhala).","Traditionally during recreation the Sinhalese wear a sarong (sarama in Sinhala). Men may wear a long-sleeved shirt with a sarong. Clothing varies by region for women. Low country Sinhalese women wear a white Long sleeved jacket, and a tight wrap around skirt, which usually is embedded with a floral or pattern design.","Low country Sinhalese women wear a white Long sleeved jacket, and a tight wrap around skirt, which usually is embedded with a floral or pattern design. As for the up country Sinhalese, women wear a similar outfit, but with a puffed up shoulder jacket, and a tucked in frill that lines the top of the skirt (Reda and Hatte in Sinhala).","As for the up country Sinhalese, women wear a similar outfit, but with a puffed up shoulder jacket, and a tucked in frill that lines the top of the skirt (Reda and Hatte in Sinhala). Traditionally, high caste Kandyan women wear a Kandyan style sari, which is similar to the Maharashtrian sari, with the drape but with a frill lining the bottom half and sometimes puffed up sleeves.","Traditionally, high caste Kandyan women wear a Kandyan style sari, which is similar to the Maharashtrian sari, with the drape but with a frill lining the bottom half and sometimes puffed up sleeves. It’s also called an Osariya. The low country high caste women wear a South Indian style saree.","The low country high caste women wear a South Indian style saree. Within the more populated areas, Sinhalese men also wear Western-style clothing — wearing suits while the women wear skirts and blouses.","Within the more populated areas, Sinhalese men also wear Western-style clothing — wearing suits while the women wear skirts and blouses. For formal and ceremonial occasions women wear the traditional Kandyan (Osariya) style, which consists of a full blouse which covers the midriff completely, and is partially tucked in at the front.","For formal and ceremonial occasions women wear the traditional Kandyan (Osariya) style, which consists of a full blouse which covers the midriff completely, and is partially tucked in at the front. However, modern intermingling of styles has led to most wearers baring the midriff. The Kandyan style is considered as the national dress of Sinhalese women.","The Kandyan style is considered as the national dress of Sinhalese women. In many occasions and functions, even the saree plays an important role in women's clothing and has become the de facto clothing for female office workers especially in government sector. An example of its use is the uniform of air hostesses of Sri Lankan Airlines.","An example of its use is the uniform of air hostesses of Sri Lankan Airlines. Cuisine Sinhalese cuisine is one of the most complex cuisines of South Asia. As a major trade hub, it draws influence from colonial powers that were involved in Sri Lanka and by foreign traders.","As a major trade hub, it draws influence from colonial powers that were involved in Sri Lanka and by foreign traders. Rice, which is consumed daily, can be found at any occasion, while spicy curries are favourite dishes for lunch and dinner.","Rice, which is consumed daily, can be found at any occasion, while spicy curries are favourite dishes for lunch and dinner. Some of the Sri Lankan dishes have striking resemblance to Kerala cuisine, which could be due to the similar geographic and agricultural features with Kerala.","Some of the Sri Lankan dishes have striking resemblance to Kerala cuisine, which could be due to the similar geographic and agricultural features with Kerala. A well-known rice dish with Sinhalese is Kiribath, meaning ‘milk rice’. In addition to , Sinhalese eat , chopped leaves mixed with grated coconut and red onions.","In addition to , Sinhalese eat , chopped leaves mixed with grated coconut and red onions. Coconut milk is found in most Sri Lankan dishes to give the cuisine its unique flavour. Sri Lanka has long been renowned for its spices. The best known is cinnamon which is native to Sri Lanka.","The best known is cinnamon which is native to Sri Lanka. In the 15th and 16th centuries, spice and ivory traders from all over the world who came to Sri Lanka brought their native cuisines to the island, resulting in a rich diversity of cooking styles and techniques.","In the 15th and 16th centuries, spice and ivory traders from all over the world who came to Sri Lanka brought their native cuisines to the island, resulting in a rich diversity of cooking styles and techniques. Lamprais, rice boiled in stock with a special curry, accompanied by frikkadels (meatballs), all of which is then wrapped in a banana leaf and baked as a Dutch-influenced Sri Lankan dish.","Lamprais, rice boiled in stock with a special curry, accompanied by frikkadels (meatballs), all of which is then wrapped in a banana leaf and baked as a Dutch-influenced Sri Lankan dish. Dutch and Portuguese sweets also continue to be popular. British influences include roast beef and roast chicken.","British influences include roast beef and roast chicken. Also, the influence of the Indian cooking methods and food have played a major role in what Sri Lankans eat. The island nation's cuisine mainly consists of boiled or steamed rice served with curry.","The island nation's cuisine mainly consists of boiled or steamed rice served with curry. This usually consists of a main curry of fish or chicken, as well as several other curries made with vegetables, lentils and even fruit curries. Side-dishes include pickles, chutneys and .","Side-dishes include pickles, chutneys and . The most famous of these is the coconut sambol, made of ground coconut mixed with chili peppers, dried Maldive fish and lime juice. This is ground to a paste and eaten with rice, as it gives zest to the meal and is believed to increase appetite.","This is ground to a paste and eaten with rice, as it gives zest to the meal and is believed to increase appetite. Art and architecture Many forms of Sri Lankan arts and crafts take inspiration from the island's long and lasting Buddhist culture which in turn has absorbed and adopted countless regional and local traditions.","Art and architecture Many forms of Sri Lankan arts and crafts take inspiration from the island's long and lasting Buddhist culture which in turn has absorbed and adopted countless regional and local traditions. In most instances Sri Lankan art originates from religious beliefs, and is represented in many forms such as painting, sculpture, and architecture.","In most instances Sri Lankan art originates from religious beliefs, and is represented in many forms such as painting, sculpture, and architecture. One of the most notable aspects of Sri Lankan art are caves and temple paintings, such as the frescoes found at Sigiriya, and religious paintings found in temples in Dambulla and Temple of the Tooth Relic in Kandy.","One of the most notable aspects of Sri Lankan art are caves and temple paintings, such as the frescoes found at Sigiriya, and religious paintings found in temples in Dambulla and Temple of the Tooth Relic in Kandy. Other popular forms of art have been influenced by both natives as well as outside settlers.","Other popular forms of art have been influenced by both natives as well as outside settlers. For example, traditional wooden handicrafts and clay pottery are found around the hill country while Portuguese-inspired lacework and Indonesian-inspired Batik have become notable. It has many different and beautiful drawings.","It has many different and beautiful drawings. Developed upon Indo-Aryan architectural skills in the late 6th century BCE Sinhalese people who lived upon greater kingdoms such as Anuradhapura and Polonnaruwa have built so many architectural examples such as Ruwanwelisaya, Jetavanaramaya - second tallest brick building in the ancient world after Great Pyramid of Giza, and Abayagiriya - third tallest brick building in the ancient world.","Developed upon Indo-Aryan architectural skills in the late 6th century BCE Sinhalese people who lived upon greater kingdoms such as Anuradhapura and Polonnaruwa have built so many architectural examples such as Ruwanwelisaya, Jetavanaramaya - second tallest brick building in the ancient world after Great Pyramid of Giza, and Abayagiriya - third tallest brick building in the ancient world. And also with the ancient hydraulic technology which is also unique to Sinhalese people to build ancient tanks, systematic ponds with fountains moats and Irrigational reservoirs such as Parakrama Samudra, Kaudulla and Kandalama.","And also with the ancient hydraulic technology which is also unique to Sinhalese people to build ancient tanks, systematic ponds with fountains moats and Irrigational reservoirs such as Parakrama Samudra, Kaudulla and Kandalama. Sigiriya which is considered by many as the 8th wonder of the world, it is a combination of natural and man made fortress, which consists so many architectural aspects.","Sigiriya which is considered by many as the 8th wonder of the world, it is a combination of natural and man made fortress, which consists so many architectural aspects. Music There are extensive folk poems relating to specific jobs of the ancient society.","Music There are extensive folk poems relating to specific jobs of the ancient society. These poems were communal songs which had a rhythm that were sung when performing day-to-day tasks like harvesting and sowing. Concerning popular music, Ananda Samarakoon developed the reflective and poignant Sarala gee style with his work in the late 1930s/early 1940s.","Concerning popular music, Ananda Samarakoon developed the reflective and poignant Sarala gee style with his work in the late 1930s/early 1940s. He has been followed by artists of repute such as Sunil Shantha, W. D. Amaradeva, Premasiri Khemadasa, Nanda Malini, Victor Ratnayake, Austin Munasinghe, T. M. Jayaratne, Sanath Nandasiri, Sunil Edirisinghe, Neela Wickremasinghe, Gunadasa Kapuge, Malini Bulathsinghala and Edward Jayakody.","He has been followed by artists of repute such as Sunil Shantha, W. D. Amaradeva, Premasiri Khemadasa, Nanda Malini, Victor Ratnayake, Austin Munasinghe, T. M. Jayaratne, Sanath Nandasiri, Sunil Edirisinghe, Neela Wickremasinghe, Gunadasa Kapuge, Malini Bulathsinghala and Edward Jayakody. Film and theatre Dramatist Ediriweera Sarachchandra revitalised the drama form with Maname in 1956.","Film and theatre Dramatist Ediriweera Sarachchandra revitalised the drama form with Maname in 1956. The same year, film director Lester James Peries created the artistic masterwork Rekava which sought to create a uniquely Sinhalese cinema with artistic integrity. Since then, Peries and other directors like Vasantha Obeysekera, Dharmasena Pathiraja, Mahagama Sekera, W. A.","Since then, Peries and other directors like Vasantha Obeysekera, Dharmasena Pathiraja, Mahagama Sekera, W. A. B. de Silva, Dharmasiri Bandaranayake, Sunil Ariyaratne, Siri Gunasinghe, G. D. L. Perera, Piyasiri Gunaratne, Titus Thotawatte, D. B. Nihalsinghe, Ranjith Lal, Dayananda Gunawardena, Mudalinayake Somaratne, Asoka Handagama, and Prasanna Vithanage have developed an artistic Sinhalese cinema.","B. de Silva, Dharmasiri Bandaranayake, Sunil Ariyaratne, Siri Gunasinghe, G. D. L. Perera, Piyasiri Gunaratne, Titus Thotawatte, D. B. Nihalsinghe, Ranjith Lal, Dayananda Gunawardena, Mudalinayake Somaratne, Asoka Handagama, and Prasanna Vithanage have developed an artistic Sinhalese cinema. Sinhala cinema is often made colourful with the incorporation of songs and dance adding more uniqueness to the industry.","Sinhala cinema is often made colourful with the incorporation of songs and dance adding more uniqueness to the industry. In the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success.","In the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success. Performing arts Performing arts of the Sinhalese people can be categorised into few groups: Kandyan dance consist of 18 Wannam (dance routines) featuring behaviours of various animals such as elephant, eagle, cobra, monkey, peacock and rabbit, mainly performing in the annual Perahara pageant in Sri Dalada Maligawa Kandy.","Performing arts Performing arts of the Sinhalese people can be categorised into few groups: Kandyan dance consist of 18 Wannam (dance routines) featuring behaviours of various animals such as elephant, eagle, cobra, monkey, peacock and rabbit, mainly performing in the annual Perahara pageant in Sri Dalada Maligawa Kandy. Pahatharata dance have a significant dancing style which is used to cure illnesses and spiritual clarification.","Pahatharata dance have a significant dancing style which is used to cure illnesses and spiritual clarification. The main feature of these dances is dancers wear masks representing various gods and demons, and use elements such as fire and water to bless people. Sabaragamuwa dances have also a significant dancing style, mainly to entertain people.","Sabaragamuwa dances have also a significant dancing style, mainly to entertain people. Folk music and dances differ according to the casts of Sinhalese people and also some times regionally—mainly popular among small children, especially girls. These arts are widely performed during the Sinhalese New Year period. Martial arts Angampora is the traditional martial art of the Sinhalese people.","Martial arts Angampora is the traditional martial art of the Sinhalese people. It combines combat techniques, self-defence, sport, exercise and meditation. Key techniques observed in Angampora are: Angam, which incorporates hand-to-hand fighting, and Illangam, which uses indigenous weapons such as Velayudaya, staves, knives and swords.","Key techniques observed in Angampora are: Angam, which incorporates hand-to-hand fighting, and Illangam, which uses indigenous weapons such as Velayudaya, staves, knives and swords. Its most distinct feature is the use of pressure point attacks to inflict pain or permanently paralyse the opponent.","Its most distinct feature is the use of pressure point attacks to inflict pain or permanently paralyse the opponent. Fighters usually make use of both striking and grappling techniques, and fight until the opponent is caught in a submission lock that they cannot escape. Usage of weapons is discretionary.","Usage of weapons is discretionary. Usage of weapons is discretionary. Perimeters of fighting are defined in advance, and in some of the cases is a pit. Angampora became nearly extinct after the country came under British rule in 1815, but survived in a few families until the country regained independence.","Angampora became nearly extinct after the country came under British rule in 1815, but survived in a few families until the country regained independence. Science and education The Sinhalese have a long history of literacy and formal learning. Instruction in basic fields like writing and reading by Buddhist Monks pre-date the birth of Christ.","Instruction in basic fields like writing and reading by Buddhist Monks pre-date the birth of Christ. This traditional system followed religious rule and was meant to foster Buddhist understanding. Training of officials in such skills as keeping track of revenue and other records for administrative purposes occurred under this institution.","Training of officials in such skills as keeping track of revenue and other records for administrative purposes occurred under this institution. Technical education such as the building of reservoirs and canals was passed down from generation to generation through home training and outside craft apprenticeships.","Technical education such as the building of reservoirs and canals was passed down from generation to generation through home training and outside craft apprenticeships. The arrival of the Portuguese and Dutch and the subsequent colonisation maintained religion as the centre of education though in certain communities under Catholic and Presbyterian hierarchy. The British in the 1800s initially followed the same course.","The British in the 1800s initially followed the same course. Following 1870 however they began a campaign for better education facilities in the region. Christian missionary groups were at the forefront of this development contributing to a high literacy among Christians. By 1901 schools in the South and the North were well tended. The inner regions lagged behind however.","The inner regions lagged behind however. Also, English education facilities presented hurdles for the general populace through fees and lack of access. Medicine Traditional Sinhalese villages in early days had at least one chief Medical personnel called Weda Mahaththaya (Doctor). These people practice their clinical activities by inheritance.","These people practice their clinical activities by inheritance. Sinhalese Medicine resembles some of Ayurvedic practices in contrast for some treatments they use Buddhist Chantings (Pirith) in order to strengthen the effectiveness.","Sinhalese Medicine resembles some of Ayurvedic practices in contrast for some treatments they use Buddhist Chantings (Pirith) in order to strengthen the effectiveness. According to the Mahavamsa, the ancient chronicle, Pandukabhaya of Sri Lanka (437 BC – 367 BC) had lying-in-homes and Ayurvedic hospitals (Sivikasotthi-Sala) built in various parts of the country.","According to the Mahavamsa, the ancient chronicle, Pandukabhaya of Sri Lanka (437 BC – 367 BC) had lying-in-homes and Ayurvedic hospitals (Sivikasotthi-Sala) built in various parts of the country. This is the earliest documentary evidence we have of institutions specifically dedicated to the care of the sick anywhere in the world.","This is the earliest documentary evidence we have of institutions specifically dedicated to the care of the sick anywhere in the world. Mihintale Hospital is the oldest in the world. See also List of Sinhalese people Sinhalese Buddhist nationalism References Citations Sources De Silva, K. M. History of Sri Lanka (Univ.","See also List of Sinhalese people Sinhalese Buddhist nationalism References Citations Sources De Silva, K. M. History of Sri Lanka (Univ. of Calif. Press, 1981) Gunasekera, Tamara. Hierarchy and Egalitarianism: Caste, Class, and Power in Sinhalese Peasant Society (Athlone, 1994). Roberts, Michael.","Roberts, Michael. Roberts, Michael. Sri Lanka: Collective Identities Revisited (Colombo-Marga Institute, 1997). Wickremeratne, Ananda. Buddhism and Ethnicity in Sri Lanka: A Historical Analysis (New Delhi-Vikas Publishing House, 1995).","Buddhism and Ethnicity in Sri Lanka: A Historical Analysis (New Delhi-Vikas Publishing House, 1995). External links CIA Factbook-Sri Lanka Department of Census and Statistics-Sri Lanka Ethnologue-Sinhala, a language of Sri Lanka CIA Factbook-Sri Lanka Sinhalese Who are the Sinhalese Buddhist communities of Sri Lanka Ethnic groups in Sri Lanka Ethnic groups in the Indian Ocean Indo-Aryan peoples Sinhalese diaspora Sinhalese culture"],"string":"[\n \"Sinhalese people () are an Indo-Aryan ethnic group native to the island of Sri Lanka. They were historically known as Hela people (). They constitute about 75% of the Sri Lankan population and number greater than 16.2 million. The Sinhalese identity is based on language, cultural heritage and nationality.\",\n \"The Sinhalese identity is based on language, cultural heritage and nationality. The Sinhalese people speak Sinhala, an insular Indo-Aryan language, and are predominantly Theravada Buddhists, although a minority of Sinhalese follow branches of Christianity and other religions.\",\n \"The Sinhalese people speak Sinhala, an insular Indo-Aryan language, and are predominantly Theravada Buddhists, although a minority of Sinhalese follow branches of Christianity and other religions. Since 1815, they were broadly divided into two respective groups: The 'Up-country Sinhalese' in the central mountainous regions, and the 'Low-country Sinhalese' in the coastal regions; although both groups speak the same language, they are distinguished as they observe different cultural customs.\",\n \"Since 1815, they were broadly divided into two respective groups: The 'Up-country Sinhalese' in the central mountainous regions, and the 'Low-country Sinhalese' in the coastal regions; although both groups speak the same language, they are distinguished as they observe different cultural customs. According to the Mahavamsa and the Dipavamsa, a 3rd–5th century treatise written in Pali by Buddhist monks of the Anuradhapura Maha Viharaya in Sri Lanka, the Sinhalese descend from settlers who came to the island in 543 BCE from Sinhapura led by Prince Vijaya who mixed with the indigenous Yakka and later settlers from the Pandya kingdom.\",\n \"According to the Mahavamsa and the Dipavamsa, a 3rd–5th century treatise written in Pali by Buddhist monks of the Anuradhapura Maha Viharaya in Sri Lanka, the Sinhalese descend from settlers who came to the island in 543 BCE from Sinhapura led by Prince Vijaya who mixed with the indigenous Yakka and later settlers from the Pandya kingdom. Etymology From the Sanskrit word Sinhala, meaning literally \\\"of lions\\\".\",\n \"Etymology From the Sanskrit word Sinhala, meaning literally \\\"of lions\\\". The Mahavamsa records the origin of the Sinhalese people and related historical events.\",\n \"The Mahavamsa records the origin of the Sinhalese people and related historical events. It traces the historical origin of the Sinhalese people back to the first king who mentioned in the documentary history of Sri Lanka, Vijaya, who is the son of Sinhabahu (Sanskrit meaning 'Sinha' (lion) + 'bahu' (hands, feet), the ruler of Sinhapura.\",\n \"It traces the historical origin of the Sinhalese people back to the first king who mentioned in the documentary history of Sri Lanka, Vijaya, who is the son of Sinhabahu (Sanskrit meaning 'Sinha' (lion) + 'bahu' (hands, feet), the ruler of Sinhapura. Some versions suggest Vijaya is the grandson of Sinhabahu.\",\n \"Some versions suggest Vijaya is the grandson of Sinhabahu. According to the Mahavamsa, Sinhabahu was the son of princess Suppadevi of Vanga, who copulated with a lion and gave birth to a daughter called Sinhasivali and to a son, Sinhabahu, whose hands and feet were like the paws of a lion and who had the strength of a lion.\",\n \"According to the Mahavamsa, Sinhabahu was the son of princess Suppadevi of Vanga, who copulated with a lion and gave birth to a daughter called Sinhasivali and to a son, Sinhabahu, whose hands and feet were like the paws of a lion and who had the strength of a lion. King Vijaya, the lineage of Sinhabahu, according to the Mahavamsa and other historical sources, arrived on the island of Tambapanni (Sri Lanka) and gave origin to the lion people, Sinhalese.\",\n \"King Vijaya, the lineage of Sinhabahu, according to the Mahavamsa and other historical sources, arrived on the island of Tambapanni (Sri Lanka) and gave origin to the lion people, Sinhalese. The story of the arrival of Prince Vijaya in Sri Lanka and the origin of the Sinhalese people is also depicted in the Ajanta caves, in a mural of cave number 17.\",\n \"The story of the arrival of Prince Vijaya in Sri Lanka and the origin of the Sinhalese people is also depicted in the Ajanta caves, in a mural of cave number 17. According to Arisen Ahubudu, there were four major clans of \\\"hela\\\" in ancient Sri Lanka even before the arrival of Prince Vijaya, and that Sri Lanka was called as \\\"Siv hela\\\" (siv=four in the Sinhala language) and later it was changed into \\\"Sinhala\\\".\",\n \"According to Arisen Ahubudu, there were four major clans of \\\"hela\\\" in ancient Sri Lanka even before the arrival of Prince Vijaya, and that Sri Lanka was called as \\\"Siv hela\\\" (siv=four in the Sinhala language) and later it was changed into \\\"Sinhala\\\". History The early recorded history of the Sinhalese is chronicled in two documents, the Mahavamsa, written in Pāli around the 4th century CE, and the later Culavamsa (the first segment probably penned in the 13th century CE by the Buddhist monk Dhammakitti).\",\n \"History The early recorded history of the Sinhalese is chronicled in two documents, the Mahavamsa, written in Pāli around the 4th century CE, and the later Culavamsa (the first segment probably penned in the 13th century CE by the Buddhist monk Dhammakitti). These are ancient sources that cover the histories of the powerful ancient Sinhalese kingdoms of Anuradhapura and Polonnaruwa which lasted for 1500 years.\",\n \"These are ancient sources that cover the histories of the powerful ancient Sinhalese kingdoms of Anuradhapura and Polonnaruwa which lasted for 1500 years. The Mahavamsa describes the existence of fields of rice and reservoirs, indicating a well-developed agrarian society.\",\n \"The Mahavamsa describes the existence of fields of rice and reservoirs, indicating a well-developed agrarian society. Pre Anuradhapura period According to Mahavamsa, Prince Vijaya and his 700 followers left Suppāraka, landed on the island at a site believed by historians to be in the district of Puttalam, south of modern-day Mannar and founded the Kingdom of Thambapanni.\",\n \"Pre Anuradhapura period According to Mahavamsa, Prince Vijaya and his 700 followers left Suppāraka, landed on the island at a site believed by historians to be in the district of Puttalam, south of modern-day Mannar and founded the Kingdom of Thambapanni. It is recorded the Vijaya made his landing on the day of Buddha's Parinirvana.\",\n \"It is recorded the Vijaya made his landing on the day of Buddha's Parinirvana. Vijaya claimed Tambapanni his capital and soon the whole island come under this name. Tambapanni was originally inhabited and governed by Yakkhas, having their capital at Sirīsavatthu and their queen Kuveni. According to the Samyutta Commentary, Tambapanni was one hundred leagues in extent.\",\n \"According to the Samyutta Commentary, Tambapanni was one hundred leagues in extent. At the end of his reign, Vijaya, having trouble choosing a successor, sent a letter to the city of his ancestors, Sinhapura, in order to invite his brother Sumitta to take over the throne.\",\n \"At the end of his reign, Vijaya, having trouble choosing a successor, sent a letter to the city of his ancestors, Sinhapura, in order to invite his brother Sumitta to take over the throne. However, Vijaya had died before the letter had reached its destination, so the elected minister of the people Upatissa, the Chief government minister or prime minister and leading chief among the Sinhalese became regent and acted as regent for a year.\",\n \"However, Vijaya had died before the letter had reached its destination, so the elected minister of the people Upatissa, the Chief government minister or prime minister and leading chief among the Sinhalese became regent and acted as regent for a year. After his coronation, which was held in the Kingdom of Tambapanni, he left it, building another one, bearing his own name.\",\n \"After his coronation, which was held in the Kingdom of Tambapanni, he left it, building another one, bearing his own name. While he was king, Upatissa established the new capital Upatissa, in which the kingdom was moved to from the Kingdom of Tambapanni.\",\n \"While he was king, Upatissa established the new capital Upatissa, in which the kingdom was moved to from the Kingdom of Tambapanni. When Vijaya's letter arrived, Sumitta had already succeeded his father as king of his country, and so he sent his son Panduvasdeva to rule Upatissa Nuwara.\",\n \"When Vijaya's letter arrived, Sumitta had already succeeded his father as king of his country, and so he sent his son Panduvasdeva to rule Upatissa Nuwara. Upatissa Nuwara was seven or eight miles further north of the Kingdom of Tambapanni.\",\n \"Upatissa Nuwara was seven or eight miles further north of the Kingdom of Tambapanni. It was named after the regent king Upatissa, who was the prime minister of Vijaya, and was founded in 505 BC after the death of Vijaya and the end of the Kingdom of Tambapanni.\",\n \"It was named after the regent king Upatissa, who was the prime minister of Vijaya, and was founded in 505 BC after the death of Vijaya and the end of the Kingdom of Tambapanni. Anuradhapura period In 377 BC, King Pandukabhaya (437–367 BC) moved the capital to Anuradhapura and developed it into a prosperous city.\",\n \"Anuradhapura period In 377 BC, King Pandukabhaya (437–367 BC) moved the capital to Anuradhapura and developed it into a prosperous city. Anuradhapura (Anurapura) was named after the minister who first established the village and after a grandfather of Pandukabhaya who lived there.\",\n \"Anuradhapura (Anurapura) was named after the minister who first established the village and after a grandfather of Pandukabhaya who lived there. The name was also derived from the city's establishment on the auspicious asterism called Anura. Anuradhapura was the capital of all the monarchs who ruled from the dynasty.\",\n \"Anuradhapura was the capital of all the monarchs who ruled from the dynasty. Rulers such as Dutthagamani, Valagamba, and Dhatusena are noted for defeating the South Indians and regaining control of the kingdom.\",\n \"Rulers such as Dutthagamani, Valagamba, and Dhatusena are noted for defeating the South Indians and regaining control of the kingdom. Other rulers who are notable for military achievements include Gajabahu I, who launched an invasion against the invaders, and Sena II, who sent his armies to assist a Pandyan prince.\",\n \"Other rulers who are notable for military achievements include Gajabahu I, who launched an invasion against the invaders, and Sena II, who sent his armies to assist a Pandyan prince. Polonnaruwa period During the Middle Ages Sri Lanka was well known for its agricultural prosperity under king Parakramabahu in Polonnaruwa during which period the island was famous around the world as the rice mill of the east.\",\n \"Polonnaruwa period During the Middle Ages Sri Lanka was well known for its agricultural prosperity under king Parakramabahu in Polonnaruwa during which period the island was famous around the world as the rice mill of the east. Transitional period Later in the 13th century the country's administrative provinces were divided into independent kingdoms and chieftaincies: Kingdom of Sitawaka, Kingdom of Kotte, Jaffna Kingdom and the Kandyan kingdom.\",\n \"Transitional period Later in the 13th century the country's administrative provinces were divided into independent kingdoms and chieftaincies: Kingdom of Sitawaka, Kingdom of Kotte, Jaffna Kingdom and the Kandyan kingdom. The invasion by the Hindu king Magha in the 13th century led to migrations by the Buddhists (mostly Sinhalese) to areas not under his control.\",\n \"The invasion by the Hindu king Magha in the 13th century led to migrations by the Buddhists (mostly Sinhalese) to areas not under his control. This migration was followed by a period of conflict among the Sinhalese chiefs who tried to exert political supremacy.\",\n \"This migration was followed by a period of conflict among the Sinhalese chiefs who tried to exert political supremacy. Parakramabahu VI, a Sinhalese king invaded the Jaffna Kingdom and conquered it, bringing the entire country back under the Sinhalese kingdom.\",\n \"Parakramabahu VI, a Sinhalese king invaded the Jaffna Kingdom and conquered it, bringing the entire country back under the Sinhalese kingdom. Trade also increased during this period, as Sri Lanka began to trade cinnamon and a large number of Muslim traders were bought into the island.\",\n \"Trade also increased during this period, as Sri Lanka began to trade cinnamon and a large number of Muslim traders were bought into the island. In the 15th century a Kandyan Kingdom formed which divided the Sinhalese politically into low-country and up-country.\",\n \"In the 15th century a Kandyan Kingdom formed which divided the Sinhalese politically into low-country and up-country. In this period, the Sinhalese caste structure absorbed recent Dravidian Hindu immigrants from South India leading to the emergence of three new Sinhalese caste groups - the Salagama, the Durava and the Karava.\",\n \"In this period, the Sinhalese caste structure absorbed recent Dravidian Hindu immigrants from South India leading to the emergence of three new Sinhalese caste groups - the Salagama, the Durava and the Karava. Modern history The Sinhalese have a stable birth rate and a population that has been growing at a slow pace relative to India and other Asian countries.\",\n \"Modern history The Sinhalese have a stable birth rate and a population that has been growing at a slow pace relative to India and other Asian countries. Society Demographics Sri Lanka Within Sri Lanka the majority of the Sinhalese reside in the South, Central, Sabaragamuwa and Western parts of the country.\",\n \"Society Demographics Sri Lanka Within Sri Lanka the majority of the Sinhalese reside in the South, Central, Sabaragamuwa and Western parts of the country. This coincides with the largest Sinhalese populations areas in Sri Lanka. Cities with more than 90% Sinhalese population include Hambantota, Galle, Gampaha, Kurunegala, Monaragala, Anuradhapura and Polonnaruwa.\",\n \"Cities with more than 90% Sinhalese population include Hambantota, Galle, Gampaha, Kurunegala, Monaragala, Anuradhapura and Polonnaruwa. Diaspora Sinhalese people have emigrated out to many countries for a variety of reasons. The larger diaspora communities are situated in the United Kingdom, Australia, United States and Canada among others.\",\n \"The larger diaspora communities are situated in the United Kingdom, Australia, United States and Canada among others. In addition to this there are many Sinhalese, who reside in the Middle East, Southeast Asia and Europe, temporarily in connection with employment and/or education.\",\n \"In addition to this there are many Sinhalese, who reside in the Middle East, Southeast Asia and Europe, temporarily in connection with employment and/or education. They are often employed as guest workers in the Middle East and professionals in the other regions.\",\n \"They are often employed as guest workers in the Middle East and professionals in the other regions. The largest population centres of the Sinhalese diaspora are mainly situated in Europe, North America and Australia. The city of Melbourne contains just under half of the Sri Lankan Australians. The 2011 census recorded 86,412 Sri Lanka born in Australia.\",\n \"The 2011 census recorded 86,412 Sri Lanka born in Australia. There are 73,849 Australians (0.4 of the population) who reported having Sinhalese ancestry in 2006. Sinhala was also reported to be the 29th-fastest-growing language in Australia (ranking above Somali but behind Hindi and Belarusian).\",\n \"Sinhala was also reported to be the 29th-fastest-growing language in Australia (ranking above Somali but behind Hindi and Belarusian). Sinhalese Australians have an exceptionally low rate of return migration to Sri Lanka. In the 2011 Canadian Census, 7,220 people identified themselves as of Sinhalese ancestry, out of 139,415 Sri Lankans.\",\n \"In the 2011 Canadian Census, 7,220 people identified themselves as of Sinhalese ancestry, out of 139,415 Sri Lankans. There are a small number of Sinhalese people in India, scattered around the country, but mainly living in and around the northern and southern regions.\",\n \"There are a small number of Sinhalese people in India, scattered around the country, but mainly living in and around the northern and southern regions. Sri Lankan New Zealanders comprised 3% of the Asian population of New Zealand in 2001.\",\n \"Sri Lankan New Zealanders comprised 3% of the Asian population of New Zealand in 2001. The numbers arriving continued to increase, and at the 2018 census there were over 16,000 Sri Lankans living in New Zealand among those 9,171 were Sinhalese. In the U.S, the Sinhalese number about 12,000 people.\",\n \"In the U.S, the Sinhalese number about 12,000 people. The New York City Metropolitan Area contains the largest Sri Lankan community in the United States, receiving the highest legal permanent resident Sri Lankan immigrant population, followed by Central New Jersey and the Los Angeles metropolitan area. Many Sinhalese have migrated to Italy since the 1970s.\",\n \"Many Sinhalese have migrated to Italy since the 1970s. Italy was attractive to the Sinhalese due to perceived easier employment opportunities and entry, compared to other European countries. It is estimated that there are 30,000-33,000 Sinhalese in Italy.\",\n \"It is estimated that there are 30,000-33,000 Sinhalese in Italy. The major Sinhalese communities in Italy are located in Lombardia (In the districts Loreto and Lazzaretto), Milan, Lazio, Rome, Naples, and Southern Italy (Particularly Palermo, Messina and Catania).\",\n \"The major Sinhalese communities in Italy are located in Lombardia (In the districts Loreto and Lazzaretto), Milan, Lazio, Rome, Naples, and Southern Italy (Particularly Palermo, Messina and Catania). It should be noted however that many countries census list Sri Lankan which also includes Sri Lankan Tamils so the numbers of just Sinhalese are not as accurate when the census states Sri Lankan and not Sinhalese.\",\n \"It should be noted however that many countries census list Sri Lankan which also includes Sri Lankan Tamils so the numbers of just Sinhalese are not as accurate when the census states Sri Lankan and not Sinhalese. Though Sinhalese people in particular and Sri Lankans in general have migrated to the UK over the centuries beginning from the colonial times, the number of Sinhalese people in the UK cannot be estimated accurately due to inadequacies of census in the UK.\",\n \"Though Sinhalese people in particular and Sri Lankans in general have migrated to the UK over the centuries beginning from the colonial times, the number of Sinhalese people in the UK cannot be estimated accurately due to inadequacies of census in the UK. The UK government does not record statistics on the basis of language or ethnicity and all Sri Lankans are classified into one group as Asian British or Asian Other.\",\n \"The UK government does not record statistics on the basis of language or ethnicity and all Sri Lankans are classified into one group as Asian British or Asian Other. Language and literature Sinhalese people speak Sinhala, also known as \\\"Helabasa\\\"; this language has two varieties, spoken and written.\",\n \"Language and literature Sinhalese people speak Sinhala, also known as \\\"Helabasa\\\"; this language has two varieties, spoken and written. Sinhala is an Indo-Aryan language within the broader group of Indo-European languages.\",\n \"Sinhala is an Indo-Aryan language within the broader group of Indo-European languages. The early form of the language was brought to Sri Lanka by the ancestors of the Sinhalese people from northern India who settled on the island in the 6th century BCE.\",\n \"The early form of the language was brought to Sri Lanka by the ancestors of the Sinhalese people from northern India who settled on the island in the 6th century BCE. Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages.\",\n \"Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages. It was influenced by many languages, prominently Pali, the sacred language of Southern Buddhism, Telugu and Sanskrit. Many early texts in the language such as the Hela Atuwa were lost after their translation into Pali.\",\n \"Many early texts in the language such as the Hela Atuwa were lost after their translation into Pali. Other significant Sinhala texts include Amāvatura, Kavu Silumina, Jathaka Potha and Sala Liheeniya. Sinhala has also adopted many loanwords of foreign origin, including from many Indian such as Tamil and European languages such as Portuguese, Dutch, and English.\",\n \"Sinhala has also adopted many loanwords of foreign origin, including from many Indian such as Tamil and European languages such as Portuguese, Dutch, and English. Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world.\",\n \"Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world. The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages.\",\n \"The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages. Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and foreign films.\",\n \"Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and foreign films. Additionally many Dutch and Portuguese words can be seen in the coastal areas.\",\n \"Additionally many Dutch and Portuguese words can be seen in the coastal areas. Sinhalese people, depending on where they live in Sri Lanka, may also additionally speak English and or Tamil. According to the 2012 Census 23.8% or 3,033,659 Sinhalese people also spoke English and 6.4% or 812,738 Sinhalese people also spoke Tamil.\",\n \"According to the 2012 Census 23.8% or 3,033,659 Sinhalese people also spoke English and 6.4% or 812,738 Sinhalese people also spoke Tamil. In the Negombo area bilingual fishermen who generally identify themselves as Sinhalese also speak the Negombo Tamil dialect. This dialect has undergone considerable convergence with spoken Sinhala.\",\n \"This dialect has undergone considerable convergence with spoken Sinhala. Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today. Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance.\",\n \"Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance. Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son.\",\n \"Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son. In the modern period, Sinhala writers such as Martin Wickremasinghe and G. B. Senanayake have drawn widespread acclaim. Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake.\",\n \"Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake. Martin Wickramasinghe wrote the immensely popular children's novel Madol Duwa. Munadasa Cumaratunga's Hath Pana is also widely known. Religion The form of Buddhism in Sri Lanka is known as Theravada (school of elders).\",\n \"Religion The form of Buddhism in Sri Lanka is known as Theravada (school of elders). The Pali chronicles (e.g., the Mahavansa) claim that the Sinhalese as an ethnic group are destined to preserve and protect Buddhism. In 1988 almost 93% of the Sinhala speaking population in Sri Lanka were Buddhist.\",\n \"In 1988 almost 93% of the Sinhala speaking population in Sri Lanka were Buddhist. Observations of current religious beliefs and practices demonstrate that the Sinhalese, as a religious community, have a complex worldview as Buddhists.\",\n \"Observations of current religious beliefs and practices demonstrate that the Sinhalese, as a religious community, have a complex worldview as Buddhists. Due to the proximity and on some occasions similarity of certain doctrines, there are many areas where Buddhists and Hindus share religious views and practices.\",\n \"Due to the proximity and on some occasions similarity of certain doctrines, there are many areas where Buddhists and Hindus share religious views and practices. Sinhalese Buddhists have adopted religious elements from Hindu traditions in their religious practices.\",\n \"Sinhalese Buddhists have adopted religious elements from Hindu traditions in their religious practices. Some of these practices may relate to ancient indigenous beliefs and traditions on spirits (folk religion), and the worship of Hindu deities. Some of these figures are used in healing rituals and may be native to the island.\",\n \"Some of these figures are used in healing rituals and may be native to the island. Gods and goddess derived from Hindu deities are worshiped by Sinhalese. Kataragama Deviyo from Kartikeya, Upulvan from Vishnu and Ayyanayake from Aiyanar can be named as examples.\",\n \"Kataragama Deviyo from Kartikeya, Upulvan from Vishnu and Ayyanayake from Aiyanar can be named as examples. Though these gods take the same place as their Hindu counterparts in mythology, some of their aspects are different compared to the original gods.\",\n \"Though these gods take the same place as their Hindu counterparts in mythology, some of their aspects are different compared to the original gods. Prominent Sri Lankan anthropologists Gananath Obeyesekere and Kitsiri Malalgoda used the term \\\"Protestant Buddhism\\\" to describe a type of Buddhism that appeared among the Sinhalese in Sri Lanka as a response to Protestant Christian missionaries and their evangelical activities during the British colonial period.\",\n \"Prominent Sri Lankan anthropologists Gananath Obeyesekere and Kitsiri Malalgoda used the term \\\"Protestant Buddhism\\\" to describe a type of Buddhism that appeared among the Sinhalese in Sri Lanka as a response to Protestant Christian missionaries and their evangelical activities during the British colonial period. This kind of Buddhism involved emulating the Protestant strategies of organising religious practices.\",\n \"This kind of Buddhism involved emulating the Protestant strategies of organising religious practices. They saw the need to establish Buddhist schools for educating Buddhist youth and organising Buddhists with new organisations such as the Young Men's Buddhist Association, as well as printing pamphlets to encourage people to participate in debates and religious controversies to defend Buddhism.\",\n \"They saw the need to establish Buddhist schools for educating Buddhist youth and organising Buddhists with new organisations such as the Young Men's Buddhist Association, as well as printing pamphlets to encourage people to participate in debates and religious controversies to defend Buddhism. Christianity There is a significant Sinhalese Christian community, in the maritime provinces of Sri Lanka.\",\n \"Christianity There is a significant Sinhalese Christian community, in the maritime provinces of Sri Lanka. Christianity was brought to the Sinhalese by Portuguese, Dutch, and British missionary groups during their respective periods of rule. Most Sinhalese Christians are Roman Catholic; a minority are Protestant. Their cultural centre is Negombo.\",\n \"Their cultural centre is Negombo. Their cultural centre is Negombo. Religion is considered very important among the Sinhalese. According to a 2008 Gallup poll, 99% of Sri Lankans considered religion an important aspect of their daily lives. Genetics Modern studies point towards a predominantly Bengali contribution and a minor Tamil influence.\",\n \"Genetics Modern studies point towards a predominantly Bengali contribution and a minor Tamil influence. Gujarati and Punjabi lineages are also visible. In relation to the former, other studies also show the Sinhalese possess some genetic admixture from Southeast Asian populations, especially from Austroasiatic groups.\",\n \"In relation to the former, other studies also show the Sinhalese possess some genetic admixture from Southeast Asian populations, especially from Austroasiatic groups. Certain Y-DNA and mtDNA haplogroups and genetic markers of immunoglobulin among the Sinhalese, for example, show Southeast Asian genetic influences many of which are also found among certain Northeast Indian populations to whom the Sinhalese are genetically related.\",\n \"Certain Y-DNA and mtDNA haplogroups and genetic markers of immunoglobulin among the Sinhalese, for example, show Southeast Asian genetic influences many of which are also found among certain Northeast Indian populations to whom the Sinhalese are genetically related. Culture Sinhalese culture is a unique one dating as far back as 2600 years and has been nourished by Theravada Buddhism.\",\n \"Culture Sinhalese culture is a unique one dating as far back as 2600 years and has been nourished by Theravada Buddhism. Its main domains are sculpture, fine arts, literature, dancing, poetry and a wide variety of folk beliefs and rituals traditionally.\",\n \"Its main domains are sculpture, fine arts, literature, dancing, poetry and a wide variety of folk beliefs and rituals traditionally. Ancient Sinhala stone sculpture and inscriptions are known worldwide and is a main foreign attraction in modern tourism. Sigirirya is famous for its frescoes.\",\n \"Sigirirya is famous for its frescoes. Folk poems were sung by workers to accompany their work and narrate the story of their lives. Ideally these poems consisted of four lines and, in the composition of these poems, special attention had been paid to the rhyming patterns. Buddhist festivals are dotted by unique music using traditionally Sinhalese instruments.\",\n \"Buddhist festivals are dotted by unique music using traditionally Sinhalese instruments. More ancient rituals like (devil exorcism) continue to enthrall audiences today and often praised and invoked the good powers of the Buddha and the gods in order to exorcise the demons.\",\n \"More ancient rituals like (devil exorcism) continue to enthrall audiences today and often praised and invoked the good powers of the Buddha and the gods in order to exorcise the demons. Folklore and national mythology According to the Mahavamsa, the Sinhalese are descended from the exiled Prince Vijaya and his party of seven hundred followers who arrived on the island in 543 BCE.\",\n \"Folklore and national mythology According to the Mahavamsa, the Sinhalese are descended from the exiled Prince Vijaya and his party of seven hundred followers who arrived on the island in 543 BCE. Vijaya and his followers were said to have arrived in Sri Lanka after being exiled from the city of Sinhapura in Bengal.\",\n \"Vijaya and his followers were said to have arrived in Sri Lanka after being exiled from the city of Sinhapura in Bengal. The modern Sinhalese people were found genetically to be most closely related to the people of North-East India (Bengal).\",\n \"The modern Sinhalese people were found genetically to be most closely related to the people of North-East India (Bengal). It is thought throughout Sri Lanka's history, since the founding of the Sinhalese in the 5th century BC that an influx of Indians from North India came to the island.\",\n \"It is thought throughout Sri Lanka's history, since the founding of the Sinhalese in the 5th century BC that an influx of Indians from North India came to the island. This is further supported from Sinhala being part of the Indo-Aryan language group. Traditionally during recreation the Sinhalese wear a sarong (sarama in Sinhala).\",\n \"Traditionally during recreation the Sinhalese wear a sarong (sarama in Sinhala). Men may wear a long-sleeved shirt with a sarong. Clothing varies by region for women. Low country Sinhalese women wear a white Long sleeved jacket, and a tight wrap around skirt, which usually is embedded with a floral or pattern design.\",\n \"Low country Sinhalese women wear a white Long sleeved jacket, and a tight wrap around skirt, which usually is embedded with a floral or pattern design. As for the up country Sinhalese, women wear a similar outfit, but with a puffed up shoulder jacket, and a tucked in frill that lines the top of the skirt (Reda and Hatte in Sinhala).\",\n \"As for the up country Sinhalese, women wear a similar outfit, but with a puffed up shoulder jacket, and a tucked in frill that lines the top of the skirt (Reda and Hatte in Sinhala). Traditionally, high caste Kandyan women wear a Kandyan style sari, which is similar to the Maharashtrian sari, with the drape but with a frill lining the bottom half and sometimes puffed up sleeves.\",\n \"Traditionally, high caste Kandyan women wear a Kandyan style sari, which is similar to the Maharashtrian sari, with the drape but with a frill lining the bottom half and sometimes puffed up sleeves. It’s also called an Osariya. The low country high caste women wear a South Indian style saree.\",\n \"The low country high caste women wear a South Indian style saree. Within the more populated areas, Sinhalese men also wear Western-style clothing — wearing suits while the women wear skirts and blouses.\",\n \"Within the more populated areas, Sinhalese men also wear Western-style clothing — wearing suits while the women wear skirts and blouses. For formal and ceremonial occasions women wear the traditional Kandyan (Osariya) style, which consists of a full blouse which covers the midriff completely, and is partially tucked in at the front.\",\n \"For formal and ceremonial occasions women wear the traditional Kandyan (Osariya) style, which consists of a full blouse which covers the midriff completely, and is partially tucked in at the front. However, modern intermingling of styles has led to most wearers baring the midriff. The Kandyan style is considered as the national dress of Sinhalese women.\",\n \"The Kandyan style is considered as the national dress of Sinhalese women. In many occasions and functions, even the saree plays an important role in women's clothing and has become the de facto clothing for female office workers especially in government sector. An example of its use is the uniform of air hostesses of Sri Lankan Airlines.\",\n \"An example of its use is the uniform of air hostesses of Sri Lankan Airlines. Cuisine Sinhalese cuisine is one of the most complex cuisines of South Asia. As a major trade hub, it draws influence from colonial powers that were involved in Sri Lanka and by foreign traders.\",\n \"As a major trade hub, it draws influence from colonial powers that were involved in Sri Lanka and by foreign traders. Rice, which is consumed daily, can be found at any occasion, while spicy curries are favourite dishes for lunch and dinner.\",\n \"Rice, which is consumed daily, can be found at any occasion, while spicy curries are favourite dishes for lunch and dinner. Some of the Sri Lankan dishes have striking resemblance to Kerala cuisine, which could be due to the similar geographic and agricultural features with Kerala.\",\n \"Some of the Sri Lankan dishes have striking resemblance to Kerala cuisine, which could be due to the similar geographic and agricultural features with Kerala. A well-known rice dish with Sinhalese is Kiribath, meaning ‘milk rice’. In addition to , Sinhalese eat , chopped leaves mixed with grated coconut and red onions.\",\n \"In addition to , Sinhalese eat , chopped leaves mixed with grated coconut and red onions. Coconut milk is found in most Sri Lankan dishes to give the cuisine its unique flavour. Sri Lanka has long been renowned for its spices. The best known is cinnamon which is native to Sri Lanka.\",\n \"The best known is cinnamon which is native to Sri Lanka. In the 15th and 16th centuries, spice and ivory traders from all over the world who came to Sri Lanka brought their native cuisines to the island, resulting in a rich diversity of cooking styles and techniques.\",\n \"In the 15th and 16th centuries, spice and ivory traders from all over the world who came to Sri Lanka brought their native cuisines to the island, resulting in a rich diversity of cooking styles and techniques. Lamprais, rice boiled in stock with a special curry, accompanied by frikkadels (meatballs), all of which is then wrapped in a banana leaf and baked as a Dutch-influenced Sri Lankan dish.\",\n \"Lamprais, rice boiled in stock with a special curry, accompanied by frikkadels (meatballs), all of which is then wrapped in a banana leaf and baked as a Dutch-influenced Sri Lankan dish. Dutch and Portuguese sweets also continue to be popular. British influences include roast beef and roast chicken.\",\n \"British influences include roast beef and roast chicken. Also, the influence of the Indian cooking methods and food have played a major role in what Sri Lankans eat. The island nation's cuisine mainly consists of boiled or steamed rice served with curry.\",\n \"The island nation's cuisine mainly consists of boiled or steamed rice served with curry. This usually consists of a main curry of fish or chicken, as well as several other curries made with vegetables, lentils and even fruit curries. Side-dishes include pickles, chutneys and .\",\n \"Side-dishes include pickles, chutneys and . The most famous of these is the coconut sambol, made of ground coconut mixed with chili peppers, dried Maldive fish and lime juice. This is ground to a paste and eaten with rice, as it gives zest to the meal and is believed to increase appetite.\",\n \"This is ground to a paste and eaten with rice, as it gives zest to the meal and is believed to increase appetite. Art and architecture Many forms of Sri Lankan arts and crafts take inspiration from the island's long and lasting Buddhist culture which in turn has absorbed and adopted countless regional and local traditions.\",\n \"Art and architecture Many forms of Sri Lankan arts and crafts take inspiration from the island's long and lasting Buddhist culture which in turn has absorbed and adopted countless regional and local traditions. In most instances Sri Lankan art originates from religious beliefs, and is represented in many forms such as painting, sculpture, and architecture.\",\n \"In most instances Sri Lankan art originates from religious beliefs, and is represented in many forms such as painting, sculpture, and architecture. One of the most notable aspects of Sri Lankan art are caves and temple paintings, such as the frescoes found at Sigiriya, and religious paintings found in temples in Dambulla and Temple of the Tooth Relic in Kandy.\",\n \"One of the most notable aspects of Sri Lankan art are caves and temple paintings, such as the frescoes found at Sigiriya, and religious paintings found in temples in Dambulla and Temple of the Tooth Relic in Kandy. Other popular forms of art have been influenced by both natives as well as outside settlers.\",\n \"Other popular forms of art have been influenced by both natives as well as outside settlers. For example, traditional wooden handicrafts and clay pottery are found around the hill country while Portuguese-inspired lacework and Indonesian-inspired Batik have become notable. It has many different and beautiful drawings.\",\n \"It has many different and beautiful drawings. Developed upon Indo-Aryan architectural skills in the late 6th century BCE Sinhalese people who lived upon greater kingdoms such as Anuradhapura and Polonnaruwa have built so many architectural examples such as Ruwanwelisaya, Jetavanaramaya - second tallest brick building in the ancient world after Great Pyramid of Giza, and Abayagiriya - third tallest brick building in the ancient world.\",\n \"Developed upon Indo-Aryan architectural skills in the late 6th century BCE Sinhalese people who lived upon greater kingdoms such as Anuradhapura and Polonnaruwa have built so many architectural examples such as Ruwanwelisaya, Jetavanaramaya - second tallest brick building in the ancient world after Great Pyramid of Giza, and Abayagiriya - third tallest brick building in the ancient world. And also with the ancient hydraulic technology which is also unique to Sinhalese people to build ancient tanks, systematic ponds with fountains moats and Irrigational reservoirs such as Parakrama Samudra, Kaudulla and Kandalama.\",\n \"And also with the ancient hydraulic technology which is also unique to Sinhalese people to build ancient tanks, systematic ponds with fountains moats and Irrigational reservoirs such as Parakrama Samudra, Kaudulla and Kandalama. Sigiriya which is considered by many as the 8th wonder of the world, it is a combination of natural and man made fortress, which consists so many architectural aspects.\",\n \"Sigiriya which is considered by many as the 8th wonder of the world, it is a combination of natural and man made fortress, which consists so many architectural aspects. Music There are extensive folk poems relating to specific jobs of the ancient society.\",\n \"Music There are extensive folk poems relating to specific jobs of the ancient society. These poems were communal songs which had a rhythm that were sung when performing day-to-day tasks like harvesting and sowing. Concerning popular music, Ananda Samarakoon developed the reflective and poignant Sarala gee style with his work in the late 1930s/early 1940s.\",\n \"Concerning popular music, Ananda Samarakoon developed the reflective and poignant Sarala gee style with his work in the late 1930s/early 1940s. He has been followed by artists of repute such as Sunil Shantha, W. D. Amaradeva, Premasiri Khemadasa, Nanda Malini, Victor Ratnayake, Austin Munasinghe, T. M. Jayaratne, Sanath Nandasiri, Sunil Edirisinghe, Neela Wickremasinghe, Gunadasa Kapuge, Malini Bulathsinghala and Edward Jayakody.\",\n \"He has been followed by artists of repute such as Sunil Shantha, W. D. Amaradeva, Premasiri Khemadasa, Nanda Malini, Victor Ratnayake, Austin Munasinghe, T. M. Jayaratne, Sanath Nandasiri, Sunil Edirisinghe, Neela Wickremasinghe, Gunadasa Kapuge, Malini Bulathsinghala and Edward Jayakody. Film and theatre Dramatist Ediriweera Sarachchandra revitalised the drama form with Maname in 1956.\",\n \"Film and theatre Dramatist Ediriweera Sarachchandra revitalised the drama form with Maname in 1956. The same year, film director Lester James Peries created the artistic masterwork Rekava which sought to create a uniquely Sinhalese cinema with artistic integrity. Since then, Peries and other directors like Vasantha Obeysekera, Dharmasena Pathiraja, Mahagama Sekera, W. A.\",\n \"Since then, Peries and other directors like Vasantha Obeysekera, Dharmasena Pathiraja, Mahagama Sekera, W. A. B. de Silva, Dharmasiri Bandaranayake, Sunil Ariyaratne, Siri Gunasinghe, G. D. L. Perera, Piyasiri Gunaratne, Titus Thotawatte, D. B. Nihalsinghe, Ranjith Lal, Dayananda Gunawardena, Mudalinayake Somaratne, Asoka Handagama, and Prasanna Vithanage have developed an artistic Sinhalese cinema.\",\n \"B. de Silva, Dharmasiri Bandaranayake, Sunil Ariyaratne, Siri Gunasinghe, G. D. L. Perera, Piyasiri Gunaratne, Titus Thotawatte, D. B. Nihalsinghe, Ranjith Lal, Dayananda Gunawardena, Mudalinayake Somaratne, Asoka Handagama, and Prasanna Vithanage have developed an artistic Sinhalese cinema. Sinhala cinema is often made colourful with the incorporation of songs and dance adding more uniqueness to the industry.\",\n \"Sinhala cinema is often made colourful with the incorporation of songs and dance adding more uniqueness to the industry. In the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success.\",\n \"In the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success. Performing arts Performing arts of the Sinhalese people can be categorised into few groups: Kandyan dance consist of 18 Wannam (dance routines) featuring behaviours of various animals such as elephant, eagle, cobra, monkey, peacock and rabbit, mainly performing in the annual Perahara pageant in Sri Dalada Maligawa Kandy.\",\n \"Performing arts Performing arts of the Sinhalese people can be categorised into few groups: Kandyan dance consist of 18 Wannam (dance routines) featuring behaviours of various animals such as elephant, eagle, cobra, monkey, peacock and rabbit, mainly performing in the annual Perahara pageant in Sri Dalada Maligawa Kandy. Pahatharata dance have a significant dancing style which is used to cure illnesses and spiritual clarification.\",\n \"Pahatharata dance have a significant dancing style which is used to cure illnesses and spiritual clarification. The main feature of these dances is dancers wear masks representing various gods and demons, and use elements such as fire and water to bless people. Sabaragamuwa dances have also a significant dancing style, mainly to entertain people.\",\n \"Sabaragamuwa dances have also a significant dancing style, mainly to entertain people. Folk music and dances differ according to the casts of Sinhalese people and also some times regionally—mainly popular among small children, especially girls. These arts are widely performed during the Sinhalese New Year period. Martial arts Angampora is the traditional martial art of the Sinhalese people.\",\n \"Martial arts Angampora is the traditional martial art of the Sinhalese people. It combines combat techniques, self-defence, sport, exercise and meditation. Key techniques observed in Angampora are: Angam, which incorporates hand-to-hand fighting, and Illangam, which uses indigenous weapons such as Velayudaya, staves, knives and swords.\",\n \"Key techniques observed in Angampora are: Angam, which incorporates hand-to-hand fighting, and Illangam, which uses indigenous weapons such as Velayudaya, staves, knives and swords. Its most distinct feature is the use of pressure point attacks to inflict pain or permanently paralyse the opponent.\",\n \"Its most distinct feature is the use of pressure point attacks to inflict pain or permanently paralyse the opponent. Fighters usually make use of both striking and grappling techniques, and fight until the opponent is caught in a submission lock that they cannot escape. Usage of weapons is discretionary.\",\n \"Usage of weapons is discretionary. Usage of weapons is discretionary. Perimeters of fighting are defined in advance, and in some of the cases is a pit. Angampora became nearly extinct after the country came under British rule in 1815, but survived in a few families until the country regained independence.\",\n \"Angampora became nearly extinct after the country came under British rule in 1815, but survived in a few families until the country regained independence. Science and education The Sinhalese have a long history of literacy and formal learning. Instruction in basic fields like writing and reading by Buddhist Monks pre-date the birth of Christ.\",\n \"Instruction in basic fields like writing and reading by Buddhist Monks pre-date the birth of Christ. This traditional system followed religious rule and was meant to foster Buddhist understanding. Training of officials in such skills as keeping track of revenue and other records for administrative purposes occurred under this institution.\",\n \"Training of officials in such skills as keeping track of revenue and other records for administrative purposes occurred under this institution. Technical education such as the building of reservoirs and canals was passed down from generation to generation through home training and outside craft apprenticeships.\",\n \"Technical education such as the building of reservoirs and canals was passed down from generation to generation through home training and outside craft apprenticeships. The arrival of the Portuguese and Dutch and the subsequent colonisation maintained religion as the centre of education though in certain communities under Catholic and Presbyterian hierarchy. The British in the 1800s initially followed the same course.\",\n \"The British in the 1800s initially followed the same course. Following 1870 however they began a campaign for better education facilities in the region. Christian missionary groups were at the forefront of this development contributing to a high literacy among Christians. By 1901 schools in the South and the North were well tended. The inner regions lagged behind however.\",\n \"The inner regions lagged behind however. Also, English education facilities presented hurdles for the general populace through fees and lack of access. Medicine Traditional Sinhalese villages in early days had at least one chief Medical personnel called Weda Mahaththaya (Doctor). These people practice their clinical activities by inheritance.\",\n \"These people practice their clinical activities by inheritance. Sinhalese Medicine resembles some of Ayurvedic practices in contrast for some treatments they use Buddhist Chantings (Pirith) in order to strengthen the effectiveness.\",\n \"Sinhalese Medicine resembles some of Ayurvedic practices in contrast for some treatments they use Buddhist Chantings (Pirith) in order to strengthen the effectiveness. According to the Mahavamsa, the ancient chronicle, Pandukabhaya of Sri Lanka (437 BC – 367 BC) had lying-in-homes and Ayurvedic hospitals (Sivikasotthi-Sala) built in various parts of the country.\",\n \"According to the Mahavamsa, the ancient chronicle, Pandukabhaya of Sri Lanka (437 BC – 367 BC) had lying-in-homes and Ayurvedic hospitals (Sivikasotthi-Sala) built in various parts of the country. This is the earliest documentary evidence we have of institutions specifically dedicated to the care of the sick anywhere in the world.\",\n \"This is the earliest documentary evidence we have of institutions specifically dedicated to the care of the sick anywhere in the world. Mihintale Hospital is the oldest in the world. See also List of Sinhalese people Sinhalese Buddhist nationalism References Citations Sources De Silva, K. M. History of Sri Lanka (Univ.\",\n \"See also List of Sinhalese people Sinhalese Buddhist nationalism References Citations Sources De Silva, K. M. History of Sri Lanka (Univ. of Calif. Press, 1981) Gunasekera, Tamara. Hierarchy and Egalitarianism: Caste, Class, and Power in Sinhalese Peasant Society (Athlone, 1994). Roberts, Michael.\",\n \"Roberts, Michael. Roberts, Michael. Sri Lanka: Collective Identities Revisited (Colombo-Marga Institute, 1997). Wickremeratne, Ananda. Buddhism and Ethnicity in Sri Lanka: A Historical Analysis (New Delhi-Vikas Publishing House, 1995).\",\n \"Buddhism and Ethnicity in Sri Lanka: A Historical Analysis (New Delhi-Vikas Publishing House, 1995). External links CIA Factbook-Sri Lanka Department of Census and Statistics-Sri Lanka Ethnologue-Sinhala, a language of Sri Lanka CIA Factbook-Sri Lanka Sinhalese Who are the Sinhalese Buddhist communities of Sri Lanka Ethnic groups in Sri Lanka Ethnic groups in the Indian Ocean Indo-Aryan peoples Sinhalese diaspora Sinhalese culture\"\n]"}}},{"rowIdx":491,"cells":{"History":{"kind":"list like","value":["Sinhalese people","Language and literature","what language did the sinhalese people use?","The Sinhalese speak Sinhala, also known as \"Helabasa\";","is it a widely known language?","I don't know.","Are there any other interesting aspects about this article?","Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today.","what were the folk tales about?","Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance.","are any of these folks books to this day?","continue to entertain children today.","who created these folks?","I don't know.","what's the most interesting part of the article, to you?","The Sinhala language was mainly inspired by Sanskrit and Pali,"],"string":"[\n \"Sinhalese people\",\n \"Language and literature\",\n \"what language did the sinhalese people use?\",\n \"The Sinhalese speak Sinhala, also known as \\\"Helabasa\\\";\",\n \"is it a widely known language?\",\n \"I don't know.\",\n \"Are there any other interesting aspects about this article?\",\n \"Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today.\",\n \"what were the folk tales about?\",\n \"Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance.\",\n \"are any of these folks books to this day?\",\n \"continue to entertain children today.\",\n \"who created these folks?\",\n \"I don't know.\",\n \"what's the most interesting part of the article, to you?\",\n \"The Sinhala language was mainly inspired by Sanskrit and Pali,\"\n]"},"QuAC_dialog_id":{"kind":"string","value":"C_6531bbbb4dba4483bed9d12220555c4f_1"},"Question":{"kind":"string","value":"what was the language like?"},"Question_no":{"kind":"number","value":8,"string":"8"},"Rewrite":{"kind":"string","value":"what was the language of the Sinhalese people like?"},"true_page_title":{"kind":"string","value":"Sinhalese people"},"true_contexts":{"kind":"string","value":"The Sinhalese speak Sinhala, also known as \"Helabasa\"; this language has two varieties, spoken and written. Sinhala is an Indo-Aryan language within the broader group of Indo-European languages. The language was brought to Sri Lanka by the ancestors of the Sinhalese from northern India who settled on the island in the 6th century BCE. Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages. Sinhala was influenced by many languages, prominently Pali, the sacred language of Southern Buddhism, and Sanskrit. Many early Sinhala texts such as the Hela Atuwa were lost after their translation into Pali. Other significant Sinhala texts include Amavatura, Kavu Silumina, Jathaka Potha and Sala Liheeniya. Sinhala has also adopted many loanwords of foreign origin, including from many Indian languages and colonial languages Portuguese, Dutch, and English. Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world. The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages. Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and Hollywood movies. Additionally many Dutch and Portuguese words can be seen in the coastal areas. Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today. Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance. Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son. In the modern period, Sinhala writers such as Martin Wickremasinghe and G. B. Senanayake have drawn widespread acclaim. Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake. Martin Wickramasinghe wrote the immensely popular children's novel Madol Duwa. Munadasa Cumaratunga's Hath Pana is also widely known. CANNOTANSWER"},"answer":{"kind":"string","value":"Today some English words too have come in as a result of the British occupation during colonial times,"},"true_contexts_wiki":{"kind":"string","value":"Sinhalese people () are an Indo-Aryan ethnic group native to the island of Sri Lanka. They were historically known as Hela people (). They constitute about 75% of the Sri Lankan population and number greater than 16.2 million. The Sinhalese identity is based on language, cultural heritage and nationality. The Sinhalese people speak Sinhala, an insular Indo-Aryan language, and are predominantly Theravada Buddhists, although a minority of Sinhalese follow branches of Christianity and \nother religions. Since 1815, they were broadly divided into two respective groups: The 'Up-country Sinhalese' in the central mountainous regions, and the 'Low-country Sinhalese' in the coastal regions; although both groups speak the same language, they are distinguished as they observe different cultural customs.\n\nAccording to the Mahavamsa and the Dipavamsa, a 3rd–5th century treatise written in Pali by Buddhist monks of the Anuradhapura Maha Viharaya in Sri Lanka, the Sinhalese descend from settlers who came to the island in 543 BCE from Sinhapura led by Prince Vijaya who mixed with the indigenous Yakka and later settlers from the Pandya kingdom.\n\nEtymology\nFrom the Sanskrit word Sinhala, meaning literally \"of lions\".\n\nThe Mahavamsa records the origin of the Sinhalese people and related historical events. It traces the historical origin of the Sinhalese people back to the first king who mentioned in the documentary history of Sri Lanka, Vijaya, who is the son of Sinhabahu (Sanskrit meaning 'Sinha' (lion) + 'bahu' (hands, feet), the ruler of Sinhapura. Some versions suggest Vijaya is the grandson of Sinhabahu. According to the Mahavamsa, Sinhabahu was the son of princess Suppadevi of Vanga, who copulated with a lion and gave birth to a daughter called Sinhasivali and to a son, Sinhabahu, whose hands and feet were like the paws of a lion and who had the strength of a lion. King Vijaya, the lineage of Sinhabahu, according to the Mahavamsa and other historical sources, arrived on the island of Tambapanni (Sri Lanka) and gave origin to the lion people, Sinhalese.\n\nThe story of the arrival of Prince Vijaya in Sri Lanka and the origin of the Sinhalese people is also depicted in the Ajanta caves, in a mural of cave number 17. According to Arisen Ahubudu, there were four major clans of \"hela\" in ancient Sri Lanka even before the arrival of Prince Vijaya, and that Sri Lanka was called as \"Siv hela\" (siv=four in the Sinhala language) and later it was changed into \"Sinhala\".\n\nHistory\n\nThe early recorded history of the Sinhalese is chronicled in two documents, the Mahavamsa, written in Pāli around the 4th century CE, and the later Culavamsa (the first segment probably penned in the 13th century CE by the Buddhist monk Dhammakitti). These are ancient sources that cover the histories of the powerful ancient Sinhalese kingdoms of Anuradhapura and Polonnaruwa which lasted for 1500 years. The Mahavamsa describes the existence of fields of rice and reservoirs, indicating a well-developed agrarian society.\n\nPre Anuradhapura period\n\nAccording to Mahavamsa, Prince Vijaya and his 700 followers left Suppāraka, landed on the island at a site believed by historians to be in the district of Puttalam, south of modern-day Mannar and founded the Kingdom of Thambapanni. It is recorded the Vijaya made his landing on the day of Buddha's Parinirvana. Vijaya claimed Tambapanni his capital and soon the whole island come under this name. Tambapanni was originally inhabited and governed by Yakkhas, having their capital at Sirīsavatthu and their queen Kuveni. According to the Samyutta Commentary, Tambapanni was one hundred leagues in extent.\n\nAt the end of his reign, Vijaya, having trouble choosing a successor, sent a letter to the city of his ancestors, Sinhapura, in order to invite his brother Sumitta to take over the throne. However, Vijaya had died before the letter had reached its destination, so the elected minister of the people Upatissa, the Chief government minister or prime minister and leading chief among the Sinhalese became regent and acted as regent for a year. After his coronation, which was held in the Kingdom of Tambapanni, he left it, building another one, bearing his own name. While he was king, Upatissa established the new capital Upatissa, in which the kingdom was moved to from the Kingdom of Tambapanni. When Vijaya's letter arrived, Sumitta had already succeeded his father as king of his country, and so he sent his son Panduvasdeva to rule Upatissa Nuwara.\n\nUpatissa Nuwara was seven or eight miles further north of the Kingdom of Tambapanni.\nIt was named after the regent king Upatissa, who was the prime minister of Vijaya, and was founded in 505 BC after the death of Vijaya and the end of the Kingdom of Tambapanni.\n\nAnuradhapura period\n\nIn 377 BC, King Pandukabhaya (437–367 BC) moved the capital to Anuradhapura and developed it into a prosperous city. Anuradhapura (Anurapura) was named after the minister who first established the village and after a grandfather of Pandukabhaya who lived there. The name was also derived from the city's establishment on the auspicious asterism called Anura. Anuradhapura was the capital of all the monarchs who ruled from the dynasty.\n\nRulers such as Dutthagamani, Valagamba, and Dhatusena are noted for defeating the South Indians and regaining control of the kingdom. Other rulers who are notable for military achievements include Gajabahu I, who launched an invasion against the invaders, and Sena II, who sent his armies to assist a Pandyan prince.\n\nPolonnaruwa period\n\nDuring the Middle Ages Sri Lanka was well known for its agricultural prosperity under king Parakramabahu in Polonnaruwa during which period the island was famous around the world as the rice mill of the east.\n\nTransitional period\n\nLater in the 13th century the country's administrative provinces were divided into independent kingdoms and chieftaincies: Kingdom of Sitawaka, Kingdom of Kotte, Jaffna Kingdom and the Kandyan kingdom. The invasion by the Hindu king Magha in the 13th century led to migrations by the Buddhists (mostly Sinhalese) to areas not under his control. This migration was followed by a period of conflict among the Sinhalese chiefs who tried to exert political supremacy. Parakramabahu VI, a Sinhalese king invaded the Jaffna Kingdom and conquered it, bringing the entire country back under the Sinhalese kingdom. Trade also increased during this period, as Sri Lanka began to trade cinnamon and a large number of Muslim traders were bought into the island.\n\nIn the 15th century a Kandyan Kingdom formed which divided the Sinhalese politically into low-country and up-country. In this period, the Sinhalese caste structure absorbed recent Dravidian Hindu immigrants from South India leading to the emergence of three new Sinhalese caste groups - the Salagama, the Durava and the Karava.\n\nModern history\n\nThe Sinhalese have a stable birth rate and a population that has been growing at a slow pace relative to India and other Asian countries.\n\nSociety\n\nDemographics\n\nSri Lanka\n\nWithin Sri Lanka the majority of the Sinhalese reside in the South, Central, Sabaragamuwa and Western parts of the country. This coincides with the largest Sinhalese populations areas in Sri Lanka. Cities with more than 90% Sinhalese population include Hambantota, Galle, Gampaha, Kurunegala, Monaragala, Anuradhapura and Polonnaruwa.\n\nDiaspora\n\nSinhalese people have emigrated out to many countries for a variety of reasons. The larger diaspora communities are situated in the United Kingdom, Australia, United States and Canada among others. In addition to this there are many Sinhalese, who reside in the Middle East, Southeast Asia and Europe, temporarily in connection with employment and/or education. They are often employed as guest workers in the Middle East and professionals in the other regions.\n\nThe largest population centres of the Sinhalese diaspora are mainly situated in Europe, North America and Australia. The city of Melbourne contains just under half of the Sri Lankan Australians. The 2011 census recorded 86,412 Sri Lanka born in Australia. There are 73,849 Australians (0.4 of the population) who reported having Sinhalese ancestry in 2006. Sinhala was also reported to be the 29th-fastest-growing language in Australia (ranking above Somali but behind Hindi and Belarusian). Sinhalese Australians have an exceptionally low rate of return migration to Sri Lanka. In the 2011 Canadian Census, 7,220 people identified themselves as of Sinhalese ancestry, out of 139,415 Sri Lankans. There are a small number of Sinhalese people in India, scattered around the country, but mainly living in and around the northern and southern regions. Sri Lankan New Zealanders comprised 3% of the Asian population of New Zealand in 2001. The numbers arriving continued to increase, and at the 2018 census there were over 16,000 Sri Lankans living in New Zealand among those 9,171 were Sinhalese.\n\nIn the U.S, the Sinhalese number about 12,000 people. The New York City Metropolitan Area contains the largest Sri Lankan community in the United States, receiving the highest legal permanent resident Sri Lankan immigrant population, followed by Central New Jersey and the Los Angeles metropolitan area. Many Sinhalese have migrated to Italy since the 1970s. Italy was attractive to the Sinhalese due to perceived easier employment opportunities and entry, compared to other European countries. It is estimated that there are 30,000-33,000 Sinhalese in Italy. The major Sinhalese communities in Italy are located in Lombardia (In the districts Loreto and Lazzaretto), Milan, Lazio, Rome, Naples, and Southern Italy (Particularly Palermo, Messina and Catania). It should be noted however that many countries census list Sri Lankan which also includes Sri Lankan Tamils so the numbers of just Sinhalese are not as accurate when the census states Sri Lankan and not Sinhalese. Though Sinhalese people in particular and Sri Lankans in general have migrated to the UK over the centuries beginning from the colonial times, the number of Sinhalese people in the UK cannot be estimated accurately due to inadequacies of census in the UK. The UK government does not record statistics on the basis of language or ethnicity and all Sri Lankans are classified into one group as Asian British or Asian Other.\n\nLanguage and literature\n\nSinhalese people speak Sinhala, also known as \"Helabasa\"; this language has two varieties, spoken and written. Sinhala is an Indo-Aryan language within the broader group of Indo-European languages. The early form of the language was brought to Sri Lanka by the ancestors of the Sinhalese people from northern India who settled on the island in the 6th century BCE. Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages. It was influenced by many languages, prominently Pali, the sacred language of Southern Buddhism, Telugu and Sanskrit. Many early texts in the language such as the Hela Atuwa were lost after their translation into Pali. Other significant Sinhala texts include Amāvatura, Kavu Silumina, Jathaka Potha and Sala Liheeniya. Sinhala has also adopted many loanwords of foreign origin, including from many Indian such as Tamil and European languages such as Portuguese, Dutch, and English.\n\nSandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world. The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages. Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and foreign films. Additionally many Dutch and Portuguese words can be seen in the coastal areas. Sinhalese people, depending on where they live in Sri Lanka, may also additionally speak English and or Tamil. According to the 2012 Census 23.8% or 3,033,659 Sinhalese people also spoke English and 6.4% or 812,738 Sinhalese people also spoke Tamil. In the Negombo area bilingual fishermen who generally identify themselves as Sinhalese also speak the Negombo Tamil dialect. This dialect has undergone considerable convergence with spoken Sinhala.\n\nFolk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today. Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance. Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son.\n\nIn the modern period, Sinhala writers such as Martin Wickremasinghe and G. B. Senanayake have drawn widespread acclaim. Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake. Martin Wickramasinghe wrote the immensely popular children's novel Madol Duwa. Munadasa Cumaratunga's Hath Pana is also widely known.\n\nReligion\n\nThe form of Buddhism in Sri Lanka is known as Theravada (school of elders). The Pali chronicles (e.g., the Mahavansa) claim that the Sinhalese as an ethnic group are destined to preserve and protect Buddhism. In 1988 almost 93% of the Sinhala speaking population in Sri Lanka were Buddhist. Observations of current religious beliefs and practices demonstrate that the Sinhalese, as a religious community, have a complex worldview as Buddhists. Due to the proximity and on some occasions similarity of certain doctrines, there are many areas where Buddhists and Hindus share religious views and practices. Sinhalese Buddhists have adopted religious elements from Hindu traditions in their religious practices. Some of these practices may relate to ancient indigenous beliefs and traditions on spirits (folk religion), and the worship of Hindu deities. Some of these figures are used in healing rituals and may be native to the island. Gods and goddess derived from Hindu deities are worshiped by Sinhalese. Kataragama Deviyo from Kartikeya, Upulvan from Vishnu and Ayyanayake from Aiyanar can be named as examples. Though these gods take the same place as their Hindu counterparts in mythology, some of their aspects are different compared to the original gods.\n\nProminent Sri Lankan anthropologists Gananath Obeyesekere and Kitsiri Malalgoda used the term \"Protestant Buddhism\" to describe a type of Buddhism that appeared among the Sinhalese in Sri Lanka as a response to Protestant Christian missionaries and their evangelical activities during the British colonial period. This kind of Buddhism involved emulating the Protestant strategies of organising religious practices. They saw the need to establish Buddhist schools for educating Buddhist youth and organising Buddhists with new organisations such as the Young Men's Buddhist Association, as well as printing pamphlets to encourage people to participate in debates and religious controversies to defend Buddhism.\n\nChristianity\nThere is a significant Sinhalese Christian community, in the maritime provinces of Sri Lanka. Christianity was brought to the Sinhalese by Portuguese, Dutch, and British missionary groups during their respective periods of rule. Most Sinhalese Christians are Roman Catholic; a minority are Protestant. Their cultural centre is Negombo.\n\nReligion is considered very important among the Sinhalese. According to a 2008 Gallup poll, 99% of Sri Lankans considered religion an important aspect of their daily lives.\n\nGenetics\n\nModern studies point towards a predominantly Bengali contribution and a minor Tamil influence. Gujarati and Punjabi lineages are also visible. In relation to the former, other studies also show the Sinhalese possess some genetic admixture from Southeast Asian populations, especially from Austroasiatic groups. Certain Y-DNA and mtDNA haplogroups and genetic markers of immunoglobulin among the Sinhalese, for example, show Southeast Asian genetic influences many of which are also found among certain Northeast Indian populations to whom the Sinhalese are genetically related.\n\nCulture\n\nSinhalese culture is a unique one dating as far back as 2600 years and has been nourished by Theravada Buddhism. Its main domains are sculpture, fine arts, literature, dancing, poetry and a wide variety of folk beliefs and rituals traditionally. Ancient Sinhala stone sculpture and inscriptions are known worldwide and is a main foreign attraction in modern tourism. Sigirirya is famous for its frescoes. Folk poems were sung by workers to accompany their work and narrate the story of their lives. Ideally these poems consisted of four lines and, in the composition of these poems, special attention had been paid to the rhyming patterns. Buddhist festivals are dotted by unique music using traditionally Sinhalese instruments. More ancient rituals like (devil exorcism) continue to enthrall audiences today and often praised and invoked the good powers of the Buddha and the gods in order to exorcise the demons.\n\nFolklore and national mythology\nAccording to the Mahavamsa, the Sinhalese are descended from the exiled Prince Vijaya and his party of seven hundred followers who arrived on the island in 543 BCE. Vijaya and his followers were said to have arrived in Sri Lanka after being exiled from the city of Sinhapura in Bengal. The modern Sinhalese people were found genetically to be most closely related to the people of North-East India (Bengal). It is thought throughout Sri Lanka's history, since the founding of the Sinhalese in the 5th century BC that an influx of Indians from North India came to the island. This is further supported from Sinhala being part of the Indo-Aryan language group.\n\nTraditionally during recreation the Sinhalese wear a sarong (sarama in Sinhala). Men may wear a long-sleeved shirt with a sarong. Clothing varies by region for women. Low country Sinhalese women wear a white Long sleeved jacket, and a tight wrap around skirt, which usually is embedded with a floral or pattern design. As for the up country Sinhalese, women wear a similar outfit, but with a puffed up shoulder jacket, and a tucked in frill that lines the top of the skirt (Reda and Hatte in Sinhala). Traditionally, high caste Kandyan women wear a Kandyan style sari, which is similar to the Maharashtrian sari, with the drape but with a frill lining the bottom half and sometimes puffed up sleeves. It’s also called an Osariya. The low country high caste women wear a South Indian style saree. Within the more populated areas, Sinhalese men also wear Western-style clothing — wearing suits while the women wear skirts and blouses. For formal and ceremonial occasions women wear the traditional Kandyan (Osariya) style, which consists of a full blouse which covers the midriff completely, and is partially tucked in at the front. However, modern intermingling of styles has led to most wearers baring the midriff. The Kandyan style is considered as the national dress of Sinhalese women. In many occasions and functions, even the saree plays an important role in women's clothing and has become the de facto clothing for female office workers especially in government sector. An example of its use is the uniform of air hostesses of Sri Lankan Airlines.\n\nCuisine\n\nSinhalese cuisine is one of the most complex cuisines of South Asia. As a major trade hub, it draws influence from colonial powers that were involved in Sri Lanka and by foreign traders. Rice, which is consumed daily, can be found at any occasion, while spicy curries are favourite dishes for lunch and dinner. Some of the Sri Lankan dishes have striking resemblance to Kerala cuisine, which could be due to the similar geographic and agricultural features with Kerala. A well-known rice dish with Sinhalese is Kiribath, meaning ‘milk rice’. In addition to , Sinhalese eat , chopped leaves mixed with grated coconut and red onions. Coconut milk is found in most Sri Lankan dishes to give the cuisine its unique flavour.\n\nSri Lanka has long been renowned for its spices. The best known is cinnamon which is native to Sri Lanka. In the 15th and 16th centuries, spice and ivory traders from all over the world who came to Sri Lanka brought their native cuisines to the island, resulting in a rich diversity of cooking styles and techniques. Lamprais, rice boiled in stock with a special curry, accompanied by frikkadels (meatballs), all of which is then wrapped in a banana leaf and baked as a Dutch-influenced Sri Lankan dish. Dutch and Portuguese sweets also continue to be popular. British influences include roast beef and roast chicken. Also, the influence of the Indian cooking methods and food have played a major role in what Sri Lankans eat.\n\nThe island nation's cuisine mainly consists of boiled or steamed rice served with curry. This usually consists of a main curry of fish or chicken, as well as several other curries made with vegetables, lentils and even fruit curries. Side-dishes include pickles, chutneys and . The most famous of these is the coconut sambol, made of ground coconut mixed with chili peppers, dried Maldive fish and lime juice. This is ground to a paste and eaten with rice, as it gives zest to the meal and is believed to increase appetite.\n\nArt and architecture\n\nMany forms of Sri Lankan arts and crafts take inspiration from the island's long and lasting Buddhist culture which in turn has absorbed and adopted countless regional and local traditions. In most instances Sri Lankan art originates from religious beliefs, and is represented in many forms such as painting, sculpture, and architecture. One of the most notable aspects of Sri Lankan art are caves and temple paintings, such as the frescoes found at Sigiriya, and religious paintings found in temples in Dambulla and Temple of the Tooth Relic in Kandy. Other popular forms of art have been influenced by both natives as well as outside settlers. For example, traditional wooden handicrafts and clay pottery are found around the hill country while Portuguese-inspired lacework and Indonesian-inspired Batik have become notable. It has many different and beautiful drawings.\n\nDeveloped upon Indo-Aryan architectural skills in the late 6th century BCE Sinhalese people who lived upon greater kingdoms such as Anuradhapura and Polonnaruwa have built so many architectural examples such as Ruwanwelisaya, Jetavanaramaya - second tallest brick building in the ancient world after Great Pyramid of Giza, and Abayagiriya - third tallest brick building in the ancient world. And also with the ancient hydraulic technology which is also unique to Sinhalese people to build ancient tanks, systematic ponds with fountains moats and Irrigational reservoirs such as Parakrama Samudra, Kaudulla and Kandalama. Sigiriya which is considered by many as the 8th wonder of the world, it is a combination of natural and man made fortress, which consists so many architectural aspects.\n\nMusic\n\nThere are extensive folk poems relating to specific jobs of the ancient society. These poems were communal songs which had a rhythm that were sung when performing day-to-day tasks like harvesting and sowing.\n\nConcerning popular music, Ananda Samarakoon developed the reflective and poignant Sarala gee style with his work in the late 1930s/early 1940s. He has been followed by artists of repute such as Sunil Shantha, W. D. Amaradeva, Premasiri Khemadasa, Nanda Malini, Victor Ratnayake, Austin Munasinghe, T. M. Jayaratne, Sanath Nandasiri, Sunil Edirisinghe, Neela Wickremasinghe, Gunadasa Kapuge, Malini Bulathsinghala and Edward Jayakody.\n\nFilm and theatre\n\nDramatist Ediriweera Sarachchandra revitalised the drama form with Maname in 1956. The same year, film director Lester James Peries created the artistic masterwork Rekava which sought to create a uniquely Sinhalese cinema with artistic integrity. Since then, Peries and other directors like Vasantha Obeysekera, Dharmasena Pathiraja, Mahagama Sekera, W. A. B. de Silva, Dharmasiri Bandaranayake, Sunil Ariyaratne, Siri Gunasinghe, G. D. L. Perera, Piyasiri Gunaratne, Titus Thotawatte, D. B. Nihalsinghe, Ranjith Lal, Dayananda Gunawardena, Mudalinayake Somaratne, Asoka Handagama, and Prasanna Vithanage have developed an artistic Sinhalese cinema. Sinhala cinema is often made colourful with the incorporation of songs and dance adding more uniqueness to the industry.\n\nIn the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success.\n\nPerforming arts\n\nPerforming arts of the Sinhalese people can be categorised into few groups:\n\nKandyan dance consist of 18 Wannam (dance routines) featuring behaviours of various animals such as elephant, eagle, cobra, monkey, peacock and rabbit, mainly performing in the annual Perahara pageant in Sri Dalada Maligawa Kandy.\nPahatharata dance have a significant dancing style which is used to cure illnesses and spiritual clarification. The main feature of these dances is dancers wear masks representing various gods and demons, and use elements such as fire and water to bless people.\nSabaragamuwa dances have also a significant dancing style, mainly to entertain people.\nFolk music and dances differ according to the casts of Sinhalese people and also some times regionally—mainly popular among small children, especially girls. These arts are widely performed during the Sinhalese New Year period.\n\nMartial arts\n\nAngampora is the traditional martial art of the Sinhalese people. It combines combat techniques, self-defence, sport, exercise and meditation. Key techniques observed in Angampora are: Angam, which incorporates hand-to-hand fighting, and Illangam, which uses indigenous weapons such as Velayudaya, staves, knives and swords. Its most distinct feature is the use of pressure point attacks to inflict pain or permanently paralyse the opponent. Fighters usually make use of both striking and grappling techniques, and fight until the opponent is caught in a submission lock that they cannot escape. Usage of weapons is discretionary. Perimeters of fighting are defined in advance, and in some of the cases is a pit. Angampora became nearly extinct after the country came under British rule in 1815, but survived in a few families until the country regained independence.\n\nScience and education\n\nThe Sinhalese have a long history of literacy and formal learning. Instruction in basic fields like writing and reading by Buddhist Monks pre-date the birth of Christ. This traditional system followed religious rule and was meant to foster Buddhist understanding. Training of officials in such skills as keeping track of revenue and other records for administrative purposes occurred under this institution.\n\nTechnical education such as the building of reservoirs and canals was passed down from generation to generation through home training and outside craft apprenticeships.\n\nThe arrival of the Portuguese and Dutch and the subsequent colonisation maintained religion as the centre of education though in certain communities under Catholic and Presbyterian hierarchy. The British in the 1800s initially followed the same course. Following 1870 however they began a campaign for better education facilities in the region. Christian missionary groups were at the forefront of this development contributing to a high literacy among Christians.\n\nBy 1901 schools in the South and the North were well tended. The inner regions lagged behind however. Also, English education facilities presented hurdles for the general populace through fees and lack of access.\n\nMedicine\nTraditional Sinhalese villages in early days had at least one chief Medical personnel called Weda Mahaththaya (Doctor). These people practice their clinical activities by inheritance. Sinhalese Medicine resembles some of Ayurvedic practices in contrast for some treatments they use Buddhist Chantings (Pirith) in order to strengthen the effectiveness.\n\nAccording to the Mahavamsa, the ancient chronicle, Pandukabhaya of Sri Lanka (437 BC – 367 BC) had lying-in-homes and Ayurvedic hospitals (Sivikasotthi-Sala) built in various parts of the country. This is the earliest documentary evidence we have of institutions specifically dedicated to the care of the sick anywhere in the world. Mihintale Hospital is the oldest in the world.\n\nSee also\n List of Sinhalese people\n Sinhalese Buddhist nationalism\n\nReferences\n\nCitations\n\nSources \n\n De Silva, K. M. History of Sri Lanka (Univ. of Calif. Press, 1981)\n Gunasekera, Tamara. Hierarchy and Egalitarianism: Caste, Class, and Power in Sinhalese Peasant Society (Athlone, 1994).\n Roberts, Michael. Sri Lanka: Collective Identities Revisited (Colombo-Marga Institute, 1997).\n Wickremeratne, Ananda. Buddhism and Ethnicity in Sri Lanka: A Historical Analysis (New Delhi-Vikas Publishing House, 1995).\n\nExternal links \n\n CIA Factbook-Sri Lanka\n Department of Census and Statistics-Sri Lanka\n Ethnologue-Sinhala, a language of Sri Lanka\n CIA Factbook-Sri Lanka\n Sinhalese\n Who are the Sinhalese\n\n \nBuddhist communities of Sri Lanka\nEthnic groups in Sri Lanka\nEthnic groups in the Indian Ocean\nIndo-Aryan peoples\nSinhalese diaspora\nSinhalese culture"},"extractive":{"kind":"string","value":"true"},"retrieved_contexts":{"kind":"list like","value":["What Was Before () is a 2010 novel by the German writer Martin Mosebach. Through a series of vignettes, it tells the story of a man from the affluent suburbs of Frankfurt, who is asked by his girlfriend what his life was like before they met. An English translation by Kári Driscoll was published in 2014.\n\nReception\nPublishers Weekly wrote: \"Mosebach's charming, exuberant narrator is not be trusted, and the novel calls into question our notions of memory. Mosebach's writing is florid, tinged with a biting wit. ... Irreverent, playful, and intricate, Mosebach's book is a deconstruction of how we choose to tell stories.\"\n\nReferences\n\nExternal links\n What Was Before at the German publisher's website \n What Was Before at the British publisher's website\n\n2010 German novels\nFrankfurt in fiction\nGerman-language novels","Percy Greg (7 January 1836 Bury – 24 December 1889, Chelsea), son of William Rathbone Greg, was an English writer.\n\nPercy Greg, like his father, wrote about politics, but his views were violently reactionary: his History of the United States to the Reconstruction of the Union (1887) can be said to be more of a polemic, rather than a history.\n\nHis Across the Zodiac (1880) is an early science fiction novel, said to be the progenitor of the sword-and-planet genre. For that novel, Greg created what may have been the first artistic language that was described with linguistic and grammatical terminology. It also contained what is possibly the first instance in the English language of the word \"Astronaut\".\n\nIn 2010 a crater on Mars was named Greg in recognition of his contribution to the lore of Mars.\n\nBibliography\n\nAcross the Zodiac (1880)\nHistory of the United States to the Reconstruction of the Union (1887)\n\nReferences\n\nExternal links \n \n \n\n1836 births\n1889 deaths\nPeople from Bury, Greater Manchester"],"string":"[\n \"What Was Before () is a 2010 novel by the German writer Martin Mosebach. Through a series of vignettes, it tells the story of a man from the affluent suburbs of Frankfurt, who is asked by his girlfriend what his life was like before they met. An English translation by Kári Driscoll was published in 2014.\\n\\nReception\\nPublishers Weekly wrote: \\\"Mosebach's charming, exuberant narrator is not be trusted, and the novel calls into question our notions of memory. Mosebach's writing is florid, tinged with a biting wit. ... Irreverent, playful, and intricate, Mosebach's book is a deconstruction of how we choose to tell stories.\\\"\\n\\nReferences\\n\\nExternal links\\n What Was Before at the German publisher's website \\n What Was Before at the British publisher's website\\n\\n2010 German novels\\nFrankfurt in fiction\\nGerman-language novels\",\n \"Percy Greg (7 January 1836 Bury – 24 December 1889, Chelsea), son of William Rathbone Greg, was an English writer.\\n\\nPercy Greg, like his father, wrote about politics, but his views were violently reactionary: his History of the United States to the Reconstruction of the Union (1887) can be said to be more of a polemic, rather than a history.\\n\\nHis Across the Zodiac (1880) is an early science fiction novel, said to be the progenitor of the sword-and-planet genre. For that novel, Greg created what may have been the first artistic language that was described with linguistic and grammatical terminology. It also contained what is possibly the first instance in the English language of the word \\\"Astronaut\\\".\\n\\nIn 2010 a crater on Mars was named Greg in recognition of his contribution to the lore of Mars.\\n\\nBibliography\\n\\nAcross the Zodiac (1880)\\nHistory of the United States to the Reconstruction of the Union (1887)\\n\\nReferences\\n\\nExternal links \\n \\n \\n\\n1836 births\\n1889 deaths\\nPeople from Bury, Greater Manchester\"\n]"},"chunked_article":{"kind":"list like","value":["Sinhalese people () are an Indo-Aryan ethnic group native to the island of Sri Lanka. They were historically known as Hela people (). They constitute about 75% of the Sri Lankan population and number greater than 16.2 million. The Sinhalese identity is based on language, cultural heritage and nationality.","The Sinhalese identity is based on language, cultural heritage and nationality. The Sinhalese people speak Sinhala, an insular Indo-Aryan language, and are predominantly Theravada Buddhists, although a minority of Sinhalese follow branches of Christianity and other religions.","The Sinhalese people speak Sinhala, an insular Indo-Aryan language, and are predominantly Theravada Buddhists, although a minority of Sinhalese follow branches of Christianity and other religions. Since 1815, they were broadly divided into two respective groups: The 'Up-country Sinhalese' in the central mountainous regions, and the 'Low-country Sinhalese' in the coastal regions; although both groups speak the same language, they are distinguished as they observe different cultural customs.","Since 1815, they were broadly divided into two respective groups: The 'Up-country Sinhalese' in the central mountainous regions, and the 'Low-country Sinhalese' in the coastal regions; although both groups speak the same language, they are distinguished as they observe different cultural customs. According to the Mahavamsa and the Dipavamsa, a 3rd–5th century treatise written in Pali by Buddhist monks of the Anuradhapura Maha Viharaya in Sri Lanka, the Sinhalese descend from settlers who came to the island in 543 BCE from Sinhapura led by Prince Vijaya who mixed with the indigenous Yakka and later settlers from the Pandya kingdom.","According to the Mahavamsa and the Dipavamsa, a 3rd–5th century treatise written in Pali by Buddhist monks of the Anuradhapura Maha Viharaya in Sri Lanka, the Sinhalese descend from settlers who came to the island in 543 BCE from Sinhapura led by Prince Vijaya who mixed with the indigenous Yakka and later settlers from the Pandya kingdom. Etymology From the Sanskrit word Sinhala, meaning literally \"of lions\".","Etymology From the Sanskrit word Sinhala, meaning literally \"of lions\". The Mahavamsa records the origin of the Sinhalese people and related historical events.","The Mahavamsa records the origin of the Sinhalese people and related historical events. It traces the historical origin of the Sinhalese people back to the first king who mentioned in the documentary history of Sri Lanka, Vijaya, who is the son of Sinhabahu (Sanskrit meaning 'Sinha' (lion) + 'bahu' (hands, feet), the ruler of Sinhapura.","It traces the historical origin of the Sinhalese people back to the first king who mentioned in the documentary history of Sri Lanka, Vijaya, who is the son of Sinhabahu (Sanskrit meaning 'Sinha' (lion) + 'bahu' (hands, feet), the ruler of Sinhapura. Some versions suggest Vijaya is the grandson of Sinhabahu.","Some versions suggest Vijaya is the grandson of Sinhabahu. According to the Mahavamsa, Sinhabahu was the son of princess Suppadevi of Vanga, who copulated with a lion and gave birth to a daughter called Sinhasivali and to a son, Sinhabahu, whose hands and feet were like the paws of a lion and who had the strength of a lion.","According to the Mahavamsa, Sinhabahu was the son of princess Suppadevi of Vanga, who copulated with a lion and gave birth to a daughter called Sinhasivali and to a son, Sinhabahu, whose hands and feet were like the paws of a lion and who had the strength of a lion. King Vijaya, the lineage of Sinhabahu, according to the Mahavamsa and other historical sources, arrived on the island of Tambapanni (Sri Lanka) and gave origin to the lion people, Sinhalese.","King Vijaya, the lineage of Sinhabahu, according to the Mahavamsa and other historical sources, arrived on the island of Tambapanni (Sri Lanka) and gave origin to the lion people, Sinhalese. The story of the arrival of Prince Vijaya in Sri Lanka and the origin of the Sinhalese people is also depicted in the Ajanta caves, in a mural of cave number 17.","The story of the arrival of Prince Vijaya in Sri Lanka and the origin of the Sinhalese people is also depicted in the Ajanta caves, in a mural of cave number 17. According to Arisen Ahubudu, there were four major clans of \"hela\" in ancient Sri Lanka even before the arrival of Prince Vijaya, and that Sri Lanka was called as \"Siv hela\" (siv=four in the Sinhala language) and later it was changed into \"Sinhala\".","According to Arisen Ahubudu, there were four major clans of \"hela\" in ancient Sri Lanka even before the arrival of Prince Vijaya, and that Sri Lanka was called as \"Siv hela\" (siv=four in the Sinhala language) and later it was changed into \"Sinhala\". History The early recorded history of the Sinhalese is chronicled in two documents, the Mahavamsa, written in Pāli around the 4th century CE, and the later Culavamsa (the first segment probably penned in the 13th century CE by the Buddhist monk Dhammakitti).","History The early recorded history of the Sinhalese is chronicled in two documents, the Mahavamsa, written in Pāli around the 4th century CE, and the later Culavamsa (the first segment probably penned in the 13th century CE by the Buddhist monk Dhammakitti). These are ancient sources that cover the histories of the powerful ancient Sinhalese kingdoms of Anuradhapura and Polonnaruwa which lasted for 1500 years.","These are ancient sources that cover the histories of the powerful ancient Sinhalese kingdoms of Anuradhapura and Polonnaruwa which lasted for 1500 years. The Mahavamsa describes the existence of fields of rice and reservoirs, indicating a well-developed agrarian society.","The Mahavamsa describes the existence of fields of rice and reservoirs, indicating a well-developed agrarian society. Pre Anuradhapura period According to Mahavamsa, Prince Vijaya and his 700 followers left Suppāraka, landed on the island at a site believed by historians to be in the district of Puttalam, south of modern-day Mannar and founded the Kingdom of Thambapanni.","Pre Anuradhapura period According to Mahavamsa, Prince Vijaya and his 700 followers left Suppāraka, landed on the island at a site believed by historians to be in the district of Puttalam, south of modern-day Mannar and founded the Kingdom of Thambapanni. It is recorded the Vijaya made his landing on the day of Buddha's Parinirvana.","It is recorded the Vijaya made his landing on the day of Buddha's Parinirvana. Vijaya claimed Tambapanni his capital and soon the whole island come under this name. Tambapanni was originally inhabited and governed by Yakkhas, having their capital at Sirīsavatthu and their queen Kuveni. According to the Samyutta Commentary, Tambapanni was one hundred leagues in extent.","According to the Samyutta Commentary, Tambapanni was one hundred leagues in extent. At the end of his reign, Vijaya, having trouble choosing a successor, sent a letter to the city of his ancestors, Sinhapura, in order to invite his brother Sumitta to take over the throne.","At the end of his reign, Vijaya, having trouble choosing a successor, sent a letter to the city of his ancestors, Sinhapura, in order to invite his brother Sumitta to take over the throne. However, Vijaya had died before the letter had reached its destination, so the elected minister of the people Upatissa, the Chief government minister or prime minister and leading chief among the Sinhalese became regent and acted as regent for a year.","However, Vijaya had died before the letter had reached its destination, so the elected minister of the people Upatissa, the Chief government minister or prime minister and leading chief among the Sinhalese became regent and acted as regent for a year. After his coronation, which was held in the Kingdom of Tambapanni, he left it, building another one, bearing his own name.","After his coronation, which was held in the Kingdom of Tambapanni, he left it, building another one, bearing his own name. While he was king, Upatissa established the new capital Upatissa, in which the kingdom was moved to from the Kingdom of Tambapanni.","While he was king, Upatissa established the new capital Upatissa, in which the kingdom was moved to from the Kingdom of Tambapanni. When Vijaya's letter arrived, Sumitta had already succeeded his father as king of his country, and so he sent his son Panduvasdeva to rule Upatissa Nuwara.","When Vijaya's letter arrived, Sumitta had already succeeded his father as king of his country, and so he sent his son Panduvasdeva to rule Upatissa Nuwara. Upatissa Nuwara was seven or eight miles further north of the Kingdom of Tambapanni.","Upatissa Nuwara was seven or eight miles further north of the Kingdom of Tambapanni. It was named after the regent king Upatissa, who was the prime minister of Vijaya, and was founded in 505 BC after the death of Vijaya and the end of the Kingdom of Tambapanni.","It was named after the regent king Upatissa, who was the prime minister of Vijaya, and was founded in 505 BC after the death of Vijaya and the end of the Kingdom of Tambapanni. Anuradhapura period In 377 BC, King Pandukabhaya (437–367 BC) moved the capital to Anuradhapura and developed it into a prosperous city.","Anuradhapura period In 377 BC, King Pandukabhaya (437–367 BC) moved the capital to Anuradhapura and developed it into a prosperous city. Anuradhapura (Anurapura) was named after the minister who first established the village and after a grandfather of Pandukabhaya who lived there.","Anuradhapura (Anurapura) was named after the minister who first established the village and after a grandfather of Pandukabhaya who lived there. The name was also derived from the city's establishment on the auspicious asterism called Anura. Anuradhapura was the capital of all the monarchs who ruled from the dynasty.","Anuradhapura was the capital of all the monarchs who ruled from the dynasty. Rulers such as Dutthagamani, Valagamba, and Dhatusena are noted for defeating the South Indians and regaining control of the kingdom.","Rulers such as Dutthagamani, Valagamba, and Dhatusena are noted for defeating the South Indians and regaining control of the kingdom. Other rulers who are notable for military achievements include Gajabahu I, who launched an invasion against the invaders, and Sena II, who sent his armies to assist a Pandyan prince.","Other rulers who are notable for military achievements include Gajabahu I, who launched an invasion against the invaders, and Sena II, who sent his armies to assist a Pandyan prince. Polonnaruwa period During the Middle Ages Sri Lanka was well known for its agricultural prosperity under king Parakramabahu in Polonnaruwa during which period the island was famous around the world as the rice mill of the east.","Polonnaruwa period During the Middle Ages Sri Lanka was well known for its agricultural prosperity under king Parakramabahu in Polonnaruwa during which period the island was famous around the world as the rice mill of the east. Transitional period Later in the 13th century the country's administrative provinces were divided into independent kingdoms and chieftaincies: Kingdom of Sitawaka, Kingdom of Kotte, Jaffna Kingdom and the Kandyan kingdom.","Transitional period Later in the 13th century the country's administrative provinces were divided into independent kingdoms and chieftaincies: Kingdom of Sitawaka, Kingdom of Kotte, Jaffna Kingdom and the Kandyan kingdom. The invasion by the Hindu king Magha in the 13th century led to migrations by the Buddhists (mostly Sinhalese) to areas not under his control.","The invasion by the Hindu king Magha in the 13th century led to migrations by the Buddhists (mostly Sinhalese) to areas not under his control. This migration was followed by a period of conflict among the Sinhalese chiefs who tried to exert political supremacy.","This migration was followed by a period of conflict among the Sinhalese chiefs who tried to exert political supremacy. Parakramabahu VI, a Sinhalese king invaded the Jaffna Kingdom and conquered it, bringing the entire country back under the Sinhalese kingdom.","Parakramabahu VI, a Sinhalese king invaded the Jaffna Kingdom and conquered it, bringing the entire country back under the Sinhalese kingdom. Trade also increased during this period, as Sri Lanka began to trade cinnamon and a large number of Muslim traders were bought into the island.","Trade also increased during this period, as Sri Lanka began to trade cinnamon and a large number of Muslim traders were bought into the island. In the 15th century a Kandyan Kingdom formed which divided the Sinhalese politically into low-country and up-country.","In the 15th century a Kandyan Kingdom formed which divided the Sinhalese politically into low-country and up-country. In this period, the Sinhalese caste structure absorbed recent Dravidian Hindu immigrants from South India leading to the emergence of three new Sinhalese caste groups - the Salagama, the Durava and the Karava.","In this period, the Sinhalese caste structure absorbed recent Dravidian Hindu immigrants from South India leading to the emergence of three new Sinhalese caste groups - the Salagama, the Durava and the Karava. Modern history The Sinhalese have a stable birth rate and a population that has been growing at a slow pace relative to India and other Asian countries.","Modern history The Sinhalese have a stable birth rate and a population that has been growing at a slow pace relative to India and other Asian countries. Society Demographics Sri Lanka Within Sri Lanka the majority of the Sinhalese reside in the South, Central, Sabaragamuwa and Western parts of the country.","Society Demographics Sri Lanka Within Sri Lanka the majority of the Sinhalese reside in the South, Central, Sabaragamuwa and Western parts of the country. This coincides with the largest Sinhalese populations areas in Sri Lanka. Cities with more than 90% Sinhalese population include Hambantota, Galle, Gampaha, Kurunegala, Monaragala, Anuradhapura and Polonnaruwa.","Cities with more than 90% Sinhalese population include Hambantota, Galle, Gampaha, Kurunegala, Monaragala, Anuradhapura and Polonnaruwa. Diaspora Sinhalese people have emigrated out to many countries for a variety of reasons. The larger diaspora communities are situated in the United Kingdom, Australia, United States and Canada among others.","The larger diaspora communities are situated in the United Kingdom, Australia, United States and Canada among others. In addition to this there are many Sinhalese, who reside in the Middle East, Southeast Asia and Europe, temporarily in connection with employment and/or education.","In addition to this there are many Sinhalese, who reside in the Middle East, Southeast Asia and Europe, temporarily in connection with employment and/or education. They are often employed as guest workers in the Middle East and professionals in the other regions.","They are often employed as guest workers in the Middle East and professionals in the other regions. The largest population centres of the Sinhalese diaspora are mainly situated in Europe, North America and Australia. The city of Melbourne contains just under half of the Sri Lankan Australians. The 2011 census recorded 86,412 Sri Lanka born in Australia.","The 2011 census recorded 86,412 Sri Lanka born in Australia. There are 73,849 Australians (0.4 of the population) who reported having Sinhalese ancestry in 2006. Sinhala was also reported to be the 29th-fastest-growing language in Australia (ranking above Somali but behind Hindi and Belarusian).","Sinhala was also reported to be the 29th-fastest-growing language in Australia (ranking above Somali but behind Hindi and Belarusian). Sinhalese Australians have an exceptionally low rate of return migration to Sri Lanka. In the 2011 Canadian Census, 7,220 people identified themselves as of Sinhalese ancestry, out of 139,415 Sri Lankans.","In the 2011 Canadian Census, 7,220 people identified themselves as of Sinhalese ancestry, out of 139,415 Sri Lankans. There are a small number of Sinhalese people in India, scattered around the country, but mainly living in and around the northern and southern regions.","There are a small number of Sinhalese people in India, scattered around the country, but mainly living in and around the northern and southern regions. Sri Lankan New Zealanders comprised 3% of the Asian population of New Zealand in 2001.","Sri Lankan New Zealanders comprised 3% of the Asian population of New Zealand in 2001. The numbers arriving continued to increase, and at the 2018 census there were over 16,000 Sri Lankans living in New Zealand among those 9,171 were Sinhalese. In the U.S, the Sinhalese number about 12,000 people.","In the U.S, the Sinhalese number about 12,000 people. The New York City Metropolitan Area contains the largest Sri Lankan community in the United States, receiving the highest legal permanent resident Sri Lankan immigrant population, followed by Central New Jersey and the Los Angeles metropolitan area. Many Sinhalese have migrated to Italy since the 1970s.","Many Sinhalese have migrated to Italy since the 1970s. Italy was attractive to the Sinhalese due to perceived easier employment opportunities and entry, compared to other European countries. It is estimated that there are 30,000-33,000 Sinhalese in Italy.","It is estimated that there are 30,000-33,000 Sinhalese in Italy. The major Sinhalese communities in Italy are located in Lombardia (In the districts Loreto and Lazzaretto), Milan, Lazio, Rome, Naples, and Southern Italy (Particularly Palermo, Messina and Catania).","The major Sinhalese communities in Italy are located in Lombardia (In the districts Loreto and Lazzaretto), Milan, Lazio, Rome, Naples, and Southern Italy (Particularly Palermo, Messina and Catania). It should be noted however that many countries census list Sri Lankan which also includes Sri Lankan Tamils so the numbers of just Sinhalese are not as accurate when the census states Sri Lankan and not Sinhalese.","It should be noted however that many countries census list Sri Lankan which also includes Sri Lankan Tamils so the numbers of just Sinhalese are not as accurate when the census states Sri Lankan and not Sinhalese. Though Sinhalese people in particular and Sri Lankans in general have migrated to the UK over the centuries beginning from the colonial times, the number of Sinhalese people in the UK cannot be estimated accurately due to inadequacies of census in the UK.","Though Sinhalese people in particular and Sri Lankans in general have migrated to the UK over the centuries beginning from the colonial times, the number of Sinhalese people in the UK cannot be estimated accurately due to inadequacies of census in the UK. The UK government does not record statistics on the basis of language or ethnicity and all Sri Lankans are classified into one group as Asian British or Asian Other.","The UK government does not record statistics on the basis of language or ethnicity and all Sri Lankans are classified into one group as Asian British or Asian Other. Language and literature Sinhalese people speak Sinhala, also known as \"Helabasa\"; this language has two varieties, spoken and written.","Language and literature Sinhalese people speak Sinhala, also known as \"Helabasa\"; this language has two varieties, spoken and written. Sinhala is an Indo-Aryan language within the broader group of Indo-European languages.","Sinhala is an Indo-Aryan language within the broader group of Indo-European languages. The early form of the language was brought to Sri Lanka by the ancestors of the Sinhalese people from northern India who settled on the island in the 6th century BCE.","The early form of the language was brought to Sri Lanka by the ancestors of the Sinhalese people from northern India who settled on the island in the 6th century BCE. Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages.","Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages. It was influenced by many languages, prominently Pali, the sacred language of Southern Buddhism, Telugu and Sanskrit. Many early texts in the language such as the Hela Atuwa were lost after their translation into Pali.","Many early texts in the language such as the Hela Atuwa were lost after their translation into Pali. Other significant Sinhala texts include Amāvatura, Kavu Silumina, Jathaka Potha and Sala Liheeniya. Sinhala has also adopted many loanwords of foreign origin, including from many Indian such as Tamil and European languages such as Portuguese, Dutch, and English.","Sinhala has also adopted many loanwords of foreign origin, including from many Indian such as Tamil and European languages such as Portuguese, Dutch, and English. Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world.","Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world. The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages.","The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages. Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and foreign films.","Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and foreign films. Additionally many Dutch and Portuguese words can be seen in the coastal areas.","Additionally many Dutch and Portuguese words can be seen in the coastal areas. Sinhalese people, depending on where they live in Sri Lanka, may also additionally speak English and or Tamil. According to the 2012 Census 23.8% or 3,033,659 Sinhalese people also spoke English and 6.4% or 812,738 Sinhalese people also spoke Tamil.","According to the 2012 Census 23.8% or 3,033,659 Sinhalese people also spoke English and 6.4% or 812,738 Sinhalese people also spoke Tamil. In the Negombo area bilingual fishermen who generally identify themselves as Sinhalese also speak the Negombo Tamil dialect. This dialect has undergone considerable convergence with spoken Sinhala.","This dialect has undergone considerable convergence with spoken Sinhala. Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today. Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance.","Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance. Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son.","Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son. In the modern period, Sinhala writers such as Martin Wickremasinghe and G. B. Senanayake have drawn widespread acclaim. Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake.","Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake. Martin Wickramasinghe wrote the immensely popular children's novel Madol Duwa. Munadasa Cumaratunga's Hath Pana is also widely known. Religion The form of Buddhism in Sri Lanka is known as Theravada (school of elders).","Religion The form of Buddhism in Sri Lanka is known as Theravada (school of elders). The Pali chronicles (e.g., the Mahavansa) claim that the Sinhalese as an ethnic group are destined to preserve and protect Buddhism. In 1988 almost 93% of the Sinhala speaking population in Sri Lanka were Buddhist.","In 1988 almost 93% of the Sinhala speaking population in Sri Lanka were Buddhist. Observations of current religious beliefs and practices demonstrate that the Sinhalese, as a religious community, have a complex worldview as Buddhists.","Observations of current religious beliefs and practices demonstrate that the Sinhalese, as a religious community, have a complex worldview as Buddhists. Due to the proximity and on some occasions similarity of certain doctrines, there are many areas where Buddhists and Hindus share religious views and practices.","Due to the proximity and on some occasions similarity of certain doctrines, there are many areas where Buddhists and Hindus share religious views and practices. Sinhalese Buddhists have adopted religious elements from Hindu traditions in their religious practices.","Sinhalese Buddhists have adopted religious elements from Hindu traditions in their religious practices. Some of these practices may relate to ancient indigenous beliefs and traditions on spirits (folk religion), and the worship of Hindu deities. Some of these figures are used in healing rituals and may be native to the island.","Some of these figures are used in healing rituals and may be native to the island. Gods and goddess derived from Hindu deities are worshiped by Sinhalese. Kataragama Deviyo from Kartikeya, Upulvan from Vishnu and Ayyanayake from Aiyanar can be named as examples.","Kataragama Deviyo from Kartikeya, Upulvan from Vishnu and Ayyanayake from Aiyanar can be named as examples. Though these gods take the same place as their Hindu counterparts in mythology, some of their aspects are different compared to the original gods.","Though these gods take the same place as their Hindu counterparts in mythology, some of their aspects are different compared to the original gods. Prominent Sri Lankan anthropologists Gananath Obeyesekere and Kitsiri Malalgoda used the term \"Protestant Buddhism\" to describe a type of Buddhism that appeared among the Sinhalese in Sri Lanka as a response to Protestant Christian missionaries and their evangelical activities during the British colonial period.","Prominent Sri Lankan anthropologists Gananath Obeyesekere and Kitsiri Malalgoda used the term \"Protestant Buddhism\" to describe a type of Buddhism that appeared among the Sinhalese in Sri Lanka as a response to Protestant Christian missionaries and their evangelical activities during the British colonial period. This kind of Buddhism involved emulating the Protestant strategies of organising religious practices.","This kind of Buddhism involved emulating the Protestant strategies of organising religious practices. They saw the need to establish Buddhist schools for educating Buddhist youth and organising Buddhists with new organisations such as the Young Men's Buddhist Association, as well as printing pamphlets to encourage people to participate in debates and religious controversies to defend Buddhism.","They saw the need to establish Buddhist schools for educating Buddhist youth and organising Buddhists with new organisations such as the Young Men's Buddhist Association, as well as printing pamphlets to encourage people to participate in debates and religious controversies to defend Buddhism. Christianity There is a significant Sinhalese Christian community, in the maritime provinces of Sri Lanka.","Christianity There is a significant Sinhalese Christian community, in the maritime provinces of Sri Lanka. Christianity was brought to the Sinhalese by Portuguese, Dutch, and British missionary groups during their respective periods of rule. Most Sinhalese Christians are Roman Catholic; a minority are Protestant. Their cultural centre is Negombo.","Their cultural centre is Negombo. Their cultural centre is Negombo. Religion is considered very important among the Sinhalese. According to a 2008 Gallup poll, 99% of Sri Lankans considered religion an important aspect of their daily lives. Genetics Modern studies point towards a predominantly Bengali contribution and a minor Tamil influence.","Genetics Modern studies point towards a predominantly Bengali contribution and a minor Tamil influence. Gujarati and Punjabi lineages are also visible. In relation to the former, other studies also show the Sinhalese possess some genetic admixture from Southeast Asian populations, especially from Austroasiatic groups.","In relation to the former, other studies also show the Sinhalese possess some genetic admixture from Southeast Asian populations, especially from Austroasiatic groups. Certain Y-DNA and mtDNA haplogroups and genetic markers of immunoglobulin among the Sinhalese, for example, show Southeast Asian genetic influences many of which are also found among certain Northeast Indian populations to whom the Sinhalese are genetically related.","Certain Y-DNA and mtDNA haplogroups and genetic markers of immunoglobulin among the Sinhalese, for example, show Southeast Asian genetic influences many of which are also found among certain Northeast Indian populations to whom the Sinhalese are genetically related. Culture Sinhalese culture is a unique one dating as far back as 2600 years and has been nourished by Theravada Buddhism.","Culture Sinhalese culture is a unique one dating as far back as 2600 years and has been nourished by Theravada Buddhism. Its main domains are sculpture, fine arts, literature, dancing, poetry and a wide variety of folk beliefs and rituals traditionally.","Its main domains are sculpture, fine arts, literature, dancing, poetry and a wide variety of folk beliefs and rituals traditionally. Ancient Sinhala stone sculpture and inscriptions are known worldwide and is a main foreign attraction in modern tourism. Sigirirya is famous for its frescoes.","Sigirirya is famous for its frescoes. Folk poems were sung by workers to accompany their work and narrate the story of their lives. Ideally these poems consisted of four lines and, in the composition of these poems, special attention had been paid to the rhyming patterns. Buddhist festivals are dotted by unique music using traditionally Sinhalese instruments.","Buddhist festivals are dotted by unique music using traditionally Sinhalese instruments. More ancient rituals like (devil exorcism) continue to enthrall audiences today and often praised and invoked the good powers of the Buddha and the gods in order to exorcise the demons.","More ancient rituals like (devil exorcism) continue to enthrall audiences today and often praised and invoked the good powers of the Buddha and the gods in order to exorcise the demons. Folklore and national mythology According to the Mahavamsa, the Sinhalese are descended from the exiled Prince Vijaya and his party of seven hundred followers who arrived on the island in 543 BCE.","Folklore and national mythology According to the Mahavamsa, the Sinhalese are descended from the exiled Prince Vijaya and his party of seven hundred followers who arrived on the island in 543 BCE. Vijaya and his followers were said to have arrived in Sri Lanka after being exiled from the city of Sinhapura in Bengal.","Vijaya and his followers were said to have arrived in Sri Lanka after being exiled from the city of Sinhapura in Bengal. The modern Sinhalese people were found genetically to be most closely related to the people of North-East India (Bengal).","The modern Sinhalese people were found genetically to be most closely related to the people of North-East India (Bengal). It is thought throughout Sri Lanka's history, since the founding of the Sinhalese in the 5th century BC that an influx of Indians from North India came to the island.","It is thought throughout Sri Lanka's history, since the founding of the Sinhalese in the 5th century BC that an influx of Indians from North India came to the island. This is further supported from Sinhala being part of the Indo-Aryan language group. Traditionally during recreation the Sinhalese wear a sarong (sarama in Sinhala).","Traditionally during recreation the Sinhalese wear a sarong (sarama in Sinhala). Men may wear a long-sleeved shirt with a sarong. Clothing varies by region for women. Low country Sinhalese women wear a white Long sleeved jacket, and a tight wrap around skirt, which usually is embedded with a floral or pattern design.","Low country Sinhalese women wear a white Long sleeved jacket, and a tight wrap around skirt, which usually is embedded with a floral or pattern design. As for the up country Sinhalese, women wear a similar outfit, but with a puffed up shoulder jacket, and a tucked in frill that lines the top of the skirt (Reda and Hatte in Sinhala).","As for the up country Sinhalese, women wear a similar outfit, but with a puffed up shoulder jacket, and a tucked in frill that lines the top of the skirt (Reda and Hatte in Sinhala). Traditionally, high caste Kandyan women wear a Kandyan style sari, which is similar to the Maharashtrian sari, with the drape but with a frill lining the bottom half and sometimes puffed up sleeves.","Traditionally, high caste Kandyan women wear a Kandyan style sari, which is similar to the Maharashtrian sari, with the drape but with a frill lining the bottom half and sometimes puffed up sleeves. It’s also called an Osariya. The low country high caste women wear a South Indian style saree.","The low country high caste women wear a South Indian style saree. Within the more populated areas, Sinhalese men also wear Western-style clothing — wearing suits while the women wear skirts and blouses.","Within the more populated areas, Sinhalese men also wear Western-style clothing — wearing suits while the women wear skirts and blouses. For formal and ceremonial occasions women wear the traditional Kandyan (Osariya) style, which consists of a full blouse which covers the midriff completely, and is partially tucked in at the front.","For formal and ceremonial occasions women wear the traditional Kandyan (Osariya) style, which consists of a full blouse which covers the midriff completely, and is partially tucked in at the front. However, modern intermingling of styles has led to most wearers baring the midriff. The Kandyan style is considered as the national dress of Sinhalese women.","The Kandyan style is considered as the national dress of Sinhalese women. In many occasions and functions, even the saree plays an important role in women's clothing and has become the de facto clothing for female office workers especially in government sector. An example of its use is the uniform of air hostesses of Sri Lankan Airlines.","An example of its use is the uniform of air hostesses of Sri Lankan Airlines. Cuisine Sinhalese cuisine is one of the most complex cuisines of South Asia. As a major trade hub, it draws influence from colonial powers that were involved in Sri Lanka and by foreign traders.","As a major trade hub, it draws influence from colonial powers that were involved in Sri Lanka and by foreign traders. Rice, which is consumed daily, can be found at any occasion, while spicy curries are favourite dishes for lunch and dinner.","Rice, which is consumed daily, can be found at any occasion, while spicy curries are favourite dishes for lunch and dinner. Some of the Sri Lankan dishes have striking resemblance to Kerala cuisine, which could be due to the similar geographic and agricultural features with Kerala.","Some of the Sri Lankan dishes have striking resemblance to Kerala cuisine, which could be due to the similar geographic and agricultural features with Kerala. A well-known rice dish with Sinhalese is Kiribath, meaning ‘milk rice’. In addition to , Sinhalese eat , chopped leaves mixed with grated coconut and red onions.","In addition to , Sinhalese eat , chopped leaves mixed with grated coconut and red onions. Coconut milk is found in most Sri Lankan dishes to give the cuisine its unique flavour. Sri Lanka has long been renowned for its spices. The best known is cinnamon which is native to Sri Lanka.","The best known is cinnamon which is native to Sri Lanka. In the 15th and 16th centuries, spice and ivory traders from all over the world who came to Sri Lanka brought their native cuisines to the island, resulting in a rich diversity of cooking styles and techniques.","In the 15th and 16th centuries, spice and ivory traders from all over the world who came to Sri Lanka brought their native cuisines to the island, resulting in a rich diversity of cooking styles and techniques. Lamprais, rice boiled in stock with a special curry, accompanied by frikkadels (meatballs), all of which is then wrapped in a banana leaf and baked as a Dutch-influenced Sri Lankan dish.","Lamprais, rice boiled in stock with a special curry, accompanied by frikkadels (meatballs), all of which is then wrapped in a banana leaf and baked as a Dutch-influenced Sri Lankan dish. Dutch and Portuguese sweets also continue to be popular. British influences include roast beef and roast chicken.","British influences include roast beef and roast chicken. Also, the influence of the Indian cooking methods and food have played a major role in what Sri Lankans eat. The island nation's cuisine mainly consists of boiled or steamed rice served with curry.","The island nation's cuisine mainly consists of boiled or steamed rice served with curry. This usually consists of a main curry of fish or chicken, as well as several other curries made with vegetables, lentils and even fruit curries. Side-dishes include pickles, chutneys and .","Side-dishes include pickles, chutneys and . The most famous of these is the coconut sambol, made of ground coconut mixed with chili peppers, dried Maldive fish and lime juice. This is ground to a paste and eaten with rice, as it gives zest to the meal and is believed to increase appetite.","This is ground to a paste and eaten with rice, as it gives zest to the meal and is believed to increase appetite. Art and architecture Many forms of Sri Lankan arts and crafts take inspiration from the island's long and lasting Buddhist culture which in turn has absorbed and adopted countless regional and local traditions.","Art and architecture Many forms of Sri Lankan arts and crafts take inspiration from the island's long and lasting Buddhist culture which in turn has absorbed and adopted countless regional and local traditions. In most instances Sri Lankan art originates from religious beliefs, and is represented in many forms such as painting, sculpture, and architecture.","In most instances Sri Lankan art originates from religious beliefs, and is represented in many forms such as painting, sculpture, and architecture. One of the most notable aspects of Sri Lankan art are caves and temple paintings, such as the frescoes found at Sigiriya, and religious paintings found in temples in Dambulla and Temple of the Tooth Relic in Kandy.","One of the most notable aspects of Sri Lankan art are caves and temple paintings, such as the frescoes found at Sigiriya, and religious paintings found in temples in Dambulla and Temple of the Tooth Relic in Kandy. Other popular forms of art have been influenced by both natives as well as outside settlers.","Other popular forms of art have been influenced by both natives as well as outside settlers. For example, traditional wooden handicrafts and clay pottery are found around the hill country while Portuguese-inspired lacework and Indonesian-inspired Batik have become notable. It has many different and beautiful drawings.","It has many different and beautiful drawings. Developed upon Indo-Aryan architectural skills in the late 6th century BCE Sinhalese people who lived upon greater kingdoms such as Anuradhapura and Polonnaruwa have built so many architectural examples such as Ruwanwelisaya, Jetavanaramaya - second tallest brick building in the ancient world after Great Pyramid of Giza, and Abayagiriya - third tallest brick building in the ancient world.","Developed upon Indo-Aryan architectural skills in the late 6th century BCE Sinhalese people who lived upon greater kingdoms such as Anuradhapura and Polonnaruwa have built so many architectural examples such as Ruwanwelisaya, Jetavanaramaya - second tallest brick building in the ancient world after Great Pyramid of Giza, and Abayagiriya - third tallest brick building in the ancient world. And also with the ancient hydraulic technology which is also unique to Sinhalese people to build ancient tanks, systematic ponds with fountains moats and Irrigational reservoirs such as Parakrama Samudra, Kaudulla and Kandalama.","And also with the ancient hydraulic technology which is also unique to Sinhalese people to build ancient tanks, systematic ponds with fountains moats and Irrigational reservoirs such as Parakrama Samudra, Kaudulla and Kandalama. Sigiriya which is considered by many as the 8th wonder of the world, it is a combination of natural and man made fortress, which consists so many architectural aspects.","Sigiriya which is considered by many as the 8th wonder of the world, it is a combination of natural and man made fortress, which consists so many architectural aspects. Music There are extensive folk poems relating to specific jobs of the ancient society.","Music There are extensive folk poems relating to specific jobs of the ancient society. These poems were communal songs which had a rhythm that were sung when performing day-to-day tasks like harvesting and sowing. Concerning popular music, Ananda Samarakoon developed the reflective and poignant Sarala gee style with his work in the late 1930s/early 1940s.","Concerning popular music, Ananda Samarakoon developed the reflective and poignant Sarala gee style with his work in the late 1930s/early 1940s. He has been followed by artists of repute such as Sunil Shantha, W. D. Amaradeva, Premasiri Khemadasa, Nanda Malini, Victor Ratnayake, Austin Munasinghe, T. M. Jayaratne, Sanath Nandasiri, Sunil Edirisinghe, Neela Wickremasinghe, Gunadasa Kapuge, Malini Bulathsinghala and Edward Jayakody.","He has been followed by artists of repute such as Sunil Shantha, W. D. Amaradeva, Premasiri Khemadasa, Nanda Malini, Victor Ratnayake, Austin Munasinghe, T. M. Jayaratne, Sanath Nandasiri, Sunil Edirisinghe, Neela Wickremasinghe, Gunadasa Kapuge, Malini Bulathsinghala and Edward Jayakody. Film and theatre Dramatist Ediriweera Sarachchandra revitalised the drama form with Maname in 1956.","Film and theatre Dramatist Ediriweera Sarachchandra revitalised the drama form with Maname in 1956. The same year, film director Lester James Peries created the artistic masterwork Rekava which sought to create a uniquely Sinhalese cinema with artistic integrity. Since then, Peries and other directors like Vasantha Obeysekera, Dharmasena Pathiraja, Mahagama Sekera, W. A.","Since then, Peries and other directors like Vasantha Obeysekera, Dharmasena Pathiraja, Mahagama Sekera, W. A. B. de Silva, Dharmasiri Bandaranayake, Sunil Ariyaratne, Siri Gunasinghe, G. D. L. Perera, Piyasiri Gunaratne, Titus Thotawatte, D. B. Nihalsinghe, Ranjith Lal, Dayananda Gunawardena, Mudalinayake Somaratne, Asoka Handagama, and Prasanna Vithanage have developed an artistic Sinhalese cinema.","B. de Silva, Dharmasiri Bandaranayake, Sunil Ariyaratne, Siri Gunasinghe, G. D. L. Perera, Piyasiri Gunaratne, Titus Thotawatte, D. B. Nihalsinghe, Ranjith Lal, Dayananda Gunawardena, Mudalinayake Somaratne, Asoka Handagama, and Prasanna Vithanage have developed an artistic Sinhalese cinema. Sinhala cinema is often made colourful with the incorporation of songs and dance adding more uniqueness to the industry.","Sinhala cinema is often made colourful with the incorporation of songs and dance adding more uniqueness to the industry. In the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success.","In the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success. Performing arts Performing arts of the Sinhalese people can be categorised into few groups: Kandyan dance consist of 18 Wannam (dance routines) featuring behaviours of various animals such as elephant, eagle, cobra, monkey, peacock and rabbit, mainly performing in the annual Perahara pageant in Sri Dalada Maligawa Kandy.","Performing arts Performing arts of the Sinhalese people can be categorised into few groups: Kandyan dance consist of 18 Wannam (dance routines) featuring behaviours of various animals such as elephant, eagle, cobra, monkey, peacock and rabbit, mainly performing in the annual Perahara pageant in Sri Dalada Maligawa Kandy. Pahatharata dance have a significant dancing style which is used to cure illnesses and spiritual clarification.","Pahatharata dance have a significant dancing style which is used to cure illnesses and spiritual clarification. The main feature of these dances is dancers wear masks representing various gods and demons, and use elements such as fire and water to bless people. Sabaragamuwa dances have also a significant dancing style, mainly to entertain people.","Sabaragamuwa dances have also a significant dancing style, mainly to entertain people. Folk music and dances differ according to the casts of Sinhalese people and also some times regionally—mainly popular among small children, especially girls. These arts are widely performed during the Sinhalese New Year period. Martial arts Angampora is the traditional martial art of the Sinhalese people.","Martial arts Angampora is the traditional martial art of the Sinhalese people. It combines combat techniques, self-defence, sport, exercise and meditation. Key techniques observed in Angampora are: Angam, which incorporates hand-to-hand fighting, and Illangam, which uses indigenous weapons such as Velayudaya, staves, knives and swords.","Key techniques observed in Angampora are: Angam, which incorporates hand-to-hand fighting, and Illangam, which uses indigenous weapons such as Velayudaya, staves, knives and swords. Its most distinct feature is the use of pressure point attacks to inflict pain or permanently paralyse the opponent.","Its most distinct feature is the use of pressure point attacks to inflict pain or permanently paralyse the opponent. Fighters usually make use of both striking and grappling techniques, and fight until the opponent is caught in a submission lock that they cannot escape. Usage of weapons is discretionary.","Usage of weapons is discretionary. Usage of weapons is discretionary. Perimeters of fighting are defined in advance, and in some of the cases is a pit. Angampora became nearly extinct after the country came under British rule in 1815, but survived in a few families until the country regained independence.","Angampora became nearly extinct after the country came under British rule in 1815, but survived in a few families until the country regained independence. Science and education The Sinhalese have a long history of literacy and formal learning. Instruction in basic fields like writing and reading by Buddhist Monks pre-date the birth of Christ.","Instruction in basic fields like writing and reading by Buddhist Monks pre-date the birth of Christ. This traditional system followed religious rule and was meant to foster Buddhist understanding. Training of officials in such skills as keeping track of revenue and other records for administrative purposes occurred under this institution.","Training of officials in such skills as keeping track of revenue and other records for administrative purposes occurred under this institution. Technical education such as the building of reservoirs and canals was passed down from generation to generation through home training and outside craft apprenticeships.","Technical education such as the building of reservoirs and canals was passed down from generation to generation through home training and outside craft apprenticeships. The arrival of the Portuguese and Dutch and the subsequent colonisation maintained religion as the centre of education though in certain communities under Catholic and Presbyterian hierarchy. The British in the 1800s initially followed the same course.","The British in the 1800s initially followed the same course. Following 1870 however they began a campaign for better education facilities in the region. Christian missionary groups were at the forefront of this development contributing to a high literacy among Christians. By 1901 schools in the South and the North were well tended. The inner regions lagged behind however.","The inner regions lagged behind however. Also, English education facilities presented hurdles for the general populace through fees and lack of access. Medicine Traditional Sinhalese villages in early days had at least one chief Medical personnel called Weda Mahaththaya (Doctor). These people practice their clinical activities by inheritance.","These people practice their clinical activities by inheritance. Sinhalese Medicine resembles some of Ayurvedic practices in contrast for some treatments they use Buddhist Chantings (Pirith) in order to strengthen the effectiveness.","Sinhalese Medicine resembles some of Ayurvedic practices in contrast for some treatments they use Buddhist Chantings (Pirith) in order to strengthen the effectiveness. According to the Mahavamsa, the ancient chronicle, Pandukabhaya of Sri Lanka (437 BC – 367 BC) had lying-in-homes and Ayurvedic hospitals (Sivikasotthi-Sala) built in various parts of the country.","According to the Mahavamsa, the ancient chronicle, Pandukabhaya of Sri Lanka (437 BC – 367 BC) had lying-in-homes and Ayurvedic hospitals (Sivikasotthi-Sala) built in various parts of the country. This is the earliest documentary evidence we have of institutions specifically dedicated to the care of the sick anywhere in the world.","This is the earliest documentary evidence we have of institutions specifically dedicated to the care of the sick anywhere in the world. Mihintale Hospital is the oldest in the world. See also List of Sinhalese people Sinhalese Buddhist nationalism References Citations Sources De Silva, K. M. History of Sri Lanka (Univ.","See also List of Sinhalese people Sinhalese Buddhist nationalism References Citations Sources De Silva, K. M. History of Sri Lanka (Univ. of Calif. Press, 1981) Gunasekera, Tamara. Hierarchy and Egalitarianism: Caste, Class, and Power in Sinhalese Peasant Society (Athlone, 1994). Roberts, Michael.","Roberts, Michael. Roberts, Michael. Sri Lanka: Collective Identities Revisited (Colombo-Marga Institute, 1997). Wickremeratne, Ananda. Buddhism and Ethnicity in Sri Lanka: A Historical Analysis (New Delhi-Vikas Publishing House, 1995).","Buddhism and Ethnicity in Sri Lanka: A Historical Analysis (New Delhi-Vikas Publishing House, 1995). External links CIA Factbook-Sri Lanka Department of Census and Statistics-Sri Lanka Ethnologue-Sinhala, a language of Sri Lanka CIA Factbook-Sri Lanka Sinhalese Who are the Sinhalese Buddhist communities of Sri Lanka Ethnic groups in Sri Lanka Ethnic groups in the Indian Ocean Indo-Aryan peoples Sinhalese diaspora Sinhalese culture"],"string":"[\n \"Sinhalese people () are an Indo-Aryan ethnic group native to the island of Sri Lanka. They were historically known as Hela people (). They constitute about 75% of the Sri Lankan population and number greater than 16.2 million. The Sinhalese identity is based on language, cultural heritage and nationality.\",\n \"The Sinhalese identity is based on language, cultural heritage and nationality. The Sinhalese people speak Sinhala, an insular Indo-Aryan language, and are predominantly Theravada Buddhists, although a minority of Sinhalese follow branches of Christianity and other religions.\",\n \"The Sinhalese people speak Sinhala, an insular Indo-Aryan language, and are predominantly Theravada Buddhists, although a minority of Sinhalese follow branches of Christianity and other religions. Since 1815, they were broadly divided into two respective groups: The 'Up-country Sinhalese' in the central mountainous regions, and the 'Low-country Sinhalese' in the coastal regions; although both groups speak the same language, they are distinguished as they observe different cultural customs.\",\n \"Since 1815, they were broadly divided into two respective groups: The 'Up-country Sinhalese' in the central mountainous regions, and the 'Low-country Sinhalese' in the coastal regions; although both groups speak the same language, they are distinguished as they observe different cultural customs. According to the Mahavamsa and the Dipavamsa, a 3rd–5th century treatise written in Pali by Buddhist monks of the Anuradhapura Maha Viharaya in Sri Lanka, the Sinhalese descend from settlers who came to the island in 543 BCE from Sinhapura led by Prince Vijaya who mixed with the indigenous Yakka and later settlers from the Pandya kingdom.\",\n \"According to the Mahavamsa and the Dipavamsa, a 3rd–5th century treatise written in Pali by Buddhist monks of the Anuradhapura Maha Viharaya in Sri Lanka, the Sinhalese descend from settlers who came to the island in 543 BCE from Sinhapura led by Prince Vijaya who mixed with the indigenous Yakka and later settlers from the Pandya kingdom. Etymology From the Sanskrit word Sinhala, meaning literally \\\"of lions\\\".\",\n \"Etymology From the Sanskrit word Sinhala, meaning literally \\\"of lions\\\". The Mahavamsa records the origin of the Sinhalese people and related historical events.\",\n \"The Mahavamsa records the origin of the Sinhalese people and related historical events. It traces the historical origin of the Sinhalese people back to the first king who mentioned in the documentary history of Sri Lanka, Vijaya, who is the son of Sinhabahu (Sanskrit meaning 'Sinha' (lion) + 'bahu' (hands, feet), the ruler of Sinhapura.\",\n \"It traces the historical origin of the Sinhalese people back to the first king who mentioned in the documentary history of Sri Lanka, Vijaya, who is the son of Sinhabahu (Sanskrit meaning 'Sinha' (lion) + 'bahu' (hands, feet), the ruler of Sinhapura. Some versions suggest Vijaya is the grandson of Sinhabahu.\",\n \"Some versions suggest Vijaya is the grandson of Sinhabahu. According to the Mahavamsa, Sinhabahu was the son of princess Suppadevi of Vanga, who copulated with a lion and gave birth to a daughter called Sinhasivali and to a son, Sinhabahu, whose hands and feet were like the paws of a lion and who had the strength of a lion.\",\n \"According to the Mahavamsa, Sinhabahu was the son of princess Suppadevi of Vanga, who copulated with a lion and gave birth to a daughter called Sinhasivali and to a son, Sinhabahu, whose hands and feet were like the paws of a lion and who had the strength of a lion. King Vijaya, the lineage of Sinhabahu, according to the Mahavamsa and other historical sources, arrived on the island of Tambapanni (Sri Lanka) and gave origin to the lion people, Sinhalese.\",\n \"King Vijaya, the lineage of Sinhabahu, according to the Mahavamsa and other historical sources, arrived on the island of Tambapanni (Sri Lanka) and gave origin to the lion people, Sinhalese. The story of the arrival of Prince Vijaya in Sri Lanka and the origin of the Sinhalese people is also depicted in the Ajanta caves, in a mural of cave number 17.\",\n \"The story of the arrival of Prince Vijaya in Sri Lanka and the origin of the Sinhalese people is also depicted in the Ajanta caves, in a mural of cave number 17. According to Arisen Ahubudu, there were four major clans of \\\"hela\\\" in ancient Sri Lanka even before the arrival of Prince Vijaya, and that Sri Lanka was called as \\\"Siv hela\\\" (siv=four in the Sinhala language) and later it was changed into \\\"Sinhala\\\".\",\n \"According to Arisen Ahubudu, there were four major clans of \\\"hela\\\" in ancient Sri Lanka even before the arrival of Prince Vijaya, and that Sri Lanka was called as \\\"Siv hela\\\" (siv=four in the Sinhala language) and later it was changed into \\\"Sinhala\\\". History The early recorded history of the Sinhalese is chronicled in two documents, the Mahavamsa, written in Pāli around the 4th century CE, and the later Culavamsa (the first segment probably penned in the 13th century CE by the Buddhist monk Dhammakitti).\",\n \"History The early recorded history of the Sinhalese is chronicled in two documents, the Mahavamsa, written in Pāli around the 4th century CE, and the later Culavamsa (the first segment probably penned in the 13th century CE by the Buddhist monk Dhammakitti). These are ancient sources that cover the histories of the powerful ancient Sinhalese kingdoms of Anuradhapura and Polonnaruwa which lasted for 1500 years.\",\n \"These are ancient sources that cover the histories of the powerful ancient Sinhalese kingdoms of Anuradhapura and Polonnaruwa which lasted for 1500 years. The Mahavamsa describes the existence of fields of rice and reservoirs, indicating a well-developed agrarian society.\",\n \"The Mahavamsa describes the existence of fields of rice and reservoirs, indicating a well-developed agrarian society. Pre Anuradhapura period According to Mahavamsa, Prince Vijaya and his 700 followers left Suppāraka, landed on the island at a site believed by historians to be in the district of Puttalam, south of modern-day Mannar and founded the Kingdom of Thambapanni.\",\n \"Pre Anuradhapura period According to Mahavamsa, Prince Vijaya and his 700 followers left Suppāraka, landed on the island at a site believed by historians to be in the district of Puttalam, south of modern-day Mannar and founded the Kingdom of Thambapanni. It is recorded the Vijaya made his landing on the day of Buddha's Parinirvana.\",\n \"It is recorded the Vijaya made his landing on the day of Buddha's Parinirvana. Vijaya claimed Tambapanni his capital and soon the whole island come under this name. Tambapanni was originally inhabited and governed by Yakkhas, having their capital at Sirīsavatthu and their queen Kuveni. According to the Samyutta Commentary, Tambapanni was one hundred leagues in extent.\",\n \"According to the Samyutta Commentary, Tambapanni was one hundred leagues in extent. At the end of his reign, Vijaya, having trouble choosing a successor, sent a letter to the city of his ancestors, Sinhapura, in order to invite his brother Sumitta to take over the throne.\",\n \"At the end of his reign, Vijaya, having trouble choosing a successor, sent a letter to the city of his ancestors, Sinhapura, in order to invite his brother Sumitta to take over the throne. However, Vijaya had died before the letter had reached its destination, so the elected minister of the people Upatissa, the Chief government minister or prime minister and leading chief among the Sinhalese became regent and acted as regent for a year.\",\n \"However, Vijaya had died before the letter had reached its destination, so the elected minister of the people Upatissa, the Chief government minister or prime minister and leading chief among the Sinhalese became regent and acted as regent for a year. After his coronation, which was held in the Kingdom of Tambapanni, he left it, building another one, bearing his own name.\",\n \"After his coronation, which was held in the Kingdom of Tambapanni, he left it, building another one, bearing his own name. While he was king, Upatissa established the new capital Upatissa, in which the kingdom was moved to from the Kingdom of Tambapanni.\",\n \"While he was king, Upatissa established the new capital Upatissa, in which the kingdom was moved to from the Kingdom of Tambapanni. When Vijaya's letter arrived, Sumitta had already succeeded his father as king of his country, and so he sent his son Panduvasdeva to rule Upatissa Nuwara.\",\n \"When Vijaya's letter arrived, Sumitta had already succeeded his father as king of his country, and so he sent his son Panduvasdeva to rule Upatissa Nuwara. Upatissa Nuwara was seven or eight miles further north of the Kingdom of Tambapanni.\",\n \"Upatissa Nuwara was seven or eight miles further north of the Kingdom of Tambapanni. It was named after the regent king Upatissa, who was the prime minister of Vijaya, and was founded in 505 BC after the death of Vijaya and the end of the Kingdom of Tambapanni.\",\n \"It was named after the regent king Upatissa, who was the prime minister of Vijaya, and was founded in 505 BC after the death of Vijaya and the end of the Kingdom of Tambapanni. Anuradhapura period In 377 BC, King Pandukabhaya (437–367 BC) moved the capital to Anuradhapura and developed it into a prosperous city.\",\n \"Anuradhapura period In 377 BC, King Pandukabhaya (437–367 BC) moved the capital to Anuradhapura and developed it into a prosperous city. Anuradhapura (Anurapura) was named after the minister who first established the village and after a grandfather of Pandukabhaya who lived there.\",\n \"Anuradhapura (Anurapura) was named after the minister who first established the village and after a grandfather of Pandukabhaya who lived there. The name was also derived from the city's establishment on the auspicious asterism called Anura. Anuradhapura was the capital of all the monarchs who ruled from the dynasty.\",\n \"Anuradhapura was the capital of all the monarchs who ruled from the dynasty. Rulers such as Dutthagamani, Valagamba, and Dhatusena are noted for defeating the South Indians and regaining control of the kingdom.\",\n \"Rulers such as Dutthagamani, Valagamba, and Dhatusena are noted for defeating the South Indians and regaining control of the kingdom. Other rulers who are notable for military achievements include Gajabahu I, who launched an invasion against the invaders, and Sena II, who sent his armies to assist a Pandyan prince.\",\n \"Other rulers who are notable for military achievements include Gajabahu I, who launched an invasion against the invaders, and Sena II, who sent his armies to assist a Pandyan prince. Polonnaruwa period During the Middle Ages Sri Lanka was well known for its agricultural prosperity under king Parakramabahu in Polonnaruwa during which period the island was famous around the world as the rice mill of the east.\",\n \"Polonnaruwa period During the Middle Ages Sri Lanka was well known for its agricultural prosperity under king Parakramabahu in Polonnaruwa during which period the island was famous around the world as the rice mill of the east. Transitional period Later in the 13th century the country's administrative provinces were divided into independent kingdoms and chieftaincies: Kingdom of Sitawaka, Kingdom of Kotte, Jaffna Kingdom and the Kandyan kingdom.\",\n \"Transitional period Later in the 13th century the country's administrative provinces were divided into independent kingdoms and chieftaincies: Kingdom of Sitawaka, Kingdom of Kotte, Jaffna Kingdom and the Kandyan kingdom. The invasion by the Hindu king Magha in the 13th century led to migrations by the Buddhists (mostly Sinhalese) to areas not under his control.\",\n \"The invasion by the Hindu king Magha in the 13th century led to migrations by the Buddhists (mostly Sinhalese) to areas not under his control. This migration was followed by a period of conflict among the Sinhalese chiefs who tried to exert political supremacy.\",\n \"This migration was followed by a period of conflict among the Sinhalese chiefs who tried to exert political supremacy. Parakramabahu VI, a Sinhalese king invaded the Jaffna Kingdom and conquered it, bringing the entire country back under the Sinhalese kingdom.\",\n \"Parakramabahu VI, a Sinhalese king invaded the Jaffna Kingdom and conquered it, bringing the entire country back under the Sinhalese kingdom. Trade also increased during this period, as Sri Lanka began to trade cinnamon and a large number of Muslim traders were bought into the island.\",\n \"Trade also increased during this period, as Sri Lanka began to trade cinnamon and a large number of Muslim traders were bought into the island. In the 15th century a Kandyan Kingdom formed which divided the Sinhalese politically into low-country and up-country.\",\n \"In the 15th century a Kandyan Kingdom formed which divided the Sinhalese politically into low-country and up-country. In this period, the Sinhalese caste structure absorbed recent Dravidian Hindu immigrants from South India leading to the emergence of three new Sinhalese caste groups - the Salagama, the Durava and the Karava.\",\n \"In this period, the Sinhalese caste structure absorbed recent Dravidian Hindu immigrants from South India leading to the emergence of three new Sinhalese caste groups - the Salagama, the Durava and the Karava. Modern history The Sinhalese have a stable birth rate and a population that has been growing at a slow pace relative to India and other Asian countries.\",\n \"Modern history The Sinhalese have a stable birth rate and a population that has been growing at a slow pace relative to India and other Asian countries. Society Demographics Sri Lanka Within Sri Lanka the majority of the Sinhalese reside in the South, Central, Sabaragamuwa and Western parts of the country.\",\n \"Society Demographics Sri Lanka Within Sri Lanka the majority of the Sinhalese reside in the South, Central, Sabaragamuwa and Western parts of the country. This coincides with the largest Sinhalese populations areas in Sri Lanka. Cities with more than 90% Sinhalese population include Hambantota, Galle, Gampaha, Kurunegala, Monaragala, Anuradhapura and Polonnaruwa.\",\n \"Cities with more than 90% Sinhalese population include Hambantota, Galle, Gampaha, Kurunegala, Monaragala, Anuradhapura and Polonnaruwa. Diaspora Sinhalese people have emigrated out to many countries for a variety of reasons. The larger diaspora communities are situated in the United Kingdom, Australia, United States and Canada among others.\",\n \"The larger diaspora communities are situated in the United Kingdom, Australia, United States and Canada among others. In addition to this there are many Sinhalese, who reside in the Middle East, Southeast Asia and Europe, temporarily in connection with employment and/or education.\",\n \"In addition to this there are many Sinhalese, who reside in the Middle East, Southeast Asia and Europe, temporarily in connection with employment and/or education. They are often employed as guest workers in the Middle East and professionals in the other regions.\",\n \"They are often employed as guest workers in the Middle East and professionals in the other regions. The largest population centres of the Sinhalese diaspora are mainly situated in Europe, North America and Australia. The city of Melbourne contains just under half of the Sri Lankan Australians. The 2011 census recorded 86,412 Sri Lanka born in Australia.\",\n \"The 2011 census recorded 86,412 Sri Lanka born in Australia. There are 73,849 Australians (0.4 of the population) who reported having Sinhalese ancestry in 2006. Sinhala was also reported to be the 29th-fastest-growing language in Australia (ranking above Somali but behind Hindi and Belarusian).\",\n \"Sinhala was also reported to be the 29th-fastest-growing language in Australia (ranking above Somali but behind Hindi and Belarusian). Sinhalese Australians have an exceptionally low rate of return migration to Sri Lanka. In the 2011 Canadian Census, 7,220 people identified themselves as of Sinhalese ancestry, out of 139,415 Sri Lankans.\",\n \"In the 2011 Canadian Census, 7,220 people identified themselves as of Sinhalese ancestry, out of 139,415 Sri Lankans. There are a small number of Sinhalese people in India, scattered around the country, but mainly living in and around the northern and southern regions.\",\n \"There are a small number of Sinhalese people in India, scattered around the country, but mainly living in and around the northern and southern regions. Sri Lankan New Zealanders comprised 3% of the Asian population of New Zealand in 2001.\",\n \"Sri Lankan New Zealanders comprised 3% of the Asian population of New Zealand in 2001. The numbers arriving continued to increase, and at the 2018 census there were over 16,000 Sri Lankans living in New Zealand among those 9,171 were Sinhalese. In the U.S, the Sinhalese number about 12,000 people.\",\n \"In the U.S, the Sinhalese number about 12,000 people. The New York City Metropolitan Area contains the largest Sri Lankan community in the United States, receiving the highest legal permanent resident Sri Lankan immigrant population, followed by Central New Jersey and the Los Angeles metropolitan area. Many Sinhalese have migrated to Italy since the 1970s.\",\n \"Many Sinhalese have migrated to Italy since the 1970s. Italy was attractive to the Sinhalese due to perceived easier employment opportunities and entry, compared to other European countries. It is estimated that there are 30,000-33,000 Sinhalese in Italy.\",\n \"It is estimated that there are 30,000-33,000 Sinhalese in Italy. The major Sinhalese communities in Italy are located in Lombardia (In the districts Loreto and Lazzaretto), Milan, Lazio, Rome, Naples, and Southern Italy (Particularly Palermo, Messina and Catania).\",\n \"The major Sinhalese communities in Italy are located in Lombardia (In the districts Loreto and Lazzaretto), Milan, Lazio, Rome, Naples, and Southern Italy (Particularly Palermo, Messina and Catania). It should be noted however that many countries census list Sri Lankan which also includes Sri Lankan Tamils so the numbers of just Sinhalese are not as accurate when the census states Sri Lankan and not Sinhalese.\",\n \"It should be noted however that many countries census list Sri Lankan which also includes Sri Lankan Tamils so the numbers of just Sinhalese are not as accurate when the census states Sri Lankan and not Sinhalese. Though Sinhalese people in particular and Sri Lankans in general have migrated to the UK over the centuries beginning from the colonial times, the number of Sinhalese people in the UK cannot be estimated accurately due to inadequacies of census in the UK.\",\n \"Though Sinhalese people in particular and Sri Lankans in general have migrated to the UK over the centuries beginning from the colonial times, the number of Sinhalese people in the UK cannot be estimated accurately due to inadequacies of census in the UK. The UK government does not record statistics on the basis of language or ethnicity and all Sri Lankans are classified into one group as Asian British or Asian Other.\",\n \"The UK government does not record statistics on the basis of language or ethnicity and all Sri Lankans are classified into one group as Asian British or Asian Other. Language and literature Sinhalese people speak Sinhala, also known as \\\"Helabasa\\\"; this language has two varieties, spoken and written.\",\n \"Language and literature Sinhalese people speak Sinhala, also known as \\\"Helabasa\\\"; this language has two varieties, spoken and written. Sinhala is an Indo-Aryan language within the broader group of Indo-European languages.\",\n \"Sinhala is an Indo-Aryan language within the broader group of Indo-European languages. The early form of the language was brought to Sri Lanka by the ancestors of the Sinhalese people from northern India who settled on the island in the 6th century BCE.\",\n \"The early form of the language was brought to Sri Lanka by the ancestors of the Sinhalese people from northern India who settled on the island in the 6th century BCE. Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages.\",\n \"Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages. It was influenced by many languages, prominently Pali, the sacred language of Southern Buddhism, Telugu and Sanskrit. Many early texts in the language such as the Hela Atuwa were lost after their translation into Pali.\",\n \"Many early texts in the language such as the Hela Atuwa were lost after their translation into Pali. Other significant Sinhala texts include Amāvatura, Kavu Silumina, Jathaka Potha and Sala Liheeniya. Sinhala has also adopted many loanwords of foreign origin, including from many Indian such as Tamil and European languages such as Portuguese, Dutch, and English.\",\n \"Sinhala has also adopted many loanwords of foreign origin, including from many Indian such as Tamil and European languages such as Portuguese, Dutch, and English. Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world.\",\n \"Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world. The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages.\",\n \"The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages. Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and foreign films.\",\n \"Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and foreign films. Additionally many Dutch and Portuguese words can be seen in the coastal areas.\",\n \"Additionally many Dutch and Portuguese words can be seen in the coastal areas. Sinhalese people, depending on where they live in Sri Lanka, may also additionally speak English and or Tamil. According to the 2012 Census 23.8% or 3,033,659 Sinhalese people also spoke English and 6.4% or 812,738 Sinhalese people also spoke Tamil.\",\n \"According to the 2012 Census 23.8% or 3,033,659 Sinhalese people also spoke English and 6.4% or 812,738 Sinhalese people also spoke Tamil. In the Negombo area bilingual fishermen who generally identify themselves as Sinhalese also speak the Negombo Tamil dialect. This dialect has undergone considerable convergence with spoken Sinhala.\",\n \"This dialect has undergone considerable convergence with spoken Sinhala. Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today. Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance.\",\n \"Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance. Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son.\",\n \"Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son. In the modern period, Sinhala writers such as Martin Wickremasinghe and G. B. Senanayake have drawn widespread acclaim. Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake.\",\n \"Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake. Martin Wickramasinghe wrote the immensely popular children's novel Madol Duwa. Munadasa Cumaratunga's Hath Pana is also widely known. Religion The form of Buddhism in Sri Lanka is known as Theravada (school of elders).\",\n \"Religion The form of Buddhism in Sri Lanka is known as Theravada (school of elders). The Pali chronicles (e.g., the Mahavansa) claim that the Sinhalese as an ethnic group are destined to preserve and protect Buddhism. In 1988 almost 93% of the Sinhala speaking population in Sri Lanka were Buddhist.\",\n \"In 1988 almost 93% of the Sinhala speaking population in Sri Lanka were Buddhist. Observations of current religious beliefs and practices demonstrate that the Sinhalese, as a religious community, have a complex worldview as Buddhists.\",\n \"Observations of current religious beliefs and practices demonstrate that the Sinhalese, as a religious community, have a complex worldview as Buddhists. Due to the proximity and on some occasions similarity of certain doctrines, there are many areas where Buddhists and Hindus share religious views and practices.\",\n \"Due to the proximity and on some occasions similarity of certain doctrines, there are many areas where Buddhists and Hindus share religious views and practices. Sinhalese Buddhists have adopted religious elements from Hindu traditions in their religious practices.\",\n \"Sinhalese Buddhists have adopted religious elements from Hindu traditions in their religious practices. Some of these practices may relate to ancient indigenous beliefs and traditions on spirits (folk religion), and the worship of Hindu deities. Some of these figures are used in healing rituals and may be native to the island.\",\n \"Some of these figures are used in healing rituals and may be native to the island. Gods and goddess derived from Hindu deities are worshiped by Sinhalese. Kataragama Deviyo from Kartikeya, Upulvan from Vishnu and Ayyanayake from Aiyanar can be named as examples.\",\n \"Kataragama Deviyo from Kartikeya, Upulvan from Vishnu and Ayyanayake from Aiyanar can be named as examples. Though these gods take the same place as their Hindu counterparts in mythology, some of their aspects are different compared to the original gods.\",\n \"Though these gods take the same place as their Hindu counterparts in mythology, some of their aspects are different compared to the original gods. Prominent Sri Lankan anthropologists Gananath Obeyesekere and Kitsiri Malalgoda used the term \\\"Protestant Buddhism\\\" to describe a type of Buddhism that appeared among the Sinhalese in Sri Lanka as a response to Protestant Christian missionaries and their evangelical activities during the British colonial period.\",\n \"Prominent Sri Lankan anthropologists Gananath Obeyesekere and Kitsiri Malalgoda used the term \\\"Protestant Buddhism\\\" to describe a type of Buddhism that appeared among the Sinhalese in Sri Lanka as a response to Protestant Christian missionaries and their evangelical activities during the British colonial period. This kind of Buddhism involved emulating the Protestant strategies of organising religious practices.\",\n \"This kind of Buddhism involved emulating the Protestant strategies of organising religious practices. They saw the need to establish Buddhist schools for educating Buddhist youth and organising Buddhists with new organisations such as the Young Men's Buddhist Association, as well as printing pamphlets to encourage people to participate in debates and religious controversies to defend Buddhism.\",\n \"They saw the need to establish Buddhist schools for educating Buddhist youth and organising Buddhists with new organisations such as the Young Men's Buddhist Association, as well as printing pamphlets to encourage people to participate in debates and religious controversies to defend Buddhism. Christianity There is a significant Sinhalese Christian community, in the maritime provinces of Sri Lanka.\",\n \"Christianity There is a significant Sinhalese Christian community, in the maritime provinces of Sri Lanka. Christianity was brought to the Sinhalese by Portuguese, Dutch, and British missionary groups during their respective periods of rule. Most Sinhalese Christians are Roman Catholic; a minority are Protestant. Their cultural centre is Negombo.\",\n \"Their cultural centre is Negombo. Their cultural centre is Negombo. Religion is considered very important among the Sinhalese. According to a 2008 Gallup poll, 99% of Sri Lankans considered religion an important aspect of their daily lives. Genetics Modern studies point towards a predominantly Bengali contribution and a minor Tamil influence.\",\n \"Genetics Modern studies point towards a predominantly Bengali contribution and a minor Tamil influence. Gujarati and Punjabi lineages are also visible. In relation to the former, other studies also show the Sinhalese possess some genetic admixture from Southeast Asian populations, especially from Austroasiatic groups.\",\n \"In relation to the former, other studies also show the Sinhalese possess some genetic admixture from Southeast Asian populations, especially from Austroasiatic groups. Certain Y-DNA and mtDNA haplogroups and genetic markers of immunoglobulin among the Sinhalese, for example, show Southeast Asian genetic influences many of which are also found among certain Northeast Indian populations to whom the Sinhalese are genetically related.\",\n \"Certain Y-DNA and mtDNA haplogroups and genetic markers of immunoglobulin among the Sinhalese, for example, show Southeast Asian genetic influences many of which are also found among certain Northeast Indian populations to whom the Sinhalese are genetically related. Culture Sinhalese culture is a unique one dating as far back as 2600 years and has been nourished by Theravada Buddhism.\",\n \"Culture Sinhalese culture is a unique one dating as far back as 2600 years and has been nourished by Theravada Buddhism. Its main domains are sculpture, fine arts, literature, dancing, poetry and a wide variety of folk beliefs and rituals traditionally.\",\n \"Its main domains are sculpture, fine arts, literature, dancing, poetry and a wide variety of folk beliefs and rituals traditionally. Ancient Sinhala stone sculpture and inscriptions are known worldwide and is a main foreign attraction in modern tourism. Sigirirya is famous for its frescoes.\",\n \"Sigirirya is famous for its frescoes. Folk poems were sung by workers to accompany their work and narrate the story of their lives. Ideally these poems consisted of four lines and, in the composition of these poems, special attention had been paid to the rhyming patterns. Buddhist festivals are dotted by unique music using traditionally Sinhalese instruments.\",\n \"Buddhist festivals are dotted by unique music using traditionally Sinhalese instruments. More ancient rituals like (devil exorcism) continue to enthrall audiences today and often praised and invoked the good powers of the Buddha and the gods in order to exorcise the demons.\",\n \"More ancient rituals like (devil exorcism) continue to enthrall audiences today and often praised and invoked the good powers of the Buddha and the gods in order to exorcise the demons. Folklore and national mythology According to the Mahavamsa, the Sinhalese are descended from the exiled Prince Vijaya and his party of seven hundred followers who arrived on the island in 543 BCE.\",\n \"Folklore and national mythology According to the Mahavamsa, the Sinhalese are descended from the exiled Prince Vijaya and his party of seven hundred followers who arrived on the island in 543 BCE. Vijaya and his followers were said to have arrived in Sri Lanka after being exiled from the city of Sinhapura in Bengal.\",\n \"Vijaya and his followers were said to have arrived in Sri Lanka after being exiled from the city of Sinhapura in Bengal. The modern Sinhalese people were found genetically to be most closely related to the people of North-East India (Bengal).\",\n \"The modern Sinhalese people were found genetically to be most closely related to the people of North-East India (Bengal). It is thought throughout Sri Lanka's history, since the founding of the Sinhalese in the 5th century BC that an influx of Indians from North India came to the island.\",\n \"It is thought throughout Sri Lanka's history, since the founding of the Sinhalese in the 5th century BC that an influx of Indians from North India came to the island. This is further supported from Sinhala being part of the Indo-Aryan language group. Traditionally during recreation the Sinhalese wear a sarong (sarama in Sinhala).\",\n \"Traditionally during recreation the Sinhalese wear a sarong (sarama in Sinhala). Men may wear a long-sleeved shirt with a sarong. Clothing varies by region for women. Low country Sinhalese women wear a white Long sleeved jacket, and a tight wrap around skirt, which usually is embedded with a floral or pattern design.\",\n \"Low country Sinhalese women wear a white Long sleeved jacket, and a tight wrap around skirt, which usually is embedded with a floral or pattern design. As for the up country Sinhalese, women wear a similar outfit, but with a puffed up shoulder jacket, and a tucked in frill that lines the top of the skirt (Reda and Hatte in Sinhala).\",\n \"As for the up country Sinhalese, women wear a similar outfit, but with a puffed up shoulder jacket, and a tucked in frill that lines the top of the skirt (Reda and Hatte in Sinhala). Traditionally, high caste Kandyan women wear a Kandyan style sari, which is similar to the Maharashtrian sari, with the drape but with a frill lining the bottom half and sometimes puffed up sleeves.\",\n \"Traditionally, high caste Kandyan women wear a Kandyan style sari, which is similar to the Maharashtrian sari, with the drape but with a frill lining the bottom half and sometimes puffed up sleeves. It’s also called an Osariya. The low country high caste women wear a South Indian style saree.\",\n \"The low country high caste women wear a South Indian style saree. Within the more populated areas, Sinhalese men also wear Western-style clothing — wearing suits while the women wear skirts and blouses.\",\n \"Within the more populated areas, Sinhalese men also wear Western-style clothing — wearing suits while the women wear skirts and blouses. For formal and ceremonial occasions women wear the traditional Kandyan (Osariya) style, which consists of a full blouse which covers the midriff completely, and is partially tucked in at the front.\",\n \"For formal and ceremonial occasions women wear the traditional Kandyan (Osariya) style, which consists of a full blouse which covers the midriff completely, and is partially tucked in at the front. However, modern intermingling of styles has led to most wearers baring the midriff. The Kandyan style is considered as the national dress of Sinhalese women.\",\n \"The Kandyan style is considered as the national dress of Sinhalese women. In many occasions and functions, even the saree plays an important role in women's clothing and has become the de facto clothing for female office workers especially in government sector. An example of its use is the uniform of air hostesses of Sri Lankan Airlines.\",\n \"An example of its use is the uniform of air hostesses of Sri Lankan Airlines. Cuisine Sinhalese cuisine is one of the most complex cuisines of South Asia. As a major trade hub, it draws influence from colonial powers that were involved in Sri Lanka and by foreign traders.\",\n \"As a major trade hub, it draws influence from colonial powers that were involved in Sri Lanka and by foreign traders. Rice, which is consumed daily, can be found at any occasion, while spicy curries are favourite dishes for lunch and dinner.\",\n \"Rice, which is consumed daily, can be found at any occasion, while spicy curries are favourite dishes for lunch and dinner. Some of the Sri Lankan dishes have striking resemblance to Kerala cuisine, which could be due to the similar geographic and agricultural features with Kerala.\",\n \"Some of the Sri Lankan dishes have striking resemblance to Kerala cuisine, which could be due to the similar geographic and agricultural features with Kerala. A well-known rice dish with Sinhalese is Kiribath, meaning ‘milk rice’. In addition to , Sinhalese eat , chopped leaves mixed with grated coconut and red onions.\",\n \"In addition to , Sinhalese eat , chopped leaves mixed with grated coconut and red onions. Coconut milk is found in most Sri Lankan dishes to give the cuisine its unique flavour. Sri Lanka has long been renowned for its spices. The best known is cinnamon which is native to Sri Lanka.\",\n \"The best known is cinnamon which is native to Sri Lanka. In the 15th and 16th centuries, spice and ivory traders from all over the world who came to Sri Lanka brought their native cuisines to the island, resulting in a rich diversity of cooking styles and techniques.\",\n \"In the 15th and 16th centuries, spice and ivory traders from all over the world who came to Sri Lanka brought their native cuisines to the island, resulting in a rich diversity of cooking styles and techniques. Lamprais, rice boiled in stock with a special curry, accompanied by frikkadels (meatballs), all of which is then wrapped in a banana leaf and baked as a Dutch-influenced Sri Lankan dish.\",\n \"Lamprais, rice boiled in stock with a special curry, accompanied by frikkadels (meatballs), all of which is then wrapped in a banana leaf and baked as a Dutch-influenced Sri Lankan dish. Dutch and Portuguese sweets also continue to be popular. British influences include roast beef and roast chicken.\",\n \"British influences include roast beef and roast chicken. Also, the influence of the Indian cooking methods and food have played a major role in what Sri Lankans eat. The island nation's cuisine mainly consists of boiled or steamed rice served with curry.\",\n \"The island nation's cuisine mainly consists of boiled or steamed rice served with curry. This usually consists of a main curry of fish or chicken, as well as several other curries made with vegetables, lentils and even fruit curries. Side-dishes include pickles, chutneys and .\",\n \"Side-dishes include pickles, chutneys and . The most famous of these is the coconut sambol, made of ground coconut mixed with chili peppers, dried Maldive fish and lime juice. This is ground to a paste and eaten with rice, as it gives zest to the meal and is believed to increase appetite.\",\n \"This is ground to a paste and eaten with rice, as it gives zest to the meal and is believed to increase appetite. Art and architecture Many forms of Sri Lankan arts and crafts take inspiration from the island's long and lasting Buddhist culture which in turn has absorbed and adopted countless regional and local traditions.\",\n \"Art and architecture Many forms of Sri Lankan arts and crafts take inspiration from the island's long and lasting Buddhist culture which in turn has absorbed and adopted countless regional and local traditions. In most instances Sri Lankan art originates from religious beliefs, and is represented in many forms such as painting, sculpture, and architecture.\",\n \"In most instances Sri Lankan art originates from religious beliefs, and is represented in many forms such as painting, sculpture, and architecture. One of the most notable aspects of Sri Lankan art are caves and temple paintings, such as the frescoes found at Sigiriya, and religious paintings found in temples in Dambulla and Temple of the Tooth Relic in Kandy.\",\n \"One of the most notable aspects of Sri Lankan art are caves and temple paintings, such as the frescoes found at Sigiriya, and religious paintings found in temples in Dambulla and Temple of the Tooth Relic in Kandy. Other popular forms of art have been influenced by both natives as well as outside settlers.\",\n \"Other popular forms of art have been influenced by both natives as well as outside settlers. For example, traditional wooden handicrafts and clay pottery are found around the hill country while Portuguese-inspired lacework and Indonesian-inspired Batik have become notable. It has many different and beautiful drawings.\",\n \"It has many different and beautiful drawings. Developed upon Indo-Aryan architectural skills in the late 6th century BCE Sinhalese people who lived upon greater kingdoms such as Anuradhapura and Polonnaruwa have built so many architectural examples such as Ruwanwelisaya, Jetavanaramaya - second tallest brick building in the ancient world after Great Pyramid of Giza, and Abayagiriya - third tallest brick building in the ancient world.\",\n \"Developed upon Indo-Aryan architectural skills in the late 6th century BCE Sinhalese people who lived upon greater kingdoms such as Anuradhapura and Polonnaruwa have built so many architectural examples such as Ruwanwelisaya, Jetavanaramaya - second tallest brick building in the ancient world after Great Pyramid of Giza, and Abayagiriya - third tallest brick building in the ancient world. And also with the ancient hydraulic technology which is also unique to Sinhalese people to build ancient tanks, systematic ponds with fountains moats and Irrigational reservoirs such as Parakrama Samudra, Kaudulla and Kandalama.\",\n \"And also with the ancient hydraulic technology which is also unique to Sinhalese people to build ancient tanks, systematic ponds with fountains moats and Irrigational reservoirs such as Parakrama Samudra, Kaudulla and Kandalama. Sigiriya which is considered by many as the 8th wonder of the world, it is a combination of natural and man made fortress, which consists so many architectural aspects.\",\n \"Sigiriya which is considered by many as the 8th wonder of the world, it is a combination of natural and man made fortress, which consists so many architectural aspects. Music There are extensive folk poems relating to specific jobs of the ancient society.\",\n \"Music There are extensive folk poems relating to specific jobs of the ancient society. These poems were communal songs which had a rhythm that were sung when performing day-to-day tasks like harvesting and sowing. Concerning popular music, Ananda Samarakoon developed the reflective and poignant Sarala gee style with his work in the late 1930s/early 1940s.\",\n \"Concerning popular music, Ananda Samarakoon developed the reflective and poignant Sarala gee style with his work in the late 1930s/early 1940s. He has been followed by artists of repute such as Sunil Shantha, W. D. Amaradeva, Premasiri Khemadasa, Nanda Malini, Victor Ratnayake, Austin Munasinghe, T. M. Jayaratne, Sanath Nandasiri, Sunil Edirisinghe, Neela Wickremasinghe, Gunadasa Kapuge, Malini Bulathsinghala and Edward Jayakody.\",\n \"He has been followed by artists of repute such as Sunil Shantha, W. D. Amaradeva, Premasiri Khemadasa, Nanda Malini, Victor Ratnayake, Austin Munasinghe, T. M. Jayaratne, Sanath Nandasiri, Sunil Edirisinghe, Neela Wickremasinghe, Gunadasa Kapuge, Malini Bulathsinghala and Edward Jayakody. Film and theatre Dramatist Ediriweera Sarachchandra revitalised the drama form with Maname in 1956.\",\n \"Film and theatre Dramatist Ediriweera Sarachchandra revitalised the drama form with Maname in 1956. The same year, film director Lester James Peries created the artistic masterwork Rekava which sought to create a uniquely Sinhalese cinema with artistic integrity. Since then, Peries and other directors like Vasantha Obeysekera, Dharmasena Pathiraja, Mahagama Sekera, W. A.\",\n \"Since then, Peries and other directors like Vasantha Obeysekera, Dharmasena Pathiraja, Mahagama Sekera, W. A. B. de Silva, Dharmasiri Bandaranayake, Sunil Ariyaratne, Siri Gunasinghe, G. D. L. Perera, Piyasiri Gunaratne, Titus Thotawatte, D. B. Nihalsinghe, Ranjith Lal, Dayananda Gunawardena, Mudalinayake Somaratne, Asoka Handagama, and Prasanna Vithanage have developed an artistic Sinhalese cinema.\",\n \"B. de Silva, Dharmasiri Bandaranayake, Sunil Ariyaratne, Siri Gunasinghe, G. D. L. Perera, Piyasiri Gunaratne, Titus Thotawatte, D. B. Nihalsinghe, Ranjith Lal, Dayananda Gunawardena, Mudalinayake Somaratne, Asoka Handagama, and Prasanna Vithanage have developed an artistic Sinhalese cinema. Sinhala cinema is often made colourful with the incorporation of songs and dance adding more uniqueness to the industry.\",\n \"Sinhala cinema is often made colourful with the incorporation of songs and dance adding more uniqueness to the industry. In the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success.\",\n \"In the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success. Performing arts Performing arts of the Sinhalese people can be categorised into few groups: Kandyan dance consist of 18 Wannam (dance routines) featuring behaviours of various animals such as elephant, eagle, cobra, monkey, peacock and rabbit, mainly performing in the annual Perahara pageant in Sri Dalada Maligawa Kandy.\",\n \"Performing arts Performing arts of the Sinhalese people can be categorised into few groups: Kandyan dance consist of 18 Wannam (dance routines) featuring behaviours of various animals such as elephant, eagle, cobra, monkey, peacock and rabbit, mainly performing in the annual Perahara pageant in Sri Dalada Maligawa Kandy. Pahatharata dance have a significant dancing style which is used to cure illnesses and spiritual clarification.\",\n \"Pahatharata dance have a significant dancing style which is used to cure illnesses and spiritual clarification. The main feature of these dances is dancers wear masks representing various gods and demons, and use elements such as fire and water to bless people. Sabaragamuwa dances have also a significant dancing style, mainly to entertain people.\",\n \"Sabaragamuwa dances have also a significant dancing style, mainly to entertain people. Folk music and dances differ according to the casts of Sinhalese people and also some times regionally—mainly popular among small children, especially girls. These arts are widely performed during the Sinhalese New Year period. Martial arts Angampora is the traditional martial art of the Sinhalese people.\",\n \"Martial arts Angampora is the traditional martial art of the Sinhalese people. It combines combat techniques, self-defence, sport, exercise and meditation. Key techniques observed in Angampora are: Angam, which incorporates hand-to-hand fighting, and Illangam, which uses indigenous weapons such as Velayudaya, staves, knives and swords.\",\n \"Key techniques observed in Angampora are: Angam, which incorporates hand-to-hand fighting, and Illangam, which uses indigenous weapons such as Velayudaya, staves, knives and swords. Its most distinct feature is the use of pressure point attacks to inflict pain or permanently paralyse the opponent.\",\n \"Its most distinct feature is the use of pressure point attacks to inflict pain or permanently paralyse the opponent. Fighters usually make use of both striking and grappling techniques, and fight until the opponent is caught in a submission lock that they cannot escape. Usage of weapons is discretionary.\",\n \"Usage of weapons is discretionary. Usage of weapons is discretionary. Perimeters of fighting are defined in advance, and in some of the cases is a pit. Angampora became nearly extinct after the country came under British rule in 1815, but survived in a few families until the country regained independence.\",\n \"Angampora became nearly extinct after the country came under British rule in 1815, but survived in a few families until the country regained independence. Science and education The Sinhalese have a long history of literacy and formal learning. Instruction in basic fields like writing and reading by Buddhist Monks pre-date the birth of Christ.\",\n \"Instruction in basic fields like writing and reading by Buddhist Monks pre-date the birth of Christ. This traditional system followed religious rule and was meant to foster Buddhist understanding. Training of officials in such skills as keeping track of revenue and other records for administrative purposes occurred under this institution.\",\n \"Training of officials in such skills as keeping track of revenue and other records for administrative purposes occurred under this institution. Technical education such as the building of reservoirs and canals was passed down from generation to generation through home training and outside craft apprenticeships.\",\n \"Technical education such as the building of reservoirs and canals was passed down from generation to generation through home training and outside craft apprenticeships. The arrival of the Portuguese and Dutch and the subsequent colonisation maintained religion as the centre of education though in certain communities under Catholic and Presbyterian hierarchy. The British in the 1800s initially followed the same course.\",\n \"The British in the 1800s initially followed the same course. Following 1870 however they began a campaign for better education facilities in the region. Christian missionary groups were at the forefront of this development contributing to a high literacy among Christians. By 1901 schools in the South and the North were well tended. The inner regions lagged behind however.\",\n \"The inner regions lagged behind however. Also, English education facilities presented hurdles for the general populace through fees and lack of access. Medicine Traditional Sinhalese villages in early days had at least one chief Medical personnel called Weda Mahaththaya (Doctor). These people practice their clinical activities by inheritance.\",\n \"These people practice their clinical activities by inheritance. Sinhalese Medicine resembles some of Ayurvedic practices in contrast for some treatments they use Buddhist Chantings (Pirith) in order to strengthen the effectiveness.\",\n \"Sinhalese Medicine resembles some of Ayurvedic practices in contrast for some treatments they use Buddhist Chantings (Pirith) in order to strengthen the effectiveness. According to the Mahavamsa, the ancient chronicle, Pandukabhaya of Sri Lanka (437 BC – 367 BC) had lying-in-homes and Ayurvedic hospitals (Sivikasotthi-Sala) built in various parts of the country.\",\n \"According to the Mahavamsa, the ancient chronicle, Pandukabhaya of Sri Lanka (437 BC – 367 BC) had lying-in-homes and Ayurvedic hospitals (Sivikasotthi-Sala) built in various parts of the country. This is the earliest documentary evidence we have of institutions specifically dedicated to the care of the sick anywhere in the world.\",\n \"This is the earliest documentary evidence we have of institutions specifically dedicated to the care of the sick anywhere in the world. Mihintale Hospital is the oldest in the world. See also List of Sinhalese people Sinhalese Buddhist nationalism References Citations Sources De Silva, K. M. History of Sri Lanka (Univ.\",\n \"See also List of Sinhalese people Sinhalese Buddhist nationalism References Citations Sources De Silva, K. M. History of Sri Lanka (Univ. of Calif. Press, 1981) Gunasekera, Tamara. Hierarchy and Egalitarianism: Caste, Class, and Power in Sinhalese Peasant Society (Athlone, 1994). Roberts, Michael.\",\n \"Roberts, Michael. Roberts, Michael. Sri Lanka: Collective Identities Revisited (Colombo-Marga Institute, 1997). Wickremeratne, Ananda. Buddhism and Ethnicity in Sri Lanka: A Historical Analysis (New Delhi-Vikas Publishing House, 1995).\",\n \"Buddhism and Ethnicity in Sri Lanka: A Historical Analysis (New Delhi-Vikas Publishing House, 1995). External links CIA Factbook-Sri Lanka Department of Census and Statistics-Sri Lanka Ethnologue-Sinhala, a language of Sri Lanka CIA Factbook-Sri Lanka Sinhalese Who are the Sinhalese Buddhist communities of Sri Lanka Ethnic groups in Sri Lanka Ethnic groups in the Indian Ocean Indo-Aryan peoples Sinhalese diaspora Sinhalese culture\"\n]"}}},{"rowIdx":492,"cells":{"History":{"kind":"list like","value":["Count Dracula","Vampire's Baptism of Blood"],"string":"[\n \"Count Dracula\",\n \"Vampire's Baptism of Blood\"\n]"},"QuAC_dialog_id":{"kind":"string","value":"C_520ea2c01e0d4e02bbbe6ce2ae3c1a09_0"},"Question":{"kind":"string","value":"What's important about Vampire's Baptism of Blood?"},"Question_no":{"kind":"number","value":1,"string":"1"},"Rewrite":{"kind":"string","value":"What's important about Vampire's Baptism of Blood?"},"true_page_title":{"kind":"string","value":"Count Dracula"},"true_contexts":{"kind":"string","value":"Count Dracula is depicted as the \"King Vampire\", and can control other vampires. To punish Mina and the party for their efforts against him, Dracula bites her on at least three occasions. He also forces her to drink his blood; this act curses her with the effects of vampirism and gives him a telepathic link to her thoughts. However, hypnotism was only able to be done before dawn. Van Helsing refers to the act of drinking blood by both the vampire and the victim \"the Vampire's Baptism of Blood\". The effects changes Mina' physically and mentally over time. A few moments after Dracula attacks her, Van Helsing takes a wafer of sacramental bread and places it on her forehead to bless her; when the bread touches her skin, it burns her and leaves a scar on her forehead. Her teeth start growing longer but do not grow sharper. She begins to lose her appetite, feeling repulsed by normal food, begins to sleep more and more during the day; cannot wake unless at sunset and stops writing in her diary. When Van Helsing later crumbles the same bread in a circle around her, she is unable to cross or leave the circle, discovering a new form of protection. Dracula's death can release the curse on any living victim of eventual transformation into vampire. However, Van Helsing reveals that were he to successfully escape, his continued existence would ensure that even if he did not victimize Mina further, she would transform into a vampire upon her eventual natural death. CANNOTANSWER"},"answer":{"kind":"string","value":"Van Helsing refers to the act of drinking blood by both the vampire and the victim \"the Vampire's Baptism of Blood\"."},"true_contexts_wiki":{"kind":"string","value":"Count Dracula () is the title character of Bram Stoker's 1897 gothic horror novel Dracula. He is considered to be both the prototypical and the archetypal vampire in subsequent works of fiction. Some aspects of the character are believed to have been inspired by the 15th-century Wallachian Prince Vlad the Impaler, who was also known as Dracula, and by Sir Henry Irving, an actor for whom Stoker was a personal assistant.\n\nOne of Dracula's most iconic powers is his ability to turn others into vampires by biting them and infecting them with the vampiric disease. Other character aspects have been added or altered in subsequent popular fictional works. The character has appeared frequently in popular culture, from films to animated media to breakfast cereals.\n\nStoker's creation\nBram Stoker's novel takes the form of an epistolary tale, in which Count Dracula's characteristics, powers, abilities and weaknesses are narrated by multiple narrators, from different perspectives.\n\nCount Dracula is an undead, centuries-old vampire, and a Transylvanian nobleman who claims to be a Székely descended from Attila the Hun. He inhabits a decaying castle in the Carpathian Mountains near the Borgo Pass. Unlike the vampires of Eastern European folklore, which are portrayed as repulsive, corpse-like creatures, Dracula is handsome and charismatic, with a veneer of aristocratic charm. In his conversations with Jonathan Harker, he reveals himself as deeply proud of his boyar heritage and nostalgic for the past, which he admits has become only a memory of heroism, honour and valour in modern times.\n\nEarly life\n\nDetails of his early life are undisclosed, but it is mentioned that\n\nDracula studied the black arts at the academy of Scholomance in the Carpathian Mountains, overlooking the town of Sibiu (also known as Hermannstadt) and has a deep knowledge of alchemy and magic. Taking up arms, as befitting his rank and status as a voivode, he led troops against the Turks across the Danube. According to his nemesis Abraham Van Helsing, \"He must indeed have been that Voivode Dracula who won his name against the Turk, over the great river on the very frontier of Turkey-land. If it be so, then was he no common man: for in that time, and for centuries after, he was spoken of as the cleverest and the most cunning, as well as the bravest of the sons of the land beyond the forest.\" Dead and buried in a great tomb in the chapel of his castle, Dracula returns from death as a vampire and lives for several centuries in his castle with three terrifyingly beautiful female vampires beside him.\n\nNarrative\n\nShort story\n\nIn \"Dracula's Guest\", the narrative follows an unnamed Englishman traveller as he wanders around Munich before leaving for Transylvania. It is Walpurgis Night and the young Englishman foolishly leaves his hotel, in spite of the coachman's warnings, and wanders through a dense forest alone. Along the way, he feels that he is being watched by a tall and thin stranger.\n\nThe short story climaxes in an old graveyard, where the Englishman encounters a sleeping female vampire called Countess Dolingen in a marble tomb with a large iron stake driven into it. This malevolent and beautiful vampire awakens from her marble bier to conjure a snowstorm before being struck by lightning and returning to her eternal prison. However, the Englishman's troubles are not quite over, as he is dragged away by an unseen force and rendered unconscious. He awakens to find a \"gigantic\" wolf lying on his chest and licking at his throat; however, the wolf merely keeps him warm and protects him until help arrives. When the Englishman is finally taken back to his hotel, a telegram awaits him from his expectant host Dracula, with a warning about \"dangers from snow and wolves and night\".\n\nNovel\nIn Dracula, the eponymous vampire has decided to move from Transylvania to London. He summons Jonathan Harker, a newly qualified English solicitor, to provide legal support for a real estate transaction overseen by Harker's employer. Dracula at first charms Harker with his cordiality and historical knowledge, and even rescues him from the clutches of the three female vampires in the castle. In truth, however, Dracula merely wishes to keep Harker alive long enough to complete the legal transaction and to learn as much as possible about England.\n\nDracula leaves his castle and boards a Russian ship, the Demeter, taking along with him 50 boxes of Transylvanian soil, which he needs to regain his strength and rest during daylight. During the voyage to Whitby, a coastal town in northern England, he sustains himself on the ship's crew members. Only one body is later found, that of the captain, who is found tied up to the ship's helm. The captain's log is recovered and tells of strange events that had taken place during the ship's journey. Dracula leaves the ship in the form of a dog and runs up the 199 steps to the graveyard of St Mary's Church in the shadow of the Whitby Abbey ruins.\n\nSoon the Count begins menacing Harker's fiancée, Wilhelmina \"Mina\" Murray, and her friend, Lucy Westenra. There is also a notable link between Dracula and Renfield, a patient in an insane asylum overseen by John Seward, who is compelled to consume spiders, birds, and other creatures—in ascending order of size—to absorb their \"life force\". Renfield acts as a kind of sensor, reacting to Dracula's proximity and supplying clues accordingly. Dracula visits Lucy's bed chamber on a nightly basis, draining her of blood while simultaneously infecting her with the curse of vampirism. Not knowing the cause for Lucy's deterioration, her three suitors – Seward, Arthur Holmwood and Quincey Morris – call upon Seward's mentor, the Dutch doctor Abraham Van Helsing. Van Helsing soon deduces her condition's supernatural origins, and tries to keep the vampire at bay with garlic. Nevertheless, Dracula attacks Lucy's house one final time, killing her mother and transforming Lucy herself into one of the undead.\n\nHarker escapes Dracula's castle and returns to England, barely alive and deeply traumatized. On Seward's suggestion, Mina seeks Van Helsing's assistance in assessing Harker's health. She reads his journal and passes it along to Van Helsing. This unfolds the first clue to the identity of Lucy's assailant, which later prompts Mina to collect all of the events of Dracula's appearance in news articles, saved letters, newspaper clippings and the journals of each member of the group. This assists the group in investigating Dracula's movements and later discovering that Renfield's behaviour is directly influenced by Dracula. They then discover that Dracula has purchased a residence next door to Seward's. The group gathers intelligence to track down Dracula and destroy him.\n\nAfter the undead Lucy attacks several children, Van Helsing, Seward, Holmwood and Morris enter her crypt and destroy her to save her soul. Later, Harker joins them and the party work to discover Dracula's intentions. Harker aids the party in tracking down the locations of the boxes to the various residences of Dracula and discovers that Dracula purchased multiple real estate properties throughout London under the alias 'Count De Ville'. Dracula's main plan was to move each of his 50 boxes of earth to his various properties in order to arrange multiple lairs throughout and around the perimeter of London.\n\nThe party pries open each of the graves, places sacramental wafers within each of them, and seals them shut. This deprives Dracula of his ability to seek safety in those boxes. Dracula gains entry into Seward's residence by coercing an invitation out of Renfield. As he attempts to enter the room in which Harker and Mina are staying, Renfield tries to stop him; Dracula then mortally wounds him. With his dying breath, Renfield tells Seward and Van Helsing that Dracula is after Mina. Van Helsing and Seward discover Dracula biting Mina and forcing her to drink his blood. The group repel Dracula using crucifixes and sacramental bread, forcing him to flee by turning into a dark vapour. The party continue to hunt Dracula to search for his remaining lairs. Although Dracula's 'baptism' of Mina grants him a telepathic link to her, it backfires when Van Helsing hypnotizes Mina and uses her supernatural link with Dracula to track him as he flees back to Transylvania.\n\nThe heroes follow Dracula back to Transylvania, and in a climactic battle with Dracula's Romani bodyguards, finally destroy him. Despite the popular image of Dracula having a stake driven through his heart to kill him, Mina's narrative describes his decapitation by Harker's kukri while Morris simultaneously pierces his heart with a Bowie knife (Mina Harker's Journal, 6 November, Dracula Chapter 27). His body then turns into dust, but not before Mina sees an expression of peace on his face.\n\nCharacteristics\n\nAlthough early in the novel Dracula dons a mask of cordiality, he often flies into fits of rage when his plans are frustrated. When Dracula's brides attempt to seduce Jonathan Harker, Dracula physically assaults one and ferociously berates them for their insubordination.\n\nHe has an appreciation for ancient architecture, and when purchasing a home he prefers them to be aged, saying \"A new home would kill me\", and that to make a new home habitable to him would take a century.\n\nDracula is very proud of his warrior heritage, proclaiming his pride to Harker on how the Székely people are infused with the blood of heroes. He also expresses an interest in the history of the British Empire, speaking admiringly of its people. He has a somewhat primal and predatory worldview; he pities ordinary humans for their revulsion to their darker impulses. He is not without human emotions, however; he often says that he too can love.\n\nThough usually portrayed as having a strong Eastern European accent, the original novel only specifies that his spoken English is excellent, though strangely toned.\n\nHis appearance varies in age. He is described early in the novel as thin, with a long white moustache, pointed ears and sharp teeth. It is also noted later in the novel (Chapter 11 subsection \"The Escaped Wolf\") by a zookeeper who sees him that he has a hooked nose and a pointed beard with a streak of white in it. He is dressed all in black and has hair on his palms. Harker describes him as an old man, \"cruel looking\" and giving an effect of \"extraordinary pallor\".\n\nAs the novel progresses, Dracula is described as taking on a more and more youthful appearance. After Harker strikes him with a shovel, he is left with a scar on his forehead which he bears throughout the course of the novel.\n\nDracula also possesses great wealth, and has Romani people in his homeland who are loyal to him as servants and protectors.\n\nPowers and weaknesses\n\nCount Dracula is portrayed in the novel using many different supernatural abilities, and is believed to have gained his abilities through dealings with the Devil. Chapter 18 of the novel describes many of the abilities, limitations and weaknesses of vampires and Dracula in particular. Dracula has superhuman strength which, according to Van Helsing, is equivalent to that of 20 strong men. He does not cast a shadow or have a reflection from mirrors. He is immune to conventional means of attack; a sailor tries to stab him in the back with a knife, but the blade goes through his body as though it is air. He can defy gravity to a certain extent and possesses superhuman agility, able to climb vertical surfaces upside down in a reptilian manner. He can travel onto \"unhallowed\" ground, such as the graves of suicides and those of his victims. He has powerful hypnotic, telepathic and illusionary abilities. He also has the ability to \"within limitations\" vanish and reappear elsewhere at will. If he knows the path, he can come out from anything or into anything regardless of how close it is bound or even if it is soldered shut.\n\nHe has amassed cunning and wisdom throughout centuries, and he is unable to die by the mere passing of time alone.\n\nHe can command animals such as rats, owls, bats, moths, foxes and wolves. However, his control over these animals is limited, as seen when the party first enters his house in London. Although Dracula is able to summon thousands of rats to swarm and attack the group, Holmwood summons his trio of terriers to do battle with the rats. The dogs prove very efficient rat killers, suggesting they are Manchester Terriers trained for that purpose. Terrified by the dogs' onslaught, the rats flee, and any control which Dracula had over them is gone.\n\nDracula can also manipulate the weather and, within his range, is able to direct the elements, such as storms, fog and mist.\n\nShapeshifting\nDracula can change form at will, able to grow and become small, his featured forms in the novel being that of a bat, a wolf, a large dog and a fog or mist. When the moonlight is shining, he can travel as elemental dust within its rays. He is able to pass through tiny cracks or crevices while retaining his human form or in the form of a vapour; described by Van Helsing as the ability to slip through a hairbreadth space of a tomb door or coffin. This is also an ability used by his victim Lucy as a vampire. When the party breaks into her tomb, they open the sealed coffin to find her corpse is no longer located within.\n\nVampirism\nOne of Dracula's powers is the ability to turn others into vampires by biting them. According to Van Helsing:\n\nThe vampire bite itself does not cause death. It is the method vampires use to drain blood of the victim and to increase their influence over them. This is described by Van Helsing:\n\nVictims who are bitten by a vampire and do not die, are hypnotically influenced by them:\n\nVan Helsing later describes the aftermath of a bitten victim when the vampire has been killed:\n\nAs Dracula slowly drains Lucy's blood, she dies from acute blood loss and later transforms into a vampire, despite the efforts of Seward and Van Helsing to provide her with blood transfusions.\n\nHe is aided by powers of necromancy and divination of the dead, that all who die by his hand may reanimate and do his bidding.\n\nBloodletting\nDracula requires no other sustenance but fresh human blood, which has the effect of rejuvenating him and allowing him to grow younger. His power is drawn from the blood of others, and he cannot survive without it. Although drinking blood can rejuvenate his youth and strength, it does not give him the ability to regenerate; months after being struck on the head by a shovel, he still bears a scar from the impact.\n\nDracula's preferred victims are women. Harker states that he believes Dracula has a state of fasting as well as a state of feeding. Dracula does state to Mina, however, that exerting his abilities causes a desire to feed.\n\nVampire's Baptism of Blood\nCount Dracula is depicted as the \"King Vampire\", and can control other vampires. To punish Mina and the party for their efforts against him, Dracula bites her on at least three occasions. He also forces her to drink his blood; this act curses her with the effects of vampirism and gives him a telepathic link to her thoughts. However, hypnotism was only able to be done before dawn. Van Helsing refers to the act of drinking blood by both the vampire and the victim \"the Vampire's Baptism of Blood\".\n\nThe effects changes Mina physically and mentally over time. A few moments after Dracula attacks her, Van Helsing takes a wafer of sacramental bread and places it on her forehead to bless her; when the bread touches her skin, it burns her and leaves a scar on her forehead. Her teeth start growing longer but do not grow sharper. She begins to lose her appetite, feeling repulsed by normal food, begins to sleep more and more during the day; cannot wake unless at sunset and stops writing in her diary. When Van Helsing later crumbles the same bread in a circle around her, she is unable to cross or leave the circle, discovering a new form of protection.\n\nDracula's death can release the curse on any living victim of eventual transformation into vampire. However, Van Helsing reveals that were he to escape, his continued existence would ensure that even if he did not victimize Mina further, she would transform into a vampire upon her eventual natural death.\n\nLimitations of his powers\nDracula is much less powerful in daylight and is only able to shift his form at dawn, noon, and dusk (he can shift his form freely at night or if he is at his grave). The sun is not fatal to him, as sunlight does not burn and destroy him upon contact, though most of his abilities cease.\n\nLater interpretations of the character, and vampires in general, would amplify this trait into an outright fatal weakness, making it so that even the first rays of sunrise are capable of reducing a vampire to ash.\n\nHe is also limited in his ability to travel, as he can only cross running water at low or high tide. Owing to this, he is unable to fly across a river in the form of a bat or mist or even by himself board a boat or step off a boat onto a dock unless he is physically carried over with assistance. He is also unable to enter a place unless invited to do so by someone of the household, even a visitor; once invited, he can enter and leave the premises at will.\n\nWeaknesses\n\nThirst\nDracula is commonly depicted with a bloodlust which he is seemingly unable to control. Adaptations sometimes call this uncontrollable state 'the thirst'.\n\nReligious symbolism\nThere are items which afflict him to the point he has no power and can even calm him from his insatiable appetite for blood. He is repulsed by garlic, as well as sacred items and symbols such as crucifixes, and sacramental bread.\n\nPlacing the branch of a wild rose upon the top of his coffin will render him unable to escape it; a sacred bullet fired into the coffin could kill him so that he remain true-dead.\n\nMountain Ash is also described as a form of protection from a vampire although the effects are unknown. This was believed to be used as protection against evil spirits and witches during the Victorian era.\n\nDeath-sleep\nThe state of rest to which vampires are prone during the day is described in the novel as a deathlike sleep in which the vampire sleeps open-eyed, is unable to awaken or move, and also may be unaware of any presence of individuals who may be trespassing. Dracula is portrayed as being active in daylight at least once to pursue a victim. Dracula also purchases many properties throughout London 'over the counter' which shows that he does have the ability to have some type of presence in daylight. \n\nHe requires Transylvanian soil to be nearby to him in a foreign land or to be entombed within his coffin within Transylvania in order to successfully rest; otherwise, he will be unable to recover his strength. This has forced him to transport many boxes of Transylvanian earth to each of his residences in London. He is most powerful when he is within his Earth-Home, Coffin-Home, Hell-Home, or any place unhallowed.\n\nFurther, if Dracula or any vampire has had their fill in blood upon feeding, they will be caused to rest in this dead state even longer than usual.\n\nOther abilities\nWhile universally feared by the local people of Transylvania and even beyond, Dracula commands the loyalty of Gypsies and a band of Slovaks who transport his boxes on their way to London and to serve as an armed convoy bringing his coffin back to his castle. The Slovaks and Gypsies appear to know his true nature, for they laugh at Harker when he tries to communicate his plight, and betray Harker's attempt to send a letter through them by giving it to the Count.\n\nDracula seems to be able to hold influence over people with mental disorders, such as Renfield, who is never bitten but who worships Dracula, referring to him over the course of the novel as \"Master\" and \"Lord\". Dracula also afflicts Lucy with chronic sleepwalking, putting her into a trance-like state that allows them not only to submit to his will but also seek him and satisfy his need to feed.\n\nDracula's powers and weaknesses vary greatly in the many adaptations. Previous and subsequent vampires from different legends have had similar vampire characteristics.\n\nCharacter development subsequent to the novel\n\nDracula has been portrayed by more actors in more visual media adaptations of the novel than any other horror character. Actors who have played him include Max Schreck, Bela Lugosi, John Carradine, Lon Chaney Jr., Christopher Lee, Francis Lederer, Denholm Elliott, Jack Palance, Louis Jourdan, Rudolf Martin, Frank Langella, Klaus Kinski, Gary Oldman, Leslie Nielsen, George Hamilton, David Niven, Charles Macaulay, Keith-Lee Castle, Gerard Butler, Duncan Regehr, Richard Roxburgh, Marc Warren, Rutger Hauer, Stephen Billington, Thomas Kretschmann, Dominic Purcell, Luke Evans and Claes Bang.\nIn 2003, Count Dracula, as portrayed by Lugosi in the 1931 film, was named as the 33rd greatest movie villain by the AFI. In 2013, Empire magazine ranked Lee's portrayal as Dracula the 7th Greatest Horror Movie Character of All Time.\n\nThe character is closely associated with the western cultural archetype of the vampire, and remains a popular Halloween costume.\n\n Count Dracula appears in Mad Monster Party? voiced by Allen Swift. This version is shown to be wearing a monocle. Count Dracula is among the monsters that Baron Boris von Frankenstein invites to the Isle of Evil to show off the secret of total destruction and announce his retirement from the Worldwide Organization of Monsters.\n Sesame Street character Count von Count is based on Bela Lugosi's interpretation of Count Dracula and Jack Davis' design for Dracula from Mad Monster Party?.\n Count Dracula appears in Mad Mad Mad Monsters (a \"prequel of sorts\" to Mad Monster Party?) voiced again by Allen Swift. He and his son are invited by Baron Henry von Frankenstein to attend the wedding of Frankenstein's monster and its mate at the Transylvania Astoria Hotel.\n Dracula is the primary antagonist of the Castlevania video game series and the main protagonist of the Lords of Shadow reboot series.\n Count Dracula appears in the Attack of the Killer Tomatoes episode \"Spatula, Prinze of Dorkness\", voiced by S. Scott Bullock. He relates a tale of how he once gave Dr. Putrid T. Gangreen a serum to transform tomatoes into vampire tomatoes. Though the Doctor refused, Zoltan overheard their conversation and, mistaking the word serum for syrup, ingests the serum himself and renaming himself \"Spatula, Prinze of Dorkness\" who can turn people into vampires by kissing them in the neck (a stipulation that the Censor Lady put into place in fear of showing the biting and bloodshed associated with vampires on a Saturday morning cartoon). This spread to the other tomatoes and the entire town. When the sun came up and disabled the vampires, Count Dracula in sunblock appears and deemed that the town is not worthy to be vampires. He then gives Chad Finletter the antidote to the vampirism and advises that the tomatoes be squashed immediately.\n Dracula appears as the lead character of Dracula the Un-dead, a novel by Stoker's great-grand nephew Dacre presented as a sequel to the original.\n In the Supernatural episode \"Monster Monster\", a shapeshifter that Sam and Dean Winchester fight considers his form of Count Dracula (portrayed by Todd Stashwick) his favourite form. It is in this form that Jamie killed him with Sam's gun loaded with silver bullets.\n Count Dracula is the main character of the Hotel Transylvania franchise, voiced by Adam Sandler in the first three movies and by Brian Hull in the fourth movie.\n Dracula, going by an inversion of his name, \"Alucard,\" serves as the main character of the anime and manga series Hellsing and Hellsing Ultimate where he serves Integra Hellsing, Abraham's great-granddaughter, as an anti-vampire warrior devoted to the British Crown.\n Dracula is the primary antagonist of the Showtime series Penny Dreadful, portrayed by Christian Camargo. This version of the character is the brother of Lucifer and, thus, a fallen angel.\n\nModern and postmodern analyses of the character\n\nAlready in 1958, Cecil Kirtly proposed that Count Dracula shared his personal past with the historical Transylvanian-born Voivode Vlad III Dracula of Wallachia, also known as Vlad the Impaler or Vlad Țepeș. Following the publication of In Search of Dracula by Radu Florescu and Raymond McNally in 1972, this supposed connection attracted much popular attention. This work argued that Bram Stoker based his Dracula on Vlad the Impaler.\n\nHistorically, the name \"Dracula\" is the family name of Vlad Țepeș' family, a name derived from a fraternal order of knights called the Order of the Dragon, founded by Sigismund of Luxembourg (king of Hungary and Bohemia, and Holy Roman Emperor) to uphold Christianity and defend the Empire against the Ottoman Turks. Vlad II Dracul, father of Vlad III, was admitted to the order around 1431 because of his bravery in fighting the Turks and was dubbed Dracul (dragon or devil) thus his son became Dracula (son of the dragon). From 1431 onward, Vlad II wore the emblem of the order and later, as ruler of Wallachia, his coinage bore the dragon symbol.\n\nStoker came across the name Dracula in his reading on Romanian history, and chose this to replace the name (Count Wampyr) that he had originally intended to use for his villain. However, some Dracula scholars, led by Elizabeth Miller, have questioned the depth of this connection as early as 1998. They argue that Stoker in fact knew little of the historic Vlad III, Vlad the Impaler, and that he used only the name \"Dracula\" and some miscellaneous scraps of Romanian history. Also, there are no comments about Vlad III in the author's working notes.\n\nWhile having a conversation with Jonathan Harker in Chapter 3, Dracula refers to his own background, and these speeches show elements which Stoker directly copied from An Account of the Principalities of Wallachia and Moldavia: With Various Political Observations Relating to Them by William Wilkinson. Stoker mentions the Voivode of the Dracula race who fought against the Turks after the defeat in the Battle of Kosovo, and was later betrayed by his brother, historical facts which unequivocally point to Vlad III, described as \"Voïvode Dracula\" by Wilkinson:\n\nThe Count's intended identity is later commented by Professor Van Helsing, referring to a letter from his friend Arminius:\n\nThis indeed encourages the reader to identify the Count with the Voivode Dracula first mentioned by him in Chapter 3, the one betrayed by his brother: Vlad III Dracula, betrayed by his brother Radu the Handsome, who had chosen the side of the Turks. But as noted by the Dutch author Hans Corneel de Roos, in Chapter 25, Van Helsing and Mina drop this rudimentary connection to Vlad III and instead describe the Count's personal past as that of \"that other of his race\" who lived \"in a later age\". By smoothly exchanging Vlad III for a nameless double, Stoker avoided his main character being unambiguously linked to a historical person traceable in any history book.\n\nSimilarly, the novelist did not want to disclose the precise site of the Count's residence, Castle Dracula. As confirmed by Stoker's own handwritten research notes, the novelist had a specific location for the Castle in mind while writing the narrative: an empty mountain top in the Transylvanian Kelemen alps near the former border with Moldavia. Efforts to promote the Poenari Castle (ca. 200 km away from the novel's place of action near the Borgo Pass) as the \"real Castle Dracula\" have no basis in Stoker's writing; although it bears much similarity to the fictional Castle Dracula, no written evidence shows Stoker to have heard of it. Regarding the Bran Castle near Brașov, Stoker possibly saw an illustration of Castle Bran (Törzburg) in Charles Boner's 1865 book on Transylvania, Transylvania: Its Products and Its People. Although Stoker may have been inspired by its romantic appearance, neither Boner, nor Mazuchelli nor Crosse (who also mention Terzburg or Törzburg) associate it with Vlad III; for the site of his fictitious Castle Dracula, Stoker preferred an empty mountain top.\n\nFurthermore, Stoker's detailed notes reveal that the novelist was very well aware of the ethnic and geo-political differences between the \"Roumanians\" or \"Wallachs\"/\"Wallachians\", descendants of the Dacians, and the Székelys or Szeklers, allies of the Magyars or Hungarians, whose interests were opposed to that of the Wallachians. In the novel's original typewritten manuscript, the Count speaks of throwing off the \"Austrian yoke\", which corresponds to the Szekler political point of view. This expression is crossed out, however, and replaced by \"Hungarian yoke\" (as appearing in the printed version), which matches the historical perspective of the Wallachians. This has been interpreted by some to mean that Stoker opted for the Wallachian, not the Szekler interpretation, thus lending more consistency to the Romanian identity of his Count: although not identical with Vlad III, the Vampire is portrayed as one of the \"Dracula race\". However, despite this, Stoker chose the Count to have revealed himself to be a Székely, and not a Wallachian nobleman (the region where the real \"Draculas\" ruled over).\n\nScreen portrayals\n\nSee also\n Elizabeth Báthory\n Carmilla\n Clinical vampirism\n List of fictional vampires\n List of horror film antagonists\n\nReferences\n\nBibliography\n Clive Leatherdale (1985) Dracula: the Novel and the Legend. Desert Island Books.\n Bram Stoker (1897) Dracula. Norton Critical Edition (1997) edited by Nina Auerbach and David J. Skal.\n Senf, Carol. Dracula: Between Tradition and Modernism (Twayne, 1998).\n Senf, Carol A. Bram Stoker. University of Wales Press, 2010.\n\nExternal links\n\n Bram Stoker Online Full text, PDF and audio versions of Dracula.\n\n \n \nVlad the Impaler\nLiterary characters introduced in 1897\nFictional characters with immortality\nFictional characters with superhuman strength\nFictional characters with weather abilities\nFictional counts and countesses\nFictional Hungarian people\nFictional characters based on real people\nFictional hypnotists and indoctrinators\nFictional therianthropes\nFictional telepaths\nFictional vampires\nMale characters in literature\nMale characters in film\nMale characters in television\nMale horror film villains\nMale literary villains\nSupervillains with their own comic book titles\nMythopoeia"},"extractive":{"kind":"string","value":"true"},"retrieved_contexts":{"kind":"list like","value":["In Christian theology, baptism of blood () or baptism by blood, also called martyred baptism, is a doctrine which holds that a Christian is able to attain through martyrdom the grace of justification normally attained through baptism by water, without needing to receive baptism by water.\n\nPatristic period \n\nCyprian of Carthage in a letter of 256 regarding the question of whether a catechumen seized and killed due to his belief in Jesus Christ \"would lose the hope of salvation and the reward of confession, because he had not previously been born again of water\", answers that \"they certainly are not deprived of the sacrament of baptism who are baptized with the most glorious and greatest baptism of blood.\"\n\nCyril of Jerusalem states in his Catechetical Lectures delivered in Lent of 348 that \"if any man receive not Baptism, he hath not salvation; except only Martyrs, who even without the water receive the kingdom.\"\n\nDenominations \nThis doctrine is held by the Catholic Church, the Oriental Orthodox Churches, the Eastern Orthodox Church, and the American Association of Lutheran Churches.\n\nSimilarly, those who die as Christian martyrs in a persecution of Christians are also judged by Anabaptists and Lutherans as having acquired the benefits of baptism without actually undergoing the ritual.\n\nThe Augsburg Confession of Lutheranism affirms that \"Baptism is normally necessary for salvation\". Citing the teaching of the early Church Fathers, Lutherans acknowledge a baptism of blood (martyrdom) in \"the circumstances of persecution\".\n\nFeeneyism denies baptism of blood as well as baptism of desire.\n\nSee also \n\n Baptism of desire\n\nReferences \n\nChristian terminology\nBaptism\nCatholic theology and doctrine","The Lord Ruthven Award is an annual award presented by the Lord Ruthven Assembly, a group of academic scholars specialising in vampire literature and affiliated with the International Association for the Fantastic in the Arts (IAFA).\n\nThe award is presented for the best fiction on vampires and the best academic work on the study of the vampire figure in culture and literature. The award is presented each March at the International Conference on the Fantastic in the Arts (ICFA) in Orlando. The award is named after Lord Ruthven, one of the first vampires in English literature.\n\nLord Ruthven Award: Non-Fiction\n\n1994: David J. Skal, The Monster Show: A Cultural History of Horror \n1995: J. Gordon Melton, The Vampire Book: The Encyclopedia of the Undead\n1996: Nina Auerbach, Our Vampires, Ourselves\n1997: David J. Skal, V is for Vampire: An A to Z Guide to everything Undead\n1998: Carol Margaret Davison & Paul Simpson-Housley, Eds., Bram Stoker's Dracula: Sucking Through the Century\n1999: Carol A. Senf, Dracula: Between Tradition and Modernism\n2001: Elizabeth Miller, Dracula: Sense and Nonsense\n2002: Michael Bell, Food for the Dead: on the Trail of New England's Vampires\n2003: William Patrick Day, Vampire Legends in Contemporary American Culture: What Becomes a Legend Most\n2004: James B. South, Ed., Buffy the Vampire Slayer and Philosophy: Fear and Trembling in Sunnydale.\n2005: Richard Dalby & William Hughes: Bram Stoker: A Bibliography\n2006: Jorg Waltje, Blood Obsession: Vampires, Serial Murder, and the Popular Imagination.\n2007: Bruce A. McClelland, Slayers and their Vampires: A Cultural History of Killing the Dead\n2008: David Keyworth, Troublesome Corpses: Vampires and Revenants from Antiquity to the Present\n2009: Elizabeth Miller & Robert Eighteen-Bisang, Eds., Bram Stoker's Notes for Dracula\n2010: Mary Y. Hallab, Vampire God: The Allure of the Undead in Western Culture\n2011: John Edgar Browning & Caroline Joan Picart, Dracula in Visual Media: Film, Television, Comic Book and Electronic Game Appearances\n2012: Susannah Clements, The Vampire Defanged: How the Embodiment of Evil Became a Romantic Hero\n2013: Jeffrey Weinstock, The Vampire Film: Undead Cinema\n2014: Maria Lindgren Leavenworth & Malin Isaksson, Fanged Fan Fiction: Variations on Twilight, True Blood and The Vampire Diaries\n2015: Margot Adler, Vampires Are Us: Understanding Our Love Affair with the Immortal Dark Side\n2016: J. Gordon Melton & Alysa Hornick, The Vampire in Folklore, History, Literature, Film, and Television: A Comprehensive Bibliography\n2017: David J. Skal, Something in the Blood: The Untold Story of Bram Stoker, the Man Who Wrote Dracula\n2018: Gary A. Smith, Vampire Films of the 1970s\n2019: Amy J. Ransom, I Am Legend as American Myth\n2020: Sorcha Ni Fhlainn, Postmodern Vampires: Film, Fiction, and Popular Culture.\n2021: Cait Coker, The Global Vampire: Essays on the Undead in Popular Culture Around the World.\n\nLord Ruthven Award: Fiction\n\n1989: Brian Stableford, The Empire of Fear\n1990: Nancy A. Collins, Sunglasses After Dark\n1993: Kim Newman, Anno Dracula\n1996: Barbara Hambly, Traveling with the Dead\n1997: Jonathan Nasaw, The World on Blood\n1998: Chelsea Quinn Yarbro, Writ in Blood\n1999: P. N. Elrod, The Vampire Files: A Chill in the Blood\n2000: Terry Pratchett, Carpe Jugulum\n2001: Elaine Bergstrom, Blood to Blood: The Dracula Story Continues\n2002: Jean Lorrah, Blood Will Tell\n2003: Charlaine Harris, Living Dead in Dallas\n2004: Andrew Fox, Fat White Vampire Blues\n2005: David Sosnowski, Vamped\n2006: Elizabeth Kostova, The Historian\n2007: Barbara Hambly, Renfield: Slave of Dracula\n2008: Joel H. Emerson, The Undead\n2009: James Reese, The Dracula Dossier\n2010: Guillermo del Toro and Chuck Hogan, The Strain\n2011: S. M. Stirling, A Taint in the Blood\n2012: Glen Duncan, The Last Werewolf\n2013: Tim Powers, Hide Me Among the Graves\n2014: Joe Hill, NOS4A2\n2015: Lauren Owen, The Quick\n2016: David Gerrold, Jacob\n2017: Anne Rice, Prince Lestat and the Realms of Atlantis\n2018: Charlaine Harris: The Complete Sookie Stackhouse Stories\n2019: Theodora Goss, European Travel for the Monstrous Gentlewoman\n2020: Marge Simon & Bryan D. Dietrich, The Demeter Diaries\n\nLord Ruthven Award: Media/Popular Culture\n\n2003: Diary of a Virgin\n2004: Dracula\n2005: Vampire Dreams\n2008: Anthony Bourdain, No Reservations: Romania\n2009: True Blood\n2011: Being Human\n2015: Only Lovers Left Alive\n2016: What We Do in the Shadows\n2017: Vamped / The Vampire Historian\n2018: Midnight, Texas Season 1\n2020: What We Do in The Shadows\n\nLord Ruthven Special Award \n\n1997: Raymond T. McNally\n2018: Hans Corneel de Roos for his translation of, and research on Makt Myrkranna (Powers of Darkness)\n\nReferences\n\nExternal links\nThe International Association for the Fantastic in the Arts\n\nVampires in written fiction\nHorror fiction awards"],"string":"[\n \"In Christian theology, baptism of blood () or baptism by blood, also called martyred baptism, is a doctrine which holds that a Christian is able to attain through martyrdom the grace of justification normally attained through baptism by water, without needing to receive baptism by water.\\n\\nPatristic period \\n\\nCyprian of Carthage in a letter of 256 regarding the question of whether a catechumen seized and killed due to his belief in Jesus Christ \\\"would lose the hope of salvation and the reward of confession, because he had not previously been born again of water\\\", answers that \\\"they certainly are not deprived of the sacrament of baptism who are baptized with the most glorious and greatest baptism of blood.\\\"\\n\\nCyril of Jerusalem states in his Catechetical Lectures delivered in Lent of 348 that \\\"if any man receive not Baptism, he hath not salvation; except only Martyrs, who even without the water receive the kingdom.\\\"\\n\\nDenominations \\nThis doctrine is held by the Catholic Church, the Oriental Orthodox Churches, the Eastern Orthodox Church, and the American Association of Lutheran Churches.\\n\\nSimilarly, those who die as Christian martyrs in a persecution of Christians are also judged by Anabaptists and Lutherans as having acquired the benefits of baptism without actually undergoing the ritual.\\n\\nThe Augsburg Confession of Lutheranism affirms that \\\"Baptism is normally necessary for salvation\\\". Citing the teaching of the early Church Fathers, Lutherans acknowledge a baptism of blood (martyrdom) in \\\"the circumstances of persecution\\\".\\n\\nFeeneyism denies baptism of blood as well as baptism of desire.\\n\\nSee also \\n\\n Baptism of desire\\n\\nReferences \\n\\nChristian terminology\\nBaptism\\nCatholic theology and doctrine\",\n \"The Lord Ruthven Award is an annual award presented by the Lord Ruthven Assembly, a group of academic scholars specialising in vampire literature and affiliated with the International Association for the Fantastic in the Arts (IAFA).\\n\\nThe award is presented for the best fiction on vampires and the best academic work on the study of the vampire figure in culture and literature. The award is presented each March at the International Conference on the Fantastic in the Arts (ICFA) in Orlando. The award is named after Lord Ruthven, one of the first vampires in English literature.\\n\\nLord Ruthven Award: Non-Fiction\\n\\n1994: David J. Skal, The Monster Show: A Cultural History of Horror \\n1995: J. Gordon Melton, The Vampire Book: The Encyclopedia of the Undead\\n1996: Nina Auerbach, Our Vampires, Ourselves\\n1997: David J. Skal, V is for Vampire: An A to Z Guide to everything Undead\\n1998: Carol Margaret Davison & Paul Simpson-Housley, Eds., Bram Stoker's Dracula: Sucking Through the Century\\n1999: Carol A. Senf, Dracula: Between Tradition and Modernism\\n2001: Elizabeth Miller, Dracula: Sense and Nonsense\\n2002: Michael Bell, Food for the Dead: on the Trail of New England's Vampires\\n2003: William Patrick Day, Vampire Legends in Contemporary American Culture: What Becomes a Legend Most\\n2004: James B. South, Ed., Buffy the Vampire Slayer and Philosophy: Fear and Trembling in Sunnydale.\\n2005: Richard Dalby & William Hughes: Bram Stoker: A Bibliography\\n2006: Jorg Waltje, Blood Obsession: Vampires, Serial Murder, and the Popular Imagination.\\n2007: Bruce A. McClelland, Slayers and their Vampires: A Cultural History of Killing the Dead\\n2008: David Keyworth, Troublesome Corpses: Vampires and Revenants from Antiquity to the Present\\n2009: Elizabeth Miller & Robert Eighteen-Bisang, Eds., Bram Stoker's Notes for Dracula\\n2010: Mary Y. Hallab, Vampire God: The Allure of the Undead in Western Culture\\n2011: John Edgar Browning & Caroline Joan Picart, Dracula in Visual Media: Film, Television, Comic Book and Electronic Game Appearances\\n2012: Susannah Clements, The Vampire Defanged: How the Embodiment of Evil Became a Romantic Hero\\n2013: Jeffrey Weinstock, The Vampire Film: Undead Cinema\\n2014: Maria Lindgren Leavenworth & Malin Isaksson, Fanged Fan Fiction: Variations on Twilight, True Blood and The Vampire Diaries\\n2015: Margot Adler, Vampires Are Us: Understanding Our Love Affair with the Immortal Dark Side\\n2016: J. Gordon Melton & Alysa Hornick, The Vampire in Folklore, History, Literature, Film, and Television: A Comprehensive Bibliography\\n2017: David J. Skal, Something in the Blood: The Untold Story of Bram Stoker, the Man Who Wrote Dracula\\n2018: Gary A. Smith, Vampire Films of the 1970s\\n2019: Amy J. Ransom, I Am Legend as American Myth\\n2020: Sorcha Ni Fhlainn, Postmodern Vampires: Film, Fiction, and Popular Culture.\\n2021: Cait Coker, The Global Vampire: Essays on the Undead in Popular Culture Around the World.\\n\\nLord Ruthven Award: Fiction\\n\\n1989: Brian Stableford, The Empire of Fear\\n1990: Nancy A. Collins, Sunglasses After Dark\\n1993: Kim Newman, Anno Dracula\\n1996: Barbara Hambly, Traveling with the Dead\\n1997: Jonathan Nasaw, The World on Blood\\n1998: Chelsea Quinn Yarbro, Writ in Blood\\n1999: P. N. Elrod, The Vampire Files: A Chill in the Blood\\n2000: Terry Pratchett, Carpe Jugulum\\n2001: Elaine Bergstrom, Blood to Blood: The Dracula Story Continues\\n2002: Jean Lorrah, Blood Will Tell\\n2003: Charlaine Harris, Living Dead in Dallas\\n2004: Andrew Fox, Fat White Vampire Blues\\n2005: David Sosnowski, Vamped\\n2006: Elizabeth Kostova, The Historian\\n2007: Barbara Hambly, Renfield: Slave of Dracula\\n2008: Joel H. Emerson, The Undead\\n2009: James Reese, The Dracula Dossier\\n2010: Guillermo del Toro and Chuck Hogan, The Strain\\n2011: S. M. Stirling, A Taint in the Blood\\n2012: Glen Duncan, The Last Werewolf\\n2013: Tim Powers, Hide Me Among the Graves\\n2014: Joe Hill, NOS4A2\\n2015: Lauren Owen, The Quick\\n2016: David Gerrold, Jacob\\n2017: Anne Rice, Prince Lestat and the Realms of Atlantis\\n2018: Charlaine Harris: The Complete Sookie Stackhouse Stories\\n2019: Theodora Goss, European Travel for the Monstrous Gentlewoman\\n2020: Marge Simon & Bryan D. Dietrich, The Demeter Diaries\\n\\nLord Ruthven Award: Media/Popular Culture\\n\\n2003: Diary of a Virgin\\n2004: Dracula\\n2005: Vampire Dreams\\n2008: Anthony Bourdain, No Reservations: Romania\\n2009: True Blood\\n2011: Being Human\\n2015: Only Lovers Left Alive\\n2016: What We Do in the Shadows\\n2017: Vamped / The Vampire Historian\\n2018: Midnight, Texas Season 1\\n2020: What We Do in The Shadows\\n\\nLord Ruthven Special Award \\n\\n1997: Raymond T. McNally\\n2018: Hans Corneel de Roos for his translation of, and research on Makt Myrkranna (Powers of Darkness)\\n\\nReferences\\n\\nExternal links\\nThe International Association for the Fantastic in the Arts\\n\\nVampires in written fiction\\nHorror fiction awards\"\n]"},"chunked_article":{"kind":"list like","value":["Count Dracula () is the title character of Bram Stoker's 1897 gothic horror novel Dracula. He is considered to be both the prototypical and the archetypal vampire in subsequent works of fiction.","He is considered to be both the prototypical and the archetypal vampire in subsequent works of fiction. Some aspects of the character are believed to have been inspired by the 15th-century Wallachian Prince Vlad the Impaler, who was also known as Dracula, and by Sir Henry Irving, an actor for whom Stoker was a personal assistant.","Some aspects of the character are believed to have been inspired by the 15th-century Wallachian Prince Vlad the Impaler, who was also known as Dracula, and by Sir Henry Irving, an actor for whom Stoker was a personal assistant. One of Dracula's most iconic powers is his ability to turn others into vampires by biting them and infecting them with the vampiric disease.","One of Dracula's most iconic powers is his ability to turn others into vampires by biting them and infecting them with the vampiric disease. Other character aspects have been added or altered in subsequent popular fictional works. The character has appeared frequently in popular culture, from films to animated media to breakfast cereals.","The character has appeared frequently in popular culture, from films to animated media to breakfast cereals. Stoker's creation Bram Stoker's novel takes the form of an epistolary tale, in which Count Dracula's characteristics, powers, abilities and weaknesses are narrated by multiple narrators, from different perspectives.","Stoker's creation Bram Stoker's novel takes the form of an epistolary tale, in which Count Dracula's characteristics, powers, abilities and weaknesses are narrated by multiple narrators, from different perspectives. Count Dracula is an undead, centuries-old vampire, and a Transylvanian nobleman who claims to be a Székely descended from Attila the Hun.","Count Dracula is an undead, centuries-old vampire, and a Transylvanian nobleman who claims to be a Székely descended from Attila the Hun. He inhabits a decaying castle in the Carpathian Mountains near the Borgo Pass.","He inhabits a decaying castle in the Carpathian Mountains near the Borgo Pass. Unlike the vampires of Eastern European folklore, which are portrayed as repulsive, corpse-like creatures, Dracula is handsome and charismatic, with a veneer of aristocratic charm.","Unlike the vampires of Eastern European folklore, which are portrayed as repulsive, corpse-like creatures, Dracula is handsome and charismatic, with a veneer of aristocratic charm. In his conversations with Jonathan Harker, he reveals himself as deeply proud of his boyar heritage and nostalgic for the past, which he admits has become only a memory of heroism, honour and valour in modern times.","In his conversations with Jonathan Harker, he reveals himself as deeply proud of his boyar heritage and nostalgic for the past, which he admits has become only a memory of heroism, honour and valour in modern times. Early life Details of his early life are undisclosed, but it is mentioned that Dracula studied the black arts at the academy of Scholomance in the Carpathian Mountains, overlooking the town of Sibiu (also known as Hermannstadt) and has a deep knowledge of alchemy and magic.","Early life Details of his early life are undisclosed, but it is mentioned that Dracula studied the black arts at the academy of Scholomance in the Carpathian Mountains, overlooking the town of Sibiu (also known as Hermannstadt) and has a deep knowledge of alchemy and magic. Taking up arms, as befitting his rank and status as a voivode, he led troops against the Turks across the Danube.","Taking up arms, as befitting his rank and status as a voivode, he led troops against the Turks across the Danube. According to his nemesis Abraham Van Helsing, \"He must indeed have been that Voivode Dracula who won his name against the Turk, over the great river on the very frontier of Turkey-land.","According to his nemesis Abraham Van Helsing, \"He must indeed have been that Voivode Dracula who won his name against the Turk, over the great river on the very frontier of Turkey-land. If it be so, then was he no common man: for in that time, and for centuries after, he was spoken of as the cleverest and the most cunning, as well as the bravest of the sons of the land beyond the forest.\"","If it be so, then was he no common man: for in that time, and for centuries after, he was spoken of as the cleverest and the most cunning, as well as the bravest of the sons of the land beyond the forest.\" Dead and buried in a great tomb in the chapel of his castle, Dracula returns from death as a vampire and lives for several centuries in his castle with three terrifyingly beautiful female vampires beside him.","Dead and buried in a great tomb in the chapel of his castle, Dracula returns from death as a vampire and lives for several centuries in his castle with three terrifyingly beautiful female vampires beside him. Narrative Short story In \"Dracula's Guest\", the narrative follows an unnamed Englishman traveller as he wanders around Munich before leaving for Transylvania.","Narrative Short story In \"Dracula's Guest\", the narrative follows an unnamed Englishman traveller as he wanders around Munich before leaving for Transylvania. It is Walpurgis Night and the young Englishman foolishly leaves his hotel, in spite of the coachman's warnings, and wanders through a dense forest alone.","It is Walpurgis Night and the young Englishman foolishly leaves his hotel, in spite of the coachman's warnings, and wanders through a dense forest alone. Along the way, he feels that he is being watched by a tall and thin stranger.","Along the way, he feels that he is being watched by a tall and thin stranger. The short story climaxes in an old graveyard, where the Englishman encounters a sleeping female vampire called Countess Dolingen in a marble tomb with a large iron stake driven into it.","The short story climaxes in an old graveyard, where the Englishman encounters a sleeping female vampire called Countess Dolingen in a marble tomb with a large iron stake driven into it. This malevolent and beautiful vampire awakens from her marble bier to conjure a snowstorm before being struck by lightning and returning to her eternal prison.","This malevolent and beautiful vampire awakens from her marble bier to conjure a snowstorm before being struck by lightning and returning to her eternal prison. However, the Englishman's troubles are not quite over, as he is dragged away by an unseen force and rendered unconscious.","However, the Englishman's troubles are not quite over, as he is dragged away by an unseen force and rendered unconscious. He awakens to find a \"gigantic\" wolf lying on his chest and licking at his throat; however, the wolf merely keeps him warm and protects him until help arrives.","He awakens to find a \"gigantic\" wolf lying on his chest and licking at his throat; however, the wolf merely keeps him warm and protects him until help arrives. When the Englishman is finally taken back to his hotel, a telegram awaits him from his expectant host Dracula, with a warning about \"dangers from snow and wolves and night\".","When the Englishman is finally taken back to his hotel, a telegram awaits him from his expectant host Dracula, with a warning about \"dangers from snow and wolves and night\". Novel In Dracula, the eponymous vampire has decided to move from Transylvania to London.","Novel In Dracula, the eponymous vampire has decided to move from Transylvania to London. He summons Jonathan Harker, a newly qualified English solicitor, to provide legal support for a real estate transaction overseen by Harker's employer.","He summons Jonathan Harker, a newly qualified English solicitor, to provide legal support for a real estate transaction overseen by Harker's employer. Dracula at first charms Harker with his cordiality and historical knowledge, and even rescues him from the clutches of the three female vampires in the castle.","Dracula at first charms Harker with his cordiality and historical knowledge, and even rescues him from the clutches of the three female vampires in the castle. In truth, however, Dracula merely wishes to keep Harker alive long enough to complete the legal transaction and to learn as much as possible about England.","In truth, however, Dracula merely wishes to keep Harker alive long enough to complete the legal transaction and to learn as much as possible about England. Dracula leaves his castle and boards a Russian ship, the Demeter, taking along with him 50 boxes of Transylvanian soil, which he needs to regain his strength and rest during daylight.","Dracula leaves his castle and boards a Russian ship, the Demeter, taking along with him 50 boxes of Transylvanian soil, which he needs to regain his strength and rest during daylight. During the voyage to Whitby, a coastal town in northern England, he sustains himself on the ship's crew members.","During the voyage to Whitby, a coastal town in northern England, he sustains himself on the ship's crew members. Only one body is later found, that of the captain, who is found tied up to the ship's helm.","Only one body is later found, that of the captain, who is found tied up to the ship's helm. The captain's log is recovered and tells of strange events that had taken place during the ship's journey.","The captain's log is recovered and tells of strange events that had taken place during the ship's journey. Dracula leaves the ship in the form of a dog and runs up the 199 steps to the graveyard of St Mary's Church in the shadow of the Whitby Abbey ruins.","Dracula leaves the ship in the form of a dog and runs up the 199 steps to the graveyard of St Mary's Church in the shadow of the Whitby Abbey ruins. Soon the Count begins menacing Harker's fiancée, Wilhelmina \"Mina\" Murray, and her friend, Lucy Westenra.","Soon the Count begins menacing Harker's fiancée, Wilhelmina \"Mina\" Murray, and her friend, Lucy Westenra. There is also a notable link between Dracula and Renfield, a patient in an insane asylum overseen by John Seward, who is compelled to consume spiders, birds, and other creatures—in ascending order of size—to absorb their \"life force\".","There is also a notable link between Dracula and Renfield, a patient in an insane asylum overseen by John Seward, who is compelled to consume spiders, birds, and other creatures—in ascending order of size—to absorb their \"life force\". Renfield acts as a kind of sensor, reacting to Dracula's proximity and supplying clues accordingly.","Renfield acts as a kind of sensor, reacting to Dracula's proximity and supplying clues accordingly. Dracula visits Lucy's bed chamber on a nightly basis, draining her of blood while simultaneously infecting her with the curse of vampirism.","Dracula visits Lucy's bed chamber on a nightly basis, draining her of blood while simultaneously infecting her with the curse of vampirism. Not knowing the cause for Lucy's deterioration, her three suitors – Seward, Arthur Holmwood and Quincey Morris – call upon Seward's mentor, the Dutch doctor Abraham Van Helsing.","Not knowing the cause for Lucy's deterioration, her three suitors – Seward, Arthur Holmwood and Quincey Morris – call upon Seward's mentor, the Dutch doctor Abraham Van Helsing. Van Helsing soon deduces her condition's supernatural origins, and tries to keep the vampire at bay with garlic.","Van Helsing soon deduces her condition's supernatural origins, and tries to keep the vampire at bay with garlic. Nevertheless, Dracula attacks Lucy's house one final time, killing her mother and transforming Lucy herself into one of the undead. Harker escapes Dracula's castle and returns to England, barely alive and deeply traumatized.","Harker escapes Dracula's castle and returns to England, barely alive and deeply traumatized. On Seward's suggestion, Mina seeks Van Helsing's assistance in assessing Harker's health. She reads his journal and passes it along to Van Helsing.","She reads his journal and passes it along to Van Helsing. This unfolds the first clue to the identity of Lucy's assailant, which later prompts Mina to collect all of the events of Dracula's appearance in news articles, saved letters, newspaper clippings and the journals of each member of the group.","This unfolds the first clue to the identity of Lucy's assailant, which later prompts Mina to collect all of the events of Dracula's appearance in news articles, saved letters, newspaper clippings and the journals of each member of the group. This assists the group in investigating Dracula's movements and later discovering that Renfield's behaviour is directly influenced by Dracula.","This assists the group in investigating Dracula's movements and later discovering that Renfield's behaviour is directly influenced by Dracula. They then discover that Dracula has purchased a residence next door to Seward's. The group gathers intelligence to track down Dracula and destroy him.","The group gathers intelligence to track down Dracula and destroy him. After the undead Lucy attacks several children, Van Helsing, Seward, Holmwood and Morris enter her crypt and destroy her to save her soul. Later, Harker joins them and the party work to discover Dracula's intentions.","Later, Harker joins them and the party work to discover Dracula's intentions. Harker aids the party in tracking down the locations of the boxes to the various residences of Dracula and discovers that Dracula purchased multiple real estate properties throughout London under the alias 'Count De Ville'.","Harker aids the party in tracking down the locations of the boxes to the various residences of Dracula and discovers that Dracula purchased multiple real estate properties throughout London under the alias 'Count De Ville'. Dracula's main plan was to move each of his 50 boxes of earth to his various properties in order to arrange multiple lairs throughout and around the perimeter of London.","Dracula's main plan was to move each of his 50 boxes of earth to his various properties in order to arrange multiple lairs throughout and around the perimeter of London. The party pries open each of the graves, places sacramental wafers within each of them, and seals them shut.","The party pries open each of the graves, places sacramental wafers within each of them, and seals them shut. This deprives Dracula of his ability to seek safety in those boxes. Dracula gains entry into Seward's residence by coercing an invitation out of Renfield.","Dracula gains entry into Seward's residence by coercing an invitation out of Renfield. As he attempts to enter the room in which Harker and Mina are staying, Renfield tries to stop him; Dracula then mortally wounds him. With his dying breath, Renfield tells Seward and Van Helsing that Dracula is after Mina.","With his dying breath, Renfield tells Seward and Van Helsing that Dracula is after Mina. Van Helsing and Seward discover Dracula biting Mina and forcing her to drink his blood. The group repel Dracula using crucifixes and sacramental bread, forcing him to flee by turning into a dark vapour.","The group repel Dracula using crucifixes and sacramental bread, forcing him to flee by turning into a dark vapour. The party continue to hunt Dracula to search for his remaining lairs.","The party continue to hunt Dracula to search for his remaining lairs. Although Dracula's 'baptism' of Mina grants him a telepathic link to her, it backfires when Van Helsing hypnotizes Mina and uses her supernatural link with Dracula to track him as he flees back to Transylvania.","Although Dracula's 'baptism' of Mina grants him a telepathic link to her, it backfires when Van Helsing hypnotizes Mina and uses her supernatural link with Dracula to track him as he flees back to Transylvania. The heroes follow Dracula back to Transylvania, and in a climactic battle with Dracula's Romani bodyguards, finally destroy him.","The heroes follow Dracula back to Transylvania, and in a climactic battle with Dracula's Romani bodyguards, finally destroy him. Despite the popular image of Dracula having a stake driven through his heart to kill him, Mina's narrative describes his decapitation by Harker's kukri while Morris simultaneously pierces his heart with a Bowie knife (Mina Harker's Journal, 6 November, Dracula Chapter 27).","Despite the popular image of Dracula having a stake driven through his heart to kill him, Mina's narrative describes his decapitation by Harker's kukri while Morris simultaneously pierces his heart with a Bowie knife (Mina Harker's Journal, 6 November, Dracula Chapter 27). His body then turns into dust, but not before Mina sees an expression of peace on his face.","His body then turns into dust, but not before Mina sees an expression of peace on his face. Characteristics Although early in the novel Dracula dons a mask of cordiality, he often flies into fits of rage when his plans are frustrated.","Characteristics Although early in the novel Dracula dons a mask of cordiality, he often flies into fits of rage when his plans are frustrated. When Dracula's brides attempt to seduce Jonathan Harker, Dracula physically assaults one and ferociously berates them for their insubordination.","When Dracula's brides attempt to seduce Jonathan Harker, Dracula physically assaults one and ferociously berates them for their insubordination. He has an appreciation for ancient architecture, and when purchasing a home he prefers them to be aged, saying \"A new home would kill me\", and that to make a new home habitable to him would take a century.","He has an appreciation for ancient architecture, and when purchasing a home he prefers them to be aged, saying \"A new home would kill me\", and that to make a new home habitable to him would take a century. Dracula is very proud of his warrior heritage, proclaiming his pride to Harker on how the Székely people are infused with the blood of heroes.","Dracula is very proud of his warrior heritage, proclaiming his pride to Harker on how the Székely people are infused with the blood of heroes. He also expresses an interest in the history of the British Empire, speaking admiringly of its people.","He also expresses an interest in the history of the British Empire, speaking admiringly of its people. He has a somewhat primal and predatory worldview; he pities ordinary humans for their revulsion to their darker impulses. He is not without human emotions, however; he often says that he too can love.","He is not without human emotions, however; he often says that he too can love. Though usually portrayed as having a strong Eastern European accent, the original novel only specifies that his spoken English is excellent, though strangely toned. His appearance varies in age.","His appearance varies in age. His appearance varies in age. He is described early in the novel as thin, with a long white moustache, pointed ears and sharp teeth.","He is described early in the novel as thin, with a long white moustache, pointed ears and sharp teeth. It is also noted later in the novel (Chapter 11 subsection \"The Escaped Wolf\") by a zookeeper who sees him that he has a hooked nose and a pointed beard with a streak of white in it.","It is also noted later in the novel (Chapter 11 subsection \"The Escaped Wolf\") by a zookeeper who sees him that he has a hooked nose and a pointed beard with a streak of white in it. He is dressed all in black and has hair on his palms.","He is dressed all in black and has hair on his palms. Harker describes him as an old man, \"cruel looking\" and giving an effect of \"extraordinary pallor\". As the novel progresses, Dracula is described as taking on a more and more youthful appearance.","As the novel progresses, Dracula is described as taking on a more and more youthful appearance. After Harker strikes him with a shovel, he is left with a scar on his forehead which he bears throughout the course of the novel.","After Harker strikes him with a shovel, he is left with a scar on his forehead which he bears throughout the course of the novel. Dracula also possesses great wealth, and has Romani people in his homeland who are loyal to him as servants and protectors.","Dracula also possesses great wealth, and has Romani people in his homeland who are loyal to him as servants and protectors. Powers and weaknesses Count Dracula is portrayed in the novel using many different supernatural abilities, and is believed to have gained his abilities through dealings with the Devil.","Powers and weaknesses Count Dracula is portrayed in the novel using many different supernatural abilities, and is believed to have gained his abilities through dealings with the Devil. Chapter 18 of the novel describes many of the abilities, limitations and weaknesses of vampires and Dracula in particular.","Chapter 18 of the novel describes many of the abilities, limitations and weaknesses of vampires and Dracula in particular. Dracula has superhuman strength which, according to Van Helsing, is equivalent to that of 20 strong men. He does not cast a shadow or have a reflection from mirrors.","He does not cast a shadow or have a reflection from mirrors. He is immune to conventional means of attack; a sailor tries to stab him in the back with a knife, but the blade goes through his body as though it is air.","He is immune to conventional means of attack; a sailor tries to stab him in the back with a knife, but the blade goes through his body as though it is air. He can defy gravity to a certain extent and possesses superhuman agility, able to climb vertical surfaces upside down in a reptilian manner.","He can defy gravity to a certain extent and possesses superhuman agility, able to climb vertical surfaces upside down in a reptilian manner. He can travel onto \"unhallowed\" ground, such as the graves of suicides and those of his victims. He has powerful hypnotic, telepathic and illusionary abilities.","He has powerful hypnotic, telepathic and illusionary abilities. He also has the ability to \"within limitations\" vanish and reappear elsewhere at will. If he knows the path, he can come out from anything or into anything regardless of how close it is bound or even if it is soldered shut.","If he knows the path, he can come out from anything or into anything regardless of how close it is bound or even if it is soldered shut. He has amassed cunning and wisdom throughout centuries, and he is unable to die by the mere passing of time alone.","He has amassed cunning and wisdom throughout centuries, and he is unable to die by the mere passing of time alone. He can command animals such as rats, owls, bats, moths, foxes and wolves. However, his control over these animals is limited, as seen when the party first enters his house in London.","However, his control over these animals is limited, as seen when the party first enters his house in London. Although Dracula is able to summon thousands of rats to swarm and attack the group, Holmwood summons his trio of terriers to do battle with the rats.","Although Dracula is able to summon thousands of rats to swarm and attack the group, Holmwood summons his trio of terriers to do battle with the rats. The dogs prove very efficient rat killers, suggesting they are Manchester Terriers trained for that purpose.","The dogs prove very efficient rat killers, suggesting they are Manchester Terriers trained for that purpose. Terrified by the dogs' onslaught, the rats flee, and any control which Dracula had over them is gone.","Terrified by the dogs' onslaught, the rats flee, and any control which Dracula had over them is gone. Dracula can also manipulate the weather and, within his range, is able to direct the elements, such as storms, fog and mist.","Dracula can also manipulate the weather and, within his range, is able to direct the elements, such as storms, fog and mist. Shapeshifting Dracula can change form at will, able to grow and become small, his featured forms in the novel being that of a bat, a wolf, a large dog and a fog or mist.","Shapeshifting Dracula can change form at will, able to grow and become small, his featured forms in the novel being that of a bat, a wolf, a large dog and a fog or mist. When the moonlight is shining, he can travel as elemental dust within its rays.","When the moonlight is shining, he can travel as elemental dust within its rays. He is able to pass through tiny cracks or crevices while retaining his human form or in the form of a vapour; described by Van Helsing as the ability to slip through a hairbreadth space of a tomb door or coffin.","He is able to pass through tiny cracks or crevices while retaining his human form or in the form of a vapour; described by Van Helsing as the ability to slip through a hairbreadth space of a tomb door or coffin. This is also an ability used by his victim Lucy as a vampire.","This is also an ability used by his victim Lucy as a vampire. When the party breaks into her tomb, they open the sealed coffin to find her corpse is no longer located within. Vampirism One of Dracula's powers is the ability to turn others into vampires by biting them.","Vampirism One of Dracula's powers is the ability to turn others into vampires by biting them. According to Van Helsing: The vampire bite itself does not cause death. It is the method vampires use to drain blood of the victim and to increase their influence over them.","It is the method vampires use to drain blood of the victim and to increase their influence over them. This is described by Van Helsing: Victims who are bitten by a vampire and do not die, are hypnotically influenced by them: Van Helsing later describes the aftermath of a bitten victim when the vampire has been killed: As Dracula slowly drains Lucy's blood, she dies from acute blood loss and later transforms into a vampire, despite the efforts of Seward and Van Helsing to provide her with blood transfusions.","This is described by Van Helsing: Victims who are bitten by a vampire and do not die, are hypnotically influenced by them: Van Helsing later describes the aftermath of a bitten victim when the vampire has been killed: As Dracula slowly drains Lucy's blood, she dies from acute blood loss and later transforms into a vampire, despite the efforts of Seward and Van Helsing to provide her with blood transfusions. He is aided by powers of necromancy and divination of the dead, that all who die by his hand may reanimate and do his bidding.","He is aided by powers of necromancy and divination of the dead, that all who die by his hand may reanimate and do his bidding. Bloodletting Dracula requires no other sustenance but fresh human blood, which has the effect of rejuvenating him and allowing him to grow younger.","Bloodletting Dracula requires no other sustenance but fresh human blood, which has the effect of rejuvenating him and allowing him to grow younger. His power is drawn from the blood of others, and he cannot survive without it.","His power is drawn from the blood of others, and he cannot survive without it. Although drinking blood can rejuvenate his youth and strength, it does not give him the ability to regenerate; months after being struck on the head by a shovel, he still bears a scar from the impact.","Although drinking blood can rejuvenate his youth and strength, it does not give him the ability to regenerate; months after being struck on the head by a shovel, he still bears a scar from the impact. Dracula's preferred victims are women.","Dracula's preferred victims are women. Harker states that he believes Dracula has a state of fasting as well as a state of feeding. Dracula does state to Mina, however, that exerting his abilities causes a desire to feed.","Dracula does state to Mina, however, that exerting his abilities causes a desire to feed. Vampire's Baptism of Blood Count Dracula is depicted as the \"King Vampire\", and can control other vampires. To punish Mina and the party for their efforts against him, Dracula bites her on at least three occasions.","To punish Mina and the party for their efforts against him, Dracula bites her on at least three occasions. He also forces her to drink his blood; this act curses her with the effects of vampirism and gives him a telepathic link to her thoughts. However, hypnotism was only able to be done before dawn.","However, hypnotism was only able to be done before dawn. Van Helsing refers to the act of drinking blood by both the vampire and the victim \"the Vampire's Baptism of Blood\". The effects changes Mina physically and mentally over time.","The effects changes Mina physically and mentally over time. A few moments after Dracula attacks her, Van Helsing takes a wafer of sacramental bread and places it on her forehead to bless her; when the bread touches her skin, it burns her and leaves a scar on her forehead.","A few moments after Dracula attacks her, Van Helsing takes a wafer of sacramental bread and places it on her forehead to bless her; when the bread touches her skin, it burns her and leaves a scar on her forehead. Her teeth start growing longer but do not grow sharper.","Her teeth start growing longer but do not grow sharper. She begins to lose her appetite, feeling repulsed by normal food, begins to sleep more and more during the day; cannot wake unless at sunset and stops writing in her diary.","She begins to lose her appetite, feeling repulsed by normal food, begins to sleep more and more during the day; cannot wake unless at sunset and stops writing in her diary. When Van Helsing later crumbles the same bread in a circle around her, she is unable to cross or leave the circle, discovering a new form of protection.","When Van Helsing later crumbles the same bread in a circle around her, she is unable to cross or leave the circle, discovering a new form of protection. Dracula's death can release the curse on any living victim of eventual transformation into vampire.","Dracula's death can release the curse on any living victim of eventual transformation into vampire. However, Van Helsing reveals that were he to escape, his continued existence would ensure that even if he did not victimize Mina further, she would transform into a vampire upon her eventual natural death.","However, Van Helsing reveals that were he to escape, his continued existence would ensure that even if he did not victimize Mina further, she would transform into a vampire upon her eventual natural death. Limitations of his powers Dracula is much less powerful in daylight and is only able to shift his form at dawn, noon, and dusk (he can shift his form freely at night or if he is at his grave).","Limitations of his powers Dracula is much less powerful in daylight and is only able to shift his form at dawn, noon, and dusk (he can shift his form freely at night or if he is at his grave). The sun is not fatal to him, as sunlight does not burn and destroy him upon contact, though most of his abilities cease.","The sun is not fatal to him, as sunlight does not burn and destroy him upon contact, though most of his abilities cease. Later interpretations of the character, and vampires in general, would amplify this trait into an outright fatal weakness, making it so that even the first rays of sunrise are capable of reducing a vampire to ash.","Later interpretations of the character, and vampires in general, would amplify this trait into an outright fatal weakness, making it so that even the first rays of sunrise are capable of reducing a vampire to ash. He is also limited in his ability to travel, as he can only cross running water at low or high tide.","He is also limited in his ability to travel, as he can only cross running water at low or high tide. Owing to this, he is unable to fly across a river in the form of a bat or mist or even by himself board a boat or step off a boat onto a dock unless he is physically carried over with assistance.","Owing to this, he is unable to fly across a river in the form of a bat or mist or even by himself board a boat or step off a boat onto a dock unless he is physically carried over with assistance. He is also unable to enter a place unless invited to do so by someone of the household, even a visitor; once invited, he can enter and leave the premises at will.","He is also unable to enter a place unless invited to do so by someone of the household, even a visitor; once invited, he can enter and leave the premises at will. Weaknesses Thirst Dracula is commonly depicted with a bloodlust which he is seemingly unable to control. Adaptations sometimes call this uncontrollable state 'the thirst'.","Adaptations sometimes call this uncontrollable state 'the thirst'. Religious symbolism There are items which afflict him to the point he has no power and can even calm him from his insatiable appetite for blood. He is repulsed by garlic, as well as sacred items and symbols such as crucifixes, and sacramental bread.","He is repulsed by garlic, as well as sacred items and symbols such as crucifixes, and sacramental bread. Placing the branch of a wild rose upon the top of his coffin will render him unable to escape it; a sacred bullet fired into the coffin could kill him so that he remain true-dead.","Placing the branch of a wild rose upon the top of his coffin will render him unable to escape it; a sacred bullet fired into the coffin could kill him so that he remain true-dead. Mountain Ash is also described as a form of protection from a vampire although the effects are unknown.","Mountain Ash is also described as a form of protection from a vampire although the effects are unknown. This was believed to be used as protection against evil spirits and witches during the Victorian era.","This was believed to be used as protection against evil spirits and witches during the Victorian era. Death-sleep The state of rest to which vampires are prone during the day is described in the novel as a deathlike sleep in which the vampire sleeps open-eyed, is unable to awaken or move, and also may be unaware of any presence of individuals who may be trespassing.","Death-sleep The state of rest to which vampires are prone during the day is described in the novel as a deathlike sleep in which the vampire sleeps open-eyed, is unable to awaken or move, and also may be unaware of any presence of individuals who may be trespassing. Dracula is portrayed as being active in daylight at least once to pursue a victim.","Dracula is portrayed as being active in daylight at least once to pursue a victim. Dracula also purchases many properties throughout London 'over the counter' which shows that he does have the ability to have some type of presence in daylight.","Dracula also purchases many properties throughout London 'over the counter' which shows that he does have the ability to have some type of presence in daylight. He requires Transylvanian soil to be nearby to him in a foreign land or to be entombed within his coffin within Transylvania in order to successfully rest; otherwise, he will be unable to recover his strength.","He requires Transylvanian soil to be nearby to him in a foreign land or to be entombed within his coffin within Transylvania in order to successfully rest; otherwise, he will be unable to recover his strength. This has forced him to transport many boxes of Transylvanian earth to each of his residences in London.","This has forced him to transport many boxes of Transylvanian earth to each of his residences in London. He is most powerful when he is within his Earth-Home, Coffin-Home, Hell-Home, or any place unhallowed.","He is most powerful when he is within his Earth-Home, Coffin-Home, Hell-Home, or any place unhallowed. Further, if Dracula or any vampire has had their fill in blood upon feeding, they will be caused to rest in this dead state even longer than usual.","Further, if Dracula or any vampire has had their fill in blood upon feeding, they will be caused to rest in this dead state even longer than usual. Other abilities While universally feared by the local people of Transylvania and even beyond, Dracula commands the loyalty of Gypsies and a band of Slovaks who transport his boxes on their way to London and to serve as an armed convoy bringing his coffin back to his castle.","Other abilities While universally feared by the local people of Transylvania and even beyond, Dracula commands the loyalty of Gypsies and a band of Slovaks who transport his boxes on their way to London and to serve as an armed convoy bringing his coffin back to his castle. The Slovaks and Gypsies appear to know his true nature, for they laugh at Harker when he tries to communicate his plight, and betray Harker's attempt to send a letter through them by giving it to the Count.","The Slovaks and Gypsies appear to know his true nature, for they laugh at Harker when he tries to communicate his plight, and betray Harker's attempt to send a letter through them by giving it to the Count. Dracula seems to be able to hold influence over people with mental disorders, such as Renfield, who is never bitten but who worships Dracula, referring to him over the course of the novel as \"Master\" and \"Lord\".","Dracula seems to be able to hold influence over people with mental disorders, such as Renfield, who is never bitten but who worships Dracula, referring to him over the course of the novel as \"Master\" and \"Lord\". Dracula also afflicts Lucy with chronic sleepwalking, putting her into a trance-like state that allows them not only to submit to his will but also seek him and satisfy his need to feed.","Dracula also afflicts Lucy with chronic sleepwalking, putting her into a trance-like state that allows them not only to submit to his will but also seek him and satisfy his need to feed. Dracula's powers and weaknesses vary greatly in the many adaptations. Previous and subsequent vampires from different legends have had similar vampire characteristics.","Previous and subsequent vampires from different legends have had similar vampire characteristics. Character development subsequent to the novel Dracula has been portrayed by more actors in more visual media adaptations of the novel than any other horror character.","Character development subsequent to the novel Dracula has been portrayed by more actors in more visual media adaptations of the novel than any other horror character. Actors who have played him include Max Schreck, Bela Lugosi, John Carradine, Lon Chaney Jr., Christopher Lee, Francis Lederer, Denholm Elliott, Jack Palance, Louis Jourdan, Rudolf Martin, Frank Langella, Klaus Kinski, Gary Oldman, Leslie Nielsen, George Hamilton, David Niven, Charles Macaulay, Keith-Lee Castle, Gerard Butler, Duncan Regehr, Richard Roxburgh, Marc Warren, Rutger Hauer, Stephen Billington, Thomas Kretschmann, Dominic Purcell, Luke Evans and Claes Bang.","Actors who have played him include Max Schreck, Bela Lugosi, John Carradine, Lon Chaney Jr., Christopher Lee, Francis Lederer, Denholm Elliott, Jack Palance, Louis Jourdan, Rudolf Martin, Frank Langella, Klaus Kinski, Gary Oldman, Leslie Nielsen, George Hamilton, David Niven, Charles Macaulay, Keith-Lee Castle, Gerard Butler, Duncan Regehr, Richard Roxburgh, Marc Warren, Rutger Hauer, Stephen Billington, Thomas Kretschmann, Dominic Purcell, Luke Evans and Claes Bang. In 2003, Count Dracula, as portrayed by Lugosi in the 1931 film, was named as the 33rd greatest movie villain by the AFI.","In 2003, Count Dracula, as portrayed by Lugosi in the 1931 film, was named as the 33rd greatest movie villain by the AFI. In 2013, Empire magazine ranked Lee's portrayal as Dracula the 7th Greatest Horror Movie Character of All Time.","In 2013, Empire magazine ranked Lee's portrayal as Dracula the 7th Greatest Horror Movie Character of All Time. The character is closely associated with the western cultural archetype of the vampire, and remains a popular Halloween costume. Count Dracula appears in Mad Monster Party? voiced by Allen Swift.","voiced by Allen Swift. voiced by Allen Swift. This version is shown to be wearing a monocle. Count Dracula is among the monsters that Baron Boris von Frankenstein invites to the Isle of Evil to show off the secret of total destruction and announce his retirement from the Worldwide Organization of Monsters.","Count Dracula is among the monsters that Baron Boris von Frankenstein invites to the Isle of Evil to show off the secret of total destruction and announce his retirement from the Worldwide Organization of Monsters. Sesame Street character Count von Count is based on Bela Lugosi's interpretation of Count Dracula and Jack Davis' design for Dracula from Mad Monster Party?.","Sesame Street character Count von Count is based on Bela Lugosi's interpretation of Count Dracula and Jack Davis' design for Dracula from Mad Monster Party?. Count Dracula appears in Mad Mad Mad Monsters (a \"prequel of sorts\" to Mad Monster Party?) voiced again by Allen Swift.","voiced again by Allen Swift. voiced again by Allen Swift. He and his son are invited by Baron Henry von Frankenstein to attend the wedding of Frankenstein's monster and its mate at the Transylvania Astoria Hotel. Dracula is the primary antagonist of the Castlevania video game series and the main protagonist of the Lords of Shadow reboot series.","Dracula is the primary antagonist of the Castlevania video game series and the main protagonist of the Lords of Shadow reboot series. Count Dracula appears in the Attack of the Killer Tomatoes episode \"Spatula, Prinze of Dorkness\", voiced by S. Scott Bullock.","Count Dracula appears in the Attack of the Killer Tomatoes episode \"Spatula, Prinze of Dorkness\", voiced by S. Scott Bullock. He relates a tale of how he once gave Dr. Putrid T. Gangreen a serum to transform tomatoes into vampire tomatoes.","He relates a tale of how he once gave Dr. Putrid T. Gangreen a serum to transform tomatoes into vampire tomatoes. Though the Doctor refused, Zoltan overheard their conversation and, mistaking the word serum for syrup, ingests the serum himself and renaming himself \"Spatula, Prinze of Dorkness\" who can turn people into vampires by kissing them in the neck (a stipulation that the Censor Lady put into place in fear of showing the biting and bloodshed associated with vampires on a Saturday morning cartoon).","Though the Doctor refused, Zoltan overheard their conversation and, mistaking the word serum for syrup, ingests the serum himself and renaming himself \"Spatula, Prinze of Dorkness\" who can turn people into vampires by kissing them in the neck (a stipulation that the Censor Lady put into place in fear of showing the biting and bloodshed associated with vampires on a Saturday morning cartoon). This spread to the other tomatoes and the entire town.","This spread to the other tomatoes and the entire town. When the sun came up and disabled the vampires, Count Dracula in sunblock appears and deemed that the town is not worthy to be vampires. He then gives Chad Finletter the antidote to the vampirism and advises that the tomatoes be squashed immediately.","He then gives Chad Finletter the antidote to the vampirism and advises that the tomatoes be squashed immediately. Dracula appears as the lead character of Dracula the Un-dead, a novel by Stoker's great-grand nephew Dacre presented as a sequel to the original.","Dracula appears as the lead character of Dracula the Un-dead, a novel by Stoker's great-grand nephew Dacre presented as a sequel to the original. In the Supernatural episode \"Monster Monster\", a shapeshifter that Sam and Dean Winchester fight considers his form of Count Dracula (portrayed by Todd Stashwick) his favourite form.","In the Supernatural episode \"Monster Monster\", a shapeshifter that Sam and Dean Winchester fight considers his form of Count Dracula (portrayed by Todd Stashwick) his favourite form. It is in this form that Jamie killed him with Sam's gun loaded with silver bullets.","It is in this form that Jamie killed him with Sam's gun loaded with silver bullets. Count Dracula is the main character of the Hotel Transylvania franchise, voiced by Adam Sandler in the first three movies and by Brian Hull in the fourth movie.","Count Dracula is the main character of the Hotel Transylvania franchise, voiced by Adam Sandler in the first three movies and by Brian Hull in the fourth movie. Dracula, going by an inversion of his name, \"Alucard,\" serves as the main character of the anime and manga series Hellsing and Hellsing Ultimate where he serves Integra Hellsing, Abraham's great-granddaughter, as an anti-vampire warrior devoted to the British Crown.","Dracula, going by an inversion of his name, \"Alucard,\" serves as the main character of the anime and manga series Hellsing and Hellsing Ultimate where he serves Integra Hellsing, Abraham's great-granddaughter, as an anti-vampire warrior devoted to the British Crown. Dracula is the primary antagonist of the Showtime series Penny Dreadful, portrayed by Christian Camargo.","Dracula is the primary antagonist of the Showtime series Penny Dreadful, portrayed by Christian Camargo. This version of the character is the brother of Lucifer and, thus, a fallen angel.","This version of the character is the brother of Lucifer and, thus, a fallen angel. Modern and postmodern analyses of the character Already in 1958, Cecil Kirtly proposed that Count Dracula shared his personal past with the historical Transylvanian-born Voivode Vlad III Dracula of Wallachia, also known as Vlad the Impaler or Vlad Țepeș.","Modern and postmodern analyses of the character Already in 1958, Cecil Kirtly proposed that Count Dracula shared his personal past with the historical Transylvanian-born Voivode Vlad III Dracula of Wallachia, also known as Vlad the Impaler or Vlad Țepeș. Following the publication of In Search of Dracula by Radu Florescu and Raymond McNally in 1972, this supposed connection attracted much popular attention.","Following the publication of In Search of Dracula by Radu Florescu and Raymond McNally in 1972, this supposed connection attracted much popular attention. This work argued that Bram Stoker based his Dracula on Vlad the Impaler.","This work argued that Bram Stoker based his Dracula on Vlad the Impaler. Historically, the name \"Dracula\" is the family name of Vlad Țepeș' family, a name derived from a fraternal order of knights called the Order of the Dragon, founded by Sigismund of Luxembourg (king of Hungary and Bohemia, and Holy Roman Emperor) to uphold Christianity and defend the Empire against the Ottoman Turks.","Historically, the name \"Dracula\" is the family name of Vlad Țepeș' family, a name derived from a fraternal order of knights called the Order of the Dragon, founded by Sigismund of Luxembourg (king of Hungary and Bohemia, and Holy Roman Emperor) to uphold Christianity and defend the Empire against the Ottoman Turks. Vlad II Dracul, father of Vlad III, was admitted to the order around 1431 because of his bravery in fighting the Turks and was dubbed Dracul (dragon or devil) thus his son became Dracula (son of the dragon).","Vlad II Dracul, father of Vlad III, was admitted to the order around 1431 because of his bravery in fighting the Turks and was dubbed Dracul (dragon or devil) thus his son became Dracula (son of the dragon). From 1431 onward, Vlad II wore the emblem of the order and later, as ruler of Wallachia, his coinage bore the dragon symbol.","From 1431 onward, Vlad II wore the emblem of the order and later, as ruler of Wallachia, his coinage bore the dragon symbol. Stoker came across the name Dracula in his reading on Romanian history, and chose this to replace the name (Count Wampyr) that he had originally intended to use for his villain.","Stoker came across the name Dracula in his reading on Romanian history, and chose this to replace the name (Count Wampyr) that he had originally intended to use for his villain. However, some Dracula scholars, led by Elizabeth Miller, have questioned the depth of this connection as early as 1998.","However, some Dracula scholars, led by Elizabeth Miller, have questioned the depth of this connection as early as 1998. They argue that Stoker in fact knew little of the historic Vlad III, Vlad the Impaler, and that he used only the name \"Dracula\" and some miscellaneous scraps of Romanian history.","They argue that Stoker in fact knew little of the historic Vlad III, Vlad the Impaler, and that he used only the name \"Dracula\" and some miscellaneous scraps of Romanian history. Also, there are no comments about Vlad III in the author's working notes.","Also, there are no comments about Vlad III in the author's working notes. While having a conversation with Jonathan Harker in Chapter 3, Dracula refers to his own background, and these speeches show elements which Stoker directly copied from An Account of the Principalities of Wallachia and Moldavia: With Various Political Observations Relating to Them by William Wilkinson.","While having a conversation with Jonathan Harker in Chapter 3, Dracula refers to his own background, and these speeches show elements which Stoker directly copied from An Account of the Principalities of Wallachia and Moldavia: With Various Political Observations Relating to Them by William Wilkinson. Stoker mentions the Voivode of the Dracula race who fought against the Turks after the defeat in the Battle of Kosovo, and was later betrayed by his brother, historical facts which unequivocally point to Vlad III, described as \"Voïvode Dracula\" by Wilkinson: The Count's intended identity is later commented by Professor Van Helsing, referring to a letter from his friend Arminius: This indeed encourages the reader to identify the Count with the Voivode Dracula first mentioned by him in Chapter 3, the one betrayed by his brother: Vlad III Dracula, betrayed by his brother Radu the Handsome, who had chosen the side of the Turks.","Stoker mentions the Voivode of the Dracula race who fought against the Turks after the defeat in the Battle of Kosovo, and was later betrayed by his brother, historical facts which unequivocally point to Vlad III, described as \"Voïvode Dracula\" by Wilkinson: The Count's intended identity is later commented by Professor Van Helsing, referring to a letter from his friend Arminius: This indeed encourages the reader to identify the Count with the Voivode Dracula first mentioned by him in Chapter 3, the one betrayed by his brother: Vlad III Dracula, betrayed by his brother Radu the Handsome, who had chosen the side of the Turks. But as noted by the Dutch author Hans Corneel de Roos, in Chapter 25, Van Helsing and Mina drop this rudimentary connection to Vlad III and instead describe the Count's personal past as that of \"that other of his race\" who lived \"in a later age\".","But as noted by the Dutch author Hans Corneel de Roos, in Chapter 25, Van Helsing and Mina drop this rudimentary connection to Vlad III and instead describe the Count's personal past as that of \"that other of his race\" who lived \"in a later age\". By smoothly exchanging Vlad III for a nameless double, Stoker avoided his main character being unambiguously linked to a historical person traceable in any history book.","By smoothly exchanging Vlad III for a nameless double, Stoker avoided his main character being unambiguously linked to a historical person traceable in any history book. Similarly, the novelist did not want to disclose the precise site of the Count's residence, Castle Dracula.","Similarly, the novelist did not want to disclose the precise site of the Count's residence, Castle Dracula. As confirmed by Stoker's own handwritten research notes, the novelist had a specific location for the Castle in mind while writing the narrative: an empty mountain top in the Transylvanian Kelemen alps near the former border with Moldavia.","As confirmed by Stoker's own handwritten research notes, the novelist had a specific location for the Castle in mind while writing the narrative: an empty mountain top in the Transylvanian Kelemen alps near the former border with Moldavia. Efforts to promote the Poenari Castle (ca.","Efforts to promote the Poenari Castle (ca. 200 km away from the novel's place of action near the Borgo Pass) as the \"real Castle Dracula\" have no basis in Stoker's writing; although it bears much similarity to the fictional Castle Dracula, no written evidence shows Stoker to have heard of it.","200 km away from the novel's place of action near the Borgo Pass) as the \"real Castle Dracula\" have no basis in Stoker's writing; although it bears much similarity to the fictional Castle Dracula, no written evidence shows Stoker to have heard of it. Regarding the Bran Castle near Brașov, Stoker possibly saw an illustration of Castle Bran (Törzburg) in Charles Boner's 1865 book on Transylvania, Transylvania: Its Products and Its People.","Regarding the Bran Castle near Brașov, Stoker possibly saw an illustration of Castle Bran (Törzburg) in Charles Boner's 1865 book on Transylvania, Transylvania: Its Products and Its People. Although Stoker may have been inspired by its romantic appearance, neither Boner, nor Mazuchelli nor Crosse (who also mention Terzburg or Törzburg) associate it with Vlad III; for the site of his fictitious Castle Dracula, Stoker preferred an empty mountain top.","Although Stoker may have been inspired by its romantic appearance, neither Boner, nor Mazuchelli nor Crosse (who also mention Terzburg or Törzburg) associate it with Vlad III; for the site of his fictitious Castle Dracula, Stoker preferred an empty mountain top. Furthermore, Stoker's detailed notes reveal that the novelist was very well aware of the ethnic and geo-political differences between the \"Roumanians\" or \"Wallachs\"/\"Wallachians\", descendants of the Dacians, and the Székelys or Szeklers, allies of the Magyars or Hungarians, whose interests were opposed to that of the Wallachians.","Furthermore, Stoker's detailed notes reveal that the novelist was very well aware of the ethnic and geo-political differences between the \"Roumanians\" or \"Wallachs\"/\"Wallachians\", descendants of the Dacians, and the Székelys or Szeklers, allies of the Magyars or Hungarians, whose interests were opposed to that of the Wallachians. In the novel's original typewritten manuscript, the Count speaks of throwing off the \"Austrian yoke\", which corresponds to the Szekler political point of view.","In the novel's original typewritten manuscript, the Count speaks of throwing off the \"Austrian yoke\", which corresponds to the Szekler political point of view. This expression is crossed out, however, and replaced by \"Hungarian yoke\" (as appearing in the printed version), which matches the historical perspective of the Wallachians.","This expression is crossed out, however, and replaced by \"Hungarian yoke\" (as appearing in the printed version), which matches the historical perspective of the Wallachians. This has been interpreted by some to mean that Stoker opted for the Wallachian, not the Szekler interpretation, thus lending more consistency to the Romanian identity of his Count: although not identical with Vlad III, the Vampire is portrayed as one of the \"Dracula race\".","This has been interpreted by some to mean that Stoker opted for the Wallachian, not the Szekler interpretation, thus lending more consistency to the Romanian identity of his Count: although not identical with Vlad III, the Vampire is portrayed as one of the \"Dracula race\". However, despite this, Stoker chose the Count to have revealed himself to be a Székely, and not a Wallachian nobleman (the region where the real \"Draculas\" ruled over).","However, despite this, Stoker chose the Count to have revealed himself to be a Székely, and not a Wallachian nobleman (the region where the real \"Draculas\" ruled over). Screen portrayals See also Elizabeth Báthory Carmilla Clinical vampirism List of fictional vampires List of horror film antagonists References Bibliography Clive Leatherdale (1985) Dracula: the Novel and the Legend.","Screen portrayals See also Elizabeth Báthory Carmilla Clinical vampirism List of fictional vampires List of horror film antagonists References Bibliography Clive Leatherdale (1985) Dracula: the Novel and the Legend. Desert Island Books. Bram Stoker (1897) Dracula. Norton Critical Edition (1997) edited by Nina Auerbach and David J. Skal. Senf, Carol.","Senf, Carol. Senf, Carol. Dracula: Between Tradition and Modernism (Twayne, 1998). Senf, Carol A. Bram Stoker. University of Wales Press, 2010. External links Bram Stoker Online Full text, PDF and audio versions of Dracula.","External links Bram Stoker Online Full text, PDF and audio versions of Dracula. Vlad the Impaler Literary characters introduced in 1897 Fictional characters with immortality Fictional characters with superhuman strength Fictional characters with weather abilities Fictional counts and countesses Fictional Hungarian people Fictional characters based on real people Fictional hypnotists and indoctrinators Fictional therianthropes Fictional telepaths Fictional vampires Male characters in literature Male characters in film Male characters in television Male horror film villains Male literary villains Supervillains with their own comic book titles Mythopoeia"],"string":"[\n \"Count Dracula () is the title character of Bram Stoker's 1897 gothic horror novel Dracula. He is considered to be both the prototypical and the archetypal vampire in subsequent works of fiction.\",\n \"He is considered to be both the prototypical and the archetypal vampire in subsequent works of fiction. Some aspects of the character are believed to have been inspired by the 15th-century Wallachian Prince Vlad the Impaler, who was also known as Dracula, and by Sir Henry Irving, an actor for whom Stoker was a personal assistant.\",\n \"Some aspects of the character are believed to have been inspired by the 15th-century Wallachian Prince Vlad the Impaler, who was also known as Dracula, and by Sir Henry Irving, an actor for whom Stoker was a personal assistant. One of Dracula's most iconic powers is his ability to turn others into vampires by biting them and infecting them with the vampiric disease.\",\n \"One of Dracula's most iconic powers is his ability to turn others into vampires by biting them and infecting them with the vampiric disease. Other character aspects have been added or altered in subsequent popular fictional works. The character has appeared frequently in popular culture, from films to animated media to breakfast cereals.\",\n \"The character has appeared frequently in popular culture, from films to animated media to breakfast cereals. Stoker's creation Bram Stoker's novel takes the form of an epistolary tale, in which Count Dracula's characteristics, powers, abilities and weaknesses are narrated by multiple narrators, from different perspectives.\",\n \"Stoker's creation Bram Stoker's novel takes the form of an epistolary tale, in which Count Dracula's characteristics, powers, abilities and weaknesses are narrated by multiple narrators, from different perspectives. Count Dracula is an undead, centuries-old vampire, and a Transylvanian nobleman who claims to be a Székely descended from Attila the Hun.\",\n \"Count Dracula is an undead, centuries-old vampire, and a Transylvanian nobleman who claims to be a Székely descended from Attila the Hun. He inhabits a decaying castle in the Carpathian Mountains near the Borgo Pass.\",\n \"He inhabits a decaying castle in the Carpathian Mountains near the Borgo Pass. Unlike the vampires of Eastern European folklore, which are portrayed as repulsive, corpse-like creatures, Dracula is handsome and charismatic, with a veneer of aristocratic charm.\",\n \"Unlike the vampires of Eastern European folklore, which are portrayed as repulsive, corpse-like creatures, Dracula is handsome and charismatic, with a veneer of aristocratic charm. In his conversations with Jonathan Harker, he reveals himself as deeply proud of his boyar heritage and nostalgic for the past, which he admits has become only a memory of heroism, honour and valour in modern times.\",\n \"In his conversations with Jonathan Harker, he reveals himself as deeply proud of his boyar heritage and nostalgic for the past, which he admits has become only a memory of heroism, honour and valour in modern times. Early life Details of his early life are undisclosed, but it is mentioned that Dracula studied the black arts at the academy of Scholomance in the Carpathian Mountains, overlooking the town of Sibiu (also known as Hermannstadt) and has a deep knowledge of alchemy and magic.\",\n \"Early life Details of his early life are undisclosed, but it is mentioned that Dracula studied the black arts at the academy of Scholomance in the Carpathian Mountains, overlooking the town of Sibiu (also known as Hermannstadt) and has a deep knowledge of alchemy and magic. Taking up arms, as befitting his rank and status as a voivode, he led troops against the Turks across the Danube.\",\n \"Taking up arms, as befitting his rank and status as a voivode, he led troops against the Turks across the Danube. According to his nemesis Abraham Van Helsing, \\\"He must indeed have been that Voivode Dracula who won his name against the Turk, over the great river on the very frontier of Turkey-land.\",\n \"According to his nemesis Abraham Van Helsing, \\\"He must indeed have been that Voivode Dracula who won his name against the Turk, over the great river on the very frontier of Turkey-land. If it be so, then was he no common man: for in that time, and for centuries after, he was spoken of as the cleverest and the most cunning, as well as the bravest of the sons of the land beyond the forest.\\\"\",\n \"If it be so, then was he no common man: for in that time, and for centuries after, he was spoken of as the cleverest and the most cunning, as well as the bravest of the sons of the land beyond the forest.\\\" Dead and buried in a great tomb in the chapel of his castle, Dracula returns from death as a vampire and lives for several centuries in his castle with three terrifyingly beautiful female vampires beside him.\",\n \"Dead and buried in a great tomb in the chapel of his castle, Dracula returns from death as a vampire and lives for several centuries in his castle with three terrifyingly beautiful female vampires beside him. Narrative Short story In \\\"Dracula's Guest\\\", the narrative follows an unnamed Englishman traveller as he wanders around Munich before leaving for Transylvania.\",\n \"Narrative Short story In \\\"Dracula's Guest\\\", the narrative follows an unnamed Englishman traveller as he wanders around Munich before leaving for Transylvania. It is Walpurgis Night and the young Englishman foolishly leaves his hotel, in spite of the coachman's warnings, and wanders through a dense forest alone.\",\n \"It is Walpurgis Night and the young Englishman foolishly leaves his hotel, in spite of the coachman's warnings, and wanders through a dense forest alone. Along the way, he feels that he is being watched by a tall and thin stranger.\",\n \"Along the way, he feels that he is being watched by a tall and thin stranger. The short story climaxes in an old graveyard, where the Englishman encounters a sleeping female vampire called Countess Dolingen in a marble tomb with a large iron stake driven into it.\",\n \"The short story climaxes in an old graveyard, where the Englishman encounters a sleeping female vampire called Countess Dolingen in a marble tomb with a large iron stake driven into it. This malevolent and beautiful vampire awakens from her marble bier to conjure a snowstorm before being struck by lightning and returning to her eternal prison.\",\n \"This malevolent and beautiful vampire awakens from her marble bier to conjure a snowstorm before being struck by lightning and returning to her eternal prison. However, the Englishman's troubles are not quite over, as he is dragged away by an unseen force and rendered unconscious.\",\n \"However, the Englishman's troubles are not quite over, as he is dragged away by an unseen force and rendered unconscious. He awakens to find a \\\"gigantic\\\" wolf lying on his chest and licking at his throat; however, the wolf merely keeps him warm and protects him until help arrives.\",\n \"He awakens to find a \\\"gigantic\\\" wolf lying on his chest and licking at his throat; however, the wolf merely keeps him warm and protects him until help arrives. When the Englishman is finally taken back to his hotel, a telegram awaits him from his expectant host Dracula, with a warning about \\\"dangers from snow and wolves and night\\\".\",\n \"When the Englishman is finally taken back to his hotel, a telegram awaits him from his expectant host Dracula, with a warning about \\\"dangers from snow and wolves and night\\\". Novel In Dracula, the eponymous vampire has decided to move from Transylvania to London.\",\n \"Novel In Dracula, the eponymous vampire has decided to move from Transylvania to London. He summons Jonathan Harker, a newly qualified English solicitor, to provide legal support for a real estate transaction overseen by Harker's employer.\",\n \"He summons Jonathan Harker, a newly qualified English solicitor, to provide legal support for a real estate transaction overseen by Harker's employer. Dracula at first charms Harker with his cordiality and historical knowledge, and even rescues him from the clutches of the three female vampires in the castle.\",\n \"Dracula at first charms Harker with his cordiality and historical knowledge, and even rescues him from the clutches of the three female vampires in the castle. In truth, however, Dracula merely wishes to keep Harker alive long enough to complete the legal transaction and to learn as much as possible about England.\",\n \"In truth, however, Dracula merely wishes to keep Harker alive long enough to complete the legal transaction and to learn as much as possible about England. Dracula leaves his castle and boards a Russian ship, the Demeter, taking along with him 50 boxes of Transylvanian soil, which he needs to regain his strength and rest during daylight.\",\n \"Dracula leaves his castle and boards a Russian ship, the Demeter, taking along with him 50 boxes of Transylvanian soil, which he needs to regain his strength and rest during daylight. During the voyage to Whitby, a coastal town in northern England, he sustains himself on the ship's crew members.\",\n \"During the voyage to Whitby, a coastal town in northern England, he sustains himself on the ship's crew members. Only one body is later found, that of the captain, who is found tied up to the ship's helm.\",\n \"Only one body is later found, that of the captain, who is found tied up to the ship's helm. The captain's log is recovered and tells of strange events that had taken place during the ship's journey.\",\n \"The captain's log is recovered and tells of strange events that had taken place during the ship's journey. Dracula leaves the ship in the form of a dog and runs up the 199 steps to the graveyard of St Mary's Church in the shadow of the Whitby Abbey ruins.\",\n \"Dracula leaves the ship in the form of a dog and runs up the 199 steps to the graveyard of St Mary's Church in the shadow of the Whitby Abbey ruins. Soon the Count begins menacing Harker's fiancée, Wilhelmina \\\"Mina\\\" Murray, and her friend, Lucy Westenra.\",\n \"Soon the Count begins menacing Harker's fiancée, Wilhelmina \\\"Mina\\\" Murray, and her friend, Lucy Westenra. There is also a notable link between Dracula and Renfield, a patient in an insane asylum overseen by John Seward, who is compelled to consume spiders, birds, and other creatures—in ascending order of size—to absorb their \\\"life force\\\".\",\n \"There is also a notable link between Dracula and Renfield, a patient in an insane asylum overseen by John Seward, who is compelled to consume spiders, birds, and other creatures—in ascending order of size—to absorb their \\\"life force\\\". Renfield acts as a kind of sensor, reacting to Dracula's proximity and supplying clues accordingly.\",\n \"Renfield acts as a kind of sensor, reacting to Dracula's proximity and supplying clues accordingly. Dracula visits Lucy's bed chamber on a nightly basis, draining her of blood while simultaneously infecting her with the curse of vampirism.\",\n \"Dracula visits Lucy's bed chamber on a nightly basis, draining her of blood while simultaneously infecting her with the curse of vampirism. Not knowing the cause for Lucy's deterioration, her three suitors – Seward, Arthur Holmwood and Quincey Morris – call upon Seward's mentor, the Dutch doctor Abraham Van Helsing.\",\n \"Not knowing the cause for Lucy's deterioration, her three suitors – Seward, Arthur Holmwood and Quincey Morris – call upon Seward's mentor, the Dutch doctor Abraham Van Helsing. Van Helsing soon deduces her condition's supernatural origins, and tries to keep the vampire at bay with garlic.\",\n \"Van Helsing soon deduces her condition's supernatural origins, and tries to keep the vampire at bay with garlic. Nevertheless, Dracula attacks Lucy's house one final time, killing her mother and transforming Lucy herself into one of the undead. Harker escapes Dracula's castle and returns to England, barely alive and deeply traumatized.\",\n \"Harker escapes Dracula's castle and returns to England, barely alive and deeply traumatized. On Seward's suggestion, Mina seeks Van Helsing's assistance in assessing Harker's health. She reads his journal and passes it along to Van Helsing.\",\n \"She reads his journal and passes it along to Van Helsing. This unfolds the first clue to the identity of Lucy's assailant, which later prompts Mina to collect all of the events of Dracula's appearance in news articles, saved letters, newspaper clippings and the journals of each member of the group.\",\n \"This unfolds the first clue to the identity of Lucy's assailant, which later prompts Mina to collect all of the events of Dracula's appearance in news articles, saved letters, newspaper clippings and the journals of each member of the group. This assists the group in investigating Dracula's movements and later discovering that Renfield's behaviour is directly influenced by Dracula.\",\n \"This assists the group in investigating Dracula's movements and later discovering that Renfield's behaviour is directly influenced by Dracula. They then discover that Dracula has purchased a residence next door to Seward's. The group gathers intelligence to track down Dracula and destroy him.\",\n \"The group gathers intelligence to track down Dracula and destroy him. After the undead Lucy attacks several children, Van Helsing, Seward, Holmwood and Morris enter her crypt and destroy her to save her soul. Later, Harker joins them and the party work to discover Dracula's intentions.\",\n \"Later, Harker joins them and the party work to discover Dracula's intentions. Harker aids the party in tracking down the locations of the boxes to the various residences of Dracula and discovers that Dracula purchased multiple real estate properties throughout London under the alias 'Count De Ville'.\",\n \"Harker aids the party in tracking down the locations of the boxes to the various residences of Dracula and discovers that Dracula purchased multiple real estate properties throughout London under the alias 'Count De Ville'. Dracula's main plan was to move each of his 50 boxes of earth to his various properties in order to arrange multiple lairs throughout and around the perimeter of London.\",\n \"Dracula's main plan was to move each of his 50 boxes of earth to his various properties in order to arrange multiple lairs throughout and around the perimeter of London. The party pries open each of the graves, places sacramental wafers within each of them, and seals them shut.\",\n \"The party pries open each of the graves, places sacramental wafers within each of them, and seals them shut. This deprives Dracula of his ability to seek safety in those boxes. Dracula gains entry into Seward's residence by coercing an invitation out of Renfield.\",\n \"Dracula gains entry into Seward's residence by coercing an invitation out of Renfield. As he attempts to enter the room in which Harker and Mina are staying, Renfield tries to stop him; Dracula then mortally wounds him. With his dying breath, Renfield tells Seward and Van Helsing that Dracula is after Mina.\",\n \"With his dying breath, Renfield tells Seward and Van Helsing that Dracula is after Mina. Van Helsing and Seward discover Dracula biting Mina and forcing her to drink his blood. The group repel Dracula using crucifixes and sacramental bread, forcing him to flee by turning into a dark vapour.\",\n \"The group repel Dracula using crucifixes and sacramental bread, forcing him to flee by turning into a dark vapour. The party continue to hunt Dracula to search for his remaining lairs.\",\n \"The party continue to hunt Dracula to search for his remaining lairs. Although Dracula's 'baptism' of Mina grants him a telepathic link to her, it backfires when Van Helsing hypnotizes Mina and uses her supernatural link with Dracula to track him as he flees back to Transylvania.\",\n \"Although Dracula's 'baptism' of Mina grants him a telepathic link to her, it backfires when Van Helsing hypnotizes Mina and uses her supernatural link with Dracula to track him as he flees back to Transylvania. The heroes follow Dracula back to Transylvania, and in a climactic battle with Dracula's Romani bodyguards, finally destroy him.\",\n \"The heroes follow Dracula back to Transylvania, and in a climactic battle with Dracula's Romani bodyguards, finally destroy him. Despite the popular image of Dracula having a stake driven through his heart to kill him, Mina's narrative describes his decapitation by Harker's kukri while Morris simultaneously pierces his heart with a Bowie knife (Mina Harker's Journal, 6 November, Dracula Chapter 27).\",\n \"Despite the popular image of Dracula having a stake driven through his heart to kill him, Mina's narrative describes his decapitation by Harker's kukri while Morris simultaneously pierces his heart with a Bowie knife (Mina Harker's Journal, 6 November, Dracula Chapter 27). His body then turns into dust, but not before Mina sees an expression of peace on his face.\",\n \"His body then turns into dust, but not before Mina sees an expression of peace on his face. Characteristics Although early in the novel Dracula dons a mask of cordiality, he often flies into fits of rage when his plans are frustrated.\",\n \"Characteristics Although early in the novel Dracula dons a mask of cordiality, he often flies into fits of rage when his plans are frustrated. When Dracula's brides attempt to seduce Jonathan Harker, Dracula physically assaults one and ferociously berates them for their insubordination.\",\n \"When Dracula's brides attempt to seduce Jonathan Harker, Dracula physically assaults one and ferociously berates them for their insubordination. He has an appreciation for ancient architecture, and when purchasing a home he prefers them to be aged, saying \\\"A new home would kill me\\\", and that to make a new home habitable to him would take a century.\",\n \"He has an appreciation for ancient architecture, and when purchasing a home he prefers them to be aged, saying \\\"A new home would kill me\\\", and that to make a new home habitable to him would take a century. Dracula is very proud of his warrior heritage, proclaiming his pride to Harker on how the Székely people are infused with the blood of heroes.\",\n \"Dracula is very proud of his warrior heritage, proclaiming his pride to Harker on how the Székely people are infused with the blood of heroes. He also expresses an interest in the history of the British Empire, speaking admiringly of its people.\",\n \"He also expresses an interest in the history of the British Empire, speaking admiringly of its people. He has a somewhat primal and predatory worldview; he pities ordinary humans for their revulsion to their darker impulses. He is not without human emotions, however; he often says that he too can love.\",\n \"He is not without human emotions, however; he often says that he too can love. Though usually portrayed as having a strong Eastern European accent, the original novel only specifies that his spoken English is excellent, though strangely toned. His appearance varies in age.\",\n \"His appearance varies in age. His appearance varies in age. He is described early in the novel as thin, with a long white moustache, pointed ears and sharp teeth.\",\n \"He is described early in the novel as thin, with a long white moustache, pointed ears and sharp teeth. It is also noted later in the novel (Chapter 11 subsection \\\"The Escaped Wolf\\\") by a zookeeper who sees him that he has a hooked nose and a pointed beard with a streak of white in it.\",\n \"It is also noted later in the novel (Chapter 11 subsection \\\"The Escaped Wolf\\\") by a zookeeper who sees him that he has a hooked nose and a pointed beard with a streak of white in it. He is dressed all in black and has hair on his palms.\",\n \"He is dressed all in black and has hair on his palms. Harker describes him as an old man, \\\"cruel looking\\\" and giving an effect of \\\"extraordinary pallor\\\". As the novel progresses, Dracula is described as taking on a more and more youthful appearance.\",\n \"As the novel progresses, Dracula is described as taking on a more and more youthful appearance. After Harker strikes him with a shovel, he is left with a scar on his forehead which he bears throughout the course of the novel.\",\n \"After Harker strikes him with a shovel, he is left with a scar on his forehead which he bears throughout the course of the novel. Dracula also possesses great wealth, and has Romani people in his homeland who are loyal to him as servants and protectors.\",\n \"Dracula also possesses great wealth, and has Romani people in his homeland who are loyal to him as servants and protectors. Powers and weaknesses Count Dracula is portrayed in the novel using many different supernatural abilities, and is believed to have gained his abilities through dealings with the Devil.\",\n \"Powers and weaknesses Count Dracula is portrayed in the novel using many different supernatural abilities, and is believed to have gained his abilities through dealings with the Devil. Chapter 18 of the novel describes many of the abilities, limitations and weaknesses of vampires and Dracula in particular.\",\n \"Chapter 18 of the novel describes many of the abilities, limitations and weaknesses of vampires and Dracula in particular. Dracula has superhuman strength which, according to Van Helsing, is equivalent to that of 20 strong men. He does not cast a shadow or have a reflection from mirrors.\",\n \"He does not cast a shadow or have a reflection from mirrors. He is immune to conventional means of attack; a sailor tries to stab him in the back with a knife, but the blade goes through his body as though it is air.\",\n \"He is immune to conventional means of attack; a sailor tries to stab him in the back with a knife, but the blade goes through his body as though it is air. He can defy gravity to a certain extent and possesses superhuman agility, able to climb vertical surfaces upside down in a reptilian manner.\",\n \"He can defy gravity to a certain extent and possesses superhuman agility, able to climb vertical surfaces upside down in a reptilian manner. He can travel onto \\\"unhallowed\\\" ground, such as the graves of suicides and those of his victims. He has powerful hypnotic, telepathic and illusionary abilities.\",\n \"He has powerful hypnotic, telepathic and illusionary abilities. He also has the ability to \\\"within limitations\\\" vanish and reappear elsewhere at will. If he knows the path, he can come out from anything or into anything regardless of how close it is bound or even if it is soldered shut.\",\n \"If he knows the path, he can come out from anything or into anything regardless of how close it is bound or even if it is soldered shut. He has amassed cunning and wisdom throughout centuries, and he is unable to die by the mere passing of time alone.\",\n \"He has amassed cunning and wisdom throughout centuries, and he is unable to die by the mere passing of time alone. He can command animals such as rats, owls, bats, moths, foxes and wolves. However, his control over these animals is limited, as seen when the party first enters his house in London.\",\n \"However, his control over these animals is limited, as seen when the party first enters his house in London. Although Dracula is able to summon thousands of rats to swarm and attack the group, Holmwood summons his trio of terriers to do battle with the rats.\",\n \"Although Dracula is able to summon thousands of rats to swarm and attack the group, Holmwood summons his trio of terriers to do battle with the rats. The dogs prove very efficient rat killers, suggesting they are Manchester Terriers trained for that purpose.\",\n \"The dogs prove very efficient rat killers, suggesting they are Manchester Terriers trained for that purpose. Terrified by the dogs' onslaught, the rats flee, and any control which Dracula had over them is gone.\",\n \"Terrified by the dogs' onslaught, the rats flee, and any control which Dracula had over them is gone. Dracula can also manipulate the weather and, within his range, is able to direct the elements, such as storms, fog and mist.\",\n \"Dracula can also manipulate the weather and, within his range, is able to direct the elements, such as storms, fog and mist. Shapeshifting Dracula can change form at will, able to grow and become small, his featured forms in the novel being that of a bat, a wolf, a large dog and a fog or mist.\",\n \"Shapeshifting Dracula can change form at will, able to grow and become small, his featured forms in the novel being that of a bat, a wolf, a large dog and a fog or mist. When the moonlight is shining, he can travel as elemental dust within its rays.\",\n \"When the moonlight is shining, he can travel as elemental dust within its rays. He is able to pass through tiny cracks or crevices while retaining his human form or in the form of a vapour; described by Van Helsing as the ability to slip through a hairbreadth space of a tomb door or coffin.\",\n \"He is able to pass through tiny cracks or crevices while retaining his human form or in the form of a vapour; described by Van Helsing as the ability to slip through a hairbreadth space of a tomb door or coffin. This is also an ability used by his victim Lucy as a vampire.\",\n \"This is also an ability used by his victim Lucy as a vampire. When the party breaks into her tomb, they open the sealed coffin to find her corpse is no longer located within. Vampirism One of Dracula's powers is the ability to turn others into vampires by biting them.\",\n \"Vampirism One of Dracula's powers is the ability to turn others into vampires by biting them. According to Van Helsing: The vampire bite itself does not cause death. It is the method vampires use to drain blood of the victim and to increase their influence over them.\",\n \"It is the method vampires use to drain blood of the victim and to increase their influence over them. This is described by Van Helsing: Victims who are bitten by a vampire and do not die, are hypnotically influenced by them: Van Helsing later describes the aftermath of a bitten victim when the vampire has been killed: As Dracula slowly drains Lucy's blood, she dies from acute blood loss and later transforms into a vampire, despite the efforts of Seward and Van Helsing to provide her with blood transfusions.\",\n \"This is described by Van Helsing: Victims who are bitten by a vampire and do not die, are hypnotically influenced by them: Van Helsing later describes the aftermath of a bitten victim when the vampire has been killed: As Dracula slowly drains Lucy's blood, she dies from acute blood loss and later transforms into a vampire, despite the efforts of Seward and Van Helsing to provide her with blood transfusions. He is aided by powers of necromancy and divination of the dead, that all who die by his hand may reanimate and do his bidding.\",\n \"He is aided by powers of necromancy and divination of the dead, that all who die by his hand may reanimate and do his bidding. Bloodletting Dracula requires no other sustenance but fresh human blood, which has the effect of rejuvenating him and allowing him to grow younger.\",\n \"Bloodletting Dracula requires no other sustenance but fresh human blood, which has the effect of rejuvenating him and allowing him to grow younger. His power is drawn from the blood of others, and he cannot survive without it.\",\n \"His power is drawn from the blood of others, and he cannot survive without it. Although drinking blood can rejuvenate his youth and strength, it does not give him the ability to regenerate; months after being struck on the head by a shovel, he still bears a scar from the impact.\",\n \"Although drinking blood can rejuvenate his youth and strength, it does not give him the ability to regenerate; months after being struck on the head by a shovel, he still bears a scar from the impact. Dracula's preferred victims are women.\",\n \"Dracula's preferred victims are women. Harker states that he believes Dracula has a state of fasting as well as a state of feeding. Dracula does state to Mina, however, that exerting his abilities causes a desire to feed.\",\n \"Dracula does state to Mina, however, that exerting his abilities causes a desire to feed. Vampire's Baptism of Blood Count Dracula is depicted as the \\\"King Vampire\\\", and can control other vampires. To punish Mina and the party for their efforts against him, Dracula bites her on at least three occasions.\",\n \"To punish Mina and the party for their efforts against him, Dracula bites her on at least three occasions. He also forces her to drink his blood; this act curses her with the effects of vampirism and gives him a telepathic link to her thoughts. However, hypnotism was only able to be done before dawn.\",\n \"However, hypnotism was only able to be done before dawn. Van Helsing refers to the act of drinking blood by both the vampire and the victim \\\"the Vampire's Baptism of Blood\\\". The effects changes Mina physically and mentally over time.\",\n \"The effects changes Mina physically and mentally over time. A few moments after Dracula attacks her, Van Helsing takes a wafer of sacramental bread and places it on her forehead to bless her; when the bread touches her skin, it burns her and leaves a scar on her forehead.\",\n \"A few moments after Dracula attacks her, Van Helsing takes a wafer of sacramental bread and places it on her forehead to bless her; when the bread touches her skin, it burns her and leaves a scar on her forehead. Her teeth start growing longer but do not grow sharper.\",\n \"Her teeth start growing longer but do not grow sharper. She begins to lose her appetite, feeling repulsed by normal food, begins to sleep more and more during the day; cannot wake unless at sunset and stops writing in her diary.\",\n \"She begins to lose her appetite, feeling repulsed by normal food, begins to sleep more and more during the day; cannot wake unless at sunset and stops writing in her diary. When Van Helsing later crumbles the same bread in a circle around her, she is unable to cross or leave the circle, discovering a new form of protection.\",\n \"When Van Helsing later crumbles the same bread in a circle around her, she is unable to cross or leave the circle, discovering a new form of protection. Dracula's death can release the curse on any living victim of eventual transformation into vampire.\",\n \"Dracula's death can release the curse on any living victim of eventual transformation into vampire. However, Van Helsing reveals that were he to escape, his continued existence would ensure that even if he did not victimize Mina further, she would transform into a vampire upon her eventual natural death.\",\n \"However, Van Helsing reveals that were he to escape, his continued existence would ensure that even if he did not victimize Mina further, she would transform into a vampire upon her eventual natural death. Limitations of his powers Dracula is much less powerful in daylight and is only able to shift his form at dawn, noon, and dusk (he can shift his form freely at night or if he is at his grave).\",\n \"Limitations of his powers Dracula is much less powerful in daylight and is only able to shift his form at dawn, noon, and dusk (he can shift his form freely at night or if he is at his grave). The sun is not fatal to him, as sunlight does not burn and destroy him upon contact, though most of his abilities cease.\",\n \"The sun is not fatal to him, as sunlight does not burn and destroy him upon contact, though most of his abilities cease. Later interpretations of the character, and vampires in general, would amplify this trait into an outright fatal weakness, making it so that even the first rays of sunrise are capable of reducing a vampire to ash.\",\n \"Later interpretations of the character, and vampires in general, would amplify this trait into an outright fatal weakness, making it so that even the first rays of sunrise are capable of reducing a vampire to ash. He is also limited in his ability to travel, as he can only cross running water at low or high tide.\",\n \"He is also limited in his ability to travel, as he can only cross running water at low or high tide. Owing to this, he is unable to fly across a river in the form of a bat or mist or even by himself board a boat or step off a boat onto a dock unless he is physically carried over with assistance.\",\n \"Owing to this, he is unable to fly across a river in the form of a bat or mist or even by himself board a boat or step off a boat onto a dock unless he is physically carried over with assistance. He is also unable to enter a place unless invited to do so by someone of the household, even a visitor; once invited, he can enter and leave the premises at will.\",\n \"He is also unable to enter a place unless invited to do so by someone of the household, even a visitor; once invited, he can enter and leave the premises at will. Weaknesses Thirst Dracula is commonly depicted with a bloodlust which he is seemingly unable to control. Adaptations sometimes call this uncontrollable state 'the thirst'.\",\n \"Adaptations sometimes call this uncontrollable state 'the thirst'. Religious symbolism There are items which afflict him to the point he has no power and can even calm him from his insatiable appetite for blood. He is repulsed by garlic, as well as sacred items and symbols such as crucifixes, and sacramental bread.\",\n \"He is repulsed by garlic, as well as sacred items and symbols such as crucifixes, and sacramental bread. Placing the branch of a wild rose upon the top of his coffin will render him unable to escape it; a sacred bullet fired into the coffin could kill him so that he remain true-dead.\",\n \"Placing the branch of a wild rose upon the top of his coffin will render him unable to escape it; a sacred bullet fired into the coffin could kill him so that he remain true-dead. Mountain Ash is also described as a form of protection from a vampire although the effects are unknown.\",\n \"Mountain Ash is also described as a form of protection from a vampire although the effects are unknown. This was believed to be used as protection against evil spirits and witches during the Victorian era.\",\n \"This was believed to be used as protection against evil spirits and witches during the Victorian era. Death-sleep The state of rest to which vampires are prone during the day is described in the novel as a deathlike sleep in which the vampire sleeps open-eyed, is unable to awaken or move, and also may be unaware of any presence of individuals who may be trespassing.\",\n \"Death-sleep The state of rest to which vampires are prone during the day is described in the novel as a deathlike sleep in which the vampire sleeps open-eyed, is unable to awaken or move, and also may be unaware of any presence of individuals who may be trespassing. Dracula is portrayed as being active in daylight at least once to pursue a victim.\",\n \"Dracula is portrayed as being active in daylight at least once to pursue a victim. Dracula also purchases many properties throughout London 'over the counter' which shows that he does have the ability to have some type of presence in daylight.\",\n \"Dracula also purchases many properties throughout London 'over the counter' which shows that he does have the ability to have some type of presence in daylight. He requires Transylvanian soil to be nearby to him in a foreign land or to be entombed within his coffin within Transylvania in order to successfully rest; otherwise, he will be unable to recover his strength.\",\n \"He requires Transylvanian soil to be nearby to him in a foreign land or to be entombed within his coffin within Transylvania in order to successfully rest; otherwise, he will be unable to recover his strength. This has forced him to transport many boxes of Transylvanian earth to each of his residences in London.\",\n \"This has forced him to transport many boxes of Transylvanian earth to each of his residences in London. He is most powerful when he is within his Earth-Home, Coffin-Home, Hell-Home, or any place unhallowed.\",\n \"He is most powerful when he is within his Earth-Home, Coffin-Home, Hell-Home, or any place unhallowed. Further, if Dracula or any vampire has had their fill in blood upon feeding, they will be caused to rest in this dead state even longer than usual.\",\n \"Further, if Dracula or any vampire has had their fill in blood upon feeding, they will be caused to rest in this dead state even longer than usual. Other abilities While universally feared by the local people of Transylvania and even beyond, Dracula commands the loyalty of Gypsies and a band of Slovaks who transport his boxes on their way to London and to serve as an armed convoy bringing his coffin back to his castle.\",\n \"Other abilities While universally feared by the local people of Transylvania and even beyond, Dracula commands the loyalty of Gypsies and a band of Slovaks who transport his boxes on their way to London and to serve as an armed convoy bringing his coffin back to his castle. The Slovaks and Gypsies appear to know his true nature, for they laugh at Harker when he tries to communicate his plight, and betray Harker's attempt to send a letter through them by giving it to the Count.\",\n \"The Slovaks and Gypsies appear to know his true nature, for they laugh at Harker when he tries to communicate his plight, and betray Harker's attempt to send a letter through them by giving it to the Count. Dracula seems to be able to hold influence over people with mental disorders, such as Renfield, who is never bitten but who worships Dracula, referring to him over the course of the novel as \\\"Master\\\" and \\\"Lord\\\".\",\n \"Dracula seems to be able to hold influence over people with mental disorders, such as Renfield, who is never bitten but who worships Dracula, referring to him over the course of the novel as \\\"Master\\\" and \\\"Lord\\\". Dracula also afflicts Lucy with chronic sleepwalking, putting her into a trance-like state that allows them not only to submit to his will but also seek him and satisfy his need to feed.\",\n \"Dracula also afflicts Lucy with chronic sleepwalking, putting her into a trance-like state that allows them not only to submit to his will but also seek him and satisfy his need to feed. Dracula's powers and weaknesses vary greatly in the many adaptations. Previous and subsequent vampires from different legends have had similar vampire characteristics.\",\n \"Previous and subsequent vampires from different legends have had similar vampire characteristics. Character development subsequent to the novel Dracula has been portrayed by more actors in more visual media adaptations of the novel than any other horror character.\",\n \"Character development subsequent to the novel Dracula has been portrayed by more actors in more visual media adaptations of the novel than any other horror character. Actors who have played him include Max Schreck, Bela Lugosi, John Carradine, Lon Chaney Jr., Christopher Lee, Francis Lederer, Denholm Elliott, Jack Palance, Louis Jourdan, Rudolf Martin, Frank Langella, Klaus Kinski, Gary Oldman, Leslie Nielsen, George Hamilton, David Niven, Charles Macaulay, Keith-Lee Castle, Gerard Butler, Duncan Regehr, Richard Roxburgh, Marc Warren, Rutger Hauer, Stephen Billington, Thomas Kretschmann, Dominic Purcell, Luke Evans and Claes Bang.\",\n \"Actors who have played him include Max Schreck, Bela Lugosi, John Carradine, Lon Chaney Jr., Christopher Lee, Francis Lederer, Denholm Elliott, Jack Palance, Louis Jourdan, Rudolf Martin, Frank Langella, Klaus Kinski, Gary Oldman, Leslie Nielsen, George Hamilton, David Niven, Charles Macaulay, Keith-Lee Castle, Gerard Butler, Duncan Regehr, Richard Roxburgh, Marc Warren, Rutger Hauer, Stephen Billington, Thomas Kretschmann, Dominic Purcell, Luke Evans and Claes Bang. In 2003, Count Dracula, as portrayed by Lugosi in the 1931 film, was named as the 33rd greatest movie villain by the AFI.\",\n \"In 2003, Count Dracula, as portrayed by Lugosi in the 1931 film, was named as the 33rd greatest movie villain by the AFI. In 2013, Empire magazine ranked Lee's portrayal as Dracula the 7th Greatest Horror Movie Character of All Time.\",\n \"In 2013, Empire magazine ranked Lee's portrayal as Dracula the 7th Greatest Horror Movie Character of All Time. The character is closely associated with the western cultural archetype of the vampire, and remains a popular Halloween costume. Count Dracula appears in Mad Monster Party? voiced by Allen Swift.\",\n \"voiced by Allen Swift. voiced by Allen Swift. This version is shown to be wearing a monocle. Count Dracula is among the monsters that Baron Boris von Frankenstein invites to the Isle of Evil to show off the secret of total destruction and announce his retirement from the Worldwide Organization of Monsters.\",\n \"Count Dracula is among the monsters that Baron Boris von Frankenstein invites to the Isle of Evil to show off the secret of total destruction and announce his retirement from the Worldwide Organization of Monsters. Sesame Street character Count von Count is based on Bela Lugosi's interpretation of Count Dracula and Jack Davis' design for Dracula from Mad Monster Party?.\",\n \"Sesame Street character Count von Count is based on Bela Lugosi's interpretation of Count Dracula and Jack Davis' design for Dracula from Mad Monster Party?. Count Dracula appears in Mad Mad Mad Monsters (a \\\"prequel of sorts\\\" to Mad Monster Party?) voiced again by Allen Swift.\",\n \"voiced again by Allen Swift. voiced again by Allen Swift. He and his son are invited by Baron Henry von Frankenstein to attend the wedding of Frankenstein's monster and its mate at the Transylvania Astoria Hotel. Dracula is the primary antagonist of the Castlevania video game series and the main protagonist of the Lords of Shadow reboot series.\",\n \"Dracula is the primary antagonist of the Castlevania video game series and the main protagonist of the Lords of Shadow reboot series. Count Dracula appears in the Attack of the Killer Tomatoes episode \\\"Spatula, Prinze of Dorkness\\\", voiced by S. Scott Bullock.\",\n \"Count Dracula appears in the Attack of the Killer Tomatoes episode \\\"Spatula, Prinze of Dorkness\\\", voiced by S. Scott Bullock. He relates a tale of how he once gave Dr. Putrid T. Gangreen a serum to transform tomatoes into vampire tomatoes.\",\n \"He relates a tale of how he once gave Dr. Putrid T. Gangreen a serum to transform tomatoes into vampire tomatoes. Though the Doctor refused, Zoltan overheard their conversation and, mistaking the word serum for syrup, ingests the serum himself and renaming himself \\\"Spatula, Prinze of Dorkness\\\" who can turn people into vampires by kissing them in the neck (a stipulation that the Censor Lady put into place in fear of showing the biting and bloodshed associated with vampires on a Saturday morning cartoon).\",\n \"Though the Doctor refused, Zoltan overheard their conversation and, mistaking the word serum for syrup, ingests the serum himself and renaming himself \\\"Spatula, Prinze of Dorkness\\\" who can turn people into vampires by kissing them in the neck (a stipulation that the Censor Lady put into place in fear of showing the biting and bloodshed associated with vampires on a Saturday morning cartoon). This spread to the other tomatoes and the entire town.\",\n \"This spread to the other tomatoes and the entire town. When the sun came up and disabled the vampires, Count Dracula in sunblock appears and deemed that the town is not worthy to be vampires. He then gives Chad Finletter the antidote to the vampirism and advises that the tomatoes be squashed immediately.\",\n \"He then gives Chad Finletter the antidote to the vampirism and advises that the tomatoes be squashed immediately. Dracula appears as the lead character of Dracula the Un-dead, a novel by Stoker's great-grand nephew Dacre presented as a sequel to the original.\",\n \"Dracula appears as the lead character of Dracula the Un-dead, a novel by Stoker's great-grand nephew Dacre presented as a sequel to the original. In the Supernatural episode \\\"Monster Monster\\\", a shapeshifter that Sam and Dean Winchester fight considers his form of Count Dracula (portrayed by Todd Stashwick) his favourite form.\",\n \"In the Supernatural episode \\\"Monster Monster\\\", a shapeshifter that Sam and Dean Winchester fight considers his form of Count Dracula (portrayed by Todd Stashwick) his favourite form. It is in this form that Jamie killed him with Sam's gun loaded with silver bullets.\",\n \"It is in this form that Jamie killed him with Sam's gun loaded with silver bullets. Count Dracula is the main character of the Hotel Transylvania franchise, voiced by Adam Sandler in the first three movies and by Brian Hull in the fourth movie.\",\n \"Count Dracula is the main character of the Hotel Transylvania franchise, voiced by Adam Sandler in the first three movies and by Brian Hull in the fourth movie. Dracula, going by an inversion of his name, \\\"Alucard,\\\" serves as the main character of the anime and manga series Hellsing and Hellsing Ultimate where he serves Integra Hellsing, Abraham's great-granddaughter, as an anti-vampire warrior devoted to the British Crown.\",\n \"Dracula, going by an inversion of his name, \\\"Alucard,\\\" serves as the main character of the anime and manga series Hellsing and Hellsing Ultimate where he serves Integra Hellsing, Abraham's great-granddaughter, as an anti-vampire warrior devoted to the British Crown. Dracula is the primary antagonist of the Showtime series Penny Dreadful, portrayed by Christian Camargo.\",\n \"Dracula is the primary antagonist of the Showtime series Penny Dreadful, portrayed by Christian Camargo. This version of the character is the brother of Lucifer and, thus, a fallen angel.\",\n \"This version of the character is the brother of Lucifer and, thus, a fallen angel. Modern and postmodern analyses of the character Already in 1958, Cecil Kirtly proposed that Count Dracula shared his personal past with the historical Transylvanian-born Voivode Vlad III Dracula of Wallachia, also known as Vlad the Impaler or Vlad Țepeș.\",\n \"Modern and postmodern analyses of the character Already in 1958, Cecil Kirtly proposed that Count Dracula shared his personal past with the historical Transylvanian-born Voivode Vlad III Dracula of Wallachia, also known as Vlad the Impaler or Vlad Țepeș. Following the publication of In Search of Dracula by Radu Florescu and Raymond McNally in 1972, this supposed connection attracted much popular attention.\",\n \"Following the publication of In Search of Dracula by Radu Florescu and Raymond McNally in 1972, this supposed connection attracted much popular attention. This work argued that Bram Stoker based his Dracula on Vlad the Impaler.\",\n \"This work argued that Bram Stoker based his Dracula on Vlad the Impaler. Historically, the name \\\"Dracula\\\" is the family name of Vlad Țepeș' family, a name derived from a fraternal order of knights called the Order of the Dragon, founded by Sigismund of Luxembourg (king of Hungary and Bohemia, and Holy Roman Emperor) to uphold Christianity and defend the Empire against the Ottoman Turks.\",\n \"Historically, the name \\\"Dracula\\\" is the family name of Vlad Țepeș' family, a name derived from a fraternal order of knights called the Order of the Dragon, founded by Sigismund of Luxembourg (king of Hungary and Bohemia, and Holy Roman Emperor) to uphold Christianity and defend the Empire against the Ottoman Turks. Vlad II Dracul, father of Vlad III, was admitted to the order around 1431 because of his bravery in fighting the Turks and was dubbed Dracul (dragon or devil) thus his son became Dracula (son of the dragon).\",\n \"Vlad II Dracul, father of Vlad III, was admitted to the order around 1431 because of his bravery in fighting the Turks and was dubbed Dracul (dragon or devil) thus his son became Dracula (son of the dragon). From 1431 onward, Vlad II wore the emblem of the order and later, as ruler of Wallachia, his coinage bore the dragon symbol.\",\n \"From 1431 onward, Vlad II wore the emblem of the order and later, as ruler of Wallachia, his coinage bore the dragon symbol. Stoker came across the name Dracula in his reading on Romanian history, and chose this to replace the name (Count Wampyr) that he had originally intended to use for his villain.\",\n \"Stoker came across the name Dracula in his reading on Romanian history, and chose this to replace the name (Count Wampyr) that he had originally intended to use for his villain. However, some Dracula scholars, led by Elizabeth Miller, have questioned the depth of this connection as early as 1998.\",\n \"However, some Dracula scholars, led by Elizabeth Miller, have questioned the depth of this connection as early as 1998. They argue that Stoker in fact knew little of the historic Vlad III, Vlad the Impaler, and that he used only the name \\\"Dracula\\\" and some miscellaneous scraps of Romanian history.\",\n \"They argue that Stoker in fact knew little of the historic Vlad III, Vlad the Impaler, and that he used only the name \\\"Dracula\\\" and some miscellaneous scraps of Romanian history. Also, there are no comments about Vlad III in the author's working notes.\",\n \"Also, there are no comments about Vlad III in the author's working notes. While having a conversation with Jonathan Harker in Chapter 3, Dracula refers to his own background, and these speeches show elements which Stoker directly copied from An Account of the Principalities of Wallachia and Moldavia: With Various Political Observations Relating to Them by William Wilkinson.\",\n \"While having a conversation with Jonathan Harker in Chapter 3, Dracula refers to his own background, and these speeches show elements which Stoker directly copied from An Account of the Principalities of Wallachia and Moldavia: With Various Political Observations Relating to Them by William Wilkinson. Stoker mentions the Voivode of the Dracula race who fought against the Turks after the defeat in the Battle of Kosovo, and was later betrayed by his brother, historical facts which unequivocally point to Vlad III, described as \\\"Voïvode Dracula\\\" by Wilkinson: The Count's intended identity is later commented by Professor Van Helsing, referring to a letter from his friend Arminius: This indeed encourages the reader to identify the Count with the Voivode Dracula first mentioned by him in Chapter 3, the one betrayed by his brother: Vlad III Dracula, betrayed by his brother Radu the Handsome, who had chosen the side of the Turks.\",\n \"Stoker mentions the Voivode of the Dracula race who fought against the Turks after the defeat in the Battle of Kosovo, and was later betrayed by his brother, historical facts which unequivocally point to Vlad III, described as \\\"Voïvode Dracula\\\" by Wilkinson: The Count's intended identity is later commented by Professor Van Helsing, referring to a letter from his friend Arminius: This indeed encourages the reader to identify the Count with the Voivode Dracula first mentioned by him in Chapter 3, the one betrayed by his brother: Vlad III Dracula, betrayed by his brother Radu the Handsome, who had chosen the side of the Turks. But as noted by the Dutch author Hans Corneel de Roos, in Chapter 25, Van Helsing and Mina drop this rudimentary connection to Vlad III and instead describe the Count's personal past as that of \\\"that other of his race\\\" who lived \\\"in a later age\\\".\",\n \"But as noted by the Dutch author Hans Corneel de Roos, in Chapter 25, Van Helsing and Mina drop this rudimentary connection to Vlad III and instead describe the Count's personal past as that of \\\"that other of his race\\\" who lived \\\"in a later age\\\". By smoothly exchanging Vlad III for a nameless double, Stoker avoided his main character being unambiguously linked to a historical person traceable in any history book.\",\n \"By smoothly exchanging Vlad III for a nameless double, Stoker avoided his main character being unambiguously linked to a historical person traceable in any history book. Similarly, the novelist did not want to disclose the precise site of the Count's residence, Castle Dracula.\",\n \"Similarly, the novelist did not want to disclose the precise site of the Count's residence, Castle Dracula. As confirmed by Stoker's own handwritten research notes, the novelist had a specific location for the Castle in mind while writing the narrative: an empty mountain top in the Transylvanian Kelemen alps near the former border with Moldavia.\",\n \"As confirmed by Stoker's own handwritten research notes, the novelist had a specific location for the Castle in mind while writing the narrative: an empty mountain top in the Transylvanian Kelemen alps near the former border with Moldavia. Efforts to promote the Poenari Castle (ca.\",\n \"Efforts to promote the Poenari Castle (ca. 200 km away from the novel's place of action near the Borgo Pass) as the \\\"real Castle Dracula\\\" have no basis in Stoker's writing; although it bears much similarity to the fictional Castle Dracula, no written evidence shows Stoker to have heard of it.\",\n \"200 km away from the novel's place of action near the Borgo Pass) as the \\\"real Castle Dracula\\\" have no basis in Stoker's writing; although it bears much similarity to the fictional Castle Dracula, no written evidence shows Stoker to have heard of it. Regarding the Bran Castle near Brașov, Stoker possibly saw an illustration of Castle Bran (Törzburg) in Charles Boner's 1865 book on Transylvania, Transylvania: Its Products and Its People.\",\n \"Regarding the Bran Castle near Brașov, Stoker possibly saw an illustration of Castle Bran (Törzburg) in Charles Boner's 1865 book on Transylvania, Transylvania: Its Products and Its People. Although Stoker may have been inspired by its romantic appearance, neither Boner, nor Mazuchelli nor Crosse (who also mention Terzburg or Törzburg) associate it with Vlad III; for the site of his fictitious Castle Dracula, Stoker preferred an empty mountain top.\",\n \"Although Stoker may have been inspired by its romantic appearance, neither Boner, nor Mazuchelli nor Crosse (who also mention Terzburg or Törzburg) associate it with Vlad III; for the site of his fictitious Castle Dracula, Stoker preferred an empty mountain top. Furthermore, Stoker's detailed notes reveal that the novelist was very well aware of the ethnic and geo-political differences between the \\\"Roumanians\\\" or \\\"Wallachs\\\"/\\\"Wallachians\\\", descendants of the Dacians, and the Székelys or Szeklers, allies of the Magyars or Hungarians, whose interests were opposed to that of the Wallachians.\",\n \"Furthermore, Stoker's detailed notes reveal that the novelist was very well aware of the ethnic and geo-political differences between the \\\"Roumanians\\\" or \\\"Wallachs\\\"/\\\"Wallachians\\\", descendants of the Dacians, and the Székelys or Szeklers, allies of the Magyars or Hungarians, whose interests were opposed to that of the Wallachians. In the novel's original typewritten manuscript, the Count speaks of throwing off the \\\"Austrian yoke\\\", which corresponds to the Szekler political point of view.\",\n \"In the novel's original typewritten manuscript, the Count speaks of throwing off the \\\"Austrian yoke\\\", which corresponds to the Szekler political point of view. This expression is crossed out, however, and replaced by \\\"Hungarian yoke\\\" (as appearing in the printed version), which matches the historical perspective of the Wallachians.\",\n \"This expression is crossed out, however, and replaced by \\\"Hungarian yoke\\\" (as appearing in the printed version), which matches the historical perspective of the Wallachians. This has been interpreted by some to mean that Stoker opted for the Wallachian, not the Szekler interpretation, thus lending more consistency to the Romanian identity of his Count: although not identical with Vlad III, the Vampire is portrayed as one of the \\\"Dracula race\\\".\",\n \"This has been interpreted by some to mean that Stoker opted for the Wallachian, not the Szekler interpretation, thus lending more consistency to the Romanian identity of his Count: although not identical with Vlad III, the Vampire is portrayed as one of the \\\"Dracula race\\\". However, despite this, Stoker chose the Count to have revealed himself to be a Székely, and not a Wallachian nobleman (the region where the real \\\"Draculas\\\" ruled over).\",\n \"However, despite this, Stoker chose the Count to have revealed himself to be a Székely, and not a Wallachian nobleman (the region where the real \\\"Draculas\\\" ruled over). Screen portrayals See also Elizabeth Báthory Carmilla Clinical vampirism List of fictional vampires List of horror film antagonists References Bibliography Clive Leatherdale (1985) Dracula: the Novel and the Legend.\",\n \"Screen portrayals See also Elizabeth Báthory Carmilla Clinical vampirism List of fictional vampires List of horror film antagonists References Bibliography Clive Leatherdale (1985) Dracula: the Novel and the Legend. Desert Island Books. Bram Stoker (1897) Dracula. Norton Critical Edition (1997) edited by Nina Auerbach and David J. Skal. Senf, Carol.\",\n \"Senf, Carol. Senf, Carol. Dracula: Between Tradition and Modernism (Twayne, 1998). Senf, Carol A. Bram Stoker. University of Wales Press, 2010. External links Bram Stoker Online Full text, PDF and audio versions of Dracula.\",\n \"External links Bram Stoker Online Full text, PDF and audio versions of Dracula. Vlad the Impaler Literary characters introduced in 1897 Fictional characters with immortality Fictional characters with superhuman strength Fictional characters with weather abilities Fictional counts and countesses Fictional Hungarian people Fictional characters based on real people Fictional hypnotists and indoctrinators Fictional therianthropes Fictional telepaths Fictional vampires Male characters in literature Male characters in film Male characters in television Male horror film villains Male literary villains Supervillains with their own comic book titles Mythopoeia\"\n]"}}},{"rowIdx":493,"cells":{"History":{"kind":"list like","value":["Count Dracula","Vampire's Baptism of Blood","What's important about Vampire's Baptism of Blood?","Van Helsing refers to the act of drinking blood by both the vampire and the victim \"the Vampire's Baptism of Blood\"."],"string":"[\n \"Count Dracula\",\n \"Vampire's Baptism of Blood\",\n \"What's important about Vampire's Baptism of Blood?\",\n \"Van Helsing refers to the act of drinking blood by both the vampire and the victim \\\"the Vampire's Baptism of Blood\\\".\"\n]"},"QuAC_dialog_id":{"kind":"string","value":"C_520ea2c01e0d4e02bbbe6ce2ae3c1a09_0"},"Question":{"kind":"string","value":"Is there anything else important regarding this?"},"Question_no":{"kind":"number","value":2,"string":"2"},"Rewrite":{"kind":"string","value":"Besides Van Helsing's reference, is there anything else important regarding Count Dracula, Vampire's Baptism of Blood?"},"true_page_title":{"kind":"string","value":"Count Dracula"},"true_contexts":{"kind":"string","value":"Count Dracula is depicted as the \"King Vampire\", and can control other vampires. To punish Mina and the party for their efforts against him, Dracula bites her on at least three occasions. He also forces her to drink his blood; this act curses her with the effects of vampirism and gives him a telepathic link to her thoughts. However, hypnotism was only able to be done before dawn. Van Helsing refers to the act of drinking blood by both the vampire and the victim \"the Vampire's Baptism of Blood\". The effects changes Mina' physically and mentally over time. A few moments after Dracula attacks her, Van Helsing takes a wafer of sacramental bread and places it on her forehead to bless her; when the bread touches her skin, it burns her and leaves a scar on her forehead. Her teeth start growing longer but do not grow sharper. She begins to lose her appetite, feeling repulsed by normal food, begins to sleep more and more during the day; cannot wake unless at sunset and stops writing in her diary. When Van Helsing later crumbles the same bread in a circle around her, she is unable to cross or leave the circle, discovering a new form of protection. Dracula's death can release the curse on any living victim of eventual transformation into vampire. However, Van Helsing reveals that were he to successfully escape, his continued existence would ensure that even if he did not victimize Mina further, she would transform into a vampire upon her eventual natural death. CANNOTANSWER"},"answer":{"kind":"string","value":"Dracula's death can release the curse on any living victim of eventual transformation into vampire."},"true_contexts_wiki":{"kind":"string","value":"Count Dracula () is the title character of Bram Stoker's 1897 gothic horror novel Dracula. He is considered to be both the prototypical and the archetypal vampire in subsequent works of fiction. Some aspects of the character are believed to have been inspired by the 15th-century Wallachian Prince Vlad the Impaler, who was also known as Dracula, and by Sir Henry Irving, an actor for whom Stoker was a personal assistant.\n\nOne of Dracula's most iconic powers is his ability to turn others into vampires by biting them and infecting them with the vampiric disease. Other character aspects have been added or altered in subsequent popular fictional works. The character has appeared frequently in popular culture, from films to animated media to breakfast cereals.\n\nStoker's creation\nBram Stoker's novel takes the form of an epistolary tale, in which Count Dracula's characteristics, powers, abilities and weaknesses are narrated by multiple narrators, from different perspectives.\n\nCount Dracula is an undead, centuries-old vampire, and a Transylvanian nobleman who claims to be a Székely descended from Attila the Hun. He inhabits a decaying castle in the Carpathian Mountains near the Borgo Pass. Unlike the vampires of Eastern European folklore, which are portrayed as repulsive, corpse-like creatures, Dracula is handsome and charismatic, with a veneer of aristocratic charm. In his conversations with Jonathan Harker, he reveals himself as deeply proud of his boyar heritage and nostalgic for the past, which he admits has become only a memory of heroism, honour and valour in modern times.\n\nEarly life\n\nDetails of his early life are undisclosed, but it is mentioned that\n\nDracula studied the black arts at the academy of Scholomance in the Carpathian Mountains, overlooking the town of Sibiu (also known as Hermannstadt) and has a deep knowledge of alchemy and magic. Taking up arms, as befitting his rank and status as a voivode, he led troops against the Turks across the Danube. According to his nemesis Abraham Van Helsing, \"He must indeed have been that Voivode Dracula who won his name against the Turk, over the great river on the very frontier of Turkey-land. If it be so, then was he no common man: for in that time, and for centuries after, he was spoken of as the cleverest and the most cunning, as well as the bravest of the sons of the land beyond the forest.\" Dead and buried in a great tomb in the chapel of his castle, Dracula returns from death as a vampire and lives for several centuries in his castle with three terrifyingly beautiful female vampires beside him.\n\nNarrative\n\nShort story\n\nIn \"Dracula's Guest\", the narrative follows an unnamed Englishman traveller as he wanders around Munich before leaving for Transylvania. It is Walpurgis Night and the young Englishman foolishly leaves his hotel, in spite of the coachman's warnings, and wanders through a dense forest alone. Along the way, he feels that he is being watched by a tall and thin stranger.\n\nThe short story climaxes in an old graveyard, where the Englishman encounters a sleeping female vampire called Countess Dolingen in a marble tomb with a large iron stake driven into it. This malevolent and beautiful vampire awakens from her marble bier to conjure a snowstorm before being struck by lightning and returning to her eternal prison. However, the Englishman's troubles are not quite over, as he is dragged away by an unseen force and rendered unconscious. He awakens to find a \"gigantic\" wolf lying on his chest and licking at his throat; however, the wolf merely keeps him warm and protects him until help arrives. When the Englishman is finally taken back to his hotel, a telegram awaits him from his expectant host Dracula, with a warning about \"dangers from snow and wolves and night\".\n\nNovel\nIn Dracula, the eponymous vampire has decided to move from Transylvania to London. He summons Jonathan Harker, a newly qualified English solicitor, to provide legal support for a real estate transaction overseen by Harker's employer. Dracula at first charms Harker with his cordiality and historical knowledge, and even rescues him from the clutches of the three female vampires in the castle. In truth, however, Dracula merely wishes to keep Harker alive long enough to complete the legal transaction and to learn as much as possible about England.\n\nDracula leaves his castle and boards a Russian ship, the Demeter, taking along with him 50 boxes of Transylvanian soil, which he needs to regain his strength and rest during daylight. During the voyage to Whitby, a coastal town in northern England, he sustains himself on the ship's crew members. Only one body is later found, that of the captain, who is found tied up to the ship's helm. The captain's log is recovered and tells of strange events that had taken place during the ship's journey. Dracula leaves the ship in the form of a dog and runs up the 199 steps to the graveyard of St Mary's Church in the shadow of the Whitby Abbey ruins.\n\nSoon the Count begins menacing Harker's fiancée, Wilhelmina \"Mina\" Murray, and her friend, Lucy Westenra. There is also a notable link between Dracula and Renfield, a patient in an insane asylum overseen by John Seward, who is compelled to consume spiders, birds, and other creatures—in ascending order of size—to absorb their \"life force\". Renfield acts as a kind of sensor, reacting to Dracula's proximity and supplying clues accordingly. Dracula visits Lucy's bed chamber on a nightly basis, draining her of blood while simultaneously infecting her with the curse of vampirism. Not knowing the cause for Lucy's deterioration, her three suitors – Seward, Arthur Holmwood and Quincey Morris – call upon Seward's mentor, the Dutch doctor Abraham Van Helsing. Van Helsing soon deduces her condition's supernatural origins, and tries to keep the vampire at bay with garlic. Nevertheless, Dracula attacks Lucy's house one final time, killing her mother and transforming Lucy herself into one of the undead.\n\nHarker escapes Dracula's castle and returns to England, barely alive and deeply traumatized. On Seward's suggestion, Mina seeks Van Helsing's assistance in assessing Harker's health. She reads his journal and passes it along to Van Helsing. This unfolds the first clue to the identity of Lucy's assailant, which later prompts Mina to collect all of the events of Dracula's appearance in news articles, saved letters, newspaper clippings and the journals of each member of the group. This assists the group in investigating Dracula's movements and later discovering that Renfield's behaviour is directly influenced by Dracula. They then discover that Dracula has purchased a residence next door to Seward's. The group gathers intelligence to track down Dracula and destroy him.\n\nAfter the undead Lucy attacks several children, Van Helsing, Seward, Holmwood and Morris enter her crypt and destroy her to save her soul. Later, Harker joins them and the party work to discover Dracula's intentions. Harker aids the party in tracking down the locations of the boxes to the various residences of Dracula and discovers that Dracula purchased multiple real estate properties throughout London under the alias 'Count De Ville'. Dracula's main plan was to move each of his 50 boxes of earth to his various properties in order to arrange multiple lairs throughout and around the perimeter of London.\n\nThe party pries open each of the graves, places sacramental wafers within each of them, and seals them shut. This deprives Dracula of his ability to seek safety in those boxes. Dracula gains entry into Seward's residence by coercing an invitation out of Renfield. As he attempts to enter the room in which Harker and Mina are staying, Renfield tries to stop him; Dracula then mortally wounds him. With his dying breath, Renfield tells Seward and Van Helsing that Dracula is after Mina. Van Helsing and Seward discover Dracula biting Mina and forcing her to drink his blood. The group repel Dracula using crucifixes and sacramental bread, forcing him to flee by turning into a dark vapour. The party continue to hunt Dracula to search for his remaining lairs. Although Dracula's 'baptism' of Mina grants him a telepathic link to her, it backfires when Van Helsing hypnotizes Mina and uses her supernatural link with Dracula to track him as he flees back to Transylvania.\n\nThe heroes follow Dracula back to Transylvania, and in a climactic battle with Dracula's Romani bodyguards, finally destroy him. Despite the popular image of Dracula having a stake driven through his heart to kill him, Mina's narrative describes his decapitation by Harker's kukri while Morris simultaneously pierces his heart with a Bowie knife (Mina Harker's Journal, 6 November, Dracula Chapter 27). His body then turns into dust, but not before Mina sees an expression of peace on his face.\n\nCharacteristics\n\nAlthough early in the novel Dracula dons a mask of cordiality, he often flies into fits of rage when his plans are frustrated. When Dracula's brides attempt to seduce Jonathan Harker, Dracula physically assaults one and ferociously berates them for their insubordination.\n\nHe has an appreciation for ancient architecture, and when purchasing a home he prefers them to be aged, saying \"A new home would kill me\", and that to make a new home habitable to him would take a century.\n\nDracula is very proud of his warrior heritage, proclaiming his pride to Harker on how the Székely people are infused with the blood of heroes. He also expresses an interest in the history of the British Empire, speaking admiringly of its people. He has a somewhat primal and predatory worldview; he pities ordinary humans for their revulsion to their darker impulses. He is not without human emotions, however; he often says that he too can love.\n\nThough usually portrayed as having a strong Eastern European accent, the original novel only specifies that his spoken English is excellent, though strangely toned.\n\nHis appearance varies in age. He is described early in the novel as thin, with a long white moustache, pointed ears and sharp teeth. It is also noted later in the novel (Chapter 11 subsection \"The Escaped Wolf\") by a zookeeper who sees him that he has a hooked nose and a pointed beard with a streak of white in it. He is dressed all in black and has hair on his palms. Harker describes him as an old man, \"cruel looking\" and giving an effect of \"extraordinary pallor\".\n\nAs the novel progresses, Dracula is described as taking on a more and more youthful appearance. After Harker strikes him with a shovel, he is left with a scar on his forehead which he bears throughout the course of the novel.\n\nDracula also possesses great wealth, and has Romani people in his homeland who are loyal to him as servants and protectors.\n\nPowers and weaknesses\n\nCount Dracula is portrayed in the novel using many different supernatural abilities, and is believed to have gained his abilities through dealings with the Devil. Chapter 18 of the novel describes many of the abilities, limitations and weaknesses of vampires and Dracula in particular. Dracula has superhuman strength which, according to Van Helsing, is equivalent to that of 20 strong men. He does not cast a shadow or have a reflection from mirrors. He is immune to conventional means of attack; a sailor tries to stab him in the back with a knife, but the blade goes through his body as though it is air. He can defy gravity to a certain extent and possesses superhuman agility, able to climb vertical surfaces upside down in a reptilian manner. He can travel onto \"unhallowed\" ground, such as the graves of suicides and those of his victims. He has powerful hypnotic, telepathic and illusionary abilities. He also has the ability to \"within limitations\" vanish and reappear elsewhere at will. If he knows the path, he can come out from anything or into anything regardless of how close it is bound or even if it is soldered shut.\n\nHe has amassed cunning and wisdom throughout centuries, and he is unable to die by the mere passing of time alone.\n\nHe can command animals such as rats, owls, bats, moths, foxes and wolves. However, his control over these animals is limited, as seen when the party first enters his house in London. Although Dracula is able to summon thousands of rats to swarm and attack the group, Holmwood summons his trio of terriers to do battle with the rats. The dogs prove very efficient rat killers, suggesting they are Manchester Terriers trained for that purpose. Terrified by the dogs' onslaught, the rats flee, and any control which Dracula had over them is gone.\n\nDracula can also manipulate the weather and, within his range, is able to direct the elements, such as storms, fog and mist.\n\nShapeshifting\nDracula can change form at will, able to grow and become small, his featured forms in the novel being that of a bat, a wolf, a large dog and a fog or mist. When the moonlight is shining, he can travel as elemental dust within its rays. He is able to pass through tiny cracks or crevices while retaining his human form or in the form of a vapour; described by Van Helsing as the ability to slip through a hairbreadth space of a tomb door or coffin. This is also an ability used by his victim Lucy as a vampire. When the party breaks into her tomb, they open the sealed coffin to find her corpse is no longer located within.\n\nVampirism\nOne of Dracula's powers is the ability to turn others into vampires by biting them. According to Van Helsing:\n\nThe vampire bite itself does not cause death. It is the method vampires use to drain blood of the victim and to increase their influence over them. This is described by Van Helsing:\n\nVictims who are bitten by a vampire and do not die, are hypnotically influenced by them:\n\nVan Helsing later describes the aftermath of a bitten victim when the vampire has been killed:\n\nAs Dracula slowly drains Lucy's blood, she dies from acute blood loss and later transforms into a vampire, despite the efforts of Seward and Van Helsing to provide her with blood transfusions.\n\nHe is aided by powers of necromancy and divination of the dead, that all who die by his hand may reanimate and do his bidding.\n\nBloodletting\nDracula requires no other sustenance but fresh human blood, which has the effect of rejuvenating him and allowing him to grow younger. His power is drawn from the blood of others, and he cannot survive without it. Although drinking blood can rejuvenate his youth and strength, it does not give him the ability to regenerate; months after being struck on the head by a shovel, he still bears a scar from the impact.\n\nDracula's preferred victims are women. Harker states that he believes Dracula has a state of fasting as well as a state of feeding. Dracula does state to Mina, however, that exerting his abilities causes a desire to feed.\n\nVampire's Baptism of Blood\nCount Dracula is depicted as the \"King Vampire\", and can control other vampires. To punish Mina and the party for their efforts against him, Dracula bites her on at least three occasions. He also forces her to drink his blood; this act curses her with the effects of vampirism and gives him a telepathic link to her thoughts. However, hypnotism was only able to be done before dawn. Van Helsing refers to the act of drinking blood by both the vampire and the victim \"the Vampire's Baptism of Blood\".\n\nThe effects changes Mina physically and mentally over time. A few moments after Dracula attacks her, Van Helsing takes a wafer of sacramental bread and places it on her forehead to bless her; when the bread touches her skin, it burns her and leaves a scar on her forehead. Her teeth start growing longer but do not grow sharper. She begins to lose her appetite, feeling repulsed by normal food, begins to sleep more and more during the day; cannot wake unless at sunset and stops writing in her diary. When Van Helsing later crumbles the same bread in a circle around her, she is unable to cross or leave the circle, discovering a new form of protection.\n\nDracula's death can release the curse on any living victim of eventual transformation into vampire. However, Van Helsing reveals that were he to escape, his continued existence would ensure that even if he did not victimize Mina further, she would transform into a vampire upon her eventual natural death.\n\nLimitations of his powers\nDracula is much less powerful in daylight and is only able to shift his form at dawn, noon, and dusk (he can shift his form freely at night or if he is at his grave). The sun is not fatal to him, as sunlight does not burn and destroy him upon contact, though most of his abilities cease.\n\nLater interpretations of the character, and vampires in general, would amplify this trait into an outright fatal weakness, making it so that even the first rays of sunrise are capable of reducing a vampire to ash.\n\nHe is also limited in his ability to travel, as he can only cross running water at low or high tide. Owing to this, he is unable to fly across a river in the form of a bat or mist or even by himself board a boat or step off a boat onto a dock unless he is physically carried over with assistance. He is also unable to enter a place unless invited to do so by someone of the household, even a visitor; once invited, he can enter and leave the premises at will.\n\nWeaknesses\n\nThirst\nDracula is commonly depicted with a bloodlust which he is seemingly unable to control. Adaptations sometimes call this uncontrollable state 'the thirst'.\n\nReligious symbolism\nThere are items which afflict him to the point he has no power and can even calm him from his insatiable appetite for blood. He is repulsed by garlic, as well as sacred items and symbols such as crucifixes, and sacramental bread.\n\nPlacing the branch of a wild rose upon the top of his coffin will render him unable to escape it; a sacred bullet fired into the coffin could kill him so that he remain true-dead.\n\nMountain Ash is also described as a form of protection from a vampire although the effects are unknown. This was believed to be used as protection against evil spirits and witches during the Victorian era.\n\nDeath-sleep\nThe state of rest to which vampires are prone during the day is described in the novel as a deathlike sleep in which the vampire sleeps open-eyed, is unable to awaken or move, and also may be unaware of any presence of individuals who may be trespassing. Dracula is portrayed as being active in daylight at least once to pursue a victim. Dracula also purchases many properties throughout London 'over the counter' which shows that he does have the ability to have some type of presence in daylight. \n\nHe requires Transylvanian soil to be nearby to him in a foreign land or to be entombed within his coffin within Transylvania in order to successfully rest; otherwise, he will be unable to recover his strength. This has forced him to transport many boxes of Transylvanian earth to each of his residences in London. He is most powerful when he is within his Earth-Home, Coffin-Home, Hell-Home, or any place unhallowed.\n\nFurther, if Dracula or any vampire has had their fill in blood upon feeding, they will be caused to rest in this dead state even longer than usual.\n\nOther abilities\nWhile universally feared by the local people of Transylvania and even beyond, Dracula commands the loyalty of Gypsies and a band of Slovaks who transport his boxes on their way to London and to serve as an armed convoy bringing his coffin back to his castle. The Slovaks and Gypsies appear to know his true nature, for they laugh at Harker when he tries to communicate his plight, and betray Harker's attempt to send a letter through them by giving it to the Count.\n\nDracula seems to be able to hold influence over people with mental disorders, such as Renfield, who is never bitten but who worships Dracula, referring to him over the course of the novel as \"Master\" and \"Lord\". Dracula also afflicts Lucy with chronic sleepwalking, putting her into a trance-like state that allows them not only to submit to his will but also seek him and satisfy his need to feed.\n\nDracula's powers and weaknesses vary greatly in the many adaptations. Previous and subsequent vampires from different legends have had similar vampire characteristics.\n\nCharacter development subsequent to the novel\n\nDracula has been portrayed by more actors in more visual media adaptations of the novel than any other horror character. Actors who have played him include Max Schreck, Bela Lugosi, John Carradine, Lon Chaney Jr., Christopher Lee, Francis Lederer, Denholm Elliott, Jack Palance, Louis Jourdan, Rudolf Martin, Frank Langella, Klaus Kinski, Gary Oldman, Leslie Nielsen, George Hamilton, David Niven, Charles Macaulay, Keith-Lee Castle, Gerard Butler, Duncan Regehr, Richard Roxburgh, Marc Warren, Rutger Hauer, Stephen Billington, Thomas Kretschmann, Dominic Purcell, Luke Evans and Claes Bang.\nIn 2003, Count Dracula, as portrayed by Lugosi in the 1931 film, was named as the 33rd greatest movie villain by the AFI. In 2013, Empire magazine ranked Lee's portrayal as Dracula the 7th Greatest Horror Movie Character of All Time.\n\nThe character is closely associated with the western cultural archetype of the vampire, and remains a popular Halloween costume.\n\n Count Dracula appears in Mad Monster Party? voiced by Allen Swift. This version is shown to be wearing a monocle. Count Dracula is among the monsters that Baron Boris von Frankenstein invites to the Isle of Evil to show off the secret of total destruction and announce his retirement from the Worldwide Organization of Monsters.\n Sesame Street character Count von Count is based on Bela Lugosi's interpretation of Count Dracula and Jack Davis' design for Dracula from Mad Monster Party?.\n Count Dracula appears in Mad Mad Mad Monsters (a \"prequel of sorts\" to Mad Monster Party?) voiced again by Allen Swift. He and his son are invited by Baron Henry von Frankenstein to attend the wedding of Frankenstein's monster and its mate at the Transylvania Astoria Hotel.\n Dracula is the primary antagonist of the Castlevania video game series and the main protagonist of the Lords of Shadow reboot series.\n Count Dracula appears in the Attack of the Killer Tomatoes episode \"Spatula, Prinze of Dorkness\", voiced by S. Scott Bullock. He relates a tale of how he once gave Dr. Putrid T. Gangreen a serum to transform tomatoes into vampire tomatoes. Though the Doctor refused, Zoltan overheard their conversation and, mistaking the word serum for syrup, ingests the serum himself and renaming himself \"Spatula, Prinze of Dorkness\" who can turn people into vampires by kissing them in the neck (a stipulation that the Censor Lady put into place in fear of showing the biting and bloodshed associated with vampires on a Saturday morning cartoon). This spread to the other tomatoes and the entire town. When the sun came up and disabled the vampires, Count Dracula in sunblock appears and deemed that the town is not worthy to be vampires. He then gives Chad Finletter the antidote to the vampirism and advises that the tomatoes be squashed immediately.\n Dracula appears as the lead character of Dracula the Un-dead, a novel by Stoker's great-grand nephew Dacre presented as a sequel to the original.\n In the Supernatural episode \"Monster Monster\", a shapeshifter that Sam and Dean Winchester fight considers his form of Count Dracula (portrayed by Todd Stashwick) his favourite form. It is in this form that Jamie killed him with Sam's gun loaded with silver bullets.\n Count Dracula is the main character of the Hotel Transylvania franchise, voiced by Adam Sandler in the first three movies and by Brian Hull in the fourth movie.\n Dracula, going by an inversion of his name, \"Alucard,\" serves as the main character of the anime and manga series Hellsing and Hellsing Ultimate where he serves Integra Hellsing, Abraham's great-granddaughter, as an anti-vampire warrior devoted to the British Crown.\n Dracula is the primary antagonist of the Showtime series Penny Dreadful, portrayed by Christian Camargo. This version of the character is the brother of Lucifer and, thus, a fallen angel.\n\nModern and postmodern analyses of the character\n\nAlready in 1958, Cecil Kirtly proposed that Count Dracula shared his personal past with the historical Transylvanian-born Voivode Vlad III Dracula of Wallachia, also known as Vlad the Impaler or Vlad Țepeș. Following the publication of In Search of Dracula by Radu Florescu and Raymond McNally in 1972, this supposed connection attracted much popular attention. This work argued that Bram Stoker based his Dracula on Vlad the Impaler.\n\nHistorically, the name \"Dracula\" is the family name of Vlad Țepeș' family, a name derived from a fraternal order of knights called the Order of the Dragon, founded by Sigismund of Luxembourg (king of Hungary and Bohemia, and Holy Roman Emperor) to uphold Christianity and defend the Empire against the Ottoman Turks. Vlad II Dracul, father of Vlad III, was admitted to the order around 1431 because of his bravery in fighting the Turks and was dubbed Dracul (dragon or devil) thus his son became Dracula (son of the dragon). From 1431 onward, Vlad II wore the emblem of the order and later, as ruler of Wallachia, his coinage bore the dragon symbol.\n\nStoker came across the name Dracula in his reading on Romanian history, and chose this to replace the name (Count Wampyr) that he had originally intended to use for his villain. However, some Dracula scholars, led by Elizabeth Miller, have questioned the depth of this connection as early as 1998. They argue that Stoker in fact knew little of the historic Vlad III, Vlad the Impaler, and that he used only the name \"Dracula\" and some miscellaneous scraps of Romanian history. Also, there are no comments about Vlad III in the author's working notes.\n\nWhile having a conversation with Jonathan Harker in Chapter 3, Dracula refers to his own background, and these speeches show elements which Stoker directly copied from An Account of the Principalities of Wallachia and Moldavia: With Various Political Observations Relating to Them by William Wilkinson. Stoker mentions the Voivode of the Dracula race who fought against the Turks after the defeat in the Battle of Kosovo, and was later betrayed by his brother, historical facts which unequivocally point to Vlad III, described as \"Voïvode Dracula\" by Wilkinson:\n\nThe Count's intended identity is later commented by Professor Van Helsing, referring to a letter from his friend Arminius:\n\nThis indeed encourages the reader to identify the Count with the Voivode Dracula first mentioned by him in Chapter 3, the one betrayed by his brother: Vlad III Dracula, betrayed by his brother Radu the Handsome, who had chosen the side of the Turks. But as noted by the Dutch author Hans Corneel de Roos, in Chapter 25, Van Helsing and Mina drop this rudimentary connection to Vlad III and instead describe the Count's personal past as that of \"that other of his race\" who lived \"in a later age\". By smoothly exchanging Vlad III for a nameless double, Stoker avoided his main character being unambiguously linked to a historical person traceable in any history book.\n\nSimilarly, the novelist did not want to disclose the precise site of the Count's residence, Castle Dracula. As confirmed by Stoker's own handwritten research notes, the novelist had a specific location for the Castle in mind while writing the narrative: an empty mountain top in the Transylvanian Kelemen alps near the former border with Moldavia. Efforts to promote the Poenari Castle (ca. 200 km away from the novel's place of action near the Borgo Pass) as the \"real Castle Dracula\" have no basis in Stoker's writing; although it bears much similarity to the fictional Castle Dracula, no written evidence shows Stoker to have heard of it. Regarding the Bran Castle near Brașov, Stoker possibly saw an illustration of Castle Bran (Törzburg) in Charles Boner's 1865 book on Transylvania, Transylvania: Its Products and Its People. Although Stoker may have been inspired by its romantic appearance, neither Boner, nor Mazuchelli nor Crosse (who also mention Terzburg or Törzburg) associate it with Vlad III; for the site of his fictitious Castle Dracula, Stoker preferred an empty mountain top.\n\nFurthermore, Stoker's detailed notes reveal that the novelist was very well aware of the ethnic and geo-political differences between the \"Roumanians\" or \"Wallachs\"/\"Wallachians\", descendants of the Dacians, and the Székelys or Szeklers, allies of the Magyars or Hungarians, whose interests were opposed to that of the Wallachians. In the novel's original typewritten manuscript, the Count speaks of throwing off the \"Austrian yoke\", which corresponds to the Szekler political point of view. This expression is crossed out, however, and replaced by \"Hungarian yoke\" (as appearing in the printed version), which matches the historical perspective of the Wallachians. This has been interpreted by some to mean that Stoker opted for the Wallachian, not the Szekler interpretation, thus lending more consistency to the Romanian identity of his Count: although not identical with Vlad III, the Vampire is portrayed as one of the \"Dracula race\". However, despite this, Stoker chose the Count to have revealed himself to be a Székely, and not a Wallachian nobleman (the region where the real \"Draculas\" ruled over).\n\nScreen portrayals\n\nSee also\n Elizabeth Báthory\n Carmilla\n Clinical vampirism\n List of fictional vampires\n List of horror film antagonists\n\nReferences\n\nBibliography\n Clive Leatherdale (1985) Dracula: the Novel and the Legend. Desert Island Books.\n Bram Stoker (1897) Dracula. Norton Critical Edition (1997) edited by Nina Auerbach and David J. Skal.\n Senf, Carol. Dracula: Between Tradition and Modernism (Twayne, 1998).\n Senf, Carol A. Bram Stoker. University of Wales Press, 2010.\n\nExternal links\n\n Bram Stoker Online Full text, PDF and audio versions of Dracula.\n\n \n \nVlad the Impaler\nLiterary characters introduced in 1897\nFictional characters with immortality\nFictional characters with superhuman strength\nFictional characters with weather abilities\nFictional counts and countesses\nFictional Hungarian people\nFictional characters based on real people\nFictional hypnotists and indoctrinators\nFictional therianthropes\nFictional telepaths\nFictional vampires\nMale characters in literature\nMale characters in film\nMale characters in television\nMale horror film villains\nMale literary villains\nSupervillains with their own comic book titles\nMythopoeia"},"extractive":{"kind":"string","value":"true"},"retrieved_contexts":{"kind":"list like","value":["In baseball, a fair ball is a batted ball that entitles the batter to attempt to reach first base. By contrast, a foul ball is a batted ball that does not entitle the batter to attempt to reach first base. Whether a batted ball is fair or foul is determined by the location of the ball at the appropriate reference point, as follows:\n\n if the ball leaves the playing field without touching anything, the point where the ball leaves the field;\n else, if the ball first lands past first or third base without touching anything, the point where the ball lands;\n else, if the ball rolls or bounces past first or third base without touching anything other than the ground, the point where the ball passes the base;\n else, if the ball touches anything other than the ground (such as an umpire, a player, or any equipment left on the field) before any of the above happens, the point of such touching;\n else (the ball comes to a rest before reaching first or third base), the point where the ball comes to a rest.\n\nIf any part of the ball is on or above fair territory at the appropriate reference point, it is fair; else it is foul. Fair territory or fair ground is defined as the area of the playing field between the two foul lines, and includes the foul lines themselves and the foul poles. However, certain exceptions exist:\n\n A ball that touches first, second, or third base is always fair.\n Under Rule 5.09(a)(7)-(8), if a batted ball touches the batter or his bat while the batter is in the batter's box and not intentionally interfering with the course of the ball, the ball is foul.\n A ball that hits the foul pole without first having touched anything else off the bat is fair.\n Ground rules may provide whether a ball hitting specific objects (e.g. roof, overhead speaker) is fair or foul.\n\nOn a fair ball, the batter attempts to reach first base or any subsequent base, runners attempt to advance and fielders try to record outs. A fair ball is considered a live ball until the ball becomes dead by leaving the field or any other method.\n\nReferences\n\nBaseball rules","Landscapes is the second studio album by the American recording act Ducktails, released on August 6, 2009 on Olde English Spelling Bee. The album was recorded entirely by Matt Mondanile, and was the second full-length Ducktails album to be released in 2009.\n\nArtwork\nRegarding the album's artwork, Mondanile noted: \"[It has] this purple palm tree imagery, kind of two images, it’s kind of just like: each of my record covers I want to be pop art that goes along with the record. Cartoon to pop. That’s kind of my style. Taking that and seeing what you can do with it to make it weird.\"\n\nReception\n\nFact Magazine characterized Landscapes as a series of \"soft-focus aural polaroids,\" calling it \"a breathtakingly pretty album\" whose \"sense of place is open and plural: it can conjure or complement whatever landscape you will it to, from a verdant forest to a sun-scorched desert; from an overcrowded city to an empty beach.\" In a positive review for Pitchfork, David Bevan praised Matt Mondanile's layered recording techniques, writing: \"Landscapes is rarely anything but engaging. \"Wishes\" in particular is a slacker standout more harmonically rich, more sweetly and appropriately lonesome than anything else here.\"\n\nTrack listing\n\nReferences\n\n2009 albums\nDucktails (band) albums"],"string":"[\n \"In baseball, a fair ball is a batted ball that entitles the batter to attempt to reach first base. By contrast, a foul ball is a batted ball that does not entitle the batter to attempt to reach first base. Whether a batted ball is fair or foul is determined by the location of the ball at the appropriate reference point, as follows:\\n\\n if the ball leaves the playing field without touching anything, the point where the ball leaves the field;\\n else, if the ball first lands past first or third base without touching anything, the point where the ball lands;\\n else, if the ball rolls or bounces past first or third base without touching anything other than the ground, the point where the ball passes the base;\\n else, if the ball touches anything other than the ground (such as an umpire, a player, or any equipment left on the field) before any of the above happens, the point of such touching;\\n else (the ball comes to a rest before reaching first or third base), the point where the ball comes to a rest.\\n\\nIf any part of the ball is on or above fair territory at the appropriate reference point, it is fair; else it is foul. Fair territory or fair ground is defined as the area of the playing field between the two foul lines, and includes the foul lines themselves and the foul poles. However, certain exceptions exist:\\n\\n A ball that touches first, second, or third base is always fair.\\n Under Rule 5.09(a)(7)-(8), if a batted ball touches the batter or his bat while the batter is in the batter's box and not intentionally interfering with the course of the ball, the ball is foul.\\n A ball that hits the foul pole without first having touched anything else off the bat is fair.\\n Ground rules may provide whether a ball hitting specific objects (e.g. roof, overhead speaker) is fair or foul.\\n\\nOn a fair ball, the batter attempts to reach first base or any subsequent base, runners attempt to advance and fielders try to record outs. A fair ball is considered a live ball until the ball becomes dead by leaving the field or any other method.\\n\\nReferences\\n\\nBaseball rules\",\n \"Landscapes is the second studio album by the American recording act Ducktails, released on August 6, 2009 on Olde English Spelling Bee. The album was recorded entirely by Matt Mondanile, and was the second full-length Ducktails album to be released in 2009.\\n\\nArtwork\\nRegarding the album's artwork, Mondanile noted: \\\"[It has] this purple palm tree imagery, kind of two images, it’s kind of just like: each of my record covers I want to be pop art that goes along with the record. Cartoon to pop. That’s kind of my style. Taking that and seeing what you can do with it to make it weird.\\\"\\n\\nReception\\n\\nFact Magazine characterized Landscapes as a series of \\\"soft-focus aural polaroids,\\\" calling it \\\"a breathtakingly pretty album\\\" whose \\\"sense of place is open and plural: it can conjure or complement whatever landscape you will it to, from a verdant forest to a sun-scorched desert; from an overcrowded city to an empty beach.\\\" In a positive review for Pitchfork, David Bevan praised Matt Mondanile's layered recording techniques, writing: \\\"Landscapes is rarely anything but engaging. \\\"Wishes\\\" in particular is a slacker standout more harmonically rich, more sweetly and appropriately lonesome than anything else here.\\\"\\n\\nTrack listing\\n\\nReferences\\n\\n2009 albums\\nDucktails (band) albums\"\n]"},"chunked_article":{"kind":"list like","value":["Count Dracula () is the title character of Bram Stoker's 1897 gothic horror novel Dracula. He is considered to be both the prototypical and the archetypal vampire in subsequent works of fiction.","He is considered to be both the prototypical and the archetypal vampire in subsequent works of fiction. Some aspects of the character are believed to have been inspired by the 15th-century Wallachian Prince Vlad the Impaler, who was also known as Dracula, and by Sir Henry Irving, an actor for whom Stoker was a personal assistant.","Some aspects of the character are believed to have been inspired by the 15th-century Wallachian Prince Vlad the Impaler, who was also known as Dracula, and by Sir Henry Irving, an actor for whom Stoker was a personal assistant. One of Dracula's most iconic powers is his ability to turn others into vampires by biting them and infecting them with the vampiric disease.","One of Dracula's most iconic powers is his ability to turn others into vampires by biting them and infecting them with the vampiric disease. Other character aspects have been added or altered in subsequent popular fictional works. The character has appeared frequently in popular culture, from films to animated media to breakfast cereals.","The character has appeared frequently in popular culture, from films to animated media to breakfast cereals. Stoker's creation Bram Stoker's novel takes the form of an epistolary tale, in which Count Dracula's characteristics, powers, abilities and weaknesses are narrated by multiple narrators, from different perspectives.","Stoker's creation Bram Stoker's novel takes the form of an epistolary tale, in which Count Dracula's characteristics, powers, abilities and weaknesses are narrated by multiple narrators, from different perspectives. Count Dracula is an undead, centuries-old vampire, and a Transylvanian nobleman who claims to be a Székely descended from Attila the Hun.","Count Dracula is an undead, centuries-old vampire, and a Transylvanian nobleman who claims to be a Székely descended from Attila the Hun. He inhabits a decaying castle in the Carpathian Mountains near the Borgo Pass.","He inhabits a decaying castle in the Carpathian Mountains near the Borgo Pass. Unlike the vampires of Eastern European folklore, which are portrayed as repulsive, corpse-like creatures, Dracula is handsome and charismatic, with a veneer of aristocratic charm.","Unlike the vampires of Eastern European folklore, which are portrayed as repulsive, corpse-like creatures, Dracula is handsome and charismatic, with a veneer of aristocratic charm. In his conversations with Jonathan Harker, he reveals himself as deeply proud of his boyar heritage and nostalgic for the past, which he admits has become only a memory of heroism, honour and valour in modern times.","In his conversations with Jonathan Harker, he reveals himself as deeply proud of his boyar heritage and nostalgic for the past, which he admits has become only a memory of heroism, honour and valour in modern times. Early life Details of his early life are undisclosed, but it is mentioned that Dracula studied the black arts at the academy of Scholomance in the Carpathian Mountains, overlooking the town of Sibiu (also known as Hermannstadt) and has a deep knowledge of alchemy and magic.","Early life Details of his early life are undisclosed, but it is mentioned that Dracula studied the black arts at the academy of Scholomance in the Carpathian Mountains, overlooking the town of Sibiu (also known as Hermannstadt) and has a deep knowledge of alchemy and magic. Taking up arms, as befitting his rank and status as a voivode, he led troops against the Turks across the Danube.","Taking up arms, as befitting his rank and status as a voivode, he led troops against the Turks across the Danube. According to his nemesis Abraham Van Helsing, \"He must indeed have been that Voivode Dracula who won his name against the Turk, over the great river on the very frontier of Turkey-land.","According to his nemesis Abraham Van Helsing, \"He must indeed have been that Voivode Dracula who won his name against the Turk, over the great river on the very frontier of Turkey-land. If it be so, then was he no common man: for in that time, and for centuries after, he was spoken of as the cleverest and the most cunning, as well as the bravest of the sons of the land beyond the forest.\"","If it be so, then was he no common man: for in that time, and for centuries after, he was spoken of as the cleverest and the most cunning, as well as the bravest of the sons of the land beyond the forest.\" Dead and buried in a great tomb in the chapel of his castle, Dracula returns from death as a vampire and lives for several centuries in his castle with three terrifyingly beautiful female vampires beside him.","Dead and buried in a great tomb in the chapel of his castle, Dracula returns from death as a vampire and lives for several centuries in his castle with three terrifyingly beautiful female vampires beside him. Narrative Short story In \"Dracula's Guest\", the narrative follows an unnamed Englishman traveller as he wanders around Munich before leaving for Transylvania.","Narrative Short story In \"Dracula's Guest\", the narrative follows an unnamed Englishman traveller as he wanders around Munich before leaving for Transylvania. It is Walpurgis Night and the young Englishman foolishly leaves his hotel, in spite of the coachman's warnings, and wanders through a dense forest alone.","It is Walpurgis Night and the young Englishman foolishly leaves his hotel, in spite of the coachman's warnings, and wanders through a dense forest alone. Along the way, he feels that he is being watched by a tall and thin stranger.","Along the way, he feels that he is being watched by a tall and thin stranger. The short story climaxes in an old graveyard, where the Englishman encounters a sleeping female vampire called Countess Dolingen in a marble tomb with a large iron stake driven into it.","The short story climaxes in an old graveyard, where the Englishman encounters a sleeping female vampire called Countess Dolingen in a marble tomb with a large iron stake driven into it. This malevolent and beautiful vampire awakens from her marble bier to conjure a snowstorm before being struck by lightning and returning to her eternal prison.","This malevolent and beautiful vampire awakens from her marble bier to conjure a snowstorm before being struck by lightning and returning to her eternal prison. However, the Englishman's troubles are not quite over, as he is dragged away by an unseen force and rendered unconscious.","However, the Englishman's troubles are not quite over, as he is dragged away by an unseen force and rendered unconscious. He awakens to find a \"gigantic\" wolf lying on his chest and licking at his throat; however, the wolf merely keeps him warm and protects him until help arrives.","He awakens to find a \"gigantic\" wolf lying on his chest and licking at his throat; however, the wolf merely keeps him warm and protects him until help arrives. When the Englishman is finally taken back to his hotel, a telegram awaits him from his expectant host Dracula, with a warning about \"dangers from snow and wolves and night\".","When the Englishman is finally taken back to his hotel, a telegram awaits him from his expectant host Dracula, with a warning about \"dangers from snow and wolves and night\". Novel In Dracula, the eponymous vampire has decided to move from Transylvania to London.","Novel In Dracula, the eponymous vampire has decided to move from Transylvania to London. He summons Jonathan Harker, a newly qualified English solicitor, to provide legal support for a real estate transaction overseen by Harker's employer.","He summons Jonathan Harker, a newly qualified English solicitor, to provide legal support for a real estate transaction overseen by Harker's employer. Dracula at first charms Harker with his cordiality and historical knowledge, and even rescues him from the clutches of the three female vampires in the castle.","Dracula at first charms Harker with his cordiality and historical knowledge, and even rescues him from the clutches of the three female vampires in the castle. In truth, however, Dracula merely wishes to keep Harker alive long enough to complete the legal transaction and to learn as much as possible about England.","In truth, however, Dracula merely wishes to keep Harker alive long enough to complete the legal transaction and to learn as much as possible about England. Dracula leaves his castle and boards a Russian ship, the Demeter, taking along with him 50 boxes of Transylvanian soil, which he needs to regain his strength and rest during daylight.","Dracula leaves his castle and boards a Russian ship, the Demeter, taking along with him 50 boxes of Transylvanian soil, which he needs to regain his strength and rest during daylight. During the voyage to Whitby, a coastal town in northern England, he sustains himself on the ship's crew members.","During the voyage to Whitby, a coastal town in northern England, he sustains himself on the ship's crew members. Only one body is later found, that of the captain, who is found tied up to the ship's helm.","Only one body is later found, that of the captain, who is found tied up to the ship's helm. The captain's log is recovered and tells of strange events that had taken place during the ship's journey.","The captain's log is recovered and tells of strange events that had taken place during the ship's journey. Dracula leaves the ship in the form of a dog and runs up the 199 steps to the graveyard of St Mary's Church in the shadow of the Whitby Abbey ruins.","Dracula leaves the ship in the form of a dog and runs up the 199 steps to the graveyard of St Mary's Church in the shadow of the Whitby Abbey ruins. Soon the Count begins menacing Harker's fiancée, Wilhelmina \"Mina\" Murray, and her friend, Lucy Westenra.","Soon the Count begins menacing Harker's fiancée, Wilhelmina \"Mina\" Murray, and her friend, Lucy Westenra. There is also a notable link between Dracula and Renfield, a patient in an insane asylum overseen by John Seward, who is compelled to consume spiders, birds, and other creatures—in ascending order of size—to absorb their \"life force\".","There is also a notable link between Dracula and Renfield, a patient in an insane asylum overseen by John Seward, who is compelled to consume spiders, birds, and other creatures—in ascending order of size—to absorb their \"life force\". Renfield acts as a kind of sensor, reacting to Dracula's proximity and supplying clues accordingly.","Renfield acts as a kind of sensor, reacting to Dracula's proximity and supplying clues accordingly. Dracula visits Lucy's bed chamber on a nightly basis, draining her of blood while simultaneously infecting her with the curse of vampirism.","Dracula visits Lucy's bed chamber on a nightly basis, draining her of blood while simultaneously infecting her with the curse of vampirism. Not knowing the cause for Lucy's deterioration, her three suitors – Seward, Arthur Holmwood and Quincey Morris – call upon Seward's mentor, the Dutch doctor Abraham Van Helsing.","Not knowing the cause for Lucy's deterioration, her three suitors – Seward, Arthur Holmwood and Quincey Morris – call upon Seward's mentor, the Dutch doctor Abraham Van Helsing. Van Helsing soon deduces her condition's supernatural origins, and tries to keep the vampire at bay with garlic.","Van Helsing soon deduces her condition's supernatural origins, and tries to keep the vampire at bay with garlic. Nevertheless, Dracula attacks Lucy's house one final time, killing her mother and transforming Lucy herself into one of the undead. Harker escapes Dracula's castle and returns to England, barely alive and deeply traumatized.","Harker escapes Dracula's castle and returns to England, barely alive and deeply traumatized. On Seward's suggestion, Mina seeks Van Helsing's assistance in assessing Harker's health. She reads his journal and passes it along to Van Helsing.","She reads his journal and passes it along to Van Helsing. This unfolds the first clue to the identity of Lucy's assailant, which later prompts Mina to collect all of the events of Dracula's appearance in news articles, saved letters, newspaper clippings and the journals of each member of the group.","This unfolds the first clue to the identity of Lucy's assailant, which later prompts Mina to collect all of the events of Dracula's appearance in news articles, saved letters, newspaper clippings and the journals of each member of the group. This assists the group in investigating Dracula's movements and later discovering that Renfield's behaviour is directly influenced by Dracula.","This assists the group in investigating Dracula's movements and later discovering that Renfield's behaviour is directly influenced by Dracula. They then discover that Dracula has purchased a residence next door to Seward's. The group gathers intelligence to track down Dracula and destroy him.","The group gathers intelligence to track down Dracula and destroy him. After the undead Lucy attacks several children, Van Helsing, Seward, Holmwood and Morris enter her crypt and destroy her to save her soul. Later, Harker joins them and the party work to discover Dracula's intentions.","Later, Harker joins them and the party work to discover Dracula's intentions. Harker aids the party in tracking down the locations of the boxes to the various residences of Dracula and discovers that Dracula purchased multiple real estate properties throughout London under the alias 'Count De Ville'.","Harker aids the party in tracking down the locations of the boxes to the various residences of Dracula and discovers that Dracula purchased multiple real estate properties throughout London under the alias 'Count De Ville'. Dracula's main plan was to move each of his 50 boxes of earth to his various properties in order to arrange multiple lairs throughout and around the perimeter of London.","Dracula's main plan was to move each of his 50 boxes of earth to his various properties in order to arrange multiple lairs throughout and around the perimeter of London. The party pries open each of the graves, places sacramental wafers within each of them, and seals them shut.","The party pries open each of the graves, places sacramental wafers within each of them, and seals them shut. This deprives Dracula of his ability to seek safety in those boxes. Dracula gains entry into Seward's residence by coercing an invitation out of Renfield.","Dracula gains entry into Seward's residence by coercing an invitation out of Renfield. As he attempts to enter the room in which Harker and Mina are staying, Renfield tries to stop him; Dracula then mortally wounds him. With his dying breath, Renfield tells Seward and Van Helsing that Dracula is after Mina.","With his dying breath, Renfield tells Seward and Van Helsing that Dracula is after Mina. Van Helsing and Seward discover Dracula biting Mina and forcing her to drink his blood. The group repel Dracula using crucifixes and sacramental bread, forcing him to flee by turning into a dark vapour.","The group repel Dracula using crucifixes and sacramental bread, forcing him to flee by turning into a dark vapour. The party continue to hunt Dracula to search for his remaining lairs.","The party continue to hunt Dracula to search for his remaining lairs. Although Dracula's 'baptism' of Mina grants him a telepathic link to her, it backfires when Van Helsing hypnotizes Mina and uses her supernatural link with Dracula to track him as he flees back to Transylvania.","Although Dracula's 'baptism' of Mina grants him a telepathic link to her, it backfires when Van Helsing hypnotizes Mina and uses her supernatural link with Dracula to track him as he flees back to Transylvania. The heroes follow Dracula back to Transylvania, and in a climactic battle with Dracula's Romani bodyguards, finally destroy him.","The heroes follow Dracula back to Transylvania, and in a climactic battle with Dracula's Romani bodyguards, finally destroy him. Despite the popular image of Dracula having a stake driven through his heart to kill him, Mina's narrative describes his decapitation by Harker's kukri while Morris simultaneously pierces his heart with a Bowie knife (Mina Harker's Journal, 6 November, Dracula Chapter 27).","Despite the popular image of Dracula having a stake driven through his heart to kill him, Mina's narrative describes his decapitation by Harker's kukri while Morris simultaneously pierces his heart with a Bowie knife (Mina Harker's Journal, 6 November, Dracula Chapter 27). His body then turns into dust, but not before Mina sees an expression of peace on his face.","His body then turns into dust, but not before Mina sees an expression of peace on his face. Characteristics Although early in the novel Dracula dons a mask of cordiality, he often flies into fits of rage when his plans are frustrated.","Characteristics Although early in the novel Dracula dons a mask of cordiality, he often flies into fits of rage when his plans are frustrated. When Dracula's brides attempt to seduce Jonathan Harker, Dracula physically assaults one and ferociously berates them for their insubordination.","When Dracula's brides attempt to seduce Jonathan Harker, Dracula physically assaults one and ferociously berates them for their insubordination. He has an appreciation for ancient architecture, and when purchasing a home he prefers them to be aged, saying \"A new home would kill me\", and that to make a new home habitable to him would take a century.","He has an appreciation for ancient architecture, and when purchasing a home he prefers them to be aged, saying \"A new home would kill me\", and that to make a new home habitable to him would take a century. Dracula is very proud of his warrior heritage, proclaiming his pride to Harker on how the Székely people are infused with the blood of heroes.","Dracula is very proud of his warrior heritage, proclaiming his pride to Harker on how the Székely people are infused with the blood of heroes. He also expresses an interest in the history of the British Empire, speaking admiringly of its people.","He also expresses an interest in the history of the British Empire, speaking admiringly of its people. He has a somewhat primal and predatory worldview; he pities ordinary humans for their revulsion to their darker impulses. He is not without human emotions, however; he often says that he too can love.","He is not without human emotions, however; he often says that he too can love. Though usually portrayed as having a strong Eastern European accent, the original novel only specifies that his spoken English is excellent, though strangely toned. His appearance varies in age.","His appearance varies in age. His appearance varies in age. He is described early in the novel as thin, with a long white moustache, pointed ears and sharp teeth.","He is described early in the novel as thin, with a long white moustache, pointed ears and sharp teeth. It is also noted later in the novel (Chapter 11 subsection \"The Escaped Wolf\") by a zookeeper who sees him that he has a hooked nose and a pointed beard with a streak of white in it.","It is also noted later in the novel (Chapter 11 subsection \"The Escaped Wolf\") by a zookeeper who sees him that he has a hooked nose and a pointed beard with a streak of white in it. He is dressed all in black and has hair on his palms.","He is dressed all in black and has hair on his palms. Harker describes him as an old man, \"cruel looking\" and giving an effect of \"extraordinary pallor\". As the novel progresses, Dracula is described as taking on a more and more youthful appearance.","As the novel progresses, Dracula is described as taking on a more and more youthful appearance. After Harker strikes him with a shovel, he is left with a scar on his forehead which he bears throughout the course of the novel.","After Harker strikes him with a shovel, he is left with a scar on his forehead which he bears throughout the course of the novel. Dracula also possesses great wealth, and has Romani people in his homeland who are loyal to him as servants and protectors.","Dracula also possesses great wealth, and has Romani people in his homeland who are loyal to him as servants and protectors. Powers and weaknesses Count Dracula is portrayed in the novel using many different supernatural abilities, and is believed to have gained his abilities through dealings with the Devil.","Powers and weaknesses Count Dracula is portrayed in the novel using many different supernatural abilities, and is believed to have gained his abilities through dealings with the Devil. Chapter 18 of the novel describes many of the abilities, limitations and weaknesses of vampires and Dracula in particular.","Chapter 18 of the novel describes many of the abilities, limitations and weaknesses of vampires and Dracula in particular. Dracula has superhuman strength which, according to Van Helsing, is equivalent to that of 20 strong men. He does not cast a shadow or have a reflection from mirrors.","He does not cast a shadow or have a reflection from mirrors. He is immune to conventional means of attack; a sailor tries to stab him in the back with a knife, but the blade goes through his body as though it is air.","He is immune to conventional means of attack; a sailor tries to stab him in the back with a knife, but the blade goes through his body as though it is air. He can defy gravity to a certain extent and possesses superhuman agility, able to climb vertical surfaces upside down in a reptilian manner.","He can defy gravity to a certain extent and possesses superhuman agility, able to climb vertical surfaces upside down in a reptilian manner. He can travel onto \"unhallowed\" ground, such as the graves of suicides and those of his victims. He has powerful hypnotic, telepathic and illusionary abilities.","He has powerful hypnotic, telepathic and illusionary abilities. He also has the ability to \"within limitations\" vanish and reappear elsewhere at will. If he knows the path, he can come out from anything or into anything regardless of how close it is bound or even if it is soldered shut.","If he knows the path, he can come out from anything or into anything regardless of how close it is bound or even if it is soldered shut. He has amassed cunning and wisdom throughout centuries, and he is unable to die by the mere passing of time alone.","He has amassed cunning and wisdom throughout centuries, and he is unable to die by the mere passing of time alone. He can command animals such as rats, owls, bats, moths, foxes and wolves. However, his control over these animals is limited, as seen when the party first enters his house in London.","However, his control over these animals is limited, as seen when the party first enters his house in London. Although Dracula is able to summon thousands of rats to swarm and attack the group, Holmwood summons his trio of terriers to do battle with the rats.","Although Dracula is able to summon thousands of rats to swarm and attack the group, Holmwood summons his trio of terriers to do battle with the rats. The dogs prove very efficient rat killers, suggesting they are Manchester Terriers trained for that purpose.","The dogs prove very efficient rat killers, suggesting they are Manchester Terriers trained for that purpose. Terrified by the dogs' onslaught, the rats flee, and any control which Dracula had over them is gone.","Terrified by the dogs' onslaught, the rats flee, and any control which Dracula had over them is gone. Dracula can also manipulate the weather and, within his range, is able to direct the elements, such as storms, fog and mist.","Dracula can also manipulate the weather and, within his range, is able to direct the elements, such as storms, fog and mist. Shapeshifting Dracula can change form at will, able to grow and become small, his featured forms in the novel being that of a bat, a wolf, a large dog and a fog or mist.","Shapeshifting Dracula can change form at will, able to grow and become small, his featured forms in the novel being that of a bat, a wolf, a large dog and a fog or mist. When the moonlight is shining, he can travel as elemental dust within its rays.","When the moonlight is shining, he can travel as elemental dust within its rays. He is able to pass through tiny cracks or crevices while retaining his human form or in the form of a vapour; described by Van Helsing as the ability to slip through a hairbreadth space of a tomb door or coffin.","He is able to pass through tiny cracks or crevices while retaining his human form or in the form of a vapour; described by Van Helsing as the ability to slip through a hairbreadth space of a tomb door or coffin. This is also an ability used by his victim Lucy as a vampire.","This is also an ability used by his victim Lucy as a vampire. When the party breaks into her tomb, they open the sealed coffin to find her corpse is no longer located within. Vampirism One of Dracula's powers is the ability to turn others into vampires by biting them.","Vampirism One of Dracula's powers is the ability to turn others into vampires by biting them. According to Van Helsing: The vampire bite itself does not cause death. It is the method vampires use to drain blood of the victim and to increase their influence over them.","It is the method vampires use to drain blood of the victim and to increase their influence over them. This is described by Van Helsing: Victims who are bitten by a vampire and do not die, are hypnotically influenced by them: Van Helsing later describes the aftermath of a bitten victim when the vampire has been killed: As Dracula slowly drains Lucy's blood, she dies from acute blood loss and later transforms into a vampire, despite the efforts of Seward and Van Helsing to provide her with blood transfusions.","This is described by Van Helsing: Victims who are bitten by a vampire and do not die, are hypnotically influenced by them: Van Helsing later describes the aftermath of a bitten victim when the vampire has been killed: As Dracula slowly drains Lucy's blood, she dies from acute blood loss and later transforms into a vampire, despite the efforts of Seward and Van Helsing to provide her with blood transfusions. He is aided by powers of necromancy and divination of the dead, that all who die by his hand may reanimate and do his bidding.","He is aided by powers of necromancy and divination of the dead, that all who die by his hand may reanimate and do his bidding. Bloodletting Dracula requires no other sustenance but fresh human blood, which has the effect of rejuvenating him and allowing him to grow younger.","Bloodletting Dracula requires no other sustenance but fresh human blood, which has the effect of rejuvenating him and allowing him to grow younger. His power is drawn from the blood of others, and he cannot survive without it.","His power is drawn from the blood of others, and he cannot survive without it. Although drinking blood can rejuvenate his youth and strength, it does not give him the ability to regenerate; months after being struck on the head by a shovel, he still bears a scar from the impact.","Although drinking blood can rejuvenate his youth and strength, it does not give him the ability to regenerate; months after being struck on the head by a shovel, he still bears a scar from the impact. Dracula's preferred victims are women.","Dracula's preferred victims are women. Harker states that he believes Dracula has a state of fasting as well as a state of feeding. Dracula does state to Mina, however, that exerting his abilities causes a desire to feed.","Dracula does state to Mina, however, that exerting his abilities causes a desire to feed. Vampire's Baptism of Blood Count Dracula is depicted as the \"King Vampire\", and can control other vampires. To punish Mina and the party for their efforts against him, Dracula bites her on at least three occasions.","To punish Mina and the party for their efforts against him, Dracula bites her on at least three occasions. He also forces her to drink his blood; this act curses her with the effects of vampirism and gives him a telepathic link to her thoughts. However, hypnotism was only able to be done before dawn.","However, hypnotism was only able to be done before dawn. Van Helsing refers to the act of drinking blood by both the vampire and the victim \"the Vampire's Baptism of Blood\". The effects changes Mina physically and mentally over time.","The effects changes Mina physically and mentally over time. A few moments after Dracula attacks her, Van Helsing takes a wafer of sacramental bread and places it on her forehead to bless her; when the bread touches her skin, it burns her and leaves a scar on her forehead.","A few moments after Dracula attacks her, Van Helsing takes a wafer of sacramental bread and places it on her forehead to bless her; when the bread touches her skin, it burns her and leaves a scar on her forehead. Her teeth start growing longer but do not grow sharper.","Her teeth start growing longer but do not grow sharper. She begins to lose her appetite, feeling repulsed by normal food, begins to sleep more and more during the day; cannot wake unless at sunset and stops writing in her diary.","She begins to lose her appetite, feeling repulsed by normal food, begins to sleep more and more during the day; cannot wake unless at sunset and stops writing in her diary. When Van Helsing later crumbles the same bread in a circle around her, she is unable to cross or leave the circle, discovering a new form of protection.","When Van Helsing later crumbles the same bread in a circle around her, she is unable to cross or leave the circle, discovering a new form of protection. Dracula's death can release the curse on any living victim of eventual transformation into vampire.","Dracula's death can release the curse on any living victim of eventual transformation into vampire. However, Van Helsing reveals that were he to escape, his continued existence would ensure that even if he did not victimize Mina further, she would transform into a vampire upon her eventual natural death.","However, Van Helsing reveals that were he to escape, his continued existence would ensure that even if he did not victimize Mina further, she would transform into a vampire upon her eventual natural death. Limitations of his powers Dracula is much less powerful in daylight and is only able to shift his form at dawn, noon, and dusk (he can shift his form freely at night or if he is at his grave).","Limitations of his powers Dracula is much less powerful in daylight and is only able to shift his form at dawn, noon, and dusk (he can shift his form freely at night or if he is at his grave). The sun is not fatal to him, as sunlight does not burn and destroy him upon contact, though most of his abilities cease.","The sun is not fatal to him, as sunlight does not burn and destroy him upon contact, though most of his abilities cease. Later interpretations of the character, and vampires in general, would amplify this trait into an outright fatal weakness, making it so that even the first rays of sunrise are capable of reducing a vampire to ash.","Later interpretations of the character, and vampires in general, would amplify this trait into an outright fatal weakness, making it so that even the first rays of sunrise are capable of reducing a vampire to ash. He is also limited in his ability to travel, as he can only cross running water at low or high tide.","He is also limited in his ability to travel, as he can only cross running water at low or high tide. Owing to this, he is unable to fly across a river in the form of a bat or mist or even by himself board a boat or step off a boat onto a dock unless he is physically carried over with assistance.","Owing to this, he is unable to fly across a river in the form of a bat or mist or even by himself board a boat or step off a boat onto a dock unless he is physically carried over with assistance. He is also unable to enter a place unless invited to do so by someone of the household, even a visitor; once invited, he can enter and leave the premises at will.","He is also unable to enter a place unless invited to do so by someone of the household, even a visitor; once invited, he can enter and leave the premises at will. Weaknesses Thirst Dracula is commonly depicted with a bloodlust which he is seemingly unable to control. Adaptations sometimes call this uncontrollable state 'the thirst'.","Adaptations sometimes call this uncontrollable state 'the thirst'. Religious symbolism There are items which afflict him to the point he has no power and can even calm him from his insatiable appetite for blood. He is repulsed by garlic, as well as sacred items and symbols such as crucifixes, and sacramental bread.","He is repulsed by garlic, as well as sacred items and symbols such as crucifixes, and sacramental bread. Placing the branch of a wild rose upon the top of his coffin will render him unable to escape it; a sacred bullet fired into the coffin could kill him so that he remain true-dead.","Placing the branch of a wild rose upon the top of his coffin will render him unable to escape it; a sacred bullet fired into the coffin could kill him so that he remain true-dead. Mountain Ash is also described as a form of protection from a vampire although the effects are unknown.","Mountain Ash is also described as a form of protection from a vampire although the effects are unknown. This was believed to be used as protection against evil spirits and witches during the Victorian era.","This was believed to be used as protection against evil spirits and witches during the Victorian era. Death-sleep The state of rest to which vampires are prone during the day is described in the novel as a deathlike sleep in which the vampire sleeps open-eyed, is unable to awaken or move, and also may be unaware of any presence of individuals who may be trespassing.","Death-sleep The state of rest to which vampires are prone during the day is described in the novel as a deathlike sleep in which the vampire sleeps open-eyed, is unable to awaken or move, and also may be unaware of any presence of individuals who may be trespassing. Dracula is portrayed as being active in daylight at least once to pursue a victim.","Dracula is portrayed as being active in daylight at least once to pursue a victim. Dracula also purchases many properties throughout London 'over the counter' which shows that he does have the ability to have some type of presence in daylight.","Dracula also purchases many properties throughout London 'over the counter' which shows that he does have the ability to have some type of presence in daylight. He requires Transylvanian soil to be nearby to him in a foreign land or to be entombed within his coffin within Transylvania in order to successfully rest; otherwise, he will be unable to recover his strength.","He requires Transylvanian soil to be nearby to him in a foreign land or to be entombed within his coffin within Transylvania in order to successfully rest; otherwise, he will be unable to recover his strength. This has forced him to transport many boxes of Transylvanian earth to each of his residences in London.","This has forced him to transport many boxes of Transylvanian earth to each of his residences in London. He is most powerful when he is within his Earth-Home, Coffin-Home, Hell-Home, or any place unhallowed.","He is most powerful when he is within his Earth-Home, Coffin-Home, Hell-Home, or any place unhallowed. Further, if Dracula or any vampire has had their fill in blood upon feeding, they will be caused to rest in this dead state even longer than usual.","Further, if Dracula or any vampire has had their fill in blood upon feeding, they will be caused to rest in this dead state even longer than usual. Other abilities While universally feared by the local people of Transylvania and even beyond, Dracula commands the loyalty of Gypsies and a band of Slovaks who transport his boxes on their way to London and to serve as an armed convoy bringing his coffin back to his castle.","Other abilities While universally feared by the local people of Transylvania and even beyond, Dracula commands the loyalty of Gypsies and a band of Slovaks who transport his boxes on their way to London and to serve as an armed convoy bringing his coffin back to his castle. The Slovaks and Gypsies appear to know his true nature, for they laugh at Harker when he tries to communicate his plight, and betray Harker's attempt to send a letter through them by giving it to the Count.","The Slovaks and Gypsies appear to know his true nature, for they laugh at Harker when he tries to communicate his plight, and betray Harker's attempt to send a letter through them by giving it to the Count. Dracula seems to be able to hold influence over people with mental disorders, such as Renfield, who is never bitten but who worships Dracula, referring to him over the course of the novel as \"Master\" and \"Lord\".","Dracula seems to be able to hold influence over people with mental disorders, such as Renfield, who is never bitten but who worships Dracula, referring to him over the course of the novel as \"Master\" and \"Lord\". Dracula also afflicts Lucy with chronic sleepwalking, putting her into a trance-like state that allows them not only to submit to his will but also seek him and satisfy his need to feed.","Dracula also afflicts Lucy with chronic sleepwalking, putting her into a trance-like state that allows them not only to submit to his will but also seek him and satisfy his need to feed. Dracula's powers and weaknesses vary greatly in the many adaptations. Previous and subsequent vampires from different legends have had similar vampire characteristics.","Previous and subsequent vampires from different legends have had similar vampire characteristics. Character development subsequent to the novel Dracula has been portrayed by more actors in more visual media adaptations of the novel than any other horror character.","Character development subsequent to the novel Dracula has been portrayed by more actors in more visual media adaptations of the novel than any other horror character. Actors who have played him include Max Schreck, Bela Lugosi, John Carradine, Lon Chaney Jr., Christopher Lee, Francis Lederer, Denholm Elliott, Jack Palance, Louis Jourdan, Rudolf Martin, Frank Langella, Klaus Kinski, Gary Oldman, Leslie Nielsen, George Hamilton, David Niven, Charles Macaulay, Keith-Lee Castle, Gerard Butler, Duncan Regehr, Richard Roxburgh, Marc Warren, Rutger Hauer, Stephen Billington, Thomas Kretschmann, Dominic Purcell, Luke Evans and Claes Bang.","Actors who have played him include Max Schreck, Bela Lugosi, John Carradine, Lon Chaney Jr., Christopher Lee, Francis Lederer, Denholm Elliott, Jack Palance, Louis Jourdan, Rudolf Martin, Frank Langella, Klaus Kinski, Gary Oldman, Leslie Nielsen, George Hamilton, David Niven, Charles Macaulay, Keith-Lee Castle, Gerard Butler, Duncan Regehr, Richard Roxburgh, Marc Warren, Rutger Hauer, Stephen Billington, Thomas Kretschmann, Dominic Purcell, Luke Evans and Claes Bang. In 2003, Count Dracula, as portrayed by Lugosi in the 1931 film, was named as the 33rd greatest movie villain by the AFI.","In 2003, Count Dracula, as portrayed by Lugosi in the 1931 film, was named as the 33rd greatest movie villain by the AFI. In 2013, Empire magazine ranked Lee's portrayal as Dracula the 7th Greatest Horror Movie Character of All Time.","In 2013, Empire magazine ranked Lee's portrayal as Dracula the 7th Greatest Horror Movie Character of All Time. The character is closely associated with the western cultural archetype of the vampire, and remains a popular Halloween costume. Count Dracula appears in Mad Monster Party? voiced by Allen Swift.","voiced by Allen Swift. voiced by Allen Swift. This version is shown to be wearing a monocle. Count Dracula is among the monsters that Baron Boris von Frankenstein invites to the Isle of Evil to show off the secret of total destruction and announce his retirement from the Worldwide Organization of Monsters.","Count Dracula is among the monsters that Baron Boris von Frankenstein invites to the Isle of Evil to show off the secret of total destruction and announce his retirement from the Worldwide Organization of Monsters. Sesame Street character Count von Count is based on Bela Lugosi's interpretation of Count Dracula and Jack Davis' design for Dracula from Mad Monster Party?.","Sesame Street character Count von Count is based on Bela Lugosi's interpretation of Count Dracula and Jack Davis' design for Dracula from Mad Monster Party?. Count Dracula appears in Mad Mad Mad Monsters (a \"prequel of sorts\" to Mad Monster Party?) voiced again by Allen Swift.","voiced again by Allen Swift. voiced again by Allen Swift. He and his son are invited by Baron Henry von Frankenstein to attend the wedding of Frankenstein's monster and its mate at the Transylvania Astoria Hotel. Dracula is the primary antagonist of the Castlevania video game series and the main protagonist of the Lords of Shadow reboot series.","Dracula is the primary antagonist of the Castlevania video game series and the main protagonist of the Lords of Shadow reboot series. Count Dracula appears in the Attack of the Killer Tomatoes episode \"Spatula, Prinze of Dorkness\", voiced by S. Scott Bullock.","Count Dracula appears in the Attack of the Killer Tomatoes episode \"Spatula, Prinze of Dorkness\", voiced by S. Scott Bullock. He relates a tale of how he once gave Dr. Putrid T. Gangreen a serum to transform tomatoes into vampire tomatoes.","He relates a tale of how he once gave Dr. Putrid T. Gangreen a serum to transform tomatoes into vampire tomatoes. Though the Doctor refused, Zoltan overheard their conversation and, mistaking the word serum for syrup, ingests the serum himself and renaming himself \"Spatula, Prinze of Dorkness\" who can turn people into vampires by kissing them in the neck (a stipulation that the Censor Lady put into place in fear of showing the biting and bloodshed associated with vampires on a Saturday morning cartoon).","Though the Doctor refused, Zoltan overheard their conversation and, mistaking the word serum for syrup, ingests the serum himself and renaming himself \"Spatula, Prinze of Dorkness\" who can turn people into vampires by kissing them in the neck (a stipulation that the Censor Lady put into place in fear of showing the biting and bloodshed associated with vampires on a Saturday morning cartoon). This spread to the other tomatoes and the entire town.","This spread to the other tomatoes and the entire town. When the sun came up and disabled the vampires, Count Dracula in sunblock appears and deemed that the town is not worthy to be vampires. He then gives Chad Finletter the antidote to the vampirism and advises that the tomatoes be squashed immediately.","He then gives Chad Finletter the antidote to the vampirism and advises that the tomatoes be squashed immediately. Dracula appears as the lead character of Dracula the Un-dead, a novel by Stoker's great-grand nephew Dacre presented as a sequel to the original.","Dracula appears as the lead character of Dracula the Un-dead, a novel by Stoker's great-grand nephew Dacre presented as a sequel to the original. In the Supernatural episode \"Monster Monster\", a shapeshifter that Sam and Dean Winchester fight considers his form of Count Dracula (portrayed by Todd Stashwick) his favourite form.","In the Supernatural episode \"Monster Monster\", a shapeshifter that Sam and Dean Winchester fight considers his form of Count Dracula (portrayed by Todd Stashwick) his favourite form. It is in this form that Jamie killed him with Sam's gun loaded with silver bullets.","It is in this form that Jamie killed him with Sam's gun loaded with silver bullets. Count Dracula is the main character of the Hotel Transylvania franchise, voiced by Adam Sandler in the first three movies and by Brian Hull in the fourth movie.","Count Dracula is the main character of the Hotel Transylvania franchise, voiced by Adam Sandler in the first three movies and by Brian Hull in the fourth movie. Dracula, going by an inversion of his name, \"Alucard,\" serves as the main character of the anime and manga series Hellsing and Hellsing Ultimate where he serves Integra Hellsing, Abraham's great-granddaughter, as an anti-vampire warrior devoted to the British Crown.","Dracula, going by an inversion of his name, \"Alucard,\" serves as the main character of the anime and manga series Hellsing and Hellsing Ultimate where he serves Integra Hellsing, Abraham's great-granddaughter, as an anti-vampire warrior devoted to the British Crown. Dracula is the primary antagonist of the Showtime series Penny Dreadful, portrayed by Christian Camargo.","Dracula is the primary antagonist of the Showtime series Penny Dreadful, portrayed by Christian Camargo. This version of the character is the brother of Lucifer and, thus, a fallen angel.","This version of the character is the brother of Lucifer and, thus, a fallen angel. Modern and postmodern analyses of the character Already in 1958, Cecil Kirtly proposed that Count Dracula shared his personal past with the historical Transylvanian-born Voivode Vlad III Dracula of Wallachia, also known as Vlad the Impaler or Vlad Țepeș.","Modern and postmodern analyses of the character Already in 1958, Cecil Kirtly proposed that Count Dracula shared his personal past with the historical Transylvanian-born Voivode Vlad III Dracula of Wallachia, also known as Vlad the Impaler or Vlad Țepeș. Following the publication of In Search of Dracula by Radu Florescu and Raymond McNally in 1972, this supposed connection attracted much popular attention.","Following the publication of In Search of Dracula by Radu Florescu and Raymond McNally in 1972, this supposed connection attracted much popular attention. This work argued that Bram Stoker based his Dracula on Vlad the Impaler.","This work argued that Bram Stoker based his Dracula on Vlad the Impaler. Historically, the name \"Dracula\" is the family name of Vlad Țepeș' family, a name derived from a fraternal order of knights called the Order of the Dragon, founded by Sigismund of Luxembourg (king of Hungary and Bohemia, and Holy Roman Emperor) to uphold Christianity and defend the Empire against the Ottoman Turks.","Historically, the name \"Dracula\" is the family name of Vlad Țepeș' family, a name derived from a fraternal order of knights called the Order of the Dragon, founded by Sigismund of Luxembourg (king of Hungary and Bohemia, and Holy Roman Emperor) to uphold Christianity and defend the Empire against the Ottoman Turks. Vlad II Dracul, father of Vlad III, was admitted to the order around 1431 because of his bravery in fighting the Turks and was dubbed Dracul (dragon or devil) thus his son became Dracula (son of the dragon).","Vlad II Dracul, father of Vlad III, was admitted to the order around 1431 because of his bravery in fighting the Turks and was dubbed Dracul (dragon or devil) thus his son became Dracula (son of the dragon). From 1431 onward, Vlad II wore the emblem of the order and later, as ruler of Wallachia, his coinage bore the dragon symbol.","From 1431 onward, Vlad II wore the emblem of the order and later, as ruler of Wallachia, his coinage bore the dragon symbol. Stoker came across the name Dracula in his reading on Romanian history, and chose this to replace the name (Count Wampyr) that he had originally intended to use for his villain.","Stoker came across the name Dracula in his reading on Romanian history, and chose this to replace the name (Count Wampyr) that he had originally intended to use for his villain. However, some Dracula scholars, led by Elizabeth Miller, have questioned the depth of this connection as early as 1998.","However, some Dracula scholars, led by Elizabeth Miller, have questioned the depth of this connection as early as 1998. They argue that Stoker in fact knew little of the historic Vlad III, Vlad the Impaler, and that he used only the name \"Dracula\" and some miscellaneous scraps of Romanian history.","They argue that Stoker in fact knew little of the historic Vlad III, Vlad the Impaler, and that he used only the name \"Dracula\" and some miscellaneous scraps of Romanian history. Also, there are no comments about Vlad III in the author's working notes.","Also, there are no comments about Vlad III in the author's working notes. While having a conversation with Jonathan Harker in Chapter 3, Dracula refers to his own background, and these speeches show elements which Stoker directly copied from An Account of the Principalities of Wallachia and Moldavia: With Various Political Observations Relating to Them by William Wilkinson.","While having a conversation with Jonathan Harker in Chapter 3, Dracula refers to his own background, and these speeches show elements which Stoker directly copied from An Account of the Principalities of Wallachia and Moldavia: With Various Political Observations Relating to Them by William Wilkinson. Stoker mentions the Voivode of the Dracula race who fought against the Turks after the defeat in the Battle of Kosovo, and was later betrayed by his brother, historical facts which unequivocally point to Vlad III, described as \"Voïvode Dracula\" by Wilkinson: The Count's intended identity is later commented by Professor Van Helsing, referring to a letter from his friend Arminius: This indeed encourages the reader to identify the Count with the Voivode Dracula first mentioned by him in Chapter 3, the one betrayed by his brother: Vlad III Dracula, betrayed by his brother Radu the Handsome, who had chosen the side of the Turks.","Stoker mentions the Voivode of the Dracula race who fought against the Turks after the defeat in the Battle of Kosovo, and was later betrayed by his brother, historical facts which unequivocally point to Vlad III, described as \"Voïvode Dracula\" by Wilkinson: The Count's intended identity is later commented by Professor Van Helsing, referring to a letter from his friend Arminius: This indeed encourages the reader to identify the Count with the Voivode Dracula first mentioned by him in Chapter 3, the one betrayed by his brother: Vlad III Dracula, betrayed by his brother Radu the Handsome, who had chosen the side of the Turks. But as noted by the Dutch author Hans Corneel de Roos, in Chapter 25, Van Helsing and Mina drop this rudimentary connection to Vlad III and instead describe the Count's personal past as that of \"that other of his race\" who lived \"in a later age\".","But as noted by the Dutch author Hans Corneel de Roos, in Chapter 25, Van Helsing and Mina drop this rudimentary connection to Vlad III and instead describe the Count's personal past as that of \"that other of his race\" who lived \"in a later age\". By smoothly exchanging Vlad III for a nameless double, Stoker avoided his main character being unambiguously linked to a historical person traceable in any history book.","By smoothly exchanging Vlad III for a nameless double, Stoker avoided his main character being unambiguously linked to a historical person traceable in any history book. Similarly, the novelist did not want to disclose the precise site of the Count's residence, Castle Dracula.","Similarly, the novelist did not want to disclose the precise site of the Count's residence, Castle Dracula. As confirmed by Stoker's own handwritten research notes, the novelist had a specific location for the Castle in mind while writing the narrative: an empty mountain top in the Transylvanian Kelemen alps near the former border with Moldavia.","As confirmed by Stoker's own handwritten research notes, the novelist had a specific location for the Castle in mind while writing the narrative: an empty mountain top in the Transylvanian Kelemen alps near the former border with Moldavia. Efforts to promote the Poenari Castle (ca.","Efforts to promote the Poenari Castle (ca. 200 km away from the novel's place of action near the Borgo Pass) as the \"real Castle Dracula\" have no basis in Stoker's writing; although it bears much similarity to the fictional Castle Dracula, no written evidence shows Stoker to have heard of it.","200 km away from the novel's place of action near the Borgo Pass) as the \"real Castle Dracula\" have no basis in Stoker's writing; although it bears much similarity to the fictional Castle Dracula, no written evidence shows Stoker to have heard of it. Regarding the Bran Castle near Brașov, Stoker possibly saw an illustration of Castle Bran (Törzburg) in Charles Boner's 1865 book on Transylvania, Transylvania: Its Products and Its People.","Regarding the Bran Castle near Brașov, Stoker possibly saw an illustration of Castle Bran (Törzburg) in Charles Boner's 1865 book on Transylvania, Transylvania: Its Products and Its People. Although Stoker may have been inspired by its romantic appearance, neither Boner, nor Mazuchelli nor Crosse (who also mention Terzburg or Törzburg) associate it with Vlad III; for the site of his fictitious Castle Dracula, Stoker preferred an empty mountain top.","Although Stoker may have been inspired by its romantic appearance, neither Boner, nor Mazuchelli nor Crosse (who also mention Terzburg or Törzburg) associate it with Vlad III; for the site of his fictitious Castle Dracula, Stoker preferred an empty mountain top. Furthermore, Stoker's detailed notes reveal that the novelist was very well aware of the ethnic and geo-political differences between the \"Roumanians\" or \"Wallachs\"/\"Wallachians\", descendants of the Dacians, and the Székelys or Szeklers, allies of the Magyars or Hungarians, whose interests were opposed to that of the Wallachians.","Furthermore, Stoker's detailed notes reveal that the novelist was very well aware of the ethnic and geo-political differences between the \"Roumanians\" or \"Wallachs\"/\"Wallachians\", descendants of the Dacians, and the Székelys or Szeklers, allies of the Magyars or Hungarians, whose interests were opposed to that of the Wallachians. In the novel's original typewritten manuscript, the Count speaks of throwing off the \"Austrian yoke\", which corresponds to the Szekler political point of view.","In the novel's original typewritten manuscript, the Count speaks of throwing off the \"Austrian yoke\", which corresponds to the Szekler political point of view. This expression is crossed out, however, and replaced by \"Hungarian yoke\" (as appearing in the printed version), which matches the historical perspective of the Wallachians.","This expression is crossed out, however, and replaced by \"Hungarian yoke\" (as appearing in the printed version), which matches the historical perspective of the Wallachians. This has been interpreted by some to mean that Stoker opted for the Wallachian, not the Szekler interpretation, thus lending more consistency to the Romanian identity of his Count: although not identical with Vlad III, the Vampire is portrayed as one of the \"Dracula race\".","This has been interpreted by some to mean that Stoker opted for the Wallachian, not the Szekler interpretation, thus lending more consistency to the Romanian identity of his Count: although not identical with Vlad III, the Vampire is portrayed as one of the \"Dracula race\". However, despite this, Stoker chose the Count to have revealed himself to be a Székely, and not a Wallachian nobleman (the region where the real \"Draculas\" ruled over).","However, despite this, Stoker chose the Count to have revealed himself to be a Székely, and not a Wallachian nobleman (the region where the real \"Draculas\" ruled over). Screen portrayals See also Elizabeth Báthory Carmilla Clinical vampirism List of fictional vampires List of horror film antagonists References Bibliography Clive Leatherdale (1985) Dracula: the Novel and the Legend.","Screen portrayals See also Elizabeth Báthory Carmilla Clinical vampirism List of fictional vampires List of horror film antagonists References Bibliography Clive Leatherdale (1985) Dracula: the Novel and the Legend. Desert Island Books. Bram Stoker (1897) Dracula. Norton Critical Edition (1997) edited by Nina Auerbach and David J. Skal. Senf, Carol.","Senf, Carol. Senf, Carol. Dracula: Between Tradition and Modernism (Twayne, 1998). Senf, Carol A. Bram Stoker. University of Wales Press, 2010. External links Bram Stoker Online Full text, PDF and audio versions of Dracula.","External links Bram Stoker Online Full text, PDF and audio versions of Dracula. Vlad the Impaler Literary characters introduced in 1897 Fictional characters with immortality Fictional characters with superhuman strength Fictional characters with weather abilities Fictional counts and countesses Fictional Hungarian people Fictional characters based on real people Fictional hypnotists and indoctrinators Fictional therianthropes Fictional telepaths Fictional vampires Male characters in literature Male characters in film Male characters in television Male horror film villains Male literary villains Supervillains with their own comic book titles Mythopoeia"],"string":"[\n \"Count Dracula () is the title character of Bram Stoker's 1897 gothic horror novel Dracula. He is considered to be both the prototypical and the archetypal vampire in subsequent works of fiction.\",\n \"He is considered to be both the prototypical and the archetypal vampire in subsequent works of fiction. Some aspects of the character are believed to have been inspired by the 15th-century Wallachian Prince Vlad the Impaler, who was also known as Dracula, and by Sir Henry Irving, an actor for whom Stoker was a personal assistant.\",\n \"Some aspects of the character are believed to have been inspired by the 15th-century Wallachian Prince Vlad the Impaler, who was also known as Dracula, and by Sir Henry Irving, an actor for whom Stoker was a personal assistant. One of Dracula's most iconic powers is his ability to turn others into vampires by biting them and infecting them with the vampiric disease.\",\n \"One of Dracula's most iconic powers is his ability to turn others into vampires by biting them and infecting them with the vampiric disease. Other character aspects have been added or altered in subsequent popular fictional works. The character has appeared frequently in popular culture, from films to animated media to breakfast cereals.\",\n \"The character has appeared frequently in popular culture, from films to animated media to breakfast cereals. Stoker's creation Bram Stoker's novel takes the form of an epistolary tale, in which Count Dracula's characteristics, powers, abilities and weaknesses are narrated by multiple narrators, from different perspectives.\",\n \"Stoker's creation Bram Stoker's novel takes the form of an epistolary tale, in which Count Dracula's characteristics, powers, abilities and weaknesses are narrated by multiple narrators, from different perspectives. Count Dracula is an undead, centuries-old vampire, and a Transylvanian nobleman who claims to be a Székely descended from Attila the Hun.\",\n \"Count Dracula is an undead, centuries-old vampire, and a Transylvanian nobleman who claims to be a Székely descended from Attila the Hun. He inhabits a decaying castle in the Carpathian Mountains near the Borgo Pass.\",\n \"He inhabits a decaying castle in the Carpathian Mountains near the Borgo Pass. Unlike the vampires of Eastern European folklore, which are portrayed as repulsive, corpse-like creatures, Dracula is handsome and charismatic, with a veneer of aristocratic charm.\",\n \"Unlike the vampires of Eastern European folklore, which are portrayed as repulsive, corpse-like creatures, Dracula is handsome and charismatic, with a veneer of aristocratic charm. In his conversations with Jonathan Harker, he reveals himself as deeply proud of his boyar heritage and nostalgic for the past, which he admits has become only a memory of heroism, honour and valour in modern times.\",\n \"In his conversations with Jonathan Harker, he reveals himself as deeply proud of his boyar heritage and nostalgic for the past, which he admits has become only a memory of heroism, honour and valour in modern times. Early life Details of his early life are undisclosed, but it is mentioned that Dracula studied the black arts at the academy of Scholomance in the Carpathian Mountains, overlooking the town of Sibiu (also known as Hermannstadt) and has a deep knowledge of alchemy and magic.\",\n \"Early life Details of his early life are undisclosed, but it is mentioned that Dracula studied the black arts at the academy of Scholomance in the Carpathian Mountains, overlooking the town of Sibiu (also known as Hermannstadt) and has a deep knowledge of alchemy and magic. Taking up arms, as befitting his rank and status as a voivode, he led troops against the Turks across the Danube.\",\n \"Taking up arms, as befitting his rank and status as a voivode, he led troops against the Turks across the Danube. According to his nemesis Abraham Van Helsing, \\\"He must indeed have been that Voivode Dracula who won his name against the Turk, over the great river on the very frontier of Turkey-land.\",\n \"According to his nemesis Abraham Van Helsing, \\\"He must indeed have been that Voivode Dracula who won his name against the Turk, over the great river on the very frontier of Turkey-land. If it be so, then was he no common man: for in that time, and for centuries after, he was spoken of as the cleverest and the most cunning, as well as the bravest of the sons of the land beyond the forest.\\\"\",\n \"If it be so, then was he no common man: for in that time, and for centuries after, he was spoken of as the cleverest and the most cunning, as well as the bravest of the sons of the land beyond the forest.\\\" Dead and buried in a great tomb in the chapel of his castle, Dracula returns from death as a vampire and lives for several centuries in his castle with three terrifyingly beautiful female vampires beside him.\",\n \"Dead and buried in a great tomb in the chapel of his castle, Dracula returns from death as a vampire and lives for several centuries in his castle with three terrifyingly beautiful female vampires beside him. Narrative Short story In \\\"Dracula's Guest\\\", the narrative follows an unnamed Englishman traveller as he wanders around Munich before leaving for Transylvania.\",\n \"Narrative Short story In \\\"Dracula's Guest\\\", the narrative follows an unnamed Englishman traveller as he wanders around Munich before leaving for Transylvania. It is Walpurgis Night and the young Englishman foolishly leaves his hotel, in spite of the coachman's warnings, and wanders through a dense forest alone.\",\n \"It is Walpurgis Night and the young Englishman foolishly leaves his hotel, in spite of the coachman's warnings, and wanders through a dense forest alone. Along the way, he feels that he is being watched by a tall and thin stranger.\",\n \"Along the way, he feels that he is being watched by a tall and thin stranger. The short story climaxes in an old graveyard, where the Englishman encounters a sleeping female vampire called Countess Dolingen in a marble tomb with a large iron stake driven into it.\",\n \"The short story climaxes in an old graveyard, where the Englishman encounters a sleeping female vampire called Countess Dolingen in a marble tomb with a large iron stake driven into it. This malevolent and beautiful vampire awakens from her marble bier to conjure a snowstorm before being struck by lightning and returning to her eternal prison.\",\n \"This malevolent and beautiful vampire awakens from her marble bier to conjure a snowstorm before being struck by lightning and returning to her eternal prison. However, the Englishman's troubles are not quite over, as he is dragged away by an unseen force and rendered unconscious.\",\n \"However, the Englishman's troubles are not quite over, as he is dragged away by an unseen force and rendered unconscious. He awakens to find a \\\"gigantic\\\" wolf lying on his chest and licking at his throat; however, the wolf merely keeps him warm and protects him until help arrives.\",\n \"He awakens to find a \\\"gigantic\\\" wolf lying on his chest and licking at his throat; however, the wolf merely keeps him warm and protects him until help arrives. When the Englishman is finally taken back to his hotel, a telegram awaits him from his expectant host Dracula, with a warning about \\\"dangers from snow and wolves and night\\\".\",\n \"When the Englishman is finally taken back to his hotel, a telegram awaits him from his expectant host Dracula, with a warning about \\\"dangers from snow and wolves and night\\\". Novel In Dracula, the eponymous vampire has decided to move from Transylvania to London.\",\n \"Novel In Dracula, the eponymous vampire has decided to move from Transylvania to London. He summons Jonathan Harker, a newly qualified English solicitor, to provide legal support for a real estate transaction overseen by Harker's employer.\",\n \"He summons Jonathan Harker, a newly qualified English solicitor, to provide legal support for a real estate transaction overseen by Harker's employer. Dracula at first charms Harker with his cordiality and historical knowledge, and even rescues him from the clutches of the three female vampires in the castle.\",\n \"Dracula at first charms Harker with his cordiality and historical knowledge, and even rescues him from the clutches of the three female vampires in the castle. In truth, however, Dracula merely wishes to keep Harker alive long enough to complete the legal transaction and to learn as much as possible about England.\",\n \"In truth, however, Dracula merely wishes to keep Harker alive long enough to complete the legal transaction and to learn as much as possible about England. Dracula leaves his castle and boards a Russian ship, the Demeter, taking along with him 50 boxes of Transylvanian soil, which he needs to regain his strength and rest during daylight.\",\n \"Dracula leaves his castle and boards a Russian ship, the Demeter, taking along with him 50 boxes of Transylvanian soil, which he needs to regain his strength and rest during daylight. During the voyage to Whitby, a coastal town in northern England, he sustains himself on the ship's crew members.\",\n \"During the voyage to Whitby, a coastal town in northern England, he sustains himself on the ship's crew members. Only one body is later found, that of the captain, who is found tied up to the ship's helm.\",\n \"Only one body is later found, that of the captain, who is found tied up to the ship's helm. The captain's log is recovered and tells of strange events that had taken place during the ship's journey.\",\n \"The captain's log is recovered and tells of strange events that had taken place during the ship's journey. Dracula leaves the ship in the form of a dog and runs up the 199 steps to the graveyard of St Mary's Church in the shadow of the Whitby Abbey ruins.\",\n \"Dracula leaves the ship in the form of a dog and runs up the 199 steps to the graveyard of St Mary's Church in the shadow of the Whitby Abbey ruins. Soon the Count begins menacing Harker's fiancée, Wilhelmina \\\"Mina\\\" Murray, and her friend, Lucy Westenra.\",\n \"Soon the Count begins menacing Harker's fiancée, Wilhelmina \\\"Mina\\\" Murray, and her friend, Lucy Westenra. There is also a notable link between Dracula and Renfield, a patient in an insane asylum overseen by John Seward, who is compelled to consume spiders, birds, and other creatures—in ascending order of size—to absorb their \\\"life force\\\".\",\n \"There is also a notable link between Dracula and Renfield, a patient in an insane asylum overseen by John Seward, who is compelled to consume spiders, birds, and other creatures—in ascending order of size—to absorb their \\\"life force\\\". Renfield acts as a kind of sensor, reacting to Dracula's proximity and supplying clues accordingly.\",\n \"Renfield acts as a kind of sensor, reacting to Dracula's proximity and supplying clues accordingly. Dracula visits Lucy's bed chamber on a nightly basis, draining her of blood while simultaneously infecting her with the curse of vampirism.\",\n \"Dracula visits Lucy's bed chamber on a nightly basis, draining her of blood while simultaneously infecting her with the curse of vampirism. Not knowing the cause for Lucy's deterioration, her three suitors – Seward, Arthur Holmwood and Quincey Morris – call upon Seward's mentor, the Dutch doctor Abraham Van Helsing.\",\n \"Not knowing the cause for Lucy's deterioration, her three suitors – Seward, Arthur Holmwood and Quincey Morris – call upon Seward's mentor, the Dutch doctor Abraham Van Helsing. Van Helsing soon deduces her condition's supernatural origins, and tries to keep the vampire at bay with garlic.\",\n \"Van Helsing soon deduces her condition's supernatural origins, and tries to keep the vampire at bay with garlic. Nevertheless, Dracula attacks Lucy's house one final time, killing her mother and transforming Lucy herself into one of the undead. Harker escapes Dracula's castle and returns to England, barely alive and deeply traumatized.\",\n \"Harker escapes Dracula's castle and returns to England, barely alive and deeply traumatized. On Seward's suggestion, Mina seeks Van Helsing's assistance in assessing Harker's health. She reads his journal and passes it along to Van Helsing.\",\n \"She reads his journal and passes it along to Van Helsing. This unfolds the first clue to the identity of Lucy's assailant, which later prompts Mina to collect all of the events of Dracula's appearance in news articles, saved letters, newspaper clippings and the journals of each member of the group.\",\n \"This unfolds the first clue to the identity of Lucy's assailant, which later prompts Mina to collect all of the events of Dracula's appearance in news articles, saved letters, newspaper clippings and the journals of each member of the group. This assists the group in investigating Dracula's movements and later discovering that Renfield's behaviour is directly influenced by Dracula.\",\n \"This assists the group in investigating Dracula's movements and later discovering that Renfield's behaviour is directly influenced by Dracula. They then discover that Dracula has purchased a residence next door to Seward's. The group gathers intelligence to track down Dracula and destroy him.\",\n \"The group gathers intelligence to track down Dracula and destroy him. After the undead Lucy attacks several children, Van Helsing, Seward, Holmwood and Morris enter her crypt and destroy her to save her soul. Later, Harker joins them and the party work to discover Dracula's intentions.\",\n \"Later, Harker joins them and the party work to discover Dracula's intentions. Harker aids the party in tracking down the locations of the boxes to the various residences of Dracula and discovers that Dracula purchased multiple real estate properties throughout London under the alias 'Count De Ville'.\",\n \"Harker aids the party in tracking down the locations of the boxes to the various residences of Dracula and discovers that Dracula purchased multiple real estate properties throughout London under the alias 'Count De Ville'. Dracula's main plan was to move each of his 50 boxes of earth to his various properties in order to arrange multiple lairs throughout and around the perimeter of London.\",\n \"Dracula's main plan was to move each of his 50 boxes of earth to his various properties in order to arrange multiple lairs throughout and around the perimeter of London. The party pries open each of the graves, places sacramental wafers within each of them, and seals them shut.\",\n \"The party pries open each of the graves, places sacramental wafers within each of them, and seals them shut. This deprives Dracula of his ability to seek safety in those boxes. Dracula gains entry into Seward's residence by coercing an invitation out of Renfield.\",\n \"Dracula gains entry into Seward's residence by coercing an invitation out of Renfield. As he attempts to enter the room in which Harker and Mina are staying, Renfield tries to stop him; Dracula then mortally wounds him. With his dying breath, Renfield tells Seward and Van Helsing that Dracula is after Mina.\",\n \"With his dying breath, Renfield tells Seward and Van Helsing that Dracula is after Mina. Van Helsing and Seward discover Dracula biting Mina and forcing her to drink his blood. The group repel Dracula using crucifixes and sacramental bread, forcing him to flee by turning into a dark vapour.\",\n \"The group repel Dracula using crucifixes and sacramental bread, forcing him to flee by turning into a dark vapour. The party continue to hunt Dracula to search for his remaining lairs.\",\n \"The party continue to hunt Dracula to search for his remaining lairs. Although Dracula's 'baptism' of Mina grants him a telepathic link to her, it backfires when Van Helsing hypnotizes Mina and uses her supernatural link with Dracula to track him as he flees back to Transylvania.\",\n \"Although Dracula's 'baptism' of Mina grants him a telepathic link to her, it backfires when Van Helsing hypnotizes Mina and uses her supernatural link with Dracula to track him as he flees back to Transylvania. The heroes follow Dracula back to Transylvania, and in a climactic battle with Dracula's Romani bodyguards, finally destroy him.\",\n \"The heroes follow Dracula back to Transylvania, and in a climactic battle with Dracula's Romani bodyguards, finally destroy him. Despite the popular image of Dracula having a stake driven through his heart to kill him, Mina's narrative describes his decapitation by Harker's kukri while Morris simultaneously pierces his heart with a Bowie knife (Mina Harker's Journal, 6 November, Dracula Chapter 27).\",\n \"Despite the popular image of Dracula having a stake driven through his heart to kill him, Mina's narrative describes his decapitation by Harker's kukri while Morris simultaneously pierces his heart with a Bowie knife (Mina Harker's Journal, 6 November, Dracula Chapter 27). His body then turns into dust, but not before Mina sees an expression of peace on his face.\",\n \"His body then turns into dust, but not before Mina sees an expression of peace on his face. Characteristics Although early in the novel Dracula dons a mask of cordiality, he often flies into fits of rage when his plans are frustrated.\",\n \"Characteristics Although early in the novel Dracula dons a mask of cordiality, he often flies into fits of rage when his plans are frustrated. When Dracula's brides attempt to seduce Jonathan Harker, Dracula physically assaults one and ferociously berates them for their insubordination.\",\n \"When Dracula's brides attempt to seduce Jonathan Harker, Dracula physically assaults one and ferociously berates them for their insubordination. He has an appreciation for ancient architecture, and when purchasing a home he prefers them to be aged, saying \\\"A new home would kill me\\\", and that to make a new home habitable to him would take a century.\",\n \"He has an appreciation for ancient architecture, and when purchasing a home he prefers them to be aged, saying \\\"A new home would kill me\\\", and that to make a new home habitable to him would take a century. Dracula is very proud of his warrior heritage, proclaiming his pride to Harker on how the Székely people are infused with the blood of heroes.\",\n \"Dracula is very proud of his warrior heritage, proclaiming his pride to Harker on how the Székely people are infused with the blood of heroes. He also expresses an interest in the history of the British Empire, speaking admiringly of its people.\",\n \"He also expresses an interest in the history of the British Empire, speaking admiringly of its people. He has a somewhat primal and predatory worldview; he pities ordinary humans for their revulsion to their darker impulses. He is not without human emotions, however; he often says that he too can love.\",\n \"He is not without human emotions, however; he often says that he too can love. Though usually portrayed as having a strong Eastern European accent, the original novel only specifies that his spoken English is excellent, though strangely toned. His appearance varies in age.\",\n \"His appearance varies in age. His appearance varies in age. He is described early in the novel as thin, with a long white moustache, pointed ears and sharp teeth.\",\n \"He is described early in the novel as thin, with a long white moustache, pointed ears and sharp teeth. It is also noted later in the novel (Chapter 11 subsection \\\"The Escaped Wolf\\\") by a zookeeper who sees him that he has a hooked nose and a pointed beard with a streak of white in it.\",\n \"It is also noted later in the novel (Chapter 11 subsection \\\"The Escaped Wolf\\\") by a zookeeper who sees him that he has a hooked nose and a pointed beard with a streak of white in it. He is dressed all in black and has hair on his palms.\",\n \"He is dressed all in black and has hair on his palms. Harker describes him as an old man, \\\"cruel looking\\\" and giving an effect of \\\"extraordinary pallor\\\". As the novel progresses, Dracula is described as taking on a more and more youthful appearance.\",\n \"As the novel progresses, Dracula is described as taking on a more and more youthful appearance. After Harker strikes him with a shovel, he is left with a scar on his forehead which he bears throughout the course of the novel.\",\n \"After Harker strikes him with a shovel, he is left with a scar on his forehead which he bears throughout the course of the novel. Dracula also possesses great wealth, and has Romani people in his homeland who are loyal to him as servants and protectors.\",\n \"Dracula also possesses great wealth, and has Romani people in his homeland who are loyal to him as servants and protectors. Powers and weaknesses Count Dracula is portrayed in the novel using many different supernatural abilities, and is believed to have gained his abilities through dealings with the Devil.\",\n \"Powers and weaknesses Count Dracula is portrayed in the novel using many different supernatural abilities, and is believed to have gained his abilities through dealings with the Devil. Chapter 18 of the novel describes many of the abilities, limitations and weaknesses of vampires and Dracula in particular.\",\n \"Chapter 18 of the novel describes many of the abilities, limitations and weaknesses of vampires and Dracula in particular. Dracula has superhuman strength which, according to Van Helsing, is equivalent to that of 20 strong men. He does not cast a shadow or have a reflection from mirrors.\",\n \"He does not cast a shadow or have a reflection from mirrors. He is immune to conventional means of attack; a sailor tries to stab him in the back with a knife, but the blade goes through his body as though it is air.\",\n \"He is immune to conventional means of attack; a sailor tries to stab him in the back with a knife, but the blade goes through his body as though it is air. He can defy gravity to a certain extent and possesses superhuman agility, able to climb vertical surfaces upside down in a reptilian manner.\",\n \"He can defy gravity to a certain extent and possesses superhuman agility, able to climb vertical surfaces upside down in a reptilian manner. He can travel onto \\\"unhallowed\\\" ground, such as the graves of suicides and those of his victims. He has powerful hypnotic, telepathic and illusionary abilities.\",\n \"He has powerful hypnotic, telepathic and illusionary abilities. He also has the ability to \\\"within limitations\\\" vanish and reappear elsewhere at will. If he knows the path, he can come out from anything or into anything regardless of how close it is bound or even if it is soldered shut.\",\n \"If he knows the path, he can come out from anything or into anything regardless of how close it is bound or even if it is soldered shut. He has amassed cunning and wisdom throughout centuries, and he is unable to die by the mere passing of time alone.\",\n \"He has amassed cunning and wisdom throughout centuries, and he is unable to die by the mere passing of time alone. He can command animals such as rats, owls, bats, moths, foxes and wolves. However, his control over these animals is limited, as seen when the party first enters his house in London.\",\n \"However, his control over these animals is limited, as seen when the party first enters his house in London. Although Dracula is able to summon thousands of rats to swarm and attack the group, Holmwood summons his trio of terriers to do battle with the rats.\",\n \"Although Dracula is able to summon thousands of rats to swarm and attack the group, Holmwood summons his trio of terriers to do battle with the rats. The dogs prove very efficient rat killers, suggesting they are Manchester Terriers trained for that purpose.\",\n \"The dogs prove very efficient rat killers, suggesting they are Manchester Terriers trained for that purpose. Terrified by the dogs' onslaught, the rats flee, and any control which Dracula had over them is gone.\",\n \"Terrified by the dogs' onslaught, the rats flee, and any control which Dracula had over them is gone. Dracula can also manipulate the weather and, within his range, is able to direct the elements, such as storms, fog and mist.\",\n \"Dracula can also manipulate the weather and, within his range, is able to direct the elements, such as storms, fog and mist. Shapeshifting Dracula can change form at will, able to grow and become small, his featured forms in the novel being that of a bat, a wolf, a large dog and a fog or mist.\",\n \"Shapeshifting Dracula can change form at will, able to grow and become small, his featured forms in the novel being that of a bat, a wolf, a large dog and a fog or mist. When the moonlight is shining, he can travel as elemental dust within its rays.\",\n \"When the moonlight is shining, he can travel as elemental dust within its rays. He is able to pass through tiny cracks or crevices while retaining his human form or in the form of a vapour; described by Van Helsing as the ability to slip through a hairbreadth space of a tomb door or coffin.\",\n \"He is able to pass through tiny cracks or crevices while retaining his human form or in the form of a vapour; described by Van Helsing as the ability to slip through a hairbreadth space of a tomb door or coffin. This is also an ability used by his victim Lucy as a vampire.\",\n \"This is also an ability used by his victim Lucy as a vampire. When the party breaks into her tomb, they open the sealed coffin to find her corpse is no longer located within. Vampirism One of Dracula's powers is the ability to turn others into vampires by biting them.\",\n \"Vampirism One of Dracula's powers is the ability to turn others into vampires by biting them. According to Van Helsing: The vampire bite itself does not cause death. It is the method vampires use to drain blood of the victim and to increase their influence over them.\",\n \"It is the method vampires use to drain blood of the victim and to increase their influence over them. This is described by Van Helsing: Victims who are bitten by a vampire and do not die, are hypnotically influenced by them: Van Helsing later describes the aftermath of a bitten victim when the vampire has been killed: As Dracula slowly drains Lucy's blood, she dies from acute blood loss and later transforms into a vampire, despite the efforts of Seward and Van Helsing to provide her with blood transfusions.\",\n \"This is described by Van Helsing: Victims who are bitten by a vampire and do not die, are hypnotically influenced by them: Van Helsing later describes the aftermath of a bitten victim when the vampire has been killed: As Dracula slowly drains Lucy's blood, she dies from acute blood loss and later transforms into a vampire, despite the efforts of Seward and Van Helsing to provide her with blood transfusions. He is aided by powers of necromancy and divination of the dead, that all who die by his hand may reanimate and do his bidding.\",\n \"He is aided by powers of necromancy and divination of the dead, that all who die by his hand may reanimate and do his bidding. Bloodletting Dracula requires no other sustenance but fresh human blood, which has the effect of rejuvenating him and allowing him to grow younger.\",\n \"Bloodletting Dracula requires no other sustenance but fresh human blood, which has the effect of rejuvenating him and allowing him to grow younger. His power is drawn from the blood of others, and he cannot survive without it.\",\n \"His power is drawn from the blood of others, and he cannot survive without it. Although drinking blood can rejuvenate his youth and strength, it does not give him the ability to regenerate; months after being struck on the head by a shovel, he still bears a scar from the impact.\",\n \"Although drinking blood can rejuvenate his youth and strength, it does not give him the ability to regenerate; months after being struck on the head by a shovel, he still bears a scar from the impact. Dracula's preferred victims are women.\",\n \"Dracula's preferred victims are women. Harker states that he believes Dracula has a state of fasting as well as a state of feeding. Dracula does state to Mina, however, that exerting his abilities causes a desire to feed.\",\n \"Dracula does state to Mina, however, that exerting his abilities causes a desire to feed. Vampire's Baptism of Blood Count Dracula is depicted as the \\\"King Vampire\\\", and can control other vampires. To punish Mina and the party for their efforts against him, Dracula bites her on at least three occasions.\",\n \"To punish Mina and the party for their efforts against him, Dracula bites her on at least three occasions. He also forces her to drink his blood; this act curses her with the effects of vampirism and gives him a telepathic link to her thoughts. However, hypnotism was only able to be done before dawn.\",\n \"However, hypnotism was only able to be done before dawn. Van Helsing refers to the act of drinking blood by both the vampire and the victim \\\"the Vampire's Baptism of Blood\\\". The effects changes Mina physically and mentally over time.\",\n \"The effects changes Mina physically and mentally over time. A few moments after Dracula attacks her, Van Helsing takes a wafer of sacramental bread and places it on her forehead to bless her; when the bread touches her skin, it burns her and leaves a scar on her forehead.\",\n \"A few moments after Dracula attacks her, Van Helsing takes a wafer of sacramental bread and places it on her forehead to bless her; when the bread touches her skin, it burns her and leaves a scar on her forehead. Her teeth start growing longer but do not grow sharper.\",\n \"Her teeth start growing longer but do not grow sharper. She begins to lose her appetite, feeling repulsed by normal food, begins to sleep more and more during the day; cannot wake unless at sunset and stops writing in her diary.\",\n \"She begins to lose her appetite, feeling repulsed by normal food, begins to sleep more and more during the day; cannot wake unless at sunset and stops writing in her diary. When Van Helsing later crumbles the same bread in a circle around her, she is unable to cross or leave the circle, discovering a new form of protection.\",\n \"When Van Helsing later crumbles the same bread in a circle around her, she is unable to cross or leave the circle, discovering a new form of protection. Dracula's death can release the curse on any living victim of eventual transformation into vampire.\",\n \"Dracula's death can release the curse on any living victim of eventual transformation into vampire. However, Van Helsing reveals that were he to escape, his continued existence would ensure that even if he did not victimize Mina further, she would transform into a vampire upon her eventual natural death.\",\n \"However, Van Helsing reveals that were he to escape, his continued existence would ensure that even if he did not victimize Mina further, she would transform into a vampire upon her eventual natural death. Limitations of his powers Dracula is much less powerful in daylight and is only able to shift his form at dawn, noon, and dusk (he can shift his form freely at night or if he is at his grave).\",\n \"Limitations of his powers Dracula is much less powerful in daylight and is only able to shift his form at dawn, noon, and dusk (he can shift his form freely at night or if he is at his grave). The sun is not fatal to him, as sunlight does not burn and destroy him upon contact, though most of his abilities cease.\",\n \"The sun is not fatal to him, as sunlight does not burn and destroy him upon contact, though most of his abilities cease. Later interpretations of the character, and vampires in general, would amplify this trait into an outright fatal weakness, making it so that even the first rays of sunrise are capable of reducing a vampire to ash.\",\n \"Later interpretations of the character, and vampires in general, would amplify this trait into an outright fatal weakness, making it so that even the first rays of sunrise are capable of reducing a vampire to ash. He is also limited in his ability to travel, as he can only cross running water at low or high tide.\",\n \"He is also limited in his ability to travel, as he can only cross running water at low or high tide. Owing to this, he is unable to fly across a river in the form of a bat or mist or even by himself board a boat or step off a boat onto a dock unless he is physically carried over with assistance.\",\n \"Owing to this, he is unable to fly across a river in the form of a bat or mist or even by himself board a boat or step off a boat onto a dock unless he is physically carried over with assistance. He is also unable to enter a place unless invited to do so by someone of the household, even a visitor; once invited, he can enter and leave the premises at will.\",\n \"He is also unable to enter a place unless invited to do so by someone of the household, even a visitor; once invited, he can enter and leave the premises at will. Weaknesses Thirst Dracula is commonly depicted with a bloodlust which he is seemingly unable to control. Adaptations sometimes call this uncontrollable state 'the thirst'.\",\n \"Adaptations sometimes call this uncontrollable state 'the thirst'. Religious symbolism There are items which afflict him to the point he has no power and can even calm him from his insatiable appetite for blood. He is repulsed by garlic, as well as sacred items and symbols such as crucifixes, and sacramental bread.\",\n \"He is repulsed by garlic, as well as sacred items and symbols such as crucifixes, and sacramental bread. Placing the branch of a wild rose upon the top of his coffin will render him unable to escape it; a sacred bullet fired into the coffin could kill him so that he remain true-dead.\",\n \"Placing the branch of a wild rose upon the top of his coffin will render him unable to escape it; a sacred bullet fired into the coffin could kill him so that he remain true-dead. Mountain Ash is also described as a form of protection from a vampire although the effects are unknown.\",\n \"Mountain Ash is also described as a form of protection from a vampire although the effects are unknown. This was believed to be used as protection against evil spirits and witches during the Victorian era.\",\n \"This was believed to be used as protection against evil spirits and witches during the Victorian era. Death-sleep The state of rest to which vampires are prone during the day is described in the novel as a deathlike sleep in which the vampire sleeps open-eyed, is unable to awaken or move, and also may be unaware of any presence of individuals who may be trespassing.\",\n \"Death-sleep The state of rest to which vampires are prone during the day is described in the novel as a deathlike sleep in which the vampire sleeps open-eyed, is unable to awaken or move, and also may be unaware of any presence of individuals who may be trespassing. Dracula is portrayed as being active in daylight at least once to pursue a victim.\",\n \"Dracula is portrayed as being active in daylight at least once to pursue a victim. Dracula also purchases many properties throughout London 'over the counter' which shows that he does have the ability to have some type of presence in daylight.\",\n \"Dracula also purchases many properties throughout London 'over the counter' which shows that he does have the ability to have some type of presence in daylight. He requires Transylvanian soil to be nearby to him in a foreign land or to be entombed within his coffin within Transylvania in order to successfully rest; otherwise, he will be unable to recover his strength.\",\n \"He requires Transylvanian soil to be nearby to him in a foreign land or to be entombed within his coffin within Transylvania in order to successfully rest; otherwise, he will be unable to recover his strength. This has forced him to transport many boxes of Transylvanian earth to each of his residences in London.\",\n \"This has forced him to transport many boxes of Transylvanian earth to each of his residences in London. He is most powerful when he is within his Earth-Home, Coffin-Home, Hell-Home, or any place unhallowed.\",\n \"He is most powerful when he is within his Earth-Home, Coffin-Home, Hell-Home, or any place unhallowed. Further, if Dracula or any vampire has had their fill in blood upon feeding, they will be caused to rest in this dead state even longer than usual.\",\n \"Further, if Dracula or any vampire has had their fill in blood upon feeding, they will be caused to rest in this dead state even longer than usual. Other abilities While universally feared by the local people of Transylvania and even beyond, Dracula commands the loyalty of Gypsies and a band of Slovaks who transport his boxes on their way to London and to serve as an armed convoy bringing his coffin back to his castle.\",\n \"Other abilities While universally feared by the local people of Transylvania and even beyond, Dracula commands the loyalty of Gypsies and a band of Slovaks who transport his boxes on their way to London and to serve as an armed convoy bringing his coffin back to his castle. The Slovaks and Gypsies appear to know his true nature, for they laugh at Harker when he tries to communicate his plight, and betray Harker's attempt to send a letter through them by giving it to the Count.\",\n \"The Slovaks and Gypsies appear to know his true nature, for they laugh at Harker when he tries to communicate his plight, and betray Harker's attempt to send a letter through them by giving it to the Count. Dracula seems to be able to hold influence over people with mental disorders, such as Renfield, who is never bitten but who worships Dracula, referring to him over the course of the novel as \\\"Master\\\" and \\\"Lord\\\".\",\n \"Dracula seems to be able to hold influence over people with mental disorders, such as Renfield, who is never bitten but who worships Dracula, referring to him over the course of the novel as \\\"Master\\\" and \\\"Lord\\\". Dracula also afflicts Lucy with chronic sleepwalking, putting her into a trance-like state that allows them not only to submit to his will but also seek him and satisfy his need to feed.\",\n \"Dracula also afflicts Lucy with chronic sleepwalking, putting her into a trance-like state that allows them not only to submit to his will but also seek him and satisfy his need to feed. Dracula's powers and weaknesses vary greatly in the many adaptations. Previous and subsequent vampires from different legends have had similar vampire characteristics.\",\n \"Previous and subsequent vampires from different legends have had similar vampire characteristics. Character development subsequent to the novel Dracula has been portrayed by more actors in more visual media adaptations of the novel than any other horror character.\",\n \"Character development subsequent to the novel Dracula has been portrayed by more actors in more visual media adaptations of the novel than any other horror character. Actors who have played him include Max Schreck, Bela Lugosi, John Carradine, Lon Chaney Jr., Christopher Lee, Francis Lederer, Denholm Elliott, Jack Palance, Louis Jourdan, Rudolf Martin, Frank Langella, Klaus Kinski, Gary Oldman, Leslie Nielsen, George Hamilton, David Niven, Charles Macaulay, Keith-Lee Castle, Gerard Butler, Duncan Regehr, Richard Roxburgh, Marc Warren, Rutger Hauer, Stephen Billington, Thomas Kretschmann, Dominic Purcell, Luke Evans and Claes Bang.\",\n \"Actors who have played him include Max Schreck, Bela Lugosi, John Carradine, Lon Chaney Jr., Christopher Lee, Francis Lederer, Denholm Elliott, Jack Palance, Louis Jourdan, Rudolf Martin, Frank Langella, Klaus Kinski, Gary Oldman, Leslie Nielsen, George Hamilton, David Niven, Charles Macaulay, Keith-Lee Castle, Gerard Butler, Duncan Regehr, Richard Roxburgh, Marc Warren, Rutger Hauer, Stephen Billington, Thomas Kretschmann, Dominic Purcell, Luke Evans and Claes Bang. In 2003, Count Dracula, as portrayed by Lugosi in the 1931 film, was named as the 33rd greatest movie villain by the AFI.\",\n \"In 2003, Count Dracula, as portrayed by Lugosi in the 1931 film, was named as the 33rd greatest movie villain by the AFI. In 2013, Empire magazine ranked Lee's portrayal as Dracula the 7th Greatest Horror Movie Character of All Time.\",\n \"In 2013, Empire magazine ranked Lee's portrayal as Dracula the 7th Greatest Horror Movie Character of All Time. The character is closely associated with the western cultural archetype of the vampire, and remains a popular Halloween costume. Count Dracula appears in Mad Monster Party? voiced by Allen Swift.\",\n \"voiced by Allen Swift. voiced by Allen Swift. This version is shown to be wearing a monocle. Count Dracula is among the monsters that Baron Boris von Frankenstein invites to the Isle of Evil to show off the secret of total destruction and announce his retirement from the Worldwide Organization of Monsters.\",\n \"Count Dracula is among the monsters that Baron Boris von Frankenstein invites to the Isle of Evil to show off the secret of total destruction and announce his retirement from the Worldwide Organization of Monsters. Sesame Street character Count von Count is based on Bela Lugosi's interpretation of Count Dracula and Jack Davis' design for Dracula from Mad Monster Party?.\",\n \"Sesame Street character Count von Count is based on Bela Lugosi's interpretation of Count Dracula and Jack Davis' design for Dracula from Mad Monster Party?. Count Dracula appears in Mad Mad Mad Monsters (a \\\"prequel of sorts\\\" to Mad Monster Party?) voiced again by Allen Swift.\",\n \"voiced again by Allen Swift. voiced again by Allen Swift. He and his son are invited by Baron Henry von Frankenstein to attend the wedding of Frankenstein's monster and its mate at the Transylvania Astoria Hotel. Dracula is the primary antagonist of the Castlevania video game series and the main protagonist of the Lords of Shadow reboot series.\",\n \"Dracula is the primary antagonist of the Castlevania video game series and the main protagonist of the Lords of Shadow reboot series. Count Dracula appears in the Attack of the Killer Tomatoes episode \\\"Spatula, Prinze of Dorkness\\\", voiced by S. Scott Bullock.\",\n \"Count Dracula appears in the Attack of the Killer Tomatoes episode \\\"Spatula, Prinze of Dorkness\\\", voiced by S. Scott Bullock. He relates a tale of how he once gave Dr. Putrid T. Gangreen a serum to transform tomatoes into vampire tomatoes.\",\n \"He relates a tale of how he once gave Dr. Putrid T. Gangreen a serum to transform tomatoes into vampire tomatoes. Though the Doctor refused, Zoltan overheard their conversation and, mistaking the word serum for syrup, ingests the serum himself and renaming himself \\\"Spatula, Prinze of Dorkness\\\" who can turn people into vampires by kissing them in the neck (a stipulation that the Censor Lady put into place in fear of showing the biting and bloodshed associated with vampires on a Saturday morning cartoon).\",\n \"Though the Doctor refused, Zoltan overheard their conversation and, mistaking the word serum for syrup, ingests the serum himself and renaming himself \\\"Spatula, Prinze of Dorkness\\\" who can turn people into vampires by kissing them in the neck (a stipulation that the Censor Lady put into place in fear of showing the biting and bloodshed associated with vampires on a Saturday morning cartoon). This spread to the other tomatoes and the entire town.\",\n \"This spread to the other tomatoes and the entire town. When the sun came up and disabled the vampires, Count Dracula in sunblock appears and deemed that the town is not worthy to be vampires. He then gives Chad Finletter the antidote to the vampirism and advises that the tomatoes be squashed immediately.\",\n \"He then gives Chad Finletter the antidote to the vampirism and advises that the tomatoes be squashed immediately. Dracula appears as the lead character of Dracula the Un-dead, a novel by Stoker's great-grand nephew Dacre presented as a sequel to the original.\",\n \"Dracula appears as the lead character of Dracula the Un-dead, a novel by Stoker's great-grand nephew Dacre presented as a sequel to the original. In the Supernatural episode \\\"Monster Monster\\\", a shapeshifter that Sam and Dean Winchester fight considers his form of Count Dracula (portrayed by Todd Stashwick) his favourite form.\",\n \"In the Supernatural episode \\\"Monster Monster\\\", a shapeshifter that Sam and Dean Winchester fight considers his form of Count Dracula (portrayed by Todd Stashwick) his favourite form. It is in this form that Jamie killed him with Sam's gun loaded with silver bullets.\",\n \"It is in this form that Jamie killed him with Sam's gun loaded with silver bullets. Count Dracula is the main character of the Hotel Transylvania franchise, voiced by Adam Sandler in the first three movies and by Brian Hull in the fourth movie.\",\n \"Count Dracula is the main character of the Hotel Transylvania franchise, voiced by Adam Sandler in the first three movies and by Brian Hull in the fourth movie. Dracula, going by an inversion of his name, \\\"Alucard,\\\" serves as the main character of the anime and manga series Hellsing and Hellsing Ultimate where he serves Integra Hellsing, Abraham's great-granddaughter, as an anti-vampire warrior devoted to the British Crown.\",\n \"Dracula, going by an inversion of his name, \\\"Alucard,\\\" serves as the main character of the anime and manga series Hellsing and Hellsing Ultimate where he serves Integra Hellsing, Abraham's great-granddaughter, as an anti-vampire warrior devoted to the British Crown. Dracula is the primary antagonist of the Showtime series Penny Dreadful, portrayed by Christian Camargo.\",\n \"Dracula is the primary antagonist of the Showtime series Penny Dreadful, portrayed by Christian Camargo. This version of the character is the brother of Lucifer and, thus, a fallen angel.\",\n \"This version of the character is the brother of Lucifer and, thus, a fallen angel. Modern and postmodern analyses of the character Already in 1958, Cecil Kirtly proposed that Count Dracula shared his personal past with the historical Transylvanian-born Voivode Vlad III Dracula of Wallachia, also known as Vlad the Impaler or Vlad Țepeș.\",\n \"Modern and postmodern analyses of the character Already in 1958, Cecil Kirtly proposed that Count Dracula shared his personal past with the historical Transylvanian-born Voivode Vlad III Dracula of Wallachia, also known as Vlad the Impaler or Vlad Țepeș. Following the publication of In Search of Dracula by Radu Florescu and Raymond McNally in 1972, this supposed connection attracted much popular attention.\",\n \"Following the publication of In Search of Dracula by Radu Florescu and Raymond McNally in 1972, this supposed connection attracted much popular attention. This work argued that Bram Stoker based his Dracula on Vlad the Impaler.\",\n \"This work argued that Bram Stoker based his Dracula on Vlad the Impaler. Historically, the name \\\"Dracula\\\" is the family name of Vlad Țepeș' family, a name derived from a fraternal order of knights called the Order of the Dragon, founded by Sigismund of Luxembourg (king of Hungary and Bohemia, and Holy Roman Emperor) to uphold Christianity and defend the Empire against the Ottoman Turks.\",\n \"Historically, the name \\\"Dracula\\\" is the family name of Vlad Țepeș' family, a name derived from a fraternal order of knights called the Order of the Dragon, founded by Sigismund of Luxembourg (king of Hungary and Bohemia, and Holy Roman Emperor) to uphold Christianity and defend the Empire against the Ottoman Turks. Vlad II Dracul, father of Vlad III, was admitted to the order around 1431 because of his bravery in fighting the Turks and was dubbed Dracul (dragon or devil) thus his son became Dracula (son of the dragon).\",\n \"Vlad II Dracul, father of Vlad III, was admitted to the order around 1431 because of his bravery in fighting the Turks and was dubbed Dracul (dragon or devil) thus his son became Dracula (son of the dragon). From 1431 onward, Vlad II wore the emblem of the order and later, as ruler of Wallachia, his coinage bore the dragon symbol.\",\n \"From 1431 onward, Vlad II wore the emblem of the order and later, as ruler of Wallachia, his coinage bore the dragon symbol. Stoker came across the name Dracula in his reading on Romanian history, and chose this to replace the name (Count Wampyr) that he had originally intended to use for his villain.\",\n \"Stoker came across the name Dracula in his reading on Romanian history, and chose this to replace the name (Count Wampyr) that he had originally intended to use for his villain. However, some Dracula scholars, led by Elizabeth Miller, have questioned the depth of this connection as early as 1998.\",\n \"However, some Dracula scholars, led by Elizabeth Miller, have questioned the depth of this connection as early as 1998. They argue that Stoker in fact knew little of the historic Vlad III, Vlad the Impaler, and that he used only the name \\\"Dracula\\\" and some miscellaneous scraps of Romanian history.\",\n \"They argue that Stoker in fact knew little of the historic Vlad III, Vlad the Impaler, and that he used only the name \\\"Dracula\\\" and some miscellaneous scraps of Romanian history. Also, there are no comments about Vlad III in the author's working notes.\",\n \"Also, there are no comments about Vlad III in the author's working notes. While having a conversation with Jonathan Harker in Chapter 3, Dracula refers to his own background, and these speeches show elements which Stoker directly copied from An Account of the Principalities of Wallachia and Moldavia: With Various Political Observations Relating to Them by William Wilkinson.\",\n \"While having a conversation with Jonathan Harker in Chapter 3, Dracula refers to his own background, and these speeches show elements which Stoker directly copied from An Account of the Principalities of Wallachia and Moldavia: With Various Political Observations Relating to Them by William Wilkinson. Stoker mentions the Voivode of the Dracula race who fought against the Turks after the defeat in the Battle of Kosovo, and was later betrayed by his brother, historical facts which unequivocally point to Vlad III, described as \\\"Voïvode Dracula\\\" by Wilkinson: The Count's intended identity is later commented by Professor Van Helsing, referring to a letter from his friend Arminius: This indeed encourages the reader to identify the Count with the Voivode Dracula first mentioned by him in Chapter 3, the one betrayed by his brother: Vlad III Dracula, betrayed by his brother Radu the Handsome, who had chosen the side of the Turks.\",\n \"Stoker mentions the Voivode of the Dracula race who fought against the Turks after the defeat in the Battle of Kosovo, and was later betrayed by his brother, historical facts which unequivocally point to Vlad III, described as \\\"Voïvode Dracula\\\" by Wilkinson: The Count's intended identity is later commented by Professor Van Helsing, referring to a letter from his friend Arminius: This indeed encourages the reader to identify the Count with the Voivode Dracula first mentioned by him in Chapter 3, the one betrayed by his brother: Vlad III Dracula, betrayed by his brother Radu the Handsome, who had chosen the side of the Turks. But as noted by the Dutch author Hans Corneel de Roos, in Chapter 25, Van Helsing and Mina drop this rudimentary connection to Vlad III and instead describe the Count's personal past as that of \\\"that other of his race\\\" who lived \\\"in a later age\\\".\",\n \"But as noted by the Dutch author Hans Corneel de Roos, in Chapter 25, Van Helsing and Mina drop this rudimentary connection to Vlad III and instead describe the Count's personal past as that of \\\"that other of his race\\\" who lived \\\"in a later age\\\". By smoothly exchanging Vlad III for a nameless double, Stoker avoided his main character being unambiguously linked to a historical person traceable in any history book.\",\n \"By smoothly exchanging Vlad III for a nameless double, Stoker avoided his main character being unambiguously linked to a historical person traceable in any history book. Similarly, the novelist did not want to disclose the precise site of the Count's residence, Castle Dracula.\",\n \"Similarly, the novelist did not want to disclose the precise site of the Count's residence, Castle Dracula. As confirmed by Stoker's own handwritten research notes, the novelist had a specific location for the Castle in mind while writing the narrative: an empty mountain top in the Transylvanian Kelemen alps near the former border with Moldavia.\",\n \"As confirmed by Stoker's own handwritten research notes, the novelist had a specific location for the Castle in mind while writing the narrative: an empty mountain top in the Transylvanian Kelemen alps near the former border with Moldavia. Efforts to promote the Poenari Castle (ca.\",\n \"Efforts to promote the Poenari Castle (ca. 200 km away from the novel's place of action near the Borgo Pass) as the \\\"real Castle Dracula\\\" have no basis in Stoker's writing; although it bears much similarity to the fictional Castle Dracula, no written evidence shows Stoker to have heard of it.\",\n \"200 km away from the novel's place of action near the Borgo Pass) as the \\\"real Castle Dracula\\\" have no basis in Stoker's writing; although it bears much similarity to the fictional Castle Dracula, no written evidence shows Stoker to have heard of it. Regarding the Bran Castle near Brașov, Stoker possibly saw an illustration of Castle Bran (Törzburg) in Charles Boner's 1865 book on Transylvania, Transylvania: Its Products and Its People.\",\n \"Regarding the Bran Castle near Brașov, Stoker possibly saw an illustration of Castle Bran (Törzburg) in Charles Boner's 1865 book on Transylvania, Transylvania: Its Products and Its People. Although Stoker may have been inspired by its romantic appearance, neither Boner, nor Mazuchelli nor Crosse (who also mention Terzburg or Törzburg) associate it with Vlad III; for the site of his fictitious Castle Dracula, Stoker preferred an empty mountain top.\",\n \"Although Stoker may have been inspired by its romantic appearance, neither Boner, nor Mazuchelli nor Crosse (who also mention Terzburg or Törzburg) associate it with Vlad III; for the site of his fictitious Castle Dracula, Stoker preferred an empty mountain top. Furthermore, Stoker's detailed notes reveal that the novelist was very well aware of the ethnic and geo-political differences between the \\\"Roumanians\\\" or \\\"Wallachs\\\"/\\\"Wallachians\\\", descendants of the Dacians, and the Székelys or Szeklers, allies of the Magyars or Hungarians, whose interests were opposed to that of the Wallachians.\",\n \"Furthermore, Stoker's detailed notes reveal that the novelist was very well aware of the ethnic and geo-political differences between the \\\"Roumanians\\\" or \\\"Wallachs\\\"/\\\"Wallachians\\\", descendants of the Dacians, and the Székelys or Szeklers, allies of the Magyars or Hungarians, whose interests were opposed to that of the Wallachians. In the novel's original typewritten manuscript, the Count speaks of throwing off the \\\"Austrian yoke\\\", which corresponds to the Szekler political point of view.\",\n \"In the novel's original typewritten manuscript, the Count speaks of throwing off the \\\"Austrian yoke\\\", which corresponds to the Szekler political point of view. This expression is crossed out, however, and replaced by \\\"Hungarian yoke\\\" (as appearing in the printed version), which matches the historical perspective of the Wallachians.\",\n \"This expression is crossed out, however, and replaced by \\\"Hungarian yoke\\\" (as appearing in the printed version), which matches the historical perspective of the Wallachians. This has been interpreted by some to mean that Stoker opted for the Wallachian, not the Szekler interpretation, thus lending more consistency to the Romanian identity of his Count: although not identical with Vlad III, the Vampire is portrayed as one of the \\\"Dracula race\\\".\",\n \"This has been interpreted by some to mean that Stoker opted for the Wallachian, not the Szekler interpretation, thus lending more consistency to the Romanian identity of his Count: although not identical with Vlad III, the Vampire is portrayed as one of the \\\"Dracula race\\\". However, despite this, Stoker chose the Count to have revealed himself to be a Székely, and not a Wallachian nobleman (the region where the real \\\"Draculas\\\" ruled over).\",\n \"However, despite this, Stoker chose the Count to have revealed himself to be a Székely, and not a Wallachian nobleman (the region where the real \\\"Draculas\\\" ruled over). Screen portrayals See also Elizabeth Báthory Carmilla Clinical vampirism List of fictional vampires List of horror film antagonists References Bibliography Clive Leatherdale (1985) Dracula: the Novel and the Legend.\",\n \"Screen portrayals See also Elizabeth Báthory Carmilla Clinical vampirism List of fictional vampires List of horror film antagonists References Bibliography Clive Leatherdale (1985) Dracula: the Novel and the Legend. Desert Island Books. Bram Stoker (1897) Dracula. Norton Critical Edition (1997) edited by Nina Auerbach and David J. Skal. Senf, Carol.\",\n \"Senf, Carol. Senf, Carol. Dracula: Between Tradition and Modernism (Twayne, 1998). Senf, Carol A. Bram Stoker. University of Wales Press, 2010. External links Bram Stoker Online Full text, PDF and audio versions of Dracula.\",\n \"External links Bram Stoker Online Full text, PDF and audio versions of Dracula. Vlad the Impaler Literary characters introduced in 1897 Fictional characters with immortality Fictional characters with superhuman strength Fictional characters with weather abilities Fictional counts and countesses Fictional Hungarian people Fictional characters based on real people Fictional hypnotists and indoctrinators Fictional therianthropes Fictional telepaths Fictional vampires Male characters in literature Male characters in film Male characters in television Male horror film villains Male literary villains Supervillains with their own comic book titles Mythopoeia\"\n]"}}},{"rowIdx":494,"cells":{"History":{"kind":"list like","value":["Anton Rubinstein","Programs"],"string":"[\n \"Anton Rubinstein\",\n \"Programs\"\n]"},"QuAC_dialog_id":{"kind":"string","value":"C_abfaf1bc5d7a4878916e69b3dc8922b2_0"},"Question":{"kind":"string","value":"What programs was he apart of?"},"Question_no":{"kind":"number","value":1,"string":"1"},"Rewrite":{"kind":"string","value":"What programs was Anton Rubinstein a part of?"},"true_page_title":{"kind":"string","value":"Anton Rubinstein"},"true_contexts":{"kind":"string","value":"Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note. Rubinstein was most famous for his series of historical recitals--seven consecutive concerts covering the history of piano music. Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert. Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873. Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge. CANNOTANSWER"},"answer":{"kind":"string","value":"Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna,"},"true_contexts_wiki":{"kind":"string","value":"Anton Grigoryevich Rubinstein (; ) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein, who founded the Moscow Conservatory.\n\nAs a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals—seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.\n\nAlthough best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life. He wrote 20 operas, the best known of which is The Demon. He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble.\n\nEarly life and education\n\nRubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa. Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy. Although he was raised as a Christian, Rubinstein would later become an atheist.\n\nRubinstein's father opened a pencil factory in Moscow. His mother, a competent musician, began giving him piano lessons at five, until the teacher heard and accepted Rubinstein as a non-paying student. Rubinstein made his first public appearance at a charity benefit concert at the age of nine. Later that year Rubinstein's mother sent him, accompanied by Villoing, to Paris where he sought unsuccessfully to enroll at the Paris Conservatoire.\n\nRubinstein and Villoing remained in Paris for a year. In December 1840, Rubinstein played in the Salle Érard for an audience that included Frédéric Chopin and Franz Liszt. Chopin invited Rubinstein to his studio and played for him. Liszt advised Villoing to take him to Germany to study composition; however, Villoing took Rubinstein on an extended concert tour of Europe and Western Russia. They finally returned to Moscow in June 1843. Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace. Anton was 14 years old; Nikolai was eight.\n\nTravel and performance\n\nBerlin\nIn spring 1844, Rubinstein, Nikolai, his mother and his sister Luba travelled to Berlin. Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer.\nMendelssohn, who had heard Rubinstein when he had toured with Villoing, said he needed no further piano study but sent Nikolai to Theodor Kullak for instruction. Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory.\n\nWord came in the summer of 1846 that Rubinstein's father was gravely ill. Rubinstein was left in Berlin while his mother, sister and brother returned to Russia. At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest. Now 17, he knew he could no longer pass as a child prodigy. He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil. However, after Rubinstein had played his audition, Liszt is reported to have said, \"A talented man must win the goal of his ambition by his own unassisted efforts.\" At this point, Rubinstein was living in acute poverty. Liszt did nothing to help him. Other calls Rubinstein made to potential patrons came to no avail. After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons.\n\nBack to Russia\nThe Revolution of 1848 forced Rubinstein back to Russia. Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court. The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness. By 1852, he had become a leading figure in Saint Petersburg's musical life, performing as a soloist and collaborating with some of the outstanding instrumentalists and vocalists who came to the Russian capital.\n\nHe also composed assiduously. After a number of delays, including some difficulties with the censor, Rubinstein's first opera, Dmitry Donskoy (now lost except for the overture), was performed at the Bolshoy Theater in Saint Petersburg in 1852. Three one-act operas written for Elena Pavlovna followed. He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works. It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist.\n\nAbroad once more\n\nIn 1854, Rubinstein began a four-year concert tour of Europe. This was his first major concert tour in a decade. Now 24, he felt ready to offer himself to the public as a fully developed pianist as well as a composer of worth. He very shortly reestablished his reputation as a virtuoso. Ignaz Moscheles wrote in 1855 what would become a widespread opinion about Rubinstein: \"In power and execution he is inferior to no one.\"\n\nAs was the penchant at the time, much of what Rubinstein played were his own compositions. At several concerts, Rubinstein alternated between conducting his orchestral works and playing as soloist in one of his piano concertos. One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854. Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later.\n\nRubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice. Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859.\n\nOpening the St. Petersburg Conservatory\nThe opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862. Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty.\n\nSome in Russian society were surprised that a Russian music school would actually attempt to be Russian. One \"fashionable lady\", when told by Rubinstein that classes would be taught in Russian and not a foreign language, exclaimed, \"What, music in Russian! That is an original idea!\" Rubinstein adds, And surely it was surprising that the theory of Music was to be taught for the first time in the Russian language at our Conservatory... Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany.\nThere were also those who feared the school would not be Russian enough. Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five. Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world. Actually the Conservatory raise the level of musical culture in Russia. The unconventional way chosen by Balakirev and his friends was not necessarily the right one for everybody else.\nIt was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871. Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \"interesting and well done,\" though \"episodic,\" and the opera Ivan IV Grozniy, which was premiered by Balakirev. Borodin commented on Ivan IV that \"the music is good, you just cannot recognize that it is Rubinstein. There is nothing that is Mendelssohnian, nothing as he used to write formerly.\"\n\nThe American tour\nBy 1867, ongoing tensions with the Balakirev camp, along with related matters, led to intense dissension within the Conservatory's faculty. Rubinstein resigned and returned to touring throughout Europe. Unlike his previous tours, he began increasingly featuring the works of other composers. In previous tours, Rubinstein had played primarily his own works.\n\nAt the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season. Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid. Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities.\n\nRubinstein wrote of his American experience, May Heaven preserve us from such slavery! Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost... The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art. So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank...\nDespite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life. Upon his return to Russia, he \"hastened to invest in real estate\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family.\n\nLater life\nRubinstein continued to make tours as a pianist and give appearances as a conductor. In 1887, he returned to the Saint Petersburg Conservatory with the goal of improving overall standards. He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum. He led semi-weekly teachers' classes through the whole keyboard literature and gave some of the more gifted piano students personal coaching. During the 1889–90 academic year he gave weekly lecture-recitals for the students. He resigned again—and left Russia—in 1891 over Imperial demands that Conservatory admittance, and later annual prizes to students, be awarded along ethnic quotas instead of purely by merit. These quotas were designed to effectively disadvantage Jews. Rubinstein resettled in Dresden and started giving concerts again in Germany and Austria. Nearly all of these concerts were charity benefit events.\n\nRubinstein also coached a few pianists and taught his only private piano student, Josef Hofmann. Hofmann would become one of the finest keyboard artists of the 20th century.\n\nDespite his sentiments on ethnic politics in Russia, Rubinstein returned there occasionally to visit friends and family. He gave his final concert in Saint Petersburg on 14 January 1894. With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894. He died there on 20 November of that year, having suffered from heart disease for some time.\n\nThe former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him.\n\nPianism\n\n\"Van II\"\nMany contemporaries felt he bore a striking resemblance to Ludwig van Beethoven. Ignaz Moscheles, who had known Beethoven intimately, wrote, \"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\" Liszt referred to Rubinstein as \"Van II.\" This resemblance was also felt to be in Rubinstein's keyboard playing. Under his hands, it was said, the piano erupted volcanically. Audience members wrote of going home limp after one of his recitals, knowing they had witnessed a force of nature.\n\nSometimes Rubinstein's playing was too much for listeners to handle. American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much. Give me Rubinstein for a few pieces, but Tausig for a whole evening.\" She heard Rubinstein play \"a terrific piece by Schubert,\" reportedly the Wanderer Fantasie. The performance gave her such a violent headache that the rest of the recital was ruined for her.\n\nClara Schumann proved especially vehement. After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\" Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau. She noted in her diary, \"I was furious, for he no longer plays. Either there is a perfectly wild noise or else a whisper with the soft pedal down. And a would-be cultured audience puts up with a performance like that!\"\n\nOn the other hand, when Rubinstein played Beethoven's \"Archduke\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls:\nIt was the first time I had heard this great artist play. He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme... It seemed to me I had never before heard the piano really played. The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ...\nViolinist and composer Henri Vieuxtemps adds:\nHis power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten. I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op. 57 [Appassionata], which Rubinstein executed for us with unimagined mastery.\nViennese music critic Eduard Hanslick expressed what Schonberg calls \"the majority point of view\" in an 1884 review. After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners. Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness. \"Yes, he plays like a god\", Hanslick writes in closing, \"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\".\n\nSergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm. His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall. In playing, Rubinstein created, and he created inimitably and with genius. He often treated the same program absolutely differently when he played it the second time, but, more astoundingly still, everything came out wonderfully on both occasions.\n\nRubinstein was also adept at improvisation—a practice at which Beethoven had excelled. Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song. He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable. It was superb.\"\n\nTechnique\n\nVilloing had worked with Rubinstein on hand position and finger dexterity. From watching Liszt, Rubinstein had learned about freedom of arm movement. Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing. He would remark to his students about \"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\"\n\nIn his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\" When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through. Rubinstein himself admitted, after a concert in Berlin in 1875, \"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\"\n\nPart of the problem might have been the sheer size of Rubinstein's hands. They were huge, and many observers commented on them. Josef Hofmann observed that Rubinstein's fifth finger \"was as thick as my thumb—think of it! Then his fingers were square at the ends, with cushions on them. It was a wonderful hand.\" Pianist Josef Lhévinne described them as \"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\" The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \"Nothing cramped about him! He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\"\n\nBecause of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness. Those who valued interpretation as much or more than pure technique found much to praise. Pianist and conductor Hans von Bülow called Rubinstein \"the Michelangelo of music.\" The German critic Ludwig Rellstab called him \"the Hercules of the piano; the Jupiter Tonans of the instrument.\"\n\nTone\nPressman attested to the singing quality of Rubinstein's playing, and much more: \"His tone was strikingly full and deep. With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres. With him, the piano sang as Patti sang, as Rubini sang.\"\n\nSchonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists. Fellow pianist Rafael Joseffy compared it to \"a golden French horn.\" Rubinstein himself told an interviewer, \"Strength with lightness, that is one secret of my touch... I have sat hours trying to imitate the timbre of Rubini's voice in my playing.\"\n\nRubinstein told the young Rachmaninoff how he achieved that tone. \"Just press upon the keys until the blood oozes from your fingertips\". When he wanted to, Rubinstein could play with extreme lightness, grace and delicacy. He rarely displayed that side of his nature, however. He had learned quickly that audiences came to hear him thunder, so he accommodated them. Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before. During this tour, Rubinstein received more press attention than any other figure until the appearance of Ignacy Jan Paderewski a generation later.\n\nPrograms\nRubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note.\n\nRubinstein was most famous for his series of historical recitals—seven consecutive concerts covering the history of piano music. Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert.\n\nRubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873.\n\nRubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge.\n\nRachmaninoff on Rubinstein\nSergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student. Forty-four years later he told his biographer Oscar von Riesemann, \"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\"\n\nRachmaninoff explained to von Riesemann, \"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\"\n\nRachmaninoff's detailed description to von Riesemann is of interest:\n\nOnce he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished. One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone... I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \"fluttering away of the little bird\" would be hopelessly inadequate. Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner. One of Rubinstein's greatest secrets was his use of the pedal. He himself very happily expressed his ideas on the subject when he said, \"The pedal is the soul of the piano.\" No pianist should ever forget this.\n\nRachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \"Funeral March\" Sonata—both became cornerstones of Rachmaninoff's own recital programs. Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work.\n\nRachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later. In Rubinstein's defense, however, Rachmaninoff said that \"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\"\n\nConducting\n\nRubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867. He also did his share of guest conducting both before and after his tenure with the RMS. Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences.\n\nTeacher\nAs a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work. He could also be exacting and expected as much from them as he gave to them. According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference. This assignment would be due the following day. At other times, he would expect students to improvise a minuet, a rondo, a polonaise or some other musical form.\n\nRubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead. He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano. Notable students include pianists Josef Hofmann and Sandra Drouker.\n\nComposition\n\nBy 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \"but as a composer performing his symphonies, concertos, operas, trios, etc.\" Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote). Edward Garden writes in the New Grove,\nRubinstein composed assiduously during all periods of his life. He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved.\nRubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn. Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music. Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching. Robert Schumann and Felix Mendelssohn were the strongest influences on Rubinstein's music.\n\nConsequently, Rubinstein's music demonstrates none of the nationalism of The Five. Rubinstein also had a tendency to rush in composing his pieces, resulting in good ideas such as those in his Ocean Symphony being developed in less-than-exemplary ways. As Paderewski was later to remark, \"He had not the necessary concentration of patience for a composer... He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\" Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ... The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s.\n\nAfter Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire. Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev.\n\nOver recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism. Amongst his better known works are the opera The Demon, his Piano Concerto No. 4, and his Symphony No. 2, known as The Ocean.\n\nRubinstein's repartee\nRubinstein was as well known during his lifetime for his sarcasm as well as his sometimes penetrating insight. During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him. After a long silence, Rubinstein told Cortot, \"My boy, don't you ever forget what I am going to tell you. Beethoven's music must not be studied. It must be reincarnated.\" Cortot reportedly never forgot those words.\n\nRubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase. His manner with them was a combination of raw, sometimes violent criticism and good humor. Hofmann wrote of one such lesson:\nOnce I played a Liszt rhapsody pretty badly. After a little of it, Rubinstein said, \"The way you play this piece would be all right for Auntie or Mamma.\" Then rising and coming toward me, he said, \"Now let us see how play such things.\"\n\n... I began again, but I had not played more than a few measures when Rubinstein said loudly, \"Have you begun?\" \"Yes, Master, I certainly have.\" \"Oh,\" said Rubinstein vaguely, \"I didn't notice.\" ... Rubinstein did not so much instruct me. Merely he let me learn from him ... If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do.\n\nRubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts. When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \"When you are as old as I am, you may do as I do.\" Then Rubinstein added, \"If you can\".\n\nNor did Rubinstein adjust the tenor of his comments for those of high rank. After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility. At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift. Rubinstein replied bluntly, to the crowd's horror, \"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\"\n\nRubinstein's voice\nThe following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison. Rubinstein is heard to make a complimentary remark about the phonograph recorder.\n\nReferences\n\nSources\n\nIn Russian\n \n (2 vol.)\n\nIn German\n (3 vol.)\n\nIn English\n \n \n \n (29 vols.)\n\nFurther reading\n \n Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995)\n Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) \n Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991)\n Rubinstein, Anton Grigorevich, ed. L. Barenboim, Literaturnoye Naslediye (3 vol.), (in Russian), (Moscow, 1983)\n\nExternal links\n\nNetworking Rubinstein – his contacts in his early career\nSoundbites from String Quartet No.1 in G, Op.17 No.1\n\n Anton Rubinstein recordings at the Discography of American Historical Recordings.\n\n1829 births\n1894 deaths\n19th-century classical composers\n19th-century classical pianists\n19th-century conductors (music)\n19th-century male conductors (music)\nBurials at Tikhvin Cemetery\nComposers for piano\nConverts to Eastern Orthodoxy from Judaism\nFounders of Russian educational institutions\nJewish atheists\nJewish classical composers\nJewish classical pianists\nJewish opera composers\nMale classical pianists\nMale opera composers\nPeople from Baltsky Uyezd\nPeople from Rîbnița District\nPupils of Siegfried Dehn\nPyotr Ilyich Tchaikovsky\nRecipients of the Pour le Mérite (civil class)\nRoyal Philharmonic Society Gold Medallists\nRussian atheists\nRussian classical pianists\nRussian conductors (music)\nRussian male conductors (music)\nRussian Jews\nRussian male classical composers\nRussian music educators\nRussian opera composers\nRussian Romantic composers"},"extractive":{"kind":"string","value":"true"},"retrieved_contexts":{"kind":"list like","value":["The Yamagata International Documentary Film Festival is a documentary film festival held biennially in Yamagata, Japan ( ).\n\nIt was first held in October 1989, which makes it one of the longest running documentary film festivals in the world and the most distinguished such festival in Asia. Its emphasis is on showcasing best achievements in documentary filmmaking, as well as promoting and popularizing the genre and documentary filmmaking in the region.\n\nThe festival was most recently held in October 2007. 1,633 films from 109 countries were submitted, with 238 films screened as part of the international and regional competitions. The festival attracted an audience of around 23,000 people. Since 2001, the competition includes films shot in DV. In 1991, a Young Asian Talents section was established.\n\nAwards\nA number of prizes are awarded at the festival, including:\n For films in the international competition:\n Robert and Frances Flaherty Prize (The Grand Prize)\n Mayor's Prize (Prize of Excellence)\n Special Jury Prize\n Runner-up Prize\n For films in the regional competition:\nShinsuke Ogawa Award, for new up-and-coming Asian filmmakers\n Overall:\nCitizens' Prize, voted for by the festival audiences\n\nAward winners\n\n1989 YIDFF\n\nThe first festival edition was held 10–15 October 1989. \nAlong with the competition screenings, the festival hosted a retrospective of films by Robert and Frances Flaherty and a comprehensive screening of Japanese documentaries from the first half of the 20th century. In total, 80 films were seen by an audience of around 12,000.\n\n1991 YIDFF\n\nThe second festival edition was held 7–13 October 1991. \nAlong with the competition screenings, the festival hosted a program devoted solely to Asian films, as well as a selection of Japanese films from the post-WWII period. In total, 153 films were shown, which attracted an audience of around 14,000.\n\n1993 YIDFF\n\nThe third festival edition was held 5–11 October 1993. \nAlong with the competition screenings, the festival hosted a selection of Asian films, as well as a selection of films focusing on native peoples from North and South America, New Zealand, Australia and Japan. The Shinsuke Ogawa Award for most promising Asian film director in the New Asian Currents program was introduced. In total, 139 films were shown. As an illustrative example, one of the official selections, Le pays des sourds (In the Land of the Deaf) focused primarily on Deaf communities in France; but the documentary also featured a brief segment identifying commonalities in French Sign Language and Japanese Sign Language. The event attracted an audience of around 20,000 people.\n\n1995 YIDFF\n\nThe fourth festival edition was held 3–9 October 1995. \nAlong with the competition screenings, the festival hosted a retrospective of films from the early days of cinema in honor of the Lumière brothers' cinematograph centennial. In total, 278 films were shown, which attracted an audience of around 21,000 people.\n\n1997 YIDFF\n\nThe fifth festival edition was held 6–13 October 1997. \nIn all competitions and programs 187 films were shown, and attendance was around 23,000.\n\n1999 YIDFF\n\nThe sixth festival edition was held 19–25 October 1999.\nApart from the usual international and regional competition programs, a retrospective of films by Joris Ivens was shown. \nIn total 188 films were shown, and attendance was around 20,000.\n\n2001 YIDFF\n\nThe seventh festival edition was held 3–9 October 2001.\nApart from the usual international and regional competition programs, retrospectives of films by Robert Kramer and Fumio Kamei were shown. \nIn total 183 films were shown, and attendance was around 18,000.\n\n2003 YIDFF\n\nThe eighth festival edition was held 10–16 October 2003.\nIn total 177 films were shown, and attendance was around 19,000.\n\n2005 YIDFF\n\nThe ninth festival edition was held 7–13 October 2005. Apart from the usual regional and international competition programs, the festival screened a selection of films about Zainichi Koreans, as well as screenings of personal documentaries in collaboration with Visions du réel. \nIn total 145 films were shown, and attendance was around 20,000.\n\n2007 YIDFF\n\nThe tenth festival edition was held 4–11 October 2007. Apart from the usual regional and international competition programs, the festival also screened a program devoted to German documentaries focused on German history. In total 238 films were shown, and attendance was around 23,000.\n\n2009 YIDFF \nOctober 8–15, 2009\n\n2011 YIDFF \nOctober 6–13, 2011\n\n2013 YIDFF \nOctober 10–17, 2013\n\n2015 YIDFF \nOctober 8–15, 2015\n\n2017 YIDFF\nOctober 5–12, 2017\n\nReferences\n\nExternal links\nYamagata IDFF official website\n\nJapanese film awards\nYamagata IDFF\nTourist attractions in Yamagata Prefecture\nFilm festivals established in 1989","Six Apart Ltd., sometimes abbreviated 6A, is a software company known for creating the Movable Type blogware, TypePad blog hosting service, and Vox (the blogging platform). The company also is the former owner of LiveJournal. Six Apart is headquartered in Tokyo. The name is a reference to the six-day age difference between its married co-founders, Ben and Mena Trott.\n\nHistory\nThe company was founded in September 2001 after Ben, during a period of unemployment, wrote what became Movable Type to allow Mena to easily produce her weblog. When version 1.0 was put on the web, it was downloaded over 100 times in the first hour.\n\n2003–2006\nIn 2003, Six Apart received initial venture capital funding from a group led by Joi Ito and his Neoteny Co., which allowed the company to hire additional employees, acquire a French weblog publishing company, and unveil plans for what was to become its hosted weblog publishing system, TypePad. In 2004, Six Apart completed a second round of funding with August Capital, which allowed it to make acquisitions of other companies. In January 2005, Six Apart purchased Danga Interactive, parent company of LiveJournal, from owner Brad Fitzpatrick, who was named Six Apart's chief architect. In March 2006, Six Apart announced the acquisition of the SplashBlog camera phone blogging service. June 2006 saw the release of their new Web 2.0 blogging platform, Vox.\n\nIts CEO is Chris Alden. Prominent weblogger Anil Dash joined the company in 2003, as did former head of Wired Digital Andrew Anker. Six Apart's board of directors consists of Barak Berkowitz, Mena Trott, David Marquardt, David Hornik, Reid Hoffman, and Jun Makihara.\n\nOn September 6, 2006, Six Apart bought Rojo.com. President Chris Alden became executive vice president of Six Apart and general manager of Movable Type. CTO Aaron Emigh became executive vice president and general manager of core technologies.\n\n2007\nOn September 15, 2007, chairman and chief executive Barak Berkowitz stepped aside and was replaced by Chris Alden, who had run the company's professional software unit.\n\nOn December 2, 2007, Six Apart announced it was selling LiveJournal to SUP Fabrik, a Russian media company that had licensed the LiveJournal brand and software for use in Russia.\n\n2008\nOn April 21, 2008, Six Apart said it acquired Apperceptive, a New York social media agency, as part of its new strategy. It declined to disclose financial terms of the deal. It is also partnering with advertising agency Adify. Just as in an advertising network, bloggers will be able to sign up and participate in advertising campaigns managed by Six Apart.\n\nOn December 1, 2008, Six Apart announced the acquisition of micro blogging website Pownce. The Pownce website was shut down on December 15. The key developers of Pownce (Leah Culver and Mike Malone) stayed on at Six Apart through early 2010, with Pownce technology being integrated into TypePad and TypePad Conversations.\n\n2010\nOn September 2, 2010 Six Apart announced that they would be shutting down their blogging/social networking site Vox with a final termination date set for September 30, 2010.\n\nBeginning from September 15, 2010 Vox users would not be able to post new blog posts.\n\nOn September 22, Six Apart announced its intention to join forces with VideoEgg to create a modern media company called SAY Media.\n\n2011\n\nOn January 21, 2011, SAY Media announced that it was selling the Six Apart brand and the worldwide Movable Type business to Infocom, a Japanese information technology company. As a result of this transaction, the headquarters of Six Apart is now Tokyo, Japan.\n\nNobuhiro Seki, who was general manager of Six Apart, K.K. prior to this announcement, became president and CEO of Six Apart.\n\nReferences\n\nExternal links\n\nSoftware companies of Japan\n2001 establishments in California\nSoftware companies established in 2001\nLivejournal\nSoftware companies based in Tokyo\nBlog software\nEmployee-owned companies\nInternet technology companies of Japan"],"string":"[\n \"The Yamagata International Documentary Film Festival is a documentary film festival held biennially in Yamagata, Japan ( ).\\n\\nIt was first held in October 1989, which makes it one of the longest running documentary film festivals in the world and the most distinguished such festival in Asia. Its emphasis is on showcasing best achievements in documentary filmmaking, as well as promoting and popularizing the genre and documentary filmmaking in the region.\\n\\nThe festival was most recently held in October 2007. 1,633 films from 109 countries were submitted, with 238 films screened as part of the international and regional competitions. The festival attracted an audience of around 23,000 people. Since 2001, the competition includes films shot in DV. In 1991, a Young Asian Talents section was established.\\n\\nAwards\\nA number of prizes are awarded at the festival, including:\\n For films in the international competition:\\n Robert and Frances Flaherty Prize (The Grand Prize)\\n Mayor's Prize (Prize of Excellence)\\n Special Jury Prize\\n Runner-up Prize\\n For films in the regional competition:\\nShinsuke Ogawa Award, for new up-and-coming Asian filmmakers\\n Overall:\\nCitizens' Prize, voted for by the festival audiences\\n\\nAward winners\\n\\n1989 YIDFF\\n\\nThe first festival edition was held 10–15 October 1989. \\nAlong with the competition screenings, the festival hosted a retrospective of films by Robert and Frances Flaherty and a comprehensive screening of Japanese documentaries from the first half of the 20th century. In total, 80 films were seen by an audience of around 12,000.\\n\\n1991 YIDFF\\n\\nThe second festival edition was held 7–13 October 1991. \\nAlong with the competition screenings, the festival hosted a program devoted solely to Asian films, as well as a selection of Japanese films from the post-WWII period. In total, 153 films were shown, which attracted an audience of around 14,000.\\n\\n1993 YIDFF\\n\\nThe third festival edition was held 5–11 October 1993. \\nAlong with the competition screenings, the festival hosted a selection of Asian films, as well as a selection of films focusing on native peoples from North and South America, New Zealand, Australia and Japan. The Shinsuke Ogawa Award for most promising Asian film director in the New Asian Currents program was introduced. In total, 139 films were shown. As an illustrative example, one of the official selections, Le pays des sourds (In the Land of the Deaf) focused primarily on Deaf communities in France; but the documentary also featured a brief segment identifying commonalities in French Sign Language and Japanese Sign Language. The event attracted an audience of around 20,000 people.\\n\\n1995 YIDFF\\n\\nThe fourth festival edition was held 3–9 October 1995. \\nAlong with the competition screenings, the festival hosted a retrospective of films from the early days of cinema in honor of the Lumière brothers' cinematograph centennial. In total, 278 films were shown, which attracted an audience of around 21,000 people.\\n\\n1997 YIDFF\\n\\nThe fifth festival edition was held 6–13 October 1997. \\nIn all competitions and programs 187 films were shown, and attendance was around 23,000.\\n\\n1999 YIDFF\\n\\nThe sixth festival edition was held 19–25 October 1999.\\nApart from the usual international and regional competition programs, a retrospective of films by Joris Ivens was shown. \\nIn total 188 films were shown, and attendance was around 20,000.\\n\\n2001 YIDFF\\n\\nThe seventh festival edition was held 3–9 October 2001.\\nApart from the usual international and regional competition programs, retrospectives of films by Robert Kramer and Fumio Kamei were shown. \\nIn total 183 films were shown, and attendance was around 18,000.\\n\\n2003 YIDFF\\n\\nThe eighth festival edition was held 10–16 October 2003.\\nIn total 177 films were shown, and attendance was around 19,000.\\n\\n2005 YIDFF\\n\\nThe ninth festival edition was held 7–13 October 2005. Apart from the usual regional and international competition programs, the festival screened a selection of films about Zainichi Koreans, as well as screenings of personal documentaries in collaboration with Visions du réel. \\nIn total 145 films were shown, and attendance was around 20,000.\\n\\n2007 YIDFF\\n\\nThe tenth festival edition was held 4–11 October 2007. Apart from the usual regional and international competition programs, the festival also screened a program devoted to German documentaries focused on German history. In total 238 films were shown, and attendance was around 23,000.\\n\\n2009 YIDFF \\nOctober 8–15, 2009\\n\\n2011 YIDFF \\nOctober 6–13, 2011\\n\\n2013 YIDFF \\nOctober 10–17, 2013\\n\\n2015 YIDFF \\nOctober 8–15, 2015\\n\\n2017 YIDFF\\nOctober 5–12, 2017\\n\\nReferences\\n\\nExternal links\\nYamagata IDFF official website\\n\\nJapanese film awards\\nYamagata IDFF\\nTourist attractions in Yamagata Prefecture\\nFilm festivals established in 1989\",\n \"Six Apart Ltd., sometimes abbreviated 6A, is a software company known for creating the Movable Type blogware, TypePad blog hosting service, and Vox (the blogging platform). The company also is the former owner of LiveJournal. Six Apart is headquartered in Tokyo. The name is a reference to the six-day age difference between its married co-founders, Ben and Mena Trott.\\n\\nHistory\\nThe company was founded in September 2001 after Ben, during a period of unemployment, wrote what became Movable Type to allow Mena to easily produce her weblog. When version 1.0 was put on the web, it was downloaded over 100 times in the first hour.\\n\\n2003–2006\\nIn 2003, Six Apart received initial venture capital funding from a group led by Joi Ito and his Neoteny Co., which allowed the company to hire additional employees, acquire a French weblog publishing company, and unveil plans for what was to become its hosted weblog publishing system, TypePad. In 2004, Six Apart completed a second round of funding with August Capital, which allowed it to make acquisitions of other companies. In January 2005, Six Apart purchased Danga Interactive, parent company of LiveJournal, from owner Brad Fitzpatrick, who was named Six Apart's chief architect. In March 2006, Six Apart announced the acquisition of the SplashBlog camera phone blogging service. June 2006 saw the release of their new Web 2.0 blogging platform, Vox.\\n\\nIts CEO is Chris Alden. Prominent weblogger Anil Dash joined the company in 2003, as did former head of Wired Digital Andrew Anker. Six Apart's board of directors consists of Barak Berkowitz, Mena Trott, David Marquardt, David Hornik, Reid Hoffman, and Jun Makihara.\\n\\nOn September 6, 2006, Six Apart bought Rojo.com. President Chris Alden became executive vice president of Six Apart and general manager of Movable Type. CTO Aaron Emigh became executive vice president and general manager of core technologies.\\n\\n2007\\nOn September 15, 2007, chairman and chief executive Barak Berkowitz stepped aside and was replaced by Chris Alden, who had run the company's professional software unit.\\n\\nOn December 2, 2007, Six Apart announced it was selling LiveJournal to SUP Fabrik, a Russian media company that had licensed the LiveJournal brand and software for use in Russia.\\n\\n2008\\nOn April 21, 2008, Six Apart said it acquired Apperceptive, a New York social media agency, as part of its new strategy. It declined to disclose financial terms of the deal. It is also partnering with advertising agency Adify. Just as in an advertising network, bloggers will be able to sign up and participate in advertising campaigns managed by Six Apart.\\n\\nOn December 1, 2008, Six Apart announced the acquisition of micro blogging website Pownce. The Pownce website was shut down on December 15. The key developers of Pownce (Leah Culver and Mike Malone) stayed on at Six Apart through early 2010, with Pownce technology being integrated into TypePad and TypePad Conversations.\\n\\n2010\\nOn September 2, 2010 Six Apart announced that they would be shutting down their blogging/social networking site Vox with a final termination date set for September 30, 2010.\\n\\nBeginning from September 15, 2010 Vox users would not be able to post new blog posts.\\n\\nOn September 22, Six Apart announced its intention to join forces with VideoEgg to create a modern media company called SAY Media.\\n\\n2011\\n\\nOn January 21, 2011, SAY Media announced that it was selling the Six Apart brand and the worldwide Movable Type business to Infocom, a Japanese information technology company. As a result of this transaction, the headquarters of Six Apart is now Tokyo, Japan.\\n\\nNobuhiro Seki, who was general manager of Six Apart, K.K. prior to this announcement, became president and CEO of Six Apart.\\n\\nReferences\\n\\nExternal links\\n\\nSoftware companies of Japan\\n2001 establishments in California\\nSoftware companies established in 2001\\nLivejournal\\nSoftware companies based in Tokyo\\nBlog software\\nEmployee-owned companies\\nInternet technology companies of Japan\"\n]"},"chunked_article":{"kind":"list like","value":["Anton Grigoryevich Rubinstein (; ) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein, who founded the Moscow Conservatory. As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos.","As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals—seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.","Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there. Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life.","Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life. He wrote 20 operas, the best known of which is The Demon.","He wrote 20 operas, the best known of which is The Demon. He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble.","He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble. Early life and education Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa.","Early life and education Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa. Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy.","Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy. Although he was raised as a Christian, Rubinstein would later become an atheist. Rubinstein's father opened a pencil factory in Moscow.","Rubinstein's father opened a pencil factory in Moscow. His mother, a competent musician, began giving him piano lessons at five, until the teacher heard and accepted Rubinstein as a non-paying student. Rubinstein made his first public appearance at a charity benefit concert at the age of nine.","Rubinstein made his first public appearance at a charity benefit concert at the age of nine. Later that year Rubinstein's mother sent him, accompanied by Villoing, to Paris where he sought unsuccessfully to enroll at the Paris Conservatoire. Rubinstein and Villoing remained in Paris for a year.","Rubinstein and Villoing remained in Paris for a year. In December 1840, Rubinstein played in the Salle Érard for an audience that included Frédéric Chopin and Franz Liszt. Chopin invited Rubinstein to his studio and played for him.","Chopin invited Rubinstein to his studio and played for him. Liszt advised Villoing to take him to Germany to study composition; however, Villoing took Rubinstein on an extended concert tour of Europe and Western Russia. They finally returned to Moscow in June 1843.","They finally returned to Moscow in June 1843. Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace.","Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace. Anton was 14 years old; Nikolai was eight.","Anton was 14 years old; Nikolai was eight. Travel and performance Berlin In spring 1844, Rubinstein, Nikolai, his mother and his sister Luba travelled to Berlin. Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer.","Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer. Mendelssohn, who had heard Rubinstein when he had toured with Villoing, said he needed no further piano study but sent Nikolai to Theodor Kullak for instruction. Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory.","Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory. Word came in the summer of 1846 that Rubinstein's father was gravely ill. Rubinstein was left in Berlin while his mother, sister and brother returned to Russia. At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest.","At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest. Now 17, he knew he could no longer pass as a child prodigy. He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil.","He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil. However, after Rubinstein had played his audition, Liszt is reported to have said, \"A talented man must win the goal of his ambition by his own unassisted efforts.\" At this point, Rubinstein was living in acute poverty.","At this point, Rubinstein was living in acute poverty. Liszt did nothing to help him. Other calls Rubinstein made to potential patrons came to no avail. After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons.","After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons. Back to Russia The Revolution of 1848 forced Rubinstein back to Russia. Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court.","Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court. The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness.","The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness. By 1852, he had become a leading figure in Saint Petersburg's musical life, performing as a soloist and collaborating with some of the outstanding instrumentalists and vocalists who came to the Russian capital. He also composed assiduously.","He also composed assiduously. He also composed assiduously. After a number of delays, including some difficulties with the censor, Rubinstein's first opera, Dmitry Donskoy (now lost except for the overture), was performed at the Bolshoy Theater in Saint Petersburg in 1852. Three one-act operas written for Elena Pavlovna followed.","Three one-act operas written for Elena Pavlovna followed. He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works.","He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works. It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist.","It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist. Abroad once more In 1854, Rubinstein began a four-year concert tour of Europe. This was his first major concert tour in a decade.","This was his first major concert tour in a decade. Now 24, he felt ready to offer himself to the public as a fully developed pianist as well as a composer of worth. He very shortly reestablished his reputation as a virtuoso.","He very shortly reestablished his reputation as a virtuoso. Ignaz Moscheles wrote in 1855 what would become a widespread opinion about Rubinstein: \"In power and execution he is inferior to no one.\" As was the penchant at the time, much of what Rubinstein played were his own compositions.","As was the penchant at the time, much of what Rubinstein played were his own compositions. At several concerts, Rubinstein alternated between conducting his orchestral works and playing as soloist in one of his piano concertos. One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854.","One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854. Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later.","Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later. Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice.","Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice. Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859.","Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859. Opening the St. Petersburg Conservatory The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862.","Opening the St. Petersburg Conservatory The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862. Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty.","Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty. Some in Russian society were surprised that a Russian music school would actually attempt to be Russian.","Some in Russian society were surprised that a Russian music school would actually attempt to be Russian. One \"fashionable lady\", when told by Rubinstein that classes would be taught in Russian and not a foreign language, exclaimed, \"What, music in Russian! That is an original idea!\"","That is an original idea!\" Rubinstein adds, And surely it was surprising that the theory of Music was to be taught for the first time in the Russian language at our Conservatory... Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany.","Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany. There were also those who feared the school would not be Russian enough. Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five.","Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five. Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world.","Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world. Actually the Conservatory raise the level of musical culture in Russia.","Actually the Conservatory raise the level of musical culture in Russia. The unconventional way chosen by Balakirev and his friends was not necessarily the right one for everybody else. It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871.","It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871. Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \"interesting and well done,\" though \"episodic,\" and the opera Ivan IV Grozniy, which was premiered by Balakirev.","Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \"interesting and well done,\" though \"episodic,\" and the opera Ivan IV Grozniy, which was premiered by Balakirev. Borodin commented on Ivan IV that \"the music is good, you just cannot recognize that it is Rubinstein.","Borodin commented on Ivan IV that \"the music is good, you just cannot recognize that it is Rubinstein. There is nothing that is Mendelssohnian, nothing as he used to write formerly.\"","There is nothing that is Mendelssohnian, nothing as he used to write formerly.\" The American tour By 1867, ongoing tensions with the Balakirev camp, along with related matters, led to intense dissension within the Conservatory's faculty. Rubinstein resigned and returned to touring throughout Europe.","Rubinstein resigned and returned to touring throughout Europe. Unlike his previous tours, he began increasingly featuring the works of other composers. In previous tours, Rubinstein had played primarily his own works. At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season.","At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season. Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid.","Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid. Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities.","Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities. Rubinstein wrote of his American experience, May Heaven preserve us from such slavery!","Rubinstein wrote of his American experience, May Heaven preserve us from such slavery! Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost...","Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost... The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art.","The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art. So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank...","So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank... Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life.","Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life. Upon his return to Russia, he \"hastened to invest in real estate\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family.","Upon his return to Russia, he \"hastened to invest in real estate\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family. Later life Rubinstein continued to make tours as a pianist and give appearances as a conductor.","Later life Rubinstein continued to make tours as a pianist and give appearances as a conductor. In 1887, he returned to the Saint Petersburg Conservatory with the goal of improving overall standards. He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum.","He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum. He led semi-weekly teachers' classes through the whole keyboard literature and gave some of the more gifted piano students personal coaching. During the 1889–90 academic year he gave weekly lecture-recitals for the students.","During the 1889–90 academic year he gave weekly lecture-recitals for the students. He resigned again—and left Russia—in 1891 over Imperial demands that Conservatory admittance, and later annual prizes to students, be awarded along ethnic quotas instead of purely by merit. These quotas were designed to effectively disadvantage Jews.","These quotas were designed to effectively disadvantage Jews. Rubinstein resettled in Dresden and started giving concerts again in Germany and Austria. Nearly all of these concerts were charity benefit events. Rubinstein also coached a few pianists and taught his only private piano student, Josef Hofmann. Hofmann would become one of the finest keyboard artists of the 20th century.","Hofmann would become one of the finest keyboard artists of the 20th century. Despite his sentiments on ethnic politics in Russia, Rubinstein returned there occasionally to visit friends and family. He gave his final concert in Saint Petersburg on 14 January 1894. With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894.","With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894. He died there on 20 November of that year, having suffered from heart disease for some time. The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him.","The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him. Pianism \"Van II\" Many contemporaries felt he bore a striking resemblance to Ludwig van Beethoven. Ignaz Moscheles, who had known Beethoven intimately, wrote, \"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\"","Ignaz Moscheles, who had known Beethoven intimately, wrote, \"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\" Liszt referred to Rubinstein as \"Van II.\" This resemblance was also felt to be in Rubinstein's keyboard playing. Under his hands, it was said, the piano erupted volcanically.","Under his hands, it was said, the piano erupted volcanically. Audience members wrote of going home limp after one of his recitals, knowing they had witnessed a force of nature. Sometimes Rubinstein's playing was too much for listeners to handle.","Sometimes Rubinstein's playing was too much for listeners to handle. American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much.","American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much. Give me Rubinstein for a few pieces, but Tausig for a whole evening.\"","Give me Rubinstein for a few pieces, but Tausig for a whole evening.\" She heard Rubinstein play \"a terrific piece by Schubert,\" reportedly the Wanderer Fantasie. The performance gave her such a violent headache that the rest of the recital was ruined for her. Clara Schumann proved especially vehement.","Clara Schumann proved especially vehement. Clara Schumann proved especially vehement. After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\"","After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\" Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau.","Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau. She noted in her diary, \"I was furious, for he no longer plays. Either there is a perfectly wild noise or else a whisper with the soft pedal down.","Either there is a perfectly wild noise or else a whisper with the soft pedal down. And a would-be cultured audience puts up with a performance like that!\"","And a would-be cultured audience puts up with a performance like that!\" On the other hand, when Rubinstein played Beethoven's \"Archduke\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls: It was the first time I had heard this great artist play.","On the other hand, when Rubinstein played Beethoven's \"Archduke\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls: It was the first time I had heard this great artist play. He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme...","He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme... It seemed to me I had never before heard the piano really played.","It seemed to me I had never before heard the piano really played. The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ... Violinist and composer Henri Vieuxtemps adds: His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten.","The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ... Violinist and composer Henri Vieuxtemps adds: His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten. I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op.","I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op. 57 [Appassionata], which Rubinstein executed for us with unimagined mastery. Viennese music critic Eduard Hanslick expressed what Schonberg calls \"the majority point of view\" in an 1884 review.","Viennese music critic Eduard Hanslick expressed what Schonberg calls \"the majority point of view\" in an 1884 review. After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners.","After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners. Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness.","Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness. \"Yes, he plays like a god\", Hanslick writes in closing, \"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\".","\"Yes, he plays like a god\", Hanslick writes in closing, \"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\". Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm.","Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm. His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall.","His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall. In playing, Rubinstein created, and he created inimitably and with genius.","In playing, Rubinstein created, and he created inimitably and with genius. He often treated the same program absolutely differently when he played it the second time, but, more astoundingly still, everything came out wonderfully on both occasions. Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled.","Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled. Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song.","Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song. He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable.","He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable. It was superb.\"","It was superb.\" It was superb.\" Technique Villoing had worked with Rubinstein on hand position and finger dexterity. From watching Liszt, Rubinstein had learned about freedom of arm movement. Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing.","Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing. He would remark to his students about \"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\"","He would remark to his students about \"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\" In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\"","In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\" When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through.","When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through. Rubinstein himself admitted, after a concert in Berlin in 1875, \"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\"","Rubinstein himself admitted, after a concert in Berlin in 1875, \"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\" Part of the problem might have been the sheer size of Rubinstein's hands.","Part of the problem might have been the sheer size of Rubinstein's hands. They were huge, and many observers commented on them. Josef Hofmann observed that Rubinstein's fifth finger \"was as thick as my thumb—think of it! Then his fingers were square at the ends, with cushions on them.","Then his fingers were square at the ends, with cushions on them. It was a wonderful hand.\" Pianist Josef Lhévinne described them as \"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\"","Pianist Josef Lhévinne described them as \"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\" The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \"Nothing cramped about him!","The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \"Nothing cramped about him! He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\"","He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\" Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness.","Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness. Those who valued interpretation as much or more than pure technique found much to praise. Pianist and conductor Hans von Bülow called Rubinstein \"the Michelangelo of music.\"","Pianist and conductor Hans von Bülow called Rubinstein \"the Michelangelo of music.\" The German critic Ludwig Rellstab called him \"the Hercules of the piano; the Jupiter Tonans of the instrument.\" Tone Pressman attested to the singing quality of Rubinstein's playing, and much more: \"His tone was strikingly full and deep.","Tone Pressman attested to the singing quality of Rubinstein's playing, and much more: \"His tone was strikingly full and deep. With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres.","With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres. With him, the piano sang as Patti sang, as Rubini sang.\" Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists.","Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists. Fellow pianist Rafael Joseffy compared it to \"a golden French horn.\" Rubinstein himself told an interviewer, \"Strength with lightness, that is one secret of my touch...","Rubinstein himself told an interviewer, \"Strength with lightness, that is one secret of my touch... I have sat hours trying to imitate the timbre of Rubini's voice in my playing.\" Rubinstein told the young Rachmaninoff how he achieved that tone. \"Just press upon the keys until the blood oozes from your fingertips\".","\"Just press upon the keys until the blood oozes from your fingertips\". When he wanted to, Rubinstein could play with extreme lightness, grace and delicacy. He rarely displayed that side of his nature, however. He had learned quickly that audiences came to hear him thunder, so he accommodated them.","He had learned quickly that audiences came to hear him thunder, so he accommodated them. Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before.","Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before. During this tour, Rubinstein received more press attention than any other figure until the appearance of Ignacy Jan Paderewski a generation later. Programs Rubinstein's concert programs were often gargantuan.","Programs Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A).","101 in A). 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman.","Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note.","He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note. Rubinstein was most famous for his series of historical recitals—seven consecutive concerts covering the history of piano music. Each of these programs was enormous.","Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital.","Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert.","This did not include encores, which Rubinstein sprayed liberally at every concert. Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873. Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe.","Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge.","In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge. Rachmaninoff on Rubinstein Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student.","Rachmaninoff on Rubinstein Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student. Forty-four years later he told his biographer Oscar von Riesemann, \"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\"","Forty-four years later he told his biographer Oscar von Riesemann, \"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\" Rachmaninoff explained to von Riesemann, \"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\"","Rachmaninoff explained to von Riesemann, \"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\" Rachmaninoff's detailed description to von Riesemann is of interest: Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished.","Rachmaninoff's detailed description to von Riesemann is of interest: Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished. One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone...","One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone... I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \"fluttering away of the little bird\" would be hopelessly inadequate.","I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \"fluttering away of the little bird\" would be hopelessly inadequate. Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner.","Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner. One of Rubinstein's greatest secrets was his use of the pedal.","One of Rubinstein's greatest secrets was his use of the pedal. He himself very happily expressed his ideas on the subject when he said, \"The pedal is the soul of the piano.\" No pianist should ever forget this.","No pianist should ever forget this. Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \"Funeral March\" Sonata—both became cornerstones of Rachmaninoff's own recital programs.","Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \"Funeral March\" Sonata—both became cornerstones of Rachmaninoff's own recital programs. Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work.","Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work. Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later.","Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later. In Rubinstein's defense, however, Rachmaninoff said that \"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\"","In Rubinstein's defense, however, Rachmaninoff said that \"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\" Conducting Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867.","Conducting Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867. He also did his share of guest conducting both before and after his tenure with the RMS.","He also did his share of guest conducting both before and after his tenure with the RMS. Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences.","Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences. Teacher As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work.","Teacher As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work. He could also be exacting and expected as much from them as he gave to them.","He could also be exacting and expected as much from them as he gave to them. According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference.","According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference. This assignment would be due the following day.","This assignment would be due the following day. At other times, he would expect students to improvise a minuet, a rondo, a polonaise or some other musical form. Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead.","Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead. He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano.","He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano. Notable students include pianists Josef Hofmann and Sandra Drouker.","Notable students include pianists Josef Hofmann and Sandra Drouker. Composition By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \"but as a composer performing his symphonies, concertos, operas, trios, etc.\"","Composition By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \"but as a composer performing his symphonies, concertos, operas, trios, etc.\" Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote).","Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote). Edward Garden writes in the New Grove, Rubinstein composed assiduously during all periods of his life.","Edward Garden writes in the New Grove, Rubinstein composed assiduously during all periods of his life. He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved.","He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved. Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn.","Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn. Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music.","Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music. Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching.","Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching. Robert Schumann and Felix Mendelssohn were the strongest influences on Rubinstein's music. Consequently, Rubinstein's music demonstrates none of the nationalism of The Five.","Consequently, Rubinstein's music demonstrates none of the nationalism of The Five. Rubinstein also had a tendency to rush in composing his pieces, resulting in good ideas such as those in his Ocean Symphony being developed in less-than-exemplary ways. As Paderewski was later to remark, \"He had not the necessary concentration of patience for a composer...","As Paderewski was later to remark, \"He had not the necessary concentration of patience for a composer... He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\"","He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\" Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ...","Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ... The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s.","The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s. After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire.","After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire. Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev.","Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev. Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism.","Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism. Amongst his better known works are the opera The Demon, his Piano Concerto No. 4, and his Symphony No. 2, known as The Ocean.","2, known as The Ocean. Rubinstein's repartee Rubinstein was as well known during his lifetime for his sarcasm as well as his sometimes penetrating insight. During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him.","During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him. After a long silence, Rubinstein told Cortot, \"My boy, don't you ever forget what I am going to tell you. Beethoven's music must not be studied. It must be reincarnated.\"","It must be reincarnated.\" It must be reincarnated.\" Cortot reportedly never forgot those words. Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase.","Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase. His manner with them was a combination of raw, sometimes violent criticism and good humor.","His manner with them was a combination of raw, sometimes violent criticism and good humor. Hofmann wrote of one such lesson: Once I played a Liszt rhapsody pretty badly. After a little of it, Rubinstein said, \"The way you play this piece would be all right for Auntie or Mamma.\"","After a little of it, Rubinstein said, \"The way you play this piece would be all right for Auntie or Mamma.\" Then rising and coming toward me, he said, \"Now let us see how play such things.\" ...","... ... I began again, but I had not played more than a few measures when Rubinstein said loudly, \"Have you begun?\" \"Yes, Master, I certainly have.\" \"Oh,\" said Rubinstein vaguely, \"I didn't notice.\" ... Rubinstein did not so much instruct me.","... Rubinstein did not so much instruct me. Merely he let me learn from him ...","Merely he let me learn from him ... If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do.","If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do. Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts.","Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts. When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \"When you are as old as I am, you may do as I do.\"","When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \"When you are as old as I am, you may do as I do.\" Then Rubinstein added, \"If you can\". Nor did Rubinstein adjust the tenor of his comments for those of high rank.","Nor did Rubinstein adjust the tenor of his comments for those of high rank. After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility.","After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility. At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift.","At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift. Rubinstein replied bluntly, to the crowd's horror, \"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\"","Rubinstein replied bluntly, to the crowd's horror, \"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\" Rubinstein's voice The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison.","Rubinstein's voice The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison. Rubinstein is heard to make a complimentary remark about the phonograph recorder. References Sources In Russian (2 vol.) In German (3 vol.) In English (29 vols.)","In English (29 vols.) Further reading Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995) Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991) Rubinstein, Anton Grigorevich, ed.","Further reading Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995) Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991) Rubinstein, Anton Grigorevich, ed. L. Barenboim, Literaturnoye Naslediye (3 vol.","L. Barenboim, Literaturnoye Naslediye (3 vol. ), (in Russian), (Moscow, 1983) External links Networking Rubinstein – his contacts in his early career Soundbites from String Quartet No.1 in G, Op.17 No.1 Anton Rubinstein recordings at the Discography of American Historical Recordings.","), (in Russian), (Moscow, 1983) External links Networking Rubinstein – his contacts in his early career Soundbites from String Quartet No.1 in G, Op.17 No.1 Anton Rubinstein recordings at the Discography of American Historical Recordings. 1829 births 1894 deaths 19th-century classical composers 19th-century classical pianists 19th-century conductors (music) 19th-century male conductors (music) Burials at Tikhvin Cemetery Composers for piano Converts to Eastern Orthodoxy from Judaism Founders of Russian educational institutions Jewish atheists Jewish classical composers Jewish classical pianists Jewish opera composers Male classical pianists Male opera composers People from Baltsky Uyezd People from Rîbnița District Pupils of Siegfried Dehn Pyotr Ilyich Tchaikovsky Recipients of the Pour le Mérite (civil class) Royal Philharmonic Society Gold Medallists Russian atheists Russian classical pianists Russian conductors (music) Russian male conductors (music) Russian Jews Russian male classical composers Russian music educators Russian opera composers Russian Romantic composers"],"string":"[\n \"Anton Grigoryevich Rubinstein (; ) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein, who founded the Moscow Conservatory. As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos.\",\n \"As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals—seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.\",\n \"Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there. Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life.\",\n \"Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life. He wrote 20 operas, the best known of which is The Demon.\",\n \"He wrote 20 operas, the best known of which is The Demon. He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble.\",\n \"He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble. Early life and education Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa.\",\n \"Early life and education Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa. Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy.\",\n \"Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy. Although he was raised as a Christian, Rubinstein would later become an atheist. Rubinstein's father opened a pencil factory in Moscow.\",\n \"Rubinstein's father opened a pencil factory in Moscow. His mother, a competent musician, began giving him piano lessons at five, until the teacher heard and accepted Rubinstein as a non-paying student. Rubinstein made his first public appearance at a charity benefit concert at the age of nine.\",\n \"Rubinstein made his first public appearance at a charity benefit concert at the age of nine. Later that year Rubinstein's mother sent him, accompanied by Villoing, to Paris where he sought unsuccessfully to enroll at the Paris Conservatoire. Rubinstein and Villoing remained in Paris for a year.\",\n \"Rubinstein and Villoing remained in Paris for a year. In December 1840, Rubinstein played in the Salle Érard for an audience that included Frédéric Chopin and Franz Liszt. Chopin invited Rubinstein to his studio and played for him.\",\n \"Chopin invited Rubinstein to his studio and played for him. Liszt advised Villoing to take him to Germany to study composition; however, Villoing took Rubinstein on an extended concert tour of Europe and Western Russia. They finally returned to Moscow in June 1843.\",\n \"They finally returned to Moscow in June 1843. Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace.\",\n \"Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace. Anton was 14 years old; Nikolai was eight.\",\n \"Anton was 14 years old; Nikolai was eight. Travel and performance Berlin In spring 1844, Rubinstein, Nikolai, his mother and his sister Luba travelled to Berlin. Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer.\",\n \"Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer. Mendelssohn, who had heard Rubinstein when he had toured with Villoing, said he needed no further piano study but sent Nikolai to Theodor Kullak for instruction. Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory.\",\n \"Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory. Word came in the summer of 1846 that Rubinstein's father was gravely ill. Rubinstein was left in Berlin while his mother, sister and brother returned to Russia. At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest.\",\n \"At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest. Now 17, he knew he could no longer pass as a child prodigy. He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil.\",\n \"He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil. However, after Rubinstein had played his audition, Liszt is reported to have said, \\\"A talented man must win the goal of his ambition by his own unassisted efforts.\\\" At this point, Rubinstein was living in acute poverty.\",\n \"At this point, Rubinstein was living in acute poverty. Liszt did nothing to help him. Other calls Rubinstein made to potential patrons came to no avail. After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons.\",\n \"After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons. Back to Russia The Revolution of 1848 forced Rubinstein back to Russia. Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court.\",\n \"Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court. The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness.\",\n \"The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness. By 1852, he had become a leading figure in Saint Petersburg's musical life, performing as a soloist and collaborating with some of the outstanding instrumentalists and vocalists who came to the Russian capital. He also composed assiduously.\",\n \"He also composed assiduously. He also composed assiduously. After a number of delays, including some difficulties with the censor, Rubinstein's first opera, Dmitry Donskoy (now lost except for the overture), was performed at the Bolshoy Theater in Saint Petersburg in 1852. Three one-act operas written for Elena Pavlovna followed.\",\n \"Three one-act operas written for Elena Pavlovna followed. He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works.\",\n \"He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works. It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist.\",\n \"It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist. Abroad once more In 1854, Rubinstein began a four-year concert tour of Europe. This was his first major concert tour in a decade.\",\n \"This was his first major concert tour in a decade. Now 24, he felt ready to offer himself to the public as a fully developed pianist as well as a composer of worth. He very shortly reestablished his reputation as a virtuoso.\",\n \"He very shortly reestablished his reputation as a virtuoso. Ignaz Moscheles wrote in 1855 what would become a widespread opinion about Rubinstein: \\\"In power and execution he is inferior to no one.\\\" As was the penchant at the time, much of what Rubinstein played were his own compositions.\",\n \"As was the penchant at the time, much of what Rubinstein played were his own compositions. At several concerts, Rubinstein alternated between conducting his orchestral works and playing as soloist in one of his piano concertos. One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854.\",\n \"One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854. Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later.\",\n \"Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later. Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice.\",\n \"Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice. Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859.\",\n \"Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859. Opening the St. Petersburg Conservatory The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862.\",\n \"Opening the St. Petersburg Conservatory The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862. Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty.\",\n \"Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty. Some in Russian society were surprised that a Russian music school would actually attempt to be Russian.\",\n \"Some in Russian society were surprised that a Russian music school would actually attempt to be Russian. One \\\"fashionable lady\\\", when told by Rubinstein that classes would be taught in Russian and not a foreign language, exclaimed, \\\"What, music in Russian! That is an original idea!\\\"\",\n \"That is an original idea!\\\" Rubinstein adds, And surely it was surprising that the theory of Music was to be taught for the first time in the Russian language at our Conservatory... Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany.\",\n \"Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany. There were also those who feared the school would not be Russian enough. Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five.\",\n \"Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five. Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world.\",\n \"Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world. Actually the Conservatory raise the level of musical culture in Russia.\",\n \"Actually the Conservatory raise the level of musical culture in Russia. The unconventional way chosen by Balakirev and his friends was not necessarily the right one for everybody else. It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871.\",\n \"It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871. Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \\\"interesting and well done,\\\" though \\\"episodic,\\\" and the opera Ivan IV Grozniy, which was premiered by Balakirev.\",\n \"Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \\\"interesting and well done,\\\" though \\\"episodic,\\\" and the opera Ivan IV Grozniy, which was premiered by Balakirev. Borodin commented on Ivan IV that \\\"the music is good, you just cannot recognize that it is Rubinstein.\",\n \"Borodin commented on Ivan IV that \\\"the music is good, you just cannot recognize that it is Rubinstein. There is nothing that is Mendelssohnian, nothing as he used to write formerly.\\\"\",\n \"There is nothing that is Mendelssohnian, nothing as he used to write formerly.\\\" The American tour By 1867, ongoing tensions with the Balakirev camp, along with related matters, led to intense dissension within the Conservatory's faculty. Rubinstein resigned and returned to touring throughout Europe.\",\n \"Rubinstein resigned and returned to touring throughout Europe. Unlike his previous tours, he began increasingly featuring the works of other composers. In previous tours, Rubinstein had played primarily his own works. At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season.\",\n \"At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season. Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid.\",\n \"Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid. Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities.\",\n \"Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities. Rubinstein wrote of his American experience, May Heaven preserve us from such slavery!\",\n \"Rubinstein wrote of his American experience, May Heaven preserve us from such slavery! Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost...\",\n \"Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost... The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art.\",\n \"The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art. So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank...\",\n \"So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank... Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life.\",\n \"Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life. Upon his return to Russia, he \\\"hastened to invest in real estate\\\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family.\",\n \"Upon his return to Russia, he \\\"hastened to invest in real estate\\\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family. Later life Rubinstein continued to make tours as a pianist and give appearances as a conductor.\",\n \"Later life Rubinstein continued to make tours as a pianist and give appearances as a conductor. In 1887, he returned to the Saint Petersburg Conservatory with the goal of improving overall standards. He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum.\",\n \"He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum. He led semi-weekly teachers' classes through the whole keyboard literature and gave some of the more gifted piano students personal coaching. During the 1889–90 academic year he gave weekly lecture-recitals for the students.\",\n \"During the 1889–90 academic year he gave weekly lecture-recitals for the students. He resigned again—and left Russia—in 1891 over Imperial demands that Conservatory admittance, and later annual prizes to students, be awarded along ethnic quotas instead of purely by merit. These quotas were designed to effectively disadvantage Jews.\",\n \"These quotas were designed to effectively disadvantage Jews. Rubinstein resettled in Dresden and started giving concerts again in Germany and Austria. Nearly all of these concerts were charity benefit events. Rubinstein also coached a few pianists and taught his only private piano student, Josef Hofmann. Hofmann would become one of the finest keyboard artists of the 20th century.\",\n \"Hofmann would become one of the finest keyboard artists of the 20th century. Despite his sentiments on ethnic politics in Russia, Rubinstein returned there occasionally to visit friends and family. He gave his final concert in Saint Petersburg on 14 January 1894. With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894.\",\n \"With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894. He died there on 20 November of that year, having suffered from heart disease for some time. The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him.\",\n \"The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him. Pianism \\\"Van II\\\" Many contemporaries felt he bore a striking resemblance to Ludwig van Beethoven. Ignaz Moscheles, who had known Beethoven intimately, wrote, \\\"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\\\"\",\n \"Ignaz Moscheles, who had known Beethoven intimately, wrote, \\\"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\\\" Liszt referred to Rubinstein as \\\"Van II.\\\" This resemblance was also felt to be in Rubinstein's keyboard playing. Under his hands, it was said, the piano erupted volcanically.\",\n \"Under his hands, it was said, the piano erupted volcanically. Audience members wrote of going home limp after one of his recitals, knowing they had witnessed a force of nature. Sometimes Rubinstein's playing was too much for listeners to handle.\",\n \"Sometimes Rubinstein's playing was too much for listeners to handle. American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \\\"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much.\",\n \"American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \\\"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much. Give me Rubinstein for a few pieces, but Tausig for a whole evening.\\\"\",\n \"Give me Rubinstein for a few pieces, but Tausig for a whole evening.\\\" She heard Rubinstein play \\\"a terrific piece by Schubert,\\\" reportedly the Wanderer Fantasie. The performance gave her such a violent headache that the rest of the recital was ruined for her. Clara Schumann proved especially vehement.\",\n \"Clara Schumann proved especially vehement. Clara Schumann proved especially vehement. After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \\\"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\\\"\",\n \"After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \\\"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\\\" Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau.\",\n \"Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau. She noted in her diary, \\\"I was furious, for he no longer plays. Either there is a perfectly wild noise or else a whisper with the soft pedal down.\",\n \"Either there is a perfectly wild noise or else a whisper with the soft pedal down. And a would-be cultured audience puts up with a performance like that!\\\"\",\n \"And a would-be cultured audience puts up with a performance like that!\\\" On the other hand, when Rubinstein played Beethoven's \\\"Archduke\\\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls: It was the first time I had heard this great artist play.\",\n \"On the other hand, when Rubinstein played Beethoven's \\\"Archduke\\\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls: It was the first time I had heard this great artist play. He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme...\",\n \"He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme... It seemed to me I had never before heard the piano really played.\",\n \"It seemed to me I had never before heard the piano really played. The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ... Violinist and composer Henri Vieuxtemps adds: His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten.\",\n \"The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ... Violinist and composer Henri Vieuxtemps adds: His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten. I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op.\",\n \"I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op. 57 [Appassionata], which Rubinstein executed for us with unimagined mastery. Viennese music critic Eduard Hanslick expressed what Schonberg calls \\\"the majority point of view\\\" in an 1884 review.\",\n \"Viennese music critic Eduard Hanslick expressed what Schonberg calls \\\"the majority point of view\\\" in an 1884 review. After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners.\",\n \"After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners. Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness.\",\n \"Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness. \\\"Yes, he plays like a god\\\", Hanslick writes in closing, \\\"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\\\".\",\n \"\\\"Yes, he plays like a god\\\", Hanslick writes in closing, \\\"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\\\". Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm.\",\n \"Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm. His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall.\",\n \"His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall. In playing, Rubinstein created, and he created inimitably and with genius.\",\n \"In playing, Rubinstein created, and he created inimitably and with genius. He often treated the same program absolutely differently when he played it the second time, but, more astoundingly still, everything came out wonderfully on both occasions. Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled.\",\n \"Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled. Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song.\",\n \"Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song. He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable.\",\n \"He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable. It was superb.\\\"\",\n \"It was superb.\\\" It was superb.\\\" Technique Villoing had worked with Rubinstein on hand position and finger dexterity. From watching Liszt, Rubinstein had learned about freedom of arm movement. Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing.\",\n \"Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing. He would remark to his students about \\\"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\\\"\",\n \"He would remark to his students about \\\"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\\\" In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \\\"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\\\"\",\n \"In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \\\"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\\\" When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through.\",\n \"When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through. Rubinstein himself admitted, after a concert in Berlin in 1875, \\\"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\\\"\",\n \"Rubinstein himself admitted, after a concert in Berlin in 1875, \\\"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\\\" Part of the problem might have been the sheer size of Rubinstein's hands.\",\n \"Part of the problem might have been the sheer size of Rubinstein's hands. They were huge, and many observers commented on them. Josef Hofmann observed that Rubinstein's fifth finger \\\"was as thick as my thumb—think of it! Then his fingers were square at the ends, with cushions on them.\",\n \"Then his fingers were square at the ends, with cushions on them. It was a wonderful hand.\\\" Pianist Josef Lhévinne described them as \\\"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\\\"\",\n \"Pianist Josef Lhévinne described them as \\\"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\\\" The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \\\"Nothing cramped about him!\",\n \"The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \\\"Nothing cramped about him! He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\\\"\",\n \"He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\\\" Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness.\",\n \"Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness. Those who valued interpretation as much or more than pure technique found much to praise. Pianist and conductor Hans von Bülow called Rubinstein \\\"the Michelangelo of music.\\\"\",\n \"Pianist and conductor Hans von Bülow called Rubinstein \\\"the Michelangelo of music.\\\" The German critic Ludwig Rellstab called him \\\"the Hercules of the piano; the Jupiter Tonans of the instrument.\\\" Tone Pressman attested to the singing quality of Rubinstein's playing, and much more: \\\"His tone was strikingly full and deep.\",\n \"Tone Pressman attested to the singing quality of Rubinstein's playing, and much more: \\\"His tone was strikingly full and deep. With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres.\",\n \"With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres. With him, the piano sang as Patti sang, as Rubini sang.\\\" Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists.\",\n \"Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists. Fellow pianist Rafael Joseffy compared it to \\\"a golden French horn.\\\" Rubinstein himself told an interviewer, \\\"Strength with lightness, that is one secret of my touch...\",\n \"Rubinstein himself told an interviewer, \\\"Strength with lightness, that is one secret of my touch... I have sat hours trying to imitate the timbre of Rubini's voice in my playing.\\\" Rubinstein told the young Rachmaninoff how he achieved that tone. \\\"Just press upon the keys until the blood oozes from your fingertips\\\".\",\n \"\\\"Just press upon the keys until the blood oozes from your fingertips\\\". When he wanted to, Rubinstein could play with extreme lightness, grace and delicacy. He rarely displayed that side of his nature, however. He had learned quickly that audiences came to hear him thunder, so he accommodated them.\",\n \"He had learned quickly that audiences came to hear him thunder, so he accommodated them. Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before.\",\n \"Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before. During this tour, Rubinstein received more press attention than any other figure until the appearance of Ignacy Jan Paderewski a generation later. Programs Rubinstein's concert programs were often gargantuan.\",\n \"Programs Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A).\",\n \"101 in A). 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman.\",\n \"Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note.\",\n \"He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note. Rubinstein was most famous for his series of historical recitals—seven consecutive concerts covering the history of piano music. Each of these programs was enormous.\",\n \"Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital.\",\n \"Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert.\",\n \"This did not include encores, which Rubinstein sprayed liberally at every concert. Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873. Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe.\",\n \"Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge.\",\n \"In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge. Rachmaninoff on Rubinstein Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student.\",\n \"Rachmaninoff on Rubinstein Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student. Forty-four years later he told his biographer Oscar von Riesemann, \\\"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\\\"\",\n \"Forty-four years later he told his biographer Oscar von Riesemann, \\\"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\\\" Rachmaninoff explained to von Riesemann, \\\"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\\\"\",\n \"Rachmaninoff explained to von Riesemann, \\\"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\\\" Rachmaninoff's detailed description to von Riesemann is of interest: Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished.\",\n \"Rachmaninoff's detailed description to von Riesemann is of interest: Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished. One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone...\",\n \"One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone... I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \\\"fluttering away of the little bird\\\" would be hopelessly inadequate.\",\n \"I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \\\"fluttering away of the little bird\\\" would be hopelessly inadequate. Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner.\",\n \"Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner. One of Rubinstein's greatest secrets was his use of the pedal.\",\n \"One of Rubinstein's greatest secrets was his use of the pedal. He himself very happily expressed his ideas on the subject when he said, \\\"The pedal is the soul of the piano.\\\" No pianist should ever forget this.\",\n \"No pianist should ever forget this. Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \\\"Funeral March\\\" Sonata—both became cornerstones of Rachmaninoff's own recital programs.\",\n \"Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \\\"Funeral March\\\" Sonata—both became cornerstones of Rachmaninoff's own recital programs. Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work.\",\n \"Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work. Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later.\",\n \"Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later. In Rubinstein's defense, however, Rachmaninoff said that \\\"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\\\"\",\n \"In Rubinstein's defense, however, Rachmaninoff said that \\\"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\\\" Conducting Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867.\",\n \"Conducting Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867. He also did his share of guest conducting both before and after his tenure with the RMS.\",\n \"He also did his share of guest conducting both before and after his tenure with the RMS. Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences.\",\n \"Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences. Teacher As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work.\",\n \"Teacher As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work. He could also be exacting and expected as much from them as he gave to them.\",\n \"He could also be exacting and expected as much from them as he gave to them. According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference.\",\n \"According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference. This assignment would be due the following day.\",\n \"This assignment would be due the following day. At other times, he would expect students to improvise a minuet, a rondo, a polonaise or some other musical form. Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead.\",\n \"Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead. He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano.\",\n \"He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano. Notable students include pianists Josef Hofmann and Sandra Drouker.\",\n \"Notable students include pianists Josef Hofmann and Sandra Drouker. Composition By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \\\"but as a composer performing his symphonies, concertos, operas, trios, etc.\\\"\",\n \"Composition By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \\\"but as a composer performing his symphonies, concertos, operas, trios, etc.\\\" Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote).\",\n \"Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote). Edward Garden writes in the New Grove, Rubinstein composed assiduously during all periods of his life.\",\n \"Edward Garden writes in the New Grove, Rubinstein composed assiduously during all periods of his life. He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved.\",\n \"He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved. Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn.\",\n \"Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn. Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music.\",\n \"Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music. Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching.\",\n \"Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching. Robert Schumann and Felix Mendelssohn were the strongest influences on Rubinstein's music. Consequently, Rubinstein's music demonstrates none of the nationalism of The Five.\",\n \"Consequently, Rubinstein's music demonstrates none of the nationalism of The Five. Rubinstein also had a tendency to rush in composing his pieces, resulting in good ideas such as those in his Ocean Symphony being developed in less-than-exemplary ways. As Paderewski was later to remark, \\\"He had not the necessary concentration of patience for a composer...\",\n \"As Paderewski was later to remark, \\\"He had not the necessary concentration of patience for a composer... He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\\\"\",\n \"He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\\\" Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ...\",\n \"Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ... The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s.\",\n \"The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s. After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire.\",\n \"After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire. Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev.\",\n \"Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev. Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism.\",\n \"Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism. Amongst his better known works are the opera The Demon, his Piano Concerto No. 4, and his Symphony No. 2, known as The Ocean.\",\n \"2, known as The Ocean. Rubinstein's repartee Rubinstein was as well known during his lifetime for his sarcasm as well as his sometimes penetrating insight. During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him.\",\n \"During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him. After a long silence, Rubinstein told Cortot, \\\"My boy, don't you ever forget what I am going to tell you. Beethoven's music must not be studied. It must be reincarnated.\\\"\",\n \"It must be reincarnated.\\\" It must be reincarnated.\\\" Cortot reportedly never forgot those words. Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase.\",\n \"Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase. His manner with them was a combination of raw, sometimes violent criticism and good humor.\",\n \"His manner with them was a combination of raw, sometimes violent criticism and good humor. Hofmann wrote of one such lesson: Once I played a Liszt rhapsody pretty badly. After a little of it, Rubinstein said, \\\"The way you play this piece would be all right for Auntie or Mamma.\\\"\",\n \"After a little of it, Rubinstein said, \\\"The way you play this piece would be all right for Auntie or Mamma.\\\" Then rising and coming toward me, he said, \\\"Now let us see how play such things.\\\" ...\",\n \"... ... I began again, but I had not played more than a few measures when Rubinstein said loudly, \\\"Have you begun?\\\" \\\"Yes, Master, I certainly have.\\\" \\\"Oh,\\\" said Rubinstein vaguely, \\\"I didn't notice.\\\" ... Rubinstein did not so much instruct me.\",\n \"... Rubinstein did not so much instruct me. Merely he let me learn from him ...\",\n \"Merely he let me learn from him ... If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do.\",\n \"If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do. Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts.\",\n \"Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts. When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \\\"When you are as old as I am, you may do as I do.\\\"\",\n \"When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \\\"When you are as old as I am, you may do as I do.\\\" Then Rubinstein added, \\\"If you can\\\". Nor did Rubinstein adjust the tenor of his comments for those of high rank.\",\n \"Nor did Rubinstein adjust the tenor of his comments for those of high rank. After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility.\",\n \"After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility. At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift.\",\n \"At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift. Rubinstein replied bluntly, to the crowd's horror, \\\"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\\\"\",\n \"Rubinstein replied bluntly, to the crowd's horror, \\\"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\\\" Rubinstein's voice The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison.\",\n \"Rubinstein's voice The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison. Rubinstein is heard to make a complimentary remark about the phonograph recorder. References Sources In Russian (2 vol.) In German (3 vol.) In English (29 vols.)\",\n \"In English (29 vols.) Further reading Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995) Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991) Rubinstein, Anton Grigorevich, ed.\",\n \"Further reading Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995) Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991) Rubinstein, Anton Grigorevich, ed. L. Barenboim, Literaturnoye Naslediye (3 vol.\",\n \"L. Barenboim, Literaturnoye Naslediye (3 vol. ), (in Russian), (Moscow, 1983) External links Networking Rubinstein – his contacts in his early career Soundbites from String Quartet No.1 in G, Op.17 No.1 Anton Rubinstein recordings at the Discography of American Historical Recordings.\",\n \"), (in Russian), (Moscow, 1983) External links Networking Rubinstein – his contacts in his early career Soundbites from String Quartet No.1 in G, Op.17 No.1 Anton Rubinstein recordings at the Discography of American Historical Recordings. 1829 births 1894 deaths 19th-century classical composers 19th-century classical pianists 19th-century conductors (music) 19th-century male conductors (music) Burials at Tikhvin Cemetery Composers for piano Converts to Eastern Orthodoxy from Judaism Founders of Russian educational institutions Jewish atheists Jewish classical composers Jewish classical pianists Jewish opera composers Male classical pianists Male opera composers People from Baltsky Uyezd People from Rîbnița District Pupils of Siegfried Dehn Pyotr Ilyich Tchaikovsky Recipients of the Pour le Mérite (civil class) Royal Philharmonic Society Gold Medallists Russian atheists Russian classical pianists Russian conductors (music) Russian male conductors (music) Russian Jews Russian male classical composers Russian music educators Russian opera composers Russian Romantic composers\"\n]"}}},{"rowIdx":495,"cells":{"History":{"kind":"list like","value":["Anton Rubinstein","Programs","What programs was he apart of?","Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna,","Are there any other interesting aspects about this article?","Rubinstein was most famous for his series of historical recitals--seven consecutive concerts covering the history of piano music.","What was the name of his series?","I don't know."],"string":"[\n \"Anton Rubinstein\",\n \"Programs\",\n \"What programs was he apart of?\",\n \"Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna,\",\n \"Are there any other interesting aspects about this article?\",\n \"Rubinstein was most famous for his series of historical recitals--seven consecutive concerts covering the history of piano music.\",\n \"What was the name of his series?\",\n \"I don't know.\"\n]"},"QuAC_dialog_id":{"kind":"string","value":"C_abfaf1bc5d7a4878916e69b3dc8922b2_0"},"Question":{"kind":"string","value":"What was some of his concerts?"},"Question_no":{"kind":"number","value":4,"string":"4"},"Rewrite":{"kind":"string","value":"What were some of Anton Rubinstein's concerts?"},"true_page_title":{"kind":"string","value":"Anton Rubinstein"},"true_contexts":{"kind":"string","value":"Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note. Rubinstein was most famous for his series of historical recitals--seven consecutive concerts covering the history of piano music. Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert. Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873. Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge. CANNOTANSWER"},"answer":{"kind":"string","value":"Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873."},"true_contexts_wiki":{"kind":"string","value":"Anton Grigoryevich Rubinstein (; ) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein, who founded the Moscow Conservatory.\n\nAs a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals—seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.\n\nAlthough best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life. He wrote 20 operas, the best known of which is The Demon. He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble.\n\nEarly life and education\n\nRubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa. Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy. Although he was raised as a Christian, Rubinstein would later become an atheist.\n\nRubinstein's father opened a pencil factory in Moscow. His mother, a competent musician, began giving him piano lessons at five, until the teacher heard and accepted Rubinstein as a non-paying student. Rubinstein made his first public appearance at a charity benefit concert at the age of nine. Later that year Rubinstein's mother sent him, accompanied by Villoing, to Paris where he sought unsuccessfully to enroll at the Paris Conservatoire.\n\nRubinstein and Villoing remained in Paris for a year. In December 1840, Rubinstein played in the Salle Érard for an audience that included Frédéric Chopin and Franz Liszt. Chopin invited Rubinstein to his studio and played for him. Liszt advised Villoing to take him to Germany to study composition; however, Villoing took Rubinstein on an extended concert tour of Europe and Western Russia. They finally returned to Moscow in June 1843. Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace. Anton was 14 years old; Nikolai was eight.\n\nTravel and performance\n\nBerlin\nIn spring 1844, Rubinstein, Nikolai, his mother and his sister Luba travelled to Berlin. Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer.\nMendelssohn, who had heard Rubinstein when he had toured with Villoing, said he needed no further piano study but sent Nikolai to Theodor Kullak for instruction. Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory.\n\nWord came in the summer of 1846 that Rubinstein's father was gravely ill. Rubinstein was left in Berlin while his mother, sister and brother returned to Russia. At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest. Now 17, he knew he could no longer pass as a child prodigy. He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil. However, after Rubinstein had played his audition, Liszt is reported to have said, \"A talented man must win the goal of his ambition by his own unassisted efforts.\" At this point, Rubinstein was living in acute poverty. Liszt did nothing to help him. Other calls Rubinstein made to potential patrons came to no avail. After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons.\n\nBack to Russia\nThe Revolution of 1848 forced Rubinstein back to Russia. Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court. The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness. By 1852, he had become a leading figure in Saint Petersburg's musical life, performing as a soloist and collaborating with some of the outstanding instrumentalists and vocalists who came to the Russian capital.\n\nHe also composed assiduously. After a number of delays, including some difficulties with the censor, Rubinstein's first opera, Dmitry Donskoy (now lost except for the overture), was performed at the Bolshoy Theater in Saint Petersburg in 1852. Three one-act operas written for Elena Pavlovna followed. He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works. It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist.\n\nAbroad once more\n\nIn 1854, Rubinstein began a four-year concert tour of Europe. This was his first major concert tour in a decade. Now 24, he felt ready to offer himself to the public as a fully developed pianist as well as a composer of worth. He very shortly reestablished his reputation as a virtuoso. Ignaz Moscheles wrote in 1855 what would become a widespread opinion about Rubinstein: \"In power and execution he is inferior to no one.\"\n\nAs was the penchant at the time, much of what Rubinstein played were his own compositions. At several concerts, Rubinstein alternated between conducting his orchestral works and playing as soloist in one of his piano concertos. One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854. Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later.\n\nRubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice. Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859.\n\nOpening the St. Petersburg Conservatory\nThe opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862. Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty.\n\nSome in Russian society were surprised that a Russian music school would actually attempt to be Russian. One \"fashionable lady\", when told by Rubinstein that classes would be taught in Russian and not a foreign language, exclaimed, \"What, music in Russian! That is an original idea!\" Rubinstein adds, And surely it was surprising that the theory of Music was to be taught for the first time in the Russian language at our Conservatory... Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany.\nThere were also those who feared the school would not be Russian enough. Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five. Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world. Actually the Conservatory raise the level of musical culture in Russia. The unconventional way chosen by Balakirev and his friends was not necessarily the right one for everybody else.\nIt was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871. Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \"interesting and well done,\" though \"episodic,\" and the opera Ivan IV Grozniy, which was premiered by Balakirev. Borodin commented on Ivan IV that \"the music is good, you just cannot recognize that it is Rubinstein. There is nothing that is Mendelssohnian, nothing as he used to write formerly.\"\n\nThe American tour\nBy 1867, ongoing tensions with the Balakirev camp, along with related matters, led to intense dissension within the Conservatory's faculty. Rubinstein resigned and returned to touring throughout Europe. Unlike his previous tours, he began increasingly featuring the works of other composers. In previous tours, Rubinstein had played primarily his own works.\n\nAt the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season. Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid. Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities.\n\nRubinstein wrote of his American experience, May Heaven preserve us from such slavery! Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost... The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art. So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank...\nDespite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life. Upon his return to Russia, he \"hastened to invest in real estate\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family.\n\nLater life\nRubinstein continued to make tours as a pianist and give appearances as a conductor. In 1887, he returned to the Saint Petersburg Conservatory with the goal of improving overall standards. He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum. He led semi-weekly teachers' classes through the whole keyboard literature and gave some of the more gifted piano students personal coaching. During the 1889–90 academic year he gave weekly lecture-recitals for the students. He resigned again—and left Russia—in 1891 over Imperial demands that Conservatory admittance, and later annual prizes to students, be awarded along ethnic quotas instead of purely by merit. These quotas were designed to effectively disadvantage Jews. Rubinstein resettled in Dresden and started giving concerts again in Germany and Austria. Nearly all of these concerts were charity benefit events.\n\nRubinstein also coached a few pianists and taught his only private piano student, Josef Hofmann. Hofmann would become one of the finest keyboard artists of the 20th century.\n\nDespite his sentiments on ethnic politics in Russia, Rubinstein returned there occasionally to visit friends and family. He gave his final concert in Saint Petersburg on 14 January 1894. With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894. He died there on 20 November of that year, having suffered from heart disease for some time.\n\nThe former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him.\n\nPianism\n\n\"Van II\"\nMany contemporaries felt he bore a striking resemblance to Ludwig van Beethoven. Ignaz Moscheles, who had known Beethoven intimately, wrote, \"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\" Liszt referred to Rubinstein as \"Van II.\" This resemblance was also felt to be in Rubinstein's keyboard playing. Under his hands, it was said, the piano erupted volcanically. Audience members wrote of going home limp after one of his recitals, knowing they had witnessed a force of nature.\n\nSometimes Rubinstein's playing was too much for listeners to handle. American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much. Give me Rubinstein for a few pieces, but Tausig for a whole evening.\" She heard Rubinstein play \"a terrific piece by Schubert,\" reportedly the Wanderer Fantasie. The performance gave her such a violent headache that the rest of the recital was ruined for her.\n\nClara Schumann proved especially vehement. After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\" Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau. She noted in her diary, \"I was furious, for he no longer plays. Either there is a perfectly wild noise or else a whisper with the soft pedal down. And a would-be cultured audience puts up with a performance like that!\"\n\nOn the other hand, when Rubinstein played Beethoven's \"Archduke\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls:\nIt was the first time I had heard this great artist play. He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme... It seemed to me I had never before heard the piano really played. The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ...\nViolinist and composer Henri Vieuxtemps adds:\nHis power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten. I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op. 57 [Appassionata], which Rubinstein executed for us with unimagined mastery.\nViennese music critic Eduard Hanslick expressed what Schonberg calls \"the majority point of view\" in an 1884 review. After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners. Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness. \"Yes, he plays like a god\", Hanslick writes in closing, \"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\".\n\nSergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm. His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall. In playing, Rubinstein created, and he created inimitably and with genius. He often treated the same program absolutely differently when he played it the second time, but, more astoundingly still, everything came out wonderfully on both occasions.\n\nRubinstein was also adept at improvisation—a practice at which Beethoven had excelled. Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song. He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable. It was superb.\"\n\nTechnique\n\nVilloing had worked with Rubinstein on hand position and finger dexterity. From watching Liszt, Rubinstein had learned about freedom of arm movement. Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing. He would remark to his students about \"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\"\n\nIn his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\" When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through. Rubinstein himself admitted, after a concert in Berlin in 1875, \"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\"\n\nPart of the problem might have been the sheer size of Rubinstein's hands. They were huge, and many observers commented on them. Josef Hofmann observed that Rubinstein's fifth finger \"was as thick as my thumb—think of it! Then his fingers were square at the ends, with cushions on them. It was a wonderful hand.\" Pianist Josef Lhévinne described them as \"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\" The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \"Nothing cramped about him! He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\"\n\nBecause of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness. Those who valued interpretation as much or more than pure technique found much to praise. Pianist and conductor Hans von Bülow called Rubinstein \"the Michelangelo of music.\" The German critic Ludwig Rellstab called him \"the Hercules of the piano; the Jupiter Tonans of the instrument.\"\n\nTone\nPressman attested to the singing quality of Rubinstein's playing, and much more: \"His tone was strikingly full and deep. With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres. With him, the piano sang as Patti sang, as Rubini sang.\"\n\nSchonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists. Fellow pianist Rafael Joseffy compared it to \"a golden French horn.\" Rubinstein himself told an interviewer, \"Strength with lightness, that is one secret of my touch... I have sat hours trying to imitate the timbre of Rubini's voice in my playing.\"\n\nRubinstein told the young Rachmaninoff how he achieved that tone. \"Just press upon the keys until the blood oozes from your fingertips\". When he wanted to, Rubinstein could play with extreme lightness, grace and delicacy. He rarely displayed that side of his nature, however. He had learned quickly that audiences came to hear him thunder, so he accommodated them. Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before. During this tour, Rubinstein received more press attention than any other figure until the appearance of Ignacy Jan Paderewski a generation later.\n\nPrograms\nRubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note.\n\nRubinstein was most famous for his series of historical recitals—seven consecutive concerts covering the history of piano music. Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert.\n\nRubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873.\n\nRubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge.\n\nRachmaninoff on Rubinstein\nSergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student. Forty-four years later he told his biographer Oscar von Riesemann, \"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\"\n\nRachmaninoff explained to von Riesemann, \"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\"\n\nRachmaninoff's detailed description to von Riesemann is of interest:\n\nOnce he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished. One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone... I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \"fluttering away of the little bird\" would be hopelessly inadequate. Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner. One of Rubinstein's greatest secrets was his use of the pedal. He himself very happily expressed his ideas on the subject when he said, \"The pedal is the soul of the piano.\" No pianist should ever forget this.\n\nRachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \"Funeral March\" Sonata—both became cornerstones of Rachmaninoff's own recital programs. Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work.\n\nRachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later. In Rubinstein's defense, however, Rachmaninoff said that \"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\"\n\nConducting\n\nRubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867. He also did his share of guest conducting both before and after his tenure with the RMS. Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences.\n\nTeacher\nAs a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work. He could also be exacting and expected as much from them as he gave to them. According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference. This assignment would be due the following day. At other times, he would expect students to improvise a minuet, a rondo, a polonaise or some other musical form.\n\nRubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead. He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano. Notable students include pianists Josef Hofmann and Sandra Drouker.\n\nComposition\n\nBy 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \"but as a composer performing his symphonies, concertos, operas, trios, etc.\" Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote). Edward Garden writes in the New Grove,\nRubinstein composed assiduously during all periods of his life. He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved.\nRubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn. Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music. Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching. Robert Schumann and Felix Mendelssohn were the strongest influences on Rubinstein's music.\n\nConsequently, Rubinstein's music demonstrates none of the nationalism of The Five. Rubinstein also had a tendency to rush in composing his pieces, resulting in good ideas such as those in his Ocean Symphony being developed in less-than-exemplary ways. As Paderewski was later to remark, \"He had not the necessary concentration of patience for a composer... He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\" Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ... The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s.\n\nAfter Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire. Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev.\n\nOver recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism. Amongst his better known works are the opera The Demon, his Piano Concerto No. 4, and his Symphony No. 2, known as The Ocean.\n\nRubinstein's repartee\nRubinstein was as well known during his lifetime for his sarcasm as well as his sometimes penetrating insight. During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him. After a long silence, Rubinstein told Cortot, \"My boy, don't you ever forget what I am going to tell you. Beethoven's music must not be studied. It must be reincarnated.\" Cortot reportedly never forgot those words.\n\nRubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase. His manner with them was a combination of raw, sometimes violent criticism and good humor. Hofmann wrote of one such lesson:\nOnce I played a Liszt rhapsody pretty badly. After a little of it, Rubinstein said, \"The way you play this piece would be all right for Auntie or Mamma.\" Then rising and coming toward me, he said, \"Now let us see how play such things.\"\n\n... I began again, but I had not played more than a few measures when Rubinstein said loudly, \"Have you begun?\" \"Yes, Master, I certainly have.\" \"Oh,\" said Rubinstein vaguely, \"I didn't notice.\" ... Rubinstein did not so much instruct me. Merely he let me learn from him ... If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do.\n\nRubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts. When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \"When you are as old as I am, you may do as I do.\" Then Rubinstein added, \"If you can\".\n\nNor did Rubinstein adjust the tenor of his comments for those of high rank. After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility. At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift. Rubinstein replied bluntly, to the crowd's horror, \"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\"\n\nRubinstein's voice\nThe following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison. Rubinstein is heard to make a complimentary remark about the phonograph recorder.\n\nReferences\n\nSources\n\nIn Russian\n \n (2 vol.)\n\nIn German\n (3 vol.)\n\nIn English\n \n \n \n (29 vols.)\n\nFurther reading\n \n Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995)\n Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) \n Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991)\n Rubinstein, Anton Grigorevich, ed. L. Barenboim, Literaturnoye Naslediye (3 vol.), (in Russian), (Moscow, 1983)\n\nExternal links\n\nNetworking Rubinstein – his contacts in his early career\nSoundbites from String Quartet No.1 in G, Op.17 No.1\n\n Anton Rubinstein recordings at the Discography of American Historical Recordings.\n\n1829 births\n1894 deaths\n19th-century classical composers\n19th-century classical pianists\n19th-century conductors (music)\n19th-century male conductors (music)\nBurials at Tikhvin Cemetery\nComposers for piano\nConverts to Eastern Orthodoxy from Judaism\nFounders of Russian educational institutions\nJewish atheists\nJewish classical composers\nJewish classical pianists\nJewish opera composers\nMale classical pianists\nMale opera composers\nPeople from Baltsky Uyezd\nPeople from Rîbnița District\nPupils of Siegfried Dehn\nPyotr Ilyich Tchaikovsky\nRecipients of the Pour le Mérite (civil class)\nRoyal Philharmonic Society Gold Medallists\nRussian atheists\nRussian classical pianists\nRussian conductors (music)\nRussian male conductors (music)\nRussian Jews\nRussian male classical composers\nRussian music educators\nRussian opera composers\nRussian Romantic composers"},"extractive":{"kind":"string","value":"true"},"retrieved_contexts":{"kind":"list like","value":["Samuel Harrison (8 September 1760 – 25 June 1812) was an English singer. A tenor, he sang in notable concerts of the day, including the Concerts of Antient Music and the Three Choirs Festival.\n\nEarly life\nHarrison was born in Belper, Derbyshire, on 8 September 1760. Burton, a bass singer, was his earliest instructor. Harrison was trained as a boy soprano to sing solos at the Concerts of Antient Music and at the Society of Sacred Music in 1776. His voice did not break until he was eighteen; he then cultivated his tenor voice with the utmost care. George III, hearing him at one of the Queen's musical parties, had him engaged for the Handel Commemoration of 1784, where he sang \"Rend' il sereno al ciglio\" from Sosarme, and the opening recitative and air from Messiah; he thus sprang into the notice of musicians and fashionable people.\n\nEarly career, and marriage\nHe made his first appearance at the Three Choirs Festival as principal tenor in 1781, at Gloucester; from 1786 until 1808 he sang at each of the Hereford meetings, and from 1801 till 1808 was a principal also at Gloucester and Worcester. The meeting of 1811 was managed by Harrison with others. In London he was a member of the Noblemen and Gentlemen's Catch Club, and he performed at the Professional Concerts from about 1783, and at the Society of Sacred Music from 1785 until 1790, when Michael Kelly succeeded him. In conjunction with John Ashley, Harrison conducted, and sang in, oratorios at Covent Garden Theatre during Lent of 1791; he sang in the Drury Lane oratorios in 1794, and at the concerts during Lent at the King's Theatre in 1795.\n\nHarrison married, on 6 December 1790, Miss Cantelo. Before the marriage her musical career ran in parallel lines with his; she was a favourite at the Concerts of Antient Music and at the Three Choirs Festivals, and earned praise for her performance at the Handel Commemoration of 1784.\n\nThe Vocal Concerts, and later\nHarrison was principal tenor at the Concerts of Antient Music from 1785 until 1791, when he withdrew, and with Charles Knyvett the elder, established the Vocal Concerts. The first was given on 11 February 1792 at Willis's Rooms, and they continued until 1794, when they had ceased to attract; Harrison and the chief promoters of the enterprise then returned to the Antient Concerts. In 1801 the Vocal Concerts were revived on a larger scale, with an orchestra, and were very successful until newer musical attractions drew the public away.\n\nHarrison repeated some of his most popular performances at his benefit concert on 8 May 1812, which was his last appearance in public. He died on the following 25 June at his home in Percy Street in London, and was buried at St Pancras Old Church. His widow died in 1831.\n\nHis voice\nHarrison's voice was described in The Harmonicon in 1830: \"In tone it was at once the weakest and the most pure and equal that has, perhaps, ever been heard in England – its very existence was a proof of how far determination and perseverance can triumph over natural deficiencies.... Voice (we speak of the natural organ) he had really little; it was the high polish, the minute and exquisite finish of his style, that made the charm....\"\n\nReferences\n\nAttribution\n\n \n\n1760 births\n1812 deaths\nPeople from Belper\n18th-century British male singers\n19th-century British male singers\nEnglish tenors","Hertz Grosbard (1892−1994) performed recitations of Yiddish literature during the 20th century. He was born in Lodz to a religious family. During the 1920s he began performing what came to be known as his “word concerts” to great critical acclaim. During the \"word concerts\" he recited classics of Yiddish literature such as works of Itsik Manger and Scholem Aleichem. He was very popular and performed extensively both in Europe, the Americas, and in Israel, e.g. in Vilnius he performed more than 50 times between 1928 and 1940. Ten albums with selections of his word concerts were issued in the 1950s and 1960s. He held his last concert in 1992 in Holon, Israel, in conjunction with his 100th birthday.\n\nFurther reading\nThe Grosbard Project - Online Archive of Grosbard’s Word Concerts Includes additional information on Grosbard and recordings of his recitations.\n\nReferences\n\nYiddish culture\nPolish centenarians\nMen centenarians\n1892 births\n1994 deaths\nYiddish-language literature\nYiddish theatre\nJewish theatre"],"string":"[\n \"Samuel Harrison (8 September 1760 – 25 June 1812) was an English singer. A tenor, he sang in notable concerts of the day, including the Concerts of Antient Music and the Three Choirs Festival.\\n\\nEarly life\\nHarrison was born in Belper, Derbyshire, on 8 September 1760. Burton, a bass singer, was his earliest instructor. Harrison was trained as a boy soprano to sing solos at the Concerts of Antient Music and at the Society of Sacred Music in 1776. His voice did not break until he was eighteen; he then cultivated his tenor voice with the utmost care. George III, hearing him at one of the Queen's musical parties, had him engaged for the Handel Commemoration of 1784, where he sang \\\"Rend' il sereno al ciglio\\\" from Sosarme, and the opening recitative and air from Messiah; he thus sprang into the notice of musicians and fashionable people.\\n\\nEarly career, and marriage\\nHe made his first appearance at the Three Choirs Festival as principal tenor in 1781, at Gloucester; from 1786 until 1808 he sang at each of the Hereford meetings, and from 1801 till 1808 was a principal also at Gloucester and Worcester. The meeting of 1811 was managed by Harrison with others. In London he was a member of the Noblemen and Gentlemen's Catch Club, and he performed at the Professional Concerts from about 1783, and at the Society of Sacred Music from 1785 until 1790, when Michael Kelly succeeded him. In conjunction with John Ashley, Harrison conducted, and sang in, oratorios at Covent Garden Theatre during Lent of 1791; he sang in the Drury Lane oratorios in 1794, and at the concerts during Lent at the King's Theatre in 1795.\\n\\nHarrison married, on 6 December 1790, Miss Cantelo. Before the marriage her musical career ran in parallel lines with his; she was a favourite at the Concerts of Antient Music and at the Three Choirs Festivals, and earned praise for her performance at the Handel Commemoration of 1784.\\n\\nThe Vocal Concerts, and later\\nHarrison was principal tenor at the Concerts of Antient Music from 1785 until 1791, when he withdrew, and with Charles Knyvett the elder, established the Vocal Concerts. The first was given on 11 February 1792 at Willis's Rooms, and they continued until 1794, when they had ceased to attract; Harrison and the chief promoters of the enterprise then returned to the Antient Concerts. In 1801 the Vocal Concerts were revived on a larger scale, with an orchestra, and were very successful until newer musical attractions drew the public away.\\n\\nHarrison repeated some of his most popular performances at his benefit concert on 8 May 1812, which was his last appearance in public. He died on the following 25 June at his home in Percy Street in London, and was buried at St Pancras Old Church. His widow died in 1831.\\n\\nHis voice\\nHarrison's voice was described in The Harmonicon in 1830: \\\"In tone it was at once the weakest and the most pure and equal that has, perhaps, ever been heard in England – its very existence was a proof of how far determination and perseverance can triumph over natural deficiencies.... Voice (we speak of the natural organ) he had really little; it was the high polish, the minute and exquisite finish of his style, that made the charm....\\\"\\n\\nReferences\\n\\nAttribution\\n\\n \\n\\n1760 births\\n1812 deaths\\nPeople from Belper\\n18th-century British male singers\\n19th-century British male singers\\nEnglish tenors\",\n \"Hertz Grosbard (1892−1994) performed recitations of Yiddish literature during the 20th century. He was born in Lodz to a religious family. During the 1920s he began performing what came to be known as his “word concerts” to great critical acclaim. During the \\\"word concerts\\\" he recited classics of Yiddish literature such as works of Itsik Manger and Scholem Aleichem. He was very popular and performed extensively both in Europe, the Americas, and in Israel, e.g. in Vilnius he performed more than 50 times between 1928 and 1940. Ten albums with selections of his word concerts were issued in the 1950s and 1960s. He held his last concert in 1992 in Holon, Israel, in conjunction with his 100th birthday.\\n\\nFurther reading\\nThe Grosbard Project - Online Archive of Grosbard’s Word Concerts Includes additional information on Grosbard and recordings of his recitations.\\n\\nReferences\\n\\nYiddish culture\\nPolish centenarians\\nMen centenarians\\n1892 births\\n1994 deaths\\nYiddish-language literature\\nYiddish theatre\\nJewish theatre\"\n]"},"chunked_article":{"kind":"list like","value":["Anton Grigoryevich Rubinstein (; ) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein, who founded the Moscow Conservatory. As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos.","As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals—seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.","Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there. Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life.","Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life. He wrote 20 operas, the best known of which is The Demon.","He wrote 20 operas, the best known of which is The Demon. He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble.","He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble. Early life and education Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa.","Early life and education Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa. Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy.","Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy. Although he was raised as a Christian, Rubinstein would later become an atheist. Rubinstein's father opened a pencil factory in Moscow.","Rubinstein's father opened a pencil factory in Moscow. His mother, a competent musician, began giving him piano lessons at five, until the teacher heard and accepted Rubinstein as a non-paying student. Rubinstein made his first public appearance at a charity benefit concert at the age of nine.","Rubinstein made his first public appearance at a charity benefit concert at the age of nine. Later that year Rubinstein's mother sent him, accompanied by Villoing, to Paris where he sought unsuccessfully to enroll at the Paris Conservatoire. Rubinstein and Villoing remained in Paris for a year.","Rubinstein and Villoing remained in Paris for a year. In December 1840, Rubinstein played in the Salle Érard for an audience that included Frédéric Chopin and Franz Liszt. Chopin invited Rubinstein to his studio and played for him.","Chopin invited Rubinstein to his studio and played for him. Liszt advised Villoing to take him to Germany to study composition; however, Villoing took Rubinstein on an extended concert tour of Europe and Western Russia. They finally returned to Moscow in June 1843.","They finally returned to Moscow in June 1843. Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace.","Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace. Anton was 14 years old; Nikolai was eight.","Anton was 14 years old; Nikolai was eight. Travel and performance Berlin In spring 1844, Rubinstein, Nikolai, his mother and his sister Luba travelled to Berlin. Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer.","Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer. Mendelssohn, who had heard Rubinstein when he had toured with Villoing, said he needed no further piano study but sent Nikolai to Theodor Kullak for instruction. Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory.","Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory. Word came in the summer of 1846 that Rubinstein's father was gravely ill. Rubinstein was left in Berlin while his mother, sister and brother returned to Russia. At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest.","At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest. Now 17, he knew he could no longer pass as a child prodigy. He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil.","He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil. However, after Rubinstein had played his audition, Liszt is reported to have said, \"A talented man must win the goal of his ambition by his own unassisted efforts.\" At this point, Rubinstein was living in acute poverty.","At this point, Rubinstein was living in acute poverty. Liszt did nothing to help him. Other calls Rubinstein made to potential patrons came to no avail. After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons.","After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons. Back to Russia The Revolution of 1848 forced Rubinstein back to Russia. Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court.","Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court. The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness.","The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness. By 1852, he had become a leading figure in Saint Petersburg's musical life, performing as a soloist and collaborating with some of the outstanding instrumentalists and vocalists who came to the Russian capital. He also composed assiduously.","He also composed assiduously. He also composed assiduously. After a number of delays, including some difficulties with the censor, Rubinstein's first opera, Dmitry Donskoy (now lost except for the overture), was performed at the Bolshoy Theater in Saint Petersburg in 1852. Three one-act operas written for Elena Pavlovna followed.","Three one-act operas written for Elena Pavlovna followed. He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works.","He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works. It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist.","It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist. Abroad once more In 1854, Rubinstein began a four-year concert tour of Europe. This was his first major concert tour in a decade.","This was his first major concert tour in a decade. Now 24, he felt ready to offer himself to the public as a fully developed pianist as well as a composer of worth. He very shortly reestablished his reputation as a virtuoso.","He very shortly reestablished his reputation as a virtuoso. Ignaz Moscheles wrote in 1855 what would become a widespread opinion about Rubinstein: \"In power and execution he is inferior to no one.\" As was the penchant at the time, much of what Rubinstein played were his own compositions.","As was the penchant at the time, much of what Rubinstein played were his own compositions. At several concerts, Rubinstein alternated between conducting his orchestral works and playing as soloist in one of his piano concertos. One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854.","One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854. Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later.","Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later. Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice.","Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice. Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859.","Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859. Opening the St. Petersburg Conservatory The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862.","Opening the St. Petersburg Conservatory The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862. Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty.","Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty. Some in Russian society were surprised that a Russian music school would actually attempt to be Russian.","Some in Russian society were surprised that a Russian music school would actually attempt to be Russian. One \"fashionable lady\", when told by Rubinstein that classes would be taught in Russian and not a foreign language, exclaimed, \"What, music in Russian! That is an original idea!\"","That is an original idea!\" Rubinstein adds, And surely it was surprising that the theory of Music was to be taught for the first time in the Russian language at our Conservatory... Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany.","Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany. There were also those who feared the school would not be Russian enough. Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five.","Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five. Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world.","Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world. Actually the Conservatory raise the level of musical culture in Russia.","Actually the Conservatory raise the level of musical culture in Russia. The unconventional way chosen by Balakirev and his friends was not necessarily the right one for everybody else. It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871.","It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871. Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \"interesting and well done,\" though \"episodic,\" and the opera Ivan IV Grozniy, which was premiered by Balakirev.","Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \"interesting and well done,\" though \"episodic,\" and the opera Ivan IV Grozniy, which was premiered by Balakirev. Borodin commented on Ivan IV that \"the music is good, you just cannot recognize that it is Rubinstein.","Borodin commented on Ivan IV that \"the music is good, you just cannot recognize that it is Rubinstein. There is nothing that is Mendelssohnian, nothing as he used to write formerly.\"","There is nothing that is Mendelssohnian, nothing as he used to write formerly.\" The American tour By 1867, ongoing tensions with the Balakirev camp, along with related matters, led to intense dissension within the Conservatory's faculty. Rubinstein resigned and returned to touring throughout Europe.","Rubinstein resigned and returned to touring throughout Europe. Unlike his previous tours, he began increasingly featuring the works of other composers. In previous tours, Rubinstein had played primarily his own works. At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season.","At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season. Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid.","Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid. Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities.","Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities. Rubinstein wrote of his American experience, May Heaven preserve us from such slavery!","Rubinstein wrote of his American experience, May Heaven preserve us from such slavery! Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost...","Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost... The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art.","The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art. So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank...","So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank... Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life.","Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life. Upon his return to Russia, he \"hastened to invest in real estate\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family.","Upon his return to Russia, he \"hastened to invest in real estate\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family. Later life Rubinstein continued to make tours as a pianist and give appearances as a conductor.","Later life Rubinstein continued to make tours as a pianist and give appearances as a conductor. In 1887, he returned to the Saint Petersburg Conservatory with the goal of improving overall standards. He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum.","He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum. He led semi-weekly teachers' classes through the whole keyboard literature and gave some of the more gifted piano students personal coaching. During the 1889–90 academic year he gave weekly lecture-recitals for the students.","During the 1889–90 academic year he gave weekly lecture-recitals for the students. He resigned again—and left Russia—in 1891 over Imperial demands that Conservatory admittance, and later annual prizes to students, be awarded along ethnic quotas instead of purely by merit. These quotas were designed to effectively disadvantage Jews.","These quotas were designed to effectively disadvantage Jews. Rubinstein resettled in Dresden and started giving concerts again in Germany and Austria. Nearly all of these concerts were charity benefit events. Rubinstein also coached a few pianists and taught his only private piano student, Josef Hofmann. Hofmann would become one of the finest keyboard artists of the 20th century.","Hofmann would become one of the finest keyboard artists of the 20th century. Despite his sentiments on ethnic politics in Russia, Rubinstein returned there occasionally to visit friends and family. He gave his final concert in Saint Petersburg on 14 January 1894. With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894.","With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894. He died there on 20 November of that year, having suffered from heart disease for some time. The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him.","The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him. Pianism \"Van II\" Many contemporaries felt he bore a striking resemblance to Ludwig van Beethoven. Ignaz Moscheles, who had known Beethoven intimately, wrote, \"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\"","Ignaz Moscheles, who had known Beethoven intimately, wrote, \"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\" Liszt referred to Rubinstein as \"Van II.\" This resemblance was also felt to be in Rubinstein's keyboard playing. Under his hands, it was said, the piano erupted volcanically.","Under his hands, it was said, the piano erupted volcanically. Audience members wrote of going home limp after one of his recitals, knowing they had witnessed a force of nature. Sometimes Rubinstein's playing was too much for listeners to handle.","Sometimes Rubinstein's playing was too much for listeners to handle. American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much.","American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much. Give me Rubinstein for a few pieces, but Tausig for a whole evening.\"","Give me Rubinstein for a few pieces, but Tausig for a whole evening.\" She heard Rubinstein play \"a terrific piece by Schubert,\" reportedly the Wanderer Fantasie. The performance gave her such a violent headache that the rest of the recital was ruined for her. Clara Schumann proved especially vehement.","Clara Schumann proved especially vehement. Clara Schumann proved especially vehement. After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\"","After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\" Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau.","Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau. She noted in her diary, \"I was furious, for he no longer plays. Either there is a perfectly wild noise or else a whisper with the soft pedal down.","Either there is a perfectly wild noise or else a whisper with the soft pedal down. And a would-be cultured audience puts up with a performance like that!\"","And a would-be cultured audience puts up with a performance like that!\" On the other hand, when Rubinstein played Beethoven's \"Archduke\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls: It was the first time I had heard this great artist play.","On the other hand, when Rubinstein played Beethoven's \"Archduke\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls: It was the first time I had heard this great artist play. He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme...","He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme... It seemed to me I had never before heard the piano really played.","It seemed to me I had never before heard the piano really played. The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ... Violinist and composer Henri Vieuxtemps adds: His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten.","The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ... Violinist and composer Henri Vieuxtemps adds: His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten. I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op.","I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op. 57 [Appassionata], which Rubinstein executed for us with unimagined mastery. Viennese music critic Eduard Hanslick expressed what Schonberg calls \"the majority point of view\" in an 1884 review.","Viennese music critic Eduard Hanslick expressed what Schonberg calls \"the majority point of view\" in an 1884 review. After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners.","After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners. Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness.","Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness. \"Yes, he plays like a god\", Hanslick writes in closing, \"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\".","\"Yes, he plays like a god\", Hanslick writes in closing, \"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\". Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm.","Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm. His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall.","His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall. In playing, Rubinstein created, and he created inimitably and with genius.","In playing, Rubinstein created, and he created inimitably and with genius. He often treated the same program absolutely differently when he played it the second time, but, more astoundingly still, everything came out wonderfully on both occasions. Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled.","Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled. Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song.","Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song. He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable.","He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable. It was superb.\"","It was superb.\" It was superb.\" Technique Villoing had worked with Rubinstein on hand position and finger dexterity. From watching Liszt, Rubinstein had learned about freedom of arm movement. Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing.","Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing. He would remark to his students about \"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\"","He would remark to his students about \"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\" In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\"","In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\" When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through.","When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through. Rubinstein himself admitted, after a concert in Berlin in 1875, \"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\"","Rubinstein himself admitted, after a concert in Berlin in 1875, \"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\" Part of the problem might have been the sheer size of Rubinstein's hands.","Part of the problem might have been the sheer size of Rubinstein's hands. They were huge, and many observers commented on them. Josef Hofmann observed that Rubinstein's fifth finger \"was as thick as my thumb—think of it! Then his fingers were square at the ends, with cushions on them.","Then his fingers were square at the ends, with cushions on them. It was a wonderful hand.\" Pianist Josef Lhévinne described them as \"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\"","Pianist Josef Lhévinne described them as \"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\" The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \"Nothing cramped about him!","The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \"Nothing cramped about him! He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\"","He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\" Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness.","Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness. Those who valued interpretation as much or more than pure technique found much to praise. Pianist and conductor Hans von Bülow called Rubinstein \"the Michelangelo of music.\"","Pianist and conductor Hans von Bülow called Rubinstein \"the Michelangelo of music.\" The German critic Ludwig Rellstab called him \"the Hercules of the piano; the Jupiter Tonans of the instrument.\" Tone Pressman attested to the singing quality of Rubinstein's playing, and much more: \"His tone was strikingly full and deep.","Tone Pressman attested to the singing quality of Rubinstein's playing, and much more: \"His tone was strikingly full and deep. With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres.","With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres. With him, the piano sang as Patti sang, as Rubini sang.\" Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists.","Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists. Fellow pianist Rafael Joseffy compared it to \"a golden French horn.\" Rubinstein himself told an interviewer, \"Strength with lightness, that is one secret of my touch...","Rubinstein himself told an interviewer, \"Strength with lightness, that is one secret of my touch... I have sat hours trying to imitate the timbre of Rubini's voice in my playing.\" Rubinstein told the young Rachmaninoff how he achieved that tone. \"Just press upon the keys until the blood oozes from your fingertips\".","\"Just press upon the keys until the blood oozes from your fingertips\". When he wanted to, Rubinstein could play with extreme lightness, grace and delicacy. He rarely displayed that side of his nature, however. He had learned quickly that audiences came to hear him thunder, so he accommodated them.","He had learned quickly that audiences came to hear him thunder, so he accommodated them. Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before.","Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before. During this tour, Rubinstein received more press attention than any other figure until the appearance of Ignacy Jan Paderewski a generation later. Programs Rubinstein's concert programs were often gargantuan.","Programs Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A).","101 in A). 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman.","Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note.","He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note. Rubinstein was most famous for his series of historical recitals—seven consecutive concerts covering the history of piano music. Each of these programs was enormous.","Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital.","Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert.","This did not include encores, which Rubinstein sprayed liberally at every concert. Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873. Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe.","Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge.","In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge. Rachmaninoff on Rubinstein Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student.","Rachmaninoff on Rubinstein Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student. Forty-four years later he told his biographer Oscar von Riesemann, \"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\"","Forty-four years later he told his biographer Oscar von Riesemann, \"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\" Rachmaninoff explained to von Riesemann, \"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\"","Rachmaninoff explained to von Riesemann, \"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\" Rachmaninoff's detailed description to von Riesemann is of interest: Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished.","Rachmaninoff's detailed description to von Riesemann is of interest: Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished. One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone...","One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone... I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \"fluttering away of the little bird\" would be hopelessly inadequate.","I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \"fluttering away of the little bird\" would be hopelessly inadequate. Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner.","Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner. One of Rubinstein's greatest secrets was his use of the pedal.","One of Rubinstein's greatest secrets was his use of the pedal. He himself very happily expressed his ideas on the subject when he said, \"The pedal is the soul of the piano.\" No pianist should ever forget this.","No pianist should ever forget this. Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \"Funeral March\" Sonata—both became cornerstones of Rachmaninoff's own recital programs.","Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \"Funeral March\" Sonata—both became cornerstones of Rachmaninoff's own recital programs. Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work.","Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work. Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later.","Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later. In Rubinstein's defense, however, Rachmaninoff said that \"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\"","In Rubinstein's defense, however, Rachmaninoff said that \"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\" Conducting Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867.","Conducting Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867. He also did his share of guest conducting both before and after his tenure with the RMS.","He also did his share of guest conducting both before and after his tenure with the RMS. Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences.","Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences. Teacher As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work.","Teacher As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work. He could also be exacting and expected as much from them as he gave to them.","He could also be exacting and expected as much from them as he gave to them. According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference.","According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference. This assignment would be due the following day.","This assignment would be due the following day. At other times, he would expect students to improvise a minuet, a rondo, a polonaise or some other musical form. Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead.","Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead. He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano.","He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano. Notable students include pianists Josef Hofmann and Sandra Drouker.","Notable students include pianists Josef Hofmann and Sandra Drouker. Composition By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \"but as a composer performing his symphonies, concertos, operas, trios, etc.\"","Composition By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \"but as a composer performing his symphonies, concertos, operas, trios, etc.\" Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote).","Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote). Edward Garden writes in the New Grove, Rubinstein composed assiduously during all periods of his life.","Edward Garden writes in the New Grove, Rubinstein composed assiduously during all periods of his life. He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved.","He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved. Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn.","Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn. Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music.","Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music. Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching.","Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching. Robert Schumann and Felix Mendelssohn were the strongest influences on Rubinstein's music. Consequently, Rubinstein's music demonstrates none of the nationalism of The Five.","Consequently, Rubinstein's music demonstrates none of the nationalism of The Five. Rubinstein also had a tendency to rush in composing his pieces, resulting in good ideas such as those in his Ocean Symphony being developed in less-than-exemplary ways. As Paderewski was later to remark, \"He had not the necessary concentration of patience for a composer...","As Paderewski was later to remark, \"He had not the necessary concentration of patience for a composer... He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\"","He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\" Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ...","Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ... The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s.","The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s. After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire.","After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire. Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev.","Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev. Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism.","Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism. Amongst his better known works are the opera The Demon, his Piano Concerto No. 4, and his Symphony No. 2, known as The Ocean.","2, known as The Ocean. Rubinstein's repartee Rubinstein was as well known during his lifetime for his sarcasm as well as his sometimes penetrating insight. During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him.","During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him. After a long silence, Rubinstein told Cortot, \"My boy, don't you ever forget what I am going to tell you. Beethoven's music must not be studied. It must be reincarnated.\"","It must be reincarnated.\" It must be reincarnated.\" Cortot reportedly never forgot those words. Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase.","Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase. His manner with them was a combination of raw, sometimes violent criticism and good humor.","His manner with them was a combination of raw, sometimes violent criticism and good humor. Hofmann wrote of one such lesson: Once I played a Liszt rhapsody pretty badly. After a little of it, Rubinstein said, \"The way you play this piece would be all right for Auntie or Mamma.\"","After a little of it, Rubinstein said, \"The way you play this piece would be all right for Auntie or Mamma.\" Then rising and coming toward me, he said, \"Now let us see how play such things.\" ...","... ... I began again, but I had not played more than a few measures when Rubinstein said loudly, \"Have you begun?\" \"Yes, Master, I certainly have.\" \"Oh,\" said Rubinstein vaguely, \"I didn't notice.\" ... Rubinstein did not so much instruct me.","... Rubinstein did not so much instruct me. Merely he let me learn from him ...","Merely he let me learn from him ... If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do.","If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do. Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts.","Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts. When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \"When you are as old as I am, you may do as I do.\"","When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \"When you are as old as I am, you may do as I do.\" Then Rubinstein added, \"If you can\". Nor did Rubinstein adjust the tenor of his comments for those of high rank.","Nor did Rubinstein adjust the tenor of his comments for those of high rank. After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility.","After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility. At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift.","At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift. Rubinstein replied bluntly, to the crowd's horror, \"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\"","Rubinstein replied bluntly, to the crowd's horror, \"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\" Rubinstein's voice The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison.","Rubinstein's voice The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison. Rubinstein is heard to make a complimentary remark about the phonograph recorder. References Sources In Russian (2 vol.) In German (3 vol.) In English (29 vols.)","In English (29 vols.) Further reading Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995) Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991) Rubinstein, Anton Grigorevich, ed.","Further reading Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995) Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991) Rubinstein, Anton Grigorevich, ed. L. Barenboim, Literaturnoye Naslediye (3 vol.","L. Barenboim, Literaturnoye Naslediye (3 vol. ), (in Russian), (Moscow, 1983) External links Networking Rubinstein – his contacts in his early career Soundbites from String Quartet No.1 in G, Op.17 No.1 Anton Rubinstein recordings at the Discography of American Historical Recordings.","), (in Russian), (Moscow, 1983) External links Networking Rubinstein – his contacts in his early career Soundbites from String Quartet No.1 in G, Op.17 No.1 Anton Rubinstein recordings at the Discography of American Historical Recordings. 1829 births 1894 deaths 19th-century classical composers 19th-century classical pianists 19th-century conductors (music) 19th-century male conductors (music) Burials at Tikhvin Cemetery Composers for piano Converts to Eastern Orthodoxy from Judaism Founders of Russian educational institutions Jewish atheists Jewish classical composers Jewish classical pianists Jewish opera composers Male classical pianists Male opera composers People from Baltsky Uyezd People from Rîbnița District Pupils of Siegfried Dehn Pyotr Ilyich Tchaikovsky Recipients of the Pour le Mérite (civil class) Royal Philharmonic Society Gold Medallists Russian atheists Russian classical pianists Russian conductors (music) Russian male conductors (music) Russian Jews Russian male classical composers Russian music educators Russian opera composers Russian Romantic composers"],"string":"[\n \"Anton Grigoryevich Rubinstein (; ) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein, who founded the Moscow Conservatory. As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos.\",\n \"As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals—seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.\",\n \"Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there. Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life.\",\n \"Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life. He wrote 20 operas, the best known of which is The Demon.\",\n \"He wrote 20 operas, the best known of which is The Demon. He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble.\",\n \"He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble. Early life and education Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa.\",\n \"Early life and education Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa. Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy.\",\n \"Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy. Although he was raised as a Christian, Rubinstein would later become an atheist. Rubinstein's father opened a pencil factory in Moscow.\",\n \"Rubinstein's father opened a pencil factory in Moscow. His mother, a competent musician, began giving him piano lessons at five, until the teacher heard and accepted Rubinstein as a non-paying student. Rubinstein made his first public appearance at a charity benefit concert at the age of nine.\",\n \"Rubinstein made his first public appearance at a charity benefit concert at the age of nine. Later that year Rubinstein's mother sent him, accompanied by Villoing, to Paris where he sought unsuccessfully to enroll at the Paris Conservatoire. Rubinstein and Villoing remained in Paris for a year.\",\n \"Rubinstein and Villoing remained in Paris for a year. In December 1840, Rubinstein played in the Salle Érard for an audience that included Frédéric Chopin and Franz Liszt. Chopin invited Rubinstein to his studio and played for him.\",\n \"Chopin invited Rubinstein to his studio and played for him. Liszt advised Villoing to take him to Germany to study composition; however, Villoing took Rubinstein on an extended concert tour of Europe and Western Russia. They finally returned to Moscow in June 1843.\",\n \"They finally returned to Moscow in June 1843. Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace.\",\n \"Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace. Anton was 14 years old; Nikolai was eight.\",\n \"Anton was 14 years old; Nikolai was eight. Travel and performance Berlin In spring 1844, Rubinstein, Nikolai, his mother and his sister Luba travelled to Berlin. Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer.\",\n \"Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer. Mendelssohn, who had heard Rubinstein when he had toured with Villoing, said he needed no further piano study but sent Nikolai to Theodor Kullak for instruction. Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory.\",\n \"Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory. Word came in the summer of 1846 that Rubinstein's father was gravely ill. Rubinstein was left in Berlin while his mother, sister and brother returned to Russia. At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest.\",\n \"At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest. Now 17, he knew he could no longer pass as a child prodigy. He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil.\",\n \"He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil. However, after Rubinstein had played his audition, Liszt is reported to have said, \\\"A talented man must win the goal of his ambition by his own unassisted efforts.\\\" At this point, Rubinstein was living in acute poverty.\",\n \"At this point, Rubinstein was living in acute poverty. Liszt did nothing to help him. Other calls Rubinstein made to potential patrons came to no avail. After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons.\",\n \"After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons. Back to Russia The Revolution of 1848 forced Rubinstein back to Russia. Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court.\",\n \"Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court. The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness.\",\n \"The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness. By 1852, he had become a leading figure in Saint Petersburg's musical life, performing as a soloist and collaborating with some of the outstanding instrumentalists and vocalists who came to the Russian capital. He also composed assiduously.\",\n \"He also composed assiduously. He also composed assiduously. After a number of delays, including some difficulties with the censor, Rubinstein's first opera, Dmitry Donskoy (now lost except for the overture), was performed at the Bolshoy Theater in Saint Petersburg in 1852. Three one-act operas written for Elena Pavlovna followed.\",\n \"Three one-act operas written for Elena Pavlovna followed. He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works.\",\n \"He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works. It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist.\",\n \"It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist. Abroad once more In 1854, Rubinstein began a four-year concert tour of Europe. This was his first major concert tour in a decade.\",\n \"This was his first major concert tour in a decade. Now 24, he felt ready to offer himself to the public as a fully developed pianist as well as a composer of worth. He very shortly reestablished his reputation as a virtuoso.\",\n \"He very shortly reestablished his reputation as a virtuoso. Ignaz Moscheles wrote in 1855 what would become a widespread opinion about Rubinstein: \\\"In power and execution he is inferior to no one.\\\" As was the penchant at the time, much of what Rubinstein played were his own compositions.\",\n \"As was the penchant at the time, much of what Rubinstein played were his own compositions. At several concerts, Rubinstein alternated between conducting his orchestral works and playing as soloist in one of his piano concertos. One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854.\",\n \"One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854. Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later.\",\n \"Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later. Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice.\",\n \"Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice. Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859.\",\n \"Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859. Opening the St. Petersburg Conservatory The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862.\",\n \"Opening the St. Petersburg Conservatory The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862. Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty.\",\n \"Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty. Some in Russian society were surprised that a Russian music school would actually attempt to be Russian.\",\n \"Some in Russian society were surprised that a Russian music school would actually attempt to be Russian. One \\\"fashionable lady\\\", when told by Rubinstein that classes would be taught in Russian and not a foreign language, exclaimed, \\\"What, music in Russian! That is an original idea!\\\"\",\n \"That is an original idea!\\\" Rubinstein adds, And surely it was surprising that the theory of Music was to be taught for the first time in the Russian language at our Conservatory... Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany.\",\n \"Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany. There were also those who feared the school would not be Russian enough. Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five.\",\n \"Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five. Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world.\",\n \"Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world. Actually the Conservatory raise the level of musical culture in Russia.\",\n \"Actually the Conservatory raise the level of musical culture in Russia. The unconventional way chosen by Balakirev and his friends was not necessarily the right one for everybody else. It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871.\",\n \"It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871. Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \\\"interesting and well done,\\\" though \\\"episodic,\\\" and the opera Ivan IV Grozniy, which was premiered by Balakirev.\",\n \"Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \\\"interesting and well done,\\\" though \\\"episodic,\\\" and the opera Ivan IV Grozniy, which was premiered by Balakirev. Borodin commented on Ivan IV that \\\"the music is good, you just cannot recognize that it is Rubinstein.\",\n \"Borodin commented on Ivan IV that \\\"the music is good, you just cannot recognize that it is Rubinstein. There is nothing that is Mendelssohnian, nothing as he used to write formerly.\\\"\",\n \"There is nothing that is Mendelssohnian, nothing as he used to write formerly.\\\" The American tour By 1867, ongoing tensions with the Balakirev camp, along with related matters, led to intense dissension within the Conservatory's faculty. Rubinstein resigned and returned to touring throughout Europe.\",\n \"Rubinstein resigned and returned to touring throughout Europe. Unlike his previous tours, he began increasingly featuring the works of other composers. In previous tours, Rubinstein had played primarily his own works. At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season.\",\n \"At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season. Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid.\",\n \"Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid. Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities.\",\n \"Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities. Rubinstein wrote of his American experience, May Heaven preserve us from such slavery!\",\n \"Rubinstein wrote of his American experience, May Heaven preserve us from such slavery! Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost...\",\n \"Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost... The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art.\",\n \"The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art. So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank...\",\n \"So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank... Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life.\",\n \"Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life. Upon his return to Russia, he \\\"hastened to invest in real estate\\\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family.\",\n \"Upon his return to Russia, he \\\"hastened to invest in real estate\\\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family. Later life Rubinstein continued to make tours as a pianist and give appearances as a conductor.\",\n \"Later life Rubinstein continued to make tours as a pianist and give appearances as a conductor. In 1887, he returned to the Saint Petersburg Conservatory with the goal of improving overall standards. He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum.\",\n \"He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum. He led semi-weekly teachers' classes through the whole keyboard literature and gave some of the more gifted piano students personal coaching. During the 1889–90 academic year he gave weekly lecture-recitals for the students.\",\n \"During the 1889–90 academic year he gave weekly lecture-recitals for the students. He resigned again—and left Russia—in 1891 over Imperial demands that Conservatory admittance, and later annual prizes to students, be awarded along ethnic quotas instead of purely by merit. These quotas were designed to effectively disadvantage Jews.\",\n \"These quotas were designed to effectively disadvantage Jews. Rubinstein resettled in Dresden and started giving concerts again in Germany and Austria. Nearly all of these concerts were charity benefit events. Rubinstein also coached a few pianists and taught his only private piano student, Josef Hofmann. Hofmann would become one of the finest keyboard artists of the 20th century.\",\n \"Hofmann would become one of the finest keyboard artists of the 20th century. Despite his sentiments on ethnic politics in Russia, Rubinstein returned there occasionally to visit friends and family. He gave his final concert in Saint Petersburg on 14 January 1894. With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894.\",\n \"With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894. He died there on 20 November of that year, having suffered from heart disease for some time. The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him.\",\n \"The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him. Pianism \\\"Van II\\\" Many contemporaries felt he bore a striking resemblance to Ludwig van Beethoven. Ignaz Moscheles, who had known Beethoven intimately, wrote, \\\"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\\\"\",\n \"Ignaz Moscheles, who had known Beethoven intimately, wrote, \\\"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\\\" Liszt referred to Rubinstein as \\\"Van II.\\\" This resemblance was also felt to be in Rubinstein's keyboard playing. Under his hands, it was said, the piano erupted volcanically.\",\n \"Under his hands, it was said, the piano erupted volcanically. Audience members wrote of going home limp after one of his recitals, knowing they had witnessed a force of nature. Sometimes Rubinstein's playing was too much for listeners to handle.\",\n \"Sometimes Rubinstein's playing was too much for listeners to handle. American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \\\"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much.\",\n \"American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \\\"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much. Give me Rubinstein for a few pieces, but Tausig for a whole evening.\\\"\",\n \"Give me Rubinstein for a few pieces, but Tausig for a whole evening.\\\" She heard Rubinstein play \\\"a terrific piece by Schubert,\\\" reportedly the Wanderer Fantasie. The performance gave her such a violent headache that the rest of the recital was ruined for her. Clara Schumann proved especially vehement.\",\n \"Clara Schumann proved especially vehement. Clara Schumann proved especially vehement. After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \\\"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\\\"\",\n \"After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \\\"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\\\" Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau.\",\n \"Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau. She noted in her diary, \\\"I was furious, for he no longer plays. Either there is a perfectly wild noise or else a whisper with the soft pedal down.\",\n \"Either there is a perfectly wild noise or else a whisper with the soft pedal down. And a would-be cultured audience puts up with a performance like that!\\\"\",\n \"And a would-be cultured audience puts up with a performance like that!\\\" On the other hand, when Rubinstein played Beethoven's \\\"Archduke\\\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls: It was the first time I had heard this great artist play.\",\n \"On the other hand, when Rubinstein played Beethoven's \\\"Archduke\\\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls: It was the first time I had heard this great artist play. He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme...\",\n \"He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme... It seemed to me I had never before heard the piano really played.\",\n \"It seemed to me I had never before heard the piano really played. The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ... Violinist and composer Henri Vieuxtemps adds: His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten.\",\n \"The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ... Violinist and composer Henri Vieuxtemps adds: His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten. I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op.\",\n \"I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op. 57 [Appassionata], which Rubinstein executed for us with unimagined mastery. Viennese music critic Eduard Hanslick expressed what Schonberg calls \\\"the majority point of view\\\" in an 1884 review.\",\n \"Viennese music critic Eduard Hanslick expressed what Schonberg calls \\\"the majority point of view\\\" in an 1884 review. After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners.\",\n \"After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners. Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness.\",\n \"Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness. \\\"Yes, he plays like a god\\\", Hanslick writes in closing, \\\"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\\\".\",\n \"\\\"Yes, he plays like a god\\\", Hanslick writes in closing, \\\"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\\\". Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm.\",\n \"Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm. His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall.\",\n \"His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall. In playing, Rubinstein created, and he created inimitably and with genius.\",\n \"In playing, Rubinstein created, and he created inimitably and with genius. He often treated the same program absolutely differently when he played it the second time, but, more astoundingly still, everything came out wonderfully on both occasions. Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled.\",\n \"Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled. Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song.\",\n \"Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song. He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable.\",\n \"He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable. It was superb.\\\"\",\n \"It was superb.\\\" It was superb.\\\" Technique Villoing had worked with Rubinstein on hand position and finger dexterity. From watching Liszt, Rubinstein had learned about freedom of arm movement. Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing.\",\n \"Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing. He would remark to his students about \\\"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\\\"\",\n \"He would remark to his students about \\\"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\\\" In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \\\"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\\\"\",\n \"In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \\\"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\\\" When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through.\",\n \"When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through. Rubinstein himself admitted, after a concert in Berlin in 1875, \\\"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\\\"\",\n \"Rubinstein himself admitted, after a concert in Berlin in 1875, \\\"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\\\" Part of the problem might have been the sheer size of Rubinstein's hands.\",\n \"Part of the problem might have been the sheer size of Rubinstein's hands. They were huge, and many observers commented on them. Josef Hofmann observed that Rubinstein's fifth finger \\\"was as thick as my thumb—think of it! Then his fingers were square at the ends, with cushions on them.\",\n \"Then his fingers were square at the ends, with cushions on them. It was a wonderful hand.\\\" Pianist Josef Lhévinne described them as \\\"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\\\"\",\n \"Pianist Josef Lhévinne described them as \\\"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\\\" The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \\\"Nothing cramped about him!\",\n \"The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \\\"Nothing cramped about him! He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\\\"\",\n \"He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\\\" Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness.\",\n \"Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness. Those who valued interpretation as much or more than pure technique found much to praise. Pianist and conductor Hans von Bülow called Rubinstein \\\"the Michelangelo of music.\\\"\",\n \"Pianist and conductor Hans von Bülow called Rubinstein \\\"the Michelangelo of music.\\\" The German critic Ludwig Rellstab called him \\\"the Hercules of the piano; the Jupiter Tonans of the instrument.\\\" Tone Pressman attested to the singing quality of Rubinstein's playing, and much more: \\\"His tone was strikingly full and deep.\",\n \"Tone Pressman attested to the singing quality of Rubinstein's playing, and much more: \\\"His tone was strikingly full and deep. With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres.\",\n \"With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres. With him, the piano sang as Patti sang, as Rubini sang.\\\" Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists.\",\n \"Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists. Fellow pianist Rafael Joseffy compared it to \\\"a golden French horn.\\\" Rubinstein himself told an interviewer, \\\"Strength with lightness, that is one secret of my touch...\",\n \"Rubinstein himself told an interviewer, \\\"Strength with lightness, that is one secret of my touch... I have sat hours trying to imitate the timbre of Rubini's voice in my playing.\\\" Rubinstein told the young Rachmaninoff how he achieved that tone. \\\"Just press upon the keys until the blood oozes from your fingertips\\\".\",\n \"\\\"Just press upon the keys until the blood oozes from your fingertips\\\". When he wanted to, Rubinstein could play with extreme lightness, grace and delicacy. He rarely displayed that side of his nature, however. He had learned quickly that audiences came to hear him thunder, so he accommodated them.\",\n \"He had learned quickly that audiences came to hear him thunder, so he accommodated them. Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before.\",\n \"Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before. During this tour, Rubinstein received more press attention than any other figure until the appearance of Ignacy Jan Paderewski a generation later. Programs Rubinstein's concert programs were often gargantuan.\",\n \"Programs Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A).\",\n \"101 in A). 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman.\",\n \"Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note.\",\n \"He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note. Rubinstein was most famous for his series of historical recitals—seven consecutive concerts covering the history of piano music. Each of these programs was enormous.\",\n \"Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital.\",\n \"Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert.\",\n \"This did not include encores, which Rubinstein sprayed liberally at every concert. Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873. Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe.\",\n \"Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge.\",\n \"In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge. Rachmaninoff on Rubinstein Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student.\",\n \"Rachmaninoff on Rubinstein Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student. Forty-four years later he told his biographer Oscar von Riesemann, \\\"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\\\"\",\n \"Forty-four years later he told his biographer Oscar von Riesemann, \\\"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\\\" Rachmaninoff explained to von Riesemann, \\\"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\\\"\",\n \"Rachmaninoff explained to von Riesemann, \\\"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\\\" Rachmaninoff's detailed description to von Riesemann is of interest: Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished.\",\n \"Rachmaninoff's detailed description to von Riesemann is of interest: Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished. One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone...\",\n \"One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone... I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \\\"fluttering away of the little bird\\\" would be hopelessly inadequate.\",\n \"I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \\\"fluttering away of the little bird\\\" would be hopelessly inadequate. Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner.\",\n \"Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner. One of Rubinstein's greatest secrets was his use of the pedal.\",\n \"One of Rubinstein's greatest secrets was his use of the pedal. He himself very happily expressed his ideas on the subject when he said, \\\"The pedal is the soul of the piano.\\\" No pianist should ever forget this.\",\n \"No pianist should ever forget this. Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \\\"Funeral March\\\" Sonata—both became cornerstones of Rachmaninoff's own recital programs.\",\n \"Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \\\"Funeral March\\\" Sonata—both became cornerstones of Rachmaninoff's own recital programs. Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work.\",\n \"Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work. Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later.\",\n \"Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later. In Rubinstein's defense, however, Rachmaninoff said that \\\"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\\\"\",\n \"In Rubinstein's defense, however, Rachmaninoff said that \\\"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\\\" Conducting Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867.\",\n \"Conducting Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867. He also did his share of guest conducting both before and after his tenure with the RMS.\",\n \"He also did his share of guest conducting both before and after his tenure with the RMS. Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences.\",\n \"Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences. Teacher As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work.\",\n \"Teacher As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work. He could also be exacting and expected as much from them as he gave to them.\",\n \"He could also be exacting and expected as much from them as he gave to them. According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference.\",\n \"According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference. This assignment would be due the following day.\",\n \"This assignment would be due the following day. At other times, he would expect students to improvise a minuet, a rondo, a polonaise or some other musical form. Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead.\",\n \"Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead. He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano.\",\n \"He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano. Notable students include pianists Josef Hofmann and Sandra Drouker.\",\n \"Notable students include pianists Josef Hofmann and Sandra Drouker. Composition By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \\\"but as a composer performing his symphonies, concertos, operas, trios, etc.\\\"\",\n \"Composition By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \\\"but as a composer performing his symphonies, concertos, operas, trios, etc.\\\" Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote).\",\n \"Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote). Edward Garden writes in the New Grove, Rubinstein composed assiduously during all periods of his life.\",\n \"Edward Garden writes in the New Grove, Rubinstein composed assiduously during all periods of his life. He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved.\",\n \"He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved. Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn.\",\n \"Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn. Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music.\",\n \"Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music. Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching.\",\n \"Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching. Robert Schumann and Felix Mendelssohn were the strongest influences on Rubinstein's music. Consequently, Rubinstein's music demonstrates none of the nationalism of The Five.\",\n \"Consequently, Rubinstein's music demonstrates none of the nationalism of The Five. Rubinstein also had a tendency to rush in composing his pieces, resulting in good ideas such as those in his Ocean Symphony being developed in less-than-exemplary ways. As Paderewski was later to remark, \\\"He had not the necessary concentration of patience for a composer...\",\n \"As Paderewski was later to remark, \\\"He had not the necessary concentration of patience for a composer... He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\\\"\",\n \"He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\\\" Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ...\",\n \"Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ... The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s.\",\n \"The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s. After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire.\",\n \"After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire. Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev.\",\n \"Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev. Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism.\",\n \"Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism. Amongst his better known works are the opera The Demon, his Piano Concerto No. 4, and his Symphony No. 2, known as The Ocean.\",\n \"2, known as The Ocean. Rubinstein's repartee Rubinstein was as well known during his lifetime for his sarcasm as well as his sometimes penetrating insight. During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him.\",\n \"During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him. After a long silence, Rubinstein told Cortot, \\\"My boy, don't you ever forget what I am going to tell you. Beethoven's music must not be studied. It must be reincarnated.\\\"\",\n \"It must be reincarnated.\\\" It must be reincarnated.\\\" Cortot reportedly never forgot those words. Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase.\",\n \"Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase. His manner with them was a combination of raw, sometimes violent criticism and good humor.\",\n \"His manner with them was a combination of raw, sometimes violent criticism and good humor. Hofmann wrote of one such lesson: Once I played a Liszt rhapsody pretty badly. After a little of it, Rubinstein said, \\\"The way you play this piece would be all right for Auntie or Mamma.\\\"\",\n \"After a little of it, Rubinstein said, \\\"The way you play this piece would be all right for Auntie or Mamma.\\\" Then rising and coming toward me, he said, \\\"Now let us see how play such things.\\\" ...\",\n \"... ... I began again, but I had not played more than a few measures when Rubinstein said loudly, \\\"Have you begun?\\\" \\\"Yes, Master, I certainly have.\\\" \\\"Oh,\\\" said Rubinstein vaguely, \\\"I didn't notice.\\\" ... Rubinstein did not so much instruct me.\",\n \"... Rubinstein did not so much instruct me. Merely he let me learn from him ...\",\n \"Merely he let me learn from him ... If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do.\",\n \"If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do. Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts.\",\n \"Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts. When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \\\"When you are as old as I am, you may do as I do.\\\"\",\n \"When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \\\"When you are as old as I am, you may do as I do.\\\" Then Rubinstein added, \\\"If you can\\\". Nor did Rubinstein adjust the tenor of his comments for those of high rank.\",\n \"Nor did Rubinstein adjust the tenor of his comments for those of high rank. After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility.\",\n \"After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility. At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift.\",\n \"At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift. Rubinstein replied bluntly, to the crowd's horror, \\\"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\\\"\",\n \"Rubinstein replied bluntly, to the crowd's horror, \\\"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\\\" Rubinstein's voice The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison.\",\n \"Rubinstein's voice The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison. Rubinstein is heard to make a complimentary remark about the phonograph recorder. References Sources In Russian (2 vol.) In German (3 vol.) In English (29 vols.)\",\n \"In English (29 vols.) Further reading Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995) Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991) Rubinstein, Anton Grigorevich, ed.\",\n \"Further reading Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995) Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991) Rubinstein, Anton Grigorevich, ed. L. Barenboim, Literaturnoye Naslediye (3 vol.\",\n \"L. Barenboim, Literaturnoye Naslediye (3 vol. ), (in Russian), (Moscow, 1983) External links Networking Rubinstein – his contacts in his early career Soundbites from String Quartet No.1 in G, Op.17 No.1 Anton Rubinstein recordings at the Discography of American Historical Recordings.\",\n \"), (in Russian), (Moscow, 1983) External links Networking Rubinstein – his contacts in his early career Soundbites from String Quartet No.1 in G, Op.17 No.1 Anton Rubinstein recordings at the Discography of American Historical Recordings. 1829 births 1894 deaths 19th-century classical composers 19th-century classical pianists 19th-century conductors (music) 19th-century male conductors (music) Burials at Tikhvin Cemetery Composers for piano Converts to Eastern Orthodoxy from Judaism Founders of Russian educational institutions Jewish atheists Jewish classical composers Jewish classical pianists Jewish opera composers Male classical pianists Male opera composers People from Baltsky Uyezd People from Rîbnița District Pupils of Siegfried Dehn Pyotr Ilyich Tchaikovsky Recipients of the Pour le Mérite (civil class) Royal Philharmonic Society Gold Medallists Russian atheists Russian classical pianists Russian conductors (music) Russian male conductors (music) Russian Jews Russian male classical composers Russian music educators Russian opera composers Russian Romantic composers\"\n]"}}},{"rowIdx":496,"cells":{"History":{"kind":"list like","value":["Anton Rubinstein","Programs","What programs was he apart of?","Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna,","Are there any other interesting aspects about this article?","Rubinstein was most famous for his series of historical recitals--seven consecutive concerts covering the history of piano music.","What was the name of his series?","I don't know.","What was some of his concerts?","Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873."],"string":"[\n \"Anton Rubinstein\",\n \"Programs\",\n \"What programs was he apart of?\",\n \"Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna,\",\n \"Are there any other interesting aspects about this article?\",\n \"Rubinstein was most famous for his series of historical recitals--seven consecutive concerts covering the history of piano music.\",\n \"What was the name of his series?\",\n \"I don't know.\",\n \"What was some of his concerts?\",\n \"Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873.\"\n]"},"QuAC_dialog_id":{"kind":"string","value":"C_abfaf1bc5d7a4878916e69b3dc8922b2_0"},"Question":{"kind":"string","value":"did he tour again?"},"Question_no":{"kind":"number","value":5,"string":"5"},"Rewrite":{"kind":"string","value":"Other than his American tour, did Anton Rubinstein tour again?"},"true_page_title":{"kind":"string","value":"Anton Rubinstein"},"true_contexts":{"kind":"string","value":"Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note. Rubinstein was most famous for his series of historical recitals--seven consecutive concerts covering the history of piano music. Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert. Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873. Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge. CANNOTANSWER"},"answer":{"kind":"string","value":"Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility,"},"true_contexts_wiki":{"kind":"string","value":"Anton Grigoryevich Rubinstein (; ) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein, who founded the Moscow Conservatory.\n\nAs a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals—seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.\n\nAlthough best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life. He wrote 20 operas, the best known of which is The Demon. He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble.\n\nEarly life and education\n\nRubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa. Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy. Although he was raised as a Christian, Rubinstein would later become an atheist.\n\nRubinstein's father opened a pencil factory in Moscow. His mother, a competent musician, began giving him piano lessons at five, until the teacher heard and accepted Rubinstein as a non-paying student. Rubinstein made his first public appearance at a charity benefit concert at the age of nine. Later that year Rubinstein's mother sent him, accompanied by Villoing, to Paris where he sought unsuccessfully to enroll at the Paris Conservatoire.\n\nRubinstein and Villoing remained in Paris for a year. In December 1840, Rubinstein played in the Salle Érard for an audience that included Frédéric Chopin and Franz Liszt. Chopin invited Rubinstein to his studio and played for him. Liszt advised Villoing to take him to Germany to study composition; however, Villoing took Rubinstein on an extended concert tour of Europe and Western Russia. They finally returned to Moscow in June 1843. Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace. Anton was 14 years old; Nikolai was eight.\n\nTravel and performance\n\nBerlin\nIn spring 1844, Rubinstein, Nikolai, his mother and his sister Luba travelled to Berlin. Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer.\nMendelssohn, who had heard Rubinstein when he had toured with Villoing, said he needed no further piano study but sent Nikolai to Theodor Kullak for instruction. Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory.\n\nWord came in the summer of 1846 that Rubinstein's father was gravely ill. Rubinstein was left in Berlin while his mother, sister and brother returned to Russia. At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest. Now 17, he knew he could no longer pass as a child prodigy. He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil. However, after Rubinstein had played his audition, Liszt is reported to have said, \"A talented man must win the goal of his ambition by his own unassisted efforts.\" At this point, Rubinstein was living in acute poverty. Liszt did nothing to help him. Other calls Rubinstein made to potential patrons came to no avail. After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons.\n\nBack to Russia\nThe Revolution of 1848 forced Rubinstein back to Russia. Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court. The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness. By 1852, he had become a leading figure in Saint Petersburg's musical life, performing as a soloist and collaborating with some of the outstanding instrumentalists and vocalists who came to the Russian capital.\n\nHe also composed assiduously. After a number of delays, including some difficulties with the censor, Rubinstein's first opera, Dmitry Donskoy (now lost except for the overture), was performed at the Bolshoy Theater in Saint Petersburg in 1852. Three one-act operas written for Elena Pavlovna followed. He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works. It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist.\n\nAbroad once more\n\nIn 1854, Rubinstein began a four-year concert tour of Europe. This was his first major concert tour in a decade. Now 24, he felt ready to offer himself to the public as a fully developed pianist as well as a composer of worth. He very shortly reestablished his reputation as a virtuoso. Ignaz Moscheles wrote in 1855 what would become a widespread opinion about Rubinstein: \"In power and execution he is inferior to no one.\"\n\nAs was the penchant at the time, much of what Rubinstein played were his own compositions. At several concerts, Rubinstein alternated between conducting his orchestral works and playing as soloist in one of his piano concertos. One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854. Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later.\n\nRubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice. Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859.\n\nOpening the St. Petersburg Conservatory\nThe opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862. Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty.\n\nSome in Russian society were surprised that a Russian music school would actually attempt to be Russian. One \"fashionable lady\", when told by Rubinstein that classes would be taught in Russian and not a foreign language, exclaimed, \"What, music in Russian! That is an original idea!\" Rubinstein adds, And surely it was surprising that the theory of Music was to be taught for the first time in the Russian language at our Conservatory... Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany.\nThere were also those who feared the school would not be Russian enough. Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five. Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world. Actually the Conservatory raise the level of musical culture in Russia. The unconventional way chosen by Balakirev and his friends was not necessarily the right one for everybody else.\nIt was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871. Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \"interesting and well done,\" though \"episodic,\" and the opera Ivan IV Grozniy, which was premiered by Balakirev. Borodin commented on Ivan IV that \"the music is good, you just cannot recognize that it is Rubinstein. There is nothing that is Mendelssohnian, nothing as he used to write formerly.\"\n\nThe American tour\nBy 1867, ongoing tensions with the Balakirev camp, along with related matters, led to intense dissension within the Conservatory's faculty. Rubinstein resigned and returned to touring throughout Europe. Unlike his previous tours, he began increasingly featuring the works of other composers. In previous tours, Rubinstein had played primarily his own works.\n\nAt the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season. Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid. Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities.\n\nRubinstein wrote of his American experience, May Heaven preserve us from such slavery! Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost... The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art. So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank...\nDespite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life. Upon his return to Russia, he \"hastened to invest in real estate\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family.\n\nLater life\nRubinstein continued to make tours as a pianist and give appearances as a conductor. In 1887, he returned to the Saint Petersburg Conservatory with the goal of improving overall standards. He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum. He led semi-weekly teachers' classes through the whole keyboard literature and gave some of the more gifted piano students personal coaching. During the 1889–90 academic year he gave weekly lecture-recitals for the students. He resigned again—and left Russia—in 1891 over Imperial demands that Conservatory admittance, and later annual prizes to students, be awarded along ethnic quotas instead of purely by merit. These quotas were designed to effectively disadvantage Jews. Rubinstein resettled in Dresden and started giving concerts again in Germany and Austria. Nearly all of these concerts were charity benefit events.\n\nRubinstein also coached a few pianists and taught his only private piano student, Josef Hofmann. Hofmann would become one of the finest keyboard artists of the 20th century.\n\nDespite his sentiments on ethnic politics in Russia, Rubinstein returned there occasionally to visit friends and family. He gave his final concert in Saint Petersburg on 14 January 1894. With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894. He died there on 20 November of that year, having suffered from heart disease for some time.\n\nThe former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him.\n\nPianism\n\n\"Van II\"\nMany contemporaries felt he bore a striking resemblance to Ludwig van Beethoven. Ignaz Moscheles, who had known Beethoven intimately, wrote, \"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\" Liszt referred to Rubinstein as \"Van II.\" This resemblance was also felt to be in Rubinstein's keyboard playing. Under his hands, it was said, the piano erupted volcanically. Audience members wrote of going home limp after one of his recitals, knowing they had witnessed a force of nature.\n\nSometimes Rubinstein's playing was too much for listeners to handle. American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much. Give me Rubinstein for a few pieces, but Tausig for a whole evening.\" She heard Rubinstein play \"a terrific piece by Schubert,\" reportedly the Wanderer Fantasie. The performance gave her such a violent headache that the rest of the recital was ruined for her.\n\nClara Schumann proved especially vehement. After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\" Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau. She noted in her diary, \"I was furious, for he no longer plays. Either there is a perfectly wild noise or else a whisper with the soft pedal down. And a would-be cultured audience puts up with a performance like that!\"\n\nOn the other hand, when Rubinstein played Beethoven's \"Archduke\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls:\nIt was the first time I had heard this great artist play. He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme... It seemed to me I had never before heard the piano really played. The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ...\nViolinist and composer Henri Vieuxtemps adds:\nHis power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten. I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op. 57 [Appassionata], which Rubinstein executed for us with unimagined mastery.\nViennese music critic Eduard Hanslick expressed what Schonberg calls \"the majority point of view\" in an 1884 review. After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners. Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness. \"Yes, he plays like a god\", Hanslick writes in closing, \"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\".\n\nSergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm. His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall. In playing, Rubinstein created, and he created inimitably and with genius. He often treated the same program absolutely differently when he played it the second time, but, more astoundingly still, everything came out wonderfully on both occasions.\n\nRubinstein was also adept at improvisation—a practice at which Beethoven had excelled. Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song. He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable. It was superb.\"\n\nTechnique\n\nVilloing had worked with Rubinstein on hand position and finger dexterity. From watching Liszt, Rubinstein had learned about freedom of arm movement. Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing. He would remark to his students about \"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\"\n\nIn his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\" When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through. Rubinstein himself admitted, after a concert in Berlin in 1875, \"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\"\n\nPart of the problem might have been the sheer size of Rubinstein's hands. They were huge, and many observers commented on them. Josef Hofmann observed that Rubinstein's fifth finger \"was as thick as my thumb—think of it! Then his fingers were square at the ends, with cushions on them. It was a wonderful hand.\" Pianist Josef Lhévinne described them as \"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\" The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \"Nothing cramped about him! He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\"\n\nBecause of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness. Those who valued interpretation as much or more than pure technique found much to praise. Pianist and conductor Hans von Bülow called Rubinstein \"the Michelangelo of music.\" The German critic Ludwig Rellstab called him \"the Hercules of the piano; the Jupiter Tonans of the instrument.\"\n\nTone\nPressman attested to the singing quality of Rubinstein's playing, and much more: \"His tone was strikingly full and deep. With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres. With him, the piano sang as Patti sang, as Rubini sang.\"\n\nSchonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists. Fellow pianist Rafael Joseffy compared it to \"a golden French horn.\" Rubinstein himself told an interviewer, \"Strength with lightness, that is one secret of my touch... I have sat hours trying to imitate the timbre of Rubini's voice in my playing.\"\n\nRubinstein told the young Rachmaninoff how he achieved that tone. \"Just press upon the keys until the blood oozes from your fingertips\". When he wanted to, Rubinstein could play with extreme lightness, grace and delicacy. He rarely displayed that side of his nature, however. He had learned quickly that audiences came to hear him thunder, so he accommodated them. Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before. During this tour, Rubinstein received more press attention than any other figure until the appearance of Ignacy Jan Paderewski a generation later.\n\nPrograms\nRubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note.\n\nRubinstein was most famous for his series of historical recitals—seven consecutive concerts covering the history of piano music. Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert.\n\nRubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873.\n\nRubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge.\n\nRachmaninoff on Rubinstein\nSergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student. Forty-four years later he told his biographer Oscar von Riesemann, \"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\"\n\nRachmaninoff explained to von Riesemann, \"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\"\n\nRachmaninoff's detailed description to von Riesemann is of interest:\n\nOnce he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished. One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone... I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \"fluttering away of the little bird\" would be hopelessly inadequate. Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner. One of Rubinstein's greatest secrets was his use of the pedal. He himself very happily expressed his ideas on the subject when he said, \"The pedal is the soul of the piano.\" No pianist should ever forget this.\n\nRachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \"Funeral March\" Sonata—both became cornerstones of Rachmaninoff's own recital programs. Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work.\n\nRachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later. In Rubinstein's defense, however, Rachmaninoff said that \"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\"\n\nConducting\n\nRubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867. He also did his share of guest conducting both before and after his tenure with the RMS. Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences.\n\nTeacher\nAs a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work. He could also be exacting and expected as much from them as he gave to them. According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference. This assignment would be due the following day. At other times, he would expect students to improvise a minuet, a rondo, a polonaise or some other musical form.\n\nRubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead. He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano. Notable students include pianists Josef Hofmann and Sandra Drouker.\n\nComposition\n\nBy 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \"but as a composer performing his symphonies, concertos, operas, trios, etc.\" Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote). Edward Garden writes in the New Grove,\nRubinstein composed assiduously during all periods of his life. He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved.\nRubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn. Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music. Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching. Robert Schumann and Felix Mendelssohn were the strongest influences on Rubinstein's music.\n\nConsequently, Rubinstein's music demonstrates none of the nationalism of The Five. Rubinstein also had a tendency to rush in composing his pieces, resulting in good ideas such as those in his Ocean Symphony being developed in less-than-exemplary ways. As Paderewski was later to remark, \"He had not the necessary concentration of patience for a composer... He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\" Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ... The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s.\n\nAfter Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire. Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev.\n\nOver recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism. Amongst his better known works are the opera The Demon, his Piano Concerto No. 4, and his Symphony No. 2, known as The Ocean.\n\nRubinstein's repartee\nRubinstein was as well known during his lifetime for his sarcasm as well as his sometimes penetrating insight. During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him. After a long silence, Rubinstein told Cortot, \"My boy, don't you ever forget what I am going to tell you. Beethoven's music must not be studied. It must be reincarnated.\" Cortot reportedly never forgot those words.\n\nRubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase. His manner with them was a combination of raw, sometimes violent criticism and good humor. Hofmann wrote of one such lesson:\nOnce I played a Liszt rhapsody pretty badly. After a little of it, Rubinstein said, \"The way you play this piece would be all right for Auntie or Mamma.\" Then rising and coming toward me, he said, \"Now let us see how play such things.\"\n\n... I began again, but I had not played more than a few measures when Rubinstein said loudly, \"Have you begun?\" \"Yes, Master, I certainly have.\" \"Oh,\" said Rubinstein vaguely, \"I didn't notice.\" ... Rubinstein did not so much instruct me. Merely he let me learn from him ... If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do.\n\nRubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts. When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \"When you are as old as I am, you may do as I do.\" Then Rubinstein added, \"If you can\".\n\nNor did Rubinstein adjust the tenor of his comments for those of high rank. After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility. At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift. Rubinstein replied bluntly, to the crowd's horror, \"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\"\n\nRubinstein's voice\nThe following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison. Rubinstein is heard to make a complimentary remark about the phonograph recorder.\n\nReferences\n\nSources\n\nIn Russian\n \n (2 vol.)\n\nIn German\n (3 vol.)\n\nIn English\n \n \n \n (29 vols.)\n\nFurther reading\n \n Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995)\n Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) \n Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991)\n Rubinstein, Anton Grigorevich, ed. L. Barenboim, Literaturnoye Naslediye (3 vol.), (in Russian), (Moscow, 1983)\n\nExternal links\n\nNetworking Rubinstein – his contacts in his early career\nSoundbites from String Quartet No.1 in G, Op.17 No.1\n\n Anton Rubinstein recordings at the Discography of American Historical Recordings.\n\n1829 births\n1894 deaths\n19th-century classical composers\n19th-century classical pianists\n19th-century conductors (music)\n19th-century male conductors (music)\nBurials at Tikhvin Cemetery\nComposers for piano\nConverts to Eastern Orthodoxy from Judaism\nFounders of Russian educational institutions\nJewish atheists\nJewish classical composers\nJewish classical pianists\nJewish opera composers\nMale classical pianists\nMale opera composers\nPeople from Baltsky Uyezd\nPeople from Rîbnița District\nPupils of Siegfried Dehn\nPyotr Ilyich Tchaikovsky\nRecipients of the Pour le Mérite (civil class)\nRoyal Philharmonic Society Gold Medallists\nRussian atheists\nRussian classical pianists\nRussian conductors (music)\nRussian male conductors (music)\nRussian Jews\nRussian male classical composers\nRussian music educators\nRussian opera composers\nRussian Romantic composers"},"extractive":{"kind":"string","value":"true"},"retrieved_contexts":{"kind":"list like","value":["Oops!... I Did It Again may refer to:\n Oops!... I Did It Again (album) (2000)\n \"Oops!... I Did It Again\" (song) (2000)\n Oops!... I Did It Again Tour\n Oops! I Did It Again: The Best of Britney Spears (2012)\n Oops, I Did It Again! (Cex album) (2001)","David Haynes Mathis (born February 22, 1974) is an American professional golfer.\n\nMathis was born in Winston-Salem, North Carolina. He played college golf at Campbell University. He turned professional in 1997.\n\nMathis played on the mini-tours and then on the Canadian Tour from 2001 to 2005. He played on the Nationwide Tour from 2006 to 2008, winning once at the 2008 BMW Charity Pro-Am and earning his PGA Tour card for 2009. He played the PGA Tour in 2009 but did not earn enough to retain his card. He played the Nationwide Tour again in 2010, winning again at the Winn-Dixie Jacksonville Open and finishing 13th on the money list to regain his PGA Tour card for 2011.\n\nProfessional wins (4)\n\nNationwide Tour wins (2)\n\nOther wins (2)\n2004 one TarHeel Tour win\n2005 Michelin Morelia Classic (Canadian Tour)\n\nSee also\n2008 Nationwide Tour graduates\n2010 Nationwide Tour graduates\n\nReferences\n\nExternal links\n\nAmerican male golfers\nPGA Tour golfers\nKorn Ferry Tour graduates\nGolfers from North Carolina\nCampbell University alumni\nSportspeople from Winston-Salem, North Carolina\nPeople from Wake Forest, North Carolina\n1974 births\nLiving people"],"string":"[\n \"Oops!... I Did It Again may refer to:\\n Oops!... I Did It Again (album) (2000)\\n \\\"Oops!... I Did It Again\\\" (song) (2000)\\n Oops!... I Did It Again Tour\\n Oops! I Did It Again: The Best of Britney Spears (2012)\\n Oops, I Did It Again! (Cex album) (2001)\",\n \"David Haynes Mathis (born February 22, 1974) is an American professional golfer.\\n\\nMathis was born in Winston-Salem, North Carolina. He played college golf at Campbell University. He turned professional in 1997.\\n\\nMathis played on the mini-tours and then on the Canadian Tour from 2001 to 2005. He played on the Nationwide Tour from 2006 to 2008, winning once at the 2008 BMW Charity Pro-Am and earning his PGA Tour card for 2009. He played the PGA Tour in 2009 but did not earn enough to retain his card. He played the Nationwide Tour again in 2010, winning again at the Winn-Dixie Jacksonville Open and finishing 13th on the money list to regain his PGA Tour card for 2011.\\n\\nProfessional wins (4)\\n\\nNationwide Tour wins (2)\\n\\nOther wins (2)\\n2004 one TarHeel Tour win\\n2005 Michelin Morelia Classic (Canadian Tour)\\n\\nSee also\\n2008 Nationwide Tour graduates\\n2010 Nationwide Tour graduates\\n\\nReferences\\n\\nExternal links\\n\\nAmerican male golfers\\nPGA Tour golfers\\nKorn Ferry Tour graduates\\nGolfers from North Carolina\\nCampbell University alumni\\nSportspeople from Winston-Salem, North Carolina\\nPeople from Wake Forest, North Carolina\\n1974 births\\nLiving people\"\n]"},"chunked_article":{"kind":"list like","value":["Anton Grigoryevich Rubinstein (; ) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein, who founded the Moscow Conservatory. As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos.","As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals—seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.","Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there. Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life.","Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life. He wrote 20 operas, the best known of which is The Demon.","He wrote 20 operas, the best known of which is The Demon. He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble.","He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble. Early life and education Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa.","Early life and education Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa. Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy.","Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy. Although he was raised as a Christian, Rubinstein would later become an atheist. Rubinstein's father opened a pencil factory in Moscow.","Rubinstein's father opened a pencil factory in Moscow. His mother, a competent musician, began giving him piano lessons at five, until the teacher heard and accepted Rubinstein as a non-paying student. Rubinstein made his first public appearance at a charity benefit concert at the age of nine.","Rubinstein made his first public appearance at a charity benefit concert at the age of nine. Later that year Rubinstein's mother sent him, accompanied by Villoing, to Paris where he sought unsuccessfully to enroll at the Paris Conservatoire. Rubinstein and Villoing remained in Paris for a year.","Rubinstein and Villoing remained in Paris for a year. In December 1840, Rubinstein played in the Salle Érard for an audience that included Frédéric Chopin and Franz Liszt. Chopin invited Rubinstein to his studio and played for him.","Chopin invited Rubinstein to his studio and played for him. Liszt advised Villoing to take him to Germany to study composition; however, Villoing took Rubinstein on an extended concert tour of Europe and Western Russia. They finally returned to Moscow in June 1843.","They finally returned to Moscow in June 1843. Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace.","Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace. Anton was 14 years old; Nikolai was eight.","Anton was 14 years old; Nikolai was eight. Travel and performance Berlin In spring 1844, Rubinstein, Nikolai, his mother and his sister Luba travelled to Berlin. Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer.","Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer. Mendelssohn, who had heard Rubinstein when he had toured with Villoing, said he needed no further piano study but sent Nikolai to Theodor Kullak for instruction. Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory.","Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory. Word came in the summer of 1846 that Rubinstein's father was gravely ill. Rubinstein was left in Berlin while his mother, sister and brother returned to Russia. At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest.","At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest. Now 17, he knew he could no longer pass as a child prodigy. He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil.","He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil. However, after Rubinstein had played his audition, Liszt is reported to have said, \"A talented man must win the goal of his ambition by his own unassisted efforts.\" At this point, Rubinstein was living in acute poverty.","At this point, Rubinstein was living in acute poverty. Liszt did nothing to help him. Other calls Rubinstein made to potential patrons came to no avail. After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons.","After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons. Back to Russia The Revolution of 1848 forced Rubinstein back to Russia. Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court.","Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court. The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness.","The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness. By 1852, he had become a leading figure in Saint Petersburg's musical life, performing as a soloist and collaborating with some of the outstanding instrumentalists and vocalists who came to the Russian capital. He also composed assiduously.","He also composed assiduously. He also composed assiduously. After a number of delays, including some difficulties with the censor, Rubinstein's first opera, Dmitry Donskoy (now lost except for the overture), was performed at the Bolshoy Theater in Saint Petersburg in 1852. Three one-act operas written for Elena Pavlovna followed.","Three one-act operas written for Elena Pavlovna followed. He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works.","He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works. It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist.","It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist. Abroad once more In 1854, Rubinstein began a four-year concert tour of Europe. This was his first major concert tour in a decade.","This was his first major concert tour in a decade. Now 24, he felt ready to offer himself to the public as a fully developed pianist as well as a composer of worth. He very shortly reestablished his reputation as a virtuoso.","He very shortly reestablished his reputation as a virtuoso. Ignaz Moscheles wrote in 1855 what would become a widespread opinion about Rubinstein: \"In power and execution he is inferior to no one.\" As was the penchant at the time, much of what Rubinstein played were his own compositions.","As was the penchant at the time, much of what Rubinstein played were his own compositions. At several concerts, Rubinstein alternated between conducting his orchestral works and playing as soloist in one of his piano concertos. One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854.","One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854. Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later.","Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later. Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice.","Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice. Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859.","Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859. Opening the St. Petersburg Conservatory The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862.","Opening the St. Petersburg Conservatory The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862. Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty.","Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty. Some in Russian society were surprised that a Russian music school would actually attempt to be Russian.","Some in Russian society were surprised that a Russian music school would actually attempt to be Russian. One \"fashionable lady\", when told by Rubinstein that classes would be taught in Russian and not a foreign language, exclaimed, \"What, music in Russian! That is an original idea!\"","That is an original idea!\" Rubinstein adds, And surely it was surprising that the theory of Music was to be taught for the first time in the Russian language at our Conservatory... Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany.","Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany. There were also those who feared the school would not be Russian enough. Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five.","Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five. Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world.","Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world. Actually the Conservatory raise the level of musical culture in Russia.","Actually the Conservatory raise the level of musical culture in Russia. The unconventional way chosen by Balakirev and his friends was not necessarily the right one for everybody else. It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871.","It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871. Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \"interesting and well done,\" though \"episodic,\" and the opera Ivan IV Grozniy, which was premiered by Balakirev.","Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \"interesting and well done,\" though \"episodic,\" and the opera Ivan IV Grozniy, which was premiered by Balakirev. Borodin commented on Ivan IV that \"the music is good, you just cannot recognize that it is Rubinstein.","Borodin commented on Ivan IV that \"the music is good, you just cannot recognize that it is Rubinstein. There is nothing that is Mendelssohnian, nothing as he used to write formerly.\"","There is nothing that is Mendelssohnian, nothing as he used to write formerly.\" The American tour By 1867, ongoing tensions with the Balakirev camp, along with related matters, led to intense dissension within the Conservatory's faculty. Rubinstein resigned and returned to touring throughout Europe.","Rubinstein resigned and returned to touring throughout Europe. Unlike his previous tours, he began increasingly featuring the works of other composers. In previous tours, Rubinstein had played primarily his own works. At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season.","At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season. Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid.","Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid. Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities.","Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities. Rubinstein wrote of his American experience, May Heaven preserve us from such slavery!","Rubinstein wrote of his American experience, May Heaven preserve us from such slavery! Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost...","Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost... The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art.","The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art. So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank...","So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank... Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life.","Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life. Upon his return to Russia, he \"hastened to invest in real estate\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family.","Upon his return to Russia, he \"hastened to invest in real estate\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family. Later life Rubinstein continued to make tours as a pianist and give appearances as a conductor.","Later life Rubinstein continued to make tours as a pianist and give appearances as a conductor. In 1887, he returned to the Saint Petersburg Conservatory with the goal of improving overall standards. He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum.","He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum. He led semi-weekly teachers' classes through the whole keyboard literature and gave some of the more gifted piano students personal coaching. During the 1889–90 academic year he gave weekly lecture-recitals for the students.","During the 1889–90 academic year he gave weekly lecture-recitals for the students. He resigned again—and left Russia—in 1891 over Imperial demands that Conservatory admittance, and later annual prizes to students, be awarded along ethnic quotas instead of purely by merit. These quotas were designed to effectively disadvantage Jews.","These quotas were designed to effectively disadvantage Jews. Rubinstein resettled in Dresden and started giving concerts again in Germany and Austria. Nearly all of these concerts were charity benefit events. Rubinstein also coached a few pianists and taught his only private piano student, Josef Hofmann. Hofmann would become one of the finest keyboard artists of the 20th century.","Hofmann would become one of the finest keyboard artists of the 20th century. Despite his sentiments on ethnic politics in Russia, Rubinstein returned there occasionally to visit friends and family. He gave his final concert in Saint Petersburg on 14 January 1894. With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894.","With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894. He died there on 20 November of that year, having suffered from heart disease for some time. The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him.","The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him. Pianism \"Van II\" Many contemporaries felt he bore a striking resemblance to Ludwig van Beethoven. Ignaz Moscheles, who had known Beethoven intimately, wrote, \"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\"","Ignaz Moscheles, who had known Beethoven intimately, wrote, \"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\" Liszt referred to Rubinstein as \"Van II.\" This resemblance was also felt to be in Rubinstein's keyboard playing. Under his hands, it was said, the piano erupted volcanically.","Under his hands, it was said, the piano erupted volcanically. Audience members wrote of going home limp after one of his recitals, knowing they had witnessed a force of nature. Sometimes Rubinstein's playing was too much for listeners to handle.","Sometimes Rubinstein's playing was too much for listeners to handle. American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much.","American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much. Give me Rubinstein for a few pieces, but Tausig for a whole evening.\"","Give me Rubinstein for a few pieces, but Tausig for a whole evening.\" She heard Rubinstein play \"a terrific piece by Schubert,\" reportedly the Wanderer Fantasie. The performance gave her such a violent headache that the rest of the recital was ruined for her. Clara Schumann proved especially vehement.","Clara Schumann proved especially vehement. Clara Schumann proved especially vehement. After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\"","After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\" Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau.","Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau. She noted in her diary, \"I was furious, for he no longer plays. Either there is a perfectly wild noise or else a whisper with the soft pedal down.","Either there is a perfectly wild noise or else a whisper with the soft pedal down. And a would-be cultured audience puts up with a performance like that!\"","And a would-be cultured audience puts up with a performance like that!\" On the other hand, when Rubinstein played Beethoven's \"Archduke\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls: It was the first time I had heard this great artist play.","On the other hand, when Rubinstein played Beethoven's \"Archduke\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls: It was the first time I had heard this great artist play. He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme...","He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme... It seemed to me I had never before heard the piano really played.","It seemed to me I had never before heard the piano really played. The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ... Violinist and composer Henri Vieuxtemps adds: His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten.","The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ... Violinist and composer Henri Vieuxtemps adds: His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten. I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op.","I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op. 57 [Appassionata], which Rubinstein executed for us with unimagined mastery. Viennese music critic Eduard Hanslick expressed what Schonberg calls \"the majority point of view\" in an 1884 review.","Viennese music critic Eduard Hanslick expressed what Schonberg calls \"the majority point of view\" in an 1884 review. After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners.","After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners. Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness.","Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness. \"Yes, he plays like a god\", Hanslick writes in closing, \"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\".","\"Yes, he plays like a god\", Hanslick writes in closing, \"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\". Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm.","Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm. His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall.","His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall. In playing, Rubinstein created, and he created inimitably and with genius.","In playing, Rubinstein created, and he created inimitably and with genius. He often treated the same program absolutely differently when he played it the second time, but, more astoundingly still, everything came out wonderfully on both occasions. Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled.","Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled. Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song.","Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song. He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable.","He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable. It was superb.\"","It was superb.\" It was superb.\" Technique Villoing had worked with Rubinstein on hand position and finger dexterity. From watching Liszt, Rubinstein had learned about freedom of arm movement. Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing.","Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing. He would remark to his students about \"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\"","He would remark to his students about \"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\" In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\"","In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\" When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through.","When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through. Rubinstein himself admitted, after a concert in Berlin in 1875, \"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\"","Rubinstein himself admitted, after a concert in Berlin in 1875, \"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\" Part of the problem might have been the sheer size of Rubinstein's hands.","Part of the problem might have been the sheer size of Rubinstein's hands. They were huge, and many observers commented on them. Josef Hofmann observed that Rubinstein's fifth finger \"was as thick as my thumb—think of it! Then his fingers were square at the ends, with cushions on them.","Then his fingers were square at the ends, with cushions on them. It was a wonderful hand.\" Pianist Josef Lhévinne described them as \"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\"","Pianist Josef Lhévinne described them as \"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\" The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \"Nothing cramped about him!","The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \"Nothing cramped about him! He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\"","He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\" Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness.","Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness. Those who valued interpretation as much or more than pure technique found much to praise. Pianist and conductor Hans von Bülow called Rubinstein \"the Michelangelo of music.\"","Pianist and conductor Hans von Bülow called Rubinstein \"the Michelangelo of music.\" The German critic Ludwig Rellstab called him \"the Hercules of the piano; the Jupiter Tonans of the instrument.\" Tone Pressman attested to the singing quality of Rubinstein's playing, and much more: \"His tone was strikingly full and deep.","Tone Pressman attested to the singing quality of Rubinstein's playing, and much more: \"His tone was strikingly full and deep. With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres.","With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres. With him, the piano sang as Patti sang, as Rubini sang.\" Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists.","Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists. Fellow pianist Rafael Joseffy compared it to \"a golden French horn.\" Rubinstein himself told an interviewer, \"Strength with lightness, that is one secret of my touch...","Rubinstein himself told an interviewer, \"Strength with lightness, that is one secret of my touch... I have sat hours trying to imitate the timbre of Rubini's voice in my playing.\" Rubinstein told the young Rachmaninoff how he achieved that tone. \"Just press upon the keys until the blood oozes from your fingertips\".","\"Just press upon the keys until the blood oozes from your fingertips\". When he wanted to, Rubinstein could play with extreme lightness, grace and delicacy. He rarely displayed that side of his nature, however. He had learned quickly that audiences came to hear him thunder, so he accommodated them.","He had learned quickly that audiences came to hear him thunder, so he accommodated them. Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before.","Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before. During this tour, Rubinstein received more press attention than any other figure until the appearance of Ignacy Jan Paderewski a generation later. Programs Rubinstein's concert programs were often gargantuan.","Programs Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A).","101 in A). 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman.","Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note.","He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note. Rubinstein was most famous for his series of historical recitals—seven consecutive concerts covering the history of piano music. Each of these programs was enormous.","Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital.","Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert.","This did not include encores, which Rubinstein sprayed liberally at every concert. Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873. Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe.","Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge.","In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge. Rachmaninoff on Rubinstein Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student.","Rachmaninoff on Rubinstein Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student. Forty-four years later he told his biographer Oscar von Riesemann, \"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\"","Forty-four years later he told his biographer Oscar von Riesemann, \"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\" Rachmaninoff explained to von Riesemann, \"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\"","Rachmaninoff explained to von Riesemann, \"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\" Rachmaninoff's detailed description to von Riesemann is of interest: Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished.","Rachmaninoff's detailed description to von Riesemann is of interest: Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished. One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone...","One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone... I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \"fluttering away of the little bird\" would be hopelessly inadequate.","I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \"fluttering away of the little bird\" would be hopelessly inadequate. Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner.","Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner. One of Rubinstein's greatest secrets was his use of the pedal.","One of Rubinstein's greatest secrets was his use of the pedal. He himself very happily expressed his ideas on the subject when he said, \"The pedal is the soul of the piano.\" No pianist should ever forget this.","No pianist should ever forget this. Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \"Funeral March\" Sonata—both became cornerstones of Rachmaninoff's own recital programs.","Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \"Funeral March\" Sonata—both became cornerstones of Rachmaninoff's own recital programs. Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work.","Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work. Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later.","Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later. In Rubinstein's defense, however, Rachmaninoff said that \"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\"","In Rubinstein's defense, however, Rachmaninoff said that \"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\" Conducting Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867.","Conducting Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867. He also did his share of guest conducting both before and after his tenure with the RMS.","He also did his share of guest conducting both before and after his tenure with the RMS. Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences.","Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences. Teacher As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work.","Teacher As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work. He could also be exacting and expected as much from them as he gave to them.","He could also be exacting and expected as much from them as he gave to them. According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference.","According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference. This assignment would be due the following day.","This assignment would be due the following day. At other times, he would expect students to improvise a minuet, a rondo, a polonaise or some other musical form. Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead.","Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead. He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano.","He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano. Notable students include pianists Josef Hofmann and Sandra Drouker.","Notable students include pianists Josef Hofmann and Sandra Drouker. Composition By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \"but as a composer performing his symphonies, concertos, operas, trios, etc.\"","Composition By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \"but as a composer performing his symphonies, concertos, operas, trios, etc.\" Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote).","Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote). Edward Garden writes in the New Grove, Rubinstein composed assiduously during all periods of his life.","Edward Garden writes in the New Grove, Rubinstein composed assiduously during all periods of his life. He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved.","He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved. Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn.","Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn. Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music.","Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music. Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching.","Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching. Robert Schumann and Felix Mendelssohn were the strongest influences on Rubinstein's music. Consequently, Rubinstein's music demonstrates none of the nationalism of The Five.","Consequently, Rubinstein's music demonstrates none of the nationalism of The Five. Rubinstein also had a tendency to rush in composing his pieces, resulting in good ideas such as those in his Ocean Symphony being developed in less-than-exemplary ways. As Paderewski was later to remark, \"He had not the necessary concentration of patience for a composer...","As Paderewski was later to remark, \"He had not the necessary concentration of patience for a composer... He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\"","He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\" Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ...","Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ... The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s.","The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s. After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire.","After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire. Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev.","Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev. Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism.","Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism. Amongst his better known works are the opera The Demon, his Piano Concerto No. 4, and his Symphony No. 2, known as The Ocean.","2, known as The Ocean. Rubinstein's repartee Rubinstein was as well known during his lifetime for his sarcasm as well as his sometimes penetrating insight. During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him.","During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him. After a long silence, Rubinstein told Cortot, \"My boy, don't you ever forget what I am going to tell you. Beethoven's music must not be studied. It must be reincarnated.\"","It must be reincarnated.\" It must be reincarnated.\" Cortot reportedly never forgot those words. Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase.","Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase. His manner with them was a combination of raw, sometimes violent criticism and good humor.","His manner with them was a combination of raw, sometimes violent criticism and good humor. Hofmann wrote of one such lesson: Once I played a Liszt rhapsody pretty badly. After a little of it, Rubinstein said, \"The way you play this piece would be all right for Auntie or Mamma.\"","After a little of it, Rubinstein said, \"The way you play this piece would be all right for Auntie or Mamma.\" Then rising and coming toward me, he said, \"Now let us see how play such things.\" ...","... ... I began again, but I had not played more than a few measures when Rubinstein said loudly, \"Have you begun?\" \"Yes, Master, I certainly have.\" \"Oh,\" said Rubinstein vaguely, \"I didn't notice.\" ... Rubinstein did not so much instruct me.","... Rubinstein did not so much instruct me. Merely he let me learn from him ...","Merely he let me learn from him ... If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do.","If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do. Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts.","Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts. When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \"When you are as old as I am, you may do as I do.\"","When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \"When you are as old as I am, you may do as I do.\" Then Rubinstein added, \"If you can\". Nor did Rubinstein adjust the tenor of his comments for those of high rank.","Nor did Rubinstein adjust the tenor of his comments for those of high rank. After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility.","After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility. At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift.","At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift. Rubinstein replied bluntly, to the crowd's horror, \"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\"","Rubinstein replied bluntly, to the crowd's horror, \"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\" Rubinstein's voice The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison.","Rubinstein's voice The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison. Rubinstein is heard to make a complimentary remark about the phonograph recorder. References Sources In Russian (2 vol.) In German (3 vol.) In English (29 vols.)","In English (29 vols.) Further reading Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995) Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991) Rubinstein, Anton Grigorevich, ed.","Further reading Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995) Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991) Rubinstein, Anton Grigorevich, ed. L. Barenboim, Literaturnoye Naslediye (3 vol.","L. Barenboim, Literaturnoye Naslediye (3 vol. ), (in Russian), (Moscow, 1983) External links Networking Rubinstein – his contacts in his early career Soundbites from String Quartet No.1 in G, Op.17 No.1 Anton Rubinstein recordings at the Discography of American Historical Recordings.","), (in Russian), (Moscow, 1983) External links Networking Rubinstein – his contacts in his early career Soundbites from String Quartet No.1 in G, Op.17 No.1 Anton Rubinstein recordings at the Discography of American Historical Recordings. 1829 births 1894 deaths 19th-century classical composers 19th-century classical pianists 19th-century conductors (music) 19th-century male conductors (music) Burials at Tikhvin Cemetery Composers for piano Converts to Eastern Orthodoxy from Judaism Founders of Russian educational institutions Jewish atheists Jewish classical composers Jewish classical pianists Jewish opera composers Male classical pianists Male opera composers People from Baltsky Uyezd People from Rîbnița District Pupils of Siegfried Dehn Pyotr Ilyich Tchaikovsky Recipients of the Pour le Mérite (civil class) Royal Philharmonic Society Gold Medallists Russian atheists Russian classical pianists Russian conductors (music) Russian male conductors (music) Russian Jews Russian male classical composers Russian music educators Russian opera composers Russian Romantic composers"],"string":"[\n \"Anton Grigoryevich Rubinstein (; ) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein, who founded the Moscow Conservatory. As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos.\",\n \"As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals—seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.\",\n \"Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there. Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life.\",\n \"Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life. He wrote 20 operas, the best known of which is The Demon.\",\n \"He wrote 20 operas, the best known of which is The Demon. He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble.\",\n \"He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble. Early life and education Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa.\",\n \"Early life and education Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa. Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy.\",\n \"Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy. Although he was raised as a Christian, Rubinstein would later become an atheist. Rubinstein's father opened a pencil factory in Moscow.\",\n \"Rubinstein's father opened a pencil factory in Moscow. His mother, a competent musician, began giving him piano lessons at five, until the teacher heard and accepted Rubinstein as a non-paying student. Rubinstein made his first public appearance at a charity benefit concert at the age of nine.\",\n \"Rubinstein made his first public appearance at a charity benefit concert at the age of nine. Later that year Rubinstein's mother sent him, accompanied by Villoing, to Paris where he sought unsuccessfully to enroll at the Paris Conservatoire. Rubinstein and Villoing remained in Paris for a year.\",\n \"Rubinstein and Villoing remained in Paris for a year. In December 1840, Rubinstein played in the Salle Érard for an audience that included Frédéric Chopin and Franz Liszt. Chopin invited Rubinstein to his studio and played for him.\",\n \"Chopin invited Rubinstein to his studio and played for him. Liszt advised Villoing to take him to Germany to study composition; however, Villoing took Rubinstein on an extended concert tour of Europe and Western Russia. They finally returned to Moscow in June 1843.\",\n \"They finally returned to Moscow in June 1843. Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace.\",\n \"Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace. Anton was 14 years old; Nikolai was eight.\",\n \"Anton was 14 years old; Nikolai was eight. Travel and performance Berlin In spring 1844, Rubinstein, Nikolai, his mother and his sister Luba travelled to Berlin. Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer.\",\n \"Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer. Mendelssohn, who had heard Rubinstein when he had toured with Villoing, said he needed no further piano study but sent Nikolai to Theodor Kullak for instruction. Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory.\",\n \"Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory. Word came in the summer of 1846 that Rubinstein's father was gravely ill. Rubinstein was left in Berlin while his mother, sister and brother returned to Russia. At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest.\",\n \"At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest. Now 17, he knew he could no longer pass as a child prodigy. He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil.\",\n \"He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil. However, after Rubinstein had played his audition, Liszt is reported to have said, \\\"A talented man must win the goal of his ambition by his own unassisted efforts.\\\" At this point, Rubinstein was living in acute poverty.\",\n \"At this point, Rubinstein was living in acute poverty. Liszt did nothing to help him. Other calls Rubinstein made to potential patrons came to no avail. After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons.\",\n \"After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons. Back to Russia The Revolution of 1848 forced Rubinstein back to Russia. Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court.\",\n \"Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court. The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness.\",\n \"The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness. By 1852, he had become a leading figure in Saint Petersburg's musical life, performing as a soloist and collaborating with some of the outstanding instrumentalists and vocalists who came to the Russian capital. He also composed assiduously.\",\n \"He also composed assiduously. He also composed assiduously. After a number of delays, including some difficulties with the censor, Rubinstein's first opera, Dmitry Donskoy (now lost except for the overture), was performed at the Bolshoy Theater in Saint Petersburg in 1852. Three one-act operas written for Elena Pavlovna followed.\",\n \"Three one-act operas written for Elena Pavlovna followed. He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works.\",\n \"He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works. It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist.\",\n \"It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist. Abroad once more In 1854, Rubinstein began a four-year concert tour of Europe. This was his first major concert tour in a decade.\",\n \"This was his first major concert tour in a decade. Now 24, he felt ready to offer himself to the public as a fully developed pianist as well as a composer of worth. He very shortly reestablished his reputation as a virtuoso.\",\n \"He very shortly reestablished his reputation as a virtuoso. Ignaz Moscheles wrote in 1855 what would become a widespread opinion about Rubinstein: \\\"In power and execution he is inferior to no one.\\\" As was the penchant at the time, much of what Rubinstein played were his own compositions.\",\n \"As was the penchant at the time, much of what Rubinstein played were his own compositions. At several concerts, Rubinstein alternated between conducting his orchestral works and playing as soloist in one of his piano concertos. One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854.\",\n \"One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854. Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later.\",\n \"Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later. Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice.\",\n \"Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice. Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859.\",\n \"Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859. Opening the St. Petersburg Conservatory The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862.\",\n \"Opening the St. Petersburg Conservatory The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862. Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty.\",\n \"Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty. Some in Russian society were surprised that a Russian music school would actually attempt to be Russian.\",\n \"Some in Russian society were surprised that a Russian music school would actually attempt to be Russian. One \\\"fashionable lady\\\", when told by Rubinstein that classes would be taught in Russian and not a foreign language, exclaimed, \\\"What, music in Russian! That is an original idea!\\\"\",\n \"That is an original idea!\\\" Rubinstein adds, And surely it was surprising that the theory of Music was to be taught for the first time in the Russian language at our Conservatory... Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany.\",\n \"Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany. There were also those who feared the school would not be Russian enough. Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five.\",\n \"Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five. Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world.\",\n \"Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world. Actually the Conservatory raise the level of musical culture in Russia.\",\n \"Actually the Conservatory raise the level of musical culture in Russia. The unconventional way chosen by Balakirev and his friends was not necessarily the right one for everybody else. It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871.\",\n \"It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871. Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \\\"interesting and well done,\\\" though \\\"episodic,\\\" and the opera Ivan IV Grozniy, which was premiered by Balakirev.\",\n \"Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \\\"interesting and well done,\\\" though \\\"episodic,\\\" and the opera Ivan IV Grozniy, which was premiered by Balakirev. Borodin commented on Ivan IV that \\\"the music is good, you just cannot recognize that it is Rubinstein.\",\n \"Borodin commented on Ivan IV that \\\"the music is good, you just cannot recognize that it is Rubinstein. There is nothing that is Mendelssohnian, nothing as he used to write formerly.\\\"\",\n \"There is nothing that is Mendelssohnian, nothing as he used to write formerly.\\\" The American tour By 1867, ongoing tensions with the Balakirev camp, along with related matters, led to intense dissension within the Conservatory's faculty. Rubinstein resigned and returned to touring throughout Europe.\",\n \"Rubinstein resigned and returned to touring throughout Europe. Unlike his previous tours, he began increasingly featuring the works of other composers. In previous tours, Rubinstein had played primarily his own works. At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season.\",\n \"At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season. Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid.\",\n \"Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid. Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities.\",\n \"Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities. Rubinstein wrote of his American experience, May Heaven preserve us from such slavery!\",\n \"Rubinstein wrote of his American experience, May Heaven preserve us from such slavery! Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost...\",\n \"Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost... The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art.\",\n \"The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art. So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank...\",\n \"So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank... Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life.\",\n \"Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life. Upon his return to Russia, he \\\"hastened to invest in real estate\\\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family.\",\n \"Upon his return to Russia, he \\\"hastened to invest in real estate\\\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family. Later life Rubinstein continued to make tours as a pianist and give appearances as a conductor.\",\n \"Later life Rubinstein continued to make tours as a pianist and give appearances as a conductor. In 1887, he returned to the Saint Petersburg Conservatory with the goal of improving overall standards. He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum.\",\n \"He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum. He led semi-weekly teachers' classes through the whole keyboard literature and gave some of the more gifted piano students personal coaching. During the 1889–90 academic year he gave weekly lecture-recitals for the students.\",\n \"During the 1889–90 academic year he gave weekly lecture-recitals for the students. He resigned again—and left Russia—in 1891 over Imperial demands that Conservatory admittance, and later annual prizes to students, be awarded along ethnic quotas instead of purely by merit. These quotas were designed to effectively disadvantage Jews.\",\n \"These quotas were designed to effectively disadvantage Jews. Rubinstein resettled in Dresden and started giving concerts again in Germany and Austria. Nearly all of these concerts were charity benefit events. Rubinstein also coached a few pianists and taught his only private piano student, Josef Hofmann. Hofmann would become one of the finest keyboard artists of the 20th century.\",\n \"Hofmann would become one of the finest keyboard artists of the 20th century. Despite his sentiments on ethnic politics in Russia, Rubinstein returned there occasionally to visit friends and family. He gave his final concert in Saint Petersburg on 14 January 1894. With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894.\",\n \"With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894. He died there on 20 November of that year, having suffered from heart disease for some time. The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him.\",\n \"The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him. Pianism \\\"Van II\\\" Many contemporaries felt he bore a striking resemblance to Ludwig van Beethoven. Ignaz Moscheles, who had known Beethoven intimately, wrote, \\\"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\\\"\",\n \"Ignaz Moscheles, who had known Beethoven intimately, wrote, \\\"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\\\" Liszt referred to Rubinstein as \\\"Van II.\\\" This resemblance was also felt to be in Rubinstein's keyboard playing. Under his hands, it was said, the piano erupted volcanically.\",\n \"Under his hands, it was said, the piano erupted volcanically. Audience members wrote of going home limp after one of his recitals, knowing they had witnessed a force of nature. Sometimes Rubinstein's playing was too much for listeners to handle.\",\n \"Sometimes Rubinstein's playing was too much for listeners to handle. American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \\\"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much.\",\n \"American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \\\"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much. Give me Rubinstein for a few pieces, but Tausig for a whole evening.\\\"\",\n \"Give me Rubinstein for a few pieces, but Tausig for a whole evening.\\\" She heard Rubinstein play \\\"a terrific piece by Schubert,\\\" reportedly the Wanderer Fantasie. The performance gave her such a violent headache that the rest of the recital was ruined for her. Clara Schumann proved especially vehement.\",\n \"Clara Schumann proved especially vehement. Clara Schumann proved especially vehement. After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \\\"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\\\"\",\n \"After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \\\"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\\\" Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau.\",\n \"Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau. She noted in her diary, \\\"I was furious, for he no longer plays. Either there is a perfectly wild noise or else a whisper with the soft pedal down.\",\n \"Either there is a perfectly wild noise or else a whisper with the soft pedal down. And a would-be cultured audience puts up with a performance like that!\\\"\",\n \"And a would-be cultured audience puts up with a performance like that!\\\" On the other hand, when Rubinstein played Beethoven's \\\"Archduke\\\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls: It was the first time I had heard this great artist play.\",\n \"On the other hand, when Rubinstein played Beethoven's \\\"Archduke\\\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls: It was the first time I had heard this great artist play. He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme...\",\n \"He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme... It seemed to me I had never before heard the piano really played.\",\n \"It seemed to me I had never before heard the piano really played. The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ... Violinist and composer Henri Vieuxtemps adds: His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten.\",\n \"The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ... Violinist and composer Henri Vieuxtemps adds: His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten. I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op.\",\n \"I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op. 57 [Appassionata], which Rubinstein executed for us with unimagined mastery. Viennese music critic Eduard Hanslick expressed what Schonberg calls \\\"the majority point of view\\\" in an 1884 review.\",\n \"Viennese music critic Eduard Hanslick expressed what Schonberg calls \\\"the majority point of view\\\" in an 1884 review. After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners.\",\n \"After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners. Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness.\",\n \"Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness. \\\"Yes, he plays like a god\\\", Hanslick writes in closing, \\\"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\\\".\",\n \"\\\"Yes, he plays like a god\\\", Hanslick writes in closing, \\\"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\\\". Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm.\",\n \"Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm. His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall.\",\n \"His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall. In playing, Rubinstein created, and he created inimitably and with genius.\",\n \"In playing, Rubinstein created, and he created inimitably and with genius. He often treated the same program absolutely differently when he played it the second time, but, more astoundingly still, everything came out wonderfully on both occasions. Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled.\",\n \"Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled. Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song.\",\n \"Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song. He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable.\",\n \"He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable. It was superb.\\\"\",\n \"It was superb.\\\" It was superb.\\\" Technique Villoing had worked with Rubinstein on hand position and finger dexterity. From watching Liszt, Rubinstein had learned about freedom of arm movement. Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing.\",\n \"Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing. He would remark to his students about \\\"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\\\"\",\n \"He would remark to his students about \\\"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\\\" In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \\\"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\\\"\",\n \"In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \\\"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\\\" When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through.\",\n \"When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through. Rubinstein himself admitted, after a concert in Berlin in 1875, \\\"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\\\"\",\n \"Rubinstein himself admitted, after a concert in Berlin in 1875, \\\"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\\\" Part of the problem might have been the sheer size of Rubinstein's hands.\",\n \"Part of the problem might have been the sheer size of Rubinstein's hands. They were huge, and many observers commented on them. Josef Hofmann observed that Rubinstein's fifth finger \\\"was as thick as my thumb—think of it! Then his fingers were square at the ends, with cushions on them.\",\n \"Then his fingers were square at the ends, with cushions on them. It was a wonderful hand.\\\" Pianist Josef Lhévinne described them as \\\"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\\\"\",\n \"Pianist Josef Lhévinne described them as \\\"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\\\" The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \\\"Nothing cramped about him!\",\n \"The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \\\"Nothing cramped about him! He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\\\"\",\n \"He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\\\" Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness.\",\n \"Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness. Those who valued interpretation as much or more than pure technique found much to praise. Pianist and conductor Hans von Bülow called Rubinstein \\\"the Michelangelo of music.\\\"\",\n \"Pianist and conductor Hans von Bülow called Rubinstein \\\"the Michelangelo of music.\\\" The German critic Ludwig Rellstab called him \\\"the Hercules of the piano; the Jupiter Tonans of the instrument.\\\" Tone Pressman attested to the singing quality of Rubinstein's playing, and much more: \\\"His tone was strikingly full and deep.\",\n \"Tone Pressman attested to the singing quality of Rubinstein's playing, and much more: \\\"His tone was strikingly full and deep. With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres.\",\n \"With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres. With him, the piano sang as Patti sang, as Rubini sang.\\\" Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists.\",\n \"Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists. Fellow pianist Rafael Joseffy compared it to \\\"a golden French horn.\\\" Rubinstein himself told an interviewer, \\\"Strength with lightness, that is one secret of my touch...\",\n \"Rubinstein himself told an interviewer, \\\"Strength with lightness, that is one secret of my touch... I have sat hours trying to imitate the timbre of Rubini's voice in my playing.\\\" Rubinstein told the young Rachmaninoff how he achieved that tone. \\\"Just press upon the keys until the blood oozes from your fingertips\\\".\",\n \"\\\"Just press upon the keys until the blood oozes from your fingertips\\\". When he wanted to, Rubinstein could play with extreme lightness, grace and delicacy. He rarely displayed that side of his nature, however. He had learned quickly that audiences came to hear him thunder, so he accommodated them.\",\n \"He had learned quickly that audiences came to hear him thunder, so he accommodated them. Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before.\",\n \"Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before. During this tour, Rubinstein received more press attention than any other figure until the appearance of Ignacy Jan Paderewski a generation later. Programs Rubinstein's concert programs were often gargantuan.\",\n \"Programs Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A).\",\n \"101 in A). 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman.\",\n \"Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note.\",\n \"He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note. Rubinstein was most famous for his series of historical recitals—seven consecutive concerts covering the history of piano music. Each of these programs was enormous.\",\n \"Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital.\",\n \"Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert.\",\n \"This did not include encores, which Rubinstein sprayed liberally at every concert. Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873. Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe.\",\n \"Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge.\",\n \"In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge. Rachmaninoff on Rubinstein Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student.\",\n \"Rachmaninoff on Rubinstein Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student. Forty-four years later he told his biographer Oscar von Riesemann, \\\"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\\\"\",\n \"Forty-four years later he told his biographer Oscar von Riesemann, \\\"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\\\" Rachmaninoff explained to von Riesemann, \\\"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\\\"\",\n \"Rachmaninoff explained to von Riesemann, \\\"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\\\" Rachmaninoff's detailed description to von Riesemann is of interest: Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished.\",\n \"Rachmaninoff's detailed description to von Riesemann is of interest: Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished. One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone...\",\n \"One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone... I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \\\"fluttering away of the little bird\\\" would be hopelessly inadequate.\",\n \"I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \\\"fluttering away of the little bird\\\" would be hopelessly inadequate. Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner.\",\n \"Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner. One of Rubinstein's greatest secrets was his use of the pedal.\",\n \"One of Rubinstein's greatest secrets was his use of the pedal. He himself very happily expressed his ideas on the subject when he said, \\\"The pedal is the soul of the piano.\\\" No pianist should ever forget this.\",\n \"No pianist should ever forget this. Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \\\"Funeral March\\\" Sonata—both became cornerstones of Rachmaninoff's own recital programs.\",\n \"Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \\\"Funeral March\\\" Sonata—both became cornerstones of Rachmaninoff's own recital programs. Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work.\",\n \"Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work. Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later.\",\n \"Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later. In Rubinstein's defense, however, Rachmaninoff said that \\\"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\\\"\",\n \"In Rubinstein's defense, however, Rachmaninoff said that \\\"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\\\" Conducting Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867.\",\n \"Conducting Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867. He also did his share of guest conducting both before and after his tenure with the RMS.\",\n \"He also did his share of guest conducting both before and after his tenure with the RMS. Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences.\",\n \"Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences. Teacher As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work.\",\n \"Teacher As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work. He could also be exacting and expected as much from them as he gave to them.\",\n \"He could also be exacting and expected as much from them as he gave to them. According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference.\",\n \"According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference. This assignment would be due the following day.\",\n \"This assignment would be due the following day. At other times, he would expect students to improvise a minuet, a rondo, a polonaise or some other musical form. Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead.\",\n \"Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead. He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano.\",\n \"He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano. Notable students include pianists Josef Hofmann and Sandra Drouker.\",\n \"Notable students include pianists Josef Hofmann and Sandra Drouker. Composition By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \\\"but as a composer performing his symphonies, concertos, operas, trios, etc.\\\"\",\n \"Composition By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \\\"but as a composer performing his symphonies, concertos, operas, trios, etc.\\\" Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote).\",\n \"Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote). Edward Garden writes in the New Grove, Rubinstein composed assiduously during all periods of his life.\",\n \"Edward Garden writes in the New Grove, Rubinstein composed assiduously during all periods of his life. He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved.\",\n \"He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved. Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn.\",\n \"Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn. Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music.\",\n \"Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music. Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching.\",\n \"Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching. Robert Schumann and Felix Mendelssohn were the strongest influences on Rubinstein's music. Consequently, Rubinstein's music demonstrates none of the nationalism of The Five.\",\n \"Consequently, Rubinstein's music demonstrates none of the nationalism of The Five. Rubinstein also had a tendency to rush in composing his pieces, resulting in good ideas such as those in his Ocean Symphony being developed in less-than-exemplary ways. As Paderewski was later to remark, \\\"He had not the necessary concentration of patience for a composer...\",\n \"As Paderewski was later to remark, \\\"He had not the necessary concentration of patience for a composer... He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\\\"\",\n \"He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\\\" Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ...\",\n \"Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ... The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s.\",\n \"The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s. After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire.\",\n \"After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire. Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev.\",\n \"Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev. Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism.\",\n \"Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism. Amongst his better known works are the opera The Demon, his Piano Concerto No. 4, and his Symphony No. 2, known as The Ocean.\",\n \"2, known as The Ocean. Rubinstein's repartee Rubinstein was as well known during his lifetime for his sarcasm as well as his sometimes penetrating insight. During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him.\",\n \"During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him. After a long silence, Rubinstein told Cortot, \\\"My boy, don't you ever forget what I am going to tell you. Beethoven's music must not be studied. It must be reincarnated.\\\"\",\n \"It must be reincarnated.\\\" It must be reincarnated.\\\" Cortot reportedly never forgot those words. Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase.\",\n \"Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase. His manner with them was a combination of raw, sometimes violent criticism and good humor.\",\n \"His manner with them was a combination of raw, sometimes violent criticism and good humor. Hofmann wrote of one such lesson: Once I played a Liszt rhapsody pretty badly. After a little of it, Rubinstein said, \\\"The way you play this piece would be all right for Auntie or Mamma.\\\"\",\n \"After a little of it, Rubinstein said, \\\"The way you play this piece would be all right for Auntie or Mamma.\\\" Then rising and coming toward me, he said, \\\"Now let us see how play such things.\\\" ...\",\n \"... ... I began again, but I had not played more than a few measures when Rubinstein said loudly, \\\"Have you begun?\\\" \\\"Yes, Master, I certainly have.\\\" \\\"Oh,\\\" said Rubinstein vaguely, \\\"I didn't notice.\\\" ... Rubinstein did not so much instruct me.\",\n \"... Rubinstein did not so much instruct me. Merely he let me learn from him ...\",\n \"Merely he let me learn from him ... If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do.\",\n \"If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do. Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts.\",\n \"Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts. When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \\\"When you are as old as I am, you may do as I do.\\\"\",\n \"When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \\\"When you are as old as I am, you may do as I do.\\\" Then Rubinstein added, \\\"If you can\\\". Nor did Rubinstein adjust the tenor of his comments for those of high rank.\",\n \"Nor did Rubinstein adjust the tenor of his comments for those of high rank. After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility.\",\n \"After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility. At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift.\",\n \"At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift. Rubinstein replied bluntly, to the crowd's horror, \\\"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\\\"\",\n \"Rubinstein replied bluntly, to the crowd's horror, \\\"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\\\" Rubinstein's voice The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison.\",\n \"Rubinstein's voice The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison. Rubinstein is heard to make a complimentary remark about the phonograph recorder. References Sources In Russian (2 vol.) In German (3 vol.) In English (29 vols.)\",\n \"In English (29 vols.) Further reading Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995) Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991) Rubinstein, Anton Grigorevich, ed.\",\n \"Further reading Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995) Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991) Rubinstein, Anton Grigorevich, ed. L. Barenboim, Literaturnoye Naslediye (3 vol.\",\n \"L. Barenboim, Literaturnoye Naslediye (3 vol. ), (in Russian), (Moscow, 1983) External links Networking Rubinstein – his contacts in his early career Soundbites from String Quartet No.1 in G, Op.17 No.1 Anton Rubinstein recordings at the Discography of American Historical Recordings.\",\n \"), (in Russian), (Moscow, 1983) External links Networking Rubinstein – his contacts in his early career Soundbites from String Quartet No.1 in G, Op.17 No.1 Anton Rubinstein recordings at the Discography of American Historical Recordings. 1829 births 1894 deaths 19th-century classical composers 19th-century classical pianists 19th-century conductors (music) 19th-century male conductors (music) Burials at Tikhvin Cemetery Composers for piano Converts to Eastern Orthodoxy from Judaism Founders of Russian educational institutions Jewish atheists Jewish classical composers Jewish classical pianists Jewish opera composers Male classical pianists Male opera composers People from Baltsky Uyezd People from Rîbnița District Pupils of Siegfried Dehn Pyotr Ilyich Tchaikovsky Recipients of the Pour le Mérite (civil class) Royal Philharmonic Society Gold Medallists Russian atheists Russian classical pianists Russian conductors (music) Russian male conductors (music) Russian Jews Russian male classical composers Russian music educators Russian opera composers Russian Romantic composers\"\n]"}}},{"rowIdx":497,"cells":{"History":{"kind":"list like","value":["Anton Rubinstein","Programs","What programs was he apart of?","Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna,","Are there any other interesting aspects about this article?","Rubinstein was most famous for his series of historical recitals--seven consecutive concerts covering the history of piano music.","What was the name of his series?","I don't know.","What was some of his concerts?","Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873.","did he tour again?","Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility,","When was his last concert?","I don't know."],"string":"[\n \"Anton Rubinstein\",\n \"Programs\",\n \"What programs was he apart of?\",\n \"Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna,\",\n \"Are there any other interesting aspects about this article?\",\n \"Rubinstein was most famous for his series of historical recitals--seven consecutive concerts covering the history of piano music.\",\n \"What was the name of his series?\",\n \"I don't know.\",\n \"What was some of his concerts?\",\n \"Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873.\",\n \"did he tour again?\",\n \"Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility,\",\n \"When was his last concert?\",\n \"I don't know.\"\n]"},"QuAC_dialog_id":{"kind":"string","value":"C_abfaf1bc5d7a4878916e69b3dc8922b2_0"},"Question":{"kind":"string","value":"what was his most famous concert?"},"Question_no":{"kind":"number","value":7,"string":"7"},"Rewrite":{"kind":"string","value":"What was Anton Rubinstein's most famous concert?"},"true_page_title":{"kind":"string","value":"Anton Rubinstein"},"true_contexts":{"kind":"string","value":"Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note. Rubinstein was most famous for his series of historical recitals--seven consecutive concerts covering the history of piano music. Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert. Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873. Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge. CANNOTANSWER"},"answer":{"kind":"string","value":"the pianist played more than 20 pieces in one concert in Vienna, including three sonatas"},"true_contexts_wiki":{"kind":"string","value":"Anton Grigoryevich Rubinstein (; ) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein, who founded the Moscow Conservatory.\n\nAs a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals—seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.\n\nAlthough best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life. He wrote 20 operas, the best known of which is The Demon. He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble.\n\nEarly life and education\n\nRubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa. Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy. Although he was raised as a Christian, Rubinstein would later become an atheist.\n\nRubinstein's father opened a pencil factory in Moscow. His mother, a competent musician, began giving him piano lessons at five, until the teacher heard and accepted Rubinstein as a non-paying student. Rubinstein made his first public appearance at a charity benefit concert at the age of nine. Later that year Rubinstein's mother sent him, accompanied by Villoing, to Paris where he sought unsuccessfully to enroll at the Paris Conservatoire.\n\nRubinstein and Villoing remained in Paris for a year. In December 1840, Rubinstein played in the Salle Érard for an audience that included Frédéric Chopin and Franz Liszt. Chopin invited Rubinstein to his studio and played for him. Liszt advised Villoing to take him to Germany to study composition; however, Villoing took Rubinstein on an extended concert tour of Europe and Western Russia. They finally returned to Moscow in June 1843. Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace. Anton was 14 years old; Nikolai was eight.\n\nTravel and performance\n\nBerlin\nIn spring 1844, Rubinstein, Nikolai, his mother and his sister Luba travelled to Berlin. Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer.\nMendelssohn, who had heard Rubinstein when he had toured with Villoing, said he needed no further piano study but sent Nikolai to Theodor Kullak for instruction. Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory.\n\nWord came in the summer of 1846 that Rubinstein's father was gravely ill. Rubinstein was left in Berlin while his mother, sister and brother returned to Russia. At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest. Now 17, he knew he could no longer pass as a child prodigy. He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil. However, after Rubinstein had played his audition, Liszt is reported to have said, \"A talented man must win the goal of his ambition by his own unassisted efforts.\" At this point, Rubinstein was living in acute poverty. Liszt did nothing to help him. Other calls Rubinstein made to potential patrons came to no avail. After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons.\n\nBack to Russia\nThe Revolution of 1848 forced Rubinstein back to Russia. Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court. The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness. By 1852, he had become a leading figure in Saint Petersburg's musical life, performing as a soloist and collaborating with some of the outstanding instrumentalists and vocalists who came to the Russian capital.\n\nHe also composed assiduously. After a number of delays, including some difficulties with the censor, Rubinstein's first opera, Dmitry Donskoy (now lost except for the overture), was performed at the Bolshoy Theater in Saint Petersburg in 1852. Three one-act operas written for Elena Pavlovna followed. He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works. It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist.\n\nAbroad once more\n\nIn 1854, Rubinstein began a four-year concert tour of Europe. This was his first major concert tour in a decade. Now 24, he felt ready to offer himself to the public as a fully developed pianist as well as a composer of worth. He very shortly reestablished his reputation as a virtuoso. Ignaz Moscheles wrote in 1855 what would become a widespread opinion about Rubinstein: \"In power and execution he is inferior to no one.\"\n\nAs was the penchant at the time, much of what Rubinstein played were his own compositions. At several concerts, Rubinstein alternated between conducting his orchestral works and playing as soloist in one of his piano concertos. One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854. Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later.\n\nRubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice. Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859.\n\nOpening the St. Petersburg Conservatory\nThe opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862. Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty.\n\nSome in Russian society were surprised that a Russian music school would actually attempt to be Russian. One \"fashionable lady\", when told by Rubinstein that classes would be taught in Russian and not a foreign language, exclaimed, \"What, music in Russian! That is an original idea!\" Rubinstein adds, And surely it was surprising that the theory of Music was to be taught for the first time in the Russian language at our Conservatory... Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany.\nThere were also those who feared the school would not be Russian enough. Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five. Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world. Actually the Conservatory raise the level of musical culture in Russia. The unconventional way chosen by Balakirev and his friends was not necessarily the right one for everybody else.\nIt was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871. Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \"interesting and well done,\" though \"episodic,\" and the opera Ivan IV Grozniy, which was premiered by Balakirev. Borodin commented on Ivan IV that \"the music is good, you just cannot recognize that it is Rubinstein. There is nothing that is Mendelssohnian, nothing as he used to write formerly.\"\n\nThe American tour\nBy 1867, ongoing tensions with the Balakirev camp, along with related matters, led to intense dissension within the Conservatory's faculty. Rubinstein resigned and returned to touring throughout Europe. Unlike his previous tours, he began increasingly featuring the works of other composers. In previous tours, Rubinstein had played primarily his own works.\n\nAt the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season. Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid. Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities.\n\nRubinstein wrote of his American experience, May Heaven preserve us from such slavery! Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost... The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art. So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank...\nDespite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life. Upon his return to Russia, he \"hastened to invest in real estate\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family.\n\nLater life\nRubinstein continued to make tours as a pianist and give appearances as a conductor. In 1887, he returned to the Saint Petersburg Conservatory with the goal of improving overall standards. He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum. He led semi-weekly teachers' classes through the whole keyboard literature and gave some of the more gifted piano students personal coaching. During the 1889–90 academic year he gave weekly lecture-recitals for the students. He resigned again—and left Russia—in 1891 over Imperial demands that Conservatory admittance, and later annual prizes to students, be awarded along ethnic quotas instead of purely by merit. These quotas were designed to effectively disadvantage Jews. Rubinstein resettled in Dresden and started giving concerts again in Germany and Austria. Nearly all of these concerts were charity benefit events.\n\nRubinstein also coached a few pianists and taught his only private piano student, Josef Hofmann. Hofmann would become one of the finest keyboard artists of the 20th century.\n\nDespite his sentiments on ethnic politics in Russia, Rubinstein returned there occasionally to visit friends and family. He gave his final concert in Saint Petersburg on 14 January 1894. With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894. He died there on 20 November of that year, having suffered from heart disease for some time.\n\nThe former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him.\n\nPianism\n\n\"Van II\"\nMany contemporaries felt he bore a striking resemblance to Ludwig van Beethoven. Ignaz Moscheles, who had known Beethoven intimately, wrote, \"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\" Liszt referred to Rubinstein as \"Van II.\" This resemblance was also felt to be in Rubinstein's keyboard playing. Under his hands, it was said, the piano erupted volcanically. Audience members wrote of going home limp after one of his recitals, knowing they had witnessed a force of nature.\n\nSometimes Rubinstein's playing was too much for listeners to handle. American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much. Give me Rubinstein for a few pieces, but Tausig for a whole evening.\" She heard Rubinstein play \"a terrific piece by Schubert,\" reportedly the Wanderer Fantasie. The performance gave her such a violent headache that the rest of the recital was ruined for her.\n\nClara Schumann proved especially vehement. After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\" Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau. She noted in her diary, \"I was furious, for he no longer plays. Either there is a perfectly wild noise or else a whisper with the soft pedal down. And a would-be cultured audience puts up with a performance like that!\"\n\nOn the other hand, when Rubinstein played Beethoven's \"Archduke\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls:\nIt was the first time I had heard this great artist play. He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme... It seemed to me I had never before heard the piano really played. The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ...\nViolinist and composer Henri Vieuxtemps adds:\nHis power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten. I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op. 57 [Appassionata], which Rubinstein executed for us with unimagined mastery.\nViennese music critic Eduard Hanslick expressed what Schonberg calls \"the majority point of view\" in an 1884 review. After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners. Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness. \"Yes, he plays like a god\", Hanslick writes in closing, \"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\".\n\nSergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm. His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall. In playing, Rubinstein created, and he created inimitably and with genius. He often treated the same program absolutely differently when he played it the second time, but, more astoundingly still, everything came out wonderfully on both occasions.\n\nRubinstein was also adept at improvisation—a practice at which Beethoven had excelled. Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song. He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable. It was superb.\"\n\nTechnique\n\nVilloing had worked with Rubinstein on hand position and finger dexterity. From watching Liszt, Rubinstein had learned about freedom of arm movement. Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing. He would remark to his students about \"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\"\n\nIn his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\" When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through. Rubinstein himself admitted, after a concert in Berlin in 1875, \"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\"\n\nPart of the problem might have been the sheer size of Rubinstein's hands. They were huge, and many observers commented on them. Josef Hofmann observed that Rubinstein's fifth finger \"was as thick as my thumb—think of it! Then his fingers were square at the ends, with cushions on them. It was a wonderful hand.\" Pianist Josef Lhévinne described them as \"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\" The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \"Nothing cramped about him! He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\"\n\nBecause of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness. Those who valued interpretation as much or more than pure technique found much to praise. Pianist and conductor Hans von Bülow called Rubinstein \"the Michelangelo of music.\" The German critic Ludwig Rellstab called him \"the Hercules of the piano; the Jupiter Tonans of the instrument.\"\n\nTone\nPressman attested to the singing quality of Rubinstein's playing, and much more: \"His tone was strikingly full and deep. With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres. With him, the piano sang as Patti sang, as Rubini sang.\"\n\nSchonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists. Fellow pianist Rafael Joseffy compared it to \"a golden French horn.\" Rubinstein himself told an interviewer, \"Strength with lightness, that is one secret of my touch... I have sat hours trying to imitate the timbre of Rubini's voice in my playing.\"\n\nRubinstein told the young Rachmaninoff how he achieved that tone. \"Just press upon the keys until the blood oozes from your fingertips\". When he wanted to, Rubinstein could play with extreme lightness, grace and delicacy. He rarely displayed that side of his nature, however. He had learned quickly that audiences came to hear him thunder, so he accommodated them. Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before. During this tour, Rubinstein received more press attention than any other figure until the appearance of Ignacy Jan Paderewski a generation later.\n\nPrograms\nRubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note.\n\nRubinstein was most famous for his series of historical recitals—seven consecutive concerts covering the history of piano music. Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert.\n\nRubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873.\n\nRubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge.\n\nRachmaninoff on Rubinstein\nSergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student. Forty-four years later he told his biographer Oscar von Riesemann, \"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\"\n\nRachmaninoff explained to von Riesemann, \"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\"\n\nRachmaninoff's detailed description to von Riesemann is of interest:\n\nOnce he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished. One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone... I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \"fluttering away of the little bird\" would be hopelessly inadequate. Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner. One of Rubinstein's greatest secrets was his use of the pedal. He himself very happily expressed his ideas on the subject when he said, \"The pedal is the soul of the piano.\" No pianist should ever forget this.\n\nRachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \"Funeral March\" Sonata—both became cornerstones of Rachmaninoff's own recital programs. Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work.\n\nRachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later. In Rubinstein's defense, however, Rachmaninoff said that \"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\"\n\nConducting\n\nRubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867. He also did his share of guest conducting both before and after his tenure with the RMS. Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences.\n\nTeacher\nAs a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work. He could also be exacting and expected as much from them as he gave to them. According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference. This assignment would be due the following day. At other times, he would expect students to improvise a minuet, a rondo, a polonaise or some other musical form.\n\nRubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead. He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano. Notable students include pianists Josef Hofmann and Sandra Drouker.\n\nComposition\n\nBy 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \"but as a composer performing his symphonies, concertos, operas, trios, etc.\" Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote). Edward Garden writes in the New Grove,\nRubinstein composed assiduously during all periods of his life. He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved.\nRubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn. Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music. Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching. Robert Schumann and Felix Mendelssohn were the strongest influences on Rubinstein's music.\n\nConsequently, Rubinstein's music demonstrates none of the nationalism of The Five. Rubinstein also had a tendency to rush in composing his pieces, resulting in good ideas such as those in his Ocean Symphony being developed in less-than-exemplary ways. As Paderewski was later to remark, \"He had not the necessary concentration of patience for a composer... He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\" Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ... The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s.\n\nAfter Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire. Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev.\n\nOver recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism. Amongst his better known works are the opera The Demon, his Piano Concerto No. 4, and his Symphony No. 2, known as The Ocean.\n\nRubinstein's repartee\nRubinstein was as well known during his lifetime for his sarcasm as well as his sometimes penetrating insight. During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him. After a long silence, Rubinstein told Cortot, \"My boy, don't you ever forget what I am going to tell you. Beethoven's music must not be studied. It must be reincarnated.\" Cortot reportedly never forgot those words.\n\nRubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase. His manner with them was a combination of raw, sometimes violent criticism and good humor. Hofmann wrote of one such lesson:\nOnce I played a Liszt rhapsody pretty badly. After a little of it, Rubinstein said, \"The way you play this piece would be all right for Auntie or Mamma.\" Then rising and coming toward me, he said, \"Now let us see how play such things.\"\n\n... I began again, but I had not played more than a few measures when Rubinstein said loudly, \"Have you begun?\" \"Yes, Master, I certainly have.\" \"Oh,\" said Rubinstein vaguely, \"I didn't notice.\" ... Rubinstein did not so much instruct me. Merely he let me learn from him ... If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do.\n\nRubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts. When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \"When you are as old as I am, you may do as I do.\" Then Rubinstein added, \"If you can\".\n\nNor did Rubinstein adjust the tenor of his comments for those of high rank. After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility. At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift. Rubinstein replied bluntly, to the crowd's horror, \"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\"\n\nRubinstein's voice\nThe following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison. Rubinstein is heard to make a complimentary remark about the phonograph recorder.\n\nReferences\n\nSources\n\nIn Russian\n \n (2 vol.)\n\nIn German\n (3 vol.)\n\nIn English\n \n \n \n (29 vols.)\n\nFurther reading\n \n Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995)\n Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) \n Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991)\n Rubinstein, Anton Grigorevich, ed. L. Barenboim, Literaturnoye Naslediye (3 vol.), (in Russian), (Moscow, 1983)\n\nExternal links\n\nNetworking Rubinstein – his contacts in his early career\nSoundbites from String Quartet No.1 in G, Op.17 No.1\n\n Anton Rubinstein recordings at the Discography of American Historical Recordings.\n\n1829 births\n1894 deaths\n19th-century classical composers\n19th-century classical pianists\n19th-century conductors (music)\n19th-century male conductors (music)\nBurials at Tikhvin Cemetery\nComposers for piano\nConverts to Eastern Orthodoxy from Judaism\nFounders of Russian educational institutions\nJewish atheists\nJewish classical composers\nJewish classical pianists\nJewish opera composers\nMale classical pianists\nMale opera composers\nPeople from Baltsky Uyezd\nPeople from Rîbnița District\nPupils of Siegfried Dehn\nPyotr Ilyich Tchaikovsky\nRecipients of the Pour le Mérite (civil class)\nRoyal Philharmonic Society Gold Medallists\nRussian atheists\nRussian classical pianists\nRussian conductors (music)\nRussian male conductors (music)\nRussian Jews\nRussian male classical composers\nRussian music educators\nRussian opera composers\nRussian Romantic composers"},"extractive":{"kind":"string","value":"true"},"retrieved_contexts":{"kind":"list like","value":["The See What You Started Tour was a concert tour headlined by American rock band Collective Soul, in support of their ninth studio album, See What You Started by Continuing.\n\nBackground\nThe tour was announced by the band through a video posted to Facebook on July 27, 2015. Tickets for most early dates went on sale to the public two days later.\n\nTour dates\n\nAdditional notes\n A This concert was aired live on Yahoo! Screen.\n\nRescheduled show\n\nPersonnel\nCollective Soul\n Ed Roland – lead vocals, guitar, keyboards \n Dean Roland – rhythm guitar, keyboards \n Will Turpin – bass, backing vocals \n Jesse Triplett – lead guitar\n Johnny Rabb – drums, percussion\n\nReferences\n\n2015 concert tours\n2016 concert tours\nCollective Soul concert tours\nConcert tours of Canada\nConcert tours of South America\nConcert tours of the United States","Ernst Grenzebach (14 February 1871 – 29 May 1936) was a German concert baritone and voice teacher. He taught, among others, two of the most famous European heroic tenors: Max Lorenz and Lauritz Melchior.\n\nLife and career \nBorn in Berlin, Grenzebach was the son of a Berlin merchant. From 1900 to 1904 he studied opera and concert singing at the Stern Conservatory. Although he was also active as a concert soloist, from 1904 he devoted himself primarily to teaching. He conducted the Grenzebach'sche Frauenchor which consisted of his students. In the 1920s he lived in Nassauische Strasse in Berlin-Wilmersdorf. He was the principal teacher of opera and concert singing at the Klindworth-Scharwenka-Konservatorium, which for decades enjoyed the reputation of an internationally renowned training institution. He was regarded as the vocal pedagogue of Berlin and was a professor at the Staatliche Hochschule für Musik und Darstellende Kunst Berlin from 1928 to 1934. Else Prausnitz (1885-1976) was the piano accompanist during his lessons for many years.\n\nThe later record producer, manager and composer (1897–1992) was his nephew whose musical education was supported by his uncle.\n\nGrenzebach died in Berlin aged 65.\n\nStudents\n\nLiterature \n Karl-Josef Kutsch, Leo Riemens: Großes Sängerlexikon. Fourth, extended and updated edition. K. G. Saur, Munich 2003, vol. 4.\n\nReferences\n\nExternal links \n Grenzebach, Ernst on Operissimo\n\n1871 births\n1936 deaths\nMusicians from Berlin\nGerman baritones\nVoice teachers"],"string":"[\n \"The See What You Started Tour was a concert tour headlined by American rock band Collective Soul, in support of their ninth studio album, See What You Started by Continuing.\\n\\nBackground\\nThe tour was announced by the band through a video posted to Facebook on July 27, 2015. Tickets for most early dates went on sale to the public two days later.\\n\\nTour dates\\n\\nAdditional notes\\n A This concert was aired live on Yahoo! Screen.\\n\\nRescheduled show\\n\\nPersonnel\\nCollective Soul\\n Ed Roland – lead vocals, guitar, keyboards \\n Dean Roland – rhythm guitar, keyboards \\n Will Turpin – bass, backing vocals \\n Jesse Triplett – lead guitar\\n Johnny Rabb – drums, percussion\\n\\nReferences\\n\\n2015 concert tours\\n2016 concert tours\\nCollective Soul concert tours\\nConcert tours of Canada\\nConcert tours of South America\\nConcert tours of the United States\",\n \"Ernst Grenzebach (14 February 1871 – 29 May 1936) was a German concert baritone and voice teacher. He taught, among others, two of the most famous European heroic tenors: Max Lorenz and Lauritz Melchior.\\n\\nLife and career \\nBorn in Berlin, Grenzebach was the son of a Berlin merchant. From 1900 to 1904 he studied opera and concert singing at the Stern Conservatory. Although he was also active as a concert soloist, from 1904 he devoted himself primarily to teaching. He conducted the Grenzebach'sche Frauenchor which consisted of his students. In the 1920s he lived in Nassauische Strasse in Berlin-Wilmersdorf. He was the principal teacher of opera and concert singing at the Klindworth-Scharwenka-Konservatorium, which for decades enjoyed the reputation of an internationally renowned training institution. He was regarded as the vocal pedagogue of Berlin and was a professor at the Staatliche Hochschule für Musik und Darstellende Kunst Berlin from 1928 to 1934. Else Prausnitz (1885-1976) was the piano accompanist during his lessons for many years.\\n\\nThe later record producer, manager and composer (1897–1992) was his nephew whose musical education was supported by his uncle.\\n\\nGrenzebach died in Berlin aged 65.\\n\\nStudents\\n\\nLiterature \\n Karl-Josef Kutsch, Leo Riemens: Großes Sängerlexikon. Fourth, extended and updated edition. K. G. Saur, Munich 2003, vol. 4.\\n\\nReferences\\n\\nExternal links \\n Grenzebach, Ernst on Operissimo\\n\\n1871 births\\n1936 deaths\\nMusicians from Berlin\\nGerman baritones\\nVoice teachers\"\n]"},"chunked_article":{"kind":"list like","value":["Anton Grigoryevich Rubinstein (; ) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein, who founded the Moscow Conservatory. As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos.","As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals—seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.","Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there. Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life.","Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life. He wrote 20 operas, the best known of which is The Demon.","He wrote 20 operas, the best known of which is The Demon. He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble.","He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble. Early life and education Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa.","Early life and education Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa. Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy.","Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy. Although he was raised as a Christian, Rubinstein would later become an atheist. Rubinstein's father opened a pencil factory in Moscow.","Rubinstein's father opened a pencil factory in Moscow. His mother, a competent musician, began giving him piano lessons at five, until the teacher heard and accepted Rubinstein as a non-paying student. Rubinstein made his first public appearance at a charity benefit concert at the age of nine.","Rubinstein made his first public appearance at a charity benefit concert at the age of nine. Later that year Rubinstein's mother sent him, accompanied by Villoing, to Paris where he sought unsuccessfully to enroll at the Paris Conservatoire. Rubinstein and Villoing remained in Paris for a year.","Rubinstein and Villoing remained in Paris for a year. In December 1840, Rubinstein played in the Salle Érard for an audience that included Frédéric Chopin and Franz Liszt. Chopin invited Rubinstein to his studio and played for him.","Chopin invited Rubinstein to his studio and played for him. Liszt advised Villoing to take him to Germany to study composition; however, Villoing took Rubinstein on an extended concert tour of Europe and Western Russia. They finally returned to Moscow in June 1843.","They finally returned to Moscow in June 1843. Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace.","Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace. Anton was 14 years old; Nikolai was eight.","Anton was 14 years old; Nikolai was eight. Travel and performance Berlin In spring 1844, Rubinstein, Nikolai, his mother and his sister Luba travelled to Berlin. Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer.","Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer. Mendelssohn, who had heard Rubinstein when he had toured with Villoing, said he needed no further piano study but sent Nikolai to Theodor Kullak for instruction. Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory.","Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory. Word came in the summer of 1846 that Rubinstein's father was gravely ill. Rubinstein was left in Berlin while his mother, sister and brother returned to Russia. At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest.","At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest. Now 17, he knew he could no longer pass as a child prodigy. He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil.","He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil. However, after Rubinstein had played his audition, Liszt is reported to have said, \"A talented man must win the goal of his ambition by his own unassisted efforts.\" At this point, Rubinstein was living in acute poverty.","At this point, Rubinstein was living in acute poverty. Liszt did nothing to help him. Other calls Rubinstein made to potential patrons came to no avail. After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons.","After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons. Back to Russia The Revolution of 1848 forced Rubinstein back to Russia. Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court.","Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court. The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness.","The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness. By 1852, he had become a leading figure in Saint Petersburg's musical life, performing as a soloist and collaborating with some of the outstanding instrumentalists and vocalists who came to the Russian capital. He also composed assiduously.","He also composed assiduously. He also composed assiduously. After a number of delays, including some difficulties with the censor, Rubinstein's first opera, Dmitry Donskoy (now lost except for the overture), was performed at the Bolshoy Theater in Saint Petersburg in 1852. Three one-act operas written for Elena Pavlovna followed.","Three one-act operas written for Elena Pavlovna followed. He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works.","He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works. It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist.","It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist. Abroad once more In 1854, Rubinstein began a four-year concert tour of Europe. This was his first major concert tour in a decade.","This was his first major concert tour in a decade. Now 24, he felt ready to offer himself to the public as a fully developed pianist as well as a composer of worth. He very shortly reestablished his reputation as a virtuoso.","He very shortly reestablished his reputation as a virtuoso. Ignaz Moscheles wrote in 1855 what would become a widespread opinion about Rubinstein: \"In power and execution he is inferior to no one.\" As was the penchant at the time, much of what Rubinstein played were his own compositions.","As was the penchant at the time, much of what Rubinstein played were his own compositions. At several concerts, Rubinstein alternated between conducting his orchestral works and playing as soloist in one of his piano concertos. One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854.","One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854. Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later.","Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later. Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice.","Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice. Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859.","Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859. Opening the St. Petersburg Conservatory The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862.","Opening the St. Petersburg Conservatory The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862. Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty.","Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty. Some in Russian society were surprised that a Russian music school would actually attempt to be Russian.","Some in Russian society were surprised that a Russian music school would actually attempt to be Russian. One \"fashionable lady\", when told by Rubinstein that classes would be taught in Russian and not a foreign language, exclaimed, \"What, music in Russian! That is an original idea!\"","That is an original idea!\" Rubinstein adds, And surely it was surprising that the theory of Music was to be taught for the first time in the Russian language at our Conservatory... Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany.","Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany. There were also those who feared the school would not be Russian enough. Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five.","Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five. Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world.","Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world. Actually the Conservatory raise the level of musical culture in Russia.","Actually the Conservatory raise the level of musical culture in Russia. The unconventional way chosen by Balakirev and his friends was not necessarily the right one for everybody else. It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871.","It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871. Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \"interesting and well done,\" though \"episodic,\" and the opera Ivan IV Grozniy, which was premiered by Balakirev.","Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \"interesting and well done,\" though \"episodic,\" and the opera Ivan IV Grozniy, which was premiered by Balakirev. Borodin commented on Ivan IV that \"the music is good, you just cannot recognize that it is Rubinstein.","Borodin commented on Ivan IV that \"the music is good, you just cannot recognize that it is Rubinstein. There is nothing that is Mendelssohnian, nothing as he used to write formerly.\"","There is nothing that is Mendelssohnian, nothing as he used to write formerly.\" The American tour By 1867, ongoing tensions with the Balakirev camp, along with related matters, led to intense dissension within the Conservatory's faculty. Rubinstein resigned and returned to touring throughout Europe.","Rubinstein resigned and returned to touring throughout Europe. Unlike his previous tours, he began increasingly featuring the works of other composers. In previous tours, Rubinstein had played primarily his own works. At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season.","At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season. Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid.","Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid. Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities.","Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities. Rubinstein wrote of his American experience, May Heaven preserve us from such slavery!","Rubinstein wrote of his American experience, May Heaven preserve us from such slavery! Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost...","Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost... The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art.","The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art. So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank...","So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank... Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life.","Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life. Upon his return to Russia, he \"hastened to invest in real estate\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family.","Upon his return to Russia, he \"hastened to invest in real estate\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family. Later life Rubinstein continued to make tours as a pianist and give appearances as a conductor.","Later life Rubinstein continued to make tours as a pianist and give appearances as a conductor. In 1887, he returned to the Saint Petersburg Conservatory with the goal of improving overall standards. He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum.","He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum. He led semi-weekly teachers' classes through the whole keyboard literature and gave some of the more gifted piano students personal coaching. During the 1889–90 academic year he gave weekly lecture-recitals for the students.","During the 1889–90 academic year he gave weekly lecture-recitals for the students. He resigned again—and left Russia—in 1891 over Imperial demands that Conservatory admittance, and later annual prizes to students, be awarded along ethnic quotas instead of purely by merit. These quotas were designed to effectively disadvantage Jews.","These quotas were designed to effectively disadvantage Jews. Rubinstein resettled in Dresden and started giving concerts again in Germany and Austria. Nearly all of these concerts were charity benefit events. Rubinstein also coached a few pianists and taught his only private piano student, Josef Hofmann. Hofmann would become one of the finest keyboard artists of the 20th century.","Hofmann would become one of the finest keyboard artists of the 20th century. Despite his sentiments on ethnic politics in Russia, Rubinstein returned there occasionally to visit friends and family. He gave his final concert in Saint Petersburg on 14 January 1894. With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894.","With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894. He died there on 20 November of that year, having suffered from heart disease for some time. The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him.","The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him. Pianism \"Van II\" Many contemporaries felt he bore a striking resemblance to Ludwig van Beethoven. Ignaz Moscheles, who had known Beethoven intimately, wrote, \"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\"","Ignaz Moscheles, who had known Beethoven intimately, wrote, \"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\" Liszt referred to Rubinstein as \"Van II.\" This resemblance was also felt to be in Rubinstein's keyboard playing. Under his hands, it was said, the piano erupted volcanically.","Under his hands, it was said, the piano erupted volcanically. Audience members wrote of going home limp after one of his recitals, knowing they had witnessed a force of nature. Sometimes Rubinstein's playing was too much for listeners to handle.","Sometimes Rubinstein's playing was too much for listeners to handle. American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much.","American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much. Give me Rubinstein for a few pieces, but Tausig for a whole evening.\"","Give me Rubinstein for a few pieces, but Tausig for a whole evening.\" She heard Rubinstein play \"a terrific piece by Schubert,\" reportedly the Wanderer Fantasie. The performance gave her such a violent headache that the rest of the recital was ruined for her. Clara Schumann proved especially vehement.","Clara Schumann proved especially vehement. Clara Schumann proved especially vehement. After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\"","After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\" Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau.","Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau. She noted in her diary, \"I was furious, for he no longer plays. Either there is a perfectly wild noise or else a whisper with the soft pedal down.","Either there is a perfectly wild noise or else a whisper with the soft pedal down. And a would-be cultured audience puts up with a performance like that!\"","And a would-be cultured audience puts up with a performance like that!\" On the other hand, when Rubinstein played Beethoven's \"Archduke\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls: It was the first time I had heard this great artist play.","On the other hand, when Rubinstein played Beethoven's \"Archduke\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls: It was the first time I had heard this great artist play. He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme...","He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme... It seemed to me I had never before heard the piano really played.","It seemed to me I had never before heard the piano really played. The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ... Violinist and composer Henri Vieuxtemps adds: His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten.","The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ... Violinist and composer Henri Vieuxtemps adds: His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten. I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op.","I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op. 57 [Appassionata], which Rubinstein executed for us with unimagined mastery. Viennese music critic Eduard Hanslick expressed what Schonberg calls \"the majority point of view\" in an 1884 review.","Viennese music critic Eduard Hanslick expressed what Schonberg calls \"the majority point of view\" in an 1884 review. After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners.","After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners. Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness.","Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness. \"Yes, he plays like a god\", Hanslick writes in closing, \"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\".","\"Yes, he plays like a god\", Hanslick writes in closing, \"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\". Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm.","Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm. His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall.","His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall. In playing, Rubinstein created, and he created inimitably and with genius.","In playing, Rubinstein created, and he created inimitably and with genius. He often treated the same program absolutely differently when he played it the second time, but, more astoundingly still, everything came out wonderfully on both occasions. Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled.","Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled. Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song.","Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song. He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable.","He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable. It was superb.\"","It was superb.\" It was superb.\" Technique Villoing had worked with Rubinstein on hand position and finger dexterity. From watching Liszt, Rubinstein had learned about freedom of arm movement. Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing.","Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing. He would remark to his students about \"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\"","He would remark to his students about \"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\" In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\"","In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\" When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through.","When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through. Rubinstein himself admitted, after a concert in Berlin in 1875, \"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\"","Rubinstein himself admitted, after a concert in Berlin in 1875, \"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\" Part of the problem might have been the sheer size of Rubinstein's hands.","Part of the problem might have been the sheer size of Rubinstein's hands. They were huge, and many observers commented on them. Josef Hofmann observed that Rubinstein's fifth finger \"was as thick as my thumb—think of it! Then his fingers were square at the ends, with cushions on them.","Then his fingers were square at the ends, with cushions on them. It was a wonderful hand.\" Pianist Josef Lhévinne described them as \"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\"","Pianist Josef Lhévinne described them as \"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\" The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \"Nothing cramped about him!","The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \"Nothing cramped about him! He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\"","He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\" Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness.","Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness. Those who valued interpretation as much or more than pure technique found much to praise. Pianist and conductor Hans von Bülow called Rubinstein \"the Michelangelo of music.\"","Pianist and conductor Hans von Bülow called Rubinstein \"the Michelangelo of music.\" The German critic Ludwig Rellstab called him \"the Hercules of the piano; the Jupiter Tonans of the instrument.\" Tone Pressman attested to the singing quality of Rubinstein's playing, and much more: \"His tone was strikingly full and deep.","Tone Pressman attested to the singing quality of Rubinstein's playing, and much more: \"His tone was strikingly full and deep. With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres.","With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres. With him, the piano sang as Patti sang, as Rubini sang.\" Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists.","Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists. Fellow pianist Rafael Joseffy compared it to \"a golden French horn.\" Rubinstein himself told an interviewer, \"Strength with lightness, that is one secret of my touch...","Rubinstein himself told an interviewer, \"Strength with lightness, that is one secret of my touch... I have sat hours trying to imitate the timbre of Rubini's voice in my playing.\" Rubinstein told the young Rachmaninoff how he achieved that tone. \"Just press upon the keys until the blood oozes from your fingertips\".","\"Just press upon the keys until the blood oozes from your fingertips\". When he wanted to, Rubinstein could play with extreme lightness, grace and delicacy. He rarely displayed that side of his nature, however. He had learned quickly that audiences came to hear him thunder, so he accommodated them.","He had learned quickly that audiences came to hear him thunder, so he accommodated them. Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before.","Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before. During this tour, Rubinstein received more press attention than any other figure until the appearance of Ignacy Jan Paderewski a generation later. Programs Rubinstein's concert programs were often gargantuan.","Programs Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A).","101 in A). 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman.","Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note.","He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note. Rubinstein was most famous for his series of historical recitals—seven consecutive concerts covering the history of piano music. Each of these programs was enormous.","Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital.","Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert.","This did not include encores, which Rubinstein sprayed liberally at every concert. Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873. Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe.","Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge.","In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge. Rachmaninoff on Rubinstein Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student.","Rachmaninoff on Rubinstein Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student. Forty-four years later he told his biographer Oscar von Riesemann, \"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\"","Forty-four years later he told his biographer Oscar von Riesemann, \"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\" Rachmaninoff explained to von Riesemann, \"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\"","Rachmaninoff explained to von Riesemann, \"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\" Rachmaninoff's detailed description to von Riesemann is of interest: Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished.","Rachmaninoff's detailed description to von Riesemann is of interest: Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished. One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone...","One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone... I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \"fluttering away of the little bird\" would be hopelessly inadequate.","I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \"fluttering away of the little bird\" would be hopelessly inadequate. Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner.","Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner. One of Rubinstein's greatest secrets was his use of the pedal.","One of Rubinstein's greatest secrets was his use of the pedal. He himself very happily expressed his ideas on the subject when he said, \"The pedal is the soul of the piano.\" No pianist should ever forget this.","No pianist should ever forget this. Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \"Funeral March\" Sonata—both became cornerstones of Rachmaninoff's own recital programs.","Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \"Funeral March\" Sonata—both became cornerstones of Rachmaninoff's own recital programs. Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work.","Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work. Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later.","Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later. In Rubinstein's defense, however, Rachmaninoff said that \"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\"","In Rubinstein's defense, however, Rachmaninoff said that \"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\" Conducting Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867.","Conducting Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867. He also did his share of guest conducting both before and after his tenure with the RMS.","He also did his share of guest conducting both before and after his tenure with the RMS. Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences.","Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences. Teacher As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work.","Teacher As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work. He could also be exacting and expected as much from them as he gave to them.","He could also be exacting and expected as much from them as he gave to them. According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference.","According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference. This assignment would be due the following day.","This assignment would be due the following day. At other times, he would expect students to improvise a minuet, a rondo, a polonaise or some other musical form. Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead.","Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead. He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano.","He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano. Notable students include pianists Josef Hofmann and Sandra Drouker.","Notable students include pianists Josef Hofmann and Sandra Drouker. Composition By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \"but as a composer performing his symphonies, concertos, operas, trios, etc.\"","Composition By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \"but as a composer performing his symphonies, concertos, operas, trios, etc.\" Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote).","Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote). Edward Garden writes in the New Grove, Rubinstein composed assiduously during all periods of his life.","Edward Garden writes in the New Grove, Rubinstein composed assiduously during all periods of his life. He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved.","He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved. Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn.","Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn. Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music.","Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music. Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching.","Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching. Robert Schumann and Felix Mendelssohn were the strongest influences on Rubinstein's music. Consequently, Rubinstein's music demonstrates none of the nationalism of The Five.","Consequently, Rubinstein's music demonstrates none of the nationalism of The Five. Rubinstein also had a tendency to rush in composing his pieces, resulting in good ideas such as those in his Ocean Symphony being developed in less-than-exemplary ways. As Paderewski was later to remark, \"He had not the necessary concentration of patience for a composer...","As Paderewski was later to remark, \"He had not the necessary concentration of patience for a composer... He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\"","He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\" Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ...","Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ... The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s.","The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s. After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire.","After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire. Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev.","Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev. Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism.","Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism. Amongst his better known works are the opera The Demon, his Piano Concerto No. 4, and his Symphony No. 2, known as The Ocean.","2, known as The Ocean. Rubinstein's repartee Rubinstein was as well known during his lifetime for his sarcasm as well as his sometimes penetrating insight. During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him.","During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him. After a long silence, Rubinstein told Cortot, \"My boy, don't you ever forget what I am going to tell you. Beethoven's music must not be studied. It must be reincarnated.\"","It must be reincarnated.\" It must be reincarnated.\" Cortot reportedly never forgot those words. Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase.","Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase. His manner with them was a combination of raw, sometimes violent criticism and good humor.","His manner with them was a combination of raw, sometimes violent criticism and good humor. Hofmann wrote of one such lesson: Once I played a Liszt rhapsody pretty badly. After a little of it, Rubinstein said, \"The way you play this piece would be all right for Auntie or Mamma.\"","After a little of it, Rubinstein said, \"The way you play this piece would be all right for Auntie or Mamma.\" Then rising and coming toward me, he said, \"Now let us see how play such things.\" ...","... ... I began again, but I had not played more than a few measures when Rubinstein said loudly, \"Have you begun?\" \"Yes, Master, I certainly have.\" \"Oh,\" said Rubinstein vaguely, \"I didn't notice.\" ... Rubinstein did not so much instruct me.","... Rubinstein did not so much instruct me. Merely he let me learn from him ...","Merely he let me learn from him ... If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do.","If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do. Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts.","Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts. When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \"When you are as old as I am, you may do as I do.\"","When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \"When you are as old as I am, you may do as I do.\" Then Rubinstein added, \"If you can\". Nor did Rubinstein adjust the tenor of his comments for those of high rank.","Nor did Rubinstein adjust the tenor of his comments for those of high rank. After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility.","After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility. At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift.","At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift. Rubinstein replied bluntly, to the crowd's horror, \"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\"","Rubinstein replied bluntly, to the crowd's horror, \"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\" Rubinstein's voice The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison.","Rubinstein's voice The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison. Rubinstein is heard to make a complimentary remark about the phonograph recorder. References Sources In Russian (2 vol.) In German (3 vol.) In English (29 vols.)","In English (29 vols.) Further reading Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995) Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991) Rubinstein, Anton Grigorevich, ed.","Further reading Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995) Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991) Rubinstein, Anton Grigorevich, ed. L. Barenboim, Literaturnoye Naslediye (3 vol.","L. Barenboim, Literaturnoye Naslediye (3 vol. ), (in Russian), (Moscow, 1983) External links Networking Rubinstein – his contacts in his early career Soundbites from String Quartet No.1 in G, Op.17 No.1 Anton Rubinstein recordings at the Discography of American Historical Recordings.","), (in Russian), (Moscow, 1983) External links Networking Rubinstein – his contacts in his early career Soundbites from String Quartet No.1 in G, Op.17 No.1 Anton Rubinstein recordings at the Discography of American Historical Recordings. 1829 births 1894 deaths 19th-century classical composers 19th-century classical pianists 19th-century conductors (music) 19th-century male conductors (music) Burials at Tikhvin Cemetery Composers for piano Converts to Eastern Orthodoxy from Judaism Founders of Russian educational institutions Jewish atheists Jewish classical composers Jewish classical pianists Jewish opera composers Male classical pianists Male opera composers People from Baltsky Uyezd People from Rîbnița District Pupils of Siegfried Dehn Pyotr Ilyich Tchaikovsky Recipients of the Pour le Mérite (civil class) Royal Philharmonic Society Gold Medallists Russian atheists Russian classical pianists Russian conductors (music) Russian male conductors (music) Russian Jews Russian male classical composers Russian music educators Russian opera composers Russian Romantic composers"],"string":"[\n \"Anton Grigoryevich Rubinstein (; ) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein, who founded the Moscow Conservatory. As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos.\",\n \"As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals—seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.\",\n \"Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there. Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life.\",\n \"Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life. He wrote 20 operas, the best known of which is The Demon.\",\n \"He wrote 20 operas, the best known of which is The Demon. He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble.\",\n \"He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble. Early life and education Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa.\",\n \"Early life and education Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa. Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy.\",\n \"Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy. Although he was raised as a Christian, Rubinstein would later become an atheist. Rubinstein's father opened a pencil factory in Moscow.\",\n \"Rubinstein's father opened a pencil factory in Moscow. His mother, a competent musician, began giving him piano lessons at five, until the teacher heard and accepted Rubinstein as a non-paying student. Rubinstein made his first public appearance at a charity benefit concert at the age of nine.\",\n \"Rubinstein made his first public appearance at a charity benefit concert at the age of nine. Later that year Rubinstein's mother sent him, accompanied by Villoing, to Paris where he sought unsuccessfully to enroll at the Paris Conservatoire. Rubinstein and Villoing remained in Paris for a year.\",\n \"Rubinstein and Villoing remained in Paris for a year. In December 1840, Rubinstein played in the Salle Érard for an audience that included Frédéric Chopin and Franz Liszt. Chopin invited Rubinstein to his studio and played for him.\",\n \"Chopin invited Rubinstein to his studio and played for him. Liszt advised Villoing to take him to Germany to study composition; however, Villoing took Rubinstein on an extended concert tour of Europe and Western Russia. They finally returned to Moscow in June 1843.\",\n \"They finally returned to Moscow in June 1843. Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace.\",\n \"Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace. Anton was 14 years old; Nikolai was eight.\",\n \"Anton was 14 years old; Nikolai was eight. Travel and performance Berlin In spring 1844, Rubinstein, Nikolai, his mother and his sister Luba travelled to Berlin. Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer.\",\n \"Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer. Mendelssohn, who had heard Rubinstein when he had toured with Villoing, said he needed no further piano study but sent Nikolai to Theodor Kullak for instruction. Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory.\",\n \"Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory. Word came in the summer of 1846 that Rubinstein's father was gravely ill. Rubinstein was left in Berlin while his mother, sister and brother returned to Russia. At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest.\",\n \"At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest. Now 17, he knew he could no longer pass as a child prodigy. He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil.\",\n \"He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil. However, after Rubinstein had played his audition, Liszt is reported to have said, \\\"A talented man must win the goal of his ambition by his own unassisted efforts.\\\" At this point, Rubinstein was living in acute poverty.\",\n \"At this point, Rubinstein was living in acute poverty. Liszt did nothing to help him. Other calls Rubinstein made to potential patrons came to no avail. After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons.\",\n \"After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons. Back to Russia The Revolution of 1848 forced Rubinstein back to Russia. Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court.\",\n \"Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court. The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness.\",\n \"The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness. By 1852, he had become a leading figure in Saint Petersburg's musical life, performing as a soloist and collaborating with some of the outstanding instrumentalists and vocalists who came to the Russian capital. He also composed assiduously.\",\n \"He also composed assiduously. He also composed assiduously. After a number of delays, including some difficulties with the censor, Rubinstein's first opera, Dmitry Donskoy (now lost except for the overture), was performed at the Bolshoy Theater in Saint Petersburg in 1852. Three one-act operas written for Elena Pavlovna followed.\",\n \"Three one-act operas written for Elena Pavlovna followed. He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works.\",\n \"He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works. It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist.\",\n \"It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist. Abroad once more In 1854, Rubinstein began a four-year concert tour of Europe. This was his first major concert tour in a decade.\",\n \"This was his first major concert tour in a decade. Now 24, he felt ready to offer himself to the public as a fully developed pianist as well as a composer of worth. He very shortly reestablished his reputation as a virtuoso.\",\n \"He very shortly reestablished his reputation as a virtuoso. Ignaz Moscheles wrote in 1855 what would become a widespread opinion about Rubinstein: \\\"In power and execution he is inferior to no one.\\\" As was the penchant at the time, much of what Rubinstein played were his own compositions.\",\n \"As was the penchant at the time, much of what Rubinstein played were his own compositions. At several concerts, Rubinstein alternated between conducting his orchestral works and playing as soloist in one of his piano concertos. One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854.\",\n \"One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854. Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later.\",\n \"Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later. Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice.\",\n \"Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice. Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859.\",\n \"Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859. Opening the St. Petersburg Conservatory The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862.\",\n \"Opening the St. Petersburg Conservatory The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862. Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty.\",\n \"Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty. Some in Russian society were surprised that a Russian music school would actually attempt to be Russian.\",\n \"Some in Russian society were surprised that a Russian music school would actually attempt to be Russian. One \\\"fashionable lady\\\", when told by Rubinstein that classes would be taught in Russian and not a foreign language, exclaimed, \\\"What, music in Russian! That is an original idea!\\\"\",\n \"That is an original idea!\\\" Rubinstein adds, And surely it was surprising that the theory of Music was to be taught for the first time in the Russian language at our Conservatory... Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany.\",\n \"Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany. There were also those who feared the school would not be Russian enough. Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five.\",\n \"Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five. Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world.\",\n \"Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world. Actually the Conservatory raise the level of musical culture in Russia.\",\n \"Actually the Conservatory raise the level of musical culture in Russia. The unconventional way chosen by Balakirev and his friends was not necessarily the right one for everybody else. It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871.\",\n \"It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871. Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \\\"interesting and well done,\\\" though \\\"episodic,\\\" and the opera Ivan IV Grozniy, which was premiered by Balakirev.\",\n \"Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \\\"interesting and well done,\\\" though \\\"episodic,\\\" and the opera Ivan IV Grozniy, which was premiered by Balakirev. Borodin commented on Ivan IV that \\\"the music is good, you just cannot recognize that it is Rubinstein.\",\n \"Borodin commented on Ivan IV that \\\"the music is good, you just cannot recognize that it is Rubinstein. There is nothing that is Mendelssohnian, nothing as he used to write formerly.\\\"\",\n \"There is nothing that is Mendelssohnian, nothing as he used to write formerly.\\\" The American tour By 1867, ongoing tensions with the Balakirev camp, along with related matters, led to intense dissension within the Conservatory's faculty. Rubinstein resigned and returned to touring throughout Europe.\",\n \"Rubinstein resigned and returned to touring throughout Europe. Unlike his previous tours, he began increasingly featuring the works of other composers. In previous tours, Rubinstein had played primarily his own works. At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season.\",\n \"At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season. Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid.\",\n \"Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid. Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities.\",\n \"Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities. Rubinstein wrote of his American experience, May Heaven preserve us from such slavery!\",\n \"Rubinstein wrote of his American experience, May Heaven preserve us from such slavery! Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost...\",\n \"Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost... The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art.\",\n \"The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art. So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank...\",\n \"So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank... Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life.\",\n \"Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life. Upon his return to Russia, he \\\"hastened to invest in real estate\\\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family.\",\n \"Upon his return to Russia, he \\\"hastened to invest in real estate\\\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family. Later life Rubinstein continued to make tours as a pianist and give appearances as a conductor.\",\n \"Later life Rubinstein continued to make tours as a pianist and give appearances as a conductor. In 1887, he returned to the Saint Petersburg Conservatory with the goal of improving overall standards. He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum.\",\n \"He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum. He led semi-weekly teachers' classes through the whole keyboard literature and gave some of the more gifted piano students personal coaching. During the 1889–90 academic year he gave weekly lecture-recitals for the students.\",\n \"During the 1889–90 academic year he gave weekly lecture-recitals for the students. He resigned again—and left Russia—in 1891 over Imperial demands that Conservatory admittance, and later annual prizes to students, be awarded along ethnic quotas instead of purely by merit. These quotas were designed to effectively disadvantage Jews.\",\n \"These quotas were designed to effectively disadvantage Jews. Rubinstein resettled in Dresden and started giving concerts again in Germany and Austria. Nearly all of these concerts were charity benefit events. Rubinstein also coached a few pianists and taught his only private piano student, Josef Hofmann. Hofmann would become one of the finest keyboard artists of the 20th century.\",\n \"Hofmann would become one of the finest keyboard artists of the 20th century. Despite his sentiments on ethnic politics in Russia, Rubinstein returned there occasionally to visit friends and family. He gave his final concert in Saint Petersburg on 14 January 1894. With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894.\",\n \"With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894. He died there on 20 November of that year, having suffered from heart disease for some time. The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him.\",\n \"The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him. Pianism \\\"Van II\\\" Many contemporaries felt he bore a striking resemblance to Ludwig van Beethoven. Ignaz Moscheles, who had known Beethoven intimately, wrote, \\\"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\\\"\",\n \"Ignaz Moscheles, who had known Beethoven intimately, wrote, \\\"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\\\" Liszt referred to Rubinstein as \\\"Van II.\\\" This resemblance was also felt to be in Rubinstein's keyboard playing. Under his hands, it was said, the piano erupted volcanically.\",\n \"Under his hands, it was said, the piano erupted volcanically. Audience members wrote of going home limp after one of his recitals, knowing they had witnessed a force of nature. Sometimes Rubinstein's playing was too much for listeners to handle.\",\n \"Sometimes Rubinstein's playing was too much for listeners to handle. American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \\\"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much.\",\n \"American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \\\"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much. Give me Rubinstein for a few pieces, but Tausig for a whole evening.\\\"\",\n \"Give me Rubinstein for a few pieces, but Tausig for a whole evening.\\\" She heard Rubinstein play \\\"a terrific piece by Schubert,\\\" reportedly the Wanderer Fantasie. The performance gave her such a violent headache that the rest of the recital was ruined for her. Clara Schumann proved especially vehement.\",\n \"Clara Schumann proved especially vehement. Clara Schumann proved especially vehement. After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \\\"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\\\"\",\n \"After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \\\"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\\\" Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau.\",\n \"Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau. She noted in her diary, \\\"I was furious, for he no longer plays. Either there is a perfectly wild noise or else a whisper with the soft pedal down.\",\n \"Either there is a perfectly wild noise or else a whisper with the soft pedal down. And a would-be cultured audience puts up with a performance like that!\\\"\",\n \"And a would-be cultured audience puts up with a performance like that!\\\" On the other hand, when Rubinstein played Beethoven's \\\"Archduke\\\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls: It was the first time I had heard this great artist play.\",\n \"On the other hand, when Rubinstein played Beethoven's \\\"Archduke\\\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls: It was the first time I had heard this great artist play. He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme...\",\n \"He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme... It seemed to me I had never before heard the piano really played.\",\n \"It seemed to me I had never before heard the piano really played. The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ... Violinist and composer Henri Vieuxtemps adds: His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten.\",\n \"The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ... Violinist and composer Henri Vieuxtemps adds: His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten. I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op.\",\n \"I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op. 57 [Appassionata], which Rubinstein executed for us with unimagined mastery. Viennese music critic Eduard Hanslick expressed what Schonberg calls \\\"the majority point of view\\\" in an 1884 review.\",\n \"Viennese music critic Eduard Hanslick expressed what Schonberg calls \\\"the majority point of view\\\" in an 1884 review. After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners.\",\n \"After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners. Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness.\",\n \"Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness. \\\"Yes, he plays like a god\\\", Hanslick writes in closing, \\\"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\\\".\",\n \"\\\"Yes, he plays like a god\\\", Hanslick writes in closing, \\\"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\\\". Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm.\",\n \"Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm. His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall.\",\n \"His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall. In playing, Rubinstein created, and he created inimitably and with genius.\",\n \"In playing, Rubinstein created, and he created inimitably and with genius. He often treated the same program absolutely differently when he played it the second time, but, more astoundingly still, everything came out wonderfully on both occasions. Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled.\",\n \"Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled. Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song.\",\n \"Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song. He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable.\",\n \"He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable. It was superb.\\\"\",\n \"It was superb.\\\" It was superb.\\\" Technique Villoing had worked with Rubinstein on hand position and finger dexterity. From watching Liszt, Rubinstein had learned about freedom of arm movement. Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing.\",\n \"Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing. He would remark to his students about \\\"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\\\"\",\n \"He would remark to his students about \\\"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\\\" In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \\\"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\\\"\",\n \"In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \\\"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\\\" When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through.\",\n \"When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through. Rubinstein himself admitted, after a concert in Berlin in 1875, \\\"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\\\"\",\n \"Rubinstein himself admitted, after a concert in Berlin in 1875, \\\"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\\\" Part of the problem might have been the sheer size of Rubinstein's hands.\",\n \"Part of the problem might have been the sheer size of Rubinstein's hands. They were huge, and many observers commented on them. Josef Hofmann observed that Rubinstein's fifth finger \\\"was as thick as my thumb—think of it! Then his fingers were square at the ends, with cushions on them.\",\n \"Then his fingers were square at the ends, with cushions on them. It was a wonderful hand.\\\" Pianist Josef Lhévinne described them as \\\"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\\\"\",\n \"Pianist Josef Lhévinne described them as \\\"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\\\" The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \\\"Nothing cramped about him!\",\n \"The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \\\"Nothing cramped about him! He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\\\"\",\n \"He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\\\" Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness.\",\n \"Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness. Those who valued interpretation as much or more than pure technique found much to praise. Pianist and conductor Hans von Bülow called Rubinstein \\\"the Michelangelo of music.\\\"\",\n \"Pianist and conductor Hans von Bülow called Rubinstein \\\"the Michelangelo of music.\\\" The German critic Ludwig Rellstab called him \\\"the Hercules of the piano; the Jupiter Tonans of the instrument.\\\" Tone Pressman attested to the singing quality of Rubinstein's playing, and much more: \\\"His tone was strikingly full and deep.\",\n \"Tone Pressman attested to the singing quality of Rubinstein's playing, and much more: \\\"His tone was strikingly full and deep. With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres.\",\n \"With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres. With him, the piano sang as Patti sang, as Rubini sang.\\\" Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists.\",\n \"Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists. Fellow pianist Rafael Joseffy compared it to \\\"a golden French horn.\\\" Rubinstein himself told an interviewer, \\\"Strength with lightness, that is one secret of my touch...\",\n \"Rubinstein himself told an interviewer, \\\"Strength with lightness, that is one secret of my touch... I have sat hours trying to imitate the timbre of Rubini's voice in my playing.\\\" Rubinstein told the young Rachmaninoff how he achieved that tone. \\\"Just press upon the keys until the blood oozes from your fingertips\\\".\",\n \"\\\"Just press upon the keys until the blood oozes from your fingertips\\\". When he wanted to, Rubinstein could play with extreme lightness, grace and delicacy. He rarely displayed that side of his nature, however. He had learned quickly that audiences came to hear him thunder, so he accommodated them.\",\n \"He had learned quickly that audiences came to hear him thunder, so he accommodated them. Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before.\",\n \"Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before. During this tour, Rubinstein received more press attention than any other figure until the appearance of Ignacy Jan Paderewski a generation later. Programs Rubinstein's concert programs were often gargantuan.\",\n \"Programs Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A).\",\n \"101 in A). 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman.\",\n \"Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note.\",\n \"He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note. Rubinstein was most famous for his series of historical recitals—seven consecutive concerts covering the history of piano music. Each of these programs was enormous.\",\n \"Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital.\",\n \"Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert.\",\n \"This did not include encores, which Rubinstein sprayed liberally at every concert. Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873. Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe.\",\n \"Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge.\",\n \"In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge. Rachmaninoff on Rubinstein Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student.\",\n \"Rachmaninoff on Rubinstein Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student. Forty-four years later he told his biographer Oscar von Riesemann, \\\"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\\\"\",\n \"Forty-four years later he told his biographer Oscar von Riesemann, \\\"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\\\" Rachmaninoff explained to von Riesemann, \\\"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\\\"\",\n \"Rachmaninoff explained to von Riesemann, \\\"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\\\" Rachmaninoff's detailed description to von Riesemann is of interest: Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished.\",\n \"Rachmaninoff's detailed description to von Riesemann is of interest: Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished. One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone...\",\n \"One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone... I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \\\"fluttering away of the little bird\\\" would be hopelessly inadequate.\",\n \"I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \\\"fluttering away of the little bird\\\" would be hopelessly inadequate. Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner.\",\n \"Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner. One of Rubinstein's greatest secrets was his use of the pedal.\",\n \"One of Rubinstein's greatest secrets was his use of the pedal. He himself very happily expressed his ideas on the subject when he said, \\\"The pedal is the soul of the piano.\\\" No pianist should ever forget this.\",\n \"No pianist should ever forget this. Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \\\"Funeral March\\\" Sonata—both became cornerstones of Rachmaninoff's own recital programs.\",\n \"Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \\\"Funeral March\\\" Sonata—both became cornerstones of Rachmaninoff's own recital programs. Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work.\",\n \"Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work. Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later.\",\n \"Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later. In Rubinstein's defense, however, Rachmaninoff said that \\\"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\\\"\",\n \"In Rubinstein's defense, however, Rachmaninoff said that \\\"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\\\" Conducting Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867.\",\n \"Conducting Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867. He also did his share of guest conducting both before and after his tenure with the RMS.\",\n \"He also did his share of guest conducting both before and after his tenure with the RMS. Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences.\",\n \"Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences. Teacher As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work.\",\n \"Teacher As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work. He could also be exacting and expected as much from them as he gave to them.\",\n \"He could also be exacting and expected as much from them as he gave to them. According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference.\",\n \"According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference. This assignment would be due the following day.\",\n \"This assignment would be due the following day. At other times, he would expect students to improvise a minuet, a rondo, a polonaise or some other musical form. Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead.\",\n \"Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead. He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano.\",\n \"He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano. Notable students include pianists Josef Hofmann and Sandra Drouker.\",\n \"Notable students include pianists Josef Hofmann and Sandra Drouker. Composition By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \\\"but as a composer performing his symphonies, concertos, operas, trios, etc.\\\"\",\n \"Composition By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \\\"but as a composer performing his symphonies, concertos, operas, trios, etc.\\\" Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote).\",\n \"Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote). Edward Garden writes in the New Grove, Rubinstein composed assiduously during all periods of his life.\",\n \"Edward Garden writes in the New Grove, Rubinstein composed assiduously during all periods of his life. He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved.\",\n \"He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved. Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn.\",\n \"Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn. Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music.\",\n \"Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music. Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching.\",\n \"Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching. Robert Schumann and Felix Mendelssohn were the strongest influences on Rubinstein's music. Consequently, Rubinstein's music demonstrates none of the nationalism of The Five.\",\n \"Consequently, Rubinstein's music demonstrates none of the nationalism of The Five. Rubinstein also had a tendency to rush in composing his pieces, resulting in good ideas such as those in his Ocean Symphony being developed in less-than-exemplary ways. As Paderewski was later to remark, \\\"He had not the necessary concentration of patience for a composer...\",\n \"As Paderewski was later to remark, \\\"He had not the necessary concentration of patience for a composer... He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\\\"\",\n \"He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\\\" Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ...\",\n \"Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ... The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s.\",\n \"The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s. After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire.\",\n \"After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire. Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev.\",\n \"Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev. Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism.\",\n \"Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism. Amongst his better known works are the opera The Demon, his Piano Concerto No. 4, and his Symphony No. 2, known as The Ocean.\",\n \"2, known as The Ocean. Rubinstein's repartee Rubinstein was as well known during his lifetime for his sarcasm as well as his sometimes penetrating insight. During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him.\",\n \"During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him. After a long silence, Rubinstein told Cortot, \\\"My boy, don't you ever forget what I am going to tell you. Beethoven's music must not be studied. It must be reincarnated.\\\"\",\n \"It must be reincarnated.\\\" It must be reincarnated.\\\" Cortot reportedly never forgot those words. Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase.\",\n \"Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase. His manner with them was a combination of raw, sometimes violent criticism and good humor.\",\n \"His manner with them was a combination of raw, sometimes violent criticism and good humor. Hofmann wrote of one such lesson: Once I played a Liszt rhapsody pretty badly. After a little of it, Rubinstein said, \\\"The way you play this piece would be all right for Auntie or Mamma.\\\"\",\n \"After a little of it, Rubinstein said, \\\"The way you play this piece would be all right for Auntie or Mamma.\\\" Then rising and coming toward me, he said, \\\"Now let us see how play such things.\\\" ...\",\n \"... ... I began again, but I had not played more than a few measures when Rubinstein said loudly, \\\"Have you begun?\\\" \\\"Yes, Master, I certainly have.\\\" \\\"Oh,\\\" said Rubinstein vaguely, \\\"I didn't notice.\\\" ... Rubinstein did not so much instruct me.\",\n \"... Rubinstein did not so much instruct me. Merely he let me learn from him ...\",\n \"Merely he let me learn from him ... If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do.\",\n \"If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do. Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts.\",\n \"Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts. When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \\\"When you are as old as I am, you may do as I do.\\\"\",\n \"When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \\\"When you are as old as I am, you may do as I do.\\\" Then Rubinstein added, \\\"If you can\\\". Nor did Rubinstein adjust the tenor of his comments for those of high rank.\",\n \"Nor did Rubinstein adjust the tenor of his comments for those of high rank. After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility.\",\n \"After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility. At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift.\",\n \"At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift. Rubinstein replied bluntly, to the crowd's horror, \\\"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\\\"\",\n \"Rubinstein replied bluntly, to the crowd's horror, \\\"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\\\" Rubinstein's voice The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison.\",\n \"Rubinstein's voice The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison. Rubinstein is heard to make a complimentary remark about the phonograph recorder. References Sources In Russian (2 vol.) In German (3 vol.) In English (29 vols.)\",\n \"In English (29 vols.) Further reading Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995) Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991) Rubinstein, Anton Grigorevich, ed.\",\n \"Further reading Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995) Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991) Rubinstein, Anton Grigorevich, ed. L. Barenboim, Literaturnoye Naslediye (3 vol.\",\n \"L. Barenboim, Literaturnoye Naslediye (3 vol. ), (in Russian), (Moscow, 1983) External links Networking Rubinstein – his contacts in his early career Soundbites from String Quartet No.1 in G, Op.17 No.1 Anton Rubinstein recordings at the Discography of American Historical Recordings.\",\n \"), (in Russian), (Moscow, 1983) External links Networking Rubinstein – his contacts in his early career Soundbites from String Quartet No.1 in G, Op.17 No.1 Anton Rubinstein recordings at the Discography of American Historical Recordings. 1829 births 1894 deaths 19th-century classical composers 19th-century classical pianists 19th-century conductors (music) 19th-century male conductors (music) Burials at Tikhvin Cemetery Composers for piano Converts to Eastern Orthodoxy from Judaism Founders of Russian educational institutions Jewish atheists Jewish classical composers Jewish classical pianists Jewish opera composers Male classical pianists Male opera composers People from Baltsky Uyezd People from Rîbnița District Pupils of Siegfried Dehn Pyotr Ilyich Tchaikovsky Recipients of the Pour le Mérite (civil class) Royal Philharmonic Society Gold Medallists Russian atheists Russian classical pianists Russian conductors (music) Russian male conductors (music) Russian Jews Russian male classical composers Russian music educators Russian opera composers Russian Romantic composers\"\n]"}}},{"rowIdx":498,"cells":{"History":{"kind":"list like","value":["Anton Rubinstein","Programs","What programs was he apart of?","Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna,","Are there any other interesting aspects about this article?","Rubinstein was most famous for his series of historical recitals--seven consecutive concerts covering the history of piano music.","What was the name of his series?","I don't know.","What was some of his concerts?","Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873.","did he tour again?","Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility,","When was his last concert?","I don't know.","what was his most famous concert?","the pianist played more than 20 pieces in one concert in Vienna, including three sonatas"],"string":"[\n \"Anton Rubinstein\",\n \"Programs\",\n \"What programs was he apart of?\",\n \"Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna,\",\n \"Are there any other interesting aspects about this article?\",\n \"Rubinstein was most famous for his series of historical recitals--seven consecutive concerts covering the history of piano music.\",\n \"What was the name of his series?\",\n \"I don't know.\",\n \"What was some of his concerts?\",\n \"Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873.\",\n \"did he tour again?\",\n \"Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility,\",\n \"When was his last concert?\",\n \"I don't know.\",\n \"what was his most famous concert?\",\n \"the pianist played more than 20 pieces in one concert in Vienna, including three sonatas\"\n]"},"QuAC_dialog_id":{"kind":"string","value":"C_abfaf1bc5d7a4878916e69b3dc8922b2_0"},"Question":{"kind":"string","value":"Did he write the sonatas?"},"Question_no":{"kind":"number","value":8,"string":"8"},"Rewrite":{"kind":"string","value":"Did Anton Rubinstein write the three sonatas?"},"true_page_title":{"kind":"string","value":"Anton Rubinstein"},"true_contexts":{"kind":"string","value":"Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note. Rubinstein was most famous for his series of historical recitals--seven consecutive concerts covering the history of piano music. Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert. Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873. Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge. CANNOTANSWER"},"answer":{"kind":"string","value":"the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A"},"true_contexts_wiki":{"kind":"string","value":"Anton Grigoryevich Rubinstein (; ) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein, who founded the Moscow Conservatory.\n\nAs a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals—seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.\n\nAlthough best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life. He wrote 20 operas, the best known of which is The Demon. He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble.\n\nEarly life and education\n\nRubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa. Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy. Although he was raised as a Christian, Rubinstein would later become an atheist.\n\nRubinstein's father opened a pencil factory in Moscow. His mother, a competent musician, began giving him piano lessons at five, until the teacher heard and accepted Rubinstein as a non-paying student. Rubinstein made his first public appearance at a charity benefit concert at the age of nine. Later that year Rubinstein's mother sent him, accompanied by Villoing, to Paris where he sought unsuccessfully to enroll at the Paris Conservatoire.\n\nRubinstein and Villoing remained in Paris for a year. In December 1840, Rubinstein played in the Salle Érard for an audience that included Frédéric Chopin and Franz Liszt. Chopin invited Rubinstein to his studio and played for him. Liszt advised Villoing to take him to Germany to study composition; however, Villoing took Rubinstein on an extended concert tour of Europe and Western Russia. They finally returned to Moscow in June 1843. Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace. Anton was 14 years old; Nikolai was eight.\n\nTravel and performance\n\nBerlin\nIn spring 1844, Rubinstein, Nikolai, his mother and his sister Luba travelled to Berlin. Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer.\nMendelssohn, who had heard Rubinstein when he had toured with Villoing, said he needed no further piano study but sent Nikolai to Theodor Kullak for instruction. Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory.\n\nWord came in the summer of 1846 that Rubinstein's father was gravely ill. Rubinstein was left in Berlin while his mother, sister and brother returned to Russia. At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest. Now 17, he knew he could no longer pass as a child prodigy. He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil. However, after Rubinstein had played his audition, Liszt is reported to have said, \"A talented man must win the goal of his ambition by his own unassisted efforts.\" At this point, Rubinstein was living in acute poverty. Liszt did nothing to help him. Other calls Rubinstein made to potential patrons came to no avail. After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons.\n\nBack to Russia\nThe Revolution of 1848 forced Rubinstein back to Russia. Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court. The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness. By 1852, he had become a leading figure in Saint Petersburg's musical life, performing as a soloist and collaborating with some of the outstanding instrumentalists and vocalists who came to the Russian capital.\n\nHe also composed assiduously. After a number of delays, including some difficulties with the censor, Rubinstein's first opera, Dmitry Donskoy (now lost except for the overture), was performed at the Bolshoy Theater in Saint Petersburg in 1852. Three one-act operas written for Elena Pavlovna followed. He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works. It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist.\n\nAbroad once more\n\nIn 1854, Rubinstein began a four-year concert tour of Europe. This was his first major concert tour in a decade. Now 24, he felt ready to offer himself to the public as a fully developed pianist as well as a composer of worth. He very shortly reestablished his reputation as a virtuoso. Ignaz Moscheles wrote in 1855 what would become a widespread opinion about Rubinstein: \"In power and execution he is inferior to no one.\"\n\nAs was the penchant at the time, much of what Rubinstein played were his own compositions. At several concerts, Rubinstein alternated between conducting his orchestral works and playing as soloist in one of his piano concertos. One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854. Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later.\n\nRubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice. Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859.\n\nOpening the St. Petersburg Conservatory\nThe opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862. Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty.\n\nSome in Russian society were surprised that a Russian music school would actually attempt to be Russian. One \"fashionable lady\", when told by Rubinstein that classes would be taught in Russian and not a foreign language, exclaimed, \"What, music in Russian! That is an original idea!\" Rubinstein adds, And surely it was surprising that the theory of Music was to be taught for the first time in the Russian language at our Conservatory... Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany.\nThere were also those who feared the school would not be Russian enough. Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five. Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world. Actually the Conservatory raise the level of musical culture in Russia. The unconventional way chosen by Balakirev and his friends was not necessarily the right one for everybody else.\nIt was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871. Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \"interesting and well done,\" though \"episodic,\" and the opera Ivan IV Grozniy, which was premiered by Balakirev. Borodin commented on Ivan IV that \"the music is good, you just cannot recognize that it is Rubinstein. There is nothing that is Mendelssohnian, nothing as he used to write formerly.\"\n\nThe American tour\nBy 1867, ongoing tensions with the Balakirev camp, along with related matters, led to intense dissension within the Conservatory's faculty. Rubinstein resigned and returned to touring throughout Europe. Unlike his previous tours, he began increasingly featuring the works of other composers. In previous tours, Rubinstein had played primarily his own works.\n\nAt the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season. Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid. Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities.\n\nRubinstein wrote of his American experience, May Heaven preserve us from such slavery! Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost... The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art. So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank...\nDespite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life. Upon his return to Russia, he \"hastened to invest in real estate\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family.\n\nLater life\nRubinstein continued to make tours as a pianist and give appearances as a conductor. In 1887, he returned to the Saint Petersburg Conservatory with the goal of improving overall standards. He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum. He led semi-weekly teachers' classes through the whole keyboard literature and gave some of the more gifted piano students personal coaching. During the 1889–90 academic year he gave weekly lecture-recitals for the students. He resigned again—and left Russia—in 1891 over Imperial demands that Conservatory admittance, and later annual prizes to students, be awarded along ethnic quotas instead of purely by merit. These quotas were designed to effectively disadvantage Jews. Rubinstein resettled in Dresden and started giving concerts again in Germany and Austria. Nearly all of these concerts were charity benefit events.\n\nRubinstein also coached a few pianists and taught his only private piano student, Josef Hofmann. Hofmann would become one of the finest keyboard artists of the 20th century.\n\nDespite his sentiments on ethnic politics in Russia, Rubinstein returned there occasionally to visit friends and family. He gave his final concert in Saint Petersburg on 14 January 1894. With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894. He died there on 20 November of that year, having suffered from heart disease for some time.\n\nThe former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him.\n\nPianism\n\n\"Van II\"\nMany contemporaries felt he bore a striking resemblance to Ludwig van Beethoven. Ignaz Moscheles, who had known Beethoven intimately, wrote, \"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\" Liszt referred to Rubinstein as \"Van II.\" This resemblance was also felt to be in Rubinstein's keyboard playing. Under his hands, it was said, the piano erupted volcanically. Audience members wrote of going home limp after one of his recitals, knowing they had witnessed a force of nature.\n\nSometimes Rubinstein's playing was too much for listeners to handle. American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much. Give me Rubinstein for a few pieces, but Tausig for a whole evening.\" She heard Rubinstein play \"a terrific piece by Schubert,\" reportedly the Wanderer Fantasie. The performance gave her such a violent headache that the rest of the recital was ruined for her.\n\nClara Schumann proved especially vehement. After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\" Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau. She noted in her diary, \"I was furious, for he no longer plays. Either there is a perfectly wild noise or else a whisper with the soft pedal down. And a would-be cultured audience puts up with a performance like that!\"\n\nOn the other hand, when Rubinstein played Beethoven's \"Archduke\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls:\nIt was the first time I had heard this great artist play. He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme... It seemed to me I had never before heard the piano really played. The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ...\nViolinist and composer Henri Vieuxtemps adds:\nHis power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten. I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op. 57 [Appassionata], which Rubinstein executed for us with unimagined mastery.\nViennese music critic Eduard Hanslick expressed what Schonberg calls \"the majority point of view\" in an 1884 review. After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners. Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness. \"Yes, he plays like a god\", Hanslick writes in closing, \"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\".\n\nSergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm. His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall. In playing, Rubinstein created, and he created inimitably and with genius. He often treated the same program absolutely differently when he played it the second time, but, more astoundingly still, everything came out wonderfully on both occasions.\n\nRubinstein was also adept at improvisation—a practice at which Beethoven had excelled. Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song. He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable. It was superb.\"\n\nTechnique\n\nVilloing had worked with Rubinstein on hand position and finger dexterity. From watching Liszt, Rubinstein had learned about freedom of arm movement. Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing. He would remark to his students about \"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\"\n\nIn his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\" When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through. Rubinstein himself admitted, after a concert in Berlin in 1875, \"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\"\n\nPart of the problem might have been the sheer size of Rubinstein's hands. They were huge, and many observers commented on them. Josef Hofmann observed that Rubinstein's fifth finger \"was as thick as my thumb—think of it! Then his fingers were square at the ends, with cushions on them. It was a wonderful hand.\" Pianist Josef Lhévinne described them as \"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\" The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \"Nothing cramped about him! He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\"\n\nBecause of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness. Those who valued interpretation as much or more than pure technique found much to praise. Pianist and conductor Hans von Bülow called Rubinstein \"the Michelangelo of music.\" The German critic Ludwig Rellstab called him \"the Hercules of the piano; the Jupiter Tonans of the instrument.\"\n\nTone\nPressman attested to the singing quality of Rubinstein's playing, and much more: \"His tone was strikingly full and deep. With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres. With him, the piano sang as Patti sang, as Rubini sang.\"\n\nSchonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists. Fellow pianist Rafael Joseffy compared it to \"a golden French horn.\" Rubinstein himself told an interviewer, \"Strength with lightness, that is one secret of my touch... I have sat hours trying to imitate the timbre of Rubini's voice in my playing.\"\n\nRubinstein told the young Rachmaninoff how he achieved that tone. \"Just press upon the keys until the blood oozes from your fingertips\". When he wanted to, Rubinstein could play with extreme lightness, grace and delicacy. He rarely displayed that side of his nature, however. He had learned quickly that audiences came to hear him thunder, so he accommodated them. Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before. During this tour, Rubinstein received more press attention than any other figure until the appearance of Ignacy Jan Paderewski a generation later.\n\nPrograms\nRubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note.\n\nRubinstein was most famous for his series of historical recitals—seven consecutive concerts covering the history of piano music. Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert.\n\nRubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873.\n\nRubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge.\n\nRachmaninoff on Rubinstein\nSergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student. Forty-four years later he told his biographer Oscar von Riesemann, \"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\"\n\nRachmaninoff explained to von Riesemann, \"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\"\n\nRachmaninoff's detailed description to von Riesemann is of interest:\n\nOnce he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished. One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone... I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \"fluttering away of the little bird\" would be hopelessly inadequate. Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner. One of Rubinstein's greatest secrets was his use of the pedal. He himself very happily expressed his ideas on the subject when he said, \"The pedal is the soul of the piano.\" No pianist should ever forget this.\n\nRachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \"Funeral March\" Sonata—both became cornerstones of Rachmaninoff's own recital programs. Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work.\n\nRachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later. In Rubinstein's defense, however, Rachmaninoff said that \"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\"\n\nConducting\n\nRubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867. He also did his share of guest conducting both before and after his tenure with the RMS. Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences.\n\nTeacher\nAs a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work. He could also be exacting and expected as much from them as he gave to them. According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference. This assignment would be due the following day. At other times, he would expect students to improvise a minuet, a rondo, a polonaise or some other musical form.\n\nRubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead. He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano. Notable students include pianists Josef Hofmann and Sandra Drouker.\n\nComposition\n\nBy 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \"but as a composer performing his symphonies, concertos, operas, trios, etc.\" Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote). Edward Garden writes in the New Grove,\nRubinstein composed assiduously during all periods of his life. He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved.\nRubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn. Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music. Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching. Robert Schumann and Felix Mendelssohn were the strongest influences on Rubinstein's music.\n\nConsequently, Rubinstein's music demonstrates none of the nationalism of The Five. Rubinstein also had a tendency to rush in composing his pieces, resulting in good ideas such as those in his Ocean Symphony being developed in less-than-exemplary ways. As Paderewski was later to remark, \"He had not the necessary concentration of patience for a composer... He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\" Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ... The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s.\n\nAfter Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire. Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev.\n\nOver recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism. Amongst his better known works are the opera The Demon, his Piano Concerto No. 4, and his Symphony No. 2, known as The Ocean.\n\nRubinstein's repartee\nRubinstein was as well known during his lifetime for his sarcasm as well as his sometimes penetrating insight. During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him. After a long silence, Rubinstein told Cortot, \"My boy, don't you ever forget what I am going to tell you. Beethoven's music must not be studied. It must be reincarnated.\" Cortot reportedly never forgot those words.\n\nRubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase. His manner with them was a combination of raw, sometimes violent criticism and good humor. Hofmann wrote of one such lesson:\nOnce I played a Liszt rhapsody pretty badly. After a little of it, Rubinstein said, \"The way you play this piece would be all right for Auntie or Mamma.\" Then rising and coming toward me, he said, \"Now let us see how play such things.\"\n\n... I began again, but I had not played more than a few measures when Rubinstein said loudly, \"Have you begun?\" \"Yes, Master, I certainly have.\" \"Oh,\" said Rubinstein vaguely, \"I didn't notice.\" ... Rubinstein did not so much instruct me. Merely he let me learn from him ... If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do.\n\nRubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts. When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \"When you are as old as I am, you may do as I do.\" Then Rubinstein added, \"If you can\".\n\nNor did Rubinstein adjust the tenor of his comments for those of high rank. After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility. At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift. Rubinstein replied bluntly, to the crowd's horror, \"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\"\n\nRubinstein's voice\nThe following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison. Rubinstein is heard to make a complimentary remark about the phonograph recorder.\n\nReferences\n\nSources\n\nIn Russian\n \n (2 vol.)\n\nIn German\n (3 vol.)\n\nIn English\n \n \n \n (29 vols.)\n\nFurther reading\n \n Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995)\n Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) \n Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991)\n Rubinstein, Anton Grigorevich, ed. L. Barenboim, Literaturnoye Naslediye (3 vol.), (in Russian), (Moscow, 1983)\n\nExternal links\n\nNetworking Rubinstein – his contacts in his early career\nSoundbites from String Quartet No.1 in G, Op.17 No.1\n\n Anton Rubinstein recordings at the Discography of American Historical Recordings.\n\n1829 births\n1894 deaths\n19th-century classical composers\n19th-century classical pianists\n19th-century conductors (music)\n19th-century male conductors (music)\nBurials at Tikhvin Cemetery\nComposers for piano\nConverts to Eastern Orthodoxy from Judaism\nFounders of Russian educational institutions\nJewish atheists\nJewish classical composers\nJewish classical pianists\nJewish opera composers\nMale classical pianists\nMale opera composers\nPeople from Baltsky Uyezd\nPeople from Rîbnița District\nPupils of Siegfried Dehn\nPyotr Ilyich Tchaikovsky\nRecipients of the Pour le Mérite (civil class)\nRoyal Philharmonic Society Gold Medallists\nRussian atheists\nRussian classical pianists\nRussian conductors (music)\nRussian male conductors (music)\nRussian Jews\nRussian male classical composers\nRussian music educators\nRussian opera composers\nRussian Romantic composers"},"extractive":{"kind":"string","value":"true"},"retrieved_contexts":{"kind":"list like","value":["Antonio Vivaldi composed several sonatas for cello and continuo. A set of six cello sonatas, written between 1720 and 1730, was published in Paris in 1740. He wrote at least four other cello sonatas, with two manuscripts kept in Naples, another in Wiesentheid, and one known to be lost.\n\nHistory \nWhen Vivaldi worked in Venice, the cello sonata became a popular genre. Benedetto Marcello had composed six cello sonatas in a similar style shortly before Vivaldi. Eleanor Selfridge-Field writes: \"the impetus for Vivaldi to write these works at such a late age may have come from the general popularity of the cello sonatas of the 1730s, or perhaps from the specific example of Marcello, who wrote two collections of cello sonatas published in that decade\".\n\nVivaldi wrote his at least ten cello sonatas between 1720 and 1730, of which nine are extant. The manuscripts of six of them (RV 40, 41, 43, 45, 46 and 47) are held by the Bibliothèque nationale in Paris. Manuscripts of three sonatas (RV 39, 44 and 47) are kept at the Conservatorio di S. Pietro a Majella in Naples. Three manuscripts of cello sonatas are held by the library of , Bavaria): RV 42, 44 and 46.\n\nThe six cello sonatas held in Paris were copied around 1725, for a French client, possibly Count Gergy, the French ambassador in Venice who commissioned music by Vivaldi for noble customers in Paris. Three of the sonatas (RV 40, 42 and 43) seem to be pasticcios from earlier compositions, based on their style. They appear to be a collection for a single customer rather than to be printed, by monotony in key and no numbering.\n\nThe three sonatas held in Naples were most probably copied for Count Maddaloni, an amateur cellist for whom Pergolesi composed a cello sonata, and Leonardo Leo six cello concertos. These sonatas are part-autographs, with all verbal markings by the composer which assures the authenticity of these compositions. Count Rudolf Franz Erwein von Schönborn Wiesentheid, also an amateur cellist, ordered three Vivaldi cello sonatas.\n\nThe Paris sonatas were published in 1740 by Leclerc and Boivin, titled VI Sonates Violoncello Solo col Basso. They appeared without an opus number, but are sometimes improperly called Op. 14. The print obviously happened without the composer's permission; music for cello was in increasing demand in Paris at the time, and Vivaldi's name popular.\n\nThe three sonatas RV 39, 44 and 42, were published by Amadeus Verlag in Winterthur in 1975, edited by Walter Kolneder who assumed that it was their first publication.\n\nMusic \nThe sonatas are all in four movements, typical for late Baroque sonatas. The tempos follow a pattern of slow-fast-slow-fast consistently.\n\nPublished in Paris, 1740 \n\n Sonata No. 1 in B flat major, RV 47\n Largo\n Allegro\n Largo\n Allegro\n Sonata No. 2 in F major, RV 41\n Largo\n Allegro\n Largo\n Allegro\n Sonata No. 3 in A minor, RV 43\n Largo\n Allegro\n Largo\n Allegro\n Sonata No. 4 in B flat major, RV 45\n Largo\n Allegro\n Largo\n Allegro\n Sonata No. 5 in E minor, RV 40\n Largo\n Allegro\n Largo\n Allegro\n Sonata No. 6 in B flat major, RV 46\n Largo\n Allegro\n Largo\n Allegro\n\nOther cello sonatas \n\n Sonata No. 7 in A minor, RV 44\n Largo\n Allegro poco\n Largo\n Allegro\n\n Sonata No. 8 in E flat major, RV 39\n Larghetto\n Allegro\n Andante\n Allegro\n\n Sonata No. 9 in G minor, RV 42\n Preludio: Largo\n Allemanda: Andante\n Sarabanda: Largo\n Giga: Allegro\n\n Sonata in D minor, RV 38\n Lost\n\nRecordings \nThe nine extant cello sonatas were recorded in 1993 by David Watkin as the soloist and a continuo group of cellist Helen Gough, David Miller (playing theorbo or archlute or guitar), and Robert King on harpsichord or organ.\n\nReferences\n\nExternal links \n\n Scores of Cello Sonatas RV 39, RV 42, RV 44, IMSLP\n\nCompositions by Antonio Vivaldi\nVivaldi","Six sonatas for various instruments, composed by Claude Debussy, French musician () was a projected cycle of sonatas that was interrupted by the composer's death in 1918, after he had composed only half of the projected sonatas. He left behind his sonatas for cello and piano (1915), flute, viola and harp (1915), and violin and piano (1916–1917).\n\nHistory \nFrom 1914, the composer, encouraged by the music publisher Jacques Durand, intended to write a set of six sonatas for various instruments, in homage to the French composers of the 18th century. The First World War, along with the composers Couperin and Rameau, inspired Debussy as he was writing the sonatas.\n\nDurand, in his memoirs entitled Quelques souvenirs d'un éditeur de musique, wrote the following about the sonatas' origin:\nAfter his famous String Quartet, Debussy had not written any more chamber music. Then, at the Concerts Durand, he heard again the Septet with trumpet by Saint-Saëns and his sympathy for this means of musical expression was reawoken. He admitted the fact to me and I warmly encouraged him to follow his inclination. And that is how the idea of the six sonatas for various instruments came about.\n \nIn a letter to the conductor Bernard Molinari, Debussy explained that the set should include \"different combinations, with the last sonata combining the previously used instruments\". His death on 25 March 1918 prevented him from carrying out his plan, and only three of the six sonatas were completed and published by Durand, with a dedication to his second wife, Emma Bardac.\n\nSonatas\n\nSonata for cello and piano\n\nThe sonata for cello and piano, L. 135, was written in 1915, and is notable for its brevity, most performances not exceeding 11 minutes. It is a staple of the modern cello repertoire and is commonly regarded as one of the finest masterpieces written for the instrument.\n\nThe work has three movements:\n\nThe two final movements are joined by an attacca. Instead of sonata form, Debussy structures the piece in the style of the eighteenth-century monothematic sonata, and was particularly influenced by the music of François Couperin.\n\nThe piece makes use of modes and whole-tone and pentatonic scales, as is typical of Debussy's style. It also uses many types of extended cello technique, including left-hand pizzicato, spiccato and flautando bowing, false harmonics and portamenti. The piece is considered technically demanding.\n\nWhether descriptive comments related to characters of the Commedia dell'arte were actually given by Debussy to cellist Louis Rosoor remains unclear.\n\nSonata for flute, viola and harp (or Piano)\nThe sonata for flute, viola, and harp (or Piano), L. 137, was also written in 1915.\n\nThe first performance of the Sonata took place in Boston, at Jordan Hall in the New England Conservatory, on 7 November 1916. The performers were members of a wind ensemble called the Longy Club, which had been founded by the principal oboist of the Boston Symphony Orchestra, George Longy. The first performance in France was a private one that occurred on 10 December 1916, at the home of Debussy's publisher, Jacques Durand. The first public performance in France was thought to be at a charity concert on 9 March 1917. However, Thompson (1968) reported a performance of the sonata at London's Aeolian Hall by Albert Fransella, Harry Waldo Warner and Miriam Timothy on 2 February 1917 as part of a concert otherwise given by the London String Quartet. A typical performance lasts between 17 and 18 minutes.\n\nAccording to Léon Vallas (1929), Debussy initially planned this as a piece for flute, oboe and harp. He subsequently decided that the viola's timbre would be a better combination for the flute than the oboe's, so he changed the instrumentation to flute, viola and harp. The instrumentation would later become a standard ensemble instrumentation.\n\nThe work has three movements:\n\nSonata for violin and piano\n\nThe sonata for violin and piano in G minor, L. 140, was written in 1917. It was the composer's last major composition and is notable for its brevity; a typical performance lasts about 13 minutes. The premiere took place on 5 May 1917, the violin part played by Gaston Poulet, with Debussy himself at the piano. It was his last public performance.\n\nThe work has three movements:\n\nThe unfinished sonatas\n\nDebussy wrote in the manuscript of his violin sonata that the fourth sonata should be written for oboe, horn, and harpsichord, and the fifth for trumpet, clarinet, bassoon and piano.\n\nFor the final and sixth sonata, Debussy envisioned a concerto where the sonorities of the \"various instruments\" combine, with the gracious assistance of the double bass, making the instrumentation:\n\nFlute\nOboe\nClarinet\nBassoon\nHorn\nTrumpet\nHarp\nPiano\nHarpsichord\nViolin\nViola\nCello\nDouble bass\n\nThe idea of combining the instruments oboe, horn, and harpsichord, inspired Thomas Adès to write his Sonata da Caccia, and the combination of the instruments trumpet, clarinet, bassoon and piano, inspired Marc-André Dalbavie to write his Axiom.\n\nThe Australian composer Lyle Chan has written three sonatas for the same combinations of instruments as in the three unfinished Debussy sonatas.\n\nBibliography\n\nReferences\nNotes\n\nSources\n\nThompson, K.L. (Oct 1968). First performance? The Musical Times, 109 (1508), 914–15.\n\nExternal links\nPerformance of Cello Sonata by David Requiro (cello) and Elizabeth DeMio (piano) from the Isabella Stewart Gardner Museum in MP3 format\n \nRecording performed by Nicola Benedetti, violin and Julien Quentin, piano from the Isabella Stewart Gardner Museum in MP3 format\n\nSheet music\n\nChamber music by Claude Debussy\nDebussy\nDebussy\n1917 compositions"],"string":"[\n \"Antonio Vivaldi composed several sonatas for cello and continuo. A set of six cello sonatas, written between 1720 and 1730, was published in Paris in 1740. He wrote at least four other cello sonatas, with two manuscripts kept in Naples, another in Wiesentheid, and one known to be lost.\\n\\nHistory \\nWhen Vivaldi worked in Venice, the cello sonata became a popular genre. Benedetto Marcello had composed six cello sonatas in a similar style shortly before Vivaldi. Eleanor Selfridge-Field writes: \\\"the impetus for Vivaldi to write these works at such a late age may have come from the general popularity of the cello sonatas of the 1730s, or perhaps from the specific example of Marcello, who wrote two collections of cello sonatas published in that decade\\\".\\n\\nVivaldi wrote his at least ten cello sonatas between 1720 and 1730, of which nine are extant. The manuscripts of six of them (RV 40, 41, 43, 45, 46 and 47) are held by the Bibliothèque nationale in Paris. Manuscripts of three sonatas (RV 39, 44 and 47) are kept at the Conservatorio di S. Pietro a Majella in Naples. Three manuscripts of cello sonatas are held by the library of , Bavaria): RV 42, 44 and 46.\\n\\nThe six cello sonatas held in Paris were copied around 1725, for a French client, possibly Count Gergy, the French ambassador in Venice who commissioned music by Vivaldi for noble customers in Paris. Three of the sonatas (RV 40, 42 and 43) seem to be pasticcios from earlier compositions, based on their style. They appear to be a collection for a single customer rather than to be printed, by monotony in key and no numbering.\\n\\nThe three sonatas held in Naples were most probably copied for Count Maddaloni, an amateur cellist for whom Pergolesi composed a cello sonata, and Leonardo Leo six cello concertos. These sonatas are part-autographs, with all verbal markings by the composer which assures the authenticity of these compositions. Count Rudolf Franz Erwein von Schönborn Wiesentheid, also an amateur cellist, ordered three Vivaldi cello sonatas.\\n\\nThe Paris sonatas were published in 1740 by Leclerc and Boivin, titled VI Sonates Violoncello Solo col Basso. They appeared without an opus number, but are sometimes improperly called Op. 14. The print obviously happened without the composer's permission; music for cello was in increasing demand in Paris at the time, and Vivaldi's name popular.\\n\\nThe three sonatas RV 39, 44 and 42, were published by Amadeus Verlag in Winterthur in 1975, edited by Walter Kolneder who assumed that it was their first publication.\\n\\nMusic \\nThe sonatas are all in four movements, typical for late Baroque sonatas. The tempos follow a pattern of slow-fast-slow-fast consistently.\\n\\nPublished in Paris, 1740 \\n\\n Sonata No. 1 in B flat major, RV 47\\n Largo\\n Allegro\\n Largo\\n Allegro\\n Sonata No. 2 in F major, RV 41\\n Largo\\n Allegro\\n Largo\\n Allegro\\n Sonata No. 3 in A minor, RV 43\\n Largo\\n Allegro\\n Largo\\n Allegro\\n Sonata No. 4 in B flat major, RV 45\\n Largo\\n Allegro\\n Largo\\n Allegro\\n Sonata No. 5 in E minor, RV 40\\n Largo\\n Allegro\\n Largo\\n Allegro\\n Sonata No. 6 in B flat major, RV 46\\n Largo\\n Allegro\\n Largo\\n Allegro\\n\\nOther cello sonatas \\n\\n Sonata No. 7 in A minor, RV 44\\n Largo\\n Allegro poco\\n Largo\\n Allegro\\n\\n Sonata No. 8 in E flat major, RV 39\\n Larghetto\\n Allegro\\n Andante\\n Allegro\\n\\n Sonata No. 9 in G minor, RV 42\\n Preludio: Largo\\n Allemanda: Andante\\n Sarabanda: Largo\\n Giga: Allegro\\n\\n Sonata in D minor, RV 38\\n Lost\\n\\nRecordings \\nThe nine extant cello sonatas were recorded in 1993 by David Watkin as the soloist and a continuo group of cellist Helen Gough, David Miller (playing theorbo or archlute or guitar), and Robert King on harpsichord or organ.\\n\\nReferences\\n\\nExternal links \\n\\n Scores of Cello Sonatas RV 39, RV 42, RV 44, IMSLP\\n\\nCompositions by Antonio Vivaldi\\nVivaldi\",\n \"Six sonatas for various instruments, composed by Claude Debussy, French musician () was a projected cycle of sonatas that was interrupted by the composer's death in 1918, after he had composed only half of the projected sonatas. He left behind his sonatas for cello and piano (1915), flute, viola and harp (1915), and violin and piano (1916–1917).\\n\\nHistory \\nFrom 1914, the composer, encouraged by the music publisher Jacques Durand, intended to write a set of six sonatas for various instruments, in homage to the French composers of the 18th century. The First World War, along with the composers Couperin and Rameau, inspired Debussy as he was writing the sonatas.\\n\\nDurand, in his memoirs entitled Quelques souvenirs d'un éditeur de musique, wrote the following about the sonatas' origin:\\nAfter his famous String Quartet, Debussy had not written any more chamber music. Then, at the Concerts Durand, he heard again the Septet with trumpet by Saint-Saëns and his sympathy for this means of musical expression was reawoken. He admitted the fact to me and I warmly encouraged him to follow his inclination. And that is how the idea of the six sonatas for various instruments came about.\\n \\nIn a letter to the conductor Bernard Molinari, Debussy explained that the set should include \\\"different combinations, with the last sonata combining the previously used instruments\\\". His death on 25 March 1918 prevented him from carrying out his plan, and only three of the six sonatas were completed and published by Durand, with a dedication to his second wife, Emma Bardac.\\n\\nSonatas\\n\\nSonata for cello and piano\\n\\nThe sonata for cello and piano, L. 135, was written in 1915, and is notable for its brevity, most performances not exceeding 11 minutes. It is a staple of the modern cello repertoire and is commonly regarded as one of the finest masterpieces written for the instrument.\\n\\nThe work has three movements:\\n\\nThe two final movements are joined by an attacca. Instead of sonata form, Debussy structures the piece in the style of the eighteenth-century monothematic sonata, and was particularly influenced by the music of François Couperin.\\n\\nThe piece makes use of modes and whole-tone and pentatonic scales, as is typical of Debussy's style. It also uses many types of extended cello technique, including left-hand pizzicato, spiccato and flautando bowing, false harmonics and portamenti. The piece is considered technically demanding.\\n\\nWhether descriptive comments related to characters of the Commedia dell'arte were actually given by Debussy to cellist Louis Rosoor remains unclear.\\n\\nSonata for flute, viola and harp (or Piano)\\nThe sonata for flute, viola, and harp (or Piano), L. 137, was also written in 1915.\\n\\nThe first performance of the Sonata took place in Boston, at Jordan Hall in the New England Conservatory, on 7 November 1916. The performers were members of a wind ensemble called the Longy Club, which had been founded by the principal oboist of the Boston Symphony Orchestra, George Longy. The first performance in France was a private one that occurred on 10 December 1916, at the home of Debussy's publisher, Jacques Durand. The first public performance in France was thought to be at a charity concert on 9 March 1917. However, Thompson (1968) reported a performance of the sonata at London's Aeolian Hall by Albert Fransella, Harry Waldo Warner and Miriam Timothy on 2 February 1917 as part of a concert otherwise given by the London String Quartet. A typical performance lasts between 17 and 18 minutes.\\n\\nAccording to Léon Vallas (1929), Debussy initially planned this as a piece for flute, oboe and harp. He subsequently decided that the viola's timbre would be a better combination for the flute than the oboe's, so he changed the instrumentation to flute, viola and harp. The instrumentation would later become a standard ensemble instrumentation.\\n\\nThe work has three movements:\\n\\nSonata for violin and piano\\n\\nThe sonata for violin and piano in G minor, L. 140, was written in 1917. It was the composer's last major composition and is notable for its brevity; a typical performance lasts about 13 minutes. The premiere took place on 5 May 1917, the violin part played by Gaston Poulet, with Debussy himself at the piano. It was his last public performance.\\n\\nThe work has three movements:\\n\\nThe unfinished sonatas\\n\\nDebussy wrote in the manuscript of his violin sonata that the fourth sonata should be written for oboe, horn, and harpsichord, and the fifth for trumpet, clarinet, bassoon and piano.\\n\\nFor the final and sixth sonata, Debussy envisioned a concerto where the sonorities of the \\\"various instruments\\\" combine, with the gracious assistance of the double bass, making the instrumentation:\\n\\nFlute\\nOboe\\nClarinet\\nBassoon\\nHorn\\nTrumpet\\nHarp\\nPiano\\nHarpsichord\\nViolin\\nViola\\nCello\\nDouble bass\\n\\nThe idea of combining the instruments oboe, horn, and harpsichord, inspired Thomas Adès to write his Sonata da Caccia, and the combination of the instruments trumpet, clarinet, bassoon and piano, inspired Marc-André Dalbavie to write his Axiom.\\n\\nThe Australian composer Lyle Chan has written three sonatas for the same combinations of instruments as in the three unfinished Debussy sonatas.\\n\\nBibliography\\n\\nReferences\\nNotes\\n\\nSources\\n\\nThompson, K.L. (Oct 1968). First performance? The Musical Times, 109 (1508), 914–15.\\n\\nExternal links\\nPerformance of Cello Sonata by David Requiro (cello) and Elizabeth DeMio (piano) from the Isabella Stewart Gardner Museum in MP3 format\\n \\nRecording performed by Nicola Benedetti, violin and Julien Quentin, piano from the Isabella Stewart Gardner Museum in MP3 format\\n\\nSheet music\\n\\nChamber music by Claude Debussy\\nDebussy\\nDebussy\\n1917 compositions\"\n]"},"chunked_article":{"kind":"list like","value":["Anton Grigoryevich Rubinstein (; ) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein, who founded the Moscow Conservatory. As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos.","As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals—seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.","Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there. Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life.","Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life. He wrote 20 operas, the best known of which is The Demon.","He wrote 20 operas, the best known of which is The Demon. He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble.","He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble. Early life and education Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa.","Early life and education Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa. Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy.","Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy. Although he was raised as a Christian, Rubinstein would later become an atheist. Rubinstein's father opened a pencil factory in Moscow.","Rubinstein's father opened a pencil factory in Moscow. His mother, a competent musician, began giving him piano lessons at five, until the teacher heard and accepted Rubinstein as a non-paying student. Rubinstein made his first public appearance at a charity benefit concert at the age of nine.","Rubinstein made his first public appearance at a charity benefit concert at the age of nine. Later that year Rubinstein's mother sent him, accompanied by Villoing, to Paris where he sought unsuccessfully to enroll at the Paris Conservatoire. Rubinstein and Villoing remained in Paris for a year.","Rubinstein and Villoing remained in Paris for a year. In December 1840, Rubinstein played in the Salle Érard for an audience that included Frédéric Chopin and Franz Liszt. Chopin invited Rubinstein to his studio and played for him.","Chopin invited Rubinstein to his studio and played for him. Liszt advised Villoing to take him to Germany to study composition; however, Villoing took Rubinstein on an extended concert tour of Europe and Western Russia. They finally returned to Moscow in June 1843.","They finally returned to Moscow in June 1843. Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace.","Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace. Anton was 14 years old; Nikolai was eight.","Anton was 14 years old; Nikolai was eight. Travel and performance Berlin In spring 1844, Rubinstein, Nikolai, his mother and his sister Luba travelled to Berlin. Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer.","Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer. Mendelssohn, who had heard Rubinstein when he had toured with Villoing, said he needed no further piano study but sent Nikolai to Theodor Kullak for instruction. Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory.","Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory. Word came in the summer of 1846 that Rubinstein's father was gravely ill. Rubinstein was left in Berlin while his mother, sister and brother returned to Russia. At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest.","At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest. Now 17, he knew he could no longer pass as a child prodigy. He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil.","He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil. However, after Rubinstein had played his audition, Liszt is reported to have said, \"A talented man must win the goal of his ambition by his own unassisted efforts.\" At this point, Rubinstein was living in acute poverty.","At this point, Rubinstein was living in acute poverty. Liszt did nothing to help him. Other calls Rubinstein made to potential patrons came to no avail. After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons.","After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons. Back to Russia The Revolution of 1848 forced Rubinstein back to Russia. Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court.","Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court. The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness.","The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness. By 1852, he had become a leading figure in Saint Petersburg's musical life, performing as a soloist and collaborating with some of the outstanding instrumentalists and vocalists who came to the Russian capital. He also composed assiduously.","He also composed assiduously. He also composed assiduously. After a number of delays, including some difficulties with the censor, Rubinstein's first opera, Dmitry Donskoy (now lost except for the overture), was performed at the Bolshoy Theater in Saint Petersburg in 1852. Three one-act operas written for Elena Pavlovna followed.","Three one-act operas written for Elena Pavlovna followed. He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works.","He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works. It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist.","It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist. Abroad once more In 1854, Rubinstein began a four-year concert tour of Europe. This was his first major concert tour in a decade.","This was his first major concert tour in a decade. Now 24, he felt ready to offer himself to the public as a fully developed pianist as well as a composer of worth. He very shortly reestablished his reputation as a virtuoso.","He very shortly reestablished his reputation as a virtuoso. Ignaz Moscheles wrote in 1855 what would become a widespread opinion about Rubinstein: \"In power and execution he is inferior to no one.\" As was the penchant at the time, much of what Rubinstein played were his own compositions.","As was the penchant at the time, much of what Rubinstein played were his own compositions. At several concerts, Rubinstein alternated between conducting his orchestral works and playing as soloist in one of his piano concertos. One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854.","One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854. Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later.","Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later. Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice.","Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice. Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859.","Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859. Opening the St. Petersburg Conservatory The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862.","Opening the St. Petersburg Conservatory The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862. Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty.","Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty. Some in Russian society were surprised that a Russian music school would actually attempt to be Russian.","Some in Russian society were surprised that a Russian music school would actually attempt to be Russian. One \"fashionable lady\", when told by Rubinstein that classes would be taught in Russian and not a foreign language, exclaimed, \"What, music in Russian! That is an original idea!\"","That is an original idea!\" Rubinstein adds, And surely it was surprising that the theory of Music was to be taught for the first time in the Russian language at our Conservatory... Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany.","Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany. There were also those who feared the school would not be Russian enough. Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five.","Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five. Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world.","Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world. Actually the Conservatory raise the level of musical culture in Russia.","Actually the Conservatory raise the level of musical culture in Russia. The unconventional way chosen by Balakirev and his friends was not necessarily the right one for everybody else. It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871.","It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871. Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \"interesting and well done,\" though \"episodic,\" and the opera Ivan IV Grozniy, which was premiered by Balakirev.","Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \"interesting and well done,\" though \"episodic,\" and the opera Ivan IV Grozniy, which was premiered by Balakirev. Borodin commented on Ivan IV that \"the music is good, you just cannot recognize that it is Rubinstein.","Borodin commented on Ivan IV that \"the music is good, you just cannot recognize that it is Rubinstein. There is nothing that is Mendelssohnian, nothing as he used to write formerly.\"","There is nothing that is Mendelssohnian, nothing as he used to write formerly.\" The American tour By 1867, ongoing tensions with the Balakirev camp, along with related matters, led to intense dissension within the Conservatory's faculty. Rubinstein resigned and returned to touring throughout Europe.","Rubinstein resigned and returned to touring throughout Europe. Unlike his previous tours, he began increasingly featuring the works of other composers. In previous tours, Rubinstein had played primarily his own works. At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season.","At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season. Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid.","Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid. Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities.","Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities. Rubinstein wrote of his American experience, May Heaven preserve us from such slavery!","Rubinstein wrote of his American experience, May Heaven preserve us from such slavery! Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost...","Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost... The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art.","The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art. So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank...","So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank... Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life.","Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life. Upon his return to Russia, he \"hastened to invest in real estate\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family.","Upon his return to Russia, he \"hastened to invest in real estate\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family. Later life Rubinstein continued to make tours as a pianist and give appearances as a conductor.","Later life Rubinstein continued to make tours as a pianist and give appearances as a conductor. In 1887, he returned to the Saint Petersburg Conservatory with the goal of improving overall standards. He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum.","He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum. He led semi-weekly teachers' classes through the whole keyboard literature and gave some of the more gifted piano students personal coaching. During the 1889–90 academic year he gave weekly lecture-recitals for the students.","During the 1889–90 academic year he gave weekly lecture-recitals for the students. He resigned again—and left Russia—in 1891 over Imperial demands that Conservatory admittance, and later annual prizes to students, be awarded along ethnic quotas instead of purely by merit. These quotas were designed to effectively disadvantage Jews.","These quotas were designed to effectively disadvantage Jews. Rubinstein resettled in Dresden and started giving concerts again in Germany and Austria. Nearly all of these concerts were charity benefit events. Rubinstein also coached a few pianists and taught his only private piano student, Josef Hofmann. Hofmann would become one of the finest keyboard artists of the 20th century.","Hofmann would become one of the finest keyboard artists of the 20th century. Despite his sentiments on ethnic politics in Russia, Rubinstein returned there occasionally to visit friends and family. He gave his final concert in Saint Petersburg on 14 January 1894. With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894.","With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894. He died there on 20 November of that year, having suffered from heart disease for some time. The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him.","The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him. Pianism \"Van II\" Many contemporaries felt he bore a striking resemblance to Ludwig van Beethoven. Ignaz Moscheles, who had known Beethoven intimately, wrote, \"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\"","Ignaz Moscheles, who had known Beethoven intimately, wrote, \"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\" Liszt referred to Rubinstein as \"Van II.\" This resemblance was also felt to be in Rubinstein's keyboard playing. Under his hands, it was said, the piano erupted volcanically.","Under his hands, it was said, the piano erupted volcanically. Audience members wrote of going home limp after one of his recitals, knowing they had witnessed a force of nature. Sometimes Rubinstein's playing was too much for listeners to handle.","Sometimes Rubinstein's playing was too much for listeners to handle. American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much.","American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much. Give me Rubinstein for a few pieces, but Tausig for a whole evening.\"","Give me Rubinstein for a few pieces, but Tausig for a whole evening.\" She heard Rubinstein play \"a terrific piece by Schubert,\" reportedly the Wanderer Fantasie. The performance gave her such a violent headache that the rest of the recital was ruined for her. Clara Schumann proved especially vehement.","Clara Schumann proved especially vehement. Clara Schumann proved especially vehement. After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\"","After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\" Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau.","Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau. She noted in her diary, \"I was furious, for he no longer plays. Either there is a perfectly wild noise or else a whisper with the soft pedal down.","Either there is a perfectly wild noise or else a whisper with the soft pedal down. And a would-be cultured audience puts up with a performance like that!\"","And a would-be cultured audience puts up with a performance like that!\" On the other hand, when Rubinstein played Beethoven's \"Archduke\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls: It was the first time I had heard this great artist play.","On the other hand, when Rubinstein played Beethoven's \"Archduke\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls: It was the first time I had heard this great artist play. He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme...","He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme... It seemed to me I had never before heard the piano really played.","It seemed to me I had never before heard the piano really played. The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ... Violinist and composer Henri Vieuxtemps adds: His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten.","The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ... Violinist and composer Henri Vieuxtemps adds: His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten. I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op.","I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op. 57 [Appassionata], which Rubinstein executed for us with unimagined mastery. Viennese music critic Eduard Hanslick expressed what Schonberg calls \"the majority point of view\" in an 1884 review.","Viennese music critic Eduard Hanslick expressed what Schonberg calls \"the majority point of view\" in an 1884 review. After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners.","After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners. Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness.","Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness. \"Yes, he plays like a god\", Hanslick writes in closing, \"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\".","\"Yes, he plays like a god\", Hanslick writes in closing, \"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\". Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm.","Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm. His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall.","His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall. In playing, Rubinstein created, and he created inimitably and with genius.","In playing, Rubinstein created, and he created inimitably and with genius. He often treated the same program absolutely differently when he played it the second time, but, more astoundingly still, everything came out wonderfully on both occasions. Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled.","Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled. Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song.","Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song. He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable.","He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable. It was superb.\"","It was superb.\" It was superb.\" Technique Villoing had worked with Rubinstein on hand position and finger dexterity. From watching Liszt, Rubinstein had learned about freedom of arm movement. Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing.","Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing. He would remark to his students about \"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\"","He would remark to his students about \"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\" In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\"","In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\" When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through.","When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through. Rubinstein himself admitted, after a concert in Berlin in 1875, \"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\"","Rubinstein himself admitted, after a concert in Berlin in 1875, \"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\" Part of the problem might have been the sheer size of Rubinstein's hands.","Part of the problem might have been the sheer size of Rubinstein's hands. They were huge, and many observers commented on them. Josef Hofmann observed that Rubinstein's fifth finger \"was as thick as my thumb—think of it! Then his fingers were square at the ends, with cushions on them.","Then his fingers were square at the ends, with cushions on them. It was a wonderful hand.\" Pianist Josef Lhévinne described them as \"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\"","Pianist Josef Lhévinne described them as \"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\" The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \"Nothing cramped about him!","The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \"Nothing cramped about him! He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\"","He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\" Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness.","Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness. Those who valued interpretation as much or more than pure technique found much to praise. Pianist and conductor Hans von Bülow called Rubinstein \"the Michelangelo of music.\"","Pianist and conductor Hans von Bülow called Rubinstein \"the Michelangelo of music.\" The German critic Ludwig Rellstab called him \"the Hercules of the piano; the Jupiter Tonans of the instrument.\" Tone Pressman attested to the singing quality of Rubinstein's playing, and much more: \"His tone was strikingly full and deep.","Tone Pressman attested to the singing quality of Rubinstein's playing, and much more: \"His tone was strikingly full and deep. With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres.","With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres. With him, the piano sang as Patti sang, as Rubini sang.\" Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists.","Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists. Fellow pianist Rafael Joseffy compared it to \"a golden French horn.\" Rubinstein himself told an interviewer, \"Strength with lightness, that is one secret of my touch...","Rubinstein himself told an interviewer, \"Strength with lightness, that is one secret of my touch... I have sat hours trying to imitate the timbre of Rubini's voice in my playing.\" Rubinstein told the young Rachmaninoff how he achieved that tone. \"Just press upon the keys until the blood oozes from your fingertips\".","\"Just press upon the keys until the blood oozes from your fingertips\". When he wanted to, Rubinstein could play with extreme lightness, grace and delicacy. He rarely displayed that side of his nature, however. He had learned quickly that audiences came to hear him thunder, so he accommodated them.","He had learned quickly that audiences came to hear him thunder, so he accommodated them. Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before.","Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before. During this tour, Rubinstein received more press attention than any other figure until the appearance of Ignacy Jan Paderewski a generation later. Programs Rubinstein's concert programs were often gargantuan.","Programs Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A).","101 in A). 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman.","Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note.","He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note. Rubinstein was most famous for his series of historical recitals—seven consecutive concerts covering the history of piano music. Each of these programs was enormous.","Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital.","Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert.","This did not include encores, which Rubinstein sprayed liberally at every concert. Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873. Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe.","Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge.","In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge. Rachmaninoff on Rubinstein Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student.","Rachmaninoff on Rubinstein Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student. Forty-four years later he told his biographer Oscar von Riesemann, \"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\"","Forty-four years later he told his biographer Oscar von Riesemann, \"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\" Rachmaninoff explained to von Riesemann, \"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\"","Rachmaninoff explained to von Riesemann, \"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\" Rachmaninoff's detailed description to von Riesemann is of interest: Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished.","Rachmaninoff's detailed description to von Riesemann is of interest: Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished. One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone...","One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone... I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \"fluttering away of the little bird\" would be hopelessly inadequate.","I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \"fluttering away of the little bird\" would be hopelessly inadequate. Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner.","Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner. One of Rubinstein's greatest secrets was his use of the pedal.","One of Rubinstein's greatest secrets was his use of the pedal. He himself very happily expressed his ideas on the subject when he said, \"The pedal is the soul of the piano.\" No pianist should ever forget this.","No pianist should ever forget this. Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \"Funeral March\" Sonata—both became cornerstones of Rachmaninoff's own recital programs.","Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \"Funeral March\" Sonata—both became cornerstones of Rachmaninoff's own recital programs. Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work.","Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work. Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later.","Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later. In Rubinstein's defense, however, Rachmaninoff said that \"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\"","In Rubinstein's defense, however, Rachmaninoff said that \"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\" Conducting Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867.","Conducting Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867. He also did his share of guest conducting both before and after his tenure with the RMS.","He also did his share of guest conducting both before and after his tenure with the RMS. Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences.","Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences. Teacher As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work.","Teacher As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work. He could also be exacting and expected as much from them as he gave to them.","He could also be exacting and expected as much from them as he gave to them. According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference.","According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference. This assignment would be due the following day.","This assignment would be due the following day. At other times, he would expect students to improvise a minuet, a rondo, a polonaise or some other musical form. Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead.","Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead. He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano.","He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano. Notable students include pianists Josef Hofmann and Sandra Drouker.","Notable students include pianists Josef Hofmann and Sandra Drouker. Composition By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \"but as a composer performing his symphonies, concertos, operas, trios, etc.\"","Composition By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \"but as a composer performing his symphonies, concertos, operas, trios, etc.\" Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote).","Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote). Edward Garden writes in the New Grove, Rubinstein composed assiduously during all periods of his life.","Edward Garden writes in the New Grove, Rubinstein composed assiduously during all periods of his life. He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved.","He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved. Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn.","Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn. Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music.","Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music. Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching.","Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching. Robert Schumann and Felix Mendelssohn were the strongest influences on Rubinstein's music. Consequently, Rubinstein's music demonstrates none of the nationalism of The Five.","Consequently, Rubinstein's music demonstrates none of the nationalism of The Five. Rubinstein also had a tendency to rush in composing his pieces, resulting in good ideas such as those in his Ocean Symphony being developed in less-than-exemplary ways. As Paderewski was later to remark, \"He had not the necessary concentration of patience for a composer...","As Paderewski was later to remark, \"He had not the necessary concentration of patience for a composer... He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\"","He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\" Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ...","Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ... The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s.","The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s. After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire.","After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire. Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev.","Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev. Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism.","Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism. Amongst his better known works are the opera The Demon, his Piano Concerto No. 4, and his Symphony No. 2, known as The Ocean.","2, known as The Ocean. Rubinstein's repartee Rubinstein was as well known during his lifetime for his sarcasm as well as his sometimes penetrating insight. During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him.","During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him. After a long silence, Rubinstein told Cortot, \"My boy, don't you ever forget what I am going to tell you. Beethoven's music must not be studied. It must be reincarnated.\"","It must be reincarnated.\" It must be reincarnated.\" Cortot reportedly never forgot those words. Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase.","Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase. His manner with them was a combination of raw, sometimes violent criticism and good humor.","His manner with them was a combination of raw, sometimes violent criticism and good humor. Hofmann wrote of one such lesson: Once I played a Liszt rhapsody pretty badly. After a little of it, Rubinstein said, \"The way you play this piece would be all right for Auntie or Mamma.\"","After a little of it, Rubinstein said, \"The way you play this piece would be all right for Auntie or Mamma.\" Then rising and coming toward me, he said, \"Now let us see how play such things.\" ...","... ... I began again, but I had not played more than a few measures when Rubinstein said loudly, \"Have you begun?\" \"Yes, Master, I certainly have.\" \"Oh,\" said Rubinstein vaguely, \"I didn't notice.\" ... Rubinstein did not so much instruct me.","... Rubinstein did not so much instruct me. Merely he let me learn from him ...","Merely he let me learn from him ... If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do.","If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do. Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts.","Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts. When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \"When you are as old as I am, you may do as I do.\"","When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \"When you are as old as I am, you may do as I do.\" Then Rubinstein added, \"If you can\". Nor did Rubinstein adjust the tenor of his comments for those of high rank.","Nor did Rubinstein adjust the tenor of his comments for those of high rank. After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility.","After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility. At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift.","At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift. Rubinstein replied bluntly, to the crowd's horror, \"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\"","Rubinstein replied bluntly, to the crowd's horror, \"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\" Rubinstein's voice The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison.","Rubinstein's voice The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison. Rubinstein is heard to make a complimentary remark about the phonograph recorder. References Sources In Russian (2 vol.) In German (3 vol.) In English (29 vols.)","In English (29 vols.) Further reading Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995) Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991) Rubinstein, Anton Grigorevich, ed.","Further reading Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995) Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991) Rubinstein, Anton Grigorevich, ed. L. Barenboim, Literaturnoye Naslediye (3 vol.","L. Barenboim, Literaturnoye Naslediye (3 vol. ), (in Russian), (Moscow, 1983) External links Networking Rubinstein – his contacts in his early career Soundbites from String Quartet No.1 in G, Op.17 No.1 Anton Rubinstein recordings at the Discography of American Historical Recordings.","), (in Russian), (Moscow, 1983) External links Networking Rubinstein – his contacts in his early career Soundbites from String Quartet No.1 in G, Op.17 No.1 Anton Rubinstein recordings at the Discography of American Historical Recordings. 1829 births 1894 deaths 19th-century classical composers 19th-century classical pianists 19th-century conductors (music) 19th-century male conductors (music) Burials at Tikhvin Cemetery Composers for piano Converts to Eastern Orthodoxy from Judaism Founders of Russian educational institutions Jewish atheists Jewish classical composers Jewish classical pianists Jewish opera composers Male classical pianists Male opera composers People from Baltsky Uyezd People from Rîbnița District Pupils of Siegfried Dehn Pyotr Ilyich Tchaikovsky Recipients of the Pour le Mérite (civil class) Royal Philharmonic Society Gold Medallists Russian atheists Russian classical pianists Russian conductors (music) Russian male conductors (music) Russian Jews Russian male classical composers Russian music educators Russian opera composers Russian Romantic composers"],"string":"[\n \"Anton Grigoryevich Rubinstein (; ) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein, who founded the Moscow Conservatory. As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos.\",\n \"As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals—seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.\",\n \"Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there. Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life.\",\n \"Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life. He wrote 20 operas, the best known of which is The Demon.\",\n \"He wrote 20 operas, the best known of which is The Demon. He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble.\",\n \"He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble. Early life and education Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa.\",\n \"Early life and education Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa. Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy.\",\n \"Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy. Although he was raised as a Christian, Rubinstein would later become an atheist. Rubinstein's father opened a pencil factory in Moscow.\",\n \"Rubinstein's father opened a pencil factory in Moscow. His mother, a competent musician, began giving him piano lessons at five, until the teacher heard and accepted Rubinstein as a non-paying student. Rubinstein made his first public appearance at a charity benefit concert at the age of nine.\",\n \"Rubinstein made his first public appearance at a charity benefit concert at the age of nine. Later that year Rubinstein's mother sent him, accompanied by Villoing, to Paris where he sought unsuccessfully to enroll at the Paris Conservatoire. Rubinstein and Villoing remained in Paris for a year.\",\n \"Rubinstein and Villoing remained in Paris for a year. In December 1840, Rubinstein played in the Salle Érard for an audience that included Frédéric Chopin and Franz Liszt. Chopin invited Rubinstein to his studio and played for him.\",\n \"Chopin invited Rubinstein to his studio and played for him. Liszt advised Villoing to take him to Germany to study composition; however, Villoing took Rubinstein on an extended concert tour of Europe and Western Russia. They finally returned to Moscow in June 1843.\",\n \"They finally returned to Moscow in June 1843. Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace.\",\n \"Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace. Anton was 14 years old; Nikolai was eight.\",\n \"Anton was 14 years old; Nikolai was eight. Travel and performance Berlin In spring 1844, Rubinstein, Nikolai, his mother and his sister Luba travelled to Berlin. Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer.\",\n \"Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer. Mendelssohn, who had heard Rubinstein when he had toured with Villoing, said he needed no further piano study but sent Nikolai to Theodor Kullak for instruction. Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory.\",\n \"Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory. Word came in the summer of 1846 that Rubinstein's father was gravely ill. Rubinstein was left in Berlin while his mother, sister and brother returned to Russia. At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest.\",\n \"At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest. Now 17, he knew he could no longer pass as a child prodigy. He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil.\",\n \"He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil. However, after Rubinstein had played his audition, Liszt is reported to have said, \\\"A talented man must win the goal of his ambition by his own unassisted efforts.\\\" At this point, Rubinstein was living in acute poverty.\",\n \"At this point, Rubinstein was living in acute poverty. Liszt did nothing to help him. Other calls Rubinstein made to potential patrons came to no avail. After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons.\",\n \"After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons. Back to Russia The Revolution of 1848 forced Rubinstein back to Russia. Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court.\",\n \"Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court. The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness.\",\n \"The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness. By 1852, he had become a leading figure in Saint Petersburg's musical life, performing as a soloist and collaborating with some of the outstanding instrumentalists and vocalists who came to the Russian capital. He also composed assiduously.\",\n \"He also composed assiduously. He also composed assiduously. After a number of delays, including some difficulties with the censor, Rubinstein's first opera, Dmitry Donskoy (now lost except for the overture), was performed at the Bolshoy Theater in Saint Petersburg in 1852. Three one-act operas written for Elena Pavlovna followed.\",\n \"Three one-act operas written for Elena Pavlovna followed. He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works.\",\n \"He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works. It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist.\",\n \"It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist. Abroad once more In 1854, Rubinstein began a four-year concert tour of Europe. This was his first major concert tour in a decade.\",\n \"This was his first major concert tour in a decade. Now 24, he felt ready to offer himself to the public as a fully developed pianist as well as a composer of worth. He very shortly reestablished his reputation as a virtuoso.\",\n \"He very shortly reestablished his reputation as a virtuoso. Ignaz Moscheles wrote in 1855 what would become a widespread opinion about Rubinstein: \\\"In power and execution he is inferior to no one.\\\" As was the penchant at the time, much of what Rubinstein played were his own compositions.\",\n \"As was the penchant at the time, much of what Rubinstein played were his own compositions. At several concerts, Rubinstein alternated between conducting his orchestral works and playing as soloist in one of his piano concertos. One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854.\",\n \"One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854. Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later.\",\n \"Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later. Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice.\",\n \"Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice. Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859.\",\n \"Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859. Opening the St. Petersburg Conservatory The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862.\",\n \"Opening the St. Petersburg Conservatory The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862. Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty.\",\n \"Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty. Some in Russian society were surprised that a Russian music school would actually attempt to be Russian.\",\n \"Some in Russian society were surprised that a Russian music school would actually attempt to be Russian. One \\\"fashionable lady\\\", when told by Rubinstein that classes would be taught in Russian and not a foreign language, exclaimed, \\\"What, music in Russian! That is an original idea!\\\"\",\n \"That is an original idea!\\\" Rubinstein adds, And surely it was surprising that the theory of Music was to be taught for the first time in the Russian language at our Conservatory... Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany.\",\n \"Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany. There were also those who feared the school would not be Russian enough. Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five.\",\n \"Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five. Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world.\",\n \"Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world. Actually the Conservatory raise the level of musical culture in Russia.\",\n \"Actually the Conservatory raise the level of musical culture in Russia. The unconventional way chosen by Balakirev and his friends was not necessarily the right one for everybody else. It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871.\",\n \"It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871. Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \\\"interesting and well done,\\\" though \\\"episodic,\\\" and the opera Ivan IV Grozniy, which was premiered by Balakirev.\",\n \"Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \\\"interesting and well done,\\\" though \\\"episodic,\\\" and the opera Ivan IV Grozniy, which was premiered by Balakirev. Borodin commented on Ivan IV that \\\"the music is good, you just cannot recognize that it is Rubinstein.\",\n \"Borodin commented on Ivan IV that \\\"the music is good, you just cannot recognize that it is Rubinstein. There is nothing that is Mendelssohnian, nothing as he used to write formerly.\\\"\",\n \"There is nothing that is Mendelssohnian, nothing as he used to write formerly.\\\" The American tour By 1867, ongoing tensions with the Balakirev camp, along with related matters, led to intense dissension within the Conservatory's faculty. Rubinstein resigned and returned to touring throughout Europe.\",\n \"Rubinstein resigned and returned to touring throughout Europe. Unlike his previous tours, he began increasingly featuring the works of other composers. In previous tours, Rubinstein had played primarily his own works. At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season.\",\n \"At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season. Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid.\",\n \"Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid. Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities.\",\n \"Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities. Rubinstein wrote of his American experience, May Heaven preserve us from such slavery!\",\n \"Rubinstein wrote of his American experience, May Heaven preserve us from such slavery! Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost...\",\n \"Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost... The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art.\",\n \"The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art. So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank...\",\n \"So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank... Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life.\",\n \"Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life. Upon his return to Russia, he \\\"hastened to invest in real estate\\\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family.\",\n \"Upon his return to Russia, he \\\"hastened to invest in real estate\\\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family. Later life Rubinstein continued to make tours as a pianist and give appearances as a conductor.\",\n \"Later life Rubinstein continued to make tours as a pianist and give appearances as a conductor. In 1887, he returned to the Saint Petersburg Conservatory with the goal of improving overall standards. He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum.\",\n \"He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum. He led semi-weekly teachers' classes through the whole keyboard literature and gave some of the more gifted piano students personal coaching. During the 1889–90 academic year he gave weekly lecture-recitals for the students.\",\n \"During the 1889–90 academic year he gave weekly lecture-recitals for the students. He resigned again—and left Russia—in 1891 over Imperial demands that Conservatory admittance, and later annual prizes to students, be awarded along ethnic quotas instead of purely by merit. These quotas were designed to effectively disadvantage Jews.\",\n \"These quotas were designed to effectively disadvantage Jews. Rubinstein resettled in Dresden and started giving concerts again in Germany and Austria. Nearly all of these concerts were charity benefit events. Rubinstein also coached a few pianists and taught his only private piano student, Josef Hofmann. Hofmann would become one of the finest keyboard artists of the 20th century.\",\n \"Hofmann would become one of the finest keyboard artists of the 20th century. Despite his sentiments on ethnic politics in Russia, Rubinstein returned there occasionally to visit friends and family. He gave his final concert in Saint Petersburg on 14 January 1894. With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894.\",\n \"With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894. He died there on 20 November of that year, having suffered from heart disease for some time. The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him.\",\n \"The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him. Pianism \\\"Van II\\\" Many contemporaries felt he bore a striking resemblance to Ludwig van Beethoven. Ignaz Moscheles, who had known Beethoven intimately, wrote, \\\"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\\\"\",\n \"Ignaz Moscheles, who had known Beethoven intimately, wrote, \\\"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\\\" Liszt referred to Rubinstein as \\\"Van II.\\\" This resemblance was also felt to be in Rubinstein's keyboard playing. Under his hands, it was said, the piano erupted volcanically.\",\n \"Under his hands, it was said, the piano erupted volcanically. Audience members wrote of going home limp after one of his recitals, knowing they had witnessed a force of nature. Sometimes Rubinstein's playing was too much for listeners to handle.\",\n \"Sometimes Rubinstein's playing was too much for listeners to handle. American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \\\"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much.\",\n \"American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \\\"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much. Give me Rubinstein for a few pieces, but Tausig for a whole evening.\\\"\",\n \"Give me Rubinstein for a few pieces, but Tausig for a whole evening.\\\" She heard Rubinstein play \\\"a terrific piece by Schubert,\\\" reportedly the Wanderer Fantasie. The performance gave her such a violent headache that the rest of the recital was ruined for her. Clara Schumann proved especially vehement.\",\n \"Clara Schumann proved especially vehement. Clara Schumann proved especially vehement. After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \\\"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\\\"\",\n \"After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \\\"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\\\" Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau.\",\n \"Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau. She noted in her diary, \\\"I was furious, for he no longer plays. Either there is a perfectly wild noise or else a whisper with the soft pedal down.\",\n \"Either there is a perfectly wild noise or else a whisper with the soft pedal down. And a would-be cultured audience puts up with a performance like that!\\\"\",\n \"And a would-be cultured audience puts up with a performance like that!\\\" On the other hand, when Rubinstein played Beethoven's \\\"Archduke\\\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls: It was the first time I had heard this great artist play.\",\n \"On the other hand, when Rubinstein played Beethoven's \\\"Archduke\\\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls: It was the first time I had heard this great artist play. He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme...\",\n \"He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme... It seemed to me I had never before heard the piano really played.\",\n \"It seemed to me I had never before heard the piano really played. The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ... Violinist and composer Henri Vieuxtemps adds: His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten.\",\n \"The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ... Violinist and composer Henri Vieuxtemps adds: His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten. I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op.\",\n \"I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op. 57 [Appassionata], which Rubinstein executed for us with unimagined mastery. Viennese music critic Eduard Hanslick expressed what Schonberg calls \\\"the majority point of view\\\" in an 1884 review.\",\n \"Viennese music critic Eduard Hanslick expressed what Schonberg calls \\\"the majority point of view\\\" in an 1884 review. After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners.\",\n \"After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners. Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness.\",\n \"Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness. \\\"Yes, he plays like a god\\\", Hanslick writes in closing, \\\"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\\\".\",\n \"\\\"Yes, he plays like a god\\\", Hanslick writes in closing, \\\"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\\\". Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm.\",\n \"Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm. His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall.\",\n \"His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall. In playing, Rubinstein created, and he created inimitably and with genius.\",\n \"In playing, Rubinstein created, and he created inimitably and with genius. He often treated the same program absolutely differently when he played it the second time, but, more astoundingly still, everything came out wonderfully on both occasions. Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled.\",\n \"Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled. Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song.\",\n \"Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song. He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable.\",\n \"He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable. It was superb.\\\"\",\n \"It was superb.\\\" It was superb.\\\" Technique Villoing had worked with Rubinstein on hand position and finger dexterity. From watching Liszt, Rubinstein had learned about freedom of arm movement. Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing.\",\n \"Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing. He would remark to his students about \\\"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\\\"\",\n \"He would remark to his students about \\\"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\\\" In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \\\"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\\\"\",\n \"In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \\\"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\\\" When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through.\",\n \"When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through. Rubinstein himself admitted, after a concert in Berlin in 1875, \\\"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\\\"\",\n \"Rubinstein himself admitted, after a concert in Berlin in 1875, \\\"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\\\" Part of the problem might have been the sheer size of Rubinstein's hands.\",\n \"Part of the problem might have been the sheer size of Rubinstein's hands. They were huge, and many observers commented on them. Josef Hofmann observed that Rubinstein's fifth finger \\\"was as thick as my thumb—think of it! Then his fingers were square at the ends, with cushions on them.\",\n \"Then his fingers were square at the ends, with cushions on them. It was a wonderful hand.\\\" Pianist Josef Lhévinne described them as \\\"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\\\"\",\n \"Pianist Josef Lhévinne described them as \\\"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\\\" The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \\\"Nothing cramped about him!\",\n \"The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \\\"Nothing cramped about him! He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\\\"\",\n \"He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\\\" Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness.\",\n \"Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness. Those who valued interpretation as much or more than pure technique found much to praise. Pianist and conductor Hans von Bülow called Rubinstein \\\"the Michelangelo of music.\\\"\",\n \"Pianist and conductor Hans von Bülow called Rubinstein \\\"the Michelangelo of music.\\\" The German critic Ludwig Rellstab called him \\\"the Hercules of the piano; the Jupiter Tonans of the instrument.\\\" Tone Pressman attested to the singing quality of Rubinstein's playing, and much more: \\\"His tone was strikingly full and deep.\",\n \"Tone Pressman attested to the singing quality of Rubinstein's playing, and much more: \\\"His tone was strikingly full and deep. With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres.\",\n \"With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres. With him, the piano sang as Patti sang, as Rubini sang.\\\" Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists.\",\n \"Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists. Fellow pianist Rafael Joseffy compared it to \\\"a golden French horn.\\\" Rubinstein himself told an interviewer, \\\"Strength with lightness, that is one secret of my touch...\",\n \"Rubinstein himself told an interviewer, \\\"Strength with lightness, that is one secret of my touch... I have sat hours trying to imitate the timbre of Rubini's voice in my playing.\\\" Rubinstein told the young Rachmaninoff how he achieved that tone. \\\"Just press upon the keys until the blood oozes from your fingertips\\\".\",\n \"\\\"Just press upon the keys until the blood oozes from your fingertips\\\". When he wanted to, Rubinstein could play with extreme lightness, grace and delicacy. He rarely displayed that side of his nature, however. He had learned quickly that audiences came to hear him thunder, so he accommodated them.\",\n \"He had learned quickly that audiences came to hear him thunder, so he accommodated them. Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before.\",\n \"Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before. During this tour, Rubinstein received more press attention than any other figure until the appearance of Ignacy Jan Paderewski a generation later. Programs Rubinstein's concert programs were often gargantuan.\",\n \"Programs Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A).\",\n \"101 in A). 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman.\",\n \"Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note.\",\n \"He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note. Rubinstein was most famous for his series of historical recitals—seven consecutive concerts covering the history of piano music. Each of these programs was enormous.\",\n \"Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital.\",\n \"Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert.\",\n \"This did not include encores, which Rubinstein sprayed liberally at every concert. Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873. Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe.\",\n \"Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge.\",\n \"In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge. Rachmaninoff on Rubinstein Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student.\",\n \"Rachmaninoff on Rubinstein Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student. Forty-four years later he told his biographer Oscar von Riesemann, \\\"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\\\"\",\n \"Forty-four years later he told his biographer Oscar von Riesemann, \\\"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\\\" Rachmaninoff explained to von Riesemann, \\\"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\\\"\",\n \"Rachmaninoff explained to von Riesemann, \\\"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\\\" Rachmaninoff's detailed description to von Riesemann is of interest: Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished.\",\n \"Rachmaninoff's detailed description to von Riesemann is of interest: Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished. One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone...\",\n \"One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone... I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \\\"fluttering away of the little bird\\\" would be hopelessly inadequate.\",\n \"I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \\\"fluttering away of the little bird\\\" would be hopelessly inadequate. Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner.\",\n \"Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner. One of Rubinstein's greatest secrets was his use of the pedal.\",\n \"One of Rubinstein's greatest secrets was his use of the pedal. He himself very happily expressed his ideas on the subject when he said, \\\"The pedal is the soul of the piano.\\\" No pianist should ever forget this.\",\n \"No pianist should ever forget this. Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \\\"Funeral March\\\" Sonata—both became cornerstones of Rachmaninoff's own recital programs.\",\n \"Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \\\"Funeral March\\\" Sonata—both became cornerstones of Rachmaninoff's own recital programs. Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work.\",\n \"Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work. Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later.\",\n \"Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later. In Rubinstein's defense, however, Rachmaninoff said that \\\"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\\\"\",\n \"In Rubinstein's defense, however, Rachmaninoff said that \\\"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\\\" Conducting Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867.\",\n \"Conducting Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867. He also did his share of guest conducting both before and after his tenure with the RMS.\",\n \"He also did his share of guest conducting both before and after his tenure with the RMS. Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences.\",\n \"Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences. Teacher As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work.\",\n \"Teacher As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work. He could also be exacting and expected as much from them as he gave to them.\",\n \"He could also be exacting and expected as much from them as he gave to them. According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference.\",\n \"According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference. This assignment would be due the following day.\",\n \"This assignment would be due the following day. At other times, he would expect students to improvise a minuet, a rondo, a polonaise or some other musical form. Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead.\",\n \"Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead. He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano.\",\n \"He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano. Notable students include pianists Josef Hofmann and Sandra Drouker.\",\n \"Notable students include pianists Josef Hofmann and Sandra Drouker. Composition By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \\\"but as a composer performing his symphonies, concertos, operas, trios, etc.\\\"\",\n \"Composition By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \\\"but as a composer performing his symphonies, concertos, operas, trios, etc.\\\" Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote).\",\n \"Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote). Edward Garden writes in the New Grove, Rubinstein composed assiduously during all periods of his life.\",\n \"Edward Garden writes in the New Grove, Rubinstein composed assiduously during all periods of his life. He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved.\",\n \"He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved. Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn.\",\n \"Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn. Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music.\",\n \"Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music. Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching.\",\n \"Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching. Robert Schumann and Felix Mendelssohn were the strongest influences on Rubinstein's music. Consequently, Rubinstein's music demonstrates none of the nationalism of The Five.\",\n \"Consequently, Rubinstein's music demonstrates none of the nationalism of The Five. Rubinstein also had a tendency to rush in composing his pieces, resulting in good ideas such as those in his Ocean Symphony being developed in less-than-exemplary ways. As Paderewski was later to remark, \\\"He had not the necessary concentration of patience for a composer...\",\n \"As Paderewski was later to remark, \\\"He had not the necessary concentration of patience for a composer... He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\\\"\",\n \"He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\\\" Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ...\",\n \"Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ... The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s.\",\n \"The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s. After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire.\",\n \"After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire. Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev.\",\n \"Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev. Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism.\",\n \"Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism. Amongst his better known works are the opera The Demon, his Piano Concerto No. 4, and his Symphony No. 2, known as The Ocean.\",\n \"2, known as The Ocean. Rubinstein's repartee Rubinstein was as well known during his lifetime for his sarcasm as well as his sometimes penetrating insight. During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him.\",\n \"During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him. After a long silence, Rubinstein told Cortot, \\\"My boy, don't you ever forget what I am going to tell you. Beethoven's music must not be studied. It must be reincarnated.\\\"\",\n \"It must be reincarnated.\\\" It must be reincarnated.\\\" Cortot reportedly never forgot those words. Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase.\",\n \"Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase. His manner with them was a combination of raw, sometimes violent criticism and good humor.\",\n \"His manner with them was a combination of raw, sometimes violent criticism and good humor. Hofmann wrote of one such lesson: Once I played a Liszt rhapsody pretty badly. After a little of it, Rubinstein said, \\\"The way you play this piece would be all right for Auntie or Mamma.\\\"\",\n \"After a little of it, Rubinstein said, \\\"The way you play this piece would be all right for Auntie or Mamma.\\\" Then rising and coming toward me, he said, \\\"Now let us see how play such things.\\\" ...\",\n \"... ... I began again, but I had not played more than a few measures when Rubinstein said loudly, \\\"Have you begun?\\\" \\\"Yes, Master, I certainly have.\\\" \\\"Oh,\\\" said Rubinstein vaguely, \\\"I didn't notice.\\\" ... Rubinstein did not so much instruct me.\",\n \"... Rubinstein did not so much instruct me. Merely he let me learn from him ...\",\n \"Merely he let me learn from him ... If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do.\",\n \"If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do. Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts.\",\n \"Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts. When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \\\"When you are as old as I am, you may do as I do.\\\"\",\n \"When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \\\"When you are as old as I am, you may do as I do.\\\" Then Rubinstein added, \\\"If you can\\\". Nor did Rubinstein adjust the tenor of his comments for those of high rank.\",\n \"Nor did Rubinstein adjust the tenor of his comments for those of high rank. After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility.\",\n \"After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility. At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift.\",\n \"At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift. Rubinstein replied bluntly, to the crowd's horror, \\\"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\\\"\",\n \"Rubinstein replied bluntly, to the crowd's horror, \\\"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\\\" Rubinstein's voice The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison.\",\n \"Rubinstein's voice The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison. Rubinstein is heard to make a complimentary remark about the phonograph recorder. References Sources In Russian (2 vol.) In German (3 vol.) In English (29 vols.)\",\n \"In English (29 vols.) Further reading Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995) Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991) Rubinstein, Anton Grigorevich, ed.\",\n \"Further reading Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995) Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991) Rubinstein, Anton Grigorevich, ed. L. Barenboim, Literaturnoye Naslediye (3 vol.\",\n \"L. Barenboim, Literaturnoye Naslediye (3 vol. ), (in Russian), (Moscow, 1983) External links Networking Rubinstein – his contacts in his early career Soundbites from String Quartet No.1 in G, Op.17 No.1 Anton Rubinstein recordings at the Discography of American Historical Recordings.\",\n \"), (in Russian), (Moscow, 1983) External links Networking Rubinstein – his contacts in his early career Soundbites from String Quartet No.1 in G, Op.17 No.1 Anton Rubinstein recordings at the Discography of American Historical Recordings. 1829 births 1894 deaths 19th-century classical composers 19th-century classical pianists 19th-century conductors (music) 19th-century male conductors (music) Burials at Tikhvin Cemetery Composers for piano Converts to Eastern Orthodoxy from Judaism Founders of Russian educational institutions Jewish atheists Jewish classical composers Jewish classical pianists Jewish opera composers Male classical pianists Male opera composers People from Baltsky Uyezd People from Rîbnița District Pupils of Siegfried Dehn Pyotr Ilyich Tchaikovsky Recipients of the Pour le Mérite (civil class) Royal Philharmonic Society Gold Medallists Russian atheists Russian classical pianists Russian conductors (music) Russian male conductors (music) Russian Jews Russian male classical composers Russian music educators Russian opera composers Russian Romantic composers\"\n]"}}},{"rowIdx":499,"cells":{"History":{"kind":"list like","value":["Anton Rubinstein","Programs","What programs was he apart of?","Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna,","Are there any other interesting aspects about this article?","Rubinstein was most famous for his series of historical recitals--seven consecutive concerts covering the history of piano music.","What was the name of his series?","I don't know.","What was some of his concerts?","Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873.","did he tour again?","Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility,","When was his last concert?","I don't know.","what was his most famous concert?","the pianist played more than 20 pieces in one concert in Vienna, including three sonatas","Did he write the sonatas?","the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A"],"string":"[\n \"Anton Rubinstein\",\n \"Programs\",\n \"What programs was he apart of?\",\n \"Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna,\",\n \"Are there any other interesting aspects about this article?\",\n \"Rubinstein was most famous for his series of historical recitals--seven consecutive concerts covering the history of piano music.\",\n \"What was the name of his series?\",\n \"I don't know.\",\n \"What was some of his concerts?\",\n \"Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873.\",\n \"did he tour again?\",\n \"Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility,\",\n \"When was his last concert?\",\n \"I don't know.\",\n \"what was his most famous concert?\",\n \"the pianist played more than 20 pieces in one concert in Vienna, including three sonatas\",\n \"Did he write the sonatas?\",\n \"the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A\"\n]"},"QuAC_dialog_id":{"kind":"string","value":"C_abfaf1bc5d7a4878916e69b3dc8922b2_0"},"Question":{"kind":"string","value":"What other pieces did he play?"},"Question_no":{"kind":"number","value":9,"string":"9"},"Rewrite":{"kind":"string","value":"Other than Schumann's F sharp minor, Beethoven's D minor and Op. 101 in A, what other pieces did Anton Rubinstein play in Vienna?"},"true_page_title":{"kind":"string","value":"Anton Rubinstein"},"true_contexts":{"kind":"string","value":"Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note. Rubinstein was most famous for his series of historical recitals--seven consecutive concerts covering the history of piano music. Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert. Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873. Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge. CANNOTANSWER"},"answer":{"kind":"string","value":"The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111)."},"true_contexts_wiki":{"kind":"string","value":"Anton Grigoryevich Rubinstein (; ) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein, who founded the Moscow Conservatory.\n\nAs a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals—seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.\n\nAlthough best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life. He wrote 20 operas, the best known of which is The Demon. He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble.\n\nEarly life and education\n\nRubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa. Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy. Although he was raised as a Christian, Rubinstein would later become an atheist.\n\nRubinstein's father opened a pencil factory in Moscow. His mother, a competent musician, began giving him piano lessons at five, until the teacher heard and accepted Rubinstein as a non-paying student. Rubinstein made his first public appearance at a charity benefit concert at the age of nine. Later that year Rubinstein's mother sent him, accompanied by Villoing, to Paris where he sought unsuccessfully to enroll at the Paris Conservatoire.\n\nRubinstein and Villoing remained in Paris for a year. In December 1840, Rubinstein played in the Salle Érard for an audience that included Frédéric Chopin and Franz Liszt. Chopin invited Rubinstein to his studio and played for him. Liszt advised Villoing to take him to Germany to study composition; however, Villoing took Rubinstein on an extended concert tour of Europe and Western Russia. They finally returned to Moscow in June 1843. Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace. Anton was 14 years old; Nikolai was eight.\n\nTravel and performance\n\nBerlin\nIn spring 1844, Rubinstein, Nikolai, his mother and his sister Luba travelled to Berlin. Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer.\nMendelssohn, who had heard Rubinstein when he had toured with Villoing, said he needed no further piano study but sent Nikolai to Theodor Kullak for instruction. Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory.\n\nWord came in the summer of 1846 that Rubinstein's father was gravely ill. Rubinstein was left in Berlin while his mother, sister and brother returned to Russia. At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest. Now 17, he knew he could no longer pass as a child prodigy. He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil. However, after Rubinstein had played his audition, Liszt is reported to have said, \"A talented man must win the goal of his ambition by his own unassisted efforts.\" At this point, Rubinstein was living in acute poverty. Liszt did nothing to help him. Other calls Rubinstein made to potential patrons came to no avail. After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons.\n\nBack to Russia\nThe Revolution of 1848 forced Rubinstein back to Russia. Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court. The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness. By 1852, he had become a leading figure in Saint Petersburg's musical life, performing as a soloist and collaborating with some of the outstanding instrumentalists and vocalists who came to the Russian capital.\n\nHe also composed assiduously. After a number of delays, including some difficulties with the censor, Rubinstein's first opera, Dmitry Donskoy (now lost except for the overture), was performed at the Bolshoy Theater in Saint Petersburg in 1852. Three one-act operas written for Elena Pavlovna followed. He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works. It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist.\n\nAbroad once more\n\nIn 1854, Rubinstein began a four-year concert tour of Europe. This was his first major concert tour in a decade. Now 24, he felt ready to offer himself to the public as a fully developed pianist as well as a composer of worth. He very shortly reestablished his reputation as a virtuoso. Ignaz Moscheles wrote in 1855 what would become a widespread opinion about Rubinstein: \"In power and execution he is inferior to no one.\"\n\nAs was the penchant at the time, much of what Rubinstein played were his own compositions. At several concerts, Rubinstein alternated between conducting his orchestral works and playing as soloist in one of his piano concertos. One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854. Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later.\n\nRubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice. Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859.\n\nOpening the St. Petersburg Conservatory\nThe opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862. Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty.\n\nSome in Russian society were surprised that a Russian music school would actually attempt to be Russian. One \"fashionable lady\", when told by Rubinstein that classes would be taught in Russian and not a foreign language, exclaimed, \"What, music in Russian! That is an original idea!\" Rubinstein adds, And surely it was surprising that the theory of Music was to be taught for the first time in the Russian language at our Conservatory... Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany.\nThere were also those who feared the school would not be Russian enough. Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five. Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world. Actually the Conservatory raise the level of musical culture in Russia. The unconventional way chosen by Balakirev and his friends was not necessarily the right one for everybody else.\nIt was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871. Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \"interesting and well done,\" though \"episodic,\" and the opera Ivan IV Grozniy, which was premiered by Balakirev. Borodin commented on Ivan IV that \"the music is good, you just cannot recognize that it is Rubinstein. There is nothing that is Mendelssohnian, nothing as he used to write formerly.\"\n\nThe American tour\nBy 1867, ongoing tensions with the Balakirev camp, along with related matters, led to intense dissension within the Conservatory's faculty. Rubinstein resigned and returned to touring throughout Europe. Unlike his previous tours, he began increasingly featuring the works of other composers. In previous tours, Rubinstein had played primarily his own works.\n\nAt the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season. Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid. Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities.\n\nRubinstein wrote of his American experience, May Heaven preserve us from such slavery! Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost... The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art. So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank...\nDespite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life. Upon his return to Russia, he \"hastened to invest in real estate\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family.\n\nLater life\nRubinstein continued to make tours as a pianist and give appearances as a conductor. In 1887, he returned to the Saint Petersburg Conservatory with the goal of improving overall standards. He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum. He led semi-weekly teachers' classes through the whole keyboard literature and gave some of the more gifted piano students personal coaching. During the 1889–90 academic year he gave weekly lecture-recitals for the students. He resigned again—and left Russia—in 1891 over Imperial demands that Conservatory admittance, and later annual prizes to students, be awarded along ethnic quotas instead of purely by merit. These quotas were designed to effectively disadvantage Jews. Rubinstein resettled in Dresden and started giving concerts again in Germany and Austria. Nearly all of these concerts were charity benefit events.\n\nRubinstein also coached a few pianists and taught his only private piano student, Josef Hofmann. Hofmann would become one of the finest keyboard artists of the 20th century.\n\nDespite his sentiments on ethnic politics in Russia, Rubinstein returned there occasionally to visit friends and family. He gave his final concert in Saint Petersburg on 14 January 1894. With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894. He died there on 20 November of that year, having suffered from heart disease for some time.\n\nThe former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him.\n\nPianism\n\n\"Van II\"\nMany contemporaries felt he bore a striking resemblance to Ludwig van Beethoven. Ignaz Moscheles, who had known Beethoven intimately, wrote, \"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\" Liszt referred to Rubinstein as \"Van II.\" This resemblance was also felt to be in Rubinstein's keyboard playing. Under his hands, it was said, the piano erupted volcanically. Audience members wrote of going home limp after one of his recitals, knowing they had witnessed a force of nature.\n\nSometimes Rubinstein's playing was too much for listeners to handle. American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much. Give me Rubinstein for a few pieces, but Tausig for a whole evening.\" She heard Rubinstein play \"a terrific piece by Schubert,\" reportedly the Wanderer Fantasie. The performance gave her such a violent headache that the rest of the recital was ruined for her.\n\nClara Schumann proved especially vehement. After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\" Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau. She noted in her diary, \"I was furious, for he no longer plays. Either there is a perfectly wild noise or else a whisper with the soft pedal down. And a would-be cultured audience puts up with a performance like that!\"\n\nOn the other hand, when Rubinstein played Beethoven's \"Archduke\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls:\nIt was the first time I had heard this great artist play. He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme... It seemed to me I had never before heard the piano really played. The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ...\nViolinist and composer Henri Vieuxtemps adds:\nHis power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten. I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op. 57 [Appassionata], which Rubinstein executed for us with unimagined mastery.\nViennese music critic Eduard Hanslick expressed what Schonberg calls \"the majority point of view\" in an 1884 review. After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners. Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness. \"Yes, he plays like a god\", Hanslick writes in closing, \"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\".\n\nSergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm. His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall. In playing, Rubinstein created, and he created inimitably and with genius. He often treated the same program absolutely differently when he played it the second time, but, more astoundingly still, everything came out wonderfully on both occasions.\n\nRubinstein was also adept at improvisation—a practice at which Beethoven had excelled. Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song. He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable. It was superb.\"\n\nTechnique\n\nVilloing had worked with Rubinstein on hand position and finger dexterity. From watching Liszt, Rubinstein had learned about freedom of arm movement. Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing. He would remark to his students about \"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\"\n\nIn his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\" When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through. Rubinstein himself admitted, after a concert in Berlin in 1875, \"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\"\n\nPart of the problem might have been the sheer size of Rubinstein's hands. They were huge, and many observers commented on them. Josef Hofmann observed that Rubinstein's fifth finger \"was as thick as my thumb—think of it! Then his fingers were square at the ends, with cushions on them. It was a wonderful hand.\" Pianist Josef Lhévinne described them as \"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\" The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \"Nothing cramped about him! He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\"\n\nBecause of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness. Those who valued interpretation as much or more than pure technique found much to praise. Pianist and conductor Hans von Bülow called Rubinstein \"the Michelangelo of music.\" The German critic Ludwig Rellstab called him \"the Hercules of the piano; the Jupiter Tonans of the instrument.\"\n\nTone\nPressman attested to the singing quality of Rubinstein's playing, and much more: \"His tone was strikingly full and deep. With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres. With him, the piano sang as Patti sang, as Rubini sang.\"\n\nSchonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists. Fellow pianist Rafael Joseffy compared it to \"a golden French horn.\" Rubinstein himself told an interviewer, \"Strength with lightness, that is one secret of my touch... I have sat hours trying to imitate the timbre of Rubini's voice in my playing.\"\n\nRubinstein told the young Rachmaninoff how he achieved that tone. \"Just press upon the keys until the blood oozes from your fingertips\". When he wanted to, Rubinstein could play with extreme lightness, grace and delicacy. He rarely displayed that side of his nature, however. He had learned quickly that audiences came to hear him thunder, so he accommodated them. Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before. During this tour, Rubinstein received more press attention than any other figure until the appearance of Ignacy Jan Paderewski a generation later.\n\nPrograms\nRubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note.\n\nRubinstein was most famous for his series of historical recitals—seven consecutive concerts covering the history of piano music. Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert.\n\nRubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873.\n\nRubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge.\n\nRachmaninoff on Rubinstein\nSergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student. Forty-four years later he told his biographer Oscar von Riesemann, \"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\"\n\nRachmaninoff explained to von Riesemann, \"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\"\n\nRachmaninoff's detailed description to von Riesemann is of interest:\n\nOnce he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished. One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone... I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \"fluttering away of the little bird\" would be hopelessly inadequate. Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner. One of Rubinstein's greatest secrets was his use of the pedal. He himself very happily expressed his ideas on the subject when he said, \"The pedal is the soul of the piano.\" No pianist should ever forget this.\n\nRachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \"Funeral March\" Sonata—both became cornerstones of Rachmaninoff's own recital programs. Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work.\n\nRachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later. In Rubinstein's defense, however, Rachmaninoff said that \"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\"\n\nConducting\n\nRubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867. He also did his share of guest conducting both before and after his tenure with the RMS. Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences.\n\nTeacher\nAs a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work. He could also be exacting and expected as much from them as he gave to them. According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference. This assignment would be due the following day. At other times, he would expect students to improvise a minuet, a rondo, a polonaise or some other musical form.\n\nRubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead. He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano. Notable students include pianists Josef Hofmann and Sandra Drouker.\n\nComposition\n\nBy 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \"but as a composer performing his symphonies, concertos, operas, trios, etc.\" Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote). Edward Garden writes in the New Grove,\nRubinstein composed assiduously during all periods of his life. He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved.\nRubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn. Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music. Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching. Robert Schumann and Felix Mendelssohn were the strongest influences on Rubinstein's music.\n\nConsequently, Rubinstein's music demonstrates none of the nationalism of The Five. Rubinstein also had a tendency to rush in composing his pieces, resulting in good ideas such as those in his Ocean Symphony being developed in less-than-exemplary ways. As Paderewski was later to remark, \"He had not the necessary concentration of patience for a composer... He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\" Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ... The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s.\n\nAfter Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire. Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev.\n\nOver recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism. Amongst his better known works are the opera The Demon, his Piano Concerto No. 4, and his Symphony No. 2, known as The Ocean.\n\nRubinstein's repartee\nRubinstein was as well known during his lifetime for his sarcasm as well as his sometimes penetrating insight. During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him. After a long silence, Rubinstein told Cortot, \"My boy, don't you ever forget what I am going to tell you. Beethoven's music must not be studied. It must be reincarnated.\" Cortot reportedly never forgot those words.\n\nRubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase. His manner with them was a combination of raw, sometimes violent criticism and good humor. Hofmann wrote of one such lesson:\nOnce I played a Liszt rhapsody pretty badly. After a little of it, Rubinstein said, \"The way you play this piece would be all right for Auntie or Mamma.\" Then rising and coming toward me, he said, \"Now let us see how play such things.\"\n\n... I began again, but I had not played more than a few measures when Rubinstein said loudly, \"Have you begun?\" \"Yes, Master, I certainly have.\" \"Oh,\" said Rubinstein vaguely, \"I didn't notice.\" ... Rubinstein did not so much instruct me. Merely he let me learn from him ... If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do.\n\nRubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts. When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \"When you are as old as I am, you may do as I do.\" Then Rubinstein added, \"If you can\".\n\nNor did Rubinstein adjust the tenor of his comments for those of high rank. After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility. At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift. Rubinstein replied bluntly, to the crowd's horror, \"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\"\n\nRubinstein's voice\nThe following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison. Rubinstein is heard to make a complimentary remark about the phonograph recorder.\n\nReferences\n\nSources\n\nIn Russian\n \n (2 vol.)\n\nIn German\n (3 vol.)\n\nIn English\n \n \n \n (29 vols.)\n\nFurther reading\n \n Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995)\n Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) \n Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991)\n Rubinstein, Anton Grigorevich, ed. L. Barenboim, Literaturnoye Naslediye (3 vol.), (in Russian), (Moscow, 1983)\n\nExternal links\n\nNetworking Rubinstein – his contacts in his early career\nSoundbites from String Quartet No.1 in G, Op.17 No.1\n\n Anton Rubinstein recordings at the Discography of American Historical Recordings.\n\n1829 births\n1894 deaths\n19th-century classical composers\n19th-century classical pianists\n19th-century conductors (music)\n19th-century male conductors (music)\nBurials at Tikhvin Cemetery\nComposers for piano\nConverts to Eastern Orthodoxy from Judaism\nFounders of Russian educational institutions\nJewish atheists\nJewish classical composers\nJewish classical pianists\nJewish opera composers\nMale classical pianists\nMale opera composers\nPeople from Baltsky Uyezd\nPeople from Rîbnița District\nPupils of Siegfried Dehn\nPyotr Ilyich Tchaikovsky\nRecipients of the Pour le Mérite (civil class)\nRoyal Philharmonic Society Gold Medallists\nRussian atheists\nRussian classical pianists\nRussian conductors (music)\nRussian male conductors (music)\nRussian Jews\nRussian male classical composers\nRussian music educators\nRussian opera composers\nRussian Romantic composers"},"extractive":{"kind":"string","value":"true"},"retrieved_contexts":{"kind":"list like","value":["Giog is a multi-trick game played by two to four players. It is similar to the card games of Tam cúc, Chēmǎbāo and Zhìhǔ.\n\nEquipment\nLike Banqi, Giog uses Xiangqi pieces. For Giog, it is important that the backs as well as the rims of the pieces be indistinguishable from each other so the pieces cannot be identified when face down. There are seven piece types in the game: Pawns, Cannons, Horses (or Knights), Chariots (or Rooks), Advisors (or Elephants), Guards, Generals (or Kings). There are altogether 32 pieces and 2 colors such as Red and Black.\n\nThe ranking of pieces in Giog is identical to Banqi's ranking. That is, in ascending order: \n\n Pawns < Cannons < Horses < Chariots < Advisors < Guards < Generals.\n\nThe exceptions are: firstly, a black piece is always inferior than a red piece of the type.\n\n Black < Red.\n\nFor example, Red Horse beats Black Horse.\n\nDistribution\nAll players help to scramble the 32 pieces face down and distribute the pieces evenly to themselves. If the number of players is three, the winner of the previous game or a volunteer receives 12 pieces and the other two players receive 10 pieces each. Each player arranges his/her pieces into one line with half of the pieces on top of the other half.\n\nEach of the players now reveals (turns up) any one lower piece not in his/her own line. He/she then places the revealed piece face up on top of the other face down piece. The ranking of the 4 revealed pieces determines the order of the players who revealed them. Should there be a tie among some players, they apply the same procedures again by revealing more lower pieces until the order is finally determined.\n\nThe first player (who revealed or subsequently revealed the strongest piece in the previous process) starts to choose his pieces. He/she may only choose his pieces starting from a left or right head duo in any player's profile. He/she therefore has as many choices as twice the number of players. Following the first player, the second, third and fourth players consecutively collect their pieces, two at one time. The process is repeated until no piece (4-player game), 2 pieces (3-player game), 8 pieces (2-player game) are remained. These pieces are kept face down at a side and do not enter the game.\n\nRules\nThe first player leads the first trick. He/she or any player who starts a new trick or multi-trick may play the following 6 valid combinations of a same color:\n\n \"Liab\": Single. Any piece.\n \"Dui\": Double. Any 2 identical pieces.\n \"Giog\": A triple of a certain combination:\n 1 Chariot + 1 Horse + 1 Cannon\n 1 Cannon + 1 Advisor + 1 Guard\n 1 General + 1 Guard + 1 Advisor\n \"Sam Mui\": 3 identical pieces.\n \"Si Mui\": 4 identical pieces.\n \"Wu Mui\": 5 identical pieces.\n\nEach of the other players must play the same number of pieces. A player may play any pieces regardless of color or rank if he/she does not have the above valid combinations. The ranking of \"Liab\" is as before. Bear in mind that Black < Red. The ranking of \"Dui\" is same as the ranking of \"Liab\". The ranking of \"Giog\" is as follows: \n\nChariot, Horse, Cannon < Cannon, Advisor, Guard < General, Guard, Advisor.\n\nThe ranking of \"Sam Mui\", \"Si Mui\" and \"Wu Mui\" are according to color, since only pawns are possible to form them.\n\nThe player who played the strongest combinations of a same type (as what the trick-starter played) wins that trick. If there is a tie, the trick-starter always wins, or the order of players determines the winner. For example, if the first and fourth player play the same combinations, first player wins unless fourth player is the trick-starter. The winner of a trick collects the won pieces and starts a new trick. The hand continues until all pieces are exhausted. The winner is the player who wins the most pieces.\n\nBeheading the Cock\nIt is forbidden to play a General in the first or last trick, either as a single piece or as part of a valid or non-valid combination. If a player is forced or deceived into playing a general in the first or last trick, then it is said that a cock is beheaded, and that player is considered the ultimate loser of the hand even if he wins most pieces.\n\nReferences\n\nExternal links\nGiog at BoardGameGeek\nGiog at pagat.com\n\nChess variants\nChinese games\nXiangqi variants\nTrick-taking tile games","Tsoro Yematatu is a two-player abstract strategy game from Zimbabwe. Players first drop their three pieces onto the board, and then move them to create a 3 in-a-row which wins the game. It is similar to games like Tapatan, Achi, Nine Holes, Shisima, and Tant Fant. However, what makes this game unique is that pieces can jump over each other (without capture) which adds an extra dimension in the maneuverability of the pieces.\n\nThere is some uncertainty about the correct name as Tsoro YeMaMutatu is also used; 'Ma' or 'Mai' being the chiKaranga for 'mother'...hence 'MaMutatu' means 'Mother Mutatu'.\n\nGoal \n\nTo be first to create a 3 in-a-row with one's pieces\n\nEquipment \n\nThe board is an isosceles triangle with one line across its breadth, and another line running down the length of the board down its central axis. This creates for seven intersection points of which the pieces can be played upon. Other variations of the board are also used, such as a square board divided by 4 lines, creating an asterisk-style pattern with 8 triangle spaces for pieces to be placed on. \n\nEach player has 3 pieces. One plays the black pieces, and the other player plays the white pieces.\n\nGame Play and Rules \n\n1. The board is empty in the beginning. Players decide what color pieces to play, and who starts first. \n\n2. Each player drops one piece per turn on any vacant point on the board. Players alternate their turns. Pieces cannot be moved until all six pieces have been dropped. Observe that after all pieces have been dropped, there is only one vacant point on the board.\n\n3. A piece can be moved one of two ways: a) A piece can move one space per turn onto a vacant point following the pattern on the board, or b) a piece can jump over another piece (friend or foe) adjacent to it, and land on a vacant point on the other side; the jump must be in a straight line and follow the pattern on the board. There are no captures in this game.\n\n4. The game can last a very long time, and if no one is still able to create the 3 in-a-row, the players can agree to a draw.\n\nRelated Games \n\nTapatan, Achi, Nine Holes, Tant Fant, Shisima, Tic-tac-toe, Tsoro, Tsoro YemuTwelve\n\nExternal links \n Tsoro Yematatu (Cincinnati Art Museum)\n Online version of Tsoro Yematatu (without jumping)\n\nAbstract strategy games\nTraditional board games\nZimbabwean culture\nAfrican games"],"string":"[\n \"Giog is a multi-trick game played by two to four players. It is similar to the card games of Tam cúc, Chēmǎbāo and Zhìhǔ.\\n\\nEquipment\\nLike Banqi, Giog uses Xiangqi pieces. For Giog, it is important that the backs as well as the rims of the pieces be indistinguishable from each other so the pieces cannot be identified when face down. There are seven piece types in the game: Pawns, Cannons, Horses (or Knights), Chariots (or Rooks), Advisors (or Elephants), Guards, Generals (or Kings). There are altogether 32 pieces and 2 colors such as Red and Black.\\n\\nThe ranking of pieces in Giog is identical to Banqi's ranking. That is, in ascending order: \\n\\n Pawns < Cannons < Horses < Chariots < Advisors < Guards < Generals.\\n\\nThe exceptions are: firstly, a black piece is always inferior than a red piece of the type.\\n\\n Black < Red.\\n\\nFor example, Red Horse beats Black Horse.\\n\\nDistribution\\nAll players help to scramble the 32 pieces face down and distribute the pieces evenly to themselves. If the number of players is three, the winner of the previous game or a volunteer receives 12 pieces and the other two players receive 10 pieces each. Each player arranges his/her pieces into one line with half of the pieces on top of the other half.\\n\\nEach of the players now reveals (turns up) any one lower piece not in his/her own line. He/she then places the revealed piece face up on top of the other face down piece. The ranking of the 4 revealed pieces determines the order of the players who revealed them. Should there be a tie among some players, they apply the same procedures again by revealing more lower pieces until the order is finally determined.\\n\\nThe first player (who revealed or subsequently revealed the strongest piece in the previous process) starts to choose his pieces. He/she may only choose his pieces starting from a left or right head duo in any player's profile. He/she therefore has as many choices as twice the number of players. Following the first player, the second, third and fourth players consecutively collect their pieces, two at one time. The process is repeated until no piece (4-player game), 2 pieces (3-player game), 8 pieces (2-player game) are remained. These pieces are kept face down at a side and do not enter the game.\\n\\nRules\\nThe first player leads the first trick. He/she or any player who starts a new trick or multi-trick may play the following 6 valid combinations of a same color:\\n\\n \\\"Liab\\\": Single. Any piece.\\n \\\"Dui\\\": Double. Any 2 identical pieces.\\n \\\"Giog\\\": A triple of a certain combination:\\n 1 Chariot + 1 Horse + 1 Cannon\\n 1 Cannon + 1 Advisor + 1 Guard\\n 1 General + 1 Guard + 1 Advisor\\n \\\"Sam Mui\\\": 3 identical pieces.\\n \\\"Si Mui\\\": 4 identical pieces.\\n \\\"Wu Mui\\\": 5 identical pieces.\\n\\nEach of the other players must play the same number of pieces. A player may play any pieces regardless of color or rank if he/she does not have the above valid combinations. The ranking of \\\"Liab\\\" is as before. Bear in mind that Black < Red. The ranking of \\\"Dui\\\" is same as the ranking of \\\"Liab\\\". The ranking of \\\"Giog\\\" is as follows: \\n\\nChariot, Horse, Cannon < Cannon, Advisor, Guard < General, Guard, Advisor.\\n\\nThe ranking of \\\"Sam Mui\\\", \\\"Si Mui\\\" and \\\"Wu Mui\\\" are according to color, since only pawns are possible to form them.\\n\\nThe player who played the strongest combinations of a same type (as what the trick-starter played) wins that trick. If there is a tie, the trick-starter always wins, or the order of players determines the winner. For example, if the first and fourth player play the same combinations, first player wins unless fourth player is the trick-starter. The winner of a trick collects the won pieces and starts a new trick. The hand continues until all pieces are exhausted. The winner is the player who wins the most pieces.\\n\\nBeheading the Cock\\nIt is forbidden to play a General in the first or last trick, either as a single piece or as part of a valid or non-valid combination. If a player is forced or deceived into playing a general in the first or last trick, then it is said that a cock is beheaded, and that player is considered the ultimate loser of the hand even if he wins most pieces.\\n\\nReferences\\n\\nExternal links\\nGiog at BoardGameGeek\\nGiog at pagat.com\\n\\nChess variants\\nChinese games\\nXiangqi variants\\nTrick-taking tile games\",\n \"Tsoro Yematatu is a two-player abstract strategy game from Zimbabwe. Players first drop their three pieces onto the board, and then move them to create a 3 in-a-row which wins the game. It is similar to games like Tapatan, Achi, Nine Holes, Shisima, and Tant Fant. However, what makes this game unique is that pieces can jump over each other (without capture) which adds an extra dimension in the maneuverability of the pieces.\\n\\nThere is some uncertainty about the correct name as Tsoro YeMaMutatu is also used; 'Ma' or 'Mai' being the chiKaranga for 'mother'...hence 'MaMutatu' means 'Mother Mutatu'.\\n\\nGoal \\n\\nTo be first to create a 3 in-a-row with one's pieces\\n\\nEquipment \\n\\nThe board is an isosceles triangle with one line across its breadth, and another line running down the length of the board down its central axis. This creates for seven intersection points of which the pieces can be played upon. Other variations of the board are also used, such as a square board divided by 4 lines, creating an asterisk-style pattern with 8 triangle spaces for pieces to be placed on. \\n\\nEach player has 3 pieces. One plays the black pieces, and the other player plays the white pieces.\\n\\nGame Play and Rules \\n\\n1. The board is empty in the beginning. Players decide what color pieces to play, and who starts first. \\n\\n2. Each player drops one piece per turn on any vacant point on the board. Players alternate their turns. Pieces cannot be moved until all six pieces have been dropped. Observe that after all pieces have been dropped, there is only one vacant point on the board.\\n\\n3. A piece can be moved one of two ways: a) A piece can move one space per turn onto a vacant point following the pattern on the board, or b) a piece can jump over another piece (friend or foe) adjacent to it, and land on a vacant point on the other side; the jump must be in a straight line and follow the pattern on the board. There are no captures in this game.\\n\\n4. The game can last a very long time, and if no one is still able to create the 3 in-a-row, the players can agree to a draw.\\n\\nRelated Games \\n\\nTapatan, Achi, Nine Holes, Tant Fant, Shisima, Tic-tac-toe, Tsoro, Tsoro YemuTwelve\\n\\nExternal links \\n Tsoro Yematatu (Cincinnati Art Museum)\\n Online version of Tsoro Yematatu (without jumping)\\n\\nAbstract strategy games\\nTraditional board games\\nZimbabwean culture\\nAfrican games\"\n]"},"chunked_article":{"kind":"list like","value":["Anton Grigoryevich Rubinstein (; ) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein, who founded the Moscow Conservatory. As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos.","As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals—seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.","Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there. Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life.","Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life. He wrote 20 operas, the best known of which is The Demon.","He wrote 20 operas, the best known of which is The Demon. He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble.","He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble. Early life and education Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa.","Early life and education Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa. Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy.","Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy. Although he was raised as a Christian, Rubinstein would later become an atheist. Rubinstein's father opened a pencil factory in Moscow.","Rubinstein's father opened a pencil factory in Moscow. His mother, a competent musician, began giving him piano lessons at five, until the teacher heard and accepted Rubinstein as a non-paying student. Rubinstein made his first public appearance at a charity benefit concert at the age of nine.","Rubinstein made his first public appearance at a charity benefit concert at the age of nine. Later that year Rubinstein's mother sent him, accompanied by Villoing, to Paris where he sought unsuccessfully to enroll at the Paris Conservatoire. Rubinstein and Villoing remained in Paris for a year.","Rubinstein and Villoing remained in Paris for a year. In December 1840, Rubinstein played in the Salle Érard for an audience that included Frédéric Chopin and Franz Liszt. Chopin invited Rubinstein to his studio and played for him.","Chopin invited Rubinstein to his studio and played for him. Liszt advised Villoing to take him to Germany to study composition; however, Villoing took Rubinstein on an extended concert tour of Europe and Western Russia. They finally returned to Moscow in June 1843.","They finally returned to Moscow in June 1843. Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace.","Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace. Anton was 14 years old; Nikolai was eight.","Anton was 14 years old; Nikolai was eight. Travel and performance Berlin In spring 1844, Rubinstein, Nikolai, his mother and his sister Luba travelled to Berlin. Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer.","Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer. Mendelssohn, who had heard Rubinstein when he had toured with Villoing, said he needed no further piano study but sent Nikolai to Theodor Kullak for instruction. Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory.","Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory. Word came in the summer of 1846 that Rubinstein's father was gravely ill. Rubinstein was left in Berlin while his mother, sister and brother returned to Russia. At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest.","At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest. Now 17, he knew he could no longer pass as a child prodigy. He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil.","He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil. However, after Rubinstein had played his audition, Liszt is reported to have said, \"A talented man must win the goal of his ambition by his own unassisted efforts.\" At this point, Rubinstein was living in acute poverty.","At this point, Rubinstein was living in acute poverty. Liszt did nothing to help him. Other calls Rubinstein made to potential patrons came to no avail. After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons.","After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons. Back to Russia The Revolution of 1848 forced Rubinstein back to Russia. Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court.","Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court. The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness.","The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness. By 1852, he had become a leading figure in Saint Petersburg's musical life, performing as a soloist and collaborating with some of the outstanding instrumentalists and vocalists who came to the Russian capital. He also composed assiduously.","He also composed assiduously. He also composed assiduously. After a number of delays, including some difficulties with the censor, Rubinstein's first opera, Dmitry Donskoy (now lost except for the overture), was performed at the Bolshoy Theater in Saint Petersburg in 1852. Three one-act operas written for Elena Pavlovna followed.","Three one-act operas written for Elena Pavlovna followed. He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works.","He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works. It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist.","It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist. Abroad once more In 1854, Rubinstein began a four-year concert tour of Europe. This was his first major concert tour in a decade.","This was his first major concert tour in a decade. Now 24, he felt ready to offer himself to the public as a fully developed pianist as well as a composer of worth. He very shortly reestablished his reputation as a virtuoso.","He very shortly reestablished his reputation as a virtuoso. Ignaz Moscheles wrote in 1855 what would become a widespread opinion about Rubinstein: \"In power and execution he is inferior to no one.\" As was the penchant at the time, much of what Rubinstein played were his own compositions.","As was the penchant at the time, much of what Rubinstein played were his own compositions. At several concerts, Rubinstein alternated between conducting his orchestral works and playing as soloist in one of his piano concertos. One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854.","One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854. Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later.","Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later. Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice.","Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice. Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859.","Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859. Opening the St. Petersburg Conservatory The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862.","Opening the St. Petersburg Conservatory The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862. Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty.","Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty. Some in Russian society were surprised that a Russian music school would actually attempt to be Russian.","Some in Russian society were surprised that a Russian music school would actually attempt to be Russian. One \"fashionable lady\", when told by Rubinstein that classes would be taught in Russian and not a foreign language, exclaimed, \"What, music in Russian! That is an original idea!\"","That is an original idea!\" Rubinstein adds, And surely it was surprising that the theory of Music was to be taught for the first time in the Russian language at our Conservatory... Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany.","Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany. There were also those who feared the school would not be Russian enough. Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five.","Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five. Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world.","Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world. Actually the Conservatory raise the level of musical culture in Russia.","Actually the Conservatory raise the level of musical culture in Russia. The unconventional way chosen by Balakirev and his friends was not necessarily the right one for everybody else. It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871.","It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871. Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \"interesting and well done,\" though \"episodic,\" and the opera Ivan IV Grozniy, which was premiered by Balakirev.","Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \"interesting and well done,\" though \"episodic,\" and the opera Ivan IV Grozniy, which was premiered by Balakirev. Borodin commented on Ivan IV that \"the music is good, you just cannot recognize that it is Rubinstein.","Borodin commented on Ivan IV that \"the music is good, you just cannot recognize that it is Rubinstein. There is nothing that is Mendelssohnian, nothing as he used to write formerly.\"","There is nothing that is Mendelssohnian, nothing as he used to write formerly.\" The American tour By 1867, ongoing tensions with the Balakirev camp, along with related matters, led to intense dissension within the Conservatory's faculty. Rubinstein resigned and returned to touring throughout Europe.","Rubinstein resigned and returned to touring throughout Europe. Unlike his previous tours, he began increasingly featuring the works of other composers. In previous tours, Rubinstein had played primarily his own works. At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season.","At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season. Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid.","Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid. Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities.","Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities. Rubinstein wrote of his American experience, May Heaven preserve us from such slavery!","Rubinstein wrote of his American experience, May Heaven preserve us from such slavery! Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost...","Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost... The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art.","The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art. So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank...","So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank... Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life.","Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life. Upon his return to Russia, he \"hastened to invest in real estate\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family.","Upon his return to Russia, he \"hastened to invest in real estate\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family. Later life Rubinstein continued to make tours as a pianist and give appearances as a conductor.","Later life Rubinstein continued to make tours as a pianist and give appearances as a conductor. In 1887, he returned to the Saint Petersburg Conservatory with the goal of improving overall standards. He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum.","He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum. He led semi-weekly teachers' classes through the whole keyboard literature and gave some of the more gifted piano students personal coaching. During the 1889–90 academic year he gave weekly lecture-recitals for the students.","During the 1889–90 academic year he gave weekly lecture-recitals for the students. He resigned again—and left Russia—in 1891 over Imperial demands that Conservatory admittance, and later annual prizes to students, be awarded along ethnic quotas instead of purely by merit. These quotas were designed to effectively disadvantage Jews.","These quotas were designed to effectively disadvantage Jews. Rubinstein resettled in Dresden and started giving concerts again in Germany and Austria. Nearly all of these concerts were charity benefit events. Rubinstein also coached a few pianists and taught his only private piano student, Josef Hofmann. Hofmann would become one of the finest keyboard artists of the 20th century.","Hofmann would become one of the finest keyboard artists of the 20th century. Despite his sentiments on ethnic politics in Russia, Rubinstein returned there occasionally to visit friends and family. He gave his final concert in Saint Petersburg on 14 January 1894. With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894.","With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894. He died there on 20 November of that year, having suffered from heart disease for some time. The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him.","The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him. Pianism \"Van II\" Many contemporaries felt he bore a striking resemblance to Ludwig van Beethoven. Ignaz Moscheles, who had known Beethoven intimately, wrote, \"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\"","Ignaz Moscheles, who had known Beethoven intimately, wrote, \"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\" Liszt referred to Rubinstein as \"Van II.\" This resemblance was also felt to be in Rubinstein's keyboard playing. Under his hands, it was said, the piano erupted volcanically.","Under his hands, it was said, the piano erupted volcanically. Audience members wrote of going home limp after one of his recitals, knowing they had witnessed a force of nature. Sometimes Rubinstein's playing was too much for listeners to handle.","Sometimes Rubinstein's playing was too much for listeners to handle. American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much.","American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much. Give me Rubinstein for a few pieces, but Tausig for a whole evening.\"","Give me Rubinstein for a few pieces, but Tausig for a whole evening.\" She heard Rubinstein play \"a terrific piece by Schubert,\" reportedly the Wanderer Fantasie. The performance gave her such a violent headache that the rest of the recital was ruined for her. Clara Schumann proved especially vehement.","Clara Schumann proved especially vehement. Clara Schumann proved especially vehement. After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\"","After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\" Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau.","Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau. She noted in her diary, \"I was furious, for he no longer plays. Either there is a perfectly wild noise or else a whisper with the soft pedal down.","Either there is a perfectly wild noise or else a whisper with the soft pedal down. And a would-be cultured audience puts up with a performance like that!\"","And a would-be cultured audience puts up with a performance like that!\" On the other hand, when Rubinstein played Beethoven's \"Archduke\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls: It was the first time I had heard this great artist play.","On the other hand, when Rubinstein played Beethoven's \"Archduke\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls: It was the first time I had heard this great artist play. He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme...","He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme... It seemed to me I had never before heard the piano really played.","It seemed to me I had never before heard the piano really played. The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ... Violinist and composer Henri Vieuxtemps adds: His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten.","The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ... Violinist and composer Henri Vieuxtemps adds: His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten. I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op.","I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op. 57 [Appassionata], which Rubinstein executed for us with unimagined mastery. Viennese music critic Eduard Hanslick expressed what Schonberg calls \"the majority point of view\" in an 1884 review.","Viennese music critic Eduard Hanslick expressed what Schonberg calls \"the majority point of view\" in an 1884 review. After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners.","After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners. Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness.","Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness. \"Yes, he plays like a god\", Hanslick writes in closing, \"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\".","\"Yes, he plays like a god\", Hanslick writes in closing, \"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\". Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm.","Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm. His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall.","His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall. In playing, Rubinstein created, and he created inimitably and with genius.","In playing, Rubinstein created, and he created inimitably and with genius. He often treated the same program absolutely differently when he played it the second time, but, more astoundingly still, everything came out wonderfully on both occasions. Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled.","Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled. Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song.","Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song. He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable.","He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable. It was superb.\"","It was superb.\" It was superb.\" Technique Villoing had worked with Rubinstein on hand position and finger dexterity. From watching Liszt, Rubinstein had learned about freedom of arm movement. Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing.","Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing. He would remark to his students about \"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\"","He would remark to his students about \"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\" In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\"","In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\" When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through.","When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through. Rubinstein himself admitted, after a concert in Berlin in 1875, \"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\"","Rubinstein himself admitted, after a concert in Berlin in 1875, \"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\" Part of the problem might have been the sheer size of Rubinstein's hands.","Part of the problem might have been the sheer size of Rubinstein's hands. They were huge, and many observers commented on them. Josef Hofmann observed that Rubinstein's fifth finger \"was as thick as my thumb—think of it! Then his fingers were square at the ends, with cushions on them.","Then his fingers were square at the ends, with cushions on them. It was a wonderful hand.\" Pianist Josef Lhévinne described them as \"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\"","Pianist Josef Lhévinne described them as \"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\" The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \"Nothing cramped about him!","The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \"Nothing cramped about him! He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\"","He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\" Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness.","Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness. Those who valued interpretation as much or more than pure technique found much to praise. Pianist and conductor Hans von Bülow called Rubinstein \"the Michelangelo of music.\"","Pianist and conductor Hans von Bülow called Rubinstein \"the Michelangelo of music.\" The German critic Ludwig Rellstab called him \"the Hercules of the piano; the Jupiter Tonans of the instrument.\" Tone Pressman attested to the singing quality of Rubinstein's playing, and much more: \"His tone was strikingly full and deep.","Tone Pressman attested to the singing quality of Rubinstein's playing, and much more: \"His tone was strikingly full and deep. With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres.","With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres. With him, the piano sang as Patti sang, as Rubini sang.\" Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists.","Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists. Fellow pianist Rafael Joseffy compared it to \"a golden French horn.\" Rubinstein himself told an interviewer, \"Strength with lightness, that is one secret of my touch...","Rubinstein himself told an interviewer, \"Strength with lightness, that is one secret of my touch... I have sat hours trying to imitate the timbre of Rubini's voice in my playing.\" Rubinstein told the young Rachmaninoff how he achieved that tone. \"Just press upon the keys until the blood oozes from your fingertips\".","\"Just press upon the keys until the blood oozes from your fingertips\". When he wanted to, Rubinstein could play with extreme lightness, grace and delicacy. He rarely displayed that side of his nature, however. He had learned quickly that audiences came to hear him thunder, so he accommodated them.","He had learned quickly that audiences came to hear him thunder, so he accommodated them. Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before.","Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before. During this tour, Rubinstein received more press attention than any other figure until the appearance of Ignacy Jan Paderewski a generation later. Programs Rubinstein's concert programs were often gargantuan.","Programs Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A).","101 in A). 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman.","Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note.","He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note. Rubinstein was most famous for his series of historical recitals—seven consecutive concerts covering the history of piano music. Each of these programs was enormous.","Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital.","Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert.","This did not include encores, which Rubinstein sprayed liberally at every concert. Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873. Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe.","Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge.","In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge. Rachmaninoff on Rubinstein Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student.","Rachmaninoff on Rubinstein Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student. Forty-four years later he told his biographer Oscar von Riesemann, \"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\"","Forty-four years later he told his biographer Oscar von Riesemann, \"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\" Rachmaninoff explained to von Riesemann, \"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\"","Rachmaninoff explained to von Riesemann, \"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\" Rachmaninoff's detailed description to von Riesemann is of interest: Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished.","Rachmaninoff's detailed description to von Riesemann is of interest: Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished. One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone...","One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone... I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \"fluttering away of the little bird\" would be hopelessly inadequate.","I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \"fluttering away of the little bird\" would be hopelessly inadequate. Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner.","Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner. One of Rubinstein's greatest secrets was his use of the pedal.","One of Rubinstein's greatest secrets was his use of the pedal. He himself very happily expressed his ideas on the subject when he said, \"The pedal is the soul of the piano.\" No pianist should ever forget this.","No pianist should ever forget this. Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \"Funeral March\" Sonata—both became cornerstones of Rachmaninoff's own recital programs.","Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \"Funeral March\" Sonata—both became cornerstones of Rachmaninoff's own recital programs. Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work.","Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work. Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later.","Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later. In Rubinstein's defense, however, Rachmaninoff said that \"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\"","In Rubinstein's defense, however, Rachmaninoff said that \"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\" Conducting Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867.","Conducting Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867. He also did his share of guest conducting both before and after his tenure with the RMS.","He also did his share of guest conducting both before and after his tenure with the RMS. Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences.","Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences. Teacher As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work.","Teacher As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work. He could also be exacting and expected as much from them as he gave to them.","He could also be exacting and expected as much from them as he gave to them. According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference.","According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference. This assignment would be due the following day.","This assignment would be due the following day. At other times, he would expect students to improvise a minuet, a rondo, a polonaise or some other musical form. Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead.","Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead. He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano.","He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano. Notable students include pianists Josef Hofmann and Sandra Drouker.","Notable students include pianists Josef Hofmann and Sandra Drouker. Composition By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \"but as a composer performing his symphonies, concertos, operas, trios, etc.\"","Composition By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \"but as a composer performing his symphonies, concertos, operas, trios, etc.\" Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote).","Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote). Edward Garden writes in the New Grove, Rubinstein composed assiduously during all periods of his life.","Edward Garden writes in the New Grove, Rubinstein composed assiduously during all periods of his life. He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved.","He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved. Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn.","Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn. Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music.","Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music. Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching.","Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching. Robert Schumann and Felix Mendelssohn were the strongest influences on Rubinstein's music. Consequently, Rubinstein's music demonstrates none of the nationalism of The Five.","Consequently, Rubinstein's music demonstrates none of the nationalism of The Five. Rubinstein also had a tendency to rush in composing his pieces, resulting in good ideas such as those in his Ocean Symphony being developed in less-than-exemplary ways. As Paderewski was later to remark, \"He had not the necessary concentration of patience for a composer...","As Paderewski was later to remark, \"He had not the necessary concentration of patience for a composer... He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\"","He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\" Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ...","Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ... The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s.","The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s. After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire.","After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire. Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev.","Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev. Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism.","Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism. Amongst his better known works are the opera The Demon, his Piano Concerto No. 4, and his Symphony No. 2, known as The Ocean.","2, known as The Ocean. Rubinstein's repartee Rubinstein was as well known during his lifetime for his sarcasm as well as his sometimes penetrating insight. During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him.","During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him. After a long silence, Rubinstein told Cortot, \"My boy, don't you ever forget what I am going to tell you. Beethoven's music must not be studied. It must be reincarnated.\"","It must be reincarnated.\" It must be reincarnated.\" Cortot reportedly never forgot those words. Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase.","Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase. His manner with them was a combination of raw, sometimes violent criticism and good humor.","His manner with them was a combination of raw, sometimes violent criticism and good humor. Hofmann wrote of one such lesson: Once I played a Liszt rhapsody pretty badly. After a little of it, Rubinstein said, \"The way you play this piece would be all right for Auntie or Mamma.\"","After a little of it, Rubinstein said, \"The way you play this piece would be all right for Auntie or Mamma.\" Then rising and coming toward me, he said, \"Now let us see how play such things.\" ...","... ... I began again, but I had not played more than a few measures when Rubinstein said loudly, \"Have you begun?\" \"Yes, Master, I certainly have.\" \"Oh,\" said Rubinstein vaguely, \"I didn't notice.\" ... Rubinstein did not so much instruct me.","... Rubinstein did not so much instruct me. Merely he let me learn from him ...","Merely he let me learn from him ... If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do.","If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do. Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts.","Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts. When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \"When you are as old as I am, you may do as I do.\"","When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \"When you are as old as I am, you may do as I do.\" Then Rubinstein added, \"If you can\". Nor did Rubinstein adjust the tenor of his comments for those of high rank.","Nor did Rubinstein adjust the tenor of his comments for those of high rank. After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility.","After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility. At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift.","At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift. Rubinstein replied bluntly, to the crowd's horror, \"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\"","Rubinstein replied bluntly, to the crowd's horror, \"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\" Rubinstein's voice The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison.","Rubinstein's voice The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison. Rubinstein is heard to make a complimentary remark about the phonograph recorder. References Sources In Russian (2 vol.) In German (3 vol.) In English (29 vols.)","In English (29 vols.) Further reading Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995) Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991) Rubinstein, Anton Grigorevich, ed.","Further reading Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995) Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991) Rubinstein, Anton Grigorevich, ed. L. Barenboim, Literaturnoye Naslediye (3 vol.","L. Barenboim, Literaturnoye Naslediye (3 vol. ), (in Russian), (Moscow, 1983) External links Networking Rubinstein – his contacts in his early career Soundbites from String Quartet No.1 in G, Op.17 No.1 Anton Rubinstein recordings at the Discography of American Historical Recordings.","), (in Russian), (Moscow, 1983) External links Networking Rubinstein – his contacts in his early career Soundbites from String Quartet No.1 in G, Op.17 No.1 Anton Rubinstein recordings at the Discography of American Historical Recordings. 1829 births 1894 deaths 19th-century classical composers 19th-century classical pianists 19th-century conductors (music) 19th-century male conductors (music) Burials at Tikhvin Cemetery Composers for piano Converts to Eastern Orthodoxy from Judaism Founders of Russian educational institutions Jewish atheists Jewish classical composers Jewish classical pianists Jewish opera composers Male classical pianists Male opera composers People from Baltsky Uyezd People from Rîbnița District Pupils of Siegfried Dehn Pyotr Ilyich Tchaikovsky Recipients of the Pour le Mérite (civil class) Royal Philharmonic Society Gold Medallists Russian atheists Russian classical pianists Russian conductors (music) Russian male conductors (music) Russian Jews Russian male classical composers Russian music educators Russian opera composers Russian Romantic composers"],"string":"[\n \"Anton Grigoryevich Rubinstein (; ) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein, who founded the Moscow Conservatory. As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos.\",\n \"As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals—seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.\",\n \"Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there. Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life.\",\n \"Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life. He wrote 20 operas, the best known of which is The Demon.\",\n \"He wrote 20 operas, the best known of which is The Demon. He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble.\",\n \"He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble. Early life and education Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa.\",\n \"Early life and education Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa. Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy.\",\n \"Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy. Although he was raised as a Christian, Rubinstein would later become an atheist. Rubinstein's father opened a pencil factory in Moscow.\",\n \"Rubinstein's father opened a pencil factory in Moscow. His mother, a competent musician, began giving him piano lessons at five, until the teacher heard and accepted Rubinstein as a non-paying student. Rubinstein made his first public appearance at a charity benefit concert at the age of nine.\",\n \"Rubinstein made his first public appearance at a charity benefit concert at the age of nine. Later that year Rubinstein's mother sent him, accompanied by Villoing, to Paris where he sought unsuccessfully to enroll at the Paris Conservatoire. Rubinstein and Villoing remained in Paris for a year.\",\n \"Rubinstein and Villoing remained in Paris for a year. In December 1840, Rubinstein played in the Salle Érard for an audience that included Frédéric Chopin and Franz Liszt. Chopin invited Rubinstein to his studio and played for him.\",\n \"Chopin invited Rubinstein to his studio and played for him. Liszt advised Villoing to take him to Germany to study composition; however, Villoing took Rubinstein on an extended concert tour of Europe and Western Russia. They finally returned to Moscow in June 1843.\",\n \"They finally returned to Moscow in June 1843. Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace.\",\n \"Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace. Anton was 14 years old; Nikolai was eight.\",\n \"Anton was 14 years old; Nikolai was eight. Travel and performance Berlin In spring 1844, Rubinstein, Nikolai, his mother and his sister Luba travelled to Berlin. Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer.\",\n \"Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer. Mendelssohn, who had heard Rubinstein when he had toured with Villoing, said he needed no further piano study but sent Nikolai to Theodor Kullak for instruction. Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory.\",\n \"Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory. Word came in the summer of 1846 that Rubinstein's father was gravely ill. Rubinstein was left in Berlin while his mother, sister and brother returned to Russia. At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest.\",\n \"At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest. Now 17, he knew he could no longer pass as a child prodigy. He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil.\",\n \"He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil. However, after Rubinstein had played his audition, Liszt is reported to have said, \\\"A talented man must win the goal of his ambition by his own unassisted efforts.\\\" At this point, Rubinstein was living in acute poverty.\",\n \"At this point, Rubinstein was living in acute poverty. Liszt did nothing to help him. Other calls Rubinstein made to potential patrons came to no avail. After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons.\",\n \"After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons. Back to Russia The Revolution of 1848 forced Rubinstein back to Russia. Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court.\",\n \"Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court. The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness.\",\n \"The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness. By 1852, he had become a leading figure in Saint Petersburg's musical life, performing as a soloist and collaborating with some of the outstanding instrumentalists and vocalists who came to the Russian capital. He also composed assiduously.\",\n \"He also composed assiduously. He also composed assiduously. After a number of delays, including some difficulties with the censor, Rubinstein's first opera, Dmitry Donskoy (now lost except for the overture), was performed at the Bolshoy Theater in Saint Petersburg in 1852. Three one-act operas written for Elena Pavlovna followed.\",\n \"Three one-act operas written for Elena Pavlovna followed. He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works.\",\n \"He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works. It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist.\",\n \"It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist. Abroad once more In 1854, Rubinstein began a four-year concert tour of Europe. This was his first major concert tour in a decade.\",\n \"This was his first major concert tour in a decade. Now 24, he felt ready to offer himself to the public as a fully developed pianist as well as a composer of worth. He very shortly reestablished his reputation as a virtuoso.\",\n \"He very shortly reestablished his reputation as a virtuoso. Ignaz Moscheles wrote in 1855 what would become a widespread opinion about Rubinstein: \\\"In power and execution he is inferior to no one.\\\" As was the penchant at the time, much of what Rubinstein played were his own compositions.\",\n \"As was the penchant at the time, much of what Rubinstein played were his own compositions. At several concerts, Rubinstein alternated between conducting his orchestral works and playing as soloist in one of his piano concertos. One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854.\",\n \"One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854. Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later.\",\n \"Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later. Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice.\",\n \"Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice. Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859.\",\n \"Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859. Opening the St. Petersburg Conservatory The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862.\",\n \"Opening the St. Petersburg Conservatory The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862. Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty.\",\n \"Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty. Some in Russian society were surprised that a Russian music school would actually attempt to be Russian.\",\n \"Some in Russian society were surprised that a Russian music school would actually attempt to be Russian. One \\\"fashionable lady\\\", when told by Rubinstein that classes would be taught in Russian and not a foreign language, exclaimed, \\\"What, music in Russian! That is an original idea!\\\"\",\n \"That is an original idea!\\\" Rubinstein adds, And surely it was surprising that the theory of Music was to be taught for the first time in the Russian language at our Conservatory... Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany.\",\n \"Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany. There were also those who feared the school would not be Russian enough. Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five.\",\n \"Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five. Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world.\",\n \"Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world. Actually the Conservatory raise the level of musical culture in Russia.\",\n \"Actually the Conservatory raise the level of musical culture in Russia. The unconventional way chosen by Balakirev and his friends was not necessarily the right one for everybody else. It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871.\",\n \"It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871. Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \\\"interesting and well done,\\\" though \\\"episodic,\\\" and the opera Ivan IV Grozniy, which was premiered by Balakirev.\",\n \"Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \\\"interesting and well done,\\\" though \\\"episodic,\\\" and the opera Ivan IV Grozniy, which was premiered by Balakirev. Borodin commented on Ivan IV that \\\"the music is good, you just cannot recognize that it is Rubinstein.\",\n \"Borodin commented on Ivan IV that \\\"the music is good, you just cannot recognize that it is Rubinstein. There is nothing that is Mendelssohnian, nothing as he used to write formerly.\\\"\",\n \"There is nothing that is Mendelssohnian, nothing as he used to write formerly.\\\" The American tour By 1867, ongoing tensions with the Balakirev camp, along with related matters, led to intense dissension within the Conservatory's faculty. Rubinstein resigned and returned to touring throughout Europe.\",\n \"Rubinstein resigned and returned to touring throughout Europe. Unlike his previous tours, he began increasingly featuring the works of other composers. In previous tours, Rubinstein had played primarily his own works. At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season.\",\n \"At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season. Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid.\",\n \"Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid. Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities.\",\n \"Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities. Rubinstein wrote of his American experience, May Heaven preserve us from such slavery!\",\n \"Rubinstein wrote of his American experience, May Heaven preserve us from such slavery! Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost...\",\n \"Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost... The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art.\",\n \"The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art. So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank...\",\n \"So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank... Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life.\",\n \"Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life. Upon his return to Russia, he \\\"hastened to invest in real estate\\\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family.\",\n \"Upon his return to Russia, he \\\"hastened to invest in real estate\\\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family. Later life Rubinstein continued to make tours as a pianist and give appearances as a conductor.\",\n \"Later life Rubinstein continued to make tours as a pianist and give appearances as a conductor. In 1887, he returned to the Saint Petersburg Conservatory with the goal of improving overall standards. He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum.\",\n \"He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum. He led semi-weekly teachers' classes through the whole keyboard literature and gave some of the more gifted piano students personal coaching. During the 1889–90 academic year he gave weekly lecture-recitals for the students.\",\n \"During the 1889–90 academic year he gave weekly lecture-recitals for the students. He resigned again—and left Russia—in 1891 over Imperial demands that Conservatory admittance, and later annual prizes to students, be awarded along ethnic quotas instead of purely by merit. These quotas were designed to effectively disadvantage Jews.\",\n \"These quotas were designed to effectively disadvantage Jews. Rubinstein resettled in Dresden and started giving concerts again in Germany and Austria. Nearly all of these concerts were charity benefit events. Rubinstein also coached a few pianists and taught his only private piano student, Josef Hofmann. Hofmann would become one of the finest keyboard artists of the 20th century.\",\n \"Hofmann would become one of the finest keyboard artists of the 20th century. Despite his sentiments on ethnic politics in Russia, Rubinstein returned there occasionally to visit friends and family. He gave his final concert in Saint Petersburg on 14 January 1894. With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894.\",\n \"With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894. He died there on 20 November of that year, having suffered from heart disease for some time. The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him.\",\n \"The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him. Pianism \\\"Van II\\\" Many contemporaries felt he bore a striking resemblance to Ludwig van Beethoven. Ignaz Moscheles, who had known Beethoven intimately, wrote, \\\"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\\\"\",\n \"Ignaz Moscheles, who had known Beethoven intimately, wrote, \\\"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\\\" Liszt referred to Rubinstein as \\\"Van II.\\\" This resemblance was also felt to be in Rubinstein's keyboard playing. Under his hands, it was said, the piano erupted volcanically.\",\n \"Under his hands, it was said, the piano erupted volcanically. Audience members wrote of going home limp after one of his recitals, knowing they had witnessed a force of nature. Sometimes Rubinstein's playing was too much for listeners to handle.\",\n \"Sometimes Rubinstein's playing was too much for listeners to handle. American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \\\"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much.\",\n \"American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \\\"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much. Give me Rubinstein for a few pieces, but Tausig for a whole evening.\\\"\",\n \"Give me Rubinstein for a few pieces, but Tausig for a whole evening.\\\" She heard Rubinstein play \\\"a terrific piece by Schubert,\\\" reportedly the Wanderer Fantasie. The performance gave her such a violent headache that the rest of the recital was ruined for her. Clara Schumann proved especially vehement.\",\n \"Clara Schumann proved especially vehement. Clara Schumann proved especially vehement. After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \\\"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\\\"\",\n \"After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \\\"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\\\" Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau.\",\n \"Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau. She noted in her diary, \\\"I was furious, for he no longer plays. Either there is a perfectly wild noise or else a whisper with the soft pedal down.\",\n \"Either there is a perfectly wild noise or else a whisper with the soft pedal down. And a would-be cultured audience puts up with a performance like that!\\\"\",\n \"And a would-be cultured audience puts up with a performance like that!\\\" On the other hand, when Rubinstein played Beethoven's \\\"Archduke\\\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls: It was the first time I had heard this great artist play.\",\n \"On the other hand, when Rubinstein played Beethoven's \\\"Archduke\\\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls: It was the first time I had heard this great artist play. He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme...\",\n \"He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme... It seemed to me I had never before heard the piano really played.\",\n \"It seemed to me I had never before heard the piano really played. The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ... Violinist and composer Henri Vieuxtemps adds: His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten.\",\n \"The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ... Violinist and composer Henri Vieuxtemps adds: His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten. I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op.\",\n \"I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op. 57 [Appassionata], which Rubinstein executed for us with unimagined mastery. Viennese music critic Eduard Hanslick expressed what Schonberg calls \\\"the majority point of view\\\" in an 1884 review.\",\n \"Viennese music critic Eduard Hanslick expressed what Schonberg calls \\\"the majority point of view\\\" in an 1884 review. After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners.\",\n \"After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners. Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness.\",\n \"Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness. \\\"Yes, he plays like a god\\\", Hanslick writes in closing, \\\"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\\\".\",\n \"\\\"Yes, he plays like a god\\\", Hanslick writes in closing, \\\"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\\\". Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm.\",\n \"Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm. His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall.\",\n \"His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall. In playing, Rubinstein created, and he created inimitably and with genius.\",\n \"In playing, Rubinstein created, and he created inimitably and with genius. He often treated the same program absolutely differently when he played it the second time, but, more astoundingly still, everything came out wonderfully on both occasions. Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled.\",\n \"Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled. Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song.\",\n \"Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song. He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable.\",\n \"He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable. It was superb.\\\"\",\n \"It was superb.\\\" It was superb.\\\" Technique Villoing had worked with Rubinstein on hand position and finger dexterity. From watching Liszt, Rubinstein had learned about freedom of arm movement. Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing.\",\n \"Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing. He would remark to his students about \\\"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\\\"\",\n \"He would remark to his students about \\\"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\\\" In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \\\"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\\\"\",\n \"In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \\\"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\\\" When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through.\",\n \"When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through. Rubinstein himself admitted, after a concert in Berlin in 1875, \\\"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\\\"\",\n \"Rubinstein himself admitted, after a concert in Berlin in 1875, \\\"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\\\" Part of the problem might have been the sheer size of Rubinstein's hands.\",\n \"Part of the problem might have been the sheer size of Rubinstein's hands. They were huge, and many observers commented on them. Josef Hofmann observed that Rubinstein's fifth finger \\\"was as thick as my thumb—think of it! Then his fingers were square at the ends, with cushions on them.\",\n \"Then his fingers were square at the ends, with cushions on them. It was a wonderful hand.\\\" Pianist Josef Lhévinne described them as \\\"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\\\"\",\n \"Pianist Josef Lhévinne described them as \\\"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\\\" The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \\\"Nothing cramped about him!\",\n \"The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \\\"Nothing cramped about him! He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\\\"\",\n \"He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\\\" Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness.\",\n \"Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness. Those who valued interpretation as much or more than pure technique found much to praise. Pianist and conductor Hans von Bülow called Rubinstein \\\"the Michelangelo of music.\\\"\",\n \"Pianist and conductor Hans von Bülow called Rubinstein \\\"the Michelangelo of music.\\\" The German critic Ludwig Rellstab called him \\\"the Hercules of the piano; the Jupiter Tonans of the instrument.\\\" Tone Pressman attested to the singing quality of Rubinstein's playing, and much more: \\\"His tone was strikingly full and deep.\",\n \"Tone Pressman attested to the singing quality of Rubinstein's playing, and much more: \\\"His tone was strikingly full and deep. With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres.\",\n \"With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres. With him, the piano sang as Patti sang, as Rubini sang.\\\" Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists.\",\n \"Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists. Fellow pianist Rafael Joseffy compared it to \\\"a golden French horn.\\\" Rubinstein himself told an interviewer, \\\"Strength with lightness, that is one secret of my touch...\",\n \"Rubinstein himself told an interviewer, \\\"Strength with lightness, that is one secret of my touch... I have sat hours trying to imitate the timbre of Rubini's voice in my playing.\\\" Rubinstein told the young Rachmaninoff how he achieved that tone. \\\"Just press upon the keys until the blood oozes from your fingertips\\\".\",\n \"\\\"Just press upon the keys until the blood oozes from your fingertips\\\". When he wanted to, Rubinstein could play with extreme lightness, grace and delicacy. He rarely displayed that side of his nature, however. He had learned quickly that audiences came to hear him thunder, so he accommodated them.\",\n \"He had learned quickly that audiences came to hear him thunder, so he accommodated them. Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before.\",\n \"Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before. During this tour, Rubinstein received more press attention than any other figure until the appearance of Ignacy Jan Paderewski a generation later. Programs Rubinstein's concert programs were often gargantuan.\",\n \"Programs Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A).\",\n \"101 in A). 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman.\",\n \"Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note.\",\n \"He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note. Rubinstein was most famous for his series of historical recitals—seven consecutive concerts covering the history of piano music. Each of these programs was enormous.\",\n \"Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital.\",\n \"Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert.\",\n \"This did not include encores, which Rubinstein sprayed liberally at every concert. Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873. Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe.\",\n \"Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge.\",\n \"In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge. Rachmaninoff on Rubinstein Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student.\",\n \"Rachmaninoff on Rubinstein Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student. Forty-four years later he told his biographer Oscar von Riesemann, \\\"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\\\"\",\n \"Forty-four years later he told his biographer Oscar von Riesemann, \\\"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\\\" Rachmaninoff explained to von Riesemann, \\\"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\\\"\",\n \"Rachmaninoff explained to von Riesemann, \\\"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\\\" Rachmaninoff's detailed description to von Riesemann is of interest: Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished.\",\n \"Rachmaninoff's detailed description to von Riesemann is of interest: Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished. One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone...\",\n \"One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone... I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \\\"fluttering away of the little bird\\\" would be hopelessly inadequate.\",\n \"I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \\\"fluttering away of the little bird\\\" would be hopelessly inadequate. Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner.\",\n \"Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner. One of Rubinstein's greatest secrets was his use of the pedal.\",\n \"One of Rubinstein's greatest secrets was his use of the pedal. He himself very happily expressed his ideas on the subject when he said, \\\"The pedal is the soul of the piano.\\\" No pianist should ever forget this.\",\n \"No pianist should ever forget this. Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \\\"Funeral March\\\" Sonata—both became cornerstones of Rachmaninoff's own recital programs.\",\n \"Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \\\"Funeral March\\\" Sonata—both became cornerstones of Rachmaninoff's own recital programs. Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work.\",\n \"Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work. Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later.\",\n \"Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later. In Rubinstein's defense, however, Rachmaninoff said that \\\"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\\\"\",\n \"In Rubinstein's defense, however, Rachmaninoff said that \\\"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\\\" Conducting Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867.\",\n \"Conducting Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867. He also did his share of guest conducting both before and after his tenure with the RMS.\",\n \"He also did his share of guest conducting both before and after his tenure with the RMS. Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences.\",\n \"Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences. Teacher As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work.\",\n \"Teacher As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work. He could also be exacting and expected as much from them as he gave to them.\",\n \"He could also be exacting and expected as much from them as he gave to them. According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference.\",\n \"According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference. This assignment would be due the following day.\",\n \"This assignment would be due the following day. At other times, he would expect students to improvise a minuet, a rondo, a polonaise or some other musical form. Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead.\",\n \"Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead. He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano.\",\n \"He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano. Notable students include pianists Josef Hofmann and Sandra Drouker.\",\n \"Notable students include pianists Josef Hofmann and Sandra Drouker. Composition By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \\\"but as a composer performing his symphonies, concertos, operas, trios, etc.\\\"\",\n \"Composition By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \\\"but as a composer performing his symphonies, concertos, operas, trios, etc.\\\" Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote).\",\n \"Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote). Edward Garden writes in the New Grove, Rubinstein composed assiduously during all periods of his life.\",\n \"Edward Garden writes in the New Grove, Rubinstein composed assiduously during all periods of his life. He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved.\",\n \"He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved. Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn.\",\n \"Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn. Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music.\",\n \"Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music. Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching.\",\n \"Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching. Robert Schumann and Felix Mendelssohn were the strongest influences on Rubinstein's music. Consequently, Rubinstein's music demonstrates none of the nationalism of The Five.\",\n \"Consequently, Rubinstein's music demonstrates none of the nationalism of The Five. Rubinstein also had a tendency to rush in composing his pieces, resulting in good ideas such as those in his Ocean Symphony being developed in less-than-exemplary ways. As Paderewski was later to remark, \\\"He had not the necessary concentration of patience for a composer...\",\n \"As Paderewski was later to remark, \\\"He had not the necessary concentration of patience for a composer... He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\\\"\",\n \"He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\\\" Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ...\",\n \"Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ... The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s.\",\n \"The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s. After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire.\",\n \"After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire. Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev.\",\n \"Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev. Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism.\",\n \"Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism. Amongst his better known works are the opera The Demon, his Piano Concerto No. 4, and his Symphony No. 2, known as The Ocean.\",\n \"2, known as The Ocean. Rubinstein's repartee Rubinstein was as well known during his lifetime for his sarcasm as well as his sometimes penetrating insight. During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him.\",\n \"During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him. After a long silence, Rubinstein told Cortot, \\\"My boy, don't you ever forget what I am going to tell you. Beethoven's music must not be studied. It must be reincarnated.\\\"\",\n \"It must be reincarnated.\\\" It must be reincarnated.\\\" Cortot reportedly never forgot those words. Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase.\",\n \"Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase. His manner with them was a combination of raw, sometimes violent criticism and good humor.\",\n \"His manner with them was a combination of raw, sometimes violent criticism and good humor. Hofmann wrote of one such lesson: Once I played a Liszt rhapsody pretty badly. After a little of it, Rubinstein said, \\\"The way you play this piece would be all right for Auntie or Mamma.\\\"\",\n \"After a little of it, Rubinstein said, \\\"The way you play this piece would be all right for Auntie or Mamma.\\\" Then rising and coming toward me, he said, \\\"Now let us see how play such things.\\\" ...\",\n \"... ... I began again, but I had not played more than a few measures when Rubinstein said loudly, \\\"Have you begun?\\\" \\\"Yes, Master, I certainly have.\\\" \\\"Oh,\\\" said Rubinstein vaguely, \\\"I didn't notice.\\\" ... Rubinstein did not so much instruct me.\",\n \"... Rubinstein did not so much instruct me. Merely he let me learn from him ...\",\n \"Merely he let me learn from him ... If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do.\",\n \"If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do. Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts.\",\n \"Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts. When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \\\"When you are as old as I am, you may do as I do.\\\"\",\n \"When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \\\"When you are as old as I am, you may do as I do.\\\" Then Rubinstein added, \\\"If you can\\\". Nor did Rubinstein adjust the tenor of his comments for those of high rank.\",\n \"Nor did Rubinstein adjust the tenor of his comments for those of high rank. After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility.\",\n \"After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility. At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift.\",\n \"At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift. Rubinstein replied bluntly, to the crowd's horror, \\\"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\\\"\",\n \"Rubinstein replied bluntly, to the crowd's horror, \\\"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\\\" Rubinstein's voice The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison.\",\n \"Rubinstein's voice The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison. Rubinstein is heard to make a complimentary remark about the phonograph recorder. References Sources In Russian (2 vol.) In German (3 vol.) In English (29 vols.)\",\n \"In English (29 vols.) Further reading Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995) Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991) Rubinstein, Anton Grigorevich, ed.\",\n \"Further reading Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995) Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991) Rubinstein, Anton Grigorevich, ed. L. Barenboim, Literaturnoye Naslediye (3 vol.\",\n \"L. Barenboim, Literaturnoye Naslediye (3 vol. ), (in Russian), (Moscow, 1983) External links Networking Rubinstein – his contacts in his early career Soundbites from String Quartet No.1 in G, Op.17 No.1 Anton Rubinstein recordings at the Discography of American Historical Recordings.\",\n \"), (in Russian), (Moscow, 1983) External links Networking Rubinstein – his contacts in his early career Soundbites from String Quartet No.1 in G, Op.17 No.1 Anton Rubinstein recordings at the Discography of American Historical Recordings. 1829 births 1894 deaths 19th-century classical composers 19th-century classical pianists 19th-century conductors (music) 19th-century male conductors (music) Burials at Tikhvin Cemetery Composers for piano Converts to Eastern Orthodoxy from Judaism Founders of Russian educational institutions Jewish atheists Jewish classical composers Jewish classical pianists Jewish opera composers Male classical pianists Male opera composers People from Baltsky Uyezd People from Rîbnița District Pupils of Siegfried Dehn Pyotr Ilyich Tchaikovsky Recipients of the Pour le Mérite (civil class) Royal Philharmonic Society Gold Medallists Russian atheists Russian classical pianists Russian conductors (music) Russian male conductors (music) Russian Jews Russian male classical composers Russian music educators Russian opera composers Russian Romantic composers\"\n]"}}}],"truncated":false,"partial":false},"paginationData":{"pageIndex":4,"numItemsPerPage":100,"numTotalItems":17183,"offset":400,"length":100}},"jwt":"eyJhbGciOiJFZERTQSJ9.eyJyZWFkIjp0cnVlLCJwZXJtaXNzaW9ucyI6eyJyZXBvLmNvbnRlbnQucmVhZCI6dHJ1ZX0sImlhdCI6MTcyMTk2ODE5NSwic3ViIjoiL2RhdGFzZXRzL2xlZ2FjeTEwNy93aWtpcGVkaWEtYXVnbWVudGVkLWNodW5rZWQiLCJleHAiOjE3MjE5NzE3OTUsImlzcyI6Imh0dHBzOi8vaHVnZ2luZ2ZhY2UuY28ifQ.hP3R-UleQuMffW1lg2rIXfUaaznulDlKKQfoEvpgvgeHP6TkvFNbzHsiCYQKWZjidG7L5fnNYgWqe9ZNd6ciDw","displayUrls":true},"discussionsStats":{"closed":0,"open":0,"total":0},"fullWidth":true,"hasGatedAccess":true,"hasFullAccess":true,"isEmbedded":false}">
History
sequence | QuAC_dialog_id
stringlengths 36
36
| Question
stringlengths 3
114
| Question_no
int64 1
12
| Rewrite
stringlengths 11
338
| true_page_title
stringlengths 3
42
| true_contexts
stringlengths 1.4k
9.79k
| answer
stringlengths 2
214
| true_contexts_wiki
stringlengths 5.22k
145k
| extractive
bool 1
class | retrieved_contexts
sequence | chunked_article
sequence |
|---|---|---|---|---|---|---|---|---|---|---|---|
[
"Dion DiMucci",
"With the Belmonts: 1957-1960",
"Who were the other members of the Belmonts?",
"Carlo Mastrangelo, Fred Milano, and Angelo D'Aleo",
"Did they know each other from school?",
"I don't know.",
"How old were the members of the group?",
"No One Knows",
"what was the groups most popular song?",
"I Wonder Why\" (on their newly formed \"Laurie\" label) made No. 22 on the U.S. charts.",
"when did the group split up?",
"in October 1960, Dion decided to quit for a solo career.",
"was the group liked worldwide?",
"I don't know."
] | C_57ef3079d2cb4481bdcc3f5beea88674_1 | what is the most interesting thing about the group? | 7 | what is the most interesting thing about the Belmonts? | Dion DiMucci | Bob and Gene Schwartz also signed Dion's friends, the Belmonts, (Carlo Mastrangelo, Fred Milano, and Angelo D'Aleo), a vocal group named for nearby Belmont Avenue, and teamed them, with Dion singing lead. The new group's breakthrough came in early 1958, when "I Wonder Why" (on their newly formed "Laurie" label) made No. 22 on the U.S. charts. Dion said of the Belmonts; "I'd give 'em sounds. I'd give 'em parts and stuff. That's what 'I Wonder Why' was about. We kind of invented this percussive rhythmic sound. If you listen to that song, everybody was doing something different. There's four guys, one guy was doing bass, I was singing lead, one guy's going 'ooh wah ooh,' and another guy's doing tenor. It was totally amazing. When I listen to it today, oftentimes I think, 'man, those kids are talented.'" Their initial hit was followed by "No One Knows" and "Don't Pity Me," which also charted the Billboard Top 100. This success won a place for Dion and the Belmonts on the ill-fated "The Winter Dance Party" tour with Buddy Holly, Ritchie Valens, the Big Bopper (J.P. Richardson), Frankie Sardo, and other performers. On February 3, 1959, after a concert stop in Clear Lake, Iowa, Holly and others decided to charter a flight to the next venue rather than travel on the tour bus. Dion was invited to accompany the group but decided that he did not want to spend $36 for the flight, as it was the same monthly rent his parents paid for his childhood apartment and he couldn't justify the indulgence. The plane crashed, killing all on board; Holly, Valens, Richardson, and the pilot Roger Peterson. Dion and the Belmonts continued on the tour, along with Frankie Sardo, while Bobby Vee, then an unknown artist, performed in Holly's place at the very next concert. Later, Jimmy Clanton, Frankie Avalon, and Fabian were added to replace the other now-deceased headliners. Dion and the Belmonts' next single, "A Teenager in Love," was released in March 1959, eventually hitting No. 5 on the U.S. pop charts and No. 28 in the UK. The group's biggest hit, "Where or When," was released in November of that year, and reached No. 3 on the U.S. charts. However, in early 1960, Dion checked into hospital for heroin addiction, a problem he had had since his mid-teens. Further single releases for the group that year were less successful. There were musical, personal and financial differences between Dion and members of the Belmonts, and in October 1960, Dion decided to quit for a solo career. By the time of their breakup, all eight Laurie releases had charted on the Hot 100. CANNOTANSWER | Holly and others decided to charter a flight to the next venue rather than travel on the tour bus. | Dion Francis DiMucci (born July 18, 1939), better known simply as Dion, is an American singer and songwriter whose music has incorporated elements of doo-wop, rock, R&B and blues. Initially as lead singer of Dion and the Belmonts, and then in his solo career, he was one of the most popular American rock and roll performers of the pre-British Invasion era. He had 39 Top 40 hits in the late 1950s and early 1960s as a solo performer, with the Belmonts or with the Del-Satins. He is best remembered for the singles "Runaround Sue", "The Wanderer", "Ruby Baby" and "Lovers Who Wander", among other hits.
Dion's popularity waned in the mid-1960s. Toward the end of the decade, he shifted his style and produced songs that were more mature and contemplative, such as "Abraham, Martin and John". He remained popular in the late 1960s until the mid-1970s, and continues making music. During the 1980s, Dion produced several Christian albums, winning a GMA Dove Award in 1984 for the album I Put Away My Idols. He returned to secular music in the late 1980s with Yo Frankie (1989). Between the mid-2000s and 2021, Dion released six chart-topping blues albums. Critics who had dismissed his early work, labeling him as a teen idol, praised his later work and noted the influence he has had on other musicians.
A Grammy-nominated artist, Dion has released nearly 40 albums and scored eight Top 10 hits (ten including the Belmonts) on the Billboard Hot 100 chart. He was inducted into the Rock and Roll Hall of Fame in 1989.
Early life
Dion was born to an Italian-American family in the Bronx, New York. As a child, he accompanied his father, Pasquale DiMucci, a vaudeville entertainer, on tour, and developed a love of country music – particularly the work of Hank Williams. He also developed a fondness for the blues and doo-wop musicians he heard performing in local bars and on the radio. His singing was honed on the street corners and local clubs of the Bronx, where he and other neighborhood singers created a cappella riffs.
In early 1957, he auditioned for Bob and Gene Schwartz for their short-lived Mohawk Records label. They asked Dion to sing a song which had been arranged by Hugo Montenegro and recorded featuring Vic Damone doing vocals. At first Dion refused, stating the song would sound like something his old fashioned parents would listen to, but the Schwartzes convinced him to give it a try. The backing vocals were by a group called "the Timberlanes", whom Dion had never met. The resulting single, "The Chosen Few", was released under the name "Dion and the Timberlanes", and became a minor regional hit. Dion himself stated in 2019 during an interview at "Crashing the Party" (a radio program related to Norton Records in Brooklyn, New York) that "The Chosen Few" hit the Top Ten locally in Boston and enabled him to perform this song on American Bandstand where the kids at the show started screaming during his performance, which gave him his first impression of being a record star. Writing about this experience later, in his autobiography, The Wanderer, Dion said that he had never met the Timberlanes and did not even know who they were. "The vocal group was so white bread, I went back to my neighborhood and I recruited a bunch of guys – three guys – and we called ourselves Dion and the Belmonts."
Career
Beginnings with the Belmonts: 1957–1960
Bob and Gene Schwartz signed Dion's friends, the Belmonts (Carlo Mastrangelo, Fred Milano, and Angelo D'Aleo), a vocal group named for the Belmont, Bronx neighborhood, and teamed them up with Dion singing lead. The new group's breakthrough came in early 1958, when "I Wonder Why" (on their newly formed Laurie Records) made No. 22 on the U.S. charts. Dion said of the Belmonts; "I'd give 'em sounds. I'd give 'em parts and stuff. That's what 'I Wonder Why' was about. We kind of invented this percussive rhythmic sound. If you listen to that song, everybody was doing something different. There's four guys, one guy was doing bass, I was singing lead, one guy's going 'ooh wah ooh,' and another guy's doing tenor. It was totally amazing. When I listen to it today, oftentimes I think, 'man, those kids are talented.'"
Their initial hit was followed by "No One Knows" and "Don't Pity Me", which also charted the Billboard Top 100. This success won a place for Dion and the Belmonts on the ill-fated "The Winter Dance Party" tour with Buddy Holly, Ritchie Valens, the Big Bopper (J.P. Richardson), Frankie Sardo, and other performers. On February 3, 1959, after a concert stop in Clear Lake, Iowa, Holly and others decided to charter a flight to the next venue rather than travel on the tour bus. Dion was invited to accompany the group but decided that he did not want to spend $36 for the flight, as it was the same monthly rent his parents paid for his childhood apartment and he could not justify the indulgence. The plane crashed, killing all on board: Holly, Valens, Richardson, and the pilot Roger Peterson. Dion and the Belmonts continued on the tour, along with Frankie Sardo, while Bobby Vee, then an unknown artist, performed in Holly's place at the very next concert. Later, Jimmy Clanton, Frankie Avalon, and Fabian were added to replace the other now-deceased headliners.
Dion and the Belmonts' next single, "A Teenager in Love", was released in March 1959, eventually hitting No. 5 on the U.S. pop charts and No. 28 in the UK. The group's biggest hit, "Where or When", was released in November of that year, and reached No. 3 on the U.S. charts. However, in early 1960, Dion checked into hospital for heroin addiction, a problem he had had since his mid-teens. Further single releases for the group that year were less successful. There were musical, personal and financial differences between Dion and members of the Belmonts, and in October 1960, Dion decided to quit for a solo career. By the time of their breakup, all eight Laurie releases had charted on the Hot 100.
Solo stardom and touring worldwide: 1960–1964
By the end of 1960, Dion produced his first solo album on Laurie Records, Alone with Dion, released in 1961. The single "Lonely Teenager" rose to No. 12 in the US charts. The name on his solo releases was simply "Dion". Follow-ups "Havin' Fun" and "Kissin' Game" had less success, and the signs were that Dion would drift onto the cabaret circuit. However, he then recorded an up-tempo number co-written with Ernie Maresca with a new vocal group, the Del-Satins. The record, "Runaround Sue", stormed up the U.S. charts, reaching No. 1 in October 1961, and No. 11 in the UK, where he also toured. "Runaround Sue" sold over a million copies, achieving gold disc status.
For the next single, Laurie promoted the A-side, "The Majestic", but it was the B-side, Maresca's "The Wanderer", which received more radio play and climbed swiftly up the charts to reach No. 2 in the U.S. in February 1962 and No. 10 in the UK. The 1976 re-release made the UK Top 20.
By the end of 1961, Dion had become a major star, touring worldwide and making an appearance in the Columbia Pictures musical film Twist Around the Clock. In 1962, he followed with a string of singles he wrote or co-wrote including "Lovers Who Wander" (No. 3), "Little Diane" (No. 8), "Love Came to Me" (No. 10). He also had successful albums with Runaround Sue and Lovers Who Wander.
At the end of 1962, Dion moved from Laurie to Columbia Records. He was the first rock and roll artist signed to the label, which was an anomaly considering that its then-A&R director, Mitch Miller, loathed that particular genre of music. The first Columbia single, Jerry Leiber and Mike Stoller's "Ruby Baby" (originally a hit for the Drifters) reached No. 2, while "Donna the Prima Donna" and "Drip Drop" (another remake of a Drifters hit) both reached No. 6 in late 1963. (Dion also recorded an Italian version of "Donna the Prima Donna" using the identical backup vocals.) His other Columbia releases were less successful, and problems with his drug addiction and changing public tastes, especially the British Invasion, saw a period of commercial decline.
Belmonts reunion and renewed contract: 1965–1968
Following a European tour, Dion returned to the U.S. and was introduced to classic blues by Columbia's John Hammond. To the consternation of his management, he began recording more blues-oriented material, including Willie Dixon's "Hoochie Coochie Man" and "Spoonful", but these releases – some produced by Tom Wilson, with Al Kooper on keyboards – were not commercially successful. In 1965, still with Columbia, Dion formed a new group to back him, The Wanderers, composed of John Falbo on guitar, Pete Baron (Pete Falciglia) on bass, and Carlo Mastrangelo of the Belmonts on drums. They made national appearances on Dick Clark's, Where The Action Is, and The Lloyd Thaxton Show. A number of self-penned tracks were recorded and released unsuccessfully as singles, and did not appear in album format until years later. In June 1965 he recorded fellow Columbia Records's contemporary Bob Dylan's composition "It's All Over Now, Baby Blue" a half-year before Them (featuring Van Morrison)'s hit version.
In 1966–67, Dion briefly reunited with the Belmonts, recording the LP Together Again for ABC Records. The album was unsuccessful, despite one classic self-penned song, "My Girl the Month of May". Two singles were released from the LP. While neither charted in the United States, they fared better in the UK. "My Girl The Month of May" entered the Radio London "Fab 40" at No. 9 the week of December 25, 1966. A 'turntable' hit at London underground clubs like Middle Earth, the disc received a lot of play from pirate radio DJ's John Peel and Kenny Everett. The follow up, "Movin' Man", reached No. 17 on the "Radio London" charts on Easter Sunday, March 26, 1967. "My Girl The Month of May" was later covered by English artists Alan Bown in 1967, and Island Records artists The Bunch (featuring Sandy Denny and other members of Fairport Convention) in April 1972. During their brief mid-60's reunion, Dion and the Belmonts appeared on the popular Clay Cole Show performing "Berimbau" and "My Girl The Month of May", and occasionally performed at local New York City clubs such as "The Mardi Gras" on Staten Island (April 29, 1967) before disbanding. While Dion's career appeared to be nearing an end, he still retained enough credibility to be, along with Bob Dylan, one of only two rock artists featured on the album cover of the Beatles' Sgt. Pepper's Lonely Hearts Club Band in 1967.
In April 1968, Dion experienced what he identified as a powerful religious transformation. After getting clean once again from heroin addiction, an experience he documented in his 1970 song "Your Own Backyard", he approached Laurie Records for a new contract. They agreed on the condition that he record the song "Abraham, Martin & John", written by Dick Holler (also the writer of the Royal Guardsmen's "Snoopy Vs. The Red Baron") in response to the assassination of John F. Kennedy on November 22, 1963, and those of Martin Luther King Jr. and Robert F. Kennedy during the spring of 1968. The success of this song (released by Dion in August 1968 and later recorded by many others including Marvin Gaye) which reached No. 4 in the US charts and No. 1 in Canada, resuscitated Dion's career. It sold over one million copies and was awarded a gold disc.
Mature and Christian music period: 1969–1986
For the next few years, Dion's music became radically different, moving to more contemplative and mature material. He released several albums essentially as a singer-songwriter, to moderate sales, moving to the Warner Brothers label in 1969.
There followed a live reunion show with the Belmonts at Madison Square Garden on June 2, 1972, which was recorded and released as a live album by Warner. A year later, in 1973, Dion and the original Belmonts performed once more, doing a sold-out concert at the Nassau Coliseum on Long Island, New York. However, no recording of the 1973 reunion was released. This was followed in 1975 by the album Born to Be with You produced by Phil Spector. The album was a commercial failure, but has been subsequently praised by such artists as Jason Pierce of Spiritualized and Pete Townshend of The Who with the track "Only You Know" being sampled by Pulp frontman Jarvis Cocker for his single "Don't Let Him Waste Your Time" from his 2006 solo album Jarvis.
In 1978, Dion released an album drawing on many of his teenage influences, Return of the Wanderer, another commercial failure.
In December 1979, there was a radical spiritual change in Dion, who had become a born again Christian. Thereafter, his recordings for several years were in a contemporary Christian vein, in which he released five albums on the DaySpring Records label, a division of Word Records in Waco, Texas. These albums reflecting his evangelical Christian convictions were Inside Job (1980), Only Jesus (1981), I Put Away My Idols (1983) which charted at No. 37, Seasons (1984), Kingdom in the Streets (1985) and Velvet & Steel (1986). Several singles were successfully released to Christian radio, notably "Still in the Spirit" from Kingdom in the Streets.
In 1984, Dion won the GMA Dove Award (Christian Music Award) for the album I Put Away My Idols. He was also nominated for Grammy Award for Best Gospel Vocal Performance, Male for the same album.
On September 24, 1985, Dion was a guest on 100 Huntley Street.
Return to secular music and RRHOF induction: 1987–1999
In 1987, Dion agreed to do a concert of his old hits at Radio City Music Hall in New York. The two disc CD of this concert was released in 2005, featuring concert photos by Dion's friend, Michael J. Friedman. This concert helped free him to celebrate both his past and his future, and led to a series of special appearances, including a fundraiser for homeless medical relief. There he shared the stage with fans such as Bruce Springsteen, Paul Simon and Lou Reed, all of whom cited Dion as one of their prime influences.
Dion's autobiography, The Wanderer: Dion's Story, co-authored by Davin Seay, was published in the late-1980s.
In 1989, DiMucci returned to rock music with the contemporary album Yo Frankie, which included appearances by Paul Simon, Lou Reed, k.d. lang, Patty Smyth and Bryan Adams. Produced by Dave Edmunds (who also played guitar on the album), "Yo Frankie has a sharp sound while never losing sight of Dion's soulful, doo-wop voice." Overall, "the relevant and nostalgic statement from an artist who helped forge rock & roll's first wave" found his way back on radio and in music videos during this period (both on VH1 and MTV), as well as touring.
Dion was inducted into the Rock and Roll Hall of Fame (RRHOF) in 1989 (with an introduction by Lou Reed). Controversially, when Dion's solo induction into the Rock and Roll Hall of Fame occurred, the other original members of the Belmonts (Carlo Mastrangelo, Fred Milano, and Angelo D'Aleo) were not inducted. A January 3, 2012 Billboard magazine article stated: "There was strife between DiMucci and Belmonts members, who were not pleased when DiMucci was inducted into the Rock and Roll Hall of Fame without them in 1989."
DiMucci joined Scott Kempner and Frank Funaro of the Del-Lords and Mike Mesaros of the Smithereens in a short-lived band called Little Kings. A live album was later released, but not widely circulated or promoted.
Grammy Hall of Fame and blues success: 2000–2019
Dion has released several albums with contemporary rock artists. His Déjà Nu album in 2000 found him covering Bruce Springsteen, a major follower over the years. He joined Springsteen onstage in Miami in 2002 for a performance of "If I Should Fall Behind" from Dream on Fire.
In 2002, Dion was inducted into the Grammy Hall of Fame for "Runaround Sue". He continues to perform songs from his albums live, including a concert in 2004 being recorded for release on DVD.
In January 2006, Dion released Bronx in Blue, an album of blues and country standards, which was nominated for a Grammy Award. It peaked at No. 2 on the Top Blues Albums chart. In November 2007, Dion issued a follow-up album titled Son of Skip James, which peaked at No. 4 on the Top Blues Albums chart.
In October 2008, DiMucci released Heroes: Giants of Early Guitar Rock, an album of his covers of early rock and roll songs he considers seminal to the genre. The album includes versions of songs originally recorded by Buddy Holly, Ritchie Valens, Ricky Nelson, Johnny Cash, and many other early rock guitarists.
In October 2009, Dion performed "The Wanderer" with Paul Simon at the 25th Anniversary Rock and Roll Hall of Fame Concert.
An audiobook and paperback by Dion and Mike Aquilina, titled Dion: The Wanderer Talks Truth (Stories, Humor Music), was published in April 2011. DiMucci shares stories about The Bronx in the 1950s, how he ended up on the cover of Sgt. Pepper's Lonely Hearts Club Band, and his travels with Sam Cooke in the Jim Crow South.
Dion released Tank Full of Blues on January 24, 2012. It peaked at No. 3 on the Top Blues Albums chart.
While touring on April 5, 2015, Dion performed "Donna the Prima Donna" live in Las Vegas. On July 11, 2015, he held a concert in Westbury, New York.
In 2015, Dion released the single "New York Is My Home" with Paul Simon. Dion had previously worked with Simon on his 1989 hit "Written on the Subway Wall". The single was followed by the album New York Is My Home, released February 12, 2016. The album peaked at No. 3 on the Top Blues Album chart.
Dion planned four concerts in the U.S. during early 2016 and was invited as a keynote speaker for the 2016 SXSW in Texas. He spoke on the topic A Conversation with Dion: Rock's Enduring Voice on March 17, 2016.
Dion appeared on The Tonight Show with Jimmy Fallon on April 8, 2016.
In May 2017, Dion released Kickin' Child: The Lost Album 1965 from Norton Records, containing songs recorded in 1965 when he was with Columbia Records but were not previously released. Also in May 2017, Richard Barone's Sorrows & Promises: Greenwich Village in the 1960s was released, which included Dion performing a duet of his 1964 song "The Road I'm On (Gloria)" with Barone. The album is a celebration of the New York City scene that Dion was part of during that pivotal era.
Recent albums with KTBA Records: 2020–present
In June 2020, Dion released Blues with Friends via Keeping the Blues Alive Records (KTBA), a new record label created by Joe Bonamassa and Roy Weisman for Dion and other blues musicians to showcase their talents. The album features Van Morrison, Jeff Beck, Paul Simon, Bruce Springsteen, and others (including liner notes by Bob Dylan). A digital album (and a double vinyl record set), Dion released a music video for every song from the album on his website and social media platforms such as Facebook and YouTube. The album reached No. 1 on the Billboard Blues Albums chart (9 weeks at No. 1 and 59 weeks total). It also charted in United Kingdom, Germany, France, Italy, Canada and Australia.
American Songwriter magazine honored Dion's "Song for Sam Cooke (Here in America)" as the "Greatest of the Great 2020 Songs".
Dion also released two Christmas songs in 2020: "Hello Christmas" (featuring Amy Grant) and "You Know It's Christmas" (featuring Bonamassa). Both songs were co-written with Mike Aquilina. Music videos were produced for both songs.
Dion's song "Blues Comin' On" (with Bonamassa) from Blues with Friends was nominated for a 2021 Blues Music Award.
In November 2021, Dion released Stomping Ground (with music videos), which includes extensive liner notes written by Pete Townshend. Except for a cover of "Red House", the songs were written by Dion and Aquilina. Multiple guest artists participate on the album. The album became Dion's second No. 1 blues album.
The Wanderer musical
On October 13, 2011, an industry-only reading of a new play about Dion's life was performed in New York City.
In a December 9, 2011 article from The New York Times, Dion and his collaborator (writer/director Charles Messina) discussed details about the project – titled The Wanderer: The Life and Music of Dion – which will focus on the years between 1957 until the late-1960s, and will feature more than 20 songs from that era as well as new/original music. In the article, Dion gave his perspective on the story: "You know, I always saw my story as a young Sopranos with great music and a Rocky Graziano Somebody Up There Likes Me ending. It's a story of redemption. A rock and roll redemption story!"
DiMucci revealed that Michael Wartella would be starring in The Wanderer on December 16, 2017. There was a reading of the musical on November 2, 2017 while working on it continued. On December 4, 2019, it was announced that former New Kids on the Block member Joey McIntyre would star as Johnny, Michael Wartella as Dion, and Christy Altomare as wife, Susan. The first performance was scheduled to start on May 28, 2020, at the Paper Mill Playhouse. Due to the COVID-19 pandemic, the opening performance was rescheduled to March 24, 2022.
Personal life
Dion lives in Boca Raton, Florida and New York City.
In the late 1990s, Dion visited his old Bronx parish, Our Lady of Mount Carmel, and returned to Catholicism. Sparking Dion's reversion to Catholicism was "a chance viewing of The Journey Home program on EWTN."
As a practicing Roman Catholic and having struggled with a heroin addiction during his youth, Dion has been involved in prison religion, reaching out to men going through drug recovery.
DiMucci was a member of the American board of directors for Renewal Ministries in 2004.
Dion appeared on The Journey Home and discussed his wanderings from Catholicism to Protestantism and back again on May 1, 2006.
Selective discography
With the Belmonts
Presenting Dion and the Belmonts (1959)
Wish Upon a Star with Dion and the Belmonts (1960)
Together Again (1966)
Live at Madison Square Garden 1972 (1973)
Solo albums
Alone with Dion (1961)
Runaround Sue (1961)
Donna the Prima Donna (1963)
Dion (1968)
Suite for Late Summer (1972)
Born to Be with You (1975)
Streetheart (1976)
I Put Away My Idols (1983)
Yo Frankie (1989)
Son of Skip James (2007)
Blues with Friends (2020)
Stomping Ground (2021)
References
External links
Comprehensive Rolling Stone profile
The Spiritual Journey of the Wanderer Who Came Home By Dion Dimucci
Dion the Wanderer, Back In Blue (an article at NPR.com)
1939 births
Living people
American male singers
American people of Italian descent
American male pop singers
American folk singers
American rock singers
Musicians from the Bronx
American performers of Christian music
Laurie Records artists
Columbia Records artists
Singers from New York City
Dion and the Belmonts members
Doo-wop musicians
Catholics from New York (state) | true | [
"Kurudumale is a village in the Mulbagal taluk, Kolar district of Karnataka state, India. It is located about 10 km from the mulubagal town, northerly. The giant, thirteen and a half foot sculpture of kurudumale Ganesha and the Someshwara temple of lord Shiva attract thousands of visitors from the surrounding states. This place was believed to be the place where Devas would descend from the heavens for recreation on earth.\n\nThere is another temple dedicated to Shiva called the Someshwara temple which is also situated in Kurudumale. The interesting thing about this temple is that it is built of a rock without any foundations. Another interesting thing is the architectural style of the temple; this temple is considered to be older than the Ganesha temple and was built during the Cholas period. Half of the temple has different style of carving, believed to have been done by artist Jakanachari and the other half is believed to have been carved by his son Dankanachari. The part of the temple supposedly built by Dankana's has statues and carvings which are more intricate and sophisticated.\n\nGallery\n\nHindu temples in Kolar district\nVillages in Kolar district",
"Shahandasht Waterfall, is a waterfall in Amol, Iran, and is near Shahan Dasht village 65 kilometers from Amol, next to the Haraz Road from Amol to Tehran.\nThe height of Shahandasht waterfall is about 180 meters. It is the second-highest waterfall in Iran, and the most interesting thing about this waterfall is that water never stops falling from it, even during the cold and breezy winter. If you are planning to have a visit of Shahandasht Waterfall, it is good to know that there is the magnificent Malek Bahman Fort just nearby it.\n\nSources\n Iran Traveller Magazine - Waterfall, Page 21, printed issue: 12433\n\nReferences\n\nWaterfalls of Iran\nTourist attractions in Amol\nTourist attractions in Mazandaran Province"
] | [
"Dion Francis DiMucci (born July 18, 1939), better known simply as Dion, is an American singer and songwriter whose music has incorporated elements of doo-wop, rock, R&B and blues. Initially as lead singer of Dion and the Belmonts, and then in his solo career, he was one of the most popular American rock and roll performers of the pre-British Invasion era.",
"Initially as lead singer of Dion and the Belmonts, and then in his solo career, he was one of the most popular American rock and roll performers of the pre-British Invasion era. He had 39 Top 40 hits in the late 1950s and early 1960s as a solo performer, with the Belmonts or with the Del-Satins.",
"He had 39 Top 40 hits in the late 1950s and early 1960s as a solo performer, with the Belmonts or with the Del-Satins. He is best remembered for the singles \"Runaround Sue\", \"The Wanderer\", \"Ruby Baby\" and \"Lovers Who Wander\", among other hits.",
"He is best remembered for the singles \"Runaround Sue\", \"The Wanderer\", \"Ruby Baby\" and \"Lovers Who Wander\", among other hits. Dion's popularity waned in the mid-1960s.",
"Dion's popularity waned in the mid-1960s. Toward the end of the decade, he shifted his style and produced songs that were more mature and contemplative, such as \"Abraham, Martin and John\". He remained popular in the late 1960s until the mid-1970s, and continues making music.",
"He remained popular in the late 1960s until the mid-1970s, and continues making music. During the 1980s, Dion produced several Christian albums, winning a GMA Dove Award in 1984 for the album I Put Away My Idols. He returned to secular music in the late 1980s with Yo Frankie (1989).",
"He returned to secular music in the late 1980s with Yo Frankie (1989). Between the mid-2000s and 2021, Dion released six chart-topping blues albums. Critics who had dismissed his early work, labeling him as a teen idol, praised his later work and noted the influence he has had on other musicians.",
"Critics who had dismissed his early work, labeling him as a teen idol, praised his later work and noted the influence he has had on other musicians. A Grammy-nominated artist, Dion has released nearly 40 albums and scored eight Top 10 hits (ten including the Belmonts) on the Billboard Hot 100 chart.",
"A Grammy-nominated artist, Dion has released nearly 40 albums and scored eight Top 10 hits (ten including the Belmonts) on the Billboard Hot 100 chart. He was inducted into the Rock and Roll Hall of Fame in 1989. Early life Dion was born to an Italian-American family in the Bronx, New York.",
"Early life Dion was born to an Italian-American family in the Bronx, New York. As a child, he accompanied his father, Pasquale DiMucci, a vaudeville entertainer, on tour, and developed a love of country music – particularly the work of Hank Williams.",
"As a child, he accompanied his father, Pasquale DiMucci, a vaudeville entertainer, on tour, and developed a love of country music – particularly the work of Hank Williams. He also developed a fondness for the blues and doo-wop musicians he heard performing in local bars and on the radio.",
"He also developed a fondness for the blues and doo-wop musicians he heard performing in local bars and on the radio. His singing was honed on the street corners and local clubs of the Bronx, where he and other neighborhood singers created a cappella riffs.",
"His singing was honed on the street corners and local clubs of the Bronx, where he and other neighborhood singers created a cappella riffs. In early 1957, he auditioned for Bob and Gene Schwartz for their short-lived Mohawk Records label.",
"In early 1957, he auditioned for Bob and Gene Schwartz for their short-lived Mohawk Records label. They asked Dion to sing a song which had been arranged by Hugo Montenegro and recorded featuring Vic Damone doing vocals.",
"They asked Dion to sing a song which had been arranged by Hugo Montenegro and recorded featuring Vic Damone doing vocals. At first Dion refused, stating the song would sound like something his old fashioned parents would listen to, but the Schwartzes convinced him to give it a try.",
"At first Dion refused, stating the song would sound like something his old fashioned parents would listen to, but the Schwartzes convinced him to give it a try. The backing vocals were by a group called \"the Timberlanes\", whom Dion had never met.",
"The backing vocals were by a group called \"the Timberlanes\", whom Dion had never met. The resulting single, \"The Chosen Few\", was released under the name \"Dion and the Timberlanes\", and became a minor regional hit.",
"The resulting single, \"The Chosen Few\", was released under the name \"Dion and the Timberlanes\", and became a minor regional hit. Dion himself stated in 2019 during an interview at \"Crashing the Party\" (a radio program related to Norton Records in Brooklyn, New York) that \"The Chosen Few\" hit the Top Ten locally in Boston and enabled him to perform this song on American Bandstand where the kids at the show started screaming during his performance, which gave him his first impression of being a record star.",
"Dion himself stated in 2019 during an interview at \"Crashing the Party\" (a radio program related to Norton Records in Brooklyn, New York) that \"The Chosen Few\" hit the Top Ten locally in Boston and enabled him to perform this song on American Bandstand where the kids at the show started screaming during his performance, which gave him his first impression of being a record star. Writing about this experience later, in his autobiography, The Wanderer, Dion said that he had never met the Timberlanes and did not even know who they were.",
"Writing about this experience later, in his autobiography, The Wanderer, Dion said that he had never met the Timberlanes and did not even know who they were. \"The vocal group was so white bread, I went back to my neighborhood and I recruited a bunch of guys – three guys – and we called ourselves Dion and the Belmonts.\"",
"\"The vocal group was so white bread, I went back to my neighborhood and I recruited a bunch of guys – three guys – and we called ourselves Dion and the Belmonts.\" Career Beginnings with the Belmonts: 1957–1960 Bob and Gene Schwartz signed Dion's friends, the Belmonts (Carlo Mastrangelo, Fred Milano, and Angelo D'Aleo), a vocal group named for the Belmont, Bronx neighborhood, and teamed them up with Dion singing lead.",
"Career Beginnings with the Belmonts: 1957–1960 Bob and Gene Schwartz signed Dion's friends, the Belmonts (Carlo Mastrangelo, Fred Milano, and Angelo D'Aleo), a vocal group named for the Belmont, Bronx neighborhood, and teamed them up with Dion singing lead. The new group's breakthrough came in early 1958, when \"I Wonder Why\" (on their newly formed Laurie Records) made No.",
"The new group's breakthrough came in early 1958, when \"I Wonder Why\" (on their newly formed Laurie Records) made No. 22 on the U.S. charts. Dion said of the Belmonts; \"I'd give 'em sounds. I'd give 'em parts and stuff. That's what 'I Wonder Why' was about.",
"That's what 'I Wonder Why' was about. We kind of invented this percussive rhythmic sound. If you listen to that song, everybody was doing something different. There's four guys, one guy was doing bass, I was singing lead, one guy's going 'ooh wah ooh,' and another guy's doing tenor.",
"There's four guys, one guy was doing bass, I was singing lead, one guy's going 'ooh wah ooh,' and another guy's doing tenor. It was totally amazing. When I listen to it today, oftentimes I think, 'man, those kids are talented.'\"",
"When I listen to it today, oftentimes I think, 'man, those kids are talented.'\" Their initial hit was followed by \"No One Knows\" and \"Don't Pity Me\", which also charted the Billboard Top 100.",
"Their initial hit was followed by \"No One Knows\" and \"Don't Pity Me\", which also charted the Billboard Top 100. This success won a place for Dion and the Belmonts on the ill-fated \"The Winter Dance Party\" tour with Buddy Holly, Ritchie Valens, the Big Bopper (J.P. Richardson), Frankie Sardo, and other performers.",
"This success won a place for Dion and the Belmonts on the ill-fated \"The Winter Dance Party\" tour with Buddy Holly, Ritchie Valens, the Big Bopper (J.P. Richardson), Frankie Sardo, and other performers. On February 3, 1959, after a concert stop in Clear Lake, Iowa, Holly and others decided to charter a flight to the next venue rather than travel on the tour bus.",
"On February 3, 1959, after a concert stop in Clear Lake, Iowa, Holly and others decided to charter a flight to the next venue rather than travel on the tour bus. Dion was invited to accompany the group but decided that he did not want to spend $36 for the flight, as it was the same monthly rent his parents paid for his childhood apartment and he could not justify the indulgence.",
"Dion was invited to accompany the group but decided that he did not want to spend $36 for the flight, as it was the same monthly rent his parents paid for his childhood apartment and he could not justify the indulgence. The plane crashed, killing all on board: Holly, Valens, Richardson, and the pilot Roger Peterson.",
"The plane crashed, killing all on board: Holly, Valens, Richardson, and the pilot Roger Peterson. Dion and the Belmonts continued on the tour, along with Frankie Sardo, while Bobby Vee, then an unknown artist, performed in Holly's place at the very next concert.",
"Dion and the Belmonts continued on the tour, along with Frankie Sardo, while Bobby Vee, then an unknown artist, performed in Holly's place at the very next concert. Later, Jimmy Clanton, Frankie Avalon, and Fabian were added to replace the other now-deceased headliners.",
"Later, Jimmy Clanton, Frankie Avalon, and Fabian were added to replace the other now-deceased headliners. Dion and the Belmonts' next single, \"A Teenager in Love\", was released in March 1959, eventually hitting No. 5 on the U.S. pop charts and No. 28 in the UK.",
"28 in the UK. 28 in the UK. The group's biggest hit, \"Where or When\", was released in November of that year, and reached No. 3 on the U.S. charts. However, in early 1960, Dion checked into hospital for heroin addiction, a problem he had had since his mid-teens.",
"However, in early 1960, Dion checked into hospital for heroin addiction, a problem he had had since his mid-teens. Further single releases for the group that year were less successful.",
"Further single releases for the group that year were less successful. There were musical, personal and financial differences between Dion and members of the Belmonts, and in October 1960, Dion decided to quit for a solo career. By the time of their breakup, all eight Laurie releases had charted on the Hot 100.",
"By the time of their breakup, all eight Laurie releases had charted on the Hot 100. Solo stardom and touring worldwide: 1960–1964 By the end of 1960, Dion produced his first solo album on Laurie Records, Alone with Dion, released in 1961. The single \"Lonely Teenager\" rose to No.",
"The single \"Lonely Teenager\" rose to No. 12 in the US charts. The name on his solo releases was simply \"Dion\". Follow-ups \"Havin' Fun\" and \"Kissin' Game\" had less success, and the signs were that Dion would drift onto the cabaret circuit.",
"Follow-ups \"Havin' Fun\" and \"Kissin' Game\" had less success, and the signs were that Dion would drift onto the cabaret circuit. However, he then recorded an up-tempo number co-written with Ernie Maresca with a new vocal group, the Del-Satins.",
"However, he then recorded an up-tempo number co-written with Ernie Maresca with a new vocal group, the Del-Satins. The record, \"Runaround Sue\", stormed up the U.S. charts, reaching No. 1 in October 1961, and No. 11 in the UK, where he also toured.",
"11 in the UK, where he also toured. \"Runaround Sue\" sold over a million copies, achieving gold disc status.",
"\"Runaround Sue\" sold over a million copies, achieving gold disc status. For the next single, Laurie promoted the A-side, \"The Majestic\", but it was the B-side, Maresca's \"The Wanderer\", which received more radio play and climbed swiftly up the charts to reach No.",
"For the next single, Laurie promoted the A-side, \"The Majestic\", but it was the B-side, Maresca's \"The Wanderer\", which received more radio play and climbed swiftly up the charts to reach No. 2 in the U.S. in February 1962 and No. 10 in the UK.",
"10 in the UK. 10 in the UK. The 1976 re-release made the UK Top 20. By the end of 1961, Dion had become a major star, touring worldwide and making an appearance in the Columbia Pictures musical film Twist Around the Clock.",
"By the end of 1961, Dion had become a major star, touring worldwide and making an appearance in the Columbia Pictures musical film Twist Around the Clock. In 1962, he followed with a string of singles he wrote or co-wrote including \"Lovers Who Wander\" (No. 3), \"Little Diane\" (No.",
"3), \"Little Diane\" (No. 8), \"Love Came to Me\" (No. 10). He also had successful albums with Runaround Sue and Lovers Who Wander. At the end of 1962, Dion moved from Laurie to Columbia Records.",
"At the end of 1962, Dion moved from Laurie to Columbia Records. He was the first rock and roll artist signed to the label, which was an anomaly considering that its then-A&R director, Mitch Miller, loathed that particular genre of music.",
"He was the first rock and roll artist signed to the label, which was an anomaly considering that its then-A&R director, Mitch Miller, loathed that particular genre of music. The first Columbia single, Jerry Leiber and Mike Stoller's \"Ruby Baby\" (originally a hit for the Drifters) reached No.",
"The first Columbia single, Jerry Leiber and Mike Stoller's \"Ruby Baby\" (originally a hit for the Drifters) reached No. 2, while \"Donna the Prima Donna\" and \"Drip Drop\" (another remake of a Drifters hit) both reached No. 6 in late 1963.",
"6 in late 1963. 6 in late 1963. (Dion also recorded an Italian version of \"Donna the Prima Donna\" using the identical backup vocals.) His other Columbia releases were less successful, and problems with his drug addiction and changing public tastes, especially the British Invasion, saw a period of commercial decline.",
"His other Columbia releases were less successful, and problems with his drug addiction and changing public tastes, especially the British Invasion, saw a period of commercial decline. Belmonts reunion and renewed contract: 1965–1968 Following a European tour, Dion returned to the U.S. and was introduced to classic blues by Columbia's John Hammond.",
"Belmonts reunion and renewed contract: 1965–1968 Following a European tour, Dion returned to the U.S. and was introduced to classic blues by Columbia's John Hammond. To the consternation of his management, he began recording more blues-oriented material, including Willie Dixon's \"Hoochie Coochie Man\" and \"Spoonful\", but these releases – some produced by Tom Wilson, with Al Kooper on keyboards – were not commercially successful.",
"To the consternation of his management, he began recording more blues-oriented material, including Willie Dixon's \"Hoochie Coochie Man\" and \"Spoonful\", but these releases – some produced by Tom Wilson, with Al Kooper on keyboards – were not commercially successful. In 1965, still with Columbia, Dion formed a new group to back him, The Wanderers, composed of John Falbo on guitar, Pete Baron (Pete Falciglia) on bass, and Carlo Mastrangelo of the Belmonts on drums.",
"In 1965, still with Columbia, Dion formed a new group to back him, The Wanderers, composed of John Falbo on guitar, Pete Baron (Pete Falciglia) on bass, and Carlo Mastrangelo of the Belmonts on drums. They made national appearances on Dick Clark's, Where The Action Is, and The Lloyd Thaxton Show.",
"They made national appearances on Dick Clark's, Where The Action Is, and The Lloyd Thaxton Show. A number of self-penned tracks were recorded and released unsuccessfully as singles, and did not appear in album format until years later.",
"A number of self-penned tracks were recorded and released unsuccessfully as singles, and did not appear in album format until years later. In June 1965 he recorded fellow Columbia Records's contemporary Bob Dylan's composition \"It's All Over Now, Baby Blue\" a half-year before Them (featuring Van Morrison)'s hit version.",
"In June 1965 he recorded fellow Columbia Records's contemporary Bob Dylan's composition \"It's All Over Now, Baby Blue\" a half-year before Them (featuring Van Morrison)'s hit version. In 1966–67, Dion briefly reunited with the Belmonts, recording the LP Together Again for ABC Records.",
"In 1966–67, Dion briefly reunited with the Belmonts, recording the LP Together Again for ABC Records. The album was unsuccessful, despite one classic self-penned song, \"My Girl the Month of May\". Two singles were released from the LP. While neither charted in the United States, they fared better in the UK.",
"While neither charted in the United States, they fared better in the UK. \"My Girl The Month of May\" entered the Radio London \"Fab 40\" at No. 9 the week of December 25, 1966.",
"9 the week of December 25, 1966. A 'turntable' hit at London underground clubs like Middle Earth, the disc received a lot of play from pirate radio DJ's John Peel and Kenny Everett. The follow up, \"Movin' Man\", reached No.",
"The follow up, \"Movin' Man\", reached No. 17 on the \"Radio London\" charts on Easter Sunday, March 26, 1967.",
"17 on the \"Radio London\" charts on Easter Sunday, March 26, 1967. \"My Girl The Month of May\" was later covered by English artists Alan Bown in 1967, and Island Records artists The Bunch (featuring Sandy Denny and other members of Fairport Convention) in April 1972.",
"\"My Girl The Month of May\" was later covered by English artists Alan Bown in 1967, and Island Records artists The Bunch (featuring Sandy Denny and other members of Fairport Convention) in April 1972. During their brief mid-60's reunion, Dion and the Belmonts appeared on the popular Clay Cole Show performing \"Berimbau\" and \"My Girl The Month of May\", and occasionally performed at local New York City clubs such as \"The Mardi Gras\" on Staten Island (April 29, 1967) before disbanding.",
"During their brief mid-60's reunion, Dion and the Belmonts appeared on the popular Clay Cole Show performing \"Berimbau\" and \"My Girl The Month of May\", and occasionally performed at local New York City clubs such as \"The Mardi Gras\" on Staten Island (April 29, 1967) before disbanding. While Dion's career appeared to be nearing an end, he still retained enough credibility to be, along with Bob Dylan, one of only two rock artists featured on the album cover of the Beatles' Sgt.",
"While Dion's career appeared to be nearing an end, he still retained enough credibility to be, along with Bob Dylan, one of only two rock artists featured on the album cover of the Beatles' Sgt. Pepper's Lonely Hearts Club Band in 1967.",
"Pepper's Lonely Hearts Club Band in 1967. In April 1968, Dion experienced what he identified as a powerful religious transformation. After getting clean once again from heroin addiction, an experience he documented in his 1970 song \"Your Own Backyard\", he approached Laurie Records for a new contract.",
"After getting clean once again from heroin addiction, an experience he documented in his 1970 song \"Your Own Backyard\", he approached Laurie Records for a new contract. They agreed on the condition that he record the song \"Abraham, Martin & John\", written by Dick Holler (also the writer of the Royal Guardsmen's \"Snoopy Vs.",
"They agreed on the condition that he record the song \"Abraham, Martin & John\", written by Dick Holler (also the writer of the Royal Guardsmen's \"Snoopy Vs. The Red Baron\") in response to the assassination of John F. Kennedy on November 22, 1963, and those of Martin Luther King Jr. and Robert F. Kennedy during the spring of 1968.",
"The Red Baron\") in response to the assassination of John F. Kennedy on November 22, 1963, and those of Martin Luther King Jr. and Robert F. Kennedy during the spring of 1968. The success of this song (released by Dion in August 1968 and later recorded by many others including Marvin Gaye) which reached No.",
"The success of this song (released by Dion in August 1968 and later recorded by many others including Marvin Gaye) which reached No. 4 in the US charts and No. 1 in Canada, resuscitated Dion's career. It sold over one million copies and was awarded a gold disc.",
"It sold over one million copies and was awarded a gold disc. Mature and Christian music period: 1969–1986 For the next few years, Dion's music became radically different, moving to more contemplative and mature material. He released several albums essentially as a singer-songwriter, to moderate sales, moving to the Warner Brothers label in 1969.",
"He released several albums essentially as a singer-songwriter, to moderate sales, moving to the Warner Brothers label in 1969. There followed a live reunion show with the Belmonts at Madison Square Garden on June 2, 1972, which was recorded and released as a live album by Warner.",
"There followed a live reunion show with the Belmonts at Madison Square Garden on June 2, 1972, which was recorded and released as a live album by Warner. A year later, in 1973, Dion and the original Belmonts performed once more, doing a sold-out concert at the Nassau Coliseum on Long Island, New York.",
"A year later, in 1973, Dion and the original Belmonts performed once more, doing a sold-out concert at the Nassau Coliseum on Long Island, New York. However, no recording of the 1973 reunion was released. This was followed in 1975 by the album Born to Be with You produced by Phil Spector.",
"This was followed in 1975 by the album Born to Be with You produced by Phil Spector. The album was a commercial failure, but has been subsequently praised by such artists as Jason Pierce of Spiritualized and Pete Townshend of The Who with the track \"Only You Know\" being sampled by Pulp frontman Jarvis Cocker for his single \"Don't Let Him Waste Your Time\" from his 2006 solo album Jarvis.",
"The album was a commercial failure, but has been subsequently praised by such artists as Jason Pierce of Spiritualized and Pete Townshend of The Who with the track \"Only You Know\" being sampled by Pulp frontman Jarvis Cocker for his single \"Don't Let Him Waste Your Time\" from his 2006 solo album Jarvis. In 1978, Dion released an album drawing on many of his teenage influences, Return of the Wanderer, another commercial failure.",
"In 1978, Dion released an album drawing on many of his teenage influences, Return of the Wanderer, another commercial failure. In December 1979, there was a radical spiritual change in Dion, who had become a born again Christian.",
"In December 1979, there was a radical spiritual change in Dion, who had become a born again Christian. Thereafter, his recordings for several years were in a contemporary Christian vein, in which he released five albums on the DaySpring Records label, a division of Word Records in Waco, Texas.",
"Thereafter, his recordings for several years were in a contemporary Christian vein, in which he released five albums on the DaySpring Records label, a division of Word Records in Waco, Texas. These albums reflecting his evangelical Christian convictions were Inside Job (1980), Only Jesus (1981), I Put Away My Idols (1983) which charted at No.",
"These albums reflecting his evangelical Christian convictions were Inside Job (1980), Only Jesus (1981), I Put Away My Idols (1983) which charted at No. 37, Seasons (1984), Kingdom in the Streets (1985) and Velvet & Steel (1986).",
"37, Seasons (1984), Kingdom in the Streets (1985) and Velvet & Steel (1986). Several singles were successfully released to Christian radio, notably \"Still in the Spirit\" from Kingdom in the Streets.",
"Several singles were successfully released to Christian radio, notably \"Still in the Spirit\" from Kingdom in the Streets. In 1984, Dion won the GMA Dove Award (Christian Music Award) for the album I Put Away My Idols. He was also nominated for Grammy Award for Best Gospel Vocal Performance, Male for the same album.",
"He was also nominated for Grammy Award for Best Gospel Vocal Performance, Male for the same album. On September 24, 1985, Dion was a guest on 100 Huntley Street.",
"On September 24, 1985, Dion was a guest on 100 Huntley Street. Return to secular music and RRHOF induction: 1987–1999 In 1987, Dion agreed to do a concert of his old hits at Radio City Music Hall in New York.",
"Return to secular music and RRHOF induction: 1987–1999 In 1987, Dion agreed to do a concert of his old hits at Radio City Music Hall in New York. The two disc CD of this concert was released in 2005, featuring concert photos by Dion's friend, Michael J. Friedman.",
"The two disc CD of this concert was released in 2005, featuring concert photos by Dion's friend, Michael J. Friedman. This concert helped free him to celebrate both his past and his future, and led to a series of special appearances, including a fundraiser for homeless medical relief.",
"This concert helped free him to celebrate both his past and his future, and led to a series of special appearances, including a fundraiser for homeless medical relief. There he shared the stage with fans such as Bruce Springsteen, Paul Simon and Lou Reed, all of whom cited Dion as one of their prime influences.",
"There he shared the stage with fans such as Bruce Springsteen, Paul Simon and Lou Reed, all of whom cited Dion as one of their prime influences. Dion's autobiography, The Wanderer: Dion's Story, co-authored by Davin Seay, was published in the late-1980s.",
"Dion's autobiography, The Wanderer: Dion's Story, co-authored by Davin Seay, was published in the late-1980s. In 1989, DiMucci returned to rock music with the contemporary album Yo Frankie, which included appearances by Paul Simon, Lou Reed, k.d. lang, Patty Smyth and Bryan Adams.",
"lang, Patty Smyth and Bryan Adams. Produced by Dave Edmunds (who also played guitar on the album), \"Yo Frankie has a sharp sound while never losing sight of Dion's soulful, doo-wop voice.\"",
"Produced by Dave Edmunds (who also played guitar on the album), \"Yo Frankie has a sharp sound while never losing sight of Dion's soulful, doo-wop voice.\" Overall, \"the relevant and nostalgic statement from an artist who helped forge rock & roll's first wave\" found his way back on radio and in music videos during this period (both on VH1 and MTV), as well as touring.",
"Overall, \"the relevant and nostalgic statement from an artist who helped forge rock & roll's first wave\" found his way back on radio and in music videos during this period (both on VH1 and MTV), as well as touring. Dion was inducted into the Rock and Roll Hall of Fame (RRHOF) in 1989 (with an introduction by Lou Reed).",
"Dion was inducted into the Rock and Roll Hall of Fame (RRHOF) in 1989 (with an introduction by Lou Reed). Controversially, when Dion's solo induction into the Rock and Roll Hall of Fame occurred, the other original members of the Belmonts (Carlo Mastrangelo, Fred Milano, and Angelo D'Aleo) were not inducted.",
"Controversially, when Dion's solo induction into the Rock and Roll Hall of Fame occurred, the other original members of the Belmonts (Carlo Mastrangelo, Fred Milano, and Angelo D'Aleo) were not inducted. A January 3, 2012 Billboard magazine article stated: \"There was strife between DiMucci and Belmonts members, who were not pleased when DiMucci was inducted into the Rock and Roll Hall of Fame without them in 1989.\"",
"A January 3, 2012 Billboard magazine article stated: \"There was strife between DiMucci and Belmonts members, who were not pleased when DiMucci was inducted into the Rock and Roll Hall of Fame without them in 1989.\" DiMucci joined Scott Kempner and Frank Funaro of the Del-Lords and Mike Mesaros of the Smithereens in a short-lived band called Little Kings.",
"DiMucci joined Scott Kempner and Frank Funaro of the Del-Lords and Mike Mesaros of the Smithereens in a short-lived band called Little Kings. A live album was later released, but not widely circulated or promoted. Grammy Hall of Fame and blues success: 2000–2019 Dion has released several albums with contemporary rock artists.",
"Grammy Hall of Fame and blues success: 2000–2019 Dion has released several albums with contemporary rock artists. His Déjà Nu album in 2000 found him covering Bruce Springsteen, a major follower over the years. He joined Springsteen onstage in Miami in 2002 for a performance of \"If I Should Fall Behind\" from Dream on Fire.",
"He joined Springsteen onstage in Miami in 2002 for a performance of \"If I Should Fall Behind\" from Dream on Fire. In 2002, Dion was inducted into the Grammy Hall of Fame for \"Runaround Sue\". He continues to perform songs from his albums live, including a concert in 2004 being recorded for release on DVD.",
"He continues to perform songs from his albums live, including a concert in 2004 being recorded for release on DVD. In January 2006, Dion released Bronx in Blue, an album of blues and country standards, which was nominated for a Grammy Award. It peaked at No. 2 on the Top Blues Albums chart.",
"2 on the Top Blues Albums chart. In November 2007, Dion issued a follow-up album titled Son of Skip James, which peaked at No. 4 on the Top Blues Albums chart.",
"4 on the Top Blues Albums chart. In October 2008, DiMucci released Heroes: Giants of Early Guitar Rock, an album of his covers of early rock and roll songs he considers seminal to the genre.",
"In October 2008, DiMucci released Heroes: Giants of Early Guitar Rock, an album of his covers of early rock and roll songs he considers seminal to the genre. The album includes versions of songs originally recorded by Buddy Holly, Ritchie Valens, Ricky Nelson, Johnny Cash, and many other early rock guitarists.",
"The album includes versions of songs originally recorded by Buddy Holly, Ritchie Valens, Ricky Nelson, Johnny Cash, and many other early rock guitarists. In October 2009, Dion performed \"The Wanderer\" with Paul Simon at the 25th Anniversary Rock and Roll Hall of Fame Concert.",
"In October 2009, Dion performed \"The Wanderer\" with Paul Simon at the 25th Anniversary Rock and Roll Hall of Fame Concert. An audiobook and paperback by Dion and Mike Aquilina, titled Dion: The Wanderer Talks Truth (Stories, Humor Music), was published in April 2011.",
"An audiobook and paperback by Dion and Mike Aquilina, titled Dion: The Wanderer Talks Truth (Stories, Humor Music), was published in April 2011. DiMucci shares stories about The Bronx in the 1950s, how he ended up on the cover of Sgt.",
"DiMucci shares stories about The Bronx in the 1950s, how he ended up on the cover of Sgt. Pepper's Lonely Hearts Club Band, and his travels with Sam Cooke in the Jim Crow South. Dion released Tank Full of Blues on January 24, 2012. It peaked at No. 3 on the Top Blues Albums chart.",
"3 on the Top Blues Albums chart. While touring on April 5, 2015, Dion performed \"Donna the Prima Donna\" live in Las Vegas. On July 11, 2015, he held a concert in Westbury, New York. In 2015, Dion released the single \"New York Is My Home\" with Paul Simon.",
"In 2015, Dion released the single \"New York Is My Home\" with Paul Simon. Dion had previously worked with Simon on his 1989 hit \"Written on the Subway Wall\". The single was followed by the album New York Is My Home, released February 12, 2016. The album peaked at No.",
"The album peaked at No. The album peaked at No. 3 on the Top Blues Album chart. Dion planned four concerts in the U.S. during early 2016 and was invited as a keynote speaker for the 2016 SXSW in Texas. He spoke on the topic A Conversation with Dion: Rock's Enduring Voice on March 17, 2016.",
"He spoke on the topic A Conversation with Dion: Rock's Enduring Voice on March 17, 2016. Dion appeared on The Tonight Show with Jimmy Fallon on April 8, 2016.",
"Dion appeared on The Tonight Show with Jimmy Fallon on April 8, 2016. In May 2017, Dion released Kickin' Child: The Lost Album 1965 from Norton Records, containing songs recorded in 1965 when he was with Columbia Records but were not previously released.",
"In May 2017, Dion released Kickin' Child: The Lost Album 1965 from Norton Records, containing songs recorded in 1965 when he was with Columbia Records but were not previously released. Also in May 2017, Richard Barone's Sorrows & Promises: Greenwich Village in the 1960s was released, which included Dion performing a duet of his 1964 song \"The Road I'm On (Gloria)\" with Barone.",
"Also in May 2017, Richard Barone's Sorrows & Promises: Greenwich Village in the 1960s was released, which included Dion performing a duet of his 1964 song \"The Road I'm On (Gloria)\" with Barone. The album is a celebration of the New York City scene that Dion was part of during that pivotal era.",
"The album is a celebration of the New York City scene that Dion was part of during that pivotal era. Recent albums with KTBA Records: 2020–present In June 2020, Dion released Blues with Friends via Keeping the Blues Alive Records (KTBA), a new record label created by Joe Bonamassa and Roy Weisman for Dion and other blues musicians to showcase their talents.",
"Recent albums with KTBA Records: 2020–present In June 2020, Dion released Blues with Friends via Keeping the Blues Alive Records (KTBA), a new record label created by Joe Bonamassa and Roy Weisman for Dion and other blues musicians to showcase their talents. The album features Van Morrison, Jeff Beck, Paul Simon, Bruce Springsteen, and others (including liner notes by Bob Dylan).",
"The album features Van Morrison, Jeff Beck, Paul Simon, Bruce Springsteen, and others (including liner notes by Bob Dylan). A digital album (and a double vinyl record set), Dion released a music video for every song from the album on his website and social media platforms such as Facebook and YouTube.",
"A digital album (and a double vinyl record set), Dion released a music video for every song from the album on his website and social media platforms such as Facebook and YouTube. The album reached No. 1 on the Billboard Blues Albums chart (9 weeks at No. 1 and 59 weeks total).",
"1 and 59 weeks total). It also charted in United Kingdom, Germany, France, Italy, Canada and Australia. American Songwriter magazine honored Dion's \"Song for Sam Cooke (Here in America)\" as the \"Greatest of the Great 2020 Songs\".",
"American Songwriter magazine honored Dion's \"Song for Sam Cooke (Here in America)\" as the \"Greatest of the Great 2020 Songs\". Dion also released two Christmas songs in 2020: \"Hello Christmas\" (featuring Amy Grant) and \"You Know It's Christmas\" (featuring Bonamassa).",
"Dion also released two Christmas songs in 2020: \"Hello Christmas\" (featuring Amy Grant) and \"You Know It's Christmas\" (featuring Bonamassa). Both songs were co-written with Mike Aquilina. Music videos were produced for both songs.",
"Music videos were produced for both songs. Dion's song \"Blues Comin' On\" (with Bonamassa) from Blues with Friends was nominated for a 2021 Blues Music Award. In November 2021, Dion released Stomping Ground (with music videos), which includes extensive liner notes written by Pete Townshend.",
"In November 2021, Dion released Stomping Ground (with music videos), which includes extensive liner notes written by Pete Townshend. Except for a cover of \"Red House\", the songs were written by Dion and Aquilina. Multiple guest artists participate on the album. The album became Dion's second No. 1 blues album.",
"1 blues album. 1 blues album. The Wanderer musical On October 13, 2011, an industry-only reading of a new play about Dion's life was performed in New York City.",
"The Wanderer musical On October 13, 2011, an industry-only reading of a new play about Dion's life was performed in New York City. In a December 9, 2011 article from The New York Times, Dion and his collaborator (writer/director Charles Messina) discussed details about the project – titled The Wanderer: The Life and Music of Dion – which will focus on the years between 1957 until the late-1960s, and will feature more than 20 songs from that era as well as new/original music.",
"In a December 9, 2011 article from The New York Times, Dion and his collaborator (writer/director Charles Messina) discussed details about the project – titled The Wanderer: The Life and Music of Dion – which will focus on the years between 1957 until the late-1960s, and will feature more than 20 songs from that era as well as new/original music. In the article, Dion gave his perspective on the story: \"You know, I always saw my story as a young Sopranos with great music and a Rocky Graziano Somebody Up There Likes Me ending.",
"In the article, Dion gave his perspective on the story: \"You know, I always saw my story as a young Sopranos with great music and a Rocky Graziano Somebody Up There Likes Me ending. It's a story of redemption. A rock and roll redemption story!\"",
"A rock and roll redemption story!\" DiMucci revealed that Michael Wartella would be starring in The Wanderer on December 16, 2017. There was a reading of the musical on November 2, 2017 while working on it continued.",
"There was a reading of the musical on November 2, 2017 while working on it continued. On December 4, 2019, it was announced that former New Kids on the Block member Joey McIntyre would star as Johnny, Michael Wartella as Dion, and Christy Altomare as wife, Susan.",
"On December 4, 2019, it was announced that former New Kids on the Block member Joey McIntyre would star as Johnny, Michael Wartella as Dion, and Christy Altomare as wife, Susan. The first performance was scheduled to start on May 28, 2020, at the Paper Mill Playhouse.",
"The first performance was scheduled to start on May 28, 2020, at the Paper Mill Playhouse. Due to the COVID-19 pandemic, the opening performance was rescheduled to March 24, 2022. Personal life Dion lives in Boca Raton, Florida and New York City.",
"Personal life Dion lives in Boca Raton, Florida and New York City. In the late 1990s, Dion visited his old Bronx parish, Our Lady of Mount Carmel, and returned to Catholicism. Sparking Dion's reversion to Catholicism was \"a chance viewing of The Journey Home program on EWTN.\"",
"Sparking Dion's reversion to Catholicism was \"a chance viewing of The Journey Home program on EWTN.\" As a practicing Roman Catholic and having struggled with a heroin addiction during his youth, Dion has been involved in prison religion, reaching out to men going through drug recovery.",
"As a practicing Roman Catholic and having struggled with a heroin addiction during his youth, Dion has been involved in prison religion, reaching out to men going through drug recovery. DiMucci was a member of the American board of directors for Renewal Ministries in 2004.",
"DiMucci was a member of the American board of directors for Renewal Ministries in 2004. Dion appeared on The Journey Home and discussed his wanderings from Catholicism to Protestantism and back again on May 1, 2006.",
"Dion appeared on The Journey Home and discussed his wanderings from Catholicism to Protestantism and back again on May 1, 2006. Selective discography With the Belmonts Presenting Dion and the Belmonts (1959) Wish Upon a Star with Dion and the Belmonts (1960) Together Again (1966) Live at Madison Square Garden 1972 (1973) Solo albums Alone with Dion (1961) Runaround Sue (1961) Donna the Prima Donna (1963) Dion (1968) Suite for Late Summer (1972) Born to Be with You (1975) Streetheart (1976) I Put Away My Idols (1983) Yo Frankie (1989) Son of Skip James (2007) Blues with Friends (2020) Stomping Ground (2021) References External links Comprehensive Rolling Stone profile The Spiritual Journey of the Wanderer Who Came Home By Dion Dimucci Dion the Wanderer, Back In Blue (an article at NPR.com) 1939 births Living people American male singers American people of Italian descent American male pop singers American folk singers American rock singers Musicians from the Bronx American performers of Christian music Laurie Records artists Columbia Records artists Singers from New York City Dion and the Belmonts members Doo-wop musicians Catholics from New York (state)"
] |
[
"Dion DiMucci",
"With the Belmonts: 1957-1960",
"Who were the other members of the Belmonts?",
"Carlo Mastrangelo, Fred Milano, and Angelo D'Aleo",
"Did they know each other from school?",
"I don't know.",
"How old were the members of the group?",
"No One Knows",
"what was the groups most popular song?",
"I Wonder Why\" (on their newly formed \"Laurie\" label) made No. 22 on the U.S. charts.",
"when did the group split up?",
"in October 1960, Dion decided to quit for a solo career.",
"was the group liked worldwide?",
"I don't know.",
"what is the most interesting thing about the group?",
"Holly and others decided to charter a flight to the next venue rather than travel on the tour bus."
] | C_57ef3079d2cb4481bdcc3f5beea88674_1 | What else was intersting about the group? | 8 | Besides "I Wonder Why" being the Belmonts most popular song, What else was interesting about the group? | Dion DiMucci | Bob and Gene Schwartz also signed Dion's friends, the Belmonts, (Carlo Mastrangelo, Fred Milano, and Angelo D'Aleo), a vocal group named for nearby Belmont Avenue, and teamed them, with Dion singing lead. The new group's breakthrough came in early 1958, when "I Wonder Why" (on their newly formed "Laurie" label) made No. 22 on the U.S. charts. Dion said of the Belmonts; "I'd give 'em sounds. I'd give 'em parts and stuff. That's what 'I Wonder Why' was about. We kind of invented this percussive rhythmic sound. If you listen to that song, everybody was doing something different. There's four guys, one guy was doing bass, I was singing lead, one guy's going 'ooh wah ooh,' and another guy's doing tenor. It was totally amazing. When I listen to it today, oftentimes I think, 'man, those kids are talented.'" Their initial hit was followed by "No One Knows" and "Don't Pity Me," which also charted the Billboard Top 100. This success won a place for Dion and the Belmonts on the ill-fated "The Winter Dance Party" tour with Buddy Holly, Ritchie Valens, the Big Bopper (J.P. Richardson), Frankie Sardo, and other performers. On February 3, 1959, after a concert stop in Clear Lake, Iowa, Holly and others decided to charter a flight to the next venue rather than travel on the tour bus. Dion was invited to accompany the group but decided that he did not want to spend $36 for the flight, as it was the same monthly rent his parents paid for his childhood apartment and he couldn't justify the indulgence. The plane crashed, killing all on board; Holly, Valens, Richardson, and the pilot Roger Peterson. Dion and the Belmonts continued on the tour, along with Frankie Sardo, while Bobby Vee, then an unknown artist, performed in Holly's place at the very next concert. Later, Jimmy Clanton, Frankie Avalon, and Fabian were added to replace the other now-deceased headliners. Dion and the Belmonts' next single, "A Teenager in Love," was released in March 1959, eventually hitting No. 5 on the U.S. pop charts and No. 28 in the UK. The group's biggest hit, "Where or When," was released in November of that year, and reached No. 3 on the U.S. charts. However, in early 1960, Dion checked into hospital for heroin addiction, a problem he had had since his mid-teens. Further single releases for the group that year were less successful. There were musical, personal and financial differences between Dion and members of the Belmonts, and in October 1960, Dion decided to quit for a solo career. By the time of their breakup, all eight Laurie releases had charted on the Hot 100. CANNOTANSWER | Dion was invited to accompany the group but decided that he did not want to spend $36 for the flight, | Dion Francis DiMucci (born July 18, 1939), better known simply as Dion, is an American singer and songwriter whose music has incorporated elements of doo-wop, rock, R&B and blues. Initially as lead singer of Dion and the Belmonts, and then in his solo career, he was one of the most popular American rock and roll performers of the pre-British Invasion era. He had 39 Top 40 hits in the late 1950s and early 1960s as a solo performer, with the Belmonts or with the Del-Satins. He is best remembered for the singles "Runaround Sue", "The Wanderer", "Ruby Baby" and "Lovers Who Wander", among other hits.
Dion's popularity waned in the mid-1960s. Toward the end of the decade, he shifted his style and produced songs that were more mature and contemplative, such as "Abraham, Martin and John". He remained popular in the late 1960s until the mid-1970s, and continues making music. During the 1980s, Dion produced several Christian albums, winning a GMA Dove Award in 1984 for the album I Put Away My Idols. He returned to secular music in the late 1980s with Yo Frankie (1989). Between the mid-2000s and 2021, Dion released six chart-topping blues albums. Critics who had dismissed his early work, labeling him as a teen idol, praised his later work and noted the influence he has had on other musicians.
A Grammy-nominated artist, Dion has released nearly 40 albums and scored eight Top 10 hits (ten including the Belmonts) on the Billboard Hot 100 chart. He was inducted into the Rock and Roll Hall of Fame in 1989.
Early life
Dion was born to an Italian-American family in the Bronx, New York. As a child, he accompanied his father, Pasquale DiMucci, a vaudeville entertainer, on tour, and developed a love of country music – particularly the work of Hank Williams. He also developed a fondness for the blues and doo-wop musicians he heard performing in local bars and on the radio. His singing was honed on the street corners and local clubs of the Bronx, where he and other neighborhood singers created a cappella riffs.
In early 1957, he auditioned for Bob and Gene Schwartz for their short-lived Mohawk Records label. They asked Dion to sing a song which had been arranged by Hugo Montenegro and recorded featuring Vic Damone doing vocals. At first Dion refused, stating the song would sound like something his old fashioned parents would listen to, but the Schwartzes convinced him to give it a try. The backing vocals were by a group called "the Timberlanes", whom Dion had never met. The resulting single, "The Chosen Few", was released under the name "Dion and the Timberlanes", and became a minor regional hit. Dion himself stated in 2019 during an interview at "Crashing the Party" (a radio program related to Norton Records in Brooklyn, New York) that "The Chosen Few" hit the Top Ten locally in Boston and enabled him to perform this song on American Bandstand where the kids at the show started screaming during his performance, which gave him his first impression of being a record star. Writing about this experience later, in his autobiography, The Wanderer, Dion said that he had never met the Timberlanes and did not even know who they were. "The vocal group was so white bread, I went back to my neighborhood and I recruited a bunch of guys – three guys – and we called ourselves Dion and the Belmonts."
Career
Beginnings with the Belmonts: 1957–1960
Bob and Gene Schwartz signed Dion's friends, the Belmonts (Carlo Mastrangelo, Fred Milano, and Angelo D'Aleo), a vocal group named for the Belmont, Bronx neighborhood, and teamed them up with Dion singing lead. The new group's breakthrough came in early 1958, when "I Wonder Why" (on their newly formed Laurie Records) made No. 22 on the U.S. charts. Dion said of the Belmonts; "I'd give 'em sounds. I'd give 'em parts and stuff. That's what 'I Wonder Why' was about. We kind of invented this percussive rhythmic sound. If you listen to that song, everybody was doing something different. There's four guys, one guy was doing bass, I was singing lead, one guy's going 'ooh wah ooh,' and another guy's doing tenor. It was totally amazing. When I listen to it today, oftentimes I think, 'man, those kids are talented.'"
Their initial hit was followed by "No One Knows" and "Don't Pity Me", which also charted the Billboard Top 100. This success won a place for Dion and the Belmonts on the ill-fated "The Winter Dance Party" tour with Buddy Holly, Ritchie Valens, the Big Bopper (J.P. Richardson), Frankie Sardo, and other performers. On February 3, 1959, after a concert stop in Clear Lake, Iowa, Holly and others decided to charter a flight to the next venue rather than travel on the tour bus. Dion was invited to accompany the group but decided that he did not want to spend $36 for the flight, as it was the same monthly rent his parents paid for his childhood apartment and he could not justify the indulgence. The plane crashed, killing all on board: Holly, Valens, Richardson, and the pilot Roger Peterson. Dion and the Belmonts continued on the tour, along with Frankie Sardo, while Bobby Vee, then an unknown artist, performed in Holly's place at the very next concert. Later, Jimmy Clanton, Frankie Avalon, and Fabian were added to replace the other now-deceased headliners.
Dion and the Belmonts' next single, "A Teenager in Love", was released in March 1959, eventually hitting No. 5 on the U.S. pop charts and No. 28 in the UK. The group's biggest hit, "Where or When", was released in November of that year, and reached No. 3 on the U.S. charts. However, in early 1960, Dion checked into hospital for heroin addiction, a problem he had had since his mid-teens. Further single releases for the group that year were less successful. There were musical, personal and financial differences between Dion and members of the Belmonts, and in October 1960, Dion decided to quit for a solo career. By the time of their breakup, all eight Laurie releases had charted on the Hot 100.
Solo stardom and touring worldwide: 1960–1964
By the end of 1960, Dion produced his first solo album on Laurie Records, Alone with Dion, released in 1961. The single "Lonely Teenager" rose to No. 12 in the US charts. The name on his solo releases was simply "Dion". Follow-ups "Havin' Fun" and "Kissin' Game" had less success, and the signs were that Dion would drift onto the cabaret circuit. However, he then recorded an up-tempo number co-written with Ernie Maresca with a new vocal group, the Del-Satins. The record, "Runaround Sue", stormed up the U.S. charts, reaching No. 1 in October 1961, and No. 11 in the UK, where he also toured. "Runaround Sue" sold over a million copies, achieving gold disc status.
For the next single, Laurie promoted the A-side, "The Majestic", but it was the B-side, Maresca's "The Wanderer", which received more radio play and climbed swiftly up the charts to reach No. 2 in the U.S. in February 1962 and No. 10 in the UK. The 1976 re-release made the UK Top 20.
By the end of 1961, Dion had become a major star, touring worldwide and making an appearance in the Columbia Pictures musical film Twist Around the Clock. In 1962, he followed with a string of singles he wrote or co-wrote including "Lovers Who Wander" (No. 3), "Little Diane" (No. 8), "Love Came to Me" (No. 10). He also had successful albums with Runaround Sue and Lovers Who Wander.
At the end of 1962, Dion moved from Laurie to Columbia Records. He was the first rock and roll artist signed to the label, which was an anomaly considering that its then-A&R director, Mitch Miller, loathed that particular genre of music. The first Columbia single, Jerry Leiber and Mike Stoller's "Ruby Baby" (originally a hit for the Drifters) reached No. 2, while "Donna the Prima Donna" and "Drip Drop" (another remake of a Drifters hit) both reached No. 6 in late 1963. (Dion also recorded an Italian version of "Donna the Prima Donna" using the identical backup vocals.) His other Columbia releases were less successful, and problems with his drug addiction and changing public tastes, especially the British Invasion, saw a period of commercial decline.
Belmonts reunion and renewed contract: 1965–1968
Following a European tour, Dion returned to the U.S. and was introduced to classic blues by Columbia's John Hammond. To the consternation of his management, he began recording more blues-oriented material, including Willie Dixon's "Hoochie Coochie Man" and "Spoonful", but these releases – some produced by Tom Wilson, with Al Kooper on keyboards – were not commercially successful. In 1965, still with Columbia, Dion formed a new group to back him, The Wanderers, composed of John Falbo on guitar, Pete Baron (Pete Falciglia) on bass, and Carlo Mastrangelo of the Belmonts on drums. They made national appearances on Dick Clark's, Where The Action Is, and The Lloyd Thaxton Show. A number of self-penned tracks were recorded and released unsuccessfully as singles, and did not appear in album format until years later. In June 1965 he recorded fellow Columbia Records's contemporary Bob Dylan's composition "It's All Over Now, Baby Blue" a half-year before Them (featuring Van Morrison)'s hit version.
In 1966–67, Dion briefly reunited with the Belmonts, recording the LP Together Again for ABC Records. The album was unsuccessful, despite one classic self-penned song, "My Girl the Month of May". Two singles were released from the LP. While neither charted in the United States, they fared better in the UK. "My Girl The Month of May" entered the Radio London "Fab 40" at No. 9 the week of December 25, 1966. A 'turntable' hit at London underground clubs like Middle Earth, the disc received a lot of play from pirate radio DJ's John Peel and Kenny Everett. The follow up, "Movin' Man", reached No. 17 on the "Radio London" charts on Easter Sunday, March 26, 1967. "My Girl The Month of May" was later covered by English artists Alan Bown in 1967, and Island Records artists The Bunch (featuring Sandy Denny and other members of Fairport Convention) in April 1972. During their brief mid-60's reunion, Dion and the Belmonts appeared on the popular Clay Cole Show performing "Berimbau" and "My Girl The Month of May", and occasionally performed at local New York City clubs such as "The Mardi Gras" on Staten Island (April 29, 1967) before disbanding. While Dion's career appeared to be nearing an end, he still retained enough credibility to be, along with Bob Dylan, one of only two rock artists featured on the album cover of the Beatles' Sgt. Pepper's Lonely Hearts Club Band in 1967.
In April 1968, Dion experienced what he identified as a powerful religious transformation. After getting clean once again from heroin addiction, an experience he documented in his 1970 song "Your Own Backyard", he approached Laurie Records for a new contract. They agreed on the condition that he record the song "Abraham, Martin & John", written by Dick Holler (also the writer of the Royal Guardsmen's "Snoopy Vs. The Red Baron") in response to the assassination of John F. Kennedy on November 22, 1963, and those of Martin Luther King Jr. and Robert F. Kennedy during the spring of 1968. The success of this song (released by Dion in August 1968 and later recorded by many others including Marvin Gaye) which reached No. 4 in the US charts and No. 1 in Canada, resuscitated Dion's career. It sold over one million copies and was awarded a gold disc.
Mature and Christian music period: 1969–1986
For the next few years, Dion's music became radically different, moving to more contemplative and mature material. He released several albums essentially as a singer-songwriter, to moderate sales, moving to the Warner Brothers label in 1969.
There followed a live reunion show with the Belmonts at Madison Square Garden on June 2, 1972, which was recorded and released as a live album by Warner. A year later, in 1973, Dion and the original Belmonts performed once more, doing a sold-out concert at the Nassau Coliseum on Long Island, New York. However, no recording of the 1973 reunion was released. This was followed in 1975 by the album Born to Be with You produced by Phil Spector. The album was a commercial failure, but has been subsequently praised by such artists as Jason Pierce of Spiritualized and Pete Townshend of The Who with the track "Only You Know" being sampled by Pulp frontman Jarvis Cocker for his single "Don't Let Him Waste Your Time" from his 2006 solo album Jarvis.
In 1978, Dion released an album drawing on many of his teenage influences, Return of the Wanderer, another commercial failure.
In December 1979, there was a radical spiritual change in Dion, who had become a born again Christian. Thereafter, his recordings for several years were in a contemporary Christian vein, in which he released five albums on the DaySpring Records label, a division of Word Records in Waco, Texas. These albums reflecting his evangelical Christian convictions were Inside Job (1980), Only Jesus (1981), I Put Away My Idols (1983) which charted at No. 37, Seasons (1984), Kingdom in the Streets (1985) and Velvet & Steel (1986). Several singles were successfully released to Christian radio, notably "Still in the Spirit" from Kingdom in the Streets.
In 1984, Dion won the GMA Dove Award (Christian Music Award) for the album I Put Away My Idols. He was also nominated for Grammy Award for Best Gospel Vocal Performance, Male for the same album.
On September 24, 1985, Dion was a guest on 100 Huntley Street.
Return to secular music and RRHOF induction: 1987–1999
In 1987, Dion agreed to do a concert of his old hits at Radio City Music Hall in New York. The two disc CD of this concert was released in 2005, featuring concert photos by Dion's friend, Michael J. Friedman. This concert helped free him to celebrate both his past and his future, and led to a series of special appearances, including a fundraiser for homeless medical relief. There he shared the stage with fans such as Bruce Springsteen, Paul Simon and Lou Reed, all of whom cited Dion as one of their prime influences.
Dion's autobiography, The Wanderer: Dion's Story, co-authored by Davin Seay, was published in the late-1980s.
In 1989, DiMucci returned to rock music with the contemporary album Yo Frankie, which included appearances by Paul Simon, Lou Reed, k.d. lang, Patty Smyth and Bryan Adams. Produced by Dave Edmunds (who also played guitar on the album), "Yo Frankie has a sharp sound while never losing sight of Dion's soulful, doo-wop voice." Overall, "the relevant and nostalgic statement from an artist who helped forge rock & roll's first wave" found his way back on radio and in music videos during this period (both on VH1 and MTV), as well as touring.
Dion was inducted into the Rock and Roll Hall of Fame (RRHOF) in 1989 (with an introduction by Lou Reed). Controversially, when Dion's solo induction into the Rock and Roll Hall of Fame occurred, the other original members of the Belmonts (Carlo Mastrangelo, Fred Milano, and Angelo D'Aleo) were not inducted. A January 3, 2012 Billboard magazine article stated: "There was strife between DiMucci and Belmonts members, who were not pleased when DiMucci was inducted into the Rock and Roll Hall of Fame without them in 1989."
DiMucci joined Scott Kempner and Frank Funaro of the Del-Lords and Mike Mesaros of the Smithereens in a short-lived band called Little Kings. A live album was later released, but not widely circulated or promoted.
Grammy Hall of Fame and blues success: 2000–2019
Dion has released several albums with contemporary rock artists. His Déjà Nu album in 2000 found him covering Bruce Springsteen, a major follower over the years. He joined Springsteen onstage in Miami in 2002 for a performance of "If I Should Fall Behind" from Dream on Fire.
In 2002, Dion was inducted into the Grammy Hall of Fame for "Runaround Sue". He continues to perform songs from his albums live, including a concert in 2004 being recorded for release on DVD.
In January 2006, Dion released Bronx in Blue, an album of blues and country standards, which was nominated for a Grammy Award. It peaked at No. 2 on the Top Blues Albums chart. In November 2007, Dion issued a follow-up album titled Son of Skip James, which peaked at No. 4 on the Top Blues Albums chart.
In October 2008, DiMucci released Heroes: Giants of Early Guitar Rock, an album of his covers of early rock and roll songs he considers seminal to the genre. The album includes versions of songs originally recorded by Buddy Holly, Ritchie Valens, Ricky Nelson, Johnny Cash, and many other early rock guitarists.
In October 2009, Dion performed "The Wanderer" with Paul Simon at the 25th Anniversary Rock and Roll Hall of Fame Concert.
An audiobook and paperback by Dion and Mike Aquilina, titled Dion: The Wanderer Talks Truth (Stories, Humor Music), was published in April 2011. DiMucci shares stories about The Bronx in the 1950s, how he ended up on the cover of Sgt. Pepper's Lonely Hearts Club Band, and his travels with Sam Cooke in the Jim Crow South.
Dion released Tank Full of Blues on January 24, 2012. It peaked at No. 3 on the Top Blues Albums chart.
While touring on April 5, 2015, Dion performed "Donna the Prima Donna" live in Las Vegas. On July 11, 2015, he held a concert in Westbury, New York.
In 2015, Dion released the single "New York Is My Home" with Paul Simon. Dion had previously worked with Simon on his 1989 hit "Written on the Subway Wall". The single was followed by the album New York Is My Home, released February 12, 2016. The album peaked at No. 3 on the Top Blues Album chart.
Dion planned four concerts in the U.S. during early 2016 and was invited as a keynote speaker for the 2016 SXSW in Texas. He spoke on the topic A Conversation with Dion: Rock's Enduring Voice on March 17, 2016.
Dion appeared on The Tonight Show with Jimmy Fallon on April 8, 2016.
In May 2017, Dion released Kickin' Child: The Lost Album 1965 from Norton Records, containing songs recorded in 1965 when he was with Columbia Records but were not previously released. Also in May 2017, Richard Barone's Sorrows & Promises: Greenwich Village in the 1960s was released, which included Dion performing a duet of his 1964 song "The Road I'm On (Gloria)" with Barone. The album is a celebration of the New York City scene that Dion was part of during that pivotal era.
Recent albums with KTBA Records: 2020–present
In June 2020, Dion released Blues with Friends via Keeping the Blues Alive Records (KTBA), a new record label created by Joe Bonamassa and Roy Weisman for Dion and other blues musicians to showcase their talents. The album features Van Morrison, Jeff Beck, Paul Simon, Bruce Springsteen, and others (including liner notes by Bob Dylan). A digital album (and a double vinyl record set), Dion released a music video for every song from the album on his website and social media platforms such as Facebook and YouTube. The album reached No. 1 on the Billboard Blues Albums chart (9 weeks at No. 1 and 59 weeks total). It also charted in United Kingdom, Germany, France, Italy, Canada and Australia.
American Songwriter magazine honored Dion's "Song for Sam Cooke (Here in America)" as the "Greatest of the Great 2020 Songs".
Dion also released two Christmas songs in 2020: "Hello Christmas" (featuring Amy Grant) and "You Know It's Christmas" (featuring Bonamassa). Both songs were co-written with Mike Aquilina. Music videos were produced for both songs.
Dion's song "Blues Comin' On" (with Bonamassa) from Blues with Friends was nominated for a 2021 Blues Music Award.
In November 2021, Dion released Stomping Ground (with music videos), which includes extensive liner notes written by Pete Townshend. Except for a cover of "Red House", the songs were written by Dion and Aquilina. Multiple guest artists participate on the album. The album became Dion's second No. 1 blues album.
The Wanderer musical
On October 13, 2011, an industry-only reading of a new play about Dion's life was performed in New York City.
In a December 9, 2011 article from The New York Times, Dion and his collaborator (writer/director Charles Messina) discussed details about the project – titled The Wanderer: The Life and Music of Dion – which will focus on the years between 1957 until the late-1960s, and will feature more than 20 songs from that era as well as new/original music. In the article, Dion gave his perspective on the story: "You know, I always saw my story as a young Sopranos with great music and a Rocky Graziano Somebody Up There Likes Me ending. It's a story of redemption. A rock and roll redemption story!"
DiMucci revealed that Michael Wartella would be starring in The Wanderer on December 16, 2017. There was a reading of the musical on November 2, 2017 while working on it continued. On December 4, 2019, it was announced that former New Kids on the Block member Joey McIntyre would star as Johnny, Michael Wartella as Dion, and Christy Altomare as wife, Susan. The first performance was scheduled to start on May 28, 2020, at the Paper Mill Playhouse. Due to the COVID-19 pandemic, the opening performance was rescheduled to March 24, 2022.
Personal life
Dion lives in Boca Raton, Florida and New York City.
In the late 1990s, Dion visited his old Bronx parish, Our Lady of Mount Carmel, and returned to Catholicism. Sparking Dion's reversion to Catholicism was "a chance viewing of The Journey Home program on EWTN."
As a practicing Roman Catholic and having struggled with a heroin addiction during his youth, Dion has been involved in prison religion, reaching out to men going through drug recovery.
DiMucci was a member of the American board of directors for Renewal Ministries in 2004.
Dion appeared on The Journey Home and discussed his wanderings from Catholicism to Protestantism and back again on May 1, 2006.
Selective discography
With the Belmonts
Presenting Dion and the Belmonts (1959)
Wish Upon a Star with Dion and the Belmonts (1960)
Together Again (1966)
Live at Madison Square Garden 1972 (1973)
Solo albums
Alone with Dion (1961)
Runaround Sue (1961)
Donna the Prima Donna (1963)
Dion (1968)
Suite for Late Summer (1972)
Born to Be with You (1975)
Streetheart (1976)
I Put Away My Idols (1983)
Yo Frankie (1989)
Son of Skip James (2007)
Blues with Friends (2020)
Stomping Ground (2021)
References
External links
Comprehensive Rolling Stone profile
The Spiritual Journey of the Wanderer Who Came Home By Dion Dimucci
Dion the Wanderer, Back In Blue (an article at NPR.com)
1939 births
Living people
American male singers
American people of Italian descent
American male pop singers
American folk singers
American rock singers
Musicians from the Bronx
American performers of Christian music
Laurie Records artists
Columbia Records artists
Singers from New York City
Dion and the Belmonts members
Doo-wop musicians
Catholics from New York (state) | true | [
"\"What Else Is There?\" is the third single from the Norwegian duo Röyksopp's second album The Understanding. It features the vocals of Karin Dreijer from the Swedish electronica duo The Knife. The album was released in the UK with the help of Astralwerks.\n\nThe single was used in an O2 television advertisement in the Czech Republic and in Slovakia during 2008. It was also used in the 2006 film Cashback and the 2007 film, Meet Bill. Trentemøller's remix of \"What Else is There?\" was featured in an episode of the HBO show Entourage.\n\nThe song was covered by extreme metal band Enslaved as a bonus track for their album E.\n\nThe song was listed as the 375th best song of the 2000s by Pitchfork Media.\n\nOfficial versions\n\"What Else Is There?\" (Album Version) – 5:17\n\"What Else Is There?\" (Radio Edit) – 3:38\n\"What Else Is There?\" (Jacques Lu Cont Radio Mix) – 3:46\n\"What Else Is There?\" (The Emperor Machine Vocal Version) – 8:03\n\"What Else Is There?\" (The Emperor Machine Dub Version) – 7:51\n\"What Else Is There?\" (Thin White Duke Mix) – 8:25\n\"What Else Is There?\" (Thin White Duke Edit) – 4:50\n\"What Else Is There?\" (Thin White Duke Remix) (Radio Edit) – 3:06\n\"What Else Is There?\" (Trentemøller Remix) – 7:42\n\"What Else Is There?\" (Vitalic Remix) – 5:14\n\nResponse\nThe single was officially released on 5 December 2005 in the UK. The single had a limited release on 21 November 2005 to promote the upcoming album. On the UK Singles Chart, it peaked at number 32, while on the UK Dance Chart, it reached number one.\n\nMusic video\nThe music video was directed by Martin de Thurah. It features Norwegian model Marianne Schröder who is shown lip-syncing Dreijer's voice. Schröder is depicted as a floating woman traveling across stormy landscapes and within empty houses. Dreijer makes a cameo appearance as a woman wearing an Elizabethan ruff while dining alone at a festive table.\n\nMovie spots\n\nThe song is also featured in the movie Meet Bill as characters played by Jessica Alba and Aaron Eckhart smoke marijuana while listening to it. It is also part of the end credits music of the film Cashback.\n\nCharts\n\nReferences\n\n2005 singles\nRöyksopp songs\nAstralwerks singles\nSongs written by Svein Berge\nSongs written by Torbjørn Brundtland\n2004 songs\nSongs written by Roger Greenaway\nSongs written by Olof Dreijer\nSongs written by Karin Dreijer",
"The discography of Ira Losco, a Maltese singer, contains five studio albums and forty-three singles. She represented Malta at the Eurovision Song Contest 2002 in Tallinn, Estonia with the song \"7th Wonder\", the song went on to finish second in the Final which was won by Marie N from Latvia with the song \"I Wanna\". She represented her country for the second time at Eurovision Song Contest 2016 in Stockholm, Sweden with the song \"Walk on Water\" and finished 11th (Ties with The Netherlands) in the grand final.\n\nHer debut studio album, Someone Else, was released in April 2004. The album includes the singles \"Love Me Or Hate Me\", \"Who I Am\", \"Someone Else\", \"Say Hey\", \"I'm In Love Again\" and \"Must've Been Good\". Her first Remix album, Blends & Remixes of Someone Else, was released in January 2005. Her second studio album, Accident Prone, was released in November 2005. The album includes the singles \"Everyday\", \"Get Out\", \"Don't Wanna Talk About It\", \"Driving One Of Your Cars\", \"Accident Prone\", \"Uh-Oh\" and \"Waking Up To The Light\". Her third studio album, Unmasked, was released in December 2006. The album includes the singles \"Winter Day\" and \"Arms Of The Ones...\". Her fourth studio album, Fortune Teller, was released in June 2008. The album includes the singles \"Something To Talk About\", \"Don't Look Down\", \"Idle Motion\", \"Promises\", \"Elvis Can You Hear Me?\", \"Shoulders of Giants\", \"What's The Matter With You?\" and \"Fortune Teller\". Her second Remix album, Mixed Beats, was released in August 2009. The album includes the singles \"What's The Matter With Your Cabrio\", \"Shoulders of Giants\" and \"Love Song\". Her fifth studio album, The Fire, was released in March 2013. The album includes the singles \"What I'd Give\", \"The Person I Am\", \"Me Luv U Long Time\" and \"The Way It's Meant To Be\".\n\nAlbums\n\nStudio albums\n\nRemix albums\n\nCompilation albums\n\nSingles\n\nAs lead artist\n\nOther appearances\n\nCovers & Re-Makes\n Ira re-made the track \"Say Hey\" featuring aspiring singer Caroline Stapley in 2004. The track was just a radio hit and is not featured in any album or single.\n Michelle Hunziker covered the tracks \"Get Out\", \"Love Me Or Hate Me\" and \"Someone Else\" for her debut album \"Lole\" in 2006.\n \"Accident Prone\" was remixed by DJ Ruby, Thomas Penton & Alex Armes, but wasn't featured in any album.\n Riffs from \"Uh Oh\" were sampled on Kelly Clarkson's track \"Don't Waste Your Time\".\n\nReferences\n\nExternal links\n Official Website\n\nDiscographies of Maltese artists\nPop music discographies"
] | [
"Dion Francis DiMucci (born July 18, 1939), better known simply as Dion, is an American singer and songwriter whose music has incorporated elements of doo-wop, rock, R&B and blues. Initially as lead singer of Dion and the Belmonts, and then in his solo career, he was one of the most popular American rock and roll performers of the pre-British Invasion era.",
"Initially as lead singer of Dion and the Belmonts, and then in his solo career, he was one of the most popular American rock and roll performers of the pre-British Invasion era. He had 39 Top 40 hits in the late 1950s and early 1960s as a solo performer, with the Belmonts or with the Del-Satins.",
"He had 39 Top 40 hits in the late 1950s and early 1960s as a solo performer, with the Belmonts or with the Del-Satins. He is best remembered for the singles \"Runaround Sue\", \"The Wanderer\", \"Ruby Baby\" and \"Lovers Who Wander\", among other hits.",
"He is best remembered for the singles \"Runaround Sue\", \"The Wanderer\", \"Ruby Baby\" and \"Lovers Who Wander\", among other hits. Dion's popularity waned in the mid-1960s.",
"Dion's popularity waned in the mid-1960s. Toward the end of the decade, he shifted his style and produced songs that were more mature and contemplative, such as \"Abraham, Martin and John\". He remained popular in the late 1960s until the mid-1970s, and continues making music.",
"He remained popular in the late 1960s until the mid-1970s, and continues making music. During the 1980s, Dion produced several Christian albums, winning a GMA Dove Award in 1984 for the album I Put Away My Idols. He returned to secular music in the late 1980s with Yo Frankie (1989).",
"He returned to secular music in the late 1980s with Yo Frankie (1989). Between the mid-2000s and 2021, Dion released six chart-topping blues albums. Critics who had dismissed his early work, labeling him as a teen idol, praised his later work and noted the influence he has had on other musicians.",
"Critics who had dismissed his early work, labeling him as a teen idol, praised his later work and noted the influence he has had on other musicians. A Grammy-nominated artist, Dion has released nearly 40 albums and scored eight Top 10 hits (ten including the Belmonts) on the Billboard Hot 100 chart.",
"A Grammy-nominated artist, Dion has released nearly 40 albums and scored eight Top 10 hits (ten including the Belmonts) on the Billboard Hot 100 chart. He was inducted into the Rock and Roll Hall of Fame in 1989. Early life Dion was born to an Italian-American family in the Bronx, New York.",
"Early life Dion was born to an Italian-American family in the Bronx, New York. As a child, he accompanied his father, Pasquale DiMucci, a vaudeville entertainer, on tour, and developed a love of country music – particularly the work of Hank Williams.",
"As a child, he accompanied his father, Pasquale DiMucci, a vaudeville entertainer, on tour, and developed a love of country music – particularly the work of Hank Williams. He also developed a fondness for the blues and doo-wop musicians he heard performing in local bars and on the radio.",
"He also developed a fondness for the blues and doo-wop musicians he heard performing in local bars and on the radio. His singing was honed on the street corners and local clubs of the Bronx, where he and other neighborhood singers created a cappella riffs.",
"His singing was honed on the street corners and local clubs of the Bronx, where he and other neighborhood singers created a cappella riffs. In early 1957, he auditioned for Bob and Gene Schwartz for their short-lived Mohawk Records label.",
"In early 1957, he auditioned for Bob and Gene Schwartz for their short-lived Mohawk Records label. They asked Dion to sing a song which had been arranged by Hugo Montenegro and recorded featuring Vic Damone doing vocals.",
"They asked Dion to sing a song which had been arranged by Hugo Montenegro and recorded featuring Vic Damone doing vocals. At first Dion refused, stating the song would sound like something his old fashioned parents would listen to, but the Schwartzes convinced him to give it a try.",
"At first Dion refused, stating the song would sound like something his old fashioned parents would listen to, but the Schwartzes convinced him to give it a try. The backing vocals were by a group called \"the Timberlanes\", whom Dion had never met.",
"The backing vocals were by a group called \"the Timberlanes\", whom Dion had never met. The resulting single, \"The Chosen Few\", was released under the name \"Dion and the Timberlanes\", and became a minor regional hit.",
"The resulting single, \"The Chosen Few\", was released under the name \"Dion and the Timberlanes\", and became a minor regional hit. Dion himself stated in 2019 during an interview at \"Crashing the Party\" (a radio program related to Norton Records in Brooklyn, New York) that \"The Chosen Few\" hit the Top Ten locally in Boston and enabled him to perform this song on American Bandstand where the kids at the show started screaming during his performance, which gave him his first impression of being a record star.",
"Dion himself stated in 2019 during an interview at \"Crashing the Party\" (a radio program related to Norton Records in Brooklyn, New York) that \"The Chosen Few\" hit the Top Ten locally in Boston and enabled him to perform this song on American Bandstand where the kids at the show started screaming during his performance, which gave him his first impression of being a record star. Writing about this experience later, in his autobiography, The Wanderer, Dion said that he had never met the Timberlanes and did not even know who they were.",
"Writing about this experience later, in his autobiography, The Wanderer, Dion said that he had never met the Timberlanes and did not even know who they were. \"The vocal group was so white bread, I went back to my neighborhood and I recruited a bunch of guys – three guys – and we called ourselves Dion and the Belmonts.\"",
"\"The vocal group was so white bread, I went back to my neighborhood and I recruited a bunch of guys – three guys – and we called ourselves Dion and the Belmonts.\" Career Beginnings with the Belmonts: 1957–1960 Bob and Gene Schwartz signed Dion's friends, the Belmonts (Carlo Mastrangelo, Fred Milano, and Angelo D'Aleo), a vocal group named for the Belmont, Bronx neighborhood, and teamed them up with Dion singing lead.",
"Career Beginnings with the Belmonts: 1957–1960 Bob and Gene Schwartz signed Dion's friends, the Belmonts (Carlo Mastrangelo, Fred Milano, and Angelo D'Aleo), a vocal group named for the Belmont, Bronx neighborhood, and teamed them up with Dion singing lead. The new group's breakthrough came in early 1958, when \"I Wonder Why\" (on their newly formed Laurie Records) made No.",
"The new group's breakthrough came in early 1958, when \"I Wonder Why\" (on their newly formed Laurie Records) made No. 22 on the U.S. charts. Dion said of the Belmonts; \"I'd give 'em sounds. I'd give 'em parts and stuff. That's what 'I Wonder Why' was about.",
"That's what 'I Wonder Why' was about. We kind of invented this percussive rhythmic sound. If you listen to that song, everybody was doing something different. There's four guys, one guy was doing bass, I was singing lead, one guy's going 'ooh wah ooh,' and another guy's doing tenor.",
"There's four guys, one guy was doing bass, I was singing lead, one guy's going 'ooh wah ooh,' and another guy's doing tenor. It was totally amazing. When I listen to it today, oftentimes I think, 'man, those kids are talented.'\"",
"When I listen to it today, oftentimes I think, 'man, those kids are talented.'\" Their initial hit was followed by \"No One Knows\" and \"Don't Pity Me\", which also charted the Billboard Top 100.",
"Their initial hit was followed by \"No One Knows\" and \"Don't Pity Me\", which also charted the Billboard Top 100. This success won a place for Dion and the Belmonts on the ill-fated \"The Winter Dance Party\" tour with Buddy Holly, Ritchie Valens, the Big Bopper (J.P. Richardson), Frankie Sardo, and other performers.",
"This success won a place for Dion and the Belmonts on the ill-fated \"The Winter Dance Party\" tour with Buddy Holly, Ritchie Valens, the Big Bopper (J.P. Richardson), Frankie Sardo, and other performers. On February 3, 1959, after a concert stop in Clear Lake, Iowa, Holly and others decided to charter a flight to the next venue rather than travel on the tour bus.",
"On February 3, 1959, after a concert stop in Clear Lake, Iowa, Holly and others decided to charter a flight to the next venue rather than travel on the tour bus. Dion was invited to accompany the group but decided that he did not want to spend $36 for the flight, as it was the same monthly rent his parents paid for his childhood apartment and he could not justify the indulgence.",
"Dion was invited to accompany the group but decided that he did not want to spend $36 for the flight, as it was the same monthly rent his parents paid for his childhood apartment and he could not justify the indulgence. The plane crashed, killing all on board: Holly, Valens, Richardson, and the pilot Roger Peterson.",
"The plane crashed, killing all on board: Holly, Valens, Richardson, and the pilot Roger Peterson. Dion and the Belmonts continued on the tour, along with Frankie Sardo, while Bobby Vee, then an unknown artist, performed in Holly's place at the very next concert.",
"Dion and the Belmonts continued on the tour, along with Frankie Sardo, while Bobby Vee, then an unknown artist, performed in Holly's place at the very next concert. Later, Jimmy Clanton, Frankie Avalon, and Fabian were added to replace the other now-deceased headliners.",
"Later, Jimmy Clanton, Frankie Avalon, and Fabian were added to replace the other now-deceased headliners. Dion and the Belmonts' next single, \"A Teenager in Love\", was released in March 1959, eventually hitting No. 5 on the U.S. pop charts and No. 28 in the UK.",
"28 in the UK. 28 in the UK. The group's biggest hit, \"Where or When\", was released in November of that year, and reached No. 3 on the U.S. charts. However, in early 1960, Dion checked into hospital for heroin addiction, a problem he had had since his mid-teens.",
"However, in early 1960, Dion checked into hospital for heroin addiction, a problem he had had since his mid-teens. Further single releases for the group that year were less successful.",
"Further single releases for the group that year were less successful. There were musical, personal and financial differences between Dion and members of the Belmonts, and in October 1960, Dion decided to quit for a solo career. By the time of their breakup, all eight Laurie releases had charted on the Hot 100.",
"By the time of their breakup, all eight Laurie releases had charted on the Hot 100. Solo stardom and touring worldwide: 1960–1964 By the end of 1960, Dion produced his first solo album on Laurie Records, Alone with Dion, released in 1961. The single \"Lonely Teenager\" rose to No.",
"The single \"Lonely Teenager\" rose to No. 12 in the US charts. The name on his solo releases was simply \"Dion\". Follow-ups \"Havin' Fun\" and \"Kissin' Game\" had less success, and the signs were that Dion would drift onto the cabaret circuit.",
"Follow-ups \"Havin' Fun\" and \"Kissin' Game\" had less success, and the signs were that Dion would drift onto the cabaret circuit. However, he then recorded an up-tempo number co-written with Ernie Maresca with a new vocal group, the Del-Satins.",
"However, he then recorded an up-tempo number co-written with Ernie Maresca with a new vocal group, the Del-Satins. The record, \"Runaround Sue\", stormed up the U.S. charts, reaching No. 1 in October 1961, and No. 11 in the UK, where he also toured.",
"11 in the UK, where he also toured. \"Runaround Sue\" sold over a million copies, achieving gold disc status.",
"\"Runaround Sue\" sold over a million copies, achieving gold disc status. For the next single, Laurie promoted the A-side, \"The Majestic\", but it was the B-side, Maresca's \"The Wanderer\", which received more radio play and climbed swiftly up the charts to reach No.",
"For the next single, Laurie promoted the A-side, \"The Majestic\", but it was the B-side, Maresca's \"The Wanderer\", which received more radio play and climbed swiftly up the charts to reach No. 2 in the U.S. in February 1962 and No. 10 in the UK.",
"10 in the UK. 10 in the UK. The 1976 re-release made the UK Top 20. By the end of 1961, Dion had become a major star, touring worldwide and making an appearance in the Columbia Pictures musical film Twist Around the Clock.",
"By the end of 1961, Dion had become a major star, touring worldwide and making an appearance in the Columbia Pictures musical film Twist Around the Clock. In 1962, he followed with a string of singles he wrote or co-wrote including \"Lovers Who Wander\" (No. 3), \"Little Diane\" (No.",
"3), \"Little Diane\" (No. 8), \"Love Came to Me\" (No. 10). He also had successful albums with Runaround Sue and Lovers Who Wander. At the end of 1962, Dion moved from Laurie to Columbia Records.",
"At the end of 1962, Dion moved from Laurie to Columbia Records. He was the first rock and roll artist signed to the label, which was an anomaly considering that its then-A&R director, Mitch Miller, loathed that particular genre of music.",
"He was the first rock and roll artist signed to the label, which was an anomaly considering that its then-A&R director, Mitch Miller, loathed that particular genre of music. The first Columbia single, Jerry Leiber and Mike Stoller's \"Ruby Baby\" (originally a hit for the Drifters) reached No.",
"The first Columbia single, Jerry Leiber and Mike Stoller's \"Ruby Baby\" (originally a hit for the Drifters) reached No. 2, while \"Donna the Prima Donna\" and \"Drip Drop\" (another remake of a Drifters hit) both reached No. 6 in late 1963.",
"6 in late 1963. 6 in late 1963. (Dion also recorded an Italian version of \"Donna the Prima Donna\" using the identical backup vocals.) His other Columbia releases were less successful, and problems with his drug addiction and changing public tastes, especially the British Invasion, saw a period of commercial decline.",
"His other Columbia releases were less successful, and problems with his drug addiction and changing public tastes, especially the British Invasion, saw a period of commercial decline. Belmonts reunion and renewed contract: 1965–1968 Following a European tour, Dion returned to the U.S. and was introduced to classic blues by Columbia's John Hammond.",
"Belmonts reunion and renewed contract: 1965–1968 Following a European tour, Dion returned to the U.S. and was introduced to classic blues by Columbia's John Hammond. To the consternation of his management, he began recording more blues-oriented material, including Willie Dixon's \"Hoochie Coochie Man\" and \"Spoonful\", but these releases – some produced by Tom Wilson, with Al Kooper on keyboards – were not commercially successful.",
"To the consternation of his management, he began recording more blues-oriented material, including Willie Dixon's \"Hoochie Coochie Man\" and \"Spoonful\", but these releases – some produced by Tom Wilson, with Al Kooper on keyboards – were not commercially successful. In 1965, still with Columbia, Dion formed a new group to back him, The Wanderers, composed of John Falbo on guitar, Pete Baron (Pete Falciglia) on bass, and Carlo Mastrangelo of the Belmonts on drums.",
"In 1965, still with Columbia, Dion formed a new group to back him, The Wanderers, composed of John Falbo on guitar, Pete Baron (Pete Falciglia) on bass, and Carlo Mastrangelo of the Belmonts on drums. They made national appearances on Dick Clark's, Where The Action Is, and The Lloyd Thaxton Show.",
"They made national appearances on Dick Clark's, Where The Action Is, and The Lloyd Thaxton Show. A number of self-penned tracks were recorded and released unsuccessfully as singles, and did not appear in album format until years later.",
"A number of self-penned tracks were recorded and released unsuccessfully as singles, and did not appear in album format until years later. In June 1965 he recorded fellow Columbia Records's contemporary Bob Dylan's composition \"It's All Over Now, Baby Blue\" a half-year before Them (featuring Van Morrison)'s hit version.",
"In June 1965 he recorded fellow Columbia Records's contemporary Bob Dylan's composition \"It's All Over Now, Baby Blue\" a half-year before Them (featuring Van Morrison)'s hit version. In 1966–67, Dion briefly reunited with the Belmonts, recording the LP Together Again for ABC Records.",
"In 1966–67, Dion briefly reunited with the Belmonts, recording the LP Together Again for ABC Records. The album was unsuccessful, despite one classic self-penned song, \"My Girl the Month of May\". Two singles were released from the LP. While neither charted in the United States, they fared better in the UK.",
"While neither charted in the United States, they fared better in the UK. \"My Girl The Month of May\" entered the Radio London \"Fab 40\" at No. 9 the week of December 25, 1966.",
"9 the week of December 25, 1966. A 'turntable' hit at London underground clubs like Middle Earth, the disc received a lot of play from pirate radio DJ's John Peel and Kenny Everett. The follow up, \"Movin' Man\", reached No.",
"The follow up, \"Movin' Man\", reached No. 17 on the \"Radio London\" charts on Easter Sunday, March 26, 1967.",
"17 on the \"Radio London\" charts on Easter Sunday, March 26, 1967. \"My Girl The Month of May\" was later covered by English artists Alan Bown in 1967, and Island Records artists The Bunch (featuring Sandy Denny and other members of Fairport Convention) in April 1972.",
"\"My Girl The Month of May\" was later covered by English artists Alan Bown in 1967, and Island Records artists The Bunch (featuring Sandy Denny and other members of Fairport Convention) in April 1972. During their brief mid-60's reunion, Dion and the Belmonts appeared on the popular Clay Cole Show performing \"Berimbau\" and \"My Girl The Month of May\", and occasionally performed at local New York City clubs such as \"The Mardi Gras\" on Staten Island (April 29, 1967) before disbanding.",
"During their brief mid-60's reunion, Dion and the Belmonts appeared on the popular Clay Cole Show performing \"Berimbau\" and \"My Girl The Month of May\", and occasionally performed at local New York City clubs such as \"The Mardi Gras\" on Staten Island (April 29, 1967) before disbanding. While Dion's career appeared to be nearing an end, he still retained enough credibility to be, along with Bob Dylan, one of only two rock artists featured on the album cover of the Beatles' Sgt.",
"While Dion's career appeared to be nearing an end, he still retained enough credibility to be, along with Bob Dylan, one of only two rock artists featured on the album cover of the Beatles' Sgt. Pepper's Lonely Hearts Club Band in 1967.",
"Pepper's Lonely Hearts Club Band in 1967. In April 1968, Dion experienced what he identified as a powerful religious transformation. After getting clean once again from heroin addiction, an experience he documented in his 1970 song \"Your Own Backyard\", he approached Laurie Records for a new contract.",
"After getting clean once again from heroin addiction, an experience he documented in his 1970 song \"Your Own Backyard\", he approached Laurie Records for a new contract. They agreed on the condition that he record the song \"Abraham, Martin & John\", written by Dick Holler (also the writer of the Royal Guardsmen's \"Snoopy Vs.",
"They agreed on the condition that he record the song \"Abraham, Martin & John\", written by Dick Holler (also the writer of the Royal Guardsmen's \"Snoopy Vs. The Red Baron\") in response to the assassination of John F. Kennedy on November 22, 1963, and those of Martin Luther King Jr. and Robert F. Kennedy during the spring of 1968.",
"The Red Baron\") in response to the assassination of John F. Kennedy on November 22, 1963, and those of Martin Luther King Jr. and Robert F. Kennedy during the spring of 1968. The success of this song (released by Dion in August 1968 and later recorded by many others including Marvin Gaye) which reached No.",
"The success of this song (released by Dion in August 1968 and later recorded by many others including Marvin Gaye) which reached No. 4 in the US charts and No. 1 in Canada, resuscitated Dion's career. It sold over one million copies and was awarded a gold disc.",
"It sold over one million copies and was awarded a gold disc. Mature and Christian music period: 1969–1986 For the next few years, Dion's music became radically different, moving to more contemplative and mature material. He released several albums essentially as a singer-songwriter, to moderate sales, moving to the Warner Brothers label in 1969.",
"He released several albums essentially as a singer-songwriter, to moderate sales, moving to the Warner Brothers label in 1969. There followed a live reunion show with the Belmonts at Madison Square Garden on June 2, 1972, which was recorded and released as a live album by Warner.",
"There followed a live reunion show with the Belmonts at Madison Square Garden on June 2, 1972, which was recorded and released as a live album by Warner. A year later, in 1973, Dion and the original Belmonts performed once more, doing a sold-out concert at the Nassau Coliseum on Long Island, New York.",
"A year later, in 1973, Dion and the original Belmonts performed once more, doing a sold-out concert at the Nassau Coliseum on Long Island, New York. However, no recording of the 1973 reunion was released. This was followed in 1975 by the album Born to Be with You produced by Phil Spector.",
"This was followed in 1975 by the album Born to Be with You produced by Phil Spector. The album was a commercial failure, but has been subsequently praised by such artists as Jason Pierce of Spiritualized and Pete Townshend of The Who with the track \"Only You Know\" being sampled by Pulp frontman Jarvis Cocker for his single \"Don't Let Him Waste Your Time\" from his 2006 solo album Jarvis.",
"The album was a commercial failure, but has been subsequently praised by such artists as Jason Pierce of Spiritualized and Pete Townshend of The Who with the track \"Only You Know\" being sampled by Pulp frontman Jarvis Cocker for his single \"Don't Let Him Waste Your Time\" from his 2006 solo album Jarvis. In 1978, Dion released an album drawing on many of his teenage influences, Return of the Wanderer, another commercial failure.",
"In 1978, Dion released an album drawing on many of his teenage influences, Return of the Wanderer, another commercial failure. In December 1979, there was a radical spiritual change in Dion, who had become a born again Christian.",
"In December 1979, there was a radical spiritual change in Dion, who had become a born again Christian. Thereafter, his recordings for several years were in a contemporary Christian vein, in which he released five albums on the DaySpring Records label, a division of Word Records in Waco, Texas.",
"Thereafter, his recordings for several years were in a contemporary Christian vein, in which he released five albums on the DaySpring Records label, a division of Word Records in Waco, Texas. These albums reflecting his evangelical Christian convictions were Inside Job (1980), Only Jesus (1981), I Put Away My Idols (1983) which charted at No.",
"These albums reflecting his evangelical Christian convictions were Inside Job (1980), Only Jesus (1981), I Put Away My Idols (1983) which charted at No. 37, Seasons (1984), Kingdom in the Streets (1985) and Velvet & Steel (1986).",
"37, Seasons (1984), Kingdom in the Streets (1985) and Velvet & Steel (1986). Several singles were successfully released to Christian radio, notably \"Still in the Spirit\" from Kingdom in the Streets.",
"Several singles were successfully released to Christian radio, notably \"Still in the Spirit\" from Kingdom in the Streets. In 1984, Dion won the GMA Dove Award (Christian Music Award) for the album I Put Away My Idols. He was also nominated for Grammy Award for Best Gospel Vocal Performance, Male for the same album.",
"He was also nominated for Grammy Award for Best Gospel Vocal Performance, Male for the same album. On September 24, 1985, Dion was a guest on 100 Huntley Street.",
"On September 24, 1985, Dion was a guest on 100 Huntley Street. Return to secular music and RRHOF induction: 1987–1999 In 1987, Dion agreed to do a concert of his old hits at Radio City Music Hall in New York.",
"Return to secular music and RRHOF induction: 1987–1999 In 1987, Dion agreed to do a concert of his old hits at Radio City Music Hall in New York. The two disc CD of this concert was released in 2005, featuring concert photos by Dion's friend, Michael J. Friedman.",
"The two disc CD of this concert was released in 2005, featuring concert photos by Dion's friend, Michael J. Friedman. This concert helped free him to celebrate both his past and his future, and led to a series of special appearances, including a fundraiser for homeless medical relief.",
"This concert helped free him to celebrate both his past and his future, and led to a series of special appearances, including a fundraiser for homeless medical relief. There he shared the stage with fans such as Bruce Springsteen, Paul Simon and Lou Reed, all of whom cited Dion as one of their prime influences.",
"There he shared the stage with fans such as Bruce Springsteen, Paul Simon and Lou Reed, all of whom cited Dion as one of their prime influences. Dion's autobiography, The Wanderer: Dion's Story, co-authored by Davin Seay, was published in the late-1980s.",
"Dion's autobiography, The Wanderer: Dion's Story, co-authored by Davin Seay, was published in the late-1980s. In 1989, DiMucci returned to rock music with the contemporary album Yo Frankie, which included appearances by Paul Simon, Lou Reed, k.d. lang, Patty Smyth and Bryan Adams.",
"lang, Patty Smyth and Bryan Adams. Produced by Dave Edmunds (who also played guitar on the album), \"Yo Frankie has a sharp sound while never losing sight of Dion's soulful, doo-wop voice.\"",
"Produced by Dave Edmunds (who also played guitar on the album), \"Yo Frankie has a sharp sound while never losing sight of Dion's soulful, doo-wop voice.\" Overall, \"the relevant and nostalgic statement from an artist who helped forge rock & roll's first wave\" found his way back on radio and in music videos during this period (both on VH1 and MTV), as well as touring.",
"Overall, \"the relevant and nostalgic statement from an artist who helped forge rock & roll's first wave\" found his way back on radio and in music videos during this period (both on VH1 and MTV), as well as touring. Dion was inducted into the Rock and Roll Hall of Fame (RRHOF) in 1989 (with an introduction by Lou Reed).",
"Dion was inducted into the Rock and Roll Hall of Fame (RRHOF) in 1989 (with an introduction by Lou Reed). Controversially, when Dion's solo induction into the Rock and Roll Hall of Fame occurred, the other original members of the Belmonts (Carlo Mastrangelo, Fred Milano, and Angelo D'Aleo) were not inducted.",
"Controversially, when Dion's solo induction into the Rock and Roll Hall of Fame occurred, the other original members of the Belmonts (Carlo Mastrangelo, Fred Milano, and Angelo D'Aleo) were not inducted. A January 3, 2012 Billboard magazine article stated: \"There was strife between DiMucci and Belmonts members, who were not pleased when DiMucci was inducted into the Rock and Roll Hall of Fame without them in 1989.\"",
"A January 3, 2012 Billboard magazine article stated: \"There was strife between DiMucci and Belmonts members, who were not pleased when DiMucci was inducted into the Rock and Roll Hall of Fame without them in 1989.\" DiMucci joined Scott Kempner and Frank Funaro of the Del-Lords and Mike Mesaros of the Smithereens in a short-lived band called Little Kings.",
"DiMucci joined Scott Kempner and Frank Funaro of the Del-Lords and Mike Mesaros of the Smithereens in a short-lived band called Little Kings. A live album was later released, but not widely circulated or promoted. Grammy Hall of Fame and blues success: 2000–2019 Dion has released several albums with contemporary rock artists.",
"Grammy Hall of Fame and blues success: 2000–2019 Dion has released several albums with contemporary rock artists. His Déjà Nu album in 2000 found him covering Bruce Springsteen, a major follower over the years. He joined Springsteen onstage in Miami in 2002 for a performance of \"If I Should Fall Behind\" from Dream on Fire.",
"He joined Springsteen onstage in Miami in 2002 for a performance of \"If I Should Fall Behind\" from Dream on Fire. In 2002, Dion was inducted into the Grammy Hall of Fame for \"Runaround Sue\". He continues to perform songs from his albums live, including a concert in 2004 being recorded for release on DVD.",
"He continues to perform songs from his albums live, including a concert in 2004 being recorded for release on DVD. In January 2006, Dion released Bronx in Blue, an album of blues and country standards, which was nominated for a Grammy Award. It peaked at No. 2 on the Top Blues Albums chart.",
"2 on the Top Blues Albums chart. In November 2007, Dion issued a follow-up album titled Son of Skip James, which peaked at No. 4 on the Top Blues Albums chart.",
"4 on the Top Blues Albums chart. In October 2008, DiMucci released Heroes: Giants of Early Guitar Rock, an album of his covers of early rock and roll songs he considers seminal to the genre.",
"In October 2008, DiMucci released Heroes: Giants of Early Guitar Rock, an album of his covers of early rock and roll songs he considers seminal to the genre. The album includes versions of songs originally recorded by Buddy Holly, Ritchie Valens, Ricky Nelson, Johnny Cash, and many other early rock guitarists.",
"The album includes versions of songs originally recorded by Buddy Holly, Ritchie Valens, Ricky Nelson, Johnny Cash, and many other early rock guitarists. In October 2009, Dion performed \"The Wanderer\" with Paul Simon at the 25th Anniversary Rock and Roll Hall of Fame Concert.",
"In October 2009, Dion performed \"The Wanderer\" with Paul Simon at the 25th Anniversary Rock and Roll Hall of Fame Concert. An audiobook and paperback by Dion and Mike Aquilina, titled Dion: The Wanderer Talks Truth (Stories, Humor Music), was published in April 2011.",
"An audiobook and paperback by Dion and Mike Aquilina, titled Dion: The Wanderer Talks Truth (Stories, Humor Music), was published in April 2011. DiMucci shares stories about The Bronx in the 1950s, how he ended up on the cover of Sgt.",
"DiMucci shares stories about The Bronx in the 1950s, how he ended up on the cover of Sgt. Pepper's Lonely Hearts Club Band, and his travels with Sam Cooke in the Jim Crow South. Dion released Tank Full of Blues on January 24, 2012. It peaked at No. 3 on the Top Blues Albums chart.",
"3 on the Top Blues Albums chart. While touring on April 5, 2015, Dion performed \"Donna the Prima Donna\" live in Las Vegas. On July 11, 2015, he held a concert in Westbury, New York. In 2015, Dion released the single \"New York Is My Home\" with Paul Simon.",
"In 2015, Dion released the single \"New York Is My Home\" with Paul Simon. Dion had previously worked with Simon on his 1989 hit \"Written on the Subway Wall\". The single was followed by the album New York Is My Home, released February 12, 2016. The album peaked at No.",
"The album peaked at No. The album peaked at No. 3 on the Top Blues Album chart. Dion planned four concerts in the U.S. during early 2016 and was invited as a keynote speaker for the 2016 SXSW in Texas. He spoke on the topic A Conversation with Dion: Rock's Enduring Voice on March 17, 2016.",
"He spoke on the topic A Conversation with Dion: Rock's Enduring Voice on March 17, 2016. Dion appeared on The Tonight Show with Jimmy Fallon on April 8, 2016.",
"Dion appeared on The Tonight Show with Jimmy Fallon on April 8, 2016. In May 2017, Dion released Kickin' Child: The Lost Album 1965 from Norton Records, containing songs recorded in 1965 when he was with Columbia Records but were not previously released.",
"In May 2017, Dion released Kickin' Child: The Lost Album 1965 from Norton Records, containing songs recorded in 1965 when he was with Columbia Records but were not previously released. Also in May 2017, Richard Barone's Sorrows & Promises: Greenwich Village in the 1960s was released, which included Dion performing a duet of his 1964 song \"The Road I'm On (Gloria)\" with Barone.",
"Also in May 2017, Richard Barone's Sorrows & Promises: Greenwich Village in the 1960s was released, which included Dion performing a duet of his 1964 song \"The Road I'm On (Gloria)\" with Barone. The album is a celebration of the New York City scene that Dion was part of during that pivotal era.",
"The album is a celebration of the New York City scene that Dion was part of during that pivotal era. Recent albums with KTBA Records: 2020–present In June 2020, Dion released Blues with Friends via Keeping the Blues Alive Records (KTBA), a new record label created by Joe Bonamassa and Roy Weisman for Dion and other blues musicians to showcase their talents.",
"Recent albums with KTBA Records: 2020–present In June 2020, Dion released Blues with Friends via Keeping the Blues Alive Records (KTBA), a new record label created by Joe Bonamassa and Roy Weisman for Dion and other blues musicians to showcase their talents. The album features Van Morrison, Jeff Beck, Paul Simon, Bruce Springsteen, and others (including liner notes by Bob Dylan).",
"The album features Van Morrison, Jeff Beck, Paul Simon, Bruce Springsteen, and others (including liner notes by Bob Dylan). A digital album (and a double vinyl record set), Dion released a music video for every song from the album on his website and social media platforms such as Facebook and YouTube.",
"A digital album (and a double vinyl record set), Dion released a music video for every song from the album on his website and social media platforms such as Facebook and YouTube. The album reached No. 1 on the Billboard Blues Albums chart (9 weeks at No. 1 and 59 weeks total).",
"1 and 59 weeks total). It also charted in United Kingdom, Germany, France, Italy, Canada and Australia. American Songwriter magazine honored Dion's \"Song for Sam Cooke (Here in America)\" as the \"Greatest of the Great 2020 Songs\".",
"American Songwriter magazine honored Dion's \"Song for Sam Cooke (Here in America)\" as the \"Greatest of the Great 2020 Songs\". Dion also released two Christmas songs in 2020: \"Hello Christmas\" (featuring Amy Grant) and \"You Know It's Christmas\" (featuring Bonamassa).",
"Dion also released two Christmas songs in 2020: \"Hello Christmas\" (featuring Amy Grant) and \"You Know It's Christmas\" (featuring Bonamassa). Both songs were co-written with Mike Aquilina. Music videos were produced for both songs.",
"Music videos were produced for both songs. Dion's song \"Blues Comin' On\" (with Bonamassa) from Blues with Friends was nominated for a 2021 Blues Music Award. In November 2021, Dion released Stomping Ground (with music videos), which includes extensive liner notes written by Pete Townshend.",
"In November 2021, Dion released Stomping Ground (with music videos), which includes extensive liner notes written by Pete Townshend. Except for a cover of \"Red House\", the songs were written by Dion and Aquilina. Multiple guest artists participate on the album. The album became Dion's second No. 1 blues album.",
"1 blues album. 1 blues album. The Wanderer musical On October 13, 2011, an industry-only reading of a new play about Dion's life was performed in New York City.",
"The Wanderer musical On October 13, 2011, an industry-only reading of a new play about Dion's life was performed in New York City. In a December 9, 2011 article from The New York Times, Dion and his collaborator (writer/director Charles Messina) discussed details about the project – titled The Wanderer: The Life and Music of Dion – which will focus on the years between 1957 until the late-1960s, and will feature more than 20 songs from that era as well as new/original music.",
"In a December 9, 2011 article from The New York Times, Dion and his collaborator (writer/director Charles Messina) discussed details about the project – titled The Wanderer: The Life and Music of Dion – which will focus on the years between 1957 until the late-1960s, and will feature more than 20 songs from that era as well as new/original music. In the article, Dion gave his perspective on the story: \"You know, I always saw my story as a young Sopranos with great music and a Rocky Graziano Somebody Up There Likes Me ending.",
"In the article, Dion gave his perspective on the story: \"You know, I always saw my story as a young Sopranos with great music and a Rocky Graziano Somebody Up There Likes Me ending. It's a story of redemption. A rock and roll redemption story!\"",
"A rock and roll redemption story!\" DiMucci revealed that Michael Wartella would be starring in The Wanderer on December 16, 2017. There was a reading of the musical on November 2, 2017 while working on it continued.",
"There was a reading of the musical on November 2, 2017 while working on it continued. On December 4, 2019, it was announced that former New Kids on the Block member Joey McIntyre would star as Johnny, Michael Wartella as Dion, and Christy Altomare as wife, Susan.",
"On December 4, 2019, it was announced that former New Kids on the Block member Joey McIntyre would star as Johnny, Michael Wartella as Dion, and Christy Altomare as wife, Susan. The first performance was scheduled to start on May 28, 2020, at the Paper Mill Playhouse.",
"The first performance was scheduled to start on May 28, 2020, at the Paper Mill Playhouse. Due to the COVID-19 pandemic, the opening performance was rescheduled to March 24, 2022. Personal life Dion lives in Boca Raton, Florida and New York City.",
"Personal life Dion lives in Boca Raton, Florida and New York City. In the late 1990s, Dion visited his old Bronx parish, Our Lady of Mount Carmel, and returned to Catholicism. Sparking Dion's reversion to Catholicism was \"a chance viewing of The Journey Home program on EWTN.\"",
"Sparking Dion's reversion to Catholicism was \"a chance viewing of The Journey Home program on EWTN.\" As a practicing Roman Catholic and having struggled with a heroin addiction during his youth, Dion has been involved in prison religion, reaching out to men going through drug recovery.",
"As a practicing Roman Catholic and having struggled with a heroin addiction during his youth, Dion has been involved in prison religion, reaching out to men going through drug recovery. DiMucci was a member of the American board of directors for Renewal Ministries in 2004.",
"DiMucci was a member of the American board of directors for Renewal Ministries in 2004. Dion appeared on The Journey Home and discussed his wanderings from Catholicism to Protestantism and back again on May 1, 2006.",
"Dion appeared on The Journey Home and discussed his wanderings from Catholicism to Protestantism and back again on May 1, 2006. Selective discography With the Belmonts Presenting Dion and the Belmonts (1959) Wish Upon a Star with Dion and the Belmonts (1960) Together Again (1966) Live at Madison Square Garden 1972 (1973) Solo albums Alone with Dion (1961) Runaround Sue (1961) Donna the Prima Donna (1963) Dion (1968) Suite for Late Summer (1972) Born to Be with You (1975) Streetheart (1976) I Put Away My Idols (1983) Yo Frankie (1989) Son of Skip James (2007) Blues with Friends (2020) Stomping Ground (2021) References External links Comprehensive Rolling Stone profile The Spiritual Journey of the Wanderer Who Came Home By Dion Dimucci Dion the Wanderer, Back In Blue (an article at NPR.com) 1939 births Living people American male singers American people of Italian descent American male pop singers American folk singers American rock singers Musicians from the Bronx American performers of Christian music Laurie Records artists Columbia Records artists Singers from New York City Dion and the Belmonts members Doo-wop musicians Catholics from New York (state)"
] |
[
"The Aquabats! Super Show!",
"History and previous attempts at a series"
] | C_4cdf6386fc074258b24b5e00bbcdec23_0 | How did The Aquabats originate? | 1 | How did The Aquabats originate? | The Aquabats! Super Show! | In 1994, musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in Brea, California. Influenced as much by cartoons and camp television as theatrical bands like Devo and Oingo Boingo, The Aquabats gained instant notoriety in the Orange County music scene for their eccentric persona in which they claimed to be a band of superheroes on a quest to save the world and their elaborate stage shows which regularly featured scripted fights with costumed villains alongside similar stunts and comedy sketches. The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough for the group, charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs - a former child actor with ties in the industry - to develop the concept of adapting the band's mythology for television. In 1998, Buena Vista Television helped produce a live-action mini-pilot directed by comedian Bobcat Goldthwait titled simply The Aquabats!, following the comic misadventures of the then-eight member band in an over-the-top camp style similar to Saturday morning cartoon shows. The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves. Undeterred, The Aquabats made an attempt at a second pilot the following year, using a music video budget granted by their record label Goldenvoice Records for their 1999 album The Aquabats vs. the Floating Eye of Death!. Independently directed and produced by Jacobs and his creative partner Scott Schultz, the result was a five-minute promo video entitled The Aquabats in Color!. In contrast to the wackier tone of the previous pilot, The Aquabats in Color! was a more action-oriented superhero series modeled after Japanese tokusatsu shows such as Kamen Rider. According to Jacobs, the Fox Family Channel reportedly expressed interest in the series and ordered production on a proper pilot episode, though following the channel's acquisition by Disney in 2001, the project was cancelled. CANNOTANSWER | musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in | The Aquabats! Super Show! is an American action-comedy musical television series which aired from March 3, 2012 to January 8, 2014 on The Hub Network and resumed as an independent YouTube web series in September 2019. The series was created by Christian Jacobs, and Scott Schultz, both the creators of the Nick Jr. show Yo Gabba Gabba!, and Jason deVilliers.
Based on the superhero mythology of The Aquabats, a real-life comedy rock band which series co-creator and lead singer Jacobs formed in 1994, The Aquabats! Super Show! follows the comic adventures of a fictionalized version of the band, a musical group of amateur superheroes, as they haphazardly defend the world from a variety of villains and monsters. Styled similarly to the campy aesthetics of 1960s and 1970s children's television and Japanese tokusatsu, Super Show! utilizes various mediums of visual styles and special effects, mixing live-action storylines with cartoon shorts, parody advertisements and musical interludes.
The series' first season concluded on June 16, 2012 following a run of 13 episodes, having met with a largely positive critical reception, consistently high ratings for the channel and a Daytime Emmy nomination for Outstanding Children's Series. The series' second season consisted of an initial five episodes which aired through June 2013, with three additional episodes airing in late December and January 2014, receiving similar acclaim and a further seven Daytime Emmy nominations, ultimately winning one for Best Stunt Coordination. In June 2014, co-creator Jacobs officially announced the series' cancellation, following news of The Hub's financial losses which led to the network's rebranding as Discovery Family later that October.
In July 2018, The Aquabats launched a successful Kickstarter to help independently finance new episodes of The Aquabats! Super Show!, promoting the campaign with a series of YouTube-exclusive mini-episodes continuing the original series' storyline. On September 28, 2019, The Aquabats premiered the first installment of these new episodes, now a biweekly YouTube series entitled The Aquabats! RadVentures!, though still retaining Super Show!s theme song and title card.
Series overview
Premise
Chronicled in both live-action and animated segments, The Aquabats! Super Show! is centered around the adventures of The Aquabats, a group of superhero rock musicians who travel the countryside on a self-appointed mission to fight evil and "destroy boredom", protecting the world from the villains and creatures who threaten to destroy it while aiming to become a famous rock and roll band in their own right.
The Aquabats consist of singer The MC Bat Commander (Christian Jacobs), the swaggering leader of the group; bassist Crash McLarson (Chad Larson), who can grow up to 100 feet in size; drummer Ricky Fitness (Richard Falomir), who has the power of super speed; guitarist EagleBones Falconhawk (Ian Fowles), who's armed with a laser-shooting electric guitar; and keyboardist Jimmy the Robot (James R. Briggs, Jr.), an android. Despite their superhuman strengths and abilities, The Aquabats are quite bumbling, disorganized, and sometimes cowardly when faced with danger; this has in fact led them to be labeled "the world's most inept superheroes". The band lives and travels by way of their "Battletram", a modified classic GMC motorhome which, despite its small exterior, has an implausibly massive interior (similar to the TARDIS from Doctor Who or The Big Bologna from The Kids From C.A.P.E.R.), which contains, among many things, a science lab, a command center, and a living room.
The Aquabats' origin story was left intentionally vague throughout the series, a choice Jacobs explains was done for the sake of the viewer's imagination, as he felt kids were more accepting of the inherent absurdity of the premise than adults tend to be: "'There's five guys. This is what each of the five guys does. There are monsters. They're gonna try to fight them'. It's so simple. And I think that's why it's so awesome with kids—they just take it and run with it". In the first five episodes of season two, each member of The Aquabats shares their memory of how they joined the band via animated flashback sequences; however, all of these flashbacks directly and intentionally contradict each other, leaving it unknown which—if any—could be considered officially canonical.
Format and influences
The Aquabats! Super Show! juxtaposes both live-action and animated segments starring The Aquabats, interwoven with various tangential skits and cartoon interstitials. The live-action storylines are the primary focus of each episode, following a self-contained villain of the week formula. In the first season, each episode featured brief anime-styled cartoon shorts which one of the characters would introduce at a random point of the show, often by finding "A Cartoon" (represented by a miniature television set) in an absurd location. Unlike the live-action segments, these cartoons followed a serialized story arc, with each installment ending in a cliffhanger to be resolved in the next episode. In season two, this format was replaced with a series of animated flashbacks recounting the origins of The Aquabats, each by a different animation studio and in a different animation style. Between these segments are pantomime cartoon shorts starring "Lil' Bat", The Aquabats' anthropomorphic bat mascot, and live-action parody commercials for outlandish fictional products, the latter of which has long been a staple of The Aquabats' multi-media stage shows.
Jacobs says the concept behind Super Show! was something he had always dreamed of doing, making a "campy, live-action, funky kid's show" in the vein of the 1960s and 1970s television that he and the rest of the series' producers had grown up with. While the show pays homage to many facets of pop culture, Jacobs has named the 1960s Batman television series as the primary influence on Super Show!s "obviously silly" tone and visual style, ranging from set design to the trademark use of dutch angles for villain scenes. Other notable influences Jacobs has repeatedly mentioned include the works of Sid and Marty Krofft and Hanna-Barbera, Japanese tokusatsu series such as Ultraman and Johnny Sokko And His Flying Robot, the Shaw Brothers and Hong Kong cinema, and shows including Danger Island, Star Trek, The Rocky and Bullwinkle Show, and Pee-wee's Playhouse, noting "there's a good 30 years worth of television culture packed into these 22-minute episodes".
Demographic
As The Hub's key demographic were children aged 6 to 12, Super Show! was ostensibly targeted towards said age group, though Jacobs has stated that the series primarily aimed to appeal to an all-ages crowd, with the intent of creating entertainment that both kids and parents can watch and enjoy together or separately. In interviews prior to the series' premiere, he explained that this was merely an extension of The Aquabats' own family-friendly ethos: "There's just obviously something about the costumes and being superheroes that really appeals to younger kids, and I think we always knew that as a band...I think we'll want to put things in [the show] for an older audience, because we realize we have an older audience, but then also we want the young kids, to not have it go over their heads".
Production history
History and previous attempts at a series
In 1994, musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in Brea, California. Influenced as much by cartoons and camp television as theatrical bands like Devo and Oingo Boingo, The Aquabats gained instant notoriety in the Orange County music scene for their eccentric persona in which they claimed to be a band of superheroes on a quest to save the world and their elaborate stage shows which regularly featured scripted fights with costumed villains alongside similar stunts and comedy sketches.
The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough for the group, charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs – a former child actor with ties in the industry – to develop the concept of adapting the band's mythology for television. In 1998, Buena Vista Television helped produce a live-action mini-pilot directed by comedian Bobcat Goldthwait titled simply The Aquabats!, following the comic misadventures of the then-eight member band in an over-the-top camp style similar to Saturday morning cartoon shows. The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves.
Undeterred, The Aquabats made an attempt at a second pilot the following year, using a music video budget granted by their record label Goldenvoice Records for their 1999 album The Aquabats vs. the Floating Eye of Death!. Independently directed and produced by Jacobs and his creative partner Scott Schultz, the result was a five-minute promo video entitled The Aquabats in Color!. In contrast to the wackier tone of the previous pilot, The Aquabats in Color! was a more action-oriented superhero series modeled after Japanese tokusatsu shows such as Kamen Rider. According to Jacobs, the Fox Family Channel reportedly expressed interest in the series and ordered production on a proper pilot episode, though following the channel's acquisition by Disney in 2001, the project was cancelled.
The Aquabats! Super Show! pilot (2008)
In 2005, Jacobs and Schultz formed the Orange County-based production company The Magic Store, focusing on creating family-oriented television entertainment. One of the company's independently produced pilots, the children's television series Yo Gabba Gabba!, was eventually picked up as a series by Viacoms Nick Jr. channel, premiering in August 2007 and ultimately becoming an award-winning and critically acclaimed international success. In the wake of the series' popularity, Jacobs and Schultz persuaded Yo Gabba Gabba!s joint production company Wild Brain to help produce a new pilot based around The Aquabats in conjuncture with The Magic Store.
Again creatively spearheaded by Jacobs and Schultz, The Aquabats' third pilot, titled The Aquabats! Super Show!, was shot on location throughout southern California in late 2007 and early 2008. Part of this filming took place at a free invitation-only concert for members of the band's official fan club at the El Rey Theatre in Los Angeles on January 12, 2008. While The Aquabats' previous pilots were short, live-action promotional videos, The Aquabats! Super Show! was a fully realized 22-minute episode featuring two separate storylines based on the adventures of The Aquabats, one live-action and one animated, and interspersed with parody commercials and live footage of the band. Speaking on the decision to structure the show in such a varied format, Jacobs said "[w]e did that for a strategic reason – some networks like cartoons more than other networks. We wanted to say, 'this could be both shows'."
Following a period of post-production, The Aquabats began widely self-promoting Super Show! in June 2008, redesigning their website to promote the pilot and releasing a teaser trailer and several exclusive clips through an official Super Show! YouTube channel. On July 25, 2008, the band screened the full pilot at a concert in San Diego held during the weekend of the San Diego Comic-Con, while a segment of the episode was hosted on Boing Boing the same day. In 2009, Cartoon Network allegedly picked the series up for a run of 22 episodes, though following major staff changes within the company—which, according to Jacobs, included the termination of the executives who had green-lighted Super Show!—the project was again cancelled.
The Hub and season one
After several more unsuccessful network pitches into the 2010s, The Aquabats! Super Show! was finally picked up as a series by family cable channel The Hub, a joint venture between Hasbro and Discovery which launched in 2010 as a replacement for Discovery Kids. The Hub formally announced the series in a press release on March 23, 2011, revealing Super Show! would be given a first season run of 13 episodes, produced in conjuncture with FremantleMedia. In promotion of the series, The Aquabats appeared as part of a panel at the 2011 San Diego Comic-Con where they discussed their initial plans for the show, while The Hub sponsored an Aquabats concert held at the nearby House of Blues during the same weekend.
Production on season one of Super Show! officially began in May 2011. The entirety of the first season was shot within and around The Aquabats' hometown of Orange County, California; according to the first season DVD audio commentary, episodes were shot on location in the cities of Irvine, Silverado, Yorba Linda, Huntington Beach and Fullerton, while a private sound stage in Santa Ana was used for interior shots of the Battletram. A public Aquabats concert held at The Glass House club in Pomona on November 5, 2011 was also filmed to provide live footage of the band which is featured in the series' opening credits montage and several individual episodes.
Much of Super Show!s staff consist of friends and colleagues of The Aquabats who've previously worked with the band on various projects, ranging from members of Yo Gabba Gabba!s production team to fellow musicians within the southern California music scene. Among the more notable examples include Dallas McLaughlin and Matthew Gorney, both members of the San Diego hip hop band Bad Credit, who prominently served as writers, composers and performers, Warren Fitzgerald, guitarist for The Vandals, who was hired as a writer and music director, internet sketch comedy group Mega64 were commissioned to produce original material, primarily the series' parody commercials, and Japanese artist Pey, who had designed much of The Aquabats' promotional art and merchandise during the 2000s, was hired to design the season's animated segments. Additionally, several industry professionals were brought in to help work on the show: Dani Michaeli, a staff writer on SpongeBob SquarePants, was hired as the series' story editor, while Matt Chapman, co-creator of the internet Flash cartoon Homestar Runner, acted as a writer, director and actor on several episodes. As none of the members besides Jacobs had any previous acting experience, comedian Matt Walsh of the Upright Citizens Brigade was brought in to help teach The Aquabats comedic acting and timing.
In further homage to the original Batman series, Super Show! features a variety of celebrity cameo appearances. The series' first season included appearances from actors Jon Heder, Lou Diamond Phillips and Samm Levine, comedians Rip Taylor, Paul Scheer and Paul Rust, and comedy musician "Weird Al" Yankovic, who appeared in two episodes as different characters. The first season also included several "Easter egg" cameos from original Aquabats members Corey "Chainsaw" Pollock and Boyd "Catboy" Terry, as well as from fellow musicians Warren Fitzgerald and Art Mitchell of the band Supernova.
Despite having been originally announced as part of The Hub's 2011 Fall line-up, production delays postponed Super Show!s premiere to early 2012. The series' marketing campaign began in December 2011, with a later announcement of an official premiere date confirmed for March 3, 2012. Following a non-consecutive run of 13 episodes, the first-season finale aired on June 16, 2012.
Season two
On October 16, 2012, The Aquabats and The Hub confirmed production on new episodes of Super Show! through the social networking sites Facebook and Twitter, announcing a tentative debut date of Spring 2013. Principal photography on season two began on October 22 and wrapped on December 1. Unlike the first season, the majority of season two was shot in and around Salt Lake City, Utah, which Jacobs explained was considerably less expensive than shooting in California.
While no changes were made to Super Shows creative team, in December 2012 it was announced that season two would introduce the series' first guest director, musician and comic book writer Gerard Way, who co-directed and co-wrote the season finale "The AntiBats!" with Jacobs and deVilliers. Way's involvement with the series was heavily covered by the music press in the wake of the March 2013 break-up of his popular alternative rock band My Chemical Romance. Among the guest stars featured in season two were professional skateboarders Tony Hawk and Eric Koston, Devo frontman and Yo Gabba Gabba! cast member Mark Mothersbaugh, internet celebrity Leslie Hall, actor Martin Starr and My Chemical Romance bassist Mikey Way.
On December 2, 2012, deVilliers revealed on his Twitter account that the upcoming season would consist of only five new episodes, in what he called more "season 1.5" than a "season 2", though mentioned the possibility of more being made in the future. On May 1, 2013, it was announced through Entertainment Weekly that the series' second season would begin airing on June 1. After a run of only five episodes, the season concluded on June 29, 2013.
2013–2014 specials
On August 22, 2013, series performer Chad Larson confirmed via Twitter that three additional episodes of Super Show! were being filmed near the end of the year, "and maybe more next". Principal photography on these episodes eventually began in Utah in early October. Throughout the month, The Aquabats posted numerous pictures of production on the new episodes on their Twitter and Instagram accounts, some of which revealed production code numbers of 301, 302 and 303, ostensibly indicating what would be a third season. Though these numbers were later verified by the Internet Movie Database, a November press release from The Hub explicitly referred to these three episodes as "specials".
The first of these specials, "Christmas with The Aquabats!", aired on December 21, featuring comedians Robert Smigel and Matt Walsh in guest roles. The second of these episodes, "The Shark Fighter!" (based on The Aquabats' song of the same name), featuring comedian Rhys Darby, aired the following week on December 28, while the final special "Kitty Litter!" aired on January 18, 2014. "Kitty Litter!" was helmed by another guest director, Munn Powell, best known for his work as cinematographer on the Jared and Jerusha Hess films Napoleon Dynamite and Gentlemen Broncos.
Following this short run of episodes, there was no confirmation by either The Hub or The Aquabats as to the production of any future episodes. In a December 2013 interview, Christian Jacobs acknowledged the network's unusually small order of episodes but didn't elaborate on any possible reasoning. In the same interview, he stated that the band had initially prepared for another order of 13 episodes, having written as many scripts for potential future episodes.
On May 1, 2014, the nominees for the 2014 Daytime Emmy Awards were announced, revealing that Super Show! had been nominated for five awards in four categories, including the award for Best Writing in a Children's Series for the episode "The AntiBats!". The awards ceremony was held on June 22, 2014, where the series ultimately won the award for Best Stunt Coordination for stuntman Skip Carlson.
Cancellation by The Hub and hiatus
In mid-2014, it was announced in entertainment press that Hasbro and Discovery had been in the process of rebranding The Hub following what they saw to be disappointing returns for the channel, changes which included the departure of CEO Margaret Loesch, who was instrumental in acquiring Super Show! as a series. In a Huffington Post feature about The Aquabats prior to the band's appearance at the 2014 San Diego Comic-Con, it was revealed that The Hub had opted not to renew Super Show! for a third season, effectively cancelling the series.
Jacobs admitted he was surprised by this turn of events, noting "Everything we heard was that the show has been a real Cinderella story for the Hub and that it was rating really well with viewers. We just assumed that we'd eventually go back into production or at least get picked up for Season 3", but ultimately concluded "it is what it is" in regard to the network's decision. Despite this, Jacobs remained optimistic about the series' future, saying "Given that we now live in a world where people are streaming TV shows directly onto their iPhones & computers, and given that companies like Netflix & Yahoo! are now picking up so much new content for their customers...I just find it hard to believe that The Aquabats! Super Show! is really over. I mean, we haven't even made any toys yet". He concluded by stating "It took us almost 15 years to get that TV series made. And even though we've got a bunch more concert dates lined up for the rest of this year, our first priority is to find a new home for The Aquabats! Super Show!".
On March 31, 2015, the nominees for the 42nd annual Daytime Emmy Awards were announced, with Super Show! earning nominations for Best SFX Mixer (Blaine Stewart) and Best Stunt Coordinator (Braxton McAllister).
On June 27, 2015, The Aquabats screened the entire first season of Super Show! before a sold-out crowd at The Frida Cinema in downtown Santa Ana, which was accompanied by a live performance by the band and Q&A sessions with The Aquabats and numerous members of the cast and crew. A similar presentation of the entire second season – including the three additional specials – took place at The Art Theater in Long Beach on December 16, 2017, coinciding with the release of the second season Blu-ray.
Bring Back The Aquabats! Kickstarter campaign
Following weeks of teasing a major announcement, The Aquabats launched a Kickstarter campaign on July 31, 2018 to help finance the return of The Aquabats! Super Show! as well as new studio albums from the band at a minimum projected cost of $1.1 million. The Aquabats promoted their campaign with a video featuring a slew of celebrity cameos, including Super Show! guest stars "Weird Al" Yankovic, Robert Smigel (as Triumph the Insult Comic Dog), Matt Chapman (as Homestar Runner and Strong Bad), former Aquabats member Travis Barker, Tony Kanal, Tom Dumont, Oscar Nunez, Kate Micucci, Blake Anderson, Imagine Dragons, Felicia Day and Tom Lennon, all of whom appeared in The Aquabats' trademark uniforms and spoke the Kickstarter's promotional slogan "I am The Aquabats"/"We are The Aquabats". Most prominently featured, however, was comedian Jack Black, who was later confirmed by the campaign's press releases to act as executive producer for the series' return.
Along with their Kickstarter, the band began releasing a series of Super Show! "mini-episodes", depicting the MC Bat Commander's metafictional quest to reunite the estranged Aquabats following the series' cancellation. The band confirmed that as the Kickstarter progresses, further "mini-episodes" will be released to both promote the campaign as well as act as a continuation of Super Show!.
By August 28, mere days before the campaign's end date of September 1, The Aquabats' Kickstarter had raised only $601,629 of its projected $1.1 million goal. The funding was subsequently cancelled and the campaign was rebooted the same day with a smaller goal of $100,000 to instead finance one new album and the continued production of the Super Show!! "mini-episodes". The project's goal was met within minutes.
Music
Original music for The Aquabats! Super Show! was primarily composed and performed by The Aquabats themselves, with additional scoring on most episodes provided by Matthew Gorney, Warren Fitzgerald or individual credits for Aquabats members James R. Briggs, Jr., Richard Falomir and Ian Fowles. Fitzgerald, guitarist for punk rock band The Vandals and former member of Oingo Boingo, acted as the series' music supervisor. The theme song to Super Show!, "Super Show Theme Song!", was co-written by The Aquabats and Fitzgerald.
Whereas most musically oriented shows like The Monkees typically break the narrative of an episode for a music video performance of a standalone song, each episode of Super Show! typically features one or two unique songs that tied directly into the plot, usually about and performed during the events of a particular scene. Most of these songs are rather brief, averaging a running time of just under a minute; Jacobs stated that many of the show's original songs were recorded as full-length pieces but trimmed down for inclusion in an episode, simply due to the show "trying to pack so much into 22 minutes".
Shortly after Super Show!s premiere, Jacobs confirmed plans to eventually release the series' original full-length songs as a soundtrack album. However, these plans wouldn't fully come to fruition until 2019; in a 2018 interview, Jacobs retrospectively revealed that the album had been long completed but the band "hadn't had all the rights tied up" until then. The first original and full-length recordings from the series' first season debuted in July 2017, when "Burger Rain" and "Beat Fishin'" were released as a tour-exclusive 7" single. Songs from the series' first season were eventually compiled as The Aquabats! Super Show! Television Soundtrack: Volume One, which was released digitally in March 2019 and then onto physical media the following June, where it became The Aquabats' highest-charting album to date, debuting at the top of Billboards Top Heatseekers chart and at 165 on the Billboard 200.
Cast and characters
See: List of The Aquabats! Super Show! characters
The Aquabats! Super Show! stars and is based upon fictionalized versions of the then-current (since 2006) line-up of the California comedy rock band The Aquabats. Adapting the backstory the band has used for the entirety of their professional career, Super Show! depicts The Aquabats as a group of bumbling, out-of-shape superheroes on a self-appointed mission to fight the forces of evil, presented in both live-action and animated segments. The five members of The Aquabats are:
The MC Bat Commander (played and voiced by Christian Jacobs) – The Aquabats' singer and de facto leader of the team. Though he doesn't have any superpowers of his own and is often quite stubborn and naive, the Commander is shown to be an effective strategist whose sharp leadership skills, bravery and determination regularly drive the band towards victory.
Crash McLarson (played and voiced by Chad Larson) – The band's bass guitarist, who has the frequently uncontrollable ability to grow upwards of 100 feet in size when under emotional stress. Despite being the largest and strongest of The Aquabats, Crash has a gentle, childlike demeanor bordering on slight dim-wittedness, and as such is usually the most cowardly member of the team.
Jimmy the Robot (played and voiced by James R. Briggs, Jr.) – The Aquabats' keyboardist. As his name implies, Jimmy is an android whose mechanical body houses a variety of built-in gadgets and weaponry, plus a comprehensive knowledge database which earns him the position of the group's resident scientist. Being a robot, Jimmy is generally perplexed by human emotions and behavior.
Ricky Fitness (played and voiced by Richard Falomir) – the band's drummer, Ricky possesses the power of super speed. Being the most physically fit and health-conscious member of The Aquabats, some of the series' running gags revolve around Ricky's status as a handsome ladies' man and his fondness for "fresh, healthy veggies" in contrast to the rest of the team's voracious affinity for junk food.
EagleBones Falconhawk (played and voiced by Ian Fowles) – The Aquabats' guitarist. The cocky and boyish maverick of the team, EagleBones is highly proficient on his custom weaponized electric guitar which shoots lasers from its headstock. Following a spiritual encounter early in season one, EagleBones also has the gift of second sight and is accompanied by "The Dude", an invisible spirit eagle whom he summons to aide The Aquabats in battle.
Voice actor and writer Mr. Lawrence provided the minimal narration for both seasons of Super Show!s live-action segments, while staff writer Kyle McCulloch narrated the first season's animated segments.
Guest stars and recurring characters
Though each episode of the series introduced a new villain, ally and/or celebrity cameo, Super Show! never featured any major recurring characters throughout its run. However, every episode of the show included a very brief appearance by a character fans dubbed the "Fox Man", a man in a cheap-looking fox costume played by visual effects supervisor Joel Fox, who would appear hidden in the background of a random scene as an Easter egg for viewers to spot, although his character was never explained within the context of the series.
Comedy musician "Weird Al" Yankovic and comedian Paul Rust were the only two guest actors to appear in two episodes: Yankovic played two different roles as the President of the United States and superhero SuperMagic PowerMan! (in a 2012 interview, Jacobs alluded to the two possibly being the same character, though this isn't implied within the series), while Rust played a boorish slacker named Ronmark, first appearing in live-action in a first-season episode and subsequently lending his voice to a mutated monster version of the character in part of a second-season episode.
Episodes
Distribution
International broadcast
Outside of North America, The Aquabats! Super Show! broadcast in Australia on the children's public broadcasting channel ABC3 and in the United Kingdom on the children's network CITV.
Home media
Coinciding with the run of the first season, each new episode of The Aquabats! Super Show! was released through the iTunes Store for digital download. Prior to the series debut, a season pass was made available for purchase to enable viewers to automatically receive a download of each new episode on its airdate. The first season of Super Show! was added to the video streaming service Netflix on December 1, 2012, later being added to Hulu on December 21.
Unlike the first season, the series' second season was not made available for iTunes pre-order, nor were episodes released for purchase. Though each episode was briefly streamed on The Hub's official website, none of the seasons' episodes were made available on Hulu, Netflix or similar streaming services.
Shout! Factory had the DVD publishing rights for The Aquabats! Super Show! within Region 1 for release of the first season. The company first announced their acquisition of the series and plans for a future DVD in a press release dated August 6, 2012, though did not initially confirm a set release date until several months later. On May 21, 2013, the first season of Super Show! was released on a two-disc DVD set.
On November 22, 2017, in conjunction with their announcement of a season two theatrical screening, The Aquabats confirmed an independent Blu-ray release for season two, including the three specials often considered a "season three". On December 5, pre-orders were launched on The Aquabats' merchandising site for an official release date of December 22, though copies were first made for public sale at the second season theatrical screening on December 16.
Starting in December 2014, The Aquabats gradually began uploading the series' full episodes onto their official YouTube channel. As of August 2019, all 21 episodes of Super Show! and its pilot episode have been publicly uploaded to their account.
Critical reception
Critical response to The Aquabats! Super Show! was predominantly positive, with most reviewers praising the series' intentionally campy tone and offbeat humor. The Onions The A.V. Club gave the series premiere an A− rating, describing it as "a loving homage to basically everything ever done by the brothers Krofft": "the show adeptly flips from humor to melodrama to action, providing some awesomely cheap special effects, goofy songs, and gags that range from slapstick to sublime", summarizing "there's so much here that both kids and parents will be able to enjoy the proceedings on their own respective levels and rarely find themselves bored".
Brian Lowry of Variety wrote "you don't have to laugh at everything to admire the effort and sheer silliness", calling the show a "goofy and nostalgic" throwback to the "children's TV of baby boomers' youth, down to crappy production values and awful-looking 'monsters' that work to its advantage". He summarized "Although this Hub series at times feels like an SNL skit stretched to a half-hour, its sly mix of music, live-action crime-fighting, cartoons and mock ads ought to develop a cult following—and might be more popular with parents, at least those with the geek gene, than their kids".
Technology magazine Wired was consistently positive towards the series, calling it both "wonderfully strange" and "delightfully deranged", writing "[f]illed with self-deprecating music videos, toon interludes and ludicrous villains, The Aquabats! Super Show! has become one of television's strangely comforting finds".
Common Sense Media, who review shows based on age-appropriate content, gave Super Show! a rating of 4 out of 5 stars, calling it "demented and manic...fun by sheer dint of how many jokes, visual and otherwise, are thrown at the screen, both those calculated to appeal to kids and adults". The site praised the series for its lighter and sillier tone in comparison to more violent live-action superhero fare, and considered the "kind-hearted" Aquabats to be relatively positive role models. However, the reviewer suggested the show's violence and creatures may be too intense for very young children, and pointed out a distinct lack of central female characters.
Neil Genzlinger of The New York Times offered a more indifferent opinion, calling The Aquabats "indescribably odd" and the series "frenetic, semicoherent and generally harmless. Also somewhat hallucinogenic", noting Super Show!s writing "may be over the heads of the 2-to-12 set", suggesting its most receptive audience might be "the college drinking-game crowd".
Awards and nominations
The Aquabats! Super Show! was nominated for the following awards:
Daytime Emmy Award
References
External links
Official website of The Aquabats
The Aquabats
2010s American children's television series
2010s American musical comedy television series
2010s American satirical television series
2010s American sketch comedy television series
2010s American superhero comedy television series
2012 American television series debuts
2014 American television series endings
American children's adventure television series
American children's musical television series
American television series with live action and animation
Children's sketch comedy
English-language television shows
Television series by Fremantle (company)
Television shows set in Orange County, California
American television shows featuring puppetry
Discovery Family original programming | true | [
"Charles Gray is an American musician, best known for his tenure as the guitarist for the Orange County rock band The Aquabats, of which he served as a member from 1994 to 2000 under the stage name of Ultra Kyu and later The Mysterious Kyu (pronounced as the letter Q). He also wrote all the songs for The Goodwin Club, a Ska band from Orange County, from 1993 to 1995.\n\nAlthough Gray was listed as a member of The Aquabats on their 1996 debut album The Return of the Aquabats, he didn't record with the band until their subsequent release, 1997's The Fury of the Aquabats!. Gray remained a member of The Aquabats until his departure in 2000. After Aquabats, Gray continued playing with various bands and is currently pursuing a career in opera in New York.\n\nDiscography\nThe Fury of the Aquabats! (1997) - electric and acoustic guitars, finger cymbals, piano, banjo, EBow, violin, sitar, Mellotron, vocals, Moog synthesizer\nThe Aquabats vs. the Floating Eye of Death! (1999) - guitar\nMyths, Legends and Other Amazing Adventures, Vol. 2 (2000) - guitar\n\nReferences\n\nAmerican rock guitarists\nAmerican male guitarists\nThe Aquabats members\nYear of birth missing (living people)\nLiving people",
"The Sandfleas are a fictional gang of masked hooligans within the mythology of the superhero-themed American comedy band The Aquabats, who featured prominently as the latter's \"arch enemies\" in their stage shows and related media during the late 1990s.\n\nFrom 1997 to 1999, The Sandfleas occasionally performed as a live band almost exclusively as an opening act for The Aquabats, fronted by Aquabats creative consultant and GOGO13 singer Parker Jacobs and filled out by a rotating roster of former and present Aquabats members. The group released one extended play on The Aquabats' Horchata Records label before disbanding shortly afterwards.\n\nOverview\nAs part of their comic book-inspired superhero aesthetic, The Aquabats have maintained an elaborate fictional mythology and origin story centering on their persona as costumed crime-fighters since the earliest days of their career, including an extensive roster of recurring villains who play into the band's live shows in mock fight scenes and comedic skits. Billed as \"The Aquabats' arch enemies\", The Sandfleas were depicted as a musical punk band of five obnoxious masked hooligans, intended to be the \"bad guy\" inversion of The Aquabats' own group of musical do-gooders.\n\nPlayed by a rotating assortment of The Aquabats' friends and road crew, The Sandfleas became a staple of the band's late 1990s concerts when they would routinely crash The Aquabats' sets and comically antagonize them and the audience, segueing into a staged fight scene which The Sandfleas would inevitably lose. In the documentary \"A Band Called the Aquabats!: A Sweaty History of Radness!\" featured on the 2003 DVD Serious Awesomeness!, The Sandfleas are also shown having waged mock protests at The Aquabats' concerts, brandishing picket signs with messages including \"The Aquabats R Dumb!\" and handing out anti-Aquabat pamphlets to fans waiting in line.\n\nIn addition to The Aquabats' stage shows, The Sandfleas appeared in most of The Aquabats' promotional material and merchandise during the late 1990s, appearing in the liner note artwork for 1997's The Fury of The Aquabats! and 1999's The Aquabats vs. the Floating Eye of Death!, the band's 1997 coloring book, the 1998 7\" picture disc single Ultra Kyu vs. The Sandfleas and a brief cameo in the 1999 television pitch promo The Aquabats in Color!. \n\nIn 2013, over a decade since their last canonical appearance with The Aquabats, The Sandfleas made a brief, non-speaking cameo in an animated segment in The Aquabats! Super Show! episode \"Bad Apple!\", appearing as an unnamed group of \"ruffians\" who attempt to rob The Aquabats. On April 7, 2018, the group reappeared as stage villains for an Aquabats show at Los Angeles' The Fonda Theatre celebrating the 20th anniversary of the Fury of The Aquabats! album, reprising their role three weeks later as part of the band's set at the Back To The Beach Festival in Huntington Beach.\n\nLive band\nAccording to Parker Jacobs, The Sandfleas' history as a live band began at an Aquabats show in 1996 in which not all of The Aquabats had shown up, prompting the remaining members to don Sandfleas costumes and anonymously take the stage under the name \"Mel and Friends\". \"They played awful surf/Christmas songs and received a violent response from the audience who were expecting the Aquabats\", Jacobs recalled, \"It was after that, (97?) that I wanted to make them an actual band\".\n\nThe Sandfleas went through numerous changes in line-ups, frequently consisting of former or original members of The Aquabats. One of the more consistent early line-ups featured Jacobs, Jared Terry (brother of Boyd Terry), original Aquabats guitarist Ben Bergeson, Jamie Morris and Brian Cole, most of whom went on to form the instrumental surf band The Moon Monkeys when Jacobs left to tour with The Aquabats. A later incarnation of The Sandfleas was simply Jacobs backed by Orange County surf-punk band The Immortals.\n\nIn 1999, with the expansion of The Aquabats' Horchata Records label which was intended to host a large network of anonymous conceptual novelty bands, Jacobs spearheaded another version of The Sandfleas featuring Aquabats members Christian Jacobs (The MC Bat Commander) on drums, Chad Larson (Crash McLarson) on guitar, Corey Pollock (Chainsaw the Prince of Karate) and Aquabats graphic designer Tyler Jacobs on backing vocals. It was with this line-up that the band recorded the extended play Four Songs Four Jerks, which, according to Parker Jacobs, was written entirely the night before recording. The Aquabats later brought this version of The Sandfleas on tour following the release of their third studio album The Aquabats vs. the Floating Eye of Death!, effectively serving as their own opening band.\n\nThe Sandfleas disbanded shortly after the release of Four Songs Four Jerks. Following Parker Jacobs resignation from full-time creative involvement with The Aquabats in 2000, The Sandfleas eventually disappeared from the band's live shows and mythology. On December 1, 2005, The Sandfleas played a one-off reunion with Aquabats colleagues Bad Credit, Digital Unicorn, GOGO13 and the Moon Monkeys at the Detroit Bar in Costa Mesa, though as of 2018, there has been no official announcement as to whether The Sandfleas will return as a performing band.\n\nDiscography\nExtended play\nFour Songs Four Jerks (1999, Horchata Records)\n1. \"Frog Jerky\"\n2. \"My Baby's Got a Poopy Diaper\"\n3. \"Girls Are Weak\"\n4. \"You're Super Duper Dumb and Your Mom is Ugly Too [extended Fang mix]\"\n\nOther appearances\nA 20-second non-album track entitled \"Smell My Feet\" was streamed on The Sandfleas' profile on the Horchata Records website.\n\"My Baby's Got a Poopy Diaper\" was featured on the 2000 Horchata sampler compilation Rice Capades.\n\nBand line-up\nFour Songs Four Jerks line-up\nMel Sandflea (Parker Jacobs) - vocals\nBreath Sandflea (Chad Larson) - guitar\nSpodie Sandflea (Corey Pollock) - one-stringed bass\nFang Sandflea (Christian Jacobs) - drums\nBubba Sandflea (Tyler Jacobs) - backing vocals\n\nFormer members\nTaffy Sandflea (Ben Bergeson)\nBird Sandflea (Jared Terry)\nLudwig Sandflea (Jamie Morris)\nCole Sandflea (Brian Cole)\nMark \"The Shark\" Howe\nChris Howe\nJoey\n\nReferences\n\nExternal links\nThe Sandfleas Official Website Preview\nThe Sandfleas on Horchata Records\n\nThe Aquabats\nBands with fictional stage personas\nFictional gangs\nMasked musicians\nMusical groups disestablished in 1999\nMusical groups established in 1997\nMusical groups from Orange County, California"
] | [
"The Aquabats! Super Show! is an American action-comedy musical television series which aired from March 3, 2012 to January 8, 2014 on The Hub Network and resumed as an independent YouTube web series in September 2019.",
"is an American action-comedy musical television series which aired from March 3, 2012 to January 8, 2014 on The Hub Network and resumed as an independent YouTube web series in September 2019. The series was created by Christian Jacobs, and Scott Schultz, both the creators of the Nick Jr. show Yo Gabba Gabba!, and Jason deVilliers.",
"The series was created by Christian Jacobs, and Scott Schultz, both the creators of the Nick Jr. show Yo Gabba Gabba!, and Jason deVilliers. Based on the superhero mythology of The Aquabats, a real-life comedy rock band which series co-creator and lead singer Jacobs formed in 1994, The Aquabats! Super Show!",
"Super Show! Super Show! follows the comic adventures of a fictionalized version of the band, a musical group of amateur superheroes, as they haphazardly defend the world from a variety of villains and monsters. Styled similarly to the campy aesthetics of 1960s and 1970s children's television and Japanese tokusatsu, Super Show!",
"Styled similarly to the campy aesthetics of 1960s and 1970s children's television and Japanese tokusatsu, Super Show! utilizes various mediums of visual styles and special effects, mixing live-action storylines with cartoon shorts, parody advertisements and musical interludes.",
"utilizes various mediums of visual styles and special effects, mixing live-action storylines with cartoon shorts, parody advertisements and musical interludes. The series' first season concluded on June 16, 2012 following a run of 13 episodes, having met with a largely positive critical reception, consistently high ratings for the channel and a Daytime Emmy nomination for Outstanding Children's Series.",
"The series' first season concluded on June 16, 2012 following a run of 13 episodes, having met with a largely positive critical reception, consistently high ratings for the channel and a Daytime Emmy nomination for Outstanding Children's Series. The series' second season consisted of an initial five episodes which aired through June 2013, with three additional episodes airing in late December and January 2014, receiving similar acclaim and a further seven Daytime Emmy nominations, ultimately winning one for Best Stunt Coordination.",
"The series' second season consisted of an initial five episodes which aired through June 2013, with three additional episodes airing in late December and January 2014, receiving similar acclaim and a further seven Daytime Emmy nominations, ultimately winning one for Best Stunt Coordination. In June 2014, co-creator Jacobs officially announced the series' cancellation, following news of The Hub's financial losses which led to the network's rebranding as Discovery Family later that October.",
"In June 2014, co-creator Jacobs officially announced the series' cancellation, following news of The Hub's financial losses which led to the network's rebranding as Discovery Family later that October. In July 2018, The Aquabats launched a successful Kickstarter to help independently finance new episodes of The Aquabats!",
"In July 2018, The Aquabats launched a successful Kickstarter to help independently finance new episodes of The Aquabats! Super Show!, promoting the campaign with a series of YouTube-exclusive mini-episodes continuing the original series' storyline.",
"Super Show!, promoting the campaign with a series of YouTube-exclusive mini-episodes continuing the original series' storyline. On September 28, 2019, The Aquabats premiered the first installment of these new episodes, now a biweekly YouTube series entitled The Aquabats! RadVentures!, though still retaining Super Show!s theme song and title card.",
"RadVentures!, though still retaining Super Show!s theme song and title card. Series overview Premise Chronicled in both live-action and animated segments, The Aquabats! Super Show!",
"Super Show! Super Show! is centered around the adventures of The Aquabats, a group of superhero rock musicians who travel the countryside on a self-appointed mission to fight evil and \"destroy boredom\", protecting the world from the villains and creatures who threaten to destroy it while aiming to become a famous rock and roll band in their own right.",
"is centered around the adventures of The Aquabats, a group of superhero rock musicians who travel the countryside on a self-appointed mission to fight evil and \"destroy boredom\", protecting the world from the villains and creatures who threaten to destroy it while aiming to become a famous rock and roll band in their own right. The Aquabats consist of singer The MC Bat Commander (Christian Jacobs), the swaggering leader of the group; bassist Crash McLarson (Chad Larson), who can grow up to 100 feet in size; drummer Ricky Fitness (Richard Falomir), who has the power of super speed; guitarist EagleBones Falconhawk (Ian Fowles), who's armed with a laser-shooting electric guitar; and keyboardist Jimmy the Robot (James R. Briggs, Jr.), an android.",
"The Aquabats consist of singer The MC Bat Commander (Christian Jacobs), the swaggering leader of the group; bassist Crash McLarson (Chad Larson), who can grow up to 100 feet in size; drummer Ricky Fitness (Richard Falomir), who has the power of super speed; guitarist EagleBones Falconhawk (Ian Fowles), who's armed with a laser-shooting electric guitar; and keyboardist Jimmy the Robot (James R. Briggs, Jr.), an android. Despite their superhuman strengths and abilities, The Aquabats are quite bumbling, disorganized, and sometimes cowardly when faced with danger; this has in fact led them to be labeled \"the world's most inept superheroes\".",
"Despite their superhuman strengths and abilities, The Aquabats are quite bumbling, disorganized, and sometimes cowardly when faced with danger; this has in fact led them to be labeled \"the world's most inept superheroes\". The band lives and travels by way of their \"Battletram\", a modified classic GMC motorhome which, despite its small exterior, has an implausibly massive interior (similar to the TARDIS from Doctor Who or The Big Bologna from The Kids From C.A.P.E.R.",
"The band lives and travels by way of their \"Battletram\", a modified classic GMC motorhome which, despite its small exterior, has an implausibly massive interior (similar to the TARDIS from Doctor Who or The Big Bologna from The Kids From C.A.P.E.R. ), which contains, among many things, a science lab, a command center, and a living room.",
"), which contains, among many things, a science lab, a command center, and a living room. The Aquabats' origin story was left intentionally vague throughout the series, a choice Jacobs explains was done for the sake of the viewer's imagination, as he felt kids were more accepting of the inherent absurdity of the premise than adults tend to be: \"'There's five guys.",
"The Aquabats' origin story was left intentionally vague throughout the series, a choice Jacobs explains was done for the sake of the viewer's imagination, as he felt kids were more accepting of the inherent absurdity of the premise than adults tend to be: \"'There's five guys. This is what each of the five guys does.",
"This is what each of the five guys does. There are monsters. They're gonna try to fight them'. It's so simple. And I think that's why it's so awesome with kids—they just take it and run with it\".",
"And I think that's why it's so awesome with kids—they just take it and run with it\". In the first five episodes of season two, each member of The Aquabats shares their memory of how they joined the band via animated flashback sequences; however, all of these flashbacks directly and intentionally contradict each other, leaving it unknown which—if any—could be considered officially canonical.",
"In the first five episodes of season two, each member of The Aquabats shares their memory of how they joined the band via animated flashback sequences; however, all of these flashbacks directly and intentionally contradict each other, leaving it unknown which—if any—could be considered officially canonical. Format and influences The Aquabats! Super Show!",
"Format and influences The Aquabats! Super Show! Super Show! juxtaposes both live-action and animated segments starring The Aquabats, interwoven with various tangential skits and cartoon interstitials. The live-action storylines are the primary focus of each episode, following a self-contained villain of the week formula.",
"The live-action storylines are the primary focus of each episode, following a self-contained villain of the week formula. In the first season, each episode featured brief anime-styled cartoon shorts which one of the characters would introduce at a random point of the show, often by finding \"A Cartoon\" (represented by a miniature television set) in an absurd location.",
"In the first season, each episode featured brief anime-styled cartoon shorts which one of the characters would introduce at a random point of the show, often by finding \"A Cartoon\" (represented by a miniature television set) in an absurd location. Unlike the live-action segments, these cartoons followed a serialized story arc, with each installment ending in a cliffhanger to be resolved in the next episode.",
"Unlike the live-action segments, these cartoons followed a serialized story arc, with each installment ending in a cliffhanger to be resolved in the next episode. In season two, this format was replaced with a series of animated flashbacks recounting the origins of The Aquabats, each by a different animation studio and in a different animation style.",
"In season two, this format was replaced with a series of animated flashbacks recounting the origins of The Aquabats, each by a different animation studio and in a different animation style. Between these segments are pantomime cartoon shorts starring \"Lil' Bat\", The Aquabats' anthropomorphic bat mascot, and live-action parody commercials for outlandish fictional products, the latter of which has long been a staple of The Aquabats' multi-media stage shows.",
"Between these segments are pantomime cartoon shorts starring \"Lil' Bat\", The Aquabats' anthropomorphic bat mascot, and live-action parody commercials for outlandish fictional products, the latter of which has long been a staple of The Aquabats' multi-media stage shows. Jacobs says the concept behind Super Show!",
"Jacobs says the concept behind Super Show! was something he had always dreamed of doing, making a \"campy, live-action, funky kid's show\" in the vein of the 1960s and 1970s television that he and the rest of the series' producers had grown up with.",
"was something he had always dreamed of doing, making a \"campy, live-action, funky kid's show\" in the vein of the 1960s and 1970s television that he and the rest of the series' producers had grown up with. While the show pays homage to many facets of pop culture, Jacobs has named the 1960s Batman television series as the primary influence on Super Show!s \"obviously silly\" tone and visual style, ranging from set design to the trademark use of dutch angles for villain scenes.",
"While the show pays homage to many facets of pop culture, Jacobs has named the 1960s Batman television series as the primary influence on Super Show!s \"obviously silly\" tone and visual style, ranging from set design to the trademark use of dutch angles for villain scenes. Other notable influences Jacobs has repeatedly mentioned include the works of Sid and Marty Krofft and Hanna-Barbera, Japanese tokusatsu series such as Ultraman and Johnny Sokko And His Flying Robot, the Shaw Brothers and Hong Kong cinema, and shows including Danger Island, Star Trek, The Rocky and Bullwinkle Show, and Pee-wee's Playhouse, noting \"there's a good 30 years worth of television culture packed into these 22-minute episodes\".",
"Other notable influences Jacobs has repeatedly mentioned include the works of Sid and Marty Krofft and Hanna-Barbera, Japanese tokusatsu series such as Ultraman and Johnny Sokko And His Flying Robot, the Shaw Brothers and Hong Kong cinema, and shows including Danger Island, Star Trek, The Rocky and Bullwinkle Show, and Pee-wee's Playhouse, noting \"there's a good 30 years worth of television culture packed into these 22-minute episodes\". Demographic As The Hub's key demographic were children aged 6 to 12, Super Show!",
"Demographic As The Hub's key demographic were children aged 6 to 12, Super Show! was ostensibly targeted towards said age group, though Jacobs has stated that the series primarily aimed to appeal to an all-ages crowd, with the intent of creating entertainment that both kids and parents can watch and enjoy together or separately.",
"was ostensibly targeted towards said age group, though Jacobs has stated that the series primarily aimed to appeal to an all-ages crowd, with the intent of creating entertainment that both kids and parents can watch and enjoy together or separately. In interviews prior to the series' premiere, he explained that this was merely an extension of The Aquabats' own family-friendly ethos: \"There's just obviously something about the costumes and being superheroes that really appeals to younger kids, and I think we always knew that as a band...I think we'll want to put things in [the show] for an older audience, because we realize we have an older audience, but then also we want the young kids, to not have it go over their heads\".",
"In interviews prior to the series' premiere, he explained that this was merely an extension of The Aquabats' own family-friendly ethos: \"There's just obviously something about the costumes and being superheroes that really appeals to younger kids, and I think we always knew that as a band...I think we'll want to put things in [the show] for an older audience, because we realize we have an older audience, but then also we want the young kids, to not have it go over their heads\". Production history History and previous attempts at a series In 1994, musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in Brea, California.",
"Production history History and previous attempts at a series In 1994, musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in Brea, California. Influenced as much by cartoons and camp television as theatrical bands like Devo and Oingo Boingo, The Aquabats gained instant notoriety in the Orange County music scene for their eccentric persona in which they claimed to be a band of superheroes on a quest to save the world and their elaborate stage shows which regularly featured scripted fights with costumed villains alongside similar stunts and comedy sketches.",
"Influenced as much by cartoons and camp television as theatrical bands like Devo and Oingo Boingo, The Aquabats gained instant notoriety in the Orange County music scene for their eccentric persona in which they claimed to be a band of superheroes on a quest to save the world and their elaborate stage shows which regularly featured scripted fights with costumed villains alongside similar stunts and comedy sketches. The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough for the group, charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs – a former child actor with ties in the industry – to develop the concept of adapting the band's mythology for television.",
"The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough for the group, charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs – a former child actor with ties in the industry – to develop the concept of adapting the band's mythology for television. In 1998, Buena Vista Television helped produce a live-action mini-pilot directed by comedian Bobcat Goldthwait titled simply The Aquabats!, following the comic misadventures of the then-eight member band in an over-the-top camp style similar to Saturday morning cartoon shows.",
"In 1998, Buena Vista Television helped produce a live-action mini-pilot directed by comedian Bobcat Goldthwait titled simply The Aquabats!, following the comic misadventures of the then-eight member band in an over-the-top camp style similar to Saturday morning cartoon shows. The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves.",
"The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves. Undeterred, The Aquabats made an attempt at a second pilot the following year, using a music video budget granted by their record label Goldenvoice Records for their 1999 album The Aquabats vs. the Floating Eye of Death!.",
"Undeterred, The Aquabats made an attempt at a second pilot the following year, using a music video budget granted by their record label Goldenvoice Records for their 1999 album The Aquabats vs. the Floating Eye of Death!. Independently directed and produced by Jacobs and his creative partner Scott Schultz, the result was a five-minute promo video entitled The Aquabats in Color!.",
"Independently directed and produced by Jacobs and his creative partner Scott Schultz, the result was a five-minute promo video entitled The Aquabats in Color!. In contrast to the wackier tone of the previous pilot, The Aquabats in Color! was a more action-oriented superhero series modeled after Japanese tokusatsu shows such as Kamen Rider.",
"was a more action-oriented superhero series modeled after Japanese tokusatsu shows such as Kamen Rider. According to Jacobs, the Fox Family Channel reportedly expressed interest in the series and ordered production on a proper pilot episode, though following the channel's acquisition by Disney in 2001, the project was cancelled. The Aquabats! Super Show!",
"The Aquabats! Super Show! Super Show! pilot (2008) In 2005, Jacobs and Schultz formed the Orange County-based production company The Magic Store, focusing on creating family-oriented television entertainment.",
"pilot (2008) In 2005, Jacobs and Schultz formed the Orange County-based production company The Magic Store, focusing on creating family-oriented television entertainment. One of the company's independently produced pilots, the children's television series Yo Gabba Gabba!, was eventually picked up as a series by Viacoms Nick Jr. channel, premiering in August 2007 and ultimately becoming an award-winning and critically acclaimed international success.",
"One of the company's independently produced pilots, the children's television series Yo Gabba Gabba!, was eventually picked up as a series by Viacoms Nick Jr. channel, premiering in August 2007 and ultimately becoming an award-winning and critically acclaimed international success. In the wake of the series' popularity, Jacobs and Schultz persuaded Yo Gabba Gabba!s joint production company Wild Brain to help produce a new pilot based around The Aquabats in conjuncture with The Magic Store.",
"In the wake of the series' popularity, Jacobs and Schultz persuaded Yo Gabba Gabba!s joint production company Wild Brain to help produce a new pilot based around The Aquabats in conjuncture with The Magic Store. Again creatively spearheaded by Jacobs and Schultz, The Aquabats' third pilot, titled The Aquabats!",
"Again creatively spearheaded by Jacobs and Schultz, The Aquabats' third pilot, titled The Aquabats! Super Show!, was shot on location throughout southern California in late 2007 and early 2008.",
"Super Show!, was shot on location throughout southern California in late 2007 and early 2008. Part of this filming took place at a free invitation-only concert for members of the band's official fan club at the El Rey Theatre in Los Angeles on January 12, 2008.",
"Part of this filming took place at a free invitation-only concert for members of the band's official fan club at the El Rey Theatre in Los Angeles on January 12, 2008. While The Aquabats' previous pilots were short, live-action promotional videos, The Aquabats! Super Show!",
"Super Show! Super Show! was a fully realized 22-minute episode featuring two separate storylines based on the adventures of The Aquabats, one live-action and one animated, and interspersed with parody commercials and live footage of the band.",
"was a fully realized 22-minute episode featuring two separate storylines based on the adventures of The Aquabats, one live-action and one animated, and interspersed with parody commercials and live footage of the band. Speaking on the decision to structure the show in such a varied format, Jacobs said \"[w]e did that for a strategic reason – some networks like cartoons more than other networks.",
"Speaking on the decision to structure the show in such a varied format, Jacobs said \"[w]e did that for a strategic reason – some networks like cartoons more than other networks. We wanted to say, 'this could be both shows'.\" Following a period of post-production, The Aquabats began widely self-promoting Super Show!",
"Following a period of post-production, The Aquabats began widely self-promoting Super Show! in June 2008, redesigning their website to promote the pilot and releasing a teaser trailer and several exclusive clips through an official Super Show! YouTube channel.",
"YouTube channel. YouTube channel. On July 25, 2008, the band screened the full pilot at a concert in San Diego held during the weekend of the San Diego Comic-Con, while a segment of the episode was hosted on Boing Boing the same day.",
"On July 25, 2008, the band screened the full pilot at a concert in San Diego held during the weekend of the San Diego Comic-Con, while a segment of the episode was hosted on Boing Boing the same day. In 2009, Cartoon Network allegedly picked the series up for a run of 22 episodes, though following major staff changes within the company—which, according to Jacobs, included the termination of the executives who had green-lighted Super Show!—the project was again cancelled.",
"In 2009, Cartoon Network allegedly picked the series up for a run of 22 episodes, though following major staff changes within the company—which, according to Jacobs, included the termination of the executives who had green-lighted Super Show!—the project was again cancelled. The Hub and season one After several more unsuccessful network pitches into the 2010s, The Aquabats!",
"The Hub and season one After several more unsuccessful network pitches into the 2010s, The Aquabats! Super Show! was finally picked up as a series by family cable channel The Hub, a joint venture between Hasbro and Discovery which launched in 2010 as a replacement for Discovery Kids.",
"was finally picked up as a series by family cable channel The Hub, a joint venture between Hasbro and Discovery which launched in 2010 as a replacement for Discovery Kids. The Hub formally announced the series in a press release on March 23, 2011, revealing Super Show!",
"The Hub formally announced the series in a press release on March 23, 2011, revealing Super Show! would be given a first season run of 13 episodes, produced in conjuncture with FremantleMedia.",
"would be given a first season run of 13 episodes, produced in conjuncture with FremantleMedia. In promotion of the series, The Aquabats appeared as part of a panel at the 2011 San Diego Comic-Con where they discussed their initial plans for the show, while The Hub sponsored an Aquabats concert held at the nearby House of Blues during the same weekend.",
"In promotion of the series, The Aquabats appeared as part of a panel at the 2011 San Diego Comic-Con where they discussed their initial plans for the show, while The Hub sponsored an Aquabats concert held at the nearby House of Blues during the same weekend. Production on season one of Super Show! officially began in May 2011.",
"officially began in May 2011. officially began in May 2011. The entirety of the first season was shot within and around The Aquabats' hometown of Orange County, California; according to the first season DVD audio commentary, episodes were shot on location in the cities of Irvine, Silverado, Yorba Linda, Huntington Beach and Fullerton, while a private sound stage in Santa Ana was used for interior shots of the Battletram.",
"The entirety of the first season was shot within and around The Aquabats' hometown of Orange County, California; according to the first season DVD audio commentary, episodes were shot on location in the cities of Irvine, Silverado, Yorba Linda, Huntington Beach and Fullerton, while a private sound stage in Santa Ana was used for interior shots of the Battletram. A public Aquabats concert held at The Glass House club in Pomona on November 5, 2011 was also filmed to provide live footage of the band which is featured in the series' opening credits montage and several individual episodes.",
"A public Aquabats concert held at The Glass House club in Pomona on November 5, 2011 was also filmed to provide live footage of the band which is featured in the series' opening credits montage and several individual episodes. Much of Super Show!s staff consist of friends and colleagues of The Aquabats who've previously worked with the band on various projects, ranging from members of Yo Gabba Gabba!s production team to fellow musicians within the southern California music scene.",
"Much of Super Show!s staff consist of friends and colleagues of The Aquabats who've previously worked with the band on various projects, ranging from members of Yo Gabba Gabba!s production team to fellow musicians within the southern California music scene. Among the more notable examples include Dallas McLaughlin and Matthew Gorney, both members of the San Diego hip hop band Bad Credit, who prominently served as writers, composers and performers, Warren Fitzgerald, guitarist for The Vandals, who was hired as a writer and music director, internet sketch comedy group Mega64 were commissioned to produce original material, primarily the series' parody commercials, and Japanese artist Pey, who had designed much of The Aquabats' promotional art and merchandise during the 2000s, was hired to design the season's animated segments.",
"Among the more notable examples include Dallas McLaughlin and Matthew Gorney, both members of the San Diego hip hop band Bad Credit, who prominently served as writers, composers and performers, Warren Fitzgerald, guitarist for The Vandals, who was hired as a writer and music director, internet sketch comedy group Mega64 were commissioned to produce original material, primarily the series' parody commercials, and Japanese artist Pey, who had designed much of The Aquabats' promotional art and merchandise during the 2000s, was hired to design the season's animated segments. Additionally, several industry professionals were brought in to help work on the show: Dani Michaeli, a staff writer on SpongeBob SquarePants, was hired as the series' story editor, while Matt Chapman, co-creator of the internet Flash cartoon Homestar Runner, acted as a writer, director and actor on several episodes.",
"Additionally, several industry professionals were brought in to help work on the show: Dani Michaeli, a staff writer on SpongeBob SquarePants, was hired as the series' story editor, while Matt Chapman, co-creator of the internet Flash cartoon Homestar Runner, acted as a writer, director and actor on several episodes. As none of the members besides Jacobs had any previous acting experience, comedian Matt Walsh of the Upright Citizens Brigade was brought in to help teach The Aquabats comedic acting and timing.",
"As none of the members besides Jacobs had any previous acting experience, comedian Matt Walsh of the Upright Citizens Brigade was brought in to help teach The Aquabats comedic acting and timing. In further homage to the original Batman series, Super Show! features a variety of celebrity cameo appearances.",
"features a variety of celebrity cameo appearances. The series' first season included appearances from actors Jon Heder, Lou Diamond Phillips and Samm Levine, comedians Rip Taylor, Paul Scheer and Paul Rust, and comedy musician \"Weird Al\" Yankovic, who appeared in two episodes as different characters.",
"The series' first season included appearances from actors Jon Heder, Lou Diamond Phillips and Samm Levine, comedians Rip Taylor, Paul Scheer and Paul Rust, and comedy musician \"Weird Al\" Yankovic, who appeared in two episodes as different characters. The first season also included several \"Easter egg\" cameos from original Aquabats members Corey \"Chainsaw\" Pollock and Boyd \"Catboy\" Terry, as well as from fellow musicians Warren Fitzgerald and Art Mitchell of the band Supernova.",
"The first season also included several \"Easter egg\" cameos from original Aquabats members Corey \"Chainsaw\" Pollock and Boyd \"Catboy\" Terry, as well as from fellow musicians Warren Fitzgerald and Art Mitchell of the band Supernova. Despite having been originally announced as part of The Hub's 2011 Fall line-up, production delays postponed Super Show!s premiere to early 2012.",
"Despite having been originally announced as part of The Hub's 2011 Fall line-up, production delays postponed Super Show!s premiere to early 2012. The series' marketing campaign began in December 2011, with a later announcement of an official premiere date confirmed for March 3, 2012.",
"The series' marketing campaign began in December 2011, with a later announcement of an official premiere date confirmed for March 3, 2012. Following a non-consecutive run of 13 episodes, the first-season finale aired on June 16, 2012.",
"Following a non-consecutive run of 13 episodes, the first-season finale aired on June 16, 2012. Season two On October 16, 2012, The Aquabats and The Hub confirmed production on new episodes of Super Show! through the social networking sites Facebook and Twitter, announcing a tentative debut date of Spring 2013.",
"through the social networking sites Facebook and Twitter, announcing a tentative debut date of Spring 2013. Principal photography on season two began on October 22 and wrapped on December 1.",
"Principal photography on season two began on October 22 and wrapped on December 1. Unlike the first season, the majority of season two was shot in and around Salt Lake City, Utah, which Jacobs explained was considerably less expensive than shooting in California.",
"Unlike the first season, the majority of season two was shot in and around Salt Lake City, Utah, which Jacobs explained was considerably less expensive than shooting in California. While no changes were made to Super Shows creative team, in December 2012 it was announced that season two would introduce the series' first guest director, musician and comic book writer Gerard Way, who co-directed and co-wrote the season finale \"The AntiBats!\"",
"While no changes were made to Super Shows creative team, in December 2012 it was announced that season two would introduce the series' first guest director, musician and comic book writer Gerard Way, who co-directed and co-wrote the season finale \"The AntiBats!\" with Jacobs and deVilliers.",
"with Jacobs and deVilliers. with Jacobs and deVilliers. Way's involvement with the series was heavily covered by the music press in the wake of the March 2013 break-up of his popular alternative rock band My Chemical Romance.",
"Way's involvement with the series was heavily covered by the music press in the wake of the March 2013 break-up of his popular alternative rock band My Chemical Romance. Among the guest stars featured in season two were professional skateboarders Tony Hawk and Eric Koston, Devo frontman and Yo Gabba Gabba!",
"Among the guest stars featured in season two were professional skateboarders Tony Hawk and Eric Koston, Devo frontman and Yo Gabba Gabba! cast member Mark Mothersbaugh, internet celebrity Leslie Hall, actor Martin Starr and My Chemical Romance bassist Mikey Way.",
"cast member Mark Mothersbaugh, internet celebrity Leslie Hall, actor Martin Starr and My Chemical Romance bassist Mikey Way. On December 2, 2012, deVilliers revealed on his Twitter account that the upcoming season would consist of only five new episodes, in what he called more \"season 1.5\" than a \"season 2\", though mentioned the possibility of more being made in the future.",
"On December 2, 2012, deVilliers revealed on his Twitter account that the upcoming season would consist of only five new episodes, in what he called more \"season 1.5\" than a \"season 2\", though mentioned the possibility of more being made in the future. On May 1, 2013, it was announced through Entertainment Weekly that the series' second season would begin airing on June 1.",
"On May 1, 2013, it was announced through Entertainment Weekly that the series' second season would begin airing on June 1. After a run of only five episodes, the season concluded on June 29, 2013.",
"After a run of only five episodes, the season concluded on June 29, 2013. 2013–2014 specials On August 22, 2013, series performer Chad Larson confirmed via Twitter that three additional episodes of Super Show! were being filmed near the end of the year, \"and maybe more next\".",
"were being filmed near the end of the year, \"and maybe more next\". Principal photography on these episodes eventually began in Utah in early October.",
"Principal photography on these episodes eventually began in Utah in early October. Throughout the month, The Aquabats posted numerous pictures of production on the new episodes on their Twitter and Instagram accounts, some of which revealed production code numbers of 301, 302 and 303, ostensibly indicating what would be a third season.",
"Throughout the month, The Aquabats posted numerous pictures of production on the new episodes on their Twitter and Instagram accounts, some of which revealed production code numbers of 301, 302 and 303, ostensibly indicating what would be a third season. Though these numbers were later verified by the Internet Movie Database, a November press release from The Hub explicitly referred to these three episodes as \"specials\".",
"Though these numbers were later verified by the Internet Movie Database, a November press release from The Hub explicitly referred to these three episodes as \"specials\". The first of these specials, \"Christmas with The Aquabats! \", aired on December 21, featuring comedians Robert Smigel and Matt Walsh in guest roles.",
"\", aired on December 21, featuring comedians Robert Smigel and Matt Walsh in guest roles. The second of these episodes, \"The Shark Fighter!\"",
"The second of these episodes, \"The Shark Fighter!\" (based on The Aquabats' song of the same name), featuring comedian Rhys Darby, aired the following week on December 28, while the final special \"Kitty Litter!\" aired on January 18, 2014. \"Kitty Litter!\"",
"\"Kitty Litter!\" \"Kitty Litter!\" was helmed by another guest director, Munn Powell, best known for his work as cinematographer on the Jared and Jerusha Hess films Napoleon Dynamite and Gentlemen Broncos.",
"was helmed by another guest director, Munn Powell, best known for his work as cinematographer on the Jared and Jerusha Hess films Napoleon Dynamite and Gentlemen Broncos. Following this short run of episodes, there was no confirmation by either The Hub or The Aquabats as to the production of any future episodes.",
"Following this short run of episodes, there was no confirmation by either The Hub or The Aquabats as to the production of any future episodes. In a December 2013 interview, Christian Jacobs acknowledged the network's unusually small order of episodes but didn't elaborate on any possible reasoning.",
"In a December 2013 interview, Christian Jacobs acknowledged the network's unusually small order of episodes but didn't elaborate on any possible reasoning. In the same interview, he stated that the band had initially prepared for another order of 13 episodes, having written as many scripts for potential future episodes.",
"In the same interview, he stated that the band had initially prepared for another order of 13 episodes, having written as many scripts for potential future episodes. On May 1, 2014, the nominees for the 2014 Daytime Emmy Awards were announced, revealing that Super Show!",
"On May 1, 2014, the nominees for the 2014 Daytime Emmy Awards were announced, revealing that Super Show! had been nominated for five awards in four categories, including the award for Best Writing in a Children's Series for the episode \"The AntiBats!\".",
"had been nominated for five awards in four categories, including the award for Best Writing in a Children's Series for the episode \"The AntiBats!\". The awards ceremony was held on June 22, 2014, where the series ultimately won the award for Best Stunt Coordination for stuntman Skip Carlson.",
"The awards ceremony was held on June 22, 2014, where the series ultimately won the award for Best Stunt Coordination for stuntman Skip Carlson. Cancellation by The Hub and hiatus In mid-2014, it was announced in entertainment press that Hasbro and Discovery had been in the process of rebranding The Hub following what they saw to be disappointing returns for the channel, changes which included the departure of CEO Margaret Loesch, who was instrumental in acquiring Super Show!",
"Cancellation by The Hub and hiatus In mid-2014, it was announced in entertainment press that Hasbro and Discovery had been in the process of rebranding The Hub following what they saw to be disappointing returns for the channel, changes which included the departure of CEO Margaret Loesch, who was instrumental in acquiring Super Show! as a series.",
"as a series. as a series. In a Huffington Post feature about The Aquabats prior to the band's appearance at the 2014 San Diego Comic-Con, it was revealed that The Hub had opted not to renew Super Show! for a third season, effectively cancelling the series.",
"for a third season, effectively cancelling the series. Jacobs admitted he was surprised by this turn of events, noting \"Everything we heard was that the show has been a real Cinderella story for the Hub and that it was rating really well with viewers.",
"Jacobs admitted he was surprised by this turn of events, noting \"Everything we heard was that the show has been a real Cinderella story for the Hub and that it was rating really well with viewers. We just assumed that we'd eventually go back into production or at least get picked up for Season 3\", but ultimately concluded \"it is what it is\" in regard to the network's decision.",
"We just assumed that we'd eventually go back into production or at least get picked up for Season 3\", but ultimately concluded \"it is what it is\" in regard to the network's decision. Despite this, Jacobs remained optimistic about the series' future, saying \"Given that we now live in a world where people are streaming TV shows directly onto their iPhones & computers, and given that companies like Netflix & Yahoo!",
"Despite this, Jacobs remained optimistic about the series' future, saying \"Given that we now live in a world where people are streaming TV shows directly onto their iPhones & computers, and given that companies like Netflix & Yahoo! are now picking up so much new content for their customers...I just find it hard to believe that The Aquabats!",
"are now picking up so much new content for their customers...I just find it hard to believe that The Aquabats! Super Show! is really over. I mean, we haven't even made any toys yet\". He concluded by stating \"It took us almost 15 years to get that TV series made.",
"He concluded by stating \"It took us almost 15 years to get that TV series made. And even though we've got a bunch more concert dates lined up for the rest of this year, our first priority is to find a new home for The Aquabats! Super Show!\".",
"Super Show!\". Super Show!\". On March 31, 2015, the nominees for the 42nd annual Daytime Emmy Awards were announced, with Super Show! earning nominations for Best SFX Mixer (Blaine Stewart) and Best Stunt Coordinator (Braxton McAllister).",
"earning nominations for Best SFX Mixer (Blaine Stewart) and Best Stunt Coordinator (Braxton McAllister). On June 27, 2015, The Aquabats screened the entire first season of Super Show!",
"On June 27, 2015, The Aquabats screened the entire first season of Super Show! before a sold-out crowd at The Frida Cinema in downtown Santa Ana, which was accompanied by a live performance by the band and Q&A sessions with The Aquabats and numerous members of the cast and crew.",
"before a sold-out crowd at The Frida Cinema in downtown Santa Ana, which was accompanied by a live performance by the band and Q&A sessions with The Aquabats and numerous members of the cast and crew. A similar presentation of the entire second season – including the three additional specials – took place at The Art Theater in Long Beach on December 16, 2017, coinciding with the release of the second season Blu-ray.",
"A similar presentation of the entire second season – including the three additional specials – took place at The Art Theater in Long Beach on December 16, 2017, coinciding with the release of the second season Blu-ray. Bring Back The Aquabats!",
"Bring Back The Aquabats! Bring Back The Aquabats! Kickstarter campaign Following weeks of teasing a major announcement, The Aquabats launched a Kickstarter campaign on July 31, 2018 to help finance the return of The Aquabats! Super Show! as well as new studio albums from the band at a minimum projected cost of $1.1 million.",
"as well as new studio albums from the band at a minimum projected cost of $1.1 million. The Aquabats promoted their campaign with a video featuring a slew of celebrity cameos, including Super Show!",
"The Aquabats promoted their campaign with a video featuring a slew of celebrity cameos, including Super Show! guest stars \"Weird Al\" Yankovic, Robert Smigel (as Triumph the Insult Comic Dog), Matt Chapman (as Homestar Runner and Strong Bad), former Aquabats member Travis Barker, Tony Kanal, Tom Dumont, Oscar Nunez, Kate Micucci, Blake Anderson, Imagine Dragons, Felicia Day and Tom Lennon, all of whom appeared in The Aquabats' trademark uniforms and spoke the Kickstarter's promotional slogan \"I am The Aquabats\"/\"We are The Aquabats\".",
"guest stars \"Weird Al\" Yankovic, Robert Smigel (as Triumph the Insult Comic Dog), Matt Chapman (as Homestar Runner and Strong Bad), former Aquabats member Travis Barker, Tony Kanal, Tom Dumont, Oscar Nunez, Kate Micucci, Blake Anderson, Imagine Dragons, Felicia Day and Tom Lennon, all of whom appeared in The Aquabats' trademark uniforms and spoke the Kickstarter's promotional slogan \"I am The Aquabats\"/\"We are The Aquabats\". Most prominently featured, however, was comedian Jack Black, who was later confirmed by the campaign's press releases to act as executive producer for the series' return.",
"Most prominently featured, however, was comedian Jack Black, who was later confirmed by the campaign's press releases to act as executive producer for the series' return. Along with their Kickstarter, the band began releasing a series of Super Show!",
"Along with their Kickstarter, the band began releasing a series of Super Show! \"mini-episodes\", depicting the MC Bat Commander's metafictional quest to reunite the estranged Aquabats following the series' cancellation.",
"\"mini-episodes\", depicting the MC Bat Commander's metafictional quest to reunite the estranged Aquabats following the series' cancellation. The band confirmed that as the Kickstarter progresses, further \"mini-episodes\" will be released to both promote the campaign as well as act as a continuation of Super Show!.",
"The band confirmed that as the Kickstarter progresses, further \"mini-episodes\" will be released to both promote the campaign as well as act as a continuation of Super Show!. By August 28, mere days before the campaign's end date of September 1, The Aquabats' Kickstarter had raised only $601,629 of its projected $1.1 million goal.",
"By August 28, mere days before the campaign's end date of September 1, The Aquabats' Kickstarter had raised only $601,629 of its projected $1.1 million goal. The funding was subsequently cancelled and the campaign was rebooted the same day with a smaller goal of $100,000 to instead finance one new album and the continued production of the Super Show!!",
"The funding was subsequently cancelled and the campaign was rebooted the same day with a smaller goal of $100,000 to instead finance one new album and the continued production of the Super Show!! \"mini-episodes\". The project's goal was met within minutes. Music Original music for The Aquabats! Super Show!",
"Super Show! Super Show! was primarily composed and performed by The Aquabats themselves, with additional scoring on most episodes provided by Matthew Gorney, Warren Fitzgerald or individual credits for Aquabats members James R. Briggs, Jr., Richard Falomir and Ian Fowles.",
"was primarily composed and performed by The Aquabats themselves, with additional scoring on most episodes provided by Matthew Gorney, Warren Fitzgerald or individual credits for Aquabats members James R. Briggs, Jr., Richard Falomir and Ian Fowles. Fitzgerald, guitarist for punk rock band The Vandals and former member of Oingo Boingo, acted as the series' music supervisor.",
"Fitzgerald, guitarist for punk rock band The Vandals and former member of Oingo Boingo, acted as the series' music supervisor. The theme song to Super Show!, \"Super Show Theme Song! \", was co-written by The Aquabats and Fitzgerald.",
"\", was co-written by The Aquabats and Fitzgerald. Whereas most musically oriented shows like The Monkees typically break the narrative of an episode for a music video performance of a standalone song, each episode of Super Show!",
"Whereas most musically oriented shows like The Monkees typically break the narrative of an episode for a music video performance of a standalone song, each episode of Super Show! typically features one or two unique songs that tied directly into the plot, usually about and performed during the events of a particular scene.",
"typically features one or two unique songs that tied directly into the plot, usually about and performed during the events of a particular scene. Most of these songs are rather brief, averaging a running time of just under a minute; Jacobs stated that many of the show's original songs were recorded as full-length pieces but trimmed down for inclusion in an episode, simply due to the show \"trying to pack so much into 22 minutes\".",
"Most of these songs are rather brief, averaging a running time of just under a minute; Jacobs stated that many of the show's original songs were recorded as full-length pieces but trimmed down for inclusion in an episode, simply due to the show \"trying to pack so much into 22 minutes\". Shortly after Super Show!s premiere, Jacobs confirmed plans to eventually release the series' original full-length songs as a soundtrack album.",
"Shortly after Super Show!s premiere, Jacobs confirmed plans to eventually release the series' original full-length songs as a soundtrack album. However, these plans wouldn't fully come to fruition until 2019; in a 2018 interview, Jacobs retrospectively revealed that the album had been long completed but the band \"hadn't had all the rights tied up\" until then.",
"However, these plans wouldn't fully come to fruition until 2019; in a 2018 interview, Jacobs retrospectively revealed that the album had been long completed but the band \"hadn't had all the rights tied up\" until then. The first original and full-length recordings from the series' first season debuted in July 2017, when \"Burger Rain\" and \"Beat Fishin'\" were released as a tour-exclusive 7\" single.",
"The first original and full-length recordings from the series' first season debuted in July 2017, when \"Burger Rain\" and \"Beat Fishin'\" were released as a tour-exclusive 7\" single. Songs from the series' first season were eventually compiled as The Aquabats! Super Show!",
"Super Show! Super Show! Television Soundtrack: Volume One, which was released digitally in March 2019 and then onto physical media the following June, where it became The Aquabats' highest-charting album to date, debuting at the top of Billboards Top Heatseekers chart and at 165 on the Billboard 200.",
"Television Soundtrack: Volume One, which was released digitally in March 2019 and then onto physical media the following June, where it became The Aquabats' highest-charting album to date, debuting at the top of Billboards Top Heatseekers chart and at 165 on the Billboard 200. Cast and characters See: List of The Aquabats! Super Show!",
"Super Show! Super Show! characters The Aquabats! Super Show! stars and is based upon fictionalized versions of the then-current (since 2006) line-up of the California comedy rock band The Aquabats. Adapting the backstory the band has used for the entirety of their professional career, Super Show!",
"Adapting the backstory the band has used for the entirety of their professional career, Super Show! depicts The Aquabats as a group of bumbling, out-of-shape superheroes on a self-appointed mission to fight the forces of evil, presented in both live-action and animated segments.",
"depicts The Aquabats as a group of bumbling, out-of-shape superheroes on a self-appointed mission to fight the forces of evil, presented in both live-action and animated segments. The five members of The Aquabats are: The MC Bat Commander (played and voiced by Christian Jacobs) – The Aquabats' singer and de facto leader of the team.",
"The five members of The Aquabats are: The MC Bat Commander (played and voiced by Christian Jacobs) – The Aquabats' singer and de facto leader of the team. Though he doesn't have any superpowers of his own and is often quite stubborn and naive, the Commander is shown to be an effective strategist whose sharp leadership skills, bravery and determination regularly drive the band towards victory.",
"Though he doesn't have any superpowers of his own and is often quite stubborn and naive, the Commander is shown to be an effective strategist whose sharp leadership skills, bravery and determination regularly drive the band towards victory. Crash McLarson (played and voiced by Chad Larson) – The band's bass guitarist, who has the frequently uncontrollable ability to grow upwards of 100 feet in size when under emotional stress.",
"Crash McLarson (played and voiced by Chad Larson) – The band's bass guitarist, who has the frequently uncontrollable ability to grow upwards of 100 feet in size when under emotional stress. Despite being the largest and strongest of The Aquabats, Crash has a gentle, childlike demeanor bordering on slight dim-wittedness, and as such is usually the most cowardly member of the team.",
"Despite being the largest and strongest of The Aquabats, Crash has a gentle, childlike demeanor bordering on slight dim-wittedness, and as such is usually the most cowardly member of the team. Jimmy the Robot (played and voiced by James R. Briggs, Jr.) – The Aquabats' keyboardist.",
"Jimmy the Robot (played and voiced by James R. Briggs, Jr.) – The Aquabats' keyboardist. As his name implies, Jimmy is an android whose mechanical body houses a variety of built-in gadgets and weaponry, plus a comprehensive knowledge database which earns him the position of the group's resident scientist.",
"As his name implies, Jimmy is an android whose mechanical body houses a variety of built-in gadgets and weaponry, plus a comprehensive knowledge database which earns him the position of the group's resident scientist. Being a robot, Jimmy is generally perplexed by human emotions and behavior.",
"Being a robot, Jimmy is generally perplexed by human emotions and behavior. Ricky Fitness (played and voiced by Richard Falomir) – the band's drummer, Ricky possesses the power of super speed.",
"Ricky Fitness (played and voiced by Richard Falomir) – the band's drummer, Ricky possesses the power of super speed. Being the most physically fit and health-conscious member of The Aquabats, some of the series' running gags revolve around Ricky's status as a handsome ladies' man and his fondness for \"fresh, healthy veggies\" in contrast to the rest of the team's voracious affinity for junk food.",
"Being the most physically fit and health-conscious member of The Aquabats, some of the series' running gags revolve around Ricky's status as a handsome ladies' man and his fondness for \"fresh, healthy veggies\" in contrast to the rest of the team's voracious affinity for junk food. EagleBones Falconhawk (played and voiced by Ian Fowles) – The Aquabats' guitarist.",
"EagleBones Falconhawk (played and voiced by Ian Fowles) – The Aquabats' guitarist. The cocky and boyish maverick of the team, EagleBones is highly proficient on his custom weaponized electric guitar which shoots lasers from its headstock.",
"The cocky and boyish maverick of the team, EagleBones is highly proficient on his custom weaponized electric guitar which shoots lasers from its headstock. Following a spiritual encounter early in season one, EagleBones also has the gift of second sight and is accompanied by \"The Dude\", an invisible spirit eagle whom he summons to aide The Aquabats in battle.",
"Following a spiritual encounter early in season one, EagleBones also has the gift of second sight and is accompanied by \"The Dude\", an invisible spirit eagle whom he summons to aide The Aquabats in battle. Voice actor and writer Mr. Lawrence provided the minimal narration for both seasons of Super Show!s live-action segments, while staff writer Kyle McCulloch narrated the first season's animated segments.",
"Voice actor and writer Mr. Lawrence provided the minimal narration for both seasons of Super Show!s live-action segments, while staff writer Kyle McCulloch narrated the first season's animated segments. Guest stars and recurring characters Though each episode of the series introduced a new villain, ally and/or celebrity cameo, Super Show!",
"Guest stars and recurring characters Though each episode of the series introduced a new villain, ally and/or celebrity cameo, Super Show! never featured any major recurring characters throughout its run.",
"never featured any major recurring characters throughout its run. However, every episode of the show included a very brief appearance by a character fans dubbed the \"Fox Man\", a man in a cheap-looking fox costume played by visual effects supervisor Joel Fox, who would appear hidden in the background of a random scene as an Easter egg for viewers to spot, although his character was never explained within the context of the series.",
"However, every episode of the show included a very brief appearance by a character fans dubbed the \"Fox Man\", a man in a cheap-looking fox costume played by visual effects supervisor Joel Fox, who would appear hidden in the background of a random scene as an Easter egg for viewers to spot, although his character was never explained within the context of the series. Comedy musician \"Weird Al\" Yankovic and comedian Paul Rust were the only two guest actors to appear in two episodes: Yankovic played two different roles as the President of the United States and superhero SuperMagic PowerMan!",
"Comedy musician \"Weird Al\" Yankovic and comedian Paul Rust were the only two guest actors to appear in two episodes: Yankovic played two different roles as the President of the United States and superhero SuperMagic PowerMan! (in a 2012 interview, Jacobs alluded to the two possibly being the same character, though this isn't implied within the series), while Rust played a boorish slacker named Ronmark, first appearing in live-action in a first-season episode and subsequently lending his voice to a mutated monster version of the character in part of a second-season episode.",
"(in a 2012 interview, Jacobs alluded to the two possibly being the same character, though this isn't implied within the series), while Rust played a boorish slacker named Ronmark, first appearing in live-action in a first-season episode and subsequently lending his voice to a mutated monster version of the character in part of a second-season episode. Episodes Distribution International broadcast Outside of North America, The Aquabats!",
"Episodes Distribution International broadcast Outside of North America, The Aquabats! Super Show! broadcast in Australia on the children's public broadcasting channel ABC3 and in the United Kingdom on the children's network CITV. Home media Coinciding with the run of the first season, each new episode of The Aquabats! Super Show!",
"Super Show! Super Show! was released through the iTunes Store for digital download. Prior to the series debut, a season pass was made available for purchase to enable viewers to automatically receive a download of each new episode on its airdate. The first season of Super Show!",
"The first season of Super Show! was added to the video streaming service Netflix on December 1, 2012, later being added to Hulu on December 21. Unlike the first season, the series' second season was not made available for iTunes pre-order, nor were episodes released for purchase.",
"Unlike the first season, the series' second season was not made available for iTunes pre-order, nor were episodes released for purchase. Though each episode was briefly streamed on The Hub's official website, none of the seasons' episodes were made available on Hulu, Netflix or similar streaming services. Shout!",
"Shout! Shout! Factory had the DVD publishing rights for The Aquabats! Super Show! within Region 1 for release of the first season.",
"within Region 1 for release of the first season. The company first announced their acquisition of the series and plans for a future DVD in a press release dated August 6, 2012, though did not initially confirm a set release date until several months later. On May 21, 2013, the first season of Super Show!",
"On May 21, 2013, the first season of Super Show! was released on a two-disc DVD set. On November 22, 2017, in conjunction with their announcement of a season two theatrical screening, The Aquabats confirmed an independent Blu-ray release for season two, including the three specials often considered a \"season three\".",
"On November 22, 2017, in conjunction with their announcement of a season two theatrical screening, The Aquabats confirmed an independent Blu-ray release for season two, including the three specials often considered a \"season three\". On December 5, pre-orders were launched on The Aquabats' merchandising site for an official release date of December 22, though copies were first made for public sale at the second season theatrical screening on December 16.",
"On December 5, pre-orders were launched on The Aquabats' merchandising site for an official release date of December 22, though copies were first made for public sale at the second season theatrical screening on December 16. Starting in December 2014, The Aquabats gradually began uploading the series' full episodes onto their official YouTube channel.",
"Starting in December 2014, The Aquabats gradually began uploading the series' full episodes onto their official YouTube channel. As of August 2019, all 21 episodes of Super Show! and its pilot episode have been publicly uploaded to their account. Critical reception Critical response to The Aquabats! Super Show!",
"Super Show! Super Show! was predominantly positive, with most reviewers praising the series' intentionally campy tone and offbeat humor. The Onions The A.V.",
"The Onions The A.V. The Onions The A.V. Club gave the series premiere an A− rating, describing it as \"a loving homage to basically everything ever done by the brothers Krofft\": \"the show adeptly flips from humor to melodrama to action, providing some awesomely cheap special effects, goofy songs, and gags that range from slapstick to sublime\", summarizing \"there's so much here that both kids and parents will be able to enjoy the proceedings on their own respective levels and rarely find themselves bored\".",
"Club gave the series premiere an A− rating, describing it as \"a loving homage to basically everything ever done by the brothers Krofft\": \"the show adeptly flips from humor to melodrama to action, providing some awesomely cheap special effects, goofy songs, and gags that range from slapstick to sublime\", summarizing \"there's so much here that both kids and parents will be able to enjoy the proceedings on their own respective levels and rarely find themselves bored\". Brian Lowry of Variety wrote \"you don't have to laugh at everything to admire the effort and sheer silliness\", calling the show a \"goofy and nostalgic\" throwback to the \"children's TV of baby boomers' youth, down to crappy production values and awful-looking 'monsters' that work to its advantage\".",
"Brian Lowry of Variety wrote \"you don't have to laugh at everything to admire the effort and sheer silliness\", calling the show a \"goofy and nostalgic\" throwback to the \"children's TV of baby boomers' youth, down to crappy production values and awful-looking 'monsters' that work to its advantage\". He summarized \"Although this Hub series at times feels like an SNL skit stretched to a half-hour, its sly mix of music, live-action crime-fighting, cartoons and mock ads ought to develop a cult following—and might be more popular with parents, at least those with the geek gene, than their kids\".",
"He summarized \"Although this Hub series at times feels like an SNL skit stretched to a half-hour, its sly mix of music, live-action crime-fighting, cartoons and mock ads ought to develop a cult following—and might be more popular with parents, at least those with the geek gene, than their kids\". Technology magazine Wired was consistently positive towards the series, calling it both \"wonderfully strange\" and \"delightfully deranged\", writing \"[f]illed with self-deprecating music videos, toon interludes and ludicrous villains, The Aquabats!",
"Technology magazine Wired was consistently positive towards the series, calling it both \"wonderfully strange\" and \"delightfully deranged\", writing \"[f]illed with self-deprecating music videos, toon interludes and ludicrous villains, The Aquabats! Super Show! has become one of television's strangely comforting finds\".",
"has become one of television's strangely comforting finds\". Common Sense Media, who review shows based on age-appropriate content, gave Super Show!",
"Common Sense Media, who review shows based on age-appropriate content, gave Super Show! a rating of 4 out of 5 stars, calling it \"demented and manic...fun by sheer dint of how many jokes, visual and otherwise, are thrown at the screen, both those calculated to appeal to kids and adults\".",
"a rating of 4 out of 5 stars, calling it \"demented and manic...fun by sheer dint of how many jokes, visual and otherwise, are thrown at the screen, both those calculated to appeal to kids and adults\". The site praised the series for its lighter and sillier tone in comparison to more violent live-action superhero fare, and considered the \"kind-hearted\" Aquabats to be relatively positive role models.",
"The site praised the series for its lighter and sillier tone in comparison to more violent live-action superhero fare, and considered the \"kind-hearted\" Aquabats to be relatively positive role models. However, the reviewer suggested the show's violence and creatures may be too intense for very young children, and pointed out a distinct lack of central female characters.",
"However, the reviewer suggested the show's violence and creatures may be too intense for very young children, and pointed out a distinct lack of central female characters. Neil Genzlinger of The New York Times offered a more indifferent opinion, calling The Aquabats \"indescribably odd\" and the series \"frenetic, semicoherent and generally harmless.",
"Neil Genzlinger of The New York Times offered a more indifferent opinion, calling The Aquabats \"indescribably odd\" and the series \"frenetic, semicoherent and generally harmless. Also somewhat hallucinogenic\", noting Super Show!s writing \"may be over the heads of the 2-to-12 set\", suggesting its most receptive audience might be \"the college drinking-game crowd\".",
"Also somewhat hallucinogenic\", noting Super Show!s writing \"may be over the heads of the 2-to-12 set\", suggesting its most receptive audience might be \"the college drinking-game crowd\". Awards and nominations The Aquabats! Super Show!",
"Awards and nominations The Aquabats! Super Show! Super Show! was nominated for the following awards: Daytime Emmy Award References External links Official website of The Aquabats The Aquabats 2010s American children's television series 2010s American musical comedy television series 2010s American satirical television series 2010s American sketch comedy television series 2010s American superhero comedy television series 2012 American television series debuts 2014 American television series endings American children's adventure television series American children's musical television series American television series with live action and animation Children's sketch comedy English-language television shows Television series by Fremantle (company) Television shows set in Orange County, California American television shows featuring puppetry Discovery Family original programming"
] |
[
"The Aquabats! Super Show!",
"History and previous attempts at a series",
"How did The Aquabats originate?",
"musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in"
] | C_4cdf6386fc074258b24b5e00bbcdec23_0 | When did they form? | 2 | When did The Aquabats form? | The Aquabats! Super Show! | In 1994, musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in Brea, California. Influenced as much by cartoons and camp television as theatrical bands like Devo and Oingo Boingo, The Aquabats gained instant notoriety in the Orange County music scene for their eccentric persona in which they claimed to be a band of superheroes on a quest to save the world and their elaborate stage shows which regularly featured scripted fights with costumed villains alongside similar stunts and comedy sketches. The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough for the group, charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs - a former child actor with ties in the industry - to develop the concept of adapting the band's mythology for television. In 1998, Buena Vista Television helped produce a live-action mini-pilot directed by comedian Bobcat Goldthwait titled simply The Aquabats!, following the comic misadventures of the then-eight member band in an over-the-top camp style similar to Saturday morning cartoon shows. The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves. Undeterred, The Aquabats made an attempt at a second pilot the following year, using a music video budget granted by their record label Goldenvoice Records for their 1999 album The Aquabats vs. the Floating Eye of Death!. Independently directed and produced by Jacobs and his creative partner Scott Schultz, the result was a five-minute promo video entitled The Aquabats in Color!. In contrast to the wackier tone of the previous pilot, The Aquabats in Color! was a more action-oriented superhero series modeled after Japanese tokusatsu shows such as Kamen Rider. According to Jacobs, the Fox Family Channel reportedly expressed interest in the series and ordered production on a proper pilot episode, though following the channel's acquisition by Disney in 2001, the project was cancelled. CANNOTANSWER | In 1994, | The Aquabats! Super Show! is an American action-comedy musical television series which aired from March 3, 2012 to January 8, 2014 on The Hub Network and resumed as an independent YouTube web series in September 2019. The series was created by Christian Jacobs, and Scott Schultz, both the creators of the Nick Jr. show Yo Gabba Gabba!, and Jason deVilliers.
Based on the superhero mythology of The Aquabats, a real-life comedy rock band which series co-creator and lead singer Jacobs formed in 1994, The Aquabats! Super Show! follows the comic adventures of a fictionalized version of the band, a musical group of amateur superheroes, as they haphazardly defend the world from a variety of villains and monsters. Styled similarly to the campy aesthetics of 1960s and 1970s children's television and Japanese tokusatsu, Super Show! utilizes various mediums of visual styles and special effects, mixing live-action storylines with cartoon shorts, parody advertisements and musical interludes.
The series' first season concluded on June 16, 2012 following a run of 13 episodes, having met with a largely positive critical reception, consistently high ratings for the channel and a Daytime Emmy nomination for Outstanding Children's Series. The series' second season consisted of an initial five episodes which aired through June 2013, with three additional episodes airing in late December and January 2014, receiving similar acclaim and a further seven Daytime Emmy nominations, ultimately winning one for Best Stunt Coordination. In June 2014, co-creator Jacobs officially announced the series' cancellation, following news of The Hub's financial losses which led to the network's rebranding as Discovery Family later that October.
In July 2018, The Aquabats launched a successful Kickstarter to help independently finance new episodes of The Aquabats! Super Show!, promoting the campaign with a series of YouTube-exclusive mini-episodes continuing the original series' storyline. On September 28, 2019, The Aquabats premiered the first installment of these new episodes, now a biweekly YouTube series entitled The Aquabats! RadVentures!, though still retaining Super Show!s theme song and title card.
Series overview
Premise
Chronicled in both live-action and animated segments, The Aquabats! Super Show! is centered around the adventures of The Aquabats, a group of superhero rock musicians who travel the countryside on a self-appointed mission to fight evil and "destroy boredom", protecting the world from the villains and creatures who threaten to destroy it while aiming to become a famous rock and roll band in their own right.
The Aquabats consist of singer The MC Bat Commander (Christian Jacobs), the swaggering leader of the group; bassist Crash McLarson (Chad Larson), who can grow up to 100 feet in size; drummer Ricky Fitness (Richard Falomir), who has the power of super speed; guitarist EagleBones Falconhawk (Ian Fowles), who's armed with a laser-shooting electric guitar; and keyboardist Jimmy the Robot (James R. Briggs, Jr.), an android. Despite their superhuman strengths and abilities, The Aquabats are quite bumbling, disorganized, and sometimes cowardly when faced with danger; this has in fact led them to be labeled "the world's most inept superheroes". The band lives and travels by way of their "Battletram", a modified classic GMC motorhome which, despite its small exterior, has an implausibly massive interior (similar to the TARDIS from Doctor Who or The Big Bologna from The Kids From C.A.P.E.R.), which contains, among many things, a science lab, a command center, and a living room.
The Aquabats' origin story was left intentionally vague throughout the series, a choice Jacobs explains was done for the sake of the viewer's imagination, as he felt kids were more accepting of the inherent absurdity of the premise than adults tend to be: "'There's five guys. This is what each of the five guys does. There are monsters. They're gonna try to fight them'. It's so simple. And I think that's why it's so awesome with kids—they just take it and run with it". In the first five episodes of season two, each member of The Aquabats shares their memory of how they joined the band via animated flashback sequences; however, all of these flashbacks directly and intentionally contradict each other, leaving it unknown which—if any—could be considered officially canonical.
Format and influences
The Aquabats! Super Show! juxtaposes both live-action and animated segments starring The Aquabats, interwoven with various tangential skits and cartoon interstitials. The live-action storylines are the primary focus of each episode, following a self-contained villain of the week formula. In the first season, each episode featured brief anime-styled cartoon shorts which one of the characters would introduce at a random point of the show, often by finding "A Cartoon" (represented by a miniature television set) in an absurd location. Unlike the live-action segments, these cartoons followed a serialized story arc, with each installment ending in a cliffhanger to be resolved in the next episode. In season two, this format was replaced with a series of animated flashbacks recounting the origins of The Aquabats, each by a different animation studio and in a different animation style. Between these segments are pantomime cartoon shorts starring "Lil' Bat", The Aquabats' anthropomorphic bat mascot, and live-action parody commercials for outlandish fictional products, the latter of which has long been a staple of The Aquabats' multi-media stage shows.
Jacobs says the concept behind Super Show! was something he had always dreamed of doing, making a "campy, live-action, funky kid's show" in the vein of the 1960s and 1970s television that he and the rest of the series' producers had grown up with. While the show pays homage to many facets of pop culture, Jacobs has named the 1960s Batman television series as the primary influence on Super Show!s "obviously silly" tone and visual style, ranging from set design to the trademark use of dutch angles for villain scenes. Other notable influences Jacobs has repeatedly mentioned include the works of Sid and Marty Krofft and Hanna-Barbera, Japanese tokusatsu series such as Ultraman and Johnny Sokko And His Flying Robot, the Shaw Brothers and Hong Kong cinema, and shows including Danger Island, Star Trek, The Rocky and Bullwinkle Show, and Pee-wee's Playhouse, noting "there's a good 30 years worth of television culture packed into these 22-minute episodes".
Demographic
As The Hub's key demographic were children aged 6 to 12, Super Show! was ostensibly targeted towards said age group, though Jacobs has stated that the series primarily aimed to appeal to an all-ages crowd, with the intent of creating entertainment that both kids and parents can watch and enjoy together or separately. In interviews prior to the series' premiere, he explained that this was merely an extension of The Aquabats' own family-friendly ethos: "There's just obviously something about the costumes and being superheroes that really appeals to younger kids, and I think we always knew that as a band...I think we'll want to put things in [the show] for an older audience, because we realize we have an older audience, but then also we want the young kids, to not have it go over their heads".
Production history
History and previous attempts at a series
In 1994, musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in Brea, California. Influenced as much by cartoons and camp television as theatrical bands like Devo and Oingo Boingo, The Aquabats gained instant notoriety in the Orange County music scene for their eccentric persona in which they claimed to be a band of superheroes on a quest to save the world and their elaborate stage shows which regularly featured scripted fights with costumed villains alongside similar stunts and comedy sketches.
The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough for the group, charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs – a former child actor with ties in the industry – to develop the concept of adapting the band's mythology for television. In 1998, Buena Vista Television helped produce a live-action mini-pilot directed by comedian Bobcat Goldthwait titled simply The Aquabats!, following the comic misadventures of the then-eight member band in an over-the-top camp style similar to Saturday morning cartoon shows. The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves.
Undeterred, The Aquabats made an attempt at a second pilot the following year, using a music video budget granted by their record label Goldenvoice Records for their 1999 album The Aquabats vs. the Floating Eye of Death!. Independently directed and produced by Jacobs and his creative partner Scott Schultz, the result was a five-minute promo video entitled The Aquabats in Color!. In contrast to the wackier tone of the previous pilot, The Aquabats in Color! was a more action-oriented superhero series modeled after Japanese tokusatsu shows such as Kamen Rider. According to Jacobs, the Fox Family Channel reportedly expressed interest in the series and ordered production on a proper pilot episode, though following the channel's acquisition by Disney in 2001, the project was cancelled.
The Aquabats! Super Show! pilot (2008)
In 2005, Jacobs and Schultz formed the Orange County-based production company The Magic Store, focusing on creating family-oriented television entertainment. One of the company's independently produced pilots, the children's television series Yo Gabba Gabba!, was eventually picked up as a series by Viacoms Nick Jr. channel, premiering in August 2007 and ultimately becoming an award-winning and critically acclaimed international success. In the wake of the series' popularity, Jacobs and Schultz persuaded Yo Gabba Gabba!s joint production company Wild Brain to help produce a new pilot based around The Aquabats in conjuncture with The Magic Store.
Again creatively spearheaded by Jacobs and Schultz, The Aquabats' third pilot, titled The Aquabats! Super Show!, was shot on location throughout southern California in late 2007 and early 2008. Part of this filming took place at a free invitation-only concert for members of the band's official fan club at the El Rey Theatre in Los Angeles on January 12, 2008. While The Aquabats' previous pilots were short, live-action promotional videos, The Aquabats! Super Show! was a fully realized 22-minute episode featuring two separate storylines based on the adventures of The Aquabats, one live-action and one animated, and interspersed with parody commercials and live footage of the band. Speaking on the decision to structure the show in such a varied format, Jacobs said "[w]e did that for a strategic reason – some networks like cartoons more than other networks. We wanted to say, 'this could be both shows'."
Following a period of post-production, The Aquabats began widely self-promoting Super Show! in June 2008, redesigning their website to promote the pilot and releasing a teaser trailer and several exclusive clips through an official Super Show! YouTube channel. On July 25, 2008, the band screened the full pilot at a concert in San Diego held during the weekend of the San Diego Comic-Con, while a segment of the episode was hosted on Boing Boing the same day. In 2009, Cartoon Network allegedly picked the series up for a run of 22 episodes, though following major staff changes within the company—which, according to Jacobs, included the termination of the executives who had green-lighted Super Show!—the project was again cancelled.
The Hub and season one
After several more unsuccessful network pitches into the 2010s, The Aquabats! Super Show! was finally picked up as a series by family cable channel The Hub, a joint venture between Hasbro and Discovery which launched in 2010 as a replacement for Discovery Kids. The Hub formally announced the series in a press release on March 23, 2011, revealing Super Show! would be given a first season run of 13 episodes, produced in conjuncture with FremantleMedia. In promotion of the series, The Aquabats appeared as part of a panel at the 2011 San Diego Comic-Con where they discussed their initial plans for the show, while The Hub sponsored an Aquabats concert held at the nearby House of Blues during the same weekend.
Production on season one of Super Show! officially began in May 2011. The entirety of the first season was shot within and around The Aquabats' hometown of Orange County, California; according to the first season DVD audio commentary, episodes were shot on location in the cities of Irvine, Silverado, Yorba Linda, Huntington Beach and Fullerton, while a private sound stage in Santa Ana was used for interior shots of the Battletram. A public Aquabats concert held at The Glass House club in Pomona on November 5, 2011 was also filmed to provide live footage of the band which is featured in the series' opening credits montage and several individual episodes.
Much of Super Show!s staff consist of friends and colleagues of The Aquabats who've previously worked with the band on various projects, ranging from members of Yo Gabba Gabba!s production team to fellow musicians within the southern California music scene. Among the more notable examples include Dallas McLaughlin and Matthew Gorney, both members of the San Diego hip hop band Bad Credit, who prominently served as writers, composers and performers, Warren Fitzgerald, guitarist for The Vandals, who was hired as a writer and music director, internet sketch comedy group Mega64 were commissioned to produce original material, primarily the series' parody commercials, and Japanese artist Pey, who had designed much of The Aquabats' promotional art and merchandise during the 2000s, was hired to design the season's animated segments. Additionally, several industry professionals were brought in to help work on the show: Dani Michaeli, a staff writer on SpongeBob SquarePants, was hired as the series' story editor, while Matt Chapman, co-creator of the internet Flash cartoon Homestar Runner, acted as a writer, director and actor on several episodes. As none of the members besides Jacobs had any previous acting experience, comedian Matt Walsh of the Upright Citizens Brigade was brought in to help teach The Aquabats comedic acting and timing.
In further homage to the original Batman series, Super Show! features a variety of celebrity cameo appearances. The series' first season included appearances from actors Jon Heder, Lou Diamond Phillips and Samm Levine, comedians Rip Taylor, Paul Scheer and Paul Rust, and comedy musician "Weird Al" Yankovic, who appeared in two episodes as different characters. The first season also included several "Easter egg" cameos from original Aquabats members Corey "Chainsaw" Pollock and Boyd "Catboy" Terry, as well as from fellow musicians Warren Fitzgerald and Art Mitchell of the band Supernova.
Despite having been originally announced as part of The Hub's 2011 Fall line-up, production delays postponed Super Show!s premiere to early 2012. The series' marketing campaign began in December 2011, with a later announcement of an official premiere date confirmed for March 3, 2012. Following a non-consecutive run of 13 episodes, the first-season finale aired on June 16, 2012.
Season two
On October 16, 2012, The Aquabats and The Hub confirmed production on new episodes of Super Show! through the social networking sites Facebook and Twitter, announcing a tentative debut date of Spring 2013. Principal photography on season two began on October 22 and wrapped on December 1. Unlike the first season, the majority of season two was shot in and around Salt Lake City, Utah, which Jacobs explained was considerably less expensive than shooting in California.
While no changes were made to Super Shows creative team, in December 2012 it was announced that season two would introduce the series' first guest director, musician and comic book writer Gerard Way, who co-directed and co-wrote the season finale "The AntiBats!" with Jacobs and deVilliers. Way's involvement with the series was heavily covered by the music press in the wake of the March 2013 break-up of his popular alternative rock band My Chemical Romance. Among the guest stars featured in season two were professional skateboarders Tony Hawk and Eric Koston, Devo frontman and Yo Gabba Gabba! cast member Mark Mothersbaugh, internet celebrity Leslie Hall, actor Martin Starr and My Chemical Romance bassist Mikey Way.
On December 2, 2012, deVilliers revealed on his Twitter account that the upcoming season would consist of only five new episodes, in what he called more "season 1.5" than a "season 2", though mentioned the possibility of more being made in the future. On May 1, 2013, it was announced through Entertainment Weekly that the series' second season would begin airing on June 1. After a run of only five episodes, the season concluded on June 29, 2013.
2013–2014 specials
On August 22, 2013, series performer Chad Larson confirmed via Twitter that three additional episodes of Super Show! were being filmed near the end of the year, "and maybe more next". Principal photography on these episodes eventually began in Utah in early October. Throughout the month, The Aquabats posted numerous pictures of production on the new episodes on their Twitter and Instagram accounts, some of which revealed production code numbers of 301, 302 and 303, ostensibly indicating what would be a third season. Though these numbers were later verified by the Internet Movie Database, a November press release from The Hub explicitly referred to these three episodes as "specials".
The first of these specials, "Christmas with The Aquabats!", aired on December 21, featuring comedians Robert Smigel and Matt Walsh in guest roles. The second of these episodes, "The Shark Fighter!" (based on The Aquabats' song of the same name), featuring comedian Rhys Darby, aired the following week on December 28, while the final special "Kitty Litter!" aired on January 18, 2014. "Kitty Litter!" was helmed by another guest director, Munn Powell, best known for his work as cinematographer on the Jared and Jerusha Hess films Napoleon Dynamite and Gentlemen Broncos.
Following this short run of episodes, there was no confirmation by either The Hub or The Aquabats as to the production of any future episodes. In a December 2013 interview, Christian Jacobs acknowledged the network's unusually small order of episodes but didn't elaborate on any possible reasoning. In the same interview, he stated that the band had initially prepared for another order of 13 episodes, having written as many scripts for potential future episodes.
On May 1, 2014, the nominees for the 2014 Daytime Emmy Awards were announced, revealing that Super Show! had been nominated for five awards in four categories, including the award for Best Writing in a Children's Series for the episode "The AntiBats!". The awards ceremony was held on June 22, 2014, where the series ultimately won the award for Best Stunt Coordination for stuntman Skip Carlson.
Cancellation by The Hub and hiatus
In mid-2014, it was announced in entertainment press that Hasbro and Discovery had been in the process of rebranding The Hub following what they saw to be disappointing returns for the channel, changes which included the departure of CEO Margaret Loesch, who was instrumental in acquiring Super Show! as a series. In a Huffington Post feature about The Aquabats prior to the band's appearance at the 2014 San Diego Comic-Con, it was revealed that The Hub had opted not to renew Super Show! for a third season, effectively cancelling the series.
Jacobs admitted he was surprised by this turn of events, noting "Everything we heard was that the show has been a real Cinderella story for the Hub and that it was rating really well with viewers. We just assumed that we'd eventually go back into production or at least get picked up for Season 3", but ultimately concluded "it is what it is" in regard to the network's decision. Despite this, Jacobs remained optimistic about the series' future, saying "Given that we now live in a world where people are streaming TV shows directly onto their iPhones & computers, and given that companies like Netflix & Yahoo! are now picking up so much new content for their customers...I just find it hard to believe that The Aquabats! Super Show! is really over. I mean, we haven't even made any toys yet". He concluded by stating "It took us almost 15 years to get that TV series made. And even though we've got a bunch more concert dates lined up for the rest of this year, our first priority is to find a new home for The Aquabats! Super Show!".
On March 31, 2015, the nominees for the 42nd annual Daytime Emmy Awards were announced, with Super Show! earning nominations for Best SFX Mixer (Blaine Stewart) and Best Stunt Coordinator (Braxton McAllister).
On June 27, 2015, The Aquabats screened the entire first season of Super Show! before a sold-out crowd at The Frida Cinema in downtown Santa Ana, which was accompanied by a live performance by the band and Q&A sessions with The Aquabats and numerous members of the cast and crew. A similar presentation of the entire second season – including the three additional specials – took place at The Art Theater in Long Beach on December 16, 2017, coinciding with the release of the second season Blu-ray.
Bring Back The Aquabats! Kickstarter campaign
Following weeks of teasing a major announcement, The Aquabats launched a Kickstarter campaign on July 31, 2018 to help finance the return of The Aquabats! Super Show! as well as new studio albums from the band at a minimum projected cost of $1.1 million. The Aquabats promoted their campaign with a video featuring a slew of celebrity cameos, including Super Show! guest stars "Weird Al" Yankovic, Robert Smigel (as Triumph the Insult Comic Dog), Matt Chapman (as Homestar Runner and Strong Bad), former Aquabats member Travis Barker, Tony Kanal, Tom Dumont, Oscar Nunez, Kate Micucci, Blake Anderson, Imagine Dragons, Felicia Day and Tom Lennon, all of whom appeared in The Aquabats' trademark uniforms and spoke the Kickstarter's promotional slogan "I am The Aquabats"/"We are The Aquabats". Most prominently featured, however, was comedian Jack Black, who was later confirmed by the campaign's press releases to act as executive producer for the series' return.
Along with their Kickstarter, the band began releasing a series of Super Show! "mini-episodes", depicting the MC Bat Commander's metafictional quest to reunite the estranged Aquabats following the series' cancellation. The band confirmed that as the Kickstarter progresses, further "mini-episodes" will be released to both promote the campaign as well as act as a continuation of Super Show!.
By August 28, mere days before the campaign's end date of September 1, The Aquabats' Kickstarter had raised only $601,629 of its projected $1.1 million goal. The funding was subsequently cancelled and the campaign was rebooted the same day with a smaller goal of $100,000 to instead finance one new album and the continued production of the Super Show!! "mini-episodes". The project's goal was met within minutes.
Music
Original music for The Aquabats! Super Show! was primarily composed and performed by The Aquabats themselves, with additional scoring on most episodes provided by Matthew Gorney, Warren Fitzgerald or individual credits for Aquabats members James R. Briggs, Jr., Richard Falomir and Ian Fowles. Fitzgerald, guitarist for punk rock band The Vandals and former member of Oingo Boingo, acted as the series' music supervisor. The theme song to Super Show!, "Super Show Theme Song!", was co-written by The Aquabats and Fitzgerald.
Whereas most musically oriented shows like The Monkees typically break the narrative of an episode for a music video performance of a standalone song, each episode of Super Show! typically features one or two unique songs that tied directly into the plot, usually about and performed during the events of a particular scene. Most of these songs are rather brief, averaging a running time of just under a minute; Jacobs stated that many of the show's original songs were recorded as full-length pieces but trimmed down for inclusion in an episode, simply due to the show "trying to pack so much into 22 minutes".
Shortly after Super Show!s premiere, Jacobs confirmed plans to eventually release the series' original full-length songs as a soundtrack album. However, these plans wouldn't fully come to fruition until 2019; in a 2018 interview, Jacobs retrospectively revealed that the album had been long completed but the band "hadn't had all the rights tied up" until then. The first original and full-length recordings from the series' first season debuted in July 2017, when "Burger Rain" and "Beat Fishin'" were released as a tour-exclusive 7" single. Songs from the series' first season were eventually compiled as The Aquabats! Super Show! Television Soundtrack: Volume One, which was released digitally in March 2019 and then onto physical media the following June, where it became The Aquabats' highest-charting album to date, debuting at the top of Billboards Top Heatseekers chart and at 165 on the Billboard 200.
Cast and characters
See: List of The Aquabats! Super Show! characters
The Aquabats! Super Show! stars and is based upon fictionalized versions of the then-current (since 2006) line-up of the California comedy rock band The Aquabats. Adapting the backstory the band has used for the entirety of their professional career, Super Show! depicts The Aquabats as a group of bumbling, out-of-shape superheroes on a self-appointed mission to fight the forces of evil, presented in both live-action and animated segments. The five members of The Aquabats are:
The MC Bat Commander (played and voiced by Christian Jacobs) – The Aquabats' singer and de facto leader of the team. Though he doesn't have any superpowers of his own and is often quite stubborn and naive, the Commander is shown to be an effective strategist whose sharp leadership skills, bravery and determination regularly drive the band towards victory.
Crash McLarson (played and voiced by Chad Larson) – The band's bass guitarist, who has the frequently uncontrollable ability to grow upwards of 100 feet in size when under emotional stress. Despite being the largest and strongest of The Aquabats, Crash has a gentle, childlike demeanor bordering on slight dim-wittedness, and as such is usually the most cowardly member of the team.
Jimmy the Robot (played and voiced by James R. Briggs, Jr.) – The Aquabats' keyboardist. As his name implies, Jimmy is an android whose mechanical body houses a variety of built-in gadgets and weaponry, plus a comprehensive knowledge database which earns him the position of the group's resident scientist. Being a robot, Jimmy is generally perplexed by human emotions and behavior.
Ricky Fitness (played and voiced by Richard Falomir) – the band's drummer, Ricky possesses the power of super speed. Being the most physically fit and health-conscious member of The Aquabats, some of the series' running gags revolve around Ricky's status as a handsome ladies' man and his fondness for "fresh, healthy veggies" in contrast to the rest of the team's voracious affinity for junk food.
EagleBones Falconhawk (played and voiced by Ian Fowles) – The Aquabats' guitarist. The cocky and boyish maverick of the team, EagleBones is highly proficient on his custom weaponized electric guitar which shoots lasers from its headstock. Following a spiritual encounter early in season one, EagleBones also has the gift of second sight and is accompanied by "The Dude", an invisible spirit eagle whom he summons to aide The Aquabats in battle.
Voice actor and writer Mr. Lawrence provided the minimal narration for both seasons of Super Show!s live-action segments, while staff writer Kyle McCulloch narrated the first season's animated segments.
Guest stars and recurring characters
Though each episode of the series introduced a new villain, ally and/or celebrity cameo, Super Show! never featured any major recurring characters throughout its run. However, every episode of the show included a very brief appearance by a character fans dubbed the "Fox Man", a man in a cheap-looking fox costume played by visual effects supervisor Joel Fox, who would appear hidden in the background of a random scene as an Easter egg for viewers to spot, although his character was never explained within the context of the series.
Comedy musician "Weird Al" Yankovic and comedian Paul Rust were the only two guest actors to appear in two episodes: Yankovic played two different roles as the President of the United States and superhero SuperMagic PowerMan! (in a 2012 interview, Jacobs alluded to the two possibly being the same character, though this isn't implied within the series), while Rust played a boorish slacker named Ronmark, first appearing in live-action in a first-season episode and subsequently lending his voice to a mutated monster version of the character in part of a second-season episode.
Episodes
Distribution
International broadcast
Outside of North America, The Aquabats! Super Show! broadcast in Australia on the children's public broadcasting channel ABC3 and in the United Kingdom on the children's network CITV.
Home media
Coinciding with the run of the first season, each new episode of The Aquabats! Super Show! was released through the iTunes Store for digital download. Prior to the series debut, a season pass was made available for purchase to enable viewers to automatically receive a download of each new episode on its airdate. The first season of Super Show! was added to the video streaming service Netflix on December 1, 2012, later being added to Hulu on December 21.
Unlike the first season, the series' second season was not made available for iTunes pre-order, nor were episodes released for purchase. Though each episode was briefly streamed on The Hub's official website, none of the seasons' episodes were made available on Hulu, Netflix or similar streaming services.
Shout! Factory had the DVD publishing rights for The Aquabats! Super Show! within Region 1 for release of the first season. The company first announced their acquisition of the series and plans for a future DVD in a press release dated August 6, 2012, though did not initially confirm a set release date until several months later. On May 21, 2013, the first season of Super Show! was released on a two-disc DVD set.
On November 22, 2017, in conjunction with their announcement of a season two theatrical screening, The Aquabats confirmed an independent Blu-ray release for season two, including the three specials often considered a "season three". On December 5, pre-orders were launched on The Aquabats' merchandising site for an official release date of December 22, though copies were first made for public sale at the second season theatrical screening on December 16.
Starting in December 2014, The Aquabats gradually began uploading the series' full episodes onto their official YouTube channel. As of August 2019, all 21 episodes of Super Show! and its pilot episode have been publicly uploaded to their account.
Critical reception
Critical response to The Aquabats! Super Show! was predominantly positive, with most reviewers praising the series' intentionally campy tone and offbeat humor. The Onions The A.V. Club gave the series premiere an A− rating, describing it as "a loving homage to basically everything ever done by the brothers Krofft": "the show adeptly flips from humor to melodrama to action, providing some awesomely cheap special effects, goofy songs, and gags that range from slapstick to sublime", summarizing "there's so much here that both kids and parents will be able to enjoy the proceedings on their own respective levels and rarely find themselves bored".
Brian Lowry of Variety wrote "you don't have to laugh at everything to admire the effort and sheer silliness", calling the show a "goofy and nostalgic" throwback to the "children's TV of baby boomers' youth, down to crappy production values and awful-looking 'monsters' that work to its advantage". He summarized "Although this Hub series at times feels like an SNL skit stretched to a half-hour, its sly mix of music, live-action crime-fighting, cartoons and mock ads ought to develop a cult following—and might be more popular with parents, at least those with the geek gene, than their kids".
Technology magazine Wired was consistently positive towards the series, calling it both "wonderfully strange" and "delightfully deranged", writing "[f]illed with self-deprecating music videos, toon interludes and ludicrous villains, The Aquabats! Super Show! has become one of television's strangely comforting finds".
Common Sense Media, who review shows based on age-appropriate content, gave Super Show! a rating of 4 out of 5 stars, calling it "demented and manic...fun by sheer dint of how many jokes, visual and otherwise, are thrown at the screen, both those calculated to appeal to kids and adults". The site praised the series for its lighter and sillier tone in comparison to more violent live-action superhero fare, and considered the "kind-hearted" Aquabats to be relatively positive role models. However, the reviewer suggested the show's violence and creatures may be too intense for very young children, and pointed out a distinct lack of central female characters.
Neil Genzlinger of The New York Times offered a more indifferent opinion, calling The Aquabats "indescribably odd" and the series "frenetic, semicoherent and generally harmless. Also somewhat hallucinogenic", noting Super Show!s writing "may be over the heads of the 2-to-12 set", suggesting its most receptive audience might be "the college drinking-game crowd".
Awards and nominations
The Aquabats! Super Show! was nominated for the following awards:
Daytime Emmy Award
References
External links
Official website of The Aquabats
The Aquabats
2010s American children's television series
2010s American musical comedy television series
2010s American satirical television series
2010s American sketch comedy television series
2010s American superhero comedy television series
2012 American television series debuts
2014 American television series endings
American children's adventure television series
American children's musical television series
American television series with live action and animation
Children's sketch comedy
English-language television shows
Television series by Fremantle (company)
Television shows set in Orange County, California
American television shows featuring puppetry
Discovery Family original programming | true | [
"Sagawa Express Osaka Soccer Club(佐川急便大阪サッカー部) was a Japanese football club based in Higashisumiyoshi-ku, Osaka.\n\nHistory \nThey were founded in 1965 and played in the Japan Football League (JFL) from 2002 to 2007, when they merged with Sagawa Express Tokyo S.C. to form what is now Sagawa Shiga F.C. As the name implies they were run by Sagawa Express, a Japanese transportation business.\n\nPrior to joining the JFL the team played in the Kansai Soccer League, in which they won four championships. They joined the JFL in 2002, one year after their Tokyo counterparts did. They did not repeat their earlier success after the switch. In 2007 the team announced the merger with Sagawa Express Tokyo to form Sagawa Express S.C., now Sagawa Shiga F.C., based in Shiga Prefecture.\n\nHonors \n Kansai Soccer League: 4\n1997, 1998, 2000, 2001\n\nExternal links\n Hikyaku Kaido (in Japanese)\n \n\nAssociation football clubs established in 1965\nAssociation football clubs disestablished in 2007\nDefunct football clubs in Japan\n1965 establishments in Japan\n2007 disestablishments in Japan\nJapan Football League clubs",
"This is a list of Latin words with derivatives in English (and other modern languages).\n\nAncient orthography did not distinguish between i and j or between u and v. Many modern works distinguish u from v but not i from j. In this article, both distinctions are shown as they are helpful when tracing the origin of English words. See also Latin spelling and pronunciation.\n\nNouns and adjectives\nThe citation form for nouns (the form normally shown in Latin dictionaries) is the Latin nominative singular, but that typically does not exhibit the root form from which English nouns are generally derived.\n\nVerbs\n\nPrepositions and other words used to form compound words\n\nSee also\n\nNotes\n\nReferences\n \n \n \n \n \n\n List of\nHistory of the English language\nLatin"
] | [
"The Aquabats! Super Show! is an American action-comedy musical television series which aired from March 3, 2012 to January 8, 2014 on The Hub Network and resumed as an independent YouTube web series in September 2019.",
"is an American action-comedy musical television series which aired from March 3, 2012 to January 8, 2014 on The Hub Network and resumed as an independent YouTube web series in September 2019. The series was created by Christian Jacobs, and Scott Schultz, both the creators of the Nick Jr. show Yo Gabba Gabba!, and Jason deVilliers.",
"The series was created by Christian Jacobs, and Scott Schultz, both the creators of the Nick Jr. show Yo Gabba Gabba!, and Jason deVilliers. Based on the superhero mythology of The Aquabats, a real-life comedy rock band which series co-creator and lead singer Jacobs formed in 1994, The Aquabats! Super Show!",
"Super Show! Super Show! follows the comic adventures of a fictionalized version of the band, a musical group of amateur superheroes, as they haphazardly defend the world from a variety of villains and monsters. Styled similarly to the campy aesthetics of 1960s and 1970s children's television and Japanese tokusatsu, Super Show!",
"Styled similarly to the campy aesthetics of 1960s and 1970s children's television and Japanese tokusatsu, Super Show! utilizes various mediums of visual styles and special effects, mixing live-action storylines with cartoon shorts, parody advertisements and musical interludes.",
"utilizes various mediums of visual styles and special effects, mixing live-action storylines with cartoon shorts, parody advertisements and musical interludes. The series' first season concluded on June 16, 2012 following a run of 13 episodes, having met with a largely positive critical reception, consistently high ratings for the channel and a Daytime Emmy nomination for Outstanding Children's Series.",
"The series' first season concluded on June 16, 2012 following a run of 13 episodes, having met with a largely positive critical reception, consistently high ratings for the channel and a Daytime Emmy nomination for Outstanding Children's Series. The series' second season consisted of an initial five episodes which aired through June 2013, with three additional episodes airing in late December and January 2014, receiving similar acclaim and a further seven Daytime Emmy nominations, ultimately winning one for Best Stunt Coordination.",
"The series' second season consisted of an initial five episodes which aired through June 2013, with three additional episodes airing in late December and January 2014, receiving similar acclaim and a further seven Daytime Emmy nominations, ultimately winning one for Best Stunt Coordination. In June 2014, co-creator Jacobs officially announced the series' cancellation, following news of The Hub's financial losses which led to the network's rebranding as Discovery Family later that October.",
"In June 2014, co-creator Jacobs officially announced the series' cancellation, following news of The Hub's financial losses which led to the network's rebranding as Discovery Family later that October. In July 2018, The Aquabats launched a successful Kickstarter to help independently finance new episodes of The Aquabats!",
"In July 2018, The Aquabats launched a successful Kickstarter to help independently finance new episodes of The Aquabats! Super Show!, promoting the campaign with a series of YouTube-exclusive mini-episodes continuing the original series' storyline.",
"Super Show!, promoting the campaign with a series of YouTube-exclusive mini-episodes continuing the original series' storyline. On September 28, 2019, The Aquabats premiered the first installment of these new episodes, now a biweekly YouTube series entitled The Aquabats! RadVentures!, though still retaining Super Show!s theme song and title card.",
"RadVentures!, though still retaining Super Show!s theme song and title card. Series overview Premise Chronicled in both live-action and animated segments, The Aquabats! Super Show!",
"Super Show! Super Show! is centered around the adventures of The Aquabats, a group of superhero rock musicians who travel the countryside on a self-appointed mission to fight evil and \"destroy boredom\", protecting the world from the villains and creatures who threaten to destroy it while aiming to become a famous rock and roll band in their own right.",
"is centered around the adventures of The Aquabats, a group of superhero rock musicians who travel the countryside on a self-appointed mission to fight evil and \"destroy boredom\", protecting the world from the villains and creatures who threaten to destroy it while aiming to become a famous rock and roll band in their own right. The Aquabats consist of singer The MC Bat Commander (Christian Jacobs), the swaggering leader of the group; bassist Crash McLarson (Chad Larson), who can grow up to 100 feet in size; drummer Ricky Fitness (Richard Falomir), who has the power of super speed; guitarist EagleBones Falconhawk (Ian Fowles), who's armed with a laser-shooting electric guitar; and keyboardist Jimmy the Robot (James R. Briggs, Jr.), an android.",
"The Aquabats consist of singer The MC Bat Commander (Christian Jacobs), the swaggering leader of the group; bassist Crash McLarson (Chad Larson), who can grow up to 100 feet in size; drummer Ricky Fitness (Richard Falomir), who has the power of super speed; guitarist EagleBones Falconhawk (Ian Fowles), who's armed with a laser-shooting electric guitar; and keyboardist Jimmy the Robot (James R. Briggs, Jr.), an android. Despite their superhuman strengths and abilities, The Aquabats are quite bumbling, disorganized, and sometimes cowardly when faced with danger; this has in fact led them to be labeled \"the world's most inept superheroes\".",
"Despite their superhuman strengths and abilities, The Aquabats are quite bumbling, disorganized, and sometimes cowardly when faced with danger; this has in fact led them to be labeled \"the world's most inept superheroes\". The band lives and travels by way of their \"Battletram\", a modified classic GMC motorhome which, despite its small exterior, has an implausibly massive interior (similar to the TARDIS from Doctor Who or The Big Bologna from The Kids From C.A.P.E.R.",
"The band lives and travels by way of their \"Battletram\", a modified classic GMC motorhome which, despite its small exterior, has an implausibly massive interior (similar to the TARDIS from Doctor Who or The Big Bologna from The Kids From C.A.P.E.R. ), which contains, among many things, a science lab, a command center, and a living room.",
"), which contains, among many things, a science lab, a command center, and a living room. The Aquabats' origin story was left intentionally vague throughout the series, a choice Jacobs explains was done for the sake of the viewer's imagination, as he felt kids were more accepting of the inherent absurdity of the premise than adults tend to be: \"'There's five guys.",
"The Aquabats' origin story was left intentionally vague throughout the series, a choice Jacobs explains was done for the sake of the viewer's imagination, as he felt kids were more accepting of the inherent absurdity of the premise than adults tend to be: \"'There's five guys. This is what each of the five guys does.",
"This is what each of the five guys does. There are monsters. They're gonna try to fight them'. It's so simple. And I think that's why it's so awesome with kids—they just take it and run with it\".",
"And I think that's why it's so awesome with kids—they just take it and run with it\". In the first five episodes of season two, each member of The Aquabats shares their memory of how they joined the band via animated flashback sequences; however, all of these flashbacks directly and intentionally contradict each other, leaving it unknown which—if any—could be considered officially canonical.",
"In the first five episodes of season two, each member of The Aquabats shares their memory of how they joined the band via animated flashback sequences; however, all of these flashbacks directly and intentionally contradict each other, leaving it unknown which—if any—could be considered officially canonical. Format and influences The Aquabats! Super Show!",
"Format and influences The Aquabats! Super Show! Super Show! juxtaposes both live-action and animated segments starring The Aquabats, interwoven with various tangential skits and cartoon interstitials. The live-action storylines are the primary focus of each episode, following a self-contained villain of the week formula.",
"The live-action storylines are the primary focus of each episode, following a self-contained villain of the week formula. In the first season, each episode featured brief anime-styled cartoon shorts which one of the characters would introduce at a random point of the show, often by finding \"A Cartoon\" (represented by a miniature television set) in an absurd location.",
"In the first season, each episode featured brief anime-styled cartoon shorts which one of the characters would introduce at a random point of the show, often by finding \"A Cartoon\" (represented by a miniature television set) in an absurd location. Unlike the live-action segments, these cartoons followed a serialized story arc, with each installment ending in a cliffhanger to be resolved in the next episode.",
"Unlike the live-action segments, these cartoons followed a serialized story arc, with each installment ending in a cliffhanger to be resolved in the next episode. In season two, this format was replaced with a series of animated flashbacks recounting the origins of The Aquabats, each by a different animation studio and in a different animation style.",
"In season two, this format was replaced with a series of animated flashbacks recounting the origins of The Aquabats, each by a different animation studio and in a different animation style. Between these segments are pantomime cartoon shorts starring \"Lil' Bat\", The Aquabats' anthropomorphic bat mascot, and live-action parody commercials for outlandish fictional products, the latter of which has long been a staple of The Aquabats' multi-media stage shows.",
"Between these segments are pantomime cartoon shorts starring \"Lil' Bat\", The Aquabats' anthropomorphic bat mascot, and live-action parody commercials for outlandish fictional products, the latter of which has long been a staple of The Aquabats' multi-media stage shows. Jacobs says the concept behind Super Show!",
"Jacobs says the concept behind Super Show! was something he had always dreamed of doing, making a \"campy, live-action, funky kid's show\" in the vein of the 1960s and 1970s television that he and the rest of the series' producers had grown up with.",
"was something he had always dreamed of doing, making a \"campy, live-action, funky kid's show\" in the vein of the 1960s and 1970s television that he and the rest of the series' producers had grown up with. While the show pays homage to many facets of pop culture, Jacobs has named the 1960s Batman television series as the primary influence on Super Show!s \"obviously silly\" tone and visual style, ranging from set design to the trademark use of dutch angles for villain scenes.",
"While the show pays homage to many facets of pop culture, Jacobs has named the 1960s Batman television series as the primary influence on Super Show!s \"obviously silly\" tone and visual style, ranging from set design to the trademark use of dutch angles for villain scenes. Other notable influences Jacobs has repeatedly mentioned include the works of Sid and Marty Krofft and Hanna-Barbera, Japanese tokusatsu series such as Ultraman and Johnny Sokko And His Flying Robot, the Shaw Brothers and Hong Kong cinema, and shows including Danger Island, Star Trek, The Rocky and Bullwinkle Show, and Pee-wee's Playhouse, noting \"there's a good 30 years worth of television culture packed into these 22-minute episodes\".",
"Other notable influences Jacobs has repeatedly mentioned include the works of Sid and Marty Krofft and Hanna-Barbera, Japanese tokusatsu series such as Ultraman and Johnny Sokko And His Flying Robot, the Shaw Brothers and Hong Kong cinema, and shows including Danger Island, Star Trek, The Rocky and Bullwinkle Show, and Pee-wee's Playhouse, noting \"there's a good 30 years worth of television culture packed into these 22-minute episodes\". Demographic As The Hub's key demographic were children aged 6 to 12, Super Show!",
"Demographic As The Hub's key demographic were children aged 6 to 12, Super Show! was ostensibly targeted towards said age group, though Jacobs has stated that the series primarily aimed to appeal to an all-ages crowd, with the intent of creating entertainment that both kids and parents can watch and enjoy together or separately.",
"was ostensibly targeted towards said age group, though Jacobs has stated that the series primarily aimed to appeal to an all-ages crowd, with the intent of creating entertainment that both kids and parents can watch and enjoy together or separately. In interviews prior to the series' premiere, he explained that this was merely an extension of The Aquabats' own family-friendly ethos: \"There's just obviously something about the costumes and being superheroes that really appeals to younger kids, and I think we always knew that as a band...I think we'll want to put things in [the show] for an older audience, because we realize we have an older audience, but then also we want the young kids, to not have it go over their heads\".",
"In interviews prior to the series' premiere, he explained that this was merely an extension of The Aquabats' own family-friendly ethos: \"There's just obviously something about the costumes and being superheroes that really appeals to younger kids, and I think we always knew that as a band...I think we'll want to put things in [the show] for an older audience, because we realize we have an older audience, but then also we want the young kids, to not have it go over their heads\". Production history History and previous attempts at a series In 1994, musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in Brea, California.",
"Production history History and previous attempts at a series In 1994, musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in Brea, California. Influenced as much by cartoons and camp television as theatrical bands like Devo and Oingo Boingo, The Aquabats gained instant notoriety in the Orange County music scene for their eccentric persona in which they claimed to be a band of superheroes on a quest to save the world and their elaborate stage shows which regularly featured scripted fights with costumed villains alongside similar stunts and comedy sketches.",
"Influenced as much by cartoons and camp television as theatrical bands like Devo and Oingo Boingo, The Aquabats gained instant notoriety in the Orange County music scene for their eccentric persona in which they claimed to be a band of superheroes on a quest to save the world and their elaborate stage shows which regularly featured scripted fights with costumed villains alongside similar stunts and comedy sketches. The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough for the group, charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs – a former child actor with ties in the industry – to develop the concept of adapting the band's mythology for television.",
"The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough for the group, charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs – a former child actor with ties in the industry – to develop the concept of adapting the band's mythology for television. In 1998, Buena Vista Television helped produce a live-action mini-pilot directed by comedian Bobcat Goldthwait titled simply The Aquabats!, following the comic misadventures of the then-eight member band in an over-the-top camp style similar to Saturday morning cartoon shows.",
"In 1998, Buena Vista Television helped produce a live-action mini-pilot directed by comedian Bobcat Goldthwait titled simply The Aquabats!, following the comic misadventures of the then-eight member band in an over-the-top camp style similar to Saturday morning cartoon shows. The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves.",
"The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves. Undeterred, The Aquabats made an attempt at a second pilot the following year, using a music video budget granted by their record label Goldenvoice Records for their 1999 album The Aquabats vs. the Floating Eye of Death!.",
"Undeterred, The Aquabats made an attempt at a second pilot the following year, using a music video budget granted by their record label Goldenvoice Records for their 1999 album The Aquabats vs. the Floating Eye of Death!. Independently directed and produced by Jacobs and his creative partner Scott Schultz, the result was a five-minute promo video entitled The Aquabats in Color!.",
"Independently directed and produced by Jacobs and his creative partner Scott Schultz, the result was a five-minute promo video entitled The Aquabats in Color!. In contrast to the wackier tone of the previous pilot, The Aquabats in Color! was a more action-oriented superhero series modeled after Japanese tokusatsu shows such as Kamen Rider.",
"was a more action-oriented superhero series modeled after Japanese tokusatsu shows such as Kamen Rider. According to Jacobs, the Fox Family Channel reportedly expressed interest in the series and ordered production on a proper pilot episode, though following the channel's acquisition by Disney in 2001, the project was cancelled. The Aquabats! Super Show!",
"The Aquabats! Super Show! Super Show! pilot (2008) In 2005, Jacobs and Schultz formed the Orange County-based production company The Magic Store, focusing on creating family-oriented television entertainment.",
"pilot (2008) In 2005, Jacobs and Schultz formed the Orange County-based production company The Magic Store, focusing on creating family-oriented television entertainment. One of the company's independently produced pilots, the children's television series Yo Gabba Gabba!, was eventually picked up as a series by Viacoms Nick Jr. channel, premiering in August 2007 and ultimately becoming an award-winning and critically acclaimed international success.",
"One of the company's independently produced pilots, the children's television series Yo Gabba Gabba!, was eventually picked up as a series by Viacoms Nick Jr. channel, premiering in August 2007 and ultimately becoming an award-winning and critically acclaimed international success. In the wake of the series' popularity, Jacobs and Schultz persuaded Yo Gabba Gabba!s joint production company Wild Brain to help produce a new pilot based around The Aquabats in conjuncture with The Magic Store.",
"In the wake of the series' popularity, Jacobs and Schultz persuaded Yo Gabba Gabba!s joint production company Wild Brain to help produce a new pilot based around The Aquabats in conjuncture with The Magic Store. Again creatively spearheaded by Jacobs and Schultz, The Aquabats' third pilot, titled The Aquabats!",
"Again creatively spearheaded by Jacobs and Schultz, The Aquabats' third pilot, titled The Aquabats! Super Show!, was shot on location throughout southern California in late 2007 and early 2008.",
"Super Show!, was shot on location throughout southern California in late 2007 and early 2008. Part of this filming took place at a free invitation-only concert for members of the band's official fan club at the El Rey Theatre in Los Angeles on January 12, 2008.",
"Part of this filming took place at a free invitation-only concert for members of the band's official fan club at the El Rey Theatre in Los Angeles on January 12, 2008. While The Aquabats' previous pilots were short, live-action promotional videos, The Aquabats! Super Show!",
"Super Show! Super Show! was a fully realized 22-minute episode featuring two separate storylines based on the adventures of The Aquabats, one live-action and one animated, and interspersed with parody commercials and live footage of the band.",
"was a fully realized 22-minute episode featuring two separate storylines based on the adventures of The Aquabats, one live-action and one animated, and interspersed with parody commercials and live footage of the band. Speaking on the decision to structure the show in such a varied format, Jacobs said \"[w]e did that for a strategic reason – some networks like cartoons more than other networks.",
"Speaking on the decision to structure the show in such a varied format, Jacobs said \"[w]e did that for a strategic reason – some networks like cartoons more than other networks. We wanted to say, 'this could be both shows'.\" Following a period of post-production, The Aquabats began widely self-promoting Super Show!",
"Following a period of post-production, The Aquabats began widely self-promoting Super Show! in June 2008, redesigning their website to promote the pilot and releasing a teaser trailer and several exclusive clips through an official Super Show! YouTube channel.",
"YouTube channel. YouTube channel. On July 25, 2008, the band screened the full pilot at a concert in San Diego held during the weekend of the San Diego Comic-Con, while a segment of the episode was hosted on Boing Boing the same day.",
"On July 25, 2008, the band screened the full pilot at a concert in San Diego held during the weekend of the San Diego Comic-Con, while a segment of the episode was hosted on Boing Boing the same day. In 2009, Cartoon Network allegedly picked the series up for a run of 22 episodes, though following major staff changes within the company—which, according to Jacobs, included the termination of the executives who had green-lighted Super Show!—the project was again cancelled.",
"In 2009, Cartoon Network allegedly picked the series up for a run of 22 episodes, though following major staff changes within the company—which, according to Jacobs, included the termination of the executives who had green-lighted Super Show!—the project was again cancelled. The Hub and season one After several more unsuccessful network pitches into the 2010s, The Aquabats!",
"The Hub and season one After several more unsuccessful network pitches into the 2010s, The Aquabats! Super Show! was finally picked up as a series by family cable channel The Hub, a joint venture between Hasbro and Discovery which launched in 2010 as a replacement for Discovery Kids.",
"was finally picked up as a series by family cable channel The Hub, a joint venture between Hasbro and Discovery which launched in 2010 as a replacement for Discovery Kids. The Hub formally announced the series in a press release on March 23, 2011, revealing Super Show!",
"The Hub formally announced the series in a press release on March 23, 2011, revealing Super Show! would be given a first season run of 13 episodes, produced in conjuncture with FremantleMedia.",
"would be given a first season run of 13 episodes, produced in conjuncture with FremantleMedia. In promotion of the series, The Aquabats appeared as part of a panel at the 2011 San Diego Comic-Con where they discussed their initial plans for the show, while The Hub sponsored an Aquabats concert held at the nearby House of Blues during the same weekend.",
"In promotion of the series, The Aquabats appeared as part of a panel at the 2011 San Diego Comic-Con where they discussed their initial plans for the show, while The Hub sponsored an Aquabats concert held at the nearby House of Blues during the same weekend. Production on season one of Super Show! officially began in May 2011.",
"officially began in May 2011. officially began in May 2011. The entirety of the first season was shot within and around The Aquabats' hometown of Orange County, California; according to the first season DVD audio commentary, episodes were shot on location in the cities of Irvine, Silverado, Yorba Linda, Huntington Beach and Fullerton, while a private sound stage in Santa Ana was used for interior shots of the Battletram.",
"The entirety of the first season was shot within and around The Aquabats' hometown of Orange County, California; according to the first season DVD audio commentary, episodes were shot on location in the cities of Irvine, Silverado, Yorba Linda, Huntington Beach and Fullerton, while a private sound stage in Santa Ana was used for interior shots of the Battletram. A public Aquabats concert held at The Glass House club in Pomona on November 5, 2011 was also filmed to provide live footage of the band which is featured in the series' opening credits montage and several individual episodes.",
"A public Aquabats concert held at The Glass House club in Pomona on November 5, 2011 was also filmed to provide live footage of the band which is featured in the series' opening credits montage and several individual episodes. Much of Super Show!s staff consist of friends and colleagues of The Aquabats who've previously worked with the band on various projects, ranging from members of Yo Gabba Gabba!s production team to fellow musicians within the southern California music scene.",
"Much of Super Show!s staff consist of friends and colleagues of The Aquabats who've previously worked with the band on various projects, ranging from members of Yo Gabba Gabba!s production team to fellow musicians within the southern California music scene. Among the more notable examples include Dallas McLaughlin and Matthew Gorney, both members of the San Diego hip hop band Bad Credit, who prominently served as writers, composers and performers, Warren Fitzgerald, guitarist for The Vandals, who was hired as a writer and music director, internet sketch comedy group Mega64 were commissioned to produce original material, primarily the series' parody commercials, and Japanese artist Pey, who had designed much of The Aquabats' promotional art and merchandise during the 2000s, was hired to design the season's animated segments.",
"Among the more notable examples include Dallas McLaughlin and Matthew Gorney, both members of the San Diego hip hop band Bad Credit, who prominently served as writers, composers and performers, Warren Fitzgerald, guitarist for The Vandals, who was hired as a writer and music director, internet sketch comedy group Mega64 were commissioned to produce original material, primarily the series' parody commercials, and Japanese artist Pey, who had designed much of The Aquabats' promotional art and merchandise during the 2000s, was hired to design the season's animated segments. Additionally, several industry professionals were brought in to help work on the show: Dani Michaeli, a staff writer on SpongeBob SquarePants, was hired as the series' story editor, while Matt Chapman, co-creator of the internet Flash cartoon Homestar Runner, acted as a writer, director and actor on several episodes.",
"Additionally, several industry professionals were brought in to help work on the show: Dani Michaeli, a staff writer on SpongeBob SquarePants, was hired as the series' story editor, while Matt Chapman, co-creator of the internet Flash cartoon Homestar Runner, acted as a writer, director and actor on several episodes. As none of the members besides Jacobs had any previous acting experience, comedian Matt Walsh of the Upright Citizens Brigade was brought in to help teach The Aquabats comedic acting and timing.",
"As none of the members besides Jacobs had any previous acting experience, comedian Matt Walsh of the Upright Citizens Brigade was brought in to help teach The Aquabats comedic acting and timing. In further homage to the original Batman series, Super Show! features a variety of celebrity cameo appearances.",
"features a variety of celebrity cameo appearances. The series' first season included appearances from actors Jon Heder, Lou Diamond Phillips and Samm Levine, comedians Rip Taylor, Paul Scheer and Paul Rust, and comedy musician \"Weird Al\" Yankovic, who appeared in two episodes as different characters.",
"The series' first season included appearances from actors Jon Heder, Lou Diamond Phillips and Samm Levine, comedians Rip Taylor, Paul Scheer and Paul Rust, and comedy musician \"Weird Al\" Yankovic, who appeared in two episodes as different characters. The first season also included several \"Easter egg\" cameos from original Aquabats members Corey \"Chainsaw\" Pollock and Boyd \"Catboy\" Terry, as well as from fellow musicians Warren Fitzgerald and Art Mitchell of the band Supernova.",
"The first season also included several \"Easter egg\" cameos from original Aquabats members Corey \"Chainsaw\" Pollock and Boyd \"Catboy\" Terry, as well as from fellow musicians Warren Fitzgerald and Art Mitchell of the band Supernova. Despite having been originally announced as part of The Hub's 2011 Fall line-up, production delays postponed Super Show!s premiere to early 2012.",
"Despite having been originally announced as part of The Hub's 2011 Fall line-up, production delays postponed Super Show!s premiere to early 2012. The series' marketing campaign began in December 2011, with a later announcement of an official premiere date confirmed for March 3, 2012.",
"The series' marketing campaign began in December 2011, with a later announcement of an official premiere date confirmed for March 3, 2012. Following a non-consecutive run of 13 episodes, the first-season finale aired on June 16, 2012.",
"Following a non-consecutive run of 13 episodes, the first-season finale aired on June 16, 2012. Season two On October 16, 2012, The Aquabats and The Hub confirmed production on new episodes of Super Show! through the social networking sites Facebook and Twitter, announcing a tentative debut date of Spring 2013.",
"through the social networking sites Facebook and Twitter, announcing a tentative debut date of Spring 2013. Principal photography on season two began on October 22 and wrapped on December 1.",
"Principal photography on season two began on October 22 and wrapped on December 1. Unlike the first season, the majority of season two was shot in and around Salt Lake City, Utah, which Jacobs explained was considerably less expensive than shooting in California.",
"Unlike the first season, the majority of season two was shot in and around Salt Lake City, Utah, which Jacobs explained was considerably less expensive than shooting in California. While no changes were made to Super Shows creative team, in December 2012 it was announced that season two would introduce the series' first guest director, musician and comic book writer Gerard Way, who co-directed and co-wrote the season finale \"The AntiBats!\"",
"While no changes were made to Super Shows creative team, in December 2012 it was announced that season two would introduce the series' first guest director, musician and comic book writer Gerard Way, who co-directed and co-wrote the season finale \"The AntiBats!\" with Jacobs and deVilliers.",
"with Jacobs and deVilliers. with Jacobs and deVilliers. Way's involvement with the series was heavily covered by the music press in the wake of the March 2013 break-up of his popular alternative rock band My Chemical Romance.",
"Way's involvement with the series was heavily covered by the music press in the wake of the March 2013 break-up of his popular alternative rock band My Chemical Romance. Among the guest stars featured in season two were professional skateboarders Tony Hawk and Eric Koston, Devo frontman and Yo Gabba Gabba!",
"Among the guest stars featured in season two were professional skateboarders Tony Hawk and Eric Koston, Devo frontman and Yo Gabba Gabba! cast member Mark Mothersbaugh, internet celebrity Leslie Hall, actor Martin Starr and My Chemical Romance bassist Mikey Way.",
"cast member Mark Mothersbaugh, internet celebrity Leslie Hall, actor Martin Starr and My Chemical Romance bassist Mikey Way. On December 2, 2012, deVilliers revealed on his Twitter account that the upcoming season would consist of only five new episodes, in what he called more \"season 1.5\" than a \"season 2\", though mentioned the possibility of more being made in the future.",
"On December 2, 2012, deVilliers revealed on his Twitter account that the upcoming season would consist of only five new episodes, in what he called more \"season 1.5\" than a \"season 2\", though mentioned the possibility of more being made in the future. On May 1, 2013, it was announced through Entertainment Weekly that the series' second season would begin airing on June 1.",
"On May 1, 2013, it was announced through Entertainment Weekly that the series' second season would begin airing on June 1. After a run of only five episodes, the season concluded on June 29, 2013.",
"After a run of only five episodes, the season concluded on June 29, 2013. 2013–2014 specials On August 22, 2013, series performer Chad Larson confirmed via Twitter that three additional episodes of Super Show! were being filmed near the end of the year, \"and maybe more next\".",
"were being filmed near the end of the year, \"and maybe more next\". Principal photography on these episodes eventually began in Utah in early October.",
"Principal photography on these episodes eventually began in Utah in early October. Throughout the month, The Aquabats posted numerous pictures of production on the new episodes on their Twitter and Instagram accounts, some of which revealed production code numbers of 301, 302 and 303, ostensibly indicating what would be a third season.",
"Throughout the month, The Aquabats posted numerous pictures of production on the new episodes on their Twitter and Instagram accounts, some of which revealed production code numbers of 301, 302 and 303, ostensibly indicating what would be a third season. Though these numbers were later verified by the Internet Movie Database, a November press release from The Hub explicitly referred to these three episodes as \"specials\".",
"Though these numbers were later verified by the Internet Movie Database, a November press release from The Hub explicitly referred to these three episodes as \"specials\". The first of these specials, \"Christmas with The Aquabats! \", aired on December 21, featuring comedians Robert Smigel and Matt Walsh in guest roles.",
"\", aired on December 21, featuring comedians Robert Smigel and Matt Walsh in guest roles. The second of these episodes, \"The Shark Fighter!\"",
"The second of these episodes, \"The Shark Fighter!\" (based on The Aquabats' song of the same name), featuring comedian Rhys Darby, aired the following week on December 28, while the final special \"Kitty Litter!\" aired on January 18, 2014. \"Kitty Litter!\"",
"\"Kitty Litter!\" \"Kitty Litter!\" was helmed by another guest director, Munn Powell, best known for his work as cinematographer on the Jared and Jerusha Hess films Napoleon Dynamite and Gentlemen Broncos.",
"was helmed by another guest director, Munn Powell, best known for his work as cinematographer on the Jared and Jerusha Hess films Napoleon Dynamite and Gentlemen Broncos. Following this short run of episodes, there was no confirmation by either The Hub or The Aquabats as to the production of any future episodes.",
"Following this short run of episodes, there was no confirmation by either The Hub or The Aquabats as to the production of any future episodes. In a December 2013 interview, Christian Jacobs acknowledged the network's unusually small order of episodes but didn't elaborate on any possible reasoning.",
"In a December 2013 interview, Christian Jacobs acknowledged the network's unusually small order of episodes but didn't elaborate on any possible reasoning. In the same interview, he stated that the band had initially prepared for another order of 13 episodes, having written as many scripts for potential future episodes.",
"In the same interview, he stated that the band had initially prepared for another order of 13 episodes, having written as many scripts for potential future episodes. On May 1, 2014, the nominees for the 2014 Daytime Emmy Awards were announced, revealing that Super Show!",
"On May 1, 2014, the nominees for the 2014 Daytime Emmy Awards were announced, revealing that Super Show! had been nominated for five awards in four categories, including the award for Best Writing in a Children's Series for the episode \"The AntiBats!\".",
"had been nominated for five awards in four categories, including the award for Best Writing in a Children's Series for the episode \"The AntiBats!\". The awards ceremony was held on June 22, 2014, where the series ultimately won the award for Best Stunt Coordination for stuntman Skip Carlson.",
"The awards ceremony was held on June 22, 2014, where the series ultimately won the award for Best Stunt Coordination for stuntman Skip Carlson. Cancellation by The Hub and hiatus In mid-2014, it was announced in entertainment press that Hasbro and Discovery had been in the process of rebranding The Hub following what they saw to be disappointing returns for the channel, changes which included the departure of CEO Margaret Loesch, who was instrumental in acquiring Super Show!",
"Cancellation by The Hub and hiatus In mid-2014, it was announced in entertainment press that Hasbro and Discovery had been in the process of rebranding The Hub following what they saw to be disappointing returns for the channel, changes which included the departure of CEO Margaret Loesch, who was instrumental in acquiring Super Show! as a series.",
"as a series. as a series. In a Huffington Post feature about The Aquabats prior to the band's appearance at the 2014 San Diego Comic-Con, it was revealed that The Hub had opted not to renew Super Show! for a third season, effectively cancelling the series.",
"for a third season, effectively cancelling the series. Jacobs admitted he was surprised by this turn of events, noting \"Everything we heard was that the show has been a real Cinderella story for the Hub and that it was rating really well with viewers.",
"Jacobs admitted he was surprised by this turn of events, noting \"Everything we heard was that the show has been a real Cinderella story for the Hub and that it was rating really well with viewers. We just assumed that we'd eventually go back into production or at least get picked up for Season 3\", but ultimately concluded \"it is what it is\" in regard to the network's decision.",
"We just assumed that we'd eventually go back into production or at least get picked up for Season 3\", but ultimately concluded \"it is what it is\" in regard to the network's decision. Despite this, Jacobs remained optimistic about the series' future, saying \"Given that we now live in a world where people are streaming TV shows directly onto their iPhones & computers, and given that companies like Netflix & Yahoo!",
"Despite this, Jacobs remained optimistic about the series' future, saying \"Given that we now live in a world where people are streaming TV shows directly onto their iPhones & computers, and given that companies like Netflix & Yahoo! are now picking up so much new content for their customers...I just find it hard to believe that The Aquabats!",
"are now picking up so much new content for their customers...I just find it hard to believe that The Aquabats! Super Show! is really over. I mean, we haven't even made any toys yet\". He concluded by stating \"It took us almost 15 years to get that TV series made.",
"He concluded by stating \"It took us almost 15 years to get that TV series made. And even though we've got a bunch more concert dates lined up for the rest of this year, our first priority is to find a new home for The Aquabats! Super Show!\".",
"Super Show!\". Super Show!\". On March 31, 2015, the nominees for the 42nd annual Daytime Emmy Awards were announced, with Super Show! earning nominations for Best SFX Mixer (Blaine Stewart) and Best Stunt Coordinator (Braxton McAllister).",
"earning nominations for Best SFX Mixer (Blaine Stewart) and Best Stunt Coordinator (Braxton McAllister). On June 27, 2015, The Aquabats screened the entire first season of Super Show!",
"On June 27, 2015, The Aquabats screened the entire first season of Super Show! before a sold-out crowd at The Frida Cinema in downtown Santa Ana, which was accompanied by a live performance by the band and Q&A sessions with The Aquabats and numerous members of the cast and crew.",
"before a sold-out crowd at The Frida Cinema in downtown Santa Ana, which was accompanied by a live performance by the band and Q&A sessions with The Aquabats and numerous members of the cast and crew. A similar presentation of the entire second season – including the three additional specials – took place at The Art Theater in Long Beach on December 16, 2017, coinciding with the release of the second season Blu-ray.",
"A similar presentation of the entire second season – including the three additional specials – took place at The Art Theater in Long Beach on December 16, 2017, coinciding with the release of the second season Blu-ray. Bring Back The Aquabats!",
"Bring Back The Aquabats! Bring Back The Aquabats! Kickstarter campaign Following weeks of teasing a major announcement, The Aquabats launched a Kickstarter campaign on July 31, 2018 to help finance the return of The Aquabats! Super Show! as well as new studio albums from the band at a minimum projected cost of $1.1 million.",
"as well as new studio albums from the band at a minimum projected cost of $1.1 million. The Aquabats promoted their campaign with a video featuring a slew of celebrity cameos, including Super Show!",
"The Aquabats promoted their campaign with a video featuring a slew of celebrity cameos, including Super Show! guest stars \"Weird Al\" Yankovic, Robert Smigel (as Triumph the Insult Comic Dog), Matt Chapman (as Homestar Runner and Strong Bad), former Aquabats member Travis Barker, Tony Kanal, Tom Dumont, Oscar Nunez, Kate Micucci, Blake Anderson, Imagine Dragons, Felicia Day and Tom Lennon, all of whom appeared in The Aquabats' trademark uniforms and spoke the Kickstarter's promotional slogan \"I am The Aquabats\"/\"We are The Aquabats\".",
"guest stars \"Weird Al\" Yankovic, Robert Smigel (as Triumph the Insult Comic Dog), Matt Chapman (as Homestar Runner and Strong Bad), former Aquabats member Travis Barker, Tony Kanal, Tom Dumont, Oscar Nunez, Kate Micucci, Blake Anderson, Imagine Dragons, Felicia Day and Tom Lennon, all of whom appeared in The Aquabats' trademark uniforms and spoke the Kickstarter's promotional slogan \"I am The Aquabats\"/\"We are The Aquabats\". Most prominently featured, however, was comedian Jack Black, who was later confirmed by the campaign's press releases to act as executive producer for the series' return.",
"Most prominently featured, however, was comedian Jack Black, who was later confirmed by the campaign's press releases to act as executive producer for the series' return. Along with their Kickstarter, the band began releasing a series of Super Show!",
"Along with their Kickstarter, the band began releasing a series of Super Show! \"mini-episodes\", depicting the MC Bat Commander's metafictional quest to reunite the estranged Aquabats following the series' cancellation.",
"\"mini-episodes\", depicting the MC Bat Commander's metafictional quest to reunite the estranged Aquabats following the series' cancellation. The band confirmed that as the Kickstarter progresses, further \"mini-episodes\" will be released to both promote the campaign as well as act as a continuation of Super Show!.",
"The band confirmed that as the Kickstarter progresses, further \"mini-episodes\" will be released to both promote the campaign as well as act as a continuation of Super Show!. By August 28, mere days before the campaign's end date of September 1, The Aquabats' Kickstarter had raised only $601,629 of its projected $1.1 million goal.",
"By August 28, mere days before the campaign's end date of September 1, The Aquabats' Kickstarter had raised only $601,629 of its projected $1.1 million goal. The funding was subsequently cancelled and the campaign was rebooted the same day with a smaller goal of $100,000 to instead finance one new album and the continued production of the Super Show!!",
"The funding was subsequently cancelled and the campaign was rebooted the same day with a smaller goal of $100,000 to instead finance one new album and the continued production of the Super Show!! \"mini-episodes\". The project's goal was met within minutes. Music Original music for The Aquabats! Super Show!",
"Super Show! Super Show! was primarily composed and performed by The Aquabats themselves, with additional scoring on most episodes provided by Matthew Gorney, Warren Fitzgerald or individual credits for Aquabats members James R. Briggs, Jr., Richard Falomir and Ian Fowles.",
"was primarily composed and performed by The Aquabats themselves, with additional scoring on most episodes provided by Matthew Gorney, Warren Fitzgerald or individual credits for Aquabats members James R. Briggs, Jr., Richard Falomir and Ian Fowles. Fitzgerald, guitarist for punk rock band The Vandals and former member of Oingo Boingo, acted as the series' music supervisor.",
"Fitzgerald, guitarist for punk rock band The Vandals and former member of Oingo Boingo, acted as the series' music supervisor. The theme song to Super Show!, \"Super Show Theme Song! \", was co-written by The Aquabats and Fitzgerald.",
"\", was co-written by The Aquabats and Fitzgerald. Whereas most musically oriented shows like The Monkees typically break the narrative of an episode for a music video performance of a standalone song, each episode of Super Show!",
"Whereas most musically oriented shows like The Monkees typically break the narrative of an episode for a music video performance of a standalone song, each episode of Super Show! typically features one or two unique songs that tied directly into the plot, usually about and performed during the events of a particular scene.",
"typically features one or two unique songs that tied directly into the plot, usually about and performed during the events of a particular scene. Most of these songs are rather brief, averaging a running time of just under a minute; Jacobs stated that many of the show's original songs were recorded as full-length pieces but trimmed down for inclusion in an episode, simply due to the show \"trying to pack so much into 22 minutes\".",
"Most of these songs are rather brief, averaging a running time of just under a minute; Jacobs stated that many of the show's original songs were recorded as full-length pieces but trimmed down for inclusion in an episode, simply due to the show \"trying to pack so much into 22 minutes\". Shortly after Super Show!s premiere, Jacobs confirmed plans to eventually release the series' original full-length songs as a soundtrack album.",
"Shortly after Super Show!s premiere, Jacobs confirmed plans to eventually release the series' original full-length songs as a soundtrack album. However, these plans wouldn't fully come to fruition until 2019; in a 2018 interview, Jacobs retrospectively revealed that the album had been long completed but the band \"hadn't had all the rights tied up\" until then.",
"However, these plans wouldn't fully come to fruition until 2019; in a 2018 interview, Jacobs retrospectively revealed that the album had been long completed but the band \"hadn't had all the rights tied up\" until then. The first original and full-length recordings from the series' first season debuted in July 2017, when \"Burger Rain\" and \"Beat Fishin'\" were released as a tour-exclusive 7\" single.",
"The first original and full-length recordings from the series' first season debuted in July 2017, when \"Burger Rain\" and \"Beat Fishin'\" were released as a tour-exclusive 7\" single. Songs from the series' first season were eventually compiled as The Aquabats! Super Show!",
"Super Show! Super Show! Television Soundtrack: Volume One, which was released digitally in March 2019 and then onto physical media the following June, where it became The Aquabats' highest-charting album to date, debuting at the top of Billboards Top Heatseekers chart and at 165 on the Billboard 200.",
"Television Soundtrack: Volume One, which was released digitally in March 2019 and then onto physical media the following June, where it became The Aquabats' highest-charting album to date, debuting at the top of Billboards Top Heatseekers chart and at 165 on the Billboard 200. Cast and characters See: List of The Aquabats! Super Show!",
"Super Show! Super Show! characters The Aquabats! Super Show! stars and is based upon fictionalized versions of the then-current (since 2006) line-up of the California comedy rock band The Aquabats. Adapting the backstory the band has used for the entirety of their professional career, Super Show!",
"Adapting the backstory the band has used for the entirety of their professional career, Super Show! depicts The Aquabats as a group of bumbling, out-of-shape superheroes on a self-appointed mission to fight the forces of evil, presented in both live-action and animated segments.",
"depicts The Aquabats as a group of bumbling, out-of-shape superheroes on a self-appointed mission to fight the forces of evil, presented in both live-action and animated segments. The five members of The Aquabats are: The MC Bat Commander (played and voiced by Christian Jacobs) – The Aquabats' singer and de facto leader of the team.",
"The five members of The Aquabats are: The MC Bat Commander (played and voiced by Christian Jacobs) – The Aquabats' singer and de facto leader of the team. Though he doesn't have any superpowers of his own and is often quite stubborn and naive, the Commander is shown to be an effective strategist whose sharp leadership skills, bravery and determination regularly drive the band towards victory.",
"Though he doesn't have any superpowers of his own and is often quite stubborn and naive, the Commander is shown to be an effective strategist whose sharp leadership skills, bravery and determination regularly drive the band towards victory. Crash McLarson (played and voiced by Chad Larson) – The band's bass guitarist, who has the frequently uncontrollable ability to grow upwards of 100 feet in size when under emotional stress.",
"Crash McLarson (played and voiced by Chad Larson) – The band's bass guitarist, who has the frequently uncontrollable ability to grow upwards of 100 feet in size when under emotional stress. Despite being the largest and strongest of The Aquabats, Crash has a gentle, childlike demeanor bordering on slight dim-wittedness, and as such is usually the most cowardly member of the team.",
"Despite being the largest and strongest of The Aquabats, Crash has a gentle, childlike demeanor bordering on slight dim-wittedness, and as such is usually the most cowardly member of the team. Jimmy the Robot (played and voiced by James R. Briggs, Jr.) – The Aquabats' keyboardist.",
"Jimmy the Robot (played and voiced by James R. Briggs, Jr.) – The Aquabats' keyboardist. As his name implies, Jimmy is an android whose mechanical body houses a variety of built-in gadgets and weaponry, plus a comprehensive knowledge database which earns him the position of the group's resident scientist.",
"As his name implies, Jimmy is an android whose mechanical body houses a variety of built-in gadgets and weaponry, plus a comprehensive knowledge database which earns him the position of the group's resident scientist. Being a robot, Jimmy is generally perplexed by human emotions and behavior.",
"Being a robot, Jimmy is generally perplexed by human emotions and behavior. Ricky Fitness (played and voiced by Richard Falomir) – the band's drummer, Ricky possesses the power of super speed.",
"Ricky Fitness (played and voiced by Richard Falomir) – the band's drummer, Ricky possesses the power of super speed. Being the most physically fit and health-conscious member of The Aquabats, some of the series' running gags revolve around Ricky's status as a handsome ladies' man and his fondness for \"fresh, healthy veggies\" in contrast to the rest of the team's voracious affinity for junk food.",
"Being the most physically fit and health-conscious member of The Aquabats, some of the series' running gags revolve around Ricky's status as a handsome ladies' man and his fondness for \"fresh, healthy veggies\" in contrast to the rest of the team's voracious affinity for junk food. EagleBones Falconhawk (played and voiced by Ian Fowles) – The Aquabats' guitarist.",
"EagleBones Falconhawk (played and voiced by Ian Fowles) – The Aquabats' guitarist. The cocky and boyish maverick of the team, EagleBones is highly proficient on his custom weaponized electric guitar which shoots lasers from its headstock.",
"The cocky and boyish maverick of the team, EagleBones is highly proficient on his custom weaponized electric guitar which shoots lasers from its headstock. Following a spiritual encounter early in season one, EagleBones also has the gift of second sight and is accompanied by \"The Dude\", an invisible spirit eagle whom he summons to aide The Aquabats in battle.",
"Following a spiritual encounter early in season one, EagleBones also has the gift of second sight and is accompanied by \"The Dude\", an invisible spirit eagle whom he summons to aide The Aquabats in battle. Voice actor and writer Mr. Lawrence provided the minimal narration for both seasons of Super Show!s live-action segments, while staff writer Kyle McCulloch narrated the first season's animated segments.",
"Voice actor and writer Mr. Lawrence provided the minimal narration for both seasons of Super Show!s live-action segments, while staff writer Kyle McCulloch narrated the first season's animated segments. Guest stars and recurring characters Though each episode of the series introduced a new villain, ally and/or celebrity cameo, Super Show!",
"Guest stars and recurring characters Though each episode of the series introduced a new villain, ally and/or celebrity cameo, Super Show! never featured any major recurring characters throughout its run.",
"never featured any major recurring characters throughout its run. However, every episode of the show included a very brief appearance by a character fans dubbed the \"Fox Man\", a man in a cheap-looking fox costume played by visual effects supervisor Joel Fox, who would appear hidden in the background of a random scene as an Easter egg for viewers to spot, although his character was never explained within the context of the series.",
"However, every episode of the show included a very brief appearance by a character fans dubbed the \"Fox Man\", a man in a cheap-looking fox costume played by visual effects supervisor Joel Fox, who would appear hidden in the background of a random scene as an Easter egg for viewers to spot, although his character was never explained within the context of the series. Comedy musician \"Weird Al\" Yankovic and comedian Paul Rust were the only two guest actors to appear in two episodes: Yankovic played two different roles as the President of the United States and superhero SuperMagic PowerMan!",
"Comedy musician \"Weird Al\" Yankovic and comedian Paul Rust were the only two guest actors to appear in two episodes: Yankovic played two different roles as the President of the United States and superhero SuperMagic PowerMan! (in a 2012 interview, Jacobs alluded to the two possibly being the same character, though this isn't implied within the series), while Rust played a boorish slacker named Ronmark, first appearing in live-action in a first-season episode and subsequently lending his voice to a mutated monster version of the character in part of a second-season episode.",
"(in a 2012 interview, Jacobs alluded to the two possibly being the same character, though this isn't implied within the series), while Rust played a boorish slacker named Ronmark, first appearing in live-action in a first-season episode and subsequently lending his voice to a mutated monster version of the character in part of a second-season episode. Episodes Distribution International broadcast Outside of North America, The Aquabats!",
"Episodes Distribution International broadcast Outside of North America, The Aquabats! Super Show! broadcast in Australia on the children's public broadcasting channel ABC3 and in the United Kingdom on the children's network CITV. Home media Coinciding with the run of the first season, each new episode of The Aquabats! Super Show!",
"Super Show! Super Show! was released through the iTunes Store for digital download. Prior to the series debut, a season pass was made available for purchase to enable viewers to automatically receive a download of each new episode on its airdate. The first season of Super Show!",
"The first season of Super Show! was added to the video streaming service Netflix on December 1, 2012, later being added to Hulu on December 21. Unlike the first season, the series' second season was not made available for iTunes pre-order, nor were episodes released for purchase.",
"Unlike the first season, the series' second season was not made available for iTunes pre-order, nor were episodes released for purchase. Though each episode was briefly streamed on The Hub's official website, none of the seasons' episodes were made available on Hulu, Netflix or similar streaming services. Shout!",
"Shout! Shout! Factory had the DVD publishing rights for The Aquabats! Super Show! within Region 1 for release of the first season.",
"within Region 1 for release of the first season. The company first announced their acquisition of the series and plans for a future DVD in a press release dated August 6, 2012, though did not initially confirm a set release date until several months later. On May 21, 2013, the first season of Super Show!",
"On May 21, 2013, the first season of Super Show! was released on a two-disc DVD set. On November 22, 2017, in conjunction with their announcement of a season two theatrical screening, The Aquabats confirmed an independent Blu-ray release for season two, including the three specials often considered a \"season three\".",
"On November 22, 2017, in conjunction with their announcement of a season two theatrical screening, The Aquabats confirmed an independent Blu-ray release for season two, including the three specials often considered a \"season three\". On December 5, pre-orders were launched on The Aquabats' merchandising site for an official release date of December 22, though copies were first made for public sale at the second season theatrical screening on December 16.",
"On December 5, pre-orders were launched on The Aquabats' merchandising site for an official release date of December 22, though copies were first made for public sale at the second season theatrical screening on December 16. Starting in December 2014, The Aquabats gradually began uploading the series' full episodes onto their official YouTube channel.",
"Starting in December 2014, The Aquabats gradually began uploading the series' full episodes onto their official YouTube channel. As of August 2019, all 21 episodes of Super Show! and its pilot episode have been publicly uploaded to their account. Critical reception Critical response to The Aquabats! Super Show!",
"Super Show! Super Show! was predominantly positive, with most reviewers praising the series' intentionally campy tone and offbeat humor. The Onions The A.V.",
"The Onions The A.V. The Onions The A.V. Club gave the series premiere an A− rating, describing it as \"a loving homage to basically everything ever done by the brothers Krofft\": \"the show adeptly flips from humor to melodrama to action, providing some awesomely cheap special effects, goofy songs, and gags that range from slapstick to sublime\", summarizing \"there's so much here that both kids and parents will be able to enjoy the proceedings on their own respective levels and rarely find themselves bored\".",
"Club gave the series premiere an A− rating, describing it as \"a loving homage to basically everything ever done by the brothers Krofft\": \"the show adeptly flips from humor to melodrama to action, providing some awesomely cheap special effects, goofy songs, and gags that range from slapstick to sublime\", summarizing \"there's so much here that both kids and parents will be able to enjoy the proceedings on their own respective levels and rarely find themselves bored\". Brian Lowry of Variety wrote \"you don't have to laugh at everything to admire the effort and sheer silliness\", calling the show a \"goofy and nostalgic\" throwback to the \"children's TV of baby boomers' youth, down to crappy production values and awful-looking 'monsters' that work to its advantage\".",
"Brian Lowry of Variety wrote \"you don't have to laugh at everything to admire the effort and sheer silliness\", calling the show a \"goofy and nostalgic\" throwback to the \"children's TV of baby boomers' youth, down to crappy production values and awful-looking 'monsters' that work to its advantage\". He summarized \"Although this Hub series at times feels like an SNL skit stretched to a half-hour, its sly mix of music, live-action crime-fighting, cartoons and mock ads ought to develop a cult following—and might be more popular with parents, at least those with the geek gene, than their kids\".",
"He summarized \"Although this Hub series at times feels like an SNL skit stretched to a half-hour, its sly mix of music, live-action crime-fighting, cartoons and mock ads ought to develop a cult following—and might be more popular with parents, at least those with the geek gene, than their kids\". Technology magazine Wired was consistently positive towards the series, calling it both \"wonderfully strange\" and \"delightfully deranged\", writing \"[f]illed with self-deprecating music videos, toon interludes and ludicrous villains, The Aquabats!",
"Technology magazine Wired was consistently positive towards the series, calling it both \"wonderfully strange\" and \"delightfully deranged\", writing \"[f]illed with self-deprecating music videos, toon interludes and ludicrous villains, The Aquabats! Super Show! has become one of television's strangely comforting finds\".",
"has become one of television's strangely comforting finds\". Common Sense Media, who review shows based on age-appropriate content, gave Super Show!",
"Common Sense Media, who review shows based on age-appropriate content, gave Super Show! a rating of 4 out of 5 stars, calling it \"demented and manic...fun by sheer dint of how many jokes, visual and otherwise, are thrown at the screen, both those calculated to appeal to kids and adults\".",
"a rating of 4 out of 5 stars, calling it \"demented and manic...fun by sheer dint of how many jokes, visual and otherwise, are thrown at the screen, both those calculated to appeal to kids and adults\". The site praised the series for its lighter and sillier tone in comparison to more violent live-action superhero fare, and considered the \"kind-hearted\" Aquabats to be relatively positive role models.",
"The site praised the series for its lighter and sillier tone in comparison to more violent live-action superhero fare, and considered the \"kind-hearted\" Aquabats to be relatively positive role models. However, the reviewer suggested the show's violence and creatures may be too intense for very young children, and pointed out a distinct lack of central female characters.",
"However, the reviewer suggested the show's violence and creatures may be too intense for very young children, and pointed out a distinct lack of central female characters. Neil Genzlinger of The New York Times offered a more indifferent opinion, calling The Aquabats \"indescribably odd\" and the series \"frenetic, semicoherent and generally harmless.",
"Neil Genzlinger of The New York Times offered a more indifferent opinion, calling The Aquabats \"indescribably odd\" and the series \"frenetic, semicoherent and generally harmless. Also somewhat hallucinogenic\", noting Super Show!s writing \"may be over the heads of the 2-to-12 set\", suggesting its most receptive audience might be \"the college drinking-game crowd\".",
"Also somewhat hallucinogenic\", noting Super Show!s writing \"may be over the heads of the 2-to-12 set\", suggesting its most receptive audience might be \"the college drinking-game crowd\". Awards and nominations The Aquabats! Super Show!",
"Awards and nominations The Aquabats! Super Show! Super Show! was nominated for the following awards: Daytime Emmy Award References External links Official website of The Aquabats The Aquabats 2010s American children's television series 2010s American musical comedy television series 2010s American satirical television series 2010s American sketch comedy television series 2010s American superhero comedy television series 2012 American television series debuts 2014 American television series endings American children's adventure television series American children's musical television series American television series with live action and animation Children's sketch comedy English-language television shows Television series by Fremantle (company) Television shows set in Orange County, California American television shows featuring puppetry Discovery Family original programming"
] |
[
"The Aquabats! Super Show!",
"History and previous attempts at a series",
"How did The Aquabats originate?",
"musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in",
"When did they form?",
"In 1994,"
] | C_4cdf6386fc074258b24b5e00bbcdec23_0 | What happened with the previous attempts? | 3 | What happened with the previous attempts of forming the Aquabats! Super Show!? | The Aquabats! Super Show! | In 1994, musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in Brea, California. Influenced as much by cartoons and camp television as theatrical bands like Devo and Oingo Boingo, The Aquabats gained instant notoriety in the Orange County music scene for their eccentric persona in which they claimed to be a band of superheroes on a quest to save the world and their elaborate stage shows which regularly featured scripted fights with costumed villains alongside similar stunts and comedy sketches. The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough for the group, charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs - a former child actor with ties in the industry - to develop the concept of adapting the band's mythology for television. In 1998, Buena Vista Television helped produce a live-action mini-pilot directed by comedian Bobcat Goldthwait titled simply The Aquabats!, following the comic misadventures of the then-eight member band in an over-the-top camp style similar to Saturday morning cartoon shows. The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves. Undeterred, The Aquabats made an attempt at a second pilot the following year, using a music video budget granted by their record label Goldenvoice Records for their 1999 album The Aquabats vs. the Floating Eye of Death!. Independently directed and produced by Jacobs and his creative partner Scott Schultz, the result was a five-minute promo video entitled The Aquabats in Color!. In contrast to the wackier tone of the previous pilot, The Aquabats in Color! was a more action-oriented superhero series modeled after Japanese tokusatsu shows such as Kamen Rider. According to Jacobs, the Fox Family Channel reportedly expressed interest in the series and ordered production on a proper pilot episode, though following the channel's acquisition by Disney in 2001, the project was cancelled. CANNOTANSWER | The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves. | The Aquabats! Super Show! is an American action-comedy musical television series which aired from March 3, 2012 to January 8, 2014 on The Hub Network and resumed as an independent YouTube web series in September 2019. The series was created by Christian Jacobs, and Scott Schultz, both the creators of the Nick Jr. show Yo Gabba Gabba!, and Jason deVilliers.
Based on the superhero mythology of The Aquabats, a real-life comedy rock band which series co-creator and lead singer Jacobs formed in 1994, The Aquabats! Super Show! follows the comic adventures of a fictionalized version of the band, a musical group of amateur superheroes, as they haphazardly defend the world from a variety of villains and monsters. Styled similarly to the campy aesthetics of 1960s and 1970s children's television and Japanese tokusatsu, Super Show! utilizes various mediums of visual styles and special effects, mixing live-action storylines with cartoon shorts, parody advertisements and musical interludes.
The series' first season concluded on June 16, 2012 following a run of 13 episodes, having met with a largely positive critical reception, consistently high ratings for the channel and a Daytime Emmy nomination for Outstanding Children's Series. The series' second season consisted of an initial five episodes which aired through June 2013, with three additional episodes airing in late December and January 2014, receiving similar acclaim and a further seven Daytime Emmy nominations, ultimately winning one for Best Stunt Coordination. In June 2014, co-creator Jacobs officially announced the series' cancellation, following news of The Hub's financial losses which led to the network's rebranding as Discovery Family later that October.
In July 2018, The Aquabats launched a successful Kickstarter to help independently finance new episodes of The Aquabats! Super Show!, promoting the campaign with a series of YouTube-exclusive mini-episodes continuing the original series' storyline. On September 28, 2019, The Aquabats premiered the first installment of these new episodes, now a biweekly YouTube series entitled The Aquabats! RadVentures!, though still retaining Super Show!s theme song and title card.
Series overview
Premise
Chronicled in both live-action and animated segments, The Aquabats! Super Show! is centered around the adventures of The Aquabats, a group of superhero rock musicians who travel the countryside on a self-appointed mission to fight evil and "destroy boredom", protecting the world from the villains and creatures who threaten to destroy it while aiming to become a famous rock and roll band in their own right.
The Aquabats consist of singer The MC Bat Commander (Christian Jacobs), the swaggering leader of the group; bassist Crash McLarson (Chad Larson), who can grow up to 100 feet in size; drummer Ricky Fitness (Richard Falomir), who has the power of super speed; guitarist EagleBones Falconhawk (Ian Fowles), who's armed with a laser-shooting electric guitar; and keyboardist Jimmy the Robot (James R. Briggs, Jr.), an android. Despite their superhuman strengths and abilities, The Aquabats are quite bumbling, disorganized, and sometimes cowardly when faced with danger; this has in fact led them to be labeled "the world's most inept superheroes". The band lives and travels by way of their "Battletram", a modified classic GMC motorhome which, despite its small exterior, has an implausibly massive interior (similar to the TARDIS from Doctor Who or The Big Bologna from The Kids From C.A.P.E.R.), which contains, among many things, a science lab, a command center, and a living room.
The Aquabats' origin story was left intentionally vague throughout the series, a choice Jacobs explains was done for the sake of the viewer's imagination, as he felt kids were more accepting of the inherent absurdity of the premise than adults tend to be: "'There's five guys. This is what each of the five guys does. There are monsters. They're gonna try to fight them'. It's so simple. And I think that's why it's so awesome with kids—they just take it and run with it". In the first five episodes of season two, each member of The Aquabats shares their memory of how they joined the band via animated flashback sequences; however, all of these flashbacks directly and intentionally contradict each other, leaving it unknown which—if any—could be considered officially canonical.
Format and influences
The Aquabats! Super Show! juxtaposes both live-action and animated segments starring The Aquabats, interwoven with various tangential skits and cartoon interstitials. The live-action storylines are the primary focus of each episode, following a self-contained villain of the week formula. In the first season, each episode featured brief anime-styled cartoon shorts which one of the characters would introduce at a random point of the show, often by finding "A Cartoon" (represented by a miniature television set) in an absurd location. Unlike the live-action segments, these cartoons followed a serialized story arc, with each installment ending in a cliffhanger to be resolved in the next episode. In season two, this format was replaced with a series of animated flashbacks recounting the origins of The Aquabats, each by a different animation studio and in a different animation style. Between these segments are pantomime cartoon shorts starring "Lil' Bat", The Aquabats' anthropomorphic bat mascot, and live-action parody commercials for outlandish fictional products, the latter of which has long been a staple of The Aquabats' multi-media stage shows.
Jacobs says the concept behind Super Show! was something he had always dreamed of doing, making a "campy, live-action, funky kid's show" in the vein of the 1960s and 1970s television that he and the rest of the series' producers had grown up with. While the show pays homage to many facets of pop culture, Jacobs has named the 1960s Batman television series as the primary influence on Super Show!s "obviously silly" tone and visual style, ranging from set design to the trademark use of dutch angles for villain scenes. Other notable influences Jacobs has repeatedly mentioned include the works of Sid and Marty Krofft and Hanna-Barbera, Japanese tokusatsu series such as Ultraman and Johnny Sokko And His Flying Robot, the Shaw Brothers and Hong Kong cinema, and shows including Danger Island, Star Trek, The Rocky and Bullwinkle Show, and Pee-wee's Playhouse, noting "there's a good 30 years worth of television culture packed into these 22-minute episodes".
Demographic
As The Hub's key demographic were children aged 6 to 12, Super Show! was ostensibly targeted towards said age group, though Jacobs has stated that the series primarily aimed to appeal to an all-ages crowd, with the intent of creating entertainment that both kids and parents can watch and enjoy together or separately. In interviews prior to the series' premiere, he explained that this was merely an extension of The Aquabats' own family-friendly ethos: "There's just obviously something about the costumes and being superheroes that really appeals to younger kids, and I think we always knew that as a band...I think we'll want to put things in [the show] for an older audience, because we realize we have an older audience, but then also we want the young kids, to not have it go over their heads".
Production history
History and previous attempts at a series
In 1994, musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in Brea, California. Influenced as much by cartoons and camp television as theatrical bands like Devo and Oingo Boingo, The Aquabats gained instant notoriety in the Orange County music scene for their eccentric persona in which they claimed to be a band of superheroes on a quest to save the world and their elaborate stage shows which regularly featured scripted fights with costumed villains alongside similar stunts and comedy sketches.
The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough for the group, charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs – a former child actor with ties in the industry – to develop the concept of adapting the band's mythology for television. In 1998, Buena Vista Television helped produce a live-action mini-pilot directed by comedian Bobcat Goldthwait titled simply The Aquabats!, following the comic misadventures of the then-eight member band in an over-the-top camp style similar to Saturday morning cartoon shows. The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves.
Undeterred, The Aquabats made an attempt at a second pilot the following year, using a music video budget granted by their record label Goldenvoice Records for their 1999 album The Aquabats vs. the Floating Eye of Death!. Independently directed and produced by Jacobs and his creative partner Scott Schultz, the result was a five-minute promo video entitled The Aquabats in Color!. In contrast to the wackier tone of the previous pilot, The Aquabats in Color! was a more action-oriented superhero series modeled after Japanese tokusatsu shows such as Kamen Rider. According to Jacobs, the Fox Family Channel reportedly expressed interest in the series and ordered production on a proper pilot episode, though following the channel's acquisition by Disney in 2001, the project was cancelled.
The Aquabats! Super Show! pilot (2008)
In 2005, Jacobs and Schultz formed the Orange County-based production company The Magic Store, focusing on creating family-oriented television entertainment. One of the company's independently produced pilots, the children's television series Yo Gabba Gabba!, was eventually picked up as a series by Viacoms Nick Jr. channel, premiering in August 2007 and ultimately becoming an award-winning and critically acclaimed international success. In the wake of the series' popularity, Jacobs and Schultz persuaded Yo Gabba Gabba!s joint production company Wild Brain to help produce a new pilot based around The Aquabats in conjuncture with The Magic Store.
Again creatively spearheaded by Jacobs and Schultz, The Aquabats' third pilot, titled The Aquabats! Super Show!, was shot on location throughout southern California in late 2007 and early 2008. Part of this filming took place at a free invitation-only concert for members of the band's official fan club at the El Rey Theatre in Los Angeles on January 12, 2008. While The Aquabats' previous pilots were short, live-action promotional videos, The Aquabats! Super Show! was a fully realized 22-minute episode featuring two separate storylines based on the adventures of The Aquabats, one live-action and one animated, and interspersed with parody commercials and live footage of the band. Speaking on the decision to structure the show in such a varied format, Jacobs said "[w]e did that for a strategic reason – some networks like cartoons more than other networks. We wanted to say, 'this could be both shows'."
Following a period of post-production, The Aquabats began widely self-promoting Super Show! in June 2008, redesigning their website to promote the pilot and releasing a teaser trailer and several exclusive clips through an official Super Show! YouTube channel. On July 25, 2008, the band screened the full pilot at a concert in San Diego held during the weekend of the San Diego Comic-Con, while a segment of the episode was hosted on Boing Boing the same day. In 2009, Cartoon Network allegedly picked the series up for a run of 22 episodes, though following major staff changes within the company—which, according to Jacobs, included the termination of the executives who had green-lighted Super Show!—the project was again cancelled.
The Hub and season one
After several more unsuccessful network pitches into the 2010s, The Aquabats! Super Show! was finally picked up as a series by family cable channel The Hub, a joint venture between Hasbro and Discovery which launched in 2010 as a replacement for Discovery Kids. The Hub formally announced the series in a press release on March 23, 2011, revealing Super Show! would be given a first season run of 13 episodes, produced in conjuncture with FremantleMedia. In promotion of the series, The Aquabats appeared as part of a panel at the 2011 San Diego Comic-Con where they discussed their initial plans for the show, while The Hub sponsored an Aquabats concert held at the nearby House of Blues during the same weekend.
Production on season one of Super Show! officially began in May 2011. The entirety of the first season was shot within and around The Aquabats' hometown of Orange County, California; according to the first season DVD audio commentary, episodes were shot on location in the cities of Irvine, Silverado, Yorba Linda, Huntington Beach and Fullerton, while a private sound stage in Santa Ana was used for interior shots of the Battletram. A public Aquabats concert held at The Glass House club in Pomona on November 5, 2011 was also filmed to provide live footage of the band which is featured in the series' opening credits montage and several individual episodes.
Much of Super Show!s staff consist of friends and colleagues of The Aquabats who've previously worked with the band on various projects, ranging from members of Yo Gabba Gabba!s production team to fellow musicians within the southern California music scene. Among the more notable examples include Dallas McLaughlin and Matthew Gorney, both members of the San Diego hip hop band Bad Credit, who prominently served as writers, composers and performers, Warren Fitzgerald, guitarist for The Vandals, who was hired as a writer and music director, internet sketch comedy group Mega64 were commissioned to produce original material, primarily the series' parody commercials, and Japanese artist Pey, who had designed much of The Aquabats' promotional art and merchandise during the 2000s, was hired to design the season's animated segments. Additionally, several industry professionals were brought in to help work on the show: Dani Michaeli, a staff writer on SpongeBob SquarePants, was hired as the series' story editor, while Matt Chapman, co-creator of the internet Flash cartoon Homestar Runner, acted as a writer, director and actor on several episodes. As none of the members besides Jacobs had any previous acting experience, comedian Matt Walsh of the Upright Citizens Brigade was brought in to help teach The Aquabats comedic acting and timing.
In further homage to the original Batman series, Super Show! features a variety of celebrity cameo appearances. The series' first season included appearances from actors Jon Heder, Lou Diamond Phillips and Samm Levine, comedians Rip Taylor, Paul Scheer and Paul Rust, and comedy musician "Weird Al" Yankovic, who appeared in two episodes as different characters. The first season also included several "Easter egg" cameos from original Aquabats members Corey "Chainsaw" Pollock and Boyd "Catboy" Terry, as well as from fellow musicians Warren Fitzgerald and Art Mitchell of the band Supernova.
Despite having been originally announced as part of The Hub's 2011 Fall line-up, production delays postponed Super Show!s premiere to early 2012. The series' marketing campaign began in December 2011, with a later announcement of an official premiere date confirmed for March 3, 2012. Following a non-consecutive run of 13 episodes, the first-season finale aired on June 16, 2012.
Season two
On October 16, 2012, The Aquabats and The Hub confirmed production on new episodes of Super Show! through the social networking sites Facebook and Twitter, announcing a tentative debut date of Spring 2013. Principal photography on season two began on October 22 and wrapped on December 1. Unlike the first season, the majority of season two was shot in and around Salt Lake City, Utah, which Jacobs explained was considerably less expensive than shooting in California.
While no changes were made to Super Shows creative team, in December 2012 it was announced that season two would introduce the series' first guest director, musician and comic book writer Gerard Way, who co-directed and co-wrote the season finale "The AntiBats!" with Jacobs and deVilliers. Way's involvement with the series was heavily covered by the music press in the wake of the March 2013 break-up of his popular alternative rock band My Chemical Romance. Among the guest stars featured in season two were professional skateboarders Tony Hawk and Eric Koston, Devo frontman and Yo Gabba Gabba! cast member Mark Mothersbaugh, internet celebrity Leslie Hall, actor Martin Starr and My Chemical Romance bassist Mikey Way.
On December 2, 2012, deVilliers revealed on his Twitter account that the upcoming season would consist of only five new episodes, in what he called more "season 1.5" than a "season 2", though mentioned the possibility of more being made in the future. On May 1, 2013, it was announced through Entertainment Weekly that the series' second season would begin airing on June 1. After a run of only five episodes, the season concluded on June 29, 2013.
2013–2014 specials
On August 22, 2013, series performer Chad Larson confirmed via Twitter that three additional episodes of Super Show! were being filmed near the end of the year, "and maybe more next". Principal photography on these episodes eventually began in Utah in early October. Throughout the month, The Aquabats posted numerous pictures of production on the new episodes on their Twitter and Instagram accounts, some of which revealed production code numbers of 301, 302 and 303, ostensibly indicating what would be a third season. Though these numbers were later verified by the Internet Movie Database, a November press release from The Hub explicitly referred to these three episodes as "specials".
The first of these specials, "Christmas with The Aquabats!", aired on December 21, featuring comedians Robert Smigel and Matt Walsh in guest roles. The second of these episodes, "The Shark Fighter!" (based on The Aquabats' song of the same name), featuring comedian Rhys Darby, aired the following week on December 28, while the final special "Kitty Litter!" aired on January 18, 2014. "Kitty Litter!" was helmed by another guest director, Munn Powell, best known for his work as cinematographer on the Jared and Jerusha Hess films Napoleon Dynamite and Gentlemen Broncos.
Following this short run of episodes, there was no confirmation by either The Hub or The Aquabats as to the production of any future episodes. In a December 2013 interview, Christian Jacobs acknowledged the network's unusually small order of episodes but didn't elaborate on any possible reasoning. In the same interview, he stated that the band had initially prepared for another order of 13 episodes, having written as many scripts for potential future episodes.
On May 1, 2014, the nominees for the 2014 Daytime Emmy Awards were announced, revealing that Super Show! had been nominated for five awards in four categories, including the award for Best Writing in a Children's Series for the episode "The AntiBats!". The awards ceremony was held on June 22, 2014, where the series ultimately won the award for Best Stunt Coordination for stuntman Skip Carlson.
Cancellation by The Hub and hiatus
In mid-2014, it was announced in entertainment press that Hasbro and Discovery had been in the process of rebranding The Hub following what they saw to be disappointing returns for the channel, changes which included the departure of CEO Margaret Loesch, who was instrumental in acquiring Super Show! as a series. In a Huffington Post feature about The Aquabats prior to the band's appearance at the 2014 San Diego Comic-Con, it was revealed that The Hub had opted not to renew Super Show! for a third season, effectively cancelling the series.
Jacobs admitted he was surprised by this turn of events, noting "Everything we heard was that the show has been a real Cinderella story for the Hub and that it was rating really well with viewers. We just assumed that we'd eventually go back into production or at least get picked up for Season 3", but ultimately concluded "it is what it is" in regard to the network's decision. Despite this, Jacobs remained optimistic about the series' future, saying "Given that we now live in a world where people are streaming TV shows directly onto their iPhones & computers, and given that companies like Netflix & Yahoo! are now picking up so much new content for their customers...I just find it hard to believe that The Aquabats! Super Show! is really over. I mean, we haven't even made any toys yet". He concluded by stating "It took us almost 15 years to get that TV series made. And even though we've got a bunch more concert dates lined up for the rest of this year, our first priority is to find a new home for The Aquabats! Super Show!".
On March 31, 2015, the nominees for the 42nd annual Daytime Emmy Awards were announced, with Super Show! earning nominations for Best SFX Mixer (Blaine Stewart) and Best Stunt Coordinator (Braxton McAllister).
On June 27, 2015, The Aquabats screened the entire first season of Super Show! before a sold-out crowd at The Frida Cinema in downtown Santa Ana, which was accompanied by a live performance by the band and Q&A sessions with The Aquabats and numerous members of the cast and crew. A similar presentation of the entire second season – including the three additional specials – took place at The Art Theater in Long Beach on December 16, 2017, coinciding with the release of the second season Blu-ray.
Bring Back The Aquabats! Kickstarter campaign
Following weeks of teasing a major announcement, The Aquabats launched a Kickstarter campaign on July 31, 2018 to help finance the return of The Aquabats! Super Show! as well as new studio albums from the band at a minimum projected cost of $1.1 million. The Aquabats promoted their campaign with a video featuring a slew of celebrity cameos, including Super Show! guest stars "Weird Al" Yankovic, Robert Smigel (as Triumph the Insult Comic Dog), Matt Chapman (as Homestar Runner and Strong Bad), former Aquabats member Travis Barker, Tony Kanal, Tom Dumont, Oscar Nunez, Kate Micucci, Blake Anderson, Imagine Dragons, Felicia Day and Tom Lennon, all of whom appeared in The Aquabats' trademark uniforms and spoke the Kickstarter's promotional slogan "I am The Aquabats"/"We are The Aquabats". Most prominently featured, however, was comedian Jack Black, who was later confirmed by the campaign's press releases to act as executive producer for the series' return.
Along with their Kickstarter, the band began releasing a series of Super Show! "mini-episodes", depicting the MC Bat Commander's metafictional quest to reunite the estranged Aquabats following the series' cancellation. The band confirmed that as the Kickstarter progresses, further "mini-episodes" will be released to both promote the campaign as well as act as a continuation of Super Show!.
By August 28, mere days before the campaign's end date of September 1, The Aquabats' Kickstarter had raised only $601,629 of its projected $1.1 million goal. The funding was subsequently cancelled and the campaign was rebooted the same day with a smaller goal of $100,000 to instead finance one new album and the continued production of the Super Show!! "mini-episodes". The project's goal was met within minutes.
Music
Original music for The Aquabats! Super Show! was primarily composed and performed by The Aquabats themselves, with additional scoring on most episodes provided by Matthew Gorney, Warren Fitzgerald or individual credits for Aquabats members James R. Briggs, Jr., Richard Falomir and Ian Fowles. Fitzgerald, guitarist for punk rock band The Vandals and former member of Oingo Boingo, acted as the series' music supervisor. The theme song to Super Show!, "Super Show Theme Song!", was co-written by The Aquabats and Fitzgerald.
Whereas most musically oriented shows like The Monkees typically break the narrative of an episode for a music video performance of a standalone song, each episode of Super Show! typically features one or two unique songs that tied directly into the plot, usually about and performed during the events of a particular scene. Most of these songs are rather brief, averaging a running time of just under a minute; Jacobs stated that many of the show's original songs were recorded as full-length pieces but trimmed down for inclusion in an episode, simply due to the show "trying to pack so much into 22 minutes".
Shortly after Super Show!s premiere, Jacobs confirmed plans to eventually release the series' original full-length songs as a soundtrack album. However, these plans wouldn't fully come to fruition until 2019; in a 2018 interview, Jacobs retrospectively revealed that the album had been long completed but the band "hadn't had all the rights tied up" until then. The first original and full-length recordings from the series' first season debuted in July 2017, when "Burger Rain" and "Beat Fishin'" were released as a tour-exclusive 7" single. Songs from the series' first season were eventually compiled as The Aquabats! Super Show! Television Soundtrack: Volume One, which was released digitally in March 2019 and then onto physical media the following June, where it became The Aquabats' highest-charting album to date, debuting at the top of Billboards Top Heatseekers chart and at 165 on the Billboard 200.
Cast and characters
See: List of The Aquabats! Super Show! characters
The Aquabats! Super Show! stars and is based upon fictionalized versions of the then-current (since 2006) line-up of the California comedy rock band The Aquabats. Adapting the backstory the band has used for the entirety of their professional career, Super Show! depicts The Aquabats as a group of bumbling, out-of-shape superheroes on a self-appointed mission to fight the forces of evil, presented in both live-action and animated segments. The five members of The Aquabats are:
The MC Bat Commander (played and voiced by Christian Jacobs) – The Aquabats' singer and de facto leader of the team. Though he doesn't have any superpowers of his own and is often quite stubborn and naive, the Commander is shown to be an effective strategist whose sharp leadership skills, bravery and determination regularly drive the band towards victory.
Crash McLarson (played and voiced by Chad Larson) – The band's bass guitarist, who has the frequently uncontrollable ability to grow upwards of 100 feet in size when under emotional stress. Despite being the largest and strongest of The Aquabats, Crash has a gentle, childlike demeanor bordering on slight dim-wittedness, and as such is usually the most cowardly member of the team.
Jimmy the Robot (played and voiced by James R. Briggs, Jr.) – The Aquabats' keyboardist. As his name implies, Jimmy is an android whose mechanical body houses a variety of built-in gadgets and weaponry, plus a comprehensive knowledge database which earns him the position of the group's resident scientist. Being a robot, Jimmy is generally perplexed by human emotions and behavior.
Ricky Fitness (played and voiced by Richard Falomir) – the band's drummer, Ricky possesses the power of super speed. Being the most physically fit and health-conscious member of The Aquabats, some of the series' running gags revolve around Ricky's status as a handsome ladies' man and his fondness for "fresh, healthy veggies" in contrast to the rest of the team's voracious affinity for junk food.
EagleBones Falconhawk (played and voiced by Ian Fowles) – The Aquabats' guitarist. The cocky and boyish maverick of the team, EagleBones is highly proficient on his custom weaponized electric guitar which shoots lasers from its headstock. Following a spiritual encounter early in season one, EagleBones also has the gift of second sight and is accompanied by "The Dude", an invisible spirit eagle whom he summons to aide The Aquabats in battle.
Voice actor and writer Mr. Lawrence provided the minimal narration for both seasons of Super Show!s live-action segments, while staff writer Kyle McCulloch narrated the first season's animated segments.
Guest stars and recurring characters
Though each episode of the series introduced a new villain, ally and/or celebrity cameo, Super Show! never featured any major recurring characters throughout its run. However, every episode of the show included a very brief appearance by a character fans dubbed the "Fox Man", a man in a cheap-looking fox costume played by visual effects supervisor Joel Fox, who would appear hidden in the background of a random scene as an Easter egg for viewers to spot, although his character was never explained within the context of the series.
Comedy musician "Weird Al" Yankovic and comedian Paul Rust were the only two guest actors to appear in two episodes: Yankovic played two different roles as the President of the United States and superhero SuperMagic PowerMan! (in a 2012 interview, Jacobs alluded to the two possibly being the same character, though this isn't implied within the series), while Rust played a boorish slacker named Ronmark, first appearing in live-action in a first-season episode and subsequently lending his voice to a mutated monster version of the character in part of a second-season episode.
Episodes
Distribution
International broadcast
Outside of North America, The Aquabats! Super Show! broadcast in Australia on the children's public broadcasting channel ABC3 and in the United Kingdom on the children's network CITV.
Home media
Coinciding with the run of the first season, each new episode of The Aquabats! Super Show! was released through the iTunes Store for digital download. Prior to the series debut, a season pass was made available for purchase to enable viewers to automatically receive a download of each new episode on its airdate. The first season of Super Show! was added to the video streaming service Netflix on December 1, 2012, later being added to Hulu on December 21.
Unlike the first season, the series' second season was not made available for iTunes pre-order, nor were episodes released for purchase. Though each episode was briefly streamed on The Hub's official website, none of the seasons' episodes were made available on Hulu, Netflix or similar streaming services.
Shout! Factory had the DVD publishing rights for The Aquabats! Super Show! within Region 1 for release of the first season. The company first announced their acquisition of the series and plans for a future DVD in a press release dated August 6, 2012, though did not initially confirm a set release date until several months later. On May 21, 2013, the first season of Super Show! was released on a two-disc DVD set.
On November 22, 2017, in conjunction with their announcement of a season two theatrical screening, The Aquabats confirmed an independent Blu-ray release for season two, including the three specials often considered a "season three". On December 5, pre-orders were launched on The Aquabats' merchandising site for an official release date of December 22, though copies were first made for public sale at the second season theatrical screening on December 16.
Starting in December 2014, The Aquabats gradually began uploading the series' full episodes onto their official YouTube channel. As of August 2019, all 21 episodes of Super Show! and its pilot episode have been publicly uploaded to their account.
Critical reception
Critical response to The Aquabats! Super Show! was predominantly positive, with most reviewers praising the series' intentionally campy tone and offbeat humor. The Onions The A.V. Club gave the series premiere an A− rating, describing it as "a loving homage to basically everything ever done by the brothers Krofft": "the show adeptly flips from humor to melodrama to action, providing some awesomely cheap special effects, goofy songs, and gags that range from slapstick to sublime", summarizing "there's so much here that both kids and parents will be able to enjoy the proceedings on their own respective levels and rarely find themselves bored".
Brian Lowry of Variety wrote "you don't have to laugh at everything to admire the effort and sheer silliness", calling the show a "goofy and nostalgic" throwback to the "children's TV of baby boomers' youth, down to crappy production values and awful-looking 'monsters' that work to its advantage". He summarized "Although this Hub series at times feels like an SNL skit stretched to a half-hour, its sly mix of music, live-action crime-fighting, cartoons and mock ads ought to develop a cult following—and might be more popular with parents, at least those with the geek gene, than their kids".
Technology magazine Wired was consistently positive towards the series, calling it both "wonderfully strange" and "delightfully deranged", writing "[f]illed with self-deprecating music videos, toon interludes and ludicrous villains, The Aquabats! Super Show! has become one of television's strangely comforting finds".
Common Sense Media, who review shows based on age-appropriate content, gave Super Show! a rating of 4 out of 5 stars, calling it "demented and manic...fun by sheer dint of how many jokes, visual and otherwise, are thrown at the screen, both those calculated to appeal to kids and adults". The site praised the series for its lighter and sillier tone in comparison to more violent live-action superhero fare, and considered the "kind-hearted" Aquabats to be relatively positive role models. However, the reviewer suggested the show's violence and creatures may be too intense for very young children, and pointed out a distinct lack of central female characters.
Neil Genzlinger of The New York Times offered a more indifferent opinion, calling The Aquabats "indescribably odd" and the series "frenetic, semicoherent and generally harmless. Also somewhat hallucinogenic", noting Super Show!s writing "may be over the heads of the 2-to-12 set", suggesting its most receptive audience might be "the college drinking-game crowd".
Awards and nominations
The Aquabats! Super Show! was nominated for the following awards:
Daytime Emmy Award
References
External links
Official website of The Aquabats
The Aquabats
2010s American children's television series
2010s American musical comedy television series
2010s American satirical television series
2010s American sketch comedy television series
2010s American superhero comedy television series
2012 American television series debuts
2014 American television series endings
American children's adventure television series
American children's musical television series
American television series with live action and animation
Children's sketch comedy
English-language television shows
Television series by Fremantle (company)
Television shows set in Orange County, California
American television shows featuring puppetry
Discovery Family original programming | true | [
"Don Juan Manuel's Tales of Count Lucanor, in Spanish Libro de los ejemplos del conde Lucanor y de Patronio (Book of the Examples of Count Lucanor and of Patronio), also commonly known as El Conde Lucanor, Libro de Patronio, or Libro de los ejemplos (original Old Castilian: Libro de los enxiemplos del Conde Lucanor et de Patronio), is one of the earliest works of prose in Castilian Spanish. It was first written in 1335.\n\nThe book is divided into four parts. The first and most well-known part is a series of 51 short stories (some no more than a page or two) drawn from various sources, such as Aesop and other classical writers, and Arabic folktales.\n\nTales of Count Lucanor was first printed in 1575 when it was published at Seville under the auspices of Argote de Molina. It was again printed at Madrid in 1642, after which it lay forgotten for nearly two centuries.\n\nPurpose and structure\n\nA didactic, moralistic purpose, which would color so much of the Spanish literature to follow (see Novela picaresca), is the mark of this book. Count Lucanor engages in conversation with his advisor Patronio, putting to him a problem (\"Some man has made me a proposition...\" or \"I fear that such and such person intends to...\") and asking for advice. Patronio responds always with the greatest humility, claiming not to wish to offer advice to so illustrious a person as the Count, but offering to tell him a story of which the Count's problem reminds him. (Thus, the stories are \"examples\" [ejemplos] of wise action.) At the end he advises the Count to do as the protagonist of his story did.\n\nEach chapter ends in more or less the same way, with slight variations on: \"And this pleased the Count greatly and he did just so, and found it well. And Don Johán (Juan) saw that this example was very good, and had it written in this book, and composed the following verses.\" A rhymed couplet closes, giving the moral of the story.\n\nOrigin of stories and influence on later literature\nMany of the stories written in the book are the first examples written in a modern European language of various stories, which many other writers would use in the proceeding centuries. Many of the stories he included were themselves derived from other stories, coming from western and Arab sources.\n\nShakespeare's The Taming of the Shrew has the basic elements of Tale 35, \"What Happened to a Young Man Who Married a Strong and Ill-tempered Woman\".\n\nTale 32, \"What Happened to the King and the Tricksters Who Made Cloth\" tells the story that Hans Christian Andersen made popular as The Emperor's New Clothes.\n\nStory 7, \"What Happened to a Woman Named Truhana\", a version of Aesop's The Milkmaid and Her Pail, was claimed by Max Müller to originate in the Hindu cycle Panchatantra.\n\nTale 2, \"What happened to a good Man and his Son, leading a beast to market,\" is the familiar fable The miller, his son and the donkey.\n\nIn 2016, Baroque Decay released a game under the name \"The Count Lucanor\". As well as some protagonists' names, certain events from the books inspired past events in the game.\n\nThe stories\n\nThe book opens with a prologue which introduces the characters of the Count and Patronio. The titles in the following list are those given in Keller and Keating's 1977 translation into English. James York's 1868 translation into English gives a significantly different ordering of the stories and omits the fifty-first.\n\n What Happened to a King and His Favorite \n What Happened to a Good Man and His Son \n How King Richard of England Leapt into the Sea against the Moors\n What a Genoese Said to His Soul When He Was about to Die \n What Happened to a Fox and a Crow Who Had a Piece of Cheese in His Beak\n How the Swallow Warned the Other Birds When She Saw Flax Being Sown \n What Happened to a Woman Named Truhana \n What Happened to a Man Whose Liver Had to Be Washed \n What Happened to Two Horses Which Were Thrown to the Lion \n What Happened to a Man Who on Account of Poverty and Lack of Other Food Was Eating Bitter Lentils \n What Happened to a Dean of Santiago de Compostela and Don Yllán, the Grand Master of Toledo\n What Happened to the Fox and the Rooster \n What Happened to a Man Who Was Hunting Partridges \n The Miracle of Saint Dominick When He Preached against the Usurer \n What Happened to Lorenzo Suárez at the Siege of Seville \n The Reply that count Fernán González Gave to His Relative Núño Laynes \n What Happened to a Very Hungry Man Who Was Half-heartedly Invited to Dinner \n What Happened to Pero Meléndez de Valdés When He Broke His Leg \n What Happened to the Crows and the Owls \n What Happened to a King for Whom a Man Promised to Perform Alchemy \n What Happened to a Young King and a Philosopher to Whom his Father Commended Him \n What Happened to the Lion and the Bull \n How the Ants Provide for Themselves \n What Happened to the King Who Wanted to Test His Three Sons \n What Happened to the Count of Provence and How He Was Freed from Prison by the Advice of Saladin\n What Happened to the Tree of Lies \n What Happened to an Emperor and to Don Alvarfáñez Minaya and Their Wives \n What Happened in Granada to Don Lorenzo Suárez Gallinato When He Beheaded the Renegade Chaplain \n What Happened to a Fox Who Lay down in the Street to Play Dead \n What Happened to King Abenabet of Seville and Ramayquía His Wife \n How a Cardinal Judged between the Canons of Paris and the Friars Minor \n What Happened to the King and the Tricksters Who Made Cloth \n What Happened to Don Juan Manuel's Saker Falcon and an Eagle and a Heron \n What Happened to a Blind Man Who Was Leading Another \n What Happened to a Young Man Who Married a Strong and Ill-tempered Woman\n What Happened to a Merchant When He Found His Son and His Wife Sleeping Together \n What Happened to Count Fernán González with His Men after He Had Won the Battle of Hacinas \n What Happened to a Man Who Was Loaded down with Precious Stones and Drowned in the River \n What Happened to a Man and a Swallow and a Sparrow \n Why the Seneschal of Carcassonne Lost His Soul \n What Happened to a King of Córdova Named Al-Haquem \n What Happened to a Woman of Sham Piety \n What Happened to Good and Evil and the Wise Man and the Madman \n What Happened to Don Pero Núñez the Loyal, to Don Ruy González de Zavallos, and to Don Gutier Roiz de Blaguiello with Don Rodrigo the Generous \n What Happened to a Man Who Became the Devil's Friend and Vassal \n What Happened to a Philosopher who by Accident Went down a Street Where Prostitutes Lived \n What Befell a Moor and His Sister Who Pretended That She Was Timid \n What Happened to a Man Who Tested His Friends \n What Happened to the Man Whom They Cast out Naked on an Island When They Took away from Him the Kingdom He Ruled \n What Happened to Saladin and a Lady, the Wife of a Knight Who Was His Vassal \n What Happened to a Christian King Who Was Very Powerful and Haughty\n\nReferences\n\nNotes\n\nBibliography\n\n Sturm, Harlan\n\n Wacks, David\n\nExternal links\n\nThe Internet Archive provides free access to the 1868 translation by James York.\nJSTOR has the to the 1977 translation by Keller and Keating.\nSelections in English and Spanish (pedagogical edition) with introduction, notes, and bibliography in Open Iberia/América (open access teaching anthology)\n\n14th-century books\nSpanish literature\n1335 books",
"Paul Murray Live is an Australian television current affairs and commentary program, shown on Sky News Australia and hosted by broadcaster Paul Murray. It airs weeknights.\n\nThe show revolves around public Twitter discussions and the slogan \"this is a show where we tell you what happened today and hopefully by the end of it you'll know what really happened today\".\n\nNews updates are presented by Sharon McKenzie.\n\nHistory\nOriginally a spin-off from Murray's previous Sky News program 180: The Other Side of the News, Paul Murray Live debuted in 2010 and presents the days news, offering commentary and a panel discussion on what has happened in the last 24 hours.\n\nFrom 2015, Paul Murray Live will air weeknights, rather than its previous timeslots of Sunday to Thursday evenings throughout 2014, to make way for Hinch Live, which will air Saturday and Sundays as a continuation of the Paul Murray Live brand. From July 2016, the program airs a highlights edition on Friday evenings to allow Murray to host new format Saturday Edition on Saturdays.\n\nThe program has expanded to 2 hours in 2017, following the ending of SportsNight with James Bracey in 2016. Also in 2017, Paul Murray Live held programs from locations outside the studio with a live audience.\n\nIn the first half of 2018, Paul Murray Live was the most watched program in its timeslot across all subscription television channels.\n\nIn 2019, Paul Murray made international headlines for his interview with U.S. President Donald Trump. In 2019, Paul Murray Live Our Town tour travelled across the nation celebrating, supporting and showcasing local communities. The tour kicked off in February and raised a total of $400,000 for Australian regional communities in Launceston, Townsville, Toowoomba, Tamworth, Whyalla, Thredbo, Broome, Alice Springs and Newcastle.\n\nSee also\n List of Australian television series\n\nReferences\n\nExternal links\nSky News Official site\n\nSky News Australia\nAustralian non-fiction television series\n2010 Australian television series debuts"
] | [
"The Aquabats! Super Show! is an American action-comedy musical television series which aired from March 3, 2012 to January 8, 2014 on The Hub Network and resumed as an independent YouTube web series in September 2019.",
"is an American action-comedy musical television series which aired from March 3, 2012 to January 8, 2014 on The Hub Network and resumed as an independent YouTube web series in September 2019. The series was created by Christian Jacobs, and Scott Schultz, both the creators of the Nick Jr. show Yo Gabba Gabba!, and Jason deVilliers.",
"The series was created by Christian Jacobs, and Scott Schultz, both the creators of the Nick Jr. show Yo Gabba Gabba!, and Jason deVilliers. Based on the superhero mythology of The Aquabats, a real-life comedy rock band which series co-creator and lead singer Jacobs formed in 1994, The Aquabats! Super Show!",
"Super Show! Super Show! follows the comic adventures of a fictionalized version of the band, a musical group of amateur superheroes, as they haphazardly defend the world from a variety of villains and monsters. Styled similarly to the campy aesthetics of 1960s and 1970s children's television and Japanese tokusatsu, Super Show!",
"Styled similarly to the campy aesthetics of 1960s and 1970s children's television and Japanese tokusatsu, Super Show! utilizes various mediums of visual styles and special effects, mixing live-action storylines with cartoon shorts, parody advertisements and musical interludes.",
"utilizes various mediums of visual styles and special effects, mixing live-action storylines with cartoon shorts, parody advertisements and musical interludes. The series' first season concluded on June 16, 2012 following a run of 13 episodes, having met with a largely positive critical reception, consistently high ratings for the channel and a Daytime Emmy nomination for Outstanding Children's Series.",
"The series' first season concluded on June 16, 2012 following a run of 13 episodes, having met with a largely positive critical reception, consistently high ratings for the channel and a Daytime Emmy nomination for Outstanding Children's Series. The series' second season consisted of an initial five episodes which aired through June 2013, with three additional episodes airing in late December and January 2014, receiving similar acclaim and a further seven Daytime Emmy nominations, ultimately winning one for Best Stunt Coordination.",
"The series' second season consisted of an initial five episodes which aired through June 2013, with three additional episodes airing in late December and January 2014, receiving similar acclaim and a further seven Daytime Emmy nominations, ultimately winning one for Best Stunt Coordination. In June 2014, co-creator Jacobs officially announced the series' cancellation, following news of The Hub's financial losses which led to the network's rebranding as Discovery Family later that October.",
"In June 2014, co-creator Jacobs officially announced the series' cancellation, following news of The Hub's financial losses which led to the network's rebranding as Discovery Family later that October. In July 2018, The Aquabats launched a successful Kickstarter to help independently finance new episodes of The Aquabats!",
"In July 2018, The Aquabats launched a successful Kickstarter to help independently finance new episodes of The Aquabats! Super Show!, promoting the campaign with a series of YouTube-exclusive mini-episodes continuing the original series' storyline.",
"Super Show!, promoting the campaign with a series of YouTube-exclusive mini-episodes continuing the original series' storyline. On September 28, 2019, The Aquabats premiered the first installment of these new episodes, now a biweekly YouTube series entitled The Aquabats! RadVentures!, though still retaining Super Show!s theme song and title card.",
"RadVentures!, though still retaining Super Show!s theme song and title card. Series overview Premise Chronicled in both live-action and animated segments, The Aquabats! Super Show!",
"Super Show! Super Show! is centered around the adventures of The Aquabats, a group of superhero rock musicians who travel the countryside on a self-appointed mission to fight evil and \"destroy boredom\", protecting the world from the villains and creatures who threaten to destroy it while aiming to become a famous rock and roll band in their own right.",
"is centered around the adventures of The Aquabats, a group of superhero rock musicians who travel the countryside on a self-appointed mission to fight evil and \"destroy boredom\", protecting the world from the villains and creatures who threaten to destroy it while aiming to become a famous rock and roll band in their own right. The Aquabats consist of singer The MC Bat Commander (Christian Jacobs), the swaggering leader of the group; bassist Crash McLarson (Chad Larson), who can grow up to 100 feet in size; drummer Ricky Fitness (Richard Falomir), who has the power of super speed; guitarist EagleBones Falconhawk (Ian Fowles), who's armed with a laser-shooting electric guitar; and keyboardist Jimmy the Robot (James R. Briggs, Jr.), an android.",
"The Aquabats consist of singer The MC Bat Commander (Christian Jacobs), the swaggering leader of the group; bassist Crash McLarson (Chad Larson), who can grow up to 100 feet in size; drummer Ricky Fitness (Richard Falomir), who has the power of super speed; guitarist EagleBones Falconhawk (Ian Fowles), who's armed with a laser-shooting electric guitar; and keyboardist Jimmy the Robot (James R. Briggs, Jr.), an android. Despite their superhuman strengths and abilities, The Aquabats are quite bumbling, disorganized, and sometimes cowardly when faced with danger; this has in fact led them to be labeled \"the world's most inept superheroes\".",
"Despite their superhuman strengths and abilities, The Aquabats are quite bumbling, disorganized, and sometimes cowardly when faced with danger; this has in fact led them to be labeled \"the world's most inept superheroes\". The band lives and travels by way of their \"Battletram\", a modified classic GMC motorhome which, despite its small exterior, has an implausibly massive interior (similar to the TARDIS from Doctor Who or The Big Bologna from The Kids From C.A.P.E.R.",
"The band lives and travels by way of their \"Battletram\", a modified classic GMC motorhome which, despite its small exterior, has an implausibly massive interior (similar to the TARDIS from Doctor Who or The Big Bologna from The Kids From C.A.P.E.R. ), which contains, among many things, a science lab, a command center, and a living room.",
"), which contains, among many things, a science lab, a command center, and a living room. The Aquabats' origin story was left intentionally vague throughout the series, a choice Jacobs explains was done for the sake of the viewer's imagination, as he felt kids were more accepting of the inherent absurdity of the premise than adults tend to be: \"'There's five guys.",
"The Aquabats' origin story was left intentionally vague throughout the series, a choice Jacobs explains was done for the sake of the viewer's imagination, as he felt kids were more accepting of the inherent absurdity of the premise than adults tend to be: \"'There's five guys. This is what each of the five guys does.",
"This is what each of the five guys does. There are monsters. They're gonna try to fight them'. It's so simple. And I think that's why it's so awesome with kids—they just take it and run with it\".",
"And I think that's why it's so awesome with kids—they just take it and run with it\". In the first five episodes of season two, each member of The Aquabats shares their memory of how they joined the band via animated flashback sequences; however, all of these flashbacks directly and intentionally contradict each other, leaving it unknown which—if any—could be considered officially canonical.",
"In the first five episodes of season two, each member of The Aquabats shares their memory of how they joined the band via animated flashback sequences; however, all of these flashbacks directly and intentionally contradict each other, leaving it unknown which—if any—could be considered officially canonical. Format and influences The Aquabats! Super Show!",
"Format and influences The Aquabats! Super Show! Super Show! juxtaposes both live-action and animated segments starring The Aquabats, interwoven with various tangential skits and cartoon interstitials. The live-action storylines are the primary focus of each episode, following a self-contained villain of the week formula.",
"The live-action storylines are the primary focus of each episode, following a self-contained villain of the week formula. In the first season, each episode featured brief anime-styled cartoon shorts which one of the characters would introduce at a random point of the show, often by finding \"A Cartoon\" (represented by a miniature television set) in an absurd location.",
"In the first season, each episode featured brief anime-styled cartoon shorts which one of the characters would introduce at a random point of the show, often by finding \"A Cartoon\" (represented by a miniature television set) in an absurd location. Unlike the live-action segments, these cartoons followed a serialized story arc, with each installment ending in a cliffhanger to be resolved in the next episode.",
"Unlike the live-action segments, these cartoons followed a serialized story arc, with each installment ending in a cliffhanger to be resolved in the next episode. In season two, this format was replaced with a series of animated flashbacks recounting the origins of The Aquabats, each by a different animation studio and in a different animation style.",
"In season two, this format was replaced with a series of animated flashbacks recounting the origins of The Aquabats, each by a different animation studio and in a different animation style. Between these segments are pantomime cartoon shorts starring \"Lil' Bat\", The Aquabats' anthropomorphic bat mascot, and live-action parody commercials for outlandish fictional products, the latter of which has long been a staple of The Aquabats' multi-media stage shows.",
"Between these segments are pantomime cartoon shorts starring \"Lil' Bat\", The Aquabats' anthropomorphic bat mascot, and live-action parody commercials for outlandish fictional products, the latter of which has long been a staple of The Aquabats' multi-media stage shows. Jacobs says the concept behind Super Show!",
"Jacobs says the concept behind Super Show! was something he had always dreamed of doing, making a \"campy, live-action, funky kid's show\" in the vein of the 1960s and 1970s television that he and the rest of the series' producers had grown up with.",
"was something he had always dreamed of doing, making a \"campy, live-action, funky kid's show\" in the vein of the 1960s and 1970s television that he and the rest of the series' producers had grown up with. While the show pays homage to many facets of pop culture, Jacobs has named the 1960s Batman television series as the primary influence on Super Show!s \"obviously silly\" tone and visual style, ranging from set design to the trademark use of dutch angles for villain scenes.",
"While the show pays homage to many facets of pop culture, Jacobs has named the 1960s Batman television series as the primary influence on Super Show!s \"obviously silly\" tone and visual style, ranging from set design to the trademark use of dutch angles for villain scenes. Other notable influences Jacobs has repeatedly mentioned include the works of Sid and Marty Krofft and Hanna-Barbera, Japanese tokusatsu series such as Ultraman and Johnny Sokko And His Flying Robot, the Shaw Brothers and Hong Kong cinema, and shows including Danger Island, Star Trek, The Rocky and Bullwinkle Show, and Pee-wee's Playhouse, noting \"there's a good 30 years worth of television culture packed into these 22-minute episodes\".",
"Other notable influences Jacobs has repeatedly mentioned include the works of Sid and Marty Krofft and Hanna-Barbera, Japanese tokusatsu series such as Ultraman and Johnny Sokko And His Flying Robot, the Shaw Brothers and Hong Kong cinema, and shows including Danger Island, Star Trek, The Rocky and Bullwinkle Show, and Pee-wee's Playhouse, noting \"there's a good 30 years worth of television culture packed into these 22-minute episodes\". Demographic As The Hub's key demographic were children aged 6 to 12, Super Show!",
"Demographic As The Hub's key demographic were children aged 6 to 12, Super Show! was ostensibly targeted towards said age group, though Jacobs has stated that the series primarily aimed to appeal to an all-ages crowd, with the intent of creating entertainment that both kids and parents can watch and enjoy together or separately.",
"was ostensibly targeted towards said age group, though Jacobs has stated that the series primarily aimed to appeal to an all-ages crowd, with the intent of creating entertainment that both kids and parents can watch and enjoy together or separately. In interviews prior to the series' premiere, he explained that this was merely an extension of The Aquabats' own family-friendly ethos: \"There's just obviously something about the costumes and being superheroes that really appeals to younger kids, and I think we always knew that as a band...I think we'll want to put things in [the show] for an older audience, because we realize we have an older audience, but then also we want the young kids, to not have it go over their heads\".",
"In interviews prior to the series' premiere, he explained that this was merely an extension of The Aquabats' own family-friendly ethos: \"There's just obviously something about the costumes and being superheroes that really appeals to younger kids, and I think we always knew that as a band...I think we'll want to put things in [the show] for an older audience, because we realize we have an older audience, but then also we want the young kids, to not have it go over their heads\". Production history History and previous attempts at a series In 1994, musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in Brea, California.",
"Production history History and previous attempts at a series In 1994, musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in Brea, California. Influenced as much by cartoons and camp television as theatrical bands like Devo and Oingo Boingo, The Aquabats gained instant notoriety in the Orange County music scene for their eccentric persona in which they claimed to be a band of superheroes on a quest to save the world and their elaborate stage shows which regularly featured scripted fights with costumed villains alongside similar stunts and comedy sketches.",
"Influenced as much by cartoons and camp television as theatrical bands like Devo and Oingo Boingo, The Aquabats gained instant notoriety in the Orange County music scene for their eccentric persona in which they claimed to be a band of superheroes on a quest to save the world and their elaborate stage shows which regularly featured scripted fights with costumed villains alongside similar stunts and comedy sketches. The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough for the group, charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs – a former child actor with ties in the industry – to develop the concept of adapting the band's mythology for television.",
"The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough for the group, charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs – a former child actor with ties in the industry – to develop the concept of adapting the band's mythology for television. In 1998, Buena Vista Television helped produce a live-action mini-pilot directed by comedian Bobcat Goldthwait titled simply The Aquabats!, following the comic misadventures of the then-eight member band in an over-the-top camp style similar to Saturday morning cartoon shows.",
"In 1998, Buena Vista Television helped produce a live-action mini-pilot directed by comedian Bobcat Goldthwait titled simply The Aquabats!, following the comic misadventures of the then-eight member band in an over-the-top camp style similar to Saturday morning cartoon shows. The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves.",
"The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves. Undeterred, The Aquabats made an attempt at a second pilot the following year, using a music video budget granted by their record label Goldenvoice Records for their 1999 album The Aquabats vs. the Floating Eye of Death!.",
"Undeterred, The Aquabats made an attempt at a second pilot the following year, using a music video budget granted by their record label Goldenvoice Records for their 1999 album The Aquabats vs. the Floating Eye of Death!. Independently directed and produced by Jacobs and his creative partner Scott Schultz, the result was a five-minute promo video entitled The Aquabats in Color!.",
"Independently directed and produced by Jacobs and his creative partner Scott Schultz, the result was a five-minute promo video entitled The Aquabats in Color!. In contrast to the wackier tone of the previous pilot, The Aquabats in Color! was a more action-oriented superhero series modeled after Japanese tokusatsu shows such as Kamen Rider.",
"was a more action-oriented superhero series modeled after Japanese tokusatsu shows such as Kamen Rider. According to Jacobs, the Fox Family Channel reportedly expressed interest in the series and ordered production on a proper pilot episode, though following the channel's acquisition by Disney in 2001, the project was cancelled. The Aquabats! Super Show!",
"The Aquabats! Super Show! Super Show! pilot (2008) In 2005, Jacobs and Schultz formed the Orange County-based production company The Magic Store, focusing on creating family-oriented television entertainment.",
"pilot (2008) In 2005, Jacobs and Schultz formed the Orange County-based production company The Magic Store, focusing on creating family-oriented television entertainment. One of the company's independently produced pilots, the children's television series Yo Gabba Gabba!, was eventually picked up as a series by Viacoms Nick Jr. channel, premiering in August 2007 and ultimately becoming an award-winning and critically acclaimed international success.",
"One of the company's independently produced pilots, the children's television series Yo Gabba Gabba!, was eventually picked up as a series by Viacoms Nick Jr. channel, premiering in August 2007 and ultimately becoming an award-winning and critically acclaimed international success. In the wake of the series' popularity, Jacobs and Schultz persuaded Yo Gabba Gabba!s joint production company Wild Brain to help produce a new pilot based around The Aquabats in conjuncture with The Magic Store.",
"In the wake of the series' popularity, Jacobs and Schultz persuaded Yo Gabba Gabba!s joint production company Wild Brain to help produce a new pilot based around The Aquabats in conjuncture with The Magic Store. Again creatively spearheaded by Jacobs and Schultz, The Aquabats' third pilot, titled The Aquabats!",
"Again creatively spearheaded by Jacobs and Schultz, The Aquabats' third pilot, titled The Aquabats! Super Show!, was shot on location throughout southern California in late 2007 and early 2008.",
"Super Show!, was shot on location throughout southern California in late 2007 and early 2008. Part of this filming took place at a free invitation-only concert for members of the band's official fan club at the El Rey Theatre in Los Angeles on January 12, 2008.",
"Part of this filming took place at a free invitation-only concert for members of the band's official fan club at the El Rey Theatre in Los Angeles on January 12, 2008. While The Aquabats' previous pilots were short, live-action promotional videos, The Aquabats! Super Show!",
"Super Show! Super Show! was a fully realized 22-minute episode featuring two separate storylines based on the adventures of The Aquabats, one live-action and one animated, and interspersed with parody commercials and live footage of the band.",
"was a fully realized 22-minute episode featuring two separate storylines based on the adventures of The Aquabats, one live-action and one animated, and interspersed with parody commercials and live footage of the band. Speaking on the decision to structure the show in such a varied format, Jacobs said \"[w]e did that for a strategic reason – some networks like cartoons more than other networks.",
"Speaking on the decision to structure the show in such a varied format, Jacobs said \"[w]e did that for a strategic reason – some networks like cartoons more than other networks. We wanted to say, 'this could be both shows'.\" Following a period of post-production, The Aquabats began widely self-promoting Super Show!",
"Following a period of post-production, The Aquabats began widely self-promoting Super Show! in June 2008, redesigning their website to promote the pilot and releasing a teaser trailer and several exclusive clips through an official Super Show! YouTube channel.",
"YouTube channel. YouTube channel. On July 25, 2008, the band screened the full pilot at a concert in San Diego held during the weekend of the San Diego Comic-Con, while a segment of the episode was hosted on Boing Boing the same day.",
"On July 25, 2008, the band screened the full pilot at a concert in San Diego held during the weekend of the San Diego Comic-Con, while a segment of the episode was hosted on Boing Boing the same day. In 2009, Cartoon Network allegedly picked the series up for a run of 22 episodes, though following major staff changes within the company—which, according to Jacobs, included the termination of the executives who had green-lighted Super Show!—the project was again cancelled.",
"In 2009, Cartoon Network allegedly picked the series up for a run of 22 episodes, though following major staff changes within the company—which, according to Jacobs, included the termination of the executives who had green-lighted Super Show!—the project was again cancelled. The Hub and season one After several more unsuccessful network pitches into the 2010s, The Aquabats!",
"The Hub and season one After several more unsuccessful network pitches into the 2010s, The Aquabats! Super Show! was finally picked up as a series by family cable channel The Hub, a joint venture between Hasbro and Discovery which launched in 2010 as a replacement for Discovery Kids.",
"was finally picked up as a series by family cable channel The Hub, a joint venture between Hasbro and Discovery which launched in 2010 as a replacement for Discovery Kids. The Hub formally announced the series in a press release on March 23, 2011, revealing Super Show!",
"The Hub formally announced the series in a press release on March 23, 2011, revealing Super Show! would be given a first season run of 13 episodes, produced in conjuncture with FremantleMedia.",
"would be given a first season run of 13 episodes, produced in conjuncture with FremantleMedia. In promotion of the series, The Aquabats appeared as part of a panel at the 2011 San Diego Comic-Con where they discussed their initial plans for the show, while The Hub sponsored an Aquabats concert held at the nearby House of Blues during the same weekend.",
"In promotion of the series, The Aquabats appeared as part of a panel at the 2011 San Diego Comic-Con where they discussed their initial plans for the show, while The Hub sponsored an Aquabats concert held at the nearby House of Blues during the same weekend. Production on season one of Super Show! officially began in May 2011.",
"officially began in May 2011. officially began in May 2011. The entirety of the first season was shot within and around The Aquabats' hometown of Orange County, California; according to the first season DVD audio commentary, episodes were shot on location in the cities of Irvine, Silverado, Yorba Linda, Huntington Beach and Fullerton, while a private sound stage in Santa Ana was used for interior shots of the Battletram.",
"The entirety of the first season was shot within and around The Aquabats' hometown of Orange County, California; according to the first season DVD audio commentary, episodes were shot on location in the cities of Irvine, Silverado, Yorba Linda, Huntington Beach and Fullerton, while a private sound stage in Santa Ana was used for interior shots of the Battletram. A public Aquabats concert held at The Glass House club in Pomona on November 5, 2011 was also filmed to provide live footage of the band which is featured in the series' opening credits montage and several individual episodes.",
"A public Aquabats concert held at The Glass House club in Pomona on November 5, 2011 was also filmed to provide live footage of the band which is featured in the series' opening credits montage and several individual episodes. Much of Super Show!s staff consist of friends and colleagues of The Aquabats who've previously worked with the band on various projects, ranging from members of Yo Gabba Gabba!s production team to fellow musicians within the southern California music scene.",
"Much of Super Show!s staff consist of friends and colleagues of The Aquabats who've previously worked with the band on various projects, ranging from members of Yo Gabba Gabba!s production team to fellow musicians within the southern California music scene. Among the more notable examples include Dallas McLaughlin and Matthew Gorney, both members of the San Diego hip hop band Bad Credit, who prominently served as writers, composers and performers, Warren Fitzgerald, guitarist for The Vandals, who was hired as a writer and music director, internet sketch comedy group Mega64 were commissioned to produce original material, primarily the series' parody commercials, and Japanese artist Pey, who had designed much of The Aquabats' promotional art and merchandise during the 2000s, was hired to design the season's animated segments.",
"Among the more notable examples include Dallas McLaughlin and Matthew Gorney, both members of the San Diego hip hop band Bad Credit, who prominently served as writers, composers and performers, Warren Fitzgerald, guitarist for The Vandals, who was hired as a writer and music director, internet sketch comedy group Mega64 were commissioned to produce original material, primarily the series' parody commercials, and Japanese artist Pey, who had designed much of The Aquabats' promotional art and merchandise during the 2000s, was hired to design the season's animated segments. Additionally, several industry professionals were brought in to help work on the show: Dani Michaeli, a staff writer on SpongeBob SquarePants, was hired as the series' story editor, while Matt Chapman, co-creator of the internet Flash cartoon Homestar Runner, acted as a writer, director and actor on several episodes.",
"Additionally, several industry professionals were brought in to help work on the show: Dani Michaeli, a staff writer on SpongeBob SquarePants, was hired as the series' story editor, while Matt Chapman, co-creator of the internet Flash cartoon Homestar Runner, acted as a writer, director and actor on several episodes. As none of the members besides Jacobs had any previous acting experience, comedian Matt Walsh of the Upright Citizens Brigade was brought in to help teach The Aquabats comedic acting and timing.",
"As none of the members besides Jacobs had any previous acting experience, comedian Matt Walsh of the Upright Citizens Brigade was brought in to help teach The Aquabats comedic acting and timing. In further homage to the original Batman series, Super Show! features a variety of celebrity cameo appearances.",
"features a variety of celebrity cameo appearances. The series' first season included appearances from actors Jon Heder, Lou Diamond Phillips and Samm Levine, comedians Rip Taylor, Paul Scheer and Paul Rust, and comedy musician \"Weird Al\" Yankovic, who appeared in two episodes as different characters.",
"The series' first season included appearances from actors Jon Heder, Lou Diamond Phillips and Samm Levine, comedians Rip Taylor, Paul Scheer and Paul Rust, and comedy musician \"Weird Al\" Yankovic, who appeared in two episodes as different characters. The first season also included several \"Easter egg\" cameos from original Aquabats members Corey \"Chainsaw\" Pollock and Boyd \"Catboy\" Terry, as well as from fellow musicians Warren Fitzgerald and Art Mitchell of the band Supernova.",
"The first season also included several \"Easter egg\" cameos from original Aquabats members Corey \"Chainsaw\" Pollock and Boyd \"Catboy\" Terry, as well as from fellow musicians Warren Fitzgerald and Art Mitchell of the band Supernova. Despite having been originally announced as part of The Hub's 2011 Fall line-up, production delays postponed Super Show!s premiere to early 2012.",
"Despite having been originally announced as part of The Hub's 2011 Fall line-up, production delays postponed Super Show!s premiere to early 2012. The series' marketing campaign began in December 2011, with a later announcement of an official premiere date confirmed for March 3, 2012.",
"The series' marketing campaign began in December 2011, with a later announcement of an official premiere date confirmed for March 3, 2012. Following a non-consecutive run of 13 episodes, the first-season finale aired on June 16, 2012.",
"Following a non-consecutive run of 13 episodes, the first-season finale aired on June 16, 2012. Season two On October 16, 2012, The Aquabats and The Hub confirmed production on new episodes of Super Show! through the social networking sites Facebook and Twitter, announcing a tentative debut date of Spring 2013.",
"through the social networking sites Facebook and Twitter, announcing a tentative debut date of Spring 2013. Principal photography on season two began on October 22 and wrapped on December 1.",
"Principal photography on season two began on October 22 and wrapped on December 1. Unlike the first season, the majority of season two was shot in and around Salt Lake City, Utah, which Jacobs explained was considerably less expensive than shooting in California.",
"Unlike the first season, the majority of season two was shot in and around Salt Lake City, Utah, which Jacobs explained was considerably less expensive than shooting in California. While no changes were made to Super Shows creative team, in December 2012 it was announced that season two would introduce the series' first guest director, musician and comic book writer Gerard Way, who co-directed and co-wrote the season finale \"The AntiBats!\"",
"While no changes were made to Super Shows creative team, in December 2012 it was announced that season two would introduce the series' first guest director, musician and comic book writer Gerard Way, who co-directed and co-wrote the season finale \"The AntiBats!\" with Jacobs and deVilliers.",
"with Jacobs and deVilliers. with Jacobs and deVilliers. Way's involvement with the series was heavily covered by the music press in the wake of the March 2013 break-up of his popular alternative rock band My Chemical Romance.",
"Way's involvement with the series was heavily covered by the music press in the wake of the March 2013 break-up of his popular alternative rock band My Chemical Romance. Among the guest stars featured in season two were professional skateboarders Tony Hawk and Eric Koston, Devo frontman and Yo Gabba Gabba!",
"Among the guest stars featured in season two were professional skateboarders Tony Hawk and Eric Koston, Devo frontman and Yo Gabba Gabba! cast member Mark Mothersbaugh, internet celebrity Leslie Hall, actor Martin Starr and My Chemical Romance bassist Mikey Way.",
"cast member Mark Mothersbaugh, internet celebrity Leslie Hall, actor Martin Starr and My Chemical Romance bassist Mikey Way. On December 2, 2012, deVilliers revealed on his Twitter account that the upcoming season would consist of only five new episodes, in what he called more \"season 1.5\" than a \"season 2\", though mentioned the possibility of more being made in the future.",
"On December 2, 2012, deVilliers revealed on his Twitter account that the upcoming season would consist of only five new episodes, in what he called more \"season 1.5\" than a \"season 2\", though mentioned the possibility of more being made in the future. On May 1, 2013, it was announced through Entertainment Weekly that the series' second season would begin airing on June 1.",
"On May 1, 2013, it was announced through Entertainment Weekly that the series' second season would begin airing on June 1. After a run of only five episodes, the season concluded on June 29, 2013.",
"After a run of only five episodes, the season concluded on June 29, 2013. 2013–2014 specials On August 22, 2013, series performer Chad Larson confirmed via Twitter that three additional episodes of Super Show! were being filmed near the end of the year, \"and maybe more next\".",
"were being filmed near the end of the year, \"and maybe more next\". Principal photography on these episodes eventually began in Utah in early October.",
"Principal photography on these episodes eventually began in Utah in early October. Throughout the month, The Aquabats posted numerous pictures of production on the new episodes on their Twitter and Instagram accounts, some of which revealed production code numbers of 301, 302 and 303, ostensibly indicating what would be a third season.",
"Throughout the month, The Aquabats posted numerous pictures of production on the new episodes on their Twitter and Instagram accounts, some of which revealed production code numbers of 301, 302 and 303, ostensibly indicating what would be a third season. Though these numbers were later verified by the Internet Movie Database, a November press release from The Hub explicitly referred to these three episodes as \"specials\".",
"Though these numbers were later verified by the Internet Movie Database, a November press release from The Hub explicitly referred to these three episodes as \"specials\". The first of these specials, \"Christmas with The Aquabats! \", aired on December 21, featuring comedians Robert Smigel and Matt Walsh in guest roles.",
"\", aired on December 21, featuring comedians Robert Smigel and Matt Walsh in guest roles. The second of these episodes, \"The Shark Fighter!\"",
"The second of these episodes, \"The Shark Fighter!\" (based on The Aquabats' song of the same name), featuring comedian Rhys Darby, aired the following week on December 28, while the final special \"Kitty Litter!\" aired on January 18, 2014. \"Kitty Litter!\"",
"\"Kitty Litter!\" \"Kitty Litter!\" was helmed by another guest director, Munn Powell, best known for his work as cinematographer on the Jared and Jerusha Hess films Napoleon Dynamite and Gentlemen Broncos.",
"was helmed by another guest director, Munn Powell, best known for his work as cinematographer on the Jared and Jerusha Hess films Napoleon Dynamite and Gentlemen Broncos. Following this short run of episodes, there was no confirmation by either The Hub or The Aquabats as to the production of any future episodes.",
"Following this short run of episodes, there was no confirmation by either The Hub or The Aquabats as to the production of any future episodes. In a December 2013 interview, Christian Jacobs acknowledged the network's unusually small order of episodes but didn't elaborate on any possible reasoning.",
"In a December 2013 interview, Christian Jacobs acknowledged the network's unusually small order of episodes but didn't elaborate on any possible reasoning. In the same interview, he stated that the band had initially prepared for another order of 13 episodes, having written as many scripts for potential future episodes.",
"In the same interview, he stated that the band had initially prepared for another order of 13 episodes, having written as many scripts for potential future episodes. On May 1, 2014, the nominees for the 2014 Daytime Emmy Awards were announced, revealing that Super Show!",
"On May 1, 2014, the nominees for the 2014 Daytime Emmy Awards were announced, revealing that Super Show! had been nominated for five awards in four categories, including the award for Best Writing in a Children's Series for the episode \"The AntiBats!\".",
"had been nominated for five awards in four categories, including the award for Best Writing in a Children's Series for the episode \"The AntiBats!\". The awards ceremony was held on June 22, 2014, where the series ultimately won the award for Best Stunt Coordination for stuntman Skip Carlson.",
"The awards ceremony was held on June 22, 2014, where the series ultimately won the award for Best Stunt Coordination for stuntman Skip Carlson. Cancellation by The Hub and hiatus In mid-2014, it was announced in entertainment press that Hasbro and Discovery had been in the process of rebranding The Hub following what they saw to be disappointing returns for the channel, changes which included the departure of CEO Margaret Loesch, who was instrumental in acquiring Super Show!",
"Cancellation by The Hub and hiatus In mid-2014, it was announced in entertainment press that Hasbro and Discovery had been in the process of rebranding The Hub following what they saw to be disappointing returns for the channel, changes which included the departure of CEO Margaret Loesch, who was instrumental in acquiring Super Show! as a series.",
"as a series. as a series. In a Huffington Post feature about The Aquabats prior to the band's appearance at the 2014 San Diego Comic-Con, it was revealed that The Hub had opted not to renew Super Show! for a third season, effectively cancelling the series.",
"for a third season, effectively cancelling the series. Jacobs admitted he was surprised by this turn of events, noting \"Everything we heard was that the show has been a real Cinderella story for the Hub and that it was rating really well with viewers.",
"Jacobs admitted he was surprised by this turn of events, noting \"Everything we heard was that the show has been a real Cinderella story for the Hub and that it was rating really well with viewers. We just assumed that we'd eventually go back into production or at least get picked up for Season 3\", but ultimately concluded \"it is what it is\" in regard to the network's decision.",
"We just assumed that we'd eventually go back into production or at least get picked up for Season 3\", but ultimately concluded \"it is what it is\" in regard to the network's decision. Despite this, Jacobs remained optimistic about the series' future, saying \"Given that we now live in a world where people are streaming TV shows directly onto their iPhones & computers, and given that companies like Netflix & Yahoo!",
"Despite this, Jacobs remained optimistic about the series' future, saying \"Given that we now live in a world where people are streaming TV shows directly onto their iPhones & computers, and given that companies like Netflix & Yahoo! are now picking up so much new content for their customers...I just find it hard to believe that The Aquabats!",
"are now picking up so much new content for their customers...I just find it hard to believe that The Aquabats! Super Show! is really over. I mean, we haven't even made any toys yet\". He concluded by stating \"It took us almost 15 years to get that TV series made.",
"He concluded by stating \"It took us almost 15 years to get that TV series made. And even though we've got a bunch more concert dates lined up for the rest of this year, our first priority is to find a new home for The Aquabats! Super Show!\".",
"Super Show!\". Super Show!\". On March 31, 2015, the nominees for the 42nd annual Daytime Emmy Awards were announced, with Super Show! earning nominations for Best SFX Mixer (Blaine Stewart) and Best Stunt Coordinator (Braxton McAllister).",
"earning nominations for Best SFX Mixer (Blaine Stewart) and Best Stunt Coordinator (Braxton McAllister). On June 27, 2015, The Aquabats screened the entire first season of Super Show!",
"On June 27, 2015, The Aquabats screened the entire first season of Super Show! before a sold-out crowd at The Frida Cinema in downtown Santa Ana, which was accompanied by a live performance by the band and Q&A sessions with The Aquabats and numerous members of the cast and crew.",
"before a sold-out crowd at The Frida Cinema in downtown Santa Ana, which was accompanied by a live performance by the band and Q&A sessions with The Aquabats and numerous members of the cast and crew. A similar presentation of the entire second season – including the three additional specials – took place at The Art Theater in Long Beach on December 16, 2017, coinciding with the release of the second season Blu-ray.",
"A similar presentation of the entire second season – including the three additional specials – took place at The Art Theater in Long Beach on December 16, 2017, coinciding with the release of the second season Blu-ray. Bring Back The Aquabats!",
"Bring Back The Aquabats! Bring Back The Aquabats! Kickstarter campaign Following weeks of teasing a major announcement, The Aquabats launched a Kickstarter campaign on July 31, 2018 to help finance the return of The Aquabats! Super Show! as well as new studio albums from the band at a minimum projected cost of $1.1 million.",
"as well as new studio albums from the band at a minimum projected cost of $1.1 million. The Aquabats promoted their campaign with a video featuring a slew of celebrity cameos, including Super Show!",
"The Aquabats promoted their campaign with a video featuring a slew of celebrity cameos, including Super Show! guest stars \"Weird Al\" Yankovic, Robert Smigel (as Triumph the Insult Comic Dog), Matt Chapman (as Homestar Runner and Strong Bad), former Aquabats member Travis Barker, Tony Kanal, Tom Dumont, Oscar Nunez, Kate Micucci, Blake Anderson, Imagine Dragons, Felicia Day and Tom Lennon, all of whom appeared in The Aquabats' trademark uniforms and spoke the Kickstarter's promotional slogan \"I am The Aquabats\"/\"We are The Aquabats\".",
"guest stars \"Weird Al\" Yankovic, Robert Smigel (as Triumph the Insult Comic Dog), Matt Chapman (as Homestar Runner and Strong Bad), former Aquabats member Travis Barker, Tony Kanal, Tom Dumont, Oscar Nunez, Kate Micucci, Blake Anderson, Imagine Dragons, Felicia Day and Tom Lennon, all of whom appeared in The Aquabats' trademark uniforms and spoke the Kickstarter's promotional slogan \"I am The Aquabats\"/\"We are The Aquabats\". Most prominently featured, however, was comedian Jack Black, who was later confirmed by the campaign's press releases to act as executive producer for the series' return.",
"Most prominently featured, however, was comedian Jack Black, who was later confirmed by the campaign's press releases to act as executive producer for the series' return. Along with their Kickstarter, the band began releasing a series of Super Show!",
"Along with their Kickstarter, the band began releasing a series of Super Show! \"mini-episodes\", depicting the MC Bat Commander's metafictional quest to reunite the estranged Aquabats following the series' cancellation.",
"\"mini-episodes\", depicting the MC Bat Commander's metafictional quest to reunite the estranged Aquabats following the series' cancellation. The band confirmed that as the Kickstarter progresses, further \"mini-episodes\" will be released to both promote the campaign as well as act as a continuation of Super Show!.",
"The band confirmed that as the Kickstarter progresses, further \"mini-episodes\" will be released to both promote the campaign as well as act as a continuation of Super Show!. By August 28, mere days before the campaign's end date of September 1, The Aquabats' Kickstarter had raised only $601,629 of its projected $1.1 million goal.",
"By August 28, mere days before the campaign's end date of September 1, The Aquabats' Kickstarter had raised only $601,629 of its projected $1.1 million goal. The funding was subsequently cancelled and the campaign was rebooted the same day with a smaller goal of $100,000 to instead finance one new album and the continued production of the Super Show!!",
"The funding was subsequently cancelled and the campaign was rebooted the same day with a smaller goal of $100,000 to instead finance one new album and the continued production of the Super Show!! \"mini-episodes\". The project's goal was met within minutes. Music Original music for The Aquabats! Super Show!",
"Super Show! Super Show! was primarily composed and performed by The Aquabats themselves, with additional scoring on most episodes provided by Matthew Gorney, Warren Fitzgerald or individual credits for Aquabats members James R. Briggs, Jr., Richard Falomir and Ian Fowles.",
"was primarily composed and performed by The Aquabats themselves, with additional scoring on most episodes provided by Matthew Gorney, Warren Fitzgerald or individual credits for Aquabats members James R. Briggs, Jr., Richard Falomir and Ian Fowles. Fitzgerald, guitarist for punk rock band The Vandals and former member of Oingo Boingo, acted as the series' music supervisor.",
"Fitzgerald, guitarist for punk rock band The Vandals and former member of Oingo Boingo, acted as the series' music supervisor. The theme song to Super Show!, \"Super Show Theme Song! \", was co-written by The Aquabats and Fitzgerald.",
"\", was co-written by The Aquabats and Fitzgerald. Whereas most musically oriented shows like The Monkees typically break the narrative of an episode for a music video performance of a standalone song, each episode of Super Show!",
"Whereas most musically oriented shows like The Monkees typically break the narrative of an episode for a music video performance of a standalone song, each episode of Super Show! typically features one or two unique songs that tied directly into the plot, usually about and performed during the events of a particular scene.",
"typically features one or two unique songs that tied directly into the plot, usually about and performed during the events of a particular scene. Most of these songs are rather brief, averaging a running time of just under a minute; Jacobs stated that many of the show's original songs were recorded as full-length pieces but trimmed down for inclusion in an episode, simply due to the show \"trying to pack so much into 22 minutes\".",
"Most of these songs are rather brief, averaging a running time of just under a minute; Jacobs stated that many of the show's original songs were recorded as full-length pieces but trimmed down for inclusion in an episode, simply due to the show \"trying to pack so much into 22 minutes\". Shortly after Super Show!s premiere, Jacobs confirmed plans to eventually release the series' original full-length songs as a soundtrack album.",
"Shortly after Super Show!s premiere, Jacobs confirmed plans to eventually release the series' original full-length songs as a soundtrack album. However, these plans wouldn't fully come to fruition until 2019; in a 2018 interview, Jacobs retrospectively revealed that the album had been long completed but the band \"hadn't had all the rights tied up\" until then.",
"However, these plans wouldn't fully come to fruition until 2019; in a 2018 interview, Jacobs retrospectively revealed that the album had been long completed but the band \"hadn't had all the rights tied up\" until then. The first original and full-length recordings from the series' first season debuted in July 2017, when \"Burger Rain\" and \"Beat Fishin'\" were released as a tour-exclusive 7\" single.",
"The first original and full-length recordings from the series' first season debuted in July 2017, when \"Burger Rain\" and \"Beat Fishin'\" were released as a tour-exclusive 7\" single. Songs from the series' first season were eventually compiled as The Aquabats! Super Show!",
"Super Show! Super Show! Television Soundtrack: Volume One, which was released digitally in March 2019 and then onto physical media the following June, where it became The Aquabats' highest-charting album to date, debuting at the top of Billboards Top Heatseekers chart and at 165 on the Billboard 200.",
"Television Soundtrack: Volume One, which was released digitally in March 2019 and then onto physical media the following June, where it became The Aquabats' highest-charting album to date, debuting at the top of Billboards Top Heatseekers chart and at 165 on the Billboard 200. Cast and characters See: List of The Aquabats! Super Show!",
"Super Show! Super Show! characters The Aquabats! Super Show! stars and is based upon fictionalized versions of the then-current (since 2006) line-up of the California comedy rock band The Aquabats. Adapting the backstory the band has used for the entirety of their professional career, Super Show!",
"Adapting the backstory the band has used for the entirety of their professional career, Super Show! depicts The Aquabats as a group of bumbling, out-of-shape superheroes on a self-appointed mission to fight the forces of evil, presented in both live-action and animated segments.",
"depicts The Aquabats as a group of bumbling, out-of-shape superheroes on a self-appointed mission to fight the forces of evil, presented in both live-action and animated segments. The five members of The Aquabats are: The MC Bat Commander (played and voiced by Christian Jacobs) – The Aquabats' singer and de facto leader of the team.",
"The five members of The Aquabats are: The MC Bat Commander (played and voiced by Christian Jacobs) – The Aquabats' singer and de facto leader of the team. Though he doesn't have any superpowers of his own and is often quite stubborn and naive, the Commander is shown to be an effective strategist whose sharp leadership skills, bravery and determination regularly drive the band towards victory.",
"Though he doesn't have any superpowers of his own and is often quite stubborn and naive, the Commander is shown to be an effective strategist whose sharp leadership skills, bravery and determination regularly drive the band towards victory. Crash McLarson (played and voiced by Chad Larson) – The band's bass guitarist, who has the frequently uncontrollable ability to grow upwards of 100 feet in size when under emotional stress.",
"Crash McLarson (played and voiced by Chad Larson) – The band's bass guitarist, who has the frequently uncontrollable ability to grow upwards of 100 feet in size when under emotional stress. Despite being the largest and strongest of The Aquabats, Crash has a gentle, childlike demeanor bordering on slight dim-wittedness, and as such is usually the most cowardly member of the team.",
"Despite being the largest and strongest of The Aquabats, Crash has a gentle, childlike demeanor bordering on slight dim-wittedness, and as such is usually the most cowardly member of the team. Jimmy the Robot (played and voiced by James R. Briggs, Jr.) – The Aquabats' keyboardist.",
"Jimmy the Robot (played and voiced by James R. Briggs, Jr.) – The Aquabats' keyboardist. As his name implies, Jimmy is an android whose mechanical body houses a variety of built-in gadgets and weaponry, plus a comprehensive knowledge database which earns him the position of the group's resident scientist.",
"As his name implies, Jimmy is an android whose mechanical body houses a variety of built-in gadgets and weaponry, plus a comprehensive knowledge database which earns him the position of the group's resident scientist. Being a robot, Jimmy is generally perplexed by human emotions and behavior.",
"Being a robot, Jimmy is generally perplexed by human emotions and behavior. Ricky Fitness (played and voiced by Richard Falomir) – the band's drummer, Ricky possesses the power of super speed.",
"Ricky Fitness (played and voiced by Richard Falomir) – the band's drummer, Ricky possesses the power of super speed. Being the most physically fit and health-conscious member of The Aquabats, some of the series' running gags revolve around Ricky's status as a handsome ladies' man and his fondness for \"fresh, healthy veggies\" in contrast to the rest of the team's voracious affinity for junk food.",
"Being the most physically fit and health-conscious member of The Aquabats, some of the series' running gags revolve around Ricky's status as a handsome ladies' man and his fondness for \"fresh, healthy veggies\" in contrast to the rest of the team's voracious affinity for junk food. EagleBones Falconhawk (played and voiced by Ian Fowles) – The Aquabats' guitarist.",
"EagleBones Falconhawk (played and voiced by Ian Fowles) – The Aquabats' guitarist. The cocky and boyish maverick of the team, EagleBones is highly proficient on his custom weaponized electric guitar which shoots lasers from its headstock.",
"The cocky and boyish maverick of the team, EagleBones is highly proficient on his custom weaponized electric guitar which shoots lasers from its headstock. Following a spiritual encounter early in season one, EagleBones also has the gift of second sight and is accompanied by \"The Dude\", an invisible spirit eagle whom he summons to aide The Aquabats in battle.",
"Following a spiritual encounter early in season one, EagleBones also has the gift of second sight and is accompanied by \"The Dude\", an invisible spirit eagle whom he summons to aide The Aquabats in battle. Voice actor and writer Mr. Lawrence provided the minimal narration for both seasons of Super Show!s live-action segments, while staff writer Kyle McCulloch narrated the first season's animated segments.",
"Voice actor and writer Mr. Lawrence provided the minimal narration for both seasons of Super Show!s live-action segments, while staff writer Kyle McCulloch narrated the first season's animated segments. Guest stars and recurring characters Though each episode of the series introduced a new villain, ally and/or celebrity cameo, Super Show!",
"Guest stars and recurring characters Though each episode of the series introduced a new villain, ally and/or celebrity cameo, Super Show! never featured any major recurring characters throughout its run.",
"never featured any major recurring characters throughout its run. However, every episode of the show included a very brief appearance by a character fans dubbed the \"Fox Man\", a man in a cheap-looking fox costume played by visual effects supervisor Joel Fox, who would appear hidden in the background of a random scene as an Easter egg for viewers to spot, although his character was never explained within the context of the series.",
"However, every episode of the show included a very brief appearance by a character fans dubbed the \"Fox Man\", a man in a cheap-looking fox costume played by visual effects supervisor Joel Fox, who would appear hidden in the background of a random scene as an Easter egg for viewers to spot, although his character was never explained within the context of the series. Comedy musician \"Weird Al\" Yankovic and comedian Paul Rust were the only two guest actors to appear in two episodes: Yankovic played two different roles as the President of the United States and superhero SuperMagic PowerMan!",
"Comedy musician \"Weird Al\" Yankovic and comedian Paul Rust were the only two guest actors to appear in two episodes: Yankovic played two different roles as the President of the United States and superhero SuperMagic PowerMan! (in a 2012 interview, Jacobs alluded to the two possibly being the same character, though this isn't implied within the series), while Rust played a boorish slacker named Ronmark, first appearing in live-action in a first-season episode and subsequently lending his voice to a mutated monster version of the character in part of a second-season episode.",
"(in a 2012 interview, Jacobs alluded to the two possibly being the same character, though this isn't implied within the series), while Rust played a boorish slacker named Ronmark, first appearing in live-action in a first-season episode and subsequently lending his voice to a mutated monster version of the character in part of a second-season episode. Episodes Distribution International broadcast Outside of North America, The Aquabats!",
"Episodes Distribution International broadcast Outside of North America, The Aquabats! Super Show! broadcast in Australia on the children's public broadcasting channel ABC3 and in the United Kingdom on the children's network CITV. Home media Coinciding with the run of the first season, each new episode of The Aquabats! Super Show!",
"Super Show! Super Show! was released through the iTunes Store for digital download. Prior to the series debut, a season pass was made available for purchase to enable viewers to automatically receive a download of each new episode on its airdate. The first season of Super Show!",
"The first season of Super Show! was added to the video streaming service Netflix on December 1, 2012, later being added to Hulu on December 21. Unlike the first season, the series' second season was not made available for iTunes pre-order, nor were episodes released for purchase.",
"Unlike the first season, the series' second season was not made available for iTunes pre-order, nor were episodes released for purchase. Though each episode was briefly streamed on The Hub's official website, none of the seasons' episodes were made available on Hulu, Netflix or similar streaming services. Shout!",
"Shout! Shout! Factory had the DVD publishing rights for The Aquabats! Super Show! within Region 1 for release of the first season.",
"within Region 1 for release of the first season. The company first announced their acquisition of the series and plans for a future DVD in a press release dated August 6, 2012, though did not initially confirm a set release date until several months later. On May 21, 2013, the first season of Super Show!",
"On May 21, 2013, the first season of Super Show! was released on a two-disc DVD set. On November 22, 2017, in conjunction with their announcement of a season two theatrical screening, The Aquabats confirmed an independent Blu-ray release for season two, including the three specials often considered a \"season three\".",
"On November 22, 2017, in conjunction with their announcement of a season two theatrical screening, The Aquabats confirmed an independent Blu-ray release for season two, including the three specials often considered a \"season three\". On December 5, pre-orders were launched on The Aquabats' merchandising site for an official release date of December 22, though copies were first made for public sale at the second season theatrical screening on December 16.",
"On December 5, pre-orders were launched on The Aquabats' merchandising site for an official release date of December 22, though copies were first made for public sale at the second season theatrical screening on December 16. Starting in December 2014, The Aquabats gradually began uploading the series' full episodes onto their official YouTube channel.",
"Starting in December 2014, The Aquabats gradually began uploading the series' full episodes onto their official YouTube channel. As of August 2019, all 21 episodes of Super Show! and its pilot episode have been publicly uploaded to their account. Critical reception Critical response to The Aquabats! Super Show!",
"Super Show! Super Show! was predominantly positive, with most reviewers praising the series' intentionally campy tone and offbeat humor. The Onions The A.V.",
"The Onions The A.V. The Onions The A.V. Club gave the series premiere an A− rating, describing it as \"a loving homage to basically everything ever done by the brothers Krofft\": \"the show adeptly flips from humor to melodrama to action, providing some awesomely cheap special effects, goofy songs, and gags that range from slapstick to sublime\", summarizing \"there's so much here that both kids and parents will be able to enjoy the proceedings on their own respective levels and rarely find themselves bored\".",
"Club gave the series premiere an A− rating, describing it as \"a loving homage to basically everything ever done by the brothers Krofft\": \"the show adeptly flips from humor to melodrama to action, providing some awesomely cheap special effects, goofy songs, and gags that range from slapstick to sublime\", summarizing \"there's so much here that both kids and parents will be able to enjoy the proceedings on their own respective levels and rarely find themselves bored\". Brian Lowry of Variety wrote \"you don't have to laugh at everything to admire the effort and sheer silliness\", calling the show a \"goofy and nostalgic\" throwback to the \"children's TV of baby boomers' youth, down to crappy production values and awful-looking 'monsters' that work to its advantage\".",
"Brian Lowry of Variety wrote \"you don't have to laugh at everything to admire the effort and sheer silliness\", calling the show a \"goofy and nostalgic\" throwback to the \"children's TV of baby boomers' youth, down to crappy production values and awful-looking 'monsters' that work to its advantage\". He summarized \"Although this Hub series at times feels like an SNL skit stretched to a half-hour, its sly mix of music, live-action crime-fighting, cartoons and mock ads ought to develop a cult following—and might be more popular with parents, at least those with the geek gene, than their kids\".",
"He summarized \"Although this Hub series at times feels like an SNL skit stretched to a half-hour, its sly mix of music, live-action crime-fighting, cartoons and mock ads ought to develop a cult following—and might be more popular with parents, at least those with the geek gene, than their kids\". Technology magazine Wired was consistently positive towards the series, calling it both \"wonderfully strange\" and \"delightfully deranged\", writing \"[f]illed with self-deprecating music videos, toon interludes and ludicrous villains, The Aquabats!",
"Technology magazine Wired was consistently positive towards the series, calling it both \"wonderfully strange\" and \"delightfully deranged\", writing \"[f]illed with self-deprecating music videos, toon interludes and ludicrous villains, The Aquabats! Super Show! has become one of television's strangely comforting finds\".",
"has become one of television's strangely comforting finds\". Common Sense Media, who review shows based on age-appropriate content, gave Super Show!",
"Common Sense Media, who review shows based on age-appropriate content, gave Super Show! a rating of 4 out of 5 stars, calling it \"demented and manic...fun by sheer dint of how many jokes, visual and otherwise, are thrown at the screen, both those calculated to appeal to kids and adults\".",
"a rating of 4 out of 5 stars, calling it \"demented and manic...fun by sheer dint of how many jokes, visual and otherwise, are thrown at the screen, both those calculated to appeal to kids and adults\". The site praised the series for its lighter and sillier tone in comparison to more violent live-action superhero fare, and considered the \"kind-hearted\" Aquabats to be relatively positive role models.",
"The site praised the series for its lighter and sillier tone in comparison to more violent live-action superhero fare, and considered the \"kind-hearted\" Aquabats to be relatively positive role models. However, the reviewer suggested the show's violence and creatures may be too intense for very young children, and pointed out a distinct lack of central female characters.",
"However, the reviewer suggested the show's violence and creatures may be too intense for very young children, and pointed out a distinct lack of central female characters. Neil Genzlinger of The New York Times offered a more indifferent opinion, calling The Aquabats \"indescribably odd\" and the series \"frenetic, semicoherent and generally harmless.",
"Neil Genzlinger of The New York Times offered a more indifferent opinion, calling The Aquabats \"indescribably odd\" and the series \"frenetic, semicoherent and generally harmless. Also somewhat hallucinogenic\", noting Super Show!s writing \"may be over the heads of the 2-to-12 set\", suggesting its most receptive audience might be \"the college drinking-game crowd\".",
"Also somewhat hallucinogenic\", noting Super Show!s writing \"may be over the heads of the 2-to-12 set\", suggesting its most receptive audience might be \"the college drinking-game crowd\". Awards and nominations The Aquabats! Super Show!",
"Awards and nominations The Aquabats! Super Show! Super Show! was nominated for the following awards: Daytime Emmy Award References External links Official website of The Aquabats The Aquabats 2010s American children's television series 2010s American musical comedy television series 2010s American satirical television series 2010s American sketch comedy television series 2010s American superhero comedy television series 2012 American television series debuts 2014 American television series endings American children's adventure television series American children's musical television series American television series with live action and animation Children's sketch comedy English-language television shows Television series by Fremantle (company) Television shows set in Orange County, California American television shows featuring puppetry Discovery Family original programming"
] |
[
"The Aquabats! Super Show!",
"History and previous attempts at a series",
"How did The Aquabats originate?",
"musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in",
"When did they form?",
"In 1994,",
"What happened with the previous attempts?",
"The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves."
] | C_4cdf6386fc074258b24b5e00bbcdec23_0 | What did they do after this? | 4 | What did the Aquabats do after the pilot of the Aquabats! Super Show! failed to generate network interest? | The Aquabats! Super Show! | In 1994, musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in Brea, California. Influenced as much by cartoons and camp television as theatrical bands like Devo and Oingo Boingo, The Aquabats gained instant notoriety in the Orange County music scene for their eccentric persona in which they claimed to be a band of superheroes on a quest to save the world and their elaborate stage shows which regularly featured scripted fights with costumed villains alongside similar stunts and comedy sketches. The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough for the group, charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs - a former child actor with ties in the industry - to develop the concept of adapting the band's mythology for television. In 1998, Buena Vista Television helped produce a live-action mini-pilot directed by comedian Bobcat Goldthwait titled simply The Aquabats!, following the comic misadventures of the then-eight member band in an over-the-top camp style similar to Saturday morning cartoon shows. The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves. Undeterred, The Aquabats made an attempt at a second pilot the following year, using a music video budget granted by their record label Goldenvoice Records for their 1999 album The Aquabats vs. the Floating Eye of Death!. Independently directed and produced by Jacobs and his creative partner Scott Schultz, the result was a five-minute promo video entitled The Aquabats in Color!. In contrast to the wackier tone of the previous pilot, The Aquabats in Color! was a more action-oriented superhero series modeled after Japanese tokusatsu shows such as Kamen Rider. According to Jacobs, the Fox Family Channel reportedly expressed interest in the series and ordered production on a proper pilot episode, though following the channel's acquisition by Disney in 2001, the project was cancelled. CANNOTANSWER | Undeterred, The Aquabats made an attempt at a second pilot | The Aquabats! Super Show! is an American action-comedy musical television series which aired from March 3, 2012 to January 8, 2014 on The Hub Network and resumed as an independent YouTube web series in September 2019. The series was created by Christian Jacobs, and Scott Schultz, both the creators of the Nick Jr. show Yo Gabba Gabba!, and Jason deVilliers.
Based on the superhero mythology of The Aquabats, a real-life comedy rock band which series co-creator and lead singer Jacobs formed in 1994, The Aquabats! Super Show! follows the comic adventures of a fictionalized version of the band, a musical group of amateur superheroes, as they haphazardly defend the world from a variety of villains and monsters. Styled similarly to the campy aesthetics of 1960s and 1970s children's television and Japanese tokusatsu, Super Show! utilizes various mediums of visual styles and special effects, mixing live-action storylines with cartoon shorts, parody advertisements and musical interludes.
The series' first season concluded on June 16, 2012 following a run of 13 episodes, having met with a largely positive critical reception, consistently high ratings for the channel and a Daytime Emmy nomination for Outstanding Children's Series. The series' second season consisted of an initial five episodes which aired through June 2013, with three additional episodes airing in late December and January 2014, receiving similar acclaim and a further seven Daytime Emmy nominations, ultimately winning one for Best Stunt Coordination. In June 2014, co-creator Jacobs officially announced the series' cancellation, following news of The Hub's financial losses which led to the network's rebranding as Discovery Family later that October.
In July 2018, The Aquabats launched a successful Kickstarter to help independently finance new episodes of The Aquabats! Super Show!, promoting the campaign with a series of YouTube-exclusive mini-episodes continuing the original series' storyline. On September 28, 2019, The Aquabats premiered the first installment of these new episodes, now a biweekly YouTube series entitled The Aquabats! RadVentures!, though still retaining Super Show!s theme song and title card.
Series overview
Premise
Chronicled in both live-action and animated segments, The Aquabats! Super Show! is centered around the adventures of The Aquabats, a group of superhero rock musicians who travel the countryside on a self-appointed mission to fight evil and "destroy boredom", protecting the world from the villains and creatures who threaten to destroy it while aiming to become a famous rock and roll band in their own right.
The Aquabats consist of singer The MC Bat Commander (Christian Jacobs), the swaggering leader of the group; bassist Crash McLarson (Chad Larson), who can grow up to 100 feet in size; drummer Ricky Fitness (Richard Falomir), who has the power of super speed; guitarist EagleBones Falconhawk (Ian Fowles), who's armed with a laser-shooting electric guitar; and keyboardist Jimmy the Robot (James R. Briggs, Jr.), an android. Despite their superhuman strengths and abilities, The Aquabats are quite bumbling, disorganized, and sometimes cowardly when faced with danger; this has in fact led them to be labeled "the world's most inept superheroes". The band lives and travels by way of their "Battletram", a modified classic GMC motorhome which, despite its small exterior, has an implausibly massive interior (similar to the TARDIS from Doctor Who or The Big Bologna from The Kids From C.A.P.E.R.), which contains, among many things, a science lab, a command center, and a living room.
The Aquabats' origin story was left intentionally vague throughout the series, a choice Jacobs explains was done for the sake of the viewer's imagination, as he felt kids were more accepting of the inherent absurdity of the premise than adults tend to be: "'There's five guys. This is what each of the five guys does. There are monsters. They're gonna try to fight them'. It's so simple. And I think that's why it's so awesome with kids—they just take it and run with it". In the first five episodes of season two, each member of The Aquabats shares their memory of how they joined the band via animated flashback sequences; however, all of these flashbacks directly and intentionally contradict each other, leaving it unknown which—if any—could be considered officially canonical.
Format and influences
The Aquabats! Super Show! juxtaposes both live-action and animated segments starring The Aquabats, interwoven with various tangential skits and cartoon interstitials. The live-action storylines are the primary focus of each episode, following a self-contained villain of the week formula. In the first season, each episode featured brief anime-styled cartoon shorts which one of the characters would introduce at a random point of the show, often by finding "A Cartoon" (represented by a miniature television set) in an absurd location. Unlike the live-action segments, these cartoons followed a serialized story arc, with each installment ending in a cliffhanger to be resolved in the next episode. In season two, this format was replaced with a series of animated flashbacks recounting the origins of The Aquabats, each by a different animation studio and in a different animation style. Between these segments are pantomime cartoon shorts starring "Lil' Bat", The Aquabats' anthropomorphic bat mascot, and live-action parody commercials for outlandish fictional products, the latter of which has long been a staple of The Aquabats' multi-media stage shows.
Jacobs says the concept behind Super Show! was something he had always dreamed of doing, making a "campy, live-action, funky kid's show" in the vein of the 1960s and 1970s television that he and the rest of the series' producers had grown up with. While the show pays homage to many facets of pop culture, Jacobs has named the 1960s Batman television series as the primary influence on Super Show!s "obviously silly" tone and visual style, ranging from set design to the trademark use of dutch angles for villain scenes. Other notable influences Jacobs has repeatedly mentioned include the works of Sid and Marty Krofft and Hanna-Barbera, Japanese tokusatsu series such as Ultraman and Johnny Sokko And His Flying Robot, the Shaw Brothers and Hong Kong cinema, and shows including Danger Island, Star Trek, The Rocky and Bullwinkle Show, and Pee-wee's Playhouse, noting "there's a good 30 years worth of television culture packed into these 22-minute episodes".
Demographic
As The Hub's key demographic were children aged 6 to 12, Super Show! was ostensibly targeted towards said age group, though Jacobs has stated that the series primarily aimed to appeal to an all-ages crowd, with the intent of creating entertainment that both kids and parents can watch and enjoy together or separately. In interviews prior to the series' premiere, he explained that this was merely an extension of The Aquabats' own family-friendly ethos: "There's just obviously something about the costumes and being superheroes that really appeals to younger kids, and I think we always knew that as a band...I think we'll want to put things in [the show] for an older audience, because we realize we have an older audience, but then also we want the young kids, to not have it go over their heads".
Production history
History and previous attempts at a series
In 1994, musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in Brea, California. Influenced as much by cartoons and camp television as theatrical bands like Devo and Oingo Boingo, The Aquabats gained instant notoriety in the Orange County music scene for their eccentric persona in which they claimed to be a band of superheroes on a quest to save the world and their elaborate stage shows which regularly featured scripted fights with costumed villains alongside similar stunts and comedy sketches.
The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough for the group, charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs – a former child actor with ties in the industry – to develop the concept of adapting the band's mythology for television. In 1998, Buena Vista Television helped produce a live-action mini-pilot directed by comedian Bobcat Goldthwait titled simply The Aquabats!, following the comic misadventures of the then-eight member band in an over-the-top camp style similar to Saturday morning cartoon shows. The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves.
Undeterred, The Aquabats made an attempt at a second pilot the following year, using a music video budget granted by their record label Goldenvoice Records for their 1999 album The Aquabats vs. the Floating Eye of Death!. Independently directed and produced by Jacobs and his creative partner Scott Schultz, the result was a five-minute promo video entitled The Aquabats in Color!. In contrast to the wackier tone of the previous pilot, The Aquabats in Color! was a more action-oriented superhero series modeled after Japanese tokusatsu shows such as Kamen Rider. According to Jacobs, the Fox Family Channel reportedly expressed interest in the series and ordered production on a proper pilot episode, though following the channel's acquisition by Disney in 2001, the project was cancelled.
The Aquabats! Super Show! pilot (2008)
In 2005, Jacobs and Schultz formed the Orange County-based production company The Magic Store, focusing on creating family-oriented television entertainment. One of the company's independently produced pilots, the children's television series Yo Gabba Gabba!, was eventually picked up as a series by Viacoms Nick Jr. channel, premiering in August 2007 and ultimately becoming an award-winning and critically acclaimed international success. In the wake of the series' popularity, Jacobs and Schultz persuaded Yo Gabba Gabba!s joint production company Wild Brain to help produce a new pilot based around The Aquabats in conjuncture with The Magic Store.
Again creatively spearheaded by Jacobs and Schultz, The Aquabats' third pilot, titled The Aquabats! Super Show!, was shot on location throughout southern California in late 2007 and early 2008. Part of this filming took place at a free invitation-only concert for members of the band's official fan club at the El Rey Theatre in Los Angeles on January 12, 2008. While The Aquabats' previous pilots were short, live-action promotional videos, The Aquabats! Super Show! was a fully realized 22-minute episode featuring two separate storylines based on the adventures of The Aquabats, one live-action and one animated, and interspersed with parody commercials and live footage of the band. Speaking on the decision to structure the show in such a varied format, Jacobs said "[w]e did that for a strategic reason – some networks like cartoons more than other networks. We wanted to say, 'this could be both shows'."
Following a period of post-production, The Aquabats began widely self-promoting Super Show! in June 2008, redesigning their website to promote the pilot and releasing a teaser trailer and several exclusive clips through an official Super Show! YouTube channel. On July 25, 2008, the band screened the full pilot at a concert in San Diego held during the weekend of the San Diego Comic-Con, while a segment of the episode was hosted on Boing Boing the same day. In 2009, Cartoon Network allegedly picked the series up for a run of 22 episodes, though following major staff changes within the company—which, according to Jacobs, included the termination of the executives who had green-lighted Super Show!—the project was again cancelled.
The Hub and season one
After several more unsuccessful network pitches into the 2010s, The Aquabats! Super Show! was finally picked up as a series by family cable channel The Hub, a joint venture between Hasbro and Discovery which launched in 2010 as a replacement for Discovery Kids. The Hub formally announced the series in a press release on March 23, 2011, revealing Super Show! would be given a first season run of 13 episodes, produced in conjuncture with FremantleMedia. In promotion of the series, The Aquabats appeared as part of a panel at the 2011 San Diego Comic-Con where they discussed their initial plans for the show, while The Hub sponsored an Aquabats concert held at the nearby House of Blues during the same weekend.
Production on season one of Super Show! officially began in May 2011. The entirety of the first season was shot within and around The Aquabats' hometown of Orange County, California; according to the first season DVD audio commentary, episodes were shot on location in the cities of Irvine, Silverado, Yorba Linda, Huntington Beach and Fullerton, while a private sound stage in Santa Ana was used for interior shots of the Battletram. A public Aquabats concert held at The Glass House club in Pomona on November 5, 2011 was also filmed to provide live footage of the band which is featured in the series' opening credits montage and several individual episodes.
Much of Super Show!s staff consist of friends and colleagues of The Aquabats who've previously worked with the band on various projects, ranging from members of Yo Gabba Gabba!s production team to fellow musicians within the southern California music scene. Among the more notable examples include Dallas McLaughlin and Matthew Gorney, both members of the San Diego hip hop band Bad Credit, who prominently served as writers, composers and performers, Warren Fitzgerald, guitarist for The Vandals, who was hired as a writer and music director, internet sketch comedy group Mega64 were commissioned to produce original material, primarily the series' parody commercials, and Japanese artist Pey, who had designed much of The Aquabats' promotional art and merchandise during the 2000s, was hired to design the season's animated segments. Additionally, several industry professionals were brought in to help work on the show: Dani Michaeli, a staff writer on SpongeBob SquarePants, was hired as the series' story editor, while Matt Chapman, co-creator of the internet Flash cartoon Homestar Runner, acted as a writer, director and actor on several episodes. As none of the members besides Jacobs had any previous acting experience, comedian Matt Walsh of the Upright Citizens Brigade was brought in to help teach The Aquabats comedic acting and timing.
In further homage to the original Batman series, Super Show! features a variety of celebrity cameo appearances. The series' first season included appearances from actors Jon Heder, Lou Diamond Phillips and Samm Levine, comedians Rip Taylor, Paul Scheer and Paul Rust, and comedy musician "Weird Al" Yankovic, who appeared in two episodes as different characters. The first season also included several "Easter egg" cameos from original Aquabats members Corey "Chainsaw" Pollock and Boyd "Catboy" Terry, as well as from fellow musicians Warren Fitzgerald and Art Mitchell of the band Supernova.
Despite having been originally announced as part of The Hub's 2011 Fall line-up, production delays postponed Super Show!s premiere to early 2012. The series' marketing campaign began in December 2011, with a later announcement of an official premiere date confirmed for March 3, 2012. Following a non-consecutive run of 13 episodes, the first-season finale aired on June 16, 2012.
Season two
On October 16, 2012, The Aquabats and The Hub confirmed production on new episodes of Super Show! through the social networking sites Facebook and Twitter, announcing a tentative debut date of Spring 2013. Principal photography on season two began on October 22 and wrapped on December 1. Unlike the first season, the majority of season two was shot in and around Salt Lake City, Utah, which Jacobs explained was considerably less expensive than shooting in California.
While no changes were made to Super Shows creative team, in December 2012 it was announced that season two would introduce the series' first guest director, musician and comic book writer Gerard Way, who co-directed and co-wrote the season finale "The AntiBats!" with Jacobs and deVilliers. Way's involvement with the series was heavily covered by the music press in the wake of the March 2013 break-up of his popular alternative rock band My Chemical Romance. Among the guest stars featured in season two were professional skateboarders Tony Hawk and Eric Koston, Devo frontman and Yo Gabba Gabba! cast member Mark Mothersbaugh, internet celebrity Leslie Hall, actor Martin Starr and My Chemical Romance bassist Mikey Way.
On December 2, 2012, deVilliers revealed on his Twitter account that the upcoming season would consist of only five new episodes, in what he called more "season 1.5" than a "season 2", though mentioned the possibility of more being made in the future. On May 1, 2013, it was announced through Entertainment Weekly that the series' second season would begin airing on June 1. After a run of only five episodes, the season concluded on June 29, 2013.
2013–2014 specials
On August 22, 2013, series performer Chad Larson confirmed via Twitter that three additional episodes of Super Show! were being filmed near the end of the year, "and maybe more next". Principal photography on these episodes eventually began in Utah in early October. Throughout the month, The Aquabats posted numerous pictures of production on the new episodes on their Twitter and Instagram accounts, some of which revealed production code numbers of 301, 302 and 303, ostensibly indicating what would be a third season. Though these numbers were later verified by the Internet Movie Database, a November press release from The Hub explicitly referred to these three episodes as "specials".
The first of these specials, "Christmas with The Aquabats!", aired on December 21, featuring comedians Robert Smigel and Matt Walsh in guest roles. The second of these episodes, "The Shark Fighter!" (based on The Aquabats' song of the same name), featuring comedian Rhys Darby, aired the following week on December 28, while the final special "Kitty Litter!" aired on January 18, 2014. "Kitty Litter!" was helmed by another guest director, Munn Powell, best known for his work as cinematographer on the Jared and Jerusha Hess films Napoleon Dynamite and Gentlemen Broncos.
Following this short run of episodes, there was no confirmation by either The Hub or The Aquabats as to the production of any future episodes. In a December 2013 interview, Christian Jacobs acknowledged the network's unusually small order of episodes but didn't elaborate on any possible reasoning. In the same interview, he stated that the band had initially prepared for another order of 13 episodes, having written as many scripts for potential future episodes.
On May 1, 2014, the nominees for the 2014 Daytime Emmy Awards were announced, revealing that Super Show! had been nominated for five awards in four categories, including the award for Best Writing in a Children's Series for the episode "The AntiBats!". The awards ceremony was held on June 22, 2014, where the series ultimately won the award for Best Stunt Coordination for stuntman Skip Carlson.
Cancellation by The Hub and hiatus
In mid-2014, it was announced in entertainment press that Hasbro and Discovery had been in the process of rebranding The Hub following what they saw to be disappointing returns for the channel, changes which included the departure of CEO Margaret Loesch, who was instrumental in acquiring Super Show! as a series. In a Huffington Post feature about The Aquabats prior to the band's appearance at the 2014 San Diego Comic-Con, it was revealed that The Hub had opted not to renew Super Show! for a third season, effectively cancelling the series.
Jacobs admitted he was surprised by this turn of events, noting "Everything we heard was that the show has been a real Cinderella story for the Hub and that it was rating really well with viewers. We just assumed that we'd eventually go back into production or at least get picked up for Season 3", but ultimately concluded "it is what it is" in regard to the network's decision. Despite this, Jacobs remained optimistic about the series' future, saying "Given that we now live in a world where people are streaming TV shows directly onto their iPhones & computers, and given that companies like Netflix & Yahoo! are now picking up so much new content for their customers...I just find it hard to believe that The Aquabats! Super Show! is really over. I mean, we haven't even made any toys yet". He concluded by stating "It took us almost 15 years to get that TV series made. And even though we've got a bunch more concert dates lined up for the rest of this year, our first priority is to find a new home for The Aquabats! Super Show!".
On March 31, 2015, the nominees for the 42nd annual Daytime Emmy Awards were announced, with Super Show! earning nominations for Best SFX Mixer (Blaine Stewart) and Best Stunt Coordinator (Braxton McAllister).
On June 27, 2015, The Aquabats screened the entire first season of Super Show! before a sold-out crowd at The Frida Cinema in downtown Santa Ana, which was accompanied by a live performance by the band and Q&A sessions with The Aquabats and numerous members of the cast and crew. A similar presentation of the entire second season – including the three additional specials – took place at The Art Theater in Long Beach on December 16, 2017, coinciding with the release of the second season Blu-ray.
Bring Back The Aquabats! Kickstarter campaign
Following weeks of teasing a major announcement, The Aquabats launched a Kickstarter campaign on July 31, 2018 to help finance the return of The Aquabats! Super Show! as well as new studio albums from the band at a minimum projected cost of $1.1 million. The Aquabats promoted their campaign with a video featuring a slew of celebrity cameos, including Super Show! guest stars "Weird Al" Yankovic, Robert Smigel (as Triumph the Insult Comic Dog), Matt Chapman (as Homestar Runner and Strong Bad), former Aquabats member Travis Barker, Tony Kanal, Tom Dumont, Oscar Nunez, Kate Micucci, Blake Anderson, Imagine Dragons, Felicia Day and Tom Lennon, all of whom appeared in The Aquabats' trademark uniforms and spoke the Kickstarter's promotional slogan "I am The Aquabats"/"We are The Aquabats". Most prominently featured, however, was comedian Jack Black, who was later confirmed by the campaign's press releases to act as executive producer for the series' return.
Along with their Kickstarter, the band began releasing a series of Super Show! "mini-episodes", depicting the MC Bat Commander's metafictional quest to reunite the estranged Aquabats following the series' cancellation. The band confirmed that as the Kickstarter progresses, further "mini-episodes" will be released to both promote the campaign as well as act as a continuation of Super Show!.
By August 28, mere days before the campaign's end date of September 1, The Aquabats' Kickstarter had raised only $601,629 of its projected $1.1 million goal. The funding was subsequently cancelled and the campaign was rebooted the same day with a smaller goal of $100,000 to instead finance one new album and the continued production of the Super Show!! "mini-episodes". The project's goal was met within minutes.
Music
Original music for The Aquabats! Super Show! was primarily composed and performed by The Aquabats themselves, with additional scoring on most episodes provided by Matthew Gorney, Warren Fitzgerald or individual credits for Aquabats members James R. Briggs, Jr., Richard Falomir and Ian Fowles. Fitzgerald, guitarist for punk rock band The Vandals and former member of Oingo Boingo, acted as the series' music supervisor. The theme song to Super Show!, "Super Show Theme Song!", was co-written by The Aquabats and Fitzgerald.
Whereas most musically oriented shows like The Monkees typically break the narrative of an episode for a music video performance of a standalone song, each episode of Super Show! typically features one or two unique songs that tied directly into the plot, usually about and performed during the events of a particular scene. Most of these songs are rather brief, averaging a running time of just under a minute; Jacobs stated that many of the show's original songs were recorded as full-length pieces but trimmed down for inclusion in an episode, simply due to the show "trying to pack so much into 22 minutes".
Shortly after Super Show!s premiere, Jacobs confirmed plans to eventually release the series' original full-length songs as a soundtrack album. However, these plans wouldn't fully come to fruition until 2019; in a 2018 interview, Jacobs retrospectively revealed that the album had been long completed but the band "hadn't had all the rights tied up" until then. The first original and full-length recordings from the series' first season debuted in July 2017, when "Burger Rain" and "Beat Fishin'" were released as a tour-exclusive 7" single. Songs from the series' first season were eventually compiled as The Aquabats! Super Show! Television Soundtrack: Volume One, which was released digitally in March 2019 and then onto physical media the following June, where it became The Aquabats' highest-charting album to date, debuting at the top of Billboards Top Heatseekers chart and at 165 on the Billboard 200.
Cast and characters
See: List of The Aquabats! Super Show! characters
The Aquabats! Super Show! stars and is based upon fictionalized versions of the then-current (since 2006) line-up of the California comedy rock band The Aquabats. Adapting the backstory the band has used for the entirety of their professional career, Super Show! depicts The Aquabats as a group of bumbling, out-of-shape superheroes on a self-appointed mission to fight the forces of evil, presented in both live-action and animated segments. The five members of The Aquabats are:
The MC Bat Commander (played and voiced by Christian Jacobs) – The Aquabats' singer and de facto leader of the team. Though he doesn't have any superpowers of his own and is often quite stubborn and naive, the Commander is shown to be an effective strategist whose sharp leadership skills, bravery and determination regularly drive the band towards victory.
Crash McLarson (played and voiced by Chad Larson) – The band's bass guitarist, who has the frequently uncontrollable ability to grow upwards of 100 feet in size when under emotional stress. Despite being the largest and strongest of The Aquabats, Crash has a gentle, childlike demeanor bordering on slight dim-wittedness, and as such is usually the most cowardly member of the team.
Jimmy the Robot (played and voiced by James R. Briggs, Jr.) – The Aquabats' keyboardist. As his name implies, Jimmy is an android whose mechanical body houses a variety of built-in gadgets and weaponry, plus a comprehensive knowledge database which earns him the position of the group's resident scientist. Being a robot, Jimmy is generally perplexed by human emotions and behavior.
Ricky Fitness (played and voiced by Richard Falomir) – the band's drummer, Ricky possesses the power of super speed. Being the most physically fit and health-conscious member of The Aquabats, some of the series' running gags revolve around Ricky's status as a handsome ladies' man and his fondness for "fresh, healthy veggies" in contrast to the rest of the team's voracious affinity for junk food.
EagleBones Falconhawk (played and voiced by Ian Fowles) – The Aquabats' guitarist. The cocky and boyish maverick of the team, EagleBones is highly proficient on his custom weaponized electric guitar which shoots lasers from its headstock. Following a spiritual encounter early in season one, EagleBones also has the gift of second sight and is accompanied by "The Dude", an invisible spirit eagle whom he summons to aide The Aquabats in battle.
Voice actor and writer Mr. Lawrence provided the minimal narration for both seasons of Super Show!s live-action segments, while staff writer Kyle McCulloch narrated the first season's animated segments.
Guest stars and recurring characters
Though each episode of the series introduced a new villain, ally and/or celebrity cameo, Super Show! never featured any major recurring characters throughout its run. However, every episode of the show included a very brief appearance by a character fans dubbed the "Fox Man", a man in a cheap-looking fox costume played by visual effects supervisor Joel Fox, who would appear hidden in the background of a random scene as an Easter egg for viewers to spot, although his character was never explained within the context of the series.
Comedy musician "Weird Al" Yankovic and comedian Paul Rust were the only two guest actors to appear in two episodes: Yankovic played two different roles as the President of the United States and superhero SuperMagic PowerMan! (in a 2012 interview, Jacobs alluded to the two possibly being the same character, though this isn't implied within the series), while Rust played a boorish slacker named Ronmark, first appearing in live-action in a first-season episode and subsequently lending his voice to a mutated monster version of the character in part of a second-season episode.
Episodes
Distribution
International broadcast
Outside of North America, The Aquabats! Super Show! broadcast in Australia on the children's public broadcasting channel ABC3 and in the United Kingdom on the children's network CITV.
Home media
Coinciding with the run of the first season, each new episode of The Aquabats! Super Show! was released through the iTunes Store for digital download. Prior to the series debut, a season pass was made available for purchase to enable viewers to automatically receive a download of each new episode on its airdate. The first season of Super Show! was added to the video streaming service Netflix on December 1, 2012, later being added to Hulu on December 21.
Unlike the first season, the series' second season was not made available for iTunes pre-order, nor were episodes released for purchase. Though each episode was briefly streamed on The Hub's official website, none of the seasons' episodes were made available on Hulu, Netflix or similar streaming services.
Shout! Factory had the DVD publishing rights for The Aquabats! Super Show! within Region 1 for release of the first season. The company first announced their acquisition of the series and plans for a future DVD in a press release dated August 6, 2012, though did not initially confirm a set release date until several months later. On May 21, 2013, the first season of Super Show! was released on a two-disc DVD set.
On November 22, 2017, in conjunction with their announcement of a season two theatrical screening, The Aquabats confirmed an independent Blu-ray release for season two, including the three specials often considered a "season three". On December 5, pre-orders were launched on The Aquabats' merchandising site for an official release date of December 22, though copies were first made for public sale at the second season theatrical screening on December 16.
Starting in December 2014, The Aquabats gradually began uploading the series' full episodes onto their official YouTube channel. As of August 2019, all 21 episodes of Super Show! and its pilot episode have been publicly uploaded to their account.
Critical reception
Critical response to The Aquabats! Super Show! was predominantly positive, with most reviewers praising the series' intentionally campy tone and offbeat humor. The Onions The A.V. Club gave the series premiere an A− rating, describing it as "a loving homage to basically everything ever done by the brothers Krofft": "the show adeptly flips from humor to melodrama to action, providing some awesomely cheap special effects, goofy songs, and gags that range from slapstick to sublime", summarizing "there's so much here that both kids and parents will be able to enjoy the proceedings on their own respective levels and rarely find themselves bored".
Brian Lowry of Variety wrote "you don't have to laugh at everything to admire the effort and sheer silliness", calling the show a "goofy and nostalgic" throwback to the "children's TV of baby boomers' youth, down to crappy production values and awful-looking 'monsters' that work to its advantage". He summarized "Although this Hub series at times feels like an SNL skit stretched to a half-hour, its sly mix of music, live-action crime-fighting, cartoons and mock ads ought to develop a cult following—and might be more popular with parents, at least those with the geek gene, than their kids".
Technology magazine Wired was consistently positive towards the series, calling it both "wonderfully strange" and "delightfully deranged", writing "[f]illed with self-deprecating music videos, toon interludes and ludicrous villains, The Aquabats! Super Show! has become one of television's strangely comforting finds".
Common Sense Media, who review shows based on age-appropriate content, gave Super Show! a rating of 4 out of 5 stars, calling it "demented and manic...fun by sheer dint of how many jokes, visual and otherwise, are thrown at the screen, both those calculated to appeal to kids and adults". The site praised the series for its lighter and sillier tone in comparison to more violent live-action superhero fare, and considered the "kind-hearted" Aquabats to be relatively positive role models. However, the reviewer suggested the show's violence and creatures may be too intense for very young children, and pointed out a distinct lack of central female characters.
Neil Genzlinger of The New York Times offered a more indifferent opinion, calling The Aquabats "indescribably odd" and the series "frenetic, semicoherent and generally harmless. Also somewhat hallucinogenic", noting Super Show!s writing "may be over the heads of the 2-to-12 set", suggesting its most receptive audience might be "the college drinking-game crowd".
Awards and nominations
The Aquabats! Super Show! was nominated for the following awards:
Daytime Emmy Award
References
External links
Official website of The Aquabats
The Aquabats
2010s American children's television series
2010s American musical comedy television series
2010s American satirical television series
2010s American sketch comedy television series
2010s American superhero comedy television series
2012 American television series debuts
2014 American television series endings
American children's adventure television series
American children's musical television series
American television series with live action and animation
Children's sketch comedy
English-language television shows
Television series by Fremantle (company)
Television shows set in Orange County, California
American television shows featuring puppetry
Discovery Family original programming | true | [
"The situation, task, action, result (STAR) format is a technique used by interviewers to gather all the relevant information about a specific capability that the job requires. \n\n Situation: The interviewer wants you to present a recent challenging situation in which you found yourself.\n Task: What were you required to achieve? The interviewer will be looking to see what you were trying to achieve from the situation. Some performance development methods use “Target” rather than “Task”. Job interview candidates who describe a “Target” they set themselves instead of an externally imposed “Task” emphasize their own intrinsic motivation to perform and to develop their performance.\n Action: What did you do? The interviewer will be looking for information on what you did, why you did it and what the alternatives were.\n Results: What was the outcome of your actions? What did you achieve through your actions? Did you meet your objectives? What did you learn from this experience? Have you used this learning since?\n\nThe STAR technique is similar to the SOARA technique.\n\nThe STAR technique is also often complemented with an additional R on the end STARR or STAR(R) with the last R resembling reflection. This R aims to gather insight and interviewee's ability to learn and iterate. Whereas the STAR reveals how and what kind of result on an objective was achieved, the STARR with the additional R helps the interviewer to understand what the interviewee learned from the experience and how they would assimilate experiences. The interviewee can define what they would do (differently, the same, or better) next time being posed with a situation.\n\nReferences\n\nExternal links\nThe ‘STAR’ technique to answer behavioral interview questions\nThe STAR method explained\n\nJob interview",
"\"What Did I Do to You?\" is a song recorded by British singer Lisa Stansfield for her 1989 album, Affection. It was written by Stansfield, Ian Devaney and Andy Morris, and produced by Devaney and Morris. The song was released as the fourth European single on 30 April 1990. It included three previously unreleased songs written by Stansfield, Devaney and Morris: \"My Apple Heart,\" \"Lay Me Down\" and \"Something's Happenin'.\" \"What Did I Do to You?\" was remixed by Mark Saunders and by the Grammy Award-winning American house music DJ and producer, David Morales. The single became a top forty hit in the European countries reaching number eighteen in Finland, number twenty in Ireland and number twenty-five in the United Kingdom. \"What Did I Do to You?\" was also released in Japan.\n\nIn 2014, the remixes of \"What Did I Do to You?\" were included on the deluxe 2CD + DVD re-release of Affection and on People Hold On ... The Remix Anthology. They were also featured on The Collection 1989–2003 box set (2014), including previously unreleased Red Zone Mix by David Morales.\n\nCritical reception\nThe song received positive reviews from music critics. Matthew Hocter from Albumism viewed it as a \"upbeat offering\". David Giles from Music Week said it is \"beautifully performed\" by Stansfield. A reviewer from Reading Eagle wrote that \"What Did I Do to You?\" \"would be right at home on the \"Saturday Night Fever\" soundtrack.\"\n\nMusic video\nA music video was produced to promote the single, directed by Philip Richardson, who had previously directed the videos for \"All Around the World\" and \"Live Together\". It features Stansfield with her kiss curls, dressed in a white outfit and performing with her band on a stage in front of a jumping audience. The video was later published on Stansfield's official YouTube channel in November 2009. It has amassed more than 1,6 million views as of October 2021.\n\nTrack listings\n\n European/UK 7\" single\n\"What Did I Do to You?\" (Mark Saunders Remix Edit) – 4:20\n\"Something's Happenin'\" – 3:59\n\n European/UK/Japanese CD single\n\"What Did I Do to You?\" (Mark Saunders Remix Edit) – 4:20\n\"My Apple Heart\" – 5:19\n\"Lay Me Down\" – 4:17\n\"Something's Happenin'\" – 3:59\n\n UK 10\" single\n\"What Did I Do to You?\" (Mark Saunders Remix) – 5:52\n\"My Apple Heart\" – 5:19\n\"Lay Me Down\" – 4:17\n\"Something's Happenin'\" – 3:59\n\n European/UK 12\" single\n\"What Did I Do to You?\" (Morales Mix) – 7:59\n\"My Apple Heart\" – 4:22\n\"Lay Me Down\" – 3:19\n\"Something's Happenin'\" – 3:15\n\n UK 12\" promotional single\n\"What Did I Do to You?\" (Morales Mix) – 7:59\n\"What Did I Do to You?\" (Anti Poll Tax Dub) – 6:31\n\n Other remixes\n\"What Did I Do to You?\" (Red Zone Mix) – 7:45\n\nCharts\n\nReferences\n\nLisa Stansfield songs\n1990 singles\nSongs written by Lisa Stansfield\n1989 songs\nArista Records singles\nSongs written by Ian Devaney\nSongs written by Andy Morris (musician)"
] | [
"The Aquabats! Super Show! is an American action-comedy musical television series which aired from March 3, 2012 to January 8, 2014 on The Hub Network and resumed as an independent YouTube web series in September 2019.",
"is an American action-comedy musical television series which aired from March 3, 2012 to January 8, 2014 on The Hub Network and resumed as an independent YouTube web series in September 2019. The series was created by Christian Jacobs, and Scott Schultz, both the creators of the Nick Jr. show Yo Gabba Gabba!, and Jason deVilliers.",
"The series was created by Christian Jacobs, and Scott Schultz, both the creators of the Nick Jr. show Yo Gabba Gabba!, and Jason deVilliers. Based on the superhero mythology of The Aquabats, a real-life comedy rock band which series co-creator and lead singer Jacobs formed in 1994, The Aquabats! Super Show!",
"Super Show! Super Show! follows the comic adventures of a fictionalized version of the band, a musical group of amateur superheroes, as they haphazardly defend the world from a variety of villains and monsters. Styled similarly to the campy aesthetics of 1960s and 1970s children's television and Japanese tokusatsu, Super Show!",
"Styled similarly to the campy aesthetics of 1960s and 1970s children's television and Japanese tokusatsu, Super Show! utilizes various mediums of visual styles and special effects, mixing live-action storylines with cartoon shorts, parody advertisements and musical interludes.",
"utilizes various mediums of visual styles and special effects, mixing live-action storylines with cartoon shorts, parody advertisements and musical interludes. The series' first season concluded on June 16, 2012 following a run of 13 episodes, having met with a largely positive critical reception, consistently high ratings for the channel and a Daytime Emmy nomination for Outstanding Children's Series.",
"The series' first season concluded on June 16, 2012 following a run of 13 episodes, having met with a largely positive critical reception, consistently high ratings for the channel and a Daytime Emmy nomination for Outstanding Children's Series. The series' second season consisted of an initial five episodes which aired through June 2013, with three additional episodes airing in late December and January 2014, receiving similar acclaim and a further seven Daytime Emmy nominations, ultimately winning one for Best Stunt Coordination.",
"The series' second season consisted of an initial five episodes which aired through June 2013, with three additional episodes airing in late December and January 2014, receiving similar acclaim and a further seven Daytime Emmy nominations, ultimately winning one for Best Stunt Coordination. In June 2014, co-creator Jacobs officially announced the series' cancellation, following news of The Hub's financial losses which led to the network's rebranding as Discovery Family later that October.",
"In June 2014, co-creator Jacobs officially announced the series' cancellation, following news of The Hub's financial losses which led to the network's rebranding as Discovery Family later that October. In July 2018, The Aquabats launched a successful Kickstarter to help independently finance new episodes of The Aquabats!",
"In July 2018, The Aquabats launched a successful Kickstarter to help independently finance new episodes of The Aquabats! Super Show!, promoting the campaign with a series of YouTube-exclusive mini-episodes continuing the original series' storyline.",
"Super Show!, promoting the campaign with a series of YouTube-exclusive mini-episodes continuing the original series' storyline. On September 28, 2019, The Aquabats premiered the first installment of these new episodes, now a biweekly YouTube series entitled The Aquabats! RadVentures!, though still retaining Super Show!s theme song and title card.",
"RadVentures!, though still retaining Super Show!s theme song and title card. Series overview Premise Chronicled in both live-action and animated segments, The Aquabats! Super Show!",
"Super Show! Super Show! is centered around the adventures of The Aquabats, a group of superhero rock musicians who travel the countryside on a self-appointed mission to fight evil and \"destroy boredom\", protecting the world from the villains and creatures who threaten to destroy it while aiming to become a famous rock and roll band in their own right.",
"is centered around the adventures of The Aquabats, a group of superhero rock musicians who travel the countryside on a self-appointed mission to fight evil and \"destroy boredom\", protecting the world from the villains and creatures who threaten to destroy it while aiming to become a famous rock and roll band in their own right. The Aquabats consist of singer The MC Bat Commander (Christian Jacobs), the swaggering leader of the group; bassist Crash McLarson (Chad Larson), who can grow up to 100 feet in size; drummer Ricky Fitness (Richard Falomir), who has the power of super speed; guitarist EagleBones Falconhawk (Ian Fowles), who's armed with a laser-shooting electric guitar; and keyboardist Jimmy the Robot (James R. Briggs, Jr.), an android.",
"The Aquabats consist of singer The MC Bat Commander (Christian Jacobs), the swaggering leader of the group; bassist Crash McLarson (Chad Larson), who can grow up to 100 feet in size; drummer Ricky Fitness (Richard Falomir), who has the power of super speed; guitarist EagleBones Falconhawk (Ian Fowles), who's armed with a laser-shooting electric guitar; and keyboardist Jimmy the Robot (James R. Briggs, Jr.), an android. Despite their superhuman strengths and abilities, The Aquabats are quite bumbling, disorganized, and sometimes cowardly when faced with danger; this has in fact led them to be labeled \"the world's most inept superheroes\".",
"Despite their superhuman strengths and abilities, The Aquabats are quite bumbling, disorganized, and sometimes cowardly when faced with danger; this has in fact led them to be labeled \"the world's most inept superheroes\". The band lives and travels by way of their \"Battletram\", a modified classic GMC motorhome which, despite its small exterior, has an implausibly massive interior (similar to the TARDIS from Doctor Who or The Big Bologna from The Kids From C.A.P.E.R.",
"The band lives and travels by way of their \"Battletram\", a modified classic GMC motorhome which, despite its small exterior, has an implausibly massive interior (similar to the TARDIS from Doctor Who or The Big Bologna from The Kids From C.A.P.E.R. ), which contains, among many things, a science lab, a command center, and a living room.",
"), which contains, among many things, a science lab, a command center, and a living room. The Aquabats' origin story was left intentionally vague throughout the series, a choice Jacobs explains was done for the sake of the viewer's imagination, as he felt kids were more accepting of the inherent absurdity of the premise than adults tend to be: \"'There's five guys.",
"The Aquabats' origin story was left intentionally vague throughout the series, a choice Jacobs explains was done for the sake of the viewer's imagination, as he felt kids were more accepting of the inherent absurdity of the premise than adults tend to be: \"'There's five guys. This is what each of the five guys does.",
"This is what each of the five guys does. There are monsters. They're gonna try to fight them'. It's so simple. And I think that's why it's so awesome with kids—they just take it and run with it\".",
"And I think that's why it's so awesome with kids—they just take it and run with it\". In the first five episodes of season two, each member of The Aquabats shares their memory of how they joined the band via animated flashback sequences; however, all of these flashbacks directly and intentionally contradict each other, leaving it unknown which—if any—could be considered officially canonical.",
"In the first five episodes of season two, each member of The Aquabats shares their memory of how they joined the band via animated flashback sequences; however, all of these flashbacks directly and intentionally contradict each other, leaving it unknown which—if any—could be considered officially canonical. Format and influences The Aquabats! Super Show!",
"Format and influences The Aquabats! Super Show! Super Show! juxtaposes both live-action and animated segments starring The Aquabats, interwoven with various tangential skits and cartoon interstitials. The live-action storylines are the primary focus of each episode, following a self-contained villain of the week formula.",
"The live-action storylines are the primary focus of each episode, following a self-contained villain of the week formula. In the first season, each episode featured brief anime-styled cartoon shorts which one of the characters would introduce at a random point of the show, often by finding \"A Cartoon\" (represented by a miniature television set) in an absurd location.",
"In the first season, each episode featured brief anime-styled cartoon shorts which one of the characters would introduce at a random point of the show, often by finding \"A Cartoon\" (represented by a miniature television set) in an absurd location. Unlike the live-action segments, these cartoons followed a serialized story arc, with each installment ending in a cliffhanger to be resolved in the next episode.",
"Unlike the live-action segments, these cartoons followed a serialized story arc, with each installment ending in a cliffhanger to be resolved in the next episode. In season two, this format was replaced with a series of animated flashbacks recounting the origins of The Aquabats, each by a different animation studio and in a different animation style.",
"In season two, this format was replaced with a series of animated flashbacks recounting the origins of The Aquabats, each by a different animation studio and in a different animation style. Between these segments are pantomime cartoon shorts starring \"Lil' Bat\", The Aquabats' anthropomorphic bat mascot, and live-action parody commercials for outlandish fictional products, the latter of which has long been a staple of The Aquabats' multi-media stage shows.",
"Between these segments are pantomime cartoon shorts starring \"Lil' Bat\", The Aquabats' anthropomorphic bat mascot, and live-action parody commercials for outlandish fictional products, the latter of which has long been a staple of The Aquabats' multi-media stage shows. Jacobs says the concept behind Super Show!",
"Jacobs says the concept behind Super Show! was something he had always dreamed of doing, making a \"campy, live-action, funky kid's show\" in the vein of the 1960s and 1970s television that he and the rest of the series' producers had grown up with.",
"was something he had always dreamed of doing, making a \"campy, live-action, funky kid's show\" in the vein of the 1960s and 1970s television that he and the rest of the series' producers had grown up with. While the show pays homage to many facets of pop culture, Jacobs has named the 1960s Batman television series as the primary influence on Super Show!s \"obviously silly\" tone and visual style, ranging from set design to the trademark use of dutch angles for villain scenes.",
"While the show pays homage to many facets of pop culture, Jacobs has named the 1960s Batman television series as the primary influence on Super Show!s \"obviously silly\" tone and visual style, ranging from set design to the trademark use of dutch angles for villain scenes. Other notable influences Jacobs has repeatedly mentioned include the works of Sid and Marty Krofft and Hanna-Barbera, Japanese tokusatsu series such as Ultraman and Johnny Sokko And His Flying Robot, the Shaw Brothers and Hong Kong cinema, and shows including Danger Island, Star Trek, The Rocky and Bullwinkle Show, and Pee-wee's Playhouse, noting \"there's a good 30 years worth of television culture packed into these 22-minute episodes\".",
"Other notable influences Jacobs has repeatedly mentioned include the works of Sid and Marty Krofft and Hanna-Barbera, Japanese tokusatsu series such as Ultraman and Johnny Sokko And His Flying Robot, the Shaw Brothers and Hong Kong cinema, and shows including Danger Island, Star Trek, The Rocky and Bullwinkle Show, and Pee-wee's Playhouse, noting \"there's a good 30 years worth of television culture packed into these 22-minute episodes\". Demographic As The Hub's key demographic were children aged 6 to 12, Super Show!",
"Demographic As The Hub's key demographic were children aged 6 to 12, Super Show! was ostensibly targeted towards said age group, though Jacobs has stated that the series primarily aimed to appeal to an all-ages crowd, with the intent of creating entertainment that both kids and parents can watch and enjoy together or separately.",
"was ostensibly targeted towards said age group, though Jacobs has stated that the series primarily aimed to appeal to an all-ages crowd, with the intent of creating entertainment that both kids and parents can watch and enjoy together or separately. In interviews prior to the series' premiere, he explained that this was merely an extension of The Aquabats' own family-friendly ethos: \"There's just obviously something about the costumes and being superheroes that really appeals to younger kids, and I think we always knew that as a band...I think we'll want to put things in [the show] for an older audience, because we realize we have an older audience, but then also we want the young kids, to not have it go over their heads\".",
"In interviews prior to the series' premiere, he explained that this was merely an extension of The Aquabats' own family-friendly ethos: \"There's just obviously something about the costumes and being superheroes that really appeals to younger kids, and I think we always knew that as a band...I think we'll want to put things in [the show] for an older audience, because we realize we have an older audience, but then also we want the young kids, to not have it go over their heads\". Production history History and previous attempts at a series In 1994, musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in Brea, California.",
"Production history History and previous attempts at a series In 1994, musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in Brea, California. Influenced as much by cartoons and camp television as theatrical bands like Devo and Oingo Boingo, The Aquabats gained instant notoriety in the Orange County music scene for their eccentric persona in which they claimed to be a band of superheroes on a quest to save the world and their elaborate stage shows which regularly featured scripted fights with costumed villains alongside similar stunts and comedy sketches.",
"Influenced as much by cartoons and camp television as theatrical bands like Devo and Oingo Boingo, The Aquabats gained instant notoriety in the Orange County music scene for their eccentric persona in which they claimed to be a band of superheroes on a quest to save the world and their elaborate stage shows which regularly featured scripted fights with costumed villains alongside similar stunts and comedy sketches. The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough for the group, charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs – a former child actor with ties in the industry – to develop the concept of adapting the band's mythology for television.",
"The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough for the group, charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs – a former child actor with ties in the industry – to develop the concept of adapting the band's mythology for television. In 1998, Buena Vista Television helped produce a live-action mini-pilot directed by comedian Bobcat Goldthwait titled simply The Aquabats!, following the comic misadventures of the then-eight member band in an over-the-top camp style similar to Saturday morning cartoon shows.",
"In 1998, Buena Vista Television helped produce a live-action mini-pilot directed by comedian Bobcat Goldthwait titled simply The Aquabats!, following the comic misadventures of the then-eight member band in an over-the-top camp style similar to Saturday morning cartoon shows. The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves.",
"The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves. Undeterred, The Aquabats made an attempt at a second pilot the following year, using a music video budget granted by their record label Goldenvoice Records for their 1999 album The Aquabats vs. the Floating Eye of Death!.",
"Undeterred, The Aquabats made an attempt at a second pilot the following year, using a music video budget granted by their record label Goldenvoice Records for their 1999 album The Aquabats vs. the Floating Eye of Death!. Independently directed and produced by Jacobs and his creative partner Scott Schultz, the result was a five-minute promo video entitled The Aquabats in Color!.",
"Independently directed and produced by Jacobs and his creative partner Scott Schultz, the result was a five-minute promo video entitled The Aquabats in Color!. In contrast to the wackier tone of the previous pilot, The Aquabats in Color! was a more action-oriented superhero series modeled after Japanese tokusatsu shows such as Kamen Rider.",
"was a more action-oriented superhero series modeled after Japanese tokusatsu shows such as Kamen Rider. According to Jacobs, the Fox Family Channel reportedly expressed interest in the series and ordered production on a proper pilot episode, though following the channel's acquisition by Disney in 2001, the project was cancelled. The Aquabats! Super Show!",
"The Aquabats! Super Show! Super Show! pilot (2008) In 2005, Jacobs and Schultz formed the Orange County-based production company The Magic Store, focusing on creating family-oriented television entertainment.",
"pilot (2008) In 2005, Jacobs and Schultz formed the Orange County-based production company The Magic Store, focusing on creating family-oriented television entertainment. One of the company's independently produced pilots, the children's television series Yo Gabba Gabba!, was eventually picked up as a series by Viacoms Nick Jr. channel, premiering in August 2007 and ultimately becoming an award-winning and critically acclaimed international success.",
"One of the company's independently produced pilots, the children's television series Yo Gabba Gabba!, was eventually picked up as a series by Viacoms Nick Jr. channel, premiering in August 2007 and ultimately becoming an award-winning and critically acclaimed international success. In the wake of the series' popularity, Jacobs and Schultz persuaded Yo Gabba Gabba!s joint production company Wild Brain to help produce a new pilot based around The Aquabats in conjuncture with The Magic Store.",
"In the wake of the series' popularity, Jacobs and Schultz persuaded Yo Gabba Gabba!s joint production company Wild Brain to help produce a new pilot based around The Aquabats in conjuncture with The Magic Store. Again creatively spearheaded by Jacobs and Schultz, The Aquabats' third pilot, titled The Aquabats!",
"Again creatively spearheaded by Jacobs and Schultz, The Aquabats' third pilot, titled The Aquabats! Super Show!, was shot on location throughout southern California in late 2007 and early 2008.",
"Super Show!, was shot on location throughout southern California in late 2007 and early 2008. Part of this filming took place at a free invitation-only concert for members of the band's official fan club at the El Rey Theatre in Los Angeles on January 12, 2008.",
"Part of this filming took place at a free invitation-only concert for members of the band's official fan club at the El Rey Theatre in Los Angeles on January 12, 2008. While The Aquabats' previous pilots were short, live-action promotional videos, The Aquabats! Super Show!",
"Super Show! Super Show! was a fully realized 22-minute episode featuring two separate storylines based on the adventures of The Aquabats, one live-action and one animated, and interspersed with parody commercials and live footage of the band.",
"was a fully realized 22-minute episode featuring two separate storylines based on the adventures of The Aquabats, one live-action and one animated, and interspersed with parody commercials and live footage of the band. Speaking on the decision to structure the show in such a varied format, Jacobs said \"[w]e did that for a strategic reason – some networks like cartoons more than other networks.",
"Speaking on the decision to structure the show in such a varied format, Jacobs said \"[w]e did that for a strategic reason – some networks like cartoons more than other networks. We wanted to say, 'this could be both shows'.\" Following a period of post-production, The Aquabats began widely self-promoting Super Show!",
"Following a period of post-production, The Aquabats began widely self-promoting Super Show! in June 2008, redesigning their website to promote the pilot and releasing a teaser trailer and several exclusive clips through an official Super Show! YouTube channel.",
"YouTube channel. YouTube channel. On July 25, 2008, the band screened the full pilot at a concert in San Diego held during the weekend of the San Diego Comic-Con, while a segment of the episode was hosted on Boing Boing the same day.",
"On July 25, 2008, the band screened the full pilot at a concert in San Diego held during the weekend of the San Diego Comic-Con, while a segment of the episode was hosted on Boing Boing the same day. In 2009, Cartoon Network allegedly picked the series up for a run of 22 episodes, though following major staff changes within the company—which, according to Jacobs, included the termination of the executives who had green-lighted Super Show!—the project was again cancelled.",
"In 2009, Cartoon Network allegedly picked the series up for a run of 22 episodes, though following major staff changes within the company—which, according to Jacobs, included the termination of the executives who had green-lighted Super Show!—the project was again cancelled. The Hub and season one After several more unsuccessful network pitches into the 2010s, The Aquabats!",
"The Hub and season one After several more unsuccessful network pitches into the 2010s, The Aquabats! Super Show! was finally picked up as a series by family cable channel The Hub, a joint venture between Hasbro and Discovery which launched in 2010 as a replacement for Discovery Kids.",
"was finally picked up as a series by family cable channel The Hub, a joint venture between Hasbro and Discovery which launched in 2010 as a replacement for Discovery Kids. The Hub formally announced the series in a press release on March 23, 2011, revealing Super Show!",
"The Hub formally announced the series in a press release on March 23, 2011, revealing Super Show! would be given a first season run of 13 episodes, produced in conjuncture with FremantleMedia.",
"would be given a first season run of 13 episodes, produced in conjuncture with FremantleMedia. In promotion of the series, The Aquabats appeared as part of a panel at the 2011 San Diego Comic-Con where they discussed their initial plans for the show, while The Hub sponsored an Aquabats concert held at the nearby House of Blues during the same weekend.",
"In promotion of the series, The Aquabats appeared as part of a panel at the 2011 San Diego Comic-Con where they discussed their initial plans for the show, while The Hub sponsored an Aquabats concert held at the nearby House of Blues during the same weekend. Production on season one of Super Show! officially began in May 2011.",
"officially began in May 2011. officially began in May 2011. The entirety of the first season was shot within and around The Aquabats' hometown of Orange County, California; according to the first season DVD audio commentary, episodes were shot on location in the cities of Irvine, Silverado, Yorba Linda, Huntington Beach and Fullerton, while a private sound stage in Santa Ana was used for interior shots of the Battletram.",
"The entirety of the first season was shot within and around The Aquabats' hometown of Orange County, California; according to the first season DVD audio commentary, episodes were shot on location in the cities of Irvine, Silverado, Yorba Linda, Huntington Beach and Fullerton, while a private sound stage in Santa Ana was used for interior shots of the Battletram. A public Aquabats concert held at The Glass House club in Pomona on November 5, 2011 was also filmed to provide live footage of the band which is featured in the series' opening credits montage and several individual episodes.",
"A public Aquabats concert held at The Glass House club in Pomona on November 5, 2011 was also filmed to provide live footage of the band which is featured in the series' opening credits montage and several individual episodes. Much of Super Show!s staff consist of friends and colleagues of The Aquabats who've previously worked with the band on various projects, ranging from members of Yo Gabba Gabba!s production team to fellow musicians within the southern California music scene.",
"Much of Super Show!s staff consist of friends and colleagues of The Aquabats who've previously worked with the band on various projects, ranging from members of Yo Gabba Gabba!s production team to fellow musicians within the southern California music scene. Among the more notable examples include Dallas McLaughlin and Matthew Gorney, both members of the San Diego hip hop band Bad Credit, who prominently served as writers, composers and performers, Warren Fitzgerald, guitarist for The Vandals, who was hired as a writer and music director, internet sketch comedy group Mega64 were commissioned to produce original material, primarily the series' parody commercials, and Japanese artist Pey, who had designed much of The Aquabats' promotional art and merchandise during the 2000s, was hired to design the season's animated segments.",
"Among the more notable examples include Dallas McLaughlin and Matthew Gorney, both members of the San Diego hip hop band Bad Credit, who prominently served as writers, composers and performers, Warren Fitzgerald, guitarist for The Vandals, who was hired as a writer and music director, internet sketch comedy group Mega64 were commissioned to produce original material, primarily the series' parody commercials, and Japanese artist Pey, who had designed much of The Aquabats' promotional art and merchandise during the 2000s, was hired to design the season's animated segments. Additionally, several industry professionals were brought in to help work on the show: Dani Michaeli, a staff writer on SpongeBob SquarePants, was hired as the series' story editor, while Matt Chapman, co-creator of the internet Flash cartoon Homestar Runner, acted as a writer, director and actor on several episodes.",
"Additionally, several industry professionals were brought in to help work on the show: Dani Michaeli, a staff writer on SpongeBob SquarePants, was hired as the series' story editor, while Matt Chapman, co-creator of the internet Flash cartoon Homestar Runner, acted as a writer, director and actor on several episodes. As none of the members besides Jacobs had any previous acting experience, comedian Matt Walsh of the Upright Citizens Brigade was brought in to help teach The Aquabats comedic acting and timing.",
"As none of the members besides Jacobs had any previous acting experience, comedian Matt Walsh of the Upright Citizens Brigade was brought in to help teach The Aquabats comedic acting and timing. In further homage to the original Batman series, Super Show! features a variety of celebrity cameo appearances.",
"features a variety of celebrity cameo appearances. The series' first season included appearances from actors Jon Heder, Lou Diamond Phillips and Samm Levine, comedians Rip Taylor, Paul Scheer and Paul Rust, and comedy musician \"Weird Al\" Yankovic, who appeared in two episodes as different characters.",
"The series' first season included appearances from actors Jon Heder, Lou Diamond Phillips and Samm Levine, comedians Rip Taylor, Paul Scheer and Paul Rust, and comedy musician \"Weird Al\" Yankovic, who appeared in two episodes as different characters. The first season also included several \"Easter egg\" cameos from original Aquabats members Corey \"Chainsaw\" Pollock and Boyd \"Catboy\" Terry, as well as from fellow musicians Warren Fitzgerald and Art Mitchell of the band Supernova.",
"The first season also included several \"Easter egg\" cameos from original Aquabats members Corey \"Chainsaw\" Pollock and Boyd \"Catboy\" Terry, as well as from fellow musicians Warren Fitzgerald and Art Mitchell of the band Supernova. Despite having been originally announced as part of The Hub's 2011 Fall line-up, production delays postponed Super Show!s premiere to early 2012.",
"Despite having been originally announced as part of The Hub's 2011 Fall line-up, production delays postponed Super Show!s premiere to early 2012. The series' marketing campaign began in December 2011, with a later announcement of an official premiere date confirmed for March 3, 2012.",
"The series' marketing campaign began in December 2011, with a later announcement of an official premiere date confirmed for March 3, 2012. Following a non-consecutive run of 13 episodes, the first-season finale aired on June 16, 2012.",
"Following a non-consecutive run of 13 episodes, the first-season finale aired on June 16, 2012. Season two On October 16, 2012, The Aquabats and The Hub confirmed production on new episodes of Super Show! through the social networking sites Facebook and Twitter, announcing a tentative debut date of Spring 2013.",
"through the social networking sites Facebook and Twitter, announcing a tentative debut date of Spring 2013. Principal photography on season two began on October 22 and wrapped on December 1.",
"Principal photography on season two began on October 22 and wrapped on December 1. Unlike the first season, the majority of season two was shot in and around Salt Lake City, Utah, which Jacobs explained was considerably less expensive than shooting in California.",
"Unlike the first season, the majority of season two was shot in and around Salt Lake City, Utah, which Jacobs explained was considerably less expensive than shooting in California. While no changes were made to Super Shows creative team, in December 2012 it was announced that season two would introduce the series' first guest director, musician and comic book writer Gerard Way, who co-directed and co-wrote the season finale \"The AntiBats!\"",
"While no changes were made to Super Shows creative team, in December 2012 it was announced that season two would introduce the series' first guest director, musician and comic book writer Gerard Way, who co-directed and co-wrote the season finale \"The AntiBats!\" with Jacobs and deVilliers.",
"with Jacobs and deVilliers. with Jacobs and deVilliers. Way's involvement with the series was heavily covered by the music press in the wake of the March 2013 break-up of his popular alternative rock band My Chemical Romance.",
"Way's involvement with the series was heavily covered by the music press in the wake of the March 2013 break-up of his popular alternative rock band My Chemical Romance. Among the guest stars featured in season two were professional skateboarders Tony Hawk and Eric Koston, Devo frontman and Yo Gabba Gabba!",
"Among the guest stars featured in season two were professional skateboarders Tony Hawk and Eric Koston, Devo frontman and Yo Gabba Gabba! cast member Mark Mothersbaugh, internet celebrity Leslie Hall, actor Martin Starr and My Chemical Romance bassist Mikey Way.",
"cast member Mark Mothersbaugh, internet celebrity Leslie Hall, actor Martin Starr and My Chemical Romance bassist Mikey Way. On December 2, 2012, deVilliers revealed on his Twitter account that the upcoming season would consist of only five new episodes, in what he called more \"season 1.5\" than a \"season 2\", though mentioned the possibility of more being made in the future.",
"On December 2, 2012, deVilliers revealed on his Twitter account that the upcoming season would consist of only five new episodes, in what he called more \"season 1.5\" than a \"season 2\", though mentioned the possibility of more being made in the future. On May 1, 2013, it was announced through Entertainment Weekly that the series' second season would begin airing on June 1.",
"On May 1, 2013, it was announced through Entertainment Weekly that the series' second season would begin airing on June 1. After a run of only five episodes, the season concluded on June 29, 2013.",
"After a run of only five episodes, the season concluded on June 29, 2013. 2013–2014 specials On August 22, 2013, series performer Chad Larson confirmed via Twitter that three additional episodes of Super Show! were being filmed near the end of the year, \"and maybe more next\".",
"were being filmed near the end of the year, \"and maybe more next\". Principal photography on these episodes eventually began in Utah in early October.",
"Principal photography on these episodes eventually began in Utah in early October. Throughout the month, The Aquabats posted numerous pictures of production on the new episodes on their Twitter and Instagram accounts, some of which revealed production code numbers of 301, 302 and 303, ostensibly indicating what would be a third season.",
"Throughout the month, The Aquabats posted numerous pictures of production on the new episodes on their Twitter and Instagram accounts, some of which revealed production code numbers of 301, 302 and 303, ostensibly indicating what would be a third season. Though these numbers were later verified by the Internet Movie Database, a November press release from The Hub explicitly referred to these three episodes as \"specials\".",
"Though these numbers were later verified by the Internet Movie Database, a November press release from The Hub explicitly referred to these three episodes as \"specials\". The first of these specials, \"Christmas with The Aquabats! \", aired on December 21, featuring comedians Robert Smigel and Matt Walsh in guest roles.",
"\", aired on December 21, featuring comedians Robert Smigel and Matt Walsh in guest roles. The second of these episodes, \"The Shark Fighter!\"",
"The second of these episodes, \"The Shark Fighter!\" (based on The Aquabats' song of the same name), featuring comedian Rhys Darby, aired the following week on December 28, while the final special \"Kitty Litter!\" aired on January 18, 2014. \"Kitty Litter!\"",
"\"Kitty Litter!\" \"Kitty Litter!\" was helmed by another guest director, Munn Powell, best known for his work as cinematographer on the Jared and Jerusha Hess films Napoleon Dynamite and Gentlemen Broncos.",
"was helmed by another guest director, Munn Powell, best known for his work as cinematographer on the Jared and Jerusha Hess films Napoleon Dynamite and Gentlemen Broncos. Following this short run of episodes, there was no confirmation by either The Hub or The Aquabats as to the production of any future episodes.",
"Following this short run of episodes, there was no confirmation by either The Hub or The Aquabats as to the production of any future episodes. In a December 2013 interview, Christian Jacobs acknowledged the network's unusually small order of episodes but didn't elaborate on any possible reasoning.",
"In a December 2013 interview, Christian Jacobs acknowledged the network's unusually small order of episodes but didn't elaborate on any possible reasoning. In the same interview, he stated that the band had initially prepared for another order of 13 episodes, having written as many scripts for potential future episodes.",
"In the same interview, he stated that the band had initially prepared for another order of 13 episodes, having written as many scripts for potential future episodes. On May 1, 2014, the nominees for the 2014 Daytime Emmy Awards were announced, revealing that Super Show!",
"On May 1, 2014, the nominees for the 2014 Daytime Emmy Awards were announced, revealing that Super Show! had been nominated for five awards in four categories, including the award for Best Writing in a Children's Series for the episode \"The AntiBats!\".",
"had been nominated for five awards in four categories, including the award for Best Writing in a Children's Series for the episode \"The AntiBats!\". The awards ceremony was held on June 22, 2014, where the series ultimately won the award for Best Stunt Coordination for stuntman Skip Carlson.",
"The awards ceremony was held on June 22, 2014, where the series ultimately won the award for Best Stunt Coordination for stuntman Skip Carlson. Cancellation by The Hub and hiatus In mid-2014, it was announced in entertainment press that Hasbro and Discovery had been in the process of rebranding The Hub following what they saw to be disappointing returns for the channel, changes which included the departure of CEO Margaret Loesch, who was instrumental in acquiring Super Show!",
"Cancellation by The Hub and hiatus In mid-2014, it was announced in entertainment press that Hasbro and Discovery had been in the process of rebranding The Hub following what they saw to be disappointing returns for the channel, changes which included the departure of CEO Margaret Loesch, who was instrumental in acquiring Super Show! as a series.",
"as a series. as a series. In a Huffington Post feature about The Aquabats prior to the band's appearance at the 2014 San Diego Comic-Con, it was revealed that The Hub had opted not to renew Super Show! for a third season, effectively cancelling the series.",
"for a third season, effectively cancelling the series. Jacobs admitted he was surprised by this turn of events, noting \"Everything we heard was that the show has been a real Cinderella story for the Hub and that it was rating really well with viewers.",
"Jacobs admitted he was surprised by this turn of events, noting \"Everything we heard was that the show has been a real Cinderella story for the Hub and that it was rating really well with viewers. We just assumed that we'd eventually go back into production or at least get picked up for Season 3\", but ultimately concluded \"it is what it is\" in regard to the network's decision.",
"We just assumed that we'd eventually go back into production or at least get picked up for Season 3\", but ultimately concluded \"it is what it is\" in regard to the network's decision. Despite this, Jacobs remained optimistic about the series' future, saying \"Given that we now live in a world where people are streaming TV shows directly onto their iPhones & computers, and given that companies like Netflix & Yahoo!",
"Despite this, Jacobs remained optimistic about the series' future, saying \"Given that we now live in a world where people are streaming TV shows directly onto their iPhones & computers, and given that companies like Netflix & Yahoo! are now picking up so much new content for their customers...I just find it hard to believe that The Aquabats!",
"are now picking up so much new content for their customers...I just find it hard to believe that The Aquabats! Super Show! is really over. I mean, we haven't even made any toys yet\". He concluded by stating \"It took us almost 15 years to get that TV series made.",
"He concluded by stating \"It took us almost 15 years to get that TV series made. And even though we've got a bunch more concert dates lined up for the rest of this year, our first priority is to find a new home for The Aquabats! Super Show!\".",
"Super Show!\". Super Show!\". On March 31, 2015, the nominees for the 42nd annual Daytime Emmy Awards were announced, with Super Show! earning nominations for Best SFX Mixer (Blaine Stewart) and Best Stunt Coordinator (Braxton McAllister).",
"earning nominations for Best SFX Mixer (Blaine Stewart) and Best Stunt Coordinator (Braxton McAllister). On June 27, 2015, The Aquabats screened the entire first season of Super Show!",
"On June 27, 2015, The Aquabats screened the entire first season of Super Show! before a sold-out crowd at The Frida Cinema in downtown Santa Ana, which was accompanied by a live performance by the band and Q&A sessions with The Aquabats and numerous members of the cast and crew.",
"before a sold-out crowd at The Frida Cinema in downtown Santa Ana, which was accompanied by a live performance by the band and Q&A sessions with The Aquabats and numerous members of the cast and crew. A similar presentation of the entire second season – including the three additional specials – took place at The Art Theater in Long Beach on December 16, 2017, coinciding with the release of the second season Blu-ray.",
"A similar presentation of the entire second season – including the three additional specials – took place at The Art Theater in Long Beach on December 16, 2017, coinciding with the release of the second season Blu-ray. Bring Back The Aquabats!",
"Bring Back The Aquabats! Bring Back The Aquabats! Kickstarter campaign Following weeks of teasing a major announcement, The Aquabats launched a Kickstarter campaign on July 31, 2018 to help finance the return of The Aquabats! Super Show! as well as new studio albums from the band at a minimum projected cost of $1.1 million.",
"as well as new studio albums from the band at a minimum projected cost of $1.1 million. The Aquabats promoted their campaign with a video featuring a slew of celebrity cameos, including Super Show!",
"The Aquabats promoted their campaign with a video featuring a slew of celebrity cameos, including Super Show! guest stars \"Weird Al\" Yankovic, Robert Smigel (as Triumph the Insult Comic Dog), Matt Chapman (as Homestar Runner and Strong Bad), former Aquabats member Travis Barker, Tony Kanal, Tom Dumont, Oscar Nunez, Kate Micucci, Blake Anderson, Imagine Dragons, Felicia Day and Tom Lennon, all of whom appeared in The Aquabats' trademark uniforms and spoke the Kickstarter's promotional slogan \"I am The Aquabats\"/\"We are The Aquabats\".",
"guest stars \"Weird Al\" Yankovic, Robert Smigel (as Triumph the Insult Comic Dog), Matt Chapman (as Homestar Runner and Strong Bad), former Aquabats member Travis Barker, Tony Kanal, Tom Dumont, Oscar Nunez, Kate Micucci, Blake Anderson, Imagine Dragons, Felicia Day and Tom Lennon, all of whom appeared in The Aquabats' trademark uniforms and spoke the Kickstarter's promotional slogan \"I am The Aquabats\"/\"We are The Aquabats\". Most prominently featured, however, was comedian Jack Black, who was later confirmed by the campaign's press releases to act as executive producer for the series' return.",
"Most prominently featured, however, was comedian Jack Black, who was later confirmed by the campaign's press releases to act as executive producer for the series' return. Along with their Kickstarter, the band began releasing a series of Super Show!",
"Along with their Kickstarter, the band began releasing a series of Super Show! \"mini-episodes\", depicting the MC Bat Commander's metafictional quest to reunite the estranged Aquabats following the series' cancellation.",
"\"mini-episodes\", depicting the MC Bat Commander's metafictional quest to reunite the estranged Aquabats following the series' cancellation. The band confirmed that as the Kickstarter progresses, further \"mini-episodes\" will be released to both promote the campaign as well as act as a continuation of Super Show!.",
"The band confirmed that as the Kickstarter progresses, further \"mini-episodes\" will be released to both promote the campaign as well as act as a continuation of Super Show!. By August 28, mere days before the campaign's end date of September 1, The Aquabats' Kickstarter had raised only $601,629 of its projected $1.1 million goal.",
"By August 28, mere days before the campaign's end date of September 1, The Aquabats' Kickstarter had raised only $601,629 of its projected $1.1 million goal. The funding was subsequently cancelled and the campaign was rebooted the same day with a smaller goal of $100,000 to instead finance one new album and the continued production of the Super Show!!",
"The funding was subsequently cancelled and the campaign was rebooted the same day with a smaller goal of $100,000 to instead finance one new album and the continued production of the Super Show!! \"mini-episodes\". The project's goal was met within minutes. Music Original music for The Aquabats! Super Show!",
"Super Show! Super Show! was primarily composed and performed by The Aquabats themselves, with additional scoring on most episodes provided by Matthew Gorney, Warren Fitzgerald or individual credits for Aquabats members James R. Briggs, Jr., Richard Falomir and Ian Fowles.",
"was primarily composed and performed by The Aquabats themselves, with additional scoring on most episodes provided by Matthew Gorney, Warren Fitzgerald or individual credits for Aquabats members James R. Briggs, Jr., Richard Falomir and Ian Fowles. Fitzgerald, guitarist for punk rock band The Vandals and former member of Oingo Boingo, acted as the series' music supervisor.",
"Fitzgerald, guitarist for punk rock band The Vandals and former member of Oingo Boingo, acted as the series' music supervisor. The theme song to Super Show!, \"Super Show Theme Song! \", was co-written by The Aquabats and Fitzgerald.",
"\", was co-written by The Aquabats and Fitzgerald. Whereas most musically oriented shows like The Monkees typically break the narrative of an episode for a music video performance of a standalone song, each episode of Super Show!",
"Whereas most musically oriented shows like The Monkees typically break the narrative of an episode for a music video performance of a standalone song, each episode of Super Show! typically features one or two unique songs that tied directly into the plot, usually about and performed during the events of a particular scene.",
"typically features one or two unique songs that tied directly into the plot, usually about and performed during the events of a particular scene. Most of these songs are rather brief, averaging a running time of just under a minute; Jacobs stated that many of the show's original songs were recorded as full-length pieces but trimmed down for inclusion in an episode, simply due to the show \"trying to pack so much into 22 minutes\".",
"Most of these songs are rather brief, averaging a running time of just under a minute; Jacobs stated that many of the show's original songs were recorded as full-length pieces but trimmed down for inclusion in an episode, simply due to the show \"trying to pack so much into 22 minutes\". Shortly after Super Show!s premiere, Jacobs confirmed plans to eventually release the series' original full-length songs as a soundtrack album.",
"Shortly after Super Show!s premiere, Jacobs confirmed plans to eventually release the series' original full-length songs as a soundtrack album. However, these plans wouldn't fully come to fruition until 2019; in a 2018 interview, Jacobs retrospectively revealed that the album had been long completed but the band \"hadn't had all the rights tied up\" until then.",
"However, these plans wouldn't fully come to fruition until 2019; in a 2018 interview, Jacobs retrospectively revealed that the album had been long completed but the band \"hadn't had all the rights tied up\" until then. The first original and full-length recordings from the series' first season debuted in July 2017, when \"Burger Rain\" and \"Beat Fishin'\" were released as a tour-exclusive 7\" single.",
"The first original and full-length recordings from the series' first season debuted in July 2017, when \"Burger Rain\" and \"Beat Fishin'\" were released as a tour-exclusive 7\" single. Songs from the series' first season were eventually compiled as The Aquabats! Super Show!",
"Super Show! Super Show! Television Soundtrack: Volume One, which was released digitally in March 2019 and then onto physical media the following June, where it became The Aquabats' highest-charting album to date, debuting at the top of Billboards Top Heatseekers chart and at 165 on the Billboard 200.",
"Television Soundtrack: Volume One, which was released digitally in March 2019 and then onto physical media the following June, where it became The Aquabats' highest-charting album to date, debuting at the top of Billboards Top Heatseekers chart and at 165 on the Billboard 200. Cast and characters See: List of The Aquabats! Super Show!",
"Super Show! Super Show! characters The Aquabats! Super Show! stars and is based upon fictionalized versions of the then-current (since 2006) line-up of the California comedy rock band The Aquabats. Adapting the backstory the band has used for the entirety of their professional career, Super Show!",
"Adapting the backstory the band has used for the entirety of their professional career, Super Show! depicts The Aquabats as a group of bumbling, out-of-shape superheroes on a self-appointed mission to fight the forces of evil, presented in both live-action and animated segments.",
"depicts The Aquabats as a group of bumbling, out-of-shape superheroes on a self-appointed mission to fight the forces of evil, presented in both live-action and animated segments. The five members of The Aquabats are: The MC Bat Commander (played and voiced by Christian Jacobs) – The Aquabats' singer and de facto leader of the team.",
"The five members of The Aquabats are: The MC Bat Commander (played and voiced by Christian Jacobs) – The Aquabats' singer and de facto leader of the team. Though he doesn't have any superpowers of his own and is often quite stubborn and naive, the Commander is shown to be an effective strategist whose sharp leadership skills, bravery and determination regularly drive the band towards victory.",
"Though he doesn't have any superpowers of his own and is often quite stubborn and naive, the Commander is shown to be an effective strategist whose sharp leadership skills, bravery and determination regularly drive the band towards victory. Crash McLarson (played and voiced by Chad Larson) – The band's bass guitarist, who has the frequently uncontrollable ability to grow upwards of 100 feet in size when under emotional stress.",
"Crash McLarson (played and voiced by Chad Larson) – The band's bass guitarist, who has the frequently uncontrollable ability to grow upwards of 100 feet in size when under emotional stress. Despite being the largest and strongest of The Aquabats, Crash has a gentle, childlike demeanor bordering on slight dim-wittedness, and as such is usually the most cowardly member of the team.",
"Despite being the largest and strongest of The Aquabats, Crash has a gentle, childlike demeanor bordering on slight dim-wittedness, and as such is usually the most cowardly member of the team. Jimmy the Robot (played and voiced by James R. Briggs, Jr.) – The Aquabats' keyboardist.",
"Jimmy the Robot (played and voiced by James R. Briggs, Jr.) – The Aquabats' keyboardist. As his name implies, Jimmy is an android whose mechanical body houses a variety of built-in gadgets and weaponry, plus a comprehensive knowledge database which earns him the position of the group's resident scientist.",
"As his name implies, Jimmy is an android whose mechanical body houses a variety of built-in gadgets and weaponry, plus a comprehensive knowledge database which earns him the position of the group's resident scientist. Being a robot, Jimmy is generally perplexed by human emotions and behavior.",
"Being a robot, Jimmy is generally perplexed by human emotions and behavior. Ricky Fitness (played and voiced by Richard Falomir) – the band's drummer, Ricky possesses the power of super speed.",
"Ricky Fitness (played and voiced by Richard Falomir) – the band's drummer, Ricky possesses the power of super speed. Being the most physically fit and health-conscious member of The Aquabats, some of the series' running gags revolve around Ricky's status as a handsome ladies' man and his fondness for \"fresh, healthy veggies\" in contrast to the rest of the team's voracious affinity for junk food.",
"Being the most physically fit and health-conscious member of The Aquabats, some of the series' running gags revolve around Ricky's status as a handsome ladies' man and his fondness for \"fresh, healthy veggies\" in contrast to the rest of the team's voracious affinity for junk food. EagleBones Falconhawk (played and voiced by Ian Fowles) – The Aquabats' guitarist.",
"EagleBones Falconhawk (played and voiced by Ian Fowles) – The Aquabats' guitarist. The cocky and boyish maverick of the team, EagleBones is highly proficient on his custom weaponized electric guitar which shoots lasers from its headstock.",
"The cocky and boyish maverick of the team, EagleBones is highly proficient on his custom weaponized electric guitar which shoots lasers from its headstock. Following a spiritual encounter early in season one, EagleBones also has the gift of second sight and is accompanied by \"The Dude\", an invisible spirit eagle whom he summons to aide The Aquabats in battle.",
"Following a spiritual encounter early in season one, EagleBones also has the gift of second sight and is accompanied by \"The Dude\", an invisible spirit eagle whom he summons to aide The Aquabats in battle. Voice actor and writer Mr. Lawrence provided the minimal narration for both seasons of Super Show!s live-action segments, while staff writer Kyle McCulloch narrated the first season's animated segments.",
"Voice actor and writer Mr. Lawrence provided the minimal narration for both seasons of Super Show!s live-action segments, while staff writer Kyle McCulloch narrated the first season's animated segments. Guest stars and recurring characters Though each episode of the series introduced a new villain, ally and/or celebrity cameo, Super Show!",
"Guest stars and recurring characters Though each episode of the series introduced a new villain, ally and/or celebrity cameo, Super Show! never featured any major recurring characters throughout its run.",
"never featured any major recurring characters throughout its run. However, every episode of the show included a very brief appearance by a character fans dubbed the \"Fox Man\", a man in a cheap-looking fox costume played by visual effects supervisor Joel Fox, who would appear hidden in the background of a random scene as an Easter egg for viewers to spot, although his character was never explained within the context of the series.",
"However, every episode of the show included a very brief appearance by a character fans dubbed the \"Fox Man\", a man in a cheap-looking fox costume played by visual effects supervisor Joel Fox, who would appear hidden in the background of a random scene as an Easter egg for viewers to spot, although his character was never explained within the context of the series. Comedy musician \"Weird Al\" Yankovic and comedian Paul Rust were the only two guest actors to appear in two episodes: Yankovic played two different roles as the President of the United States and superhero SuperMagic PowerMan!",
"Comedy musician \"Weird Al\" Yankovic and comedian Paul Rust were the only two guest actors to appear in two episodes: Yankovic played two different roles as the President of the United States and superhero SuperMagic PowerMan! (in a 2012 interview, Jacobs alluded to the two possibly being the same character, though this isn't implied within the series), while Rust played a boorish slacker named Ronmark, first appearing in live-action in a first-season episode and subsequently lending his voice to a mutated monster version of the character in part of a second-season episode.",
"(in a 2012 interview, Jacobs alluded to the two possibly being the same character, though this isn't implied within the series), while Rust played a boorish slacker named Ronmark, first appearing in live-action in a first-season episode and subsequently lending his voice to a mutated monster version of the character in part of a second-season episode. Episodes Distribution International broadcast Outside of North America, The Aquabats!",
"Episodes Distribution International broadcast Outside of North America, The Aquabats! Super Show! broadcast in Australia on the children's public broadcasting channel ABC3 and in the United Kingdom on the children's network CITV. Home media Coinciding with the run of the first season, each new episode of The Aquabats! Super Show!",
"Super Show! Super Show! was released through the iTunes Store for digital download. Prior to the series debut, a season pass was made available for purchase to enable viewers to automatically receive a download of each new episode on its airdate. The first season of Super Show!",
"The first season of Super Show! was added to the video streaming service Netflix on December 1, 2012, later being added to Hulu on December 21. Unlike the first season, the series' second season was not made available for iTunes pre-order, nor were episodes released for purchase.",
"Unlike the first season, the series' second season was not made available for iTunes pre-order, nor were episodes released for purchase. Though each episode was briefly streamed on The Hub's official website, none of the seasons' episodes were made available on Hulu, Netflix or similar streaming services. Shout!",
"Shout! Shout! Factory had the DVD publishing rights for The Aquabats! Super Show! within Region 1 for release of the first season.",
"within Region 1 for release of the first season. The company first announced their acquisition of the series and plans for a future DVD in a press release dated August 6, 2012, though did not initially confirm a set release date until several months later. On May 21, 2013, the first season of Super Show!",
"On May 21, 2013, the first season of Super Show! was released on a two-disc DVD set. On November 22, 2017, in conjunction with their announcement of a season two theatrical screening, The Aquabats confirmed an independent Blu-ray release for season two, including the three specials often considered a \"season three\".",
"On November 22, 2017, in conjunction with their announcement of a season two theatrical screening, The Aquabats confirmed an independent Blu-ray release for season two, including the three specials often considered a \"season three\". On December 5, pre-orders were launched on The Aquabats' merchandising site for an official release date of December 22, though copies were first made for public sale at the second season theatrical screening on December 16.",
"On December 5, pre-orders were launched on The Aquabats' merchandising site for an official release date of December 22, though copies were first made for public sale at the second season theatrical screening on December 16. Starting in December 2014, The Aquabats gradually began uploading the series' full episodes onto their official YouTube channel.",
"Starting in December 2014, The Aquabats gradually began uploading the series' full episodes onto their official YouTube channel. As of August 2019, all 21 episodes of Super Show! and its pilot episode have been publicly uploaded to their account. Critical reception Critical response to The Aquabats! Super Show!",
"Super Show! Super Show! was predominantly positive, with most reviewers praising the series' intentionally campy tone and offbeat humor. The Onions The A.V.",
"The Onions The A.V. The Onions The A.V. Club gave the series premiere an A− rating, describing it as \"a loving homage to basically everything ever done by the brothers Krofft\": \"the show adeptly flips from humor to melodrama to action, providing some awesomely cheap special effects, goofy songs, and gags that range from slapstick to sublime\", summarizing \"there's so much here that both kids and parents will be able to enjoy the proceedings on their own respective levels and rarely find themselves bored\".",
"Club gave the series premiere an A− rating, describing it as \"a loving homage to basically everything ever done by the brothers Krofft\": \"the show adeptly flips from humor to melodrama to action, providing some awesomely cheap special effects, goofy songs, and gags that range from slapstick to sublime\", summarizing \"there's so much here that both kids and parents will be able to enjoy the proceedings on their own respective levels and rarely find themselves bored\". Brian Lowry of Variety wrote \"you don't have to laugh at everything to admire the effort and sheer silliness\", calling the show a \"goofy and nostalgic\" throwback to the \"children's TV of baby boomers' youth, down to crappy production values and awful-looking 'monsters' that work to its advantage\".",
"Brian Lowry of Variety wrote \"you don't have to laugh at everything to admire the effort and sheer silliness\", calling the show a \"goofy and nostalgic\" throwback to the \"children's TV of baby boomers' youth, down to crappy production values and awful-looking 'monsters' that work to its advantage\". He summarized \"Although this Hub series at times feels like an SNL skit stretched to a half-hour, its sly mix of music, live-action crime-fighting, cartoons and mock ads ought to develop a cult following—and might be more popular with parents, at least those with the geek gene, than their kids\".",
"He summarized \"Although this Hub series at times feels like an SNL skit stretched to a half-hour, its sly mix of music, live-action crime-fighting, cartoons and mock ads ought to develop a cult following—and might be more popular with parents, at least those with the geek gene, than their kids\". Technology magazine Wired was consistently positive towards the series, calling it both \"wonderfully strange\" and \"delightfully deranged\", writing \"[f]illed with self-deprecating music videos, toon interludes and ludicrous villains, The Aquabats!",
"Technology magazine Wired was consistently positive towards the series, calling it both \"wonderfully strange\" and \"delightfully deranged\", writing \"[f]illed with self-deprecating music videos, toon interludes and ludicrous villains, The Aquabats! Super Show! has become one of television's strangely comforting finds\".",
"has become one of television's strangely comforting finds\". Common Sense Media, who review shows based on age-appropriate content, gave Super Show!",
"Common Sense Media, who review shows based on age-appropriate content, gave Super Show! a rating of 4 out of 5 stars, calling it \"demented and manic...fun by sheer dint of how many jokes, visual and otherwise, are thrown at the screen, both those calculated to appeal to kids and adults\".",
"a rating of 4 out of 5 stars, calling it \"demented and manic...fun by sheer dint of how many jokes, visual and otherwise, are thrown at the screen, both those calculated to appeal to kids and adults\". The site praised the series for its lighter and sillier tone in comparison to more violent live-action superhero fare, and considered the \"kind-hearted\" Aquabats to be relatively positive role models.",
"The site praised the series for its lighter and sillier tone in comparison to more violent live-action superhero fare, and considered the \"kind-hearted\" Aquabats to be relatively positive role models. However, the reviewer suggested the show's violence and creatures may be too intense for very young children, and pointed out a distinct lack of central female characters.",
"However, the reviewer suggested the show's violence and creatures may be too intense for very young children, and pointed out a distinct lack of central female characters. Neil Genzlinger of The New York Times offered a more indifferent opinion, calling The Aquabats \"indescribably odd\" and the series \"frenetic, semicoherent and generally harmless.",
"Neil Genzlinger of The New York Times offered a more indifferent opinion, calling The Aquabats \"indescribably odd\" and the series \"frenetic, semicoherent and generally harmless. Also somewhat hallucinogenic\", noting Super Show!s writing \"may be over the heads of the 2-to-12 set\", suggesting its most receptive audience might be \"the college drinking-game crowd\".",
"Also somewhat hallucinogenic\", noting Super Show!s writing \"may be over the heads of the 2-to-12 set\", suggesting its most receptive audience might be \"the college drinking-game crowd\". Awards and nominations The Aquabats! Super Show!",
"Awards and nominations The Aquabats! Super Show! Super Show! was nominated for the following awards: Daytime Emmy Award References External links Official website of The Aquabats The Aquabats 2010s American children's television series 2010s American musical comedy television series 2010s American satirical television series 2010s American sketch comedy television series 2010s American superhero comedy television series 2012 American television series debuts 2014 American television series endings American children's adventure television series American children's musical television series American television series with live action and animation Children's sketch comedy English-language television shows Television series by Fremantle (company) Television shows set in Orange County, California American television shows featuring puppetry Discovery Family original programming"
] |
[
"The Aquabats! Super Show!",
"History and previous attempts at a series",
"How did The Aquabats originate?",
"musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in",
"When did they form?",
"In 1994,",
"What happened with the previous attempts?",
"The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves.",
"What did they do after this?",
"Undeterred, The Aquabats made an attempt at a second pilot"
] | C_4cdf6386fc074258b24b5e00bbcdec23_0 | How did this do? | 5 | How did the second pilot of the Aquabats! Super Show! do? | The Aquabats! Super Show! | In 1994, musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in Brea, California. Influenced as much by cartoons and camp television as theatrical bands like Devo and Oingo Boingo, The Aquabats gained instant notoriety in the Orange County music scene for their eccentric persona in which they claimed to be a band of superheroes on a quest to save the world and their elaborate stage shows which regularly featured scripted fights with costumed villains alongside similar stunts and comedy sketches. The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough for the group, charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs - a former child actor with ties in the industry - to develop the concept of adapting the band's mythology for television. In 1998, Buena Vista Television helped produce a live-action mini-pilot directed by comedian Bobcat Goldthwait titled simply The Aquabats!, following the comic misadventures of the then-eight member band in an over-the-top camp style similar to Saturday morning cartoon shows. The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves. Undeterred, The Aquabats made an attempt at a second pilot the following year, using a music video budget granted by their record label Goldenvoice Records for their 1999 album The Aquabats vs. the Floating Eye of Death!. Independently directed and produced by Jacobs and his creative partner Scott Schultz, the result was a five-minute promo video entitled The Aquabats in Color!. In contrast to the wackier tone of the previous pilot, The Aquabats in Color! was a more action-oriented superhero series modeled after Japanese tokusatsu shows such as Kamen Rider. According to Jacobs, the Fox Family Channel reportedly expressed interest in the series and ordered production on a proper pilot episode, though following the channel's acquisition by Disney in 2001, the project was cancelled. CANNOTANSWER | using a music video budget granted by their record label Goldenvoice Records for their 1999 album | The Aquabats! Super Show! is an American action-comedy musical television series which aired from March 3, 2012 to January 8, 2014 on The Hub Network and resumed as an independent YouTube web series in September 2019. The series was created by Christian Jacobs, and Scott Schultz, both the creators of the Nick Jr. show Yo Gabba Gabba!, and Jason deVilliers.
Based on the superhero mythology of The Aquabats, a real-life comedy rock band which series co-creator and lead singer Jacobs formed in 1994, The Aquabats! Super Show! follows the comic adventures of a fictionalized version of the band, a musical group of amateur superheroes, as they haphazardly defend the world from a variety of villains and monsters. Styled similarly to the campy aesthetics of 1960s and 1970s children's television and Japanese tokusatsu, Super Show! utilizes various mediums of visual styles and special effects, mixing live-action storylines with cartoon shorts, parody advertisements and musical interludes.
The series' first season concluded on June 16, 2012 following a run of 13 episodes, having met with a largely positive critical reception, consistently high ratings for the channel and a Daytime Emmy nomination for Outstanding Children's Series. The series' second season consisted of an initial five episodes which aired through June 2013, with three additional episodes airing in late December and January 2014, receiving similar acclaim and a further seven Daytime Emmy nominations, ultimately winning one for Best Stunt Coordination. In June 2014, co-creator Jacobs officially announced the series' cancellation, following news of The Hub's financial losses which led to the network's rebranding as Discovery Family later that October.
In July 2018, The Aquabats launched a successful Kickstarter to help independently finance new episodes of The Aquabats! Super Show!, promoting the campaign with a series of YouTube-exclusive mini-episodes continuing the original series' storyline. On September 28, 2019, The Aquabats premiered the first installment of these new episodes, now a biweekly YouTube series entitled The Aquabats! RadVentures!, though still retaining Super Show!s theme song and title card.
Series overview
Premise
Chronicled in both live-action and animated segments, The Aquabats! Super Show! is centered around the adventures of The Aquabats, a group of superhero rock musicians who travel the countryside on a self-appointed mission to fight evil and "destroy boredom", protecting the world from the villains and creatures who threaten to destroy it while aiming to become a famous rock and roll band in their own right.
The Aquabats consist of singer The MC Bat Commander (Christian Jacobs), the swaggering leader of the group; bassist Crash McLarson (Chad Larson), who can grow up to 100 feet in size; drummer Ricky Fitness (Richard Falomir), who has the power of super speed; guitarist EagleBones Falconhawk (Ian Fowles), who's armed with a laser-shooting electric guitar; and keyboardist Jimmy the Robot (James R. Briggs, Jr.), an android. Despite their superhuman strengths and abilities, The Aquabats are quite bumbling, disorganized, and sometimes cowardly when faced with danger; this has in fact led them to be labeled "the world's most inept superheroes". The band lives and travels by way of their "Battletram", a modified classic GMC motorhome which, despite its small exterior, has an implausibly massive interior (similar to the TARDIS from Doctor Who or The Big Bologna from The Kids From C.A.P.E.R.), which contains, among many things, a science lab, a command center, and a living room.
The Aquabats' origin story was left intentionally vague throughout the series, a choice Jacobs explains was done for the sake of the viewer's imagination, as he felt kids were more accepting of the inherent absurdity of the premise than adults tend to be: "'There's five guys. This is what each of the five guys does. There are monsters. They're gonna try to fight them'. It's so simple. And I think that's why it's so awesome with kids—they just take it and run with it". In the first five episodes of season two, each member of The Aquabats shares their memory of how they joined the band via animated flashback sequences; however, all of these flashbacks directly and intentionally contradict each other, leaving it unknown which—if any—could be considered officially canonical.
Format and influences
The Aquabats! Super Show! juxtaposes both live-action and animated segments starring The Aquabats, interwoven with various tangential skits and cartoon interstitials. The live-action storylines are the primary focus of each episode, following a self-contained villain of the week formula. In the first season, each episode featured brief anime-styled cartoon shorts which one of the characters would introduce at a random point of the show, often by finding "A Cartoon" (represented by a miniature television set) in an absurd location. Unlike the live-action segments, these cartoons followed a serialized story arc, with each installment ending in a cliffhanger to be resolved in the next episode. In season two, this format was replaced with a series of animated flashbacks recounting the origins of The Aquabats, each by a different animation studio and in a different animation style. Between these segments are pantomime cartoon shorts starring "Lil' Bat", The Aquabats' anthropomorphic bat mascot, and live-action parody commercials for outlandish fictional products, the latter of which has long been a staple of The Aquabats' multi-media stage shows.
Jacobs says the concept behind Super Show! was something he had always dreamed of doing, making a "campy, live-action, funky kid's show" in the vein of the 1960s and 1970s television that he and the rest of the series' producers had grown up with. While the show pays homage to many facets of pop culture, Jacobs has named the 1960s Batman television series as the primary influence on Super Show!s "obviously silly" tone and visual style, ranging from set design to the trademark use of dutch angles for villain scenes. Other notable influences Jacobs has repeatedly mentioned include the works of Sid and Marty Krofft and Hanna-Barbera, Japanese tokusatsu series such as Ultraman and Johnny Sokko And His Flying Robot, the Shaw Brothers and Hong Kong cinema, and shows including Danger Island, Star Trek, The Rocky and Bullwinkle Show, and Pee-wee's Playhouse, noting "there's a good 30 years worth of television culture packed into these 22-minute episodes".
Demographic
As The Hub's key demographic were children aged 6 to 12, Super Show! was ostensibly targeted towards said age group, though Jacobs has stated that the series primarily aimed to appeal to an all-ages crowd, with the intent of creating entertainment that both kids and parents can watch and enjoy together or separately. In interviews prior to the series' premiere, he explained that this was merely an extension of The Aquabats' own family-friendly ethos: "There's just obviously something about the costumes and being superheroes that really appeals to younger kids, and I think we always knew that as a band...I think we'll want to put things in [the show] for an older audience, because we realize we have an older audience, but then also we want the young kids, to not have it go over their heads".
Production history
History and previous attempts at a series
In 1994, musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in Brea, California. Influenced as much by cartoons and camp television as theatrical bands like Devo and Oingo Boingo, The Aquabats gained instant notoriety in the Orange County music scene for their eccentric persona in which they claimed to be a band of superheroes on a quest to save the world and their elaborate stage shows which regularly featured scripted fights with costumed villains alongside similar stunts and comedy sketches.
The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough for the group, charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs – a former child actor with ties in the industry – to develop the concept of adapting the band's mythology for television. In 1998, Buena Vista Television helped produce a live-action mini-pilot directed by comedian Bobcat Goldthwait titled simply The Aquabats!, following the comic misadventures of the then-eight member band in an over-the-top camp style similar to Saturday morning cartoon shows. The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves.
Undeterred, The Aquabats made an attempt at a second pilot the following year, using a music video budget granted by their record label Goldenvoice Records for their 1999 album The Aquabats vs. the Floating Eye of Death!. Independently directed and produced by Jacobs and his creative partner Scott Schultz, the result was a five-minute promo video entitled The Aquabats in Color!. In contrast to the wackier tone of the previous pilot, The Aquabats in Color! was a more action-oriented superhero series modeled after Japanese tokusatsu shows such as Kamen Rider. According to Jacobs, the Fox Family Channel reportedly expressed interest in the series and ordered production on a proper pilot episode, though following the channel's acquisition by Disney in 2001, the project was cancelled.
The Aquabats! Super Show! pilot (2008)
In 2005, Jacobs and Schultz formed the Orange County-based production company The Magic Store, focusing on creating family-oriented television entertainment. One of the company's independently produced pilots, the children's television series Yo Gabba Gabba!, was eventually picked up as a series by Viacoms Nick Jr. channel, premiering in August 2007 and ultimately becoming an award-winning and critically acclaimed international success. In the wake of the series' popularity, Jacobs and Schultz persuaded Yo Gabba Gabba!s joint production company Wild Brain to help produce a new pilot based around The Aquabats in conjuncture with The Magic Store.
Again creatively spearheaded by Jacobs and Schultz, The Aquabats' third pilot, titled The Aquabats! Super Show!, was shot on location throughout southern California in late 2007 and early 2008. Part of this filming took place at a free invitation-only concert for members of the band's official fan club at the El Rey Theatre in Los Angeles on January 12, 2008. While The Aquabats' previous pilots were short, live-action promotional videos, The Aquabats! Super Show! was a fully realized 22-minute episode featuring two separate storylines based on the adventures of The Aquabats, one live-action and one animated, and interspersed with parody commercials and live footage of the band. Speaking on the decision to structure the show in such a varied format, Jacobs said "[w]e did that for a strategic reason – some networks like cartoons more than other networks. We wanted to say, 'this could be both shows'."
Following a period of post-production, The Aquabats began widely self-promoting Super Show! in June 2008, redesigning their website to promote the pilot and releasing a teaser trailer and several exclusive clips through an official Super Show! YouTube channel. On July 25, 2008, the band screened the full pilot at a concert in San Diego held during the weekend of the San Diego Comic-Con, while a segment of the episode was hosted on Boing Boing the same day. In 2009, Cartoon Network allegedly picked the series up for a run of 22 episodes, though following major staff changes within the company—which, according to Jacobs, included the termination of the executives who had green-lighted Super Show!—the project was again cancelled.
The Hub and season one
After several more unsuccessful network pitches into the 2010s, The Aquabats! Super Show! was finally picked up as a series by family cable channel The Hub, a joint venture between Hasbro and Discovery which launched in 2010 as a replacement for Discovery Kids. The Hub formally announced the series in a press release on March 23, 2011, revealing Super Show! would be given a first season run of 13 episodes, produced in conjuncture with FremantleMedia. In promotion of the series, The Aquabats appeared as part of a panel at the 2011 San Diego Comic-Con where they discussed their initial plans for the show, while The Hub sponsored an Aquabats concert held at the nearby House of Blues during the same weekend.
Production on season one of Super Show! officially began in May 2011. The entirety of the first season was shot within and around The Aquabats' hometown of Orange County, California; according to the first season DVD audio commentary, episodes were shot on location in the cities of Irvine, Silverado, Yorba Linda, Huntington Beach and Fullerton, while a private sound stage in Santa Ana was used for interior shots of the Battletram. A public Aquabats concert held at The Glass House club in Pomona on November 5, 2011 was also filmed to provide live footage of the band which is featured in the series' opening credits montage and several individual episodes.
Much of Super Show!s staff consist of friends and colleagues of The Aquabats who've previously worked with the band on various projects, ranging from members of Yo Gabba Gabba!s production team to fellow musicians within the southern California music scene. Among the more notable examples include Dallas McLaughlin and Matthew Gorney, both members of the San Diego hip hop band Bad Credit, who prominently served as writers, composers and performers, Warren Fitzgerald, guitarist for The Vandals, who was hired as a writer and music director, internet sketch comedy group Mega64 were commissioned to produce original material, primarily the series' parody commercials, and Japanese artist Pey, who had designed much of The Aquabats' promotional art and merchandise during the 2000s, was hired to design the season's animated segments. Additionally, several industry professionals were brought in to help work on the show: Dani Michaeli, a staff writer on SpongeBob SquarePants, was hired as the series' story editor, while Matt Chapman, co-creator of the internet Flash cartoon Homestar Runner, acted as a writer, director and actor on several episodes. As none of the members besides Jacobs had any previous acting experience, comedian Matt Walsh of the Upright Citizens Brigade was brought in to help teach The Aquabats comedic acting and timing.
In further homage to the original Batman series, Super Show! features a variety of celebrity cameo appearances. The series' first season included appearances from actors Jon Heder, Lou Diamond Phillips and Samm Levine, comedians Rip Taylor, Paul Scheer and Paul Rust, and comedy musician "Weird Al" Yankovic, who appeared in two episodes as different characters. The first season also included several "Easter egg" cameos from original Aquabats members Corey "Chainsaw" Pollock and Boyd "Catboy" Terry, as well as from fellow musicians Warren Fitzgerald and Art Mitchell of the band Supernova.
Despite having been originally announced as part of The Hub's 2011 Fall line-up, production delays postponed Super Show!s premiere to early 2012. The series' marketing campaign began in December 2011, with a later announcement of an official premiere date confirmed for March 3, 2012. Following a non-consecutive run of 13 episodes, the first-season finale aired on June 16, 2012.
Season two
On October 16, 2012, The Aquabats and The Hub confirmed production on new episodes of Super Show! through the social networking sites Facebook and Twitter, announcing a tentative debut date of Spring 2013. Principal photography on season two began on October 22 and wrapped on December 1. Unlike the first season, the majority of season two was shot in and around Salt Lake City, Utah, which Jacobs explained was considerably less expensive than shooting in California.
While no changes were made to Super Shows creative team, in December 2012 it was announced that season two would introduce the series' first guest director, musician and comic book writer Gerard Way, who co-directed and co-wrote the season finale "The AntiBats!" with Jacobs and deVilliers. Way's involvement with the series was heavily covered by the music press in the wake of the March 2013 break-up of his popular alternative rock band My Chemical Romance. Among the guest stars featured in season two were professional skateboarders Tony Hawk and Eric Koston, Devo frontman and Yo Gabba Gabba! cast member Mark Mothersbaugh, internet celebrity Leslie Hall, actor Martin Starr and My Chemical Romance bassist Mikey Way.
On December 2, 2012, deVilliers revealed on his Twitter account that the upcoming season would consist of only five new episodes, in what he called more "season 1.5" than a "season 2", though mentioned the possibility of more being made in the future. On May 1, 2013, it was announced through Entertainment Weekly that the series' second season would begin airing on June 1. After a run of only five episodes, the season concluded on June 29, 2013.
2013–2014 specials
On August 22, 2013, series performer Chad Larson confirmed via Twitter that three additional episodes of Super Show! were being filmed near the end of the year, "and maybe more next". Principal photography on these episodes eventually began in Utah in early October. Throughout the month, The Aquabats posted numerous pictures of production on the new episodes on their Twitter and Instagram accounts, some of which revealed production code numbers of 301, 302 and 303, ostensibly indicating what would be a third season. Though these numbers were later verified by the Internet Movie Database, a November press release from The Hub explicitly referred to these three episodes as "specials".
The first of these specials, "Christmas with The Aquabats!", aired on December 21, featuring comedians Robert Smigel and Matt Walsh in guest roles. The second of these episodes, "The Shark Fighter!" (based on The Aquabats' song of the same name), featuring comedian Rhys Darby, aired the following week on December 28, while the final special "Kitty Litter!" aired on January 18, 2014. "Kitty Litter!" was helmed by another guest director, Munn Powell, best known for his work as cinematographer on the Jared and Jerusha Hess films Napoleon Dynamite and Gentlemen Broncos.
Following this short run of episodes, there was no confirmation by either The Hub or The Aquabats as to the production of any future episodes. In a December 2013 interview, Christian Jacobs acknowledged the network's unusually small order of episodes but didn't elaborate on any possible reasoning. In the same interview, he stated that the band had initially prepared for another order of 13 episodes, having written as many scripts for potential future episodes.
On May 1, 2014, the nominees for the 2014 Daytime Emmy Awards were announced, revealing that Super Show! had been nominated for five awards in four categories, including the award for Best Writing in a Children's Series for the episode "The AntiBats!". The awards ceremony was held on June 22, 2014, where the series ultimately won the award for Best Stunt Coordination for stuntman Skip Carlson.
Cancellation by The Hub and hiatus
In mid-2014, it was announced in entertainment press that Hasbro and Discovery had been in the process of rebranding The Hub following what they saw to be disappointing returns for the channel, changes which included the departure of CEO Margaret Loesch, who was instrumental in acquiring Super Show! as a series. In a Huffington Post feature about The Aquabats prior to the band's appearance at the 2014 San Diego Comic-Con, it was revealed that The Hub had opted not to renew Super Show! for a third season, effectively cancelling the series.
Jacobs admitted he was surprised by this turn of events, noting "Everything we heard was that the show has been a real Cinderella story for the Hub and that it was rating really well with viewers. We just assumed that we'd eventually go back into production or at least get picked up for Season 3", but ultimately concluded "it is what it is" in regard to the network's decision. Despite this, Jacobs remained optimistic about the series' future, saying "Given that we now live in a world where people are streaming TV shows directly onto their iPhones & computers, and given that companies like Netflix & Yahoo! are now picking up so much new content for their customers...I just find it hard to believe that The Aquabats! Super Show! is really over. I mean, we haven't even made any toys yet". He concluded by stating "It took us almost 15 years to get that TV series made. And even though we've got a bunch more concert dates lined up for the rest of this year, our first priority is to find a new home for The Aquabats! Super Show!".
On March 31, 2015, the nominees for the 42nd annual Daytime Emmy Awards were announced, with Super Show! earning nominations for Best SFX Mixer (Blaine Stewart) and Best Stunt Coordinator (Braxton McAllister).
On June 27, 2015, The Aquabats screened the entire first season of Super Show! before a sold-out crowd at The Frida Cinema in downtown Santa Ana, which was accompanied by a live performance by the band and Q&A sessions with The Aquabats and numerous members of the cast and crew. A similar presentation of the entire second season – including the three additional specials – took place at The Art Theater in Long Beach on December 16, 2017, coinciding with the release of the second season Blu-ray.
Bring Back The Aquabats! Kickstarter campaign
Following weeks of teasing a major announcement, The Aquabats launched a Kickstarter campaign on July 31, 2018 to help finance the return of The Aquabats! Super Show! as well as new studio albums from the band at a minimum projected cost of $1.1 million. The Aquabats promoted their campaign with a video featuring a slew of celebrity cameos, including Super Show! guest stars "Weird Al" Yankovic, Robert Smigel (as Triumph the Insult Comic Dog), Matt Chapman (as Homestar Runner and Strong Bad), former Aquabats member Travis Barker, Tony Kanal, Tom Dumont, Oscar Nunez, Kate Micucci, Blake Anderson, Imagine Dragons, Felicia Day and Tom Lennon, all of whom appeared in The Aquabats' trademark uniforms and spoke the Kickstarter's promotional slogan "I am The Aquabats"/"We are The Aquabats". Most prominently featured, however, was comedian Jack Black, who was later confirmed by the campaign's press releases to act as executive producer for the series' return.
Along with their Kickstarter, the band began releasing a series of Super Show! "mini-episodes", depicting the MC Bat Commander's metafictional quest to reunite the estranged Aquabats following the series' cancellation. The band confirmed that as the Kickstarter progresses, further "mini-episodes" will be released to both promote the campaign as well as act as a continuation of Super Show!.
By August 28, mere days before the campaign's end date of September 1, The Aquabats' Kickstarter had raised only $601,629 of its projected $1.1 million goal. The funding was subsequently cancelled and the campaign was rebooted the same day with a smaller goal of $100,000 to instead finance one new album and the continued production of the Super Show!! "mini-episodes". The project's goal was met within minutes.
Music
Original music for The Aquabats! Super Show! was primarily composed and performed by The Aquabats themselves, with additional scoring on most episodes provided by Matthew Gorney, Warren Fitzgerald or individual credits for Aquabats members James R. Briggs, Jr., Richard Falomir and Ian Fowles. Fitzgerald, guitarist for punk rock band The Vandals and former member of Oingo Boingo, acted as the series' music supervisor. The theme song to Super Show!, "Super Show Theme Song!", was co-written by The Aquabats and Fitzgerald.
Whereas most musically oriented shows like The Monkees typically break the narrative of an episode for a music video performance of a standalone song, each episode of Super Show! typically features one or two unique songs that tied directly into the plot, usually about and performed during the events of a particular scene. Most of these songs are rather brief, averaging a running time of just under a minute; Jacobs stated that many of the show's original songs were recorded as full-length pieces but trimmed down for inclusion in an episode, simply due to the show "trying to pack so much into 22 minutes".
Shortly after Super Show!s premiere, Jacobs confirmed plans to eventually release the series' original full-length songs as a soundtrack album. However, these plans wouldn't fully come to fruition until 2019; in a 2018 interview, Jacobs retrospectively revealed that the album had been long completed but the band "hadn't had all the rights tied up" until then. The first original and full-length recordings from the series' first season debuted in July 2017, when "Burger Rain" and "Beat Fishin'" were released as a tour-exclusive 7" single. Songs from the series' first season were eventually compiled as The Aquabats! Super Show! Television Soundtrack: Volume One, which was released digitally in March 2019 and then onto physical media the following June, where it became The Aquabats' highest-charting album to date, debuting at the top of Billboards Top Heatseekers chart and at 165 on the Billboard 200.
Cast and characters
See: List of The Aquabats! Super Show! characters
The Aquabats! Super Show! stars and is based upon fictionalized versions of the then-current (since 2006) line-up of the California comedy rock band The Aquabats. Adapting the backstory the band has used for the entirety of their professional career, Super Show! depicts The Aquabats as a group of bumbling, out-of-shape superheroes on a self-appointed mission to fight the forces of evil, presented in both live-action and animated segments. The five members of The Aquabats are:
The MC Bat Commander (played and voiced by Christian Jacobs) – The Aquabats' singer and de facto leader of the team. Though he doesn't have any superpowers of his own and is often quite stubborn and naive, the Commander is shown to be an effective strategist whose sharp leadership skills, bravery and determination regularly drive the band towards victory.
Crash McLarson (played and voiced by Chad Larson) – The band's bass guitarist, who has the frequently uncontrollable ability to grow upwards of 100 feet in size when under emotional stress. Despite being the largest and strongest of The Aquabats, Crash has a gentle, childlike demeanor bordering on slight dim-wittedness, and as such is usually the most cowardly member of the team.
Jimmy the Robot (played and voiced by James R. Briggs, Jr.) – The Aquabats' keyboardist. As his name implies, Jimmy is an android whose mechanical body houses a variety of built-in gadgets and weaponry, plus a comprehensive knowledge database which earns him the position of the group's resident scientist. Being a robot, Jimmy is generally perplexed by human emotions and behavior.
Ricky Fitness (played and voiced by Richard Falomir) – the band's drummer, Ricky possesses the power of super speed. Being the most physically fit and health-conscious member of The Aquabats, some of the series' running gags revolve around Ricky's status as a handsome ladies' man and his fondness for "fresh, healthy veggies" in contrast to the rest of the team's voracious affinity for junk food.
EagleBones Falconhawk (played and voiced by Ian Fowles) – The Aquabats' guitarist. The cocky and boyish maverick of the team, EagleBones is highly proficient on his custom weaponized electric guitar which shoots lasers from its headstock. Following a spiritual encounter early in season one, EagleBones also has the gift of second sight and is accompanied by "The Dude", an invisible spirit eagle whom he summons to aide The Aquabats in battle.
Voice actor and writer Mr. Lawrence provided the minimal narration for both seasons of Super Show!s live-action segments, while staff writer Kyle McCulloch narrated the first season's animated segments.
Guest stars and recurring characters
Though each episode of the series introduced a new villain, ally and/or celebrity cameo, Super Show! never featured any major recurring characters throughout its run. However, every episode of the show included a very brief appearance by a character fans dubbed the "Fox Man", a man in a cheap-looking fox costume played by visual effects supervisor Joel Fox, who would appear hidden in the background of a random scene as an Easter egg for viewers to spot, although his character was never explained within the context of the series.
Comedy musician "Weird Al" Yankovic and comedian Paul Rust were the only two guest actors to appear in two episodes: Yankovic played two different roles as the President of the United States and superhero SuperMagic PowerMan! (in a 2012 interview, Jacobs alluded to the two possibly being the same character, though this isn't implied within the series), while Rust played a boorish slacker named Ronmark, first appearing in live-action in a first-season episode and subsequently lending his voice to a mutated monster version of the character in part of a second-season episode.
Episodes
Distribution
International broadcast
Outside of North America, The Aquabats! Super Show! broadcast in Australia on the children's public broadcasting channel ABC3 and in the United Kingdom on the children's network CITV.
Home media
Coinciding with the run of the first season, each new episode of The Aquabats! Super Show! was released through the iTunes Store for digital download. Prior to the series debut, a season pass was made available for purchase to enable viewers to automatically receive a download of each new episode on its airdate. The first season of Super Show! was added to the video streaming service Netflix on December 1, 2012, later being added to Hulu on December 21.
Unlike the first season, the series' second season was not made available for iTunes pre-order, nor were episodes released for purchase. Though each episode was briefly streamed on The Hub's official website, none of the seasons' episodes were made available on Hulu, Netflix or similar streaming services.
Shout! Factory had the DVD publishing rights for The Aquabats! Super Show! within Region 1 for release of the first season. The company first announced their acquisition of the series and plans for a future DVD in a press release dated August 6, 2012, though did not initially confirm a set release date until several months later. On May 21, 2013, the first season of Super Show! was released on a two-disc DVD set.
On November 22, 2017, in conjunction with their announcement of a season two theatrical screening, The Aquabats confirmed an independent Blu-ray release for season two, including the three specials often considered a "season three". On December 5, pre-orders were launched on The Aquabats' merchandising site for an official release date of December 22, though copies were first made for public sale at the second season theatrical screening on December 16.
Starting in December 2014, The Aquabats gradually began uploading the series' full episodes onto their official YouTube channel. As of August 2019, all 21 episodes of Super Show! and its pilot episode have been publicly uploaded to their account.
Critical reception
Critical response to The Aquabats! Super Show! was predominantly positive, with most reviewers praising the series' intentionally campy tone and offbeat humor. The Onions The A.V. Club gave the series premiere an A− rating, describing it as "a loving homage to basically everything ever done by the brothers Krofft": "the show adeptly flips from humor to melodrama to action, providing some awesomely cheap special effects, goofy songs, and gags that range from slapstick to sublime", summarizing "there's so much here that both kids and parents will be able to enjoy the proceedings on their own respective levels and rarely find themselves bored".
Brian Lowry of Variety wrote "you don't have to laugh at everything to admire the effort and sheer silliness", calling the show a "goofy and nostalgic" throwback to the "children's TV of baby boomers' youth, down to crappy production values and awful-looking 'monsters' that work to its advantage". He summarized "Although this Hub series at times feels like an SNL skit stretched to a half-hour, its sly mix of music, live-action crime-fighting, cartoons and mock ads ought to develop a cult following—and might be more popular with parents, at least those with the geek gene, than their kids".
Technology magazine Wired was consistently positive towards the series, calling it both "wonderfully strange" and "delightfully deranged", writing "[f]illed with self-deprecating music videos, toon interludes and ludicrous villains, The Aquabats! Super Show! has become one of television's strangely comforting finds".
Common Sense Media, who review shows based on age-appropriate content, gave Super Show! a rating of 4 out of 5 stars, calling it "demented and manic...fun by sheer dint of how many jokes, visual and otherwise, are thrown at the screen, both those calculated to appeal to kids and adults". The site praised the series for its lighter and sillier tone in comparison to more violent live-action superhero fare, and considered the "kind-hearted" Aquabats to be relatively positive role models. However, the reviewer suggested the show's violence and creatures may be too intense for very young children, and pointed out a distinct lack of central female characters.
Neil Genzlinger of The New York Times offered a more indifferent opinion, calling The Aquabats "indescribably odd" and the series "frenetic, semicoherent and generally harmless. Also somewhat hallucinogenic", noting Super Show!s writing "may be over the heads of the 2-to-12 set", suggesting its most receptive audience might be "the college drinking-game crowd".
Awards and nominations
The Aquabats! Super Show! was nominated for the following awards:
Daytime Emmy Award
References
External links
Official website of The Aquabats
The Aquabats
2010s American children's television series
2010s American musical comedy television series
2010s American satirical television series
2010s American sketch comedy television series
2010s American superhero comedy television series
2012 American television series debuts
2014 American television series endings
American children's adventure television series
American children's musical television series
American television series with live action and animation
Children's sketch comedy
English-language television shows
Television series by Fremantle (company)
Television shows set in Orange County, California
American television shows featuring puppetry
Discovery Family original programming | true | [
"The Migraine Disability Assessment Test (MIDAS) is a test used by doctors to determine how severely migraines affect a patient's life. Patients are asked questions about the frequency and duration of their headaches, as well as how often these headaches limited their ability to participate in activities at work, at school, or at home.\n\nThe test was evaluated by the professional journal Neurology in 2001; it was found to be both reliable and valid.\n\nQuestions\nThe MIDAS contains the following questions:\n\n On how many days in the last 3 months did you miss work or school because of your headaches?\n How many days in the last 3 months was your productivity at work or school reduced by half or more because of your headaches? (Do not include days you counted in question 1 where you missed work or school.)\n On how many days in the last 3 months did you not do household work because of your headaches?\n How many days in the last three months was your productivity in household work reduced by half of more because of your headaches? (Do not include days you counted in question 3 where you did not do household work.)\n On how many days in the last 3 months did you miss family, social or leisure activities because of your headaches?\n\nThe patient's score consists of the total of these five questions. Additionally, there is a section for patients to share with their doctors:\n\nWhat your Physician will need to know about your headache:\n\nA. On how many days in the last 3 months did you have a headache?\n(If a headache lasted more than 1 day, count each day.)\t\n\nB. On a scale of 0 - 10, on average how painful were these headaches? \n(where 0 = no pain at all and 10 = pain as bad as it can be.)\n\nScoring\nOnce scored, the test gives the patient an idea of how debilitating his/her migraines are based on this scale:\n\n0 to 5, MIDAS Grade I, Little or no disability \n\n6 to 10, MIDAS Grade II, Mild disability\n\n11 to 20, MIDAS Grade III, Moderate disability\n\n21+, MIDAS Grade IV, Severe disability\n\nReferences\n\nExternal links\nMigraine Treatment\n\nMigraine",
"\"This Is How We Do It\" is a 1995 song by Montell Jordan.\n\nThis Is How We Do It may also refer to:\n\n This Is How We Do It (album), by Montell Jordan\n \"This Is How We Do It\" (Grey's Anatomy), a 2011 episode\n\nSee also\n \"This Is How We Do\", a 2014 song by Katy Perry"
] | [
"The Aquabats! Super Show! is an American action-comedy musical television series which aired from March 3, 2012 to January 8, 2014 on The Hub Network and resumed as an independent YouTube web series in September 2019.",
"is an American action-comedy musical television series which aired from March 3, 2012 to January 8, 2014 on The Hub Network and resumed as an independent YouTube web series in September 2019. The series was created by Christian Jacobs, and Scott Schultz, both the creators of the Nick Jr. show Yo Gabba Gabba!, and Jason deVilliers.",
"The series was created by Christian Jacobs, and Scott Schultz, both the creators of the Nick Jr. show Yo Gabba Gabba!, and Jason deVilliers. Based on the superhero mythology of The Aquabats, a real-life comedy rock band which series co-creator and lead singer Jacobs formed in 1994, The Aquabats! Super Show!",
"Super Show! Super Show! follows the comic adventures of a fictionalized version of the band, a musical group of amateur superheroes, as they haphazardly defend the world from a variety of villains and monsters. Styled similarly to the campy aesthetics of 1960s and 1970s children's television and Japanese tokusatsu, Super Show!",
"Styled similarly to the campy aesthetics of 1960s and 1970s children's television and Japanese tokusatsu, Super Show! utilizes various mediums of visual styles and special effects, mixing live-action storylines with cartoon shorts, parody advertisements and musical interludes.",
"utilizes various mediums of visual styles and special effects, mixing live-action storylines with cartoon shorts, parody advertisements and musical interludes. The series' first season concluded on June 16, 2012 following a run of 13 episodes, having met with a largely positive critical reception, consistently high ratings for the channel and a Daytime Emmy nomination for Outstanding Children's Series.",
"The series' first season concluded on June 16, 2012 following a run of 13 episodes, having met with a largely positive critical reception, consistently high ratings for the channel and a Daytime Emmy nomination for Outstanding Children's Series. The series' second season consisted of an initial five episodes which aired through June 2013, with three additional episodes airing in late December and January 2014, receiving similar acclaim and a further seven Daytime Emmy nominations, ultimately winning one for Best Stunt Coordination.",
"The series' second season consisted of an initial five episodes which aired through June 2013, with three additional episodes airing in late December and January 2014, receiving similar acclaim and a further seven Daytime Emmy nominations, ultimately winning one for Best Stunt Coordination. In June 2014, co-creator Jacobs officially announced the series' cancellation, following news of The Hub's financial losses which led to the network's rebranding as Discovery Family later that October.",
"In June 2014, co-creator Jacobs officially announced the series' cancellation, following news of The Hub's financial losses which led to the network's rebranding as Discovery Family later that October. In July 2018, The Aquabats launched a successful Kickstarter to help independently finance new episodes of The Aquabats!",
"In July 2018, The Aquabats launched a successful Kickstarter to help independently finance new episodes of The Aquabats! Super Show!, promoting the campaign with a series of YouTube-exclusive mini-episodes continuing the original series' storyline.",
"Super Show!, promoting the campaign with a series of YouTube-exclusive mini-episodes continuing the original series' storyline. On September 28, 2019, The Aquabats premiered the first installment of these new episodes, now a biweekly YouTube series entitled The Aquabats! RadVentures!, though still retaining Super Show!s theme song and title card.",
"RadVentures!, though still retaining Super Show!s theme song and title card. Series overview Premise Chronicled in both live-action and animated segments, The Aquabats! Super Show!",
"Super Show! Super Show! is centered around the adventures of The Aquabats, a group of superhero rock musicians who travel the countryside on a self-appointed mission to fight evil and \"destroy boredom\", protecting the world from the villains and creatures who threaten to destroy it while aiming to become a famous rock and roll band in their own right.",
"is centered around the adventures of The Aquabats, a group of superhero rock musicians who travel the countryside on a self-appointed mission to fight evil and \"destroy boredom\", protecting the world from the villains and creatures who threaten to destroy it while aiming to become a famous rock and roll band in their own right. The Aquabats consist of singer The MC Bat Commander (Christian Jacobs), the swaggering leader of the group; bassist Crash McLarson (Chad Larson), who can grow up to 100 feet in size; drummer Ricky Fitness (Richard Falomir), who has the power of super speed; guitarist EagleBones Falconhawk (Ian Fowles), who's armed with a laser-shooting electric guitar; and keyboardist Jimmy the Robot (James R. Briggs, Jr.), an android.",
"The Aquabats consist of singer The MC Bat Commander (Christian Jacobs), the swaggering leader of the group; bassist Crash McLarson (Chad Larson), who can grow up to 100 feet in size; drummer Ricky Fitness (Richard Falomir), who has the power of super speed; guitarist EagleBones Falconhawk (Ian Fowles), who's armed with a laser-shooting electric guitar; and keyboardist Jimmy the Robot (James R. Briggs, Jr.), an android. Despite their superhuman strengths and abilities, The Aquabats are quite bumbling, disorganized, and sometimes cowardly when faced with danger; this has in fact led them to be labeled \"the world's most inept superheroes\".",
"Despite their superhuman strengths and abilities, The Aquabats are quite bumbling, disorganized, and sometimes cowardly when faced with danger; this has in fact led them to be labeled \"the world's most inept superheroes\". The band lives and travels by way of their \"Battletram\", a modified classic GMC motorhome which, despite its small exterior, has an implausibly massive interior (similar to the TARDIS from Doctor Who or The Big Bologna from The Kids From C.A.P.E.R.",
"The band lives and travels by way of their \"Battletram\", a modified classic GMC motorhome which, despite its small exterior, has an implausibly massive interior (similar to the TARDIS from Doctor Who or The Big Bologna from The Kids From C.A.P.E.R. ), which contains, among many things, a science lab, a command center, and a living room.",
"), which contains, among many things, a science lab, a command center, and a living room. The Aquabats' origin story was left intentionally vague throughout the series, a choice Jacobs explains was done for the sake of the viewer's imagination, as he felt kids were more accepting of the inherent absurdity of the premise than adults tend to be: \"'There's five guys.",
"The Aquabats' origin story was left intentionally vague throughout the series, a choice Jacobs explains was done for the sake of the viewer's imagination, as he felt kids were more accepting of the inherent absurdity of the premise than adults tend to be: \"'There's five guys. This is what each of the five guys does.",
"This is what each of the five guys does. There are monsters. They're gonna try to fight them'. It's so simple. And I think that's why it's so awesome with kids—they just take it and run with it\".",
"And I think that's why it's so awesome with kids—they just take it and run with it\". In the first five episodes of season two, each member of The Aquabats shares their memory of how they joined the band via animated flashback sequences; however, all of these flashbacks directly and intentionally contradict each other, leaving it unknown which—if any—could be considered officially canonical.",
"In the first five episodes of season two, each member of The Aquabats shares their memory of how they joined the band via animated flashback sequences; however, all of these flashbacks directly and intentionally contradict each other, leaving it unknown which—if any—could be considered officially canonical. Format and influences The Aquabats! Super Show!",
"Format and influences The Aquabats! Super Show! Super Show! juxtaposes both live-action and animated segments starring The Aquabats, interwoven with various tangential skits and cartoon interstitials. The live-action storylines are the primary focus of each episode, following a self-contained villain of the week formula.",
"The live-action storylines are the primary focus of each episode, following a self-contained villain of the week formula. In the first season, each episode featured brief anime-styled cartoon shorts which one of the characters would introduce at a random point of the show, often by finding \"A Cartoon\" (represented by a miniature television set) in an absurd location.",
"In the first season, each episode featured brief anime-styled cartoon shorts which one of the characters would introduce at a random point of the show, often by finding \"A Cartoon\" (represented by a miniature television set) in an absurd location. Unlike the live-action segments, these cartoons followed a serialized story arc, with each installment ending in a cliffhanger to be resolved in the next episode.",
"Unlike the live-action segments, these cartoons followed a serialized story arc, with each installment ending in a cliffhanger to be resolved in the next episode. In season two, this format was replaced with a series of animated flashbacks recounting the origins of The Aquabats, each by a different animation studio and in a different animation style.",
"In season two, this format was replaced with a series of animated flashbacks recounting the origins of The Aquabats, each by a different animation studio and in a different animation style. Between these segments are pantomime cartoon shorts starring \"Lil' Bat\", The Aquabats' anthropomorphic bat mascot, and live-action parody commercials for outlandish fictional products, the latter of which has long been a staple of The Aquabats' multi-media stage shows.",
"Between these segments are pantomime cartoon shorts starring \"Lil' Bat\", The Aquabats' anthropomorphic bat mascot, and live-action parody commercials for outlandish fictional products, the latter of which has long been a staple of The Aquabats' multi-media stage shows. Jacobs says the concept behind Super Show!",
"Jacobs says the concept behind Super Show! was something he had always dreamed of doing, making a \"campy, live-action, funky kid's show\" in the vein of the 1960s and 1970s television that he and the rest of the series' producers had grown up with.",
"was something he had always dreamed of doing, making a \"campy, live-action, funky kid's show\" in the vein of the 1960s and 1970s television that he and the rest of the series' producers had grown up with. While the show pays homage to many facets of pop culture, Jacobs has named the 1960s Batman television series as the primary influence on Super Show!s \"obviously silly\" tone and visual style, ranging from set design to the trademark use of dutch angles for villain scenes.",
"While the show pays homage to many facets of pop culture, Jacobs has named the 1960s Batman television series as the primary influence on Super Show!s \"obviously silly\" tone and visual style, ranging from set design to the trademark use of dutch angles for villain scenes. Other notable influences Jacobs has repeatedly mentioned include the works of Sid and Marty Krofft and Hanna-Barbera, Japanese tokusatsu series such as Ultraman and Johnny Sokko And His Flying Robot, the Shaw Brothers and Hong Kong cinema, and shows including Danger Island, Star Trek, The Rocky and Bullwinkle Show, and Pee-wee's Playhouse, noting \"there's a good 30 years worth of television culture packed into these 22-minute episodes\".",
"Other notable influences Jacobs has repeatedly mentioned include the works of Sid and Marty Krofft and Hanna-Barbera, Japanese tokusatsu series such as Ultraman and Johnny Sokko And His Flying Robot, the Shaw Brothers and Hong Kong cinema, and shows including Danger Island, Star Trek, The Rocky and Bullwinkle Show, and Pee-wee's Playhouse, noting \"there's a good 30 years worth of television culture packed into these 22-minute episodes\". Demographic As The Hub's key demographic were children aged 6 to 12, Super Show!",
"Demographic As The Hub's key demographic were children aged 6 to 12, Super Show! was ostensibly targeted towards said age group, though Jacobs has stated that the series primarily aimed to appeal to an all-ages crowd, with the intent of creating entertainment that both kids and parents can watch and enjoy together or separately.",
"was ostensibly targeted towards said age group, though Jacobs has stated that the series primarily aimed to appeal to an all-ages crowd, with the intent of creating entertainment that both kids and parents can watch and enjoy together or separately. In interviews prior to the series' premiere, he explained that this was merely an extension of The Aquabats' own family-friendly ethos: \"There's just obviously something about the costumes and being superheroes that really appeals to younger kids, and I think we always knew that as a band...I think we'll want to put things in [the show] for an older audience, because we realize we have an older audience, but then also we want the young kids, to not have it go over their heads\".",
"In interviews prior to the series' premiere, he explained that this was merely an extension of The Aquabats' own family-friendly ethos: \"There's just obviously something about the costumes and being superheroes that really appeals to younger kids, and I think we always knew that as a band...I think we'll want to put things in [the show] for an older audience, because we realize we have an older audience, but then also we want the young kids, to not have it go over their heads\". Production history History and previous attempts at a series In 1994, musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in Brea, California.",
"Production history History and previous attempts at a series In 1994, musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in Brea, California. Influenced as much by cartoons and camp television as theatrical bands like Devo and Oingo Boingo, The Aquabats gained instant notoriety in the Orange County music scene for their eccentric persona in which they claimed to be a band of superheroes on a quest to save the world and their elaborate stage shows which regularly featured scripted fights with costumed villains alongside similar stunts and comedy sketches.",
"Influenced as much by cartoons and camp television as theatrical bands like Devo and Oingo Boingo, The Aquabats gained instant notoriety in the Orange County music scene for their eccentric persona in which they claimed to be a band of superheroes on a quest to save the world and their elaborate stage shows which regularly featured scripted fights with costumed villains alongside similar stunts and comedy sketches. The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough for the group, charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs – a former child actor with ties in the industry – to develop the concept of adapting the band's mythology for television.",
"The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough for the group, charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs – a former child actor with ties in the industry – to develop the concept of adapting the band's mythology for television. In 1998, Buena Vista Television helped produce a live-action mini-pilot directed by comedian Bobcat Goldthwait titled simply The Aquabats!, following the comic misadventures of the then-eight member band in an over-the-top camp style similar to Saturday morning cartoon shows.",
"In 1998, Buena Vista Television helped produce a live-action mini-pilot directed by comedian Bobcat Goldthwait titled simply The Aquabats!, following the comic misadventures of the then-eight member band in an over-the-top camp style similar to Saturday morning cartoon shows. The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves.",
"The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves. Undeterred, The Aquabats made an attempt at a second pilot the following year, using a music video budget granted by their record label Goldenvoice Records for their 1999 album The Aquabats vs. the Floating Eye of Death!.",
"Undeterred, The Aquabats made an attempt at a second pilot the following year, using a music video budget granted by their record label Goldenvoice Records for their 1999 album The Aquabats vs. the Floating Eye of Death!. Independently directed and produced by Jacobs and his creative partner Scott Schultz, the result was a five-minute promo video entitled The Aquabats in Color!.",
"Independently directed and produced by Jacobs and his creative partner Scott Schultz, the result was a five-minute promo video entitled The Aquabats in Color!. In contrast to the wackier tone of the previous pilot, The Aquabats in Color! was a more action-oriented superhero series modeled after Japanese tokusatsu shows such as Kamen Rider.",
"was a more action-oriented superhero series modeled after Japanese tokusatsu shows such as Kamen Rider. According to Jacobs, the Fox Family Channel reportedly expressed interest in the series and ordered production on a proper pilot episode, though following the channel's acquisition by Disney in 2001, the project was cancelled. The Aquabats! Super Show!",
"The Aquabats! Super Show! Super Show! pilot (2008) In 2005, Jacobs and Schultz formed the Orange County-based production company The Magic Store, focusing on creating family-oriented television entertainment.",
"pilot (2008) In 2005, Jacobs and Schultz formed the Orange County-based production company The Magic Store, focusing on creating family-oriented television entertainment. One of the company's independently produced pilots, the children's television series Yo Gabba Gabba!, was eventually picked up as a series by Viacoms Nick Jr. channel, premiering in August 2007 and ultimately becoming an award-winning and critically acclaimed international success.",
"One of the company's independently produced pilots, the children's television series Yo Gabba Gabba!, was eventually picked up as a series by Viacoms Nick Jr. channel, premiering in August 2007 and ultimately becoming an award-winning and critically acclaimed international success. In the wake of the series' popularity, Jacobs and Schultz persuaded Yo Gabba Gabba!s joint production company Wild Brain to help produce a new pilot based around The Aquabats in conjuncture with The Magic Store.",
"In the wake of the series' popularity, Jacobs and Schultz persuaded Yo Gabba Gabba!s joint production company Wild Brain to help produce a new pilot based around The Aquabats in conjuncture with The Magic Store. Again creatively spearheaded by Jacobs and Schultz, The Aquabats' third pilot, titled The Aquabats!",
"Again creatively spearheaded by Jacobs and Schultz, The Aquabats' third pilot, titled The Aquabats! Super Show!, was shot on location throughout southern California in late 2007 and early 2008.",
"Super Show!, was shot on location throughout southern California in late 2007 and early 2008. Part of this filming took place at a free invitation-only concert for members of the band's official fan club at the El Rey Theatre in Los Angeles on January 12, 2008.",
"Part of this filming took place at a free invitation-only concert for members of the band's official fan club at the El Rey Theatre in Los Angeles on January 12, 2008. While The Aquabats' previous pilots were short, live-action promotional videos, The Aquabats! Super Show!",
"Super Show! Super Show! was a fully realized 22-minute episode featuring two separate storylines based on the adventures of The Aquabats, one live-action and one animated, and interspersed with parody commercials and live footage of the band.",
"was a fully realized 22-minute episode featuring two separate storylines based on the adventures of The Aquabats, one live-action and one animated, and interspersed with parody commercials and live footage of the band. Speaking on the decision to structure the show in such a varied format, Jacobs said \"[w]e did that for a strategic reason – some networks like cartoons more than other networks.",
"Speaking on the decision to structure the show in such a varied format, Jacobs said \"[w]e did that for a strategic reason – some networks like cartoons more than other networks. We wanted to say, 'this could be both shows'.\" Following a period of post-production, The Aquabats began widely self-promoting Super Show!",
"Following a period of post-production, The Aquabats began widely self-promoting Super Show! in June 2008, redesigning their website to promote the pilot and releasing a teaser trailer and several exclusive clips through an official Super Show! YouTube channel.",
"YouTube channel. YouTube channel. On July 25, 2008, the band screened the full pilot at a concert in San Diego held during the weekend of the San Diego Comic-Con, while a segment of the episode was hosted on Boing Boing the same day.",
"On July 25, 2008, the band screened the full pilot at a concert in San Diego held during the weekend of the San Diego Comic-Con, while a segment of the episode was hosted on Boing Boing the same day. In 2009, Cartoon Network allegedly picked the series up for a run of 22 episodes, though following major staff changes within the company—which, according to Jacobs, included the termination of the executives who had green-lighted Super Show!—the project was again cancelled.",
"In 2009, Cartoon Network allegedly picked the series up for a run of 22 episodes, though following major staff changes within the company—which, according to Jacobs, included the termination of the executives who had green-lighted Super Show!—the project was again cancelled. The Hub and season one After several more unsuccessful network pitches into the 2010s, The Aquabats!",
"The Hub and season one After several more unsuccessful network pitches into the 2010s, The Aquabats! Super Show! was finally picked up as a series by family cable channel The Hub, a joint venture between Hasbro and Discovery which launched in 2010 as a replacement for Discovery Kids.",
"was finally picked up as a series by family cable channel The Hub, a joint venture between Hasbro and Discovery which launched in 2010 as a replacement for Discovery Kids. The Hub formally announced the series in a press release on March 23, 2011, revealing Super Show!",
"The Hub formally announced the series in a press release on March 23, 2011, revealing Super Show! would be given a first season run of 13 episodes, produced in conjuncture with FremantleMedia.",
"would be given a first season run of 13 episodes, produced in conjuncture with FremantleMedia. In promotion of the series, The Aquabats appeared as part of a panel at the 2011 San Diego Comic-Con where they discussed their initial plans for the show, while The Hub sponsored an Aquabats concert held at the nearby House of Blues during the same weekend.",
"In promotion of the series, The Aquabats appeared as part of a panel at the 2011 San Diego Comic-Con where they discussed their initial plans for the show, while The Hub sponsored an Aquabats concert held at the nearby House of Blues during the same weekend. Production on season one of Super Show! officially began in May 2011.",
"officially began in May 2011. officially began in May 2011. The entirety of the first season was shot within and around The Aquabats' hometown of Orange County, California; according to the first season DVD audio commentary, episodes were shot on location in the cities of Irvine, Silverado, Yorba Linda, Huntington Beach and Fullerton, while a private sound stage in Santa Ana was used for interior shots of the Battletram.",
"The entirety of the first season was shot within and around The Aquabats' hometown of Orange County, California; according to the first season DVD audio commentary, episodes were shot on location in the cities of Irvine, Silverado, Yorba Linda, Huntington Beach and Fullerton, while a private sound stage in Santa Ana was used for interior shots of the Battletram. A public Aquabats concert held at The Glass House club in Pomona on November 5, 2011 was also filmed to provide live footage of the band which is featured in the series' opening credits montage and several individual episodes.",
"A public Aquabats concert held at The Glass House club in Pomona on November 5, 2011 was also filmed to provide live footage of the band which is featured in the series' opening credits montage and several individual episodes. Much of Super Show!s staff consist of friends and colleagues of The Aquabats who've previously worked with the band on various projects, ranging from members of Yo Gabba Gabba!s production team to fellow musicians within the southern California music scene.",
"Much of Super Show!s staff consist of friends and colleagues of The Aquabats who've previously worked with the band on various projects, ranging from members of Yo Gabba Gabba!s production team to fellow musicians within the southern California music scene. Among the more notable examples include Dallas McLaughlin and Matthew Gorney, both members of the San Diego hip hop band Bad Credit, who prominently served as writers, composers and performers, Warren Fitzgerald, guitarist for The Vandals, who was hired as a writer and music director, internet sketch comedy group Mega64 were commissioned to produce original material, primarily the series' parody commercials, and Japanese artist Pey, who had designed much of The Aquabats' promotional art and merchandise during the 2000s, was hired to design the season's animated segments.",
"Among the more notable examples include Dallas McLaughlin and Matthew Gorney, both members of the San Diego hip hop band Bad Credit, who prominently served as writers, composers and performers, Warren Fitzgerald, guitarist for The Vandals, who was hired as a writer and music director, internet sketch comedy group Mega64 were commissioned to produce original material, primarily the series' parody commercials, and Japanese artist Pey, who had designed much of The Aquabats' promotional art and merchandise during the 2000s, was hired to design the season's animated segments. Additionally, several industry professionals were brought in to help work on the show: Dani Michaeli, a staff writer on SpongeBob SquarePants, was hired as the series' story editor, while Matt Chapman, co-creator of the internet Flash cartoon Homestar Runner, acted as a writer, director and actor on several episodes.",
"Additionally, several industry professionals were brought in to help work on the show: Dani Michaeli, a staff writer on SpongeBob SquarePants, was hired as the series' story editor, while Matt Chapman, co-creator of the internet Flash cartoon Homestar Runner, acted as a writer, director and actor on several episodes. As none of the members besides Jacobs had any previous acting experience, comedian Matt Walsh of the Upright Citizens Brigade was brought in to help teach The Aquabats comedic acting and timing.",
"As none of the members besides Jacobs had any previous acting experience, comedian Matt Walsh of the Upright Citizens Brigade was brought in to help teach The Aquabats comedic acting and timing. In further homage to the original Batman series, Super Show! features a variety of celebrity cameo appearances.",
"features a variety of celebrity cameo appearances. The series' first season included appearances from actors Jon Heder, Lou Diamond Phillips and Samm Levine, comedians Rip Taylor, Paul Scheer and Paul Rust, and comedy musician \"Weird Al\" Yankovic, who appeared in two episodes as different characters.",
"The series' first season included appearances from actors Jon Heder, Lou Diamond Phillips and Samm Levine, comedians Rip Taylor, Paul Scheer and Paul Rust, and comedy musician \"Weird Al\" Yankovic, who appeared in two episodes as different characters. The first season also included several \"Easter egg\" cameos from original Aquabats members Corey \"Chainsaw\" Pollock and Boyd \"Catboy\" Terry, as well as from fellow musicians Warren Fitzgerald and Art Mitchell of the band Supernova.",
"The first season also included several \"Easter egg\" cameos from original Aquabats members Corey \"Chainsaw\" Pollock and Boyd \"Catboy\" Terry, as well as from fellow musicians Warren Fitzgerald and Art Mitchell of the band Supernova. Despite having been originally announced as part of The Hub's 2011 Fall line-up, production delays postponed Super Show!s premiere to early 2012.",
"Despite having been originally announced as part of The Hub's 2011 Fall line-up, production delays postponed Super Show!s premiere to early 2012. The series' marketing campaign began in December 2011, with a later announcement of an official premiere date confirmed for March 3, 2012.",
"The series' marketing campaign began in December 2011, with a later announcement of an official premiere date confirmed for March 3, 2012. Following a non-consecutive run of 13 episodes, the first-season finale aired on June 16, 2012.",
"Following a non-consecutive run of 13 episodes, the first-season finale aired on June 16, 2012. Season two On October 16, 2012, The Aquabats and The Hub confirmed production on new episodes of Super Show! through the social networking sites Facebook and Twitter, announcing a tentative debut date of Spring 2013.",
"through the social networking sites Facebook and Twitter, announcing a tentative debut date of Spring 2013. Principal photography on season two began on October 22 and wrapped on December 1.",
"Principal photography on season two began on October 22 and wrapped on December 1. Unlike the first season, the majority of season two was shot in and around Salt Lake City, Utah, which Jacobs explained was considerably less expensive than shooting in California.",
"Unlike the first season, the majority of season two was shot in and around Salt Lake City, Utah, which Jacobs explained was considerably less expensive than shooting in California. While no changes were made to Super Shows creative team, in December 2012 it was announced that season two would introduce the series' first guest director, musician and comic book writer Gerard Way, who co-directed and co-wrote the season finale \"The AntiBats!\"",
"While no changes were made to Super Shows creative team, in December 2012 it was announced that season two would introduce the series' first guest director, musician and comic book writer Gerard Way, who co-directed and co-wrote the season finale \"The AntiBats!\" with Jacobs and deVilliers.",
"with Jacobs and deVilliers. with Jacobs and deVilliers. Way's involvement with the series was heavily covered by the music press in the wake of the March 2013 break-up of his popular alternative rock band My Chemical Romance.",
"Way's involvement with the series was heavily covered by the music press in the wake of the March 2013 break-up of his popular alternative rock band My Chemical Romance. Among the guest stars featured in season two were professional skateboarders Tony Hawk and Eric Koston, Devo frontman and Yo Gabba Gabba!",
"Among the guest stars featured in season two were professional skateboarders Tony Hawk and Eric Koston, Devo frontman and Yo Gabba Gabba! cast member Mark Mothersbaugh, internet celebrity Leslie Hall, actor Martin Starr and My Chemical Romance bassist Mikey Way.",
"cast member Mark Mothersbaugh, internet celebrity Leslie Hall, actor Martin Starr and My Chemical Romance bassist Mikey Way. On December 2, 2012, deVilliers revealed on his Twitter account that the upcoming season would consist of only five new episodes, in what he called more \"season 1.5\" than a \"season 2\", though mentioned the possibility of more being made in the future.",
"On December 2, 2012, deVilliers revealed on his Twitter account that the upcoming season would consist of only five new episodes, in what he called more \"season 1.5\" than a \"season 2\", though mentioned the possibility of more being made in the future. On May 1, 2013, it was announced through Entertainment Weekly that the series' second season would begin airing on June 1.",
"On May 1, 2013, it was announced through Entertainment Weekly that the series' second season would begin airing on June 1. After a run of only five episodes, the season concluded on June 29, 2013.",
"After a run of only five episodes, the season concluded on June 29, 2013. 2013–2014 specials On August 22, 2013, series performer Chad Larson confirmed via Twitter that three additional episodes of Super Show! were being filmed near the end of the year, \"and maybe more next\".",
"were being filmed near the end of the year, \"and maybe more next\". Principal photography on these episodes eventually began in Utah in early October.",
"Principal photography on these episodes eventually began in Utah in early October. Throughout the month, The Aquabats posted numerous pictures of production on the new episodes on their Twitter and Instagram accounts, some of which revealed production code numbers of 301, 302 and 303, ostensibly indicating what would be a third season.",
"Throughout the month, The Aquabats posted numerous pictures of production on the new episodes on their Twitter and Instagram accounts, some of which revealed production code numbers of 301, 302 and 303, ostensibly indicating what would be a third season. Though these numbers were later verified by the Internet Movie Database, a November press release from The Hub explicitly referred to these three episodes as \"specials\".",
"Though these numbers were later verified by the Internet Movie Database, a November press release from The Hub explicitly referred to these three episodes as \"specials\". The first of these specials, \"Christmas with The Aquabats! \", aired on December 21, featuring comedians Robert Smigel and Matt Walsh in guest roles.",
"\", aired on December 21, featuring comedians Robert Smigel and Matt Walsh in guest roles. The second of these episodes, \"The Shark Fighter!\"",
"The second of these episodes, \"The Shark Fighter!\" (based on The Aquabats' song of the same name), featuring comedian Rhys Darby, aired the following week on December 28, while the final special \"Kitty Litter!\" aired on January 18, 2014. \"Kitty Litter!\"",
"\"Kitty Litter!\" \"Kitty Litter!\" was helmed by another guest director, Munn Powell, best known for his work as cinematographer on the Jared and Jerusha Hess films Napoleon Dynamite and Gentlemen Broncos.",
"was helmed by another guest director, Munn Powell, best known for his work as cinematographer on the Jared and Jerusha Hess films Napoleon Dynamite and Gentlemen Broncos. Following this short run of episodes, there was no confirmation by either The Hub or The Aquabats as to the production of any future episodes.",
"Following this short run of episodes, there was no confirmation by either The Hub or The Aquabats as to the production of any future episodes. In a December 2013 interview, Christian Jacobs acknowledged the network's unusually small order of episodes but didn't elaborate on any possible reasoning.",
"In a December 2013 interview, Christian Jacobs acknowledged the network's unusually small order of episodes but didn't elaborate on any possible reasoning. In the same interview, he stated that the band had initially prepared for another order of 13 episodes, having written as many scripts for potential future episodes.",
"In the same interview, he stated that the band had initially prepared for another order of 13 episodes, having written as many scripts for potential future episodes. On May 1, 2014, the nominees for the 2014 Daytime Emmy Awards were announced, revealing that Super Show!",
"On May 1, 2014, the nominees for the 2014 Daytime Emmy Awards were announced, revealing that Super Show! had been nominated for five awards in four categories, including the award for Best Writing in a Children's Series for the episode \"The AntiBats!\".",
"had been nominated for five awards in four categories, including the award for Best Writing in a Children's Series for the episode \"The AntiBats!\". The awards ceremony was held on June 22, 2014, where the series ultimately won the award for Best Stunt Coordination for stuntman Skip Carlson.",
"The awards ceremony was held on June 22, 2014, where the series ultimately won the award for Best Stunt Coordination for stuntman Skip Carlson. Cancellation by The Hub and hiatus In mid-2014, it was announced in entertainment press that Hasbro and Discovery had been in the process of rebranding The Hub following what they saw to be disappointing returns for the channel, changes which included the departure of CEO Margaret Loesch, who was instrumental in acquiring Super Show!",
"Cancellation by The Hub and hiatus In mid-2014, it was announced in entertainment press that Hasbro and Discovery had been in the process of rebranding The Hub following what they saw to be disappointing returns for the channel, changes which included the departure of CEO Margaret Loesch, who was instrumental in acquiring Super Show! as a series.",
"as a series. as a series. In a Huffington Post feature about The Aquabats prior to the band's appearance at the 2014 San Diego Comic-Con, it was revealed that The Hub had opted not to renew Super Show! for a third season, effectively cancelling the series.",
"for a third season, effectively cancelling the series. Jacobs admitted he was surprised by this turn of events, noting \"Everything we heard was that the show has been a real Cinderella story for the Hub and that it was rating really well with viewers.",
"Jacobs admitted he was surprised by this turn of events, noting \"Everything we heard was that the show has been a real Cinderella story for the Hub and that it was rating really well with viewers. We just assumed that we'd eventually go back into production or at least get picked up for Season 3\", but ultimately concluded \"it is what it is\" in regard to the network's decision.",
"We just assumed that we'd eventually go back into production or at least get picked up for Season 3\", but ultimately concluded \"it is what it is\" in regard to the network's decision. Despite this, Jacobs remained optimistic about the series' future, saying \"Given that we now live in a world where people are streaming TV shows directly onto their iPhones & computers, and given that companies like Netflix & Yahoo!",
"Despite this, Jacobs remained optimistic about the series' future, saying \"Given that we now live in a world where people are streaming TV shows directly onto their iPhones & computers, and given that companies like Netflix & Yahoo! are now picking up so much new content for their customers...I just find it hard to believe that The Aquabats!",
"are now picking up so much new content for their customers...I just find it hard to believe that The Aquabats! Super Show! is really over. I mean, we haven't even made any toys yet\". He concluded by stating \"It took us almost 15 years to get that TV series made.",
"He concluded by stating \"It took us almost 15 years to get that TV series made. And even though we've got a bunch more concert dates lined up for the rest of this year, our first priority is to find a new home for The Aquabats! Super Show!\".",
"Super Show!\". Super Show!\". On March 31, 2015, the nominees for the 42nd annual Daytime Emmy Awards were announced, with Super Show! earning nominations for Best SFX Mixer (Blaine Stewart) and Best Stunt Coordinator (Braxton McAllister).",
"earning nominations for Best SFX Mixer (Blaine Stewart) and Best Stunt Coordinator (Braxton McAllister). On June 27, 2015, The Aquabats screened the entire first season of Super Show!",
"On June 27, 2015, The Aquabats screened the entire first season of Super Show! before a sold-out crowd at The Frida Cinema in downtown Santa Ana, which was accompanied by a live performance by the band and Q&A sessions with The Aquabats and numerous members of the cast and crew.",
"before a sold-out crowd at The Frida Cinema in downtown Santa Ana, which was accompanied by a live performance by the band and Q&A sessions with The Aquabats and numerous members of the cast and crew. A similar presentation of the entire second season – including the three additional specials – took place at The Art Theater in Long Beach on December 16, 2017, coinciding with the release of the second season Blu-ray.",
"A similar presentation of the entire second season – including the three additional specials – took place at The Art Theater in Long Beach on December 16, 2017, coinciding with the release of the second season Blu-ray. Bring Back The Aquabats!",
"Bring Back The Aquabats! Bring Back The Aquabats! Kickstarter campaign Following weeks of teasing a major announcement, The Aquabats launched a Kickstarter campaign on July 31, 2018 to help finance the return of The Aquabats! Super Show! as well as new studio albums from the band at a minimum projected cost of $1.1 million.",
"as well as new studio albums from the band at a minimum projected cost of $1.1 million. The Aquabats promoted their campaign with a video featuring a slew of celebrity cameos, including Super Show!",
"The Aquabats promoted their campaign with a video featuring a slew of celebrity cameos, including Super Show! guest stars \"Weird Al\" Yankovic, Robert Smigel (as Triumph the Insult Comic Dog), Matt Chapman (as Homestar Runner and Strong Bad), former Aquabats member Travis Barker, Tony Kanal, Tom Dumont, Oscar Nunez, Kate Micucci, Blake Anderson, Imagine Dragons, Felicia Day and Tom Lennon, all of whom appeared in The Aquabats' trademark uniforms and spoke the Kickstarter's promotional slogan \"I am The Aquabats\"/\"We are The Aquabats\".",
"guest stars \"Weird Al\" Yankovic, Robert Smigel (as Triumph the Insult Comic Dog), Matt Chapman (as Homestar Runner and Strong Bad), former Aquabats member Travis Barker, Tony Kanal, Tom Dumont, Oscar Nunez, Kate Micucci, Blake Anderson, Imagine Dragons, Felicia Day and Tom Lennon, all of whom appeared in The Aquabats' trademark uniforms and spoke the Kickstarter's promotional slogan \"I am The Aquabats\"/\"We are The Aquabats\". Most prominently featured, however, was comedian Jack Black, who was later confirmed by the campaign's press releases to act as executive producer for the series' return.",
"Most prominently featured, however, was comedian Jack Black, who was later confirmed by the campaign's press releases to act as executive producer for the series' return. Along with their Kickstarter, the band began releasing a series of Super Show!",
"Along with their Kickstarter, the band began releasing a series of Super Show! \"mini-episodes\", depicting the MC Bat Commander's metafictional quest to reunite the estranged Aquabats following the series' cancellation.",
"\"mini-episodes\", depicting the MC Bat Commander's metafictional quest to reunite the estranged Aquabats following the series' cancellation. The band confirmed that as the Kickstarter progresses, further \"mini-episodes\" will be released to both promote the campaign as well as act as a continuation of Super Show!.",
"The band confirmed that as the Kickstarter progresses, further \"mini-episodes\" will be released to both promote the campaign as well as act as a continuation of Super Show!. By August 28, mere days before the campaign's end date of September 1, The Aquabats' Kickstarter had raised only $601,629 of its projected $1.1 million goal.",
"By August 28, mere days before the campaign's end date of September 1, The Aquabats' Kickstarter had raised only $601,629 of its projected $1.1 million goal. The funding was subsequently cancelled and the campaign was rebooted the same day with a smaller goal of $100,000 to instead finance one new album and the continued production of the Super Show!!",
"The funding was subsequently cancelled and the campaign was rebooted the same day with a smaller goal of $100,000 to instead finance one new album and the continued production of the Super Show!! \"mini-episodes\". The project's goal was met within minutes. Music Original music for The Aquabats! Super Show!",
"Super Show! Super Show! was primarily composed and performed by The Aquabats themselves, with additional scoring on most episodes provided by Matthew Gorney, Warren Fitzgerald or individual credits for Aquabats members James R. Briggs, Jr., Richard Falomir and Ian Fowles.",
"was primarily composed and performed by The Aquabats themselves, with additional scoring on most episodes provided by Matthew Gorney, Warren Fitzgerald or individual credits for Aquabats members James R. Briggs, Jr., Richard Falomir and Ian Fowles. Fitzgerald, guitarist for punk rock band The Vandals and former member of Oingo Boingo, acted as the series' music supervisor.",
"Fitzgerald, guitarist for punk rock band The Vandals and former member of Oingo Boingo, acted as the series' music supervisor. The theme song to Super Show!, \"Super Show Theme Song! \", was co-written by The Aquabats and Fitzgerald.",
"\", was co-written by The Aquabats and Fitzgerald. Whereas most musically oriented shows like The Monkees typically break the narrative of an episode for a music video performance of a standalone song, each episode of Super Show!",
"Whereas most musically oriented shows like The Monkees typically break the narrative of an episode for a music video performance of a standalone song, each episode of Super Show! typically features one or two unique songs that tied directly into the plot, usually about and performed during the events of a particular scene.",
"typically features one or two unique songs that tied directly into the plot, usually about and performed during the events of a particular scene. Most of these songs are rather brief, averaging a running time of just under a minute; Jacobs stated that many of the show's original songs were recorded as full-length pieces but trimmed down for inclusion in an episode, simply due to the show \"trying to pack so much into 22 minutes\".",
"Most of these songs are rather brief, averaging a running time of just under a minute; Jacobs stated that many of the show's original songs were recorded as full-length pieces but trimmed down for inclusion in an episode, simply due to the show \"trying to pack so much into 22 minutes\". Shortly after Super Show!s premiere, Jacobs confirmed plans to eventually release the series' original full-length songs as a soundtrack album.",
"Shortly after Super Show!s premiere, Jacobs confirmed plans to eventually release the series' original full-length songs as a soundtrack album. However, these plans wouldn't fully come to fruition until 2019; in a 2018 interview, Jacobs retrospectively revealed that the album had been long completed but the band \"hadn't had all the rights tied up\" until then.",
"However, these plans wouldn't fully come to fruition until 2019; in a 2018 interview, Jacobs retrospectively revealed that the album had been long completed but the band \"hadn't had all the rights tied up\" until then. The first original and full-length recordings from the series' first season debuted in July 2017, when \"Burger Rain\" and \"Beat Fishin'\" were released as a tour-exclusive 7\" single.",
"The first original and full-length recordings from the series' first season debuted in July 2017, when \"Burger Rain\" and \"Beat Fishin'\" were released as a tour-exclusive 7\" single. Songs from the series' first season were eventually compiled as The Aquabats! Super Show!",
"Super Show! Super Show! Television Soundtrack: Volume One, which was released digitally in March 2019 and then onto physical media the following June, where it became The Aquabats' highest-charting album to date, debuting at the top of Billboards Top Heatseekers chart and at 165 on the Billboard 200.",
"Television Soundtrack: Volume One, which was released digitally in March 2019 and then onto physical media the following June, where it became The Aquabats' highest-charting album to date, debuting at the top of Billboards Top Heatseekers chart and at 165 on the Billboard 200. Cast and characters See: List of The Aquabats! Super Show!",
"Super Show! Super Show! characters The Aquabats! Super Show! stars and is based upon fictionalized versions of the then-current (since 2006) line-up of the California comedy rock band The Aquabats. Adapting the backstory the band has used for the entirety of their professional career, Super Show!",
"Adapting the backstory the band has used for the entirety of their professional career, Super Show! depicts The Aquabats as a group of bumbling, out-of-shape superheroes on a self-appointed mission to fight the forces of evil, presented in both live-action and animated segments.",
"depicts The Aquabats as a group of bumbling, out-of-shape superheroes on a self-appointed mission to fight the forces of evil, presented in both live-action and animated segments. The five members of The Aquabats are: The MC Bat Commander (played and voiced by Christian Jacobs) – The Aquabats' singer and de facto leader of the team.",
"The five members of The Aquabats are: The MC Bat Commander (played and voiced by Christian Jacobs) – The Aquabats' singer and de facto leader of the team. Though he doesn't have any superpowers of his own and is often quite stubborn and naive, the Commander is shown to be an effective strategist whose sharp leadership skills, bravery and determination regularly drive the band towards victory.",
"Though he doesn't have any superpowers of his own and is often quite stubborn and naive, the Commander is shown to be an effective strategist whose sharp leadership skills, bravery and determination regularly drive the band towards victory. Crash McLarson (played and voiced by Chad Larson) – The band's bass guitarist, who has the frequently uncontrollable ability to grow upwards of 100 feet in size when under emotional stress.",
"Crash McLarson (played and voiced by Chad Larson) – The band's bass guitarist, who has the frequently uncontrollable ability to grow upwards of 100 feet in size when under emotional stress. Despite being the largest and strongest of The Aquabats, Crash has a gentle, childlike demeanor bordering on slight dim-wittedness, and as such is usually the most cowardly member of the team.",
"Despite being the largest and strongest of The Aquabats, Crash has a gentle, childlike demeanor bordering on slight dim-wittedness, and as such is usually the most cowardly member of the team. Jimmy the Robot (played and voiced by James R. Briggs, Jr.) – The Aquabats' keyboardist.",
"Jimmy the Robot (played and voiced by James R. Briggs, Jr.) – The Aquabats' keyboardist. As his name implies, Jimmy is an android whose mechanical body houses a variety of built-in gadgets and weaponry, plus a comprehensive knowledge database which earns him the position of the group's resident scientist.",
"As his name implies, Jimmy is an android whose mechanical body houses a variety of built-in gadgets and weaponry, plus a comprehensive knowledge database which earns him the position of the group's resident scientist. Being a robot, Jimmy is generally perplexed by human emotions and behavior.",
"Being a robot, Jimmy is generally perplexed by human emotions and behavior. Ricky Fitness (played and voiced by Richard Falomir) – the band's drummer, Ricky possesses the power of super speed.",
"Ricky Fitness (played and voiced by Richard Falomir) – the band's drummer, Ricky possesses the power of super speed. Being the most physically fit and health-conscious member of The Aquabats, some of the series' running gags revolve around Ricky's status as a handsome ladies' man and his fondness for \"fresh, healthy veggies\" in contrast to the rest of the team's voracious affinity for junk food.",
"Being the most physically fit and health-conscious member of The Aquabats, some of the series' running gags revolve around Ricky's status as a handsome ladies' man and his fondness for \"fresh, healthy veggies\" in contrast to the rest of the team's voracious affinity for junk food. EagleBones Falconhawk (played and voiced by Ian Fowles) – The Aquabats' guitarist.",
"EagleBones Falconhawk (played and voiced by Ian Fowles) – The Aquabats' guitarist. The cocky and boyish maverick of the team, EagleBones is highly proficient on his custom weaponized electric guitar which shoots lasers from its headstock.",
"The cocky and boyish maverick of the team, EagleBones is highly proficient on his custom weaponized electric guitar which shoots lasers from its headstock. Following a spiritual encounter early in season one, EagleBones also has the gift of second sight and is accompanied by \"The Dude\", an invisible spirit eagle whom he summons to aide The Aquabats in battle.",
"Following a spiritual encounter early in season one, EagleBones also has the gift of second sight and is accompanied by \"The Dude\", an invisible spirit eagle whom he summons to aide The Aquabats in battle. Voice actor and writer Mr. Lawrence provided the minimal narration for both seasons of Super Show!s live-action segments, while staff writer Kyle McCulloch narrated the first season's animated segments.",
"Voice actor and writer Mr. Lawrence provided the minimal narration for both seasons of Super Show!s live-action segments, while staff writer Kyle McCulloch narrated the first season's animated segments. Guest stars and recurring characters Though each episode of the series introduced a new villain, ally and/or celebrity cameo, Super Show!",
"Guest stars and recurring characters Though each episode of the series introduced a new villain, ally and/or celebrity cameo, Super Show! never featured any major recurring characters throughout its run.",
"never featured any major recurring characters throughout its run. However, every episode of the show included a very brief appearance by a character fans dubbed the \"Fox Man\", a man in a cheap-looking fox costume played by visual effects supervisor Joel Fox, who would appear hidden in the background of a random scene as an Easter egg for viewers to spot, although his character was never explained within the context of the series.",
"However, every episode of the show included a very brief appearance by a character fans dubbed the \"Fox Man\", a man in a cheap-looking fox costume played by visual effects supervisor Joel Fox, who would appear hidden in the background of a random scene as an Easter egg for viewers to spot, although his character was never explained within the context of the series. Comedy musician \"Weird Al\" Yankovic and comedian Paul Rust were the only two guest actors to appear in two episodes: Yankovic played two different roles as the President of the United States and superhero SuperMagic PowerMan!",
"Comedy musician \"Weird Al\" Yankovic and comedian Paul Rust were the only two guest actors to appear in two episodes: Yankovic played two different roles as the President of the United States and superhero SuperMagic PowerMan! (in a 2012 interview, Jacobs alluded to the two possibly being the same character, though this isn't implied within the series), while Rust played a boorish slacker named Ronmark, first appearing in live-action in a first-season episode and subsequently lending his voice to a mutated monster version of the character in part of a second-season episode.",
"(in a 2012 interview, Jacobs alluded to the two possibly being the same character, though this isn't implied within the series), while Rust played a boorish slacker named Ronmark, first appearing in live-action in a first-season episode and subsequently lending his voice to a mutated monster version of the character in part of a second-season episode. Episodes Distribution International broadcast Outside of North America, The Aquabats!",
"Episodes Distribution International broadcast Outside of North America, The Aquabats! Super Show! broadcast in Australia on the children's public broadcasting channel ABC3 and in the United Kingdom on the children's network CITV. Home media Coinciding with the run of the first season, each new episode of The Aquabats! Super Show!",
"Super Show! Super Show! was released through the iTunes Store for digital download. Prior to the series debut, a season pass was made available for purchase to enable viewers to automatically receive a download of each new episode on its airdate. The first season of Super Show!",
"The first season of Super Show! was added to the video streaming service Netflix on December 1, 2012, later being added to Hulu on December 21. Unlike the first season, the series' second season was not made available for iTunes pre-order, nor were episodes released for purchase.",
"Unlike the first season, the series' second season was not made available for iTunes pre-order, nor were episodes released for purchase. Though each episode was briefly streamed on The Hub's official website, none of the seasons' episodes were made available on Hulu, Netflix or similar streaming services. Shout!",
"Shout! Shout! Factory had the DVD publishing rights for The Aquabats! Super Show! within Region 1 for release of the first season.",
"within Region 1 for release of the first season. The company first announced their acquisition of the series and plans for a future DVD in a press release dated August 6, 2012, though did not initially confirm a set release date until several months later. On May 21, 2013, the first season of Super Show!",
"On May 21, 2013, the first season of Super Show! was released on a two-disc DVD set. On November 22, 2017, in conjunction with their announcement of a season two theatrical screening, The Aquabats confirmed an independent Blu-ray release for season two, including the three specials often considered a \"season three\".",
"On November 22, 2017, in conjunction with their announcement of a season two theatrical screening, The Aquabats confirmed an independent Blu-ray release for season two, including the three specials often considered a \"season three\". On December 5, pre-orders were launched on The Aquabats' merchandising site for an official release date of December 22, though copies were first made for public sale at the second season theatrical screening on December 16.",
"On December 5, pre-orders were launched on The Aquabats' merchandising site for an official release date of December 22, though copies were first made for public sale at the second season theatrical screening on December 16. Starting in December 2014, The Aquabats gradually began uploading the series' full episodes onto their official YouTube channel.",
"Starting in December 2014, The Aquabats gradually began uploading the series' full episodes onto their official YouTube channel. As of August 2019, all 21 episodes of Super Show! and its pilot episode have been publicly uploaded to their account. Critical reception Critical response to The Aquabats! Super Show!",
"Super Show! Super Show! was predominantly positive, with most reviewers praising the series' intentionally campy tone and offbeat humor. The Onions The A.V.",
"The Onions The A.V. The Onions The A.V. Club gave the series premiere an A− rating, describing it as \"a loving homage to basically everything ever done by the brothers Krofft\": \"the show adeptly flips from humor to melodrama to action, providing some awesomely cheap special effects, goofy songs, and gags that range from slapstick to sublime\", summarizing \"there's so much here that both kids and parents will be able to enjoy the proceedings on their own respective levels and rarely find themselves bored\".",
"Club gave the series premiere an A− rating, describing it as \"a loving homage to basically everything ever done by the brothers Krofft\": \"the show adeptly flips from humor to melodrama to action, providing some awesomely cheap special effects, goofy songs, and gags that range from slapstick to sublime\", summarizing \"there's so much here that both kids and parents will be able to enjoy the proceedings on their own respective levels and rarely find themselves bored\". Brian Lowry of Variety wrote \"you don't have to laugh at everything to admire the effort and sheer silliness\", calling the show a \"goofy and nostalgic\" throwback to the \"children's TV of baby boomers' youth, down to crappy production values and awful-looking 'monsters' that work to its advantage\".",
"Brian Lowry of Variety wrote \"you don't have to laugh at everything to admire the effort and sheer silliness\", calling the show a \"goofy and nostalgic\" throwback to the \"children's TV of baby boomers' youth, down to crappy production values and awful-looking 'monsters' that work to its advantage\". He summarized \"Although this Hub series at times feels like an SNL skit stretched to a half-hour, its sly mix of music, live-action crime-fighting, cartoons and mock ads ought to develop a cult following—and might be more popular with parents, at least those with the geek gene, than their kids\".",
"He summarized \"Although this Hub series at times feels like an SNL skit stretched to a half-hour, its sly mix of music, live-action crime-fighting, cartoons and mock ads ought to develop a cult following—and might be more popular with parents, at least those with the geek gene, than their kids\". Technology magazine Wired was consistently positive towards the series, calling it both \"wonderfully strange\" and \"delightfully deranged\", writing \"[f]illed with self-deprecating music videos, toon interludes and ludicrous villains, The Aquabats!",
"Technology magazine Wired was consistently positive towards the series, calling it both \"wonderfully strange\" and \"delightfully deranged\", writing \"[f]illed with self-deprecating music videos, toon interludes and ludicrous villains, The Aquabats! Super Show! has become one of television's strangely comforting finds\".",
"has become one of television's strangely comforting finds\". Common Sense Media, who review shows based on age-appropriate content, gave Super Show!",
"Common Sense Media, who review shows based on age-appropriate content, gave Super Show! a rating of 4 out of 5 stars, calling it \"demented and manic...fun by sheer dint of how many jokes, visual and otherwise, are thrown at the screen, both those calculated to appeal to kids and adults\".",
"a rating of 4 out of 5 stars, calling it \"demented and manic...fun by sheer dint of how many jokes, visual and otherwise, are thrown at the screen, both those calculated to appeal to kids and adults\". The site praised the series for its lighter and sillier tone in comparison to more violent live-action superhero fare, and considered the \"kind-hearted\" Aquabats to be relatively positive role models.",
"The site praised the series for its lighter and sillier tone in comparison to more violent live-action superhero fare, and considered the \"kind-hearted\" Aquabats to be relatively positive role models. However, the reviewer suggested the show's violence and creatures may be too intense for very young children, and pointed out a distinct lack of central female characters.",
"However, the reviewer suggested the show's violence and creatures may be too intense for very young children, and pointed out a distinct lack of central female characters. Neil Genzlinger of The New York Times offered a more indifferent opinion, calling The Aquabats \"indescribably odd\" and the series \"frenetic, semicoherent and generally harmless.",
"Neil Genzlinger of The New York Times offered a more indifferent opinion, calling The Aquabats \"indescribably odd\" and the series \"frenetic, semicoherent and generally harmless. Also somewhat hallucinogenic\", noting Super Show!s writing \"may be over the heads of the 2-to-12 set\", suggesting its most receptive audience might be \"the college drinking-game crowd\".",
"Also somewhat hallucinogenic\", noting Super Show!s writing \"may be over the heads of the 2-to-12 set\", suggesting its most receptive audience might be \"the college drinking-game crowd\". Awards and nominations The Aquabats! Super Show!",
"Awards and nominations The Aquabats! Super Show! Super Show! was nominated for the following awards: Daytime Emmy Award References External links Official website of The Aquabats The Aquabats 2010s American children's television series 2010s American musical comedy television series 2010s American satirical television series 2010s American sketch comedy television series 2010s American superhero comedy television series 2012 American television series debuts 2014 American television series endings American children's adventure television series American children's musical television series American television series with live action and animation Children's sketch comedy English-language television shows Television series by Fremantle (company) Television shows set in Orange County, California American television shows featuring puppetry Discovery Family original programming"
] |
[
"The Aquabats! Super Show!",
"History and previous attempts at a series",
"How did The Aquabats originate?",
"musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in",
"When did they form?",
"In 1994,",
"What happened with the previous attempts?",
"The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves.",
"What did they do after this?",
"Undeterred, The Aquabats made an attempt at a second pilot",
"How did this do?",
"using a music video budget granted by their record label Goldenvoice Records for their 1999 album"
] | C_4cdf6386fc074258b24b5e00bbcdec23_0 | Was this successful? | 6 | Was the second pilot of the Aquabats! Super Show! successful? | The Aquabats! Super Show! | In 1994, musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in Brea, California. Influenced as much by cartoons and camp television as theatrical bands like Devo and Oingo Boingo, The Aquabats gained instant notoriety in the Orange County music scene for their eccentric persona in which they claimed to be a band of superheroes on a quest to save the world and their elaborate stage shows which regularly featured scripted fights with costumed villains alongside similar stunts and comedy sketches. The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough for the group, charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs - a former child actor with ties in the industry - to develop the concept of adapting the band's mythology for television. In 1998, Buena Vista Television helped produce a live-action mini-pilot directed by comedian Bobcat Goldthwait titled simply The Aquabats!, following the comic misadventures of the then-eight member band in an over-the-top camp style similar to Saturday morning cartoon shows. The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves. Undeterred, The Aquabats made an attempt at a second pilot the following year, using a music video budget granted by their record label Goldenvoice Records for their 1999 album The Aquabats vs. the Floating Eye of Death!. Independently directed and produced by Jacobs and his creative partner Scott Schultz, the result was a five-minute promo video entitled The Aquabats in Color!. In contrast to the wackier tone of the previous pilot, The Aquabats in Color! was a more action-oriented superhero series modeled after Japanese tokusatsu shows such as Kamen Rider. According to Jacobs, the Fox Family Channel reportedly expressed interest in the series and ordered production on a proper pilot episode, though following the channel's acquisition by Disney in 2001, the project was cancelled. CANNOTANSWER | the project was cancelled. | The Aquabats! Super Show! is an American action-comedy musical television series which aired from March 3, 2012 to January 8, 2014 on The Hub Network and resumed as an independent YouTube web series in September 2019. The series was created by Christian Jacobs, and Scott Schultz, both the creators of the Nick Jr. show Yo Gabba Gabba!, and Jason deVilliers.
Based on the superhero mythology of The Aquabats, a real-life comedy rock band which series co-creator and lead singer Jacobs formed in 1994, The Aquabats! Super Show! follows the comic adventures of a fictionalized version of the band, a musical group of amateur superheroes, as they haphazardly defend the world from a variety of villains and monsters. Styled similarly to the campy aesthetics of 1960s and 1970s children's television and Japanese tokusatsu, Super Show! utilizes various mediums of visual styles and special effects, mixing live-action storylines with cartoon shorts, parody advertisements and musical interludes.
The series' first season concluded on June 16, 2012 following a run of 13 episodes, having met with a largely positive critical reception, consistently high ratings for the channel and a Daytime Emmy nomination for Outstanding Children's Series. The series' second season consisted of an initial five episodes which aired through June 2013, with three additional episodes airing in late December and January 2014, receiving similar acclaim and a further seven Daytime Emmy nominations, ultimately winning one for Best Stunt Coordination. In June 2014, co-creator Jacobs officially announced the series' cancellation, following news of The Hub's financial losses which led to the network's rebranding as Discovery Family later that October.
In July 2018, The Aquabats launched a successful Kickstarter to help independently finance new episodes of The Aquabats! Super Show!, promoting the campaign with a series of YouTube-exclusive mini-episodes continuing the original series' storyline. On September 28, 2019, The Aquabats premiered the first installment of these new episodes, now a biweekly YouTube series entitled The Aquabats! RadVentures!, though still retaining Super Show!s theme song and title card.
Series overview
Premise
Chronicled in both live-action and animated segments, The Aquabats! Super Show! is centered around the adventures of The Aquabats, a group of superhero rock musicians who travel the countryside on a self-appointed mission to fight evil and "destroy boredom", protecting the world from the villains and creatures who threaten to destroy it while aiming to become a famous rock and roll band in their own right.
The Aquabats consist of singer The MC Bat Commander (Christian Jacobs), the swaggering leader of the group; bassist Crash McLarson (Chad Larson), who can grow up to 100 feet in size; drummer Ricky Fitness (Richard Falomir), who has the power of super speed; guitarist EagleBones Falconhawk (Ian Fowles), who's armed with a laser-shooting electric guitar; and keyboardist Jimmy the Robot (James R. Briggs, Jr.), an android. Despite their superhuman strengths and abilities, The Aquabats are quite bumbling, disorganized, and sometimes cowardly when faced with danger; this has in fact led them to be labeled "the world's most inept superheroes". The band lives and travels by way of their "Battletram", a modified classic GMC motorhome which, despite its small exterior, has an implausibly massive interior (similar to the TARDIS from Doctor Who or The Big Bologna from The Kids From C.A.P.E.R.), which contains, among many things, a science lab, a command center, and a living room.
The Aquabats' origin story was left intentionally vague throughout the series, a choice Jacobs explains was done for the sake of the viewer's imagination, as he felt kids were more accepting of the inherent absurdity of the premise than adults tend to be: "'There's five guys. This is what each of the five guys does. There are monsters. They're gonna try to fight them'. It's so simple. And I think that's why it's so awesome with kids—they just take it and run with it". In the first five episodes of season two, each member of The Aquabats shares their memory of how they joined the band via animated flashback sequences; however, all of these flashbacks directly and intentionally contradict each other, leaving it unknown which—if any—could be considered officially canonical.
Format and influences
The Aquabats! Super Show! juxtaposes both live-action and animated segments starring The Aquabats, interwoven with various tangential skits and cartoon interstitials. The live-action storylines are the primary focus of each episode, following a self-contained villain of the week formula. In the first season, each episode featured brief anime-styled cartoon shorts which one of the characters would introduce at a random point of the show, often by finding "A Cartoon" (represented by a miniature television set) in an absurd location. Unlike the live-action segments, these cartoons followed a serialized story arc, with each installment ending in a cliffhanger to be resolved in the next episode. In season two, this format was replaced with a series of animated flashbacks recounting the origins of The Aquabats, each by a different animation studio and in a different animation style. Between these segments are pantomime cartoon shorts starring "Lil' Bat", The Aquabats' anthropomorphic bat mascot, and live-action parody commercials for outlandish fictional products, the latter of which has long been a staple of The Aquabats' multi-media stage shows.
Jacobs says the concept behind Super Show! was something he had always dreamed of doing, making a "campy, live-action, funky kid's show" in the vein of the 1960s and 1970s television that he and the rest of the series' producers had grown up with. While the show pays homage to many facets of pop culture, Jacobs has named the 1960s Batman television series as the primary influence on Super Show!s "obviously silly" tone and visual style, ranging from set design to the trademark use of dutch angles for villain scenes. Other notable influences Jacobs has repeatedly mentioned include the works of Sid and Marty Krofft and Hanna-Barbera, Japanese tokusatsu series such as Ultraman and Johnny Sokko And His Flying Robot, the Shaw Brothers and Hong Kong cinema, and shows including Danger Island, Star Trek, The Rocky and Bullwinkle Show, and Pee-wee's Playhouse, noting "there's a good 30 years worth of television culture packed into these 22-minute episodes".
Demographic
As The Hub's key demographic were children aged 6 to 12, Super Show! was ostensibly targeted towards said age group, though Jacobs has stated that the series primarily aimed to appeal to an all-ages crowd, with the intent of creating entertainment that both kids and parents can watch and enjoy together or separately. In interviews prior to the series' premiere, he explained that this was merely an extension of The Aquabats' own family-friendly ethos: "There's just obviously something about the costumes and being superheroes that really appeals to younger kids, and I think we always knew that as a band...I think we'll want to put things in [the show] for an older audience, because we realize we have an older audience, but then also we want the young kids, to not have it go over their heads".
Production history
History and previous attempts at a series
In 1994, musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in Brea, California. Influenced as much by cartoons and camp television as theatrical bands like Devo and Oingo Boingo, The Aquabats gained instant notoriety in the Orange County music scene for their eccentric persona in which they claimed to be a band of superheroes on a quest to save the world and their elaborate stage shows which regularly featured scripted fights with costumed villains alongside similar stunts and comedy sketches.
The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough for the group, charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs – a former child actor with ties in the industry – to develop the concept of adapting the band's mythology for television. In 1998, Buena Vista Television helped produce a live-action mini-pilot directed by comedian Bobcat Goldthwait titled simply The Aquabats!, following the comic misadventures of the then-eight member band in an over-the-top camp style similar to Saturday morning cartoon shows. The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves.
Undeterred, The Aquabats made an attempt at a second pilot the following year, using a music video budget granted by their record label Goldenvoice Records for their 1999 album The Aquabats vs. the Floating Eye of Death!. Independently directed and produced by Jacobs and his creative partner Scott Schultz, the result was a five-minute promo video entitled The Aquabats in Color!. In contrast to the wackier tone of the previous pilot, The Aquabats in Color! was a more action-oriented superhero series modeled after Japanese tokusatsu shows such as Kamen Rider. According to Jacobs, the Fox Family Channel reportedly expressed interest in the series and ordered production on a proper pilot episode, though following the channel's acquisition by Disney in 2001, the project was cancelled.
The Aquabats! Super Show! pilot (2008)
In 2005, Jacobs and Schultz formed the Orange County-based production company The Magic Store, focusing on creating family-oriented television entertainment. One of the company's independently produced pilots, the children's television series Yo Gabba Gabba!, was eventually picked up as a series by Viacoms Nick Jr. channel, premiering in August 2007 and ultimately becoming an award-winning and critically acclaimed international success. In the wake of the series' popularity, Jacobs and Schultz persuaded Yo Gabba Gabba!s joint production company Wild Brain to help produce a new pilot based around The Aquabats in conjuncture with The Magic Store.
Again creatively spearheaded by Jacobs and Schultz, The Aquabats' third pilot, titled The Aquabats! Super Show!, was shot on location throughout southern California in late 2007 and early 2008. Part of this filming took place at a free invitation-only concert for members of the band's official fan club at the El Rey Theatre in Los Angeles on January 12, 2008. While The Aquabats' previous pilots were short, live-action promotional videos, The Aquabats! Super Show! was a fully realized 22-minute episode featuring two separate storylines based on the adventures of The Aquabats, one live-action and one animated, and interspersed with parody commercials and live footage of the band. Speaking on the decision to structure the show in such a varied format, Jacobs said "[w]e did that for a strategic reason – some networks like cartoons more than other networks. We wanted to say, 'this could be both shows'."
Following a period of post-production, The Aquabats began widely self-promoting Super Show! in June 2008, redesigning their website to promote the pilot and releasing a teaser trailer and several exclusive clips through an official Super Show! YouTube channel. On July 25, 2008, the band screened the full pilot at a concert in San Diego held during the weekend of the San Diego Comic-Con, while a segment of the episode was hosted on Boing Boing the same day. In 2009, Cartoon Network allegedly picked the series up for a run of 22 episodes, though following major staff changes within the company—which, according to Jacobs, included the termination of the executives who had green-lighted Super Show!—the project was again cancelled.
The Hub and season one
After several more unsuccessful network pitches into the 2010s, The Aquabats! Super Show! was finally picked up as a series by family cable channel The Hub, a joint venture between Hasbro and Discovery which launched in 2010 as a replacement for Discovery Kids. The Hub formally announced the series in a press release on March 23, 2011, revealing Super Show! would be given a first season run of 13 episodes, produced in conjuncture with FremantleMedia. In promotion of the series, The Aquabats appeared as part of a panel at the 2011 San Diego Comic-Con where they discussed their initial plans for the show, while The Hub sponsored an Aquabats concert held at the nearby House of Blues during the same weekend.
Production on season one of Super Show! officially began in May 2011. The entirety of the first season was shot within and around The Aquabats' hometown of Orange County, California; according to the first season DVD audio commentary, episodes were shot on location in the cities of Irvine, Silverado, Yorba Linda, Huntington Beach and Fullerton, while a private sound stage in Santa Ana was used for interior shots of the Battletram. A public Aquabats concert held at The Glass House club in Pomona on November 5, 2011 was also filmed to provide live footage of the band which is featured in the series' opening credits montage and several individual episodes.
Much of Super Show!s staff consist of friends and colleagues of The Aquabats who've previously worked with the band on various projects, ranging from members of Yo Gabba Gabba!s production team to fellow musicians within the southern California music scene. Among the more notable examples include Dallas McLaughlin and Matthew Gorney, both members of the San Diego hip hop band Bad Credit, who prominently served as writers, composers and performers, Warren Fitzgerald, guitarist for The Vandals, who was hired as a writer and music director, internet sketch comedy group Mega64 were commissioned to produce original material, primarily the series' parody commercials, and Japanese artist Pey, who had designed much of The Aquabats' promotional art and merchandise during the 2000s, was hired to design the season's animated segments. Additionally, several industry professionals were brought in to help work on the show: Dani Michaeli, a staff writer on SpongeBob SquarePants, was hired as the series' story editor, while Matt Chapman, co-creator of the internet Flash cartoon Homestar Runner, acted as a writer, director and actor on several episodes. As none of the members besides Jacobs had any previous acting experience, comedian Matt Walsh of the Upright Citizens Brigade was brought in to help teach The Aquabats comedic acting and timing.
In further homage to the original Batman series, Super Show! features a variety of celebrity cameo appearances. The series' first season included appearances from actors Jon Heder, Lou Diamond Phillips and Samm Levine, comedians Rip Taylor, Paul Scheer and Paul Rust, and comedy musician "Weird Al" Yankovic, who appeared in two episodes as different characters. The first season also included several "Easter egg" cameos from original Aquabats members Corey "Chainsaw" Pollock and Boyd "Catboy" Terry, as well as from fellow musicians Warren Fitzgerald and Art Mitchell of the band Supernova.
Despite having been originally announced as part of The Hub's 2011 Fall line-up, production delays postponed Super Show!s premiere to early 2012. The series' marketing campaign began in December 2011, with a later announcement of an official premiere date confirmed for March 3, 2012. Following a non-consecutive run of 13 episodes, the first-season finale aired on June 16, 2012.
Season two
On October 16, 2012, The Aquabats and The Hub confirmed production on new episodes of Super Show! through the social networking sites Facebook and Twitter, announcing a tentative debut date of Spring 2013. Principal photography on season two began on October 22 and wrapped on December 1. Unlike the first season, the majority of season two was shot in and around Salt Lake City, Utah, which Jacobs explained was considerably less expensive than shooting in California.
While no changes were made to Super Shows creative team, in December 2012 it was announced that season two would introduce the series' first guest director, musician and comic book writer Gerard Way, who co-directed and co-wrote the season finale "The AntiBats!" with Jacobs and deVilliers. Way's involvement with the series was heavily covered by the music press in the wake of the March 2013 break-up of his popular alternative rock band My Chemical Romance. Among the guest stars featured in season two were professional skateboarders Tony Hawk and Eric Koston, Devo frontman and Yo Gabba Gabba! cast member Mark Mothersbaugh, internet celebrity Leslie Hall, actor Martin Starr and My Chemical Romance bassist Mikey Way.
On December 2, 2012, deVilliers revealed on his Twitter account that the upcoming season would consist of only five new episodes, in what he called more "season 1.5" than a "season 2", though mentioned the possibility of more being made in the future. On May 1, 2013, it was announced through Entertainment Weekly that the series' second season would begin airing on June 1. After a run of only five episodes, the season concluded on June 29, 2013.
2013–2014 specials
On August 22, 2013, series performer Chad Larson confirmed via Twitter that three additional episodes of Super Show! were being filmed near the end of the year, "and maybe more next". Principal photography on these episodes eventually began in Utah in early October. Throughout the month, The Aquabats posted numerous pictures of production on the new episodes on their Twitter and Instagram accounts, some of which revealed production code numbers of 301, 302 and 303, ostensibly indicating what would be a third season. Though these numbers were later verified by the Internet Movie Database, a November press release from The Hub explicitly referred to these three episodes as "specials".
The first of these specials, "Christmas with The Aquabats!", aired on December 21, featuring comedians Robert Smigel and Matt Walsh in guest roles. The second of these episodes, "The Shark Fighter!" (based on The Aquabats' song of the same name), featuring comedian Rhys Darby, aired the following week on December 28, while the final special "Kitty Litter!" aired on January 18, 2014. "Kitty Litter!" was helmed by another guest director, Munn Powell, best known for his work as cinematographer on the Jared and Jerusha Hess films Napoleon Dynamite and Gentlemen Broncos.
Following this short run of episodes, there was no confirmation by either The Hub or The Aquabats as to the production of any future episodes. In a December 2013 interview, Christian Jacobs acknowledged the network's unusually small order of episodes but didn't elaborate on any possible reasoning. In the same interview, he stated that the band had initially prepared for another order of 13 episodes, having written as many scripts for potential future episodes.
On May 1, 2014, the nominees for the 2014 Daytime Emmy Awards were announced, revealing that Super Show! had been nominated for five awards in four categories, including the award for Best Writing in a Children's Series for the episode "The AntiBats!". The awards ceremony was held on June 22, 2014, where the series ultimately won the award for Best Stunt Coordination for stuntman Skip Carlson.
Cancellation by The Hub and hiatus
In mid-2014, it was announced in entertainment press that Hasbro and Discovery had been in the process of rebranding The Hub following what they saw to be disappointing returns for the channel, changes which included the departure of CEO Margaret Loesch, who was instrumental in acquiring Super Show! as a series. In a Huffington Post feature about The Aquabats prior to the band's appearance at the 2014 San Diego Comic-Con, it was revealed that The Hub had opted not to renew Super Show! for a third season, effectively cancelling the series.
Jacobs admitted he was surprised by this turn of events, noting "Everything we heard was that the show has been a real Cinderella story for the Hub and that it was rating really well with viewers. We just assumed that we'd eventually go back into production or at least get picked up for Season 3", but ultimately concluded "it is what it is" in regard to the network's decision. Despite this, Jacobs remained optimistic about the series' future, saying "Given that we now live in a world where people are streaming TV shows directly onto their iPhones & computers, and given that companies like Netflix & Yahoo! are now picking up so much new content for their customers...I just find it hard to believe that The Aquabats! Super Show! is really over. I mean, we haven't even made any toys yet". He concluded by stating "It took us almost 15 years to get that TV series made. And even though we've got a bunch more concert dates lined up for the rest of this year, our first priority is to find a new home for The Aquabats! Super Show!".
On March 31, 2015, the nominees for the 42nd annual Daytime Emmy Awards were announced, with Super Show! earning nominations for Best SFX Mixer (Blaine Stewart) and Best Stunt Coordinator (Braxton McAllister).
On June 27, 2015, The Aquabats screened the entire first season of Super Show! before a sold-out crowd at The Frida Cinema in downtown Santa Ana, which was accompanied by a live performance by the band and Q&A sessions with The Aquabats and numerous members of the cast and crew. A similar presentation of the entire second season – including the three additional specials – took place at The Art Theater in Long Beach on December 16, 2017, coinciding with the release of the second season Blu-ray.
Bring Back The Aquabats! Kickstarter campaign
Following weeks of teasing a major announcement, The Aquabats launched a Kickstarter campaign on July 31, 2018 to help finance the return of The Aquabats! Super Show! as well as new studio albums from the band at a minimum projected cost of $1.1 million. The Aquabats promoted their campaign with a video featuring a slew of celebrity cameos, including Super Show! guest stars "Weird Al" Yankovic, Robert Smigel (as Triumph the Insult Comic Dog), Matt Chapman (as Homestar Runner and Strong Bad), former Aquabats member Travis Barker, Tony Kanal, Tom Dumont, Oscar Nunez, Kate Micucci, Blake Anderson, Imagine Dragons, Felicia Day and Tom Lennon, all of whom appeared in The Aquabats' trademark uniforms and spoke the Kickstarter's promotional slogan "I am The Aquabats"/"We are The Aquabats". Most prominently featured, however, was comedian Jack Black, who was later confirmed by the campaign's press releases to act as executive producer for the series' return.
Along with their Kickstarter, the band began releasing a series of Super Show! "mini-episodes", depicting the MC Bat Commander's metafictional quest to reunite the estranged Aquabats following the series' cancellation. The band confirmed that as the Kickstarter progresses, further "mini-episodes" will be released to both promote the campaign as well as act as a continuation of Super Show!.
By August 28, mere days before the campaign's end date of September 1, The Aquabats' Kickstarter had raised only $601,629 of its projected $1.1 million goal. The funding was subsequently cancelled and the campaign was rebooted the same day with a smaller goal of $100,000 to instead finance one new album and the continued production of the Super Show!! "mini-episodes". The project's goal was met within minutes.
Music
Original music for The Aquabats! Super Show! was primarily composed and performed by The Aquabats themselves, with additional scoring on most episodes provided by Matthew Gorney, Warren Fitzgerald or individual credits for Aquabats members James R. Briggs, Jr., Richard Falomir and Ian Fowles. Fitzgerald, guitarist for punk rock band The Vandals and former member of Oingo Boingo, acted as the series' music supervisor. The theme song to Super Show!, "Super Show Theme Song!", was co-written by The Aquabats and Fitzgerald.
Whereas most musically oriented shows like The Monkees typically break the narrative of an episode for a music video performance of a standalone song, each episode of Super Show! typically features one or two unique songs that tied directly into the plot, usually about and performed during the events of a particular scene. Most of these songs are rather brief, averaging a running time of just under a minute; Jacobs stated that many of the show's original songs were recorded as full-length pieces but trimmed down for inclusion in an episode, simply due to the show "trying to pack so much into 22 minutes".
Shortly after Super Show!s premiere, Jacobs confirmed plans to eventually release the series' original full-length songs as a soundtrack album. However, these plans wouldn't fully come to fruition until 2019; in a 2018 interview, Jacobs retrospectively revealed that the album had been long completed but the band "hadn't had all the rights tied up" until then. The first original and full-length recordings from the series' first season debuted in July 2017, when "Burger Rain" and "Beat Fishin'" were released as a tour-exclusive 7" single. Songs from the series' first season were eventually compiled as The Aquabats! Super Show! Television Soundtrack: Volume One, which was released digitally in March 2019 and then onto physical media the following June, where it became The Aquabats' highest-charting album to date, debuting at the top of Billboards Top Heatseekers chart and at 165 on the Billboard 200.
Cast and characters
See: List of The Aquabats! Super Show! characters
The Aquabats! Super Show! stars and is based upon fictionalized versions of the then-current (since 2006) line-up of the California comedy rock band The Aquabats. Adapting the backstory the band has used for the entirety of their professional career, Super Show! depicts The Aquabats as a group of bumbling, out-of-shape superheroes on a self-appointed mission to fight the forces of evil, presented in both live-action and animated segments. The five members of The Aquabats are:
The MC Bat Commander (played and voiced by Christian Jacobs) – The Aquabats' singer and de facto leader of the team. Though he doesn't have any superpowers of his own and is often quite stubborn and naive, the Commander is shown to be an effective strategist whose sharp leadership skills, bravery and determination regularly drive the band towards victory.
Crash McLarson (played and voiced by Chad Larson) – The band's bass guitarist, who has the frequently uncontrollable ability to grow upwards of 100 feet in size when under emotional stress. Despite being the largest and strongest of The Aquabats, Crash has a gentle, childlike demeanor bordering on slight dim-wittedness, and as such is usually the most cowardly member of the team.
Jimmy the Robot (played and voiced by James R. Briggs, Jr.) – The Aquabats' keyboardist. As his name implies, Jimmy is an android whose mechanical body houses a variety of built-in gadgets and weaponry, plus a comprehensive knowledge database which earns him the position of the group's resident scientist. Being a robot, Jimmy is generally perplexed by human emotions and behavior.
Ricky Fitness (played and voiced by Richard Falomir) – the band's drummer, Ricky possesses the power of super speed. Being the most physically fit and health-conscious member of The Aquabats, some of the series' running gags revolve around Ricky's status as a handsome ladies' man and his fondness for "fresh, healthy veggies" in contrast to the rest of the team's voracious affinity for junk food.
EagleBones Falconhawk (played and voiced by Ian Fowles) – The Aquabats' guitarist. The cocky and boyish maverick of the team, EagleBones is highly proficient on his custom weaponized electric guitar which shoots lasers from its headstock. Following a spiritual encounter early in season one, EagleBones also has the gift of second sight and is accompanied by "The Dude", an invisible spirit eagle whom he summons to aide The Aquabats in battle.
Voice actor and writer Mr. Lawrence provided the minimal narration for both seasons of Super Show!s live-action segments, while staff writer Kyle McCulloch narrated the first season's animated segments.
Guest stars and recurring characters
Though each episode of the series introduced a new villain, ally and/or celebrity cameo, Super Show! never featured any major recurring characters throughout its run. However, every episode of the show included a very brief appearance by a character fans dubbed the "Fox Man", a man in a cheap-looking fox costume played by visual effects supervisor Joel Fox, who would appear hidden in the background of a random scene as an Easter egg for viewers to spot, although his character was never explained within the context of the series.
Comedy musician "Weird Al" Yankovic and comedian Paul Rust were the only two guest actors to appear in two episodes: Yankovic played two different roles as the President of the United States and superhero SuperMagic PowerMan! (in a 2012 interview, Jacobs alluded to the two possibly being the same character, though this isn't implied within the series), while Rust played a boorish slacker named Ronmark, first appearing in live-action in a first-season episode and subsequently lending his voice to a mutated monster version of the character in part of a second-season episode.
Episodes
Distribution
International broadcast
Outside of North America, The Aquabats! Super Show! broadcast in Australia on the children's public broadcasting channel ABC3 and in the United Kingdom on the children's network CITV.
Home media
Coinciding with the run of the first season, each new episode of The Aquabats! Super Show! was released through the iTunes Store for digital download. Prior to the series debut, a season pass was made available for purchase to enable viewers to automatically receive a download of each new episode on its airdate. The first season of Super Show! was added to the video streaming service Netflix on December 1, 2012, later being added to Hulu on December 21.
Unlike the first season, the series' second season was not made available for iTunes pre-order, nor were episodes released for purchase. Though each episode was briefly streamed on The Hub's official website, none of the seasons' episodes were made available on Hulu, Netflix or similar streaming services.
Shout! Factory had the DVD publishing rights for The Aquabats! Super Show! within Region 1 for release of the first season. The company first announced their acquisition of the series and plans for a future DVD in a press release dated August 6, 2012, though did not initially confirm a set release date until several months later. On May 21, 2013, the first season of Super Show! was released on a two-disc DVD set.
On November 22, 2017, in conjunction with their announcement of a season two theatrical screening, The Aquabats confirmed an independent Blu-ray release for season two, including the three specials often considered a "season three". On December 5, pre-orders were launched on The Aquabats' merchandising site for an official release date of December 22, though copies were first made for public sale at the second season theatrical screening on December 16.
Starting in December 2014, The Aquabats gradually began uploading the series' full episodes onto their official YouTube channel. As of August 2019, all 21 episodes of Super Show! and its pilot episode have been publicly uploaded to their account.
Critical reception
Critical response to The Aquabats! Super Show! was predominantly positive, with most reviewers praising the series' intentionally campy tone and offbeat humor. The Onions The A.V. Club gave the series premiere an A− rating, describing it as "a loving homage to basically everything ever done by the brothers Krofft": "the show adeptly flips from humor to melodrama to action, providing some awesomely cheap special effects, goofy songs, and gags that range from slapstick to sublime", summarizing "there's so much here that both kids and parents will be able to enjoy the proceedings on their own respective levels and rarely find themselves bored".
Brian Lowry of Variety wrote "you don't have to laugh at everything to admire the effort and sheer silliness", calling the show a "goofy and nostalgic" throwback to the "children's TV of baby boomers' youth, down to crappy production values and awful-looking 'monsters' that work to its advantage". He summarized "Although this Hub series at times feels like an SNL skit stretched to a half-hour, its sly mix of music, live-action crime-fighting, cartoons and mock ads ought to develop a cult following—and might be more popular with parents, at least those with the geek gene, than their kids".
Technology magazine Wired was consistently positive towards the series, calling it both "wonderfully strange" and "delightfully deranged", writing "[f]illed with self-deprecating music videos, toon interludes and ludicrous villains, The Aquabats! Super Show! has become one of television's strangely comforting finds".
Common Sense Media, who review shows based on age-appropriate content, gave Super Show! a rating of 4 out of 5 stars, calling it "demented and manic...fun by sheer dint of how many jokes, visual and otherwise, are thrown at the screen, both those calculated to appeal to kids and adults". The site praised the series for its lighter and sillier tone in comparison to more violent live-action superhero fare, and considered the "kind-hearted" Aquabats to be relatively positive role models. However, the reviewer suggested the show's violence and creatures may be too intense for very young children, and pointed out a distinct lack of central female characters.
Neil Genzlinger of The New York Times offered a more indifferent opinion, calling The Aquabats "indescribably odd" and the series "frenetic, semicoherent and generally harmless. Also somewhat hallucinogenic", noting Super Show!s writing "may be over the heads of the 2-to-12 set", suggesting its most receptive audience might be "the college drinking-game crowd".
Awards and nominations
The Aquabats! Super Show! was nominated for the following awards:
Daytime Emmy Award
References
External links
Official website of The Aquabats
The Aquabats
2010s American children's television series
2010s American musical comedy television series
2010s American satirical television series
2010s American sketch comedy television series
2010s American superhero comedy television series
2012 American television series debuts
2014 American television series endings
American children's adventure television series
American children's musical television series
American television series with live action and animation
Children's sketch comedy
English-language television shows
Television series by Fremantle (company)
Television shows set in Orange County, California
American television shows featuring puppetry
Discovery Family original programming | true | [
"\"Sin Despertar\" is a pop song performed by Chilean band Kudai. It was released as the first single of their debut album Vuelo. This single was also their first single as Kudai, after they gave up their old name band Ciao. This single was very successful in Chile and Argentina and later in the rest of Latin America, including Mexico.\n\nMusic video\nKudai's music video for their first single ever \"Sin Despertar\", was filmed in Santiago, Chile and the location used in this music videos was in O'Higgins Park, Movistar Arena Santiago, the video was premiered on 24 June 2004 on MTV, and this was very successful on Los 10+ Pedidos and Top 20.\n\nCharts\n\nReferences\n\nExternal links \nKudai Official Site\nEMI Music Mexico\n\n2004 singles\nKudai songs\n2005 singles\n2006 singles\n2004 songs",
"Rough and Ready Volume 2 is a studio album released by Shabba Ranks. This album was not as successful as Volume 1 and it was going to be difficult to create an album as successful as its predecessor, X-tra Naked, which won a Grammy. Volume 2 was criticised for lacking variety.\n\nTrack listing\n\nReferences\n\n1993 albums\nShabba Ranks albums\nEpic Records albums"
] | [
"The Aquabats! Super Show! is an American action-comedy musical television series which aired from March 3, 2012 to January 8, 2014 on The Hub Network and resumed as an independent YouTube web series in September 2019.",
"is an American action-comedy musical television series which aired from March 3, 2012 to January 8, 2014 on The Hub Network and resumed as an independent YouTube web series in September 2019. The series was created by Christian Jacobs, and Scott Schultz, both the creators of the Nick Jr. show Yo Gabba Gabba!, and Jason deVilliers.",
"The series was created by Christian Jacobs, and Scott Schultz, both the creators of the Nick Jr. show Yo Gabba Gabba!, and Jason deVilliers. Based on the superhero mythology of The Aquabats, a real-life comedy rock band which series co-creator and lead singer Jacobs formed in 1994, The Aquabats! Super Show!",
"Super Show! Super Show! follows the comic adventures of a fictionalized version of the band, a musical group of amateur superheroes, as they haphazardly defend the world from a variety of villains and monsters. Styled similarly to the campy aesthetics of 1960s and 1970s children's television and Japanese tokusatsu, Super Show!",
"Styled similarly to the campy aesthetics of 1960s and 1970s children's television and Japanese tokusatsu, Super Show! utilizes various mediums of visual styles and special effects, mixing live-action storylines with cartoon shorts, parody advertisements and musical interludes.",
"utilizes various mediums of visual styles and special effects, mixing live-action storylines with cartoon shorts, parody advertisements and musical interludes. The series' first season concluded on June 16, 2012 following a run of 13 episodes, having met with a largely positive critical reception, consistently high ratings for the channel and a Daytime Emmy nomination for Outstanding Children's Series.",
"The series' first season concluded on June 16, 2012 following a run of 13 episodes, having met with a largely positive critical reception, consistently high ratings for the channel and a Daytime Emmy nomination for Outstanding Children's Series. The series' second season consisted of an initial five episodes which aired through June 2013, with three additional episodes airing in late December and January 2014, receiving similar acclaim and a further seven Daytime Emmy nominations, ultimately winning one for Best Stunt Coordination.",
"The series' second season consisted of an initial five episodes which aired through June 2013, with three additional episodes airing in late December and January 2014, receiving similar acclaim and a further seven Daytime Emmy nominations, ultimately winning one for Best Stunt Coordination. In June 2014, co-creator Jacobs officially announced the series' cancellation, following news of The Hub's financial losses which led to the network's rebranding as Discovery Family later that October.",
"In June 2014, co-creator Jacobs officially announced the series' cancellation, following news of The Hub's financial losses which led to the network's rebranding as Discovery Family later that October. In July 2018, The Aquabats launched a successful Kickstarter to help independently finance new episodes of The Aquabats!",
"In July 2018, The Aquabats launched a successful Kickstarter to help independently finance new episodes of The Aquabats! Super Show!, promoting the campaign with a series of YouTube-exclusive mini-episodes continuing the original series' storyline.",
"Super Show!, promoting the campaign with a series of YouTube-exclusive mini-episodes continuing the original series' storyline. On September 28, 2019, The Aquabats premiered the first installment of these new episodes, now a biweekly YouTube series entitled The Aquabats! RadVentures!, though still retaining Super Show!s theme song and title card.",
"RadVentures!, though still retaining Super Show!s theme song and title card. Series overview Premise Chronicled in both live-action and animated segments, The Aquabats! Super Show!",
"Super Show! Super Show! is centered around the adventures of The Aquabats, a group of superhero rock musicians who travel the countryside on a self-appointed mission to fight evil and \"destroy boredom\", protecting the world from the villains and creatures who threaten to destroy it while aiming to become a famous rock and roll band in their own right.",
"is centered around the adventures of The Aquabats, a group of superhero rock musicians who travel the countryside on a self-appointed mission to fight evil and \"destroy boredom\", protecting the world from the villains and creatures who threaten to destroy it while aiming to become a famous rock and roll band in their own right. The Aquabats consist of singer The MC Bat Commander (Christian Jacobs), the swaggering leader of the group; bassist Crash McLarson (Chad Larson), who can grow up to 100 feet in size; drummer Ricky Fitness (Richard Falomir), who has the power of super speed; guitarist EagleBones Falconhawk (Ian Fowles), who's armed with a laser-shooting electric guitar; and keyboardist Jimmy the Robot (James R. Briggs, Jr.), an android.",
"The Aquabats consist of singer The MC Bat Commander (Christian Jacobs), the swaggering leader of the group; bassist Crash McLarson (Chad Larson), who can grow up to 100 feet in size; drummer Ricky Fitness (Richard Falomir), who has the power of super speed; guitarist EagleBones Falconhawk (Ian Fowles), who's armed with a laser-shooting electric guitar; and keyboardist Jimmy the Robot (James R. Briggs, Jr.), an android. Despite their superhuman strengths and abilities, The Aquabats are quite bumbling, disorganized, and sometimes cowardly when faced with danger; this has in fact led them to be labeled \"the world's most inept superheroes\".",
"Despite their superhuman strengths and abilities, The Aquabats are quite bumbling, disorganized, and sometimes cowardly when faced with danger; this has in fact led them to be labeled \"the world's most inept superheroes\". The band lives and travels by way of their \"Battletram\", a modified classic GMC motorhome which, despite its small exterior, has an implausibly massive interior (similar to the TARDIS from Doctor Who or The Big Bologna from The Kids From C.A.P.E.R.",
"The band lives and travels by way of their \"Battletram\", a modified classic GMC motorhome which, despite its small exterior, has an implausibly massive interior (similar to the TARDIS from Doctor Who or The Big Bologna from The Kids From C.A.P.E.R. ), which contains, among many things, a science lab, a command center, and a living room.",
"), which contains, among many things, a science lab, a command center, and a living room. The Aquabats' origin story was left intentionally vague throughout the series, a choice Jacobs explains was done for the sake of the viewer's imagination, as he felt kids were more accepting of the inherent absurdity of the premise than adults tend to be: \"'There's five guys.",
"The Aquabats' origin story was left intentionally vague throughout the series, a choice Jacobs explains was done for the sake of the viewer's imagination, as he felt kids were more accepting of the inherent absurdity of the premise than adults tend to be: \"'There's five guys. This is what each of the five guys does.",
"This is what each of the five guys does. There are monsters. They're gonna try to fight them'. It's so simple. And I think that's why it's so awesome with kids—they just take it and run with it\".",
"And I think that's why it's so awesome with kids—they just take it and run with it\". In the first five episodes of season two, each member of The Aquabats shares their memory of how they joined the band via animated flashback sequences; however, all of these flashbacks directly and intentionally contradict each other, leaving it unknown which—if any—could be considered officially canonical.",
"In the first five episodes of season two, each member of The Aquabats shares their memory of how they joined the band via animated flashback sequences; however, all of these flashbacks directly and intentionally contradict each other, leaving it unknown which—if any—could be considered officially canonical. Format and influences The Aquabats! Super Show!",
"Format and influences The Aquabats! Super Show! Super Show! juxtaposes both live-action and animated segments starring The Aquabats, interwoven with various tangential skits and cartoon interstitials. The live-action storylines are the primary focus of each episode, following a self-contained villain of the week formula.",
"The live-action storylines are the primary focus of each episode, following a self-contained villain of the week formula. In the first season, each episode featured brief anime-styled cartoon shorts which one of the characters would introduce at a random point of the show, often by finding \"A Cartoon\" (represented by a miniature television set) in an absurd location.",
"In the first season, each episode featured brief anime-styled cartoon shorts which one of the characters would introduce at a random point of the show, often by finding \"A Cartoon\" (represented by a miniature television set) in an absurd location. Unlike the live-action segments, these cartoons followed a serialized story arc, with each installment ending in a cliffhanger to be resolved in the next episode.",
"Unlike the live-action segments, these cartoons followed a serialized story arc, with each installment ending in a cliffhanger to be resolved in the next episode. In season two, this format was replaced with a series of animated flashbacks recounting the origins of The Aquabats, each by a different animation studio and in a different animation style.",
"In season two, this format was replaced with a series of animated flashbacks recounting the origins of The Aquabats, each by a different animation studio and in a different animation style. Between these segments are pantomime cartoon shorts starring \"Lil' Bat\", The Aquabats' anthropomorphic bat mascot, and live-action parody commercials for outlandish fictional products, the latter of which has long been a staple of The Aquabats' multi-media stage shows.",
"Between these segments are pantomime cartoon shorts starring \"Lil' Bat\", The Aquabats' anthropomorphic bat mascot, and live-action parody commercials for outlandish fictional products, the latter of which has long been a staple of The Aquabats' multi-media stage shows. Jacobs says the concept behind Super Show!",
"Jacobs says the concept behind Super Show! was something he had always dreamed of doing, making a \"campy, live-action, funky kid's show\" in the vein of the 1960s and 1970s television that he and the rest of the series' producers had grown up with.",
"was something he had always dreamed of doing, making a \"campy, live-action, funky kid's show\" in the vein of the 1960s and 1970s television that he and the rest of the series' producers had grown up with. While the show pays homage to many facets of pop culture, Jacobs has named the 1960s Batman television series as the primary influence on Super Show!s \"obviously silly\" tone and visual style, ranging from set design to the trademark use of dutch angles for villain scenes.",
"While the show pays homage to many facets of pop culture, Jacobs has named the 1960s Batman television series as the primary influence on Super Show!s \"obviously silly\" tone and visual style, ranging from set design to the trademark use of dutch angles for villain scenes. Other notable influences Jacobs has repeatedly mentioned include the works of Sid and Marty Krofft and Hanna-Barbera, Japanese tokusatsu series such as Ultraman and Johnny Sokko And His Flying Robot, the Shaw Brothers and Hong Kong cinema, and shows including Danger Island, Star Trek, The Rocky and Bullwinkle Show, and Pee-wee's Playhouse, noting \"there's a good 30 years worth of television culture packed into these 22-minute episodes\".",
"Other notable influences Jacobs has repeatedly mentioned include the works of Sid and Marty Krofft and Hanna-Barbera, Japanese tokusatsu series such as Ultraman and Johnny Sokko And His Flying Robot, the Shaw Brothers and Hong Kong cinema, and shows including Danger Island, Star Trek, The Rocky and Bullwinkle Show, and Pee-wee's Playhouse, noting \"there's a good 30 years worth of television culture packed into these 22-minute episodes\". Demographic As The Hub's key demographic were children aged 6 to 12, Super Show!",
"Demographic As The Hub's key demographic were children aged 6 to 12, Super Show! was ostensibly targeted towards said age group, though Jacobs has stated that the series primarily aimed to appeal to an all-ages crowd, with the intent of creating entertainment that both kids and parents can watch and enjoy together or separately.",
"was ostensibly targeted towards said age group, though Jacobs has stated that the series primarily aimed to appeal to an all-ages crowd, with the intent of creating entertainment that both kids and parents can watch and enjoy together or separately. In interviews prior to the series' premiere, he explained that this was merely an extension of The Aquabats' own family-friendly ethos: \"There's just obviously something about the costumes and being superheroes that really appeals to younger kids, and I think we always knew that as a band...I think we'll want to put things in [the show] for an older audience, because we realize we have an older audience, but then also we want the young kids, to not have it go over their heads\".",
"In interviews prior to the series' premiere, he explained that this was merely an extension of The Aquabats' own family-friendly ethos: \"There's just obviously something about the costumes and being superheroes that really appeals to younger kids, and I think we always knew that as a band...I think we'll want to put things in [the show] for an older audience, because we realize we have an older audience, but then also we want the young kids, to not have it go over their heads\". Production history History and previous attempts at a series In 1994, musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in Brea, California.",
"Production history History and previous attempts at a series In 1994, musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in Brea, California. Influenced as much by cartoons and camp television as theatrical bands like Devo and Oingo Boingo, The Aquabats gained instant notoriety in the Orange County music scene for their eccentric persona in which they claimed to be a band of superheroes on a quest to save the world and their elaborate stage shows which regularly featured scripted fights with costumed villains alongside similar stunts and comedy sketches.",
"Influenced as much by cartoons and camp television as theatrical bands like Devo and Oingo Boingo, The Aquabats gained instant notoriety in the Orange County music scene for their eccentric persona in which they claimed to be a band of superheroes on a quest to save the world and their elaborate stage shows which regularly featured scripted fights with costumed villains alongside similar stunts and comedy sketches. The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough for the group, charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs – a former child actor with ties in the industry – to develop the concept of adapting the band's mythology for television.",
"The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough for the group, charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs – a former child actor with ties in the industry – to develop the concept of adapting the band's mythology for television. In 1998, Buena Vista Television helped produce a live-action mini-pilot directed by comedian Bobcat Goldthwait titled simply The Aquabats!, following the comic misadventures of the then-eight member band in an over-the-top camp style similar to Saturday morning cartoon shows.",
"In 1998, Buena Vista Television helped produce a live-action mini-pilot directed by comedian Bobcat Goldthwait titled simply The Aquabats!, following the comic misadventures of the then-eight member band in an over-the-top camp style similar to Saturday morning cartoon shows. The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves.",
"The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves. Undeterred, The Aquabats made an attempt at a second pilot the following year, using a music video budget granted by their record label Goldenvoice Records for their 1999 album The Aquabats vs. the Floating Eye of Death!.",
"Undeterred, The Aquabats made an attempt at a second pilot the following year, using a music video budget granted by their record label Goldenvoice Records for their 1999 album The Aquabats vs. the Floating Eye of Death!. Independently directed and produced by Jacobs and his creative partner Scott Schultz, the result was a five-minute promo video entitled The Aquabats in Color!.",
"Independently directed and produced by Jacobs and his creative partner Scott Schultz, the result was a five-minute promo video entitled The Aquabats in Color!. In contrast to the wackier tone of the previous pilot, The Aquabats in Color! was a more action-oriented superhero series modeled after Japanese tokusatsu shows such as Kamen Rider.",
"was a more action-oriented superhero series modeled after Japanese tokusatsu shows such as Kamen Rider. According to Jacobs, the Fox Family Channel reportedly expressed interest in the series and ordered production on a proper pilot episode, though following the channel's acquisition by Disney in 2001, the project was cancelled. The Aquabats! Super Show!",
"The Aquabats! Super Show! Super Show! pilot (2008) In 2005, Jacobs and Schultz formed the Orange County-based production company The Magic Store, focusing on creating family-oriented television entertainment.",
"pilot (2008) In 2005, Jacobs and Schultz formed the Orange County-based production company The Magic Store, focusing on creating family-oriented television entertainment. One of the company's independently produced pilots, the children's television series Yo Gabba Gabba!, was eventually picked up as a series by Viacoms Nick Jr. channel, premiering in August 2007 and ultimately becoming an award-winning and critically acclaimed international success.",
"One of the company's independently produced pilots, the children's television series Yo Gabba Gabba!, was eventually picked up as a series by Viacoms Nick Jr. channel, premiering in August 2007 and ultimately becoming an award-winning and critically acclaimed international success. In the wake of the series' popularity, Jacobs and Schultz persuaded Yo Gabba Gabba!s joint production company Wild Brain to help produce a new pilot based around The Aquabats in conjuncture with The Magic Store.",
"In the wake of the series' popularity, Jacobs and Schultz persuaded Yo Gabba Gabba!s joint production company Wild Brain to help produce a new pilot based around The Aquabats in conjuncture with The Magic Store. Again creatively spearheaded by Jacobs and Schultz, The Aquabats' third pilot, titled The Aquabats!",
"Again creatively spearheaded by Jacobs and Schultz, The Aquabats' third pilot, titled The Aquabats! Super Show!, was shot on location throughout southern California in late 2007 and early 2008.",
"Super Show!, was shot on location throughout southern California in late 2007 and early 2008. Part of this filming took place at a free invitation-only concert for members of the band's official fan club at the El Rey Theatre in Los Angeles on January 12, 2008.",
"Part of this filming took place at a free invitation-only concert for members of the band's official fan club at the El Rey Theatre in Los Angeles on January 12, 2008. While The Aquabats' previous pilots were short, live-action promotional videos, The Aquabats! Super Show!",
"Super Show! Super Show! was a fully realized 22-minute episode featuring two separate storylines based on the adventures of The Aquabats, one live-action and one animated, and interspersed with parody commercials and live footage of the band.",
"was a fully realized 22-minute episode featuring two separate storylines based on the adventures of The Aquabats, one live-action and one animated, and interspersed with parody commercials and live footage of the band. Speaking on the decision to structure the show in such a varied format, Jacobs said \"[w]e did that for a strategic reason – some networks like cartoons more than other networks.",
"Speaking on the decision to structure the show in such a varied format, Jacobs said \"[w]e did that for a strategic reason – some networks like cartoons more than other networks. We wanted to say, 'this could be both shows'.\" Following a period of post-production, The Aquabats began widely self-promoting Super Show!",
"Following a period of post-production, The Aquabats began widely self-promoting Super Show! in June 2008, redesigning their website to promote the pilot and releasing a teaser trailer and several exclusive clips through an official Super Show! YouTube channel.",
"YouTube channel. YouTube channel. On July 25, 2008, the band screened the full pilot at a concert in San Diego held during the weekend of the San Diego Comic-Con, while a segment of the episode was hosted on Boing Boing the same day.",
"On July 25, 2008, the band screened the full pilot at a concert in San Diego held during the weekend of the San Diego Comic-Con, while a segment of the episode was hosted on Boing Boing the same day. In 2009, Cartoon Network allegedly picked the series up for a run of 22 episodes, though following major staff changes within the company—which, according to Jacobs, included the termination of the executives who had green-lighted Super Show!—the project was again cancelled.",
"In 2009, Cartoon Network allegedly picked the series up for a run of 22 episodes, though following major staff changes within the company—which, according to Jacobs, included the termination of the executives who had green-lighted Super Show!—the project was again cancelled. The Hub and season one After several more unsuccessful network pitches into the 2010s, The Aquabats!",
"The Hub and season one After several more unsuccessful network pitches into the 2010s, The Aquabats! Super Show! was finally picked up as a series by family cable channel The Hub, a joint venture between Hasbro and Discovery which launched in 2010 as a replacement for Discovery Kids.",
"was finally picked up as a series by family cable channel The Hub, a joint venture between Hasbro and Discovery which launched in 2010 as a replacement for Discovery Kids. The Hub formally announced the series in a press release on March 23, 2011, revealing Super Show!",
"The Hub formally announced the series in a press release on March 23, 2011, revealing Super Show! would be given a first season run of 13 episodes, produced in conjuncture with FremantleMedia.",
"would be given a first season run of 13 episodes, produced in conjuncture with FremantleMedia. In promotion of the series, The Aquabats appeared as part of a panel at the 2011 San Diego Comic-Con where they discussed their initial plans for the show, while The Hub sponsored an Aquabats concert held at the nearby House of Blues during the same weekend.",
"In promotion of the series, The Aquabats appeared as part of a panel at the 2011 San Diego Comic-Con where they discussed their initial plans for the show, while The Hub sponsored an Aquabats concert held at the nearby House of Blues during the same weekend. Production on season one of Super Show! officially began in May 2011.",
"officially began in May 2011. officially began in May 2011. The entirety of the first season was shot within and around The Aquabats' hometown of Orange County, California; according to the first season DVD audio commentary, episodes were shot on location in the cities of Irvine, Silverado, Yorba Linda, Huntington Beach and Fullerton, while a private sound stage in Santa Ana was used for interior shots of the Battletram.",
"The entirety of the first season was shot within and around The Aquabats' hometown of Orange County, California; according to the first season DVD audio commentary, episodes were shot on location in the cities of Irvine, Silverado, Yorba Linda, Huntington Beach and Fullerton, while a private sound stage in Santa Ana was used for interior shots of the Battletram. A public Aquabats concert held at The Glass House club in Pomona on November 5, 2011 was also filmed to provide live footage of the band which is featured in the series' opening credits montage and several individual episodes.",
"A public Aquabats concert held at The Glass House club in Pomona on November 5, 2011 was also filmed to provide live footage of the band which is featured in the series' opening credits montage and several individual episodes. Much of Super Show!s staff consist of friends and colleagues of The Aquabats who've previously worked with the band on various projects, ranging from members of Yo Gabba Gabba!s production team to fellow musicians within the southern California music scene.",
"Much of Super Show!s staff consist of friends and colleagues of The Aquabats who've previously worked with the band on various projects, ranging from members of Yo Gabba Gabba!s production team to fellow musicians within the southern California music scene. Among the more notable examples include Dallas McLaughlin and Matthew Gorney, both members of the San Diego hip hop band Bad Credit, who prominently served as writers, composers and performers, Warren Fitzgerald, guitarist for The Vandals, who was hired as a writer and music director, internet sketch comedy group Mega64 were commissioned to produce original material, primarily the series' parody commercials, and Japanese artist Pey, who had designed much of The Aquabats' promotional art and merchandise during the 2000s, was hired to design the season's animated segments.",
"Among the more notable examples include Dallas McLaughlin and Matthew Gorney, both members of the San Diego hip hop band Bad Credit, who prominently served as writers, composers and performers, Warren Fitzgerald, guitarist for The Vandals, who was hired as a writer and music director, internet sketch comedy group Mega64 were commissioned to produce original material, primarily the series' parody commercials, and Japanese artist Pey, who had designed much of The Aquabats' promotional art and merchandise during the 2000s, was hired to design the season's animated segments. Additionally, several industry professionals were brought in to help work on the show: Dani Michaeli, a staff writer on SpongeBob SquarePants, was hired as the series' story editor, while Matt Chapman, co-creator of the internet Flash cartoon Homestar Runner, acted as a writer, director and actor on several episodes.",
"Additionally, several industry professionals were brought in to help work on the show: Dani Michaeli, a staff writer on SpongeBob SquarePants, was hired as the series' story editor, while Matt Chapman, co-creator of the internet Flash cartoon Homestar Runner, acted as a writer, director and actor on several episodes. As none of the members besides Jacobs had any previous acting experience, comedian Matt Walsh of the Upright Citizens Brigade was brought in to help teach The Aquabats comedic acting and timing.",
"As none of the members besides Jacobs had any previous acting experience, comedian Matt Walsh of the Upright Citizens Brigade was brought in to help teach The Aquabats comedic acting and timing. In further homage to the original Batman series, Super Show! features a variety of celebrity cameo appearances.",
"features a variety of celebrity cameo appearances. The series' first season included appearances from actors Jon Heder, Lou Diamond Phillips and Samm Levine, comedians Rip Taylor, Paul Scheer and Paul Rust, and comedy musician \"Weird Al\" Yankovic, who appeared in two episodes as different characters.",
"The series' first season included appearances from actors Jon Heder, Lou Diamond Phillips and Samm Levine, comedians Rip Taylor, Paul Scheer and Paul Rust, and comedy musician \"Weird Al\" Yankovic, who appeared in two episodes as different characters. The first season also included several \"Easter egg\" cameos from original Aquabats members Corey \"Chainsaw\" Pollock and Boyd \"Catboy\" Terry, as well as from fellow musicians Warren Fitzgerald and Art Mitchell of the band Supernova.",
"The first season also included several \"Easter egg\" cameos from original Aquabats members Corey \"Chainsaw\" Pollock and Boyd \"Catboy\" Terry, as well as from fellow musicians Warren Fitzgerald and Art Mitchell of the band Supernova. Despite having been originally announced as part of The Hub's 2011 Fall line-up, production delays postponed Super Show!s premiere to early 2012.",
"Despite having been originally announced as part of The Hub's 2011 Fall line-up, production delays postponed Super Show!s premiere to early 2012. The series' marketing campaign began in December 2011, with a later announcement of an official premiere date confirmed for March 3, 2012.",
"The series' marketing campaign began in December 2011, with a later announcement of an official premiere date confirmed for March 3, 2012. Following a non-consecutive run of 13 episodes, the first-season finale aired on June 16, 2012.",
"Following a non-consecutive run of 13 episodes, the first-season finale aired on June 16, 2012. Season two On October 16, 2012, The Aquabats and The Hub confirmed production on new episodes of Super Show! through the social networking sites Facebook and Twitter, announcing a tentative debut date of Spring 2013.",
"through the social networking sites Facebook and Twitter, announcing a tentative debut date of Spring 2013. Principal photography on season two began on October 22 and wrapped on December 1.",
"Principal photography on season two began on October 22 and wrapped on December 1. Unlike the first season, the majority of season two was shot in and around Salt Lake City, Utah, which Jacobs explained was considerably less expensive than shooting in California.",
"Unlike the first season, the majority of season two was shot in and around Salt Lake City, Utah, which Jacobs explained was considerably less expensive than shooting in California. While no changes were made to Super Shows creative team, in December 2012 it was announced that season two would introduce the series' first guest director, musician and comic book writer Gerard Way, who co-directed and co-wrote the season finale \"The AntiBats!\"",
"While no changes were made to Super Shows creative team, in December 2012 it was announced that season two would introduce the series' first guest director, musician and comic book writer Gerard Way, who co-directed and co-wrote the season finale \"The AntiBats!\" with Jacobs and deVilliers.",
"with Jacobs and deVilliers. with Jacobs and deVilliers. Way's involvement with the series was heavily covered by the music press in the wake of the March 2013 break-up of his popular alternative rock band My Chemical Romance.",
"Way's involvement with the series was heavily covered by the music press in the wake of the March 2013 break-up of his popular alternative rock band My Chemical Romance. Among the guest stars featured in season two were professional skateboarders Tony Hawk and Eric Koston, Devo frontman and Yo Gabba Gabba!",
"Among the guest stars featured in season two were professional skateboarders Tony Hawk and Eric Koston, Devo frontman and Yo Gabba Gabba! cast member Mark Mothersbaugh, internet celebrity Leslie Hall, actor Martin Starr and My Chemical Romance bassist Mikey Way.",
"cast member Mark Mothersbaugh, internet celebrity Leslie Hall, actor Martin Starr and My Chemical Romance bassist Mikey Way. On December 2, 2012, deVilliers revealed on his Twitter account that the upcoming season would consist of only five new episodes, in what he called more \"season 1.5\" than a \"season 2\", though mentioned the possibility of more being made in the future.",
"On December 2, 2012, deVilliers revealed on his Twitter account that the upcoming season would consist of only five new episodes, in what he called more \"season 1.5\" than a \"season 2\", though mentioned the possibility of more being made in the future. On May 1, 2013, it was announced through Entertainment Weekly that the series' second season would begin airing on June 1.",
"On May 1, 2013, it was announced through Entertainment Weekly that the series' second season would begin airing on June 1. After a run of only five episodes, the season concluded on June 29, 2013.",
"After a run of only five episodes, the season concluded on June 29, 2013. 2013–2014 specials On August 22, 2013, series performer Chad Larson confirmed via Twitter that three additional episodes of Super Show! were being filmed near the end of the year, \"and maybe more next\".",
"were being filmed near the end of the year, \"and maybe more next\". Principal photography on these episodes eventually began in Utah in early October.",
"Principal photography on these episodes eventually began in Utah in early October. Throughout the month, The Aquabats posted numerous pictures of production on the new episodes on their Twitter and Instagram accounts, some of which revealed production code numbers of 301, 302 and 303, ostensibly indicating what would be a third season.",
"Throughout the month, The Aquabats posted numerous pictures of production on the new episodes on their Twitter and Instagram accounts, some of which revealed production code numbers of 301, 302 and 303, ostensibly indicating what would be a third season. Though these numbers were later verified by the Internet Movie Database, a November press release from The Hub explicitly referred to these three episodes as \"specials\".",
"Though these numbers were later verified by the Internet Movie Database, a November press release from The Hub explicitly referred to these three episodes as \"specials\". The first of these specials, \"Christmas with The Aquabats! \", aired on December 21, featuring comedians Robert Smigel and Matt Walsh in guest roles.",
"\", aired on December 21, featuring comedians Robert Smigel and Matt Walsh in guest roles. The second of these episodes, \"The Shark Fighter!\"",
"The second of these episodes, \"The Shark Fighter!\" (based on The Aquabats' song of the same name), featuring comedian Rhys Darby, aired the following week on December 28, while the final special \"Kitty Litter!\" aired on January 18, 2014. \"Kitty Litter!\"",
"\"Kitty Litter!\" \"Kitty Litter!\" was helmed by another guest director, Munn Powell, best known for his work as cinematographer on the Jared and Jerusha Hess films Napoleon Dynamite and Gentlemen Broncos.",
"was helmed by another guest director, Munn Powell, best known for his work as cinematographer on the Jared and Jerusha Hess films Napoleon Dynamite and Gentlemen Broncos. Following this short run of episodes, there was no confirmation by either The Hub or The Aquabats as to the production of any future episodes.",
"Following this short run of episodes, there was no confirmation by either The Hub or The Aquabats as to the production of any future episodes. In a December 2013 interview, Christian Jacobs acknowledged the network's unusually small order of episodes but didn't elaborate on any possible reasoning.",
"In a December 2013 interview, Christian Jacobs acknowledged the network's unusually small order of episodes but didn't elaborate on any possible reasoning. In the same interview, he stated that the band had initially prepared for another order of 13 episodes, having written as many scripts for potential future episodes.",
"In the same interview, he stated that the band had initially prepared for another order of 13 episodes, having written as many scripts for potential future episodes. On May 1, 2014, the nominees for the 2014 Daytime Emmy Awards were announced, revealing that Super Show!",
"On May 1, 2014, the nominees for the 2014 Daytime Emmy Awards were announced, revealing that Super Show! had been nominated for five awards in four categories, including the award for Best Writing in a Children's Series for the episode \"The AntiBats!\".",
"had been nominated for five awards in four categories, including the award for Best Writing in a Children's Series for the episode \"The AntiBats!\". The awards ceremony was held on June 22, 2014, where the series ultimately won the award for Best Stunt Coordination for stuntman Skip Carlson.",
"The awards ceremony was held on June 22, 2014, where the series ultimately won the award for Best Stunt Coordination for stuntman Skip Carlson. Cancellation by The Hub and hiatus In mid-2014, it was announced in entertainment press that Hasbro and Discovery had been in the process of rebranding The Hub following what they saw to be disappointing returns for the channel, changes which included the departure of CEO Margaret Loesch, who was instrumental in acquiring Super Show!",
"Cancellation by The Hub and hiatus In mid-2014, it was announced in entertainment press that Hasbro and Discovery had been in the process of rebranding The Hub following what they saw to be disappointing returns for the channel, changes which included the departure of CEO Margaret Loesch, who was instrumental in acquiring Super Show! as a series.",
"as a series. as a series. In a Huffington Post feature about The Aquabats prior to the band's appearance at the 2014 San Diego Comic-Con, it was revealed that The Hub had opted not to renew Super Show! for a third season, effectively cancelling the series.",
"for a third season, effectively cancelling the series. Jacobs admitted he was surprised by this turn of events, noting \"Everything we heard was that the show has been a real Cinderella story for the Hub and that it was rating really well with viewers.",
"Jacobs admitted he was surprised by this turn of events, noting \"Everything we heard was that the show has been a real Cinderella story for the Hub and that it was rating really well with viewers. We just assumed that we'd eventually go back into production or at least get picked up for Season 3\", but ultimately concluded \"it is what it is\" in regard to the network's decision.",
"We just assumed that we'd eventually go back into production or at least get picked up for Season 3\", but ultimately concluded \"it is what it is\" in regard to the network's decision. Despite this, Jacobs remained optimistic about the series' future, saying \"Given that we now live in a world where people are streaming TV shows directly onto their iPhones & computers, and given that companies like Netflix & Yahoo!",
"Despite this, Jacobs remained optimistic about the series' future, saying \"Given that we now live in a world where people are streaming TV shows directly onto their iPhones & computers, and given that companies like Netflix & Yahoo! are now picking up so much new content for their customers...I just find it hard to believe that The Aquabats!",
"are now picking up so much new content for their customers...I just find it hard to believe that The Aquabats! Super Show! is really over. I mean, we haven't even made any toys yet\". He concluded by stating \"It took us almost 15 years to get that TV series made.",
"He concluded by stating \"It took us almost 15 years to get that TV series made. And even though we've got a bunch more concert dates lined up for the rest of this year, our first priority is to find a new home for The Aquabats! Super Show!\".",
"Super Show!\". Super Show!\". On March 31, 2015, the nominees for the 42nd annual Daytime Emmy Awards were announced, with Super Show! earning nominations for Best SFX Mixer (Blaine Stewart) and Best Stunt Coordinator (Braxton McAllister).",
"earning nominations for Best SFX Mixer (Blaine Stewart) and Best Stunt Coordinator (Braxton McAllister). On June 27, 2015, The Aquabats screened the entire first season of Super Show!",
"On June 27, 2015, The Aquabats screened the entire first season of Super Show! before a sold-out crowd at The Frida Cinema in downtown Santa Ana, which was accompanied by a live performance by the band and Q&A sessions with The Aquabats and numerous members of the cast and crew.",
"before a sold-out crowd at The Frida Cinema in downtown Santa Ana, which was accompanied by a live performance by the band and Q&A sessions with The Aquabats and numerous members of the cast and crew. A similar presentation of the entire second season – including the three additional specials – took place at The Art Theater in Long Beach on December 16, 2017, coinciding with the release of the second season Blu-ray.",
"A similar presentation of the entire second season – including the three additional specials – took place at The Art Theater in Long Beach on December 16, 2017, coinciding with the release of the second season Blu-ray. Bring Back The Aquabats!",
"Bring Back The Aquabats! Bring Back The Aquabats! Kickstarter campaign Following weeks of teasing a major announcement, The Aquabats launched a Kickstarter campaign on July 31, 2018 to help finance the return of The Aquabats! Super Show! as well as new studio albums from the band at a minimum projected cost of $1.1 million.",
"as well as new studio albums from the band at a minimum projected cost of $1.1 million. The Aquabats promoted their campaign with a video featuring a slew of celebrity cameos, including Super Show!",
"The Aquabats promoted their campaign with a video featuring a slew of celebrity cameos, including Super Show! guest stars \"Weird Al\" Yankovic, Robert Smigel (as Triumph the Insult Comic Dog), Matt Chapman (as Homestar Runner and Strong Bad), former Aquabats member Travis Barker, Tony Kanal, Tom Dumont, Oscar Nunez, Kate Micucci, Blake Anderson, Imagine Dragons, Felicia Day and Tom Lennon, all of whom appeared in The Aquabats' trademark uniforms and spoke the Kickstarter's promotional slogan \"I am The Aquabats\"/\"We are The Aquabats\".",
"guest stars \"Weird Al\" Yankovic, Robert Smigel (as Triumph the Insult Comic Dog), Matt Chapman (as Homestar Runner and Strong Bad), former Aquabats member Travis Barker, Tony Kanal, Tom Dumont, Oscar Nunez, Kate Micucci, Blake Anderson, Imagine Dragons, Felicia Day and Tom Lennon, all of whom appeared in The Aquabats' trademark uniforms and spoke the Kickstarter's promotional slogan \"I am The Aquabats\"/\"We are The Aquabats\". Most prominently featured, however, was comedian Jack Black, who was later confirmed by the campaign's press releases to act as executive producer for the series' return.",
"Most prominently featured, however, was comedian Jack Black, who was later confirmed by the campaign's press releases to act as executive producer for the series' return. Along with their Kickstarter, the band began releasing a series of Super Show!",
"Along with their Kickstarter, the band began releasing a series of Super Show! \"mini-episodes\", depicting the MC Bat Commander's metafictional quest to reunite the estranged Aquabats following the series' cancellation.",
"\"mini-episodes\", depicting the MC Bat Commander's metafictional quest to reunite the estranged Aquabats following the series' cancellation. The band confirmed that as the Kickstarter progresses, further \"mini-episodes\" will be released to both promote the campaign as well as act as a continuation of Super Show!.",
"The band confirmed that as the Kickstarter progresses, further \"mini-episodes\" will be released to both promote the campaign as well as act as a continuation of Super Show!. By August 28, mere days before the campaign's end date of September 1, The Aquabats' Kickstarter had raised only $601,629 of its projected $1.1 million goal.",
"By August 28, mere days before the campaign's end date of September 1, The Aquabats' Kickstarter had raised only $601,629 of its projected $1.1 million goal. The funding was subsequently cancelled and the campaign was rebooted the same day with a smaller goal of $100,000 to instead finance one new album and the continued production of the Super Show!!",
"The funding was subsequently cancelled and the campaign was rebooted the same day with a smaller goal of $100,000 to instead finance one new album and the continued production of the Super Show!! \"mini-episodes\". The project's goal was met within minutes. Music Original music for The Aquabats! Super Show!",
"Super Show! Super Show! was primarily composed and performed by The Aquabats themselves, with additional scoring on most episodes provided by Matthew Gorney, Warren Fitzgerald or individual credits for Aquabats members James R. Briggs, Jr., Richard Falomir and Ian Fowles.",
"was primarily composed and performed by The Aquabats themselves, with additional scoring on most episodes provided by Matthew Gorney, Warren Fitzgerald or individual credits for Aquabats members James R. Briggs, Jr., Richard Falomir and Ian Fowles. Fitzgerald, guitarist for punk rock band The Vandals and former member of Oingo Boingo, acted as the series' music supervisor.",
"Fitzgerald, guitarist for punk rock band The Vandals and former member of Oingo Boingo, acted as the series' music supervisor. The theme song to Super Show!, \"Super Show Theme Song! \", was co-written by The Aquabats and Fitzgerald.",
"\", was co-written by The Aquabats and Fitzgerald. Whereas most musically oriented shows like The Monkees typically break the narrative of an episode for a music video performance of a standalone song, each episode of Super Show!",
"Whereas most musically oriented shows like The Monkees typically break the narrative of an episode for a music video performance of a standalone song, each episode of Super Show! typically features one or two unique songs that tied directly into the plot, usually about and performed during the events of a particular scene.",
"typically features one or two unique songs that tied directly into the plot, usually about and performed during the events of a particular scene. Most of these songs are rather brief, averaging a running time of just under a minute; Jacobs stated that many of the show's original songs were recorded as full-length pieces but trimmed down for inclusion in an episode, simply due to the show \"trying to pack so much into 22 minutes\".",
"Most of these songs are rather brief, averaging a running time of just under a minute; Jacobs stated that many of the show's original songs were recorded as full-length pieces but trimmed down for inclusion in an episode, simply due to the show \"trying to pack so much into 22 minutes\". Shortly after Super Show!s premiere, Jacobs confirmed plans to eventually release the series' original full-length songs as a soundtrack album.",
"Shortly after Super Show!s premiere, Jacobs confirmed plans to eventually release the series' original full-length songs as a soundtrack album. However, these plans wouldn't fully come to fruition until 2019; in a 2018 interview, Jacobs retrospectively revealed that the album had been long completed but the band \"hadn't had all the rights tied up\" until then.",
"However, these plans wouldn't fully come to fruition until 2019; in a 2018 interview, Jacobs retrospectively revealed that the album had been long completed but the band \"hadn't had all the rights tied up\" until then. The first original and full-length recordings from the series' first season debuted in July 2017, when \"Burger Rain\" and \"Beat Fishin'\" were released as a tour-exclusive 7\" single.",
"The first original and full-length recordings from the series' first season debuted in July 2017, when \"Burger Rain\" and \"Beat Fishin'\" were released as a tour-exclusive 7\" single. Songs from the series' first season were eventually compiled as The Aquabats! Super Show!",
"Super Show! Super Show! Television Soundtrack: Volume One, which was released digitally in March 2019 and then onto physical media the following June, where it became The Aquabats' highest-charting album to date, debuting at the top of Billboards Top Heatseekers chart and at 165 on the Billboard 200.",
"Television Soundtrack: Volume One, which was released digitally in March 2019 and then onto physical media the following June, where it became The Aquabats' highest-charting album to date, debuting at the top of Billboards Top Heatseekers chart and at 165 on the Billboard 200. Cast and characters See: List of The Aquabats! Super Show!",
"Super Show! Super Show! characters The Aquabats! Super Show! stars and is based upon fictionalized versions of the then-current (since 2006) line-up of the California comedy rock band The Aquabats. Adapting the backstory the band has used for the entirety of their professional career, Super Show!",
"Adapting the backstory the band has used for the entirety of their professional career, Super Show! depicts The Aquabats as a group of bumbling, out-of-shape superheroes on a self-appointed mission to fight the forces of evil, presented in both live-action and animated segments.",
"depicts The Aquabats as a group of bumbling, out-of-shape superheroes on a self-appointed mission to fight the forces of evil, presented in both live-action and animated segments. The five members of The Aquabats are: The MC Bat Commander (played and voiced by Christian Jacobs) – The Aquabats' singer and de facto leader of the team.",
"The five members of The Aquabats are: The MC Bat Commander (played and voiced by Christian Jacobs) – The Aquabats' singer and de facto leader of the team. Though he doesn't have any superpowers of his own and is often quite stubborn and naive, the Commander is shown to be an effective strategist whose sharp leadership skills, bravery and determination regularly drive the band towards victory.",
"Though he doesn't have any superpowers of his own and is often quite stubborn and naive, the Commander is shown to be an effective strategist whose sharp leadership skills, bravery and determination regularly drive the band towards victory. Crash McLarson (played and voiced by Chad Larson) – The band's bass guitarist, who has the frequently uncontrollable ability to grow upwards of 100 feet in size when under emotional stress.",
"Crash McLarson (played and voiced by Chad Larson) – The band's bass guitarist, who has the frequently uncontrollable ability to grow upwards of 100 feet in size when under emotional stress. Despite being the largest and strongest of The Aquabats, Crash has a gentle, childlike demeanor bordering on slight dim-wittedness, and as such is usually the most cowardly member of the team.",
"Despite being the largest and strongest of The Aquabats, Crash has a gentle, childlike demeanor bordering on slight dim-wittedness, and as such is usually the most cowardly member of the team. Jimmy the Robot (played and voiced by James R. Briggs, Jr.) – The Aquabats' keyboardist.",
"Jimmy the Robot (played and voiced by James R. Briggs, Jr.) – The Aquabats' keyboardist. As his name implies, Jimmy is an android whose mechanical body houses a variety of built-in gadgets and weaponry, plus a comprehensive knowledge database which earns him the position of the group's resident scientist.",
"As his name implies, Jimmy is an android whose mechanical body houses a variety of built-in gadgets and weaponry, plus a comprehensive knowledge database which earns him the position of the group's resident scientist. Being a robot, Jimmy is generally perplexed by human emotions and behavior.",
"Being a robot, Jimmy is generally perplexed by human emotions and behavior. Ricky Fitness (played and voiced by Richard Falomir) – the band's drummer, Ricky possesses the power of super speed.",
"Ricky Fitness (played and voiced by Richard Falomir) – the band's drummer, Ricky possesses the power of super speed. Being the most physically fit and health-conscious member of The Aquabats, some of the series' running gags revolve around Ricky's status as a handsome ladies' man and his fondness for \"fresh, healthy veggies\" in contrast to the rest of the team's voracious affinity for junk food.",
"Being the most physically fit and health-conscious member of The Aquabats, some of the series' running gags revolve around Ricky's status as a handsome ladies' man and his fondness for \"fresh, healthy veggies\" in contrast to the rest of the team's voracious affinity for junk food. EagleBones Falconhawk (played and voiced by Ian Fowles) – The Aquabats' guitarist.",
"EagleBones Falconhawk (played and voiced by Ian Fowles) – The Aquabats' guitarist. The cocky and boyish maverick of the team, EagleBones is highly proficient on his custom weaponized electric guitar which shoots lasers from its headstock.",
"The cocky and boyish maverick of the team, EagleBones is highly proficient on his custom weaponized electric guitar which shoots lasers from its headstock. Following a spiritual encounter early in season one, EagleBones also has the gift of second sight and is accompanied by \"The Dude\", an invisible spirit eagle whom he summons to aide The Aquabats in battle.",
"Following a spiritual encounter early in season one, EagleBones also has the gift of second sight and is accompanied by \"The Dude\", an invisible spirit eagle whom he summons to aide The Aquabats in battle. Voice actor and writer Mr. Lawrence provided the minimal narration for both seasons of Super Show!s live-action segments, while staff writer Kyle McCulloch narrated the first season's animated segments.",
"Voice actor and writer Mr. Lawrence provided the minimal narration for both seasons of Super Show!s live-action segments, while staff writer Kyle McCulloch narrated the first season's animated segments. Guest stars and recurring characters Though each episode of the series introduced a new villain, ally and/or celebrity cameo, Super Show!",
"Guest stars and recurring characters Though each episode of the series introduced a new villain, ally and/or celebrity cameo, Super Show! never featured any major recurring characters throughout its run.",
"never featured any major recurring characters throughout its run. However, every episode of the show included a very brief appearance by a character fans dubbed the \"Fox Man\", a man in a cheap-looking fox costume played by visual effects supervisor Joel Fox, who would appear hidden in the background of a random scene as an Easter egg for viewers to spot, although his character was never explained within the context of the series.",
"However, every episode of the show included a very brief appearance by a character fans dubbed the \"Fox Man\", a man in a cheap-looking fox costume played by visual effects supervisor Joel Fox, who would appear hidden in the background of a random scene as an Easter egg for viewers to spot, although his character was never explained within the context of the series. Comedy musician \"Weird Al\" Yankovic and comedian Paul Rust were the only two guest actors to appear in two episodes: Yankovic played two different roles as the President of the United States and superhero SuperMagic PowerMan!",
"Comedy musician \"Weird Al\" Yankovic and comedian Paul Rust were the only two guest actors to appear in two episodes: Yankovic played two different roles as the President of the United States and superhero SuperMagic PowerMan! (in a 2012 interview, Jacobs alluded to the two possibly being the same character, though this isn't implied within the series), while Rust played a boorish slacker named Ronmark, first appearing in live-action in a first-season episode and subsequently lending his voice to a mutated monster version of the character in part of a second-season episode.",
"(in a 2012 interview, Jacobs alluded to the two possibly being the same character, though this isn't implied within the series), while Rust played a boorish slacker named Ronmark, first appearing in live-action in a first-season episode and subsequently lending his voice to a mutated monster version of the character in part of a second-season episode. Episodes Distribution International broadcast Outside of North America, The Aquabats!",
"Episodes Distribution International broadcast Outside of North America, The Aquabats! Super Show! broadcast in Australia on the children's public broadcasting channel ABC3 and in the United Kingdom on the children's network CITV. Home media Coinciding with the run of the first season, each new episode of The Aquabats! Super Show!",
"Super Show! Super Show! was released through the iTunes Store for digital download. Prior to the series debut, a season pass was made available for purchase to enable viewers to automatically receive a download of each new episode on its airdate. The first season of Super Show!",
"The first season of Super Show! was added to the video streaming service Netflix on December 1, 2012, later being added to Hulu on December 21. Unlike the first season, the series' second season was not made available for iTunes pre-order, nor were episodes released for purchase.",
"Unlike the first season, the series' second season was not made available for iTunes pre-order, nor were episodes released for purchase. Though each episode was briefly streamed on The Hub's official website, none of the seasons' episodes were made available on Hulu, Netflix or similar streaming services. Shout!",
"Shout! Shout! Factory had the DVD publishing rights for The Aquabats! Super Show! within Region 1 for release of the first season.",
"within Region 1 for release of the first season. The company first announced their acquisition of the series and plans for a future DVD in a press release dated August 6, 2012, though did not initially confirm a set release date until several months later. On May 21, 2013, the first season of Super Show!",
"On May 21, 2013, the first season of Super Show! was released on a two-disc DVD set. On November 22, 2017, in conjunction with their announcement of a season two theatrical screening, The Aquabats confirmed an independent Blu-ray release for season two, including the three specials often considered a \"season three\".",
"On November 22, 2017, in conjunction with their announcement of a season two theatrical screening, The Aquabats confirmed an independent Blu-ray release for season two, including the three specials often considered a \"season three\". On December 5, pre-orders were launched on The Aquabats' merchandising site for an official release date of December 22, though copies were first made for public sale at the second season theatrical screening on December 16.",
"On December 5, pre-orders were launched on The Aquabats' merchandising site for an official release date of December 22, though copies were first made for public sale at the second season theatrical screening on December 16. Starting in December 2014, The Aquabats gradually began uploading the series' full episodes onto their official YouTube channel.",
"Starting in December 2014, The Aquabats gradually began uploading the series' full episodes onto their official YouTube channel. As of August 2019, all 21 episodes of Super Show! and its pilot episode have been publicly uploaded to their account. Critical reception Critical response to The Aquabats! Super Show!",
"Super Show! Super Show! was predominantly positive, with most reviewers praising the series' intentionally campy tone and offbeat humor. The Onions The A.V.",
"The Onions The A.V. The Onions The A.V. Club gave the series premiere an A− rating, describing it as \"a loving homage to basically everything ever done by the brothers Krofft\": \"the show adeptly flips from humor to melodrama to action, providing some awesomely cheap special effects, goofy songs, and gags that range from slapstick to sublime\", summarizing \"there's so much here that both kids and parents will be able to enjoy the proceedings on their own respective levels and rarely find themselves bored\".",
"Club gave the series premiere an A− rating, describing it as \"a loving homage to basically everything ever done by the brothers Krofft\": \"the show adeptly flips from humor to melodrama to action, providing some awesomely cheap special effects, goofy songs, and gags that range from slapstick to sublime\", summarizing \"there's so much here that both kids and parents will be able to enjoy the proceedings on their own respective levels and rarely find themselves bored\". Brian Lowry of Variety wrote \"you don't have to laugh at everything to admire the effort and sheer silliness\", calling the show a \"goofy and nostalgic\" throwback to the \"children's TV of baby boomers' youth, down to crappy production values and awful-looking 'monsters' that work to its advantage\".",
"Brian Lowry of Variety wrote \"you don't have to laugh at everything to admire the effort and sheer silliness\", calling the show a \"goofy and nostalgic\" throwback to the \"children's TV of baby boomers' youth, down to crappy production values and awful-looking 'monsters' that work to its advantage\". He summarized \"Although this Hub series at times feels like an SNL skit stretched to a half-hour, its sly mix of music, live-action crime-fighting, cartoons and mock ads ought to develop a cult following—and might be more popular with parents, at least those with the geek gene, than their kids\".",
"He summarized \"Although this Hub series at times feels like an SNL skit stretched to a half-hour, its sly mix of music, live-action crime-fighting, cartoons and mock ads ought to develop a cult following—and might be more popular with parents, at least those with the geek gene, than their kids\". Technology magazine Wired was consistently positive towards the series, calling it both \"wonderfully strange\" and \"delightfully deranged\", writing \"[f]illed with self-deprecating music videos, toon interludes and ludicrous villains, The Aquabats!",
"Technology magazine Wired was consistently positive towards the series, calling it both \"wonderfully strange\" and \"delightfully deranged\", writing \"[f]illed with self-deprecating music videos, toon interludes and ludicrous villains, The Aquabats! Super Show! has become one of television's strangely comforting finds\".",
"has become one of television's strangely comforting finds\". Common Sense Media, who review shows based on age-appropriate content, gave Super Show!",
"Common Sense Media, who review shows based on age-appropriate content, gave Super Show! a rating of 4 out of 5 stars, calling it \"demented and manic...fun by sheer dint of how many jokes, visual and otherwise, are thrown at the screen, both those calculated to appeal to kids and adults\".",
"a rating of 4 out of 5 stars, calling it \"demented and manic...fun by sheer dint of how many jokes, visual and otherwise, are thrown at the screen, both those calculated to appeal to kids and adults\". The site praised the series for its lighter and sillier tone in comparison to more violent live-action superhero fare, and considered the \"kind-hearted\" Aquabats to be relatively positive role models.",
"The site praised the series for its lighter and sillier tone in comparison to more violent live-action superhero fare, and considered the \"kind-hearted\" Aquabats to be relatively positive role models. However, the reviewer suggested the show's violence and creatures may be too intense for very young children, and pointed out a distinct lack of central female characters.",
"However, the reviewer suggested the show's violence and creatures may be too intense for very young children, and pointed out a distinct lack of central female characters. Neil Genzlinger of The New York Times offered a more indifferent opinion, calling The Aquabats \"indescribably odd\" and the series \"frenetic, semicoherent and generally harmless.",
"Neil Genzlinger of The New York Times offered a more indifferent opinion, calling The Aquabats \"indescribably odd\" and the series \"frenetic, semicoherent and generally harmless. Also somewhat hallucinogenic\", noting Super Show!s writing \"may be over the heads of the 2-to-12 set\", suggesting its most receptive audience might be \"the college drinking-game crowd\".",
"Also somewhat hallucinogenic\", noting Super Show!s writing \"may be over the heads of the 2-to-12 set\", suggesting its most receptive audience might be \"the college drinking-game crowd\". Awards and nominations The Aquabats! Super Show!",
"Awards and nominations The Aquabats! Super Show! Super Show! was nominated for the following awards: Daytime Emmy Award References External links Official website of The Aquabats The Aquabats 2010s American children's television series 2010s American musical comedy television series 2010s American satirical television series 2010s American sketch comedy television series 2010s American superhero comedy television series 2012 American television series debuts 2014 American television series endings American children's adventure television series American children's musical television series American television series with live action and animation Children's sketch comedy English-language television shows Television series by Fremantle (company) Television shows set in Orange County, California American television shows featuring puppetry Discovery Family original programming"
] |
[
"The Aquabats! Super Show!",
"History and previous attempts at a series",
"How did The Aquabats originate?",
"musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in",
"When did they form?",
"In 1994,",
"What happened with the previous attempts?",
"The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves.",
"What did they do after this?",
"Undeterred, The Aquabats made an attempt at a second pilot",
"How did this do?",
"using a music video budget granted by their record label Goldenvoice Records for their 1999 album",
"Was this successful?",
"the project was cancelled."
] | C_4cdf6386fc074258b24b5e00bbcdec23_0 | What did they do after this? | 7 | What did the Aquabats do after the second pilot of the Aquabats! Super Show! was cancelled? | The Aquabats! Super Show! | In 1994, musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in Brea, California. Influenced as much by cartoons and camp television as theatrical bands like Devo and Oingo Boingo, The Aquabats gained instant notoriety in the Orange County music scene for their eccentric persona in which they claimed to be a band of superheroes on a quest to save the world and their elaborate stage shows which regularly featured scripted fights with costumed villains alongside similar stunts and comedy sketches. The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough for the group, charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs - a former child actor with ties in the industry - to develop the concept of adapting the band's mythology for television. In 1998, Buena Vista Television helped produce a live-action mini-pilot directed by comedian Bobcat Goldthwait titled simply The Aquabats!, following the comic misadventures of the then-eight member band in an over-the-top camp style similar to Saturday morning cartoon shows. The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves. Undeterred, The Aquabats made an attempt at a second pilot the following year, using a music video budget granted by their record label Goldenvoice Records for their 1999 album The Aquabats vs. the Floating Eye of Death!. Independently directed and produced by Jacobs and his creative partner Scott Schultz, the result was a five-minute promo video entitled The Aquabats in Color!. In contrast to the wackier tone of the previous pilot, The Aquabats in Color! was a more action-oriented superhero series modeled after Japanese tokusatsu shows such as Kamen Rider. According to Jacobs, the Fox Family Channel reportedly expressed interest in the series and ordered production on a proper pilot episode, though following the channel's acquisition by Disney in 2001, the project was cancelled. CANNOTANSWER | Undeterred, The Aquabats made an attempt at a second pilot | The Aquabats! Super Show! is an American action-comedy musical television series which aired from March 3, 2012 to January 8, 2014 on The Hub Network and resumed as an independent YouTube web series in September 2019. The series was created by Christian Jacobs, and Scott Schultz, both the creators of the Nick Jr. show Yo Gabba Gabba!, and Jason deVilliers.
Based on the superhero mythology of The Aquabats, a real-life comedy rock band which series co-creator and lead singer Jacobs formed in 1994, The Aquabats! Super Show! follows the comic adventures of a fictionalized version of the band, a musical group of amateur superheroes, as they haphazardly defend the world from a variety of villains and monsters. Styled similarly to the campy aesthetics of 1960s and 1970s children's television and Japanese tokusatsu, Super Show! utilizes various mediums of visual styles and special effects, mixing live-action storylines with cartoon shorts, parody advertisements and musical interludes.
The series' first season concluded on June 16, 2012 following a run of 13 episodes, having met with a largely positive critical reception, consistently high ratings for the channel and a Daytime Emmy nomination for Outstanding Children's Series. The series' second season consisted of an initial five episodes which aired through June 2013, with three additional episodes airing in late December and January 2014, receiving similar acclaim and a further seven Daytime Emmy nominations, ultimately winning one for Best Stunt Coordination. In June 2014, co-creator Jacobs officially announced the series' cancellation, following news of The Hub's financial losses which led to the network's rebranding as Discovery Family later that October.
In July 2018, The Aquabats launched a successful Kickstarter to help independently finance new episodes of The Aquabats! Super Show!, promoting the campaign with a series of YouTube-exclusive mini-episodes continuing the original series' storyline. On September 28, 2019, The Aquabats premiered the first installment of these new episodes, now a biweekly YouTube series entitled The Aquabats! RadVentures!, though still retaining Super Show!s theme song and title card.
Series overview
Premise
Chronicled in both live-action and animated segments, The Aquabats! Super Show! is centered around the adventures of The Aquabats, a group of superhero rock musicians who travel the countryside on a self-appointed mission to fight evil and "destroy boredom", protecting the world from the villains and creatures who threaten to destroy it while aiming to become a famous rock and roll band in their own right.
The Aquabats consist of singer The MC Bat Commander (Christian Jacobs), the swaggering leader of the group; bassist Crash McLarson (Chad Larson), who can grow up to 100 feet in size; drummer Ricky Fitness (Richard Falomir), who has the power of super speed; guitarist EagleBones Falconhawk (Ian Fowles), who's armed with a laser-shooting electric guitar; and keyboardist Jimmy the Robot (James R. Briggs, Jr.), an android. Despite their superhuman strengths and abilities, The Aquabats are quite bumbling, disorganized, and sometimes cowardly when faced with danger; this has in fact led them to be labeled "the world's most inept superheroes". The band lives and travels by way of their "Battletram", a modified classic GMC motorhome which, despite its small exterior, has an implausibly massive interior (similar to the TARDIS from Doctor Who or The Big Bologna from The Kids From C.A.P.E.R.), which contains, among many things, a science lab, a command center, and a living room.
The Aquabats' origin story was left intentionally vague throughout the series, a choice Jacobs explains was done for the sake of the viewer's imagination, as he felt kids were more accepting of the inherent absurdity of the premise than adults tend to be: "'There's five guys. This is what each of the five guys does. There are monsters. They're gonna try to fight them'. It's so simple. And I think that's why it's so awesome with kids—they just take it and run with it". In the first five episodes of season two, each member of The Aquabats shares their memory of how they joined the band via animated flashback sequences; however, all of these flashbacks directly and intentionally contradict each other, leaving it unknown which—if any—could be considered officially canonical.
Format and influences
The Aquabats! Super Show! juxtaposes both live-action and animated segments starring The Aquabats, interwoven with various tangential skits and cartoon interstitials. The live-action storylines are the primary focus of each episode, following a self-contained villain of the week formula. In the first season, each episode featured brief anime-styled cartoon shorts which one of the characters would introduce at a random point of the show, often by finding "A Cartoon" (represented by a miniature television set) in an absurd location. Unlike the live-action segments, these cartoons followed a serialized story arc, with each installment ending in a cliffhanger to be resolved in the next episode. In season two, this format was replaced with a series of animated flashbacks recounting the origins of The Aquabats, each by a different animation studio and in a different animation style. Between these segments are pantomime cartoon shorts starring "Lil' Bat", The Aquabats' anthropomorphic bat mascot, and live-action parody commercials for outlandish fictional products, the latter of which has long been a staple of The Aquabats' multi-media stage shows.
Jacobs says the concept behind Super Show! was something he had always dreamed of doing, making a "campy, live-action, funky kid's show" in the vein of the 1960s and 1970s television that he and the rest of the series' producers had grown up with. While the show pays homage to many facets of pop culture, Jacobs has named the 1960s Batman television series as the primary influence on Super Show!s "obviously silly" tone and visual style, ranging from set design to the trademark use of dutch angles for villain scenes. Other notable influences Jacobs has repeatedly mentioned include the works of Sid and Marty Krofft and Hanna-Barbera, Japanese tokusatsu series such as Ultraman and Johnny Sokko And His Flying Robot, the Shaw Brothers and Hong Kong cinema, and shows including Danger Island, Star Trek, The Rocky and Bullwinkle Show, and Pee-wee's Playhouse, noting "there's a good 30 years worth of television culture packed into these 22-minute episodes".
Demographic
As The Hub's key demographic were children aged 6 to 12, Super Show! was ostensibly targeted towards said age group, though Jacobs has stated that the series primarily aimed to appeal to an all-ages crowd, with the intent of creating entertainment that both kids and parents can watch and enjoy together or separately. In interviews prior to the series' premiere, he explained that this was merely an extension of The Aquabats' own family-friendly ethos: "There's just obviously something about the costumes and being superheroes that really appeals to younger kids, and I think we always knew that as a band...I think we'll want to put things in [the show] for an older audience, because we realize we have an older audience, but then also we want the young kids, to not have it go over their heads".
Production history
History and previous attempts at a series
In 1994, musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in Brea, California. Influenced as much by cartoons and camp television as theatrical bands like Devo and Oingo Boingo, The Aquabats gained instant notoriety in the Orange County music scene for their eccentric persona in which they claimed to be a band of superheroes on a quest to save the world and their elaborate stage shows which regularly featured scripted fights with costumed villains alongside similar stunts and comedy sketches.
The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough for the group, charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs – a former child actor with ties in the industry – to develop the concept of adapting the band's mythology for television. In 1998, Buena Vista Television helped produce a live-action mini-pilot directed by comedian Bobcat Goldthwait titled simply The Aquabats!, following the comic misadventures of the then-eight member band in an over-the-top camp style similar to Saturday morning cartoon shows. The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves.
Undeterred, The Aquabats made an attempt at a second pilot the following year, using a music video budget granted by their record label Goldenvoice Records for their 1999 album The Aquabats vs. the Floating Eye of Death!. Independently directed and produced by Jacobs and his creative partner Scott Schultz, the result was a five-minute promo video entitled The Aquabats in Color!. In contrast to the wackier tone of the previous pilot, The Aquabats in Color! was a more action-oriented superhero series modeled after Japanese tokusatsu shows such as Kamen Rider. According to Jacobs, the Fox Family Channel reportedly expressed interest in the series and ordered production on a proper pilot episode, though following the channel's acquisition by Disney in 2001, the project was cancelled.
The Aquabats! Super Show! pilot (2008)
In 2005, Jacobs and Schultz formed the Orange County-based production company The Magic Store, focusing on creating family-oriented television entertainment. One of the company's independently produced pilots, the children's television series Yo Gabba Gabba!, was eventually picked up as a series by Viacoms Nick Jr. channel, premiering in August 2007 and ultimately becoming an award-winning and critically acclaimed international success. In the wake of the series' popularity, Jacobs and Schultz persuaded Yo Gabba Gabba!s joint production company Wild Brain to help produce a new pilot based around The Aquabats in conjuncture with The Magic Store.
Again creatively spearheaded by Jacobs and Schultz, The Aquabats' third pilot, titled The Aquabats! Super Show!, was shot on location throughout southern California in late 2007 and early 2008. Part of this filming took place at a free invitation-only concert for members of the band's official fan club at the El Rey Theatre in Los Angeles on January 12, 2008. While The Aquabats' previous pilots were short, live-action promotional videos, The Aquabats! Super Show! was a fully realized 22-minute episode featuring two separate storylines based on the adventures of The Aquabats, one live-action and one animated, and interspersed with parody commercials and live footage of the band. Speaking on the decision to structure the show in such a varied format, Jacobs said "[w]e did that for a strategic reason – some networks like cartoons more than other networks. We wanted to say, 'this could be both shows'."
Following a period of post-production, The Aquabats began widely self-promoting Super Show! in June 2008, redesigning their website to promote the pilot and releasing a teaser trailer and several exclusive clips through an official Super Show! YouTube channel. On July 25, 2008, the band screened the full pilot at a concert in San Diego held during the weekend of the San Diego Comic-Con, while a segment of the episode was hosted on Boing Boing the same day. In 2009, Cartoon Network allegedly picked the series up for a run of 22 episodes, though following major staff changes within the company—which, according to Jacobs, included the termination of the executives who had green-lighted Super Show!—the project was again cancelled.
The Hub and season one
After several more unsuccessful network pitches into the 2010s, The Aquabats! Super Show! was finally picked up as a series by family cable channel The Hub, a joint venture between Hasbro and Discovery which launched in 2010 as a replacement for Discovery Kids. The Hub formally announced the series in a press release on March 23, 2011, revealing Super Show! would be given a first season run of 13 episodes, produced in conjuncture with FremantleMedia. In promotion of the series, The Aquabats appeared as part of a panel at the 2011 San Diego Comic-Con where they discussed their initial plans for the show, while The Hub sponsored an Aquabats concert held at the nearby House of Blues during the same weekend.
Production on season one of Super Show! officially began in May 2011. The entirety of the first season was shot within and around The Aquabats' hometown of Orange County, California; according to the first season DVD audio commentary, episodes were shot on location in the cities of Irvine, Silverado, Yorba Linda, Huntington Beach and Fullerton, while a private sound stage in Santa Ana was used for interior shots of the Battletram. A public Aquabats concert held at The Glass House club in Pomona on November 5, 2011 was also filmed to provide live footage of the band which is featured in the series' opening credits montage and several individual episodes.
Much of Super Show!s staff consist of friends and colleagues of The Aquabats who've previously worked with the band on various projects, ranging from members of Yo Gabba Gabba!s production team to fellow musicians within the southern California music scene. Among the more notable examples include Dallas McLaughlin and Matthew Gorney, both members of the San Diego hip hop band Bad Credit, who prominently served as writers, composers and performers, Warren Fitzgerald, guitarist for The Vandals, who was hired as a writer and music director, internet sketch comedy group Mega64 were commissioned to produce original material, primarily the series' parody commercials, and Japanese artist Pey, who had designed much of The Aquabats' promotional art and merchandise during the 2000s, was hired to design the season's animated segments. Additionally, several industry professionals were brought in to help work on the show: Dani Michaeli, a staff writer on SpongeBob SquarePants, was hired as the series' story editor, while Matt Chapman, co-creator of the internet Flash cartoon Homestar Runner, acted as a writer, director and actor on several episodes. As none of the members besides Jacobs had any previous acting experience, comedian Matt Walsh of the Upright Citizens Brigade was brought in to help teach The Aquabats comedic acting and timing.
In further homage to the original Batman series, Super Show! features a variety of celebrity cameo appearances. The series' first season included appearances from actors Jon Heder, Lou Diamond Phillips and Samm Levine, comedians Rip Taylor, Paul Scheer and Paul Rust, and comedy musician "Weird Al" Yankovic, who appeared in two episodes as different characters. The first season also included several "Easter egg" cameos from original Aquabats members Corey "Chainsaw" Pollock and Boyd "Catboy" Terry, as well as from fellow musicians Warren Fitzgerald and Art Mitchell of the band Supernova.
Despite having been originally announced as part of The Hub's 2011 Fall line-up, production delays postponed Super Show!s premiere to early 2012. The series' marketing campaign began in December 2011, with a later announcement of an official premiere date confirmed for March 3, 2012. Following a non-consecutive run of 13 episodes, the first-season finale aired on June 16, 2012.
Season two
On October 16, 2012, The Aquabats and The Hub confirmed production on new episodes of Super Show! through the social networking sites Facebook and Twitter, announcing a tentative debut date of Spring 2013. Principal photography on season two began on October 22 and wrapped on December 1. Unlike the first season, the majority of season two was shot in and around Salt Lake City, Utah, which Jacobs explained was considerably less expensive than shooting in California.
While no changes were made to Super Shows creative team, in December 2012 it was announced that season two would introduce the series' first guest director, musician and comic book writer Gerard Way, who co-directed and co-wrote the season finale "The AntiBats!" with Jacobs and deVilliers. Way's involvement with the series was heavily covered by the music press in the wake of the March 2013 break-up of his popular alternative rock band My Chemical Romance. Among the guest stars featured in season two were professional skateboarders Tony Hawk and Eric Koston, Devo frontman and Yo Gabba Gabba! cast member Mark Mothersbaugh, internet celebrity Leslie Hall, actor Martin Starr and My Chemical Romance bassist Mikey Way.
On December 2, 2012, deVilliers revealed on his Twitter account that the upcoming season would consist of only five new episodes, in what he called more "season 1.5" than a "season 2", though mentioned the possibility of more being made in the future. On May 1, 2013, it was announced through Entertainment Weekly that the series' second season would begin airing on June 1. After a run of only five episodes, the season concluded on June 29, 2013.
2013–2014 specials
On August 22, 2013, series performer Chad Larson confirmed via Twitter that three additional episodes of Super Show! were being filmed near the end of the year, "and maybe more next". Principal photography on these episodes eventually began in Utah in early October. Throughout the month, The Aquabats posted numerous pictures of production on the new episodes on their Twitter and Instagram accounts, some of which revealed production code numbers of 301, 302 and 303, ostensibly indicating what would be a third season. Though these numbers were later verified by the Internet Movie Database, a November press release from The Hub explicitly referred to these three episodes as "specials".
The first of these specials, "Christmas with The Aquabats!", aired on December 21, featuring comedians Robert Smigel and Matt Walsh in guest roles. The second of these episodes, "The Shark Fighter!" (based on The Aquabats' song of the same name), featuring comedian Rhys Darby, aired the following week on December 28, while the final special "Kitty Litter!" aired on January 18, 2014. "Kitty Litter!" was helmed by another guest director, Munn Powell, best known for his work as cinematographer on the Jared and Jerusha Hess films Napoleon Dynamite and Gentlemen Broncos.
Following this short run of episodes, there was no confirmation by either The Hub or The Aquabats as to the production of any future episodes. In a December 2013 interview, Christian Jacobs acknowledged the network's unusually small order of episodes but didn't elaborate on any possible reasoning. In the same interview, he stated that the band had initially prepared for another order of 13 episodes, having written as many scripts for potential future episodes.
On May 1, 2014, the nominees for the 2014 Daytime Emmy Awards were announced, revealing that Super Show! had been nominated for five awards in four categories, including the award for Best Writing in a Children's Series for the episode "The AntiBats!". The awards ceremony was held on June 22, 2014, where the series ultimately won the award for Best Stunt Coordination for stuntman Skip Carlson.
Cancellation by The Hub and hiatus
In mid-2014, it was announced in entertainment press that Hasbro and Discovery had been in the process of rebranding The Hub following what they saw to be disappointing returns for the channel, changes which included the departure of CEO Margaret Loesch, who was instrumental in acquiring Super Show! as a series. In a Huffington Post feature about The Aquabats prior to the band's appearance at the 2014 San Diego Comic-Con, it was revealed that The Hub had opted not to renew Super Show! for a third season, effectively cancelling the series.
Jacobs admitted he was surprised by this turn of events, noting "Everything we heard was that the show has been a real Cinderella story for the Hub and that it was rating really well with viewers. We just assumed that we'd eventually go back into production or at least get picked up for Season 3", but ultimately concluded "it is what it is" in regard to the network's decision. Despite this, Jacobs remained optimistic about the series' future, saying "Given that we now live in a world where people are streaming TV shows directly onto their iPhones & computers, and given that companies like Netflix & Yahoo! are now picking up so much new content for their customers...I just find it hard to believe that The Aquabats! Super Show! is really over. I mean, we haven't even made any toys yet". He concluded by stating "It took us almost 15 years to get that TV series made. And even though we've got a bunch more concert dates lined up for the rest of this year, our first priority is to find a new home for The Aquabats! Super Show!".
On March 31, 2015, the nominees for the 42nd annual Daytime Emmy Awards were announced, with Super Show! earning nominations for Best SFX Mixer (Blaine Stewart) and Best Stunt Coordinator (Braxton McAllister).
On June 27, 2015, The Aquabats screened the entire first season of Super Show! before a sold-out crowd at The Frida Cinema in downtown Santa Ana, which was accompanied by a live performance by the band and Q&A sessions with The Aquabats and numerous members of the cast and crew. A similar presentation of the entire second season – including the three additional specials – took place at The Art Theater in Long Beach on December 16, 2017, coinciding with the release of the second season Blu-ray.
Bring Back The Aquabats! Kickstarter campaign
Following weeks of teasing a major announcement, The Aquabats launched a Kickstarter campaign on July 31, 2018 to help finance the return of The Aquabats! Super Show! as well as new studio albums from the band at a minimum projected cost of $1.1 million. The Aquabats promoted their campaign with a video featuring a slew of celebrity cameos, including Super Show! guest stars "Weird Al" Yankovic, Robert Smigel (as Triumph the Insult Comic Dog), Matt Chapman (as Homestar Runner and Strong Bad), former Aquabats member Travis Barker, Tony Kanal, Tom Dumont, Oscar Nunez, Kate Micucci, Blake Anderson, Imagine Dragons, Felicia Day and Tom Lennon, all of whom appeared in The Aquabats' trademark uniforms and spoke the Kickstarter's promotional slogan "I am The Aquabats"/"We are The Aquabats". Most prominently featured, however, was comedian Jack Black, who was later confirmed by the campaign's press releases to act as executive producer for the series' return.
Along with their Kickstarter, the band began releasing a series of Super Show! "mini-episodes", depicting the MC Bat Commander's metafictional quest to reunite the estranged Aquabats following the series' cancellation. The band confirmed that as the Kickstarter progresses, further "mini-episodes" will be released to both promote the campaign as well as act as a continuation of Super Show!.
By August 28, mere days before the campaign's end date of September 1, The Aquabats' Kickstarter had raised only $601,629 of its projected $1.1 million goal. The funding was subsequently cancelled and the campaign was rebooted the same day with a smaller goal of $100,000 to instead finance one new album and the continued production of the Super Show!! "mini-episodes". The project's goal was met within minutes.
Music
Original music for The Aquabats! Super Show! was primarily composed and performed by The Aquabats themselves, with additional scoring on most episodes provided by Matthew Gorney, Warren Fitzgerald or individual credits for Aquabats members James R. Briggs, Jr., Richard Falomir and Ian Fowles. Fitzgerald, guitarist for punk rock band The Vandals and former member of Oingo Boingo, acted as the series' music supervisor. The theme song to Super Show!, "Super Show Theme Song!", was co-written by The Aquabats and Fitzgerald.
Whereas most musically oriented shows like The Monkees typically break the narrative of an episode for a music video performance of a standalone song, each episode of Super Show! typically features one or two unique songs that tied directly into the plot, usually about and performed during the events of a particular scene. Most of these songs are rather brief, averaging a running time of just under a minute; Jacobs stated that many of the show's original songs were recorded as full-length pieces but trimmed down for inclusion in an episode, simply due to the show "trying to pack so much into 22 minutes".
Shortly after Super Show!s premiere, Jacobs confirmed plans to eventually release the series' original full-length songs as a soundtrack album. However, these plans wouldn't fully come to fruition until 2019; in a 2018 interview, Jacobs retrospectively revealed that the album had been long completed but the band "hadn't had all the rights tied up" until then. The first original and full-length recordings from the series' first season debuted in July 2017, when "Burger Rain" and "Beat Fishin'" were released as a tour-exclusive 7" single. Songs from the series' first season were eventually compiled as The Aquabats! Super Show! Television Soundtrack: Volume One, which was released digitally in March 2019 and then onto physical media the following June, where it became The Aquabats' highest-charting album to date, debuting at the top of Billboards Top Heatseekers chart and at 165 on the Billboard 200.
Cast and characters
See: List of The Aquabats! Super Show! characters
The Aquabats! Super Show! stars and is based upon fictionalized versions of the then-current (since 2006) line-up of the California comedy rock band The Aquabats. Adapting the backstory the band has used for the entirety of their professional career, Super Show! depicts The Aquabats as a group of bumbling, out-of-shape superheroes on a self-appointed mission to fight the forces of evil, presented in both live-action and animated segments. The five members of The Aquabats are:
The MC Bat Commander (played and voiced by Christian Jacobs) – The Aquabats' singer and de facto leader of the team. Though he doesn't have any superpowers of his own and is often quite stubborn and naive, the Commander is shown to be an effective strategist whose sharp leadership skills, bravery and determination regularly drive the band towards victory.
Crash McLarson (played and voiced by Chad Larson) – The band's bass guitarist, who has the frequently uncontrollable ability to grow upwards of 100 feet in size when under emotional stress. Despite being the largest and strongest of The Aquabats, Crash has a gentle, childlike demeanor bordering on slight dim-wittedness, and as such is usually the most cowardly member of the team.
Jimmy the Robot (played and voiced by James R. Briggs, Jr.) – The Aquabats' keyboardist. As his name implies, Jimmy is an android whose mechanical body houses a variety of built-in gadgets and weaponry, plus a comprehensive knowledge database which earns him the position of the group's resident scientist. Being a robot, Jimmy is generally perplexed by human emotions and behavior.
Ricky Fitness (played and voiced by Richard Falomir) – the band's drummer, Ricky possesses the power of super speed. Being the most physically fit and health-conscious member of The Aquabats, some of the series' running gags revolve around Ricky's status as a handsome ladies' man and his fondness for "fresh, healthy veggies" in contrast to the rest of the team's voracious affinity for junk food.
EagleBones Falconhawk (played and voiced by Ian Fowles) – The Aquabats' guitarist. The cocky and boyish maverick of the team, EagleBones is highly proficient on his custom weaponized electric guitar which shoots lasers from its headstock. Following a spiritual encounter early in season one, EagleBones also has the gift of second sight and is accompanied by "The Dude", an invisible spirit eagle whom he summons to aide The Aquabats in battle.
Voice actor and writer Mr. Lawrence provided the minimal narration for both seasons of Super Show!s live-action segments, while staff writer Kyle McCulloch narrated the first season's animated segments.
Guest stars and recurring characters
Though each episode of the series introduced a new villain, ally and/or celebrity cameo, Super Show! never featured any major recurring characters throughout its run. However, every episode of the show included a very brief appearance by a character fans dubbed the "Fox Man", a man in a cheap-looking fox costume played by visual effects supervisor Joel Fox, who would appear hidden in the background of a random scene as an Easter egg for viewers to spot, although his character was never explained within the context of the series.
Comedy musician "Weird Al" Yankovic and comedian Paul Rust were the only two guest actors to appear in two episodes: Yankovic played two different roles as the President of the United States and superhero SuperMagic PowerMan! (in a 2012 interview, Jacobs alluded to the two possibly being the same character, though this isn't implied within the series), while Rust played a boorish slacker named Ronmark, first appearing in live-action in a first-season episode and subsequently lending his voice to a mutated monster version of the character in part of a second-season episode.
Episodes
Distribution
International broadcast
Outside of North America, The Aquabats! Super Show! broadcast in Australia on the children's public broadcasting channel ABC3 and in the United Kingdom on the children's network CITV.
Home media
Coinciding with the run of the first season, each new episode of The Aquabats! Super Show! was released through the iTunes Store for digital download. Prior to the series debut, a season pass was made available for purchase to enable viewers to automatically receive a download of each new episode on its airdate. The first season of Super Show! was added to the video streaming service Netflix on December 1, 2012, later being added to Hulu on December 21.
Unlike the first season, the series' second season was not made available for iTunes pre-order, nor were episodes released for purchase. Though each episode was briefly streamed on The Hub's official website, none of the seasons' episodes were made available on Hulu, Netflix or similar streaming services.
Shout! Factory had the DVD publishing rights for The Aquabats! Super Show! within Region 1 for release of the first season. The company first announced their acquisition of the series and plans for a future DVD in a press release dated August 6, 2012, though did not initially confirm a set release date until several months later. On May 21, 2013, the first season of Super Show! was released on a two-disc DVD set.
On November 22, 2017, in conjunction with their announcement of a season two theatrical screening, The Aquabats confirmed an independent Blu-ray release for season two, including the three specials often considered a "season three". On December 5, pre-orders were launched on The Aquabats' merchandising site for an official release date of December 22, though copies were first made for public sale at the second season theatrical screening on December 16.
Starting in December 2014, The Aquabats gradually began uploading the series' full episodes onto their official YouTube channel. As of August 2019, all 21 episodes of Super Show! and its pilot episode have been publicly uploaded to their account.
Critical reception
Critical response to The Aquabats! Super Show! was predominantly positive, with most reviewers praising the series' intentionally campy tone and offbeat humor. The Onions The A.V. Club gave the series premiere an A− rating, describing it as "a loving homage to basically everything ever done by the brothers Krofft": "the show adeptly flips from humor to melodrama to action, providing some awesomely cheap special effects, goofy songs, and gags that range from slapstick to sublime", summarizing "there's so much here that both kids and parents will be able to enjoy the proceedings on their own respective levels and rarely find themselves bored".
Brian Lowry of Variety wrote "you don't have to laugh at everything to admire the effort and sheer silliness", calling the show a "goofy and nostalgic" throwback to the "children's TV of baby boomers' youth, down to crappy production values and awful-looking 'monsters' that work to its advantage". He summarized "Although this Hub series at times feels like an SNL skit stretched to a half-hour, its sly mix of music, live-action crime-fighting, cartoons and mock ads ought to develop a cult following—and might be more popular with parents, at least those with the geek gene, than their kids".
Technology magazine Wired was consistently positive towards the series, calling it both "wonderfully strange" and "delightfully deranged", writing "[f]illed with self-deprecating music videos, toon interludes and ludicrous villains, The Aquabats! Super Show! has become one of television's strangely comforting finds".
Common Sense Media, who review shows based on age-appropriate content, gave Super Show! a rating of 4 out of 5 stars, calling it "demented and manic...fun by sheer dint of how many jokes, visual and otherwise, are thrown at the screen, both those calculated to appeal to kids and adults". The site praised the series for its lighter and sillier tone in comparison to more violent live-action superhero fare, and considered the "kind-hearted" Aquabats to be relatively positive role models. However, the reviewer suggested the show's violence and creatures may be too intense for very young children, and pointed out a distinct lack of central female characters.
Neil Genzlinger of The New York Times offered a more indifferent opinion, calling The Aquabats "indescribably odd" and the series "frenetic, semicoherent and generally harmless. Also somewhat hallucinogenic", noting Super Show!s writing "may be over the heads of the 2-to-12 set", suggesting its most receptive audience might be "the college drinking-game crowd".
Awards and nominations
The Aquabats! Super Show! was nominated for the following awards:
Daytime Emmy Award
References
External links
Official website of The Aquabats
The Aquabats
2010s American children's television series
2010s American musical comedy television series
2010s American satirical television series
2010s American sketch comedy television series
2010s American superhero comedy television series
2012 American television series debuts
2014 American television series endings
American children's adventure television series
American children's musical television series
American television series with live action and animation
Children's sketch comedy
English-language television shows
Television series by Fremantle (company)
Television shows set in Orange County, California
American television shows featuring puppetry
Discovery Family original programming | true | [
"The situation, task, action, result (STAR) format is a technique used by interviewers to gather all the relevant information about a specific capability that the job requires. \n\n Situation: The interviewer wants you to present a recent challenging situation in which you found yourself.\n Task: What were you required to achieve? The interviewer will be looking to see what you were trying to achieve from the situation. Some performance development methods use “Target” rather than “Task”. Job interview candidates who describe a “Target” they set themselves instead of an externally imposed “Task” emphasize their own intrinsic motivation to perform and to develop their performance.\n Action: What did you do? The interviewer will be looking for information on what you did, why you did it and what the alternatives were.\n Results: What was the outcome of your actions? What did you achieve through your actions? Did you meet your objectives? What did you learn from this experience? Have you used this learning since?\n\nThe STAR technique is similar to the SOARA technique.\n\nThe STAR technique is also often complemented with an additional R on the end STARR or STAR(R) with the last R resembling reflection. This R aims to gather insight and interviewee's ability to learn and iterate. Whereas the STAR reveals how and what kind of result on an objective was achieved, the STARR with the additional R helps the interviewer to understand what the interviewee learned from the experience and how they would assimilate experiences. The interviewee can define what they would do (differently, the same, or better) next time being posed with a situation.\n\nReferences\n\nExternal links\nThe ‘STAR’ technique to answer behavioral interview questions\nThe STAR method explained\n\nJob interview",
"\"What Did I Do to You?\" is a song recorded by British singer Lisa Stansfield for her 1989 album, Affection. It was written by Stansfield, Ian Devaney and Andy Morris, and produced by Devaney and Morris. The song was released as the fourth European single on 30 April 1990. It included three previously unreleased songs written by Stansfield, Devaney and Morris: \"My Apple Heart,\" \"Lay Me Down\" and \"Something's Happenin'.\" \"What Did I Do to You?\" was remixed by Mark Saunders and by the Grammy Award-winning American house music DJ and producer, David Morales. The single became a top forty hit in the European countries reaching number eighteen in Finland, number twenty in Ireland and number twenty-five in the United Kingdom. \"What Did I Do to You?\" was also released in Japan.\n\nIn 2014, the remixes of \"What Did I Do to You?\" were included on the deluxe 2CD + DVD re-release of Affection and on People Hold On ... The Remix Anthology. They were also featured on The Collection 1989–2003 box set (2014), including previously unreleased Red Zone Mix by David Morales.\n\nCritical reception\nThe song received positive reviews from music critics. Matthew Hocter from Albumism viewed it as a \"upbeat offering\". David Giles from Music Week said it is \"beautifully performed\" by Stansfield. A reviewer from Reading Eagle wrote that \"What Did I Do to You?\" \"would be right at home on the \"Saturday Night Fever\" soundtrack.\"\n\nMusic video\nA music video was produced to promote the single, directed by Philip Richardson, who had previously directed the videos for \"All Around the World\" and \"Live Together\". It features Stansfield with her kiss curls, dressed in a white outfit and performing with her band on a stage in front of a jumping audience. The video was later published on Stansfield's official YouTube channel in November 2009. It has amassed more than 1,6 million views as of October 2021.\n\nTrack listings\n\n European/UK 7\" single\n\"What Did I Do to You?\" (Mark Saunders Remix Edit) – 4:20\n\"Something's Happenin'\" – 3:59\n\n European/UK/Japanese CD single\n\"What Did I Do to You?\" (Mark Saunders Remix Edit) – 4:20\n\"My Apple Heart\" – 5:19\n\"Lay Me Down\" – 4:17\n\"Something's Happenin'\" – 3:59\n\n UK 10\" single\n\"What Did I Do to You?\" (Mark Saunders Remix) – 5:52\n\"My Apple Heart\" – 5:19\n\"Lay Me Down\" – 4:17\n\"Something's Happenin'\" – 3:59\n\n European/UK 12\" single\n\"What Did I Do to You?\" (Morales Mix) – 7:59\n\"My Apple Heart\" – 4:22\n\"Lay Me Down\" – 3:19\n\"Something's Happenin'\" – 3:15\n\n UK 12\" promotional single\n\"What Did I Do to You?\" (Morales Mix) – 7:59\n\"What Did I Do to You?\" (Anti Poll Tax Dub) – 6:31\n\n Other remixes\n\"What Did I Do to You?\" (Red Zone Mix) – 7:45\n\nCharts\n\nReferences\n\nLisa Stansfield songs\n1990 singles\nSongs written by Lisa Stansfield\n1989 songs\nArista Records singles\nSongs written by Ian Devaney\nSongs written by Andy Morris (musician)"
] | [
"The Aquabats! Super Show! is an American action-comedy musical television series which aired from March 3, 2012 to January 8, 2014 on The Hub Network and resumed as an independent YouTube web series in September 2019.",
"is an American action-comedy musical television series which aired from March 3, 2012 to January 8, 2014 on The Hub Network and resumed as an independent YouTube web series in September 2019. The series was created by Christian Jacobs, and Scott Schultz, both the creators of the Nick Jr. show Yo Gabba Gabba!, and Jason deVilliers.",
"The series was created by Christian Jacobs, and Scott Schultz, both the creators of the Nick Jr. show Yo Gabba Gabba!, and Jason deVilliers. Based on the superhero mythology of The Aquabats, a real-life comedy rock band which series co-creator and lead singer Jacobs formed in 1994, The Aquabats! Super Show!",
"Super Show! Super Show! follows the comic adventures of a fictionalized version of the band, a musical group of amateur superheroes, as they haphazardly defend the world from a variety of villains and monsters. Styled similarly to the campy aesthetics of 1960s and 1970s children's television and Japanese tokusatsu, Super Show!",
"Styled similarly to the campy aesthetics of 1960s and 1970s children's television and Japanese tokusatsu, Super Show! utilizes various mediums of visual styles and special effects, mixing live-action storylines with cartoon shorts, parody advertisements and musical interludes.",
"utilizes various mediums of visual styles and special effects, mixing live-action storylines with cartoon shorts, parody advertisements and musical interludes. The series' first season concluded on June 16, 2012 following a run of 13 episodes, having met with a largely positive critical reception, consistently high ratings for the channel and a Daytime Emmy nomination for Outstanding Children's Series.",
"The series' first season concluded on June 16, 2012 following a run of 13 episodes, having met with a largely positive critical reception, consistently high ratings for the channel and a Daytime Emmy nomination for Outstanding Children's Series. The series' second season consisted of an initial five episodes which aired through June 2013, with three additional episodes airing in late December and January 2014, receiving similar acclaim and a further seven Daytime Emmy nominations, ultimately winning one for Best Stunt Coordination.",
"The series' second season consisted of an initial five episodes which aired through June 2013, with three additional episodes airing in late December and January 2014, receiving similar acclaim and a further seven Daytime Emmy nominations, ultimately winning one for Best Stunt Coordination. In June 2014, co-creator Jacobs officially announced the series' cancellation, following news of The Hub's financial losses which led to the network's rebranding as Discovery Family later that October.",
"In June 2014, co-creator Jacobs officially announced the series' cancellation, following news of The Hub's financial losses which led to the network's rebranding as Discovery Family later that October. In July 2018, The Aquabats launched a successful Kickstarter to help independently finance new episodes of The Aquabats!",
"In July 2018, The Aquabats launched a successful Kickstarter to help independently finance new episodes of The Aquabats! Super Show!, promoting the campaign with a series of YouTube-exclusive mini-episodes continuing the original series' storyline.",
"Super Show!, promoting the campaign with a series of YouTube-exclusive mini-episodes continuing the original series' storyline. On September 28, 2019, The Aquabats premiered the first installment of these new episodes, now a biweekly YouTube series entitled The Aquabats! RadVentures!, though still retaining Super Show!s theme song and title card.",
"RadVentures!, though still retaining Super Show!s theme song and title card. Series overview Premise Chronicled in both live-action and animated segments, The Aquabats! Super Show!",
"Super Show! Super Show! is centered around the adventures of The Aquabats, a group of superhero rock musicians who travel the countryside on a self-appointed mission to fight evil and \"destroy boredom\", protecting the world from the villains and creatures who threaten to destroy it while aiming to become a famous rock and roll band in their own right.",
"is centered around the adventures of The Aquabats, a group of superhero rock musicians who travel the countryside on a self-appointed mission to fight evil and \"destroy boredom\", protecting the world from the villains and creatures who threaten to destroy it while aiming to become a famous rock and roll band in their own right. The Aquabats consist of singer The MC Bat Commander (Christian Jacobs), the swaggering leader of the group; bassist Crash McLarson (Chad Larson), who can grow up to 100 feet in size; drummer Ricky Fitness (Richard Falomir), who has the power of super speed; guitarist EagleBones Falconhawk (Ian Fowles), who's armed with a laser-shooting electric guitar; and keyboardist Jimmy the Robot (James R. Briggs, Jr.), an android.",
"The Aquabats consist of singer The MC Bat Commander (Christian Jacobs), the swaggering leader of the group; bassist Crash McLarson (Chad Larson), who can grow up to 100 feet in size; drummer Ricky Fitness (Richard Falomir), who has the power of super speed; guitarist EagleBones Falconhawk (Ian Fowles), who's armed with a laser-shooting electric guitar; and keyboardist Jimmy the Robot (James R. Briggs, Jr.), an android. Despite their superhuman strengths and abilities, The Aquabats are quite bumbling, disorganized, and sometimes cowardly when faced with danger; this has in fact led them to be labeled \"the world's most inept superheroes\".",
"Despite their superhuman strengths and abilities, The Aquabats are quite bumbling, disorganized, and sometimes cowardly when faced with danger; this has in fact led them to be labeled \"the world's most inept superheroes\". The band lives and travels by way of their \"Battletram\", a modified classic GMC motorhome which, despite its small exterior, has an implausibly massive interior (similar to the TARDIS from Doctor Who or The Big Bologna from The Kids From C.A.P.E.R.",
"The band lives and travels by way of their \"Battletram\", a modified classic GMC motorhome which, despite its small exterior, has an implausibly massive interior (similar to the TARDIS from Doctor Who or The Big Bologna from The Kids From C.A.P.E.R. ), which contains, among many things, a science lab, a command center, and a living room.",
"), which contains, among many things, a science lab, a command center, and a living room. The Aquabats' origin story was left intentionally vague throughout the series, a choice Jacobs explains was done for the sake of the viewer's imagination, as he felt kids were more accepting of the inherent absurdity of the premise than adults tend to be: \"'There's five guys.",
"The Aquabats' origin story was left intentionally vague throughout the series, a choice Jacobs explains was done for the sake of the viewer's imagination, as he felt kids were more accepting of the inherent absurdity of the premise than adults tend to be: \"'There's five guys. This is what each of the five guys does.",
"This is what each of the five guys does. There are monsters. They're gonna try to fight them'. It's so simple. And I think that's why it's so awesome with kids—they just take it and run with it\".",
"And I think that's why it's so awesome with kids—they just take it and run with it\". In the first five episodes of season two, each member of The Aquabats shares their memory of how they joined the band via animated flashback sequences; however, all of these flashbacks directly and intentionally contradict each other, leaving it unknown which—if any—could be considered officially canonical.",
"In the first five episodes of season two, each member of The Aquabats shares their memory of how they joined the band via animated flashback sequences; however, all of these flashbacks directly and intentionally contradict each other, leaving it unknown which—if any—could be considered officially canonical. Format and influences The Aquabats! Super Show!",
"Format and influences The Aquabats! Super Show! Super Show! juxtaposes both live-action and animated segments starring The Aquabats, interwoven with various tangential skits and cartoon interstitials. The live-action storylines are the primary focus of each episode, following a self-contained villain of the week formula.",
"The live-action storylines are the primary focus of each episode, following a self-contained villain of the week formula. In the first season, each episode featured brief anime-styled cartoon shorts which one of the characters would introduce at a random point of the show, often by finding \"A Cartoon\" (represented by a miniature television set) in an absurd location.",
"In the first season, each episode featured brief anime-styled cartoon shorts which one of the characters would introduce at a random point of the show, often by finding \"A Cartoon\" (represented by a miniature television set) in an absurd location. Unlike the live-action segments, these cartoons followed a serialized story arc, with each installment ending in a cliffhanger to be resolved in the next episode.",
"Unlike the live-action segments, these cartoons followed a serialized story arc, with each installment ending in a cliffhanger to be resolved in the next episode. In season two, this format was replaced with a series of animated flashbacks recounting the origins of The Aquabats, each by a different animation studio and in a different animation style.",
"In season two, this format was replaced with a series of animated flashbacks recounting the origins of The Aquabats, each by a different animation studio and in a different animation style. Between these segments are pantomime cartoon shorts starring \"Lil' Bat\", The Aquabats' anthropomorphic bat mascot, and live-action parody commercials for outlandish fictional products, the latter of which has long been a staple of The Aquabats' multi-media stage shows.",
"Between these segments are pantomime cartoon shorts starring \"Lil' Bat\", The Aquabats' anthropomorphic bat mascot, and live-action parody commercials for outlandish fictional products, the latter of which has long been a staple of The Aquabats' multi-media stage shows. Jacobs says the concept behind Super Show!",
"Jacobs says the concept behind Super Show! was something he had always dreamed of doing, making a \"campy, live-action, funky kid's show\" in the vein of the 1960s and 1970s television that he and the rest of the series' producers had grown up with.",
"was something he had always dreamed of doing, making a \"campy, live-action, funky kid's show\" in the vein of the 1960s and 1970s television that he and the rest of the series' producers had grown up with. While the show pays homage to many facets of pop culture, Jacobs has named the 1960s Batman television series as the primary influence on Super Show!s \"obviously silly\" tone and visual style, ranging from set design to the trademark use of dutch angles for villain scenes.",
"While the show pays homage to many facets of pop culture, Jacobs has named the 1960s Batman television series as the primary influence on Super Show!s \"obviously silly\" tone and visual style, ranging from set design to the trademark use of dutch angles for villain scenes. Other notable influences Jacobs has repeatedly mentioned include the works of Sid and Marty Krofft and Hanna-Barbera, Japanese tokusatsu series such as Ultraman and Johnny Sokko And His Flying Robot, the Shaw Brothers and Hong Kong cinema, and shows including Danger Island, Star Trek, The Rocky and Bullwinkle Show, and Pee-wee's Playhouse, noting \"there's a good 30 years worth of television culture packed into these 22-minute episodes\".",
"Other notable influences Jacobs has repeatedly mentioned include the works of Sid and Marty Krofft and Hanna-Barbera, Japanese tokusatsu series such as Ultraman and Johnny Sokko And His Flying Robot, the Shaw Brothers and Hong Kong cinema, and shows including Danger Island, Star Trek, The Rocky and Bullwinkle Show, and Pee-wee's Playhouse, noting \"there's a good 30 years worth of television culture packed into these 22-minute episodes\". Demographic As The Hub's key demographic were children aged 6 to 12, Super Show!",
"Demographic As The Hub's key demographic were children aged 6 to 12, Super Show! was ostensibly targeted towards said age group, though Jacobs has stated that the series primarily aimed to appeal to an all-ages crowd, with the intent of creating entertainment that both kids and parents can watch and enjoy together or separately.",
"was ostensibly targeted towards said age group, though Jacobs has stated that the series primarily aimed to appeal to an all-ages crowd, with the intent of creating entertainment that both kids and parents can watch and enjoy together or separately. In interviews prior to the series' premiere, he explained that this was merely an extension of The Aquabats' own family-friendly ethos: \"There's just obviously something about the costumes and being superheroes that really appeals to younger kids, and I think we always knew that as a band...I think we'll want to put things in [the show] for an older audience, because we realize we have an older audience, but then also we want the young kids, to not have it go over their heads\".",
"In interviews prior to the series' premiere, he explained that this was merely an extension of The Aquabats' own family-friendly ethos: \"There's just obviously something about the costumes and being superheroes that really appeals to younger kids, and I think we always knew that as a band...I think we'll want to put things in [the show] for an older audience, because we realize we have an older audience, but then also we want the young kids, to not have it go over their heads\". Production history History and previous attempts at a series In 1994, musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in Brea, California.",
"Production history History and previous attempts at a series In 1994, musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in Brea, California. Influenced as much by cartoons and camp television as theatrical bands like Devo and Oingo Boingo, The Aquabats gained instant notoriety in the Orange County music scene for their eccentric persona in which they claimed to be a band of superheroes on a quest to save the world and their elaborate stage shows which regularly featured scripted fights with costumed villains alongside similar stunts and comedy sketches.",
"Influenced as much by cartoons and camp television as theatrical bands like Devo and Oingo Boingo, The Aquabats gained instant notoriety in the Orange County music scene for their eccentric persona in which they claimed to be a band of superheroes on a quest to save the world and their elaborate stage shows which regularly featured scripted fights with costumed villains alongside similar stunts and comedy sketches. The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough for the group, charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs – a former child actor with ties in the industry – to develop the concept of adapting the band's mythology for television.",
"The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough for the group, charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs – a former child actor with ties in the industry – to develop the concept of adapting the band's mythology for television. In 1998, Buena Vista Television helped produce a live-action mini-pilot directed by comedian Bobcat Goldthwait titled simply The Aquabats!, following the comic misadventures of the then-eight member band in an over-the-top camp style similar to Saturday morning cartoon shows.",
"In 1998, Buena Vista Television helped produce a live-action mini-pilot directed by comedian Bobcat Goldthwait titled simply The Aquabats!, following the comic misadventures of the then-eight member band in an over-the-top camp style similar to Saturday morning cartoon shows. The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves.",
"The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves. Undeterred, The Aquabats made an attempt at a second pilot the following year, using a music video budget granted by their record label Goldenvoice Records for their 1999 album The Aquabats vs. the Floating Eye of Death!.",
"Undeterred, The Aquabats made an attempt at a second pilot the following year, using a music video budget granted by their record label Goldenvoice Records for their 1999 album The Aquabats vs. the Floating Eye of Death!. Independently directed and produced by Jacobs and his creative partner Scott Schultz, the result was a five-minute promo video entitled The Aquabats in Color!.",
"Independently directed and produced by Jacobs and his creative partner Scott Schultz, the result was a five-minute promo video entitled The Aquabats in Color!. In contrast to the wackier tone of the previous pilot, The Aquabats in Color! was a more action-oriented superhero series modeled after Japanese tokusatsu shows such as Kamen Rider.",
"was a more action-oriented superhero series modeled after Japanese tokusatsu shows such as Kamen Rider. According to Jacobs, the Fox Family Channel reportedly expressed interest in the series and ordered production on a proper pilot episode, though following the channel's acquisition by Disney in 2001, the project was cancelled. The Aquabats! Super Show!",
"The Aquabats! Super Show! Super Show! pilot (2008) In 2005, Jacobs and Schultz formed the Orange County-based production company The Magic Store, focusing on creating family-oriented television entertainment.",
"pilot (2008) In 2005, Jacobs and Schultz formed the Orange County-based production company The Magic Store, focusing on creating family-oriented television entertainment. One of the company's independently produced pilots, the children's television series Yo Gabba Gabba!, was eventually picked up as a series by Viacoms Nick Jr. channel, premiering in August 2007 and ultimately becoming an award-winning and critically acclaimed international success.",
"One of the company's independently produced pilots, the children's television series Yo Gabba Gabba!, was eventually picked up as a series by Viacoms Nick Jr. channel, premiering in August 2007 and ultimately becoming an award-winning and critically acclaimed international success. In the wake of the series' popularity, Jacobs and Schultz persuaded Yo Gabba Gabba!s joint production company Wild Brain to help produce a new pilot based around The Aquabats in conjuncture with The Magic Store.",
"In the wake of the series' popularity, Jacobs and Schultz persuaded Yo Gabba Gabba!s joint production company Wild Brain to help produce a new pilot based around The Aquabats in conjuncture with The Magic Store. Again creatively spearheaded by Jacobs and Schultz, The Aquabats' third pilot, titled The Aquabats!",
"Again creatively spearheaded by Jacobs and Schultz, The Aquabats' third pilot, titled The Aquabats! Super Show!, was shot on location throughout southern California in late 2007 and early 2008.",
"Super Show!, was shot on location throughout southern California in late 2007 and early 2008. Part of this filming took place at a free invitation-only concert for members of the band's official fan club at the El Rey Theatre in Los Angeles on January 12, 2008.",
"Part of this filming took place at a free invitation-only concert for members of the band's official fan club at the El Rey Theatre in Los Angeles on January 12, 2008. While The Aquabats' previous pilots were short, live-action promotional videos, The Aquabats! Super Show!",
"Super Show! Super Show! was a fully realized 22-minute episode featuring two separate storylines based on the adventures of The Aquabats, one live-action and one animated, and interspersed with parody commercials and live footage of the band.",
"was a fully realized 22-minute episode featuring two separate storylines based on the adventures of The Aquabats, one live-action and one animated, and interspersed with parody commercials and live footage of the band. Speaking on the decision to structure the show in such a varied format, Jacobs said \"[w]e did that for a strategic reason – some networks like cartoons more than other networks.",
"Speaking on the decision to structure the show in such a varied format, Jacobs said \"[w]e did that for a strategic reason – some networks like cartoons more than other networks. We wanted to say, 'this could be both shows'.\" Following a period of post-production, The Aquabats began widely self-promoting Super Show!",
"Following a period of post-production, The Aquabats began widely self-promoting Super Show! in June 2008, redesigning their website to promote the pilot and releasing a teaser trailer and several exclusive clips through an official Super Show! YouTube channel.",
"YouTube channel. YouTube channel. On July 25, 2008, the band screened the full pilot at a concert in San Diego held during the weekend of the San Diego Comic-Con, while a segment of the episode was hosted on Boing Boing the same day.",
"On July 25, 2008, the band screened the full pilot at a concert in San Diego held during the weekend of the San Diego Comic-Con, while a segment of the episode was hosted on Boing Boing the same day. In 2009, Cartoon Network allegedly picked the series up for a run of 22 episodes, though following major staff changes within the company—which, according to Jacobs, included the termination of the executives who had green-lighted Super Show!—the project was again cancelled.",
"In 2009, Cartoon Network allegedly picked the series up for a run of 22 episodes, though following major staff changes within the company—which, according to Jacobs, included the termination of the executives who had green-lighted Super Show!—the project was again cancelled. The Hub and season one After several more unsuccessful network pitches into the 2010s, The Aquabats!",
"The Hub and season one After several more unsuccessful network pitches into the 2010s, The Aquabats! Super Show! was finally picked up as a series by family cable channel The Hub, a joint venture between Hasbro and Discovery which launched in 2010 as a replacement for Discovery Kids.",
"was finally picked up as a series by family cable channel The Hub, a joint venture between Hasbro and Discovery which launched in 2010 as a replacement for Discovery Kids. The Hub formally announced the series in a press release on March 23, 2011, revealing Super Show!",
"The Hub formally announced the series in a press release on March 23, 2011, revealing Super Show! would be given a first season run of 13 episodes, produced in conjuncture with FremantleMedia.",
"would be given a first season run of 13 episodes, produced in conjuncture with FremantleMedia. In promotion of the series, The Aquabats appeared as part of a panel at the 2011 San Diego Comic-Con where they discussed their initial plans for the show, while The Hub sponsored an Aquabats concert held at the nearby House of Blues during the same weekend.",
"In promotion of the series, The Aquabats appeared as part of a panel at the 2011 San Diego Comic-Con where they discussed their initial plans for the show, while The Hub sponsored an Aquabats concert held at the nearby House of Blues during the same weekend. Production on season one of Super Show! officially began in May 2011.",
"officially began in May 2011. officially began in May 2011. The entirety of the first season was shot within and around The Aquabats' hometown of Orange County, California; according to the first season DVD audio commentary, episodes were shot on location in the cities of Irvine, Silverado, Yorba Linda, Huntington Beach and Fullerton, while a private sound stage in Santa Ana was used for interior shots of the Battletram.",
"The entirety of the first season was shot within and around The Aquabats' hometown of Orange County, California; according to the first season DVD audio commentary, episodes were shot on location in the cities of Irvine, Silverado, Yorba Linda, Huntington Beach and Fullerton, while a private sound stage in Santa Ana was used for interior shots of the Battletram. A public Aquabats concert held at The Glass House club in Pomona on November 5, 2011 was also filmed to provide live footage of the band which is featured in the series' opening credits montage and several individual episodes.",
"A public Aquabats concert held at The Glass House club in Pomona on November 5, 2011 was also filmed to provide live footage of the band which is featured in the series' opening credits montage and several individual episodes. Much of Super Show!s staff consist of friends and colleagues of The Aquabats who've previously worked with the band on various projects, ranging from members of Yo Gabba Gabba!s production team to fellow musicians within the southern California music scene.",
"Much of Super Show!s staff consist of friends and colleagues of The Aquabats who've previously worked with the band on various projects, ranging from members of Yo Gabba Gabba!s production team to fellow musicians within the southern California music scene. Among the more notable examples include Dallas McLaughlin and Matthew Gorney, both members of the San Diego hip hop band Bad Credit, who prominently served as writers, composers and performers, Warren Fitzgerald, guitarist for The Vandals, who was hired as a writer and music director, internet sketch comedy group Mega64 were commissioned to produce original material, primarily the series' parody commercials, and Japanese artist Pey, who had designed much of The Aquabats' promotional art and merchandise during the 2000s, was hired to design the season's animated segments.",
"Among the more notable examples include Dallas McLaughlin and Matthew Gorney, both members of the San Diego hip hop band Bad Credit, who prominently served as writers, composers and performers, Warren Fitzgerald, guitarist for The Vandals, who was hired as a writer and music director, internet sketch comedy group Mega64 were commissioned to produce original material, primarily the series' parody commercials, and Japanese artist Pey, who had designed much of The Aquabats' promotional art and merchandise during the 2000s, was hired to design the season's animated segments. Additionally, several industry professionals were brought in to help work on the show: Dani Michaeli, a staff writer on SpongeBob SquarePants, was hired as the series' story editor, while Matt Chapman, co-creator of the internet Flash cartoon Homestar Runner, acted as a writer, director and actor on several episodes.",
"Additionally, several industry professionals were brought in to help work on the show: Dani Michaeli, a staff writer on SpongeBob SquarePants, was hired as the series' story editor, while Matt Chapman, co-creator of the internet Flash cartoon Homestar Runner, acted as a writer, director and actor on several episodes. As none of the members besides Jacobs had any previous acting experience, comedian Matt Walsh of the Upright Citizens Brigade was brought in to help teach The Aquabats comedic acting and timing.",
"As none of the members besides Jacobs had any previous acting experience, comedian Matt Walsh of the Upright Citizens Brigade was brought in to help teach The Aquabats comedic acting and timing. In further homage to the original Batman series, Super Show! features a variety of celebrity cameo appearances.",
"features a variety of celebrity cameo appearances. The series' first season included appearances from actors Jon Heder, Lou Diamond Phillips and Samm Levine, comedians Rip Taylor, Paul Scheer and Paul Rust, and comedy musician \"Weird Al\" Yankovic, who appeared in two episodes as different characters.",
"The series' first season included appearances from actors Jon Heder, Lou Diamond Phillips and Samm Levine, comedians Rip Taylor, Paul Scheer and Paul Rust, and comedy musician \"Weird Al\" Yankovic, who appeared in two episodes as different characters. The first season also included several \"Easter egg\" cameos from original Aquabats members Corey \"Chainsaw\" Pollock and Boyd \"Catboy\" Terry, as well as from fellow musicians Warren Fitzgerald and Art Mitchell of the band Supernova.",
"The first season also included several \"Easter egg\" cameos from original Aquabats members Corey \"Chainsaw\" Pollock and Boyd \"Catboy\" Terry, as well as from fellow musicians Warren Fitzgerald and Art Mitchell of the band Supernova. Despite having been originally announced as part of The Hub's 2011 Fall line-up, production delays postponed Super Show!s premiere to early 2012.",
"Despite having been originally announced as part of The Hub's 2011 Fall line-up, production delays postponed Super Show!s premiere to early 2012. The series' marketing campaign began in December 2011, with a later announcement of an official premiere date confirmed for March 3, 2012.",
"The series' marketing campaign began in December 2011, with a later announcement of an official premiere date confirmed for March 3, 2012. Following a non-consecutive run of 13 episodes, the first-season finale aired on June 16, 2012.",
"Following a non-consecutive run of 13 episodes, the first-season finale aired on June 16, 2012. Season two On October 16, 2012, The Aquabats and The Hub confirmed production on new episodes of Super Show! through the social networking sites Facebook and Twitter, announcing a tentative debut date of Spring 2013.",
"through the social networking sites Facebook and Twitter, announcing a tentative debut date of Spring 2013. Principal photography on season two began on October 22 and wrapped on December 1.",
"Principal photography on season two began on October 22 and wrapped on December 1. Unlike the first season, the majority of season two was shot in and around Salt Lake City, Utah, which Jacobs explained was considerably less expensive than shooting in California.",
"Unlike the first season, the majority of season two was shot in and around Salt Lake City, Utah, which Jacobs explained was considerably less expensive than shooting in California. While no changes were made to Super Shows creative team, in December 2012 it was announced that season two would introduce the series' first guest director, musician and comic book writer Gerard Way, who co-directed and co-wrote the season finale \"The AntiBats!\"",
"While no changes were made to Super Shows creative team, in December 2012 it was announced that season two would introduce the series' first guest director, musician and comic book writer Gerard Way, who co-directed and co-wrote the season finale \"The AntiBats!\" with Jacobs and deVilliers.",
"with Jacobs and deVilliers. with Jacobs and deVilliers. Way's involvement with the series was heavily covered by the music press in the wake of the March 2013 break-up of his popular alternative rock band My Chemical Romance.",
"Way's involvement with the series was heavily covered by the music press in the wake of the March 2013 break-up of his popular alternative rock band My Chemical Romance. Among the guest stars featured in season two were professional skateboarders Tony Hawk and Eric Koston, Devo frontman and Yo Gabba Gabba!",
"Among the guest stars featured in season two were professional skateboarders Tony Hawk and Eric Koston, Devo frontman and Yo Gabba Gabba! cast member Mark Mothersbaugh, internet celebrity Leslie Hall, actor Martin Starr and My Chemical Romance bassist Mikey Way.",
"cast member Mark Mothersbaugh, internet celebrity Leslie Hall, actor Martin Starr and My Chemical Romance bassist Mikey Way. On December 2, 2012, deVilliers revealed on his Twitter account that the upcoming season would consist of only five new episodes, in what he called more \"season 1.5\" than a \"season 2\", though mentioned the possibility of more being made in the future.",
"On December 2, 2012, deVilliers revealed on his Twitter account that the upcoming season would consist of only five new episodes, in what he called more \"season 1.5\" than a \"season 2\", though mentioned the possibility of more being made in the future. On May 1, 2013, it was announced through Entertainment Weekly that the series' second season would begin airing on June 1.",
"On May 1, 2013, it was announced through Entertainment Weekly that the series' second season would begin airing on June 1. After a run of only five episodes, the season concluded on June 29, 2013.",
"After a run of only five episodes, the season concluded on June 29, 2013. 2013–2014 specials On August 22, 2013, series performer Chad Larson confirmed via Twitter that three additional episodes of Super Show! were being filmed near the end of the year, \"and maybe more next\".",
"were being filmed near the end of the year, \"and maybe more next\". Principal photography on these episodes eventually began in Utah in early October.",
"Principal photography on these episodes eventually began in Utah in early October. Throughout the month, The Aquabats posted numerous pictures of production on the new episodes on their Twitter and Instagram accounts, some of which revealed production code numbers of 301, 302 and 303, ostensibly indicating what would be a third season.",
"Throughout the month, The Aquabats posted numerous pictures of production on the new episodes on their Twitter and Instagram accounts, some of which revealed production code numbers of 301, 302 and 303, ostensibly indicating what would be a third season. Though these numbers were later verified by the Internet Movie Database, a November press release from The Hub explicitly referred to these three episodes as \"specials\".",
"Though these numbers were later verified by the Internet Movie Database, a November press release from The Hub explicitly referred to these three episodes as \"specials\". The first of these specials, \"Christmas with The Aquabats! \", aired on December 21, featuring comedians Robert Smigel and Matt Walsh in guest roles.",
"\", aired on December 21, featuring comedians Robert Smigel and Matt Walsh in guest roles. The second of these episodes, \"The Shark Fighter!\"",
"The second of these episodes, \"The Shark Fighter!\" (based on The Aquabats' song of the same name), featuring comedian Rhys Darby, aired the following week on December 28, while the final special \"Kitty Litter!\" aired on January 18, 2014. \"Kitty Litter!\"",
"\"Kitty Litter!\" \"Kitty Litter!\" was helmed by another guest director, Munn Powell, best known for his work as cinematographer on the Jared and Jerusha Hess films Napoleon Dynamite and Gentlemen Broncos.",
"was helmed by another guest director, Munn Powell, best known for his work as cinematographer on the Jared and Jerusha Hess films Napoleon Dynamite and Gentlemen Broncos. Following this short run of episodes, there was no confirmation by either The Hub or The Aquabats as to the production of any future episodes.",
"Following this short run of episodes, there was no confirmation by either The Hub or The Aquabats as to the production of any future episodes. In a December 2013 interview, Christian Jacobs acknowledged the network's unusually small order of episodes but didn't elaborate on any possible reasoning.",
"In a December 2013 interview, Christian Jacobs acknowledged the network's unusually small order of episodes but didn't elaborate on any possible reasoning. In the same interview, he stated that the band had initially prepared for another order of 13 episodes, having written as many scripts for potential future episodes.",
"In the same interview, he stated that the band had initially prepared for another order of 13 episodes, having written as many scripts for potential future episodes. On May 1, 2014, the nominees for the 2014 Daytime Emmy Awards were announced, revealing that Super Show!",
"On May 1, 2014, the nominees for the 2014 Daytime Emmy Awards were announced, revealing that Super Show! had been nominated for five awards in four categories, including the award for Best Writing in a Children's Series for the episode \"The AntiBats!\".",
"had been nominated for five awards in four categories, including the award for Best Writing in a Children's Series for the episode \"The AntiBats!\". The awards ceremony was held on June 22, 2014, where the series ultimately won the award for Best Stunt Coordination for stuntman Skip Carlson.",
"The awards ceremony was held on June 22, 2014, where the series ultimately won the award for Best Stunt Coordination for stuntman Skip Carlson. Cancellation by The Hub and hiatus In mid-2014, it was announced in entertainment press that Hasbro and Discovery had been in the process of rebranding The Hub following what they saw to be disappointing returns for the channel, changes which included the departure of CEO Margaret Loesch, who was instrumental in acquiring Super Show!",
"Cancellation by The Hub and hiatus In mid-2014, it was announced in entertainment press that Hasbro and Discovery had been in the process of rebranding The Hub following what they saw to be disappointing returns for the channel, changes which included the departure of CEO Margaret Loesch, who was instrumental in acquiring Super Show! as a series.",
"as a series. as a series. In a Huffington Post feature about The Aquabats prior to the band's appearance at the 2014 San Diego Comic-Con, it was revealed that The Hub had opted not to renew Super Show! for a third season, effectively cancelling the series.",
"for a third season, effectively cancelling the series. Jacobs admitted he was surprised by this turn of events, noting \"Everything we heard was that the show has been a real Cinderella story for the Hub and that it was rating really well with viewers.",
"Jacobs admitted he was surprised by this turn of events, noting \"Everything we heard was that the show has been a real Cinderella story for the Hub and that it was rating really well with viewers. We just assumed that we'd eventually go back into production or at least get picked up for Season 3\", but ultimately concluded \"it is what it is\" in regard to the network's decision.",
"We just assumed that we'd eventually go back into production or at least get picked up for Season 3\", but ultimately concluded \"it is what it is\" in regard to the network's decision. Despite this, Jacobs remained optimistic about the series' future, saying \"Given that we now live in a world where people are streaming TV shows directly onto their iPhones & computers, and given that companies like Netflix & Yahoo!",
"Despite this, Jacobs remained optimistic about the series' future, saying \"Given that we now live in a world where people are streaming TV shows directly onto their iPhones & computers, and given that companies like Netflix & Yahoo! are now picking up so much new content for their customers...I just find it hard to believe that The Aquabats!",
"are now picking up so much new content for their customers...I just find it hard to believe that The Aquabats! Super Show! is really over. I mean, we haven't even made any toys yet\". He concluded by stating \"It took us almost 15 years to get that TV series made.",
"He concluded by stating \"It took us almost 15 years to get that TV series made. And even though we've got a bunch more concert dates lined up for the rest of this year, our first priority is to find a new home for The Aquabats! Super Show!\".",
"Super Show!\". Super Show!\". On March 31, 2015, the nominees for the 42nd annual Daytime Emmy Awards were announced, with Super Show! earning nominations for Best SFX Mixer (Blaine Stewart) and Best Stunt Coordinator (Braxton McAllister).",
"earning nominations for Best SFX Mixer (Blaine Stewart) and Best Stunt Coordinator (Braxton McAllister). On June 27, 2015, The Aquabats screened the entire first season of Super Show!",
"On June 27, 2015, The Aquabats screened the entire first season of Super Show! before a sold-out crowd at The Frida Cinema in downtown Santa Ana, which was accompanied by a live performance by the band and Q&A sessions with The Aquabats and numerous members of the cast and crew.",
"before a sold-out crowd at The Frida Cinema in downtown Santa Ana, which was accompanied by a live performance by the band and Q&A sessions with The Aquabats and numerous members of the cast and crew. A similar presentation of the entire second season – including the three additional specials – took place at The Art Theater in Long Beach on December 16, 2017, coinciding with the release of the second season Blu-ray.",
"A similar presentation of the entire second season – including the three additional specials – took place at The Art Theater in Long Beach on December 16, 2017, coinciding with the release of the second season Blu-ray. Bring Back The Aquabats!",
"Bring Back The Aquabats! Bring Back The Aquabats! Kickstarter campaign Following weeks of teasing a major announcement, The Aquabats launched a Kickstarter campaign on July 31, 2018 to help finance the return of The Aquabats! Super Show! as well as new studio albums from the band at a minimum projected cost of $1.1 million.",
"as well as new studio albums from the band at a minimum projected cost of $1.1 million. The Aquabats promoted their campaign with a video featuring a slew of celebrity cameos, including Super Show!",
"The Aquabats promoted their campaign with a video featuring a slew of celebrity cameos, including Super Show! guest stars \"Weird Al\" Yankovic, Robert Smigel (as Triumph the Insult Comic Dog), Matt Chapman (as Homestar Runner and Strong Bad), former Aquabats member Travis Barker, Tony Kanal, Tom Dumont, Oscar Nunez, Kate Micucci, Blake Anderson, Imagine Dragons, Felicia Day and Tom Lennon, all of whom appeared in The Aquabats' trademark uniforms and spoke the Kickstarter's promotional slogan \"I am The Aquabats\"/\"We are The Aquabats\".",
"guest stars \"Weird Al\" Yankovic, Robert Smigel (as Triumph the Insult Comic Dog), Matt Chapman (as Homestar Runner and Strong Bad), former Aquabats member Travis Barker, Tony Kanal, Tom Dumont, Oscar Nunez, Kate Micucci, Blake Anderson, Imagine Dragons, Felicia Day and Tom Lennon, all of whom appeared in The Aquabats' trademark uniforms and spoke the Kickstarter's promotional slogan \"I am The Aquabats\"/\"We are The Aquabats\". Most prominently featured, however, was comedian Jack Black, who was later confirmed by the campaign's press releases to act as executive producer for the series' return.",
"Most prominently featured, however, was comedian Jack Black, who was later confirmed by the campaign's press releases to act as executive producer for the series' return. Along with their Kickstarter, the band began releasing a series of Super Show!",
"Along with their Kickstarter, the band began releasing a series of Super Show! \"mini-episodes\", depicting the MC Bat Commander's metafictional quest to reunite the estranged Aquabats following the series' cancellation.",
"\"mini-episodes\", depicting the MC Bat Commander's metafictional quest to reunite the estranged Aquabats following the series' cancellation. The band confirmed that as the Kickstarter progresses, further \"mini-episodes\" will be released to both promote the campaign as well as act as a continuation of Super Show!.",
"The band confirmed that as the Kickstarter progresses, further \"mini-episodes\" will be released to both promote the campaign as well as act as a continuation of Super Show!. By August 28, mere days before the campaign's end date of September 1, The Aquabats' Kickstarter had raised only $601,629 of its projected $1.1 million goal.",
"By August 28, mere days before the campaign's end date of September 1, The Aquabats' Kickstarter had raised only $601,629 of its projected $1.1 million goal. The funding was subsequently cancelled and the campaign was rebooted the same day with a smaller goal of $100,000 to instead finance one new album and the continued production of the Super Show!!",
"The funding was subsequently cancelled and the campaign was rebooted the same day with a smaller goal of $100,000 to instead finance one new album and the continued production of the Super Show!! \"mini-episodes\". The project's goal was met within minutes. Music Original music for The Aquabats! Super Show!",
"Super Show! Super Show! was primarily composed and performed by The Aquabats themselves, with additional scoring on most episodes provided by Matthew Gorney, Warren Fitzgerald or individual credits for Aquabats members James R. Briggs, Jr., Richard Falomir and Ian Fowles.",
"was primarily composed and performed by The Aquabats themselves, with additional scoring on most episodes provided by Matthew Gorney, Warren Fitzgerald or individual credits for Aquabats members James R. Briggs, Jr., Richard Falomir and Ian Fowles. Fitzgerald, guitarist for punk rock band The Vandals and former member of Oingo Boingo, acted as the series' music supervisor.",
"Fitzgerald, guitarist for punk rock band The Vandals and former member of Oingo Boingo, acted as the series' music supervisor. The theme song to Super Show!, \"Super Show Theme Song! \", was co-written by The Aquabats and Fitzgerald.",
"\", was co-written by The Aquabats and Fitzgerald. Whereas most musically oriented shows like The Monkees typically break the narrative of an episode for a music video performance of a standalone song, each episode of Super Show!",
"Whereas most musically oriented shows like The Monkees typically break the narrative of an episode for a music video performance of a standalone song, each episode of Super Show! typically features one or two unique songs that tied directly into the plot, usually about and performed during the events of a particular scene.",
"typically features one or two unique songs that tied directly into the plot, usually about and performed during the events of a particular scene. Most of these songs are rather brief, averaging a running time of just under a minute; Jacobs stated that many of the show's original songs were recorded as full-length pieces but trimmed down for inclusion in an episode, simply due to the show \"trying to pack so much into 22 minutes\".",
"Most of these songs are rather brief, averaging a running time of just under a minute; Jacobs stated that many of the show's original songs were recorded as full-length pieces but trimmed down for inclusion in an episode, simply due to the show \"trying to pack so much into 22 minutes\". Shortly after Super Show!s premiere, Jacobs confirmed plans to eventually release the series' original full-length songs as a soundtrack album.",
"Shortly after Super Show!s premiere, Jacobs confirmed plans to eventually release the series' original full-length songs as a soundtrack album. However, these plans wouldn't fully come to fruition until 2019; in a 2018 interview, Jacobs retrospectively revealed that the album had been long completed but the band \"hadn't had all the rights tied up\" until then.",
"However, these plans wouldn't fully come to fruition until 2019; in a 2018 interview, Jacobs retrospectively revealed that the album had been long completed but the band \"hadn't had all the rights tied up\" until then. The first original and full-length recordings from the series' first season debuted in July 2017, when \"Burger Rain\" and \"Beat Fishin'\" were released as a tour-exclusive 7\" single.",
"The first original and full-length recordings from the series' first season debuted in July 2017, when \"Burger Rain\" and \"Beat Fishin'\" were released as a tour-exclusive 7\" single. Songs from the series' first season were eventually compiled as The Aquabats! Super Show!",
"Super Show! Super Show! Television Soundtrack: Volume One, which was released digitally in March 2019 and then onto physical media the following June, where it became The Aquabats' highest-charting album to date, debuting at the top of Billboards Top Heatseekers chart and at 165 on the Billboard 200.",
"Television Soundtrack: Volume One, which was released digitally in March 2019 and then onto physical media the following June, where it became The Aquabats' highest-charting album to date, debuting at the top of Billboards Top Heatseekers chart and at 165 on the Billboard 200. Cast and characters See: List of The Aquabats! Super Show!",
"Super Show! Super Show! characters The Aquabats! Super Show! stars and is based upon fictionalized versions of the then-current (since 2006) line-up of the California comedy rock band The Aquabats. Adapting the backstory the band has used for the entirety of their professional career, Super Show!",
"Adapting the backstory the band has used for the entirety of their professional career, Super Show! depicts The Aquabats as a group of bumbling, out-of-shape superheroes on a self-appointed mission to fight the forces of evil, presented in both live-action and animated segments.",
"depicts The Aquabats as a group of bumbling, out-of-shape superheroes on a self-appointed mission to fight the forces of evil, presented in both live-action and animated segments. The five members of The Aquabats are: The MC Bat Commander (played and voiced by Christian Jacobs) – The Aquabats' singer and de facto leader of the team.",
"The five members of The Aquabats are: The MC Bat Commander (played and voiced by Christian Jacobs) – The Aquabats' singer and de facto leader of the team. Though he doesn't have any superpowers of his own and is often quite stubborn and naive, the Commander is shown to be an effective strategist whose sharp leadership skills, bravery and determination regularly drive the band towards victory.",
"Though he doesn't have any superpowers of his own and is often quite stubborn and naive, the Commander is shown to be an effective strategist whose sharp leadership skills, bravery and determination regularly drive the band towards victory. Crash McLarson (played and voiced by Chad Larson) – The band's bass guitarist, who has the frequently uncontrollable ability to grow upwards of 100 feet in size when under emotional stress.",
"Crash McLarson (played and voiced by Chad Larson) – The band's bass guitarist, who has the frequently uncontrollable ability to grow upwards of 100 feet in size when under emotional stress. Despite being the largest and strongest of The Aquabats, Crash has a gentle, childlike demeanor bordering on slight dim-wittedness, and as such is usually the most cowardly member of the team.",
"Despite being the largest and strongest of The Aquabats, Crash has a gentle, childlike demeanor bordering on slight dim-wittedness, and as such is usually the most cowardly member of the team. Jimmy the Robot (played and voiced by James R. Briggs, Jr.) – The Aquabats' keyboardist.",
"Jimmy the Robot (played and voiced by James R. Briggs, Jr.) – The Aquabats' keyboardist. As his name implies, Jimmy is an android whose mechanical body houses a variety of built-in gadgets and weaponry, plus a comprehensive knowledge database which earns him the position of the group's resident scientist.",
"As his name implies, Jimmy is an android whose mechanical body houses a variety of built-in gadgets and weaponry, plus a comprehensive knowledge database which earns him the position of the group's resident scientist. Being a robot, Jimmy is generally perplexed by human emotions and behavior.",
"Being a robot, Jimmy is generally perplexed by human emotions and behavior. Ricky Fitness (played and voiced by Richard Falomir) – the band's drummer, Ricky possesses the power of super speed.",
"Ricky Fitness (played and voiced by Richard Falomir) – the band's drummer, Ricky possesses the power of super speed. Being the most physically fit and health-conscious member of The Aquabats, some of the series' running gags revolve around Ricky's status as a handsome ladies' man and his fondness for \"fresh, healthy veggies\" in contrast to the rest of the team's voracious affinity for junk food.",
"Being the most physically fit and health-conscious member of The Aquabats, some of the series' running gags revolve around Ricky's status as a handsome ladies' man and his fondness for \"fresh, healthy veggies\" in contrast to the rest of the team's voracious affinity for junk food. EagleBones Falconhawk (played and voiced by Ian Fowles) – The Aquabats' guitarist.",
"EagleBones Falconhawk (played and voiced by Ian Fowles) – The Aquabats' guitarist. The cocky and boyish maverick of the team, EagleBones is highly proficient on his custom weaponized electric guitar which shoots lasers from its headstock.",
"The cocky and boyish maverick of the team, EagleBones is highly proficient on his custom weaponized electric guitar which shoots lasers from its headstock. Following a spiritual encounter early in season one, EagleBones also has the gift of second sight and is accompanied by \"The Dude\", an invisible spirit eagle whom he summons to aide The Aquabats in battle.",
"Following a spiritual encounter early in season one, EagleBones also has the gift of second sight and is accompanied by \"The Dude\", an invisible spirit eagle whom he summons to aide The Aquabats in battle. Voice actor and writer Mr. Lawrence provided the minimal narration for both seasons of Super Show!s live-action segments, while staff writer Kyle McCulloch narrated the first season's animated segments.",
"Voice actor and writer Mr. Lawrence provided the minimal narration for both seasons of Super Show!s live-action segments, while staff writer Kyle McCulloch narrated the first season's animated segments. Guest stars and recurring characters Though each episode of the series introduced a new villain, ally and/or celebrity cameo, Super Show!",
"Guest stars and recurring characters Though each episode of the series introduced a new villain, ally and/or celebrity cameo, Super Show! never featured any major recurring characters throughout its run.",
"never featured any major recurring characters throughout its run. However, every episode of the show included a very brief appearance by a character fans dubbed the \"Fox Man\", a man in a cheap-looking fox costume played by visual effects supervisor Joel Fox, who would appear hidden in the background of a random scene as an Easter egg for viewers to spot, although his character was never explained within the context of the series.",
"However, every episode of the show included a very brief appearance by a character fans dubbed the \"Fox Man\", a man in a cheap-looking fox costume played by visual effects supervisor Joel Fox, who would appear hidden in the background of a random scene as an Easter egg for viewers to spot, although his character was never explained within the context of the series. Comedy musician \"Weird Al\" Yankovic and comedian Paul Rust were the only two guest actors to appear in two episodes: Yankovic played two different roles as the President of the United States and superhero SuperMagic PowerMan!",
"Comedy musician \"Weird Al\" Yankovic and comedian Paul Rust were the only two guest actors to appear in two episodes: Yankovic played two different roles as the President of the United States and superhero SuperMagic PowerMan! (in a 2012 interview, Jacobs alluded to the two possibly being the same character, though this isn't implied within the series), while Rust played a boorish slacker named Ronmark, first appearing in live-action in a first-season episode and subsequently lending his voice to a mutated monster version of the character in part of a second-season episode.",
"(in a 2012 interview, Jacobs alluded to the two possibly being the same character, though this isn't implied within the series), while Rust played a boorish slacker named Ronmark, first appearing in live-action in a first-season episode and subsequently lending his voice to a mutated monster version of the character in part of a second-season episode. Episodes Distribution International broadcast Outside of North America, The Aquabats!",
"Episodes Distribution International broadcast Outside of North America, The Aquabats! Super Show! broadcast in Australia on the children's public broadcasting channel ABC3 and in the United Kingdom on the children's network CITV. Home media Coinciding with the run of the first season, each new episode of The Aquabats! Super Show!",
"Super Show! Super Show! was released through the iTunes Store for digital download. Prior to the series debut, a season pass was made available for purchase to enable viewers to automatically receive a download of each new episode on its airdate. The first season of Super Show!",
"The first season of Super Show! was added to the video streaming service Netflix on December 1, 2012, later being added to Hulu on December 21. Unlike the first season, the series' second season was not made available for iTunes pre-order, nor were episodes released for purchase.",
"Unlike the first season, the series' second season was not made available for iTunes pre-order, nor were episodes released for purchase. Though each episode was briefly streamed on The Hub's official website, none of the seasons' episodes were made available on Hulu, Netflix or similar streaming services. Shout!",
"Shout! Shout! Factory had the DVD publishing rights for The Aquabats! Super Show! within Region 1 for release of the first season.",
"within Region 1 for release of the first season. The company first announced their acquisition of the series and plans for a future DVD in a press release dated August 6, 2012, though did not initially confirm a set release date until several months later. On May 21, 2013, the first season of Super Show!",
"On May 21, 2013, the first season of Super Show! was released on a two-disc DVD set. On November 22, 2017, in conjunction with their announcement of a season two theatrical screening, The Aquabats confirmed an independent Blu-ray release for season two, including the three specials often considered a \"season three\".",
"On November 22, 2017, in conjunction with their announcement of a season two theatrical screening, The Aquabats confirmed an independent Blu-ray release for season two, including the three specials often considered a \"season three\". On December 5, pre-orders were launched on The Aquabats' merchandising site for an official release date of December 22, though copies were first made for public sale at the second season theatrical screening on December 16.",
"On December 5, pre-orders were launched on The Aquabats' merchandising site for an official release date of December 22, though copies were first made for public sale at the second season theatrical screening on December 16. Starting in December 2014, The Aquabats gradually began uploading the series' full episodes onto their official YouTube channel.",
"Starting in December 2014, The Aquabats gradually began uploading the series' full episodes onto their official YouTube channel. As of August 2019, all 21 episodes of Super Show! and its pilot episode have been publicly uploaded to their account. Critical reception Critical response to The Aquabats! Super Show!",
"Super Show! Super Show! was predominantly positive, with most reviewers praising the series' intentionally campy tone and offbeat humor. The Onions The A.V.",
"The Onions The A.V. The Onions The A.V. Club gave the series premiere an A− rating, describing it as \"a loving homage to basically everything ever done by the brothers Krofft\": \"the show adeptly flips from humor to melodrama to action, providing some awesomely cheap special effects, goofy songs, and gags that range from slapstick to sublime\", summarizing \"there's so much here that both kids and parents will be able to enjoy the proceedings on their own respective levels and rarely find themselves bored\".",
"Club gave the series premiere an A− rating, describing it as \"a loving homage to basically everything ever done by the brothers Krofft\": \"the show adeptly flips from humor to melodrama to action, providing some awesomely cheap special effects, goofy songs, and gags that range from slapstick to sublime\", summarizing \"there's so much here that both kids and parents will be able to enjoy the proceedings on their own respective levels and rarely find themselves bored\". Brian Lowry of Variety wrote \"you don't have to laugh at everything to admire the effort and sheer silliness\", calling the show a \"goofy and nostalgic\" throwback to the \"children's TV of baby boomers' youth, down to crappy production values and awful-looking 'monsters' that work to its advantage\".",
"Brian Lowry of Variety wrote \"you don't have to laugh at everything to admire the effort and sheer silliness\", calling the show a \"goofy and nostalgic\" throwback to the \"children's TV of baby boomers' youth, down to crappy production values and awful-looking 'monsters' that work to its advantage\". He summarized \"Although this Hub series at times feels like an SNL skit stretched to a half-hour, its sly mix of music, live-action crime-fighting, cartoons and mock ads ought to develop a cult following—and might be more popular with parents, at least those with the geek gene, than their kids\".",
"He summarized \"Although this Hub series at times feels like an SNL skit stretched to a half-hour, its sly mix of music, live-action crime-fighting, cartoons and mock ads ought to develop a cult following—and might be more popular with parents, at least those with the geek gene, than their kids\". Technology magazine Wired was consistently positive towards the series, calling it both \"wonderfully strange\" and \"delightfully deranged\", writing \"[f]illed with self-deprecating music videos, toon interludes and ludicrous villains, The Aquabats!",
"Technology magazine Wired was consistently positive towards the series, calling it both \"wonderfully strange\" and \"delightfully deranged\", writing \"[f]illed with self-deprecating music videos, toon interludes and ludicrous villains, The Aquabats! Super Show! has become one of television's strangely comforting finds\".",
"has become one of television's strangely comforting finds\". Common Sense Media, who review shows based on age-appropriate content, gave Super Show!",
"Common Sense Media, who review shows based on age-appropriate content, gave Super Show! a rating of 4 out of 5 stars, calling it \"demented and manic...fun by sheer dint of how many jokes, visual and otherwise, are thrown at the screen, both those calculated to appeal to kids and adults\".",
"a rating of 4 out of 5 stars, calling it \"demented and manic...fun by sheer dint of how many jokes, visual and otherwise, are thrown at the screen, both those calculated to appeal to kids and adults\". The site praised the series for its lighter and sillier tone in comparison to more violent live-action superhero fare, and considered the \"kind-hearted\" Aquabats to be relatively positive role models.",
"The site praised the series for its lighter and sillier tone in comparison to more violent live-action superhero fare, and considered the \"kind-hearted\" Aquabats to be relatively positive role models. However, the reviewer suggested the show's violence and creatures may be too intense for very young children, and pointed out a distinct lack of central female characters.",
"However, the reviewer suggested the show's violence and creatures may be too intense for very young children, and pointed out a distinct lack of central female characters. Neil Genzlinger of The New York Times offered a more indifferent opinion, calling The Aquabats \"indescribably odd\" and the series \"frenetic, semicoherent and generally harmless.",
"Neil Genzlinger of The New York Times offered a more indifferent opinion, calling The Aquabats \"indescribably odd\" and the series \"frenetic, semicoherent and generally harmless. Also somewhat hallucinogenic\", noting Super Show!s writing \"may be over the heads of the 2-to-12 set\", suggesting its most receptive audience might be \"the college drinking-game crowd\".",
"Also somewhat hallucinogenic\", noting Super Show!s writing \"may be over the heads of the 2-to-12 set\", suggesting its most receptive audience might be \"the college drinking-game crowd\". Awards and nominations The Aquabats! Super Show!",
"Awards and nominations The Aquabats! Super Show! Super Show! was nominated for the following awards: Daytime Emmy Award References External links Official website of The Aquabats The Aquabats 2010s American children's television series 2010s American musical comedy television series 2010s American satirical television series 2010s American sketch comedy television series 2010s American superhero comedy television series 2012 American television series debuts 2014 American television series endings American children's adventure television series American children's musical television series American television series with live action and animation Children's sketch comedy English-language television shows Television series by Fremantle (company) Television shows set in Orange County, California American television shows featuring puppetry Discovery Family original programming"
] |
[
"The Aquabats! Super Show!",
"History and previous attempts at a series",
"How did The Aquabats originate?",
"musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in",
"When did they form?",
"In 1994,",
"What happened with the previous attempts?",
"The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves.",
"What did they do after this?",
"Undeterred, The Aquabats made an attempt at a second pilot",
"How did this do?",
"using a music video budget granted by their record label Goldenvoice Records for their 1999 album",
"Was this successful?",
"the project was cancelled.",
"What did they do after this?",
"I don't know."
] | C_4cdf6386fc074258b24b5e00bbcdec23_0 | What else is significant about this time? | 8 | Besides the two pilots failing, what else is significant about the history of the Aquabats! Super Show!? | The Aquabats! Super Show! | In 1994, musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in Brea, California. Influenced as much by cartoons and camp television as theatrical bands like Devo and Oingo Boingo, The Aquabats gained instant notoriety in the Orange County music scene for their eccentric persona in which they claimed to be a band of superheroes on a quest to save the world and their elaborate stage shows which regularly featured scripted fights with costumed villains alongside similar stunts and comedy sketches. The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough for the group, charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs - a former child actor with ties in the industry - to develop the concept of adapting the band's mythology for television. In 1998, Buena Vista Television helped produce a live-action mini-pilot directed by comedian Bobcat Goldthwait titled simply The Aquabats!, following the comic misadventures of the then-eight member band in an over-the-top camp style similar to Saturday morning cartoon shows. The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves. Undeterred, The Aquabats made an attempt at a second pilot the following year, using a music video budget granted by their record label Goldenvoice Records for their 1999 album The Aquabats vs. the Floating Eye of Death!. Independently directed and produced by Jacobs and his creative partner Scott Schultz, the result was a five-minute promo video entitled The Aquabats in Color!. In contrast to the wackier tone of the previous pilot, The Aquabats in Color! was a more action-oriented superhero series modeled after Japanese tokusatsu shows such as Kamen Rider. According to Jacobs, the Fox Family Channel reportedly expressed interest in the series and ordered production on a proper pilot episode, though following the channel's acquisition by Disney in 2001, the project was cancelled. CANNOTANSWER | The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough | The Aquabats! Super Show! is an American action-comedy musical television series which aired from March 3, 2012 to January 8, 2014 on The Hub Network and resumed as an independent YouTube web series in September 2019. The series was created by Christian Jacobs, and Scott Schultz, both the creators of the Nick Jr. show Yo Gabba Gabba!, and Jason deVilliers.
Based on the superhero mythology of The Aquabats, a real-life comedy rock band which series co-creator and lead singer Jacobs formed in 1994, The Aquabats! Super Show! follows the comic adventures of a fictionalized version of the band, a musical group of amateur superheroes, as they haphazardly defend the world from a variety of villains and monsters. Styled similarly to the campy aesthetics of 1960s and 1970s children's television and Japanese tokusatsu, Super Show! utilizes various mediums of visual styles and special effects, mixing live-action storylines with cartoon shorts, parody advertisements and musical interludes.
The series' first season concluded on June 16, 2012 following a run of 13 episodes, having met with a largely positive critical reception, consistently high ratings for the channel and a Daytime Emmy nomination for Outstanding Children's Series. The series' second season consisted of an initial five episodes which aired through June 2013, with three additional episodes airing in late December and January 2014, receiving similar acclaim and a further seven Daytime Emmy nominations, ultimately winning one for Best Stunt Coordination. In June 2014, co-creator Jacobs officially announced the series' cancellation, following news of The Hub's financial losses which led to the network's rebranding as Discovery Family later that October.
In July 2018, The Aquabats launched a successful Kickstarter to help independently finance new episodes of The Aquabats! Super Show!, promoting the campaign with a series of YouTube-exclusive mini-episodes continuing the original series' storyline. On September 28, 2019, The Aquabats premiered the first installment of these new episodes, now a biweekly YouTube series entitled The Aquabats! RadVentures!, though still retaining Super Show!s theme song and title card.
Series overview
Premise
Chronicled in both live-action and animated segments, The Aquabats! Super Show! is centered around the adventures of The Aquabats, a group of superhero rock musicians who travel the countryside on a self-appointed mission to fight evil and "destroy boredom", protecting the world from the villains and creatures who threaten to destroy it while aiming to become a famous rock and roll band in their own right.
The Aquabats consist of singer The MC Bat Commander (Christian Jacobs), the swaggering leader of the group; bassist Crash McLarson (Chad Larson), who can grow up to 100 feet in size; drummer Ricky Fitness (Richard Falomir), who has the power of super speed; guitarist EagleBones Falconhawk (Ian Fowles), who's armed with a laser-shooting electric guitar; and keyboardist Jimmy the Robot (James R. Briggs, Jr.), an android. Despite their superhuman strengths and abilities, The Aquabats are quite bumbling, disorganized, and sometimes cowardly when faced with danger; this has in fact led them to be labeled "the world's most inept superheroes". The band lives and travels by way of their "Battletram", a modified classic GMC motorhome which, despite its small exterior, has an implausibly massive interior (similar to the TARDIS from Doctor Who or The Big Bologna from The Kids From C.A.P.E.R.), which contains, among many things, a science lab, a command center, and a living room.
The Aquabats' origin story was left intentionally vague throughout the series, a choice Jacobs explains was done for the sake of the viewer's imagination, as he felt kids were more accepting of the inherent absurdity of the premise than adults tend to be: "'There's five guys. This is what each of the five guys does. There are monsters. They're gonna try to fight them'. It's so simple. And I think that's why it's so awesome with kids—they just take it and run with it". In the first five episodes of season two, each member of The Aquabats shares their memory of how they joined the band via animated flashback sequences; however, all of these flashbacks directly and intentionally contradict each other, leaving it unknown which—if any—could be considered officially canonical.
Format and influences
The Aquabats! Super Show! juxtaposes both live-action and animated segments starring The Aquabats, interwoven with various tangential skits and cartoon interstitials. The live-action storylines are the primary focus of each episode, following a self-contained villain of the week formula. In the first season, each episode featured brief anime-styled cartoon shorts which one of the characters would introduce at a random point of the show, often by finding "A Cartoon" (represented by a miniature television set) in an absurd location. Unlike the live-action segments, these cartoons followed a serialized story arc, with each installment ending in a cliffhanger to be resolved in the next episode. In season two, this format was replaced with a series of animated flashbacks recounting the origins of The Aquabats, each by a different animation studio and in a different animation style. Between these segments are pantomime cartoon shorts starring "Lil' Bat", The Aquabats' anthropomorphic bat mascot, and live-action parody commercials for outlandish fictional products, the latter of which has long been a staple of The Aquabats' multi-media stage shows.
Jacobs says the concept behind Super Show! was something he had always dreamed of doing, making a "campy, live-action, funky kid's show" in the vein of the 1960s and 1970s television that he and the rest of the series' producers had grown up with. While the show pays homage to many facets of pop culture, Jacobs has named the 1960s Batman television series as the primary influence on Super Show!s "obviously silly" tone and visual style, ranging from set design to the trademark use of dutch angles for villain scenes. Other notable influences Jacobs has repeatedly mentioned include the works of Sid and Marty Krofft and Hanna-Barbera, Japanese tokusatsu series such as Ultraman and Johnny Sokko And His Flying Robot, the Shaw Brothers and Hong Kong cinema, and shows including Danger Island, Star Trek, The Rocky and Bullwinkle Show, and Pee-wee's Playhouse, noting "there's a good 30 years worth of television culture packed into these 22-minute episodes".
Demographic
As The Hub's key demographic were children aged 6 to 12, Super Show! was ostensibly targeted towards said age group, though Jacobs has stated that the series primarily aimed to appeal to an all-ages crowd, with the intent of creating entertainment that both kids and parents can watch and enjoy together or separately. In interviews prior to the series' premiere, he explained that this was merely an extension of The Aquabats' own family-friendly ethos: "There's just obviously something about the costumes and being superheroes that really appeals to younger kids, and I think we always knew that as a band...I think we'll want to put things in [the show] for an older audience, because we realize we have an older audience, but then also we want the young kids, to not have it go over their heads".
Production history
History and previous attempts at a series
In 1994, musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in Brea, California. Influenced as much by cartoons and camp television as theatrical bands like Devo and Oingo Boingo, The Aquabats gained instant notoriety in the Orange County music scene for their eccentric persona in which they claimed to be a band of superheroes on a quest to save the world and their elaborate stage shows which regularly featured scripted fights with costumed villains alongside similar stunts and comedy sketches.
The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough for the group, charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs – a former child actor with ties in the industry – to develop the concept of adapting the band's mythology for television. In 1998, Buena Vista Television helped produce a live-action mini-pilot directed by comedian Bobcat Goldthwait titled simply The Aquabats!, following the comic misadventures of the then-eight member band in an over-the-top camp style similar to Saturday morning cartoon shows. The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves.
Undeterred, The Aquabats made an attempt at a second pilot the following year, using a music video budget granted by their record label Goldenvoice Records for their 1999 album The Aquabats vs. the Floating Eye of Death!. Independently directed and produced by Jacobs and his creative partner Scott Schultz, the result was a five-minute promo video entitled The Aquabats in Color!. In contrast to the wackier tone of the previous pilot, The Aquabats in Color! was a more action-oriented superhero series modeled after Japanese tokusatsu shows such as Kamen Rider. According to Jacobs, the Fox Family Channel reportedly expressed interest in the series and ordered production on a proper pilot episode, though following the channel's acquisition by Disney in 2001, the project was cancelled.
The Aquabats! Super Show! pilot (2008)
In 2005, Jacobs and Schultz formed the Orange County-based production company The Magic Store, focusing on creating family-oriented television entertainment. One of the company's independently produced pilots, the children's television series Yo Gabba Gabba!, was eventually picked up as a series by Viacoms Nick Jr. channel, premiering in August 2007 and ultimately becoming an award-winning and critically acclaimed international success. In the wake of the series' popularity, Jacobs and Schultz persuaded Yo Gabba Gabba!s joint production company Wild Brain to help produce a new pilot based around The Aquabats in conjuncture with The Magic Store.
Again creatively spearheaded by Jacobs and Schultz, The Aquabats' third pilot, titled The Aquabats! Super Show!, was shot on location throughout southern California in late 2007 and early 2008. Part of this filming took place at a free invitation-only concert for members of the band's official fan club at the El Rey Theatre in Los Angeles on January 12, 2008. While The Aquabats' previous pilots were short, live-action promotional videos, The Aquabats! Super Show! was a fully realized 22-minute episode featuring two separate storylines based on the adventures of The Aquabats, one live-action and one animated, and interspersed with parody commercials and live footage of the band. Speaking on the decision to structure the show in such a varied format, Jacobs said "[w]e did that for a strategic reason – some networks like cartoons more than other networks. We wanted to say, 'this could be both shows'."
Following a period of post-production, The Aquabats began widely self-promoting Super Show! in June 2008, redesigning their website to promote the pilot and releasing a teaser trailer and several exclusive clips through an official Super Show! YouTube channel. On July 25, 2008, the band screened the full pilot at a concert in San Diego held during the weekend of the San Diego Comic-Con, while a segment of the episode was hosted on Boing Boing the same day. In 2009, Cartoon Network allegedly picked the series up for a run of 22 episodes, though following major staff changes within the company—which, according to Jacobs, included the termination of the executives who had green-lighted Super Show!—the project was again cancelled.
The Hub and season one
After several more unsuccessful network pitches into the 2010s, The Aquabats! Super Show! was finally picked up as a series by family cable channel The Hub, a joint venture between Hasbro and Discovery which launched in 2010 as a replacement for Discovery Kids. The Hub formally announced the series in a press release on March 23, 2011, revealing Super Show! would be given a first season run of 13 episodes, produced in conjuncture with FremantleMedia. In promotion of the series, The Aquabats appeared as part of a panel at the 2011 San Diego Comic-Con where they discussed their initial plans for the show, while The Hub sponsored an Aquabats concert held at the nearby House of Blues during the same weekend.
Production on season one of Super Show! officially began in May 2011. The entirety of the first season was shot within and around The Aquabats' hometown of Orange County, California; according to the first season DVD audio commentary, episodes were shot on location in the cities of Irvine, Silverado, Yorba Linda, Huntington Beach and Fullerton, while a private sound stage in Santa Ana was used for interior shots of the Battletram. A public Aquabats concert held at The Glass House club in Pomona on November 5, 2011 was also filmed to provide live footage of the band which is featured in the series' opening credits montage and several individual episodes.
Much of Super Show!s staff consist of friends and colleagues of The Aquabats who've previously worked with the band on various projects, ranging from members of Yo Gabba Gabba!s production team to fellow musicians within the southern California music scene. Among the more notable examples include Dallas McLaughlin and Matthew Gorney, both members of the San Diego hip hop band Bad Credit, who prominently served as writers, composers and performers, Warren Fitzgerald, guitarist for The Vandals, who was hired as a writer and music director, internet sketch comedy group Mega64 were commissioned to produce original material, primarily the series' parody commercials, and Japanese artist Pey, who had designed much of The Aquabats' promotional art and merchandise during the 2000s, was hired to design the season's animated segments. Additionally, several industry professionals were brought in to help work on the show: Dani Michaeli, a staff writer on SpongeBob SquarePants, was hired as the series' story editor, while Matt Chapman, co-creator of the internet Flash cartoon Homestar Runner, acted as a writer, director and actor on several episodes. As none of the members besides Jacobs had any previous acting experience, comedian Matt Walsh of the Upright Citizens Brigade was brought in to help teach The Aquabats comedic acting and timing.
In further homage to the original Batman series, Super Show! features a variety of celebrity cameo appearances. The series' first season included appearances from actors Jon Heder, Lou Diamond Phillips and Samm Levine, comedians Rip Taylor, Paul Scheer and Paul Rust, and comedy musician "Weird Al" Yankovic, who appeared in two episodes as different characters. The first season also included several "Easter egg" cameos from original Aquabats members Corey "Chainsaw" Pollock and Boyd "Catboy" Terry, as well as from fellow musicians Warren Fitzgerald and Art Mitchell of the band Supernova.
Despite having been originally announced as part of The Hub's 2011 Fall line-up, production delays postponed Super Show!s premiere to early 2012. The series' marketing campaign began in December 2011, with a later announcement of an official premiere date confirmed for March 3, 2012. Following a non-consecutive run of 13 episodes, the first-season finale aired on June 16, 2012.
Season two
On October 16, 2012, The Aquabats and The Hub confirmed production on new episodes of Super Show! through the social networking sites Facebook and Twitter, announcing a tentative debut date of Spring 2013. Principal photography on season two began on October 22 and wrapped on December 1. Unlike the first season, the majority of season two was shot in and around Salt Lake City, Utah, which Jacobs explained was considerably less expensive than shooting in California.
While no changes were made to Super Shows creative team, in December 2012 it was announced that season two would introduce the series' first guest director, musician and comic book writer Gerard Way, who co-directed and co-wrote the season finale "The AntiBats!" with Jacobs and deVilliers. Way's involvement with the series was heavily covered by the music press in the wake of the March 2013 break-up of his popular alternative rock band My Chemical Romance. Among the guest stars featured in season two were professional skateboarders Tony Hawk and Eric Koston, Devo frontman and Yo Gabba Gabba! cast member Mark Mothersbaugh, internet celebrity Leslie Hall, actor Martin Starr and My Chemical Romance bassist Mikey Way.
On December 2, 2012, deVilliers revealed on his Twitter account that the upcoming season would consist of only five new episodes, in what he called more "season 1.5" than a "season 2", though mentioned the possibility of more being made in the future. On May 1, 2013, it was announced through Entertainment Weekly that the series' second season would begin airing on June 1. After a run of only five episodes, the season concluded on June 29, 2013.
2013–2014 specials
On August 22, 2013, series performer Chad Larson confirmed via Twitter that three additional episodes of Super Show! were being filmed near the end of the year, "and maybe more next". Principal photography on these episodes eventually began in Utah in early October. Throughout the month, The Aquabats posted numerous pictures of production on the new episodes on their Twitter and Instagram accounts, some of which revealed production code numbers of 301, 302 and 303, ostensibly indicating what would be a third season. Though these numbers were later verified by the Internet Movie Database, a November press release from The Hub explicitly referred to these three episodes as "specials".
The first of these specials, "Christmas with The Aquabats!", aired on December 21, featuring comedians Robert Smigel and Matt Walsh in guest roles. The second of these episodes, "The Shark Fighter!" (based on The Aquabats' song of the same name), featuring comedian Rhys Darby, aired the following week on December 28, while the final special "Kitty Litter!" aired on January 18, 2014. "Kitty Litter!" was helmed by another guest director, Munn Powell, best known for his work as cinematographer on the Jared and Jerusha Hess films Napoleon Dynamite and Gentlemen Broncos.
Following this short run of episodes, there was no confirmation by either The Hub or The Aquabats as to the production of any future episodes. In a December 2013 interview, Christian Jacobs acknowledged the network's unusually small order of episodes but didn't elaborate on any possible reasoning. In the same interview, he stated that the band had initially prepared for another order of 13 episodes, having written as many scripts for potential future episodes.
On May 1, 2014, the nominees for the 2014 Daytime Emmy Awards were announced, revealing that Super Show! had been nominated for five awards in four categories, including the award for Best Writing in a Children's Series for the episode "The AntiBats!". The awards ceremony was held on June 22, 2014, where the series ultimately won the award for Best Stunt Coordination for stuntman Skip Carlson.
Cancellation by The Hub and hiatus
In mid-2014, it was announced in entertainment press that Hasbro and Discovery had been in the process of rebranding The Hub following what they saw to be disappointing returns for the channel, changes which included the departure of CEO Margaret Loesch, who was instrumental in acquiring Super Show! as a series. In a Huffington Post feature about The Aquabats prior to the band's appearance at the 2014 San Diego Comic-Con, it was revealed that The Hub had opted not to renew Super Show! for a third season, effectively cancelling the series.
Jacobs admitted he was surprised by this turn of events, noting "Everything we heard was that the show has been a real Cinderella story for the Hub and that it was rating really well with viewers. We just assumed that we'd eventually go back into production or at least get picked up for Season 3", but ultimately concluded "it is what it is" in regard to the network's decision. Despite this, Jacobs remained optimistic about the series' future, saying "Given that we now live in a world where people are streaming TV shows directly onto their iPhones & computers, and given that companies like Netflix & Yahoo! are now picking up so much new content for their customers...I just find it hard to believe that The Aquabats! Super Show! is really over. I mean, we haven't even made any toys yet". He concluded by stating "It took us almost 15 years to get that TV series made. And even though we've got a bunch more concert dates lined up for the rest of this year, our first priority is to find a new home for The Aquabats! Super Show!".
On March 31, 2015, the nominees for the 42nd annual Daytime Emmy Awards were announced, with Super Show! earning nominations for Best SFX Mixer (Blaine Stewart) and Best Stunt Coordinator (Braxton McAllister).
On June 27, 2015, The Aquabats screened the entire first season of Super Show! before a sold-out crowd at The Frida Cinema in downtown Santa Ana, which was accompanied by a live performance by the band and Q&A sessions with The Aquabats and numerous members of the cast and crew. A similar presentation of the entire second season – including the three additional specials – took place at The Art Theater in Long Beach on December 16, 2017, coinciding with the release of the second season Blu-ray.
Bring Back The Aquabats! Kickstarter campaign
Following weeks of teasing a major announcement, The Aquabats launched a Kickstarter campaign on July 31, 2018 to help finance the return of The Aquabats! Super Show! as well as new studio albums from the band at a minimum projected cost of $1.1 million. The Aquabats promoted their campaign with a video featuring a slew of celebrity cameos, including Super Show! guest stars "Weird Al" Yankovic, Robert Smigel (as Triumph the Insult Comic Dog), Matt Chapman (as Homestar Runner and Strong Bad), former Aquabats member Travis Barker, Tony Kanal, Tom Dumont, Oscar Nunez, Kate Micucci, Blake Anderson, Imagine Dragons, Felicia Day and Tom Lennon, all of whom appeared in The Aquabats' trademark uniforms and spoke the Kickstarter's promotional slogan "I am The Aquabats"/"We are The Aquabats". Most prominently featured, however, was comedian Jack Black, who was later confirmed by the campaign's press releases to act as executive producer for the series' return.
Along with their Kickstarter, the band began releasing a series of Super Show! "mini-episodes", depicting the MC Bat Commander's metafictional quest to reunite the estranged Aquabats following the series' cancellation. The band confirmed that as the Kickstarter progresses, further "mini-episodes" will be released to both promote the campaign as well as act as a continuation of Super Show!.
By August 28, mere days before the campaign's end date of September 1, The Aquabats' Kickstarter had raised only $601,629 of its projected $1.1 million goal. The funding was subsequently cancelled and the campaign was rebooted the same day with a smaller goal of $100,000 to instead finance one new album and the continued production of the Super Show!! "mini-episodes". The project's goal was met within minutes.
Music
Original music for The Aquabats! Super Show! was primarily composed and performed by The Aquabats themselves, with additional scoring on most episodes provided by Matthew Gorney, Warren Fitzgerald or individual credits for Aquabats members James R. Briggs, Jr., Richard Falomir and Ian Fowles. Fitzgerald, guitarist for punk rock band The Vandals and former member of Oingo Boingo, acted as the series' music supervisor. The theme song to Super Show!, "Super Show Theme Song!", was co-written by The Aquabats and Fitzgerald.
Whereas most musically oriented shows like The Monkees typically break the narrative of an episode for a music video performance of a standalone song, each episode of Super Show! typically features one or two unique songs that tied directly into the plot, usually about and performed during the events of a particular scene. Most of these songs are rather brief, averaging a running time of just under a minute; Jacobs stated that many of the show's original songs were recorded as full-length pieces but trimmed down for inclusion in an episode, simply due to the show "trying to pack so much into 22 minutes".
Shortly after Super Show!s premiere, Jacobs confirmed plans to eventually release the series' original full-length songs as a soundtrack album. However, these plans wouldn't fully come to fruition until 2019; in a 2018 interview, Jacobs retrospectively revealed that the album had been long completed but the band "hadn't had all the rights tied up" until then. The first original and full-length recordings from the series' first season debuted in July 2017, when "Burger Rain" and "Beat Fishin'" were released as a tour-exclusive 7" single. Songs from the series' first season were eventually compiled as The Aquabats! Super Show! Television Soundtrack: Volume One, which was released digitally in March 2019 and then onto physical media the following June, where it became The Aquabats' highest-charting album to date, debuting at the top of Billboards Top Heatseekers chart and at 165 on the Billboard 200.
Cast and characters
See: List of The Aquabats! Super Show! characters
The Aquabats! Super Show! stars and is based upon fictionalized versions of the then-current (since 2006) line-up of the California comedy rock band The Aquabats. Adapting the backstory the band has used for the entirety of their professional career, Super Show! depicts The Aquabats as a group of bumbling, out-of-shape superheroes on a self-appointed mission to fight the forces of evil, presented in both live-action and animated segments. The five members of The Aquabats are:
The MC Bat Commander (played and voiced by Christian Jacobs) – The Aquabats' singer and de facto leader of the team. Though he doesn't have any superpowers of his own and is often quite stubborn and naive, the Commander is shown to be an effective strategist whose sharp leadership skills, bravery and determination regularly drive the band towards victory.
Crash McLarson (played and voiced by Chad Larson) – The band's bass guitarist, who has the frequently uncontrollable ability to grow upwards of 100 feet in size when under emotional stress. Despite being the largest and strongest of The Aquabats, Crash has a gentle, childlike demeanor bordering on slight dim-wittedness, and as such is usually the most cowardly member of the team.
Jimmy the Robot (played and voiced by James R. Briggs, Jr.) – The Aquabats' keyboardist. As his name implies, Jimmy is an android whose mechanical body houses a variety of built-in gadgets and weaponry, plus a comprehensive knowledge database which earns him the position of the group's resident scientist. Being a robot, Jimmy is generally perplexed by human emotions and behavior.
Ricky Fitness (played and voiced by Richard Falomir) – the band's drummer, Ricky possesses the power of super speed. Being the most physically fit and health-conscious member of The Aquabats, some of the series' running gags revolve around Ricky's status as a handsome ladies' man and his fondness for "fresh, healthy veggies" in contrast to the rest of the team's voracious affinity for junk food.
EagleBones Falconhawk (played and voiced by Ian Fowles) – The Aquabats' guitarist. The cocky and boyish maverick of the team, EagleBones is highly proficient on his custom weaponized electric guitar which shoots lasers from its headstock. Following a spiritual encounter early in season one, EagleBones also has the gift of second sight and is accompanied by "The Dude", an invisible spirit eagle whom he summons to aide The Aquabats in battle.
Voice actor and writer Mr. Lawrence provided the minimal narration for both seasons of Super Show!s live-action segments, while staff writer Kyle McCulloch narrated the first season's animated segments.
Guest stars and recurring characters
Though each episode of the series introduced a new villain, ally and/or celebrity cameo, Super Show! never featured any major recurring characters throughout its run. However, every episode of the show included a very brief appearance by a character fans dubbed the "Fox Man", a man in a cheap-looking fox costume played by visual effects supervisor Joel Fox, who would appear hidden in the background of a random scene as an Easter egg for viewers to spot, although his character was never explained within the context of the series.
Comedy musician "Weird Al" Yankovic and comedian Paul Rust were the only two guest actors to appear in two episodes: Yankovic played two different roles as the President of the United States and superhero SuperMagic PowerMan! (in a 2012 interview, Jacobs alluded to the two possibly being the same character, though this isn't implied within the series), while Rust played a boorish slacker named Ronmark, first appearing in live-action in a first-season episode and subsequently lending his voice to a mutated monster version of the character in part of a second-season episode.
Episodes
Distribution
International broadcast
Outside of North America, The Aquabats! Super Show! broadcast in Australia on the children's public broadcasting channel ABC3 and in the United Kingdom on the children's network CITV.
Home media
Coinciding with the run of the first season, each new episode of The Aquabats! Super Show! was released through the iTunes Store for digital download. Prior to the series debut, a season pass was made available for purchase to enable viewers to automatically receive a download of each new episode on its airdate. The first season of Super Show! was added to the video streaming service Netflix on December 1, 2012, later being added to Hulu on December 21.
Unlike the first season, the series' second season was not made available for iTunes pre-order, nor were episodes released for purchase. Though each episode was briefly streamed on The Hub's official website, none of the seasons' episodes were made available on Hulu, Netflix or similar streaming services.
Shout! Factory had the DVD publishing rights for The Aquabats! Super Show! within Region 1 for release of the first season. The company first announced their acquisition of the series and plans for a future DVD in a press release dated August 6, 2012, though did not initially confirm a set release date until several months later. On May 21, 2013, the first season of Super Show! was released on a two-disc DVD set.
On November 22, 2017, in conjunction with their announcement of a season two theatrical screening, The Aquabats confirmed an independent Blu-ray release for season two, including the three specials often considered a "season three". On December 5, pre-orders were launched on The Aquabats' merchandising site for an official release date of December 22, though copies were first made for public sale at the second season theatrical screening on December 16.
Starting in December 2014, The Aquabats gradually began uploading the series' full episodes onto their official YouTube channel. As of August 2019, all 21 episodes of Super Show! and its pilot episode have been publicly uploaded to their account.
Critical reception
Critical response to The Aquabats! Super Show! was predominantly positive, with most reviewers praising the series' intentionally campy tone and offbeat humor. The Onions The A.V. Club gave the series premiere an A− rating, describing it as "a loving homage to basically everything ever done by the brothers Krofft": "the show adeptly flips from humor to melodrama to action, providing some awesomely cheap special effects, goofy songs, and gags that range from slapstick to sublime", summarizing "there's so much here that both kids and parents will be able to enjoy the proceedings on their own respective levels and rarely find themselves bored".
Brian Lowry of Variety wrote "you don't have to laugh at everything to admire the effort and sheer silliness", calling the show a "goofy and nostalgic" throwback to the "children's TV of baby boomers' youth, down to crappy production values and awful-looking 'monsters' that work to its advantage". He summarized "Although this Hub series at times feels like an SNL skit stretched to a half-hour, its sly mix of music, live-action crime-fighting, cartoons and mock ads ought to develop a cult following—and might be more popular with parents, at least those with the geek gene, than their kids".
Technology magazine Wired was consistently positive towards the series, calling it both "wonderfully strange" and "delightfully deranged", writing "[f]illed with self-deprecating music videos, toon interludes and ludicrous villains, The Aquabats! Super Show! has become one of television's strangely comforting finds".
Common Sense Media, who review shows based on age-appropriate content, gave Super Show! a rating of 4 out of 5 stars, calling it "demented and manic...fun by sheer dint of how many jokes, visual and otherwise, are thrown at the screen, both those calculated to appeal to kids and adults". The site praised the series for its lighter and sillier tone in comparison to more violent live-action superhero fare, and considered the "kind-hearted" Aquabats to be relatively positive role models. However, the reviewer suggested the show's violence and creatures may be too intense for very young children, and pointed out a distinct lack of central female characters.
Neil Genzlinger of The New York Times offered a more indifferent opinion, calling The Aquabats "indescribably odd" and the series "frenetic, semicoherent and generally harmless. Also somewhat hallucinogenic", noting Super Show!s writing "may be over the heads of the 2-to-12 set", suggesting its most receptive audience might be "the college drinking-game crowd".
Awards and nominations
The Aquabats! Super Show! was nominated for the following awards:
Daytime Emmy Award
References
External links
Official website of The Aquabats
The Aquabats
2010s American children's television series
2010s American musical comedy television series
2010s American satirical television series
2010s American sketch comedy television series
2010s American superhero comedy television series
2012 American television series debuts
2014 American television series endings
American children's adventure television series
American children's musical television series
American television series with live action and animation
Children's sketch comedy
English-language television shows
Television series by Fremantle (company)
Television shows set in Orange County, California
American television shows featuring puppetry
Discovery Family original programming | true | [
"\"What Else Is There?\" is the third single from the Norwegian duo Röyksopp's second album The Understanding. It features the vocals of Karin Dreijer from the Swedish electronica duo The Knife. The album was released in the UK with the help of Astralwerks.\n\nThe single was used in an O2 television advertisement in the Czech Republic and in Slovakia during 2008. It was also used in the 2006 film Cashback and the 2007 film, Meet Bill. Trentemøller's remix of \"What Else is There?\" was featured in an episode of the HBO show Entourage.\n\nThe song was covered by extreme metal band Enslaved as a bonus track for their album E.\n\nThe song was listed as the 375th best song of the 2000s by Pitchfork Media.\n\nOfficial versions\n\"What Else Is There?\" (Album Version) – 5:17\n\"What Else Is There?\" (Radio Edit) – 3:38\n\"What Else Is There?\" (Jacques Lu Cont Radio Mix) – 3:46\n\"What Else Is There?\" (The Emperor Machine Vocal Version) – 8:03\n\"What Else Is There?\" (The Emperor Machine Dub Version) – 7:51\n\"What Else Is There?\" (Thin White Duke Mix) – 8:25\n\"What Else Is There?\" (Thin White Duke Edit) – 4:50\n\"What Else Is There?\" (Thin White Duke Remix) (Radio Edit) – 3:06\n\"What Else Is There?\" (Trentemøller Remix) – 7:42\n\"What Else Is There?\" (Vitalic Remix) – 5:14\n\nResponse\nThe single was officially released on 5 December 2005 in the UK. The single had a limited release on 21 November 2005 to promote the upcoming album. On the UK Singles Chart, it peaked at number 32, while on the UK Dance Chart, it reached number one.\n\nMusic video\nThe music video was directed by Martin de Thurah. It features Norwegian model Marianne Schröder who is shown lip-syncing Dreijer's voice. Schröder is depicted as a floating woman traveling across stormy landscapes and within empty houses. Dreijer makes a cameo appearance as a woman wearing an Elizabethan ruff while dining alone at a festive table.\n\nMovie spots\n\nThe song is also featured in the movie Meet Bill as characters played by Jessica Alba and Aaron Eckhart smoke marijuana while listening to it. It is also part of the end credits music of the film Cashback.\n\nCharts\n\nReferences\n\n2005 singles\nRöyksopp songs\nAstralwerks singles\nSongs written by Svein Berge\nSongs written by Torbjørn Brundtland\n2004 songs\nSongs written by Roger Greenaway\nSongs written by Olof Dreijer\nSongs written by Karin Dreijer",
"\"The Hardest Thing\" is the third single released from American boy band 98 Degrees's second studio album, 98 Degrees and Rising (1998). \"The Hardest Thing\" peaked at number five in the United States, number 10 in Canada, number 29 in the United Kingdom, and number 31 in Ireland. It also experienced moderate success in Oceania, peaking at number 24 in Australia and number five in New Zealand. The single was certified Gold by the Recording Industry Association of America (RIAA) for sales of 500,000 units.\n\nSong meaning\nThe song is about a man who is torn between two women that he loves: one being his significant other and the other being his mistress. This is apparent when Doctor Zhivago is referenced in the second verse of the song. In the end, the man chooses to say goodbye to his mistress because it is only fair to his significant other, who has always trusted him. This becomes clear in the first verse of the song when he says, \"I've got somewhere else to be, promises to keep/Someone else who loves me and trusts me fast asleep.\" However, as he is saying goodbye to the mistress, he has to hide his true feelings (love) from her; hence, the title of the song: \"The Hardest Thing\". As he says goodbye to his mistress, he thinks, \"It's the hardest thing I'll ever have to do to look you in the eye and tell you I don't love you.\" However, he knows that their love is real and that they will (hopefully) meet again when the time is right: \"I know that we'll meet again/Fate has a place and time/So you can get on with your life.\"\n\nMusic video\nThe music video takes place inside a boxing arena. Nick Lachey, the protagonist in the video, is the gentleman who is torn between two ladies. Nick is a boxer in the video, and his mistress is a show girl. His significant other is not in the video.\n\nTrack listings\nUS CD single\n \"The Hardest Thing\" (radio version) – 3:47\n \"Because of You\" (Hex Hector Dance Mix) – 3:07\n \"Invisible Man\" – 4:42\n\nUK 12-inch vinyl\nA1. \"The Hardest Thing\" (Love to Infinity Master Mix) – 6:35\nB1. \"The Hardest Thing\" (album version] – 4:34\n\nUK maxi-CD\n \"The Hardest Thing\" (radio version) – 3:47\n \"The Hardest Thing\" (album version) – 4:34\n \"The Hardest Thing\" (Love to Infinity Master Mix) – 6:35\n \"The Hardest Thing\" (music video) – 3:31\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nCertifications\n\nRelease history\n\nReferences\n\n1990s ballads\n1998 songs\n1999 singles\n98 Degrees songs\nSongs about infidelity\nSongs written by David Frank (musician)\nSongs written by Steve Kipner\nUniversal Records singles"
] | [
"The Aquabats! Super Show! is an American action-comedy musical television series which aired from March 3, 2012 to January 8, 2014 on The Hub Network and resumed as an independent YouTube web series in September 2019.",
"is an American action-comedy musical television series which aired from March 3, 2012 to January 8, 2014 on The Hub Network and resumed as an independent YouTube web series in September 2019. The series was created by Christian Jacobs, and Scott Schultz, both the creators of the Nick Jr. show Yo Gabba Gabba!, and Jason deVilliers.",
"The series was created by Christian Jacobs, and Scott Schultz, both the creators of the Nick Jr. show Yo Gabba Gabba!, and Jason deVilliers. Based on the superhero mythology of The Aquabats, a real-life comedy rock band which series co-creator and lead singer Jacobs formed in 1994, The Aquabats! Super Show!",
"Super Show! Super Show! follows the comic adventures of a fictionalized version of the band, a musical group of amateur superheroes, as they haphazardly defend the world from a variety of villains and monsters. Styled similarly to the campy aesthetics of 1960s and 1970s children's television and Japanese tokusatsu, Super Show!",
"Styled similarly to the campy aesthetics of 1960s and 1970s children's television and Japanese tokusatsu, Super Show! utilizes various mediums of visual styles and special effects, mixing live-action storylines with cartoon shorts, parody advertisements and musical interludes.",
"utilizes various mediums of visual styles and special effects, mixing live-action storylines with cartoon shorts, parody advertisements and musical interludes. The series' first season concluded on June 16, 2012 following a run of 13 episodes, having met with a largely positive critical reception, consistently high ratings for the channel and a Daytime Emmy nomination for Outstanding Children's Series.",
"The series' first season concluded on June 16, 2012 following a run of 13 episodes, having met with a largely positive critical reception, consistently high ratings for the channel and a Daytime Emmy nomination for Outstanding Children's Series. The series' second season consisted of an initial five episodes which aired through June 2013, with three additional episodes airing in late December and January 2014, receiving similar acclaim and a further seven Daytime Emmy nominations, ultimately winning one for Best Stunt Coordination.",
"The series' second season consisted of an initial five episodes which aired through June 2013, with three additional episodes airing in late December and January 2014, receiving similar acclaim and a further seven Daytime Emmy nominations, ultimately winning one for Best Stunt Coordination. In June 2014, co-creator Jacobs officially announced the series' cancellation, following news of The Hub's financial losses which led to the network's rebranding as Discovery Family later that October.",
"In June 2014, co-creator Jacobs officially announced the series' cancellation, following news of The Hub's financial losses which led to the network's rebranding as Discovery Family later that October. In July 2018, The Aquabats launched a successful Kickstarter to help independently finance new episodes of The Aquabats!",
"In July 2018, The Aquabats launched a successful Kickstarter to help independently finance new episodes of The Aquabats! Super Show!, promoting the campaign with a series of YouTube-exclusive mini-episodes continuing the original series' storyline.",
"Super Show!, promoting the campaign with a series of YouTube-exclusive mini-episodes continuing the original series' storyline. On September 28, 2019, The Aquabats premiered the first installment of these new episodes, now a biweekly YouTube series entitled The Aquabats! RadVentures!, though still retaining Super Show!s theme song and title card.",
"RadVentures!, though still retaining Super Show!s theme song and title card. Series overview Premise Chronicled in both live-action and animated segments, The Aquabats! Super Show!",
"Super Show! Super Show! is centered around the adventures of The Aquabats, a group of superhero rock musicians who travel the countryside on a self-appointed mission to fight evil and \"destroy boredom\", protecting the world from the villains and creatures who threaten to destroy it while aiming to become a famous rock and roll band in their own right.",
"is centered around the adventures of The Aquabats, a group of superhero rock musicians who travel the countryside on a self-appointed mission to fight evil and \"destroy boredom\", protecting the world from the villains and creatures who threaten to destroy it while aiming to become a famous rock and roll band in their own right. The Aquabats consist of singer The MC Bat Commander (Christian Jacobs), the swaggering leader of the group; bassist Crash McLarson (Chad Larson), who can grow up to 100 feet in size; drummer Ricky Fitness (Richard Falomir), who has the power of super speed; guitarist EagleBones Falconhawk (Ian Fowles), who's armed with a laser-shooting electric guitar; and keyboardist Jimmy the Robot (James R. Briggs, Jr.), an android.",
"The Aquabats consist of singer The MC Bat Commander (Christian Jacobs), the swaggering leader of the group; bassist Crash McLarson (Chad Larson), who can grow up to 100 feet in size; drummer Ricky Fitness (Richard Falomir), who has the power of super speed; guitarist EagleBones Falconhawk (Ian Fowles), who's armed with a laser-shooting electric guitar; and keyboardist Jimmy the Robot (James R. Briggs, Jr.), an android. Despite their superhuman strengths and abilities, The Aquabats are quite bumbling, disorganized, and sometimes cowardly when faced with danger; this has in fact led them to be labeled \"the world's most inept superheroes\".",
"Despite their superhuman strengths and abilities, The Aquabats are quite bumbling, disorganized, and sometimes cowardly when faced with danger; this has in fact led them to be labeled \"the world's most inept superheroes\". The band lives and travels by way of their \"Battletram\", a modified classic GMC motorhome which, despite its small exterior, has an implausibly massive interior (similar to the TARDIS from Doctor Who or The Big Bologna from The Kids From C.A.P.E.R.",
"The band lives and travels by way of their \"Battletram\", a modified classic GMC motorhome which, despite its small exterior, has an implausibly massive interior (similar to the TARDIS from Doctor Who or The Big Bologna from The Kids From C.A.P.E.R. ), which contains, among many things, a science lab, a command center, and a living room.",
"), which contains, among many things, a science lab, a command center, and a living room. The Aquabats' origin story was left intentionally vague throughout the series, a choice Jacobs explains was done for the sake of the viewer's imagination, as he felt kids were more accepting of the inherent absurdity of the premise than adults tend to be: \"'There's five guys.",
"The Aquabats' origin story was left intentionally vague throughout the series, a choice Jacobs explains was done for the sake of the viewer's imagination, as he felt kids were more accepting of the inherent absurdity of the premise than adults tend to be: \"'There's five guys. This is what each of the five guys does.",
"This is what each of the five guys does. There are monsters. They're gonna try to fight them'. It's so simple. And I think that's why it's so awesome with kids—they just take it and run with it\".",
"And I think that's why it's so awesome with kids—they just take it and run with it\". In the first five episodes of season two, each member of The Aquabats shares their memory of how they joined the band via animated flashback sequences; however, all of these flashbacks directly and intentionally contradict each other, leaving it unknown which—if any—could be considered officially canonical.",
"In the first five episodes of season two, each member of The Aquabats shares their memory of how they joined the band via animated flashback sequences; however, all of these flashbacks directly and intentionally contradict each other, leaving it unknown which—if any—could be considered officially canonical. Format and influences The Aquabats! Super Show!",
"Format and influences The Aquabats! Super Show! Super Show! juxtaposes both live-action and animated segments starring The Aquabats, interwoven with various tangential skits and cartoon interstitials. The live-action storylines are the primary focus of each episode, following a self-contained villain of the week formula.",
"The live-action storylines are the primary focus of each episode, following a self-contained villain of the week formula. In the first season, each episode featured brief anime-styled cartoon shorts which one of the characters would introduce at a random point of the show, often by finding \"A Cartoon\" (represented by a miniature television set) in an absurd location.",
"In the first season, each episode featured brief anime-styled cartoon shorts which one of the characters would introduce at a random point of the show, often by finding \"A Cartoon\" (represented by a miniature television set) in an absurd location. Unlike the live-action segments, these cartoons followed a serialized story arc, with each installment ending in a cliffhanger to be resolved in the next episode.",
"Unlike the live-action segments, these cartoons followed a serialized story arc, with each installment ending in a cliffhanger to be resolved in the next episode. In season two, this format was replaced with a series of animated flashbacks recounting the origins of The Aquabats, each by a different animation studio and in a different animation style.",
"In season two, this format was replaced with a series of animated flashbacks recounting the origins of The Aquabats, each by a different animation studio and in a different animation style. Between these segments are pantomime cartoon shorts starring \"Lil' Bat\", The Aquabats' anthropomorphic bat mascot, and live-action parody commercials for outlandish fictional products, the latter of which has long been a staple of The Aquabats' multi-media stage shows.",
"Between these segments are pantomime cartoon shorts starring \"Lil' Bat\", The Aquabats' anthropomorphic bat mascot, and live-action parody commercials for outlandish fictional products, the latter of which has long been a staple of The Aquabats' multi-media stage shows. Jacobs says the concept behind Super Show!",
"Jacobs says the concept behind Super Show! was something he had always dreamed of doing, making a \"campy, live-action, funky kid's show\" in the vein of the 1960s and 1970s television that he and the rest of the series' producers had grown up with.",
"was something he had always dreamed of doing, making a \"campy, live-action, funky kid's show\" in the vein of the 1960s and 1970s television that he and the rest of the series' producers had grown up with. While the show pays homage to many facets of pop culture, Jacobs has named the 1960s Batman television series as the primary influence on Super Show!s \"obviously silly\" tone and visual style, ranging from set design to the trademark use of dutch angles for villain scenes.",
"While the show pays homage to many facets of pop culture, Jacobs has named the 1960s Batman television series as the primary influence on Super Show!s \"obviously silly\" tone and visual style, ranging from set design to the trademark use of dutch angles for villain scenes. Other notable influences Jacobs has repeatedly mentioned include the works of Sid and Marty Krofft and Hanna-Barbera, Japanese tokusatsu series such as Ultraman and Johnny Sokko And His Flying Robot, the Shaw Brothers and Hong Kong cinema, and shows including Danger Island, Star Trek, The Rocky and Bullwinkle Show, and Pee-wee's Playhouse, noting \"there's a good 30 years worth of television culture packed into these 22-minute episodes\".",
"Other notable influences Jacobs has repeatedly mentioned include the works of Sid and Marty Krofft and Hanna-Barbera, Japanese tokusatsu series such as Ultraman and Johnny Sokko And His Flying Robot, the Shaw Brothers and Hong Kong cinema, and shows including Danger Island, Star Trek, The Rocky and Bullwinkle Show, and Pee-wee's Playhouse, noting \"there's a good 30 years worth of television culture packed into these 22-minute episodes\". Demographic As The Hub's key demographic were children aged 6 to 12, Super Show!",
"Demographic As The Hub's key demographic were children aged 6 to 12, Super Show! was ostensibly targeted towards said age group, though Jacobs has stated that the series primarily aimed to appeal to an all-ages crowd, with the intent of creating entertainment that both kids and parents can watch and enjoy together or separately.",
"was ostensibly targeted towards said age group, though Jacobs has stated that the series primarily aimed to appeal to an all-ages crowd, with the intent of creating entertainment that both kids and parents can watch and enjoy together or separately. In interviews prior to the series' premiere, he explained that this was merely an extension of The Aquabats' own family-friendly ethos: \"There's just obviously something about the costumes and being superheroes that really appeals to younger kids, and I think we always knew that as a band...I think we'll want to put things in [the show] for an older audience, because we realize we have an older audience, but then also we want the young kids, to not have it go over their heads\".",
"In interviews prior to the series' premiere, he explained that this was merely an extension of The Aquabats' own family-friendly ethos: \"There's just obviously something about the costumes and being superheroes that really appeals to younger kids, and I think we always knew that as a band...I think we'll want to put things in [the show] for an older audience, because we realize we have an older audience, but then also we want the young kids, to not have it go over their heads\". Production history History and previous attempts at a series In 1994, musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in Brea, California.",
"Production history History and previous attempts at a series In 1994, musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in Brea, California. Influenced as much by cartoons and camp television as theatrical bands like Devo and Oingo Boingo, The Aquabats gained instant notoriety in the Orange County music scene for their eccentric persona in which they claimed to be a band of superheroes on a quest to save the world and their elaborate stage shows which regularly featured scripted fights with costumed villains alongside similar stunts and comedy sketches.",
"Influenced as much by cartoons and camp television as theatrical bands like Devo and Oingo Boingo, The Aquabats gained instant notoriety in the Orange County music scene for their eccentric persona in which they claimed to be a band of superheroes on a quest to save the world and their elaborate stage shows which regularly featured scripted fights with costumed villains alongside similar stunts and comedy sketches. The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough for the group, charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs – a former child actor with ties in the industry – to develop the concept of adapting the band's mythology for television.",
"The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough for the group, charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs – a former child actor with ties in the industry – to develop the concept of adapting the band's mythology for television. In 1998, Buena Vista Television helped produce a live-action mini-pilot directed by comedian Bobcat Goldthwait titled simply The Aquabats!, following the comic misadventures of the then-eight member band in an over-the-top camp style similar to Saturday morning cartoon shows.",
"In 1998, Buena Vista Television helped produce a live-action mini-pilot directed by comedian Bobcat Goldthwait titled simply The Aquabats!, following the comic misadventures of the then-eight member band in an over-the-top camp style similar to Saturday morning cartoon shows. The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves.",
"The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves. Undeterred, The Aquabats made an attempt at a second pilot the following year, using a music video budget granted by their record label Goldenvoice Records for their 1999 album The Aquabats vs. the Floating Eye of Death!.",
"Undeterred, The Aquabats made an attempt at a second pilot the following year, using a music video budget granted by their record label Goldenvoice Records for their 1999 album The Aquabats vs. the Floating Eye of Death!. Independently directed and produced by Jacobs and his creative partner Scott Schultz, the result was a five-minute promo video entitled The Aquabats in Color!.",
"Independently directed and produced by Jacobs and his creative partner Scott Schultz, the result was a five-minute promo video entitled The Aquabats in Color!. In contrast to the wackier tone of the previous pilot, The Aquabats in Color! was a more action-oriented superhero series modeled after Japanese tokusatsu shows such as Kamen Rider.",
"was a more action-oriented superhero series modeled after Japanese tokusatsu shows such as Kamen Rider. According to Jacobs, the Fox Family Channel reportedly expressed interest in the series and ordered production on a proper pilot episode, though following the channel's acquisition by Disney in 2001, the project was cancelled. The Aquabats! Super Show!",
"The Aquabats! Super Show! Super Show! pilot (2008) In 2005, Jacobs and Schultz formed the Orange County-based production company The Magic Store, focusing on creating family-oriented television entertainment.",
"pilot (2008) In 2005, Jacobs and Schultz formed the Orange County-based production company The Magic Store, focusing on creating family-oriented television entertainment. One of the company's independently produced pilots, the children's television series Yo Gabba Gabba!, was eventually picked up as a series by Viacoms Nick Jr. channel, premiering in August 2007 and ultimately becoming an award-winning and critically acclaimed international success.",
"One of the company's independently produced pilots, the children's television series Yo Gabba Gabba!, was eventually picked up as a series by Viacoms Nick Jr. channel, premiering in August 2007 and ultimately becoming an award-winning and critically acclaimed international success. In the wake of the series' popularity, Jacobs and Schultz persuaded Yo Gabba Gabba!s joint production company Wild Brain to help produce a new pilot based around The Aquabats in conjuncture with The Magic Store.",
"In the wake of the series' popularity, Jacobs and Schultz persuaded Yo Gabba Gabba!s joint production company Wild Brain to help produce a new pilot based around The Aquabats in conjuncture with The Magic Store. Again creatively spearheaded by Jacobs and Schultz, The Aquabats' third pilot, titled The Aquabats!",
"Again creatively spearheaded by Jacobs and Schultz, The Aquabats' third pilot, titled The Aquabats! Super Show!, was shot on location throughout southern California in late 2007 and early 2008.",
"Super Show!, was shot on location throughout southern California in late 2007 and early 2008. Part of this filming took place at a free invitation-only concert for members of the band's official fan club at the El Rey Theatre in Los Angeles on January 12, 2008.",
"Part of this filming took place at a free invitation-only concert for members of the band's official fan club at the El Rey Theatre in Los Angeles on January 12, 2008. While The Aquabats' previous pilots were short, live-action promotional videos, The Aquabats! Super Show!",
"Super Show! Super Show! was a fully realized 22-minute episode featuring two separate storylines based on the adventures of The Aquabats, one live-action and one animated, and interspersed with parody commercials and live footage of the band.",
"was a fully realized 22-minute episode featuring two separate storylines based on the adventures of The Aquabats, one live-action and one animated, and interspersed with parody commercials and live footage of the band. Speaking on the decision to structure the show in such a varied format, Jacobs said \"[w]e did that for a strategic reason – some networks like cartoons more than other networks.",
"Speaking on the decision to structure the show in such a varied format, Jacobs said \"[w]e did that for a strategic reason – some networks like cartoons more than other networks. We wanted to say, 'this could be both shows'.\" Following a period of post-production, The Aquabats began widely self-promoting Super Show!",
"Following a period of post-production, The Aquabats began widely self-promoting Super Show! in June 2008, redesigning their website to promote the pilot and releasing a teaser trailer and several exclusive clips through an official Super Show! YouTube channel.",
"YouTube channel. YouTube channel. On July 25, 2008, the band screened the full pilot at a concert in San Diego held during the weekend of the San Diego Comic-Con, while a segment of the episode was hosted on Boing Boing the same day.",
"On July 25, 2008, the band screened the full pilot at a concert in San Diego held during the weekend of the San Diego Comic-Con, while a segment of the episode was hosted on Boing Boing the same day. In 2009, Cartoon Network allegedly picked the series up for a run of 22 episodes, though following major staff changes within the company—which, according to Jacobs, included the termination of the executives who had green-lighted Super Show!—the project was again cancelled.",
"In 2009, Cartoon Network allegedly picked the series up for a run of 22 episodes, though following major staff changes within the company—which, according to Jacobs, included the termination of the executives who had green-lighted Super Show!—the project was again cancelled. The Hub and season one After several more unsuccessful network pitches into the 2010s, The Aquabats!",
"The Hub and season one After several more unsuccessful network pitches into the 2010s, The Aquabats! Super Show! was finally picked up as a series by family cable channel The Hub, a joint venture between Hasbro and Discovery which launched in 2010 as a replacement for Discovery Kids.",
"was finally picked up as a series by family cable channel The Hub, a joint venture between Hasbro and Discovery which launched in 2010 as a replacement for Discovery Kids. The Hub formally announced the series in a press release on March 23, 2011, revealing Super Show!",
"The Hub formally announced the series in a press release on March 23, 2011, revealing Super Show! would be given a first season run of 13 episodes, produced in conjuncture with FremantleMedia.",
"would be given a first season run of 13 episodes, produced in conjuncture with FremantleMedia. In promotion of the series, The Aquabats appeared as part of a panel at the 2011 San Diego Comic-Con where they discussed their initial plans for the show, while The Hub sponsored an Aquabats concert held at the nearby House of Blues during the same weekend.",
"In promotion of the series, The Aquabats appeared as part of a panel at the 2011 San Diego Comic-Con where they discussed their initial plans for the show, while The Hub sponsored an Aquabats concert held at the nearby House of Blues during the same weekend. Production on season one of Super Show! officially began in May 2011.",
"officially began in May 2011. officially began in May 2011. The entirety of the first season was shot within and around The Aquabats' hometown of Orange County, California; according to the first season DVD audio commentary, episodes were shot on location in the cities of Irvine, Silverado, Yorba Linda, Huntington Beach and Fullerton, while a private sound stage in Santa Ana was used for interior shots of the Battletram.",
"The entirety of the first season was shot within and around The Aquabats' hometown of Orange County, California; according to the first season DVD audio commentary, episodes were shot on location in the cities of Irvine, Silverado, Yorba Linda, Huntington Beach and Fullerton, while a private sound stage in Santa Ana was used for interior shots of the Battletram. A public Aquabats concert held at The Glass House club in Pomona on November 5, 2011 was also filmed to provide live footage of the band which is featured in the series' opening credits montage and several individual episodes.",
"A public Aquabats concert held at The Glass House club in Pomona on November 5, 2011 was also filmed to provide live footage of the band which is featured in the series' opening credits montage and several individual episodes. Much of Super Show!s staff consist of friends and colleagues of The Aquabats who've previously worked with the band on various projects, ranging from members of Yo Gabba Gabba!s production team to fellow musicians within the southern California music scene.",
"Much of Super Show!s staff consist of friends and colleagues of The Aquabats who've previously worked with the band on various projects, ranging from members of Yo Gabba Gabba!s production team to fellow musicians within the southern California music scene. Among the more notable examples include Dallas McLaughlin and Matthew Gorney, both members of the San Diego hip hop band Bad Credit, who prominently served as writers, composers and performers, Warren Fitzgerald, guitarist for The Vandals, who was hired as a writer and music director, internet sketch comedy group Mega64 were commissioned to produce original material, primarily the series' parody commercials, and Japanese artist Pey, who had designed much of The Aquabats' promotional art and merchandise during the 2000s, was hired to design the season's animated segments.",
"Among the more notable examples include Dallas McLaughlin and Matthew Gorney, both members of the San Diego hip hop band Bad Credit, who prominently served as writers, composers and performers, Warren Fitzgerald, guitarist for The Vandals, who was hired as a writer and music director, internet sketch comedy group Mega64 were commissioned to produce original material, primarily the series' parody commercials, and Japanese artist Pey, who had designed much of The Aquabats' promotional art and merchandise during the 2000s, was hired to design the season's animated segments. Additionally, several industry professionals were brought in to help work on the show: Dani Michaeli, a staff writer on SpongeBob SquarePants, was hired as the series' story editor, while Matt Chapman, co-creator of the internet Flash cartoon Homestar Runner, acted as a writer, director and actor on several episodes.",
"Additionally, several industry professionals were brought in to help work on the show: Dani Michaeli, a staff writer on SpongeBob SquarePants, was hired as the series' story editor, while Matt Chapman, co-creator of the internet Flash cartoon Homestar Runner, acted as a writer, director and actor on several episodes. As none of the members besides Jacobs had any previous acting experience, comedian Matt Walsh of the Upright Citizens Brigade was brought in to help teach The Aquabats comedic acting and timing.",
"As none of the members besides Jacobs had any previous acting experience, comedian Matt Walsh of the Upright Citizens Brigade was brought in to help teach The Aquabats comedic acting and timing. In further homage to the original Batman series, Super Show! features a variety of celebrity cameo appearances.",
"features a variety of celebrity cameo appearances. The series' first season included appearances from actors Jon Heder, Lou Diamond Phillips and Samm Levine, comedians Rip Taylor, Paul Scheer and Paul Rust, and comedy musician \"Weird Al\" Yankovic, who appeared in two episodes as different characters.",
"The series' first season included appearances from actors Jon Heder, Lou Diamond Phillips and Samm Levine, comedians Rip Taylor, Paul Scheer and Paul Rust, and comedy musician \"Weird Al\" Yankovic, who appeared in two episodes as different characters. The first season also included several \"Easter egg\" cameos from original Aquabats members Corey \"Chainsaw\" Pollock and Boyd \"Catboy\" Terry, as well as from fellow musicians Warren Fitzgerald and Art Mitchell of the band Supernova.",
"The first season also included several \"Easter egg\" cameos from original Aquabats members Corey \"Chainsaw\" Pollock and Boyd \"Catboy\" Terry, as well as from fellow musicians Warren Fitzgerald and Art Mitchell of the band Supernova. Despite having been originally announced as part of The Hub's 2011 Fall line-up, production delays postponed Super Show!s premiere to early 2012.",
"Despite having been originally announced as part of The Hub's 2011 Fall line-up, production delays postponed Super Show!s premiere to early 2012. The series' marketing campaign began in December 2011, with a later announcement of an official premiere date confirmed for March 3, 2012.",
"The series' marketing campaign began in December 2011, with a later announcement of an official premiere date confirmed for March 3, 2012. Following a non-consecutive run of 13 episodes, the first-season finale aired on June 16, 2012.",
"Following a non-consecutive run of 13 episodes, the first-season finale aired on June 16, 2012. Season two On October 16, 2012, The Aquabats and The Hub confirmed production on new episodes of Super Show! through the social networking sites Facebook and Twitter, announcing a tentative debut date of Spring 2013.",
"through the social networking sites Facebook and Twitter, announcing a tentative debut date of Spring 2013. Principal photography on season two began on October 22 and wrapped on December 1.",
"Principal photography on season two began on October 22 and wrapped on December 1. Unlike the first season, the majority of season two was shot in and around Salt Lake City, Utah, which Jacobs explained was considerably less expensive than shooting in California.",
"Unlike the first season, the majority of season two was shot in and around Salt Lake City, Utah, which Jacobs explained was considerably less expensive than shooting in California. While no changes were made to Super Shows creative team, in December 2012 it was announced that season two would introduce the series' first guest director, musician and comic book writer Gerard Way, who co-directed and co-wrote the season finale \"The AntiBats!\"",
"While no changes were made to Super Shows creative team, in December 2012 it was announced that season two would introduce the series' first guest director, musician and comic book writer Gerard Way, who co-directed and co-wrote the season finale \"The AntiBats!\" with Jacobs and deVilliers.",
"with Jacobs and deVilliers. with Jacobs and deVilliers. Way's involvement with the series was heavily covered by the music press in the wake of the March 2013 break-up of his popular alternative rock band My Chemical Romance.",
"Way's involvement with the series was heavily covered by the music press in the wake of the March 2013 break-up of his popular alternative rock band My Chemical Romance. Among the guest stars featured in season two were professional skateboarders Tony Hawk and Eric Koston, Devo frontman and Yo Gabba Gabba!",
"Among the guest stars featured in season two were professional skateboarders Tony Hawk and Eric Koston, Devo frontman and Yo Gabba Gabba! cast member Mark Mothersbaugh, internet celebrity Leslie Hall, actor Martin Starr and My Chemical Romance bassist Mikey Way.",
"cast member Mark Mothersbaugh, internet celebrity Leslie Hall, actor Martin Starr and My Chemical Romance bassist Mikey Way. On December 2, 2012, deVilliers revealed on his Twitter account that the upcoming season would consist of only five new episodes, in what he called more \"season 1.5\" than a \"season 2\", though mentioned the possibility of more being made in the future.",
"On December 2, 2012, deVilliers revealed on his Twitter account that the upcoming season would consist of only five new episodes, in what he called more \"season 1.5\" than a \"season 2\", though mentioned the possibility of more being made in the future. On May 1, 2013, it was announced through Entertainment Weekly that the series' second season would begin airing on June 1.",
"On May 1, 2013, it was announced through Entertainment Weekly that the series' second season would begin airing on June 1. After a run of only five episodes, the season concluded on June 29, 2013.",
"After a run of only five episodes, the season concluded on June 29, 2013. 2013–2014 specials On August 22, 2013, series performer Chad Larson confirmed via Twitter that three additional episodes of Super Show! were being filmed near the end of the year, \"and maybe more next\".",
"were being filmed near the end of the year, \"and maybe more next\". Principal photography on these episodes eventually began in Utah in early October.",
"Principal photography on these episodes eventually began in Utah in early October. Throughout the month, The Aquabats posted numerous pictures of production on the new episodes on their Twitter and Instagram accounts, some of which revealed production code numbers of 301, 302 and 303, ostensibly indicating what would be a third season.",
"Throughout the month, The Aquabats posted numerous pictures of production on the new episodes on their Twitter and Instagram accounts, some of which revealed production code numbers of 301, 302 and 303, ostensibly indicating what would be a third season. Though these numbers were later verified by the Internet Movie Database, a November press release from The Hub explicitly referred to these three episodes as \"specials\".",
"Though these numbers were later verified by the Internet Movie Database, a November press release from The Hub explicitly referred to these three episodes as \"specials\". The first of these specials, \"Christmas with The Aquabats! \", aired on December 21, featuring comedians Robert Smigel and Matt Walsh in guest roles.",
"\", aired on December 21, featuring comedians Robert Smigel and Matt Walsh in guest roles. The second of these episodes, \"The Shark Fighter!\"",
"The second of these episodes, \"The Shark Fighter!\" (based on The Aquabats' song of the same name), featuring comedian Rhys Darby, aired the following week on December 28, while the final special \"Kitty Litter!\" aired on January 18, 2014. \"Kitty Litter!\"",
"\"Kitty Litter!\" \"Kitty Litter!\" was helmed by another guest director, Munn Powell, best known for his work as cinematographer on the Jared and Jerusha Hess films Napoleon Dynamite and Gentlemen Broncos.",
"was helmed by another guest director, Munn Powell, best known for his work as cinematographer on the Jared and Jerusha Hess films Napoleon Dynamite and Gentlemen Broncos. Following this short run of episodes, there was no confirmation by either The Hub or The Aquabats as to the production of any future episodes.",
"Following this short run of episodes, there was no confirmation by either The Hub or The Aquabats as to the production of any future episodes. In a December 2013 interview, Christian Jacobs acknowledged the network's unusually small order of episodes but didn't elaborate on any possible reasoning.",
"In a December 2013 interview, Christian Jacobs acknowledged the network's unusually small order of episodes but didn't elaborate on any possible reasoning. In the same interview, he stated that the band had initially prepared for another order of 13 episodes, having written as many scripts for potential future episodes.",
"In the same interview, he stated that the band had initially prepared for another order of 13 episodes, having written as many scripts for potential future episodes. On May 1, 2014, the nominees for the 2014 Daytime Emmy Awards were announced, revealing that Super Show!",
"On May 1, 2014, the nominees for the 2014 Daytime Emmy Awards were announced, revealing that Super Show! had been nominated for five awards in four categories, including the award for Best Writing in a Children's Series for the episode \"The AntiBats!\".",
"had been nominated for five awards in four categories, including the award for Best Writing in a Children's Series for the episode \"The AntiBats!\". The awards ceremony was held on June 22, 2014, where the series ultimately won the award for Best Stunt Coordination for stuntman Skip Carlson.",
"The awards ceremony was held on June 22, 2014, where the series ultimately won the award for Best Stunt Coordination for stuntman Skip Carlson. Cancellation by The Hub and hiatus In mid-2014, it was announced in entertainment press that Hasbro and Discovery had been in the process of rebranding The Hub following what they saw to be disappointing returns for the channel, changes which included the departure of CEO Margaret Loesch, who was instrumental in acquiring Super Show!",
"Cancellation by The Hub and hiatus In mid-2014, it was announced in entertainment press that Hasbro and Discovery had been in the process of rebranding The Hub following what they saw to be disappointing returns for the channel, changes which included the departure of CEO Margaret Loesch, who was instrumental in acquiring Super Show! as a series.",
"as a series. as a series. In a Huffington Post feature about The Aquabats prior to the band's appearance at the 2014 San Diego Comic-Con, it was revealed that The Hub had opted not to renew Super Show! for a third season, effectively cancelling the series.",
"for a third season, effectively cancelling the series. Jacobs admitted he was surprised by this turn of events, noting \"Everything we heard was that the show has been a real Cinderella story for the Hub and that it was rating really well with viewers.",
"Jacobs admitted he was surprised by this turn of events, noting \"Everything we heard was that the show has been a real Cinderella story for the Hub and that it was rating really well with viewers. We just assumed that we'd eventually go back into production or at least get picked up for Season 3\", but ultimately concluded \"it is what it is\" in regard to the network's decision.",
"We just assumed that we'd eventually go back into production or at least get picked up for Season 3\", but ultimately concluded \"it is what it is\" in regard to the network's decision. Despite this, Jacobs remained optimistic about the series' future, saying \"Given that we now live in a world where people are streaming TV shows directly onto their iPhones & computers, and given that companies like Netflix & Yahoo!",
"Despite this, Jacobs remained optimistic about the series' future, saying \"Given that we now live in a world where people are streaming TV shows directly onto their iPhones & computers, and given that companies like Netflix & Yahoo! are now picking up so much new content for their customers...I just find it hard to believe that The Aquabats!",
"are now picking up so much new content for their customers...I just find it hard to believe that The Aquabats! Super Show! is really over. I mean, we haven't even made any toys yet\". He concluded by stating \"It took us almost 15 years to get that TV series made.",
"He concluded by stating \"It took us almost 15 years to get that TV series made. And even though we've got a bunch more concert dates lined up for the rest of this year, our first priority is to find a new home for The Aquabats! Super Show!\".",
"Super Show!\". Super Show!\". On March 31, 2015, the nominees for the 42nd annual Daytime Emmy Awards were announced, with Super Show! earning nominations for Best SFX Mixer (Blaine Stewart) and Best Stunt Coordinator (Braxton McAllister).",
"earning nominations for Best SFX Mixer (Blaine Stewart) and Best Stunt Coordinator (Braxton McAllister). On June 27, 2015, The Aquabats screened the entire first season of Super Show!",
"On June 27, 2015, The Aquabats screened the entire first season of Super Show! before a sold-out crowd at The Frida Cinema in downtown Santa Ana, which was accompanied by a live performance by the band and Q&A sessions with The Aquabats and numerous members of the cast and crew.",
"before a sold-out crowd at The Frida Cinema in downtown Santa Ana, which was accompanied by a live performance by the band and Q&A sessions with The Aquabats and numerous members of the cast and crew. A similar presentation of the entire second season – including the three additional specials – took place at The Art Theater in Long Beach on December 16, 2017, coinciding with the release of the second season Blu-ray.",
"A similar presentation of the entire second season – including the three additional specials – took place at The Art Theater in Long Beach on December 16, 2017, coinciding with the release of the second season Blu-ray. Bring Back The Aquabats!",
"Bring Back The Aquabats! Bring Back The Aquabats! Kickstarter campaign Following weeks of teasing a major announcement, The Aquabats launched a Kickstarter campaign on July 31, 2018 to help finance the return of The Aquabats! Super Show! as well as new studio albums from the band at a minimum projected cost of $1.1 million.",
"as well as new studio albums from the band at a minimum projected cost of $1.1 million. The Aquabats promoted their campaign with a video featuring a slew of celebrity cameos, including Super Show!",
"The Aquabats promoted their campaign with a video featuring a slew of celebrity cameos, including Super Show! guest stars \"Weird Al\" Yankovic, Robert Smigel (as Triumph the Insult Comic Dog), Matt Chapman (as Homestar Runner and Strong Bad), former Aquabats member Travis Barker, Tony Kanal, Tom Dumont, Oscar Nunez, Kate Micucci, Blake Anderson, Imagine Dragons, Felicia Day and Tom Lennon, all of whom appeared in The Aquabats' trademark uniforms and spoke the Kickstarter's promotional slogan \"I am The Aquabats\"/\"We are The Aquabats\".",
"guest stars \"Weird Al\" Yankovic, Robert Smigel (as Triumph the Insult Comic Dog), Matt Chapman (as Homestar Runner and Strong Bad), former Aquabats member Travis Barker, Tony Kanal, Tom Dumont, Oscar Nunez, Kate Micucci, Blake Anderson, Imagine Dragons, Felicia Day and Tom Lennon, all of whom appeared in The Aquabats' trademark uniforms and spoke the Kickstarter's promotional slogan \"I am The Aquabats\"/\"We are The Aquabats\". Most prominently featured, however, was comedian Jack Black, who was later confirmed by the campaign's press releases to act as executive producer for the series' return.",
"Most prominently featured, however, was comedian Jack Black, who was later confirmed by the campaign's press releases to act as executive producer for the series' return. Along with their Kickstarter, the band began releasing a series of Super Show!",
"Along with their Kickstarter, the band began releasing a series of Super Show! \"mini-episodes\", depicting the MC Bat Commander's metafictional quest to reunite the estranged Aquabats following the series' cancellation.",
"\"mini-episodes\", depicting the MC Bat Commander's metafictional quest to reunite the estranged Aquabats following the series' cancellation. The band confirmed that as the Kickstarter progresses, further \"mini-episodes\" will be released to both promote the campaign as well as act as a continuation of Super Show!.",
"The band confirmed that as the Kickstarter progresses, further \"mini-episodes\" will be released to both promote the campaign as well as act as a continuation of Super Show!. By August 28, mere days before the campaign's end date of September 1, The Aquabats' Kickstarter had raised only $601,629 of its projected $1.1 million goal.",
"By August 28, mere days before the campaign's end date of September 1, The Aquabats' Kickstarter had raised only $601,629 of its projected $1.1 million goal. The funding was subsequently cancelled and the campaign was rebooted the same day with a smaller goal of $100,000 to instead finance one new album and the continued production of the Super Show!!",
"The funding was subsequently cancelled and the campaign was rebooted the same day with a smaller goal of $100,000 to instead finance one new album and the continued production of the Super Show!! \"mini-episodes\". The project's goal was met within minutes. Music Original music for The Aquabats! Super Show!",
"Super Show! Super Show! was primarily composed and performed by The Aquabats themselves, with additional scoring on most episodes provided by Matthew Gorney, Warren Fitzgerald or individual credits for Aquabats members James R. Briggs, Jr., Richard Falomir and Ian Fowles.",
"was primarily composed and performed by The Aquabats themselves, with additional scoring on most episodes provided by Matthew Gorney, Warren Fitzgerald or individual credits for Aquabats members James R. Briggs, Jr., Richard Falomir and Ian Fowles. Fitzgerald, guitarist for punk rock band The Vandals and former member of Oingo Boingo, acted as the series' music supervisor.",
"Fitzgerald, guitarist for punk rock band The Vandals and former member of Oingo Boingo, acted as the series' music supervisor. The theme song to Super Show!, \"Super Show Theme Song! \", was co-written by The Aquabats and Fitzgerald.",
"\", was co-written by The Aquabats and Fitzgerald. Whereas most musically oriented shows like The Monkees typically break the narrative of an episode for a music video performance of a standalone song, each episode of Super Show!",
"Whereas most musically oriented shows like The Monkees typically break the narrative of an episode for a music video performance of a standalone song, each episode of Super Show! typically features one or two unique songs that tied directly into the plot, usually about and performed during the events of a particular scene.",
"typically features one or two unique songs that tied directly into the plot, usually about and performed during the events of a particular scene. Most of these songs are rather brief, averaging a running time of just under a minute; Jacobs stated that many of the show's original songs were recorded as full-length pieces but trimmed down for inclusion in an episode, simply due to the show \"trying to pack so much into 22 minutes\".",
"Most of these songs are rather brief, averaging a running time of just under a minute; Jacobs stated that many of the show's original songs were recorded as full-length pieces but trimmed down for inclusion in an episode, simply due to the show \"trying to pack so much into 22 minutes\". Shortly after Super Show!s premiere, Jacobs confirmed plans to eventually release the series' original full-length songs as a soundtrack album.",
"Shortly after Super Show!s premiere, Jacobs confirmed plans to eventually release the series' original full-length songs as a soundtrack album. However, these plans wouldn't fully come to fruition until 2019; in a 2018 interview, Jacobs retrospectively revealed that the album had been long completed but the band \"hadn't had all the rights tied up\" until then.",
"However, these plans wouldn't fully come to fruition until 2019; in a 2018 interview, Jacobs retrospectively revealed that the album had been long completed but the band \"hadn't had all the rights tied up\" until then. The first original and full-length recordings from the series' first season debuted in July 2017, when \"Burger Rain\" and \"Beat Fishin'\" were released as a tour-exclusive 7\" single.",
"The first original and full-length recordings from the series' first season debuted in July 2017, when \"Burger Rain\" and \"Beat Fishin'\" were released as a tour-exclusive 7\" single. Songs from the series' first season were eventually compiled as The Aquabats! Super Show!",
"Super Show! Super Show! Television Soundtrack: Volume One, which was released digitally in March 2019 and then onto physical media the following June, where it became The Aquabats' highest-charting album to date, debuting at the top of Billboards Top Heatseekers chart and at 165 on the Billboard 200.",
"Television Soundtrack: Volume One, which was released digitally in March 2019 and then onto physical media the following June, where it became The Aquabats' highest-charting album to date, debuting at the top of Billboards Top Heatseekers chart and at 165 on the Billboard 200. Cast and characters See: List of The Aquabats! Super Show!",
"Super Show! Super Show! characters The Aquabats! Super Show! stars and is based upon fictionalized versions of the then-current (since 2006) line-up of the California comedy rock band The Aquabats. Adapting the backstory the band has used for the entirety of their professional career, Super Show!",
"Adapting the backstory the band has used for the entirety of their professional career, Super Show! depicts The Aquabats as a group of bumbling, out-of-shape superheroes on a self-appointed mission to fight the forces of evil, presented in both live-action and animated segments.",
"depicts The Aquabats as a group of bumbling, out-of-shape superheroes on a self-appointed mission to fight the forces of evil, presented in both live-action and animated segments. The five members of The Aquabats are: The MC Bat Commander (played and voiced by Christian Jacobs) – The Aquabats' singer and de facto leader of the team.",
"The five members of The Aquabats are: The MC Bat Commander (played and voiced by Christian Jacobs) – The Aquabats' singer and de facto leader of the team. Though he doesn't have any superpowers of his own and is often quite stubborn and naive, the Commander is shown to be an effective strategist whose sharp leadership skills, bravery and determination regularly drive the band towards victory.",
"Though he doesn't have any superpowers of his own and is often quite stubborn and naive, the Commander is shown to be an effective strategist whose sharp leadership skills, bravery and determination regularly drive the band towards victory. Crash McLarson (played and voiced by Chad Larson) – The band's bass guitarist, who has the frequently uncontrollable ability to grow upwards of 100 feet in size when under emotional stress.",
"Crash McLarson (played and voiced by Chad Larson) – The band's bass guitarist, who has the frequently uncontrollable ability to grow upwards of 100 feet in size when under emotional stress. Despite being the largest and strongest of The Aquabats, Crash has a gentle, childlike demeanor bordering on slight dim-wittedness, and as such is usually the most cowardly member of the team.",
"Despite being the largest and strongest of The Aquabats, Crash has a gentle, childlike demeanor bordering on slight dim-wittedness, and as such is usually the most cowardly member of the team. Jimmy the Robot (played and voiced by James R. Briggs, Jr.) – The Aquabats' keyboardist.",
"Jimmy the Robot (played and voiced by James R. Briggs, Jr.) – The Aquabats' keyboardist. As his name implies, Jimmy is an android whose mechanical body houses a variety of built-in gadgets and weaponry, plus a comprehensive knowledge database which earns him the position of the group's resident scientist.",
"As his name implies, Jimmy is an android whose mechanical body houses a variety of built-in gadgets and weaponry, plus a comprehensive knowledge database which earns him the position of the group's resident scientist. Being a robot, Jimmy is generally perplexed by human emotions and behavior.",
"Being a robot, Jimmy is generally perplexed by human emotions and behavior. Ricky Fitness (played and voiced by Richard Falomir) – the band's drummer, Ricky possesses the power of super speed.",
"Ricky Fitness (played and voiced by Richard Falomir) – the band's drummer, Ricky possesses the power of super speed. Being the most physically fit and health-conscious member of The Aquabats, some of the series' running gags revolve around Ricky's status as a handsome ladies' man and his fondness for \"fresh, healthy veggies\" in contrast to the rest of the team's voracious affinity for junk food.",
"Being the most physically fit and health-conscious member of The Aquabats, some of the series' running gags revolve around Ricky's status as a handsome ladies' man and his fondness for \"fresh, healthy veggies\" in contrast to the rest of the team's voracious affinity for junk food. EagleBones Falconhawk (played and voiced by Ian Fowles) – The Aquabats' guitarist.",
"EagleBones Falconhawk (played and voiced by Ian Fowles) – The Aquabats' guitarist. The cocky and boyish maverick of the team, EagleBones is highly proficient on his custom weaponized electric guitar which shoots lasers from its headstock.",
"The cocky and boyish maverick of the team, EagleBones is highly proficient on his custom weaponized electric guitar which shoots lasers from its headstock. Following a spiritual encounter early in season one, EagleBones also has the gift of second sight and is accompanied by \"The Dude\", an invisible spirit eagle whom he summons to aide The Aquabats in battle.",
"Following a spiritual encounter early in season one, EagleBones also has the gift of second sight and is accompanied by \"The Dude\", an invisible spirit eagle whom he summons to aide The Aquabats in battle. Voice actor and writer Mr. Lawrence provided the minimal narration for both seasons of Super Show!s live-action segments, while staff writer Kyle McCulloch narrated the first season's animated segments.",
"Voice actor and writer Mr. Lawrence provided the minimal narration for both seasons of Super Show!s live-action segments, while staff writer Kyle McCulloch narrated the first season's animated segments. Guest stars and recurring characters Though each episode of the series introduced a new villain, ally and/or celebrity cameo, Super Show!",
"Guest stars and recurring characters Though each episode of the series introduced a new villain, ally and/or celebrity cameo, Super Show! never featured any major recurring characters throughout its run.",
"never featured any major recurring characters throughout its run. However, every episode of the show included a very brief appearance by a character fans dubbed the \"Fox Man\", a man in a cheap-looking fox costume played by visual effects supervisor Joel Fox, who would appear hidden in the background of a random scene as an Easter egg for viewers to spot, although his character was never explained within the context of the series.",
"However, every episode of the show included a very brief appearance by a character fans dubbed the \"Fox Man\", a man in a cheap-looking fox costume played by visual effects supervisor Joel Fox, who would appear hidden in the background of a random scene as an Easter egg for viewers to spot, although his character was never explained within the context of the series. Comedy musician \"Weird Al\" Yankovic and comedian Paul Rust were the only two guest actors to appear in two episodes: Yankovic played two different roles as the President of the United States and superhero SuperMagic PowerMan!",
"Comedy musician \"Weird Al\" Yankovic and comedian Paul Rust were the only two guest actors to appear in two episodes: Yankovic played two different roles as the President of the United States and superhero SuperMagic PowerMan! (in a 2012 interview, Jacobs alluded to the two possibly being the same character, though this isn't implied within the series), while Rust played a boorish slacker named Ronmark, first appearing in live-action in a first-season episode and subsequently lending his voice to a mutated monster version of the character in part of a second-season episode.",
"(in a 2012 interview, Jacobs alluded to the two possibly being the same character, though this isn't implied within the series), while Rust played a boorish slacker named Ronmark, first appearing in live-action in a first-season episode and subsequently lending his voice to a mutated monster version of the character in part of a second-season episode. Episodes Distribution International broadcast Outside of North America, The Aquabats!",
"Episodes Distribution International broadcast Outside of North America, The Aquabats! Super Show! broadcast in Australia on the children's public broadcasting channel ABC3 and in the United Kingdom on the children's network CITV. Home media Coinciding with the run of the first season, each new episode of The Aquabats! Super Show!",
"Super Show! Super Show! was released through the iTunes Store for digital download. Prior to the series debut, a season pass was made available for purchase to enable viewers to automatically receive a download of each new episode on its airdate. The first season of Super Show!",
"The first season of Super Show! was added to the video streaming service Netflix on December 1, 2012, later being added to Hulu on December 21. Unlike the first season, the series' second season was not made available for iTunes pre-order, nor were episodes released for purchase.",
"Unlike the first season, the series' second season was not made available for iTunes pre-order, nor were episodes released for purchase. Though each episode was briefly streamed on The Hub's official website, none of the seasons' episodes were made available on Hulu, Netflix or similar streaming services. Shout!",
"Shout! Shout! Factory had the DVD publishing rights for The Aquabats! Super Show! within Region 1 for release of the first season.",
"within Region 1 for release of the first season. The company first announced their acquisition of the series and plans for a future DVD in a press release dated August 6, 2012, though did not initially confirm a set release date until several months later. On May 21, 2013, the first season of Super Show!",
"On May 21, 2013, the first season of Super Show! was released on a two-disc DVD set. On November 22, 2017, in conjunction with their announcement of a season two theatrical screening, The Aquabats confirmed an independent Blu-ray release for season two, including the three specials often considered a \"season three\".",
"On November 22, 2017, in conjunction with their announcement of a season two theatrical screening, The Aquabats confirmed an independent Blu-ray release for season two, including the three specials often considered a \"season three\". On December 5, pre-orders were launched on The Aquabats' merchandising site for an official release date of December 22, though copies were first made for public sale at the second season theatrical screening on December 16.",
"On December 5, pre-orders were launched on The Aquabats' merchandising site for an official release date of December 22, though copies were first made for public sale at the second season theatrical screening on December 16. Starting in December 2014, The Aquabats gradually began uploading the series' full episodes onto their official YouTube channel.",
"Starting in December 2014, The Aquabats gradually began uploading the series' full episodes onto their official YouTube channel. As of August 2019, all 21 episodes of Super Show! and its pilot episode have been publicly uploaded to their account. Critical reception Critical response to The Aquabats! Super Show!",
"Super Show! Super Show! was predominantly positive, with most reviewers praising the series' intentionally campy tone and offbeat humor. The Onions The A.V.",
"The Onions The A.V. The Onions The A.V. Club gave the series premiere an A− rating, describing it as \"a loving homage to basically everything ever done by the brothers Krofft\": \"the show adeptly flips from humor to melodrama to action, providing some awesomely cheap special effects, goofy songs, and gags that range from slapstick to sublime\", summarizing \"there's so much here that both kids and parents will be able to enjoy the proceedings on their own respective levels and rarely find themselves bored\".",
"Club gave the series premiere an A− rating, describing it as \"a loving homage to basically everything ever done by the brothers Krofft\": \"the show adeptly flips from humor to melodrama to action, providing some awesomely cheap special effects, goofy songs, and gags that range from slapstick to sublime\", summarizing \"there's so much here that both kids and parents will be able to enjoy the proceedings on their own respective levels and rarely find themselves bored\". Brian Lowry of Variety wrote \"you don't have to laugh at everything to admire the effort and sheer silliness\", calling the show a \"goofy and nostalgic\" throwback to the \"children's TV of baby boomers' youth, down to crappy production values and awful-looking 'monsters' that work to its advantage\".",
"Brian Lowry of Variety wrote \"you don't have to laugh at everything to admire the effort and sheer silliness\", calling the show a \"goofy and nostalgic\" throwback to the \"children's TV of baby boomers' youth, down to crappy production values and awful-looking 'monsters' that work to its advantage\". He summarized \"Although this Hub series at times feels like an SNL skit stretched to a half-hour, its sly mix of music, live-action crime-fighting, cartoons and mock ads ought to develop a cult following—and might be more popular with parents, at least those with the geek gene, than their kids\".",
"He summarized \"Although this Hub series at times feels like an SNL skit stretched to a half-hour, its sly mix of music, live-action crime-fighting, cartoons and mock ads ought to develop a cult following—and might be more popular with parents, at least those with the geek gene, than their kids\". Technology magazine Wired was consistently positive towards the series, calling it both \"wonderfully strange\" and \"delightfully deranged\", writing \"[f]illed with self-deprecating music videos, toon interludes and ludicrous villains, The Aquabats!",
"Technology magazine Wired was consistently positive towards the series, calling it both \"wonderfully strange\" and \"delightfully deranged\", writing \"[f]illed with self-deprecating music videos, toon interludes and ludicrous villains, The Aquabats! Super Show! has become one of television's strangely comforting finds\".",
"has become one of television's strangely comforting finds\". Common Sense Media, who review shows based on age-appropriate content, gave Super Show!",
"Common Sense Media, who review shows based on age-appropriate content, gave Super Show! a rating of 4 out of 5 stars, calling it \"demented and manic...fun by sheer dint of how many jokes, visual and otherwise, are thrown at the screen, both those calculated to appeal to kids and adults\".",
"a rating of 4 out of 5 stars, calling it \"demented and manic...fun by sheer dint of how many jokes, visual and otherwise, are thrown at the screen, both those calculated to appeal to kids and adults\". The site praised the series for its lighter and sillier tone in comparison to more violent live-action superhero fare, and considered the \"kind-hearted\" Aquabats to be relatively positive role models.",
"The site praised the series for its lighter and sillier tone in comparison to more violent live-action superhero fare, and considered the \"kind-hearted\" Aquabats to be relatively positive role models. However, the reviewer suggested the show's violence and creatures may be too intense for very young children, and pointed out a distinct lack of central female characters.",
"However, the reviewer suggested the show's violence and creatures may be too intense for very young children, and pointed out a distinct lack of central female characters. Neil Genzlinger of The New York Times offered a more indifferent opinion, calling The Aquabats \"indescribably odd\" and the series \"frenetic, semicoherent and generally harmless.",
"Neil Genzlinger of The New York Times offered a more indifferent opinion, calling The Aquabats \"indescribably odd\" and the series \"frenetic, semicoherent and generally harmless. Also somewhat hallucinogenic\", noting Super Show!s writing \"may be over the heads of the 2-to-12 set\", suggesting its most receptive audience might be \"the college drinking-game crowd\".",
"Also somewhat hallucinogenic\", noting Super Show!s writing \"may be over the heads of the 2-to-12 set\", suggesting its most receptive audience might be \"the college drinking-game crowd\". Awards and nominations The Aquabats! Super Show!",
"Awards and nominations The Aquabats! Super Show! Super Show! was nominated for the following awards: Daytime Emmy Award References External links Official website of The Aquabats The Aquabats 2010s American children's television series 2010s American musical comedy television series 2010s American satirical television series 2010s American sketch comedy television series 2010s American superhero comedy television series 2012 American television series debuts 2014 American television series endings American children's adventure television series American children's musical television series American television series with live action and animation Children's sketch comedy English-language television shows Television series by Fremantle (company) Television shows set in Orange County, California American television shows featuring puppetry Discovery Family original programming"
] |
[
"The Aquabats! Super Show!",
"History and previous attempts at a series",
"How did The Aquabats originate?",
"musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in",
"When did they form?",
"In 1994,",
"What happened with the previous attempts?",
"The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves.",
"What did they do after this?",
"Undeterred, The Aquabats made an attempt at a second pilot",
"How did this do?",
"using a music video budget granted by their record label Goldenvoice Records for their 1999 album",
"Was this successful?",
"the project was cancelled.",
"What did they do after this?",
"I don't know.",
"What else is significant about this time?",
"The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough",
"What happened as a result?",
"charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs - a former child actor with ties in the industry -"
] | C_4cdf6386fc074258b24b5e00bbcdec23_0 | What did Jacobs do? | 10 | What did Jacobs of the Aquabats! do? | The Aquabats! Super Show! | In 1994, musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in Brea, California. Influenced as much by cartoons and camp television as theatrical bands like Devo and Oingo Boingo, The Aquabats gained instant notoriety in the Orange County music scene for their eccentric persona in which they claimed to be a band of superheroes on a quest to save the world and their elaborate stage shows which regularly featured scripted fights with costumed villains alongside similar stunts and comedy sketches. The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough for the group, charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs - a former child actor with ties in the industry - to develop the concept of adapting the band's mythology for television. In 1998, Buena Vista Television helped produce a live-action mini-pilot directed by comedian Bobcat Goldthwait titled simply The Aquabats!, following the comic misadventures of the then-eight member band in an over-the-top camp style similar to Saturday morning cartoon shows. The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves. Undeterred, The Aquabats made an attempt at a second pilot the following year, using a music video budget granted by their record label Goldenvoice Records for their 1999 album The Aquabats vs. the Floating Eye of Death!. Independently directed and produced by Jacobs and his creative partner Scott Schultz, the result was a five-minute promo video entitled The Aquabats in Color!. In contrast to the wackier tone of the previous pilot, The Aquabats in Color! was a more action-oriented superhero series modeled after Japanese tokusatsu shows such as Kamen Rider. According to Jacobs, the Fox Family Channel reportedly expressed interest in the series and ordered production on a proper pilot episode, though following the channel's acquisition by Disney in 2001, the project was cancelled. CANNOTANSWER | to develop the concept of adapting the band's mythology for television. | The Aquabats! Super Show! is an American action-comedy musical television series which aired from March 3, 2012 to January 8, 2014 on The Hub Network and resumed as an independent YouTube web series in September 2019. The series was created by Christian Jacobs, and Scott Schultz, both the creators of the Nick Jr. show Yo Gabba Gabba!, and Jason deVilliers.
Based on the superhero mythology of The Aquabats, a real-life comedy rock band which series co-creator and lead singer Jacobs formed in 1994, The Aquabats! Super Show! follows the comic adventures of a fictionalized version of the band, a musical group of amateur superheroes, as they haphazardly defend the world from a variety of villains and monsters. Styled similarly to the campy aesthetics of 1960s and 1970s children's television and Japanese tokusatsu, Super Show! utilizes various mediums of visual styles and special effects, mixing live-action storylines with cartoon shorts, parody advertisements and musical interludes.
The series' first season concluded on June 16, 2012 following a run of 13 episodes, having met with a largely positive critical reception, consistently high ratings for the channel and a Daytime Emmy nomination for Outstanding Children's Series. The series' second season consisted of an initial five episodes which aired through June 2013, with three additional episodes airing in late December and January 2014, receiving similar acclaim and a further seven Daytime Emmy nominations, ultimately winning one for Best Stunt Coordination. In June 2014, co-creator Jacobs officially announced the series' cancellation, following news of The Hub's financial losses which led to the network's rebranding as Discovery Family later that October.
In July 2018, The Aquabats launched a successful Kickstarter to help independently finance new episodes of The Aquabats! Super Show!, promoting the campaign with a series of YouTube-exclusive mini-episodes continuing the original series' storyline. On September 28, 2019, The Aquabats premiered the first installment of these new episodes, now a biweekly YouTube series entitled The Aquabats! RadVentures!, though still retaining Super Show!s theme song and title card.
Series overview
Premise
Chronicled in both live-action and animated segments, The Aquabats! Super Show! is centered around the adventures of The Aquabats, a group of superhero rock musicians who travel the countryside on a self-appointed mission to fight evil and "destroy boredom", protecting the world from the villains and creatures who threaten to destroy it while aiming to become a famous rock and roll band in their own right.
The Aquabats consist of singer The MC Bat Commander (Christian Jacobs), the swaggering leader of the group; bassist Crash McLarson (Chad Larson), who can grow up to 100 feet in size; drummer Ricky Fitness (Richard Falomir), who has the power of super speed; guitarist EagleBones Falconhawk (Ian Fowles), who's armed with a laser-shooting electric guitar; and keyboardist Jimmy the Robot (James R. Briggs, Jr.), an android. Despite their superhuman strengths and abilities, The Aquabats are quite bumbling, disorganized, and sometimes cowardly when faced with danger; this has in fact led them to be labeled "the world's most inept superheroes". The band lives and travels by way of their "Battletram", a modified classic GMC motorhome which, despite its small exterior, has an implausibly massive interior (similar to the TARDIS from Doctor Who or The Big Bologna from The Kids From C.A.P.E.R.), which contains, among many things, a science lab, a command center, and a living room.
The Aquabats' origin story was left intentionally vague throughout the series, a choice Jacobs explains was done for the sake of the viewer's imagination, as he felt kids were more accepting of the inherent absurdity of the premise than adults tend to be: "'There's five guys. This is what each of the five guys does. There are monsters. They're gonna try to fight them'. It's so simple. And I think that's why it's so awesome with kids—they just take it and run with it". In the first five episodes of season two, each member of The Aquabats shares their memory of how they joined the band via animated flashback sequences; however, all of these flashbacks directly and intentionally contradict each other, leaving it unknown which—if any—could be considered officially canonical.
Format and influences
The Aquabats! Super Show! juxtaposes both live-action and animated segments starring The Aquabats, interwoven with various tangential skits and cartoon interstitials. The live-action storylines are the primary focus of each episode, following a self-contained villain of the week formula. In the first season, each episode featured brief anime-styled cartoon shorts which one of the characters would introduce at a random point of the show, often by finding "A Cartoon" (represented by a miniature television set) in an absurd location. Unlike the live-action segments, these cartoons followed a serialized story arc, with each installment ending in a cliffhanger to be resolved in the next episode. In season two, this format was replaced with a series of animated flashbacks recounting the origins of The Aquabats, each by a different animation studio and in a different animation style. Between these segments are pantomime cartoon shorts starring "Lil' Bat", The Aquabats' anthropomorphic bat mascot, and live-action parody commercials for outlandish fictional products, the latter of which has long been a staple of The Aquabats' multi-media stage shows.
Jacobs says the concept behind Super Show! was something he had always dreamed of doing, making a "campy, live-action, funky kid's show" in the vein of the 1960s and 1970s television that he and the rest of the series' producers had grown up with. While the show pays homage to many facets of pop culture, Jacobs has named the 1960s Batman television series as the primary influence on Super Show!s "obviously silly" tone and visual style, ranging from set design to the trademark use of dutch angles for villain scenes. Other notable influences Jacobs has repeatedly mentioned include the works of Sid and Marty Krofft and Hanna-Barbera, Japanese tokusatsu series such as Ultraman and Johnny Sokko And His Flying Robot, the Shaw Brothers and Hong Kong cinema, and shows including Danger Island, Star Trek, The Rocky and Bullwinkle Show, and Pee-wee's Playhouse, noting "there's a good 30 years worth of television culture packed into these 22-minute episodes".
Demographic
As The Hub's key demographic were children aged 6 to 12, Super Show! was ostensibly targeted towards said age group, though Jacobs has stated that the series primarily aimed to appeal to an all-ages crowd, with the intent of creating entertainment that both kids and parents can watch and enjoy together or separately. In interviews prior to the series' premiere, he explained that this was merely an extension of The Aquabats' own family-friendly ethos: "There's just obviously something about the costumes and being superheroes that really appeals to younger kids, and I think we always knew that as a band...I think we'll want to put things in [the show] for an older audience, because we realize we have an older audience, but then also we want the young kids, to not have it go over their heads".
Production history
History and previous attempts at a series
In 1994, musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in Brea, California. Influenced as much by cartoons and camp television as theatrical bands like Devo and Oingo Boingo, The Aquabats gained instant notoriety in the Orange County music scene for their eccentric persona in which they claimed to be a band of superheroes on a quest to save the world and their elaborate stage shows which regularly featured scripted fights with costumed villains alongside similar stunts and comedy sketches.
The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough for the group, charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs – a former child actor with ties in the industry – to develop the concept of adapting the band's mythology for television. In 1998, Buena Vista Television helped produce a live-action mini-pilot directed by comedian Bobcat Goldthwait titled simply The Aquabats!, following the comic misadventures of the then-eight member band in an over-the-top camp style similar to Saturday morning cartoon shows. The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves.
Undeterred, The Aquabats made an attempt at a second pilot the following year, using a music video budget granted by their record label Goldenvoice Records for their 1999 album The Aquabats vs. the Floating Eye of Death!. Independently directed and produced by Jacobs and his creative partner Scott Schultz, the result was a five-minute promo video entitled The Aquabats in Color!. In contrast to the wackier tone of the previous pilot, The Aquabats in Color! was a more action-oriented superhero series modeled after Japanese tokusatsu shows such as Kamen Rider. According to Jacobs, the Fox Family Channel reportedly expressed interest in the series and ordered production on a proper pilot episode, though following the channel's acquisition by Disney in 2001, the project was cancelled.
The Aquabats! Super Show! pilot (2008)
In 2005, Jacobs and Schultz formed the Orange County-based production company The Magic Store, focusing on creating family-oriented television entertainment. One of the company's independently produced pilots, the children's television series Yo Gabba Gabba!, was eventually picked up as a series by Viacoms Nick Jr. channel, premiering in August 2007 and ultimately becoming an award-winning and critically acclaimed international success. In the wake of the series' popularity, Jacobs and Schultz persuaded Yo Gabba Gabba!s joint production company Wild Brain to help produce a new pilot based around The Aquabats in conjuncture with The Magic Store.
Again creatively spearheaded by Jacobs and Schultz, The Aquabats' third pilot, titled The Aquabats! Super Show!, was shot on location throughout southern California in late 2007 and early 2008. Part of this filming took place at a free invitation-only concert for members of the band's official fan club at the El Rey Theatre in Los Angeles on January 12, 2008. While The Aquabats' previous pilots were short, live-action promotional videos, The Aquabats! Super Show! was a fully realized 22-minute episode featuring two separate storylines based on the adventures of The Aquabats, one live-action and one animated, and interspersed with parody commercials and live footage of the band. Speaking on the decision to structure the show in such a varied format, Jacobs said "[w]e did that for a strategic reason – some networks like cartoons more than other networks. We wanted to say, 'this could be both shows'."
Following a period of post-production, The Aquabats began widely self-promoting Super Show! in June 2008, redesigning their website to promote the pilot and releasing a teaser trailer and several exclusive clips through an official Super Show! YouTube channel. On July 25, 2008, the band screened the full pilot at a concert in San Diego held during the weekend of the San Diego Comic-Con, while a segment of the episode was hosted on Boing Boing the same day. In 2009, Cartoon Network allegedly picked the series up for a run of 22 episodes, though following major staff changes within the company—which, according to Jacobs, included the termination of the executives who had green-lighted Super Show!—the project was again cancelled.
The Hub and season one
After several more unsuccessful network pitches into the 2010s, The Aquabats! Super Show! was finally picked up as a series by family cable channel The Hub, a joint venture between Hasbro and Discovery which launched in 2010 as a replacement for Discovery Kids. The Hub formally announced the series in a press release on March 23, 2011, revealing Super Show! would be given a first season run of 13 episodes, produced in conjuncture with FremantleMedia. In promotion of the series, The Aquabats appeared as part of a panel at the 2011 San Diego Comic-Con where they discussed their initial plans for the show, while The Hub sponsored an Aquabats concert held at the nearby House of Blues during the same weekend.
Production on season one of Super Show! officially began in May 2011. The entirety of the first season was shot within and around The Aquabats' hometown of Orange County, California; according to the first season DVD audio commentary, episodes were shot on location in the cities of Irvine, Silverado, Yorba Linda, Huntington Beach and Fullerton, while a private sound stage in Santa Ana was used for interior shots of the Battletram. A public Aquabats concert held at The Glass House club in Pomona on November 5, 2011 was also filmed to provide live footage of the band which is featured in the series' opening credits montage and several individual episodes.
Much of Super Show!s staff consist of friends and colleagues of The Aquabats who've previously worked with the band on various projects, ranging from members of Yo Gabba Gabba!s production team to fellow musicians within the southern California music scene. Among the more notable examples include Dallas McLaughlin and Matthew Gorney, both members of the San Diego hip hop band Bad Credit, who prominently served as writers, composers and performers, Warren Fitzgerald, guitarist for The Vandals, who was hired as a writer and music director, internet sketch comedy group Mega64 were commissioned to produce original material, primarily the series' parody commercials, and Japanese artist Pey, who had designed much of The Aquabats' promotional art and merchandise during the 2000s, was hired to design the season's animated segments. Additionally, several industry professionals were brought in to help work on the show: Dani Michaeli, a staff writer on SpongeBob SquarePants, was hired as the series' story editor, while Matt Chapman, co-creator of the internet Flash cartoon Homestar Runner, acted as a writer, director and actor on several episodes. As none of the members besides Jacobs had any previous acting experience, comedian Matt Walsh of the Upright Citizens Brigade was brought in to help teach The Aquabats comedic acting and timing.
In further homage to the original Batman series, Super Show! features a variety of celebrity cameo appearances. The series' first season included appearances from actors Jon Heder, Lou Diamond Phillips and Samm Levine, comedians Rip Taylor, Paul Scheer and Paul Rust, and comedy musician "Weird Al" Yankovic, who appeared in two episodes as different characters. The first season also included several "Easter egg" cameos from original Aquabats members Corey "Chainsaw" Pollock and Boyd "Catboy" Terry, as well as from fellow musicians Warren Fitzgerald and Art Mitchell of the band Supernova.
Despite having been originally announced as part of The Hub's 2011 Fall line-up, production delays postponed Super Show!s premiere to early 2012. The series' marketing campaign began in December 2011, with a later announcement of an official premiere date confirmed for March 3, 2012. Following a non-consecutive run of 13 episodes, the first-season finale aired on June 16, 2012.
Season two
On October 16, 2012, The Aquabats and The Hub confirmed production on new episodes of Super Show! through the social networking sites Facebook and Twitter, announcing a tentative debut date of Spring 2013. Principal photography on season two began on October 22 and wrapped on December 1. Unlike the first season, the majority of season two was shot in and around Salt Lake City, Utah, which Jacobs explained was considerably less expensive than shooting in California.
While no changes were made to Super Shows creative team, in December 2012 it was announced that season two would introduce the series' first guest director, musician and comic book writer Gerard Way, who co-directed and co-wrote the season finale "The AntiBats!" with Jacobs and deVilliers. Way's involvement with the series was heavily covered by the music press in the wake of the March 2013 break-up of his popular alternative rock band My Chemical Romance. Among the guest stars featured in season two were professional skateboarders Tony Hawk and Eric Koston, Devo frontman and Yo Gabba Gabba! cast member Mark Mothersbaugh, internet celebrity Leslie Hall, actor Martin Starr and My Chemical Romance bassist Mikey Way.
On December 2, 2012, deVilliers revealed on his Twitter account that the upcoming season would consist of only five new episodes, in what he called more "season 1.5" than a "season 2", though mentioned the possibility of more being made in the future. On May 1, 2013, it was announced through Entertainment Weekly that the series' second season would begin airing on June 1. After a run of only five episodes, the season concluded on June 29, 2013.
2013–2014 specials
On August 22, 2013, series performer Chad Larson confirmed via Twitter that three additional episodes of Super Show! were being filmed near the end of the year, "and maybe more next". Principal photography on these episodes eventually began in Utah in early October. Throughout the month, The Aquabats posted numerous pictures of production on the new episodes on their Twitter and Instagram accounts, some of which revealed production code numbers of 301, 302 and 303, ostensibly indicating what would be a third season. Though these numbers were later verified by the Internet Movie Database, a November press release from The Hub explicitly referred to these three episodes as "specials".
The first of these specials, "Christmas with The Aquabats!", aired on December 21, featuring comedians Robert Smigel and Matt Walsh in guest roles. The second of these episodes, "The Shark Fighter!" (based on The Aquabats' song of the same name), featuring comedian Rhys Darby, aired the following week on December 28, while the final special "Kitty Litter!" aired on January 18, 2014. "Kitty Litter!" was helmed by another guest director, Munn Powell, best known for his work as cinematographer on the Jared and Jerusha Hess films Napoleon Dynamite and Gentlemen Broncos.
Following this short run of episodes, there was no confirmation by either The Hub or The Aquabats as to the production of any future episodes. In a December 2013 interview, Christian Jacobs acknowledged the network's unusually small order of episodes but didn't elaborate on any possible reasoning. In the same interview, he stated that the band had initially prepared for another order of 13 episodes, having written as many scripts for potential future episodes.
On May 1, 2014, the nominees for the 2014 Daytime Emmy Awards were announced, revealing that Super Show! had been nominated for five awards in four categories, including the award for Best Writing in a Children's Series for the episode "The AntiBats!". The awards ceremony was held on June 22, 2014, where the series ultimately won the award for Best Stunt Coordination for stuntman Skip Carlson.
Cancellation by The Hub and hiatus
In mid-2014, it was announced in entertainment press that Hasbro and Discovery had been in the process of rebranding The Hub following what they saw to be disappointing returns for the channel, changes which included the departure of CEO Margaret Loesch, who was instrumental in acquiring Super Show! as a series. In a Huffington Post feature about The Aquabats prior to the band's appearance at the 2014 San Diego Comic-Con, it was revealed that The Hub had opted not to renew Super Show! for a third season, effectively cancelling the series.
Jacobs admitted he was surprised by this turn of events, noting "Everything we heard was that the show has been a real Cinderella story for the Hub and that it was rating really well with viewers. We just assumed that we'd eventually go back into production or at least get picked up for Season 3", but ultimately concluded "it is what it is" in regard to the network's decision. Despite this, Jacobs remained optimistic about the series' future, saying "Given that we now live in a world where people are streaming TV shows directly onto their iPhones & computers, and given that companies like Netflix & Yahoo! are now picking up so much new content for their customers...I just find it hard to believe that The Aquabats! Super Show! is really over. I mean, we haven't even made any toys yet". He concluded by stating "It took us almost 15 years to get that TV series made. And even though we've got a bunch more concert dates lined up for the rest of this year, our first priority is to find a new home for The Aquabats! Super Show!".
On March 31, 2015, the nominees for the 42nd annual Daytime Emmy Awards were announced, with Super Show! earning nominations for Best SFX Mixer (Blaine Stewart) and Best Stunt Coordinator (Braxton McAllister).
On June 27, 2015, The Aquabats screened the entire first season of Super Show! before a sold-out crowd at The Frida Cinema in downtown Santa Ana, which was accompanied by a live performance by the band and Q&A sessions with The Aquabats and numerous members of the cast and crew. A similar presentation of the entire second season – including the three additional specials – took place at The Art Theater in Long Beach on December 16, 2017, coinciding with the release of the second season Blu-ray.
Bring Back The Aquabats! Kickstarter campaign
Following weeks of teasing a major announcement, The Aquabats launched a Kickstarter campaign on July 31, 2018 to help finance the return of The Aquabats! Super Show! as well as new studio albums from the band at a minimum projected cost of $1.1 million. The Aquabats promoted their campaign with a video featuring a slew of celebrity cameos, including Super Show! guest stars "Weird Al" Yankovic, Robert Smigel (as Triumph the Insult Comic Dog), Matt Chapman (as Homestar Runner and Strong Bad), former Aquabats member Travis Barker, Tony Kanal, Tom Dumont, Oscar Nunez, Kate Micucci, Blake Anderson, Imagine Dragons, Felicia Day and Tom Lennon, all of whom appeared in The Aquabats' trademark uniforms and spoke the Kickstarter's promotional slogan "I am The Aquabats"/"We are The Aquabats". Most prominently featured, however, was comedian Jack Black, who was later confirmed by the campaign's press releases to act as executive producer for the series' return.
Along with their Kickstarter, the band began releasing a series of Super Show! "mini-episodes", depicting the MC Bat Commander's metafictional quest to reunite the estranged Aquabats following the series' cancellation. The band confirmed that as the Kickstarter progresses, further "mini-episodes" will be released to both promote the campaign as well as act as a continuation of Super Show!.
By August 28, mere days before the campaign's end date of September 1, The Aquabats' Kickstarter had raised only $601,629 of its projected $1.1 million goal. The funding was subsequently cancelled and the campaign was rebooted the same day with a smaller goal of $100,000 to instead finance one new album and the continued production of the Super Show!! "mini-episodes". The project's goal was met within minutes.
Music
Original music for The Aquabats! Super Show! was primarily composed and performed by The Aquabats themselves, with additional scoring on most episodes provided by Matthew Gorney, Warren Fitzgerald or individual credits for Aquabats members James R. Briggs, Jr., Richard Falomir and Ian Fowles. Fitzgerald, guitarist for punk rock band The Vandals and former member of Oingo Boingo, acted as the series' music supervisor. The theme song to Super Show!, "Super Show Theme Song!", was co-written by The Aquabats and Fitzgerald.
Whereas most musically oriented shows like The Monkees typically break the narrative of an episode for a music video performance of a standalone song, each episode of Super Show! typically features one or two unique songs that tied directly into the plot, usually about and performed during the events of a particular scene. Most of these songs are rather brief, averaging a running time of just under a minute; Jacobs stated that many of the show's original songs were recorded as full-length pieces but trimmed down for inclusion in an episode, simply due to the show "trying to pack so much into 22 minutes".
Shortly after Super Show!s premiere, Jacobs confirmed plans to eventually release the series' original full-length songs as a soundtrack album. However, these plans wouldn't fully come to fruition until 2019; in a 2018 interview, Jacobs retrospectively revealed that the album had been long completed but the band "hadn't had all the rights tied up" until then. The first original and full-length recordings from the series' first season debuted in July 2017, when "Burger Rain" and "Beat Fishin'" were released as a tour-exclusive 7" single. Songs from the series' first season were eventually compiled as The Aquabats! Super Show! Television Soundtrack: Volume One, which was released digitally in March 2019 and then onto physical media the following June, where it became The Aquabats' highest-charting album to date, debuting at the top of Billboards Top Heatseekers chart and at 165 on the Billboard 200.
Cast and characters
See: List of The Aquabats! Super Show! characters
The Aquabats! Super Show! stars and is based upon fictionalized versions of the then-current (since 2006) line-up of the California comedy rock band The Aquabats. Adapting the backstory the band has used for the entirety of their professional career, Super Show! depicts The Aquabats as a group of bumbling, out-of-shape superheroes on a self-appointed mission to fight the forces of evil, presented in both live-action and animated segments. The five members of The Aquabats are:
The MC Bat Commander (played and voiced by Christian Jacobs) – The Aquabats' singer and de facto leader of the team. Though he doesn't have any superpowers of his own and is often quite stubborn and naive, the Commander is shown to be an effective strategist whose sharp leadership skills, bravery and determination regularly drive the band towards victory.
Crash McLarson (played and voiced by Chad Larson) – The band's bass guitarist, who has the frequently uncontrollable ability to grow upwards of 100 feet in size when under emotional stress. Despite being the largest and strongest of The Aquabats, Crash has a gentle, childlike demeanor bordering on slight dim-wittedness, and as such is usually the most cowardly member of the team.
Jimmy the Robot (played and voiced by James R. Briggs, Jr.) – The Aquabats' keyboardist. As his name implies, Jimmy is an android whose mechanical body houses a variety of built-in gadgets and weaponry, plus a comprehensive knowledge database which earns him the position of the group's resident scientist. Being a robot, Jimmy is generally perplexed by human emotions and behavior.
Ricky Fitness (played and voiced by Richard Falomir) – the band's drummer, Ricky possesses the power of super speed. Being the most physically fit and health-conscious member of The Aquabats, some of the series' running gags revolve around Ricky's status as a handsome ladies' man and his fondness for "fresh, healthy veggies" in contrast to the rest of the team's voracious affinity for junk food.
EagleBones Falconhawk (played and voiced by Ian Fowles) – The Aquabats' guitarist. The cocky and boyish maverick of the team, EagleBones is highly proficient on his custom weaponized electric guitar which shoots lasers from its headstock. Following a spiritual encounter early in season one, EagleBones also has the gift of second sight and is accompanied by "The Dude", an invisible spirit eagle whom he summons to aide The Aquabats in battle.
Voice actor and writer Mr. Lawrence provided the minimal narration for both seasons of Super Show!s live-action segments, while staff writer Kyle McCulloch narrated the first season's animated segments.
Guest stars and recurring characters
Though each episode of the series introduced a new villain, ally and/or celebrity cameo, Super Show! never featured any major recurring characters throughout its run. However, every episode of the show included a very brief appearance by a character fans dubbed the "Fox Man", a man in a cheap-looking fox costume played by visual effects supervisor Joel Fox, who would appear hidden in the background of a random scene as an Easter egg for viewers to spot, although his character was never explained within the context of the series.
Comedy musician "Weird Al" Yankovic and comedian Paul Rust were the only two guest actors to appear in two episodes: Yankovic played two different roles as the President of the United States and superhero SuperMagic PowerMan! (in a 2012 interview, Jacobs alluded to the two possibly being the same character, though this isn't implied within the series), while Rust played a boorish slacker named Ronmark, first appearing in live-action in a first-season episode and subsequently lending his voice to a mutated monster version of the character in part of a second-season episode.
Episodes
Distribution
International broadcast
Outside of North America, The Aquabats! Super Show! broadcast in Australia on the children's public broadcasting channel ABC3 and in the United Kingdom on the children's network CITV.
Home media
Coinciding with the run of the first season, each new episode of The Aquabats! Super Show! was released through the iTunes Store for digital download. Prior to the series debut, a season pass was made available for purchase to enable viewers to automatically receive a download of each new episode on its airdate. The first season of Super Show! was added to the video streaming service Netflix on December 1, 2012, later being added to Hulu on December 21.
Unlike the first season, the series' second season was not made available for iTunes pre-order, nor were episodes released for purchase. Though each episode was briefly streamed on The Hub's official website, none of the seasons' episodes were made available on Hulu, Netflix or similar streaming services.
Shout! Factory had the DVD publishing rights for The Aquabats! Super Show! within Region 1 for release of the first season. The company first announced their acquisition of the series and plans for a future DVD in a press release dated August 6, 2012, though did not initially confirm a set release date until several months later. On May 21, 2013, the first season of Super Show! was released on a two-disc DVD set.
On November 22, 2017, in conjunction with their announcement of a season two theatrical screening, The Aquabats confirmed an independent Blu-ray release for season two, including the three specials often considered a "season three". On December 5, pre-orders were launched on The Aquabats' merchandising site for an official release date of December 22, though copies were first made for public sale at the second season theatrical screening on December 16.
Starting in December 2014, The Aquabats gradually began uploading the series' full episodes onto their official YouTube channel. As of August 2019, all 21 episodes of Super Show! and its pilot episode have been publicly uploaded to their account.
Critical reception
Critical response to The Aquabats! Super Show! was predominantly positive, with most reviewers praising the series' intentionally campy tone and offbeat humor. The Onions The A.V. Club gave the series premiere an A− rating, describing it as "a loving homage to basically everything ever done by the brothers Krofft": "the show adeptly flips from humor to melodrama to action, providing some awesomely cheap special effects, goofy songs, and gags that range from slapstick to sublime", summarizing "there's so much here that both kids and parents will be able to enjoy the proceedings on their own respective levels and rarely find themselves bored".
Brian Lowry of Variety wrote "you don't have to laugh at everything to admire the effort and sheer silliness", calling the show a "goofy and nostalgic" throwback to the "children's TV of baby boomers' youth, down to crappy production values and awful-looking 'monsters' that work to its advantage". He summarized "Although this Hub series at times feels like an SNL skit stretched to a half-hour, its sly mix of music, live-action crime-fighting, cartoons and mock ads ought to develop a cult following—and might be more popular with parents, at least those with the geek gene, than their kids".
Technology magazine Wired was consistently positive towards the series, calling it both "wonderfully strange" and "delightfully deranged", writing "[f]illed with self-deprecating music videos, toon interludes and ludicrous villains, The Aquabats! Super Show! has become one of television's strangely comforting finds".
Common Sense Media, who review shows based on age-appropriate content, gave Super Show! a rating of 4 out of 5 stars, calling it "demented and manic...fun by sheer dint of how many jokes, visual and otherwise, are thrown at the screen, both those calculated to appeal to kids and adults". The site praised the series for its lighter and sillier tone in comparison to more violent live-action superhero fare, and considered the "kind-hearted" Aquabats to be relatively positive role models. However, the reviewer suggested the show's violence and creatures may be too intense for very young children, and pointed out a distinct lack of central female characters.
Neil Genzlinger of The New York Times offered a more indifferent opinion, calling The Aquabats "indescribably odd" and the series "frenetic, semicoherent and generally harmless. Also somewhat hallucinogenic", noting Super Show!s writing "may be over the heads of the 2-to-12 set", suggesting its most receptive audience might be "the college drinking-game crowd".
Awards and nominations
The Aquabats! Super Show! was nominated for the following awards:
Daytime Emmy Award
References
External links
Official website of The Aquabats
The Aquabats
2010s American children's television series
2010s American musical comedy television series
2010s American satirical television series
2010s American sketch comedy television series
2010s American superhero comedy television series
2012 American television series debuts
2014 American television series endings
American children's adventure television series
American children's musical television series
American television series with live action and animation
Children's sketch comedy
English-language television shows
Television series by Fremantle (company)
Television shows set in Orange County, California
American television shows featuring puppetry
Discovery Family original programming | true | [
"Pernell Whitaker vs. Gary Jacobs, billed as \"Summer's Blockbuster\" was a professional boxing match contested on August 26, 1995 for the WBC and lineal welterweight titles.\n\nBackground\nIn his previous fight, Pernell Whitaker had won the WBA super welterweight from Julio César Vásquez to become the fourth man to win world titles in four different weight classes. Immediately following the victory, Whitaker would vacate the super welterweight title and announced that he would return to the welterweight division to make a mandatory defense of his WBC welterweight title against Gary Jacobs. Jacobs was the number-one ranked welterweight contender by the WBC but was not viewed as a serious threat to Whitaker and was instilled as a 20–1 underdog. When Whitaker was asked about his quality of opponent, he stated \"I don't pick and choose who I fight. This is something I have to do if I'm going to represent the WBC.\"\n\nThen-WBA welterweight champion Ike Quartey was originally scheduled to defend his title against Andrew Murray on the undercard, but Quartey instead made the defense in France three days prior.\n\nThe fight\nWhitaker got off to a sluggish start as Jacobs did well leading with his jab and slipping Whitaker's punches. However, Whitaker would eventually take control from the fifth round on. In the 11th round, Jacobs was incorrectly credited with a knockdown after Whitaker missed with a wild left hook and his momentum sent him to the canvas after Jacobs had tapped him on his body with a right, though replays showed that it should have been ruled a slip. In the 12th and final round, Whitaker would score two knockdowns in the final 30 seconds, first dropping Jacobs face first on the canvas following a left hand. After Jacobs got back up with 10 seconds remaining, Whitaker quickly attack and sent him down again with another left. Jacobs would again get back up just as the bell rang to end the fight and the fight would go to the scorecards. All three scorecards were lopsided in Whitaker's favor, who won unanimously with scores of 118–109, 118–107 and 117–109. \n\nFollowing the fight, Whitaker admitted that then-IBF super middleweight Roy Jones Jr., who was commentating the fight for HBO, had suggested to Whitaker to attack Jacobs with body punches, stating \"It took me four or five rounds to figure out what in the world Gary Jacobs was doing, Roy Jones was mouthing to me that I needed to work the body more. Hey, my corner does a great job, but I could use a little help in there.\"\n\nFight card\n\nReferences\n\n1995 in boxing\nBoxing matches\n1995 in sports in New Jersey\nBoxing on HBO\nBoxing in Atlantic City, New Jersey\nAugust 1995 sports events in the United States",
"Curriculum mapping is a procedure for reviewing the operational curriculum as it is entered into an electronic database at any education setting. It is based largely on the work of Heidi Hayes Jacobs in Mapping the Big Picture: Integrating Curriculum and Assessment K-12 (ASCD, 1997) and Getting Results with Curriculum Mapping (2004, ASCD). Schools are using curriculum templates that display key components of the curriculum: content, skills, assessments, and essential questions.\n\nSome states such as South Dakota have adopted curriculum mapping on a statewide basis and provide detailed online curriculum mapping resources for their professional staff. Other states such as Indiana have mandated curriculum mapping as a tool for schools which do not meet Adequate Yearly Progress and also provide numerous online tools.\n\nKey to the approach is that each teacher enters what is actually taught in real-time during the school year, in contrast to having an outside or separate committee determine decisions. The entries by teachers are not left alone, however; in fact, because the work is displayed via internet-based programs, it is open to view by all personnel in a school or district. This allows educators to view both K-12 and across grade levels and subjects what is transpiring in order to be informed and to revise their work.\n\nThe curriculum mapping model as originally defined by Dr. Jacobs has seven specific steps that schools use to thoroughly examine and then revise their curriculum. There are both commercial companies and not-for-profit groups that have generated curriculum mapping software used around the world. Related to mapping, but separate from it, is the concept of a curriculum audit, described by Fenwick W. English. in \"Deciding What to Teach and Test: Developing, Auditing, and Aligning the Curriculum\" (1999, Sage).\n\nCurriculum mapping is not limited to United States public schools. A number of independent schools have adopted the curriculum mapping process to review and revise their curriculum. The bulk of schools using curriculum mapping outside the US tend to be independent schools that follow an international curriculum (such as IB, AERO, or IGCSE) or public schools located in Anglo-Saxon countries.\n\nConsensus Maps \nA development of a consensus map (also called an essential map, core map, district map, or master map) takes places in Phase 3 of Heidi Hayes Jacobs's Four Phases of Curriculum Mapping. Hale (2008) distinguishes between consensus maps and essential maps, assigning the former to the building level, and the latter to the district level (p. 145). Jacobs (2004) defines a consensus map as one that \"reflects the policy agreed on by a professional staff that targets those specific areas in each discipline that are to be addressed with consistency and flexibility in a school or district\" (para. 4; Jacobs & Johnson, 2009, p. 65). It provides an opportunity, by thoughtful reflection, for teachers to have a common ground for communication about their curriculum while also maintaining the necessary flexibility to do what is right for each child. Hale (2008) adds that a consensus map functions as a communication tool to convey to stakeholders the students' learning expectations (p. 145). Ideally, it comes later in the curriculum mapping process – after horizontal and vertical data examination and after interdisciplinary or mixed-group review (Jacobs, 2004, para. 13). According to Jacobs and Johnson (2009) mixed group reviews \"add a unique perspective to the process and are sometimes able to see things that other teachers do not\" (p. 58). For example, a social studies teacher might be able to observe that students are taught the Holocaust in 9th grade social studies and again in 10th grade English. An effective map would seek to marry the two instructional units, eliminating redundancies and providing a cross-disciplinary approach to instruction. By this time, professionals are working on \"multiple levels and tiers\" (Jacobs, n.d.), reviewing the maps for \"possible gaps, repetitions, or omissions\" (Jacobs & Johnson, 2009, p. 57). This takes time and, as with all curriculum mapping, cannot be rushed and the big picture must be taken into account. Phase 3 in the Mapping Process is critical because \"if we don't have consensus on where we want to go, we will never get there\". (Jacobs, n.d.).\n\nA consensus map might include what they district staff have targeted as the \"nonnegotiables that will be taught in each grade level or subject in a school or district\" and should represent \"best practices, 21st century curriculum, higher order thinking, high standards, and clearly defined grade- or course-level expectations\" (Jacobs & Johnson, 2009, p. 65). According to Hale (2008), its elements are \"compulsory and are designed according to national, state, [or] district... standard[s]\" (p. 146). They may include content and skills, essential questions, and required assessments.\n\nIndividual curriculum maps \nIndividual curriculum maps are \"developed by individual teachers [and] reflect what they teach in their class or classes. They include essential questions, content, skills, and assessments\" (Jacobs & Johnson, 2009, p. 115). More detailed than the consensus map, \"allow for individual teacher autonomy\" (Hale, 2008, p. 146). In a small school \"with only one section of a course or subject, the individual map becomes the consensus map\" (Jacobs & Johnson, 2009, p. 65). These maps showcase what takes place in an individual classroom, ideally providing evidence of the students' learning with that teacher. For example, in a Unit applying ELA Standard RL11-12.5, students are expected to learn to \"[a]nalyze how an author's choices concerning how to structure specific parts of a text (e.g., the choice of where to begin or end a story, the choice to provide a comedic or tragic resolution) contribute to its overall structure and meaning as well as its aesthetic impact.\" While a teacher may choose to teach this standard using The Crucible by Arthur Miller, theoretically, another teacher may use a series of short stories, or perhaps even a novel. While the standard is the same and would be represented on the consensus map (as would the common assessments), the individual map would show the different content being employed in the classroom, along with the activities and skill work that might be specific to the piece of literature under study. Jacobs & Johnson (2009) suggest that \"[i]deally, a school or district is able to focus on individual maps first, and then map the taught curriculum\", though they do acknowledge that some schools do the reverse, often under external influences that can rush the process (p. 67).\n\nBoth consensus and individual maps might show the essential questions for units of study and content learned, but individual maps will be more detailed in regards to the daily activities, strategies, and assignments that introduce, practice, and inspire mastery of the skills and standards indicated on the consensus map, the latter of which will also eventually mandate the common or same assessments that should take place across the board in individual classrooms. By the daily trial and error that is inherent in an individual map, resources might be suggested to the consensus map.\n\nThere are online programs that offer insight to curriculum mapping throughout the year.\n\nReferences \n\nCurricula\nLearning\nLearning management systems"
] | [
"The Aquabats! Super Show! is an American action-comedy musical television series which aired from March 3, 2012 to January 8, 2014 on The Hub Network and resumed as an independent YouTube web series in September 2019.",
"is an American action-comedy musical television series which aired from March 3, 2012 to January 8, 2014 on The Hub Network and resumed as an independent YouTube web series in September 2019. The series was created by Christian Jacobs, and Scott Schultz, both the creators of the Nick Jr. show Yo Gabba Gabba!, and Jason deVilliers.",
"The series was created by Christian Jacobs, and Scott Schultz, both the creators of the Nick Jr. show Yo Gabba Gabba!, and Jason deVilliers. Based on the superhero mythology of The Aquabats, a real-life comedy rock band which series co-creator and lead singer Jacobs formed in 1994, The Aquabats! Super Show!",
"Super Show! Super Show! follows the comic adventures of a fictionalized version of the band, a musical group of amateur superheroes, as they haphazardly defend the world from a variety of villains and monsters. Styled similarly to the campy aesthetics of 1960s and 1970s children's television and Japanese tokusatsu, Super Show!",
"Styled similarly to the campy aesthetics of 1960s and 1970s children's television and Japanese tokusatsu, Super Show! utilizes various mediums of visual styles and special effects, mixing live-action storylines with cartoon shorts, parody advertisements and musical interludes.",
"utilizes various mediums of visual styles and special effects, mixing live-action storylines with cartoon shorts, parody advertisements and musical interludes. The series' first season concluded on June 16, 2012 following a run of 13 episodes, having met with a largely positive critical reception, consistently high ratings for the channel and a Daytime Emmy nomination for Outstanding Children's Series.",
"The series' first season concluded on June 16, 2012 following a run of 13 episodes, having met with a largely positive critical reception, consistently high ratings for the channel and a Daytime Emmy nomination for Outstanding Children's Series. The series' second season consisted of an initial five episodes which aired through June 2013, with three additional episodes airing in late December and January 2014, receiving similar acclaim and a further seven Daytime Emmy nominations, ultimately winning one for Best Stunt Coordination.",
"The series' second season consisted of an initial five episodes which aired through June 2013, with three additional episodes airing in late December and January 2014, receiving similar acclaim and a further seven Daytime Emmy nominations, ultimately winning one for Best Stunt Coordination. In June 2014, co-creator Jacobs officially announced the series' cancellation, following news of The Hub's financial losses which led to the network's rebranding as Discovery Family later that October.",
"In June 2014, co-creator Jacobs officially announced the series' cancellation, following news of The Hub's financial losses which led to the network's rebranding as Discovery Family later that October. In July 2018, The Aquabats launched a successful Kickstarter to help independently finance new episodes of The Aquabats!",
"In July 2018, The Aquabats launched a successful Kickstarter to help independently finance new episodes of The Aquabats! Super Show!, promoting the campaign with a series of YouTube-exclusive mini-episodes continuing the original series' storyline.",
"Super Show!, promoting the campaign with a series of YouTube-exclusive mini-episodes continuing the original series' storyline. On September 28, 2019, The Aquabats premiered the first installment of these new episodes, now a biweekly YouTube series entitled The Aquabats! RadVentures!, though still retaining Super Show!s theme song and title card.",
"RadVentures!, though still retaining Super Show!s theme song and title card. Series overview Premise Chronicled in both live-action and animated segments, The Aquabats! Super Show!",
"Super Show! Super Show! is centered around the adventures of The Aquabats, a group of superhero rock musicians who travel the countryside on a self-appointed mission to fight evil and \"destroy boredom\", protecting the world from the villains and creatures who threaten to destroy it while aiming to become a famous rock and roll band in their own right.",
"is centered around the adventures of The Aquabats, a group of superhero rock musicians who travel the countryside on a self-appointed mission to fight evil and \"destroy boredom\", protecting the world from the villains and creatures who threaten to destroy it while aiming to become a famous rock and roll band in their own right. The Aquabats consist of singer The MC Bat Commander (Christian Jacobs), the swaggering leader of the group; bassist Crash McLarson (Chad Larson), who can grow up to 100 feet in size; drummer Ricky Fitness (Richard Falomir), who has the power of super speed; guitarist EagleBones Falconhawk (Ian Fowles), who's armed with a laser-shooting electric guitar; and keyboardist Jimmy the Robot (James R. Briggs, Jr.), an android.",
"The Aquabats consist of singer The MC Bat Commander (Christian Jacobs), the swaggering leader of the group; bassist Crash McLarson (Chad Larson), who can grow up to 100 feet in size; drummer Ricky Fitness (Richard Falomir), who has the power of super speed; guitarist EagleBones Falconhawk (Ian Fowles), who's armed with a laser-shooting electric guitar; and keyboardist Jimmy the Robot (James R. Briggs, Jr.), an android. Despite their superhuman strengths and abilities, The Aquabats are quite bumbling, disorganized, and sometimes cowardly when faced with danger; this has in fact led them to be labeled \"the world's most inept superheroes\".",
"Despite their superhuman strengths and abilities, The Aquabats are quite bumbling, disorganized, and sometimes cowardly when faced with danger; this has in fact led them to be labeled \"the world's most inept superheroes\". The band lives and travels by way of their \"Battletram\", a modified classic GMC motorhome which, despite its small exterior, has an implausibly massive interior (similar to the TARDIS from Doctor Who or The Big Bologna from The Kids From C.A.P.E.R.",
"The band lives and travels by way of their \"Battletram\", a modified classic GMC motorhome which, despite its small exterior, has an implausibly massive interior (similar to the TARDIS from Doctor Who or The Big Bologna from The Kids From C.A.P.E.R. ), which contains, among many things, a science lab, a command center, and a living room.",
"), which contains, among many things, a science lab, a command center, and a living room. The Aquabats' origin story was left intentionally vague throughout the series, a choice Jacobs explains was done for the sake of the viewer's imagination, as he felt kids were more accepting of the inherent absurdity of the premise than adults tend to be: \"'There's five guys.",
"The Aquabats' origin story was left intentionally vague throughout the series, a choice Jacobs explains was done for the sake of the viewer's imagination, as he felt kids were more accepting of the inherent absurdity of the premise than adults tend to be: \"'There's five guys. This is what each of the five guys does.",
"This is what each of the five guys does. There are monsters. They're gonna try to fight them'. It's so simple. And I think that's why it's so awesome with kids—they just take it and run with it\".",
"And I think that's why it's so awesome with kids—they just take it and run with it\". In the first five episodes of season two, each member of The Aquabats shares their memory of how they joined the band via animated flashback sequences; however, all of these flashbacks directly and intentionally contradict each other, leaving it unknown which—if any—could be considered officially canonical.",
"In the first five episodes of season two, each member of The Aquabats shares their memory of how they joined the band via animated flashback sequences; however, all of these flashbacks directly and intentionally contradict each other, leaving it unknown which—if any—could be considered officially canonical. Format and influences The Aquabats! Super Show!",
"Format and influences The Aquabats! Super Show! Super Show! juxtaposes both live-action and animated segments starring The Aquabats, interwoven with various tangential skits and cartoon interstitials. The live-action storylines are the primary focus of each episode, following a self-contained villain of the week formula.",
"The live-action storylines are the primary focus of each episode, following a self-contained villain of the week formula. In the first season, each episode featured brief anime-styled cartoon shorts which one of the characters would introduce at a random point of the show, often by finding \"A Cartoon\" (represented by a miniature television set) in an absurd location.",
"In the first season, each episode featured brief anime-styled cartoon shorts which one of the characters would introduce at a random point of the show, often by finding \"A Cartoon\" (represented by a miniature television set) in an absurd location. Unlike the live-action segments, these cartoons followed a serialized story arc, with each installment ending in a cliffhanger to be resolved in the next episode.",
"Unlike the live-action segments, these cartoons followed a serialized story arc, with each installment ending in a cliffhanger to be resolved in the next episode. In season two, this format was replaced with a series of animated flashbacks recounting the origins of The Aquabats, each by a different animation studio and in a different animation style.",
"In season two, this format was replaced with a series of animated flashbacks recounting the origins of The Aquabats, each by a different animation studio and in a different animation style. Between these segments are pantomime cartoon shorts starring \"Lil' Bat\", The Aquabats' anthropomorphic bat mascot, and live-action parody commercials for outlandish fictional products, the latter of which has long been a staple of The Aquabats' multi-media stage shows.",
"Between these segments are pantomime cartoon shorts starring \"Lil' Bat\", The Aquabats' anthropomorphic bat mascot, and live-action parody commercials for outlandish fictional products, the latter of which has long been a staple of The Aquabats' multi-media stage shows. Jacobs says the concept behind Super Show!",
"Jacobs says the concept behind Super Show! was something he had always dreamed of doing, making a \"campy, live-action, funky kid's show\" in the vein of the 1960s and 1970s television that he and the rest of the series' producers had grown up with.",
"was something he had always dreamed of doing, making a \"campy, live-action, funky kid's show\" in the vein of the 1960s and 1970s television that he and the rest of the series' producers had grown up with. While the show pays homage to many facets of pop culture, Jacobs has named the 1960s Batman television series as the primary influence on Super Show!s \"obviously silly\" tone and visual style, ranging from set design to the trademark use of dutch angles for villain scenes.",
"While the show pays homage to many facets of pop culture, Jacobs has named the 1960s Batman television series as the primary influence on Super Show!s \"obviously silly\" tone and visual style, ranging from set design to the trademark use of dutch angles for villain scenes. Other notable influences Jacobs has repeatedly mentioned include the works of Sid and Marty Krofft and Hanna-Barbera, Japanese tokusatsu series such as Ultraman and Johnny Sokko And His Flying Robot, the Shaw Brothers and Hong Kong cinema, and shows including Danger Island, Star Trek, The Rocky and Bullwinkle Show, and Pee-wee's Playhouse, noting \"there's a good 30 years worth of television culture packed into these 22-minute episodes\".",
"Other notable influences Jacobs has repeatedly mentioned include the works of Sid and Marty Krofft and Hanna-Barbera, Japanese tokusatsu series such as Ultraman and Johnny Sokko And His Flying Robot, the Shaw Brothers and Hong Kong cinema, and shows including Danger Island, Star Trek, The Rocky and Bullwinkle Show, and Pee-wee's Playhouse, noting \"there's a good 30 years worth of television culture packed into these 22-minute episodes\". Demographic As The Hub's key demographic were children aged 6 to 12, Super Show!",
"Demographic As The Hub's key demographic were children aged 6 to 12, Super Show! was ostensibly targeted towards said age group, though Jacobs has stated that the series primarily aimed to appeal to an all-ages crowd, with the intent of creating entertainment that both kids and parents can watch and enjoy together or separately.",
"was ostensibly targeted towards said age group, though Jacobs has stated that the series primarily aimed to appeal to an all-ages crowd, with the intent of creating entertainment that both kids and parents can watch and enjoy together or separately. In interviews prior to the series' premiere, he explained that this was merely an extension of The Aquabats' own family-friendly ethos: \"There's just obviously something about the costumes and being superheroes that really appeals to younger kids, and I think we always knew that as a band...I think we'll want to put things in [the show] for an older audience, because we realize we have an older audience, but then also we want the young kids, to not have it go over their heads\".",
"In interviews prior to the series' premiere, he explained that this was merely an extension of The Aquabats' own family-friendly ethos: \"There's just obviously something about the costumes and being superheroes that really appeals to younger kids, and I think we always knew that as a band...I think we'll want to put things in [the show] for an older audience, because we realize we have an older audience, but then also we want the young kids, to not have it go over their heads\". Production history History and previous attempts at a series In 1994, musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in Brea, California.",
"Production history History and previous attempts at a series In 1994, musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in Brea, California. Influenced as much by cartoons and camp television as theatrical bands like Devo and Oingo Boingo, The Aquabats gained instant notoriety in the Orange County music scene for their eccentric persona in which they claimed to be a band of superheroes on a quest to save the world and their elaborate stage shows which regularly featured scripted fights with costumed villains alongside similar stunts and comedy sketches.",
"Influenced as much by cartoons and camp television as theatrical bands like Devo and Oingo Boingo, The Aquabats gained instant notoriety in the Orange County music scene for their eccentric persona in which they claimed to be a band of superheroes on a quest to save the world and their elaborate stage shows which regularly featured scripted fights with costumed villains alongside similar stunts and comedy sketches. The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough for the group, charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs – a former child actor with ties in the industry – to develop the concept of adapting the band's mythology for television.",
"The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough for the group, charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs – a former child actor with ties in the industry – to develop the concept of adapting the band's mythology for television. In 1998, Buena Vista Television helped produce a live-action mini-pilot directed by comedian Bobcat Goldthwait titled simply The Aquabats!, following the comic misadventures of the then-eight member band in an over-the-top camp style similar to Saturday morning cartoon shows.",
"In 1998, Buena Vista Television helped produce a live-action mini-pilot directed by comedian Bobcat Goldthwait titled simply The Aquabats!, following the comic misadventures of the then-eight member band in an over-the-top camp style similar to Saturday morning cartoon shows. The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves.",
"The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves. Undeterred, The Aquabats made an attempt at a second pilot the following year, using a music video budget granted by their record label Goldenvoice Records for their 1999 album The Aquabats vs. the Floating Eye of Death!.",
"Undeterred, The Aquabats made an attempt at a second pilot the following year, using a music video budget granted by their record label Goldenvoice Records for their 1999 album The Aquabats vs. the Floating Eye of Death!. Independently directed and produced by Jacobs and his creative partner Scott Schultz, the result was a five-minute promo video entitled The Aquabats in Color!.",
"Independently directed and produced by Jacobs and his creative partner Scott Schultz, the result was a five-minute promo video entitled The Aquabats in Color!. In contrast to the wackier tone of the previous pilot, The Aquabats in Color! was a more action-oriented superhero series modeled after Japanese tokusatsu shows such as Kamen Rider.",
"was a more action-oriented superhero series modeled after Japanese tokusatsu shows such as Kamen Rider. According to Jacobs, the Fox Family Channel reportedly expressed interest in the series and ordered production on a proper pilot episode, though following the channel's acquisition by Disney in 2001, the project was cancelled. The Aquabats! Super Show!",
"The Aquabats! Super Show! Super Show! pilot (2008) In 2005, Jacobs and Schultz formed the Orange County-based production company The Magic Store, focusing on creating family-oriented television entertainment.",
"pilot (2008) In 2005, Jacobs and Schultz formed the Orange County-based production company The Magic Store, focusing on creating family-oriented television entertainment. One of the company's independently produced pilots, the children's television series Yo Gabba Gabba!, was eventually picked up as a series by Viacoms Nick Jr. channel, premiering in August 2007 and ultimately becoming an award-winning and critically acclaimed international success.",
"One of the company's independently produced pilots, the children's television series Yo Gabba Gabba!, was eventually picked up as a series by Viacoms Nick Jr. channel, premiering in August 2007 and ultimately becoming an award-winning and critically acclaimed international success. In the wake of the series' popularity, Jacobs and Schultz persuaded Yo Gabba Gabba!s joint production company Wild Brain to help produce a new pilot based around The Aquabats in conjuncture with The Magic Store.",
"In the wake of the series' popularity, Jacobs and Schultz persuaded Yo Gabba Gabba!s joint production company Wild Brain to help produce a new pilot based around The Aquabats in conjuncture with The Magic Store. Again creatively spearheaded by Jacobs and Schultz, The Aquabats' third pilot, titled The Aquabats!",
"Again creatively spearheaded by Jacobs and Schultz, The Aquabats' third pilot, titled The Aquabats! Super Show!, was shot on location throughout southern California in late 2007 and early 2008.",
"Super Show!, was shot on location throughout southern California in late 2007 and early 2008. Part of this filming took place at a free invitation-only concert for members of the band's official fan club at the El Rey Theatre in Los Angeles on January 12, 2008.",
"Part of this filming took place at a free invitation-only concert for members of the band's official fan club at the El Rey Theatre in Los Angeles on January 12, 2008. While The Aquabats' previous pilots were short, live-action promotional videos, The Aquabats! Super Show!",
"Super Show! Super Show! was a fully realized 22-minute episode featuring two separate storylines based on the adventures of The Aquabats, one live-action and one animated, and interspersed with parody commercials and live footage of the band.",
"was a fully realized 22-minute episode featuring two separate storylines based on the adventures of The Aquabats, one live-action and one animated, and interspersed with parody commercials and live footage of the band. Speaking on the decision to structure the show in such a varied format, Jacobs said \"[w]e did that for a strategic reason – some networks like cartoons more than other networks.",
"Speaking on the decision to structure the show in such a varied format, Jacobs said \"[w]e did that for a strategic reason – some networks like cartoons more than other networks. We wanted to say, 'this could be both shows'.\" Following a period of post-production, The Aquabats began widely self-promoting Super Show!",
"Following a period of post-production, The Aquabats began widely self-promoting Super Show! in June 2008, redesigning their website to promote the pilot and releasing a teaser trailer and several exclusive clips through an official Super Show! YouTube channel.",
"YouTube channel. YouTube channel. On July 25, 2008, the band screened the full pilot at a concert in San Diego held during the weekend of the San Diego Comic-Con, while a segment of the episode was hosted on Boing Boing the same day.",
"On July 25, 2008, the band screened the full pilot at a concert in San Diego held during the weekend of the San Diego Comic-Con, while a segment of the episode was hosted on Boing Boing the same day. In 2009, Cartoon Network allegedly picked the series up for a run of 22 episodes, though following major staff changes within the company—which, according to Jacobs, included the termination of the executives who had green-lighted Super Show!—the project was again cancelled.",
"In 2009, Cartoon Network allegedly picked the series up for a run of 22 episodes, though following major staff changes within the company—which, according to Jacobs, included the termination of the executives who had green-lighted Super Show!—the project was again cancelled. The Hub and season one After several more unsuccessful network pitches into the 2010s, The Aquabats!",
"The Hub and season one After several more unsuccessful network pitches into the 2010s, The Aquabats! Super Show! was finally picked up as a series by family cable channel The Hub, a joint venture between Hasbro and Discovery which launched in 2010 as a replacement for Discovery Kids.",
"was finally picked up as a series by family cable channel The Hub, a joint venture between Hasbro and Discovery which launched in 2010 as a replacement for Discovery Kids. The Hub formally announced the series in a press release on March 23, 2011, revealing Super Show!",
"The Hub formally announced the series in a press release on March 23, 2011, revealing Super Show! would be given a first season run of 13 episodes, produced in conjuncture with FremantleMedia.",
"would be given a first season run of 13 episodes, produced in conjuncture with FremantleMedia. In promotion of the series, The Aquabats appeared as part of a panel at the 2011 San Diego Comic-Con where they discussed their initial plans for the show, while The Hub sponsored an Aquabats concert held at the nearby House of Blues during the same weekend.",
"In promotion of the series, The Aquabats appeared as part of a panel at the 2011 San Diego Comic-Con where they discussed their initial plans for the show, while The Hub sponsored an Aquabats concert held at the nearby House of Blues during the same weekend. Production on season one of Super Show! officially began in May 2011.",
"officially began in May 2011. officially began in May 2011. The entirety of the first season was shot within and around The Aquabats' hometown of Orange County, California; according to the first season DVD audio commentary, episodes were shot on location in the cities of Irvine, Silverado, Yorba Linda, Huntington Beach and Fullerton, while a private sound stage in Santa Ana was used for interior shots of the Battletram.",
"The entirety of the first season was shot within and around The Aquabats' hometown of Orange County, California; according to the first season DVD audio commentary, episodes were shot on location in the cities of Irvine, Silverado, Yorba Linda, Huntington Beach and Fullerton, while a private sound stage in Santa Ana was used for interior shots of the Battletram. A public Aquabats concert held at The Glass House club in Pomona on November 5, 2011 was also filmed to provide live footage of the band which is featured in the series' opening credits montage and several individual episodes.",
"A public Aquabats concert held at The Glass House club in Pomona on November 5, 2011 was also filmed to provide live footage of the band which is featured in the series' opening credits montage and several individual episodes. Much of Super Show!s staff consist of friends and colleagues of The Aquabats who've previously worked with the band on various projects, ranging from members of Yo Gabba Gabba!s production team to fellow musicians within the southern California music scene.",
"Much of Super Show!s staff consist of friends and colleagues of The Aquabats who've previously worked with the band on various projects, ranging from members of Yo Gabba Gabba!s production team to fellow musicians within the southern California music scene. Among the more notable examples include Dallas McLaughlin and Matthew Gorney, both members of the San Diego hip hop band Bad Credit, who prominently served as writers, composers and performers, Warren Fitzgerald, guitarist for The Vandals, who was hired as a writer and music director, internet sketch comedy group Mega64 were commissioned to produce original material, primarily the series' parody commercials, and Japanese artist Pey, who had designed much of The Aquabats' promotional art and merchandise during the 2000s, was hired to design the season's animated segments.",
"Among the more notable examples include Dallas McLaughlin and Matthew Gorney, both members of the San Diego hip hop band Bad Credit, who prominently served as writers, composers and performers, Warren Fitzgerald, guitarist for The Vandals, who was hired as a writer and music director, internet sketch comedy group Mega64 were commissioned to produce original material, primarily the series' parody commercials, and Japanese artist Pey, who had designed much of The Aquabats' promotional art and merchandise during the 2000s, was hired to design the season's animated segments. Additionally, several industry professionals were brought in to help work on the show: Dani Michaeli, a staff writer on SpongeBob SquarePants, was hired as the series' story editor, while Matt Chapman, co-creator of the internet Flash cartoon Homestar Runner, acted as a writer, director and actor on several episodes.",
"Additionally, several industry professionals were brought in to help work on the show: Dani Michaeli, a staff writer on SpongeBob SquarePants, was hired as the series' story editor, while Matt Chapman, co-creator of the internet Flash cartoon Homestar Runner, acted as a writer, director and actor on several episodes. As none of the members besides Jacobs had any previous acting experience, comedian Matt Walsh of the Upright Citizens Brigade was brought in to help teach The Aquabats comedic acting and timing.",
"As none of the members besides Jacobs had any previous acting experience, comedian Matt Walsh of the Upright Citizens Brigade was brought in to help teach The Aquabats comedic acting and timing. In further homage to the original Batman series, Super Show! features a variety of celebrity cameo appearances.",
"features a variety of celebrity cameo appearances. The series' first season included appearances from actors Jon Heder, Lou Diamond Phillips and Samm Levine, comedians Rip Taylor, Paul Scheer and Paul Rust, and comedy musician \"Weird Al\" Yankovic, who appeared in two episodes as different characters.",
"The series' first season included appearances from actors Jon Heder, Lou Diamond Phillips and Samm Levine, comedians Rip Taylor, Paul Scheer and Paul Rust, and comedy musician \"Weird Al\" Yankovic, who appeared in two episodes as different characters. The first season also included several \"Easter egg\" cameos from original Aquabats members Corey \"Chainsaw\" Pollock and Boyd \"Catboy\" Terry, as well as from fellow musicians Warren Fitzgerald and Art Mitchell of the band Supernova.",
"The first season also included several \"Easter egg\" cameos from original Aquabats members Corey \"Chainsaw\" Pollock and Boyd \"Catboy\" Terry, as well as from fellow musicians Warren Fitzgerald and Art Mitchell of the band Supernova. Despite having been originally announced as part of The Hub's 2011 Fall line-up, production delays postponed Super Show!s premiere to early 2012.",
"Despite having been originally announced as part of The Hub's 2011 Fall line-up, production delays postponed Super Show!s premiere to early 2012. The series' marketing campaign began in December 2011, with a later announcement of an official premiere date confirmed for March 3, 2012.",
"The series' marketing campaign began in December 2011, with a later announcement of an official premiere date confirmed for March 3, 2012. Following a non-consecutive run of 13 episodes, the first-season finale aired on June 16, 2012.",
"Following a non-consecutive run of 13 episodes, the first-season finale aired on June 16, 2012. Season two On October 16, 2012, The Aquabats and The Hub confirmed production on new episodes of Super Show! through the social networking sites Facebook and Twitter, announcing a tentative debut date of Spring 2013.",
"through the social networking sites Facebook and Twitter, announcing a tentative debut date of Spring 2013. Principal photography on season two began on October 22 and wrapped on December 1.",
"Principal photography on season two began on October 22 and wrapped on December 1. Unlike the first season, the majority of season two was shot in and around Salt Lake City, Utah, which Jacobs explained was considerably less expensive than shooting in California.",
"Unlike the first season, the majority of season two was shot in and around Salt Lake City, Utah, which Jacobs explained was considerably less expensive than shooting in California. While no changes were made to Super Shows creative team, in December 2012 it was announced that season two would introduce the series' first guest director, musician and comic book writer Gerard Way, who co-directed and co-wrote the season finale \"The AntiBats!\"",
"While no changes were made to Super Shows creative team, in December 2012 it was announced that season two would introduce the series' first guest director, musician and comic book writer Gerard Way, who co-directed and co-wrote the season finale \"The AntiBats!\" with Jacobs and deVilliers.",
"with Jacobs and deVilliers. with Jacobs and deVilliers. Way's involvement with the series was heavily covered by the music press in the wake of the March 2013 break-up of his popular alternative rock band My Chemical Romance.",
"Way's involvement with the series was heavily covered by the music press in the wake of the March 2013 break-up of his popular alternative rock band My Chemical Romance. Among the guest stars featured in season two were professional skateboarders Tony Hawk and Eric Koston, Devo frontman and Yo Gabba Gabba!",
"Among the guest stars featured in season two were professional skateboarders Tony Hawk and Eric Koston, Devo frontman and Yo Gabba Gabba! cast member Mark Mothersbaugh, internet celebrity Leslie Hall, actor Martin Starr and My Chemical Romance bassist Mikey Way.",
"cast member Mark Mothersbaugh, internet celebrity Leslie Hall, actor Martin Starr and My Chemical Romance bassist Mikey Way. On December 2, 2012, deVilliers revealed on his Twitter account that the upcoming season would consist of only five new episodes, in what he called more \"season 1.5\" than a \"season 2\", though mentioned the possibility of more being made in the future.",
"On December 2, 2012, deVilliers revealed on his Twitter account that the upcoming season would consist of only five new episodes, in what he called more \"season 1.5\" than a \"season 2\", though mentioned the possibility of more being made in the future. On May 1, 2013, it was announced through Entertainment Weekly that the series' second season would begin airing on June 1.",
"On May 1, 2013, it was announced through Entertainment Weekly that the series' second season would begin airing on June 1. After a run of only five episodes, the season concluded on June 29, 2013.",
"After a run of only five episodes, the season concluded on June 29, 2013. 2013–2014 specials On August 22, 2013, series performer Chad Larson confirmed via Twitter that three additional episodes of Super Show! were being filmed near the end of the year, \"and maybe more next\".",
"were being filmed near the end of the year, \"and maybe more next\". Principal photography on these episodes eventually began in Utah in early October.",
"Principal photography on these episodes eventually began in Utah in early October. Throughout the month, The Aquabats posted numerous pictures of production on the new episodes on their Twitter and Instagram accounts, some of which revealed production code numbers of 301, 302 and 303, ostensibly indicating what would be a third season.",
"Throughout the month, The Aquabats posted numerous pictures of production on the new episodes on their Twitter and Instagram accounts, some of which revealed production code numbers of 301, 302 and 303, ostensibly indicating what would be a third season. Though these numbers were later verified by the Internet Movie Database, a November press release from The Hub explicitly referred to these three episodes as \"specials\".",
"Though these numbers were later verified by the Internet Movie Database, a November press release from The Hub explicitly referred to these three episodes as \"specials\". The first of these specials, \"Christmas with The Aquabats! \", aired on December 21, featuring comedians Robert Smigel and Matt Walsh in guest roles.",
"\", aired on December 21, featuring comedians Robert Smigel and Matt Walsh in guest roles. The second of these episodes, \"The Shark Fighter!\"",
"The second of these episodes, \"The Shark Fighter!\" (based on The Aquabats' song of the same name), featuring comedian Rhys Darby, aired the following week on December 28, while the final special \"Kitty Litter!\" aired on January 18, 2014. \"Kitty Litter!\"",
"\"Kitty Litter!\" \"Kitty Litter!\" was helmed by another guest director, Munn Powell, best known for his work as cinematographer on the Jared and Jerusha Hess films Napoleon Dynamite and Gentlemen Broncos.",
"was helmed by another guest director, Munn Powell, best known for his work as cinematographer on the Jared and Jerusha Hess films Napoleon Dynamite and Gentlemen Broncos. Following this short run of episodes, there was no confirmation by either The Hub or The Aquabats as to the production of any future episodes.",
"Following this short run of episodes, there was no confirmation by either The Hub or The Aquabats as to the production of any future episodes. In a December 2013 interview, Christian Jacobs acknowledged the network's unusually small order of episodes but didn't elaborate on any possible reasoning.",
"In a December 2013 interview, Christian Jacobs acknowledged the network's unusually small order of episodes but didn't elaborate on any possible reasoning. In the same interview, he stated that the band had initially prepared for another order of 13 episodes, having written as many scripts for potential future episodes.",
"In the same interview, he stated that the band had initially prepared for another order of 13 episodes, having written as many scripts for potential future episodes. On May 1, 2014, the nominees for the 2014 Daytime Emmy Awards were announced, revealing that Super Show!",
"On May 1, 2014, the nominees for the 2014 Daytime Emmy Awards were announced, revealing that Super Show! had been nominated for five awards in four categories, including the award for Best Writing in a Children's Series for the episode \"The AntiBats!\".",
"had been nominated for five awards in four categories, including the award for Best Writing in a Children's Series for the episode \"The AntiBats!\". The awards ceremony was held on June 22, 2014, where the series ultimately won the award for Best Stunt Coordination for stuntman Skip Carlson.",
"The awards ceremony was held on June 22, 2014, where the series ultimately won the award for Best Stunt Coordination for stuntman Skip Carlson. Cancellation by The Hub and hiatus In mid-2014, it was announced in entertainment press that Hasbro and Discovery had been in the process of rebranding The Hub following what they saw to be disappointing returns for the channel, changes which included the departure of CEO Margaret Loesch, who was instrumental in acquiring Super Show!",
"Cancellation by The Hub and hiatus In mid-2014, it was announced in entertainment press that Hasbro and Discovery had been in the process of rebranding The Hub following what they saw to be disappointing returns for the channel, changes which included the departure of CEO Margaret Loesch, who was instrumental in acquiring Super Show! as a series.",
"as a series. as a series. In a Huffington Post feature about The Aquabats prior to the band's appearance at the 2014 San Diego Comic-Con, it was revealed that The Hub had opted not to renew Super Show! for a third season, effectively cancelling the series.",
"for a third season, effectively cancelling the series. Jacobs admitted he was surprised by this turn of events, noting \"Everything we heard was that the show has been a real Cinderella story for the Hub and that it was rating really well with viewers.",
"Jacobs admitted he was surprised by this turn of events, noting \"Everything we heard was that the show has been a real Cinderella story for the Hub and that it was rating really well with viewers. We just assumed that we'd eventually go back into production or at least get picked up for Season 3\", but ultimately concluded \"it is what it is\" in regard to the network's decision.",
"We just assumed that we'd eventually go back into production or at least get picked up for Season 3\", but ultimately concluded \"it is what it is\" in regard to the network's decision. Despite this, Jacobs remained optimistic about the series' future, saying \"Given that we now live in a world where people are streaming TV shows directly onto their iPhones & computers, and given that companies like Netflix & Yahoo!",
"Despite this, Jacobs remained optimistic about the series' future, saying \"Given that we now live in a world where people are streaming TV shows directly onto their iPhones & computers, and given that companies like Netflix & Yahoo! are now picking up so much new content for their customers...I just find it hard to believe that The Aquabats!",
"are now picking up so much new content for their customers...I just find it hard to believe that The Aquabats! Super Show! is really over. I mean, we haven't even made any toys yet\". He concluded by stating \"It took us almost 15 years to get that TV series made.",
"He concluded by stating \"It took us almost 15 years to get that TV series made. And even though we've got a bunch more concert dates lined up for the rest of this year, our first priority is to find a new home for The Aquabats! Super Show!\".",
"Super Show!\". Super Show!\". On March 31, 2015, the nominees for the 42nd annual Daytime Emmy Awards were announced, with Super Show! earning nominations for Best SFX Mixer (Blaine Stewart) and Best Stunt Coordinator (Braxton McAllister).",
"earning nominations for Best SFX Mixer (Blaine Stewart) and Best Stunt Coordinator (Braxton McAllister). On June 27, 2015, The Aquabats screened the entire first season of Super Show!",
"On June 27, 2015, The Aquabats screened the entire first season of Super Show! before a sold-out crowd at The Frida Cinema in downtown Santa Ana, which was accompanied by a live performance by the band and Q&A sessions with The Aquabats and numerous members of the cast and crew.",
"before a sold-out crowd at The Frida Cinema in downtown Santa Ana, which was accompanied by a live performance by the band and Q&A sessions with The Aquabats and numerous members of the cast and crew. A similar presentation of the entire second season – including the three additional specials – took place at The Art Theater in Long Beach on December 16, 2017, coinciding with the release of the second season Blu-ray.",
"A similar presentation of the entire second season – including the three additional specials – took place at The Art Theater in Long Beach on December 16, 2017, coinciding with the release of the second season Blu-ray. Bring Back The Aquabats!",
"Bring Back The Aquabats! Bring Back The Aquabats! Kickstarter campaign Following weeks of teasing a major announcement, The Aquabats launched a Kickstarter campaign on July 31, 2018 to help finance the return of The Aquabats! Super Show! as well as new studio albums from the band at a minimum projected cost of $1.1 million.",
"as well as new studio albums from the band at a minimum projected cost of $1.1 million. The Aquabats promoted their campaign with a video featuring a slew of celebrity cameos, including Super Show!",
"The Aquabats promoted their campaign with a video featuring a slew of celebrity cameos, including Super Show! guest stars \"Weird Al\" Yankovic, Robert Smigel (as Triumph the Insult Comic Dog), Matt Chapman (as Homestar Runner and Strong Bad), former Aquabats member Travis Barker, Tony Kanal, Tom Dumont, Oscar Nunez, Kate Micucci, Blake Anderson, Imagine Dragons, Felicia Day and Tom Lennon, all of whom appeared in The Aquabats' trademark uniforms and spoke the Kickstarter's promotional slogan \"I am The Aquabats\"/\"We are The Aquabats\".",
"guest stars \"Weird Al\" Yankovic, Robert Smigel (as Triumph the Insult Comic Dog), Matt Chapman (as Homestar Runner and Strong Bad), former Aquabats member Travis Barker, Tony Kanal, Tom Dumont, Oscar Nunez, Kate Micucci, Blake Anderson, Imagine Dragons, Felicia Day and Tom Lennon, all of whom appeared in The Aquabats' trademark uniforms and spoke the Kickstarter's promotional slogan \"I am The Aquabats\"/\"We are The Aquabats\". Most prominently featured, however, was comedian Jack Black, who was later confirmed by the campaign's press releases to act as executive producer for the series' return.",
"Most prominently featured, however, was comedian Jack Black, who was later confirmed by the campaign's press releases to act as executive producer for the series' return. Along with their Kickstarter, the band began releasing a series of Super Show!",
"Along with their Kickstarter, the band began releasing a series of Super Show! \"mini-episodes\", depicting the MC Bat Commander's metafictional quest to reunite the estranged Aquabats following the series' cancellation.",
"\"mini-episodes\", depicting the MC Bat Commander's metafictional quest to reunite the estranged Aquabats following the series' cancellation. The band confirmed that as the Kickstarter progresses, further \"mini-episodes\" will be released to both promote the campaign as well as act as a continuation of Super Show!.",
"The band confirmed that as the Kickstarter progresses, further \"mini-episodes\" will be released to both promote the campaign as well as act as a continuation of Super Show!. By August 28, mere days before the campaign's end date of September 1, The Aquabats' Kickstarter had raised only $601,629 of its projected $1.1 million goal.",
"By August 28, mere days before the campaign's end date of September 1, The Aquabats' Kickstarter had raised only $601,629 of its projected $1.1 million goal. The funding was subsequently cancelled and the campaign was rebooted the same day with a smaller goal of $100,000 to instead finance one new album and the continued production of the Super Show!!",
"The funding was subsequently cancelled and the campaign was rebooted the same day with a smaller goal of $100,000 to instead finance one new album and the continued production of the Super Show!! \"mini-episodes\". The project's goal was met within minutes. Music Original music for The Aquabats! Super Show!",
"Super Show! Super Show! was primarily composed and performed by The Aquabats themselves, with additional scoring on most episodes provided by Matthew Gorney, Warren Fitzgerald or individual credits for Aquabats members James R. Briggs, Jr., Richard Falomir and Ian Fowles.",
"was primarily composed and performed by The Aquabats themselves, with additional scoring on most episodes provided by Matthew Gorney, Warren Fitzgerald or individual credits for Aquabats members James R. Briggs, Jr., Richard Falomir and Ian Fowles. Fitzgerald, guitarist for punk rock band The Vandals and former member of Oingo Boingo, acted as the series' music supervisor.",
"Fitzgerald, guitarist for punk rock band The Vandals and former member of Oingo Boingo, acted as the series' music supervisor. The theme song to Super Show!, \"Super Show Theme Song! \", was co-written by The Aquabats and Fitzgerald.",
"\", was co-written by The Aquabats and Fitzgerald. Whereas most musically oriented shows like The Monkees typically break the narrative of an episode for a music video performance of a standalone song, each episode of Super Show!",
"Whereas most musically oriented shows like The Monkees typically break the narrative of an episode for a music video performance of a standalone song, each episode of Super Show! typically features one or two unique songs that tied directly into the plot, usually about and performed during the events of a particular scene.",
"typically features one or two unique songs that tied directly into the plot, usually about and performed during the events of a particular scene. Most of these songs are rather brief, averaging a running time of just under a minute; Jacobs stated that many of the show's original songs were recorded as full-length pieces but trimmed down for inclusion in an episode, simply due to the show \"trying to pack so much into 22 minutes\".",
"Most of these songs are rather brief, averaging a running time of just under a minute; Jacobs stated that many of the show's original songs were recorded as full-length pieces but trimmed down for inclusion in an episode, simply due to the show \"trying to pack so much into 22 minutes\". Shortly after Super Show!s premiere, Jacobs confirmed plans to eventually release the series' original full-length songs as a soundtrack album.",
"Shortly after Super Show!s premiere, Jacobs confirmed plans to eventually release the series' original full-length songs as a soundtrack album. However, these plans wouldn't fully come to fruition until 2019; in a 2018 interview, Jacobs retrospectively revealed that the album had been long completed but the band \"hadn't had all the rights tied up\" until then.",
"However, these plans wouldn't fully come to fruition until 2019; in a 2018 interview, Jacobs retrospectively revealed that the album had been long completed but the band \"hadn't had all the rights tied up\" until then. The first original and full-length recordings from the series' first season debuted in July 2017, when \"Burger Rain\" and \"Beat Fishin'\" were released as a tour-exclusive 7\" single.",
"The first original and full-length recordings from the series' first season debuted in July 2017, when \"Burger Rain\" and \"Beat Fishin'\" were released as a tour-exclusive 7\" single. Songs from the series' first season were eventually compiled as The Aquabats! Super Show!",
"Super Show! Super Show! Television Soundtrack: Volume One, which was released digitally in March 2019 and then onto physical media the following June, where it became The Aquabats' highest-charting album to date, debuting at the top of Billboards Top Heatseekers chart and at 165 on the Billboard 200.",
"Television Soundtrack: Volume One, which was released digitally in March 2019 and then onto physical media the following June, where it became The Aquabats' highest-charting album to date, debuting at the top of Billboards Top Heatseekers chart and at 165 on the Billboard 200. Cast and characters See: List of The Aquabats! Super Show!",
"Super Show! Super Show! characters The Aquabats! Super Show! stars and is based upon fictionalized versions of the then-current (since 2006) line-up of the California comedy rock band The Aquabats. Adapting the backstory the band has used for the entirety of their professional career, Super Show!",
"Adapting the backstory the band has used for the entirety of their professional career, Super Show! depicts The Aquabats as a group of bumbling, out-of-shape superheroes on a self-appointed mission to fight the forces of evil, presented in both live-action and animated segments.",
"depicts The Aquabats as a group of bumbling, out-of-shape superheroes on a self-appointed mission to fight the forces of evil, presented in both live-action and animated segments. The five members of The Aquabats are: The MC Bat Commander (played and voiced by Christian Jacobs) – The Aquabats' singer and de facto leader of the team.",
"The five members of The Aquabats are: The MC Bat Commander (played and voiced by Christian Jacobs) – The Aquabats' singer and de facto leader of the team. Though he doesn't have any superpowers of his own and is often quite stubborn and naive, the Commander is shown to be an effective strategist whose sharp leadership skills, bravery and determination regularly drive the band towards victory.",
"Though he doesn't have any superpowers of his own and is often quite stubborn and naive, the Commander is shown to be an effective strategist whose sharp leadership skills, bravery and determination regularly drive the band towards victory. Crash McLarson (played and voiced by Chad Larson) – The band's bass guitarist, who has the frequently uncontrollable ability to grow upwards of 100 feet in size when under emotional stress.",
"Crash McLarson (played and voiced by Chad Larson) – The band's bass guitarist, who has the frequently uncontrollable ability to grow upwards of 100 feet in size when under emotional stress. Despite being the largest and strongest of The Aquabats, Crash has a gentle, childlike demeanor bordering on slight dim-wittedness, and as such is usually the most cowardly member of the team.",
"Despite being the largest and strongest of The Aquabats, Crash has a gentle, childlike demeanor bordering on slight dim-wittedness, and as such is usually the most cowardly member of the team. Jimmy the Robot (played and voiced by James R. Briggs, Jr.) – The Aquabats' keyboardist.",
"Jimmy the Robot (played and voiced by James R. Briggs, Jr.) – The Aquabats' keyboardist. As his name implies, Jimmy is an android whose mechanical body houses a variety of built-in gadgets and weaponry, plus a comprehensive knowledge database which earns him the position of the group's resident scientist.",
"As his name implies, Jimmy is an android whose mechanical body houses a variety of built-in gadgets and weaponry, plus a comprehensive knowledge database which earns him the position of the group's resident scientist. Being a robot, Jimmy is generally perplexed by human emotions and behavior.",
"Being a robot, Jimmy is generally perplexed by human emotions and behavior. Ricky Fitness (played and voiced by Richard Falomir) – the band's drummer, Ricky possesses the power of super speed.",
"Ricky Fitness (played and voiced by Richard Falomir) – the band's drummer, Ricky possesses the power of super speed. Being the most physically fit and health-conscious member of The Aquabats, some of the series' running gags revolve around Ricky's status as a handsome ladies' man and his fondness for \"fresh, healthy veggies\" in contrast to the rest of the team's voracious affinity for junk food.",
"Being the most physically fit and health-conscious member of The Aquabats, some of the series' running gags revolve around Ricky's status as a handsome ladies' man and his fondness for \"fresh, healthy veggies\" in contrast to the rest of the team's voracious affinity for junk food. EagleBones Falconhawk (played and voiced by Ian Fowles) – The Aquabats' guitarist.",
"EagleBones Falconhawk (played and voiced by Ian Fowles) – The Aquabats' guitarist. The cocky and boyish maverick of the team, EagleBones is highly proficient on his custom weaponized electric guitar which shoots lasers from its headstock.",
"The cocky and boyish maverick of the team, EagleBones is highly proficient on his custom weaponized electric guitar which shoots lasers from its headstock. Following a spiritual encounter early in season one, EagleBones also has the gift of second sight and is accompanied by \"The Dude\", an invisible spirit eagle whom he summons to aide The Aquabats in battle.",
"Following a spiritual encounter early in season one, EagleBones also has the gift of second sight and is accompanied by \"The Dude\", an invisible spirit eagle whom he summons to aide The Aquabats in battle. Voice actor and writer Mr. Lawrence provided the minimal narration for both seasons of Super Show!s live-action segments, while staff writer Kyle McCulloch narrated the first season's animated segments.",
"Voice actor and writer Mr. Lawrence provided the minimal narration for both seasons of Super Show!s live-action segments, while staff writer Kyle McCulloch narrated the first season's animated segments. Guest stars and recurring characters Though each episode of the series introduced a new villain, ally and/or celebrity cameo, Super Show!",
"Guest stars and recurring characters Though each episode of the series introduced a new villain, ally and/or celebrity cameo, Super Show! never featured any major recurring characters throughout its run.",
"never featured any major recurring characters throughout its run. However, every episode of the show included a very brief appearance by a character fans dubbed the \"Fox Man\", a man in a cheap-looking fox costume played by visual effects supervisor Joel Fox, who would appear hidden in the background of a random scene as an Easter egg for viewers to spot, although his character was never explained within the context of the series.",
"However, every episode of the show included a very brief appearance by a character fans dubbed the \"Fox Man\", a man in a cheap-looking fox costume played by visual effects supervisor Joel Fox, who would appear hidden in the background of a random scene as an Easter egg for viewers to spot, although his character was never explained within the context of the series. Comedy musician \"Weird Al\" Yankovic and comedian Paul Rust were the only two guest actors to appear in two episodes: Yankovic played two different roles as the President of the United States and superhero SuperMagic PowerMan!",
"Comedy musician \"Weird Al\" Yankovic and comedian Paul Rust were the only two guest actors to appear in two episodes: Yankovic played two different roles as the President of the United States and superhero SuperMagic PowerMan! (in a 2012 interview, Jacobs alluded to the two possibly being the same character, though this isn't implied within the series), while Rust played a boorish slacker named Ronmark, first appearing in live-action in a first-season episode and subsequently lending his voice to a mutated monster version of the character in part of a second-season episode.",
"(in a 2012 interview, Jacobs alluded to the two possibly being the same character, though this isn't implied within the series), while Rust played a boorish slacker named Ronmark, first appearing in live-action in a first-season episode and subsequently lending his voice to a mutated monster version of the character in part of a second-season episode. Episodes Distribution International broadcast Outside of North America, The Aquabats!",
"Episodes Distribution International broadcast Outside of North America, The Aquabats! Super Show! broadcast in Australia on the children's public broadcasting channel ABC3 and in the United Kingdom on the children's network CITV. Home media Coinciding with the run of the first season, each new episode of The Aquabats! Super Show!",
"Super Show! Super Show! was released through the iTunes Store for digital download. Prior to the series debut, a season pass was made available for purchase to enable viewers to automatically receive a download of each new episode on its airdate. The first season of Super Show!",
"The first season of Super Show! was added to the video streaming service Netflix on December 1, 2012, later being added to Hulu on December 21. Unlike the first season, the series' second season was not made available for iTunes pre-order, nor were episodes released for purchase.",
"Unlike the first season, the series' second season was not made available for iTunes pre-order, nor were episodes released for purchase. Though each episode was briefly streamed on The Hub's official website, none of the seasons' episodes were made available on Hulu, Netflix or similar streaming services. Shout!",
"Shout! Shout! Factory had the DVD publishing rights for The Aquabats! Super Show! within Region 1 for release of the first season.",
"within Region 1 for release of the first season. The company first announced their acquisition of the series and plans for a future DVD in a press release dated August 6, 2012, though did not initially confirm a set release date until several months later. On May 21, 2013, the first season of Super Show!",
"On May 21, 2013, the first season of Super Show! was released on a two-disc DVD set. On November 22, 2017, in conjunction with their announcement of a season two theatrical screening, The Aquabats confirmed an independent Blu-ray release for season two, including the three specials often considered a \"season three\".",
"On November 22, 2017, in conjunction with their announcement of a season two theatrical screening, The Aquabats confirmed an independent Blu-ray release for season two, including the three specials often considered a \"season three\". On December 5, pre-orders were launched on The Aquabats' merchandising site for an official release date of December 22, though copies were first made for public sale at the second season theatrical screening on December 16.",
"On December 5, pre-orders were launched on The Aquabats' merchandising site for an official release date of December 22, though copies were first made for public sale at the second season theatrical screening on December 16. Starting in December 2014, The Aquabats gradually began uploading the series' full episodes onto their official YouTube channel.",
"Starting in December 2014, The Aquabats gradually began uploading the series' full episodes onto their official YouTube channel. As of August 2019, all 21 episodes of Super Show! and its pilot episode have been publicly uploaded to their account. Critical reception Critical response to The Aquabats! Super Show!",
"Super Show! Super Show! was predominantly positive, with most reviewers praising the series' intentionally campy tone and offbeat humor. The Onions The A.V.",
"The Onions The A.V. The Onions The A.V. Club gave the series premiere an A− rating, describing it as \"a loving homage to basically everything ever done by the brothers Krofft\": \"the show adeptly flips from humor to melodrama to action, providing some awesomely cheap special effects, goofy songs, and gags that range from slapstick to sublime\", summarizing \"there's so much here that both kids and parents will be able to enjoy the proceedings on their own respective levels and rarely find themselves bored\".",
"Club gave the series premiere an A− rating, describing it as \"a loving homage to basically everything ever done by the brothers Krofft\": \"the show adeptly flips from humor to melodrama to action, providing some awesomely cheap special effects, goofy songs, and gags that range from slapstick to sublime\", summarizing \"there's so much here that both kids and parents will be able to enjoy the proceedings on their own respective levels and rarely find themselves bored\". Brian Lowry of Variety wrote \"you don't have to laugh at everything to admire the effort and sheer silliness\", calling the show a \"goofy and nostalgic\" throwback to the \"children's TV of baby boomers' youth, down to crappy production values and awful-looking 'monsters' that work to its advantage\".",
"Brian Lowry of Variety wrote \"you don't have to laugh at everything to admire the effort and sheer silliness\", calling the show a \"goofy and nostalgic\" throwback to the \"children's TV of baby boomers' youth, down to crappy production values and awful-looking 'monsters' that work to its advantage\". He summarized \"Although this Hub series at times feels like an SNL skit stretched to a half-hour, its sly mix of music, live-action crime-fighting, cartoons and mock ads ought to develop a cult following—and might be more popular with parents, at least those with the geek gene, than their kids\".",
"He summarized \"Although this Hub series at times feels like an SNL skit stretched to a half-hour, its sly mix of music, live-action crime-fighting, cartoons and mock ads ought to develop a cult following—and might be more popular with parents, at least those with the geek gene, than their kids\". Technology magazine Wired was consistently positive towards the series, calling it both \"wonderfully strange\" and \"delightfully deranged\", writing \"[f]illed with self-deprecating music videos, toon interludes and ludicrous villains, The Aquabats!",
"Technology magazine Wired was consistently positive towards the series, calling it both \"wonderfully strange\" and \"delightfully deranged\", writing \"[f]illed with self-deprecating music videos, toon interludes and ludicrous villains, The Aquabats! Super Show! has become one of television's strangely comforting finds\".",
"has become one of television's strangely comforting finds\". Common Sense Media, who review shows based on age-appropriate content, gave Super Show!",
"Common Sense Media, who review shows based on age-appropriate content, gave Super Show! a rating of 4 out of 5 stars, calling it \"demented and manic...fun by sheer dint of how many jokes, visual and otherwise, are thrown at the screen, both those calculated to appeal to kids and adults\".",
"a rating of 4 out of 5 stars, calling it \"demented and manic...fun by sheer dint of how many jokes, visual and otherwise, are thrown at the screen, both those calculated to appeal to kids and adults\". The site praised the series for its lighter and sillier tone in comparison to more violent live-action superhero fare, and considered the \"kind-hearted\" Aquabats to be relatively positive role models.",
"The site praised the series for its lighter and sillier tone in comparison to more violent live-action superhero fare, and considered the \"kind-hearted\" Aquabats to be relatively positive role models. However, the reviewer suggested the show's violence and creatures may be too intense for very young children, and pointed out a distinct lack of central female characters.",
"However, the reviewer suggested the show's violence and creatures may be too intense for very young children, and pointed out a distinct lack of central female characters. Neil Genzlinger of The New York Times offered a more indifferent opinion, calling The Aquabats \"indescribably odd\" and the series \"frenetic, semicoherent and generally harmless.",
"Neil Genzlinger of The New York Times offered a more indifferent opinion, calling The Aquabats \"indescribably odd\" and the series \"frenetic, semicoherent and generally harmless. Also somewhat hallucinogenic\", noting Super Show!s writing \"may be over the heads of the 2-to-12 set\", suggesting its most receptive audience might be \"the college drinking-game crowd\".",
"Also somewhat hallucinogenic\", noting Super Show!s writing \"may be over the heads of the 2-to-12 set\", suggesting its most receptive audience might be \"the college drinking-game crowd\". Awards and nominations The Aquabats! Super Show!",
"Awards and nominations The Aquabats! Super Show! Super Show! was nominated for the following awards: Daytime Emmy Award References External links Official website of The Aquabats The Aquabats 2010s American children's television series 2010s American musical comedy television series 2010s American satirical television series 2010s American sketch comedy television series 2010s American superhero comedy television series 2012 American television series debuts 2014 American television series endings American children's adventure television series American children's musical television series American television series with live action and animation Children's sketch comedy English-language television shows Television series by Fremantle (company) Television shows set in Orange County, California American television shows featuring puppetry Discovery Family original programming"
] |
[
"The Aquabats! Super Show!",
"History and previous attempts at a series",
"How did The Aquabats originate?",
"musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in",
"When did they form?",
"In 1994,",
"What happened with the previous attempts?",
"The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves.",
"What did they do after this?",
"Undeterred, The Aquabats made an attempt at a second pilot",
"How did this do?",
"using a music video budget granted by their record label Goldenvoice Records for their 1999 album",
"Was this successful?",
"the project was cancelled.",
"What did they do after this?",
"I don't know.",
"What else is significant about this time?",
"The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough",
"What happened as a result?",
"charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs - a former child actor with ties in the industry -",
"What did Jacobs do?",
"to develop the concept of adapting the band's mythology for television."
] | C_4cdf6386fc074258b24b5e00bbcdec23_0 | Did they achieve anything else during this time? | 11 | Did the Aquabats! achieve anything else during the history of the Aquabats! Super Show! besides having the Fury of The Aquabats! chart on the Billboard 200? | The Aquabats! Super Show! | In 1994, musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in Brea, California. Influenced as much by cartoons and camp television as theatrical bands like Devo and Oingo Boingo, The Aquabats gained instant notoriety in the Orange County music scene for their eccentric persona in which they claimed to be a band of superheroes on a quest to save the world and their elaborate stage shows which regularly featured scripted fights with costumed villains alongside similar stunts and comedy sketches. The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough for the group, charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs - a former child actor with ties in the industry - to develop the concept of adapting the band's mythology for television. In 1998, Buena Vista Television helped produce a live-action mini-pilot directed by comedian Bobcat Goldthwait titled simply The Aquabats!, following the comic misadventures of the then-eight member band in an over-the-top camp style similar to Saturday morning cartoon shows. The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves. Undeterred, The Aquabats made an attempt at a second pilot the following year, using a music video budget granted by their record label Goldenvoice Records for their 1999 album The Aquabats vs. the Floating Eye of Death!. Independently directed and produced by Jacobs and his creative partner Scott Schultz, the result was a five-minute promo video entitled The Aquabats in Color!. In contrast to the wackier tone of the previous pilot, The Aquabats in Color! was a more action-oriented superhero series modeled after Japanese tokusatsu shows such as Kamen Rider. According to Jacobs, the Fox Family Channel reportedly expressed interest in the series and ordered production on a proper pilot episode, though following the channel's acquisition by Disney in 2001, the project was cancelled. CANNOTANSWER | Aquabats gained instant notoriety in the Orange County music scene for | The Aquabats! Super Show! is an American action-comedy musical television series which aired from March 3, 2012 to January 8, 2014 on The Hub Network and resumed as an independent YouTube web series in September 2019. The series was created by Christian Jacobs, and Scott Schultz, both the creators of the Nick Jr. show Yo Gabba Gabba!, and Jason deVilliers.
Based on the superhero mythology of The Aquabats, a real-life comedy rock band which series co-creator and lead singer Jacobs formed in 1994, The Aquabats! Super Show! follows the comic adventures of a fictionalized version of the band, a musical group of amateur superheroes, as they haphazardly defend the world from a variety of villains and monsters. Styled similarly to the campy aesthetics of 1960s and 1970s children's television and Japanese tokusatsu, Super Show! utilizes various mediums of visual styles and special effects, mixing live-action storylines with cartoon shorts, parody advertisements and musical interludes.
The series' first season concluded on June 16, 2012 following a run of 13 episodes, having met with a largely positive critical reception, consistently high ratings for the channel and a Daytime Emmy nomination for Outstanding Children's Series. The series' second season consisted of an initial five episodes which aired through June 2013, with three additional episodes airing in late December and January 2014, receiving similar acclaim and a further seven Daytime Emmy nominations, ultimately winning one for Best Stunt Coordination. In June 2014, co-creator Jacobs officially announced the series' cancellation, following news of The Hub's financial losses which led to the network's rebranding as Discovery Family later that October.
In July 2018, The Aquabats launched a successful Kickstarter to help independently finance new episodes of The Aquabats! Super Show!, promoting the campaign with a series of YouTube-exclusive mini-episodes continuing the original series' storyline. On September 28, 2019, The Aquabats premiered the first installment of these new episodes, now a biweekly YouTube series entitled The Aquabats! RadVentures!, though still retaining Super Show!s theme song and title card.
Series overview
Premise
Chronicled in both live-action and animated segments, The Aquabats! Super Show! is centered around the adventures of The Aquabats, a group of superhero rock musicians who travel the countryside on a self-appointed mission to fight evil and "destroy boredom", protecting the world from the villains and creatures who threaten to destroy it while aiming to become a famous rock and roll band in their own right.
The Aquabats consist of singer The MC Bat Commander (Christian Jacobs), the swaggering leader of the group; bassist Crash McLarson (Chad Larson), who can grow up to 100 feet in size; drummer Ricky Fitness (Richard Falomir), who has the power of super speed; guitarist EagleBones Falconhawk (Ian Fowles), who's armed with a laser-shooting electric guitar; and keyboardist Jimmy the Robot (James R. Briggs, Jr.), an android. Despite their superhuman strengths and abilities, The Aquabats are quite bumbling, disorganized, and sometimes cowardly when faced with danger; this has in fact led them to be labeled "the world's most inept superheroes". The band lives and travels by way of their "Battletram", a modified classic GMC motorhome which, despite its small exterior, has an implausibly massive interior (similar to the TARDIS from Doctor Who or The Big Bologna from The Kids From C.A.P.E.R.), which contains, among many things, a science lab, a command center, and a living room.
The Aquabats' origin story was left intentionally vague throughout the series, a choice Jacobs explains was done for the sake of the viewer's imagination, as he felt kids were more accepting of the inherent absurdity of the premise than adults tend to be: "'There's five guys. This is what each of the five guys does. There are monsters. They're gonna try to fight them'. It's so simple. And I think that's why it's so awesome with kids—they just take it and run with it". In the first five episodes of season two, each member of The Aquabats shares their memory of how they joined the band via animated flashback sequences; however, all of these flashbacks directly and intentionally contradict each other, leaving it unknown which—if any—could be considered officially canonical.
Format and influences
The Aquabats! Super Show! juxtaposes both live-action and animated segments starring The Aquabats, interwoven with various tangential skits and cartoon interstitials. The live-action storylines are the primary focus of each episode, following a self-contained villain of the week formula. In the first season, each episode featured brief anime-styled cartoon shorts which one of the characters would introduce at a random point of the show, often by finding "A Cartoon" (represented by a miniature television set) in an absurd location. Unlike the live-action segments, these cartoons followed a serialized story arc, with each installment ending in a cliffhanger to be resolved in the next episode. In season two, this format was replaced with a series of animated flashbacks recounting the origins of The Aquabats, each by a different animation studio and in a different animation style. Between these segments are pantomime cartoon shorts starring "Lil' Bat", The Aquabats' anthropomorphic bat mascot, and live-action parody commercials for outlandish fictional products, the latter of which has long been a staple of The Aquabats' multi-media stage shows.
Jacobs says the concept behind Super Show! was something he had always dreamed of doing, making a "campy, live-action, funky kid's show" in the vein of the 1960s and 1970s television that he and the rest of the series' producers had grown up with. While the show pays homage to many facets of pop culture, Jacobs has named the 1960s Batman television series as the primary influence on Super Show!s "obviously silly" tone and visual style, ranging from set design to the trademark use of dutch angles for villain scenes. Other notable influences Jacobs has repeatedly mentioned include the works of Sid and Marty Krofft and Hanna-Barbera, Japanese tokusatsu series such as Ultraman and Johnny Sokko And His Flying Robot, the Shaw Brothers and Hong Kong cinema, and shows including Danger Island, Star Trek, The Rocky and Bullwinkle Show, and Pee-wee's Playhouse, noting "there's a good 30 years worth of television culture packed into these 22-minute episodes".
Demographic
As The Hub's key demographic were children aged 6 to 12, Super Show! was ostensibly targeted towards said age group, though Jacobs has stated that the series primarily aimed to appeal to an all-ages crowd, with the intent of creating entertainment that both kids and parents can watch and enjoy together or separately. In interviews prior to the series' premiere, he explained that this was merely an extension of The Aquabats' own family-friendly ethos: "There's just obviously something about the costumes and being superheroes that really appeals to younger kids, and I think we always knew that as a band...I think we'll want to put things in [the show] for an older audience, because we realize we have an older audience, but then also we want the young kids, to not have it go over their heads".
Production history
History and previous attempts at a series
In 1994, musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in Brea, California. Influenced as much by cartoons and camp television as theatrical bands like Devo and Oingo Boingo, The Aquabats gained instant notoriety in the Orange County music scene for their eccentric persona in which they claimed to be a band of superheroes on a quest to save the world and their elaborate stage shows which regularly featured scripted fights with costumed villains alongside similar stunts and comedy sketches.
The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough for the group, charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs – a former child actor with ties in the industry – to develop the concept of adapting the band's mythology for television. In 1998, Buena Vista Television helped produce a live-action mini-pilot directed by comedian Bobcat Goldthwait titled simply The Aquabats!, following the comic misadventures of the then-eight member band in an over-the-top camp style similar to Saturday morning cartoon shows. The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves.
Undeterred, The Aquabats made an attempt at a second pilot the following year, using a music video budget granted by their record label Goldenvoice Records for their 1999 album The Aquabats vs. the Floating Eye of Death!. Independently directed and produced by Jacobs and his creative partner Scott Schultz, the result was a five-minute promo video entitled The Aquabats in Color!. In contrast to the wackier tone of the previous pilot, The Aquabats in Color! was a more action-oriented superhero series modeled after Japanese tokusatsu shows such as Kamen Rider. According to Jacobs, the Fox Family Channel reportedly expressed interest in the series and ordered production on a proper pilot episode, though following the channel's acquisition by Disney in 2001, the project was cancelled.
The Aquabats! Super Show! pilot (2008)
In 2005, Jacobs and Schultz formed the Orange County-based production company The Magic Store, focusing on creating family-oriented television entertainment. One of the company's independently produced pilots, the children's television series Yo Gabba Gabba!, was eventually picked up as a series by Viacoms Nick Jr. channel, premiering in August 2007 and ultimately becoming an award-winning and critically acclaimed international success. In the wake of the series' popularity, Jacobs and Schultz persuaded Yo Gabba Gabba!s joint production company Wild Brain to help produce a new pilot based around The Aquabats in conjuncture with The Magic Store.
Again creatively spearheaded by Jacobs and Schultz, The Aquabats' third pilot, titled The Aquabats! Super Show!, was shot on location throughout southern California in late 2007 and early 2008. Part of this filming took place at a free invitation-only concert for members of the band's official fan club at the El Rey Theatre in Los Angeles on January 12, 2008. While The Aquabats' previous pilots were short, live-action promotional videos, The Aquabats! Super Show! was a fully realized 22-minute episode featuring two separate storylines based on the adventures of The Aquabats, one live-action and one animated, and interspersed with parody commercials and live footage of the band. Speaking on the decision to structure the show in such a varied format, Jacobs said "[w]e did that for a strategic reason – some networks like cartoons more than other networks. We wanted to say, 'this could be both shows'."
Following a period of post-production, The Aquabats began widely self-promoting Super Show! in June 2008, redesigning their website to promote the pilot and releasing a teaser trailer and several exclusive clips through an official Super Show! YouTube channel. On July 25, 2008, the band screened the full pilot at a concert in San Diego held during the weekend of the San Diego Comic-Con, while a segment of the episode was hosted on Boing Boing the same day. In 2009, Cartoon Network allegedly picked the series up for a run of 22 episodes, though following major staff changes within the company—which, according to Jacobs, included the termination of the executives who had green-lighted Super Show!—the project was again cancelled.
The Hub and season one
After several more unsuccessful network pitches into the 2010s, The Aquabats! Super Show! was finally picked up as a series by family cable channel The Hub, a joint venture between Hasbro and Discovery which launched in 2010 as a replacement for Discovery Kids. The Hub formally announced the series in a press release on March 23, 2011, revealing Super Show! would be given a first season run of 13 episodes, produced in conjuncture with FremantleMedia. In promotion of the series, The Aquabats appeared as part of a panel at the 2011 San Diego Comic-Con where they discussed their initial plans for the show, while The Hub sponsored an Aquabats concert held at the nearby House of Blues during the same weekend.
Production on season one of Super Show! officially began in May 2011. The entirety of the first season was shot within and around The Aquabats' hometown of Orange County, California; according to the first season DVD audio commentary, episodes were shot on location in the cities of Irvine, Silverado, Yorba Linda, Huntington Beach and Fullerton, while a private sound stage in Santa Ana was used for interior shots of the Battletram. A public Aquabats concert held at The Glass House club in Pomona on November 5, 2011 was also filmed to provide live footage of the band which is featured in the series' opening credits montage and several individual episodes.
Much of Super Show!s staff consist of friends and colleagues of The Aquabats who've previously worked with the band on various projects, ranging from members of Yo Gabba Gabba!s production team to fellow musicians within the southern California music scene. Among the more notable examples include Dallas McLaughlin and Matthew Gorney, both members of the San Diego hip hop band Bad Credit, who prominently served as writers, composers and performers, Warren Fitzgerald, guitarist for The Vandals, who was hired as a writer and music director, internet sketch comedy group Mega64 were commissioned to produce original material, primarily the series' parody commercials, and Japanese artist Pey, who had designed much of The Aquabats' promotional art and merchandise during the 2000s, was hired to design the season's animated segments. Additionally, several industry professionals were brought in to help work on the show: Dani Michaeli, a staff writer on SpongeBob SquarePants, was hired as the series' story editor, while Matt Chapman, co-creator of the internet Flash cartoon Homestar Runner, acted as a writer, director and actor on several episodes. As none of the members besides Jacobs had any previous acting experience, comedian Matt Walsh of the Upright Citizens Brigade was brought in to help teach The Aquabats comedic acting and timing.
In further homage to the original Batman series, Super Show! features a variety of celebrity cameo appearances. The series' first season included appearances from actors Jon Heder, Lou Diamond Phillips and Samm Levine, comedians Rip Taylor, Paul Scheer and Paul Rust, and comedy musician "Weird Al" Yankovic, who appeared in two episodes as different characters. The first season also included several "Easter egg" cameos from original Aquabats members Corey "Chainsaw" Pollock and Boyd "Catboy" Terry, as well as from fellow musicians Warren Fitzgerald and Art Mitchell of the band Supernova.
Despite having been originally announced as part of The Hub's 2011 Fall line-up, production delays postponed Super Show!s premiere to early 2012. The series' marketing campaign began in December 2011, with a later announcement of an official premiere date confirmed for March 3, 2012. Following a non-consecutive run of 13 episodes, the first-season finale aired on June 16, 2012.
Season two
On October 16, 2012, The Aquabats and The Hub confirmed production on new episodes of Super Show! through the social networking sites Facebook and Twitter, announcing a tentative debut date of Spring 2013. Principal photography on season two began on October 22 and wrapped on December 1. Unlike the first season, the majority of season two was shot in and around Salt Lake City, Utah, which Jacobs explained was considerably less expensive than shooting in California.
While no changes were made to Super Shows creative team, in December 2012 it was announced that season two would introduce the series' first guest director, musician and comic book writer Gerard Way, who co-directed and co-wrote the season finale "The AntiBats!" with Jacobs and deVilliers. Way's involvement with the series was heavily covered by the music press in the wake of the March 2013 break-up of his popular alternative rock band My Chemical Romance. Among the guest stars featured in season two were professional skateboarders Tony Hawk and Eric Koston, Devo frontman and Yo Gabba Gabba! cast member Mark Mothersbaugh, internet celebrity Leslie Hall, actor Martin Starr and My Chemical Romance bassist Mikey Way.
On December 2, 2012, deVilliers revealed on his Twitter account that the upcoming season would consist of only five new episodes, in what he called more "season 1.5" than a "season 2", though mentioned the possibility of more being made in the future. On May 1, 2013, it was announced through Entertainment Weekly that the series' second season would begin airing on June 1. After a run of only five episodes, the season concluded on June 29, 2013.
2013–2014 specials
On August 22, 2013, series performer Chad Larson confirmed via Twitter that three additional episodes of Super Show! were being filmed near the end of the year, "and maybe more next". Principal photography on these episodes eventually began in Utah in early October. Throughout the month, The Aquabats posted numerous pictures of production on the new episodes on their Twitter and Instagram accounts, some of which revealed production code numbers of 301, 302 and 303, ostensibly indicating what would be a third season. Though these numbers were later verified by the Internet Movie Database, a November press release from The Hub explicitly referred to these three episodes as "specials".
The first of these specials, "Christmas with The Aquabats!", aired on December 21, featuring comedians Robert Smigel and Matt Walsh in guest roles. The second of these episodes, "The Shark Fighter!" (based on The Aquabats' song of the same name), featuring comedian Rhys Darby, aired the following week on December 28, while the final special "Kitty Litter!" aired on January 18, 2014. "Kitty Litter!" was helmed by another guest director, Munn Powell, best known for his work as cinematographer on the Jared and Jerusha Hess films Napoleon Dynamite and Gentlemen Broncos.
Following this short run of episodes, there was no confirmation by either The Hub or The Aquabats as to the production of any future episodes. In a December 2013 interview, Christian Jacobs acknowledged the network's unusually small order of episodes but didn't elaborate on any possible reasoning. In the same interview, he stated that the band had initially prepared for another order of 13 episodes, having written as many scripts for potential future episodes.
On May 1, 2014, the nominees for the 2014 Daytime Emmy Awards were announced, revealing that Super Show! had been nominated for five awards in four categories, including the award for Best Writing in a Children's Series for the episode "The AntiBats!". The awards ceremony was held on June 22, 2014, where the series ultimately won the award for Best Stunt Coordination for stuntman Skip Carlson.
Cancellation by The Hub and hiatus
In mid-2014, it was announced in entertainment press that Hasbro and Discovery had been in the process of rebranding The Hub following what they saw to be disappointing returns for the channel, changes which included the departure of CEO Margaret Loesch, who was instrumental in acquiring Super Show! as a series. In a Huffington Post feature about The Aquabats prior to the band's appearance at the 2014 San Diego Comic-Con, it was revealed that The Hub had opted not to renew Super Show! for a third season, effectively cancelling the series.
Jacobs admitted he was surprised by this turn of events, noting "Everything we heard was that the show has been a real Cinderella story for the Hub and that it was rating really well with viewers. We just assumed that we'd eventually go back into production or at least get picked up for Season 3", but ultimately concluded "it is what it is" in regard to the network's decision. Despite this, Jacobs remained optimistic about the series' future, saying "Given that we now live in a world where people are streaming TV shows directly onto their iPhones & computers, and given that companies like Netflix & Yahoo! are now picking up so much new content for their customers...I just find it hard to believe that The Aquabats! Super Show! is really over. I mean, we haven't even made any toys yet". He concluded by stating "It took us almost 15 years to get that TV series made. And even though we've got a bunch more concert dates lined up for the rest of this year, our first priority is to find a new home for The Aquabats! Super Show!".
On March 31, 2015, the nominees for the 42nd annual Daytime Emmy Awards were announced, with Super Show! earning nominations for Best SFX Mixer (Blaine Stewart) and Best Stunt Coordinator (Braxton McAllister).
On June 27, 2015, The Aquabats screened the entire first season of Super Show! before a sold-out crowd at The Frida Cinema in downtown Santa Ana, which was accompanied by a live performance by the band and Q&A sessions with The Aquabats and numerous members of the cast and crew. A similar presentation of the entire second season – including the three additional specials – took place at The Art Theater in Long Beach on December 16, 2017, coinciding with the release of the second season Blu-ray.
Bring Back The Aquabats! Kickstarter campaign
Following weeks of teasing a major announcement, The Aquabats launched a Kickstarter campaign on July 31, 2018 to help finance the return of The Aquabats! Super Show! as well as new studio albums from the band at a minimum projected cost of $1.1 million. The Aquabats promoted their campaign with a video featuring a slew of celebrity cameos, including Super Show! guest stars "Weird Al" Yankovic, Robert Smigel (as Triumph the Insult Comic Dog), Matt Chapman (as Homestar Runner and Strong Bad), former Aquabats member Travis Barker, Tony Kanal, Tom Dumont, Oscar Nunez, Kate Micucci, Blake Anderson, Imagine Dragons, Felicia Day and Tom Lennon, all of whom appeared in The Aquabats' trademark uniforms and spoke the Kickstarter's promotional slogan "I am The Aquabats"/"We are The Aquabats". Most prominently featured, however, was comedian Jack Black, who was later confirmed by the campaign's press releases to act as executive producer for the series' return.
Along with their Kickstarter, the band began releasing a series of Super Show! "mini-episodes", depicting the MC Bat Commander's metafictional quest to reunite the estranged Aquabats following the series' cancellation. The band confirmed that as the Kickstarter progresses, further "mini-episodes" will be released to both promote the campaign as well as act as a continuation of Super Show!.
By August 28, mere days before the campaign's end date of September 1, The Aquabats' Kickstarter had raised only $601,629 of its projected $1.1 million goal. The funding was subsequently cancelled and the campaign was rebooted the same day with a smaller goal of $100,000 to instead finance one new album and the continued production of the Super Show!! "mini-episodes". The project's goal was met within minutes.
Music
Original music for The Aquabats! Super Show! was primarily composed and performed by The Aquabats themselves, with additional scoring on most episodes provided by Matthew Gorney, Warren Fitzgerald or individual credits for Aquabats members James R. Briggs, Jr., Richard Falomir and Ian Fowles. Fitzgerald, guitarist for punk rock band The Vandals and former member of Oingo Boingo, acted as the series' music supervisor. The theme song to Super Show!, "Super Show Theme Song!", was co-written by The Aquabats and Fitzgerald.
Whereas most musically oriented shows like The Monkees typically break the narrative of an episode for a music video performance of a standalone song, each episode of Super Show! typically features one or two unique songs that tied directly into the plot, usually about and performed during the events of a particular scene. Most of these songs are rather brief, averaging a running time of just under a minute; Jacobs stated that many of the show's original songs were recorded as full-length pieces but trimmed down for inclusion in an episode, simply due to the show "trying to pack so much into 22 minutes".
Shortly after Super Show!s premiere, Jacobs confirmed plans to eventually release the series' original full-length songs as a soundtrack album. However, these plans wouldn't fully come to fruition until 2019; in a 2018 interview, Jacobs retrospectively revealed that the album had been long completed but the band "hadn't had all the rights tied up" until then. The first original and full-length recordings from the series' first season debuted in July 2017, when "Burger Rain" and "Beat Fishin'" were released as a tour-exclusive 7" single. Songs from the series' first season were eventually compiled as The Aquabats! Super Show! Television Soundtrack: Volume One, which was released digitally in March 2019 and then onto physical media the following June, where it became The Aquabats' highest-charting album to date, debuting at the top of Billboards Top Heatseekers chart and at 165 on the Billboard 200.
Cast and characters
See: List of The Aquabats! Super Show! characters
The Aquabats! Super Show! stars and is based upon fictionalized versions of the then-current (since 2006) line-up of the California comedy rock band The Aquabats. Adapting the backstory the band has used for the entirety of their professional career, Super Show! depicts The Aquabats as a group of bumbling, out-of-shape superheroes on a self-appointed mission to fight the forces of evil, presented in both live-action and animated segments. The five members of The Aquabats are:
The MC Bat Commander (played and voiced by Christian Jacobs) – The Aquabats' singer and de facto leader of the team. Though he doesn't have any superpowers of his own and is often quite stubborn and naive, the Commander is shown to be an effective strategist whose sharp leadership skills, bravery and determination regularly drive the band towards victory.
Crash McLarson (played and voiced by Chad Larson) – The band's bass guitarist, who has the frequently uncontrollable ability to grow upwards of 100 feet in size when under emotional stress. Despite being the largest and strongest of The Aquabats, Crash has a gentle, childlike demeanor bordering on slight dim-wittedness, and as such is usually the most cowardly member of the team.
Jimmy the Robot (played and voiced by James R. Briggs, Jr.) – The Aquabats' keyboardist. As his name implies, Jimmy is an android whose mechanical body houses a variety of built-in gadgets and weaponry, plus a comprehensive knowledge database which earns him the position of the group's resident scientist. Being a robot, Jimmy is generally perplexed by human emotions and behavior.
Ricky Fitness (played and voiced by Richard Falomir) – the band's drummer, Ricky possesses the power of super speed. Being the most physically fit and health-conscious member of The Aquabats, some of the series' running gags revolve around Ricky's status as a handsome ladies' man and his fondness for "fresh, healthy veggies" in contrast to the rest of the team's voracious affinity for junk food.
EagleBones Falconhawk (played and voiced by Ian Fowles) – The Aquabats' guitarist. The cocky and boyish maverick of the team, EagleBones is highly proficient on his custom weaponized electric guitar which shoots lasers from its headstock. Following a spiritual encounter early in season one, EagleBones also has the gift of second sight and is accompanied by "The Dude", an invisible spirit eagle whom he summons to aide The Aquabats in battle.
Voice actor and writer Mr. Lawrence provided the minimal narration for both seasons of Super Show!s live-action segments, while staff writer Kyle McCulloch narrated the first season's animated segments.
Guest stars and recurring characters
Though each episode of the series introduced a new villain, ally and/or celebrity cameo, Super Show! never featured any major recurring characters throughout its run. However, every episode of the show included a very brief appearance by a character fans dubbed the "Fox Man", a man in a cheap-looking fox costume played by visual effects supervisor Joel Fox, who would appear hidden in the background of a random scene as an Easter egg for viewers to spot, although his character was never explained within the context of the series.
Comedy musician "Weird Al" Yankovic and comedian Paul Rust were the only two guest actors to appear in two episodes: Yankovic played two different roles as the President of the United States and superhero SuperMagic PowerMan! (in a 2012 interview, Jacobs alluded to the two possibly being the same character, though this isn't implied within the series), while Rust played a boorish slacker named Ronmark, first appearing in live-action in a first-season episode and subsequently lending his voice to a mutated monster version of the character in part of a second-season episode.
Episodes
Distribution
International broadcast
Outside of North America, The Aquabats! Super Show! broadcast in Australia on the children's public broadcasting channel ABC3 and in the United Kingdom on the children's network CITV.
Home media
Coinciding with the run of the first season, each new episode of The Aquabats! Super Show! was released through the iTunes Store for digital download. Prior to the series debut, a season pass was made available for purchase to enable viewers to automatically receive a download of each new episode on its airdate. The first season of Super Show! was added to the video streaming service Netflix on December 1, 2012, later being added to Hulu on December 21.
Unlike the first season, the series' second season was not made available for iTunes pre-order, nor were episodes released for purchase. Though each episode was briefly streamed on The Hub's official website, none of the seasons' episodes were made available on Hulu, Netflix or similar streaming services.
Shout! Factory had the DVD publishing rights for The Aquabats! Super Show! within Region 1 for release of the first season. The company first announced their acquisition of the series and plans for a future DVD in a press release dated August 6, 2012, though did not initially confirm a set release date until several months later. On May 21, 2013, the first season of Super Show! was released on a two-disc DVD set.
On November 22, 2017, in conjunction with their announcement of a season two theatrical screening, The Aquabats confirmed an independent Blu-ray release for season two, including the three specials often considered a "season three". On December 5, pre-orders were launched on The Aquabats' merchandising site for an official release date of December 22, though copies were first made for public sale at the second season theatrical screening on December 16.
Starting in December 2014, The Aquabats gradually began uploading the series' full episodes onto their official YouTube channel. As of August 2019, all 21 episodes of Super Show! and its pilot episode have been publicly uploaded to their account.
Critical reception
Critical response to The Aquabats! Super Show! was predominantly positive, with most reviewers praising the series' intentionally campy tone and offbeat humor. The Onions The A.V. Club gave the series premiere an A− rating, describing it as "a loving homage to basically everything ever done by the brothers Krofft": "the show adeptly flips from humor to melodrama to action, providing some awesomely cheap special effects, goofy songs, and gags that range from slapstick to sublime", summarizing "there's so much here that both kids and parents will be able to enjoy the proceedings on their own respective levels and rarely find themselves bored".
Brian Lowry of Variety wrote "you don't have to laugh at everything to admire the effort and sheer silliness", calling the show a "goofy and nostalgic" throwback to the "children's TV of baby boomers' youth, down to crappy production values and awful-looking 'monsters' that work to its advantage". He summarized "Although this Hub series at times feels like an SNL skit stretched to a half-hour, its sly mix of music, live-action crime-fighting, cartoons and mock ads ought to develop a cult following—and might be more popular with parents, at least those with the geek gene, than their kids".
Technology magazine Wired was consistently positive towards the series, calling it both "wonderfully strange" and "delightfully deranged", writing "[f]illed with self-deprecating music videos, toon interludes and ludicrous villains, The Aquabats! Super Show! has become one of television's strangely comforting finds".
Common Sense Media, who review shows based on age-appropriate content, gave Super Show! a rating of 4 out of 5 stars, calling it "demented and manic...fun by sheer dint of how many jokes, visual and otherwise, are thrown at the screen, both those calculated to appeal to kids and adults". The site praised the series for its lighter and sillier tone in comparison to more violent live-action superhero fare, and considered the "kind-hearted" Aquabats to be relatively positive role models. However, the reviewer suggested the show's violence and creatures may be too intense for very young children, and pointed out a distinct lack of central female characters.
Neil Genzlinger of The New York Times offered a more indifferent opinion, calling The Aquabats "indescribably odd" and the series "frenetic, semicoherent and generally harmless. Also somewhat hallucinogenic", noting Super Show!s writing "may be over the heads of the 2-to-12 set", suggesting its most receptive audience might be "the college drinking-game crowd".
Awards and nominations
The Aquabats! Super Show! was nominated for the following awards:
Daytime Emmy Award
References
External links
Official website of The Aquabats
The Aquabats
2010s American children's television series
2010s American musical comedy television series
2010s American satirical television series
2010s American sketch comedy television series
2010s American superhero comedy television series
2012 American television series debuts
2014 American television series endings
American children's adventure television series
American children's musical television series
American television series with live action and animation
Children's sketch comedy
English-language television shows
Television series by Fremantle (company)
Television shows set in Orange County, California
American television shows featuring puppetry
Discovery Family original programming | true | [
"\"Anything\" is a song by rapper Jay-Z that is found on the Vinyl 12\" \"Anything (The Berlin Remixes)\" 1999 with a Remix of DJ Tomekk from Def Jam Germany and later on Beanie Sigel's 2000 album The Truth. It is produced by Sam Sneed and P. Skam, who sample Lionel Bart's \"I'll Do Anything\" for the track's beat and chorus. The sample from Oliver! heavily popularized \"Anything\", as did the Annie sample on \"Hard Knock Life (Ghetto Anthem)\", \"Anything\" was also a bonus track on Jay-Z's album Vol. 3... Life and Times of S. Carter (UK/Europe edition) as is \"Anything (Mr. Drunk Mix)\" on the Japanese version of the album.\n\nJay-Z admitted to Angie Martinez in a 2009 interview on the BET program Food for Thought that he hoped the song would be a success like \"Hard Knock Life (Ghetto Anthem)\" due to their similarities but was surprised when it wasn't, even saying \"I dropped the record and then nothing\". The song did, however, achieve moderate success in the UK reaching #18 on the singles chart. A music video for the song was also released, which was directed by Chris Robinson.\n\n\"Anything (The Berlin Remixes)\"\n\nFormats and track listings\n\nVinyl 12\"\n\nA-side\n \"Anything (GBZ Remix)\"\t\t\n \"Anything (GBZ Remix Instrumental)\"\n\nB-side\n \"Anything (DJ Tomekk Remix)\"\t\n \"Anything (Original Version)\"\t\n \"Anything (Original Version Instrumental)\"\n\nFormats and track listings\n\nCD\n \"Anything (Radio Edit)\"\n \"So Ghetto\"\n \"There's Been a Murder\"\n \"Anything (Video)\"\n\nVinyl\n\nA-side\n \"Anything (Radio Edit) (3:47)\"\n \"Anything (LP Version) (4:47)\"\n \"Anything (Instrumental) (4:48)\"\n\nB-side\n \"Big Pimpin' (Radio Edit) (3:56)\"\n \"Big Pimpin' (LP Version) (4:44)\"\n \"Big Pimpin' (Instrumental) (4:59)\"\n\nCharts\n\nSee also\nList of songs recorded by Jay-Z\n\nReferences\n\n2000 singles\nJay-Z songs\nMusic videos directed by Chris Robinson (director)\nSongs written by Jay-Z\nSongs written by Lionel Bart\nRoc-A-Fella Records singles\n2000 songs",
"Field hands were slaves who labored in the plantation fields. They commonly were used to plant, tend, and harvest cotton, sugar, rice, and tobacco.\n\nChores \nField slaves usually worked in the fields from sunrise to sundown while being monitored by an overseer. The overseer ensured that slaves did not slow down or cease their field work until the day was over.\n\nClothing \nField slaves were given one outfit annually. During the winter time, field slaves were given additional clothing, or material to make additional cloth, in order to keep warm.\n\nChildren \nChildren did not go to school and were put to work as young as they were able. Younger children were given lighter tasks, like fetching meals and guarding livestock. Slave children received little to no clothing until they reached puberty. They were given gender-appropriate clothing.\n\nWomen \nWomen were given long dresses to wear in the summer. During the winter they made themselves a shawl and pantalettes. Women often wore turbans on the heads, covering their hair.\n\nMen \nMen were given pants to wear during the summer and then in the winter they were also given long coats to wear.\n\nMeals \nField slaves were given weekly rations of food by their master, which included meat, corn meal and flour. If permitted, the slaves could have a garden to grow themselves fresh vegetables. Otherwise they would make a meal from their rations and anything else they could find.\n\nSee also\nField holler\nHouse negro\nTreatment of the enslaved in the United States\n\nReferences\n\nSlavery in the United States\nPlantations in the United States"
] | [
"The Aquabats! Super Show! is an American action-comedy musical television series which aired from March 3, 2012 to January 8, 2014 on The Hub Network and resumed as an independent YouTube web series in September 2019.",
"is an American action-comedy musical television series which aired from March 3, 2012 to January 8, 2014 on The Hub Network and resumed as an independent YouTube web series in September 2019. The series was created by Christian Jacobs, and Scott Schultz, both the creators of the Nick Jr. show Yo Gabba Gabba!, and Jason deVilliers.",
"The series was created by Christian Jacobs, and Scott Schultz, both the creators of the Nick Jr. show Yo Gabba Gabba!, and Jason deVilliers. Based on the superhero mythology of The Aquabats, a real-life comedy rock band which series co-creator and lead singer Jacobs formed in 1994, The Aquabats! Super Show!",
"Super Show! Super Show! follows the comic adventures of a fictionalized version of the band, a musical group of amateur superheroes, as they haphazardly defend the world from a variety of villains and monsters. Styled similarly to the campy aesthetics of 1960s and 1970s children's television and Japanese tokusatsu, Super Show!",
"Styled similarly to the campy aesthetics of 1960s and 1970s children's television and Japanese tokusatsu, Super Show! utilizes various mediums of visual styles and special effects, mixing live-action storylines with cartoon shorts, parody advertisements and musical interludes.",
"utilizes various mediums of visual styles and special effects, mixing live-action storylines with cartoon shorts, parody advertisements and musical interludes. The series' first season concluded on June 16, 2012 following a run of 13 episodes, having met with a largely positive critical reception, consistently high ratings for the channel and a Daytime Emmy nomination for Outstanding Children's Series.",
"The series' first season concluded on June 16, 2012 following a run of 13 episodes, having met with a largely positive critical reception, consistently high ratings for the channel and a Daytime Emmy nomination for Outstanding Children's Series. The series' second season consisted of an initial five episodes which aired through June 2013, with three additional episodes airing in late December and January 2014, receiving similar acclaim and a further seven Daytime Emmy nominations, ultimately winning one for Best Stunt Coordination.",
"The series' second season consisted of an initial five episodes which aired through June 2013, with three additional episodes airing in late December and January 2014, receiving similar acclaim and a further seven Daytime Emmy nominations, ultimately winning one for Best Stunt Coordination. In June 2014, co-creator Jacobs officially announced the series' cancellation, following news of The Hub's financial losses which led to the network's rebranding as Discovery Family later that October.",
"In June 2014, co-creator Jacobs officially announced the series' cancellation, following news of The Hub's financial losses which led to the network's rebranding as Discovery Family later that October. In July 2018, The Aquabats launched a successful Kickstarter to help independently finance new episodes of The Aquabats!",
"In July 2018, The Aquabats launched a successful Kickstarter to help independently finance new episodes of The Aquabats! Super Show!, promoting the campaign with a series of YouTube-exclusive mini-episodes continuing the original series' storyline.",
"Super Show!, promoting the campaign with a series of YouTube-exclusive mini-episodes continuing the original series' storyline. On September 28, 2019, The Aquabats premiered the first installment of these new episodes, now a biweekly YouTube series entitled The Aquabats! RadVentures!, though still retaining Super Show!s theme song and title card.",
"RadVentures!, though still retaining Super Show!s theme song and title card. Series overview Premise Chronicled in both live-action and animated segments, The Aquabats! Super Show!",
"Super Show! Super Show! is centered around the adventures of The Aquabats, a group of superhero rock musicians who travel the countryside on a self-appointed mission to fight evil and \"destroy boredom\", protecting the world from the villains and creatures who threaten to destroy it while aiming to become a famous rock and roll band in their own right.",
"is centered around the adventures of The Aquabats, a group of superhero rock musicians who travel the countryside on a self-appointed mission to fight evil and \"destroy boredom\", protecting the world from the villains and creatures who threaten to destroy it while aiming to become a famous rock and roll band in their own right. The Aquabats consist of singer The MC Bat Commander (Christian Jacobs), the swaggering leader of the group; bassist Crash McLarson (Chad Larson), who can grow up to 100 feet in size; drummer Ricky Fitness (Richard Falomir), who has the power of super speed; guitarist EagleBones Falconhawk (Ian Fowles), who's armed with a laser-shooting electric guitar; and keyboardist Jimmy the Robot (James R. Briggs, Jr.), an android.",
"The Aquabats consist of singer The MC Bat Commander (Christian Jacobs), the swaggering leader of the group; bassist Crash McLarson (Chad Larson), who can grow up to 100 feet in size; drummer Ricky Fitness (Richard Falomir), who has the power of super speed; guitarist EagleBones Falconhawk (Ian Fowles), who's armed with a laser-shooting electric guitar; and keyboardist Jimmy the Robot (James R. Briggs, Jr.), an android. Despite their superhuman strengths and abilities, The Aquabats are quite bumbling, disorganized, and sometimes cowardly when faced with danger; this has in fact led them to be labeled \"the world's most inept superheroes\".",
"Despite their superhuman strengths and abilities, The Aquabats are quite bumbling, disorganized, and sometimes cowardly when faced with danger; this has in fact led them to be labeled \"the world's most inept superheroes\". The band lives and travels by way of their \"Battletram\", a modified classic GMC motorhome which, despite its small exterior, has an implausibly massive interior (similar to the TARDIS from Doctor Who or The Big Bologna from The Kids From C.A.P.E.R.",
"The band lives and travels by way of their \"Battletram\", a modified classic GMC motorhome which, despite its small exterior, has an implausibly massive interior (similar to the TARDIS from Doctor Who or The Big Bologna from The Kids From C.A.P.E.R. ), which contains, among many things, a science lab, a command center, and a living room.",
"), which contains, among many things, a science lab, a command center, and a living room. The Aquabats' origin story was left intentionally vague throughout the series, a choice Jacobs explains was done for the sake of the viewer's imagination, as he felt kids were more accepting of the inherent absurdity of the premise than adults tend to be: \"'There's five guys.",
"The Aquabats' origin story was left intentionally vague throughout the series, a choice Jacobs explains was done for the sake of the viewer's imagination, as he felt kids were more accepting of the inherent absurdity of the premise than adults tend to be: \"'There's five guys. This is what each of the five guys does.",
"This is what each of the five guys does. There are monsters. They're gonna try to fight them'. It's so simple. And I think that's why it's so awesome with kids—they just take it and run with it\".",
"And I think that's why it's so awesome with kids—they just take it and run with it\". In the first five episodes of season two, each member of The Aquabats shares their memory of how they joined the band via animated flashback sequences; however, all of these flashbacks directly and intentionally contradict each other, leaving it unknown which—if any—could be considered officially canonical.",
"In the first five episodes of season two, each member of The Aquabats shares their memory of how they joined the band via animated flashback sequences; however, all of these flashbacks directly and intentionally contradict each other, leaving it unknown which—if any—could be considered officially canonical. Format and influences The Aquabats! Super Show!",
"Format and influences The Aquabats! Super Show! Super Show! juxtaposes both live-action and animated segments starring The Aquabats, interwoven with various tangential skits and cartoon interstitials. The live-action storylines are the primary focus of each episode, following a self-contained villain of the week formula.",
"The live-action storylines are the primary focus of each episode, following a self-contained villain of the week formula. In the first season, each episode featured brief anime-styled cartoon shorts which one of the characters would introduce at a random point of the show, often by finding \"A Cartoon\" (represented by a miniature television set) in an absurd location.",
"In the first season, each episode featured brief anime-styled cartoon shorts which one of the characters would introduce at a random point of the show, often by finding \"A Cartoon\" (represented by a miniature television set) in an absurd location. Unlike the live-action segments, these cartoons followed a serialized story arc, with each installment ending in a cliffhanger to be resolved in the next episode.",
"Unlike the live-action segments, these cartoons followed a serialized story arc, with each installment ending in a cliffhanger to be resolved in the next episode. In season two, this format was replaced with a series of animated flashbacks recounting the origins of The Aquabats, each by a different animation studio and in a different animation style.",
"In season two, this format was replaced with a series of animated flashbacks recounting the origins of The Aquabats, each by a different animation studio and in a different animation style. Between these segments are pantomime cartoon shorts starring \"Lil' Bat\", The Aquabats' anthropomorphic bat mascot, and live-action parody commercials for outlandish fictional products, the latter of which has long been a staple of The Aquabats' multi-media stage shows.",
"Between these segments are pantomime cartoon shorts starring \"Lil' Bat\", The Aquabats' anthropomorphic bat mascot, and live-action parody commercials for outlandish fictional products, the latter of which has long been a staple of The Aquabats' multi-media stage shows. Jacobs says the concept behind Super Show!",
"Jacobs says the concept behind Super Show! was something he had always dreamed of doing, making a \"campy, live-action, funky kid's show\" in the vein of the 1960s and 1970s television that he and the rest of the series' producers had grown up with.",
"was something he had always dreamed of doing, making a \"campy, live-action, funky kid's show\" in the vein of the 1960s and 1970s television that he and the rest of the series' producers had grown up with. While the show pays homage to many facets of pop culture, Jacobs has named the 1960s Batman television series as the primary influence on Super Show!s \"obviously silly\" tone and visual style, ranging from set design to the trademark use of dutch angles for villain scenes.",
"While the show pays homage to many facets of pop culture, Jacobs has named the 1960s Batman television series as the primary influence on Super Show!s \"obviously silly\" tone and visual style, ranging from set design to the trademark use of dutch angles for villain scenes. Other notable influences Jacobs has repeatedly mentioned include the works of Sid and Marty Krofft and Hanna-Barbera, Japanese tokusatsu series such as Ultraman and Johnny Sokko And His Flying Robot, the Shaw Brothers and Hong Kong cinema, and shows including Danger Island, Star Trek, The Rocky and Bullwinkle Show, and Pee-wee's Playhouse, noting \"there's a good 30 years worth of television culture packed into these 22-minute episodes\".",
"Other notable influences Jacobs has repeatedly mentioned include the works of Sid and Marty Krofft and Hanna-Barbera, Japanese tokusatsu series such as Ultraman and Johnny Sokko And His Flying Robot, the Shaw Brothers and Hong Kong cinema, and shows including Danger Island, Star Trek, The Rocky and Bullwinkle Show, and Pee-wee's Playhouse, noting \"there's a good 30 years worth of television culture packed into these 22-minute episodes\". Demographic As The Hub's key demographic were children aged 6 to 12, Super Show!",
"Demographic As The Hub's key demographic were children aged 6 to 12, Super Show! was ostensibly targeted towards said age group, though Jacobs has stated that the series primarily aimed to appeal to an all-ages crowd, with the intent of creating entertainment that both kids and parents can watch and enjoy together or separately.",
"was ostensibly targeted towards said age group, though Jacobs has stated that the series primarily aimed to appeal to an all-ages crowd, with the intent of creating entertainment that both kids and parents can watch and enjoy together or separately. In interviews prior to the series' premiere, he explained that this was merely an extension of The Aquabats' own family-friendly ethos: \"There's just obviously something about the costumes and being superheroes that really appeals to younger kids, and I think we always knew that as a band...I think we'll want to put things in [the show] for an older audience, because we realize we have an older audience, but then also we want the young kids, to not have it go over their heads\".",
"In interviews prior to the series' premiere, he explained that this was merely an extension of The Aquabats' own family-friendly ethos: \"There's just obviously something about the costumes and being superheroes that really appeals to younger kids, and I think we always knew that as a band...I think we'll want to put things in [the show] for an older audience, because we realize we have an older audience, but then also we want the young kids, to not have it go over their heads\". Production history History and previous attempts at a series In 1994, musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in Brea, California.",
"Production history History and previous attempts at a series In 1994, musicians Christian Jacobs, Chad Larson and former member Boyd Terry formed The Aquabats in Brea, California. Influenced as much by cartoons and camp television as theatrical bands like Devo and Oingo Boingo, The Aquabats gained instant notoriety in the Orange County music scene for their eccentric persona in which they claimed to be a band of superheroes on a quest to save the world and their elaborate stage shows which regularly featured scripted fights with costumed villains alongside similar stunts and comedy sketches.",
"Influenced as much by cartoons and camp television as theatrical bands like Devo and Oingo Boingo, The Aquabats gained instant notoriety in the Orange County music scene for their eccentric persona in which they claimed to be a band of superheroes on a quest to save the world and their elaborate stage shows which regularly featured scripted fights with costumed villains alongside similar stunts and comedy sketches. The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough for the group, charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs – a former child actor with ties in the industry – to develop the concept of adapting the band's mythology for television.",
"The Aquabats' second studio album, 1997's The Fury of The Aquabats!, proved to be a minor commercial breakthrough for the group, charting on the Billboard 200 and bringing them exposure through such venues as MTV, leading Jacobs – a former child actor with ties in the industry – to develop the concept of adapting the band's mythology for television. In 1998, Buena Vista Television helped produce a live-action mini-pilot directed by comedian Bobcat Goldthwait titled simply The Aquabats!, following the comic misadventures of the then-eight member band in an over-the-top camp style similar to Saturday morning cartoon shows.",
"In 1998, Buena Vista Television helped produce a live-action mini-pilot directed by comedian Bobcat Goldthwait titled simply The Aquabats!, following the comic misadventures of the then-eight member band in an over-the-top camp style similar to Saturday morning cartoon shows. The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves.",
"The pilot, which has yet to be made available for public viewing, failed to generate any network interest and was ultimately even disowned by the band themselves. Undeterred, The Aquabats made an attempt at a second pilot the following year, using a music video budget granted by their record label Goldenvoice Records for their 1999 album The Aquabats vs. the Floating Eye of Death!.",
"Undeterred, The Aquabats made an attempt at a second pilot the following year, using a music video budget granted by their record label Goldenvoice Records for their 1999 album The Aquabats vs. the Floating Eye of Death!. Independently directed and produced by Jacobs and his creative partner Scott Schultz, the result was a five-minute promo video entitled The Aquabats in Color!.",
"Independently directed and produced by Jacobs and his creative partner Scott Schultz, the result was a five-minute promo video entitled The Aquabats in Color!. In contrast to the wackier tone of the previous pilot, The Aquabats in Color! was a more action-oriented superhero series modeled after Japanese tokusatsu shows such as Kamen Rider.",
"was a more action-oriented superhero series modeled after Japanese tokusatsu shows such as Kamen Rider. According to Jacobs, the Fox Family Channel reportedly expressed interest in the series and ordered production on a proper pilot episode, though following the channel's acquisition by Disney in 2001, the project was cancelled. The Aquabats! Super Show!",
"The Aquabats! Super Show! Super Show! pilot (2008) In 2005, Jacobs and Schultz formed the Orange County-based production company The Magic Store, focusing on creating family-oriented television entertainment.",
"pilot (2008) In 2005, Jacobs and Schultz formed the Orange County-based production company The Magic Store, focusing on creating family-oriented television entertainment. One of the company's independently produced pilots, the children's television series Yo Gabba Gabba!, was eventually picked up as a series by Viacoms Nick Jr. channel, premiering in August 2007 and ultimately becoming an award-winning and critically acclaimed international success.",
"One of the company's independently produced pilots, the children's television series Yo Gabba Gabba!, was eventually picked up as a series by Viacoms Nick Jr. channel, premiering in August 2007 and ultimately becoming an award-winning and critically acclaimed international success. In the wake of the series' popularity, Jacobs and Schultz persuaded Yo Gabba Gabba!s joint production company Wild Brain to help produce a new pilot based around The Aquabats in conjuncture with The Magic Store.",
"In the wake of the series' popularity, Jacobs and Schultz persuaded Yo Gabba Gabba!s joint production company Wild Brain to help produce a new pilot based around The Aquabats in conjuncture with The Magic Store. Again creatively spearheaded by Jacobs and Schultz, The Aquabats' third pilot, titled The Aquabats!",
"Again creatively spearheaded by Jacobs and Schultz, The Aquabats' third pilot, titled The Aquabats! Super Show!, was shot on location throughout southern California in late 2007 and early 2008.",
"Super Show!, was shot on location throughout southern California in late 2007 and early 2008. Part of this filming took place at a free invitation-only concert for members of the band's official fan club at the El Rey Theatre in Los Angeles on January 12, 2008.",
"Part of this filming took place at a free invitation-only concert for members of the band's official fan club at the El Rey Theatre in Los Angeles on January 12, 2008. While The Aquabats' previous pilots were short, live-action promotional videos, The Aquabats! Super Show!",
"Super Show! Super Show! was a fully realized 22-minute episode featuring two separate storylines based on the adventures of The Aquabats, one live-action and one animated, and interspersed with parody commercials and live footage of the band.",
"was a fully realized 22-minute episode featuring two separate storylines based on the adventures of The Aquabats, one live-action and one animated, and interspersed with parody commercials and live footage of the band. Speaking on the decision to structure the show in such a varied format, Jacobs said \"[w]e did that for a strategic reason – some networks like cartoons more than other networks.",
"Speaking on the decision to structure the show in such a varied format, Jacobs said \"[w]e did that for a strategic reason – some networks like cartoons more than other networks. We wanted to say, 'this could be both shows'.\" Following a period of post-production, The Aquabats began widely self-promoting Super Show!",
"Following a period of post-production, The Aquabats began widely self-promoting Super Show! in June 2008, redesigning their website to promote the pilot and releasing a teaser trailer and several exclusive clips through an official Super Show! YouTube channel.",
"YouTube channel. YouTube channel. On July 25, 2008, the band screened the full pilot at a concert in San Diego held during the weekend of the San Diego Comic-Con, while a segment of the episode was hosted on Boing Boing the same day.",
"On July 25, 2008, the band screened the full pilot at a concert in San Diego held during the weekend of the San Diego Comic-Con, while a segment of the episode was hosted on Boing Boing the same day. In 2009, Cartoon Network allegedly picked the series up for a run of 22 episodes, though following major staff changes within the company—which, according to Jacobs, included the termination of the executives who had green-lighted Super Show!—the project was again cancelled.",
"In 2009, Cartoon Network allegedly picked the series up for a run of 22 episodes, though following major staff changes within the company—which, according to Jacobs, included the termination of the executives who had green-lighted Super Show!—the project was again cancelled. The Hub and season one After several more unsuccessful network pitches into the 2010s, The Aquabats!",
"The Hub and season one After several more unsuccessful network pitches into the 2010s, The Aquabats! Super Show! was finally picked up as a series by family cable channel The Hub, a joint venture between Hasbro and Discovery which launched in 2010 as a replacement for Discovery Kids.",
"was finally picked up as a series by family cable channel The Hub, a joint venture between Hasbro and Discovery which launched in 2010 as a replacement for Discovery Kids. The Hub formally announced the series in a press release on March 23, 2011, revealing Super Show!",
"The Hub formally announced the series in a press release on March 23, 2011, revealing Super Show! would be given a first season run of 13 episodes, produced in conjuncture with FremantleMedia.",
"would be given a first season run of 13 episodes, produced in conjuncture with FremantleMedia. In promotion of the series, The Aquabats appeared as part of a panel at the 2011 San Diego Comic-Con where they discussed their initial plans for the show, while The Hub sponsored an Aquabats concert held at the nearby House of Blues during the same weekend.",
"In promotion of the series, The Aquabats appeared as part of a panel at the 2011 San Diego Comic-Con where they discussed their initial plans for the show, while The Hub sponsored an Aquabats concert held at the nearby House of Blues during the same weekend. Production on season one of Super Show! officially began in May 2011.",
"officially began in May 2011. officially began in May 2011. The entirety of the first season was shot within and around The Aquabats' hometown of Orange County, California; according to the first season DVD audio commentary, episodes were shot on location in the cities of Irvine, Silverado, Yorba Linda, Huntington Beach and Fullerton, while a private sound stage in Santa Ana was used for interior shots of the Battletram.",
"The entirety of the first season was shot within and around The Aquabats' hometown of Orange County, California; according to the first season DVD audio commentary, episodes were shot on location in the cities of Irvine, Silverado, Yorba Linda, Huntington Beach and Fullerton, while a private sound stage in Santa Ana was used for interior shots of the Battletram. A public Aquabats concert held at The Glass House club in Pomona on November 5, 2011 was also filmed to provide live footage of the band which is featured in the series' opening credits montage and several individual episodes.",
"A public Aquabats concert held at The Glass House club in Pomona on November 5, 2011 was also filmed to provide live footage of the band which is featured in the series' opening credits montage and several individual episodes. Much of Super Show!s staff consist of friends and colleagues of The Aquabats who've previously worked with the band on various projects, ranging from members of Yo Gabba Gabba!s production team to fellow musicians within the southern California music scene.",
"Much of Super Show!s staff consist of friends and colleagues of The Aquabats who've previously worked with the band on various projects, ranging from members of Yo Gabba Gabba!s production team to fellow musicians within the southern California music scene. Among the more notable examples include Dallas McLaughlin and Matthew Gorney, both members of the San Diego hip hop band Bad Credit, who prominently served as writers, composers and performers, Warren Fitzgerald, guitarist for The Vandals, who was hired as a writer and music director, internet sketch comedy group Mega64 were commissioned to produce original material, primarily the series' parody commercials, and Japanese artist Pey, who had designed much of The Aquabats' promotional art and merchandise during the 2000s, was hired to design the season's animated segments.",
"Among the more notable examples include Dallas McLaughlin and Matthew Gorney, both members of the San Diego hip hop band Bad Credit, who prominently served as writers, composers and performers, Warren Fitzgerald, guitarist for The Vandals, who was hired as a writer and music director, internet sketch comedy group Mega64 were commissioned to produce original material, primarily the series' parody commercials, and Japanese artist Pey, who had designed much of The Aquabats' promotional art and merchandise during the 2000s, was hired to design the season's animated segments. Additionally, several industry professionals were brought in to help work on the show: Dani Michaeli, a staff writer on SpongeBob SquarePants, was hired as the series' story editor, while Matt Chapman, co-creator of the internet Flash cartoon Homestar Runner, acted as a writer, director and actor on several episodes.",
"Additionally, several industry professionals were brought in to help work on the show: Dani Michaeli, a staff writer on SpongeBob SquarePants, was hired as the series' story editor, while Matt Chapman, co-creator of the internet Flash cartoon Homestar Runner, acted as a writer, director and actor on several episodes. As none of the members besides Jacobs had any previous acting experience, comedian Matt Walsh of the Upright Citizens Brigade was brought in to help teach The Aquabats comedic acting and timing.",
"As none of the members besides Jacobs had any previous acting experience, comedian Matt Walsh of the Upright Citizens Brigade was brought in to help teach The Aquabats comedic acting and timing. In further homage to the original Batman series, Super Show! features a variety of celebrity cameo appearances.",
"features a variety of celebrity cameo appearances. The series' first season included appearances from actors Jon Heder, Lou Diamond Phillips and Samm Levine, comedians Rip Taylor, Paul Scheer and Paul Rust, and comedy musician \"Weird Al\" Yankovic, who appeared in two episodes as different characters.",
"The series' first season included appearances from actors Jon Heder, Lou Diamond Phillips and Samm Levine, comedians Rip Taylor, Paul Scheer and Paul Rust, and comedy musician \"Weird Al\" Yankovic, who appeared in two episodes as different characters. The first season also included several \"Easter egg\" cameos from original Aquabats members Corey \"Chainsaw\" Pollock and Boyd \"Catboy\" Terry, as well as from fellow musicians Warren Fitzgerald and Art Mitchell of the band Supernova.",
"The first season also included several \"Easter egg\" cameos from original Aquabats members Corey \"Chainsaw\" Pollock and Boyd \"Catboy\" Terry, as well as from fellow musicians Warren Fitzgerald and Art Mitchell of the band Supernova. Despite having been originally announced as part of The Hub's 2011 Fall line-up, production delays postponed Super Show!s premiere to early 2012.",
"Despite having been originally announced as part of The Hub's 2011 Fall line-up, production delays postponed Super Show!s premiere to early 2012. The series' marketing campaign began in December 2011, with a later announcement of an official premiere date confirmed for March 3, 2012.",
"The series' marketing campaign began in December 2011, with a later announcement of an official premiere date confirmed for March 3, 2012. Following a non-consecutive run of 13 episodes, the first-season finale aired on June 16, 2012.",
"Following a non-consecutive run of 13 episodes, the first-season finale aired on June 16, 2012. Season two On October 16, 2012, The Aquabats and The Hub confirmed production on new episodes of Super Show! through the social networking sites Facebook and Twitter, announcing a tentative debut date of Spring 2013.",
"through the social networking sites Facebook and Twitter, announcing a tentative debut date of Spring 2013. Principal photography on season two began on October 22 and wrapped on December 1.",
"Principal photography on season two began on October 22 and wrapped on December 1. Unlike the first season, the majority of season two was shot in and around Salt Lake City, Utah, which Jacobs explained was considerably less expensive than shooting in California.",
"Unlike the first season, the majority of season two was shot in and around Salt Lake City, Utah, which Jacobs explained was considerably less expensive than shooting in California. While no changes were made to Super Shows creative team, in December 2012 it was announced that season two would introduce the series' first guest director, musician and comic book writer Gerard Way, who co-directed and co-wrote the season finale \"The AntiBats!\"",
"While no changes were made to Super Shows creative team, in December 2012 it was announced that season two would introduce the series' first guest director, musician and comic book writer Gerard Way, who co-directed and co-wrote the season finale \"The AntiBats!\" with Jacobs and deVilliers.",
"with Jacobs and deVilliers. with Jacobs and deVilliers. Way's involvement with the series was heavily covered by the music press in the wake of the March 2013 break-up of his popular alternative rock band My Chemical Romance.",
"Way's involvement with the series was heavily covered by the music press in the wake of the March 2013 break-up of his popular alternative rock band My Chemical Romance. Among the guest stars featured in season two were professional skateboarders Tony Hawk and Eric Koston, Devo frontman and Yo Gabba Gabba!",
"Among the guest stars featured in season two were professional skateboarders Tony Hawk and Eric Koston, Devo frontman and Yo Gabba Gabba! cast member Mark Mothersbaugh, internet celebrity Leslie Hall, actor Martin Starr and My Chemical Romance bassist Mikey Way.",
"cast member Mark Mothersbaugh, internet celebrity Leslie Hall, actor Martin Starr and My Chemical Romance bassist Mikey Way. On December 2, 2012, deVilliers revealed on his Twitter account that the upcoming season would consist of only five new episodes, in what he called more \"season 1.5\" than a \"season 2\", though mentioned the possibility of more being made in the future.",
"On December 2, 2012, deVilliers revealed on his Twitter account that the upcoming season would consist of only five new episodes, in what he called more \"season 1.5\" than a \"season 2\", though mentioned the possibility of more being made in the future. On May 1, 2013, it was announced through Entertainment Weekly that the series' second season would begin airing on June 1.",
"On May 1, 2013, it was announced through Entertainment Weekly that the series' second season would begin airing on June 1. After a run of only five episodes, the season concluded on June 29, 2013.",
"After a run of only five episodes, the season concluded on June 29, 2013. 2013–2014 specials On August 22, 2013, series performer Chad Larson confirmed via Twitter that three additional episodes of Super Show! were being filmed near the end of the year, \"and maybe more next\".",
"were being filmed near the end of the year, \"and maybe more next\". Principal photography on these episodes eventually began in Utah in early October.",
"Principal photography on these episodes eventually began in Utah in early October. Throughout the month, The Aquabats posted numerous pictures of production on the new episodes on their Twitter and Instagram accounts, some of which revealed production code numbers of 301, 302 and 303, ostensibly indicating what would be a third season.",
"Throughout the month, The Aquabats posted numerous pictures of production on the new episodes on their Twitter and Instagram accounts, some of which revealed production code numbers of 301, 302 and 303, ostensibly indicating what would be a third season. Though these numbers were later verified by the Internet Movie Database, a November press release from The Hub explicitly referred to these three episodes as \"specials\".",
"Though these numbers were later verified by the Internet Movie Database, a November press release from The Hub explicitly referred to these three episodes as \"specials\". The first of these specials, \"Christmas with The Aquabats! \", aired on December 21, featuring comedians Robert Smigel and Matt Walsh in guest roles.",
"\", aired on December 21, featuring comedians Robert Smigel and Matt Walsh in guest roles. The second of these episodes, \"The Shark Fighter!\"",
"The second of these episodes, \"The Shark Fighter!\" (based on The Aquabats' song of the same name), featuring comedian Rhys Darby, aired the following week on December 28, while the final special \"Kitty Litter!\" aired on January 18, 2014. \"Kitty Litter!\"",
"\"Kitty Litter!\" \"Kitty Litter!\" was helmed by another guest director, Munn Powell, best known for his work as cinematographer on the Jared and Jerusha Hess films Napoleon Dynamite and Gentlemen Broncos.",
"was helmed by another guest director, Munn Powell, best known for his work as cinematographer on the Jared and Jerusha Hess films Napoleon Dynamite and Gentlemen Broncos. Following this short run of episodes, there was no confirmation by either The Hub or The Aquabats as to the production of any future episodes.",
"Following this short run of episodes, there was no confirmation by either The Hub or The Aquabats as to the production of any future episodes. In a December 2013 interview, Christian Jacobs acknowledged the network's unusually small order of episodes but didn't elaborate on any possible reasoning.",
"In a December 2013 interview, Christian Jacobs acknowledged the network's unusually small order of episodes but didn't elaborate on any possible reasoning. In the same interview, he stated that the band had initially prepared for another order of 13 episodes, having written as many scripts for potential future episodes.",
"In the same interview, he stated that the band had initially prepared for another order of 13 episodes, having written as many scripts for potential future episodes. On May 1, 2014, the nominees for the 2014 Daytime Emmy Awards were announced, revealing that Super Show!",
"On May 1, 2014, the nominees for the 2014 Daytime Emmy Awards were announced, revealing that Super Show! had been nominated for five awards in four categories, including the award for Best Writing in a Children's Series for the episode \"The AntiBats!\".",
"had been nominated for five awards in four categories, including the award for Best Writing in a Children's Series for the episode \"The AntiBats!\". The awards ceremony was held on June 22, 2014, where the series ultimately won the award for Best Stunt Coordination for stuntman Skip Carlson.",
"The awards ceremony was held on June 22, 2014, where the series ultimately won the award for Best Stunt Coordination for stuntman Skip Carlson. Cancellation by The Hub and hiatus In mid-2014, it was announced in entertainment press that Hasbro and Discovery had been in the process of rebranding The Hub following what they saw to be disappointing returns for the channel, changes which included the departure of CEO Margaret Loesch, who was instrumental in acquiring Super Show!",
"Cancellation by The Hub and hiatus In mid-2014, it was announced in entertainment press that Hasbro and Discovery had been in the process of rebranding The Hub following what they saw to be disappointing returns for the channel, changes which included the departure of CEO Margaret Loesch, who was instrumental in acquiring Super Show! as a series.",
"as a series. as a series. In a Huffington Post feature about The Aquabats prior to the band's appearance at the 2014 San Diego Comic-Con, it was revealed that The Hub had opted not to renew Super Show! for a third season, effectively cancelling the series.",
"for a third season, effectively cancelling the series. Jacobs admitted he was surprised by this turn of events, noting \"Everything we heard was that the show has been a real Cinderella story for the Hub and that it was rating really well with viewers.",
"Jacobs admitted he was surprised by this turn of events, noting \"Everything we heard was that the show has been a real Cinderella story for the Hub and that it was rating really well with viewers. We just assumed that we'd eventually go back into production or at least get picked up for Season 3\", but ultimately concluded \"it is what it is\" in regard to the network's decision.",
"We just assumed that we'd eventually go back into production or at least get picked up for Season 3\", but ultimately concluded \"it is what it is\" in regard to the network's decision. Despite this, Jacobs remained optimistic about the series' future, saying \"Given that we now live in a world where people are streaming TV shows directly onto their iPhones & computers, and given that companies like Netflix & Yahoo!",
"Despite this, Jacobs remained optimistic about the series' future, saying \"Given that we now live in a world where people are streaming TV shows directly onto their iPhones & computers, and given that companies like Netflix & Yahoo! are now picking up so much new content for their customers...I just find it hard to believe that The Aquabats!",
"are now picking up so much new content for their customers...I just find it hard to believe that The Aquabats! Super Show! is really over. I mean, we haven't even made any toys yet\". He concluded by stating \"It took us almost 15 years to get that TV series made.",
"He concluded by stating \"It took us almost 15 years to get that TV series made. And even though we've got a bunch more concert dates lined up for the rest of this year, our first priority is to find a new home for The Aquabats! Super Show!\".",
"Super Show!\". Super Show!\". On March 31, 2015, the nominees for the 42nd annual Daytime Emmy Awards were announced, with Super Show! earning nominations for Best SFX Mixer (Blaine Stewart) and Best Stunt Coordinator (Braxton McAllister).",
"earning nominations for Best SFX Mixer (Blaine Stewart) and Best Stunt Coordinator (Braxton McAllister). On June 27, 2015, The Aquabats screened the entire first season of Super Show!",
"On June 27, 2015, The Aquabats screened the entire first season of Super Show! before a sold-out crowd at The Frida Cinema in downtown Santa Ana, which was accompanied by a live performance by the band and Q&A sessions with The Aquabats and numerous members of the cast and crew.",
"before a sold-out crowd at The Frida Cinema in downtown Santa Ana, which was accompanied by a live performance by the band and Q&A sessions with The Aquabats and numerous members of the cast and crew. A similar presentation of the entire second season – including the three additional specials – took place at The Art Theater in Long Beach on December 16, 2017, coinciding with the release of the second season Blu-ray.",
"A similar presentation of the entire second season – including the three additional specials – took place at The Art Theater in Long Beach on December 16, 2017, coinciding with the release of the second season Blu-ray. Bring Back The Aquabats!",
"Bring Back The Aquabats! Bring Back The Aquabats! Kickstarter campaign Following weeks of teasing a major announcement, The Aquabats launched a Kickstarter campaign on July 31, 2018 to help finance the return of The Aquabats! Super Show! as well as new studio albums from the band at a minimum projected cost of $1.1 million.",
"as well as new studio albums from the band at a minimum projected cost of $1.1 million. The Aquabats promoted their campaign with a video featuring a slew of celebrity cameos, including Super Show!",
"The Aquabats promoted their campaign with a video featuring a slew of celebrity cameos, including Super Show! guest stars \"Weird Al\" Yankovic, Robert Smigel (as Triumph the Insult Comic Dog), Matt Chapman (as Homestar Runner and Strong Bad), former Aquabats member Travis Barker, Tony Kanal, Tom Dumont, Oscar Nunez, Kate Micucci, Blake Anderson, Imagine Dragons, Felicia Day and Tom Lennon, all of whom appeared in The Aquabats' trademark uniforms and spoke the Kickstarter's promotional slogan \"I am The Aquabats\"/\"We are The Aquabats\".",
"guest stars \"Weird Al\" Yankovic, Robert Smigel (as Triumph the Insult Comic Dog), Matt Chapman (as Homestar Runner and Strong Bad), former Aquabats member Travis Barker, Tony Kanal, Tom Dumont, Oscar Nunez, Kate Micucci, Blake Anderson, Imagine Dragons, Felicia Day and Tom Lennon, all of whom appeared in The Aquabats' trademark uniforms and spoke the Kickstarter's promotional slogan \"I am The Aquabats\"/\"We are The Aquabats\". Most prominently featured, however, was comedian Jack Black, who was later confirmed by the campaign's press releases to act as executive producer for the series' return.",
"Most prominently featured, however, was comedian Jack Black, who was later confirmed by the campaign's press releases to act as executive producer for the series' return. Along with their Kickstarter, the band began releasing a series of Super Show!",
"Along with their Kickstarter, the band began releasing a series of Super Show! \"mini-episodes\", depicting the MC Bat Commander's metafictional quest to reunite the estranged Aquabats following the series' cancellation.",
"\"mini-episodes\", depicting the MC Bat Commander's metafictional quest to reunite the estranged Aquabats following the series' cancellation. The band confirmed that as the Kickstarter progresses, further \"mini-episodes\" will be released to both promote the campaign as well as act as a continuation of Super Show!.",
"The band confirmed that as the Kickstarter progresses, further \"mini-episodes\" will be released to both promote the campaign as well as act as a continuation of Super Show!. By August 28, mere days before the campaign's end date of September 1, The Aquabats' Kickstarter had raised only $601,629 of its projected $1.1 million goal.",
"By August 28, mere days before the campaign's end date of September 1, The Aquabats' Kickstarter had raised only $601,629 of its projected $1.1 million goal. The funding was subsequently cancelled and the campaign was rebooted the same day with a smaller goal of $100,000 to instead finance one new album and the continued production of the Super Show!!",
"The funding was subsequently cancelled and the campaign was rebooted the same day with a smaller goal of $100,000 to instead finance one new album and the continued production of the Super Show!! \"mini-episodes\". The project's goal was met within minutes. Music Original music for The Aquabats! Super Show!",
"Super Show! Super Show! was primarily composed and performed by The Aquabats themselves, with additional scoring on most episodes provided by Matthew Gorney, Warren Fitzgerald or individual credits for Aquabats members James R. Briggs, Jr., Richard Falomir and Ian Fowles.",
"was primarily composed and performed by The Aquabats themselves, with additional scoring on most episodes provided by Matthew Gorney, Warren Fitzgerald or individual credits for Aquabats members James R. Briggs, Jr., Richard Falomir and Ian Fowles. Fitzgerald, guitarist for punk rock band The Vandals and former member of Oingo Boingo, acted as the series' music supervisor.",
"Fitzgerald, guitarist for punk rock band The Vandals and former member of Oingo Boingo, acted as the series' music supervisor. The theme song to Super Show!, \"Super Show Theme Song! \", was co-written by The Aquabats and Fitzgerald.",
"\", was co-written by The Aquabats and Fitzgerald. Whereas most musically oriented shows like The Monkees typically break the narrative of an episode for a music video performance of a standalone song, each episode of Super Show!",
"Whereas most musically oriented shows like The Monkees typically break the narrative of an episode for a music video performance of a standalone song, each episode of Super Show! typically features one or two unique songs that tied directly into the plot, usually about and performed during the events of a particular scene.",
"typically features one or two unique songs that tied directly into the plot, usually about and performed during the events of a particular scene. Most of these songs are rather brief, averaging a running time of just under a minute; Jacobs stated that many of the show's original songs were recorded as full-length pieces but trimmed down for inclusion in an episode, simply due to the show \"trying to pack so much into 22 minutes\".",
"Most of these songs are rather brief, averaging a running time of just under a minute; Jacobs stated that many of the show's original songs were recorded as full-length pieces but trimmed down for inclusion in an episode, simply due to the show \"trying to pack so much into 22 minutes\". Shortly after Super Show!s premiere, Jacobs confirmed plans to eventually release the series' original full-length songs as a soundtrack album.",
"Shortly after Super Show!s premiere, Jacobs confirmed plans to eventually release the series' original full-length songs as a soundtrack album. However, these plans wouldn't fully come to fruition until 2019; in a 2018 interview, Jacobs retrospectively revealed that the album had been long completed but the band \"hadn't had all the rights tied up\" until then.",
"However, these plans wouldn't fully come to fruition until 2019; in a 2018 interview, Jacobs retrospectively revealed that the album had been long completed but the band \"hadn't had all the rights tied up\" until then. The first original and full-length recordings from the series' first season debuted in July 2017, when \"Burger Rain\" and \"Beat Fishin'\" were released as a tour-exclusive 7\" single.",
"The first original and full-length recordings from the series' first season debuted in July 2017, when \"Burger Rain\" and \"Beat Fishin'\" were released as a tour-exclusive 7\" single. Songs from the series' first season were eventually compiled as The Aquabats! Super Show!",
"Super Show! Super Show! Television Soundtrack: Volume One, which was released digitally in March 2019 and then onto physical media the following June, where it became The Aquabats' highest-charting album to date, debuting at the top of Billboards Top Heatseekers chart and at 165 on the Billboard 200.",
"Television Soundtrack: Volume One, which was released digitally in March 2019 and then onto physical media the following June, where it became The Aquabats' highest-charting album to date, debuting at the top of Billboards Top Heatseekers chart and at 165 on the Billboard 200. Cast and characters See: List of The Aquabats! Super Show!",
"Super Show! Super Show! characters The Aquabats! Super Show! stars and is based upon fictionalized versions of the then-current (since 2006) line-up of the California comedy rock band The Aquabats. Adapting the backstory the band has used for the entirety of their professional career, Super Show!",
"Adapting the backstory the band has used for the entirety of their professional career, Super Show! depicts The Aquabats as a group of bumbling, out-of-shape superheroes on a self-appointed mission to fight the forces of evil, presented in both live-action and animated segments.",
"depicts The Aquabats as a group of bumbling, out-of-shape superheroes on a self-appointed mission to fight the forces of evil, presented in both live-action and animated segments. The five members of The Aquabats are: The MC Bat Commander (played and voiced by Christian Jacobs) – The Aquabats' singer and de facto leader of the team.",
"The five members of The Aquabats are: The MC Bat Commander (played and voiced by Christian Jacobs) – The Aquabats' singer and de facto leader of the team. Though he doesn't have any superpowers of his own and is often quite stubborn and naive, the Commander is shown to be an effective strategist whose sharp leadership skills, bravery and determination regularly drive the band towards victory.",
"Though he doesn't have any superpowers of his own and is often quite stubborn and naive, the Commander is shown to be an effective strategist whose sharp leadership skills, bravery and determination regularly drive the band towards victory. Crash McLarson (played and voiced by Chad Larson) – The band's bass guitarist, who has the frequently uncontrollable ability to grow upwards of 100 feet in size when under emotional stress.",
"Crash McLarson (played and voiced by Chad Larson) – The band's bass guitarist, who has the frequently uncontrollable ability to grow upwards of 100 feet in size when under emotional stress. Despite being the largest and strongest of The Aquabats, Crash has a gentle, childlike demeanor bordering on slight dim-wittedness, and as such is usually the most cowardly member of the team.",
"Despite being the largest and strongest of The Aquabats, Crash has a gentle, childlike demeanor bordering on slight dim-wittedness, and as such is usually the most cowardly member of the team. Jimmy the Robot (played and voiced by James R. Briggs, Jr.) – The Aquabats' keyboardist.",
"Jimmy the Robot (played and voiced by James R. Briggs, Jr.) – The Aquabats' keyboardist. As his name implies, Jimmy is an android whose mechanical body houses a variety of built-in gadgets and weaponry, plus a comprehensive knowledge database which earns him the position of the group's resident scientist.",
"As his name implies, Jimmy is an android whose mechanical body houses a variety of built-in gadgets and weaponry, plus a comprehensive knowledge database which earns him the position of the group's resident scientist. Being a robot, Jimmy is generally perplexed by human emotions and behavior.",
"Being a robot, Jimmy is generally perplexed by human emotions and behavior. Ricky Fitness (played and voiced by Richard Falomir) – the band's drummer, Ricky possesses the power of super speed.",
"Ricky Fitness (played and voiced by Richard Falomir) – the band's drummer, Ricky possesses the power of super speed. Being the most physically fit and health-conscious member of The Aquabats, some of the series' running gags revolve around Ricky's status as a handsome ladies' man and his fondness for \"fresh, healthy veggies\" in contrast to the rest of the team's voracious affinity for junk food.",
"Being the most physically fit and health-conscious member of The Aquabats, some of the series' running gags revolve around Ricky's status as a handsome ladies' man and his fondness for \"fresh, healthy veggies\" in contrast to the rest of the team's voracious affinity for junk food. EagleBones Falconhawk (played and voiced by Ian Fowles) – The Aquabats' guitarist.",
"EagleBones Falconhawk (played and voiced by Ian Fowles) – The Aquabats' guitarist. The cocky and boyish maverick of the team, EagleBones is highly proficient on his custom weaponized electric guitar which shoots lasers from its headstock.",
"The cocky and boyish maverick of the team, EagleBones is highly proficient on his custom weaponized electric guitar which shoots lasers from its headstock. Following a spiritual encounter early in season one, EagleBones also has the gift of second sight and is accompanied by \"The Dude\", an invisible spirit eagle whom he summons to aide The Aquabats in battle.",
"Following a spiritual encounter early in season one, EagleBones also has the gift of second sight and is accompanied by \"The Dude\", an invisible spirit eagle whom he summons to aide The Aquabats in battle. Voice actor and writer Mr. Lawrence provided the minimal narration for both seasons of Super Show!s live-action segments, while staff writer Kyle McCulloch narrated the first season's animated segments.",
"Voice actor and writer Mr. Lawrence provided the minimal narration for both seasons of Super Show!s live-action segments, while staff writer Kyle McCulloch narrated the first season's animated segments. Guest stars and recurring characters Though each episode of the series introduced a new villain, ally and/or celebrity cameo, Super Show!",
"Guest stars and recurring characters Though each episode of the series introduced a new villain, ally and/or celebrity cameo, Super Show! never featured any major recurring characters throughout its run.",
"never featured any major recurring characters throughout its run. However, every episode of the show included a very brief appearance by a character fans dubbed the \"Fox Man\", a man in a cheap-looking fox costume played by visual effects supervisor Joel Fox, who would appear hidden in the background of a random scene as an Easter egg for viewers to spot, although his character was never explained within the context of the series.",
"However, every episode of the show included a very brief appearance by a character fans dubbed the \"Fox Man\", a man in a cheap-looking fox costume played by visual effects supervisor Joel Fox, who would appear hidden in the background of a random scene as an Easter egg for viewers to spot, although his character was never explained within the context of the series. Comedy musician \"Weird Al\" Yankovic and comedian Paul Rust were the only two guest actors to appear in two episodes: Yankovic played two different roles as the President of the United States and superhero SuperMagic PowerMan!",
"Comedy musician \"Weird Al\" Yankovic and comedian Paul Rust were the only two guest actors to appear in two episodes: Yankovic played two different roles as the President of the United States and superhero SuperMagic PowerMan! (in a 2012 interview, Jacobs alluded to the two possibly being the same character, though this isn't implied within the series), while Rust played a boorish slacker named Ronmark, first appearing in live-action in a first-season episode and subsequently lending his voice to a mutated monster version of the character in part of a second-season episode.",
"(in a 2012 interview, Jacobs alluded to the two possibly being the same character, though this isn't implied within the series), while Rust played a boorish slacker named Ronmark, first appearing in live-action in a first-season episode and subsequently lending his voice to a mutated monster version of the character in part of a second-season episode. Episodes Distribution International broadcast Outside of North America, The Aquabats!",
"Episodes Distribution International broadcast Outside of North America, The Aquabats! Super Show! broadcast in Australia on the children's public broadcasting channel ABC3 and in the United Kingdom on the children's network CITV. Home media Coinciding with the run of the first season, each new episode of The Aquabats! Super Show!",
"Super Show! Super Show! was released through the iTunes Store for digital download. Prior to the series debut, a season pass was made available for purchase to enable viewers to automatically receive a download of each new episode on its airdate. The first season of Super Show!",
"The first season of Super Show! was added to the video streaming service Netflix on December 1, 2012, later being added to Hulu on December 21. Unlike the first season, the series' second season was not made available for iTunes pre-order, nor were episodes released for purchase.",
"Unlike the first season, the series' second season was not made available for iTunes pre-order, nor were episodes released for purchase. Though each episode was briefly streamed on The Hub's official website, none of the seasons' episodes were made available on Hulu, Netflix or similar streaming services. Shout!",
"Shout! Shout! Factory had the DVD publishing rights for The Aquabats! Super Show! within Region 1 for release of the first season.",
"within Region 1 for release of the first season. The company first announced their acquisition of the series and plans for a future DVD in a press release dated August 6, 2012, though did not initially confirm a set release date until several months later. On May 21, 2013, the first season of Super Show!",
"On May 21, 2013, the first season of Super Show! was released on a two-disc DVD set. On November 22, 2017, in conjunction with their announcement of a season two theatrical screening, The Aquabats confirmed an independent Blu-ray release for season two, including the three specials often considered a \"season three\".",
"On November 22, 2017, in conjunction with their announcement of a season two theatrical screening, The Aquabats confirmed an independent Blu-ray release for season two, including the three specials often considered a \"season three\". On December 5, pre-orders were launched on The Aquabats' merchandising site for an official release date of December 22, though copies were first made for public sale at the second season theatrical screening on December 16.",
"On December 5, pre-orders were launched on The Aquabats' merchandising site for an official release date of December 22, though copies were first made for public sale at the second season theatrical screening on December 16. Starting in December 2014, The Aquabats gradually began uploading the series' full episodes onto their official YouTube channel.",
"Starting in December 2014, The Aquabats gradually began uploading the series' full episodes onto their official YouTube channel. As of August 2019, all 21 episodes of Super Show! and its pilot episode have been publicly uploaded to their account. Critical reception Critical response to The Aquabats! Super Show!",
"Super Show! Super Show! was predominantly positive, with most reviewers praising the series' intentionally campy tone and offbeat humor. The Onions The A.V.",
"The Onions The A.V. The Onions The A.V. Club gave the series premiere an A− rating, describing it as \"a loving homage to basically everything ever done by the brothers Krofft\": \"the show adeptly flips from humor to melodrama to action, providing some awesomely cheap special effects, goofy songs, and gags that range from slapstick to sublime\", summarizing \"there's so much here that both kids and parents will be able to enjoy the proceedings on their own respective levels and rarely find themselves bored\".",
"Club gave the series premiere an A− rating, describing it as \"a loving homage to basically everything ever done by the brothers Krofft\": \"the show adeptly flips from humor to melodrama to action, providing some awesomely cheap special effects, goofy songs, and gags that range from slapstick to sublime\", summarizing \"there's so much here that both kids and parents will be able to enjoy the proceedings on their own respective levels and rarely find themselves bored\". Brian Lowry of Variety wrote \"you don't have to laugh at everything to admire the effort and sheer silliness\", calling the show a \"goofy and nostalgic\" throwback to the \"children's TV of baby boomers' youth, down to crappy production values and awful-looking 'monsters' that work to its advantage\".",
"Brian Lowry of Variety wrote \"you don't have to laugh at everything to admire the effort and sheer silliness\", calling the show a \"goofy and nostalgic\" throwback to the \"children's TV of baby boomers' youth, down to crappy production values and awful-looking 'monsters' that work to its advantage\". He summarized \"Although this Hub series at times feels like an SNL skit stretched to a half-hour, its sly mix of music, live-action crime-fighting, cartoons and mock ads ought to develop a cult following—and might be more popular with parents, at least those with the geek gene, than their kids\".",
"He summarized \"Although this Hub series at times feels like an SNL skit stretched to a half-hour, its sly mix of music, live-action crime-fighting, cartoons and mock ads ought to develop a cult following—and might be more popular with parents, at least those with the geek gene, than their kids\". Technology magazine Wired was consistently positive towards the series, calling it both \"wonderfully strange\" and \"delightfully deranged\", writing \"[f]illed with self-deprecating music videos, toon interludes and ludicrous villains, The Aquabats!",
"Technology magazine Wired was consistently positive towards the series, calling it both \"wonderfully strange\" and \"delightfully deranged\", writing \"[f]illed with self-deprecating music videos, toon interludes and ludicrous villains, The Aquabats! Super Show! has become one of television's strangely comforting finds\".",
"has become one of television's strangely comforting finds\". Common Sense Media, who review shows based on age-appropriate content, gave Super Show!",
"Common Sense Media, who review shows based on age-appropriate content, gave Super Show! a rating of 4 out of 5 stars, calling it \"demented and manic...fun by sheer dint of how many jokes, visual and otherwise, are thrown at the screen, both those calculated to appeal to kids and adults\".",
"a rating of 4 out of 5 stars, calling it \"demented and manic...fun by sheer dint of how many jokes, visual and otherwise, are thrown at the screen, both those calculated to appeal to kids and adults\". The site praised the series for its lighter and sillier tone in comparison to more violent live-action superhero fare, and considered the \"kind-hearted\" Aquabats to be relatively positive role models.",
"The site praised the series for its lighter and sillier tone in comparison to more violent live-action superhero fare, and considered the \"kind-hearted\" Aquabats to be relatively positive role models. However, the reviewer suggested the show's violence and creatures may be too intense for very young children, and pointed out a distinct lack of central female characters.",
"However, the reviewer suggested the show's violence and creatures may be too intense for very young children, and pointed out a distinct lack of central female characters. Neil Genzlinger of The New York Times offered a more indifferent opinion, calling The Aquabats \"indescribably odd\" and the series \"frenetic, semicoherent and generally harmless.",
"Neil Genzlinger of The New York Times offered a more indifferent opinion, calling The Aquabats \"indescribably odd\" and the series \"frenetic, semicoherent and generally harmless. Also somewhat hallucinogenic\", noting Super Show!s writing \"may be over the heads of the 2-to-12 set\", suggesting its most receptive audience might be \"the college drinking-game crowd\".",
"Also somewhat hallucinogenic\", noting Super Show!s writing \"may be over the heads of the 2-to-12 set\", suggesting its most receptive audience might be \"the college drinking-game crowd\". Awards and nominations The Aquabats! Super Show!",
"Awards and nominations The Aquabats! Super Show! Super Show! was nominated for the following awards: Daytime Emmy Award References External links Official website of The Aquabats The Aquabats 2010s American children's television series 2010s American musical comedy television series 2010s American satirical television series 2010s American sketch comedy television series 2010s American superhero comedy television series 2012 American television series debuts 2014 American television series endings American children's adventure television series American children's musical television series American television series with live action and animation Children's sketch comedy English-language television shows Television series by Fremantle (company) Television shows set in Orange County, California American television shows featuring puppetry Discovery Family original programming"
] |
[
"Jim Palmer",
"Early broadcasting career"
] | C_596dc3da71fb4978952c538497aaa136_1 | What stations did Palmer work for in his early broadcasting days? | 1 | What stations did Jim Palmer work for in his early broadcasting days? | Jim Palmer | While still an active player, Palmer did color commentary for ABC for their coverage of the 1978, 1980 and 1982 American League Championship Series, 1981 American League Division Series between Oakland and Kansas City, and the 1981 World Series. From 1985 to 1989, Palmer formed an announcing team with Al Michaels and Tim McCarver at ABC. Palmer announced the 1985 World Series, where he was supposed to team with Michaels and Howard Cosell, whom Palmer had worked with on the previous year's ALCS. McCarver replaced Cosell for the World Series at the last minute after Cosell released a book (I Never Played the Game) that was critical of the ABC Sports team. The team of Palmer, Michaels and McCarver would subsequently go on to call the 1986 All-Star Game (that year, Palmer worked with Michaels on the ALCS while McCarver teamed with Keith Jackson on ABC's coverage of the National League Championship Series), the 1987 World Series, and 1988 All-Star Game as well as that year's NLCS. Palmer was present at San Francisco's Candlestick Park on October 17, 1989, when the Loma Prieta earthquake hit prior to Game 3 of the World Series. After the 1989 season, ABC lost its contract to broadcast baseball to CBS. Palmer had earned $350,000 from ABC that year for appearing on around ten regular season broadcasts and making a few postseason appearances. In 1990, the Los Angeles Times reported that Palmer was thinking of pursuing work as a major league manager. Instead, Palmer worked as an analyst for ESPN and as a broadcaster for Orioles games on their local telecasts over WMAR-TV and Home Team Sports. CANNOTANSWER | While still an active player, Palmer did color commentary for ABC | James Alvin Palmer (born October 15, 1945) is an American former professional baseball pitcher who played 19 years in Major League Baseball (MLB) for the Baltimore Orioles (1965–1967, 1969–1984). Palmer was the winningest MLB pitcher in the 1970s, totaling 186 wins. He also won at least 20 games in eight different seasons and won three Cy Young Awards and four Gold Gloves during the decade. His 268 career victories are currently an Orioles record. A six-time American League (AL) All-Star, he was also one of the rare pitchers who never allowed a grand slam in any major league contest.
Palmer appeared in the postseason eight times and was a vital member of three World Series Champions, six AL pennant winners and seven Eastern Division titleholders. He is the only pitcher in history to earn a win in a World Series game in three different decades. He is also the youngest to pitch a complete-game shutout in a World Series, doing so nine days before his 21st birthday in 1966, in which he defeated Sandy Koufax in Koufax's last appearance. He was one of the starters on the last rotation to feature four 20-game winners in a single season in 1971. He was elected to the Baseball Hall of Fame in 1990.
Since his retirement as an active player in 1984, Palmer has worked as a color commentator on telecasts of MLB games for ABC and ESPN and for the Orioles on Home Team Sports (HTS), Comcast SportsNet (CSN) Mid-Atlantic and the Mid-Atlantic Sports Network (MASN). He has also been a popular spokesman, most famously for Jockey International for almost 20 years. He was nicknamed "Cakes" in the 1960s because of his habit of eating pancakes for breakfast on the days he pitched.
Early life
James Alvin Palmer was born in Manhattan, New York City on October 15, 1945. Research conducted by his third wife Susan in 2017 revealed that his biological father and mother were Michael Joseph Geheran and Mary Ann Moroney, both Irish immigrants from Counties Leitrim and Clare respectively. Joe was a married 41-year-old man about town, while Mary Ann was an unmarried 37-year-old domestic worker for the Feinstein family which was prominent in the garment industry. Moroney gave up her infant for adoption and concealed information in the New York City birth registry, where Palmer is listed as Baby Boy Kennedy, whose father was Maroney and mother was Kennedy. Maroney was the incorrect spelling of her surname as listed when she registered at Ellis Island, while Kennedy was her sister Katharine's married name. Moroney eventually married John Lane and the couple had a daughter, Patricia, Palmer's biological half-sister, who died of leukemia at age 40 in 1987. (As of May 2018, the Palmers were still searching for Patricia Lane's daughter, whose married name is Kimberly Hughes and who would be Jim Palmer's half-niece.) Geheran died in 1959 and Moroney in 1979.
Two days after his birth, Palmer was adopted by Moe Wiesen and his wife Polly, a wealthy Manhattan dress designer and a boutique owner respectively, who lived on Park Avenue. His sister Bonnie was also adopted by the Wiesens. The family's butler taught the young Jim to throw a baseball in Central Park. After his adoptive father died of a heart attack in 1955, the nine-year-old Jim, his mother and his sister moved to Beverly Hills, California where he began playing in youth-league baseball. In 1956, his mother married actor Max Palmer, but Jim continued to go under the name Jim Wiesen until a year later. At a Little League banquet, just before being presented with an award, he asked the coaches to identify him as "James Alvin Palmer." "Through all these years, that night was the highlight of my entire life," Max recalled. Max was a character actor and there were two men who shared that name who worked in show business during similar time periods. The Max who was Jim's second dad worked mostly on TV on such programs as Dragnet, Bat Masterson and The Colgate Comedy Hour. He was Jewish, and he also earned a living by selling shoes. The other Max Palmer, often erroneously credited as Jim's father, worked in several movies as a monster. He was 8'2" tall and later became a professional wrestler and eventually a Christian evangelist.
Jim played baseball for the Beverly Hills Yankees, where he pitched and also hit home runs as an outfielder. The family eventually moved to Scottsdale, Arizona, where Jim played baseball, basketball, and football at Scottsdale High School. He earned All-State honors in each of these sports, also graduating with a 3.4 grade-point average in 1963. Palmer also showed his prowess at American Legion Baseball. The University of Southern California, UCLA, and Arizona State University each offered him full scholarships; Stanford University offered a partial scholarship as well.
Bobby Winkles of Arizona State suggested that Palmer get more experience playing collegiate summer baseball, so Palmer went to South Dakota to join the Winner Pheasants of the Basin League. The team advanced all the way to the league finals, and Palmer caught the attention of Baltimore Orioles scout Harry Dalton while pitching in the second game of the championship. According to Palmer, 13 Major League Baseball (MLB) teams recruited him after the season wrapped up, but Jim Russo (the scout who also signed Dave McNally and Boog Powell) and Jim Wilson of the Orioles made the best impression on his parents with their polite manners. Palmer signed with Baltimore for $50,000.
Career in baseball
1960s
A high-kicking pitcher known for an exceptionally smooth delivery, Palmer picked up his first major-league win on May 16, , beating the Yankees in relief at home. He hit the first of his three career major-league home runs, a two-run shot, in the fourth inning of that game, off Yankees starter Jim Bouton. Palmer finished the season with a 5–4 record.
In , Palmer joined the starting rotation. Baltimore won the pennant behind Frank Robinson's MVP and Triple Crown season. Palmer won his final game, against the Kansas City Athletics, to clinch the AL pennant. In Game 2 of that World Series, at Dodger Stadium, he became the youngest pitcher (20 years, 11 months) to pitch a shutout, defeating the defending world champion Dodgers 6–0. The underdog Orioles swept the series over a Los Angeles team that featured Sandy Koufax, Don Drysdale and Claude Osteen. The shutout was part of a World Series record-setting consecutive shutout innings by Orioles pitchers. The Dodgers' last run was against Moe Drabowsky in the third inning of Game 1. Palmer, Wally Bunker and Dave McNally pitched shutouts in the next three games.
During the next two seasons, Palmer struggled with arm injuries. He had injured his arm in 1966 while using a paint roller in his new house in Baltimore. Cortisone injections allowed him to pitch through the rest of the season and the World Series, but in 1967, his arm continued to feel heavy. He threw a one-hit game against the New York Yankees on May 12 but was sent to the minor leagues after a poor start against the Boston Red Sox five days later. While trying to make it back with the Rochester Red Wings in Niagara Falls, New York that Palmer surrendered the only grand slam in his entire professional career which was hit by the Buffalo Bisons' Johnny Bench. He only pitched three more games for the Orioles in 1967. In 1968, he was limited to 10 minor league games, with no appearances for the Orioles. The outlook on his career was so bleak, Palmer considered quitting baseball to attend college or trying to be a position player. He had been placed on waivers in September 1968 and was left unprotected for the Kansas City Royals and Seattle Pilots in the expansion draft one month later, but was not claimed. After he pitched for an Instructional League team, the Orioles sent him to pitch for the Santurce Crabbers in the Puerto Rican Winter League. Before he left for Santurce, however, Palmer attended a Baltimore Bullets game and sat next to Marv Foxxman, a pharmaceutical representative who suggested he try Indocin. In Santurce, Palmer's arm stopped hurting, and his fastball began hitting 95 mph again. "It was a miracle as far as I was concerned," said Palmer.
Palmer returned healthy in 1969, rejoining an Orioles rotation that included 20-game winners Dave McNally and Mike Cuellar. He missed July with a six-week stint on the disabled list, but it was for a torn back muscle, not because of arm trouble. That August 13, Palmer threw a no-hitter against Oakland, just four days after coming off the disabled list. It was the only no-hitter of his career. He finished the season with a mark of 16–4, 123 strikeouts, a 2.34 ERA, and .800 winning percentage. The heavily favored Orioles were beaten in the 1969 World Series by the New York Mets with Palmer taking the loss in Game 3.
1970s
In , Cuellar went 24–8, McNally 24–9, Palmer 20–10; in the trio went 20–9, 21–5 and 20–9, respectively, with Pat Dobson going 20–8. Only one other team in MLB history, the Chicago White Sox, has had four 20-game winners.
Palmer won 21 games in , and went 22–9, 158, 2.40 in , walking off with his first Cy Young Award. His success was interrupted in when his arm started giving him trouble in spring training. Eventually, he was downed for eight weeks with elbow problems. Palmer had lost seven games in a row by the time he went on the disabled list on June 20. He was diagnosed with an ulnar nerve injury and orthopedic surgeon Robert Kerlan prescribed rest, hot and cold water therapy and medication. Surgery was considered, but Palmer's pain lessened and he was able to return to play in August. He finished 7–12.
Palmer was at his peak again in , winning 23 games, throwing 10 shutouts (allowing just 44 hits in those games), and fashioning a 2.09 ERA—all tops in the American League. He completed 25 games, even saved one, and limited opposing hitters to a .216 batting average. On July 28, 1976, he received a fine from AL president Lee MacPhail after hitting Mickey Rivers with a pitch the day before. Palmer said it was in retaliation for Dock Ellis hitting Reggie Jackson with a pitch earlier in the game, then complained when Ellis (who did not admit to throwing at Jackson) was not fined. Palmer won his second Cy Young Award, and repeated his feat in (22–13, 2.51). During the latter year, he won the first of four consecutive Gold Glove Awards. (Jim Kaat, who had won the award 14 years in a row, moved to the National League, where he won the award that year and in .)
After making $185,000 in 1976, Palmer hoped for a raise in 1977. The Orioles offered $200,000 initially, but Palmer wanted $275,000. They finally agreed on a $260,000 salary, with a bonus for a "significant contribution." In 1977 and 1978, Palmer won 20 and 21 games, respectively. Despite the 20 wins in 1977, the Orioles almost refused to give him a bonus. After the Major League Baseball Players Association filed a grievance in Palmer's dispute and threatened to go to arbitration (which likely would have resulted in Palmer becoming a free agent), GM Hank Peters relented and gave him the bonus. During the period spanning 1970 to 1978, Palmer had won 20 games in every season except for 1974. During those eight 20-win seasons, he pitched between and 319 innings per year, leading the league in innings pitched four times and earned run average twice. During that span, he threw between 17 and 25 complete games each year. Frustrated that pitchers who had become free agents like Vida Blue and Bert Blyleven were making more money than him in 1979, Palmer told a reporter for the St. Paul Pioneer Press "I'm going to aggravate [the Orioles] until they trade me." Weaver responded by pinning a note to his locker that said, "Happy Father's Day. Now grow up." "He's right he's underpaid...He's worth a million dollars when he's pitching but he signed for $260,000." Palmer eventually got over being discontent, and the team won the AL pennant. Weaver tabbed Palmer to start Game 1 of the ALCS against the Angels; though Palmer asked him to start Mike Flanagan, the 1979 Cy Young Award winner, instead, Weaver valued Palmer's experience. Matched up against Ryan, Palmer allowed three runs in nine innings, taking a no-decision as he left with the game tied. The Orioles won in the 10th on a John Lowenstein home run and won the series 3–1.
1980s
From 1980 through 1985, Palmer was hampered by arm fatigue and myriad minor injuries. Even so, he brought a stabilizing veteran presence to the pitching staff.
In 1981, Palmer got into a feud with Doug DeCinces after DeCinces missed a line drive hit by Alan Trammell in a game against the Tigers. According to DeCinces, Palmer "was cussing me out and throwing his hands in the air" after the play. "Those balls have to be caught," Palmer told a paper. "Doug is reluctant to get in front of a ball." "I'd like to know where Jim Palmer gets off criticizing others," DeCinces responded. "Ask anybody–they're all sick of it. We're a twenty-four man team–and one prima donna. He thinks it's always someone else's fault." The feud simmered until June, when Weaver said, "I see no cause for concern. The third baseman wants the pitcher to do a little better and the pitcher wants the third baseman to do a little better. I hope we can all do better and kiss and make up...The judge gave me custody of both of them." Palmer ultimately blamed Brooks Robinson for the dispute: "If Brooks hadn't been the best third-baseman of all time, the rest of the Orioles wouldn't have taken it for granted that any ball hit anywhere within the same county as Brooks would be judged perfectly, fielded perfectly, and thrown perfectly, nailing (perfectly) what seemed like every single opposing batter."
After Palmer posted a 6.84 ERA in five starts, GM Hank Peters announced that "Palmer is never, ever, ever going to start another game in an Orioles uniform. I've had it." Weaver moved Palmer to the bullpen, but with the team needing another starter, he put Palmer back in the rotation in June. Shortly thereafter, Palmer went on an 11-game winning streak.
Palmer's final major-league victory was noteworthy: pitching in relief of Mike Flanagan in the third game of the 1983 World Series, he faced the Phillies' celebrity-studded batting order and gave up no runs in a close Oriole win.
The 17 years between Palmer's first World Series win in 1966 and the 1983 win is the longest period of time between first and last pitching victories in the World Series for an individual pitcher in major league history. He also became the only pitcher in major league baseball history to have won World Series games in three decades. Also, Palmer became the only player in Orioles history to appear in all six (1966, 1969, 1970, 1971, 1979, 1983) of their World Series appearances to date.
Palmer was the only Orioles player on the 1983 championship team to have previously won a World Series. He retired after being released by Baltimore during the season. He retired with a 268–152 win-loss record and a 2.86 ERA. Palmer was elected to the Hall of Fame in 1990, his first year of eligibility.
Early broadcasting career
While still an active player, Palmer did color commentary for ABC for their coverage of the 1978, 1980 and 1982 American League Championship Series, 1981 American League Division Series between Oakland and Kansas City, and the 1981 World Series.
From to , Palmer formed an announcing team with Al Michaels and Tim McCarver at ABC. Palmer announced the 1985 World Series, where he was supposed to team with Michaels and Howard Cosell, whom Palmer had worked with on the previous year's ALCS. McCarver replaced Cosell for the World Series at the last minute after Cosell released a book (I Never Played the Game) that was critical of the ABC Sports team. The team of Palmer, Michaels and McCarver would subsequently go on to call the 1986 All-Star Game (that year, Palmer worked with Michaels on the ALCS while McCarver teamed with Keith Jackson on ABC's coverage of the National League Championship Series), the 1987 World Series, and 1988 All-Star Game as well as that year's NLCS.
Palmer was present at San Francisco's Candlestick Park on October 17, , when the Loma Prieta earthquake hit prior to Game 3 of the World Series. After the 1989 season, ABC lost its contract to broadcast baseball to CBS. Palmer had earned $350,000 from ABC that year for appearing on around ten regular season broadcasts and making a few postseason appearances.
In 1990, the Los Angeles Times reported that Palmer was thinking of pursuing work as a major league manager. Instead, Palmer worked as an analyst for ESPN and as a broadcaster for Orioles games on their local telecasts over WMAR-TV and Home Team Sports.
Comeback attempt
In , Palmer attempted a comeback with the Orioles. He explained in his 1996 book, "I wanted to see if I could be like Nolan Ryan was to the game or what George Blanda was to football." ESPN, which was trying to cut expenses, had asked him to take a pay cut and to sign a three-year contract. Palmer said he would sign a one-year contract for less pay, but ESPN refused. "I wouldn't be here today if the broadcasting climate had been more to my liking. That was really my prime motivation, the fact that I no longer had that obligation", Palmer said during spring training.
Covering Palmer's spring training workouts, Richard Hoffer of Sports Illustrated said that Palmer's comeback was not entirely about money. He wrote that "it is fair to suspect that a certain vanity is involved." Hoffer said that Palmer "has failed to excite either ridicule or astonishment. He's in fabulous condition, no question. But no matter whom he lines up with on the row of practice mounds, there is more pop in the gloves of catchers other than his." "I couldn't throw ninety-five miles an hour anymore," Palmer later reflected. "The best I could do was eighty."
While working out at the University of Miami during his comeback attempt, Palmer was approached by Miami assistant coach Lazaro Collazo. Collazo reportedly told him, "You'll never get into the Hall of Fame with those mechanics." "I'm already in the Hall of Fame", Palmer replied. To help Palmer's pitching motion, Collazo and Palmer completed unusual drills that involved Palmer placing a knee or foot on a chair as he tossed the ball.
After giving up five hits and two runs in two innings of a spring training game, he retired permanently. Palmer said that he tore his hamstring while warming up for the game, commenting, "I'm not saying I wouldn't like to continue, but I can't", he said. "I heard something pop in my leg yesterday. It wasn't a nice sound. I don't know what that means, but I think it's going to play havoc with my tennis game."
Return to broadcasting
From to , Palmer returned to ABC (this time, via a revenue-sharing joint venture between Major League Baseball, ABC and NBC called The Baseball Network) to once again broadcast with Tim McCarver and Al Michaels. In 1995, the reunited team of Palmer, McCarver and Michaels would call the All-Star Game, Game 3 of that NLDS between Cincinnati and Los Angeles, Game 4 of the NLDS between Atlanta and Colorado, Games 1–2 of the NLCS, and Games 1, 4–5 of the World Series. Palmer, McCarver and Michaels were also intended to call the previous year's World Series for ABC, but were denied the opportunity when the entire postseason was canceled due to a strike. He is currently a color commentator on MASN's television broadcasts of Oriole games.
In July 2012, Palmer put up for auction his three Cy Young Award trophies and two of his four Gold Glove Awards. "At this point in my life, I would rather concern myself with the education of my grandchildren", he said. Palmer also noted that his autistic teenage stepson would require special care and that "my priorities have changed." Palmer had put up for auction one of his Cy Young Award trophies on behalf of a fundraising event for cystic fibrosis in years past, although he stated the winning bidder "had paid $39,000 for that and never ever took it. It was for the cause."
Legacy
Palmer has been considered one of the best pitchers in major-league history. Palmer is the only pitcher in big-league history to win World Series games in three decades (1960s, 1970s, and 1980s). During his 19-year major league career of 575 games (including 17 postseason games), he never surrendered a grand slam, nor did he ever allow back-to-back homers. Palmer's career earned run average (2.856) is the third-lowest among starting pitchers whose careers began after the advent of the live-ball era in 1920. In six ALCS and six World Series, he posted an 8–3 record with 90 strikeouts, and an ERA of 2.61 and two shutouts in 17 games.
He was a mainstay in the rotation during Baltimore's six pennant-winning teams in the 1960s (1966 and 1969), 1970s (1970, 1971 and 1979) and 1980s (1983). With the passing of Mike Cuellar in 2010, Palmer became the last surviving member of the 1971 Baltimore starting rotation that included four 20-game winners. Palmer won spots on six All-Star teams, received four Gold Glove Awards and won three Cy Young Awards. He led the league in ERA twice and in wins three times.
Sometimes, Palmer would shift fielders around during games. He never meddled with the best fielders, such as the Robinsons or Paul Blair, but he would do so for less experienced players. "They might not know...that if they're playing a step or two to the opposite field and you're behind the batter two balls and no strikes...and you have a big lead...you're probably going to take a little off the pitch...and the fielders have to know to shift a couple of steps and play for the batter to pull."
In , he ranked No. 64 on The Sporting News' list of the 100 Greatest Baseball Players, and was nominated as a finalist for the Major League Baseball All-Century Team.
Endorsements
During the late 1970s, Palmer was a spokesman and underwear model for Jockey brand men's briefs. He appeared in the company's national print and television advertisements as well as on billboards at Times Square in New York City and other major cities. He donated all proceeds from the sale of his underwear poster to the Cystic Fibrosis Foundation.
From 1992 until 1999, he was frequently seen on television throughout the United States in commercials for The Money Store, a national home equity and mortgage lender. He has periodically appeared in ads and commercials for vitamins and other health-related products. Palmer also represents Cosamin DS, a joint health supplement made by Nutramax Laboratories in Edgewood, Maryland.
He was also the spokesperson for Nationwide Motors Corp., which is a regional chain of car dealerships located in the Middle Atlantic region. He is currently a spokesman for the national "Strike Out High Cholesterol" campaign. Additionally, Palmer serves as a member of the advisory board of the Baseball Assistance Team, a 501(c)(3) non-profit organization dedicated to helping former Major League, Minor League, and Negro league players through financial and medical difficulties.
Personal life
Shortly after graduating from high school in 1963, Palmer married the former Susan Ryan in 1964. He has two daughters with Ryan, named Jamie and Kelly. Ryan was not a huge baseball fan, as Palmer recalled: "She used to bring her knitting and/or a friend, who usually liked baseball even less, to the games."
In 2007, Palmer married the former Susan Earle, who has an adult son with autism. The Palmers have homes in Palm Beach, Florida, and in Corona Del Mar, California. In 2006, Palmer also acquired a penthouse condominium in Little Italy, Baltimore, which he uses while in Baltimore for Orioles' broadcasts.
See also
List of Major League Baseball career wins leaders
List of Major League Baseball annual ERA leaders
List of Major League Baseball annual wins leaders
List of Major League Baseball career strikeout leaders
Major League Baseball titles leaders
List of Major League Baseball no-hitters
List of Major League Baseball players who spent their entire career with one franchise
References
External links
Jim Palmer at SABR (Baseball BioProject)
1945 births
Living people
Aberdeen Pheasants players
American adoptees
American League All-Stars
American League ERA champions
American League wins champions
American people of Irish descent
Baltimore Orioles announcers
Baltimore Orioles players
Baseball players from New York (state)
Cy Young Award winners
Elmira Pioneers players
Gold Glove Award winners
Hagerstown Suns players
Major League Baseball broadcasters
Major League Baseball pitchers
Major League Baseball players with retired numbers
Male models from New York (state)
Miami Marlins (FSL) players
Mid-Atlantic Sports Network
Models from New York City
National Baseball Hall of Fame inductees
Rochester Red Wings players
Sportspeople from New York City | true | [
"WTNT-FM (94.9 FM) is a country radio station broadcasting in Tallahassee, Florida, United States. WTNT-FM is owned by iHeartMedia; its studios and transmitter are located separately on Tallahassee's north side.\n\nHistory\n\nEarly years\nThe Federal Communications Commission (FCC) granted a construction permit to the Tallahassee Appliance Corporation on May 4, 1966, for a new FM radio station to broadcast to the city on 94.9 MHz. The WTNT-FM call letters were initially assigned at that time, but they were changed to WOMA before sign-on on July 24, 1967. WOMA promoted itself as \"FM Goes Country\"—an unusual format for the time, given that most FM stations of the day tended to specialize in beautiful music formats. The country format was retained all the way through 1976, when, under new owner Walter-Weeks Broadcasting, WOMA and WTNT (1270 AM), the two frequencies exchanged formats, with adult contemporary music moving to the FM and country to AM.\n\nIn 1977, WOMA switched to beautiful music and adopted the call sign WLVW. The next year, WTNT and WLVW were sold to Robert E. Ingstad, Jr., whose radio holdings until that time were entirely concentrated in the Upper Midwest. While Ingstad contemplated flipping WLVW to a rock format, he ultimately retained beautiful music after the competitor in this format, WBGM, also announced its intention to switch, which upset local listeners.\n\nPalmer Communications ownership\nThis remained the case until Palmer Communications of Des Moines, Iowa, purchased the two stations from Ingstad in 1982. The new owners followed up on efforts started by Ingstad to increase power and upgrade the facilities, and Palmer made a major programming move for the pair by securing the rights to broadcast Florida State Seminoles football and men's basketball games. The beautiful music format was next to go by the wayside; after testing adult contemporary and country music, Palmer selected country and renamed the station WCSN, complete with a \"country cousins\" promotional program. Unfortunately, the new format turned out to be a miscalculation. 90 days before the format flip, WMNX (96.1 FM) started with its own country music format, and it performed well in the ratings, taking third overall in the market; meanwhile, ratings for the revamped 94.9 dropped by more than half from the last book as WLVW. When WMNX was sold and fired its general manager, Palmer hired him.\n\nIn conjunction with a relocation of the transmitter from the Hotel Duval, where it was impeded by low height, to a new mast, WCSN changed call letters to WTNT-FM in December 1983 and revamped its format. The move was a rousing ratings success: listenership figures more than doubled from 1983 to 1984, and the new WTNT-FM attracted double-digit ratings every year from 1987 to 1994, helping to lift it to the position of highest-billing station in the market from 1989 to 1996.\n\nFive sales in seven years\nIn 1990, Palmer reached a deal with Arso Radio Corporation, whose broadcast holdings were mostly in Puerto Rico, to sell its Tallahassee radio stations for $2.8 million. Under Arso, the AM station (which had been turned into a simulcast of WTNT-FM) shifted to a classic country sound as WNLS. Arso sold the properties two years later to Park Communications of Ithaca, New York, for $2.9 million.\n\nPark sold WNLS and WTNT in February 1996 to R. Sanders Hickey, who paid $3.5 million; his Southern Broadcasting Company merged three other stations with the two to form a five-station cluster and then sold its stations in Panama City, Pensacola and Tallahassee to Paxson Communications Corporation in a deal announced that May. The next year, Paxson sold its entire radio portfolio of 46 stations to Clear Channel Communications, forerunner of iHeartMedia, for $693 million.\n\nFlorida State football broadcasts returned to WTNT-FM in 2020 under a new six-year deal between iHeart, the university, and Learfield IMG College.\n\nReferences\n\nExternal links\nOfficial Website\n\nTNT-FM\nCountry radio stations in the United States\nRadio stations established in 1967\nIHeartMedia radio stations\n1967 establishments in Florida",
"KTAL TV-FM Tower (also called Nexstar Broadcasting Tower Vivian) is a , without appurtenances, tall guyed mast used for TV transmission by KTAL-TV. It is located at the Old Atlanta Highway near Vivian, Louisiana, USA at 32° 54'11.0\" N and 94° 00'21.0\" W.\n\nAt its completion in 1961, the tower was the tallest structure of Louisiana and the fourth tallest in the world. In addition to broadcasting KTAL-TV, the tower also holds the transmission equipment for KTAL-FM (98 Rocks). Both stations are licensed to Texarkana, Texas, and at the time of the tower's construction were owned by Clyde E. Palmer, also owner of the Texarkana Gazette. Palmer's media holdings later became known as WEHCO Media, which eventually divested the stations to separate owners—the TV station to Nexstar Broadcasting Group and the radio station to Access.1 Louisiana Holding Company.\n\nExternal links\n\nSee also \n List of masts\n\nTowers in Louisiana\nRadio masts and towers in the United States\nTowers completed in 1961\n1961 establishments in Louisiana\nBuildings and structures in Caddo Parish, Louisiana"
] | [
"James Alvin Palmer (born October 15, 1945) is an American former professional baseball pitcher who played 19 years in Major League Baseball (MLB) for the Baltimore Orioles (1965–1967, 1969–1984). Palmer was the winningest MLB pitcher in the 1970s, totaling 186 wins.",
"Palmer was the winningest MLB pitcher in the 1970s, totaling 186 wins. He also won at least 20 games in eight different seasons and won three Cy Young Awards and four Gold Gloves during the decade. His 268 career victories are currently an Orioles record.",
"His 268 career victories are currently an Orioles record. A six-time American League (AL) All-Star, he was also one of the rare pitchers who never allowed a grand slam in any major league contest.",
"A six-time American League (AL) All-Star, he was also one of the rare pitchers who never allowed a grand slam in any major league contest. Palmer appeared in the postseason eight times and was a vital member of three World Series Champions, six AL pennant winners and seven Eastern Division titleholders.",
"Palmer appeared in the postseason eight times and was a vital member of three World Series Champions, six AL pennant winners and seven Eastern Division titleholders. He is the only pitcher in history to earn a win in a World Series game in three different decades.",
"He is the only pitcher in history to earn a win in a World Series game in three different decades. He is also the youngest to pitch a complete-game shutout in a World Series, doing so nine days before his 21st birthday in 1966, in which he defeated Sandy Koufax in Koufax's last appearance.",
"He is also the youngest to pitch a complete-game shutout in a World Series, doing so nine days before his 21st birthday in 1966, in which he defeated Sandy Koufax in Koufax's last appearance. He was one of the starters on the last rotation to feature four 20-game winners in a single season in 1971.",
"He was one of the starters on the last rotation to feature four 20-game winners in a single season in 1971. He was elected to the Baseball Hall of Fame in 1990.",
"He was elected to the Baseball Hall of Fame in 1990. Since his retirement as an active player in 1984, Palmer has worked as a color commentator on telecasts of MLB games for ABC and ESPN and for the Orioles on Home Team Sports (HTS), Comcast SportsNet (CSN) Mid-Atlantic and the Mid-Atlantic Sports Network (MASN).",
"Since his retirement as an active player in 1984, Palmer has worked as a color commentator on telecasts of MLB games for ABC and ESPN and for the Orioles on Home Team Sports (HTS), Comcast SportsNet (CSN) Mid-Atlantic and the Mid-Atlantic Sports Network (MASN). He has also been a popular spokesman, most famously for Jockey International for almost 20 years.",
"He has also been a popular spokesman, most famously for Jockey International for almost 20 years. He was nicknamed \"Cakes\" in the 1960s because of his habit of eating pancakes for breakfast on the days he pitched. Early life James Alvin Palmer was born in Manhattan, New York City on October 15, 1945.",
"Early life James Alvin Palmer was born in Manhattan, New York City on October 15, 1945. Research conducted by his third wife Susan in 2017 revealed that his biological father and mother were Michael Joseph Geheran and Mary Ann Moroney, both Irish immigrants from Counties Leitrim and Clare respectively.",
"Research conducted by his third wife Susan in 2017 revealed that his biological father and mother were Michael Joseph Geheran and Mary Ann Moroney, both Irish immigrants from Counties Leitrim and Clare respectively. Joe was a married 41-year-old man about town, while Mary Ann was an unmarried 37-year-old domestic worker for the Feinstein family which was prominent in the garment industry.",
"Joe was a married 41-year-old man about town, while Mary Ann was an unmarried 37-year-old domestic worker for the Feinstein family which was prominent in the garment industry. Moroney gave up her infant for adoption and concealed information in the New York City birth registry, where Palmer is listed as Baby Boy Kennedy, whose father was Maroney and mother was Kennedy.",
"Moroney gave up her infant for adoption and concealed information in the New York City birth registry, where Palmer is listed as Baby Boy Kennedy, whose father was Maroney and mother was Kennedy. Maroney was the incorrect spelling of her surname as listed when she registered at Ellis Island, while Kennedy was her sister Katharine's married name.",
"Maroney was the incorrect spelling of her surname as listed when she registered at Ellis Island, while Kennedy was her sister Katharine's married name. Moroney eventually married John Lane and the couple had a daughter, Patricia, Palmer's biological half-sister, who died of leukemia at age 40 in 1987.",
"Moroney eventually married John Lane and the couple had a daughter, Patricia, Palmer's biological half-sister, who died of leukemia at age 40 in 1987. (As of May 2018, the Palmers were still searching for Patricia Lane's daughter, whose married name is Kimberly Hughes and who would be Jim Palmer's half-niece.)",
"(As of May 2018, the Palmers were still searching for Patricia Lane's daughter, whose married name is Kimberly Hughes and who would be Jim Palmer's half-niece.) Geheran died in 1959 and Moroney in 1979.",
"Geheran died in 1959 and Moroney in 1979. Two days after his birth, Palmer was adopted by Moe Wiesen and his wife Polly, a wealthy Manhattan dress designer and a boutique owner respectively, who lived on Park Avenue. His sister Bonnie was also adopted by the Wiesens.",
"His sister Bonnie was also adopted by the Wiesens. The family's butler taught the young Jim to throw a baseball in Central Park. After his adoptive father died of a heart attack in 1955, the nine-year-old Jim, his mother and his sister moved to Beverly Hills, California where he began playing in youth-league baseball.",
"After his adoptive father died of a heart attack in 1955, the nine-year-old Jim, his mother and his sister moved to Beverly Hills, California where he began playing in youth-league baseball. In 1956, his mother married actor Max Palmer, but Jim continued to go under the name Jim Wiesen until a year later.",
"In 1956, his mother married actor Max Palmer, but Jim continued to go under the name Jim Wiesen until a year later. At a Little League banquet, just before being presented with an award, he asked the coaches to identify him as \"James Alvin Palmer.\"",
"At a Little League banquet, just before being presented with an award, he asked the coaches to identify him as \"James Alvin Palmer.\" \"Through all these years, that night was the highlight of my entire life,\" Max recalled.",
"\"Through all these years, that night was the highlight of my entire life,\" Max recalled. Max was a character actor and there were two men who shared that name who worked in show business during similar time periods.",
"Max was a character actor and there were two men who shared that name who worked in show business during similar time periods. The Max who was Jim's second dad worked mostly on TV on such programs as Dragnet, Bat Masterson and The Colgate Comedy Hour. He was Jewish, and he also earned a living by selling shoes.",
"He was Jewish, and he also earned a living by selling shoes. The other Max Palmer, often erroneously credited as Jim's father, worked in several movies as a monster. He was 8'2\" tall and later became a professional wrestler and eventually a Christian evangelist.",
"He was 8'2\" tall and later became a professional wrestler and eventually a Christian evangelist. Jim played baseball for the Beverly Hills Yankees, where he pitched and also hit home runs as an outfielder. The family eventually moved to Scottsdale, Arizona, where Jim played baseball, basketball, and football at Scottsdale High School.",
"The family eventually moved to Scottsdale, Arizona, where Jim played baseball, basketball, and football at Scottsdale High School. He earned All-State honors in each of these sports, also graduating with a 3.4 grade-point average in 1963. Palmer also showed his prowess at American Legion Baseball.",
"Palmer also showed his prowess at American Legion Baseball. The University of Southern California, UCLA, and Arizona State University each offered him full scholarships; Stanford University offered a partial scholarship as well.",
"The University of Southern California, UCLA, and Arizona State University each offered him full scholarships; Stanford University offered a partial scholarship as well. Bobby Winkles of Arizona State suggested that Palmer get more experience playing collegiate summer baseball, so Palmer went to South Dakota to join the Winner Pheasants of the Basin League.",
"Bobby Winkles of Arizona State suggested that Palmer get more experience playing collegiate summer baseball, so Palmer went to South Dakota to join the Winner Pheasants of the Basin League. The team advanced all the way to the league finals, and Palmer caught the attention of Baltimore Orioles scout Harry Dalton while pitching in the second game of the championship.",
"The team advanced all the way to the league finals, and Palmer caught the attention of Baltimore Orioles scout Harry Dalton while pitching in the second game of the championship. According to Palmer, 13 Major League Baseball (MLB) teams recruited him after the season wrapped up, but Jim Russo (the scout who also signed Dave McNally and Boog Powell) and Jim Wilson of the Orioles made the best impression on his parents with their polite manners.",
"According to Palmer, 13 Major League Baseball (MLB) teams recruited him after the season wrapped up, but Jim Russo (the scout who also signed Dave McNally and Boog Powell) and Jim Wilson of the Orioles made the best impression on his parents with their polite manners. Palmer signed with Baltimore for $50,000.",
"Palmer signed with Baltimore for $50,000. Career in baseball 1960s A high-kicking pitcher known for an exceptionally smooth delivery, Palmer picked up his first major-league win on May 16, , beating the Yankees in relief at home.",
"Career in baseball 1960s A high-kicking pitcher known for an exceptionally smooth delivery, Palmer picked up his first major-league win on May 16, , beating the Yankees in relief at home. He hit the first of his three career major-league home runs, a two-run shot, in the fourth inning of that game, off Yankees starter Jim Bouton.",
"He hit the first of his three career major-league home runs, a two-run shot, in the fourth inning of that game, off Yankees starter Jim Bouton. Palmer finished the season with a 5–4 record. In , Palmer joined the starting rotation. Baltimore won the pennant behind Frank Robinson's MVP and Triple Crown season.",
"Baltimore won the pennant behind Frank Robinson's MVP and Triple Crown season. Palmer won his final game, against the Kansas City Athletics, to clinch the AL pennant.",
"Palmer won his final game, against the Kansas City Athletics, to clinch the AL pennant. In Game 2 of that World Series, at Dodger Stadium, he became the youngest pitcher (20 years, 11 months) to pitch a shutout, defeating the defending world champion Dodgers 6–0.",
"In Game 2 of that World Series, at Dodger Stadium, he became the youngest pitcher (20 years, 11 months) to pitch a shutout, defeating the defending world champion Dodgers 6–0. The underdog Orioles swept the series over a Los Angeles team that featured Sandy Koufax, Don Drysdale and Claude Osteen.",
"The underdog Orioles swept the series over a Los Angeles team that featured Sandy Koufax, Don Drysdale and Claude Osteen. The shutout was part of a World Series record-setting consecutive shutout innings by Orioles pitchers. The Dodgers' last run was against Moe Drabowsky in the third inning of Game 1.",
"The Dodgers' last run was against Moe Drabowsky in the third inning of Game 1. Palmer, Wally Bunker and Dave McNally pitched shutouts in the next three games. During the next two seasons, Palmer struggled with arm injuries. He had injured his arm in 1966 while using a paint roller in his new house in Baltimore.",
"He had injured his arm in 1966 while using a paint roller in his new house in Baltimore. Cortisone injections allowed him to pitch through the rest of the season and the World Series, but in 1967, his arm continued to feel heavy.",
"Cortisone injections allowed him to pitch through the rest of the season and the World Series, but in 1967, his arm continued to feel heavy. He threw a one-hit game against the New York Yankees on May 12 but was sent to the minor leagues after a poor start against the Boston Red Sox five days later.",
"He threw a one-hit game against the New York Yankees on May 12 but was sent to the minor leagues after a poor start against the Boston Red Sox five days later. While trying to make it back with the Rochester Red Wings in Niagara Falls, New York that Palmer surrendered the only grand slam in his entire professional career which was hit by the Buffalo Bisons' Johnny Bench.",
"While trying to make it back with the Rochester Red Wings in Niagara Falls, New York that Palmer surrendered the only grand slam in his entire professional career which was hit by the Buffalo Bisons' Johnny Bench. He only pitched three more games for the Orioles in 1967.",
"He only pitched three more games for the Orioles in 1967. In 1968, he was limited to 10 minor league games, with no appearances for the Orioles. The outlook on his career was so bleak, Palmer considered quitting baseball to attend college or trying to be a position player.",
"The outlook on his career was so bleak, Palmer considered quitting baseball to attend college or trying to be a position player. He had been placed on waivers in September 1968 and was left unprotected for the Kansas City Royals and Seattle Pilots in the expansion draft one month later, but was not claimed.",
"He had been placed on waivers in September 1968 and was left unprotected for the Kansas City Royals and Seattle Pilots in the expansion draft one month later, but was not claimed. After he pitched for an Instructional League team, the Orioles sent him to pitch for the Santurce Crabbers in the Puerto Rican Winter League.",
"After he pitched for an Instructional League team, the Orioles sent him to pitch for the Santurce Crabbers in the Puerto Rican Winter League. Before he left for Santurce, however, Palmer attended a Baltimore Bullets game and sat next to Marv Foxxman, a pharmaceutical representative who suggested he try Indocin.",
"Before he left for Santurce, however, Palmer attended a Baltimore Bullets game and sat next to Marv Foxxman, a pharmaceutical representative who suggested he try Indocin. In Santurce, Palmer's arm stopped hurting, and his fastball began hitting 95 mph again. \"It was a miracle as far as I was concerned,\" said Palmer.",
"\"It was a miracle as far as I was concerned,\" said Palmer. Palmer returned healthy in 1969, rejoining an Orioles rotation that included 20-game winners Dave McNally and Mike Cuellar. He missed July with a six-week stint on the disabled list, but it was for a torn back muscle, not because of arm trouble.",
"He missed July with a six-week stint on the disabled list, but it was for a torn back muscle, not because of arm trouble. That August 13, Palmer threw a no-hitter against Oakland, just four days after coming off the disabled list. It was the only no-hitter of his career.",
"It was the only no-hitter of his career. He finished the season with a mark of 16–4, 123 strikeouts, a 2.34 ERA, and .800 winning percentage. The heavily favored Orioles were beaten in the 1969 World Series by the New York Mets with Palmer taking the loss in Game 3.",
"The heavily favored Orioles were beaten in the 1969 World Series by the New York Mets with Palmer taking the loss in Game 3. 1970s In , Cuellar went 24–8, McNally 24–9, Palmer 20–10; in the trio went 20–9, 21–5 and 20–9, respectively, with Pat Dobson going 20–8.",
"1970s In , Cuellar went 24–8, McNally 24–9, Palmer 20–10; in the trio went 20–9, 21–5 and 20–9, respectively, with Pat Dobson going 20–8. Only one other team in MLB history, the Chicago White Sox, has had four 20-game winners.",
"Only one other team in MLB history, the Chicago White Sox, has had four 20-game winners. Palmer won 21 games in , and went 22–9, 158, 2.40 in , walking off with his first Cy Young Award. His success was interrupted in when his arm started giving him trouble in spring training.",
"His success was interrupted in when his arm started giving him trouble in spring training. Eventually, he was downed for eight weeks with elbow problems. Palmer had lost seven games in a row by the time he went on the disabled list on June 20.",
"Palmer had lost seven games in a row by the time he went on the disabled list on June 20. He was diagnosed with an ulnar nerve injury and orthopedic surgeon Robert Kerlan prescribed rest, hot and cold water therapy and medication.",
"He was diagnosed with an ulnar nerve injury and orthopedic surgeon Robert Kerlan prescribed rest, hot and cold water therapy and medication. Surgery was considered, but Palmer's pain lessened and he was able to return to play in August. He finished 7–12.",
"He finished 7–12. He finished 7–12. Palmer was at his peak again in , winning 23 games, throwing 10 shutouts (allowing just 44 hits in those games), and fashioning a 2.09 ERA—all tops in the American League. He completed 25 games, even saved one, and limited opposing hitters to a .216 batting average.",
"He completed 25 games, even saved one, and limited opposing hitters to a .216 batting average. On July 28, 1976, he received a fine from AL president Lee MacPhail after hitting Mickey Rivers with a pitch the day before.",
"On July 28, 1976, he received a fine from AL president Lee MacPhail after hitting Mickey Rivers with a pitch the day before. Palmer said it was in retaliation for Dock Ellis hitting Reggie Jackson with a pitch earlier in the game, then complained when Ellis (who did not admit to throwing at Jackson) was not fined.",
"Palmer said it was in retaliation for Dock Ellis hitting Reggie Jackson with a pitch earlier in the game, then complained when Ellis (who did not admit to throwing at Jackson) was not fined. Palmer won his second Cy Young Award, and repeated his feat in (22–13, 2.51).",
"Palmer won his second Cy Young Award, and repeated his feat in (22–13, 2.51). During the latter year, he won the first of four consecutive Gold Glove Awards.",
"During the latter year, he won the first of four consecutive Gold Glove Awards. (Jim Kaat, who had won the award 14 years in a row, moved to the National League, where he won the award that year and in .) After making $185,000 in 1976, Palmer hoped for a raise in 1977.",
"After making $185,000 in 1976, Palmer hoped for a raise in 1977. The Orioles offered $200,000 initially, but Palmer wanted $275,000. They finally agreed on a $260,000 salary, with a bonus for a \"significant contribution.\" In 1977 and 1978, Palmer won 20 and 21 games, respectively.",
"In 1977 and 1978, Palmer won 20 and 21 games, respectively. Despite the 20 wins in 1977, the Orioles almost refused to give him a bonus.",
"Despite the 20 wins in 1977, the Orioles almost refused to give him a bonus. After the Major League Baseball Players Association filed a grievance in Palmer's dispute and threatened to go to arbitration (which likely would have resulted in Palmer becoming a free agent), GM Hank Peters relented and gave him the bonus.",
"After the Major League Baseball Players Association filed a grievance in Palmer's dispute and threatened to go to arbitration (which likely would have resulted in Palmer becoming a free agent), GM Hank Peters relented and gave him the bonus. During the period spanning 1970 to 1978, Palmer had won 20 games in every season except for 1974.",
"During the period spanning 1970 to 1978, Palmer had won 20 games in every season except for 1974. During those eight 20-win seasons, he pitched between and 319 innings per year, leading the league in innings pitched four times and earned run average twice. During that span, he threw between 17 and 25 complete games each year.",
"During that span, he threw between 17 and 25 complete games each year. Frustrated that pitchers who had become free agents like Vida Blue and Bert Blyleven were making more money than him in 1979, Palmer told a reporter for the St. Paul Pioneer Press \"I'm going to aggravate [the Orioles] until they trade me.\"",
"Frustrated that pitchers who had become free agents like Vida Blue and Bert Blyleven were making more money than him in 1979, Palmer told a reporter for the St. Paul Pioneer Press \"I'm going to aggravate [the Orioles] until they trade me.\" Weaver responded by pinning a note to his locker that said, \"Happy Father's Day.",
"Weaver responded by pinning a note to his locker that said, \"Happy Father's Day. Now grow up.\" \"He's right he's underpaid...He's worth a million dollars when he's pitching but he signed for $260,000.\" Palmer eventually got over being discontent, and the team won the AL pennant.",
"Palmer eventually got over being discontent, and the team won the AL pennant. Weaver tabbed Palmer to start Game 1 of the ALCS against the Angels; though Palmer asked him to start Mike Flanagan, the 1979 Cy Young Award winner, instead, Weaver valued Palmer's experience.",
"Weaver tabbed Palmer to start Game 1 of the ALCS against the Angels; though Palmer asked him to start Mike Flanagan, the 1979 Cy Young Award winner, instead, Weaver valued Palmer's experience. Matched up against Ryan, Palmer allowed three runs in nine innings, taking a no-decision as he left with the game tied.",
"Matched up against Ryan, Palmer allowed three runs in nine innings, taking a no-decision as he left with the game tied. The Orioles won in the 10th on a John Lowenstein home run and won the series 3–1. 1980s From 1980 through 1985, Palmer was hampered by arm fatigue and myriad minor injuries.",
"1980s From 1980 through 1985, Palmer was hampered by arm fatigue and myriad minor injuries. Even so, he brought a stabilizing veteran presence to the pitching staff. In 1981, Palmer got into a feud with Doug DeCinces after DeCinces missed a line drive hit by Alan Trammell in a game against the Tigers.",
"In 1981, Palmer got into a feud with Doug DeCinces after DeCinces missed a line drive hit by Alan Trammell in a game against the Tigers. According to DeCinces, Palmer \"was cussing me out and throwing his hands in the air\" after the play. \"Those balls have to be caught,\" Palmer told a paper.",
"\"Those balls have to be caught,\" Palmer told a paper. \"Doug is reluctant to get in front of a ball.\" \"I'd like to know where Jim Palmer gets off criticizing others,\" DeCinces responded. \"Ask anybody–they're all sick of it. We're a twenty-four man team–and one prima donna.",
"We're a twenty-four man team–and one prima donna. He thinks it's always someone else's fault.\" The feud simmered until June, when Weaver said, \"I see no cause for concern. The third baseman wants the pitcher to do a little better and the pitcher wants the third baseman to do a little better.",
"The third baseman wants the pitcher to do a little better and the pitcher wants the third baseman to do a little better. I hope we can all do better and kiss and make up...The judge gave me custody of both of them.\"",
"I hope we can all do better and kiss and make up...The judge gave me custody of both of them.\" Palmer ultimately blamed Brooks Robinson for the dispute: \"If Brooks hadn't been the best third-baseman of all time, the rest of the Orioles wouldn't have taken it for granted that any ball hit anywhere within the same county as Brooks would be judged perfectly, fielded perfectly, and thrown perfectly, nailing (perfectly) what seemed like every single opposing batter.\"",
"Palmer ultimately blamed Brooks Robinson for the dispute: \"If Brooks hadn't been the best third-baseman of all time, the rest of the Orioles wouldn't have taken it for granted that any ball hit anywhere within the same county as Brooks would be judged perfectly, fielded perfectly, and thrown perfectly, nailing (perfectly) what seemed like every single opposing batter.\" After Palmer posted a 6.84 ERA in five starts, GM Hank Peters announced that \"Palmer is never, ever, ever going to start another game in an Orioles uniform.",
"After Palmer posted a 6.84 ERA in five starts, GM Hank Peters announced that \"Palmer is never, ever, ever going to start another game in an Orioles uniform. I've had it.\" Weaver moved Palmer to the bullpen, but with the team needing another starter, he put Palmer back in the rotation in June.",
"Weaver moved Palmer to the bullpen, but with the team needing another starter, he put Palmer back in the rotation in June. Shortly thereafter, Palmer went on an 11-game winning streak.",
"Shortly thereafter, Palmer went on an 11-game winning streak. Palmer's final major-league victory was noteworthy: pitching in relief of Mike Flanagan in the third game of the 1983 World Series, he faced the Phillies' celebrity-studded batting order and gave up no runs in a close Oriole win.",
"Palmer's final major-league victory was noteworthy: pitching in relief of Mike Flanagan in the third game of the 1983 World Series, he faced the Phillies' celebrity-studded batting order and gave up no runs in a close Oriole win. The 17 years between Palmer's first World Series win in 1966 and the 1983 win is the longest period of time between first and last pitching victories in the World Series for an individual pitcher in major league history.",
"The 17 years between Palmer's first World Series win in 1966 and the 1983 win is the longest period of time between first and last pitching victories in the World Series for an individual pitcher in major league history. He also became the only pitcher in major league baseball history to have won World Series games in three decades.",
"He also became the only pitcher in major league baseball history to have won World Series games in three decades. Also, Palmer became the only player in Orioles history to appear in all six (1966, 1969, 1970, 1971, 1979, 1983) of their World Series appearances to date.",
"Also, Palmer became the only player in Orioles history to appear in all six (1966, 1969, 1970, 1971, 1979, 1983) of their World Series appearances to date. Palmer was the only Orioles player on the 1983 championship team to have previously won a World Series.",
"Palmer was the only Orioles player on the 1983 championship team to have previously won a World Series. He retired after being released by Baltimore during the season. He retired with a 268–152 win-loss record and a 2.86 ERA. Palmer was elected to the Hall of Fame in 1990, his first year of eligibility.",
"Palmer was elected to the Hall of Fame in 1990, his first year of eligibility. Early broadcasting career While still an active player, Palmer did color commentary for ABC for their coverage of the 1978, 1980 and 1982 American League Championship Series, 1981 American League Division Series between Oakland and Kansas City, and the 1981 World Series.",
"Early broadcasting career While still an active player, Palmer did color commentary for ABC for their coverage of the 1978, 1980 and 1982 American League Championship Series, 1981 American League Division Series between Oakland and Kansas City, and the 1981 World Series. From to , Palmer formed an announcing team with Al Michaels and Tim McCarver at ABC.",
"From to , Palmer formed an announcing team with Al Michaels and Tim McCarver at ABC. Palmer announced the 1985 World Series, where he was supposed to team with Michaels and Howard Cosell, whom Palmer had worked with on the previous year's ALCS.",
"Palmer announced the 1985 World Series, where he was supposed to team with Michaels and Howard Cosell, whom Palmer had worked with on the previous year's ALCS. McCarver replaced Cosell for the World Series at the last minute after Cosell released a book (I Never Played the Game) that was critical of the ABC Sports team.",
"McCarver replaced Cosell for the World Series at the last minute after Cosell released a book (I Never Played the Game) that was critical of the ABC Sports team. The team of Palmer, Michaels and McCarver would subsequently go on to call the 1986 All-Star Game (that year, Palmer worked with Michaels on the ALCS while McCarver teamed with Keith Jackson on ABC's coverage of the National League Championship Series), the 1987 World Series, and 1988 All-Star Game as well as that year's NLCS.",
"The team of Palmer, Michaels and McCarver would subsequently go on to call the 1986 All-Star Game (that year, Palmer worked with Michaels on the ALCS while McCarver teamed with Keith Jackson on ABC's coverage of the National League Championship Series), the 1987 World Series, and 1988 All-Star Game as well as that year's NLCS. Palmer was present at San Francisco's Candlestick Park on October 17, , when the Loma Prieta earthquake hit prior to Game 3 of the World Series.",
"Palmer was present at San Francisco's Candlestick Park on October 17, , when the Loma Prieta earthquake hit prior to Game 3 of the World Series. After the 1989 season, ABC lost its contract to broadcast baseball to CBS.",
"After the 1989 season, ABC lost its contract to broadcast baseball to CBS. Palmer had earned $350,000 from ABC that year for appearing on around ten regular season broadcasts and making a few postseason appearances. In 1990, the Los Angeles Times reported that Palmer was thinking of pursuing work as a major league manager.",
"In 1990, the Los Angeles Times reported that Palmer was thinking of pursuing work as a major league manager. Instead, Palmer worked as an analyst for ESPN and as a broadcaster for Orioles games on their local telecasts over WMAR-TV and Home Team Sports. Comeback attempt In , Palmer attempted a comeback with the Orioles.",
"Comeback attempt In , Palmer attempted a comeback with the Orioles. He explained in his 1996 book, \"I wanted to see if I could be like Nolan Ryan was to the game or what George Blanda was to football.\"",
"He explained in his 1996 book, \"I wanted to see if I could be like Nolan Ryan was to the game or what George Blanda was to football.\" ESPN, which was trying to cut expenses, had asked him to take a pay cut and to sign a three-year contract.",
"ESPN, which was trying to cut expenses, had asked him to take a pay cut and to sign a three-year contract. Palmer said he would sign a one-year contract for less pay, but ESPN refused. \"I wouldn't be here today if the broadcasting climate had been more to my liking.",
"\"I wouldn't be here today if the broadcasting climate had been more to my liking. That was really my prime motivation, the fact that I no longer had that obligation\", Palmer said during spring training.",
"That was really my prime motivation, the fact that I no longer had that obligation\", Palmer said during spring training. Covering Palmer's spring training workouts, Richard Hoffer of Sports Illustrated said that Palmer's comeback was not entirely about money. He wrote that \"it is fair to suspect that a certain vanity is involved.\"",
"He wrote that \"it is fair to suspect that a certain vanity is involved.\" Hoffer said that Palmer \"has failed to excite either ridicule or astonishment. He's in fabulous condition, no question.",
"He's in fabulous condition, no question. But no matter whom he lines up with on the row of practice mounds, there is more pop in the gloves of catchers other than his.\" \"I couldn't throw ninety-five miles an hour anymore,\" Palmer later reflected. \"The best I could do was eighty.\"",
"\"The best I could do was eighty.\" While working out at the University of Miami during his comeback attempt, Palmer was approached by Miami assistant coach Lazaro Collazo. Collazo reportedly told him, \"You'll never get into the Hall of Fame with those mechanics.\"",
"Collazo reportedly told him, \"You'll never get into the Hall of Fame with those mechanics.\" \"I'm already in the Hall of Fame\", Palmer replied. To help Palmer's pitching motion, Collazo and Palmer completed unusual drills that involved Palmer placing a knee or foot on a chair as he tossed the ball.",
"To help Palmer's pitching motion, Collazo and Palmer completed unusual drills that involved Palmer placing a knee or foot on a chair as he tossed the ball. After giving up five hits and two runs in two innings of a spring training game, he retired permanently.",
"After giving up five hits and two runs in two innings of a spring training game, he retired permanently. Palmer said that he tore his hamstring while warming up for the game, commenting, \"I'm not saying I wouldn't like to continue, but I can't\", he said.",
"Palmer said that he tore his hamstring while warming up for the game, commenting, \"I'm not saying I wouldn't like to continue, but I can't\", he said. \"I heard something pop in my leg yesterday. It wasn't a nice sound.",
"It wasn't a nice sound. I don't know what that means, but I think it's going to play havoc with my tennis game.\"",
"I don't know what that means, but I think it's going to play havoc with my tennis game.\" Return to broadcasting From to , Palmer returned to ABC (this time, via a revenue-sharing joint venture between Major League Baseball, ABC and NBC called The Baseball Network) to once again broadcast with Tim McCarver and Al Michaels.",
"Return to broadcasting From to , Palmer returned to ABC (this time, via a revenue-sharing joint venture between Major League Baseball, ABC and NBC called The Baseball Network) to once again broadcast with Tim McCarver and Al Michaels. In 1995, the reunited team of Palmer, McCarver and Michaels would call the All-Star Game, Game 3 of that NLDS between Cincinnati and Los Angeles, Game 4 of the NLDS between Atlanta and Colorado, Games 1–2 of the NLCS, and Games 1, 4–5 of the World Series.",
"In 1995, the reunited team of Palmer, McCarver and Michaels would call the All-Star Game, Game 3 of that NLDS between Cincinnati and Los Angeles, Game 4 of the NLDS between Atlanta and Colorado, Games 1–2 of the NLCS, and Games 1, 4–5 of the World Series. Palmer, McCarver and Michaels were also intended to call the previous year's World Series for ABC, but were denied the opportunity when the entire postseason was canceled due to a strike.",
"Palmer, McCarver and Michaels were also intended to call the previous year's World Series for ABC, but were denied the opportunity when the entire postseason was canceled due to a strike. He is currently a color commentator on MASN's television broadcasts of Oriole games.",
"He is currently a color commentator on MASN's television broadcasts of Oriole games. In July 2012, Palmer put up for auction his three Cy Young Award trophies and two of his four Gold Glove Awards. \"At this point in my life, I would rather concern myself with the education of my grandchildren\", he said.",
"\"At this point in my life, I would rather concern myself with the education of my grandchildren\", he said. Palmer also noted that his autistic teenage stepson would require special care and that \"my priorities have changed.\"",
"Palmer also noted that his autistic teenage stepson would require special care and that \"my priorities have changed.\" Palmer had put up for auction one of his Cy Young Award trophies on behalf of a fundraising event for cystic fibrosis in years past, although he stated the winning bidder \"had paid $39,000 for that and never ever took it.",
"Palmer had put up for auction one of his Cy Young Award trophies on behalf of a fundraising event for cystic fibrosis in years past, although he stated the winning bidder \"had paid $39,000 for that and never ever took it. It was for the cause.\"",
"It was for the cause.\" Legacy Palmer has been considered one of the best pitchers in major-league history. Palmer is the only pitcher in big-league history to win World Series games in three decades (1960s, 1970s, and 1980s).",
"Palmer is the only pitcher in big-league history to win World Series games in three decades (1960s, 1970s, and 1980s). During his 19-year major league career of 575 games (including 17 postseason games), he never surrendered a grand slam, nor did he ever allow back-to-back homers.",
"During his 19-year major league career of 575 games (including 17 postseason games), he never surrendered a grand slam, nor did he ever allow back-to-back homers. Palmer's career earned run average (2.856) is the third-lowest among starting pitchers whose careers began after the advent of the live-ball era in 1920.",
"Palmer's career earned run average (2.856) is the third-lowest among starting pitchers whose careers began after the advent of the live-ball era in 1920. In six ALCS and six World Series, he posted an 8–3 record with 90 strikeouts, and an ERA of 2.61 and two shutouts in 17 games.",
"In six ALCS and six World Series, he posted an 8–3 record with 90 strikeouts, and an ERA of 2.61 and two shutouts in 17 games. He was a mainstay in the rotation during Baltimore's six pennant-winning teams in the 1960s (1966 and 1969), 1970s (1970, 1971 and 1979) and 1980s (1983).",
"He was a mainstay in the rotation during Baltimore's six pennant-winning teams in the 1960s (1966 and 1969), 1970s (1970, 1971 and 1979) and 1980s (1983). With the passing of Mike Cuellar in 2010, Palmer became the last surviving member of the 1971 Baltimore starting rotation that included four 20-game winners.",
"With the passing of Mike Cuellar in 2010, Palmer became the last surviving member of the 1971 Baltimore starting rotation that included four 20-game winners. Palmer won spots on six All-Star teams, received four Gold Glove Awards and won three Cy Young Awards. He led the league in ERA twice and in wins three times.",
"He led the league in ERA twice and in wins three times. Sometimes, Palmer would shift fielders around during games. He never meddled with the best fielders, such as the Robinsons or Paul Blair, but he would do so for less experienced players.",
"He never meddled with the best fielders, such as the Robinsons or Paul Blair, but he would do so for less experienced players. \"They might not know...that if they're playing a step or two to the opposite field and you're behind the batter two balls and no strikes...and you have a big lead...you're probably going to take a little off the pitch...and the fielders have to know to shift a couple of steps and play for the batter to pull.\"",
"\"They might not know...that if they're playing a step or two to the opposite field and you're behind the batter two balls and no strikes...and you have a big lead...you're probably going to take a little off the pitch...and the fielders have to know to shift a couple of steps and play for the batter to pull.\" In , he ranked No.",
"In , he ranked No. In , he ranked No. 64 on The Sporting News' list of the 100 Greatest Baseball Players, and was nominated as a finalist for the Major League Baseball All-Century Team. Endorsements During the late 1970s, Palmer was a spokesman and underwear model for Jockey brand men's briefs.",
"Endorsements During the late 1970s, Palmer was a spokesman and underwear model for Jockey brand men's briefs. He appeared in the company's national print and television advertisements as well as on billboards at Times Square in New York City and other major cities.",
"He appeared in the company's national print and television advertisements as well as on billboards at Times Square in New York City and other major cities. He donated all proceeds from the sale of his underwear poster to the Cystic Fibrosis Foundation.",
"He donated all proceeds from the sale of his underwear poster to the Cystic Fibrosis Foundation. From 1992 until 1999, he was frequently seen on television throughout the United States in commercials for The Money Store, a national home equity and mortgage lender. He has periodically appeared in ads and commercials for vitamins and other health-related products.",
"He has periodically appeared in ads and commercials for vitamins and other health-related products. Palmer also represents Cosamin DS, a joint health supplement made by Nutramax Laboratories in Edgewood, Maryland. He was also the spokesperson for Nationwide Motors Corp., which is a regional chain of car dealerships located in the Middle Atlantic region.",
"He was also the spokesperson for Nationwide Motors Corp., which is a regional chain of car dealerships located in the Middle Atlantic region. He is currently a spokesman for the national \"Strike Out High Cholesterol\" campaign.",
"He is currently a spokesman for the national \"Strike Out High Cholesterol\" campaign. Additionally, Palmer serves as a member of the advisory board of the Baseball Assistance Team, a 501(c)(3) non-profit organization dedicated to helping former Major League, Minor League, and Negro league players through financial and medical difficulties.",
"Additionally, Palmer serves as a member of the advisory board of the Baseball Assistance Team, a 501(c)(3) non-profit organization dedicated to helping former Major League, Minor League, and Negro league players through financial and medical difficulties. Personal life Shortly after graduating from high school in 1963, Palmer married the former Susan Ryan in 1964.",
"Personal life Shortly after graduating from high school in 1963, Palmer married the former Susan Ryan in 1964. He has two daughters with Ryan, named Jamie and Kelly.",
"He has two daughters with Ryan, named Jamie and Kelly. Ryan was not a huge baseball fan, as Palmer recalled: \"She used to bring her knitting and/or a friend, who usually liked baseball even less, to the games.\"",
"Ryan was not a huge baseball fan, as Palmer recalled: \"She used to bring her knitting and/or a friend, who usually liked baseball even less, to the games.\" In 2007, Palmer married the former Susan Earle, who has an adult son with autism.",
"In 2007, Palmer married the former Susan Earle, who has an adult son with autism. The Palmers have homes in Palm Beach, Florida, and in Corona Del Mar, California. In 2006, Palmer also acquired a penthouse condominium in Little Italy, Baltimore, which he uses while in Baltimore for Orioles' broadcasts.",
"In 2006, Palmer also acquired a penthouse condominium in Little Italy, Baltimore, which he uses while in Baltimore for Orioles' broadcasts. See also List of Major League Baseball career wins leaders List of Major League Baseball annual ERA leaders List of Major League Baseball annual wins leaders List of Major League Baseball career strikeout leaders Major League Baseball titles leaders List of Major League Baseball no-hitters List of Major League Baseball players who spent their entire career with one franchise References External links Jim Palmer at SABR (Baseball BioProject) 1945 births Living people Aberdeen Pheasants players American adoptees American League All-Stars American League ERA champions American League wins champions American people of Irish descent Baltimore Orioles announcers Baltimore Orioles players Baseball players from New York (state) Cy Young Award winners Elmira Pioneers players Gold Glove Award winners Hagerstown Suns players Major League Baseball broadcasters Major League Baseball pitchers Major League Baseball players with retired numbers Male models from New York (state) Miami Marlins (FSL) players Mid-Atlantic Sports Network Models from New York City National Baseball Hall of Fame inductees Rochester Red Wings players Sportspeople from New York City"
] |
[
"Jim Palmer",
"Early broadcasting career",
"What stations did Palmer work for in his early broadcasting days?",
"While still an active player, Palmer did color commentary for ABC"
] | C_596dc3da71fb4978952c538497aaa136_1 | What other stations has Palmer worked for? | 2 | What other stations has Jim Palmer worked for, other than ABC? | Jim Palmer | While still an active player, Palmer did color commentary for ABC for their coverage of the 1978, 1980 and 1982 American League Championship Series, 1981 American League Division Series between Oakland and Kansas City, and the 1981 World Series. From 1985 to 1989, Palmer formed an announcing team with Al Michaels and Tim McCarver at ABC. Palmer announced the 1985 World Series, where he was supposed to team with Michaels and Howard Cosell, whom Palmer had worked with on the previous year's ALCS. McCarver replaced Cosell for the World Series at the last minute after Cosell released a book (I Never Played the Game) that was critical of the ABC Sports team. The team of Palmer, Michaels and McCarver would subsequently go on to call the 1986 All-Star Game (that year, Palmer worked with Michaels on the ALCS while McCarver teamed with Keith Jackson on ABC's coverage of the National League Championship Series), the 1987 World Series, and 1988 All-Star Game as well as that year's NLCS. Palmer was present at San Francisco's Candlestick Park on October 17, 1989, when the Loma Prieta earthquake hit prior to Game 3 of the World Series. After the 1989 season, ABC lost its contract to broadcast baseball to CBS. Palmer had earned $350,000 from ABC that year for appearing on around ten regular season broadcasts and making a few postseason appearances. In 1990, the Los Angeles Times reported that Palmer was thinking of pursuing work as a major league manager. Instead, Palmer worked as an analyst for ESPN and as a broadcaster for Orioles games on their local telecasts over WMAR-TV and Home Team Sports. CANNOTANSWER | Palmer worked as an analyst for ESPN | James Alvin Palmer (born October 15, 1945) is an American former professional baseball pitcher who played 19 years in Major League Baseball (MLB) for the Baltimore Orioles (1965–1967, 1969–1984). Palmer was the winningest MLB pitcher in the 1970s, totaling 186 wins. He also won at least 20 games in eight different seasons and won three Cy Young Awards and four Gold Gloves during the decade. His 268 career victories are currently an Orioles record. A six-time American League (AL) All-Star, he was also one of the rare pitchers who never allowed a grand slam in any major league contest.
Palmer appeared in the postseason eight times and was a vital member of three World Series Champions, six AL pennant winners and seven Eastern Division titleholders. He is the only pitcher in history to earn a win in a World Series game in three different decades. He is also the youngest to pitch a complete-game shutout in a World Series, doing so nine days before his 21st birthday in 1966, in which he defeated Sandy Koufax in Koufax's last appearance. He was one of the starters on the last rotation to feature four 20-game winners in a single season in 1971. He was elected to the Baseball Hall of Fame in 1990.
Since his retirement as an active player in 1984, Palmer has worked as a color commentator on telecasts of MLB games for ABC and ESPN and for the Orioles on Home Team Sports (HTS), Comcast SportsNet (CSN) Mid-Atlantic and the Mid-Atlantic Sports Network (MASN). He has also been a popular spokesman, most famously for Jockey International for almost 20 years. He was nicknamed "Cakes" in the 1960s because of his habit of eating pancakes for breakfast on the days he pitched.
Early life
James Alvin Palmer was born in Manhattan, New York City on October 15, 1945. Research conducted by his third wife Susan in 2017 revealed that his biological father and mother were Michael Joseph Geheran and Mary Ann Moroney, both Irish immigrants from Counties Leitrim and Clare respectively. Joe was a married 41-year-old man about town, while Mary Ann was an unmarried 37-year-old domestic worker for the Feinstein family which was prominent in the garment industry. Moroney gave up her infant for adoption and concealed information in the New York City birth registry, where Palmer is listed as Baby Boy Kennedy, whose father was Maroney and mother was Kennedy. Maroney was the incorrect spelling of her surname as listed when she registered at Ellis Island, while Kennedy was her sister Katharine's married name. Moroney eventually married John Lane and the couple had a daughter, Patricia, Palmer's biological half-sister, who died of leukemia at age 40 in 1987. (As of May 2018, the Palmers were still searching for Patricia Lane's daughter, whose married name is Kimberly Hughes and who would be Jim Palmer's half-niece.) Geheran died in 1959 and Moroney in 1979.
Two days after his birth, Palmer was adopted by Moe Wiesen and his wife Polly, a wealthy Manhattan dress designer and a boutique owner respectively, who lived on Park Avenue. His sister Bonnie was also adopted by the Wiesens. The family's butler taught the young Jim to throw a baseball in Central Park. After his adoptive father died of a heart attack in 1955, the nine-year-old Jim, his mother and his sister moved to Beverly Hills, California where he began playing in youth-league baseball. In 1956, his mother married actor Max Palmer, but Jim continued to go under the name Jim Wiesen until a year later. At a Little League banquet, just before being presented with an award, he asked the coaches to identify him as "James Alvin Palmer." "Through all these years, that night was the highlight of my entire life," Max recalled. Max was a character actor and there were two men who shared that name who worked in show business during similar time periods. The Max who was Jim's second dad worked mostly on TV on such programs as Dragnet, Bat Masterson and The Colgate Comedy Hour. He was Jewish, and he also earned a living by selling shoes. The other Max Palmer, often erroneously credited as Jim's father, worked in several movies as a monster. He was 8'2" tall and later became a professional wrestler and eventually a Christian evangelist.
Jim played baseball for the Beverly Hills Yankees, where he pitched and also hit home runs as an outfielder. The family eventually moved to Scottsdale, Arizona, where Jim played baseball, basketball, and football at Scottsdale High School. He earned All-State honors in each of these sports, also graduating with a 3.4 grade-point average in 1963. Palmer also showed his prowess at American Legion Baseball. The University of Southern California, UCLA, and Arizona State University each offered him full scholarships; Stanford University offered a partial scholarship as well.
Bobby Winkles of Arizona State suggested that Palmer get more experience playing collegiate summer baseball, so Palmer went to South Dakota to join the Winner Pheasants of the Basin League. The team advanced all the way to the league finals, and Palmer caught the attention of Baltimore Orioles scout Harry Dalton while pitching in the second game of the championship. According to Palmer, 13 Major League Baseball (MLB) teams recruited him after the season wrapped up, but Jim Russo (the scout who also signed Dave McNally and Boog Powell) and Jim Wilson of the Orioles made the best impression on his parents with their polite manners. Palmer signed with Baltimore for $50,000.
Career in baseball
1960s
A high-kicking pitcher known for an exceptionally smooth delivery, Palmer picked up his first major-league win on May 16, , beating the Yankees in relief at home. He hit the first of his three career major-league home runs, a two-run shot, in the fourth inning of that game, off Yankees starter Jim Bouton. Palmer finished the season with a 5–4 record.
In , Palmer joined the starting rotation. Baltimore won the pennant behind Frank Robinson's MVP and Triple Crown season. Palmer won his final game, against the Kansas City Athletics, to clinch the AL pennant. In Game 2 of that World Series, at Dodger Stadium, he became the youngest pitcher (20 years, 11 months) to pitch a shutout, defeating the defending world champion Dodgers 6–0. The underdog Orioles swept the series over a Los Angeles team that featured Sandy Koufax, Don Drysdale and Claude Osteen. The shutout was part of a World Series record-setting consecutive shutout innings by Orioles pitchers. The Dodgers' last run was against Moe Drabowsky in the third inning of Game 1. Palmer, Wally Bunker and Dave McNally pitched shutouts in the next three games.
During the next two seasons, Palmer struggled with arm injuries. He had injured his arm in 1966 while using a paint roller in his new house in Baltimore. Cortisone injections allowed him to pitch through the rest of the season and the World Series, but in 1967, his arm continued to feel heavy. He threw a one-hit game against the New York Yankees on May 12 but was sent to the minor leagues after a poor start against the Boston Red Sox five days later. While trying to make it back with the Rochester Red Wings in Niagara Falls, New York that Palmer surrendered the only grand slam in his entire professional career which was hit by the Buffalo Bisons' Johnny Bench. He only pitched three more games for the Orioles in 1967. In 1968, he was limited to 10 minor league games, with no appearances for the Orioles. The outlook on his career was so bleak, Palmer considered quitting baseball to attend college or trying to be a position player. He had been placed on waivers in September 1968 and was left unprotected for the Kansas City Royals and Seattle Pilots in the expansion draft one month later, but was not claimed. After he pitched for an Instructional League team, the Orioles sent him to pitch for the Santurce Crabbers in the Puerto Rican Winter League. Before he left for Santurce, however, Palmer attended a Baltimore Bullets game and sat next to Marv Foxxman, a pharmaceutical representative who suggested he try Indocin. In Santurce, Palmer's arm stopped hurting, and his fastball began hitting 95 mph again. "It was a miracle as far as I was concerned," said Palmer.
Palmer returned healthy in 1969, rejoining an Orioles rotation that included 20-game winners Dave McNally and Mike Cuellar. He missed July with a six-week stint on the disabled list, but it was for a torn back muscle, not because of arm trouble. That August 13, Palmer threw a no-hitter against Oakland, just four days after coming off the disabled list. It was the only no-hitter of his career. He finished the season with a mark of 16–4, 123 strikeouts, a 2.34 ERA, and .800 winning percentage. The heavily favored Orioles were beaten in the 1969 World Series by the New York Mets with Palmer taking the loss in Game 3.
1970s
In , Cuellar went 24–8, McNally 24–9, Palmer 20–10; in the trio went 20–9, 21–5 and 20–9, respectively, with Pat Dobson going 20–8. Only one other team in MLB history, the Chicago White Sox, has had four 20-game winners.
Palmer won 21 games in , and went 22–9, 158, 2.40 in , walking off with his first Cy Young Award. His success was interrupted in when his arm started giving him trouble in spring training. Eventually, he was downed for eight weeks with elbow problems. Palmer had lost seven games in a row by the time he went on the disabled list on June 20. He was diagnosed with an ulnar nerve injury and orthopedic surgeon Robert Kerlan prescribed rest, hot and cold water therapy and medication. Surgery was considered, but Palmer's pain lessened and he was able to return to play in August. He finished 7–12.
Palmer was at his peak again in , winning 23 games, throwing 10 shutouts (allowing just 44 hits in those games), and fashioning a 2.09 ERA—all tops in the American League. He completed 25 games, even saved one, and limited opposing hitters to a .216 batting average. On July 28, 1976, he received a fine from AL president Lee MacPhail after hitting Mickey Rivers with a pitch the day before. Palmer said it was in retaliation for Dock Ellis hitting Reggie Jackson with a pitch earlier in the game, then complained when Ellis (who did not admit to throwing at Jackson) was not fined. Palmer won his second Cy Young Award, and repeated his feat in (22–13, 2.51). During the latter year, he won the first of four consecutive Gold Glove Awards. (Jim Kaat, who had won the award 14 years in a row, moved to the National League, where he won the award that year and in .)
After making $185,000 in 1976, Palmer hoped for a raise in 1977. The Orioles offered $200,000 initially, but Palmer wanted $275,000. They finally agreed on a $260,000 salary, with a bonus for a "significant contribution." In 1977 and 1978, Palmer won 20 and 21 games, respectively. Despite the 20 wins in 1977, the Orioles almost refused to give him a bonus. After the Major League Baseball Players Association filed a grievance in Palmer's dispute and threatened to go to arbitration (which likely would have resulted in Palmer becoming a free agent), GM Hank Peters relented and gave him the bonus. During the period spanning 1970 to 1978, Palmer had won 20 games in every season except for 1974. During those eight 20-win seasons, he pitched between and 319 innings per year, leading the league in innings pitched four times and earned run average twice. During that span, he threw between 17 and 25 complete games each year. Frustrated that pitchers who had become free agents like Vida Blue and Bert Blyleven were making more money than him in 1979, Palmer told a reporter for the St. Paul Pioneer Press "I'm going to aggravate [the Orioles] until they trade me." Weaver responded by pinning a note to his locker that said, "Happy Father's Day. Now grow up." "He's right he's underpaid...He's worth a million dollars when he's pitching but he signed for $260,000." Palmer eventually got over being discontent, and the team won the AL pennant. Weaver tabbed Palmer to start Game 1 of the ALCS against the Angels; though Palmer asked him to start Mike Flanagan, the 1979 Cy Young Award winner, instead, Weaver valued Palmer's experience. Matched up against Ryan, Palmer allowed three runs in nine innings, taking a no-decision as he left with the game tied. The Orioles won in the 10th on a John Lowenstein home run and won the series 3–1.
1980s
From 1980 through 1985, Palmer was hampered by arm fatigue and myriad minor injuries. Even so, he brought a stabilizing veteran presence to the pitching staff.
In 1981, Palmer got into a feud with Doug DeCinces after DeCinces missed a line drive hit by Alan Trammell in a game against the Tigers. According to DeCinces, Palmer "was cussing me out and throwing his hands in the air" after the play. "Those balls have to be caught," Palmer told a paper. "Doug is reluctant to get in front of a ball." "I'd like to know where Jim Palmer gets off criticizing others," DeCinces responded. "Ask anybody–they're all sick of it. We're a twenty-four man team–and one prima donna. He thinks it's always someone else's fault." The feud simmered until June, when Weaver said, "I see no cause for concern. The third baseman wants the pitcher to do a little better and the pitcher wants the third baseman to do a little better. I hope we can all do better and kiss and make up...The judge gave me custody of both of them." Palmer ultimately blamed Brooks Robinson for the dispute: "If Brooks hadn't been the best third-baseman of all time, the rest of the Orioles wouldn't have taken it for granted that any ball hit anywhere within the same county as Brooks would be judged perfectly, fielded perfectly, and thrown perfectly, nailing (perfectly) what seemed like every single opposing batter."
After Palmer posted a 6.84 ERA in five starts, GM Hank Peters announced that "Palmer is never, ever, ever going to start another game in an Orioles uniform. I've had it." Weaver moved Palmer to the bullpen, but with the team needing another starter, he put Palmer back in the rotation in June. Shortly thereafter, Palmer went on an 11-game winning streak.
Palmer's final major-league victory was noteworthy: pitching in relief of Mike Flanagan in the third game of the 1983 World Series, he faced the Phillies' celebrity-studded batting order and gave up no runs in a close Oriole win.
The 17 years between Palmer's first World Series win in 1966 and the 1983 win is the longest period of time between first and last pitching victories in the World Series for an individual pitcher in major league history. He also became the only pitcher in major league baseball history to have won World Series games in three decades. Also, Palmer became the only player in Orioles history to appear in all six (1966, 1969, 1970, 1971, 1979, 1983) of their World Series appearances to date.
Palmer was the only Orioles player on the 1983 championship team to have previously won a World Series. He retired after being released by Baltimore during the season. He retired with a 268–152 win-loss record and a 2.86 ERA. Palmer was elected to the Hall of Fame in 1990, his first year of eligibility.
Early broadcasting career
While still an active player, Palmer did color commentary for ABC for their coverage of the 1978, 1980 and 1982 American League Championship Series, 1981 American League Division Series between Oakland and Kansas City, and the 1981 World Series.
From to , Palmer formed an announcing team with Al Michaels and Tim McCarver at ABC. Palmer announced the 1985 World Series, where he was supposed to team with Michaels and Howard Cosell, whom Palmer had worked with on the previous year's ALCS. McCarver replaced Cosell for the World Series at the last minute after Cosell released a book (I Never Played the Game) that was critical of the ABC Sports team. The team of Palmer, Michaels and McCarver would subsequently go on to call the 1986 All-Star Game (that year, Palmer worked with Michaels on the ALCS while McCarver teamed with Keith Jackson on ABC's coverage of the National League Championship Series), the 1987 World Series, and 1988 All-Star Game as well as that year's NLCS.
Palmer was present at San Francisco's Candlestick Park on October 17, , when the Loma Prieta earthquake hit prior to Game 3 of the World Series. After the 1989 season, ABC lost its contract to broadcast baseball to CBS. Palmer had earned $350,000 from ABC that year for appearing on around ten regular season broadcasts and making a few postseason appearances.
In 1990, the Los Angeles Times reported that Palmer was thinking of pursuing work as a major league manager. Instead, Palmer worked as an analyst for ESPN and as a broadcaster for Orioles games on their local telecasts over WMAR-TV and Home Team Sports.
Comeback attempt
In , Palmer attempted a comeback with the Orioles. He explained in his 1996 book, "I wanted to see if I could be like Nolan Ryan was to the game or what George Blanda was to football." ESPN, which was trying to cut expenses, had asked him to take a pay cut and to sign a three-year contract. Palmer said he would sign a one-year contract for less pay, but ESPN refused. "I wouldn't be here today if the broadcasting climate had been more to my liking. That was really my prime motivation, the fact that I no longer had that obligation", Palmer said during spring training.
Covering Palmer's spring training workouts, Richard Hoffer of Sports Illustrated said that Palmer's comeback was not entirely about money. He wrote that "it is fair to suspect that a certain vanity is involved." Hoffer said that Palmer "has failed to excite either ridicule or astonishment. He's in fabulous condition, no question. But no matter whom he lines up with on the row of practice mounds, there is more pop in the gloves of catchers other than his." "I couldn't throw ninety-five miles an hour anymore," Palmer later reflected. "The best I could do was eighty."
While working out at the University of Miami during his comeback attempt, Palmer was approached by Miami assistant coach Lazaro Collazo. Collazo reportedly told him, "You'll never get into the Hall of Fame with those mechanics." "I'm already in the Hall of Fame", Palmer replied. To help Palmer's pitching motion, Collazo and Palmer completed unusual drills that involved Palmer placing a knee or foot on a chair as he tossed the ball.
After giving up five hits and two runs in two innings of a spring training game, he retired permanently. Palmer said that he tore his hamstring while warming up for the game, commenting, "I'm not saying I wouldn't like to continue, but I can't", he said. "I heard something pop in my leg yesterday. It wasn't a nice sound. I don't know what that means, but I think it's going to play havoc with my tennis game."
Return to broadcasting
From to , Palmer returned to ABC (this time, via a revenue-sharing joint venture between Major League Baseball, ABC and NBC called The Baseball Network) to once again broadcast with Tim McCarver and Al Michaels. In 1995, the reunited team of Palmer, McCarver and Michaels would call the All-Star Game, Game 3 of that NLDS between Cincinnati and Los Angeles, Game 4 of the NLDS between Atlanta and Colorado, Games 1–2 of the NLCS, and Games 1, 4–5 of the World Series. Palmer, McCarver and Michaels were also intended to call the previous year's World Series for ABC, but were denied the opportunity when the entire postseason was canceled due to a strike. He is currently a color commentator on MASN's television broadcasts of Oriole games.
In July 2012, Palmer put up for auction his three Cy Young Award trophies and two of his four Gold Glove Awards. "At this point in my life, I would rather concern myself with the education of my grandchildren", he said. Palmer also noted that his autistic teenage stepson would require special care and that "my priorities have changed." Palmer had put up for auction one of his Cy Young Award trophies on behalf of a fundraising event for cystic fibrosis in years past, although he stated the winning bidder "had paid $39,000 for that and never ever took it. It was for the cause."
Legacy
Palmer has been considered one of the best pitchers in major-league history. Palmer is the only pitcher in big-league history to win World Series games in three decades (1960s, 1970s, and 1980s). During his 19-year major league career of 575 games (including 17 postseason games), he never surrendered a grand slam, nor did he ever allow back-to-back homers. Palmer's career earned run average (2.856) is the third-lowest among starting pitchers whose careers began after the advent of the live-ball era in 1920. In six ALCS and six World Series, he posted an 8–3 record with 90 strikeouts, and an ERA of 2.61 and two shutouts in 17 games.
He was a mainstay in the rotation during Baltimore's six pennant-winning teams in the 1960s (1966 and 1969), 1970s (1970, 1971 and 1979) and 1980s (1983). With the passing of Mike Cuellar in 2010, Palmer became the last surviving member of the 1971 Baltimore starting rotation that included four 20-game winners. Palmer won spots on six All-Star teams, received four Gold Glove Awards and won three Cy Young Awards. He led the league in ERA twice and in wins three times.
Sometimes, Palmer would shift fielders around during games. He never meddled with the best fielders, such as the Robinsons or Paul Blair, but he would do so for less experienced players. "They might not know...that if they're playing a step or two to the opposite field and you're behind the batter two balls and no strikes...and you have a big lead...you're probably going to take a little off the pitch...and the fielders have to know to shift a couple of steps and play for the batter to pull."
In , he ranked No. 64 on The Sporting News' list of the 100 Greatest Baseball Players, and was nominated as a finalist for the Major League Baseball All-Century Team.
Endorsements
During the late 1970s, Palmer was a spokesman and underwear model for Jockey brand men's briefs. He appeared in the company's national print and television advertisements as well as on billboards at Times Square in New York City and other major cities. He donated all proceeds from the sale of his underwear poster to the Cystic Fibrosis Foundation.
From 1992 until 1999, he was frequently seen on television throughout the United States in commercials for The Money Store, a national home equity and mortgage lender. He has periodically appeared in ads and commercials for vitamins and other health-related products. Palmer also represents Cosamin DS, a joint health supplement made by Nutramax Laboratories in Edgewood, Maryland.
He was also the spokesperson for Nationwide Motors Corp., which is a regional chain of car dealerships located in the Middle Atlantic region. He is currently a spokesman for the national "Strike Out High Cholesterol" campaign. Additionally, Palmer serves as a member of the advisory board of the Baseball Assistance Team, a 501(c)(3) non-profit organization dedicated to helping former Major League, Minor League, and Negro league players through financial and medical difficulties.
Personal life
Shortly after graduating from high school in 1963, Palmer married the former Susan Ryan in 1964. He has two daughters with Ryan, named Jamie and Kelly. Ryan was not a huge baseball fan, as Palmer recalled: "She used to bring her knitting and/or a friend, who usually liked baseball even less, to the games."
In 2007, Palmer married the former Susan Earle, who has an adult son with autism. The Palmers have homes in Palm Beach, Florida, and in Corona Del Mar, California. In 2006, Palmer also acquired a penthouse condominium in Little Italy, Baltimore, which he uses while in Baltimore for Orioles' broadcasts.
See also
List of Major League Baseball career wins leaders
List of Major League Baseball annual ERA leaders
List of Major League Baseball annual wins leaders
List of Major League Baseball career strikeout leaders
Major League Baseball titles leaders
List of Major League Baseball no-hitters
List of Major League Baseball players who spent their entire career with one franchise
References
External links
Jim Palmer at SABR (Baseball BioProject)
1945 births
Living people
Aberdeen Pheasants players
American adoptees
American League All-Stars
American League ERA champions
American League wins champions
American people of Irish descent
Baltimore Orioles announcers
Baltimore Orioles players
Baseball players from New York (state)
Cy Young Award winners
Elmira Pioneers players
Gold Glove Award winners
Hagerstown Suns players
Major League Baseball broadcasters
Major League Baseball pitchers
Major League Baseball players with retired numbers
Male models from New York (state)
Miami Marlins (FSL) players
Mid-Atlantic Sports Network
Models from New York City
National Baseball Hall of Fame inductees
Rochester Red Wings players
Sportspeople from New York City | true | [
"Navarro Ridge () is a rugged ridge, long, that extends from the Coombs Hills southeastward to the west side of Cambridge Glacier. The central peak of the ridge rises to . It was named by the Advisory Committee on Antarctic Names in 2008 after members of the Navarro family who carried on support activities for the US Antarctic Program at the McMurdo, South Pole and Palmer Stations in the period 1989 to 2008: Kenneth Navarro, Palmer Station logistics supervisor who worked for 18 summer and four winter seasons at the three stations; Kenneth's wife Carol Gould Navarro, engaged in logistics and administration at Palmer and McMurdo for five summers and four winters; his sister Suzanne McCullough Navarro, a cook at McMurdo for four summers and one winter; his brother Steven Navarro, carpenter at Palmer and McMurdo for three summers and one winter; Kenneth and Carol's sons, Eliot Gould and Tyler Gould, also worked a few seasons in Antarctica.\n\nReferences\n\nMountains of Victoria Land",
"Timothy J. Palmer (born 4 October 1962, in North Shields) is an English record producer, audio engineer, guitarist and songwriter of rock and alternative music. He mixed Pearl Jam's debut album Ten (1991) and tracks on U2's album All That You Can't Leave Behind (2000). Palmer has produced for over four decades and has worked with artists such as U2, Robert Plant, Ozzy Osbourne, Tears For Fears, The Mission, Mighty Lemon Drops, Gene Loves Jezebel, Pearl Jam, David Bowie’s Tin Machine, HIM, Blue October, Jason Mraz, The Polyphonic Spree, The House of Love, Texas, Tarja Turunen, The Cure, Cutting Crew, Porcupine Tree, Faith Hill, Goo Goo Dolls, LIVE, Kandace Springs, Sweet Water, Lang Lang, Switchfoot, Lizz Wright, Billy Childs, Goldfinger, J.D. Souther, Steve Grand, Pitty and Orlando Draven.\n\nBiography\nPalmer started his career in London. In the early 1980s, Palmer was an assistant engineer at Phil Wainman's Utopia Studios in London where he worked with musicians such as Mark Knopfler and Dead or Alive. By age 21, he had his first number one single, mixing \"(I Just) Died in Your Arms\" (1986) for Cutting Crew. In the latter half of the 1980s, Palmer became a producer, and his ears and technical knowledge contributed to groups such as the Mighty Lemon Drops, The Mission, with whom he worked for several years, and Gene Loves Jezebel. In 1988, Palmer produced Now and Zen for rock singer Robert Plant (Top 10 U.S. album) as well as Tin Machine, David Bowie's debut LP with Tin Machine in 1989.\n\nIn the 1990s, Palmer started to focus more on mixing for diverse groups like Mother Love Bone, The Cure, Sponge, Wire Train, James, Catherine Wheel, Ned's Atomic Dustbin, and Concrete Blonde. He produced The House of Love (1990) for The House of Love, and mixed Ten (1991) for Pearl Jam. He also produced Tears for Fears albums, Elemental (1993), Raoul and the Kings of Spain (1995), and Everybody Loves A Happy Ending (2004).\n\nPalmer relocated to Los Angeles, California, United States, to build his own mixing facility and was nominated for a Grammy Award for his mixing work on U2's All That You Can't Leave Behind album. He produced and wrote with Ozzy Osbourne on his platinum-selling album, Down to Earth (2001), and mixed Porcupine Tree's In Absentia (2002). Palmer then produced and mixed for Switchfoot, the Goo Goo Dolls and Dark Light and Venus Doom by HIM. Since moving his studio to Austin, Texas in 2009, he has produced and mixed for Jason Mraz, Blue October and Bob Schneider. Palmer has been moderator for three years at SXSW, and is a Governor of the Texas chapter of the Recording Academy. He mixed songs for several Austin bands, including Bob Schneider, and Quiet Company.\n\nPalmer mixed Julien-K's debut album, Death to Analog (2009). He worked with the Goo Goo Dolls on their ninth studio album, Something for the Rest of Us, that same year, and mixed Norwegian rock band Malice in Wonderland's single, \"City Angel\". In 2010, Palmer worked on tracks for Tarja Turunen's album What Lies Beneath. He mixed Blue October's 2003 album History For Sale, and has continued a close working relationship with Blue October, producing their 2011 album Any Man in America, and mixing their albums Sway, Home, and I Hope You're Happy.\n\nIn November 2012, Palmer mixed HIM's album Tears on Tape in London, and as of January 2013, had been mixing and co-producing a new album from Polyphonic Spree. He also worked once again with Tarja Turunen on her album Colours in the Dark.\n\nMore recently, Palmer has mixed many jazz albums for record producer Larry Klein. Together they have worked with Billy Childs, Lizz Wright, J.D Souther, Kandace Springs, Lang Lang, Hailey Tuck and recently a tribute to Charlie Parker, The Passion of Charlie Parker featuring sax player Donny McCaslin.\n\nIn 2017, Palmer mixed the Tears for Fears single, \"I Love You but I'm Lost\". It was their first new music in 13 years, and it was immediately named 'Record of the Week' on BBC Radio 2.\n\nIn recent years, Palmer has played an active role in The Recording Academy. He has been a board member in Texas for three terms and is now serving as a National Trustee. Palmer also serves on the advisory board for Austin non-profit Black Fret.\n\nReferences\n\nExternal links\nOfficial website\nTim Palmer @ Discogs\nTim Palmer : Biography & History\nGrammy governance\nPalmer entry at Blackfret.org\n\nEnglish record producers\nEnglish audio engineers\n1962 births\nLiving people"
] | [
"James Alvin Palmer (born October 15, 1945) is an American former professional baseball pitcher who played 19 years in Major League Baseball (MLB) for the Baltimore Orioles (1965–1967, 1969–1984). Palmer was the winningest MLB pitcher in the 1970s, totaling 186 wins.",
"Palmer was the winningest MLB pitcher in the 1970s, totaling 186 wins. He also won at least 20 games in eight different seasons and won three Cy Young Awards and four Gold Gloves during the decade. His 268 career victories are currently an Orioles record.",
"His 268 career victories are currently an Orioles record. A six-time American League (AL) All-Star, he was also one of the rare pitchers who never allowed a grand slam in any major league contest.",
"A six-time American League (AL) All-Star, he was also one of the rare pitchers who never allowed a grand slam in any major league contest. Palmer appeared in the postseason eight times and was a vital member of three World Series Champions, six AL pennant winners and seven Eastern Division titleholders.",
"Palmer appeared in the postseason eight times and was a vital member of three World Series Champions, six AL pennant winners and seven Eastern Division titleholders. He is the only pitcher in history to earn a win in a World Series game in three different decades.",
"He is the only pitcher in history to earn a win in a World Series game in three different decades. He is also the youngest to pitch a complete-game shutout in a World Series, doing so nine days before his 21st birthday in 1966, in which he defeated Sandy Koufax in Koufax's last appearance.",
"He is also the youngest to pitch a complete-game shutout in a World Series, doing so nine days before his 21st birthday in 1966, in which he defeated Sandy Koufax in Koufax's last appearance. He was one of the starters on the last rotation to feature four 20-game winners in a single season in 1971.",
"He was one of the starters on the last rotation to feature four 20-game winners in a single season in 1971. He was elected to the Baseball Hall of Fame in 1990.",
"He was elected to the Baseball Hall of Fame in 1990. Since his retirement as an active player in 1984, Palmer has worked as a color commentator on telecasts of MLB games for ABC and ESPN and for the Orioles on Home Team Sports (HTS), Comcast SportsNet (CSN) Mid-Atlantic and the Mid-Atlantic Sports Network (MASN).",
"Since his retirement as an active player in 1984, Palmer has worked as a color commentator on telecasts of MLB games for ABC and ESPN and for the Orioles on Home Team Sports (HTS), Comcast SportsNet (CSN) Mid-Atlantic and the Mid-Atlantic Sports Network (MASN). He has also been a popular spokesman, most famously for Jockey International for almost 20 years.",
"He has also been a popular spokesman, most famously for Jockey International for almost 20 years. He was nicknamed \"Cakes\" in the 1960s because of his habit of eating pancakes for breakfast on the days he pitched. Early life James Alvin Palmer was born in Manhattan, New York City on October 15, 1945.",
"Early life James Alvin Palmer was born in Manhattan, New York City on October 15, 1945. Research conducted by his third wife Susan in 2017 revealed that his biological father and mother were Michael Joseph Geheran and Mary Ann Moroney, both Irish immigrants from Counties Leitrim and Clare respectively.",
"Research conducted by his third wife Susan in 2017 revealed that his biological father and mother were Michael Joseph Geheran and Mary Ann Moroney, both Irish immigrants from Counties Leitrim and Clare respectively. Joe was a married 41-year-old man about town, while Mary Ann was an unmarried 37-year-old domestic worker for the Feinstein family which was prominent in the garment industry.",
"Joe was a married 41-year-old man about town, while Mary Ann was an unmarried 37-year-old domestic worker for the Feinstein family which was prominent in the garment industry. Moroney gave up her infant for adoption and concealed information in the New York City birth registry, where Palmer is listed as Baby Boy Kennedy, whose father was Maroney and mother was Kennedy.",
"Moroney gave up her infant for adoption and concealed information in the New York City birth registry, where Palmer is listed as Baby Boy Kennedy, whose father was Maroney and mother was Kennedy. Maroney was the incorrect spelling of her surname as listed when she registered at Ellis Island, while Kennedy was her sister Katharine's married name.",
"Maroney was the incorrect spelling of her surname as listed when she registered at Ellis Island, while Kennedy was her sister Katharine's married name. Moroney eventually married John Lane and the couple had a daughter, Patricia, Palmer's biological half-sister, who died of leukemia at age 40 in 1987.",
"Moroney eventually married John Lane and the couple had a daughter, Patricia, Palmer's biological half-sister, who died of leukemia at age 40 in 1987. (As of May 2018, the Palmers were still searching for Patricia Lane's daughter, whose married name is Kimberly Hughes and who would be Jim Palmer's half-niece.)",
"(As of May 2018, the Palmers were still searching for Patricia Lane's daughter, whose married name is Kimberly Hughes and who would be Jim Palmer's half-niece.) Geheran died in 1959 and Moroney in 1979.",
"Geheran died in 1959 and Moroney in 1979. Two days after his birth, Palmer was adopted by Moe Wiesen and his wife Polly, a wealthy Manhattan dress designer and a boutique owner respectively, who lived on Park Avenue. His sister Bonnie was also adopted by the Wiesens.",
"His sister Bonnie was also adopted by the Wiesens. The family's butler taught the young Jim to throw a baseball in Central Park. After his adoptive father died of a heart attack in 1955, the nine-year-old Jim, his mother and his sister moved to Beverly Hills, California where he began playing in youth-league baseball.",
"After his adoptive father died of a heart attack in 1955, the nine-year-old Jim, his mother and his sister moved to Beverly Hills, California where he began playing in youth-league baseball. In 1956, his mother married actor Max Palmer, but Jim continued to go under the name Jim Wiesen until a year later.",
"In 1956, his mother married actor Max Palmer, but Jim continued to go under the name Jim Wiesen until a year later. At a Little League banquet, just before being presented with an award, he asked the coaches to identify him as \"James Alvin Palmer.\"",
"At a Little League banquet, just before being presented with an award, he asked the coaches to identify him as \"James Alvin Palmer.\" \"Through all these years, that night was the highlight of my entire life,\" Max recalled.",
"\"Through all these years, that night was the highlight of my entire life,\" Max recalled. Max was a character actor and there were two men who shared that name who worked in show business during similar time periods.",
"Max was a character actor and there were two men who shared that name who worked in show business during similar time periods. The Max who was Jim's second dad worked mostly on TV on such programs as Dragnet, Bat Masterson and The Colgate Comedy Hour. He was Jewish, and he also earned a living by selling shoes.",
"He was Jewish, and he also earned a living by selling shoes. The other Max Palmer, often erroneously credited as Jim's father, worked in several movies as a monster. He was 8'2\" tall and later became a professional wrestler and eventually a Christian evangelist.",
"He was 8'2\" tall and later became a professional wrestler and eventually a Christian evangelist. Jim played baseball for the Beverly Hills Yankees, where he pitched and also hit home runs as an outfielder. The family eventually moved to Scottsdale, Arizona, where Jim played baseball, basketball, and football at Scottsdale High School.",
"The family eventually moved to Scottsdale, Arizona, where Jim played baseball, basketball, and football at Scottsdale High School. He earned All-State honors in each of these sports, also graduating with a 3.4 grade-point average in 1963. Palmer also showed his prowess at American Legion Baseball.",
"Palmer also showed his prowess at American Legion Baseball. The University of Southern California, UCLA, and Arizona State University each offered him full scholarships; Stanford University offered a partial scholarship as well.",
"The University of Southern California, UCLA, and Arizona State University each offered him full scholarships; Stanford University offered a partial scholarship as well. Bobby Winkles of Arizona State suggested that Palmer get more experience playing collegiate summer baseball, so Palmer went to South Dakota to join the Winner Pheasants of the Basin League.",
"Bobby Winkles of Arizona State suggested that Palmer get more experience playing collegiate summer baseball, so Palmer went to South Dakota to join the Winner Pheasants of the Basin League. The team advanced all the way to the league finals, and Palmer caught the attention of Baltimore Orioles scout Harry Dalton while pitching in the second game of the championship.",
"The team advanced all the way to the league finals, and Palmer caught the attention of Baltimore Orioles scout Harry Dalton while pitching in the second game of the championship. According to Palmer, 13 Major League Baseball (MLB) teams recruited him after the season wrapped up, but Jim Russo (the scout who also signed Dave McNally and Boog Powell) and Jim Wilson of the Orioles made the best impression on his parents with their polite manners.",
"According to Palmer, 13 Major League Baseball (MLB) teams recruited him after the season wrapped up, but Jim Russo (the scout who also signed Dave McNally and Boog Powell) and Jim Wilson of the Orioles made the best impression on his parents with their polite manners. Palmer signed with Baltimore for $50,000.",
"Palmer signed with Baltimore for $50,000. Career in baseball 1960s A high-kicking pitcher known for an exceptionally smooth delivery, Palmer picked up his first major-league win on May 16, , beating the Yankees in relief at home.",
"Career in baseball 1960s A high-kicking pitcher known for an exceptionally smooth delivery, Palmer picked up his first major-league win on May 16, , beating the Yankees in relief at home. He hit the first of his three career major-league home runs, a two-run shot, in the fourth inning of that game, off Yankees starter Jim Bouton.",
"He hit the first of his three career major-league home runs, a two-run shot, in the fourth inning of that game, off Yankees starter Jim Bouton. Palmer finished the season with a 5–4 record. In , Palmer joined the starting rotation. Baltimore won the pennant behind Frank Robinson's MVP and Triple Crown season.",
"Baltimore won the pennant behind Frank Robinson's MVP and Triple Crown season. Palmer won his final game, against the Kansas City Athletics, to clinch the AL pennant.",
"Palmer won his final game, against the Kansas City Athletics, to clinch the AL pennant. In Game 2 of that World Series, at Dodger Stadium, he became the youngest pitcher (20 years, 11 months) to pitch a shutout, defeating the defending world champion Dodgers 6–0.",
"In Game 2 of that World Series, at Dodger Stadium, he became the youngest pitcher (20 years, 11 months) to pitch a shutout, defeating the defending world champion Dodgers 6–0. The underdog Orioles swept the series over a Los Angeles team that featured Sandy Koufax, Don Drysdale and Claude Osteen.",
"The underdog Orioles swept the series over a Los Angeles team that featured Sandy Koufax, Don Drysdale and Claude Osteen. The shutout was part of a World Series record-setting consecutive shutout innings by Orioles pitchers. The Dodgers' last run was against Moe Drabowsky in the third inning of Game 1.",
"The Dodgers' last run was against Moe Drabowsky in the third inning of Game 1. Palmer, Wally Bunker and Dave McNally pitched shutouts in the next three games. During the next two seasons, Palmer struggled with arm injuries. He had injured his arm in 1966 while using a paint roller in his new house in Baltimore.",
"He had injured his arm in 1966 while using a paint roller in his new house in Baltimore. Cortisone injections allowed him to pitch through the rest of the season and the World Series, but in 1967, his arm continued to feel heavy.",
"Cortisone injections allowed him to pitch through the rest of the season and the World Series, but in 1967, his arm continued to feel heavy. He threw a one-hit game against the New York Yankees on May 12 but was sent to the minor leagues after a poor start against the Boston Red Sox five days later.",
"He threw a one-hit game against the New York Yankees on May 12 but was sent to the minor leagues after a poor start against the Boston Red Sox five days later. While trying to make it back with the Rochester Red Wings in Niagara Falls, New York that Palmer surrendered the only grand slam in his entire professional career which was hit by the Buffalo Bisons' Johnny Bench.",
"While trying to make it back with the Rochester Red Wings in Niagara Falls, New York that Palmer surrendered the only grand slam in his entire professional career which was hit by the Buffalo Bisons' Johnny Bench. He only pitched three more games for the Orioles in 1967.",
"He only pitched three more games for the Orioles in 1967. In 1968, he was limited to 10 minor league games, with no appearances for the Orioles. The outlook on his career was so bleak, Palmer considered quitting baseball to attend college or trying to be a position player.",
"The outlook on his career was so bleak, Palmer considered quitting baseball to attend college or trying to be a position player. He had been placed on waivers in September 1968 and was left unprotected for the Kansas City Royals and Seattle Pilots in the expansion draft one month later, but was not claimed.",
"He had been placed on waivers in September 1968 and was left unprotected for the Kansas City Royals and Seattle Pilots in the expansion draft one month later, but was not claimed. After he pitched for an Instructional League team, the Orioles sent him to pitch for the Santurce Crabbers in the Puerto Rican Winter League.",
"After he pitched for an Instructional League team, the Orioles sent him to pitch for the Santurce Crabbers in the Puerto Rican Winter League. Before he left for Santurce, however, Palmer attended a Baltimore Bullets game and sat next to Marv Foxxman, a pharmaceutical representative who suggested he try Indocin.",
"Before he left for Santurce, however, Palmer attended a Baltimore Bullets game and sat next to Marv Foxxman, a pharmaceutical representative who suggested he try Indocin. In Santurce, Palmer's arm stopped hurting, and his fastball began hitting 95 mph again. \"It was a miracle as far as I was concerned,\" said Palmer.",
"\"It was a miracle as far as I was concerned,\" said Palmer. Palmer returned healthy in 1969, rejoining an Orioles rotation that included 20-game winners Dave McNally and Mike Cuellar. He missed July with a six-week stint on the disabled list, but it was for a torn back muscle, not because of arm trouble.",
"He missed July with a six-week stint on the disabled list, but it was for a torn back muscle, not because of arm trouble. That August 13, Palmer threw a no-hitter against Oakland, just four days after coming off the disabled list. It was the only no-hitter of his career.",
"It was the only no-hitter of his career. He finished the season with a mark of 16–4, 123 strikeouts, a 2.34 ERA, and .800 winning percentage. The heavily favored Orioles were beaten in the 1969 World Series by the New York Mets with Palmer taking the loss in Game 3.",
"The heavily favored Orioles were beaten in the 1969 World Series by the New York Mets with Palmer taking the loss in Game 3. 1970s In , Cuellar went 24–8, McNally 24–9, Palmer 20–10; in the trio went 20–9, 21–5 and 20–9, respectively, with Pat Dobson going 20–8.",
"1970s In , Cuellar went 24–8, McNally 24–9, Palmer 20–10; in the trio went 20–9, 21–5 and 20–9, respectively, with Pat Dobson going 20–8. Only one other team in MLB history, the Chicago White Sox, has had four 20-game winners.",
"Only one other team in MLB history, the Chicago White Sox, has had four 20-game winners. Palmer won 21 games in , and went 22–9, 158, 2.40 in , walking off with his first Cy Young Award. His success was interrupted in when his arm started giving him trouble in spring training.",
"His success was interrupted in when his arm started giving him trouble in spring training. Eventually, he was downed for eight weeks with elbow problems. Palmer had lost seven games in a row by the time he went on the disabled list on June 20.",
"Palmer had lost seven games in a row by the time he went on the disabled list on June 20. He was diagnosed with an ulnar nerve injury and orthopedic surgeon Robert Kerlan prescribed rest, hot and cold water therapy and medication.",
"He was diagnosed with an ulnar nerve injury and orthopedic surgeon Robert Kerlan prescribed rest, hot and cold water therapy and medication. Surgery was considered, but Palmer's pain lessened and he was able to return to play in August. He finished 7–12.",
"He finished 7–12. He finished 7–12. Palmer was at his peak again in , winning 23 games, throwing 10 shutouts (allowing just 44 hits in those games), and fashioning a 2.09 ERA—all tops in the American League. He completed 25 games, even saved one, and limited opposing hitters to a .216 batting average.",
"He completed 25 games, even saved one, and limited opposing hitters to a .216 batting average. On July 28, 1976, he received a fine from AL president Lee MacPhail after hitting Mickey Rivers with a pitch the day before.",
"On July 28, 1976, he received a fine from AL president Lee MacPhail after hitting Mickey Rivers with a pitch the day before. Palmer said it was in retaliation for Dock Ellis hitting Reggie Jackson with a pitch earlier in the game, then complained when Ellis (who did not admit to throwing at Jackson) was not fined.",
"Palmer said it was in retaliation for Dock Ellis hitting Reggie Jackson with a pitch earlier in the game, then complained when Ellis (who did not admit to throwing at Jackson) was not fined. Palmer won his second Cy Young Award, and repeated his feat in (22–13, 2.51).",
"Palmer won his second Cy Young Award, and repeated his feat in (22–13, 2.51). During the latter year, he won the first of four consecutive Gold Glove Awards.",
"During the latter year, he won the first of four consecutive Gold Glove Awards. (Jim Kaat, who had won the award 14 years in a row, moved to the National League, where he won the award that year and in .) After making $185,000 in 1976, Palmer hoped for a raise in 1977.",
"After making $185,000 in 1976, Palmer hoped for a raise in 1977. The Orioles offered $200,000 initially, but Palmer wanted $275,000. They finally agreed on a $260,000 salary, with a bonus for a \"significant contribution.\" In 1977 and 1978, Palmer won 20 and 21 games, respectively.",
"In 1977 and 1978, Palmer won 20 and 21 games, respectively. Despite the 20 wins in 1977, the Orioles almost refused to give him a bonus.",
"Despite the 20 wins in 1977, the Orioles almost refused to give him a bonus. After the Major League Baseball Players Association filed a grievance in Palmer's dispute and threatened to go to arbitration (which likely would have resulted in Palmer becoming a free agent), GM Hank Peters relented and gave him the bonus.",
"After the Major League Baseball Players Association filed a grievance in Palmer's dispute and threatened to go to arbitration (which likely would have resulted in Palmer becoming a free agent), GM Hank Peters relented and gave him the bonus. During the period spanning 1970 to 1978, Palmer had won 20 games in every season except for 1974.",
"During the period spanning 1970 to 1978, Palmer had won 20 games in every season except for 1974. During those eight 20-win seasons, he pitched between and 319 innings per year, leading the league in innings pitched four times and earned run average twice. During that span, he threw between 17 and 25 complete games each year.",
"During that span, he threw between 17 and 25 complete games each year. Frustrated that pitchers who had become free agents like Vida Blue and Bert Blyleven were making more money than him in 1979, Palmer told a reporter for the St. Paul Pioneer Press \"I'm going to aggravate [the Orioles] until they trade me.\"",
"Frustrated that pitchers who had become free agents like Vida Blue and Bert Blyleven were making more money than him in 1979, Palmer told a reporter for the St. Paul Pioneer Press \"I'm going to aggravate [the Orioles] until they trade me.\" Weaver responded by pinning a note to his locker that said, \"Happy Father's Day.",
"Weaver responded by pinning a note to his locker that said, \"Happy Father's Day. Now grow up.\" \"He's right he's underpaid...He's worth a million dollars when he's pitching but he signed for $260,000.\" Palmer eventually got over being discontent, and the team won the AL pennant.",
"Palmer eventually got over being discontent, and the team won the AL pennant. Weaver tabbed Palmer to start Game 1 of the ALCS against the Angels; though Palmer asked him to start Mike Flanagan, the 1979 Cy Young Award winner, instead, Weaver valued Palmer's experience.",
"Weaver tabbed Palmer to start Game 1 of the ALCS against the Angels; though Palmer asked him to start Mike Flanagan, the 1979 Cy Young Award winner, instead, Weaver valued Palmer's experience. Matched up against Ryan, Palmer allowed three runs in nine innings, taking a no-decision as he left with the game tied.",
"Matched up against Ryan, Palmer allowed three runs in nine innings, taking a no-decision as he left with the game tied. The Orioles won in the 10th on a John Lowenstein home run and won the series 3–1. 1980s From 1980 through 1985, Palmer was hampered by arm fatigue and myriad minor injuries.",
"1980s From 1980 through 1985, Palmer was hampered by arm fatigue and myriad minor injuries. Even so, he brought a stabilizing veteran presence to the pitching staff. In 1981, Palmer got into a feud with Doug DeCinces after DeCinces missed a line drive hit by Alan Trammell in a game against the Tigers.",
"In 1981, Palmer got into a feud with Doug DeCinces after DeCinces missed a line drive hit by Alan Trammell in a game against the Tigers. According to DeCinces, Palmer \"was cussing me out and throwing his hands in the air\" after the play. \"Those balls have to be caught,\" Palmer told a paper.",
"\"Those balls have to be caught,\" Palmer told a paper. \"Doug is reluctant to get in front of a ball.\" \"I'd like to know where Jim Palmer gets off criticizing others,\" DeCinces responded. \"Ask anybody–they're all sick of it. We're a twenty-four man team–and one prima donna.",
"We're a twenty-four man team–and one prima donna. He thinks it's always someone else's fault.\" The feud simmered until June, when Weaver said, \"I see no cause for concern. The third baseman wants the pitcher to do a little better and the pitcher wants the third baseman to do a little better.",
"The third baseman wants the pitcher to do a little better and the pitcher wants the third baseman to do a little better. I hope we can all do better and kiss and make up...The judge gave me custody of both of them.\"",
"I hope we can all do better and kiss and make up...The judge gave me custody of both of them.\" Palmer ultimately blamed Brooks Robinson for the dispute: \"If Brooks hadn't been the best third-baseman of all time, the rest of the Orioles wouldn't have taken it for granted that any ball hit anywhere within the same county as Brooks would be judged perfectly, fielded perfectly, and thrown perfectly, nailing (perfectly) what seemed like every single opposing batter.\"",
"Palmer ultimately blamed Brooks Robinson for the dispute: \"If Brooks hadn't been the best third-baseman of all time, the rest of the Orioles wouldn't have taken it for granted that any ball hit anywhere within the same county as Brooks would be judged perfectly, fielded perfectly, and thrown perfectly, nailing (perfectly) what seemed like every single opposing batter.\" After Palmer posted a 6.84 ERA in five starts, GM Hank Peters announced that \"Palmer is never, ever, ever going to start another game in an Orioles uniform.",
"After Palmer posted a 6.84 ERA in five starts, GM Hank Peters announced that \"Palmer is never, ever, ever going to start another game in an Orioles uniform. I've had it.\" Weaver moved Palmer to the bullpen, but with the team needing another starter, he put Palmer back in the rotation in June.",
"Weaver moved Palmer to the bullpen, but with the team needing another starter, he put Palmer back in the rotation in June. Shortly thereafter, Palmer went on an 11-game winning streak.",
"Shortly thereafter, Palmer went on an 11-game winning streak. Palmer's final major-league victory was noteworthy: pitching in relief of Mike Flanagan in the third game of the 1983 World Series, he faced the Phillies' celebrity-studded batting order and gave up no runs in a close Oriole win.",
"Palmer's final major-league victory was noteworthy: pitching in relief of Mike Flanagan in the third game of the 1983 World Series, he faced the Phillies' celebrity-studded batting order and gave up no runs in a close Oriole win. The 17 years between Palmer's first World Series win in 1966 and the 1983 win is the longest period of time between first and last pitching victories in the World Series for an individual pitcher in major league history.",
"The 17 years between Palmer's first World Series win in 1966 and the 1983 win is the longest period of time between first and last pitching victories in the World Series for an individual pitcher in major league history. He also became the only pitcher in major league baseball history to have won World Series games in three decades.",
"He also became the only pitcher in major league baseball history to have won World Series games in three decades. Also, Palmer became the only player in Orioles history to appear in all six (1966, 1969, 1970, 1971, 1979, 1983) of their World Series appearances to date.",
"Also, Palmer became the only player in Orioles history to appear in all six (1966, 1969, 1970, 1971, 1979, 1983) of their World Series appearances to date. Palmer was the only Orioles player on the 1983 championship team to have previously won a World Series.",
"Palmer was the only Orioles player on the 1983 championship team to have previously won a World Series. He retired after being released by Baltimore during the season. He retired with a 268–152 win-loss record and a 2.86 ERA. Palmer was elected to the Hall of Fame in 1990, his first year of eligibility.",
"Palmer was elected to the Hall of Fame in 1990, his first year of eligibility. Early broadcasting career While still an active player, Palmer did color commentary for ABC for their coverage of the 1978, 1980 and 1982 American League Championship Series, 1981 American League Division Series between Oakland and Kansas City, and the 1981 World Series.",
"Early broadcasting career While still an active player, Palmer did color commentary for ABC for their coverage of the 1978, 1980 and 1982 American League Championship Series, 1981 American League Division Series between Oakland and Kansas City, and the 1981 World Series. From to , Palmer formed an announcing team with Al Michaels and Tim McCarver at ABC.",
"From to , Palmer formed an announcing team with Al Michaels and Tim McCarver at ABC. Palmer announced the 1985 World Series, where he was supposed to team with Michaels and Howard Cosell, whom Palmer had worked with on the previous year's ALCS.",
"Palmer announced the 1985 World Series, where he was supposed to team with Michaels and Howard Cosell, whom Palmer had worked with on the previous year's ALCS. McCarver replaced Cosell for the World Series at the last minute after Cosell released a book (I Never Played the Game) that was critical of the ABC Sports team.",
"McCarver replaced Cosell for the World Series at the last minute after Cosell released a book (I Never Played the Game) that was critical of the ABC Sports team. The team of Palmer, Michaels and McCarver would subsequently go on to call the 1986 All-Star Game (that year, Palmer worked with Michaels on the ALCS while McCarver teamed with Keith Jackson on ABC's coverage of the National League Championship Series), the 1987 World Series, and 1988 All-Star Game as well as that year's NLCS.",
"The team of Palmer, Michaels and McCarver would subsequently go on to call the 1986 All-Star Game (that year, Palmer worked with Michaels on the ALCS while McCarver teamed with Keith Jackson on ABC's coverage of the National League Championship Series), the 1987 World Series, and 1988 All-Star Game as well as that year's NLCS. Palmer was present at San Francisco's Candlestick Park on October 17, , when the Loma Prieta earthquake hit prior to Game 3 of the World Series.",
"Palmer was present at San Francisco's Candlestick Park on October 17, , when the Loma Prieta earthquake hit prior to Game 3 of the World Series. After the 1989 season, ABC lost its contract to broadcast baseball to CBS.",
"After the 1989 season, ABC lost its contract to broadcast baseball to CBS. Palmer had earned $350,000 from ABC that year for appearing on around ten regular season broadcasts and making a few postseason appearances. In 1990, the Los Angeles Times reported that Palmer was thinking of pursuing work as a major league manager.",
"In 1990, the Los Angeles Times reported that Palmer was thinking of pursuing work as a major league manager. Instead, Palmer worked as an analyst for ESPN and as a broadcaster for Orioles games on their local telecasts over WMAR-TV and Home Team Sports. Comeback attempt In , Palmer attempted a comeback with the Orioles.",
"Comeback attempt In , Palmer attempted a comeback with the Orioles. He explained in his 1996 book, \"I wanted to see if I could be like Nolan Ryan was to the game or what George Blanda was to football.\"",
"He explained in his 1996 book, \"I wanted to see if I could be like Nolan Ryan was to the game or what George Blanda was to football.\" ESPN, which was trying to cut expenses, had asked him to take a pay cut and to sign a three-year contract.",
"ESPN, which was trying to cut expenses, had asked him to take a pay cut and to sign a three-year contract. Palmer said he would sign a one-year contract for less pay, but ESPN refused. \"I wouldn't be here today if the broadcasting climate had been more to my liking.",
"\"I wouldn't be here today if the broadcasting climate had been more to my liking. That was really my prime motivation, the fact that I no longer had that obligation\", Palmer said during spring training.",
"That was really my prime motivation, the fact that I no longer had that obligation\", Palmer said during spring training. Covering Palmer's spring training workouts, Richard Hoffer of Sports Illustrated said that Palmer's comeback was not entirely about money. He wrote that \"it is fair to suspect that a certain vanity is involved.\"",
"He wrote that \"it is fair to suspect that a certain vanity is involved.\" Hoffer said that Palmer \"has failed to excite either ridicule or astonishment. He's in fabulous condition, no question.",
"He's in fabulous condition, no question. But no matter whom he lines up with on the row of practice mounds, there is more pop in the gloves of catchers other than his.\" \"I couldn't throw ninety-five miles an hour anymore,\" Palmer later reflected. \"The best I could do was eighty.\"",
"\"The best I could do was eighty.\" While working out at the University of Miami during his comeback attempt, Palmer was approached by Miami assistant coach Lazaro Collazo. Collazo reportedly told him, \"You'll never get into the Hall of Fame with those mechanics.\"",
"Collazo reportedly told him, \"You'll never get into the Hall of Fame with those mechanics.\" \"I'm already in the Hall of Fame\", Palmer replied. To help Palmer's pitching motion, Collazo and Palmer completed unusual drills that involved Palmer placing a knee or foot on a chair as he tossed the ball.",
"To help Palmer's pitching motion, Collazo and Palmer completed unusual drills that involved Palmer placing a knee or foot on a chair as he tossed the ball. After giving up five hits and two runs in two innings of a spring training game, he retired permanently.",
"After giving up five hits and two runs in two innings of a spring training game, he retired permanently. Palmer said that he tore his hamstring while warming up for the game, commenting, \"I'm not saying I wouldn't like to continue, but I can't\", he said.",
"Palmer said that he tore his hamstring while warming up for the game, commenting, \"I'm not saying I wouldn't like to continue, but I can't\", he said. \"I heard something pop in my leg yesterday. It wasn't a nice sound.",
"It wasn't a nice sound. I don't know what that means, but I think it's going to play havoc with my tennis game.\"",
"I don't know what that means, but I think it's going to play havoc with my tennis game.\" Return to broadcasting From to , Palmer returned to ABC (this time, via a revenue-sharing joint venture between Major League Baseball, ABC and NBC called The Baseball Network) to once again broadcast with Tim McCarver and Al Michaels.",
"Return to broadcasting From to , Palmer returned to ABC (this time, via a revenue-sharing joint venture between Major League Baseball, ABC and NBC called The Baseball Network) to once again broadcast with Tim McCarver and Al Michaels. In 1995, the reunited team of Palmer, McCarver and Michaels would call the All-Star Game, Game 3 of that NLDS between Cincinnati and Los Angeles, Game 4 of the NLDS between Atlanta and Colorado, Games 1–2 of the NLCS, and Games 1, 4–5 of the World Series.",
"In 1995, the reunited team of Palmer, McCarver and Michaels would call the All-Star Game, Game 3 of that NLDS between Cincinnati and Los Angeles, Game 4 of the NLDS between Atlanta and Colorado, Games 1–2 of the NLCS, and Games 1, 4–5 of the World Series. Palmer, McCarver and Michaels were also intended to call the previous year's World Series for ABC, but were denied the opportunity when the entire postseason was canceled due to a strike.",
"Palmer, McCarver and Michaels were also intended to call the previous year's World Series for ABC, but were denied the opportunity when the entire postseason was canceled due to a strike. He is currently a color commentator on MASN's television broadcasts of Oriole games.",
"He is currently a color commentator on MASN's television broadcasts of Oriole games. In July 2012, Palmer put up for auction his three Cy Young Award trophies and two of his four Gold Glove Awards. \"At this point in my life, I would rather concern myself with the education of my grandchildren\", he said.",
"\"At this point in my life, I would rather concern myself with the education of my grandchildren\", he said. Palmer also noted that his autistic teenage stepson would require special care and that \"my priorities have changed.\"",
"Palmer also noted that his autistic teenage stepson would require special care and that \"my priorities have changed.\" Palmer had put up for auction one of his Cy Young Award trophies on behalf of a fundraising event for cystic fibrosis in years past, although he stated the winning bidder \"had paid $39,000 for that and never ever took it.",
"Palmer had put up for auction one of his Cy Young Award trophies on behalf of a fundraising event for cystic fibrosis in years past, although he stated the winning bidder \"had paid $39,000 for that and never ever took it. It was for the cause.\"",
"It was for the cause.\" Legacy Palmer has been considered one of the best pitchers in major-league history. Palmer is the only pitcher in big-league history to win World Series games in three decades (1960s, 1970s, and 1980s).",
"Palmer is the only pitcher in big-league history to win World Series games in three decades (1960s, 1970s, and 1980s). During his 19-year major league career of 575 games (including 17 postseason games), he never surrendered a grand slam, nor did he ever allow back-to-back homers.",
"During his 19-year major league career of 575 games (including 17 postseason games), he never surrendered a grand slam, nor did he ever allow back-to-back homers. Palmer's career earned run average (2.856) is the third-lowest among starting pitchers whose careers began after the advent of the live-ball era in 1920.",
"Palmer's career earned run average (2.856) is the third-lowest among starting pitchers whose careers began after the advent of the live-ball era in 1920. In six ALCS and six World Series, he posted an 8–3 record with 90 strikeouts, and an ERA of 2.61 and two shutouts in 17 games.",
"In six ALCS and six World Series, he posted an 8–3 record with 90 strikeouts, and an ERA of 2.61 and two shutouts in 17 games. He was a mainstay in the rotation during Baltimore's six pennant-winning teams in the 1960s (1966 and 1969), 1970s (1970, 1971 and 1979) and 1980s (1983).",
"He was a mainstay in the rotation during Baltimore's six pennant-winning teams in the 1960s (1966 and 1969), 1970s (1970, 1971 and 1979) and 1980s (1983). With the passing of Mike Cuellar in 2010, Palmer became the last surviving member of the 1971 Baltimore starting rotation that included four 20-game winners.",
"With the passing of Mike Cuellar in 2010, Palmer became the last surviving member of the 1971 Baltimore starting rotation that included four 20-game winners. Palmer won spots on six All-Star teams, received four Gold Glove Awards and won three Cy Young Awards. He led the league in ERA twice and in wins three times.",
"He led the league in ERA twice and in wins three times. Sometimes, Palmer would shift fielders around during games. He never meddled with the best fielders, such as the Robinsons or Paul Blair, but he would do so for less experienced players.",
"He never meddled with the best fielders, such as the Robinsons or Paul Blair, but he would do so for less experienced players. \"They might not know...that if they're playing a step or two to the opposite field and you're behind the batter two balls and no strikes...and you have a big lead...you're probably going to take a little off the pitch...and the fielders have to know to shift a couple of steps and play for the batter to pull.\"",
"\"They might not know...that if they're playing a step or two to the opposite field and you're behind the batter two balls and no strikes...and you have a big lead...you're probably going to take a little off the pitch...and the fielders have to know to shift a couple of steps and play for the batter to pull.\" In , he ranked No.",
"In , he ranked No. In , he ranked No. 64 on The Sporting News' list of the 100 Greatest Baseball Players, and was nominated as a finalist for the Major League Baseball All-Century Team. Endorsements During the late 1970s, Palmer was a spokesman and underwear model for Jockey brand men's briefs.",
"Endorsements During the late 1970s, Palmer was a spokesman and underwear model for Jockey brand men's briefs. He appeared in the company's national print and television advertisements as well as on billboards at Times Square in New York City and other major cities.",
"He appeared in the company's national print and television advertisements as well as on billboards at Times Square in New York City and other major cities. He donated all proceeds from the sale of his underwear poster to the Cystic Fibrosis Foundation.",
"He donated all proceeds from the sale of his underwear poster to the Cystic Fibrosis Foundation. From 1992 until 1999, he was frequently seen on television throughout the United States in commercials for The Money Store, a national home equity and mortgage lender. He has periodically appeared in ads and commercials for vitamins and other health-related products.",
"He has periodically appeared in ads and commercials for vitamins and other health-related products. Palmer also represents Cosamin DS, a joint health supplement made by Nutramax Laboratories in Edgewood, Maryland. He was also the spokesperson for Nationwide Motors Corp., which is a regional chain of car dealerships located in the Middle Atlantic region.",
"He was also the spokesperson for Nationwide Motors Corp., which is a regional chain of car dealerships located in the Middle Atlantic region. He is currently a spokesman for the national \"Strike Out High Cholesterol\" campaign.",
"He is currently a spokesman for the national \"Strike Out High Cholesterol\" campaign. Additionally, Palmer serves as a member of the advisory board of the Baseball Assistance Team, a 501(c)(3) non-profit organization dedicated to helping former Major League, Minor League, and Negro league players through financial and medical difficulties.",
"Additionally, Palmer serves as a member of the advisory board of the Baseball Assistance Team, a 501(c)(3) non-profit organization dedicated to helping former Major League, Minor League, and Negro league players through financial and medical difficulties. Personal life Shortly after graduating from high school in 1963, Palmer married the former Susan Ryan in 1964.",
"Personal life Shortly after graduating from high school in 1963, Palmer married the former Susan Ryan in 1964. He has two daughters with Ryan, named Jamie and Kelly.",
"He has two daughters with Ryan, named Jamie and Kelly. Ryan was not a huge baseball fan, as Palmer recalled: \"She used to bring her knitting and/or a friend, who usually liked baseball even less, to the games.\"",
"Ryan was not a huge baseball fan, as Palmer recalled: \"She used to bring her knitting and/or a friend, who usually liked baseball even less, to the games.\" In 2007, Palmer married the former Susan Earle, who has an adult son with autism.",
"In 2007, Palmer married the former Susan Earle, who has an adult son with autism. The Palmers have homes in Palm Beach, Florida, and in Corona Del Mar, California. In 2006, Palmer also acquired a penthouse condominium in Little Italy, Baltimore, which he uses while in Baltimore for Orioles' broadcasts.",
"In 2006, Palmer also acquired a penthouse condominium in Little Italy, Baltimore, which he uses while in Baltimore for Orioles' broadcasts. See also List of Major League Baseball career wins leaders List of Major League Baseball annual ERA leaders List of Major League Baseball annual wins leaders List of Major League Baseball career strikeout leaders Major League Baseball titles leaders List of Major League Baseball no-hitters List of Major League Baseball players who spent their entire career with one franchise References External links Jim Palmer at SABR (Baseball BioProject) 1945 births Living people Aberdeen Pheasants players American adoptees American League All-Stars American League ERA champions American League wins champions American people of Irish descent Baltimore Orioles announcers Baltimore Orioles players Baseball players from New York (state) Cy Young Award winners Elmira Pioneers players Gold Glove Award winners Hagerstown Suns players Major League Baseball broadcasters Major League Baseball pitchers Major League Baseball players with retired numbers Male models from New York (state) Miami Marlins (FSL) players Mid-Atlantic Sports Network Models from New York City National Baseball Hall of Fame inductees Rochester Red Wings players Sportspeople from New York City"
] |
[
"Jim Palmer",
"Early broadcasting career",
"What stations did Palmer work for in his early broadcasting days?",
"While still an active player, Palmer did color commentary for ABC",
"What other stations has Palmer worked for?",
"Palmer worked as an analyst for ESPN"
] | C_596dc3da71fb4978952c538497aaa136_1 | Were there other stations Palmer worked for? | 3 | Were there other stations Jim Palmer worked for, besides ABC and ESPN? | Jim Palmer | While still an active player, Palmer did color commentary for ABC for their coverage of the 1978, 1980 and 1982 American League Championship Series, 1981 American League Division Series between Oakland and Kansas City, and the 1981 World Series. From 1985 to 1989, Palmer formed an announcing team with Al Michaels and Tim McCarver at ABC. Palmer announced the 1985 World Series, where he was supposed to team with Michaels and Howard Cosell, whom Palmer had worked with on the previous year's ALCS. McCarver replaced Cosell for the World Series at the last minute after Cosell released a book (I Never Played the Game) that was critical of the ABC Sports team. The team of Palmer, Michaels and McCarver would subsequently go on to call the 1986 All-Star Game (that year, Palmer worked with Michaels on the ALCS while McCarver teamed with Keith Jackson on ABC's coverage of the National League Championship Series), the 1987 World Series, and 1988 All-Star Game as well as that year's NLCS. Palmer was present at San Francisco's Candlestick Park on October 17, 1989, when the Loma Prieta earthquake hit prior to Game 3 of the World Series. After the 1989 season, ABC lost its contract to broadcast baseball to CBS. Palmer had earned $350,000 from ABC that year for appearing on around ten regular season broadcasts and making a few postseason appearances. In 1990, the Los Angeles Times reported that Palmer was thinking of pursuing work as a major league manager. Instead, Palmer worked as an analyst for ESPN and as a broadcaster for Orioles games on their local telecasts over WMAR-TV and Home Team Sports. CANNOTANSWER | a broadcaster for Orioles games on their local telecasts over WMAR-TV and Home Team Sports. | James Alvin Palmer (born October 15, 1945) is an American former professional baseball pitcher who played 19 years in Major League Baseball (MLB) for the Baltimore Orioles (1965–1967, 1969–1984). Palmer was the winningest MLB pitcher in the 1970s, totaling 186 wins. He also won at least 20 games in eight different seasons and won three Cy Young Awards and four Gold Gloves during the decade. His 268 career victories are currently an Orioles record. A six-time American League (AL) All-Star, he was also one of the rare pitchers who never allowed a grand slam in any major league contest.
Palmer appeared in the postseason eight times and was a vital member of three World Series Champions, six AL pennant winners and seven Eastern Division titleholders. He is the only pitcher in history to earn a win in a World Series game in three different decades. He is also the youngest to pitch a complete-game shutout in a World Series, doing so nine days before his 21st birthday in 1966, in which he defeated Sandy Koufax in Koufax's last appearance. He was one of the starters on the last rotation to feature four 20-game winners in a single season in 1971. He was elected to the Baseball Hall of Fame in 1990.
Since his retirement as an active player in 1984, Palmer has worked as a color commentator on telecasts of MLB games for ABC and ESPN and for the Orioles on Home Team Sports (HTS), Comcast SportsNet (CSN) Mid-Atlantic and the Mid-Atlantic Sports Network (MASN). He has also been a popular spokesman, most famously for Jockey International for almost 20 years. He was nicknamed "Cakes" in the 1960s because of his habit of eating pancakes for breakfast on the days he pitched.
Early life
James Alvin Palmer was born in Manhattan, New York City on October 15, 1945. Research conducted by his third wife Susan in 2017 revealed that his biological father and mother were Michael Joseph Geheran and Mary Ann Moroney, both Irish immigrants from Counties Leitrim and Clare respectively. Joe was a married 41-year-old man about town, while Mary Ann was an unmarried 37-year-old domestic worker for the Feinstein family which was prominent in the garment industry. Moroney gave up her infant for adoption and concealed information in the New York City birth registry, where Palmer is listed as Baby Boy Kennedy, whose father was Maroney and mother was Kennedy. Maroney was the incorrect spelling of her surname as listed when she registered at Ellis Island, while Kennedy was her sister Katharine's married name. Moroney eventually married John Lane and the couple had a daughter, Patricia, Palmer's biological half-sister, who died of leukemia at age 40 in 1987. (As of May 2018, the Palmers were still searching for Patricia Lane's daughter, whose married name is Kimberly Hughes and who would be Jim Palmer's half-niece.) Geheran died in 1959 and Moroney in 1979.
Two days after his birth, Palmer was adopted by Moe Wiesen and his wife Polly, a wealthy Manhattan dress designer and a boutique owner respectively, who lived on Park Avenue. His sister Bonnie was also adopted by the Wiesens. The family's butler taught the young Jim to throw a baseball in Central Park. After his adoptive father died of a heart attack in 1955, the nine-year-old Jim, his mother and his sister moved to Beverly Hills, California where he began playing in youth-league baseball. In 1956, his mother married actor Max Palmer, but Jim continued to go under the name Jim Wiesen until a year later. At a Little League banquet, just before being presented with an award, he asked the coaches to identify him as "James Alvin Palmer." "Through all these years, that night was the highlight of my entire life," Max recalled. Max was a character actor and there were two men who shared that name who worked in show business during similar time periods. The Max who was Jim's second dad worked mostly on TV on such programs as Dragnet, Bat Masterson and The Colgate Comedy Hour. He was Jewish, and he also earned a living by selling shoes. The other Max Palmer, often erroneously credited as Jim's father, worked in several movies as a monster. He was 8'2" tall and later became a professional wrestler and eventually a Christian evangelist.
Jim played baseball for the Beverly Hills Yankees, where he pitched and also hit home runs as an outfielder. The family eventually moved to Scottsdale, Arizona, where Jim played baseball, basketball, and football at Scottsdale High School. He earned All-State honors in each of these sports, also graduating with a 3.4 grade-point average in 1963. Palmer also showed his prowess at American Legion Baseball. The University of Southern California, UCLA, and Arizona State University each offered him full scholarships; Stanford University offered a partial scholarship as well.
Bobby Winkles of Arizona State suggested that Palmer get more experience playing collegiate summer baseball, so Palmer went to South Dakota to join the Winner Pheasants of the Basin League. The team advanced all the way to the league finals, and Palmer caught the attention of Baltimore Orioles scout Harry Dalton while pitching in the second game of the championship. According to Palmer, 13 Major League Baseball (MLB) teams recruited him after the season wrapped up, but Jim Russo (the scout who also signed Dave McNally and Boog Powell) and Jim Wilson of the Orioles made the best impression on his parents with their polite manners. Palmer signed with Baltimore for $50,000.
Career in baseball
1960s
A high-kicking pitcher known for an exceptionally smooth delivery, Palmer picked up his first major-league win on May 16, , beating the Yankees in relief at home. He hit the first of his three career major-league home runs, a two-run shot, in the fourth inning of that game, off Yankees starter Jim Bouton. Palmer finished the season with a 5–4 record.
In , Palmer joined the starting rotation. Baltimore won the pennant behind Frank Robinson's MVP and Triple Crown season. Palmer won his final game, against the Kansas City Athletics, to clinch the AL pennant. In Game 2 of that World Series, at Dodger Stadium, he became the youngest pitcher (20 years, 11 months) to pitch a shutout, defeating the defending world champion Dodgers 6–0. The underdog Orioles swept the series over a Los Angeles team that featured Sandy Koufax, Don Drysdale and Claude Osteen. The shutout was part of a World Series record-setting consecutive shutout innings by Orioles pitchers. The Dodgers' last run was against Moe Drabowsky in the third inning of Game 1. Palmer, Wally Bunker and Dave McNally pitched shutouts in the next three games.
During the next two seasons, Palmer struggled with arm injuries. He had injured his arm in 1966 while using a paint roller in his new house in Baltimore. Cortisone injections allowed him to pitch through the rest of the season and the World Series, but in 1967, his arm continued to feel heavy. He threw a one-hit game against the New York Yankees on May 12 but was sent to the minor leagues after a poor start against the Boston Red Sox five days later. While trying to make it back with the Rochester Red Wings in Niagara Falls, New York that Palmer surrendered the only grand slam in his entire professional career which was hit by the Buffalo Bisons' Johnny Bench. He only pitched three more games for the Orioles in 1967. In 1968, he was limited to 10 minor league games, with no appearances for the Orioles. The outlook on his career was so bleak, Palmer considered quitting baseball to attend college or trying to be a position player. He had been placed on waivers in September 1968 and was left unprotected for the Kansas City Royals and Seattle Pilots in the expansion draft one month later, but was not claimed. After he pitched for an Instructional League team, the Orioles sent him to pitch for the Santurce Crabbers in the Puerto Rican Winter League. Before he left for Santurce, however, Palmer attended a Baltimore Bullets game and sat next to Marv Foxxman, a pharmaceutical representative who suggested he try Indocin. In Santurce, Palmer's arm stopped hurting, and his fastball began hitting 95 mph again. "It was a miracle as far as I was concerned," said Palmer.
Palmer returned healthy in 1969, rejoining an Orioles rotation that included 20-game winners Dave McNally and Mike Cuellar. He missed July with a six-week stint on the disabled list, but it was for a torn back muscle, not because of arm trouble. That August 13, Palmer threw a no-hitter against Oakland, just four days after coming off the disabled list. It was the only no-hitter of his career. He finished the season with a mark of 16–4, 123 strikeouts, a 2.34 ERA, and .800 winning percentage. The heavily favored Orioles were beaten in the 1969 World Series by the New York Mets with Palmer taking the loss in Game 3.
1970s
In , Cuellar went 24–8, McNally 24–9, Palmer 20–10; in the trio went 20–9, 21–5 and 20–9, respectively, with Pat Dobson going 20–8. Only one other team in MLB history, the Chicago White Sox, has had four 20-game winners.
Palmer won 21 games in , and went 22–9, 158, 2.40 in , walking off with his first Cy Young Award. His success was interrupted in when his arm started giving him trouble in spring training. Eventually, he was downed for eight weeks with elbow problems. Palmer had lost seven games in a row by the time he went on the disabled list on June 20. He was diagnosed with an ulnar nerve injury and orthopedic surgeon Robert Kerlan prescribed rest, hot and cold water therapy and medication. Surgery was considered, but Palmer's pain lessened and he was able to return to play in August. He finished 7–12.
Palmer was at his peak again in , winning 23 games, throwing 10 shutouts (allowing just 44 hits in those games), and fashioning a 2.09 ERA—all tops in the American League. He completed 25 games, even saved one, and limited opposing hitters to a .216 batting average. On July 28, 1976, he received a fine from AL president Lee MacPhail after hitting Mickey Rivers with a pitch the day before. Palmer said it was in retaliation for Dock Ellis hitting Reggie Jackson with a pitch earlier in the game, then complained when Ellis (who did not admit to throwing at Jackson) was not fined. Palmer won his second Cy Young Award, and repeated his feat in (22–13, 2.51). During the latter year, he won the first of four consecutive Gold Glove Awards. (Jim Kaat, who had won the award 14 years in a row, moved to the National League, where he won the award that year and in .)
After making $185,000 in 1976, Palmer hoped for a raise in 1977. The Orioles offered $200,000 initially, but Palmer wanted $275,000. They finally agreed on a $260,000 salary, with a bonus for a "significant contribution." In 1977 and 1978, Palmer won 20 and 21 games, respectively. Despite the 20 wins in 1977, the Orioles almost refused to give him a bonus. After the Major League Baseball Players Association filed a grievance in Palmer's dispute and threatened to go to arbitration (which likely would have resulted in Palmer becoming a free agent), GM Hank Peters relented and gave him the bonus. During the period spanning 1970 to 1978, Palmer had won 20 games in every season except for 1974. During those eight 20-win seasons, he pitched between and 319 innings per year, leading the league in innings pitched four times and earned run average twice. During that span, he threw between 17 and 25 complete games each year. Frustrated that pitchers who had become free agents like Vida Blue and Bert Blyleven were making more money than him in 1979, Palmer told a reporter for the St. Paul Pioneer Press "I'm going to aggravate [the Orioles] until they trade me." Weaver responded by pinning a note to his locker that said, "Happy Father's Day. Now grow up." "He's right he's underpaid...He's worth a million dollars when he's pitching but he signed for $260,000." Palmer eventually got over being discontent, and the team won the AL pennant. Weaver tabbed Palmer to start Game 1 of the ALCS against the Angels; though Palmer asked him to start Mike Flanagan, the 1979 Cy Young Award winner, instead, Weaver valued Palmer's experience. Matched up against Ryan, Palmer allowed three runs in nine innings, taking a no-decision as he left with the game tied. The Orioles won in the 10th on a John Lowenstein home run and won the series 3–1.
1980s
From 1980 through 1985, Palmer was hampered by arm fatigue and myriad minor injuries. Even so, he brought a stabilizing veteran presence to the pitching staff.
In 1981, Palmer got into a feud with Doug DeCinces after DeCinces missed a line drive hit by Alan Trammell in a game against the Tigers. According to DeCinces, Palmer "was cussing me out and throwing his hands in the air" after the play. "Those balls have to be caught," Palmer told a paper. "Doug is reluctant to get in front of a ball." "I'd like to know where Jim Palmer gets off criticizing others," DeCinces responded. "Ask anybody–they're all sick of it. We're a twenty-four man team–and one prima donna. He thinks it's always someone else's fault." The feud simmered until June, when Weaver said, "I see no cause for concern. The third baseman wants the pitcher to do a little better and the pitcher wants the third baseman to do a little better. I hope we can all do better and kiss and make up...The judge gave me custody of both of them." Palmer ultimately blamed Brooks Robinson for the dispute: "If Brooks hadn't been the best third-baseman of all time, the rest of the Orioles wouldn't have taken it for granted that any ball hit anywhere within the same county as Brooks would be judged perfectly, fielded perfectly, and thrown perfectly, nailing (perfectly) what seemed like every single opposing batter."
After Palmer posted a 6.84 ERA in five starts, GM Hank Peters announced that "Palmer is never, ever, ever going to start another game in an Orioles uniform. I've had it." Weaver moved Palmer to the bullpen, but with the team needing another starter, he put Palmer back in the rotation in June. Shortly thereafter, Palmer went on an 11-game winning streak.
Palmer's final major-league victory was noteworthy: pitching in relief of Mike Flanagan in the third game of the 1983 World Series, he faced the Phillies' celebrity-studded batting order and gave up no runs in a close Oriole win.
The 17 years between Palmer's first World Series win in 1966 and the 1983 win is the longest period of time between first and last pitching victories in the World Series for an individual pitcher in major league history. He also became the only pitcher in major league baseball history to have won World Series games in three decades. Also, Palmer became the only player in Orioles history to appear in all six (1966, 1969, 1970, 1971, 1979, 1983) of their World Series appearances to date.
Palmer was the only Orioles player on the 1983 championship team to have previously won a World Series. He retired after being released by Baltimore during the season. He retired with a 268–152 win-loss record and a 2.86 ERA. Palmer was elected to the Hall of Fame in 1990, his first year of eligibility.
Early broadcasting career
While still an active player, Palmer did color commentary for ABC for their coverage of the 1978, 1980 and 1982 American League Championship Series, 1981 American League Division Series between Oakland and Kansas City, and the 1981 World Series.
From to , Palmer formed an announcing team with Al Michaels and Tim McCarver at ABC. Palmer announced the 1985 World Series, where he was supposed to team with Michaels and Howard Cosell, whom Palmer had worked with on the previous year's ALCS. McCarver replaced Cosell for the World Series at the last minute after Cosell released a book (I Never Played the Game) that was critical of the ABC Sports team. The team of Palmer, Michaels and McCarver would subsequently go on to call the 1986 All-Star Game (that year, Palmer worked with Michaels on the ALCS while McCarver teamed with Keith Jackson on ABC's coverage of the National League Championship Series), the 1987 World Series, and 1988 All-Star Game as well as that year's NLCS.
Palmer was present at San Francisco's Candlestick Park on October 17, , when the Loma Prieta earthquake hit prior to Game 3 of the World Series. After the 1989 season, ABC lost its contract to broadcast baseball to CBS. Palmer had earned $350,000 from ABC that year for appearing on around ten regular season broadcasts and making a few postseason appearances.
In 1990, the Los Angeles Times reported that Palmer was thinking of pursuing work as a major league manager. Instead, Palmer worked as an analyst for ESPN and as a broadcaster for Orioles games on their local telecasts over WMAR-TV and Home Team Sports.
Comeback attempt
In , Palmer attempted a comeback with the Orioles. He explained in his 1996 book, "I wanted to see if I could be like Nolan Ryan was to the game or what George Blanda was to football." ESPN, which was trying to cut expenses, had asked him to take a pay cut and to sign a three-year contract. Palmer said he would sign a one-year contract for less pay, but ESPN refused. "I wouldn't be here today if the broadcasting climate had been more to my liking. That was really my prime motivation, the fact that I no longer had that obligation", Palmer said during spring training.
Covering Palmer's spring training workouts, Richard Hoffer of Sports Illustrated said that Palmer's comeback was not entirely about money. He wrote that "it is fair to suspect that a certain vanity is involved." Hoffer said that Palmer "has failed to excite either ridicule or astonishment. He's in fabulous condition, no question. But no matter whom he lines up with on the row of practice mounds, there is more pop in the gloves of catchers other than his." "I couldn't throw ninety-five miles an hour anymore," Palmer later reflected. "The best I could do was eighty."
While working out at the University of Miami during his comeback attempt, Palmer was approached by Miami assistant coach Lazaro Collazo. Collazo reportedly told him, "You'll never get into the Hall of Fame with those mechanics." "I'm already in the Hall of Fame", Palmer replied. To help Palmer's pitching motion, Collazo and Palmer completed unusual drills that involved Palmer placing a knee or foot on a chair as he tossed the ball.
After giving up five hits and two runs in two innings of a spring training game, he retired permanently. Palmer said that he tore his hamstring while warming up for the game, commenting, "I'm not saying I wouldn't like to continue, but I can't", he said. "I heard something pop in my leg yesterday. It wasn't a nice sound. I don't know what that means, but I think it's going to play havoc with my tennis game."
Return to broadcasting
From to , Palmer returned to ABC (this time, via a revenue-sharing joint venture between Major League Baseball, ABC and NBC called The Baseball Network) to once again broadcast with Tim McCarver and Al Michaels. In 1995, the reunited team of Palmer, McCarver and Michaels would call the All-Star Game, Game 3 of that NLDS between Cincinnati and Los Angeles, Game 4 of the NLDS between Atlanta and Colorado, Games 1–2 of the NLCS, and Games 1, 4–5 of the World Series. Palmer, McCarver and Michaels were also intended to call the previous year's World Series for ABC, but were denied the opportunity when the entire postseason was canceled due to a strike. He is currently a color commentator on MASN's television broadcasts of Oriole games.
In July 2012, Palmer put up for auction his three Cy Young Award trophies and two of his four Gold Glove Awards. "At this point in my life, I would rather concern myself with the education of my grandchildren", he said. Palmer also noted that his autistic teenage stepson would require special care and that "my priorities have changed." Palmer had put up for auction one of his Cy Young Award trophies on behalf of a fundraising event for cystic fibrosis in years past, although he stated the winning bidder "had paid $39,000 for that and never ever took it. It was for the cause."
Legacy
Palmer has been considered one of the best pitchers in major-league history. Palmer is the only pitcher in big-league history to win World Series games in three decades (1960s, 1970s, and 1980s). During his 19-year major league career of 575 games (including 17 postseason games), he never surrendered a grand slam, nor did he ever allow back-to-back homers. Palmer's career earned run average (2.856) is the third-lowest among starting pitchers whose careers began after the advent of the live-ball era in 1920. In six ALCS and six World Series, he posted an 8–3 record with 90 strikeouts, and an ERA of 2.61 and two shutouts in 17 games.
He was a mainstay in the rotation during Baltimore's six pennant-winning teams in the 1960s (1966 and 1969), 1970s (1970, 1971 and 1979) and 1980s (1983). With the passing of Mike Cuellar in 2010, Palmer became the last surviving member of the 1971 Baltimore starting rotation that included four 20-game winners. Palmer won spots on six All-Star teams, received four Gold Glove Awards and won three Cy Young Awards. He led the league in ERA twice and in wins three times.
Sometimes, Palmer would shift fielders around during games. He never meddled with the best fielders, such as the Robinsons or Paul Blair, but he would do so for less experienced players. "They might not know...that if they're playing a step or two to the opposite field and you're behind the batter two balls and no strikes...and you have a big lead...you're probably going to take a little off the pitch...and the fielders have to know to shift a couple of steps and play for the batter to pull."
In , he ranked No. 64 on The Sporting News' list of the 100 Greatest Baseball Players, and was nominated as a finalist for the Major League Baseball All-Century Team.
Endorsements
During the late 1970s, Palmer was a spokesman and underwear model for Jockey brand men's briefs. He appeared in the company's national print and television advertisements as well as on billboards at Times Square in New York City and other major cities. He donated all proceeds from the sale of his underwear poster to the Cystic Fibrosis Foundation.
From 1992 until 1999, he was frequently seen on television throughout the United States in commercials for The Money Store, a national home equity and mortgage lender. He has periodically appeared in ads and commercials for vitamins and other health-related products. Palmer also represents Cosamin DS, a joint health supplement made by Nutramax Laboratories in Edgewood, Maryland.
He was also the spokesperson for Nationwide Motors Corp., which is a regional chain of car dealerships located in the Middle Atlantic region. He is currently a spokesman for the national "Strike Out High Cholesterol" campaign. Additionally, Palmer serves as a member of the advisory board of the Baseball Assistance Team, a 501(c)(3) non-profit organization dedicated to helping former Major League, Minor League, and Negro league players through financial and medical difficulties.
Personal life
Shortly after graduating from high school in 1963, Palmer married the former Susan Ryan in 1964. He has two daughters with Ryan, named Jamie and Kelly. Ryan was not a huge baseball fan, as Palmer recalled: "She used to bring her knitting and/or a friend, who usually liked baseball even less, to the games."
In 2007, Palmer married the former Susan Earle, who has an adult son with autism. The Palmers have homes in Palm Beach, Florida, and in Corona Del Mar, California. In 2006, Palmer also acquired a penthouse condominium in Little Italy, Baltimore, which he uses while in Baltimore for Orioles' broadcasts.
See also
List of Major League Baseball career wins leaders
List of Major League Baseball annual ERA leaders
List of Major League Baseball annual wins leaders
List of Major League Baseball career strikeout leaders
Major League Baseball titles leaders
List of Major League Baseball no-hitters
List of Major League Baseball players who spent their entire career with one franchise
References
External links
Jim Palmer at SABR (Baseball BioProject)
1945 births
Living people
Aberdeen Pheasants players
American adoptees
American League All-Stars
American League ERA champions
American League wins champions
American people of Irish descent
Baltimore Orioles announcers
Baltimore Orioles players
Baseball players from New York (state)
Cy Young Award winners
Elmira Pioneers players
Gold Glove Award winners
Hagerstown Suns players
Major League Baseball broadcasters
Major League Baseball pitchers
Major League Baseball players with retired numbers
Male models from New York (state)
Miami Marlins (FSL) players
Mid-Atlantic Sports Network
Models from New York City
National Baseball Hall of Fame inductees
Rochester Red Wings players
Sportspeople from New York City | true | [
"Navarro Ridge () is a rugged ridge, long, that extends from the Coombs Hills southeastward to the west side of Cambridge Glacier. The central peak of the ridge rises to . It was named by the Advisory Committee on Antarctic Names in 2008 after members of the Navarro family who carried on support activities for the US Antarctic Program at the McMurdo, South Pole and Palmer Stations in the period 1989 to 2008: Kenneth Navarro, Palmer Station logistics supervisor who worked for 18 summer and four winter seasons at the three stations; Kenneth's wife Carol Gould Navarro, engaged in logistics and administration at Palmer and McMurdo for five summers and four winters; his sister Suzanne McCullough Navarro, a cook at McMurdo for four summers and one winter; his brother Steven Navarro, carpenter at Palmer and McMurdo for three summers and one winter; Kenneth and Carol's sons, Eliot Gould and Tyler Gould, also worked a few seasons in Antarctica.\n\nReferences\n\nMountains of Victoria Land",
"Palmer Station is a United States research station in Antarctica located on Anvers Island, the only US station located north of the Antarctic Circle. Initial construction of the station finished in 1968. The station, like the other U.S. Antarctic stations, is operated by the United States Antarctic Program (USAP) of the National Science Foundation. The base is about as distant from the equator as Fairbanks, Alaska.\n\nDescription \nThe station is named for Nathaniel B. Palmer, usually recognized as the first American to see Antarctica. The maximum population that Palmer Station can accommodate is 46 people. The normal austral summer contingent varies, but it is generally around 40 people. Palmer is staffed year-round; however, the population drops to 15-20 people for winter maintenance after the conclusion of the summer research season. There are science labs located in the Bio-Lab building (pictured), the other main building is GWR (Garage, Warehouse, and Recreation). Webcam images of the station and a penguin colony on nearby Torgersen Island are available at the station's web site.\n\nThe facility is the second Palmer Station; \"Old Palmer\" was about a mile to the northwest adjacent to the site of the British Antarctic Survey \"Base N\", built in the mid-fifties. The site is on what is now known as Amsler Island. Old Palmer was built about 1965, and served as a base for those building \"new\" Palmer, which opened in 1968. Old Palmer was designated as an emergency refuge for the new station in case of disaster, though this perceived need disappeared over time. It was dismantled and removed from the Antarctic as part of the National Science Foundation's environmental cleanup efforts in the early 1990s.\n\nMost of the station's personnel are seasonal employees of the U.S. Antarctic Program's main support contractor, Leidos. The summer support staff is usually 23 people. Previous main support contractors were Raytheon Polar Services, Holmes and Narver of Orange, California, ITT Antarctic Services of Paramus, New Jersey, and Antarctic Support Associates of Englewood, Colorado. Over time many support staff have worked for two or more of these firms.\n\nScience \nPalmer Station is located at 64.77°S, 64.05°W. The majority of the science research conducted at Palmer Station revolves around marine biology. The station also houses year-round monitoring equipment for global seismic, atmospheric, and UV-monitoring networks, as well as a site for the study of heliophysics. Palmer also hosts a radio receiver that studies lightning over the Western Hemisphere.\n\nOther research is conducted from the research vessels (R/V) Laurence M. Gould and Nathaniel B. Palmer. Science cruises cover physical oceanography, marine geology, and marine biology. The ship also carries field parties to sites around the Antarctic Peninsula to study glaciology, geology, and paleontology.\n\nThe USAP has a science planning summary for each year at Palmer Station.\n\nIn 2005, a research team from the Woods Hole Oceanographic Institution and the University of Southern Mississippi mapped the nearby ocean floor.\n\nClimate \nThe Köppen Climate Classification for Palmer Station is a tundra climate (ET). Due to its northern location within Antarctica and proximity to the coast, the temperatures moderate more than interior climates. Winters are generally cold and subzero, while summers are chilly, but regularly rise to temperatures above freezing. The average temperature for the year in Palmer Station is 28.8 °F (-1.8 °C). The warmest month, on average, is January. The coldest month is August.\n\nSupply and transport \n\nPalmer Station is re-supplied by the R/V Laurence M. Gould, a ship with an ice-strengthened hull that makes routine science research cruises around the peninsula. The R/V Nathaniel B. Palmer, the United States Antarctic Program's other research vessel, has also made port calls to Palmer Station — Hero Inlet, where the pier is located, is too shallow for the Palmer to dock at the station, though. Both ships are staffed and leased to the USAP by Edison-Chouest Offshore.\n\nHero Inlet is named for the R/V Hero, a 125-foot wooden trawler-type vessel built to conduct research and supply Palmer Station from ports in Argentina and Chile. The Hero was owned by the National Science Foundation and built in 1968 by the Harvey Gamage shipyard in Maine. Palmer Station is located on Gamage Point, named for the shipbuilder. Other people believe that Hero Inlet is named after Capt. Nathaniel Palmer's 47 foot sloop, Hero, that he was sailing when he first sighted Antarctica.\n\nAfter years of service, the Hero was retired in 1984 and replaced by the R/V Polar Duke, a larger and more modern ice-strengthened vessel under charter from Rieber Shipping, based in Bergen, Norway. The Duke was replaced by the R/V Laurence M. Gould in 1997.\n\nThere is no routine air access to Palmer. Over the years, small ski-equipped aircraft have occasionally landed on the glacier to the east of the station.\n\nUSAP participants travel aboard the Laurence M. Gould from Punta Arenas, Chile. The course follows the Straits of Magellan to the east, then south along the coast of Argentina, past Cape Horn, then directly south across the Drake Passage and on to Anvers Island. The entire journey usually takes four days; however, sea ice and storms can slow the journey down.\n\nIn popular culture \nThe 1981 Japanese film Fukkatsu no hi (Day of Resurrection/Virus) revolves around Palmer Station as the gathering place for humanity's last survivors of a deadly virus. The film stars George Kennedy as Admiral Conway, the station's commanding officer and features Glenn Ford as the President of the United States. Much of the footage for the film was shot in the vicinity of Palmer Station, though none was actually filmed at the station. Although the actual station can accommodate fewer than 50 people, the station depicted in the film housed several hundred.\n\nThe ambient drone artist Assembler/Responder released a track called \"Palmer Station\" on the 2013 album \"Bishop & Clerk\".\n\nGallery\n\nSee also\n\n List of Antarctic research stations\n List of Antarctic field camps\n List of airports in Antarctica\nMcMurdo Station\nSouth Pole Station\nByrd Station\nOperation Deep Freeze\nSiple Station\nEllsworth Station\nBrockton Station\nEights Station\nPlateau Station\nHallett Station\nLittle America V\n\nReferences\n\nExternal links \n\n Archived Palmer Station page on Global Fiducials Program site\n Research blog of a 2008 expedition at Palmer Station\n Archived Palmer Station page on Antarctic Connection\n Palmer Long-Term Ecological Research\n NSF (National Science Foundation) Ultraviolet (UV) Monitoring Network with picture\nUSAP Palmer Station webcam\nPalmer Station on LocalWiki\n\nOutposts of Graham Land\nGeography of Anvers Island\nAnvers Island\nUnited States Antarctic Program\nArgentine Antarctica\nBritish Antarctic Territory\nChilean Antarctic Territory\n1968 establishments in Antarctica"
] | [
"James Alvin Palmer (born October 15, 1945) is an American former professional baseball pitcher who played 19 years in Major League Baseball (MLB) for the Baltimore Orioles (1965–1967, 1969–1984). Palmer was the winningest MLB pitcher in the 1970s, totaling 186 wins.",
"Palmer was the winningest MLB pitcher in the 1970s, totaling 186 wins. He also won at least 20 games in eight different seasons and won three Cy Young Awards and four Gold Gloves during the decade. His 268 career victories are currently an Orioles record.",
"His 268 career victories are currently an Orioles record. A six-time American League (AL) All-Star, he was also one of the rare pitchers who never allowed a grand slam in any major league contest.",
"A six-time American League (AL) All-Star, he was also one of the rare pitchers who never allowed a grand slam in any major league contest. Palmer appeared in the postseason eight times and was a vital member of three World Series Champions, six AL pennant winners and seven Eastern Division titleholders.",
"Palmer appeared in the postseason eight times and was a vital member of three World Series Champions, six AL pennant winners and seven Eastern Division titleholders. He is the only pitcher in history to earn a win in a World Series game in three different decades.",
"He is the only pitcher in history to earn a win in a World Series game in three different decades. He is also the youngest to pitch a complete-game shutout in a World Series, doing so nine days before his 21st birthday in 1966, in which he defeated Sandy Koufax in Koufax's last appearance.",
"He is also the youngest to pitch a complete-game shutout in a World Series, doing so nine days before his 21st birthday in 1966, in which he defeated Sandy Koufax in Koufax's last appearance. He was one of the starters on the last rotation to feature four 20-game winners in a single season in 1971.",
"He was one of the starters on the last rotation to feature four 20-game winners in a single season in 1971. He was elected to the Baseball Hall of Fame in 1990.",
"He was elected to the Baseball Hall of Fame in 1990. Since his retirement as an active player in 1984, Palmer has worked as a color commentator on telecasts of MLB games for ABC and ESPN and for the Orioles on Home Team Sports (HTS), Comcast SportsNet (CSN) Mid-Atlantic and the Mid-Atlantic Sports Network (MASN).",
"Since his retirement as an active player in 1984, Palmer has worked as a color commentator on telecasts of MLB games for ABC and ESPN and for the Orioles on Home Team Sports (HTS), Comcast SportsNet (CSN) Mid-Atlantic and the Mid-Atlantic Sports Network (MASN). He has also been a popular spokesman, most famously for Jockey International for almost 20 years.",
"He has also been a popular spokesman, most famously for Jockey International for almost 20 years. He was nicknamed \"Cakes\" in the 1960s because of his habit of eating pancakes for breakfast on the days he pitched. Early life James Alvin Palmer was born in Manhattan, New York City on October 15, 1945.",
"Early life James Alvin Palmer was born in Manhattan, New York City on October 15, 1945. Research conducted by his third wife Susan in 2017 revealed that his biological father and mother were Michael Joseph Geheran and Mary Ann Moroney, both Irish immigrants from Counties Leitrim and Clare respectively.",
"Research conducted by his third wife Susan in 2017 revealed that his biological father and mother were Michael Joseph Geheran and Mary Ann Moroney, both Irish immigrants from Counties Leitrim and Clare respectively. Joe was a married 41-year-old man about town, while Mary Ann was an unmarried 37-year-old domestic worker for the Feinstein family which was prominent in the garment industry.",
"Joe was a married 41-year-old man about town, while Mary Ann was an unmarried 37-year-old domestic worker for the Feinstein family which was prominent in the garment industry. Moroney gave up her infant for adoption and concealed information in the New York City birth registry, where Palmer is listed as Baby Boy Kennedy, whose father was Maroney and mother was Kennedy.",
"Moroney gave up her infant for adoption and concealed information in the New York City birth registry, where Palmer is listed as Baby Boy Kennedy, whose father was Maroney and mother was Kennedy. Maroney was the incorrect spelling of her surname as listed when she registered at Ellis Island, while Kennedy was her sister Katharine's married name.",
"Maroney was the incorrect spelling of her surname as listed when she registered at Ellis Island, while Kennedy was her sister Katharine's married name. Moroney eventually married John Lane and the couple had a daughter, Patricia, Palmer's biological half-sister, who died of leukemia at age 40 in 1987.",
"Moroney eventually married John Lane and the couple had a daughter, Patricia, Palmer's biological half-sister, who died of leukemia at age 40 in 1987. (As of May 2018, the Palmers were still searching for Patricia Lane's daughter, whose married name is Kimberly Hughes and who would be Jim Palmer's half-niece.)",
"(As of May 2018, the Palmers were still searching for Patricia Lane's daughter, whose married name is Kimberly Hughes and who would be Jim Palmer's half-niece.) Geheran died in 1959 and Moroney in 1979.",
"Geheran died in 1959 and Moroney in 1979. Two days after his birth, Palmer was adopted by Moe Wiesen and his wife Polly, a wealthy Manhattan dress designer and a boutique owner respectively, who lived on Park Avenue. His sister Bonnie was also adopted by the Wiesens.",
"His sister Bonnie was also adopted by the Wiesens. The family's butler taught the young Jim to throw a baseball in Central Park. After his adoptive father died of a heart attack in 1955, the nine-year-old Jim, his mother and his sister moved to Beverly Hills, California where he began playing in youth-league baseball.",
"After his adoptive father died of a heart attack in 1955, the nine-year-old Jim, his mother and his sister moved to Beverly Hills, California where he began playing in youth-league baseball. In 1956, his mother married actor Max Palmer, but Jim continued to go under the name Jim Wiesen until a year later.",
"In 1956, his mother married actor Max Palmer, but Jim continued to go under the name Jim Wiesen until a year later. At a Little League banquet, just before being presented with an award, he asked the coaches to identify him as \"James Alvin Palmer.\"",
"At a Little League banquet, just before being presented with an award, he asked the coaches to identify him as \"James Alvin Palmer.\" \"Through all these years, that night was the highlight of my entire life,\" Max recalled.",
"\"Through all these years, that night was the highlight of my entire life,\" Max recalled. Max was a character actor and there were two men who shared that name who worked in show business during similar time periods.",
"Max was a character actor and there were two men who shared that name who worked in show business during similar time periods. The Max who was Jim's second dad worked mostly on TV on such programs as Dragnet, Bat Masterson and The Colgate Comedy Hour. He was Jewish, and he also earned a living by selling shoes.",
"He was Jewish, and he also earned a living by selling shoes. The other Max Palmer, often erroneously credited as Jim's father, worked in several movies as a monster. He was 8'2\" tall and later became a professional wrestler and eventually a Christian evangelist.",
"He was 8'2\" tall and later became a professional wrestler and eventually a Christian evangelist. Jim played baseball for the Beverly Hills Yankees, where he pitched and also hit home runs as an outfielder. The family eventually moved to Scottsdale, Arizona, where Jim played baseball, basketball, and football at Scottsdale High School.",
"The family eventually moved to Scottsdale, Arizona, where Jim played baseball, basketball, and football at Scottsdale High School. He earned All-State honors in each of these sports, also graduating with a 3.4 grade-point average in 1963. Palmer also showed his prowess at American Legion Baseball.",
"Palmer also showed his prowess at American Legion Baseball. The University of Southern California, UCLA, and Arizona State University each offered him full scholarships; Stanford University offered a partial scholarship as well.",
"The University of Southern California, UCLA, and Arizona State University each offered him full scholarships; Stanford University offered a partial scholarship as well. Bobby Winkles of Arizona State suggested that Palmer get more experience playing collegiate summer baseball, so Palmer went to South Dakota to join the Winner Pheasants of the Basin League.",
"Bobby Winkles of Arizona State suggested that Palmer get more experience playing collegiate summer baseball, so Palmer went to South Dakota to join the Winner Pheasants of the Basin League. The team advanced all the way to the league finals, and Palmer caught the attention of Baltimore Orioles scout Harry Dalton while pitching in the second game of the championship.",
"The team advanced all the way to the league finals, and Palmer caught the attention of Baltimore Orioles scout Harry Dalton while pitching in the second game of the championship. According to Palmer, 13 Major League Baseball (MLB) teams recruited him after the season wrapped up, but Jim Russo (the scout who also signed Dave McNally and Boog Powell) and Jim Wilson of the Orioles made the best impression on his parents with their polite manners.",
"According to Palmer, 13 Major League Baseball (MLB) teams recruited him after the season wrapped up, but Jim Russo (the scout who also signed Dave McNally and Boog Powell) and Jim Wilson of the Orioles made the best impression on his parents with their polite manners. Palmer signed with Baltimore for $50,000.",
"Palmer signed with Baltimore for $50,000. Career in baseball 1960s A high-kicking pitcher known for an exceptionally smooth delivery, Palmer picked up his first major-league win on May 16, , beating the Yankees in relief at home.",
"Career in baseball 1960s A high-kicking pitcher known for an exceptionally smooth delivery, Palmer picked up his first major-league win on May 16, , beating the Yankees in relief at home. He hit the first of his three career major-league home runs, a two-run shot, in the fourth inning of that game, off Yankees starter Jim Bouton.",
"He hit the first of his three career major-league home runs, a two-run shot, in the fourth inning of that game, off Yankees starter Jim Bouton. Palmer finished the season with a 5–4 record. In , Palmer joined the starting rotation. Baltimore won the pennant behind Frank Robinson's MVP and Triple Crown season.",
"Baltimore won the pennant behind Frank Robinson's MVP and Triple Crown season. Palmer won his final game, against the Kansas City Athletics, to clinch the AL pennant.",
"Palmer won his final game, against the Kansas City Athletics, to clinch the AL pennant. In Game 2 of that World Series, at Dodger Stadium, he became the youngest pitcher (20 years, 11 months) to pitch a shutout, defeating the defending world champion Dodgers 6–0.",
"In Game 2 of that World Series, at Dodger Stadium, he became the youngest pitcher (20 years, 11 months) to pitch a shutout, defeating the defending world champion Dodgers 6–0. The underdog Orioles swept the series over a Los Angeles team that featured Sandy Koufax, Don Drysdale and Claude Osteen.",
"The underdog Orioles swept the series over a Los Angeles team that featured Sandy Koufax, Don Drysdale and Claude Osteen. The shutout was part of a World Series record-setting consecutive shutout innings by Orioles pitchers. The Dodgers' last run was against Moe Drabowsky in the third inning of Game 1.",
"The Dodgers' last run was against Moe Drabowsky in the third inning of Game 1. Palmer, Wally Bunker and Dave McNally pitched shutouts in the next three games. During the next two seasons, Palmer struggled with arm injuries. He had injured his arm in 1966 while using a paint roller in his new house in Baltimore.",
"He had injured his arm in 1966 while using a paint roller in his new house in Baltimore. Cortisone injections allowed him to pitch through the rest of the season and the World Series, but in 1967, his arm continued to feel heavy.",
"Cortisone injections allowed him to pitch through the rest of the season and the World Series, but in 1967, his arm continued to feel heavy. He threw a one-hit game against the New York Yankees on May 12 but was sent to the minor leagues after a poor start against the Boston Red Sox five days later.",
"He threw a one-hit game against the New York Yankees on May 12 but was sent to the minor leagues after a poor start against the Boston Red Sox five days later. While trying to make it back with the Rochester Red Wings in Niagara Falls, New York that Palmer surrendered the only grand slam in his entire professional career which was hit by the Buffalo Bisons' Johnny Bench.",
"While trying to make it back with the Rochester Red Wings in Niagara Falls, New York that Palmer surrendered the only grand slam in his entire professional career which was hit by the Buffalo Bisons' Johnny Bench. He only pitched three more games for the Orioles in 1967.",
"He only pitched three more games for the Orioles in 1967. In 1968, he was limited to 10 minor league games, with no appearances for the Orioles. The outlook on his career was so bleak, Palmer considered quitting baseball to attend college or trying to be a position player.",
"The outlook on his career was so bleak, Palmer considered quitting baseball to attend college or trying to be a position player. He had been placed on waivers in September 1968 and was left unprotected for the Kansas City Royals and Seattle Pilots in the expansion draft one month later, but was not claimed.",
"He had been placed on waivers in September 1968 and was left unprotected for the Kansas City Royals and Seattle Pilots in the expansion draft one month later, but was not claimed. After he pitched for an Instructional League team, the Orioles sent him to pitch for the Santurce Crabbers in the Puerto Rican Winter League.",
"After he pitched for an Instructional League team, the Orioles sent him to pitch for the Santurce Crabbers in the Puerto Rican Winter League. Before he left for Santurce, however, Palmer attended a Baltimore Bullets game and sat next to Marv Foxxman, a pharmaceutical representative who suggested he try Indocin.",
"Before he left for Santurce, however, Palmer attended a Baltimore Bullets game and sat next to Marv Foxxman, a pharmaceutical representative who suggested he try Indocin. In Santurce, Palmer's arm stopped hurting, and his fastball began hitting 95 mph again. \"It was a miracle as far as I was concerned,\" said Palmer.",
"\"It was a miracle as far as I was concerned,\" said Palmer. Palmer returned healthy in 1969, rejoining an Orioles rotation that included 20-game winners Dave McNally and Mike Cuellar. He missed July with a six-week stint on the disabled list, but it was for a torn back muscle, not because of arm trouble.",
"He missed July with a six-week stint on the disabled list, but it was for a torn back muscle, not because of arm trouble. That August 13, Palmer threw a no-hitter against Oakland, just four days after coming off the disabled list. It was the only no-hitter of his career.",
"It was the only no-hitter of his career. He finished the season with a mark of 16–4, 123 strikeouts, a 2.34 ERA, and .800 winning percentage. The heavily favored Orioles were beaten in the 1969 World Series by the New York Mets with Palmer taking the loss in Game 3.",
"The heavily favored Orioles were beaten in the 1969 World Series by the New York Mets with Palmer taking the loss in Game 3. 1970s In , Cuellar went 24–8, McNally 24–9, Palmer 20–10; in the trio went 20–9, 21–5 and 20–9, respectively, with Pat Dobson going 20–8.",
"1970s In , Cuellar went 24–8, McNally 24–9, Palmer 20–10; in the trio went 20–9, 21–5 and 20–9, respectively, with Pat Dobson going 20–8. Only one other team in MLB history, the Chicago White Sox, has had four 20-game winners.",
"Only one other team in MLB history, the Chicago White Sox, has had four 20-game winners. Palmer won 21 games in , and went 22–9, 158, 2.40 in , walking off with his first Cy Young Award. His success was interrupted in when his arm started giving him trouble in spring training.",
"His success was interrupted in when his arm started giving him trouble in spring training. Eventually, he was downed for eight weeks with elbow problems. Palmer had lost seven games in a row by the time he went on the disabled list on June 20.",
"Palmer had lost seven games in a row by the time he went on the disabled list on June 20. He was diagnosed with an ulnar nerve injury and orthopedic surgeon Robert Kerlan prescribed rest, hot and cold water therapy and medication.",
"He was diagnosed with an ulnar nerve injury and orthopedic surgeon Robert Kerlan prescribed rest, hot and cold water therapy and medication. Surgery was considered, but Palmer's pain lessened and he was able to return to play in August. He finished 7–12.",
"He finished 7–12. He finished 7–12. Palmer was at his peak again in , winning 23 games, throwing 10 shutouts (allowing just 44 hits in those games), and fashioning a 2.09 ERA—all tops in the American League. He completed 25 games, even saved one, and limited opposing hitters to a .216 batting average.",
"He completed 25 games, even saved one, and limited opposing hitters to a .216 batting average. On July 28, 1976, he received a fine from AL president Lee MacPhail after hitting Mickey Rivers with a pitch the day before.",
"On July 28, 1976, he received a fine from AL president Lee MacPhail after hitting Mickey Rivers with a pitch the day before. Palmer said it was in retaliation for Dock Ellis hitting Reggie Jackson with a pitch earlier in the game, then complained when Ellis (who did not admit to throwing at Jackson) was not fined.",
"Palmer said it was in retaliation for Dock Ellis hitting Reggie Jackson with a pitch earlier in the game, then complained when Ellis (who did not admit to throwing at Jackson) was not fined. Palmer won his second Cy Young Award, and repeated his feat in (22–13, 2.51).",
"Palmer won his second Cy Young Award, and repeated his feat in (22–13, 2.51). During the latter year, he won the first of four consecutive Gold Glove Awards.",
"During the latter year, he won the first of four consecutive Gold Glove Awards. (Jim Kaat, who had won the award 14 years in a row, moved to the National League, where he won the award that year and in .) After making $185,000 in 1976, Palmer hoped for a raise in 1977.",
"After making $185,000 in 1976, Palmer hoped for a raise in 1977. The Orioles offered $200,000 initially, but Palmer wanted $275,000. They finally agreed on a $260,000 salary, with a bonus for a \"significant contribution.\" In 1977 and 1978, Palmer won 20 and 21 games, respectively.",
"In 1977 and 1978, Palmer won 20 and 21 games, respectively. Despite the 20 wins in 1977, the Orioles almost refused to give him a bonus.",
"Despite the 20 wins in 1977, the Orioles almost refused to give him a bonus. After the Major League Baseball Players Association filed a grievance in Palmer's dispute and threatened to go to arbitration (which likely would have resulted in Palmer becoming a free agent), GM Hank Peters relented and gave him the bonus.",
"After the Major League Baseball Players Association filed a grievance in Palmer's dispute and threatened to go to arbitration (which likely would have resulted in Palmer becoming a free agent), GM Hank Peters relented and gave him the bonus. During the period spanning 1970 to 1978, Palmer had won 20 games in every season except for 1974.",
"During the period spanning 1970 to 1978, Palmer had won 20 games in every season except for 1974. During those eight 20-win seasons, he pitched between and 319 innings per year, leading the league in innings pitched four times and earned run average twice. During that span, he threw between 17 and 25 complete games each year.",
"During that span, he threw between 17 and 25 complete games each year. Frustrated that pitchers who had become free agents like Vida Blue and Bert Blyleven were making more money than him in 1979, Palmer told a reporter for the St. Paul Pioneer Press \"I'm going to aggravate [the Orioles] until they trade me.\"",
"Frustrated that pitchers who had become free agents like Vida Blue and Bert Blyleven were making more money than him in 1979, Palmer told a reporter for the St. Paul Pioneer Press \"I'm going to aggravate [the Orioles] until they trade me.\" Weaver responded by pinning a note to his locker that said, \"Happy Father's Day.",
"Weaver responded by pinning a note to his locker that said, \"Happy Father's Day. Now grow up.\" \"He's right he's underpaid...He's worth a million dollars when he's pitching but he signed for $260,000.\" Palmer eventually got over being discontent, and the team won the AL pennant.",
"Palmer eventually got over being discontent, and the team won the AL pennant. Weaver tabbed Palmer to start Game 1 of the ALCS against the Angels; though Palmer asked him to start Mike Flanagan, the 1979 Cy Young Award winner, instead, Weaver valued Palmer's experience.",
"Weaver tabbed Palmer to start Game 1 of the ALCS against the Angels; though Palmer asked him to start Mike Flanagan, the 1979 Cy Young Award winner, instead, Weaver valued Palmer's experience. Matched up against Ryan, Palmer allowed three runs in nine innings, taking a no-decision as he left with the game tied.",
"Matched up against Ryan, Palmer allowed three runs in nine innings, taking a no-decision as he left with the game tied. The Orioles won in the 10th on a John Lowenstein home run and won the series 3–1. 1980s From 1980 through 1985, Palmer was hampered by arm fatigue and myriad minor injuries.",
"1980s From 1980 through 1985, Palmer was hampered by arm fatigue and myriad minor injuries. Even so, he brought a stabilizing veteran presence to the pitching staff. In 1981, Palmer got into a feud with Doug DeCinces after DeCinces missed a line drive hit by Alan Trammell in a game against the Tigers.",
"In 1981, Palmer got into a feud with Doug DeCinces after DeCinces missed a line drive hit by Alan Trammell in a game against the Tigers. According to DeCinces, Palmer \"was cussing me out and throwing his hands in the air\" after the play. \"Those balls have to be caught,\" Palmer told a paper.",
"\"Those balls have to be caught,\" Palmer told a paper. \"Doug is reluctant to get in front of a ball.\" \"I'd like to know where Jim Palmer gets off criticizing others,\" DeCinces responded. \"Ask anybody–they're all sick of it. We're a twenty-four man team–and one prima donna.",
"We're a twenty-four man team–and one prima donna. He thinks it's always someone else's fault.\" The feud simmered until June, when Weaver said, \"I see no cause for concern. The third baseman wants the pitcher to do a little better and the pitcher wants the third baseman to do a little better.",
"The third baseman wants the pitcher to do a little better and the pitcher wants the third baseman to do a little better. I hope we can all do better and kiss and make up...The judge gave me custody of both of them.\"",
"I hope we can all do better and kiss and make up...The judge gave me custody of both of them.\" Palmer ultimately blamed Brooks Robinson for the dispute: \"If Brooks hadn't been the best third-baseman of all time, the rest of the Orioles wouldn't have taken it for granted that any ball hit anywhere within the same county as Brooks would be judged perfectly, fielded perfectly, and thrown perfectly, nailing (perfectly) what seemed like every single opposing batter.\"",
"Palmer ultimately blamed Brooks Robinson for the dispute: \"If Brooks hadn't been the best third-baseman of all time, the rest of the Orioles wouldn't have taken it for granted that any ball hit anywhere within the same county as Brooks would be judged perfectly, fielded perfectly, and thrown perfectly, nailing (perfectly) what seemed like every single opposing batter.\" After Palmer posted a 6.84 ERA in five starts, GM Hank Peters announced that \"Palmer is never, ever, ever going to start another game in an Orioles uniform.",
"After Palmer posted a 6.84 ERA in five starts, GM Hank Peters announced that \"Palmer is never, ever, ever going to start another game in an Orioles uniform. I've had it.\" Weaver moved Palmer to the bullpen, but with the team needing another starter, he put Palmer back in the rotation in June.",
"Weaver moved Palmer to the bullpen, but with the team needing another starter, he put Palmer back in the rotation in June. Shortly thereafter, Palmer went on an 11-game winning streak.",
"Shortly thereafter, Palmer went on an 11-game winning streak. Palmer's final major-league victory was noteworthy: pitching in relief of Mike Flanagan in the third game of the 1983 World Series, he faced the Phillies' celebrity-studded batting order and gave up no runs in a close Oriole win.",
"Palmer's final major-league victory was noteworthy: pitching in relief of Mike Flanagan in the third game of the 1983 World Series, he faced the Phillies' celebrity-studded batting order and gave up no runs in a close Oriole win. The 17 years between Palmer's first World Series win in 1966 and the 1983 win is the longest period of time between first and last pitching victories in the World Series for an individual pitcher in major league history.",
"The 17 years between Palmer's first World Series win in 1966 and the 1983 win is the longest period of time between first and last pitching victories in the World Series for an individual pitcher in major league history. He also became the only pitcher in major league baseball history to have won World Series games in three decades.",
"He also became the only pitcher in major league baseball history to have won World Series games in three decades. Also, Palmer became the only player in Orioles history to appear in all six (1966, 1969, 1970, 1971, 1979, 1983) of their World Series appearances to date.",
"Also, Palmer became the only player in Orioles history to appear in all six (1966, 1969, 1970, 1971, 1979, 1983) of their World Series appearances to date. Palmer was the only Orioles player on the 1983 championship team to have previously won a World Series.",
"Palmer was the only Orioles player on the 1983 championship team to have previously won a World Series. He retired after being released by Baltimore during the season. He retired with a 268–152 win-loss record and a 2.86 ERA. Palmer was elected to the Hall of Fame in 1990, his first year of eligibility.",
"Palmer was elected to the Hall of Fame in 1990, his first year of eligibility. Early broadcasting career While still an active player, Palmer did color commentary for ABC for their coverage of the 1978, 1980 and 1982 American League Championship Series, 1981 American League Division Series between Oakland and Kansas City, and the 1981 World Series.",
"Early broadcasting career While still an active player, Palmer did color commentary for ABC for their coverage of the 1978, 1980 and 1982 American League Championship Series, 1981 American League Division Series between Oakland and Kansas City, and the 1981 World Series. From to , Palmer formed an announcing team with Al Michaels and Tim McCarver at ABC.",
"From to , Palmer formed an announcing team with Al Michaels and Tim McCarver at ABC. Palmer announced the 1985 World Series, where he was supposed to team with Michaels and Howard Cosell, whom Palmer had worked with on the previous year's ALCS.",
"Palmer announced the 1985 World Series, where he was supposed to team with Michaels and Howard Cosell, whom Palmer had worked with on the previous year's ALCS. McCarver replaced Cosell for the World Series at the last minute after Cosell released a book (I Never Played the Game) that was critical of the ABC Sports team.",
"McCarver replaced Cosell for the World Series at the last minute after Cosell released a book (I Never Played the Game) that was critical of the ABC Sports team. The team of Palmer, Michaels and McCarver would subsequently go on to call the 1986 All-Star Game (that year, Palmer worked with Michaels on the ALCS while McCarver teamed with Keith Jackson on ABC's coverage of the National League Championship Series), the 1987 World Series, and 1988 All-Star Game as well as that year's NLCS.",
"The team of Palmer, Michaels and McCarver would subsequently go on to call the 1986 All-Star Game (that year, Palmer worked with Michaels on the ALCS while McCarver teamed with Keith Jackson on ABC's coverage of the National League Championship Series), the 1987 World Series, and 1988 All-Star Game as well as that year's NLCS. Palmer was present at San Francisco's Candlestick Park on October 17, , when the Loma Prieta earthquake hit prior to Game 3 of the World Series.",
"Palmer was present at San Francisco's Candlestick Park on October 17, , when the Loma Prieta earthquake hit prior to Game 3 of the World Series. After the 1989 season, ABC lost its contract to broadcast baseball to CBS.",
"After the 1989 season, ABC lost its contract to broadcast baseball to CBS. Palmer had earned $350,000 from ABC that year for appearing on around ten regular season broadcasts and making a few postseason appearances. In 1990, the Los Angeles Times reported that Palmer was thinking of pursuing work as a major league manager.",
"In 1990, the Los Angeles Times reported that Palmer was thinking of pursuing work as a major league manager. Instead, Palmer worked as an analyst for ESPN and as a broadcaster for Orioles games on their local telecasts over WMAR-TV and Home Team Sports. Comeback attempt In , Palmer attempted a comeback with the Orioles.",
"Comeback attempt In , Palmer attempted a comeback with the Orioles. He explained in his 1996 book, \"I wanted to see if I could be like Nolan Ryan was to the game or what George Blanda was to football.\"",
"He explained in his 1996 book, \"I wanted to see if I could be like Nolan Ryan was to the game or what George Blanda was to football.\" ESPN, which was trying to cut expenses, had asked him to take a pay cut and to sign a three-year contract.",
"ESPN, which was trying to cut expenses, had asked him to take a pay cut and to sign a three-year contract. Palmer said he would sign a one-year contract for less pay, but ESPN refused. \"I wouldn't be here today if the broadcasting climate had been more to my liking.",
"\"I wouldn't be here today if the broadcasting climate had been more to my liking. That was really my prime motivation, the fact that I no longer had that obligation\", Palmer said during spring training.",
"That was really my prime motivation, the fact that I no longer had that obligation\", Palmer said during spring training. Covering Palmer's spring training workouts, Richard Hoffer of Sports Illustrated said that Palmer's comeback was not entirely about money. He wrote that \"it is fair to suspect that a certain vanity is involved.\"",
"He wrote that \"it is fair to suspect that a certain vanity is involved.\" Hoffer said that Palmer \"has failed to excite either ridicule or astonishment. He's in fabulous condition, no question.",
"He's in fabulous condition, no question. But no matter whom he lines up with on the row of practice mounds, there is more pop in the gloves of catchers other than his.\" \"I couldn't throw ninety-five miles an hour anymore,\" Palmer later reflected. \"The best I could do was eighty.\"",
"\"The best I could do was eighty.\" While working out at the University of Miami during his comeback attempt, Palmer was approached by Miami assistant coach Lazaro Collazo. Collazo reportedly told him, \"You'll never get into the Hall of Fame with those mechanics.\"",
"Collazo reportedly told him, \"You'll never get into the Hall of Fame with those mechanics.\" \"I'm already in the Hall of Fame\", Palmer replied. To help Palmer's pitching motion, Collazo and Palmer completed unusual drills that involved Palmer placing a knee or foot on a chair as he tossed the ball.",
"To help Palmer's pitching motion, Collazo and Palmer completed unusual drills that involved Palmer placing a knee or foot on a chair as he tossed the ball. After giving up five hits and two runs in two innings of a spring training game, he retired permanently.",
"After giving up five hits and two runs in two innings of a spring training game, he retired permanently. Palmer said that he tore his hamstring while warming up for the game, commenting, \"I'm not saying I wouldn't like to continue, but I can't\", he said.",
"Palmer said that he tore his hamstring while warming up for the game, commenting, \"I'm not saying I wouldn't like to continue, but I can't\", he said. \"I heard something pop in my leg yesterday. It wasn't a nice sound.",
"It wasn't a nice sound. I don't know what that means, but I think it's going to play havoc with my tennis game.\"",
"I don't know what that means, but I think it's going to play havoc with my tennis game.\" Return to broadcasting From to , Palmer returned to ABC (this time, via a revenue-sharing joint venture between Major League Baseball, ABC and NBC called The Baseball Network) to once again broadcast with Tim McCarver and Al Michaels.",
"Return to broadcasting From to , Palmer returned to ABC (this time, via a revenue-sharing joint venture between Major League Baseball, ABC and NBC called The Baseball Network) to once again broadcast with Tim McCarver and Al Michaels. In 1995, the reunited team of Palmer, McCarver and Michaels would call the All-Star Game, Game 3 of that NLDS between Cincinnati and Los Angeles, Game 4 of the NLDS between Atlanta and Colorado, Games 1–2 of the NLCS, and Games 1, 4–5 of the World Series.",
"In 1995, the reunited team of Palmer, McCarver and Michaels would call the All-Star Game, Game 3 of that NLDS between Cincinnati and Los Angeles, Game 4 of the NLDS between Atlanta and Colorado, Games 1–2 of the NLCS, and Games 1, 4–5 of the World Series. Palmer, McCarver and Michaels were also intended to call the previous year's World Series for ABC, but were denied the opportunity when the entire postseason was canceled due to a strike.",
"Palmer, McCarver and Michaels were also intended to call the previous year's World Series for ABC, but were denied the opportunity when the entire postseason was canceled due to a strike. He is currently a color commentator on MASN's television broadcasts of Oriole games.",
"He is currently a color commentator on MASN's television broadcasts of Oriole games. In July 2012, Palmer put up for auction his three Cy Young Award trophies and two of his four Gold Glove Awards. \"At this point in my life, I would rather concern myself with the education of my grandchildren\", he said.",
"\"At this point in my life, I would rather concern myself with the education of my grandchildren\", he said. Palmer also noted that his autistic teenage stepson would require special care and that \"my priorities have changed.\"",
"Palmer also noted that his autistic teenage stepson would require special care and that \"my priorities have changed.\" Palmer had put up for auction one of his Cy Young Award trophies on behalf of a fundraising event for cystic fibrosis in years past, although he stated the winning bidder \"had paid $39,000 for that and never ever took it.",
"Palmer had put up for auction one of his Cy Young Award trophies on behalf of a fundraising event for cystic fibrosis in years past, although he stated the winning bidder \"had paid $39,000 for that and never ever took it. It was for the cause.\"",
"It was for the cause.\" Legacy Palmer has been considered one of the best pitchers in major-league history. Palmer is the only pitcher in big-league history to win World Series games in three decades (1960s, 1970s, and 1980s).",
"Palmer is the only pitcher in big-league history to win World Series games in three decades (1960s, 1970s, and 1980s). During his 19-year major league career of 575 games (including 17 postseason games), he never surrendered a grand slam, nor did he ever allow back-to-back homers.",
"During his 19-year major league career of 575 games (including 17 postseason games), he never surrendered a grand slam, nor did he ever allow back-to-back homers. Palmer's career earned run average (2.856) is the third-lowest among starting pitchers whose careers began after the advent of the live-ball era in 1920.",
"Palmer's career earned run average (2.856) is the third-lowest among starting pitchers whose careers began after the advent of the live-ball era in 1920. In six ALCS and six World Series, he posted an 8–3 record with 90 strikeouts, and an ERA of 2.61 and two shutouts in 17 games.",
"In six ALCS and six World Series, he posted an 8–3 record with 90 strikeouts, and an ERA of 2.61 and two shutouts in 17 games. He was a mainstay in the rotation during Baltimore's six pennant-winning teams in the 1960s (1966 and 1969), 1970s (1970, 1971 and 1979) and 1980s (1983).",
"He was a mainstay in the rotation during Baltimore's six pennant-winning teams in the 1960s (1966 and 1969), 1970s (1970, 1971 and 1979) and 1980s (1983). With the passing of Mike Cuellar in 2010, Palmer became the last surviving member of the 1971 Baltimore starting rotation that included four 20-game winners.",
"With the passing of Mike Cuellar in 2010, Palmer became the last surviving member of the 1971 Baltimore starting rotation that included four 20-game winners. Palmer won spots on six All-Star teams, received four Gold Glove Awards and won three Cy Young Awards. He led the league in ERA twice and in wins three times.",
"He led the league in ERA twice and in wins three times. Sometimes, Palmer would shift fielders around during games. He never meddled with the best fielders, such as the Robinsons or Paul Blair, but he would do so for less experienced players.",
"He never meddled with the best fielders, such as the Robinsons or Paul Blair, but he would do so for less experienced players. \"They might not know...that if they're playing a step or two to the opposite field and you're behind the batter two balls and no strikes...and you have a big lead...you're probably going to take a little off the pitch...and the fielders have to know to shift a couple of steps and play for the batter to pull.\"",
"\"They might not know...that if they're playing a step or two to the opposite field and you're behind the batter two balls and no strikes...and you have a big lead...you're probably going to take a little off the pitch...and the fielders have to know to shift a couple of steps and play for the batter to pull.\" In , he ranked No.",
"In , he ranked No. In , he ranked No. 64 on The Sporting News' list of the 100 Greatest Baseball Players, and was nominated as a finalist for the Major League Baseball All-Century Team. Endorsements During the late 1970s, Palmer was a spokesman and underwear model for Jockey brand men's briefs.",
"Endorsements During the late 1970s, Palmer was a spokesman and underwear model for Jockey brand men's briefs. He appeared in the company's national print and television advertisements as well as on billboards at Times Square in New York City and other major cities.",
"He appeared in the company's national print and television advertisements as well as on billboards at Times Square in New York City and other major cities. He donated all proceeds from the sale of his underwear poster to the Cystic Fibrosis Foundation.",
"He donated all proceeds from the sale of his underwear poster to the Cystic Fibrosis Foundation. From 1992 until 1999, he was frequently seen on television throughout the United States in commercials for The Money Store, a national home equity and mortgage lender. He has periodically appeared in ads and commercials for vitamins and other health-related products.",
"He has periodically appeared in ads and commercials for vitamins and other health-related products. Palmer also represents Cosamin DS, a joint health supplement made by Nutramax Laboratories in Edgewood, Maryland. He was also the spokesperson for Nationwide Motors Corp., which is a regional chain of car dealerships located in the Middle Atlantic region.",
"He was also the spokesperson for Nationwide Motors Corp., which is a regional chain of car dealerships located in the Middle Atlantic region. He is currently a spokesman for the national \"Strike Out High Cholesterol\" campaign.",
"He is currently a spokesman for the national \"Strike Out High Cholesterol\" campaign. Additionally, Palmer serves as a member of the advisory board of the Baseball Assistance Team, a 501(c)(3) non-profit organization dedicated to helping former Major League, Minor League, and Negro league players through financial and medical difficulties.",
"Additionally, Palmer serves as a member of the advisory board of the Baseball Assistance Team, a 501(c)(3) non-profit organization dedicated to helping former Major League, Minor League, and Negro league players through financial and medical difficulties. Personal life Shortly after graduating from high school in 1963, Palmer married the former Susan Ryan in 1964.",
"Personal life Shortly after graduating from high school in 1963, Palmer married the former Susan Ryan in 1964. He has two daughters with Ryan, named Jamie and Kelly.",
"He has two daughters with Ryan, named Jamie and Kelly. Ryan was not a huge baseball fan, as Palmer recalled: \"She used to bring her knitting and/or a friend, who usually liked baseball even less, to the games.\"",
"Ryan was not a huge baseball fan, as Palmer recalled: \"She used to bring her knitting and/or a friend, who usually liked baseball even less, to the games.\" In 2007, Palmer married the former Susan Earle, who has an adult son with autism.",
"In 2007, Palmer married the former Susan Earle, who has an adult son with autism. The Palmers have homes in Palm Beach, Florida, and in Corona Del Mar, California. In 2006, Palmer also acquired a penthouse condominium in Little Italy, Baltimore, which he uses while in Baltimore for Orioles' broadcasts.",
"In 2006, Palmer also acquired a penthouse condominium in Little Italy, Baltimore, which he uses while in Baltimore for Orioles' broadcasts. See also List of Major League Baseball career wins leaders List of Major League Baseball annual ERA leaders List of Major League Baseball annual wins leaders List of Major League Baseball career strikeout leaders Major League Baseball titles leaders List of Major League Baseball no-hitters List of Major League Baseball players who spent their entire career with one franchise References External links Jim Palmer at SABR (Baseball BioProject) 1945 births Living people Aberdeen Pheasants players American adoptees American League All-Stars American League ERA champions American League wins champions American people of Irish descent Baltimore Orioles announcers Baltimore Orioles players Baseball players from New York (state) Cy Young Award winners Elmira Pioneers players Gold Glove Award winners Hagerstown Suns players Major League Baseball broadcasters Major League Baseball pitchers Major League Baseball players with retired numbers Male models from New York (state) Miami Marlins (FSL) players Mid-Atlantic Sports Network Models from New York City National Baseball Hall of Fame inductees Rochester Red Wings players Sportspeople from New York City"
] |
[
"Jim Palmer",
"Early broadcasting career",
"What stations did Palmer work for in his early broadcasting days?",
"While still an active player, Palmer did color commentary for ABC",
"What other stations has Palmer worked for?",
"Palmer worked as an analyst for ESPN",
"Were there other stations Palmer worked for?",
"a broadcaster for Orioles games on their local telecasts over WMAR-TV and Home Team Sports."
] | C_596dc3da71fb4978952c538497aaa136_1 | Who did Palmer work with most (Or a lot) on T.V? | 4 | Who did Jim Palmer work with most (Or a lot) on T.V? | Jim Palmer | While still an active player, Palmer did color commentary for ABC for their coverage of the 1978, 1980 and 1982 American League Championship Series, 1981 American League Division Series between Oakland and Kansas City, and the 1981 World Series. From 1985 to 1989, Palmer formed an announcing team with Al Michaels and Tim McCarver at ABC. Palmer announced the 1985 World Series, where he was supposed to team with Michaels and Howard Cosell, whom Palmer had worked with on the previous year's ALCS. McCarver replaced Cosell for the World Series at the last minute after Cosell released a book (I Never Played the Game) that was critical of the ABC Sports team. The team of Palmer, Michaels and McCarver would subsequently go on to call the 1986 All-Star Game (that year, Palmer worked with Michaels on the ALCS while McCarver teamed with Keith Jackson on ABC's coverage of the National League Championship Series), the 1987 World Series, and 1988 All-Star Game as well as that year's NLCS. Palmer was present at San Francisco's Candlestick Park on October 17, 1989, when the Loma Prieta earthquake hit prior to Game 3 of the World Series. After the 1989 season, ABC lost its contract to broadcast baseball to CBS. Palmer had earned $350,000 from ABC that year for appearing on around ten regular season broadcasts and making a few postseason appearances. In 1990, the Los Angeles Times reported that Palmer was thinking of pursuing work as a major league manager. Instead, Palmer worked as an analyst for ESPN and as a broadcaster for Orioles games on their local telecasts over WMAR-TV and Home Team Sports. CANNOTANSWER | The team of Palmer, Michaels and McCarver would subsequently go on to call the 1986 All-Star Game | James Alvin Palmer (born October 15, 1945) is an American former professional baseball pitcher who played 19 years in Major League Baseball (MLB) for the Baltimore Orioles (1965–1967, 1969–1984). Palmer was the winningest MLB pitcher in the 1970s, totaling 186 wins. He also won at least 20 games in eight different seasons and won three Cy Young Awards and four Gold Gloves during the decade. His 268 career victories are currently an Orioles record. A six-time American League (AL) All-Star, he was also one of the rare pitchers who never allowed a grand slam in any major league contest.
Palmer appeared in the postseason eight times and was a vital member of three World Series Champions, six AL pennant winners and seven Eastern Division titleholders. He is the only pitcher in history to earn a win in a World Series game in three different decades. He is also the youngest to pitch a complete-game shutout in a World Series, doing so nine days before his 21st birthday in 1966, in which he defeated Sandy Koufax in Koufax's last appearance. He was one of the starters on the last rotation to feature four 20-game winners in a single season in 1971. He was elected to the Baseball Hall of Fame in 1990.
Since his retirement as an active player in 1984, Palmer has worked as a color commentator on telecasts of MLB games for ABC and ESPN and for the Orioles on Home Team Sports (HTS), Comcast SportsNet (CSN) Mid-Atlantic and the Mid-Atlantic Sports Network (MASN). He has also been a popular spokesman, most famously for Jockey International for almost 20 years. He was nicknamed "Cakes" in the 1960s because of his habit of eating pancakes for breakfast on the days he pitched.
Early life
James Alvin Palmer was born in Manhattan, New York City on October 15, 1945. Research conducted by his third wife Susan in 2017 revealed that his biological father and mother were Michael Joseph Geheran and Mary Ann Moroney, both Irish immigrants from Counties Leitrim and Clare respectively. Joe was a married 41-year-old man about town, while Mary Ann was an unmarried 37-year-old domestic worker for the Feinstein family which was prominent in the garment industry. Moroney gave up her infant for adoption and concealed information in the New York City birth registry, where Palmer is listed as Baby Boy Kennedy, whose father was Maroney and mother was Kennedy. Maroney was the incorrect spelling of her surname as listed when she registered at Ellis Island, while Kennedy was her sister Katharine's married name. Moroney eventually married John Lane and the couple had a daughter, Patricia, Palmer's biological half-sister, who died of leukemia at age 40 in 1987. (As of May 2018, the Palmers were still searching for Patricia Lane's daughter, whose married name is Kimberly Hughes and who would be Jim Palmer's half-niece.) Geheran died in 1959 and Moroney in 1979.
Two days after his birth, Palmer was adopted by Moe Wiesen and his wife Polly, a wealthy Manhattan dress designer and a boutique owner respectively, who lived on Park Avenue. His sister Bonnie was also adopted by the Wiesens. The family's butler taught the young Jim to throw a baseball in Central Park. After his adoptive father died of a heart attack in 1955, the nine-year-old Jim, his mother and his sister moved to Beverly Hills, California where he began playing in youth-league baseball. In 1956, his mother married actor Max Palmer, but Jim continued to go under the name Jim Wiesen until a year later. At a Little League banquet, just before being presented with an award, he asked the coaches to identify him as "James Alvin Palmer." "Through all these years, that night was the highlight of my entire life," Max recalled. Max was a character actor and there were two men who shared that name who worked in show business during similar time periods. The Max who was Jim's second dad worked mostly on TV on such programs as Dragnet, Bat Masterson and The Colgate Comedy Hour. He was Jewish, and he also earned a living by selling shoes. The other Max Palmer, often erroneously credited as Jim's father, worked in several movies as a monster. He was 8'2" tall and later became a professional wrestler and eventually a Christian evangelist.
Jim played baseball for the Beverly Hills Yankees, where he pitched and also hit home runs as an outfielder. The family eventually moved to Scottsdale, Arizona, where Jim played baseball, basketball, and football at Scottsdale High School. He earned All-State honors in each of these sports, also graduating with a 3.4 grade-point average in 1963. Palmer also showed his prowess at American Legion Baseball. The University of Southern California, UCLA, and Arizona State University each offered him full scholarships; Stanford University offered a partial scholarship as well.
Bobby Winkles of Arizona State suggested that Palmer get more experience playing collegiate summer baseball, so Palmer went to South Dakota to join the Winner Pheasants of the Basin League. The team advanced all the way to the league finals, and Palmer caught the attention of Baltimore Orioles scout Harry Dalton while pitching in the second game of the championship. According to Palmer, 13 Major League Baseball (MLB) teams recruited him after the season wrapped up, but Jim Russo (the scout who also signed Dave McNally and Boog Powell) and Jim Wilson of the Orioles made the best impression on his parents with their polite manners. Palmer signed with Baltimore for $50,000.
Career in baseball
1960s
A high-kicking pitcher known for an exceptionally smooth delivery, Palmer picked up his first major-league win on May 16, , beating the Yankees in relief at home. He hit the first of his three career major-league home runs, a two-run shot, in the fourth inning of that game, off Yankees starter Jim Bouton. Palmer finished the season with a 5–4 record.
In , Palmer joined the starting rotation. Baltimore won the pennant behind Frank Robinson's MVP and Triple Crown season. Palmer won his final game, against the Kansas City Athletics, to clinch the AL pennant. In Game 2 of that World Series, at Dodger Stadium, he became the youngest pitcher (20 years, 11 months) to pitch a shutout, defeating the defending world champion Dodgers 6–0. The underdog Orioles swept the series over a Los Angeles team that featured Sandy Koufax, Don Drysdale and Claude Osteen. The shutout was part of a World Series record-setting consecutive shutout innings by Orioles pitchers. The Dodgers' last run was against Moe Drabowsky in the third inning of Game 1. Palmer, Wally Bunker and Dave McNally pitched shutouts in the next three games.
During the next two seasons, Palmer struggled with arm injuries. He had injured his arm in 1966 while using a paint roller in his new house in Baltimore. Cortisone injections allowed him to pitch through the rest of the season and the World Series, but in 1967, his arm continued to feel heavy. He threw a one-hit game against the New York Yankees on May 12 but was sent to the minor leagues after a poor start against the Boston Red Sox five days later. While trying to make it back with the Rochester Red Wings in Niagara Falls, New York that Palmer surrendered the only grand slam in his entire professional career which was hit by the Buffalo Bisons' Johnny Bench. He only pitched three more games for the Orioles in 1967. In 1968, he was limited to 10 minor league games, with no appearances for the Orioles. The outlook on his career was so bleak, Palmer considered quitting baseball to attend college or trying to be a position player. He had been placed on waivers in September 1968 and was left unprotected for the Kansas City Royals and Seattle Pilots in the expansion draft one month later, but was not claimed. After he pitched for an Instructional League team, the Orioles sent him to pitch for the Santurce Crabbers in the Puerto Rican Winter League. Before he left for Santurce, however, Palmer attended a Baltimore Bullets game and sat next to Marv Foxxman, a pharmaceutical representative who suggested he try Indocin. In Santurce, Palmer's arm stopped hurting, and his fastball began hitting 95 mph again. "It was a miracle as far as I was concerned," said Palmer.
Palmer returned healthy in 1969, rejoining an Orioles rotation that included 20-game winners Dave McNally and Mike Cuellar. He missed July with a six-week stint on the disabled list, but it was for a torn back muscle, not because of arm trouble. That August 13, Palmer threw a no-hitter against Oakland, just four days after coming off the disabled list. It was the only no-hitter of his career. He finished the season with a mark of 16–4, 123 strikeouts, a 2.34 ERA, and .800 winning percentage. The heavily favored Orioles were beaten in the 1969 World Series by the New York Mets with Palmer taking the loss in Game 3.
1970s
In , Cuellar went 24–8, McNally 24–9, Palmer 20–10; in the trio went 20–9, 21–5 and 20–9, respectively, with Pat Dobson going 20–8. Only one other team in MLB history, the Chicago White Sox, has had four 20-game winners.
Palmer won 21 games in , and went 22–9, 158, 2.40 in , walking off with his first Cy Young Award. His success was interrupted in when his arm started giving him trouble in spring training. Eventually, he was downed for eight weeks with elbow problems. Palmer had lost seven games in a row by the time he went on the disabled list on June 20. He was diagnosed with an ulnar nerve injury and orthopedic surgeon Robert Kerlan prescribed rest, hot and cold water therapy and medication. Surgery was considered, but Palmer's pain lessened and he was able to return to play in August. He finished 7–12.
Palmer was at his peak again in , winning 23 games, throwing 10 shutouts (allowing just 44 hits in those games), and fashioning a 2.09 ERA—all tops in the American League. He completed 25 games, even saved one, and limited opposing hitters to a .216 batting average. On July 28, 1976, he received a fine from AL president Lee MacPhail after hitting Mickey Rivers with a pitch the day before. Palmer said it was in retaliation for Dock Ellis hitting Reggie Jackson with a pitch earlier in the game, then complained when Ellis (who did not admit to throwing at Jackson) was not fined. Palmer won his second Cy Young Award, and repeated his feat in (22–13, 2.51). During the latter year, he won the first of four consecutive Gold Glove Awards. (Jim Kaat, who had won the award 14 years in a row, moved to the National League, where he won the award that year and in .)
After making $185,000 in 1976, Palmer hoped for a raise in 1977. The Orioles offered $200,000 initially, but Palmer wanted $275,000. They finally agreed on a $260,000 salary, with a bonus for a "significant contribution." In 1977 and 1978, Palmer won 20 and 21 games, respectively. Despite the 20 wins in 1977, the Orioles almost refused to give him a bonus. After the Major League Baseball Players Association filed a grievance in Palmer's dispute and threatened to go to arbitration (which likely would have resulted in Palmer becoming a free agent), GM Hank Peters relented and gave him the bonus. During the period spanning 1970 to 1978, Palmer had won 20 games in every season except for 1974. During those eight 20-win seasons, he pitched between and 319 innings per year, leading the league in innings pitched four times and earned run average twice. During that span, he threw between 17 and 25 complete games each year. Frustrated that pitchers who had become free agents like Vida Blue and Bert Blyleven were making more money than him in 1979, Palmer told a reporter for the St. Paul Pioneer Press "I'm going to aggravate [the Orioles] until they trade me." Weaver responded by pinning a note to his locker that said, "Happy Father's Day. Now grow up." "He's right he's underpaid...He's worth a million dollars when he's pitching but he signed for $260,000." Palmer eventually got over being discontent, and the team won the AL pennant. Weaver tabbed Palmer to start Game 1 of the ALCS against the Angels; though Palmer asked him to start Mike Flanagan, the 1979 Cy Young Award winner, instead, Weaver valued Palmer's experience. Matched up against Ryan, Palmer allowed three runs in nine innings, taking a no-decision as he left with the game tied. The Orioles won in the 10th on a John Lowenstein home run and won the series 3–1.
1980s
From 1980 through 1985, Palmer was hampered by arm fatigue and myriad minor injuries. Even so, he brought a stabilizing veteran presence to the pitching staff.
In 1981, Palmer got into a feud with Doug DeCinces after DeCinces missed a line drive hit by Alan Trammell in a game against the Tigers. According to DeCinces, Palmer "was cussing me out and throwing his hands in the air" after the play. "Those balls have to be caught," Palmer told a paper. "Doug is reluctant to get in front of a ball." "I'd like to know where Jim Palmer gets off criticizing others," DeCinces responded. "Ask anybody–they're all sick of it. We're a twenty-four man team–and one prima donna. He thinks it's always someone else's fault." The feud simmered until June, when Weaver said, "I see no cause for concern. The third baseman wants the pitcher to do a little better and the pitcher wants the third baseman to do a little better. I hope we can all do better and kiss and make up...The judge gave me custody of both of them." Palmer ultimately blamed Brooks Robinson for the dispute: "If Brooks hadn't been the best third-baseman of all time, the rest of the Orioles wouldn't have taken it for granted that any ball hit anywhere within the same county as Brooks would be judged perfectly, fielded perfectly, and thrown perfectly, nailing (perfectly) what seemed like every single opposing batter."
After Palmer posted a 6.84 ERA in five starts, GM Hank Peters announced that "Palmer is never, ever, ever going to start another game in an Orioles uniform. I've had it." Weaver moved Palmer to the bullpen, but with the team needing another starter, he put Palmer back in the rotation in June. Shortly thereafter, Palmer went on an 11-game winning streak.
Palmer's final major-league victory was noteworthy: pitching in relief of Mike Flanagan in the third game of the 1983 World Series, he faced the Phillies' celebrity-studded batting order and gave up no runs in a close Oriole win.
The 17 years between Palmer's first World Series win in 1966 and the 1983 win is the longest period of time between first and last pitching victories in the World Series for an individual pitcher in major league history. He also became the only pitcher in major league baseball history to have won World Series games in three decades. Also, Palmer became the only player in Orioles history to appear in all six (1966, 1969, 1970, 1971, 1979, 1983) of their World Series appearances to date.
Palmer was the only Orioles player on the 1983 championship team to have previously won a World Series. He retired after being released by Baltimore during the season. He retired with a 268–152 win-loss record and a 2.86 ERA. Palmer was elected to the Hall of Fame in 1990, his first year of eligibility.
Early broadcasting career
While still an active player, Palmer did color commentary for ABC for their coverage of the 1978, 1980 and 1982 American League Championship Series, 1981 American League Division Series between Oakland and Kansas City, and the 1981 World Series.
From to , Palmer formed an announcing team with Al Michaels and Tim McCarver at ABC. Palmer announced the 1985 World Series, where he was supposed to team with Michaels and Howard Cosell, whom Palmer had worked with on the previous year's ALCS. McCarver replaced Cosell for the World Series at the last minute after Cosell released a book (I Never Played the Game) that was critical of the ABC Sports team. The team of Palmer, Michaels and McCarver would subsequently go on to call the 1986 All-Star Game (that year, Palmer worked with Michaels on the ALCS while McCarver teamed with Keith Jackson on ABC's coverage of the National League Championship Series), the 1987 World Series, and 1988 All-Star Game as well as that year's NLCS.
Palmer was present at San Francisco's Candlestick Park on October 17, , when the Loma Prieta earthquake hit prior to Game 3 of the World Series. After the 1989 season, ABC lost its contract to broadcast baseball to CBS. Palmer had earned $350,000 from ABC that year for appearing on around ten regular season broadcasts and making a few postseason appearances.
In 1990, the Los Angeles Times reported that Palmer was thinking of pursuing work as a major league manager. Instead, Palmer worked as an analyst for ESPN and as a broadcaster for Orioles games on their local telecasts over WMAR-TV and Home Team Sports.
Comeback attempt
In , Palmer attempted a comeback with the Orioles. He explained in his 1996 book, "I wanted to see if I could be like Nolan Ryan was to the game or what George Blanda was to football." ESPN, which was trying to cut expenses, had asked him to take a pay cut and to sign a three-year contract. Palmer said he would sign a one-year contract for less pay, but ESPN refused. "I wouldn't be here today if the broadcasting climate had been more to my liking. That was really my prime motivation, the fact that I no longer had that obligation", Palmer said during spring training.
Covering Palmer's spring training workouts, Richard Hoffer of Sports Illustrated said that Palmer's comeback was not entirely about money. He wrote that "it is fair to suspect that a certain vanity is involved." Hoffer said that Palmer "has failed to excite either ridicule or astonishment. He's in fabulous condition, no question. But no matter whom he lines up with on the row of practice mounds, there is more pop in the gloves of catchers other than his." "I couldn't throw ninety-five miles an hour anymore," Palmer later reflected. "The best I could do was eighty."
While working out at the University of Miami during his comeback attempt, Palmer was approached by Miami assistant coach Lazaro Collazo. Collazo reportedly told him, "You'll never get into the Hall of Fame with those mechanics." "I'm already in the Hall of Fame", Palmer replied. To help Palmer's pitching motion, Collazo and Palmer completed unusual drills that involved Palmer placing a knee or foot on a chair as he tossed the ball.
After giving up five hits and two runs in two innings of a spring training game, he retired permanently. Palmer said that he tore his hamstring while warming up for the game, commenting, "I'm not saying I wouldn't like to continue, but I can't", he said. "I heard something pop in my leg yesterday. It wasn't a nice sound. I don't know what that means, but I think it's going to play havoc with my tennis game."
Return to broadcasting
From to , Palmer returned to ABC (this time, via a revenue-sharing joint venture between Major League Baseball, ABC and NBC called The Baseball Network) to once again broadcast with Tim McCarver and Al Michaels. In 1995, the reunited team of Palmer, McCarver and Michaels would call the All-Star Game, Game 3 of that NLDS between Cincinnati and Los Angeles, Game 4 of the NLDS between Atlanta and Colorado, Games 1–2 of the NLCS, and Games 1, 4–5 of the World Series. Palmer, McCarver and Michaels were also intended to call the previous year's World Series for ABC, but were denied the opportunity when the entire postseason was canceled due to a strike. He is currently a color commentator on MASN's television broadcasts of Oriole games.
In July 2012, Palmer put up for auction his three Cy Young Award trophies and two of his four Gold Glove Awards. "At this point in my life, I would rather concern myself with the education of my grandchildren", he said. Palmer also noted that his autistic teenage stepson would require special care and that "my priorities have changed." Palmer had put up for auction one of his Cy Young Award trophies on behalf of a fundraising event for cystic fibrosis in years past, although he stated the winning bidder "had paid $39,000 for that and never ever took it. It was for the cause."
Legacy
Palmer has been considered one of the best pitchers in major-league history. Palmer is the only pitcher in big-league history to win World Series games in three decades (1960s, 1970s, and 1980s). During his 19-year major league career of 575 games (including 17 postseason games), he never surrendered a grand slam, nor did he ever allow back-to-back homers. Palmer's career earned run average (2.856) is the third-lowest among starting pitchers whose careers began after the advent of the live-ball era in 1920. In six ALCS and six World Series, he posted an 8–3 record with 90 strikeouts, and an ERA of 2.61 and two shutouts in 17 games.
He was a mainstay in the rotation during Baltimore's six pennant-winning teams in the 1960s (1966 and 1969), 1970s (1970, 1971 and 1979) and 1980s (1983). With the passing of Mike Cuellar in 2010, Palmer became the last surviving member of the 1971 Baltimore starting rotation that included four 20-game winners. Palmer won spots on six All-Star teams, received four Gold Glove Awards and won three Cy Young Awards. He led the league in ERA twice and in wins three times.
Sometimes, Palmer would shift fielders around during games. He never meddled with the best fielders, such as the Robinsons or Paul Blair, but he would do so for less experienced players. "They might not know...that if they're playing a step or two to the opposite field and you're behind the batter two balls and no strikes...and you have a big lead...you're probably going to take a little off the pitch...and the fielders have to know to shift a couple of steps and play for the batter to pull."
In , he ranked No. 64 on The Sporting News' list of the 100 Greatest Baseball Players, and was nominated as a finalist for the Major League Baseball All-Century Team.
Endorsements
During the late 1970s, Palmer was a spokesman and underwear model for Jockey brand men's briefs. He appeared in the company's national print and television advertisements as well as on billboards at Times Square in New York City and other major cities. He donated all proceeds from the sale of his underwear poster to the Cystic Fibrosis Foundation.
From 1992 until 1999, he was frequently seen on television throughout the United States in commercials for The Money Store, a national home equity and mortgage lender. He has periodically appeared in ads and commercials for vitamins and other health-related products. Palmer also represents Cosamin DS, a joint health supplement made by Nutramax Laboratories in Edgewood, Maryland.
He was also the spokesperson for Nationwide Motors Corp., which is a regional chain of car dealerships located in the Middle Atlantic region. He is currently a spokesman for the national "Strike Out High Cholesterol" campaign. Additionally, Palmer serves as a member of the advisory board of the Baseball Assistance Team, a 501(c)(3) non-profit organization dedicated to helping former Major League, Minor League, and Negro league players through financial and medical difficulties.
Personal life
Shortly after graduating from high school in 1963, Palmer married the former Susan Ryan in 1964. He has two daughters with Ryan, named Jamie and Kelly. Ryan was not a huge baseball fan, as Palmer recalled: "She used to bring her knitting and/or a friend, who usually liked baseball even less, to the games."
In 2007, Palmer married the former Susan Earle, who has an adult son with autism. The Palmers have homes in Palm Beach, Florida, and in Corona Del Mar, California. In 2006, Palmer also acquired a penthouse condominium in Little Italy, Baltimore, which he uses while in Baltimore for Orioles' broadcasts.
See also
List of Major League Baseball career wins leaders
List of Major League Baseball annual ERA leaders
List of Major League Baseball annual wins leaders
List of Major League Baseball career strikeout leaders
Major League Baseball titles leaders
List of Major League Baseball no-hitters
List of Major League Baseball players who spent their entire career with one franchise
References
External links
Jim Palmer at SABR (Baseball BioProject)
1945 births
Living people
Aberdeen Pheasants players
American adoptees
American League All-Stars
American League ERA champions
American League wins champions
American people of Irish descent
Baltimore Orioles announcers
Baltimore Orioles players
Baseball players from New York (state)
Cy Young Award winners
Elmira Pioneers players
Gold Glove Award winners
Hagerstown Suns players
Major League Baseball broadcasters
Major League Baseball pitchers
Major League Baseball players with retired numbers
Male models from New York (state)
Miami Marlins (FSL) players
Mid-Atlantic Sports Network
Models from New York City
National Baseball Hall of Fame inductees
Rochester Red Wings players
Sportspeople from New York City | true | [
"Amanda MacKinnon Gaiman Palmer (born April 30, 1976) is an American singer, songwriter, musician, and performance artist who is the lead vocalist, pianist, and lyricist of the duo The Dresden Dolls. She performs as a solo artist, and was also one-half of the duo Evelyn Evelyn, and the lead singer and songwriter of Amanda Palmer and the Grand Theft Orchestra.\n\nEarly life\nPalmer was born Amanda MacKinnon Palmer in New York City's Mount Sinai Hospital, and grew up in Lexington, Massachusetts. Her parents divorced when she was one year old, and as a child she rarely saw her father.\n\nShe attended Lexington High School, where she was involved in the drama department, and attended Wesleyan University where she was a member of the Eclectic Society. She staged performances based on work by the Legendary Pink Dots, an early influence, and was involved in the Legendary Pink Dots electronic mailing list, Cloud Zero. She then formed the Shadowbox Collective, devoted to street theatre and putting on theatrical shows (such as the 2002 play, Hotel Blanc, which she directed). Another early influence is Judy Blume, children's author.\n\nWith an interest in the performing arts, both in music and in theatre, Palmer spent time busking as a living statue called \"The Eight Foot Bride\" in Harvard Square, Cambridge, Massachusetts; Edinburgh, Scotland; Australia (where she met Jason Webley); and many other locations. She refers to this line of work on The Dresden Dolls' self-titled CD, with the song \"The Perfect Fit\": \nI can paint my face\nAnd stand very, very still\nIt's not very practical\nBut it still pays the bills\nas well as on the A is for Accident track \"Glass Slipper\":\nI give out flowers\nTo curious strangers\nwho throw dollars at my feet.\n\nCareer\n\n2000–2007: The Dresden Dolls and The Onion Cellar\n\nAt a Halloween party in 2000, Palmer met drummer Brian Viglione and afterwards they formed The Dresden Dolls. In an effort to expand the performance experience and interactivity, Palmer began inviting Lexington High School students to perform drama pieces at the Dresden Dolls' live shows. This evolved to The Dirty Business Brigade, a troupe of seasoned and new artists, performing at many gigs.\n\nIn 2002, after developing a cult following, the band recorded their eponymous debut album, The Dresden Dolls, with producer Martin Bisi (of Indie, Brooklyn, New York fame). They produced the album before signing with the label Roadrunner Records.\n\nIn 2006, The Dresden Dolls Companion was published, with words, music and artwork by Amanda Palmer. In it she has written a history of the album The Dresden Dolls and of the duo, as well as a partial autobiography. The book also contains the lyrics, sheet music, and notes on each song in the album, all written by Palmer, as well as a DVD with a 20-minute interview of Amanda about making the book.\n\nPalmer conceived the musical/production The Onion Cellar, based on a short story from The Tin Drum by Günter Grass. From December 9, 2006, through January 13, 2007, The Dresden Dolls performed the piece in conjunction with the American Repertory Theater at the Zero Arrow Theatre in Cambridge, Massachusetts. While Palmer was openly frustrated with the direction of the show, fan and critical reviews were very positive.\n\nIn June 2007, as part of the Dresden Dolls, she toured with the True Colors Tour 2007, including her debut in New York City's Radio City Music Hall, and her first review in The New York Times.\n\nThough the Dresden Dolls broke up in 2008, Palmer and Viglione have continued to collaborate, and have had several minor reunions under the band name in 2011, 2012, 2016, 2017, and 2018.\n\n2007–2010: Who Killed Amanda Palmer, Evelyn Evelyn, and theatrical work\n\nIn July 2007, Palmer played three sold-out shows (in Boston, Hoboken, and NYC) in a new \"with band\" format. Her backing band was Boston alternative rock group Aberdeen City, who also opened along with Dixie Dirt. In August 2007, Palmer traveled to perform in the Spiegeltent and other venues at the Edinburgh Festival Fringe in Scotland, and also performed on BBC Two's The Edinburgh Show. She collaborated with Australian theater company The Danger Ensemble; both again appeared at the Spiegeltent in Melbourne and at other venues around Australia in December 2007.\n\nIn September 2007, Palmer collaborated with Jason Webley to launch the new project Evelyn Evelyn with the EP Elephant Elephant. In the project, the duo play conjoined twin sisters named Eva and Lyn, and through their music tell their fictional backstory.\n\nIn July 2008, the Dresden Dolls released a second book, the Virginia Companion, a follow-up to The Dresden Dolls Companion, featuring the music and lyrics from the Yes, Virginia...(2006) and No, Virginia... (2008) albums, produced by Sean Slade and Paul Kolderie.\n\nIn June 2008, Palmer established her solo career with two well-received performances with the Boston Pops.\n\nHer first solo studio album, Who Killed Amanda Palmer, was released on September 16, 2008. Ben Folds produced and also played on the album. The title is a play on an expression used by fans during Twin Peaks original run, \"Who killed Laura Palmer?\" A companion book of photos of Palmer looking as if she were murdered was released in July 2009. Titled Who Killed Amanda Palmer a Collection of Photographic Evidence, it featured photography by Kyle Cassidy and stories by Neil Gaiman, as well as lyrics from the album.\n\nIn late 2008, she toured Europe with Jason Webley, Zoë Keating and The Danger Ensemble, performing songs mostly from her debut solo album. She did most of the shows with a broken foot she had sustained in Belfast, Northern Ireland when a car ran over her foot as she stepped out into a street. In April 2009, she played at the Coachella Valley Music and Arts Festival.\n\nIn 2009, Palmer went back to her alma mater, Lexington High School in Massachusetts, to collaborate with her old director and mentor Steven Bogart on a workshop piece for the department's spring production. The play, With The Needle That Sings In Her Heart, was inspired by Neutral Milk Hotel's album In the Aeroplane Over the Sea and The Diary of Anne Frank. NPR's Avishay Artsy interviewed the cast on All Things Considered.\n\nIn 2010 Palmer returned to the A.R.T. for a two-month run of Cabaret, starring as the Emcee. The same year The Dresden Dolls reunited for a United States tour starting on Halloween in New York City and ending in San Francisco on New Year's Eve. \nOn March 30, 2010 Palmer and Webley released their debut self-titled album as Evelyn Evelyn. This was accompanied by a worldwide tour and graphic novel based on the story of the sisters.\n\nPalmer began using the ukulele during a concert as a goof, but soon it became a regular part of her repertoire. Later, she recorded a full album with ukulele accompaniment: Amanda Palmer Performs the Popular Hits of Radiohead on Her Magical Ukulele.\n\n2012–2014:Theatre Is Evil and The Art of Asking\nOn April 20, 2012, Palmer announced on her blog that she launched a new album pre-order on Kickstarter. The Kickstarter project was ultimately supported by 24,883 backers for a grand total of $1,192,793 — at the time, the most funds ever raised for a musical project on Kickstarter. A widely reported and commented upon controversy emerged from the related tour when she asked for local musicians to volunteer to play with her for exposure, fun, beer, and hugs instead of money. She responded in the press and changed her policy to one of paying local musicians who volunteered to play with her on this tour. The album, Theatre Is Evil, was recorded with The Grand Theft Orchestra, produced by John Congleton, and released in September 2012. On November 9, 2012, Palmer released the music video for \"Do it With a Rockstar\" on The Flaming Lips' website. The video was co-created and directed by Wayne Coyne, lead singer of The Flaming Lips. Subsequent videos were released for \"The Killing Type\" and \"The Bed Song\".\n\nOn August 9, 2013, Palmer made her Lincoln Center debut.\n\nIn November 2014, Palmer released her memoir, The Art of Asking (), which expands on a TED talk she gave in February 2013. The book made the New York Times Best Seller list. The book also received several critical reviews, most notably from NPR.\n\n2015–2018: You Got Me Singing, I Can Spin a Rainbow, and Patreon\nOn March 3, 2015, Amanda began soliciting financial support on the crowdfunding platform Patreon.\nPalmer spoke at the 2015 Hay Festival about the prospect of reconciling art and motherhood. The talk was recorded for the BBC Radio 4 series Four Thought and broadcast on June 21, 2015. Also in 2015, she served as a judge for The 14th Annual Independent Music Awards. During the first months of 2016, she released the completely Patreon-funded song \"Machete\", and a David Bowie tribute EP, entitled Strung Out In Heaven: A Bowie String Quartet Tribute. \nAmanda Palmer collaborated with her father, Jack Palmer, to record an album entitled You Got Me Singing. They performed concerts in July 2016 in support of the album.\n\nAmanda Palmer collaborated with Legendary Pink Dots frontman Edward Ka-Spel to record an album, I Can Spin a Rainbow. The duo toured in May and June 2017 in support of the album, backed by Legendary Pink Dots' former violin player Patrick Q. Wright.\n\n2019–present: There Will Be No Intermission and podcast\nOn March 8, 2019, Palmer released her third solo studio album and first in seven years, There Will Be No Intermission. The album was promoted by an extensive world tour that was filmed for her patrons on Patreon.\n\nIn fall 2020, Palmer launched a podcast called The Art of Asking Everything. On October 31, 2020, Palmer and Viglione performed \"Science Fiction/Double Feature\" to open the Wisconsin Democrats Livestream fundraiser that reunited some original Rocky Horror Picture Show cast members to act out the show with additional stars and singers.\n\nPersonal life\n\nPalmer used to reside in Boston, Massachusetts, with other artists in a cooperative named the Cloud Club.\n\nShe has identified as bisexual, telling afterellen.com in 2007: \"I'm bisexual, but it's not the sort of thing I spent a lot of time thinking about,\" Palmer said. \"I've slept with girls; I've slept with guys, so I guess that's what they call it! I'm not anti trying to use language to simplify our lives.\" Palmer has spoken out on feminist issues and about her open relationships, stating in one interview that \"I've never been comfortable in a monogamous relationship in my life. I feel like I was built for open relationships just because of the way I function. It's not a reactive decision like, 'Hey I'm on the road, you're on the road, let's just find other people.' It was a fundamental building block of our relationship. We both like things this way.\"\n\nPalmer has said that she once worked as a stripper under the name Berlin. She has stated that the song \"Berlin\" was written about this experience.\n\nPalmer has had three abortions, and her song \"Voicemail for Jill\" is about these experiences.\n\nNeil Gaiman and Palmer confirmed their engagement in 2010 and Palmer hosted a flash mob wedding (not legally binding) for Gaiman's birthday in New Orleans later the same year. The couple legally married in a private ceremony in 2011. The wedding took place in the parlor of writers Ayelet Waldman and Michael Chabon. They have a son, Anthony \"Ash\", born on September 16, 2015, named for Palmer's close friend and mentor (and childhood next-door neighbor), the author and psychotherapist Dr. C. Anthony Martignetti, who died on June 22, 2015. \n\nDuring the global pandemic of COVID-19 that struck at the end of 2019, Amanda Palmer was on an international tour of her latest album, There Will Be No Intermission, when countries started grounding flights and locking down borders. Palmer found herself in Havelock North, Hawke's Bay, the last stop on her tour schedule, and on 25 March 2020, New Zealand's government announced that the whole country would move to COVID-19 Alert Level 4: complete lockdown and quarantining of people within their own homes. Before that, Palmer had quickly brought her husband Neil Gaiman and son Ash to join her in New Zealand, searching for a suitable place to stay, in anticipation that they would be under lockdown for several months. Both the musician and the author confirmed that their upcoming shows in June 2020 would have to be cancelled and audiences refunded.\n\nAt some publicly unknown point during the couple's stay in Havelock North, their marriage underwent difficulties. When New Zealand loosened its flight restrictions, Neil Gaiman took a flight back to the United Kingdom while Amanda Palmer and their son stayed in New Zealand, prompting outrage in his home country for breaking lockdown rules to do so. On 3 May 2020, Palmer announced on her personal Patreon that she and Gaiman had separated and were indeed no longer together in New Zealand. Palmer explained that she could not fully elaborate on the cause of their separation, for the sake of their son, and requested privacy. The couple later released a joint statement clarifying that they were not, however, getting divorced. They reconciled in 2021.\n\nPalmer practices meditation and wrote an article titled \"Melody vs. Meditation\" for the Buddhist publication Shambhala Sun, which described the struggle between songwriting and being able to clear the mind to meditate.\n\nAwards and honors\n 2012: Artist & Manager Awards - Pioneer Award\n 2012: Twitter Feed @amandapalmer in the Boston Phoenixs Best 2012\n 2011: Actress in a local production: Cabaret – Boston's Best, Improper Bostonian\n 2010: Artist of the Year – Boston Music Awards\n 2010: Cover of \"Fake Plastic Trees\" (Radiohead) named 13th of Paste magazine's 20 Best Cover Songs of 2010\n 2009: No. 100 on After Ellen's Hot 100 of 2009.\n 2008: No. 6 on the Best Solo artist list in The Guardians Readers' Poll of 2008.\n 2007: No. 6 on Spinner.com's \"Women Who Rock Right Now\".\n 2006: The Boston Globe named her the most stylish woman in Boston.\n 2006: Listed in Blender magazine's hottest women of rock.\n 2005: Best Female Vocalist in the WFNX/Boston Phoenix Best Music Poll.\n\nDiscography\n\nSolo studio albums\n Who Killed Amanda Palmer (2008)\n Theatre Is Evil (2012) (with The Grand Theft Orchestra)\n There Will Be No Intermission (2019)\n\nCollaborative studio albums\n You Got Me Singing (2016) (with Jack Palmer)\n I Can Spin a Rainbow (2017) (with Edward Ka-Spel)\n Forty-Five Degrees - A Bushfire Charity Flash Record (2020) (with various artists)\n\nOther albums\n Amanda Palmer Performs the Popular Hits of Radiohead on Her Magical Ukulele (2010)\n Amanda Palmer Goes Down Under (2011)\n An Evening With Neil Gaiman & Amanda Palmer (2013) (with Neil Gaiman)\n Piano Is Evil (2016)\n\nTours\n True Colors Tour (2007)\nWho Killed Amanda Palmer Tour (2008–2009)\nAmanda Palmer: Live in Australia (2010)\nEvelyn Evelyn Tour (2010)\nDresden Dolls 10th Anniversary Tour (2010–2011)\nAmanda Palmer & The Grand Theft Orchestra: Theatre Is Evil Tour (2012)\nAn Evening with Neil Gaiman & Amanda Palmer (2013)\nThe Music of David Byrne & The Talking Heads (2014–2015)\nAn Evening with Amanda Fucking Palmer (2015)\nThe Art of Asking Book Tour (2015)\nYou Got Me Singing Tour (with Jack Palmer) (2016)\nI Can Spin a Rainbow Tour (with Edward Ka-Spel) (2017)\nDresden Dolls Reunion Tour (2017–2018)\nThere Will Be No Intermission World Tour (2019–2020)\nAn Evening with Amanda Palmer: New Zealand Tour (2020)\n\nFilmography\n\nPodcasts\n\nThe Art of Asking Everything\nIn fall 2020, Palmer announced she would be releasing a podcast called The Art of Asking Everything.\n\nOther\n\nBibliography\nSome of the books written in full, or collaboratively, by Amanda Palmer:\n\n \n \n \n \n \n \n\nPalmer also has a chapter giving advice in Tim Ferriss' book Tools of Titans.\n\nSee also\n\n List of TED speakers\n\nReferences\n\nExternal links\n\n Amanda Palmer's official site\n \n \n \n\n1976 births\nLiving people\n20th-century American singers\n21st-century American singers\nAlternative rock pianists\nAlternative rock singers\nAmerican alternative rock musicians\nAmerican bloggers\nAmerican street performers\nAmerican women rock singers\nAmerican feminists\nAmerican people of Scottish descent\nAmerican rock pianists\nAmerican women pianists\nAmerican ukulele players\nAmerican women dramatists and playwrights\nAmerican women performance artists\nAmerican performance artists\nBisexual feminists\nBisexual musicians\nBisexual women\nDark cabaret musicians\nEvelyn Evelyn members\nWomen punk rock singers\nFeminist musicians\nLGBT people from Massachusetts\nLGBT people from New York (state)\nLGBT rights activists from the United States\nLGBT singers from the United States\nNeil Gaiman\nLGBT songwriters\nMusicians from Boston\nPeople from Lexington, Massachusetts\nSingers from Massachusetts\nSongwriters from Massachusetts\nThe Dresden Dolls members\nWesleyan University alumni\nAmerican women bloggers\nLexington High School alumni\n20th-century American women singers\n21st-century American women singers\nRoadrunner Records artists\nCooking Vinyl artists\n8in8 members\nPatreon creators\n20th-century LGBT people\n21st-century LGBT people",
"Michael Stephen Palmer, M.D. (October 9, 1942 – October 30, 2013), was an American physician and author. His novels are often referred to as medical thrillers. Some of his novels have made The New York Times Best Seller list and have been translated into 35 languages. One, Extreme Measures (1991), was adopted into a 1996 film of the same name starring Hugh Grant, Sarah Jessica Parker, and Gene Hackman.\n\nBiography\nMichael Stephen Palmer was born in Springfield, Massachusetts on October 9, 1942 to Milton and May Palmer. He grew up with two younger sisters, Donna and Susan. Palmer graduated from Wesleyan University in 1964 with a pre-med major, and with \"sort of a Russian minor\". He then went to Case Western Reserve University for medical school. Palmer trained in internal medicine at Boston City Hospital and Massachusetts General Hospital.\n\nPalmer once claimed he never wanted to be a writer. He did not think he had much \"flair\" for it, even though he read in his spare time. In 1978, he read Robin Cook's medical thriller Coma (1977). Palmer thought if Cook, also a Wesleyan graduate could write a novel, then he could too. When not writing, he worked part-time at Massachusetts Medical Society. Before he began work on his first published novel, The Sisterhood, about euthanasia, Palmer was practicing treatment of drug addiction.\n\nSide Effects (1985), his second published work, was about the testing of unapproved drugs on a patient in Nazi Germany, but his most famous novel proved to be Extreme Measures (1991), in which a promising young doctor is threatened by a hospital elite after discovering the body's criminal acts. A selection of his other books include: Natural Causes (1994), about a holistic doctor who prescribes medicine that actually kills patients; Miracle Cure (1998), about a drug for heart disease that actually is very dangerous because of its side effects; and Extreme Measures (1991) on which the eponymous 1996 thriller film starring Hugh Grant, Sarah Jessica Parker, and Gene Hackman is based.\nPalmer married Judith Grass and Noelle Shaughnessy with both marriages ending in divorce. He had three sons—Matthew, Daniel, and Luke.\nOn October 29, 2013, Palmer unexpectedly suffered a heart attack and stroke, dying the next day in New York City. In Palmer's memory, a tribute trail was named in his honor at Red Run Stream Valley Trail in November 2013.\n\nNovels \n\n The Sisterhood (1982)\n Side Effects (1985)\n Flashback (1988)\n Extreme Measures (1991)\n Natural Causes (1994)\n Silent Treatment (1995)\n Critical Judgment (1996)\n Miracle Cure (1998)\n The Patient (2000)\n Fatal (2002)\n The Society (2004)\n The Fifth Vial (2007) \n The First Patient (2008)\n The Second Opinion (2009)\n The Last Surgeon (2010)\n A Heartbeat Away (2011)\n The Deal (2013)\n . . . Dr. Lou Welcome series:\n 1 Oath of Office (2012)\n 1.5 On Call (novella) (2012)\n 2 Political Suicide (2013)\n 3 Resistant (2014)\n Trauma (2015, with Daniel Palmer)\n Mercy (2016, with Daniel Palmer)\n The First Family (2018, with Daniel Palmer)\n\nReferences\n\nExternal links \nPalmer's homepage\n\n1942 births\n2013 deaths\nWesleyan University alumni\n20th-century American novelists\n21st-century American novelists\nAmerican male novelists\nMedical fiction writers\nPhysicians from Massachusetts\nAmerican medical writers\nAmerican thriller writers\nNovelists from Massachusetts\n20th-century American male writers\n21st-century American male writers\n20th-century American non-fiction writers\n21st-century American non-fiction writers\nAmerican male non-fiction writers"
] | [
"James Alvin Palmer (born October 15, 1945) is an American former professional baseball pitcher who played 19 years in Major League Baseball (MLB) for the Baltimore Orioles (1965–1967, 1969–1984). Palmer was the winningest MLB pitcher in the 1970s, totaling 186 wins.",
"Palmer was the winningest MLB pitcher in the 1970s, totaling 186 wins. He also won at least 20 games in eight different seasons and won three Cy Young Awards and four Gold Gloves during the decade. His 268 career victories are currently an Orioles record.",
"His 268 career victories are currently an Orioles record. A six-time American League (AL) All-Star, he was also one of the rare pitchers who never allowed a grand slam in any major league contest.",
"A six-time American League (AL) All-Star, he was also one of the rare pitchers who never allowed a grand slam in any major league contest. Palmer appeared in the postseason eight times and was a vital member of three World Series Champions, six AL pennant winners and seven Eastern Division titleholders.",
"Palmer appeared in the postseason eight times and was a vital member of three World Series Champions, six AL pennant winners and seven Eastern Division titleholders. He is the only pitcher in history to earn a win in a World Series game in three different decades.",
"He is the only pitcher in history to earn a win in a World Series game in three different decades. He is also the youngest to pitch a complete-game shutout in a World Series, doing so nine days before his 21st birthday in 1966, in which he defeated Sandy Koufax in Koufax's last appearance.",
"He is also the youngest to pitch a complete-game shutout in a World Series, doing so nine days before his 21st birthday in 1966, in which he defeated Sandy Koufax in Koufax's last appearance. He was one of the starters on the last rotation to feature four 20-game winners in a single season in 1971.",
"He was one of the starters on the last rotation to feature four 20-game winners in a single season in 1971. He was elected to the Baseball Hall of Fame in 1990.",
"He was elected to the Baseball Hall of Fame in 1990. Since his retirement as an active player in 1984, Palmer has worked as a color commentator on telecasts of MLB games for ABC and ESPN and for the Orioles on Home Team Sports (HTS), Comcast SportsNet (CSN) Mid-Atlantic and the Mid-Atlantic Sports Network (MASN).",
"Since his retirement as an active player in 1984, Palmer has worked as a color commentator on telecasts of MLB games for ABC and ESPN and for the Orioles on Home Team Sports (HTS), Comcast SportsNet (CSN) Mid-Atlantic and the Mid-Atlantic Sports Network (MASN). He has also been a popular spokesman, most famously for Jockey International for almost 20 years.",
"He has also been a popular spokesman, most famously for Jockey International for almost 20 years. He was nicknamed \"Cakes\" in the 1960s because of his habit of eating pancakes for breakfast on the days he pitched. Early life James Alvin Palmer was born in Manhattan, New York City on October 15, 1945.",
"Early life James Alvin Palmer was born in Manhattan, New York City on October 15, 1945. Research conducted by his third wife Susan in 2017 revealed that his biological father and mother were Michael Joseph Geheran and Mary Ann Moroney, both Irish immigrants from Counties Leitrim and Clare respectively.",
"Research conducted by his third wife Susan in 2017 revealed that his biological father and mother were Michael Joseph Geheran and Mary Ann Moroney, both Irish immigrants from Counties Leitrim and Clare respectively. Joe was a married 41-year-old man about town, while Mary Ann was an unmarried 37-year-old domestic worker for the Feinstein family which was prominent in the garment industry.",
"Joe was a married 41-year-old man about town, while Mary Ann was an unmarried 37-year-old domestic worker for the Feinstein family which was prominent in the garment industry. Moroney gave up her infant for adoption and concealed information in the New York City birth registry, where Palmer is listed as Baby Boy Kennedy, whose father was Maroney and mother was Kennedy.",
"Moroney gave up her infant for adoption and concealed information in the New York City birth registry, where Palmer is listed as Baby Boy Kennedy, whose father was Maroney and mother was Kennedy. Maroney was the incorrect spelling of her surname as listed when she registered at Ellis Island, while Kennedy was her sister Katharine's married name.",
"Maroney was the incorrect spelling of her surname as listed when she registered at Ellis Island, while Kennedy was her sister Katharine's married name. Moroney eventually married John Lane and the couple had a daughter, Patricia, Palmer's biological half-sister, who died of leukemia at age 40 in 1987.",
"Moroney eventually married John Lane and the couple had a daughter, Patricia, Palmer's biological half-sister, who died of leukemia at age 40 in 1987. (As of May 2018, the Palmers were still searching for Patricia Lane's daughter, whose married name is Kimberly Hughes and who would be Jim Palmer's half-niece.)",
"(As of May 2018, the Palmers were still searching for Patricia Lane's daughter, whose married name is Kimberly Hughes and who would be Jim Palmer's half-niece.) Geheran died in 1959 and Moroney in 1979.",
"Geheran died in 1959 and Moroney in 1979. Two days after his birth, Palmer was adopted by Moe Wiesen and his wife Polly, a wealthy Manhattan dress designer and a boutique owner respectively, who lived on Park Avenue. His sister Bonnie was also adopted by the Wiesens.",
"His sister Bonnie was also adopted by the Wiesens. The family's butler taught the young Jim to throw a baseball in Central Park. After his adoptive father died of a heart attack in 1955, the nine-year-old Jim, his mother and his sister moved to Beverly Hills, California where he began playing in youth-league baseball.",
"After his adoptive father died of a heart attack in 1955, the nine-year-old Jim, his mother and his sister moved to Beverly Hills, California where he began playing in youth-league baseball. In 1956, his mother married actor Max Palmer, but Jim continued to go under the name Jim Wiesen until a year later.",
"In 1956, his mother married actor Max Palmer, but Jim continued to go under the name Jim Wiesen until a year later. At a Little League banquet, just before being presented with an award, he asked the coaches to identify him as \"James Alvin Palmer.\"",
"At a Little League banquet, just before being presented with an award, he asked the coaches to identify him as \"James Alvin Palmer.\" \"Through all these years, that night was the highlight of my entire life,\" Max recalled.",
"\"Through all these years, that night was the highlight of my entire life,\" Max recalled. Max was a character actor and there were two men who shared that name who worked in show business during similar time periods.",
"Max was a character actor and there were two men who shared that name who worked in show business during similar time periods. The Max who was Jim's second dad worked mostly on TV on such programs as Dragnet, Bat Masterson and The Colgate Comedy Hour. He was Jewish, and he also earned a living by selling shoes.",
"He was Jewish, and he also earned a living by selling shoes. The other Max Palmer, often erroneously credited as Jim's father, worked in several movies as a monster. He was 8'2\" tall and later became a professional wrestler and eventually a Christian evangelist.",
"He was 8'2\" tall and later became a professional wrestler and eventually a Christian evangelist. Jim played baseball for the Beverly Hills Yankees, where he pitched and also hit home runs as an outfielder. The family eventually moved to Scottsdale, Arizona, where Jim played baseball, basketball, and football at Scottsdale High School.",
"The family eventually moved to Scottsdale, Arizona, where Jim played baseball, basketball, and football at Scottsdale High School. He earned All-State honors in each of these sports, also graduating with a 3.4 grade-point average in 1963. Palmer also showed his prowess at American Legion Baseball.",
"Palmer also showed his prowess at American Legion Baseball. The University of Southern California, UCLA, and Arizona State University each offered him full scholarships; Stanford University offered a partial scholarship as well.",
"The University of Southern California, UCLA, and Arizona State University each offered him full scholarships; Stanford University offered a partial scholarship as well. Bobby Winkles of Arizona State suggested that Palmer get more experience playing collegiate summer baseball, so Palmer went to South Dakota to join the Winner Pheasants of the Basin League.",
"Bobby Winkles of Arizona State suggested that Palmer get more experience playing collegiate summer baseball, so Palmer went to South Dakota to join the Winner Pheasants of the Basin League. The team advanced all the way to the league finals, and Palmer caught the attention of Baltimore Orioles scout Harry Dalton while pitching in the second game of the championship.",
"The team advanced all the way to the league finals, and Palmer caught the attention of Baltimore Orioles scout Harry Dalton while pitching in the second game of the championship. According to Palmer, 13 Major League Baseball (MLB) teams recruited him after the season wrapped up, but Jim Russo (the scout who also signed Dave McNally and Boog Powell) and Jim Wilson of the Orioles made the best impression on his parents with their polite manners.",
"According to Palmer, 13 Major League Baseball (MLB) teams recruited him after the season wrapped up, but Jim Russo (the scout who also signed Dave McNally and Boog Powell) and Jim Wilson of the Orioles made the best impression on his parents with their polite manners. Palmer signed with Baltimore for $50,000.",
"Palmer signed with Baltimore for $50,000. Career in baseball 1960s A high-kicking pitcher known for an exceptionally smooth delivery, Palmer picked up his first major-league win on May 16, , beating the Yankees in relief at home.",
"Career in baseball 1960s A high-kicking pitcher known for an exceptionally smooth delivery, Palmer picked up his first major-league win on May 16, , beating the Yankees in relief at home. He hit the first of his three career major-league home runs, a two-run shot, in the fourth inning of that game, off Yankees starter Jim Bouton.",
"He hit the first of his three career major-league home runs, a two-run shot, in the fourth inning of that game, off Yankees starter Jim Bouton. Palmer finished the season with a 5–4 record. In , Palmer joined the starting rotation. Baltimore won the pennant behind Frank Robinson's MVP and Triple Crown season.",
"Baltimore won the pennant behind Frank Robinson's MVP and Triple Crown season. Palmer won his final game, against the Kansas City Athletics, to clinch the AL pennant.",
"Palmer won his final game, against the Kansas City Athletics, to clinch the AL pennant. In Game 2 of that World Series, at Dodger Stadium, he became the youngest pitcher (20 years, 11 months) to pitch a shutout, defeating the defending world champion Dodgers 6–0.",
"In Game 2 of that World Series, at Dodger Stadium, he became the youngest pitcher (20 years, 11 months) to pitch a shutout, defeating the defending world champion Dodgers 6–0. The underdog Orioles swept the series over a Los Angeles team that featured Sandy Koufax, Don Drysdale and Claude Osteen.",
"The underdog Orioles swept the series over a Los Angeles team that featured Sandy Koufax, Don Drysdale and Claude Osteen. The shutout was part of a World Series record-setting consecutive shutout innings by Orioles pitchers. The Dodgers' last run was against Moe Drabowsky in the third inning of Game 1.",
"The Dodgers' last run was against Moe Drabowsky in the third inning of Game 1. Palmer, Wally Bunker and Dave McNally pitched shutouts in the next three games. During the next two seasons, Palmer struggled with arm injuries. He had injured his arm in 1966 while using a paint roller in his new house in Baltimore.",
"He had injured his arm in 1966 while using a paint roller in his new house in Baltimore. Cortisone injections allowed him to pitch through the rest of the season and the World Series, but in 1967, his arm continued to feel heavy.",
"Cortisone injections allowed him to pitch through the rest of the season and the World Series, but in 1967, his arm continued to feel heavy. He threw a one-hit game against the New York Yankees on May 12 but was sent to the minor leagues after a poor start against the Boston Red Sox five days later.",
"He threw a one-hit game against the New York Yankees on May 12 but was sent to the minor leagues after a poor start against the Boston Red Sox five days later. While trying to make it back with the Rochester Red Wings in Niagara Falls, New York that Palmer surrendered the only grand slam in his entire professional career which was hit by the Buffalo Bisons' Johnny Bench.",
"While trying to make it back with the Rochester Red Wings in Niagara Falls, New York that Palmer surrendered the only grand slam in his entire professional career which was hit by the Buffalo Bisons' Johnny Bench. He only pitched three more games for the Orioles in 1967.",
"He only pitched three more games for the Orioles in 1967. In 1968, he was limited to 10 minor league games, with no appearances for the Orioles. The outlook on his career was so bleak, Palmer considered quitting baseball to attend college or trying to be a position player.",
"The outlook on his career was so bleak, Palmer considered quitting baseball to attend college or trying to be a position player. He had been placed on waivers in September 1968 and was left unprotected for the Kansas City Royals and Seattle Pilots in the expansion draft one month later, but was not claimed.",
"He had been placed on waivers in September 1968 and was left unprotected for the Kansas City Royals and Seattle Pilots in the expansion draft one month later, but was not claimed. After he pitched for an Instructional League team, the Orioles sent him to pitch for the Santurce Crabbers in the Puerto Rican Winter League.",
"After he pitched for an Instructional League team, the Orioles sent him to pitch for the Santurce Crabbers in the Puerto Rican Winter League. Before he left for Santurce, however, Palmer attended a Baltimore Bullets game and sat next to Marv Foxxman, a pharmaceutical representative who suggested he try Indocin.",
"Before he left for Santurce, however, Palmer attended a Baltimore Bullets game and sat next to Marv Foxxman, a pharmaceutical representative who suggested he try Indocin. In Santurce, Palmer's arm stopped hurting, and his fastball began hitting 95 mph again. \"It was a miracle as far as I was concerned,\" said Palmer.",
"\"It was a miracle as far as I was concerned,\" said Palmer. Palmer returned healthy in 1969, rejoining an Orioles rotation that included 20-game winners Dave McNally and Mike Cuellar. He missed July with a six-week stint on the disabled list, but it was for a torn back muscle, not because of arm trouble.",
"He missed July with a six-week stint on the disabled list, but it was for a torn back muscle, not because of arm trouble. That August 13, Palmer threw a no-hitter against Oakland, just four days after coming off the disabled list. It was the only no-hitter of his career.",
"It was the only no-hitter of his career. He finished the season with a mark of 16–4, 123 strikeouts, a 2.34 ERA, and .800 winning percentage. The heavily favored Orioles were beaten in the 1969 World Series by the New York Mets with Palmer taking the loss in Game 3.",
"The heavily favored Orioles were beaten in the 1969 World Series by the New York Mets with Palmer taking the loss in Game 3. 1970s In , Cuellar went 24–8, McNally 24–9, Palmer 20–10; in the trio went 20–9, 21–5 and 20–9, respectively, with Pat Dobson going 20–8.",
"1970s In , Cuellar went 24–8, McNally 24–9, Palmer 20–10; in the trio went 20–9, 21–5 and 20–9, respectively, with Pat Dobson going 20–8. Only one other team in MLB history, the Chicago White Sox, has had four 20-game winners.",
"Only one other team in MLB history, the Chicago White Sox, has had four 20-game winners. Palmer won 21 games in , and went 22–9, 158, 2.40 in , walking off with his first Cy Young Award. His success was interrupted in when his arm started giving him trouble in spring training.",
"His success was interrupted in when his arm started giving him trouble in spring training. Eventually, he was downed for eight weeks with elbow problems. Palmer had lost seven games in a row by the time he went on the disabled list on June 20.",
"Palmer had lost seven games in a row by the time he went on the disabled list on June 20. He was diagnosed with an ulnar nerve injury and orthopedic surgeon Robert Kerlan prescribed rest, hot and cold water therapy and medication.",
"He was diagnosed with an ulnar nerve injury and orthopedic surgeon Robert Kerlan prescribed rest, hot and cold water therapy and medication. Surgery was considered, but Palmer's pain lessened and he was able to return to play in August. He finished 7–12.",
"He finished 7–12. He finished 7–12. Palmer was at his peak again in , winning 23 games, throwing 10 shutouts (allowing just 44 hits in those games), and fashioning a 2.09 ERA—all tops in the American League. He completed 25 games, even saved one, and limited opposing hitters to a .216 batting average.",
"He completed 25 games, even saved one, and limited opposing hitters to a .216 batting average. On July 28, 1976, he received a fine from AL president Lee MacPhail after hitting Mickey Rivers with a pitch the day before.",
"On July 28, 1976, he received a fine from AL president Lee MacPhail after hitting Mickey Rivers with a pitch the day before. Palmer said it was in retaliation for Dock Ellis hitting Reggie Jackson with a pitch earlier in the game, then complained when Ellis (who did not admit to throwing at Jackson) was not fined.",
"Palmer said it was in retaliation for Dock Ellis hitting Reggie Jackson with a pitch earlier in the game, then complained when Ellis (who did not admit to throwing at Jackson) was not fined. Palmer won his second Cy Young Award, and repeated his feat in (22–13, 2.51).",
"Palmer won his second Cy Young Award, and repeated his feat in (22–13, 2.51). During the latter year, he won the first of four consecutive Gold Glove Awards.",
"During the latter year, he won the first of four consecutive Gold Glove Awards. (Jim Kaat, who had won the award 14 years in a row, moved to the National League, where he won the award that year and in .) After making $185,000 in 1976, Palmer hoped for a raise in 1977.",
"After making $185,000 in 1976, Palmer hoped for a raise in 1977. The Orioles offered $200,000 initially, but Palmer wanted $275,000. They finally agreed on a $260,000 salary, with a bonus for a \"significant contribution.\" In 1977 and 1978, Palmer won 20 and 21 games, respectively.",
"In 1977 and 1978, Palmer won 20 and 21 games, respectively. Despite the 20 wins in 1977, the Orioles almost refused to give him a bonus.",
"Despite the 20 wins in 1977, the Orioles almost refused to give him a bonus. After the Major League Baseball Players Association filed a grievance in Palmer's dispute and threatened to go to arbitration (which likely would have resulted in Palmer becoming a free agent), GM Hank Peters relented and gave him the bonus.",
"After the Major League Baseball Players Association filed a grievance in Palmer's dispute and threatened to go to arbitration (which likely would have resulted in Palmer becoming a free agent), GM Hank Peters relented and gave him the bonus. During the period spanning 1970 to 1978, Palmer had won 20 games in every season except for 1974.",
"During the period spanning 1970 to 1978, Palmer had won 20 games in every season except for 1974. During those eight 20-win seasons, he pitched between and 319 innings per year, leading the league in innings pitched four times and earned run average twice. During that span, he threw between 17 and 25 complete games each year.",
"During that span, he threw between 17 and 25 complete games each year. Frustrated that pitchers who had become free agents like Vida Blue and Bert Blyleven were making more money than him in 1979, Palmer told a reporter for the St. Paul Pioneer Press \"I'm going to aggravate [the Orioles] until they trade me.\"",
"Frustrated that pitchers who had become free agents like Vida Blue and Bert Blyleven were making more money than him in 1979, Palmer told a reporter for the St. Paul Pioneer Press \"I'm going to aggravate [the Orioles] until they trade me.\" Weaver responded by pinning a note to his locker that said, \"Happy Father's Day.",
"Weaver responded by pinning a note to his locker that said, \"Happy Father's Day. Now grow up.\" \"He's right he's underpaid...He's worth a million dollars when he's pitching but he signed for $260,000.\" Palmer eventually got over being discontent, and the team won the AL pennant.",
"Palmer eventually got over being discontent, and the team won the AL pennant. Weaver tabbed Palmer to start Game 1 of the ALCS against the Angels; though Palmer asked him to start Mike Flanagan, the 1979 Cy Young Award winner, instead, Weaver valued Palmer's experience.",
"Weaver tabbed Palmer to start Game 1 of the ALCS against the Angels; though Palmer asked him to start Mike Flanagan, the 1979 Cy Young Award winner, instead, Weaver valued Palmer's experience. Matched up against Ryan, Palmer allowed three runs in nine innings, taking a no-decision as he left with the game tied.",
"Matched up against Ryan, Palmer allowed three runs in nine innings, taking a no-decision as he left with the game tied. The Orioles won in the 10th on a John Lowenstein home run and won the series 3–1. 1980s From 1980 through 1985, Palmer was hampered by arm fatigue and myriad minor injuries.",
"1980s From 1980 through 1985, Palmer was hampered by arm fatigue and myriad minor injuries. Even so, he brought a stabilizing veteran presence to the pitching staff. In 1981, Palmer got into a feud with Doug DeCinces after DeCinces missed a line drive hit by Alan Trammell in a game against the Tigers.",
"In 1981, Palmer got into a feud with Doug DeCinces after DeCinces missed a line drive hit by Alan Trammell in a game against the Tigers. According to DeCinces, Palmer \"was cussing me out and throwing his hands in the air\" after the play. \"Those balls have to be caught,\" Palmer told a paper.",
"\"Those balls have to be caught,\" Palmer told a paper. \"Doug is reluctant to get in front of a ball.\" \"I'd like to know where Jim Palmer gets off criticizing others,\" DeCinces responded. \"Ask anybody–they're all sick of it. We're a twenty-four man team–and one prima donna.",
"We're a twenty-four man team–and one prima donna. He thinks it's always someone else's fault.\" The feud simmered until June, when Weaver said, \"I see no cause for concern. The third baseman wants the pitcher to do a little better and the pitcher wants the third baseman to do a little better.",
"The third baseman wants the pitcher to do a little better and the pitcher wants the third baseman to do a little better. I hope we can all do better and kiss and make up...The judge gave me custody of both of them.\"",
"I hope we can all do better and kiss and make up...The judge gave me custody of both of them.\" Palmer ultimately blamed Brooks Robinson for the dispute: \"If Brooks hadn't been the best third-baseman of all time, the rest of the Orioles wouldn't have taken it for granted that any ball hit anywhere within the same county as Brooks would be judged perfectly, fielded perfectly, and thrown perfectly, nailing (perfectly) what seemed like every single opposing batter.\"",
"Palmer ultimately blamed Brooks Robinson for the dispute: \"If Brooks hadn't been the best third-baseman of all time, the rest of the Orioles wouldn't have taken it for granted that any ball hit anywhere within the same county as Brooks would be judged perfectly, fielded perfectly, and thrown perfectly, nailing (perfectly) what seemed like every single opposing batter.\" After Palmer posted a 6.84 ERA in five starts, GM Hank Peters announced that \"Palmer is never, ever, ever going to start another game in an Orioles uniform.",
"After Palmer posted a 6.84 ERA in five starts, GM Hank Peters announced that \"Palmer is never, ever, ever going to start another game in an Orioles uniform. I've had it.\" Weaver moved Palmer to the bullpen, but with the team needing another starter, he put Palmer back in the rotation in June.",
"Weaver moved Palmer to the bullpen, but with the team needing another starter, he put Palmer back in the rotation in June. Shortly thereafter, Palmer went on an 11-game winning streak.",
"Shortly thereafter, Palmer went on an 11-game winning streak. Palmer's final major-league victory was noteworthy: pitching in relief of Mike Flanagan in the third game of the 1983 World Series, he faced the Phillies' celebrity-studded batting order and gave up no runs in a close Oriole win.",
"Palmer's final major-league victory was noteworthy: pitching in relief of Mike Flanagan in the third game of the 1983 World Series, he faced the Phillies' celebrity-studded batting order and gave up no runs in a close Oriole win. The 17 years between Palmer's first World Series win in 1966 and the 1983 win is the longest period of time between first and last pitching victories in the World Series for an individual pitcher in major league history.",
"The 17 years between Palmer's first World Series win in 1966 and the 1983 win is the longest period of time between first and last pitching victories in the World Series for an individual pitcher in major league history. He also became the only pitcher in major league baseball history to have won World Series games in three decades.",
"He also became the only pitcher in major league baseball history to have won World Series games in three decades. Also, Palmer became the only player in Orioles history to appear in all six (1966, 1969, 1970, 1971, 1979, 1983) of their World Series appearances to date.",
"Also, Palmer became the only player in Orioles history to appear in all six (1966, 1969, 1970, 1971, 1979, 1983) of their World Series appearances to date. Palmer was the only Orioles player on the 1983 championship team to have previously won a World Series.",
"Palmer was the only Orioles player on the 1983 championship team to have previously won a World Series. He retired after being released by Baltimore during the season. He retired with a 268–152 win-loss record and a 2.86 ERA. Palmer was elected to the Hall of Fame in 1990, his first year of eligibility.",
"Palmer was elected to the Hall of Fame in 1990, his first year of eligibility. Early broadcasting career While still an active player, Palmer did color commentary for ABC for their coverage of the 1978, 1980 and 1982 American League Championship Series, 1981 American League Division Series between Oakland and Kansas City, and the 1981 World Series.",
"Early broadcasting career While still an active player, Palmer did color commentary for ABC for their coverage of the 1978, 1980 and 1982 American League Championship Series, 1981 American League Division Series between Oakland and Kansas City, and the 1981 World Series. From to , Palmer formed an announcing team with Al Michaels and Tim McCarver at ABC.",
"From to , Palmer formed an announcing team with Al Michaels and Tim McCarver at ABC. Palmer announced the 1985 World Series, where he was supposed to team with Michaels and Howard Cosell, whom Palmer had worked with on the previous year's ALCS.",
"Palmer announced the 1985 World Series, where he was supposed to team with Michaels and Howard Cosell, whom Palmer had worked with on the previous year's ALCS. McCarver replaced Cosell for the World Series at the last minute after Cosell released a book (I Never Played the Game) that was critical of the ABC Sports team.",
"McCarver replaced Cosell for the World Series at the last minute after Cosell released a book (I Never Played the Game) that was critical of the ABC Sports team. The team of Palmer, Michaels and McCarver would subsequently go on to call the 1986 All-Star Game (that year, Palmer worked with Michaels on the ALCS while McCarver teamed with Keith Jackson on ABC's coverage of the National League Championship Series), the 1987 World Series, and 1988 All-Star Game as well as that year's NLCS.",
"The team of Palmer, Michaels and McCarver would subsequently go on to call the 1986 All-Star Game (that year, Palmer worked with Michaels on the ALCS while McCarver teamed with Keith Jackson on ABC's coverage of the National League Championship Series), the 1987 World Series, and 1988 All-Star Game as well as that year's NLCS. Palmer was present at San Francisco's Candlestick Park on October 17, , when the Loma Prieta earthquake hit prior to Game 3 of the World Series.",
"Palmer was present at San Francisco's Candlestick Park on October 17, , when the Loma Prieta earthquake hit prior to Game 3 of the World Series. After the 1989 season, ABC lost its contract to broadcast baseball to CBS.",
"After the 1989 season, ABC lost its contract to broadcast baseball to CBS. Palmer had earned $350,000 from ABC that year for appearing on around ten regular season broadcasts and making a few postseason appearances. In 1990, the Los Angeles Times reported that Palmer was thinking of pursuing work as a major league manager.",
"In 1990, the Los Angeles Times reported that Palmer was thinking of pursuing work as a major league manager. Instead, Palmer worked as an analyst for ESPN and as a broadcaster for Orioles games on their local telecasts over WMAR-TV and Home Team Sports. Comeback attempt In , Palmer attempted a comeback with the Orioles.",
"Comeback attempt In , Palmer attempted a comeback with the Orioles. He explained in his 1996 book, \"I wanted to see if I could be like Nolan Ryan was to the game or what George Blanda was to football.\"",
"He explained in his 1996 book, \"I wanted to see if I could be like Nolan Ryan was to the game or what George Blanda was to football.\" ESPN, which was trying to cut expenses, had asked him to take a pay cut and to sign a three-year contract.",
"ESPN, which was trying to cut expenses, had asked him to take a pay cut and to sign a three-year contract. Palmer said he would sign a one-year contract for less pay, but ESPN refused. \"I wouldn't be here today if the broadcasting climate had been more to my liking.",
"\"I wouldn't be here today if the broadcasting climate had been more to my liking. That was really my prime motivation, the fact that I no longer had that obligation\", Palmer said during spring training.",
"That was really my prime motivation, the fact that I no longer had that obligation\", Palmer said during spring training. Covering Palmer's spring training workouts, Richard Hoffer of Sports Illustrated said that Palmer's comeback was not entirely about money. He wrote that \"it is fair to suspect that a certain vanity is involved.\"",
"He wrote that \"it is fair to suspect that a certain vanity is involved.\" Hoffer said that Palmer \"has failed to excite either ridicule or astonishment. He's in fabulous condition, no question.",
"He's in fabulous condition, no question. But no matter whom he lines up with on the row of practice mounds, there is more pop in the gloves of catchers other than his.\" \"I couldn't throw ninety-five miles an hour anymore,\" Palmer later reflected. \"The best I could do was eighty.\"",
"\"The best I could do was eighty.\" While working out at the University of Miami during his comeback attempt, Palmer was approached by Miami assistant coach Lazaro Collazo. Collazo reportedly told him, \"You'll never get into the Hall of Fame with those mechanics.\"",
"Collazo reportedly told him, \"You'll never get into the Hall of Fame with those mechanics.\" \"I'm already in the Hall of Fame\", Palmer replied. To help Palmer's pitching motion, Collazo and Palmer completed unusual drills that involved Palmer placing a knee or foot on a chair as he tossed the ball.",
"To help Palmer's pitching motion, Collazo and Palmer completed unusual drills that involved Palmer placing a knee or foot on a chair as he tossed the ball. After giving up five hits and two runs in two innings of a spring training game, he retired permanently.",
"After giving up five hits and two runs in two innings of a spring training game, he retired permanently. Palmer said that he tore his hamstring while warming up for the game, commenting, \"I'm not saying I wouldn't like to continue, but I can't\", he said.",
"Palmer said that he tore his hamstring while warming up for the game, commenting, \"I'm not saying I wouldn't like to continue, but I can't\", he said. \"I heard something pop in my leg yesterday. It wasn't a nice sound.",
"It wasn't a nice sound. I don't know what that means, but I think it's going to play havoc with my tennis game.\"",
"I don't know what that means, but I think it's going to play havoc with my tennis game.\" Return to broadcasting From to , Palmer returned to ABC (this time, via a revenue-sharing joint venture between Major League Baseball, ABC and NBC called The Baseball Network) to once again broadcast with Tim McCarver and Al Michaels.",
"Return to broadcasting From to , Palmer returned to ABC (this time, via a revenue-sharing joint venture between Major League Baseball, ABC and NBC called The Baseball Network) to once again broadcast with Tim McCarver and Al Michaels. In 1995, the reunited team of Palmer, McCarver and Michaels would call the All-Star Game, Game 3 of that NLDS between Cincinnati and Los Angeles, Game 4 of the NLDS between Atlanta and Colorado, Games 1–2 of the NLCS, and Games 1, 4–5 of the World Series.",
"In 1995, the reunited team of Palmer, McCarver and Michaels would call the All-Star Game, Game 3 of that NLDS between Cincinnati and Los Angeles, Game 4 of the NLDS between Atlanta and Colorado, Games 1–2 of the NLCS, and Games 1, 4–5 of the World Series. Palmer, McCarver and Michaels were also intended to call the previous year's World Series for ABC, but were denied the opportunity when the entire postseason was canceled due to a strike.",
"Palmer, McCarver and Michaels were also intended to call the previous year's World Series for ABC, but were denied the opportunity when the entire postseason was canceled due to a strike. He is currently a color commentator on MASN's television broadcasts of Oriole games.",
"He is currently a color commentator on MASN's television broadcasts of Oriole games. In July 2012, Palmer put up for auction his three Cy Young Award trophies and two of his four Gold Glove Awards. \"At this point in my life, I would rather concern myself with the education of my grandchildren\", he said.",
"\"At this point in my life, I would rather concern myself with the education of my grandchildren\", he said. Palmer also noted that his autistic teenage stepson would require special care and that \"my priorities have changed.\"",
"Palmer also noted that his autistic teenage stepson would require special care and that \"my priorities have changed.\" Palmer had put up for auction one of his Cy Young Award trophies on behalf of a fundraising event for cystic fibrosis in years past, although he stated the winning bidder \"had paid $39,000 for that and never ever took it.",
"Palmer had put up for auction one of his Cy Young Award trophies on behalf of a fundraising event for cystic fibrosis in years past, although he stated the winning bidder \"had paid $39,000 for that and never ever took it. It was for the cause.\"",
"It was for the cause.\" Legacy Palmer has been considered one of the best pitchers in major-league history. Palmer is the only pitcher in big-league history to win World Series games in three decades (1960s, 1970s, and 1980s).",
"Palmer is the only pitcher in big-league history to win World Series games in three decades (1960s, 1970s, and 1980s). During his 19-year major league career of 575 games (including 17 postseason games), he never surrendered a grand slam, nor did he ever allow back-to-back homers.",
"During his 19-year major league career of 575 games (including 17 postseason games), he never surrendered a grand slam, nor did he ever allow back-to-back homers. Palmer's career earned run average (2.856) is the third-lowest among starting pitchers whose careers began after the advent of the live-ball era in 1920.",
"Palmer's career earned run average (2.856) is the third-lowest among starting pitchers whose careers began after the advent of the live-ball era in 1920. In six ALCS and six World Series, he posted an 8–3 record with 90 strikeouts, and an ERA of 2.61 and two shutouts in 17 games.",
"In six ALCS and six World Series, he posted an 8–3 record with 90 strikeouts, and an ERA of 2.61 and two shutouts in 17 games. He was a mainstay in the rotation during Baltimore's six pennant-winning teams in the 1960s (1966 and 1969), 1970s (1970, 1971 and 1979) and 1980s (1983).",
"He was a mainstay in the rotation during Baltimore's six pennant-winning teams in the 1960s (1966 and 1969), 1970s (1970, 1971 and 1979) and 1980s (1983). With the passing of Mike Cuellar in 2010, Palmer became the last surviving member of the 1971 Baltimore starting rotation that included four 20-game winners.",
"With the passing of Mike Cuellar in 2010, Palmer became the last surviving member of the 1971 Baltimore starting rotation that included four 20-game winners. Palmer won spots on six All-Star teams, received four Gold Glove Awards and won three Cy Young Awards. He led the league in ERA twice and in wins three times.",
"He led the league in ERA twice and in wins three times. Sometimes, Palmer would shift fielders around during games. He never meddled with the best fielders, such as the Robinsons or Paul Blair, but he would do so for less experienced players.",
"He never meddled with the best fielders, such as the Robinsons or Paul Blair, but he would do so for less experienced players. \"They might not know...that if they're playing a step or two to the opposite field and you're behind the batter two balls and no strikes...and you have a big lead...you're probably going to take a little off the pitch...and the fielders have to know to shift a couple of steps and play for the batter to pull.\"",
"\"They might not know...that if they're playing a step or two to the opposite field and you're behind the batter two balls and no strikes...and you have a big lead...you're probably going to take a little off the pitch...and the fielders have to know to shift a couple of steps and play for the batter to pull.\" In , he ranked No.",
"In , he ranked No. In , he ranked No. 64 on The Sporting News' list of the 100 Greatest Baseball Players, and was nominated as a finalist for the Major League Baseball All-Century Team. Endorsements During the late 1970s, Palmer was a spokesman and underwear model for Jockey brand men's briefs.",
"Endorsements During the late 1970s, Palmer was a spokesman and underwear model for Jockey brand men's briefs. He appeared in the company's national print and television advertisements as well as on billboards at Times Square in New York City and other major cities.",
"He appeared in the company's national print and television advertisements as well as on billboards at Times Square in New York City and other major cities. He donated all proceeds from the sale of his underwear poster to the Cystic Fibrosis Foundation.",
"He donated all proceeds from the sale of his underwear poster to the Cystic Fibrosis Foundation. From 1992 until 1999, he was frequently seen on television throughout the United States in commercials for The Money Store, a national home equity and mortgage lender. He has periodically appeared in ads and commercials for vitamins and other health-related products.",
"He has periodically appeared in ads and commercials for vitamins and other health-related products. Palmer also represents Cosamin DS, a joint health supplement made by Nutramax Laboratories in Edgewood, Maryland. He was also the spokesperson for Nationwide Motors Corp., which is a regional chain of car dealerships located in the Middle Atlantic region.",
"He was also the spokesperson for Nationwide Motors Corp., which is a regional chain of car dealerships located in the Middle Atlantic region. He is currently a spokesman for the national \"Strike Out High Cholesterol\" campaign.",
"He is currently a spokesman for the national \"Strike Out High Cholesterol\" campaign. Additionally, Palmer serves as a member of the advisory board of the Baseball Assistance Team, a 501(c)(3) non-profit organization dedicated to helping former Major League, Minor League, and Negro league players through financial and medical difficulties.",
"Additionally, Palmer serves as a member of the advisory board of the Baseball Assistance Team, a 501(c)(3) non-profit organization dedicated to helping former Major League, Minor League, and Negro league players through financial and medical difficulties. Personal life Shortly after graduating from high school in 1963, Palmer married the former Susan Ryan in 1964.",
"Personal life Shortly after graduating from high school in 1963, Palmer married the former Susan Ryan in 1964. He has two daughters with Ryan, named Jamie and Kelly.",
"He has two daughters with Ryan, named Jamie and Kelly. Ryan was not a huge baseball fan, as Palmer recalled: \"She used to bring her knitting and/or a friend, who usually liked baseball even less, to the games.\"",
"Ryan was not a huge baseball fan, as Palmer recalled: \"She used to bring her knitting and/or a friend, who usually liked baseball even less, to the games.\" In 2007, Palmer married the former Susan Earle, who has an adult son with autism.",
"In 2007, Palmer married the former Susan Earle, who has an adult son with autism. The Palmers have homes in Palm Beach, Florida, and in Corona Del Mar, California. In 2006, Palmer also acquired a penthouse condominium in Little Italy, Baltimore, which he uses while in Baltimore for Orioles' broadcasts.",
"In 2006, Palmer also acquired a penthouse condominium in Little Italy, Baltimore, which he uses while in Baltimore for Orioles' broadcasts. See also List of Major League Baseball career wins leaders List of Major League Baseball annual ERA leaders List of Major League Baseball annual wins leaders List of Major League Baseball career strikeout leaders Major League Baseball titles leaders List of Major League Baseball no-hitters List of Major League Baseball players who spent their entire career with one franchise References External links Jim Palmer at SABR (Baseball BioProject) 1945 births Living people Aberdeen Pheasants players American adoptees American League All-Stars American League ERA champions American League wins champions American people of Irish descent Baltimore Orioles announcers Baltimore Orioles players Baseball players from New York (state) Cy Young Award winners Elmira Pioneers players Gold Glove Award winners Hagerstown Suns players Major League Baseball broadcasters Major League Baseball pitchers Major League Baseball players with retired numbers Male models from New York (state) Miami Marlins (FSL) players Mid-Atlantic Sports Network Models from New York City National Baseball Hall of Fame inductees Rochester Red Wings players Sportspeople from New York City"
] |
[
"Chris Amon",
"Retirement"
] | C_5474a4df3c614b8d91f85a078f3efc1c_1 | What did he retire from? | 1 | What did Chris Amon retire from? | Chris Amon | After his retirement from F1, Amon dedicated himself to running the family farm in New Zealand's Manawatu District for many years. After retiring from farming, he lived in Taupo in New Zealand's North Island. In the early 1980s he became more well known in New Zealand from test-driving vehicles on the TV motoring series Motor Show and later consulted for Toyota New Zealand, tuning the 1984 Toyota Corolla and subsequent cars for sale there. He also appeared in TV commercials for the company, where much was made of the acclaim he won from Enzo Ferrari. Amon participated in the 2004 EnergyWise Rally where he won ahead of Brian Cowan. Amon drove a Toyota Prius for the event. Amon was involved in the design of the upgraded Taupo Motorsport Park circuit, used for the New Zealand round of the 2006-07 A1 Grand Prix season in January 2007. At the New Zealand Festival of Motor Racing in 2011, Amon's life and career were honoured with a selection of his cars being driven and also used the event to raise funds for the Bruce McLaren trust. Amon was also honoured at the festival in January 2013. Amon died in Rotorua Hospital on 3 August 2016, aged 73, of cancer. He was survived by his wife (they married in 1977) their three children and their grandchildren. One of his sons, James, is a qualified High Performance personal trainer. He trained Central Districts Stags cricket team, and was revealed to be Brendon Hartley's personal trainer. CANNOTANSWER | After his retirement from F1, | Christopher Arthur Amon (20 July 1943 – 3 August 2016) was a New Zealand motor racing driver. He was active in Formula One racing in the 1960s and 1970s and is widely regarded as one of the best F1 drivers never to win a championship Grand Prix. His reputation for bad luck was such that fellow driver Mario Andretti once joked that "if he became an undertaker, people would stop dying". Former Ferrari Technical Director Mauro Forghieri stated that Amon was "by far the best test driver I have ever worked with. He had all the qualities to be a World Champion but bad luck just wouldn't let him be".
Apart from driving, Chris Amon also ran his own Formula One team for a short period in 1974. Away from Formula One, Amon had some success in sports car racing, teaming with co-driver Bruce McLaren to win the 24 Hours of Le Mans race in .
Early life
Amon was born in Bulls, and attended Whanganui Collegiate School. He was the only child of wealthy sheep-owners Ngaio and Betty Amon. He learned to drive at the age of six, taught by a farm worker on the family farm. On leaving school, he persuaded his father to buy him an Austin A40 Special, which he entered in some minor local races and hillclimbs along with practice on the family farm. He progressed to a 1.5-litre Cooper and then an old 2.5-litre Maserati 250F, but only began to draw attention when he drove the Cooper-Climax T51 which Bruce McLaren had used to win his maiden Grand Prix.
In 1962 Amon entered the Cooper for the New Zealand winter series, but was hampered by mechanical problems. However, Scuderia Veloce entered him in a similar car, and, in the rain at Lakeside, he performed well. One of the spectators there was the English racing driver Reg Parnell who persuaded Amon to come to England and race for his team. In a test at Goodwood Amon continued to impress and was on the pace in the Goodwood International Trophy and Aintree 200 pre-season races.
Racing career
1960s
1963
For the 1963 Formula One season the Parnell team were using the year old Lola Mk4A, powered by 1962 specification Climax V8 engines. Amon was teamed with the very experienced Maurice Trintignant for the first race of the season at Monaco and his Grand Prix career started with what was to become typical bad luck: Trintignant's Climax developed a misfire, so he took over Amon's car.
At the 1963 Belgian Grand Prix, Amon was partnered by Lucien Bianchi and started ahead of him from 15th position. After nine laps, however, an oil fire ended his race. He continued to experience mechanical problems at the Dutch, Mexican and German Grands Prix; and after an accident in practice for the Italian Grand Prix left him hanging out of his car's cockpit with three broken ribs, he missed both the Italian and United States rounds.
Amon usually qualified in the midfield and generally outpaced his teammates, who included his good friend Mike Hailwood. His best results of the year were seventh at the French and British Grands Prix. During this time, however, Amon's social life was attracting as much attention as his driving. He was a member of the Ditton Road Flyers, the social set named after the road in London where Amon shared an apartment with American Peter Revson, Hailwood and Tony Maggs.
Parnell was nonetheless impressed with Amon's results in what was regarded as less-than-competitive machinery and promoted him to team leader. Parnell died from peritonitis in January 1964 and his son Tim took over the team.
1964
In a series of four pre-season races in Britain and Italy, Amon recorded three fifth places at Snetterton, Silverstone and Syracuse. He failed to qualify for the first F1 race of the season, the Monaco GP, but at the next race, the Dutch GP, he scored his first World Championship points. The rest of his season, however, was blighted by mechanical problems.
1965
Parnell was offered BRM engines for 1965, but only if it ran Richard Attwood as its regular driver. Reluctantly, Parnell agreed and Attwood took Amon's place. Spotting an opportunity, Bruce McLaren quickly signed Amon for his new McLaren team, but when no second McLaren F1 car materialised, Amon could only drive in sports car races.
At the French GP Amon rejoined Parnell to stand in for an injured Attwood. Amon also competed in a Formula Two race in Stuttgart and won. He returned to Germany for the German GP as second Parnell driver, but mechanical failure again forced an early retirement. His last drive before Attwood's return, a non-championship race in Enna, Sicily, also ended in retirement.
1966
During 1966 Amon continued to race for McLaren in Can-Am. He was intended to drive the second McLaren M2B but difficulties with engine supply meant that the team never made the intended expansion to two cars. (James Garner's character Pete Aron's helmet and car livery in the film Grand Prix were modelled on Amon driving a McLaren, which caused the movie makers to have to encourage other cars to be painted in the 'Yamura' colours and other drivers (Bruce McLaren included) to wear Amon-style helmets.)
However, an opportunity arose to drive for the Cooper F1 team after Richie Ginther left them for Honda. Amon drove for Cooper at the French GP and was scheduled to drive for them for the rest of the season, until the more successful John Surtees left Scuderia Ferrari to join Cooper and Amon found himself dropped.
Amon made one other F1 appearance during the year, driving a Brabham BT11 powered by an old 2-litre BRM engine at the Italian GP under the banner of "Chris Amon Racing". He failed to qualify.
Amon did however, score his biggest success to date when he partnered Bruce McLaren in a 7-litre Ford GT40 Mark II and Ken Miles to Ford's dead-heat "photo-finish" after Miles was instructed to slow down despite leading at the Le Mans 24-hour race, spearheading a formation finish. He subsequently received an invitation to meet Enzo Ferrari at the Ferrari home in Maranello, where he signed to race for Ferrari in 1967 alongside Lorenzo Bandini, Mike Parkes and Ludovico Scarfiotti.
1967
Amon's first year with Ferrari did not begin auspiciously. En route to Brands Hatch for the pre-season Formula One Race of Champions, he crashed his road car and, following race practice, had to withdraw. Tragedy then struck the Ferrari team when Bandini died following a crash during the 1967 Monaco Grand Prix, Mike Parkes broke both his legs at the Belgian Grand Prix and, in the aftermath, Ludovico Scarfiotti went into temporary retirement. Amon, therefore, became Ferrari's only driver for the rest of the season, until joined by Jonathan Williams for the final race in Mexico. Amon scored his first podium in his first official outing for the Scuderia in Monaco and at the end of 1967 had achieved four third places finishing fifth in the Drivers' Championship, in what was going to be the most successful season of his career.
Amon's Ferrari contract also included sports car racing and he began 1967 by winning the Daytona 24 Hours and 1000km Monza events with Bandini in the 4-litre Ferrari 330-P4. He finished the year partnering Jackie Stewart to a second place at the BOAC 500, thereby clinching the manufacturer's world championship for Ferrari by one point over Porsche.
1968
1968 was the year aerodynamics first played a significant role in F1 car design and Amon worked with engineer Mauro Forghieri to place aerofoils on the Ferrari 312.
In January 1968 Amon had returned home to New Zealand and Australia to compete in the 1968 Tasman Series which was used by many of the top Formula One drivers as a warm up series to the World Championship. Ferrari had been interested in the series for several years and in 1965 had reengineered 2.4 Dino engines used by Mike Hawthorn, Peter Collins and Phil Hill in 1958–60 with more torque and mid speed power for the planned use of team leader Surtees in the 1966 Tasman Series. After a late season crash in US Can-Am racing by Surtees, the entry was withdrawn but consideration was given to using NZ Gold star champion Jim Palmer in a semi-works Ferrari entry in the 1967 Tasman Series as it was viewed in a 2.4 car he would be competitive with Clark and Stewart in 2-litre F1 cars. Palmer had run world-class times in the 1966 Tasman Series, particularly in the Pukekohe practice and Longford race, and was tested in Italy at the same time as Amon by Ferrari, and ran competitive times at Modena but for whatever reason Ferrari did not compete in 1967 series. For the 1968 series Ferrari decided to use the 2.4 engines with a new Dino 166 F2 chassis rather than a downsized 3-litre V12. Using the 246T Amon won the first two rounds of the Tasman Series, including the 1968 New Zealand Grand Prix, before narrowly losing the series to the Lotus-Ford of Jim Clark. The Dino 246 Tasmania was better handling than Clark's Lotus 49T which was still wingless and a difficult proposition. Impressed by Amon's driving in the NZ rounds, Ferrari dispatched a new four-valve version of the 2.4 V6 for the Australian rounds and this gave another 15 hp, but with lesser reliability which, combined with the fact Clark was the best driver in the world at the time, cost Amon the series, although in the final round at Sandown Park he duelled wheel to wheel with Clark before being pipped at the line.
After the first race of the F1 season in South Africa, Amon achieved pole positions in three of the following four races (at the Spanish, Belgian and Dutch Grands Prix) but ever-present mechanical problems meant he secured only a single Championship point from them. Throughout the rest of the season he never qualified lower than fifth place and nearly scored victories at the British and Canadian rounds and he suffered a 100 mph crash in Italy which demolished his car. In Britain, he duelled to the line with Jo Siffert's Lotus 49B and in Canada he dominated the race despite a malfunctioning clutch. Seventeen laps from the finish, however, his car's transmission failed and a distraught Amon had to be consoled by Jacky Ickx. From at least ten promising starts that season he was only able to finish five races and score ten Championship points. His best finish was second place to Siffert's Lotus-Cosworth at the British Grand Prix.
Outside F1, Amon was runner-up in the Formula Two race at Zolder, Belgium, testing the Dino 166 F2. He also came third in that year's BRDC International Trophy.
1969
Amon began 1969 with success driving the Dino engined 246 Tasmania in the Tasman Series that included winning both the New Zealand and Australian Grands Prix. In straight fights, he beat new Gold Leaf Lotus team leader, Jochen Rindt, into second in the races at Pukekohe and Sandown. He would ultimately win the seven race Tasman Series, probably the best of the seven-year 2.5-litre international formula series in this country and the nearest to World Championship level racing in New Zealand, with ferocious competition between Rindt, Graham Hill, Amon and Williams driver Piers Courage. It was actually much more serious racing than the McLaren dominated Can-Am series in the US in which the big sports cars required few gear changes and were essentially cruised to victory with little real competition, where the Tasman cars were essentially marginally lower power F1 cars, as difficult to drive as GP cars on unforgiving very dangerous narrow tracks. Amon finished with four wins, two-thirds and one retirement, but in Formula One his poor luck continued. Despite six starts from top-six positions, he was only able to achieve a third-place at the Dutch GP. Ferrari's F1 V12 engine was too unreliable and although its replacement had proven very fast in testing, it had suffered many mechanical breakages. Amon had no reason to believe it would be any more dependable than the V12, so although the new engine was clearly more powerful, he decided to leave Ferrari for a Cosworth DFV powered team. Ironically, the new flat-12 engine would become one of the best Formula One engines of the 1970s. Jacky Ickx, Amon's old teammate did return to Ferrari for 1970, after a successful sabbatical with Brabham gained Ickx second in the 1969 World Championship. Ickx saw Enzo Ferrari had secured huge backing from Fiat who had taken partial ownership of the Marque, and believed Ferrari would be a renewed team and an effective proposition. Amon was more influenced by views of Jackie Stewart and Jochen Rindt, who believed it was essential to be Ford DFV-powered to be competitive.
In addition to Formula One, Amon also drove for Ferrari in the 1969 International Championship for Makes, partnering Pedro Rodriguez to a fourth place in the BOAC 500 at Brands Hatch and coming second at the 12 Hours of Sebring, but retiring from the 1000km Nürburgring and 1000km Monza races, all in the Ferrari 312P sportscar. He also drove in a few Can-Am races. His last race for Ferrari would be the 1970 1000 km Monza, where he finished as runner-up.
1970s
1970
For the 1970 Formula One season, Amon made what was to be the first of several moves to smaller, newer teams. March Engineering had been formed the previous year to build custom chassis for Formulas 2 and 3, but quickly moved into F1, designing and building the March 701. Amon and Siffert were signed as drivers, with IndyCar driver Mario Andretti making an occasional appearance in a third car. March also sold their 701 chassis to Tyrrell, where Jackie Stewart drove it to its first victory in that year's Spanish GP.
Amon won the pre-season Silverstone International Trophy, but once the F1 season began he found himself prevented from converting good qualifying positions into good results. He qualified second behind Stewart's Tyrrell-March for the season-opening South African Grand Prix only for his own March to overheat within fourteen laps. Amon then qualified sixth for the Spanish Grand Prix only for his March's Ford-Cosworth DFV engine to expire within ten laps. He qualified and ran second in the 1970 Monaco Grand Prix until his suspension failed twenty laps from the finish. This was the race where Amon refused to drive unless his entry number was changed from 18 – the number under which his then teammate Lorenzo Bandini had crashed and died in Monaco – to 28.
Amon's close second place from a third-place start at the 1970 Belgian Grand Prix finally gave the March works team their first points finish. At that race, Amon set fastest lap at over 152 miles per hour, a lap record which still stands as of 2016, as it was the last race on the full-length Spa-Francorchamps circuit. However, after qualifying fourth for the next race, the Dutch Grand Prix, his car's clutch broke after just one lap. Amon duplicated his Belgian result at the 1970 French Grand Prix,. After a disappointing performance in the British GP at Brands Hatch where Amon finished fifth after being outqualified by tyro Ronnie Peterson in a private 701 on the same tyres, conflict with team boss Max Mosley over the non-delivery of three-quarters of Amon's expected pay for the season saw him provided with inferior DFVs and two backmarker 7th places in Austria and Italy, Amon finished the season strongly with strong drives to third at Mosport, fifth at Watkins Glen and fourth in Mexico. At Watkins Glen in the USGP he was robbed of a probably certain victory, in the opinion of March designer Robin Herd, by a puncture.
By the end of the year, disagreements with March co-founders Mosley and Robin Herd meant that Amon had decided to move to another relatively new team, Matra.
1971
In 1971, Amon, now driving for the Matra factory team, once again scored a pre-season victory, this time at the Argentine Grand Prix. Once the Formula One season had begun, he managed to convert a third-place start at the Spanish GP into a third-place podium finish and scored a couple of fifth places in the South African and French GPs. Apart from these results, however, his run of poor F1 returns continued. He had a major accident at the Nürburgring and it sidelined him for the next race at the Österreichring. At the Italian GP he qualified in pole position and despite a poor start to the race looked as if he would capitalise on it – until the visor on his helmet became detached. Amon had to slow to avoid risking a major accident, thereby allowing other drivers to catch and overtake him. He finished the race in sixth place, scoring just one Championship point.
During the year Amon also competed in the non-championship Questor Grand Prix at the new Ontario Motor Speedway, where he qualified second and, despite suffering a puncture during the race, managed to finish fourth.
In the Tasman Series Amon started from fourth at the Levin Circuit and in the race, he battled with David Oxton and John Cannon but managed to finish third. Amon's third race at Wigram Airfield starting fifth and spun at the start to drop him to the back of the field but managed to climb up to fifth.
1972
In the 1972 Formula One season, Amon, again driving for Matra achieved a handful of points-scoring finishes, but only one podium appearance, at the French GP. Here he achieved the fifth and final pole position of his career and was leading the race until a puncture forced him to pit. However, he climbed back through the field, breaking the circuit's lap record to finish third.
With the money he had made from motorsport, Amon decided to set up a racing engine firm with former BRM engineer Aubrey Woods. Amon Racing Engines supplied Formula 2 engines to a few drivers, but the company quickly became too expensive to run and was sold to March for a loss.
Matra decided to end their participation in Formula One at the end of 1972, so Amon found himself looking to return to March as a driver. The place, however, was given to Jean-Pierre Jarier, purportedly for financial reasons. Amon therefore signed for another recently formed F1 team, Tecno.
1973
Tecno had entered F1 the previous year, having been a successful chassis-builder for other Formulæ and had developed a potentially powerful Flat 12 for F1. Their first year in F1 proved to be dismal, however with considerable backing from Martini Rossi they had jumped at the chance to sign Amon, and allocate David Yorke the former Vanwall and Gulf GT40 Team Manager to run the team and commission two new chassis designs by former Lotus and McLaren mechanic. Alan McCall who had worked on Clark and Hulme's F1 cars and unproven, British designer Gordon Fowell for a more radical back up design, in the hope he would help transform their performance. While McCalls car was built rapidly, testing it was more time-consuming and after its non-appearance, for the Spanish GP, Amon and team manager David Yorke met with Enzo Ferrari to see if Amon could be released from his contract to develop the new Ferrari B3 for Ickx and Mezarrio, in a supposedly one off GP drive at Monaco. Yorke rejected the release, and Amon admits he would not have left Ferrari if offered the drive for a season.
Unfortunately, the team went from bad to worse and wasn't able to field the Tecno PA123/6 until the fifth GP of the season, the Belgian GP. Amon managed to finish in sixth position. At Monaco the car qualified a useful 12th and chassis felt good but Chris was unhappy with the car. He decided to concentrate on the undeveloped Gordon Fowell Goral car. This was against the view of the Techno team and the Pederanzi engine builders and Martini Rossi who required the car and driver to appear at races Amon commented at the time that it was "the best chassis I've ever sat in", it too proved virtually undriveable. Amon refused to drive the McCall, Techno in the Swedish or German Gps and withdrew from the Austrian GP after qualifying. By the time of the Austrian GP, four races from the end of the season, Amon's patience had run out and he left the team. He would later claim that the months he spent with the team "felt like ten [seasons]".
Tyrrell offered Amon a third car – the 005 – in which to drive the last two races of the season. After a mediocre first outing at the Canadian GP, he and Jackie Stewart withdrew from the final race of the year, the United States GP, following the death of their teammate François Cevert during qualifying.
1974
For the 1974 F1 season, Amon revived Chris Amon Racing. Gordon Fowell designed the car, the AF101, which featured a single central fuel tank, titanium torsion bars and a forward driving position. Structurally, however, it proved to be weak and was not ready for an F1 appearance until the fourth race of the season, the Spanish GP. Amon was only able to qualify 23rd, thanks to brake-disc vibration that only became worse with the tyres for the wet race that followed. Despite cautious driving, a brake shaft finally broke and Amon was forced to retire after 22 laps.
Following further work and testing, Amon returned for the Monaco GP and qualified twentieth, but, thanks to mechanical problems, he was unable to start the race. Further problems and illness meant Amon was not able to reappear with the F101 until the Italian GP, three races from the end of the season, but this time he was unable to qualify. That sealed the fate of both the car and Chris Amon Racing, leaving Amon to drive the season's last two races with the faltering BRM team. He would later reveal that he had turned down a chance to join the Brabham team earlier in the season.
1975
Amon contested the 1975 F5000 Tasman series against only local Australasian drivers, although Graham McRae, Warwick Brown and Kevin Bartlett were acknowledged internationally. Amon qualified on the front row of three of the four New Zealand rounds and scored a victory at Teretonga in January 1975 in rainy conditions by 24.2 seconds. In the Australian rounds, the competition was always harder with more good cars and the locals on their own tracks. Amon had a frustrating series of races unable to pass, South Australian Johnnie Walker, in a superior Lola T332 chassis with Repco-engineered V8. At Surfers Paradise, running from the back of the grid he managed to eventually pass Walker by widening the braking zone in the only corner where overtaking was usually possible. Amon brushed the edge of the track on repeated laps, got extra grip and passed Walker to take the lead. He had been forced to miss most of the practice session, when Customs seized his car's gearbox. In the race, the brilliant effort went for nothing as the Chev engine blew. At Oran Park and Adelaide he followed Walker the whole way to 4th and 3rd unable to pass. In the final deciding race for the Tasman Series with Brown, Walker and Lawrence still in contention, Walker lost his T332 on the first lap and it demolished on wooden barriers surrounding Sandown's car and horse racing tracks. Amon was never in contention and finished 4th. Amon intended to compete in F5000 in both Europe and the US in 1975 but started in only one round of both series, managing a pole in one Shellsport round in the UK and a 4th place overall at the Long Beach GP in a two heat race. He used different Talon F5000 cars for both races. The speed he showed in qualifying for a couple of UK F5000 races encouraged the small Ensign team to give him a race. Mo Nunn the Ensign team owner had been a Lotus F3 driver in 1966 and the Dave Baldwin designed chassis was in many ways a lightweight Lotus F1, which Ronnie Peterson wanted to test in 1975 out of frustration with his old 72 and which could have been used by Colin Chapman had he not decided to concentrate on developing chassis which would use ground effect technology, the Lotus 77 design for 1976 which was in many ways a test vehicle for the development of concepts, including the de facto legalisation of technology like plastic sliding skirts, introduced on Andretti's 77 from the 1976 Canadian Grand Prix, that would be used in future Lotus wing cars the Lotus 78 and Lotus 79.
Apart from these successes, Amon's racing career seemed once again to have stalled. Apparently a chance meeting with Mo Nunn of Ensign Racing led to the Ensign drive, but in fact Mo Nunn thought his new N175 a very fast car and did not view the two Dutch drivers favoured by the Dutch HB Security company who sponsored Ensign fast enough. Gijs van Lennep, the 1973 European F5000 Champion in a Surtees TS11 who had won Le Mans in 1971 and 1976 was a very good driver but also one of the last racing aristocrats. Van Lennep, qualified the car on its debut in the French GP at Paul Ricard and finished 6th in the German GP at Nürburgring, and was faster on both circuits than Patrick Nève or Amon were in 1976. Amon managed 7th in the non-championship Swiss GP at Dijon chasing James Hunt debuting the disappointing Hesketh 308C and 12th in two GP drives in the Ensign N175 at the Austrian and Italian GPs. At Monza after a long pit stop he finally ran at competitive pace, running 4 laps down but keeping pace with the leading Ferrari 312T of Niki Lauda for a number of laps. Progressive evaluation of the possibilities of what was slowing the N175 led Amon to change the airbox alignment on the day of the Italian GP and this resulted in a 2-second gain (much like the change in air cooler position that lost and gained two seconds on Hunt's McLaren M23 resolved by the 1976 French GP). Ironically Amon never raced the N175 again and the high airboxes had been banned by the time N176 ran at Jarama the following year, but the flash of testing and driving genius was enough to give Amon another chance. Although the results were unremarkable, he and Nunn worked well together, so Amon joined Ensign for the 1976 F1 season.
1976
Ensign's first race of the season was the South African GP where Amon qualified 18th and showed a revival of form, climbing to seventh place, in the old Ensign N174 and contesting sixth with Mario Andretti in the Parnelli Ford, in the last laps before a last minute refueling stop left him 14th. Thereafter results began to improve, with Amon qualifying 17th and finishing eighth in the USA West GP; qualifying tenth and finishing fifth in the Spanish GP; and then qualifying eighth for the Belgian GP. More points then seemed likely from the race until his car lost a wheel 19 laps from the finish and Amon was lucky to escape unhurt from the ensuing accident. He then achieved a third-place grid position start for the Swedish GP using a Nicholson rebuilt Cosworth for the first time and in the race looked as if he would join Tyrrell drivers Jody Scheckter and Patrick Depailler on the podium, until suspension failure threw him from the track after 38 laps.
Amon had again been lucky to escape serious injury and decided to miss the next race, the French GP. He returned for the British GP, qualifying in sixth and running fourth in the race when his Ford-Cosworth DFV engine developed a water leak. Rather than risk losing an engine, his team called him in to retire.
At the German GP problems dogged his attempts to qualify well, but it was Niki Lauda's crash during the second lap of the race that had a far greater impact. Amon refused to restart the race and Nunn fired him from the team. Amon declared his retirement from the sport and returned to New Zealand.
"I'd seen too many people fried in racing cars at that stage. When you've driven past Bandini, Schlesser, Courage and Williamson, another shunt like that was simply too much. It was a personal decision..."
(Amon, on his retirement in 1976)However, Walter Wolf contacted Amon and persuaded him to drive for his Wolf–Williams team in the North American races near the end of the season. After recording some promising times in preparation for the Canadian GP, however, Amon was involved in a heavy collision with another car during qualifying and once again was lucky to walk away unharmed. He then did not take part in either the Canadian or United States Grands Prix.
1977
Amon turned down an offer of a full-time F1 drive for 1977, but did attempt a return to Can-Am racing in 1977 with a Wolf-Dallara WD1. However, after only one race he quit, saying "I'm just not enjoying this anymore". His place was taken by the young and then unknown Canadian Gilles Villeneuve, whom Amon would, later that year, recommend to Enzo Ferrari.
In the meantime, Amon returned once again to New Zealand, this time to retire from F1 motor racing for good.
2000s
2003
Amon came out of retirement for a one-off appearance in the 2003 Dunlop Targa New Zealand with motorsport commentator Murray Walker as his navigator. The pair completed the week-long Auckland to Wellington Tarmac Rally in a Toyota Camry Sportivo, the same car previously used by Walker and Colin Bond in Australia's Targa Tasmania.
Retirement
After his retirement from F1, Amon dedicated himself to running the family farm in New Zealand's Manawatu District for many years. After retiring from farming, he lived in Taupo in New Zealand's North Island. In the early 1980s he became more well known in New Zealand from test-driving vehicles on the TV motoring series Motor Show and later consulted for Toyota New Zealand, tuning the 1984 Toyota Corolla and subsequent cars for sale there. He also appeared in TV commercials for the company, where much was made of the acclaim he won from Enzo Ferrari. Amon participated in the 2004 EnergyWise Rally where he won ahead of Brian Cowan. Amon drove a Toyota Prius for the event.
In the 1993 Queen's Birthday Honours, Amon was appointed a Member of the Order of the British Empire, for services to motor sport.
Amon was involved in the design of the upgraded Taupo Motorsport Park circuit, used for the New Zealand round of the 2006–07 A1 Grand Prix season in January 2007. At the New Zealand Festival of Motor Racing in 2011, Amon's life and career were honoured with a selection of his cars being driven and also used the event to raise funds for the Bruce McLaren trust. Amon was also honoured at the festival in January 2013.
Death
Amon died in Rotorua Hospital on 3 August 2016, aged 73, of cancer. He was survived by his wife (they married in 1977) their three children and their grandchildren. One of his sons, James, is a qualified High Performance personal trainer. He trained Central Districts Stags cricket team, and was revealed to be Brendon Hartley's personal trainer.
Legacy
Despite never winning a championship Formula One Grand Prix, Amon won eight non-championship GPs, the Silverstone International Trophy, the 1000 km Monza, the Daytona 24 Hours, the Tasman Series and, perhaps most significant of all, the famous 24 Heures du Mans (alongside Bruce McLaren). These races included many of Amon's otherwise more successful fellow Formula One drivers. Amon also remains the only driver from New Zealand and Oceania to have raced for Scuderia Ferrari in Formula One.
In Formula One, Chris Amon took part in 96 Grands Prix, achieving 5 poles, leading 183 laps in 7 races, reaching the podium 11 times and scoring a total of 83 Championship points. Amon holds the record for the most different makes of car raced by a Formula 1 World Championship driver, with thirteen. A biography Forza Amon by journalist Eoin Young charts Amon's racing career and gives some insights into his personal life. The book makes clear one point on which Amon himself disagrees with most commentators, the issue of his bad luck. Amon has pointed out on several occasions that he competed for a decade and a half in Formula One and survived some serious accidents, notably in 1976, whilst others, including friends like Bruce McLaren, suffered serious injury and death. In 2008, motorsport journalist Alan Henry rated Chris Amon as his 13th greatest driver.
Reflecting on the 1968 racing death of Jim Clark, Amon said: "If this can happen to Jimmy, what chance do the rest of us have? I think we all felt that. It seemed like we'd lost our leader." In 1995, Amon was inducted into the New Zealand Sports Hall of Fame.
Amon's name has been given to the Toyota Racing Series driver's championship trophy, and the International Scholarship to support drivers who win his trophy to further their careers in single-seater racing. The Toyota Racing Series serves as motorsport's version of "winter ball" in New Zealand during January and February. Following his death, his name was also lent to the Manfeild Autocourse in Feilding, Manawatu.
Racing record
Formula One World Championship results
(key) (Races in bold indicate pole position; races in italics indicate fastest lap)
Non-Championship Formula One results
(key) (Races in bold indicate pole position; races in italics indicate fastest lap)
Complete Tasman Series results
(key) (Races in bold indicate pole position; races in italics indicate fastest lap)
Complete 24 Hours of Le Mans results
References
External links
Bruce McLaren Trust Official site
Trio At The Top – a documentary about Bruce McLaren, Denny Hulme and Chris Amon on NZ On Screen
Chris Amon 8W-Forix; Tom Prankard; 1 October 2000
New Zealand racing drivers
New Zealand Formula One drivers
Amon Formula One drivers
BRM Formula One drivers
Cooper Formula One drivers
Ensign Formula One drivers
Ferrari Formula One drivers
March Formula One drivers
Matra Formula One drivers
Reg Parnell Racing Formula One drivers
Tecno Formula One drivers
Tyrrell Formula One drivers
Williams Formula One drivers
Formula One team owners
24 Hours of Le Mans drivers
24 Hours of Le Mans winning drivers
12 Hours of Reims drivers
24 Hours of Daytona drivers
World Sportscar Championship drivers
Tasman Series drivers
New Zealand Members of the Order of the British Empire
People from Bulls
1943 births
2016 deaths | true | [
"Matt McKay (born 21 January 1981) is an English footballer who played as a midfielder in the Football League for Chester City.\n\nMcKay joined Everton from Chester on transfer deadline day on 26 March 1998. He did not make any appearances for the Everton first team and was forced to retire at the early age of 21 due to injury.\n\nReferences\n\nChester City F.C. players\nAssociation football midfielders\nEverton F.C. players\n1981 births\nLiving people\nEnglish footballers\nFootballers from Warrington",
"John Charles Fiala (born November 25, 1973) is a former American football linebacker who played from 1998-2002 with the Pittsburgh Steelers of the National Football League.\n\nFiala attended Lake Washington High School in Kirkland, Washington, and then the University of Washington. He was drafted by the Miami Dolphins in the sixth round of the 1997 NFL Draft, but did not play for the Dolphins. Fiala signed with the Steelers as a free agent in 1998. From 1999-2002, he was a special teams captain for the Steelers. The Steelers released Fiala in 2002; although the Houston Texans offered him a contract for 2003, he chose to retire instead.\n\nReferences\n\nExternal links\n\n John Fiala statistics at databasefootball.com\n\n1973 births\nLiving people\nSportspeople from Fullerton, California\nSportspeople from Kirkland, Washington\nPlayers of American football from Washington (state)\nAmerican football linebackers\nWashington Huskies football players\nPittsburgh Steelers players"
] | [
"Christopher Arthur Amon (20 July 1943 – 3 August 2016) was a New Zealand motor racing driver. He was active in Formula One racing in the 1960s and 1970s and is widely regarded as one of the best F1 drivers never to win a championship Grand Prix.",
"He was active in Formula One racing in the 1960s and 1970s and is widely regarded as one of the best F1 drivers never to win a championship Grand Prix. His reputation for bad luck was such that fellow driver Mario Andretti once joked that \"if he became an undertaker, people would stop dying\".",
"His reputation for bad luck was such that fellow driver Mario Andretti once joked that \"if he became an undertaker, people would stop dying\". Former Ferrari Technical Director Mauro Forghieri stated that Amon was \"by far the best test driver I have ever worked with.",
"Former Ferrari Technical Director Mauro Forghieri stated that Amon was \"by far the best test driver I have ever worked with. He had all the qualities to be a World Champion but bad luck just wouldn't let him be\". Apart from driving, Chris Amon also ran his own Formula One team for a short period in 1974.",
"Apart from driving, Chris Amon also ran his own Formula One team for a short period in 1974. Away from Formula One, Amon had some success in sports car racing, teaming with co-driver Bruce McLaren to win the 24 Hours of Le Mans race in . Early life Amon was born in Bulls, and attended Whanganui Collegiate School.",
"Early life Amon was born in Bulls, and attended Whanganui Collegiate School. He was the only child of wealthy sheep-owners Ngaio and Betty Amon. He learned to drive at the age of six, taught by a farm worker on the family farm.",
"He learned to drive at the age of six, taught by a farm worker on the family farm. On leaving school, he persuaded his father to buy him an Austin A40 Special, which he entered in some minor local races and hillclimbs along with practice on the family farm.",
"On leaving school, he persuaded his father to buy him an Austin A40 Special, which he entered in some minor local races and hillclimbs along with practice on the family farm. He progressed to a 1.5-litre Cooper and then an old 2.5-litre Maserati 250F, but only began to draw attention when he drove the Cooper-Climax T51 which Bruce McLaren had used to win his maiden Grand Prix.",
"He progressed to a 1.5-litre Cooper and then an old 2.5-litre Maserati 250F, but only began to draw attention when he drove the Cooper-Climax T51 which Bruce McLaren had used to win his maiden Grand Prix. In 1962 Amon entered the Cooper for the New Zealand winter series, but was hampered by mechanical problems.",
"In 1962 Amon entered the Cooper for the New Zealand winter series, but was hampered by mechanical problems. However, Scuderia Veloce entered him in a similar car, and, in the rain at Lakeside, he performed well.",
"However, Scuderia Veloce entered him in a similar car, and, in the rain at Lakeside, he performed well. One of the spectators there was the English racing driver Reg Parnell who persuaded Amon to come to England and race for his team.",
"One of the spectators there was the English racing driver Reg Parnell who persuaded Amon to come to England and race for his team. In a test at Goodwood Amon continued to impress and was on the pace in the Goodwood International Trophy and Aintree 200 pre-season races.",
"In a test at Goodwood Amon continued to impress and was on the pace in the Goodwood International Trophy and Aintree 200 pre-season races. Racing career 1960s 1963 For the 1963 Formula One season the Parnell team were using the year old Lola Mk4A, powered by 1962 specification Climax V8 engines.",
"Racing career 1960s 1963 For the 1963 Formula One season the Parnell team were using the year old Lola Mk4A, powered by 1962 specification Climax V8 engines. Amon was teamed with the very experienced Maurice Trintignant for the first race of the season at Monaco and his Grand Prix career started with what was to become typical bad luck: Trintignant's Climax developed a misfire, so he took over Amon's car.",
"Amon was teamed with the very experienced Maurice Trintignant for the first race of the season at Monaco and his Grand Prix career started with what was to become typical bad luck: Trintignant's Climax developed a misfire, so he took over Amon's car. At the 1963 Belgian Grand Prix, Amon was partnered by Lucien Bianchi and started ahead of him from 15th position.",
"At the 1963 Belgian Grand Prix, Amon was partnered by Lucien Bianchi and started ahead of him from 15th position. After nine laps, however, an oil fire ended his race.",
"After nine laps, however, an oil fire ended his race. He continued to experience mechanical problems at the Dutch, Mexican and German Grands Prix; and after an accident in practice for the Italian Grand Prix left him hanging out of his car's cockpit with three broken ribs, he missed both the Italian and United States rounds.",
"He continued to experience mechanical problems at the Dutch, Mexican and German Grands Prix; and after an accident in practice for the Italian Grand Prix left him hanging out of his car's cockpit with three broken ribs, he missed both the Italian and United States rounds. Amon usually qualified in the midfield and generally outpaced his teammates, who included his good friend Mike Hailwood.",
"Amon usually qualified in the midfield and generally outpaced his teammates, who included his good friend Mike Hailwood. His best results of the year were seventh at the French and British Grands Prix. During this time, however, Amon's social life was attracting as much attention as his driving.",
"During this time, however, Amon's social life was attracting as much attention as his driving. He was a member of the Ditton Road Flyers, the social set named after the road in London where Amon shared an apartment with American Peter Revson, Hailwood and Tony Maggs.",
"He was a member of the Ditton Road Flyers, the social set named after the road in London where Amon shared an apartment with American Peter Revson, Hailwood and Tony Maggs. Parnell was nonetheless impressed with Amon's results in what was regarded as less-than-competitive machinery and promoted him to team leader.",
"Parnell was nonetheless impressed with Amon's results in what was regarded as less-than-competitive machinery and promoted him to team leader. Parnell died from peritonitis in January 1964 and his son Tim took over the team. 1964 In a series of four pre-season races in Britain and Italy, Amon recorded three fifth places at Snetterton, Silverstone and Syracuse.",
"1964 In a series of four pre-season races in Britain and Italy, Amon recorded three fifth places at Snetterton, Silverstone and Syracuse. He failed to qualify for the first F1 race of the season, the Monaco GP, but at the next race, the Dutch GP, he scored his first World Championship points.",
"He failed to qualify for the first F1 race of the season, the Monaco GP, but at the next race, the Dutch GP, he scored his first World Championship points. The rest of his season, however, was blighted by mechanical problems.",
"The rest of his season, however, was blighted by mechanical problems. 1965 Parnell was offered BRM engines for 1965, but only if it ran Richard Attwood as its regular driver. Reluctantly, Parnell agreed and Attwood took Amon's place.",
"Reluctantly, Parnell agreed and Attwood took Amon's place. Spotting an opportunity, Bruce McLaren quickly signed Amon for his new McLaren team, but when no second McLaren F1 car materialised, Amon could only drive in sports car races. At the French GP Amon rejoined Parnell to stand in for an injured Attwood.",
"At the French GP Amon rejoined Parnell to stand in for an injured Attwood. Amon also competed in a Formula Two race in Stuttgart and won. He returned to Germany for the German GP as second Parnell driver, but mechanical failure again forced an early retirement.",
"He returned to Germany for the German GP as second Parnell driver, but mechanical failure again forced an early retirement. His last drive before Attwood's return, a non-championship race in Enna, Sicily, also ended in retirement. 1966 During 1966 Amon continued to race for McLaren in Can-Am.",
"1966 During 1966 Amon continued to race for McLaren in Can-Am. He was intended to drive the second McLaren M2B but difficulties with engine supply meant that the team never made the intended expansion to two cars.",
"He was intended to drive the second McLaren M2B but difficulties with engine supply meant that the team never made the intended expansion to two cars. (James Garner's character Pete Aron's helmet and car livery in the film Grand Prix were modelled on Amon driving a McLaren, which caused the movie makers to have to encourage other cars to be painted in the 'Yamura' colours and other drivers (Bruce McLaren included) to wear Amon-style helmets.)",
"(James Garner's character Pete Aron's helmet and car livery in the film Grand Prix were modelled on Amon driving a McLaren, which caused the movie makers to have to encourage other cars to be painted in the 'Yamura' colours and other drivers (Bruce McLaren included) to wear Amon-style helmets.) However, an opportunity arose to drive for the Cooper F1 team after Richie Ginther left them for Honda.",
"However, an opportunity arose to drive for the Cooper F1 team after Richie Ginther left them for Honda. Amon drove for Cooper at the French GP and was scheduled to drive for them for the rest of the season, until the more successful John Surtees left Scuderia Ferrari to join Cooper and Amon found himself dropped.",
"Amon drove for Cooper at the French GP and was scheduled to drive for them for the rest of the season, until the more successful John Surtees left Scuderia Ferrari to join Cooper and Amon found himself dropped. Amon made one other F1 appearance during the year, driving a Brabham BT11 powered by an old 2-litre BRM engine at the Italian GP under the banner of \"Chris Amon Racing\".",
"Amon made one other F1 appearance during the year, driving a Brabham BT11 powered by an old 2-litre BRM engine at the Italian GP under the banner of \"Chris Amon Racing\". He failed to qualify.",
"He failed to qualify. He failed to qualify. Amon did however, score his biggest success to date when he partnered Bruce McLaren in a 7-litre Ford GT40 Mark II and Ken Miles to Ford's dead-heat \"photo-finish\" after Miles was instructed to slow down despite leading at the Le Mans 24-hour race, spearheading a formation finish.",
"Amon did however, score his biggest success to date when he partnered Bruce McLaren in a 7-litre Ford GT40 Mark II and Ken Miles to Ford's dead-heat \"photo-finish\" after Miles was instructed to slow down despite leading at the Le Mans 24-hour race, spearheading a formation finish. He subsequently received an invitation to meet Enzo Ferrari at the Ferrari home in Maranello, where he signed to race for Ferrari in 1967 alongside Lorenzo Bandini, Mike Parkes and Ludovico Scarfiotti.",
"He subsequently received an invitation to meet Enzo Ferrari at the Ferrari home in Maranello, where he signed to race for Ferrari in 1967 alongside Lorenzo Bandini, Mike Parkes and Ludovico Scarfiotti. 1967 Amon's first year with Ferrari did not begin auspiciously.",
"1967 Amon's first year with Ferrari did not begin auspiciously. En route to Brands Hatch for the pre-season Formula One Race of Champions, he crashed his road car and, following race practice, had to withdraw.",
"En route to Brands Hatch for the pre-season Formula One Race of Champions, he crashed his road car and, following race practice, had to withdraw. Tragedy then struck the Ferrari team when Bandini died following a crash during the 1967 Monaco Grand Prix, Mike Parkes broke both his legs at the Belgian Grand Prix and, in the aftermath, Ludovico Scarfiotti went into temporary retirement.",
"Tragedy then struck the Ferrari team when Bandini died following a crash during the 1967 Monaco Grand Prix, Mike Parkes broke both his legs at the Belgian Grand Prix and, in the aftermath, Ludovico Scarfiotti went into temporary retirement. Amon, therefore, became Ferrari's only driver for the rest of the season, until joined by Jonathan Williams for the final race in Mexico.",
"Amon, therefore, became Ferrari's only driver for the rest of the season, until joined by Jonathan Williams for the final race in Mexico. Amon scored his first podium in his first official outing for the Scuderia in Monaco and at the end of 1967 had achieved four third places finishing fifth in the Drivers' Championship, in what was going to be the most successful season of his career.",
"Amon scored his first podium in his first official outing for the Scuderia in Monaco and at the end of 1967 had achieved four third places finishing fifth in the Drivers' Championship, in what was going to be the most successful season of his career. Amon's Ferrari contract also included sports car racing and he began 1967 by winning the Daytona 24 Hours and 1000km Monza events with Bandini in the 4-litre Ferrari 330-P4.",
"Amon's Ferrari contract also included sports car racing and he began 1967 by winning the Daytona 24 Hours and 1000km Monza events with Bandini in the 4-litre Ferrari 330-P4. He finished the year partnering Jackie Stewart to a second place at the BOAC 500, thereby clinching the manufacturer's world championship for Ferrari by one point over Porsche.",
"He finished the year partnering Jackie Stewart to a second place at the BOAC 500, thereby clinching the manufacturer's world championship for Ferrari by one point over Porsche. 1968 1968 was the year aerodynamics first played a significant role in F1 car design and Amon worked with engineer Mauro Forghieri to place aerofoils on the Ferrari 312.",
"1968 1968 was the year aerodynamics first played a significant role in F1 car design and Amon worked with engineer Mauro Forghieri to place aerofoils on the Ferrari 312. In January 1968 Amon had returned home to New Zealand and Australia to compete in the 1968 Tasman Series which was used by many of the top Formula One drivers as a warm up series to the World Championship.",
"In January 1968 Amon had returned home to New Zealand and Australia to compete in the 1968 Tasman Series which was used by many of the top Formula One drivers as a warm up series to the World Championship. Ferrari had been interested in the series for several years and in 1965 had reengineered 2.4 Dino engines used by Mike Hawthorn, Peter Collins and Phil Hill in 1958–60 with more torque and mid speed power for the planned use of team leader Surtees in the 1966 Tasman Series.",
"Ferrari had been interested in the series for several years and in 1965 had reengineered 2.4 Dino engines used by Mike Hawthorn, Peter Collins and Phil Hill in 1958–60 with more torque and mid speed power for the planned use of team leader Surtees in the 1966 Tasman Series. After a late season crash in US Can-Am racing by Surtees, the entry was withdrawn but consideration was given to using NZ Gold star champion Jim Palmer in a semi-works Ferrari entry in the 1967 Tasman Series as it was viewed in a 2.4 car he would be competitive with Clark and Stewart in 2-litre F1 cars.",
"After a late season crash in US Can-Am racing by Surtees, the entry was withdrawn but consideration was given to using NZ Gold star champion Jim Palmer in a semi-works Ferrari entry in the 1967 Tasman Series as it was viewed in a 2.4 car he would be competitive with Clark and Stewart in 2-litre F1 cars. Palmer had run world-class times in the 1966 Tasman Series, particularly in the Pukekohe practice and Longford race, and was tested in Italy at the same time as Amon by Ferrari, and ran competitive times at Modena but for whatever reason Ferrari did not compete in 1967 series.",
"Palmer had run world-class times in the 1966 Tasman Series, particularly in the Pukekohe practice and Longford race, and was tested in Italy at the same time as Amon by Ferrari, and ran competitive times at Modena but for whatever reason Ferrari did not compete in 1967 series. For the 1968 series Ferrari decided to use the 2.4 engines with a new Dino 166 F2 chassis rather than a downsized 3-litre V12.",
"For the 1968 series Ferrari decided to use the 2.4 engines with a new Dino 166 F2 chassis rather than a downsized 3-litre V12. Using the 246T Amon won the first two rounds of the Tasman Series, including the 1968 New Zealand Grand Prix, before narrowly losing the series to the Lotus-Ford of Jim Clark.",
"Using the 246T Amon won the first two rounds of the Tasman Series, including the 1968 New Zealand Grand Prix, before narrowly losing the series to the Lotus-Ford of Jim Clark. The Dino 246 Tasmania was better handling than Clark's Lotus 49T which was still wingless and a difficult proposition.",
"The Dino 246 Tasmania was better handling than Clark's Lotus 49T which was still wingless and a difficult proposition. Impressed by Amon's driving in the NZ rounds, Ferrari dispatched a new four-valve version of the 2.4 V6 for the Australian rounds and this gave another 15 hp, but with lesser reliability which, combined with the fact Clark was the best driver in the world at the time, cost Amon the series, although in the final round at Sandown Park he duelled wheel to wheel with Clark before being pipped at the line.",
"Impressed by Amon's driving in the NZ rounds, Ferrari dispatched a new four-valve version of the 2.4 V6 for the Australian rounds and this gave another 15 hp, but with lesser reliability which, combined with the fact Clark was the best driver in the world at the time, cost Amon the series, although in the final round at Sandown Park he duelled wheel to wheel with Clark before being pipped at the line. After the first race of the F1 season in South Africa, Amon achieved pole positions in three of the following four races (at the Spanish, Belgian and Dutch Grands Prix) but ever-present mechanical problems meant he secured only a single Championship point from them.",
"After the first race of the F1 season in South Africa, Amon achieved pole positions in three of the following four races (at the Spanish, Belgian and Dutch Grands Prix) but ever-present mechanical problems meant he secured only a single Championship point from them. Throughout the rest of the season he never qualified lower than fifth place and nearly scored victories at the British and Canadian rounds and he suffered a 100 mph crash in Italy which demolished his car.",
"Throughout the rest of the season he never qualified lower than fifth place and nearly scored victories at the British and Canadian rounds and he suffered a 100 mph crash in Italy which demolished his car. In Britain, he duelled to the line with Jo Siffert's Lotus 49B and in Canada he dominated the race despite a malfunctioning clutch.",
"In Britain, he duelled to the line with Jo Siffert's Lotus 49B and in Canada he dominated the race despite a malfunctioning clutch. Seventeen laps from the finish, however, his car's transmission failed and a distraught Amon had to be consoled by Jacky Ickx.",
"Seventeen laps from the finish, however, his car's transmission failed and a distraught Amon had to be consoled by Jacky Ickx. From at least ten promising starts that season he was only able to finish five races and score ten Championship points. His best finish was second place to Siffert's Lotus-Cosworth at the British Grand Prix.",
"His best finish was second place to Siffert's Lotus-Cosworth at the British Grand Prix. Outside F1, Amon was runner-up in the Formula Two race at Zolder, Belgium, testing the Dino 166 F2. He also came third in that year's BRDC International Trophy.",
"He also came third in that year's BRDC International Trophy. 1969 Amon began 1969 with success driving the Dino engined 246 Tasmania in the Tasman Series that included winning both the New Zealand and Australian Grands Prix.",
"1969 Amon began 1969 with success driving the Dino engined 246 Tasmania in the Tasman Series that included winning both the New Zealand and Australian Grands Prix. In straight fights, he beat new Gold Leaf Lotus team leader, Jochen Rindt, into second in the races at Pukekohe and Sandown.",
"In straight fights, he beat new Gold Leaf Lotus team leader, Jochen Rindt, into second in the races at Pukekohe and Sandown. He would ultimately win the seven race Tasman Series, probably the best of the seven-year 2.5-litre international formula series in this country and the nearest to World Championship level racing in New Zealand, with ferocious competition between Rindt, Graham Hill, Amon and Williams driver Piers Courage.",
"He would ultimately win the seven race Tasman Series, probably the best of the seven-year 2.5-litre international formula series in this country and the nearest to World Championship level racing in New Zealand, with ferocious competition between Rindt, Graham Hill, Amon and Williams driver Piers Courage. It was actually much more serious racing than the McLaren dominated Can-Am series in the US in which the big sports cars required few gear changes and were essentially cruised to victory with little real competition, where the Tasman cars were essentially marginally lower power F1 cars, as difficult to drive as GP cars on unforgiving very dangerous narrow tracks.",
"It was actually much more serious racing than the McLaren dominated Can-Am series in the US in which the big sports cars required few gear changes and were essentially cruised to victory with little real competition, where the Tasman cars were essentially marginally lower power F1 cars, as difficult to drive as GP cars on unforgiving very dangerous narrow tracks. Amon finished with four wins, two-thirds and one retirement, but in Formula One his poor luck continued.",
"Amon finished with four wins, two-thirds and one retirement, but in Formula One his poor luck continued. Despite six starts from top-six positions, he was only able to achieve a third-place at the Dutch GP.",
"Despite six starts from top-six positions, he was only able to achieve a third-place at the Dutch GP. Ferrari's F1 V12 engine was too unreliable and although its replacement had proven very fast in testing, it had suffered many mechanical breakages.",
"Ferrari's F1 V12 engine was too unreliable and although its replacement had proven very fast in testing, it had suffered many mechanical breakages. Amon had no reason to believe it would be any more dependable than the V12, so although the new engine was clearly more powerful, he decided to leave Ferrari for a Cosworth DFV powered team.",
"Amon had no reason to believe it would be any more dependable than the V12, so although the new engine was clearly more powerful, he decided to leave Ferrari for a Cosworth DFV powered team. Ironically, the new flat-12 engine would become one of the best Formula One engines of the 1970s.",
"Ironically, the new flat-12 engine would become one of the best Formula One engines of the 1970s. Jacky Ickx, Amon's old teammate did return to Ferrari for 1970, after a successful sabbatical with Brabham gained Ickx second in the 1969 World Championship.",
"Jacky Ickx, Amon's old teammate did return to Ferrari for 1970, after a successful sabbatical with Brabham gained Ickx second in the 1969 World Championship. Ickx saw Enzo Ferrari had secured huge backing from Fiat who had taken partial ownership of the Marque, and believed Ferrari would be a renewed team and an effective proposition.",
"Ickx saw Enzo Ferrari had secured huge backing from Fiat who had taken partial ownership of the Marque, and believed Ferrari would be a renewed team and an effective proposition. Amon was more influenced by views of Jackie Stewart and Jochen Rindt, who believed it was essential to be Ford DFV-powered to be competitive.",
"Amon was more influenced by views of Jackie Stewart and Jochen Rindt, who believed it was essential to be Ford DFV-powered to be competitive. In addition to Formula One, Amon also drove for Ferrari in the 1969 International Championship for Makes, partnering Pedro Rodriguez to a fourth place in the BOAC 500 at Brands Hatch and coming second at the 12 Hours of Sebring, but retiring from the 1000km Nürburgring and 1000km Monza races, all in the Ferrari 312P sportscar.",
"In addition to Formula One, Amon also drove for Ferrari in the 1969 International Championship for Makes, partnering Pedro Rodriguez to a fourth place in the BOAC 500 at Brands Hatch and coming second at the 12 Hours of Sebring, but retiring from the 1000km Nürburgring and 1000km Monza races, all in the Ferrari 312P sportscar. He also drove in a few Can-Am races.",
"He also drove in a few Can-Am races. His last race for Ferrari would be the 1970 1000 km Monza, where he finished as runner-up. 1970s 1970 For the 1970 Formula One season, Amon made what was to be the first of several moves to smaller, newer teams.",
"1970s 1970 For the 1970 Formula One season, Amon made what was to be the first of several moves to smaller, newer teams. March Engineering had been formed the previous year to build custom chassis for Formulas 2 and 3, but quickly moved into F1, designing and building the March 701.",
"March Engineering had been formed the previous year to build custom chassis for Formulas 2 and 3, but quickly moved into F1, designing and building the March 701. Amon and Siffert were signed as drivers, with IndyCar driver Mario Andretti making an occasional appearance in a third car.",
"Amon and Siffert were signed as drivers, with IndyCar driver Mario Andretti making an occasional appearance in a third car. March also sold their 701 chassis to Tyrrell, where Jackie Stewart drove it to its first victory in that year's Spanish GP.",
"March also sold their 701 chassis to Tyrrell, where Jackie Stewart drove it to its first victory in that year's Spanish GP. Amon won the pre-season Silverstone International Trophy, but once the F1 season began he found himself prevented from converting good qualifying positions into good results.",
"Amon won the pre-season Silverstone International Trophy, but once the F1 season began he found himself prevented from converting good qualifying positions into good results. He qualified second behind Stewart's Tyrrell-March for the season-opening South African Grand Prix only for his own March to overheat within fourteen laps.",
"He qualified second behind Stewart's Tyrrell-March for the season-opening South African Grand Prix only for his own March to overheat within fourteen laps. Amon then qualified sixth for the Spanish Grand Prix only for his March's Ford-Cosworth DFV engine to expire within ten laps.",
"Amon then qualified sixth for the Spanish Grand Prix only for his March's Ford-Cosworth DFV engine to expire within ten laps. He qualified and ran second in the 1970 Monaco Grand Prix until his suspension failed twenty laps from the finish.",
"He qualified and ran second in the 1970 Monaco Grand Prix until his suspension failed twenty laps from the finish. This was the race where Amon refused to drive unless his entry number was changed from 18 – the number under which his then teammate Lorenzo Bandini had crashed and died in Monaco – to 28.",
"This was the race where Amon refused to drive unless his entry number was changed from 18 – the number under which his then teammate Lorenzo Bandini had crashed and died in Monaco – to 28. Amon's close second place from a third-place start at the 1970 Belgian Grand Prix finally gave the March works team their first points finish.",
"Amon's close second place from a third-place start at the 1970 Belgian Grand Prix finally gave the March works team their first points finish. At that race, Amon set fastest lap at over 152 miles per hour, a lap record which still stands as of 2016, as it was the last race on the full-length Spa-Francorchamps circuit.",
"At that race, Amon set fastest lap at over 152 miles per hour, a lap record which still stands as of 2016, as it was the last race on the full-length Spa-Francorchamps circuit. However, after qualifying fourth for the next race, the Dutch Grand Prix, his car's clutch broke after just one lap.",
"However, after qualifying fourth for the next race, the Dutch Grand Prix, his car's clutch broke after just one lap. Amon duplicated his Belgian result at the 1970 French Grand Prix,.",
"Amon duplicated his Belgian result at the 1970 French Grand Prix,. After a disappointing performance in the British GP at Brands Hatch where Amon finished fifth after being outqualified by tyro Ronnie Peterson in a private 701 on the same tyres, conflict with team boss Max Mosley over the non-delivery of three-quarters of Amon's expected pay for the season saw him provided with inferior DFVs and two backmarker 7th places in Austria and Italy, Amon finished the season strongly with strong drives to third at Mosport, fifth at Watkins Glen and fourth in Mexico.",
"After a disappointing performance in the British GP at Brands Hatch where Amon finished fifth after being outqualified by tyro Ronnie Peterson in a private 701 on the same tyres, conflict with team boss Max Mosley over the non-delivery of three-quarters of Amon's expected pay for the season saw him provided with inferior DFVs and two backmarker 7th places in Austria and Italy, Amon finished the season strongly with strong drives to third at Mosport, fifth at Watkins Glen and fourth in Mexico. At Watkins Glen in the USGP he was robbed of a probably certain victory, in the opinion of March designer Robin Herd, by a puncture.",
"At Watkins Glen in the USGP he was robbed of a probably certain victory, in the opinion of March designer Robin Herd, by a puncture. By the end of the year, disagreements with March co-founders Mosley and Robin Herd meant that Amon had decided to move to another relatively new team, Matra.",
"By the end of the year, disagreements with March co-founders Mosley and Robin Herd meant that Amon had decided to move to another relatively new team, Matra. 1971 In 1971, Amon, now driving for the Matra factory team, once again scored a pre-season victory, this time at the Argentine Grand Prix.",
"1971 In 1971, Amon, now driving for the Matra factory team, once again scored a pre-season victory, this time at the Argentine Grand Prix. Once the Formula One season had begun, he managed to convert a third-place start at the Spanish GP into a third-place podium finish and scored a couple of fifth places in the South African and French GPs.",
"Once the Formula One season had begun, he managed to convert a third-place start at the Spanish GP into a third-place podium finish and scored a couple of fifth places in the South African and French GPs. Apart from these results, however, his run of poor F1 returns continued.",
"Apart from these results, however, his run of poor F1 returns continued. He had a major accident at the Nürburgring and it sidelined him for the next race at the Österreichring.",
"He had a major accident at the Nürburgring and it sidelined him for the next race at the Österreichring. At the Italian GP he qualified in pole position and despite a poor start to the race looked as if he would capitalise on it – until the visor on his helmet became detached.",
"At the Italian GP he qualified in pole position and despite a poor start to the race looked as if he would capitalise on it – until the visor on his helmet became detached. Amon had to slow to avoid risking a major accident, thereby allowing other drivers to catch and overtake him.",
"Amon had to slow to avoid risking a major accident, thereby allowing other drivers to catch and overtake him. He finished the race in sixth place, scoring just one Championship point.",
"He finished the race in sixth place, scoring just one Championship point. During the year Amon also competed in the non-championship Questor Grand Prix at the new Ontario Motor Speedway, where he qualified second and, despite suffering a puncture during the race, managed to finish fourth.",
"During the year Amon also competed in the non-championship Questor Grand Prix at the new Ontario Motor Speedway, where he qualified second and, despite suffering a puncture during the race, managed to finish fourth. In the Tasman Series Amon started from fourth at the Levin Circuit and in the race, he battled with David Oxton and John Cannon but managed to finish third.",
"In the Tasman Series Amon started from fourth at the Levin Circuit and in the race, he battled with David Oxton and John Cannon but managed to finish third. Amon's third race at Wigram Airfield starting fifth and spun at the start to drop him to the back of the field but managed to climb up to fifth.",
"Amon's third race at Wigram Airfield starting fifth and spun at the start to drop him to the back of the field but managed to climb up to fifth. 1972 In the 1972 Formula One season, Amon, again driving for Matra achieved a handful of points-scoring finishes, but only one podium appearance, at the French GP.",
"1972 In the 1972 Formula One season, Amon, again driving for Matra achieved a handful of points-scoring finishes, but only one podium appearance, at the French GP. Here he achieved the fifth and final pole position of his career and was leading the race until a puncture forced him to pit.",
"Here he achieved the fifth and final pole position of his career and was leading the race until a puncture forced him to pit. However, he climbed back through the field, breaking the circuit's lap record to finish third.",
"However, he climbed back through the field, breaking the circuit's lap record to finish third. With the money he had made from motorsport, Amon decided to set up a racing engine firm with former BRM engineer Aubrey Woods.",
"With the money he had made from motorsport, Amon decided to set up a racing engine firm with former BRM engineer Aubrey Woods. Amon Racing Engines supplied Formula 2 engines to a few drivers, but the company quickly became too expensive to run and was sold to March for a loss.",
"Amon Racing Engines supplied Formula 2 engines to a few drivers, but the company quickly became too expensive to run and was sold to March for a loss. Matra decided to end their participation in Formula One at the end of 1972, so Amon found himself looking to return to March as a driver.",
"Matra decided to end their participation in Formula One at the end of 1972, so Amon found himself looking to return to March as a driver. The place, however, was given to Jean-Pierre Jarier, purportedly for financial reasons. Amon therefore signed for another recently formed F1 team, Tecno.",
"Amon therefore signed for another recently formed F1 team, Tecno. 1973 Tecno had entered F1 the previous year, having been a successful chassis-builder for other Formulæ and had developed a potentially powerful Flat 12 for F1.",
"1973 Tecno had entered F1 the previous year, having been a successful chassis-builder for other Formulæ and had developed a potentially powerful Flat 12 for F1. Their first year in F1 proved to be dismal, however with considerable backing from Martini Rossi they had jumped at the chance to sign Amon, and allocate David Yorke the former Vanwall and Gulf GT40 Team Manager to run the team and commission two new chassis designs by former Lotus and McLaren mechanic.",
"Their first year in F1 proved to be dismal, however with considerable backing from Martini Rossi they had jumped at the chance to sign Amon, and allocate David Yorke the former Vanwall and Gulf GT40 Team Manager to run the team and commission two new chassis designs by former Lotus and McLaren mechanic. Alan McCall who had worked on Clark and Hulme's F1 cars and unproven, British designer Gordon Fowell for a more radical back up design, in the hope he would help transform their performance.",
"Alan McCall who had worked on Clark and Hulme's F1 cars and unproven, British designer Gordon Fowell for a more radical back up design, in the hope he would help transform their performance. While McCalls car was built rapidly, testing it was more time-consuming and after its non-appearance, for the Spanish GP, Amon and team manager David Yorke met with Enzo Ferrari to see if Amon could be released from his contract to develop the new Ferrari B3 for Ickx and Mezarrio, in a supposedly one off GP drive at Monaco.",
"While McCalls car was built rapidly, testing it was more time-consuming and after its non-appearance, for the Spanish GP, Amon and team manager David Yorke met with Enzo Ferrari to see if Amon could be released from his contract to develop the new Ferrari B3 for Ickx and Mezarrio, in a supposedly one off GP drive at Monaco. Yorke rejected the release, and Amon admits he would not have left Ferrari if offered the drive for a season.",
"Yorke rejected the release, and Amon admits he would not have left Ferrari if offered the drive for a season. Unfortunately, the team went from bad to worse and wasn't able to field the Tecno PA123/6 until the fifth GP of the season, the Belgian GP. Amon managed to finish in sixth position.",
"Amon managed to finish in sixth position. At Monaco the car qualified a useful 12th and chassis felt good but Chris was unhappy with the car. He decided to concentrate on the undeveloped Gordon Fowell Goral car.",
"He decided to concentrate on the undeveloped Gordon Fowell Goral car. This was against the view of the Techno team and the Pederanzi engine builders and Martini Rossi who required the car and driver to appear at races Amon commented at the time that it was \"the best chassis I've ever sat in\", it too proved virtually undriveable.",
"This was against the view of the Techno team and the Pederanzi engine builders and Martini Rossi who required the car and driver to appear at races Amon commented at the time that it was \"the best chassis I've ever sat in\", it too proved virtually undriveable. Amon refused to drive the McCall, Techno in the Swedish or German Gps and withdrew from the Austrian GP after qualifying.",
"Amon refused to drive the McCall, Techno in the Swedish or German Gps and withdrew from the Austrian GP after qualifying. By the time of the Austrian GP, four races from the end of the season, Amon's patience had run out and he left the team.",
"By the time of the Austrian GP, four races from the end of the season, Amon's patience had run out and he left the team. He would later claim that the months he spent with the team \"felt like ten [seasons]\".",
"He would later claim that the months he spent with the team \"felt like ten [seasons]\". Tyrrell offered Amon a third car – the 005 – in which to drive the last two races of the season.",
"Tyrrell offered Amon a third car – the 005 – in which to drive the last two races of the season. After a mediocre first outing at the Canadian GP, he and Jackie Stewart withdrew from the final race of the year, the United States GP, following the death of their teammate François Cevert during qualifying.",
"After a mediocre first outing at the Canadian GP, he and Jackie Stewart withdrew from the final race of the year, the United States GP, following the death of their teammate François Cevert during qualifying. 1974 For the 1974 F1 season, Amon revived Chris Amon Racing.",
"1974 For the 1974 F1 season, Amon revived Chris Amon Racing. Gordon Fowell designed the car, the AF101, which featured a single central fuel tank, titanium torsion bars and a forward driving position.",
"Gordon Fowell designed the car, the AF101, which featured a single central fuel tank, titanium torsion bars and a forward driving position. Structurally, however, it proved to be weak and was not ready for an F1 appearance until the fourth race of the season, the Spanish GP.",
"Structurally, however, it proved to be weak and was not ready for an F1 appearance until the fourth race of the season, the Spanish GP. Amon was only able to qualify 23rd, thanks to brake-disc vibration that only became worse with the tyres for the wet race that followed.",
"Amon was only able to qualify 23rd, thanks to brake-disc vibration that only became worse with the tyres for the wet race that followed. Despite cautious driving, a brake shaft finally broke and Amon was forced to retire after 22 laps.",
"Despite cautious driving, a brake shaft finally broke and Amon was forced to retire after 22 laps. Following further work and testing, Amon returned for the Monaco GP and qualified twentieth, but, thanks to mechanical problems, he was unable to start the race.",
"Following further work and testing, Amon returned for the Monaco GP and qualified twentieth, but, thanks to mechanical problems, he was unable to start the race. Further problems and illness meant Amon was not able to reappear with the F101 until the Italian GP, three races from the end of the season, but this time he was unable to qualify.",
"Further problems and illness meant Amon was not able to reappear with the F101 until the Italian GP, three races from the end of the season, but this time he was unable to qualify. That sealed the fate of both the car and Chris Amon Racing, leaving Amon to drive the season's last two races with the faltering BRM team.",
"That sealed the fate of both the car and Chris Amon Racing, leaving Amon to drive the season's last two races with the faltering BRM team. He would later reveal that he had turned down a chance to join the Brabham team earlier in the season.",
"He would later reveal that he had turned down a chance to join the Brabham team earlier in the season. 1975 Amon contested the 1975 F5000 Tasman series against only local Australasian drivers, although Graham McRae, Warwick Brown and Kevin Bartlett were acknowledged internationally.",
"1975 Amon contested the 1975 F5000 Tasman series against only local Australasian drivers, although Graham McRae, Warwick Brown and Kevin Bartlett were acknowledged internationally. Amon qualified on the front row of three of the four New Zealand rounds and scored a victory at Teretonga in January 1975 in rainy conditions by 24.2 seconds.",
"Amon qualified on the front row of three of the four New Zealand rounds and scored a victory at Teretonga in January 1975 in rainy conditions by 24.2 seconds. In the Australian rounds, the competition was always harder with more good cars and the locals on their own tracks.",
"In the Australian rounds, the competition was always harder with more good cars and the locals on their own tracks. Amon had a frustrating series of races unable to pass, South Australian Johnnie Walker, in a superior Lola T332 chassis with Repco-engineered V8.",
"Amon had a frustrating series of races unable to pass, South Australian Johnnie Walker, in a superior Lola T332 chassis with Repco-engineered V8. At Surfers Paradise, running from the back of the grid he managed to eventually pass Walker by widening the braking zone in the only corner where overtaking was usually possible.",
"At Surfers Paradise, running from the back of the grid he managed to eventually pass Walker by widening the braking zone in the only corner where overtaking was usually possible. Amon brushed the edge of the track on repeated laps, got extra grip and passed Walker to take the lead.",
"Amon brushed the edge of the track on repeated laps, got extra grip and passed Walker to take the lead. He had been forced to miss most of the practice session, when Customs seized his car's gearbox. In the race, the brilliant effort went for nothing as the Chev engine blew.",
"In the race, the brilliant effort went for nothing as the Chev engine blew. At Oran Park and Adelaide he followed Walker the whole way to 4th and 3rd unable to pass.",
"At Oran Park and Adelaide he followed Walker the whole way to 4th and 3rd unable to pass. In the final deciding race for the Tasman Series with Brown, Walker and Lawrence still in contention, Walker lost his T332 on the first lap and it demolished on wooden barriers surrounding Sandown's car and horse racing tracks.",
"In the final deciding race for the Tasman Series with Brown, Walker and Lawrence still in contention, Walker lost his T332 on the first lap and it demolished on wooden barriers surrounding Sandown's car and horse racing tracks. Amon was never in contention and finished 4th.",
"Amon was never in contention and finished 4th. Amon intended to compete in F5000 in both Europe and the US in 1975 but started in only one round of both series, managing a pole in one Shellsport round in the UK and a 4th place overall at the Long Beach GP in a two heat race.",
"Amon intended to compete in F5000 in both Europe and the US in 1975 but started in only one round of both series, managing a pole in one Shellsport round in the UK and a 4th place overall at the Long Beach GP in a two heat race. He used different Talon F5000 cars for both races.",
"He used different Talon F5000 cars for both races. The speed he showed in qualifying for a couple of UK F5000 races encouraged the small Ensign team to give him a race.",
"The speed he showed in qualifying for a couple of UK F5000 races encouraged the small Ensign team to give him a race. Mo Nunn the Ensign team owner had been a Lotus F3 driver in 1966 and the Dave Baldwin designed chassis was in many ways a lightweight Lotus F1, which Ronnie Peterson wanted to test in 1975 out of frustration with his old 72 and which could have been used by Colin Chapman had he not decided to concentrate on developing chassis which would use ground effect technology, the Lotus 77 design for 1976 which was in many ways a test vehicle for the development of concepts, including the de facto legalisation of technology like plastic sliding skirts, introduced on Andretti's 77 from the 1976 Canadian Grand Prix, that would be used in future Lotus wing cars the Lotus 78 and Lotus 79.",
"Mo Nunn the Ensign team owner had been a Lotus F3 driver in 1966 and the Dave Baldwin designed chassis was in many ways a lightweight Lotus F1, which Ronnie Peterson wanted to test in 1975 out of frustration with his old 72 and which could have been used by Colin Chapman had he not decided to concentrate on developing chassis which would use ground effect technology, the Lotus 77 design for 1976 which was in many ways a test vehicle for the development of concepts, including the de facto legalisation of technology like plastic sliding skirts, introduced on Andretti's 77 from the 1976 Canadian Grand Prix, that would be used in future Lotus wing cars the Lotus 78 and Lotus 79. Apart from these successes, Amon's racing career seemed once again to have stalled.",
"Apart from these successes, Amon's racing career seemed once again to have stalled. Apparently a chance meeting with Mo Nunn of Ensign Racing led to the Ensign drive, but in fact Mo Nunn thought his new N175 a very fast car and did not view the two Dutch drivers favoured by the Dutch HB Security company who sponsored Ensign fast enough.",
"Apparently a chance meeting with Mo Nunn of Ensign Racing led to the Ensign drive, but in fact Mo Nunn thought his new N175 a very fast car and did not view the two Dutch drivers favoured by the Dutch HB Security company who sponsored Ensign fast enough. Gijs van Lennep, the 1973 European F5000 Champion in a Surtees TS11 who had won Le Mans in 1971 and 1976 was a very good driver but also one of the last racing aristocrats.",
"Gijs van Lennep, the 1973 European F5000 Champion in a Surtees TS11 who had won Le Mans in 1971 and 1976 was a very good driver but also one of the last racing aristocrats. Van Lennep, qualified the car on its debut in the French GP at Paul Ricard and finished 6th in the German GP at Nürburgring, and was faster on both circuits than Patrick Nève or Amon were in 1976.",
"Van Lennep, qualified the car on its debut in the French GP at Paul Ricard and finished 6th in the German GP at Nürburgring, and was faster on both circuits than Patrick Nève or Amon were in 1976. Amon managed 7th in the non-championship Swiss GP at Dijon chasing James Hunt debuting the disappointing Hesketh 308C and 12th in two GP drives in the Ensign N175 at the Austrian and Italian GPs.",
"Amon managed 7th in the non-championship Swiss GP at Dijon chasing James Hunt debuting the disappointing Hesketh 308C and 12th in two GP drives in the Ensign N175 at the Austrian and Italian GPs. At Monza after a long pit stop he finally ran at competitive pace, running 4 laps down but keeping pace with the leading Ferrari 312T of Niki Lauda for a number of laps.",
"At Monza after a long pit stop he finally ran at competitive pace, running 4 laps down but keeping pace with the leading Ferrari 312T of Niki Lauda for a number of laps. Progressive evaluation of the possibilities of what was slowing the N175 led Amon to change the airbox alignment on the day of the Italian GP and this resulted in a 2-second gain (much like the change in air cooler position that lost and gained two seconds on Hunt's McLaren M23 resolved by the 1976 French GP).",
"Progressive evaluation of the possibilities of what was slowing the N175 led Amon to change the airbox alignment on the day of the Italian GP and this resulted in a 2-second gain (much like the change in air cooler position that lost and gained two seconds on Hunt's McLaren M23 resolved by the 1976 French GP). Ironically Amon never raced the N175 again and the high airboxes had been banned by the time N176 ran at Jarama the following year, but the flash of testing and driving genius was enough to give Amon another chance.",
"Ironically Amon never raced the N175 again and the high airboxes had been banned by the time N176 ran at Jarama the following year, but the flash of testing and driving genius was enough to give Amon another chance. Although the results were unremarkable, he and Nunn worked well together, so Amon joined Ensign for the 1976 F1 season.",
"Although the results were unremarkable, he and Nunn worked well together, so Amon joined Ensign for the 1976 F1 season. 1976 Ensign's first race of the season was the South African GP where Amon qualified 18th and showed a revival of form, climbing to seventh place, in the old Ensign N174 and contesting sixth with Mario Andretti in the Parnelli Ford, in the last laps before a last minute refueling stop left him 14th.",
"1976 Ensign's first race of the season was the South African GP where Amon qualified 18th and showed a revival of form, climbing to seventh place, in the old Ensign N174 and contesting sixth with Mario Andretti in the Parnelli Ford, in the last laps before a last minute refueling stop left him 14th. Thereafter results began to improve, with Amon qualifying 17th and finishing eighth in the USA West GP; qualifying tenth and finishing fifth in the Spanish GP; and then qualifying eighth for the Belgian GP.",
"Thereafter results began to improve, with Amon qualifying 17th and finishing eighth in the USA West GP; qualifying tenth and finishing fifth in the Spanish GP; and then qualifying eighth for the Belgian GP. More points then seemed likely from the race until his car lost a wheel 19 laps from the finish and Amon was lucky to escape unhurt from the ensuing accident.",
"More points then seemed likely from the race until his car lost a wheel 19 laps from the finish and Amon was lucky to escape unhurt from the ensuing accident. He then achieved a third-place grid position start for the Swedish GP using a Nicholson rebuilt Cosworth for the first time and in the race looked as if he would join Tyrrell drivers Jody Scheckter and Patrick Depailler on the podium, until suspension failure threw him from the track after 38 laps.",
"He then achieved a third-place grid position start for the Swedish GP using a Nicholson rebuilt Cosworth for the first time and in the race looked as if he would join Tyrrell drivers Jody Scheckter and Patrick Depailler on the podium, until suspension failure threw him from the track after 38 laps. Amon had again been lucky to escape serious injury and decided to miss the next race, the French GP.",
"Amon had again been lucky to escape serious injury and decided to miss the next race, the French GP. He returned for the British GP, qualifying in sixth and running fourth in the race when his Ford-Cosworth DFV engine developed a water leak. Rather than risk losing an engine, his team called him in to retire.",
"Rather than risk losing an engine, his team called him in to retire. At the German GP problems dogged his attempts to qualify well, but it was Niki Lauda's crash during the second lap of the race that had a far greater impact. Amon refused to restart the race and Nunn fired him from the team.",
"Amon refused to restart the race and Nunn fired him from the team. Amon declared his retirement from the sport and returned to New Zealand. \"I'd seen too many people fried in racing cars at that stage. When you've driven past Bandini, Schlesser, Courage and Williamson, another shunt like that was simply too much.",
"When you've driven past Bandini, Schlesser, Courage and Williamson, another shunt like that was simply too much. It was a personal decision...\" (Amon, on his retirement in 1976)However, Walter Wolf contacted Amon and persuaded him to drive for his Wolf–Williams team in the North American races near the end of the season.",
"It was a personal decision...\" (Amon, on his retirement in 1976)However, Walter Wolf contacted Amon and persuaded him to drive for his Wolf–Williams team in the North American races near the end of the season. After recording some promising times in preparation for the Canadian GP, however, Amon was involved in a heavy collision with another car during qualifying and once again was lucky to walk away unharmed.",
"After recording some promising times in preparation for the Canadian GP, however, Amon was involved in a heavy collision with another car during qualifying and once again was lucky to walk away unharmed. He then did not take part in either the Canadian or United States Grands Prix.",
"He then did not take part in either the Canadian or United States Grands Prix. 1977 Amon turned down an offer of a full-time F1 drive for 1977, but did attempt a return to Can-Am racing in 1977 with a Wolf-Dallara WD1.",
"1977 Amon turned down an offer of a full-time F1 drive for 1977, but did attempt a return to Can-Am racing in 1977 with a Wolf-Dallara WD1. However, after only one race he quit, saying \"I'm just not enjoying this anymore\".",
"However, after only one race he quit, saying \"I'm just not enjoying this anymore\". His place was taken by the young and then unknown Canadian Gilles Villeneuve, whom Amon would, later that year, recommend to Enzo Ferrari.",
"His place was taken by the young and then unknown Canadian Gilles Villeneuve, whom Amon would, later that year, recommend to Enzo Ferrari. In the meantime, Amon returned once again to New Zealand, this time to retire from F1 motor racing for good.",
"In the meantime, Amon returned once again to New Zealand, this time to retire from F1 motor racing for good. 2000s 2003 Amon came out of retirement for a one-off appearance in the 2003 Dunlop Targa New Zealand with motorsport commentator Murray Walker as his navigator.",
"2000s 2003 Amon came out of retirement for a one-off appearance in the 2003 Dunlop Targa New Zealand with motorsport commentator Murray Walker as his navigator. The pair completed the week-long Auckland to Wellington Tarmac Rally in a Toyota Camry Sportivo, the same car previously used by Walker and Colin Bond in Australia's Targa Tasmania.",
"The pair completed the week-long Auckland to Wellington Tarmac Rally in a Toyota Camry Sportivo, the same car previously used by Walker and Colin Bond in Australia's Targa Tasmania. Retirement After his retirement from F1, Amon dedicated himself to running the family farm in New Zealand's Manawatu District for many years.",
"Retirement After his retirement from F1, Amon dedicated himself to running the family farm in New Zealand's Manawatu District for many years. After retiring from farming, he lived in Taupo in New Zealand's North Island.",
"After retiring from farming, he lived in Taupo in New Zealand's North Island. In the early 1980s he became more well known in New Zealand from test-driving vehicles on the TV motoring series Motor Show and later consulted for Toyota New Zealand, tuning the 1984 Toyota Corolla and subsequent cars for sale there.",
"In the early 1980s he became more well known in New Zealand from test-driving vehicles on the TV motoring series Motor Show and later consulted for Toyota New Zealand, tuning the 1984 Toyota Corolla and subsequent cars for sale there. He also appeared in TV commercials for the company, where much was made of the acclaim he won from Enzo Ferrari.",
"He also appeared in TV commercials for the company, where much was made of the acclaim he won from Enzo Ferrari. Amon participated in the 2004 EnergyWise Rally where he won ahead of Brian Cowan. Amon drove a Toyota Prius for the event.",
"Amon drove a Toyota Prius for the event. In the 1993 Queen's Birthday Honours, Amon was appointed a Member of the Order of the British Empire, for services to motor sport.",
"In the 1993 Queen's Birthday Honours, Amon was appointed a Member of the Order of the British Empire, for services to motor sport. Amon was involved in the design of the upgraded Taupo Motorsport Park circuit, used for the New Zealand round of the 2006–07 A1 Grand Prix season in January 2007.",
"Amon was involved in the design of the upgraded Taupo Motorsport Park circuit, used for the New Zealand round of the 2006–07 A1 Grand Prix season in January 2007. At the New Zealand Festival of Motor Racing in 2011, Amon's life and career were honoured with a selection of his cars being driven and also used the event to raise funds for the Bruce McLaren trust.",
"At the New Zealand Festival of Motor Racing in 2011, Amon's life and career were honoured with a selection of his cars being driven and also used the event to raise funds for the Bruce McLaren trust. Amon was also honoured at the festival in January 2013.",
"Amon was also honoured at the festival in January 2013. Death Amon died in Rotorua Hospital on 3 August 2016, aged 73, of cancer. He was survived by his wife (they married in 1977) their three children and their grandchildren. One of his sons, James, is a qualified High Performance personal trainer.",
"One of his sons, James, is a qualified High Performance personal trainer. He trained Central Districts Stags cricket team, and was revealed to be Brendon Hartley's personal trainer.",
"He trained Central Districts Stags cricket team, and was revealed to be Brendon Hartley's personal trainer. Legacy Despite never winning a championship Formula One Grand Prix, Amon won eight non-championship GPs, the Silverstone International Trophy, the 1000 km Monza, the Daytona 24 Hours, the Tasman Series and, perhaps most significant of all, the famous 24 Heures du Mans (alongside Bruce McLaren).",
"Legacy Despite never winning a championship Formula One Grand Prix, Amon won eight non-championship GPs, the Silverstone International Trophy, the 1000 km Monza, the Daytona 24 Hours, the Tasman Series and, perhaps most significant of all, the famous 24 Heures du Mans (alongside Bruce McLaren). These races included many of Amon's otherwise more successful fellow Formula One drivers.",
"These races included many of Amon's otherwise more successful fellow Formula One drivers. Amon also remains the only driver from New Zealand and Oceania to have raced for Scuderia Ferrari in Formula One.",
"Amon also remains the only driver from New Zealand and Oceania to have raced for Scuderia Ferrari in Formula One. In Formula One, Chris Amon took part in 96 Grands Prix, achieving 5 poles, leading 183 laps in 7 races, reaching the podium 11 times and scoring a total of 83 Championship points.",
"In Formula One, Chris Amon took part in 96 Grands Prix, achieving 5 poles, leading 183 laps in 7 races, reaching the podium 11 times and scoring a total of 83 Championship points. Amon holds the record for the most different makes of car raced by a Formula 1 World Championship driver, with thirteen.",
"Amon holds the record for the most different makes of car raced by a Formula 1 World Championship driver, with thirteen. A biography Forza Amon by journalist Eoin Young charts Amon's racing career and gives some insights into his personal life.",
"A biography Forza Amon by journalist Eoin Young charts Amon's racing career and gives some insights into his personal life. The book makes clear one point on which Amon himself disagrees with most commentators, the issue of his bad luck.",
"The book makes clear one point on which Amon himself disagrees with most commentators, the issue of his bad luck. Amon has pointed out on several occasions that he competed for a decade and a half in Formula One and survived some serious accidents, notably in 1976, whilst others, including friends like Bruce McLaren, suffered serious injury and death.",
"Amon has pointed out on several occasions that he competed for a decade and a half in Formula One and survived some serious accidents, notably in 1976, whilst others, including friends like Bruce McLaren, suffered serious injury and death. In 2008, motorsport journalist Alan Henry rated Chris Amon as his 13th greatest driver.",
"In 2008, motorsport journalist Alan Henry rated Chris Amon as his 13th greatest driver. Reflecting on the 1968 racing death of Jim Clark, Amon said: \"If this can happen to Jimmy, what chance do the rest of us have? I think we all felt that. It seemed like we'd lost our leader.\"",
"It seemed like we'd lost our leader.\" In 1995, Amon was inducted into the New Zealand Sports Hall of Fame. Amon's name has been given to the Toyota Racing Series driver's championship trophy, and the International Scholarship to support drivers who win his trophy to further their careers in single-seater racing.",
"Amon's name has been given to the Toyota Racing Series driver's championship trophy, and the International Scholarship to support drivers who win his trophy to further their careers in single-seater racing. The Toyota Racing Series serves as motorsport's version of \"winter ball\" in New Zealand during January and February.",
"The Toyota Racing Series serves as motorsport's version of \"winter ball\" in New Zealand during January and February. Following his death, his name was also lent to the Manfeild Autocourse in Feilding, Manawatu.",
"Following his death, his name was also lent to the Manfeild Autocourse in Feilding, Manawatu. Racing record Formula One World Championship results (key) (Races in bold indicate pole position; races in italics indicate fastest lap) Non-Championship Formula One results (key) (Races in bold indicate pole position; races in italics indicate fastest lap) Complete Tasman Series results (key) (Races in bold indicate pole position; races in italics indicate fastest lap) Complete 24 Hours of Le Mans results References External links Bruce McLaren Trust Official site Trio At The Top – a documentary about Bruce McLaren, Denny Hulme and Chris Amon on NZ On Screen Chris Amon 8W-Forix; Tom Prankard; 1 October 2000 New Zealand racing drivers New Zealand Formula One drivers Amon Formula One drivers BRM Formula One drivers Cooper Formula One drivers Ensign Formula One drivers Ferrari Formula One drivers March Formula One drivers Matra Formula One drivers Reg Parnell Racing Formula One drivers Tecno Formula One drivers Tyrrell Formula One drivers Williams Formula One drivers Formula One team owners 24 Hours of Le Mans drivers 24 Hours of Le Mans winning drivers 12 Hours of Reims drivers 24 Hours of Daytona drivers World Sportscar Championship drivers Tasman Series drivers New Zealand Members of the Order of the British Empire People from Bulls 1943 births 2016 deaths"
] |
[
"Chris Amon",
"Retirement",
"What did he retire from?",
"After his retirement from F1,",
"When did he retire?",
"I don't know.",
"What caused his retirement?",
"I don't know."
] | C_5474a4df3c614b8d91f85a078f3efc1c_1 | Are there any other interesting aspects about this article? | 4 | Aside from Chris Amon's retirement from F1, are there any other interesting aspects about this article? | Chris Amon | After his retirement from F1, Amon dedicated himself to running the family farm in New Zealand's Manawatu District for many years. After retiring from farming, he lived in Taupo in New Zealand's North Island. In the early 1980s he became more well known in New Zealand from test-driving vehicles on the TV motoring series Motor Show and later consulted for Toyota New Zealand, tuning the 1984 Toyota Corolla and subsequent cars for sale there. He also appeared in TV commercials for the company, where much was made of the acclaim he won from Enzo Ferrari. Amon participated in the 2004 EnergyWise Rally where he won ahead of Brian Cowan. Amon drove a Toyota Prius for the event. Amon was involved in the design of the upgraded Taupo Motorsport Park circuit, used for the New Zealand round of the 2006-07 A1 Grand Prix season in January 2007. At the New Zealand Festival of Motor Racing in 2011, Amon's life and career were honoured with a selection of his cars being driven and also used the event to raise funds for the Bruce McLaren trust. Amon was also honoured at the festival in January 2013. Amon died in Rotorua Hospital on 3 August 2016, aged 73, of cancer. He was survived by his wife (they married in 1977) their three children and their grandchildren. One of his sons, James, is a qualified High Performance personal trainer. He trained Central Districts Stags cricket team, and was revealed to be Brendon Hartley's personal trainer. CANNOTANSWER | In the early 1980s he became more well known in New Zealand from test-driving vehicles on the TV motoring series Motor Show and later consulted for Toyota New Zealand, | Christopher Arthur Amon (20 July 1943 – 3 August 2016) was a New Zealand motor racing driver. He was active in Formula One racing in the 1960s and 1970s and is widely regarded as one of the best F1 drivers never to win a championship Grand Prix. His reputation for bad luck was such that fellow driver Mario Andretti once joked that "if he became an undertaker, people would stop dying". Former Ferrari Technical Director Mauro Forghieri stated that Amon was "by far the best test driver I have ever worked with. He had all the qualities to be a World Champion but bad luck just wouldn't let him be".
Apart from driving, Chris Amon also ran his own Formula One team for a short period in 1974. Away from Formula One, Amon had some success in sports car racing, teaming with co-driver Bruce McLaren to win the 24 Hours of Le Mans race in .
Early life
Amon was born in Bulls, and attended Whanganui Collegiate School. He was the only child of wealthy sheep-owners Ngaio and Betty Amon. He learned to drive at the age of six, taught by a farm worker on the family farm. On leaving school, he persuaded his father to buy him an Austin A40 Special, which he entered in some minor local races and hillclimbs along with practice on the family farm. He progressed to a 1.5-litre Cooper and then an old 2.5-litre Maserati 250F, but only began to draw attention when he drove the Cooper-Climax T51 which Bruce McLaren had used to win his maiden Grand Prix.
In 1962 Amon entered the Cooper for the New Zealand winter series, but was hampered by mechanical problems. However, Scuderia Veloce entered him in a similar car, and, in the rain at Lakeside, he performed well. One of the spectators there was the English racing driver Reg Parnell who persuaded Amon to come to England and race for his team. In a test at Goodwood Amon continued to impress and was on the pace in the Goodwood International Trophy and Aintree 200 pre-season races.
Racing career
1960s
1963
For the 1963 Formula One season the Parnell team were using the year old Lola Mk4A, powered by 1962 specification Climax V8 engines. Amon was teamed with the very experienced Maurice Trintignant for the first race of the season at Monaco and his Grand Prix career started with what was to become typical bad luck: Trintignant's Climax developed a misfire, so he took over Amon's car.
At the 1963 Belgian Grand Prix, Amon was partnered by Lucien Bianchi and started ahead of him from 15th position. After nine laps, however, an oil fire ended his race. He continued to experience mechanical problems at the Dutch, Mexican and German Grands Prix; and after an accident in practice for the Italian Grand Prix left him hanging out of his car's cockpit with three broken ribs, he missed both the Italian and United States rounds.
Amon usually qualified in the midfield and generally outpaced his teammates, who included his good friend Mike Hailwood. His best results of the year were seventh at the French and British Grands Prix. During this time, however, Amon's social life was attracting as much attention as his driving. He was a member of the Ditton Road Flyers, the social set named after the road in London where Amon shared an apartment with American Peter Revson, Hailwood and Tony Maggs.
Parnell was nonetheless impressed with Amon's results in what was regarded as less-than-competitive machinery and promoted him to team leader. Parnell died from peritonitis in January 1964 and his son Tim took over the team.
1964
In a series of four pre-season races in Britain and Italy, Amon recorded three fifth places at Snetterton, Silverstone and Syracuse. He failed to qualify for the first F1 race of the season, the Monaco GP, but at the next race, the Dutch GP, he scored his first World Championship points. The rest of his season, however, was blighted by mechanical problems.
1965
Parnell was offered BRM engines for 1965, but only if it ran Richard Attwood as its regular driver. Reluctantly, Parnell agreed and Attwood took Amon's place. Spotting an opportunity, Bruce McLaren quickly signed Amon for his new McLaren team, but when no second McLaren F1 car materialised, Amon could only drive in sports car races.
At the French GP Amon rejoined Parnell to stand in for an injured Attwood. Amon also competed in a Formula Two race in Stuttgart and won. He returned to Germany for the German GP as second Parnell driver, but mechanical failure again forced an early retirement. His last drive before Attwood's return, a non-championship race in Enna, Sicily, also ended in retirement.
1966
During 1966 Amon continued to race for McLaren in Can-Am. He was intended to drive the second McLaren M2B but difficulties with engine supply meant that the team never made the intended expansion to two cars. (James Garner's character Pete Aron's helmet and car livery in the film Grand Prix were modelled on Amon driving a McLaren, which caused the movie makers to have to encourage other cars to be painted in the 'Yamura' colours and other drivers (Bruce McLaren included) to wear Amon-style helmets.)
However, an opportunity arose to drive for the Cooper F1 team after Richie Ginther left them for Honda. Amon drove for Cooper at the French GP and was scheduled to drive for them for the rest of the season, until the more successful John Surtees left Scuderia Ferrari to join Cooper and Amon found himself dropped.
Amon made one other F1 appearance during the year, driving a Brabham BT11 powered by an old 2-litre BRM engine at the Italian GP under the banner of "Chris Amon Racing". He failed to qualify.
Amon did however, score his biggest success to date when he partnered Bruce McLaren in a 7-litre Ford GT40 Mark II and Ken Miles to Ford's dead-heat "photo-finish" after Miles was instructed to slow down despite leading at the Le Mans 24-hour race, spearheading a formation finish. He subsequently received an invitation to meet Enzo Ferrari at the Ferrari home in Maranello, where he signed to race for Ferrari in 1967 alongside Lorenzo Bandini, Mike Parkes and Ludovico Scarfiotti.
1967
Amon's first year with Ferrari did not begin auspiciously. En route to Brands Hatch for the pre-season Formula One Race of Champions, he crashed his road car and, following race practice, had to withdraw. Tragedy then struck the Ferrari team when Bandini died following a crash during the 1967 Monaco Grand Prix, Mike Parkes broke both his legs at the Belgian Grand Prix and, in the aftermath, Ludovico Scarfiotti went into temporary retirement. Amon, therefore, became Ferrari's only driver for the rest of the season, until joined by Jonathan Williams for the final race in Mexico. Amon scored his first podium in his first official outing for the Scuderia in Monaco and at the end of 1967 had achieved four third places finishing fifth in the Drivers' Championship, in what was going to be the most successful season of his career.
Amon's Ferrari contract also included sports car racing and he began 1967 by winning the Daytona 24 Hours and 1000km Monza events with Bandini in the 4-litre Ferrari 330-P4. He finished the year partnering Jackie Stewart to a second place at the BOAC 500, thereby clinching the manufacturer's world championship for Ferrari by one point over Porsche.
1968
1968 was the year aerodynamics first played a significant role in F1 car design and Amon worked with engineer Mauro Forghieri to place aerofoils on the Ferrari 312.
In January 1968 Amon had returned home to New Zealand and Australia to compete in the 1968 Tasman Series which was used by many of the top Formula One drivers as a warm up series to the World Championship. Ferrari had been interested in the series for several years and in 1965 had reengineered 2.4 Dino engines used by Mike Hawthorn, Peter Collins and Phil Hill in 1958–60 with more torque and mid speed power for the planned use of team leader Surtees in the 1966 Tasman Series. After a late season crash in US Can-Am racing by Surtees, the entry was withdrawn but consideration was given to using NZ Gold star champion Jim Palmer in a semi-works Ferrari entry in the 1967 Tasman Series as it was viewed in a 2.4 car he would be competitive with Clark and Stewart in 2-litre F1 cars. Palmer had run world-class times in the 1966 Tasman Series, particularly in the Pukekohe practice and Longford race, and was tested in Italy at the same time as Amon by Ferrari, and ran competitive times at Modena but for whatever reason Ferrari did not compete in 1967 series. For the 1968 series Ferrari decided to use the 2.4 engines with a new Dino 166 F2 chassis rather than a downsized 3-litre V12. Using the 246T Amon won the first two rounds of the Tasman Series, including the 1968 New Zealand Grand Prix, before narrowly losing the series to the Lotus-Ford of Jim Clark. The Dino 246 Tasmania was better handling than Clark's Lotus 49T which was still wingless and a difficult proposition. Impressed by Amon's driving in the NZ rounds, Ferrari dispatched a new four-valve version of the 2.4 V6 for the Australian rounds and this gave another 15 hp, but with lesser reliability which, combined with the fact Clark was the best driver in the world at the time, cost Amon the series, although in the final round at Sandown Park he duelled wheel to wheel with Clark before being pipped at the line.
After the first race of the F1 season in South Africa, Amon achieved pole positions in three of the following four races (at the Spanish, Belgian and Dutch Grands Prix) but ever-present mechanical problems meant he secured only a single Championship point from them. Throughout the rest of the season he never qualified lower than fifth place and nearly scored victories at the British and Canadian rounds and he suffered a 100 mph crash in Italy which demolished his car. In Britain, he duelled to the line with Jo Siffert's Lotus 49B and in Canada he dominated the race despite a malfunctioning clutch. Seventeen laps from the finish, however, his car's transmission failed and a distraught Amon had to be consoled by Jacky Ickx. From at least ten promising starts that season he was only able to finish five races and score ten Championship points. His best finish was second place to Siffert's Lotus-Cosworth at the British Grand Prix.
Outside F1, Amon was runner-up in the Formula Two race at Zolder, Belgium, testing the Dino 166 F2. He also came third in that year's BRDC International Trophy.
1969
Amon began 1969 with success driving the Dino engined 246 Tasmania in the Tasman Series that included winning both the New Zealand and Australian Grands Prix. In straight fights, he beat new Gold Leaf Lotus team leader, Jochen Rindt, into second in the races at Pukekohe and Sandown. He would ultimately win the seven race Tasman Series, probably the best of the seven-year 2.5-litre international formula series in this country and the nearest to World Championship level racing in New Zealand, with ferocious competition between Rindt, Graham Hill, Amon and Williams driver Piers Courage. It was actually much more serious racing than the McLaren dominated Can-Am series in the US in which the big sports cars required few gear changes and were essentially cruised to victory with little real competition, where the Tasman cars were essentially marginally lower power F1 cars, as difficult to drive as GP cars on unforgiving very dangerous narrow tracks. Amon finished with four wins, two-thirds and one retirement, but in Formula One his poor luck continued. Despite six starts from top-six positions, he was only able to achieve a third-place at the Dutch GP. Ferrari's F1 V12 engine was too unreliable and although its replacement had proven very fast in testing, it had suffered many mechanical breakages. Amon had no reason to believe it would be any more dependable than the V12, so although the new engine was clearly more powerful, he decided to leave Ferrari for a Cosworth DFV powered team. Ironically, the new flat-12 engine would become one of the best Formula One engines of the 1970s. Jacky Ickx, Amon's old teammate did return to Ferrari for 1970, after a successful sabbatical with Brabham gained Ickx second in the 1969 World Championship. Ickx saw Enzo Ferrari had secured huge backing from Fiat who had taken partial ownership of the Marque, and believed Ferrari would be a renewed team and an effective proposition. Amon was more influenced by views of Jackie Stewart and Jochen Rindt, who believed it was essential to be Ford DFV-powered to be competitive.
In addition to Formula One, Amon also drove for Ferrari in the 1969 International Championship for Makes, partnering Pedro Rodriguez to a fourth place in the BOAC 500 at Brands Hatch and coming second at the 12 Hours of Sebring, but retiring from the 1000km Nürburgring and 1000km Monza races, all in the Ferrari 312P sportscar. He also drove in a few Can-Am races. His last race for Ferrari would be the 1970 1000 km Monza, where he finished as runner-up.
1970s
1970
For the 1970 Formula One season, Amon made what was to be the first of several moves to smaller, newer teams. March Engineering had been formed the previous year to build custom chassis for Formulas 2 and 3, but quickly moved into F1, designing and building the March 701. Amon and Siffert were signed as drivers, with IndyCar driver Mario Andretti making an occasional appearance in a third car. March also sold their 701 chassis to Tyrrell, where Jackie Stewart drove it to its first victory in that year's Spanish GP.
Amon won the pre-season Silverstone International Trophy, but once the F1 season began he found himself prevented from converting good qualifying positions into good results. He qualified second behind Stewart's Tyrrell-March for the season-opening South African Grand Prix only for his own March to overheat within fourteen laps. Amon then qualified sixth for the Spanish Grand Prix only for his March's Ford-Cosworth DFV engine to expire within ten laps. He qualified and ran second in the 1970 Monaco Grand Prix until his suspension failed twenty laps from the finish. This was the race where Amon refused to drive unless his entry number was changed from 18 – the number under which his then teammate Lorenzo Bandini had crashed and died in Monaco – to 28.
Amon's close second place from a third-place start at the 1970 Belgian Grand Prix finally gave the March works team their first points finish. At that race, Amon set fastest lap at over 152 miles per hour, a lap record which still stands as of 2016, as it was the last race on the full-length Spa-Francorchamps circuit. However, after qualifying fourth for the next race, the Dutch Grand Prix, his car's clutch broke after just one lap. Amon duplicated his Belgian result at the 1970 French Grand Prix,. After a disappointing performance in the British GP at Brands Hatch where Amon finished fifth after being outqualified by tyro Ronnie Peterson in a private 701 on the same tyres, conflict with team boss Max Mosley over the non-delivery of three-quarters of Amon's expected pay for the season saw him provided with inferior DFVs and two backmarker 7th places in Austria and Italy, Amon finished the season strongly with strong drives to third at Mosport, fifth at Watkins Glen and fourth in Mexico. At Watkins Glen in the USGP he was robbed of a probably certain victory, in the opinion of March designer Robin Herd, by a puncture.
By the end of the year, disagreements with March co-founders Mosley and Robin Herd meant that Amon had decided to move to another relatively new team, Matra.
1971
In 1971, Amon, now driving for the Matra factory team, once again scored a pre-season victory, this time at the Argentine Grand Prix. Once the Formula One season had begun, he managed to convert a third-place start at the Spanish GP into a third-place podium finish and scored a couple of fifth places in the South African and French GPs. Apart from these results, however, his run of poor F1 returns continued. He had a major accident at the Nürburgring and it sidelined him for the next race at the Österreichring. At the Italian GP he qualified in pole position and despite a poor start to the race looked as if he would capitalise on it – until the visor on his helmet became detached. Amon had to slow to avoid risking a major accident, thereby allowing other drivers to catch and overtake him. He finished the race in sixth place, scoring just one Championship point.
During the year Amon also competed in the non-championship Questor Grand Prix at the new Ontario Motor Speedway, where he qualified second and, despite suffering a puncture during the race, managed to finish fourth.
In the Tasman Series Amon started from fourth at the Levin Circuit and in the race, he battled with David Oxton and John Cannon but managed to finish third. Amon's third race at Wigram Airfield starting fifth and spun at the start to drop him to the back of the field but managed to climb up to fifth.
1972
In the 1972 Formula One season, Amon, again driving for Matra achieved a handful of points-scoring finishes, but only one podium appearance, at the French GP. Here he achieved the fifth and final pole position of his career and was leading the race until a puncture forced him to pit. However, he climbed back through the field, breaking the circuit's lap record to finish third.
With the money he had made from motorsport, Amon decided to set up a racing engine firm with former BRM engineer Aubrey Woods. Amon Racing Engines supplied Formula 2 engines to a few drivers, but the company quickly became too expensive to run and was sold to March for a loss.
Matra decided to end their participation in Formula One at the end of 1972, so Amon found himself looking to return to March as a driver. The place, however, was given to Jean-Pierre Jarier, purportedly for financial reasons. Amon therefore signed for another recently formed F1 team, Tecno.
1973
Tecno had entered F1 the previous year, having been a successful chassis-builder for other Formulæ and had developed a potentially powerful Flat 12 for F1. Their first year in F1 proved to be dismal, however with considerable backing from Martini Rossi they had jumped at the chance to sign Amon, and allocate David Yorke the former Vanwall and Gulf GT40 Team Manager to run the team and commission two new chassis designs by former Lotus and McLaren mechanic. Alan McCall who had worked on Clark and Hulme's F1 cars and unproven, British designer Gordon Fowell for a more radical back up design, in the hope he would help transform their performance. While McCalls car was built rapidly, testing it was more time-consuming and after its non-appearance, for the Spanish GP, Amon and team manager David Yorke met with Enzo Ferrari to see if Amon could be released from his contract to develop the new Ferrari B3 for Ickx and Mezarrio, in a supposedly one off GP drive at Monaco. Yorke rejected the release, and Amon admits he would not have left Ferrari if offered the drive for a season.
Unfortunately, the team went from bad to worse and wasn't able to field the Tecno PA123/6 until the fifth GP of the season, the Belgian GP. Amon managed to finish in sixth position. At Monaco the car qualified a useful 12th and chassis felt good but Chris was unhappy with the car. He decided to concentrate on the undeveloped Gordon Fowell Goral car. This was against the view of the Techno team and the Pederanzi engine builders and Martini Rossi who required the car and driver to appear at races Amon commented at the time that it was "the best chassis I've ever sat in", it too proved virtually undriveable. Amon refused to drive the McCall, Techno in the Swedish or German Gps and withdrew from the Austrian GP after qualifying. By the time of the Austrian GP, four races from the end of the season, Amon's patience had run out and he left the team. He would later claim that the months he spent with the team "felt like ten [seasons]".
Tyrrell offered Amon a third car – the 005 – in which to drive the last two races of the season. After a mediocre first outing at the Canadian GP, he and Jackie Stewart withdrew from the final race of the year, the United States GP, following the death of their teammate François Cevert during qualifying.
1974
For the 1974 F1 season, Amon revived Chris Amon Racing. Gordon Fowell designed the car, the AF101, which featured a single central fuel tank, titanium torsion bars and a forward driving position. Structurally, however, it proved to be weak and was not ready for an F1 appearance until the fourth race of the season, the Spanish GP. Amon was only able to qualify 23rd, thanks to brake-disc vibration that only became worse with the tyres for the wet race that followed. Despite cautious driving, a brake shaft finally broke and Amon was forced to retire after 22 laps.
Following further work and testing, Amon returned for the Monaco GP and qualified twentieth, but, thanks to mechanical problems, he was unable to start the race. Further problems and illness meant Amon was not able to reappear with the F101 until the Italian GP, three races from the end of the season, but this time he was unable to qualify. That sealed the fate of both the car and Chris Amon Racing, leaving Amon to drive the season's last two races with the faltering BRM team. He would later reveal that he had turned down a chance to join the Brabham team earlier in the season.
1975
Amon contested the 1975 F5000 Tasman series against only local Australasian drivers, although Graham McRae, Warwick Brown and Kevin Bartlett were acknowledged internationally. Amon qualified on the front row of three of the four New Zealand rounds and scored a victory at Teretonga in January 1975 in rainy conditions by 24.2 seconds. In the Australian rounds, the competition was always harder with more good cars and the locals on their own tracks. Amon had a frustrating series of races unable to pass, South Australian Johnnie Walker, in a superior Lola T332 chassis with Repco-engineered V8. At Surfers Paradise, running from the back of the grid he managed to eventually pass Walker by widening the braking zone in the only corner where overtaking was usually possible. Amon brushed the edge of the track on repeated laps, got extra grip and passed Walker to take the lead. He had been forced to miss most of the practice session, when Customs seized his car's gearbox. In the race, the brilliant effort went for nothing as the Chev engine blew. At Oran Park and Adelaide he followed Walker the whole way to 4th and 3rd unable to pass. In the final deciding race for the Tasman Series with Brown, Walker and Lawrence still in contention, Walker lost his T332 on the first lap and it demolished on wooden barriers surrounding Sandown's car and horse racing tracks. Amon was never in contention and finished 4th. Amon intended to compete in F5000 in both Europe and the US in 1975 but started in only one round of both series, managing a pole in one Shellsport round in the UK and a 4th place overall at the Long Beach GP in a two heat race. He used different Talon F5000 cars for both races. The speed he showed in qualifying for a couple of UK F5000 races encouraged the small Ensign team to give him a race. Mo Nunn the Ensign team owner had been a Lotus F3 driver in 1966 and the Dave Baldwin designed chassis was in many ways a lightweight Lotus F1, which Ronnie Peterson wanted to test in 1975 out of frustration with his old 72 and which could have been used by Colin Chapman had he not decided to concentrate on developing chassis which would use ground effect technology, the Lotus 77 design for 1976 which was in many ways a test vehicle for the development of concepts, including the de facto legalisation of technology like plastic sliding skirts, introduced on Andretti's 77 from the 1976 Canadian Grand Prix, that would be used in future Lotus wing cars the Lotus 78 and Lotus 79.
Apart from these successes, Amon's racing career seemed once again to have stalled. Apparently a chance meeting with Mo Nunn of Ensign Racing led to the Ensign drive, but in fact Mo Nunn thought his new N175 a very fast car and did not view the two Dutch drivers favoured by the Dutch HB Security company who sponsored Ensign fast enough. Gijs van Lennep, the 1973 European F5000 Champion in a Surtees TS11 who had won Le Mans in 1971 and 1976 was a very good driver but also one of the last racing aristocrats. Van Lennep, qualified the car on its debut in the French GP at Paul Ricard and finished 6th in the German GP at Nürburgring, and was faster on both circuits than Patrick Nève or Amon were in 1976. Amon managed 7th in the non-championship Swiss GP at Dijon chasing James Hunt debuting the disappointing Hesketh 308C and 12th in two GP drives in the Ensign N175 at the Austrian and Italian GPs. At Monza after a long pit stop he finally ran at competitive pace, running 4 laps down but keeping pace with the leading Ferrari 312T of Niki Lauda for a number of laps. Progressive evaluation of the possibilities of what was slowing the N175 led Amon to change the airbox alignment on the day of the Italian GP and this resulted in a 2-second gain (much like the change in air cooler position that lost and gained two seconds on Hunt's McLaren M23 resolved by the 1976 French GP). Ironically Amon never raced the N175 again and the high airboxes had been banned by the time N176 ran at Jarama the following year, but the flash of testing and driving genius was enough to give Amon another chance. Although the results were unremarkable, he and Nunn worked well together, so Amon joined Ensign for the 1976 F1 season.
1976
Ensign's first race of the season was the South African GP where Amon qualified 18th and showed a revival of form, climbing to seventh place, in the old Ensign N174 and contesting sixth with Mario Andretti in the Parnelli Ford, in the last laps before a last minute refueling stop left him 14th. Thereafter results began to improve, with Amon qualifying 17th and finishing eighth in the USA West GP; qualifying tenth and finishing fifth in the Spanish GP; and then qualifying eighth for the Belgian GP. More points then seemed likely from the race until his car lost a wheel 19 laps from the finish and Amon was lucky to escape unhurt from the ensuing accident. He then achieved a third-place grid position start for the Swedish GP using a Nicholson rebuilt Cosworth for the first time and in the race looked as if he would join Tyrrell drivers Jody Scheckter and Patrick Depailler on the podium, until suspension failure threw him from the track after 38 laps.
Amon had again been lucky to escape serious injury and decided to miss the next race, the French GP. He returned for the British GP, qualifying in sixth and running fourth in the race when his Ford-Cosworth DFV engine developed a water leak. Rather than risk losing an engine, his team called him in to retire.
At the German GP problems dogged his attempts to qualify well, but it was Niki Lauda's crash during the second lap of the race that had a far greater impact. Amon refused to restart the race and Nunn fired him from the team. Amon declared his retirement from the sport and returned to New Zealand.
"I'd seen too many people fried in racing cars at that stage. When you've driven past Bandini, Schlesser, Courage and Williamson, another shunt like that was simply too much. It was a personal decision..."
(Amon, on his retirement in 1976)However, Walter Wolf contacted Amon and persuaded him to drive for his Wolf–Williams team in the North American races near the end of the season. After recording some promising times in preparation for the Canadian GP, however, Amon was involved in a heavy collision with another car during qualifying and once again was lucky to walk away unharmed. He then did not take part in either the Canadian or United States Grands Prix.
1977
Amon turned down an offer of a full-time F1 drive for 1977, but did attempt a return to Can-Am racing in 1977 with a Wolf-Dallara WD1. However, after only one race he quit, saying "I'm just not enjoying this anymore". His place was taken by the young and then unknown Canadian Gilles Villeneuve, whom Amon would, later that year, recommend to Enzo Ferrari.
In the meantime, Amon returned once again to New Zealand, this time to retire from F1 motor racing for good.
2000s
2003
Amon came out of retirement for a one-off appearance in the 2003 Dunlop Targa New Zealand with motorsport commentator Murray Walker as his navigator. The pair completed the week-long Auckland to Wellington Tarmac Rally in a Toyota Camry Sportivo, the same car previously used by Walker and Colin Bond in Australia's Targa Tasmania.
Retirement
After his retirement from F1, Amon dedicated himself to running the family farm in New Zealand's Manawatu District for many years. After retiring from farming, he lived in Taupo in New Zealand's North Island. In the early 1980s he became more well known in New Zealand from test-driving vehicles on the TV motoring series Motor Show and later consulted for Toyota New Zealand, tuning the 1984 Toyota Corolla and subsequent cars for sale there. He also appeared in TV commercials for the company, where much was made of the acclaim he won from Enzo Ferrari. Amon participated in the 2004 EnergyWise Rally where he won ahead of Brian Cowan. Amon drove a Toyota Prius for the event.
In the 1993 Queen's Birthday Honours, Amon was appointed a Member of the Order of the British Empire, for services to motor sport.
Amon was involved in the design of the upgraded Taupo Motorsport Park circuit, used for the New Zealand round of the 2006–07 A1 Grand Prix season in January 2007. At the New Zealand Festival of Motor Racing in 2011, Amon's life and career were honoured with a selection of his cars being driven and also used the event to raise funds for the Bruce McLaren trust. Amon was also honoured at the festival in January 2013.
Death
Amon died in Rotorua Hospital on 3 August 2016, aged 73, of cancer. He was survived by his wife (they married in 1977) their three children and their grandchildren. One of his sons, James, is a qualified High Performance personal trainer. He trained Central Districts Stags cricket team, and was revealed to be Brendon Hartley's personal trainer.
Legacy
Despite never winning a championship Formula One Grand Prix, Amon won eight non-championship GPs, the Silverstone International Trophy, the 1000 km Monza, the Daytona 24 Hours, the Tasman Series and, perhaps most significant of all, the famous 24 Heures du Mans (alongside Bruce McLaren). These races included many of Amon's otherwise more successful fellow Formula One drivers. Amon also remains the only driver from New Zealand and Oceania to have raced for Scuderia Ferrari in Formula One.
In Formula One, Chris Amon took part in 96 Grands Prix, achieving 5 poles, leading 183 laps in 7 races, reaching the podium 11 times and scoring a total of 83 Championship points. Amon holds the record for the most different makes of car raced by a Formula 1 World Championship driver, with thirteen. A biography Forza Amon by journalist Eoin Young charts Amon's racing career and gives some insights into his personal life. The book makes clear one point on which Amon himself disagrees with most commentators, the issue of his bad luck. Amon has pointed out on several occasions that he competed for a decade and a half in Formula One and survived some serious accidents, notably in 1976, whilst others, including friends like Bruce McLaren, suffered serious injury and death. In 2008, motorsport journalist Alan Henry rated Chris Amon as his 13th greatest driver.
Reflecting on the 1968 racing death of Jim Clark, Amon said: "If this can happen to Jimmy, what chance do the rest of us have? I think we all felt that. It seemed like we'd lost our leader." In 1995, Amon was inducted into the New Zealand Sports Hall of Fame.
Amon's name has been given to the Toyota Racing Series driver's championship trophy, and the International Scholarship to support drivers who win his trophy to further their careers in single-seater racing. The Toyota Racing Series serves as motorsport's version of "winter ball" in New Zealand during January and February. Following his death, his name was also lent to the Manfeild Autocourse in Feilding, Manawatu.
Racing record
Formula One World Championship results
(key) (Races in bold indicate pole position; races in italics indicate fastest lap)
Non-Championship Formula One results
(key) (Races in bold indicate pole position; races in italics indicate fastest lap)
Complete Tasman Series results
(key) (Races in bold indicate pole position; races in italics indicate fastest lap)
Complete 24 Hours of Le Mans results
References
External links
Bruce McLaren Trust Official site
Trio At The Top – a documentary about Bruce McLaren, Denny Hulme and Chris Amon on NZ On Screen
Chris Amon 8W-Forix; Tom Prankard; 1 October 2000
New Zealand racing drivers
New Zealand Formula One drivers
Amon Formula One drivers
BRM Formula One drivers
Cooper Formula One drivers
Ensign Formula One drivers
Ferrari Formula One drivers
March Formula One drivers
Matra Formula One drivers
Reg Parnell Racing Formula One drivers
Tecno Formula One drivers
Tyrrell Formula One drivers
Williams Formula One drivers
Formula One team owners
24 Hours of Le Mans drivers
24 Hours of Le Mans winning drivers
12 Hours of Reims drivers
24 Hours of Daytona drivers
World Sportscar Championship drivers
Tasman Series drivers
New Zealand Members of the Order of the British Empire
People from Bulls
1943 births
2016 deaths | true | [
"Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\n\nKobylinec and Ptáčovský kopeček\n\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\n\nPonds\n\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\n\nSyenitové skály near Pocoucov\n\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\n\nExternal links\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\n\nReferences\n\nExternal links\nNature near the village Trnava which is there\n\nTřebíč\nParks in the Czech Republic\nTourist attractions in the Vysočina Region",
"Damn Interesting is an independent website founded by Alan Bellows in 2005. The website presents true stories from science, history, and psychology, primarily as long-form articles, often illustrated with original artwork. Works are written by various authors, and published at irregular intervals. The website openly rejects advertising, relying on reader and listener donations to cover operating costs.\n\nAs of October 2012, each article is also published as a podcast under the same name. In November 2019, a second podcast was launched under the title Damn Interesting Week, featuring unscripted commentary on an assortment of news articles featured on the website's \"Curated Links\" section that week. In mid-2020, a third podcast called Damn Interesting Curio Cabinet began highlighting the website's periodic short-form articles in the same radioplay format as the original podcast.\n\nIn July 2009, Damn Interesting published the print book Alien Hand Syndrome through Workman Publishing. It contains some favorites from the site and some exclusive content.\n\nAwards and recognition \nIn August 2007, PC Magazine named Damn Interesting one of the \"Top 100 Undiscovered Web Sites\".\nThe article \"The Zero-Armed Bandit\" by Alan Bellows won a 2015 Sidney Award from David Brooks in The New York Times.\nThe article \"Ghoulish Acts and Dastardly Deeds\" by Alan Bellows was cited as \"nonfiction journalism from 2017 that will stand the test of time\" by Conor Friedersdorf in The Atlantic.\nThe article \"Dupes and Duplicity\" by Jennifer Lee Noonan won a 2020 Sidney Award from David Brooks in the New York Times.\n\nAccusing The Dollop of plagiarism \n\nOn July 9, 2015, Bellows posted an open letter accusing The Dollop, a comedy podcast about history, of plagiarism due to their repeated use of verbatim text from Damn Interesting articles without permission or attribution. Dave Anthony, the writer of The Dollop, responded on reddit, admitting to using Damn Interesting content, but claiming that the use was protected by fair use, and that \"historical facts are not copyrightable.\" In an article about the controversy on Plagiarism Today, Jonathan Bailey concluded, \"Any way one looks at it, The Dollop failed its ethical obligations to all of the people, not just those writing for Damn Interesting, who put in the time, energy and expertise into writing the original content upon which their show is based.\"\n\nReferences\n\nExternal links \n Official website\n\n2005 podcast debuts"
] | [
"Christopher Arthur Amon (20 July 1943 – 3 August 2016) was a New Zealand motor racing driver. He was active in Formula One racing in the 1960s and 1970s and is widely regarded as one of the best F1 drivers never to win a championship Grand Prix.",
"He was active in Formula One racing in the 1960s and 1970s and is widely regarded as one of the best F1 drivers never to win a championship Grand Prix. His reputation for bad luck was such that fellow driver Mario Andretti once joked that \"if he became an undertaker, people would stop dying\".",
"His reputation for bad luck was such that fellow driver Mario Andretti once joked that \"if he became an undertaker, people would stop dying\". Former Ferrari Technical Director Mauro Forghieri stated that Amon was \"by far the best test driver I have ever worked with.",
"Former Ferrari Technical Director Mauro Forghieri stated that Amon was \"by far the best test driver I have ever worked with. He had all the qualities to be a World Champion but bad luck just wouldn't let him be\". Apart from driving, Chris Amon also ran his own Formula One team for a short period in 1974.",
"Apart from driving, Chris Amon also ran his own Formula One team for a short period in 1974. Away from Formula One, Amon had some success in sports car racing, teaming with co-driver Bruce McLaren to win the 24 Hours of Le Mans race in . Early life Amon was born in Bulls, and attended Whanganui Collegiate School.",
"Early life Amon was born in Bulls, and attended Whanganui Collegiate School. He was the only child of wealthy sheep-owners Ngaio and Betty Amon. He learned to drive at the age of six, taught by a farm worker on the family farm.",
"He learned to drive at the age of six, taught by a farm worker on the family farm. On leaving school, he persuaded his father to buy him an Austin A40 Special, which he entered in some minor local races and hillclimbs along with practice on the family farm.",
"On leaving school, he persuaded his father to buy him an Austin A40 Special, which he entered in some minor local races and hillclimbs along with practice on the family farm. He progressed to a 1.5-litre Cooper and then an old 2.5-litre Maserati 250F, but only began to draw attention when he drove the Cooper-Climax T51 which Bruce McLaren had used to win his maiden Grand Prix.",
"He progressed to a 1.5-litre Cooper and then an old 2.5-litre Maserati 250F, but only began to draw attention when he drove the Cooper-Climax T51 which Bruce McLaren had used to win his maiden Grand Prix. In 1962 Amon entered the Cooper for the New Zealand winter series, but was hampered by mechanical problems.",
"In 1962 Amon entered the Cooper for the New Zealand winter series, but was hampered by mechanical problems. However, Scuderia Veloce entered him in a similar car, and, in the rain at Lakeside, he performed well.",
"However, Scuderia Veloce entered him in a similar car, and, in the rain at Lakeside, he performed well. One of the spectators there was the English racing driver Reg Parnell who persuaded Amon to come to England and race for his team.",
"One of the spectators there was the English racing driver Reg Parnell who persuaded Amon to come to England and race for his team. In a test at Goodwood Amon continued to impress and was on the pace in the Goodwood International Trophy and Aintree 200 pre-season races.",
"In a test at Goodwood Amon continued to impress and was on the pace in the Goodwood International Trophy and Aintree 200 pre-season races. Racing career 1960s 1963 For the 1963 Formula One season the Parnell team were using the year old Lola Mk4A, powered by 1962 specification Climax V8 engines.",
"Racing career 1960s 1963 For the 1963 Formula One season the Parnell team were using the year old Lola Mk4A, powered by 1962 specification Climax V8 engines. Amon was teamed with the very experienced Maurice Trintignant for the first race of the season at Monaco and his Grand Prix career started with what was to become typical bad luck: Trintignant's Climax developed a misfire, so he took over Amon's car.",
"Amon was teamed with the very experienced Maurice Trintignant for the first race of the season at Monaco and his Grand Prix career started with what was to become typical bad luck: Trintignant's Climax developed a misfire, so he took over Amon's car. At the 1963 Belgian Grand Prix, Amon was partnered by Lucien Bianchi and started ahead of him from 15th position.",
"At the 1963 Belgian Grand Prix, Amon was partnered by Lucien Bianchi and started ahead of him from 15th position. After nine laps, however, an oil fire ended his race.",
"After nine laps, however, an oil fire ended his race. He continued to experience mechanical problems at the Dutch, Mexican and German Grands Prix; and after an accident in practice for the Italian Grand Prix left him hanging out of his car's cockpit with three broken ribs, he missed both the Italian and United States rounds.",
"He continued to experience mechanical problems at the Dutch, Mexican and German Grands Prix; and after an accident in practice for the Italian Grand Prix left him hanging out of his car's cockpit with three broken ribs, he missed both the Italian and United States rounds. Amon usually qualified in the midfield and generally outpaced his teammates, who included his good friend Mike Hailwood.",
"Amon usually qualified in the midfield and generally outpaced his teammates, who included his good friend Mike Hailwood. His best results of the year were seventh at the French and British Grands Prix. During this time, however, Amon's social life was attracting as much attention as his driving.",
"During this time, however, Amon's social life was attracting as much attention as his driving. He was a member of the Ditton Road Flyers, the social set named after the road in London where Amon shared an apartment with American Peter Revson, Hailwood and Tony Maggs.",
"He was a member of the Ditton Road Flyers, the social set named after the road in London where Amon shared an apartment with American Peter Revson, Hailwood and Tony Maggs. Parnell was nonetheless impressed with Amon's results in what was regarded as less-than-competitive machinery and promoted him to team leader.",
"Parnell was nonetheless impressed with Amon's results in what was regarded as less-than-competitive machinery and promoted him to team leader. Parnell died from peritonitis in January 1964 and his son Tim took over the team. 1964 In a series of four pre-season races in Britain and Italy, Amon recorded three fifth places at Snetterton, Silverstone and Syracuse.",
"1964 In a series of four pre-season races in Britain and Italy, Amon recorded three fifth places at Snetterton, Silverstone and Syracuse. He failed to qualify for the first F1 race of the season, the Monaco GP, but at the next race, the Dutch GP, he scored his first World Championship points.",
"He failed to qualify for the first F1 race of the season, the Monaco GP, but at the next race, the Dutch GP, he scored his first World Championship points. The rest of his season, however, was blighted by mechanical problems.",
"The rest of his season, however, was blighted by mechanical problems. 1965 Parnell was offered BRM engines for 1965, but only if it ran Richard Attwood as its regular driver. Reluctantly, Parnell agreed and Attwood took Amon's place.",
"Reluctantly, Parnell agreed and Attwood took Amon's place. Spotting an opportunity, Bruce McLaren quickly signed Amon for his new McLaren team, but when no second McLaren F1 car materialised, Amon could only drive in sports car races. At the French GP Amon rejoined Parnell to stand in for an injured Attwood.",
"At the French GP Amon rejoined Parnell to stand in for an injured Attwood. Amon also competed in a Formula Two race in Stuttgart and won. He returned to Germany for the German GP as second Parnell driver, but mechanical failure again forced an early retirement.",
"He returned to Germany for the German GP as second Parnell driver, but mechanical failure again forced an early retirement. His last drive before Attwood's return, a non-championship race in Enna, Sicily, also ended in retirement. 1966 During 1966 Amon continued to race for McLaren in Can-Am.",
"1966 During 1966 Amon continued to race for McLaren in Can-Am. He was intended to drive the second McLaren M2B but difficulties with engine supply meant that the team never made the intended expansion to two cars.",
"He was intended to drive the second McLaren M2B but difficulties with engine supply meant that the team never made the intended expansion to two cars. (James Garner's character Pete Aron's helmet and car livery in the film Grand Prix were modelled on Amon driving a McLaren, which caused the movie makers to have to encourage other cars to be painted in the 'Yamura' colours and other drivers (Bruce McLaren included) to wear Amon-style helmets.)",
"(James Garner's character Pete Aron's helmet and car livery in the film Grand Prix were modelled on Amon driving a McLaren, which caused the movie makers to have to encourage other cars to be painted in the 'Yamura' colours and other drivers (Bruce McLaren included) to wear Amon-style helmets.) However, an opportunity arose to drive for the Cooper F1 team after Richie Ginther left them for Honda.",
"However, an opportunity arose to drive for the Cooper F1 team after Richie Ginther left them for Honda. Amon drove for Cooper at the French GP and was scheduled to drive for them for the rest of the season, until the more successful John Surtees left Scuderia Ferrari to join Cooper and Amon found himself dropped.",
"Amon drove for Cooper at the French GP and was scheduled to drive for them for the rest of the season, until the more successful John Surtees left Scuderia Ferrari to join Cooper and Amon found himself dropped. Amon made one other F1 appearance during the year, driving a Brabham BT11 powered by an old 2-litre BRM engine at the Italian GP under the banner of \"Chris Amon Racing\".",
"Amon made one other F1 appearance during the year, driving a Brabham BT11 powered by an old 2-litre BRM engine at the Italian GP under the banner of \"Chris Amon Racing\". He failed to qualify.",
"He failed to qualify. He failed to qualify. Amon did however, score his biggest success to date when he partnered Bruce McLaren in a 7-litre Ford GT40 Mark II and Ken Miles to Ford's dead-heat \"photo-finish\" after Miles was instructed to slow down despite leading at the Le Mans 24-hour race, spearheading a formation finish.",
"Amon did however, score his biggest success to date when he partnered Bruce McLaren in a 7-litre Ford GT40 Mark II and Ken Miles to Ford's dead-heat \"photo-finish\" after Miles was instructed to slow down despite leading at the Le Mans 24-hour race, spearheading a formation finish. He subsequently received an invitation to meet Enzo Ferrari at the Ferrari home in Maranello, where he signed to race for Ferrari in 1967 alongside Lorenzo Bandini, Mike Parkes and Ludovico Scarfiotti.",
"He subsequently received an invitation to meet Enzo Ferrari at the Ferrari home in Maranello, where he signed to race for Ferrari in 1967 alongside Lorenzo Bandini, Mike Parkes and Ludovico Scarfiotti. 1967 Amon's first year with Ferrari did not begin auspiciously.",
"1967 Amon's first year with Ferrari did not begin auspiciously. En route to Brands Hatch for the pre-season Formula One Race of Champions, he crashed his road car and, following race practice, had to withdraw.",
"En route to Brands Hatch for the pre-season Formula One Race of Champions, he crashed his road car and, following race practice, had to withdraw. Tragedy then struck the Ferrari team when Bandini died following a crash during the 1967 Monaco Grand Prix, Mike Parkes broke both his legs at the Belgian Grand Prix and, in the aftermath, Ludovico Scarfiotti went into temporary retirement.",
"Tragedy then struck the Ferrari team when Bandini died following a crash during the 1967 Monaco Grand Prix, Mike Parkes broke both his legs at the Belgian Grand Prix and, in the aftermath, Ludovico Scarfiotti went into temporary retirement. Amon, therefore, became Ferrari's only driver for the rest of the season, until joined by Jonathan Williams for the final race in Mexico.",
"Amon, therefore, became Ferrari's only driver for the rest of the season, until joined by Jonathan Williams for the final race in Mexico. Amon scored his first podium in his first official outing for the Scuderia in Monaco and at the end of 1967 had achieved four third places finishing fifth in the Drivers' Championship, in what was going to be the most successful season of his career.",
"Amon scored his first podium in his first official outing for the Scuderia in Monaco and at the end of 1967 had achieved four third places finishing fifth in the Drivers' Championship, in what was going to be the most successful season of his career. Amon's Ferrari contract also included sports car racing and he began 1967 by winning the Daytona 24 Hours and 1000km Monza events with Bandini in the 4-litre Ferrari 330-P4.",
"Amon's Ferrari contract also included sports car racing and he began 1967 by winning the Daytona 24 Hours and 1000km Monza events with Bandini in the 4-litre Ferrari 330-P4. He finished the year partnering Jackie Stewart to a second place at the BOAC 500, thereby clinching the manufacturer's world championship for Ferrari by one point over Porsche.",
"He finished the year partnering Jackie Stewart to a second place at the BOAC 500, thereby clinching the manufacturer's world championship for Ferrari by one point over Porsche. 1968 1968 was the year aerodynamics first played a significant role in F1 car design and Amon worked with engineer Mauro Forghieri to place aerofoils on the Ferrari 312.",
"1968 1968 was the year aerodynamics first played a significant role in F1 car design and Amon worked with engineer Mauro Forghieri to place aerofoils on the Ferrari 312. In January 1968 Amon had returned home to New Zealand and Australia to compete in the 1968 Tasman Series which was used by many of the top Formula One drivers as a warm up series to the World Championship.",
"In January 1968 Amon had returned home to New Zealand and Australia to compete in the 1968 Tasman Series which was used by many of the top Formula One drivers as a warm up series to the World Championship. Ferrari had been interested in the series for several years and in 1965 had reengineered 2.4 Dino engines used by Mike Hawthorn, Peter Collins and Phil Hill in 1958–60 with more torque and mid speed power for the planned use of team leader Surtees in the 1966 Tasman Series.",
"Ferrari had been interested in the series for several years and in 1965 had reengineered 2.4 Dino engines used by Mike Hawthorn, Peter Collins and Phil Hill in 1958–60 with more torque and mid speed power for the planned use of team leader Surtees in the 1966 Tasman Series. After a late season crash in US Can-Am racing by Surtees, the entry was withdrawn but consideration was given to using NZ Gold star champion Jim Palmer in a semi-works Ferrari entry in the 1967 Tasman Series as it was viewed in a 2.4 car he would be competitive with Clark and Stewart in 2-litre F1 cars.",
"After a late season crash in US Can-Am racing by Surtees, the entry was withdrawn but consideration was given to using NZ Gold star champion Jim Palmer in a semi-works Ferrari entry in the 1967 Tasman Series as it was viewed in a 2.4 car he would be competitive with Clark and Stewart in 2-litre F1 cars. Palmer had run world-class times in the 1966 Tasman Series, particularly in the Pukekohe practice and Longford race, and was tested in Italy at the same time as Amon by Ferrari, and ran competitive times at Modena but for whatever reason Ferrari did not compete in 1967 series.",
"Palmer had run world-class times in the 1966 Tasman Series, particularly in the Pukekohe practice and Longford race, and was tested in Italy at the same time as Amon by Ferrari, and ran competitive times at Modena but for whatever reason Ferrari did not compete in 1967 series. For the 1968 series Ferrari decided to use the 2.4 engines with a new Dino 166 F2 chassis rather than a downsized 3-litre V12.",
"For the 1968 series Ferrari decided to use the 2.4 engines with a new Dino 166 F2 chassis rather than a downsized 3-litre V12. Using the 246T Amon won the first two rounds of the Tasman Series, including the 1968 New Zealand Grand Prix, before narrowly losing the series to the Lotus-Ford of Jim Clark.",
"Using the 246T Amon won the first two rounds of the Tasman Series, including the 1968 New Zealand Grand Prix, before narrowly losing the series to the Lotus-Ford of Jim Clark. The Dino 246 Tasmania was better handling than Clark's Lotus 49T which was still wingless and a difficult proposition.",
"The Dino 246 Tasmania was better handling than Clark's Lotus 49T which was still wingless and a difficult proposition. Impressed by Amon's driving in the NZ rounds, Ferrari dispatched a new four-valve version of the 2.4 V6 for the Australian rounds and this gave another 15 hp, but with lesser reliability which, combined with the fact Clark was the best driver in the world at the time, cost Amon the series, although in the final round at Sandown Park he duelled wheel to wheel with Clark before being pipped at the line.",
"Impressed by Amon's driving in the NZ rounds, Ferrari dispatched a new four-valve version of the 2.4 V6 for the Australian rounds and this gave another 15 hp, but with lesser reliability which, combined with the fact Clark was the best driver in the world at the time, cost Amon the series, although in the final round at Sandown Park he duelled wheel to wheel with Clark before being pipped at the line. After the first race of the F1 season in South Africa, Amon achieved pole positions in three of the following four races (at the Spanish, Belgian and Dutch Grands Prix) but ever-present mechanical problems meant he secured only a single Championship point from them.",
"After the first race of the F1 season in South Africa, Amon achieved pole positions in three of the following four races (at the Spanish, Belgian and Dutch Grands Prix) but ever-present mechanical problems meant he secured only a single Championship point from them. Throughout the rest of the season he never qualified lower than fifth place and nearly scored victories at the British and Canadian rounds and he suffered a 100 mph crash in Italy which demolished his car.",
"Throughout the rest of the season he never qualified lower than fifth place and nearly scored victories at the British and Canadian rounds and he suffered a 100 mph crash in Italy which demolished his car. In Britain, he duelled to the line with Jo Siffert's Lotus 49B and in Canada he dominated the race despite a malfunctioning clutch.",
"In Britain, he duelled to the line with Jo Siffert's Lotus 49B and in Canada he dominated the race despite a malfunctioning clutch. Seventeen laps from the finish, however, his car's transmission failed and a distraught Amon had to be consoled by Jacky Ickx.",
"Seventeen laps from the finish, however, his car's transmission failed and a distraught Amon had to be consoled by Jacky Ickx. From at least ten promising starts that season he was only able to finish five races and score ten Championship points. His best finish was second place to Siffert's Lotus-Cosworth at the British Grand Prix.",
"His best finish was second place to Siffert's Lotus-Cosworth at the British Grand Prix. Outside F1, Amon was runner-up in the Formula Two race at Zolder, Belgium, testing the Dino 166 F2. He also came third in that year's BRDC International Trophy.",
"He also came third in that year's BRDC International Trophy. 1969 Amon began 1969 with success driving the Dino engined 246 Tasmania in the Tasman Series that included winning both the New Zealand and Australian Grands Prix.",
"1969 Amon began 1969 with success driving the Dino engined 246 Tasmania in the Tasman Series that included winning both the New Zealand and Australian Grands Prix. In straight fights, he beat new Gold Leaf Lotus team leader, Jochen Rindt, into second in the races at Pukekohe and Sandown.",
"In straight fights, he beat new Gold Leaf Lotus team leader, Jochen Rindt, into second in the races at Pukekohe and Sandown. He would ultimately win the seven race Tasman Series, probably the best of the seven-year 2.5-litre international formula series in this country and the nearest to World Championship level racing in New Zealand, with ferocious competition between Rindt, Graham Hill, Amon and Williams driver Piers Courage.",
"He would ultimately win the seven race Tasman Series, probably the best of the seven-year 2.5-litre international formula series in this country and the nearest to World Championship level racing in New Zealand, with ferocious competition between Rindt, Graham Hill, Amon and Williams driver Piers Courage. It was actually much more serious racing than the McLaren dominated Can-Am series in the US in which the big sports cars required few gear changes and were essentially cruised to victory with little real competition, where the Tasman cars were essentially marginally lower power F1 cars, as difficult to drive as GP cars on unforgiving very dangerous narrow tracks.",
"It was actually much more serious racing than the McLaren dominated Can-Am series in the US in which the big sports cars required few gear changes and were essentially cruised to victory with little real competition, where the Tasman cars were essentially marginally lower power F1 cars, as difficult to drive as GP cars on unforgiving very dangerous narrow tracks. Amon finished with four wins, two-thirds and one retirement, but in Formula One his poor luck continued.",
"Amon finished with four wins, two-thirds and one retirement, but in Formula One his poor luck continued. Despite six starts from top-six positions, he was only able to achieve a third-place at the Dutch GP.",
"Despite six starts from top-six positions, he was only able to achieve a third-place at the Dutch GP. Ferrari's F1 V12 engine was too unreliable and although its replacement had proven very fast in testing, it had suffered many mechanical breakages.",
"Ferrari's F1 V12 engine was too unreliable and although its replacement had proven very fast in testing, it had suffered many mechanical breakages. Amon had no reason to believe it would be any more dependable than the V12, so although the new engine was clearly more powerful, he decided to leave Ferrari for a Cosworth DFV powered team.",
"Amon had no reason to believe it would be any more dependable than the V12, so although the new engine was clearly more powerful, he decided to leave Ferrari for a Cosworth DFV powered team. Ironically, the new flat-12 engine would become one of the best Formula One engines of the 1970s.",
"Ironically, the new flat-12 engine would become one of the best Formula One engines of the 1970s. Jacky Ickx, Amon's old teammate did return to Ferrari for 1970, after a successful sabbatical with Brabham gained Ickx second in the 1969 World Championship.",
"Jacky Ickx, Amon's old teammate did return to Ferrari for 1970, after a successful sabbatical with Brabham gained Ickx second in the 1969 World Championship. Ickx saw Enzo Ferrari had secured huge backing from Fiat who had taken partial ownership of the Marque, and believed Ferrari would be a renewed team and an effective proposition.",
"Ickx saw Enzo Ferrari had secured huge backing from Fiat who had taken partial ownership of the Marque, and believed Ferrari would be a renewed team and an effective proposition. Amon was more influenced by views of Jackie Stewart and Jochen Rindt, who believed it was essential to be Ford DFV-powered to be competitive.",
"Amon was more influenced by views of Jackie Stewart and Jochen Rindt, who believed it was essential to be Ford DFV-powered to be competitive. In addition to Formula One, Amon also drove for Ferrari in the 1969 International Championship for Makes, partnering Pedro Rodriguez to a fourth place in the BOAC 500 at Brands Hatch and coming second at the 12 Hours of Sebring, but retiring from the 1000km Nürburgring and 1000km Monza races, all in the Ferrari 312P sportscar.",
"In addition to Formula One, Amon also drove for Ferrari in the 1969 International Championship for Makes, partnering Pedro Rodriguez to a fourth place in the BOAC 500 at Brands Hatch and coming second at the 12 Hours of Sebring, but retiring from the 1000km Nürburgring and 1000km Monza races, all in the Ferrari 312P sportscar. He also drove in a few Can-Am races.",
"He also drove in a few Can-Am races. His last race for Ferrari would be the 1970 1000 km Monza, where he finished as runner-up. 1970s 1970 For the 1970 Formula One season, Amon made what was to be the first of several moves to smaller, newer teams.",
"1970s 1970 For the 1970 Formula One season, Amon made what was to be the first of several moves to smaller, newer teams. March Engineering had been formed the previous year to build custom chassis for Formulas 2 and 3, but quickly moved into F1, designing and building the March 701.",
"March Engineering had been formed the previous year to build custom chassis for Formulas 2 and 3, but quickly moved into F1, designing and building the March 701. Amon and Siffert were signed as drivers, with IndyCar driver Mario Andretti making an occasional appearance in a third car.",
"Amon and Siffert were signed as drivers, with IndyCar driver Mario Andretti making an occasional appearance in a third car. March also sold their 701 chassis to Tyrrell, where Jackie Stewart drove it to its first victory in that year's Spanish GP.",
"March also sold their 701 chassis to Tyrrell, where Jackie Stewart drove it to its first victory in that year's Spanish GP. Amon won the pre-season Silverstone International Trophy, but once the F1 season began he found himself prevented from converting good qualifying positions into good results.",
"Amon won the pre-season Silverstone International Trophy, but once the F1 season began he found himself prevented from converting good qualifying positions into good results. He qualified second behind Stewart's Tyrrell-March for the season-opening South African Grand Prix only for his own March to overheat within fourteen laps.",
"He qualified second behind Stewart's Tyrrell-March for the season-opening South African Grand Prix only for his own March to overheat within fourteen laps. Amon then qualified sixth for the Spanish Grand Prix only for his March's Ford-Cosworth DFV engine to expire within ten laps.",
"Amon then qualified sixth for the Spanish Grand Prix only for his March's Ford-Cosworth DFV engine to expire within ten laps. He qualified and ran second in the 1970 Monaco Grand Prix until his suspension failed twenty laps from the finish.",
"He qualified and ran second in the 1970 Monaco Grand Prix until his suspension failed twenty laps from the finish. This was the race where Amon refused to drive unless his entry number was changed from 18 – the number under which his then teammate Lorenzo Bandini had crashed and died in Monaco – to 28.",
"This was the race where Amon refused to drive unless his entry number was changed from 18 – the number under which his then teammate Lorenzo Bandini had crashed and died in Monaco – to 28. Amon's close second place from a third-place start at the 1970 Belgian Grand Prix finally gave the March works team their first points finish.",
"Amon's close second place from a third-place start at the 1970 Belgian Grand Prix finally gave the March works team their first points finish. At that race, Amon set fastest lap at over 152 miles per hour, a lap record which still stands as of 2016, as it was the last race on the full-length Spa-Francorchamps circuit.",
"At that race, Amon set fastest lap at over 152 miles per hour, a lap record which still stands as of 2016, as it was the last race on the full-length Spa-Francorchamps circuit. However, after qualifying fourth for the next race, the Dutch Grand Prix, his car's clutch broke after just one lap.",
"However, after qualifying fourth for the next race, the Dutch Grand Prix, his car's clutch broke after just one lap. Amon duplicated his Belgian result at the 1970 French Grand Prix,.",
"Amon duplicated his Belgian result at the 1970 French Grand Prix,. After a disappointing performance in the British GP at Brands Hatch where Amon finished fifth after being outqualified by tyro Ronnie Peterson in a private 701 on the same tyres, conflict with team boss Max Mosley over the non-delivery of three-quarters of Amon's expected pay for the season saw him provided with inferior DFVs and two backmarker 7th places in Austria and Italy, Amon finished the season strongly with strong drives to third at Mosport, fifth at Watkins Glen and fourth in Mexico.",
"After a disappointing performance in the British GP at Brands Hatch where Amon finished fifth after being outqualified by tyro Ronnie Peterson in a private 701 on the same tyres, conflict with team boss Max Mosley over the non-delivery of three-quarters of Amon's expected pay for the season saw him provided with inferior DFVs and two backmarker 7th places in Austria and Italy, Amon finished the season strongly with strong drives to third at Mosport, fifth at Watkins Glen and fourth in Mexico. At Watkins Glen in the USGP he was robbed of a probably certain victory, in the opinion of March designer Robin Herd, by a puncture.",
"At Watkins Glen in the USGP he was robbed of a probably certain victory, in the opinion of March designer Robin Herd, by a puncture. By the end of the year, disagreements with March co-founders Mosley and Robin Herd meant that Amon had decided to move to another relatively new team, Matra.",
"By the end of the year, disagreements with March co-founders Mosley and Robin Herd meant that Amon had decided to move to another relatively new team, Matra. 1971 In 1971, Amon, now driving for the Matra factory team, once again scored a pre-season victory, this time at the Argentine Grand Prix.",
"1971 In 1971, Amon, now driving for the Matra factory team, once again scored a pre-season victory, this time at the Argentine Grand Prix. Once the Formula One season had begun, he managed to convert a third-place start at the Spanish GP into a third-place podium finish and scored a couple of fifth places in the South African and French GPs.",
"Once the Formula One season had begun, he managed to convert a third-place start at the Spanish GP into a third-place podium finish and scored a couple of fifth places in the South African and French GPs. Apart from these results, however, his run of poor F1 returns continued.",
"Apart from these results, however, his run of poor F1 returns continued. He had a major accident at the Nürburgring and it sidelined him for the next race at the Österreichring.",
"He had a major accident at the Nürburgring and it sidelined him for the next race at the Österreichring. At the Italian GP he qualified in pole position and despite a poor start to the race looked as if he would capitalise on it – until the visor on his helmet became detached.",
"At the Italian GP he qualified in pole position and despite a poor start to the race looked as if he would capitalise on it – until the visor on his helmet became detached. Amon had to slow to avoid risking a major accident, thereby allowing other drivers to catch and overtake him.",
"Amon had to slow to avoid risking a major accident, thereby allowing other drivers to catch and overtake him. He finished the race in sixth place, scoring just one Championship point.",
"He finished the race in sixth place, scoring just one Championship point. During the year Amon also competed in the non-championship Questor Grand Prix at the new Ontario Motor Speedway, where he qualified second and, despite suffering a puncture during the race, managed to finish fourth.",
"During the year Amon also competed in the non-championship Questor Grand Prix at the new Ontario Motor Speedway, where he qualified second and, despite suffering a puncture during the race, managed to finish fourth. In the Tasman Series Amon started from fourth at the Levin Circuit and in the race, he battled with David Oxton and John Cannon but managed to finish third.",
"In the Tasman Series Amon started from fourth at the Levin Circuit and in the race, he battled with David Oxton and John Cannon but managed to finish third. Amon's third race at Wigram Airfield starting fifth and spun at the start to drop him to the back of the field but managed to climb up to fifth.",
"Amon's third race at Wigram Airfield starting fifth and spun at the start to drop him to the back of the field but managed to climb up to fifth. 1972 In the 1972 Formula One season, Amon, again driving for Matra achieved a handful of points-scoring finishes, but only one podium appearance, at the French GP.",
"1972 In the 1972 Formula One season, Amon, again driving for Matra achieved a handful of points-scoring finishes, but only one podium appearance, at the French GP. Here he achieved the fifth and final pole position of his career and was leading the race until a puncture forced him to pit.",
"Here he achieved the fifth and final pole position of his career and was leading the race until a puncture forced him to pit. However, he climbed back through the field, breaking the circuit's lap record to finish third.",
"However, he climbed back through the field, breaking the circuit's lap record to finish third. With the money he had made from motorsport, Amon decided to set up a racing engine firm with former BRM engineer Aubrey Woods.",
"With the money he had made from motorsport, Amon decided to set up a racing engine firm with former BRM engineer Aubrey Woods. Amon Racing Engines supplied Formula 2 engines to a few drivers, but the company quickly became too expensive to run and was sold to March for a loss.",
"Amon Racing Engines supplied Formula 2 engines to a few drivers, but the company quickly became too expensive to run and was sold to March for a loss. Matra decided to end their participation in Formula One at the end of 1972, so Amon found himself looking to return to March as a driver.",
"Matra decided to end their participation in Formula One at the end of 1972, so Amon found himself looking to return to March as a driver. The place, however, was given to Jean-Pierre Jarier, purportedly for financial reasons. Amon therefore signed for another recently formed F1 team, Tecno.",
"Amon therefore signed for another recently formed F1 team, Tecno. 1973 Tecno had entered F1 the previous year, having been a successful chassis-builder for other Formulæ and had developed a potentially powerful Flat 12 for F1.",
"1973 Tecno had entered F1 the previous year, having been a successful chassis-builder for other Formulæ and had developed a potentially powerful Flat 12 for F1. Their first year in F1 proved to be dismal, however with considerable backing from Martini Rossi they had jumped at the chance to sign Amon, and allocate David Yorke the former Vanwall and Gulf GT40 Team Manager to run the team and commission two new chassis designs by former Lotus and McLaren mechanic.",
"Their first year in F1 proved to be dismal, however with considerable backing from Martini Rossi they had jumped at the chance to sign Amon, and allocate David Yorke the former Vanwall and Gulf GT40 Team Manager to run the team and commission two new chassis designs by former Lotus and McLaren mechanic. Alan McCall who had worked on Clark and Hulme's F1 cars and unproven, British designer Gordon Fowell for a more radical back up design, in the hope he would help transform their performance.",
"Alan McCall who had worked on Clark and Hulme's F1 cars and unproven, British designer Gordon Fowell for a more radical back up design, in the hope he would help transform their performance. While McCalls car was built rapidly, testing it was more time-consuming and after its non-appearance, for the Spanish GP, Amon and team manager David Yorke met with Enzo Ferrari to see if Amon could be released from his contract to develop the new Ferrari B3 for Ickx and Mezarrio, in a supposedly one off GP drive at Monaco.",
"While McCalls car was built rapidly, testing it was more time-consuming and after its non-appearance, for the Spanish GP, Amon and team manager David Yorke met with Enzo Ferrari to see if Amon could be released from his contract to develop the new Ferrari B3 for Ickx and Mezarrio, in a supposedly one off GP drive at Monaco. Yorke rejected the release, and Amon admits he would not have left Ferrari if offered the drive for a season.",
"Yorke rejected the release, and Amon admits he would not have left Ferrari if offered the drive for a season. Unfortunately, the team went from bad to worse and wasn't able to field the Tecno PA123/6 until the fifth GP of the season, the Belgian GP. Amon managed to finish in sixth position.",
"Amon managed to finish in sixth position. At Monaco the car qualified a useful 12th and chassis felt good but Chris was unhappy with the car. He decided to concentrate on the undeveloped Gordon Fowell Goral car.",
"He decided to concentrate on the undeveloped Gordon Fowell Goral car. This was against the view of the Techno team and the Pederanzi engine builders and Martini Rossi who required the car and driver to appear at races Amon commented at the time that it was \"the best chassis I've ever sat in\", it too proved virtually undriveable.",
"This was against the view of the Techno team and the Pederanzi engine builders and Martini Rossi who required the car and driver to appear at races Amon commented at the time that it was \"the best chassis I've ever sat in\", it too proved virtually undriveable. Amon refused to drive the McCall, Techno in the Swedish or German Gps and withdrew from the Austrian GP after qualifying.",
"Amon refused to drive the McCall, Techno in the Swedish or German Gps and withdrew from the Austrian GP after qualifying. By the time of the Austrian GP, four races from the end of the season, Amon's patience had run out and he left the team.",
"By the time of the Austrian GP, four races from the end of the season, Amon's patience had run out and he left the team. He would later claim that the months he spent with the team \"felt like ten [seasons]\".",
"He would later claim that the months he spent with the team \"felt like ten [seasons]\". Tyrrell offered Amon a third car – the 005 – in which to drive the last two races of the season.",
"Tyrrell offered Amon a third car – the 005 – in which to drive the last two races of the season. After a mediocre first outing at the Canadian GP, he and Jackie Stewart withdrew from the final race of the year, the United States GP, following the death of their teammate François Cevert during qualifying.",
"After a mediocre first outing at the Canadian GP, he and Jackie Stewart withdrew from the final race of the year, the United States GP, following the death of their teammate François Cevert during qualifying. 1974 For the 1974 F1 season, Amon revived Chris Amon Racing.",
"1974 For the 1974 F1 season, Amon revived Chris Amon Racing. Gordon Fowell designed the car, the AF101, which featured a single central fuel tank, titanium torsion bars and a forward driving position.",
"Gordon Fowell designed the car, the AF101, which featured a single central fuel tank, titanium torsion bars and a forward driving position. Structurally, however, it proved to be weak and was not ready for an F1 appearance until the fourth race of the season, the Spanish GP.",
"Structurally, however, it proved to be weak and was not ready for an F1 appearance until the fourth race of the season, the Spanish GP. Amon was only able to qualify 23rd, thanks to brake-disc vibration that only became worse with the tyres for the wet race that followed.",
"Amon was only able to qualify 23rd, thanks to brake-disc vibration that only became worse with the tyres for the wet race that followed. Despite cautious driving, a brake shaft finally broke and Amon was forced to retire after 22 laps.",
"Despite cautious driving, a brake shaft finally broke and Amon was forced to retire after 22 laps. Following further work and testing, Amon returned for the Monaco GP and qualified twentieth, but, thanks to mechanical problems, he was unable to start the race.",
"Following further work and testing, Amon returned for the Monaco GP and qualified twentieth, but, thanks to mechanical problems, he was unable to start the race. Further problems and illness meant Amon was not able to reappear with the F101 until the Italian GP, three races from the end of the season, but this time he was unable to qualify.",
"Further problems and illness meant Amon was not able to reappear with the F101 until the Italian GP, three races from the end of the season, but this time he was unable to qualify. That sealed the fate of both the car and Chris Amon Racing, leaving Amon to drive the season's last two races with the faltering BRM team.",
"That sealed the fate of both the car and Chris Amon Racing, leaving Amon to drive the season's last two races with the faltering BRM team. He would later reveal that he had turned down a chance to join the Brabham team earlier in the season.",
"He would later reveal that he had turned down a chance to join the Brabham team earlier in the season. 1975 Amon contested the 1975 F5000 Tasman series against only local Australasian drivers, although Graham McRae, Warwick Brown and Kevin Bartlett were acknowledged internationally.",
"1975 Amon contested the 1975 F5000 Tasman series against only local Australasian drivers, although Graham McRae, Warwick Brown and Kevin Bartlett were acknowledged internationally. Amon qualified on the front row of three of the four New Zealand rounds and scored a victory at Teretonga in January 1975 in rainy conditions by 24.2 seconds.",
"Amon qualified on the front row of three of the four New Zealand rounds and scored a victory at Teretonga in January 1975 in rainy conditions by 24.2 seconds. In the Australian rounds, the competition was always harder with more good cars and the locals on their own tracks.",
"In the Australian rounds, the competition was always harder with more good cars and the locals on their own tracks. Amon had a frustrating series of races unable to pass, South Australian Johnnie Walker, in a superior Lola T332 chassis with Repco-engineered V8.",
"Amon had a frustrating series of races unable to pass, South Australian Johnnie Walker, in a superior Lola T332 chassis with Repco-engineered V8. At Surfers Paradise, running from the back of the grid he managed to eventually pass Walker by widening the braking zone in the only corner where overtaking was usually possible.",
"At Surfers Paradise, running from the back of the grid he managed to eventually pass Walker by widening the braking zone in the only corner where overtaking was usually possible. Amon brushed the edge of the track on repeated laps, got extra grip and passed Walker to take the lead.",
"Amon brushed the edge of the track on repeated laps, got extra grip and passed Walker to take the lead. He had been forced to miss most of the practice session, when Customs seized his car's gearbox. In the race, the brilliant effort went for nothing as the Chev engine blew.",
"In the race, the brilliant effort went for nothing as the Chev engine blew. At Oran Park and Adelaide he followed Walker the whole way to 4th and 3rd unable to pass.",
"At Oran Park and Adelaide he followed Walker the whole way to 4th and 3rd unable to pass. In the final deciding race for the Tasman Series with Brown, Walker and Lawrence still in contention, Walker lost his T332 on the first lap and it demolished on wooden barriers surrounding Sandown's car and horse racing tracks.",
"In the final deciding race for the Tasman Series with Brown, Walker and Lawrence still in contention, Walker lost his T332 on the first lap and it demolished on wooden barriers surrounding Sandown's car and horse racing tracks. Amon was never in contention and finished 4th.",
"Amon was never in contention and finished 4th. Amon intended to compete in F5000 in both Europe and the US in 1975 but started in only one round of both series, managing a pole in one Shellsport round in the UK and a 4th place overall at the Long Beach GP in a two heat race.",
"Amon intended to compete in F5000 in both Europe and the US in 1975 but started in only one round of both series, managing a pole in one Shellsport round in the UK and a 4th place overall at the Long Beach GP in a two heat race. He used different Talon F5000 cars for both races.",
"He used different Talon F5000 cars for both races. The speed he showed in qualifying for a couple of UK F5000 races encouraged the small Ensign team to give him a race.",
"The speed he showed in qualifying for a couple of UK F5000 races encouraged the small Ensign team to give him a race. Mo Nunn the Ensign team owner had been a Lotus F3 driver in 1966 and the Dave Baldwin designed chassis was in many ways a lightweight Lotus F1, which Ronnie Peterson wanted to test in 1975 out of frustration with his old 72 and which could have been used by Colin Chapman had he not decided to concentrate on developing chassis which would use ground effect technology, the Lotus 77 design for 1976 which was in many ways a test vehicle for the development of concepts, including the de facto legalisation of technology like plastic sliding skirts, introduced on Andretti's 77 from the 1976 Canadian Grand Prix, that would be used in future Lotus wing cars the Lotus 78 and Lotus 79.",
"Mo Nunn the Ensign team owner had been a Lotus F3 driver in 1966 and the Dave Baldwin designed chassis was in many ways a lightweight Lotus F1, which Ronnie Peterson wanted to test in 1975 out of frustration with his old 72 and which could have been used by Colin Chapman had he not decided to concentrate on developing chassis which would use ground effect technology, the Lotus 77 design for 1976 which was in many ways a test vehicle for the development of concepts, including the de facto legalisation of technology like plastic sliding skirts, introduced on Andretti's 77 from the 1976 Canadian Grand Prix, that would be used in future Lotus wing cars the Lotus 78 and Lotus 79. Apart from these successes, Amon's racing career seemed once again to have stalled.",
"Apart from these successes, Amon's racing career seemed once again to have stalled. Apparently a chance meeting with Mo Nunn of Ensign Racing led to the Ensign drive, but in fact Mo Nunn thought his new N175 a very fast car and did not view the two Dutch drivers favoured by the Dutch HB Security company who sponsored Ensign fast enough.",
"Apparently a chance meeting with Mo Nunn of Ensign Racing led to the Ensign drive, but in fact Mo Nunn thought his new N175 a very fast car and did not view the two Dutch drivers favoured by the Dutch HB Security company who sponsored Ensign fast enough. Gijs van Lennep, the 1973 European F5000 Champion in a Surtees TS11 who had won Le Mans in 1971 and 1976 was a very good driver but also one of the last racing aristocrats.",
"Gijs van Lennep, the 1973 European F5000 Champion in a Surtees TS11 who had won Le Mans in 1971 and 1976 was a very good driver but also one of the last racing aristocrats. Van Lennep, qualified the car on its debut in the French GP at Paul Ricard and finished 6th in the German GP at Nürburgring, and was faster on both circuits than Patrick Nève or Amon were in 1976.",
"Van Lennep, qualified the car on its debut in the French GP at Paul Ricard and finished 6th in the German GP at Nürburgring, and was faster on both circuits than Patrick Nève or Amon were in 1976. Amon managed 7th in the non-championship Swiss GP at Dijon chasing James Hunt debuting the disappointing Hesketh 308C and 12th in two GP drives in the Ensign N175 at the Austrian and Italian GPs.",
"Amon managed 7th in the non-championship Swiss GP at Dijon chasing James Hunt debuting the disappointing Hesketh 308C and 12th in two GP drives in the Ensign N175 at the Austrian and Italian GPs. At Monza after a long pit stop he finally ran at competitive pace, running 4 laps down but keeping pace with the leading Ferrari 312T of Niki Lauda for a number of laps.",
"At Monza after a long pit stop he finally ran at competitive pace, running 4 laps down but keeping pace with the leading Ferrari 312T of Niki Lauda for a number of laps. Progressive evaluation of the possibilities of what was slowing the N175 led Amon to change the airbox alignment on the day of the Italian GP and this resulted in a 2-second gain (much like the change in air cooler position that lost and gained two seconds on Hunt's McLaren M23 resolved by the 1976 French GP).",
"Progressive evaluation of the possibilities of what was slowing the N175 led Amon to change the airbox alignment on the day of the Italian GP and this resulted in a 2-second gain (much like the change in air cooler position that lost and gained two seconds on Hunt's McLaren M23 resolved by the 1976 French GP). Ironically Amon never raced the N175 again and the high airboxes had been banned by the time N176 ran at Jarama the following year, but the flash of testing and driving genius was enough to give Amon another chance.",
"Ironically Amon never raced the N175 again and the high airboxes had been banned by the time N176 ran at Jarama the following year, but the flash of testing and driving genius was enough to give Amon another chance. Although the results were unremarkable, he and Nunn worked well together, so Amon joined Ensign for the 1976 F1 season.",
"Although the results were unremarkable, he and Nunn worked well together, so Amon joined Ensign for the 1976 F1 season. 1976 Ensign's first race of the season was the South African GP where Amon qualified 18th and showed a revival of form, climbing to seventh place, in the old Ensign N174 and contesting sixth with Mario Andretti in the Parnelli Ford, in the last laps before a last minute refueling stop left him 14th.",
"1976 Ensign's first race of the season was the South African GP where Amon qualified 18th and showed a revival of form, climbing to seventh place, in the old Ensign N174 and contesting sixth with Mario Andretti in the Parnelli Ford, in the last laps before a last minute refueling stop left him 14th. Thereafter results began to improve, with Amon qualifying 17th and finishing eighth in the USA West GP; qualifying tenth and finishing fifth in the Spanish GP; and then qualifying eighth for the Belgian GP.",
"Thereafter results began to improve, with Amon qualifying 17th and finishing eighth in the USA West GP; qualifying tenth and finishing fifth in the Spanish GP; and then qualifying eighth for the Belgian GP. More points then seemed likely from the race until his car lost a wheel 19 laps from the finish and Amon was lucky to escape unhurt from the ensuing accident.",
"More points then seemed likely from the race until his car lost a wheel 19 laps from the finish and Amon was lucky to escape unhurt from the ensuing accident. He then achieved a third-place grid position start for the Swedish GP using a Nicholson rebuilt Cosworth for the first time and in the race looked as if he would join Tyrrell drivers Jody Scheckter and Patrick Depailler on the podium, until suspension failure threw him from the track after 38 laps.",
"He then achieved a third-place grid position start for the Swedish GP using a Nicholson rebuilt Cosworth for the first time and in the race looked as if he would join Tyrrell drivers Jody Scheckter and Patrick Depailler on the podium, until suspension failure threw him from the track after 38 laps. Amon had again been lucky to escape serious injury and decided to miss the next race, the French GP.",
"Amon had again been lucky to escape serious injury and decided to miss the next race, the French GP. He returned for the British GP, qualifying in sixth and running fourth in the race when his Ford-Cosworth DFV engine developed a water leak. Rather than risk losing an engine, his team called him in to retire.",
"Rather than risk losing an engine, his team called him in to retire. At the German GP problems dogged his attempts to qualify well, but it was Niki Lauda's crash during the second lap of the race that had a far greater impact. Amon refused to restart the race and Nunn fired him from the team.",
"Amon refused to restart the race and Nunn fired him from the team. Amon declared his retirement from the sport and returned to New Zealand. \"I'd seen too many people fried in racing cars at that stage. When you've driven past Bandini, Schlesser, Courage and Williamson, another shunt like that was simply too much.",
"When you've driven past Bandini, Schlesser, Courage and Williamson, another shunt like that was simply too much. It was a personal decision...\" (Amon, on his retirement in 1976)However, Walter Wolf contacted Amon and persuaded him to drive for his Wolf–Williams team in the North American races near the end of the season.",
"It was a personal decision...\" (Amon, on his retirement in 1976)However, Walter Wolf contacted Amon and persuaded him to drive for his Wolf–Williams team in the North American races near the end of the season. After recording some promising times in preparation for the Canadian GP, however, Amon was involved in a heavy collision with another car during qualifying and once again was lucky to walk away unharmed.",
"After recording some promising times in preparation for the Canadian GP, however, Amon was involved in a heavy collision with another car during qualifying and once again was lucky to walk away unharmed. He then did not take part in either the Canadian or United States Grands Prix.",
"He then did not take part in either the Canadian or United States Grands Prix. 1977 Amon turned down an offer of a full-time F1 drive for 1977, but did attempt a return to Can-Am racing in 1977 with a Wolf-Dallara WD1.",
"1977 Amon turned down an offer of a full-time F1 drive for 1977, but did attempt a return to Can-Am racing in 1977 with a Wolf-Dallara WD1. However, after only one race he quit, saying \"I'm just not enjoying this anymore\".",
"However, after only one race he quit, saying \"I'm just not enjoying this anymore\". His place was taken by the young and then unknown Canadian Gilles Villeneuve, whom Amon would, later that year, recommend to Enzo Ferrari.",
"His place was taken by the young and then unknown Canadian Gilles Villeneuve, whom Amon would, later that year, recommend to Enzo Ferrari. In the meantime, Amon returned once again to New Zealand, this time to retire from F1 motor racing for good.",
"In the meantime, Amon returned once again to New Zealand, this time to retire from F1 motor racing for good. 2000s 2003 Amon came out of retirement for a one-off appearance in the 2003 Dunlop Targa New Zealand with motorsport commentator Murray Walker as his navigator.",
"2000s 2003 Amon came out of retirement for a one-off appearance in the 2003 Dunlop Targa New Zealand with motorsport commentator Murray Walker as his navigator. The pair completed the week-long Auckland to Wellington Tarmac Rally in a Toyota Camry Sportivo, the same car previously used by Walker and Colin Bond in Australia's Targa Tasmania.",
"The pair completed the week-long Auckland to Wellington Tarmac Rally in a Toyota Camry Sportivo, the same car previously used by Walker and Colin Bond in Australia's Targa Tasmania. Retirement After his retirement from F1, Amon dedicated himself to running the family farm in New Zealand's Manawatu District for many years.",
"Retirement After his retirement from F1, Amon dedicated himself to running the family farm in New Zealand's Manawatu District for many years. After retiring from farming, he lived in Taupo in New Zealand's North Island.",
"After retiring from farming, he lived in Taupo in New Zealand's North Island. In the early 1980s he became more well known in New Zealand from test-driving vehicles on the TV motoring series Motor Show and later consulted for Toyota New Zealand, tuning the 1984 Toyota Corolla and subsequent cars for sale there.",
"In the early 1980s he became more well known in New Zealand from test-driving vehicles on the TV motoring series Motor Show and later consulted for Toyota New Zealand, tuning the 1984 Toyota Corolla and subsequent cars for sale there. He also appeared in TV commercials for the company, where much was made of the acclaim he won from Enzo Ferrari.",
"He also appeared in TV commercials for the company, where much was made of the acclaim he won from Enzo Ferrari. Amon participated in the 2004 EnergyWise Rally where he won ahead of Brian Cowan. Amon drove a Toyota Prius for the event.",
"Amon drove a Toyota Prius for the event. In the 1993 Queen's Birthday Honours, Amon was appointed a Member of the Order of the British Empire, for services to motor sport.",
"In the 1993 Queen's Birthday Honours, Amon was appointed a Member of the Order of the British Empire, for services to motor sport. Amon was involved in the design of the upgraded Taupo Motorsport Park circuit, used for the New Zealand round of the 2006–07 A1 Grand Prix season in January 2007.",
"Amon was involved in the design of the upgraded Taupo Motorsport Park circuit, used for the New Zealand round of the 2006–07 A1 Grand Prix season in January 2007. At the New Zealand Festival of Motor Racing in 2011, Amon's life and career were honoured with a selection of his cars being driven and also used the event to raise funds for the Bruce McLaren trust.",
"At the New Zealand Festival of Motor Racing in 2011, Amon's life and career were honoured with a selection of his cars being driven and also used the event to raise funds for the Bruce McLaren trust. Amon was also honoured at the festival in January 2013.",
"Amon was also honoured at the festival in January 2013. Death Amon died in Rotorua Hospital on 3 August 2016, aged 73, of cancer. He was survived by his wife (they married in 1977) their three children and their grandchildren. One of his sons, James, is a qualified High Performance personal trainer.",
"One of his sons, James, is a qualified High Performance personal trainer. He trained Central Districts Stags cricket team, and was revealed to be Brendon Hartley's personal trainer.",
"He trained Central Districts Stags cricket team, and was revealed to be Brendon Hartley's personal trainer. Legacy Despite never winning a championship Formula One Grand Prix, Amon won eight non-championship GPs, the Silverstone International Trophy, the 1000 km Monza, the Daytona 24 Hours, the Tasman Series and, perhaps most significant of all, the famous 24 Heures du Mans (alongside Bruce McLaren).",
"Legacy Despite never winning a championship Formula One Grand Prix, Amon won eight non-championship GPs, the Silverstone International Trophy, the 1000 km Monza, the Daytona 24 Hours, the Tasman Series and, perhaps most significant of all, the famous 24 Heures du Mans (alongside Bruce McLaren). These races included many of Amon's otherwise more successful fellow Formula One drivers.",
"These races included many of Amon's otherwise more successful fellow Formula One drivers. Amon also remains the only driver from New Zealand and Oceania to have raced for Scuderia Ferrari in Formula One.",
"Amon also remains the only driver from New Zealand and Oceania to have raced for Scuderia Ferrari in Formula One. In Formula One, Chris Amon took part in 96 Grands Prix, achieving 5 poles, leading 183 laps in 7 races, reaching the podium 11 times and scoring a total of 83 Championship points.",
"In Formula One, Chris Amon took part in 96 Grands Prix, achieving 5 poles, leading 183 laps in 7 races, reaching the podium 11 times and scoring a total of 83 Championship points. Amon holds the record for the most different makes of car raced by a Formula 1 World Championship driver, with thirteen.",
"Amon holds the record for the most different makes of car raced by a Formula 1 World Championship driver, with thirteen. A biography Forza Amon by journalist Eoin Young charts Amon's racing career and gives some insights into his personal life.",
"A biography Forza Amon by journalist Eoin Young charts Amon's racing career and gives some insights into his personal life. The book makes clear one point on which Amon himself disagrees with most commentators, the issue of his bad luck.",
"The book makes clear one point on which Amon himself disagrees with most commentators, the issue of his bad luck. Amon has pointed out on several occasions that he competed for a decade and a half in Formula One and survived some serious accidents, notably in 1976, whilst others, including friends like Bruce McLaren, suffered serious injury and death.",
"Amon has pointed out on several occasions that he competed for a decade and a half in Formula One and survived some serious accidents, notably in 1976, whilst others, including friends like Bruce McLaren, suffered serious injury and death. In 2008, motorsport journalist Alan Henry rated Chris Amon as his 13th greatest driver.",
"In 2008, motorsport journalist Alan Henry rated Chris Amon as his 13th greatest driver. Reflecting on the 1968 racing death of Jim Clark, Amon said: \"If this can happen to Jimmy, what chance do the rest of us have? I think we all felt that. It seemed like we'd lost our leader.\"",
"It seemed like we'd lost our leader.\" In 1995, Amon was inducted into the New Zealand Sports Hall of Fame. Amon's name has been given to the Toyota Racing Series driver's championship trophy, and the International Scholarship to support drivers who win his trophy to further their careers in single-seater racing.",
"Amon's name has been given to the Toyota Racing Series driver's championship trophy, and the International Scholarship to support drivers who win his trophy to further their careers in single-seater racing. The Toyota Racing Series serves as motorsport's version of \"winter ball\" in New Zealand during January and February.",
"The Toyota Racing Series serves as motorsport's version of \"winter ball\" in New Zealand during January and February. Following his death, his name was also lent to the Manfeild Autocourse in Feilding, Manawatu.",
"Following his death, his name was also lent to the Manfeild Autocourse in Feilding, Manawatu. Racing record Formula One World Championship results (key) (Races in bold indicate pole position; races in italics indicate fastest lap) Non-Championship Formula One results (key) (Races in bold indicate pole position; races in italics indicate fastest lap) Complete Tasman Series results (key) (Races in bold indicate pole position; races in italics indicate fastest lap) Complete 24 Hours of Le Mans results References External links Bruce McLaren Trust Official site Trio At The Top – a documentary about Bruce McLaren, Denny Hulme and Chris Amon on NZ On Screen Chris Amon 8W-Forix; Tom Prankard; 1 October 2000 New Zealand racing drivers New Zealand Formula One drivers Amon Formula One drivers BRM Formula One drivers Cooper Formula One drivers Ensign Formula One drivers Ferrari Formula One drivers March Formula One drivers Matra Formula One drivers Reg Parnell Racing Formula One drivers Tecno Formula One drivers Tyrrell Formula One drivers Williams Formula One drivers Formula One team owners 24 Hours of Le Mans drivers 24 Hours of Le Mans winning drivers 12 Hours of Reims drivers 24 Hours of Daytona drivers World Sportscar Championship drivers Tasman Series drivers New Zealand Members of the Order of the British Empire People from Bulls 1943 births 2016 deaths"
] |
[
"Chris Amon",
"Retirement",
"What did he retire from?",
"After his retirement from F1,",
"When did he retire?",
"I don't know.",
"What caused his retirement?",
"I don't know.",
"Are there any other interesting aspects about this article?",
"In the early 1980s he became more well known in New Zealand from test-driving vehicles on the TV motoring series Motor Show and later consulted for Toyota New Zealand,"
] | C_5474a4df3c614b8d91f85a078f3efc1c_1 | Did he race any more after retirement? | 5 | Did Chris Amon race any more after his retirement? | Chris Amon | After his retirement from F1, Amon dedicated himself to running the family farm in New Zealand's Manawatu District for many years. After retiring from farming, he lived in Taupo in New Zealand's North Island. In the early 1980s he became more well known in New Zealand from test-driving vehicles on the TV motoring series Motor Show and later consulted for Toyota New Zealand, tuning the 1984 Toyota Corolla and subsequent cars for sale there. He also appeared in TV commercials for the company, where much was made of the acclaim he won from Enzo Ferrari. Amon participated in the 2004 EnergyWise Rally where he won ahead of Brian Cowan. Amon drove a Toyota Prius for the event. Amon was involved in the design of the upgraded Taupo Motorsport Park circuit, used for the New Zealand round of the 2006-07 A1 Grand Prix season in January 2007. At the New Zealand Festival of Motor Racing in 2011, Amon's life and career were honoured with a selection of his cars being driven and also used the event to raise funds for the Bruce McLaren trust. Amon was also honoured at the festival in January 2013. Amon died in Rotorua Hospital on 3 August 2016, aged 73, of cancer. He was survived by his wife (they married in 1977) their three children and their grandchildren. One of his sons, James, is a qualified High Performance personal trainer. He trained Central Districts Stags cricket team, and was revealed to be Brendon Hartley's personal trainer. CANNOTANSWER | Amon participated in the 2004 EnergyWise Rally where he won ahead of Brian Cowan. Amon drove a Toyota Prius for the event. | Christopher Arthur Amon (20 July 1943 – 3 August 2016) was a New Zealand motor racing driver. He was active in Formula One racing in the 1960s and 1970s and is widely regarded as one of the best F1 drivers never to win a championship Grand Prix. His reputation for bad luck was such that fellow driver Mario Andretti once joked that "if he became an undertaker, people would stop dying". Former Ferrari Technical Director Mauro Forghieri stated that Amon was "by far the best test driver I have ever worked with. He had all the qualities to be a World Champion but bad luck just wouldn't let him be".
Apart from driving, Chris Amon also ran his own Formula One team for a short period in 1974. Away from Formula One, Amon had some success in sports car racing, teaming with co-driver Bruce McLaren to win the 24 Hours of Le Mans race in .
Early life
Amon was born in Bulls, and attended Whanganui Collegiate School. He was the only child of wealthy sheep-owners Ngaio and Betty Amon. He learned to drive at the age of six, taught by a farm worker on the family farm. On leaving school, he persuaded his father to buy him an Austin A40 Special, which he entered in some minor local races and hillclimbs along with practice on the family farm. He progressed to a 1.5-litre Cooper and then an old 2.5-litre Maserati 250F, but only began to draw attention when he drove the Cooper-Climax T51 which Bruce McLaren had used to win his maiden Grand Prix.
In 1962 Amon entered the Cooper for the New Zealand winter series, but was hampered by mechanical problems. However, Scuderia Veloce entered him in a similar car, and, in the rain at Lakeside, he performed well. One of the spectators there was the English racing driver Reg Parnell who persuaded Amon to come to England and race for his team. In a test at Goodwood Amon continued to impress and was on the pace in the Goodwood International Trophy and Aintree 200 pre-season races.
Racing career
1960s
1963
For the 1963 Formula One season the Parnell team were using the year old Lola Mk4A, powered by 1962 specification Climax V8 engines. Amon was teamed with the very experienced Maurice Trintignant for the first race of the season at Monaco and his Grand Prix career started with what was to become typical bad luck: Trintignant's Climax developed a misfire, so he took over Amon's car.
At the 1963 Belgian Grand Prix, Amon was partnered by Lucien Bianchi and started ahead of him from 15th position. After nine laps, however, an oil fire ended his race. He continued to experience mechanical problems at the Dutch, Mexican and German Grands Prix; and after an accident in practice for the Italian Grand Prix left him hanging out of his car's cockpit with three broken ribs, he missed both the Italian and United States rounds.
Amon usually qualified in the midfield and generally outpaced his teammates, who included his good friend Mike Hailwood. His best results of the year were seventh at the French and British Grands Prix. During this time, however, Amon's social life was attracting as much attention as his driving. He was a member of the Ditton Road Flyers, the social set named after the road in London where Amon shared an apartment with American Peter Revson, Hailwood and Tony Maggs.
Parnell was nonetheless impressed with Amon's results in what was regarded as less-than-competitive machinery and promoted him to team leader. Parnell died from peritonitis in January 1964 and his son Tim took over the team.
1964
In a series of four pre-season races in Britain and Italy, Amon recorded three fifth places at Snetterton, Silverstone and Syracuse. He failed to qualify for the first F1 race of the season, the Monaco GP, but at the next race, the Dutch GP, he scored his first World Championship points. The rest of his season, however, was blighted by mechanical problems.
1965
Parnell was offered BRM engines for 1965, but only if it ran Richard Attwood as its regular driver. Reluctantly, Parnell agreed and Attwood took Amon's place. Spotting an opportunity, Bruce McLaren quickly signed Amon for his new McLaren team, but when no second McLaren F1 car materialised, Amon could only drive in sports car races.
At the French GP Amon rejoined Parnell to stand in for an injured Attwood. Amon also competed in a Formula Two race in Stuttgart and won. He returned to Germany for the German GP as second Parnell driver, but mechanical failure again forced an early retirement. His last drive before Attwood's return, a non-championship race in Enna, Sicily, also ended in retirement.
1966
During 1966 Amon continued to race for McLaren in Can-Am. He was intended to drive the second McLaren M2B but difficulties with engine supply meant that the team never made the intended expansion to two cars. (James Garner's character Pete Aron's helmet and car livery in the film Grand Prix were modelled on Amon driving a McLaren, which caused the movie makers to have to encourage other cars to be painted in the 'Yamura' colours and other drivers (Bruce McLaren included) to wear Amon-style helmets.)
However, an opportunity arose to drive for the Cooper F1 team after Richie Ginther left them for Honda. Amon drove for Cooper at the French GP and was scheduled to drive for them for the rest of the season, until the more successful John Surtees left Scuderia Ferrari to join Cooper and Amon found himself dropped.
Amon made one other F1 appearance during the year, driving a Brabham BT11 powered by an old 2-litre BRM engine at the Italian GP under the banner of "Chris Amon Racing". He failed to qualify.
Amon did however, score his biggest success to date when he partnered Bruce McLaren in a 7-litre Ford GT40 Mark II and Ken Miles to Ford's dead-heat "photo-finish" after Miles was instructed to slow down despite leading at the Le Mans 24-hour race, spearheading a formation finish. He subsequently received an invitation to meet Enzo Ferrari at the Ferrari home in Maranello, where he signed to race for Ferrari in 1967 alongside Lorenzo Bandini, Mike Parkes and Ludovico Scarfiotti.
1967
Amon's first year with Ferrari did not begin auspiciously. En route to Brands Hatch for the pre-season Formula One Race of Champions, he crashed his road car and, following race practice, had to withdraw. Tragedy then struck the Ferrari team when Bandini died following a crash during the 1967 Monaco Grand Prix, Mike Parkes broke both his legs at the Belgian Grand Prix and, in the aftermath, Ludovico Scarfiotti went into temporary retirement. Amon, therefore, became Ferrari's only driver for the rest of the season, until joined by Jonathan Williams for the final race in Mexico. Amon scored his first podium in his first official outing for the Scuderia in Monaco and at the end of 1967 had achieved four third places finishing fifth in the Drivers' Championship, in what was going to be the most successful season of his career.
Amon's Ferrari contract also included sports car racing and he began 1967 by winning the Daytona 24 Hours and 1000km Monza events with Bandini in the 4-litre Ferrari 330-P4. He finished the year partnering Jackie Stewart to a second place at the BOAC 500, thereby clinching the manufacturer's world championship for Ferrari by one point over Porsche.
1968
1968 was the year aerodynamics first played a significant role in F1 car design and Amon worked with engineer Mauro Forghieri to place aerofoils on the Ferrari 312.
In January 1968 Amon had returned home to New Zealand and Australia to compete in the 1968 Tasman Series which was used by many of the top Formula One drivers as a warm up series to the World Championship. Ferrari had been interested in the series for several years and in 1965 had reengineered 2.4 Dino engines used by Mike Hawthorn, Peter Collins and Phil Hill in 1958–60 with more torque and mid speed power for the planned use of team leader Surtees in the 1966 Tasman Series. After a late season crash in US Can-Am racing by Surtees, the entry was withdrawn but consideration was given to using NZ Gold star champion Jim Palmer in a semi-works Ferrari entry in the 1967 Tasman Series as it was viewed in a 2.4 car he would be competitive with Clark and Stewart in 2-litre F1 cars. Palmer had run world-class times in the 1966 Tasman Series, particularly in the Pukekohe practice and Longford race, and was tested in Italy at the same time as Amon by Ferrari, and ran competitive times at Modena but for whatever reason Ferrari did not compete in 1967 series. For the 1968 series Ferrari decided to use the 2.4 engines with a new Dino 166 F2 chassis rather than a downsized 3-litre V12. Using the 246T Amon won the first two rounds of the Tasman Series, including the 1968 New Zealand Grand Prix, before narrowly losing the series to the Lotus-Ford of Jim Clark. The Dino 246 Tasmania was better handling than Clark's Lotus 49T which was still wingless and a difficult proposition. Impressed by Amon's driving in the NZ rounds, Ferrari dispatched a new four-valve version of the 2.4 V6 for the Australian rounds and this gave another 15 hp, but with lesser reliability which, combined with the fact Clark was the best driver in the world at the time, cost Amon the series, although in the final round at Sandown Park he duelled wheel to wheel with Clark before being pipped at the line.
After the first race of the F1 season in South Africa, Amon achieved pole positions in three of the following four races (at the Spanish, Belgian and Dutch Grands Prix) but ever-present mechanical problems meant he secured only a single Championship point from them. Throughout the rest of the season he never qualified lower than fifth place and nearly scored victories at the British and Canadian rounds and he suffered a 100 mph crash in Italy which demolished his car. In Britain, he duelled to the line with Jo Siffert's Lotus 49B and in Canada he dominated the race despite a malfunctioning clutch. Seventeen laps from the finish, however, his car's transmission failed and a distraught Amon had to be consoled by Jacky Ickx. From at least ten promising starts that season he was only able to finish five races and score ten Championship points. His best finish was second place to Siffert's Lotus-Cosworth at the British Grand Prix.
Outside F1, Amon was runner-up in the Formula Two race at Zolder, Belgium, testing the Dino 166 F2. He also came third in that year's BRDC International Trophy.
1969
Amon began 1969 with success driving the Dino engined 246 Tasmania in the Tasman Series that included winning both the New Zealand and Australian Grands Prix. In straight fights, he beat new Gold Leaf Lotus team leader, Jochen Rindt, into second in the races at Pukekohe and Sandown. He would ultimately win the seven race Tasman Series, probably the best of the seven-year 2.5-litre international formula series in this country and the nearest to World Championship level racing in New Zealand, with ferocious competition between Rindt, Graham Hill, Amon and Williams driver Piers Courage. It was actually much more serious racing than the McLaren dominated Can-Am series in the US in which the big sports cars required few gear changes and were essentially cruised to victory with little real competition, where the Tasman cars were essentially marginally lower power F1 cars, as difficult to drive as GP cars on unforgiving very dangerous narrow tracks. Amon finished with four wins, two-thirds and one retirement, but in Formula One his poor luck continued. Despite six starts from top-six positions, he was only able to achieve a third-place at the Dutch GP. Ferrari's F1 V12 engine was too unreliable and although its replacement had proven very fast in testing, it had suffered many mechanical breakages. Amon had no reason to believe it would be any more dependable than the V12, so although the new engine was clearly more powerful, he decided to leave Ferrari for a Cosworth DFV powered team. Ironically, the new flat-12 engine would become one of the best Formula One engines of the 1970s. Jacky Ickx, Amon's old teammate did return to Ferrari for 1970, after a successful sabbatical with Brabham gained Ickx second in the 1969 World Championship. Ickx saw Enzo Ferrari had secured huge backing from Fiat who had taken partial ownership of the Marque, and believed Ferrari would be a renewed team and an effective proposition. Amon was more influenced by views of Jackie Stewart and Jochen Rindt, who believed it was essential to be Ford DFV-powered to be competitive.
In addition to Formula One, Amon also drove for Ferrari in the 1969 International Championship for Makes, partnering Pedro Rodriguez to a fourth place in the BOAC 500 at Brands Hatch and coming second at the 12 Hours of Sebring, but retiring from the 1000km Nürburgring and 1000km Monza races, all in the Ferrari 312P sportscar. He also drove in a few Can-Am races. His last race for Ferrari would be the 1970 1000 km Monza, where he finished as runner-up.
1970s
1970
For the 1970 Formula One season, Amon made what was to be the first of several moves to smaller, newer teams. March Engineering had been formed the previous year to build custom chassis for Formulas 2 and 3, but quickly moved into F1, designing and building the March 701. Amon and Siffert were signed as drivers, with IndyCar driver Mario Andretti making an occasional appearance in a third car. March also sold their 701 chassis to Tyrrell, where Jackie Stewart drove it to its first victory in that year's Spanish GP.
Amon won the pre-season Silverstone International Trophy, but once the F1 season began he found himself prevented from converting good qualifying positions into good results. He qualified second behind Stewart's Tyrrell-March for the season-opening South African Grand Prix only for his own March to overheat within fourteen laps. Amon then qualified sixth for the Spanish Grand Prix only for his March's Ford-Cosworth DFV engine to expire within ten laps. He qualified and ran second in the 1970 Monaco Grand Prix until his suspension failed twenty laps from the finish. This was the race where Amon refused to drive unless his entry number was changed from 18 – the number under which his then teammate Lorenzo Bandini had crashed and died in Monaco – to 28.
Amon's close second place from a third-place start at the 1970 Belgian Grand Prix finally gave the March works team their first points finish. At that race, Amon set fastest lap at over 152 miles per hour, a lap record which still stands as of 2016, as it was the last race on the full-length Spa-Francorchamps circuit. However, after qualifying fourth for the next race, the Dutch Grand Prix, his car's clutch broke after just one lap. Amon duplicated his Belgian result at the 1970 French Grand Prix,. After a disappointing performance in the British GP at Brands Hatch where Amon finished fifth after being outqualified by tyro Ronnie Peterson in a private 701 on the same tyres, conflict with team boss Max Mosley over the non-delivery of three-quarters of Amon's expected pay for the season saw him provided with inferior DFVs and two backmarker 7th places in Austria and Italy, Amon finished the season strongly with strong drives to third at Mosport, fifth at Watkins Glen and fourth in Mexico. At Watkins Glen in the USGP he was robbed of a probably certain victory, in the opinion of March designer Robin Herd, by a puncture.
By the end of the year, disagreements with March co-founders Mosley and Robin Herd meant that Amon had decided to move to another relatively new team, Matra.
1971
In 1971, Amon, now driving for the Matra factory team, once again scored a pre-season victory, this time at the Argentine Grand Prix. Once the Formula One season had begun, he managed to convert a third-place start at the Spanish GP into a third-place podium finish and scored a couple of fifth places in the South African and French GPs. Apart from these results, however, his run of poor F1 returns continued. He had a major accident at the Nürburgring and it sidelined him for the next race at the Österreichring. At the Italian GP he qualified in pole position and despite a poor start to the race looked as if he would capitalise on it – until the visor on his helmet became detached. Amon had to slow to avoid risking a major accident, thereby allowing other drivers to catch and overtake him. He finished the race in sixth place, scoring just one Championship point.
During the year Amon also competed in the non-championship Questor Grand Prix at the new Ontario Motor Speedway, where he qualified second and, despite suffering a puncture during the race, managed to finish fourth.
In the Tasman Series Amon started from fourth at the Levin Circuit and in the race, he battled with David Oxton and John Cannon but managed to finish third. Amon's third race at Wigram Airfield starting fifth and spun at the start to drop him to the back of the field but managed to climb up to fifth.
1972
In the 1972 Formula One season, Amon, again driving for Matra achieved a handful of points-scoring finishes, but only one podium appearance, at the French GP. Here he achieved the fifth and final pole position of his career and was leading the race until a puncture forced him to pit. However, he climbed back through the field, breaking the circuit's lap record to finish third.
With the money he had made from motorsport, Amon decided to set up a racing engine firm with former BRM engineer Aubrey Woods. Amon Racing Engines supplied Formula 2 engines to a few drivers, but the company quickly became too expensive to run and was sold to March for a loss.
Matra decided to end their participation in Formula One at the end of 1972, so Amon found himself looking to return to March as a driver. The place, however, was given to Jean-Pierre Jarier, purportedly for financial reasons. Amon therefore signed for another recently formed F1 team, Tecno.
1973
Tecno had entered F1 the previous year, having been a successful chassis-builder for other Formulæ and had developed a potentially powerful Flat 12 for F1. Their first year in F1 proved to be dismal, however with considerable backing from Martini Rossi they had jumped at the chance to sign Amon, and allocate David Yorke the former Vanwall and Gulf GT40 Team Manager to run the team and commission two new chassis designs by former Lotus and McLaren mechanic. Alan McCall who had worked on Clark and Hulme's F1 cars and unproven, British designer Gordon Fowell for a more radical back up design, in the hope he would help transform their performance. While McCalls car was built rapidly, testing it was more time-consuming and after its non-appearance, for the Spanish GP, Amon and team manager David Yorke met with Enzo Ferrari to see if Amon could be released from his contract to develop the new Ferrari B3 for Ickx and Mezarrio, in a supposedly one off GP drive at Monaco. Yorke rejected the release, and Amon admits he would not have left Ferrari if offered the drive for a season.
Unfortunately, the team went from bad to worse and wasn't able to field the Tecno PA123/6 until the fifth GP of the season, the Belgian GP. Amon managed to finish in sixth position. At Monaco the car qualified a useful 12th and chassis felt good but Chris was unhappy with the car. He decided to concentrate on the undeveloped Gordon Fowell Goral car. This was against the view of the Techno team and the Pederanzi engine builders and Martini Rossi who required the car and driver to appear at races Amon commented at the time that it was "the best chassis I've ever sat in", it too proved virtually undriveable. Amon refused to drive the McCall, Techno in the Swedish or German Gps and withdrew from the Austrian GP after qualifying. By the time of the Austrian GP, four races from the end of the season, Amon's patience had run out and he left the team. He would later claim that the months he spent with the team "felt like ten [seasons]".
Tyrrell offered Amon a third car – the 005 – in which to drive the last two races of the season. After a mediocre first outing at the Canadian GP, he and Jackie Stewart withdrew from the final race of the year, the United States GP, following the death of their teammate François Cevert during qualifying.
1974
For the 1974 F1 season, Amon revived Chris Amon Racing. Gordon Fowell designed the car, the AF101, which featured a single central fuel tank, titanium torsion bars and a forward driving position. Structurally, however, it proved to be weak and was not ready for an F1 appearance until the fourth race of the season, the Spanish GP. Amon was only able to qualify 23rd, thanks to brake-disc vibration that only became worse with the tyres for the wet race that followed. Despite cautious driving, a brake shaft finally broke and Amon was forced to retire after 22 laps.
Following further work and testing, Amon returned for the Monaco GP and qualified twentieth, but, thanks to mechanical problems, he was unable to start the race. Further problems and illness meant Amon was not able to reappear with the F101 until the Italian GP, three races from the end of the season, but this time he was unable to qualify. That sealed the fate of both the car and Chris Amon Racing, leaving Amon to drive the season's last two races with the faltering BRM team. He would later reveal that he had turned down a chance to join the Brabham team earlier in the season.
1975
Amon contested the 1975 F5000 Tasman series against only local Australasian drivers, although Graham McRae, Warwick Brown and Kevin Bartlett were acknowledged internationally. Amon qualified on the front row of three of the four New Zealand rounds and scored a victory at Teretonga in January 1975 in rainy conditions by 24.2 seconds. In the Australian rounds, the competition was always harder with more good cars and the locals on their own tracks. Amon had a frustrating series of races unable to pass, South Australian Johnnie Walker, in a superior Lola T332 chassis with Repco-engineered V8. At Surfers Paradise, running from the back of the grid he managed to eventually pass Walker by widening the braking zone in the only corner where overtaking was usually possible. Amon brushed the edge of the track on repeated laps, got extra grip and passed Walker to take the lead. He had been forced to miss most of the practice session, when Customs seized his car's gearbox. In the race, the brilliant effort went for nothing as the Chev engine blew. At Oran Park and Adelaide he followed Walker the whole way to 4th and 3rd unable to pass. In the final deciding race for the Tasman Series with Brown, Walker and Lawrence still in contention, Walker lost his T332 on the first lap and it demolished on wooden barriers surrounding Sandown's car and horse racing tracks. Amon was never in contention and finished 4th. Amon intended to compete in F5000 in both Europe and the US in 1975 but started in only one round of both series, managing a pole in one Shellsport round in the UK and a 4th place overall at the Long Beach GP in a two heat race. He used different Talon F5000 cars for both races. The speed he showed in qualifying for a couple of UK F5000 races encouraged the small Ensign team to give him a race. Mo Nunn the Ensign team owner had been a Lotus F3 driver in 1966 and the Dave Baldwin designed chassis was in many ways a lightweight Lotus F1, which Ronnie Peterson wanted to test in 1975 out of frustration with his old 72 and which could have been used by Colin Chapman had he not decided to concentrate on developing chassis which would use ground effect technology, the Lotus 77 design for 1976 which was in many ways a test vehicle for the development of concepts, including the de facto legalisation of technology like plastic sliding skirts, introduced on Andretti's 77 from the 1976 Canadian Grand Prix, that would be used in future Lotus wing cars the Lotus 78 and Lotus 79.
Apart from these successes, Amon's racing career seemed once again to have stalled. Apparently a chance meeting with Mo Nunn of Ensign Racing led to the Ensign drive, but in fact Mo Nunn thought his new N175 a very fast car and did not view the two Dutch drivers favoured by the Dutch HB Security company who sponsored Ensign fast enough. Gijs van Lennep, the 1973 European F5000 Champion in a Surtees TS11 who had won Le Mans in 1971 and 1976 was a very good driver but also one of the last racing aristocrats. Van Lennep, qualified the car on its debut in the French GP at Paul Ricard and finished 6th in the German GP at Nürburgring, and was faster on both circuits than Patrick Nève or Amon were in 1976. Amon managed 7th in the non-championship Swiss GP at Dijon chasing James Hunt debuting the disappointing Hesketh 308C and 12th in two GP drives in the Ensign N175 at the Austrian and Italian GPs. At Monza after a long pit stop he finally ran at competitive pace, running 4 laps down but keeping pace with the leading Ferrari 312T of Niki Lauda for a number of laps. Progressive evaluation of the possibilities of what was slowing the N175 led Amon to change the airbox alignment on the day of the Italian GP and this resulted in a 2-second gain (much like the change in air cooler position that lost and gained two seconds on Hunt's McLaren M23 resolved by the 1976 French GP). Ironically Amon never raced the N175 again and the high airboxes had been banned by the time N176 ran at Jarama the following year, but the flash of testing and driving genius was enough to give Amon another chance. Although the results were unremarkable, he and Nunn worked well together, so Amon joined Ensign for the 1976 F1 season.
1976
Ensign's first race of the season was the South African GP where Amon qualified 18th and showed a revival of form, climbing to seventh place, in the old Ensign N174 and contesting sixth with Mario Andretti in the Parnelli Ford, in the last laps before a last minute refueling stop left him 14th. Thereafter results began to improve, with Amon qualifying 17th and finishing eighth in the USA West GP; qualifying tenth and finishing fifth in the Spanish GP; and then qualifying eighth for the Belgian GP. More points then seemed likely from the race until his car lost a wheel 19 laps from the finish and Amon was lucky to escape unhurt from the ensuing accident. He then achieved a third-place grid position start for the Swedish GP using a Nicholson rebuilt Cosworth for the first time and in the race looked as if he would join Tyrrell drivers Jody Scheckter and Patrick Depailler on the podium, until suspension failure threw him from the track after 38 laps.
Amon had again been lucky to escape serious injury and decided to miss the next race, the French GP. He returned for the British GP, qualifying in sixth and running fourth in the race when his Ford-Cosworth DFV engine developed a water leak. Rather than risk losing an engine, his team called him in to retire.
At the German GP problems dogged his attempts to qualify well, but it was Niki Lauda's crash during the second lap of the race that had a far greater impact. Amon refused to restart the race and Nunn fired him from the team. Amon declared his retirement from the sport and returned to New Zealand.
"I'd seen too many people fried in racing cars at that stage. When you've driven past Bandini, Schlesser, Courage and Williamson, another shunt like that was simply too much. It was a personal decision..."
(Amon, on his retirement in 1976)However, Walter Wolf contacted Amon and persuaded him to drive for his Wolf–Williams team in the North American races near the end of the season. After recording some promising times in preparation for the Canadian GP, however, Amon was involved in a heavy collision with another car during qualifying and once again was lucky to walk away unharmed. He then did not take part in either the Canadian or United States Grands Prix.
1977
Amon turned down an offer of a full-time F1 drive for 1977, but did attempt a return to Can-Am racing in 1977 with a Wolf-Dallara WD1. However, after only one race he quit, saying "I'm just not enjoying this anymore". His place was taken by the young and then unknown Canadian Gilles Villeneuve, whom Amon would, later that year, recommend to Enzo Ferrari.
In the meantime, Amon returned once again to New Zealand, this time to retire from F1 motor racing for good.
2000s
2003
Amon came out of retirement for a one-off appearance in the 2003 Dunlop Targa New Zealand with motorsport commentator Murray Walker as his navigator. The pair completed the week-long Auckland to Wellington Tarmac Rally in a Toyota Camry Sportivo, the same car previously used by Walker and Colin Bond in Australia's Targa Tasmania.
Retirement
After his retirement from F1, Amon dedicated himself to running the family farm in New Zealand's Manawatu District for many years. After retiring from farming, he lived in Taupo in New Zealand's North Island. In the early 1980s he became more well known in New Zealand from test-driving vehicles on the TV motoring series Motor Show and later consulted for Toyota New Zealand, tuning the 1984 Toyota Corolla and subsequent cars for sale there. He also appeared in TV commercials for the company, where much was made of the acclaim he won from Enzo Ferrari. Amon participated in the 2004 EnergyWise Rally where he won ahead of Brian Cowan. Amon drove a Toyota Prius for the event.
In the 1993 Queen's Birthday Honours, Amon was appointed a Member of the Order of the British Empire, for services to motor sport.
Amon was involved in the design of the upgraded Taupo Motorsport Park circuit, used for the New Zealand round of the 2006–07 A1 Grand Prix season in January 2007. At the New Zealand Festival of Motor Racing in 2011, Amon's life and career were honoured with a selection of his cars being driven and also used the event to raise funds for the Bruce McLaren trust. Amon was also honoured at the festival in January 2013.
Death
Amon died in Rotorua Hospital on 3 August 2016, aged 73, of cancer. He was survived by his wife (they married in 1977) their three children and their grandchildren. One of his sons, James, is a qualified High Performance personal trainer. He trained Central Districts Stags cricket team, and was revealed to be Brendon Hartley's personal trainer.
Legacy
Despite never winning a championship Formula One Grand Prix, Amon won eight non-championship GPs, the Silverstone International Trophy, the 1000 km Monza, the Daytona 24 Hours, the Tasman Series and, perhaps most significant of all, the famous 24 Heures du Mans (alongside Bruce McLaren). These races included many of Amon's otherwise more successful fellow Formula One drivers. Amon also remains the only driver from New Zealand and Oceania to have raced for Scuderia Ferrari in Formula One.
In Formula One, Chris Amon took part in 96 Grands Prix, achieving 5 poles, leading 183 laps in 7 races, reaching the podium 11 times and scoring a total of 83 Championship points. Amon holds the record for the most different makes of car raced by a Formula 1 World Championship driver, with thirteen. A biography Forza Amon by journalist Eoin Young charts Amon's racing career and gives some insights into his personal life. The book makes clear one point on which Amon himself disagrees with most commentators, the issue of his bad luck. Amon has pointed out on several occasions that he competed for a decade and a half in Formula One and survived some serious accidents, notably in 1976, whilst others, including friends like Bruce McLaren, suffered serious injury and death. In 2008, motorsport journalist Alan Henry rated Chris Amon as his 13th greatest driver.
Reflecting on the 1968 racing death of Jim Clark, Amon said: "If this can happen to Jimmy, what chance do the rest of us have? I think we all felt that. It seemed like we'd lost our leader." In 1995, Amon was inducted into the New Zealand Sports Hall of Fame.
Amon's name has been given to the Toyota Racing Series driver's championship trophy, and the International Scholarship to support drivers who win his trophy to further their careers in single-seater racing. The Toyota Racing Series serves as motorsport's version of "winter ball" in New Zealand during January and February. Following his death, his name was also lent to the Manfeild Autocourse in Feilding, Manawatu.
Racing record
Formula One World Championship results
(key) (Races in bold indicate pole position; races in italics indicate fastest lap)
Non-Championship Formula One results
(key) (Races in bold indicate pole position; races in italics indicate fastest lap)
Complete Tasman Series results
(key) (Races in bold indicate pole position; races in italics indicate fastest lap)
Complete 24 Hours of Le Mans results
References
External links
Bruce McLaren Trust Official site
Trio At The Top – a documentary about Bruce McLaren, Denny Hulme and Chris Amon on NZ On Screen
Chris Amon 8W-Forix; Tom Prankard; 1 October 2000
New Zealand racing drivers
New Zealand Formula One drivers
Amon Formula One drivers
BRM Formula One drivers
Cooper Formula One drivers
Ensign Formula One drivers
Ferrari Formula One drivers
March Formula One drivers
Matra Formula One drivers
Reg Parnell Racing Formula One drivers
Tecno Formula One drivers
Tyrrell Formula One drivers
Williams Formula One drivers
Formula One team owners
24 Hours of Le Mans drivers
24 Hours of Le Mans winning drivers
12 Hours of Reims drivers
24 Hours of Daytona drivers
World Sportscar Championship drivers
Tasman Series drivers
New Zealand Members of the Order of the British Empire
People from Bulls
1943 births
2016 deaths | true | [
"Matthew Waltz (born October 6, 1989) is a retired American professional stock car racing driver. He competed in the NASCAR Xfinity Series, driving for Derrike Cope Racing and Obaika Racing, and raced late models at Langley Speedway, winning the track championship in 2017.\n\nRacing career\n\nLate models \nWaltz grew up racing Late Model cars on his home track Langley Speedway, which he shared with fellow NASCAR driver Brandon Gdovic. He took second in the Denny Hamlin Short Track Shootout in 2014, the same year he won twelve races at Langley. Returning to Langley in 2017, Waltz claimed his first late model championship at the track.\n\nXfinity Series\nWaltz began his NASCAR career in a one race deal driving the No. 70 Chevrolet Camaro for Derrike Cope Racing at Richmond International Raceway in fall 2015, Waltz's first race with live pit stops. He started 37th and finished 33rd after retiring with electrical issues and a lap penalty for pitting too early. He attempted another race later in the season with DCR, at Phoenix International Raceway, but failed to qualify. The relationship stemmed from a chance encounter with Cope and his team at the spring Richmond race, which led to Waltz driving the Cope hauler to Iowa Speedway for the race there. In return, Cope gave Waltz the ride at Richmond. \n\nIn 2016, Waltz debuted with Obaika Racing at New Hampshire Motor Speedway, qualifying 39th and finishing 28th. Two races later at Iowa Speedway, rear gear problems dropped him to a 35th-place finish. Waltz then ran four races for Obaika in the Xfinity Series Chase, finishing no higher than 34th.\n\nAfter the 2016 season, Waltz returned to late model racing because of inadequate sponsorship and did not compete in a NASCAR race in 2017.\n\nRetirement \nIn early 2018, Waltz announced his retirement from full-time racing due to a number of factors, mainly a lack of opportunities to advance, a want of more free time, and spending more time running his family business. He did, however, come out of retirement to attempt the 2019 ValleyStar Credit Union 300.\n\nPersonal life\nWaltz is an Old Dominion University graduate with a Mechanical Engineering degree, racing while attending classes.\n\nMotorsports career results\n\nNASCAR\n(key) (Bold – Pole position awarded by qualifying time. Italics – Pole position earned by points standings or practice time. * – Most laps led.)\n\nXfinity Series\n\n Season still in progress\n Ineligible for series points\n\nReferences\n\nExternal links\n \n\nNASCAR drivers\n1989 births\nLiving people\nSportspeople from Newport News, Virginia\nRacing drivers from Virginia",
"Michael Affarano (born June 9, 1962) is an American professional stock car racing driver and race team owner. As a driver, he last competed part-time in the NASCAR Gander RV & Outdoors Truck Series for his own team, Mike Affarano Motorsports. He has also competed and fielded a team in the ARCA Racing Series.\n\nRacing career\n\nARCA Menards Series and 2012 Talladega crash\nAffarano made his first attempt in ARCA in 2012 at the season opener at Daytona driving the No. 59 for Mark Gibson, but he did not qualify for the race. He began fielding his own team in the series starting at Talladega. In his first race as an owner-driver, he became known for a crash in that race where his No. 83 flipped on lap 76 of the race. Since the car landed on its roof, a safety truck had to flip it back on its wheels, where Affarano proceeded to climb out of his car with the help of safety personnel at the scene.\n\nAffarano drove in four more races that year, with two being for his own team and the other two driving the No. 18 for Fast Track Racing.\n\nAffarano nor his team did not end up making up any starts in 2013, however, plans were announced for him to drive the No. 40 Dodge for Carter 2 Motorsports at Chicago, but Dominick Casola ended up driving the car instead. Casola originally had been announced to be in the other C2M car, the No. 97, which was driven by Nick Tucker instead.\n\nHe returned with his own team, now using the No. 03, for two attempts in 2014. The first was a withdrawal at his home track of Chicago, and the second being at Pocono where he surprisingly finished 14th in a field of 31 cars.\n\nIn 2015, Affarano did not drive in any races himself, but he did have Raymond Hassler in the No. 03 at Daytona and Kevin Rutherford in the car for three races at Nashville, Toledo, and Winchester.\n\nNASCAR Gander RV & Outdoors Truck Series\nAffarano's first truck start came at the 2014 Eldora race. He fielded his own truck, the No. 03 Chevrolet, and qualified into the event through his heat race. However, in the race, Affarano finished last. He made three more starts that year at Chicago, Bristol (which was a DNQ), and Talladega.\n\nHe returned in 2015, again for a part-time schedule. Affarano himself drove at Kansas, Texas, Gateway, and Iowa. He also withdrew from two other races that year at Dover and Kentucky. He did enter his truck at Eldora for the second year in a row, but this time, it was with Jake Griffin driving. It was the first time he had someone other than himself driving his truck. After that Tim Viens attempted Pocono and Michigan for the team but failed to qualify in both. After that Viens and Affarano Motorsports were supposedly to attempt Chicago's race but withdrew.\n\nAffarano and his No. 03 team did not attempt any races in 2016, but they did attempt to come back in 2017 at Talladega. They were initially on the entry list, but the team withdrew after they could not get the truck ready and updated in time, according to a post on the team's Facebook page.\n\nHe also withdrew from the race at Chicago in 2018. John Provenzano attempted Eldora's race for the team but failed to qualify.\n\nIn 2019, Jake Griffin returned to the team for Eldora's race and finished 26th.\n\nNASCAR Xfinity Series \nIn 2015, Affarano expanded his race team into the NASCAR Xfinity Series, attempting one race with Johanna Long in his No. 03 car, but failed to qualify. After that, Long parted ways with the team. Affarano did not run any Xfinity races as a driver, though. \n\nThe team was planning to debut at the season-opener at Daytona in February 2015, but they had to postpone their debut due to lack of sponsorship. Affarano started his Xfinity team by purchasing cars and equipment from the closed Turner Scott Motorsports team.\n\nPersonal life\nAffarano lives in Shorewood, Illinois where he owns an auto parts shop. He is happily married for many years. He lost his 16-year old son, named after him, in May 2005. He also has two other children, twin boys, (born 2007), who are also into racing.\n\nMotorsports career results\n\nNASCAR\n\nCamping World Truck Series\n\n Season still in progress\n Ineligible for series points\n\nARCA Racing Series\n\nReferences\n\nExternal links\n \n \n\n1962 births\nLiving people\nPeople from Shorewood, Illinois\nRacing drivers from Illinois\nNASCAR drivers\nARCA Menards Series drivers"
] | [
"Christopher Arthur Amon (20 July 1943 – 3 August 2016) was a New Zealand motor racing driver. He was active in Formula One racing in the 1960s and 1970s and is widely regarded as one of the best F1 drivers never to win a championship Grand Prix.",
"He was active in Formula One racing in the 1960s and 1970s and is widely regarded as one of the best F1 drivers never to win a championship Grand Prix. His reputation for bad luck was such that fellow driver Mario Andretti once joked that \"if he became an undertaker, people would stop dying\".",
"His reputation for bad luck was such that fellow driver Mario Andretti once joked that \"if he became an undertaker, people would stop dying\". Former Ferrari Technical Director Mauro Forghieri stated that Amon was \"by far the best test driver I have ever worked with.",
"Former Ferrari Technical Director Mauro Forghieri stated that Amon was \"by far the best test driver I have ever worked with. He had all the qualities to be a World Champion but bad luck just wouldn't let him be\". Apart from driving, Chris Amon also ran his own Formula One team for a short period in 1974.",
"Apart from driving, Chris Amon also ran his own Formula One team for a short period in 1974. Away from Formula One, Amon had some success in sports car racing, teaming with co-driver Bruce McLaren to win the 24 Hours of Le Mans race in . Early life Amon was born in Bulls, and attended Whanganui Collegiate School.",
"Early life Amon was born in Bulls, and attended Whanganui Collegiate School. He was the only child of wealthy sheep-owners Ngaio and Betty Amon. He learned to drive at the age of six, taught by a farm worker on the family farm.",
"He learned to drive at the age of six, taught by a farm worker on the family farm. On leaving school, he persuaded his father to buy him an Austin A40 Special, which he entered in some minor local races and hillclimbs along with practice on the family farm.",
"On leaving school, he persuaded his father to buy him an Austin A40 Special, which he entered in some minor local races and hillclimbs along with practice on the family farm. He progressed to a 1.5-litre Cooper and then an old 2.5-litre Maserati 250F, but only began to draw attention when he drove the Cooper-Climax T51 which Bruce McLaren had used to win his maiden Grand Prix.",
"He progressed to a 1.5-litre Cooper and then an old 2.5-litre Maserati 250F, but only began to draw attention when he drove the Cooper-Climax T51 which Bruce McLaren had used to win his maiden Grand Prix. In 1962 Amon entered the Cooper for the New Zealand winter series, but was hampered by mechanical problems.",
"In 1962 Amon entered the Cooper for the New Zealand winter series, but was hampered by mechanical problems. However, Scuderia Veloce entered him in a similar car, and, in the rain at Lakeside, he performed well.",
"However, Scuderia Veloce entered him in a similar car, and, in the rain at Lakeside, he performed well. One of the spectators there was the English racing driver Reg Parnell who persuaded Amon to come to England and race for his team.",
"One of the spectators there was the English racing driver Reg Parnell who persuaded Amon to come to England and race for his team. In a test at Goodwood Amon continued to impress and was on the pace in the Goodwood International Trophy and Aintree 200 pre-season races.",
"In a test at Goodwood Amon continued to impress and was on the pace in the Goodwood International Trophy and Aintree 200 pre-season races. Racing career 1960s 1963 For the 1963 Formula One season the Parnell team were using the year old Lola Mk4A, powered by 1962 specification Climax V8 engines.",
"Racing career 1960s 1963 For the 1963 Formula One season the Parnell team were using the year old Lola Mk4A, powered by 1962 specification Climax V8 engines. Amon was teamed with the very experienced Maurice Trintignant for the first race of the season at Monaco and his Grand Prix career started with what was to become typical bad luck: Trintignant's Climax developed a misfire, so he took over Amon's car.",
"Amon was teamed with the very experienced Maurice Trintignant for the first race of the season at Monaco and his Grand Prix career started with what was to become typical bad luck: Trintignant's Climax developed a misfire, so he took over Amon's car. At the 1963 Belgian Grand Prix, Amon was partnered by Lucien Bianchi and started ahead of him from 15th position.",
"At the 1963 Belgian Grand Prix, Amon was partnered by Lucien Bianchi and started ahead of him from 15th position. After nine laps, however, an oil fire ended his race.",
"After nine laps, however, an oil fire ended his race. He continued to experience mechanical problems at the Dutch, Mexican and German Grands Prix; and after an accident in practice for the Italian Grand Prix left him hanging out of his car's cockpit with three broken ribs, he missed both the Italian and United States rounds.",
"He continued to experience mechanical problems at the Dutch, Mexican and German Grands Prix; and after an accident in practice for the Italian Grand Prix left him hanging out of his car's cockpit with three broken ribs, he missed both the Italian and United States rounds. Amon usually qualified in the midfield and generally outpaced his teammates, who included his good friend Mike Hailwood.",
"Amon usually qualified in the midfield and generally outpaced his teammates, who included his good friend Mike Hailwood. His best results of the year were seventh at the French and British Grands Prix. During this time, however, Amon's social life was attracting as much attention as his driving.",
"During this time, however, Amon's social life was attracting as much attention as his driving. He was a member of the Ditton Road Flyers, the social set named after the road in London where Amon shared an apartment with American Peter Revson, Hailwood and Tony Maggs.",
"He was a member of the Ditton Road Flyers, the social set named after the road in London where Amon shared an apartment with American Peter Revson, Hailwood and Tony Maggs. Parnell was nonetheless impressed with Amon's results in what was regarded as less-than-competitive machinery and promoted him to team leader.",
"Parnell was nonetheless impressed with Amon's results in what was regarded as less-than-competitive machinery and promoted him to team leader. Parnell died from peritonitis in January 1964 and his son Tim took over the team. 1964 In a series of four pre-season races in Britain and Italy, Amon recorded three fifth places at Snetterton, Silverstone and Syracuse.",
"1964 In a series of four pre-season races in Britain and Italy, Amon recorded three fifth places at Snetterton, Silverstone and Syracuse. He failed to qualify for the first F1 race of the season, the Monaco GP, but at the next race, the Dutch GP, he scored his first World Championship points.",
"He failed to qualify for the first F1 race of the season, the Monaco GP, but at the next race, the Dutch GP, he scored his first World Championship points. The rest of his season, however, was blighted by mechanical problems.",
"The rest of his season, however, was blighted by mechanical problems. 1965 Parnell was offered BRM engines for 1965, but only if it ran Richard Attwood as its regular driver. Reluctantly, Parnell agreed and Attwood took Amon's place.",
"Reluctantly, Parnell agreed and Attwood took Amon's place. Spotting an opportunity, Bruce McLaren quickly signed Amon for his new McLaren team, but when no second McLaren F1 car materialised, Amon could only drive in sports car races. At the French GP Amon rejoined Parnell to stand in for an injured Attwood.",
"At the French GP Amon rejoined Parnell to stand in for an injured Attwood. Amon also competed in a Formula Two race in Stuttgart and won. He returned to Germany for the German GP as second Parnell driver, but mechanical failure again forced an early retirement.",
"He returned to Germany for the German GP as second Parnell driver, but mechanical failure again forced an early retirement. His last drive before Attwood's return, a non-championship race in Enna, Sicily, also ended in retirement. 1966 During 1966 Amon continued to race for McLaren in Can-Am.",
"1966 During 1966 Amon continued to race for McLaren in Can-Am. He was intended to drive the second McLaren M2B but difficulties with engine supply meant that the team never made the intended expansion to two cars.",
"He was intended to drive the second McLaren M2B but difficulties with engine supply meant that the team never made the intended expansion to two cars. (James Garner's character Pete Aron's helmet and car livery in the film Grand Prix were modelled on Amon driving a McLaren, which caused the movie makers to have to encourage other cars to be painted in the 'Yamura' colours and other drivers (Bruce McLaren included) to wear Amon-style helmets.)",
"(James Garner's character Pete Aron's helmet and car livery in the film Grand Prix were modelled on Amon driving a McLaren, which caused the movie makers to have to encourage other cars to be painted in the 'Yamura' colours and other drivers (Bruce McLaren included) to wear Amon-style helmets.) However, an opportunity arose to drive for the Cooper F1 team after Richie Ginther left them for Honda.",
"However, an opportunity arose to drive for the Cooper F1 team after Richie Ginther left them for Honda. Amon drove for Cooper at the French GP and was scheduled to drive for them for the rest of the season, until the more successful John Surtees left Scuderia Ferrari to join Cooper and Amon found himself dropped.",
"Amon drove for Cooper at the French GP and was scheduled to drive for them for the rest of the season, until the more successful John Surtees left Scuderia Ferrari to join Cooper and Amon found himself dropped. Amon made one other F1 appearance during the year, driving a Brabham BT11 powered by an old 2-litre BRM engine at the Italian GP under the banner of \"Chris Amon Racing\".",
"Amon made one other F1 appearance during the year, driving a Brabham BT11 powered by an old 2-litre BRM engine at the Italian GP under the banner of \"Chris Amon Racing\". He failed to qualify.",
"He failed to qualify. He failed to qualify. Amon did however, score his biggest success to date when he partnered Bruce McLaren in a 7-litre Ford GT40 Mark II and Ken Miles to Ford's dead-heat \"photo-finish\" after Miles was instructed to slow down despite leading at the Le Mans 24-hour race, spearheading a formation finish.",
"Amon did however, score his biggest success to date when he partnered Bruce McLaren in a 7-litre Ford GT40 Mark II and Ken Miles to Ford's dead-heat \"photo-finish\" after Miles was instructed to slow down despite leading at the Le Mans 24-hour race, spearheading a formation finish. He subsequently received an invitation to meet Enzo Ferrari at the Ferrari home in Maranello, where he signed to race for Ferrari in 1967 alongside Lorenzo Bandini, Mike Parkes and Ludovico Scarfiotti.",
"He subsequently received an invitation to meet Enzo Ferrari at the Ferrari home in Maranello, where he signed to race for Ferrari in 1967 alongside Lorenzo Bandini, Mike Parkes and Ludovico Scarfiotti. 1967 Amon's first year with Ferrari did not begin auspiciously.",
"1967 Amon's first year with Ferrari did not begin auspiciously. En route to Brands Hatch for the pre-season Formula One Race of Champions, he crashed his road car and, following race practice, had to withdraw.",
"En route to Brands Hatch for the pre-season Formula One Race of Champions, he crashed his road car and, following race practice, had to withdraw. Tragedy then struck the Ferrari team when Bandini died following a crash during the 1967 Monaco Grand Prix, Mike Parkes broke both his legs at the Belgian Grand Prix and, in the aftermath, Ludovico Scarfiotti went into temporary retirement.",
"Tragedy then struck the Ferrari team when Bandini died following a crash during the 1967 Monaco Grand Prix, Mike Parkes broke both his legs at the Belgian Grand Prix and, in the aftermath, Ludovico Scarfiotti went into temporary retirement. Amon, therefore, became Ferrari's only driver for the rest of the season, until joined by Jonathan Williams for the final race in Mexico.",
"Amon, therefore, became Ferrari's only driver for the rest of the season, until joined by Jonathan Williams for the final race in Mexico. Amon scored his first podium in his first official outing for the Scuderia in Monaco and at the end of 1967 had achieved four third places finishing fifth in the Drivers' Championship, in what was going to be the most successful season of his career.",
"Amon scored his first podium in his first official outing for the Scuderia in Monaco and at the end of 1967 had achieved four third places finishing fifth in the Drivers' Championship, in what was going to be the most successful season of his career. Amon's Ferrari contract also included sports car racing and he began 1967 by winning the Daytona 24 Hours and 1000km Monza events with Bandini in the 4-litre Ferrari 330-P4.",
"Amon's Ferrari contract also included sports car racing and he began 1967 by winning the Daytona 24 Hours and 1000km Monza events with Bandini in the 4-litre Ferrari 330-P4. He finished the year partnering Jackie Stewart to a second place at the BOAC 500, thereby clinching the manufacturer's world championship for Ferrari by one point over Porsche.",
"He finished the year partnering Jackie Stewart to a second place at the BOAC 500, thereby clinching the manufacturer's world championship for Ferrari by one point over Porsche. 1968 1968 was the year aerodynamics first played a significant role in F1 car design and Amon worked with engineer Mauro Forghieri to place aerofoils on the Ferrari 312.",
"1968 1968 was the year aerodynamics first played a significant role in F1 car design and Amon worked with engineer Mauro Forghieri to place aerofoils on the Ferrari 312. In January 1968 Amon had returned home to New Zealand and Australia to compete in the 1968 Tasman Series which was used by many of the top Formula One drivers as a warm up series to the World Championship.",
"In January 1968 Amon had returned home to New Zealand and Australia to compete in the 1968 Tasman Series which was used by many of the top Formula One drivers as a warm up series to the World Championship. Ferrari had been interested in the series for several years and in 1965 had reengineered 2.4 Dino engines used by Mike Hawthorn, Peter Collins and Phil Hill in 1958–60 with more torque and mid speed power for the planned use of team leader Surtees in the 1966 Tasman Series.",
"Ferrari had been interested in the series for several years and in 1965 had reengineered 2.4 Dino engines used by Mike Hawthorn, Peter Collins and Phil Hill in 1958–60 with more torque and mid speed power for the planned use of team leader Surtees in the 1966 Tasman Series. After a late season crash in US Can-Am racing by Surtees, the entry was withdrawn but consideration was given to using NZ Gold star champion Jim Palmer in a semi-works Ferrari entry in the 1967 Tasman Series as it was viewed in a 2.4 car he would be competitive with Clark and Stewart in 2-litre F1 cars.",
"After a late season crash in US Can-Am racing by Surtees, the entry was withdrawn but consideration was given to using NZ Gold star champion Jim Palmer in a semi-works Ferrari entry in the 1967 Tasman Series as it was viewed in a 2.4 car he would be competitive with Clark and Stewart in 2-litre F1 cars. Palmer had run world-class times in the 1966 Tasman Series, particularly in the Pukekohe practice and Longford race, and was tested in Italy at the same time as Amon by Ferrari, and ran competitive times at Modena but for whatever reason Ferrari did not compete in 1967 series.",
"Palmer had run world-class times in the 1966 Tasman Series, particularly in the Pukekohe practice and Longford race, and was tested in Italy at the same time as Amon by Ferrari, and ran competitive times at Modena but for whatever reason Ferrari did not compete in 1967 series. For the 1968 series Ferrari decided to use the 2.4 engines with a new Dino 166 F2 chassis rather than a downsized 3-litre V12.",
"For the 1968 series Ferrari decided to use the 2.4 engines with a new Dino 166 F2 chassis rather than a downsized 3-litre V12. Using the 246T Amon won the first two rounds of the Tasman Series, including the 1968 New Zealand Grand Prix, before narrowly losing the series to the Lotus-Ford of Jim Clark.",
"Using the 246T Amon won the first two rounds of the Tasman Series, including the 1968 New Zealand Grand Prix, before narrowly losing the series to the Lotus-Ford of Jim Clark. The Dino 246 Tasmania was better handling than Clark's Lotus 49T which was still wingless and a difficult proposition.",
"The Dino 246 Tasmania was better handling than Clark's Lotus 49T which was still wingless and a difficult proposition. Impressed by Amon's driving in the NZ rounds, Ferrari dispatched a new four-valve version of the 2.4 V6 for the Australian rounds and this gave another 15 hp, but with lesser reliability which, combined with the fact Clark was the best driver in the world at the time, cost Amon the series, although in the final round at Sandown Park he duelled wheel to wheel with Clark before being pipped at the line.",
"Impressed by Amon's driving in the NZ rounds, Ferrari dispatched a new four-valve version of the 2.4 V6 for the Australian rounds and this gave another 15 hp, but with lesser reliability which, combined with the fact Clark was the best driver in the world at the time, cost Amon the series, although in the final round at Sandown Park he duelled wheel to wheel with Clark before being pipped at the line. After the first race of the F1 season in South Africa, Amon achieved pole positions in three of the following four races (at the Spanish, Belgian and Dutch Grands Prix) but ever-present mechanical problems meant he secured only a single Championship point from them.",
"After the first race of the F1 season in South Africa, Amon achieved pole positions in three of the following four races (at the Spanish, Belgian and Dutch Grands Prix) but ever-present mechanical problems meant he secured only a single Championship point from them. Throughout the rest of the season he never qualified lower than fifth place and nearly scored victories at the British and Canadian rounds and he suffered a 100 mph crash in Italy which demolished his car.",
"Throughout the rest of the season he never qualified lower than fifth place and nearly scored victories at the British and Canadian rounds and he suffered a 100 mph crash in Italy which demolished his car. In Britain, he duelled to the line with Jo Siffert's Lotus 49B and in Canada he dominated the race despite a malfunctioning clutch.",
"In Britain, he duelled to the line with Jo Siffert's Lotus 49B and in Canada he dominated the race despite a malfunctioning clutch. Seventeen laps from the finish, however, his car's transmission failed and a distraught Amon had to be consoled by Jacky Ickx.",
"Seventeen laps from the finish, however, his car's transmission failed and a distraught Amon had to be consoled by Jacky Ickx. From at least ten promising starts that season he was only able to finish five races and score ten Championship points. His best finish was second place to Siffert's Lotus-Cosworth at the British Grand Prix.",
"His best finish was second place to Siffert's Lotus-Cosworth at the British Grand Prix. Outside F1, Amon was runner-up in the Formula Two race at Zolder, Belgium, testing the Dino 166 F2. He also came third in that year's BRDC International Trophy.",
"He also came third in that year's BRDC International Trophy. 1969 Amon began 1969 with success driving the Dino engined 246 Tasmania in the Tasman Series that included winning both the New Zealand and Australian Grands Prix.",
"1969 Amon began 1969 with success driving the Dino engined 246 Tasmania in the Tasman Series that included winning both the New Zealand and Australian Grands Prix. In straight fights, he beat new Gold Leaf Lotus team leader, Jochen Rindt, into second in the races at Pukekohe and Sandown.",
"In straight fights, he beat new Gold Leaf Lotus team leader, Jochen Rindt, into second in the races at Pukekohe and Sandown. He would ultimately win the seven race Tasman Series, probably the best of the seven-year 2.5-litre international formula series in this country and the nearest to World Championship level racing in New Zealand, with ferocious competition between Rindt, Graham Hill, Amon and Williams driver Piers Courage.",
"He would ultimately win the seven race Tasman Series, probably the best of the seven-year 2.5-litre international formula series in this country and the nearest to World Championship level racing in New Zealand, with ferocious competition between Rindt, Graham Hill, Amon and Williams driver Piers Courage. It was actually much more serious racing than the McLaren dominated Can-Am series in the US in which the big sports cars required few gear changes and were essentially cruised to victory with little real competition, where the Tasman cars were essentially marginally lower power F1 cars, as difficult to drive as GP cars on unforgiving very dangerous narrow tracks.",
"It was actually much more serious racing than the McLaren dominated Can-Am series in the US in which the big sports cars required few gear changes and were essentially cruised to victory with little real competition, where the Tasman cars were essentially marginally lower power F1 cars, as difficult to drive as GP cars on unforgiving very dangerous narrow tracks. Amon finished with four wins, two-thirds and one retirement, but in Formula One his poor luck continued.",
"Amon finished with four wins, two-thirds and one retirement, but in Formula One his poor luck continued. Despite six starts from top-six positions, he was only able to achieve a third-place at the Dutch GP.",
"Despite six starts from top-six positions, he was only able to achieve a third-place at the Dutch GP. Ferrari's F1 V12 engine was too unreliable and although its replacement had proven very fast in testing, it had suffered many mechanical breakages.",
"Ferrari's F1 V12 engine was too unreliable and although its replacement had proven very fast in testing, it had suffered many mechanical breakages. Amon had no reason to believe it would be any more dependable than the V12, so although the new engine was clearly more powerful, he decided to leave Ferrari for a Cosworth DFV powered team.",
"Amon had no reason to believe it would be any more dependable than the V12, so although the new engine was clearly more powerful, he decided to leave Ferrari for a Cosworth DFV powered team. Ironically, the new flat-12 engine would become one of the best Formula One engines of the 1970s.",
"Ironically, the new flat-12 engine would become one of the best Formula One engines of the 1970s. Jacky Ickx, Amon's old teammate did return to Ferrari for 1970, after a successful sabbatical with Brabham gained Ickx second in the 1969 World Championship.",
"Jacky Ickx, Amon's old teammate did return to Ferrari for 1970, after a successful sabbatical with Brabham gained Ickx second in the 1969 World Championship. Ickx saw Enzo Ferrari had secured huge backing from Fiat who had taken partial ownership of the Marque, and believed Ferrari would be a renewed team and an effective proposition.",
"Ickx saw Enzo Ferrari had secured huge backing from Fiat who had taken partial ownership of the Marque, and believed Ferrari would be a renewed team and an effective proposition. Amon was more influenced by views of Jackie Stewart and Jochen Rindt, who believed it was essential to be Ford DFV-powered to be competitive.",
"Amon was more influenced by views of Jackie Stewart and Jochen Rindt, who believed it was essential to be Ford DFV-powered to be competitive. In addition to Formula One, Amon also drove for Ferrari in the 1969 International Championship for Makes, partnering Pedro Rodriguez to a fourth place in the BOAC 500 at Brands Hatch and coming second at the 12 Hours of Sebring, but retiring from the 1000km Nürburgring and 1000km Monza races, all in the Ferrari 312P sportscar.",
"In addition to Formula One, Amon also drove for Ferrari in the 1969 International Championship for Makes, partnering Pedro Rodriguez to a fourth place in the BOAC 500 at Brands Hatch and coming second at the 12 Hours of Sebring, but retiring from the 1000km Nürburgring and 1000km Monza races, all in the Ferrari 312P sportscar. He also drove in a few Can-Am races.",
"He also drove in a few Can-Am races. His last race for Ferrari would be the 1970 1000 km Monza, where he finished as runner-up. 1970s 1970 For the 1970 Formula One season, Amon made what was to be the first of several moves to smaller, newer teams.",
"1970s 1970 For the 1970 Formula One season, Amon made what was to be the first of several moves to smaller, newer teams. March Engineering had been formed the previous year to build custom chassis for Formulas 2 and 3, but quickly moved into F1, designing and building the March 701.",
"March Engineering had been formed the previous year to build custom chassis for Formulas 2 and 3, but quickly moved into F1, designing and building the March 701. Amon and Siffert were signed as drivers, with IndyCar driver Mario Andretti making an occasional appearance in a third car.",
"Amon and Siffert were signed as drivers, with IndyCar driver Mario Andretti making an occasional appearance in a third car. March also sold their 701 chassis to Tyrrell, where Jackie Stewart drove it to its first victory in that year's Spanish GP.",
"March also sold their 701 chassis to Tyrrell, where Jackie Stewart drove it to its first victory in that year's Spanish GP. Amon won the pre-season Silverstone International Trophy, but once the F1 season began he found himself prevented from converting good qualifying positions into good results.",
"Amon won the pre-season Silverstone International Trophy, but once the F1 season began he found himself prevented from converting good qualifying positions into good results. He qualified second behind Stewart's Tyrrell-March for the season-opening South African Grand Prix only for his own March to overheat within fourteen laps.",
"He qualified second behind Stewart's Tyrrell-March for the season-opening South African Grand Prix only for his own March to overheat within fourteen laps. Amon then qualified sixth for the Spanish Grand Prix only for his March's Ford-Cosworth DFV engine to expire within ten laps.",
"Amon then qualified sixth for the Spanish Grand Prix only for his March's Ford-Cosworth DFV engine to expire within ten laps. He qualified and ran second in the 1970 Monaco Grand Prix until his suspension failed twenty laps from the finish.",
"He qualified and ran second in the 1970 Monaco Grand Prix until his suspension failed twenty laps from the finish. This was the race where Amon refused to drive unless his entry number was changed from 18 – the number under which his then teammate Lorenzo Bandini had crashed and died in Monaco – to 28.",
"This was the race where Amon refused to drive unless his entry number was changed from 18 – the number under which his then teammate Lorenzo Bandini had crashed and died in Monaco – to 28. Amon's close second place from a third-place start at the 1970 Belgian Grand Prix finally gave the March works team their first points finish.",
"Amon's close second place from a third-place start at the 1970 Belgian Grand Prix finally gave the March works team their first points finish. At that race, Amon set fastest lap at over 152 miles per hour, a lap record which still stands as of 2016, as it was the last race on the full-length Spa-Francorchamps circuit.",
"At that race, Amon set fastest lap at over 152 miles per hour, a lap record which still stands as of 2016, as it was the last race on the full-length Spa-Francorchamps circuit. However, after qualifying fourth for the next race, the Dutch Grand Prix, his car's clutch broke after just one lap.",
"However, after qualifying fourth for the next race, the Dutch Grand Prix, his car's clutch broke after just one lap. Amon duplicated his Belgian result at the 1970 French Grand Prix,.",
"Amon duplicated his Belgian result at the 1970 French Grand Prix,. After a disappointing performance in the British GP at Brands Hatch where Amon finished fifth after being outqualified by tyro Ronnie Peterson in a private 701 on the same tyres, conflict with team boss Max Mosley over the non-delivery of three-quarters of Amon's expected pay for the season saw him provided with inferior DFVs and two backmarker 7th places in Austria and Italy, Amon finished the season strongly with strong drives to third at Mosport, fifth at Watkins Glen and fourth in Mexico.",
"After a disappointing performance in the British GP at Brands Hatch where Amon finished fifth after being outqualified by tyro Ronnie Peterson in a private 701 on the same tyres, conflict with team boss Max Mosley over the non-delivery of three-quarters of Amon's expected pay for the season saw him provided with inferior DFVs and two backmarker 7th places in Austria and Italy, Amon finished the season strongly with strong drives to third at Mosport, fifth at Watkins Glen and fourth in Mexico. At Watkins Glen in the USGP he was robbed of a probably certain victory, in the opinion of March designer Robin Herd, by a puncture.",
"At Watkins Glen in the USGP he was robbed of a probably certain victory, in the opinion of March designer Robin Herd, by a puncture. By the end of the year, disagreements with March co-founders Mosley and Robin Herd meant that Amon had decided to move to another relatively new team, Matra.",
"By the end of the year, disagreements with March co-founders Mosley and Robin Herd meant that Amon had decided to move to another relatively new team, Matra. 1971 In 1971, Amon, now driving for the Matra factory team, once again scored a pre-season victory, this time at the Argentine Grand Prix.",
"1971 In 1971, Amon, now driving for the Matra factory team, once again scored a pre-season victory, this time at the Argentine Grand Prix. Once the Formula One season had begun, he managed to convert a third-place start at the Spanish GP into a third-place podium finish and scored a couple of fifth places in the South African and French GPs.",
"Once the Formula One season had begun, he managed to convert a third-place start at the Spanish GP into a third-place podium finish and scored a couple of fifth places in the South African and French GPs. Apart from these results, however, his run of poor F1 returns continued.",
"Apart from these results, however, his run of poor F1 returns continued. He had a major accident at the Nürburgring and it sidelined him for the next race at the Österreichring.",
"He had a major accident at the Nürburgring and it sidelined him for the next race at the Österreichring. At the Italian GP he qualified in pole position and despite a poor start to the race looked as if he would capitalise on it – until the visor on his helmet became detached.",
"At the Italian GP he qualified in pole position and despite a poor start to the race looked as if he would capitalise on it – until the visor on his helmet became detached. Amon had to slow to avoid risking a major accident, thereby allowing other drivers to catch and overtake him.",
"Amon had to slow to avoid risking a major accident, thereby allowing other drivers to catch and overtake him. He finished the race in sixth place, scoring just one Championship point.",
"He finished the race in sixth place, scoring just one Championship point. During the year Amon also competed in the non-championship Questor Grand Prix at the new Ontario Motor Speedway, where he qualified second and, despite suffering a puncture during the race, managed to finish fourth.",
"During the year Amon also competed in the non-championship Questor Grand Prix at the new Ontario Motor Speedway, where he qualified second and, despite suffering a puncture during the race, managed to finish fourth. In the Tasman Series Amon started from fourth at the Levin Circuit and in the race, he battled with David Oxton and John Cannon but managed to finish third.",
"In the Tasman Series Amon started from fourth at the Levin Circuit and in the race, he battled with David Oxton and John Cannon but managed to finish third. Amon's third race at Wigram Airfield starting fifth and spun at the start to drop him to the back of the field but managed to climb up to fifth.",
"Amon's third race at Wigram Airfield starting fifth and spun at the start to drop him to the back of the field but managed to climb up to fifth. 1972 In the 1972 Formula One season, Amon, again driving for Matra achieved a handful of points-scoring finishes, but only one podium appearance, at the French GP.",
"1972 In the 1972 Formula One season, Amon, again driving for Matra achieved a handful of points-scoring finishes, but only one podium appearance, at the French GP. Here he achieved the fifth and final pole position of his career and was leading the race until a puncture forced him to pit.",
"Here he achieved the fifth and final pole position of his career and was leading the race until a puncture forced him to pit. However, he climbed back through the field, breaking the circuit's lap record to finish third.",
"However, he climbed back through the field, breaking the circuit's lap record to finish third. With the money he had made from motorsport, Amon decided to set up a racing engine firm with former BRM engineer Aubrey Woods.",
"With the money he had made from motorsport, Amon decided to set up a racing engine firm with former BRM engineer Aubrey Woods. Amon Racing Engines supplied Formula 2 engines to a few drivers, but the company quickly became too expensive to run and was sold to March for a loss.",
"Amon Racing Engines supplied Formula 2 engines to a few drivers, but the company quickly became too expensive to run and was sold to March for a loss. Matra decided to end their participation in Formula One at the end of 1972, so Amon found himself looking to return to March as a driver.",
"Matra decided to end their participation in Formula One at the end of 1972, so Amon found himself looking to return to March as a driver. The place, however, was given to Jean-Pierre Jarier, purportedly for financial reasons. Amon therefore signed for another recently formed F1 team, Tecno.",
"Amon therefore signed for another recently formed F1 team, Tecno. 1973 Tecno had entered F1 the previous year, having been a successful chassis-builder for other Formulæ and had developed a potentially powerful Flat 12 for F1.",
"1973 Tecno had entered F1 the previous year, having been a successful chassis-builder for other Formulæ and had developed a potentially powerful Flat 12 for F1. Their first year in F1 proved to be dismal, however with considerable backing from Martini Rossi they had jumped at the chance to sign Amon, and allocate David Yorke the former Vanwall and Gulf GT40 Team Manager to run the team and commission two new chassis designs by former Lotus and McLaren mechanic.",
"Their first year in F1 proved to be dismal, however with considerable backing from Martini Rossi they had jumped at the chance to sign Amon, and allocate David Yorke the former Vanwall and Gulf GT40 Team Manager to run the team and commission two new chassis designs by former Lotus and McLaren mechanic. Alan McCall who had worked on Clark and Hulme's F1 cars and unproven, British designer Gordon Fowell for a more radical back up design, in the hope he would help transform their performance.",
"Alan McCall who had worked on Clark and Hulme's F1 cars and unproven, British designer Gordon Fowell for a more radical back up design, in the hope he would help transform their performance. While McCalls car was built rapidly, testing it was more time-consuming and after its non-appearance, for the Spanish GP, Amon and team manager David Yorke met with Enzo Ferrari to see if Amon could be released from his contract to develop the new Ferrari B3 for Ickx and Mezarrio, in a supposedly one off GP drive at Monaco.",
"While McCalls car was built rapidly, testing it was more time-consuming and after its non-appearance, for the Spanish GP, Amon and team manager David Yorke met with Enzo Ferrari to see if Amon could be released from his contract to develop the new Ferrari B3 for Ickx and Mezarrio, in a supposedly one off GP drive at Monaco. Yorke rejected the release, and Amon admits he would not have left Ferrari if offered the drive for a season.",
"Yorke rejected the release, and Amon admits he would not have left Ferrari if offered the drive for a season. Unfortunately, the team went from bad to worse and wasn't able to field the Tecno PA123/6 until the fifth GP of the season, the Belgian GP. Amon managed to finish in sixth position.",
"Amon managed to finish in sixth position. At Monaco the car qualified a useful 12th and chassis felt good but Chris was unhappy with the car. He decided to concentrate on the undeveloped Gordon Fowell Goral car.",
"He decided to concentrate on the undeveloped Gordon Fowell Goral car. This was against the view of the Techno team and the Pederanzi engine builders and Martini Rossi who required the car and driver to appear at races Amon commented at the time that it was \"the best chassis I've ever sat in\", it too proved virtually undriveable.",
"This was against the view of the Techno team and the Pederanzi engine builders and Martini Rossi who required the car and driver to appear at races Amon commented at the time that it was \"the best chassis I've ever sat in\", it too proved virtually undriveable. Amon refused to drive the McCall, Techno in the Swedish or German Gps and withdrew from the Austrian GP after qualifying.",
"Amon refused to drive the McCall, Techno in the Swedish or German Gps and withdrew from the Austrian GP after qualifying. By the time of the Austrian GP, four races from the end of the season, Amon's patience had run out and he left the team.",
"By the time of the Austrian GP, four races from the end of the season, Amon's patience had run out and he left the team. He would later claim that the months he spent with the team \"felt like ten [seasons]\".",
"He would later claim that the months he spent with the team \"felt like ten [seasons]\". Tyrrell offered Amon a third car – the 005 – in which to drive the last two races of the season.",
"Tyrrell offered Amon a third car – the 005 – in which to drive the last two races of the season. After a mediocre first outing at the Canadian GP, he and Jackie Stewart withdrew from the final race of the year, the United States GP, following the death of their teammate François Cevert during qualifying.",
"After a mediocre first outing at the Canadian GP, he and Jackie Stewart withdrew from the final race of the year, the United States GP, following the death of their teammate François Cevert during qualifying. 1974 For the 1974 F1 season, Amon revived Chris Amon Racing.",
"1974 For the 1974 F1 season, Amon revived Chris Amon Racing. Gordon Fowell designed the car, the AF101, which featured a single central fuel tank, titanium torsion bars and a forward driving position.",
"Gordon Fowell designed the car, the AF101, which featured a single central fuel tank, titanium torsion bars and a forward driving position. Structurally, however, it proved to be weak and was not ready for an F1 appearance until the fourth race of the season, the Spanish GP.",
"Structurally, however, it proved to be weak and was not ready for an F1 appearance until the fourth race of the season, the Spanish GP. Amon was only able to qualify 23rd, thanks to brake-disc vibration that only became worse with the tyres for the wet race that followed.",
"Amon was only able to qualify 23rd, thanks to brake-disc vibration that only became worse with the tyres for the wet race that followed. Despite cautious driving, a brake shaft finally broke and Amon was forced to retire after 22 laps.",
"Despite cautious driving, a brake shaft finally broke and Amon was forced to retire after 22 laps. Following further work and testing, Amon returned for the Monaco GP and qualified twentieth, but, thanks to mechanical problems, he was unable to start the race.",
"Following further work and testing, Amon returned for the Monaco GP and qualified twentieth, but, thanks to mechanical problems, he was unable to start the race. Further problems and illness meant Amon was not able to reappear with the F101 until the Italian GP, three races from the end of the season, but this time he was unable to qualify.",
"Further problems and illness meant Amon was not able to reappear with the F101 until the Italian GP, three races from the end of the season, but this time he was unable to qualify. That sealed the fate of both the car and Chris Amon Racing, leaving Amon to drive the season's last two races with the faltering BRM team.",
"That sealed the fate of both the car and Chris Amon Racing, leaving Amon to drive the season's last two races with the faltering BRM team. He would later reveal that he had turned down a chance to join the Brabham team earlier in the season.",
"He would later reveal that he had turned down a chance to join the Brabham team earlier in the season. 1975 Amon contested the 1975 F5000 Tasman series against only local Australasian drivers, although Graham McRae, Warwick Brown and Kevin Bartlett were acknowledged internationally.",
"1975 Amon contested the 1975 F5000 Tasman series against only local Australasian drivers, although Graham McRae, Warwick Brown and Kevin Bartlett were acknowledged internationally. Amon qualified on the front row of three of the four New Zealand rounds and scored a victory at Teretonga in January 1975 in rainy conditions by 24.2 seconds.",
"Amon qualified on the front row of three of the four New Zealand rounds and scored a victory at Teretonga in January 1975 in rainy conditions by 24.2 seconds. In the Australian rounds, the competition was always harder with more good cars and the locals on their own tracks.",
"In the Australian rounds, the competition was always harder with more good cars and the locals on their own tracks. Amon had a frustrating series of races unable to pass, South Australian Johnnie Walker, in a superior Lola T332 chassis with Repco-engineered V8.",
"Amon had a frustrating series of races unable to pass, South Australian Johnnie Walker, in a superior Lola T332 chassis with Repco-engineered V8. At Surfers Paradise, running from the back of the grid he managed to eventually pass Walker by widening the braking zone in the only corner where overtaking was usually possible.",
"At Surfers Paradise, running from the back of the grid he managed to eventually pass Walker by widening the braking zone in the only corner where overtaking was usually possible. Amon brushed the edge of the track on repeated laps, got extra grip and passed Walker to take the lead.",
"Amon brushed the edge of the track on repeated laps, got extra grip and passed Walker to take the lead. He had been forced to miss most of the practice session, when Customs seized his car's gearbox. In the race, the brilliant effort went for nothing as the Chev engine blew.",
"In the race, the brilliant effort went for nothing as the Chev engine blew. At Oran Park and Adelaide he followed Walker the whole way to 4th and 3rd unable to pass.",
"At Oran Park and Adelaide he followed Walker the whole way to 4th and 3rd unable to pass. In the final deciding race for the Tasman Series with Brown, Walker and Lawrence still in contention, Walker lost his T332 on the first lap and it demolished on wooden barriers surrounding Sandown's car and horse racing tracks.",
"In the final deciding race for the Tasman Series with Brown, Walker and Lawrence still in contention, Walker lost his T332 on the first lap and it demolished on wooden barriers surrounding Sandown's car and horse racing tracks. Amon was never in contention and finished 4th.",
"Amon was never in contention and finished 4th. Amon intended to compete in F5000 in both Europe and the US in 1975 but started in only one round of both series, managing a pole in one Shellsport round in the UK and a 4th place overall at the Long Beach GP in a two heat race.",
"Amon intended to compete in F5000 in both Europe and the US in 1975 but started in only one round of both series, managing a pole in one Shellsport round in the UK and a 4th place overall at the Long Beach GP in a two heat race. He used different Talon F5000 cars for both races.",
"He used different Talon F5000 cars for both races. The speed he showed in qualifying for a couple of UK F5000 races encouraged the small Ensign team to give him a race.",
"The speed he showed in qualifying for a couple of UK F5000 races encouraged the small Ensign team to give him a race. Mo Nunn the Ensign team owner had been a Lotus F3 driver in 1966 and the Dave Baldwin designed chassis was in many ways a lightweight Lotus F1, which Ronnie Peterson wanted to test in 1975 out of frustration with his old 72 and which could have been used by Colin Chapman had he not decided to concentrate on developing chassis which would use ground effect technology, the Lotus 77 design for 1976 which was in many ways a test vehicle for the development of concepts, including the de facto legalisation of technology like plastic sliding skirts, introduced on Andretti's 77 from the 1976 Canadian Grand Prix, that would be used in future Lotus wing cars the Lotus 78 and Lotus 79.",
"Mo Nunn the Ensign team owner had been a Lotus F3 driver in 1966 and the Dave Baldwin designed chassis was in many ways a lightweight Lotus F1, which Ronnie Peterson wanted to test in 1975 out of frustration with his old 72 and which could have been used by Colin Chapman had he not decided to concentrate on developing chassis which would use ground effect technology, the Lotus 77 design for 1976 which was in many ways a test vehicle for the development of concepts, including the de facto legalisation of technology like plastic sliding skirts, introduced on Andretti's 77 from the 1976 Canadian Grand Prix, that would be used in future Lotus wing cars the Lotus 78 and Lotus 79. Apart from these successes, Amon's racing career seemed once again to have stalled.",
"Apart from these successes, Amon's racing career seemed once again to have stalled. Apparently a chance meeting with Mo Nunn of Ensign Racing led to the Ensign drive, but in fact Mo Nunn thought his new N175 a very fast car and did not view the two Dutch drivers favoured by the Dutch HB Security company who sponsored Ensign fast enough.",
"Apparently a chance meeting with Mo Nunn of Ensign Racing led to the Ensign drive, but in fact Mo Nunn thought his new N175 a very fast car and did not view the two Dutch drivers favoured by the Dutch HB Security company who sponsored Ensign fast enough. Gijs van Lennep, the 1973 European F5000 Champion in a Surtees TS11 who had won Le Mans in 1971 and 1976 was a very good driver but also one of the last racing aristocrats.",
"Gijs van Lennep, the 1973 European F5000 Champion in a Surtees TS11 who had won Le Mans in 1971 and 1976 was a very good driver but also one of the last racing aristocrats. Van Lennep, qualified the car on its debut in the French GP at Paul Ricard and finished 6th in the German GP at Nürburgring, and was faster on both circuits than Patrick Nève or Amon were in 1976.",
"Van Lennep, qualified the car on its debut in the French GP at Paul Ricard and finished 6th in the German GP at Nürburgring, and was faster on both circuits than Patrick Nève or Amon were in 1976. Amon managed 7th in the non-championship Swiss GP at Dijon chasing James Hunt debuting the disappointing Hesketh 308C and 12th in two GP drives in the Ensign N175 at the Austrian and Italian GPs.",
"Amon managed 7th in the non-championship Swiss GP at Dijon chasing James Hunt debuting the disappointing Hesketh 308C and 12th in two GP drives in the Ensign N175 at the Austrian and Italian GPs. At Monza after a long pit stop he finally ran at competitive pace, running 4 laps down but keeping pace with the leading Ferrari 312T of Niki Lauda for a number of laps.",
"At Monza after a long pit stop he finally ran at competitive pace, running 4 laps down but keeping pace with the leading Ferrari 312T of Niki Lauda for a number of laps. Progressive evaluation of the possibilities of what was slowing the N175 led Amon to change the airbox alignment on the day of the Italian GP and this resulted in a 2-second gain (much like the change in air cooler position that lost and gained two seconds on Hunt's McLaren M23 resolved by the 1976 French GP).",
"Progressive evaluation of the possibilities of what was slowing the N175 led Amon to change the airbox alignment on the day of the Italian GP and this resulted in a 2-second gain (much like the change in air cooler position that lost and gained two seconds on Hunt's McLaren M23 resolved by the 1976 French GP). Ironically Amon never raced the N175 again and the high airboxes had been banned by the time N176 ran at Jarama the following year, but the flash of testing and driving genius was enough to give Amon another chance.",
"Ironically Amon never raced the N175 again and the high airboxes had been banned by the time N176 ran at Jarama the following year, but the flash of testing and driving genius was enough to give Amon another chance. Although the results were unremarkable, he and Nunn worked well together, so Amon joined Ensign for the 1976 F1 season.",
"Although the results were unremarkable, he and Nunn worked well together, so Amon joined Ensign for the 1976 F1 season. 1976 Ensign's first race of the season was the South African GP where Amon qualified 18th and showed a revival of form, climbing to seventh place, in the old Ensign N174 and contesting sixth with Mario Andretti in the Parnelli Ford, in the last laps before a last minute refueling stop left him 14th.",
"1976 Ensign's first race of the season was the South African GP where Amon qualified 18th and showed a revival of form, climbing to seventh place, in the old Ensign N174 and contesting sixth with Mario Andretti in the Parnelli Ford, in the last laps before a last minute refueling stop left him 14th. Thereafter results began to improve, with Amon qualifying 17th and finishing eighth in the USA West GP; qualifying tenth and finishing fifth in the Spanish GP; and then qualifying eighth for the Belgian GP.",
"Thereafter results began to improve, with Amon qualifying 17th and finishing eighth in the USA West GP; qualifying tenth and finishing fifth in the Spanish GP; and then qualifying eighth for the Belgian GP. More points then seemed likely from the race until his car lost a wheel 19 laps from the finish and Amon was lucky to escape unhurt from the ensuing accident.",
"More points then seemed likely from the race until his car lost a wheel 19 laps from the finish and Amon was lucky to escape unhurt from the ensuing accident. He then achieved a third-place grid position start for the Swedish GP using a Nicholson rebuilt Cosworth for the first time and in the race looked as if he would join Tyrrell drivers Jody Scheckter and Patrick Depailler on the podium, until suspension failure threw him from the track after 38 laps.",
"He then achieved a third-place grid position start for the Swedish GP using a Nicholson rebuilt Cosworth for the first time and in the race looked as if he would join Tyrrell drivers Jody Scheckter and Patrick Depailler on the podium, until suspension failure threw him from the track after 38 laps. Amon had again been lucky to escape serious injury and decided to miss the next race, the French GP.",
"Amon had again been lucky to escape serious injury and decided to miss the next race, the French GP. He returned for the British GP, qualifying in sixth and running fourth in the race when his Ford-Cosworth DFV engine developed a water leak. Rather than risk losing an engine, his team called him in to retire.",
"Rather than risk losing an engine, his team called him in to retire. At the German GP problems dogged his attempts to qualify well, but it was Niki Lauda's crash during the second lap of the race that had a far greater impact. Amon refused to restart the race and Nunn fired him from the team.",
"Amon refused to restart the race and Nunn fired him from the team. Amon declared his retirement from the sport and returned to New Zealand. \"I'd seen too many people fried in racing cars at that stage. When you've driven past Bandini, Schlesser, Courage and Williamson, another shunt like that was simply too much.",
"When you've driven past Bandini, Schlesser, Courage and Williamson, another shunt like that was simply too much. It was a personal decision...\" (Amon, on his retirement in 1976)However, Walter Wolf contacted Amon and persuaded him to drive for his Wolf–Williams team in the North American races near the end of the season.",
"It was a personal decision...\" (Amon, on his retirement in 1976)However, Walter Wolf contacted Amon and persuaded him to drive for his Wolf–Williams team in the North American races near the end of the season. After recording some promising times in preparation for the Canadian GP, however, Amon was involved in a heavy collision with another car during qualifying and once again was lucky to walk away unharmed.",
"After recording some promising times in preparation for the Canadian GP, however, Amon was involved in a heavy collision with another car during qualifying and once again was lucky to walk away unharmed. He then did not take part in either the Canadian or United States Grands Prix.",
"He then did not take part in either the Canadian or United States Grands Prix. 1977 Amon turned down an offer of a full-time F1 drive for 1977, but did attempt a return to Can-Am racing in 1977 with a Wolf-Dallara WD1.",
"1977 Amon turned down an offer of a full-time F1 drive for 1977, but did attempt a return to Can-Am racing in 1977 with a Wolf-Dallara WD1. However, after only one race he quit, saying \"I'm just not enjoying this anymore\".",
"However, after only one race he quit, saying \"I'm just not enjoying this anymore\". His place was taken by the young and then unknown Canadian Gilles Villeneuve, whom Amon would, later that year, recommend to Enzo Ferrari.",
"His place was taken by the young and then unknown Canadian Gilles Villeneuve, whom Amon would, later that year, recommend to Enzo Ferrari. In the meantime, Amon returned once again to New Zealand, this time to retire from F1 motor racing for good.",
"In the meantime, Amon returned once again to New Zealand, this time to retire from F1 motor racing for good. 2000s 2003 Amon came out of retirement for a one-off appearance in the 2003 Dunlop Targa New Zealand with motorsport commentator Murray Walker as his navigator.",
"2000s 2003 Amon came out of retirement for a one-off appearance in the 2003 Dunlop Targa New Zealand with motorsport commentator Murray Walker as his navigator. The pair completed the week-long Auckland to Wellington Tarmac Rally in a Toyota Camry Sportivo, the same car previously used by Walker and Colin Bond in Australia's Targa Tasmania.",
"The pair completed the week-long Auckland to Wellington Tarmac Rally in a Toyota Camry Sportivo, the same car previously used by Walker and Colin Bond in Australia's Targa Tasmania. Retirement After his retirement from F1, Amon dedicated himself to running the family farm in New Zealand's Manawatu District for many years.",
"Retirement After his retirement from F1, Amon dedicated himself to running the family farm in New Zealand's Manawatu District for many years. After retiring from farming, he lived in Taupo in New Zealand's North Island.",
"After retiring from farming, he lived in Taupo in New Zealand's North Island. In the early 1980s he became more well known in New Zealand from test-driving vehicles on the TV motoring series Motor Show and later consulted for Toyota New Zealand, tuning the 1984 Toyota Corolla and subsequent cars for sale there.",
"In the early 1980s he became more well known in New Zealand from test-driving vehicles on the TV motoring series Motor Show and later consulted for Toyota New Zealand, tuning the 1984 Toyota Corolla and subsequent cars for sale there. He also appeared in TV commercials for the company, where much was made of the acclaim he won from Enzo Ferrari.",
"He also appeared in TV commercials for the company, where much was made of the acclaim he won from Enzo Ferrari. Amon participated in the 2004 EnergyWise Rally where he won ahead of Brian Cowan. Amon drove a Toyota Prius for the event.",
"Amon drove a Toyota Prius for the event. In the 1993 Queen's Birthday Honours, Amon was appointed a Member of the Order of the British Empire, for services to motor sport.",
"In the 1993 Queen's Birthday Honours, Amon was appointed a Member of the Order of the British Empire, for services to motor sport. Amon was involved in the design of the upgraded Taupo Motorsport Park circuit, used for the New Zealand round of the 2006–07 A1 Grand Prix season in January 2007.",
"Amon was involved in the design of the upgraded Taupo Motorsport Park circuit, used for the New Zealand round of the 2006–07 A1 Grand Prix season in January 2007. At the New Zealand Festival of Motor Racing in 2011, Amon's life and career were honoured with a selection of his cars being driven and also used the event to raise funds for the Bruce McLaren trust.",
"At the New Zealand Festival of Motor Racing in 2011, Amon's life and career were honoured with a selection of his cars being driven and also used the event to raise funds for the Bruce McLaren trust. Amon was also honoured at the festival in January 2013.",
"Amon was also honoured at the festival in January 2013. Death Amon died in Rotorua Hospital on 3 August 2016, aged 73, of cancer. He was survived by his wife (they married in 1977) their three children and their grandchildren. One of his sons, James, is a qualified High Performance personal trainer.",
"One of his sons, James, is a qualified High Performance personal trainer. He trained Central Districts Stags cricket team, and was revealed to be Brendon Hartley's personal trainer.",
"He trained Central Districts Stags cricket team, and was revealed to be Brendon Hartley's personal trainer. Legacy Despite never winning a championship Formula One Grand Prix, Amon won eight non-championship GPs, the Silverstone International Trophy, the 1000 km Monza, the Daytona 24 Hours, the Tasman Series and, perhaps most significant of all, the famous 24 Heures du Mans (alongside Bruce McLaren).",
"Legacy Despite never winning a championship Formula One Grand Prix, Amon won eight non-championship GPs, the Silverstone International Trophy, the 1000 km Monza, the Daytona 24 Hours, the Tasman Series and, perhaps most significant of all, the famous 24 Heures du Mans (alongside Bruce McLaren). These races included many of Amon's otherwise more successful fellow Formula One drivers.",
"These races included many of Amon's otherwise more successful fellow Formula One drivers. Amon also remains the only driver from New Zealand and Oceania to have raced for Scuderia Ferrari in Formula One.",
"Amon also remains the only driver from New Zealand and Oceania to have raced for Scuderia Ferrari in Formula One. In Formula One, Chris Amon took part in 96 Grands Prix, achieving 5 poles, leading 183 laps in 7 races, reaching the podium 11 times and scoring a total of 83 Championship points.",
"In Formula One, Chris Amon took part in 96 Grands Prix, achieving 5 poles, leading 183 laps in 7 races, reaching the podium 11 times and scoring a total of 83 Championship points. Amon holds the record for the most different makes of car raced by a Formula 1 World Championship driver, with thirteen.",
"Amon holds the record for the most different makes of car raced by a Formula 1 World Championship driver, with thirteen. A biography Forza Amon by journalist Eoin Young charts Amon's racing career and gives some insights into his personal life.",
"A biography Forza Amon by journalist Eoin Young charts Amon's racing career and gives some insights into his personal life. The book makes clear one point on which Amon himself disagrees with most commentators, the issue of his bad luck.",
"The book makes clear one point on which Amon himself disagrees with most commentators, the issue of his bad luck. Amon has pointed out on several occasions that he competed for a decade and a half in Formula One and survived some serious accidents, notably in 1976, whilst others, including friends like Bruce McLaren, suffered serious injury and death.",
"Amon has pointed out on several occasions that he competed for a decade and a half in Formula One and survived some serious accidents, notably in 1976, whilst others, including friends like Bruce McLaren, suffered serious injury and death. In 2008, motorsport journalist Alan Henry rated Chris Amon as his 13th greatest driver.",
"In 2008, motorsport journalist Alan Henry rated Chris Amon as his 13th greatest driver. Reflecting on the 1968 racing death of Jim Clark, Amon said: \"If this can happen to Jimmy, what chance do the rest of us have? I think we all felt that. It seemed like we'd lost our leader.\"",
"It seemed like we'd lost our leader.\" In 1995, Amon was inducted into the New Zealand Sports Hall of Fame. Amon's name has been given to the Toyota Racing Series driver's championship trophy, and the International Scholarship to support drivers who win his trophy to further their careers in single-seater racing.",
"Amon's name has been given to the Toyota Racing Series driver's championship trophy, and the International Scholarship to support drivers who win his trophy to further their careers in single-seater racing. The Toyota Racing Series serves as motorsport's version of \"winter ball\" in New Zealand during January and February.",
"The Toyota Racing Series serves as motorsport's version of \"winter ball\" in New Zealand during January and February. Following his death, his name was also lent to the Manfeild Autocourse in Feilding, Manawatu.",
"Following his death, his name was also lent to the Manfeild Autocourse in Feilding, Manawatu. Racing record Formula One World Championship results (key) (Races in bold indicate pole position; races in italics indicate fastest lap) Non-Championship Formula One results (key) (Races in bold indicate pole position; races in italics indicate fastest lap) Complete Tasman Series results (key) (Races in bold indicate pole position; races in italics indicate fastest lap) Complete 24 Hours of Le Mans results References External links Bruce McLaren Trust Official site Trio At The Top – a documentary about Bruce McLaren, Denny Hulme and Chris Amon on NZ On Screen Chris Amon 8W-Forix; Tom Prankard; 1 October 2000 New Zealand racing drivers New Zealand Formula One drivers Amon Formula One drivers BRM Formula One drivers Cooper Formula One drivers Ensign Formula One drivers Ferrari Formula One drivers March Formula One drivers Matra Formula One drivers Reg Parnell Racing Formula One drivers Tecno Formula One drivers Tyrrell Formula One drivers Williams Formula One drivers Formula One team owners 24 Hours of Le Mans drivers 24 Hours of Le Mans winning drivers 12 Hours of Reims drivers 24 Hours of Daytona drivers World Sportscar Championship drivers Tasman Series drivers New Zealand Members of the Order of the British Empire People from Bulls 1943 births 2016 deaths"
] |
[
"Chris Amon",
"Retirement",
"What did he retire from?",
"After his retirement from F1,",
"When did he retire?",
"I don't know.",
"What caused his retirement?",
"I don't know.",
"Are there any other interesting aspects about this article?",
"In the early 1980s he became more well known in New Zealand from test-driving vehicles on the TV motoring series Motor Show and later consulted for Toyota New Zealand,",
"Did he race any more after retirement?",
"Amon participated in the 2004 EnergyWise Rally where he won ahead of Brian Cowan. Amon drove a Toyota Prius for the event."
] | C_5474a4df3c614b8d91f85a078f3efc1c_1 | When was his more recent race? | 6 | When was Chris Amon's more recent race? | Chris Amon | After his retirement from F1, Amon dedicated himself to running the family farm in New Zealand's Manawatu District for many years. After retiring from farming, he lived in Taupo in New Zealand's North Island. In the early 1980s he became more well known in New Zealand from test-driving vehicles on the TV motoring series Motor Show and later consulted for Toyota New Zealand, tuning the 1984 Toyota Corolla and subsequent cars for sale there. He also appeared in TV commercials for the company, where much was made of the acclaim he won from Enzo Ferrari. Amon participated in the 2004 EnergyWise Rally where he won ahead of Brian Cowan. Amon drove a Toyota Prius for the event. Amon was involved in the design of the upgraded Taupo Motorsport Park circuit, used for the New Zealand round of the 2006-07 A1 Grand Prix season in January 2007. At the New Zealand Festival of Motor Racing in 2011, Amon's life and career were honoured with a selection of his cars being driven and also used the event to raise funds for the Bruce McLaren trust. Amon was also honoured at the festival in January 2013. Amon died in Rotorua Hospital on 3 August 2016, aged 73, of cancer. He was survived by his wife (they married in 1977) their three children and their grandchildren. One of his sons, James, is a qualified High Performance personal trainer. He trained Central Districts Stags cricket team, and was revealed to be Brendon Hartley's personal trainer. CANNOTANSWER | Amon participated in the 2004 EnergyWise Rally | Christopher Arthur Amon (20 July 1943 – 3 August 2016) was a New Zealand motor racing driver. He was active in Formula One racing in the 1960s and 1970s and is widely regarded as one of the best F1 drivers never to win a championship Grand Prix. His reputation for bad luck was such that fellow driver Mario Andretti once joked that "if he became an undertaker, people would stop dying". Former Ferrari Technical Director Mauro Forghieri stated that Amon was "by far the best test driver I have ever worked with. He had all the qualities to be a World Champion but bad luck just wouldn't let him be".
Apart from driving, Chris Amon also ran his own Formula One team for a short period in 1974. Away from Formula One, Amon had some success in sports car racing, teaming with co-driver Bruce McLaren to win the 24 Hours of Le Mans race in .
Early life
Amon was born in Bulls, and attended Whanganui Collegiate School. He was the only child of wealthy sheep-owners Ngaio and Betty Amon. He learned to drive at the age of six, taught by a farm worker on the family farm. On leaving school, he persuaded his father to buy him an Austin A40 Special, which he entered in some minor local races and hillclimbs along with practice on the family farm. He progressed to a 1.5-litre Cooper and then an old 2.5-litre Maserati 250F, but only began to draw attention when he drove the Cooper-Climax T51 which Bruce McLaren had used to win his maiden Grand Prix.
In 1962 Amon entered the Cooper for the New Zealand winter series, but was hampered by mechanical problems. However, Scuderia Veloce entered him in a similar car, and, in the rain at Lakeside, he performed well. One of the spectators there was the English racing driver Reg Parnell who persuaded Amon to come to England and race for his team. In a test at Goodwood Amon continued to impress and was on the pace in the Goodwood International Trophy and Aintree 200 pre-season races.
Racing career
1960s
1963
For the 1963 Formula One season the Parnell team were using the year old Lola Mk4A, powered by 1962 specification Climax V8 engines. Amon was teamed with the very experienced Maurice Trintignant for the first race of the season at Monaco and his Grand Prix career started with what was to become typical bad luck: Trintignant's Climax developed a misfire, so he took over Amon's car.
At the 1963 Belgian Grand Prix, Amon was partnered by Lucien Bianchi and started ahead of him from 15th position. After nine laps, however, an oil fire ended his race. He continued to experience mechanical problems at the Dutch, Mexican and German Grands Prix; and after an accident in practice for the Italian Grand Prix left him hanging out of his car's cockpit with three broken ribs, he missed both the Italian and United States rounds.
Amon usually qualified in the midfield and generally outpaced his teammates, who included his good friend Mike Hailwood. His best results of the year were seventh at the French and British Grands Prix. During this time, however, Amon's social life was attracting as much attention as his driving. He was a member of the Ditton Road Flyers, the social set named after the road in London where Amon shared an apartment with American Peter Revson, Hailwood and Tony Maggs.
Parnell was nonetheless impressed with Amon's results in what was regarded as less-than-competitive machinery and promoted him to team leader. Parnell died from peritonitis in January 1964 and his son Tim took over the team.
1964
In a series of four pre-season races in Britain and Italy, Amon recorded three fifth places at Snetterton, Silverstone and Syracuse. He failed to qualify for the first F1 race of the season, the Monaco GP, but at the next race, the Dutch GP, he scored his first World Championship points. The rest of his season, however, was blighted by mechanical problems.
1965
Parnell was offered BRM engines for 1965, but only if it ran Richard Attwood as its regular driver. Reluctantly, Parnell agreed and Attwood took Amon's place. Spotting an opportunity, Bruce McLaren quickly signed Amon for his new McLaren team, but when no second McLaren F1 car materialised, Amon could only drive in sports car races.
At the French GP Amon rejoined Parnell to stand in for an injured Attwood. Amon also competed in a Formula Two race in Stuttgart and won. He returned to Germany for the German GP as second Parnell driver, but mechanical failure again forced an early retirement. His last drive before Attwood's return, a non-championship race in Enna, Sicily, also ended in retirement.
1966
During 1966 Amon continued to race for McLaren in Can-Am. He was intended to drive the second McLaren M2B but difficulties with engine supply meant that the team never made the intended expansion to two cars. (James Garner's character Pete Aron's helmet and car livery in the film Grand Prix were modelled on Amon driving a McLaren, which caused the movie makers to have to encourage other cars to be painted in the 'Yamura' colours and other drivers (Bruce McLaren included) to wear Amon-style helmets.)
However, an opportunity arose to drive for the Cooper F1 team after Richie Ginther left them for Honda. Amon drove for Cooper at the French GP and was scheduled to drive for them for the rest of the season, until the more successful John Surtees left Scuderia Ferrari to join Cooper and Amon found himself dropped.
Amon made one other F1 appearance during the year, driving a Brabham BT11 powered by an old 2-litre BRM engine at the Italian GP under the banner of "Chris Amon Racing". He failed to qualify.
Amon did however, score his biggest success to date when he partnered Bruce McLaren in a 7-litre Ford GT40 Mark II and Ken Miles to Ford's dead-heat "photo-finish" after Miles was instructed to slow down despite leading at the Le Mans 24-hour race, spearheading a formation finish. He subsequently received an invitation to meet Enzo Ferrari at the Ferrari home in Maranello, where he signed to race for Ferrari in 1967 alongside Lorenzo Bandini, Mike Parkes and Ludovico Scarfiotti.
1967
Amon's first year with Ferrari did not begin auspiciously. En route to Brands Hatch for the pre-season Formula One Race of Champions, he crashed his road car and, following race practice, had to withdraw. Tragedy then struck the Ferrari team when Bandini died following a crash during the 1967 Monaco Grand Prix, Mike Parkes broke both his legs at the Belgian Grand Prix and, in the aftermath, Ludovico Scarfiotti went into temporary retirement. Amon, therefore, became Ferrari's only driver for the rest of the season, until joined by Jonathan Williams for the final race in Mexico. Amon scored his first podium in his first official outing for the Scuderia in Monaco and at the end of 1967 had achieved four third places finishing fifth in the Drivers' Championship, in what was going to be the most successful season of his career.
Amon's Ferrari contract also included sports car racing and he began 1967 by winning the Daytona 24 Hours and 1000km Monza events with Bandini in the 4-litre Ferrari 330-P4. He finished the year partnering Jackie Stewart to a second place at the BOAC 500, thereby clinching the manufacturer's world championship for Ferrari by one point over Porsche.
1968
1968 was the year aerodynamics first played a significant role in F1 car design and Amon worked with engineer Mauro Forghieri to place aerofoils on the Ferrari 312.
In January 1968 Amon had returned home to New Zealand and Australia to compete in the 1968 Tasman Series which was used by many of the top Formula One drivers as a warm up series to the World Championship. Ferrari had been interested in the series for several years and in 1965 had reengineered 2.4 Dino engines used by Mike Hawthorn, Peter Collins and Phil Hill in 1958–60 with more torque and mid speed power for the planned use of team leader Surtees in the 1966 Tasman Series. After a late season crash in US Can-Am racing by Surtees, the entry was withdrawn but consideration was given to using NZ Gold star champion Jim Palmer in a semi-works Ferrari entry in the 1967 Tasman Series as it was viewed in a 2.4 car he would be competitive with Clark and Stewart in 2-litre F1 cars. Palmer had run world-class times in the 1966 Tasman Series, particularly in the Pukekohe practice and Longford race, and was tested in Italy at the same time as Amon by Ferrari, and ran competitive times at Modena but for whatever reason Ferrari did not compete in 1967 series. For the 1968 series Ferrari decided to use the 2.4 engines with a new Dino 166 F2 chassis rather than a downsized 3-litre V12. Using the 246T Amon won the first two rounds of the Tasman Series, including the 1968 New Zealand Grand Prix, before narrowly losing the series to the Lotus-Ford of Jim Clark. The Dino 246 Tasmania was better handling than Clark's Lotus 49T which was still wingless and a difficult proposition. Impressed by Amon's driving in the NZ rounds, Ferrari dispatched a new four-valve version of the 2.4 V6 for the Australian rounds and this gave another 15 hp, but with lesser reliability which, combined with the fact Clark was the best driver in the world at the time, cost Amon the series, although in the final round at Sandown Park he duelled wheel to wheel with Clark before being pipped at the line.
After the first race of the F1 season in South Africa, Amon achieved pole positions in three of the following four races (at the Spanish, Belgian and Dutch Grands Prix) but ever-present mechanical problems meant he secured only a single Championship point from them. Throughout the rest of the season he never qualified lower than fifth place and nearly scored victories at the British and Canadian rounds and he suffered a 100 mph crash in Italy which demolished his car. In Britain, he duelled to the line with Jo Siffert's Lotus 49B and in Canada he dominated the race despite a malfunctioning clutch. Seventeen laps from the finish, however, his car's transmission failed and a distraught Amon had to be consoled by Jacky Ickx. From at least ten promising starts that season he was only able to finish five races and score ten Championship points. His best finish was second place to Siffert's Lotus-Cosworth at the British Grand Prix.
Outside F1, Amon was runner-up in the Formula Two race at Zolder, Belgium, testing the Dino 166 F2. He also came third in that year's BRDC International Trophy.
1969
Amon began 1969 with success driving the Dino engined 246 Tasmania in the Tasman Series that included winning both the New Zealand and Australian Grands Prix. In straight fights, he beat new Gold Leaf Lotus team leader, Jochen Rindt, into second in the races at Pukekohe and Sandown. He would ultimately win the seven race Tasman Series, probably the best of the seven-year 2.5-litre international formula series in this country and the nearest to World Championship level racing in New Zealand, with ferocious competition between Rindt, Graham Hill, Amon and Williams driver Piers Courage. It was actually much more serious racing than the McLaren dominated Can-Am series in the US in which the big sports cars required few gear changes and were essentially cruised to victory with little real competition, where the Tasman cars were essentially marginally lower power F1 cars, as difficult to drive as GP cars on unforgiving very dangerous narrow tracks. Amon finished with four wins, two-thirds and one retirement, but in Formula One his poor luck continued. Despite six starts from top-six positions, he was only able to achieve a third-place at the Dutch GP. Ferrari's F1 V12 engine was too unreliable and although its replacement had proven very fast in testing, it had suffered many mechanical breakages. Amon had no reason to believe it would be any more dependable than the V12, so although the new engine was clearly more powerful, he decided to leave Ferrari for a Cosworth DFV powered team. Ironically, the new flat-12 engine would become one of the best Formula One engines of the 1970s. Jacky Ickx, Amon's old teammate did return to Ferrari for 1970, after a successful sabbatical with Brabham gained Ickx second in the 1969 World Championship. Ickx saw Enzo Ferrari had secured huge backing from Fiat who had taken partial ownership of the Marque, and believed Ferrari would be a renewed team and an effective proposition. Amon was more influenced by views of Jackie Stewart and Jochen Rindt, who believed it was essential to be Ford DFV-powered to be competitive.
In addition to Formula One, Amon also drove for Ferrari in the 1969 International Championship for Makes, partnering Pedro Rodriguez to a fourth place in the BOAC 500 at Brands Hatch and coming second at the 12 Hours of Sebring, but retiring from the 1000km Nürburgring and 1000km Monza races, all in the Ferrari 312P sportscar. He also drove in a few Can-Am races. His last race for Ferrari would be the 1970 1000 km Monza, where he finished as runner-up.
1970s
1970
For the 1970 Formula One season, Amon made what was to be the first of several moves to smaller, newer teams. March Engineering had been formed the previous year to build custom chassis for Formulas 2 and 3, but quickly moved into F1, designing and building the March 701. Amon and Siffert were signed as drivers, with IndyCar driver Mario Andretti making an occasional appearance in a third car. March also sold their 701 chassis to Tyrrell, where Jackie Stewart drove it to its first victory in that year's Spanish GP.
Amon won the pre-season Silverstone International Trophy, but once the F1 season began he found himself prevented from converting good qualifying positions into good results. He qualified second behind Stewart's Tyrrell-March for the season-opening South African Grand Prix only for his own March to overheat within fourteen laps. Amon then qualified sixth for the Spanish Grand Prix only for his March's Ford-Cosworth DFV engine to expire within ten laps. He qualified and ran second in the 1970 Monaco Grand Prix until his suspension failed twenty laps from the finish. This was the race where Amon refused to drive unless his entry number was changed from 18 – the number under which his then teammate Lorenzo Bandini had crashed and died in Monaco – to 28.
Amon's close second place from a third-place start at the 1970 Belgian Grand Prix finally gave the March works team their first points finish. At that race, Amon set fastest lap at over 152 miles per hour, a lap record which still stands as of 2016, as it was the last race on the full-length Spa-Francorchamps circuit. However, after qualifying fourth for the next race, the Dutch Grand Prix, his car's clutch broke after just one lap. Amon duplicated his Belgian result at the 1970 French Grand Prix,. After a disappointing performance in the British GP at Brands Hatch where Amon finished fifth after being outqualified by tyro Ronnie Peterson in a private 701 on the same tyres, conflict with team boss Max Mosley over the non-delivery of three-quarters of Amon's expected pay for the season saw him provided with inferior DFVs and two backmarker 7th places in Austria and Italy, Amon finished the season strongly with strong drives to third at Mosport, fifth at Watkins Glen and fourth in Mexico. At Watkins Glen in the USGP he was robbed of a probably certain victory, in the opinion of March designer Robin Herd, by a puncture.
By the end of the year, disagreements with March co-founders Mosley and Robin Herd meant that Amon had decided to move to another relatively new team, Matra.
1971
In 1971, Amon, now driving for the Matra factory team, once again scored a pre-season victory, this time at the Argentine Grand Prix. Once the Formula One season had begun, he managed to convert a third-place start at the Spanish GP into a third-place podium finish and scored a couple of fifth places in the South African and French GPs. Apart from these results, however, his run of poor F1 returns continued. He had a major accident at the Nürburgring and it sidelined him for the next race at the Österreichring. At the Italian GP he qualified in pole position and despite a poor start to the race looked as if he would capitalise on it – until the visor on his helmet became detached. Amon had to slow to avoid risking a major accident, thereby allowing other drivers to catch and overtake him. He finished the race in sixth place, scoring just one Championship point.
During the year Amon also competed in the non-championship Questor Grand Prix at the new Ontario Motor Speedway, where he qualified second and, despite suffering a puncture during the race, managed to finish fourth.
In the Tasman Series Amon started from fourth at the Levin Circuit and in the race, he battled with David Oxton and John Cannon but managed to finish third. Amon's third race at Wigram Airfield starting fifth and spun at the start to drop him to the back of the field but managed to climb up to fifth.
1972
In the 1972 Formula One season, Amon, again driving for Matra achieved a handful of points-scoring finishes, but only one podium appearance, at the French GP. Here he achieved the fifth and final pole position of his career and was leading the race until a puncture forced him to pit. However, he climbed back through the field, breaking the circuit's lap record to finish third.
With the money he had made from motorsport, Amon decided to set up a racing engine firm with former BRM engineer Aubrey Woods. Amon Racing Engines supplied Formula 2 engines to a few drivers, but the company quickly became too expensive to run and was sold to March for a loss.
Matra decided to end their participation in Formula One at the end of 1972, so Amon found himself looking to return to March as a driver. The place, however, was given to Jean-Pierre Jarier, purportedly for financial reasons. Amon therefore signed for another recently formed F1 team, Tecno.
1973
Tecno had entered F1 the previous year, having been a successful chassis-builder for other Formulæ and had developed a potentially powerful Flat 12 for F1. Their first year in F1 proved to be dismal, however with considerable backing from Martini Rossi they had jumped at the chance to sign Amon, and allocate David Yorke the former Vanwall and Gulf GT40 Team Manager to run the team and commission two new chassis designs by former Lotus and McLaren mechanic. Alan McCall who had worked on Clark and Hulme's F1 cars and unproven, British designer Gordon Fowell for a more radical back up design, in the hope he would help transform their performance. While McCalls car was built rapidly, testing it was more time-consuming and after its non-appearance, for the Spanish GP, Amon and team manager David Yorke met with Enzo Ferrari to see if Amon could be released from his contract to develop the new Ferrari B3 for Ickx and Mezarrio, in a supposedly one off GP drive at Monaco. Yorke rejected the release, and Amon admits he would not have left Ferrari if offered the drive for a season.
Unfortunately, the team went from bad to worse and wasn't able to field the Tecno PA123/6 until the fifth GP of the season, the Belgian GP. Amon managed to finish in sixth position. At Monaco the car qualified a useful 12th and chassis felt good but Chris was unhappy with the car. He decided to concentrate on the undeveloped Gordon Fowell Goral car. This was against the view of the Techno team and the Pederanzi engine builders and Martini Rossi who required the car and driver to appear at races Amon commented at the time that it was "the best chassis I've ever sat in", it too proved virtually undriveable. Amon refused to drive the McCall, Techno in the Swedish or German Gps and withdrew from the Austrian GP after qualifying. By the time of the Austrian GP, four races from the end of the season, Amon's patience had run out and he left the team. He would later claim that the months he spent with the team "felt like ten [seasons]".
Tyrrell offered Amon a third car – the 005 – in which to drive the last two races of the season. After a mediocre first outing at the Canadian GP, he and Jackie Stewart withdrew from the final race of the year, the United States GP, following the death of their teammate François Cevert during qualifying.
1974
For the 1974 F1 season, Amon revived Chris Amon Racing. Gordon Fowell designed the car, the AF101, which featured a single central fuel tank, titanium torsion bars and a forward driving position. Structurally, however, it proved to be weak and was not ready for an F1 appearance until the fourth race of the season, the Spanish GP. Amon was only able to qualify 23rd, thanks to brake-disc vibration that only became worse with the tyres for the wet race that followed. Despite cautious driving, a brake shaft finally broke and Amon was forced to retire after 22 laps.
Following further work and testing, Amon returned for the Monaco GP and qualified twentieth, but, thanks to mechanical problems, he was unable to start the race. Further problems and illness meant Amon was not able to reappear with the F101 until the Italian GP, three races from the end of the season, but this time he was unable to qualify. That sealed the fate of both the car and Chris Amon Racing, leaving Amon to drive the season's last two races with the faltering BRM team. He would later reveal that he had turned down a chance to join the Brabham team earlier in the season.
1975
Amon contested the 1975 F5000 Tasman series against only local Australasian drivers, although Graham McRae, Warwick Brown and Kevin Bartlett were acknowledged internationally. Amon qualified on the front row of three of the four New Zealand rounds and scored a victory at Teretonga in January 1975 in rainy conditions by 24.2 seconds. In the Australian rounds, the competition was always harder with more good cars and the locals on their own tracks. Amon had a frustrating series of races unable to pass, South Australian Johnnie Walker, in a superior Lola T332 chassis with Repco-engineered V8. At Surfers Paradise, running from the back of the grid he managed to eventually pass Walker by widening the braking zone in the only corner where overtaking was usually possible. Amon brushed the edge of the track on repeated laps, got extra grip and passed Walker to take the lead. He had been forced to miss most of the practice session, when Customs seized his car's gearbox. In the race, the brilliant effort went for nothing as the Chev engine blew. At Oran Park and Adelaide he followed Walker the whole way to 4th and 3rd unable to pass. In the final deciding race for the Tasman Series with Brown, Walker and Lawrence still in contention, Walker lost his T332 on the first lap and it demolished on wooden barriers surrounding Sandown's car and horse racing tracks. Amon was never in contention and finished 4th. Amon intended to compete in F5000 in both Europe and the US in 1975 but started in only one round of both series, managing a pole in one Shellsport round in the UK and a 4th place overall at the Long Beach GP in a two heat race. He used different Talon F5000 cars for both races. The speed he showed in qualifying for a couple of UK F5000 races encouraged the small Ensign team to give him a race. Mo Nunn the Ensign team owner had been a Lotus F3 driver in 1966 and the Dave Baldwin designed chassis was in many ways a lightweight Lotus F1, which Ronnie Peterson wanted to test in 1975 out of frustration with his old 72 and which could have been used by Colin Chapman had he not decided to concentrate on developing chassis which would use ground effect technology, the Lotus 77 design for 1976 which was in many ways a test vehicle for the development of concepts, including the de facto legalisation of technology like plastic sliding skirts, introduced on Andretti's 77 from the 1976 Canadian Grand Prix, that would be used in future Lotus wing cars the Lotus 78 and Lotus 79.
Apart from these successes, Amon's racing career seemed once again to have stalled. Apparently a chance meeting with Mo Nunn of Ensign Racing led to the Ensign drive, but in fact Mo Nunn thought his new N175 a very fast car and did not view the two Dutch drivers favoured by the Dutch HB Security company who sponsored Ensign fast enough. Gijs van Lennep, the 1973 European F5000 Champion in a Surtees TS11 who had won Le Mans in 1971 and 1976 was a very good driver but also one of the last racing aristocrats. Van Lennep, qualified the car on its debut in the French GP at Paul Ricard and finished 6th in the German GP at Nürburgring, and was faster on both circuits than Patrick Nève or Amon were in 1976. Amon managed 7th in the non-championship Swiss GP at Dijon chasing James Hunt debuting the disappointing Hesketh 308C and 12th in two GP drives in the Ensign N175 at the Austrian and Italian GPs. At Monza after a long pit stop he finally ran at competitive pace, running 4 laps down but keeping pace with the leading Ferrari 312T of Niki Lauda for a number of laps. Progressive evaluation of the possibilities of what was slowing the N175 led Amon to change the airbox alignment on the day of the Italian GP and this resulted in a 2-second gain (much like the change in air cooler position that lost and gained two seconds on Hunt's McLaren M23 resolved by the 1976 French GP). Ironically Amon never raced the N175 again and the high airboxes had been banned by the time N176 ran at Jarama the following year, but the flash of testing and driving genius was enough to give Amon another chance. Although the results were unremarkable, he and Nunn worked well together, so Amon joined Ensign for the 1976 F1 season.
1976
Ensign's first race of the season was the South African GP where Amon qualified 18th and showed a revival of form, climbing to seventh place, in the old Ensign N174 and contesting sixth with Mario Andretti in the Parnelli Ford, in the last laps before a last minute refueling stop left him 14th. Thereafter results began to improve, with Amon qualifying 17th and finishing eighth in the USA West GP; qualifying tenth and finishing fifth in the Spanish GP; and then qualifying eighth for the Belgian GP. More points then seemed likely from the race until his car lost a wheel 19 laps from the finish and Amon was lucky to escape unhurt from the ensuing accident. He then achieved a third-place grid position start for the Swedish GP using a Nicholson rebuilt Cosworth for the first time and in the race looked as if he would join Tyrrell drivers Jody Scheckter and Patrick Depailler on the podium, until suspension failure threw him from the track after 38 laps.
Amon had again been lucky to escape serious injury and decided to miss the next race, the French GP. He returned for the British GP, qualifying in sixth and running fourth in the race when his Ford-Cosworth DFV engine developed a water leak. Rather than risk losing an engine, his team called him in to retire.
At the German GP problems dogged his attempts to qualify well, but it was Niki Lauda's crash during the second lap of the race that had a far greater impact. Amon refused to restart the race and Nunn fired him from the team. Amon declared his retirement from the sport and returned to New Zealand.
"I'd seen too many people fried in racing cars at that stage. When you've driven past Bandini, Schlesser, Courage and Williamson, another shunt like that was simply too much. It was a personal decision..."
(Amon, on his retirement in 1976)However, Walter Wolf contacted Amon and persuaded him to drive for his Wolf–Williams team in the North American races near the end of the season. After recording some promising times in preparation for the Canadian GP, however, Amon was involved in a heavy collision with another car during qualifying and once again was lucky to walk away unharmed. He then did not take part in either the Canadian or United States Grands Prix.
1977
Amon turned down an offer of a full-time F1 drive for 1977, but did attempt a return to Can-Am racing in 1977 with a Wolf-Dallara WD1. However, after only one race he quit, saying "I'm just not enjoying this anymore". His place was taken by the young and then unknown Canadian Gilles Villeneuve, whom Amon would, later that year, recommend to Enzo Ferrari.
In the meantime, Amon returned once again to New Zealand, this time to retire from F1 motor racing for good.
2000s
2003
Amon came out of retirement for a one-off appearance in the 2003 Dunlop Targa New Zealand with motorsport commentator Murray Walker as his navigator. The pair completed the week-long Auckland to Wellington Tarmac Rally in a Toyota Camry Sportivo, the same car previously used by Walker and Colin Bond in Australia's Targa Tasmania.
Retirement
After his retirement from F1, Amon dedicated himself to running the family farm in New Zealand's Manawatu District for many years. After retiring from farming, he lived in Taupo in New Zealand's North Island. In the early 1980s he became more well known in New Zealand from test-driving vehicles on the TV motoring series Motor Show and later consulted for Toyota New Zealand, tuning the 1984 Toyota Corolla and subsequent cars for sale there. He also appeared in TV commercials for the company, where much was made of the acclaim he won from Enzo Ferrari. Amon participated in the 2004 EnergyWise Rally where he won ahead of Brian Cowan. Amon drove a Toyota Prius for the event.
In the 1993 Queen's Birthday Honours, Amon was appointed a Member of the Order of the British Empire, for services to motor sport.
Amon was involved in the design of the upgraded Taupo Motorsport Park circuit, used for the New Zealand round of the 2006–07 A1 Grand Prix season in January 2007. At the New Zealand Festival of Motor Racing in 2011, Amon's life and career were honoured with a selection of his cars being driven and also used the event to raise funds for the Bruce McLaren trust. Amon was also honoured at the festival in January 2013.
Death
Amon died in Rotorua Hospital on 3 August 2016, aged 73, of cancer. He was survived by his wife (they married in 1977) their three children and their grandchildren. One of his sons, James, is a qualified High Performance personal trainer. He trained Central Districts Stags cricket team, and was revealed to be Brendon Hartley's personal trainer.
Legacy
Despite never winning a championship Formula One Grand Prix, Amon won eight non-championship GPs, the Silverstone International Trophy, the 1000 km Monza, the Daytona 24 Hours, the Tasman Series and, perhaps most significant of all, the famous 24 Heures du Mans (alongside Bruce McLaren). These races included many of Amon's otherwise more successful fellow Formula One drivers. Amon also remains the only driver from New Zealand and Oceania to have raced for Scuderia Ferrari in Formula One.
In Formula One, Chris Amon took part in 96 Grands Prix, achieving 5 poles, leading 183 laps in 7 races, reaching the podium 11 times and scoring a total of 83 Championship points. Amon holds the record for the most different makes of car raced by a Formula 1 World Championship driver, with thirteen. A biography Forza Amon by journalist Eoin Young charts Amon's racing career and gives some insights into his personal life. The book makes clear one point on which Amon himself disagrees with most commentators, the issue of his bad luck. Amon has pointed out on several occasions that he competed for a decade and a half in Formula One and survived some serious accidents, notably in 1976, whilst others, including friends like Bruce McLaren, suffered serious injury and death. In 2008, motorsport journalist Alan Henry rated Chris Amon as his 13th greatest driver.
Reflecting on the 1968 racing death of Jim Clark, Amon said: "If this can happen to Jimmy, what chance do the rest of us have? I think we all felt that. It seemed like we'd lost our leader." In 1995, Amon was inducted into the New Zealand Sports Hall of Fame.
Amon's name has been given to the Toyota Racing Series driver's championship trophy, and the International Scholarship to support drivers who win his trophy to further their careers in single-seater racing. The Toyota Racing Series serves as motorsport's version of "winter ball" in New Zealand during January and February. Following his death, his name was also lent to the Manfeild Autocourse in Feilding, Manawatu.
Racing record
Formula One World Championship results
(key) (Races in bold indicate pole position; races in italics indicate fastest lap)
Non-Championship Formula One results
(key) (Races in bold indicate pole position; races in italics indicate fastest lap)
Complete Tasman Series results
(key) (Races in bold indicate pole position; races in italics indicate fastest lap)
Complete 24 Hours of Le Mans results
References
External links
Bruce McLaren Trust Official site
Trio At The Top – a documentary about Bruce McLaren, Denny Hulme and Chris Amon on NZ On Screen
Chris Amon 8W-Forix; Tom Prankard; 1 October 2000
New Zealand racing drivers
New Zealand Formula One drivers
Amon Formula One drivers
BRM Formula One drivers
Cooper Formula One drivers
Ensign Formula One drivers
Ferrari Formula One drivers
March Formula One drivers
Matra Formula One drivers
Reg Parnell Racing Formula One drivers
Tecno Formula One drivers
Tyrrell Formula One drivers
Williams Formula One drivers
Formula One team owners
24 Hours of Le Mans drivers
24 Hours of Le Mans winning drivers
12 Hours of Reims drivers
24 Hours of Daytona drivers
World Sportscar Championship drivers
Tasman Series drivers
New Zealand Members of the Order of the British Empire
People from Bulls
1943 births
2016 deaths | true | [
"The 1908 Kentucky Derby was the 34th running of the Kentucky Derby. The race took place on May 5, 1908. Muddy track conditions made the winning time 2:15.20 the slowest Derby ever.The winner was 61-1 and marked the last (most recent) time that the winner lost his most recent race by 10 or more lengths.\n\nFull results\n\nWinning Breeder: James B. A. Haggin; (KY)\n\nPayout\n\n The winner received a purse of $4,850.\n Second place received $700.\n Third place received $300.\n\nReferences\n\n1908\nKentucky Derby\nDerby\n1908 in American sports\nMay 1908 sports events",
"The 1921 Melbourne Cup was a two-mile handicap horse race which took place on Tuesday, 1 November 1921.\n\nThis year's Melbourne Cup saw chaos when the favourite Eurythmic got its head above the strand tape and when it was raised mayhem ensued. When the race was run it was won by Sister Olive who became the third and most recent filly to win the Melbourne Cup.\n\nThis is the list of placegetters for the 1921 Melbourne Cup.\n\nSee also\n\n Melbourne Cup\n List of Melbourne Cup winners\n Victoria Racing Club\n\nReferences\n\n1921\nMelbourne Cup\nMelbourne Cup\n20th century in Melbourne\n1920s in Melbourne"
] | [
"Christopher Arthur Amon (20 July 1943 – 3 August 2016) was a New Zealand motor racing driver. He was active in Formula One racing in the 1960s and 1970s and is widely regarded as one of the best F1 drivers never to win a championship Grand Prix.",
"He was active in Formula One racing in the 1960s and 1970s and is widely regarded as one of the best F1 drivers never to win a championship Grand Prix. His reputation for bad luck was such that fellow driver Mario Andretti once joked that \"if he became an undertaker, people would stop dying\".",
"His reputation for bad luck was such that fellow driver Mario Andretti once joked that \"if he became an undertaker, people would stop dying\". Former Ferrari Technical Director Mauro Forghieri stated that Amon was \"by far the best test driver I have ever worked with.",
"Former Ferrari Technical Director Mauro Forghieri stated that Amon was \"by far the best test driver I have ever worked with. He had all the qualities to be a World Champion but bad luck just wouldn't let him be\". Apart from driving, Chris Amon also ran his own Formula One team for a short period in 1974.",
"Apart from driving, Chris Amon also ran his own Formula One team for a short period in 1974. Away from Formula One, Amon had some success in sports car racing, teaming with co-driver Bruce McLaren to win the 24 Hours of Le Mans race in . Early life Amon was born in Bulls, and attended Whanganui Collegiate School.",
"Early life Amon was born in Bulls, and attended Whanganui Collegiate School. He was the only child of wealthy sheep-owners Ngaio and Betty Amon. He learned to drive at the age of six, taught by a farm worker on the family farm.",
"He learned to drive at the age of six, taught by a farm worker on the family farm. On leaving school, he persuaded his father to buy him an Austin A40 Special, which he entered in some minor local races and hillclimbs along with practice on the family farm.",
"On leaving school, he persuaded his father to buy him an Austin A40 Special, which he entered in some minor local races and hillclimbs along with practice on the family farm. He progressed to a 1.5-litre Cooper and then an old 2.5-litre Maserati 250F, but only began to draw attention when he drove the Cooper-Climax T51 which Bruce McLaren had used to win his maiden Grand Prix.",
"He progressed to a 1.5-litre Cooper and then an old 2.5-litre Maserati 250F, but only began to draw attention when he drove the Cooper-Climax T51 which Bruce McLaren had used to win his maiden Grand Prix. In 1962 Amon entered the Cooper for the New Zealand winter series, but was hampered by mechanical problems.",
"In 1962 Amon entered the Cooper for the New Zealand winter series, but was hampered by mechanical problems. However, Scuderia Veloce entered him in a similar car, and, in the rain at Lakeside, he performed well.",
"However, Scuderia Veloce entered him in a similar car, and, in the rain at Lakeside, he performed well. One of the spectators there was the English racing driver Reg Parnell who persuaded Amon to come to England and race for his team.",
"One of the spectators there was the English racing driver Reg Parnell who persuaded Amon to come to England and race for his team. In a test at Goodwood Amon continued to impress and was on the pace in the Goodwood International Trophy and Aintree 200 pre-season races.",
"In a test at Goodwood Amon continued to impress and was on the pace in the Goodwood International Trophy and Aintree 200 pre-season races. Racing career 1960s 1963 For the 1963 Formula One season the Parnell team were using the year old Lola Mk4A, powered by 1962 specification Climax V8 engines.",
"Racing career 1960s 1963 For the 1963 Formula One season the Parnell team were using the year old Lola Mk4A, powered by 1962 specification Climax V8 engines. Amon was teamed with the very experienced Maurice Trintignant for the first race of the season at Monaco and his Grand Prix career started with what was to become typical bad luck: Trintignant's Climax developed a misfire, so he took over Amon's car.",
"Amon was teamed with the very experienced Maurice Trintignant for the first race of the season at Monaco and his Grand Prix career started with what was to become typical bad luck: Trintignant's Climax developed a misfire, so he took over Amon's car. At the 1963 Belgian Grand Prix, Amon was partnered by Lucien Bianchi and started ahead of him from 15th position.",
"At the 1963 Belgian Grand Prix, Amon was partnered by Lucien Bianchi and started ahead of him from 15th position. After nine laps, however, an oil fire ended his race.",
"After nine laps, however, an oil fire ended his race. He continued to experience mechanical problems at the Dutch, Mexican and German Grands Prix; and after an accident in practice for the Italian Grand Prix left him hanging out of his car's cockpit with three broken ribs, he missed both the Italian and United States rounds.",
"He continued to experience mechanical problems at the Dutch, Mexican and German Grands Prix; and after an accident in practice for the Italian Grand Prix left him hanging out of his car's cockpit with three broken ribs, he missed both the Italian and United States rounds. Amon usually qualified in the midfield and generally outpaced his teammates, who included his good friend Mike Hailwood.",
"Amon usually qualified in the midfield and generally outpaced his teammates, who included his good friend Mike Hailwood. His best results of the year were seventh at the French and British Grands Prix. During this time, however, Amon's social life was attracting as much attention as his driving.",
"During this time, however, Amon's social life was attracting as much attention as his driving. He was a member of the Ditton Road Flyers, the social set named after the road in London where Amon shared an apartment with American Peter Revson, Hailwood and Tony Maggs.",
"He was a member of the Ditton Road Flyers, the social set named after the road in London where Amon shared an apartment with American Peter Revson, Hailwood and Tony Maggs. Parnell was nonetheless impressed with Amon's results in what was regarded as less-than-competitive machinery and promoted him to team leader.",
"Parnell was nonetheless impressed with Amon's results in what was regarded as less-than-competitive machinery and promoted him to team leader. Parnell died from peritonitis in January 1964 and his son Tim took over the team. 1964 In a series of four pre-season races in Britain and Italy, Amon recorded three fifth places at Snetterton, Silverstone and Syracuse.",
"1964 In a series of four pre-season races in Britain and Italy, Amon recorded three fifth places at Snetterton, Silverstone and Syracuse. He failed to qualify for the first F1 race of the season, the Monaco GP, but at the next race, the Dutch GP, he scored his first World Championship points.",
"He failed to qualify for the first F1 race of the season, the Monaco GP, but at the next race, the Dutch GP, he scored his first World Championship points. The rest of his season, however, was blighted by mechanical problems.",
"The rest of his season, however, was blighted by mechanical problems. 1965 Parnell was offered BRM engines for 1965, but only if it ran Richard Attwood as its regular driver. Reluctantly, Parnell agreed and Attwood took Amon's place.",
"Reluctantly, Parnell agreed and Attwood took Amon's place. Spotting an opportunity, Bruce McLaren quickly signed Amon for his new McLaren team, but when no second McLaren F1 car materialised, Amon could only drive in sports car races. At the French GP Amon rejoined Parnell to stand in for an injured Attwood.",
"At the French GP Amon rejoined Parnell to stand in for an injured Attwood. Amon also competed in a Formula Two race in Stuttgart and won. He returned to Germany for the German GP as second Parnell driver, but mechanical failure again forced an early retirement.",
"He returned to Germany for the German GP as second Parnell driver, but mechanical failure again forced an early retirement. His last drive before Attwood's return, a non-championship race in Enna, Sicily, also ended in retirement. 1966 During 1966 Amon continued to race for McLaren in Can-Am.",
"1966 During 1966 Amon continued to race for McLaren in Can-Am. He was intended to drive the second McLaren M2B but difficulties with engine supply meant that the team never made the intended expansion to two cars.",
"He was intended to drive the second McLaren M2B but difficulties with engine supply meant that the team never made the intended expansion to two cars. (James Garner's character Pete Aron's helmet and car livery in the film Grand Prix were modelled on Amon driving a McLaren, which caused the movie makers to have to encourage other cars to be painted in the 'Yamura' colours and other drivers (Bruce McLaren included) to wear Amon-style helmets.)",
"(James Garner's character Pete Aron's helmet and car livery in the film Grand Prix were modelled on Amon driving a McLaren, which caused the movie makers to have to encourage other cars to be painted in the 'Yamura' colours and other drivers (Bruce McLaren included) to wear Amon-style helmets.) However, an opportunity arose to drive for the Cooper F1 team after Richie Ginther left them for Honda.",
"However, an opportunity arose to drive for the Cooper F1 team after Richie Ginther left them for Honda. Amon drove for Cooper at the French GP and was scheduled to drive for them for the rest of the season, until the more successful John Surtees left Scuderia Ferrari to join Cooper and Amon found himself dropped.",
"Amon drove for Cooper at the French GP and was scheduled to drive for them for the rest of the season, until the more successful John Surtees left Scuderia Ferrari to join Cooper and Amon found himself dropped. Amon made one other F1 appearance during the year, driving a Brabham BT11 powered by an old 2-litre BRM engine at the Italian GP under the banner of \"Chris Amon Racing\".",
"Amon made one other F1 appearance during the year, driving a Brabham BT11 powered by an old 2-litre BRM engine at the Italian GP under the banner of \"Chris Amon Racing\". He failed to qualify.",
"He failed to qualify. He failed to qualify. Amon did however, score his biggest success to date when he partnered Bruce McLaren in a 7-litre Ford GT40 Mark II and Ken Miles to Ford's dead-heat \"photo-finish\" after Miles was instructed to slow down despite leading at the Le Mans 24-hour race, spearheading a formation finish.",
"Amon did however, score his biggest success to date when he partnered Bruce McLaren in a 7-litre Ford GT40 Mark II and Ken Miles to Ford's dead-heat \"photo-finish\" after Miles was instructed to slow down despite leading at the Le Mans 24-hour race, spearheading a formation finish. He subsequently received an invitation to meet Enzo Ferrari at the Ferrari home in Maranello, where he signed to race for Ferrari in 1967 alongside Lorenzo Bandini, Mike Parkes and Ludovico Scarfiotti.",
"He subsequently received an invitation to meet Enzo Ferrari at the Ferrari home in Maranello, where he signed to race for Ferrari in 1967 alongside Lorenzo Bandini, Mike Parkes and Ludovico Scarfiotti. 1967 Amon's first year with Ferrari did not begin auspiciously.",
"1967 Amon's first year with Ferrari did not begin auspiciously. En route to Brands Hatch for the pre-season Formula One Race of Champions, he crashed his road car and, following race practice, had to withdraw.",
"En route to Brands Hatch for the pre-season Formula One Race of Champions, he crashed his road car and, following race practice, had to withdraw. Tragedy then struck the Ferrari team when Bandini died following a crash during the 1967 Monaco Grand Prix, Mike Parkes broke both his legs at the Belgian Grand Prix and, in the aftermath, Ludovico Scarfiotti went into temporary retirement.",
"Tragedy then struck the Ferrari team when Bandini died following a crash during the 1967 Monaco Grand Prix, Mike Parkes broke both his legs at the Belgian Grand Prix and, in the aftermath, Ludovico Scarfiotti went into temporary retirement. Amon, therefore, became Ferrari's only driver for the rest of the season, until joined by Jonathan Williams for the final race in Mexico.",
"Amon, therefore, became Ferrari's only driver for the rest of the season, until joined by Jonathan Williams for the final race in Mexico. Amon scored his first podium in his first official outing for the Scuderia in Monaco and at the end of 1967 had achieved four third places finishing fifth in the Drivers' Championship, in what was going to be the most successful season of his career.",
"Amon scored his first podium in his first official outing for the Scuderia in Monaco and at the end of 1967 had achieved four third places finishing fifth in the Drivers' Championship, in what was going to be the most successful season of his career. Amon's Ferrari contract also included sports car racing and he began 1967 by winning the Daytona 24 Hours and 1000km Monza events with Bandini in the 4-litre Ferrari 330-P4.",
"Amon's Ferrari contract also included sports car racing and he began 1967 by winning the Daytona 24 Hours and 1000km Monza events with Bandini in the 4-litre Ferrari 330-P4. He finished the year partnering Jackie Stewart to a second place at the BOAC 500, thereby clinching the manufacturer's world championship for Ferrari by one point over Porsche.",
"He finished the year partnering Jackie Stewart to a second place at the BOAC 500, thereby clinching the manufacturer's world championship for Ferrari by one point over Porsche. 1968 1968 was the year aerodynamics first played a significant role in F1 car design and Amon worked with engineer Mauro Forghieri to place aerofoils on the Ferrari 312.",
"1968 1968 was the year aerodynamics first played a significant role in F1 car design and Amon worked with engineer Mauro Forghieri to place aerofoils on the Ferrari 312. In January 1968 Amon had returned home to New Zealand and Australia to compete in the 1968 Tasman Series which was used by many of the top Formula One drivers as a warm up series to the World Championship.",
"In January 1968 Amon had returned home to New Zealand and Australia to compete in the 1968 Tasman Series which was used by many of the top Formula One drivers as a warm up series to the World Championship. Ferrari had been interested in the series for several years and in 1965 had reengineered 2.4 Dino engines used by Mike Hawthorn, Peter Collins and Phil Hill in 1958–60 with more torque and mid speed power for the planned use of team leader Surtees in the 1966 Tasman Series.",
"Ferrari had been interested in the series for several years and in 1965 had reengineered 2.4 Dino engines used by Mike Hawthorn, Peter Collins and Phil Hill in 1958–60 with more torque and mid speed power for the planned use of team leader Surtees in the 1966 Tasman Series. After a late season crash in US Can-Am racing by Surtees, the entry was withdrawn but consideration was given to using NZ Gold star champion Jim Palmer in a semi-works Ferrari entry in the 1967 Tasman Series as it was viewed in a 2.4 car he would be competitive with Clark and Stewart in 2-litre F1 cars.",
"After a late season crash in US Can-Am racing by Surtees, the entry was withdrawn but consideration was given to using NZ Gold star champion Jim Palmer in a semi-works Ferrari entry in the 1967 Tasman Series as it was viewed in a 2.4 car he would be competitive with Clark and Stewart in 2-litre F1 cars. Palmer had run world-class times in the 1966 Tasman Series, particularly in the Pukekohe practice and Longford race, and was tested in Italy at the same time as Amon by Ferrari, and ran competitive times at Modena but for whatever reason Ferrari did not compete in 1967 series.",
"Palmer had run world-class times in the 1966 Tasman Series, particularly in the Pukekohe practice and Longford race, and was tested in Italy at the same time as Amon by Ferrari, and ran competitive times at Modena but for whatever reason Ferrari did not compete in 1967 series. For the 1968 series Ferrari decided to use the 2.4 engines with a new Dino 166 F2 chassis rather than a downsized 3-litre V12.",
"For the 1968 series Ferrari decided to use the 2.4 engines with a new Dino 166 F2 chassis rather than a downsized 3-litre V12. Using the 246T Amon won the first two rounds of the Tasman Series, including the 1968 New Zealand Grand Prix, before narrowly losing the series to the Lotus-Ford of Jim Clark.",
"Using the 246T Amon won the first two rounds of the Tasman Series, including the 1968 New Zealand Grand Prix, before narrowly losing the series to the Lotus-Ford of Jim Clark. The Dino 246 Tasmania was better handling than Clark's Lotus 49T which was still wingless and a difficult proposition.",
"The Dino 246 Tasmania was better handling than Clark's Lotus 49T which was still wingless and a difficult proposition. Impressed by Amon's driving in the NZ rounds, Ferrari dispatched a new four-valve version of the 2.4 V6 for the Australian rounds and this gave another 15 hp, but with lesser reliability which, combined with the fact Clark was the best driver in the world at the time, cost Amon the series, although in the final round at Sandown Park he duelled wheel to wheel with Clark before being pipped at the line.",
"Impressed by Amon's driving in the NZ rounds, Ferrari dispatched a new four-valve version of the 2.4 V6 for the Australian rounds and this gave another 15 hp, but with lesser reliability which, combined with the fact Clark was the best driver in the world at the time, cost Amon the series, although in the final round at Sandown Park he duelled wheel to wheel with Clark before being pipped at the line. After the first race of the F1 season in South Africa, Amon achieved pole positions in three of the following four races (at the Spanish, Belgian and Dutch Grands Prix) but ever-present mechanical problems meant he secured only a single Championship point from them.",
"After the first race of the F1 season in South Africa, Amon achieved pole positions in three of the following four races (at the Spanish, Belgian and Dutch Grands Prix) but ever-present mechanical problems meant he secured only a single Championship point from them. Throughout the rest of the season he never qualified lower than fifth place and nearly scored victories at the British and Canadian rounds and he suffered a 100 mph crash in Italy which demolished his car.",
"Throughout the rest of the season he never qualified lower than fifth place and nearly scored victories at the British and Canadian rounds and he suffered a 100 mph crash in Italy which demolished his car. In Britain, he duelled to the line with Jo Siffert's Lotus 49B and in Canada he dominated the race despite a malfunctioning clutch.",
"In Britain, he duelled to the line with Jo Siffert's Lotus 49B and in Canada he dominated the race despite a malfunctioning clutch. Seventeen laps from the finish, however, his car's transmission failed and a distraught Amon had to be consoled by Jacky Ickx.",
"Seventeen laps from the finish, however, his car's transmission failed and a distraught Amon had to be consoled by Jacky Ickx. From at least ten promising starts that season he was only able to finish five races and score ten Championship points. His best finish was second place to Siffert's Lotus-Cosworth at the British Grand Prix.",
"His best finish was second place to Siffert's Lotus-Cosworth at the British Grand Prix. Outside F1, Amon was runner-up in the Formula Two race at Zolder, Belgium, testing the Dino 166 F2. He also came third in that year's BRDC International Trophy.",
"He also came third in that year's BRDC International Trophy. 1969 Amon began 1969 with success driving the Dino engined 246 Tasmania in the Tasman Series that included winning both the New Zealand and Australian Grands Prix.",
"1969 Amon began 1969 with success driving the Dino engined 246 Tasmania in the Tasman Series that included winning both the New Zealand and Australian Grands Prix. In straight fights, he beat new Gold Leaf Lotus team leader, Jochen Rindt, into second in the races at Pukekohe and Sandown.",
"In straight fights, he beat new Gold Leaf Lotus team leader, Jochen Rindt, into second in the races at Pukekohe and Sandown. He would ultimately win the seven race Tasman Series, probably the best of the seven-year 2.5-litre international formula series in this country and the nearest to World Championship level racing in New Zealand, with ferocious competition between Rindt, Graham Hill, Amon and Williams driver Piers Courage.",
"He would ultimately win the seven race Tasman Series, probably the best of the seven-year 2.5-litre international formula series in this country and the nearest to World Championship level racing in New Zealand, with ferocious competition between Rindt, Graham Hill, Amon and Williams driver Piers Courage. It was actually much more serious racing than the McLaren dominated Can-Am series in the US in which the big sports cars required few gear changes and were essentially cruised to victory with little real competition, where the Tasman cars were essentially marginally lower power F1 cars, as difficult to drive as GP cars on unforgiving very dangerous narrow tracks.",
"It was actually much more serious racing than the McLaren dominated Can-Am series in the US in which the big sports cars required few gear changes and were essentially cruised to victory with little real competition, where the Tasman cars were essentially marginally lower power F1 cars, as difficult to drive as GP cars on unforgiving very dangerous narrow tracks. Amon finished with four wins, two-thirds and one retirement, but in Formula One his poor luck continued.",
"Amon finished with four wins, two-thirds and one retirement, but in Formula One his poor luck continued. Despite six starts from top-six positions, he was only able to achieve a third-place at the Dutch GP.",
"Despite six starts from top-six positions, he was only able to achieve a third-place at the Dutch GP. Ferrari's F1 V12 engine was too unreliable and although its replacement had proven very fast in testing, it had suffered many mechanical breakages.",
"Ferrari's F1 V12 engine was too unreliable and although its replacement had proven very fast in testing, it had suffered many mechanical breakages. Amon had no reason to believe it would be any more dependable than the V12, so although the new engine was clearly more powerful, he decided to leave Ferrari for a Cosworth DFV powered team.",
"Amon had no reason to believe it would be any more dependable than the V12, so although the new engine was clearly more powerful, he decided to leave Ferrari for a Cosworth DFV powered team. Ironically, the new flat-12 engine would become one of the best Formula One engines of the 1970s.",
"Ironically, the new flat-12 engine would become one of the best Formula One engines of the 1970s. Jacky Ickx, Amon's old teammate did return to Ferrari for 1970, after a successful sabbatical with Brabham gained Ickx second in the 1969 World Championship.",
"Jacky Ickx, Amon's old teammate did return to Ferrari for 1970, after a successful sabbatical with Brabham gained Ickx second in the 1969 World Championship. Ickx saw Enzo Ferrari had secured huge backing from Fiat who had taken partial ownership of the Marque, and believed Ferrari would be a renewed team and an effective proposition.",
"Ickx saw Enzo Ferrari had secured huge backing from Fiat who had taken partial ownership of the Marque, and believed Ferrari would be a renewed team and an effective proposition. Amon was more influenced by views of Jackie Stewart and Jochen Rindt, who believed it was essential to be Ford DFV-powered to be competitive.",
"Amon was more influenced by views of Jackie Stewart and Jochen Rindt, who believed it was essential to be Ford DFV-powered to be competitive. In addition to Formula One, Amon also drove for Ferrari in the 1969 International Championship for Makes, partnering Pedro Rodriguez to a fourth place in the BOAC 500 at Brands Hatch and coming second at the 12 Hours of Sebring, but retiring from the 1000km Nürburgring and 1000km Monza races, all in the Ferrari 312P sportscar.",
"In addition to Formula One, Amon also drove for Ferrari in the 1969 International Championship for Makes, partnering Pedro Rodriguez to a fourth place in the BOAC 500 at Brands Hatch and coming second at the 12 Hours of Sebring, but retiring from the 1000km Nürburgring and 1000km Monza races, all in the Ferrari 312P sportscar. He also drove in a few Can-Am races.",
"He also drove in a few Can-Am races. His last race for Ferrari would be the 1970 1000 km Monza, where he finished as runner-up. 1970s 1970 For the 1970 Formula One season, Amon made what was to be the first of several moves to smaller, newer teams.",
"1970s 1970 For the 1970 Formula One season, Amon made what was to be the first of several moves to smaller, newer teams. March Engineering had been formed the previous year to build custom chassis for Formulas 2 and 3, but quickly moved into F1, designing and building the March 701.",
"March Engineering had been formed the previous year to build custom chassis for Formulas 2 and 3, but quickly moved into F1, designing and building the March 701. Amon and Siffert were signed as drivers, with IndyCar driver Mario Andretti making an occasional appearance in a third car.",
"Amon and Siffert were signed as drivers, with IndyCar driver Mario Andretti making an occasional appearance in a third car. March also sold their 701 chassis to Tyrrell, where Jackie Stewart drove it to its first victory in that year's Spanish GP.",
"March also sold their 701 chassis to Tyrrell, where Jackie Stewart drove it to its first victory in that year's Spanish GP. Amon won the pre-season Silverstone International Trophy, but once the F1 season began he found himself prevented from converting good qualifying positions into good results.",
"Amon won the pre-season Silverstone International Trophy, but once the F1 season began he found himself prevented from converting good qualifying positions into good results. He qualified second behind Stewart's Tyrrell-March for the season-opening South African Grand Prix only for his own March to overheat within fourteen laps.",
"He qualified second behind Stewart's Tyrrell-March for the season-opening South African Grand Prix only for his own March to overheat within fourteen laps. Amon then qualified sixth for the Spanish Grand Prix only for his March's Ford-Cosworth DFV engine to expire within ten laps.",
"Amon then qualified sixth for the Spanish Grand Prix only for his March's Ford-Cosworth DFV engine to expire within ten laps. He qualified and ran second in the 1970 Monaco Grand Prix until his suspension failed twenty laps from the finish.",
"He qualified and ran second in the 1970 Monaco Grand Prix until his suspension failed twenty laps from the finish. This was the race where Amon refused to drive unless his entry number was changed from 18 – the number under which his then teammate Lorenzo Bandini had crashed and died in Monaco – to 28.",
"This was the race where Amon refused to drive unless his entry number was changed from 18 – the number under which his then teammate Lorenzo Bandini had crashed and died in Monaco – to 28. Amon's close second place from a third-place start at the 1970 Belgian Grand Prix finally gave the March works team their first points finish.",
"Amon's close second place from a third-place start at the 1970 Belgian Grand Prix finally gave the March works team their first points finish. At that race, Amon set fastest lap at over 152 miles per hour, a lap record which still stands as of 2016, as it was the last race on the full-length Spa-Francorchamps circuit.",
"At that race, Amon set fastest lap at over 152 miles per hour, a lap record which still stands as of 2016, as it was the last race on the full-length Spa-Francorchamps circuit. However, after qualifying fourth for the next race, the Dutch Grand Prix, his car's clutch broke after just one lap.",
"However, after qualifying fourth for the next race, the Dutch Grand Prix, his car's clutch broke after just one lap. Amon duplicated his Belgian result at the 1970 French Grand Prix,.",
"Amon duplicated his Belgian result at the 1970 French Grand Prix,. After a disappointing performance in the British GP at Brands Hatch where Amon finished fifth after being outqualified by tyro Ronnie Peterson in a private 701 on the same tyres, conflict with team boss Max Mosley over the non-delivery of three-quarters of Amon's expected pay for the season saw him provided with inferior DFVs and two backmarker 7th places in Austria and Italy, Amon finished the season strongly with strong drives to third at Mosport, fifth at Watkins Glen and fourth in Mexico.",
"After a disappointing performance in the British GP at Brands Hatch where Amon finished fifth after being outqualified by tyro Ronnie Peterson in a private 701 on the same tyres, conflict with team boss Max Mosley over the non-delivery of three-quarters of Amon's expected pay for the season saw him provided with inferior DFVs and two backmarker 7th places in Austria and Italy, Amon finished the season strongly with strong drives to third at Mosport, fifth at Watkins Glen and fourth in Mexico. At Watkins Glen in the USGP he was robbed of a probably certain victory, in the opinion of March designer Robin Herd, by a puncture.",
"At Watkins Glen in the USGP he was robbed of a probably certain victory, in the opinion of March designer Robin Herd, by a puncture. By the end of the year, disagreements with March co-founders Mosley and Robin Herd meant that Amon had decided to move to another relatively new team, Matra.",
"By the end of the year, disagreements with March co-founders Mosley and Robin Herd meant that Amon had decided to move to another relatively new team, Matra. 1971 In 1971, Amon, now driving for the Matra factory team, once again scored a pre-season victory, this time at the Argentine Grand Prix.",
"1971 In 1971, Amon, now driving for the Matra factory team, once again scored a pre-season victory, this time at the Argentine Grand Prix. Once the Formula One season had begun, he managed to convert a third-place start at the Spanish GP into a third-place podium finish and scored a couple of fifth places in the South African and French GPs.",
"Once the Formula One season had begun, he managed to convert a third-place start at the Spanish GP into a third-place podium finish and scored a couple of fifth places in the South African and French GPs. Apart from these results, however, his run of poor F1 returns continued.",
"Apart from these results, however, his run of poor F1 returns continued. He had a major accident at the Nürburgring and it sidelined him for the next race at the Österreichring.",
"He had a major accident at the Nürburgring and it sidelined him for the next race at the Österreichring. At the Italian GP he qualified in pole position and despite a poor start to the race looked as if he would capitalise on it – until the visor on his helmet became detached.",
"At the Italian GP he qualified in pole position and despite a poor start to the race looked as if he would capitalise on it – until the visor on his helmet became detached. Amon had to slow to avoid risking a major accident, thereby allowing other drivers to catch and overtake him.",
"Amon had to slow to avoid risking a major accident, thereby allowing other drivers to catch and overtake him. He finished the race in sixth place, scoring just one Championship point.",
"He finished the race in sixth place, scoring just one Championship point. During the year Amon also competed in the non-championship Questor Grand Prix at the new Ontario Motor Speedway, where he qualified second and, despite suffering a puncture during the race, managed to finish fourth.",
"During the year Amon also competed in the non-championship Questor Grand Prix at the new Ontario Motor Speedway, where he qualified second and, despite suffering a puncture during the race, managed to finish fourth. In the Tasman Series Amon started from fourth at the Levin Circuit and in the race, he battled with David Oxton and John Cannon but managed to finish third.",
"In the Tasman Series Amon started from fourth at the Levin Circuit and in the race, he battled with David Oxton and John Cannon but managed to finish third. Amon's third race at Wigram Airfield starting fifth and spun at the start to drop him to the back of the field but managed to climb up to fifth.",
"Amon's third race at Wigram Airfield starting fifth and spun at the start to drop him to the back of the field but managed to climb up to fifth. 1972 In the 1972 Formula One season, Amon, again driving for Matra achieved a handful of points-scoring finishes, but only one podium appearance, at the French GP.",
"1972 In the 1972 Formula One season, Amon, again driving for Matra achieved a handful of points-scoring finishes, but only one podium appearance, at the French GP. Here he achieved the fifth and final pole position of his career and was leading the race until a puncture forced him to pit.",
"Here he achieved the fifth and final pole position of his career and was leading the race until a puncture forced him to pit. However, he climbed back through the field, breaking the circuit's lap record to finish third.",
"However, he climbed back through the field, breaking the circuit's lap record to finish third. With the money he had made from motorsport, Amon decided to set up a racing engine firm with former BRM engineer Aubrey Woods.",
"With the money he had made from motorsport, Amon decided to set up a racing engine firm with former BRM engineer Aubrey Woods. Amon Racing Engines supplied Formula 2 engines to a few drivers, but the company quickly became too expensive to run and was sold to March for a loss.",
"Amon Racing Engines supplied Formula 2 engines to a few drivers, but the company quickly became too expensive to run and was sold to March for a loss. Matra decided to end their participation in Formula One at the end of 1972, so Amon found himself looking to return to March as a driver.",
"Matra decided to end their participation in Formula One at the end of 1972, so Amon found himself looking to return to March as a driver. The place, however, was given to Jean-Pierre Jarier, purportedly for financial reasons. Amon therefore signed for another recently formed F1 team, Tecno.",
"Amon therefore signed for another recently formed F1 team, Tecno. 1973 Tecno had entered F1 the previous year, having been a successful chassis-builder for other Formulæ and had developed a potentially powerful Flat 12 for F1.",
"1973 Tecno had entered F1 the previous year, having been a successful chassis-builder for other Formulæ and had developed a potentially powerful Flat 12 for F1. Their first year in F1 proved to be dismal, however with considerable backing from Martini Rossi they had jumped at the chance to sign Amon, and allocate David Yorke the former Vanwall and Gulf GT40 Team Manager to run the team and commission two new chassis designs by former Lotus and McLaren mechanic.",
"Their first year in F1 proved to be dismal, however with considerable backing from Martini Rossi they had jumped at the chance to sign Amon, and allocate David Yorke the former Vanwall and Gulf GT40 Team Manager to run the team and commission two new chassis designs by former Lotus and McLaren mechanic. Alan McCall who had worked on Clark and Hulme's F1 cars and unproven, British designer Gordon Fowell for a more radical back up design, in the hope he would help transform their performance.",
"Alan McCall who had worked on Clark and Hulme's F1 cars and unproven, British designer Gordon Fowell for a more radical back up design, in the hope he would help transform their performance. While McCalls car was built rapidly, testing it was more time-consuming and after its non-appearance, for the Spanish GP, Amon and team manager David Yorke met with Enzo Ferrari to see if Amon could be released from his contract to develop the new Ferrari B3 for Ickx and Mezarrio, in a supposedly one off GP drive at Monaco.",
"While McCalls car was built rapidly, testing it was more time-consuming and after its non-appearance, for the Spanish GP, Amon and team manager David Yorke met with Enzo Ferrari to see if Amon could be released from his contract to develop the new Ferrari B3 for Ickx and Mezarrio, in a supposedly one off GP drive at Monaco. Yorke rejected the release, and Amon admits he would not have left Ferrari if offered the drive for a season.",
"Yorke rejected the release, and Amon admits he would not have left Ferrari if offered the drive for a season. Unfortunately, the team went from bad to worse and wasn't able to field the Tecno PA123/6 until the fifth GP of the season, the Belgian GP. Amon managed to finish in sixth position.",
"Amon managed to finish in sixth position. At Monaco the car qualified a useful 12th and chassis felt good but Chris was unhappy with the car. He decided to concentrate on the undeveloped Gordon Fowell Goral car.",
"He decided to concentrate on the undeveloped Gordon Fowell Goral car. This was against the view of the Techno team and the Pederanzi engine builders and Martini Rossi who required the car and driver to appear at races Amon commented at the time that it was \"the best chassis I've ever sat in\", it too proved virtually undriveable.",
"This was against the view of the Techno team and the Pederanzi engine builders and Martini Rossi who required the car and driver to appear at races Amon commented at the time that it was \"the best chassis I've ever sat in\", it too proved virtually undriveable. Amon refused to drive the McCall, Techno in the Swedish or German Gps and withdrew from the Austrian GP after qualifying.",
"Amon refused to drive the McCall, Techno in the Swedish or German Gps and withdrew from the Austrian GP after qualifying. By the time of the Austrian GP, four races from the end of the season, Amon's patience had run out and he left the team.",
"By the time of the Austrian GP, four races from the end of the season, Amon's patience had run out and he left the team. He would later claim that the months he spent with the team \"felt like ten [seasons]\".",
"He would later claim that the months he spent with the team \"felt like ten [seasons]\". Tyrrell offered Amon a third car – the 005 – in which to drive the last two races of the season.",
"Tyrrell offered Amon a third car – the 005 – in which to drive the last two races of the season. After a mediocre first outing at the Canadian GP, he and Jackie Stewart withdrew from the final race of the year, the United States GP, following the death of their teammate François Cevert during qualifying.",
"After a mediocre first outing at the Canadian GP, he and Jackie Stewart withdrew from the final race of the year, the United States GP, following the death of their teammate François Cevert during qualifying. 1974 For the 1974 F1 season, Amon revived Chris Amon Racing.",
"1974 For the 1974 F1 season, Amon revived Chris Amon Racing. Gordon Fowell designed the car, the AF101, which featured a single central fuel tank, titanium torsion bars and a forward driving position.",
"Gordon Fowell designed the car, the AF101, which featured a single central fuel tank, titanium torsion bars and a forward driving position. Structurally, however, it proved to be weak and was not ready for an F1 appearance until the fourth race of the season, the Spanish GP.",
"Structurally, however, it proved to be weak and was not ready for an F1 appearance until the fourth race of the season, the Spanish GP. Amon was only able to qualify 23rd, thanks to brake-disc vibration that only became worse with the tyres for the wet race that followed.",
"Amon was only able to qualify 23rd, thanks to brake-disc vibration that only became worse with the tyres for the wet race that followed. Despite cautious driving, a brake shaft finally broke and Amon was forced to retire after 22 laps.",
"Despite cautious driving, a brake shaft finally broke and Amon was forced to retire after 22 laps. Following further work and testing, Amon returned for the Monaco GP and qualified twentieth, but, thanks to mechanical problems, he was unable to start the race.",
"Following further work and testing, Amon returned for the Monaco GP and qualified twentieth, but, thanks to mechanical problems, he was unable to start the race. Further problems and illness meant Amon was not able to reappear with the F101 until the Italian GP, three races from the end of the season, but this time he was unable to qualify.",
"Further problems and illness meant Amon was not able to reappear with the F101 until the Italian GP, three races from the end of the season, but this time he was unable to qualify. That sealed the fate of both the car and Chris Amon Racing, leaving Amon to drive the season's last two races with the faltering BRM team.",
"That sealed the fate of both the car and Chris Amon Racing, leaving Amon to drive the season's last two races with the faltering BRM team. He would later reveal that he had turned down a chance to join the Brabham team earlier in the season.",
"He would later reveal that he had turned down a chance to join the Brabham team earlier in the season. 1975 Amon contested the 1975 F5000 Tasman series against only local Australasian drivers, although Graham McRae, Warwick Brown and Kevin Bartlett were acknowledged internationally.",
"1975 Amon contested the 1975 F5000 Tasman series against only local Australasian drivers, although Graham McRae, Warwick Brown and Kevin Bartlett were acknowledged internationally. Amon qualified on the front row of three of the four New Zealand rounds and scored a victory at Teretonga in January 1975 in rainy conditions by 24.2 seconds.",
"Amon qualified on the front row of three of the four New Zealand rounds and scored a victory at Teretonga in January 1975 in rainy conditions by 24.2 seconds. In the Australian rounds, the competition was always harder with more good cars and the locals on their own tracks.",
"In the Australian rounds, the competition was always harder with more good cars and the locals on their own tracks. Amon had a frustrating series of races unable to pass, South Australian Johnnie Walker, in a superior Lola T332 chassis with Repco-engineered V8.",
"Amon had a frustrating series of races unable to pass, South Australian Johnnie Walker, in a superior Lola T332 chassis with Repco-engineered V8. At Surfers Paradise, running from the back of the grid he managed to eventually pass Walker by widening the braking zone in the only corner where overtaking was usually possible.",
"At Surfers Paradise, running from the back of the grid he managed to eventually pass Walker by widening the braking zone in the only corner where overtaking was usually possible. Amon brushed the edge of the track on repeated laps, got extra grip and passed Walker to take the lead.",
"Amon brushed the edge of the track on repeated laps, got extra grip and passed Walker to take the lead. He had been forced to miss most of the practice session, when Customs seized his car's gearbox. In the race, the brilliant effort went for nothing as the Chev engine blew.",
"In the race, the brilliant effort went for nothing as the Chev engine blew. At Oran Park and Adelaide he followed Walker the whole way to 4th and 3rd unable to pass.",
"At Oran Park and Adelaide he followed Walker the whole way to 4th and 3rd unable to pass. In the final deciding race for the Tasman Series with Brown, Walker and Lawrence still in contention, Walker lost his T332 on the first lap and it demolished on wooden barriers surrounding Sandown's car and horse racing tracks.",
"In the final deciding race for the Tasman Series with Brown, Walker and Lawrence still in contention, Walker lost his T332 on the first lap and it demolished on wooden barriers surrounding Sandown's car and horse racing tracks. Amon was never in contention and finished 4th.",
"Amon was never in contention and finished 4th. Amon intended to compete in F5000 in both Europe and the US in 1975 but started in only one round of both series, managing a pole in one Shellsport round in the UK and a 4th place overall at the Long Beach GP in a two heat race.",
"Amon intended to compete in F5000 in both Europe and the US in 1975 but started in only one round of both series, managing a pole in one Shellsport round in the UK and a 4th place overall at the Long Beach GP in a two heat race. He used different Talon F5000 cars for both races.",
"He used different Talon F5000 cars for both races. The speed he showed in qualifying for a couple of UK F5000 races encouraged the small Ensign team to give him a race.",
"The speed he showed in qualifying for a couple of UK F5000 races encouraged the small Ensign team to give him a race. Mo Nunn the Ensign team owner had been a Lotus F3 driver in 1966 and the Dave Baldwin designed chassis was in many ways a lightweight Lotus F1, which Ronnie Peterson wanted to test in 1975 out of frustration with his old 72 and which could have been used by Colin Chapman had he not decided to concentrate on developing chassis which would use ground effect technology, the Lotus 77 design for 1976 which was in many ways a test vehicle for the development of concepts, including the de facto legalisation of technology like plastic sliding skirts, introduced on Andretti's 77 from the 1976 Canadian Grand Prix, that would be used in future Lotus wing cars the Lotus 78 and Lotus 79.",
"Mo Nunn the Ensign team owner had been a Lotus F3 driver in 1966 and the Dave Baldwin designed chassis was in many ways a lightweight Lotus F1, which Ronnie Peterson wanted to test in 1975 out of frustration with his old 72 and which could have been used by Colin Chapman had he not decided to concentrate on developing chassis which would use ground effect technology, the Lotus 77 design for 1976 which was in many ways a test vehicle for the development of concepts, including the de facto legalisation of technology like plastic sliding skirts, introduced on Andretti's 77 from the 1976 Canadian Grand Prix, that would be used in future Lotus wing cars the Lotus 78 and Lotus 79. Apart from these successes, Amon's racing career seemed once again to have stalled.",
"Apart from these successes, Amon's racing career seemed once again to have stalled. Apparently a chance meeting with Mo Nunn of Ensign Racing led to the Ensign drive, but in fact Mo Nunn thought his new N175 a very fast car and did not view the two Dutch drivers favoured by the Dutch HB Security company who sponsored Ensign fast enough.",
"Apparently a chance meeting with Mo Nunn of Ensign Racing led to the Ensign drive, but in fact Mo Nunn thought his new N175 a very fast car and did not view the two Dutch drivers favoured by the Dutch HB Security company who sponsored Ensign fast enough. Gijs van Lennep, the 1973 European F5000 Champion in a Surtees TS11 who had won Le Mans in 1971 and 1976 was a very good driver but also one of the last racing aristocrats.",
"Gijs van Lennep, the 1973 European F5000 Champion in a Surtees TS11 who had won Le Mans in 1971 and 1976 was a very good driver but also one of the last racing aristocrats. Van Lennep, qualified the car on its debut in the French GP at Paul Ricard and finished 6th in the German GP at Nürburgring, and was faster on both circuits than Patrick Nève or Amon were in 1976.",
"Van Lennep, qualified the car on its debut in the French GP at Paul Ricard and finished 6th in the German GP at Nürburgring, and was faster on both circuits than Patrick Nève or Amon were in 1976. Amon managed 7th in the non-championship Swiss GP at Dijon chasing James Hunt debuting the disappointing Hesketh 308C and 12th in two GP drives in the Ensign N175 at the Austrian and Italian GPs.",
"Amon managed 7th in the non-championship Swiss GP at Dijon chasing James Hunt debuting the disappointing Hesketh 308C and 12th in two GP drives in the Ensign N175 at the Austrian and Italian GPs. At Monza after a long pit stop he finally ran at competitive pace, running 4 laps down but keeping pace with the leading Ferrari 312T of Niki Lauda for a number of laps.",
"At Monza after a long pit stop he finally ran at competitive pace, running 4 laps down but keeping pace with the leading Ferrari 312T of Niki Lauda for a number of laps. Progressive evaluation of the possibilities of what was slowing the N175 led Amon to change the airbox alignment on the day of the Italian GP and this resulted in a 2-second gain (much like the change in air cooler position that lost and gained two seconds on Hunt's McLaren M23 resolved by the 1976 French GP).",
"Progressive evaluation of the possibilities of what was slowing the N175 led Amon to change the airbox alignment on the day of the Italian GP and this resulted in a 2-second gain (much like the change in air cooler position that lost and gained two seconds on Hunt's McLaren M23 resolved by the 1976 French GP). Ironically Amon never raced the N175 again and the high airboxes had been banned by the time N176 ran at Jarama the following year, but the flash of testing and driving genius was enough to give Amon another chance.",
"Ironically Amon never raced the N175 again and the high airboxes had been banned by the time N176 ran at Jarama the following year, but the flash of testing and driving genius was enough to give Amon another chance. Although the results were unremarkable, he and Nunn worked well together, so Amon joined Ensign for the 1976 F1 season.",
"Although the results were unremarkable, he and Nunn worked well together, so Amon joined Ensign for the 1976 F1 season. 1976 Ensign's first race of the season was the South African GP where Amon qualified 18th and showed a revival of form, climbing to seventh place, in the old Ensign N174 and contesting sixth with Mario Andretti in the Parnelli Ford, in the last laps before a last minute refueling stop left him 14th.",
"1976 Ensign's first race of the season was the South African GP where Amon qualified 18th and showed a revival of form, climbing to seventh place, in the old Ensign N174 and contesting sixth with Mario Andretti in the Parnelli Ford, in the last laps before a last minute refueling stop left him 14th. Thereafter results began to improve, with Amon qualifying 17th and finishing eighth in the USA West GP; qualifying tenth and finishing fifth in the Spanish GP; and then qualifying eighth for the Belgian GP.",
"Thereafter results began to improve, with Amon qualifying 17th and finishing eighth in the USA West GP; qualifying tenth and finishing fifth in the Spanish GP; and then qualifying eighth for the Belgian GP. More points then seemed likely from the race until his car lost a wheel 19 laps from the finish and Amon was lucky to escape unhurt from the ensuing accident.",
"More points then seemed likely from the race until his car lost a wheel 19 laps from the finish and Amon was lucky to escape unhurt from the ensuing accident. He then achieved a third-place grid position start for the Swedish GP using a Nicholson rebuilt Cosworth for the first time and in the race looked as if he would join Tyrrell drivers Jody Scheckter and Patrick Depailler on the podium, until suspension failure threw him from the track after 38 laps.",
"He then achieved a third-place grid position start for the Swedish GP using a Nicholson rebuilt Cosworth for the first time and in the race looked as if he would join Tyrrell drivers Jody Scheckter and Patrick Depailler on the podium, until suspension failure threw him from the track after 38 laps. Amon had again been lucky to escape serious injury and decided to miss the next race, the French GP.",
"Amon had again been lucky to escape serious injury and decided to miss the next race, the French GP. He returned for the British GP, qualifying in sixth and running fourth in the race when his Ford-Cosworth DFV engine developed a water leak. Rather than risk losing an engine, his team called him in to retire.",
"Rather than risk losing an engine, his team called him in to retire. At the German GP problems dogged his attempts to qualify well, but it was Niki Lauda's crash during the second lap of the race that had a far greater impact. Amon refused to restart the race and Nunn fired him from the team.",
"Amon refused to restart the race and Nunn fired him from the team. Amon declared his retirement from the sport and returned to New Zealand. \"I'd seen too many people fried in racing cars at that stage. When you've driven past Bandini, Schlesser, Courage and Williamson, another shunt like that was simply too much.",
"When you've driven past Bandini, Schlesser, Courage and Williamson, another shunt like that was simply too much. It was a personal decision...\" (Amon, on his retirement in 1976)However, Walter Wolf contacted Amon and persuaded him to drive for his Wolf–Williams team in the North American races near the end of the season.",
"It was a personal decision...\" (Amon, on his retirement in 1976)However, Walter Wolf contacted Amon and persuaded him to drive for his Wolf–Williams team in the North American races near the end of the season. After recording some promising times in preparation for the Canadian GP, however, Amon was involved in a heavy collision with another car during qualifying and once again was lucky to walk away unharmed.",
"After recording some promising times in preparation for the Canadian GP, however, Amon was involved in a heavy collision with another car during qualifying and once again was lucky to walk away unharmed. He then did not take part in either the Canadian or United States Grands Prix.",
"He then did not take part in either the Canadian or United States Grands Prix. 1977 Amon turned down an offer of a full-time F1 drive for 1977, but did attempt a return to Can-Am racing in 1977 with a Wolf-Dallara WD1.",
"1977 Amon turned down an offer of a full-time F1 drive for 1977, but did attempt a return to Can-Am racing in 1977 with a Wolf-Dallara WD1. However, after only one race he quit, saying \"I'm just not enjoying this anymore\".",
"However, after only one race he quit, saying \"I'm just not enjoying this anymore\". His place was taken by the young and then unknown Canadian Gilles Villeneuve, whom Amon would, later that year, recommend to Enzo Ferrari.",
"His place was taken by the young and then unknown Canadian Gilles Villeneuve, whom Amon would, later that year, recommend to Enzo Ferrari. In the meantime, Amon returned once again to New Zealand, this time to retire from F1 motor racing for good.",
"In the meantime, Amon returned once again to New Zealand, this time to retire from F1 motor racing for good. 2000s 2003 Amon came out of retirement for a one-off appearance in the 2003 Dunlop Targa New Zealand with motorsport commentator Murray Walker as his navigator.",
"2000s 2003 Amon came out of retirement for a one-off appearance in the 2003 Dunlop Targa New Zealand with motorsport commentator Murray Walker as his navigator. The pair completed the week-long Auckland to Wellington Tarmac Rally in a Toyota Camry Sportivo, the same car previously used by Walker and Colin Bond in Australia's Targa Tasmania.",
"The pair completed the week-long Auckland to Wellington Tarmac Rally in a Toyota Camry Sportivo, the same car previously used by Walker and Colin Bond in Australia's Targa Tasmania. Retirement After his retirement from F1, Amon dedicated himself to running the family farm in New Zealand's Manawatu District for many years.",
"Retirement After his retirement from F1, Amon dedicated himself to running the family farm in New Zealand's Manawatu District for many years. After retiring from farming, he lived in Taupo in New Zealand's North Island.",
"After retiring from farming, he lived in Taupo in New Zealand's North Island. In the early 1980s he became more well known in New Zealand from test-driving vehicles on the TV motoring series Motor Show and later consulted for Toyota New Zealand, tuning the 1984 Toyota Corolla and subsequent cars for sale there.",
"In the early 1980s he became more well known in New Zealand from test-driving vehicles on the TV motoring series Motor Show and later consulted for Toyota New Zealand, tuning the 1984 Toyota Corolla and subsequent cars for sale there. He also appeared in TV commercials for the company, where much was made of the acclaim he won from Enzo Ferrari.",
"He also appeared in TV commercials for the company, where much was made of the acclaim he won from Enzo Ferrari. Amon participated in the 2004 EnergyWise Rally where he won ahead of Brian Cowan. Amon drove a Toyota Prius for the event.",
"Amon drove a Toyota Prius for the event. In the 1993 Queen's Birthday Honours, Amon was appointed a Member of the Order of the British Empire, for services to motor sport.",
"In the 1993 Queen's Birthday Honours, Amon was appointed a Member of the Order of the British Empire, for services to motor sport. Amon was involved in the design of the upgraded Taupo Motorsport Park circuit, used for the New Zealand round of the 2006–07 A1 Grand Prix season in January 2007.",
"Amon was involved in the design of the upgraded Taupo Motorsport Park circuit, used for the New Zealand round of the 2006–07 A1 Grand Prix season in January 2007. At the New Zealand Festival of Motor Racing in 2011, Amon's life and career were honoured with a selection of his cars being driven and also used the event to raise funds for the Bruce McLaren trust.",
"At the New Zealand Festival of Motor Racing in 2011, Amon's life and career were honoured with a selection of his cars being driven and also used the event to raise funds for the Bruce McLaren trust. Amon was also honoured at the festival in January 2013.",
"Amon was also honoured at the festival in January 2013. Death Amon died in Rotorua Hospital on 3 August 2016, aged 73, of cancer. He was survived by his wife (they married in 1977) their three children and their grandchildren. One of his sons, James, is a qualified High Performance personal trainer.",
"One of his sons, James, is a qualified High Performance personal trainer. He trained Central Districts Stags cricket team, and was revealed to be Brendon Hartley's personal trainer.",
"He trained Central Districts Stags cricket team, and was revealed to be Brendon Hartley's personal trainer. Legacy Despite never winning a championship Formula One Grand Prix, Amon won eight non-championship GPs, the Silverstone International Trophy, the 1000 km Monza, the Daytona 24 Hours, the Tasman Series and, perhaps most significant of all, the famous 24 Heures du Mans (alongside Bruce McLaren).",
"Legacy Despite never winning a championship Formula One Grand Prix, Amon won eight non-championship GPs, the Silverstone International Trophy, the 1000 km Monza, the Daytona 24 Hours, the Tasman Series and, perhaps most significant of all, the famous 24 Heures du Mans (alongside Bruce McLaren). These races included many of Amon's otherwise more successful fellow Formula One drivers.",
"These races included many of Amon's otherwise more successful fellow Formula One drivers. Amon also remains the only driver from New Zealand and Oceania to have raced for Scuderia Ferrari in Formula One.",
"Amon also remains the only driver from New Zealand and Oceania to have raced for Scuderia Ferrari in Formula One. In Formula One, Chris Amon took part in 96 Grands Prix, achieving 5 poles, leading 183 laps in 7 races, reaching the podium 11 times and scoring a total of 83 Championship points.",
"In Formula One, Chris Amon took part in 96 Grands Prix, achieving 5 poles, leading 183 laps in 7 races, reaching the podium 11 times and scoring a total of 83 Championship points. Amon holds the record for the most different makes of car raced by a Formula 1 World Championship driver, with thirteen.",
"Amon holds the record for the most different makes of car raced by a Formula 1 World Championship driver, with thirteen. A biography Forza Amon by journalist Eoin Young charts Amon's racing career and gives some insights into his personal life.",
"A biography Forza Amon by journalist Eoin Young charts Amon's racing career and gives some insights into his personal life. The book makes clear one point on which Amon himself disagrees with most commentators, the issue of his bad luck.",
"The book makes clear one point on which Amon himself disagrees with most commentators, the issue of his bad luck. Amon has pointed out on several occasions that he competed for a decade and a half in Formula One and survived some serious accidents, notably in 1976, whilst others, including friends like Bruce McLaren, suffered serious injury and death.",
"Amon has pointed out on several occasions that he competed for a decade and a half in Formula One and survived some serious accidents, notably in 1976, whilst others, including friends like Bruce McLaren, suffered serious injury and death. In 2008, motorsport journalist Alan Henry rated Chris Amon as his 13th greatest driver.",
"In 2008, motorsport journalist Alan Henry rated Chris Amon as his 13th greatest driver. Reflecting on the 1968 racing death of Jim Clark, Amon said: \"If this can happen to Jimmy, what chance do the rest of us have? I think we all felt that. It seemed like we'd lost our leader.\"",
"It seemed like we'd lost our leader.\" In 1995, Amon was inducted into the New Zealand Sports Hall of Fame. Amon's name has been given to the Toyota Racing Series driver's championship trophy, and the International Scholarship to support drivers who win his trophy to further their careers in single-seater racing.",
"Amon's name has been given to the Toyota Racing Series driver's championship trophy, and the International Scholarship to support drivers who win his trophy to further their careers in single-seater racing. The Toyota Racing Series serves as motorsport's version of \"winter ball\" in New Zealand during January and February.",
"The Toyota Racing Series serves as motorsport's version of \"winter ball\" in New Zealand during January and February. Following his death, his name was also lent to the Manfeild Autocourse in Feilding, Manawatu.",
"Following his death, his name was also lent to the Manfeild Autocourse in Feilding, Manawatu. Racing record Formula One World Championship results (key) (Races in bold indicate pole position; races in italics indicate fastest lap) Non-Championship Formula One results (key) (Races in bold indicate pole position; races in italics indicate fastest lap) Complete Tasman Series results (key) (Races in bold indicate pole position; races in italics indicate fastest lap) Complete 24 Hours of Le Mans results References External links Bruce McLaren Trust Official site Trio At The Top – a documentary about Bruce McLaren, Denny Hulme and Chris Amon on NZ On Screen Chris Amon 8W-Forix; Tom Prankard; 1 October 2000 New Zealand racing drivers New Zealand Formula One drivers Amon Formula One drivers BRM Formula One drivers Cooper Formula One drivers Ensign Formula One drivers Ferrari Formula One drivers March Formula One drivers Matra Formula One drivers Reg Parnell Racing Formula One drivers Tecno Formula One drivers Tyrrell Formula One drivers Williams Formula One drivers Formula One team owners 24 Hours of Le Mans drivers 24 Hours of Le Mans winning drivers 12 Hours of Reims drivers 24 Hours of Daytona drivers World Sportscar Championship drivers Tasman Series drivers New Zealand Members of the Order of the British Empire People from Bulls 1943 births 2016 deaths"
] |
[
"Chris Amon",
"Retirement",
"What did he retire from?",
"After his retirement from F1,",
"When did he retire?",
"I don't know.",
"What caused his retirement?",
"I don't know.",
"Are there any other interesting aspects about this article?",
"In the early 1980s he became more well known in New Zealand from test-driving vehicles on the TV motoring series Motor Show and later consulted for Toyota New Zealand,",
"Did he race any more after retirement?",
"Amon participated in the 2004 EnergyWise Rally where he won ahead of Brian Cowan. Amon drove a Toyota Prius for the event.",
"When was his more recent race?",
"Amon participated in the 2004 EnergyWise Rally"
] | C_5474a4df3c614b8d91f85a078f3efc1c_1 | Did he receive any awards? | 7 | Did Chris Amon receive any awards? | Chris Amon | After his retirement from F1, Amon dedicated himself to running the family farm in New Zealand's Manawatu District for many years. After retiring from farming, he lived in Taupo in New Zealand's North Island. In the early 1980s he became more well known in New Zealand from test-driving vehicles on the TV motoring series Motor Show and later consulted for Toyota New Zealand, tuning the 1984 Toyota Corolla and subsequent cars for sale there. He also appeared in TV commercials for the company, where much was made of the acclaim he won from Enzo Ferrari. Amon participated in the 2004 EnergyWise Rally where he won ahead of Brian Cowan. Amon drove a Toyota Prius for the event. Amon was involved in the design of the upgraded Taupo Motorsport Park circuit, used for the New Zealand round of the 2006-07 A1 Grand Prix season in January 2007. At the New Zealand Festival of Motor Racing in 2011, Amon's life and career were honoured with a selection of his cars being driven and also used the event to raise funds for the Bruce McLaren trust. Amon was also honoured at the festival in January 2013. Amon died in Rotorua Hospital on 3 August 2016, aged 73, of cancer. He was survived by his wife (they married in 1977) their three children and their grandchildren. One of his sons, James, is a qualified High Performance personal trainer. He trained Central Districts Stags cricket team, and was revealed to be Brendon Hartley's personal trainer. CANNOTANSWER | At the New Zealand Festival of Motor Racing in 2011, Amon's life and career were honoured with a selection of his cars being driven | Christopher Arthur Amon (20 July 1943 – 3 August 2016) was a New Zealand motor racing driver. He was active in Formula One racing in the 1960s and 1970s and is widely regarded as one of the best F1 drivers never to win a championship Grand Prix. His reputation for bad luck was such that fellow driver Mario Andretti once joked that "if he became an undertaker, people would stop dying". Former Ferrari Technical Director Mauro Forghieri stated that Amon was "by far the best test driver I have ever worked with. He had all the qualities to be a World Champion but bad luck just wouldn't let him be".
Apart from driving, Chris Amon also ran his own Formula One team for a short period in 1974. Away from Formula One, Amon had some success in sports car racing, teaming with co-driver Bruce McLaren to win the 24 Hours of Le Mans race in .
Early life
Amon was born in Bulls, and attended Whanganui Collegiate School. He was the only child of wealthy sheep-owners Ngaio and Betty Amon. He learned to drive at the age of six, taught by a farm worker on the family farm. On leaving school, he persuaded his father to buy him an Austin A40 Special, which he entered in some minor local races and hillclimbs along with practice on the family farm. He progressed to a 1.5-litre Cooper and then an old 2.5-litre Maserati 250F, but only began to draw attention when he drove the Cooper-Climax T51 which Bruce McLaren had used to win his maiden Grand Prix.
In 1962 Amon entered the Cooper for the New Zealand winter series, but was hampered by mechanical problems. However, Scuderia Veloce entered him in a similar car, and, in the rain at Lakeside, he performed well. One of the spectators there was the English racing driver Reg Parnell who persuaded Amon to come to England and race for his team. In a test at Goodwood Amon continued to impress and was on the pace in the Goodwood International Trophy and Aintree 200 pre-season races.
Racing career
1960s
1963
For the 1963 Formula One season the Parnell team were using the year old Lola Mk4A, powered by 1962 specification Climax V8 engines. Amon was teamed with the very experienced Maurice Trintignant for the first race of the season at Monaco and his Grand Prix career started with what was to become typical bad luck: Trintignant's Climax developed a misfire, so he took over Amon's car.
At the 1963 Belgian Grand Prix, Amon was partnered by Lucien Bianchi and started ahead of him from 15th position. After nine laps, however, an oil fire ended his race. He continued to experience mechanical problems at the Dutch, Mexican and German Grands Prix; and after an accident in practice for the Italian Grand Prix left him hanging out of his car's cockpit with three broken ribs, he missed both the Italian and United States rounds.
Amon usually qualified in the midfield and generally outpaced his teammates, who included his good friend Mike Hailwood. His best results of the year were seventh at the French and British Grands Prix. During this time, however, Amon's social life was attracting as much attention as his driving. He was a member of the Ditton Road Flyers, the social set named after the road in London where Amon shared an apartment with American Peter Revson, Hailwood and Tony Maggs.
Parnell was nonetheless impressed with Amon's results in what was regarded as less-than-competitive machinery and promoted him to team leader. Parnell died from peritonitis in January 1964 and his son Tim took over the team.
1964
In a series of four pre-season races in Britain and Italy, Amon recorded three fifth places at Snetterton, Silverstone and Syracuse. He failed to qualify for the first F1 race of the season, the Monaco GP, but at the next race, the Dutch GP, he scored his first World Championship points. The rest of his season, however, was blighted by mechanical problems.
1965
Parnell was offered BRM engines for 1965, but only if it ran Richard Attwood as its regular driver. Reluctantly, Parnell agreed and Attwood took Amon's place. Spotting an opportunity, Bruce McLaren quickly signed Amon for his new McLaren team, but when no second McLaren F1 car materialised, Amon could only drive in sports car races.
At the French GP Amon rejoined Parnell to stand in for an injured Attwood. Amon also competed in a Formula Two race in Stuttgart and won. He returned to Germany for the German GP as second Parnell driver, but mechanical failure again forced an early retirement. His last drive before Attwood's return, a non-championship race in Enna, Sicily, also ended in retirement.
1966
During 1966 Amon continued to race for McLaren in Can-Am. He was intended to drive the second McLaren M2B but difficulties with engine supply meant that the team never made the intended expansion to two cars. (James Garner's character Pete Aron's helmet and car livery in the film Grand Prix were modelled on Amon driving a McLaren, which caused the movie makers to have to encourage other cars to be painted in the 'Yamura' colours and other drivers (Bruce McLaren included) to wear Amon-style helmets.)
However, an opportunity arose to drive for the Cooper F1 team after Richie Ginther left them for Honda. Amon drove for Cooper at the French GP and was scheduled to drive for them for the rest of the season, until the more successful John Surtees left Scuderia Ferrari to join Cooper and Amon found himself dropped.
Amon made one other F1 appearance during the year, driving a Brabham BT11 powered by an old 2-litre BRM engine at the Italian GP under the banner of "Chris Amon Racing". He failed to qualify.
Amon did however, score his biggest success to date when he partnered Bruce McLaren in a 7-litre Ford GT40 Mark II and Ken Miles to Ford's dead-heat "photo-finish" after Miles was instructed to slow down despite leading at the Le Mans 24-hour race, spearheading a formation finish. He subsequently received an invitation to meet Enzo Ferrari at the Ferrari home in Maranello, where he signed to race for Ferrari in 1967 alongside Lorenzo Bandini, Mike Parkes and Ludovico Scarfiotti.
1967
Amon's first year with Ferrari did not begin auspiciously. En route to Brands Hatch for the pre-season Formula One Race of Champions, he crashed his road car and, following race practice, had to withdraw. Tragedy then struck the Ferrari team when Bandini died following a crash during the 1967 Monaco Grand Prix, Mike Parkes broke both his legs at the Belgian Grand Prix and, in the aftermath, Ludovico Scarfiotti went into temporary retirement. Amon, therefore, became Ferrari's only driver for the rest of the season, until joined by Jonathan Williams for the final race in Mexico. Amon scored his first podium in his first official outing for the Scuderia in Monaco and at the end of 1967 had achieved four third places finishing fifth in the Drivers' Championship, in what was going to be the most successful season of his career.
Amon's Ferrari contract also included sports car racing and he began 1967 by winning the Daytona 24 Hours and 1000km Monza events with Bandini in the 4-litre Ferrari 330-P4. He finished the year partnering Jackie Stewart to a second place at the BOAC 500, thereby clinching the manufacturer's world championship for Ferrari by one point over Porsche.
1968
1968 was the year aerodynamics first played a significant role in F1 car design and Amon worked with engineer Mauro Forghieri to place aerofoils on the Ferrari 312.
In January 1968 Amon had returned home to New Zealand and Australia to compete in the 1968 Tasman Series which was used by many of the top Formula One drivers as a warm up series to the World Championship. Ferrari had been interested in the series for several years and in 1965 had reengineered 2.4 Dino engines used by Mike Hawthorn, Peter Collins and Phil Hill in 1958–60 with more torque and mid speed power for the planned use of team leader Surtees in the 1966 Tasman Series. After a late season crash in US Can-Am racing by Surtees, the entry was withdrawn but consideration was given to using NZ Gold star champion Jim Palmer in a semi-works Ferrari entry in the 1967 Tasman Series as it was viewed in a 2.4 car he would be competitive with Clark and Stewart in 2-litre F1 cars. Palmer had run world-class times in the 1966 Tasman Series, particularly in the Pukekohe practice and Longford race, and was tested in Italy at the same time as Amon by Ferrari, and ran competitive times at Modena but for whatever reason Ferrari did not compete in 1967 series. For the 1968 series Ferrari decided to use the 2.4 engines with a new Dino 166 F2 chassis rather than a downsized 3-litre V12. Using the 246T Amon won the first two rounds of the Tasman Series, including the 1968 New Zealand Grand Prix, before narrowly losing the series to the Lotus-Ford of Jim Clark. The Dino 246 Tasmania was better handling than Clark's Lotus 49T which was still wingless and a difficult proposition. Impressed by Amon's driving in the NZ rounds, Ferrari dispatched a new four-valve version of the 2.4 V6 for the Australian rounds and this gave another 15 hp, but with lesser reliability which, combined with the fact Clark was the best driver in the world at the time, cost Amon the series, although in the final round at Sandown Park he duelled wheel to wheel with Clark before being pipped at the line.
After the first race of the F1 season in South Africa, Amon achieved pole positions in three of the following four races (at the Spanish, Belgian and Dutch Grands Prix) but ever-present mechanical problems meant he secured only a single Championship point from them. Throughout the rest of the season he never qualified lower than fifth place and nearly scored victories at the British and Canadian rounds and he suffered a 100 mph crash in Italy which demolished his car. In Britain, he duelled to the line with Jo Siffert's Lotus 49B and in Canada he dominated the race despite a malfunctioning clutch. Seventeen laps from the finish, however, his car's transmission failed and a distraught Amon had to be consoled by Jacky Ickx. From at least ten promising starts that season he was only able to finish five races and score ten Championship points. His best finish was second place to Siffert's Lotus-Cosworth at the British Grand Prix.
Outside F1, Amon was runner-up in the Formula Two race at Zolder, Belgium, testing the Dino 166 F2. He also came third in that year's BRDC International Trophy.
1969
Amon began 1969 with success driving the Dino engined 246 Tasmania in the Tasman Series that included winning both the New Zealand and Australian Grands Prix. In straight fights, he beat new Gold Leaf Lotus team leader, Jochen Rindt, into second in the races at Pukekohe and Sandown. He would ultimately win the seven race Tasman Series, probably the best of the seven-year 2.5-litre international formula series in this country and the nearest to World Championship level racing in New Zealand, with ferocious competition between Rindt, Graham Hill, Amon and Williams driver Piers Courage. It was actually much more serious racing than the McLaren dominated Can-Am series in the US in which the big sports cars required few gear changes and were essentially cruised to victory with little real competition, where the Tasman cars were essentially marginally lower power F1 cars, as difficult to drive as GP cars on unforgiving very dangerous narrow tracks. Amon finished with four wins, two-thirds and one retirement, but in Formula One his poor luck continued. Despite six starts from top-six positions, he was only able to achieve a third-place at the Dutch GP. Ferrari's F1 V12 engine was too unreliable and although its replacement had proven very fast in testing, it had suffered many mechanical breakages. Amon had no reason to believe it would be any more dependable than the V12, so although the new engine was clearly more powerful, he decided to leave Ferrari for a Cosworth DFV powered team. Ironically, the new flat-12 engine would become one of the best Formula One engines of the 1970s. Jacky Ickx, Amon's old teammate did return to Ferrari for 1970, after a successful sabbatical with Brabham gained Ickx second in the 1969 World Championship. Ickx saw Enzo Ferrari had secured huge backing from Fiat who had taken partial ownership of the Marque, and believed Ferrari would be a renewed team and an effective proposition. Amon was more influenced by views of Jackie Stewart and Jochen Rindt, who believed it was essential to be Ford DFV-powered to be competitive.
In addition to Formula One, Amon also drove for Ferrari in the 1969 International Championship for Makes, partnering Pedro Rodriguez to a fourth place in the BOAC 500 at Brands Hatch and coming second at the 12 Hours of Sebring, but retiring from the 1000km Nürburgring and 1000km Monza races, all in the Ferrari 312P sportscar. He also drove in a few Can-Am races. His last race for Ferrari would be the 1970 1000 km Monza, where he finished as runner-up.
1970s
1970
For the 1970 Formula One season, Amon made what was to be the first of several moves to smaller, newer teams. March Engineering had been formed the previous year to build custom chassis for Formulas 2 and 3, but quickly moved into F1, designing and building the March 701. Amon and Siffert were signed as drivers, with IndyCar driver Mario Andretti making an occasional appearance in a third car. March also sold their 701 chassis to Tyrrell, where Jackie Stewart drove it to its first victory in that year's Spanish GP.
Amon won the pre-season Silverstone International Trophy, but once the F1 season began he found himself prevented from converting good qualifying positions into good results. He qualified second behind Stewart's Tyrrell-March for the season-opening South African Grand Prix only for his own March to overheat within fourteen laps. Amon then qualified sixth for the Spanish Grand Prix only for his March's Ford-Cosworth DFV engine to expire within ten laps. He qualified and ran second in the 1970 Monaco Grand Prix until his suspension failed twenty laps from the finish. This was the race where Amon refused to drive unless his entry number was changed from 18 – the number under which his then teammate Lorenzo Bandini had crashed and died in Monaco – to 28.
Amon's close second place from a third-place start at the 1970 Belgian Grand Prix finally gave the March works team their first points finish. At that race, Amon set fastest lap at over 152 miles per hour, a lap record which still stands as of 2016, as it was the last race on the full-length Spa-Francorchamps circuit. However, after qualifying fourth for the next race, the Dutch Grand Prix, his car's clutch broke after just one lap. Amon duplicated his Belgian result at the 1970 French Grand Prix,. After a disappointing performance in the British GP at Brands Hatch where Amon finished fifth after being outqualified by tyro Ronnie Peterson in a private 701 on the same tyres, conflict with team boss Max Mosley over the non-delivery of three-quarters of Amon's expected pay for the season saw him provided with inferior DFVs and two backmarker 7th places in Austria and Italy, Amon finished the season strongly with strong drives to third at Mosport, fifth at Watkins Glen and fourth in Mexico. At Watkins Glen in the USGP he was robbed of a probably certain victory, in the opinion of March designer Robin Herd, by a puncture.
By the end of the year, disagreements with March co-founders Mosley and Robin Herd meant that Amon had decided to move to another relatively new team, Matra.
1971
In 1971, Amon, now driving for the Matra factory team, once again scored a pre-season victory, this time at the Argentine Grand Prix. Once the Formula One season had begun, he managed to convert a third-place start at the Spanish GP into a third-place podium finish and scored a couple of fifth places in the South African and French GPs. Apart from these results, however, his run of poor F1 returns continued. He had a major accident at the Nürburgring and it sidelined him for the next race at the Österreichring. At the Italian GP he qualified in pole position and despite a poor start to the race looked as if he would capitalise on it – until the visor on his helmet became detached. Amon had to slow to avoid risking a major accident, thereby allowing other drivers to catch and overtake him. He finished the race in sixth place, scoring just one Championship point.
During the year Amon also competed in the non-championship Questor Grand Prix at the new Ontario Motor Speedway, where he qualified second and, despite suffering a puncture during the race, managed to finish fourth.
In the Tasman Series Amon started from fourth at the Levin Circuit and in the race, he battled with David Oxton and John Cannon but managed to finish third. Amon's third race at Wigram Airfield starting fifth and spun at the start to drop him to the back of the field but managed to climb up to fifth.
1972
In the 1972 Formula One season, Amon, again driving for Matra achieved a handful of points-scoring finishes, but only one podium appearance, at the French GP. Here he achieved the fifth and final pole position of his career and was leading the race until a puncture forced him to pit. However, he climbed back through the field, breaking the circuit's lap record to finish third.
With the money he had made from motorsport, Amon decided to set up a racing engine firm with former BRM engineer Aubrey Woods. Amon Racing Engines supplied Formula 2 engines to a few drivers, but the company quickly became too expensive to run and was sold to March for a loss.
Matra decided to end their participation in Formula One at the end of 1972, so Amon found himself looking to return to March as a driver. The place, however, was given to Jean-Pierre Jarier, purportedly for financial reasons. Amon therefore signed for another recently formed F1 team, Tecno.
1973
Tecno had entered F1 the previous year, having been a successful chassis-builder for other Formulæ and had developed a potentially powerful Flat 12 for F1. Their first year in F1 proved to be dismal, however with considerable backing from Martini Rossi they had jumped at the chance to sign Amon, and allocate David Yorke the former Vanwall and Gulf GT40 Team Manager to run the team and commission two new chassis designs by former Lotus and McLaren mechanic. Alan McCall who had worked on Clark and Hulme's F1 cars and unproven, British designer Gordon Fowell for a more radical back up design, in the hope he would help transform their performance. While McCalls car was built rapidly, testing it was more time-consuming and after its non-appearance, for the Spanish GP, Amon and team manager David Yorke met with Enzo Ferrari to see if Amon could be released from his contract to develop the new Ferrari B3 for Ickx and Mezarrio, in a supposedly one off GP drive at Monaco. Yorke rejected the release, and Amon admits he would not have left Ferrari if offered the drive for a season.
Unfortunately, the team went from bad to worse and wasn't able to field the Tecno PA123/6 until the fifth GP of the season, the Belgian GP. Amon managed to finish in sixth position. At Monaco the car qualified a useful 12th and chassis felt good but Chris was unhappy with the car. He decided to concentrate on the undeveloped Gordon Fowell Goral car. This was against the view of the Techno team and the Pederanzi engine builders and Martini Rossi who required the car and driver to appear at races Amon commented at the time that it was "the best chassis I've ever sat in", it too proved virtually undriveable. Amon refused to drive the McCall, Techno in the Swedish or German Gps and withdrew from the Austrian GP after qualifying. By the time of the Austrian GP, four races from the end of the season, Amon's patience had run out and he left the team. He would later claim that the months he spent with the team "felt like ten [seasons]".
Tyrrell offered Amon a third car – the 005 – in which to drive the last two races of the season. After a mediocre first outing at the Canadian GP, he and Jackie Stewart withdrew from the final race of the year, the United States GP, following the death of their teammate François Cevert during qualifying.
1974
For the 1974 F1 season, Amon revived Chris Amon Racing. Gordon Fowell designed the car, the AF101, which featured a single central fuel tank, titanium torsion bars and a forward driving position. Structurally, however, it proved to be weak and was not ready for an F1 appearance until the fourth race of the season, the Spanish GP. Amon was only able to qualify 23rd, thanks to brake-disc vibration that only became worse with the tyres for the wet race that followed. Despite cautious driving, a brake shaft finally broke and Amon was forced to retire after 22 laps.
Following further work and testing, Amon returned for the Monaco GP and qualified twentieth, but, thanks to mechanical problems, he was unable to start the race. Further problems and illness meant Amon was not able to reappear with the F101 until the Italian GP, three races from the end of the season, but this time he was unable to qualify. That sealed the fate of both the car and Chris Amon Racing, leaving Amon to drive the season's last two races with the faltering BRM team. He would later reveal that he had turned down a chance to join the Brabham team earlier in the season.
1975
Amon contested the 1975 F5000 Tasman series against only local Australasian drivers, although Graham McRae, Warwick Brown and Kevin Bartlett were acknowledged internationally. Amon qualified on the front row of three of the four New Zealand rounds and scored a victory at Teretonga in January 1975 in rainy conditions by 24.2 seconds. In the Australian rounds, the competition was always harder with more good cars and the locals on their own tracks. Amon had a frustrating series of races unable to pass, South Australian Johnnie Walker, in a superior Lola T332 chassis with Repco-engineered V8. At Surfers Paradise, running from the back of the grid he managed to eventually pass Walker by widening the braking zone in the only corner where overtaking was usually possible. Amon brushed the edge of the track on repeated laps, got extra grip and passed Walker to take the lead. He had been forced to miss most of the practice session, when Customs seized his car's gearbox. In the race, the brilliant effort went for nothing as the Chev engine blew. At Oran Park and Adelaide he followed Walker the whole way to 4th and 3rd unable to pass. In the final deciding race for the Tasman Series with Brown, Walker and Lawrence still in contention, Walker lost his T332 on the first lap and it demolished on wooden barriers surrounding Sandown's car and horse racing tracks. Amon was never in contention and finished 4th. Amon intended to compete in F5000 in both Europe and the US in 1975 but started in only one round of both series, managing a pole in one Shellsport round in the UK and a 4th place overall at the Long Beach GP in a two heat race. He used different Talon F5000 cars for both races. The speed he showed in qualifying for a couple of UK F5000 races encouraged the small Ensign team to give him a race. Mo Nunn the Ensign team owner had been a Lotus F3 driver in 1966 and the Dave Baldwin designed chassis was in many ways a lightweight Lotus F1, which Ronnie Peterson wanted to test in 1975 out of frustration with his old 72 and which could have been used by Colin Chapman had he not decided to concentrate on developing chassis which would use ground effect technology, the Lotus 77 design for 1976 which was in many ways a test vehicle for the development of concepts, including the de facto legalisation of technology like plastic sliding skirts, introduced on Andretti's 77 from the 1976 Canadian Grand Prix, that would be used in future Lotus wing cars the Lotus 78 and Lotus 79.
Apart from these successes, Amon's racing career seemed once again to have stalled. Apparently a chance meeting with Mo Nunn of Ensign Racing led to the Ensign drive, but in fact Mo Nunn thought his new N175 a very fast car and did not view the two Dutch drivers favoured by the Dutch HB Security company who sponsored Ensign fast enough. Gijs van Lennep, the 1973 European F5000 Champion in a Surtees TS11 who had won Le Mans in 1971 and 1976 was a very good driver but also one of the last racing aristocrats. Van Lennep, qualified the car on its debut in the French GP at Paul Ricard and finished 6th in the German GP at Nürburgring, and was faster on both circuits than Patrick Nève or Amon were in 1976. Amon managed 7th in the non-championship Swiss GP at Dijon chasing James Hunt debuting the disappointing Hesketh 308C and 12th in two GP drives in the Ensign N175 at the Austrian and Italian GPs. At Monza after a long pit stop he finally ran at competitive pace, running 4 laps down but keeping pace with the leading Ferrari 312T of Niki Lauda for a number of laps. Progressive evaluation of the possibilities of what was slowing the N175 led Amon to change the airbox alignment on the day of the Italian GP and this resulted in a 2-second gain (much like the change in air cooler position that lost and gained two seconds on Hunt's McLaren M23 resolved by the 1976 French GP). Ironically Amon never raced the N175 again and the high airboxes had been banned by the time N176 ran at Jarama the following year, but the flash of testing and driving genius was enough to give Amon another chance. Although the results were unremarkable, he and Nunn worked well together, so Amon joined Ensign for the 1976 F1 season.
1976
Ensign's first race of the season was the South African GP where Amon qualified 18th and showed a revival of form, climbing to seventh place, in the old Ensign N174 and contesting sixth with Mario Andretti in the Parnelli Ford, in the last laps before a last minute refueling stop left him 14th. Thereafter results began to improve, with Amon qualifying 17th and finishing eighth in the USA West GP; qualifying tenth and finishing fifth in the Spanish GP; and then qualifying eighth for the Belgian GP. More points then seemed likely from the race until his car lost a wheel 19 laps from the finish and Amon was lucky to escape unhurt from the ensuing accident. He then achieved a third-place grid position start for the Swedish GP using a Nicholson rebuilt Cosworth for the first time and in the race looked as if he would join Tyrrell drivers Jody Scheckter and Patrick Depailler on the podium, until suspension failure threw him from the track after 38 laps.
Amon had again been lucky to escape serious injury and decided to miss the next race, the French GP. He returned for the British GP, qualifying in sixth and running fourth in the race when his Ford-Cosworth DFV engine developed a water leak. Rather than risk losing an engine, his team called him in to retire.
At the German GP problems dogged his attempts to qualify well, but it was Niki Lauda's crash during the second lap of the race that had a far greater impact. Amon refused to restart the race and Nunn fired him from the team. Amon declared his retirement from the sport and returned to New Zealand.
"I'd seen too many people fried in racing cars at that stage. When you've driven past Bandini, Schlesser, Courage and Williamson, another shunt like that was simply too much. It was a personal decision..."
(Amon, on his retirement in 1976)However, Walter Wolf contacted Amon and persuaded him to drive for his Wolf–Williams team in the North American races near the end of the season. After recording some promising times in preparation for the Canadian GP, however, Amon was involved in a heavy collision with another car during qualifying and once again was lucky to walk away unharmed. He then did not take part in either the Canadian or United States Grands Prix.
1977
Amon turned down an offer of a full-time F1 drive for 1977, but did attempt a return to Can-Am racing in 1977 with a Wolf-Dallara WD1. However, after only one race he quit, saying "I'm just not enjoying this anymore". His place was taken by the young and then unknown Canadian Gilles Villeneuve, whom Amon would, later that year, recommend to Enzo Ferrari.
In the meantime, Amon returned once again to New Zealand, this time to retire from F1 motor racing for good.
2000s
2003
Amon came out of retirement for a one-off appearance in the 2003 Dunlop Targa New Zealand with motorsport commentator Murray Walker as his navigator. The pair completed the week-long Auckland to Wellington Tarmac Rally in a Toyota Camry Sportivo, the same car previously used by Walker and Colin Bond in Australia's Targa Tasmania.
Retirement
After his retirement from F1, Amon dedicated himself to running the family farm in New Zealand's Manawatu District for many years. After retiring from farming, he lived in Taupo in New Zealand's North Island. In the early 1980s he became more well known in New Zealand from test-driving vehicles on the TV motoring series Motor Show and later consulted for Toyota New Zealand, tuning the 1984 Toyota Corolla and subsequent cars for sale there. He also appeared in TV commercials for the company, where much was made of the acclaim he won from Enzo Ferrari. Amon participated in the 2004 EnergyWise Rally where he won ahead of Brian Cowan. Amon drove a Toyota Prius for the event.
In the 1993 Queen's Birthday Honours, Amon was appointed a Member of the Order of the British Empire, for services to motor sport.
Amon was involved in the design of the upgraded Taupo Motorsport Park circuit, used for the New Zealand round of the 2006–07 A1 Grand Prix season in January 2007. At the New Zealand Festival of Motor Racing in 2011, Amon's life and career were honoured with a selection of his cars being driven and also used the event to raise funds for the Bruce McLaren trust. Amon was also honoured at the festival in January 2013.
Death
Amon died in Rotorua Hospital on 3 August 2016, aged 73, of cancer. He was survived by his wife (they married in 1977) their three children and their grandchildren. One of his sons, James, is a qualified High Performance personal trainer. He trained Central Districts Stags cricket team, and was revealed to be Brendon Hartley's personal trainer.
Legacy
Despite never winning a championship Formula One Grand Prix, Amon won eight non-championship GPs, the Silverstone International Trophy, the 1000 km Monza, the Daytona 24 Hours, the Tasman Series and, perhaps most significant of all, the famous 24 Heures du Mans (alongside Bruce McLaren). These races included many of Amon's otherwise more successful fellow Formula One drivers. Amon also remains the only driver from New Zealand and Oceania to have raced for Scuderia Ferrari in Formula One.
In Formula One, Chris Amon took part in 96 Grands Prix, achieving 5 poles, leading 183 laps in 7 races, reaching the podium 11 times and scoring a total of 83 Championship points. Amon holds the record for the most different makes of car raced by a Formula 1 World Championship driver, with thirteen. A biography Forza Amon by journalist Eoin Young charts Amon's racing career and gives some insights into his personal life. The book makes clear one point on which Amon himself disagrees with most commentators, the issue of his bad luck. Amon has pointed out on several occasions that he competed for a decade and a half in Formula One and survived some serious accidents, notably in 1976, whilst others, including friends like Bruce McLaren, suffered serious injury and death. In 2008, motorsport journalist Alan Henry rated Chris Amon as his 13th greatest driver.
Reflecting on the 1968 racing death of Jim Clark, Amon said: "If this can happen to Jimmy, what chance do the rest of us have? I think we all felt that. It seemed like we'd lost our leader." In 1995, Amon was inducted into the New Zealand Sports Hall of Fame.
Amon's name has been given to the Toyota Racing Series driver's championship trophy, and the International Scholarship to support drivers who win his trophy to further their careers in single-seater racing. The Toyota Racing Series serves as motorsport's version of "winter ball" in New Zealand during January and February. Following his death, his name was also lent to the Manfeild Autocourse in Feilding, Manawatu.
Racing record
Formula One World Championship results
(key) (Races in bold indicate pole position; races in italics indicate fastest lap)
Non-Championship Formula One results
(key) (Races in bold indicate pole position; races in italics indicate fastest lap)
Complete Tasman Series results
(key) (Races in bold indicate pole position; races in italics indicate fastest lap)
Complete 24 Hours of Le Mans results
References
External links
Bruce McLaren Trust Official site
Trio At The Top – a documentary about Bruce McLaren, Denny Hulme and Chris Amon on NZ On Screen
Chris Amon 8W-Forix; Tom Prankard; 1 October 2000
New Zealand racing drivers
New Zealand Formula One drivers
Amon Formula One drivers
BRM Formula One drivers
Cooper Formula One drivers
Ensign Formula One drivers
Ferrari Formula One drivers
March Formula One drivers
Matra Formula One drivers
Reg Parnell Racing Formula One drivers
Tecno Formula One drivers
Tyrrell Formula One drivers
Williams Formula One drivers
Formula One team owners
24 Hours of Le Mans drivers
24 Hours of Le Mans winning drivers
12 Hours of Reims drivers
24 Hours of Daytona drivers
World Sportscar Championship drivers
Tasman Series drivers
New Zealand Members of the Order of the British Empire
People from Bulls
1943 births
2016 deaths | true | [
"Below is a list of awards received by Twins since they were formed in 2001 as a cantopop girl group. They average to receive about 2-3 awards in each Hong Kong music awards. Their major accomplishment is in 2007 when they received the Asia Pacific Most Popular Female Artist Award from Jade Solid Gold Top 10 Awards.\n\nBecause of the Edison Chen photo scandal in 2008, Gillian took a short leave from the group. And thus the group did not record any songs or receive any awards between March 2008 to 2009.\n\nCommercial Radio Hong Kong Ultimate Song Chart Awards\nThe Ultimate Song Chart Awards Presentation (叱咤樂壇流行榜頒獎典禮) is a cantopop award ceremony from one of the famous channel in Commercial Radio Hong Kong known as Ultimate 903 (FM 90.3). Unlike other cantopop award ceremonies, this one is judged based on the popularity of the song/artist on the actual radio show.\n\nGlobal Chinese Music Awards\n\nIFPI Hong Kong Sales Awards\nIFPI Awards is given to artists base on the sales in Hong Kong at the end of the year.\n\nJade Solid Gold Top 10 Awards\nThe Jade Solid Gold Songs Awards Ceremony(十大勁歌金曲頒獎典禮) is held annually in Hong Kong since 1984. The awards are based on Jade Solid Gold show on TVB.\n\nMetro Radio Mandarin Music Awards\n\nMetro Showbiz Hit Awards\nThe Metro Showbiz Hit Awards (新城勁爆頒獎禮) is held in Hong Kong annually by Metro Showbiz radio station. It focus mostly in cantopop music.\n\nRTHK Top 10 Gold Songs Awards\nThe RTHK Top 10 Gold Songs Awards Ceremony(十大中文金曲頒獎音樂會) is held annually in Hong Kong since 1978. The awards are determined by Radio and Television Hong Kong based on the work of all Asian artists (mostly cantopop) for the previous year.\n\nSprite Music Awards\nThe Sprite Music Awards Ceremony is an annual event given by Sprite China for work artists performed in previous years; awards received on 2008 are actually for the work and accomplishment for 2007.\n\nReferences\n\nTwins\nCantopop",
"The Drama-Logue Award was an American theater award established in 1977, given by the publishers of Drama-Logue newspaper, a weekly west-coast theater trade publication. Winners were selected by the publication's theater critics, and would receive a certificate at an annual awards ceremony hosted by Drama-Logue founder Bill Bordy. The awards did not require any voting or agreement among critics; each critic could select as many award winners as they wished. As a result, many awards were issued each year. In some years, the number of winners was larger than the seating capacity of the venue where the ceremony was conducted.\n\nThe award categories included Production, Direction, Musical Direction, Choreography, Writing, Performance, Ensemble Performance, Scenic Design, Sound Design, Lighting Design, Costume Design and Hair & Makeup Design.\n\nAcquisition \nIn May 1998, Backstage West bought the Drama-Logue publication, and the two publications merged. The Drama-Logue Awards were subsequently retired and replaced by the Back Stage West Garland Awards.\n\nReferences\n\nAmerican theater awards\nAwards established in 1977\nAwards disestablished in 1998"
] | [
"Christopher Arthur Amon (20 July 1943 – 3 August 2016) was a New Zealand motor racing driver. He was active in Formula One racing in the 1960s and 1970s and is widely regarded as one of the best F1 drivers never to win a championship Grand Prix.",
"He was active in Formula One racing in the 1960s and 1970s and is widely regarded as one of the best F1 drivers never to win a championship Grand Prix. His reputation for bad luck was such that fellow driver Mario Andretti once joked that \"if he became an undertaker, people would stop dying\".",
"His reputation for bad luck was such that fellow driver Mario Andretti once joked that \"if he became an undertaker, people would stop dying\". Former Ferrari Technical Director Mauro Forghieri stated that Amon was \"by far the best test driver I have ever worked with.",
"Former Ferrari Technical Director Mauro Forghieri stated that Amon was \"by far the best test driver I have ever worked with. He had all the qualities to be a World Champion but bad luck just wouldn't let him be\". Apart from driving, Chris Amon also ran his own Formula One team for a short period in 1974.",
"Apart from driving, Chris Amon also ran his own Formula One team for a short period in 1974. Away from Formula One, Amon had some success in sports car racing, teaming with co-driver Bruce McLaren to win the 24 Hours of Le Mans race in . Early life Amon was born in Bulls, and attended Whanganui Collegiate School.",
"Early life Amon was born in Bulls, and attended Whanganui Collegiate School. He was the only child of wealthy sheep-owners Ngaio and Betty Amon. He learned to drive at the age of six, taught by a farm worker on the family farm.",
"He learned to drive at the age of six, taught by a farm worker on the family farm. On leaving school, he persuaded his father to buy him an Austin A40 Special, which he entered in some minor local races and hillclimbs along with practice on the family farm.",
"On leaving school, he persuaded his father to buy him an Austin A40 Special, which he entered in some minor local races and hillclimbs along with practice on the family farm. He progressed to a 1.5-litre Cooper and then an old 2.5-litre Maserati 250F, but only began to draw attention when he drove the Cooper-Climax T51 which Bruce McLaren had used to win his maiden Grand Prix.",
"He progressed to a 1.5-litre Cooper and then an old 2.5-litre Maserati 250F, but only began to draw attention when he drove the Cooper-Climax T51 which Bruce McLaren had used to win his maiden Grand Prix. In 1962 Amon entered the Cooper for the New Zealand winter series, but was hampered by mechanical problems.",
"In 1962 Amon entered the Cooper for the New Zealand winter series, but was hampered by mechanical problems. However, Scuderia Veloce entered him in a similar car, and, in the rain at Lakeside, he performed well.",
"However, Scuderia Veloce entered him in a similar car, and, in the rain at Lakeside, he performed well. One of the spectators there was the English racing driver Reg Parnell who persuaded Amon to come to England and race for his team.",
"One of the spectators there was the English racing driver Reg Parnell who persuaded Amon to come to England and race for his team. In a test at Goodwood Amon continued to impress and was on the pace in the Goodwood International Trophy and Aintree 200 pre-season races.",
"In a test at Goodwood Amon continued to impress and was on the pace in the Goodwood International Trophy and Aintree 200 pre-season races. Racing career 1960s 1963 For the 1963 Formula One season the Parnell team were using the year old Lola Mk4A, powered by 1962 specification Climax V8 engines.",
"Racing career 1960s 1963 For the 1963 Formula One season the Parnell team were using the year old Lola Mk4A, powered by 1962 specification Climax V8 engines. Amon was teamed with the very experienced Maurice Trintignant for the first race of the season at Monaco and his Grand Prix career started with what was to become typical bad luck: Trintignant's Climax developed a misfire, so he took over Amon's car.",
"Amon was teamed with the very experienced Maurice Trintignant for the first race of the season at Monaco and his Grand Prix career started with what was to become typical bad luck: Trintignant's Climax developed a misfire, so he took over Amon's car. At the 1963 Belgian Grand Prix, Amon was partnered by Lucien Bianchi and started ahead of him from 15th position.",
"At the 1963 Belgian Grand Prix, Amon was partnered by Lucien Bianchi and started ahead of him from 15th position. After nine laps, however, an oil fire ended his race.",
"After nine laps, however, an oil fire ended his race. He continued to experience mechanical problems at the Dutch, Mexican and German Grands Prix; and after an accident in practice for the Italian Grand Prix left him hanging out of his car's cockpit with three broken ribs, he missed both the Italian and United States rounds.",
"He continued to experience mechanical problems at the Dutch, Mexican and German Grands Prix; and after an accident in practice for the Italian Grand Prix left him hanging out of his car's cockpit with three broken ribs, he missed both the Italian and United States rounds. Amon usually qualified in the midfield and generally outpaced his teammates, who included his good friend Mike Hailwood.",
"Amon usually qualified in the midfield and generally outpaced his teammates, who included his good friend Mike Hailwood. His best results of the year were seventh at the French and British Grands Prix. During this time, however, Amon's social life was attracting as much attention as his driving.",
"During this time, however, Amon's social life was attracting as much attention as his driving. He was a member of the Ditton Road Flyers, the social set named after the road in London where Amon shared an apartment with American Peter Revson, Hailwood and Tony Maggs.",
"He was a member of the Ditton Road Flyers, the social set named after the road in London where Amon shared an apartment with American Peter Revson, Hailwood and Tony Maggs. Parnell was nonetheless impressed with Amon's results in what was regarded as less-than-competitive machinery and promoted him to team leader.",
"Parnell was nonetheless impressed with Amon's results in what was regarded as less-than-competitive machinery and promoted him to team leader. Parnell died from peritonitis in January 1964 and his son Tim took over the team. 1964 In a series of four pre-season races in Britain and Italy, Amon recorded three fifth places at Snetterton, Silverstone and Syracuse.",
"1964 In a series of four pre-season races in Britain and Italy, Amon recorded three fifth places at Snetterton, Silverstone and Syracuse. He failed to qualify for the first F1 race of the season, the Monaco GP, but at the next race, the Dutch GP, he scored his first World Championship points.",
"He failed to qualify for the first F1 race of the season, the Monaco GP, but at the next race, the Dutch GP, he scored his first World Championship points. The rest of his season, however, was blighted by mechanical problems.",
"The rest of his season, however, was blighted by mechanical problems. 1965 Parnell was offered BRM engines for 1965, but only if it ran Richard Attwood as its regular driver. Reluctantly, Parnell agreed and Attwood took Amon's place.",
"Reluctantly, Parnell agreed and Attwood took Amon's place. Spotting an opportunity, Bruce McLaren quickly signed Amon for his new McLaren team, but when no second McLaren F1 car materialised, Amon could only drive in sports car races. At the French GP Amon rejoined Parnell to stand in for an injured Attwood.",
"At the French GP Amon rejoined Parnell to stand in for an injured Attwood. Amon also competed in a Formula Two race in Stuttgart and won. He returned to Germany for the German GP as second Parnell driver, but mechanical failure again forced an early retirement.",
"He returned to Germany for the German GP as second Parnell driver, but mechanical failure again forced an early retirement. His last drive before Attwood's return, a non-championship race in Enna, Sicily, also ended in retirement. 1966 During 1966 Amon continued to race for McLaren in Can-Am.",
"1966 During 1966 Amon continued to race for McLaren in Can-Am. He was intended to drive the second McLaren M2B but difficulties with engine supply meant that the team never made the intended expansion to two cars.",
"He was intended to drive the second McLaren M2B but difficulties with engine supply meant that the team never made the intended expansion to two cars. (James Garner's character Pete Aron's helmet and car livery in the film Grand Prix were modelled on Amon driving a McLaren, which caused the movie makers to have to encourage other cars to be painted in the 'Yamura' colours and other drivers (Bruce McLaren included) to wear Amon-style helmets.)",
"(James Garner's character Pete Aron's helmet and car livery in the film Grand Prix were modelled on Amon driving a McLaren, which caused the movie makers to have to encourage other cars to be painted in the 'Yamura' colours and other drivers (Bruce McLaren included) to wear Amon-style helmets.) However, an opportunity arose to drive for the Cooper F1 team after Richie Ginther left them for Honda.",
"However, an opportunity arose to drive for the Cooper F1 team after Richie Ginther left them for Honda. Amon drove for Cooper at the French GP and was scheduled to drive for them for the rest of the season, until the more successful John Surtees left Scuderia Ferrari to join Cooper and Amon found himself dropped.",
"Amon drove for Cooper at the French GP and was scheduled to drive for them for the rest of the season, until the more successful John Surtees left Scuderia Ferrari to join Cooper and Amon found himself dropped. Amon made one other F1 appearance during the year, driving a Brabham BT11 powered by an old 2-litre BRM engine at the Italian GP under the banner of \"Chris Amon Racing\".",
"Amon made one other F1 appearance during the year, driving a Brabham BT11 powered by an old 2-litre BRM engine at the Italian GP under the banner of \"Chris Amon Racing\". He failed to qualify.",
"He failed to qualify. He failed to qualify. Amon did however, score his biggest success to date when he partnered Bruce McLaren in a 7-litre Ford GT40 Mark II and Ken Miles to Ford's dead-heat \"photo-finish\" after Miles was instructed to slow down despite leading at the Le Mans 24-hour race, spearheading a formation finish.",
"Amon did however, score his biggest success to date when he partnered Bruce McLaren in a 7-litre Ford GT40 Mark II and Ken Miles to Ford's dead-heat \"photo-finish\" after Miles was instructed to slow down despite leading at the Le Mans 24-hour race, spearheading a formation finish. He subsequently received an invitation to meet Enzo Ferrari at the Ferrari home in Maranello, where he signed to race for Ferrari in 1967 alongside Lorenzo Bandini, Mike Parkes and Ludovico Scarfiotti.",
"He subsequently received an invitation to meet Enzo Ferrari at the Ferrari home in Maranello, where he signed to race for Ferrari in 1967 alongside Lorenzo Bandini, Mike Parkes and Ludovico Scarfiotti. 1967 Amon's first year with Ferrari did not begin auspiciously.",
"1967 Amon's first year with Ferrari did not begin auspiciously. En route to Brands Hatch for the pre-season Formula One Race of Champions, he crashed his road car and, following race practice, had to withdraw.",
"En route to Brands Hatch for the pre-season Formula One Race of Champions, he crashed his road car and, following race practice, had to withdraw. Tragedy then struck the Ferrari team when Bandini died following a crash during the 1967 Monaco Grand Prix, Mike Parkes broke both his legs at the Belgian Grand Prix and, in the aftermath, Ludovico Scarfiotti went into temporary retirement.",
"Tragedy then struck the Ferrari team when Bandini died following a crash during the 1967 Monaco Grand Prix, Mike Parkes broke both his legs at the Belgian Grand Prix and, in the aftermath, Ludovico Scarfiotti went into temporary retirement. Amon, therefore, became Ferrari's only driver for the rest of the season, until joined by Jonathan Williams for the final race in Mexico.",
"Amon, therefore, became Ferrari's only driver for the rest of the season, until joined by Jonathan Williams for the final race in Mexico. Amon scored his first podium in his first official outing for the Scuderia in Monaco and at the end of 1967 had achieved four third places finishing fifth in the Drivers' Championship, in what was going to be the most successful season of his career.",
"Amon scored his first podium in his first official outing for the Scuderia in Monaco and at the end of 1967 had achieved four third places finishing fifth in the Drivers' Championship, in what was going to be the most successful season of his career. Amon's Ferrari contract also included sports car racing and he began 1967 by winning the Daytona 24 Hours and 1000km Monza events with Bandini in the 4-litre Ferrari 330-P4.",
"Amon's Ferrari contract also included sports car racing and he began 1967 by winning the Daytona 24 Hours and 1000km Monza events with Bandini in the 4-litre Ferrari 330-P4. He finished the year partnering Jackie Stewart to a second place at the BOAC 500, thereby clinching the manufacturer's world championship for Ferrari by one point over Porsche.",
"He finished the year partnering Jackie Stewart to a second place at the BOAC 500, thereby clinching the manufacturer's world championship for Ferrari by one point over Porsche. 1968 1968 was the year aerodynamics first played a significant role in F1 car design and Amon worked with engineer Mauro Forghieri to place aerofoils on the Ferrari 312.",
"1968 1968 was the year aerodynamics first played a significant role in F1 car design and Amon worked with engineer Mauro Forghieri to place aerofoils on the Ferrari 312. In January 1968 Amon had returned home to New Zealand and Australia to compete in the 1968 Tasman Series which was used by many of the top Formula One drivers as a warm up series to the World Championship.",
"In January 1968 Amon had returned home to New Zealand and Australia to compete in the 1968 Tasman Series which was used by many of the top Formula One drivers as a warm up series to the World Championship. Ferrari had been interested in the series for several years and in 1965 had reengineered 2.4 Dino engines used by Mike Hawthorn, Peter Collins and Phil Hill in 1958–60 with more torque and mid speed power for the planned use of team leader Surtees in the 1966 Tasman Series.",
"Ferrari had been interested in the series for several years and in 1965 had reengineered 2.4 Dino engines used by Mike Hawthorn, Peter Collins and Phil Hill in 1958–60 with more torque and mid speed power for the planned use of team leader Surtees in the 1966 Tasman Series. After a late season crash in US Can-Am racing by Surtees, the entry was withdrawn but consideration was given to using NZ Gold star champion Jim Palmer in a semi-works Ferrari entry in the 1967 Tasman Series as it was viewed in a 2.4 car he would be competitive with Clark and Stewart in 2-litre F1 cars.",
"After a late season crash in US Can-Am racing by Surtees, the entry was withdrawn but consideration was given to using NZ Gold star champion Jim Palmer in a semi-works Ferrari entry in the 1967 Tasman Series as it was viewed in a 2.4 car he would be competitive with Clark and Stewart in 2-litre F1 cars. Palmer had run world-class times in the 1966 Tasman Series, particularly in the Pukekohe practice and Longford race, and was tested in Italy at the same time as Amon by Ferrari, and ran competitive times at Modena but for whatever reason Ferrari did not compete in 1967 series.",
"Palmer had run world-class times in the 1966 Tasman Series, particularly in the Pukekohe practice and Longford race, and was tested in Italy at the same time as Amon by Ferrari, and ran competitive times at Modena but for whatever reason Ferrari did not compete in 1967 series. For the 1968 series Ferrari decided to use the 2.4 engines with a new Dino 166 F2 chassis rather than a downsized 3-litre V12.",
"For the 1968 series Ferrari decided to use the 2.4 engines with a new Dino 166 F2 chassis rather than a downsized 3-litre V12. Using the 246T Amon won the first two rounds of the Tasman Series, including the 1968 New Zealand Grand Prix, before narrowly losing the series to the Lotus-Ford of Jim Clark.",
"Using the 246T Amon won the first two rounds of the Tasman Series, including the 1968 New Zealand Grand Prix, before narrowly losing the series to the Lotus-Ford of Jim Clark. The Dino 246 Tasmania was better handling than Clark's Lotus 49T which was still wingless and a difficult proposition.",
"The Dino 246 Tasmania was better handling than Clark's Lotus 49T which was still wingless and a difficult proposition. Impressed by Amon's driving in the NZ rounds, Ferrari dispatched a new four-valve version of the 2.4 V6 for the Australian rounds and this gave another 15 hp, but with lesser reliability which, combined with the fact Clark was the best driver in the world at the time, cost Amon the series, although in the final round at Sandown Park he duelled wheel to wheel with Clark before being pipped at the line.",
"Impressed by Amon's driving in the NZ rounds, Ferrari dispatched a new four-valve version of the 2.4 V6 for the Australian rounds and this gave another 15 hp, but with lesser reliability which, combined with the fact Clark was the best driver in the world at the time, cost Amon the series, although in the final round at Sandown Park he duelled wheel to wheel with Clark before being pipped at the line. After the first race of the F1 season in South Africa, Amon achieved pole positions in three of the following four races (at the Spanish, Belgian and Dutch Grands Prix) but ever-present mechanical problems meant he secured only a single Championship point from them.",
"After the first race of the F1 season in South Africa, Amon achieved pole positions in three of the following four races (at the Spanish, Belgian and Dutch Grands Prix) but ever-present mechanical problems meant he secured only a single Championship point from them. Throughout the rest of the season he never qualified lower than fifth place and nearly scored victories at the British and Canadian rounds and he suffered a 100 mph crash in Italy which demolished his car.",
"Throughout the rest of the season he never qualified lower than fifth place and nearly scored victories at the British and Canadian rounds and he suffered a 100 mph crash in Italy which demolished his car. In Britain, he duelled to the line with Jo Siffert's Lotus 49B and in Canada he dominated the race despite a malfunctioning clutch.",
"In Britain, he duelled to the line with Jo Siffert's Lotus 49B and in Canada he dominated the race despite a malfunctioning clutch. Seventeen laps from the finish, however, his car's transmission failed and a distraught Amon had to be consoled by Jacky Ickx.",
"Seventeen laps from the finish, however, his car's transmission failed and a distraught Amon had to be consoled by Jacky Ickx. From at least ten promising starts that season he was only able to finish five races and score ten Championship points. His best finish was second place to Siffert's Lotus-Cosworth at the British Grand Prix.",
"His best finish was second place to Siffert's Lotus-Cosworth at the British Grand Prix. Outside F1, Amon was runner-up in the Formula Two race at Zolder, Belgium, testing the Dino 166 F2. He also came third in that year's BRDC International Trophy.",
"He also came third in that year's BRDC International Trophy. 1969 Amon began 1969 with success driving the Dino engined 246 Tasmania in the Tasman Series that included winning both the New Zealand and Australian Grands Prix.",
"1969 Amon began 1969 with success driving the Dino engined 246 Tasmania in the Tasman Series that included winning both the New Zealand and Australian Grands Prix. In straight fights, he beat new Gold Leaf Lotus team leader, Jochen Rindt, into second in the races at Pukekohe and Sandown.",
"In straight fights, he beat new Gold Leaf Lotus team leader, Jochen Rindt, into second in the races at Pukekohe and Sandown. He would ultimately win the seven race Tasman Series, probably the best of the seven-year 2.5-litre international formula series in this country and the nearest to World Championship level racing in New Zealand, with ferocious competition between Rindt, Graham Hill, Amon and Williams driver Piers Courage.",
"He would ultimately win the seven race Tasman Series, probably the best of the seven-year 2.5-litre international formula series in this country and the nearest to World Championship level racing in New Zealand, with ferocious competition between Rindt, Graham Hill, Amon and Williams driver Piers Courage. It was actually much more serious racing than the McLaren dominated Can-Am series in the US in which the big sports cars required few gear changes and were essentially cruised to victory with little real competition, where the Tasman cars were essentially marginally lower power F1 cars, as difficult to drive as GP cars on unforgiving very dangerous narrow tracks.",
"It was actually much more serious racing than the McLaren dominated Can-Am series in the US in which the big sports cars required few gear changes and were essentially cruised to victory with little real competition, where the Tasman cars were essentially marginally lower power F1 cars, as difficult to drive as GP cars on unforgiving very dangerous narrow tracks. Amon finished with four wins, two-thirds and one retirement, but in Formula One his poor luck continued.",
"Amon finished with four wins, two-thirds and one retirement, but in Formula One his poor luck continued. Despite six starts from top-six positions, he was only able to achieve a third-place at the Dutch GP.",
"Despite six starts from top-six positions, he was only able to achieve a third-place at the Dutch GP. Ferrari's F1 V12 engine was too unreliable and although its replacement had proven very fast in testing, it had suffered many mechanical breakages.",
"Ferrari's F1 V12 engine was too unreliable and although its replacement had proven very fast in testing, it had suffered many mechanical breakages. Amon had no reason to believe it would be any more dependable than the V12, so although the new engine was clearly more powerful, he decided to leave Ferrari for a Cosworth DFV powered team.",
"Amon had no reason to believe it would be any more dependable than the V12, so although the new engine was clearly more powerful, he decided to leave Ferrari for a Cosworth DFV powered team. Ironically, the new flat-12 engine would become one of the best Formula One engines of the 1970s.",
"Ironically, the new flat-12 engine would become one of the best Formula One engines of the 1970s. Jacky Ickx, Amon's old teammate did return to Ferrari for 1970, after a successful sabbatical with Brabham gained Ickx second in the 1969 World Championship.",
"Jacky Ickx, Amon's old teammate did return to Ferrari for 1970, after a successful sabbatical with Brabham gained Ickx second in the 1969 World Championship. Ickx saw Enzo Ferrari had secured huge backing from Fiat who had taken partial ownership of the Marque, and believed Ferrari would be a renewed team and an effective proposition.",
"Ickx saw Enzo Ferrari had secured huge backing from Fiat who had taken partial ownership of the Marque, and believed Ferrari would be a renewed team and an effective proposition. Amon was more influenced by views of Jackie Stewart and Jochen Rindt, who believed it was essential to be Ford DFV-powered to be competitive.",
"Amon was more influenced by views of Jackie Stewart and Jochen Rindt, who believed it was essential to be Ford DFV-powered to be competitive. In addition to Formula One, Amon also drove for Ferrari in the 1969 International Championship for Makes, partnering Pedro Rodriguez to a fourth place in the BOAC 500 at Brands Hatch and coming second at the 12 Hours of Sebring, but retiring from the 1000km Nürburgring and 1000km Monza races, all in the Ferrari 312P sportscar.",
"In addition to Formula One, Amon also drove for Ferrari in the 1969 International Championship for Makes, partnering Pedro Rodriguez to a fourth place in the BOAC 500 at Brands Hatch and coming second at the 12 Hours of Sebring, but retiring from the 1000km Nürburgring and 1000km Monza races, all in the Ferrari 312P sportscar. He also drove in a few Can-Am races.",
"He also drove in a few Can-Am races. His last race for Ferrari would be the 1970 1000 km Monza, where he finished as runner-up. 1970s 1970 For the 1970 Formula One season, Amon made what was to be the first of several moves to smaller, newer teams.",
"1970s 1970 For the 1970 Formula One season, Amon made what was to be the first of several moves to smaller, newer teams. March Engineering had been formed the previous year to build custom chassis for Formulas 2 and 3, but quickly moved into F1, designing and building the March 701.",
"March Engineering had been formed the previous year to build custom chassis for Formulas 2 and 3, but quickly moved into F1, designing and building the March 701. Amon and Siffert were signed as drivers, with IndyCar driver Mario Andretti making an occasional appearance in a third car.",
"Amon and Siffert were signed as drivers, with IndyCar driver Mario Andretti making an occasional appearance in a third car. March also sold their 701 chassis to Tyrrell, where Jackie Stewart drove it to its first victory in that year's Spanish GP.",
"March also sold their 701 chassis to Tyrrell, where Jackie Stewart drove it to its first victory in that year's Spanish GP. Amon won the pre-season Silverstone International Trophy, but once the F1 season began he found himself prevented from converting good qualifying positions into good results.",
"Amon won the pre-season Silverstone International Trophy, but once the F1 season began he found himself prevented from converting good qualifying positions into good results. He qualified second behind Stewart's Tyrrell-March for the season-opening South African Grand Prix only for his own March to overheat within fourteen laps.",
"He qualified second behind Stewart's Tyrrell-March for the season-opening South African Grand Prix only for his own March to overheat within fourteen laps. Amon then qualified sixth for the Spanish Grand Prix only for his March's Ford-Cosworth DFV engine to expire within ten laps.",
"Amon then qualified sixth for the Spanish Grand Prix only for his March's Ford-Cosworth DFV engine to expire within ten laps. He qualified and ran second in the 1970 Monaco Grand Prix until his suspension failed twenty laps from the finish.",
"He qualified and ran second in the 1970 Monaco Grand Prix until his suspension failed twenty laps from the finish. This was the race where Amon refused to drive unless his entry number was changed from 18 – the number under which his then teammate Lorenzo Bandini had crashed and died in Monaco – to 28.",
"This was the race where Amon refused to drive unless his entry number was changed from 18 – the number under which his then teammate Lorenzo Bandini had crashed and died in Monaco – to 28. Amon's close second place from a third-place start at the 1970 Belgian Grand Prix finally gave the March works team their first points finish.",
"Amon's close second place from a third-place start at the 1970 Belgian Grand Prix finally gave the March works team their first points finish. At that race, Amon set fastest lap at over 152 miles per hour, a lap record which still stands as of 2016, as it was the last race on the full-length Spa-Francorchamps circuit.",
"At that race, Amon set fastest lap at over 152 miles per hour, a lap record which still stands as of 2016, as it was the last race on the full-length Spa-Francorchamps circuit. However, after qualifying fourth for the next race, the Dutch Grand Prix, his car's clutch broke after just one lap.",
"However, after qualifying fourth for the next race, the Dutch Grand Prix, his car's clutch broke after just one lap. Amon duplicated his Belgian result at the 1970 French Grand Prix,.",
"Amon duplicated his Belgian result at the 1970 French Grand Prix,. After a disappointing performance in the British GP at Brands Hatch where Amon finished fifth after being outqualified by tyro Ronnie Peterson in a private 701 on the same tyres, conflict with team boss Max Mosley over the non-delivery of three-quarters of Amon's expected pay for the season saw him provided with inferior DFVs and two backmarker 7th places in Austria and Italy, Amon finished the season strongly with strong drives to third at Mosport, fifth at Watkins Glen and fourth in Mexico.",
"After a disappointing performance in the British GP at Brands Hatch where Amon finished fifth after being outqualified by tyro Ronnie Peterson in a private 701 on the same tyres, conflict with team boss Max Mosley over the non-delivery of three-quarters of Amon's expected pay for the season saw him provided with inferior DFVs and two backmarker 7th places in Austria and Italy, Amon finished the season strongly with strong drives to third at Mosport, fifth at Watkins Glen and fourth in Mexico. At Watkins Glen in the USGP he was robbed of a probably certain victory, in the opinion of March designer Robin Herd, by a puncture.",
"At Watkins Glen in the USGP he was robbed of a probably certain victory, in the opinion of March designer Robin Herd, by a puncture. By the end of the year, disagreements with March co-founders Mosley and Robin Herd meant that Amon had decided to move to another relatively new team, Matra.",
"By the end of the year, disagreements with March co-founders Mosley and Robin Herd meant that Amon had decided to move to another relatively new team, Matra. 1971 In 1971, Amon, now driving for the Matra factory team, once again scored a pre-season victory, this time at the Argentine Grand Prix.",
"1971 In 1971, Amon, now driving for the Matra factory team, once again scored a pre-season victory, this time at the Argentine Grand Prix. Once the Formula One season had begun, he managed to convert a third-place start at the Spanish GP into a third-place podium finish and scored a couple of fifth places in the South African and French GPs.",
"Once the Formula One season had begun, he managed to convert a third-place start at the Spanish GP into a third-place podium finish and scored a couple of fifth places in the South African and French GPs. Apart from these results, however, his run of poor F1 returns continued.",
"Apart from these results, however, his run of poor F1 returns continued. He had a major accident at the Nürburgring and it sidelined him for the next race at the Österreichring.",
"He had a major accident at the Nürburgring and it sidelined him for the next race at the Österreichring. At the Italian GP he qualified in pole position and despite a poor start to the race looked as if he would capitalise on it – until the visor on his helmet became detached.",
"At the Italian GP he qualified in pole position and despite a poor start to the race looked as if he would capitalise on it – until the visor on his helmet became detached. Amon had to slow to avoid risking a major accident, thereby allowing other drivers to catch and overtake him.",
"Amon had to slow to avoid risking a major accident, thereby allowing other drivers to catch and overtake him. He finished the race in sixth place, scoring just one Championship point.",
"He finished the race in sixth place, scoring just one Championship point. During the year Amon also competed in the non-championship Questor Grand Prix at the new Ontario Motor Speedway, where he qualified second and, despite suffering a puncture during the race, managed to finish fourth.",
"During the year Amon also competed in the non-championship Questor Grand Prix at the new Ontario Motor Speedway, where he qualified second and, despite suffering a puncture during the race, managed to finish fourth. In the Tasman Series Amon started from fourth at the Levin Circuit and in the race, he battled with David Oxton and John Cannon but managed to finish third.",
"In the Tasman Series Amon started from fourth at the Levin Circuit and in the race, he battled with David Oxton and John Cannon but managed to finish third. Amon's third race at Wigram Airfield starting fifth and spun at the start to drop him to the back of the field but managed to climb up to fifth.",
"Amon's third race at Wigram Airfield starting fifth and spun at the start to drop him to the back of the field but managed to climb up to fifth. 1972 In the 1972 Formula One season, Amon, again driving for Matra achieved a handful of points-scoring finishes, but only one podium appearance, at the French GP.",
"1972 In the 1972 Formula One season, Amon, again driving for Matra achieved a handful of points-scoring finishes, but only one podium appearance, at the French GP. Here he achieved the fifth and final pole position of his career and was leading the race until a puncture forced him to pit.",
"Here he achieved the fifth and final pole position of his career and was leading the race until a puncture forced him to pit. However, he climbed back through the field, breaking the circuit's lap record to finish third.",
"However, he climbed back through the field, breaking the circuit's lap record to finish third. With the money he had made from motorsport, Amon decided to set up a racing engine firm with former BRM engineer Aubrey Woods.",
"With the money he had made from motorsport, Amon decided to set up a racing engine firm with former BRM engineer Aubrey Woods. Amon Racing Engines supplied Formula 2 engines to a few drivers, but the company quickly became too expensive to run and was sold to March for a loss.",
"Amon Racing Engines supplied Formula 2 engines to a few drivers, but the company quickly became too expensive to run and was sold to March for a loss. Matra decided to end their participation in Formula One at the end of 1972, so Amon found himself looking to return to March as a driver.",
"Matra decided to end their participation in Formula One at the end of 1972, so Amon found himself looking to return to March as a driver. The place, however, was given to Jean-Pierre Jarier, purportedly for financial reasons. Amon therefore signed for another recently formed F1 team, Tecno.",
"Amon therefore signed for another recently formed F1 team, Tecno. 1973 Tecno had entered F1 the previous year, having been a successful chassis-builder for other Formulæ and had developed a potentially powerful Flat 12 for F1.",
"1973 Tecno had entered F1 the previous year, having been a successful chassis-builder for other Formulæ and had developed a potentially powerful Flat 12 for F1. Their first year in F1 proved to be dismal, however with considerable backing from Martini Rossi they had jumped at the chance to sign Amon, and allocate David Yorke the former Vanwall and Gulf GT40 Team Manager to run the team and commission two new chassis designs by former Lotus and McLaren mechanic.",
"Their first year in F1 proved to be dismal, however with considerable backing from Martini Rossi they had jumped at the chance to sign Amon, and allocate David Yorke the former Vanwall and Gulf GT40 Team Manager to run the team and commission two new chassis designs by former Lotus and McLaren mechanic. Alan McCall who had worked on Clark and Hulme's F1 cars and unproven, British designer Gordon Fowell for a more radical back up design, in the hope he would help transform their performance.",
"Alan McCall who had worked on Clark and Hulme's F1 cars and unproven, British designer Gordon Fowell for a more radical back up design, in the hope he would help transform their performance. While McCalls car was built rapidly, testing it was more time-consuming and after its non-appearance, for the Spanish GP, Amon and team manager David Yorke met with Enzo Ferrari to see if Amon could be released from his contract to develop the new Ferrari B3 for Ickx and Mezarrio, in a supposedly one off GP drive at Monaco.",
"While McCalls car was built rapidly, testing it was more time-consuming and after its non-appearance, for the Spanish GP, Amon and team manager David Yorke met with Enzo Ferrari to see if Amon could be released from his contract to develop the new Ferrari B3 for Ickx and Mezarrio, in a supposedly one off GP drive at Monaco. Yorke rejected the release, and Amon admits he would not have left Ferrari if offered the drive for a season.",
"Yorke rejected the release, and Amon admits he would not have left Ferrari if offered the drive for a season. Unfortunately, the team went from bad to worse and wasn't able to field the Tecno PA123/6 until the fifth GP of the season, the Belgian GP. Amon managed to finish in sixth position.",
"Amon managed to finish in sixth position. At Monaco the car qualified a useful 12th and chassis felt good but Chris was unhappy with the car. He decided to concentrate on the undeveloped Gordon Fowell Goral car.",
"He decided to concentrate on the undeveloped Gordon Fowell Goral car. This was against the view of the Techno team and the Pederanzi engine builders and Martini Rossi who required the car and driver to appear at races Amon commented at the time that it was \"the best chassis I've ever sat in\", it too proved virtually undriveable.",
"This was against the view of the Techno team and the Pederanzi engine builders and Martini Rossi who required the car and driver to appear at races Amon commented at the time that it was \"the best chassis I've ever sat in\", it too proved virtually undriveable. Amon refused to drive the McCall, Techno in the Swedish or German Gps and withdrew from the Austrian GP after qualifying.",
"Amon refused to drive the McCall, Techno in the Swedish or German Gps and withdrew from the Austrian GP after qualifying. By the time of the Austrian GP, four races from the end of the season, Amon's patience had run out and he left the team.",
"By the time of the Austrian GP, four races from the end of the season, Amon's patience had run out and he left the team. He would later claim that the months he spent with the team \"felt like ten [seasons]\".",
"He would later claim that the months he spent with the team \"felt like ten [seasons]\". Tyrrell offered Amon a third car – the 005 – in which to drive the last two races of the season.",
"Tyrrell offered Amon a third car – the 005 – in which to drive the last two races of the season. After a mediocre first outing at the Canadian GP, he and Jackie Stewart withdrew from the final race of the year, the United States GP, following the death of their teammate François Cevert during qualifying.",
"After a mediocre first outing at the Canadian GP, he and Jackie Stewart withdrew from the final race of the year, the United States GP, following the death of their teammate François Cevert during qualifying. 1974 For the 1974 F1 season, Amon revived Chris Amon Racing.",
"1974 For the 1974 F1 season, Amon revived Chris Amon Racing. Gordon Fowell designed the car, the AF101, which featured a single central fuel tank, titanium torsion bars and a forward driving position.",
"Gordon Fowell designed the car, the AF101, which featured a single central fuel tank, titanium torsion bars and a forward driving position. Structurally, however, it proved to be weak and was not ready for an F1 appearance until the fourth race of the season, the Spanish GP.",
"Structurally, however, it proved to be weak and was not ready for an F1 appearance until the fourth race of the season, the Spanish GP. Amon was only able to qualify 23rd, thanks to brake-disc vibration that only became worse with the tyres for the wet race that followed.",
"Amon was only able to qualify 23rd, thanks to brake-disc vibration that only became worse with the tyres for the wet race that followed. Despite cautious driving, a brake shaft finally broke and Amon was forced to retire after 22 laps.",
"Despite cautious driving, a brake shaft finally broke and Amon was forced to retire after 22 laps. Following further work and testing, Amon returned for the Monaco GP and qualified twentieth, but, thanks to mechanical problems, he was unable to start the race.",
"Following further work and testing, Amon returned for the Monaco GP and qualified twentieth, but, thanks to mechanical problems, he was unable to start the race. Further problems and illness meant Amon was not able to reappear with the F101 until the Italian GP, three races from the end of the season, but this time he was unable to qualify.",
"Further problems and illness meant Amon was not able to reappear with the F101 until the Italian GP, three races from the end of the season, but this time he was unable to qualify. That sealed the fate of both the car and Chris Amon Racing, leaving Amon to drive the season's last two races with the faltering BRM team.",
"That sealed the fate of both the car and Chris Amon Racing, leaving Amon to drive the season's last two races with the faltering BRM team. He would later reveal that he had turned down a chance to join the Brabham team earlier in the season.",
"He would later reveal that he had turned down a chance to join the Brabham team earlier in the season. 1975 Amon contested the 1975 F5000 Tasman series against only local Australasian drivers, although Graham McRae, Warwick Brown and Kevin Bartlett were acknowledged internationally.",
"1975 Amon contested the 1975 F5000 Tasman series against only local Australasian drivers, although Graham McRae, Warwick Brown and Kevin Bartlett were acknowledged internationally. Amon qualified on the front row of three of the four New Zealand rounds and scored a victory at Teretonga in January 1975 in rainy conditions by 24.2 seconds.",
"Amon qualified on the front row of three of the four New Zealand rounds and scored a victory at Teretonga in January 1975 in rainy conditions by 24.2 seconds. In the Australian rounds, the competition was always harder with more good cars and the locals on their own tracks.",
"In the Australian rounds, the competition was always harder with more good cars and the locals on their own tracks. Amon had a frustrating series of races unable to pass, South Australian Johnnie Walker, in a superior Lola T332 chassis with Repco-engineered V8.",
"Amon had a frustrating series of races unable to pass, South Australian Johnnie Walker, in a superior Lola T332 chassis with Repco-engineered V8. At Surfers Paradise, running from the back of the grid he managed to eventually pass Walker by widening the braking zone in the only corner where overtaking was usually possible.",
"At Surfers Paradise, running from the back of the grid he managed to eventually pass Walker by widening the braking zone in the only corner where overtaking was usually possible. Amon brushed the edge of the track on repeated laps, got extra grip and passed Walker to take the lead.",
"Amon brushed the edge of the track on repeated laps, got extra grip and passed Walker to take the lead. He had been forced to miss most of the practice session, when Customs seized his car's gearbox. In the race, the brilliant effort went for nothing as the Chev engine blew.",
"In the race, the brilliant effort went for nothing as the Chev engine blew. At Oran Park and Adelaide he followed Walker the whole way to 4th and 3rd unable to pass.",
"At Oran Park and Adelaide he followed Walker the whole way to 4th and 3rd unable to pass. In the final deciding race for the Tasman Series with Brown, Walker and Lawrence still in contention, Walker lost his T332 on the first lap and it demolished on wooden barriers surrounding Sandown's car and horse racing tracks.",
"In the final deciding race for the Tasman Series with Brown, Walker and Lawrence still in contention, Walker lost his T332 on the first lap and it demolished on wooden barriers surrounding Sandown's car and horse racing tracks. Amon was never in contention and finished 4th.",
"Amon was never in contention and finished 4th. Amon intended to compete in F5000 in both Europe and the US in 1975 but started in only one round of both series, managing a pole in one Shellsport round in the UK and a 4th place overall at the Long Beach GP in a two heat race.",
"Amon intended to compete in F5000 in both Europe and the US in 1975 but started in only one round of both series, managing a pole in one Shellsport round in the UK and a 4th place overall at the Long Beach GP in a two heat race. He used different Talon F5000 cars for both races.",
"He used different Talon F5000 cars for both races. The speed he showed in qualifying for a couple of UK F5000 races encouraged the small Ensign team to give him a race.",
"The speed he showed in qualifying for a couple of UK F5000 races encouraged the small Ensign team to give him a race. Mo Nunn the Ensign team owner had been a Lotus F3 driver in 1966 and the Dave Baldwin designed chassis was in many ways a lightweight Lotus F1, which Ronnie Peterson wanted to test in 1975 out of frustration with his old 72 and which could have been used by Colin Chapman had he not decided to concentrate on developing chassis which would use ground effect technology, the Lotus 77 design for 1976 which was in many ways a test vehicle for the development of concepts, including the de facto legalisation of technology like plastic sliding skirts, introduced on Andretti's 77 from the 1976 Canadian Grand Prix, that would be used in future Lotus wing cars the Lotus 78 and Lotus 79.",
"Mo Nunn the Ensign team owner had been a Lotus F3 driver in 1966 and the Dave Baldwin designed chassis was in many ways a lightweight Lotus F1, which Ronnie Peterson wanted to test in 1975 out of frustration with his old 72 and which could have been used by Colin Chapman had he not decided to concentrate on developing chassis which would use ground effect technology, the Lotus 77 design for 1976 which was in many ways a test vehicle for the development of concepts, including the de facto legalisation of technology like plastic sliding skirts, introduced on Andretti's 77 from the 1976 Canadian Grand Prix, that would be used in future Lotus wing cars the Lotus 78 and Lotus 79. Apart from these successes, Amon's racing career seemed once again to have stalled.",
"Apart from these successes, Amon's racing career seemed once again to have stalled. Apparently a chance meeting with Mo Nunn of Ensign Racing led to the Ensign drive, but in fact Mo Nunn thought his new N175 a very fast car and did not view the two Dutch drivers favoured by the Dutch HB Security company who sponsored Ensign fast enough.",
"Apparently a chance meeting with Mo Nunn of Ensign Racing led to the Ensign drive, but in fact Mo Nunn thought his new N175 a very fast car and did not view the two Dutch drivers favoured by the Dutch HB Security company who sponsored Ensign fast enough. Gijs van Lennep, the 1973 European F5000 Champion in a Surtees TS11 who had won Le Mans in 1971 and 1976 was a very good driver but also one of the last racing aristocrats.",
"Gijs van Lennep, the 1973 European F5000 Champion in a Surtees TS11 who had won Le Mans in 1971 and 1976 was a very good driver but also one of the last racing aristocrats. Van Lennep, qualified the car on its debut in the French GP at Paul Ricard and finished 6th in the German GP at Nürburgring, and was faster on both circuits than Patrick Nève or Amon were in 1976.",
"Van Lennep, qualified the car on its debut in the French GP at Paul Ricard and finished 6th in the German GP at Nürburgring, and was faster on both circuits than Patrick Nève or Amon were in 1976. Amon managed 7th in the non-championship Swiss GP at Dijon chasing James Hunt debuting the disappointing Hesketh 308C and 12th in two GP drives in the Ensign N175 at the Austrian and Italian GPs.",
"Amon managed 7th in the non-championship Swiss GP at Dijon chasing James Hunt debuting the disappointing Hesketh 308C and 12th in two GP drives in the Ensign N175 at the Austrian and Italian GPs. At Monza after a long pit stop he finally ran at competitive pace, running 4 laps down but keeping pace with the leading Ferrari 312T of Niki Lauda for a number of laps.",
"At Monza after a long pit stop he finally ran at competitive pace, running 4 laps down but keeping pace with the leading Ferrari 312T of Niki Lauda for a number of laps. Progressive evaluation of the possibilities of what was slowing the N175 led Amon to change the airbox alignment on the day of the Italian GP and this resulted in a 2-second gain (much like the change in air cooler position that lost and gained two seconds on Hunt's McLaren M23 resolved by the 1976 French GP).",
"Progressive evaluation of the possibilities of what was slowing the N175 led Amon to change the airbox alignment on the day of the Italian GP and this resulted in a 2-second gain (much like the change in air cooler position that lost and gained two seconds on Hunt's McLaren M23 resolved by the 1976 French GP). Ironically Amon never raced the N175 again and the high airboxes had been banned by the time N176 ran at Jarama the following year, but the flash of testing and driving genius was enough to give Amon another chance.",
"Ironically Amon never raced the N175 again and the high airboxes had been banned by the time N176 ran at Jarama the following year, but the flash of testing and driving genius was enough to give Amon another chance. Although the results were unremarkable, he and Nunn worked well together, so Amon joined Ensign for the 1976 F1 season.",
"Although the results were unremarkable, he and Nunn worked well together, so Amon joined Ensign for the 1976 F1 season. 1976 Ensign's first race of the season was the South African GP where Amon qualified 18th and showed a revival of form, climbing to seventh place, in the old Ensign N174 and contesting sixth with Mario Andretti in the Parnelli Ford, in the last laps before a last minute refueling stop left him 14th.",
"1976 Ensign's first race of the season was the South African GP where Amon qualified 18th and showed a revival of form, climbing to seventh place, in the old Ensign N174 and contesting sixth with Mario Andretti in the Parnelli Ford, in the last laps before a last minute refueling stop left him 14th. Thereafter results began to improve, with Amon qualifying 17th and finishing eighth in the USA West GP; qualifying tenth and finishing fifth in the Spanish GP; and then qualifying eighth for the Belgian GP.",
"Thereafter results began to improve, with Amon qualifying 17th and finishing eighth in the USA West GP; qualifying tenth and finishing fifth in the Spanish GP; and then qualifying eighth for the Belgian GP. More points then seemed likely from the race until his car lost a wheel 19 laps from the finish and Amon was lucky to escape unhurt from the ensuing accident.",
"More points then seemed likely from the race until his car lost a wheel 19 laps from the finish and Amon was lucky to escape unhurt from the ensuing accident. He then achieved a third-place grid position start for the Swedish GP using a Nicholson rebuilt Cosworth for the first time and in the race looked as if he would join Tyrrell drivers Jody Scheckter and Patrick Depailler on the podium, until suspension failure threw him from the track after 38 laps.",
"He then achieved a third-place grid position start for the Swedish GP using a Nicholson rebuilt Cosworth for the first time and in the race looked as if he would join Tyrrell drivers Jody Scheckter and Patrick Depailler on the podium, until suspension failure threw him from the track after 38 laps. Amon had again been lucky to escape serious injury and decided to miss the next race, the French GP.",
"Amon had again been lucky to escape serious injury and decided to miss the next race, the French GP. He returned for the British GP, qualifying in sixth and running fourth in the race when his Ford-Cosworth DFV engine developed a water leak. Rather than risk losing an engine, his team called him in to retire.",
"Rather than risk losing an engine, his team called him in to retire. At the German GP problems dogged his attempts to qualify well, but it was Niki Lauda's crash during the second lap of the race that had a far greater impact. Amon refused to restart the race and Nunn fired him from the team.",
"Amon refused to restart the race and Nunn fired him from the team. Amon declared his retirement from the sport and returned to New Zealand. \"I'd seen too many people fried in racing cars at that stage. When you've driven past Bandini, Schlesser, Courage and Williamson, another shunt like that was simply too much.",
"When you've driven past Bandini, Schlesser, Courage and Williamson, another shunt like that was simply too much. It was a personal decision...\" (Amon, on his retirement in 1976)However, Walter Wolf contacted Amon and persuaded him to drive for his Wolf–Williams team in the North American races near the end of the season.",
"It was a personal decision...\" (Amon, on his retirement in 1976)However, Walter Wolf contacted Amon and persuaded him to drive for his Wolf–Williams team in the North American races near the end of the season. After recording some promising times in preparation for the Canadian GP, however, Amon was involved in a heavy collision with another car during qualifying and once again was lucky to walk away unharmed.",
"After recording some promising times in preparation for the Canadian GP, however, Amon was involved in a heavy collision with another car during qualifying and once again was lucky to walk away unharmed. He then did not take part in either the Canadian or United States Grands Prix.",
"He then did not take part in either the Canadian or United States Grands Prix. 1977 Amon turned down an offer of a full-time F1 drive for 1977, but did attempt a return to Can-Am racing in 1977 with a Wolf-Dallara WD1.",
"1977 Amon turned down an offer of a full-time F1 drive for 1977, but did attempt a return to Can-Am racing in 1977 with a Wolf-Dallara WD1. However, after only one race he quit, saying \"I'm just not enjoying this anymore\".",
"However, after only one race he quit, saying \"I'm just not enjoying this anymore\". His place was taken by the young and then unknown Canadian Gilles Villeneuve, whom Amon would, later that year, recommend to Enzo Ferrari.",
"His place was taken by the young and then unknown Canadian Gilles Villeneuve, whom Amon would, later that year, recommend to Enzo Ferrari. In the meantime, Amon returned once again to New Zealand, this time to retire from F1 motor racing for good.",
"In the meantime, Amon returned once again to New Zealand, this time to retire from F1 motor racing for good. 2000s 2003 Amon came out of retirement for a one-off appearance in the 2003 Dunlop Targa New Zealand with motorsport commentator Murray Walker as his navigator.",
"2000s 2003 Amon came out of retirement for a one-off appearance in the 2003 Dunlop Targa New Zealand with motorsport commentator Murray Walker as his navigator. The pair completed the week-long Auckland to Wellington Tarmac Rally in a Toyota Camry Sportivo, the same car previously used by Walker and Colin Bond in Australia's Targa Tasmania.",
"The pair completed the week-long Auckland to Wellington Tarmac Rally in a Toyota Camry Sportivo, the same car previously used by Walker and Colin Bond in Australia's Targa Tasmania. Retirement After his retirement from F1, Amon dedicated himself to running the family farm in New Zealand's Manawatu District for many years.",
"Retirement After his retirement from F1, Amon dedicated himself to running the family farm in New Zealand's Manawatu District for many years. After retiring from farming, he lived in Taupo in New Zealand's North Island.",
"After retiring from farming, he lived in Taupo in New Zealand's North Island. In the early 1980s he became more well known in New Zealand from test-driving vehicles on the TV motoring series Motor Show and later consulted for Toyota New Zealand, tuning the 1984 Toyota Corolla and subsequent cars for sale there.",
"In the early 1980s he became more well known in New Zealand from test-driving vehicles on the TV motoring series Motor Show and later consulted for Toyota New Zealand, tuning the 1984 Toyota Corolla and subsequent cars for sale there. He also appeared in TV commercials for the company, where much was made of the acclaim he won from Enzo Ferrari.",
"He also appeared in TV commercials for the company, where much was made of the acclaim he won from Enzo Ferrari. Amon participated in the 2004 EnergyWise Rally where he won ahead of Brian Cowan. Amon drove a Toyota Prius for the event.",
"Amon drove a Toyota Prius for the event. In the 1993 Queen's Birthday Honours, Amon was appointed a Member of the Order of the British Empire, for services to motor sport.",
"In the 1993 Queen's Birthday Honours, Amon was appointed a Member of the Order of the British Empire, for services to motor sport. Amon was involved in the design of the upgraded Taupo Motorsport Park circuit, used for the New Zealand round of the 2006–07 A1 Grand Prix season in January 2007.",
"Amon was involved in the design of the upgraded Taupo Motorsport Park circuit, used for the New Zealand round of the 2006–07 A1 Grand Prix season in January 2007. At the New Zealand Festival of Motor Racing in 2011, Amon's life and career were honoured with a selection of his cars being driven and also used the event to raise funds for the Bruce McLaren trust.",
"At the New Zealand Festival of Motor Racing in 2011, Amon's life and career were honoured with a selection of his cars being driven and also used the event to raise funds for the Bruce McLaren trust. Amon was also honoured at the festival in January 2013.",
"Amon was also honoured at the festival in January 2013. Death Amon died in Rotorua Hospital on 3 August 2016, aged 73, of cancer. He was survived by his wife (they married in 1977) their three children and their grandchildren. One of his sons, James, is a qualified High Performance personal trainer.",
"One of his sons, James, is a qualified High Performance personal trainer. He trained Central Districts Stags cricket team, and was revealed to be Brendon Hartley's personal trainer.",
"He trained Central Districts Stags cricket team, and was revealed to be Brendon Hartley's personal trainer. Legacy Despite never winning a championship Formula One Grand Prix, Amon won eight non-championship GPs, the Silverstone International Trophy, the 1000 km Monza, the Daytona 24 Hours, the Tasman Series and, perhaps most significant of all, the famous 24 Heures du Mans (alongside Bruce McLaren).",
"Legacy Despite never winning a championship Formula One Grand Prix, Amon won eight non-championship GPs, the Silverstone International Trophy, the 1000 km Monza, the Daytona 24 Hours, the Tasman Series and, perhaps most significant of all, the famous 24 Heures du Mans (alongside Bruce McLaren). These races included many of Amon's otherwise more successful fellow Formula One drivers.",
"These races included many of Amon's otherwise more successful fellow Formula One drivers. Amon also remains the only driver from New Zealand and Oceania to have raced for Scuderia Ferrari in Formula One.",
"Amon also remains the only driver from New Zealand and Oceania to have raced for Scuderia Ferrari in Formula One. In Formula One, Chris Amon took part in 96 Grands Prix, achieving 5 poles, leading 183 laps in 7 races, reaching the podium 11 times and scoring a total of 83 Championship points.",
"In Formula One, Chris Amon took part in 96 Grands Prix, achieving 5 poles, leading 183 laps in 7 races, reaching the podium 11 times and scoring a total of 83 Championship points. Amon holds the record for the most different makes of car raced by a Formula 1 World Championship driver, with thirteen.",
"Amon holds the record for the most different makes of car raced by a Formula 1 World Championship driver, with thirteen. A biography Forza Amon by journalist Eoin Young charts Amon's racing career and gives some insights into his personal life.",
"A biography Forza Amon by journalist Eoin Young charts Amon's racing career and gives some insights into his personal life. The book makes clear one point on which Amon himself disagrees with most commentators, the issue of his bad luck.",
"The book makes clear one point on which Amon himself disagrees with most commentators, the issue of his bad luck. Amon has pointed out on several occasions that he competed for a decade and a half in Formula One and survived some serious accidents, notably in 1976, whilst others, including friends like Bruce McLaren, suffered serious injury and death.",
"Amon has pointed out on several occasions that he competed for a decade and a half in Formula One and survived some serious accidents, notably in 1976, whilst others, including friends like Bruce McLaren, suffered serious injury and death. In 2008, motorsport journalist Alan Henry rated Chris Amon as his 13th greatest driver.",
"In 2008, motorsport journalist Alan Henry rated Chris Amon as his 13th greatest driver. Reflecting on the 1968 racing death of Jim Clark, Amon said: \"If this can happen to Jimmy, what chance do the rest of us have? I think we all felt that. It seemed like we'd lost our leader.\"",
"It seemed like we'd lost our leader.\" In 1995, Amon was inducted into the New Zealand Sports Hall of Fame. Amon's name has been given to the Toyota Racing Series driver's championship trophy, and the International Scholarship to support drivers who win his trophy to further their careers in single-seater racing.",
"Amon's name has been given to the Toyota Racing Series driver's championship trophy, and the International Scholarship to support drivers who win his trophy to further their careers in single-seater racing. The Toyota Racing Series serves as motorsport's version of \"winter ball\" in New Zealand during January and February.",
"The Toyota Racing Series serves as motorsport's version of \"winter ball\" in New Zealand during January and February. Following his death, his name was also lent to the Manfeild Autocourse in Feilding, Manawatu.",
"Following his death, his name was also lent to the Manfeild Autocourse in Feilding, Manawatu. Racing record Formula One World Championship results (key) (Races in bold indicate pole position; races in italics indicate fastest lap) Non-Championship Formula One results (key) (Races in bold indicate pole position; races in italics indicate fastest lap) Complete Tasman Series results (key) (Races in bold indicate pole position; races in italics indicate fastest lap) Complete 24 Hours of Le Mans results References External links Bruce McLaren Trust Official site Trio At The Top – a documentary about Bruce McLaren, Denny Hulme and Chris Amon on NZ On Screen Chris Amon 8W-Forix; Tom Prankard; 1 October 2000 New Zealand racing drivers New Zealand Formula One drivers Amon Formula One drivers BRM Formula One drivers Cooper Formula One drivers Ensign Formula One drivers Ferrari Formula One drivers March Formula One drivers Matra Formula One drivers Reg Parnell Racing Formula One drivers Tecno Formula One drivers Tyrrell Formula One drivers Williams Formula One drivers Formula One team owners 24 Hours of Le Mans drivers 24 Hours of Le Mans winning drivers 12 Hours of Reims drivers 24 Hours of Daytona drivers World Sportscar Championship drivers Tasman Series drivers New Zealand Members of the Order of the British Empire People from Bulls 1943 births 2016 deaths"
] |
[
"Chris Amon",
"Retirement",
"What did he retire from?",
"After his retirement from F1,",
"When did he retire?",
"I don't know.",
"What caused his retirement?",
"I don't know.",
"Are there any other interesting aspects about this article?",
"In the early 1980s he became more well known in New Zealand from test-driving vehicles on the TV motoring series Motor Show and later consulted for Toyota New Zealand,",
"Did he race any more after retirement?",
"Amon participated in the 2004 EnergyWise Rally where he won ahead of Brian Cowan. Amon drove a Toyota Prius for the event.",
"When was his more recent race?",
"Amon participated in the 2004 EnergyWise Rally",
"Did he receive any awards?",
"At the New Zealand Festival of Motor Racing in 2011, Amon's life and career were honoured with a selection of his cars being driven"
] | C_5474a4df3c614b8d91f85a078f3efc1c_1 | When did he die? | 8 | When did Chris Amon's die? | Chris Amon | After his retirement from F1, Amon dedicated himself to running the family farm in New Zealand's Manawatu District for many years. After retiring from farming, he lived in Taupo in New Zealand's North Island. In the early 1980s he became more well known in New Zealand from test-driving vehicles on the TV motoring series Motor Show and later consulted for Toyota New Zealand, tuning the 1984 Toyota Corolla and subsequent cars for sale there. He also appeared in TV commercials for the company, where much was made of the acclaim he won from Enzo Ferrari. Amon participated in the 2004 EnergyWise Rally where he won ahead of Brian Cowan. Amon drove a Toyota Prius for the event. Amon was involved in the design of the upgraded Taupo Motorsport Park circuit, used for the New Zealand round of the 2006-07 A1 Grand Prix season in January 2007. At the New Zealand Festival of Motor Racing in 2011, Amon's life and career were honoured with a selection of his cars being driven and also used the event to raise funds for the Bruce McLaren trust. Amon was also honoured at the festival in January 2013. Amon died in Rotorua Hospital on 3 August 2016, aged 73, of cancer. He was survived by his wife (they married in 1977) their three children and their grandchildren. One of his sons, James, is a qualified High Performance personal trainer. He trained Central Districts Stags cricket team, and was revealed to be Brendon Hartley's personal trainer. CANNOTANSWER | Amon died in Rotorua Hospital on 3 August 2016, aged 73, of cancer. | Christopher Arthur Amon (20 July 1943 – 3 August 2016) was a New Zealand motor racing driver. He was active in Formula One racing in the 1960s and 1970s and is widely regarded as one of the best F1 drivers never to win a championship Grand Prix. His reputation for bad luck was such that fellow driver Mario Andretti once joked that "if he became an undertaker, people would stop dying". Former Ferrari Technical Director Mauro Forghieri stated that Amon was "by far the best test driver I have ever worked with. He had all the qualities to be a World Champion but bad luck just wouldn't let him be".
Apart from driving, Chris Amon also ran his own Formula One team for a short period in 1974. Away from Formula One, Amon had some success in sports car racing, teaming with co-driver Bruce McLaren to win the 24 Hours of Le Mans race in .
Early life
Amon was born in Bulls, and attended Whanganui Collegiate School. He was the only child of wealthy sheep-owners Ngaio and Betty Amon. He learned to drive at the age of six, taught by a farm worker on the family farm. On leaving school, he persuaded his father to buy him an Austin A40 Special, which he entered in some minor local races and hillclimbs along with practice on the family farm. He progressed to a 1.5-litre Cooper and then an old 2.5-litre Maserati 250F, but only began to draw attention when he drove the Cooper-Climax T51 which Bruce McLaren had used to win his maiden Grand Prix.
In 1962 Amon entered the Cooper for the New Zealand winter series, but was hampered by mechanical problems. However, Scuderia Veloce entered him in a similar car, and, in the rain at Lakeside, he performed well. One of the spectators there was the English racing driver Reg Parnell who persuaded Amon to come to England and race for his team. In a test at Goodwood Amon continued to impress and was on the pace in the Goodwood International Trophy and Aintree 200 pre-season races.
Racing career
1960s
1963
For the 1963 Formula One season the Parnell team were using the year old Lola Mk4A, powered by 1962 specification Climax V8 engines. Amon was teamed with the very experienced Maurice Trintignant for the first race of the season at Monaco and his Grand Prix career started with what was to become typical bad luck: Trintignant's Climax developed a misfire, so he took over Amon's car.
At the 1963 Belgian Grand Prix, Amon was partnered by Lucien Bianchi and started ahead of him from 15th position. After nine laps, however, an oil fire ended his race. He continued to experience mechanical problems at the Dutch, Mexican and German Grands Prix; and after an accident in practice for the Italian Grand Prix left him hanging out of his car's cockpit with three broken ribs, he missed both the Italian and United States rounds.
Amon usually qualified in the midfield and generally outpaced his teammates, who included his good friend Mike Hailwood. His best results of the year were seventh at the French and British Grands Prix. During this time, however, Amon's social life was attracting as much attention as his driving. He was a member of the Ditton Road Flyers, the social set named after the road in London where Amon shared an apartment with American Peter Revson, Hailwood and Tony Maggs.
Parnell was nonetheless impressed with Amon's results in what was regarded as less-than-competitive machinery and promoted him to team leader. Parnell died from peritonitis in January 1964 and his son Tim took over the team.
1964
In a series of four pre-season races in Britain and Italy, Amon recorded three fifth places at Snetterton, Silverstone and Syracuse. He failed to qualify for the first F1 race of the season, the Monaco GP, but at the next race, the Dutch GP, he scored his first World Championship points. The rest of his season, however, was blighted by mechanical problems.
1965
Parnell was offered BRM engines for 1965, but only if it ran Richard Attwood as its regular driver. Reluctantly, Parnell agreed and Attwood took Amon's place. Spotting an opportunity, Bruce McLaren quickly signed Amon for his new McLaren team, but when no second McLaren F1 car materialised, Amon could only drive in sports car races.
At the French GP Amon rejoined Parnell to stand in for an injured Attwood. Amon also competed in a Formula Two race in Stuttgart and won. He returned to Germany for the German GP as second Parnell driver, but mechanical failure again forced an early retirement. His last drive before Attwood's return, a non-championship race in Enna, Sicily, also ended in retirement.
1966
During 1966 Amon continued to race for McLaren in Can-Am. He was intended to drive the second McLaren M2B but difficulties with engine supply meant that the team never made the intended expansion to two cars. (James Garner's character Pete Aron's helmet and car livery in the film Grand Prix were modelled on Amon driving a McLaren, which caused the movie makers to have to encourage other cars to be painted in the 'Yamura' colours and other drivers (Bruce McLaren included) to wear Amon-style helmets.)
However, an opportunity arose to drive for the Cooper F1 team after Richie Ginther left them for Honda. Amon drove for Cooper at the French GP and was scheduled to drive for them for the rest of the season, until the more successful John Surtees left Scuderia Ferrari to join Cooper and Amon found himself dropped.
Amon made one other F1 appearance during the year, driving a Brabham BT11 powered by an old 2-litre BRM engine at the Italian GP under the banner of "Chris Amon Racing". He failed to qualify.
Amon did however, score his biggest success to date when he partnered Bruce McLaren in a 7-litre Ford GT40 Mark II and Ken Miles to Ford's dead-heat "photo-finish" after Miles was instructed to slow down despite leading at the Le Mans 24-hour race, spearheading a formation finish. He subsequently received an invitation to meet Enzo Ferrari at the Ferrari home in Maranello, where he signed to race for Ferrari in 1967 alongside Lorenzo Bandini, Mike Parkes and Ludovico Scarfiotti.
1967
Amon's first year with Ferrari did not begin auspiciously. En route to Brands Hatch for the pre-season Formula One Race of Champions, he crashed his road car and, following race practice, had to withdraw. Tragedy then struck the Ferrari team when Bandini died following a crash during the 1967 Monaco Grand Prix, Mike Parkes broke both his legs at the Belgian Grand Prix and, in the aftermath, Ludovico Scarfiotti went into temporary retirement. Amon, therefore, became Ferrari's only driver for the rest of the season, until joined by Jonathan Williams for the final race in Mexico. Amon scored his first podium in his first official outing for the Scuderia in Monaco and at the end of 1967 had achieved four third places finishing fifth in the Drivers' Championship, in what was going to be the most successful season of his career.
Amon's Ferrari contract also included sports car racing and he began 1967 by winning the Daytona 24 Hours and 1000km Monza events with Bandini in the 4-litre Ferrari 330-P4. He finished the year partnering Jackie Stewart to a second place at the BOAC 500, thereby clinching the manufacturer's world championship for Ferrari by one point over Porsche.
1968
1968 was the year aerodynamics first played a significant role in F1 car design and Amon worked with engineer Mauro Forghieri to place aerofoils on the Ferrari 312.
In January 1968 Amon had returned home to New Zealand and Australia to compete in the 1968 Tasman Series which was used by many of the top Formula One drivers as a warm up series to the World Championship. Ferrari had been interested in the series for several years and in 1965 had reengineered 2.4 Dino engines used by Mike Hawthorn, Peter Collins and Phil Hill in 1958–60 with more torque and mid speed power for the planned use of team leader Surtees in the 1966 Tasman Series. After a late season crash in US Can-Am racing by Surtees, the entry was withdrawn but consideration was given to using NZ Gold star champion Jim Palmer in a semi-works Ferrari entry in the 1967 Tasman Series as it was viewed in a 2.4 car he would be competitive with Clark and Stewart in 2-litre F1 cars. Palmer had run world-class times in the 1966 Tasman Series, particularly in the Pukekohe practice and Longford race, and was tested in Italy at the same time as Amon by Ferrari, and ran competitive times at Modena but for whatever reason Ferrari did not compete in 1967 series. For the 1968 series Ferrari decided to use the 2.4 engines with a new Dino 166 F2 chassis rather than a downsized 3-litre V12. Using the 246T Amon won the first two rounds of the Tasman Series, including the 1968 New Zealand Grand Prix, before narrowly losing the series to the Lotus-Ford of Jim Clark. The Dino 246 Tasmania was better handling than Clark's Lotus 49T which was still wingless and a difficult proposition. Impressed by Amon's driving in the NZ rounds, Ferrari dispatched a new four-valve version of the 2.4 V6 for the Australian rounds and this gave another 15 hp, but with lesser reliability which, combined with the fact Clark was the best driver in the world at the time, cost Amon the series, although in the final round at Sandown Park he duelled wheel to wheel with Clark before being pipped at the line.
After the first race of the F1 season in South Africa, Amon achieved pole positions in three of the following four races (at the Spanish, Belgian and Dutch Grands Prix) but ever-present mechanical problems meant he secured only a single Championship point from them. Throughout the rest of the season he never qualified lower than fifth place and nearly scored victories at the British and Canadian rounds and he suffered a 100 mph crash in Italy which demolished his car. In Britain, he duelled to the line with Jo Siffert's Lotus 49B and in Canada he dominated the race despite a malfunctioning clutch. Seventeen laps from the finish, however, his car's transmission failed and a distraught Amon had to be consoled by Jacky Ickx. From at least ten promising starts that season he was only able to finish five races and score ten Championship points. His best finish was second place to Siffert's Lotus-Cosworth at the British Grand Prix.
Outside F1, Amon was runner-up in the Formula Two race at Zolder, Belgium, testing the Dino 166 F2. He also came third in that year's BRDC International Trophy.
1969
Amon began 1969 with success driving the Dino engined 246 Tasmania in the Tasman Series that included winning both the New Zealand and Australian Grands Prix. In straight fights, he beat new Gold Leaf Lotus team leader, Jochen Rindt, into second in the races at Pukekohe and Sandown. He would ultimately win the seven race Tasman Series, probably the best of the seven-year 2.5-litre international formula series in this country and the nearest to World Championship level racing in New Zealand, with ferocious competition between Rindt, Graham Hill, Amon and Williams driver Piers Courage. It was actually much more serious racing than the McLaren dominated Can-Am series in the US in which the big sports cars required few gear changes and were essentially cruised to victory with little real competition, where the Tasman cars were essentially marginally lower power F1 cars, as difficult to drive as GP cars on unforgiving very dangerous narrow tracks. Amon finished with four wins, two-thirds and one retirement, but in Formula One his poor luck continued. Despite six starts from top-six positions, he was only able to achieve a third-place at the Dutch GP. Ferrari's F1 V12 engine was too unreliable and although its replacement had proven very fast in testing, it had suffered many mechanical breakages. Amon had no reason to believe it would be any more dependable than the V12, so although the new engine was clearly more powerful, he decided to leave Ferrari for a Cosworth DFV powered team. Ironically, the new flat-12 engine would become one of the best Formula One engines of the 1970s. Jacky Ickx, Amon's old teammate did return to Ferrari for 1970, after a successful sabbatical with Brabham gained Ickx second in the 1969 World Championship. Ickx saw Enzo Ferrari had secured huge backing from Fiat who had taken partial ownership of the Marque, and believed Ferrari would be a renewed team and an effective proposition. Amon was more influenced by views of Jackie Stewart and Jochen Rindt, who believed it was essential to be Ford DFV-powered to be competitive.
In addition to Formula One, Amon also drove for Ferrari in the 1969 International Championship for Makes, partnering Pedro Rodriguez to a fourth place in the BOAC 500 at Brands Hatch and coming second at the 12 Hours of Sebring, but retiring from the 1000km Nürburgring and 1000km Monza races, all in the Ferrari 312P sportscar. He also drove in a few Can-Am races. His last race for Ferrari would be the 1970 1000 km Monza, where he finished as runner-up.
1970s
1970
For the 1970 Formula One season, Amon made what was to be the first of several moves to smaller, newer teams. March Engineering had been formed the previous year to build custom chassis for Formulas 2 and 3, but quickly moved into F1, designing and building the March 701. Amon and Siffert were signed as drivers, with IndyCar driver Mario Andretti making an occasional appearance in a third car. March also sold their 701 chassis to Tyrrell, where Jackie Stewart drove it to its first victory in that year's Spanish GP.
Amon won the pre-season Silverstone International Trophy, but once the F1 season began he found himself prevented from converting good qualifying positions into good results. He qualified second behind Stewart's Tyrrell-March for the season-opening South African Grand Prix only for his own March to overheat within fourteen laps. Amon then qualified sixth for the Spanish Grand Prix only for his March's Ford-Cosworth DFV engine to expire within ten laps. He qualified and ran second in the 1970 Monaco Grand Prix until his suspension failed twenty laps from the finish. This was the race where Amon refused to drive unless his entry number was changed from 18 – the number under which his then teammate Lorenzo Bandini had crashed and died in Monaco – to 28.
Amon's close second place from a third-place start at the 1970 Belgian Grand Prix finally gave the March works team their first points finish. At that race, Amon set fastest lap at over 152 miles per hour, a lap record which still stands as of 2016, as it was the last race on the full-length Spa-Francorchamps circuit. However, after qualifying fourth for the next race, the Dutch Grand Prix, his car's clutch broke after just one lap. Amon duplicated his Belgian result at the 1970 French Grand Prix,. After a disappointing performance in the British GP at Brands Hatch where Amon finished fifth after being outqualified by tyro Ronnie Peterson in a private 701 on the same tyres, conflict with team boss Max Mosley over the non-delivery of three-quarters of Amon's expected pay for the season saw him provided with inferior DFVs and two backmarker 7th places in Austria and Italy, Amon finished the season strongly with strong drives to third at Mosport, fifth at Watkins Glen and fourth in Mexico. At Watkins Glen in the USGP he was robbed of a probably certain victory, in the opinion of March designer Robin Herd, by a puncture.
By the end of the year, disagreements with March co-founders Mosley and Robin Herd meant that Amon had decided to move to another relatively new team, Matra.
1971
In 1971, Amon, now driving for the Matra factory team, once again scored a pre-season victory, this time at the Argentine Grand Prix. Once the Formula One season had begun, he managed to convert a third-place start at the Spanish GP into a third-place podium finish and scored a couple of fifth places in the South African and French GPs. Apart from these results, however, his run of poor F1 returns continued. He had a major accident at the Nürburgring and it sidelined him for the next race at the Österreichring. At the Italian GP he qualified in pole position and despite a poor start to the race looked as if he would capitalise on it – until the visor on his helmet became detached. Amon had to slow to avoid risking a major accident, thereby allowing other drivers to catch and overtake him. He finished the race in sixth place, scoring just one Championship point.
During the year Amon also competed in the non-championship Questor Grand Prix at the new Ontario Motor Speedway, where he qualified second and, despite suffering a puncture during the race, managed to finish fourth.
In the Tasman Series Amon started from fourth at the Levin Circuit and in the race, he battled with David Oxton and John Cannon but managed to finish third. Amon's third race at Wigram Airfield starting fifth and spun at the start to drop him to the back of the field but managed to climb up to fifth.
1972
In the 1972 Formula One season, Amon, again driving for Matra achieved a handful of points-scoring finishes, but only one podium appearance, at the French GP. Here he achieved the fifth and final pole position of his career and was leading the race until a puncture forced him to pit. However, he climbed back through the field, breaking the circuit's lap record to finish third.
With the money he had made from motorsport, Amon decided to set up a racing engine firm with former BRM engineer Aubrey Woods. Amon Racing Engines supplied Formula 2 engines to a few drivers, but the company quickly became too expensive to run and was sold to March for a loss.
Matra decided to end their participation in Formula One at the end of 1972, so Amon found himself looking to return to March as a driver. The place, however, was given to Jean-Pierre Jarier, purportedly for financial reasons. Amon therefore signed for another recently formed F1 team, Tecno.
1973
Tecno had entered F1 the previous year, having been a successful chassis-builder for other Formulæ and had developed a potentially powerful Flat 12 for F1. Their first year in F1 proved to be dismal, however with considerable backing from Martini Rossi they had jumped at the chance to sign Amon, and allocate David Yorke the former Vanwall and Gulf GT40 Team Manager to run the team and commission two new chassis designs by former Lotus and McLaren mechanic. Alan McCall who had worked on Clark and Hulme's F1 cars and unproven, British designer Gordon Fowell for a more radical back up design, in the hope he would help transform their performance. While McCalls car was built rapidly, testing it was more time-consuming and after its non-appearance, for the Spanish GP, Amon and team manager David Yorke met with Enzo Ferrari to see if Amon could be released from his contract to develop the new Ferrari B3 for Ickx and Mezarrio, in a supposedly one off GP drive at Monaco. Yorke rejected the release, and Amon admits he would not have left Ferrari if offered the drive for a season.
Unfortunately, the team went from bad to worse and wasn't able to field the Tecno PA123/6 until the fifth GP of the season, the Belgian GP. Amon managed to finish in sixth position. At Monaco the car qualified a useful 12th and chassis felt good but Chris was unhappy with the car. He decided to concentrate on the undeveloped Gordon Fowell Goral car. This was against the view of the Techno team and the Pederanzi engine builders and Martini Rossi who required the car and driver to appear at races Amon commented at the time that it was "the best chassis I've ever sat in", it too proved virtually undriveable. Amon refused to drive the McCall, Techno in the Swedish or German Gps and withdrew from the Austrian GP after qualifying. By the time of the Austrian GP, four races from the end of the season, Amon's patience had run out and he left the team. He would later claim that the months he spent with the team "felt like ten [seasons]".
Tyrrell offered Amon a third car – the 005 – in which to drive the last two races of the season. After a mediocre first outing at the Canadian GP, he and Jackie Stewart withdrew from the final race of the year, the United States GP, following the death of their teammate François Cevert during qualifying.
1974
For the 1974 F1 season, Amon revived Chris Amon Racing. Gordon Fowell designed the car, the AF101, which featured a single central fuel tank, titanium torsion bars and a forward driving position. Structurally, however, it proved to be weak and was not ready for an F1 appearance until the fourth race of the season, the Spanish GP. Amon was only able to qualify 23rd, thanks to brake-disc vibration that only became worse with the tyres for the wet race that followed. Despite cautious driving, a brake shaft finally broke and Amon was forced to retire after 22 laps.
Following further work and testing, Amon returned for the Monaco GP and qualified twentieth, but, thanks to mechanical problems, he was unable to start the race. Further problems and illness meant Amon was not able to reappear with the F101 until the Italian GP, three races from the end of the season, but this time he was unable to qualify. That sealed the fate of both the car and Chris Amon Racing, leaving Amon to drive the season's last two races with the faltering BRM team. He would later reveal that he had turned down a chance to join the Brabham team earlier in the season.
1975
Amon contested the 1975 F5000 Tasman series against only local Australasian drivers, although Graham McRae, Warwick Brown and Kevin Bartlett were acknowledged internationally. Amon qualified on the front row of three of the four New Zealand rounds and scored a victory at Teretonga in January 1975 in rainy conditions by 24.2 seconds. In the Australian rounds, the competition was always harder with more good cars and the locals on their own tracks. Amon had a frustrating series of races unable to pass, South Australian Johnnie Walker, in a superior Lola T332 chassis with Repco-engineered V8. At Surfers Paradise, running from the back of the grid he managed to eventually pass Walker by widening the braking zone in the only corner where overtaking was usually possible. Amon brushed the edge of the track on repeated laps, got extra grip and passed Walker to take the lead. He had been forced to miss most of the practice session, when Customs seized his car's gearbox. In the race, the brilliant effort went for nothing as the Chev engine blew. At Oran Park and Adelaide he followed Walker the whole way to 4th and 3rd unable to pass. In the final deciding race for the Tasman Series with Brown, Walker and Lawrence still in contention, Walker lost his T332 on the first lap and it demolished on wooden barriers surrounding Sandown's car and horse racing tracks. Amon was never in contention and finished 4th. Amon intended to compete in F5000 in both Europe and the US in 1975 but started in only one round of both series, managing a pole in one Shellsport round in the UK and a 4th place overall at the Long Beach GP in a two heat race. He used different Talon F5000 cars for both races. The speed he showed in qualifying for a couple of UK F5000 races encouraged the small Ensign team to give him a race. Mo Nunn the Ensign team owner had been a Lotus F3 driver in 1966 and the Dave Baldwin designed chassis was in many ways a lightweight Lotus F1, which Ronnie Peterson wanted to test in 1975 out of frustration with his old 72 and which could have been used by Colin Chapman had he not decided to concentrate on developing chassis which would use ground effect technology, the Lotus 77 design for 1976 which was in many ways a test vehicle for the development of concepts, including the de facto legalisation of technology like plastic sliding skirts, introduced on Andretti's 77 from the 1976 Canadian Grand Prix, that would be used in future Lotus wing cars the Lotus 78 and Lotus 79.
Apart from these successes, Amon's racing career seemed once again to have stalled. Apparently a chance meeting with Mo Nunn of Ensign Racing led to the Ensign drive, but in fact Mo Nunn thought his new N175 a very fast car and did not view the two Dutch drivers favoured by the Dutch HB Security company who sponsored Ensign fast enough. Gijs van Lennep, the 1973 European F5000 Champion in a Surtees TS11 who had won Le Mans in 1971 and 1976 was a very good driver but also one of the last racing aristocrats. Van Lennep, qualified the car on its debut in the French GP at Paul Ricard and finished 6th in the German GP at Nürburgring, and was faster on both circuits than Patrick Nève or Amon were in 1976. Amon managed 7th in the non-championship Swiss GP at Dijon chasing James Hunt debuting the disappointing Hesketh 308C and 12th in two GP drives in the Ensign N175 at the Austrian and Italian GPs. At Monza after a long pit stop he finally ran at competitive pace, running 4 laps down but keeping pace with the leading Ferrari 312T of Niki Lauda for a number of laps. Progressive evaluation of the possibilities of what was slowing the N175 led Amon to change the airbox alignment on the day of the Italian GP and this resulted in a 2-second gain (much like the change in air cooler position that lost and gained two seconds on Hunt's McLaren M23 resolved by the 1976 French GP). Ironically Amon never raced the N175 again and the high airboxes had been banned by the time N176 ran at Jarama the following year, but the flash of testing and driving genius was enough to give Amon another chance. Although the results were unremarkable, he and Nunn worked well together, so Amon joined Ensign for the 1976 F1 season.
1976
Ensign's first race of the season was the South African GP where Amon qualified 18th and showed a revival of form, climbing to seventh place, in the old Ensign N174 and contesting sixth with Mario Andretti in the Parnelli Ford, in the last laps before a last minute refueling stop left him 14th. Thereafter results began to improve, with Amon qualifying 17th and finishing eighth in the USA West GP; qualifying tenth and finishing fifth in the Spanish GP; and then qualifying eighth for the Belgian GP. More points then seemed likely from the race until his car lost a wheel 19 laps from the finish and Amon was lucky to escape unhurt from the ensuing accident. He then achieved a third-place grid position start for the Swedish GP using a Nicholson rebuilt Cosworth for the first time and in the race looked as if he would join Tyrrell drivers Jody Scheckter and Patrick Depailler on the podium, until suspension failure threw him from the track after 38 laps.
Amon had again been lucky to escape serious injury and decided to miss the next race, the French GP. He returned for the British GP, qualifying in sixth and running fourth in the race when his Ford-Cosworth DFV engine developed a water leak. Rather than risk losing an engine, his team called him in to retire.
At the German GP problems dogged his attempts to qualify well, but it was Niki Lauda's crash during the second lap of the race that had a far greater impact. Amon refused to restart the race and Nunn fired him from the team. Amon declared his retirement from the sport and returned to New Zealand.
"I'd seen too many people fried in racing cars at that stage. When you've driven past Bandini, Schlesser, Courage and Williamson, another shunt like that was simply too much. It was a personal decision..."
(Amon, on his retirement in 1976)However, Walter Wolf contacted Amon and persuaded him to drive for his Wolf–Williams team in the North American races near the end of the season. After recording some promising times in preparation for the Canadian GP, however, Amon was involved in a heavy collision with another car during qualifying and once again was lucky to walk away unharmed. He then did not take part in either the Canadian or United States Grands Prix.
1977
Amon turned down an offer of a full-time F1 drive for 1977, but did attempt a return to Can-Am racing in 1977 with a Wolf-Dallara WD1. However, after only one race he quit, saying "I'm just not enjoying this anymore". His place was taken by the young and then unknown Canadian Gilles Villeneuve, whom Amon would, later that year, recommend to Enzo Ferrari.
In the meantime, Amon returned once again to New Zealand, this time to retire from F1 motor racing for good.
2000s
2003
Amon came out of retirement for a one-off appearance in the 2003 Dunlop Targa New Zealand with motorsport commentator Murray Walker as his navigator. The pair completed the week-long Auckland to Wellington Tarmac Rally in a Toyota Camry Sportivo, the same car previously used by Walker and Colin Bond in Australia's Targa Tasmania.
Retirement
After his retirement from F1, Amon dedicated himself to running the family farm in New Zealand's Manawatu District for many years. After retiring from farming, he lived in Taupo in New Zealand's North Island. In the early 1980s he became more well known in New Zealand from test-driving vehicles on the TV motoring series Motor Show and later consulted for Toyota New Zealand, tuning the 1984 Toyota Corolla and subsequent cars for sale there. He also appeared in TV commercials for the company, where much was made of the acclaim he won from Enzo Ferrari. Amon participated in the 2004 EnergyWise Rally where he won ahead of Brian Cowan. Amon drove a Toyota Prius for the event.
In the 1993 Queen's Birthday Honours, Amon was appointed a Member of the Order of the British Empire, for services to motor sport.
Amon was involved in the design of the upgraded Taupo Motorsport Park circuit, used for the New Zealand round of the 2006–07 A1 Grand Prix season in January 2007. At the New Zealand Festival of Motor Racing in 2011, Amon's life and career were honoured with a selection of his cars being driven and also used the event to raise funds for the Bruce McLaren trust. Amon was also honoured at the festival in January 2013.
Death
Amon died in Rotorua Hospital on 3 August 2016, aged 73, of cancer. He was survived by his wife (they married in 1977) their three children and their grandchildren. One of his sons, James, is a qualified High Performance personal trainer. He trained Central Districts Stags cricket team, and was revealed to be Brendon Hartley's personal trainer.
Legacy
Despite never winning a championship Formula One Grand Prix, Amon won eight non-championship GPs, the Silverstone International Trophy, the 1000 km Monza, the Daytona 24 Hours, the Tasman Series and, perhaps most significant of all, the famous 24 Heures du Mans (alongside Bruce McLaren). These races included many of Amon's otherwise more successful fellow Formula One drivers. Amon also remains the only driver from New Zealand and Oceania to have raced for Scuderia Ferrari in Formula One.
In Formula One, Chris Amon took part in 96 Grands Prix, achieving 5 poles, leading 183 laps in 7 races, reaching the podium 11 times and scoring a total of 83 Championship points. Amon holds the record for the most different makes of car raced by a Formula 1 World Championship driver, with thirteen. A biography Forza Amon by journalist Eoin Young charts Amon's racing career and gives some insights into his personal life. The book makes clear one point on which Amon himself disagrees with most commentators, the issue of his bad luck. Amon has pointed out on several occasions that he competed for a decade and a half in Formula One and survived some serious accidents, notably in 1976, whilst others, including friends like Bruce McLaren, suffered serious injury and death. In 2008, motorsport journalist Alan Henry rated Chris Amon as his 13th greatest driver.
Reflecting on the 1968 racing death of Jim Clark, Amon said: "If this can happen to Jimmy, what chance do the rest of us have? I think we all felt that. It seemed like we'd lost our leader." In 1995, Amon was inducted into the New Zealand Sports Hall of Fame.
Amon's name has been given to the Toyota Racing Series driver's championship trophy, and the International Scholarship to support drivers who win his trophy to further their careers in single-seater racing. The Toyota Racing Series serves as motorsport's version of "winter ball" in New Zealand during January and February. Following his death, his name was also lent to the Manfeild Autocourse in Feilding, Manawatu.
Racing record
Formula One World Championship results
(key) (Races in bold indicate pole position; races in italics indicate fastest lap)
Non-Championship Formula One results
(key) (Races in bold indicate pole position; races in italics indicate fastest lap)
Complete Tasman Series results
(key) (Races in bold indicate pole position; races in italics indicate fastest lap)
Complete 24 Hours of Le Mans results
References
External links
Bruce McLaren Trust Official site
Trio At The Top – a documentary about Bruce McLaren, Denny Hulme and Chris Amon on NZ On Screen
Chris Amon 8W-Forix; Tom Prankard; 1 October 2000
New Zealand racing drivers
New Zealand Formula One drivers
Amon Formula One drivers
BRM Formula One drivers
Cooper Formula One drivers
Ensign Formula One drivers
Ferrari Formula One drivers
March Formula One drivers
Matra Formula One drivers
Reg Parnell Racing Formula One drivers
Tecno Formula One drivers
Tyrrell Formula One drivers
Williams Formula One drivers
Formula One team owners
24 Hours of Le Mans drivers
24 Hours of Le Mans winning drivers
12 Hours of Reims drivers
24 Hours of Daytona drivers
World Sportscar Championship drivers
Tasman Series drivers
New Zealand Members of the Order of the British Empire
People from Bulls
1943 births
2016 deaths | true | [
"Hagen Friedrich Liebing (18 February 1961 – 25 September 2016), nicknamed \"The Incredible Hagen\", was a German musician and journalist, best known as the bassist for the influential punk band Die Ärzte. \n\nIn 1986, drummer Bela B invited him to join Die Ärzte. The two knew each other from early Berlin punk days. The band disbanded in 1988. Liebing tried his hand at journalism shortly thereafter. He wrote several articles for Der Tagesspiegel, and was the senior music editor of Tip Berlin since the mid-1990s. \n\nWhen Die Ärzte reunited in 1993, Liebing did not join them. However, he did join them on stage as a special guest in 2002. In 2003, he published his memoirs The Incredible Hagen – My Years with Die Ärzte. From 2003 to 2010, he headed the Press and Public Relations at the football club Tennis Borussia Berlin. \n\nLiebing died in Berlin on 25 September 2016, after a battle with a brain tumor.\n\nReferences\n\n1961 births\n2016 deaths\nMusicians from Berlin\nGerman male musicians\nGerman journalists\nDeaths from cancer in Germany\nDeaths from brain tumor",
"Johann Karl Wezel (October 31, 1747 in Sondershausen, Germany – January 28, 1819 in Sondershausen), also Johann Carl Wezel, was a German poet, novelist and philosopher of the Enlightenment.\n\nLife\nBorn the son of domestic servants, Wezel studied Theology, Law, Philosophy and Philology at the University of Leipzig. Early philosophical influences include John Locke and Julien Offray de La Mettrie. After positions as tutor at the courts of Bautzen and Berlin, Wezel lived as a freelance writer. A short stay in Vienna did not result in him getting employed by the local national theater. He thus moved back to Leipzig and, in 1793, to Sondershausen, which he did not leave again until his death in 1819.\n\nAlthough his works were extremely successful when they were published, Wezel was almost forgotten when he died. His rediscovery in the second half of the 20th century is mainly due to German author Arno Schmidt who published a radio essay about him in 1959.\n\nWorks\n Filibert und Theodosia (1772)\n Lebensgeschichte Tobias Knauts, des Weisen, sonst der Stammler genannt: aus Familiennachrichten gesammelt (1773–1776)\n Der Graf von Wickham (1774)\n Epistel an die deutschen Dichter (1775)\n Belphegor oder die wahrscheinlichste Geschichte unter der Sonne (1776)\n Herrmann und Ulrike (1780)\n Appellation der Vokalen an das Publikum (1778)\n Die wilde Betty (1779)\n Zelmor und Ermide (1779)\n Tagebuch eines neuen Ehmanns (1779)\n Robinson Krusoe. Neu bearbeitet (1779)\n Ueber Sprache, Wißenschaften und Geschmack der Teutschen (1781)\n Meine Auferstehung (1782)\n Wilhelmine Arend oder die Gefahren der Empfindsamkeit (1782)\n Kakerlak, oder Geschichte eines Rosenkreuzers aus dem vorigen Jahrhunderte (1784)\n Versuch über die Kenntniß des Menschen (1784–1785)\n\nReferences\n\nExternal links\n \n \n\n1747 births\n1819 deaths\nPeople from Sondershausen\n\nGerman male writershuort escrouesr"
] | [
"Christopher Arthur Amon (20 July 1943 – 3 August 2016) was a New Zealand motor racing driver. He was active in Formula One racing in the 1960s and 1970s and is widely regarded as one of the best F1 drivers never to win a championship Grand Prix.",
"He was active in Formula One racing in the 1960s and 1970s and is widely regarded as one of the best F1 drivers never to win a championship Grand Prix. His reputation for bad luck was such that fellow driver Mario Andretti once joked that \"if he became an undertaker, people would stop dying\".",
"His reputation for bad luck was such that fellow driver Mario Andretti once joked that \"if he became an undertaker, people would stop dying\". Former Ferrari Technical Director Mauro Forghieri stated that Amon was \"by far the best test driver I have ever worked with.",
"Former Ferrari Technical Director Mauro Forghieri stated that Amon was \"by far the best test driver I have ever worked with. He had all the qualities to be a World Champion but bad luck just wouldn't let him be\". Apart from driving, Chris Amon also ran his own Formula One team for a short period in 1974.",
"Apart from driving, Chris Amon also ran his own Formula One team for a short period in 1974. Away from Formula One, Amon had some success in sports car racing, teaming with co-driver Bruce McLaren to win the 24 Hours of Le Mans race in . Early life Amon was born in Bulls, and attended Whanganui Collegiate School.",
"Early life Amon was born in Bulls, and attended Whanganui Collegiate School. He was the only child of wealthy sheep-owners Ngaio and Betty Amon. He learned to drive at the age of six, taught by a farm worker on the family farm.",
"He learned to drive at the age of six, taught by a farm worker on the family farm. On leaving school, he persuaded his father to buy him an Austin A40 Special, which he entered in some minor local races and hillclimbs along with practice on the family farm.",
"On leaving school, he persuaded his father to buy him an Austin A40 Special, which he entered in some minor local races and hillclimbs along with practice on the family farm. He progressed to a 1.5-litre Cooper and then an old 2.5-litre Maserati 250F, but only began to draw attention when he drove the Cooper-Climax T51 which Bruce McLaren had used to win his maiden Grand Prix.",
"He progressed to a 1.5-litre Cooper and then an old 2.5-litre Maserati 250F, but only began to draw attention when he drove the Cooper-Climax T51 which Bruce McLaren had used to win his maiden Grand Prix. In 1962 Amon entered the Cooper for the New Zealand winter series, but was hampered by mechanical problems.",
"In 1962 Amon entered the Cooper for the New Zealand winter series, but was hampered by mechanical problems. However, Scuderia Veloce entered him in a similar car, and, in the rain at Lakeside, he performed well.",
"However, Scuderia Veloce entered him in a similar car, and, in the rain at Lakeside, he performed well. One of the spectators there was the English racing driver Reg Parnell who persuaded Amon to come to England and race for his team.",
"One of the spectators there was the English racing driver Reg Parnell who persuaded Amon to come to England and race for his team. In a test at Goodwood Amon continued to impress and was on the pace in the Goodwood International Trophy and Aintree 200 pre-season races.",
"In a test at Goodwood Amon continued to impress and was on the pace in the Goodwood International Trophy and Aintree 200 pre-season races. Racing career 1960s 1963 For the 1963 Formula One season the Parnell team were using the year old Lola Mk4A, powered by 1962 specification Climax V8 engines.",
"Racing career 1960s 1963 For the 1963 Formula One season the Parnell team were using the year old Lola Mk4A, powered by 1962 specification Climax V8 engines. Amon was teamed with the very experienced Maurice Trintignant for the first race of the season at Monaco and his Grand Prix career started with what was to become typical bad luck: Trintignant's Climax developed a misfire, so he took over Amon's car.",
"Amon was teamed with the very experienced Maurice Trintignant for the first race of the season at Monaco and his Grand Prix career started with what was to become typical bad luck: Trintignant's Climax developed a misfire, so he took over Amon's car. At the 1963 Belgian Grand Prix, Amon was partnered by Lucien Bianchi and started ahead of him from 15th position.",
"At the 1963 Belgian Grand Prix, Amon was partnered by Lucien Bianchi and started ahead of him from 15th position. After nine laps, however, an oil fire ended his race.",
"After nine laps, however, an oil fire ended his race. He continued to experience mechanical problems at the Dutch, Mexican and German Grands Prix; and after an accident in practice for the Italian Grand Prix left him hanging out of his car's cockpit with three broken ribs, he missed both the Italian and United States rounds.",
"He continued to experience mechanical problems at the Dutch, Mexican and German Grands Prix; and after an accident in practice for the Italian Grand Prix left him hanging out of his car's cockpit with three broken ribs, he missed both the Italian and United States rounds. Amon usually qualified in the midfield and generally outpaced his teammates, who included his good friend Mike Hailwood.",
"Amon usually qualified in the midfield and generally outpaced his teammates, who included his good friend Mike Hailwood. His best results of the year were seventh at the French and British Grands Prix. During this time, however, Amon's social life was attracting as much attention as his driving.",
"During this time, however, Amon's social life was attracting as much attention as his driving. He was a member of the Ditton Road Flyers, the social set named after the road in London where Amon shared an apartment with American Peter Revson, Hailwood and Tony Maggs.",
"He was a member of the Ditton Road Flyers, the social set named after the road in London where Amon shared an apartment with American Peter Revson, Hailwood and Tony Maggs. Parnell was nonetheless impressed with Amon's results in what was regarded as less-than-competitive machinery and promoted him to team leader.",
"Parnell was nonetheless impressed with Amon's results in what was regarded as less-than-competitive machinery and promoted him to team leader. Parnell died from peritonitis in January 1964 and his son Tim took over the team. 1964 In a series of four pre-season races in Britain and Italy, Amon recorded three fifth places at Snetterton, Silverstone and Syracuse.",
"1964 In a series of four pre-season races in Britain and Italy, Amon recorded three fifth places at Snetterton, Silverstone and Syracuse. He failed to qualify for the first F1 race of the season, the Monaco GP, but at the next race, the Dutch GP, he scored his first World Championship points.",
"He failed to qualify for the first F1 race of the season, the Monaco GP, but at the next race, the Dutch GP, he scored his first World Championship points. The rest of his season, however, was blighted by mechanical problems.",
"The rest of his season, however, was blighted by mechanical problems. 1965 Parnell was offered BRM engines for 1965, but only if it ran Richard Attwood as its regular driver. Reluctantly, Parnell agreed and Attwood took Amon's place.",
"Reluctantly, Parnell agreed and Attwood took Amon's place. Spotting an opportunity, Bruce McLaren quickly signed Amon for his new McLaren team, but when no second McLaren F1 car materialised, Amon could only drive in sports car races. At the French GP Amon rejoined Parnell to stand in for an injured Attwood.",
"At the French GP Amon rejoined Parnell to stand in for an injured Attwood. Amon also competed in a Formula Two race in Stuttgart and won. He returned to Germany for the German GP as second Parnell driver, but mechanical failure again forced an early retirement.",
"He returned to Germany for the German GP as second Parnell driver, but mechanical failure again forced an early retirement. His last drive before Attwood's return, a non-championship race in Enna, Sicily, also ended in retirement. 1966 During 1966 Amon continued to race for McLaren in Can-Am.",
"1966 During 1966 Amon continued to race for McLaren in Can-Am. He was intended to drive the second McLaren M2B but difficulties with engine supply meant that the team never made the intended expansion to two cars.",
"He was intended to drive the second McLaren M2B but difficulties with engine supply meant that the team never made the intended expansion to two cars. (James Garner's character Pete Aron's helmet and car livery in the film Grand Prix were modelled on Amon driving a McLaren, which caused the movie makers to have to encourage other cars to be painted in the 'Yamura' colours and other drivers (Bruce McLaren included) to wear Amon-style helmets.)",
"(James Garner's character Pete Aron's helmet and car livery in the film Grand Prix were modelled on Amon driving a McLaren, which caused the movie makers to have to encourage other cars to be painted in the 'Yamura' colours and other drivers (Bruce McLaren included) to wear Amon-style helmets.) However, an opportunity arose to drive for the Cooper F1 team after Richie Ginther left them for Honda.",
"However, an opportunity arose to drive for the Cooper F1 team after Richie Ginther left them for Honda. Amon drove for Cooper at the French GP and was scheduled to drive for them for the rest of the season, until the more successful John Surtees left Scuderia Ferrari to join Cooper and Amon found himself dropped.",
"Amon drove for Cooper at the French GP and was scheduled to drive for them for the rest of the season, until the more successful John Surtees left Scuderia Ferrari to join Cooper and Amon found himself dropped. Amon made one other F1 appearance during the year, driving a Brabham BT11 powered by an old 2-litre BRM engine at the Italian GP under the banner of \"Chris Amon Racing\".",
"Amon made one other F1 appearance during the year, driving a Brabham BT11 powered by an old 2-litre BRM engine at the Italian GP under the banner of \"Chris Amon Racing\". He failed to qualify.",
"He failed to qualify. He failed to qualify. Amon did however, score his biggest success to date when he partnered Bruce McLaren in a 7-litre Ford GT40 Mark II and Ken Miles to Ford's dead-heat \"photo-finish\" after Miles was instructed to slow down despite leading at the Le Mans 24-hour race, spearheading a formation finish.",
"Amon did however, score his biggest success to date when he partnered Bruce McLaren in a 7-litre Ford GT40 Mark II and Ken Miles to Ford's dead-heat \"photo-finish\" after Miles was instructed to slow down despite leading at the Le Mans 24-hour race, spearheading a formation finish. He subsequently received an invitation to meet Enzo Ferrari at the Ferrari home in Maranello, where he signed to race for Ferrari in 1967 alongside Lorenzo Bandini, Mike Parkes and Ludovico Scarfiotti.",
"He subsequently received an invitation to meet Enzo Ferrari at the Ferrari home in Maranello, where he signed to race for Ferrari in 1967 alongside Lorenzo Bandini, Mike Parkes and Ludovico Scarfiotti. 1967 Amon's first year with Ferrari did not begin auspiciously.",
"1967 Amon's first year with Ferrari did not begin auspiciously. En route to Brands Hatch for the pre-season Formula One Race of Champions, he crashed his road car and, following race practice, had to withdraw.",
"En route to Brands Hatch for the pre-season Formula One Race of Champions, he crashed his road car and, following race practice, had to withdraw. Tragedy then struck the Ferrari team when Bandini died following a crash during the 1967 Monaco Grand Prix, Mike Parkes broke both his legs at the Belgian Grand Prix and, in the aftermath, Ludovico Scarfiotti went into temporary retirement.",
"Tragedy then struck the Ferrari team when Bandini died following a crash during the 1967 Monaco Grand Prix, Mike Parkes broke both his legs at the Belgian Grand Prix and, in the aftermath, Ludovico Scarfiotti went into temporary retirement. Amon, therefore, became Ferrari's only driver for the rest of the season, until joined by Jonathan Williams for the final race in Mexico.",
"Amon, therefore, became Ferrari's only driver for the rest of the season, until joined by Jonathan Williams for the final race in Mexico. Amon scored his first podium in his first official outing for the Scuderia in Monaco and at the end of 1967 had achieved four third places finishing fifth in the Drivers' Championship, in what was going to be the most successful season of his career.",
"Amon scored his first podium in his first official outing for the Scuderia in Monaco and at the end of 1967 had achieved four third places finishing fifth in the Drivers' Championship, in what was going to be the most successful season of his career. Amon's Ferrari contract also included sports car racing and he began 1967 by winning the Daytona 24 Hours and 1000km Monza events with Bandini in the 4-litre Ferrari 330-P4.",
"Amon's Ferrari contract also included sports car racing and he began 1967 by winning the Daytona 24 Hours and 1000km Monza events with Bandini in the 4-litre Ferrari 330-P4. He finished the year partnering Jackie Stewart to a second place at the BOAC 500, thereby clinching the manufacturer's world championship for Ferrari by one point over Porsche.",
"He finished the year partnering Jackie Stewart to a second place at the BOAC 500, thereby clinching the manufacturer's world championship for Ferrari by one point over Porsche. 1968 1968 was the year aerodynamics first played a significant role in F1 car design and Amon worked with engineer Mauro Forghieri to place aerofoils on the Ferrari 312.",
"1968 1968 was the year aerodynamics first played a significant role in F1 car design and Amon worked with engineer Mauro Forghieri to place aerofoils on the Ferrari 312. In January 1968 Amon had returned home to New Zealand and Australia to compete in the 1968 Tasman Series which was used by many of the top Formula One drivers as a warm up series to the World Championship.",
"In January 1968 Amon had returned home to New Zealand and Australia to compete in the 1968 Tasman Series which was used by many of the top Formula One drivers as a warm up series to the World Championship. Ferrari had been interested in the series for several years and in 1965 had reengineered 2.4 Dino engines used by Mike Hawthorn, Peter Collins and Phil Hill in 1958–60 with more torque and mid speed power for the planned use of team leader Surtees in the 1966 Tasman Series.",
"Ferrari had been interested in the series for several years and in 1965 had reengineered 2.4 Dino engines used by Mike Hawthorn, Peter Collins and Phil Hill in 1958–60 with more torque and mid speed power for the planned use of team leader Surtees in the 1966 Tasman Series. After a late season crash in US Can-Am racing by Surtees, the entry was withdrawn but consideration was given to using NZ Gold star champion Jim Palmer in a semi-works Ferrari entry in the 1967 Tasman Series as it was viewed in a 2.4 car he would be competitive with Clark and Stewart in 2-litre F1 cars.",
"After a late season crash in US Can-Am racing by Surtees, the entry was withdrawn but consideration was given to using NZ Gold star champion Jim Palmer in a semi-works Ferrari entry in the 1967 Tasman Series as it was viewed in a 2.4 car he would be competitive with Clark and Stewart in 2-litre F1 cars. Palmer had run world-class times in the 1966 Tasman Series, particularly in the Pukekohe practice and Longford race, and was tested in Italy at the same time as Amon by Ferrari, and ran competitive times at Modena but for whatever reason Ferrari did not compete in 1967 series.",
"Palmer had run world-class times in the 1966 Tasman Series, particularly in the Pukekohe practice and Longford race, and was tested in Italy at the same time as Amon by Ferrari, and ran competitive times at Modena but for whatever reason Ferrari did not compete in 1967 series. For the 1968 series Ferrari decided to use the 2.4 engines with a new Dino 166 F2 chassis rather than a downsized 3-litre V12.",
"For the 1968 series Ferrari decided to use the 2.4 engines with a new Dino 166 F2 chassis rather than a downsized 3-litre V12. Using the 246T Amon won the first two rounds of the Tasman Series, including the 1968 New Zealand Grand Prix, before narrowly losing the series to the Lotus-Ford of Jim Clark.",
"Using the 246T Amon won the first two rounds of the Tasman Series, including the 1968 New Zealand Grand Prix, before narrowly losing the series to the Lotus-Ford of Jim Clark. The Dino 246 Tasmania was better handling than Clark's Lotus 49T which was still wingless and a difficult proposition.",
"The Dino 246 Tasmania was better handling than Clark's Lotus 49T which was still wingless and a difficult proposition. Impressed by Amon's driving in the NZ rounds, Ferrari dispatched a new four-valve version of the 2.4 V6 for the Australian rounds and this gave another 15 hp, but with lesser reliability which, combined with the fact Clark was the best driver in the world at the time, cost Amon the series, although in the final round at Sandown Park he duelled wheel to wheel with Clark before being pipped at the line.",
"Impressed by Amon's driving in the NZ rounds, Ferrari dispatched a new four-valve version of the 2.4 V6 for the Australian rounds and this gave another 15 hp, but with lesser reliability which, combined with the fact Clark was the best driver in the world at the time, cost Amon the series, although in the final round at Sandown Park he duelled wheel to wheel with Clark before being pipped at the line. After the first race of the F1 season in South Africa, Amon achieved pole positions in three of the following four races (at the Spanish, Belgian and Dutch Grands Prix) but ever-present mechanical problems meant he secured only a single Championship point from them.",
"After the first race of the F1 season in South Africa, Amon achieved pole positions in three of the following four races (at the Spanish, Belgian and Dutch Grands Prix) but ever-present mechanical problems meant he secured only a single Championship point from them. Throughout the rest of the season he never qualified lower than fifth place and nearly scored victories at the British and Canadian rounds and he suffered a 100 mph crash in Italy which demolished his car.",
"Throughout the rest of the season he never qualified lower than fifth place and nearly scored victories at the British and Canadian rounds and he suffered a 100 mph crash in Italy which demolished his car. In Britain, he duelled to the line with Jo Siffert's Lotus 49B and in Canada he dominated the race despite a malfunctioning clutch.",
"In Britain, he duelled to the line with Jo Siffert's Lotus 49B and in Canada he dominated the race despite a malfunctioning clutch. Seventeen laps from the finish, however, his car's transmission failed and a distraught Amon had to be consoled by Jacky Ickx.",
"Seventeen laps from the finish, however, his car's transmission failed and a distraught Amon had to be consoled by Jacky Ickx. From at least ten promising starts that season he was only able to finish five races and score ten Championship points. His best finish was second place to Siffert's Lotus-Cosworth at the British Grand Prix.",
"His best finish was second place to Siffert's Lotus-Cosworth at the British Grand Prix. Outside F1, Amon was runner-up in the Formula Two race at Zolder, Belgium, testing the Dino 166 F2. He also came third in that year's BRDC International Trophy.",
"He also came third in that year's BRDC International Trophy. 1969 Amon began 1969 with success driving the Dino engined 246 Tasmania in the Tasman Series that included winning both the New Zealand and Australian Grands Prix.",
"1969 Amon began 1969 with success driving the Dino engined 246 Tasmania in the Tasman Series that included winning both the New Zealand and Australian Grands Prix. In straight fights, he beat new Gold Leaf Lotus team leader, Jochen Rindt, into second in the races at Pukekohe and Sandown.",
"In straight fights, he beat new Gold Leaf Lotus team leader, Jochen Rindt, into second in the races at Pukekohe and Sandown. He would ultimately win the seven race Tasman Series, probably the best of the seven-year 2.5-litre international formula series in this country and the nearest to World Championship level racing in New Zealand, with ferocious competition between Rindt, Graham Hill, Amon and Williams driver Piers Courage.",
"He would ultimately win the seven race Tasman Series, probably the best of the seven-year 2.5-litre international formula series in this country and the nearest to World Championship level racing in New Zealand, with ferocious competition between Rindt, Graham Hill, Amon and Williams driver Piers Courage. It was actually much more serious racing than the McLaren dominated Can-Am series in the US in which the big sports cars required few gear changes and were essentially cruised to victory with little real competition, where the Tasman cars were essentially marginally lower power F1 cars, as difficult to drive as GP cars on unforgiving very dangerous narrow tracks.",
"It was actually much more serious racing than the McLaren dominated Can-Am series in the US in which the big sports cars required few gear changes and were essentially cruised to victory with little real competition, where the Tasman cars were essentially marginally lower power F1 cars, as difficult to drive as GP cars on unforgiving very dangerous narrow tracks. Amon finished with four wins, two-thirds and one retirement, but in Formula One his poor luck continued.",
"Amon finished with four wins, two-thirds and one retirement, but in Formula One his poor luck continued. Despite six starts from top-six positions, he was only able to achieve a third-place at the Dutch GP.",
"Despite six starts from top-six positions, he was only able to achieve a third-place at the Dutch GP. Ferrari's F1 V12 engine was too unreliable and although its replacement had proven very fast in testing, it had suffered many mechanical breakages.",
"Ferrari's F1 V12 engine was too unreliable and although its replacement had proven very fast in testing, it had suffered many mechanical breakages. Amon had no reason to believe it would be any more dependable than the V12, so although the new engine was clearly more powerful, he decided to leave Ferrari for a Cosworth DFV powered team.",
"Amon had no reason to believe it would be any more dependable than the V12, so although the new engine was clearly more powerful, he decided to leave Ferrari for a Cosworth DFV powered team. Ironically, the new flat-12 engine would become one of the best Formula One engines of the 1970s.",
"Ironically, the new flat-12 engine would become one of the best Formula One engines of the 1970s. Jacky Ickx, Amon's old teammate did return to Ferrari for 1970, after a successful sabbatical with Brabham gained Ickx second in the 1969 World Championship.",
"Jacky Ickx, Amon's old teammate did return to Ferrari for 1970, after a successful sabbatical with Brabham gained Ickx second in the 1969 World Championship. Ickx saw Enzo Ferrari had secured huge backing from Fiat who had taken partial ownership of the Marque, and believed Ferrari would be a renewed team and an effective proposition.",
"Ickx saw Enzo Ferrari had secured huge backing from Fiat who had taken partial ownership of the Marque, and believed Ferrari would be a renewed team and an effective proposition. Amon was more influenced by views of Jackie Stewart and Jochen Rindt, who believed it was essential to be Ford DFV-powered to be competitive.",
"Amon was more influenced by views of Jackie Stewart and Jochen Rindt, who believed it was essential to be Ford DFV-powered to be competitive. In addition to Formula One, Amon also drove for Ferrari in the 1969 International Championship for Makes, partnering Pedro Rodriguez to a fourth place in the BOAC 500 at Brands Hatch and coming second at the 12 Hours of Sebring, but retiring from the 1000km Nürburgring and 1000km Monza races, all in the Ferrari 312P sportscar.",
"In addition to Formula One, Amon also drove for Ferrari in the 1969 International Championship for Makes, partnering Pedro Rodriguez to a fourth place in the BOAC 500 at Brands Hatch and coming second at the 12 Hours of Sebring, but retiring from the 1000km Nürburgring and 1000km Monza races, all in the Ferrari 312P sportscar. He also drove in a few Can-Am races.",
"He also drove in a few Can-Am races. His last race for Ferrari would be the 1970 1000 km Monza, where he finished as runner-up. 1970s 1970 For the 1970 Formula One season, Amon made what was to be the first of several moves to smaller, newer teams.",
"1970s 1970 For the 1970 Formula One season, Amon made what was to be the first of several moves to smaller, newer teams. March Engineering had been formed the previous year to build custom chassis for Formulas 2 and 3, but quickly moved into F1, designing and building the March 701.",
"March Engineering had been formed the previous year to build custom chassis for Formulas 2 and 3, but quickly moved into F1, designing and building the March 701. Amon and Siffert were signed as drivers, with IndyCar driver Mario Andretti making an occasional appearance in a third car.",
"Amon and Siffert were signed as drivers, with IndyCar driver Mario Andretti making an occasional appearance in a third car. March also sold their 701 chassis to Tyrrell, where Jackie Stewart drove it to its first victory in that year's Spanish GP.",
"March also sold their 701 chassis to Tyrrell, where Jackie Stewart drove it to its first victory in that year's Spanish GP. Amon won the pre-season Silverstone International Trophy, but once the F1 season began he found himself prevented from converting good qualifying positions into good results.",
"Amon won the pre-season Silverstone International Trophy, but once the F1 season began he found himself prevented from converting good qualifying positions into good results. He qualified second behind Stewart's Tyrrell-March for the season-opening South African Grand Prix only for his own March to overheat within fourteen laps.",
"He qualified second behind Stewart's Tyrrell-March for the season-opening South African Grand Prix only for his own March to overheat within fourteen laps. Amon then qualified sixth for the Spanish Grand Prix only for his March's Ford-Cosworth DFV engine to expire within ten laps.",
"Amon then qualified sixth for the Spanish Grand Prix only for his March's Ford-Cosworth DFV engine to expire within ten laps. He qualified and ran second in the 1970 Monaco Grand Prix until his suspension failed twenty laps from the finish.",
"He qualified and ran second in the 1970 Monaco Grand Prix until his suspension failed twenty laps from the finish. This was the race where Amon refused to drive unless his entry number was changed from 18 – the number under which his then teammate Lorenzo Bandini had crashed and died in Monaco – to 28.",
"This was the race where Amon refused to drive unless his entry number was changed from 18 – the number under which his then teammate Lorenzo Bandini had crashed and died in Monaco – to 28. Amon's close second place from a third-place start at the 1970 Belgian Grand Prix finally gave the March works team their first points finish.",
"Amon's close second place from a third-place start at the 1970 Belgian Grand Prix finally gave the March works team their first points finish. At that race, Amon set fastest lap at over 152 miles per hour, a lap record which still stands as of 2016, as it was the last race on the full-length Spa-Francorchamps circuit.",
"At that race, Amon set fastest lap at over 152 miles per hour, a lap record which still stands as of 2016, as it was the last race on the full-length Spa-Francorchamps circuit. However, after qualifying fourth for the next race, the Dutch Grand Prix, his car's clutch broke after just one lap.",
"However, after qualifying fourth for the next race, the Dutch Grand Prix, his car's clutch broke after just one lap. Amon duplicated his Belgian result at the 1970 French Grand Prix,.",
"Amon duplicated his Belgian result at the 1970 French Grand Prix,. After a disappointing performance in the British GP at Brands Hatch where Amon finished fifth after being outqualified by tyro Ronnie Peterson in a private 701 on the same tyres, conflict with team boss Max Mosley over the non-delivery of three-quarters of Amon's expected pay for the season saw him provided with inferior DFVs and two backmarker 7th places in Austria and Italy, Amon finished the season strongly with strong drives to third at Mosport, fifth at Watkins Glen and fourth in Mexico.",
"After a disappointing performance in the British GP at Brands Hatch where Amon finished fifth after being outqualified by tyro Ronnie Peterson in a private 701 on the same tyres, conflict with team boss Max Mosley over the non-delivery of three-quarters of Amon's expected pay for the season saw him provided with inferior DFVs and two backmarker 7th places in Austria and Italy, Amon finished the season strongly with strong drives to third at Mosport, fifth at Watkins Glen and fourth in Mexico. At Watkins Glen in the USGP he was robbed of a probably certain victory, in the opinion of March designer Robin Herd, by a puncture.",
"At Watkins Glen in the USGP he was robbed of a probably certain victory, in the opinion of March designer Robin Herd, by a puncture. By the end of the year, disagreements with March co-founders Mosley and Robin Herd meant that Amon had decided to move to another relatively new team, Matra.",
"By the end of the year, disagreements with March co-founders Mosley and Robin Herd meant that Amon had decided to move to another relatively new team, Matra. 1971 In 1971, Amon, now driving for the Matra factory team, once again scored a pre-season victory, this time at the Argentine Grand Prix.",
"1971 In 1971, Amon, now driving for the Matra factory team, once again scored a pre-season victory, this time at the Argentine Grand Prix. Once the Formula One season had begun, he managed to convert a third-place start at the Spanish GP into a third-place podium finish and scored a couple of fifth places in the South African and French GPs.",
"Once the Formula One season had begun, he managed to convert a third-place start at the Spanish GP into a third-place podium finish and scored a couple of fifth places in the South African and French GPs. Apart from these results, however, his run of poor F1 returns continued.",
"Apart from these results, however, his run of poor F1 returns continued. He had a major accident at the Nürburgring and it sidelined him for the next race at the Österreichring.",
"He had a major accident at the Nürburgring and it sidelined him for the next race at the Österreichring. At the Italian GP he qualified in pole position and despite a poor start to the race looked as if he would capitalise on it – until the visor on his helmet became detached.",
"At the Italian GP he qualified in pole position and despite a poor start to the race looked as if he would capitalise on it – until the visor on his helmet became detached. Amon had to slow to avoid risking a major accident, thereby allowing other drivers to catch and overtake him.",
"Amon had to slow to avoid risking a major accident, thereby allowing other drivers to catch and overtake him. He finished the race in sixth place, scoring just one Championship point.",
"He finished the race in sixth place, scoring just one Championship point. During the year Amon also competed in the non-championship Questor Grand Prix at the new Ontario Motor Speedway, where he qualified second and, despite suffering a puncture during the race, managed to finish fourth.",
"During the year Amon also competed in the non-championship Questor Grand Prix at the new Ontario Motor Speedway, where he qualified second and, despite suffering a puncture during the race, managed to finish fourth. In the Tasman Series Amon started from fourth at the Levin Circuit and in the race, he battled with David Oxton and John Cannon but managed to finish third.",
"In the Tasman Series Amon started from fourth at the Levin Circuit and in the race, he battled with David Oxton and John Cannon but managed to finish third. Amon's third race at Wigram Airfield starting fifth and spun at the start to drop him to the back of the field but managed to climb up to fifth.",
"Amon's third race at Wigram Airfield starting fifth and spun at the start to drop him to the back of the field but managed to climb up to fifth. 1972 In the 1972 Formula One season, Amon, again driving for Matra achieved a handful of points-scoring finishes, but only one podium appearance, at the French GP.",
"1972 In the 1972 Formula One season, Amon, again driving for Matra achieved a handful of points-scoring finishes, but only one podium appearance, at the French GP. Here he achieved the fifth and final pole position of his career and was leading the race until a puncture forced him to pit.",
"Here he achieved the fifth and final pole position of his career and was leading the race until a puncture forced him to pit. However, he climbed back through the field, breaking the circuit's lap record to finish third.",
"However, he climbed back through the field, breaking the circuit's lap record to finish third. With the money he had made from motorsport, Amon decided to set up a racing engine firm with former BRM engineer Aubrey Woods.",
"With the money he had made from motorsport, Amon decided to set up a racing engine firm with former BRM engineer Aubrey Woods. Amon Racing Engines supplied Formula 2 engines to a few drivers, but the company quickly became too expensive to run and was sold to March for a loss.",
"Amon Racing Engines supplied Formula 2 engines to a few drivers, but the company quickly became too expensive to run and was sold to March for a loss. Matra decided to end their participation in Formula One at the end of 1972, so Amon found himself looking to return to March as a driver.",
"Matra decided to end their participation in Formula One at the end of 1972, so Amon found himself looking to return to March as a driver. The place, however, was given to Jean-Pierre Jarier, purportedly for financial reasons. Amon therefore signed for another recently formed F1 team, Tecno.",
"Amon therefore signed for another recently formed F1 team, Tecno. 1973 Tecno had entered F1 the previous year, having been a successful chassis-builder for other Formulæ and had developed a potentially powerful Flat 12 for F1.",
"1973 Tecno had entered F1 the previous year, having been a successful chassis-builder for other Formulæ and had developed a potentially powerful Flat 12 for F1. Their first year in F1 proved to be dismal, however with considerable backing from Martini Rossi they had jumped at the chance to sign Amon, and allocate David Yorke the former Vanwall and Gulf GT40 Team Manager to run the team and commission two new chassis designs by former Lotus and McLaren mechanic.",
"Their first year in F1 proved to be dismal, however with considerable backing from Martini Rossi they had jumped at the chance to sign Amon, and allocate David Yorke the former Vanwall and Gulf GT40 Team Manager to run the team and commission two new chassis designs by former Lotus and McLaren mechanic. Alan McCall who had worked on Clark and Hulme's F1 cars and unproven, British designer Gordon Fowell for a more radical back up design, in the hope he would help transform their performance.",
"Alan McCall who had worked on Clark and Hulme's F1 cars and unproven, British designer Gordon Fowell for a more radical back up design, in the hope he would help transform their performance. While McCalls car was built rapidly, testing it was more time-consuming and after its non-appearance, for the Spanish GP, Amon and team manager David Yorke met with Enzo Ferrari to see if Amon could be released from his contract to develop the new Ferrari B3 for Ickx and Mezarrio, in a supposedly one off GP drive at Monaco.",
"While McCalls car was built rapidly, testing it was more time-consuming and after its non-appearance, for the Spanish GP, Amon and team manager David Yorke met with Enzo Ferrari to see if Amon could be released from his contract to develop the new Ferrari B3 for Ickx and Mezarrio, in a supposedly one off GP drive at Monaco. Yorke rejected the release, and Amon admits he would not have left Ferrari if offered the drive for a season.",
"Yorke rejected the release, and Amon admits he would not have left Ferrari if offered the drive for a season. Unfortunately, the team went from bad to worse and wasn't able to field the Tecno PA123/6 until the fifth GP of the season, the Belgian GP. Amon managed to finish in sixth position.",
"Amon managed to finish in sixth position. At Monaco the car qualified a useful 12th and chassis felt good but Chris was unhappy with the car. He decided to concentrate on the undeveloped Gordon Fowell Goral car.",
"He decided to concentrate on the undeveloped Gordon Fowell Goral car. This was against the view of the Techno team and the Pederanzi engine builders and Martini Rossi who required the car and driver to appear at races Amon commented at the time that it was \"the best chassis I've ever sat in\", it too proved virtually undriveable.",
"This was against the view of the Techno team and the Pederanzi engine builders and Martini Rossi who required the car and driver to appear at races Amon commented at the time that it was \"the best chassis I've ever sat in\", it too proved virtually undriveable. Amon refused to drive the McCall, Techno in the Swedish or German Gps and withdrew from the Austrian GP after qualifying.",
"Amon refused to drive the McCall, Techno in the Swedish or German Gps and withdrew from the Austrian GP after qualifying. By the time of the Austrian GP, four races from the end of the season, Amon's patience had run out and he left the team.",
"By the time of the Austrian GP, four races from the end of the season, Amon's patience had run out and he left the team. He would later claim that the months he spent with the team \"felt like ten [seasons]\".",
"He would later claim that the months he spent with the team \"felt like ten [seasons]\". Tyrrell offered Amon a third car – the 005 – in which to drive the last two races of the season.",
"Tyrrell offered Amon a third car – the 005 – in which to drive the last two races of the season. After a mediocre first outing at the Canadian GP, he and Jackie Stewart withdrew from the final race of the year, the United States GP, following the death of their teammate François Cevert during qualifying.",
"After a mediocre first outing at the Canadian GP, he and Jackie Stewart withdrew from the final race of the year, the United States GP, following the death of their teammate François Cevert during qualifying. 1974 For the 1974 F1 season, Amon revived Chris Amon Racing.",
"1974 For the 1974 F1 season, Amon revived Chris Amon Racing. Gordon Fowell designed the car, the AF101, which featured a single central fuel tank, titanium torsion bars and a forward driving position.",
"Gordon Fowell designed the car, the AF101, which featured a single central fuel tank, titanium torsion bars and a forward driving position. Structurally, however, it proved to be weak and was not ready for an F1 appearance until the fourth race of the season, the Spanish GP.",
"Structurally, however, it proved to be weak and was not ready for an F1 appearance until the fourth race of the season, the Spanish GP. Amon was only able to qualify 23rd, thanks to brake-disc vibration that only became worse with the tyres for the wet race that followed.",
"Amon was only able to qualify 23rd, thanks to brake-disc vibration that only became worse with the tyres for the wet race that followed. Despite cautious driving, a brake shaft finally broke and Amon was forced to retire after 22 laps.",
"Despite cautious driving, a brake shaft finally broke and Amon was forced to retire after 22 laps. Following further work and testing, Amon returned for the Monaco GP and qualified twentieth, but, thanks to mechanical problems, he was unable to start the race.",
"Following further work and testing, Amon returned for the Monaco GP and qualified twentieth, but, thanks to mechanical problems, he was unable to start the race. Further problems and illness meant Amon was not able to reappear with the F101 until the Italian GP, three races from the end of the season, but this time he was unable to qualify.",
"Further problems and illness meant Amon was not able to reappear with the F101 until the Italian GP, three races from the end of the season, but this time he was unable to qualify. That sealed the fate of both the car and Chris Amon Racing, leaving Amon to drive the season's last two races with the faltering BRM team.",
"That sealed the fate of both the car and Chris Amon Racing, leaving Amon to drive the season's last two races with the faltering BRM team. He would later reveal that he had turned down a chance to join the Brabham team earlier in the season.",
"He would later reveal that he had turned down a chance to join the Brabham team earlier in the season. 1975 Amon contested the 1975 F5000 Tasman series against only local Australasian drivers, although Graham McRae, Warwick Brown and Kevin Bartlett were acknowledged internationally.",
"1975 Amon contested the 1975 F5000 Tasman series against only local Australasian drivers, although Graham McRae, Warwick Brown and Kevin Bartlett were acknowledged internationally. Amon qualified on the front row of three of the four New Zealand rounds and scored a victory at Teretonga in January 1975 in rainy conditions by 24.2 seconds.",
"Amon qualified on the front row of three of the four New Zealand rounds and scored a victory at Teretonga in January 1975 in rainy conditions by 24.2 seconds. In the Australian rounds, the competition was always harder with more good cars and the locals on their own tracks.",
"In the Australian rounds, the competition was always harder with more good cars and the locals on their own tracks. Amon had a frustrating series of races unable to pass, South Australian Johnnie Walker, in a superior Lola T332 chassis with Repco-engineered V8.",
"Amon had a frustrating series of races unable to pass, South Australian Johnnie Walker, in a superior Lola T332 chassis with Repco-engineered V8. At Surfers Paradise, running from the back of the grid he managed to eventually pass Walker by widening the braking zone in the only corner where overtaking was usually possible.",
"At Surfers Paradise, running from the back of the grid he managed to eventually pass Walker by widening the braking zone in the only corner where overtaking was usually possible. Amon brushed the edge of the track on repeated laps, got extra grip and passed Walker to take the lead.",
"Amon brushed the edge of the track on repeated laps, got extra grip and passed Walker to take the lead. He had been forced to miss most of the practice session, when Customs seized his car's gearbox. In the race, the brilliant effort went for nothing as the Chev engine blew.",
"In the race, the brilliant effort went for nothing as the Chev engine blew. At Oran Park and Adelaide he followed Walker the whole way to 4th and 3rd unable to pass.",
"At Oran Park and Adelaide he followed Walker the whole way to 4th and 3rd unable to pass. In the final deciding race for the Tasman Series with Brown, Walker and Lawrence still in contention, Walker lost his T332 on the first lap and it demolished on wooden barriers surrounding Sandown's car and horse racing tracks.",
"In the final deciding race for the Tasman Series with Brown, Walker and Lawrence still in contention, Walker lost his T332 on the first lap and it demolished on wooden barriers surrounding Sandown's car and horse racing tracks. Amon was never in contention and finished 4th.",
"Amon was never in contention and finished 4th. Amon intended to compete in F5000 in both Europe and the US in 1975 but started in only one round of both series, managing a pole in one Shellsport round in the UK and a 4th place overall at the Long Beach GP in a two heat race.",
"Amon intended to compete in F5000 in both Europe and the US in 1975 but started in only one round of both series, managing a pole in one Shellsport round in the UK and a 4th place overall at the Long Beach GP in a two heat race. He used different Talon F5000 cars for both races.",
"He used different Talon F5000 cars for both races. The speed he showed in qualifying for a couple of UK F5000 races encouraged the small Ensign team to give him a race.",
"The speed he showed in qualifying for a couple of UK F5000 races encouraged the small Ensign team to give him a race. Mo Nunn the Ensign team owner had been a Lotus F3 driver in 1966 and the Dave Baldwin designed chassis was in many ways a lightweight Lotus F1, which Ronnie Peterson wanted to test in 1975 out of frustration with his old 72 and which could have been used by Colin Chapman had he not decided to concentrate on developing chassis which would use ground effect technology, the Lotus 77 design for 1976 which was in many ways a test vehicle for the development of concepts, including the de facto legalisation of technology like plastic sliding skirts, introduced on Andretti's 77 from the 1976 Canadian Grand Prix, that would be used in future Lotus wing cars the Lotus 78 and Lotus 79.",
"Mo Nunn the Ensign team owner had been a Lotus F3 driver in 1966 and the Dave Baldwin designed chassis was in many ways a lightweight Lotus F1, which Ronnie Peterson wanted to test in 1975 out of frustration with his old 72 and which could have been used by Colin Chapman had he not decided to concentrate on developing chassis which would use ground effect technology, the Lotus 77 design for 1976 which was in many ways a test vehicle for the development of concepts, including the de facto legalisation of technology like plastic sliding skirts, introduced on Andretti's 77 from the 1976 Canadian Grand Prix, that would be used in future Lotus wing cars the Lotus 78 and Lotus 79. Apart from these successes, Amon's racing career seemed once again to have stalled.",
"Apart from these successes, Amon's racing career seemed once again to have stalled. Apparently a chance meeting with Mo Nunn of Ensign Racing led to the Ensign drive, but in fact Mo Nunn thought his new N175 a very fast car and did not view the two Dutch drivers favoured by the Dutch HB Security company who sponsored Ensign fast enough.",
"Apparently a chance meeting with Mo Nunn of Ensign Racing led to the Ensign drive, but in fact Mo Nunn thought his new N175 a very fast car and did not view the two Dutch drivers favoured by the Dutch HB Security company who sponsored Ensign fast enough. Gijs van Lennep, the 1973 European F5000 Champion in a Surtees TS11 who had won Le Mans in 1971 and 1976 was a very good driver but also one of the last racing aristocrats.",
"Gijs van Lennep, the 1973 European F5000 Champion in a Surtees TS11 who had won Le Mans in 1971 and 1976 was a very good driver but also one of the last racing aristocrats. Van Lennep, qualified the car on its debut in the French GP at Paul Ricard and finished 6th in the German GP at Nürburgring, and was faster on both circuits than Patrick Nève or Amon were in 1976.",
"Van Lennep, qualified the car on its debut in the French GP at Paul Ricard and finished 6th in the German GP at Nürburgring, and was faster on both circuits than Patrick Nève or Amon were in 1976. Amon managed 7th in the non-championship Swiss GP at Dijon chasing James Hunt debuting the disappointing Hesketh 308C and 12th in two GP drives in the Ensign N175 at the Austrian and Italian GPs.",
"Amon managed 7th in the non-championship Swiss GP at Dijon chasing James Hunt debuting the disappointing Hesketh 308C and 12th in two GP drives in the Ensign N175 at the Austrian and Italian GPs. At Monza after a long pit stop he finally ran at competitive pace, running 4 laps down but keeping pace with the leading Ferrari 312T of Niki Lauda for a number of laps.",
"At Monza after a long pit stop he finally ran at competitive pace, running 4 laps down but keeping pace with the leading Ferrari 312T of Niki Lauda for a number of laps. Progressive evaluation of the possibilities of what was slowing the N175 led Amon to change the airbox alignment on the day of the Italian GP and this resulted in a 2-second gain (much like the change in air cooler position that lost and gained two seconds on Hunt's McLaren M23 resolved by the 1976 French GP).",
"Progressive evaluation of the possibilities of what was slowing the N175 led Amon to change the airbox alignment on the day of the Italian GP and this resulted in a 2-second gain (much like the change in air cooler position that lost and gained two seconds on Hunt's McLaren M23 resolved by the 1976 French GP). Ironically Amon never raced the N175 again and the high airboxes had been banned by the time N176 ran at Jarama the following year, but the flash of testing and driving genius was enough to give Amon another chance.",
"Ironically Amon never raced the N175 again and the high airboxes had been banned by the time N176 ran at Jarama the following year, but the flash of testing and driving genius was enough to give Amon another chance. Although the results were unremarkable, he and Nunn worked well together, so Amon joined Ensign for the 1976 F1 season.",
"Although the results were unremarkable, he and Nunn worked well together, so Amon joined Ensign for the 1976 F1 season. 1976 Ensign's first race of the season was the South African GP where Amon qualified 18th and showed a revival of form, climbing to seventh place, in the old Ensign N174 and contesting sixth with Mario Andretti in the Parnelli Ford, in the last laps before a last minute refueling stop left him 14th.",
"1976 Ensign's first race of the season was the South African GP where Amon qualified 18th and showed a revival of form, climbing to seventh place, in the old Ensign N174 and contesting sixth with Mario Andretti in the Parnelli Ford, in the last laps before a last minute refueling stop left him 14th. Thereafter results began to improve, with Amon qualifying 17th and finishing eighth in the USA West GP; qualifying tenth and finishing fifth in the Spanish GP; and then qualifying eighth for the Belgian GP.",
"Thereafter results began to improve, with Amon qualifying 17th and finishing eighth in the USA West GP; qualifying tenth and finishing fifth in the Spanish GP; and then qualifying eighth for the Belgian GP. More points then seemed likely from the race until his car lost a wheel 19 laps from the finish and Amon was lucky to escape unhurt from the ensuing accident.",
"More points then seemed likely from the race until his car lost a wheel 19 laps from the finish and Amon was lucky to escape unhurt from the ensuing accident. He then achieved a third-place grid position start for the Swedish GP using a Nicholson rebuilt Cosworth for the first time and in the race looked as if he would join Tyrrell drivers Jody Scheckter and Patrick Depailler on the podium, until suspension failure threw him from the track after 38 laps.",
"He then achieved a third-place grid position start for the Swedish GP using a Nicholson rebuilt Cosworth for the first time and in the race looked as if he would join Tyrrell drivers Jody Scheckter and Patrick Depailler on the podium, until suspension failure threw him from the track after 38 laps. Amon had again been lucky to escape serious injury and decided to miss the next race, the French GP.",
"Amon had again been lucky to escape serious injury and decided to miss the next race, the French GP. He returned for the British GP, qualifying in sixth and running fourth in the race when his Ford-Cosworth DFV engine developed a water leak. Rather than risk losing an engine, his team called him in to retire.",
"Rather than risk losing an engine, his team called him in to retire. At the German GP problems dogged his attempts to qualify well, but it was Niki Lauda's crash during the second lap of the race that had a far greater impact. Amon refused to restart the race and Nunn fired him from the team.",
"Amon refused to restart the race and Nunn fired him from the team. Amon declared his retirement from the sport and returned to New Zealand. \"I'd seen too many people fried in racing cars at that stage. When you've driven past Bandini, Schlesser, Courage and Williamson, another shunt like that was simply too much.",
"When you've driven past Bandini, Schlesser, Courage and Williamson, another shunt like that was simply too much. It was a personal decision...\" (Amon, on his retirement in 1976)However, Walter Wolf contacted Amon and persuaded him to drive for his Wolf–Williams team in the North American races near the end of the season.",
"It was a personal decision...\" (Amon, on his retirement in 1976)However, Walter Wolf contacted Amon and persuaded him to drive for his Wolf–Williams team in the North American races near the end of the season. After recording some promising times in preparation for the Canadian GP, however, Amon was involved in a heavy collision with another car during qualifying and once again was lucky to walk away unharmed.",
"After recording some promising times in preparation for the Canadian GP, however, Amon was involved in a heavy collision with another car during qualifying and once again was lucky to walk away unharmed. He then did not take part in either the Canadian or United States Grands Prix.",
"He then did not take part in either the Canadian or United States Grands Prix. 1977 Amon turned down an offer of a full-time F1 drive for 1977, but did attempt a return to Can-Am racing in 1977 with a Wolf-Dallara WD1.",
"1977 Amon turned down an offer of a full-time F1 drive for 1977, but did attempt a return to Can-Am racing in 1977 with a Wolf-Dallara WD1. However, after only one race he quit, saying \"I'm just not enjoying this anymore\".",
"However, after only one race he quit, saying \"I'm just not enjoying this anymore\". His place was taken by the young and then unknown Canadian Gilles Villeneuve, whom Amon would, later that year, recommend to Enzo Ferrari.",
"His place was taken by the young and then unknown Canadian Gilles Villeneuve, whom Amon would, later that year, recommend to Enzo Ferrari. In the meantime, Amon returned once again to New Zealand, this time to retire from F1 motor racing for good.",
"In the meantime, Amon returned once again to New Zealand, this time to retire from F1 motor racing for good. 2000s 2003 Amon came out of retirement for a one-off appearance in the 2003 Dunlop Targa New Zealand with motorsport commentator Murray Walker as his navigator.",
"2000s 2003 Amon came out of retirement for a one-off appearance in the 2003 Dunlop Targa New Zealand with motorsport commentator Murray Walker as his navigator. The pair completed the week-long Auckland to Wellington Tarmac Rally in a Toyota Camry Sportivo, the same car previously used by Walker and Colin Bond in Australia's Targa Tasmania.",
"The pair completed the week-long Auckland to Wellington Tarmac Rally in a Toyota Camry Sportivo, the same car previously used by Walker and Colin Bond in Australia's Targa Tasmania. Retirement After his retirement from F1, Amon dedicated himself to running the family farm in New Zealand's Manawatu District for many years.",
"Retirement After his retirement from F1, Amon dedicated himself to running the family farm in New Zealand's Manawatu District for many years. After retiring from farming, he lived in Taupo in New Zealand's North Island.",
"After retiring from farming, he lived in Taupo in New Zealand's North Island. In the early 1980s he became more well known in New Zealand from test-driving vehicles on the TV motoring series Motor Show and later consulted for Toyota New Zealand, tuning the 1984 Toyota Corolla and subsequent cars for sale there.",
"In the early 1980s he became more well known in New Zealand from test-driving vehicles on the TV motoring series Motor Show and later consulted for Toyota New Zealand, tuning the 1984 Toyota Corolla and subsequent cars for sale there. He also appeared in TV commercials for the company, where much was made of the acclaim he won from Enzo Ferrari.",
"He also appeared in TV commercials for the company, where much was made of the acclaim he won from Enzo Ferrari. Amon participated in the 2004 EnergyWise Rally where he won ahead of Brian Cowan. Amon drove a Toyota Prius for the event.",
"Amon drove a Toyota Prius for the event. In the 1993 Queen's Birthday Honours, Amon was appointed a Member of the Order of the British Empire, for services to motor sport.",
"In the 1993 Queen's Birthday Honours, Amon was appointed a Member of the Order of the British Empire, for services to motor sport. Amon was involved in the design of the upgraded Taupo Motorsport Park circuit, used for the New Zealand round of the 2006–07 A1 Grand Prix season in January 2007.",
"Amon was involved in the design of the upgraded Taupo Motorsport Park circuit, used for the New Zealand round of the 2006–07 A1 Grand Prix season in January 2007. At the New Zealand Festival of Motor Racing in 2011, Amon's life and career were honoured with a selection of his cars being driven and also used the event to raise funds for the Bruce McLaren trust.",
"At the New Zealand Festival of Motor Racing in 2011, Amon's life and career were honoured with a selection of his cars being driven and also used the event to raise funds for the Bruce McLaren trust. Amon was also honoured at the festival in January 2013.",
"Amon was also honoured at the festival in January 2013. Death Amon died in Rotorua Hospital on 3 August 2016, aged 73, of cancer. He was survived by his wife (they married in 1977) their three children and their grandchildren. One of his sons, James, is a qualified High Performance personal trainer.",
"One of his sons, James, is a qualified High Performance personal trainer. He trained Central Districts Stags cricket team, and was revealed to be Brendon Hartley's personal trainer.",
"He trained Central Districts Stags cricket team, and was revealed to be Brendon Hartley's personal trainer. Legacy Despite never winning a championship Formula One Grand Prix, Amon won eight non-championship GPs, the Silverstone International Trophy, the 1000 km Monza, the Daytona 24 Hours, the Tasman Series and, perhaps most significant of all, the famous 24 Heures du Mans (alongside Bruce McLaren).",
"Legacy Despite never winning a championship Formula One Grand Prix, Amon won eight non-championship GPs, the Silverstone International Trophy, the 1000 km Monza, the Daytona 24 Hours, the Tasman Series and, perhaps most significant of all, the famous 24 Heures du Mans (alongside Bruce McLaren). These races included many of Amon's otherwise more successful fellow Formula One drivers.",
"These races included many of Amon's otherwise more successful fellow Formula One drivers. Amon also remains the only driver from New Zealand and Oceania to have raced for Scuderia Ferrari in Formula One.",
"Amon also remains the only driver from New Zealand and Oceania to have raced for Scuderia Ferrari in Formula One. In Formula One, Chris Amon took part in 96 Grands Prix, achieving 5 poles, leading 183 laps in 7 races, reaching the podium 11 times and scoring a total of 83 Championship points.",
"In Formula One, Chris Amon took part in 96 Grands Prix, achieving 5 poles, leading 183 laps in 7 races, reaching the podium 11 times and scoring a total of 83 Championship points. Amon holds the record for the most different makes of car raced by a Formula 1 World Championship driver, with thirteen.",
"Amon holds the record for the most different makes of car raced by a Formula 1 World Championship driver, with thirteen. A biography Forza Amon by journalist Eoin Young charts Amon's racing career and gives some insights into his personal life.",
"A biography Forza Amon by journalist Eoin Young charts Amon's racing career and gives some insights into his personal life. The book makes clear one point on which Amon himself disagrees with most commentators, the issue of his bad luck.",
"The book makes clear one point on which Amon himself disagrees with most commentators, the issue of his bad luck. Amon has pointed out on several occasions that he competed for a decade and a half in Formula One and survived some serious accidents, notably in 1976, whilst others, including friends like Bruce McLaren, suffered serious injury and death.",
"Amon has pointed out on several occasions that he competed for a decade and a half in Formula One and survived some serious accidents, notably in 1976, whilst others, including friends like Bruce McLaren, suffered serious injury and death. In 2008, motorsport journalist Alan Henry rated Chris Amon as his 13th greatest driver.",
"In 2008, motorsport journalist Alan Henry rated Chris Amon as his 13th greatest driver. Reflecting on the 1968 racing death of Jim Clark, Amon said: \"If this can happen to Jimmy, what chance do the rest of us have? I think we all felt that. It seemed like we'd lost our leader.\"",
"It seemed like we'd lost our leader.\" In 1995, Amon was inducted into the New Zealand Sports Hall of Fame. Amon's name has been given to the Toyota Racing Series driver's championship trophy, and the International Scholarship to support drivers who win his trophy to further their careers in single-seater racing.",
"Amon's name has been given to the Toyota Racing Series driver's championship trophy, and the International Scholarship to support drivers who win his trophy to further their careers in single-seater racing. The Toyota Racing Series serves as motorsport's version of \"winter ball\" in New Zealand during January and February.",
"The Toyota Racing Series serves as motorsport's version of \"winter ball\" in New Zealand during January and February. Following his death, his name was also lent to the Manfeild Autocourse in Feilding, Manawatu.",
"Following his death, his name was also lent to the Manfeild Autocourse in Feilding, Manawatu. Racing record Formula One World Championship results (key) (Races in bold indicate pole position; races in italics indicate fastest lap) Non-Championship Formula One results (key) (Races in bold indicate pole position; races in italics indicate fastest lap) Complete Tasman Series results (key) (Races in bold indicate pole position; races in italics indicate fastest lap) Complete 24 Hours of Le Mans results References External links Bruce McLaren Trust Official site Trio At The Top – a documentary about Bruce McLaren, Denny Hulme and Chris Amon on NZ On Screen Chris Amon 8W-Forix; Tom Prankard; 1 October 2000 New Zealand racing drivers New Zealand Formula One drivers Amon Formula One drivers BRM Formula One drivers Cooper Formula One drivers Ensign Formula One drivers Ferrari Formula One drivers March Formula One drivers Matra Formula One drivers Reg Parnell Racing Formula One drivers Tecno Formula One drivers Tyrrell Formula One drivers Williams Formula One drivers Formula One team owners 24 Hours of Le Mans drivers 24 Hours of Le Mans winning drivers 12 Hours of Reims drivers 24 Hours of Daytona drivers World Sportscar Championship drivers Tasman Series drivers New Zealand Members of the Order of the British Empire People from Bulls 1943 births 2016 deaths"
] |
[
"Lewis Fry Richardson",
"Research on the length of coastlines and borders"
] | C_de38cd49a72248c2ae5e822e8961c1d3_0 | Who was Lewis Fry Richardson? | 1 | Who was Lewis Fry Richardson? | Lewis Fry Richardson | Richardson decided to search for a relation between the probability of two countries going to war and the length of their common border. However, while collecting data, he found that there was considerable variation in the various published lengths of international borders. For example, that between Spain and Portugal was variously quoted as 987 or 1214 km, and that between the Netherlands and Belgium as 380 or 449 km. The reason for these inconsistencies is the "coastline paradox". Suppose the coast of Britain is measured using a 200 km ruler, specifying that both ends of the ruler must touch the coast. Now cut the ruler in half and repeat the measurement, then repeat: Notice that the smaller the ruler, the longer the resulting coastline. It might be supposed that these values would converge to a finite number representing the true length of the coastline. However, Richardson demonstrated that this is not the case: the measured length of coastlines, and other natural features, increases without limit as the unit of measurement is made smaller. This is known nowadays as the Richardson effect. At the time, Richardson's research was ignored by the scientific community. Today, it is considered an element of the beginning of the modern study of fractals. Richardson's research was quoted by mathematician Benoit Mandelbrot in his 1967 paper How Long Is the Coast of Britain? Richardson identified a value (between 1 and 2) that would describe the changes (with increasing measurement detail) in observed complexity for a particular coastline; this value served as a model for the concept of fractal dimension. CANNOTANSWER | Richardson identified a value (between 1 and 2) that would describe the changes (with increasing measurement detail) in observed complexity for a particular coastline; | Lewis Fry Richardson, FRS (11 October 1881 – 30 September 1953) was an English mathematician, physicist, meteorologist, psychologist and pacifist who pioneered modern mathematical techniques of weather forecasting, and the application of similar techniques to studying the causes of wars and how to prevent them. He is also noted for his pioneering work concerning fractals and a method for solving a system of linear equations known as modified Richardson iteration.
Early life
Lewis Fry Richardson was the youngest of seven children born to Catherine Fry (1838–1919) and David Richardson (1835–1913). They were a prosperous Quaker family, David Richardson operating a successful tanning and leather-manufacturing business.
At age 12 he was sent to a Quaker boarding school, Bootham School in York, where he received an education in science, which stimulated an active interest in natural history. In 1898 he went on to Durham College of Science (a college of Durham University) where he took courses in mathematical physics, chemistry, botany, and zoology. He proceeded in 1900 to King's College, Cambridge, where he was taught physics in the natural sciences tripos by (among others) J. J. Thomson and graduated with a first-class degree in 1903. At age 47 he received a doctorate in mathematical psychology from the University of London.
Career
Richardson's working life represented his eclectic interests:
National Physical Laboratory (1903–1904).
University College Aberystwyth (1905–1906).
Chemist, National Peat Industries (1906–1907).
National Physical Laboratory (1907–1909).
Manager of the physical and chemical laboratory, Sunbeam Lamp Company (1909–1912).
Manchester College of Technology (1912–1913).
Meteorological Office – as superintendent of Eskdalemuir Observatory (1913–1916).
Friends Ambulance Unit in France (1916–1919).
Meteorological Office at Benson, Oxfordshire (1919–1920).
Head of the Physics Department at Westminster Training College (1920–1929).
Principal, Paisley Technical College, now part of the University of the West of Scotland (1929–1940).
In 1926, he was elected to the Fellowship of the Royal Society
Pacifism
Richardson's Quaker beliefs entailed an ardent pacifism that exempted him from military service during World War I as a conscientious objector, though this subsequently disqualified him from having any academic post. Richardson worked from 1916 to 1919 for the Friends' Ambulance Unit attached to the 16th French Infantry Division. After the war, he rejoined the Meteorological Office but was compelled to resign on grounds of conscience when it was amalgamated into the Air Ministry in 1920. He subsequently pursued a career on the fringes of the academic world before retiring in 1940 to research his own ideas. His pacifism had direct consequences on his research interests. According to Thomas Körner, the discovery that his meteorological work was of value to chemical weapons designers caused him to abandon all his efforts in this field, and destroy findings that he had yet to publish.
Weather forecasting
Richardson's interest in meteorology led him to propose a scheme for weather forecasting by solution of differential equations, the method used nowadays, though when he published Weather Prediction by Numerical Process in 1922, suitable fast computing was unavailable. He described his ideas thus (his "computers" are human beings):
"After so much hard reasoning, may one play with a fantasy? Imagine a large hall like a theatre, except that the circles and galleries go right round through the space usually occupied by the stage. The walls of this chamber are painted to form a map of the globe. The ceiling represents the north polar regions, England is in the gallery, the tropics in the upper circle, Australia on the dress circle and the Antarctic in the pit.
A myriad computers are at work upon the weather of the part of the map where each sits, but each computer attends only to one equation or part of an equation. The work of each region is coordinated by an official of higher rank. Numerous little "night signs" display the instantaneous values so that neighbouring computers can read them. Each number is thus displayed in three adjacent zones so as to maintain communication to the North and South on the map.
From the floor of the pit a tall pillar rises to half the height of the hall. It carries a large pulpit on its top. In this sits the man in charge of the whole theatre; he is surrounded by several assistants and messengers. One of his duties is to maintain a uniform speed of progress in all parts of the globe. In this respect he is like the conductor of an orchestra in which the instruments are slide-rules and calculating machines. But instead of waving a baton he turns a beam of rosy light upon any region that is running ahead of the rest, and a beam of blue light upon those who are behindhand.
Four senior clerks in the central pulpit are collecting the future weather as fast as it is being computed, and despatching it by pneumatic carrier to a quiet room. There it will be coded and telephoned to the radio transmitting station. Messengers carry piles of used computing forms down to a storehouse in the cellar.
In a neighbouring building there is a research department, where they invent improvements. But there is much experimenting on a small scale before any change is made in the complex routine of the computing theatre. In a basement an enthusiast is observing eddies in the liquid lining of a huge spinning bowl, but so far the arithmetic proves the better way. In another building are all the usual financial, correspondence and administrative offices. Outside are playing fields, houses, mountains and lakes, for it was thought that those who compute the weather should breathe of it freely." (Richardson 1922)
(The word "computers" is used here in its original sense – people who did computations, not machines. "Calculator" also referred to people at this time.)
When news of the first weather forecast by the first modern computer, ENIAC, was received by Richardson in 1950, he responded that the results were an "enormous scientific advance." The first calculations for a 24-hour forecast took ENIAC nearly 24 hours to produce.
He was also interested in atmospheric turbulence and performed many terrestrial experiments. The Richardson number, a dimensionless parameter of the theory of turbulence is named for him. He famously summarised turbulence in rhyming verse in Weather Prediction by Numerical Process (p 66):
Big whirls have little whirls that feed on their velocity,
and little whirls have lesser whirls and so on to viscosity.
[A play on Siphonaptera, Augustus De Morgan's rewording of Jonathan Swift, "Great fleas have little fleas upon their backs to bite 'em, And little fleas have lesser fleas, and so ad infinitum." (A Budget of Paradoxes, 1915)].
Richardson's attempt at numerical forecast
One of Richardson's most celebrated achievements is his retroactive attempt to forecast the weather during a single day—20 May 1910—by direct computation. At the time, meteorologists performed forecasts principally by looking for similar weather patterns from records, and then extrapolating forward. Richardson attempted to use a mathematical model of the principal features of the atmosphere, and use data taken at a specific time (7 AM) to calculate the weather six hours later ab initio. As meteorologist Peter Lynch makes clear, Richardson's forecast failed dramatically, predicting a huge rise in pressure over six hours when the pressure actually was more or less static. However, detailed analysis by Lynch has shown that the cause was a failure to apply smoothing techniques to the data, which rule out unphysical surges in pressure. When these are applied, Richardson's forecast is revealed to be essentially accurate—a remarkable achievement considering the calculations were done by hand, and while Richardson was serving with the Quaker ambulance unit in northern France.
Mathematical analysis of war
Richardson also applied his mathematical skills in the service of his pacifist principles, in particular in understanding the basis of international conflict. For this reason, he is now considered the initiator, or co-initiator (with Quincy Wright and Pitirim Sorokin as well as others such as Kenneth Boulding, Anatol Rapaport and Adam Curle), of the scientific analysis of conflict—an interdisciplinary topic of quantitative and mathematical social science dedicated to systematic investigation of the causes of war and conditions of peace. As he had done with weather, he analysed war using mainly differential equations and probability theory. Considering the armament of two nations, Richardson posited an idealised system of equations whereby the rate of a nation's armament build-up is directly proportional to the amount of arms its rival has and also to the grievances felt toward the rival, and negatively proportional to the amount of arms it already has itself. Solution of this system of equations allows insightful conclusions to be made regarding the nature, and the stability or instability, of various hypothetical conditions which might obtain between nations.
He also originated the theory that the propensity for war between two nations was a function of the length of their common border. And in Arms and Insecurity (1949), and Statistics of Deadly Quarrels (1960), he sought to analyse the causes of war statistically. Factors he assessed included economics, language, and religion. In the preface of the latter, he wrote: "There is in the world a great deal of brilliant, witty political discussion which leads to no settled convictions. My aim has been different: namely to examine a few notions by quantitative techniques in the hope of reaching a reliable answer."
In Statistics of Deadly Quarrels Richardson presented data on virtually every war from 1815 to 1945. As a result, he hypothesized a base 10 logarithmic scale for conflicts. In other words, there are many more small fights, in which only a few people die, than large ones that kill many. While no conflict's size can be predicted beforehand—indeed, it is impossible to give an upper limit to the series—overall they do form a Poisson distribution. On a smaller scale he showed the same pattern for gang murders in Chicago and Shanghai. Others have noted that similar statistical patterns occur frequently, whether planned (lotteries, with many more small payoffs than large wins), or by natural organisation (there are more small towns with grocery stores than big cities with superstores).
Research on the length of coastlines and borders
Richardson decided to search for a relation between the probability of two countries going to war and the length of their common border. However, while collecting data, he found that there was considerable variation in the various published lengths of international borders. For example, that between Spain and Portugal was variously quoted as 987 or 1214 km, and that between the Netherlands and Belgium as 380 or 449 km.
The reason for these inconsistencies is the "coastline paradox". Suppose the coast of Britain is measured using a 200 km ruler, specifying that both ends of the ruler must touch the coast. Now cut the ruler in half and repeat the measurement, then repeat:
Notice that the smaller the ruler, the longer the resulting coastline. It might be supposed that these values would converge to a finite number representing the true length of the coastline. However, Richardson demonstrated that this is not the case: the measured length of coastlines, and other natural features, increases without limit as the unit of measurement is made smaller. This is known nowadays as the Richardson effect.
At the time, Richardson's research was ignored by the scientific community. Today, it is considered an element of the beginning of the modern study of fractals. Richardson's research was quoted by mathematician Benoît Mandelbrot in his 1967 paper How Long Is the Coast of Britain? Richardson identified a value (between 1 and 2) that would describe the changes (with increasing measurement detail) in observed complexity for a particular coastline; this value served as a model for the concept of fractal dimension.<ref>P. G. Drazin, "Fractals"; Collected Papers of Lewis Fry Richardson, Volume 1; Cambridge University Press, 1993; p. 45.</ref>
Patents for detection of icebergs
In April 1912, soon after the loss of the ship Titanic, Richardson registered a patent for iceberg detection using acoustic echolocation in air. A month later he registered a similar patent for acoustic echolocation in water, anticipating the invention of sonar by Paul Langevin and Robert Boyle 6 years later.
In popular culture
A fictional version of Richardson, named Wallace Ryman, plays a pivotal role in Giles Foden's novel Turbulence.
Richardson is mentioned in John Brunner's work, Stand on Zanzibar where Statistics of Deadly Quarrels is used as an argument that wars are inevitable.
Richardson's work is also mentioned in Poul Anderson's speculative fiction novelette, Kings Who Die.
Richardson is mentioned in Charlie Kaufman's 2020 novel Antkind.
Richardson's famous quote, "Big whirls have little whirls that feed on their velocity; little whirls have lesser whirls & so on to viscosity" is mentioned in the song "Dots & Lines" written and performed by lyricist/rapper Lupe Fiasco.
Personal life
In 1909 he married Dorothy Garnett (1885–1956), daughter of the mathematician and physicist William Garnett. They were unable to have children due to an incompatibility of blood types, but they adopted two sons and a daughter between 1920 and 1927.
Richardson's nephew Ralph Richardson became a noted actor. His great-nephew (through his wife Dorothy's eldest brother, (James Clerk) Maxwell Garnett, C.B.E.), Julian Hunt, went on to become a meteorologist and director general and chief executive of the British Meteorological Office from 1992 to 1997. A great-niece – of the same line of descent – is the former politician Virginia Bottomley, now Baroness Bottomley.
Legacy
Since 1997, the Lewis Fry Richardson Medal has been awarded by the European Geosciences Union for "exceptional contributions to nonlinear geophysics in general" (by EGS until 2003 and by EGU since 2004).
Winners have been:
2020: Valerio Lucarini
2019: Shaun Lovejoy
2018: Timothy N. Palmer
2017: Edward Ott
2016: Peter L. Read
2015: Daniel Schertzer
2014: Olivier Talagrand
2013: Jürgen Kurths
2012: Harry Swinney
2011: Catherine Nicolis
2010: Klaus Fraedrich
2009: Stéphan Fauve
2008: Akiva Yaglom
2007: Ulrich Schumann
2006: Roberto Benzi
2005: Henk A. Dijkstra
2004: Michael Ghil
2003: Uriel Frisch
2002:
2001: Julian Hunt
2000: Benoit Mandelbrot
1999: Raymond Hide
1998: Vladimir Keilis-Borok
Since 1959, there has been a Peace Studies centre at Lancaster University named the Richardson Institute which carries out interdisciplinary research on peace and conflict in the spirit of Lewis Fry Richardson.
See also
Anomalous diffusion
Arms race
Coastline paradox
Energy cascade
War cycles
Magnetic helicity
Richardson extrapolation
Richardson number
Modified Richardson iteration
Richards equation
Multiscale turbulence
Takebe Kenko
Frederick W. Lanchester
List of peace activists
Notes
References
Wilkinson, David. Deadly Quarrels: Lewis F. Richardson and the Statistical Study of War (University of California Press, 2018) online review
320pp
P.A. Davidson, Y. Kaneda, K. Moffatt, and K.R. Sreenivasan (eds, 2011). A Voyage Through Turbulence, chapter 5, pp 187–208, Cambridge University Press
544pp "A Quaker mathematician" (Ch 8) and "Richardson on war" (Ch 9)
290pp
Richardson, L.F. (1939). "Generalized foreign politics". The British Journal of Psychology, monograph supplement No. 23.
Richardson, L.F. (1960). Statistics of deadly quarrels. Pacific Grove, CA: Boxwood Press.
1030pp; Volume 2: Quantitative psychology and studies of conflict. , 778pp
353pp
Angeletti Ferdinando (2021) Storicismo matematico e pacifismo scientifico: due esempi di determinismo storico della metà del XX secolo in Iconografie europee'' di Walter Montanari e Shirin Zakeri (a cura di), Roma, Nuova Cultura ISBN 978-8-833-65368-6;
External links
1881 births
1953 deaths
20th-century mathematicians
Academics of the University of Manchester Institute of Science and Technology
Academics of Aberystwyth University
Alumni of King's College, Cambridge
People educated at Bootham School
English cartographers
British conscientious objectors
English mathematicians
English meteorologists
English physicists
English psychologists
English Quakers
Fellows of the Royal Society
Lewis
People associated with the University of the West of Scotland
People from Newcastle upon Tyne
English Christian pacifists
Fluid dynamicists
People associated with the Friends' Ambulance Unit
20th-century psychologists
Alumni of Armstrong College, Durham
20th-century English businesspeople | true | [
"Lewis Richardson may refer to:\nLewis Fry Richardson (1881–1953), English mathematician and meteorologist\nLewis Richardson (footballer) (born 2003), English footballer\nLewis Richardson (Hollyoaks), fictional character from British soap opera Hollyoaks",
"Richardson is a crater in the Mare Australe quadrangle on Mars, located at 72.6°S and 180.4°W. It measures 95.9 kilometers in diameter and was named after Lewis Fry Richardson. The name was approved by the International Astronomical Union in 1973.\n\nSee also \n Climate of Mars\n Geology of Mars\n Geyser (Mars)\n Impact crater\n Impact event\n List of craters on Mars\n Ore resources on Mars\n Planetary nomenclature\n Water on Mars\n\nReferences \n\nImpact craters on Mars\nMare Australe quadrangle"
] | [
"Lewis Fry Richardson, FRS (11 October 1881 – 30 September 1953) was an English mathematician, physicist, meteorologist, psychologist and pacifist who pioneered modern mathematical techniques of weather forecasting, and the application of similar techniques to studying the causes of wars and how to prevent them. He is also noted for his pioneering work concerning fractals and a method for solving a system of linear equations known as modified Richardson iteration.",
"He is also noted for his pioneering work concerning fractals and a method for solving a system of linear equations known as modified Richardson iteration. Early life Lewis Fry Richardson was the youngest of seven children born to Catherine Fry (1838–1919) and David Richardson (1835–1913).",
"Early life Lewis Fry Richardson was the youngest of seven children born to Catherine Fry (1838–1919) and David Richardson (1835–1913). They were a prosperous Quaker family, David Richardson operating a successful tanning and leather-manufacturing business.",
"They were a prosperous Quaker family, David Richardson operating a successful tanning and leather-manufacturing business. At age 12 he was sent to a Quaker boarding school, Bootham School in York, where he received an education in science, which stimulated an active interest in natural history.",
"At age 12 he was sent to a Quaker boarding school, Bootham School in York, where he received an education in science, which stimulated an active interest in natural history. In 1898 he went on to Durham College of Science (a college of Durham University) where he took courses in mathematical physics, chemistry, botany, and zoology.",
"In 1898 he went on to Durham College of Science (a college of Durham University) where he took courses in mathematical physics, chemistry, botany, and zoology. He proceeded in 1900 to King's College, Cambridge, where he was taught physics in the natural sciences tripos by (among others) J. J. Thomson and graduated with a first-class degree in 1903.",
"He proceeded in 1900 to King's College, Cambridge, where he was taught physics in the natural sciences tripos by (among others) J. J. Thomson and graduated with a first-class degree in 1903. At age 47 he received a doctorate in mathematical psychology from the University of London.",
"At age 47 he received a doctorate in mathematical psychology from the University of London. Career Richardson's working life represented his eclectic interests: National Physical Laboratory (1903–1904). University College Aberystwyth (1905–1906). Chemist, National Peat Industries (1906–1907). National Physical Laboratory (1907–1909).",
"National Physical Laboratory (1907–1909). Manager of the physical and chemical laboratory, Sunbeam Lamp Company (1909–1912). Manchester College of Technology (1912–1913). Meteorological Office – as superintendent of Eskdalemuir Observatory (1913–1916). Friends Ambulance Unit in France (1916–1919). Meteorological Office at Benson, Oxfordshire (1919–1920).",
"Meteorological Office at Benson, Oxfordshire (1919–1920). Head of the Physics Department at Westminster Training College (1920–1929). Principal, Paisley Technical College, now part of the University of the West of Scotland (1929–1940).",
"Principal, Paisley Technical College, now part of the University of the West of Scotland (1929–1940). In 1926, he was elected to the Fellowship of the Royal Society Pacifism Richardson's Quaker beliefs entailed an ardent pacifism that exempted him from military service during World War I as a conscientious objector, though this subsequently disqualified him from having any academic post.",
"In 1926, he was elected to the Fellowship of the Royal Society Pacifism Richardson's Quaker beliefs entailed an ardent pacifism that exempted him from military service during World War I as a conscientious objector, though this subsequently disqualified him from having any academic post. Richardson worked from 1916 to 1919 for the Friends' Ambulance Unit attached to the 16th French Infantry Division.",
"Richardson worked from 1916 to 1919 for the Friends' Ambulance Unit attached to the 16th French Infantry Division. After the war, he rejoined the Meteorological Office but was compelled to resign on grounds of conscience when it was amalgamated into the Air Ministry in 1920.",
"After the war, he rejoined the Meteorological Office but was compelled to resign on grounds of conscience when it was amalgamated into the Air Ministry in 1920. He subsequently pursued a career on the fringes of the academic world before retiring in 1940 to research his own ideas. His pacifism had direct consequences on his research interests.",
"His pacifism had direct consequences on his research interests. According to Thomas Körner, the discovery that his meteorological work was of value to chemical weapons designers caused him to abandon all his efforts in this field, and destroy findings that he had yet to publish.",
"According to Thomas Körner, the discovery that his meteorological work was of value to chemical weapons designers caused him to abandon all his efforts in this field, and destroy findings that he had yet to publish. Weather forecasting Richardson's interest in meteorology led him to propose a scheme for weather forecasting by solution of differential equations, the method used nowadays, though when he published Weather Prediction by Numerical Process in 1922, suitable fast computing was unavailable.",
"Weather forecasting Richardson's interest in meteorology led him to propose a scheme for weather forecasting by solution of differential equations, the method used nowadays, though when he published Weather Prediction by Numerical Process in 1922, suitable fast computing was unavailable. He described his ideas thus (his \"computers\" are human beings): \"After so much hard reasoning, may one play with a fantasy?",
"He described his ideas thus (his \"computers\" are human beings): \"After so much hard reasoning, may one play with a fantasy? Imagine a large hall like a theatre, except that the circles and galleries go right round through the space usually occupied by the stage.",
"Imagine a large hall like a theatre, except that the circles and galleries go right round through the space usually occupied by the stage. The walls of this chamber are painted to form a map of the globe.",
"The walls of this chamber are painted to form a map of the globe. The ceiling represents the north polar regions, England is in the gallery, the tropics in the upper circle, Australia on the dress circle and the Antarctic in the pit.",
"The ceiling represents the north polar regions, England is in the gallery, the tropics in the upper circle, Australia on the dress circle and the Antarctic in the pit. A myriad computers are at work upon the weather of the part of the map where each sits, but each computer attends only to one equation or part of an equation.",
"A myriad computers are at work upon the weather of the part of the map where each sits, but each computer attends only to one equation or part of an equation. The work of each region is coordinated by an official of higher rank.",
"The work of each region is coordinated by an official of higher rank. Numerous little \"night signs\" display the instantaneous values so that neighbouring computers can read them. Each number is thus displayed in three adjacent zones so as to maintain communication to the North and South on the map.",
"Each number is thus displayed in three adjacent zones so as to maintain communication to the North and South on the map. From the floor of the pit a tall pillar rises to half the height of the hall. It carries a large pulpit on its top.",
"It carries a large pulpit on its top. In this sits the man in charge of the whole theatre; he is surrounded by several assistants and messengers. One of his duties is to maintain a uniform speed of progress in all parts of the globe.",
"One of his duties is to maintain a uniform speed of progress in all parts of the globe. In this respect he is like the conductor of an orchestra in which the instruments are slide-rules and calculating machines.",
"In this respect he is like the conductor of an orchestra in which the instruments are slide-rules and calculating machines. But instead of waving a baton he turns a beam of rosy light upon any region that is running ahead of the rest, and a beam of blue light upon those who are behindhand.",
"But instead of waving a baton he turns a beam of rosy light upon any region that is running ahead of the rest, and a beam of blue light upon those who are behindhand. Four senior clerks in the central pulpit are collecting the future weather as fast as it is being computed, and despatching it by pneumatic carrier to a quiet room.",
"Four senior clerks in the central pulpit are collecting the future weather as fast as it is being computed, and despatching it by pneumatic carrier to a quiet room. There it will be coded and telephoned to the radio transmitting station. Messengers carry piles of used computing forms down to a storehouse in the cellar.",
"Messengers carry piles of used computing forms down to a storehouse in the cellar. In a neighbouring building there is a research department, where they invent improvements. But there is much experimenting on a small scale before any change is made in the complex routine of the computing theatre.",
"But there is much experimenting on a small scale before any change is made in the complex routine of the computing theatre. In a basement an enthusiast is observing eddies in the liquid lining of a huge spinning bowl, but so far the arithmetic proves the better way.",
"In a basement an enthusiast is observing eddies in the liquid lining of a huge spinning bowl, but so far the arithmetic proves the better way. In another building are all the usual financial, correspondence and administrative offices.",
"In another building are all the usual financial, correspondence and administrative offices. Outside are playing fields, houses, mountains and lakes, for it was thought that those who compute the weather should breathe of it freely.\"",
"Outside are playing fields, houses, mountains and lakes, for it was thought that those who compute the weather should breathe of it freely.\" (Richardson 1922) (The word \"computers\" is used here in its original sense – people who did computations, not machines.",
"(Richardson 1922) (The word \"computers\" is used here in its original sense – people who did computations, not machines. \"Calculator\" also referred to people at this time.)",
"\"Calculator\" also referred to people at this time.) When news of the first weather forecast by the first modern computer, ENIAC, was received by Richardson in 1950, he responded that the results were an \"enormous scientific advance.\" The first calculations for a 24-hour forecast took ENIAC nearly 24 hours to produce.",
"The first calculations for a 24-hour forecast took ENIAC nearly 24 hours to produce. He was also interested in atmospheric turbulence and performed many terrestrial experiments. The Richardson number, a dimensionless parameter of the theory of turbulence is named for him.",
"The Richardson number, a dimensionless parameter of the theory of turbulence is named for him. He famously summarised turbulence in rhyming verse in Weather Prediction by Numerical Process (p 66): Big whirls have little whirls that feed on their velocity, and little whirls have lesser whirls and so on to viscosity.",
"He famously summarised turbulence in rhyming verse in Weather Prediction by Numerical Process (p 66): Big whirls have little whirls that feed on their velocity, and little whirls have lesser whirls and so on to viscosity. [A play on Siphonaptera, Augustus De Morgan's rewording of Jonathan Swift, \"Great fleas have little fleas upon their backs to bite 'em, And little fleas have lesser fleas, and so ad infinitum.\"",
"[A play on Siphonaptera, Augustus De Morgan's rewording of Jonathan Swift, \"Great fleas have little fleas upon their backs to bite 'em, And little fleas have lesser fleas, and so ad infinitum.\" (A Budget of Paradoxes, 1915)].",
"(A Budget of Paradoxes, 1915)]. Richardson's attempt at numerical forecast One of Richardson's most celebrated achievements is his retroactive attempt to forecast the weather during a single day—20 May 1910—by direct computation. At the time, meteorologists performed forecasts principally by looking for similar weather patterns from records, and then extrapolating forward.",
"At the time, meteorologists performed forecasts principally by looking for similar weather patterns from records, and then extrapolating forward. Richardson attempted to use a mathematical model of the principal features of the atmosphere, and use data taken at a specific time (7 AM) to calculate the weather six hours later ab initio.",
"Richardson attempted to use a mathematical model of the principal features of the atmosphere, and use data taken at a specific time (7 AM) to calculate the weather six hours later ab initio. As meteorologist Peter Lynch makes clear, Richardson's forecast failed dramatically, predicting a huge rise in pressure over six hours when the pressure actually was more or less static.",
"As meteorologist Peter Lynch makes clear, Richardson's forecast failed dramatically, predicting a huge rise in pressure over six hours when the pressure actually was more or less static. However, detailed analysis by Lynch has shown that the cause was a failure to apply smoothing techniques to the data, which rule out unphysical surges in pressure.",
"However, detailed analysis by Lynch has shown that the cause was a failure to apply smoothing techniques to the data, which rule out unphysical surges in pressure. When these are applied, Richardson's forecast is revealed to be essentially accurate—a remarkable achievement considering the calculations were done by hand, and while Richardson was serving with the Quaker ambulance unit in northern France.",
"When these are applied, Richardson's forecast is revealed to be essentially accurate—a remarkable achievement considering the calculations were done by hand, and while Richardson was serving with the Quaker ambulance unit in northern France. Mathematical analysis of war Richardson also applied his mathematical skills in the service of his pacifist principles, in particular in understanding the basis of international conflict.",
"Mathematical analysis of war Richardson also applied his mathematical skills in the service of his pacifist principles, in particular in understanding the basis of international conflict. For this reason, he is now considered the initiator, or co-initiator (with Quincy Wright and Pitirim Sorokin as well as others such as Kenneth Boulding, Anatol Rapaport and Adam Curle), of the scientific analysis of conflict—an interdisciplinary topic of quantitative and mathematical social science dedicated to systematic investigation of the causes of war and conditions of peace.",
"For this reason, he is now considered the initiator, or co-initiator (with Quincy Wright and Pitirim Sorokin as well as others such as Kenneth Boulding, Anatol Rapaport and Adam Curle), of the scientific analysis of conflict—an interdisciplinary topic of quantitative and mathematical social science dedicated to systematic investigation of the causes of war and conditions of peace. As he had done with weather, he analysed war using mainly differential equations and probability theory.",
"As he had done with weather, he analysed war using mainly differential equations and probability theory. Considering the armament of two nations, Richardson posited an idealised system of equations whereby the rate of a nation's armament build-up is directly proportional to the amount of arms its rival has and also to the grievances felt toward the rival, and negatively proportional to the amount of arms it already has itself.",
"Considering the armament of two nations, Richardson posited an idealised system of equations whereby the rate of a nation's armament build-up is directly proportional to the amount of arms its rival has and also to the grievances felt toward the rival, and negatively proportional to the amount of arms it already has itself. Solution of this system of equations allows insightful conclusions to be made regarding the nature, and the stability or instability, of various hypothetical conditions which might obtain between nations.",
"Solution of this system of equations allows insightful conclusions to be made regarding the nature, and the stability or instability, of various hypothetical conditions which might obtain between nations. He also originated the theory that the propensity for war between two nations was a function of the length of their common border.",
"He also originated the theory that the propensity for war between two nations was a function of the length of their common border. And in Arms and Insecurity (1949), and Statistics of Deadly Quarrels (1960), he sought to analyse the causes of war statistically. Factors he assessed included economics, language, and religion.",
"Factors he assessed included economics, language, and religion. In the preface of the latter, he wrote: \"There is in the world a great deal of brilliant, witty political discussion which leads to no settled convictions.",
"In the preface of the latter, he wrote: \"There is in the world a great deal of brilliant, witty political discussion which leads to no settled convictions. My aim has been different: namely to examine a few notions by quantitative techniques in the hope of reaching a reliable answer.\"",
"My aim has been different: namely to examine a few notions by quantitative techniques in the hope of reaching a reliable answer.\" In Statistics of Deadly Quarrels Richardson presented data on virtually every war from 1815 to 1945. As a result, he hypothesized a base 10 logarithmic scale for conflicts.",
"As a result, he hypothesized a base 10 logarithmic scale for conflicts. In other words, there are many more small fights, in which only a few people die, than large ones that kill many.",
"In other words, there are many more small fights, in which only a few people die, than large ones that kill many. While no conflict's size can be predicted beforehand—indeed, it is impossible to give an upper limit to the series—overall they do form a Poisson distribution.",
"While no conflict's size can be predicted beforehand—indeed, it is impossible to give an upper limit to the series—overall they do form a Poisson distribution. On a smaller scale he showed the same pattern for gang murders in Chicago and Shanghai.",
"On a smaller scale he showed the same pattern for gang murders in Chicago and Shanghai. Others have noted that similar statistical patterns occur frequently, whether planned (lotteries, with many more small payoffs than large wins), or by natural organisation (there are more small towns with grocery stores than big cities with superstores).",
"Others have noted that similar statistical patterns occur frequently, whether planned (lotteries, with many more small payoffs than large wins), or by natural organisation (there are more small towns with grocery stores than big cities with superstores). Research on the length of coastlines and borders Richardson decided to search for a relation between the probability of two countries going to war and the length of their common border.",
"Research on the length of coastlines and borders Richardson decided to search for a relation between the probability of two countries going to war and the length of their common border. However, while collecting data, he found that there was considerable variation in the various published lengths of international borders.",
"However, while collecting data, he found that there was considerable variation in the various published lengths of international borders. For example, that between Spain and Portugal was variously quoted as 987 or 1214 km, and that between the Netherlands and Belgium as 380 or 449 km. The reason for these inconsistencies is the \"coastline paradox\".",
"The reason for these inconsistencies is the \"coastline paradox\". Suppose the coast of Britain is measured using a 200 km ruler, specifying that both ends of the ruler must touch the coast. Now cut the ruler in half and repeat the measurement, then repeat: Notice that the smaller the ruler, the longer the resulting coastline.",
"Now cut the ruler in half and repeat the measurement, then repeat: Notice that the smaller the ruler, the longer the resulting coastline. It might be supposed that these values would converge to a finite number representing the true length of the coastline.",
"It might be supposed that these values would converge to a finite number representing the true length of the coastline. However, Richardson demonstrated that this is not the case: the measured length of coastlines, and other natural features, increases without limit as the unit of measurement is made smaller. This is known nowadays as the Richardson effect.",
"This is known nowadays as the Richardson effect. At the time, Richardson's research was ignored by the scientific community. Today, it is considered an element of the beginning of the modern study of fractals. Richardson's research was quoted by mathematician Benoît Mandelbrot in his 1967 paper How Long Is the Coast of Britain?",
"Richardson's research was quoted by mathematician Benoît Mandelbrot in his 1967 paper How Long Is the Coast of Britain? Richardson identified a value (between 1 and 2) that would describe the changes (with increasing measurement detail) in observed complexity for a particular coastline; this value served as a model for the concept of fractal dimension.<ref>P.",
"Richardson identified a value (between 1 and 2) that would describe the changes (with increasing measurement detail) in observed complexity for a particular coastline; this value served as a model for the concept of fractal dimension.<ref>P. G. Drazin, \"Fractals\"; Collected Papers of Lewis Fry Richardson, Volume 1; Cambridge University Press, 1993; p. 45.</ref> Patents for detection of icebergs In April 1912, soon after the loss of the ship Titanic, Richardson registered a patent for iceberg detection using acoustic echolocation in air.",
"G. Drazin, \"Fractals\"; Collected Papers of Lewis Fry Richardson, Volume 1; Cambridge University Press, 1993; p. 45.</ref> Patents for detection of icebergs In April 1912, soon after the loss of the ship Titanic, Richardson registered a patent for iceberg detection using acoustic echolocation in air. A month later he registered a similar patent for acoustic echolocation in water, anticipating the invention of sonar by Paul Langevin and Robert Boyle 6 years later.",
"A month later he registered a similar patent for acoustic echolocation in water, anticipating the invention of sonar by Paul Langevin and Robert Boyle 6 years later. In popular culture A fictional version of Richardson, named Wallace Ryman, plays a pivotal role in Giles Foden's novel Turbulence.",
"In popular culture A fictional version of Richardson, named Wallace Ryman, plays a pivotal role in Giles Foden's novel Turbulence. Richardson is mentioned in John Brunner's work, Stand on Zanzibar where Statistics of Deadly Quarrels is used as an argument that wars are inevitable.",
"Richardson is mentioned in John Brunner's work, Stand on Zanzibar where Statistics of Deadly Quarrels is used as an argument that wars are inevitable. Richardson's work is also mentioned in Poul Anderson's speculative fiction novelette, Kings Who Die. Richardson is mentioned in Charlie Kaufman's 2020 novel Antkind.",
"Richardson is mentioned in Charlie Kaufman's 2020 novel Antkind. Richardson's famous quote, \"Big whirls have little whirls that feed on their velocity; little whirls have lesser whirls & so on to viscosity\" is mentioned in the song \"Dots & Lines\" written and performed by lyricist/rapper Lupe Fiasco.",
"Richardson's famous quote, \"Big whirls have little whirls that feed on their velocity; little whirls have lesser whirls & so on to viscosity\" is mentioned in the song \"Dots & Lines\" written and performed by lyricist/rapper Lupe Fiasco. Personal life In 1909 he married Dorothy Garnett (1885–1956), daughter of the mathematician and physicist William Garnett.",
"Personal life In 1909 he married Dorothy Garnett (1885–1956), daughter of the mathematician and physicist William Garnett. They were unable to have children due to an incompatibility of blood types, but they adopted two sons and a daughter between 1920 and 1927. Richardson's nephew Ralph Richardson became a noted actor.",
"Richardson's nephew Ralph Richardson became a noted actor. His great-nephew (through his wife Dorothy's eldest brother, (James Clerk) Maxwell Garnett, C.B.E. ), Julian Hunt, went on to become a meteorologist and director general and chief executive of the British Meteorological Office from 1992 to 1997.",
"), Julian Hunt, went on to become a meteorologist and director general and chief executive of the British Meteorological Office from 1992 to 1997. A great-niece – of the same line of descent – is the former politician Virginia Bottomley, now Baroness Bottomley.",
"A great-niece – of the same line of descent – is the former politician Virginia Bottomley, now Baroness Bottomley. Legacy Since 1997, the Lewis Fry Richardson Medal has been awarded by the European Geosciences Union for \"exceptional contributions to nonlinear geophysics in general\" (by EGS until 2003 and by EGU since 2004).",
"Legacy Since 1997, the Lewis Fry Richardson Medal has been awarded by the European Geosciences Union for \"exceptional contributions to nonlinear geophysics in general\" (by EGS until 2003 and by EGU since 2004). Winners have been: 2020: Valerio Lucarini 2019: Shaun Lovejoy 2018: Timothy N. Palmer 2017: Edward Ott 2016: Peter L. Read 2015: Daniel Schertzer 2014: Olivier Talagrand 2013: Jürgen Kurths 2012: Harry Swinney 2011: Catherine Nicolis 2010: Klaus Fraedrich 2009: Stéphan Fauve 2008: Akiva Yaglom 2007: Ulrich Schumann 2006: Roberto Benzi 2005: Henk A. Dijkstra 2004: Michael Ghil 2003: Uriel Frisch 2002: 2001: Julian Hunt 2000: Benoit Mandelbrot 1999: Raymond Hide 1998: Vladimir Keilis-Borok Since 1959, there has been a Peace Studies centre at Lancaster University named the Richardson Institute which carries out interdisciplinary research on peace and conflict in the spirit of Lewis Fry Richardson.",
"Winners have been: 2020: Valerio Lucarini 2019: Shaun Lovejoy 2018: Timothy N. Palmer 2017: Edward Ott 2016: Peter L. Read 2015: Daniel Schertzer 2014: Olivier Talagrand 2013: Jürgen Kurths 2012: Harry Swinney 2011: Catherine Nicolis 2010: Klaus Fraedrich 2009: Stéphan Fauve 2008: Akiva Yaglom 2007: Ulrich Schumann 2006: Roberto Benzi 2005: Henk A. Dijkstra 2004: Michael Ghil 2003: Uriel Frisch 2002: 2001: Julian Hunt 2000: Benoit Mandelbrot 1999: Raymond Hide 1998: Vladimir Keilis-Borok Since 1959, there has been a Peace Studies centre at Lancaster University named the Richardson Institute which carries out interdisciplinary research on peace and conflict in the spirit of Lewis Fry Richardson. See also Anomalous diffusion Arms race Coastline paradox Energy cascade War cycles Magnetic helicity Richardson extrapolation Richardson number Modified Richardson iteration Richards equation Multiscale turbulence Takebe Kenko Frederick W. Lanchester List of peace activists Notes References Wilkinson, David.",
"See also Anomalous diffusion Arms race Coastline paradox Energy cascade War cycles Magnetic helicity Richardson extrapolation Richardson number Modified Richardson iteration Richards equation Multiscale turbulence Takebe Kenko Frederick W. Lanchester List of peace activists Notes References Wilkinson, David. Deadly Quarrels: Lewis F. Richardson and the Statistical Study of War (University of California Press, 2018) online review 320pp P.A.",
"Deadly Quarrels: Lewis F. Richardson and the Statistical Study of War (University of California Press, 2018) online review 320pp P.A. Davidson, Y. Kaneda, K. Moffatt, and K.R. Sreenivasan (eds, 2011).",
"Sreenivasan (eds, 2011). A Voyage Through Turbulence, chapter 5, pp 187–208, Cambridge University Press 544pp \"A Quaker mathematician\" (Ch 8) and \"Richardson on war\" (Ch 9) 290pp Richardson, L.F. (1939). \"Generalized foreign politics\".",
"\"Generalized foreign politics\". \"Generalized foreign politics\". The British Journal of Psychology, monograph supplement No. 23. Richardson, L.F. (1960). Statistics of deadly quarrels. Pacific Grove, CA: Boxwood Press. 1030pp; Volume 2: Quantitative psychology and studies of conflict.",
"1030pp; Volume 2: Quantitative psychology and studies of conflict. , 778pp 353pp Angeletti Ferdinando (2021) Storicismo matematico e pacifismo scientifico: due esempi di determinismo storico della metà del XX secolo in Iconografie europee'' di Walter Montanari e Shirin Zakeri (a cura di), Roma, Nuova Cultura ISBN 978-8-833-65368-6; External links 1881 births 1953 deaths 20th-century mathematicians Academics of the University of Manchester Institute of Science and Technology Academics of Aberystwyth University Alumni of King's College, Cambridge People educated at Bootham School English cartographers British conscientious objectors English mathematicians English meteorologists English physicists English psychologists English Quakers Fellows of the Royal Society Lewis People associated with the University of the West of Scotland People from Newcastle upon Tyne English Christian pacifists Fluid dynamicists People associated with the Friends' Ambulance Unit 20th-century psychologists Alumni of Armstrong College, Durham 20th-century English businesspeople"
] |
[
"Lewis Fry Richardson",
"Research on the length of coastlines and borders",
"Who was Lewis Fry Richardson?",
"Richardson identified a value (between 1 and 2) that would describe the changes (with increasing measurement detail) in observed complexity for a particular coastline;"
] | C_de38cd49a72248c2ae5e822e8961c1d3_0 | What is he best known for? | 2 | What is Lewis Fry Richardson best known for? | Lewis Fry Richardson | Richardson decided to search for a relation between the probability of two countries going to war and the length of their common border. However, while collecting data, he found that there was considerable variation in the various published lengths of international borders. For example, that between Spain and Portugal was variously quoted as 987 or 1214 km, and that between the Netherlands and Belgium as 380 or 449 km. The reason for these inconsistencies is the "coastline paradox". Suppose the coast of Britain is measured using a 200 km ruler, specifying that both ends of the ruler must touch the coast. Now cut the ruler in half and repeat the measurement, then repeat: Notice that the smaller the ruler, the longer the resulting coastline. It might be supposed that these values would converge to a finite number representing the true length of the coastline. However, Richardson demonstrated that this is not the case: the measured length of coastlines, and other natural features, increases without limit as the unit of measurement is made smaller. This is known nowadays as the Richardson effect. At the time, Richardson's research was ignored by the scientific community. Today, it is considered an element of the beginning of the modern study of fractals. Richardson's research was quoted by mathematician Benoit Mandelbrot in his 1967 paper How Long Is the Coast of Britain? Richardson identified a value (between 1 and 2) that would describe the changes (with increasing measurement detail) in observed complexity for a particular coastline; this value served as a model for the concept of fractal dimension. CANNOTANSWER | Richardson effect. | Lewis Fry Richardson, FRS (11 October 1881 – 30 September 1953) was an English mathematician, physicist, meteorologist, psychologist and pacifist who pioneered modern mathematical techniques of weather forecasting, and the application of similar techniques to studying the causes of wars and how to prevent them. He is also noted for his pioneering work concerning fractals and a method for solving a system of linear equations known as modified Richardson iteration.
Early life
Lewis Fry Richardson was the youngest of seven children born to Catherine Fry (1838–1919) and David Richardson (1835–1913). They were a prosperous Quaker family, David Richardson operating a successful tanning and leather-manufacturing business.
At age 12 he was sent to a Quaker boarding school, Bootham School in York, where he received an education in science, which stimulated an active interest in natural history. In 1898 he went on to Durham College of Science (a college of Durham University) where he took courses in mathematical physics, chemistry, botany, and zoology. He proceeded in 1900 to King's College, Cambridge, where he was taught physics in the natural sciences tripos by (among others) J. J. Thomson and graduated with a first-class degree in 1903. At age 47 he received a doctorate in mathematical psychology from the University of London.
Career
Richardson's working life represented his eclectic interests:
National Physical Laboratory (1903–1904).
University College Aberystwyth (1905–1906).
Chemist, National Peat Industries (1906–1907).
National Physical Laboratory (1907–1909).
Manager of the physical and chemical laboratory, Sunbeam Lamp Company (1909–1912).
Manchester College of Technology (1912–1913).
Meteorological Office – as superintendent of Eskdalemuir Observatory (1913–1916).
Friends Ambulance Unit in France (1916–1919).
Meteorological Office at Benson, Oxfordshire (1919–1920).
Head of the Physics Department at Westminster Training College (1920–1929).
Principal, Paisley Technical College, now part of the University of the West of Scotland (1929–1940).
In 1926, he was elected to the Fellowship of the Royal Society
Pacifism
Richardson's Quaker beliefs entailed an ardent pacifism that exempted him from military service during World War I as a conscientious objector, though this subsequently disqualified him from having any academic post. Richardson worked from 1916 to 1919 for the Friends' Ambulance Unit attached to the 16th French Infantry Division. After the war, he rejoined the Meteorological Office but was compelled to resign on grounds of conscience when it was amalgamated into the Air Ministry in 1920. He subsequently pursued a career on the fringes of the academic world before retiring in 1940 to research his own ideas. His pacifism had direct consequences on his research interests. According to Thomas Körner, the discovery that his meteorological work was of value to chemical weapons designers caused him to abandon all his efforts in this field, and destroy findings that he had yet to publish.
Weather forecasting
Richardson's interest in meteorology led him to propose a scheme for weather forecasting by solution of differential equations, the method used nowadays, though when he published Weather Prediction by Numerical Process in 1922, suitable fast computing was unavailable. He described his ideas thus (his "computers" are human beings):
"After so much hard reasoning, may one play with a fantasy? Imagine a large hall like a theatre, except that the circles and galleries go right round through the space usually occupied by the stage. The walls of this chamber are painted to form a map of the globe. The ceiling represents the north polar regions, England is in the gallery, the tropics in the upper circle, Australia on the dress circle and the Antarctic in the pit.
A myriad computers are at work upon the weather of the part of the map where each sits, but each computer attends only to one equation or part of an equation. The work of each region is coordinated by an official of higher rank. Numerous little "night signs" display the instantaneous values so that neighbouring computers can read them. Each number is thus displayed in three adjacent zones so as to maintain communication to the North and South on the map.
From the floor of the pit a tall pillar rises to half the height of the hall. It carries a large pulpit on its top. In this sits the man in charge of the whole theatre; he is surrounded by several assistants and messengers. One of his duties is to maintain a uniform speed of progress in all parts of the globe. In this respect he is like the conductor of an orchestra in which the instruments are slide-rules and calculating machines. But instead of waving a baton he turns a beam of rosy light upon any region that is running ahead of the rest, and a beam of blue light upon those who are behindhand.
Four senior clerks in the central pulpit are collecting the future weather as fast as it is being computed, and despatching it by pneumatic carrier to a quiet room. There it will be coded and telephoned to the radio transmitting station. Messengers carry piles of used computing forms down to a storehouse in the cellar.
In a neighbouring building there is a research department, where they invent improvements. But there is much experimenting on a small scale before any change is made in the complex routine of the computing theatre. In a basement an enthusiast is observing eddies in the liquid lining of a huge spinning bowl, but so far the arithmetic proves the better way. In another building are all the usual financial, correspondence and administrative offices. Outside are playing fields, houses, mountains and lakes, for it was thought that those who compute the weather should breathe of it freely." (Richardson 1922)
(The word "computers" is used here in its original sense – people who did computations, not machines. "Calculator" also referred to people at this time.)
When news of the first weather forecast by the first modern computer, ENIAC, was received by Richardson in 1950, he responded that the results were an "enormous scientific advance." The first calculations for a 24-hour forecast took ENIAC nearly 24 hours to produce.
He was also interested in atmospheric turbulence and performed many terrestrial experiments. The Richardson number, a dimensionless parameter of the theory of turbulence is named for him. He famously summarised turbulence in rhyming verse in Weather Prediction by Numerical Process (p 66):
Big whirls have little whirls that feed on their velocity,
and little whirls have lesser whirls and so on to viscosity.
[A play on Siphonaptera, Augustus De Morgan's rewording of Jonathan Swift, "Great fleas have little fleas upon their backs to bite 'em, And little fleas have lesser fleas, and so ad infinitum." (A Budget of Paradoxes, 1915)].
Richardson's attempt at numerical forecast
One of Richardson's most celebrated achievements is his retroactive attempt to forecast the weather during a single day—20 May 1910—by direct computation. At the time, meteorologists performed forecasts principally by looking for similar weather patterns from records, and then extrapolating forward. Richardson attempted to use a mathematical model of the principal features of the atmosphere, and use data taken at a specific time (7 AM) to calculate the weather six hours later ab initio. As meteorologist Peter Lynch makes clear, Richardson's forecast failed dramatically, predicting a huge rise in pressure over six hours when the pressure actually was more or less static. However, detailed analysis by Lynch has shown that the cause was a failure to apply smoothing techniques to the data, which rule out unphysical surges in pressure. When these are applied, Richardson's forecast is revealed to be essentially accurate—a remarkable achievement considering the calculations were done by hand, and while Richardson was serving with the Quaker ambulance unit in northern France.
Mathematical analysis of war
Richardson also applied his mathematical skills in the service of his pacifist principles, in particular in understanding the basis of international conflict. For this reason, he is now considered the initiator, or co-initiator (with Quincy Wright and Pitirim Sorokin as well as others such as Kenneth Boulding, Anatol Rapaport and Adam Curle), of the scientific analysis of conflict—an interdisciplinary topic of quantitative and mathematical social science dedicated to systematic investigation of the causes of war and conditions of peace. As he had done with weather, he analysed war using mainly differential equations and probability theory. Considering the armament of two nations, Richardson posited an idealised system of equations whereby the rate of a nation's armament build-up is directly proportional to the amount of arms its rival has and also to the grievances felt toward the rival, and negatively proportional to the amount of arms it already has itself. Solution of this system of equations allows insightful conclusions to be made regarding the nature, and the stability or instability, of various hypothetical conditions which might obtain between nations.
He also originated the theory that the propensity for war between two nations was a function of the length of their common border. And in Arms and Insecurity (1949), and Statistics of Deadly Quarrels (1960), he sought to analyse the causes of war statistically. Factors he assessed included economics, language, and religion. In the preface of the latter, he wrote: "There is in the world a great deal of brilliant, witty political discussion which leads to no settled convictions. My aim has been different: namely to examine a few notions by quantitative techniques in the hope of reaching a reliable answer."
In Statistics of Deadly Quarrels Richardson presented data on virtually every war from 1815 to 1945. As a result, he hypothesized a base 10 logarithmic scale for conflicts. In other words, there are many more small fights, in which only a few people die, than large ones that kill many. While no conflict's size can be predicted beforehand—indeed, it is impossible to give an upper limit to the series—overall they do form a Poisson distribution. On a smaller scale he showed the same pattern for gang murders in Chicago and Shanghai. Others have noted that similar statistical patterns occur frequently, whether planned (lotteries, with many more small payoffs than large wins), or by natural organisation (there are more small towns with grocery stores than big cities with superstores).
Research on the length of coastlines and borders
Richardson decided to search for a relation between the probability of two countries going to war and the length of their common border. However, while collecting data, he found that there was considerable variation in the various published lengths of international borders. For example, that between Spain and Portugal was variously quoted as 987 or 1214 km, and that between the Netherlands and Belgium as 380 or 449 km.
The reason for these inconsistencies is the "coastline paradox". Suppose the coast of Britain is measured using a 200 km ruler, specifying that both ends of the ruler must touch the coast. Now cut the ruler in half and repeat the measurement, then repeat:
Notice that the smaller the ruler, the longer the resulting coastline. It might be supposed that these values would converge to a finite number representing the true length of the coastline. However, Richardson demonstrated that this is not the case: the measured length of coastlines, and other natural features, increases without limit as the unit of measurement is made smaller. This is known nowadays as the Richardson effect.
At the time, Richardson's research was ignored by the scientific community. Today, it is considered an element of the beginning of the modern study of fractals. Richardson's research was quoted by mathematician Benoît Mandelbrot in his 1967 paper How Long Is the Coast of Britain? Richardson identified a value (between 1 and 2) that would describe the changes (with increasing measurement detail) in observed complexity for a particular coastline; this value served as a model for the concept of fractal dimension.<ref>P. G. Drazin, "Fractals"; Collected Papers of Lewis Fry Richardson, Volume 1; Cambridge University Press, 1993; p. 45.</ref>
Patents for detection of icebergs
In April 1912, soon after the loss of the ship Titanic, Richardson registered a patent for iceberg detection using acoustic echolocation in air. A month later he registered a similar patent for acoustic echolocation in water, anticipating the invention of sonar by Paul Langevin and Robert Boyle 6 years later.
In popular culture
A fictional version of Richardson, named Wallace Ryman, plays a pivotal role in Giles Foden's novel Turbulence.
Richardson is mentioned in John Brunner's work, Stand on Zanzibar where Statistics of Deadly Quarrels is used as an argument that wars are inevitable.
Richardson's work is also mentioned in Poul Anderson's speculative fiction novelette, Kings Who Die.
Richardson is mentioned in Charlie Kaufman's 2020 novel Antkind.
Richardson's famous quote, "Big whirls have little whirls that feed on their velocity; little whirls have lesser whirls & so on to viscosity" is mentioned in the song "Dots & Lines" written and performed by lyricist/rapper Lupe Fiasco.
Personal life
In 1909 he married Dorothy Garnett (1885–1956), daughter of the mathematician and physicist William Garnett. They were unable to have children due to an incompatibility of blood types, but they adopted two sons and a daughter between 1920 and 1927.
Richardson's nephew Ralph Richardson became a noted actor. His great-nephew (through his wife Dorothy's eldest brother, (James Clerk) Maxwell Garnett, C.B.E.), Julian Hunt, went on to become a meteorologist and director general and chief executive of the British Meteorological Office from 1992 to 1997. A great-niece – of the same line of descent – is the former politician Virginia Bottomley, now Baroness Bottomley.
Legacy
Since 1997, the Lewis Fry Richardson Medal has been awarded by the European Geosciences Union for "exceptional contributions to nonlinear geophysics in general" (by EGS until 2003 and by EGU since 2004).
Winners have been:
2020: Valerio Lucarini
2019: Shaun Lovejoy
2018: Timothy N. Palmer
2017: Edward Ott
2016: Peter L. Read
2015: Daniel Schertzer
2014: Olivier Talagrand
2013: Jürgen Kurths
2012: Harry Swinney
2011: Catherine Nicolis
2010: Klaus Fraedrich
2009: Stéphan Fauve
2008: Akiva Yaglom
2007: Ulrich Schumann
2006: Roberto Benzi
2005: Henk A. Dijkstra
2004: Michael Ghil
2003: Uriel Frisch
2002:
2001: Julian Hunt
2000: Benoit Mandelbrot
1999: Raymond Hide
1998: Vladimir Keilis-Borok
Since 1959, there has been a Peace Studies centre at Lancaster University named the Richardson Institute which carries out interdisciplinary research on peace and conflict in the spirit of Lewis Fry Richardson.
See also
Anomalous diffusion
Arms race
Coastline paradox
Energy cascade
War cycles
Magnetic helicity
Richardson extrapolation
Richardson number
Modified Richardson iteration
Richards equation
Multiscale turbulence
Takebe Kenko
Frederick W. Lanchester
List of peace activists
Notes
References
Wilkinson, David. Deadly Quarrels: Lewis F. Richardson and the Statistical Study of War (University of California Press, 2018) online review
320pp
P.A. Davidson, Y. Kaneda, K. Moffatt, and K.R. Sreenivasan (eds, 2011). A Voyage Through Turbulence, chapter 5, pp 187–208, Cambridge University Press
544pp "A Quaker mathematician" (Ch 8) and "Richardson on war" (Ch 9)
290pp
Richardson, L.F. (1939). "Generalized foreign politics". The British Journal of Psychology, monograph supplement No. 23.
Richardson, L.F. (1960). Statistics of deadly quarrels. Pacific Grove, CA: Boxwood Press.
1030pp; Volume 2: Quantitative psychology and studies of conflict. , 778pp
353pp
Angeletti Ferdinando (2021) Storicismo matematico e pacifismo scientifico: due esempi di determinismo storico della metà del XX secolo in Iconografie europee'' di Walter Montanari e Shirin Zakeri (a cura di), Roma, Nuova Cultura ISBN 978-8-833-65368-6;
External links
1881 births
1953 deaths
20th-century mathematicians
Academics of the University of Manchester Institute of Science and Technology
Academics of Aberystwyth University
Alumni of King's College, Cambridge
People educated at Bootham School
English cartographers
British conscientious objectors
English mathematicians
English meteorologists
English physicists
English psychologists
English Quakers
Fellows of the Royal Society
Lewis
People associated with the University of the West of Scotland
People from Newcastle upon Tyne
English Christian pacifists
Fluid dynamicists
People associated with the Friends' Ambulance Unit
20th-century psychologists
Alumni of Armstrong College, Durham
20th-century English businesspeople | true | [
"Etan Boritzer (born 1950) is an American writer of children’s literature who is best known for his book What is God? first published in 1989. His best selling What is? illustrated children's book series on character education and difficult subjects for children is a popular teaching guide for parents, teachers and child-life professionals.\n\nBoritzer gained national critical acclaim after What is God? was published in 1989 although the book has caused controversy from religious fundamentalists for its universalist views. The other current books in the What is? series include ''What is Love?, What is Death?, What is Beautiful?, What is Funny?, What is Right?, What is Peace?, What is Money?, What is Dreaming?, What is a Friend?, What is True?, What is a Family?, What is a Feeling? The series is now also translated into 15 languages.\n \nBoritzer was first published in 1963 at the age of 13 when he wrote an essay in his English class at Wade Junior High School in the Bronx, New York on the assassination of John F. Kennedy. His essay was included in a special anthology by New York City public school children compiled and published by the New York City Department of Education.\n\nBoritzer now lives in Venice, California and maintains his publishing office there also. He has helped numerous other authors to get published through How to Get Your Book Published! programs. Boritzer is also a yoga teacher who teaches regular classes locally and guest-teaches nationally. He is also recognized nationally as an erudite speaker on The Teachings of the Buddha.\n\nReferences\n\nExternal links\n\nChildren's Literature – What is? illustrated children’s book series on character education and difficult subjects\n\nLiving people\nAmerican children's writers\n1950 births",
"(born May 13, 1958) is a Japanese manga artist who is best known for his unusual drawing style. One of his best known manga is What's Michael?, a manga about a curious orange cat and his many adventures that is often compared with Garfield. His earliest work is Grapple Three Brothers, which won the Shōnen magazine New manga artist award. He has twice won the Kodansha Manga Award, for Sanshiro of 1, 2 (ja) in 1981 and What's Michael? in 1986.\n\nWorks\n\nManga\nGrapple Three Brothers\nSanshirō of 1, 2\nJudo Bu Monogatari\nI am Makkoi\nClub 9 (Miss Hello) - Kobayashi has often parodied himself, as well as his works; one of the most visible examples is in Club 9, where he appears as a character.\nGaburin\nChichonmanchi (Hell of Love & Ecstasy)\nWhat's Michael?\nStairway to Heaven\n\nAnime\nJudo Bu Monogatari OAV\nWhat's Michael? OAV\nWhat's Michael? 2 OAV\nWhat's Michael? TV\n\nReferences\n\nExternal links\n \n A comprehensive guide to Makoto Kobayashi\n Comiclopedia's page on Makoto Kobayashi\n\n1958 births\nLiving people\nManga artists from Niigata Prefecture\nWinner of Kodansha Manga Award (Shōnen)\nWinner of Kodansha Manga Award (General)\nPeople from Niigata (city)"
] | [
"Lewis Fry Richardson, FRS (11 October 1881 – 30 September 1953) was an English mathematician, physicist, meteorologist, psychologist and pacifist who pioneered modern mathematical techniques of weather forecasting, and the application of similar techniques to studying the causes of wars and how to prevent them. He is also noted for his pioneering work concerning fractals and a method for solving a system of linear equations known as modified Richardson iteration.",
"He is also noted for his pioneering work concerning fractals and a method for solving a system of linear equations known as modified Richardson iteration. Early life Lewis Fry Richardson was the youngest of seven children born to Catherine Fry (1838–1919) and David Richardson (1835–1913).",
"Early life Lewis Fry Richardson was the youngest of seven children born to Catherine Fry (1838–1919) and David Richardson (1835–1913). They were a prosperous Quaker family, David Richardson operating a successful tanning and leather-manufacturing business.",
"They were a prosperous Quaker family, David Richardson operating a successful tanning and leather-manufacturing business. At age 12 he was sent to a Quaker boarding school, Bootham School in York, where he received an education in science, which stimulated an active interest in natural history.",
"At age 12 he was sent to a Quaker boarding school, Bootham School in York, where he received an education in science, which stimulated an active interest in natural history. In 1898 he went on to Durham College of Science (a college of Durham University) where he took courses in mathematical physics, chemistry, botany, and zoology.",
"In 1898 he went on to Durham College of Science (a college of Durham University) where he took courses in mathematical physics, chemistry, botany, and zoology. He proceeded in 1900 to King's College, Cambridge, where he was taught physics in the natural sciences tripos by (among others) J. J. Thomson and graduated with a first-class degree in 1903.",
"He proceeded in 1900 to King's College, Cambridge, where he was taught physics in the natural sciences tripos by (among others) J. J. Thomson and graduated with a first-class degree in 1903. At age 47 he received a doctorate in mathematical psychology from the University of London.",
"At age 47 he received a doctorate in mathematical psychology from the University of London. Career Richardson's working life represented his eclectic interests: National Physical Laboratory (1903–1904). University College Aberystwyth (1905–1906). Chemist, National Peat Industries (1906–1907). National Physical Laboratory (1907–1909).",
"National Physical Laboratory (1907–1909). Manager of the physical and chemical laboratory, Sunbeam Lamp Company (1909–1912). Manchester College of Technology (1912–1913). Meteorological Office – as superintendent of Eskdalemuir Observatory (1913–1916). Friends Ambulance Unit in France (1916–1919). Meteorological Office at Benson, Oxfordshire (1919–1920).",
"Meteorological Office at Benson, Oxfordshire (1919–1920). Head of the Physics Department at Westminster Training College (1920–1929). Principal, Paisley Technical College, now part of the University of the West of Scotland (1929–1940).",
"Principal, Paisley Technical College, now part of the University of the West of Scotland (1929–1940). In 1926, he was elected to the Fellowship of the Royal Society Pacifism Richardson's Quaker beliefs entailed an ardent pacifism that exempted him from military service during World War I as a conscientious objector, though this subsequently disqualified him from having any academic post.",
"In 1926, he was elected to the Fellowship of the Royal Society Pacifism Richardson's Quaker beliefs entailed an ardent pacifism that exempted him from military service during World War I as a conscientious objector, though this subsequently disqualified him from having any academic post. Richardson worked from 1916 to 1919 for the Friends' Ambulance Unit attached to the 16th French Infantry Division.",
"Richardson worked from 1916 to 1919 for the Friends' Ambulance Unit attached to the 16th French Infantry Division. After the war, he rejoined the Meteorological Office but was compelled to resign on grounds of conscience when it was amalgamated into the Air Ministry in 1920.",
"After the war, he rejoined the Meteorological Office but was compelled to resign on grounds of conscience when it was amalgamated into the Air Ministry in 1920. He subsequently pursued a career on the fringes of the academic world before retiring in 1940 to research his own ideas. His pacifism had direct consequences on his research interests.",
"His pacifism had direct consequences on his research interests. According to Thomas Körner, the discovery that his meteorological work was of value to chemical weapons designers caused him to abandon all his efforts in this field, and destroy findings that he had yet to publish.",
"According to Thomas Körner, the discovery that his meteorological work was of value to chemical weapons designers caused him to abandon all his efforts in this field, and destroy findings that he had yet to publish. Weather forecasting Richardson's interest in meteorology led him to propose a scheme for weather forecasting by solution of differential equations, the method used nowadays, though when he published Weather Prediction by Numerical Process in 1922, suitable fast computing was unavailable.",
"Weather forecasting Richardson's interest in meteorology led him to propose a scheme for weather forecasting by solution of differential equations, the method used nowadays, though when he published Weather Prediction by Numerical Process in 1922, suitable fast computing was unavailable. He described his ideas thus (his \"computers\" are human beings): \"After so much hard reasoning, may one play with a fantasy?",
"He described his ideas thus (his \"computers\" are human beings): \"After so much hard reasoning, may one play with a fantasy? Imagine a large hall like a theatre, except that the circles and galleries go right round through the space usually occupied by the stage.",
"Imagine a large hall like a theatre, except that the circles and galleries go right round through the space usually occupied by the stage. The walls of this chamber are painted to form a map of the globe.",
"The walls of this chamber are painted to form a map of the globe. The ceiling represents the north polar regions, England is in the gallery, the tropics in the upper circle, Australia on the dress circle and the Antarctic in the pit.",
"The ceiling represents the north polar regions, England is in the gallery, the tropics in the upper circle, Australia on the dress circle and the Antarctic in the pit. A myriad computers are at work upon the weather of the part of the map where each sits, but each computer attends only to one equation or part of an equation.",
"A myriad computers are at work upon the weather of the part of the map where each sits, but each computer attends only to one equation or part of an equation. The work of each region is coordinated by an official of higher rank.",
"The work of each region is coordinated by an official of higher rank. Numerous little \"night signs\" display the instantaneous values so that neighbouring computers can read them. Each number is thus displayed in three adjacent zones so as to maintain communication to the North and South on the map.",
"Each number is thus displayed in three adjacent zones so as to maintain communication to the North and South on the map. From the floor of the pit a tall pillar rises to half the height of the hall. It carries a large pulpit on its top.",
"It carries a large pulpit on its top. In this sits the man in charge of the whole theatre; he is surrounded by several assistants and messengers. One of his duties is to maintain a uniform speed of progress in all parts of the globe.",
"One of his duties is to maintain a uniform speed of progress in all parts of the globe. In this respect he is like the conductor of an orchestra in which the instruments are slide-rules and calculating machines.",
"In this respect he is like the conductor of an orchestra in which the instruments are slide-rules and calculating machines. But instead of waving a baton he turns a beam of rosy light upon any region that is running ahead of the rest, and a beam of blue light upon those who are behindhand.",
"But instead of waving a baton he turns a beam of rosy light upon any region that is running ahead of the rest, and a beam of blue light upon those who are behindhand. Four senior clerks in the central pulpit are collecting the future weather as fast as it is being computed, and despatching it by pneumatic carrier to a quiet room.",
"Four senior clerks in the central pulpit are collecting the future weather as fast as it is being computed, and despatching it by pneumatic carrier to a quiet room. There it will be coded and telephoned to the radio transmitting station. Messengers carry piles of used computing forms down to a storehouse in the cellar.",
"Messengers carry piles of used computing forms down to a storehouse in the cellar. In a neighbouring building there is a research department, where they invent improvements. But there is much experimenting on a small scale before any change is made in the complex routine of the computing theatre.",
"But there is much experimenting on a small scale before any change is made in the complex routine of the computing theatre. In a basement an enthusiast is observing eddies in the liquid lining of a huge spinning bowl, but so far the arithmetic proves the better way.",
"In a basement an enthusiast is observing eddies in the liquid lining of a huge spinning bowl, but so far the arithmetic proves the better way. In another building are all the usual financial, correspondence and administrative offices.",
"In another building are all the usual financial, correspondence and administrative offices. Outside are playing fields, houses, mountains and lakes, for it was thought that those who compute the weather should breathe of it freely.\"",
"Outside are playing fields, houses, mountains and lakes, for it was thought that those who compute the weather should breathe of it freely.\" (Richardson 1922) (The word \"computers\" is used here in its original sense – people who did computations, not machines.",
"(Richardson 1922) (The word \"computers\" is used here in its original sense – people who did computations, not machines. \"Calculator\" also referred to people at this time.)",
"\"Calculator\" also referred to people at this time.) When news of the first weather forecast by the first modern computer, ENIAC, was received by Richardson in 1950, he responded that the results were an \"enormous scientific advance.\" The first calculations for a 24-hour forecast took ENIAC nearly 24 hours to produce.",
"The first calculations for a 24-hour forecast took ENIAC nearly 24 hours to produce. He was also interested in atmospheric turbulence and performed many terrestrial experiments. The Richardson number, a dimensionless parameter of the theory of turbulence is named for him.",
"The Richardson number, a dimensionless parameter of the theory of turbulence is named for him. He famously summarised turbulence in rhyming verse in Weather Prediction by Numerical Process (p 66): Big whirls have little whirls that feed on their velocity, and little whirls have lesser whirls and so on to viscosity.",
"He famously summarised turbulence in rhyming verse in Weather Prediction by Numerical Process (p 66): Big whirls have little whirls that feed on their velocity, and little whirls have lesser whirls and so on to viscosity. [A play on Siphonaptera, Augustus De Morgan's rewording of Jonathan Swift, \"Great fleas have little fleas upon their backs to bite 'em, And little fleas have lesser fleas, and so ad infinitum.\"",
"[A play on Siphonaptera, Augustus De Morgan's rewording of Jonathan Swift, \"Great fleas have little fleas upon their backs to bite 'em, And little fleas have lesser fleas, and so ad infinitum.\" (A Budget of Paradoxes, 1915)].",
"(A Budget of Paradoxes, 1915)]. Richardson's attempt at numerical forecast One of Richardson's most celebrated achievements is his retroactive attempt to forecast the weather during a single day—20 May 1910—by direct computation. At the time, meteorologists performed forecasts principally by looking for similar weather patterns from records, and then extrapolating forward.",
"At the time, meteorologists performed forecasts principally by looking for similar weather patterns from records, and then extrapolating forward. Richardson attempted to use a mathematical model of the principal features of the atmosphere, and use data taken at a specific time (7 AM) to calculate the weather six hours later ab initio.",
"Richardson attempted to use a mathematical model of the principal features of the atmosphere, and use data taken at a specific time (7 AM) to calculate the weather six hours later ab initio. As meteorologist Peter Lynch makes clear, Richardson's forecast failed dramatically, predicting a huge rise in pressure over six hours when the pressure actually was more or less static.",
"As meteorologist Peter Lynch makes clear, Richardson's forecast failed dramatically, predicting a huge rise in pressure over six hours when the pressure actually was more or less static. However, detailed analysis by Lynch has shown that the cause was a failure to apply smoothing techniques to the data, which rule out unphysical surges in pressure.",
"However, detailed analysis by Lynch has shown that the cause was a failure to apply smoothing techniques to the data, which rule out unphysical surges in pressure. When these are applied, Richardson's forecast is revealed to be essentially accurate—a remarkable achievement considering the calculations were done by hand, and while Richardson was serving with the Quaker ambulance unit in northern France.",
"When these are applied, Richardson's forecast is revealed to be essentially accurate—a remarkable achievement considering the calculations were done by hand, and while Richardson was serving with the Quaker ambulance unit in northern France. Mathematical analysis of war Richardson also applied his mathematical skills in the service of his pacifist principles, in particular in understanding the basis of international conflict.",
"Mathematical analysis of war Richardson also applied his mathematical skills in the service of his pacifist principles, in particular in understanding the basis of international conflict. For this reason, he is now considered the initiator, or co-initiator (with Quincy Wright and Pitirim Sorokin as well as others such as Kenneth Boulding, Anatol Rapaport and Adam Curle), of the scientific analysis of conflict—an interdisciplinary topic of quantitative and mathematical social science dedicated to systematic investigation of the causes of war and conditions of peace.",
"For this reason, he is now considered the initiator, or co-initiator (with Quincy Wright and Pitirim Sorokin as well as others such as Kenneth Boulding, Anatol Rapaport and Adam Curle), of the scientific analysis of conflict—an interdisciplinary topic of quantitative and mathematical social science dedicated to systematic investigation of the causes of war and conditions of peace. As he had done with weather, he analysed war using mainly differential equations and probability theory.",
"As he had done with weather, he analysed war using mainly differential equations and probability theory. Considering the armament of two nations, Richardson posited an idealised system of equations whereby the rate of a nation's armament build-up is directly proportional to the amount of arms its rival has and also to the grievances felt toward the rival, and negatively proportional to the amount of arms it already has itself.",
"Considering the armament of two nations, Richardson posited an idealised system of equations whereby the rate of a nation's armament build-up is directly proportional to the amount of arms its rival has and also to the grievances felt toward the rival, and negatively proportional to the amount of arms it already has itself. Solution of this system of equations allows insightful conclusions to be made regarding the nature, and the stability or instability, of various hypothetical conditions which might obtain between nations.",
"Solution of this system of equations allows insightful conclusions to be made regarding the nature, and the stability or instability, of various hypothetical conditions which might obtain between nations. He also originated the theory that the propensity for war between two nations was a function of the length of their common border.",
"He also originated the theory that the propensity for war between two nations was a function of the length of their common border. And in Arms and Insecurity (1949), and Statistics of Deadly Quarrels (1960), he sought to analyse the causes of war statistically. Factors he assessed included economics, language, and religion.",
"Factors he assessed included economics, language, and religion. In the preface of the latter, he wrote: \"There is in the world a great deal of brilliant, witty political discussion which leads to no settled convictions.",
"In the preface of the latter, he wrote: \"There is in the world a great deal of brilliant, witty political discussion which leads to no settled convictions. My aim has been different: namely to examine a few notions by quantitative techniques in the hope of reaching a reliable answer.\"",
"My aim has been different: namely to examine a few notions by quantitative techniques in the hope of reaching a reliable answer.\" In Statistics of Deadly Quarrels Richardson presented data on virtually every war from 1815 to 1945. As a result, he hypothesized a base 10 logarithmic scale for conflicts.",
"As a result, he hypothesized a base 10 logarithmic scale for conflicts. In other words, there are many more small fights, in which only a few people die, than large ones that kill many.",
"In other words, there are many more small fights, in which only a few people die, than large ones that kill many. While no conflict's size can be predicted beforehand—indeed, it is impossible to give an upper limit to the series—overall they do form a Poisson distribution.",
"While no conflict's size can be predicted beforehand—indeed, it is impossible to give an upper limit to the series—overall they do form a Poisson distribution. On a smaller scale he showed the same pattern for gang murders in Chicago and Shanghai.",
"On a smaller scale he showed the same pattern for gang murders in Chicago and Shanghai. Others have noted that similar statistical patterns occur frequently, whether planned (lotteries, with many more small payoffs than large wins), or by natural organisation (there are more small towns with grocery stores than big cities with superstores).",
"Others have noted that similar statistical patterns occur frequently, whether planned (lotteries, with many more small payoffs than large wins), or by natural organisation (there are more small towns with grocery stores than big cities with superstores). Research on the length of coastlines and borders Richardson decided to search for a relation between the probability of two countries going to war and the length of their common border.",
"Research on the length of coastlines and borders Richardson decided to search for a relation between the probability of two countries going to war and the length of their common border. However, while collecting data, he found that there was considerable variation in the various published lengths of international borders.",
"However, while collecting data, he found that there was considerable variation in the various published lengths of international borders. For example, that between Spain and Portugal was variously quoted as 987 or 1214 km, and that between the Netherlands and Belgium as 380 or 449 km. The reason for these inconsistencies is the \"coastline paradox\".",
"The reason for these inconsistencies is the \"coastline paradox\". Suppose the coast of Britain is measured using a 200 km ruler, specifying that both ends of the ruler must touch the coast. Now cut the ruler in half and repeat the measurement, then repeat: Notice that the smaller the ruler, the longer the resulting coastline.",
"Now cut the ruler in half and repeat the measurement, then repeat: Notice that the smaller the ruler, the longer the resulting coastline. It might be supposed that these values would converge to a finite number representing the true length of the coastline.",
"It might be supposed that these values would converge to a finite number representing the true length of the coastline. However, Richardson demonstrated that this is not the case: the measured length of coastlines, and other natural features, increases without limit as the unit of measurement is made smaller. This is known nowadays as the Richardson effect.",
"This is known nowadays as the Richardson effect. At the time, Richardson's research was ignored by the scientific community. Today, it is considered an element of the beginning of the modern study of fractals. Richardson's research was quoted by mathematician Benoît Mandelbrot in his 1967 paper How Long Is the Coast of Britain?",
"Richardson's research was quoted by mathematician Benoît Mandelbrot in his 1967 paper How Long Is the Coast of Britain? Richardson identified a value (between 1 and 2) that would describe the changes (with increasing measurement detail) in observed complexity for a particular coastline; this value served as a model for the concept of fractal dimension.<ref>P.",
"Richardson identified a value (between 1 and 2) that would describe the changes (with increasing measurement detail) in observed complexity for a particular coastline; this value served as a model for the concept of fractal dimension.<ref>P. G. Drazin, \"Fractals\"; Collected Papers of Lewis Fry Richardson, Volume 1; Cambridge University Press, 1993; p. 45.</ref> Patents for detection of icebergs In April 1912, soon after the loss of the ship Titanic, Richardson registered a patent for iceberg detection using acoustic echolocation in air.",
"G. Drazin, \"Fractals\"; Collected Papers of Lewis Fry Richardson, Volume 1; Cambridge University Press, 1993; p. 45.</ref> Patents for detection of icebergs In April 1912, soon after the loss of the ship Titanic, Richardson registered a patent for iceberg detection using acoustic echolocation in air. A month later he registered a similar patent for acoustic echolocation in water, anticipating the invention of sonar by Paul Langevin and Robert Boyle 6 years later.",
"A month later he registered a similar patent for acoustic echolocation in water, anticipating the invention of sonar by Paul Langevin and Robert Boyle 6 years later. In popular culture A fictional version of Richardson, named Wallace Ryman, plays a pivotal role in Giles Foden's novel Turbulence.",
"In popular culture A fictional version of Richardson, named Wallace Ryman, plays a pivotal role in Giles Foden's novel Turbulence. Richardson is mentioned in John Brunner's work, Stand on Zanzibar where Statistics of Deadly Quarrels is used as an argument that wars are inevitable.",
"Richardson is mentioned in John Brunner's work, Stand on Zanzibar where Statistics of Deadly Quarrels is used as an argument that wars are inevitable. Richardson's work is also mentioned in Poul Anderson's speculative fiction novelette, Kings Who Die. Richardson is mentioned in Charlie Kaufman's 2020 novel Antkind.",
"Richardson is mentioned in Charlie Kaufman's 2020 novel Antkind. Richardson's famous quote, \"Big whirls have little whirls that feed on their velocity; little whirls have lesser whirls & so on to viscosity\" is mentioned in the song \"Dots & Lines\" written and performed by lyricist/rapper Lupe Fiasco.",
"Richardson's famous quote, \"Big whirls have little whirls that feed on their velocity; little whirls have lesser whirls & so on to viscosity\" is mentioned in the song \"Dots & Lines\" written and performed by lyricist/rapper Lupe Fiasco. Personal life In 1909 he married Dorothy Garnett (1885–1956), daughter of the mathematician and physicist William Garnett.",
"Personal life In 1909 he married Dorothy Garnett (1885–1956), daughter of the mathematician and physicist William Garnett. They were unable to have children due to an incompatibility of blood types, but they adopted two sons and a daughter between 1920 and 1927. Richardson's nephew Ralph Richardson became a noted actor.",
"Richardson's nephew Ralph Richardson became a noted actor. His great-nephew (through his wife Dorothy's eldest brother, (James Clerk) Maxwell Garnett, C.B.E. ), Julian Hunt, went on to become a meteorologist and director general and chief executive of the British Meteorological Office from 1992 to 1997.",
"), Julian Hunt, went on to become a meteorologist and director general and chief executive of the British Meteorological Office from 1992 to 1997. A great-niece – of the same line of descent – is the former politician Virginia Bottomley, now Baroness Bottomley.",
"A great-niece – of the same line of descent – is the former politician Virginia Bottomley, now Baroness Bottomley. Legacy Since 1997, the Lewis Fry Richardson Medal has been awarded by the European Geosciences Union for \"exceptional contributions to nonlinear geophysics in general\" (by EGS until 2003 and by EGU since 2004).",
"Legacy Since 1997, the Lewis Fry Richardson Medal has been awarded by the European Geosciences Union for \"exceptional contributions to nonlinear geophysics in general\" (by EGS until 2003 and by EGU since 2004). Winners have been: 2020: Valerio Lucarini 2019: Shaun Lovejoy 2018: Timothy N. Palmer 2017: Edward Ott 2016: Peter L. Read 2015: Daniel Schertzer 2014: Olivier Talagrand 2013: Jürgen Kurths 2012: Harry Swinney 2011: Catherine Nicolis 2010: Klaus Fraedrich 2009: Stéphan Fauve 2008: Akiva Yaglom 2007: Ulrich Schumann 2006: Roberto Benzi 2005: Henk A. Dijkstra 2004: Michael Ghil 2003: Uriel Frisch 2002: 2001: Julian Hunt 2000: Benoit Mandelbrot 1999: Raymond Hide 1998: Vladimir Keilis-Borok Since 1959, there has been a Peace Studies centre at Lancaster University named the Richardson Institute which carries out interdisciplinary research on peace and conflict in the spirit of Lewis Fry Richardson.",
"Winners have been: 2020: Valerio Lucarini 2019: Shaun Lovejoy 2018: Timothy N. Palmer 2017: Edward Ott 2016: Peter L. Read 2015: Daniel Schertzer 2014: Olivier Talagrand 2013: Jürgen Kurths 2012: Harry Swinney 2011: Catherine Nicolis 2010: Klaus Fraedrich 2009: Stéphan Fauve 2008: Akiva Yaglom 2007: Ulrich Schumann 2006: Roberto Benzi 2005: Henk A. Dijkstra 2004: Michael Ghil 2003: Uriel Frisch 2002: 2001: Julian Hunt 2000: Benoit Mandelbrot 1999: Raymond Hide 1998: Vladimir Keilis-Borok Since 1959, there has been a Peace Studies centre at Lancaster University named the Richardson Institute which carries out interdisciplinary research on peace and conflict in the spirit of Lewis Fry Richardson. See also Anomalous diffusion Arms race Coastline paradox Energy cascade War cycles Magnetic helicity Richardson extrapolation Richardson number Modified Richardson iteration Richards equation Multiscale turbulence Takebe Kenko Frederick W. Lanchester List of peace activists Notes References Wilkinson, David.",
"See also Anomalous diffusion Arms race Coastline paradox Energy cascade War cycles Magnetic helicity Richardson extrapolation Richardson number Modified Richardson iteration Richards equation Multiscale turbulence Takebe Kenko Frederick W. Lanchester List of peace activists Notes References Wilkinson, David. Deadly Quarrels: Lewis F. Richardson and the Statistical Study of War (University of California Press, 2018) online review 320pp P.A.",
"Deadly Quarrels: Lewis F. Richardson and the Statistical Study of War (University of California Press, 2018) online review 320pp P.A. Davidson, Y. Kaneda, K. Moffatt, and K.R. Sreenivasan (eds, 2011).",
"Sreenivasan (eds, 2011). A Voyage Through Turbulence, chapter 5, pp 187–208, Cambridge University Press 544pp \"A Quaker mathematician\" (Ch 8) and \"Richardson on war\" (Ch 9) 290pp Richardson, L.F. (1939). \"Generalized foreign politics\".",
"\"Generalized foreign politics\". \"Generalized foreign politics\". The British Journal of Psychology, monograph supplement No. 23. Richardson, L.F. (1960). Statistics of deadly quarrels. Pacific Grove, CA: Boxwood Press. 1030pp; Volume 2: Quantitative psychology and studies of conflict.",
"1030pp; Volume 2: Quantitative psychology and studies of conflict. , 778pp 353pp Angeletti Ferdinando (2021) Storicismo matematico e pacifismo scientifico: due esempi di determinismo storico della metà del XX secolo in Iconografie europee'' di Walter Montanari e Shirin Zakeri (a cura di), Roma, Nuova Cultura ISBN 978-8-833-65368-6; External links 1881 births 1953 deaths 20th-century mathematicians Academics of the University of Manchester Institute of Science and Technology Academics of Aberystwyth University Alumni of King's College, Cambridge People educated at Bootham School English cartographers British conscientious objectors English mathematicians English meteorologists English physicists English psychologists English Quakers Fellows of the Royal Society Lewis People associated with the University of the West of Scotland People from Newcastle upon Tyne English Christian pacifists Fluid dynamicists People associated with the Friends' Ambulance Unit 20th-century psychologists Alumni of Armstrong College, Durham 20th-century English businesspeople"
] |
[
"Lewis Fry Richardson",
"Research on the length of coastlines and borders",
"Who was Lewis Fry Richardson?",
"Richardson identified a value (between 1 and 2) that would describe the changes (with increasing measurement detail) in observed complexity for a particular coastline;",
"What is he best known for?",
"Richardson effect."
] | C_de38cd49a72248c2ae5e822e8961c1d3_0 | What is the Richardson effect? | 3 | What is the Richardson effect, that Lewis Fry Richardson is known for? | Lewis Fry Richardson | Richardson decided to search for a relation between the probability of two countries going to war and the length of their common border. However, while collecting data, he found that there was considerable variation in the various published lengths of international borders. For example, that between Spain and Portugal was variously quoted as 987 or 1214 km, and that between the Netherlands and Belgium as 380 or 449 km. The reason for these inconsistencies is the "coastline paradox". Suppose the coast of Britain is measured using a 200 km ruler, specifying that both ends of the ruler must touch the coast. Now cut the ruler in half and repeat the measurement, then repeat: Notice that the smaller the ruler, the longer the resulting coastline. It might be supposed that these values would converge to a finite number representing the true length of the coastline. However, Richardson demonstrated that this is not the case: the measured length of coastlines, and other natural features, increases without limit as the unit of measurement is made smaller. This is known nowadays as the Richardson effect. At the time, Richardson's research was ignored by the scientific community. Today, it is considered an element of the beginning of the modern study of fractals. Richardson's research was quoted by mathematician Benoit Mandelbrot in his 1967 paper How Long Is the Coast of Britain? Richardson identified a value (between 1 and 2) that would describe the changes (with increasing measurement detail) in observed complexity for a particular coastline; this value served as a model for the concept of fractal dimension. CANNOTANSWER | Richardson demonstrated that this is not the case: the measured length of coastlines, and other natural features, increases without limit as the unit of measurement is made smaller. | Lewis Fry Richardson, FRS (11 October 1881 – 30 September 1953) was an English mathematician, physicist, meteorologist, psychologist and pacifist who pioneered modern mathematical techniques of weather forecasting, and the application of similar techniques to studying the causes of wars and how to prevent them. He is also noted for his pioneering work concerning fractals and a method for solving a system of linear equations known as modified Richardson iteration.
Early life
Lewis Fry Richardson was the youngest of seven children born to Catherine Fry (1838–1919) and David Richardson (1835–1913). They were a prosperous Quaker family, David Richardson operating a successful tanning and leather-manufacturing business.
At age 12 he was sent to a Quaker boarding school, Bootham School in York, where he received an education in science, which stimulated an active interest in natural history. In 1898 he went on to Durham College of Science (a college of Durham University) where he took courses in mathematical physics, chemistry, botany, and zoology. He proceeded in 1900 to King's College, Cambridge, where he was taught physics in the natural sciences tripos by (among others) J. J. Thomson and graduated with a first-class degree in 1903. At age 47 he received a doctorate in mathematical psychology from the University of London.
Career
Richardson's working life represented his eclectic interests:
National Physical Laboratory (1903–1904).
University College Aberystwyth (1905–1906).
Chemist, National Peat Industries (1906–1907).
National Physical Laboratory (1907–1909).
Manager of the physical and chemical laboratory, Sunbeam Lamp Company (1909–1912).
Manchester College of Technology (1912–1913).
Meteorological Office – as superintendent of Eskdalemuir Observatory (1913–1916).
Friends Ambulance Unit in France (1916–1919).
Meteorological Office at Benson, Oxfordshire (1919–1920).
Head of the Physics Department at Westminster Training College (1920–1929).
Principal, Paisley Technical College, now part of the University of the West of Scotland (1929–1940).
In 1926, he was elected to the Fellowship of the Royal Society
Pacifism
Richardson's Quaker beliefs entailed an ardent pacifism that exempted him from military service during World War I as a conscientious objector, though this subsequently disqualified him from having any academic post. Richardson worked from 1916 to 1919 for the Friends' Ambulance Unit attached to the 16th French Infantry Division. After the war, he rejoined the Meteorological Office but was compelled to resign on grounds of conscience when it was amalgamated into the Air Ministry in 1920. He subsequently pursued a career on the fringes of the academic world before retiring in 1940 to research his own ideas. His pacifism had direct consequences on his research interests. According to Thomas Körner, the discovery that his meteorological work was of value to chemical weapons designers caused him to abandon all his efforts in this field, and destroy findings that he had yet to publish.
Weather forecasting
Richardson's interest in meteorology led him to propose a scheme for weather forecasting by solution of differential equations, the method used nowadays, though when he published Weather Prediction by Numerical Process in 1922, suitable fast computing was unavailable. He described his ideas thus (his "computers" are human beings):
"After so much hard reasoning, may one play with a fantasy? Imagine a large hall like a theatre, except that the circles and galleries go right round through the space usually occupied by the stage. The walls of this chamber are painted to form a map of the globe. The ceiling represents the north polar regions, England is in the gallery, the tropics in the upper circle, Australia on the dress circle and the Antarctic in the pit.
A myriad computers are at work upon the weather of the part of the map where each sits, but each computer attends only to one equation or part of an equation. The work of each region is coordinated by an official of higher rank. Numerous little "night signs" display the instantaneous values so that neighbouring computers can read them. Each number is thus displayed in three adjacent zones so as to maintain communication to the North and South on the map.
From the floor of the pit a tall pillar rises to half the height of the hall. It carries a large pulpit on its top. In this sits the man in charge of the whole theatre; he is surrounded by several assistants and messengers. One of his duties is to maintain a uniform speed of progress in all parts of the globe. In this respect he is like the conductor of an orchestra in which the instruments are slide-rules and calculating machines. But instead of waving a baton he turns a beam of rosy light upon any region that is running ahead of the rest, and a beam of blue light upon those who are behindhand.
Four senior clerks in the central pulpit are collecting the future weather as fast as it is being computed, and despatching it by pneumatic carrier to a quiet room. There it will be coded and telephoned to the radio transmitting station. Messengers carry piles of used computing forms down to a storehouse in the cellar.
In a neighbouring building there is a research department, where they invent improvements. But there is much experimenting on a small scale before any change is made in the complex routine of the computing theatre. In a basement an enthusiast is observing eddies in the liquid lining of a huge spinning bowl, but so far the arithmetic proves the better way. In another building are all the usual financial, correspondence and administrative offices. Outside are playing fields, houses, mountains and lakes, for it was thought that those who compute the weather should breathe of it freely." (Richardson 1922)
(The word "computers" is used here in its original sense – people who did computations, not machines. "Calculator" also referred to people at this time.)
When news of the first weather forecast by the first modern computer, ENIAC, was received by Richardson in 1950, he responded that the results were an "enormous scientific advance." The first calculations for a 24-hour forecast took ENIAC nearly 24 hours to produce.
He was also interested in atmospheric turbulence and performed many terrestrial experiments. The Richardson number, a dimensionless parameter of the theory of turbulence is named for him. He famously summarised turbulence in rhyming verse in Weather Prediction by Numerical Process (p 66):
Big whirls have little whirls that feed on their velocity,
and little whirls have lesser whirls and so on to viscosity.
[A play on Siphonaptera, Augustus De Morgan's rewording of Jonathan Swift, "Great fleas have little fleas upon their backs to bite 'em, And little fleas have lesser fleas, and so ad infinitum." (A Budget of Paradoxes, 1915)].
Richardson's attempt at numerical forecast
One of Richardson's most celebrated achievements is his retroactive attempt to forecast the weather during a single day—20 May 1910—by direct computation. At the time, meteorologists performed forecasts principally by looking for similar weather patterns from records, and then extrapolating forward. Richardson attempted to use a mathematical model of the principal features of the atmosphere, and use data taken at a specific time (7 AM) to calculate the weather six hours later ab initio. As meteorologist Peter Lynch makes clear, Richardson's forecast failed dramatically, predicting a huge rise in pressure over six hours when the pressure actually was more or less static. However, detailed analysis by Lynch has shown that the cause was a failure to apply smoothing techniques to the data, which rule out unphysical surges in pressure. When these are applied, Richardson's forecast is revealed to be essentially accurate—a remarkable achievement considering the calculations were done by hand, and while Richardson was serving with the Quaker ambulance unit in northern France.
Mathematical analysis of war
Richardson also applied his mathematical skills in the service of his pacifist principles, in particular in understanding the basis of international conflict. For this reason, he is now considered the initiator, or co-initiator (with Quincy Wright and Pitirim Sorokin as well as others such as Kenneth Boulding, Anatol Rapaport and Adam Curle), of the scientific analysis of conflict—an interdisciplinary topic of quantitative and mathematical social science dedicated to systematic investigation of the causes of war and conditions of peace. As he had done with weather, he analysed war using mainly differential equations and probability theory. Considering the armament of two nations, Richardson posited an idealised system of equations whereby the rate of a nation's armament build-up is directly proportional to the amount of arms its rival has and also to the grievances felt toward the rival, and negatively proportional to the amount of arms it already has itself. Solution of this system of equations allows insightful conclusions to be made regarding the nature, and the stability or instability, of various hypothetical conditions which might obtain between nations.
He also originated the theory that the propensity for war between two nations was a function of the length of their common border. And in Arms and Insecurity (1949), and Statistics of Deadly Quarrels (1960), he sought to analyse the causes of war statistically. Factors he assessed included economics, language, and religion. In the preface of the latter, he wrote: "There is in the world a great deal of brilliant, witty political discussion which leads to no settled convictions. My aim has been different: namely to examine a few notions by quantitative techniques in the hope of reaching a reliable answer."
In Statistics of Deadly Quarrels Richardson presented data on virtually every war from 1815 to 1945. As a result, he hypothesized a base 10 logarithmic scale for conflicts. In other words, there are many more small fights, in which only a few people die, than large ones that kill many. While no conflict's size can be predicted beforehand—indeed, it is impossible to give an upper limit to the series—overall they do form a Poisson distribution. On a smaller scale he showed the same pattern for gang murders in Chicago and Shanghai. Others have noted that similar statistical patterns occur frequently, whether planned (lotteries, with many more small payoffs than large wins), or by natural organisation (there are more small towns with grocery stores than big cities with superstores).
Research on the length of coastlines and borders
Richardson decided to search for a relation between the probability of two countries going to war and the length of their common border. However, while collecting data, he found that there was considerable variation in the various published lengths of international borders. For example, that between Spain and Portugal was variously quoted as 987 or 1214 km, and that between the Netherlands and Belgium as 380 or 449 km.
The reason for these inconsistencies is the "coastline paradox". Suppose the coast of Britain is measured using a 200 km ruler, specifying that both ends of the ruler must touch the coast. Now cut the ruler in half and repeat the measurement, then repeat:
Notice that the smaller the ruler, the longer the resulting coastline. It might be supposed that these values would converge to a finite number representing the true length of the coastline. However, Richardson demonstrated that this is not the case: the measured length of coastlines, and other natural features, increases without limit as the unit of measurement is made smaller. This is known nowadays as the Richardson effect.
At the time, Richardson's research was ignored by the scientific community. Today, it is considered an element of the beginning of the modern study of fractals. Richardson's research was quoted by mathematician Benoît Mandelbrot in his 1967 paper How Long Is the Coast of Britain? Richardson identified a value (between 1 and 2) that would describe the changes (with increasing measurement detail) in observed complexity for a particular coastline; this value served as a model for the concept of fractal dimension.<ref>P. G. Drazin, "Fractals"; Collected Papers of Lewis Fry Richardson, Volume 1; Cambridge University Press, 1993; p. 45.</ref>
Patents for detection of icebergs
In April 1912, soon after the loss of the ship Titanic, Richardson registered a patent for iceberg detection using acoustic echolocation in air. A month later he registered a similar patent for acoustic echolocation in water, anticipating the invention of sonar by Paul Langevin and Robert Boyle 6 years later.
In popular culture
A fictional version of Richardson, named Wallace Ryman, plays a pivotal role in Giles Foden's novel Turbulence.
Richardson is mentioned in John Brunner's work, Stand on Zanzibar where Statistics of Deadly Quarrels is used as an argument that wars are inevitable.
Richardson's work is also mentioned in Poul Anderson's speculative fiction novelette, Kings Who Die.
Richardson is mentioned in Charlie Kaufman's 2020 novel Antkind.
Richardson's famous quote, "Big whirls have little whirls that feed on their velocity; little whirls have lesser whirls & so on to viscosity" is mentioned in the song "Dots & Lines" written and performed by lyricist/rapper Lupe Fiasco.
Personal life
In 1909 he married Dorothy Garnett (1885–1956), daughter of the mathematician and physicist William Garnett. They were unable to have children due to an incompatibility of blood types, but they adopted two sons and a daughter between 1920 and 1927.
Richardson's nephew Ralph Richardson became a noted actor. His great-nephew (through his wife Dorothy's eldest brother, (James Clerk) Maxwell Garnett, C.B.E.), Julian Hunt, went on to become a meteorologist and director general and chief executive of the British Meteorological Office from 1992 to 1997. A great-niece – of the same line of descent – is the former politician Virginia Bottomley, now Baroness Bottomley.
Legacy
Since 1997, the Lewis Fry Richardson Medal has been awarded by the European Geosciences Union for "exceptional contributions to nonlinear geophysics in general" (by EGS until 2003 and by EGU since 2004).
Winners have been:
2020: Valerio Lucarini
2019: Shaun Lovejoy
2018: Timothy N. Palmer
2017: Edward Ott
2016: Peter L. Read
2015: Daniel Schertzer
2014: Olivier Talagrand
2013: Jürgen Kurths
2012: Harry Swinney
2011: Catherine Nicolis
2010: Klaus Fraedrich
2009: Stéphan Fauve
2008: Akiva Yaglom
2007: Ulrich Schumann
2006: Roberto Benzi
2005: Henk A. Dijkstra
2004: Michael Ghil
2003: Uriel Frisch
2002:
2001: Julian Hunt
2000: Benoit Mandelbrot
1999: Raymond Hide
1998: Vladimir Keilis-Borok
Since 1959, there has been a Peace Studies centre at Lancaster University named the Richardson Institute which carries out interdisciplinary research on peace and conflict in the spirit of Lewis Fry Richardson.
See also
Anomalous diffusion
Arms race
Coastline paradox
Energy cascade
War cycles
Magnetic helicity
Richardson extrapolation
Richardson number
Modified Richardson iteration
Richards equation
Multiscale turbulence
Takebe Kenko
Frederick W. Lanchester
List of peace activists
Notes
References
Wilkinson, David. Deadly Quarrels: Lewis F. Richardson and the Statistical Study of War (University of California Press, 2018) online review
320pp
P.A. Davidson, Y. Kaneda, K. Moffatt, and K.R. Sreenivasan (eds, 2011). A Voyage Through Turbulence, chapter 5, pp 187–208, Cambridge University Press
544pp "A Quaker mathematician" (Ch 8) and "Richardson on war" (Ch 9)
290pp
Richardson, L.F. (1939). "Generalized foreign politics". The British Journal of Psychology, monograph supplement No. 23.
Richardson, L.F. (1960). Statistics of deadly quarrels. Pacific Grove, CA: Boxwood Press.
1030pp; Volume 2: Quantitative psychology and studies of conflict. , 778pp
353pp
Angeletti Ferdinando (2021) Storicismo matematico e pacifismo scientifico: due esempi di determinismo storico della metà del XX secolo in Iconografie europee'' di Walter Montanari e Shirin Zakeri (a cura di), Roma, Nuova Cultura ISBN 978-8-833-65368-6;
External links
1881 births
1953 deaths
20th-century mathematicians
Academics of the University of Manchester Institute of Science and Technology
Academics of Aberystwyth University
Alumni of King's College, Cambridge
People educated at Bootham School
English cartographers
British conscientious objectors
English mathematicians
English meteorologists
English physicists
English psychologists
English Quakers
Fellows of the Royal Society
Lewis
People associated with the University of the West of Scotland
People from Newcastle upon Tyne
English Christian pacifists
Fluid dynamicists
People associated with the Friends' Ambulance Unit
20th-century psychologists
Alumni of Armstrong College, Durham
20th-century English businesspeople | true | [
"In Louisiana law, extra-dotal property is that property which forms no part of the dowry of a woman (which would mean that her husband has certain rights to it), but is hers alone. It is also called \"paraphernal property\", from the Greek for \"beyond the dowry\", which gives us the word \"paraphernalia\".\n\nThe United States Supreme Court determined the extent and effect of extradotal law on the rights of married women in Louisiana in the case of Fleitas v. Richardson.\n\nReferences\n\nExternal links\n Fleitas v. Richardson.\n\nLouisiana law",
"The Barnett effect is the magnetization of an uncharged body when spun on its axis. It was discovered by American physicist Samuel Barnett in 1915.\n\nAn uncharged object rotating with angular velocity ω tends to spontaneously magnetize, with a magnetization given by\n\n \n\nwhere γ is the gyromagnetic ratio for the material, χ is the magnetic susceptibility.\n\nThe magnetization occurs parallel to the axis of spin. Barnett was motivated by a prediction by Owen Richardson in 1908, later named the Einstein–de Haas effect, that magnetizing a ferromagnet can induce a mechanical rotation. He instead looked for the opposite effect, that is, that spinning a ferromagnet could change its magnetization. He established the effect with a long series of experiments between 1908 and 1915.\n\nSee also \n London moment\n\nReferences\n\nFurther reading\n \n\nMagnetism"
] | [
"Lewis Fry Richardson, FRS (11 October 1881 – 30 September 1953) was an English mathematician, physicist, meteorologist, psychologist and pacifist who pioneered modern mathematical techniques of weather forecasting, and the application of similar techniques to studying the causes of wars and how to prevent them. He is also noted for his pioneering work concerning fractals and a method for solving a system of linear equations known as modified Richardson iteration.",
"He is also noted for his pioneering work concerning fractals and a method for solving a system of linear equations known as modified Richardson iteration. Early life Lewis Fry Richardson was the youngest of seven children born to Catherine Fry (1838–1919) and David Richardson (1835–1913).",
"Early life Lewis Fry Richardson was the youngest of seven children born to Catherine Fry (1838–1919) and David Richardson (1835–1913). They were a prosperous Quaker family, David Richardson operating a successful tanning and leather-manufacturing business.",
"They were a prosperous Quaker family, David Richardson operating a successful tanning and leather-manufacturing business. At age 12 he was sent to a Quaker boarding school, Bootham School in York, where he received an education in science, which stimulated an active interest in natural history.",
"At age 12 he was sent to a Quaker boarding school, Bootham School in York, where he received an education in science, which stimulated an active interest in natural history. In 1898 he went on to Durham College of Science (a college of Durham University) where he took courses in mathematical physics, chemistry, botany, and zoology.",
"In 1898 he went on to Durham College of Science (a college of Durham University) where he took courses in mathematical physics, chemistry, botany, and zoology. He proceeded in 1900 to King's College, Cambridge, where he was taught physics in the natural sciences tripos by (among others) J. J. Thomson and graduated with a first-class degree in 1903.",
"He proceeded in 1900 to King's College, Cambridge, where he was taught physics in the natural sciences tripos by (among others) J. J. Thomson and graduated with a first-class degree in 1903. At age 47 he received a doctorate in mathematical psychology from the University of London.",
"At age 47 he received a doctorate in mathematical psychology from the University of London. Career Richardson's working life represented his eclectic interests: National Physical Laboratory (1903–1904). University College Aberystwyth (1905–1906). Chemist, National Peat Industries (1906–1907). National Physical Laboratory (1907–1909).",
"National Physical Laboratory (1907–1909). Manager of the physical and chemical laboratory, Sunbeam Lamp Company (1909–1912). Manchester College of Technology (1912–1913). Meteorological Office – as superintendent of Eskdalemuir Observatory (1913–1916). Friends Ambulance Unit in France (1916–1919). Meteorological Office at Benson, Oxfordshire (1919–1920).",
"Meteorological Office at Benson, Oxfordshire (1919–1920). Head of the Physics Department at Westminster Training College (1920–1929). Principal, Paisley Technical College, now part of the University of the West of Scotland (1929–1940).",
"Principal, Paisley Technical College, now part of the University of the West of Scotland (1929–1940). In 1926, he was elected to the Fellowship of the Royal Society Pacifism Richardson's Quaker beliefs entailed an ardent pacifism that exempted him from military service during World War I as a conscientious objector, though this subsequently disqualified him from having any academic post.",
"In 1926, he was elected to the Fellowship of the Royal Society Pacifism Richardson's Quaker beliefs entailed an ardent pacifism that exempted him from military service during World War I as a conscientious objector, though this subsequently disqualified him from having any academic post. Richardson worked from 1916 to 1919 for the Friends' Ambulance Unit attached to the 16th French Infantry Division.",
"Richardson worked from 1916 to 1919 for the Friends' Ambulance Unit attached to the 16th French Infantry Division. After the war, he rejoined the Meteorological Office but was compelled to resign on grounds of conscience when it was amalgamated into the Air Ministry in 1920.",
"After the war, he rejoined the Meteorological Office but was compelled to resign on grounds of conscience when it was amalgamated into the Air Ministry in 1920. He subsequently pursued a career on the fringes of the academic world before retiring in 1940 to research his own ideas. His pacifism had direct consequences on his research interests.",
"His pacifism had direct consequences on his research interests. According to Thomas Körner, the discovery that his meteorological work was of value to chemical weapons designers caused him to abandon all his efforts in this field, and destroy findings that he had yet to publish.",
"According to Thomas Körner, the discovery that his meteorological work was of value to chemical weapons designers caused him to abandon all his efforts in this field, and destroy findings that he had yet to publish. Weather forecasting Richardson's interest in meteorology led him to propose a scheme for weather forecasting by solution of differential equations, the method used nowadays, though when he published Weather Prediction by Numerical Process in 1922, suitable fast computing was unavailable.",
"Weather forecasting Richardson's interest in meteorology led him to propose a scheme for weather forecasting by solution of differential equations, the method used nowadays, though when he published Weather Prediction by Numerical Process in 1922, suitable fast computing was unavailable. He described his ideas thus (his \"computers\" are human beings): \"After so much hard reasoning, may one play with a fantasy?",
"He described his ideas thus (his \"computers\" are human beings): \"After so much hard reasoning, may one play with a fantasy? Imagine a large hall like a theatre, except that the circles and galleries go right round through the space usually occupied by the stage.",
"Imagine a large hall like a theatre, except that the circles and galleries go right round through the space usually occupied by the stage. The walls of this chamber are painted to form a map of the globe.",
"The walls of this chamber are painted to form a map of the globe. The ceiling represents the north polar regions, England is in the gallery, the tropics in the upper circle, Australia on the dress circle and the Antarctic in the pit.",
"The ceiling represents the north polar regions, England is in the gallery, the tropics in the upper circle, Australia on the dress circle and the Antarctic in the pit. A myriad computers are at work upon the weather of the part of the map where each sits, but each computer attends only to one equation or part of an equation.",
"A myriad computers are at work upon the weather of the part of the map where each sits, but each computer attends only to one equation or part of an equation. The work of each region is coordinated by an official of higher rank.",
"The work of each region is coordinated by an official of higher rank. Numerous little \"night signs\" display the instantaneous values so that neighbouring computers can read them. Each number is thus displayed in three adjacent zones so as to maintain communication to the North and South on the map.",
"Each number is thus displayed in three adjacent zones so as to maintain communication to the North and South on the map. From the floor of the pit a tall pillar rises to half the height of the hall. It carries a large pulpit on its top.",
"It carries a large pulpit on its top. In this sits the man in charge of the whole theatre; he is surrounded by several assistants and messengers. One of his duties is to maintain a uniform speed of progress in all parts of the globe.",
"One of his duties is to maintain a uniform speed of progress in all parts of the globe. In this respect he is like the conductor of an orchestra in which the instruments are slide-rules and calculating machines.",
"In this respect he is like the conductor of an orchestra in which the instruments are slide-rules and calculating machines. But instead of waving a baton he turns a beam of rosy light upon any region that is running ahead of the rest, and a beam of blue light upon those who are behindhand.",
"But instead of waving a baton he turns a beam of rosy light upon any region that is running ahead of the rest, and a beam of blue light upon those who are behindhand. Four senior clerks in the central pulpit are collecting the future weather as fast as it is being computed, and despatching it by pneumatic carrier to a quiet room.",
"Four senior clerks in the central pulpit are collecting the future weather as fast as it is being computed, and despatching it by pneumatic carrier to a quiet room. There it will be coded and telephoned to the radio transmitting station. Messengers carry piles of used computing forms down to a storehouse in the cellar.",
"Messengers carry piles of used computing forms down to a storehouse in the cellar. In a neighbouring building there is a research department, where they invent improvements. But there is much experimenting on a small scale before any change is made in the complex routine of the computing theatre.",
"But there is much experimenting on a small scale before any change is made in the complex routine of the computing theatre. In a basement an enthusiast is observing eddies in the liquid lining of a huge spinning bowl, but so far the arithmetic proves the better way.",
"In a basement an enthusiast is observing eddies in the liquid lining of a huge spinning bowl, but so far the arithmetic proves the better way. In another building are all the usual financial, correspondence and administrative offices.",
"In another building are all the usual financial, correspondence and administrative offices. Outside are playing fields, houses, mountains and lakes, for it was thought that those who compute the weather should breathe of it freely.\"",
"Outside are playing fields, houses, mountains and lakes, for it was thought that those who compute the weather should breathe of it freely.\" (Richardson 1922) (The word \"computers\" is used here in its original sense – people who did computations, not machines.",
"(Richardson 1922) (The word \"computers\" is used here in its original sense – people who did computations, not machines. \"Calculator\" also referred to people at this time.)",
"\"Calculator\" also referred to people at this time.) When news of the first weather forecast by the first modern computer, ENIAC, was received by Richardson in 1950, he responded that the results were an \"enormous scientific advance.\" The first calculations for a 24-hour forecast took ENIAC nearly 24 hours to produce.",
"The first calculations for a 24-hour forecast took ENIAC nearly 24 hours to produce. He was also interested in atmospheric turbulence and performed many terrestrial experiments. The Richardson number, a dimensionless parameter of the theory of turbulence is named for him.",
"The Richardson number, a dimensionless parameter of the theory of turbulence is named for him. He famously summarised turbulence in rhyming verse in Weather Prediction by Numerical Process (p 66): Big whirls have little whirls that feed on their velocity, and little whirls have lesser whirls and so on to viscosity.",
"He famously summarised turbulence in rhyming verse in Weather Prediction by Numerical Process (p 66): Big whirls have little whirls that feed on their velocity, and little whirls have lesser whirls and so on to viscosity. [A play on Siphonaptera, Augustus De Morgan's rewording of Jonathan Swift, \"Great fleas have little fleas upon their backs to bite 'em, And little fleas have lesser fleas, and so ad infinitum.\"",
"[A play on Siphonaptera, Augustus De Morgan's rewording of Jonathan Swift, \"Great fleas have little fleas upon their backs to bite 'em, And little fleas have lesser fleas, and so ad infinitum.\" (A Budget of Paradoxes, 1915)].",
"(A Budget of Paradoxes, 1915)]. Richardson's attempt at numerical forecast One of Richardson's most celebrated achievements is his retroactive attempt to forecast the weather during a single day—20 May 1910—by direct computation. At the time, meteorologists performed forecasts principally by looking for similar weather patterns from records, and then extrapolating forward.",
"At the time, meteorologists performed forecasts principally by looking for similar weather patterns from records, and then extrapolating forward. Richardson attempted to use a mathematical model of the principal features of the atmosphere, and use data taken at a specific time (7 AM) to calculate the weather six hours later ab initio.",
"Richardson attempted to use a mathematical model of the principal features of the atmosphere, and use data taken at a specific time (7 AM) to calculate the weather six hours later ab initio. As meteorologist Peter Lynch makes clear, Richardson's forecast failed dramatically, predicting a huge rise in pressure over six hours when the pressure actually was more or less static.",
"As meteorologist Peter Lynch makes clear, Richardson's forecast failed dramatically, predicting a huge rise in pressure over six hours when the pressure actually was more or less static. However, detailed analysis by Lynch has shown that the cause was a failure to apply smoothing techniques to the data, which rule out unphysical surges in pressure.",
"However, detailed analysis by Lynch has shown that the cause was a failure to apply smoothing techniques to the data, which rule out unphysical surges in pressure. When these are applied, Richardson's forecast is revealed to be essentially accurate—a remarkable achievement considering the calculations were done by hand, and while Richardson was serving with the Quaker ambulance unit in northern France.",
"When these are applied, Richardson's forecast is revealed to be essentially accurate—a remarkable achievement considering the calculations were done by hand, and while Richardson was serving with the Quaker ambulance unit in northern France. Mathematical analysis of war Richardson also applied his mathematical skills in the service of his pacifist principles, in particular in understanding the basis of international conflict.",
"Mathematical analysis of war Richardson also applied his mathematical skills in the service of his pacifist principles, in particular in understanding the basis of international conflict. For this reason, he is now considered the initiator, or co-initiator (with Quincy Wright and Pitirim Sorokin as well as others such as Kenneth Boulding, Anatol Rapaport and Adam Curle), of the scientific analysis of conflict—an interdisciplinary topic of quantitative and mathematical social science dedicated to systematic investigation of the causes of war and conditions of peace.",
"For this reason, he is now considered the initiator, or co-initiator (with Quincy Wright and Pitirim Sorokin as well as others such as Kenneth Boulding, Anatol Rapaport and Adam Curle), of the scientific analysis of conflict—an interdisciplinary topic of quantitative and mathematical social science dedicated to systematic investigation of the causes of war and conditions of peace. As he had done with weather, he analysed war using mainly differential equations and probability theory.",
"As he had done with weather, he analysed war using mainly differential equations and probability theory. Considering the armament of two nations, Richardson posited an idealised system of equations whereby the rate of a nation's armament build-up is directly proportional to the amount of arms its rival has and also to the grievances felt toward the rival, and negatively proportional to the amount of arms it already has itself.",
"Considering the armament of two nations, Richardson posited an idealised system of equations whereby the rate of a nation's armament build-up is directly proportional to the amount of arms its rival has and also to the grievances felt toward the rival, and negatively proportional to the amount of arms it already has itself. Solution of this system of equations allows insightful conclusions to be made regarding the nature, and the stability or instability, of various hypothetical conditions which might obtain between nations.",
"Solution of this system of equations allows insightful conclusions to be made regarding the nature, and the stability or instability, of various hypothetical conditions which might obtain between nations. He also originated the theory that the propensity for war between two nations was a function of the length of their common border.",
"He also originated the theory that the propensity for war between two nations was a function of the length of their common border. And in Arms and Insecurity (1949), and Statistics of Deadly Quarrels (1960), he sought to analyse the causes of war statistically. Factors he assessed included economics, language, and religion.",
"Factors he assessed included economics, language, and religion. In the preface of the latter, he wrote: \"There is in the world a great deal of brilliant, witty political discussion which leads to no settled convictions.",
"In the preface of the latter, he wrote: \"There is in the world a great deal of brilliant, witty political discussion which leads to no settled convictions. My aim has been different: namely to examine a few notions by quantitative techniques in the hope of reaching a reliable answer.\"",
"My aim has been different: namely to examine a few notions by quantitative techniques in the hope of reaching a reliable answer.\" In Statistics of Deadly Quarrels Richardson presented data on virtually every war from 1815 to 1945. As a result, he hypothesized a base 10 logarithmic scale for conflicts.",
"As a result, he hypothesized a base 10 logarithmic scale for conflicts. In other words, there are many more small fights, in which only a few people die, than large ones that kill many.",
"In other words, there are many more small fights, in which only a few people die, than large ones that kill many. While no conflict's size can be predicted beforehand—indeed, it is impossible to give an upper limit to the series—overall they do form a Poisson distribution.",
"While no conflict's size can be predicted beforehand—indeed, it is impossible to give an upper limit to the series—overall they do form a Poisson distribution. On a smaller scale he showed the same pattern for gang murders in Chicago and Shanghai.",
"On a smaller scale he showed the same pattern for gang murders in Chicago and Shanghai. Others have noted that similar statistical patterns occur frequently, whether planned (lotteries, with many more small payoffs than large wins), or by natural organisation (there are more small towns with grocery stores than big cities with superstores).",
"Others have noted that similar statistical patterns occur frequently, whether planned (lotteries, with many more small payoffs than large wins), or by natural organisation (there are more small towns with grocery stores than big cities with superstores). Research on the length of coastlines and borders Richardson decided to search for a relation between the probability of two countries going to war and the length of their common border.",
"Research on the length of coastlines and borders Richardson decided to search for a relation between the probability of two countries going to war and the length of their common border. However, while collecting data, he found that there was considerable variation in the various published lengths of international borders.",
"However, while collecting data, he found that there was considerable variation in the various published lengths of international borders. For example, that between Spain and Portugal was variously quoted as 987 or 1214 km, and that between the Netherlands and Belgium as 380 or 449 km. The reason for these inconsistencies is the \"coastline paradox\".",
"The reason for these inconsistencies is the \"coastline paradox\". Suppose the coast of Britain is measured using a 200 km ruler, specifying that both ends of the ruler must touch the coast. Now cut the ruler in half and repeat the measurement, then repeat: Notice that the smaller the ruler, the longer the resulting coastline.",
"Now cut the ruler in half and repeat the measurement, then repeat: Notice that the smaller the ruler, the longer the resulting coastline. It might be supposed that these values would converge to a finite number representing the true length of the coastline.",
"It might be supposed that these values would converge to a finite number representing the true length of the coastline. However, Richardson demonstrated that this is not the case: the measured length of coastlines, and other natural features, increases without limit as the unit of measurement is made smaller. This is known nowadays as the Richardson effect.",
"This is known nowadays as the Richardson effect. At the time, Richardson's research was ignored by the scientific community. Today, it is considered an element of the beginning of the modern study of fractals. Richardson's research was quoted by mathematician Benoît Mandelbrot in his 1967 paper How Long Is the Coast of Britain?",
"Richardson's research was quoted by mathematician Benoît Mandelbrot in his 1967 paper How Long Is the Coast of Britain? Richardson identified a value (between 1 and 2) that would describe the changes (with increasing measurement detail) in observed complexity for a particular coastline; this value served as a model for the concept of fractal dimension.<ref>P.",
"Richardson identified a value (between 1 and 2) that would describe the changes (with increasing measurement detail) in observed complexity for a particular coastline; this value served as a model for the concept of fractal dimension.<ref>P. G. Drazin, \"Fractals\"; Collected Papers of Lewis Fry Richardson, Volume 1; Cambridge University Press, 1993; p. 45.</ref> Patents for detection of icebergs In April 1912, soon after the loss of the ship Titanic, Richardson registered a patent for iceberg detection using acoustic echolocation in air.",
"G. Drazin, \"Fractals\"; Collected Papers of Lewis Fry Richardson, Volume 1; Cambridge University Press, 1993; p. 45.</ref> Patents for detection of icebergs In April 1912, soon after the loss of the ship Titanic, Richardson registered a patent for iceberg detection using acoustic echolocation in air. A month later he registered a similar patent for acoustic echolocation in water, anticipating the invention of sonar by Paul Langevin and Robert Boyle 6 years later.",
"A month later he registered a similar patent for acoustic echolocation in water, anticipating the invention of sonar by Paul Langevin and Robert Boyle 6 years later. In popular culture A fictional version of Richardson, named Wallace Ryman, plays a pivotal role in Giles Foden's novel Turbulence.",
"In popular culture A fictional version of Richardson, named Wallace Ryman, plays a pivotal role in Giles Foden's novel Turbulence. Richardson is mentioned in John Brunner's work, Stand on Zanzibar where Statistics of Deadly Quarrels is used as an argument that wars are inevitable.",
"Richardson is mentioned in John Brunner's work, Stand on Zanzibar where Statistics of Deadly Quarrels is used as an argument that wars are inevitable. Richardson's work is also mentioned in Poul Anderson's speculative fiction novelette, Kings Who Die. Richardson is mentioned in Charlie Kaufman's 2020 novel Antkind.",
"Richardson is mentioned in Charlie Kaufman's 2020 novel Antkind. Richardson's famous quote, \"Big whirls have little whirls that feed on their velocity; little whirls have lesser whirls & so on to viscosity\" is mentioned in the song \"Dots & Lines\" written and performed by lyricist/rapper Lupe Fiasco.",
"Richardson's famous quote, \"Big whirls have little whirls that feed on their velocity; little whirls have lesser whirls & so on to viscosity\" is mentioned in the song \"Dots & Lines\" written and performed by lyricist/rapper Lupe Fiasco. Personal life In 1909 he married Dorothy Garnett (1885–1956), daughter of the mathematician and physicist William Garnett.",
"Personal life In 1909 he married Dorothy Garnett (1885–1956), daughter of the mathematician and physicist William Garnett. They were unable to have children due to an incompatibility of blood types, but they adopted two sons and a daughter between 1920 and 1927. Richardson's nephew Ralph Richardson became a noted actor.",
"Richardson's nephew Ralph Richardson became a noted actor. His great-nephew (through his wife Dorothy's eldest brother, (James Clerk) Maxwell Garnett, C.B.E. ), Julian Hunt, went on to become a meteorologist and director general and chief executive of the British Meteorological Office from 1992 to 1997.",
"), Julian Hunt, went on to become a meteorologist and director general and chief executive of the British Meteorological Office from 1992 to 1997. A great-niece – of the same line of descent – is the former politician Virginia Bottomley, now Baroness Bottomley.",
"A great-niece – of the same line of descent – is the former politician Virginia Bottomley, now Baroness Bottomley. Legacy Since 1997, the Lewis Fry Richardson Medal has been awarded by the European Geosciences Union for \"exceptional contributions to nonlinear geophysics in general\" (by EGS until 2003 and by EGU since 2004).",
"Legacy Since 1997, the Lewis Fry Richardson Medal has been awarded by the European Geosciences Union for \"exceptional contributions to nonlinear geophysics in general\" (by EGS until 2003 and by EGU since 2004). Winners have been: 2020: Valerio Lucarini 2019: Shaun Lovejoy 2018: Timothy N. Palmer 2017: Edward Ott 2016: Peter L. Read 2015: Daniel Schertzer 2014: Olivier Talagrand 2013: Jürgen Kurths 2012: Harry Swinney 2011: Catherine Nicolis 2010: Klaus Fraedrich 2009: Stéphan Fauve 2008: Akiva Yaglom 2007: Ulrich Schumann 2006: Roberto Benzi 2005: Henk A. Dijkstra 2004: Michael Ghil 2003: Uriel Frisch 2002: 2001: Julian Hunt 2000: Benoit Mandelbrot 1999: Raymond Hide 1998: Vladimir Keilis-Borok Since 1959, there has been a Peace Studies centre at Lancaster University named the Richardson Institute which carries out interdisciplinary research on peace and conflict in the spirit of Lewis Fry Richardson.",
"Winners have been: 2020: Valerio Lucarini 2019: Shaun Lovejoy 2018: Timothy N. Palmer 2017: Edward Ott 2016: Peter L. Read 2015: Daniel Schertzer 2014: Olivier Talagrand 2013: Jürgen Kurths 2012: Harry Swinney 2011: Catherine Nicolis 2010: Klaus Fraedrich 2009: Stéphan Fauve 2008: Akiva Yaglom 2007: Ulrich Schumann 2006: Roberto Benzi 2005: Henk A. Dijkstra 2004: Michael Ghil 2003: Uriel Frisch 2002: 2001: Julian Hunt 2000: Benoit Mandelbrot 1999: Raymond Hide 1998: Vladimir Keilis-Borok Since 1959, there has been a Peace Studies centre at Lancaster University named the Richardson Institute which carries out interdisciplinary research on peace and conflict in the spirit of Lewis Fry Richardson. See also Anomalous diffusion Arms race Coastline paradox Energy cascade War cycles Magnetic helicity Richardson extrapolation Richardson number Modified Richardson iteration Richards equation Multiscale turbulence Takebe Kenko Frederick W. Lanchester List of peace activists Notes References Wilkinson, David.",
"See also Anomalous diffusion Arms race Coastline paradox Energy cascade War cycles Magnetic helicity Richardson extrapolation Richardson number Modified Richardson iteration Richards equation Multiscale turbulence Takebe Kenko Frederick W. Lanchester List of peace activists Notes References Wilkinson, David. Deadly Quarrels: Lewis F. Richardson and the Statistical Study of War (University of California Press, 2018) online review 320pp P.A.",
"Deadly Quarrels: Lewis F. Richardson and the Statistical Study of War (University of California Press, 2018) online review 320pp P.A. Davidson, Y. Kaneda, K. Moffatt, and K.R. Sreenivasan (eds, 2011).",
"Sreenivasan (eds, 2011). A Voyage Through Turbulence, chapter 5, pp 187–208, Cambridge University Press 544pp \"A Quaker mathematician\" (Ch 8) and \"Richardson on war\" (Ch 9) 290pp Richardson, L.F. (1939). \"Generalized foreign politics\".",
"\"Generalized foreign politics\". \"Generalized foreign politics\". The British Journal of Psychology, monograph supplement No. 23. Richardson, L.F. (1960). Statistics of deadly quarrels. Pacific Grove, CA: Boxwood Press. 1030pp; Volume 2: Quantitative psychology and studies of conflict.",
"1030pp; Volume 2: Quantitative psychology and studies of conflict. , 778pp 353pp Angeletti Ferdinando (2021) Storicismo matematico e pacifismo scientifico: due esempi di determinismo storico della metà del XX secolo in Iconografie europee'' di Walter Montanari e Shirin Zakeri (a cura di), Roma, Nuova Cultura ISBN 978-8-833-65368-6; External links 1881 births 1953 deaths 20th-century mathematicians Academics of the University of Manchester Institute of Science and Technology Academics of Aberystwyth University Alumni of King's College, Cambridge People educated at Bootham School English cartographers British conscientious objectors English mathematicians English meteorologists English physicists English psychologists English Quakers Fellows of the Royal Society Lewis People associated with the University of the West of Scotland People from Newcastle upon Tyne English Christian pacifists Fluid dynamicists People associated with the Friends' Ambulance Unit 20th-century psychologists Alumni of Armstrong College, Durham 20th-century English businesspeople"
] |
[
"Lewis Fry Richardson",
"Research on the length of coastlines and borders",
"Who was Lewis Fry Richardson?",
"Richardson identified a value (between 1 and 2) that would describe the changes (with increasing measurement detail) in observed complexity for a particular coastline;",
"What is he best known for?",
"Richardson effect.",
"What is the Richardson effect?",
"Richardson demonstrated that this is not the case: the measured length of coastlines, and other natural features, increases without limit as the unit of measurement is made smaller."
] | C_de38cd49a72248c2ae5e822e8961c1d3_0 | Did he win an award because of this? | 4 | Did Lewis Fry Richardson win an award because of the Richardson effect? | Lewis Fry Richardson | Richardson decided to search for a relation between the probability of two countries going to war and the length of their common border. However, while collecting data, he found that there was considerable variation in the various published lengths of international borders. For example, that between Spain and Portugal was variously quoted as 987 or 1214 km, and that between the Netherlands and Belgium as 380 or 449 km. The reason for these inconsistencies is the "coastline paradox". Suppose the coast of Britain is measured using a 200 km ruler, specifying that both ends of the ruler must touch the coast. Now cut the ruler in half and repeat the measurement, then repeat: Notice that the smaller the ruler, the longer the resulting coastline. It might be supposed that these values would converge to a finite number representing the true length of the coastline. However, Richardson demonstrated that this is not the case: the measured length of coastlines, and other natural features, increases without limit as the unit of measurement is made smaller. This is known nowadays as the Richardson effect. At the time, Richardson's research was ignored by the scientific community. Today, it is considered an element of the beginning of the modern study of fractals. Richardson's research was quoted by mathematician Benoit Mandelbrot in his 1967 paper How Long Is the Coast of Britain? Richardson identified a value (between 1 and 2) that would describe the changes (with increasing measurement detail) in observed complexity for a particular coastline; this value served as a model for the concept of fractal dimension. CANNOTANSWER | At the time, Richardson's research was ignored by the scientific community. | Lewis Fry Richardson, FRS (11 October 1881 – 30 September 1953) was an English mathematician, physicist, meteorologist, psychologist and pacifist who pioneered modern mathematical techniques of weather forecasting, and the application of similar techniques to studying the causes of wars and how to prevent them. He is also noted for his pioneering work concerning fractals and a method for solving a system of linear equations known as modified Richardson iteration.
Early life
Lewis Fry Richardson was the youngest of seven children born to Catherine Fry (1838–1919) and David Richardson (1835–1913). They were a prosperous Quaker family, David Richardson operating a successful tanning and leather-manufacturing business.
At age 12 he was sent to a Quaker boarding school, Bootham School in York, where he received an education in science, which stimulated an active interest in natural history. In 1898 he went on to Durham College of Science (a college of Durham University) where he took courses in mathematical physics, chemistry, botany, and zoology. He proceeded in 1900 to King's College, Cambridge, where he was taught physics in the natural sciences tripos by (among others) J. J. Thomson and graduated with a first-class degree in 1903. At age 47 he received a doctorate in mathematical psychology from the University of London.
Career
Richardson's working life represented his eclectic interests:
National Physical Laboratory (1903–1904).
University College Aberystwyth (1905–1906).
Chemist, National Peat Industries (1906–1907).
National Physical Laboratory (1907–1909).
Manager of the physical and chemical laboratory, Sunbeam Lamp Company (1909–1912).
Manchester College of Technology (1912–1913).
Meteorological Office – as superintendent of Eskdalemuir Observatory (1913–1916).
Friends Ambulance Unit in France (1916–1919).
Meteorological Office at Benson, Oxfordshire (1919–1920).
Head of the Physics Department at Westminster Training College (1920–1929).
Principal, Paisley Technical College, now part of the University of the West of Scotland (1929–1940).
In 1926, he was elected to the Fellowship of the Royal Society
Pacifism
Richardson's Quaker beliefs entailed an ardent pacifism that exempted him from military service during World War I as a conscientious objector, though this subsequently disqualified him from having any academic post. Richardson worked from 1916 to 1919 for the Friends' Ambulance Unit attached to the 16th French Infantry Division. After the war, he rejoined the Meteorological Office but was compelled to resign on grounds of conscience when it was amalgamated into the Air Ministry in 1920. He subsequently pursued a career on the fringes of the academic world before retiring in 1940 to research his own ideas. His pacifism had direct consequences on his research interests. According to Thomas Körner, the discovery that his meteorological work was of value to chemical weapons designers caused him to abandon all his efforts in this field, and destroy findings that he had yet to publish.
Weather forecasting
Richardson's interest in meteorology led him to propose a scheme for weather forecasting by solution of differential equations, the method used nowadays, though when he published Weather Prediction by Numerical Process in 1922, suitable fast computing was unavailable. He described his ideas thus (his "computers" are human beings):
"After so much hard reasoning, may one play with a fantasy? Imagine a large hall like a theatre, except that the circles and galleries go right round through the space usually occupied by the stage. The walls of this chamber are painted to form a map of the globe. The ceiling represents the north polar regions, England is in the gallery, the tropics in the upper circle, Australia on the dress circle and the Antarctic in the pit.
A myriad computers are at work upon the weather of the part of the map where each sits, but each computer attends only to one equation or part of an equation. The work of each region is coordinated by an official of higher rank. Numerous little "night signs" display the instantaneous values so that neighbouring computers can read them. Each number is thus displayed in three adjacent zones so as to maintain communication to the North and South on the map.
From the floor of the pit a tall pillar rises to half the height of the hall. It carries a large pulpit on its top. In this sits the man in charge of the whole theatre; he is surrounded by several assistants and messengers. One of his duties is to maintain a uniform speed of progress in all parts of the globe. In this respect he is like the conductor of an orchestra in which the instruments are slide-rules and calculating machines. But instead of waving a baton he turns a beam of rosy light upon any region that is running ahead of the rest, and a beam of blue light upon those who are behindhand.
Four senior clerks in the central pulpit are collecting the future weather as fast as it is being computed, and despatching it by pneumatic carrier to a quiet room. There it will be coded and telephoned to the radio transmitting station. Messengers carry piles of used computing forms down to a storehouse in the cellar.
In a neighbouring building there is a research department, where they invent improvements. But there is much experimenting on a small scale before any change is made in the complex routine of the computing theatre. In a basement an enthusiast is observing eddies in the liquid lining of a huge spinning bowl, but so far the arithmetic proves the better way. In another building are all the usual financial, correspondence and administrative offices. Outside are playing fields, houses, mountains and lakes, for it was thought that those who compute the weather should breathe of it freely." (Richardson 1922)
(The word "computers" is used here in its original sense – people who did computations, not machines. "Calculator" also referred to people at this time.)
When news of the first weather forecast by the first modern computer, ENIAC, was received by Richardson in 1950, he responded that the results were an "enormous scientific advance." The first calculations for a 24-hour forecast took ENIAC nearly 24 hours to produce.
He was also interested in atmospheric turbulence and performed many terrestrial experiments. The Richardson number, a dimensionless parameter of the theory of turbulence is named for him. He famously summarised turbulence in rhyming verse in Weather Prediction by Numerical Process (p 66):
Big whirls have little whirls that feed on their velocity,
and little whirls have lesser whirls and so on to viscosity.
[A play on Siphonaptera, Augustus De Morgan's rewording of Jonathan Swift, "Great fleas have little fleas upon their backs to bite 'em, And little fleas have lesser fleas, and so ad infinitum." (A Budget of Paradoxes, 1915)].
Richardson's attempt at numerical forecast
One of Richardson's most celebrated achievements is his retroactive attempt to forecast the weather during a single day—20 May 1910—by direct computation. At the time, meteorologists performed forecasts principally by looking for similar weather patterns from records, and then extrapolating forward. Richardson attempted to use a mathematical model of the principal features of the atmosphere, and use data taken at a specific time (7 AM) to calculate the weather six hours later ab initio. As meteorologist Peter Lynch makes clear, Richardson's forecast failed dramatically, predicting a huge rise in pressure over six hours when the pressure actually was more or less static. However, detailed analysis by Lynch has shown that the cause was a failure to apply smoothing techniques to the data, which rule out unphysical surges in pressure. When these are applied, Richardson's forecast is revealed to be essentially accurate—a remarkable achievement considering the calculations were done by hand, and while Richardson was serving with the Quaker ambulance unit in northern France.
Mathematical analysis of war
Richardson also applied his mathematical skills in the service of his pacifist principles, in particular in understanding the basis of international conflict. For this reason, he is now considered the initiator, or co-initiator (with Quincy Wright and Pitirim Sorokin as well as others such as Kenneth Boulding, Anatol Rapaport and Adam Curle), of the scientific analysis of conflict—an interdisciplinary topic of quantitative and mathematical social science dedicated to systematic investigation of the causes of war and conditions of peace. As he had done with weather, he analysed war using mainly differential equations and probability theory. Considering the armament of two nations, Richardson posited an idealised system of equations whereby the rate of a nation's armament build-up is directly proportional to the amount of arms its rival has and also to the grievances felt toward the rival, and negatively proportional to the amount of arms it already has itself. Solution of this system of equations allows insightful conclusions to be made regarding the nature, and the stability or instability, of various hypothetical conditions which might obtain between nations.
He also originated the theory that the propensity for war between two nations was a function of the length of their common border. And in Arms and Insecurity (1949), and Statistics of Deadly Quarrels (1960), he sought to analyse the causes of war statistically. Factors he assessed included economics, language, and religion. In the preface of the latter, he wrote: "There is in the world a great deal of brilliant, witty political discussion which leads to no settled convictions. My aim has been different: namely to examine a few notions by quantitative techniques in the hope of reaching a reliable answer."
In Statistics of Deadly Quarrels Richardson presented data on virtually every war from 1815 to 1945. As a result, he hypothesized a base 10 logarithmic scale for conflicts. In other words, there are many more small fights, in which only a few people die, than large ones that kill many. While no conflict's size can be predicted beforehand—indeed, it is impossible to give an upper limit to the series—overall they do form a Poisson distribution. On a smaller scale he showed the same pattern for gang murders in Chicago and Shanghai. Others have noted that similar statistical patterns occur frequently, whether planned (lotteries, with many more small payoffs than large wins), or by natural organisation (there are more small towns with grocery stores than big cities with superstores).
Research on the length of coastlines and borders
Richardson decided to search for a relation between the probability of two countries going to war and the length of their common border. However, while collecting data, he found that there was considerable variation in the various published lengths of international borders. For example, that between Spain and Portugal was variously quoted as 987 or 1214 km, and that between the Netherlands and Belgium as 380 or 449 km.
The reason for these inconsistencies is the "coastline paradox". Suppose the coast of Britain is measured using a 200 km ruler, specifying that both ends of the ruler must touch the coast. Now cut the ruler in half and repeat the measurement, then repeat:
Notice that the smaller the ruler, the longer the resulting coastline. It might be supposed that these values would converge to a finite number representing the true length of the coastline. However, Richardson demonstrated that this is not the case: the measured length of coastlines, and other natural features, increases without limit as the unit of measurement is made smaller. This is known nowadays as the Richardson effect.
At the time, Richardson's research was ignored by the scientific community. Today, it is considered an element of the beginning of the modern study of fractals. Richardson's research was quoted by mathematician Benoît Mandelbrot in his 1967 paper How Long Is the Coast of Britain? Richardson identified a value (between 1 and 2) that would describe the changes (with increasing measurement detail) in observed complexity for a particular coastline; this value served as a model for the concept of fractal dimension.<ref>P. G. Drazin, "Fractals"; Collected Papers of Lewis Fry Richardson, Volume 1; Cambridge University Press, 1993; p. 45.</ref>
Patents for detection of icebergs
In April 1912, soon after the loss of the ship Titanic, Richardson registered a patent for iceberg detection using acoustic echolocation in air. A month later he registered a similar patent for acoustic echolocation in water, anticipating the invention of sonar by Paul Langevin and Robert Boyle 6 years later.
In popular culture
A fictional version of Richardson, named Wallace Ryman, plays a pivotal role in Giles Foden's novel Turbulence.
Richardson is mentioned in John Brunner's work, Stand on Zanzibar where Statistics of Deadly Quarrels is used as an argument that wars are inevitable.
Richardson's work is also mentioned in Poul Anderson's speculative fiction novelette, Kings Who Die.
Richardson is mentioned in Charlie Kaufman's 2020 novel Antkind.
Richardson's famous quote, "Big whirls have little whirls that feed on their velocity; little whirls have lesser whirls & so on to viscosity" is mentioned in the song "Dots & Lines" written and performed by lyricist/rapper Lupe Fiasco.
Personal life
In 1909 he married Dorothy Garnett (1885–1956), daughter of the mathematician and physicist William Garnett. They were unable to have children due to an incompatibility of blood types, but they adopted two sons and a daughter between 1920 and 1927.
Richardson's nephew Ralph Richardson became a noted actor. His great-nephew (through his wife Dorothy's eldest brother, (James Clerk) Maxwell Garnett, C.B.E.), Julian Hunt, went on to become a meteorologist and director general and chief executive of the British Meteorological Office from 1992 to 1997. A great-niece – of the same line of descent – is the former politician Virginia Bottomley, now Baroness Bottomley.
Legacy
Since 1997, the Lewis Fry Richardson Medal has been awarded by the European Geosciences Union for "exceptional contributions to nonlinear geophysics in general" (by EGS until 2003 and by EGU since 2004).
Winners have been:
2020: Valerio Lucarini
2019: Shaun Lovejoy
2018: Timothy N. Palmer
2017: Edward Ott
2016: Peter L. Read
2015: Daniel Schertzer
2014: Olivier Talagrand
2013: Jürgen Kurths
2012: Harry Swinney
2011: Catherine Nicolis
2010: Klaus Fraedrich
2009: Stéphan Fauve
2008: Akiva Yaglom
2007: Ulrich Schumann
2006: Roberto Benzi
2005: Henk A. Dijkstra
2004: Michael Ghil
2003: Uriel Frisch
2002:
2001: Julian Hunt
2000: Benoit Mandelbrot
1999: Raymond Hide
1998: Vladimir Keilis-Borok
Since 1959, there has been a Peace Studies centre at Lancaster University named the Richardson Institute which carries out interdisciplinary research on peace and conflict in the spirit of Lewis Fry Richardson.
See also
Anomalous diffusion
Arms race
Coastline paradox
Energy cascade
War cycles
Magnetic helicity
Richardson extrapolation
Richardson number
Modified Richardson iteration
Richards equation
Multiscale turbulence
Takebe Kenko
Frederick W. Lanchester
List of peace activists
Notes
References
Wilkinson, David. Deadly Quarrels: Lewis F. Richardson and the Statistical Study of War (University of California Press, 2018) online review
320pp
P.A. Davidson, Y. Kaneda, K. Moffatt, and K.R. Sreenivasan (eds, 2011). A Voyage Through Turbulence, chapter 5, pp 187–208, Cambridge University Press
544pp "A Quaker mathematician" (Ch 8) and "Richardson on war" (Ch 9)
290pp
Richardson, L.F. (1939). "Generalized foreign politics". The British Journal of Psychology, monograph supplement No. 23.
Richardson, L.F. (1960). Statistics of deadly quarrels. Pacific Grove, CA: Boxwood Press.
1030pp; Volume 2: Quantitative psychology and studies of conflict. , 778pp
353pp
Angeletti Ferdinando (2021) Storicismo matematico e pacifismo scientifico: due esempi di determinismo storico della metà del XX secolo in Iconografie europee'' di Walter Montanari e Shirin Zakeri (a cura di), Roma, Nuova Cultura ISBN 978-8-833-65368-6;
External links
1881 births
1953 deaths
20th-century mathematicians
Academics of the University of Manchester Institute of Science and Technology
Academics of Aberystwyth University
Alumni of King's College, Cambridge
People educated at Bootham School
English cartographers
British conscientious objectors
English mathematicians
English meteorologists
English physicists
English psychologists
English Quakers
Fellows of the Royal Society
Lewis
People associated with the University of the West of Scotland
People from Newcastle upon Tyne
English Christian pacifists
Fluid dynamicists
People associated with the Friends' Ambulance Unit
20th-century psychologists
Alumni of Armstrong College, Durham
20th-century English businesspeople | true | [
"The Alphonso Ford EuroLeague Top Scorer Trophy, also known as the EuroLeague Best Scorer, is an annual basketball award of Europe's premier level league, the Turkish Airlines EuroLeague. It is given to the Top Scorer throughout the EuroLeague season, up until the Turkish Airlines EuroLeague Final Four stage of the season. The award, under its current name, began in the 2004–05 season, and is named after the late Alphonso Ford, who was one of the greatest scorers in EuroLeague history.\n\nSince the Alphonso Ford award has been given out (2004–05 season onward), a player could average the most points during the EuroLeague full season competition, and not win the award, since it is only counted for games up to the EuroLeague Final Four. Prior to the 2004–05 season, the EuroLeague's Top Scorer was recorded statistically, but it was called the EuroLeague Top Scorer award.\n\nEuroLeague Top Scorers (1992–2004)\n\n Player nationalities by national team.\n\nMultiple EuroLeague Top Scorers (1992–2004)\n\nAlphonso Ford Trophy winners and Top Scorers (2005–present)\n\nBeginning with the 2004–05 season, the EuroLeague awards the Alphonso Ford Trophy, in memorial of the late Alphonso Ford, to the player with the highest scoring average before the EuroLeague Final Four takes place. Because of this, it is still possible for a player to lead the league in scoring, but not win the Alphonso Ford Trophy. This happened during the 2006–07 season, when Igor Rakočević won the Alphonso Ford Trophy, but Juan Carlos Navarro was the league's top scorer.\n\nNavarro had the highest full season scoring average in the EuroLeague, at 16.8 points per game, but did not win the Alphonso Ford Trophy, because he did not have the highest scoring average prior to the start of the EuroLeague Final Four. So instead, Rakočević was given the trophy, despite actually finishing second in the full season scoring statistical category, with an average of 16.2 points per game.\n Player nationalities by national team.\n\n* Juan Carlos Navarro was the Top Scorer of the 2006–07 season, while Igor Rakočević was the Alphonso Ford Trophy winner.\n\nHonors since the 2004–05 season\n\nPlayers\n\nPlayer nationality\n\nTeams\n\nReferences\n\nExternal links\n \n\nEuroLeague statistics\nEuroLeague awards and honors\nEuropean basketball awards",
"Ralph Dawson (April 18, 1897 in Westborough, Massachusetts – November 15, 1962) was an American film editor who also did some acting, directing, and screenwriting. He was nominated for the Academy Award for Best Film Editing four times, and won the Award three times.\n\nSelected filmography as editor\n1925: Lady of the Night\n1928: The Singing Fool with co-editor Harold McCord\n1928: Tenderloin\n1929: Stark Mad\n1929: The Desert Song\n1930: Under a Texas Moon\n1931: The Mad Genius\n1933: Girl Missing\n1934: Something Always Happens with co-editor Bert Bates\n1934: The Life of the Party\n1935: A Midsummer Night's Dream - First Academy Award\n1936: Anthony Adverse - Second Academy Award win\n1936: The Story of Louis Pasteur\n1937: The Prince and the Pauper\n1938: The Adventures of Robin Hood - Third Academy Award win\n1938: Four Daughters\n1939: Daughters Courageous\n1939: Espionage Agent\n1941: The Great Lie\n1942: Kings Row \n1942: Larceny, Inc.\n1944: The Adventures of Mark Twain\n1944: Mr. Skeffington\n1945: Saratoga Trunk\n1948: An Act of Murder\n1950: Harvey \n1952: The Lusty Men\n1954: The High and the Mighty - Fourth Academy Award nomination\n\nExternal links\n\nAmerican film editors\nBest Film Editing Academy Award winners\n1897 births\n1962 deaths"
] | [
"Lewis Fry Richardson, FRS (11 October 1881 – 30 September 1953) was an English mathematician, physicist, meteorologist, psychologist and pacifist who pioneered modern mathematical techniques of weather forecasting, and the application of similar techniques to studying the causes of wars and how to prevent them. He is also noted for his pioneering work concerning fractals and a method for solving a system of linear equations known as modified Richardson iteration.",
"He is also noted for his pioneering work concerning fractals and a method for solving a system of linear equations known as modified Richardson iteration. Early life Lewis Fry Richardson was the youngest of seven children born to Catherine Fry (1838–1919) and David Richardson (1835–1913).",
"Early life Lewis Fry Richardson was the youngest of seven children born to Catherine Fry (1838–1919) and David Richardson (1835–1913). They were a prosperous Quaker family, David Richardson operating a successful tanning and leather-manufacturing business.",
"They were a prosperous Quaker family, David Richardson operating a successful tanning and leather-manufacturing business. At age 12 he was sent to a Quaker boarding school, Bootham School in York, where he received an education in science, which stimulated an active interest in natural history.",
"At age 12 he was sent to a Quaker boarding school, Bootham School in York, where he received an education in science, which stimulated an active interest in natural history. In 1898 he went on to Durham College of Science (a college of Durham University) where he took courses in mathematical physics, chemistry, botany, and zoology.",
"In 1898 he went on to Durham College of Science (a college of Durham University) where he took courses in mathematical physics, chemistry, botany, and zoology. He proceeded in 1900 to King's College, Cambridge, where he was taught physics in the natural sciences tripos by (among others) J. J. Thomson and graduated with a first-class degree in 1903.",
"He proceeded in 1900 to King's College, Cambridge, where he was taught physics in the natural sciences tripos by (among others) J. J. Thomson and graduated with a first-class degree in 1903. At age 47 he received a doctorate in mathematical psychology from the University of London.",
"At age 47 he received a doctorate in mathematical psychology from the University of London. Career Richardson's working life represented his eclectic interests: National Physical Laboratory (1903–1904). University College Aberystwyth (1905–1906). Chemist, National Peat Industries (1906–1907). National Physical Laboratory (1907–1909).",
"National Physical Laboratory (1907–1909). Manager of the physical and chemical laboratory, Sunbeam Lamp Company (1909–1912). Manchester College of Technology (1912–1913). Meteorological Office – as superintendent of Eskdalemuir Observatory (1913–1916). Friends Ambulance Unit in France (1916–1919). Meteorological Office at Benson, Oxfordshire (1919–1920).",
"Meteorological Office at Benson, Oxfordshire (1919–1920). Head of the Physics Department at Westminster Training College (1920–1929). Principal, Paisley Technical College, now part of the University of the West of Scotland (1929–1940).",
"Principal, Paisley Technical College, now part of the University of the West of Scotland (1929–1940). In 1926, he was elected to the Fellowship of the Royal Society Pacifism Richardson's Quaker beliefs entailed an ardent pacifism that exempted him from military service during World War I as a conscientious objector, though this subsequently disqualified him from having any academic post.",
"In 1926, he was elected to the Fellowship of the Royal Society Pacifism Richardson's Quaker beliefs entailed an ardent pacifism that exempted him from military service during World War I as a conscientious objector, though this subsequently disqualified him from having any academic post. Richardson worked from 1916 to 1919 for the Friends' Ambulance Unit attached to the 16th French Infantry Division.",
"Richardson worked from 1916 to 1919 for the Friends' Ambulance Unit attached to the 16th French Infantry Division. After the war, he rejoined the Meteorological Office but was compelled to resign on grounds of conscience when it was amalgamated into the Air Ministry in 1920.",
"After the war, he rejoined the Meteorological Office but was compelled to resign on grounds of conscience when it was amalgamated into the Air Ministry in 1920. He subsequently pursued a career on the fringes of the academic world before retiring in 1940 to research his own ideas. His pacifism had direct consequences on his research interests.",
"His pacifism had direct consequences on his research interests. According to Thomas Körner, the discovery that his meteorological work was of value to chemical weapons designers caused him to abandon all his efforts in this field, and destroy findings that he had yet to publish.",
"According to Thomas Körner, the discovery that his meteorological work was of value to chemical weapons designers caused him to abandon all his efforts in this field, and destroy findings that he had yet to publish. Weather forecasting Richardson's interest in meteorology led him to propose a scheme for weather forecasting by solution of differential equations, the method used nowadays, though when he published Weather Prediction by Numerical Process in 1922, suitable fast computing was unavailable.",
"Weather forecasting Richardson's interest in meteorology led him to propose a scheme for weather forecasting by solution of differential equations, the method used nowadays, though when he published Weather Prediction by Numerical Process in 1922, suitable fast computing was unavailable. He described his ideas thus (his \"computers\" are human beings): \"After so much hard reasoning, may one play with a fantasy?",
"He described his ideas thus (his \"computers\" are human beings): \"After so much hard reasoning, may one play with a fantasy? Imagine a large hall like a theatre, except that the circles and galleries go right round through the space usually occupied by the stage.",
"Imagine a large hall like a theatre, except that the circles and galleries go right round through the space usually occupied by the stage. The walls of this chamber are painted to form a map of the globe.",
"The walls of this chamber are painted to form a map of the globe. The ceiling represents the north polar regions, England is in the gallery, the tropics in the upper circle, Australia on the dress circle and the Antarctic in the pit.",
"The ceiling represents the north polar regions, England is in the gallery, the tropics in the upper circle, Australia on the dress circle and the Antarctic in the pit. A myriad computers are at work upon the weather of the part of the map where each sits, but each computer attends only to one equation or part of an equation.",
"A myriad computers are at work upon the weather of the part of the map where each sits, but each computer attends only to one equation or part of an equation. The work of each region is coordinated by an official of higher rank.",
"The work of each region is coordinated by an official of higher rank. Numerous little \"night signs\" display the instantaneous values so that neighbouring computers can read them. Each number is thus displayed in three adjacent zones so as to maintain communication to the North and South on the map.",
"Each number is thus displayed in three adjacent zones so as to maintain communication to the North and South on the map. From the floor of the pit a tall pillar rises to half the height of the hall. It carries a large pulpit on its top.",
"It carries a large pulpit on its top. In this sits the man in charge of the whole theatre; he is surrounded by several assistants and messengers. One of his duties is to maintain a uniform speed of progress in all parts of the globe.",
"One of his duties is to maintain a uniform speed of progress in all parts of the globe. In this respect he is like the conductor of an orchestra in which the instruments are slide-rules and calculating machines.",
"In this respect he is like the conductor of an orchestra in which the instruments are slide-rules and calculating machines. But instead of waving a baton he turns a beam of rosy light upon any region that is running ahead of the rest, and a beam of blue light upon those who are behindhand.",
"But instead of waving a baton he turns a beam of rosy light upon any region that is running ahead of the rest, and a beam of blue light upon those who are behindhand. Four senior clerks in the central pulpit are collecting the future weather as fast as it is being computed, and despatching it by pneumatic carrier to a quiet room.",
"Four senior clerks in the central pulpit are collecting the future weather as fast as it is being computed, and despatching it by pneumatic carrier to a quiet room. There it will be coded and telephoned to the radio transmitting station. Messengers carry piles of used computing forms down to a storehouse in the cellar.",
"Messengers carry piles of used computing forms down to a storehouse in the cellar. In a neighbouring building there is a research department, where they invent improvements. But there is much experimenting on a small scale before any change is made in the complex routine of the computing theatre.",
"But there is much experimenting on a small scale before any change is made in the complex routine of the computing theatre. In a basement an enthusiast is observing eddies in the liquid lining of a huge spinning bowl, but so far the arithmetic proves the better way.",
"In a basement an enthusiast is observing eddies in the liquid lining of a huge spinning bowl, but so far the arithmetic proves the better way. In another building are all the usual financial, correspondence and administrative offices.",
"In another building are all the usual financial, correspondence and administrative offices. Outside are playing fields, houses, mountains and lakes, for it was thought that those who compute the weather should breathe of it freely.\"",
"Outside are playing fields, houses, mountains and lakes, for it was thought that those who compute the weather should breathe of it freely.\" (Richardson 1922) (The word \"computers\" is used here in its original sense – people who did computations, not machines.",
"(Richardson 1922) (The word \"computers\" is used here in its original sense – people who did computations, not machines. \"Calculator\" also referred to people at this time.)",
"\"Calculator\" also referred to people at this time.) When news of the first weather forecast by the first modern computer, ENIAC, was received by Richardson in 1950, he responded that the results were an \"enormous scientific advance.\" The first calculations for a 24-hour forecast took ENIAC nearly 24 hours to produce.",
"The first calculations for a 24-hour forecast took ENIAC nearly 24 hours to produce. He was also interested in atmospheric turbulence and performed many terrestrial experiments. The Richardson number, a dimensionless parameter of the theory of turbulence is named for him.",
"The Richardson number, a dimensionless parameter of the theory of turbulence is named for him. He famously summarised turbulence in rhyming verse in Weather Prediction by Numerical Process (p 66): Big whirls have little whirls that feed on their velocity, and little whirls have lesser whirls and so on to viscosity.",
"He famously summarised turbulence in rhyming verse in Weather Prediction by Numerical Process (p 66): Big whirls have little whirls that feed on their velocity, and little whirls have lesser whirls and so on to viscosity. [A play on Siphonaptera, Augustus De Morgan's rewording of Jonathan Swift, \"Great fleas have little fleas upon their backs to bite 'em, And little fleas have lesser fleas, and so ad infinitum.\"",
"[A play on Siphonaptera, Augustus De Morgan's rewording of Jonathan Swift, \"Great fleas have little fleas upon their backs to bite 'em, And little fleas have lesser fleas, and so ad infinitum.\" (A Budget of Paradoxes, 1915)].",
"(A Budget of Paradoxes, 1915)]. Richardson's attempt at numerical forecast One of Richardson's most celebrated achievements is his retroactive attempt to forecast the weather during a single day—20 May 1910—by direct computation. At the time, meteorologists performed forecasts principally by looking for similar weather patterns from records, and then extrapolating forward.",
"At the time, meteorologists performed forecasts principally by looking for similar weather patterns from records, and then extrapolating forward. Richardson attempted to use a mathematical model of the principal features of the atmosphere, and use data taken at a specific time (7 AM) to calculate the weather six hours later ab initio.",
"Richardson attempted to use a mathematical model of the principal features of the atmosphere, and use data taken at a specific time (7 AM) to calculate the weather six hours later ab initio. As meteorologist Peter Lynch makes clear, Richardson's forecast failed dramatically, predicting a huge rise in pressure over six hours when the pressure actually was more or less static.",
"As meteorologist Peter Lynch makes clear, Richardson's forecast failed dramatically, predicting a huge rise in pressure over six hours when the pressure actually was more or less static. However, detailed analysis by Lynch has shown that the cause was a failure to apply smoothing techniques to the data, which rule out unphysical surges in pressure.",
"However, detailed analysis by Lynch has shown that the cause was a failure to apply smoothing techniques to the data, which rule out unphysical surges in pressure. When these are applied, Richardson's forecast is revealed to be essentially accurate—a remarkable achievement considering the calculations were done by hand, and while Richardson was serving with the Quaker ambulance unit in northern France.",
"When these are applied, Richardson's forecast is revealed to be essentially accurate—a remarkable achievement considering the calculations were done by hand, and while Richardson was serving with the Quaker ambulance unit in northern France. Mathematical analysis of war Richardson also applied his mathematical skills in the service of his pacifist principles, in particular in understanding the basis of international conflict.",
"Mathematical analysis of war Richardson also applied his mathematical skills in the service of his pacifist principles, in particular in understanding the basis of international conflict. For this reason, he is now considered the initiator, or co-initiator (with Quincy Wright and Pitirim Sorokin as well as others such as Kenneth Boulding, Anatol Rapaport and Adam Curle), of the scientific analysis of conflict—an interdisciplinary topic of quantitative and mathematical social science dedicated to systematic investigation of the causes of war and conditions of peace.",
"For this reason, he is now considered the initiator, or co-initiator (with Quincy Wright and Pitirim Sorokin as well as others such as Kenneth Boulding, Anatol Rapaport and Adam Curle), of the scientific analysis of conflict—an interdisciplinary topic of quantitative and mathematical social science dedicated to systematic investigation of the causes of war and conditions of peace. As he had done with weather, he analysed war using mainly differential equations and probability theory.",
"As he had done with weather, he analysed war using mainly differential equations and probability theory. Considering the armament of two nations, Richardson posited an idealised system of equations whereby the rate of a nation's armament build-up is directly proportional to the amount of arms its rival has and also to the grievances felt toward the rival, and negatively proportional to the amount of arms it already has itself.",
"Considering the armament of two nations, Richardson posited an idealised system of equations whereby the rate of a nation's armament build-up is directly proportional to the amount of arms its rival has and also to the grievances felt toward the rival, and negatively proportional to the amount of arms it already has itself. Solution of this system of equations allows insightful conclusions to be made regarding the nature, and the stability or instability, of various hypothetical conditions which might obtain between nations.",
"Solution of this system of equations allows insightful conclusions to be made regarding the nature, and the stability or instability, of various hypothetical conditions which might obtain between nations. He also originated the theory that the propensity for war between two nations was a function of the length of their common border.",
"He also originated the theory that the propensity for war between two nations was a function of the length of their common border. And in Arms and Insecurity (1949), and Statistics of Deadly Quarrels (1960), he sought to analyse the causes of war statistically. Factors he assessed included economics, language, and religion.",
"Factors he assessed included economics, language, and religion. In the preface of the latter, he wrote: \"There is in the world a great deal of brilliant, witty political discussion which leads to no settled convictions.",
"In the preface of the latter, he wrote: \"There is in the world a great deal of brilliant, witty political discussion which leads to no settled convictions. My aim has been different: namely to examine a few notions by quantitative techniques in the hope of reaching a reliable answer.\"",
"My aim has been different: namely to examine a few notions by quantitative techniques in the hope of reaching a reliable answer.\" In Statistics of Deadly Quarrels Richardson presented data on virtually every war from 1815 to 1945. As a result, he hypothesized a base 10 logarithmic scale for conflicts.",
"As a result, he hypothesized a base 10 logarithmic scale for conflicts. In other words, there are many more small fights, in which only a few people die, than large ones that kill many.",
"In other words, there are many more small fights, in which only a few people die, than large ones that kill many. While no conflict's size can be predicted beforehand—indeed, it is impossible to give an upper limit to the series—overall they do form a Poisson distribution.",
"While no conflict's size can be predicted beforehand—indeed, it is impossible to give an upper limit to the series—overall they do form a Poisson distribution. On a smaller scale he showed the same pattern for gang murders in Chicago and Shanghai.",
"On a smaller scale he showed the same pattern for gang murders in Chicago and Shanghai. Others have noted that similar statistical patterns occur frequently, whether planned (lotteries, with many more small payoffs than large wins), or by natural organisation (there are more small towns with grocery stores than big cities with superstores).",
"Others have noted that similar statistical patterns occur frequently, whether planned (lotteries, with many more small payoffs than large wins), or by natural organisation (there are more small towns with grocery stores than big cities with superstores). Research on the length of coastlines and borders Richardson decided to search for a relation between the probability of two countries going to war and the length of their common border.",
"Research on the length of coastlines and borders Richardson decided to search for a relation between the probability of two countries going to war and the length of their common border. However, while collecting data, he found that there was considerable variation in the various published lengths of international borders.",
"However, while collecting data, he found that there was considerable variation in the various published lengths of international borders. For example, that between Spain and Portugal was variously quoted as 987 or 1214 km, and that between the Netherlands and Belgium as 380 or 449 km. The reason for these inconsistencies is the \"coastline paradox\".",
"The reason for these inconsistencies is the \"coastline paradox\". Suppose the coast of Britain is measured using a 200 km ruler, specifying that both ends of the ruler must touch the coast. Now cut the ruler in half and repeat the measurement, then repeat: Notice that the smaller the ruler, the longer the resulting coastline.",
"Now cut the ruler in half and repeat the measurement, then repeat: Notice that the smaller the ruler, the longer the resulting coastline. It might be supposed that these values would converge to a finite number representing the true length of the coastline.",
"It might be supposed that these values would converge to a finite number representing the true length of the coastline. However, Richardson demonstrated that this is not the case: the measured length of coastlines, and other natural features, increases without limit as the unit of measurement is made smaller. This is known nowadays as the Richardson effect.",
"This is known nowadays as the Richardson effect. At the time, Richardson's research was ignored by the scientific community. Today, it is considered an element of the beginning of the modern study of fractals. Richardson's research was quoted by mathematician Benoît Mandelbrot in his 1967 paper How Long Is the Coast of Britain?",
"Richardson's research was quoted by mathematician Benoît Mandelbrot in his 1967 paper How Long Is the Coast of Britain? Richardson identified a value (between 1 and 2) that would describe the changes (with increasing measurement detail) in observed complexity for a particular coastline; this value served as a model for the concept of fractal dimension.<ref>P.",
"Richardson identified a value (between 1 and 2) that would describe the changes (with increasing measurement detail) in observed complexity for a particular coastline; this value served as a model for the concept of fractal dimension.<ref>P. G. Drazin, \"Fractals\"; Collected Papers of Lewis Fry Richardson, Volume 1; Cambridge University Press, 1993; p. 45.</ref> Patents for detection of icebergs In April 1912, soon after the loss of the ship Titanic, Richardson registered a patent for iceberg detection using acoustic echolocation in air.",
"G. Drazin, \"Fractals\"; Collected Papers of Lewis Fry Richardson, Volume 1; Cambridge University Press, 1993; p. 45.</ref> Patents for detection of icebergs In April 1912, soon after the loss of the ship Titanic, Richardson registered a patent for iceberg detection using acoustic echolocation in air. A month later he registered a similar patent for acoustic echolocation in water, anticipating the invention of sonar by Paul Langevin and Robert Boyle 6 years later.",
"A month later he registered a similar patent for acoustic echolocation in water, anticipating the invention of sonar by Paul Langevin and Robert Boyle 6 years later. In popular culture A fictional version of Richardson, named Wallace Ryman, plays a pivotal role in Giles Foden's novel Turbulence.",
"In popular culture A fictional version of Richardson, named Wallace Ryman, plays a pivotal role in Giles Foden's novel Turbulence. Richardson is mentioned in John Brunner's work, Stand on Zanzibar where Statistics of Deadly Quarrels is used as an argument that wars are inevitable.",
"Richardson is mentioned in John Brunner's work, Stand on Zanzibar where Statistics of Deadly Quarrels is used as an argument that wars are inevitable. Richardson's work is also mentioned in Poul Anderson's speculative fiction novelette, Kings Who Die. Richardson is mentioned in Charlie Kaufman's 2020 novel Antkind.",
"Richardson is mentioned in Charlie Kaufman's 2020 novel Antkind. Richardson's famous quote, \"Big whirls have little whirls that feed on their velocity; little whirls have lesser whirls & so on to viscosity\" is mentioned in the song \"Dots & Lines\" written and performed by lyricist/rapper Lupe Fiasco.",
"Richardson's famous quote, \"Big whirls have little whirls that feed on their velocity; little whirls have lesser whirls & so on to viscosity\" is mentioned in the song \"Dots & Lines\" written and performed by lyricist/rapper Lupe Fiasco. Personal life In 1909 he married Dorothy Garnett (1885–1956), daughter of the mathematician and physicist William Garnett.",
"Personal life In 1909 he married Dorothy Garnett (1885–1956), daughter of the mathematician and physicist William Garnett. They were unable to have children due to an incompatibility of blood types, but they adopted two sons and a daughter between 1920 and 1927. Richardson's nephew Ralph Richardson became a noted actor.",
"Richardson's nephew Ralph Richardson became a noted actor. His great-nephew (through his wife Dorothy's eldest brother, (James Clerk) Maxwell Garnett, C.B.E. ), Julian Hunt, went on to become a meteorologist and director general and chief executive of the British Meteorological Office from 1992 to 1997.",
"), Julian Hunt, went on to become a meteorologist and director general and chief executive of the British Meteorological Office from 1992 to 1997. A great-niece – of the same line of descent – is the former politician Virginia Bottomley, now Baroness Bottomley.",
"A great-niece – of the same line of descent – is the former politician Virginia Bottomley, now Baroness Bottomley. Legacy Since 1997, the Lewis Fry Richardson Medal has been awarded by the European Geosciences Union for \"exceptional contributions to nonlinear geophysics in general\" (by EGS until 2003 and by EGU since 2004).",
"Legacy Since 1997, the Lewis Fry Richardson Medal has been awarded by the European Geosciences Union for \"exceptional contributions to nonlinear geophysics in general\" (by EGS until 2003 and by EGU since 2004). Winners have been: 2020: Valerio Lucarini 2019: Shaun Lovejoy 2018: Timothy N. Palmer 2017: Edward Ott 2016: Peter L. Read 2015: Daniel Schertzer 2014: Olivier Talagrand 2013: Jürgen Kurths 2012: Harry Swinney 2011: Catherine Nicolis 2010: Klaus Fraedrich 2009: Stéphan Fauve 2008: Akiva Yaglom 2007: Ulrich Schumann 2006: Roberto Benzi 2005: Henk A. Dijkstra 2004: Michael Ghil 2003: Uriel Frisch 2002: 2001: Julian Hunt 2000: Benoit Mandelbrot 1999: Raymond Hide 1998: Vladimir Keilis-Borok Since 1959, there has been a Peace Studies centre at Lancaster University named the Richardson Institute which carries out interdisciplinary research on peace and conflict in the spirit of Lewis Fry Richardson.",
"Winners have been: 2020: Valerio Lucarini 2019: Shaun Lovejoy 2018: Timothy N. Palmer 2017: Edward Ott 2016: Peter L. Read 2015: Daniel Schertzer 2014: Olivier Talagrand 2013: Jürgen Kurths 2012: Harry Swinney 2011: Catherine Nicolis 2010: Klaus Fraedrich 2009: Stéphan Fauve 2008: Akiva Yaglom 2007: Ulrich Schumann 2006: Roberto Benzi 2005: Henk A. Dijkstra 2004: Michael Ghil 2003: Uriel Frisch 2002: 2001: Julian Hunt 2000: Benoit Mandelbrot 1999: Raymond Hide 1998: Vladimir Keilis-Borok Since 1959, there has been a Peace Studies centre at Lancaster University named the Richardson Institute which carries out interdisciplinary research on peace and conflict in the spirit of Lewis Fry Richardson. See also Anomalous diffusion Arms race Coastline paradox Energy cascade War cycles Magnetic helicity Richardson extrapolation Richardson number Modified Richardson iteration Richards equation Multiscale turbulence Takebe Kenko Frederick W. Lanchester List of peace activists Notes References Wilkinson, David.",
"See also Anomalous diffusion Arms race Coastline paradox Energy cascade War cycles Magnetic helicity Richardson extrapolation Richardson number Modified Richardson iteration Richards equation Multiscale turbulence Takebe Kenko Frederick W. Lanchester List of peace activists Notes References Wilkinson, David. Deadly Quarrels: Lewis F. Richardson and the Statistical Study of War (University of California Press, 2018) online review 320pp P.A.",
"Deadly Quarrels: Lewis F. Richardson and the Statistical Study of War (University of California Press, 2018) online review 320pp P.A. Davidson, Y. Kaneda, K. Moffatt, and K.R. Sreenivasan (eds, 2011).",
"Sreenivasan (eds, 2011). A Voyage Through Turbulence, chapter 5, pp 187–208, Cambridge University Press 544pp \"A Quaker mathematician\" (Ch 8) and \"Richardson on war\" (Ch 9) 290pp Richardson, L.F. (1939). \"Generalized foreign politics\".",
"\"Generalized foreign politics\". \"Generalized foreign politics\". The British Journal of Psychology, monograph supplement No. 23. Richardson, L.F. (1960). Statistics of deadly quarrels. Pacific Grove, CA: Boxwood Press. 1030pp; Volume 2: Quantitative psychology and studies of conflict.",
"1030pp; Volume 2: Quantitative psychology and studies of conflict. , 778pp 353pp Angeletti Ferdinando (2021) Storicismo matematico e pacifismo scientifico: due esempi di determinismo storico della metà del XX secolo in Iconografie europee'' di Walter Montanari e Shirin Zakeri (a cura di), Roma, Nuova Cultura ISBN 978-8-833-65368-6; External links 1881 births 1953 deaths 20th-century mathematicians Academics of the University of Manchester Institute of Science and Technology Academics of Aberystwyth University Alumni of King's College, Cambridge People educated at Bootham School English cartographers British conscientious objectors English mathematicians English meteorologists English physicists English psychologists English Quakers Fellows of the Royal Society Lewis People associated with the University of the West of Scotland People from Newcastle upon Tyne English Christian pacifists Fluid dynamicists People associated with the Friends' Ambulance Unit 20th-century psychologists Alumni of Armstrong College, Durham 20th-century English businesspeople"
] |
[
"Lewis Fry Richardson",
"Research on the length of coastlines and borders",
"Who was Lewis Fry Richardson?",
"Richardson identified a value (between 1 and 2) that would describe the changes (with increasing measurement detail) in observed complexity for a particular coastline;",
"What is he best known for?",
"Richardson effect.",
"What is the Richardson effect?",
"Richardson demonstrated that this is not the case: the measured length of coastlines, and other natural features, increases without limit as the unit of measurement is made smaller.",
"Did he win an award because of this?",
"At the time, Richardson's research was ignored by the scientific community."
] | C_de38cd49a72248c2ae5e822e8961c1d3_0 | Was it ever recognized later on? | 5 | Was Lewis Fry Richardson's research ever recognized later on? | Lewis Fry Richardson | Richardson decided to search for a relation between the probability of two countries going to war and the length of their common border. However, while collecting data, he found that there was considerable variation in the various published lengths of international borders. For example, that between Spain and Portugal was variously quoted as 987 or 1214 km, and that between the Netherlands and Belgium as 380 or 449 km. The reason for these inconsistencies is the "coastline paradox". Suppose the coast of Britain is measured using a 200 km ruler, specifying that both ends of the ruler must touch the coast. Now cut the ruler in half and repeat the measurement, then repeat: Notice that the smaller the ruler, the longer the resulting coastline. It might be supposed that these values would converge to a finite number representing the true length of the coastline. However, Richardson demonstrated that this is not the case: the measured length of coastlines, and other natural features, increases without limit as the unit of measurement is made smaller. This is known nowadays as the Richardson effect. At the time, Richardson's research was ignored by the scientific community. Today, it is considered an element of the beginning of the modern study of fractals. Richardson's research was quoted by mathematician Benoit Mandelbrot in his 1967 paper How Long Is the Coast of Britain? Richardson identified a value (between 1 and 2) that would describe the changes (with increasing measurement detail) in observed complexity for a particular coastline; this value served as a model for the concept of fractal dimension. CANNOTANSWER | Today, it is considered an element of the beginning of the modern study of fractals. | Lewis Fry Richardson, FRS (11 October 1881 – 30 September 1953) was an English mathematician, physicist, meteorologist, psychologist and pacifist who pioneered modern mathematical techniques of weather forecasting, and the application of similar techniques to studying the causes of wars and how to prevent them. He is also noted for his pioneering work concerning fractals and a method for solving a system of linear equations known as modified Richardson iteration.
Early life
Lewis Fry Richardson was the youngest of seven children born to Catherine Fry (1838–1919) and David Richardson (1835–1913). They were a prosperous Quaker family, David Richardson operating a successful tanning and leather-manufacturing business.
At age 12 he was sent to a Quaker boarding school, Bootham School in York, where he received an education in science, which stimulated an active interest in natural history. In 1898 he went on to Durham College of Science (a college of Durham University) where he took courses in mathematical physics, chemistry, botany, and zoology. He proceeded in 1900 to King's College, Cambridge, where he was taught physics in the natural sciences tripos by (among others) J. J. Thomson and graduated with a first-class degree in 1903. At age 47 he received a doctorate in mathematical psychology from the University of London.
Career
Richardson's working life represented his eclectic interests:
National Physical Laboratory (1903–1904).
University College Aberystwyth (1905–1906).
Chemist, National Peat Industries (1906–1907).
National Physical Laboratory (1907–1909).
Manager of the physical and chemical laboratory, Sunbeam Lamp Company (1909–1912).
Manchester College of Technology (1912–1913).
Meteorological Office – as superintendent of Eskdalemuir Observatory (1913–1916).
Friends Ambulance Unit in France (1916–1919).
Meteorological Office at Benson, Oxfordshire (1919–1920).
Head of the Physics Department at Westminster Training College (1920–1929).
Principal, Paisley Technical College, now part of the University of the West of Scotland (1929–1940).
In 1926, he was elected to the Fellowship of the Royal Society
Pacifism
Richardson's Quaker beliefs entailed an ardent pacifism that exempted him from military service during World War I as a conscientious objector, though this subsequently disqualified him from having any academic post. Richardson worked from 1916 to 1919 for the Friends' Ambulance Unit attached to the 16th French Infantry Division. After the war, he rejoined the Meteorological Office but was compelled to resign on grounds of conscience when it was amalgamated into the Air Ministry in 1920. He subsequently pursued a career on the fringes of the academic world before retiring in 1940 to research his own ideas. His pacifism had direct consequences on his research interests. According to Thomas Körner, the discovery that his meteorological work was of value to chemical weapons designers caused him to abandon all his efforts in this field, and destroy findings that he had yet to publish.
Weather forecasting
Richardson's interest in meteorology led him to propose a scheme for weather forecasting by solution of differential equations, the method used nowadays, though when he published Weather Prediction by Numerical Process in 1922, suitable fast computing was unavailable. He described his ideas thus (his "computers" are human beings):
"After so much hard reasoning, may one play with a fantasy? Imagine a large hall like a theatre, except that the circles and galleries go right round through the space usually occupied by the stage. The walls of this chamber are painted to form a map of the globe. The ceiling represents the north polar regions, England is in the gallery, the tropics in the upper circle, Australia on the dress circle and the Antarctic in the pit.
A myriad computers are at work upon the weather of the part of the map where each sits, but each computer attends only to one equation or part of an equation. The work of each region is coordinated by an official of higher rank. Numerous little "night signs" display the instantaneous values so that neighbouring computers can read them. Each number is thus displayed in three adjacent zones so as to maintain communication to the North and South on the map.
From the floor of the pit a tall pillar rises to half the height of the hall. It carries a large pulpit on its top. In this sits the man in charge of the whole theatre; he is surrounded by several assistants and messengers. One of his duties is to maintain a uniform speed of progress in all parts of the globe. In this respect he is like the conductor of an orchestra in which the instruments are slide-rules and calculating machines. But instead of waving a baton he turns a beam of rosy light upon any region that is running ahead of the rest, and a beam of blue light upon those who are behindhand.
Four senior clerks in the central pulpit are collecting the future weather as fast as it is being computed, and despatching it by pneumatic carrier to a quiet room. There it will be coded and telephoned to the radio transmitting station. Messengers carry piles of used computing forms down to a storehouse in the cellar.
In a neighbouring building there is a research department, where they invent improvements. But there is much experimenting on a small scale before any change is made in the complex routine of the computing theatre. In a basement an enthusiast is observing eddies in the liquid lining of a huge spinning bowl, but so far the arithmetic proves the better way. In another building are all the usual financial, correspondence and administrative offices. Outside are playing fields, houses, mountains and lakes, for it was thought that those who compute the weather should breathe of it freely." (Richardson 1922)
(The word "computers" is used here in its original sense – people who did computations, not machines. "Calculator" also referred to people at this time.)
When news of the first weather forecast by the first modern computer, ENIAC, was received by Richardson in 1950, he responded that the results were an "enormous scientific advance." The first calculations for a 24-hour forecast took ENIAC nearly 24 hours to produce.
He was also interested in atmospheric turbulence and performed many terrestrial experiments. The Richardson number, a dimensionless parameter of the theory of turbulence is named for him. He famously summarised turbulence in rhyming verse in Weather Prediction by Numerical Process (p 66):
Big whirls have little whirls that feed on their velocity,
and little whirls have lesser whirls and so on to viscosity.
[A play on Siphonaptera, Augustus De Morgan's rewording of Jonathan Swift, "Great fleas have little fleas upon their backs to bite 'em, And little fleas have lesser fleas, and so ad infinitum." (A Budget of Paradoxes, 1915)].
Richardson's attempt at numerical forecast
One of Richardson's most celebrated achievements is his retroactive attempt to forecast the weather during a single day—20 May 1910—by direct computation. At the time, meteorologists performed forecasts principally by looking for similar weather patterns from records, and then extrapolating forward. Richardson attempted to use a mathematical model of the principal features of the atmosphere, and use data taken at a specific time (7 AM) to calculate the weather six hours later ab initio. As meteorologist Peter Lynch makes clear, Richardson's forecast failed dramatically, predicting a huge rise in pressure over six hours when the pressure actually was more or less static. However, detailed analysis by Lynch has shown that the cause was a failure to apply smoothing techniques to the data, which rule out unphysical surges in pressure. When these are applied, Richardson's forecast is revealed to be essentially accurate—a remarkable achievement considering the calculations were done by hand, and while Richardson was serving with the Quaker ambulance unit in northern France.
Mathematical analysis of war
Richardson also applied his mathematical skills in the service of his pacifist principles, in particular in understanding the basis of international conflict. For this reason, he is now considered the initiator, or co-initiator (with Quincy Wright and Pitirim Sorokin as well as others such as Kenneth Boulding, Anatol Rapaport and Adam Curle), of the scientific analysis of conflict—an interdisciplinary topic of quantitative and mathematical social science dedicated to systematic investigation of the causes of war and conditions of peace. As he had done with weather, he analysed war using mainly differential equations and probability theory. Considering the armament of two nations, Richardson posited an idealised system of equations whereby the rate of a nation's armament build-up is directly proportional to the amount of arms its rival has and also to the grievances felt toward the rival, and negatively proportional to the amount of arms it already has itself. Solution of this system of equations allows insightful conclusions to be made regarding the nature, and the stability or instability, of various hypothetical conditions which might obtain between nations.
He also originated the theory that the propensity for war between two nations was a function of the length of their common border. And in Arms and Insecurity (1949), and Statistics of Deadly Quarrels (1960), he sought to analyse the causes of war statistically. Factors he assessed included economics, language, and religion. In the preface of the latter, he wrote: "There is in the world a great deal of brilliant, witty political discussion which leads to no settled convictions. My aim has been different: namely to examine a few notions by quantitative techniques in the hope of reaching a reliable answer."
In Statistics of Deadly Quarrels Richardson presented data on virtually every war from 1815 to 1945. As a result, he hypothesized a base 10 logarithmic scale for conflicts. In other words, there are many more small fights, in which only a few people die, than large ones that kill many. While no conflict's size can be predicted beforehand—indeed, it is impossible to give an upper limit to the series—overall they do form a Poisson distribution. On a smaller scale he showed the same pattern for gang murders in Chicago and Shanghai. Others have noted that similar statistical patterns occur frequently, whether planned (lotteries, with many more small payoffs than large wins), or by natural organisation (there are more small towns with grocery stores than big cities with superstores).
Research on the length of coastlines and borders
Richardson decided to search for a relation between the probability of two countries going to war and the length of their common border. However, while collecting data, he found that there was considerable variation in the various published lengths of international borders. For example, that between Spain and Portugal was variously quoted as 987 or 1214 km, and that between the Netherlands and Belgium as 380 or 449 km.
The reason for these inconsistencies is the "coastline paradox". Suppose the coast of Britain is measured using a 200 km ruler, specifying that both ends of the ruler must touch the coast. Now cut the ruler in half and repeat the measurement, then repeat:
Notice that the smaller the ruler, the longer the resulting coastline. It might be supposed that these values would converge to a finite number representing the true length of the coastline. However, Richardson demonstrated that this is not the case: the measured length of coastlines, and other natural features, increases without limit as the unit of measurement is made smaller. This is known nowadays as the Richardson effect.
At the time, Richardson's research was ignored by the scientific community. Today, it is considered an element of the beginning of the modern study of fractals. Richardson's research was quoted by mathematician Benoît Mandelbrot in his 1967 paper How Long Is the Coast of Britain? Richardson identified a value (between 1 and 2) that would describe the changes (with increasing measurement detail) in observed complexity for a particular coastline; this value served as a model for the concept of fractal dimension.<ref>P. G. Drazin, "Fractals"; Collected Papers of Lewis Fry Richardson, Volume 1; Cambridge University Press, 1993; p. 45.</ref>
Patents for detection of icebergs
In April 1912, soon after the loss of the ship Titanic, Richardson registered a patent for iceberg detection using acoustic echolocation in air. A month later he registered a similar patent for acoustic echolocation in water, anticipating the invention of sonar by Paul Langevin and Robert Boyle 6 years later.
In popular culture
A fictional version of Richardson, named Wallace Ryman, plays a pivotal role in Giles Foden's novel Turbulence.
Richardson is mentioned in John Brunner's work, Stand on Zanzibar where Statistics of Deadly Quarrels is used as an argument that wars are inevitable.
Richardson's work is also mentioned in Poul Anderson's speculative fiction novelette, Kings Who Die.
Richardson is mentioned in Charlie Kaufman's 2020 novel Antkind.
Richardson's famous quote, "Big whirls have little whirls that feed on their velocity; little whirls have lesser whirls & so on to viscosity" is mentioned in the song "Dots & Lines" written and performed by lyricist/rapper Lupe Fiasco.
Personal life
In 1909 he married Dorothy Garnett (1885–1956), daughter of the mathematician and physicist William Garnett. They were unable to have children due to an incompatibility of blood types, but they adopted two sons and a daughter between 1920 and 1927.
Richardson's nephew Ralph Richardson became a noted actor. His great-nephew (through his wife Dorothy's eldest brother, (James Clerk) Maxwell Garnett, C.B.E.), Julian Hunt, went on to become a meteorologist and director general and chief executive of the British Meteorological Office from 1992 to 1997. A great-niece – of the same line of descent – is the former politician Virginia Bottomley, now Baroness Bottomley.
Legacy
Since 1997, the Lewis Fry Richardson Medal has been awarded by the European Geosciences Union for "exceptional contributions to nonlinear geophysics in general" (by EGS until 2003 and by EGU since 2004).
Winners have been:
2020: Valerio Lucarini
2019: Shaun Lovejoy
2018: Timothy N. Palmer
2017: Edward Ott
2016: Peter L. Read
2015: Daniel Schertzer
2014: Olivier Talagrand
2013: Jürgen Kurths
2012: Harry Swinney
2011: Catherine Nicolis
2010: Klaus Fraedrich
2009: Stéphan Fauve
2008: Akiva Yaglom
2007: Ulrich Schumann
2006: Roberto Benzi
2005: Henk A. Dijkstra
2004: Michael Ghil
2003: Uriel Frisch
2002:
2001: Julian Hunt
2000: Benoit Mandelbrot
1999: Raymond Hide
1998: Vladimir Keilis-Borok
Since 1959, there has been a Peace Studies centre at Lancaster University named the Richardson Institute which carries out interdisciplinary research on peace and conflict in the spirit of Lewis Fry Richardson.
See also
Anomalous diffusion
Arms race
Coastline paradox
Energy cascade
War cycles
Magnetic helicity
Richardson extrapolation
Richardson number
Modified Richardson iteration
Richards equation
Multiscale turbulence
Takebe Kenko
Frederick W. Lanchester
List of peace activists
Notes
References
Wilkinson, David. Deadly Quarrels: Lewis F. Richardson and the Statistical Study of War (University of California Press, 2018) online review
320pp
P.A. Davidson, Y. Kaneda, K. Moffatt, and K.R. Sreenivasan (eds, 2011). A Voyage Through Turbulence, chapter 5, pp 187–208, Cambridge University Press
544pp "A Quaker mathematician" (Ch 8) and "Richardson on war" (Ch 9)
290pp
Richardson, L.F. (1939). "Generalized foreign politics". The British Journal of Psychology, monograph supplement No. 23.
Richardson, L.F. (1960). Statistics of deadly quarrels. Pacific Grove, CA: Boxwood Press.
1030pp; Volume 2: Quantitative psychology and studies of conflict. , 778pp
353pp
Angeletti Ferdinando (2021) Storicismo matematico e pacifismo scientifico: due esempi di determinismo storico della metà del XX secolo in Iconografie europee'' di Walter Montanari e Shirin Zakeri (a cura di), Roma, Nuova Cultura ISBN 978-8-833-65368-6;
External links
1881 births
1953 deaths
20th-century mathematicians
Academics of the University of Manchester Institute of Science and Technology
Academics of Aberystwyth University
Alumni of King's College, Cambridge
People educated at Bootham School
English cartographers
British conscientious objectors
English mathematicians
English meteorologists
English physicists
English psychologists
English Quakers
Fellows of the Royal Society
Lewis
People associated with the University of the West of Scotland
People from Newcastle upon Tyne
English Christian pacifists
Fluid dynamicists
People associated with the Friends' Ambulance Unit
20th-century psychologists
Alumni of Armstrong College, Durham
20th-century English businesspeople | true | [
"Trampolino Gigante Corno d'Aola () is an abandoned K90 ski jumping hill in Ponte di Legno, Italy opened in 1929.\n\nHistory\nIn 1928, hill located at 1258 meters above sea and designed by Adolf Badrutt, a Swiss ski jumper and world record holder, in the last town of the Val Camonica valley was completed.\n\nOn 24 February 1929, hill was officially opened in front of 20,000 spectators by Edda Mussolini, mother of Italian prime minister Benito Mussolini. The participants had exceptional prizes, given the period, this was possible thanks to the sponsors of that time: large companies and paramilitary organizations.\n\nOn 16 February 1930, Ernesto Zardini from Kingdom of Italy fell at world record distance at 76 metres (249 feet).\n\nIn 1931, late January or early February, Polish ski jumper Bronisław Czech fell at 79.5 metres (261 ft) world record distance, although some judges recognized it as official, never internationally recognized.\n\nOn 17 March 1935, Swiss Fritz Kainersdörfer jumped 99.5 meters (326 ft) and set the only official world record on this hill. Later that day history was made, when Olav Ulland from Norway fell at 103.5 metres (340 ft) and became first man ever to beat one hundred meter mark in ski jumping, although it was invalid and didn't count as he should be standing for record to be officially recognized.\n\nIn March 1936, shortly after Bradl's historic WR jump, Bruno Da Col jumped 100.5 metres and set first ever jump in Italy over hundred meters for which he received a golden medal of honour by Benito Mussolini.\n\nThe hill attracted many visitors each year from all over Europe. After the war, when it was enlarged and renamed as Gigante (Giant), interest for this sport in Italy rapidly diminished. \n\nOn 16 February 1949, at the Italian National Championships, Bruno Da Col set the all-time official hill record at 110.5 metres (363 feet), tied years later at the last hill competition.\n\nOn 14 February 1966 hill hosted the last competition, famous Kongsberg Cup, where an official hill record was set and tied by West German Henrik Ohlmeyer who jumped 110.5 meters (363 ft). Italian ski jumper Giacomo Aimoni claimed that he jumped 114 meters (374 ft) at training, but this jump was never officially recognized as hill record.\n\nSki jumping world records\n\nThe first jump in history over 100 meters (although with fall) was set by Olav Ulland here in 1935.\n\n Not recognized! Fall at world record distance.\n\nReferences\n\nExternal links\nTrampolino Gigante Corno d'Aola (Trampolino del Littorio) skisprungschanzen.com\n\nSki jumping venues in Italy",
"McSorley Hill (also: Bush Street Ski Jump) was a K30 ski jumping hill located in Red Wing, Minnesota, United States, opened in 1887.\n\nHistory \nOn 8 February 1887, a ski jumping hill owned by Aurora Ski Club opened with ski jumping competition often cited as first ever on US soil. Mikkjel Hemmestveit set the first ever American record at 37 feet (11.3 metres). \n\nTwo official world records in ski jumping were set on this hill. In 1891 Mikkjel Hemmestveit set a record at 102 feet (31.1 metres) and two years later was improved by Torjus Hemmestveit to 102.5 feet (31.4 metres).\n\nOn 17 February 1894, Torjus Hemmestveit made a world record distance jump at 120 feet (36.6 metres), but he fell and it didn't count as a record.\n\nSki jumping world records \n\n Not recognized! Crash at world record distance.\n\nReferences\n\nExternal links\nMcSorley Hill skisprungschanzen.com\n\nRed Wing, Minnesota\nSki jumping venues in the United States\nLandforms of Goodhue County, Minnesota"
] | [
"Lewis Fry Richardson, FRS (11 October 1881 – 30 September 1953) was an English mathematician, physicist, meteorologist, psychologist and pacifist who pioneered modern mathematical techniques of weather forecasting, and the application of similar techniques to studying the causes of wars and how to prevent them. He is also noted for his pioneering work concerning fractals and a method for solving a system of linear equations known as modified Richardson iteration.",
"He is also noted for his pioneering work concerning fractals and a method for solving a system of linear equations known as modified Richardson iteration. Early life Lewis Fry Richardson was the youngest of seven children born to Catherine Fry (1838–1919) and David Richardson (1835–1913).",
"Early life Lewis Fry Richardson was the youngest of seven children born to Catherine Fry (1838–1919) and David Richardson (1835–1913). They were a prosperous Quaker family, David Richardson operating a successful tanning and leather-manufacturing business.",
"They were a prosperous Quaker family, David Richardson operating a successful tanning and leather-manufacturing business. At age 12 he was sent to a Quaker boarding school, Bootham School in York, where he received an education in science, which stimulated an active interest in natural history.",
"At age 12 he was sent to a Quaker boarding school, Bootham School in York, where he received an education in science, which stimulated an active interest in natural history. In 1898 he went on to Durham College of Science (a college of Durham University) where he took courses in mathematical physics, chemistry, botany, and zoology.",
"In 1898 he went on to Durham College of Science (a college of Durham University) where he took courses in mathematical physics, chemistry, botany, and zoology. He proceeded in 1900 to King's College, Cambridge, where he was taught physics in the natural sciences tripos by (among others) J. J. Thomson and graduated with a first-class degree in 1903.",
"He proceeded in 1900 to King's College, Cambridge, where he was taught physics in the natural sciences tripos by (among others) J. J. Thomson and graduated with a first-class degree in 1903. At age 47 he received a doctorate in mathematical psychology from the University of London.",
"At age 47 he received a doctorate in mathematical psychology from the University of London. Career Richardson's working life represented his eclectic interests: National Physical Laboratory (1903–1904). University College Aberystwyth (1905–1906). Chemist, National Peat Industries (1906–1907). National Physical Laboratory (1907–1909).",
"National Physical Laboratory (1907–1909). Manager of the physical and chemical laboratory, Sunbeam Lamp Company (1909–1912). Manchester College of Technology (1912–1913). Meteorological Office – as superintendent of Eskdalemuir Observatory (1913–1916). Friends Ambulance Unit in France (1916–1919). Meteorological Office at Benson, Oxfordshire (1919–1920).",
"Meteorological Office at Benson, Oxfordshire (1919–1920). Head of the Physics Department at Westminster Training College (1920–1929). Principal, Paisley Technical College, now part of the University of the West of Scotland (1929–1940).",
"Principal, Paisley Technical College, now part of the University of the West of Scotland (1929–1940). In 1926, he was elected to the Fellowship of the Royal Society Pacifism Richardson's Quaker beliefs entailed an ardent pacifism that exempted him from military service during World War I as a conscientious objector, though this subsequently disqualified him from having any academic post.",
"In 1926, he was elected to the Fellowship of the Royal Society Pacifism Richardson's Quaker beliefs entailed an ardent pacifism that exempted him from military service during World War I as a conscientious objector, though this subsequently disqualified him from having any academic post. Richardson worked from 1916 to 1919 for the Friends' Ambulance Unit attached to the 16th French Infantry Division.",
"Richardson worked from 1916 to 1919 for the Friends' Ambulance Unit attached to the 16th French Infantry Division. After the war, he rejoined the Meteorological Office but was compelled to resign on grounds of conscience when it was amalgamated into the Air Ministry in 1920.",
"After the war, he rejoined the Meteorological Office but was compelled to resign on grounds of conscience when it was amalgamated into the Air Ministry in 1920. He subsequently pursued a career on the fringes of the academic world before retiring in 1940 to research his own ideas. His pacifism had direct consequences on his research interests.",
"His pacifism had direct consequences on his research interests. According to Thomas Körner, the discovery that his meteorological work was of value to chemical weapons designers caused him to abandon all his efforts in this field, and destroy findings that he had yet to publish.",
"According to Thomas Körner, the discovery that his meteorological work was of value to chemical weapons designers caused him to abandon all his efforts in this field, and destroy findings that he had yet to publish. Weather forecasting Richardson's interest in meteorology led him to propose a scheme for weather forecasting by solution of differential equations, the method used nowadays, though when he published Weather Prediction by Numerical Process in 1922, suitable fast computing was unavailable.",
"Weather forecasting Richardson's interest in meteorology led him to propose a scheme for weather forecasting by solution of differential equations, the method used nowadays, though when he published Weather Prediction by Numerical Process in 1922, suitable fast computing was unavailable. He described his ideas thus (his \"computers\" are human beings): \"After so much hard reasoning, may one play with a fantasy?",
"He described his ideas thus (his \"computers\" are human beings): \"After so much hard reasoning, may one play with a fantasy? Imagine a large hall like a theatre, except that the circles and galleries go right round through the space usually occupied by the stage.",
"Imagine a large hall like a theatre, except that the circles and galleries go right round through the space usually occupied by the stage. The walls of this chamber are painted to form a map of the globe.",
"The walls of this chamber are painted to form a map of the globe. The ceiling represents the north polar regions, England is in the gallery, the tropics in the upper circle, Australia on the dress circle and the Antarctic in the pit.",
"The ceiling represents the north polar regions, England is in the gallery, the tropics in the upper circle, Australia on the dress circle and the Antarctic in the pit. A myriad computers are at work upon the weather of the part of the map where each sits, but each computer attends only to one equation or part of an equation.",
"A myriad computers are at work upon the weather of the part of the map where each sits, but each computer attends only to one equation or part of an equation. The work of each region is coordinated by an official of higher rank.",
"The work of each region is coordinated by an official of higher rank. Numerous little \"night signs\" display the instantaneous values so that neighbouring computers can read them. Each number is thus displayed in three adjacent zones so as to maintain communication to the North and South on the map.",
"Each number is thus displayed in three adjacent zones so as to maintain communication to the North and South on the map. From the floor of the pit a tall pillar rises to half the height of the hall. It carries a large pulpit on its top.",
"It carries a large pulpit on its top. In this sits the man in charge of the whole theatre; he is surrounded by several assistants and messengers. One of his duties is to maintain a uniform speed of progress in all parts of the globe.",
"One of his duties is to maintain a uniform speed of progress in all parts of the globe. In this respect he is like the conductor of an orchestra in which the instruments are slide-rules and calculating machines.",
"In this respect he is like the conductor of an orchestra in which the instruments are slide-rules and calculating machines. But instead of waving a baton he turns a beam of rosy light upon any region that is running ahead of the rest, and a beam of blue light upon those who are behindhand.",
"But instead of waving a baton he turns a beam of rosy light upon any region that is running ahead of the rest, and a beam of blue light upon those who are behindhand. Four senior clerks in the central pulpit are collecting the future weather as fast as it is being computed, and despatching it by pneumatic carrier to a quiet room.",
"Four senior clerks in the central pulpit are collecting the future weather as fast as it is being computed, and despatching it by pneumatic carrier to a quiet room. There it will be coded and telephoned to the radio transmitting station. Messengers carry piles of used computing forms down to a storehouse in the cellar.",
"Messengers carry piles of used computing forms down to a storehouse in the cellar. In a neighbouring building there is a research department, where they invent improvements. But there is much experimenting on a small scale before any change is made in the complex routine of the computing theatre.",
"But there is much experimenting on a small scale before any change is made in the complex routine of the computing theatre. In a basement an enthusiast is observing eddies in the liquid lining of a huge spinning bowl, but so far the arithmetic proves the better way.",
"In a basement an enthusiast is observing eddies in the liquid lining of a huge spinning bowl, but so far the arithmetic proves the better way. In another building are all the usual financial, correspondence and administrative offices.",
"In another building are all the usual financial, correspondence and administrative offices. Outside are playing fields, houses, mountains and lakes, for it was thought that those who compute the weather should breathe of it freely.\"",
"Outside are playing fields, houses, mountains and lakes, for it was thought that those who compute the weather should breathe of it freely.\" (Richardson 1922) (The word \"computers\" is used here in its original sense – people who did computations, not machines.",
"(Richardson 1922) (The word \"computers\" is used here in its original sense – people who did computations, not machines. \"Calculator\" also referred to people at this time.)",
"\"Calculator\" also referred to people at this time.) When news of the first weather forecast by the first modern computer, ENIAC, was received by Richardson in 1950, he responded that the results were an \"enormous scientific advance.\" The first calculations for a 24-hour forecast took ENIAC nearly 24 hours to produce.",
"The first calculations for a 24-hour forecast took ENIAC nearly 24 hours to produce. He was also interested in atmospheric turbulence and performed many terrestrial experiments. The Richardson number, a dimensionless parameter of the theory of turbulence is named for him.",
"The Richardson number, a dimensionless parameter of the theory of turbulence is named for him. He famously summarised turbulence in rhyming verse in Weather Prediction by Numerical Process (p 66): Big whirls have little whirls that feed on their velocity, and little whirls have lesser whirls and so on to viscosity.",
"He famously summarised turbulence in rhyming verse in Weather Prediction by Numerical Process (p 66): Big whirls have little whirls that feed on their velocity, and little whirls have lesser whirls and so on to viscosity. [A play on Siphonaptera, Augustus De Morgan's rewording of Jonathan Swift, \"Great fleas have little fleas upon their backs to bite 'em, And little fleas have lesser fleas, and so ad infinitum.\"",
"[A play on Siphonaptera, Augustus De Morgan's rewording of Jonathan Swift, \"Great fleas have little fleas upon their backs to bite 'em, And little fleas have lesser fleas, and so ad infinitum.\" (A Budget of Paradoxes, 1915)].",
"(A Budget of Paradoxes, 1915)]. Richardson's attempt at numerical forecast One of Richardson's most celebrated achievements is his retroactive attempt to forecast the weather during a single day—20 May 1910—by direct computation. At the time, meteorologists performed forecasts principally by looking for similar weather patterns from records, and then extrapolating forward.",
"At the time, meteorologists performed forecasts principally by looking for similar weather patterns from records, and then extrapolating forward. Richardson attempted to use a mathematical model of the principal features of the atmosphere, and use data taken at a specific time (7 AM) to calculate the weather six hours later ab initio.",
"Richardson attempted to use a mathematical model of the principal features of the atmosphere, and use data taken at a specific time (7 AM) to calculate the weather six hours later ab initio. As meteorologist Peter Lynch makes clear, Richardson's forecast failed dramatically, predicting a huge rise in pressure over six hours when the pressure actually was more or less static.",
"As meteorologist Peter Lynch makes clear, Richardson's forecast failed dramatically, predicting a huge rise in pressure over six hours when the pressure actually was more or less static. However, detailed analysis by Lynch has shown that the cause was a failure to apply smoothing techniques to the data, which rule out unphysical surges in pressure.",
"However, detailed analysis by Lynch has shown that the cause was a failure to apply smoothing techniques to the data, which rule out unphysical surges in pressure. When these are applied, Richardson's forecast is revealed to be essentially accurate—a remarkable achievement considering the calculations were done by hand, and while Richardson was serving with the Quaker ambulance unit in northern France.",
"When these are applied, Richardson's forecast is revealed to be essentially accurate—a remarkable achievement considering the calculations were done by hand, and while Richardson was serving with the Quaker ambulance unit in northern France. Mathematical analysis of war Richardson also applied his mathematical skills in the service of his pacifist principles, in particular in understanding the basis of international conflict.",
"Mathematical analysis of war Richardson also applied his mathematical skills in the service of his pacifist principles, in particular in understanding the basis of international conflict. For this reason, he is now considered the initiator, or co-initiator (with Quincy Wright and Pitirim Sorokin as well as others such as Kenneth Boulding, Anatol Rapaport and Adam Curle), of the scientific analysis of conflict—an interdisciplinary topic of quantitative and mathematical social science dedicated to systematic investigation of the causes of war and conditions of peace.",
"For this reason, he is now considered the initiator, or co-initiator (with Quincy Wright and Pitirim Sorokin as well as others such as Kenneth Boulding, Anatol Rapaport and Adam Curle), of the scientific analysis of conflict—an interdisciplinary topic of quantitative and mathematical social science dedicated to systematic investigation of the causes of war and conditions of peace. As he had done with weather, he analysed war using mainly differential equations and probability theory.",
"As he had done with weather, he analysed war using mainly differential equations and probability theory. Considering the armament of two nations, Richardson posited an idealised system of equations whereby the rate of a nation's armament build-up is directly proportional to the amount of arms its rival has and also to the grievances felt toward the rival, and negatively proportional to the amount of arms it already has itself.",
"Considering the armament of two nations, Richardson posited an idealised system of equations whereby the rate of a nation's armament build-up is directly proportional to the amount of arms its rival has and also to the grievances felt toward the rival, and negatively proportional to the amount of arms it already has itself. Solution of this system of equations allows insightful conclusions to be made regarding the nature, and the stability or instability, of various hypothetical conditions which might obtain between nations.",
"Solution of this system of equations allows insightful conclusions to be made regarding the nature, and the stability or instability, of various hypothetical conditions which might obtain between nations. He also originated the theory that the propensity for war between two nations was a function of the length of their common border.",
"He also originated the theory that the propensity for war between two nations was a function of the length of their common border. And in Arms and Insecurity (1949), and Statistics of Deadly Quarrels (1960), he sought to analyse the causes of war statistically. Factors he assessed included economics, language, and religion.",
"Factors he assessed included economics, language, and religion. In the preface of the latter, he wrote: \"There is in the world a great deal of brilliant, witty political discussion which leads to no settled convictions.",
"In the preface of the latter, he wrote: \"There is in the world a great deal of brilliant, witty political discussion which leads to no settled convictions. My aim has been different: namely to examine a few notions by quantitative techniques in the hope of reaching a reliable answer.\"",
"My aim has been different: namely to examine a few notions by quantitative techniques in the hope of reaching a reliable answer.\" In Statistics of Deadly Quarrels Richardson presented data on virtually every war from 1815 to 1945. As a result, he hypothesized a base 10 logarithmic scale for conflicts.",
"As a result, he hypothesized a base 10 logarithmic scale for conflicts. In other words, there are many more small fights, in which only a few people die, than large ones that kill many.",
"In other words, there are many more small fights, in which only a few people die, than large ones that kill many. While no conflict's size can be predicted beforehand—indeed, it is impossible to give an upper limit to the series—overall they do form a Poisson distribution.",
"While no conflict's size can be predicted beforehand—indeed, it is impossible to give an upper limit to the series—overall they do form a Poisson distribution. On a smaller scale he showed the same pattern for gang murders in Chicago and Shanghai.",
"On a smaller scale he showed the same pattern for gang murders in Chicago and Shanghai. Others have noted that similar statistical patterns occur frequently, whether planned (lotteries, with many more small payoffs than large wins), or by natural organisation (there are more small towns with grocery stores than big cities with superstores).",
"Others have noted that similar statistical patterns occur frequently, whether planned (lotteries, with many more small payoffs than large wins), or by natural organisation (there are more small towns with grocery stores than big cities with superstores). Research on the length of coastlines and borders Richardson decided to search for a relation between the probability of two countries going to war and the length of their common border.",
"Research on the length of coastlines and borders Richardson decided to search for a relation between the probability of two countries going to war and the length of their common border. However, while collecting data, he found that there was considerable variation in the various published lengths of international borders.",
"However, while collecting data, he found that there was considerable variation in the various published lengths of international borders. For example, that between Spain and Portugal was variously quoted as 987 or 1214 km, and that between the Netherlands and Belgium as 380 or 449 km. The reason for these inconsistencies is the \"coastline paradox\".",
"The reason for these inconsistencies is the \"coastline paradox\". Suppose the coast of Britain is measured using a 200 km ruler, specifying that both ends of the ruler must touch the coast. Now cut the ruler in half and repeat the measurement, then repeat: Notice that the smaller the ruler, the longer the resulting coastline.",
"Now cut the ruler in half and repeat the measurement, then repeat: Notice that the smaller the ruler, the longer the resulting coastline. It might be supposed that these values would converge to a finite number representing the true length of the coastline.",
"It might be supposed that these values would converge to a finite number representing the true length of the coastline. However, Richardson demonstrated that this is not the case: the measured length of coastlines, and other natural features, increases without limit as the unit of measurement is made smaller. This is known nowadays as the Richardson effect.",
"This is known nowadays as the Richardson effect. At the time, Richardson's research was ignored by the scientific community. Today, it is considered an element of the beginning of the modern study of fractals. Richardson's research was quoted by mathematician Benoît Mandelbrot in his 1967 paper How Long Is the Coast of Britain?",
"Richardson's research was quoted by mathematician Benoît Mandelbrot in his 1967 paper How Long Is the Coast of Britain? Richardson identified a value (between 1 and 2) that would describe the changes (with increasing measurement detail) in observed complexity for a particular coastline; this value served as a model for the concept of fractal dimension.<ref>P.",
"Richardson identified a value (between 1 and 2) that would describe the changes (with increasing measurement detail) in observed complexity for a particular coastline; this value served as a model for the concept of fractal dimension.<ref>P. G. Drazin, \"Fractals\"; Collected Papers of Lewis Fry Richardson, Volume 1; Cambridge University Press, 1993; p. 45.</ref> Patents for detection of icebergs In April 1912, soon after the loss of the ship Titanic, Richardson registered a patent for iceberg detection using acoustic echolocation in air.",
"G. Drazin, \"Fractals\"; Collected Papers of Lewis Fry Richardson, Volume 1; Cambridge University Press, 1993; p. 45.</ref> Patents for detection of icebergs In April 1912, soon after the loss of the ship Titanic, Richardson registered a patent for iceberg detection using acoustic echolocation in air. A month later he registered a similar patent for acoustic echolocation in water, anticipating the invention of sonar by Paul Langevin and Robert Boyle 6 years later.",
"A month later he registered a similar patent for acoustic echolocation in water, anticipating the invention of sonar by Paul Langevin and Robert Boyle 6 years later. In popular culture A fictional version of Richardson, named Wallace Ryman, plays a pivotal role in Giles Foden's novel Turbulence.",
"In popular culture A fictional version of Richardson, named Wallace Ryman, plays a pivotal role in Giles Foden's novel Turbulence. Richardson is mentioned in John Brunner's work, Stand on Zanzibar where Statistics of Deadly Quarrels is used as an argument that wars are inevitable.",
"Richardson is mentioned in John Brunner's work, Stand on Zanzibar where Statistics of Deadly Quarrels is used as an argument that wars are inevitable. Richardson's work is also mentioned in Poul Anderson's speculative fiction novelette, Kings Who Die. Richardson is mentioned in Charlie Kaufman's 2020 novel Antkind.",
"Richardson is mentioned in Charlie Kaufman's 2020 novel Antkind. Richardson's famous quote, \"Big whirls have little whirls that feed on their velocity; little whirls have lesser whirls & so on to viscosity\" is mentioned in the song \"Dots & Lines\" written and performed by lyricist/rapper Lupe Fiasco.",
"Richardson's famous quote, \"Big whirls have little whirls that feed on their velocity; little whirls have lesser whirls & so on to viscosity\" is mentioned in the song \"Dots & Lines\" written and performed by lyricist/rapper Lupe Fiasco. Personal life In 1909 he married Dorothy Garnett (1885–1956), daughter of the mathematician and physicist William Garnett.",
"Personal life In 1909 he married Dorothy Garnett (1885–1956), daughter of the mathematician and physicist William Garnett. They were unable to have children due to an incompatibility of blood types, but they adopted two sons and a daughter between 1920 and 1927. Richardson's nephew Ralph Richardson became a noted actor.",
"Richardson's nephew Ralph Richardson became a noted actor. His great-nephew (through his wife Dorothy's eldest brother, (James Clerk) Maxwell Garnett, C.B.E. ), Julian Hunt, went on to become a meteorologist and director general and chief executive of the British Meteorological Office from 1992 to 1997.",
"), Julian Hunt, went on to become a meteorologist and director general and chief executive of the British Meteorological Office from 1992 to 1997. A great-niece – of the same line of descent – is the former politician Virginia Bottomley, now Baroness Bottomley.",
"A great-niece – of the same line of descent – is the former politician Virginia Bottomley, now Baroness Bottomley. Legacy Since 1997, the Lewis Fry Richardson Medal has been awarded by the European Geosciences Union for \"exceptional contributions to nonlinear geophysics in general\" (by EGS until 2003 and by EGU since 2004).",
"Legacy Since 1997, the Lewis Fry Richardson Medal has been awarded by the European Geosciences Union for \"exceptional contributions to nonlinear geophysics in general\" (by EGS until 2003 and by EGU since 2004). Winners have been: 2020: Valerio Lucarini 2019: Shaun Lovejoy 2018: Timothy N. Palmer 2017: Edward Ott 2016: Peter L. Read 2015: Daniel Schertzer 2014: Olivier Talagrand 2013: Jürgen Kurths 2012: Harry Swinney 2011: Catherine Nicolis 2010: Klaus Fraedrich 2009: Stéphan Fauve 2008: Akiva Yaglom 2007: Ulrich Schumann 2006: Roberto Benzi 2005: Henk A. Dijkstra 2004: Michael Ghil 2003: Uriel Frisch 2002: 2001: Julian Hunt 2000: Benoit Mandelbrot 1999: Raymond Hide 1998: Vladimir Keilis-Borok Since 1959, there has been a Peace Studies centre at Lancaster University named the Richardson Institute which carries out interdisciplinary research on peace and conflict in the spirit of Lewis Fry Richardson.",
"Winners have been: 2020: Valerio Lucarini 2019: Shaun Lovejoy 2018: Timothy N. Palmer 2017: Edward Ott 2016: Peter L. Read 2015: Daniel Schertzer 2014: Olivier Talagrand 2013: Jürgen Kurths 2012: Harry Swinney 2011: Catherine Nicolis 2010: Klaus Fraedrich 2009: Stéphan Fauve 2008: Akiva Yaglom 2007: Ulrich Schumann 2006: Roberto Benzi 2005: Henk A. Dijkstra 2004: Michael Ghil 2003: Uriel Frisch 2002: 2001: Julian Hunt 2000: Benoit Mandelbrot 1999: Raymond Hide 1998: Vladimir Keilis-Borok Since 1959, there has been a Peace Studies centre at Lancaster University named the Richardson Institute which carries out interdisciplinary research on peace and conflict in the spirit of Lewis Fry Richardson. See also Anomalous diffusion Arms race Coastline paradox Energy cascade War cycles Magnetic helicity Richardson extrapolation Richardson number Modified Richardson iteration Richards equation Multiscale turbulence Takebe Kenko Frederick W. Lanchester List of peace activists Notes References Wilkinson, David.",
"See also Anomalous diffusion Arms race Coastline paradox Energy cascade War cycles Magnetic helicity Richardson extrapolation Richardson number Modified Richardson iteration Richards equation Multiscale turbulence Takebe Kenko Frederick W. Lanchester List of peace activists Notes References Wilkinson, David. Deadly Quarrels: Lewis F. Richardson and the Statistical Study of War (University of California Press, 2018) online review 320pp P.A.",
"Deadly Quarrels: Lewis F. Richardson and the Statistical Study of War (University of California Press, 2018) online review 320pp P.A. Davidson, Y. Kaneda, K. Moffatt, and K.R. Sreenivasan (eds, 2011).",
"Sreenivasan (eds, 2011). A Voyage Through Turbulence, chapter 5, pp 187–208, Cambridge University Press 544pp \"A Quaker mathematician\" (Ch 8) and \"Richardson on war\" (Ch 9) 290pp Richardson, L.F. (1939). \"Generalized foreign politics\".",
"\"Generalized foreign politics\". \"Generalized foreign politics\". The British Journal of Psychology, monograph supplement No. 23. Richardson, L.F. (1960). Statistics of deadly quarrels. Pacific Grove, CA: Boxwood Press. 1030pp; Volume 2: Quantitative psychology and studies of conflict.",
"1030pp; Volume 2: Quantitative psychology and studies of conflict. , 778pp 353pp Angeletti Ferdinando (2021) Storicismo matematico e pacifismo scientifico: due esempi di determinismo storico della metà del XX secolo in Iconografie europee'' di Walter Montanari e Shirin Zakeri (a cura di), Roma, Nuova Cultura ISBN 978-8-833-65368-6; External links 1881 births 1953 deaths 20th-century mathematicians Academics of the University of Manchester Institute of Science and Technology Academics of Aberystwyth University Alumni of King's College, Cambridge People educated at Bootham School English cartographers British conscientious objectors English mathematicians English meteorologists English physicists English psychologists English Quakers Fellows of the Royal Society Lewis People associated with the University of the West of Scotland People from Newcastle upon Tyne English Christian pacifists Fluid dynamicists People associated with the Friends' Ambulance Unit 20th-century psychologists Alumni of Armstrong College, Durham 20th-century English businesspeople"
] |
[
"Israel Finkelstein",
"Academic career",
"where did he study?",
"From 1976 to 1990 Finkelstein taught at the Department of Land of Israel Studies, Bar-Ilan University, beginning as a teaching assistant.",
"what did he teach?",
"He spent the academic year of 1983-84 in a research group led by Prof. Yigael Yadin in the Institute of Advanced Studies in the Hebrew University, Jerusalem.",
"what subject did he teach?",
"Jerusalem. In 1986-87 Finkelstein taught at the Department for Near Eastern Languages and Civilizations, University of Chicago."
] | C_4d673f03f1d64a48b4323c3fe9d3cda7_1 | did he teach anywhere else? | 4 | did Israel Finkelstein teach anywhere besides University of Chicago? | Israel Finkelstein | From 1976 to 1990 Finkelstein taught at the Department of Land of Israel Studies, Bar-Ilan University, beginning as a teaching assistant. He spent the academic year of 1983-84 in a research group led by Prof. Yigael Yadin in the Institute of Advanced Studies in the Hebrew University, Jerusalem. In 1986-87 Finkelstein taught at the Department for Near Eastern Languages and Civilizations, University of Chicago. In 1987 he was appointed an associate professor with tenure at Bar-Ilan University and in 1990 moved to the Department of Archaeology and Ancient Near Eastern Civilizations at Tel Aviv University. In 1992/93 Finkelstein spent a sabbatical year as a visiting scholar at the Department of Near Eastern Languages and Civilizations, Harvard University. Since 1992, he has been a Full Professor at Tel Aviv University. He served as the chairperson of the Department of Archaeology and Near Eastern Studies (1994-98) and as Director of The Sonia and Marco Nadler Institute of Archaeology (1996-2003). In 1998-99 Finkelstein was a visiting scholar in the Centre de Recherche d'Archeologie Orientale and the Ecole Pratique des Hautes Etudes in the Sorbonne, Paris. Finkelstein delivered series of lectures on the history and archaeology of Ancient Israel at the Texas Christian University (2002), the University of Buenos Aires (2011), the College de France in Paris (2012) and the Methodist University of Sao Paulo (2015). He is scheduled to deliver similar lectures at the Tokyo Christian University (2017) and the Pontifical Biblical Institute in Rome (2017). Finkelstein has read over 100 papers in international conferences and given numerous talks in universities around the globe. Finkelstein has been the Editor of Tel Aviv, the journal of the Institute of Archaeology of Tel Aviv University, since 2008 and Executive Editor of the Monograph Series by the Institute of Archaeology, Tel Aviv University, since 2005. He is a member of editorial boards, including the Palestine Exploration Journal and the Archaeology and Biblical Studies series, the Society of Biblical Literature. CANNOTANSWER | In 1987 he was appointed an associate professor with tenure at Bar-Ilan University | Israel Finkelstein (, born March 29, 1949) is an Israeli archaeologist, professor emeritus at Tel Aviv University. Finkelstein is active in the archaeology of the Levant and is an applicant of archaeological data in reconstructing biblical history. He is also known for applying the exact and life sciences in archaeological and historical reconstruction. Finkelstein is the current excavator of Megiddo, a key site for the study of the Bronze and Iron Ages in the Levant.
Finkelstein is a member of the Israel Academy of Sciences and Humanities and an associé étranger of the French Académie des Inscriptions et Belles-Lettres. Finkelstein has received several noteworthy academic and writing awards. In 2005, he won the Dan David Prize for his revision of the history of Israel in the 10th and 9th centuries BCE. In 2009 he was named chevalier of the Ordre des Arts et des Lettres by the French Minister of Culture, and in 2010, received a doctorate honoris causa from the University of Lausanne. He is a member of the selection committee of the Shanghai Archaeology Forum, the Chinese Academy of Social Sciences.
Among Finkelstein's books are The Bible Unearthed: Archaeology's New Vision of Ancient Israel and the Origin of its Sacred Texts (2001) and David and Solomon: In Search of the Bible's Sacred Kings and the Roots of the Western Tradition (2006), both written with Neil Asher Silberman. Also he wrote the textbooks on the emergence of Ancient Israel, titled The Archaeology of the Israelite Settlement (1988); on the archaeology and history of the arid zones of the Levant, titled Living on the Fringe (1995); and on the Northern Kingdom of Israel, titled The Forgotten Kingdom (2013).
Background
Family
Israel Finkelstein was born to an Ashkenazi Jewish family in Tel Aviv, Israel, on March 29, 1949. His parents were Zvi (Grisha) Finkelstein (born 1908) and Miriam Finkelstein (maiden name Ellenhorn, born 1910). His great grandfather on his mother's side, Shlomo Ellenhorn, came to Palestine from Grodno (today in Belarus) in the 1850s and settled in Hebron. He was one of the first physicians in the Bikur Cholim Hospital in Jerusalem, and is listed among the group of people who purchased the land in 1878 in order to establish Petah Tikva – the first modern Jewish settlement in Palestine outside the four holy cities. Finkelstein's grandfather, Israel Jacob Ellenhorn, was the first pharmacist in Petah Tikva.
Finkelstein’s father was born in Melitopol (Ukraine). He came to Palestine with his family in 1920. He was in the orange-growing business and was active in the sports organisations of Israel. He served as vice chairman of the Israel Football Association, chairman of Maccabi Israel and was a member of the Israel Olympic Committee.
Finkelstein is married to Joelle (maiden name Cohen). They are the parents of two daughters – Adar (born 1992) and Sarai (born 1996).
Education
Israel Finkelstein attended the PICA elementary school (1956–1963) and Ahad Ha'am High School (1963–1967), both in Petah Tikva. He then served in the Israel Defense Forces (1967–1970). He studied archaeology and Near Eastern civilizations, and geography at Tel Aviv University, receiving his BA in 1974. While there, Finkelstein was a student of Prof. Yohanan Aharoni. He continued as a research student under the supervision of Prof. Moshe Kochavi, receiving his MA in 1978 (thesis on Rural Settlement in the Yarkon Basin in the Iron Age and Persian-Hellenistic Periods). He graduated as a PhD in 1983 with a thesis titled "The Izbet Sartah Excavations and the Israelite Settlement in the Hill Country".
Academic career
From 1976 to 1990, Finkelstein taught at the Department of Land of Israel Studies, Bar-Ilan University, beginning as a teaching assistant. He spent the academic year of 1983–84 in a research group led by Prof. Yigael Yadin in the Institute of Advanced Studies in the Hebrew University, Jerusalem. In 1986 and 1987, Finkelstein taught at the Department for Near Eastern Languages and Civilizations, University of Chicago. In 1987 he was appointed an associate professor with tenure at Bar-Ilan University and in 1990 moved to the Department of Archaeology and Ancient Near Eastern Civilizations at Tel Aviv University. In 1992/93 Finkelstein spent a sabbatical year as a visiting scholar at the Department of Near Eastern Languages and Civilizations, Harvard University. Since 1992, he has been a Full Professor at Tel Aviv University. He served as the chairperson of the Department of Archaeology and Near Eastern Studies (1994–98) and as Director of The Sonia and Marco Nadler Institute of Archaeology (1996–2003). In 1998–99 Finkelstein was a visiting scholar in the Centre de Recherche d’Archéologie Orientale and the École Pratique des Hautes Études in the Sorbonne, Paris.
Finkelstein delivered series of lectures on the history and archaeology of Ancient Israel at the Texas Christian University (2002), the University of Buenos Aires (2011), the College de France in Paris (2012) and the Methodist University of São Paulo (2015), the Tokyo Christian University (2017), the Pontifical Biblical Institute in Rome (2017) and the University of Zurich (2018). Finkelstein has read over 100 papers in international conferences and given numerous talks in universities around the globe.
Finkelstein has been the Editor of Tel Aviv, the journal of the Institute of Archaeology of Tel Aviv University, since 2008 and Executive Editor of the Monograph Series by the Institute of Archaeology, Tel Aviv University, since 2005. He is a member of editorial boards, including the Palestine Exploration Quarterly and the Archaeology and Biblical Studies series of the Society of Biblical Literature.
Fieldwork
Finkelstein was trained as a field archaeologist in the excavations of Tel Beer Sheva (1971, Director: Yohanan Aharoni) and Tel Aphek (1973–1978, Directors: Moshe Kochavi and Pirhiya Beck). Starting in 1976, he carried out his own fieldwork in a variety of sites and regions:
Past excavations and surveys
‘Izbet Sartah, 1976–1978: Field Director (under Prof. Moshe Kochavi) of excavations at ‘Izbet Sartah, an Iron I-Iron IIA village-site near Rosh Ha‘ayin, east of Tel Aviv. For the results see: I. Finkelstein, Izbet Sartah: An Early Iron Age Site near Rosh Ha‘ayin, Israel, Oxford 1986 (BAR International Series 299).
Southern Sinai, 1976–1978: Surveys of Byzantine monastic remains in southern Sinai. For the results see: I. Finkelstein, Byzantine Monastic Remains in Southern Sinai, Dumbarton Oaks Papers 39 (1985), pp. 39–75.
Bene Beraq, 1977: Director of salvage excavations at the mound of ancient Bene Beraq near Tel Aviv. For the results see: I. Finkelstein, Soundings at Ancient Bene-Beraq, ‘Atiqot 10 (1990), pp. 29–40 (Hebrew).
Tel Ira, 1980: Co-Director of the excavations of the Iron II site of Tel Ira in the Beer-sheba Valley (together with I. Beit-Arieh and B. Cresson). For the results see: I. Finkelstein and I. Beit-Arieh, Area E, in I. Beit-Arieh (ed.), Tel Ira: A Stronghold in the Biblical Negev (monograph Series of the Institute of Archaeology Tel Aviv University 15), Tel Aviv 1999, pp. 67–96.
Shiloh, 1981–1984: Director of the excavations at biblical Shiloh in the highlands north of Jerusalem. The site features Middle Bronze, Late Bronze and Iron I remains. For the results see: I. Finkelstein (ed.), Shiloh: The Archaeology of a Biblical Site (Monograph Series of the Institute of Archaeology Tel Aviv University 10), Tel Aviv 1993.
Southern Samaria Survey, 1981–1987: Director of the survey, ca. 1000 km2. in the highlands north of Jerusalem. For the results see: I. Finkelstein, Z. Lederman and S. Bunimovitz, Highlands of Many Cultures, The Southern Samaria Survey, The Sites (Monograph Series of the Institute of Archaeology Tel Aviv University 14). Tel Aviv
Khirbet ed-Dawwara, 1985–86: Director, excavations at Khirbet ed-Dawwara, an Iron I-early Iron IIA site in the desert fringe northeast of Jerusalem. For the results see: I. Finkelstein, Excavations at Kh. ed-Dawwara: An Iron Age Site Northeast of Jerusalem, Tel Aviv 17 (1990), pp. 163–208.
Dhahr Mirzbaneh, 1987: Sounding at the Intermediate Bronze site of Dhahr Mirzbaneh in the desert fringe northeast of Jerusalem. For the results see: I. Finkelstein, The Central Hill Country in the Intermediate Bronze Age, Israel Exploration Journal 41 (1991), pp. 19–45.
Present excavations
Megiddo, 1994–present: co-Director, the Megiddo Excavations (1994–2012 with David Ussishkin, since 2014 with Matthew J. Adams and Mario A.S. Martin). Megiddo is considered as one of the most important Bronze and Iron Age sites in the Levant. For the results see: I. Finkelstein, D. Ussishkin and B. Halpern (eds.), Megiddo III: The 1992–1996 Seasons (Monograph Series of the Institute of Archaeology Tel Aviv University 18). Tel Aviv 2000. I. Finkelstein, D. Ussishkin and B. Halpern (eds.), Megiddo IV: The 1998–2002 Seasons (Monograph Series of the Institute of Archaeology Tel Aviv University 24), Tel Aviv 2006. I. Finkelstein, D. Ussishkin and E.H. Cline (editors), Megiddo V: The 2004–2008 Seasons (Monograph Series of the Institute of Archaeology Tel Aviv University 31), Winona Lake 2013. I. Finkelstein, M.A.S. Martin and M.J. Adams (eds.), Megiddo VI: The 2010–2014 Seasons (forthcoming).
The Negev Highlands, 2006–present: co-Director of excavations in the Iron Age sites of Atar Haroa and Nahal Boqer, and the Intermediate Bronze Age sites of Mashabe Sade and En Ziq (with Ruth Shahack-Gross). For the results see: R. Shahack-Gross and I. Finkelstein, Settlement Oscillations in the Negev Highlands Revisited: The Impact of Microarchaeological Methods, Radiocarbon 57/2 (2015), pp. 253–264.
Kiriath-Jearim, 2017–present: co-Director, the Shmunis Family excavations at Kiriath-Jearim – a biblical site in the highlands west of Jerusalem associated with the Ark Narrative in the Book of Samuel (with Christophe Nicolle and Thomas Römer, the College de France).
Other projects
In the past
1997–2002: Petrographic study of the Amarna tablets (with Yuval Goren and Nadav Na'aman). For the results see: Y. Goren, I. Finkelstein and N. Na'aman, Inscribed in Clay: Provenance Study of the Amarna Letters and other Ancient Near Eastern Texts (Monograph Series of the Institute of Archaeology Tel Aviv University 23), Tel Aviv 2004.
2009–2014: Principal Investigator of a European Research Council-funded project titled Reconstructing Ancient Israel: The Exact and Life Sciences Perspectives (with Steve Weiner, Weizmann Institute of Science, co-Principal Investigator). The project was organized into 10 tracks: Radiocarbon dating, ancient DNA, geoarchaeology, paleoclimate, petrography, metallurgy, daily mathematics, advanced imaging of ostraca, residue analysis and archaeozoology. Over 40 scholars, advanced students and post-docs were involved in the project. Samples were taken from a large number of sites in Israel and Greece. For the results see: I. Finkelstein, S. Weiner and E. Boaretto (eds.), Reconstructing Ancient Israel: The Exact and Life Sciences Perspectives, special issue of Radiocarbon (57/2), 2015, with a list of all publications until 2015.
Paleoclimate of the Levant (2009-2019), with Dafna Langgut (Tel Aviv University) and Thomas Litt (University of Bonn).
The Archaeological and Historical Realities behind the Pentateuch (2016-2019), with Konrad Schmid (University of Zurich), Thomas Römer and Christophe Nihan (University of Lausanne) and Oded Lipschits (Tel Aviv University).
Ongoing research projects
Geoarchaeological Investigations in the Negev Highlands (2006-) with Ruth Shahack-Gross (University of Haifa).
Iron Age Hebrew Ostraca in the Silicon Age: Computerized Paleography (2008-), directed with Eli Piasetzky (Tel Aviv University). For results see list of publications in http://www-nuclear.tau.ac.il/~eip/ostraca/Publications/Publications.html
Ancient DNA, animals and Humans (2009-), with Meirav Meiri (Tel Aviv University); current cooperation with Joseph Maran and Philipp Stockhammer (Universities of Heidelberg and Munich), Liran Carmel (Hebrew University) and David Reich (Harvard University).
Scholarly contributions
Finkelstein has written on a variety of topics, including the archaeology of the Bronze Age and the exact and life sciences contribution to archaeology. Much of his work has been devoted to the Iron Age and, more specifically, to questions related to the history of Ancient Israel.
The Emergence of Ancient Israel
The classical theories on the emergence of Israel viewed the process as a unique event in the history of the region. Finkelstein suggested that we are dealing with a long-term process of a cyclical nature. He demonstrated that the wave of settlement in the highlands in the Iron Age I (ca. 1150-950 BCE) was the last in a series of such demographic developments – the first had taken place in the Early Bronze and the second in the Middle Bronze. The periods between these peaks were characterized by low settlement activity. Finkelstein explained these oscillations as representing changes along the sedentary/ pastoral-nomadic continuum, which were caused by socioeconomic and political dynamics. Hence, a big portion of the people who settled in the highlands in the early Iron Age were locals of a pastoral-nomadic background. Others, who originated from local sedentary background, moved to the highlands as a result of the Bronze Age collapse – which in turn was related to a long period of dry climate in ca. 1250-1100 BCE. Since eventually these groups formed the Northern Kingdom of Israel, they can be labeled "Israelites" as early as their initial settlement process. The same holds true for the contemporary settlement process in Transjordan and western Syria, which brought about the rise of Moab, Ammon and the Aramean kingdoms of the later phases of the Iron Age.
Finkelstein regards the biblical account on the Conquest of Canaan in the Book of Joshua as an ideological manifesto of the Deuteronomistic author/s of the late 7th century BCE, describing a "conquest to be" under King Josiah of Judah rather than a historical event at the end of the Bronze Age. He proposed that the original Conquest Account may have originated in the Northern Kingdom of Israel in the early 8th century BCE; it could have been influenced by memories of the turmoil that had taken place in the lowlands in the late Iron I (10th century BCE), rather than the end of the Late Bronze Age (late 12th century BCE).
The Low Chronology
Until the 1990s, the chronology of the Iron Age in the Levant had been anchored in the biblical account of the great United Monarchy of David and Solomon. Accordingly, the Iron I ended ca. 1000 BCE and the Iron IIA was dated from 1000 BCE until the campaign of Pharaoh Sheshonq I (biblical Shishak) ca. 925 BCE. The two Iron IIA palaces at Megiddo were conceived as the material manifestation for the Solomonic Empire. While preparing for the excavations at Megiddo in the early 1990s, Finkelstein noticed difficulties in this scheme. Noteworthy among them is the appearance of similar traits of material culture at Megiddo in a layer that was dated to the time of King Solomon in the middle of the 10th century, and at Samaria and Jezreel in contexts dated to the time of the Omride Dynasty (of the Northern Kingdom of Israel) in the early 9th century BCE. To resolve these difficulties, Finkelstein proposed to "lower" the dates of the Iron Age strata in the Levant by several decades.
According to Finkelstein's Low Chronology, the Iron Age I lasted until the middle of the 10th century BCE, while the Iron IIA is dated between the middle of the 10th century and ca. 800 BCE, if not slightly later. This means that the Megiddo palaces and other features which had traditionally been attributed to the time of King Solomon – features which date to the late Iron IIA – should indeed be associated with the endeavors of the Omride Dynasty in the first half of the 9th century BCE. A big debate ensued. Starting in the late 1990s, the focus of the discussion shifted to the interpretation of radiocarbon determinations for organic samples from key sites, such as Tel Rehov and Megiddo. All in all, the radiocarbon results put the Iron I/IIA transition ca. the middle of the 10th century (rather than 1000 BCE as had traditionally been proposed), and the Iron IIA/B transition in the early days of the 8th century (rather than ca. 925 BCE).
In parallel, and not directly connected, Finkelstein dealt with the chronology of Philistine pottery of the Iron Age I. The traditional theory fixed the appearance of Philistine pottery – and hence the settlement of the Philistines in the southern coastal plain of the Levant – in accordance with the confrontation between Ramses III and the Sea Peoples in the early 12th century BCE. In other words, Philistine pottery appears during the last phase of Egyptian rule in Canaan. Finkelstein proposed that the locally-made Monochrome pottery known from several sites in Philistia, which is widely understood as representing the earliest phase of Philistine settlement, should be dated after the withdrawal of Egypt from Canaan in the 1130s.
Finkelstein sees the biblical description of the time of David and Solomon as multilayered. He acknowledges the historicity of the founders of the Davidic Dynasty, places them in the 10th century BCE, and considers the possibility that the description of the rise of David to power conceals old memories of his activity as a leader of an Apiru-band that was active in the southern fringe of Judah. Yet, he sees the description of a great United Monarchy as an ideological construct that represents the ideology of late-monarchic author/s in the late 7th century BCE, first and foremost the pan-Israelite ideology of the days of King Josiah of Judah. According to him, the historical David and Solomon ruled over a small territory in the southern highlands – a territory not very different from that of Jerusalem of the Late Bronze Age. Finkelstein sees much of the description of King Solomon as representing realities from late monarchic times: First, from the later days of the Northern Kingdom (for instance, the reference to Megiddo, Hazor and Gezer in and to the stables, horses and chariots of Solomon). Second, from the time of King Manasseh of Judah in the early 7th century BCE, under Assyrian domination (for instance, the visit of the Queen of Sheba in Jerusalem). He understands the description of the Philistines in the Bible as portraying realities in Philistia in late-monarchic times.
"New Canaan"
Following the results of the excavations at Megiddo, Finkelstein argued that the material culture of the Iron I in the northern valleys continues that of the Late Bronze Age. In other words, the collapse of the Late Bronze city-states under Egyptian domination in the late 12th century BCE was followed by revival of some of the same centers and rise of others in the Iron I. He termed this phenomenon "New Canaan". Accordingly, the major break in the material culture of Canaan took place at the end of the Iron I in the 10th century BCE rather than the end of the Late Bronze Age. Finkelstein associated the violent destruction of the revived city-states with the expansion of the highlanders (early Israelites). He suggested that memories of the turmoil in the lowlands in the late Iron I can be found in northern traditions regarding skirmishes with Canaanite cities which appear in the heroic stories in the Book of Judges.
The Northern Kingdom
Finkelstein dealt with a variety of themes related to the archeology and history of the Northern Kingdom of Israel. He proposed that the first North Israelite territorial polity emerged in the Gibeon-Bethel plateau in the late Iron I and early Iron IIA. He found archaeological evidence for this in the system of fortified sites, such as Tell en-Nasbeh, Khirbet ed-Dawwara, et-Tell ("Ai") and Gibeon. Historical evidence for the existence of this polity can be found in the campaign of Pharaoh Sheshonq I in this region in the middle-to-second half of the 10th century BCE. According to Finkelstein, positive memories in the Bible of the House of Saul, which originated from the North, represent this early Israelite entity. He suggested that this north Israelite polity ruled over much of the territory of the highlands, that it presented a threat to the interests of Egypt of the 22nd Dynasty in Canaan, and that it was taken over during the campaign of Sheshonq I.
Finkelstein proposed that in its early days, the Northern Kingdom (Jeroboam I and his successors) ruled over the Samaria Highlands, the western slopes of the Gilead and the area of the Jezreel Valley. The expansion of Israel further to the north came during the days of the Omride Dynasty in the first half of the 9th century BCE, and even more so in the time of Jeroboam II in the first half of the 8th century BCE. Finkelstein described the special features of Omride architecture and, with his Megiddo team, dealt with different subjects related to the material culture of the Northern Kingdom, such as metallurgy and cult practices.
Finkelstein also reflected on biblical traditions related to the Northern Kingdom, such as the Jacob cycle in Genesis (a study carried out with Thomas Römer), the Exodus tradition, the heroic stories in the Book of Judges and remnants of royal traditions in the Books of Samuel and Kings. He suggested that these North Israelite traditions were first committed to writing in the days of Jeroboam II (first half of the 8th century BCE), that they were brought to Judah with Israelite refugees after the takeover of Israel by Assyria, and that they were later incorporated into the Judahite-dominated Bible. Finkelstein sees the biblical genre of deploying "history" in the service of royal ideology as emerging from Israel (the North) of the 8th century BCE.
Archaeology and history of Jerusalem
Finkelstein has recently dealt with the location of the ancient mound of Jerusalem (with Ido Koch and Oded Lipschits). The conventional wisdom sees that "City of David" ridge as the location of the original settlement of Jerusalem. Finkelstein and his colleagues argued that the "City of David" ridge does not have the silhouette of a mound; that it is located in topographical inferiority relative to the surrounding area; and that the archaeological record of the ridge does not include periods of habitation attested in reliable textual records. According to them, the most suitable location for the core of ancient Jerusalem is the Temple Mount. The large area of the Herodian platform (today's Harem esh-Sharif) may conceal a mound of five hectares and more, which – similar to other capital cities in the Levant – included both the royal compound and habitation quarters. Locating the mound of Ancient Jerusalem on the Temple Mount resolves many of the difficulties pertaining to the "City of David" ridge.
According to Finkelstein, the history of Jerusalem in biblical times should be viewed in terms of three main phases:
Firstly, until the 9th century BCE, Jerusalem was restricted to the mound on the Temple Mount and ruled over a modest area in the southern highlands. Accordingly, Jerusalem of the time of David and Solomon can be compared to Jerusalem of the Amarna period in the 14th century BCE: it had the size of a typical highlands mound (for instance, Shechem), ruled over a restricted area, but still had impact beyond the highlands.
Secondly, the first expansion of Jerusalem came in the 9th century BCE, perhaps in its second half, when the town grew significantly in a southerly direction. Remains of the Iron IIA were unearthed south of al-Aqsa Mosque, above the Gihon Spring and to the south of the Dung Gate of the Old City. In parallel to this development, Judah expanded to the Shephelah in the west and Beer-sheba Valley in the south, and for the first time became a territorial kingdom rather than a city-state restricted to the highlands.
Thirdly, the most impressive phase in the settlement history of Jerusalem commenced in the late 8th century BCE and lasted until its destruction by the Babylonians in 586 BCE. At that time Jerusalem expanded dramatically, to include the entire "City of David" ridge, as well as the "Western Hill" (the Armenian and Jewish Quarter of today's Old City). This expansion was the result of the arrival of Israelite refugees after the demise of the Northern Kingdom in 722-720 BCE. These groups brought with them traits of Northern material culture, and more important – their foundation myths, royal traditions and heroic stories. These Northern traditions were later incorporated into the Judahite Bible.
Jerusalem and Yehud/Judea of the Persian and Hellenistic periods
Finkelstein noted that in the Persian Period, Jerusalem was limited to the mound on the Temple Mount – and even there was sparsely settled – and that Yehud of that time was also thinly settled. As the description of the construction of the wall of Jerusalem in Nehemiah 3 must relate to the big city (extending beyond the old mound on the Temple Mount), it probably portrays the construction of the fortifications by the Hasmoneans.
Finkelstein further noted that many of the sites mentioned in the lists of returnees in Ezra and Nehemiah were not inhabited in the Persian Period and hence sees these lists as reflecting the demographic situation in days of the Hasmoneans. The same holds true, in his opinion, for the genealogies in 1 Chronicles. Finkelstein then looked into the accounts of Judahite monarchs in 2 Chronicles, which do not appear in Kings. He called attention to similarities between these texts and 1 Maccabees, and proposed to understand Chronicles as representing legitimacy needs of the Hasmoneans. This means that at least 2 Chronicles dates to the late 2nd century BCE, probably to the days of John Hyrcanus.
Published works
Books
In addition to the reports of excavations cited above:
Sinai in Antiquity, Tel Aviv 1980 (ed., with Zeev Meshel, Hebrew)
The Archaeology of the Israelite Settlement, Jerusalem 1988,
Archaeological Survey of the Hill Country of Benjamin, Jerusalem 1993, (ed., with Yitzhak Magen)
From Nomadism to Monarchy: Archaeological and Historical Aspects of Early Israel, Jerusalem 1994, (ed., with Nadav Na'aman)
Living on the Fringe: The Archaeology and History of the Negev, Sinai and Neighbouring Regions in the Bronze and Iron Ages, Sheffield 1995,
The Bible Unearthed: Archaeology's New Vision of Ancient Israel and the Origin of Its Sacred Texts, New York 2001 (with Neil Asher Silberman). Translated to 12 languages.
David and Solomon: In Search of the Bible's Sacred Kings and the Roots of the Western Tradition, New York 2006, (with Neil Asher Silberman). Translated to six languages.
The Quest for the Historical Israel: Debating Archeology and the History of Early Israel, Atlanta 2007, (with Amihai Mazar)
Un archéologue au pays de la Bible, Paris 2008,
The Forgotten Kingdom. The Archaeology and History of Northern Israel, Atlanta 2013, . Translated to four languages.
Hasmonean Realities behind Ezra, Nehemiah and Chronicles, Atlanta 2018.
Co-editor of three festschrifts – for Nadav Na'aman, David Ussishkin and Benjamin Sass.
Articles
About 400 scholarly articles; for many of them see: https://telaviv.academia.edu/IsraelFinkelstein
Festschrift
Bene Israel: Studies in the Archaeology of Israel and the Levant during the Bronze and Iron Ages in Honour of Israel Finkelstein, Leiden and London 2008 (eds. Alexander Fantalkin and Assaf Yasur-Landau).
Rethinking Israel: Studies in the History and Archaeology of Ancient Israel in Honor of Israel Finkelstein, Winona Lake 2017 (eds. Oded Lipschits, Yuval Gadot and Matthew J. Adams).
The Shmunis Family Conversations in the Archaeology and History of Ancient Israel with Israel Finkelstein
The Shmunis Family Conversations in the Archaeology and History of Ancient Israel with Israel Finkelstein series is a YouTube series hosted by the W.F. Albright Institute of Archaeological Research's Albright Live YouTube Channel. As of September 2021, 26 episodes have been released. The series is set as an interview-style conversation between Albright Institute Director Matthew J. Adams and archaeologist Israel Finkelstein. Episodes cover the rise of Ancient Israel as evidenced by archaeology, ancient Near Eastern textual sources, the Bible, and archaeology from the Late Bronze Age through the Hellenistic Period. The episodes are written and directed by Israel Finkelstein and Matthew J. Adams with cinematography and editing by Yuval Pan. The series is Produced by Djehuti Productions and the Albright Institute with a grant from the Shmunis Family Foundation.
Awards and recognition
Finkelstein is the Laureate of the Dan David Prize in 2005. The select committee noted that he is "widely regarded as a leading scholar in the archaeology of the Levant and as a foremost applicant of archaeological knowledge to reconstructing biblical Israelite history. He excels at creatively forging links between archaeology and the exact sciences and he has revolutionized many of these fields. … Finkelstein has had an impact on radically revising the history of Israel in the 10th and 9th centuries BCE. He has transformed the study of history and archaeology in Israeli universities, moving from a ‘monumental’ to a ‘systemic’ study of the archaeological evidence. He has taken what was becoming a rather staid and conservative discipline, with everyone in general agreement as to interpretation of excavation results, and has turned things upside down. … The study of these periods is never again going to be what it once was. … Israel Finkelstein has proven to be creative, generating scholarship no less than discussion, launching ideas and stimulating debates, fearlessly but with imagination and grace."
In 2014, Finkelstein was awarded the Prix Delalande Guérineau: Institut de France, l'Académie des Inscriptions et Belles-Lettres, for his book Le Royaume biblique oublié (The Forgotten Kingdom).
He is the recipient of the MacAllister Field Archaeology Award 2017 (The American Schools of Oriental Research).
His other awards include the French decoration of Chevalier de l’ordre des Arts et des Lettres, (2009) and the Doctorat honoris causa of the University of Lausanne (2010).
Criticism
Finkelstein's theories about Saul, David and Solomon have been criticized by fellow archaeologists. Amihai Mazar described Finkelstein's Low Chronology proposal as "premature and unacceptable". Amnon Ben-Tor accused him of employing a “double standard”, citing the biblical text where it suited him and deploring its use where it did not. Other criticisms came from William G. Dever (who dismissed the Low Chronology as "idiosyncratic"), Lawrence Stager, Doron Ben-Ami, Raz Kletter and Anabel Zarzeki-Peleg. David Ussishkin, despite agreeing with many of Finkelstein's theories about the United Monarchy, has also shown doubts and reservations about Finkelstein's Low Chronology.
Writing in the Biblical Archaeology Review and subsequently in the Bulletin of the American Schools of Oriental Research, William G. Dever described The Bible Unearthed as a "convoluted story", writing that "This clever, trendy work may deceive lay readers". Evangelical Christian biblical scholar Kenneth Kitchen was also critical of the book, writing that "[A] careful critical perusal of this work—which certainly has much to say about both archaeology and the biblical writings—reveals that we are dealing very largely with a work of imaginative fiction, not a serious or reliable account of the subject", and "Their treatment of the exodus is among the most factually ignorant and misleading that this writer has ever read." Another evangelical, Richard Hess, also being critical, wrote that "The authors always present their interpretation of the archaeological data but do not mention or interact with contemporary alternative approaches. Thus the book is ideologically driven and controlled."
A 2004 debate between Finkelstein and William G. Dever, mediated by Hershel Shanks (editor of the Biblical Archaeology Review), quickly degenerated into insults, with Dever calling Finkelstein "idiosyncratic and doctrinaire" and Finkelstein dismissing Dever as a "jealous academic parasite". Dever later accused Finkelstein of supporting post-Zionism, to which Finkelstein replied by accusing Dever of being "a biblical literalist disguised as a liberal". Shanks described the exchange between the two as "embarassing".
Following the publication of The Forgotten Kingdom, Dever once again harshly criticized Finkelstein: writing in the Biblical Archaeology Review, he described Finkelstein as "a magician and a showman". He stated that the book was full of "numerous errors, misrepresentations, over-simplifications and contradictions". Another, more moderate, review was written on the same magazine by Aaron Burke: while Burke described Finkelstein's book as "ambitious" and praised its literary style, he did not accept Finkelstein's conclusions. He stated that the book engages in several speculations that cannot be proved by archeology, biblical and extra-biblical sources. He also criticized Finkelstein for persistently trying to downgrade the role of David in the development of ancient Israel.
Other landmarks
Selected as one of the 10 most influential researchers in the history of archaeology in the Levant (a Swiss publication, 1993).
Invited to the Salon du Livre in Paris, 2008. Two public debates there: with the French philosopher Armand Abécassis on La Bible et la Terre Sainte, and with the Israeli author Meir Shalev on la Bible de l’ecrivain et la Bible de l’archeologue.
Keynote address in the Annual Meeting of the American Schools of Oriental Research, Nashville 2000.
A ca. 50 pages profile chapter in J.-F. Mondot’s Une Bible pour deux mémoires (Paris 2006).
Invited lecture in the special symposium celebrating the 60th anniversary of the Weizmann Institute (together with Nobel Prize laureates Ada Yonath and Daniel Kahneman, and Lord Wilson, 2009).
Keynote address in the Symposium of Mediterranean Archaeology, Florence 2012.
Two lectures in the Académie des Inscriptions et Belles Lettres, Paris, May 2012 and February 2016.
Public lectures in events at universities such as the University of Chicago, Heidelberg University (2014) and Princeton University.
Joint session of the American Schools of Oriental Research and Society of Biblical Literature titled Rethinking Israel – celebrating the publication of Rethinking Israel, Studies in the History and Archaeology of Ancient Israel in Honr of Israel Finkelstein, Boston 2017.
Conversation with Israel Finkelstein and Thomas Romer, central evening event in the International Meeting of the Society for Biblical Literature, Rome, July 2019.
References
External links
Finkelstein's personal website: https://israelfinkelstein.wordpress.com/
The Megiddo Expedition: https://megiddoexpedition.wordpress.com/
The Kiriath-Jearim excavations: https://kiriathjearim.wordpress.com/
The digitized epigraphy website: http://www-nuclear.tau.ac.il/~eip/ostraca/Home/Home.html
Finkelstein's scholarly articles on academia.edu: https://telaviv.academia.edu/IsraelFinkelstein
The Dan David prize, 2005: http://www.dandavidprize.org/laureates/2005/77-past-archaeology/173-prof-israel-finkelstein
The Shmunis Family Conversations in the Archaeology and History of Ancient Israel with Israel Finkelstein, 2020–2021: https://www.youtube.com/playlist?list=PLvm7MPUI_WJclpUfZgCw1Tfd_cyT4Fh-f
1949 births
Living people
20th-century archaeologists
20th-century Israeli male writers
21st-century archaeologists
21st-century Israeli male writers
Biblical archaeologists
Historical geographers
Israeli archaeologists
Israeli Ashkenazi Jews
Israeli people of Ukrainian-Jewish descent
Tel Aviv University faculty | true | [
"\"Be Someone Else\" is a song by Slimmy, released in 2010 as the lead single from his second studio album Be Someone Else. The single wasn't particularly successful, charting anywhere.\nA music video was also made for \"Be Someone Else\", produced by Riot Films. It premiered on 27 June 2010 on YouTube.\n\nBackground\n\"Be Someone Else\" was unveiled as the album's lead single. The song was written by Fernandes and produced by Quico Serrano and Mark J Turner. It was released to MySpace on 1 January 2010.\n\nMusic video\nA music video was also made for \"Be Someone Else\", produced by Riot Films. It premiered on 27 June 2010 on YouTube. The music video features two different scenes which alternate with each other many times during the video. The first scene features Slimmy performing the song with an electric guitar and the second scene features Slimmy performing with the band in the background.\n\nChart performance\nThe single wasn't particularly successful, charting anywhere.\n\nLive performances\n A Very Slimmy Tour\n Be Someone Else Tour\n\nTrack listing\n\nDigital single\n\"Be Someone Else\" (album version) - 3:22\n\nPersonnel\nTaken from the album's booklet.\n\nPaulo Fernandes – main vocals, guitar\nPaulo Garim – bass\nTó-Zé – drums\n\nRelease history\n\nCharts\n\nReferences\n\nExternal links\nOfficial music video at YouTube.\n\n2010 singles\nEnglish-language Portuguese songs\n2009 songs",
"Grouvellina radama is a species of ground beetle in the subfamily Rhysodinae. It was described by R.T. & J.R. Bell in 1979.\nIt is native to Madagascar and it is unknown whether it lives anywhere else.\n\nReferences\n\nGrouvellina\nBeetles described in 1979"
] | [
"Israel Finkelstein (, born March 29, 1949) is an Israeli archaeologist, professor emeritus at Tel Aviv University. Finkelstein is active in the archaeology of the Levant and is an applicant of archaeological data in reconstructing biblical history. He is also known for applying the exact and life sciences in archaeological and historical reconstruction.",
"He is also known for applying the exact and life sciences in archaeological and historical reconstruction. Finkelstein is the current excavator of Megiddo, a key site for the study of the Bronze and Iron Ages in the Levant.",
"Finkelstein is the current excavator of Megiddo, a key site for the study of the Bronze and Iron Ages in the Levant. Finkelstein is a member of the Israel Academy of Sciences and Humanities and an associé étranger of the French Académie des Inscriptions et Belles-Lettres. Finkelstein has received several noteworthy academic and writing awards.",
"Finkelstein has received several noteworthy academic and writing awards. In 2005, he won the Dan David Prize for his revision of the history of Israel in the 10th and 9th centuries BCE.",
"In 2005, he won the Dan David Prize for his revision of the history of Israel in the 10th and 9th centuries BCE. In 2009 he was named chevalier of the Ordre des Arts et des Lettres by the French Minister of Culture, and in 2010, received a doctorate honoris causa from the University of Lausanne.",
"In 2009 he was named chevalier of the Ordre des Arts et des Lettres by the French Minister of Culture, and in 2010, received a doctorate honoris causa from the University of Lausanne. He is a member of the selection committee of the Shanghai Archaeology Forum, the Chinese Academy of Social Sciences.",
"He is a member of the selection committee of the Shanghai Archaeology Forum, the Chinese Academy of Social Sciences. Among Finkelstein's books are The Bible Unearthed: Archaeology's New Vision of Ancient Israel and the Origin of its Sacred Texts (2001) and David and Solomon: In Search of the Bible's Sacred Kings and the Roots of the Western Tradition (2006), both written with Neil Asher Silberman.",
"Among Finkelstein's books are The Bible Unearthed: Archaeology's New Vision of Ancient Israel and the Origin of its Sacred Texts (2001) and David and Solomon: In Search of the Bible's Sacred Kings and the Roots of the Western Tradition (2006), both written with Neil Asher Silberman. Also he wrote the textbooks on the emergence of Ancient Israel, titled The Archaeology of the Israelite Settlement (1988); on the archaeology and history of the arid zones of the Levant, titled Living on the Fringe (1995); and on the Northern Kingdom of Israel, titled The Forgotten Kingdom (2013).",
"Also he wrote the textbooks on the emergence of Ancient Israel, titled The Archaeology of the Israelite Settlement (1988); on the archaeology and history of the arid zones of the Levant, titled Living on the Fringe (1995); and on the Northern Kingdom of Israel, titled The Forgotten Kingdom (2013). Background Family Israel Finkelstein was born to an Ashkenazi Jewish family in Tel Aviv, Israel, on March 29, 1949.",
"Background Family Israel Finkelstein was born to an Ashkenazi Jewish family in Tel Aviv, Israel, on March 29, 1949. His parents were Zvi (Grisha) Finkelstein (born 1908) and Miriam Finkelstein (maiden name Ellenhorn, born 1910).",
"His parents were Zvi (Grisha) Finkelstein (born 1908) and Miriam Finkelstein (maiden name Ellenhorn, born 1910). His great grandfather on his mother's side, Shlomo Ellenhorn, came to Palestine from Grodno (today in Belarus) in the 1850s and settled in Hebron.",
"His great grandfather on his mother's side, Shlomo Ellenhorn, came to Palestine from Grodno (today in Belarus) in the 1850s and settled in Hebron. He was one of the first physicians in the Bikur Cholim Hospital in Jerusalem, and is listed among the group of people who purchased the land in 1878 in order to establish Petah Tikva – the first modern Jewish settlement in Palestine outside the four holy cities.",
"He was one of the first physicians in the Bikur Cholim Hospital in Jerusalem, and is listed among the group of people who purchased the land in 1878 in order to establish Petah Tikva – the first modern Jewish settlement in Palestine outside the four holy cities. Finkelstein's grandfather, Israel Jacob Ellenhorn, was the first pharmacist in Petah Tikva.",
"Finkelstein's grandfather, Israel Jacob Ellenhorn, was the first pharmacist in Petah Tikva. Finkelstein’s father was born in Melitopol (Ukraine). He came to Palestine with his family in 1920. He was in the orange-growing business and was active in the sports organisations of Israel.",
"He was in the orange-growing business and was active in the sports organisations of Israel. He served as vice chairman of the Israel Football Association, chairman of Maccabi Israel and was a member of the Israel Olympic Committee. Finkelstein is married to Joelle (maiden name Cohen).",
"Finkelstein is married to Joelle (maiden name Cohen). They are the parents of two daughters – Adar (born 1992) and Sarai (born 1996). Education Israel Finkelstein attended the PICA elementary school (1956–1963) and Ahad Ha'am High School (1963–1967), both in Petah Tikva.",
"Education Israel Finkelstein attended the PICA elementary school (1956–1963) and Ahad Ha'am High School (1963–1967), both in Petah Tikva. He then served in the Israel Defense Forces (1967–1970). He studied archaeology and Near Eastern civilizations, and geography at Tel Aviv University, receiving his BA in 1974.",
"He studied archaeology and Near Eastern civilizations, and geography at Tel Aviv University, receiving his BA in 1974. While there, Finkelstein was a student of Prof. Yohanan Aharoni.",
"While there, Finkelstein was a student of Prof. Yohanan Aharoni. He continued as a research student under the supervision of Prof. Moshe Kochavi, receiving his MA in 1978 (thesis on Rural Settlement in the Yarkon Basin in the Iron Age and Persian-Hellenistic Periods).",
"He continued as a research student under the supervision of Prof. Moshe Kochavi, receiving his MA in 1978 (thesis on Rural Settlement in the Yarkon Basin in the Iron Age and Persian-Hellenistic Periods). He graduated as a PhD in 1983 with a thesis titled \"The Izbet Sartah Excavations and the Israelite Settlement in the Hill Country\".",
"He graduated as a PhD in 1983 with a thesis titled \"The Izbet Sartah Excavations and the Israelite Settlement in the Hill Country\". Academic career From 1976 to 1990, Finkelstein taught at the Department of Land of Israel Studies, Bar-Ilan University, beginning as a teaching assistant.",
"Academic career From 1976 to 1990, Finkelstein taught at the Department of Land of Israel Studies, Bar-Ilan University, beginning as a teaching assistant. He spent the academic year of 1983–84 in a research group led by Prof. Yigael Yadin in the Institute of Advanced Studies in the Hebrew University, Jerusalem.",
"He spent the academic year of 1983–84 in a research group led by Prof. Yigael Yadin in the Institute of Advanced Studies in the Hebrew University, Jerusalem. In 1986 and 1987, Finkelstein taught at the Department for Near Eastern Languages and Civilizations, University of Chicago.",
"In 1986 and 1987, Finkelstein taught at the Department for Near Eastern Languages and Civilizations, University of Chicago. In 1987 he was appointed an associate professor with tenure at Bar-Ilan University and in 1990 moved to the Department of Archaeology and Ancient Near Eastern Civilizations at Tel Aviv University.",
"In 1987 he was appointed an associate professor with tenure at Bar-Ilan University and in 1990 moved to the Department of Archaeology and Ancient Near Eastern Civilizations at Tel Aviv University. In 1992/93 Finkelstein spent a sabbatical year as a visiting scholar at the Department of Near Eastern Languages and Civilizations, Harvard University.",
"In 1992/93 Finkelstein spent a sabbatical year as a visiting scholar at the Department of Near Eastern Languages and Civilizations, Harvard University. Since 1992, he has been a Full Professor at Tel Aviv University.",
"Since 1992, he has been a Full Professor at Tel Aviv University. He served as the chairperson of the Department of Archaeology and Near Eastern Studies (1994–98) and as Director of The Sonia and Marco Nadler Institute of Archaeology (1996–2003).",
"He served as the chairperson of the Department of Archaeology and Near Eastern Studies (1994–98) and as Director of The Sonia and Marco Nadler Institute of Archaeology (1996–2003). In 1998–99 Finkelstein was a visiting scholar in the Centre de Recherche d’Archéologie Orientale and the École Pratique des Hautes Études in the Sorbonne, Paris.",
"In 1998–99 Finkelstein was a visiting scholar in the Centre de Recherche d’Archéologie Orientale and the École Pratique des Hautes Études in the Sorbonne, Paris. Finkelstein delivered series of lectures on the history and archaeology of Ancient Israel at the Texas Christian University (2002), the University of Buenos Aires (2011), the College de France in Paris (2012) and the Methodist University of São Paulo (2015), the Tokyo Christian University (2017), the Pontifical Biblical Institute in Rome (2017) and the University of Zurich (2018).",
"Finkelstein delivered series of lectures on the history and archaeology of Ancient Israel at the Texas Christian University (2002), the University of Buenos Aires (2011), the College de France in Paris (2012) and the Methodist University of São Paulo (2015), the Tokyo Christian University (2017), the Pontifical Biblical Institute in Rome (2017) and the University of Zurich (2018). Finkelstein has read over 100 papers in international conferences and given numerous talks in universities around the globe.",
"Finkelstein has read over 100 papers in international conferences and given numerous talks in universities around the globe. Finkelstein has been the Editor of Tel Aviv, the journal of the Institute of Archaeology of Tel Aviv University, since 2008 and Executive Editor of the Monograph Series by the Institute of Archaeology, Tel Aviv University, since 2005.",
"Finkelstein has been the Editor of Tel Aviv, the journal of the Institute of Archaeology of Tel Aviv University, since 2008 and Executive Editor of the Monograph Series by the Institute of Archaeology, Tel Aviv University, since 2005. He is a member of editorial boards, including the Palestine Exploration Quarterly and the Archaeology and Biblical Studies series of the Society of Biblical Literature.",
"He is a member of editorial boards, including the Palestine Exploration Quarterly and the Archaeology and Biblical Studies series of the Society of Biblical Literature. Fieldwork Finkelstein was trained as a field archaeologist in the excavations of Tel Beer Sheva (1971, Director: Yohanan Aharoni) and Tel Aphek (1973–1978, Directors: Moshe Kochavi and Pirhiya Beck).",
"Fieldwork Finkelstein was trained as a field archaeologist in the excavations of Tel Beer Sheva (1971, Director: Yohanan Aharoni) and Tel Aphek (1973–1978, Directors: Moshe Kochavi and Pirhiya Beck). Starting in 1976, he carried out his own fieldwork in a variety of sites and regions: Past excavations and surveys ‘Izbet Sartah, 1976–1978: Field Director (under Prof. Moshe Kochavi) of excavations at ‘Izbet Sartah, an Iron I-Iron IIA village-site near Rosh Ha‘ayin, east of Tel Aviv.",
"Starting in 1976, he carried out his own fieldwork in a variety of sites and regions: Past excavations and surveys ‘Izbet Sartah, 1976–1978: Field Director (under Prof. Moshe Kochavi) of excavations at ‘Izbet Sartah, an Iron I-Iron IIA village-site near Rosh Ha‘ayin, east of Tel Aviv. For the results see: I. Finkelstein, Izbet Sartah: An Early Iron Age Site near Rosh Ha‘ayin, Israel, Oxford 1986 (BAR International Series 299).",
"For the results see: I. Finkelstein, Izbet Sartah: An Early Iron Age Site near Rosh Ha‘ayin, Israel, Oxford 1986 (BAR International Series 299). Southern Sinai, 1976–1978: Surveys of Byzantine monastic remains in southern Sinai.",
"Southern Sinai, 1976–1978: Surveys of Byzantine monastic remains in southern Sinai. For the results see: I. Finkelstein, Byzantine Monastic Remains in Southern Sinai, Dumbarton Oaks Papers 39 (1985), pp. 39–75. Bene Beraq, 1977: Director of salvage excavations at the mound of ancient Bene Beraq near Tel Aviv.",
"Bene Beraq, 1977: Director of salvage excavations at the mound of ancient Bene Beraq near Tel Aviv. For the results see: I. Finkelstein, Soundings at Ancient Bene-Beraq, ‘Atiqot 10 (1990), pp. 29–40 (Hebrew).",
"29–40 (Hebrew). 29–40 (Hebrew). Tel Ira, 1980: Co-Director of the excavations of the Iron II site of Tel Ira in the Beer-sheba Valley (together with I. Beit-Arieh and B. Cresson). For the results see: I. Finkelstein and I. Beit-Arieh, Area E, in I. Beit-Arieh (ed.",
"For the results see: I. Finkelstein and I. Beit-Arieh, Area E, in I. Beit-Arieh (ed. ), Tel Ira: A Stronghold in the Biblical Negev (monograph Series of the Institute of Archaeology Tel Aviv University 15), Tel Aviv 1999, pp. 67–96.",
"67–96. 67–96. Shiloh, 1981–1984: Director of the excavations at biblical Shiloh in the highlands north of Jerusalem. The site features Middle Bronze, Late Bronze and Iron I remains. For the results see: I. Finkelstein (ed.",
"For the results see: I. Finkelstein (ed. ), Shiloh: The Archaeology of a Biblical Site (Monograph Series of the Institute of Archaeology Tel Aviv University 10), Tel Aviv 1993. Southern Samaria Survey, 1981–1987: Director of the survey, ca. 1000 km2. in the highlands north of Jerusalem.",
"in the highlands north of Jerusalem. For the results see: I. Finkelstein, Z. Lederman and S. Bunimovitz, Highlands of Many Cultures, The Southern Samaria Survey, The Sites (Monograph Series of the Institute of Archaeology Tel Aviv University 14).",
"For the results see: I. Finkelstein, Z. Lederman and S. Bunimovitz, Highlands of Many Cultures, The Southern Samaria Survey, The Sites (Monograph Series of the Institute of Archaeology Tel Aviv University 14). Tel Aviv Khirbet ed-Dawwara, 1985–86: Director, excavations at Khirbet ed-Dawwara, an Iron I-early Iron IIA site in the desert fringe northeast of Jerusalem.",
"Tel Aviv Khirbet ed-Dawwara, 1985–86: Director, excavations at Khirbet ed-Dawwara, an Iron I-early Iron IIA site in the desert fringe northeast of Jerusalem. For the results see: I. Finkelstein, Excavations at Kh. ed-Dawwara: An Iron Age Site Northeast of Jerusalem, Tel Aviv 17 (1990), pp. 163–208.",
"163–208. 163–208. Dhahr Mirzbaneh, 1987: Sounding at the Intermediate Bronze site of Dhahr Mirzbaneh in the desert fringe northeast of Jerusalem. For the results see: I. Finkelstein, The Central Hill Country in the Intermediate Bronze Age, Israel Exploration Journal 41 (1991), pp. 19–45.",
"19–45. 19–45. Present excavations Megiddo, 1994–present: co-Director, the Megiddo Excavations (1994–2012 with David Ussishkin, since 2014 with Matthew J. Adams and Mario A.S. Martin). Megiddo is considered as one of the most important Bronze and Iron Age sites in the Levant.",
"Megiddo is considered as one of the most important Bronze and Iron Age sites in the Levant. For the results see: I. Finkelstein, D. Ussishkin and B. Halpern (eds. ), Megiddo III: The 1992–1996 Seasons (Monograph Series of the Institute of Archaeology Tel Aviv University 18). Tel Aviv 2000.",
"Tel Aviv 2000. Tel Aviv 2000. I. Finkelstein, D. Ussishkin and B. Halpern (eds. ), Megiddo IV: The 1998–2002 Seasons (Monograph Series of the Institute of Archaeology Tel Aviv University 24), Tel Aviv 2006.",
"), Megiddo IV: The 1998–2002 Seasons (Monograph Series of the Institute of Archaeology Tel Aviv University 24), Tel Aviv 2006. I. Finkelstein, D. Ussishkin and E.H. Cline (editors), Megiddo V: The 2004–2008 Seasons (Monograph Series of the Institute of Archaeology Tel Aviv University 31), Winona Lake 2013.",
"I. Finkelstein, D. Ussishkin and E.H. Cline (editors), Megiddo V: The 2004–2008 Seasons (Monograph Series of the Institute of Archaeology Tel Aviv University 31), Winona Lake 2013. I. Finkelstein, M.A.S. Martin and M.J. Adams (eds. ), Megiddo VI: The 2010–2014 Seasons (forthcoming).",
"), Megiddo VI: The 2010–2014 Seasons (forthcoming). The Negev Highlands, 2006–present: co-Director of excavations in the Iron Age sites of Atar Haroa and Nahal Boqer, and the Intermediate Bronze Age sites of Mashabe Sade and En Ziq (with Ruth Shahack-Gross).",
"The Negev Highlands, 2006–present: co-Director of excavations in the Iron Age sites of Atar Haroa and Nahal Boqer, and the Intermediate Bronze Age sites of Mashabe Sade and En Ziq (with Ruth Shahack-Gross). For the results see: R. Shahack-Gross and I. Finkelstein, Settlement Oscillations in the Negev Highlands Revisited: The Impact of Microarchaeological Methods, Radiocarbon 57/2 (2015), pp.",
"For the results see: R. Shahack-Gross and I. Finkelstein, Settlement Oscillations in the Negev Highlands Revisited: The Impact of Microarchaeological Methods, Radiocarbon 57/2 (2015), pp. 253–264.",
"253–264. 253–264. Kiriath-Jearim, 2017–present: co-Director, the Shmunis Family excavations at Kiriath-Jearim – a biblical site in the highlands west of Jerusalem associated with the Ark Narrative in the Book of Samuel (with Christophe Nicolle and Thomas Römer, the College de France).",
"Kiriath-Jearim, 2017–present: co-Director, the Shmunis Family excavations at Kiriath-Jearim – a biblical site in the highlands west of Jerusalem associated with the Ark Narrative in the Book of Samuel (with Christophe Nicolle and Thomas Römer, the College de France). Other projects In the past 1997–2002: Petrographic study of the Amarna tablets (with Yuval Goren and Nadav Na'aman).",
"Other projects In the past 1997–2002: Petrographic study of the Amarna tablets (with Yuval Goren and Nadav Na'aman). For the results see: Y. Goren, I. Finkelstein and N. Na'aman, Inscribed in Clay: Provenance Study of the Amarna Letters and other Ancient Near Eastern Texts (Monograph Series of the Institute of Archaeology Tel Aviv University 23), Tel Aviv 2004.",
"For the results see: Y. Goren, I. Finkelstein and N. Na'aman, Inscribed in Clay: Provenance Study of the Amarna Letters and other Ancient Near Eastern Texts (Monograph Series of the Institute of Archaeology Tel Aviv University 23), Tel Aviv 2004. 2009–2014: Principal Investigator of a European Research Council-funded project titled Reconstructing Ancient Israel: The Exact and Life Sciences Perspectives (with Steve Weiner, Weizmann Institute of Science, co-Principal Investigator).",
"2009–2014: Principal Investigator of a European Research Council-funded project titled Reconstructing Ancient Israel: The Exact and Life Sciences Perspectives (with Steve Weiner, Weizmann Institute of Science, co-Principal Investigator). The project was organized into 10 tracks: Radiocarbon dating, ancient DNA, geoarchaeology, paleoclimate, petrography, metallurgy, daily mathematics, advanced imaging of ostraca, residue analysis and archaeozoology.",
"The project was organized into 10 tracks: Radiocarbon dating, ancient DNA, geoarchaeology, paleoclimate, petrography, metallurgy, daily mathematics, advanced imaging of ostraca, residue analysis and archaeozoology. Over 40 scholars, advanced students and post-docs were involved in the project. Samples were taken from a large number of sites in Israel and Greece.",
"Samples were taken from a large number of sites in Israel and Greece. For the results see: I. Finkelstein, S. Weiner and E. Boaretto (eds. ), Reconstructing Ancient Israel: The Exact and Life Sciences Perspectives, special issue of Radiocarbon (57/2), 2015, with a list of all publications until 2015.",
"), Reconstructing Ancient Israel: The Exact and Life Sciences Perspectives, special issue of Radiocarbon (57/2), 2015, with a list of all publications until 2015. Paleoclimate of the Levant (2009-2019), with Dafna Langgut (Tel Aviv University) and Thomas Litt (University of Bonn).",
"Paleoclimate of the Levant (2009-2019), with Dafna Langgut (Tel Aviv University) and Thomas Litt (University of Bonn). The Archaeological and Historical Realities behind the Pentateuch (2016-2019), with Konrad Schmid (University of Zurich), Thomas Römer and Christophe Nihan (University of Lausanne) and Oded Lipschits (Tel Aviv University).",
"The Archaeological and Historical Realities behind the Pentateuch (2016-2019), with Konrad Schmid (University of Zurich), Thomas Römer and Christophe Nihan (University of Lausanne) and Oded Lipschits (Tel Aviv University). Ongoing research projects Geoarchaeological Investigations in the Negev Highlands (2006-) with Ruth Shahack-Gross (University of Haifa).",
"Ongoing research projects Geoarchaeological Investigations in the Negev Highlands (2006-) with Ruth Shahack-Gross (University of Haifa). Iron Age Hebrew Ostraca in the Silicon Age: Computerized Paleography (2008-), directed with Eli Piasetzky (Tel Aviv University).",
"Iron Age Hebrew Ostraca in the Silicon Age: Computerized Paleography (2008-), directed with Eli Piasetzky (Tel Aviv University). For results see list of publications in http://www-nuclear.tau.ac.il/~eip/ostraca/Publications/Publications.html Ancient DNA, animals and Humans (2009-), with Meirav Meiri (Tel Aviv University); current cooperation with Joseph Maran and Philipp Stockhammer (Universities of Heidelberg and Munich), Liran Carmel (Hebrew University) and David Reich (Harvard University).",
"For results see list of publications in http://www-nuclear.tau.ac.il/~eip/ostraca/Publications/Publications.html Ancient DNA, animals and Humans (2009-), with Meirav Meiri (Tel Aviv University); current cooperation with Joseph Maran and Philipp Stockhammer (Universities of Heidelberg and Munich), Liran Carmel (Hebrew University) and David Reich (Harvard University). Scholarly contributions Finkelstein has written on a variety of topics, including the archaeology of the Bronze Age and the exact and life sciences contribution to archaeology.",
"Scholarly contributions Finkelstein has written on a variety of topics, including the archaeology of the Bronze Age and the exact and life sciences contribution to archaeology. Much of his work has been devoted to the Iron Age and, more specifically, to questions related to the history of Ancient Israel.",
"Much of his work has been devoted to the Iron Age and, more specifically, to questions related to the history of Ancient Israel. The Emergence of Ancient Israel The classical theories on the emergence of Israel viewed the process as a unique event in the history of the region.",
"The Emergence of Ancient Israel The classical theories on the emergence of Israel viewed the process as a unique event in the history of the region. Finkelstein suggested that we are dealing with a long-term process of a cyclical nature. He demonstrated that the wave of settlement in the highlands in the Iron Age I (ca.",
"He demonstrated that the wave of settlement in the highlands in the Iron Age I (ca. 1150-950 BCE) was the last in a series of such demographic developments – the first had taken place in the Early Bronze and the second in the Middle Bronze. The periods between these peaks were characterized by low settlement activity.",
"The periods between these peaks were characterized by low settlement activity. Finkelstein explained these oscillations as representing changes along the sedentary/ pastoral-nomadic continuum, which were caused by socioeconomic and political dynamics. Hence, a big portion of the people who settled in the highlands in the early Iron Age were locals of a pastoral-nomadic background.",
"Hence, a big portion of the people who settled in the highlands in the early Iron Age were locals of a pastoral-nomadic background. Others, who originated from local sedentary background, moved to the highlands as a result of the Bronze Age collapse – which in turn was related to a long period of dry climate in ca.",
"Others, who originated from local sedentary background, moved to the highlands as a result of the Bronze Age collapse – which in turn was related to a long period of dry climate in ca. 1250-1100 BCE.",
"1250-1100 BCE. 1250-1100 BCE. Since eventually these groups formed the Northern Kingdom of Israel, they can be labeled \"Israelites\" as early as their initial settlement process.",
"Since eventually these groups formed the Northern Kingdom of Israel, they can be labeled \"Israelites\" as early as their initial settlement process. The same holds true for the contemporary settlement process in Transjordan and western Syria, which brought about the rise of Moab, Ammon and the Aramean kingdoms of the later phases of the Iron Age.",
"The same holds true for the contemporary settlement process in Transjordan and western Syria, which brought about the rise of Moab, Ammon and the Aramean kingdoms of the later phases of the Iron Age. Finkelstein regards the biblical account on the Conquest of Canaan in the Book of Joshua as an ideological manifesto of the Deuteronomistic author/s of the late 7th century BCE, describing a \"conquest to be\" under King Josiah of Judah rather than a historical event at the end of the Bronze Age.",
"Finkelstein regards the biblical account on the Conquest of Canaan in the Book of Joshua as an ideological manifesto of the Deuteronomistic author/s of the late 7th century BCE, describing a \"conquest to be\" under King Josiah of Judah rather than a historical event at the end of the Bronze Age. He proposed that the original Conquest Account may have originated in the Northern Kingdom of Israel in the early 8th century BCE; it could have been influenced by memories of the turmoil that had taken place in the lowlands in the late Iron I (10th century BCE), rather than the end of the Late Bronze Age (late 12th century BCE).",
"He proposed that the original Conquest Account may have originated in the Northern Kingdom of Israel in the early 8th century BCE; it could have been influenced by memories of the turmoil that had taken place in the lowlands in the late Iron I (10th century BCE), rather than the end of the Late Bronze Age (late 12th century BCE). The Low Chronology Until the 1990s, the chronology of the Iron Age in the Levant had been anchored in the biblical account of the great United Monarchy of David and Solomon.",
"The Low Chronology Until the 1990s, the chronology of the Iron Age in the Levant had been anchored in the biblical account of the great United Monarchy of David and Solomon. Accordingly, the Iron I ended ca.",
"Accordingly, the Iron I ended ca. 1000 BCE and the Iron IIA was dated from 1000 BCE until the campaign of Pharaoh Sheshonq I (biblical Shishak) ca. 925 BCE. The two Iron IIA palaces at Megiddo were conceived as the material manifestation for the Solomonic Empire.",
"The two Iron IIA palaces at Megiddo were conceived as the material manifestation for the Solomonic Empire. While preparing for the excavations at Megiddo in the early 1990s, Finkelstein noticed difficulties in this scheme.",
"While preparing for the excavations at Megiddo in the early 1990s, Finkelstein noticed difficulties in this scheme. Noteworthy among them is the appearance of similar traits of material culture at Megiddo in a layer that was dated to the time of King Solomon in the middle of the 10th century, and at Samaria and Jezreel in contexts dated to the time of the Omride Dynasty (of the Northern Kingdom of Israel) in the early 9th century BCE.",
"Noteworthy among them is the appearance of similar traits of material culture at Megiddo in a layer that was dated to the time of King Solomon in the middle of the 10th century, and at Samaria and Jezreel in contexts dated to the time of the Omride Dynasty (of the Northern Kingdom of Israel) in the early 9th century BCE. To resolve these difficulties, Finkelstein proposed to \"lower\" the dates of the Iron Age strata in the Levant by several decades.",
"To resolve these difficulties, Finkelstein proposed to \"lower\" the dates of the Iron Age strata in the Levant by several decades. According to Finkelstein's Low Chronology, the Iron Age I lasted until the middle of the 10th century BCE, while the Iron IIA is dated between the middle of the 10th century and ca.",
"According to Finkelstein's Low Chronology, the Iron Age I lasted until the middle of the 10th century BCE, while the Iron IIA is dated between the middle of the 10th century and ca. 800 BCE, if not slightly later.",
"800 BCE, if not slightly later. This means that the Megiddo palaces and other features which had traditionally been attributed to the time of King Solomon – features which date to the late Iron IIA – should indeed be associated with the endeavors of the Omride Dynasty in the first half of the 9th century BCE. A big debate ensued.",
"A big debate ensued. A big debate ensued. Starting in the late 1990s, the focus of the discussion shifted to the interpretation of radiocarbon determinations for organic samples from key sites, such as Tel Rehov and Megiddo. All in all, the radiocarbon results put the Iron I/IIA transition ca.",
"All in all, the radiocarbon results put the Iron I/IIA transition ca. the middle of the 10th century (rather than 1000 BCE as had traditionally been proposed), and the Iron IIA/B transition in the early days of the 8th century (rather than ca. 925 BCE).",
"925 BCE). 925 BCE). In parallel, and not directly connected, Finkelstein dealt with the chronology of Philistine pottery of the Iron Age I.",
"In parallel, and not directly connected, Finkelstein dealt with the chronology of Philistine pottery of the Iron Age I. The traditional theory fixed the appearance of Philistine pottery – and hence the settlement of the Philistines in the southern coastal plain of the Levant – in accordance with the confrontation between Ramses III and the Sea Peoples in the early 12th century BCE.",
"The traditional theory fixed the appearance of Philistine pottery – and hence the settlement of the Philistines in the southern coastal plain of the Levant – in accordance with the confrontation between Ramses III and the Sea Peoples in the early 12th century BCE. In other words, Philistine pottery appears during the last phase of Egyptian rule in Canaan.",
"In other words, Philistine pottery appears during the last phase of Egyptian rule in Canaan. Finkelstein proposed that the locally-made Monochrome pottery known from several sites in Philistia, which is widely understood as representing the earliest phase of Philistine settlement, should be dated after the withdrawal of Egypt from Canaan in the 1130s.",
"Finkelstein proposed that the locally-made Monochrome pottery known from several sites in Philistia, which is widely understood as representing the earliest phase of Philistine settlement, should be dated after the withdrawal of Egypt from Canaan in the 1130s. Finkelstein sees the biblical description of the time of David and Solomon as multilayered.",
"Finkelstein sees the biblical description of the time of David and Solomon as multilayered. He acknowledges the historicity of the founders of the Davidic Dynasty, places them in the 10th century BCE, and considers the possibility that the description of the rise of David to power conceals old memories of his activity as a leader of an Apiru-band that was active in the southern fringe of Judah.",
"He acknowledges the historicity of the founders of the Davidic Dynasty, places them in the 10th century BCE, and considers the possibility that the description of the rise of David to power conceals old memories of his activity as a leader of an Apiru-band that was active in the southern fringe of Judah. Yet, he sees the description of a great United Monarchy as an ideological construct that represents the ideology of late-monarchic author/s in the late 7th century BCE, first and foremost the pan-Israelite ideology of the days of King Josiah of Judah.",
"Yet, he sees the description of a great United Monarchy as an ideological construct that represents the ideology of late-monarchic author/s in the late 7th century BCE, first and foremost the pan-Israelite ideology of the days of King Josiah of Judah. According to him, the historical David and Solomon ruled over a small territory in the southern highlands – a territory not very different from that of Jerusalem of the Late Bronze Age.",
"According to him, the historical David and Solomon ruled over a small territory in the southern highlands – a territory not very different from that of Jerusalem of the Late Bronze Age. Finkelstein sees much of the description of King Solomon as representing realities from late monarchic times: First, from the later days of the Northern Kingdom (for instance, the reference to Megiddo, Hazor and Gezer in and to the stables, horses and chariots of Solomon).",
"Finkelstein sees much of the description of King Solomon as representing realities from late monarchic times: First, from the later days of the Northern Kingdom (for instance, the reference to Megiddo, Hazor and Gezer in and to the stables, horses and chariots of Solomon). Second, from the time of King Manasseh of Judah in the early 7th century BCE, under Assyrian domination (for instance, the visit of the Queen of Sheba in Jerusalem).",
"Second, from the time of King Manasseh of Judah in the early 7th century BCE, under Assyrian domination (for instance, the visit of the Queen of Sheba in Jerusalem). He understands the description of the Philistines in the Bible as portraying realities in Philistia in late-monarchic times.",
"He understands the description of the Philistines in the Bible as portraying realities in Philistia in late-monarchic times. \"New Canaan\" Following the results of the excavations at Megiddo, Finkelstein argued that the material culture of the Iron I in the northern valleys continues that of the Late Bronze Age.",
"\"New Canaan\" Following the results of the excavations at Megiddo, Finkelstein argued that the material culture of the Iron I in the northern valleys continues that of the Late Bronze Age. In other words, the collapse of the Late Bronze city-states under Egyptian domination in the late 12th century BCE was followed by revival of some of the same centers and rise of others in the Iron I.",
"In other words, the collapse of the Late Bronze city-states under Egyptian domination in the late 12th century BCE was followed by revival of some of the same centers and rise of others in the Iron I. He termed this phenomenon \"New Canaan\".",
"He termed this phenomenon \"New Canaan\". Accordingly, the major break in the material culture of Canaan took place at the end of the Iron I in the 10th century BCE rather than the end of the Late Bronze Age. Finkelstein associated the violent destruction of the revived city-states with the expansion of the highlanders (early Israelites).",
"Finkelstein associated the violent destruction of the revived city-states with the expansion of the highlanders (early Israelites). He suggested that memories of the turmoil in the lowlands in the late Iron I can be found in northern traditions regarding skirmishes with Canaanite cities which appear in the heroic stories in the Book of Judges.",
"He suggested that memories of the turmoil in the lowlands in the late Iron I can be found in northern traditions regarding skirmishes with Canaanite cities which appear in the heroic stories in the Book of Judges. The Northern Kingdom Finkelstein dealt with a variety of themes related to the archeology and history of the Northern Kingdom of Israel.",
"The Northern Kingdom Finkelstein dealt with a variety of themes related to the archeology and history of the Northern Kingdom of Israel. He proposed that the first North Israelite territorial polity emerged in the Gibeon-Bethel plateau in the late Iron I and early Iron IIA.",
"He proposed that the first North Israelite territorial polity emerged in the Gibeon-Bethel plateau in the late Iron I and early Iron IIA. He found archaeological evidence for this in the system of fortified sites, such as Tell en-Nasbeh, Khirbet ed-Dawwara, et-Tell (\"Ai\") and Gibeon.",
"He found archaeological evidence for this in the system of fortified sites, such as Tell en-Nasbeh, Khirbet ed-Dawwara, et-Tell (\"Ai\") and Gibeon. Historical evidence for the existence of this polity can be found in the campaign of Pharaoh Sheshonq I in this region in the middle-to-second half of the 10th century BCE.",
"Historical evidence for the existence of this polity can be found in the campaign of Pharaoh Sheshonq I in this region in the middle-to-second half of the 10th century BCE. According to Finkelstein, positive memories in the Bible of the House of Saul, which originated from the North, represent this early Israelite entity.",
"According to Finkelstein, positive memories in the Bible of the House of Saul, which originated from the North, represent this early Israelite entity. He suggested that this north Israelite polity ruled over much of the territory of the highlands, that it presented a threat to the interests of Egypt of the 22nd Dynasty in Canaan, and that it was taken over during the campaign of Sheshonq I. Finkelstein proposed that in its early days, the Northern Kingdom (Jeroboam I and his successors) ruled over the Samaria Highlands, the western slopes of the Gilead and the area of the Jezreel Valley.",
"He suggested that this north Israelite polity ruled over much of the territory of the highlands, that it presented a threat to the interests of Egypt of the 22nd Dynasty in Canaan, and that it was taken over during the campaign of Sheshonq I. Finkelstein proposed that in its early days, the Northern Kingdom (Jeroboam I and his successors) ruled over the Samaria Highlands, the western slopes of the Gilead and the area of the Jezreel Valley. The expansion of Israel further to the north came during the days of the Omride Dynasty in the first half of the 9th century BCE, and even more so in the time of Jeroboam II in the first half of the 8th century BCE.",
"The expansion of Israel further to the north came during the days of the Omride Dynasty in the first half of the 9th century BCE, and even more so in the time of Jeroboam II in the first half of the 8th century BCE. Finkelstein described the special features of Omride architecture and, with his Megiddo team, dealt with different subjects related to the material culture of the Northern Kingdom, such as metallurgy and cult practices.",
"Finkelstein described the special features of Omride architecture and, with his Megiddo team, dealt with different subjects related to the material culture of the Northern Kingdom, such as metallurgy and cult practices. Finkelstein also reflected on biblical traditions related to the Northern Kingdom, such as the Jacob cycle in Genesis (a study carried out with Thomas Römer), the Exodus tradition, the heroic stories in the Book of Judges and remnants of royal traditions in the Books of Samuel and Kings.",
"Finkelstein also reflected on biblical traditions related to the Northern Kingdom, such as the Jacob cycle in Genesis (a study carried out with Thomas Römer), the Exodus tradition, the heroic stories in the Book of Judges and remnants of royal traditions in the Books of Samuel and Kings. He suggested that these North Israelite traditions were first committed to writing in the days of Jeroboam II (first half of the 8th century BCE), that they were brought to Judah with Israelite refugees after the takeover of Israel by Assyria, and that they were later incorporated into the Judahite-dominated Bible.",
"He suggested that these North Israelite traditions were first committed to writing in the days of Jeroboam II (first half of the 8th century BCE), that they were brought to Judah with Israelite refugees after the takeover of Israel by Assyria, and that they were later incorporated into the Judahite-dominated Bible. Finkelstein sees the biblical genre of deploying \"history\" in the service of royal ideology as emerging from Israel (the North) of the 8th century BCE.",
"Finkelstein sees the biblical genre of deploying \"history\" in the service of royal ideology as emerging from Israel (the North) of the 8th century BCE. Archaeology and history of Jerusalem Finkelstein has recently dealt with the location of the ancient mound of Jerusalem (with Ido Koch and Oded Lipschits).",
"Archaeology and history of Jerusalem Finkelstein has recently dealt with the location of the ancient mound of Jerusalem (with Ido Koch and Oded Lipschits). The conventional wisdom sees that \"City of David\" ridge as the location of the original settlement of Jerusalem.",
"The conventional wisdom sees that \"City of David\" ridge as the location of the original settlement of Jerusalem. Finkelstein and his colleagues argued that the \"City of David\" ridge does not have the silhouette of a mound; that it is located in topographical inferiority relative to the surrounding area; and that the archaeological record of the ridge does not include periods of habitation attested in reliable textual records.",
"Finkelstein and his colleagues argued that the \"City of David\" ridge does not have the silhouette of a mound; that it is located in topographical inferiority relative to the surrounding area; and that the archaeological record of the ridge does not include periods of habitation attested in reliable textual records. According to them, the most suitable location for the core of ancient Jerusalem is the Temple Mount.",
"According to them, the most suitable location for the core of ancient Jerusalem is the Temple Mount. The large area of the Herodian platform (today's Harem esh-Sharif) may conceal a mound of five hectares and more, which – similar to other capital cities in the Levant – included both the royal compound and habitation quarters.",
"The large area of the Herodian platform (today's Harem esh-Sharif) may conceal a mound of five hectares and more, which – similar to other capital cities in the Levant – included both the royal compound and habitation quarters. Locating the mound of Ancient Jerusalem on the Temple Mount resolves many of the difficulties pertaining to the \"City of David\" ridge.",
"Locating the mound of Ancient Jerusalem on the Temple Mount resolves many of the difficulties pertaining to the \"City of David\" ridge. According to Finkelstein, the history of Jerusalem in biblical times should be viewed in terms of three main phases: Firstly, until the 9th century BCE, Jerusalem was restricted to the mound on the Temple Mount and ruled over a modest area in the southern highlands.",
"According to Finkelstein, the history of Jerusalem in biblical times should be viewed in terms of three main phases: Firstly, until the 9th century BCE, Jerusalem was restricted to the mound on the Temple Mount and ruled over a modest area in the southern highlands. Accordingly, Jerusalem of the time of David and Solomon can be compared to Jerusalem of the Amarna period in the 14th century BCE: it had the size of a typical highlands mound (for instance, Shechem), ruled over a restricted area, but still had impact beyond the highlands.",
"Accordingly, Jerusalem of the time of David and Solomon can be compared to Jerusalem of the Amarna period in the 14th century BCE: it had the size of a typical highlands mound (for instance, Shechem), ruled over a restricted area, but still had impact beyond the highlands. Secondly, the first expansion of Jerusalem came in the 9th century BCE, perhaps in its second half, when the town grew significantly in a southerly direction.",
"Secondly, the first expansion of Jerusalem came in the 9th century BCE, perhaps in its second half, when the town grew significantly in a southerly direction. Remains of the Iron IIA were unearthed south of al-Aqsa Mosque, above the Gihon Spring and to the south of the Dung Gate of the Old City.",
"Remains of the Iron IIA were unearthed south of al-Aqsa Mosque, above the Gihon Spring and to the south of the Dung Gate of the Old City. In parallel to this development, Judah expanded to the Shephelah in the west and Beer-sheba Valley in the south, and for the first time became a territorial kingdom rather than a city-state restricted to the highlands.",
"In parallel to this development, Judah expanded to the Shephelah in the west and Beer-sheba Valley in the south, and for the first time became a territorial kingdom rather than a city-state restricted to the highlands. Thirdly, the most impressive phase in the settlement history of Jerusalem commenced in the late 8th century BCE and lasted until its destruction by the Babylonians in 586 BCE.",
"Thirdly, the most impressive phase in the settlement history of Jerusalem commenced in the late 8th century BCE and lasted until its destruction by the Babylonians in 586 BCE. At that time Jerusalem expanded dramatically, to include the entire \"City of David\" ridge, as well as the \"Western Hill\" (the Armenian and Jewish Quarter of today's Old City).",
"At that time Jerusalem expanded dramatically, to include the entire \"City of David\" ridge, as well as the \"Western Hill\" (the Armenian and Jewish Quarter of today's Old City). This expansion was the result of the arrival of Israelite refugees after the demise of the Northern Kingdom in 722-720 BCE.",
"This expansion was the result of the arrival of Israelite refugees after the demise of the Northern Kingdom in 722-720 BCE. These groups brought with them traits of Northern material culture, and more important – their foundation myths, royal traditions and heroic stories. These Northern traditions were later incorporated into the Judahite Bible.",
"These Northern traditions were later incorporated into the Judahite Bible. Jerusalem and Yehud/Judea of the Persian and Hellenistic periods Finkelstein noted that in the Persian Period, Jerusalem was limited to the mound on the Temple Mount – and even there was sparsely settled – and that Yehud of that time was also thinly settled.",
"Jerusalem and Yehud/Judea of the Persian and Hellenistic periods Finkelstein noted that in the Persian Period, Jerusalem was limited to the mound on the Temple Mount – and even there was sparsely settled – and that Yehud of that time was also thinly settled. As the description of the construction of the wall of Jerusalem in Nehemiah 3 must relate to the big city (extending beyond the old mound on the Temple Mount), it probably portrays the construction of the fortifications by the Hasmoneans.",
"As the description of the construction of the wall of Jerusalem in Nehemiah 3 must relate to the big city (extending beyond the old mound on the Temple Mount), it probably portrays the construction of the fortifications by the Hasmoneans. Finkelstein further noted that many of the sites mentioned in the lists of returnees in Ezra and Nehemiah were not inhabited in the Persian Period and hence sees these lists as reflecting the demographic situation in days of the Hasmoneans.",
"Finkelstein further noted that many of the sites mentioned in the lists of returnees in Ezra and Nehemiah were not inhabited in the Persian Period and hence sees these lists as reflecting the demographic situation in days of the Hasmoneans. The same holds true, in his opinion, for the genealogies in 1 Chronicles.",
"The same holds true, in his opinion, for the genealogies in 1 Chronicles. Finkelstein then looked into the accounts of Judahite monarchs in 2 Chronicles, which do not appear in Kings. He called attention to similarities between these texts and 1 Maccabees, and proposed to understand Chronicles as representing legitimacy needs of the Hasmoneans.",
"He called attention to similarities between these texts and 1 Maccabees, and proposed to understand Chronicles as representing legitimacy needs of the Hasmoneans. This means that at least 2 Chronicles dates to the late 2nd century BCE, probably to the days of John Hyrcanus.",
"This means that at least 2 Chronicles dates to the late 2nd century BCE, probably to the days of John Hyrcanus. Published works Books In addition to the reports of excavations cited above: Sinai in Antiquity, Tel Aviv 1980 (ed., with Zeev Meshel, Hebrew) The Archaeology of the Israelite Settlement, Jerusalem 1988, Archaeological Survey of the Hill Country of Benjamin, Jerusalem 1993, (ed., with Yitzhak Magen) From Nomadism to Monarchy: Archaeological and Historical Aspects of Early Israel, Jerusalem 1994, (ed., with Nadav Na'aman) Living on the Fringe: The Archaeology and History of the Negev, Sinai and Neighbouring Regions in the Bronze and Iron Ages, Sheffield 1995, The Bible Unearthed: Archaeology's New Vision of Ancient Israel and the Origin of Its Sacred Texts, New York 2001 (with Neil Asher Silberman).",
"Published works Books In addition to the reports of excavations cited above: Sinai in Antiquity, Tel Aviv 1980 (ed., with Zeev Meshel, Hebrew) The Archaeology of the Israelite Settlement, Jerusalem 1988, Archaeological Survey of the Hill Country of Benjamin, Jerusalem 1993, (ed., with Yitzhak Magen) From Nomadism to Monarchy: Archaeological and Historical Aspects of Early Israel, Jerusalem 1994, (ed., with Nadav Na'aman) Living on the Fringe: The Archaeology and History of the Negev, Sinai and Neighbouring Regions in the Bronze and Iron Ages, Sheffield 1995, The Bible Unearthed: Archaeology's New Vision of Ancient Israel and the Origin of Its Sacred Texts, New York 2001 (with Neil Asher Silberman). Translated to 12 languages.",
"Translated to 12 languages. Translated to 12 languages. David and Solomon: In Search of the Bible's Sacred Kings and the Roots of the Western Tradition, New York 2006, (with Neil Asher Silberman). Translated to six languages.",
"Translated to six languages. Translated to six languages. The Quest for the Historical Israel: Debating Archeology and the History of Early Israel, Atlanta 2007, (with Amihai Mazar) Un archéologue au pays de la Bible, Paris 2008, The Forgotten Kingdom. The Archaeology and History of Northern Israel, Atlanta 2013, .",
"The Archaeology and History of Northern Israel, Atlanta 2013, . Translated to four languages. Hasmonean Realities behind Ezra, Nehemiah and Chronicles, Atlanta 2018. Co-editor of three festschrifts – for Nadav Na'aman, David Ussishkin and Benjamin Sass.",
"Co-editor of three festschrifts – for Nadav Na'aman, David Ussishkin and Benjamin Sass. Articles About 400 scholarly articles; for many of them see: https://telaviv.academia.edu/IsraelFinkelstein Festschrift Bene Israel: Studies in the Archaeology of Israel and the Levant during the Bronze and Iron Ages in Honour of Israel Finkelstein, Leiden and London 2008 (eds.",
"Articles About 400 scholarly articles; for many of them see: https://telaviv.academia.edu/IsraelFinkelstein Festschrift Bene Israel: Studies in the Archaeology of Israel and the Levant during the Bronze and Iron Ages in Honour of Israel Finkelstein, Leiden and London 2008 (eds. Alexander Fantalkin and Assaf Yasur-Landau).",
"Alexander Fantalkin and Assaf Yasur-Landau). Rethinking Israel: Studies in the History and Archaeology of Ancient Israel in Honor of Israel Finkelstein, Winona Lake 2017 (eds. Oded Lipschits, Yuval Gadot and Matthew J. Adams).",
"Oded Lipschits, Yuval Gadot and Matthew J. Adams). The Shmunis Family Conversations in the Archaeology and History of Ancient Israel with Israel Finkelstein The Shmunis Family Conversations in the Archaeology and History of Ancient Israel with Israel Finkelstein series is a YouTube series hosted by the W.F. Albright Institute of Archaeological Research's Albright Live YouTube Channel.",
"Albright Institute of Archaeological Research's Albright Live YouTube Channel. As of September 2021, 26 episodes have been released. The series is set as an interview-style conversation between Albright Institute Director Matthew J. Adams and archaeologist Israel Finkelstein.",
"The series is set as an interview-style conversation between Albright Institute Director Matthew J. Adams and archaeologist Israel Finkelstein. Episodes cover the rise of Ancient Israel as evidenced by archaeology, ancient Near Eastern textual sources, the Bible, and archaeology from the Late Bronze Age through the Hellenistic Period.",
"Episodes cover the rise of Ancient Israel as evidenced by archaeology, ancient Near Eastern textual sources, the Bible, and archaeology from the Late Bronze Age through the Hellenistic Period. The episodes are written and directed by Israel Finkelstein and Matthew J. Adams with cinematography and editing by Yuval Pan.",
"The episodes are written and directed by Israel Finkelstein and Matthew J. Adams with cinematography and editing by Yuval Pan. The series is Produced by Djehuti Productions and the Albright Institute with a grant from the Shmunis Family Foundation. Awards and recognition Finkelstein is the Laureate of the Dan David Prize in 2005.",
"Awards and recognition Finkelstein is the Laureate of the Dan David Prize in 2005. The select committee noted that he is \"widely regarded as a leading scholar in the archaeology of the Levant and as a foremost applicant of archaeological knowledge to reconstructing biblical Israelite history.",
"The select committee noted that he is \"widely regarded as a leading scholar in the archaeology of the Levant and as a foremost applicant of archaeological knowledge to reconstructing biblical Israelite history. He excels at creatively forging links between archaeology and the exact sciences and he has revolutionized many of these fields.",
"He excels at creatively forging links between archaeology and the exact sciences and he has revolutionized many of these fields. … Finkelstein has had an impact on radically revising the history of Israel in the 10th and 9th centuries BCE.",
"… Finkelstein has had an impact on radically revising the history of Israel in the 10th and 9th centuries BCE. He has transformed the study of history and archaeology in Israeli universities, moving from a ‘monumental’ to a ‘systemic’ study of the archaeological evidence.",
"He has transformed the study of history and archaeology in Israeli universities, moving from a ‘monumental’ to a ‘systemic’ study of the archaeological evidence. He has taken what was becoming a rather staid and conservative discipline, with everyone in general agreement as to interpretation of excavation results, and has turned things upside down.",
"He has taken what was becoming a rather staid and conservative discipline, with everyone in general agreement as to interpretation of excavation results, and has turned things upside down. … The study of these periods is never again going to be what it once was.",
"… The study of these periods is never again going to be what it once was. … Israel Finkelstein has proven to be creative, generating scholarship no less than discussion, launching ideas and stimulating debates, fearlessly but with imagination and grace.\"",
"… Israel Finkelstein has proven to be creative, generating scholarship no less than discussion, launching ideas and stimulating debates, fearlessly but with imagination and grace.\" In 2014, Finkelstein was awarded the Prix Delalande Guérineau: Institut de France, l'Académie des Inscriptions et Belles-Lettres, for his book Le Royaume biblique oublié (The Forgotten Kingdom).",
"In 2014, Finkelstein was awarded the Prix Delalande Guérineau: Institut de France, l'Académie des Inscriptions et Belles-Lettres, for his book Le Royaume biblique oublié (The Forgotten Kingdom). He is the recipient of the MacAllister Field Archaeology Award 2017 (The American Schools of Oriental Research).",
"He is the recipient of the MacAllister Field Archaeology Award 2017 (The American Schools of Oriental Research). His other awards include the French decoration of Chevalier de l’ordre des Arts et des Lettres, (2009) and the Doctorat honoris causa of the University of Lausanne (2010).",
"His other awards include the French decoration of Chevalier de l’ordre des Arts et des Lettres, (2009) and the Doctorat honoris causa of the University of Lausanne (2010). Criticism Finkelstein's theories about Saul, David and Solomon have been criticized by fellow archaeologists.",
"Criticism Finkelstein's theories about Saul, David and Solomon have been criticized by fellow archaeologists. Amihai Mazar described Finkelstein's Low Chronology proposal as \"premature and unacceptable\". Amnon Ben-Tor accused him of employing a “double standard”, citing the biblical text where it suited him and deploring its use where it did not.",
"Amnon Ben-Tor accused him of employing a “double standard”, citing the biblical text where it suited him and deploring its use where it did not. Other criticisms came from William G. Dever (who dismissed the Low Chronology as \"idiosyncratic\"), Lawrence Stager, Doron Ben-Ami, Raz Kletter and Anabel Zarzeki-Peleg.",
"Other criticisms came from William G. Dever (who dismissed the Low Chronology as \"idiosyncratic\"), Lawrence Stager, Doron Ben-Ami, Raz Kletter and Anabel Zarzeki-Peleg. David Ussishkin, despite agreeing with many of Finkelstein's theories about the United Monarchy, has also shown doubts and reservations about Finkelstein's Low Chronology.",
"David Ussishkin, despite agreeing with many of Finkelstein's theories about the United Monarchy, has also shown doubts and reservations about Finkelstein's Low Chronology. Writing in the Biblical Archaeology Review and subsequently in the Bulletin of the American Schools of Oriental Research, William G. Dever described The Bible Unearthed as a \"convoluted story\", writing that \"This clever, trendy work may deceive lay readers\".",
"Writing in the Biblical Archaeology Review and subsequently in the Bulletin of the American Schools of Oriental Research, William G. Dever described The Bible Unearthed as a \"convoluted story\", writing that \"This clever, trendy work may deceive lay readers\". Evangelical Christian biblical scholar Kenneth Kitchen was also critical of the book, writing that \"[A] careful critical perusal of this work—which certainly has much to say about both archaeology and the biblical writings—reveals that we are dealing very largely with a work of imaginative fiction, not a serious or reliable account of the subject\", and \"Their treatment of the exodus is among the most factually ignorant and misleading that this writer has ever read.\"",
"Evangelical Christian biblical scholar Kenneth Kitchen was also critical of the book, writing that \"[A] careful critical perusal of this work—which certainly has much to say about both archaeology and the biblical writings—reveals that we are dealing very largely with a work of imaginative fiction, not a serious or reliable account of the subject\", and \"Their treatment of the exodus is among the most factually ignorant and misleading that this writer has ever read.\" Another evangelical, Richard Hess, also being critical, wrote that \"The authors always present their interpretation of the archaeological data but do not mention or interact with contemporary alternative approaches.",
"Another evangelical, Richard Hess, also being critical, wrote that \"The authors always present their interpretation of the archaeological data but do not mention or interact with contemporary alternative approaches. Thus the book is ideologically driven and controlled.\"",
"Thus the book is ideologically driven and controlled.\" A 2004 debate between Finkelstein and William G. Dever, mediated by Hershel Shanks (editor of the Biblical Archaeology Review), quickly degenerated into insults, with Dever calling Finkelstein \"idiosyncratic and doctrinaire\" and Finkelstein dismissing Dever as a \"jealous academic parasite\".",
"A 2004 debate between Finkelstein and William G. Dever, mediated by Hershel Shanks (editor of the Biblical Archaeology Review), quickly degenerated into insults, with Dever calling Finkelstein \"idiosyncratic and doctrinaire\" and Finkelstein dismissing Dever as a \"jealous academic parasite\". Dever later accused Finkelstein of supporting post-Zionism, to which Finkelstein replied by accusing Dever of being \"a biblical literalist disguised as a liberal\".",
"Dever later accused Finkelstein of supporting post-Zionism, to which Finkelstein replied by accusing Dever of being \"a biblical literalist disguised as a liberal\". Shanks described the exchange between the two as \"embarassing\".",
"Shanks described the exchange between the two as \"embarassing\". Following the publication of The Forgotten Kingdom, Dever once again harshly criticized Finkelstein: writing in the Biblical Archaeology Review, he described Finkelstein as \"a magician and a showman\".",
"Following the publication of The Forgotten Kingdom, Dever once again harshly criticized Finkelstein: writing in the Biblical Archaeology Review, he described Finkelstein as \"a magician and a showman\". He stated that the book was full of \"numerous errors, misrepresentations, over-simplifications and contradictions\".",
"He stated that the book was full of \"numerous errors, misrepresentations, over-simplifications and contradictions\". Another, more moderate, review was written on the same magazine by Aaron Burke: while Burke described Finkelstein's book as \"ambitious\" and praised its literary style, he did not accept Finkelstein's conclusions.",
"Another, more moderate, review was written on the same magazine by Aaron Burke: while Burke described Finkelstein's book as \"ambitious\" and praised its literary style, he did not accept Finkelstein's conclusions. He stated that the book engages in several speculations that cannot be proved by archeology, biblical and extra-biblical sources.",
"He stated that the book engages in several speculations that cannot be proved by archeology, biblical and extra-biblical sources. He also criticized Finkelstein for persistently trying to downgrade the role of David in the development of ancient Israel.",
"He also criticized Finkelstein for persistently trying to downgrade the role of David in the development of ancient Israel. Other landmarks Selected as one of the 10 most influential researchers in the history of archaeology in the Levant (a Swiss publication, 1993). Invited to the Salon du Livre in Paris, 2008.",
"Invited to the Salon du Livre in Paris, 2008. Two public debates there: with the French philosopher Armand Abécassis on La Bible et la Terre Sainte, and with the Israeli author Meir Shalev on la Bible de l’ecrivain et la Bible de l’archeologue.",
"Two public debates there: with the French philosopher Armand Abécassis on La Bible et la Terre Sainte, and with the Israeli author Meir Shalev on la Bible de l’ecrivain et la Bible de l’archeologue. Keynote address in the Annual Meeting of the American Schools of Oriental Research, Nashville 2000. A ca.",
"A ca. A ca. 50 pages profile chapter in J.-F. Mondot’s Une Bible pour deux mémoires (Paris 2006). Invited lecture in the special symposium celebrating the 60th anniversary of the Weizmann Institute (together with Nobel Prize laureates Ada Yonath and Daniel Kahneman, and Lord Wilson, 2009).",
"Invited lecture in the special symposium celebrating the 60th anniversary of the Weizmann Institute (together with Nobel Prize laureates Ada Yonath and Daniel Kahneman, and Lord Wilson, 2009). Keynote address in the Symposium of Mediterranean Archaeology, Florence 2012. Two lectures in the Académie des Inscriptions et Belles Lettres, Paris, May 2012 and February 2016.",
"Two lectures in the Académie des Inscriptions et Belles Lettres, Paris, May 2012 and February 2016. Public lectures in events at universities such as the University of Chicago, Heidelberg University (2014) and Princeton University.",
"Public lectures in events at universities such as the University of Chicago, Heidelberg University (2014) and Princeton University. Joint session of the American Schools of Oriental Research and Society of Biblical Literature titled Rethinking Israel – celebrating the publication of Rethinking Israel, Studies in the History and Archaeology of Ancient Israel in Honr of Israel Finkelstein, Boston 2017.",
"Joint session of the American Schools of Oriental Research and Society of Biblical Literature titled Rethinking Israel – celebrating the publication of Rethinking Israel, Studies in the History and Archaeology of Ancient Israel in Honr of Israel Finkelstein, Boston 2017. Conversation with Israel Finkelstein and Thomas Romer, central evening event in the International Meeting of the Society for Biblical Literature, Rome, July 2019.",
"Conversation with Israel Finkelstein and Thomas Romer, central evening event in the International Meeting of the Society for Biblical Literature, Rome, July 2019. References External links Finkelstein's personal website: https://israelfinkelstein.wordpress.com/ The Megiddo Expedition: https://megiddoexpedition.wordpress.com/ The Kiriath-Jearim excavations: https://kiriathjearim.wordpress.com/ The digitized epigraphy website: http://www-nuclear.tau.ac.il/~eip/ostraca/Home/Home.html Finkelstein's scholarly articles on academia.edu: https://telaviv.academia.edu/IsraelFinkelstein The Dan David prize, 2005: http://www.dandavidprize.org/laureates/2005/77-past-archaeology/173-prof-israel-finkelstein The Shmunis Family Conversations in the Archaeology and History of Ancient Israel with Israel Finkelstein, 2020–2021: https://www.youtube.com/playlist?list=PLvm7MPUI_WJclpUfZgCw1Tfd_cyT4Fh-f 1949 births Living people 20th-century archaeologists 20th-century Israeli male writers 21st-century archaeologists 21st-century Israeli male writers Biblical archaeologists Historical geographers Israeli archaeologists Israeli Ashkenazi Jews Israeli people of Ukrainian-Jewish descent Tel Aviv University faculty"
] |
[
"Robert Owen",
"New Lanark textile mill"
] | C_d49dbce5da5843298d0a48234ec33f06_0 | What does Robert Owen have to do with the New Lanark textile mill? | 1 | What does Robert Owen have to do with the New Lanark textile mill? | Robert Owen | In July 1799 Owen and his partners bought the New Lanark mill from David Dale, and Owen became the New Lanark mill's manager in January 1800. Encouraged by his success in the management of cotton mills in Manchester, Owen hoped to conduct the New Lanark mill on higher principles than purely commercial ones. David Dale and Richard Arkwright had established the substantial mill at New Lanark in 1785. With its water power provided by the falls of the River Clyde, the cotton-spinning operation became one of Britain's largest. About 2,000 individuals were associations with the mill; 500 of them were children who were brought to the mill at the age of five or six from the poorhouses and charities of Edinburgh and Glasgow. Dale, who was known for his benevolence, treated the children well, but the general condition of New Lanark's residents was unsatisfactory. Over the years, Dale and his son-in-law, Owen, worked to improve the factory workers' lives. Many of the workers were in the lowest levels of the population; theft, drunkenness, and other vices were common; education and sanitation were neglected; and most families lived in one room. The respectable country people refused to submit to the long hours and demoralising drudgery of the mills. Until a series of Truck Acts (1831-1887) required employees to be paid in common currency, many employers operated the truck system that paid workers in total or in part with tokens. The tokens had no monetary value outside the mill owner's "truck shop," where the owners could supply shoddy goods and charge top prices. In contrast to other employers, Owen's store offered goods at prices slightly above their wholesale cost. He also passed on the savings from the bulk purchase of goods to his workers, and placed the sale of alcohol under strict supervision. These principles became the basis for the cooperative shops in Britain, which continue in an altered form to trade today. CANNOTANSWER | manager in January 1800. | Robert Owen (; 14 May 1771 – 17 November 1858) was a Welsh textile manufacturer, philanthropist and social reformer, and a founder of utopian socialism and the cooperative movement. He strove to improve factory working conditions, promoted experimental socialistic communities, and sought a more collective approach to child rearing, including government control of education. He gained wealth in the early 1800s from a textile mill at New Lanark, Scotland. Having trained as a draper in Stamford, Lincolnshire he worked in London before relocating aged 18 to Manchester and textile manufacturing. In 1824, he moved to America and put most of his fortune in an experimental socialistic community at New Harmony, Indiana, as a preliminary for his Utopian society. It lasted about two years. Other Owenite communities also failed, and in 1828 Owen returned to London, where he continued to champion the working class, lead in developing cooperatives and the trade union movement, and support child labour legislation and free co-educational schools.
Early life and education
Robert Owen was born in Newtown, a small market town in Montgomeryshire, Wales, on 14 May 1771, to Anne (Williams) and Robert Owen. His father was a saddler, ironmonger and local postmaster; his mother was the daughter of a Newtown farming family. Young Robert was the sixth of the family's seven children, two of whom died at a young age. His surviving siblings were William, Anne, John and Richard.
Owen received little formal education, but he was an avid reader. He left school at the age of ten to be apprenticed to a Stamford, Lincolnshire, draper for four years. He also worked in London drapery shops in his teens. At about the age of 18, Owen moved to Manchester, where he spent the next twelve years of his life, employed initially at Satterfield's Drapery in Saint Ann's Square.
While in Manchester, Owen borrowed £100 from his brother William, so as to enter into a partnership to make spinning mules, a new invention for spinning cotton thread, but exchanged his business share within a few months for six spinning mules that he worked in rented factory space. In 1792, when Owen was about 21 years old, mill-owner Peter Drinkwater made him manager of the Piccadilly Mill at Manchester. However, after two years with Drinkwater, Owen voluntarily gave up a contracted promise of partnership, left the company, and went into partnership with other entrepreneurs to establish and later manage the Chorlton Twist Mills in Chorlton-on-Medlock.
By the early 1790s, Owen's entrepreneurial spirit, management skills and progressive moral views were emerging. In 1793, he was elected a member of the Manchester Literary and Philosophical Society, where the ideas of the Enlightenment were discussed. He also became a committee member of the Manchester Board of Health, instigated principally by Thomas Percival to press for improvements in the health and working conditions of factory workers.
Marriage and family
On a visit to Scotland, Owen met and fell in love with Ann (or Anne) Caroline Dale, daughter of David Dale, a Glasgow philanthropist and the proprietor of the large New Lanark Mills. After their marriage on 30 September 1799, the Owens set up home in New Lanark, but later moved to Braxfield, Scotland.
Robert and Caroline Owen had eight children, the first of whom died in infancy. Their seven survivors were four sons and three daughters: Robert Dale (1801–1877), William (1802–1842), Ann (or Anne) Caroline (1805–1831), Jane Dale (1805–1861), David Dale (1807–1860), Richard Dale (1809–1890) and Mary (1810–1832). Owen's four sons, Robert Dale, William, David Dale and Richard, and his daughter Jane Dale, followed their father to the United States, becoming US citizens and permanent residents in New Harmony, Indiana. Owen's wife Caroline and two of their daughters, Anne Caroline and Mary, remained in Britain, where they died in the 1830s.
New Lanark mill
In July 1799 Owen and his partners bought the New Lanark mill from David Dale, and Owen became its manager in January 1800. Encouraged by his management success in Manchester, Owen hoped to conduct the New Lanark mill on higher principles than purely commercial ones. It had been established in 1785 by David Dale and Richard Arkwright. Its water power provided by the falls of the River Clyde turned its cotton-spinning operation into one of Britain's largest. About 2,000 individuals were involved, 500 of them children brought to the mill at the age of five or six from the poorhouses and charities of Edinburgh and Glasgow. Dale, known for his benevolence, treated the children well, but the general condition of New Lanark residents was unsatisfactory, despite efforts by Dale and his son-in-law Owen to improve their workers' lives.
Many of the workers were from the lowest social levels: theft, drunkenness and other vices were common and education and sanitation neglected. Most families lived in one room. More respected people rejected the long hours and demoralising drudgery of the mills.
Until a series of Truck Acts (1831–1887) required employers to pay their employees in common currency, many operated a truck system, paying workers wholly or in part with tokens that had no monetary value outside the mill owner's "truck shop", which charged high prices for shoddy goods. Unlike others, Owen's truck store offered goods at prices only slightly above their wholesale cost, passing on the savings from bulk purchases to his customers and placing alcohol sales under strict supervision. These principles became the basis for Britain's Co-operative shops, some of which continue trading in altered forms to this day.
Philosophy and influence
Owen tested his social and economic ideas at New Lanark, where he won his workers' confidence and continued to have success through the improved efficiency at the mill. The community also earned an international reputation. Social reformers, statesmen and royalty, including the future Tsar Nicholas I of Russia, visited New Lanark to study its methods. The opinions of many such visitors were favourable.
Owen's biggest success was in support of youth education and early child care. As a pioneer in Britain, notably Scotland, Owen provided an alternative to the "normal authoritarian approach to child education". The manners of children brought up under his system were more graceful, genial and unconstrained; health, plenty and contentment prevailed; drunkenness was almost unknown and illegitimacy extremely rare. Owen's relations with his workers remained excellent and operations at the mill proceeded in a smooth, regular and commercially successful way.
However, some of Owen's schemes displeased his partners, forcing him to arrange for other investors to buy his share of the business in 1813, for the equivalent of US$800,000. The new investors, who included Jeremy Bentham and the well-known Quaker William Allen, were content to accept a £5,000 return on their capital. The ownership change also provided Owen with a chance to broaden his philanthropy, advocating improvements in workers' rights and child labour laws, and free education for children.
In 1813 Owen authored and published A New View of Society, or Essays on the Principle of the Formation of the Human Character, the first of four essays he wrote to explain the principles behind his philosophy of socialistic reform. In this he writes:
Owen had originally been a follower of the classical liberal, utilitarian Jeremy Bentham, who believed that free markets, in particular the right of workers to move and choose their employers, would release workers from the excessive power of capitalists. However, Owen developed his own, pro-socialist outlook. In addition, Owen as a deist, criticised organised religion, including the Church of England, and developed a belief system of his own.
Owen felt that human character is formed by conditions over which individuals have no control. Thus individuals could not be praised or blamed for their behaviour or situation in life. This principle led Owen to conclude that the correct formation of people's characters called for placing them under proper environmental influences – physical, moral and social – from their earliest years. These notions of inherent irresponsibility in humans and the effect of early influences on an individual's character formed the basis of Owen's system of education and social reform.
Relying on his own observations, experiences and thoughts, Owen saw his view of human nature as original and "the most basic and necessary constituent in an evolving science of society". His philosophy was influenced by Sir Isaac Newton's views on natural law, and his views resembled those of Plato, Denis Diderot, Claude Adrien Helvétius, William Godwin, John Locke, James Mill, and Jeremy Bentham, among others. Owen did not have the direct influence of Enlightenment philosophers.
Owen's work at New Lanark continued to have significance in Britain and continental Europe. He was a "pioneer in factory reform, the father of distributive cooperation, and the founder of nursery schools." His schemes for educating his workers included opening an Institute for the Formation of Character at New Lanark in 1818. This and other programmes at New Lanark provided free education from infancy to adulthood. In addition, he zealously supported factory legislation that culminated in the Cotton Mills and Factories Act of 1819. Owen also had interviews and communications with leading members of the British government, including its premier, Robert Banks Jenkinson, Lord Liverpool. He also met many of the rulers and leading statesmen of Europe.
Owen adopted new principles to raise the standard of goods his workers produced. A cube with faces painted in different colours was installed above each machinist's workplace. The colour of the face showed to all who saw it the quality and quantity of goods the worker completed. The intention was to encourage workers to do their best. Although it was no great incentive in itself, conditions at New Lanark for workers and their families were idyllic for the time.
Eight-hour day
Owen raised the demand for an eight-hour day in 1810 and set about instituting the policy at New Lanark. By 1817 he had formulated the goal of an eight-hour working day with the slogan "eight hours labour, eight hours recreation, eight hours rest".
Models for socialism (1817)
Owen embraced socialism in 1817, a turning point in his life, in which he pursued a "New View of Society". He outlined his position in a report to the committee of the House of Commons on the country's Poor Laws. As misery and trade stagnation after the Napoleonic Wars drew national attention, the government called on Owen for advice on how to alleviate the industrial concerns. Although he ascribed the immediate misery to the wars, he saw as the underlying cause competition of human labour with machinery, and recommended setting up self-sufficient communities.
Owen proposed that communities of some 1,200 people should settle on land from , all living in one building with a public kitchen and dining halls. (The proposed size may have been influenced by the size of the village of New Lanark.) Owen also proposed that each family have its own private apartments and the responsibility for the care of its children up to the age of three. Thereafter children would be raised by the community, but their parents would have access to them at mealtimes and on other occasions. Owen further suggested that such communities be established by individuals, parishes, counties, or other governmental units. In each case there would be effective supervision by qualified persons. Work and enjoyment of its results should be experienced communally. Owen believed his idea would be the best way to reorganise society in general, and called his vision the "New Moral World".
Owen's utopian model changed little in his lifetime. His developed model envisaged an association of 500–3,000 people as the optimum for a working community. While mainly agricultural, it would possess the best machinery, offer varied employment, and as far as possible be self-contained. Owen went on to explain that as such communities proliferated, "unions of them federatively united shall be formed in circle of tens, hundreds and thousands", linked by common interest.
Arguments against Owen and his answers
Owen always tried to spread his ideas to wider communities. First, he started publishing his ideas in newspapers. Owen then sent such newspapers widely to parliamentarians, politicians and other important people. These articles spurred the first negative reactions to his ideas.
Opponents thought that Owen's plans would result in an uncontrollable increase in population and poverty. The other main criticism was that Owen's plan and the common use of everything would essentially make the country one large workshop. William Hone claimed that Owen saw people as unravelled plants from their roots, and that he wanted to plant them in rectangles. Another commentator accused Owen of wanting to imprison people in workshops like barracks and eradicate their personal independence.
Owen's opponents had begun to regard him as an enemy of religion. His influence in ruling circles, which he had hoped would help him to accomplish his "plan", started diminishing and rumours of his lack of religious conviction spread. Owen believed that without a change in the character of individuals and the environment in which they live, they would remain hostile to those around them. As long as such a social order continued, the positive aspects of Christianity could never be put into practice. Owen also considered it necessary to give people more freedom in order to improve the situation of the poor and working classes. Unless people were better educated, unless they gained more useful information and had permanent employment, they were a danger to the security of the state when given more freedom than the British Constitution did at the time. Without making any changes in the national institutions, he believed that even reorganizing the working classes would bring great benefits. So he opposed the views of radicals seeking to change in the public mentality by expanding voting rights.
Other notable critics of Owen include Karl Marx and Friedrich Engels, who viewed his work as a precursor to their own. They recognized in Owen the important understanding, developed by Marx in Capital, that it is the working class that are responsible for creating the unparalleled wealth in capitalist societies. Similarly, Owen also recognized that under the existing economic system, the working class did not automatically receive the benefits of that newly created wealth. Marx and Engels, differentiated, however, their own scientific conception of socialism from Owen's societies. They argued that Owen's plan, to create a model socialist utopia to coexist with contemporary society and prove its superiority over time, was insufficient to create a new society. In their view, Owen's "socialism" was utopian, since to Owen and the other utopian socialists "[s]ocialism is the expression of absolute truth, reason and justice, and has only to be discovered to conquer all the world by virtue of its own power." Marx and Engels believed that the overthrow of the capitalist system could only occur once the working class was organized into a revolutionary socialist political party of the working class that was completely independent of all capitalist class influence whereas the utopians sought the assistance and the co-operation of the capitalists in order to achieve the transition to socialism.
Community experiments
To test the viability of his ideas for self-sufficient working communities, Owen began experimenting in communal living in America in 1825. Among the most famous efforts was the one set up at New Harmony, Indiana. Of the 130 identifiable communitarian experiments in America before the American Civil War, at least 16 were Owenite or Owenite-influenced. New Harmony was Owen's earliest and most ambitious of these.
Owen and his son William sailed to America in October 1824 to establish an experimental community in Indiana. In January 1825 Owen used a portion of his own funds to purchase an existing town of 180 buildings and several thousand acres of land along the Wabash River in Indiana. George Rapp's Harmony Society, the religious group that owned the property and had founded the communal village of Harmony (or Harmonie) on the site in 1814, decided in 1824 to relocate to Pennsylvania. Owen renamed it New Harmony and made the village his preliminary model for a Utopian community.
Owen sought support for his socialist vision among American thinkers, reformers, intellectuals and public statesmen. On 25 February and 7 March 1825, Owen gave addresses in the U.S. House of Representatives to the U.S. Congress and others in the US government, outlining his vision for the Utopian community at New Harmony, and his socialist beliefs. The audience for his ideas included three former U.S. presidents – John Adams, Thomas Jefferson, and James Madison) – the outgoing US President James Monroe, and the President-elect, John Quincy Adams. His meetings were perhaps the first discussions of socialism in the Americas; they were certainly a big step towards discussion of it in the United States. Owenism, among the first socialist ideologies active in the United States, can be seen as an instigator of the later socialist movement.
Owen convinced William Maclure, a wealthy Scottish scientist and philanthropist living in Philadelphia to join him at New Harmony and become his financial partner. Maclure's involvement went on to attract scientists, educators and artists such as Thomas Say, Charles-Alexandre Lesueur, and Madame Marie Duclos Fretageot. These helped to turn the New Harmony community into a centre for educational reform, scientific research and artistic expression.
Although Owen sought to build a "Village of Unity and Mutual Cooperation" south of the town, his grand plan was never fully realised and he returned to Britain to continue his work. During his long absences from New Harmony, Owen left the experiment under the day-to-day management of his sons, Robert Dale Owen and William Owen, and his business partner, Maclure. However, New Harmony proved to be an economic failure, lasting about two years, although it had attracted over a thousand residents by the end of its first year. The socialistic society was dissolved in 1827, but many of its scientists, educators, artists and other inhabitants, including Owen's four sons, Robert Dale, William, David Dale, and Richard Dale Owen, and his daughter Jane Dale Owen Fauntleroy, remained at New Harmony after the experiment ended.
Other experiments in the United States included communal settlements at Blue Spring, near Bloomington, Indiana, at Yellow Springs, Ohio, and at Forestville Commonwealth at Earlton, New York, as well as other projects in New York, Pennsylvania, and Tennessee. Nearly all of these had ended before New Harmony was dissolved in April 1827.
Owen's Utopian communities attracted a mix of people, many with the highest aims. They included vagrants, adventurers and other reform-minded enthusiasts. In the words of Owen's son David Dale Owen, they attracted "a heterogeneous collection of Radicals", "enthusiastic devotees to principle," and "honest latitudinarians, and lazy theorists," with "a sprinkling of unprincipled sharpers thrown in."
Josiah Warren, a participant at New Harmony, asserted that it was doomed to failure for lack of individual sovereignty and personal property. In describing the community, Warren explained: "We had a world in miniature – we had enacted the French revolution over again with despairing hearts instead of corpses as a result.... It appeared that it was nature's own inherent law of diversity that had conquered us... our 'united interests' were directly at war with the individualities of persons and circumstances and the instinct of self-preservation...." Warren's observations on the reasons for the community's failure led to the development of American individualist anarchism, of which he was its original theorist. Some historians have traced the demise of New Harmony to serial disagreements among its members.
Social experiments also began in Scotland in 1825, when Abram Combe, an Owenite, attempted a utopian experiment at Orbiston, near Glasgow, but this failed after about two years. In the 1830s, additional experiments in socialistic cooperatives were made in Ireland and Britain, the most important being at Ralahine, established in 1831 in County Clare, Ireland, and at Tytherley, begun in 1839 in Hampshire, England. The former proved a remarkable success for three-and-a-half years until the proprietor, having ruined himself by gambling, had to sell his interest. Tytherley, known as Harmony Hall or Queenwood College, was designed by the architect Joseph Hansom. This also failed. Another social experiment, Manea Colony in the Isle of Ely, Cambridgeshire, launched in the late 1830s by William Hodson, likewise an Owenite, but it failed in a couple of years and Hodson emigrated to the United States. The Manea Colony site has been excavated by Cambridge Archaeology Unit (CAU) based at the University of Cambridge.
Return to Britain
Although Owen made further brief visits to the United States, London became his permanent home and the centre of his work in 1828. After extended friction with William Allen and some other business partners, Owen relinquished all connections with New Lanark. He is often quoted in a comment by Allen at the time, "All the world is queer save thee and me, and even thou art a little queer". Having invested most of his fortune in the failed New Harmony communal experiment, Owen was no longer a wealthy capitalist. However, he remained the head of a vigorous propaganda effort to promote industrial equality, free education for children and adequate living conditions in factory towns, while delivering lectures in Europe and publishing a weekly newspaper to gain support for his ideas.
In 1832 Owen opened the National Equitable Labour Exchange system, a time-based currency in which the exchange of goods was effected by means of labour notes; this system superseded the usual means of exchange and middlemen. The London exchange continued until 1833, a Birmingham branch operating for just a few months until July 1833. Owen also became involved in trade unionism, briefly leading the Grand National Consolidated Trade Union (GNCTU) before its collapse in 1834.
Socialism first became current in British terminology in discussions of the Association of all Classes of all Nations, which Owen formed in 1835 and served as its initial leader. Owen's secular views also gained enough influence among the working classes to cause the Westminster Review to comment in 1839 that his principles were the creed of many of them. However, by 1846, the only lasting result of Owen's agitation for social change, carried on through public meetings, pamphlets, periodicals, and occasional treatises, remained the Co-operative movement, and for a time even that seemed to have collapsed.
Role in spiritualism
In 1817, Owen publicly claimed that all religions were false. In 1854, aged 83, Owen converted to spiritualism after a series of sittings with Maria B. Hayden, an American medium credited with introducing spiritualism to England. He made a public profession of his new faith in his publication The Rational Quarterly Review and in a pamphlet titled The future of the Human race; or great glorious and future revolution to be effected through the agency of departed spirits of good and superior men and women.
Owen claimed to have had medium contact with spirits of Benjamin Franklin, Thomas Jefferson and others. He explained that the purpose of these was to change "the present, false, disunited and miserable state of human existence, for a true, united and happy state... to prepare the world for universal peace, and to infuse into all the spirit of charity, forbearance and love."
Spiritualists claimed after Owen's death that his spirit had dictated to the medium Emma Hardinge Britten in 1871 the "Seven Principles of Spiritualism", used by their National Union as "the basis of its religious philosophy".
Death and legacy
As Owen grew older and more radical in his views, his influence began to decline. Owen published his memoirs, The Life of Robert Owen, in 1857, a year before his death.
Although he had spent most of his life in England and Scotland, Owen returned to his native town of Newtown at the end of his life. He died there on 17 November 1858 and was buried there on 21 November. He died penniless apart from an annual income drawn from a trust established by his sons in 1844.
Owen was a reformer, philanthropist, community builder, and spiritualist who spent his life seeking to improve the lives of others. An advocate of the working class, he improved working conditions for factory workers, which he demonstrated at New Lanark, Scotland, became a leader in trade unionism, promoted social equality through his experimental Utopian communities, and supported the passage of child labour laws and free education for children. In these reforms he was ahead of his time. He envisioned a communal society that others could consider and apply as they wished. In Revolution in the Mind and Practice of the Human Race (1849), he went on to say that character is formed by a combination of Nature or God and the circumstances of the individual's experience. Citing beneficial results at New Lanark, Scotland, during 30 years of work there, Owen concluded that a person's "character is not made by, but for the individual," and that nature and society are responsible for each person's character and conduct.
Owen's agitation for social change, along with the work of the Owenites and of his own children, helped to bring lasting social reforms in women's and workers' rights, establish free public libraries and museums, child care and public, co-educational schools, and pre-Marxian communism, and develop the Co-operative and trade union movements. New Harmony, Indiana, and New Lanark, Scotland, two towns with which he is closely associated, remain as reminders of his efforts.
Owen's legacy of public service continued with his four sons, Robert Dale, William, David Dale, and Richard Dale, and his daughter, Jane, who followed him to America to live at New Harmony, Indiana:
Robert Dale Owen (1801–1877), an able exponent of his father's doctrines, managed the New Harmony community after his father returned to Britain in 1825. He wrote articles and co-edited with Frances Wright the New-Harmony Gazette in the late 1820s in Indiana and the Free Enquirer in the 1830s in New York City. Owen returned to New Harmony in 1833 and became active in Indiana politics. He was elected to the Indiana House of Representatives (1836–1839 and 1851–1853) and U.S. House of Representatives (1843–1847), and was appointed chargé d'affaires in Naples in 1853–1858. While serving as a member of Congress, he drafted and helped to secure passage of a bill founding the Smithsonian Institution in 1846. He was elected a delegate to the Indiana Constitutional Convention in 1850, and argued in support of widows and married women's property and divorce rights. He also favoured legislation for Indiana's tax-supported public school system. Like his father, he believed in spiritualism, authoring two books on the subject: Footfalls on the Boundary of Another World (1859) and The Debatable Land Between this World and the Next (1872).
William Owen (1802–1842) moved to the United States with his father in 1824. His business skill, notably his knowledge of cotton-goods manufacturing, allowed him to remain at New Harmony after his father returned to Scotland, and serve as adviser to the community. He organised New Harmony's Thespian Society in 1827, but died of unknown causes at the age of 40.
Jane Dale Owen Fauntleroy (1805–1861) arrived in the United States in 1833 and settled in New Harmony. She was a musician and educator who set up a school in her home. In 1835 she married Robert Henry Fauntleroy, a civil engineer from Virginia living at New Harmony.
David Dale Owen (1807–1860) moved to the United States in 1827 and resided at New Harmony for several years. He trained as a geologist and natural scientist and earned a medical degree. He was appointed a United States geologist in 1839. His work included geological surveys in the Midwest, more specifically the states of Indiana, Iowa, Missouri, and Arkansas, as well as Minnesota Territory. His brother Richard succeeded him as state geologist of Indiana.
Richard Dale Owen (1810–1890) emigrated to the United States in 1827 and joined his siblings at New Harmony. He fought in the Mexican–American War in 1847, taught natural science at Western Military Institute in Tennessee in 1849–1859, and earned a medical degree in 1858. During the American Civil War he was a colonel in the Union army and served as a commandant of Camp Morton, a prisoner-of-war camp for Confederate soldiers at Indianapolis, Indiana. After the war, Owen served as Indiana's second state geologist. In addition, he was a professor at Indiana University and chaired its natural science department in 1864–1879. He helped plan Purdue University and was appointed its first president in 1872–1874, but resigned before its classes began and resumed teaching at Indiana University. He spent his retirement years on research and writing.
Honours and tributes
The Co-operative Movement erected a monument to Robert Owen in 1902 at his burial site in Newtown, Montgomeryshire.
The Welsh people donated a bust of Owen by Welsh sculptor Sir William Goscombe John to the International Labour Office library in Geneva, Switzerland.
Selected published works
A New View of Society: Or, Essays on the Formation of Human Character, and the Application of the Principle to Practice (London, 1813). Retitled, A New View of Society: Or, Essays on the Formation of Human Character Preparatory to the Development of a Plan for Gradually Ameliorating the Condition of Mankind, for second edition, 1816
Observations on the Effect of the Manufacturing System. London, 1815
Report to the Committee of the Association for the Relief of the Manufacturing and Labouring Poor (1817)
Two Memorials on Behalf of the Working Classes (London: Longman, Hurst, Rees, Orme, and Brown, 181
An Address to the Master Manufacturers of Great Britain: On the Present Existing Evils in the Manufacturing System (Bolton, 1819)
Report to the County of Lanark of a Plan for relieving Public Distress (Glasgow: Glasgow University Press, 1821)
An Explanation of the Cause of Distress which pervades the civilised parts of the world (London and Paris, 1823)
An Address to All Classes in the State. London, 1832
The Revolution in the Mind and Practice of the Human Race. London, 1849
Collected works:
A New View of Society and Other Writings, introduction by G. D. H. Cole. London and New York: J. M. Dent & Sons, E. P. Dutton and Co., 1927
A New View of Society and Other Writings, G. Claeys, ed. London and New York: Penguin Books, 1991
The Selected Works of Robert Owen, G. Claeys, ed., 4 vols. London: Pickering and Chatto, 1993
Archival collections:
Robert Owen Collection, National Co-operative Archive, United Kingdom.
New Harmony, Indiana, Collection, 1814–1884, 1920, 1964, Indiana Historical Society, Indianapolis, Indiana, United States
New Harmony Series III Collection, Workingmen's Institute, New Harmony, Indiana, United States
Owen family collection, 1826–1967, bulk 1830–1890, Indiana University Archives, Bloomington, Indiana, United States
See also
Cincinnati Time Store
José María Arizmendiarrieta
Labour voucher
List of Owenite communities in the United States
Owenstown
Owenism
William King
References
Bibliography
(online version)
Further reading
Biographies of Owen
A. J. Booth, Robert Owen, the Founder of Socialism in England (London, 1869)
G. D. H. Cole, Life of Robert Owen. London, Ernest Benn Ltd., 1925; second edition Macmillan, 1930
Lloyd Jones. The Life, Times, and Labours of Robert Owen. London, 1889
A. L. Morton, The Life and Ideas of Robert Owen. New York, International Publishers, 1969
W. H. Oliver, "Robert Owen and the English Working-Class Movements", History Today (November 1958) 8–11, pp. 787–796
F. A. Packard, Life of Robert Owen. Philadelphia: Ashmead & Evans, 1866
Frank Podmore, Robert Owen: A Biography. London: Hutchinson and Company, 1906
David Santilli, Life of the Mill Man. London, B. T. Batsford Ltd, 1987
William Lucas Sargant, Robert Owen and his social philosophy . London, 1860
Richard Tames, Radicals, Railways & Reform. London, B. T. Batsford Ltd, 1986
Other works about Owen
Arthur Bestor, Backwoods Utopias. University of Pennsylvania Press, 1950, 2nd edition, 1970
John Butt (ed). Robert Owen: Aspects of his Life and Work. Humanities Press, 1971
Gregory Claeys, Citizens and Saints. Politics and Anti-Politics in Early British Socialism. Cambridge University Press, 1989
Gregory Claeys, Machinery, Money and the Millennium: From Moral Economy to Socialism 1815–1860. Princeton University Press, 1987
R. E. Davies, The Life of Robert Owen, Philanthropist and Social Reformer, An Appreciation. Robert Sutton, 1907
R. E. Davis and F. J. O'Hagan, Robert Owen. London: Continuum Press, 2010
E. Dolleans, Robert Owen. Paris, 1905
I. Donnachie, Robert Owen. Owen of New Lanark and New Harmony. 2000
Auguste Marie Fabre, Un Socialiste Pratique, Robert Owen. Nìmes, Bureaux de l'Émancipation, 1896
John F. C. Harrison, Robert Owen and the Owenites in Britain and America: Quest for the New Moral World. New York, 1969
Alexander Herzen, My Past and Thoughts (University of California Press, 1982). (One chapter is devoted to Owen.)
G. J. Holyoake, The History of Co-operation in England: Its Literature and Its Advocates V. 1. London, 1906
G. J. Holyoake, The History of Co-operation in England: Its Literature and Its Advocates V. 2. London, 1906
The National Library of Wales, A Bibliography of Robert Owen, The Socialist. 1914
H. Simon, Robert Owen: Sein Leben und Seine Bedeutung für die Gegenwart. Jena, 1905
O. Siméon, Robert Owen's Experiment at New Lanark. From Paternalism to Socialism. Palgrave Macmillan, 2017
External links
Essays by Owen at the Marxists Internet Archive
Brief biography at the New Lanark World Heritage Site
The Robert Owen Museum, Newtown, Wales
Video of Owen's wool mill
Brief biography at Cotton Times
"Robert Owen (1771-1858) social reformer, founder of New Harmony", University of Evansville, Indiana
"Robert Owen and the Co-operative movement"
Brief biography at The History Guide
Brief biography at age-of-the-sage.org
Heaven On Earth: The Rise and Fall of Socialism at PBS {dead link 2021-02-22}
1771 births
1858 deaths
Cooperative organizers
Founders of utopian communities
People from Newtown, Powys
Owenites
Utopian socialists
Welsh agnostics
Welsh humanists
19th-century Welsh businesspeople
18th-century Welsh businesspeople
Welsh business theorists
Welsh philanthropists
Welsh socialists
British reformers
British social reformers
Socialist economists | true | [
"New Lanark is a village on the River Clyde, approximately 1.4 miles (2.2 kilometres) from Lanark, in Lanarkshire, and some southeast of Glasgow, Scotland. It was founded in 1786 by David Dale, who built cotton mills and housing for the mill workers. Dale built the mills there in a brief partnership with the English inventor and entrepreneur Richard Arkwright to take advantage of the water power provided by the only waterfalls on the River Clyde. Under the ownership of a partnership that included Dale's son-in-law, Robert Owen, a Welsh utopian socialist and philanthropist, New Lanark became a successful business and an early example of a planned settlement and so an important milestone in the historical development of urban planning.\n\nThe New Lanark mills operated until 1968. After a period of decline, the New Lanark Conservation Trust (NLCT) was founded in 1974 (now known as the New Lanark Trust (NLT)) to prevent demolition of the village. By 2006 most of the buildings have been restored and the village has become a major tourist attraction. It is one of six UNESCO World Heritage Sites in Scotland and an Anchor Point of ERIH – the European Route of Industrial Heritage.\n\nHistory \nThe New Lanark cotton mills were founded in 1786 by David Dale in a brief partnership with Richard Arkwright. Dale was one of the self-made \"Burgher Gentry\" of Glasgow who, like most of this gentry, had a summer retreat, an estate at Rosebank, Cambuslang, not far from the Falls of Clyde, which have been painted by J. M. W. Turner and many other artists. The mills used the recently developed water-powered cotton spinning machinery invented by Richard Arkwright. Dale sold the mills, lands and village in the early 19th century for £60,000, payable over 20 years, to a partnership that included his son-in-law Robert Owen. Owen, who became mill manager in 1800, was an industrialist who carried on his father-in-law's philanthropic approach to industrial working and who subsequently became an influential social reformer. New Lanark, with its social and welfare programmes, epitomised his Utopian socialism (see also Owenism). The town and mills are important historically through their connection with Owen's ideas, but also because of their role in the developing industrial revolution in the UK and their place in the history of urban planning.\n\nThe New Lanark mills depended upon water power. A dam was constructed on the Clyde above New Lanark and water was drawn off the river to power the mill machinery. The water first travelled through a tunnel, then through an open channel called the lade. It then went to a number of water wheels in each mill building. It was not until 1929 that the last waterwheel was replaced by a water turbine. Water power is still used in New Lanark. A new water turbine has been installed in Mill Number Three to provide electricity for the tourist areas of the village.\n\nIn Owen's time some 2,500 people lived at New Lanark, many from the poorhouses of Glasgow and Edinburgh. Although not the grimmest of mills by far, Owen found the conditions unsatisfactory and resolved to improve the workers' lot. He paid particular attention to the needs of the 500 or so children living in the village (one of the tenement blocks is named Nursery Buildings) and working at the mills, and opened the first infants' school in Britain in 1817, although the previous year he had completed the Institute for the Formation of Character.\n\nThe mills thrived commercially, but Owen's partners were unhappy at the extra expense incurred by his welfare programmes. Unwilling to allow the mills to revert to the old ways of operating, Owen bought out his partners. In 1813 the Board forced an auction, hoping to obtain the town and mills at a low price but Owen and a new board (including the economist Jeremy Bentham) that was sympathetic to his reforming ideas won out.\n\nNew Lanark became celebrated throughout Europe, with many statesmen, reformers and royalty visiting the mills. They were astonished to find a clean, healthy industrial environment with a content, vibrant workforce and a prosperous, viable business venture all rolled into one. Owen's philosophy was contrary to contemporary thinking, but he was able to demonstrate that it was not necessary for an industrial enterprise to treat its workers badly to be profitable. Owen was able to show visitors the village's excellent housing and amenities, and the accounts showing the profitability of the mills.\n\nAs well as the mills' connections with reform, socialism and welfare, they are also representative of the Industrial Revolution that occurred in Britain in the 18th and 19th centuries and which fundamentally altered the shape of the world. The planning of employment in the mills alongside housing for the workers and services such as a school also makes the settlement iconic in the development of urban planning in the UK.\n\nIn 1825, control of New Lanark passed to the Walker family when Owen left Britain to start settlement of New Harmony in the US. The Walkers managed the village until 1881, when it was sold to Birkmyre and Sommerville and the Gourock Ropeworks (although they tried unsuccessfully to sell the mills and the town in 1851). They and their successor companies remained in control until the mills closed in 1968.\n\nThe town and the industrial activity had been in decline before then, but after the mills closed migration away from the village accelerated, and the buildings began to deteriorate. The top two floors of Mill Number 1 were removed in 1945 but the building has since been restored and is now the New Lanark Mill Hotel. In 1963 the New Lanark Association (NLA) was formed as a housing association and commenced the restoration of Caithness Row and Nursery Buildings. In 1970 the mills, other industrial buildings and the houses used by Dale and Owen were sold to Metal Extractions Limited, a scrap metal company. In 1974 the NLCT (now the NLT) was founded to prevent demolition of the village. A compulsory purchase order was used in 1983 to recover the mills and other buildings from Metal Extractions after a repairs notice had been served in 1979. This was because of the state of repair of the buildings despite their listing as historic buildings that required their legal preservation in 1971. They are now controlled by the NLT, either directly through the Trust or through wholly owned companies (New Lanark Trading Ltd, New Lanark Hotel Ltd and New Lanark Homes). By 2005 most of the buildings had been restored and the village has become a major tourist attraction.\n\nLiving conditions \n\nIn the mid 19th century, an entire family would have been housed in a single room. Some sense of such living conditions can be obtained by visiting the reconstructed Millworkers House at New Lanark World Heritage Site or the David Livingstone Centre at Blantyre.\n\nDavid Dale, who founded New Lanark, was also involved in the mills at Blantyre. Only one tenement row has survived in Blantyre, and that building is now a museum. This is mostly devoted to David Livingstone, who was born there in 1813, both examples include re-creations of the single-room living conditions of the time at New Lanark, featuring trundle beds for children such as Livingstone would have used. The David Livingstone Centre is 18 miles by road from New Lanark, between Glasgow and Hamilton.\n\nThe living conditions in the village gradually improved, and by the early 20th century families would have had the use of several rooms. It was not until 1933 that the houses had interior cold water taps for sinks and the communal outside toilets were replaced by inside facilities.\n\nFrom 1938 the village proprietors provided free electricity to all the homes in New Lanark, but only enough power was available for one dim bulb in each room. The power was switched off at 10 pm Sunday-Friday, 11 pm Saturday. In 1955 New Lanark was connected to the National Grid.\n\nNew Lanark today \nIt has been estimated that over 400,000 people visit the village each year. The importance of New Lanark has been recognised by UNESCO as one of Scotland's six World Heritage Sites, the others being Edinburgh Old and New Towns, Heart of Neolithic Orkney, St Kilda, the Antonine Wall and the Forth Bridge. The mills and town were listed in 2001 after an unsuccessful application for World Heritage listing in 1986.\n\nAbout 130 people live in New Lanark. Of the residential buildings, only Mantilla Row has not been restored. Some of the restoration work was undertaken by the NLA and the NLCT. Braxfield Row and most of Long Row were restored by private individuals who bought the houses as derelict shells and restored them as private houses. Seven houses in Double Row have been externally restored by the NLCT and are being sold for private ownership. In addition to the 21 owner-occupied properties in the village there are 45 rented properties which were let by the NLA, which was a registered housing association. The NLA also owned other buildings in the village. In 2009 the NLA was wound up as being financially and administratively unviable, and responsibility for the village's tenanted properties passed to the NLCT.\n\nIn 2009 Clydesdale Bank released a new series of Scottish banknotes, of which the 20-pound note features New Lanark on its reverse.\n\nConsiderable attention has been given to maintaining the historical authenticity of the village. No television aerials or satellite dishes are allowed in the village, and services such as telephone, television and electricity are delivered though buried cables. To provide a consistent appearance all external woodwork is painted white, and doors and windows follow a consistent design. Householders used to be banned from owning dogs, but this rule is no longer enforced.\n\nSome features introduced by the NLT, such as commercial signage and a glass bridge connecting the Engine House and Mill Number Three, have been criticised. The retention of a 1924-pattern red telephone box in the village square has also been seen as inappropriate.\n\nThe mills, the hotel and most of the non-residential buildings in the village are owned and operated by the NLT through wholly owned companies.\n\nHistoric maps\nA 1911 Ordnance Survey map is available from the National Library of Scotland is available and\n\nBuildings \n\nBraxfield Row, built c1790 – a tenement block converted to ten owner-occupied houses, nine are four-storey and one five-storey.\nLong Row, built c1790 – a tenement block converted to 14 three-storey houses. Ten are owner occupied and four are tenanted.\nDouble Row, built c1795 – a tenement block of seven four-storey houses and one five-storey that were occupied from the 1790s to the 1970s. They originally contained back-to-back apartments. The side facing the river was also known as Water Row. Seven of the houses have been externally renovated to be sold as single occupancy homes. Number seven is known as the 'Museum Stair' and is designated a Scheduled Monument, due to the remarkable survival of original artefacts and materials such as fireplaces, sinks, 'set-in' beds, remnants of wallpaper and linoleum.\nMantilla Row, built c1795 – a tenement block demolished when it became structurally unsafe. New foundations and some walls have been laid, but the row has not been completely rebuilt.\nWee Row, built c1795 – a tenement block converted to a youth hostel in 1994. It was once operated by the Scottish Youth Hostels Association but is now managed by the New Lanark Mill Hotel.\nNew Buildings, built 1798 – a four-storey building containing the bell tower. The bell, which once summoned the workers to the mills, is now sounded at midnight on the last day of the year. The building contains a museum and tenanted flats.\nNursery Buildings, built 1809 – a three-storey building that has been converted to tenanted flats. It was once used to house the orphan children who worked in the mills.\nCaithness Row, built 1792 – a three-storey tenement block that has been converted to tenanted flats. Caithness is a district in the Scottish Highlands and the row was supposedly named after a group of Highlanders recruited to work in the mills.\nVillage Church, built 1898 – now used for social purposes and named the Community Hall. Has since fallen into disrepair and has become structurally unsafe.\nMill Number One, built 1789 – originally built in 1785 and started spinning in March 1786. It burnt down on 9 October 1788 and was rebuilt in 1789. In 1802 the mill had three waterwheels driving 6556 spindles. In 1811 558 people, 408 of them female, worked in the mill. In 1945 it had its top two floors removed. The building became derelict and was renovated and rebuilt as the New Lanark Mill Hotel. The hotel opened in 1998.\nWaterhouses, built c1799-1818 – a row of one- and two-storey buildings next to Mill Number One, converted into holiday flats.\nMill Number Two, built 1788 – in 1811 it had three waterwheels and employed 486 people, 283 of them women. It was widened in 1884–5 to accommodate ring frames. The extension is the only brick faced building in the village. It is now used for tourist purposes.\nMill Number Three, built 1790–92 – known as 'the jeanies house' and contained a large number of water powered jennies. It burned down in 1819 and was rebuilt circa 1826–33. In 1811 it employed 398 people, 286 of them women. It is now used for tourist purposes. It also contains a water turbine that generates electricity for parts of the village.\nMill Number Four, built circa 1791-3 – initially used as a storeroom and workshop. It also housed '275 children who have no parents' (Donnachie and G. Hewitt). It was destroyed by fire in 1883 and has not been rebuilt. In 1990 a waterwheel was brought from Hole Mill Farm, Fife, and installed on the site of the mill.\nInstitute for the Formation of Character, built 1816 – a four-storey building that is now used for tourism and business purposes.\nEngine House, built 1881 – attached to the Institute for the Formation of Character and contains a restored steam engine.\nSchool, built 1817 – a three-storey building that is now a museum. It housed the first school for working-class children in Scotland.\nMechanics Workshop, built 1809 – a three-storey building that once housed the craftsmen who built and maintained the mill machinery.\nDyeworks, built ? – originally a brass and iron foundry with its own waterwheel. It now contains shops and a visitor centre.\nGasworks with octagonal chimney, built by 1851 – used as a store.\nOwens House, built 1790 – used as a museum.\nDales House, built 1790 – used as business premises.\nMill Lade – dug to carry water from the River Clyde to power the mill machinery.\nGraveyard – on the hill above New Lanark, between the village and the visitors' car park. Many of the first villagers are buried there.\n1 & 2 New Lanark Road (locally known as the twin houses) – two opposing two-storey gatehouses some distance from the village. These marked the entrance to New Lanark. They are now in private ownership.\n\nVisiting New Lanark \n\nThere is a large free car park on the outskirts of the village. Only disabled visitors may park in the village. The walk from the car park down to the mill village provides a worthwhile panoramic view. There is a bus service [Number 135] from Lanark station bus stance. The railway station has half-hourly services from Glasgow. New Lanark is just over one mile from the Lanark rail and bus stations. The walk is mainly downhill and well signposted.\n\nThe village has a four-star hotel [the New Lanark Mill Hotel], holiday flats [the Waterhouses], and Wee Row which provides hostel type accommodation. There are restaurants and shops in the village, and a visitors' centre. All are owned and operated by the New Lanark Conservation Trust.\n\nThe Clyde walkway long-distance footpath passes through the village and the Scottish Wildlife Trust's visitor centre for the Falls of Clyde Nature reserve is based in a group of mill buildings.\n\nSee also \nBanknotes of Scotland (featured on design)\nSaltaire\nCrespi d'Adda\nBonnington pavilion, Falls of Clyde\nCatrine\nStanley, Perthshire\nOwenstown\nCompany Town\n\nReferences\n\nGeneral\nHistoric New Lanark, I. Donnachie and G. Hewitt. Edinburgh University Press, 1993. .\nHistorical Tours in the Clyde Valley. Published by the Clyde Valley Tourist Association and the Lanark & District Archaeological Association. Printed by Robert MacLehose and Company Limited, Renfrew, Scotland. 1982.\n David Dale: A Life. Stenlake Publishing Ltd. D.J. MacLaren, 2015\nDavid Dale, Robert Owen and the story of New Lanark. Moubray House Press, Edinburgh, Scotland. 1986. .\nNew Lanark World Heritage Site Management Plan 2003–2008.\nCity Fathers: The early history of town planning in Britain, C. Bell and R. Bell, Penguin, Harmondsworth\nRobert Owen's Experiment at New Lanark. From Paternalism to Socialism, O. Siméon. Palgrave Macmillan, 2017.\n\nExternal links \n\nNew Lanark World Heritage site – official site\nPhotographs of New Lanark\nNew Lanark residents association.\n\nModel villages\nPopulated places established in 1786\nWorld Heritage Sites in Scotland\nPlanned communities in Scotland\nNew Lanark\nEuropean Route of Industrial Heritage Anchor Points\nMuseums in South Lanarkshire\nOpen-air museums in Scotland\nIndustry museums in Scotland\nTextile museums in the United Kingdom\nVillages in South Lanarkshire\nCategory A listed buildings in South Lanarkshire\nCo-operatives in Scotland\n1786 establishments in Scotland",
"David Dale (6 January 1739–7 March 1806) was a leading Scottish industrialist, merchant and philanthropist during the Scottish Enlightenment period at the end of the 18th century. He was a successful entrepreneur in a number of areas, most notably in the cotton-spinning industry, and was the founder of the cotton mills in New Lanark, where he provided social and educational conditions far in advance of anything available anywhere else in the UK. New Lanark attracted visitors from all over the world. Robert Owen, who married Dale’s daughter, Caroline, in 1799, used New Lanark to develop his theories about communitarian living, education and character formation. Scottish historian, Tom Devine, described Dale as ‘the greatest cotton magnate of his time in Scotland’.\n\nEarly career\nDale was born in Stewarton, Ayrshire on 6 January 1739, son of William Dale (1708–1796), a general dealer in the village, and Martha Dunlop (1719–1796). His date of birth is normally given as 6 January but there is no officially recorded date of birth. However, parish records show that he was baptised on 14 January 1739. As a child, he worked with the cattle as a ‘herd laddie’ in very basic conditions. This was the period of runrigs and impoverished tenant farmers. Dale’s family was not wealthy, but he did not experience the absolute poverty and near starvation of many of those involved in tenant farming.\n\nHis father apprenticed him to a handloom weaver in Paisley & then he became an agent in Hamilton and, later, Cambuslang – putting out yarn to be woven and collecting the finished cloth. He arrived in Glasgow c1763 as a clerk to a silk merchant and began his own small business in the High Street, importing linen yarns from France and the Netherlands.\n\nThe business grew rapidly and Dale became a wealthy merchant in the city. In 1777, at the age of 38, he married 24 year old Anne Caroline (Carolina) Campbell, whose late father had been the Chief Executive of the Royal Bank of Scotland. In 1783 Dale had his own mansion built in Glasgow’s fashionable Charlotte Street. The couple were together for 14 years until the death of Carolina. During that period, she bore him nine children, four of whom, including their only son, died in infancy.\n\nPivotal years\nThe period 1783-1785 saw Dale’s career take off in a number of directions. By 1785 he was no longer a city merchant but a budding entrepreneur, banker and industrialist.\n\nIn 1783 he joined Edinburgh businessman Robert Scott Moncrieff in setting up the first Glasgow agency of the Royal Bank of Scotland – a business arrangement possibly assisted by his wife’s family connections. Within a few years, the Glasgow branch was doing business worth one million pounds. America was no longer a British colony and Glasgow merchants no longer depended on tobacco for their fortunes. Textiles, sugar and rum were the new tobacco. In 1783, there was an opportunity for Dale to extend his reputation and influence with the establishment of the Glasgow Chamber of Commerce, the first of its type in Britain. Dale became a director, later deputy chairman, and joined forces with the likes of James Oswald, James Dennistoun, John Glassford, Thomas Buchanan and many others – ex tobacco lords, sugar & rum merchants, textile merchants and entrepreneurs from the coal, chemical and brewing industries. Dale became an important figure in the commercial life of Glasgow and remained an influential figure in Chamber until his death.\n\nAccording to one source, Dale by this time had become:...the prosperous Glasgow merchant who, by virtue of pure force of character and intelligence, had fairly broken down that wall of distinction which once separated him from the great tobacco and sugar lords and could now wear his cocked hat jauntily, display his silver knee buckles showily and take the place of honour on the crown of the causeway with the proudest of them all.\n\nNew Lanark\nIn 1784 Richard Arkwright visited Scotland in 1784 at the request of George Dempster, landowner and Perthshire M.P. Arkwright, owner of the several successful cotton mills in England, acknowledged as the father of the cotton industry and one of the richest men in Britain, was persuaded to visit Lanark, with a view to establishing a cotton mill in the area.\n\nDale and Dempster accompanied Arkwright to where New Lanark is today. The site was considered to be suitable and a partnership was agreed between the three of them. Construction work began immediately and the mill buildings were based on Arkwright’s own mills in Cromford. Men and boys were sent from New Lanark to Cromford for initial training and the mills began spinning in early 1786, at which point both Dempster and Arkwright left the partnership, leaving Dale as the sole owner. By the 1790s there were nearly 1,400 people living and working in the community.\nBusiness boomed and the village attracted thousands of visitors from all over the world. These included William and Dorothy Wordsworth, Samuel Coleridge and Robert Owen. They were attracted by a very successful spinning business, but New Lanark also became known as a model factory community where business, philanthropy and education all came together for the first time anywhere in Britain. The community became as famous for its social & educational provision as it did for anything else – something which Owen was later to capitalise upon.\n\nThe apprentice children\n\nMuch of the focus was on Dale’s treatment of his child employees – the so-called apprentice or pauper children. It was common practice for large numbers of children to be employed in mills and elsewhere from the age of 6 or 7 to age 15 or thereabouts. In New Lanark, village children worked alongside some 300 apprentice or pauper children from the charity workhouses in Glasgow and Edinburgh. They were often orphans, looked after by the parish, which was very keen to reduce costs by sending them out to work. The children were not paid but were given board & lodging in No.4 Mill. To begin with, they worked as reelers and pickers but later they worked at a range of jobs where they could learn skills which they could use when they left the mills. Some joined the army and navy; some became joiners or smiths and some were kept on in New Lanark. Employers like Dale were seen as charitable and benevolent because they offered the chance of employment, board and lodging and the acquisition of transferable skills.\n\nThe children worked from 6am until 7pm, with breaks for breakfast and dinner. They were given two sets of work clothes which were laundered regularly and a blue dress uniform for Sundays. Sleeping quarters were regularly cleaned and there is evidence to show that many of the pauper children enjoyed better conditions than some of the local children. Public Health campaigner, Dr James Currie was one of the many visitors. He noted that:The utmost cleanliness, health and order pervaded the whole manufactory. The children looked cheerful and happy with rosy cheeks and chubby countenances, and I found a variety of excellent regulations established for health, morals and knowledge.\n\nMuch like Owen later on, Dale was convinced that a good education was essential for all involved. This was a new development in the evolution of factory communities. In England, owners like Arkwright offered Sunday schools but in New Lanark, there was a day school (every day) for under-sixes and an evening school (7-9pm) for older children. There was a formal curriculum which comprised the 3Rs, sewing, church music and religious study. At one stage, the school roll totalled more than 500 pupils and Dale was employing 16 trained teachers to teach more than eight classes. The pupils were grouped according to their ability and promoted to the next class after suitable tests. Teachers received a bonus for each pupil promoted.\n\nAll available evidence indicates that he provided conditions far superior to anything available in Britain at the time. Dale summed up his view of the practical effects of employing the children:…when it is considered that the greater part of the children who are in the boarding house consists of destitute orphans, children abandoned by their parents... and many who know not who were their parents... it gives me great pleasure to say, that by proper management and attention, much good instead of evil may be done at cotton mills. For I am warranted in affirming that many now have stout, healthy bodies and are of decent behaviour who in all probability would have been languishing with disease and pests to society had they not been employed at Lanark cotton mills.Owen visited New Lanark on a number of occasions and in 1799 he married Dale’s daughter, Caroline. He and his partners bought New Lanark and Owen took over as sole manager on 1 January 1800. Over the next two decades Owen became famous for the improvements he made to the social conditions of his workforce, some of which were built on practices established by Dale. Several historians have commented that Owen exaggerated the problems that he found at New Lanark, downplaying Dale's innovations in order to boost the importance of his own, and have, to varying degrees, acknowledged the achievements of both men.\n\nOther business interests\n\nDale’s business interests continued to expand. He had a house in New Lanark but the day to day management was left to William Kelly, a skilled engineer and manager. The main offices of the business were in St Andrew’s Square, Glasgow and Dale continued to live in Charlotte Street in the city. Later in life he added a country house, Rosebank, in Cambuslang, to his properties. He divided his time between New Lanark, the Royal Bank and the offices in St Andrews Square.\n\nHe was involved in a number of other cotton mills. Not long after spinning began in New Lanark, Dale built a new mill in Blantyre and a school for the apprentices. He sold the venture to James Monteith in 1792. In 1788, Dale went into partnership with Claud Alexander of Ballochmyle (former Paymaster for the East India Company) in a spinning mill in Catrine in Ayrshire. Dale was heavily involved in the design of these mills and within a few years, some 1,300 people were employed. Once again there were apprentice (but no pauper) children and a proper school was provided. He remained involved with the business until 1801 when the mills were sold to James Finlay. In partnership with a number of others, he opened a small mill in Spinningdale in Sutherland. This was more a charitable effort than anything else. The aim was to provide work and relieve famine, distress in the area and also to stem the tide of emigration from the Highlands. Dale remained involved long after all the others had left and continued to finance it until two years before his death. The mill burned down a year later.\n\nIn Glasgow, Dale’s business profile continued to grow. In Dalmarnock he set up a dyeworks where cloth was dyed with a new, colourfast dye called ‘Turkey Red’ (sometimes known in the city as 'Dale’s Red’). In the centre of town, in what is now Ingram Street, he built a warehouse and small manufactory which produced linen strips or tapes known as ‘incles’ or Scotch Tape. The company traded under the name Dale, Campbell, Reid & Dale, the second Dale being his nephew, David Dale Junior. Still in Glasgow, Dale invested in the insurance business. He became a director of the Glasgow Fire Insurance Company, which sold life insurance and annuities and had offices in George Street and Wilson Street. Dale also owned a significant amount of property in and around the city, including lands and tenements in the Ramshorn (Ingram Street) area, Shuttle Street, Barrowfield, Ruchill and Parkhead.\n\nPhilanthropy and civic duty\n\nDale was also a director or manager of various charitable projects throughout the city, and newspaper reports of the time talk of his charity, his kindness, his benevolence and his good deeds and public works. Much of this was inspired by his religious belief. He was a strongly evangelical Christian, a pastor in the Dissenting (Secessionist) Church, preaching on Sundays in meeting houses all over the city. He stated in one of his sermons:Riches are one great object. These frequently take to themselves wings and flyaway... they profit not in the day of wrath. And if these are obtained by oppressing the poor, or withholding from the needy what his wants demand from us, the consequence is awful... your riches are corrupted.He donated to small charitable ventures on a regular basis. These included the Howard Fund for prison reform, an injured servicemen’s charity, the Royal Northern Infirmary in Inverness, Perth Academy and the newly-formed Glasgow Humane Society, where he agreed to become a director and undertake fundraising on their behalf.\n\nHe was better known for some of his more public philanthropy and civic duties. He served as a Bailie and Magistrate in the city for two years, something which he found particularly time-consuming and onerous. Nevertheless, he earned a reputation in the press for his relatively lenient approach and became known as ‘The Benevolent Magistrate’. When a new road was required between Clydesdale and England, he gave £700 towards the cost. On several occasions he helped to feed those in need. For example, he provided meal to the poor in Stewarton at below cost price and he sent a ship to the U.S. to bring back grain which he distributed to the poor in Glasgow. \n\nFor twenty years he was a director of the Town’s Hospital, the equivalent of a charity workhouse for the poor, orphans, elderly, sick and, until 1814, the mentally ill, serving on the institution’s Manufacturing Committee.\n\n Dale was also involved with Glasgow Royal Infirmary. The Infirmary was intended ‘...for the reception of indigent persons under bodily distress in the west of Scotland’. Dale was involved in this project from its very beginning in 1788. He chaired the group which raised the funds, found the land and supervised the building work of this major city institution. He subscribed £200 and when the building finally opened in 1795, he was appointed as a manager, spending the rest of his life as a manager or director. He stood to gain nothing personally from this commitment. The Infirmary was for the poor. However, as a manager and annual subscriber, he had the right to refer a number of his workers from New Lanark and between 1795 and 1803 he personally referred some 64 patients.\n\nDale, slavery and the abolition movement \nThe raw cotton which Dale, in common with all British mill owners, used for spinning in his mills came from three principal sources, the United States, South America and the West Indies, all places where slave labour was the norm. Cotton was traded in the U.K’s major cities, including Glasgow. Anyone who worked in the cotton industry, therefore, depended on the slave trade either directly or indirectly. \nHowever, by the late 18th century, attitudes to slavery were beginning to change and the abolition movement was growing. Nationally, the abolitionists were led by Thomas Clarkson and William Wilberforce in London and the London Society sent representatives across the country seeking support for anti-slavery petitions. The Glasgow Society for the Abolition of the Slave Trade was set up in January 1791, with Dale in the chair. In the same year, he bought shares in the newly-formed Sierra Leone Company which sought to establish a colony of freed slaves.\n\nThe Glasgow group publicised the London Society’s pamphlet, with a Preface about the new Glasgow Society. There were various meetings throughout 1791, all chaired by Dale, and the Society sent 100 guineas to the London campaign offices. The following year, it met on a number of occasions in support of the various public petitions which were being drawn up in all the cities and towns in Scotland.\n\nAt a General Meeting of the Glasgow Society on 1 February 1792, with Dale in the Chair, the members resolved;…that the traffic in the human species is founded on the grossest injustice, is attended with the utmost cruelty and barbarity to an innocent race of men and is productive of ruin and desolation of a country which the efforts of the well-directed industry of Great Britain might contribute to civilise.On Commerce and the Enlightenment it said:[the slave trade]…is directly repugnant to the primary laws of nature…and that its continuance, in this enlightened age, is disgraceful to the nation and utterly inconsistant (sic) with the profession of Christians.\n\nDeath\n\nWhen Dale died at home, 43 Charlotte Street in Cambuslang, Glasgow on 7 March 1806, huge crowds of mourners lined the streets of Glasgow. He was buried in the Ramshorn Cemetery in central Glasgow in a plot he had purchased some years before. The grave lies on the outer east wall towards the north-east corner.\nThe Glasgow Herald’s obituary of him acknowledged his achievements as a businessman, and noted that: …his ear was never shut to the cry of distress; his private charities were boundless; and every public institution which had for its object the alleviation or prevention of human misery, in this world or in the world to come, received from him the most liberal support and encouragement.\n\nReferences\n\nBibliography\nModern publications on Dale:\n McLaren, D. J. (2015). David Dale: A Life. Stenlake Publishing Ltd.\n\nModern publications on Owen:\n Claeys, G. (ed)(1993) The Selected Works of Robert Owen. Pickering & Chato.\n Davis, R. & O’Hagan, F. (2014) Robert Owen. Bloomsbury.\n Donnachie, I. & Hewitt, G. (2015) Historic New Lanark. 2nd edition. E.U.P.\n Donnachie, I. (2005). Robert Owen, Social Visionary. 2nd edition. Birlinn.\n\nHistorical publications:\n Baines, E. (1835) History of the Cotton Manufacture in Great Britain. London: Fisher.\n Black, W.G. (1912) ‘David Dale’s House in Charlotte Street’, Transactions of the Regality Club (1889-1912), 4 vols. Vol 4 (1912):93-121. Glasgow: James Maclehose & Sons.\n Liddell, A. (1854) Memoir of David Dale. Blackie.\n Owen, R. (1857). Life of Robert Owen by Himself .Effingham Wilson.\n Podmore, F. (1906) Robert Owen – A Biography. Hutchinson & Co.\n\nExternal links\n http://www.electricscotland.com/history/other/dale_david.htm\n http://www.undiscoveredscotland.co.uk/usbiography/d/daviddale.html\n http://www.rampantscotland.com/famous/blfamdale.htm\n\nScottish philanthropists\nScottish business theorists\nPeople from East Ayrshire\n1739 births\n1806 deaths\nCambuslang\nScottish merchants\n18th-century Scottish businesspeople\nScottish socialists\nUtopian socialists\nScottish Congregationalists\nCooperative organizers\nFounders of utopian communities\n18th-century philanthropists"
] | [
"Robert Owen (; 14 May 1771 – 17 November 1858) was a Welsh textile manufacturer, philanthropist and social reformer, and a founder of utopian socialism and the cooperative movement. He strove to improve factory working conditions, promoted experimental socialistic communities, and sought a more collective approach to child rearing, including government control of education.",
"He strove to improve factory working conditions, promoted experimental socialistic communities, and sought a more collective approach to child rearing, including government control of education. He gained wealth in the early 1800s from a textile mill at New Lanark, Scotland.",
"He gained wealth in the early 1800s from a textile mill at New Lanark, Scotland. Having trained as a draper in Stamford, Lincolnshire he worked in London before relocating aged 18 to Manchester and textile manufacturing.",
"Having trained as a draper in Stamford, Lincolnshire he worked in London before relocating aged 18 to Manchester and textile manufacturing. In 1824, he moved to America and put most of his fortune in an experimental socialistic community at New Harmony, Indiana, as a preliminary for his Utopian society. It lasted about two years.",
"It lasted about two years. It lasted about two years. Other Owenite communities also failed, and in 1828 Owen returned to London, where he continued to champion the working class, lead in developing cooperatives and the trade union movement, and support child labour legislation and free co-educational schools.",
"Other Owenite communities also failed, and in 1828 Owen returned to London, where he continued to champion the working class, lead in developing cooperatives and the trade union movement, and support child labour legislation and free co-educational schools. Early life and education Robert Owen was born in Newtown, a small market town in Montgomeryshire, Wales, on 14 May 1771, to Anne (Williams) and Robert Owen.",
"Early life and education Robert Owen was born in Newtown, a small market town in Montgomeryshire, Wales, on 14 May 1771, to Anne (Williams) and Robert Owen. His father was a saddler, ironmonger and local postmaster; his mother was the daughter of a Newtown farming family.",
"His father was a saddler, ironmonger and local postmaster; his mother was the daughter of a Newtown farming family. Young Robert was the sixth of the family's seven children, two of whom died at a young age. His surviving siblings were William, Anne, John and Richard.",
"His surviving siblings were William, Anne, John and Richard. Owen received little formal education, but he was an avid reader. He left school at the age of ten to be apprenticed to a Stamford, Lincolnshire, draper for four years. He also worked in London drapery shops in his teens.",
"He also worked in London drapery shops in his teens. At about the age of 18, Owen moved to Manchester, where he spent the next twelve years of his life, employed initially at Satterfield's Drapery in Saint Ann's Square.",
"At about the age of 18, Owen moved to Manchester, where he spent the next twelve years of his life, employed initially at Satterfield's Drapery in Saint Ann's Square. While in Manchester, Owen borrowed £100 from his brother William, so as to enter into a partnership to make spinning mules, a new invention for spinning cotton thread, but exchanged his business share within a few months for six spinning mules that he worked in rented factory space.",
"While in Manchester, Owen borrowed £100 from his brother William, so as to enter into a partnership to make spinning mules, a new invention for spinning cotton thread, but exchanged his business share within a few months for six spinning mules that he worked in rented factory space. In 1792, when Owen was about 21 years old, mill-owner Peter Drinkwater made him manager of the Piccadilly Mill at Manchester.",
"In 1792, when Owen was about 21 years old, mill-owner Peter Drinkwater made him manager of the Piccadilly Mill at Manchester. However, after two years with Drinkwater, Owen voluntarily gave up a contracted promise of partnership, left the company, and went into partnership with other entrepreneurs to establish and later manage the Chorlton Twist Mills in Chorlton-on-Medlock.",
"However, after two years with Drinkwater, Owen voluntarily gave up a contracted promise of partnership, left the company, and went into partnership with other entrepreneurs to establish and later manage the Chorlton Twist Mills in Chorlton-on-Medlock. By the early 1790s, Owen's entrepreneurial spirit, management skills and progressive moral views were emerging.",
"By the early 1790s, Owen's entrepreneurial spirit, management skills and progressive moral views were emerging. In 1793, he was elected a member of the Manchester Literary and Philosophical Society, where the ideas of the Enlightenment were discussed.",
"In 1793, he was elected a member of the Manchester Literary and Philosophical Society, where the ideas of the Enlightenment were discussed. He also became a committee member of the Manchester Board of Health, instigated principally by Thomas Percival to press for improvements in the health and working conditions of factory workers.",
"He also became a committee member of the Manchester Board of Health, instigated principally by Thomas Percival to press for improvements in the health and working conditions of factory workers. Marriage and family On a visit to Scotland, Owen met and fell in love with Ann (or Anne) Caroline Dale, daughter of David Dale, a Glasgow philanthropist and the proprietor of the large New Lanark Mills.",
"Marriage and family On a visit to Scotland, Owen met and fell in love with Ann (or Anne) Caroline Dale, daughter of David Dale, a Glasgow philanthropist and the proprietor of the large New Lanark Mills. After their marriage on 30 September 1799, the Owens set up home in New Lanark, but later moved to Braxfield, Scotland.",
"After their marriage on 30 September 1799, the Owens set up home in New Lanark, but later moved to Braxfield, Scotland. Robert and Caroline Owen had eight children, the first of whom died in infancy.",
"Robert and Caroline Owen had eight children, the first of whom died in infancy. Their seven survivors were four sons and three daughters: Robert Dale (1801–1877), William (1802–1842), Ann (or Anne) Caroline (1805–1831), Jane Dale (1805–1861), David Dale (1807–1860), Richard Dale (1809–1890) and Mary (1810–1832).",
"Their seven survivors were four sons and three daughters: Robert Dale (1801–1877), William (1802–1842), Ann (or Anne) Caroline (1805–1831), Jane Dale (1805–1861), David Dale (1807–1860), Richard Dale (1809–1890) and Mary (1810–1832). Owen's four sons, Robert Dale, William, David Dale and Richard, and his daughter Jane Dale, followed their father to the United States, becoming US citizens and permanent residents in New Harmony, Indiana.",
"Owen's four sons, Robert Dale, William, David Dale and Richard, and his daughter Jane Dale, followed their father to the United States, becoming US citizens and permanent residents in New Harmony, Indiana. Owen's wife Caroline and two of their daughters, Anne Caroline and Mary, remained in Britain, where they died in the 1830s.",
"Owen's wife Caroline and two of their daughters, Anne Caroline and Mary, remained in Britain, where they died in the 1830s. New Lanark mill In July 1799 Owen and his partners bought the New Lanark mill from David Dale, and Owen became its manager in January 1800.",
"New Lanark mill In July 1799 Owen and his partners bought the New Lanark mill from David Dale, and Owen became its manager in January 1800. Encouraged by his management success in Manchester, Owen hoped to conduct the New Lanark mill on higher principles than purely commercial ones.",
"Encouraged by his management success in Manchester, Owen hoped to conduct the New Lanark mill on higher principles than purely commercial ones. It had been established in 1785 by David Dale and Richard Arkwright. Its water power provided by the falls of the River Clyde turned its cotton-spinning operation into one of Britain's largest.",
"Its water power provided by the falls of the River Clyde turned its cotton-spinning operation into one of Britain's largest. About 2,000 individuals were involved, 500 of them children brought to the mill at the age of five or six from the poorhouses and charities of Edinburgh and Glasgow.",
"About 2,000 individuals were involved, 500 of them children brought to the mill at the age of five or six from the poorhouses and charities of Edinburgh and Glasgow. Dale, known for his benevolence, treated the children well, but the general condition of New Lanark residents was unsatisfactory, despite efforts by Dale and his son-in-law Owen to improve their workers' lives.",
"Dale, known for his benevolence, treated the children well, but the general condition of New Lanark residents was unsatisfactory, despite efforts by Dale and his son-in-law Owen to improve their workers' lives. Many of the workers were from the lowest social levels: theft, drunkenness and other vices were common and education and sanitation neglected.",
"Many of the workers were from the lowest social levels: theft, drunkenness and other vices were common and education and sanitation neglected. Most families lived in one room. More respected people rejected the long hours and demoralising drudgery of the mills.",
"More respected people rejected the long hours and demoralising drudgery of the mills. Until a series of Truck Acts (1831–1887) required employers to pay their employees in common currency, many operated a truck system, paying workers wholly or in part with tokens that had no monetary value outside the mill owner's \"truck shop\", which charged high prices for shoddy goods.",
"Until a series of Truck Acts (1831–1887) required employers to pay their employees in common currency, many operated a truck system, paying workers wholly or in part with tokens that had no monetary value outside the mill owner's \"truck shop\", which charged high prices for shoddy goods. Unlike others, Owen's truck store offered goods at prices only slightly above their wholesale cost, passing on the savings from bulk purchases to his customers and placing alcohol sales under strict supervision.",
"Unlike others, Owen's truck store offered goods at prices only slightly above their wholesale cost, passing on the savings from bulk purchases to his customers and placing alcohol sales under strict supervision. These principles became the basis for Britain's Co-operative shops, some of which continue trading in altered forms to this day.",
"These principles became the basis for Britain's Co-operative shops, some of which continue trading in altered forms to this day. Philosophy and influence Owen tested his social and economic ideas at New Lanark, where he won his workers' confidence and continued to have success through the improved efficiency at the mill.",
"Philosophy and influence Owen tested his social and economic ideas at New Lanark, where he won his workers' confidence and continued to have success through the improved efficiency at the mill. The community also earned an international reputation.",
"The community also earned an international reputation. Social reformers, statesmen and royalty, including the future Tsar Nicholas I of Russia, visited New Lanark to study its methods. The opinions of many such visitors were favourable. Owen's biggest success was in support of youth education and early child care.",
"Owen's biggest success was in support of youth education and early child care. As a pioneer in Britain, notably Scotland, Owen provided an alternative to the \"normal authoritarian approach to child education\".",
"As a pioneer in Britain, notably Scotland, Owen provided an alternative to the \"normal authoritarian approach to child education\". The manners of children brought up under his system were more graceful, genial and unconstrained; health, plenty and contentment prevailed; drunkenness was almost unknown and illegitimacy extremely rare.",
"The manners of children brought up under his system were more graceful, genial and unconstrained; health, plenty and contentment prevailed; drunkenness was almost unknown and illegitimacy extremely rare. Owen's relations with his workers remained excellent and operations at the mill proceeded in a smooth, regular and commercially successful way.",
"Owen's relations with his workers remained excellent and operations at the mill proceeded in a smooth, regular and commercially successful way. However, some of Owen's schemes displeased his partners, forcing him to arrange for other investors to buy his share of the business in 1813, for the equivalent of US$800,000.",
"However, some of Owen's schemes displeased his partners, forcing him to arrange for other investors to buy his share of the business in 1813, for the equivalent of US$800,000. The new investors, who included Jeremy Bentham and the well-known Quaker William Allen, were content to accept a £5,000 return on their capital.",
"The new investors, who included Jeremy Bentham and the well-known Quaker William Allen, were content to accept a £5,000 return on their capital. The ownership change also provided Owen with a chance to broaden his philanthropy, advocating improvements in workers' rights and child labour laws, and free education for children.",
"The ownership change also provided Owen with a chance to broaden his philanthropy, advocating improvements in workers' rights and child labour laws, and free education for children. In 1813 Owen authored and published A New View of Society, or Essays on the Principle of the Formation of the Human Character, the first of four essays he wrote to explain the principles behind his philosophy of socialistic reform.",
"In 1813 Owen authored and published A New View of Society, or Essays on the Principle of the Formation of the Human Character, the first of four essays he wrote to explain the principles behind his philosophy of socialistic reform. In this he writes: Owen had originally been a follower of the classical liberal, utilitarian Jeremy Bentham, who believed that free markets, in particular the right of workers to move and choose their employers, would release workers from the excessive power of capitalists.",
"In this he writes: Owen had originally been a follower of the classical liberal, utilitarian Jeremy Bentham, who believed that free markets, in particular the right of workers to move and choose their employers, would release workers from the excessive power of capitalists. However, Owen developed his own, pro-socialist outlook.",
"However, Owen developed his own, pro-socialist outlook. In addition, Owen as a deist, criticised organised religion, including the Church of England, and developed a belief system of his own. Owen felt that human character is formed by conditions over which individuals have no control.",
"Owen felt that human character is formed by conditions over which individuals have no control. Thus individuals could not be praised or blamed for their behaviour or situation in life.",
"Thus individuals could not be praised or blamed for their behaviour or situation in life. This principle led Owen to conclude that the correct formation of people's characters called for placing them under proper environmental influences – physical, moral and social – from their earliest years.",
"This principle led Owen to conclude that the correct formation of people's characters called for placing them under proper environmental influences – physical, moral and social – from their earliest years. These notions of inherent irresponsibility in humans and the effect of early influences on an individual's character formed the basis of Owen's system of education and social reform.",
"These notions of inherent irresponsibility in humans and the effect of early influences on an individual's character formed the basis of Owen's system of education and social reform. Relying on his own observations, experiences and thoughts, Owen saw his view of human nature as original and \"the most basic and necessary constituent in an evolving science of society\".",
"Relying on his own observations, experiences and thoughts, Owen saw his view of human nature as original and \"the most basic and necessary constituent in an evolving science of society\". His philosophy was influenced by Sir Isaac Newton's views on natural law, and his views resembled those of Plato, Denis Diderot, Claude Adrien Helvétius, William Godwin, John Locke, James Mill, and Jeremy Bentham, among others.",
"His philosophy was influenced by Sir Isaac Newton's views on natural law, and his views resembled those of Plato, Denis Diderot, Claude Adrien Helvétius, William Godwin, John Locke, James Mill, and Jeremy Bentham, among others. Owen did not have the direct influence of Enlightenment philosophers.",
"Owen did not have the direct influence of Enlightenment philosophers. Owen's work at New Lanark continued to have significance in Britain and continental Europe. He was a \"pioneer in factory reform, the father of distributive cooperation, and the founder of nursery schools.\"",
"He was a \"pioneer in factory reform, the father of distributive cooperation, and the founder of nursery schools.\" His schemes for educating his workers included opening an Institute for the Formation of Character at New Lanark in 1818. This and other programmes at New Lanark provided free education from infancy to adulthood.",
"This and other programmes at New Lanark provided free education from infancy to adulthood. In addition, he zealously supported factory legislation that culminated in the Cotton Mills and Factories Act of 1819. Owen also had interviews and communications with leading members of the British government, including its premier, Robert Banks Jenkinson, Lord Liverpool.",
"Owen also had interviews and communications with leading members of the British government, including its premier, Robert Banks Jenkinson, Lord Liverpool. He also met many of the rulers and leading statesmen of Europe. Owen adopted new principles to raise the standard of goods his workers produced.",
"Owen adopted new principles to raise the standard of goods his workers produced. A cube with faces painted in different colours was installed above each machinist's workplace. The colour of the face showed to all who saw it the quality and quantity of goods the worker completed. The intention was to encourage workers to do their best.",
"The intention was to encourage workers to do their best. Although it was no great incentive in itself, conditions at New Lanark for workers and their families were idyllic for the time. Eight-hour day Owen raised the demand for an eight-hour day in 1810 and set about instituting the policy at New Lanark.",
"Eight-hour day Owen raised the demand for an eight-hour day in 1810 and set about instituting the policy at New Lanark. By 1817 he had formulated the goal of an eight-hour working day with the slogan \"eight hours labour, eight hours recreation, eight hours rest\".",
"By 1817 he had formulated the goal of an eight-hour working day with the slogan \"eight hours labour, eight hours recreation, eight hours rest\". Models for socialism (1817) Owen embraced socialism in 1817, a turning point in his life, in which he pursued a \"New View of Society\".",
"Models for socialism (1817) Owen embraced socialism in 1817, a turning point in his life, in which he pursued a \"New View of Society\". He outlined his position in a report to the committee of the House of Commons on the country's Poor Laws.",
"He outlined his position in a report to the committee of the House of Commons on the country's Poor Laws. As misery and trade stagnation after the Napoleonic Wars drew national attention, the government called on Owen for advice on how to alleviate the industrial concerns.",
"As misery and trade stagnation after the Napoleonic Wars drew national attention, the government called on Owen for advice on how to alleviate the industrial concerns. Although he ascribed the immediate misery to the wars, he saw as the underlying cause competition of human labour with machinery, and recommended setting up self-sufficient communities.",
"Although he ascribed the immediate misery to the wars, he saw as the underlying cause competition of human labour with machinery, and recommended setting up self-sufficient communities. Owen proposed that communities of some 1,200 people should settle on land from , all living in one building with a public kitchen and dining halls.",
"Owen proposed that communities of some 1,200 people should settle on land from , all living in one building with a public kitchen and dining halls. (The proposed size may have been influenced by the size of the village of New Lanark.)",
"(The proposed size may have been influenced by the size of the village of New Lanark.) Owen also proposed that each family have its own private apartments and the responsibility for the care of its children up to the age of three.",
"Owen also proposed that each family have its own private apartments and the responsibility for the care of its children up to the age of three. Thereafter children would be raised by the community, but their parents would have access to them at mealtimes and on other occasions.",
"Thereafter children would be raised by the community, but their parents would have access to them at mealtimes and on other occasions. Owen further suggested that such communities be established by individuals, parishes, counties, or other governmental units. In each case there would be effective supervision by qualified persons.",
"In each case there would be effective supervision by qualified persons. Work and enjoyment of its results should be experienced communally. Owen believed his idea would be the best way to reorganise society in general, and called his vision the \"New Moral World\". Owen's utopian model changed little in his lifetime.",
"Owen's utopian model changed little in his lifetime. His developed model envisaged an association of 500–3,000 people as the optimum for a working community. While mainly agricultural, it would possess the best machinery, offer varied employment, and as far as possible be self-contained.",
"While mainly agricultural, it would possess the best machinery, offer varied employment, and as far as possible be self-contained. Owen went on to explain that as such communities proliferated, \"unions of them federatively united shall be formed in circle of tens, hundreds and thousands\", linked by common interest.",
"Owen went on to explain that as such communities proliferated, \"unions of them federatively united shall be formed in circle of tens, hundreds and thousands\", linked by common interest. Arguments against Owen and his answers Owen always tried to spread his ideas to wider communities. First, he started publishing his ideas in newspapers.",
"First, he started publishing his ideas in newspapers. Owen then sent such newspapers widely to parliamentarians, politicians and other important people. These articles spurred the first negative reactions to his ideas. Opponents thought that Owen's plans would result in an uncontrollable increase in population and poverty.",
"Opponents thought that Owen's plans would result in an uncontrollable increase in population and poverty. The other main criticism was that Owen's plan and the common use of everything would essentially make the country one large workshop.",
"The other main criticism was that Owen's plan and the common use of everything would essentially make the country one large workshop. William Hone claimed that Owen saw people as unravelled plants from their roots, and that he wanted to plant them in rectangles.",
"William Hone claimed that Owen saw people as unravelled plants from their roots, and that he wanted to plant them in rectangles. Another commentator accused Owen of wanting to imprison people in workshops like barracks and eradicate their personal independence. Owen's opponents had begun to regard him as an enemy of religion.",
"Owen's opponents had begun to regard him as an enemy of religion. His influence in ruling circles, which he had hoped would help him to accomplish his \"plan\", started diminishing and rumours of his lack of religious conviction spread.",
"His influence in ruling circles, which he had hoped would help him to accomplish his \"plan\", started diminishing and rumours of his lack of religious conviction spread. Owen believed that without a change in the character of individuals and the environment in which they live, they would remain hostile to those around them.",
"Owen believed that without a change in the character of individuals and the environment in which they live, they would remain hostile to those around them. As long as such a social order continued, the positive aspects of Christianity could never be put into practice.",
"As long as such a social order continued, the positive aspects of Christianity could never be put into practice. Owen also considered it necessary to give people more freedom in order to improve the situation of the poor and working classes.",
"Owen also considered it necessary to give people more freedom in order to improve the situation of the poor and working classes. Unless people were better educated, unless they gained more useful information and had permanent employment, they were a danger to the security of the state when given more freedom than the British Constitution did at the time.",
"Unless people were better educated, unless they gained more useful information and had permanent employment, they were a danger to the security of the state when given more freedom than the British Constitution did at the time. Without making any changes in the national institutions, he believed that even reorganizing the working classes would bring great benefits.",
"Without making any changes in the national institutions, he believed that even reorganizing the working classes would bring great benefits. So he opposed the views of radicals seeking to change in the public mentality by expanding voting rights. Other notable critics of Owen include Karl Marx and Friedrich Engels, who viewed his work as a precursor to their own.",
"Other notable critics of Owen include Karl Marx and Friedrich Engels, who viewed his work as a precursor to their own. They recognized in Owen the important understanding, developed by Marx in Capital, that it is the working class that are responsible for creating the unparalleled wealth in capitalist societies.",
"They recognized in Owen the important understanding, developed by Marx in Capital, that it is the working class that are responsible for creating the unparalleled wealth in capitalist societies. Similarly, Owen also recognized that under the existing economic system, the working class did not automatically receive the benefits of that newly created wealth.",
"Similarly, Owen also recognized that under the existing economic system, the working class did not automatically receive the benefits of that newly created wealth. Marx and Engels, differentiated, however, their own scientific conception of socialism from Owen's societies.",
"Marx and Engels, differentiated, however, their own scientific conception of socialism from Owen's societies. They argued that Owen's plan, to create a model socialist utopia to coexist with contemporary society and prove its superiority over time, was insufficient to create a new society.",
"They argued that Owen's plan, to create a model socialist utopia to coexist with contemporary society and prove its superiority over time, was insufficient to create a new society. In their view, Owen's \"socialism\" was utopian, since to Owen and the other utopian socialists \"[s]ocialism is the expression of absolute truth, reason and justice, and has only to be discovered to conquer all the world by virtue of its own power.\"",
"In their view, Owen's \"socialism\" was utopian, since to Owen and the other utopian socialists \"[s]ocialism is the expression of absolute truth, reason and justice, and has only to be discovered to conquer all the world by virtue of its own power.\" Marx and Engels believed that the overthrow of the capitalist system could only occur once the working class was organized into a revolutionary socialist political party of the working class that was completely independent of all capitalist class influence whereas the utopians sought the assistance and the co-operation of the capitalists in order to achieve the transition to socialism.",
"Marx and Engels believed that the overthrow of the capitalist system could only occur once the working class was organized into a revolutionary socialist political party of the working class that was completely independent of all capitalist class influence whereas the utopians sought the assistance and the co-operation of the capitalists in order to achieve the transition to socialism. Community experiments To test the viability of his ideas for self-sufficient working communities, Owen began experimenting in communal living in America in 1825.",
"Community experiments To test the viability of his ideas for self-sufficient working communities, Owen began experimenting in communal living in America in 1825. Among the most famous efforts was the one set up at New Harmony, Indiana. Of the 130 identifiable communitarian experiments in America before the American Civil War, at least 16 were Owenite or Owenite-influenced.",
"Of the 130 identifiable communitarian experiments in America before the American Civil War, at least 16 were Owenite or Owenite-influenced. New Harmony was Owen's earliest and most ambitious of these. Owen and his son William sailed to America in October 1824 to establish an experimental community in Indiana.",
"Owen and his son William sailed to America in October 1824 to establish an experimental community in Indiana. In January 1825 Owen used a portion of his own funds to purchase an existing town of 180 buildings and several thousand acres of land along the Wabash River in Indiana.",
"In January 1825 Owen used a portion of his own funds to purchase an existing town of 180 buildings and several thousand acres of land along the Wabash River in Indiana. George Rapp's Harmony Society, the religious group that owned the property and had founded the communal village of Harmony (or Harmonie) on the site in 1814, decided in 1824 to relocate to Pennsylvania.",
"George Rapp's Harmony Society, the religious group that owned the property and had founded the communal village of Harmony (or Harmonie) on the site in 1814, decided in 1824 to relocate to Pennsylvania. Owen renamed it New Harmony and made the village his preliminary model for a Utopian community.",
"Owen renamed it New Harmony and made the village his preliminary model for a Utopian community. Owen sought support for his socialist vision among American thinkers, reformers, intellectuals and public statesmen.",
"Owen sought support for his socialist vision among American thinkers, reformers, intellectuals and public statesmen. On 25 February and 7 March 1825, Owen gave addresses in the U.S. House of Representatives to the U.S. Congress and others in the US government, outlining his vision for the Utopian community at New Harmony, and his socialist beliefs.",
"On 25 February and 7 March 1825, Owen gave addresses in the U.S. House of Representatives to the U.S. Congress and others in the US government, outlining his vision for the Utopian community at New Harmony, and his socialist beliefs. The audience for his ideas included three former U.S. presidents – John Adams, Thomas Jefferson, and James Madison) – the outgoing US President James Monroe, and the President-elect, John Quincy Adams.",
"The audience for his ideas included three former U.S. presidents – John Adams, Thomas Jefferson, and James Madison) – the outgoing US President James Monroe, and the President-elect, John Quincy Adams. His meetings were perhaps the first discussions of socialism in the Americas; they were certainly a big step towards discussion of it in the United States.",
"His meetings were perhaps the first discussions of socialism in the Americas; they were certainly a big step towards discussion of it in the United States. Owenism, among the first socialist ideologies active in the United States, can be seen as an instigator of the later socialist movement.",
"Owenism, among the first socialist ideologies active in the United States, can be seen as an instigator of the later socialist movement. Owen convinced William Maclure, a wealthy Scottish scientist and philanthropist living in Philadelphia to join him at New Harmony and become his financial partner.",
"Owen convinced William Maclure, a wealthy Scottish scientist and philanthropist living in Philadelphia to join him at New Harmony and become his financial partner. Maclure's involvement went on to attract scientists, educators and artists such as Thomas Say, Charles-Alexandre Lesueur, and Madame Marie Duclos Fretageot.",
"Maclure's involvement went on to attract scientists, educators and artists such as Thomas Say, Charles-Alexandre Lesueur, and Madame Marie Duclos Fretageot. These helped to turn the New Harmony community into a centre for educational reform, scientific research and artistic expression.",
"These helped to turn the New Harmony community into a centre for educational reform, scientific research and artistic expression. Although Owen sought to build a \"Village of Unity and Mutual Cooperation\" south of the town, his grand plan was never fully realised and he returned to Britain to continue his work.",
"Although Owen sought to build a \"Village of Unity and Mutual Cooperation\" south of the town, his grand plan was never fully realised and he returned to Britain to continue his work. During his long absences from New Harmony, Owen left the experiment under the day-to-day management of his sons, Robert Dale Owen and William Owen, and his business partner, Maclure.",
"During his long absences from New Harmony, Owen left the experiment under the day-to-day management of his sons, Robert Dale Owen and William Owen, and his business partner, Maclure. However, New Harmony proved to be an economic failure, lasting about two years, although it had attracted over a thousand residents by the end of its first year.",
"However, New Harmony proved to be an economic failure, lasting about two years, although it had attracted over a thousand residents by the end of its first year. The socialistic society was dissolved in 1827, but many of its scientists, educators, artists and other inhabitants, including Owen's four sons, Robert Dale, William, David Dale, and Richard Dale Owen, and his daughter Jane Dale Owen Fauntleroy, remained at New Harmony after the experiment ended.",
"The socialistic society was dissolved in 1827, but many of its scientists, educators, artists and other inhabitants, including Owen's four sons, Robert Dale, William, David Dale, and Richard Dale Owen, and his daughter Jane Dale Owen Fauntleroy, remained at New Harmony after the experiment ended. Other experiments in the United States included communal settlements at Blue Spring, near Bloomington, Indiana, at Yellow Springs, Ohio, and at Forestville Commonwealth at Earlton, New York, as well as other projects in New York, Pennsylvania, and Tennessee.",
"Other experiments in the United States included communal settlements at Blue Spring, near Bloomington, Indiana, at Yellow Springs, Ohio, and at Forestville Commonwealth at Earlton, New York, as well as other projects in New York, Pennsylvania, and Tennessee. Nearly all of these had ended before New Harmony was dissolved in April 1827.",
"Nearly all of these had ended before New Harmony was dissolved in April 1827. Owen's Utopian communities attracted a mix of people, many with the highest aims. They included vagrants, adventurers and other reform-minded enthusiasts.",
"They included vagrants, adventurers and other reform-minded enthusiasts. In the words of Owen's son David Dale Owen, they attracted \"a heterogeneous collection of Radicals\", \"enthusiastic devotees to principle,\" and \"honest latitudinarians, and lazy theorists,\" with \"a sprinkling of unprincipled sharpers thrown in.\"",
"In the words of Owen's son David Dale Owen, they attracted \"a heterogeneous collection of Radicals\", \"enthusiastic devotees to principle,\" and \"honest latitudinarians, and lazy theorists,\" with \"a sprinkling of unprincipled sharpers thrown in.\" Josiah Warren, a participant at New Harmony, asserted that it was doomed to failure for lack of individual sovereignty and personal property.",
"Josiah Warren, a participant at New Harmony, asserted that it was doomed to failure for lack of individual sovereignty and personal property. In describing the community, Warren explained: \"We had a world in miniature – we had enacted the French revolution over again with despairing hearts instead of corpses as a result....",
"In describing the community, Warren explained: \"We had a world in miniature – we had enacted the French revolution over again with despairing hearts instead of corpses as a result.... It appeared that it was nature's own inherent law of diversity that had conquered us... our 'united interests' were directly at war with the individualities of persons and circumstances and the instinct of self-preservation....\" Warren's observations on the reasons for the community's failure led to the development of American individualist anarchism, of which he was its original theorist.",
"It appeared that it was nature's own inherent law of diversity that had conquered us... our 'united interests' were directly at war with the individualities of persons and circumstances and the instinct of self-preservation....\" Warren's observations on the reasons for the community's failure led to the development of American individualist anarchism, of which he was its original theorist. Some historians have traced the demise of New Harmony to serial disagreements among its members.",
"Some historians have traced the demise of New Harmony to serial disagreements among its members. Social experiments also began in Scotland in 1825, when Abram Combe, an Owenite, attempted a utopian experiment at Orbiston, near Glasgow, but this failed after about two years.",
"Social experiments also began in Scotland in 1825, when Abram Combe, an Owenite, attempted a utopian experiment at Orbiston, near Glasgow, but this failed after about two years. In the 1830s, additional experiments in socialistic cooperatives were made in Ireland and Britain, the most important being at Ralahine, established in 1831 in County Clare, Ireland, and at Tytherley, begun in 1839 in Hampshire, England.",
"In the 1830s, additional experiments in socialistic cooperatives were made in Ireland and Britain, the most important being at Ralahine, established in 1831 in County Clare, Ireland, and at Tytherley, begun in 1839 in Hampshire, England. The former proved a remarkable success for three-and-a-half years until the proprietor, having ruined himself by gambling, had to sell his interest.",
"The former proved a remarkable success for three-and-a-half years until the proprietor, having ruined himself by gambling, had to sell his interest. Tytherley, known as Harmony Hall or Queenwood College, was designed by the architect Joseph Hansom. This also failed.",
"This also failed. This also failed. Another social experiment, Manea Colony in the Isle of Ely, Cambridgeshire, launched in the late 1830s by William Hodson, likewise an Owenite, but it failed in a couple of years and Hodson emigrated to the United States.",
"Another social experiment, Manea Colony in the Isle of Ely, Cambridgeshire, launched in the late 1830s by William Hodson, likewise an Owenite, but it failed in a couple of years and Hodson emigrated to the United States. The Manea Colony site has been excavated by Cambridge Archaeology Unit (CAU) based at the University of Cambridge.",
"The Manea Colony site has been excavated by Cambridge Archaeology Unit (CAU) based at the University of Cambridge. Return to Britain Although Owen made further brief visits to the United States, London became his permanent home and the centre of his work in 1828.",
"Return to Britain Although Owen made further brief visits to the United States, London became his permanent home and the centre of his work in 1828. After extended friction with William Allen and some other business partners, Owen relinquished all connections with New Lanark.",
"After extended friction with William Allen and some other business partners, Owen relinquished all connections with New Lanark. He is often quoted in a comment by Allen at the time, \"All the world is queer save thee and me, and even thou art a little queer\".",
"He is often quoted in a comment by Allen at the time, \"All the world is queer save thee and me, and even thou art a little queer\". Having invested most of his fortune in the failed New Harmony communal experiment, Owen was no longer a wealthy capitalist.",
"Having invested most of his fortune in the failed New Harmony communal experiment, Owen was no longer a wealthy capitalist. However, he remained the head of a vigorous propaganda effort to promote industrial equality, free education for children and adequate living conditions in factory towns, while delivering lectures in Europe and publishing a weekly newspaper to gain support for his ideas.",
"However, he remained the head of a vigorous propaganda effort to promote industrial equality, free education for children and adequate living conditions in factory towns, while delivering lectures in Europe and publishing a weekly newspaper to gain support for his ideas. In 1832 Owen opened the National Equitable Labour Exchange system, a time-based currency in which the exchange of goods was effected by means of labour notes; this system superseded the usual means of exchange and middlemen.",
"In 1832 Owen opened the National Equitable Labour Exchange system, a time-based currency in which the exchange of goods was effected by means of labour notes; this system superseded the usual means of exchange and middlemen. The London exchange continued until 1833, a Birmingham branch operating for just a few months until July 1833.",
"The London exchange continued until 1833, a Birmingham branch operating for just a few months until July 1833. Owen also became involved in trade unionism, briefly leading the Grand National Consolidated Trade Union (GNCTU) before its collapse in 1834.",
"Owen also became involved in trade unionism, briefly leading the Grand National Consolidated Trade Union (GNCTU) before its collapse in 1834. Socialism first became current in British terminology in discussions of the Association of all Classes of all Nations, which Owen formed in 1835 and served as its initial leader.",
"Socialism first became current in British terminology in discussions of the Association of all Classes of all Nations, which Owen formed in 1835 and served as its initial leader. Owen's secular views also gained enough influence among the working classes to cause the Westminster Review to comment in 1839 that his principles were the creed of many of them.",
"Owen's secular views also gained enough influence among the working classes to cause the Westminster Review to comment in 1839 that his principles were the creed of many of them. However, by 1846, the only lasting result of Owen's agitation for social change, carried on through public meetings, pamphlets, periodicals, and occasional treatises, remained the Co-operative movement, and for a time even that seemed to have collapsed.",
"However, by 1846, the only lasting result of Owen's agitation for social change, carried on through public meetings, pamphlets, periodicals, and occasional treatises, remained the Co-operative movement, and for a time even that seemed to have collapsed. Role in spiritualism In 1817, Owen publicly claimed that all religions were false.",
"Role in spiritualism In 1817, Owen publicly claimed that all religions were false. In 1854, aged 83, Owen converted to spiritualism after a series of sittings with Maria B. Hayden, an American medium credited with introducing spiritualism to England.",
"In 1854, aged 83, Owen converted to spiritualism after a series of sittings with Maria B. Hayden, an American medium credited with introducing spiritualism to England. He made a public profession of his new faith in his publication The Rational Quarterly Review and in a pamphlet titled The future of the Human race; or great glorious and future revolution to be effected through the agency of departed spirits of good and superior men and women.",
"He made a public profession of his new faith in his publication The Rational Quarterly Review and in a pamphlet titled The future of the Human race; or great glorious and future revolution to be effected through the agency of departed spirits of good and superior men and women. Owen claimed to have had medium contact with spirits of Benjamin Franklin, Thomas Jefferson and others.",
"Owen claimed to have had medium contact with spirits of Benjamin Franklin, Thomas Jefferson and others. He explained that the purpose of these was to change \"the present, false, disunited and miserable state of human existence, for a true, united and happy state... to prepare the world for universal peace, and to infuse into all the spirit of charity, forbearance and love.\"",
"He explained that the purpose of these was to change \"the present, false, disunited and miserable state of human existence, for a true, united and happy state... to prepare the world for universal peace, and to infuse into all the spirit of charity, forbearance and love.\" Spiritualists claimed after Owen's death that his spirit had dictated to the medium Emma Hardinge Britten in 1871 the \"Seven Principles of Spiritualism\", used by their National Union as \"the basis of its religious philosophy\".",
"Spiritualists claimed after Owen's death that his spirit had dictated to the medium Emma Hardinge Britten in 1871 the \"Seven Principles of Spiritualism\", used by their National Union as \"the basis of its religious philosophy\". Death and legacy As Owen grew older and more radical in his views, his influence began to decline.",
"Death and legacy As Owen grew older and more radical in his views, his influence began to decline. Owen published his memoirs, The Life of Robert Owen, in 1857, a year before his death.",
"Owen published his memoirs, The Life of Robert Owen, in 1857, a year before his death. Although he had spent most of his life in England and Scotland, Owen returned to his native town of Newtown at the end of his life. He died there on 17 November 1858 and was buried there on 21 November.",
"He died there on 17 November 1858 and was buried there on 21 November. He died penniless apart from an annual income drawn from a trust established by his sons in 1844. Owen was a reformer, philanthropist, community builder, and spiritualist who spent his life seeking to improve the lives of others.",
"Owen was a reformer, philanthropist, community builder, and spiritualist who spent his life seeking to improve the lives of others. An advocate of the working class, he improved working conditions for factory workers, which he demonstrated at New Lanark, Scotland, became a leader in trade unionism, promoted social equality through his experimental Utopian communities, and supported the passage of child labour laws and free education for children.",
"An advocate of the working class, he improved working conditions for factory workers, which he demonstrated at New Lanark, Scotland, became a leader in trade unionism, promoted social equality through his experimental Utopian communities, and supported the passage of child labour laws and free education for children. In these reforms he was ahead of his time.",
"In these reforms he was ahead of his time. He envisioned a communal society that others could consider and apply as they wished.",
"He envisioned a communal society that others could consider and apply as they wished. In Revolution in the Mind and Practice of the Human Race (1849), he went on to say that character is formed by a combination of Nature or God and the circumstances of the individual's experience.",
"In Revolution in the Mind and Practice of the Human Race (1849), he went on to say that character is formed by a combination of Nature or God and the circumstances of the individual's experience. Citing beneficial results at New Lanark, Scotland, during 30 years of work there, Owen concluded that a person's \"character is not made by, but for the individual,\" and that nature and society are responsible for each person's character and conduct.",
"Citing beneficial results at New Lanark, Scotland, during 30 years of work there, Owen concluded that a person's \"character is not made by, but for the individual,\" and that nature and society are responsible for each person's character and conduct. Owen's agitation for social change, along with the work of the Owenites and of his own children, helped to bring lasting social reforms in women's and workers' rights, establish free public libraries and museums, child care and public, co-educational schools, and pre-Marxian communism, and develop the Co-operative and trade union movements.",
"Owen's agitation for social change, along with the work of the Owenites and of his own children, helped to bring lasting social reforms in women's and workers' rights, establish free public libraries and museums, child care and public, co-educational schools, and pre-Marxian communism, and develop the Co-operative and trade union movements. New Harmony, Indiana, and New Lanark, Scotland, two towns with which he is closely associated, remain as reminders of his efforts.",
"New Harmony, Indiana, and New Lanark, Scotland, two towns with which he is closely associated, remain as reminders of his efforts. Owen's legacy of public service continued with his four sons, Robert Dale, William, David Dale, and Richard Dale, and his daughter, Jane, who followed him to America to live at New Harmony, Indiana: Robert Dale Owen (1801–1877), an able exponent of his father's doctrines, managed the New Harmony community after his father returned to Britain in 1825.",
"Owen's legacy of public service continued with his four sons, Robert Dale, William, David Dale, and Richard Dale, and his daughter, Jane, who followed him to America to live at New Harmony, Indiana: Robert Dale Owen (1801–1877), an able exponent of his father's doctrines, managed the New Harmony community after his father returned to Britain in 1825. He wrote articles and co-edited with Frances Wright the New-Harmony Gazette in the late 1820s in Indiana and the Free Enquirer in the 1830s in New York City.",
"He wrote articles and co-edited with Frances Wright the New-Harmony Gazette in the late 1820s in Indiana and the Free Enquirer in the 1830s in New York City. Owen returned to New Harmony in 1833 and became active in Indiana politics.",
"Owen returned to New Harmony in 1833 and became active in Indiana politics. He was elected to the Indiana House of Representatives (1836–1839 and 1851–1853) and U.S. House of Representatives (1843–1847), and was appointed chargé d'affaires in Naples in 1853–1858.",
"He was elected to the Indiana House of Representatives (1836–1839 and 1851–1853) and U.S. House of Representatives (1843–1847), and was appointed chargé d'affaires in Naples in 1853–1858. While serving as a member of Congress, he drafted and helped to secure passage of a bill founding the Smithsonian Institution in 1846.",
"While serving as a member of Congress, he drafted and helped to secure passage of a bill founding the Smithsonian Institution in 1846. He was elected a delegate to the Indiana Constitutional Convention in 1850, and argued in support of widows and married women's property and divorce rights.",
"He was elected a delegate to the Indiana Constitutional Convention in 1850, and argued in support of widows and married women's property and divorce rights. He also favoured legislation for Indiana's tax-supported public school system.",
"He also favoured legislation for Indiana's tax-supported public school system. Like his father, he believed in spiritualism, authoring two books on the subject: Footfalls on the Boundary of Another World (1859) and The Debatable Land Between this World and the Next (1872).",
"Like his father, he believed in spiritualism, authoring two books on the subject: Footfalls on the Boundary of Another World (1859) and The Debatable Land Between this World and the Next (1872). William Owen (1802–1842) moved to the United States with his father in 1824.",
"William Owen (1802–1842) moved to the United States with his father in 1824. His business skill, notably his knowledge of cotton-goods manufacturing, allowed him to remain at New Harmony after his father returned to Scotland, and serve as adviser to the community.",
"His business skill, notably his knowledge of cotton-goods manufacturing, allowed him to remain at New Harmony after his father returned to Scotland, and serve as adviser to the community. He organised New Harmony's Thespian Society in 1827, but died of unknown causes at the age of 40.",
"He organised New Harmony's Thespian Society in 1827, but died of unknown causes at the age of 40. Jane Dale Owen Fauntleroy (1805–1861) arrived in the United States in 1833 and settled in New Harmony. She was a musician and educator who set up a school in her home.",
"She was a musician and educator who set up a school in her home. In 1835 she married Robert Henry Fauntleroy, a civil engineer from Virginia living at New Harmony. David Dale Owen (1807–1860) moved to the United States in 1827 and resided at New Harmony for several years.",
"David Dale Owen (1807–1860) moved to the United States in 1827 and resided at New Harmony for several years. He trained as a geologist and natural scientist and earned a medical degree. He was appointed a United States geologist in 1839.",
"He was appointed a United States geologist in 1839. His work included geological surveys in the Midwest, more specifically the states of Indiana, Iowa, Missouri, and Arkansas, as well as Minnesota Territory. His brother Richard succeeded him as state geologist of Indiana.",
"His brother Richard succeeded him as state geologist of Indiana. Richard Dale Owen (1810–1890) emigrated to the United States in 1827 and joined his siblings at New Harmony. He fought in the Mexican–American War in 1847, taught natural science at Western Military Institute in Tennessee in 1849–1859, and earned a medical degree in 1858.",
"He fought in the Mexican–American War in 1847, taught natural science at Western Military Institute in Tennessee in 1849–1859, and earned a medical degree in 1858. During the American Civil War he was a colonel in the Union army and served as a commandant of Camp Morton, a prisoner-of-war camp for Confederate soldiers at Indianapolis, Indiana.",
"During the American Civil War he was a colonel in the Union army and served as a commandant of Camp Morton, a prisoner-of-war camp for Confederate soldiers at Indianapolis, Indiana. After the war, Owen served as Indiana's second state geologist.",
"After the war, Owen served as Indiana's second state geologist. In addition, he was a professor at Indiana University and chaired its natural science department in 1864–1879. He helped plan Purdue University and was appointed its first president in 1872–1874, but resigned before its classes began and resumed teaching at Indiana University.",
"He helped plan Purdue University and was appointed its first president in 1872–1874, but resigned before its classes began and resumed teaching at Indiana University. He spent his retirement years on research and writing. Honours and tributes The Co-operative Movement erected a monument to Robert Owen in 1902 at his burial site in Newtown, Montgomeryshire.",
"Honours and tributes The Co-operative Movement erected a monument to Robert Owen in 1902 at his burial site in Newtown, Montgomeryshire. The Welsh people donated a bust of Owen by Welsh sculptor Sir William Goscombe John to the International Labour Office library in Geneva, Switzerland.",
"The Welsh people donated a bust of Owen by Welsh sculptor Sir William Goscombe John to the International Labour Office library in Geneva, Switzerland. Selected published works A New View of Society: Or, Essays on the Formation of Human Character, and the Application of the Principle to Practice (London, 1813).",
"Selected published works A New View of Society: Or, Essays on the Formation of Human Character, and the Application of the Principle to Practice (London, 1813). Retitled, A New View of Society: Or, Essays on the Formation of Human Character Preparatory to the Development of a Plan for Gradually Ameliorating the Condition of Mankind, for second edition, 1816 Observations on the Effect of the Manufacturing System.",
"Retitled, A New View of Society: Or, Essays on the Formation of Human Character Preparatory to the Development of a Plan for Gradually Ameliorating the Condition of Mankind, for second edition, 1816 Observations on the Effect of the Manufacturing System. London, 1815 Report to the Committee of the Association for the Relief of the Manufacturing and Labouring Poor (1817) Two Memorials on Behalf of the Working Classes (London: Longman, Hurst, Rees, Orme, and Brown, 181 An Address to the Master Manufacturers of Great Britain: On the Present Existing Evils in the Manufacturing System (Bolton, 1819) Report to the County of Lanark of a Plan for relieving Public Distress (Glasgow: Glasgow University Press, 1821) An Explanation of the Cause of Distress which pervades the civilised parts of the world (London and Paris, 1823) An Address to All Classes in the State.",
"London, 1815 Report to the Committee of the Association for the Relief of the Manufacturing and Labouring Poor (1817) Two Memorials on Behalf of the Working Classes (London: Longman, Hurst, Rees, Orme, and Brown, 181 An Address to the Master Manufacturers of Great Britain: On the Present Existing Evils in the Manufacturing System (Bolton, 1819) Report to the County of Lanark of a Plan for relieving Public Distress (Glasgow: Glasgow University Press, 1821) An Explanation of the Cause of Distress which pervades the civilised parts of the world (London and Paris, 1823) An Address to All Classes in the State. London, 1832 The Revolution in the Mind and Practice of the Human Race.",
"London, 1832 The Revolution in the Mind and Practice of the Human Race. London, 1849 Collected works: A New View of Society and Other Writings, introduction by G. D. H. Cole.",
"London, 1849 Collected works: A New View of Society and Other Writings, introduction by G. D. H. Cole. London and New York: J. M. Dent & Sons, E. P. Dutton and Co., 1927 A New View of Society and Other Writings, G. Claeys, ed.",
"London and New York: J. M. Dent & Sons, E. P. Dutton and Co., 1927 A New View of Society and Other Writings, G. Claeys, ed. London and New York: Penguin Books, 1991 The Selected Works of Robert Owen, G. Claeys, ed., 4 vols.",
"London and New York: Penguin Books, 1991 The Selected Works of Robert Owen, G. Claeys, ed., 4 vols. London: Pickering and Chatto, 1993 Archival collections: Robert Owen Collection, National Co-operative Archive, United Kingdom.",
"London: Pickering and Chatto, 1993 Archival collections: Robert Owen Collection, National Co-operative Archive, United Kingdom. New Harmony, Indiana, Collection, 1814–1884, 1920, 1964, Indiana Historical Society, Indianapolis, Indiana, United States New Harmony Series III Collection, Workingmen's Institute, New Harmony, Indiana, United States Owen family collection, 1826–1967, bulk 1830–1890, Indiana University Archives, Bloomington, Indiana, United States See also Cincinnati Time Store José María Arizmendiarrieta Labour voucher List of Owenite communities in the United States Owenstown Owenism William King References Bibliography (online version) Further reading Biographies of Owen A. J. Booth, Robert Owen, the Founder of Socialism in England (London, 1869) G. D. H. Cole, Life of Robert Owen.",
"New Harmony, Indiana, Collection, 1814–1884, 1920, 1964, Indiana Historical Society, Indianapolis, Indiana, United States New Harmony Series III Collection, Workingmen's Institute, New Harmony, Indiana, United States Owen family collection, 1826–1967, bulk 1830–1890, Indiana University Archives, Bloomington, Indiana, United States See also Cincinnati Time Store José María Arizmendiarrieta Labour voucher List of Owenite communities in the United States Owenstown Owenism William King References Bibliography (online version) Further reading Biographies of Owen A. J. Booth, Robert Owen, the Founder of Socialism in England (London, 1869) G. D. H. Cole, Life of Robert Owen. London, Ernest Benn Ltd., 1925; second edition Macmillan, 1930 Lloyd Jones.",
"London, Ernest Benn Ltd., 1925; second edition Macmillan, 1930 Lloyd Jones. The Life, Times, and Labours of Robert Owen. London, 1889 A. L. Morton, The Life and Ideas of Robert Owen.",
"London, 1889 A. L. Morton, The Life and Ideas of Robert Owen. New York, International Publishers, 1969 W. H. Oliver, \"Robert Owen and the English Working-Class Movements\", History Today (November 1958) 8–11, pp. 787–796 F. A. Packard, Life of Robert Owen.",
"787–796 F. A. Packard, Life of Robert Owen. Philadelphia: Ashmead & Evans, 1866 Frank Podmore, Robert Owen: A Biography. London: Hutchinson and Company, 1906 David Santilli, Life of the Mill Man. London, B. T. Batsford Ltd, 1987 William Lucas Sargant, Robert Owen and his social philosophy .",
"London, B. T. Batsford Ltd, 1987 William Lucas Sargant, Robert Owen and his social philosophy . London, 1860 Richard Tames, Radicals, Railways & Reform. London, B. T. Batsford Ltd, 1986 Other works about Owen Arthur Bestor, Backwoods Utopias.",
"London, B. T. Batsford Ltd, 1986 Other works about Owen Arthur Bestor, Backwoods Utopias. University of Pennsylvania Press, 1950, 2nd edition, 1970 John Butt (ed). Robert Owen: Aspects of his Life and Work. Humanities Press, 1971 Gregory Claeys, Citizens and Saints. Politics and Anti-Politics in Early British Socialism.",
"Politics and Anti-Politics in Early British Socialism. Cambridge University Press, 1989 Gregory Claeys, Machinery, Money and the Millennium: From Moral Economy to Socialism 1815–1860. Princeton University Press, 1987 R. E. Davies, The Life of Robert Owen, Philanthropist and Social Reformer, An Appreciation.",
"Princeton University Press, 1987 R. E. Davies, The Life of Robert Owen, Philanthropist and Social Reformer, An Appreciation. Robert Sutton, 1907 R. E. Davis and F. J. O'Hagan, Robert Owen. London: Continuum Press, 2010 E. Dolleans, Robert Owen. Paris, 1905 I. Donnachie, Robert Owen.",
"Paris, 1905 I. Donnachie, Robert Owen. Owen of New Lanark and New Harmony. 2000 Auguste Marie Fabre, Un Socialiste Pratique, Robert Owen. Nìmes, Bureaux de l'Émancipation, 1896 John F. C. Harrison, Robert Owen and the Owenites in Britain and America: Quest for the New Moral World.",
"Nìmes, Bureaux de l'Émancipation, 1896 John F. C. Harrison, Robert Owen and the Owenites in Britain and America: Quest for the New Moral World. New York, 1969 Alexander Herzen, My Past and Thoughts (University of California Press, 1982). (One chapter is devoted to Owen.)",
"(One chapter is devoted to Owen.) G. J. Holyoake, The History of Co-operation in England: Its Literature and Its Advocates V. 1. London, 1906 G. J. Holyoake, The History of Co-operation in England: Its Literature and Its Advocates V. 2.",
"London, 1906 G. J. Holyoake, The History of Co-operation in England: Its Literature and Its Advocates V. 2. London, 1906 The National Library of Wales, A Bibliography of Robert Owen, The Socialist. 1914 H. Simon, Robert Owen: Sein Leben und Seine Bedeutung für die Gegenwart.",
"1914 H. Simon, Robert Owen: Sein Leben und Seine Bedeutung für die Gegenwart. Jena, 1905 O. Siméon, Robert Owen's Experiment at New Lanark. From Paternalism to Socialism.",
"From Paternalism to Socialism. From Paternalism to Socialism. Palgrave Macmillan, 2017 External links Essays by Owen at the Marxists Internet Archive Brief biography at the New Lanark World Heritage Site The Robert Owen Museum, Newtown, Wales Video of Owen's wool mill Brief biography at Cotton Times \"Robert Owen (1771-1858) social reformer, founder of New Harmony\", University of Evansville, Indiana \"Robert Owen and the Co-operative movement\" Brief biography at The History Guide Brief biography at age-of-the-sage.org Heaven On Earth: The Rise and Fall of Socialism at PBS {dead link 2021-02-22} 1771 births 1858 deaths Cooperative organizers Founders of utopian communities People from Newtown, Powys Owenites Utopian socialists Welsh agnostics Welsh humanists 19th-century Welsh businesspeople 18th-century Welsh businesspeople Welsh business theorists Welsh philanthropists Welsh socialists British reformers British social reformers Socialist economists"
] |
[
"Ray Wilkins",
"Milan, Paris and RangersEdit"
] | C_20de567609ed49768d60d5241074d1bd_1 | What did Wilkins do at Paris? | 1 | What did Ray Wilkins do at Paris? | Ray Wilkins | Wilkins signed with A.C. Milan in the summer of 1984. He later remarked that the most difficult part of adapting to the Italian game was the focus on fitness - the coaching staff made him work to reduce his body fat levels and Wilkins described the result as being in the best shape of his career. The Italian team was struggling during this period, having suffered relegation in the 1981-82 Serie A, and Wilkins was joined by fellow Englishman Mark Hateley (himself replacing another compatriot - Luther Blissett). The only foreign players in the squad, the pair helped the team to victory over rivals Inter in the Milan Derby that October, winning plaudits from Italian press and the club's fans. In his first year there, Wilkins played 28 Serie A games to bring the team to fifth in the league and also won a runner-up medal in the Coppa Italia (having eliminated Inter in the semis). The following season he remained a key player in Milan's midfield, appearing in 29 league games and scoring two goals - one late goal to salvage a draw at Avellino and another goal the following game against Sampdoria. These were the only Serie A goals of his career. Overall, the team struggled for goals, with Pietro Paolo Virdis's total of 13 making him the club's only goalscorer in double figures that year. The club also suffered off the pitch, with owner Giuseppe Farina absconding to South Africa following accusations of bribery and theft. In Wilkin's final season there (1986-87), he fell out of the first team structure, following the signing of Roberto Donadoni and the continued presence of both Agostino Di Bartolomei and Alberigo Evani. The team finished fifth in the league, beating Inter twice, in Silvio Berlusconi's first year as owner. Wilkins played 105 games (74 in Serie A) for Milan between 1984 and 1987. Corriere della Sera eulogised him as a "serious and meticulous professional who was immediately appreciated for his long and precise passes". Wilkins signed for Paris Saint-Germain in the middle of 1987, but this proved to be short-lived: he failed to break into the team ahead of Gabriel Calderon and Safet Susic so he eagerly took the option to signed for Rangers for PS250,000 that November. At the Scottish club he won two league titles and one Scottish League Cup under Graeme Souness. He achieved cult status for his volley in the Old Firm game against reigning champions Celtic in August 1988, giving Rangers the lead in a 5-1 win against their rivals. Despite only playing two seasons for the Glasgow club, he was inducted into their Hall of Fame. CANNOTANSWER | Wilkins signed for Paris Saint-Germain | Raymond Colin Wilkins, (14 September 1956 – 4 April 2018) was an English football player and coach.
Born into a footballing family with his father and three brothers involved in the game, Wilkins played as a midfielder. He began his career at Chelsea, where he was appointed captain at the age of 18, and later played for clubs including Manchester United, A.C. Milan, Queens Park Rangers and Rangers. He won 84 caps for the England national football team from 1976 to 1986, playing at UEFA Euro 1980 and the 1982 and 1986 FIFA World Cups.
After his playing career ended, he worked as a television pundit, and as a coach and manager with Queens Park Rangers, Fulham and Chelsea. He managed Jordan at the 2015 AFC Asian Cup and his last coaching job was as the assistant manager of Aston Villa later that year.
Club career
Early career
Born in Hillingdon, Middlesex, Wilkins started his career with the Sunday League team Senrab that play in Wanstead Flats, East London.
Chelsea
Wilkins made his name in the 1970s with boyhood club Chelsea, which he joined as an apprentice, progressing to his first team debut against Norwich City at the age of 17 on 26 October 1973 as a substitute in a 3–0 home league win.
In 1975, following the club's relegation and the departure of many established players, an 18-year-old Wilkins was handed the captaincy of Chelsea by new manager Eddie McCreadie, taking it from long-time Blues captain John Hollins. He took to the role well, keeping it for four years. He emerged as Chelsea's key player of that period, leading a team of mainly young players to promotion again in 1976–1977 and, in the next season, consolidation of their place in the First Division. His rapid success, along with his "dark good looks", also saw Wilkins becoming a regular pin-up feature in British teenybopper magazines.
His elder brother, Graham Wilkins also played for Chelsea.
Manchester United
In 1979, after Chelsea were relegated, Wilkins signed for Manchester United for a fee of £825,000, the highest fee received for a Chelsea player at the time. He scored ten goals in his five years with the Red Devils, including a long-range strike in the 2–2 draw with Brighton & Hove Albion in the 1983 FA Cup Final (United won the replay).
He was voted player of the year by the team's supporters at the end of the 1983–1984 season. His midfield performances drew the attention of A.C. Milan, who made United a £1.5 million offer for the player.
Milan, Paris and Rangers
Wilkins signed with A.C. Milan in summer 1984. He later remarked that the most difficult part of adapting to the Italian game was the focus on fitness – the coaching staff made him work to reduce his body fat levels and Wilkins described the result as being in the best shape of his career. The Italian team was struggling during this period, having suffered relegation in the 1981–82 Serie A season, and Wilkins was joined by fellow Englishman Mark Hateley (himself replacing another compatriot — Luther Blissett). The only foreign players in the squad, the pair helped the team to victory over rivals Inter Milan in the Milan Derby that October, winning plaudits from Italian press and the club's fans. In his first year there, Wilkins played 28 Serie A games to bring the team to fifth in the league and also won a runner-up medal in the Coppa Italia (having eliminated Inter in the semis).
The following season he remained a key player in A.C. Milan's midfield, appearing in 29 league games and scoring two goals – one late goal to salvage a draw at Avellino and another goal the following game against Sampdoria. These were the only Serie A goals of his career. Overall, the team struggled for goals, with Pietro Paolo Virdis's total of 13 making him the club's only goalscorer in double figures that year. The club also suffered off the pitch, with owner Giuseppe Farina absconding to South Africa following accusations of bribery and theft.
In Wilkins' final season there (1986–1987), he fell out of the first team structure, following the signing of Roberto Donadoni and the continued presence of both Agostino Di Bartolomei and Alberigo Evani. The team finished fifth in the league, beating Inter twice, in Silvio Berlusconi's first year as owner. Wilkins played 105 games (74 in Serie A) for Milan between 1984 and 1987. Corriere della Sera eulogised him as a "serious and meticulous professional who was immediately appreciated for his long and precise passes".
Wilkins signed for Paris Saint-Germain in the middle of 1987, but this proved to be short-lived: he failed to break into the team ahead of Gabriel Calderón and Safet Sušić so he eagerly took the option to move to Scotland to sign for Rangers for £250,000 that November.
He made his debut for Rangers on 28 November 1987 in a 3–2 win over Hearts at Ibrox. He became an integral part of the team for the rest of the season, making twenty-nine appearances, which included both legs of the European Cup quarter-final against Steaua Bucharest. However, it would be the following season he would truly make his mark at Rangers. Reigning Scottish champions, and Old Firm rivals, Celtic played Rangers on 27 August 1988. With the score tied at 1–1, Wilkins scored a "thunderous volley" from the edge of the penalty box to put Rangers ahead, and his side eventually recorded an emphatic 5–1 win that day over their rivals. Rangers went on to win the league title that season, the first of their eventual nine-in-a-row. Wilkins also played in Rangers' win over Aberdeen in the 1988 Scottish League Cup Final. He remained an important team member into season 1988–89, playing in almost every game for the first half of the season, but his family wished to return to London. As such, he left Rangers in December 1989 to sign for Queens Park Rangers. Following his last appearance for Rangers, Wilkins received a standing ovation from the 40,000 crowd. Despite only playing two seasons for the Glasgow club, he was later inducted into their Hall of Fame.
Later career
The longest stint of his late career was at Queens Park Rangers, for whom he was a regular first team player from November 1989 to 1994, including the team's first two Premier League seasons. He made his debut in the 3–0 away win versus Crystal Palace. Wilkins left QPR in the summer of 1994 on a free transfer to join Crystal Palace as a player-coach under manager Alan Smith, but only made one appearance due to breaking his left foot on his debut.
Wilkins re-joined QPR as player-manager on 15 November 1994, following the exit of Gerry Francis. The rest of that season was a success with the team finishing eighth in the Premiership. However the close season of 1995 saw the departure of Les Ferdinand to Newcastle and the following season the team struggled and were relegated. As player-manager, he appeared in a further 21 games for the club from 1994 to 1996. Wilkins left QPR by mutual agreement in September 1996 after the club was bought by media tycoon Chris Wright following their relegation from the FA Premier League.
Wilkins played for four clubs in the 1996–1997 season. He played one game at Wycombe Wanderers before moving to Hibernian for a 16-game stint. Toward the end of the season he played three times for Millwall in the Second Division and, finally, three Third Division games for Leyton Orient before retiring.
International career
Wilkins scored three goals in 84 games for England, captained the team on ten occasions, and played at the 1982 and 1986 World Cups. Wilkins was called up to play for England for the first time in 1976 by coach Don Revie, then made his debut on 28 May in a 3–2 win over Italy at the U.S.A. Bicentennial Cup Tournament in New York.
He achieved one of his career highs after helping England qualify for the 1980 European Championships in Italy — the first tournament England had reached for a decade. During a group game against Belgium, Wilkins scored a memorable goal when he lobbed the whole Belgian defence (thereby breaching the Belgians' obvious offside trap) and delivered a second lob, this time over the head of the goalkeeper and into the net to put England ahead. The Belgians swiftly equalised, however, and England failed to progress beyond the group stage.
Wilkins was a fixture in the England squad through a successful campaign to qualify for the 1982 World Cup in Spain, which England exited at the second group stage. Over the season 1983/84, Wilkins continued to play for England under new coach Bobby Robson but the team failed to qualify for the 1984 European Championships.
Wilkins remained an England regular during his spell at A.C. Milan and he was chosen for the squad which qualified for the 1986 World Cup in Mexico. He played in the opening defeat against Portugal. Wilkins became the first Englishman to be sent off at the World Cup in a goalless draw with Morocco in 1986, for throwing the ball at Gabriel González. The ball hit the referee having been thrown in protest at being deemed offside. He was suspended for the next two games and was not reinstated by the time the quarter final against Argentina came round, a game which England lost 2–1.
Wilkins made his 84th and final England appearance in November 1986, against Yugoslavia.
Coaching career
Early coaching career
Wilkins was QPR manager from 1994 to 1996, and managed fellow West London club Fulham in 1997–1998. In March 1999, Wilkins was appointed Chelsea's first-team coach after Graham Rix was jailed for child sex offences. Wilkins and Rix were Chelsea's interim managers after the sacking of Gianluca Vialli at the start of the 2000–01 FA Premier League season, but both were sacked from the club on the orders of new manager Claudio Ranieri in November 2000.
When Vialli was hired by First Division club Watford, Wilkins again assisted him until their dismissal in June 2002. From 2003 to 2005, Wilkins assisted former Chelsea player Dennis Wise in his managing of Millwall, but announced his exit when he took exception at Dave Bassett being hired in the coaching staff.
England U-21
From 2004 on Wilkins was assistant coach to Peter Taylor with the England under-21s until Taylor left in early 2007. Wilkins was not retained by incoming head coach Stuart Pearce.
Return to Chelsea
In September 2008, Wilkins was appointed assistant first team coach to Luiz Felipe Scolari at Chelsea, following Steve Clarke's departure to West Ham United. In February 2009, following Scolari's shock sacking, Wilkins was appointed as Chelsea's caretaker manager for the Fifth round FA Cup tie with Watford. Chelsea won the game 3–1, through a Nicolas Anelka hat-trick, with the club's new manager Guus Hiddink watching from the stands.
On 11 November 2010, it was announced that Wilkins' contract with Chelsea "would not be renewed" and that he was to leave the club "with immediate effect". On 1 December 2010, Wilkins reached what he described as a "harmonious conclusion" with Chelsea following his unexpected departure from Stamford Bridge. While appearing as a guest on Sky Sports Champions League coverage on 7 December 2010, Wilkins said that Chelsea still had not given him a reason for his sacking.
Chelsea manager Carlo Ancelotti, who was himself sacked at the end of the 2010–2011 season, wrote about Wilkins, in his autobiographical book The Beautiful Games of an Ordinary Genius: "Ray is one of those select few, always present, noble in spirit, a real blue-blood, Chelsea flows in his veins ... without him we wouldn't have won a thing."
Later coaching career
On 30 December 2013, Wilkins was appointed assistant head coach of Fulham. He and technical director Alan Curbishley were sacked on 17 February 2014 and the season ended with relegation.
On 3 September 2014, Wilkins was appointed as the new head coach of Jordan. He led Jordan at the 2015 AFC Asian Cup, where they were eliminated in the group-stages for the first time after two losses against Iraq and Japan and a win over Palestine.
On 25 June 2015, Aston Villa manager Tim Sherwood appointed Wilkins as his assistant manager. On 26 October 2015, Wilkins was sacked along with Tim Sherwood and the rest of the coaching team.
Media
In the 1990s Wilkins was part of the team that contributed to the Football Italia show that aired on Channel 4. Wilkins later appeared as a commentator for Sky Sports, particularly on their Champions League coverage. He also worked for Talksport. Wilkins was also featured as a commentator on the 1990s Tango soft drink commercials, 'You know when you've been Tango'd'.
Personal life
The son of professional footballer George Wilkins, he had two sisters and three footballer brothers: Graham Wilkins (born 28 June 1955 in Hillingdon), a former professional, who played in the Football League as a full-back for Chelsea, Brentford, and Southend United; former Brighton & Hove Albion manager and player, Dean Wilkins; and Stephen Wilkins, who was signed by Chelsea and later made one appearance for Brentford, before playing for a number of non-League teams, including Dagenham and Hayes. Throughout his life, Wilkins was known by his childhood nickname of "Butch".
Wilkins married Jackie (née Bygraves) in 1978. The couple had a son and a daughter.
Wilkins was a patron for the charity Cardiac Risk in the Young. In 1993, he was made an MBE.
In March 2013, he was stopped whilst driving and found to be "nearly four times" over the legal alcohol limit. In February 2014 he said that he had ulcerative colitis. In July 2016, Wilkins was given a four-year ban for drink driving. In August 2016, Wilkins admitted he was an alcoholic.
Death
On 28 March 2018, Wilkins had a cardiac arrest resulting in a fall and was placed into an induced coma at St George's Hospital in Tooting. He died at the age of 61 on 4 April 2018.
Hours after his death, Milan played rivals Inter Milan in the Derby della Madonnina at the San Siro. His former captain Franco Baresi laid a bouquet of flowers next to Wilkins' shirt by the side of the pitch. A section of Milan fans held aloft a banner which read "Ciao Ray: Leggenda Rossonera" (English: "Goodbye Ray: Legend of the Red and Blacks"). During Chelsea's home game against West Ham United on 8 April, fans at Stamford Bridge gave a minute's applause in the eighth minute to pay tribute to Wilkins. They also held a banner which read "Ray was one those select few, he knew what it meant to be one of us a real blue blood. Chelsea flowed through his veins, may you rest in peace Ray."
A memorial service was held for Wilkins on 1 May at St Luke's Church, Chelsea, attended by many figures who knew him from the world of football. His son made a speech about Wilkins' struggles with depression and alcoholism.
Career statistics
Club
International
Scores and results list England's goal tally first, score column indicates score after each Wilkins goal.
Managerial statistics
Honours
Player
Manchester United
FA Cup: 1982–83
FA Charity Shield: 1983
Rangers
Scottish Premier Division: 1988–89, 1989–90
Scottish League Cup: 1988–89
England
Rous Cup: 1986
British Home Championship: 1977–78, 1981–82, 1982–83
Individual
Chelsea Player of the Year: 1976, 1977
English Football Hall of Fame: 2013
Assistant manager
Chelsea
Premier League: 2009–10
FA Cup: 1999–2000, 2008–09, 2009–10
FA Community Shield: 2009
References
External links
England Record
1956 births
2018 deaths
Footballers from Hillingdon
England under-23 international footballers
England under-21 international footballers
England international footballers
English football managers
English footballers
English expatriate footballers
English Football Hall of Fame inductees
Expatriate footballers in France
Expatriate footballers in Italy
Paris Saint-Germain F.C. players
A.C. Milan players
Chelsea F.C. players
Crystal Palace F.C. players
Premier League players
English Football League players
Ligue 1 players
Scottish Football League players
Serie A players
UEFA Euro 1980 players
1982 FIFA World Cup players
1986 FIFA World Cup players
Fulham F.C. managers
Hibernian F.C. players
Leyton Orient F.C. players
Manchester United F.C. players
Members of the Order of the British Empire
Millwall F.C. players
Queens Park Rangers F.C. players
Rangers F.C. players
Wycombe Wanderers F.C. players
Chelsea F.C. non-playing staff
Watford F.C. non-playing staff
Queens Park Rangers F.C. managers
Premier League managers
English association football commentators
Senrab F.C. players
Fulham F.C. non-playing staff
English Football League representative players
Jordan national football team managers
Expatriate football managers in Jordan
English expatriate football managers
2015 AFC Asian Cup managers
Aston Villa F.C. non-playing staff
Association football midfielders
Ray
FA Cup Final players
English expatriate sportspeople in Jordan
English expatriate sportspeople in Italy
English expatriate sportspeople in France | true | [
"Claude Jean Migeon (1923 – March 4, 2018) was a French pediatric endocrinologist who spent the majority of his career at the Johns Hopkins Hospital.\n\nEarly life\nMigeon was born in 1923 in Lievin, France, to Andre Migeon, a printer, and Pauline Descamps. While simultaneously working with the French Resistance during the German occupation of France in World War II, he earned a bachelor's degree from the Lycée de Reims in 1942. He obtained his medical degree from the University of Paris in 1950. He did further postdoctoral work in biochemistry at the University of Paris and trained in pediatrics at the Hôpital des Enfants Malades.\n\nCareer\nMigeon received a Fulbright Scholarship in 1950 which allowed him to travel to the United States, where he studied under Lawson Wilkins at the Johns Hopkins Hospital in Baltimore. Migeon worked as a fellow alongside Wilkins for two years before taking on a three-year research project with biochemist Leo T. Samuels at the University of Utah School of Medicine. He then returned to Johns Hopkins, and when Wilkins retired in 1960, Migeon was appointed co-director of the pediatric endocrinology division with Robert M. Blizzard. Migeon became the sole director when Blizzard left in 1974, and held the role until 1994. He retired in 2016, becoming a professor emeritus at Johns Hopkins.\n\nMigeon's research focused largely on steroid metabolism and adrenal function. He was also interested in disorders of sex development including congenital adrenal hyperplasia and androgen insensitivity syndrome. In 1950, he became the first person to treat congenital adrenal hyperplasia with cortisone, which then became the standard of care for that condition. With gynaecologist Howard W. Jones and sexologist John Money, he established the first gender identity clinic at Johns Hopkins in 1965. Migeon and Robert Blizzard founded with Lawson Wilkins Pediatric Endocrine Society in 1972, and Migeon served as the society's founding president. By 1978, having published over 300 articles, Migeon was considered one of the world's most-cited scientists at the time. His research earned him numerous awards including the Endocrine Society's Robert H. Williams Distinguished Service Award in 1991 and the European Society of Pediatric Endocrinology's International Award in 2015.\n\nHe was married to Barbara Migeon, an award-winning American geneticist.\n\nReferences\n\n1923 births\n2018 deaths\nAmerican pediatric endocrinologists\nFrench pediatric endocrinologists\nPeople from Liévin\nUniversity of Paris alumni\nJohns Hopkins Hospital physicians\nJohns Hopkins University faculty\nFrench expatriates in the United States",
"Emma Cheves Wilkins (1870–1956) was an American painter who played a major role in the art scene in Savannah, Georgia during the early twentieth century. Her works can be found in the permanent collections of Armstrong State University in Savannah, the Morris Museum of Art in Augusta, the Telfair Museum of Art in Savannah, and in private collections.\n\nBackground \nEmma Cheves Wilkins was born on December 10, 1870, the first child of Emma Cheves and Gilbert A. Wilkins. She was a lifelong resident of Savannah, Georgia and inherited the artistic talents of her mother and grandmother. She studied at the Telfair Academy under Carl Brandt. Alongside her mother in the 1890s, Wilkins taught art lessons at a studio in Savannah as the market for her artwork extended. As a self-sustaining artist, Wilkins painted portraits of judges, politicians, bankers, doctors, and to a lesser extent of women and children. \n\nWilkins traveled to Paris in 1896 with fellow Savannah artist Lucile Desbouillons. The pair lived at the American Girl's Club for a few months and were enrolled in Gustave-Claude-Etienne Courtois and Louis-Auguste Girardot's classes for foreigners at the Académie Colarossi. In the 1900s, she began restorative artwork on several paintings. Wilkins also exhibited her work frequently. In 1931, she was awarded a prize for the \"best local subject painted in or around Savannah\" for a work she exhibited at the eleventh annual exhibition of the Southern States Art League.\n\nReferences \n\n1870 births\n1956 deaths\n20th-century American painters\nAmerican women painters\n20th-century American women artists"
] | [
"Raymond Colin Wilkins, (14 September 1956 – 4 April 2018) was an English football player and coach. Born into a footballing family with his father and three brothers involved in the game, Wilkins played as a midfielder.",
"Born into a footballing family with his father and three brothers involved in the game, Wilkins played as a midfielder. He began his career at Chelsea, where he was appointed captain at the age of 18, and later played for clubs including Manchester United, A.C. Milan, Queens Park Rangers and Rangers.",
"He began his career at Chelsea, where he was appointed captain at the age of 18, and later played for clubs including Manchester United, A.C. Milan, Queens Park Rangers and Rangers. He won 84 caps for the England national football team from 1976 to 1986, playing at UEFA Euro 1980 and the 1982 and 1986 FIFA World Cups.",
"He won 84 caps for the England national football team from 1976 to 1986, playing at UEFA Euro 1980 and the 1982 and 1986 FIFA World Cups. After his playing career ended, he worked as a television pundit, and as a coach and manager with Queens Park Rangers, Fulham and Chelsea.",
"After his playing career ended, he worked as a television pundit, and as a coach and manager with Queens Park Rangers, Fulham and Chelsea. He managed Jordan at the 2015 AFC Asian Cup and his last coaching job was as the assistant manager of Aston Villa later that year.",
"He managed Jordan at the 2015 AFC Asian Cup and his last coaching job was as the assistant manager of Aston Villa later that year. Club career Early career Born in Hillingdon, Middlesex, Wilkins started his career with the Sunday League team Senrab that play in Wanstead Flats, East London.",
"Club career Early career Born in Hillingdon, Middlesex, Wilkins started his career with the Sunday League team Senrab that play in Wanstead Flats, East London. Chelsea Wilkins made his name in the 1970s with boyhood club Chelsea, which he joined as an apprentice, progressing to his first team debut against Norwich City at the age of 17 on 26 October 1973 as a substitute in a 3–0 home league win.",
"Chelsea Wilkins made his name in the 1970s with boyhood club Chelsea, which he joined as an apprentice, progressing to his first team debut against Norwich City at the age of 17 on 26 October 1973 as a substitute in a 3–0 home league win. In 1975, following the club's relegation and the departure of many established players, an 18-year-old Wilkins was handed the captaincy of Chelsea by new manager Eddie McCreadie, taking it from long-time Blues captain John Hollins.",
"In 1975, following the club's relegation and the departure of many established players, an 18-year-old Wilkins was handed the captaincy of Chelsea by new manager Eddie McCreadie, taking it from long-time Blues captain John Hollins. He took to the role well, keeping it for four years.",
"He took to the role well, keeping it for four years. He emerged as Chelsea's key player of that period, leading a team of mainly young players to promotion again in 1976–1977 and, in the next season, consolidation of their place in the First Division.",
"He emerged as Chelsea's key player of that period, leading a team of mainly young players to promotion again in 1976–1977 and, in the next season, consolidation of their place in the First Division. His rapid success, along with his \"dark good looks\", also saw Wilkins becoming a regular pin-up feature in British teenybopper magazines.",
"His rapid success, along with his \"dark good looks\", also saw Wilkins becoming a regular pin-up feature in British teenybopper magazines. His elder brother, Graham Wilkins also played for Chelsea.",
"His elder brother, Graham Wilkins also played for Chelsea. Manchester United In 1979, after Chelsea were relegated, Wilkins signed for Manchester United for a fee of £825,000, the highest fee received for a Chelsea player at the time.",
"Manchester United In 1979, after Chelsea were relegated, Wilkins signed for Manchester United for a fee of £825,000, the highest fee received for a Chelsea player at the time. He scored ten goals in his five years with the Red Devils, including a long-range strike in the 2–2 draw with Brighton & Hove Albion in the 1983 FA Cup Final (United won the replay).",
"He scored ten goals in his five years with the Red Devils, including a long-range strike in the 2–2 draw with Brighton & Hove Albion in the 1983 FA Cup Final (United won the replay). He was voted player of the year by the team's supporters at the end of the 1983–1984 season.",
"He was voted player of the year by the team's supporters at the end of the 1983–1984 season. His midfield performances drew the attention of A.C. Milan, who made United a £1.5 million offer for the player. Milan, Paris and Rangers Wilkins signed with A.C. Milan in summer 1984.",
"Milan, Paris and Rangers Wilkins signed with A.C. Milan in summer 1984. He later remarked that the most difficult part of adapting to the Italian game was the focus on fitness – the coaching staff made him work to reduce his body fat levels and Wilkins described the result as being in the best shape of his career.",
"He later remarked that the most difficult part of adapting to the Italian game was the focus on fitness – the coaching staff made him work to reduce his body fat levels and Wilkins described the result as being in the best shape of his career. The Italian team was struggling during this period, having suffered relegation in the 1981–82 Serie A season, and Wilkins was joined by fellow Englishman Mark Hateley (himself replacing another compatriot — Luther Blissett).",
"The Italian team was struggling during this period, having suffered relegation in the 1981–82 Serie A season, and Wilkins was joined by fellow Englishman Mark Hateley (himself replacing another compatriot — Luther Blissett). The only foreign players in the squad, the pair helped the team to victory over rivals Inter Milan in the Milan Derby that October, winning plaudits from Italian press and the club's fans.",
"The only foreign players in the squad, the pair helped the team to victory over rivals Inter Milan in the Milan Derby that October, winning plaudits from Italian press and the club's fans. In his first year there, Wilkins played 28 Serie A games to bring the team to fifth in the league and also won a runner-up medal in the Coppa Italia (having eliminated Inter in the semis).",
"In his first year there, Wilkins played 28 Serie A games to bring the team to fifth in the league and also won a runner-up medal in the Coppa Italia (having eliminated Inter in the semis). The following season he remained a key player in A.C. Milan's midfield, appearing in 29 league games and scoring two goals – one late goal to salvage a draw at Avellino and another goal the following game against Sampdoria.",
"The following season he remained a key player in A.C. Milan's midfield, appearing in 29 league games and scoring two goals – one late goal to salvage a draw at Avellino and another goal the following game against Sampdoria. These were the only Serie A goals of his career.",
"These were the only Serie A goals of his career. Overall, the team struggled for goals, with Pietro Paolo Virdis's total of 13 making him the club's only goalscorer in double figures that year. The club also suffered off the pitch, with owner Giuseppe Farina absconding to South Africa following accusations of bribery and theft.",
"The club also suffered off the pitch, with owner Giuseppe Farina absconding to South Africa following accusations of bribery and theft. In Wilkins' final season there (1986–1987), he fell out of the first team structure, following the signing of Roberto Donadoni and the continued presence of both Agostino Di Bartolomei and Alberigo Evani.",
"In Wilkins' final season there (1986–1987), he fell out of the first team structure, following the signing of Roberto Donadoni and the continued presence of both Agostino Di Bartolomei and Alberigo Evani. The team finished fifth in the league, beating Inter twice, in Silvio Berlusconi's first year as owner.",
"The team finished fifth in the league, beating Inter twice, in Silvio Berlusconi's first year as owner. Wilkins played 105 games (74 in Serie A) for Milan between 1984 and 1987. Corriere della Sera eulogised him as a \"serious and meticulous professional who was immediately appreciated for his long and precise passes\".",
"Corriere della Sera eulogised him as a \"serious and meticulous professional who was immediately appreciated for his long and precise passes\". Wilkins signed for Paris Saint-Germain in the middle of 1987, but this proved to be short-lived: he failed to break into the team ahead of Gabriel Calderón and Safet Sušić so he eagerly took the option to move to Scotland to sign for Rangers for £250,000 that November.",
"Wilkins signed for Paris Saint-Germain in the middle of 1987, but this proved to be short-lived: he failed to break into the team ahead of Gabriel Calderón and Safet Sušić so he eagerly took the option to move to Scotland to sign for Rangers for £250,000 that November. He made his debut for Rangers on 28 November 1987 in a 3–2 win over Hearts at Ibrox.",
"He made his debut for Rangers on 28 November 1987 in a 3–2 win over Hearts at Ibrox. He became an integral part of the team for the rest of the season, making twenty-nine appearances, which included both legs of the European Cup quarter-final against Steaua Bucharest.",
"He became an integral part of the team for the rest of the season, making twenty-nine appearances, which included both legs of the European Cup quarter-final against Steaua Bucharest. However, it would be the following season he would truly make his mark at Rangers.",
"However, it would be the following season he would truly make his mark at Rangers. Reigning Scottish champions, and Old Firm rivals, Celtic played Rangers on 27 August 1988.",
"Reigning Scottish champions, and Old Firm rivals, Celtic played Rangers on 27 August 1988. With the score tied at 1–1, Wilkins scored a \"thunderous volley\" from the edge of the penalty box to put Rangers ahead, and his side eventually recorded an emphatic 5–1 win that day over their rivals.",
"With the score tied at 1–1, Wilkins scored a \"thunderous volley\" from the edge of the penalty box to put Rangers ahead, and his side eventually recorded an emphatic 5–1 win that day over their rivals. Rangers went on to win the league title that season, the first of their eventual nine-in-a-row.",
"Rangers went on to win the league title that season, the first of their eventual nine-in-a-row. Wilkins also played in Rangers' win over Aberdeen in the 1988 Scottish League Cup Final.",
"Wilkins also played in Rangers' win over Aberdeen in the 1988 Scottish League Cup Final. He remained an important team member into season 1988–89, playing in almost every game for the first half of the season, but his family wished to return to London.",
"He remained an important team member into season 1988–89, playing in almost every game for the first half of the season, but his family wished to return to London. As such, he left Rangers in December 1989 to sign for Queens Park Rangers.",
"As such, he left Rangers in December 1989 to sign for Queens Park Rangers. Following his last appearance for Rangers, Wilkins received a standing ovation from the 40,000 crowd. Despite only playing two seasons for the Glasgow club, he was later inducted into their Hall of Fame.",
"Despite only playing two seasons for the Glasgow club, he was later inducted into their Hall of Fame. Later career The longest stint of his late career was at Queens Park Rangers, for whom he was a regular first team player from November 1989 to 1994, including the team's first two Premier League seasons.",
"Later career The longest stint of his late career was at Queens Park Rangers, for whom he was a regular first team player from November 1989 to 1994, including the team's first two Premier League seasons. He made his debut in the 3–0 away win versus Crystal Palace.",
"He made his debut in the 3–0 away win versus Crystal Palace. Wilkins left QPR in the summer of 1994 on a free transfer to join Crystal Palace as a player-coach under manager Alan Smith, but only made one appearance due to breaking his left foot on his debut.",
"Wilkins left QPR in the summer of 1994 on a free transfer to join Crystal Palace as a player-coach under manager Alan Smith, but only made one appearance due to breaking his left foot on his debut. Wilkins re-joined QPR as player-manager on 15 November 1994, following the exit of Gerry Francis.",
"Wilkins re-joined QPR as player-manager on 15 November 1994, following the exit of Gerry Francis. The rest of that season was a success with the team finishing eighth in the Premiership. However the close season of 1995 saw the departure of Les Ferdinand to Newcastle and the following season the team struggled and were relegated.",
"However the close season of 1995 saw the departure of Les Ferdinand to Newcastle and the following season the team struggled and were relegated. As player-manager, he appeared in a further 21 games for the club from 1994 to 1996.",
"As player-manager, he appeared in a further 21 games for the club from 1994 to 1996. Wilkins left QPR by mutual agreement in September 1996 after the club was bought by media tycoon Chris Wright following their relegation from the FA Premier League. Wilkins played for four clubs in the 1996–1997 season.",
"Wilkins played for four clubs in the 1996–1997 season. He played one game at Wycombe Wanderers before moving to Hibernian for a 16-game stint. Toward the end of the season he played three times for Millwall in the Second Division and, finally, three Third Division games for Leyton Orient before retiring.",
"Toward the end of the season he played three times for Millwall in the Second Division and, finally, three Third Division games for Leyton Orient before retiring. International career Wilkins scored three goals in 84 games for England, captained the team on ten occasions, and played at the 1982 and 1986 World Cups.",
"International career Wilkins scored three goals in 84 games for England, captained the team on ten occasions, and played at the 1982 and 1986 World Cups. Wilkins was called up to play for England for the first time in 1976 by coach Don Revie, then made his debut on 28 May in a 3–2 win over Italy at the U.S.A.",
"Wilkins was called up to play for England for the first time in 1976 by coach Don Revie, then made his debut on 28 May in a 3–2 win over Italy at the U.S.A. Bicentennial Cup Tournament in New York.",
"Bicentennial Cup Tournament in New York. He achieved one of his career highs after helping England qualify for the 1980 European Championships in Italy — the first tournament England had reached for a decade.",
"He achieved one of his career highs after helping England qualify for the 1980 European Championships in Italy — the first tournament England had reached for a decade. During a group game against Belgium, Wilkins scored a memorable goal when he lobbed the whole Belgian defence (thereby breaching the Belgians' obvious offside trap) and delivered a second lob, this time over the head of the goalkeeper and into the net to put England ahead.",
"During a group game against Belgium, Wilkins scored a memorable goal when he lobbed the whole Belgian defence (thereby breaching the Belgians' obvious offside trap) and delivered a second lob, this time over the head of the goalkeeper and into the net to put England ahead. The Belgians swiftly equalised, however, and England failed to progress beyond the group stage.",
"The Belgians swiftly equalised, however, and England failed to progress beyond the group stage. Wilkins was a fixture in the England squad through a successful campaign to qualify for the 1982 World Cup in Spain, which England exited at the second group stage.",
"Wilkins was a fixture in the England squad through a successful campaign to qualify for the 1982 World Cup in Spain, which England exited at the second group stage. Over the season 1983/84, Wilkins continued to play for England under new coach Bobby Robson but the team failed to qualify for the 1984 European Championships.",
"Over the season 1983/84, Wilkins continued to play for England under new coach Bobby Robson but the team failed to qualify for the 1984 European Championships. Wilkins remained an England regular during his spell at A.C. Milan and he was chosen for the squad which qualified for the 1986 World Cup in Mexico.",
"Wilkins remained an England regular during his spell at A.C. Milan and he was chosen for the squad which qualified for the 1986 World Cup in Mexico. He played in the opening defeat against Portugal.",
"He played in the opening defeat against Portugal. Wilkins became the first Englishman to be sent off at the World Cup in a goalless draw with Morocco in 1986, for throwing the ball at Gabriel González. The ball hit the referee having been thrown in protest at being deemed offside.",
"The ball hit the referee having been thrown in protest at being deemed offside. He was suspended for the next two games and was not reinstated by the time the quarter final against Argentina came round, a game which England lost 2–1. Wilkins made his 84th and final England appearance in November 1986, against Yugoslavia.",
"Wilkins made his 84th and final England appearance in November 1986, against Yugoslavia. Coaching career Early coaching career Wilkins was QPR manager from 1994 to 1996, and managed fellow West London club Fulham in 1997–1998. In March 1999, Wilkins was appointed Chelsea's first-team coach after Graham Rix was jailed for child sex offences.",
"In March 1999, Wilkins was appointed Chelsea's first-team coach after Graham Rix was jailed for child sex offences. Wilkins and Rix were Chelsea's interim managers after the sacking of Gianluca Vialli at the start of the 2000–01 FA Premier League season, but both were sacked from the club on the orders of new manager Claudio Ranieri in November 2000.",
"Wilkins and Rix were Chelsea's interim managers after the sacking of Gianluca Vialli at the start of the 2000–01 FA Premier League season, but both were sacked from the club on the orders of new manager Claudio Ranieri in November 2000. When Vialli was hired by First Division club Watford, Wilkins again assisted him until their dismissal in June 2002.",
"When Vialli was hired by First Division club Watford, Wilkins again assisted him until their dismissal in June 2002. From 2003 to 2005, Wilkins assisted former Chelsea player Dennis Wise in his managing of Millwall, but announced his exit when he took exception at Dave Bassett being hired in the coaching staff.",
"From 2003 to 2005, Wilkins assisted former Chelsea player Dennis Wise in his managing of Millwall, but announced his exit when he took exception at Dave Bassett being hired in the coaching staff. England U-21 From 2004 on Wilkins was assistant coach to Peter Taylor with the England under-21s until Taylor left in early 2007.",
"England U-21 From 2004 on Wilkins was assistant coach to Peter Taylor with the England under-21s until Taylor left in early 2007. Wilkins was not retained by incoming head coach Stuart Pearce.",
"Wilkins was not retained by incoming head coach Stuart Pearce. Return to Chelsea In September 2008, Wilkins was appointed assistant first team coach to Luiz Felipe Scolari at Chelsea, following Steve Clarke's departure to West Ham United.",
"Return to Chelsea In September 2008, Wilkins was appointed assistant first team coach to Luiz Felipe Scolari at Chelsea, following Steve Clarke's departure to West Ham United. In February 2009, following Scolari's shock sacking, Wilkins was appointed as Chelsea's caretaker manager for the Fifth round FA Cup tie with Watford.",
"In February 2009, following Scolari's shock sacking, Wilkins was appointed as Chelsea's caretaker manager for the Fifth round FA Cup tie with Watford. Chelsea won the game 3–1, through a Nicolas Anelka hat-trick, with the club's new manager Guus Hiddink watching from the stands.",
"Chelsea won the game 3–1, through a Nicolas Anelka hat-trick, with the club's new manager Guus Hiddink watching from the stands. On 11 November 2010, it was announced that Wilkins' contract with Chelsea \"would not be renewed\" and that he was to leave the club \"with immediate effect\".",
"On 11 November 2010, it was announced that Wilkins' contract with Chelsea \"would not be renewed\" and that he was to leave the club \"with immediate effect\". On 1 December 2010, Wilkins reached what he described as a \"harmonious conclusion\" with Chelsea following his unexpected departure from Stamford Bridge.",
"On 1 December 2010, Wilkins reached what he described as a \"harmonious conclusion\" with Chelsea following his unexpected departure from Stamford Bridge. While appearing as a guest on Sky Sports Champions League coverage on 7 December 2010, Wilkins said that Chelsea still had not given him a reason for his sacking.",
"While appearing as a guest on Sky Sports Champions League coverage on 7 December 2010, Wilkins said that Chelsea still had not given him a reason for his sacking. Chelsea manager Carlo Ancelotti, who was himself sacked at the end of the 2010–2011 season, wrote about Wilkins, in his autobiographical book The Beautiful Games of an Ordinary Genius: \"Ray is one of those select few, always present, noble in spirit, a real blue-blood, Chelsea flows in his veins ... without him we wouldn't have won a thing.\"",
"Chelsea manager Carlo Ancelotti, who was himself sacked at the end of the 2010–2011 season, wrote about Wilkins, in his autobiographical book The Beautiful Games of an Ordinary Genius: \"Ray is one of those select few, always present, noble in spirit, a real blue-blood, Chelsea flows in his veins ... without him we wouldn't have won a thing.\" Later coaching career On 30 December 2013, Wilkins was appointed assistant head coach of Fulham.",
"Later coaching career On 30 December 2013, Wilkins was appointed assistant head coach of Fulham. He and technical director Alan Curbishley were sacked on 17 February 2014 and the season ended with relegation. On 3 September 2014, Wilkins was appointed as the new head coach of Jordan.",
"On 3 September 2014, Wilkins was appointed as the new head coach of Jordan. He led Jordan at the 2015 AFC Asian Cup, where they were eliminated in the group-stages for the first time after two losses against Iraq and Japan and a win over Palestine.",
"He led Jordan at the 2015 AFC Asian Cup, where they were eliminated in the group-stages for the first time after two losses against Iraq and Japan and a win over Palestine. On 25 June 2015, Aston Villa manager Tim Sherwood appointed Wilkins as his assistant manager.",
"On 25 June 2015, Aston Villa manager Tim Sherwood appointed Wilkins as his assistant manager. On 26 October 2015, Wilkins was sacked along with Tim Sherwood and the rest of the coaching team. Media In the 1990s Wilkins was part of the team that contributed to the Football Italia show that aired on Channel 4.",
"Media In the 1990s Wilkins was part of the team that contributed to the Football Italia show that aired on Channel 4. Wilkins later appeared as a commentator for Sky Sports, particularly on their Champions League coverage. He also worked for Talksport.",
"He also worked for Talksport. He also worked for Talksport. Wilkins was also featured as a commentator on the 1990s Tango soft drink commercials, 'You know when you've been Tango'd'.",
"Wilkins was also featured as a commentator on the 1990s Tango soft drink commercials, 'You know when you've been Tango'd'. Personal life The son of professional footballer George Wilkins, he had two sisters and three footballer brothers: Graham Wilkins (born 28 June 1955 in Hillingdon), a former professional, who played in the Football League as a full-back for Chelsea, Brentford, and Southend United; former Brighton & Hove Albion manager and player, Dean Wilkins; and Stephen Wilkins, who was signed by Chelsea and later made one appearance for Brentford, before playing for a number of non-League teams, including Dagenham and Hayes.",
"Personal life The son of professional footballer George Wilkins, he had two sisters and three footballer brothers: Graham Wilkins (born 28 June 1955 in Hillingdon), a former professional, who played in the Football League as a full-back for Chelsea, Brentford, and Southend United; former Brighton & Hove Albion manager and player, Dean Wilkins; and Stephen Wilkins, who was signed by Chelsea and later made one appearance for Brentford, before playing for a number of non-League teams, including Dagenham and Hayes. Throughout his life, Wilkins was known by his childhood nickname of \"Butch\".",
"Throughout his life, Wilkins was known by his childhood nickname of \"Butch\". Wilkins married Jackie (née Bygraves) in 1978. The couple had a son and a daughter. Wilkins was a patron for the charity Cardiac Risk in the Young. In 1993, he was made an MBE.",
"In 1993, he was made an MBE. In March 2013, he was stopped whilst driving and found to be \"nearly four times\" over the legal alcohol limit. In February 2014 he said that he had ulcerative colitis. In July 2016, Wilkins was given a four-year ban for drink driving.",
"In July 2016, Wilkins was given a four-year ban for drink driving. In August 2016, Wilkins admitted he was an alcoholic. Death On 28 March 2018, Wilkins had a cardiac arrest resulting in a fall and was placed into an induced coma at St George's Hospital in Tooting.",
"Death On 28 March 2018, Wilkins had a cardiac arrest resulting in a fall and was placed into an induced coma at St George's Hospital in Tooting. He died at the age of 61 on 4 April 2018. Hours after his death, Milan played rivals Inter Milan in the Derby della Madonnina at the San Siro.",
"Hours after his death, Milan played rivals Inter Milan in the Derby della Madonnina at the San Siro. His former captain Franco Baresi laid a bouquet of flowers next to Wilkins' shirt by the side of the pitch.",
"His former captain Franco Baresi laid a bouquet of flowers next to Wilkins' shirt by the side of the pitch. A section of Milan fans held aloft a banner which read \"Ciao Ray: Leggenda Rossonera\" (English: \"Goodbye Ray: Legend of the Red and Blacks\").",
"A section of Milan fans held aloft a banner which read \"Ciao Ray: Leggenda Rossonera\" (English: \"Goodbye Ray: Legend of the Red and Blacks\"). During Chelsea's home game against West Ham United on 8 April, fans at Stamford Bridge gave a minute's applause in the eighth minute to pay tribute to Wilkins.",
"During Chelsea's home game against West Ham United on 8 April, fans at Stamford Bridge gave a minute's applause in the eighth minute to pay tribute to Wilkins. They also held a banner which read \"Ray was one those select few, he knew what it meant to be one of us a real blue blood.",
"They also held a banner which read \"Ray was one those select few, he knew what it meant to be one of us a real blue blood. Chelsea flowed through his veins, may you rest in peace Ray.\"",
"Chelsea flowed through his veins, may you rest in peace Ray.\" A memorial service was held for Wilkins on 1 May at St Luke's Church, Chelsea, attended by many figures who knew him from the world of football. His son made a speech about Wilkins' struggles with depression and alcoholism.",
"His son made a speech about Wilkins' struggles with depression and alcoholism. Career statistics Club International Scores and results list England's goal tally first, score column indicates score after each Wilkins goal.",
"Career statistics Club International Scores and results list England's goal tally first, score column indicates score after each Wilkins goal. Managerial statistics Honours Player Manchester United FA Cup: 1982–83 FA Charity Shield: 1983 Rangers Scottish Premier Division: 1988–89, 1989–90 Scottish League Cup: 1988–89 England Rous Cup: 1986 British Home Championship: 1977–78, 1981–82, 1982–83 Individual Chelsea Player of the Year: 1976, 1977 English Football Hall of Fame: 2013 Assistant manager Chelsea Premier League: 2009–10 FA Cup: 1999–2000, 2008–09, 2009–10 FA Community Shield: 2009 References External links England Record 1956 births 2018 deaths Footballers from Hillingdon England under-23 international footballers England under-21 international footballers England international footballers English football managers English footballers English expatriate footballers English Football Hall of Fame inductees Expatriate footballers in France Expatriate footballers in Italy Paris Saint-Germain F.C.",
"Managerial statistics Honours Player Manchester United FA Cup: 1982–83 FA Charity Shield: 1983 Rangers Scottish Premier Division: 1988–89, 1989–90 Scottish League Cup: 1988–89 England Rous Cup: 1986 British Home Championship: 1977–78, 1981–82, 1982–83 Individual Chelsea Player of the Year: 1976, 1977 English Football Hall of Fame: 2013 Assistant manager Chelsea Premier League: 2009–10 FA Cup: 1999–2000, 2008–09, 2009–10 FA Community Shield: 2009 References External links England Record 1956 births 2018 deaths Footballers from Hillingdon England under-23 international footballers England under-21 international footballers England international footballers English football managers English footballers English expatriate footballers English Football Hall of Fame inductees Expatriate footballers in France Expatriate footballers in Italy Paris Saint-Germain F.C. players A.C. Milan players Chelsea F.C.",
"players A.C. Milan players Chelsea F.C. players Crystal Palace F.C. players Premier League players English Football League players Ligue 1 players Scottish Football League players Serie A players UEFA Euro 1980 players 1982 FIFA World Cup players 1986 FIFA World Cup players Fulham F.C. managers Hibernian F.C. players Leyton Orient F.C. players Manchester United F.C.",
"players Manchester United F.C. players Manchester United F.C. players Members of the Order of the British Empire Millwall F.C. players Queens Park Rangers F.C. players Rangers F.C. players Wycombe Wanderers F.C. players Chelsea F.C. non-playing staff Watford F.C. non-playing staff Queens Park Rangers F.C. managers Premier League managers English association football commentators Senrab F.C.",
"managers Premier League managers English association football commentators Senrab F.C. players Fulham F.C. non-playing staff English Football League representative players Jordan national football team managers Expatriate football managers in Jordan English expatriate football managers 2015 AFC Asian Cup managers Aston Villa F.C.",
"non-playing staff English Football League representative players Jordan national football team managers Expatriate football managers in Jordan English expatriate football managers 2015 AFC Asian Cup managers Aston Villa F.C. non-playing staff Association football midfielders Ray FA Cup Final players English expatriate sportspeople in Jordan English expatriate sportspeople in Italy English expatriate sportspeople in France"
] |
[
"Ray Wilkins",
"Milan, Paris and RangersEdit",
"What did Wilkins do at Paris?",
"Wilkins signed for Paris Saint-Germain",
"How long was his contract at Paris Saint-Germain?",
"I don't know.",
"Did he go into any championships during this time?",
"He achieved cult status for his volley in the Old Firm game against reigning champions Celtic",
"What were his stats in the Old Firm game?",
"giving Rangers the lead in a 5-1 win against their rivals.",
"Did he transfer to any other teams during this period?",
"Despite only playing two seasons for the Glasgow club, he was inducted into their Hall of Fame.",
"What is something interesting I haven't asked about?",
"Wilkins signed with A.C. Milan in the summer of 1984.",
"What position did he play with Milan's team?",
"I don't know."
] | C_20de567609ed49768d60d5241074d1bd_1 | Did Wilkins perform well when he signed with A.C Milan? | 8 | Did Ray Wilkins perform well with A.C Milan? | Ray Wilkins | Wilkins signed with A.C. Milan in the summer of 1984. He later remarked that the most difficult part of adapting to the Italian game was the focus on fitness - the coaching staff made him work to reduce his body fat levels and Wilkins described the result as being in the best shape of his career. The Italian team was struggling during this period, having suffered relegation in the 1981-82 Serie A, and Wilkins was joined by fellow Englishman Mark Hateley (himself replacing another compatriot - Luther Blissett). The only foreign players in the squad, the pair helped the team to victory over rivals Inter in the Milan Derby that October, winning plaudits from Italian press and the club's fans. In his first year there, Wilkins played 28 Serie A games to bring the team to fifth in the league and also won a runner-up medal in the Coppa Italia (having eliminated Inter in the semis). The following season he remained a key player in Milan's midfield, appearing in 29 league games and scoring two goals - one late goal to salvage a draw at Avellino and another goal the following game against Sampdoria. These were the only Serie A goals of his career. Overall, the team struggled for goals, with Pietro Paolo Virdis's total of 13 making him the club's only goalscorer in double figures that year. The club also suffered off the pitch, with owner Giuseppe Farina absconding to South Africa following accusations of bribery and theft. In Wilkin's final season there (1986-87), he fell out of the first team structure, following the signing of Roberto Donadoni and the continued presence of both Agostino Di Bartolomei and Alberigo Evani. The team finished fifth in the league, beating Inter twice, in Silvio Berlusconi's first year as owner. Wilkins played 105 games (74 in Serie A) for Milan between 1984 and 1987. Corriere della Sera eulogised him as a "serious and meticulous professional who was immediately appreciated for his long and precise passes". Wilkins signed for Paris Saint-Germain in the middle of 1987, but this proved to be short-lived: he failed to break into the team ahead of Gabriel Calderon and Safet Susic so he eagerly took the option to signed for Rangers for PS250,000 that November. At the Scottish club he won two league titles and one Scottish League Cup under Graeme Souness. He achieved cult status for his volley in the Old Firm game against reigning champions Celtic in August 1988, giving Rangers the lead in a 5-1 win against their rivals. Despite only playing two seasons for the Glasgow club, he was inducted into their Hall of Fame. CANNOTANSWER | Wilkins played 28 Serie A games to bring the team to fifth in the league | Raymond Colin Wilkins, (14 September 1956 – 4 April 2018) was an English football player and coach.
Born into a footballing family with his father and three brothers involved in the game, Wilkins played as a midfielder. He began his career at Chelsea, where he was appointed captain at the age of 18, and later played for clubs including Manchester United, A.C. Milan, Queens Park Rangers and Rangers. He won 84 caps for the England national football team from 1976 to 1986, playing at UEFA Euro 1980 and the 1982 and 1986 FIFA World Cups.
After his playing career ended, he worked as a television pundit, and as a coach and manager with Queens Park Rangers, Fulham and Chelsea. He managed Jordan at the 2015 AFC Asian Cup and his last coaching job was as the assistant manager of Aston Villa later that year.
Club career
Early career
Born in Hillingdon, Middlesex, Wilkins started his career with the Sunday League team Senrab that play in Wanstead Flats, East London.
Chelsea
Wilkins made his name in the 1970s with boyhood club Chelsea, which he joined as an apprentice, progressing to his first team debut against Norwich City at the age of 17 on 26 October 1973 as a substitute in a 3–0 home league win.
In 1975, following the club's relegation and the departure of many established players, an 18-year-old Wilkins was handed the captaincy of Chelsea by new manager Eddie McCreadie, taking it from long-time Blues captain John Hollins. He took to the role well, keeping it for four years. He emerged as Chelsea's key player of that period, leading a team of mainly young players to promotion again in 1976–1977 and, in the next season, consolidation of their place in the First Division. His rapid success, along with his "dark good looks", also saw Wilkins becoming a regular pin-up feature in British teenybopper magazines.
His elder brother, Graham Wilkins also played for Chelsea.
Manchester United
In 1979, after Chelsea were relegated, Wilkins signed for Manchester United for a fee of £825,000, the highest fee received for a Chelsea player at the time. He scored ten goals in his five years with the Red Devils, including a long-range strike in the 2–2 draw with Brighton & Hove Albion in the 1983 FA Cup Final (United won the replay).
He was voted player of the year by the team's supporters at the end of the 1983–1984 season. His midfield performances drew the attention of A.C. Milan, who made United a £1.5 million offer for the player.
Milan, Paris and Rangers
Wilkins signed with A.C. Milan in summer 1984. He later remarked that the most difficult part of adapting to the Italian game was the focus on fitness – the coaching staff made him work to reduce his body fat levels and Wilkins described the result as being in the best shape of his career. The Italian team was struggling during this period, having suffered relegation in the 1981–82 Serie A season, and Wilkins was joined by fellow Englishman Mark Hateley (himself replacing another compatriot — Luther Blissett). The only foreign players in the squad, the pair helped the team to victory over rivals Inter Milan in the Milan Derby that October, winning plaudits from Italian press and the club's fans. In his first year there, Wilkins played 28 Serie A games to bring the team to fifth in the league and also won a runner-up medal in the Coppa Italia (having eliminated Inter in the semis).
The following season he remained a key player in A.C. Milan's midfield, appearing in 29 league games and scoring two goals – one late goal to salvage a draw at Avellino and another goal the following game against Sampdoria. These were the only Serie A goals of his career. Overall, the team struggled for goals, with Pietro Paolo Virdis's total of 13 making him the club's only goalscorer in double figures that year. The club also suffered off the pitch, with owner Giuseppe Farina absconding to South Africa following accusations of bribery and theft.
In Wilkins' final season there (1986–1987), he fell out of the first team structure, following the signing of Roberto Donadoni and the continued presence of both Agostino Di Bartolomei and Alberigo Evani. The team finished fifth in the league, beating Inter twice, in Silvio Berlusconi's first year as owner. Wilkins played 105 games (74 in Serie A) for Milan between 1984 and 1987. Corriere della Sera eulogised him as a "serious and meticulous professional who was immediately appreciated for his long and precise passes".
Wilkins signed for Paris Saint-Germain in the middle of 1987, but this proved to be short-lived: he failed to break into the team ahead of Gabriel Calderón and Safet Sušić so he eagerly took the option to move to Scotland to sign for Rangers for £250,000 that November.
He made his debut for Rangers on 28 November 1987 in a 3–2 win over Hearts at Ibrox. He became an integral part of the team for the rest of the season, making twenty-nine appearances, which included both legs of the European Cup quarter-final against Steaua Bucharest. However, it would be the following season he would truly make his mark at Rangers. Reigning Scottish champions, and Old Firm rivals, Celtic played Rangers on 27 August 1988. With the score tied at 1–1, Wilkins scored a "thunderous volley" from the edge of the penalty box to put Rangers ahead, and his side eventually recorded an emphatic 5–1 win that day over their rivals. Rangers went on to win the league title that season, the first of their eventual nine-in-a-row. Wilkins also played in Rangers' win over Aberdeen in the 1988 Scottish League Cup Final. He remained an important team member into season 1988–89, playing in almost every game for the first half of the season, but his family wished to return to London. As such, he left Rangers in December 1989 to sign for Queens Park Rangers. Following his last appearance for Rangers, Wilkins received a standing ovation from the 40,000 crowd. Despite only playing two seasons for the Glasgow club, he was later inducted into their Hall of Fame.
Later career
The longest stint of his late career was at Queens Park Rangers, for whom he was a regular first team player from November 1989 to 1994, including the team's first two Premier League seasons. He made his debut in the 3–0 away win versus Crystal Palace. Wilkins left QPR in the summer of 1994 on a free transfer to join Crystal Palace as a player-coach under manager Alan Smith, but only made one appearance due to breaking his left foot on his debut.
Wilkins re-joined QPR as player-manager on 15 November 1994, following the exit of Gerry Francis. The rest of that season was a success with the team finishing eighth in the Premiership. However the close season of 1995 saw the departure of Les Ferdinand to Newcastle and the following season the team struggled and were relegated. As player-manager, he appeared in a further 21 games for the club from 1994 to 1996. Wilkins left QPR by mutual agreement in September 1996 after the club was bought by media tycoon Chris Wright following their relegation from the FA Premier League.
Wilkins played for four clubs in the 1996–1997 season. He played one game at Wycombe Wanderers before moving to Hibernian for a 16-game stint. Toward the end of the season he played three times for Millwall in the Second Division and, finally, three Third Division games for Leyton Orient before retiring.
International career
Wilkins scored three goals in 84 games for England, captained the team on ten occasions, and played at the 1982 and 1986 World Cups. Wilkins was called up to play for England for the first time in 1976 by coach Don Revie, then made his debut on 28 May in a 3–2 win over Italy at the U.S.A. Bicentennial Cup Tournament in New York.
He achieved one of his career highs after helping England qualify for the 1980 European Championships in Italy — the first tournament England had reached for a decade. During a group game against Belgium, Wilkins scored a memorable goal when he lobbed the whole Belgian defence (thereby breaching the Belgians' obvious offside trap) and delivered a second lob, this time over the head of the goalkeeper and into the net to put England ahead. The Belgians swiftly equalised, however, and England failed to progress beyond the group stage.
Wilkins was a fixture in the England squad through a successful campaign to qualify for the 1982 World Cup in Spain, which England exited at the second group stage. Over the season 1983/84, Wilkins continued to play for England under new coach Bobby Robson but the team failed to qualify for the 1984 European Championships.
Wilkins remained an England regular during his spell at A.C. Milan and he was chosen for the squad which qualified for the 1986 World Cup in Mexico. He played in the opening defeat against Portugal. Wilkins became the first Englishman to be sent off at the World Cup in a goalless draw with Morocco in 1986, for throwing the ball at Gabriel González. The ball hit the referee having been thrown in protest at being deemed offside. He was suspended for the next two games and was not reinstated by the time the quarter final against Argentina came round, a game which England lost 2–1.
Wilkins made his 84th and final England appearance in November 1986, against Yugoslavia.
Coaching career
Early coaching career
Wilkins was QPR manager from 1994 to 1996, and managed fellow West London club Fulham in 1997–1998. In March 1999, Wilkins was appointed Chelsea's first-team coach after Graham Rix was jailed for child sex offences. Wilkins and Rix were Chelsea's interim managers after the sacking of Gianluca Vialli at the start of the 2000–01 FA Premier League season, but both were sacked from the club on the orders of new manager Claudio Ranieri in November 2000.
When Vialli was hired by First Division club Watford, Wilkins again assisted him until their dismissal in June 2002. From 2003 to 2005, Wilkins assisted former Chelsea player Dennis Wise in his managing of Millwall, but announced his exit when he took exception at Dave Bassett being hired in the coaching staff.
England U-21
From 2004 on Wilkins was assistant coach to Peter Taylor with the England under-21s until Taylor left in early 2007. Wilkins was not retained by incoming head coach Stuart Pearce.
Return to Chelsea
In September 2008, Wilkins was appointed assistant first team coach to Luiz Felipe Scolari at Chelsea, following Steve Clarke's departure to West Ham United. In February 2009, following Scolari's shock sacking, Wilkins was appointed as Chelsea's caretaker manager for the Fifth round FA Cup tie with Watford. Chelsea won the game 3–1, through a Nicolas Anelka hat-trick, with the club's new manager Guus Hiddink watching from the stands.
On 11 November 2010, it was announced that Wilkins' contract with Chelsea "would not be renewed" and that he was to leave the club "with immediate effect". On 1 December 2010, Wilkins reached what he described as a "harmonious conclusion" with Chelsea following his unexpected departure from Stamford Bridge. While appearing as a guest on Sky Sports Champions League coverage on 7 December 2010, Wilkins said that Chelsea still had not given him a reason for his sacking.
Chelsea manager Carlo Ancelotti, who was himself sacked at the end of the 2010–2011 season, wrote about Wilkins, in his autobiographical book The Beautiful Games of an Ordinary Genius: "Ray is one of those select few, always present, noble in spirit, a real blue-blood, Chelsea flows in his veins ... without him we wouldn't have won a thing."
Later coaching career
On 30 December 2013, Wilkins was appointed assistant head coach of Fulham. He and technical director Alan Curbishley were sacked on 17 February 2014 and the season ended with relegation.
On 3 September 2014, Wilkins was appointed as the new head coach of Jordan. He led Jordan at the 2015 AFC Asian Cup, where they were eliminated in the group-stages for the first time after two losses against Iraq and Japan and a win over Palestine.
On 25 June 2015, Aston Villa manager Tim Sherwood appointed Wilkins as his assistant manager. On 26 October 2015, Wilkins was sacked along with Tim Sherwood and the rest of the coaching team.
Media
In the 1990s Wilkins was part of the team that contributed to the Football Italia show that aired on Channel 4. Wilkins later appeared as a commentator for Sky Sports, particularly on their Champions League coverage. He also worked for Talksport. Wilkins was also featured as a commentator on the 1990s Tango soft drink commercials, 'You know when you've been Tango'd'.
Personal life
The son of professional footballer George Wilkins, he had two sisters and three footballer brothers: Graham Wilkins (born 28 June 1955 in Hillingdon), a former professional, who played in the Football League as a full-back for Chelsea, Brentford, and Southend United; former Brighton & Hove Albion manager and player, Dean Wilkins; and Stephen Wilkins, who was signed by Chelsea and later made one appearance for Brentford, before playing for a number of non-League teams, including Dagenham and Hayes. Throughout his life, Wilkins was known by his childhood nickname of "Butch".
Wilkins married Jackie (née Bygraves) in 1978. The couple had a son and a daughter.
Wilkins was a patron for the charity Cardiac Risk in the Young. In 1993, he was made an MBE.
In March 2013, he was stopped whilst driving and found to be "nearly four times" over the legal alcohol limit. In February 2014 he said that he had ulcerative colitis. In July 2016, Wilkins was given a four-year ban for drink driving. In August 2016, Wilkins admitted he was an alcoholic.
Death
On 28 March 2018, Wilkins had a cardiac arrest resulting in a fall and was placed into an induced coma at St George's Hospital in Tooting. He died at the age of 61 on 4 April 2018.
Hours after his death, Milan played rivals Inter Milan in the Derby della Madonnina at the San Siro. His former captain Franco Baresi laid a bouquet of flowers next to Wilkins' shirt by the side of the pitch. A section of Milan fans held aloft a banner which read "Ciao Ray: Leggenda Rossonera" (English: "Goodbye Ray: Legend of the Red and Blacks"). During Chelsea's home game against West Ham United on 8 April, fans at Stamford Bridge gave a minute's applause in the eighth minute to pay tribute to Wilkins. They also held a banner which read "Ray was one those select few, he knew what it meant to be one of us a real blue blood. Chelsea flowed through his veins, may you rest in peace Ray."
A memorial service was held for Wilkins on 1 May at St Luke's Church, Chelsea, attended by many figures who knew him from the world of football. His son made a speech about Wilkins' struggles with depression and alcoholism.
Career statistics
Club
International
Scores and results list England's goal tally first, score column indicates score after each Wilkins goal.
Managerial statistics
Honours
Player
Manchester United
FA Cup: 1982–83
FA Charity Shield: 1983
Rangers
Scottish Premier Division: 1988–89, 1989–90
Scottish League Cup: 1988–89
England
Rous Cup: 1986
British Home Championship: 1977–78, 1981–82, 1982–83
Individual
Chelsea Player of the Year: 1976, 1977
English Football Hall of Fame: 2013
Assistant manager
Chelsea
Premier League: 2009–10
FA Cup: 1999–2000, 2008–09, 2009–10
FA Community Shield: 2009
References
External links
England Record
1956 births
2018 deaths
Footballers from Hillingdon
England under-23 international footballers
England under-21 international footballers
England international footballers
English football managers
English footballers
English expatriate footballers
English Football Hall of Fame inductees
Expatriate footballers in France
Expatriate footballers in Italy
Paris Saint-Germain F.C. players
A.C. Milan players
Chelsea F.C. players
Crystal Palace F.C. players
Premier League players
English Football League players
Ligue 1 players
Scottish Football League players
Serie A players
UEFA Euro 1980 players
1982 FIFA World Cup players
1986 FIFA World Cup players
Fulham F.C. managers
Hibernian F.C. players
Leyton Orient F.C. players
Manchester United F.C. players
Members of the Order of the British Empire
Millwall F.C. players
Queens Park Rangers F.C. players
Rangers F.C. players
Wycombe Wanderers F.C. players
Chelsea F.C. non-playing staff
Watford F.C. non-playing staff
Queens Park Rangers F.C. managers
Premier League managers
English association football commentators
Senrab F.C. players
Fulham F.C. non-playing staff
English Football League representative players
Jordan national football team managers
Expatriate football managers in Jordan
English expatriate football managers
2015 AFC Asian Cup managers
Aston Villa F.C. non-playing staff
Association football midfielders
Ray
FA Cup Final players
English expatriate sportspeople in Jordan
English expatriate sportspeople in Italy
English expatriate sportspeople in France | true | [
"Manny Wilkins Jr. (born November 5, 1995) is an American football quarterback who is currently a free agent. He played football for the Green Bay Packers and Arizona State.\n\nEarly years\nWhen Wilkins was 16, he was identified as a talented prospect.\n\nWilkins's father, Manny Wilkins Sr., died when Manny was 10 years old in 2006. Wilkins relocated to Texas with his mother in 2008, where he played football at Elkins High School. He relocated back to California to live with his aunt and uncle and started at quarterback while attending San Marin High School in Novato CA.\n\nCollege career\nWilkins came to Arizona State as one of the most prolific QB prospects in ASU history. After redshirting his first season, and only appearing in three games in his redshirt freshman campaign, Wilkins won the starting quarterback position, beating out highly touted prospect, Brady White.\n\nFreshman\nWilkins redshirted his first year and didn't see game action.\n\nRedshirt Freshman\nIn 2015, Wilkins saw limited game action, Wilkins did not throw a pass, but had 7 rushing attempts for 55 yards.\n\nRedshirt Sophomore\nAs a sophomore, Wilkins started 10 games beating out Brady White for the starting job in training camp. Wilkins finished the season with 197 completions for 311 attempts for 2329 yards and 12 touchdowns with 9 interceptions. Wilkins also had 128 rushing attempts for 246 yards and 5 touchdowns.\n\nRedshirt Junior\nAs a junior, Wilkins started all 13 games and had 260 completions on 410 attempts for 3270 yards and 20 touchdowns and 8 interceptions. Wilkins rushed on 138 attempts for 282 yards and 7 touchdowns.\n\nRedshirt Senior\nAs a senior, Wilkins started all 13 games and had 247 completions and 393 attempts. He threw for 3025 yards for 20 touchdowns and 6 interceptions. Wilkins also rushed on 112 attempts for 452 yards and 8 touchdowns.\n\nProfessional career\nWilkins signed with the Green Bay Packers as an undrafted free agent on May 3, 2019. He was waived on August 31, 2019 and was signed to the practice squad the next day. He signed a reserve/future contract with the Packers on January 21, 2020.\n\nHe was released by the Packers on April 27, 2020.\n\nReferences\n\nExternal links\n\n1995 births\nLiving people\nAfrican-American players of American football\nPeople from Novato, California\nPlayers of American football from California\nSportspeople from the San Francisco Bay Area\nAmerican football quarterbacks\nArizona State Sun Devils football players\nGreen Bay Packers players\n21st-century African-American sportspeople",
"Richard Maurice Wilkins (August 28, 1925 – October 21, 1997) was an American football end who played in the National Football League. He played college football at Oregon.\n\nCollege career\nWilkins served in the Marine Corps during WWII before receiving a discharge after his vision was impaired when he was hit in the eye with a shell casing during training. He enrolled at the University of Oregon and joined the Webfoots basketball as a forward and baseball team as a pitcher. As a freshman, Wilkins was the leading scorer in the 1945 NCAA tournament with 22 points per game. He became the first Oregon player to score 1,000 career points and finished with 1,186. \n\nWilkins was talked into joining the football team as a senior. In his lone season playing college football he led the Webfoots with 27 receptions (a Pacific Coast Conference record) for 520 yards and five touchdowns and was named first team All-Pacific Coast.\n\nProfessional career\nWilkins was drafted by the New York Giants in the 25th round of the 1948 NFL Draft, but instead signed with the Los Angeles Dons of the All-America Football Conference. After the AAFC folded Wilkins was selected by the Los Angeles Rams in the third round of the 1950 AAFC dispersal draft. He was recalled by the Marine Corps before the draft and missed the next two seasons. Wilkins' rights were traded to the Dallas Texans in 1952 as part of an eleven player trade for Les Richter. Wilkins led the Texans with 32 receptions, 416 receiving yards and three touchdown catches in 1952. He did not play in 1953 in order to focus on his lumber business in Oregon. He was acquired by the Giants in a trade in 1954 and played in four games before suffering a shoulder injury.\n\nPersonal life\nWilkins was the father of Olympic gold medalist Mac Wilkins.\n\nReferences\n\nExternal links\nOregon Athletic Hall of Fame bio\n\n1925 births\n1997 deaths\nPlayers of American football from Portland, Oregon\nAmerican football ends\nOregon Ducks football players\nNew York Giants players\nDallas Texans (NFL) players\nLos Angeles Dons players\nForwards (basketball)\nOregon Ducks men's basketball players\nOregon Ducks baseball players"
] | [
"Raymond Colin Wilkins, (14 September 1956 – 4 April 2018) was an English football player and coach. Born into a footballing family with his father and three brothers involved in the game, Wilkins played as a midfielder.",
"Born into a footballing family with his father and three brothers involved in the game, Wilkins played as a midfielder. He began his career at Chelsea, where he was appointed captain at the age of 18, and later played for clubs including Manchester United, A.C. Milan, Queens Park Rangers and Rangers.",
"He began his career at Chelsea, where he was appointed captain at the age of 18, and later played for clubs including Manchester United, A.C. Milan, Queens Park Rangers and Rangers. He won 84 caps for the England national football team from 1976 to 1986, playing at UEFA Euro 1980 and the 1982 and 1986 FIFA World Cups.",
"He won 84 caps for the England national football team from 1976 to 1986, playing at UEFA Euro 1980 and the 1982 and 1986 FIFA World Cups. After his playing career ended, he worked as a television pundit, and as a coach and manager with Queens Park Rangers, Fulham and Chelsea.",
"After his playing career ended, he worked as a television pundit, and as a coach and manager with Queens Park Rangers, Fulham and Chelsea. He managed Jordan at the 2015 AFC Asian Cup and his last coaching job was as the assistant manager of Aston Villa later that year.",
"He managed Jordan at the 2015 AFC Asian Cup and his last coaching job was as the assistant manager of Aston Villa later that year. Club career Early career Born in Hillingdon, Middlesex, Wilkins started his career with the Sunday League team Senrab that play in Wanstead Flats, East London.",
"Club career Early career Born in Hillingdon, Middlesex, Wilkins started his career with the Sunday League team Senrab that play in Wanstead Flats, East London. Chelsea Wilkins made his name in the 1970s with boyhood club Chelsea, which he joined as an apprentice, progressing to his first team debut against Norwich City at the age of 17 on 26 October 1973 as a substitute in a 3–0 home league win.",
"Chelsea Wilkins made his name in the 1970s with boyhood club Chelsea, which he joined as an apprentice, progressing to his first team debut against Norwich City at the age of 17 on 26 October 1973 as a substitute in a 3–0 home league win. In 1975, following the club's relegation and the departure of many established players, an 18-year-old Wilkins was handed the captaincy of Chelsea by new manager Eddie McCreadie, taking it from long-time Blues captain John Hollins.",
"In 1975, following the club's relegation and the departure of many established players, an 18-year-old Wilkins was handed the captaincy of Chelsea by new manager Eddie McCreadie, taking it from long-time Blues captain John Hollins. He took to the role well, keeping it for four years.",
"He took to the role well, keeping it for four years. He emerged as Chelsea's key player of that period, leading a team of mainly young players to promotion again in 1976–1977 and, in the next season, consolidation of their place in the First Division.",
"He emerged as Chelsea's key player of that period, leading a team of mainly young players to promotion again in 1976–1977 and, in the next season, consolidation of their place in the First Division. His rapid success, along with his \"dark good looks\", also saw Wilkins becoming a regular pin-up feature in British teenybopper magazines.",
"His rapid success, along with his \"dark good looks\", also saw Wilkins becoming a regular pin-up feature in British teenybopper magazines. His elder brother, Graham Wilkins also played for Chelsea.",
"His elder brother, Graham Wilkins also played for Chelsea. Manchester United In 1979, after Chelsea were relegated, Wilkins signed for Manchester United for a fee of £825,000, the highest fee received for a Chelsea player at the time.",
"Manchester United In 1979, after Chelsea were relegated, Wilkins signed for Manchester United for a fee of £825,000, the highest fee received for a Chelsea player at the time. He scored ten goals in his five years with the Red Devils, including a long-range strike in the 2–2 draw with Brighton & Hove Albion in the 1983 FA Cup Final (United won the replay).",
"He scored ten goals in his five years with the Red Devils, including a long-range strike in the 2–2 draw with Brighton & Hove Albion in the 1983 FA Cup Final (United won the replay). He was voted player of the year by the team's supporters at the end of the 1983–1984 season.",
"He was voted player of the year by the team's supporters at the end of the 1983–1984 season. His midfield performances drew the attention of A.C. Milan, who made United a £1.5 million offer for the player. Milan, Paris and Rangers Wilkins signed with A.C. Milan in summer 1984.",
"Milan, Paris and Rangers Wilkins signed with A.C. Milan in summer 1984. He later remarked that the most difficult part of adapting to the Italian game was the focus on fitness – the coaching staff made him work to reduce his body fat levels and Wilkins described the result as being in the best shape of his career.",
"He later remarked that the most difficult part of adapting to the Italian game was the focus on fitness – the coaching staff made him work to reduce his body fat levels and Wilkins described the result as being in the best shape of his career. The Italian team was struggling during this period, having suffered relegation in the 1981–82 Serie A season, and Wilkins was joined by fellow Englishman Mark Hateley (himself replacing another compatriot — Luther Blissett).",
"The Italian team was struggling during this period, having suffered relegation in the 1981–82 Serie A season, and Wilkins was joined by fellow Englishman Mark Hateley (himself replacing another compatriot — Luther Blissett). The only foreign players in the squad, the pair helped the team to victory over rivals Inter Milan in the Milan Derby that October, winning plaudits from Italian press and the club's fans.",
"The only foreign players in the squad, the pair helped the team to victory over rivals Inter Milan in the Milan Derby that October, winning plaudits from Italian press and the club's fans. In his first year there, Wilkins played 28 Serie A games to bring the team to fifth in the league and also won a runner-up medal in the Coppa Italia (having eliminated Inter in the semis).",
"In his first year there, Wilkins played 28 Serie A games to bring the team to fifth in the league and also won a runner-up medal in the Coppa Italia (having eliminated Inter in the semis). The following season he remained a key player in A.C. Milan's midfield, appearing in 29 league games and scoring two goals – one late goal to salvage a draw at Avellino and another goal the following game against Sampdoria.",
"The following season he remained a key player in A.C. Milan's midfield, appearing in 29 league games and scoring two goals – one late goal to salvage a draw at Avellino and another goal the following game against Sampdoria. These were the only Serie A goals of his career.",
"These were the only Serie A goals of his career. Overall, the team struggled for goals, with Pietro Paolo Virdis's total of 13 making him the club's only goalscorer in double figures that year. The club also suffered off the pitch, with owner Giuseppe Farina absconding to South Africa following accusations of bribery and theft.",
"The club also suffered off the pitch, with owner Giuseppe Farina absconding to South Africa following accusations of bribery and theft. In Wilkins' final season there (1986–1987), he fell out of the first team structure, following the signing of Roberto Donadoni and the continued presence of both Agostino Di Bartolomei and Alberigo Evani.",
"In Wilkins' final season there (1986–1987), he fell out of the first team structure, following the signing of Roberto Donadoni and the continued presence of both Agostino Di Bartolomei and Alberigo Evani. The team finished fifth in the league, beating Inter twice, in Silvio Berlusconi's first year as owner.",
"The team finished fifth in the league, beating Inter twice, in Silvio Berlusconi's first year as owner. Wilkins played 105 games (74 in Serie A) for Milan between 1984 and 1987. Corriere della Sera eulogised him as a \"serious and meticulous professional who was immediately appreciated for his long and precise passes\".",
"Corriere della Sera eulogised him as a \"serious and meticulous professional who was immediately appreciated for his long and precise passes\". Wilkins signed for Paris Saint-Germain in the middle of 1987, but this proved to be short-lived: he failed to break into the team ahead of Gabriel Calderón and Safet Sušić so he eagerly took the option to move to Scotland to sign for Rangers for £250,000 that November.",
"Wilkins signed for Paris Saint-Germain in the middle of 1987, but this proved to be short-lived: he failed to break into the team ahead of Gabriel Calderón and Safet Sušić so he eagerly took the option to move to Scotland to sign for Rangers for £250,000 that November. He made his debut for Rangers on 28 November 1987 in a 3–2 win over Hearts at Ibrox.",
"He made his debut for Rangers on 28 November 1987 in a 3–2 win over Hearts at Ibrox. He became an integral part of the team for the rest of the season, making twenty-nine appearances, which included both legs of the European Cup quarter-final against Steaua Bucharest.",
"He became an integral part of the team for the rest of the season, making twenty-nine appearances, which included both legs of the European Cup quarter-final against Steaua Bucharest. However, it would be the following season he would truly make his mark at Rangers.",
"However, it would be the following season he would truly make his mark at Rangers. Reigning Scottish champions, and Old Firm rivals, Celtic played Rangers on 27 August 1988.",
"Reigning Scottish champions, and Old Firm rivals, Celtic played Rangers on 27 August 1988. With the score tied at 1–1, Wilkins scored a \"thunderous volley\" from the edge of the penalty box to put Rangers ahead, and his side eventually recorded an emphatic 5–1 win that day over their rivals.",
"With the score tied at 1–1, Wilkins scored a \"thunderous volley\" from the edge of the penalty box to put Rangers ahead, and his side eventually recorded an emphatic 5–1 win that day over their rivals. Rangers went on to win the league title that season, the first of their eventual nine-in-a-row.",
"Rangers went on to win the league title that season, the first of their eventual nine-in-a-row. Wilkins also played in Rangers' win over Aberdeen in the 1988 Scottish League Cup Final.",
"Wilkins also played in Rangers' win over Aberdeen in the 1988 Scottish League Cup Final. He remained an important team member into season 1988–89, playing in almost every game for the first half of the season, but his family wished to return to London.",
"He remained an important team member into season 1988–89, playing in almost every game for the first half of the season, but his family wished to return to London. As such, he left Rangers in December 1989 to sign for Queens Park Rangers.",
"As such, he left Rangers in December 1989 to sign for Queens Park Rangers. Following his last appearance for Rangers, Wilkins received a standing ovation from the 40,000 crowd. Despite only playing two seasons for the Glasgow club, he was later inducted into their Hall of Fame.",
"Despite only playing two seasons for the Glasgow club, he was later inducted into their Hall of Fame. Later career The longest stint of his late career was at Queens Park Rangers, for whom he was a regular first team player from November 1989 to 1994, including the team's first two Premier League seasons.",
"Later career The longest stint of his late career was at Queens Park Rangers, for whom he was a regular first team player from November 1989 to 1994, including the team's first two Premier League seasons. He made his debut in the 3–0 away win versus Crystal Palace.",
"He made his debut in the 3–0 away win versus Crystal Palace. Wilkins left QPR in the summer of 1994 on a free transfer to join Crystal Palace as a player-coach under manager Alan Smith, but only made one appearance due to breaking his left foot on his debut.",
"Wilkins left QPR in the summer of 1994 on a free transfer to join Crystal Palace as a player-coach under manager Alan Smith, but only made one appearance due to breaking his left foot on his debut. Wilkins re-joined QPR as player-manager on 15 November 1994, following the exit of Gerry Francis.",
"Wilkins re-joined QPR as player-manager on 15 November 1994, following the exit of Gerry Francis. The rest of that season was a success with the team finishing eighth in the Premiership. However the close season of 1995 saw the departure of Les Ferdinand to Newcastle and the following season the team struggled and were relegated.",
"However the close season of 1995 saw the departure of Les Ferdinand to Newcastle and the following season the team struggled and were relegated. As player-manager, he appeared in a further 21 games for the club from 1994 to 1996.",
"As player-manager, he appeared in a further 21 games for the club from 1994 to 1996. Wilkins left QPR by mutual agreement in September 1996 after the club was bought by media tycoon Chris Wright following their relegation from the FA Premier League. Wilkins played for four clubs in the 1996–1997 season.",
"Wilkins played for four clubs in the 1996–1997 season. He played one game at Wycombe Wanderers before moving to Hibernian for a 16-game stint. Toward the end of the season he played three times for Millwall in the Second Division and, finally, three Third Division games for Leyton Orient before retiring.",
"Toward the end of the season he played three times for Millwall in the Second Division and, finally, three Third Division games for Leyton Orient before retiring. International career Wilkins scored three goals in 84 games for England, captained the team on ten occasions, and played at the 1982 and 1986 World Cups.",
"International career Wilkins scored three goals in 84 games for England, captained the team on ten occasions, and played at the 1982 and 1986 World Cups. Wilkins was called up to play for England for the first time in 1976 by coach Don Revie, then made his debut on 28 May in a 3–2 win over Italy at the U.S.A.",
"Wilkins was called up to play for England for the first time in 1976 by coach Don Revie, then made his debut on 28 May in a 3–2 win over Italy at the U.S.A. Bicentennial Cup Tournament in New York.",
"Bicentennial Cup Tournament in New York. He achieved one of his career highs after helping England qualify for the 1980 European Championships in Italy — the first tournament England had reached for a decade.",
"He achieved one of his career highs after helping England qualify for the 1980 European Championships in Italy — the first tournament England had reached for a decade. During a group game against Belgium, Wilkins scored a memorable goal when he lobbed the whole Belgian defence (thereby breaching the Belgians' obvious offside trap) and delivered a second lob, this time over the head of the goalkeeper and into the net to put England ahead.",
"During a group game against Belgium, Wilkins scored a memorable goal when he lobbed the whole Belgian defence (thereby breaching the Belgians' obvious offside trap) and delivered a second lob, this time over the head of the goalkeeper and into the net to put England ahead. The Belgians swiftly equalised, however, and England failed to progress beyond the group stage.",
"The Belgians swiftly equalised, however, and England failed to progress beyond the group stage. Wilkins was a fixture in the England squad through a successful campaign to qualify for the 1982 World Cup in Spain, which England exited at the second group stage.",
"Wilkins was a fixture in the England squad through a successful campaign to qualify for the 1982 World Cup in Spain, which England exited at the second group stage. Over the season 1983/84, Wilkins continued to play for England under new coach Bobby Robson but the team failed to qualify for the 1984 European Championships.",
"Over the season 1983/84, Wilkins continued to play for England under new coach Bobby Robson but the team failed to qualify for the 1984 European Championships. Wilkins remained an England regular during his spell at A.C. Milan and he was chosen for the squad which qualified for the 1986 World Cup in Mexico.",
"Wilkins remained an England regular during his spell at A.C. Milan and he was chosen for the squad which qualified for the 1986 World Cup in Mexico. He played in the opening defeat against Portugal.",
"He played in the opening defeat against Portugal. Wilkins became the first Englishman to be sent off at the World Cup in a goalless draw with Morocco in 1986, for throwing the ball at Gabriel González. The ball hit the referee having been thrown in protest at being deemed offside.",
"The ball hit the referee having been thrown in protest at being deemed offside. He was suspended for the next two games and was not reinstated by the time the quarter final against Argentina came round, a game which England lost 2–1. Wilkins made his 84th and final England appearance in November 1986, against Yugoslavia.",
"Wilkins made his 84th and final England appearance in November 1986, against Yugoslavia. Coaching career Early coaching career Wilkins was QPR manager from 1994 to 1996, and managed fellow West London club Fulham in 1997–1998. In March 1999, Wilkins was appointed Chelsea's first-team coach after Graham Rix was jailed for child sex offences.",
"In March 1999, Wilkins was appointed Chelsea's first-team coach after Graham Rix was jailed for child sex offences. Wilkins and Rix were Chelsea's interim managers after the sacking of Gianluca Vialli at the start of the 2000–01 FA Premier League season, but both were sacked from the club on the orders of new manager Claudio Ranieri in November 2000.",
"Wilkins and Rix were Chelsea's interim managers after the sacking of Gianluca Vialli at the start of the 2000–01 FA Premier League season, but both were sacked from the club on the orders of new manager Claudio Ranieri in November 2000. When Vialli was hired by First Division club Watford, Wilkins again assisted him until their dismissal in June 2002.",
"When Vialli was hired by First Division club Watford, Wilkins again assisted him until their dismissal in June 2002. From 2003 to 2005, Wilkins assisted former Chelsea player Dennis Wise in his managing of Millwall, but announced his exit when he took exception at Dave Bassett being hired in the coaching staff.",
"From 2003 to 2005, Wilkins assisted former Chelsea player Dennis Wise in his managing of Millwall, but announced his exit when he took exception at Dave Bassett being hired in the coaching staff. England U-21 From 2004 on Wilkins was assistant coach to Peter Taylor with the England under-21s until Taylor left in early 2007.",
"England U-21 From 2004 on Wilkins was assistant coach to Peter Taylor with the England under-21s until Taylor left in early 2007. Wilkins was not retained by incoming head coach Stuart Pearce.",
"Wilkins was not retained by incoming head coach Stuart Pearce. Return to Chelsea In September 2008, Wilkins was appointed assistant first team coach to Luiz Felipe Scolari at Chelsea, following Steve Clarke's departure to West Ham United.",
"Return to Chelsea In September 2008, Wilkins was appointed assistant first team coach to Luiz Felipe Scolari at Chelsea, following Steve Clarke's departure to West Ham United. In February 2009, following Scolari's shock sacking, Wilkins was appointed as Chelsea's caretaker manager for the Fifth round FA Cup tie with Watford.",
"In February 2009, following Scolari's shock sacking, Wilkins was appointed as Chelsea's caretaker manager for the Fifth round FA Cup tie with Watford. Chelsea won the game 3–1, through a Nicolas Anelka hat-trick, with the club's new manager Guus Hiddink watching from the stands.",
"Chelsea won the game 3–1, through a Nicolas Anelka hat-trick, with the club's new manager Guus Hiddink watching from the stands. On 11 November 2010, it was announced that Wilkins' contract with Chelsea \"would not be renewed\" and that he was to leave the club \"with immediate effect\".",
"On 11 November 2010, it was announced that Wilkins' contract with Chelsea \"would not be renewed\" and that he was to leave the club \"with immediate effect\". On 1 December 2010, Wilkins reached what he described as a \"harmonious conclusion\" with Chelsea following his unexpected departure from Stamford Bridge.",
"On 1 December 2010, Wilkins reached what he described as a \"harmonious conclusion\" with Chelsea following his unexpected departure from Stamford Bridge. While appearing as a guest on Sky Sports Champions League coverage on 7 December 2010, Wilkins said that Chelsea still had not given him a reason for his sacking.",
"While appearing as a guest on Sky Sports Champions League coverage on 7 December 2010, Wilkins said that Chelsea still had not given him a reason for his sacking. Chelsea manager Carlo Ancelotti, who was himself sacked at the end of the 2010–2011 season, wrote about Wilkins, in his autobiographical book The Beautiful Games of an Ordinary Genius: \"Ray is one of those select few, always present, noble in spirit, a real blue-blood, Chelsea flows in his veins ... without him we wouldn't have won a thing.\"",
"Chelsea manager Carlo Ancelotti, who was himself sacked at the end of the 2010–2011 season, wrote about Wilkins, in his autobiographical book The Beautiful Games of an Ordinary Genius: \"Ray is one of those select few, always present, noble in spirit, a real blue-blood, Chelsea flows in his veins ... without him we wouldn't have won a thing.\" Later coaching career On 30 December 2013, Wilkins was appointed assistant head coach of Fulham.",
"Later coaching career On 30 December 2013, Wilkins was appointed assistant head coach of Fulham. He and technical director Alan Curbishley were sacked on 17 February 2014 and the season ended with relegation. On 3 September 2014, Wilkins was appointed as the new head coach of Jordan.",
"On 3 September 2014, Wilkins was appointed as the new head coach of Jordan. He led Jordan at the 2015 AFC Asian Cup, where they were eliminated in the group-stages for the first time after two losses against Iraq and Japan and a win over Palestine.",
"He led Jordan at the 2015 AFC Asian Cup, where they were eliminated in the group-stages for the first time after two losses against Iraq and Japan and a win over Palestine. On 25 June 2015, Aston Villa manager Tim Sherwood appointed Wilkins as his assistant manager.",
"On 25 June 2015, Aston Villa manager Tim Sherwood appointed Wilkins as his assistant manager. On 26 October 2015, Wilkins was sacked along with Tim Sherwood and the rest of the coaching team. Media In the 1990s Wilkins was part of the team that contributed to the Football Italia show that aired on Channel 4.",
"Media In the 1990s Wilkins was part of the team that contributed to the Football Italia show that aired on Channel 4. Wilkins later appeared as a commentator for Sky Sports, particularly on their Champions League coverage. He also worked for Talksport.",
"He also worked for Talksport. He also worked for Talksport. Wilkins was also featured as a commentator on the 1990s Tango soft drink commercials, 'You know when you've been Tango'd'.",
"Wilkins was also featured as a commentator on the 1990s Tango soft drink commercials, 'You know when you've been Tango'd'. Personal life The son of professional footballer George Wilkins, he had two sisters and three footballer brothers: Graham Wilkins (born 28 June 1955 in Hillingdon), a former professional, who played in the Football League as a full-back for Chelsea, Brentford, and Southend United; former Brighton & Hove Albion manager and player, Dean Wilkins; and Stephen Wilkins, who was signed by Chelsea and later made one appearance for Brentford, before playing for a number of non-League teams, including Dagenham and Hayes.",
"Personal life The son of professional footballer George Wilkins, he had two sisters and three footballer brothers: Graham Wilkins (born 28 June 1955 in Hillingdon), a former professional, who played in the Football League as a full-back for Chelsea, Brentford, and Southend United; former Brighton & Hove Albion manager and player, Dean Wilkins; and Stephen Wilkins, who was signed by Chelsea and later made one appearance for Brentford, before playing for a number of non-League teams, including Dagenham and Hayes. Throughout his life, Wilkins was known by his childhood nickname of \"Butch\".",
"Throughout his life, Wilkins was known by his childhood nickname of \"Butch\". Wilkins married Jackie (née Bygraves) in 1978. The couple had a son and a daughter. Wilkins was a patron for the charity Cardiac Risk in the Young. In 1993, he was made an MBE.",
"In 1993, he was made an MBE. In March 2013, he was stopped whilst driving and found to be \"nearly four times\" over the legal alcohol limit. In February 2014 he said that he had ulcerative colitis. In July 2016, Wilkins was given a four-year ban for drink driving.",
"In July 2016, Wilkins was given a four-year ban for drink driving. In August 2016, Wilkins admitted he was an alcoholic. Death On 28 March 2018, Wilkins had a cardiac arrest resulting in a fall and was placed into an induced coma at St George's Hospital in Tooting.",
"Death On 28 March 2018, Wilkins had a cardiac arrest resulting in a fall and was placed into an induced coma at St George's Hospital in Tooting. He died at the age of 61 on 4 April 2018. Hours after his death, Milan played rivals Inter Milan in the Derby della Madonnina at the San Siro.",
"Hours after his death, Milan played rivals Inter Milan in the Derby della Madonnina at the San Siro. His former captain Franco Baresi laid a bouquet of flowers next to Wilkins' shirt by the side of the pitch.",
"His former captain Franco Baresi laid a bouquet of flowers next to Wilkins' shirt by the side of the pitch. A section of Milan fans held aloft a banner which read \"Ciao Ray: Leggenda Rossonera\" (English: \"Goodbye Ray: Legend of the Red and Blacks\").",
"A section of Milan fans held aloft a banner which read \"Ciao Ray: Leggenda Rossonera\" (English: \"Goodbye Ray: Legend of the Red and Blacks\"). During Chelsea's home game against West Ham United on 8 April, fans at Stamford Bridge gave a minute's applause in the eighth minute to pay tribute to Wilkins.",
"During Chelsea's home game against West Ham United on 8 April, fans at Stamford Bridge gave a minute's applause in the eighth minute to pay tribute to Wilkins. They also held a banner which read \"Ray was one those select few, he knew what it meant to be one of us a real blue blood.",
"They also held a banner which read \"Ray was one those select few, he knew what it meant to be one of us a real blue blood. Chelsea flowed through his veins, may you rest in peace Ray.\"",
"Chelsea flowed through his veins, may you rest in peace Ray.\" A memorial service was held for Wilkins on 1 May at St Luke's Church, Chelsea, attended by many figures who knew him from the world of football. His son made a speech about Wilkins' struggles with depression and alcoholism.",
"His son made a speech about Wilkins' struggles with depression and alcoholism. Career statistics Club International Scores and results list England's goal tally first, score column indicates score after each Wilkins goal.",
"Career statistics Club International Scores and results list England's goal tally first, score column indicates score after each Wilkins goal. Managerial statistics Honours Player Manchester United FA Cup: 1982–83 FA Charity Shield: 1983 Rangers Scottish Premier Division: 1988–89, 1989–90 Scottish League Cup: 1988–89 England Rous Cup: 1986 British Home Championship: 1977–78, 1981–82, 1982–83 Individual Chelsea Player of the Year: 1976, 1977 English Football Hall of Fame: 2013 Assistant manager Chelsea Premier League: 2009–10 FA Cup: 1999–2000, 2008–09, 2009–10 FA Community Shield: 2009 References External links England Record 1956 births 2018 deaths Footballers from Hillingdon England under-23 international footballers England under-21 international footballers England international footballers English football managers English footballers English expatriate footballers English Football Hall of Fame inductees Expatriate footballers in France Expatriate footballers in Italy Paris Saint-Germain F.C.",
"Managerial statistics Honours Player Manchester United FA Cup: 1982–83 FA Charity Shield: 1983 Rangers Scottish Premier Division: 1988–89, 1989–90 Scottish League Cup: 1988–89 England Rous Cup: 1986 British Home Championship: 1977–78, 1981–82, 1982–83 Individual Chelsea Player of the Year: 1976, 1977 English Football Hall of Fame: 2013 Assistant manager Chelsea Premier League: 2009–10 FA Cup: 1999–2000, 2008–09, 2009–10 FA Community Shield: 2009 References External links England Record 1956 births 2018 deaths Footballers from Hillingdon England under-23 international footballers England under-21 international footballers England international footballers English football managers English footballers English expatriate footballers English Football Hall of Fame inductees Expatriate footballers in France Expatriate footballers in Italy Paris Saint-Germain F.C. players A.C. Milan players Chelsea F.C.",
"players A.C. Milan players Chelsea F.C. players Crystal Palace F.C. players Premier League players English Football League players Ligue 1 players Scottish Football League players Serie A players UEFA Euro 1980 players 1982 FIFA World Cup players 1986 FIFA World Cup players Fulham F.C. managers Hibernian F.C. players Leyton Orient F.C. players Manchester United F.C.",
"players Manchester United F.C. players Manchester United F.C. players Members of the Order of the British Empire Millwall F.C. players Queens Park Rangers F.C. players Rangers F.C. players Wycombe Wanderers F.C. players Chelsea F.C. non-playing staff Watford F.C. non-playing staff Queens Park Rangers F.C. managers Premier League managers English association football commentators Senrab F.C.",
"managers Premier League managers English association football commentators Senrab F.C. players Fulham F.C. non-playing staff English Football League representative players Jordan national football team managers Expatriate football managers in Jordan English expatriate football managers 2015 AFC Asian Cup managers Aston Villa F.C.",
"non-playing staff English Football League representative players Jordan national football team managers Expatriate football managers in Jordan English expatriate football managers 2015 AFC Asian Cup managers Aston Villa F.C. non-playing staff Association football midfielders Ray FA Cup Final players English expatriate sportspeople in Jordan English expatriate sportspeople in Italy English expatriate sportspeople in France"
] |
[
"Dan Rather",
"Killian documents"
] | C_7f5b7fac03f240eba4b0cf53ca659b83_1 | What is Rather's connection to the Killian documents? | 1 | What is Dan Rather's connection to the Killian documents? | Dan Rather | On September 8, 2004, Rather reported on 60 Minutes Wednesday that a series of memos critical of President George W. Bush's Texas Air National Guard service record had been discovered in the personal files of Lt. Bush's former commanding officer, Lt. Col. Jerry B. Killian. Once copies of the documents were made available on the Internet, their authenticity was quickly called into question. Much of this was based on the fact that the documents were proportionally printed and displayed using other modern typographic conventions usually unavailable on military typewriters of the 1970s. The font used on the documents has characteristics that exactly match standard font features of Microsoft Word. This led to claims that the memos were forgeries. The accusations then spread over the following days into mainstream media outlets including The Washington Post, The New York Times, and the Chicago Sun-Times. Rather and CBS initially defended the story, insisting that the documents had been authenticated by experts. CBS was contradicted by some of the experts it originally cited, and later reported that its source for the documents - former Texas Army National Guard officer Lt. Col. Bill Burkett - had misled the network about how he had obtained them. On September 20, CBS retracted the story. Rather stated, "If I knew then what I know now, I would not have gone ahead with the story as it was aired, and I certainly would not have used the documents in question." The controversy has been referred to by some as "Memogate" and "Rathergate." Following an investigation commissioned by CBS, CBS fired story producer Mary Mapes and asked three other producers connected with the story to resign. Many believe Rather's retirement was hastened by this incident. On September 20, 2007, Rather was interviewed on Larry King Live commenting "Nobody has proved that they were fraudulent, much less a forgery. ... The truth of this story stands up to this day." CANNOTANSWER | Rather reported on 60 Minutes | Daniel Irvin Rather Jr. (; born October 31, 1931) is an American journalist and former national evening news anchor. Rather began his career in Texas, becoming a national name after his reporting saved thousands of lives during Hurricane Carla in September 1961. Rather spontaneously created the first radar weather report by overlaying a transparent map over a radar image of Hurricane Carla. In his first national broadcast, he helped initiate the successful evacuation of 350,000 people.
Rather reported from Dallas in November 1963 at the time that President John F. Kennedy was assassinated. Based on his reporting, he was promoted at CBS News, where he served as White House correspondent beginning in 1964. He served as foreign correspondent in London and Vietnam over the next two years before returning to the White House correspondent position. He covered the presidency of Richard Nixon, including Nixon's trip to China, the Watergate scandal, and the president's resignation.
In 1981, Rather was promoted to news anchor for the CBS Evening News, a role he occupied for 24 years. Along with Peter Jennings at ABC News and Tom Brokaw at NBC News, he was one of the "Big Three" nightly news anchors in the U.S. from the 1980s through the early 2000s. He frequently contributed to CBS's weekly news magazine, 60 Minutes.
Rather left the anchor desk in 2005 following the Killian documents controversy, in which he presented unauthenticated documents in a news report on President George W. Bush's Vietnam War–era service in the National Guard. He continued to work with CBS until 2006, when he was abruptly fired.
In September 2007, Rather filed a $70 million lawsuit against CBS and its former parent company Viacom. Rather accused the network and its ownership and management of making him a "scapegoat" in the Killian story. An intermediate New York state appeals court dismissed the lawsuit in September 2009, and the New York Court of Appeals refused to reinstate it in January 2010.
On the cable channel AXS TV (then called HDNet), Rather hosted Dan Rather Reports, a 60 Minutes–style investigative news program, from 2006 to 2013. He also hosts several other projects for AXS TV, including Dan Rather Presents, which provides in-depth reporting on broad topics such as mental health care or adoption, and The Big Interview with Dan Rather, in which he conducts long-form interviews with musicians and other entertainers. In January 2018, he began hosting an online newscast called The News with Dan Rather on The Young Turks' YouTube channel.
Early life
Daniel Irvin Rather Jr. was born on October 31, 1931, in Wharton County, Texas, the son of Daniel Irvin Rather Sr., a ditch digger and pipe layer, and the former Byrl Veda Page. The Rathers moved to Houston when he was a child, where Dan attended Lovett Elementary School and Hamilton Middle School. He graduated in 1950 from John H. Reagan High School in Houston.
In 1953, Rather earned a bachelor's degree in journalism from Sam Houston State Teachers College in Huntsville, Texas, where he was editor of the school newspaper, The Houstonian. He was also a member of the Caballeros, the founding organization of the Epsilon Psi chapter of the Sigma Chi fraternity. While in college, Rather worked for KSAM-FM radio in Huntsville, calling junior high, high school, and Sam Houston State football games. After obtaining his undergraduate degree, Rather briefly attended South Texas College of Law in Houston.
In January 1954, Rather enlisted in the United States Marine Corps and was sent to the Marine Corps Recruit Depot San Diego. He was soon discharged, however, because he was found to have had rheumatic fever as a child, a fact he had omitted during the enlistment process.
Early career
Rather began his journalism career in 1950 as an Associated Press reporter in Huntsville, Texas. Later, he was a reporter for United Press (1950–1952), several Texas radio stations, and the Houston Chronicle (1954–1955). Around 1955, Rather wrote a piece on heroin. Under the auspices of the Houston Police, he tried a dose of the drug, which he characterized as "a special kind of hell."
He worked for four seasons as the play-by-play announcer for the University of Houston football team. During the 1959 minor league baseball season, Rather was the play-by-play radio announcer for the Texas League Houston Buffs.
In 1959, Rather began his television career as a reporter for KTRK-TV, the ABC affiliate in Houston. He was subsequently promoted to the director of news for KHOU-TV, the CBS affiliate in Houston.
In September 1961, Rather covered Hurricane Carla for KHOU-TV, broadcasting from the then National Weather Center in Galveston. He is noted for showing the first radar image of a hurricane on TV. He conceived of overlaying a transparent map over the radar screen, in order to show the size of Hurricane Carla to the audience. Convinced of the threat, more than 350,000 people evacuated from the area, the largest known evacuation to that time. Their actions are believed to have saved thousands of lives compared to the previous hurricane, which had killed 6,000 to 12,000 people. Rather's live coverage of Carla was broadcast by New York and national stations. Ray Miller, news director of KPRC-TV, the NBC affiliate in Houston, also mentored Rather in the early years.
On February 28, 1962, Rather left Houston for New York City for a six-month trial initiation at CBS. Rather did not fit in easily on the East Coast. His first reports for CBS included coverage of the crash of American Airlines Flight 1 in Jamaica Bay, and a report on the suffocation of children at a hospital in Binghamton, New York. Shortly after, Rather was made chief of CBS's Southwest bureau in Dallas. In August 1963, he was appointed chief of the Southern bureau in New Orleans, responsible for coverage of news events in the South, Southwest, Mexico and Central America.
CBS News
JFK assassination to Watergate
In his autobiography, Rather noted that he was in Dallas in November 1963 to return film from an interview in Uvalde at the ranch of former Vice President John Nance Garner, who celebrated his 95th birthday on November 22. He happened to be "on the other side of the railroad tracks, beyond the triple underpass, thirty yards from a grassy knoll that would later figure in so many conspiracy theories." His job was to fetch a film drop from a camera truck at that location, and take it to the station for editing. He did not witness the shooting of Kennedy, and knew nothing of the events until he reached KRLD, having run through Dealey Plaza. He later wrote:
“The moment I cleared the railroad tracks I saw a scene I will never forget. Some people were lying on the grass, some screaming, some running, some pointing. Policemen swarmed everywhere and distinctly above the din, I heard one shout, 'DON'T ANYBODY PANIC.' And of course, there was nothing but panic wherever you looked.”
In his autobiography, Rather said he was one of the first to view the Zapruder film showing the assassination, and the first to describe it on television. Rather reported the fatal headshot as forcing Kennedy's head forward, but it was thrown backward.
Later, he reported that some Dallas schoolchildren had applauded when they were notified of the president's death. Administrators said they had announced that school was to be dismissed early, and did not mention the assassination. However, teacher Joanna Morgan confirmed that students had cheered at the news that Kennedy was shot. This story infuriated local journalists at then-CBS affiliate KRLD-TV (now Fox-owned-and-operated KDFW-TV).
Rather's reporting during the national mourning period following the Kennedy assassination and subsequent events impressed CBS News management. In 1964, they selected him for the network's White House correspondent position.
In 1965, Rather served as a foreign correspondent for CBS in London, and in 1966 in Vietnam. He served again as White House correspondent during the presidency of Richard Nixon. In 1970, he was also assigned as anchor for the CBS Sunday Night News (1970–73; 1974–75), and later for the CBS Saturday Evening News (1973–76). Rather was among those journalists who accompanied Nixon to China. He later covered the Watergate investigation, as well as the impeachment proceedings against Nixon in Congress.
CBS Evening News anchor
After President Nixon's resignation in 1974, Rather became chief correspondent for the documentary series CBS Reports. In December 1975, he became a correspondent of the long-running Sunday night news show 60 Minutes—at the time the program was moved from a Sunday afternoon time-slot to primetime. Success there helped Rather pull ahead of longtime correspondent Roger Mudd, who was in line to succeed Walter Cronkite as anchor and Managing Editor of The CBS Evening News.
Rather succeeded to the news anchor position after Cronkite's retirement, making his first broadcast on March 9, 1981. Rather had a significantly different style of reporting the news. In contrast to the avuncular Cronkite, who ended his newscast with “That's the way it is,” Rather searched to find a broadcast ending more suitable to his tastes. For one week in September 1986, with CBS the target of potentially hostile new ownership, Rather tried ending his broadcasts with the word "courage," and was roundly ridiculed for it. For nearly two decades, Rather ended the show with: “That's part of our world tonight.”
Rather also held other positions during his time as anchor. In January 1988, he became host of the newly created 48 Hours, and in January 1999, Rather joined the new 60 Minutes II as a correspondent.
Ratings for the Evening News with Rather at the helm fluctuated wildly, at a time when more alternatives to TV news were developing. After a dip to second place, Rather regained the top spot in 1985 until 1989, when he ceded the ratings peak to rival Peter Jennings at ABC's World News Tonight. By 1992, however, the Evening News had fallen to third place of the three major networks. It rose in rankings in 2005, when Bob Schieffer became the interim anchor between Rather and Katie Couric. It briefly moved ahead of ABC World News Tonight in the wake of the death of Peter Jennings, but remained behind NBC Nightly News. Rather was a frequent collaborator with CBS News producer Susan Zirinsky, a leading member of the news division's staff.
In 1987, new CBS owner Laurence Tisch oversaw layoffs of hundreds of CBS News employees, in a major shake-up of the network. Among those to go were correspondents such as David Andelman, Fred Graham, Morton Dean, and Ike Pappas. Fewer videotape crews were dispatched to cover stories, and numerous bureaus were closed. Critics cited the cutbacks as a major factor in CBS News' fall into third place in the ratings.
For a short time from 1993 to 1995, Rather co-anchored the evening news with Connie Chung. Chung had been a Washington, DC correspondent for CBS News, and anchored short news updates on the West Coast. On joining the CBS Evening News, she reported "pop news" stories. In one widely cited case, she aggressively pursued Tonya Harding, who was accused of a plot to injure fellow Olympic ice skater Nancy Kerrigan. After Chung left the network, Rather went back to doing the newscast alone.
By the 2005–06 season, the end of Rather's time as anchor, CBS Evening News lagged behind NBC Nightly News and ABC World News Tonight in the ratings. But it still drew approximately 5.5 million viewers a night. Criticism of Rather reached a fever pitch after 60 Minutes II ran his 2004 report about President Bush's military record. Numerous critics questioned the authenticity of the documents upon which the report was based. Rather subsequently admitted on the air that the documents' authenticity could not be proven. In the aftermath, CBS fired several members of CBS News staff but temporarily retained Rather, until his contract was up for renewal the following year, whereupon he was completely ousted.
Journalistic history and influence
Nixon
During Richard Nixon's presidency, critics accused Rather of biased coverage against him. At a Houston news conference in March 1974, Nixon fielded a question from Rather, still CBS's White House correspondent, who said, “Thank you, Mr. President. Dan Rather, of CBS News.” The room filled with jeers and applause, prompting Nixon to joke, “Are you running for something?” Rather replied, “No, sir, Mr. President. Are you?” He questioned whether Nixon was cooperating with the grand jury investigation and House Judiciary Committee in relation to the Watergate scandal.
NBC's Tom Brokaw has said the network considered hiring him to replace Rather as its White House correspondent, but dropped it after word was leaked to the press. Rather was believed to have provided tough coverage of the Watergate scandal, raising his profile.
Space Shuttle Challenger disaster
In January 1986, NASA faced repeated delays in the preparations to launch the Space Shuttles Columbia and Challenger in close sequence. Rather described the January 10 delay of Columbia as:
“star-crossed space shuttle Columbia stood ready for launch again today, and once more, the launch was scrubbed. Heavy rain was the cause this time. The launch has been postponed so often since its original date, December 18, that it's now known as mission impossible.”This was considered an example of the "biting sarcasm" the media used related to NASA's scheduling. Columbia launched on January 12.
On January 27, Rather's reporting of the expected Challenger launch began as follows:
On January 28, Challenger'''s explosion and destruction occurred 73 seconds after launch.
Afghanistan, Reagan, and George H. W. Bush
During the Soviet–Afghan War, Rather was filmed reporting near the front lines while wearing a traditional mujahideen headdress and garments. Rather attracted an Evening News audience (and was nicknamed "Gunga Dan"). The American comic strip Doonesbury spoofed his actions.
Rather's reports were later revealed to have been influential to Congressman Charlie Wilson (D-Texas), who led an effort to help the struggling mujahideen. The CIA developed its largest covert operation to supply aid and advanced arms to the mujahideen. The Soviets eventually quit Afghanistan.
Rather gained the anchor spot on the Evening News. He was competing with Roger Mudd, a more senior correspondent and a frequent substitute anchor for Walter Cronkite on Evening News. Mudd had also anchored the Sunday evening broadcast, but Rather traveled through Afghanistan when news led there. A few years into his service as anchor, Rather began wearing sweaters beneath his suit jacket to soften his on-air appearance for viewers.
During the 1980s, Rather gained further renown for his forceful and skeptical reporting on the Iran–Contra affair. He eventually confronted Vice President George H. W. Bush in an on-air interview during the latter's presidential campaign. Bush referred to Rather's "dead air incident" saying:
“I want to talk about why I want to be President, why those 41 percent of the people are supporting me. And I don't think it's fair to judge my whole career by a rehash on Iran. How would you like it if I judged your career by those seven minutes when you walked off the set in New York?”Rather ignored Bush's comment.
Shortly after Iraq invaded Kuwait, Rather secured an interview with Iraqi leader Saddam Hussein.
On February 24, 2003, Rather conducted another interview with Hussein before the United States' 2003 invasion of Iraq. In the interview, Hussein invited Rather to be the moderator of a live television debate between him and George W. Bush. The debate never took place.
The Wall Within
On June 2, 1988, Rather hosted a CBS News special, The Wall Within. In it, he interviewed six veterans, each of whom said he had witnessed horrible acts in Vietnam. Two of the men said that they had killed civilians, and two others said that they had seen friends die. Each talked about the effects the war had upon their lives—including depression, unemployment, drug use, and homelessness.
In 2004, National Review ran an article by Anne Morse entitled "The First Rathergate." She said that almost nothing claimed by participants in The Wall Within was true. Citing the self-published book Stolen Valor (1998) by veteran B. G. Burkett, and investigative journalist Glenna Whitley, Morse said that military records revealed that the six former servicemen had lied about their experiences. Only one served in combat, and two had never been in Vietnam.
Killian documents
On September 8, 2004, Rather reported on 60 Minutes Wednesday that a series of memos critical of President George W. Bush's Texas Air National Guard service record had been discovered in the personal files of Lt. Bush's former commanding officer, Lt. Col. Jerry B. Killian. Once copies of the documents were made available on the Internet, their authenticity was quickly called into question. Much of this was based on the fact that the documents were proportionally printed and displayed using other modern typographic conventions usually unavailable on military typewriters of the 1970s. The font used on the documents has characteristics that exactly or almost exactly match standard font features of Microsoft Word. This led to claims that the memos were forgeries. The accusations then spread over the following days into mainstream media outlets, including The Washington Post, The New York Times, and The Chicago Sun-Times.
Rather and CBS initially defended the story, insisting that the documents had been authenticated by experts. CBS was contradicted by some of the experts it originally cited, and later reported that its source for the documents—former Texas Army National Guard officer Lt. Col. Bill Burkett—had misled the network about how he had obtained them.
On September 20, 2004, CBS retracted the story. Rather stated, “If I knew then what I know now, I would not have gone ahead with the story as it was aired, and I certainly would not have used the documents in question.” The controversy has been referred to by some as "Memogate" and "Rathergate."
Following an investigation commissioned by CBS, CBS fired story producer Mary Mapes, and asked three other producers connected with the story to resign. Many believe Rather's retirement was hastened by this incident. On September 20, 2007, Rather was interviewed on Larry King Live commenting, “Nobody has proved that they were fraudulent, much less a forgery. ... The truth of this story stands up to this day.”
Departure from the CBS Evening News
Rather retired as the anchorman and Managing Editor of the CBS Evening News in 2005; his last broadcast was Wednesday, March 9, 2005. He had worked as the anchorman for 24 full years, the longest tenure of anyone in American television history, and for a short time, continued to work as a correspondent for 60 Minutes. Bob Schieffer, a fellow Texan and host of Face the Nation, took over Rather's position on an interim basis, with Katie Couric replacing Schieffer in 2006.
Since retiring, Rather has spoken out about what he perceives as a lack of courage by American journalists. On January 24, 2006, Rather spoke to a Seattle audience. Before the speaking engagement, he told a newspaper reporter, “In many ways on many days, [reporters] have sort of adopted the attitude of 'go along, get along.'”
“What many of us need is a spine transplant,” Rather added. “Whether it's City Hall, the State House, or the White House, part of our job is to speak truth to power.”
Ousted from CBS News
In June 2006, reports surfaced that CBS News would most likely not renew Dan Rather's contract. According to a Washington Post article, sources from CBS said that executives at the network decided "there is no future role for Rather."
On June 20, 2006, CBS News and Sports President Sean McManus announced that Rather would leave the network after 44 years. Rather issued a separate statement which accompanied the news of the departure:
Lawsuit over ouster from CBS Network
On September 19, 2007, Rather filed a $70 million lawsuit against CBS, its former parent company Viacom; CBS President and CEO Leslie Moonves; Sumner Redstone, chairman of both Viacom and CBS; and Andrew Heyward, former president of CBS News. Rather accused the network and its ownership and management of making him a "scapegoat" in the Killian story. A CBS spokesman claimed that the lawsuit was "old news" and "without merit." On September 21, 2009, Rather's lawyers claimed that Bush's military service would be proven to be a sham, and Rather would be vindicated. On September 29, 2009, a New York state appeals court dismissed Rather's lawsuit against CBS. On January 12, 2010, New York's top court refused to reinstate Rather's $70 million breach-of-contract lawsuit against CBS Corp. In his book titled Rather Outspoken, Rather claims that the lawsuit “took a big whack out of my time, my psyche and my bank balance, but even so, it was worth it.” On May 18, 2012, Rather appeared on Real Time With Bill Maher, and claimed he had been fired for reporting a story about George W. Bush's year of absence from the reserve unit he served with, and that the news corporations had been "very uncomfortable" with running the story.
Post-CBS career
Following his departure from CBS, Dan Rather joined Mark Cuban's cable network AXS TV (then called HDNet) to host and produce the weekly one-hour news show Dan Rather Reports from 2006 until 2013.
Since 2013, Rather has hosted and produced the hour-long series The Big Interview with Dan Rather on AXS TV, where he sits down for in-depth interviews with influential figures in music and entertainment, such as: John Fogerty, Quentin Tarantino, Simon Cowell, Aaron Sorkin, and Sammy Hagar. He has also produced several documentary specials for the network under the banner Dan Rather Presents, including specials about "America's Mental Health Crisis," the United States Secret Service, and "The Shameful Side of International Adoption."
Rather also appears frequently on a number of news shows, including MSNBC's The Rachel Maddow Show and The Last Word with Lawrence O'Donnell and on CNN. He has also written for The Huffington Post and Mashable.
On May 28, 2007, Rather compared historical events to events in the Star Wars films in the History Channel special titled Star Wars: The Legacy Revealed.
In 2012, Rather published an autobiography titled Rather Outspoken: My Life in the News.
In 2015, Rather launched an independent production company called News and Guts Media, through which he produces The Big Interview among other projects.
In 2015, Rather also began actively posting on Facebook. He credits young staffers at News and Guts Media with pushing him to try social media. While his posts were considerably longer than typical social media posts, they resonated with the audience, which soon grew to more than two million followers. Even late night TV noticed Rather's unusual but effective Facebook presence. Subject matter has covered a range of topics, including: current political events, journalism, and childhood memories.
On September 23, 2016, SiriusXM Radio announced a new hour-long weekly program, "Dan Rather's America," airing Tuesday mornings at 10am Eastern on Radio Andy channel 102, debuting on September 27.
In the fall of 2017, the Briscoe Center for American History at the University of Texas completed a digital humanities project dedicated to the long career of the journalist that was titled Dan Rather: American Journalist. The culmination of three years of research conducted at the Briscoe Center, the site uses materials from a dozen archives and libraries, and draws from over 25 of the Briscoe Center for American History's news media and photojournalism collections. The website features over 2,000 digitized documents, 300 excerpts from twelve oral history interviews, and 1000 video clips, enabling visitors to dive deep into the history of the last 60 years through the lens of Dan Rather's career.
On January 21, 2018, it was announced that Rather would be launching a weekly 30-minute newscast on The Young Turks. Titled The News with Dan Rather, it airs on Mondays at 5:30pm Eastern Time.
Personal life
Rather married Jean Goebel in 1957. They have a son and daughter, and maintain homes in New York City and Austin, Texas. Their daughter Robin is an environmentalist and community activist in Austin, Texas. Their son Dan is an assistant district attorney in the District Attorney's office in Manhattan, New York.
Sam Houston State University renamed its mass communications building after Rather in 1994. The building houses The Houstonian and KSHU, the student-run radio and television stations. In May 2007, Rather received an honorary Doctor of Humane Letters from Siena College in Loudonville, New York, for his lifetime contributions to journalism.
A columnist whose work is distributed by King Features Syndicate, Rather continues to speak out against alleged influence in journalism by corporations and governments. At a 2008 conference in Minneapolis, Minnesota, sponsored by the group Free Press, Rather criticized both local and national news organizations, stating—according to reports—that there is no longer incentive to do “good and valuable news.”
Books
The Palace Guard, with Gary Paul Gates, 1974. .
The Camera Never Blinks: Adventures of a TV Journalist, with Mickey Herskowitz, 1977. .
I Remember, with Peter Wyden, 1991. .
The Camera Never Blinks Twice: The Further Adventures of a Television Journalist, with Mickey Herskowitz, 1994. .
, 1999. .
"The American Dream: Stories from the Heart of Our Nation", 2001. .
, with Digby Diehl, 2013. .
What Unites Us: Reflections on Patriotism, with Elliot Kirschner, 2017. .What Unites Us: The Graphic Novel, with Elliot Kirschner, illustrated by Tim Foley, 2021. .
Awards
He has received numerous Emmy Awards, several Peabody Awards, and various honorary degrees from universities.
In addition to these awards, Rather was inducted into the Television Hall of Fame in 2004. In 2001, he received the Golden Plate Award of the American Academy of Achievement.
Criticism
As one of the last broadcast news journalists from the era of the "Big Three" network news primacy, Rather was generally regarded highly within his profession by long-serving journalists. Rather has been accused of having a liberal bias."Dan Rather: a pioneer and a lightning rod" at The Christian Science Monitor.
Claims of bias
Rather's on-screen comments and election-night reporting have come under attack dating back to Richard Nixon's presidency. In a June 2002 interview with Larry King, his long-time co-worker (and self-described liberal), Andy Rooney stated that Rather is “transparently liberal.”
During the weeks following the Killian documents stories, Rather received widespread criticism from other journalists and historians. In an interview with commentator Bill Maher, Rather accused Fox News Channel of receiving "talking points" from the Republican-controlled White House. Fox News commentator Bill O'Reilly, who had defended Rather during the Killian documents incident, criticized Rather for not offering any evidence to support the claim.
In 2002, Bernard Goldberg published a book with the title Bias, alleging a liberal bias in print and broadcast news organizations. In the book, Goldberg used Dan Rather as a primary example of a news anchorman with a liberal bias. He also criticized the anchor for his criticisms of President George W. Bush's and Vice President Dan Quayle's service in the National Guard, rather than the Active Duty military during the Vietnam War, and questioned Rather's own service.
Fairness and Accuracy in Reporting has accused Rather of having "an unwillingness to challenge official power and policy" in his reporting. Investigative reporter Mark Hertsgaard characterized Rather as a "stern anti-Communist" during the Reagan administration, for allegedly having "reported the pronouncements of public officials with considerable respect."
In April 2001, according to a front-page story in The Washington Post, Rather spoke at a Democratic party fundraiser in Austin, Texas, where he was the featured speaker. One of the official hosts for the fundraiser was Rather's daughter, Robin Rather; Rather said that he did not realize that his daughter was a host of the fundraiser. Rather also said that he did not realize that the event was a partisan fundraiser, although he did realize that after he arrived at the event.
From Walter Cronkite
During an appearance on CNN's American Morning in 2005, former CBS anchor Walter Cronkite said about Rather: “It surprised quite a few people at CBS and elsewhere that, without being able to pull up the ratings beyond third in a three-man field, that they tolerated his being there for so long.” Cronkite also said that he would like to have seen Bob Schieffer in Rather's position sooner.
From Dallas CBS news director Eddie Barker
In the aftermath of the Kennedy assassination while Rather was a Dallas reporter, he interviewed a minister, who said some local schoolchildren had cheered upon learning of the President's shooting. The Associated Press later confirmed the story. A teacher at the school backed up the Rather story, confirming that some students at the school had cheered at the principal's news about Kennedy. Eddie Barker, local Dallas-area news director for CBS, said that Rather had in fact been aware that the children were merely happy about being sent home early, and they had not been given a reason for early school closure (Barker's children attended the school, as he informed Rather). He stated that Rather had deliberately misrepresented the facts by indicating that the children were happy about the shooting. Barker attempted to fire Rather, but was overruled by the national CBS News management.
Incidents and controversies
1968 Democratic convention
During live coverage of the 1968 Democratic National Convention, Rather attempted to interview a delegate from Georgia who appeared as though he was being forcibly removed by men without identification badges.
As Rather approached the delegate to question the apparent strong-arm tactics of the Chicago political machine under Mayor Daley, he was punched in the stomach by one of the men, knocking him to the ground. “He lifted me right off the floor and put me away. I was down, the breath knocked out of me, as the whole group blew on by me ... In the CBS control room, they had switched the camera onto me just as I was slugged.” Walter Cronkite, after being told by Rather what happened, added on-air, "I think we got a bunch of thugs here Dan!"
Chicago cab ride
On November 10, 1980, Rather landed at Chicago's O'Hare International Airport and got into a cab. He asked the cab driver to take him to the home of writer Studs Terkel, whom he was interviewing for 60 Minutes. A police spokesman said that the cab driver refused to go to the address and instead "wildly drove through the city streets," with Rather shouting out the window asking for help. The driver was charged with disorderly conduct. Rather called the incident “a rather minor thing.”
By the time the case was about to come to trial, he was about to add anchoring the CBS Evening News to his 60 Minutes role at CBS News. Rather declined to press charges, citing a "mounting schedule of reporting assignments."
Galloway lawsuit
In 1980, Rather and CBS were taken to court when Carl Galloway, a California doctor, claimed that a report on 60 Minutes wrongfully implicated him in an insurance fraud scheme. CBS stated Galloway had signed the bogus report, and was suing Rather because he was upset at being caught. The jury sided with CBS and Rather, and they won the case. During the trial, Galloway's side used outtakes from the TV report showing that one interview was rehearsed.
"Courage"
For one week in September 1986, Rather signed off his broadcasts to CBS with the word "courage." He said that it was just a signature line, and had nothing to do with the news at the time. Other newscasters ridiculed and parodied Rather, and he dropped it.
"Kenneth, what is the frequency?"
On October 4, 1986, while walking along Park Avenue to his apartment in Manhattan, Rather was attacked and punched from behind by a man who demanded to know "Kenneth, what is the frequency?" while a second assailant chased and beat him. As the assailant pummeled and kicked Rather, he kept repeating the question. In describing the incident, Rather said “I got mugged. Who understands these things? I didn't and I don't now. I didn't make a lot of it at the time and I don't now. I wish I knew who did it and why, but I have no idea.” Until the crime was resolved years later, Rather's description of the bizarre crime led some to doubt the veracity of his account, although the doorman and building supervisor who came to Rather's aid fully confirmed his version of events.
The assault remained unsolved for some time, and was referenced multiple times in popular culture. The phrase "What's the frequency, Kenneth?" became a popular-culture reference over the years, such as in a scene in the graphic novel Like a Velvet Glove Cast in Iron by cartoonist Daniel Clowes. The opening track of the 1987 album Lolita Nation by California power pop group Game Theory is titled "Kenneth, What's the Frequency?" In 1994, the band R.E.M. released the song "What's the Frequency, Kenneth?" on their album Monster. Rather later sang with R.E.M. during a sound check prior to a gig at New York's Madison Square Garden, which was shown the following night on the Late Show with David Letterman.
In 1997, a TV critic writing in the New York Daily News solved the mystery, publishing a photo of the alleged assailant, William Tager, who received a 12.5-to-25-year prison sentence for killing NBC stagehand Campbell Montgomery outside The Today Show studio in 1994. Rather confirmed the story: "There's no doubt in my mind that this is the person." New York District Attorney Robert M. Morgenthau said "William Tager's identity as the man who attacked Mr. Rather was established in the course of an investigation by my office." Tager claimed he thought television networks were beaming signals into his brain. When he murdered the stagehand, Tager was trying to force his way into an NBC studio with a weapon, in order to find out the frequency the networks were using to attack him, so that he could block it. Tager was paroled in October 2010.
Dead air
On September 11, 1987, Rather walked off the set in anger just before a remote Evening News broadcast from Miami, where Pope John Paul II had begun a rare U.S. tour, when a U.S. Open tennis match was being broadcast into the time scheduled for the newscast. He was upset that the news was being cut into to make room for sports and discussed it with the sports department, and made it clear that if the newscast did not start on time, then CBS Sports should fill the half hour. The Steffi Graf–Lori McNeil tennis match coverage then ended sooner than expected at 6:32 p.m., but Rather had disappeared. (CBS Sports had finally agreed to break away immediately after the match without commentary.) Thus, over 100 affiliates were forced to broadcast six minutes of dead air. Some stations were forced to air a slot of syndicated programming such as a rerun of a game show or a sitcom, and other stations were forced to pull out a technical difficulty telop graphic. Phil Jones, the chairman of the CBS affiliation board and general manager of Kansas City's KCTV (which the station placed a technical difficulty graphic during dead air) wanted an apology from Rather. Meanwhile in Miami, the city's CBS affiliate WTVJ was forced to drop the episode entirely, which ended up airing a syndicated rerun of a game show to fill the station's schedule. The next day, Rather apologized for leaving the anchor desk. The following year, when Rather asked then Vice President Bush about his role in the Iran–Contra affair during a live interview, Bush responded by saying, “Dan, how would you like it if I judged your entire career by those seven minutes when you walked off the set in New York?” Roger Ailes had a “mole” at CBS, who alerted him that the goal was to “take Bush out of the race” with a tough interview on Iran-Contra. Ailes alerted Bush on the cab ride over, and fed him the seven minutes retort. The aftermath of the interview showed the episode was a boost for Bush. “The vice president's poll ratings in Iowa and New Hampshire bumped visibly upward.”
"Ratherisms"
Rather is known for his many colorful analogies and descriptions during live broadcasts. Similar to those used by baseball announcer Red Barber, cycling commentator Phil Liggett, and Formula 1 commentator Murray Walker, these "Ratherisms" are also called "Texanisms" or "Danisms" by some. A few of the more colorful ones, several of which were used throughout the 2008 HBO made-for-TV movie Recount about the 2000 Election, include:
“This race is shakier than cafeteria Jell-O.”
“This thing is as tight as the rusted lugnuts on a '55 Ford.”
His characterization of the Republican Party's assessment of President Obama: “[He] couldn't sell watermelons if you gave him the state troopers to flag down the traffic.”
In popular culture
Rather has been referenced in the television shows Saturday Night Live and Family Guy and many films. An animated caricature of him made a cameo appearance in the JibJab political cartoon, Good to Be in D.C. In 1971, he had a cameo in an episode of the number one hit comedy series All in the Family. Entitled The Man in the Street, series star Carroll O'Connor's Archie Bunker character excitedly awaits the viewing of a videotaped interview he gave earlier that day for the CBS Evening News. At the last minute, to his dismay, the segment is preempted by the telecast of a Richard Nixon presidential address from the Oval Office. Rather appears, as himself, delivering post-speech analysis from actual news footage. Jean Stapleton, as Archie's scatterbrained wife Edith Bunker, says of Rather how he's there to "...tell us what Mr. Nixon just said."
In 2004, he was featured in the documentary film Barbecue: A Texas Love Story by Austin-based director Chris Elley. Two years later, Rather and Elley educated a group of New Yorkers in Madison Square Park about the true meaning of BBQ, and its significance to the identity of the Lone Star State.
In the 2006–07 graphic novel Shooting War, which is set in the year 2011, an 80-year-old Dan Rather is shown to be one of the last journalists still reporting from Iraq. He had a cameo in the premiere of the Fall 2007 drama Dirty Sexy Money on ABC television. He guest-starred as himself in The Simpsons episode, "E Pluribus Wiggum."
Rather appeared on The Daily Show in May 2009, wearing an Afro wig and mutton-chop sideburns to narrate a segment about the late former President Nixon eating a burrito, as a parody of MSNBC's extensive coverage of President Obama and Vice President Biden's hamburger lunch. He appears in the 2008 award-winning documentary Boogie Man: The Lee Atwater Story.
A skit on the 38th season of Sesame Street featured Anderson Cooper interviewing two grouches, "Walter Cranky" and "Dan Rather Not," who, when asked to answer questions, demurred with the phrase "I'd rather not."
Robert Redford portrayed Rather in the 2015 film Truth. Rather appeared in the docudrama Facing Saddam providing his views on Saddam Hussein.
Ratings
Under Rather's predecessor, Walter Cronkite, the CBS Evening News was a strong #1 in the ratings, which Rather maintained through much of the 1980s. However, Tom Brokaw and his NBC Nightly News, and Peter Jennings of ABC News' World News Tonight, increasing in popularity, eventually cut deep into the Rather broadcast's numbers.
See also
New Yorkers in journalism
References
Further reading
Dan Rather & Elliot Kirschner (2017). What Unites Us: Reflections on Patriotism Algonquin Books of Chapel Hill.
Rather, Dan. The Palace Guard, with Gary Gates
Rather, Dan. I Remember, with Peter Wyden.
Rather, Dan with Herskowitz, Mickey. The Camera Never Blinks Twice''. 1995. William Morrow.
2nd Saddam interview
External links
AXS TV The Big Interview
Dan Rather: American Journalist (Briscoe Center for American History)
Members of the Council on Foreign Relations
1931 births
Living people
American television reporters and correspondents
American war correspondents
American war correspondents of the Vietnam War
CBS News people
Emmy Award winners
Peabody Award winners
60 Minutes correspondents
Associated Press reporters
Houston Chronicle people
Television anchors from Houston
Journalists from Houston
Killian documents controversy
People from Wharton, Texas
Sam Houston State University alumni
Writers from Texas
American victims of crime
Texas Democrats
The Young Turks people
American male journalists
20th-century American journalists
21st-century American journalists
Journalists from New York City
People from Huntsville, Texas
Recipients of the Four Freedoms Award
Military personnel from Texas | true | [
"The Killian documents controversy (also referred to as Memogate or Rathergate) involved six documents containing false allegations about President George W. Bush's service in the Texas Air National Guard in 1972–73, allegedly typed in 1973. Dan Rather presented four of these documents as authentic in a 60 Minutes II broadcast aired by CBS on September 8, 2004, less than two months before the 2004 presidential election, but it was later found that CBS had failed to authenticate them. Several typewriter and typography experts soon concluded that they were forgeries. Lt. Col. Bill Burkett provided the documents to CBS, but he claims to have burned the originals after faxing them copies.\n\nCBS News producer Mary Mapes obtained the copied documents from Burkett, a former officer in the Texas Army National Guard, while pursuing a story about the George W. Bush military service controversy. Burkett claimed that Bush's commander Lieutenant Colonel Jerry B. Killian wrote them, which included criticisms of Bush's service in the Guard during the 1970s. In the 60 Minutes segment, Rather stated that the documents \"were taken from Lieutenant Colonel Killian's personal files\", and he falsely asserted that they had been authenticated by experts retained by CBS.\n\nThe authenticity of the documents was challenged within hours on Internet forums and blogs, with questions initially focused on anachronisms in the typography, and the scandal quickly spread to the mass media. CBS and Rather defended the authenticity and usage of the documents for two weeks, but other news organizations continued to scrutinize the evidence, and USA Today obtained an independent analysis from outside experts. CBS finally repudiated the use of the documents on September 20, 2004. Rather stated, \"if I knew then what I know now – I would not have gone ahead with the story as it was aired, and I certainly would not have used the documents in question\", and CBS News President Andrew Heyward said, \"Based on what we now know, CBS News cannot prove that the documents are authentic, which is the only acceptable journalistic standard to justify using them in the report. We should not have used them. That was a mistake, which we deeply regret.\"\n\nSeveral months later, a CBS-appointed panel led by Dick Thornburgh and Louis Boccardi criticized both the initial CBS news segment and CBS's \"strident defense\" during the aftermath. CBS fired producer Mapes, requested resignations from several senior news executives, and apologized to viewers by saying only that there were \"substantial questions regarding the authenticity of the Killian documents\".\n\nThe story of the controversy was dramatized in the 2015 film Truth starring Robert Redford as Dan Rather and Cate Blanchett as Mary Mapes, directed by James Vanderbilt. It is based on Mapes' memoir Truth and Duty: The Press, the President, and the Privilege of Power. Former CBS President and CEO Les Moonves refused to approve the film, and CBS refused to air advertisements for it. A CBS spokesman stated that it contained \"too many distortions, evasions, and baseless conspiracy theories\".\n\nBackground and timeline\nThe memos, allegedly written in 1972 and 1973, were obtained by CBS News producer Mary Mapes and freelance journalist Michael Smith, from Lt. Col. Bill Burkett, a former US Army National Guard officer. Mapes and Dan Rather, among many other journalists, had been investigating for several years the story of Bush's alleged failure to fulfill his obligations to the National Guard.\n\nBurkett had received publicity in 2000, after making and then retracting a claim that he had been transferred to Panama for refusing \"to falsify personnel records of [then-]Governor Bush\", and in February 2004, when he claimed to have knowledge of \"scrubbing\" of Bush's Texas Air National Guard records. Mapes was \"by her own account [aware that] many in the press considered Burkett an 'anti-Bush zealot', his credibility in question\".\n\nMapes and Smith made contact with Burkett in late August, and on August 24 Burkett offered to meet with them to share the documents he possessed, and later told reporters from USA Today \"that he had agreed to turn over the documents to CBS if the network would arrange a conversation with the Kerry campaign\", a claim substantiated by emails between Smith and Mapes detailing Burkett's additional requests for help with negotiating a book deal, security, and financial compensation. During the last week of August, Mapes asked Josh Howard, her immediate superior at CBS, for permission to facilitate contact between Burkett and the Kerry campaign; Howard and Mapes subsequently disputed whether such permission had been given.\n\nTwo documents were provided by Burkett to Mapes on September 2 and four others on September 5, 2004. At that time, Burkett told Mapes that they were copies of originals that had been obtained from Killian's personal files via Chief Warrant Officer George Conn, another former member of the TexANG.\n\nMapes informed Rather of the progress of the story, which was being targeted to air on September 8 along with footage of an interview with Ben Barnes, a former Lieutenant Governor of Texas, who would publicly state for the first time his opinion that Bush had received preferential treatment to get into the National Guard. Mapes had also been in contact with the Kerry campaign several times between late August and September 6, when she spoke with senior Kerry advisor Joe Lockhart regarding the progressing story. Lockhart subsequently stated he was \"wary\" of contact with Mapes at this stage, because if the story were true, his involvement might undermine its credibility, and if it were false, \"he did not want to be associated with it.\" Lockhart called Burkett on September 6 at the number provided by Mapes, and both men stated they discussed Burkett's view of Kerry's presidential campaign strategy, not the existence of the documents or the related story.\n\nContent of the memos\nThe documents claimed that Bush had disobeyed orders while in the Guard, and that undue influence had been exerted on Bush's behalf to improve his record. The documents included the following:\n\nAn order directing Bush to submit to a physical examination.\nA note that Killian had grounded Bush from flying due to \"failure to perform to USAF / TexANG standards\", and for failure to submit to the physical examination as ordered. Killian also requested that a flight inquiry board be convened, as required by regulations, to examine the reasons for Bush's loss of flight status.\nA note of a telephone conversation with Bush in which Bush sought to be excused from \"drill\", The note records that Bush said he did not have the time to attend to his National Guard duties because he had a campaign to do (the Senate campaign of Winton M. Blount in Alabama).\nA note (labeled \"CYA\" for \"cover your ass\") claiming that Killian was being pressured from above to give Bush better marks in his yearly evaluation than he had earned. The note attributed to Killian says that he was being asked to \"sugarcoat\" Bush's performance. \"I'm having trouble running interference [for Bush] and doing my job.\"\n\nUSA Today also received copies of the four documents used by CBS, reporting this and publishing them the morning after the CBS segment, along with two additional memos. Burkett was assured by USA Today that they would keep the source confidential.\n\nCBS investigations prior to airing the segment\nMapes and her colleagues began interviewing people who might be able to corroborate the information in the documents, while also retaining four forensic document experts, Marcel J. Matley, James J. Pierce, Emily Will, and Linda James, to determine the validity of the memos.\n\nOn September 5, CBS interviewed Killian's friend Robert Strong, who ran the Texas Air National Guard administrative office. Among other issues covered in his interview with Rather and Mapes, Strong was asked if he thought the documents were genuine. Strong stated, \"they are compatible with the way business was done at the time. They are compatible with the man that I remember Jerry Killian being.\" Strong had first seen the documents twenty minutes earlier and also said he had no personal knowledge of their content; he later claimed he had been told to assume the content of the documents was accurate.\n\nOn September 6, CBS interviewed General Robert \"Bobby\" Hodges, a former officer at the Texas Air National Guard and Killian's immediate superior at the time. Hodges declined CBS' request for an on-camera interview, and Mapes read the documents to him over the telephone—or perhaps only portions of the documents; his recollection and Mapes's differed. According to Mapes, Hodges agreed with CBS's assessment that the documents were real, and CBS reported that Hodges stated that these were \"the things that Killian had expressed to me at the time\". However, according to Hodges, when Mapes read portions of the memos to him he simply stated, \"well if he wrote them, that's what he felt\", and he stated he never confirmed the validity of the content of the documents. General Hodges later asserted to the investigatory panel that he told Mapes that Killian had never, to his knowledge, ordered anyone to take a physical and that he had never been pressured regarding Lieutenant Bush, as the documents alleged. Hodges also claims that when CBS interviewed him, he thought the memos were handwritten, not typed, and following the September 8 broadcast, when Hodges had seen the documents and heard of claims of forgery by Killian's wife and son, he was \"convinced they were not authentic\" and told Rather and Mapes on September 10.\n\nResponse of the document examiners\n\nPrior to airing, all four of the examiners responded to Mapes' request for document analysis, though only two to Mapes directly:\n\nEmily Will noted discrepancies in the signatures on the memos, and had questions about the letterhead, the proportional spacing of the font, the superscripted \"th\" and the improper formatting of the date. Will requested other documents to use for comparison.\nLinda James was \"unable to reach a conclusion about the signature\" and noted that the superscripted \"th\" was not in common use at the time the memos were allegedly written; she later recalled telling CBS, \"the two memos she looked at 'had problems.'\"\nJames Pierce concluded that both of the documents were written by the same person and that the signature matched Killian's from the official Bush records. Only one of the two documents provided to Pierce had a signature. James Pierce wrote, \"the balance of the Jerry B. Killian signatures appearing on the photocopied questioned documents are consistent and in basic agreement\", and stated that based on what he knew, \"the documents in question are authentic\". However, Pierce also told Mapes he could not be sure if the documents had been altered because he was reviewing copies, not original documents.\nMarcel Matley's review was initially limited to Killian's signature on one of the Burkett documents, which he compared to signatures from the official Bush records. Matley \"seemed fairly confident\" that the signature was Killian's. On September 6, Matley was interviewed by Rather and Mapes and was provided with the other four documents obtained from CBS (he would prove to be the only reviewer to see these documents prior to the segment). Matley told Rather \"he could not authenticate the documents due to the fact that they were poor quality copies.\" In the interview, Matley told Rather that with respect to the signatures, they were relying on \"poor material\" and that there were inconsistencies in the signatures, but also replied \"Yes\", when asked if it would be safe to say the documents were written by the person who signed them.\nBoth Emily Will and Linda James suggested to Mapes that CBS contact typewriter expert Peter Tytell (son of Martin Tytell). Associate producer Yvonne Miller left him a voicemail on September 7; he returned the call at 11 am on September 8 but was told they \"did not need him anymore\".\n\nSeptember 8 segment and initial reactions\nThe segment entitled \"For the Record\" aired on 60 Minutes Wednesday on September 8. After introducing the documents, Rather said, in reference to Matley, \"We consulted a handwriting analyst and document expert who believes the material is authentic.\"\n\nThe segment introduced Lieutenant Robert Strong's interview, describing him as a \"friend of Killian\" (without noting he had not worked in the same location and without mentioning he had left the TexANG prior to the dates on the memos). The segment used the sound bite of Strong saying the documents were compatible with how business was done but did not include a disclaimer that Strong was told to assume the documents were authentic.\n\nIn Rather's narration about one of the memos, he referred to pressure being applied on Bush's behalf by General Buck Staudt, and described Staudt as \"the man in charge of the Texas National Guard\". Staudt had retired from the guard a year and a half prior to the dates of the memos.\n\nInterview clips with Ben Barnes, former Speaker of the Texas House, created the impression \"that there was no question but that President Bush had received Barnes' help to get into the TexANG\", because Barnes had made a telephone call on Bush's behalf, when Barnes himself had acknowledged that there was no proof his call was the reason, and that \"sometimes a call to General Rose did not work\". Barnes' disclaimer was not included in the segment.\n\nInternet skepticism spreads\nDiscussion quickly spread to various weblogs in the blogosphere, principally Little Green Footballs and Power Line. The initial analysis appeared in posts by \"Buckhead\", a username of Harry W. MacDougald, an Atlanta attorney who had worked for conservative groups such as the Federalist Society and the Southeastern Legal Foundation, and who had helped draft the petition to the Arkansas Supreme Court for the disbarment of President Bill Clinton. MacDougald questioned the validity of the documents on the basis of their typography, writing that the memos were \"in a proportionally spaced font, probably Palatino or Times New Roman\", and alleging that this was an anachronism: \"I am saying these documents are forgeries, run through a copier for 15 generations to make them look old. This should be pursued aggressively.\"\n\nBy the following day, questions about the authenticity of the documents were being publicized by the Drudge Report, which linked to the analysis at the Powerline blog in the mid-afternoon, and the story was covered on the website of the magazine The Weekly Standard and broke into mass media outlets, including the Associated Press and the major television news networks. It also was receiving serious attention from conservative writers such as National Review Online's Jim Geraghty. By the afternoon of September 9, Charles Foster Johnson of Little Green Footballs had posted his attempt to recreate one of the documents using Microsoft Word with the default settings. The September 9 edition of ABC's Nightline made mention of the controversy, along with an article on the ABC News website.\n\nThirteen days after this controversy had emerged the national newspaper USA Today published a timeline of events surrounding the CBS story. Accordingly, on the September 9 morning after the \"60 minutes\" report, the broadcast was front-page news in the New York Times and Washington Post. Additionally, the story was given two-thirds of a full page within USA Today'''s news section, which mentioned that it had also obtained copies of the documents. However, the authenticity of the memos was not part of the story carried by major news outlets on that day. Also on that day, CBS published the reaction of Killian's son, Gary, to the documents, reporting that Gary Killian questioned one of the memos but stated that others \"appeared legitimate\" and characterized the collection as \"a mixture of truth and fiction\". In an interview with Fox News, Gary Killian expressed doubts about the documents' authenticity on the basis of his father's positive view of Bush.\n\nIn 2006, the two Free Republic (Rathergate) bloggers, Harry W. MacDougald, username \"Buckhead\", an Atlanta-based lawyer and Paul Boley, username \"TankerKC\", were awarded the Reed Irvine Award for New Media by the Accuracy in Media watchdog at the Conservative Political Action Conference (CPAC).\n\nCBS's response and widening media coverage\nAt 5:00 p.m. on Thursday, September 9, CBS News released a statement saying the memos were \"thoroughly investigated by independent experts, and we are convinced of their authenticity\", and stating, \"this report was not based solely on recovered documents, but rather on a preponderance of evidence, including documents that were provided by unimpeachable sources\". The statement was replaced later that day with one that omitted this claim.\n\nThe first newspaper articles questioning the documents appeared on September 10 in The Washington Post, The New York Times and in USA Today via the Associated Press. The Associated Press reported, \"Document examiner Sandra Ramsey Lines ... said she was 'virtually certain' [the documents] were generated by computer. Lines said that meant she could testify in court that, beyond a reasonable doubt, her opinion was that the memos were written on a computer.\"\n\nAlso on September 10, The Dallas Morning News reported, \"the officer named in one memo as exerting pressure to 'sugarcoat' Bush's military record was discharged a year and a half before the memo was written. The paper cited a military record showing that Col. Walter 'Buck' Staudt was honorably discharged on March 1, 1972, while the memo cited by CBS as showing that Staudt was interfering with evaluations of Bush was dated August 18, 1973.\"\n\nIn response to the media attention, a CBS memo said that the documents were \"backed up not only by independent handwriting and forensic document experts but by sources familiar with their content\" and insisted that no internal investigation would take place. On the CBS Evening News of September 10, Rather defended the story and noted that its critics included \"partisan political operatives\".\n\nIn the broadcast, Rather stated that Marcel Matley \"analyzed the documents for CBS News. He believes they are real\", and broadcast additional excerpts from Matley's September 6 interview showing Matley's agreement that the signatures appeared to be from the same source. Rather did not report that Matley had referred to them as \"poor material\", that he had only opined about the signatures or that he had specifically not authenticated the documents.\nRather presented footage of the Strong interview, introducing it by stating Robert Strong \"is standing by his judgment that the documents are real\", despite Strong's lack of standing to authenticate them and his brief exposure to the documents.\nRather concluded by stating, \"If any definitive evidence to the contrary of our story is found, we will report it. So far, there is none.\"\n\nIn an appearance on CNN that day, Rather asserted \"I know that this story is true. I believe that the witnesses and the documents are authentic. We wouldn't have gone to air if they would not have been.\"\n\nHowever, CBS's Josh Howard spoke at length by telephone with typewriter expert Peter Tytell and later told the panel that the discussion was \"an 'unsettling event' that shook his belief in the authenticity of the documents\". Producer Mapes dismissed Tytell's concerns.\n\nA former vice president of CBS News, Jonathan Klein, dismissed the allegations of bloggers, suggesting that the \"checks and balances\" of a professional news organization were superior to those of individuals sitting at their home computers \"in their pajamas\".\n\nCBS's defense, apology\n\nAs media coverage widened and intensified, CBS at first attempted to produce additional evidence to support its claims. On September 11, a CBS News segment stated that document expert Phillip Bouffard thought the documents \"could have been prepared on an IBM Selectric Composer typewriter, available at the time\". The Selectric Composer was introduced in 1966 for use by typesetting professionals to generate camera-ready copy; according to IBM archives describing this specialized equipment, \"To produce copy which can be reproduced with 'justified', or straight left-and right-hand margins, the operator types the copy once and the composer computes the number of spaces needed to justify the line. As the operator types the copy a second time, the spaces are added automatically.\" Bouffard's comments were also cited by the Boston Globe in an article entitled \"Authenticity backed on Bush documents\". However, the Globe soon printed a retraction regarding the title. CBS noted that although General Hodges was now stating he thought the documents were inauthentic, \"we believed General Hodges the first time we spoke with him.\" CBS reiterated: \"we believe the documents to be genuine.\"\n\nBy September 13, CBS's position had shifted slightly, as Rather acknowledged \"some of these questions come from people who are not active political partisans\", and stated that CBS \"talked to handwriting and document analysts and other experts who strongly insist the documents could have been created in the '70s\". The analysts and experts cited by Rather did not include the original four consulted by CBS. Rather instead presented the views of Bill Glennon and Richard Katz. Glennon, a former typewriter repairman with no specific credentials in typesetting beyond that job, was found by CBS after posting several defenses of the memos on blogs including Daily Kos and Kevin Drum's blog hosted at Washington Monthly. However, in the actual broadcast, neither interviewee asserted that the memos were genuine.\n\nAs a result, some CBS critics began to accuse CBS of expert shopping.\n\n60 Minutes Wednesday, one week later\nThe original document examiners, however, continued to be part of the story. By September 15, Emily Will was publicly stating that she had told CBS that she had doubts about both the production of the memos and the handwriting prior to the segment. Linda James stated that the memos were of \"very poor quality\" and that she did not authenticate them, telling ABC News, \"I did not authenticate anything and I don't want it understood that I did.\"\n\nIn response, 60 Minutes Wednesday released a statement suggesting that Will and James had \"misrepresented\" their role in the authentication of the documents and had played only a small part in the process. CBS News concurrently amended its previous claim that Matley had authenticated the documents, saying instead that he had authenticated only the signatures. On CNN, Matley stated he had only verified that the signatures were \"from the same source\", not that they were authentically Killian's: \"When I saw the documents, I could not verify the documents were authentic or inauthentic. I could only verify that the signatures came from the same source\", Matley said. \"I could not authenticate the documents themselves. But at the same time, there was nothing to tell me that they were not authentic.\"\n\nOn the evening of September 15, CBS aired a segment that featured an interview with Marian Carr Knox, a secretary at Ellington Air Force Base from 1956 to 1979, and who was Killian's assistant on the dates shown in the documents. Dan Rather prefaced the segment on the recorded interview by stating, \"She told us she believes what the documents actually say is, exactly, as we reported.\" In the aired interview, Knox expressed her belief that the documents reflected Killian's \"sentiments\" about Bush's service, and that this belief motivated her decision to reach out to CBS to provide the interview.CBS Sept 15 2004: Dan Rather Talks To Lt. Col. Killian's Ex-Secretary About Bush Memos In response to a direct question from Rather about the authenticity of the memo on Bush's alleged insubordination, she stated that no such memo was ever written; she further emphasized that she would have known if such a memo existed, as she had sole responsibility to type Killian's memos in that time period. At this point, she also admitted she had no firsthand knowledge of Bush's time in the Guard. However, controversially, Knox said later in the interview, \"The information in here was correct, but it was picked up from the real ones.\" She went on to say, \"I probably typed the information and somebody picked up the information some way or another.\" The archived link works only with JavaScript disabled in the browser; a version with all scripts disabled is here. The New York Times' headline report on this interview, including the phrase \"Fake but Accurate\", created an immediate backlash from critics of CBS's broadcast. The conservative-leaning Weekly Standard proceeded to predict the end of CBS's news division.\n\nAt this time, Dan Rather first acknowledged there were problems in establishing the validity of the documents used in the report, stating: \"If the documents are not what we were led to believe, I'd like to break that story.\"\n\nCBS also hired a private investigator to look into the matter after the story aired and the controversy began.\n\nCopies of the documents were first released to the public by the White House. Press Secretary Scott McClellan stated that the memos had been provided to them by CBS in the days prior to the report and that, \"We had every reason to believe that they were authentic at that time.\"\n\nThe Washington Post reported that at least one of the documents obtained by CBS had a fax header indicating it had been faxed from a Kinko's copy center in Abilene, Texas, leading some to trace the documents back to Burkett.\n\nCBS states that use of the documents was a mistake\n\nAs a growing number of independent document examiners and competing news outlets reported their findings about the documents, CBS News stopped defending the documents and began to report on the problems with their story. On September 20 they reported that their source, Bill Burkett, \"admits that he deliberately misled the CBS News producer working on the report, giving her a false account of the documents' origins to protect a promise of confidentiality to the actual source.\" While the network did not state that the memos were forgeries, CBS News president Andrew Heyward said,\n\nBased on what we now know, CBS News cannot prove that the documents are authentic, which is the only acceptable journalistic standard to justify using them in the report. We should not have used them. That was a mistake, which we deeply regret.\n\nDan Rather stated, \"if I knew then what I know now – I would not have gone ahead with the story as it was aired, and I certainly would not have used the documents in question.\"\n\nIn an interview with Rather, Burkett admitted that he misled CBS about the source of the documents, and then claimed that the documents came to him from someone he claimed was named \"Lucy Ramirez\", whom CBS was unable to contact or identify as an actual person. Burkett said he then made copies at the local Kinko's and burned the original documents. Investigations by CBS, CNN and the Washington Post failed to turn up evidence of \"Lucy Ramirez\" being an actual person.Jonathan V. Last, \"Whitewash\", The Weekly Standard, January 10, 2005.\n\nOn September 21, CBS News addressed the contact with the Kerry campaign in its statement, saying \"it is obviously against CBS News standards and those of every other reputable news organization to be associated with any political agenda.\"\n\nThe next day the network announced it was forming an independent review panel to perform an internal investigation.\n\nReview panel established\n\nSoon after, CBS established a review panel \"to help determine what errors occurred in the preparation of the report and what actions need to be taken\". Dick Thornburgh, a Republican former governor of Pennsylvania and United States Attorney General under George H.W. Bush, and Louis Boccardi, retired president and chief executive officer and former executive editor of the Associated Press, made up the two-person review board. CBS also hired a private investigator, a former FBI agent named Erik T. Rigler, to gather further information about the story.\n\nFindings\nOn January 5, 2005, the Report of the Independent Review Panel on the September 8, 2004, 60 Minutes Wednesday Segment \"For the Record\" Concerning President Bush's Air National Guard Service was released. The purpose of the panel was to examine the process by which the September 8 Segment was prepared and broadcast, to examine the circumstances surrounding the subsequent public statements and news reports by CBS News defending the segment, and to make any recommendations it deemed appropriate. Among the Panel's conclusions were the following:\n\nThe most serious defects in the reporting and production of the September 8 Segment were:\n The failure to obtain clear authentication of any of the Killian documents from any document examiner;\n The false statement in the September 8 Segment that an expert had authenticated the Killian documents when all he had done was authenticate one signature from one document used in the Segment;\n The failure of 60 Minutes Wednesday management to scrutinize the publicly available, and at times controversial, background of the source of the documents, retired Texas Army National Guard Lieutenant Colonel Bill Burkett;\n The failure to find and interview the individual who was understood at the outset to be Lieutenant Colonel Burkett's source of the Killian documents, and thus to establish the chain of custody;\n The failure to establish a basis for the statement in the Segment that the documents \"were taken from Colonel Killian's personal files\";\n The failure to develop adequate corroboration to support the statements in the Killian documents and to carefully compare the Killian documents to official TexANG records, which would have identified, at a minimum, notable inconsistencies in content and format;\n The failure to interview a range of former National Guardsmen who served with Lieutenant Colonel Killian and who had different perspectives about the documents;\n The misleading impression conveyed in the Segment that Lieutenant Strong had authenticated the content of the documents when he did not have the personal knowledge to do so;\n The failure to have a vetting process capable of dealing effectively with the production speed, significance and sensitivity of the Segment; and\n The telephone call prior to the Segment's airing by the producer of the Segment to a senior campaign official of Democratic presidential candidate John Kerry – a clear conflict of interest – that created the appearance of a political bias.\n\nOnce questions were raised about the September 8 segment, the reporting thereafter was mishandled and compounded the damage done. Among the more egregious shortcomings during the Aftermath were:\n The strident defense of the September 8 Segment by CBS News without adequately probing whether any of the questions raised had merit;\n Allowing many of the same individuals who produced and vetted the by-then controversial September 8 Segment to also produce the follow-up news reports defending the Segment;\n The inaccurate press statements issued by CBS News after the broadcast of the Segment that the source of the documents was \"unimpeachable\" and that experts had vouched for their authenticity;\n The misleading stories defending the Segment that aired on the CBS Evening News after September 8 despite strong and multiple indications of serious flaws;\n The efforts by 60 Minutes Wednesday to find additional document examiners who would vouch for the authenticity of the documents instead of identifying the best examiners available regardless of whether they would support this position; and\n Preparing news stories that sought to support the Segment, instead of providing accurate and balanced coverage of a raging controversy.\n\nPanel's view of the documents\n\nThe Panel did not undertake a thorough examination of the authenticity of the Killian documents, but consulted Peter Tytell, a New York City-based forensic document examiner and typewriter and typography expert. Tytell had been contacted by 60 Minutes producers prior to the broadcast, and had informed associate producer Yvonne Miller and executive producer Josh Howard on September 10 that he believed the documents were forgeries. The Panel report stated, \"The Panel met with Peter Tytell, and found his analysis sound in terms of why he thought the documents were not authentic ... The Panel reaches no conclusion as to whether Tytell was correct in all respects.\"\n\nAftermath\nThe controversy had long-reaching personal, political and legal consequences. In a 2010 issue of TV Guide, Rather's report was ranked on a list of TV's ten biggest \"blunders\".\n\nCBS personnel and programming changes\nCBS terminated Mary Mapes and demanded the resignations of 60 Minutes Wednesday Executive Producer Josh Howard and Howard's top deputy, Senior Broadcast Producer Mary Murphy, as well as Senior Vice President Betsy West, who had been in charge of all prime time newscasts. Murphy and West resigned on February 25, 2005, and after settling a legal dispute regarding his level of responsibility for the segment, Josh Howard resigned on March 25, 2005.\n\nDan Rather announced on November 23, 2004, that he would step down in early 2005 and on March 9, his 24th anniversary as anchor, he left the network. It is unclear whether or not Rather's retirement was directly caused by this incident. Les Moonves, CEO of CBS, stated \"Dan Rather has already apologized for the segment and taken responsibility for his part in the broadcast. He voluntarily moved to set a date to step down from the CBS Evening News in March of 2005.\" He added, \"We believe any further action would not be appropriate.\"\n\nCBS was originally planning to show a 60 Minutes report critical of the Bush administration justification for going to war in Iraq. This segment was replaced with the Killian documents segment. CBS further postponed airing the Iraq segment until after the election due to the controversy over the Killian documents. \"We now believe it would be inappropriate to air the report so close to the presidential election\", CBS spokesman Kelli Edwards said in a statement.\n\nAfter the Killian documents controversy, the show was renamed 60 Minutes Wednesday to differentiate it from the original 60 Minutes Sunday edition, and reverted to its original title on July 8, 2005, when it was moved to the 8 p.m. Friday timeslot. It was cancelled in 2005 due to low ratings.\n\nMapes's and Rather's view of the documents\nOn November 9, 2005, Mary Mapes gave an interview to ABC News correspondent Brian Ross. Mapes stated that the documents have never been proved to be forgeries. Ross expressed the view that the responsibility is on the reporter to verify their authenticity. Mapes responded with, \"I don't think that's the standard.\" This stands in contrast to the statement of the president of CBS News that proof of authenticity is \"the only acceptable journalistic standard.\" Also in November 2005, Mapes told readers of the Washington Post, \"I personally believe the documents are not false\" and \"I was fired for airing a story that could not definitively be proved false but made CBS's public relations department cringe.\" As of September 2007, Mapes continued to defend the authenticity of the documents: \"the far right blogosphere bully boys ... screamed objections that ultimately proved to have no basis in fact.\"\n\nOn November 7, 2006, Rather defended the report in a radio interview, and rejected the CBS investigation's findings. In response, CBS spokesman Kevin Tedesco told the Associated Press, \"CBS News stands by the report the independent panel issued on this matter and to this day, no one has been able to authenticate the documents in question.\"\n\nDan Rather continued to stand by the story, and in subsequent interviews stated that he believed that the documents have never conclusively been proven to be forgeries – and that even if the documents are false, the underlying story is true.\n\n Rather's lawsuit against CBS/Viacom \nOn September 19, 2007, Rather filed a $70 million lawsuit against CBS and its former corporate parent, Viacom, claiming they had made him a \"scapegoat\" over the controversy caused by the 2004 60 Minutes Wednesday report that featured the Killian documents. The suit names as defendants: CBS and its CEO, Leslie Moonves: Viacom, Sumner Redstone, chairman of both Viacom and CBS Corporation; and Andrew Heyward, the former president of CBS News.\n\nIn January 2008, the legal teams for Rather and CBS reached an agreement to produce for Rather's attorneys \"virtually all of the materials\" related to the case, including the findings of Erik T. Rigler's report to CBS about the documents and the story.\n\nOn September 29, 2009, New York State Court of Appeals dismissed Rather's lawsuit and stated that the lower court should have honored CBS's request to throw out the entire lawsuit instead of just throwing out parts.\n\nAuthentication issues\n\nNo generally recognized document experts have positively authenticated the memos. Since CBS used only faxed and photocopied duplicates, authentication to professional standards is impossible, regardless of the provenance of the originals.\n\nDocument experts have challenged the authenticity of the documents as photocopies of valid originals on a variety of grounds ranging from anachronisms of their typography, their quick reproducibility using modern technology, and to errors in their content and style.<ref name=wapoexpert>Kurtz, Howard Document Experts Say CBS Ignored Memo 'Red Flags' Washington Post'.' Retrieved April 2006.</ref>\n\nThe CBS independent panel report did not specifically take up the question of whether the documents were forgeries, but retained a document expert, Peter Tytell, who concluded the documents used by CBS were produced using current word processing technology.\n\nTytell concluded ... that (i) the relevant portion of the Superscript Exemplar was produced on an Olympia manual typewriter, (ii) the Killian documents were not produced on an Olympia manual typewriter and (iii) the Killian documents were produced on a computer in Times New Roman typestyle [and that] the Killian documents were not produced on a typewriter in the early 1970s and therefore were not authentic.\n\nAccusations of bias\nSome critics of CBS and Dan Rather argued that by proceeding with the story when the documents had not been authenticated, CBS was exhibiting media bias and attempting to influence the outcome of the 2004 U.S. presidential election. Freelance journalist Michael Smith had emailed Mapes, asking, \"What if there was a person who might have some information that could possibly change the momentum of an election but we needed to get an ASAP book deal to help get us the information?\" Mapes replied, \"that looks good, hypothetically speaking of course.\" The Thornburgh–Boccardi report found that Mapes' contact with Kerry adviser Joe Lockhart was \"highly inappropriate\", and that it \"crossed the line as, at a minimum, it gave the appearance of a political bias and could have been perceived as a news organizations' assisting a campaign as opposed to reporting on a story\"; however, the Panel did not \"find a basis to accuse those who investigated, produced, vetted or aired the Segment of having a political bias\". In a later interview with The Washington Post, when asked about the issue of political bias, review panel member Louis Boccardi said \"bias is a hard thing to prove\". The panel concluded that the problems occurred \"primarily because of a rush to air that overwhelmed the proper application of the CBS News Standards\".\n\nSome Democratic critics of Bush suggested that the memos were produced by the Bush campaign to discredit the media's reporting on Bush's National Guard service. The chairman of the Democratic National Committee, Terry McAuliffe, suggested that the memos might have originated with long-time Bush strategist Karl Rove. McAuliffe told reporters on September 10, \"I can tell you that nobody at the Democratic National Committee or groups associated with us were involved in any way with these documents\", he said. \"I'm just saying that I would ask Karl Rove the same question.\" McAuliffe later pointed out that Rove and another Republican operative, Ralph E. Reed, Jr., had \"a known history of dirty tricks\", and he asked whether Republican National Committee chairman Ed Gillespie would rule out any involvement by GOP consultant Roger Stone. At a community forum in Utica, New York in 2005, U.S. Representative Maurice Hinchey (D-NY) pointed out that the controversy served Rove's objectives: \"Once they did that, then it undermined everything else about Bush's draft dodging. ... That had the effect of taking the whole issue away.\" After being criticized, Hinchey responded, \"I didn't allege I had any facts. I said this is what I believe and take it for what it's worth.\"\n\nRove and Stone have denied any involvement. In a 2008 interview in The New Yorker, Stone said \"It was nuts to think I had anything to do with those documents ... [t]hose papers were potentially devastating to George Bush. You couldn't put them out there assuming that they would be discredited. You couldn't have assumed that this would rebound to Bush's benefit. I believe in bank shots, but that one was too big a risk.\"\n\nSee also\n\n George W. Bush military service controversy\n Questioned document examination\n\nFootnotes\n\nExternal links\n\nKillian documents PDF files \nThese are the Killian documents supplied to CBS Reports by Bill Burkett: \nMemorandum, May 4, 1972 (CBS News)\nMemo to File, May 19, 1972 (CBS News)\nMemorandum For Record, August 1, 1972 (CBS News)\nMemo to File, August 18, 1973 (CBS News)\nUSA Today Killian documents (USA Today, six memos in one.pdf file)\n\nBush documents from the TexANG archives \nPage 31 is a 3 November 1970 memo from the office of Lt Col Killian on promotion of Lt Bush:\nBush enlistment documents (USA Today)\n\n60 Minutes II, September 8 transcript \nTranscript of CBS segment\n\nDan Rather interviews Marion Carr Knox - September 15, 2004 \n YouTube\n\nStatements of the CBS document examiners \n Marcel B. Matley, September 14, 2004\n James J. Pierce, September 14, 2004\n Bill Glennon, September 13, 2004\n Richard Katz, September 13, 2004\n\nThornburgh–Boccardi report \n\n [Link to site supposedly containing the exhibits and appendices, but links from that site don't work]\n\nDocument analysis\nA Pentagon memo next to one of CBS's Killian memos — The Washington Post, September 14, 2004\nThe Paper Trail: A Comparison of Documents The Washington Post, September 18, 2004\nGraphic comparison of all the CBS memos with officially released Killian memos The Washington Post, September 19, 2004\n\"Blog-gate\" Columbia Journalism Review\n\"CJR Fallacies\", response by Joseph Newcomer\n\"Are the Bush Documents Fakes?\", analysis by Richard Polt\n\nOverview Timeline at USA Today\n\"Scoops and skepticism: How the story unfolded\" — timeline from USA Today — September 21, 2004\n\nFurther reading\nTruth and Duty: The Press, the President, and the Privilege of Power (), by Mary Mapes, November 2005, St. Martin's Press,\n\nIn other media\n Truth, 2015 film starring Cate Blanchett and Robert Redford, whose story is based on the Mapes book above about this controversy.\n\"Dan Rather interviews Marion Carr Knox - September 15, 2004\" YouTube\n\n \n60 Minutes\nMemoranda\n2004 controversies\n2004 in American politics\nPolitical forgery\nJournalistic scandals\nMass media-related controversies in the United States\n2004 United States presidential election\nPolitical controversies in the United States\n2000s controversies in the United States",
"During the Killian documents controversy in 2004, the authenticity of the documents themselves was disputed by a variety of individuals and groups. Proof of authenticity is not possible without original documents, and since CBS used only faxed and photocopied duplicates, authentication to professional standards would be impossible regardless of the provenance of the originals. However, proving documents inauthentic does not depend on the availability of originals, and the validity of these photocopied documents has been challenged on a number of grounds, ranging from anachronisms in their typography to issues pertaining to their content.\n\nTypography \n\nIn the initial hours and days after the CBS broadcast, most of the criticism of the documents' authenticity centered on the fact that they did not look like typical typewritten documents and appeared very similar to documents produced with modern word-processing software. These criticisms, first raised by bloggers, were taken up by outlets of the mainstream press, including The Washington Post, The New York Times, the Chicago Sun-Times, and others, who sought opinions from multiple experts. The arguments and findings are summarized below.\n\nProportional fonts \nOne of the initial doubts bloggers raised about the memos was the use of proportional fonts (as opposed to a monospaced typeface, where all glyphs have a single, standard width). Most typewriters in 1972 used fixed-width fonts, and, according to The Washington Post, all of the authenticated documents from the TexANG were typed using fixed-width fonts commonly associated with typewriters.\n\nSeveral experts interviewed by the media suggested that the proportional fonts in the documents indicated likely forgery. John Collins, vice president and chief technology officer at Bitstream Inc., the parent of MyFonts.com, stated that word processors that could produce proportional-sized fonts cost upwards of $20,000 at the time (). Allan Haley, director of words and letters at Agfa Monotype, stated \"It was highly out of the ordinary for an organization—even the Air Force—to have proportional-spaced fonts for someone to work with.\" William Flynn, a forensic document specialist with 35 years of experience in police crime labs and private practice, said the CBS documents raise suspicions because of their use of proportional spacing techniques. The Washington Post also indicated the presence of proportional fonts as suspicious because \"of more than 100 records made available by the 147th Group and the Texas Air National Guard, none used the proportional spacing techniques characteristic of the CBS documents\".\n\nBill Glennon, a technology consultant in New York City with typewriter repair experience from 1973 to 1985, said experts making the claim that typewriters were incapable of producing the memos \"are full of crap. They just don't know.\" He said there were IBM machines capable of producing the spacing, and a customized key — the likes of which he said were not unusual — for creating the superscript th.\n\nThomas W. Phinney II, program manager for fonts at Adobe Systems, responded to Glennon's statement by saying that the memos could not have been produced with either the IBM Executive or IBM Selectric Composer, which had been suggested as possibilities, due to differences in letter width and spacing. Phinney says that each time a typeface was redeveloped for mechanical technologies with different width factors, the width and designs are altered, which is why even if Press Roman had been intended to look like Times Roman, the result is significantly different. Phinney suggests that the real typist prevented Word from auto-formatting \"th\" in superscript by typing and deleting a space in some cases but in other cases did not use the space or left it in the document.\n\nPhinney's analysis was based on the fact that the typography of the Killian documents could be closely matched with a modern personal computer and printer using Microsoft Word with the default font (Times New Roman) and other settings. Therefore, the equipment with which the Killian documents were actually produced must have been capable of matching the typographical characteristics produced by this modern technology.\n\nAs Phinney explained, the letterspacing of the Times New Roman font used by Microsoft Word with a modern personal computer and printer employs a system of 18 units relative to the letter height (em), with common characters being 5 to 17 units wide. (The technology allows even finer variability of character widths, but the 18 unit system was chosen for compatibility with the Linotype phototypesetting and earlier hot-metal versions of the font.) In contrast, the variability of character widths available on early 1970s typewriters using proportional letterspacing was more limited, due to the mechanical technology employed. The most sophisticated of these machines, the IBM Selectric Composer, used a system of 9 units relative to the letter height, in which all characters were 3 to 9 units wide. Less complex machines used fewer widths.\n\nDifferences in individual character widths accumulate over the length of a line, so that comparatively small differences would become readily apparent. Because of the differing character widths employed, the letterspacing exhibited by the Killian documents (matching that produced by a modern computer and printer) could not have been produced with a mechanical typewriter using proportional letterspacing in the early 1970s. At the time the documents were purportedly created, the matching letterspacing could only have been produced using phototypesetting or hot-metal printing. Since it is not a realistic possibility that Killian would have had these documents printed, Phinney concludes that they are almost certainly modern forgeries.\n\nPhinney has long offered $1,000 \"to anybody who can produce an office-level device that was available in 1972 that can replicate the relative line endings of those memos\" but no-one has ever tried to do that.\n\nDesktop magazine in Australia analysed the documents in its November 2004 issue and concluded that the typeface was a post-1985 version of Times Roman, rather than Times New Roman, both of which are different in detail to IBM Press Roman.\n\nInter-character spacing \nJoseph Newcomer, who helped pioneer electronic typesetting and word processing software, claims that the memos display a simple alternative to kerning characteristic of TrueType fonts but not available on any office equipment in 1972. For example, in words containing \"fr\", TrueType moves the \"r\" left to tuck it in under the top part of the \"f\". The Weekly Standard called Newcomer's explanation the \"definitive account\" of why the documents were \"necessarily forgeries.\" The Washington Post quoted Newcomer in an article regarding questions about the authenticity of the papers.\n\nCentered headers \nCreating centered headers is possible on a typewriter, even if the font is proportional. The typist can left-justify the header and then use the space bar to count the number of spaces from the end of the text to the right margin. In addition, the IBM Executive and Selectric have a kerning key that would give a more accurate measure of the whitespace. Once this number is determined, halving it gives the number of leading spaces for a centered header. The same centering will be achieved on different occasions if the paper is inserted flush to the paper guide, and the same count of spaces is applied. For an example of multiple centered lines produced using a proportionally spaced typewriter font, see the third page of the contemporary annual history of Bush's Alabama guard unit.\n\nWord processors, by contrast, center text based on a computer algorithm using a fixed central reference point rather than the left margin on the typewriter as measured from the paper's edge. If the paper in a printer is flush to the left of the paper guide, then a word processor will achieve the same centering throughout a given page and on different pages. The bloggers asserted that it is unlikely that two documents produced 3 months apart by a manual centering process would exactly overlap. In the Killian memos the text matches perfectly when overlaid with a word processor-produced 3 line address block, and between the 3- and 2- line blocks of different memos.\n\nCurved apostrophes \nIn several places, the documents use apostrophes such as in the words I'm and won't. These are curved somewhat to the left, similar to the shape of a comma. Most typewriters of the era featured vertical apostrophes, rather than angled or curved ones. They were also used for both the opening and closing quotation mark embedded within another quotation instead of the curved forms available in modern day word processors. Compare the straight forms in\n\n The witness testified that \"Jones yelled, 'Run!' before fleeing the scene\" in court yesterday.\n\nto the curved forms in\n\n The witness testified that “Jones yelled, ‘Run!’ before fleeing the scene” in court yesterday.\n\nThe latter requires two separate glyphs for each pair of single and double quotation marks.\n\nSimilarity to contemporary documents \nThe Washington Post reported that \"of more than 100 records made available by the 147th Group and the Texas Air National Guard, none used the proportional spacing techniques characteristic of the CBS documents.\" This raises the question of the likelihood of a National Guard office having access to this type of equipment.\n\nAccording to The Washington Post, \"The analysis shows that half a dozen Killian memos released earlier by the military were written with a standard typewriter using different formatting techniques from those characteristic of computer-generated documents. CBS's Killian memos bear numerous signs that are more consistent with modern-day word-processing programs, particularly Microsoft Word...\" (September 14, 2004).\n\nContent and formatting \n\nIn addition to typography, aspects of the memos such as the content and formatting have been challenged.\n\nSignatures \nOf the documents, only the May 4 memo bears a full signature. CBS stated that document examiner Marcel Matley had determined the signature was authentic. However, Matley told the Washington Post on September 14, \"There's no way that I, as a document expert, can authenticate them\" because they are copies far removed from the original source. Eugene P. Hussey, a certified forensic document examiner in Washington state, expressed the \"limited opinion\" that Killian did not sign or initial the documents.\n\nSkepticism from Killian's family and others \nJerry Killian's wife and son argued that their father never used typewriting equipment and would have written these memos by hand. The family also stated that Killian was not known for keeping personal memos and that he had been very pleased with George W. Bush's performance in his TXANG unit.\n\nIn contrast, Killian's secretary at the time, Marian Carr Knox, stated, \"We did discuss Bush's conduct and it was a problem Killian was concerned about. I think he was writing the memos so there would be some record that he was aware of what was going on and what he had done.\" Although she believed the content of the memos was accurate, she insisted that she did not type the memos CBS had obtained, called them fakes, and noted they contained Army terminology that the Air Guard never used.\n\nEarl W. Lively, who at the time was the commanding officer at the Austin TXANG facility was quoted in the Washington Times as saying, \"They're forged as hell.\"\n\nMention of influence by retired officer \nWalter Staudt, cited in the memo dated August 18, 1973 as exerting pressure on officers to \"sugar coat\" their evaluations of Bush, had in fact retired from the service in March 1972.\n\nStaudt also denied being pressured to accept George W. Bush into the National Guard, in an exclusive interview with ABC (\"Speaking Out,\" 17 September 2004): \"'No one called me about taking George (W.) Bush into the Air National Guard,' he said. 'It was my decision. I swore him in. I never heard anything from anybody. And I never pressured anybody about George (W.) Bush because I had no reason to,' Staudt told ABC News in his first interview since the documents were made public.\"\n\nMention of Flight Inquiry \nIt is a matter of record that Lt Bush was suspended from flight status on August 1, 1972 for failure to complete a required annual physical. The Killian memo dated May 4, 1972 is an order to Lt Bush requiring him to report for his physical by May 14, thus making it appear that Lt Bush ignored a direct written order. Lt. Bush's last rating report, dated May 2, 1973, states that Lt Bush \"cleared\" the base on May 15, 1972 to head to Alabama. The Killian memo of August 1 called for a flight inquiry board to review Lt Bush's status. However, no records of this request or the flight inquiry board itself have been found. Regulations required such a review following the grounding of any pilot.\n\nMother's Day \nRetired Colonel and former TXANG pilot William Campenni disputed the document dated Thursday May 4, 1972, which ordered Bush to report for a flight physical not later than May 14. According to Campenni, the squadron commander supposedly ordered Bush to report on a weekend when the base was closed. The Ellington Air Guard Base was closed for Mother's Day the weekend of May 13–14. The next Air Guard drill weekend was May 20–21. Bush's last day on base was Monday, May 15, 1972, according to the official record.\n\nPeter Tytell's analysis \nThe CBS review panel led by Dick Thornburgh (a Republican and former U.S. Attorney General) and Louis Boccardi hired Peter Tytell, a leading document examiner, to analyze the four documents:\n\nconcluded ... that (i) the relevant portion of the Superscript Exemplar was produced on an Olympia manual typewriter, (ii) the Killian documents were not produced on an Olympia manual typewriter and (iii) the Killian documents were produced on a computer in Times New Roman typestyle [and that] the Killian documents were not produced on a typewriter in the early 1970s and therefore were not authentic.\n\nMother Jones\nKevin Drum of Mother Jones said that believing the documents to be authentic was \"delusional\".\n\nSee also \n Questioned document examination\n Dan Rather\n\nReferences\n\nExternal links\n\nPrimary source documents \nLinks to large PDF documents.\n\nThe four CBS News Killian documents:\n Memorandum, May 4, 1972\n Memo to File, May 19, 1972\n Memorandum For Record, August 1, 1972\n Memo to File, August 18, 1973\nThe six USA Today Killian documents:\n USA Today Killian documents\n\nThe CBS four and USA Today six are the documents supplied by Bill Burkett to Mary Mapes.\n Bush enlistment documents (USA Today) Page 31 is a 3 Nov 1970 memo from the office of Lt Col Killian on promotion of Lt Bush.\n\nPeter Tytell's analysis from the Thornbourgh-Boccardi report, Appendix 4\n\nNews items \n \"60 Minutes Documents on Bush Might Be Fake\" CNSNews.com – September 9, 2004\n \"Questions Arise About Authenticity of Newly Found Memos on Bush's Guard Service\" ABC News – September 9, 2004\n \"Some Question Authenticity of Papers on Bush\" Washington Post – September 10, 2004\n \"False Documentation? Questions Arise About Authenticity of Newly Found Memos on Bush's Guard Service\" ABC News – September 10, 2004\n \"Anatomy of a Forgery\" American Spectator – September 10, 2004\n \"Rather Defends CBS Over Memos on Bush\" Washington Post – September 11, 2004\n \"Amid Skepticism, CBS Sticks to Bush Guard Story\" Los Angeles Times – September 11, 2004\n \"More challenges about whether Bush documents are authentic\" The Seattle Times – September 11, 2004\n \"The X Files Of Lt. Bush: A flurry of contested memos and memories sheds more heat than light on his record\" Time – September 13, 2004\n \"Expert Cited by CBS Says He Didn't Authenticate Papers\" Washington Post – September 14, 2004\n Washington Post: A Pentagon memo next to one of CBS's Killian memo – September 14, 2004\n \"Document Experts Say CBS Ignored Memo 'Red Flags'\" Washington Post – Wednesday, September 15, 2004\n\"Dan Rather interviews Marion Carr Knox - September 15, 2004\" Youtube\n \"Ex-Guard Typist Recalls Memos Criticizing Bush\" Los Angeles Times – September 15, 2004\n Boston Globe apologizes for taking misquoting two experts about memos\n \"Memos on Bush Are Fake but Accurate, Typist Says' NY Times – September 15, 2004\n \"CBS Guard Documents Traced to Tex. Kinko's\" Washington Post – September 16, 2004\n \"Rather Concedes Papers Are Suspect\" Washington Post – September 16, 2004\n \"'Buckhead', who said CBS memos were forged, is a GOP-linked attorney\" Seattle Times – September 17, 2004\n The Paper Trail: A Comparison of Documents by The Washington Post print edition.\n \"In Rush to Air, CBS Quashed Memo Worries\" Washington Post – September 19, 2004\n Graphic comparison of all the CBS memos with officially released Killian memos Washington Post – September 19, 2004\n \"CBS Says It Can't Vouch for Bush Documents\" – New York Times – September 20, 2004\n \"Scoops and skepticism: How the story unfolded\" – timeline from USA Today – September 21, 2004\n \"Prof Pursued by Mob of Bloggers\" Wired, October 7, 2004\n Blog-gate Columbia Journalism Review\n Transcript of online Q&A with Mary Mapes, November 11, 2005, by washingtonpost.com\n\n2004 United States presidential election\nKillian documents controversy"
] | [
"Daniel Irvin Rather Jr. (; born October 31, 1931) is an American journalist and former national evening news anchor. Rather began his career in Texas, becoming a national name after his reporting saved thousands of lives during Hurricane Carla in September 1961.",
"Rather began his career in Texas, becoming a national name after his reporting saved thousands of lives during Hurricane Carla in September 1961. Rather spontaneously created the first radar weather report by overlaying a transparent map over a radar image of Hurricane Carla. In his first national broadcast, he helped initiate the successful evacuation of 350,000 people.",
"In his first national broadcast, he helped initiate the successful evacuation of 350,000 people. Rather reported from Dallas in November 1963 at the time that President John F. Kennedy was assassinated. Based on his reporting, he was promoted at CBS News, where he served as White House correspondent beginning in 1964.",
"Based on his reporting, he was promoted at CBS News, where he served as White House correspondent beginning in 1964. He served as foreign correspondent in London and Vietnam over the next two years before returning to the White House correspondent position.",
"He served as foreign correspondent in London and Vietnam over the next two years before returning to the White House correspondent position. He covered the presidency of Richard Nixon, including Nixon's trip to China, the Watergate scandal, and the president's resignation.",
"He covered the presidency of Richard Nixon, including Nixon's trip to China, the Watergate scandal, and the president's resignation. In 1981, Rather was promoted to news anchor for the CBS Evening News, a role he occupied for 24 years.",
"In 1981, Rather was promoted to news anchor for the CBS Evening News, a role he occupied for 24 years. Along with Peter Jennings at ABC News and Tom Brokaw at NBC News, he was one of the \"Big Three\" nightly news anchors in the U.S. from the 1980s through the early 2000s.",
"Along with Peter Jennings at ABC News and Tom Brokaw at NBC News, he was one of the \"Big Three\" nightly news anchors in the U.S. from the 1980s through the early 2000s. He frequently contributed to CBS's weekly news magazine, 60 Minutes.",
"He frequently contributed to CBS's weekly news magazine, 60 Minutes. Rather left the anchor desk in 2005 following the Killian documents controversy, in which he presented unauthenticated documents in a news report on President George W. Bush's Vietnam War–era service in the National Guard.",
"Rather left the anchor desk in 2005 following the Killian documents controversy, in which he presented unauthenticated documents in a news report on President George W. Bush's Vietnam War–era service in the National Guard. He continued to work with CBS until 2006, when he was abruptly fired.",
"He continued to work with CBS until 2006, when he was abruptly fired. In September 2007, Rather filed a $70 million lawsuit against CBS and its former parent company Viacom. Rather accused the network and its ownership and management of making him a \"scapegoat\" in the Killian story.",
"Rather accused the network and its ownership and management of making him a \"scapegoat\" in the Killian story. An intermediate New York state appeals court dismissed the lawsuit in September 2009, and the New York Court of Appeals refused to reinstate it in January 2010.",
"An intermediate New York state appeals court dismissed the lawsuit in September 2009, and the New York Court of Appeals refused to reinstate it in January 2010. On the cable channel AXS TV (then called HDNet), Rather hosted Dan Rather Reports, a 60 Minutes–style investigative news program, from 2006 to 2013.",
"On the cable channel AXS TV (then called HDNet), Rather hosted Dan Rather Reports, a 60 Minutes–style investigative news program, from 2006 to 2013. He also hosts several other projects for AXS TV, including Dan Rather Presents, which provides in-depth reporting on broad topics such as mental health care or adoption, and The Big Interview with Dan Rather, in which he conducts long-form interviews with musicians and other entertainers.",
"He also hosts several other projects for AXS TV, including Dan Rather Presents, which provides in-depth reporting on broad topics such as mental health care or adoption, and The Big Interview with Dan Rather, in which he conducts long-form interviews with musicians and other entertainers. In January 2018, he began hosting an online newscast called The News with Dan Rather on The Young Turks' YouTube channel.",
"In January 2018, he began hosting an online newscast called The News with Dan Rather on The Young Turks' YouTube channel. Early life Daniel Irvin Rather Jr. was born on October 31, 1931, in Wharton County, Texas, the son of Daniel Irvin Rather Sr., a ditch digger and pipe layer, and the former Byrl Veda Page.",
"Early life Daniel Irvin Rather Jr. was born on October 31, 1931, in Wharton County, Texas, the son of Daniel Irvin Rather Sr., a ditch digger and pipe layer, and the former Byrl Veda Page. The Rathers moved to Houston when he was a child, where Dan attended Lovett Elementary School and Hamilton Middle School.",
"The Rathers moved to Houston when he was a child, where Dan attended Lovett Elementary School and Hamilton Middle School. He graduated in 1950 from John H. Reagan High School in Houston.",
"He graduated in 1950 from John H. Reagan High School in Houston. In 1953, Rather earned a bachelor's degree in journalism from Sam Houston State Teachers College in Huntsville, Texas, where he was editor of the school newspaper, The Houstonian.",
"In 1953, Rather earned a bachelor's degree in journalism from Sam Houston State Teachers College in Huntsville, Texas, where he was editor of the school newspaper, The Houstonian. He was also a member of the Caballeros, the founding organization of the Epsilon Psi chapter of the Sigma Chi fraternity.",
"He was also a member of the Caballeros, the founding organization of the Epsilon Psi chapter of the Sigma Chi fraternity. While in college, Rather worked for KSAM-FM radio in Huntsville, calling junior high, high school, and Sam Houston State football games.",
"While in college, Rather worked for KSAM-FM radio in Huntsville, calling junior high, high school, and Sam Houston State football games. After obtaining his undergraduate degree, Rather briefly attended South Texas College of Law in Houston.",
"After obtaining his undergraduate degree, Rather briefly attended South Texas College of Law in Houston. In January 1954, Rather enlisted in the United States Marine Corps and was sent to the Marine Corps Recruit Depot San Diego.",
"In January 1954, Rather enlisted in the United States Marine Corps and was sent to the Marine Corps Recruit Depot San Diego. He was soon discharged, however, because he was found to have had rheumatic fever as a child, a fact he had omitted during the enlistment process.",
"He was soon discharged, however, because he was found to have had rheumatic fever as a child, a fact he had omitted during the enlistment process. Early career Rather began his journalism career in 1950 as an Associated Press reporter in Huntsville, Texas.",
"Early career Rather began his journalism career in 1950 as an Associated Press reporter in Huntsville, Texas. Later, he was a reporter for United Press (1950–1952), several Texas radio stations, and the Houston Chronicle (1954–1955). Around 1955, Rather wrote a piece on heroin.",
"Around 1955, Rather wrote a piece on heroin. Under the auspices of the Houston Police, he tried a dose of the drug, which he characterized as \"a special kind of hell.\" He worked for four seasons as the play-by-play announcer for the University of Houston football team.",
"He worked for four seasons as the play-by-play announcer for the University of Houston football team. During the 1959 minor league baseball season, Rather was the play-by-play radio announcer for the Texas League Houston Buffs. In 1959, Rather began his television career as a reporter for KTRK-TV, the ABC affiliate in Houston.",
"In 1959, Rather began his television career as a reporter for KTRK-TV, the ABC affiliate in Houston. He was subsequently promoted to the director of news for KHOU-TV, the CBS affiliate in Houston. In September 1961, Rather covered Hurricane Carla for KHOU-TV, broadcasting from the then National Weather Center in Galveston.",
"In September 1961, Rather covered Hurricane Carla for KHOU-TV, broadcasting from the then National Weather Center in Galveston. He is noted for showing the first radar image of a hurricane on TV. He conceived of overlaying a transparent map over the radar screen, in order to show the size of Hurricane Carla to the audience.",
"He conceived of overlaying a transparent map over the radar screen, in order to show the size of Hurricane Carla to the audience. Convinced of the threat, more than 350,000 people evacuated from the area, the largest known evacuation to that time.",
"Convinced of the threat, more than 350,000 people evacuated from the area, the largest known evacuation to that time. Their actions are believed to have saved thousands of lives compared to the previous hurricane, which had killed 6,000 to 12,000 people. Rather's live coverage of Carla was broadcast by New York and national stations.",
"Rather's live coverage of Carla was broadcast by New York and national stations. Ray Miller, news director of KPRC-TV, the NBC affiliate in Houston, also mentored Rather in the early years. On February 28, 1962, Rather left Houston for New York City for a six-month trial initiation at CBS.",
"On February 28, 1962, Rather left Houston for New York City for a six-month trial initiation at CBS. Rather did not fit in easily on the East Coast.",
"Rather did not fit in easily on the East Coast. His first reports for CBS included coverage of the crash of American Airlines Flight 1 in Jamaica Bay, and a report on the suffocation of children at a hospital in Binghamton, New York. Shortly after, Rather was made chief of CBS's Southwest bureau in Dallas.",
"Shortly after, Rather was made chief of CBS's Southwest bureau in Dallas. In August 1963, he was appointed chief of the Southern bureau in New Orleans, responsible for coverage of news events in the South, Southwest, Mexico and Central America.",
"In August 1963, he was appointed chief of the Southern bureau in New Orleans, responsible for coverage of news events in the South, Southwest, Mexico and Central America. CBS News JFK assassination to Watergate In his autobiography, Rather noted that he was in Dallas in November 1963 to return film from an interview in Uvalde at the ranch of former Vice President John Nance Garner, who celebrated his 95th birthday on November 22.",
"CBS News JFK assassination to Watergate In his autobiography, Rather noted that he was in Dallas in November 1963 to return film from an interview in Uvalde at the ranch of former Vice President John Nance Garner, who celebrated his 95th birthday on November 22. He happened to be \"on the other side of the railroad tracks, beyond the triple underpass, thirty yards from a grassy knoll that would later figure in so many conspiracy theories.\"",
"He happened to be \"on the other side of the railroad tracks, beyond the triple underpass, thirty yards from a grassy knoll that would later figure in so many conspiracy theories.\" His job was to fetch a film drop from a camera truck at that location, and take it to the station for editing.",
"His job was to fetch a film drop from a camera truck at that location, and take it to the station for editing. He did not witness the shooting of Kennedy, and knew nothing of the events until he reached KRLD, having run through Dealey Plaza.",
"He did not witness the shooting of Kennedy, and knew nothing of the events until he reached KRLD, having run through Dealey Plaza. He later wrote: “The moment I cleared the railroad tracks I saw a scene I will never forget. Some people were lying on the grass, some screaming, some running, some pointing.",
"Some people were lying on the grass, some screaming, some running, some pointing. Policemen swarmed everywhere and distinctly above the din, I heard one shout, 'DON'T ANYBODY PANIC.'",
"Policemen swarmed everywhere and distinctly above the din, I heard one shout, 'DON'T ANYBODY PANIC.' And of course, there was nothing but panic wherever you looked.” In his autobiography, Rather said he was one of the first to view the Zapruder film showing the assassination, and the first to describe it on television.",
"And of course, there was nothing but panic wherever you looked.” In his autobiography, Rather said he was one of the first to view the Zapruder film showing the assassination, and the first to describe it on television. Rather reported the fatal headshot as forcing Kennedy's head forward, but it was thrown backward.",
"Rather reported the fatal headshot as forcing Kennedy's head forward, but it was thrown backward. Later, he reported that some Dallas schoolchildren had applauded when they were notified of the president's death. Administrators said they had announced that school was to be dismissed early, and did not mention the assassination.",
"Administrators said they had announced that school was to be dismissed early, and did not mention the assassination. However, teacher Joanna Morgan confirmed that students had cheered at the news that Kennedy was shot. This story infuriated local journalists at then-CBS affiliate KRLD-TV (now Fox-owned-and-operated KDFW-TV).",
"This story infuriated local journalists at then-CBS affiliate KRLD-TV (now Fox-owned-and-operated KDFW-TV). Rather's reporting during the national mourning period following the Kennedy assassination and subsequent events impressed CBS News management. In 1964, they selected him for the network's White House correspondent position.",
"In 1964, they selected him for the network's White House correspondent position. In 1965, Rather served as a foreign correspondent for CBS in London, and in 1966 in Vietnam. He served again as White House correspondent during the presidency of Richard Nixon.",
"He served again as White House correspondent during the presidency of Richard Nixon. In 1970, he was also assigned as anchor for the CBS Sunday Night News (1970–73; 1974–75), and later for the CBS Saturday Evening News (1973–76). Rather was among those journalists who accompanied Nixon to China.",
"Rather was among those journalists who accompanied Nixon to China. He later covered the Watergate investigation, as well as the impeachment proceedings against Nixon in Congress. CBS Evening News anchor After President Nixon's resignation in 1974, Rather became chief correspondent for the documentary series CBS Reports.",
"CBS Evening News anchor After President Nixon's resignation in 1974, Rather became chief correspondent for the documentary series CBS Reports. In December 1975, he became a correspondent of the long-running Sunday night news show 60 Minutes—at the time the program was moved from a Sunday afternoon time-slot to primetime.",
"In December 1975, he became a correspondent of the long-running Sunday night news show 60 Minutes—at the time the program was moved from a Sunday afternoon time-slot to primetime. Success there helped Rather pull ahead of longtime correspondent Roger Mudd, who was in line to succeed Walter Cronkite as anchor and Managing Editor of The CBS Evening News.",
"Success there helped Rather pull ahead of longtime correspondent Roger Mudd, who was in line to succeed Walter Cronkite as anchor and Managing Editor of The CBS Evening News. Rather succeeded to the news anchor position after Cronkite's retirement, making his first broadcast on March 9, 1981. Rather had a significantly different style of reporting the news.",
"Rather had a significantly different style of reporting the news. In contrast to the avuncular Cronkite, who ended his newscast with “That's the way it is,” Rather searched to find a broadcast ending more suitable to his tastes.",
"In contrast to the avuncular Cronkite, who ended his newscast with “That's the way it is,” Rather searched to find a broadcast ending more suitable to his tastes. For one week in September 1986, with CBS the target of potentially hostile new ownership, Rather tried ending his broadcasts with the word \"courage,\" and was roundly ridiculed for it.",
"For one week in September 1986, with CBS the target of potentially hostile new ownership, Rather tried ending his broadcasts with the word \"courage,\" and was roundly ridiculed for it. For nearly two decades, Rather ended the show with: “That's part of our world tonight.” Rather also held other positions during his time as anchor.",
"For nearly two decades, Rather ended the show with: “That's part of our world tonight.” Rather also held other positions during his time as anchor. In January 1988, he became host of the newly created 48 Hours, and in January 1999, Rather joined the new 60 Minutes II as a correspondent.",
"In January 1988, he became host of the newly created 48 Hours, and in January 1999, Rather joined the new 60 Minutes II as a correspondent. Ratings for the Evening News with Rather at the helm fluctuated wildly, at a time when more alternatives to TV news were developing.",
"Ratings for the Evening News with Rather at the helm fluctuated wildly, at a time when more alternatives to TV news were developing. After a dip to second place, Rather regained the top spot in 1985 until 1989, when he ceded the ratings peak to rival Peter Jennings at ABC's World News Tonight.",
"After a dip to second place, Rather regained the top spot in 1985 until 1989, when he ceded the ratings peak to rival Peter Jennings at ABC's World News Tonight. By 1992, however, the Evening News had fallen to third place of the three major networks.",
"By 1992, however, the Evening News had fallen to third place of the three major networks. It rose in rankings in 2005, when Bob Schieffer became the interim anchor between Rather and Katie Couric.",
"It rose in rankings in 2005, when Bob Schieffer became the interim anchor between Rather and Katie Couric. It briefly moved ahead of ABC World News Tonight in the wake of the death of Peter Jennings, but remained behind NBC Nightly News.",
"It briefly moved ahead of ABC World News Tonight in the wake of the death of Peter Jennings, but remained behind NBC Nightly News. Rather was a frequent collaborator with CBS News producer Susan Zirinsky, a leading member of the news division's staff.",
"Rather was a frequent collaborator with CBS News producer Susan Zirinsky, a leading member of the news division's staff. In 1987, new CBS owner Laurence Tisch oversaw layoffs of hundreds of CBS News employees, in a major shake-up of the network.",
"In 1987, new CBS owner Laurence Tisch oversaw layoffs of hundreds of CBS News employees, in a major shake-up of the network. Among those to go were correspondents such as David Andelman, Fred Graham, Morton Dean, and Ike Pappas. Fewer videotape crews were dispatched to cover stories, and numerous bureaus were closed.",
"Fewer videotape crews were dispatched to cover stories, and numerous bureaus were closed. Critics cited the cutbacks as a major factor in CBS News' fall into third place in the ratings. For a short time from 1993 to 1995, Rather co-anchored the evening news with Connie Chung.",
"For a short time from 1993 to 1995, Rather co-anchored the evening news with Connie Chung. Chung had been a Washington, DC correspondent for CBS News, and anchored short news updates on the West Coast. On joining the CBS Evening News, she reported \"pop news\" stories.",
"On joining the CBS Evening News, she reported \"pop news\" stories. In one widely cited case, she aggressively pursued Tonya Harding, who was accused of a plot to injure fellow Olympic ice skater Nancy Kerrigan. After Chung left the network, Rather went back to doing the newscast alone.",
"After Chung left the network, Rather went back to doing the newscast alone. By the 2005–06 season, the end of Rather's time as anchor, CBS Evening News lagged behind NBC Nightly News and ABC World News Tonight in the ratings. But it still drew approximately 5.5 million viewers a night.",
"But it still drew approximately 5.5 million viewers a night. Criticism of Rather reached a fever pitch after 60 Minutes II ran his 2004 report about President Bush's military record. Numerous critics questioned the authenticity of the documents upon which the report was based. Rather subsequently admitted on the air that the documents' authenticity could not be proven.",
"Rather subsequently admitted on the air that the documents' authenticity could not be proven. In the aftermath, CBS fired several members of CBS News staff but temporarily retained Rather, until his contract was up for renewal the following year, whereupon he was completely ousted.",
"In the aftermath, CBS fired several members of CBS News staff but temporarily retained Rather, until his contract was up for renewal the following year, whereupon he was completely ousted. Journalistic history and influence Nixon During Richard Nixon's presidency, critics accused Rather of biased coverage against him.",
"Journalistic history and influence Nixon During Richard Nixon's presidency, critics accused Rather of biased coverage against him. At a Houston news conference in March 1974, Nixon fielded a question from Rather, still CBS's White House correspondent, who said, “Thank you, Mr. President.",
"At a Houston news conference in March 1974, Nixon fielded a question from Rather, still CBS's White House correspondent, who said, “Thank you, Mr. President. Dan Rather, of CBS News.” The room filled with jeers and applause, prompting Nixon to joke, “Are you running for something?” Rather replied, “No, sir, Mr. President.",
"Dan Rather, of CBS News.” The room filled with jeers and applause, prompting Nixon to joke, “Are you running for something?” Rather replied, “No, sir, Mr. President. Are you?” He questioned whether Nixon was cooperating with the grand jury investigation and House Judiciary Committee in relation to the Watergate scandal.",
"Are you?” He questioned whether Nixon was cooperating with the grand jury investigation and House Judiciary Committee in relation to the Watergate scandal. NBC's Tom Brokaw has said the network considered hiring him to replace Rather as its White House correspondent, but dropped it after word was leaked to the press.",
"NBC's Tom Brokaw has said the network considered hiring him to replace Rather as its White House correspondent, but dropped it after word was leaked to the press. Rather was believed to have provided tough coverage of the Watergate scandal, raising his profile.",
"Rather was believed to have provided tough coverage of the Watergate scandal, raising his profile. Space Shuttle Challenger disaster In January 1986, NASA faced repeated delays in the preparations to launch the Space Shuttles Columbia and Challenger in close sequence.",
"Space Shuttle Challenger disaster In January 1986, NASA faced repeated delays in the preparations to launch the Space Shuttles Columbia and Challenger in close sequence. Rather described the January 10 delay of Columbia as: “star-crossed space shuttle Columbia stood ready for launch again today, and once more, the launch was scrubbed.",
"Rather described the January 10 delay of Columbia as: “star-crossed space shuttle Columbia stood ready for launch again today, and once more, the launch was scrubbed. Heavy rain was the cause this time.",
"Heavy rain was the cause this time. The launch has been postponed so often since its original date, December 18, that it's now known as mission impossible.”This was considered an example of the \"biting sarcasm\" the media used related to NASA's scheduling. Columbia launched on January 12.",
"Columbia launched on January 12. Columbia launched on January 12. On January 27, Rather's reporting of the expected Challenger launch began as follows: On January 28, Challenger'''s explosion and destruction occurred 73 seconds after launch.",
"On January 27, Rather's reporting of the expected Challenger launch began as follows: On January 28, Challenger'''s explosion and destruction occurred 73 seconds after launch. Afghanistan, Reagan, and George H. W. Bush During the Soviet–Afghan War, Rather was filmed reporting near the front lines while wearing a traditional mujahideen headdress and garments.",
"Afghanistan, Reagan, and George H. W. Bush During the Soviet–Afghan War, Rather was filmed reporting near the front lines while wearing a traditional mujahideen headdress and garments. Rather attracted an Evening News audience (and was nicknamed \"Gunga Dan\"). The American comic strip Doonesbury spoofed his actions.",
"The American comic strip Doonesbury spoofed his actions. Rather's reports were later revealed to have been influential to Congressman Charlie Wilson (D-Texas), who led an effort to help the struggling mujahideen. The CIA developed its largest covert operation to supply aid and advanced arms to the mujahideen. The Soviets eventually quit Afghanistan.",
"The Soviets eventually quit Afghanistan. The Soviets eventually quit Afghanistan. Rather gained the anchor spot on the Evening News. He was competing with Roger Mudd, a more senior correspondent and a frequent substitute anchor for Walter Cronkite on Evening News. Mudd had also anchored the Sunday evening broadcast, but Rather traveled through Afghanistan when news led there.",
"Mudd had also anchored the Sunday evening broadcast, but Rather traveled through Afghanistan when news led there. A few years into his service as anchor, Rather began wearing sweaters beneath his suit jacket to soften his on-air appearance for viewers. During the 1980s, Rather gained further renown for his forceful and skeptical reporting on the Iran–Contra affair.",
"During the 1980s, Rather gained further renown for his forceful and skeptical reporting on the Iran–Contra affair. He eventually confronted Vice President George H. W. Bush in an on-air interview during the latter's presidential campaign.",
"He eventually confronted Vice President George H. W. Bush in an on-air interview during the latter's presidential campaign. Bush referred to Rather's \"dead air incident\" saying: “I want to talk about why I want to be President, why those 41 percent of the people are supporting me.",
"Bush referred to Rather's \"dead air incident\" saying: “I want to talk about why I want to be President, why those 41 percent of the people are supporting me. And I don't think it's fair to judge my whole career by a rehash on Iran.",
"And I don't think it's fair to judge my whole career by a rehash on Iran. How would you like it if I judged your career by those seven minutes when you walked off the set in New York?”Rather ignored Bush's comment.",
"How would you like it if I judged your career by those seven minutes when you walked off the set in New York?”Rather ignored Bush's comment. Shortly after Iraq invaded Kuwait, Rather secured an interview with Iraqi leader Saddam Hussein.",
"Shortly after Iraq invaded Kuwait, Rather secured an interview with Iraqi leader Saddam Hussein. On February 24, 2003, Rather conducted another interview with Hussein before the United States' 2003 invasion of Iraq. In the interview, Hussein invited Rather to be the moderator of a live television debate between him and George W. Bush.",
"In the interview, Hussein invited Rather to be the moderator of a live television debate between him and George W. Bush. The debate never took place. The Wall Within On June 2, 1988, Rather hosted a CBS News special, The Wall Within.",
"The Wall Within On June 2, 1988, Rather hosted a CBS News special, The Wall Within. In it, he interviewed six veterans, each of whom said he had witnessed horrible acts in Vietnam. Two of the men said that they had killed civilians, and two others said that they had seen friends die.",
"Two of the men said that they had killed civilians, and two others said that they had seen friends die. Each talked about the effects the war had upon their lives—including depression, unemployment, drug use, and homelessness. In 2004, National Review ran an article by Anne Morse entitled \"The First Rathergate.\"",
"In 2004, National Review ran an article by Anne Morse entitled \"The First Rathergate.\" She said that almost nothing claimed by participants in The Wall Within was true.",
"She said that almost nothing claimed by participants in The Wall Within was true. Citing the self-published book Stolen Valor (1998) by veteran B. G. Burkett, and investigative journalist Glenna Whitley, Morse said that military records revealed that the six former servicemen had lied about their experiences.",
"Citing the self-published book Stolen Valor (1998) by veteran B. G. Burkett, and investigative journalist Glenna Whitley, Morse said that military records revealed that the six former servicemen had lied about their experiences. Only one served in combat, and two had never been in Vietnam.",
"Only one served in combat, and two had never been in Vietnam. Killian documents On September 8, 2004, Rather reported on 60 Minutes Wednesday that a series of memos critical of President George W. Bush's Texas Air National Guard service record had been discovered in the personal files of Lt. Bush's former commanding officer, Lt. Col. Jerry B. Killian.",
"Killian documents On September 8, 2004, Rather reported on 60 Minutes Wednesday that a series of memos critical of President George W. Bush's Texas Air National Guard service record had been discovered in the personal files of Lt. Bush's former commanding officer, Lt. Col. Jerry B. Killian. Once copies of the documents were made available on the Internet, their authenticity was quickly called into question.",
"Once copies of the documents were made available on the Internet, their authenticity was quickly called into question. Much of this was based on the fact that the documents were proportionally printed and displayed using other modern typographic conventions usually unavailable on military typewriters of the 1970s.",
"Much of this was based on the fact that the documents were proportionally printed and displayed using other modern typographic conventions usually unavailable on military typewriters of the 1970s. The font used on the documents has characteristics that exactly or almost exactly match standard font features of Microsoft Word. This led to claims that the memos were forgeries.",
"This led to claims that the memos were forgeries. The accusations then spread over the following days into mainstream media outlets, including The Washington Post, The New York Times, and The Chicago Sun-Times. Rather and CBS initially defended the story, insisting that the documents had been authenticated by experts.",
"Rather and CBS initially defended the story, insisting that the documents had been authenticated by experts. CBS was contradicted by some of the experts it originally cited, and later reported that its source for the documents—former Texas Army National Guard officer Lt. Col. Bill Burkett—had misled the network about how he had obtained them.",
"CBS was contradicted by some of the experts it originally cited, and later reported that its source for the documents—former Texas Army National Guard officer Lt. Col. Bill Burkett—had misled the network about how he had obtained them. On September 20, 2004, CBS retracted the story.",
"On September 20, 2004, CBS retracted the story. Rather stated, “If I knew then what I know now, I would not have gone ahead with the story as it was aired, and I certainly would not have used the documents in question.” The controversy has been referred to by some as \"Memogate\" and \"Rathergate.\"",
"Rather stated, “If I knew then what I know now, I would not have gone ahead with the story as it was aired, and I certainly would not have used the documents in question.” The controversy has been referred to by some as \"Memogate\" and \"Rathergate.\" Following an investigation commissioned by CBS, CBS fired story producer Mary Mapes, and asked three other producers connected with the story to resign.",
"Following an investigation commissioned by CBS, CBS fired story producer Mary Mapes, and asked three other producers connected with the story to resign. Many believe Rather's retirement was hastened by this incident.",
"Many believe Rather's retirement was hastened by this incident. On September 20, 2007, Rather was interviewed on Larry King Live commenting, “Nobody has proved that they were fraudulent, much less a forgery. ...",
"... ... The truth of this story stands up to this day.” Departure from the CBS Evening News Rather retired as the anchorman and Managing Editor of the CBS Evening News in 2005; his last broadcast was Wednesday, March 9, 2005.",
"The truth of this story stands up to this day.” Departure from the CBS Evening News Rather retired as the anchorman and Managing Editor of the CBS Evening News in 2005; his last broadcast was Wednesday, March 9, 2005. He had worked as the anchorman for 24 full years, the longest tenure of anyone in American television history, and for a short time, continued to work as a correspondent for 60 Minutes.",
"He had worked as the anchorman for 24 full years, the longest tenure of anyone in American television history, and for a short time, continued to work as a correspondent for 60 Minutes. Bob Schieffer, a fellow Texan and host of Face the Nation, took over Rather's position on an interim basis, with Katie Couric replacing Schieffer in 2006.",
"Bob Schieffer, a fellow Texan and host of Face the Nation, took over Rather's position on an interim basis, with Katie Couric replacing Schieffer in 2006. Since retiring, Rather has spoken out about what he perceives as a lack of courage by American journalists. On January 24, 2006, Rather spoke to a Seattle audience.",
"On January 24, 2006, Rather spoke to a Seattle audience. Before the speaking engagement, he told a newspaper reporter, “In many ways on many days, [reporters] have sort of adopted the attitude of 'go along, get along.",
"Before the speaking engagement, he told a newspaper reporter, “In many ways on many days, [reporters] have sort of adopted the attitude of 'go along, get along. '” “What many of us need is a spine transplant,” Rather added.",
"'” “What many of us need is a spine transplant,” Rather added. “Whether it's City Hall, the State House, or the White House, part of our job is to speak truth to power.” Ousted from CBS News In June 2006, reports surfaced that CBS News would most likely not renew Dan Rather's contract.",
"“Whether it's City Hall, the State House, or the White House, part of our job is to speak truth to power.” Ousted from CBS News In June 2006, reports surfaced that CBS News would most likely not renew Dan Rather's contract. According to a Washington Post article, sources from CBS said that executives at the network decided \"there is no future role for Rather.\"",
"According to a Washington Post article, sources from CBS said that executives at the network decided \"there is no future role for Rather.\" On June 20, 2006, CBS News and Sports President Sean McManus announced that Rather would leave the network after 44 years.",
"On June 20, 2006, CBS News and Sports President Sean McManus announced that Rather would leave the network after 44 years. Rather issued a separate statement which accompanied the news of the departure: Lawsuit over ouster from CBS Network On September 19, 2007, Rather filed a $70 million lawsuit against CBS, its former parent company Viacom; CBS President and CEO Leslie Moonves; Sumner Redstone, chairman of both Viacom and CBS; and Andrew Heyward, former president of CBS News.",
"Rather issued a separate statement which accompanied the news of the departure: Lawsuit over ouster from CBS Network On September 19, 2007, Rather filed a $70 million lawsuit against CBS, its former parent company Viacom; CBS President and CEO Leslie Moonves; Sumner Redstone, chairman of both Viacom and CBS; and Andrew Heyward, former president of CBS News. Rather accused the network and its ownership and management of making him a \"scapegoat\" in the Killian story.",
"Rather accused the network and its ownership and management of making him a \"scapegoat\" in the Killian story. A CBS spokesman claimed that the lawsuit was \"old news\" and \"without merit.\"",
"A CBS spokesman claimed that the lawsuit was \"old news\" and \"without merit.\" On September 21, 2009, Rather's lawyers claimed that Bush's military service would be proven to be a sham, and Rather would be vindicated.",
"On September 21, 2009, Rather's lawyers claimed that Bush's military service would be proven to be a sham, and Rather would be vindicated. On September 29, 2009, a New York state appeals court dismissed Rather's lawsuit against CBS.",
"On September 29, 2009, a New York state appeals court dismissed Rather's lawsuit against CBS. On January 12, 2010, New York's top court refused to reinstate Rather's $70 million breach-of-contract lawsuit against CBS Corp.",
"On January 12, 2010, New York's top court refused to reinstate Rather's $70 million breach-of-contract lawsuit against CBS Corp. In his book titled Rather Outspoken, Rather claims that the lawsuit “took a big whack out of my time, my psyche and my bank balance, but even so, it was worth it.” On May 18, 2012, Rather appeared on Real Time With Bill Maher, and claimed he had been fired for reporting a story about George W. Bush's year of absence from the reserve unit he served with, and that the news corporations had been \"very uncomfortable\" with running the story.",
"In his book titled Rather Outspoken, Rather claims that the lawsuit “took a big whack out of my time, my psyche and my bank balance, but even so, it was worth it.” On May 18, 2012, Rather appeared on Real Time With Bill Maher, and claimed he had been fired for reporting a story about George W. Bush's year of absence from the reserve unit he served with, and that the news corporations had been \"very uncomfortable\" with running the story. Post-CBS career Following his departure from CBS, Dan Rather joined Mark Cuban's cable network AXS TV (then called HDNet) to host and produce the weekly one-hour news show Dan Rather Reports from 2006 until 2013.",
"Post-CBS career Following his departure from CBS, Dan Rather joined Mark Cuban's cable network AXS TV (then called HDNet) to host and produce the weekly one-hour news show Dan Rather Reports from 2006 until 2013. Since 2013, Rather has hosted and produced the hour-long series The Big Interview with Dan Rather on AXS TV, where he sits down for in-depth interviews with influential figures in music and entertainment, such as: John Fogerty, Quentin Tarantino, Simon Cowell, Aaron Sorkin, and Sammy Hagar.",
"Since 2013, Rather has hosted and produced the hour-long series The Big Interview with Dan Rather on AXS TV, where he sits down for in-depth interviews with influential figures in music and entertainment, such as: John Fogerty, Quentin Tarantino, Simon Cowell, Aaron Sorkin, and Sammy Hagar. He has also produced several documentary specials for the network under the banner Dan Rather Presents, including specials about \"America's Mental Health Crisis,\" the United States Secret Service, and \"The Shameful Side of International Adoption.\"",
"He has also produced several documentary specials for the network under the banner Dan Rather Presents, including specials about \"America's Mental Health Crisis,\" the United States Secret Service, and \"The Shameful Side of International Adoption.\" Rather also appears frequently on a number of news shows, including MSNBC's The Rachel Maddow Show and The Last Word with Lawrence O'Donnell and on CNN.",
"Rather also appears frequently on a number of news shows, including MSNBC's The Rachel Maddow Show and The Last Word with Lawrence O'Donnell and on CNN. He has also written for The Huffington Post and Mashable.",
"He has also written for The Huffington Post and Mashable. On May 28, 2007, Rather compared historical events to events in the Star Wars films in the History Channel special titled Star Wars: The Legacy Revealed. In 2012, Rather published an autobiography titled Rather Outspoken: My Life in the News.",
"In 2012, Rather published an autobiography titled Rather Outspoken: My Life in the News. In 2015, Rather launched an independent production company called News and Guts Media, through which he produces The Big Interview among other projects. In 2015, Rather also began actively posting on Facebook.",
"In 2015, Rather also began actively posting on Facebook. He credits young staffers at News and Guts Media with pushing him to try social media. While his posts were considerably longer than typical social media posts, they resonated with the audience, which soon grew to more than two million followers.",
"While his posts were considerably longer than typical social media posts, they resonated with the audience, which soon grew to more than two million followers. Even late night TV noticed Rather's unusual but effective Facebook presence. Subject matter has covered a range of topics, including: current political events, journalism, and childhood memories.",
"Subject matter has covered a range of topics, including: current political events, journalism, and childhood memories. On September 23, 2016, SiriusXM Radio announced a new hour-long weekly program, \"Dan Rather's America,\" airing Tuesday mornings at 10am Eastern on Radio Andy channel 102, debuting on September 27.",
"On September 23, 2016, SiriusXM Radio announced a new hour-long weekly program, \"Dan Rather's America,\" airing Tuesday mornings at 10am Eastern on Radio Andy channel 102, debuting on September 27. In the fall of 2017, the Briscoe Center for American History at the University of Texas completed a digital humanities project dedicated to the long career of the journalist that was titled Dan Rather: American Journalist.",
"In the fall of 2017, the Briscoe Center for American History at the University of Texas completed a digital humanities project dedicated to the long career of the journalist that was titled Dan Rather: American Journalist. The culmination of three years of research conducted at the Briscoe Center, the site uses materials from a dozen archives and libraries, and draws from over 25 of the Briscoe Center for American History's news media and photojournalism collections.",
"The culmination of three years of research conducted at the Briscoe Center, the site uses materials from a dozen archives and libraries, and draws from over 25 of the Briscoe Center for American History's news media and photojournalism collections. The website features over 2,000 digitized documents, 300 excerpts from twelve oral history interviews, and 1000 video clips, enabling visitors to dive deep into the history of the last 60 years through the lens of Dan Rather's career.",
"The website features over 2,000 digitized documents, 300 excerpts from twelve oral history interviews, and 1000 video clips, enabling visitors to dive deep into the history of the last 60 years through the lens of Dan Rather's career. On January 21, 2018, it was announced that Rather would be launching a weekly 30-minute newscast on The Young Turks.",
"On January 21, 2018, it was announced that Rather would be launching a weekly 30-minute newscast on The Young Turks. Titled The News with Dan Rather, it airs on Mondays at 5:30pm Eastern Time. Personal life Rather married Jean Goebel in 1957.",
"Personal life Rather married Jean Goebel in 1957. They have a son and daughter, and maintain homes in New York City and Austin, Texas. Their daughter Robin is an environmentalist and community activist in Austin, Texas. Their son Dan is an assistant district attorney in the District Attorney's office in Manhattan, New York.",
"Their son Dan is an assistant district attorney in the District Attorney's office in Manhattan, New York. Sam Houston State University renamed its mass communications building after Rather in 1994. The building houses The Houstonian and KSHU, the student-run radio and television stations.",
"The building houses The Houstonian and KSHU, the student-run radio and television stations. In May 2007, Rather received an honorary Doctor of Humane Letters from Siena College in Loudonville, New York, for his lifetime contributions to journalism.",
"In May 2007, Rather received an honorary Doctor of Humane Letters from Siena College in Loudonville, New York, for his lifetime contributions to journalism. A columnist whose work is distributed by King Features Syndicate, Rather continues to speak out against alleged influence in journalism by corporations and governments.",
"A columnist whose work is distributed by King Features Syndicate, Rather continues to speak out against alleged influence in journalism by corporations and governments. At a 2008 conference in Minneapolis, Minnesota, sponsored by the group Free Press, Rather criticized both local and national news organizations, stating—according to reports—that there is no longer incentive to do “good and valuable news.” Books The Palace Guard, with Gary Paul Gates, 1974. .",
"At a 2008 conference in Minneapolis, Minnesota, sponsored by the group Free Press, Rather criticized both local and national news organizations, stating—according to reports—that there is no longer incentive to do “good and valuable news.” Books The Palace Guard, with Gary Paul Gates, 1974. . The Camera Never Blinks: Adventures of a TV Journalist, with Mickey Herskowitz, 1977. .",
"The Camera Never Blinks: Adventures of a TV Journalist, with Mickey Herskowitz, 1977. . I Remember, with Peter Wyden, 1991. . The Camera Never Blinks Twice: The Further Adventures of a Television Journalist, with Mickey Herskowitz, 1994. . , 1999. .",
", 1999. . , 1999. . \"The American Dream: Stories from the Heart of Our Nation\", 2001. . , with Digby Diehl, 2013. . What Unites Us: Reflections on Patriotism, with Elliot Kirschner, 2017. .What Unites Us: The Graphic Novel, with Elliot Kirschner, illustrated by Tim Foley, 2021. .",
".What Unites Us: The Graphic Novel, with Elliot Kirschner, illustrated by Tim Foley, 2021. . Awards He has received numerous Emmy Awards, several Peabody Awards, and various honorary degrees from universities. In addition to these awards, Rather was inducted into the Television Hall of Fame in 2004.",
"In addition to these awards, Rather was inducted into the Television Hall of Fame in 2004. In 2001, he received the Golden Plate Award of the American Academy of Achievement.",
"In 2001, he received the Golden Plate Award of the American Academy of Achievement. Criticism As one of the last broadcast news journalists from the era of the \"Big Three\" network news primacy, Rather was generally regarded highly within his profession by long-serving journalists. Rather has been accused of having a liberal bias.",
"Rather has been accused of having a liberal bias. \"Dan Rather: a pioneer and a lightning rod\" at The Christian Science Monitor. Claims of bias Rather's on-screen comments and election-night reporting have come under attack dating back to Richard Nixon's presidency.",
"Claims of bias Rather's on-screen comments and election-night reporting have come under attack dating back to Richard Nixon's presidency. In a June 2002 interview with Larry King, his long-time co-worker (and self-described liberal), Andy Rooney stated that Rather is “transparently liberal.” During the weeks following the Killian documents stories, Rather received widespread criticism from other journalists and historians.",
"In a June 2002 interview with Larry King, his long-time co-worker (and self-described liberal), Andy Rooney stated that Rather is “transparently liberal.” During the weeks following the Killian documents stories, Rather received widespread criticism from other journalists and historians. In an interview with commentator Bill Maher, Rather accused Fox News Channel of receiving \"talking points\" from the Republican-controlled White House.",
"In an interview with commentator Bill Maher, Rather accused Fox News Channel of receiving \"talking points\" from the Republican-controlled White House. Fox News commentator Bill O'Reilly, who had defended Rather during the Killian documents incident, criticized Rather for not offering any evidence to support the claim.",
"Fox News commentator Bill O'Reilly, who had defended Rather during the Killian documents incident, criticized Rather for not offering any evidence to support the claim. In 2002, Bernard Goldberg published a book with the title Bias, alleging a liberal bias in print and broadcast news organizations.",
"In 2002, Bernard Goldberg published a book with the title Bias, alleging a liberal bias in print and broadcast news organizations. In the book, Goldberg used Dan Rather as a primary example of a news anchorman with a liberal bias.",
"In the book, Goldberg used Dan Rather as a primary example of a news anchorman with a liberal bias. He also criticized the anchor for his criticisms of President George W. Bush's and Vice President Dan Quayle's service in the National Guard, rather than the Active Duty military during the Vietnam War, and questioned Rather's own service.",
"He also criticized the anchor for his criticisms of President George W. Bush's and Vice President Dan Quayle's service in the National Guard, rather than the Active Duty military during the Vietnam War, and questioned Rather's own service. Fairness and Accuracy in Reporting has accused Rather of having \"an unwillingness to challenge official power and policy\" in his reporting.",
"Fairness and Accuracy in Reporting has accused Rather of having \"an unwillingness to challenge official power and policy\" in his reporting. Investigative reporter Mark Hertsgaard characterized Rather as a \"stern anti-Communist\" during the Reagan administration, for allegedly having \"reported the pronouncements of public officials with considerable respect.\"",
"Investigative reporter Mark Hertsgaard characterized Rather as a \"stern anti-Communist\" during the Reagan administration, for allegedly having \"reported the pronouncements of public officials with considerable respect.\" In April 2001, according to a front-page story in The Washington Post, Rather spoke at a Democratic party fundraiser in Austin, Texas, where he was the featured speaker.",
"In April 2001, according to a front-page story in The Washington Post, Rather spoke at a Democratic party fundraiser in Austin, Texas, where he was the featured speaker. One of the official hosts for the fundraiser was Rather's daughter, Robin Rather; Rather said that he did not realize that his daughter was a host of the fundraiser.",
"One of the official hosts for the fundraiser was Rather's daughter, Robin Rather; Rather said that he did not realize that his daughter was a host of the fundraiser. Rather also said that he did not realize that the event was a partisan fundraiser, although he did realize that after he arrived at the event.",
"Rather also said that he did not realize that the event was a partisan fundraiser, although he did realize that after he arrived at the event. From Walter Cronkite During an appearance on CNN's American Morning in 2005, former CBS anchor Walter Cronkite said about Rather: “It surprised quite a few people at CBS and elsewhere that, without being able to pull up the ratings beyond third in a three-man field, that they tolerated his being there for so long.” Cronkite also said that he would like to have seen Bob Schieffer in Rather's position sooner.",
"From Walter Cronkite During an appearance on CNN's American Morning in 2005, former CBS anchor Walter Cronkite said about Rather: “It surprised quite a few people at CBS and elsewhere that, without being able to pull up the ratings beyond third in a three-man field, that they tolerated his being there for so long.” Cronkite also said that he would like to have seen Bob Schieffer in Rather's position sooner. From Dallas CBS news director Eddie Barker In the aftermath of the Kennedy assassination while Rather was a Dallas reporter, he interviewed a minister, who said some local schoolchildren had cheered upon learning of the President's shooting.",
"From Dallas CBS news director Eddie Barker In the aftermath of the Kennedy assassination while Rather was a Dallas reporter, he interviewed a minister, who said some local schoolchildren had cheered upon learning of the President's shooting. The Associated Press later confirmed the story.",
"The Associated Press later confirmed the story. A teacher at the school backed up the Rather story, confirming that some students at the school had cheered at the principal's news about Kennedy.",
"A teacher at the school backed up the Rather story, confirming that some students at the school had cheered at the principal's news about Kennedy. Eddie Barker, local Dallas-area news director for CBS, said that Rather had in fact been aware that the children were merely happy about being sent home early, and they had not been given a reason for early school closure (Barker's children attended the school, as he informed Rather).",
"Eddie Barker, local Dallas-area news director for CBS, said that Rather had in fact been aware that the children were merely happy about being sent home early, and they had not been given a reason for early school closure (Barker's children attended the school, as he informed Rather). He stated that Rather had deliberately misrepresented the facts by indicating that the children were happy about the shooting.",
"He stated that Rather had deliberately misrepresented the facts by indicating that the children were happy about the shooting. Barker attempted to fire Rather, but was overruled by the national CBS News management.",
"Barker attempted to fire Rather, but was overruled by the national CBS News management. Incidents and controversies 1968 Democratic convention During live coverage of the 1968 Democratic National Convention, Rather attempted to interview a delegate from Georgia who appeared as though he was being forcibly removed by men without identification badges.",
"Incidents and controversies 1968 Democratic convention During live coverage of the 1968 Democratic National Convention, Rather attempted to interview a delegate from Georgia who appeared as though he was being forcibly removed by men without identification badges. As Rather approached the delegate to question the apparent strong-arm tactics of the Chicago political machine under Mayor Daley, he was punched in the stomach by one of the men, knocking him to the ground.",
"As Rather approached the delegate to question the apparent strong-arm tactics of the Chicago political machine under Mayor Daley, he was punched in the stomach by one of the men, knocking him to the ground. “He lifted me right off the floor and put me away.",
"“He lifted me right off the floor and put me away. I was down, the breath knocked out of me, as the whole group blew on by me ...",
"I was down, the breath knocked out of me, as the whole group blew on by me ... In the CBS control room, they had switched the camera onto me just as I was slugged.” Walter Cronkite, after being told by Rather what happened, added on-air, \"I think we got a bunch of thugs here Dan!\"",
"In the CBS control room, they had switched the camera onto me just as I was slugged.” Walter Cronkite, after being told by Rather what happened, added on-air, \"I think we got a bunch of thugs here Dan!\" Chicago cab ride On November 10, 1980, Rather landed at Chicago's O'Hare International Airport and got into a cab.",
"Chicago cab ride On November 10, 1980, Rather landed at Chicago's O'Hare International Airport and got into a cab. He asked the cab driver to take him to the home of writer Studs Terkel, whom he was interviewing for 60 Minutes.",
"He asked the cab driver to take him to the home of writer Studs Terkel, whom he was interviewing for 60 Minutes. A police spokesman said that the cab driver refused to go to the address and instead \"wildly drove through the city streets,\" with Rather shouting out the window asking for help.",
"A police spokesman said that the cab driver refused to go to the address and instead \"wildly drove through the city streets,\" with Rather shouting out the window asking for help. The driver was charged with disorderly conduct.",
"The driver was charged with disorderly conduct. Rather called the incident “a rather minor thing.” By the time the case was about to come to trial, he was about to add anchoring the CBS Evening News to his 60 Minutes role at CBS News.",
"Rather called the incident “a rather minor thing.” By the time the case was about to come to trial, he was about to add anchoring the CBS Evening News to his 60 Minutes role at CBS News. Rather declined to press charges, citing a \"mounting schedule of reporting assignments.\"",
"Rather declined to press charges, citing a \"mounting schedule of reporting assignments.\" Galloway lawsuit In 1980, Rather and CBS were taken to court when Carl Galloway, a California doctor, claimed that a report on 60 Minutes wrongfully implicated him in an insurance fraud scheme.",
"Galloway lawsuit In 1980, Rather and CBS were taken to court when Carl Galloway, a California doctor, claimed that a report on 60 Minutes wrongfully implicated him in an insurance fraud scheme. CBS stated Galloway had signed the bogus report, and was suing Rather because he was upset at being caught.",
"CBS stated Galloway had signed the bogus report, and was suing Rather because he was upset at being caught. The jury sided with CBS and Rather, and they won the case. During the trial, Galloway's side used outtakes from the TV report showing that one interview was rehearsed.",
"During the trial, Galloway's side used outtakes from the TV report showing that one interview was rehearsed. \"Courage\" For one week in September 1986, Rather signed off his broadcasts to CBS with the word \"courage.\"",
"\"Courage\" For one week in September 1986, Rather signed off his broadcasts to CBS with the word \"courage.\" He said that it was just a signature line, and had nothing to do with the news at the time. Other newscasters ridiculed and parodied Rather, and he dropped it.",
"Other newscasters ridiculed and parodied Rather, and he dropped it. \"Kenneth, what is the frequency?\" On October 4, 1986, while walking along Park Avenue to his apartment in Manhattan, Rather was attacked and punched from behind by a man who demanded to know \"Kenneth, what is the frequency?\"",
"On October 4, 1986, while walking along Park Avenue to his apartment in Manhattan, Rather was attacked and punched from behind by a man who demanded to know \"Kenneth, what is the frequency?\" while a second assailant chased and beat him. As the assailant pummeled and kicked Rather, he kept repeating the question.",
"As the assailant pummeled and kicked Rather, he kept repeating the question. In describing the incident, Rather said “I got mugged. Who understands these things? I didn't and I don't now. I didn't make a lot of it at the time and I don't now.",
"I didn't make a lot of it at the time and I don't now. I wish I knew who did it and why, but I have no idea.” Until the crime was resolved years later, Rather's description of the bizarre crime led some to doubt the veracity of his account, although the doorman and building supervisor who came to Rather's aid fully confirmed his version of events.",
"I wish I knew who did it and why, but I have no idea.” Until the crime was resolved years later, Rather's description of the bizarre crime led some to doubt the veracity of his account, although the doorman and building supervisor who came to Rather's aid fully confirmed his version of events. The assault remained unsolved for some time, and was referenced multiple times in popular culture.",
"The assault remained unsolved for some time, and was referenced multiple times in popular culture. The phrase \"What's the frequency, Kenneth?\" became a popular-culture reference over the years, such as in a scene in the graphic novel Like a Velvet Glove Cast in Iron by cartoonist Daniel Clowes.",
"became a popular-culture reference over the years, such as in a scene in the graphic novel Like a Velvet Glove Cast in Iron by cartoonist Daniel Clowes. The opening track of the 1987 album Lolita Nation by California power pop group Game Theory is titled \"Kenneth, What's the Frequency?\" In 1994, the band R.E.M.",
"In 1994, the band R.E.M. released the song \"What's the Frequency, Kenneth?\" on their album Monster. Rather later sang with R.E.M. during a sound check prior to a gig at New York's Madison Square Garden, which was shown the following night on the Late Show with David Letterman.",
"during a sound check prior to a gig at New York's Madison Square Garden, which was shown the following night on the Late Show with David Letterman. In 1997, a TV critic writing in the New York Daily News solved the mystery, publishing a photo of the alleged assailant, William Tager, who received a 12.5-to-25-year prison sentence for killing NBC stagehand Campbell Montgomery outside The Today Show studio in 1994.",
"In 1997, a TV critic writing in the New York Daily News solved the mystery, publishing a photo of the alleged assailant, William Tager, who received a 12.5-to-25-year prison sentence for killing NBC stagehand Campbell Montgomery outside The Today Show studio in 1994. Rather confirmed the story: \"There's no doubt in my mind that this is the person.\"",
"Rather confirmed the story: \"There's no doubt in my mind that this is the person.\" New York District Attorney Robert M. Morgenthau said \"William Tager's identity as the man who attacked Mr. Rather was established in the course of an investigation by my office.\"",
"New York District Attorney Robert M. Morgenthau said \"William Tager's identity as the man who attacked Mr. Rather was established in the course of an investigation by my office.\" Tager claimed he thought television networks were beaming signals into his brain.",
"Tager claimed he thought television networks were beaming signals into his brain. When he murdered the stagehand, Tager was trying to force his way into an NBC studio with a weapon, in order to find out the frequency the networks were using to attack him, so that he could block it. Tager was paroled in October 2010.",
"Tager was paroled in October 2010. Dead air On September 11, 1987, Rather walked off the set in anger just before a remote Evening News broadcast from Miami, where Pope John Paul II had begun a rare U.S. tour, when a U.S. Open tennis match was being broadcast into the time scheduled for the newscast.",
"Dead air On September 11, 1987, Rather walked off the set in anger just before a remote Evening News broadcast from Miami, where Pope John Paul II had begun a rare U.S. tour, when a U.S. Open tennis match was being broadcast into the time scheduled for the newscast. He was upset that the news was being cut into to make room for sports and discussed it with the sports department, and made it clear that if the newscast did not start on time, then CBS Sports should fill the half hour.",
"He was upset that the news was being cut into to make room for sports and discussed it with the sports department, and made it clear that if the newscast did not start on time, then CBS Sports should fill the half hour. The Steffi Graf–Lori McNeil tennis match coverage then ended sooner than expected at 6:32 p.m., but Rather had disappeared.",
"The Steffi Graf–Lori McNeil tennis match coverage then ended sooner than expected at 6:32 p.m., but Rather had disappeared. (CBS Sports had finally agreed to break away immediately after the match without commentary.) Thus, over 100 affiliates were forced to broadcast six minutes of dead air.",
"Thus, over 100 affiliates were forced to broadcast six minutes of dead air. Some stations were forced to air a slot of syndicated programming such as a rerun of a game show or a sitcom, and other stations were forced to pull out a technical difficulty telop graphic.",
"Some stations were forced to air a slot of syndicated programming such as a rerun of a game show or a sitcom, and other stations were forced to pull out a technical difficulty telop graphic. Phil Jones, the chairman of the CBS affiliation board and general manager of Kansas City's KCTV (which the station placed a technical difficulty graphic during dead air) wanted an apology from Rather.",
"Phil Jones, the chairman of the CBS affiliation board and general manager of Kansas City's KCTV (which the station placed a technical difficulty graphic during dead air) wanted an apology from Rather. Meanwhile in Miami, the city's CBS affiliate WTVJ was forced to drop the episode entirely, which ended up airing a syndicated rerun of a game show to fill the station's schedule.",
"Meanwhile in Miami, the city's CBS affiliate WTVJ was forced to drop the episode entirely, which ended up airing a syndicated rerun of a game show to fill the station's schedule. The next day, Rather apologized for leaving the anchor desk.",
"The next day, Rather apologized for leaving the anchor desk. The following year, when Rather asked then Vice President Bush about his role in the Iran–Contra affair during a live interview, Bush responded by saying, “Dan, how would you like it if I judged your entire career by those seven minutes when you walked off the set in New York?” Roger Ailes had a “mole” at CBS, who alerted him that the goal was to “take Bush out of the race” with a tough interview on Iran-Contra.",
"The following year, when Rather asked then Vice President Bush about his role in the Iran–Contra affair during a live interview, Bush responded by saying, “Dan, how would you like it if I judged your entire career by those seven minutes when you walked off the set in New York?” Roger Ailes had a “mole” at CBS, who alerted him that the goal was to “take Bush out of the race” with a tough interview on Iran-Contra. Ailes alerted Bush on the cab ride over, and fed him the seven minutes retort.",
"Ailes alerted Bush on the cab ride over, and fed him the seven minutes retort. The aftermath of the interview showed the episode was a boost for Bush. “The vice president's poll ratings in Iowa and New Hampshire bumped visibly upward.” \"Ratherisms\" Rather is known for his many colorful analogies and descriptions during live broadcasts.",
"“The vice president's poll ratings in Iowa and New Hampshire bumped visibly upward.” \"Ratherisms\" Rather is known for his many colorful analogies and descriptions during live broadcasts. Similar to those used by baseball announcer Red Barber, cycling commentator Phil Liggett, and Formula 1 commentator Murray Walker, these \"Ratherisms\" are also called \"Texanisms\" or \"Danisms\" by some.",
"Similar to those used by baseball announcer Red Barber, cycling commentator Phil Liggett, and Formula 1 commentator Murray Walker, these \"Ratherisms\" are also called \"Texanisms\" or \"Danisms\" by some. A few of the more colorful ones, several of which were used throughout the 2008 HBO made-for-TV movie Recount about the 2000 Election, include: “This race is shakier than cafeteria Jell-O.” “This thing is as tight as the rusted lugnuts on a '55 Ford.” His characterization of the Republican Party's assessment of President Obama: “[He] couldn't sell watermelons if you gave him the state troopers to flag down the traffic.” In popular culture Rather has been referenced in the television shows Saturday Night Live and Family Guy and many films.",
"A few of the more colorful ones, several of which were used throughout the 2008 HBO made-for-TV movie Recount about the 2000 Election, include: “This race is shakier than cafeteria Jell-O.” “This thing is as tight as the rusted lugnuts on a '55 Ford.” His characterization of the Republican Party's assessment of President Obama: “[He] couldn't sell watermelons if you gave him the state troopers to flag down the traffic.” In popular culture Rather has been referenced in the television shows Saturday Night Live and Family Guy and many films. An animated caricature of him made a cameo appearance in the JibJab political cartoon, Good to Be in D.C.",
"An animated caricature of him made a cameo appearance in the JibJab political cartoon, Good to Be in D.C. In 1971, he had a cameo in an episode of the number one hit comedy series All in the Family.",
"In 1971, he had a cameo in an episode of the number one hit comedy series All in the Family. Entitled The Man in the Street, series star Carroll O'Connor's Archie Bunker character excitedly awaits the viewing of a videotaped interview he gave earlier that day for the CBS Evening News.",
"Entitled The Man in the Street, series star Carroll O'Connor's Archie Bunker character excitedly awaits the viewing of a videotaped interview he gave earlier that day for the CBS Evening News. At the last minute, to his dismay, the segment is preempted by the telecast of a Richard Nixon presidential address from the Oval Office.",
"At the last minute, to his dismay, the segment is preempted by the telecast of a Richard Nixon presidential address from the Oval Office. Rather appears, as himself, delivering post-speech analysis from actual news footage.",
"Rather appears, as himself, delivering post-speech analysis from actual news footage. Jean Stapleton, as Archie's scatterbrained wife Edith Bunker, says of Rather how he's there to \"...tell us what Mr. Nixon just said.\"",
"Jean Stapleton, as Archie's scatterbrained wife Edith Bunker, says of Rather how he's there to \"...tell us what Mr. Nixon just said.\" In 2004, he was featured in the documentary film Barbecue: A Texas Love Story by Austin-based director Chris Elley.",
"In 2004, he was featured in the documentary film Barbecue: A Texas Love Story by Austin-based director Chris Elley. Two years later, Rather and Elley educated a group of New Yorkers in Madison Square Park about the true meaning of BBQ, and its significance to the identity of the Lone Star State.",
"Two years later, Rather and Elley educated a group of New Yorkers in Madison Square Park about the true meaning of BBQ, and its significance to the identity of the Lone Star State. In the 2006–07 graphic novel Shooting War, which is set in the year 2011, an 80-year-old Dan Rather is shown to be one of the last journalists still reporting from Iraq.",
"In the 2006–07 graphic novel Shooting War, which is set in the year 2011, an 80-year-old Dan Rather is shown to be one of the last journalists still reporting from Iraq. He had a cameo in the premiere of the Fall 2007 drama Dirty Sexy Money on ABC television.",
"He had a cameo in the premiere of the Fall 2007 drama Dirty Sexy Money on ABC television. He guest-starred as himself in The Simpsons episode, \"E Pluribus Wiggum.\"",
"He guest-starred as himself in The Simpsons episode, \"E Pluribus Wiggum.\" Rather appeared on The Daily Show in May 2009, wearing an Afro wig and mutton-chop sideburns to narrate a segment about the late former President Nixon eating a burrito, as a parody of MSNBC's extensive coverage of President Obama and Vice President Biden's hamburger lunch.",
"Rather appeared on The Daily Show in May 2009, wearing an Afro wig and mutton-chop sideburns to narrate a segment about the late former President Nixon eating a burrito, as a parody of MSNBC's extensive coverage of President Obama and Vice President Biden's hamburger lunch. He appears in the 2008 award-winning documentary Boogie Man: The Lee Atwater Story.",
"He appears in the 2008 award-winning documentary Boogie Man: The Lee Atwater Story. A skit on the 38th season of Sesame Street featured Anderson Cooper interviewing two grouches, \"Walter Cranky\" and \"Dan Rather Not,\" who, when asked to answer questions, demurred with the phrase \"I'd rather not.\"",
"A skit on the 38th season of Sesame Street featured Anderson Cooper interviewing two grouches, \"Walter Cranky\" and \"Dan Rather Not,\" who, when asked to answer questions, demurred with the phrase \"I'd rather not.\" Robert Redford portrayed Rather in the 2015 film Truth.",
"Robert Redford portrayed Rather in the 2015 film Truth. Rather appeared in the docudrama Facing Saddam providing his views on Saddam Hussein. Ratings Under Rather's predecessor, Walter Cronkite, the CBS Evening News was a strong #1 in the ratings, which Rather maintained through much of the 1980s.",
"Ratings Under Rather's predecessor, Walter Cronkite, the CBS Evening News was a strong #1 in the ratings, which Rather maintained through much of the 1980s. However, Tom Brokaw and his NBC Nightly News, and Peter Jennings of ABC News' World News Tonight, increasing in popularity, eventually cut deep into the Rather broadcast's numbers.",
"However, Tom Brokaw and his NBC Nightly News, and Peter Jennings of ABC News' World News Tonight, increasing in popularity, eventually cut deep into the Rather broadcast's numbers. See also New Yorkers in journalism References Further reading Dan Rather & Elliot Kirschner (2017).",
"See also New Yorkers in journalism References Further reading Dan Rather & Elliot Kirschner (2017). What Unites Us: Reflections on Patriotism Algonquin Books of Chapel Hill. Rather, Dan. The Palace Guard, with Gary Gates Rather, Dan. I Remember, with Peter Wyden. Rather, Dan with Herskowitz, Mickey.",
"Rather, Dan with Herskowitz, Mickey. The Camera Never Blinks Twice''. 1995. William Morrow.",
"1995. William Morrow. William Morrow. 2nd Saddam interview External links AXS TV The Big Interview Dan Rather: American Journalist (Briscoe Center for American History) Members of the Council on Foreign Relations 1931 births Living people American television reporters and correspondents American war correspondents American war correspondents of the Vietnam War CBS News people Emmy Award winners Peabody Award winners 60 Minutes correspondents Associated Press reporters Houston Chronicle people Television anchors from Houston Journalists from Houston Killian documents controversy People from Wharton, Texas Sam Houston State University alumni Writers from Texas American victims of crime Texas Democrats The Young Turks people American male journalists 20th-century American journalists 21st-century American journalists Journalists from New York City People from Huntsville, Texas Recipients of the Four Freedoms Award Military personnel from Texas"
] |
[
"Dan Rather",
"Killian documents",
"What is Rather's connection to the Killian documents?",
"Rather reported on 60 Minutes"
] | C_7f5b7fac03f240eba4b0cf53ca659b83_1 | What were the Killian documents? | 2 | What were the Killian documents repoted by Rather? | Dan Rather | On September 8, 2004, Rather reported on 60 Minutes Wednesday that a series of memos critical of President George W. Bush's Texas Air National Guard service record had been discovered in the personal files of Lt. Bush's former commanding officer, Lt. Col. Jerry B. Killian. Once copies of the documents were made available on the Internet, their authenticity was quickly called into question. Much of this was based on the fact that the documents were proportionally printed and displayed using other modern typographic conventions usually unavailable on military typewriters of the 1970s. The font used on the documents has characteristics that exactly match standard font features of Microsoft Word. This led to claims that the memos were forgeries. The accusations then spread over the following days into mainstream media outlets including The Washington Post, The New York Times, and the Chicago Sun-Times. Rather and CBS initially defended the story, insisting that the documents had been authenticated by experts. CBS was contradicted by some of the experts it originally cited, and later reported that its source for the documents - former Texas Army National Guard officer Lt. Col. Bill Burkett - had misled the network about how he had obtained them. On September 20, CBS retracted the story. Rather stated, "If I knew then what I know now, I would not have gone ahead with the story as it was aired, and I certainly would not have used the documents in question." The controversy has been referred to by some as "Memogate" and "Rathergate." Following an investigation commissioned by CBS, CBS fired story producer Mary Mapes and asked three other producers connected with the story to resign. Many believe Rather's retirement was hastened by this incident. On September 20, 2007, Rather was interviewed on Larry King Live commenting "Nobody has proved that they were fraudulent, much less a forgery. ... The truth of this story stands up to this day." CANNOTANSWER | personal files of Lt. Bush's former commanding officer, Lt. Col. Jerry B. Killian. | Daniel Irvin Rather Jr. (; born October 31, 1931) is an American journalist and former national evening news anchor. Rather began his career in Texas, becoming a national name after his reporting saved thousands of lives during Hurricane Carla in September 1961. Rather spontaneously created the first radar weather report by overlaying a transparent map over a radar image of Hurricane Carla. In his first national broadcast, he helped initiate the successful evacuation of 350,000 people.
Rather reported from Dallas in November 1963 at the time that President John F. Kennedy was assassinated. Based on his reporting, he was promoted at CBS News, where he served as White House correspondent beginning in 1964. He served as foreign correspondent in London and Vietnam over the next two years before returning to the White House correspondent position. He covered the presidency of Richard Nixon, including Nixon's trip to China, the Watergate scandal, and the president's resignation.
In 1981, Rather was promoted to news anchor for the CBS Evening News, a role he occupied for 24 years. Along with Peter Jennings at ABC News and Tom Brokaw at NBC News, he was one of the "Big Three" nightly news anchors in the U.S. from the 1980s through the early 2000s. He frequently contributed to CBS's weekly news magazine, 60 Minutes.
Rather left the anchor desk in 2005 following the Killian documents controversy, in which he presented unauthenticated documents in a news report on President George W. Bush's Vietnam War–era service in the National Guard. He continued to work with CBS until 2006, when he was abruptly fired.
In September 2007, Rather filed a $70 million lawsuit against CBS and its former parent company Viacom. Rather accused the network and its ownership and management of making him a "scapegoat" in the Killian story. An intermediate New York state appeals court dismissed the lawsuit in September 2009, and the New York Court of Appeals refused to reinstate it in January 2010.
On the cable channel AXS TV (then called HDNet), Rather hosted Dan Rather Reports, a 60 Minutes–style investigative news program, from 2006 to 2013. He also hosts several other projects for AXS TV, including Dan Rather Presents, which provides in-depth reporting on broad topics such as mental health care or adoption, and The Big Interview with Dan Rather, in which he conducts long-form interviews with musicians and other entertainers. In January 2018, he began hosting an online newscast called The News with Dan Rather on The Young Turks' YouTube channel.
Early life
Daniel Irvin Rather Jr. was born on October 31, 1931, in Wharton County, Texas, the son of Daniel Irvin Rather Sr., a ditch digger and pipe layer, and the former Byrl Veda Page. The Rathers moved to Houston when he was a child, where Dan attended Lovett Elementary School and Hamilton Middle School. He graduated in 1950 from John H. Reagan High School in Houston.
In 1953, Rather earned a bachelor's degree in journalism from Sam Houston State Teachers College in Huntsville, Texas, where he was editor of the school newspaper, The Houstonian. He was also a member of the Caballeros, the founding organization of the Epsilon Psi chapter of the Sigma Chi fraternity. While in college, Rather worked for KSAM-FM radio in Huntsville, calling junior high, high school, and Sam Houston State football games. After obtaining his undergraduate degree, Rather briefly attended South Texas College of Law in Houston.
In January 1954, Rather enlisted in the United States Marine Corps and was sent to the Marine Corps Recruit Depot San Diego. He was soon discharged, however, because he was found to have had rheumatic fever as a child, a fact he had omitted during the enlistment process.
Early career
Rather began his journalism career in 1950 as an Associated Press reporter in Huntsville, Texas. Later, he was a reporter for United Press (1950–1952), several Texas radio stations, and the Houston Chronicle (1954–1955). Around 1955, Rather wrote a piece on heroin. Under the auspices of the Houston Police, he tried a dose of the drug, which he characterized as "a special kind of hell."
He worked for four seasons as the play-by-play announcer for the University of Houston football team. During the 1959 minor league baseball season, Rather was the play-by-play radio announcer for the Texas League Houston Buffs.
In 1959, Rather began his television career as a reporter for KTRK-TV, the ABC affiliate in Houston. He was subsequently promoted to the director of news for KHOU-TV, the CBS affiliate in Houston.
In September 1961, Rather covered Hurricane Carla for KHOU-TV, broadcasting from the then National Weather Center in Galveston. He is noted for showing the first radar image of a hurricane on TV. He conceived of overlaying a transparent map over the radar screen, in order to show the size of Hurricane Carla to the audience. Convinced of the threat, more than 350,000 people evacuated from the area, the largest known evacuation to that time. Their actions are believed to have saved thousands of lives compared to the previous hurricane, which had killed 6,000 to 12,000 people. Rather's live coverage of Carla was broadcast by New York and national stations. Ray Miller, news director of KPRC-TV, the NBC affiliate in Houston, also mentored Rather in the early years.
On February 28, 1962, Rather left Houston for New York City for a six-month trial initiation at CBS. Rather did not fit in easily on the East Coast. His first reports for CBS included coverage of the crash of American Airlines Flight 1 in Jamaica Bay, and a report on the suffocation of children at a hospital in Binghamton, New York. Shortly after, Rather was made chief of CBS's Southwest bureau in Dallas. In August 1963, he was appointed chief of the Southern bureau in New Orleans, responsible for coverage of news events in the South, Southwest, Mexico and Central America.
CBS News
JFK assassination to Watergate
In his autobiography, Rather noted that he was in Dallas in November 1963 to return film from an interview in Uvalde at the ranch of former Vice President John Nance Garner, who celebrated his 95th birthday on November 22. He happened to be "on the other side of the railroad tracks, beyond the triple underpass, thirty yards from a grassy knoll that would later figure in so many conspiracy theories." His job was to fetch a film drop from a camera truck at that location, and take it to the station for editing. He did not witness the shooting of Kennedy, and knew nothing of the events until he reached KRLD, having run through Dealey Plaza. He later wrote:
“The moment I cleared the railroad tracks I saw a scene I will never forget. Some people were lying on the grass, some screaming, some running, some pointing. Policemen swarmed everywhere and distinctly above the din, I heard one shout, 'DON'T ANYBODY PANIC.' And of course, there was nothing but panic wherever you looked.”
In his autobiography, Rather said he was one of the first to view the Zapruder film showing the assassination, and the first to describe it on television. Rather reported the fatal headshot as forcing Kennedy's head forward, but it was thrown backward.
Later, he reported that some Dallas schoolchildren had applauded when they were notified of the president's death. Administrators said they had announced that school was to be dismissed early, and did not mention the assassination. However, teacher Joanna Morgan confirmed that students had cheered at the news that Kennedy was shot. This story infuriated local journalists at then-CBS affiliate KRLD-TV (now Fox-owned-and-operated KDFW-TV).
Rather's reporting during the national mourning period following the Kennedy assassination and subsequent events impressed CBS News management. In 1964, they selected him for the network's White House correspondent position.
In 1965, Rather served as a foreign correspondent for CBS in London, and in 1966 in Vietnam. He served again as White House correspondent during the presidency of Richard Nixon. In 1970, he was also assigned as anchor for the CBS Sunday Night News (1970–73; 1974–75), and later for the CBS Saturday Evening News (1973–76). Rather was among those journalists who accompanied Nixon to China. He later covered the Watergate investigation, as well as the impeachment proceedings against Nixon in Congress.
CBS Evening News anchor
After President Nixon's resignation in 1974, Rather became chief correspondent for the documentary series CBS Reports. In December 1975, he became a correspondent of the long-running Sunday night news show 60 Minutes—at the time the program was moved from a Sunday afternoon time-slot to primetime. Success there helped Rather pull ahead of longtime correspondent Roger Mudd, who was in line to succeed Walter Cronkite as anchor and Managing Editor of The CBS Evening News.
Rather succeeded to the news anchor position after Cronkite's retirement, making his first broadcast on March 9, 1981. Rather had a significantly different style of reporting the news. In contrast to the avuncular Cronkite, who ended his newscast with “That's the way it is,” Rather searched to find a broadcast ending more suitable to his tastes. For one week in September 1986, with CBS the target of potentially hostile new ownership, Rather tried ending his broadcasts with the word "courage," and was roundly ridiculed for it. For nearly two decades, Rather ended the show with: “That's part of our world tonight.”
Rather also held other positions during his time as anchor. In January 1988, he became host of the newly created 48 Hours, and in January 1999, Rather joined the new 60 Minutes II as a correspondent.
Ratings for the Evening News with Rather at the helm fluctuated wildly, at a time when more alternatives to TV news were developing. After a dip to second place, Rather regained the top spot in 1985 until 1989, when he ceded the ratings peak to rival Peter Jennings at ABC's World News Tonight. By 1992, however, the Evening News had fallen to third place of the three major networks. It rose in rankings in 2005, when Bob Schieffer became the interim anchor between Rather and Katie Couric. It briefly moved ahead of ABC World News Tonight in the wake of the death of Peter Jennings, but remained behind NBC Nightly News. Rather was a frequent collaborator with CBS News producer Susan Zirinsky, a leading member of the news division's staff.
In 1987, new CBS owner Laurence Tisch oversaw layoffs of hundreds of CBS News employees, in a major shake-up of the network. Among those to go were correspondents such as David Andelman, Fred Graham, Morton Dean, and Ike Pappas. Fewer videotape crews were dispatched to cover stories, and numerous bureaus were closed. Critics cited the cutbacks as a major factor in CBS News' fall into third place in the ratings.
For a short time from 1993 to 1995, Rather co-anchored the evening news with Connie Chung. Chung had been a Washington, DC correspondent for CBS News, and anchored short news updates on the West Coast. On joining the CBS Evening News, she reported "pop news" stories. In one widely cited case, she aggressively pursued Tonya Harding, who was accused of a plot to injure fellow Olympic ice skater Nancy Kerrigan. After Chung left the network, Rather went back to doing the newscast alone.
By the 2005–06 season, the end of Rather's time as anchor, CBS Evening News lagged behind NBC Nightly News and ABC World News Tonight in the ratings. But it still drew approximately 5.5 million viewers a night. Criticism of Rather reached a fever pitch after 60 Minutes II ran his 2004 report about President Bush's military record. Numerous critics questioned the authenticity of the documents upon which the report was based. Rather subsequently admitted on the air that the documents' authenticity could not be proven. In the aftermath, CBS fired several members of CBS News staff but temporarily retained Rather, until his contract was up for renewal the following year, whereupon he was completely ousted.
Journalistic history and influence
Nixon
During Richard Nixon's presidency, critics accused Rather of biased coverage against him. At a Houston news conference in March 1974, Nixon fielded a question from Rather, still CBS's White House correspondent, who said, “Thank you, Mr. President. Dan Rather, of CBS News.” The room filled with jeers and applause, prompting Nixon to joke, “Are you running for something?” Rather replied, “No, sir, Mr. President. Are you?” He questioned whether Nixon was cooperating with the grand jury investigation and House Judiciary Committee in relation to the Watergate scandal.
NBC's Tom Brokaw has said the network considered hiring him to replace Rather as its White House correspondent, but dropped it after word was leaked to the press. Rather was believed to have provided tough coverage of the Watergate scandal, raising his profile.
Space Shuttle Challenger disaster
In January 1986, NASA faced repeated delays in the preparations to launch the Space Shuttles Columbia and Challenger in close sequence. Rather described the January 10 delay of Columbia as:
“star-crossed space shuttle Columbia stood ready for launch again today, and once more, the launch was scrubbed. Heavy rain was the cause this time. The launch has been postponed so often since its original date, December 18, that it's now known as mission impossible.”This was considered an example of the "biting sarcasm" the media used related to NASA's scheduling. Columbia launched on January 12.
On January 27, Rather's reporting of the expected Challenger launch began as follows:
On January 28, Challenger'''s explosion and destruction occurred 73 seconds after launch.
Afghanistan, Reagan, and George H. W. Bush
During the Soviet–Afghan War, Rather was filmed reporting near the front lines while wearing a traditional mujahideen headdress and garments. Rather attracted an Evening News audience (and was nicknamed "Gunga Dan"). The American comic strip Doonesbury spoofed his actions.
Rather's reports were later revealed to have been influential to Congressman Charlie Wilson (D-Texas), who led an effort to help the struggling mujahideen. The CIA developed its largest covert operation to supply aid and advanced arms to the mujahideen. The Soviets eventually quit Afghanistan.
Rather gained the anchor spot on the Evening News. He was competing with Roger Mudd, a more senior correspondent and a frequent substitute anchor for Walter Cronkite on Evening News. Mudd had also anchored the Sunday evening broadcast, but Rather traveled through Afghanistan when news led there. A few years into his service as anchor, Rather began wearing sweaters beneath his suit jacket to soften his on-air appearance for viewers.
During the 1980s, Rather gained further renown for his forceful and skeptical reporting on the Iran–Contra affair. He eventually confronted Vice President George H. W. Bush in an on-air interview during the latter's presidential campaign. Bush referred to Rather's "dead air incident" saying:
“I want to talk about why I want to be President, why those 41 percent of the people are supporting me. And I don't think it's fair to judge my whole career by a rehash on Iran. How would you like it if I judged your career by those seven minutes when you walked off the set in New York?”Rather ignored Bush's comment.
Shortly after Iraq invaded Kuwait, Rather secured an interview with Iraqi leader Saddam Hussein.
On February 24, 2003, Rather conducted another interview with Hussein before the United States' 2003 invasion of Iraq. In the interview, Hussein invited Rather to be the moderator of a live television debate between him and George W. Bush. The debate never took place.
The Wall Within
On June 2, 1988, Rather hosted a CBS News special, The Wall Within. In it, he interviewed six veterans, each of whom said he had witnessed horrible acts in Vietnam. Two of the men said that they had killed civilians, and two others said that they had seen friends die. Each talked about the effects the war had upon their lives—including depression, unemployment, drug use, and homelessness.
In 2004, National Review ran an article by Anne Morse entitled "The First Rathergate." She said that almost nothing claimed by participants in The Wall Within was true. Citing the self-published book Stolen Valor (1998) by veteran B. G. Burkett, and investigative journalist Glenna Whitley, Morse said that military records revealed that the six former servicemen had lied about their experiences. Only one served in combat, and two had never been in Vietnam.
Killian documents
On September 8, 2004, Rather reported on 60 Minutes Wednesday that a series of memos critical of President George W. Bush's Texas Air National Guard service record had been discovered in the personal files of Lt. Bush's former commanding officer, Lt. Col. Jerry B. Killian. Once copies of the documents were made available on the Internet, their authenticity was quickly called into question. Much of this was based on the fact that the documents were proportionally printed and displayed using other modern typographic conventions usually unavailable on military typewriters of the 1970s. The font used on the documents has characteristics that exactly or almost exactly match standard font features of Microsoft Word. This led to claims that the memos were forgeries. The accusations then spread over the following days into mainstream media outlets, including The Washington Post, The New York Times, and The Chicago Sun-Times.
Rather and CBS initially defended the story, insisting that the documents had been authenticated by experts. CBS was contradicted by some of the experts it originally cited, and later reported that its source for the documents—former Texas Army National Guard officer Lt. Col. Bill Burkett—had misled the network about how he had obtained them.
On September 20, 2004, CBS retracted the story. Rather stated, “If I knew then what I know now, I would not have gone ahead with the story as it was aired, and I certainly would not have used the documents in question.” The controversy has been referred to by some as "Memogate" and "Rathergate."
Following an investigation commissioned by CBS, CBS fired story producer Mary Mapes, and asked three other producers connected with the story to resign. Many believe Rather's retirement was hastened by this incident. On September 20, 2007, Rather was interviewed on Larry King Live commenting, “Nobody has proved that they were fraudulent, much less a forgery. ... The truth of this story stands up to this day.”
Departure from the CBS Evening News
Rather retired as the anchorman and Managing Editor of the CBS Evening News in 2005; his last broadcast was Wednesday, March 9, 2005. He had worked as the anchorman for 24 full years, the longest tenure of anyone in American television history, and for a short time, continued to work as a correspondent for 60 Minutes. Bob Schieffer, a fellow Texan and host of Face the Nation, took over Rather's position on an interim basis, with Katie Couric replacing Schieffer in 2006.
Since retiring, Rather has spoken out about what he perceives as a lack of courage by American journalists. On January 24, 2006, Rather spoke to a Seattle audience. Before the speaking engagement, he told a newspaper reporter, “In many ways on many days, [reporters] have sort of adopted the attitude of 'go along, get along.'”
“What many of us need is a spine transplant,” Rather added. “Whether it's City Hall, the State House, or the White House, part of our job is to speak truth to power.”
Ousted from CBS News
In June 2006, reports surfaced that CBS News would most likely not renew Dan Rather's contract. According to a Washington Post article, sources from CBS said that executives at the network decided "there is no future role for Rather."
On June 20, 2006, CBS News and Sports President Sean McManus announced that Rather would leave the network after 44 years. Rather issued a separate statement which accompanied the news of the departure:
Lawsuit over ouster from CBS Network
On September 19, 2007, Rather filed a $70 million lawsuit against CBS, its former parent company Viacom; CBS President and CEO Leslie Moonves; Sumner Redstone, chairman of both Viacom and CBS; and Andrew Heyward, former president of CBS News. Rather accused the network and its ownership and management of making him a "scapegoat" in the Killian story. A CBS spokesman claimed that the lawsuit was "old news" and "without merit." On September 21, 2009, Rather's lawyers claimed that Bush's military service would be proven to be a sham, and Rather would be vindicated. On September 29, 2009, a New York state appeals court dismissed Rather's lawsuit against CBS. On January 12, 2010, New York's top court refused to reinstate Rather's $70 million breach-of-contract lawsuit against CBS Corp. In his book titled Rather Outspoken, Rather claims that the lawsuit “took a big whack out of my time, my psyche and my bank balance, but even so, it was worth it.” On May 18, 2012, Rather appeared on Real Time With Bill Maher, and claimed he had been fired for reporting a story about George W. Bush's year of absence from the reserve unit he served with, and that the news corporations had been "very uncomfortable" with running the story.
Post-CBS career
Following his departure from CBS, Dan Rather joined Mark Cuban's cable network AXS TV (then called HDNet) to host and produce the weekly one-hour news show Dan Rather Reports from 2006 until 2013.
Since 2013, Rather has hosted and produced the hour-long series The Big Interview with Dan Rather on AXS TV, where he sits down for in-depth interviews with influential figures in music and entertainment, such as: John Fogerty, Quentin Tarantino, Simon Cowell, Aaron Sorkin, and Sammy Hagar. He has also produced several documentary specials for the network under the banner Dan Rather Presents, including specials about "America's Mental Health Crisis," the United States Secret Service, and "The Shameful Side of International Adoption."
Rather also appears frequently on a number of news shows, including MSNBC's The Rachel Maddow Show and The Last Word with Lawrence O'Donnell and on CNN. He has also written for The Huffington Post and Mashable.
On May 28, 2007, Rather compared historical events to events in the Star Wars films in the History Channel special titled Star Wars: The Legacy Revealed.
In 2012, Rather published an autobiography titled Rather Outspoken: My Life in the News.
In 2015, Rather launched an independent production company called News and Guts Media, through which he produces The Big Interview among other projects.
In 2015, Rather also began actively posting on Facebook. He credits young staffers at News and Guts Media with pushing him to try social media. While his posts were considerably longer than typical social media posts, they resonated with the audience, which soon grew to more than two million followers. Even late night TV noticed Rather's unusual but effective Facebook presence. Subject matter has covered a range of topics, including: current political events, journalism, and childhood memories.
On September 23, 2016, SiriusXM Radio announced a new hour-long weekly program, "Dan Rather's America," airing Tuesday mornings at 10am Eastern on Radio Andy channel 102, debuting on September 27.
In the fall of 2017, the Briscoe Center for American History at the University of Texas completed a digital humanities project dedicated to the long career of the journalist that was titled Dan Rather: American Journalist. The culmination of three years of research conducted at the Briscoe Center, the site uses materials from a dozen archives and libraries, and draws from over 25 of the Briscoe Center for American History's news media and photojournalism collections. The website features over 2,000 digitized documents, 300 excerpts from twelve oral history interviews, and 1000 video clips, enabling visitors to dive deep into the history of the last 60 years through the lens of Dan Rather's career.
On January 21, 2018, it was announced that Rather would be launching a weekly 30-minute newscast on The Young Turks. Titled The News with Dan Rather, it airs on Mondays at 5:30pm Eastern Time.
Personal life
Rather married Jean Goebel in 1957. They have a son and daughter, and maintain homes in New York City and Austin, Texas. Their daughter Robin is an environmentalist and community activist in Austin, Texas. Their son Dan is an assistant district attorney in the District Attorney's office in Manhattan, New York.
Sam Houston State University renamed its mass communications building after Rather in 1994. The building houses The Houstonian and KSHU, the student-run radio and television stations. In May 2007, Rather received an honorary Doctor of Humane Letters from Siena College in Loudonville, New York, for his lifetime contributions to journalism.
A columnist whose work is distributed by King Features Syndicate, Rather continues to speak out against alleged influence in journalism by corporations and governments. At a 2008 conference in Minneapolis, Minnesota, sponsored by the group Free Press, Rather criticized both local and national news organizations, stating—according to reports—that there is no longer incentive to do “good and valuable news.”
Books
The Palace Guard, with Gary Paul Gates, 1974. .
The Camera Never Blinks: Adventures of a TV Journalist, with Mickey Herskowitz, 1977. .
I Remember, with Peter Wyden, 1991. .
The Camera Never Blinks Twice: The Further Adventures of a Television Journalist, with Mickey Herskowitz, 1994. .
, 1999. .
"The American Dream: Stories from the Heart of Our Nation", 2001. .
, with Digby Diehl, 2013. .
What Unites Us: Reflections on Patriotism, with Elliot Kirschner, 2017. .What Unites Us: The Graphic Novel, with Elliot Kirschner, illustrated by Tim Foley, 2021. .
Awards
He has received numerous Emmy Awards, several Peabody Awards, and various honorary degrees from universities.
In addition to these awards, Rather was inducted into the Television Hall of Fame in 2004. In 2001, he received the Golden Plate Award of the American Academy of Achievement.
Criticism
As one of the last broadcast news journalists from the era of the "Big Three" network news primacy, Rather was generally regarded highly within his profession by long-serving journalists. Rather has been accused of having a liberal bias."Dan Rather: a pioneer and a lightning rod" at The Christian Science Monitor.
Claims of bias
Rather's on-screen comments and election-night reporting have come under attack dating back to Richard Nixon's presidency. In a June 2002 interview with Larry King, his long-time co-worker (and self-described liberal), Andy Rooney stated that Rather is “transparently liberal.”
During the weeks following the Killian documents stories, Rather received widespread criticism from other journalists and historians. In an interview with commentator Bill Maher, Rather accused Fox News Channel of receiving "talking points" from the Republican-controlled White House. Fox News commentator Bill O'Reilly, who had defended Rather during the Killian documents incident, criticized Rather for not offering any evidence to support the claim.
In 2002, Bernard Goldberg published a book with the title Bias, alleging a liberal bias in print and broadcast news organizations. In the book, Goldberg used Dan Rather as a primary example of a news anchorman with a liberal bias. He also criticized the anchor for his criticisms of President George W. Bush's and Vice President Dan Quayle's service in the National Guard, rather than the Active Duty military during the Vietnam War, and questioned Rather's own service.
Fairness and Accuracy in Reporting has accused Rather of having "an unwillingness to challenge official power and policy" in his reporting. Investigative reporter Mark Hertsgaard characterized Rather as a "stern anti-Communist" during the Reagan administration, for allegedly having "reported the pronouncements of public officials with considerable respect."
In April 2001, according to a front-page story in The Washington Post, Rather spoke at a Democratic party fundraiser in Austin, Texas, where he was the featured speaker. One of the official hosts for the fundraiser was Rather's daughter, Robin Rather; Rather said that he did not realize that his daughter was a host of the fundraiser. Rather also said that he did not realize that the event was a partisan fundraiser, although he did realize that after he arrived at the event.
From Walter Cronkite
During an appearance on CNN's American Morning in 2005, former CBS anchor Walter Cronkite said about Rather: “It surprised quite a few people at CBS and elsewhere that, without being able to pull up the ratings beyond third in a three-man field, that they tolerated his being there for so long.” Cronkite also said that he would like to have seen Bob Schieffer in Rather's position sooner.
From Dallas CBS news director Eddie Barker
In the aftermath of the Kennedy assassination while Rather was a Dallas reporter, he interviewed a minister, who said some local schoolchildren had cheered upon learning of the President's shooting. The Associated Press later confirmed the story. A teacher at the school backed up the Rather story, confirming that some students at the school had cheered at the principal's news about Kennedy. Eddie Barker, local Dallas-area news director for CBS, said that Rather had in fact been aware that the children were merely happy about being sent home early, and they had not been given a reason for early school closure (Barker's children attended the school, as he informed Rather). He stated that Rather had deliberately misrepresented the facts by indicating that the children were happy about the shooting. Barker attempted to fire Rather, but was overruled by the national CBS News management.
Incidents and controversies
1968 Democratic convention
During live coverage of the 1968 Democratic National Convention, Rather attempted to interview a delegate from Georgia who appeared as though he was being forcibly removed by men without identification badges.
As Rather approached the delegate to question the apparent strong-arm tactics of the Chicago political machine under Mayor Daley, he was punched in the stomach by one of the men, knocking him to the ground. “He lifted me right off the floor and put me away. I was down, the breath knocked out of me, as the whole group blew on by me ... In the CBS control room, they had switched the camera onto me just as I was slugged.” Walter Cronkite, after being told by Rather what happened, added on-air, "I think we got a bunch of thugs here Dan!"
Chicago cab ride
On November 10, 1980, Rather landed at Chicago's O'Hare International Airport and got into a cab. He asked the cab driver to take him to the home of writer Studs Terkel, whom he was interviewing for 60 Minutes. A police spokesman said that the cab driver refused to go to the address and instead "wildly drove through the city streets," with Rather shouting out the window asking for help. The driver was charged with disorderly conduct. Rather called the incident “a rather minor thing.”
By the time the case was about to come to trial, he was about to add anchoring the CBS Evening News to his 60 Minutes role at CBS News. Rather declined to press charges, citing a "mounting schedule of reporting assignments."
Galloway lawsuit
In 1980, Rather and CBS were taken to court when Carl Galloway, a California doctor, claimed that a report on 60 Minutes wrongfully implicated him in an insurance fraud scheme. CBS stated Galloway had signed the bogus report, and was suing Rather because he was upset at being caught. The jury sided with CBS and Rather, and they won the case. During the trial, Galloway's side used outtakes from the TV report showing that one interview was rehearsed.
"Courage"
For one week in September 1986, Rather signed off his broadcasts to CBS with the word "courage." He said that it was just a signature line, and had nothing to do with the news at the time. Other newscasters ridiculed and parodied Rather, and he dropped it.
"Kenneth, what is the frequency?"
On October 4, 1986, while walking along Park Avenue to his apartment in Manhattan, Rather was attacked and punched from behind by a man who demanded to know "Kenneth, what is the frequency?" while a second assailant chased and beat him. As the assailant pummeled and kicked Rather, he kept repeating the question. In describing the incident, Rather said “I got mugged. Who understands these things? I didn't and I don't now. I didn't make a lot of it at the time and I don't now. I wish I knew who did it and why, but I have no idea.” Until the crime was resolved years later, Rather's description of the bizarre crime led some to doubt the veracity of his account, although the doorman and building supervisor who came to Rather's aid fully confirmed his version of events.
The assault remained unsolved for some time, and was referenced multiple times in popular culture. The phrase "What's the frequency, Kenneth?" became a popular-culture reference over the years, such as in a scene in the graphic novel Like a Velvet Glove Cast in Iron by cartoonist Daniel Clowes. The opening track of the 1987 album Lolita Nation by California power pop group Game Theory is titled "Kenneth, What's the Frequency?" In 1994, the band R.E.M. released the song "What's the Frequency, Kenneth?" on their album Monster. Rather later sang with R.E.M. during a sound check prior to a gig at New York's Madison Square Garden, which was shown the following night on the Late Show with David Letterman.
In 1997, a TV critic writing in the New York Daily News solved the mystery, publishing a photo of the alleged assailant, William Tager, who received a 12.5-to-25-year prison sentence for killing NBC stagehand Campbell Montgomery outside The Today Show studio in 1994. Rather confirmed the story: "There's no doubt in my mind that this is the person." New York District Attorney Robert M. Morgenthau said "William Tager's identity as the man who attacked Mr. Rather was established in the course of an investigation by my office." Tager claimed he thought television networks were beaming signals into his brain. When he murdered the stagehand, Tager was trying to force his way into an NBC studio with a weapon, in order to find out the frequency the networks were using to attack him, so that he could block it. Tager was paroled in October 2010.
Dead air
On September 11, 1987, Rather walked off the set in anger just before a remote Evening News broadcast from Miami, where Pope John Paul II had begun a rare U.S. tour, when a U.S. Open tennis match was being broadcast into the time scheduled for the newscast. He was upset that the news was being cut into to make room for sports and discussed it with the sports department, and made it clear that if the newscast did not start on time, then CBS Sports should fill the half hour. The Steffi Graf–Lori McNeil tennis match coverage then ended sooner than expected at 6:32 p.m., but Rather had disappeared. (CBS Sports had finally agreed to break away immediately after the match without commentary.) Thus, over 100 affiliates were forced to broadcast six minutes of dead air. Some stations were forced to air a slot of syndicated programming such as a rerun of a game show or a sitcom, and other stations were forced to pull out a technical difficulty telop graphic. Phil Jones, the chairman of the CBS affiliation board and general manager of Kansas City's KCTV (which the station placed a technical difficulty graphic during dead air) wanted an apology from Rather. Meanwhile in Miami, the city's CBS affiliate WTVJ was forced to drop the episode entirely, which ended up airing a syndicated rerun of a game show to fill the station's schedule. The next day, Rather apologized for leaving the anchor desk. The following year, when Rather asked then Vice President Bush about his role in the Iran–Contra affair during a live interview, Bush responded by saying, “Dan, how would you like it if I judged your entire career by those seven minutes when you walked off the set in New York?” Roger Ailes had a “mole” at CBS, who alerted him that the goal was to “take Bush out of the race” with a tough interview on Iran-Contra. Ailes alerted Bush on the cab ride over, and fed him the seven minutes retort. The aftermath of the interview showed the episode was a boost for Bush. “The vice president's poll ratings in Iowa and New Hampshire bumped visibly upward.”
"Ratherisms"
Rather is known for his many colorful analogies and descriptions during live broadcasts. Similar to those used by baseball announcer Red Barber, cycling commentator Phil Liggett, and Formula 1 commentator Murray Walker, these "Ratherisms" are also called "Texanisms" or "Danisms" by some. A few of the more colorful ones, several of which were used throughout the 2008 HBO made-for-TV movie Recount about the 2000 Election, include:
“This race is shakier than cafeteria Jell-O.”
“This thing is as tight as the rusted lugnuts on a '55 Ford.”
His characterization of the Republican Party's assessment of President Obama: “[He] couldn't sell watermelons if you gave him the state troopers to flag down the traffic.”
In popular culture
Rather has been referenced in the television shows Saturday Night Live and Family Guy and many films. An animated caricature of him made a cameo appearance in the JibJab political cartoon, Good to Be in D.C. In 1971, he had a cameo in an episode of the number one hit comedy series All in the Family. Entitled The Man in the Street, series star Carroll O'Connor's Archie Bunker character excitedly awaits the viewing of a videotaped interview he gave earlier that day for the CBS Evening News. At the last minute, to his dismay, the segment is preempted by the telecast of a Richard Nixon presidential address from the Oval Office. Rather appears, as himself, delivering post-speech analysis from actual news footage. Jean Stapleton, as Archie's scatterbrained wife Edith Bunker, says of Rather how he's there to "...tell us what Mr. Nixon just said."
In 2004, he was featured in the documentary film Barbecue: A Texas Love Story by Austin-based director Chris Elley. Two years later, Rather and Elley educated a group of New Yorkers in Madison Square Park about the true meaning of BBQ, and its significance to the identity of the Lone Star State.
In the 2006–07 graphic novel Shooting War, which is set in the year 2011, an 80-year-old Dan Rather is shown to be one of the last journalists still reporting from Iraq. He had a cameo in the premiere of the Fall 2007 drama Dirty Sexy Money on ABC television. He guest-starred as himself in The Simpsons episode, "E Pluribus Wiggum."
Rather appeared on The Daily Show in May 2009, wearing an Afro wig and mutton-chop sideburns to narrate a segment about the late former President Nixon eating a burrito, as a parody of MSNBC's extensive coverage of President Obama and Vice President Biden's hamburger lunch. He appears in the 2008 award-winning documentary Boogie Man: The Lee Atwater Story.
A skit on the 38th season of Sesame Street featured Anderson Cooper interviewing two grouches, "Walter Cranky" and "Dan Rather Not," who, when asked to answer questions, demurred with the phrase "I'd rather not."
Robert Redford portrayed Rather in the 2015 film Truth. Rather appeared in the docudrama Facing Saddam providing his views on Saddam Hussein.
Ratings
Under Rather's predecessor, Walter Cronkite, the CBS Evening News was a strong #1 in the ratings, which Rather maintained through much of the 1980s. However, Tom Brokaw and his NBC Nightly News, and Peter Jennings of ABC News' World News Tonight, increasing in popularity, eventually cut deep into the Rather broadcast's numbers.
See also
New Yorkers in journalism
References
Further reading
Dan Rather & Elliot Kirschner (2017). What Unites Us: Reflections on Patriotism Algonquin Books of Chapel Hill.
Rather, Dan. The Palace Guard, with Gary Gates
Rather, Dan. I Remember, with Peter Wyden.
Rather, Dan with Herskowitz, Mickey. The Camera Never Blinks Twice''. 1995. William Morrow.
2nd Saddam interview
External links
AXS TV The Big Interview
Dan Rather: American Journalist (Briscoe Center for American History)
Members of the Council on Foreign Relations
1931 births
Living people
American television reporters and correspondents
American war correspondents
American war correspondents of the Vietnam War
CBS News people
Emmy Award winners
Peabody Award winners
60 Minutes correspondents
Associated Press reporters
Houston Chronicle people
Television anchors from Houston
Journalists from Houston
Killian documents controversy
People from Wharton, Texas
Sam Houston State University alumni
Writers from Texas
American victims of crime
Texas Democrats
The Young Turks people
American male journalists
20th-century American journalists
21st-century American journalists
Journalists from New York City
People from Huntsville, Texas
Recipients of the Four Freedoms Award
Military personnel from Texas | true | [
"During the Killian documents controversy in 2004, the authenticity of the documents themselves was disputed by a variety of individuals and groups. Proof of authenticity is not possible without original documents, and since CBS used only faxed and photocopied duplicates, authentication to professional standards would be impossible regardless of the provenance of the originals. However, proving documents inauthentic does not depend on the availability of originals, and the validity of these photocopied documents has been challenged on a number of grounds, ranging from anachronisms in their typography to issues pertaining to their content.\n\nTypography \n\nIn the initial hours and days after the CBS broadcast, most of the criticism of the documents' authenticity centered on the fact that they did not look like typical typewritten documents and appeared very similar to documents produced with modern word-processing software. These criticisms, first raised by bloggers, were taken up by outlets of the mainstream press, including The Washington Post, The New York Times, the Chicago Sun-Times, and others, who sought opinions from multiple experts. The arguments and findings are summarized below.\n\nProportional fonts \nOne of the initial doubts bloggers raised about the memos was the use of proportional fonts (as opposed to a monospaced typeface, where all glyphs have a single, standard width). Most typewriters in 1972 used fixed-width fonts, and, according to The Washington Post, all of the authenticated documents from the TexANG were typed using fixed-width fonts commonly associated with typewriters.\n\nSeveral experts interviewed by the media suggested that the proportional fonts in the documents indicated likely forgery. John Collins, vice president and chief technology officer at Bitstream Inc., the parent of MyFonts.com, stated that word processors that could produce proportional-sized fonts cost upwards of $20,000 at the time (). Allan Haley, director of words and letters at Agfa Monotype, stated \"It was highly out of the ordinary for an organization—even the Air Force—to have proportional-spaced fonts for someone to work with.\" William Flynn, a forensic document specialist with 35 years of experience in police crime labs and private practice, said the CBS documents raise suspicions because of their use of proportional spacing techniques. The Washington Post also indicated the presence of proportional fonts as suspicious because \"of more than 100 records made available by the 147th Group and the Texas Air National Guard, none used the proportional spacing techniques characteristic of the CBS documents\".\n\nBill Glennon, a technology consultant in New York City with typewriter repair experience from 1973 to 1985, said experts making the claim that typewriters were incapable of producing the memos \"are full of crap. They just don't know.\" He said there were IBM machines capable of producing the spacing, and a customized key — the likes of which he said were not unusual — for creating the superscript th.\n\nThomas W. Phinney II, program manager for fonts at Adobe Systems, responded to Glennon's statement by saying that the memos could not have been produced with either the IBM Executive or IBM Selectric Composer, which had been suggested as possibilities, due to differences in letter width and spacing. Phinney says that each time a typeface was redeveloped for mechanical technologies with different width factors, the width and designs are altered, which is why even if Press Roman had been intended to look like Times Roman, the result is significantly different. Phinney suggests that the real typist prevented Word from auto-formatting \"th\" in superscript by typing and deleting a space in some cases but in other cases did not use the space or left it in the document.\n\nPhinney's analysis was based on the fact that the typography of the Killian documents could be closely matched with a modern personal computer and printer using Microsoft Word with the default font (Times New Roman) and other settings. Therefore, the equipment with which the Killian documents were actually produced must have been capable of matching the typographical characteristics produced by this modern technology.\n\nAs Phinney explained, the letterspacing of the Times New Roman font used by Microsoft Word with a modern personal computer and printer employs a system of 18 units relative to the letter height (em), with common characters being 5 to 17 units wide. (The technology allows even finer variability of character widths, but the 18 unit system was chosen for compatibility with the Linotype phototypesetting and earlier hot-metal versions of the font.) In contrast, the variability of character widths available on early 1970s typewriters using proportional letterspacing was more limited, due to the mechanical technology employed. The most sophisticated of these machines, the IBM Selectric Composer, used a system of 9 units relative to the letter height, in which all characters were 3 to 9 units wide. Less complex machines used fewer widths.\n\nDifferences in individual character widths accumulate over the length of a line, so that comparatively small differences would become readily apparent. Because of the differing character widths employed, the letterspacing exhibited by the Killian documents (matching that produced by a modern computer and printer) could not have been produced with a mechanical typewriter using proportional letterspacing in the early 1970s. At the time the documents were purportedly created, the matching letterspacing could only have been produced using phototypesetting or hot-metal printing. Since it is not a realistic possibility that Killian would have had these documents printed, Phinney concludes that they are almost certainly modern forgeries.\n\nPhinney has long offered $1,000 \"to anybody who can produce an office-level device that was available in 1972 that can replicate the relative line endings of those memos\" but no-one has ever tried to do that.\n\nDesktop magazine in Australia analysed the documents in its November 2004 issue and concluded that the typeface was a post-1985 version of Times Roman, rather than Times New Roman, both of which are different in detail to IBM Press Roman.\n\nInter-character spacing \nJoseph Newcomer, who helped pioneer electronic typesetting and word processing software, claims that the memos display a simple alternative to kerning characteristic of TrueType fonts but not available on any office equipment in 1972. For example, in words containing \"fr\", TrueType moves the \"r\" left to tuck it in under the top part of the \"f\". The Weekly Standard called Newcomer's explanation the \"definitive account\" of why the documents were \"necessarily forgeries.\" The Washington Post quoted Newcomer in an article regarding questions about the authenticity of the papers.\n\nCentered headers \nCreating centered headers is possible on a typewriter, even if the font is proportional. The typist can left-justify the header and then use the space bar to count the number of spaces from the end of the text to the right margin. In addition, the IBM Executive and Selectric have a kerning key that would give a more accurate measure of the whitespace. Once this number is determined, halving it gives the number of leading spaces for a centered header. The same centering will be achieved on different occasions if the paper is inserted flush to the paper guide, and the same count of spaces is applied. For an example of multiple centered lines produced using a proportionally spaced typewriter font, see the third page of the contemporary annual history of Bush's Alabama guard unit.\n\nWord processors, by contrast, center text based on a computer algorithm using a fixed central reference point rather than the left margin on the typewriter as measured from the paper's edge. If the paper in a printer is flush to the left of the paper guide, then a word processor will achieve the same centering throughout a given page and on different pages. The bloggers asserted that it is unlikely that two documents produced 3 months apart by a manual centering process would exactly overlap. In the Killian memos the text matches perfectly when overlaid with a word processor-produced 3 line address block, and between the 3- and 2- line blocks of different memos.\n\nCurved apostrophes \nIn several places, the documents use apostrophes such as in the words I'm and won't. These are curved somewhat to the left, similar to the shape of a comma. Most typewriters of the era featured vertical apostrophes, rather than angled or curved ones. They were also used for both the opening and closing quotation mark embedded within another quotation instead of the curved forms available in modern day word processors. Compare the straight forms in\n\n The witness testified that \"Jones yelled, 'Run!' before fleeing the scene\" in court yesterday.\n\nto the curved forms in\n\n The witness testified that “Jones yelled, ‘Run!’ before fleeing the scene” in court yesterday.\n\nThe latter requires two separate glyphs for each pair of single and double quotation marks.\n\nSimilarity to contemporary documents \nThe Washington Post reported that \"of more than 100 records made available by the 147th Group and the Texas Air National Guard, none used the proportional spacing techniques characteristic of the CBS documents.\" This raises the question of the likelihood of a National Guard office having access to this type of equipment.\n\nAccording to The Washington Post, \"The analysis shows that half a dozen Killian memos released earlier by the military were written with a standard typewriter using different formatting techniques from those characteristic of computer-generated documents. CBS's Killian memos bear numerous signs that are more consistent with modern-day word-processing programs, particularly Microsoft Word...\" (September 14, 2004).\n\nContent and formatting \n\nIn addition to typography, aspects of the memos such as the content and formatting have been challenged.\n\nSignatures \nOf the documents, only the May 4 memo bears a full signature. CBS stated that document examiner Marcel Matley had determined the signature was authentic. However, Matley told the Washington Post on September 14, \"There's no way that I, as a document expert, can authenticate them\" because they are copies far removed from the original source. Eugene P. Hussey, a certified forensic document examiner in Washington state, expressed the \"limited opinion\" that Killian did not sign or initial the documents.\n\nSkepticism from Killian's family and others \nJerry Killian's wife and son argued that their father never used typewriting equipment and would have written these memos by hand. The family also stated that Killian was not known for keeping personal memos and that he had been very pleased with George W. Bush's performance in his TXANG unit.\n\nIn contrast, Killian's secretary at the time, Marian Carr Knox, stated, \"We did discuss Bush's conduct and it was a problem Killian was concerned about. I think he was writing the memos so there would be some record that he was aware of what was going on and what he had done.\" Although she believed the content of the memos was accurate, she insisted that she did not type the memos CBS had obtained, called them fakes, and noted they contained Army terminology that the Air Guard never used.\n\nEarl W. Lively, who at the time was the commanding officer at the Austin TXANG facility was quoted in the Washington Times as saying, \"They're forged as hell.\"\n\nMention of influence by retired officer \nWalter Staudt, cited in the memo dated August 18, 1973 as exerting pressure on officers to \"sugar coat\" their evaluations of Bush, had in fact retired from the service in March 1972.\n\nStaudt also denied being pressured to accept George W. Bush into the National Guard, in an exclusive interview with ABC (\"Speaking Out,\" 17 September 2004): \"'No one called me about taking George (W.) Bush into the Air National Guard,' he said. 'It was my decision. I swore him in. I never heard anything from anybody. And I never pressured anybody about George (W.) Bush because I had no reason to,' Staudt told ABC News in his first interview since the documents were made public.\"\n\nMention of Flight Inquiry \nIt is a matter of record that Lt Bush was suspended from flight status on August 1, 1972 for failure to complete a required annual physical. The Killian memo dated May 4, 1972 is an order to Lt Bush requiring him to report for his physical by May 14, thus making it appear that Lt Bush ignored a direct written order. Lt. Bush's last rating report, dated May 2, 1973, states that Lt Bush \"cleared\" the base on May 15, 1972 to head to Alabama. The Killian memo of August 1 called for a flight inquiry board to review Lt Bush's status. However, no records of this request or the flight inquiry board itself have been found. Regulations required such a review following the grounding of any pilot.\n\nMother's Day \nRetired Colonel and former TXANG pilot William Campenni disputed the document dated Thursday May 4, 1972, which ordered Bush to report for a flight physical not later than May 14. According to Campenni, the squadron commander supposedly ordered Bush to report on a weekend when the base was closed. The Ellington Air Guard Base was closed for Mother's Day the weekend of May 13–14. The next Air Guard drill weekend was May 20–21. Bush's last day on base was Monday, May 15, 1972, according to the official record.\n\nPeter Tytell's analysis \nThe CBS review panel led by Dick Thornburgh (a Republican and former U.S. Attorney General) and Louis Boccardi hired Peter Tytell, a leading document examiner, to analyze the four documents:\n\nconcluded ... that (i) the relevant portion of the Superscript Exemplar was produced on an Olympia manual typewriter, (ii) the Killian documents were not produced on an Olympia manual typewriter and (iii) the Killian documents were produced on a computer in Times New Roman typestyle [and that] the Killian documents were not produced on a typewriter in the early 1970s and therefore were not authentic.\n\nMother Jones\nKevin Drum of Mother Jones said that believing the documents to be authentic was \"delusional\".\n\nSee also \n Questioned document examination\n Dan Rather\n\nReferences\n\nExternal links\n\nPrimary source documents \nLinks to large PDF documents.\n\nThe four CBS News Killian documents:\n Memorandum, May 4, 1972\n Memo to File, May 19, 1972\n Memorandum For Record, August 1, 1972\n Memo to File, August 18, 1973\nThe six USA Today Killian documents:\n USA Today Killian documents\n\nThe CBS four and USA Today six are the documents supplied by Bill Burkett to Mary Mapes.\n Bush enlistment documents (USA Today) Page 31 is a 3 Nov 1970 memo from the office of Lt Col Killian on promotion of Lt Bush.\n\nPeter Tytell's analysis from the Thornbourgh-Boccardi report, Appendix 4\n\nNews items \n \"60 Minutes Documents on Bush Might Be Fake\" CNSNews.com – September 9, 2004\n \"Questions Arise About Authenticity of Newly Found Memos on Bush's Guard Service\" ABC News – September 9, 2004\n \"Some Question Authenticity of Papers on Bush\" Washington Post – September 10, 2004\n \"False Documentation? Questions Arise About Authenticity of Newly Found Memos on Bush's Guard Service\" ABC News – September 10, 2004\n \"Anatomy of a Forgery\" American Spectator – September 10, 2004\n \"Rather Defends CBS Over Memos on Bush\" Washington Post – September 11, 2004\n \"Amid Skepticism, CBS Sticks to Bush Guard Story\" Los Angeles Times – September 11, 2004\n \"More challenges about whether Bush documents are authentic\" The Seattle Times – September 11, 2004\n \"The X Files Of Lt. Bush: A flurry of contested memos and memories sheds more heat than light on his record\" Time – September 13, 2004\n \"Expert Cited by CBS Says He Didn't Authenticate Papers\" Washington Post – September 14, 2004\n Washington Post: A Pentagon memo next to one of CBS's Killian memo – September 14, 2004\n \"Document Experts Say CBS Ignored Memo 'Red Flags'\" Washington Post – Wednesday, September 15, 2004\n\"Dan Rather interviews Marion Carr Knox - September 15, 2004\" Youtube\n \"Ex-Guard Typist Recalls Memos Criticizing Bush\" Los Angeles Times – September 15, 2004\n Boston Globe apologizes for taking misquoting two experts about memos\n \"Memos on Bush Are Fake but Accurate, Typist Says' NY Times – September 15, 2004\n \"CBS Guard Documents Traced to Tex. Kinko's\" Washington Post – September 16, 2004\n \"Rather Concedes Papers Are Suspect\" Washington Post – September 16, 2004\n \"'Buckhead', who said CBS memos were forged, is a GOP-linked attorney\" Seattle Times – September 17, 2004\n The Paper Trail: A Comparison of Documents by The Washington Post print edition.\n \"In Rush to Air, CBS Quashed Memo Worries\" Washington Post – September 19, 2004\n Graphic comparison of all the CBS memos with officially released Killian memos Washington Post – September 19, 2004\n \"CBS Says It Can't Vouch for Bush Documents\" – New York Times – September 20, 2004\n \"Scoops and skepticism: How the story unfolded\" – timeline from USA Today – September 21, 2004\n \"Prof Pursued by Mob of Bloggers\" Wired, October 7, 2004\n Blog-gate Columbia Journalism Review\n Transcript of online Q&A with Mary Mapes, November 11, 2005, by washingtonpost.com\n\n2004 United States presidential election\nKillian documents controversy",
"The Killian documents controversy (also referred to as Memogate or Rathergate) involved six documents containing false allegations about President George W. Bush's service in the Texas Air National Guard in 1972–73, allegedly typed in 1973. Dan Rather presented four of these documents as authentic in a 60 Minutes II broadcast aired by CBS on September 8, 2004, less than two months before the 2004 presidential election, but it was later found that CBS had failed to authenticate them. Several typewriter and typography experts soon concluded that they were forgeries. Lt. Col. Bill Burkett provided the documents to CBS, but he claims to have burned the originals after faxing them copies.\n\nCBS News producer Mary Mapes obtained the copied documents from Burkett, a former officer in the Texas Army National Guard, while pursuing a story about the George W. Bush military service controversy. Burkett claimed that Bush's commander Lieutenant Colonel Jerry B. Killian wrote them, which included criticisms of Bush's service in the Guard during the 1970s. In the 60 Minutes segment, Rather stated that the documents \"were taken from Lieutenant Colonel Killian's personal files\", and he falsely asserted that they had been authenticated by experts retained by CBS.\n\nThe authenticity of the documents was challenged within hours on Internet forums and blogs, with questions initially focused on anachronisms in the typography, and the scandal quickly spread to the mass media. CBS and Rather defended the authenticity and usage of the documents for two weeks, but other news organizations continued to scrutinize the evidence, and USA Today obtained an independent analysis from outside experts. CBS finally repudiated the use of the documents on September 20, 2004. Rather stated, \"if I knew then what I know now – I would not have gone ahead with the story as it was aired, and I certainly would not have used the documents in question\", and CBS News President Andrew Heyward said, \"Based on what we now know, CBS News cannot prove that the documents are authentic, which is the only acceptable journalistic standard to justify using them in the report. We should not have used them. That was a mistake, which we deeply regret.\"\n\nSeveral months later, a CBS-appointed panel led by Dick Thornburgh and Louis Boccardi criticized both the initial CBS news segment and CBS's \"strident defense\" during the aftermath. CBS fired producer Mapes, requested resignations from several senior news executives, and apologized to viewers by saying only that there were \"substantial questions regarding the authenticity of the Killian documents\".\n\nThe story of the controversy was dramatized in the 2015 film Truth starring Robert Redford as Dan Rather and Cate Blanchett as Mary Mapes, directed by James Vanderbilt. It is based on Mapes' memoir Truth and Duty: The Press, the President, and the Privilege of Power. Former CBS President and CEO Les Moonves refused to approve the film, and CBS refused to air advertisements for it. A CBS spokesman stated that it contained \"too many distortions, evasions, and baseless conspiracy theories\".\n\nBackground and timeline\nThe memos, allegedly written in 1972 and 1973, were obtained by CBS News producer Mary Mapes and freelance journalist Michael Smith, from Lt. Col. Bill Burkett, a former US Army National Guard officer. Mapes and Dan Rather, among many other journalists, had been investigating for several years the story of Bush's alleged failure to fulfill his obligations to the National Guard.\n\nBurkett had received publicity in 2000, after making and then retracting a claim that he had been transferred to Panama for refusing \"to falsify personnel records of [then-]Governor Bush\", and in February 2004, when he claimed to have knowledge of \"scrubbing\" of Bush's Texas Air National Guard records. Mapes was \"by her own account [aware that] many in the press considered Burkett an 'anti-Bush zealot', his credibility in question\".\n\nMapes and Smith made contact with Burkett in late August, and on August 24 Burkett offered to meet with them to share the documents he possessed, and later told reporters from USA Today \"that he had agreed to turn over the documents to CBS if the network would arrange a conversation with the Kerry campaign\", a claim substantiated by emails between Smith and Mapes detailing Burkett's additional requests for help with negotiating a book deal, security, and financial compensation. During the last week of August, Mapes asked Josh Howard, her immediate superior at CBS, for permission to facilitate contact between Burkett and the Kerry campaign; Howard and Mapes subsequently disputed whether such permission had been given.\n\nTwo documents were provided by Burkett to Mapes on September 2 and four others on September 5, 2004. At that time, Burkett told Mapes that they were copies of originals that had been obtained from Killian's personal files via Chief Warrant Officer George Conn, another former member of the TexANG.\n\nMapes informed Rather of the progress of the story, which was being targeted to air on September 8 along with footage of an interview with Ben Barnes, a former Lieutenant Governor of Texas, who would publicly state for the first time his opinion that Bush had received preferential treatment to get into the National Guard. Mapes had also been in contact with the Kerry campaign several times between late August and September 6, when she spoke with senior Kerry advisor Joe Lockhart regarding the progressing story. Lockhart subsequently stated he was \"wary\" of contact with Mapes at this stage, because if the story were true, his involvement might undermine its credibility, and if it were false, \"he did not want to be associated with it.\" Lockhart called Burkett on September 6 at the number provided by Mapes, and both men stated they discussed Burkett's view of Kerry's presidential campaign strategy, not the existence of the documents or the related story.\n\nContent of the memos\nThe documents claimed that Bush had disobeyed orders while in the Guard, and that undue influence had been exerted on Bush's behalf to improve his record. The documents included the following:\n\nAn order directing Bush to submit to a physical examination.\nA note that Killian had grounded Bush from flying due to \"failure to perform to USAF / TexANG standards\", and for failure to submit to the physical examination as ordered. Killian also requested that a flight inquiry board be convened, as required by regulations, to examine the reasons for Bush's loss of flight status.\nA note of a telephone conversation with Bush in which Bush sought to be excused from \"drill\", The note records that Bush said he did not have the time to attend to his National Guard duties because he had a campaign to do (the Senate campaign of Winton M. Blount in Alabama).\nA note (labeled \"CYA\" for \"cover your ass\") claiming that Killian was being pressured from above to give Bush better marks in his yearly evaluation than he had earned. The note attributed to Killian says that he was being asked to \"sugarcoat\" Bush's performance. \"I'm having trouble running interference [for Bush] and doing my job.\"\n\nUSA Today also received copies of the four documents used by CBS, reporting this and publishing them the morning after the CBS segment, along with two additional memos. Burkett was assured by USA Today that they would keep the source confidential.\n\nCBS investigations prior to airing the segment\nMapes and her colleagues began interviewing people who might be able to corroborate the information in the documents, while also retaining four forensic document experts, Marcel J. Matley, James J. Pierce, Emily Will, and Linda James, to determine the validity of the memos.\n\nOn September 5, CBS interviewed Killian's friend Robert Strong, who ran the Texas Air National Guard administrative office. Among other issues covered in his interview with Rather and Mapes, Strong was asked if he thought the documents were genuine. Strong stated, \"they are compatible with the way business was done at the time. They are compatible with the man that I remember Jerry Killian being.\" Strong had first seen the documents twenty minutes earlier and also said he had no personal knowledge of their content; he later claimed he had been told to assume the content of the documents was accurate.\n\nOn September 6, CBS interviewed General Robert \"Bobby\" Hodges, a former officer at the Texas Air National Guard and Killian's immediate superior at the time. Hodges declined CBS' request for an on-camera interview, and Mapes read the documents to him over the telephone—or perhaps only portions of the documents; his recollection and Mapes's differed. According to Mapes, Hodges agreed with CBS's assessment that the documents were real, and CBS reported that Hodges stated that these were \"the things that Killian had expressed to me at the time\". However, according to Hodges, when Mapes read portions of the memos to him he simply stated, \"well if he wrote them, that's what he felt\", and he stated he never confirmed the validity of the content of the documents. General Hodges later asserted to the investigatory panel that he told Mapes that Killian had never, to his knowledge, ordered anyone to take a physical and that he had never been pressured regarding Lieutenant Bush, as the documents alleged. Hodges also claims that when CBS interviewed him, he thought the memos were handwritten, not typed, and following the September 8 broadcast, when Hodges had seen the documents and heard of claims of forgery by Killian's wife and son, he was \"convinced they were not authentic\" and told Rather and Mapes on September 10.\n\nResponse of the document examiners\n\nPrior to airing, all four of the examiners responded to Mapes' request for document analysis, though only two to Mapes directly:\n\nEmily Will noted discrepancies in the signatures on the memos, and had questions about the letterhead, the proportional spacing of the font, the superscripted \"th\" and the improper formatting of the date. Will requested other documents to use for comparison.\nLinda James was \"unable to reach a conclusion about the signature\" and noted that the superscripted \"th\" was not in common use at the time the memos were allegedly written; she later recalled telling CBS, \"the two memos she looked at 'had problems.'\"\nJames Pierce concluded that both of the documents were written by the same person and that the signature matched Killian's from the official Bush records. Only one of the two documents provided to Pierce had a signature. James Pierce wrote, \"the balance of the Jerry B. Killian signatures appearing on the photocopied questioned documents are consistent and in basic agreement\", and stated that based on what he knew, \"the documents in question are authentic\". However, Pierce also told Mapes he could not be sure if the documents had been altered because he was reviewing copies, not original documents.\nMarcel Matley's review was initially limited to Killian's signature on one of the Burkett documents, which he compared to signatures from the official Bush records. Matley \"seemed fairly confident\" that the signature was Killian's. On September 6, Matley was interviewed by Rather and Mapes and was provided with the other four documents obtained from CBS (he would prove to be the only reviewer to see these documents prior to the segment). Matley told Rather \"he could not authenticate the documents due to the fact that they were poor quality copies.\" In the interview, Matley told Rather that with respect to the signatures, they were relying on \"poor material\" and that there were inconsistencies in the signatures, but also replied \"Yes\", when asked if it would be safe to say the documents were written by the person who signed them.\nBoth Emily Will and Linda James suggested to Mapes that CBS contact typewriter expert Peter Tytell (son of Martin Tytell). Associate producer Yvonne Miller left him a voicemail on September 7; he returned the call at 11 am on September 8 but was told they \"did not need him anymore\".\n\nSeptember 8 segment and initial reactions\nThe segment entitled \"For the Record\" aired on 60 Minutes Wednesday on September 8. After introducing the documents, Rather said, in reference to Matley, \"We consulted a handwriting analyst and document expert who believes the material is authentic.\"\n\nThe segment introduced Lieutenant Robert Strong's interview, describing him as a \"friend of Killian\" (without noting he had not worked in the same location and without mentioning he had left the TexANG prior to the dates on the memos). The segment used the sound bite of Strong saying the documents were compatible with how business was done but did not include a disclaimer that Strong was told to assume the documents were authentic.\n\nIn Rather's narration about one of the memos, he referred to pressure being applied on Bush's behalf by General Buck Staudt, and described Staudt as \"the man in charge of the Texas National Guard\". Staudt had retired from the guard a year and a half prior to the dates of the memos.\n\nInterview clips with Ben Barnes, former Speaker of the Texas House, created the impression \"that there was no question but that President Bush had received Barnes' help to get into the TexANG\", because Barnes had made a telephone call on Bush's behalf, when Barnes himself had acknowledged that there was no proof his call was the reason, and that \"sometimes a call to General Rose did not work\". Barnes' disclaimer was not included in the segment.\n\nInternet skepticism spreads\nDiscussion quickly spread to various weblogs in the blogosphere, principally Little Green Footballs and Power Line. The initial analysis appeared in posts by \"Buckhead\", a username of Harry W. MacDougald, an Atlanta attorney who had worked for conservative groups such as the Federalist Society and the Southeastern Legal Foundation, and who had helped draft the petition to the Arkansas Supreme Court for the disbarment of President Bill Clinton. MacDougald questioned the validity of the documents on the basis of their typography, writing that the memos were \"in a proportionally spaced font, probably Palatino or Times New Roman\", and alleging that this was an anachronism: \"I am saying these documents are forgeries, run through a copier for 15 generations to make them look old. This should be pursued aggressively.\"\n\nBy the following day, questions about the authenticity of the documents were being publicized by the Drudge Report, which linked to the analysis at the Powerline blog in the mid-afternoon, and the story was covered on the website of the magazine The Weekly Standard and broke into mass media outlets, including the Associated Press and the major television news networks. It also was receiving serious attention from conservative writers such as National Review Online's Jim Geraghty. By the afternoon of September 9, Charles Foster Johnson of Little Green Footballs had posted his attempt to recreate one of the documents using Microsoft Word with the default settings. The September 9 edition of ABC's Nightline made mention of the controversy, along with an article on the ABC News website.\n\nThirteen days after this controversy had emerged the national newspaper USA Today published a timeline of events surrounding the CBS story. Accordingly, on the September 9 morning after the \"60 minutes\" report, the broadcast was front-page news in the New York Times and Washington Post. Additionally, the story was given two-thirds of a full page within USA Today'''s news section, which mentioned that it had also obtained copies of the documents. However, the authenticity of the memos was not part of the story carried by major news outlets on that day. Also on that day, CBS published the reaction of Killian's son, Gary, to the documents, reporting that Gary Killian questioned one of the memos but stated that others \"appeared legitimate\" and characterized the collection as \"a mixture of truth and fiction\". In an interview with Fox News, Gary Killian expressed doubts about the documents' authenticity on the basis of his father's positive view of Bush.\n\nIn 2006, the two Free Republic (Rathergate) bloggers, Harry W. MacDougald, username \"Buckhead\", an Atlanta-based lawyer and Paul Boley, username \"TankerKC\", were awarded the Reed Irvine Award for New Media by the Accuracy in Media watchdog at the Conservative Political Action Conference (CPAC).\n\nCBS's response and widening media coverage\nAt 5:00 p.m. on Thursday, September 9, CBS News released a statement saying the memos were \"thoroughly investigated by independent experts, and we are convinced of their authenticity\", and stating, \"this report was not based solely on recovered documents, but rather on a preponderance of evidence, including documents that were provided by unimpeachable sources\". The statement was replaced later that day with one that omitted this claim.\n\nThe first newspaper articles questioning the documents appeared on September 10 in The Washington Post, The New York Times and in USA Today via the Associated Press. The Associated Press reported, \"Document examiner Sandra Ramsey Lines ... said she was 'virtually certain' [the documents] were generated by computer. Lines said that meant she could testify in court that, beyond a reasonable doubt, her opinion was that the memos were written on a computer.\"\n\nAlso on September 10, The Dallas Morning News reported, \"the officer named in one memo as exerting pressure to 'sugarcoat' Bush's military record was discharged a year and a half before the memo was written. The paper cited a military record showing that Col. Walter 'Buck' Staudt was honorably discharged on March 1, 1972, while the memo cited by CBS as showing that Staudt was interfering with evaluations of Bush was dated August 18, 1973.\"\n\nIn response to the media attention, a CBS memo said that the documents were \"backed up not only by independent handwriting and forensic document experts but by sources familiar with their content\" and insisted that no internal investigation would take place. On the CBS Evening News of September 10, Rather defended the story and noted that its critics included \"partisan political operatives\".\n\nIn the broadcast, Rather stated that Marcel Matley \"analyzed the documents for CBS News. He believes they are real\", and broadcast additional excerpts from Matley's September 6 interview showing Matley's agreement that the signatures appeared to be from the same source. Rather did not report that Matley had referred to them as \"poor material\", that he had only opined about the signatures or that he had specifically not authenticated the documents.\nRather presented footage of the Strong interview, introducing it by stating Robert Strong \"is standing by his judgment that the documents are real\", despite Strong's lack of standing to authenticate them and his brief exposure to the documents.\nRather concluded by stating, \"If any definitive evidence to the contrary of our story is found, we will report it. So far, there is none.\"\n\nIn an appearance on CNN that day, Rather asserted \"I know that this story is true. I believe that the witnesses and the documents are authentic. We wouldn't have gone to air if they would not have been.\"\n\nHowever, CBS's Josh Howard spoke at length by telephone with typewriter expert Peter Tytell and later told the panel that the discussion was \"an 'unsettling event' that shook his belief in the authenticity of the documents\". Producer Mapes dismissed Tytell's concerns.\n\nA former vice president of CBS News, Jonathan Klein, dismissed the allegations of bloggers, suggesting that the \"checks and balances\" of a professional news organization were superior to those of individuals sitting at their home computers \"in their pajamas\".\n\nCBS's defense, apology\n\nAs media coverage widened and intensified, CBS at first attempted to produce additional evidence to support its claims. On September 11, a CBS News segment stated that document expert Phillip Bouffard thought the documents \"could have been prepared on an IBM Selectric Composer typewriter, available at the time\". The Selectric Composer was introduced in 1966 for use by typesetting professionals to generate camera-ready copy; according to IBM archives describing this specialized equipment, \"To produce copy which can be reproduced with 'justified', or straight left-and right-hand margins, the operator types the copy once and the composer computes the number of spaces needed to justify the line. As the operator types the copy a second time, the spaces are added automatically.\" Bouffard's comments were also cited by the Boston Globe in an article entitled \"Authenticity backed on Bush documents\". However, the Globe soon printed a retraction regarding the title. CBS noted that although General Hodges was now stating he thought the documents were inauthentic, \"we believed General Hodges the first time we spoke with him.\" CBS reiterated: \"we believe the documents to be genuine.\"\n\nBy September 13, CBS's position had shifted slightly, as Rather acknowledged \"some of these questions come from people who are not active political partisans\", and stated that CBS \"talked to handwriting and document analysts and other experts who strongly insist the documents could have been created in the '70s\". The analysts and experts cited by Rather did not include the original four consulted by CBS. Rather instead presented the views of Bill Glennon and Richard Katz. Glennon, a former typewriter repairman with no specific credentials in typesetting beyond that job, was found by CBS after posting several defenses of the memos on blogs including Daily Kos and Kevin Drum's blog hosted at Washington Monthly. However, in the actual broadcast, neither interviewee asserted that the memos were genuine.\n\nAs a result, some CBS critics began to accuse CBS of expert shopping.\n\n60 Minutes Wednesday, one week later\nThe original document examiners, however, continued to be part of the story. By September 15, Emily Will was publicly stating that she had told CBS that she had doubts about both the production of the memos and the handwriting prior to the segment. Linda James stated that the memos were of \"very poor quality\" and that she did not authenticate them, telling ABC News, \"I did not authenticate anything and I don't want it understood that I did.\"\n\nIn response, 60 Minutes Wednesday released a statement suggesting that Will and James had \"misrepresented\" their role in the authentication of the documents and had played only a small part in the process. CBS News concurrently amended its previous claim that Matley had authenticated the documents, saying instead that he had authenticated only the signatures. On CNN, Matley stated he had only verified that the signatures were \"from the same source\", not that they were authentically Killian's: \"When I saw the documents, I could not verify the documents were authentic or inauthentic. I could only verify that the signatures came from the same source\", Matley said. \"I could not authenticate the documents themselves. But at the same time, there was nothing to tell me that they were not authentic.\"\n\nOn the evening of September 15, CBS aired a segment that featured an interview with Marian Carr Knox, a secretary at Ellington Air Force Base from 1956 to 1979, and who was Killian's assistant on the dates shown in the documents. Dan Rather prefaced the segment on the recorded interview by stating, \"She told us she believes what the documents actually say is, exactly, as we reported.\" In the aired interview, Knox expressed her belief that the documents reflected Killian's \"sentiments\" about Bush's service, and that this belief motivated her decision to reach out to CBS to provide the interview.CBS Sept 15 2004: Dan Rather Talks To Lt. Col. Killian's Ex-Secretary About Bush Memos In response to a direct question from Rather about the authenticity of the memo on Bush's alleged insubordination, she stated that no such memo was ever written; she further emphasized that she would have known if such a memo existed, as she had sole responsibility to type Killian's memos in that time period. At this point, she also admitted she had no firsthand knowledge of Bush's time in the Guard. However, controversially, Knox said later in the interview, \"The information in here was correct, but it was picked up from the real ones.\" She went on to say, \"I probably typed the information and somebody picked up the information some way or another.\" The archived link works only with JavaScript disabled in the browser; a version with all scripts disabled is here. The New York Times' headline report on this interview, including the phrase \"Fake but Accurate\", created an immediate backlash from critics of CBS's broadcast. The conservative-leaning Weekly Standard proceeded to predict the end of CBS's news division.\n\nAt this time, Dan Rather first acknowledged there were problems in establishing the validity of the documents used in the report, stating: \"If the documents are not what we were led to believe, I'd like to break that story.\"\n\nCBS also hired a private investigator to look into the matter after the story aired and the controversy began.\n\nCopies of the documents were first released to the public by the White House. Press Secretary Scott McClellan stated that the memos had been provided to them by CBS in the days prior to the report and that, \"We had every reason to believe that they were authentic at that time.\"\n\nThe Washington Post reported that at least one of the documents obtained by CBS had a fax header indicating it had been faxed from a Kinko's copy center in Abilene, Texas, leading some to trace the documents back to Burkett.\n\nCBS states that use of the documents was a mistake\n\nAs a growing number of independent document examiners and competing news outlets reported their findings about the documents, CBS News stopped defending the documents and began to report on the problems with their story. On September 20 they reported that their source, Bill Burkett, \"admits that he deliberately misled the CBS News producer working on the report, giving her a false account of the documents' origins to protect a promise of confidentiality to the actual source.\" While the network did not state that the memos were forgeries, CBS News president Andrew Heyward said,\n\nBased on what we now know, CBS News cannot prove that the documents are authentic, which is the only acceptable journalistic standard to justify using them in the report. We should not have used them. That was a mistake, which we deeply regret.\n\nDan Rather stated, \"if I knew then what I know now – I would not have gone ahead with the story as it was aired, and I certainly would not have used the documents in question.\"\n\nIn an interview with Rather, Burkett admitted that he misled CBS about the source of the documents, and then claimed that the documents came to him from someone he claimed was named \"Lucy Ramirez\", whom CBS was unable to contact or identify as an actual person. Burkett said he then made copies at the local Kinko's and burned the original documents. Investigations by CBS, CNN and the Washington Post failed to turn up evidence of \"Lucy Ramirez\" being an actual person.Jonathan V. Last, \"Whitewash\", The Weekly Standard, January 10, 2005.\n\nOn September 21, CBS News addressed the contact with the Kerry campaign in its statement, saying \"it is obviously against CBS News standards and those of every other reputable news organization to be associated with any political agenda.\"\n\nThe next day the network announced it was forming an independent review panel to perform an internal investigation.\n\nReview panel established\n\nSoon after, CBS established a review panel \"to help determine what errors occurred in the preparation of the report and what actions need to be taken\". Dick Thornburgh, a Republican former governor of Pennsylvania and United States Attorney General under George H.W. Bush, and Louis Boccardi, retired president and chief executive officer and former executive editor of the Associated Press, made up the two-person review board. CBS also hired a private investigator, a former FBI agent named Erik T. Rigler, to gather further information about the story.\n\nFindings\nOn January 5, 2005, the Report of the Independent Review Panel on the September 8, 2004, 60 Minutes Wednesday Segment \"For the Record\" Concerning President Bush's Air National Guard Service was released. The purpose of the panel was to examine the process by which the September 8 Segment was prepared and broadcast, to examine the circumstances surrounding the subsequent public statements and news reports by CBS News defending the segment, and to make any recommendations it deemed appropriate. Among the Panel's conclusions were the following:\n\nThe most serious defects in the reporting and production of the September 8 Segment were:\n The failure to obtain clear authentication of any of the Killian documents from any document examiner;\n The false statement in the September 8 Segment that an expert had authenticated the Killian documents when all he had done was authenticate one signature from one document used in the Segment;\n The failure of 60 Minutes Wednesday management to scrutinize the publicly available, and at times controversial, background of the source of the documents, retired Texas Army National Guard Lieutenant Colonel Bill Burkett;\n The failure to find and interview the individual who was understood at the outset to be Lieutenant Colonel Burkett's source of the Killian documents, and thus to establish the chain of custody;\n The failure to establish a basis for the statement in the Segment that the documents \"were taken from Colonel Killian's personal files\";\n The failure to develop adequate corroboration to support the statements in the Killian documents and to carefully compare the Killian documents to official TexANG records, which would have identified, at a minimum, notable inconsistencies in content and format;\n The failure to interview a range of former National Guardsmen who served with Lieutenant Colonel Killian and who had different perspectives about the documents;\n The misleading impression conveyed in the Segment that Lieutenant Strong had authenticated the content of the documents when he did not have the personal knowledge to do so;\n The failure to have a vetting process capable of dealing effectively with the production speed, significance and sensitivity of the Segment; and\n The telephone call prior to the Segment's airing by the producer of the Segment to a senior campaign official of Democratic presidential candidate John Kerry – a clear conflict of interest – that created the appearance of a political bias.\n\nOnce questions were raised about the September 8 segment, the reporting thereafter was mishandled and compounded the damage done. Among the more egregious shortcomings during the Aftermath were:\n The strident defense of the September 8 Segment by CBS News without adequately probing whether any of the questions raised had merit;\n Allowing many of the same individuals who produced and vetted the by-then controversial September 8 Segment to also produce the follow-up news reports defending the Segment;\n The inaccurate press statements issued by CBS News after the broadcast of the Segment that the source of the documents was \"unimpeachable\" and that experts had vouched for their authenticity;\n The misleading stories defending the Segment that aired on the CBS Evening News after September 8 despite strong and multiple indications of serious flaws;\n The efforts by 60 Minutes Wednesday to find additional document examiners who would vouch for the authenticity of the documents instead of identifying the best examiners available regardless of whether they would support this position; and\n Preparing news stories that sought to support the Segment, instead of providing accurate and balanced coverage of a raging controversy.\n\nPanel's view of the documents\n\nThe Panel did not undertake a thorough examination of the authenticity of the Killian documents, but consulted Peter Tytell, a New York City-based forensic document examiner and typewriter and typography expert. Tytell had been contacted by 60 Minutes producers prior to the broadcast, and had informed associate producer Yvonne Miller and executive producer Josh Howard on September 10 that he believed the documents were forgeries. The Panel report stated, \"The Panel met with Peter Tytell, and found his analysis sound in terms of why he thought the documents were not authentic ... The Panel reaches no conclusion as to whether Tytell was correct in all respects.\"\n\nAftermath\nThe controversy had long-reaching personal, political and legal consequences. In a 2010 issue of TV Guide, Rather's report was ranked on a list of TV's ten biggest \"blunders\".\n\nCBS personnel and programming changes\nCBS terminated Mary Mapes and demanded the resignations of 60 Minutes Wednesday Executive Producer Josh Howard and Howard's top deputy, Senior Broadcast Producer Mary Murphy, as well as Senior Vice President Betsy West, who had been in charge of all prime time newscasts. Murphy and West resigned on February 25, 2005, and after settling a legal dispute regarding his level of responsibility for the segment, Josh Howard resigned on March 25, 2005.\n\nDan Rather announced on November 23, 2004, that he would step down in early 2005 and on March 9, his 24th anniversary as anchor, he left the network. It is unclear whether or not Rather's retirement was directly caused by this incident. Les Moonves, CEO of CBS, stated \"Dan Rather has already apologized for the segment and taken responsibility for his part in the broadcast. He voluntarily moved to set a date to step down from the CBS Evening News in March of 2005.\" He added, \"We believe any further action would not be appropriate.\"\n\nCBS was originally planning to show a 60 Minutes report critical of the Bush administration justification for going to war in Iraq. This segment was replaced with the Killian documents segment. CBS further postponed airing the Iraq segment until after the election due to the controversy over the Killian documents. \"We now believe it would be inappropriate to air the report so close to the presidential election\", CBS spokesman Kelli Edwards said in a statement.\n\nAfter the Killian documents controversy, the show was renamed 60 Minutes Wednesday to differentiate it from the original 60 Minutes Sunday edition, and reverted to its original title on July 8, 2005, when it was moved to the 8 p.m. Friday timeslot. It was cancelled in 2005 due to low ratings.\n\nMapes's and Rather's view of the documents\nOn November 9, 2005, Mary Mapes gave an interview to ABC News correspondent Brian Ross. Mapes stated that the documents have never been proved to be forgeries. Ross expressed the view that the responsibility is on the reporter to verify their authenticity. Mapes responded with, \"I don't think that's the standard.\" This stands in contrast to the statement of the president of CBS News that proof of authenticity is \"the only acceptable journalistic standard.\" Also in November 2005, Mapes told readers of the Washington Post, \"I personally believe the documents are not false\" and \"I was fired for airing a story that could not definitively be proved false but made CBS's public relations department cringe.\" As of September 2007, Mapes continued to defend the authenticity of the documents: \"the far right blogosphere bully boys ... screamed objections that ultimately proved to have no basis in fact.\"\n\nOn November 7, 2006, Rather defended the report in a radio interview, and rejected the CBS investigation's findings. In response, CBS spokesman Kevin Tedesco told the Associated Press, \"CBS News stands by the report the independent panel issued on this matter and to this day, no one has been able to authenticate the documents in question.\"\n\nDan Rather continued to stand by the story, and in subsequent interviews stated that he believed that the documents have never conclusively been proven to be forgeries – and that even if the documents are false, the underlying story is true.\n\n Rather's lawsuit against CBS/Viacom \nOn September 19, 2007, Rather filed a $70 million lawsuit against CBS and its former corporate parent, Viacom, claiming they had made him a \"scapegoat\" over the controversy caused by the 2004 60 Minutes Wednesday report that featured the Killian documents. The suit names as defendants: CBS and its CEO, Leslie Moonves: Viacom, Sumner Redstone, chairman of both Viacom and CBS Corporation; and Andrew Heyward, the former president of CBS News.\n\nIn January 2008, the legal teams for Rather and CBS reached an agreement to produce for Rather's attorneys \"virtually all of the materials\" related to the case, including the findings of Erik T. Rigler's report to CBS about the documents and the story.\n\nOn September 29, 2009, New York State Court of Appeals dismissed Rather's lawsuit and stated that the lower court should have honored CBS's request to throw out the entire lawsuit instead of just throwing out parts.\n\nAuthentication issues\n\nNo generally recognized document experts have positively authenticated the memos. Since CBS used only faxed and photocopied duplicates, authentication to professional standards is impossible, regardless of the provenance of the originals.\n\nDocument experts have challenged the authenticity of the documents as photocopies of valid originals on a variety of grounds ranging from anachronisms of their typography, their quick reproducibility using modern technology, and to errors in their content and style.<ref name=wapoexpert>Kurtz, Howard Document Experts Say CBS Ignored Memo 'Red Flags' Washington Post'.' Retrieved April 2006.</ref>\n\nThe CBS independent panel report did not specifically take up the question of whether the documents were forgeries, but retained a document expert, Peter Tytell, who concluded the documents used by CBS were produced using current word processing technology.\n\nTytell concluded ... that (i) the relevant portion of the Superscript Exemplar was produced on an Olympia manual typewriter, (ii) the Killian documents were not produced on an Olympia manual typewriter and (iii) the Killian documents were produced on a computer in Times New Roman typestyle [and that] the Killian documents were not produced on a typewriter in the early 1970s and therefore were not authentic.\n\nAccusations of bias\nSome critics of CBS and Dan Rather argued that by proceeding with the story when the documents had not been authenticated, CBS was exhibiting media bias and attempting to influence the outcome of the 2004 U.S. presidential election. Freelance journalist Michael Smith had emailed Mapes, asking, \"What if there was a person who might have some information that could possibly change the momentum of an election but we needed to get an ASAP book deal to help get us the information?\" Mapes replied, \"that looks good, hypothetically speaking of course.\" The Thornburgh–Boccardi report found that Mapes' contact with Kerry adviser Joe Lockhart was \"highly inappropriate\", and that it \"crossed the line as, at a minimum, it gave the appearance of a political bias and could have been perceived as a news organizations' assisting a campaign as opposed to reporting on a story\"; however, the Panel did not \"find a basis to accuse those who investigated, produced, vetted or aired the Segment of having a political bias\". In a later interview with The Washington Post, when asked about the issue of political bias, review panel member Louis Boccardi said \"bias is a hard thing to prove\". The panel concluded that the problems occurred \"primarily because of a rush to air that overwhelmed the proper application of the CBS News Standards\".\n\nSome Democratic critics of Bush suggested that the memos were produced by the Bush campaign to discredit the media's reporting on Bush's National Guard service. The chairman of the Democratic National Committee, Terry McAuliffe, suggested that the memos might have originated with long-time Bush strategist Karl Rove. McAuliffe told reporters on September 10, \"I can tell you that nobody at the Democratic National Committee or groups associated with us were involved in any way with these documents\", he said. \"I'm just saying that I would ask Karl Rove the same question.\" McAuliffe later pointed out that Rove and another Republican operative, Ralph E. Reed, Jr., had \"a known history of dirty tricks\", and he asked whether Republican National Committee chairman Ed Gillespie would rule out any involvement by GOP consultant Roger Stone. At a community forum in Utica, New York in 2005, U.S. Representative Maurice Hinchey (D-NY) pointed out that the controversy served Rove's objectives: \"Once they did that, then it undermined everything else about Bush's draft dodging. ... That had the effect of taking the whole issue away.\" After being criticized, Hinchey responded, \"I didn't allege I had any facts. I said this is what I believe and take it for what it's worth.\"\n\nRove and Stone have denied any involvement. In a 2008 interview in The New Yorker, Stone said \"It was nuts to think I had anything to do with those documents ... [t]hose papers were potentially devastating to George Bush. You couldn't put them out there assuming that they would be discredited. You couldn't have assumed that this would rebound to Bush's benefit. I believe in bank shots, but that one was too big a risk.\"\n\nSee also\n\n George W. Bush military service controversy\n Questioned document examination\n\nFootnotes\n\nExternal links\n\nKillian documents PDF files \nThese are the Killian documents supplied to CBS Reports by Bill Burkett: \nMemorandum, May 4, 1972 (CBS News)\nMemo to File, May 19, 1972 (CBS News)\nMemorandum For Record, August 1, 1972 (CBS News)\nMemo to File, August 18, 1973 (CBS News)\nUSA Today Killian documents (USA Today, six memos in one.pdf file)\n\nBush documents from the TexANG archives \nPage 31 is a 3 November 1970 memo from the office of Lt Col Killian on promotion of Lt Bush:\nBush enlistment documents (USA Today)\n\n60 Minutes II, September 8 transcript \nTranscript of CBS segment\n\nDan Rather interviews Marion Carr Knox - September 15, 2004 \n YouTube\n\nStatements of the CBS document examiners \n Marcel B. Matley, September 14, 2004\n James J. Pierce, September 14, 2004\n Bill Glennon, September 13, 2004\n Richard Katz, September 13, 2004\n\nThornburgh–Boccardi report \n\n [Link to site supposedly containing the exhibits and appendices, but links from that site don't work]\n\nDocument analysis\nA Pentagon memo next to one of CBS's Killian memos — The Washington Post, September 14, 2004\nThe Paper Trail: A Comparison of Documents The Washington Post, September 18, 2004\nGraphic comparison of all the CBS memos with officially released Killian memos The Washington Post, September 19, 2004\n\"Blog-gate\" Columbia Journalism Review\n\"CJR Fallacies\", response by Joseph Newcomer\n\"Are the Bush Documents Fakes?\", analysis by Richard Polt\n\nOverview Timeline at USA Today\n\"Scoops and skepticism: How the story unfolded\" — timeline from USA Today — September 21, 2004\n\nFurther reading\nTruth and Duty: The Press, the President, and the Privilege of Power (), by Mary Mapes, November 2005, St. Martin's Press,\n\nIn other media\n Truth, 2015 film starring Cate Blanchett and Robert Redford, whose story is based on the Mapes book above about this controversy.\n\"Dan Rather interviews Marion Carr Knox - September 15, 2004\" YouTube\n\n \n60 Minutes\nMemoranda\n2004 controversies\n2004 in American politics\nPolitical forgery\nJournalistic scandals\nMass media-related controversies in the United States\n2004 United States presidential election\nPolitical controversies in the United States\n2000s controversies in the United States"
] | [
"Daniel Irvin Rather Jr. (; born October 31, 1931) is an American journalist and former national evening news anchor. Rather began his career in Texas, becoming a national name after his reporting saved thousands of lives during Hurricane Carla in September 1961.",
"Rather began his career in Texas, becoming a national name after his reporting saved thousands of lives during Hurricane Carla in September 1961. Rather spontaneously created the first radar weather report by overlaying a transparent map over a radar image of Hurricane Carla. In his first national broadcast, he helped initiate the successful evacuation of 350,000 people.",
"In his first national broadcast, he helped initiate the successful evacuation of 350,000 people. Rather reported from Dallas in November 1963 at the time that President John F. Kennedy was assassinated. Based on his reporting, he was promoted at CBS News, where he served as White House correspondent beginning in 1964.",
"Based on his reporting, he was promoted at CBS News, where he served as White House correspondent beginning in 1964. He served as foreign correspondent in London and Vietnam over the next two years before returning to the White House correspondent position.",
"He served as foreign correspondent in London and Vietnam over the next two years before returning to the White House correspondent position. He covered the presidency of Richard Nixon, including Nixon's trip to China, the Watergate scandal, and the president's resignation.",
"He covered the presidency of Richard Nixon, including Nixon's trip to China, the Watergate scandal, and the president's resignation. In 1981, Rather was promoted to news anchor for the CBS Evening News, a role he occupied for 24 years.",
"In 1981, Rather was promoted to news anchor for the CBS Evening News, a role he occupied for 24 years. Along with Peter Jennings at ABC News and Tom Brokaw at NBC News, he was one of the \"Big Three\" nightly news anchors in the U.S. from the 1980s through the early 2000s.",
"Along with Peter Jennings at ABC News and Tom Brokaw at NBC News, he was one of the \"Big Three\" nightly news anchors in the U.S. from the 1980s through the early 2000s. He frequently contributed to CBS's weekly news magazine, 60 Minutes.",
"He frequently contributed to CBS's weekly news magazine, 60 Minutes. Rather left the anchor desk in 2005 following the Killian documents controversy, in which he presented unauthenticated documents in a news report on President George W. Bush's Vietnam War–era service in the National Guard.",
"Rather left the anchor desk in 2005 following the Killian documents controversy, in which he presented unauthenticated documents in a news report on President George W. Bush's Vietnam War–era service in the National Guard. He continued to work with CBS until 2006, when he was abruptly fired.",
"He continued to work with CBS until 2006, when he was abruptly fired. In September 2007, Rather filed a $70 million lawsuit against CBS and its former parent company Viacom. Rather accused the network and its ownership and management of making him a \"scapegoat\" in the Killian story.",
"Rather accused the network and its ownership and management of making him a \"scapegoat\" in the Killian story. An intermediate New York state appeals court dismissed the lawsuit in September 2009, and the New York Court of Appeals refused to reinstate it in January 2010.",
"An intermediate New York state appeals court dismissed the lawsuit in September 2009, and the New York Court of Appeals refused to reinstate it in January 2010. On the cable channel AXS TV (then called HDNet), Rather hosted Dan Rather Reports, a 60 Minutes–style investigative news program, from 2006 to 2013.",
"On the cable channel AXS TV (then called HDNet), Rather hosted Dan Rather Reports, a 60 Minutes–style investigative news program, from 2006 to 2013. He also hosts several other projects for AXS TV, including Dan Rather Presents, which provides in-depth reporting on broad topics such as mental health care or adoption, and The Big Interview with Dan Rather, in which he conducts long-form interviews with musicians and other entertainers.",
"He also hosts several other projects for AXS TV, including Dan Rather Presents, which provides in-depth reporting on broad topics such as mental health care or adoption, and The Big Interview with Dan Rather, in which he conducts long-form interviews with musicians and other entertainers. In January 2018, he began hosting an online newscast called The News with Dan Rather on The Young Turks' YouTube channel.",
"In January 2018, he began hosting an online newscast called The News with Dan Rather on The Young Turks' YouTube channel. Early life Daniel Irvin Rather Jr. was born on October 31, 1931, in Wharton County, Texas, the son of Daniel Irvin Rather Sr., a ditch digger and pipe layer, and the former Byrl Veda Page.",
"Early life Daniel Irvin Rather Jr. was born on October 31, 1931, in Wharton County, Texas, the son of Daniel Irvin Rather Sr., a ditch digger and pipe layer, and the former Byrl Veda Page. The Rathers moved to Houston when he was a child, where Dan attended Lovett Elementary School and Hamilton Middle School.",
"The Rathers moved to Houston when he was a child, where Dan attended Lovett Elementary School and Hamilton Middle School. He graduated in 1950 from John H. Reagan High School in Houston.",
"He graduated in 1950 from John H. Reagan High School in Houston. In 1953, Rather earned a bachelor's degree in journalism from Sam Houston State Teachers College in Huntsville, Texas, where he was editor of the school newspaper, The Houstonian.",
"In 1953, Rather earned a bachelor's degree in journalism from Sam Houston State Teachers College in Huntsville, Texas, where he was editor of the school newspaper, The Houstonian. He was also a member of the Caballeros, the founding organization of the Epsilon Psi chapter of the Sigma Chi fraternity.",
"He was also a member of the Caballeros, the founding organization of the Epsilon Psi chapter of the Sigma Chi fraternity. While in college, Rather worked for KSAM-FM radio in Huntsville, calling junior high, high school, and Sam Houston State football games.",
"While in college, Rather worked for KSAM-FM radio in Huntsville, calling junior high, high school, and Sam Houston State football games. After obtaining his undergraduate degree, Rather briefly attended South Texas College of Law in Houston.",
"After obtaining his undergraduate degree, Rather briefly attended South Texas College of Law in Houston. In January 1954, Rather enlisted in the United States Marine Corps and was sent to the Marine Corps Recruit Depot San Diego.",
"In January 1954, Rather enlisted in the United States Marine Corps and was sent to the Marine Corps Recruit Depot San Diego. He was soon discharged, however, because he was found to have had rheumatic fever as a child, a fact he had omitted during the enlistment process.",
"He was soon discharged, however, because he was found to have had rheumatic fever as a child, a fact he had omitted during the enlistment process. Early career Rather began his journalism career in 1950 as an Associated Press reporter in Huntsville, Texas.",
"Early career Rather began his journalism career in 1950 as an Associated Press reporter in Huntsville, Texas. Later, he was a reporter for United Press (1950–1952), several Texas radio stations, and the Houston Chronicle (1954–1955). Around 1955, Rather wrote a piece on heroin.",
"Around 1955, Rather wrote a piece on heroin. Under the auspices of the Houston Police, he tried a dose of the drug, which he characterized as \"a special kind of hell.\" He worked for four seasons as the play-by-play announcer for the University of Houston football team.",
"He worked for four seasons as the play-by-play announcer for the University of Houston football team. During the 1959 minor league baseball season, Rather was the play-by-play radio announcer for the Texas League Houston Buffs. In 1959, Rather began his television career as a reporter for KTRK-TV, the ABC affiliate in Houston.",
"In 1959, Rather began his television career as a reporter for KTRK-TV, the ABC affiliate in Houston. He was subsequently promoted to the director of news for KHOU-TV, the CBS affiliate in Houston. In September 1961, Rather covered Hurricane Carla for KHOU-TV, broadcasting from the then National Weather Center in Galveston.",
"In September 1961, Rather covered Hurricane Carla for KHOU-TV, broadcasting from the then National Weather Center in Galveston. He is noted for showing the first radar image of a hurricane on TV. He conceived of overlaying a transparent map over the radar screen, in order to show the size of Hurricane Carla to the audience.",
"He conceived of overlaying a transparent map over the radar screen, in order to show the size of Hurricane Carla to the audience. Convinced of the threat, more than 350,000 people evacuated from the area, the largest known evacuation to that time.",
"Convinced of the threat, more than 350,000 people evacuated from the area, the largest known evacuation to that time. Their actions are believed to have saved thousands of lives compared to the previous hurricane, which had killed 6,000 to 12,000 people. Rather's live coverage of Carla was broadcast by New York and national stations.",
"Rather's live coverage of Carla was broadcast by New York and national stations. Ray Miller, news director of KPRC-TV, the NBC affiliate in Houston, also mentored Rather in the early years. On February 28, 1962, Rather left Houston for New York City for a six-month trial initiation at CBS.",
"On February 28, 1962, Rather left Houston for New York City for a six-month trial initiation at CBS. Rather did not fit in easily on the East Coast.",
"Rather did not fit in easily on the East Coast. His first reports for CBS included coverage of the crash of American Airlines Flight 1 in Jamaica Bay, and a report on the suffocation of children at a hospital in Binghamton, New York. Shortly after, Rather was made chief of CBS's Southwest bureau in Dallas.",
"Shortly after, Rather was made chief of CBS's Southwest bureau in Dallas. In August 1963, he was appointed chief of the Southern bureau in New Orleans, responsible for coverage of news events in the South, Southwest, Mexico and Central America.",
"In August 1963, he was appointed chief of the Southern bureau in New Orleans, responsible for coverage of news events in the South, Southwest, Mexico and Central America. CBS News JFK assassination to Watergate In his autobiography, Rather noted that he was in Dallas in November 1963 to return film from an interview in Uvalde at the ranch of former Vice President John Nance Garner, who celebrated his 95th birthday on November 22.",
"CBS News JFK assassination to Watergate In his autobiography, Rather noted that he was in Dallas in November 1963 to return film from an interview in Uvalde at the ranch of former Vice President John Nance Garner, who celebrated his 95th birthday on November 22. He happened to be \"on the other side of the railroad tracks, beyond the triple underpass, thirty yards from a grassy knoll that would later figure in so many conspiracy theories.\"",
"He happened to be \"on the other side of the railroad tracks, beyond the triple underpass, thirty yards from a grassy knoll that would later figure in so many conspiracy theories.\" His job was to fetch a film drop from a camera truck at that location, and take it to the station for editing.",
"His job was to fetch a film drop from a camera truck at that location, and take it to the station for editing. He did not witness the shooting of Kennedy, and knew nothing of the events until he reached KRLD, having run through Dealey Plaza.",
"He did not witness the shooting of Kennedy, and knew nothing of the events until he reached KRLD, having run through Dealey Plaza. He later wrote: “The moment I cleared the railroad tracks I saw a scene I will never forget. Some people were lying on the grass, some screaming, some running, some pointing.",
"Some people were lying on the grass, some screaming, some running, some pointing. Policemen swarmed everywhere and distinctly above the din, I heard one shout, 'DON'T ANYBODY PANIC.'",
"Policemen swarmed everywhere and distinctly above the din, I heard one shout, 'DON'T ANYBODY PANIC.' And of course, there was nothing but panic wherever you looked.” In his autobiography, Rather said he was one of the first to view the Zapruder film showing the assassination, and the first to describe it on television.",
"And of course, there was nothing but panic wherever you looked.” In his autobiography, Rather said he was one of the first to view the Zapruder film showing the assassination, and the first to describe it on television. Rather reported the fatal headshot as forcing Kennedy's head forward, but it was thrown backward.",
"Rather reported the fatal headshot as forcing Kennedy's head forward, but it was thrown backward. Later, he reported that some Dallas schoolchildren had applauded when they were notified of the president's death. Administrators said they had announced that school was to be dismissed early, and did not mention the assassination.",
"Administrators said they had announced that school was to be dismissed early, and did not mention the assassination. However, teacher Joanna Morgan confirmed that students had cheered at the news that Kennedy was shot. This story infuriated local journalists at then-CBS affiliate KRLD-TV (now Fox-owned-and-operated KDFW-TV).",
"This story infuriated local journalists at then-CBS affiliate KRLD-TV (now Fox-owned-and-operated KDFW-TV). Rather's reporting during the national mourning period following the Kennedy assassination and subsequent events impressed CBS News management. In 1964, they selected him for the network's White House correspondent position.",
"In 1964, they selected him for the network's White House correspondent position. In 1965, Rather served as a foreign correspondent for CBS in London, and in 1966 in Vietnam. He served again as White House correspondent during the presidency of Richard Nixon.",
"He served again as White House correspondent during the presidency of Richard Nixon. In 1970, he was also assigned as anchor for the CBS Sunday Night News (1970–73; 1974–75), and later for the CBS Saturday Evening News (1973–76). Rather was among those journalists who accompanied Nixon to China.",
"Rather was among those journalists who accompanied Nixon to China. He later covered the Watergate investigation, as well as the impeachment proceedings against Nixon in Congress. CBS Evening News anchor After President Nixon's resignation in 1974, Rather became chief correspondent for the documentary series CBS Reports.",
"CBS Evening News anchor After President Nixon's resignation in 1974, Rather became chief correspondent for the documentary series CBS Reports. In December 1975, he became a correspondent of the long-running Sunday night news show 60 Minutes—at the time the program was moved from a Sunday afternoon time-slot to primetime.",
"In December 1975, he became a correspondent of the long-running Sunday night news show 60 Minutes—at the time the program was moved from a Sunday afternoon time-slot to primetime. Success there helped Rather pull ahead of longtime correspondent Roger Mudd, who was in line to succeed Walter Cronkite as anchor and Managing Editor of The CBS Evening News.",
"Success there helped Rather pull ahead of longtime correspondent Roger Mudd, who was in line to succeed Walter Cronkite as anchor and Managing Editor of The CBS Evening News. Rather succeeded to the news anchor position after Cronkite's retirement, making his first broadcast on March 9, 1981. Rather had a significantly different style of reporting the news.",
"Rather had a significantly different style of reporting the news. In contrast to the avuncular Cronkite, who ended his newscast with “That's the way it is,” Rather searched to find a broadcast ending more suitable to his tastes.",
"In contrast to the avuncular Cronkite, who ended his newscast with “That's the way it is,” Rather searched to find a broadcast ending more suitable to his tastes. For one week in September 1986, with CBS the target of potentially hostile new ownership, Rather tried ending his broadcasts with the word \"courage,\" and was roundly ridiculed for it.",
"For one week in September 1986, with CBS the target of potentially hostile new ownership, Rather tried ending his broadcasts with the word \"courage,\" and was roundly ridiculed for it. For nearly two decades, Rather ended the show with: “That's part of our world tonight.” Rather also held other positions during his time as anchor.",
"For nearly two decades, Rather ended the show with: “That's part of our world tonight.” Rather also held other positions during his time as anchor. In January 1988, he became host of the newly created 48 Hours, and in January 1999, Rather joined the new 60 Minutes II as a correspondent.",
"In January 1988, he became host of the newly created 48 Hours, and in January 1999, Rather joined the new 60 Minutes II as a correspondent. Ratings for the Evening News with Rather at the helm fluctuated wildly, at a time when more alternatives to TV news were developing.",
"Ratings for the Evening News with Rather at the helm fluctuated wildly, at a time when more alternatives to TV news were developing. After a dip to second place, Rather regained the top spot in 1985 until 1989, when he ceded the ratings peak to rival Peter Jennings at ABC's World News Tonight.",
"After a dip to second place, Rather regained the top spot in 1985 until 1989, when he ceded the ratings peak to rival Peter Jennings at ABC's World News Tonight. By 1992, however, the Evening News had fallen to third place of the three major networks.",
"By 1992, however, the Evening News had fallen to third place of the three major networks. It rose in rankings in 2005, when Bob Schieffer became the interim anchor between Rather and Katie Couric.",
"It rose in rankings in 2005, when Bob Schieffer became the interim anchor between Rather and Katie Couric. It briefly moved ahead of ABC World News Tonight in the wake of the death of Peter Jennings, but remained behind NBC Nightly News.",
"It briefly moved ahead of ABC World News Tonight in the wake of the death of Peter Jennings, but remained behind NBC Nightly News. Rather was a frequent collaborator with CBS News producer Susan Zirinsky, a leading member of the news division's staff.",
"Rather was a frequent collaborator with CBS News producer Susan Zirinsky, a leading member of the news division's staff. In 1987, new CBS owner Laurence Tisch oversaw layoffs of hundreds of CBS News employees, in a major shake-up of the network.",
"In 1987, new CBS owner Laurence Tisch oversaw layoffs of hundreds of CBS News employees, in a major shake-up of the network. Among those to go were correspondents such as David Andelman, Fred Graham, Morton Dean, and Ike Pappas. Fewer videotape crews were dispatched to cover stories, and numerous bureaus were closed.",
"Fewer videotape crews were dispatched to cover stories, and numerous bureaus were closed. Critics cited the cutbacks as a major factor in CBS News' fall into third place in the ratings. For a short time from 1993 to 1995, Rather co-anchored the evening news with Connie Chung.",
"For a short time from 1993 to 1995, Rather co-anchored the evening news with Connie Chung. Chung had been a Washington, DC correspondent for CBS News, and anchored short news updates on the West Coast. On joining the CBS Evening News, she reported \"pop news\" stories.",
"On joining the CBS Evening News, she reported \"pop news\" stories. In one widely cited case, she aggressively pursued Tonya Harding, who was accused of a plot to injure fellow Olympic ice skater Nancy Kerrigan. After Chung left the network, Rather went back to doing the newscast alone.",
"After Chung left the network, Rather went back to doing the newscast alone. By the 2005–06 season, the end of Rather's time as anchor, CBS Evening News lagged behind NBC Nightly News and ABC World News Tonight in the ratings. But it still drew approximately 5.5 million viewers a night.",
"But it still drew approximately 5.5 million viewers a night. Criticism of Rather reached a fever pitch after 60 Minutes II ran his 2004 report about President Bush's military record. Numerous critics questioned the authenticity of the documents upon which the report was based. Rather subsequently admitted on the air that the documents' authenticity could not be proven.",
"Rather subsequently admitted on the air that the documents' authenticity could not be proven. In the aftermath, CBS fired several members of CBS News staff but temporarily retained Rather, until his contract was up for renewal the following year, whereupon he was completely ousted.",
"In the aftermath, CBS fired several members of CBS News staff but temporarily retained Rather, until his contract was up for renewal the following year, whereupon he was completely ousted. Journalistic history and influence Nixon During Richard Nixon's presidency, critics accused Rather of biased coverage against him.",
"Journalistic history and influence Nixon During Richard Nixon's presidency, critics accused Rather of biased coverage against him. At a Houston news conference in March 1974, Nixon fielded a question from Rather, still CBS's White House correspondent, who said, “Thank you, Mr. President.",
"At a Houston news conference in March 1974, Nixon fielded a question from Rather, still CBS's White House correspondent, who said, “Thank you, Mr. President. Dan Rather, of CBS News.” The room filled with jeers and applause, prompting Nixon to joke, “Are you running for something?” Rather replied, “No, sir, Mr. President.",
"Dan Rather, of CBS News.” The room filled with jeers and applause, prompting Nixon to joke, “Are you running for something?” Rather replied, “No, sir, Mr. President. Are you?” He questioned whether Nixon was cooperating with the grand jury investigation and House Judiciary Committee in relation to the Watergate scandal.",
"Are you?” He questioned whether Nixon was cooperating with the grand jury investigation and House Judiciary Committee in relation to the Watergate scandal. NBC's Tom Brokaw has said the network considered hiring him to replace Rather as its White House correspondent, but dropped it after word was leaked to the press.",
"NBC's Tom Brokaw has said the network considered hiring him to replace Rather as its White House correspondent, but dropped it after word was leaked to the press. Rather was believed to have provided tough coverage of the Watergate scandal, raising his profile.",
"Rather was believed to have provided tough coverage of the Watergate scandal, raising his profile. Space Shuttle Challenger disaster In January 1986, NASA faced repeated delays in the preparations to launch the Space Shuttles Columbia and Challenger in close sequence.",
"Space Shuttle Challenger disaster In January 1986, NASA faced repeated delays in the preparations to launch the Space Shuttles Columbia and Challenger in close sequence. Rather described the January 10 delay of Columbia as: “star-crossed space shuttle Columbia stood ready for launch again today, and once more, the launch was scrubbed.",
"Rather described the January 10 delay of Columbia as: “star-crossed space shuttle Columbia stood ready for launch again today, and once more, the launch was scrubbed. Heavy rain was the cause this time.",
"Heavy rain was the cause this time. The launch has been postponed so often since its original date, December 18, that it's now known as mission impossible.”This was considered an example of the \"biting sarcasm\" the media used related to NASA's scheduling. Columbia launched on January 12.",
"Columbia launched on January 12. Columbia launched on January 12. On January 27, Rather's reporting of the expected Challenger launch began as follows: On January 28, Challenger'''s explosion and destruction occurred 73 seconds after launch.",
"On January 27, Rather's reporting of the expected Challenger launch began as follows: On January 28, Challenger'''s explosion and destruction occurred 73 seconds after launch. Afghanistan, Reagan, and George H. W. Bush During the Soviet–Afghan War, Rather was filmed reporting near the front lines while wearing a traditional mujahideen headdress and garments.",
"Afghanistan, Reagan, and George H. W. Bush During the Soviet–Afghan War, Rather was filmed reporting near the front lines while wearing a traditional mujahideen headdress and garments. Rather attracted an Evening News audience (and was nicknamed \"Gunga Dan\"). The American comic strip Doonesbury spoofed his actions.",
"The American comic strip Doonesbury spoofed his actions. Rather's reports were later revealed to have been influential to Congressman Charlie Wilson (D-Texas), who led an effort to help the struggling mujahideen. The CIA developed its largest covert operation to supply aid and advanced arms to the mujahideen. The Soviets eventually quit Afghanistan.",
"The Soviets eventually quit Afghanistan. The Soviets eventually quit Afghanistan. Rather gained the anchor spot on the Evening News. He was competing with Roger Mudd, a more senior correspondent and a frequent substitute anchor for Walter Cronkite on Evening News. Mudd had also anchored the Sunday evening broadcast, but Rather traveled through Afghanistan when news led there.",
"Mudd had also anchored the Sunday evening broadcast, but Rather traveled through Afghanistan when news led there. A few years into his service as anchor, Rather began wearing sweaters beneath his suit jacket to soften his on-air appearance for viewers. During the 1980s, Rather gained further renown for his forceful and skeptical reporting on the Iran–Contra affair.",
"During the 1980s, Rather gained further renown for his forceful and skeptical reporting on the Iran–Contra affair. He eventually confronted Vice President George H. W. Bush in an on-air interview during the latter's presidential campaign.",
"He eventually confronted Vice President George H. W. Bush in an on-air interview during the latter's presidential campaign. Bush referred to Rather's \"dead air incident\" saying: “I want to talk about why I want to be President, why those 41 percent of the people are supporting me.",
"Bush referred to Rather's \"dead air incident\" saying: “I want to talk about why I want to be President, why those 41 percent of the people are supporting me. And I don't think it's fair to judge my whole career by a rehash on Iran.",
"And I don't think it's fair to judge my whole career by a rehash on Iran. How would you like it if I judged your career by those seven minutes when you walked off the set in New York?”Rather ignored Bush's comment.",
"How would you like it if I judged your career by those seven minutes when you walked off the set in New York?”Rather ignored Bush's comment. Shortly after Iraq invaded Kuwait, Rather secured an interview with Iraqi leader Saddam Hussein.",
"Shortly after Iraq invaded Kuwait, Rather secured an interview with Iraqi leader Saddam Hussein. On February 24, 2003, Rather conducted another interview with Hussein before the United States' 2003 invasion of Iraq. In the interview, Hussein invited Rather to be the moderator of a live television debate between him and George W. Bush.",
"In the interview, Hussein invited Rather to be the moderator of a live television debate between him and George W. Bush. The debate never took place. The Wall Within On June 2, 1988, Rather hosted a CBS News special, The Wall Within.",
"The Wall Within On June 2, 1988, Rather hosted a CBS News special, The Wall Within. In it, he interviewed six veterans, each of whom said he had witnessed horrible acts in Vietnam. Two of the men said that they had killed civilians, and two others said that they had seen friends die.",
"Two of the men said that they had killed civilians, and two others said that they had seen friends die. Each talked about the effects the war had upon their lives—including depression, unemployment, drug use, and homelessness. In 2004, National Review ran an article by Anne Morse entitled \"The First Rathergate.\"",
"In 2004, National Review ran an article by Anne Morse entitled \"The First Rathergate.\" She said that almost nothing claimed by participants in The Wall Within was true.",
"She said that almost nothing claimed by participants in The Wall Within was true. Citing the self-published book Stolen Valor (1998) by veteran B. G. Burkett, and investigative journalist Glenna Whitley, Morse said that military records revealed that the six former servicemen had lied about their experiences.",
"Citing the self-published book Stolen Valor (1998) by veteran B. G. Burkett, and investigative journalist Glenna Whitley, Morse said that military records revealed that the six former servicemen had lied about their experiences. Only one served in combat, and two had never been in Vietnam.",
"Only one served in combat, and two had never been in Vietnam. Killian documents On September 8, 2004, Rather reported on 60 Minutes Wednesday that a series of memos critical of President George W. Bush's Texas Air National Guard service record had been discovered in the personal files of Lt. Bush's former commanding officer, Lt. Col. Jerry B. Killian.",
"Killian documents On September 8, 2004, Rather reported on 60 Minutes Wednesday that a series of memos critical of President George W. Bush's Texas Air National Guard service record had been discovered in the personal files of Lt. Bush's former commanding officer, Lt. Col. Jerry B. Killian. Once copies of the documents were made available on the Internet, their authenticity was quickly called into question.",
"Once copies of the documents were made available on the Internet, their authenticity was quickly called into question. Much of this was based on the fact that the documents were proportionally printed and displayed using other modern typographic conventions usually unavailable on military typewriters of the 1970s.",
"Much of this was based on the fact that the documents were proportionally printed and displayed using other modern typographic conventions usually unavailable on military typewriters of the 1970s. The font used on the documents has characteristics that exactly or almost exactly match standard font features of Microsoft Word. This led to claims that the memos were forgeries.",
"This led to claims that the memos were forgeries. The accusations then spread over the following days into mainstream media outlets, including The Washington Post, The New York Times, and The Chicago Sun-Times. Rather and CBS initially defended the story, insisting that the documents had been authenticated by experts.",
"Rather and CBS initially defended the story, insisting that the documents had been authenticated by experts. CBS was contradicted by some of the experts it originally cited, and later reported that its source for the documents—former Texas Army National Guard officer Lt. Col. Bill Burkett—had misled the network about how he had obtained them.",
"CBS was contradicted by some of the experts it originally cited, and later reported that its source for the documents—former Texas Army National Guard officer Lt. Col. Bill Burkett—had misled the network about how he had obtained them. On September 20, 2004, CBS retracted the story.",
"On September 20, 2004, CBS retracted the story. Rather stated, “If I knew then what I know now, I would not have gone ahead with the story as it was aired, and I certainly would not have used the documents in question.” The controversy has been referred to by some as \"Memogate\" and \"Rathergate.\"",
"Rather stated, “If I knew then what I know now, I would not have gone ahead with the story as it was aired, and I certainly would not have used the documents in question.” The controversy has been referred to by some as \"Memogate\" and \"Rathergate.\" Following an investigation commissioned by CBS, CBS fired story producer Mary Mapes, and asked three other producers connected with the story to resign.",
"Following an investigation commissioned by CBS, CBS fired story producer Mary Mapes, and asked three other producers connected with the story to resign. Many believe Rather's retirement was hastened by this incident.",
"Many believe Rather's retirement was hastened by this incident. On September 20, 2007, Rather was interviewed on Larry King Live commenting, “Nobody has proved that they were fraudulent, much less a forgery. ...",
"... ... The truth of this story stands up to this day.” Departure from the CBS Evening News Rather retired as the anchorman and Managing Editor of the CBS Evening News in 2005; his last broadcast was Wednesday, March 9, 2005.",
"The truth of this story stands up to this day.” Departure from the CBS Evening News Rather retired as the anchorman and Managing Editor of the CBS Evening News in 2005; his last broadcast was Wednesday, March 9, 2005. He had worked as the anchorman for 24 full years, the longest tenure of anyone in American television history, and for a short time, continued to work as a correspondent for 60 Minutes.",
"He had worked as the anchorman for 24 full years, the longest tenure of anyone in American television history, and for a short time, continued to work as a correspondent for 60 Minutes. Bob Schieffer, a fellow Texan and host of Face the Nation, took over Rather's position on an interim basis, with Katie Couric replacing Schieffer in 2006.",
"Bob Schieffer, a fellow Texan and host of Face the Nation, took over Rather's position on an interim basis, with Katie Couric replacing Schieffer in 2006. Since retiring, Rather has spoken out about what he perceives as a lack of courage by American journalists. On January 24, 2006, Rather spoke to a Seattle audience.",
"On January 24, 2006, Rather spoke to a Seattle audience. Before the speaking engagement, he told a newspaper reporter, “In many ways on many days, [reporters] have sort of adopted the attitude of 'go along, get along.",
"Before the speaking engagement, he told a newspaper reporter, “In many ways on many days, [reporters] have sort of adopted the attitude of 'go along, get along. '” “What many of us need is a spine transplant,” Rather added.",
"'” “What many of us need is a spine transplant,” Rather added. “Whether it's City Hall, the State House, or the White House, part of our job is to speak truth to power.” Ousted from CBS News In June 2006, reports surfaced that CBS News would most likely not renew Dan Rather's contract.",
"“Whether it's City Hall, the State House, or the White House, part of our job is to speak truth to power.” Ousted from CBS News In June 2006, reports surfaced that CBS News would most likely not renew Dan Rather's contract. According to a Washington Post article, sources from CBS said that executives at the network decided \"there is no future role for Rather.\"",
"According to a Washington Post article, sources from CBS said that executives at the network decided \"there is no future role for Rather.\" On June 20, 2006, CBS News and Sports President Sean McManus announced that Rather would leave the network after 44 years.",
"On June 20, 2006, CBS News and Sports President Sean McManus announced that Rather would leave the network after 44 years. Rather issued a separate statement which accompanied the news of the departure: Lawsuit over ouster from CBS Network On September 19, 2007, Rather filed a $70 million lawsuit against CBS, its former parent company Viacom; CBS President and CEO Leslie Moonves; Sumner Redstone, chairman of both Viacom and CBS; and Andrew Heyward, former president of CBS News.",
"Rather issued a separate statement which accompanied the news of the departure: Lawsuit over ouster from CBS Network On September 19, 2007, Rather filed a $70 million lawsuit against CBS, its former parent company Viacom; CBS President and CEO Leslie Moonves; Sumner Redstone, chairman of both Viacom and CBS; and Andrew Heyward, former president of CBS News. Rather accused the network and its ownership and management of making him a \"scapegoat\" in the Killian story.",
"Rather accused the network and its ownership and management of making him a \"scapegoat\" in the Killian story. A CBS spokesman claimed that the lawsuit was \"old news\" and \"without merit.\"",
"A CBS spokesman claimed that the lawsuit was \"old news\" and \"without merit.\" On September 21, 2009, Rather's lawyers claimed that Bush's military service would be proven to be a sham, and Rather would be vindicated.",
"On September 21, 2009, Rather's lawyers claimed that Bush's military service would be proven to be a sham, and Rather would be vindicated. On September 29, 2009, a New York state appeals court dismissed Rather's lawsuit against CBS.",
"On September 29, 2009, a New York state appeals court dismissed Rather's lawsuit against CBS. On January 12, 2010, New York's top court refused to reinstate Rather's $70 million breach-of-contract lawsuit against CBS Corp.",
"On January 12, 2010, New York's top court refused to reinstate Rather's $70 million breach-of-contract lawsuit against CBS Corp. In his book titled Rather Outspoken, Rather claims that the lawsuit “took a big whack out of my time, my psyche and my bank balance, but even so, it was worth it.” On May 18, 2012, Rather appeared on Real Time With Bill Maher, and claimed he had been fired for reporting a story about George W. Bush's year of absence from the reserve unit he served with, and that the news corporations had been \"very uncomfortable\" with running the story.",
"In his book titled Rather Outspoken, Rather claims that the lawsuit “took a big whack out of my time, my psyche and my bank balance, but even so, it was worth it.” On May 18, 2012, Rather appeared on Real Time With Bill Maher, and claimed he had been fired for reporting a story about George W. Bush's year of absence from the reserve unit he served with, and that the news corporations had been \"very uncomfortable\" with running the story. Post-CBS career Following his departure from CBS, Dan Rather joined Mark Cuban's cable network AXS TV (then called HDNet) to host and produce the weekly one-hour news show Dan Rather Reports from 2006 until 2013.",
"Post-CBS career Following his departure from CBS, Dan Rather joined Mark Cuban's cable network AXS TV (then called HDNet) to host and produce the weekly one-hour news show Dan Rather Reports from 2006 until 2013. Since 2013, Rather has hosted and produced the hour-long series The Big Interview with Dan Rather on AXS TV, where he sits down for in-depth interviews with influential figures in music and entertainment, such as: John Fogerty, Quentin Tarantino, Simon Cowell, Aaron Sorkin, and Sammy Hagar.",
"Since 2013, Rather has hosted and produced the hour-long series The Big Interview with Dan Rather on AXS TV, where he sits down for in-depth interviews with influential figures in music and entertainment, such as: John Fogerty, Quentin Tarantino, Simon Cowell, Aaron Sorkin, and Sammy Hagar. He has also produced several documentary specials for the network under the banner Dan Rather Presents, including specials about \"America's Mental Health Crisis,\" the United States Secret Service, and \"The Shameful Side of International Adoption.\"",
"He has also produced several documentary specials for the network under the banner Dan Rather Presents, including specials about \"America's Mental Health Crisis,\" the United States Secret Service, and \"The Shameful Side of International Adoption.\" Rather also appears frequently on a number of news shows, including MSNBC's The Rachel Maddow Show and The Last Word with Lawrence O'Donnell and on CNN.",
"Rather also appears frequently on a number of news shows, including MSNBC's The Rachel Maddow Show and The Last Word with Lawrence O'Donnell and on CNN. He has also written for The Huffington Post and Mashable.",
"He has also written for The Huffington Post and Mashable. On May 28, 2007, Rather compared historical events to events in the Star Wars films in the History Channel special titled Star Wars: The Legacy Revealed. In 2012, Rather published an autobiography titled Rather Outspoken: My Life in the News.",
"In 2012, Rather published an autobiography titled Rather Outspoken: My Life in the News. In 2015, Rather launched an independent production company called News and Guts Media, through which he produces The Big Interview among other projects. In 2015, Rather also began actively posting on Facebook.",
"In 2015, Rather also began actively posting on Facebook. He credits young staffers at News and Guts Media with pushing him to try social media. While his posts were considerably longer than typical social media posts, they resonated with the audience, which soon grew to more than two million followers.",
"While his posts were considerably longer than typical social media posts, they resonated with the audience, which soon grew to more than two million followers. Even late night TV noticed Rather's unusual but effective Facebook presence. Subject matter has covered a range of topics, including: current political events, journalism, and childhood memories.",
"Subject matter has covered a range of topics, including: current political events, journalism, and childhood memories. On September 23, 2016, SiriusXM Radio announced a new hour-long weekly program, \"Dan Rather's America,\" airing Tuesday mornings at 10am Eastern on Radio Andy channel 102, debuting on September 27.",
"On September 23, 2016, SiriusXM Radio announced a new hour-long weekly program, \"Dan Rather's America,\" airing Tuesday mornings at 10am Eastern on Radio Andy channel 102, debuting on September 27. In the fall of 2017, the Briscoe Center for American History at the University of Texas completed a digital humanities project dedicated to the long career of the journalist that was titled Dan Rather: American Journalist.",
"In the fall of 2017, the Briscoe Center for American History at the University of Texas completed a digital humanities project dedicated to the long career of the journalist that was titled Dan Rather: American Journalist. The culmination of three years of research conducted at the Briscoe Center, the site uses materials from a dozen archives and libraries, and draws from over 25 of the Briscoe Center for American History's news media and photojournalism collections.",
"The culmination of three years of research conducted at the Briscoe Center, the site uses materials from a dozen archives and libraries, and draws from over 25 of the Briscoe Center for American History's news media and photojournalism collections. The website features over 2,000 digitized documents, 300 excerpts from twelve oral history interviews, and 1000 video clips, enabling visitors to dive deep into the history of the last 60 years through the lens of Dan Rather's career.",
"The website features over 2,000 digitized documents, 300 excerpts from twelve oral history interviews, and 1000 video clips, enabling visitors to dive deep into the history of the last 60 years through the lens of Dan Rather's career. On January 21, 2018, it was announced that Rather would be launching a weekly 30-minute newscast on The Young Turks.",
"On January 21, 2018, it was announced that Rather would be launching a weekly 30-minute newscast on The Young Turks. Titled The News with Dan Rather, it airs on Mondays at 5:30pm Eastern Time. Personal life Rather married Jean Goebel in 1957.",
"Personal life Rather married Jean Goebel in 1957. They have a son and daughter, and maintain homes in New York City and Austin, Texas. Their daughter Robin is an environmentalist and community activist in Austin, Texas. Their son Dan is an assistant district attorney in the District Attorney's office in Manhattan, New York.",
"Their son Dan is an assistant district attorney in the District Attorney's office in Manhattan, New York. Sam Houston State University renamed its mass communications building after Rather in 1994. The building houses The Houstonian and KSHU, the student-run radio and television stations.",
"The building houses The Houstonian and KSHU, the student-run radio and television stations. In May 2007, Rather received an honorary Doctor of Humane Letters from Siena College in Loudonville, New York, for his lifetime contributions to journalism.",
"In May 2007, Rather received an honorary Doctor of Humane Letters from Siena College in Loudonville, New York, for his lifetime contributions to journalism. A columnist whose work is distributed by King Features Syndicate, Rather continues to speak out against alleged influence in journalism by corporations and governments.",
"A columnist whose work is distributed by King Features Syndicate, Rather continues to speak out against alleged influence in journalism by corporations and governments. At a 2008 conference in Minneapolis, Minnesota, sponsored by the group Free Press, Rather criticized both local and national news organizations, stating—according to reports—that there is no longer incentive to do “good and valuable news.” Books The Palace Guard, with Gary Paul Gates, 1974. .",
"At a 2008 conference in Minneapolis, Minnesota, sponsored by the group Free Press, Rather criticized both local and national news organizations, stating—according to reports—that there is no longer incentive to do “good and valuable news.” Books The Palace Guard, with Gary Paul Gates, 1974. . The Camera Never Blinks: Adventures of a TV Journalist, with Mickey Herskowitz, 1977. .",
"The Camera Never Blinks: Adventures of a TV Journalist, with Mickey Herskowitz, 1977. . I Remember, with Peter Wyden, 1991. . The Camera Never Blinks Twice: The Further Adventures of a Television Journalist, with Mickey Herskowitz, 1994. . , 1999. .",
", 1999. . , 1999. . \"The American Dream: Stories from the Heart of Our Nation\", 2001. . , with Digby Diehl, 2013. . What Unites Us: Reflections on Patriotism, with Elliot Kirschner, 2017. .What Unites Us: The Graphic Novel, with Elliot Kirschner, illustrated by Tim Foley, 2021. .",
".What Unites Us: The Graphic Novel, with Elliot Kirschner, illustrated by Tim Foley, 2021. . Awards He has received numerous Emmy Awards, several Peabody Awards, and various honorary degrees from universities. In addition to these awards, Rather was inducted into the Television Hall of Fame in 2004.",
"In addition to these awards, Rather was inducted into the Television Hall of Fame in 2004. In 2001, he received the Golden Plate Award of the American Academy of Achievement.",
"In 2001, he received the Golden Plate Award of the American Academy of Achievement. Criticism As one of the last broadcast news journalists from the era of the \"Big Three\" network news primacy, Rather was generally regarded highly within his profession by long-serving journalists. Rather has been accused of having a liberal bias.",
"Rather has been accused of having a liberal bias. \"Dan Rather: a pioneer and a lightning rod\" at The Christian Science Monitor. Claims of bias Rather's on-screen comments and election-night reporting have come under attack dating back to Richard Nixon's presidency.",
"Claims of bias Rather's on-screen comments and election-night reporting have come under attack dating back to Richard Nixon's presidency. In a June 2002 interview with Larry King, his long-time co-worker (and self-described liberal), Andy Rooney stated that Rather is “transparently liberal.” During the weeks following the Killian documents stories, Rather received widespread criticism from other journalists and historians.",
"In a June 2002 interview with Larry King, his long-time co-worker (and self-described liberal), Andy Rooney stated that Rather is “transparently liberal.” During the weeks following the Killian documents stories, Rather received widespread criticism from other journalists and historians. In an interview with commentator Bill Maher, Rather accused Fox News Channel of receiving \"talking points\" from the Republican-controlled White House.",
"In an interview with commentator Bill Maher, Rather accused Fox News Channel of receiving \"talking points\" from the Republican-controlled White House. Fox News commentator Bill O'Reilly, who had defended Rather during the Killian documents incident, criticized Rather for not offering any evidence to support the claim.",
"Fox News commentator Bill O'Reilly, who had defended Rather during the Killian documents incident, criticized Rather for not offering any evidence to support the claim. In 2002, Bernard Goldberg published a book with the title Bias, alleging a liberal bias in print and broadcast news organizations.",
"In 2002, Bernard Goldberg published a book with the title Bias, alleging a liberal bias in print and broadcast news organizations. In the book, Goldberg used Dan Rather as a primary example of a news anchorman with a liberal bias.",
"In the book, Goldberg used Dan Rather as a primary example of a news anchorman with a liberal bias. He also criticized the anchor for his criticisms of President George W. Bush's and Vice President Dan Quayle's service in the National Guard, rather than the Active Duty military during the Vietnam War, and questioned Rather's own service.",
"He also criticized the anchor for his criticisms of President George W. Bush's and Vice President Dan Quayle's service in the National Guard, rather than the Active Duty military during the Vietnam War, and questioned Rather's own service. Fairness and Accuracy in Reporting has accused Rather of having \"an unwillingness to challenge official power and policy\" in his reporting.",
"Fairness and Accuracy in Reporting has accused Rather of having \"an unwillingness to challenge official power and policy\" in his reporting. Investigative reporter Mark Hertsgaard characterized Rather as a \"stern anti-Communist\" during the Reagan administration, for allegedly having \"reported the pronouncements of public officials with considerable respect.\"",
"Investigative reporter Mark Hertsgaard characterized Rather as a \"stern anti-Communist\" during the Reagan administration, for allegedly having \"reported the pronouncements of public officials with considerable respect.\" In April 2001, according to a front-page story in The Washington Post, Rather spoke at a Democratic party fundraiser in Austin, Texas, where he was the featured speaker.",
"In April 2001, according to a front-page story in The Washington Post, Rather spoke at a Democratic party fundraiser in Austin, Texas, where he was the featured speaker. One of the official hosts for the fundraiser was Rather's daughter, Robin Rather; Rather said that he did not realize that his daughter was a host of the fundraiser.",
"One of the official hosts for the fundraiser was Rather's daughter, Robin Rather; Rather said that he did not realize that his daughter was a host of the fundraiser. Rather also said that he did not realize that the event was a partisan fundraiser, although he did realize that after he arrived at the event.",
"Rather also said that he did not realize that the event was a partisan fundraiser, although he did realize that after he arrived at the event. From Walter Cronkite During an appearance on CNN's American Morning in 2005, former CBS anchor Walter Cronkite said about Rather: “It surprised quite a few people at CBS and elsewhere that, without being able to pull up the ratings beyond third in a three-man field, that they tolerated his being there for so long.” Cronkite also said that he would like to have seen Bob Schieffer in Rather's position sooner.",
"From Walter Cronkite During an appearance on CNN's American Morning in 2005, former CBS anchor Walter Cronkite said about Rather: “It surprised quite a few people at CBS and elsewhere that, without being able to pull up the ratings beyond third in a three-man field, that they tolerated his being there for so long.” Cronkite also said that he would like to have seen Bob Schieffer in Rather's position sooner. From Dallas CBS news director Eddie Barker In the aftermath of the Kennedy assassination while Rather was a Dallas reporter, he interviewed a minister, who said some local schoolchildren had cheered upon learning of the President's shooting.",
"From Dallas CBS news director Eddie Barker In the aftermath of the Kennedy assassination while Rather was a Dallas reporter, he interviewed a minister, who said some local schoolchildren had cheered upon learning of the President's shooting. The Associated Press later confirmed the story.",
"The Associated Press later confirmed the story. A teacher at the school backed up the Rather story, confirming that some students at the school had cheered at the principal's news about Kennedy.",
"A teacher at the school backed up the Rather story, confirming that some students at the school had cheered at the principal's news about Kennedy. Eddie Barker, local Dallas-area news director for CBS, said that Rather had in fact been aware that the children were merely happy about being sent home early, and they had not been given a reason for early school closure (Barker's children attended the school, as he informed Rather).",
"Eddie Barker, local Dallas-area news director for CBS, said that Rather had in fact been aware that the children were merely happy about being sent home early, and they had not been given a reason for early school closure (Barker's children attended the school, as he informed Rather). He stated that Rather had deliberately misrepresented the facts by indicating that the children were happy about the shooting.",
"He stated that Rather had deliberately misrepresented the facts by indicating that the children were happy about the shooting. Barker attempted to fire Rather, but was overruled by the national CBS News management.",
"Barker attempted to fire Rather, but was overruled by the national CBS News management. Incidents and controversies 1968 Democratic convention During live coverage of the 1968 Democratic National Convention, Rather attempted to interview a delegate from Georgia who appeared as though he was being forcibly removed by men without identification badges.",
"Incidents and controversies 1968 Democratic convention During live coverage of the 1968 Democratic National Convention, Rather attempted to interview a delegate from Georgia who appeared as though he was being forcibly removed by men without identification badges. As Rather approached the delegate to question the apparent strong-arm tactics of the Chicago political machine under Mayor Daley, he was punched in the stomach by one of the men, knocking him to the ground.",
"As Rather approached the delegate to question the apparent strong-arm tactics of the Chicago political machine under Mayor Daley, he was punched in the stomach by one of the men, knocking him to the ground. “He lifted me right off the floor and put me away.",
"“He lifted me right off the floor and put me away. I was down, the breath knocked out of me, as the whole group blew on by me ...",
"I was down, the breath knocked out of me, as the whole group blew on by me ... In the CBS control room, they had switched the camera onto me just as I was slugged.” Walter Cronkite, after being told by Rather what happened, added on-air, \"I think we got a bunch of thugs here Dan!\"",
"In the CBS control room, they had switched the camera onto me just as I was slugged.” Walter Cronkite, after being told by Rather what happened, added on-air, \"I think we got a bunch of thugs here Dan!\" Chicago cab ride On November 10, 1980, Rather landed at Chicago's O'Hare International Airport and got into a cab.",
"Chicago cab ride On November 10, 1980, Rather landed at Chicago's O'Hare International Airport and got into a cab. He asked the cab driver to take him to the home of writer Studs Terkel, whom he was interviewing for 60 Minutes.",
"He asked the cab driver to take him to the home of writer Studs Terkel, whom he was interviewing for 60 Minutes. A police spokesman said that the cab driver refused to go to the address and instead \"wildly drove through the city streets,\" with Rather shouting out the window asking for help.",
"A police spokesman said that the cab driver refused to go to the address and instead \"wildly drove through the city streets,\" with Rather shouting out the window asking for help. The driver was charged with disorderly conduct.",
"The driver was charged with disorderly conduct. Rather called the incident “a rather minor thing.” By the time the case was about to come to trial, he was about to add anchoring the CBS Evening News to his 60 Minutes role at CBS News.",
"Rather called the incident “a rather minor thing.” By the time the case was about to come to trial, he was about to add anchoring the CBS Evening News to his 60 Minutes role at CBS News. Rather declined to press charges, citing a \"mounting schedule of reporting assignments.\"",
"Rather declined to press charges, citing a \"mounting schedule of reporting assignments.\" Galloway lawsuit In 1980, Rather and CBS were taken to court when Carl Galloway, a California doctor, claimed that a report on 60 Minutes wrongfully implicated him in an insurance fraud scheme.",
"Galloway lawsuit In 1980, Rather and CBS were taken to court when Carl Galloway, a California doctor, claimed that a report on 60 Minutes wrongfully implicated him in an insurance fraud scheme. CBS stated Galloway had signed the bogus report, and was suing Rather because he was upset at being caught.",
"CBS stated Galloway had signed the bogus report, and was suing Rather because he was upset at being caught. The jury sided with CBS and Rather, and they won the case. During the trial, Galloway's side used outtakes from the TV report showing that one interview was rehearsed.",
"During the trial, Galloway's side used outtakes from the TV report showing that one interview was rehearsed. \"Courage\" For one week in September 1986, Rather signed off his broadcasts to CBS with the word \"courage.\"",
"\"Courage\" For one week in September 1986, Rather signed off his broadcasts to CBS with the word \"courage.\" He said that it was just a signature line, and had nothing to do with the news at the time. Other newscasters ridiculed and parodied Rather, and he dropped it.",
"Other newscasters ridiculed and parodied Rather, and he dropped it. \"Kenneth, what is the frequency?\" On October 4, 1986, while walking along Park Avenue to his apartment in Manhattan, Rather was attacked and punched from behind by a man who demanded to know \"Kenneth, what is the frequency?\"",
"On October 4, 1986, while walking along Park Avenue to his apartment in Manhattan, Rather was attacked and punched from behind by a man who demanded to know \"Kenneth, what is the frequency?\" while a second assailant chased and beat him. As the assailant pummeled and kicked Rather, he kept repeating the question.",
"As the assailant pummeled and kicked Rather, he kept repeating the question. In describing the incident, Rather said “I got mugged. Who understands these things? I didn't and I don't now. I didn't make a lot of it at the time and I don't now.",
"I didn't make a lot of it at the time and I don't now. I wish I knew who did it and why, but I have no idea.” Until the crime was resolved years later, Rather's description of the bizarre crime led some to doubt the veracity of his account, although the doorman and building supervisor who came to Rather's aid fully confirmed his version of events.",
"I wish I knew who did it and why, but I have no idea.” Until the crime was resolved years later, Rather's description of the bizarre crime led some to doubt the veracity of his account, although the doorman and building supervisor who came to Rather's aid fully confirmed his version of events. The assault remained unsolved for some time, and was referenced multiple times in popular culture.",
"The assault remained unsolved for some time, and was referenced multiple times in popular culture. The phrase \"What's the frequency, Kenneth?\" became a popular-culture reference over the years, such as in a scene in the graphic novel Like a Velvet Glove Cast in Iron by cartoonist Daniel Clowes.",
"became a popular-culture reference over the years, such as in a scene in the graphic novel Like a Velvet Glove Cast in Iron by cartoonist Daniel Clowes. The opening track of the 1987 album Lolita Nation by California power pop group Game Theory is titled \"Kenneth, What's the Frequency?\" In 1994, the band R.E.M.",
"In 1994, the band R.E.M. released the song \"What's the Frequency, Kenneth?\" on their album Monster. Rather later sang with R.E.M. during a sound check prior to a gig at New York's Madison Square Garden, which was shown the following night on the Late Show with David Letterman.",
"during a sound check prior to a gig at New York's Madison Square Garden, which was shown the following night on the Late Show with David Letterman. In 1997, a TV critic writing in the New York Daily News solved the mystery, publishing a photo of the alleged assailant, William Tager, who received a 12.5-to-25-year prison sentence for killing NBC stagehand Campbell Montgomery outside The Today Show studio in 1994.",
"In 1997, a TV critic writing in the New York Daily News solved the mystery, publishing a photo of the alleged assailant, William Tager, who received a 12.5-to-25-year prison sentence for killing NBC stagehand Campbell Montgomery outside The Today Show studio in 1994. Rather confirmed the story: \"There's no doubt in my mind that this is the person.\"",
"Rather confirmed the story: \"There's no doubt in my mind that this is the person.\" New York District Attorney Robert M. Morgenthau said \"William Tager's identity as the man who attacked Mr. Rather was established in the course of an investigation by my office.\"",
"New York District Attorney Robert M. Morgenthau said \"William Tager's identity as the man who attacked Mr. Rather was established in the course of an investigation by my office.\" Tager claimed he thought television networks were beaming signals into his brain.",
"Tager claimed he thought television networks were beaming signals into his brain. When he murdered the stagehand, Tager was trying to force his way into an NBC studio with a weapon, in order to find out the frequency the networks were using to attack him, so that he could block it. Tager was paroled in October 2010.",
"Tager was paroled in October 2010. Dead air On September 11, 1987, Rather walked off the set in anger just before a remote Evening News broadcast from Miami, where Pope John Paul II had begun a rare U.S. tour, when a U.S. Open tennis match was being broadcast into the time scheduled for the newscast.",
"Dead air On September 11, 1987, Rather walked off the set in anger just before a remote Evening News broadcast from Miami, where Pope John Paul II had begun a rare U.S. tour, when a U.S. Open tennis match was being broadcast into the time scheduled for the newscast. He was upset that the news was being cut into to make room for sports and discussed it with the sports department, and made it clear that if the newscast did not start on time, then CBS Sports should fill the half hour.",
"He was upset that the news was being cut into to make room for sports and discussed it with the sports department, and made it clear that if the newscast did not start on time, then CBS Sports should fill the half hour. The Steffi Graf–Lori McNeil tennis match coverage then ended sooner than expected at 6:32 p.m., but Rather had disappeared.",
"The Steffi Graf–Lori McNeil tennis match coverage then ended sooner than expected at 6:32 p.m., but Rather had disappeared. (CBS Sports had finally agreed to break away immediately after the match without commentary.) Thus, over 100 affiliates were forced to broadcast six minutes of dead air.",
"Thus, over 100 affiliates were forced to broadcast six minutes of dead air. Some stations were forced to air a slot of syndicated programming such as a rerun of a game show or a sitcom, and other stations were forced to pull out a technical difficulty telop graphic.",
"Some stations were forced to air a slot of syndicated programming such as a rerun of a game show or a sitcom, and other stations were forced to pull out a technical difficulty telop graphic. Phil Jones, the chairman of the CBS affiliation board and general manager of Kansas City's KCTV (which the station placed a technical difficulty graphic during dead air) wanted an apology from Rather.",
"Phil Jones, the chairman of the CBS affiliation board and general manager of Kansas City's KCTV (which the station placed a technical difficulty graphic during dead air) wanted an apology from Rather. Meanwhile in Miami, the city's CBS affiliate WTVJ was forced to drop the episode entirely, which ended up airing a syndicated rerun of a game show to fill the station's schedule.",
"Meanwhile in Miami, the city's CBS affiliate WTVJ was forced to drop the episode entirely, which ended up airing a syndicated rerun of a game show to fill the station's schedule. The next day, Rather apologized for leaving the anchor desk.",
"The next day, Rather apologized for leaving the anchor desk. The following year, when Rather asked then Vice President Bush about his role in the Iran–Contra affair during a live interview, Bush responded by saying, “Dan, how would you like it if I judged your entire career by those seven minutes when you walked off the set in New York?” Roger Ailes had a “mole” at CBS, who alerted him that the goal was to “take Bush out of the race” with a tough interview on Iran-Contra.",
"The following year, when Rather asked then Vice President Bush about his role in the Iran–Contra affair during a live interview, Bush responded by saying, “Dan, how would you like it if I judged your entire career by those seven minutes when you walked off the set in New York?” Roger Ailes had a “mole” at CBS, who alerted him that the goal was to “take Bush out of the race” with a tough interview on Iran-Contra. Ailes alerted Bush on the cab ride over, and fed him the seven minutes retort.",
"Ailes alerted Bush on the cab ride over, and fed him the seven minutes retort. The aftermath of the interview showed the episode was a boost for Bush. “The vice president's poll ratings in Iowa and New Hampshire bumped visibly upward.” \"Ratherisms\" Rather is known for his many colorful analogies and descriptions during live broadcasts.",
"“The vice president's poll ratings in Iowa and New Hampshire bumped visibly upward.” \"Ratherisms\" Rather is known for his many colorful analogies and descriptions during live broadcasts. Similar to those used by baseball announcer Red Barber, cycling commentator Phil Liggett, and Formula 1 commentator Murray Walker, these \"Ratherisms\" are also called \"Texanisms\" or \"Danisms\" by some.",
"Similar to those used by baseball announcer Red Barber, cycling commentator Phil Liggett, and Formula 1 commentator Murray Walker, these \"Ratherisms\" are also called \"Texanisms\" or \"Danisms\" by some. A few of the more colorful ones, several of which were used throughout the 2008 HBO made-for-TV movie Recount about the 2000 Election, include: “This race is shakier than cafeteria Jell-O.” “This thing is as tight as the rusted lugnuts on a '55 Ford.” His characterization of the Republican Party's assessment of President Obama: “[He] couldn't sell watermelons if you gave him the state troopers to flag down the traffic.” In popular culture Rather has been referenced in the television shows Saturday Night Live and Family Guy and many films.",
"A few of the more colorful ones, several of which were used throughout the 2008 HBO made-for-TV movie Recount about the 2000 Election, include: “This race is shakier than cafeteria Jell-O.” “This thing is as tight as the rusted lugnuts on a '55 Ford.” His characterization of the Republican Party's assessment of President Obama: “[He] couldn't sell watermelons if you gave him the state troopers to flag down the traffic.” In popular culture Rather has been referenced in the television shows Saturday Night Live and Family Guy and many films. An animated caricature of him made a cameo appearance in the JibJab political cartoon, Good to Be in D.C.",
"An animated caricature of him made a cameo appearance in the JibJab political cartoon, Good to Be in D.C. In 1971, he had a cameo in an episode of the number one hit comedy series All in the Family.",
"In 1971, he had a cameo in an episode of the number one hit comedy series All in the Family. Entitled The Man in the Street, series star Carroll O'Connor's Archie Bunker character excitedly awaits the viewing of a videotaped interview he gave earlier that day for the CBS Evening News.",
"Entitled The Man in the Street, series star Carroll O'Connor's Archie Bunker character excitedly awaits the viewing of a videotaped interview he gave earlier that day for the CBS Evening News. At the last minute, to his dismay, the segment is preempted by the telecast of a Richard Nixon presidential address from the Oval Office.",
"At the last minute, to his dismay, the segment is preempted by the telecast of a Richard Nixon presidential address from the Oval Office. Rather appears, as himself, delivering post-speech analysis from actual news footage.",
"Rather appears, as himself, delivering post-speech analysis from actual news footage. Jean Stapleton, as Archie's scatterbrained wife Edith Bunker, says of Rather how he's there to \"...tell us what Mr. Nixon just said.\"",
"Jean Stapleton, as Archie's scatterbrained wife Edith Bunker, says of Rather how he's there to \"...tell us what Mr. Nixon just said.\" In 2004, he was featured in the documentary film Barbecue: A Texas Love Story by Austin-based director Chris Elley.",
"In 2004, he was featured in the documentary film Barbecue: A Texas Love Story by Austin-based director Chris Elley. Two years later, Rather and Elley educated a group of New Yorkers in Madison Square Park about the true meaning of BBQ, and its significance to the identity of the Lone Star State.",
"Two years later, Rather and Elley educated a group of New Yorkers in Madison Square Park about the true meaning of BBQ, and its significance to the identity of the Lone Star State. In the 2006–07 graphic novel Shooting War, which is set in the year 2011, an 80-year-old Dan Rather is shown to be one of the last journalists still reporting from Iraq.",
"In the 2006–07 graphic novel Shooting War, which is set in the year 2011, an 80-year-old Dan Rather is shown to be one of the last journalists still reporting from Iraq. He had a cameo in the premiere of the Fall 2007 drama Dirty Sexy Money on ABC television.",
"He had a cameo in the premiere of the Fall 2007 drama Dirty Sexy Money on ABC television. He guest-starred as himself in The Simpsons episode, \"E Pluribus Wiggum.\"",
"He guest-starred as himself in The Simpsons episode, \"E Pluribus Wiggum.\" Rather appeared on The Daily Show in May 2009, wearing an Afro wig and mutton-chop sideburns to narrate a segment about the late former President Nixon eating a burrito, as a parody of MSNBC's extensive coverage of President Obama and Vice President Biden's hamburger lunch.",
"Rather appeared on The Daily Show in May 2009, wearing an Afro wig and mutton-chop sideburns to narrate a segment about the late former President Nixon eating a burrito, as a parody of MSNBC's extensive coverage of President Obama and Vice President Biden's hamburger lunch. He appears in the 2008 award-winning documentary Boogie Man: The Lee Atwater Story.",
"He appears in the 2008 award-winning documentary Boogie Man: The Lee Atwater Story. A skit on the 38th season of Sesame Street featured Anderson Cooper interviewing two grouches, \"Walter Cranky\" and \"Dan Rather Not,\" who, when asked to answer questions, demurred with the phrase \"I'd rather not.\"",
"A skit on the 38th season of Sesame Street featured Anderson Cooper interviewing two grouches, \"Walter Cranky\" and \"Dan Rather Not,\" who, when asked to answer questions, demurred with the phrase \"I'd rather not.\" Robert Redford portrayed Rather in the 2015 film Truth.",
"Robert Redford portrayed Rather in the 2015 film Truth. Rather appeared in the docudrama Facing Saddam providing his views on Saddam Hussein. Ratings Under Rather's predecessor, Walter Cronkite, the CBS Evening News was a strong #1 in the ratings, which Rather maintained through much of the 1980s.",
"Ratings Under Rather's predecessor, Walter Cronkite, the CBS Evening News was a strong #1 in the ratings, which Rather maintained through much of the 1980s. However, Tom Brokaw and his NBC Nightly News, and Peter Jennings of ABC News' World News Tonight, increasing in popularity, eventually cut deep into the Rather broadcast's numbers.",
"However, Tom Brokaw and his NBC Nightly News, and Peter Jennings of ABC News' World News Tonight, increasing in popularity, eventually cut deep into the Rather broadcast's numbers. See also New Yorkers in journalism References Further reading Dan Rather & Elliot Kirschner (2017).",
"See also New Yorkers in journalism References Further reading Dan Rather & Elliot Kirschner (2017). What Unites Us: Reflections on Patriotism Algonquin Books of Chapel Hill. Rather, Dan. The Palace Guard, with Gary Gates Rather, Dan. I Remember, with Peter Wyden. Rather, Dan with Herskowitz, Mickey.",
"Rather, Dan with Herskowitz, Mickey. The Camera Never Blinks Twice''. 1995. William Morrow.",
"1995. William Morrow. William Morrow. 2nd Saddam interview External links AXS TV The Big Interview Dan Rather: American Journalist (Briscoe Center for American History) Members of the Council on Foreign Relations 1931 births Living people American television reporters and correspondents American war correspondents American war correspondents of the Vietnam War CBS News people Emmy Award winners Peabody Award winners 60 Minutes correspondents Associated Press reporters Houston Chronicle people Television anchors from Houston Journalists from Houston Killian documents controversy People from Wharton, Texas Sam Houston State University alumni Writers from Texas American victims of crime Texas Democrats The Young Turks people American male journalists 20th-century American journalists 21st-century American journalists Journalists from New York City People from Huntsville, Texas Recipients of the Four Freedoms Award Military personnel from Texas"
] |
[
"Dan Rather",
"Killian documents",
"What is Rather's connection to the Killian documents?",
"Rather reported on 60 Minutes",
"What were the Killian documents?",
"personal files of Lt. Bush's former commanding officer, Lt. Col. Jerry B. Killian."
] | C_7f5b7fac03f240eba4b0cf53ca659b83_1 | What was in the files? | 3 | What was in the files linked to the Killian documents? | Dan Rather | On September 8, 2004, Rather reported on 60 Minutes Wednesday that a series of memos critical of President George W. Bush's Texas Air National Guard service record had been discovered in the personal files of Lt. Bush's former commanding officer, Lt. Col. Jerry B. Killian. Once copies of the documents were made available on the Internet, their authenticity was quickly called into question. Much of this was based on the fact that the documents were proportionally printed and displayed using other modern typographic conventions usually unavailable on military typewriters of the 1970s. The font used on the documents has characteristics that exactly match standard font features of Microsoft Word. This led to claims that the memos were forgeries. The accusations then spread over the following days into mainstream media outlets including The Washington Post, The New York Times, and the Chicago Sun-Times. Rather and CBS initially defended the story, insisting that the documents had been authenticated by experts. CBS was contradicted by some of the experts it originally cited, and later reported that its source for the documents - former Texas Army National Guard officer Lt. Col. Bill Burkett - had misled the network about how he had obtained them. On September 20, CBS retracted the story. Rather stated, "If I knew then what I know now, I would not have gone ahead with the story as it was aired, and I certainly would not have used the documents in question." The controversy has been referred to by some as "Memogate" and "Rathergate." Following an investigation commissioned by CBS, CBS fired story producer Mary Mapes and asked three other producers connected with the story to resign. Many believe Rather's retirement was hastened by this incident. On September 20, 2007, Rather was interviewed on Larry King Live commenting "Nobody has proved that they were fraudulent, much less a forgery. ... The truth of this story stands up to this day." CANNOTANSWER | memos critical of President George W. Bush's Texas Air National Guard service | Daniel Irvin Rather Jr. (; born October 31, 1931) is an American journalist and former national evening news anchor. Rather began his career in Texas, becoming a national name after his reporting saved thousands of lives during Hurricane Carla in September 1961. Rather spontaneously created the first radar weather report by overlaying a transparent map over a radar image of Hurricane Carla. In his first national broadcast, he helped initiate the successful evacuation of 350,000 people.
Rather reported from Dallas in November 1963 at the time that President John F. Kennedy was assassinated. Based on his reporting, he was promoted at CBS News, where he served as White House correspondent beginning in 1964. He served as foreign correspondent in London and Vietnam over the next two years before returning to the White House correspondent position. He covered the presidency of Richard Nixon, including Nixon's trip to China, the Watergate scandal, and the president's resignation.
In 1981, Rather was promoted to news anchor for the CBS Evening News, a role he occupied for 24 years. Along with Peter Jennings at ABC News and Tom Brokaw at NBC News, he was one of the "Big Three" nightly news anchors in the U.S. from the 1980s through the early 2000s. He frequently contributed to CBS's weekly news magazine, 60 Minutes.
Rather left the anchor desk in 2005 following the Killian documents controversy, in which he presented unauthenticated documents in a news report on President George W. Bush's Vietnam War–era service in the National Guard. He continued to work with CBS until 2006, when he was abruptly fired.
In September 2007, Rather filed a $70 million lawsuit against CBS and its former parent company Viacom. Rather accused the network and its ownership and management of making him a "scapegoat" in the Killian story. An intermediate New York state appeals court dismissed the lawsuit in September 2009, and the New York Court of Appeals refused to reinstate it in January 2010.
On the cable channel AXS TV (then called HDNet), Rather hosted Dan Rather Reports, a 60 Minutes–style investigative news program, from 2006 to 2013. He also hosts several other projects for AXS TV, including Dan Rather Presents, which provides in-depth reporting on broad topics such as mental health care or adoption, and The Big Interview with Dan Rather, in which he conducts long-form interviews with musicians and other entertainers. In January 2018, he began hosting an online newscast called The News with Dan Rather on The Young Turks' YouTube channel.
Early life
Daniel Irvin Rather Jr. was born on October 31, 1931, in Wharton County, Texas, the son of Daniel Irvin Rather Sr., a ditch digger and pipe layer, and the former Byrl Veda Page. The Rathers moved to Houston when he was a child, where Dan attended Lovett Elementary School and Hamilton Middle School. He graduated in 1950 from John H. Reagan High School in Houston.
In 1953, Rather earned a bachelor's degree in journalism from Sam Houston State Teachers College in Huntsville, Texas, where he was editor of the school newspaper, The Houstonian. He was also a member of the Caballeros, the founding organization of the Epsilon Psi chapter of the Sigma Chi fraternity. While in college, Rather worked for KSAM-FM radio in Huntsville, calling junior high, high school, and Sam Houston State football games. After obtaining his undergraduate degree, Rather briefly attended South Texas College of Law in Houston.
In January 1954, Rather enlisted in the United States Marine Corps and was sent to the Marine Corps Recruit Depot San Diego. He was soon discharged, however, because he was found to have had rheumatic fever as a child, a fact he had omitted during the enlistment process.
Early career
Rather began his journalism career in 1950 as an Associated Press reporter in Huntsville, Texas. Later, he was a reporter for United Press (1950–1952), several Texas radio stations, and the Houston Chronicle (1954–1955). Around 1955, Rather wrote a piece on heroin. Under the auspices of the Houston Police, he tried a dose of the drug, which he characterized as "a special kind of hell."
He worked for four seasons as the play-by-play announcer for the University of Houston football team. During the 1959 minor league baseball season, Rather was the play-by-play radio announcer for the Texas League Houston Buffs.
In 1959, Rather began his television career as a reporter for KTRK-TV, the ABC affiliate in Houston. He was subsequently promoted to the director of news for KHOU-TV, the CBS affiliate in Houston.
In September 1961, Rather covered Hurricane Carla for KHOU-TV, broadcasting from the then National Weather Center in Galveston. He is noted for showing the first radar image of a hurricane on TV. He conceived of overlaying a transparent map over the radar screen, in order to show the size of Hurricane Carla to the audience. Convinced of the threat, more than 350,000 people evacuated from the area, the largest known evacuation to that time. Their actions are believed to have saved thousands of lives compared to the previous hurricane, which had killed 6,000 to 12,000 people. Rather's live coverage of Carla was broadcast by New York and national stations. Ray Miller, news director of KPRC-TV, the NBC affiliate in Houston, also mentored Rather in the early years.
On February 28, 1962, Rather left Houston for New York City for a six-month trial initiation at CBS. Rather did not fit in easily on the East Coast. His first reports for CBS included coverage of the crash of American Airlines Flight 1 in Jamaica Bay, and a report on the suffocation of children at a hospital in Binghamton, New York. Shortly after, Rather was made chief of CBS's Southwest bureau in Dallas. In August 1963, he was appointed chief of the Southern bureau in New Orleans, responsible for coverage of news events in the South, Southwest, Mexico and Central America.
CBS News
JFK assassination to Watergate
In his autobiography, Rather noted that he was in Dallas in November 1963 to return film from an interview in Uvalde at the ranch of former Vice President John Nance Garner, who celebrated his 95th birthday on November 22. He happened to be "on the other side of the railroad tracks, beyond the triple underpass, thirty yards from a grassy knoll that would later figure in so many conspiracy theories." His job was to fetch a film drop from a camera truck at that location, and take it to the station for editing. He did not witness the shooting of Kennedy, and knew nothing of the events until he reached KRLD, having run through Dealey Plaza. He later wrote:
“The moment I cleared the railroad tracks I saw a scene I will never forget. Some people were lying on the grass, some screaming, some running, some pointing. Policemen swarmed everywhere and distinctly above the din, I heard one shout, 'DON'T ANYBODY PANIC.' And of course, there was nothing but panic wherever you looked.”
In his autobiography, Rather said he was one of the first to view the Zapruder film showing the assassination, and the first to describe it on television. Rather reported the fatal headshot as forcing Kennedy's head forward, but it was thrown backward.
Later, he reported that some Dallas schoolchildren had applauded when they were notified of the president's death. Administrators said they had announced that school was to be dismissed early, and did not mention the assassination. However, teacher Joanna Morgan confirmed that students had cheered at the news that Kennedy was shot. This story infuriated local journalists at then-CBS affiliate KRLD-TV (now Fox-owned-and-operated KDFW-TV).
Rather's reporting during the national mourning period following the Kennedy assassination and subsequent events impressed CBS News management. In 1964, they selected him for the network's White House correspondent position.
In 1965, Rather served as a foreign correspondent for CBS in London, and in 1966 in Vietnam. He served again as White House correspondent during the presidency of Richard Nixon. In 1970, he was also assigned as anchor for the CBS Sunday Night News (1970–73; 1974–75), and later for the CBS Saturday Evening News (1973–76). Rather was among those journalists who accompanied Nixon to China. He later covered the Watergate investigation, as well as the impeachment proceedings against Nixon in Congress.
CBS Evening News anchor
After President Nixon's resignation in 1974, Rather became chief correspondent for the documentary series CBS Reports. In December 1975, he became a correspondent of the long-running Sunday night news show 60 Minutes—at the time the program was moved from a Sunday afternoon time-slot to primetime. Success there helped Rather pull ahead of longtime correspondent Roger Mudd, who was in line to succeed Walter Cronkite as anchor and Managing Editor of The CBS Evening News.
Rather succeeded to the news anchor position after Cronkite's retirement, making his first broadcast on March 9, 1981. Rather had a significantly different style of reporting the news. In contrast to the avuncular Cronkite, who ended his newscast with “That's the way it is,” Rather searched to find a broadcast ending more suitable to his tastes. For one week in September 1986, with CBS the target of potentially hostile new ownership, Rather tried ending his broadcasts with the word "courage," and was roundly ridiculed for it. For nearly two decades, Rather ended the show with: “That's part of our world tonight.”
Rather also held other positions during his time as anchor. In January 1988, he became host of the newly created 48 Hours, and in January 1999, Rather joined the new 60 Minutes II as a correspondent.
Ratings for the Evening News with Rather at the helm fluctuated wildly, at a time when more alternatives to TV news were developing. After a dip to second place, Rather regained the top spot in 1985 until 1989, when he ceded the ratings peak to rival Peter Jennings at ABC's World News Tonight. By 1992, however, the Evening News had fallen to third place of the three major networks. It rose in rankings in 2005, when Bob Schieffer became the interim anchor between Rather and Katie Couric. It briefly moved ahead of ABC World News Tonight in the wake of the death of Peter Jennings, but remained behind NBC Nightly News. Rather was a frequent collaborator with CBS News producer Susan Zirinsky, a leading member of the news division's staff.
In 1987, new CBS owner Laurence Tisch oversaw layoffs of hundreds of CBS News employees, in a major shake-up of the network. Among those to go were correspondents such as David Andelman, Fred Graham, Morton Dean, and Ike Pappas. Fewer videotape crews were dispatched to cover stories, and numerous bureaus were closed. Critics cited the cutbacks as a major factor in CBS News' fall into third place in the ratings.
For a short time from 1993 to 1995, Rather co-anchored the evening news with Connie Chung. Chung had been a Washington, DC correspondent for CBS News, and anchored short news updates on the West Coast. On joining the CBS Evening News, she reported "pop news" stories. In one widely cited case, she aggressively pursued Tonya Harding, who was accused of a plot to injure fellow Olympic ice skater Nancy Kerrigan. After Chung left the network, Rather went back to doing the newscast alone.
By the 2005–06 season, the end of Rather's time as anchor, CBS Evening News lagged behind NBC Nightly News and ABC World News Tonight in the ratings. But it still drew approximately 5.5 million viewers a night. Criticism of Rather reached a fever pitch after 60 Minutes II ran his 2004 report about President Bush's military record. Numerous critics questioned the authenticity of the documents upon which the report was based. Rather subsequently admitted on the air that the documents' authenticity could not be proven. In the aftermath, CBS fired several members of CBS News staff but temporarily retained Rather, until his contract was up for renewal the following year, whereupon he was completely ousted.
Journalistic history and influence
Nixon
During Richard Nixon's presidency, critics accused Rather of biased coverage against him. At a Houston news conference in March 1974, Nixon fielded a question from Rather, still CBS's White House correspondent, who said, “Thank you, Mr. President. Dan Rather, of CBS News.” The room filled with jeers and applause, prompting Nixon to joke, “Are you running for something?” Rather replied, “No, sir, Mr. President. Are you?” He questioned whether Nixon was cooperating with the grand jury investigation and House Judiciary Committee in relation to the Watergate scandal.
NBC's Tom Brokaw has said the network considered hiring him to replace Rather as its White House correspondent, but dropped it after word was leaked to the press. Rather was believed to have provided tough coverage of the Watergate scandal, raising his profile.
Space Shuttle Challenger disaster
In January 1986, NASA faced repeated delays in the preparations to launch the Space Shuttles Columbia and Challenger in close sequence. Rather described the January 10 delay of Columbia as:
“star-crossed space shuttle Columbia stood ready for launch again today, and once more, the launch was scrubbed. Heavy rain was the cause this time. The launch has been postponed so often since its original date, December 18, that it's now known as mission impossible.”This was considered an example of the "biting sarcasm" the media used related to NASA's scheduling. Columbia launched on January 12.
On January 27, Rather's reporting of the expected Challenger launch began as follows:
On January 28, Challenger'''s explosion and destruction occurred 73 seconds after launch.
Afghanistan, Reagan, and George H. W. Bush
During the Soviet–Afghan War, Rather was filmed reporting near the front lines while wearing a traditional mujahideen headdress and garments. Rather attracted an Evening News audience (and was nicknamed "Gunga Dan"). The American comic strip Doonesbury spoofed his actions.
Rather's reports were later revealed to have been influential to Congressman Charlie Wilson (D-Texas), who led an effort to help the struggling mujahideen. The CIA developed its largest covert operation to supply aid and advanced arms to the mujahideen. The Soviets eventually quit Afghanistan.
Rather gained the anchor spot on the Evening News. He was competing with Roger Mudd, a more senior correspondent and a frequent substitute anchor for Walter Cronkite on Evening News. Mudd had also anchored the Sunday evening broadcast, but Rather traveled through Afghanistan when news led there. A few years into his service as anchor, Rather began wearing sweaters beneath his suit jacket to soften his on-air appearance for viewers.
During the 1980s, Rather gained further renown for his forceful and skeptical reporting on the Iran–Contra affair. He eventually confronted Vice President George H. W. Bush in an on-air interview during the latter's presidential campaign. Bush referred to Rather's "dead air incident" saying:
“I want to talk about why I want to be President, why those 41 percent of the people are supporting me. And I don't think it's fair to judge my whole career by a rehash on Iran. How would you like it if I judged your career by those seven minutes when you walked off the set in New York?”Rather ignored Bush's comment.
Shortly after Iraq invaded Kuwait, Rather secured an interview with Iraqi leader Saddam Hussein.
On February 24, 2003, Rather conducted another interview with Hussein before the United States' 2003 invasion of Iraq. In the interview, Hussein invited Rather to be the moderator of a live television debate between him and George W. Bush. The debate never took place.
The Wall Within
On June 2, 1988, Rather hosted a CBS News special, The Wall Within. In it, he interviewed six veterans, each of whom said he had witnessed horrible acts in Vietnam. Two of the men said that they had killed civilians, and two others said that they had seen friends die. Each talked about the effects the war had upon their lives—including depression, unemployment, drug use, and homelessness.
In 2004, National Review ran an article by Anne Morse entitled "The First Rathergate." She said that almost nothing claimed by participants in The Wall Within was true. Citing the self-published book Stolen Valor (1998) by veteran B. G. Burkett, and investigative journalist Glenna Whitley, Morse said that military records revealed that the six former servicemen had lied about their experiences. Only one served in combat, and two had never been in Vietnam.
Killian documents
On September 8, 2004, Rather reported on 60 Minutes Wednesday that a series of memos critical of President George W. Bush's Texas Air National Guard service record had been discovered in the personal files of Lt. Bush's former commanding officer, Lt. Col. Jerry B. Killian. Once copies of the documents were made available on the Internet, their authenticity was quickly called into question. Much of this was based on the fact that the documents were proportionally printed and displayed using other modern typographic conventions usually unavailable on military typewriters of the 1970s. The font used on the documents has characteristics that exactly or almost exactly match standard font features of Microsoft Word. This led to claims that the memos were forgeries. The accusations then spread over the following days into mainstream media outlets, including The Washington Post, The New York Times, and The Chicago Sun-Times.
Rather and CBS initially defended the story, insisting that the documents had been authenticated by experts. CBS was contradicted by some of the experts it originally cited, and later reported that its source for the documents—former Texas Army National Guard officer Lt. Col. Bill Burkett—had misled the network about how he had obtained them.
On September 20, 2004, CBS retracted the story. Rather stated, “If I knew then what I know now, I would not have gone ahead with the story as it was aired, and I certainly would not have used the documents in question.” The controversy has been referred to by some as "Memogate" and "Rathergate."
Following an investigation commissioned by CBS, CBS fired story producer Mary Mapes, and asked three other producers connected with the story to resign. Many believe Rather's retirement was hastened by this incident. On September 20, 2007, Rather was interviewed on Larry King Live commenting, “Nobody has proved that they were fraudulent, much less a forgery. ... The truth of this story stands up to this day.”
Departure from the CBS Evening News
Rather retired as the anchorman and Managing Editor of the CBS Evening News in 2005; his last broadcast was Wednesday, March 9, 2005. He had worked as the anchorman for 24 full years, the longest tenure of anyone in American television history, and for a short time, continued to work as a correspondent for 60 Minutes. Bob Schieffer, a fellow Texan and host of Face the Nation, took over Rather's position on an interim basis, with Katie Couric replacing Schieffer in 2006.
Since retiring, Rather has spoken out about what he perceives as a lack of courage by American journalists. On January 24, 2006, Rather spoke to a Seattle audience. Before the speaking engagement, he told a newspaper reporter, “In many ways on many days, [reporters] have sort of adopted the attitude of 'go along, get along.'”
“What many of us need is a spine transplant,” Rather added. “Whether it's City Hall, the State House, or the White House, part of our job is to speak truth to power.”
Ousted from CBS News
In June 2006, reports surfaced that CBS News would most likely not renew Dan Rather's contract. According to a Washington Post article, sources from CBS said that executives at the network decided "there is no future role for Rather."
On June 20, 2006, CBS News and Sports President Sean McManus announced that Rather would leave the network after 44 years. Rather issued a separate statement which accompanied the news of the departure:
Lawsuit over ouster from CBS Network
On September 19, 2007, Rather filed a $70 million lawsuit against CBS, its former parent company Viacom; CBS President and CEO Leslie Moonves; Sumner Redstone, chairman of both Viacom and CBS; and Andrew Heyward, former president of CBS News. Rather accused the network and its ownership and management of making him a "scapegoat" in the Killian story. A CBS spokesman claimed that the lawsuit was "old news" and "without merit." On September 21, 2009, Rather's lawyers claimed that Bush's military service would be proven to be a sham, and Rather would be vindicated. On September 29, 2009, a New York state appeals court dismissed Rather's lawsuit against CBS. On January 12, 2010, New York's top court refused to reinstate Rather's $70 million breach-of-contract lawsuit against CBS Corp. In his book titled Rather Outspoken, Rather claims that the lawsuit “took a big whack out of my time, my psyche and my bank balance, but even so, it was worth it.” On May 18, 2012, Rather appeared on Real Time With Bill Maher, and claimed he had been fired for reporting a story about George W. Bush's year of absence from the reserve unit he served with, and that the news corporations had been "very uncomfortable" with running the story.
Post-CBS career
Following his departure from CBS, Dan Rather joined Mark Cuban's cable network AXS TV (then called HDNet) to host and produce the weekly one-hour news show Dan Rather Reports from 2006 until 2013.
Since 2013, Rather has hosted and produced the hour-long series The Big Interview with Dan Rather on AXS TV, where he sits down for in-depth interviews with influential figures in music and entertainment, such as: John Fogerty, Quentin Tarantino, Simon Cowell, Aaron Sorkin, and Sammy Hagar. He has also produced several documentary specials for the network under the banner Dan Rather Presents, including specials about "America's Mental Health Crisis," the United States Secret Service, and "The Shameful Side of International Adoption."
Rather also appears frequently on a number of news shows, including MSNBC's The Rachel Maddow Show and The Last Word with Lawrence O'Donnell and on CNN. He has also written for The Huffington Post and Mashable.
On May 28, 2007, Rather compared historical events to events in the Star Wars films in the History Channel special titled Star Wars: The Legacy Revealed.
In 2012, Rather published an autobiography titled Rather Outspoken: My Life in the News.
In 2015, Rather launched an independent production company called News and Guts Media, through which he produces The Big Interview among other projects.
In 2015, Rather also began actively posting on Facebook. He credits young staffers at News and Guts Media with pushing him to try social media. While his posts were considerably longer than typical social media posts, they resonated with the audience, which soon grew to more than two million followers. Even late night TV noticed Rather's unusual but effective Facebook presence. Subject matter has covered a range of topics, including: current political events, journalism, and childhood memories.
On September 23, 2016, SiriusXM Radio announced a new hour-long weekly program, "Dan Rather's America," airing Tuesday mornings at 10am Eastern on Radio Andy channel 102, debuting on September 27.
In the fall of 2017, the Briscoe Center for American History at the University of Texas completed a digital humanities project dedicated to the long career of the journalist that was titled Dan Rather: American Journalist. The culmination of three years of research conducted at the Briscoe Center, the site uses materials from a dozen archives and libraries, and draws from over 25 of the Briscoe Center for American History's news media and photojournalism collections. The website features over 2,000 digitized documents, 300 excerpts from twelve oral history interviews, and 1000 video clips, enabling visitors to dive deep into the history of the last 60 years through the lens of Dan Rather's career.
On January 21, 2018, it was announced that Rather would be launching a weekly 30-minute newscast on The Young Turks. Titled The News with Dan Rather, it airs on Mondays at 5:30pm Eastern Time.
Personal life
Rather married Jean Goebel in 1957. They have a son and daughter, and maintain homes in New York City and Austin, Texas. Their daughter Robin is an environmentalist and community activist in Austin, Texas. Their son Dan is an assistant district attorney in the District Attorney's office in Manhattan, New York.
Sam Houston State University renamed its mass communications building after Rather in 1994. The building houses The Houstonian and KSHU, the student-run radio and television stations. In May 2007, Rather received an honorary Doctor of Humane Letters from Siena College in Loudonville, New York, for his lifetime contributions to journalism.
A columnist whose work is distributed by King Features Syndicate, Rather continues to speak out against alleged influence in journalism by corporations and governments. At a 2008 conference in Minneapolis, Minnesota, sponsored by the group Free Press, Rather criticized both local and national news organizations, stating—according to reports—that there is no longer incentive to do “good and valuable news.”
Books
The Palace Guard, with Gary Paul Gates, 1974. .
The Camera Never Blinks: Adventures of a TV Journalist, with Mickey Herskowitz, 1977. .
I Remember, with Peter Wyden, 1991. .
The Camera Never Blinks Twice: The Further Adventures of a Television Journalist, with Mickey Herskowitz, 1994. .
, 1999. .
"The American Dream: Stories from the Heart of Our Nation", 2001. .
, with Digby Diehl, 2013. .
What Unites Us: Reflections on Patriotism, with Elliot Kirschner, 2017. .What Unites Us: The Graphic Novel, with Elliot Kirschner, illustrated by Tim Foley, 2021. .
Awards
He has received numerous Emmy Awards, several Peabody Awards, and various honorary degrees from universities.
In addition to these awards, Rather was inducted into the Television Hall of Fame in 2004. In 2001, he received the Golden Plate Award of the American Academy of Achievement.
Criticism
As one of the last broadcast news journalists from the era of the "Big Three" network news primacy, Rather was generally regarded highly within his profession by long-serving journalists. Rather has been accused of having a liberal bias."Dan Rather: a pioneer and a lightning rod" at The Christian Science Monitor.
Claims of bias
Rather's on-screen comments and election-night reporting have come under attack dating back to Richard Nixon's presidency. In a June 2002 interview with Larry King, his long-time co-worker (and self-described liberal), Andy Rooney stated that Rather is “transparently liberal.”
During the weeks following the Killian documents stories, Rather received widespread criticism from other journalists and historians. In an interview with commentator Bill Maher, Rather accused Fox News Channel of receiving "talking points" from the Republican-controlled White House. Fox News commentator Bill O'Reilly, who had defended Rather during the Killian documents incident, criticized Rather for not offering any evidence to support the claim.
In 2002, Bernard Goldberg published a book with the title Bias, alleging a liberal bias in print and broadcast news organizations. In the book, Goldberg used Dan Rather as a primary example of a news anchorman with a liberal bias. He also criticized the anchor for his criticisms of President George W. Bush's and Vice President Dan Quayle's service in the National Guard, rather than the Active Duty military during the Vietnam War, and questioned Rather's own service.
Fairness and Accuracy in Reporting has accused Rather of having "an unwillingness to challenge official power and policy" in his reporting. Investigative reporter Mark Hertsgaard characterized Rather as a "stern anti-Communist" during the Reagan administration, for allegedly having "reported the pronouncements of public officials with considerable respect."
In April 2001, according to a front-page story in The Washington Post, Rather spoke at a Democratic party fundraiser in Austin, Texas, where he was the featured speaker. One of the official hosts for the fundraiser was Rather's daughter, Robin Rather; Rather said that he did not realize that his daughter was a host of the fundraiser. Rather also said that he did not realize that the event was a partisan fundraiser, although he did realize that after he arrived at the event.
From Walter Cronkite
During an appearance on CNN's American Morning in 2005, former CBS anchor Walter Cronkite said about Rather: “It surprised quite a few people at CBS and elsewhere that, without being able to pull up the ratings beyond third in a three-man field, that they tolerated his being there for so long.” Cronkite also said that he would like to have seen Bob Schieffer in Rather's position sooner.
From Dallas CBS news director Eddie Barker
In the aftermath of the Kennedy assassination while Rather was a Dallas reporter, he interviewed a minister, who said some local schoolchildren had cheered upon learning of the President's shooting. The Associated Press later confirmed the story. A teacher at the school backed up the Rather story, confirming that some students at the school had cheered at the principal's news about Kennedy. Eddie Barker, local Dallas-area news director for CBS, said that Rather had in fact been aware that the children were merely happy about being sent home early, and they had not been given a reason for early school closure (Barker's children attended the school, as he informed Rather). He stated that Rather had deliberately misrepresented the facts by indicating that the children were happy about the shooting. Barker attempted to fire Rather, but was overruled by the national CBS News management.
Incidents and controversies
1968 Democratic convention
During live coverage of the 1968 Democratic National Convention, Rather attempted to interview a delegate from Georgia who appeared as though he was being forcibly removed by men without identification badges.
As Rather approached the delegate to question the apparent strong-arm tactics of the Chicago political machine under Mayor Daley, he was punched in the stomach by one of the men, knocking him to the ground. “He lifted me right off the floor and put me away. I was down, the breath knocked out of me, as the whole group blew on by me ... In the CBS control room, they had switched the camera onto me just as I was slugged.” Walter Cronkite, after being told by Rather what happened, added on-air, "I think we got a bunch of thugs here Dan!"
Chicago cab ride
On November 10, 1980, Rather landed at Chicago's O'Hare International Airport and got into a cab. He asked the cab driver to take him to the home of writer Studs Terkel, whom he was interviewing for 60 Minutes. A police spokesman said that the cab driver refused to go to the address and instead "wildly drove through the city streets," with Rather shouting out the window asking for help. The driver was charged with disorderly conduct. Rather called the incident “a rather minor thing.”
By the time the case was about to come to trial, he was about to add anchoring the CBS Evening News to his 60 Minutes role at CBS News. Rather declined to press charges, citing a "mounting schedule of reporting assignments."
Galloway lawsuit
In 1980, Rather and CBS were taken to court when Carl Galloway, a California doctor, claimed that a report on 60 Minutes wrongfully implicated him in an insurance fraud scheme. CBS stated Galloway had signed the bogus report, and was suing Rather because he was upset at being caught. The jury sided with CBS and Rather, and they won the case. During the trial, Galloway's side used outtakes from the TV report showing that one interview was rehearsed.
"Courage"
For one week in September 1986, Rather signed off his broadcasts to CBS with the word "courage." He said that it was just a signature line, and had nothing to do with the news at the time. Other newscasters ridiculed and parodied Rather, and he dropped it.
"Kenneth, what is the frequency?"
On October 4, 1986, while walking along Park Avenue to his apartment in Manhattan, Rather was attacked and punched from behind by a man who demanded to know "Kenneth, what is the frequency?" while a second assailant chased and beat him. As the assailant pummeled and kicked Rather, he kept repeating the question. In describing the incident, Rather said “I got mugged. Who understands these things? I didn't and I don't now. I didn't make a lot of it at the time and I don't now. I wish I knew who did it and why, but I have no idea.” Until the crime was resolved years later, Rather's description of the bizarre crime led some to doubt the veracity of his account, although the doorman and building supervisor who came to Rather's aid fully confirmed his version of events.
The assault remained unsolved for some time, and was referenced multiple times in popular culture. The phrase "What's the frequency, Kenneth?" became a popular-culture reference over the years, such as in a scene in the graphic novel Like a Velvet Glove Cast in Iron by cartoonist Daniel Clowes. The opening track of the 1987 album Lolita Nation by California power pop group Game Theory is titled "Kenneth, What's the Frequency?" In 1994, the band R.E.M. released the song "What's the Frequency, Kenneth?" on their album Monster. Rather later sang with R.E.M. during a sound check prior to a gig at New York's Madison Square Garden, which was shown the following night on the Late Show with David Letterman.
In 1997, a TV critic writing in the New York Daily News solved the mystery, publishing a photo of the alleged assailant, William Tager, who received a 12.5-to-25-year prison sentence for killing NBC stagehand Campbell Montgomery outside The Today Show studio in 1994. Rather confirmed the story: "There's no doubt in my mind that this is the person." New York District Attorney Robert M. Morgenthau said "William Tager's identity as the man who attacked Mr. Rather was established in the course of an investigation by my office." Tager claimed he thought television networks were beaming signals into his brain. When he murdered the stagehand, Tager was trying to force his way into an NBC studio with a weapon, in order to find out the frequency the networks were using to attack him, so that he could block it. Tager was paroled in October 2010.
Dead air
On September 11, 1987, Rather walked off the set in anger just before a remote Evening News broadcast from Miami, where Pope John Paul II had begun a rare U.S. tour, when a U.S. Open tennis match was being broadcast into the time scheduled for the newscast. He was upset that the news was being cut into to make room for sports and discussed it with the sports department, and made it clear that if the newscast did not start on time, then CBS Sports should fill the half hour. The Steffi Graf–Lori McNeil tennis match coverage then ended sooner than expected at 6:32 p.m., but Rather had disappeared. (CBS Sports had finally agreed to break away immediately after the match without commentary.) Thus, over 100 affiliates were forced to broadcast six minutes of dead air. Some stations were forced to air a slot of syndicated programming such as a rerun of a game show or a sitcom, and other stations were forced to pull out a technical difficulty telop graphic. Phil Jones, the chairman of the CBS affiliation board and general manager of Kansas City's KCTV (which the station placed a technical difficulty graphic during dead air) wanted an apology from Rather. Meanwhile in Miami, the city's CBS affiliate WTVJ was forced to drop the episode entirely, which ended up airing a syndicated rerun of a game show to fill the station's schedule. The next day, Rather apologized for leaving the anchor desk. The following year, when Rather asked then Vice President Bush about his role in the Iran–Contra affair during a live interview, Bush responded by saying, “Dan, how would you like it if I judged your entire career by those seven minutes when you walked off the set in New York?” Roger Ailes had a “mole” at CBS, who alerted him that the goal was to “take Bush out of the race” with a tough interview on Iran-Contra. Ailes alerted Bush on the cab ride over, and fed him the seven minutes retort. The aftermath of the interview showed the episode was a boost for Bush. “The vice president's poll ratings in Iowa and New Hampshire bumped visibly upward.”
"Ratherisms"
Rather is known for his many colorful analogies and descriptions during live broadcasts. Similar to those used by baseball announcer Red Barber, cycling commentator Phil Liggett, and Formula 1 commentator Murray Walker, these "Ratherisms" are also called "Texanisms" or "Danisms" by some. A few of the more colorful ones, several of which were used throughout the 2008 HBO made-for-TV movie Recount about the 2000 Election, include:
“This race is shakier than cafeteria Jell-O.”
“This thing is as tight as the rusted lugnuts on a '55 Ford.”
His characterization of the Republican Party's assessment of President Obama: “[He] couldn't sell watermelons if you gave him the state troopers to flag down the traffic.”
In popular culture
Rather has been referenced in the television shows Saturday Night Live and Family Guy and many films. An animated caricature of him made a cameo appearance in the JibJab political cartoon, Good to Be in D.C. In 1971, he had a cameo in an episode of the number one hit comedy series All in the Family. Entitled The Man in the Street, series star Carroll O'Connor's Archie Bunker character excitedly awaits the viewing of a videotaped interview he gave earlier that day for the CBS Evening News. At the last minute, to his dismay, the segment is preempted by the telecast of a Richard Nixon presidential address from the Oval Office. Rather appears, as himself, delivering post-speech analysis from actual news footage. Jean Stapleton, as Archie's scatterbrained wife Edith Bunker, says of Rather how he's there to "...tell us what Mr. Nixon just said."
In 2004, he was featured in the documentary film Barbecue: A Texas Love Story by Austin-based director Chris Elley. Two years later, Rather and Elley educated a group of New Yorkers in Madison Square Park about the true meaning of BBQ, and its significance to the identity of the Lone Star State.
In the 2006–07 graphic novel Shooting War, which is set in the year 2011, an 80-year-old Dan Rather is shown to be one of the last journalists still reporting from Iraq. He had a cameo in the premiere of the Fall 2007 drama Dirty Sexy Money on ABC television. He guest-starred as himself in The Simpsons episode, "E Pluribus Wiggum."
Rather appeared on The Daily Show in May 2009, wearing an Afro wig and mutton-chop sideburns to narrate a segment about the late former President Nixon eating a burrito, as a parody of MSNBC's extensive coverage of President Obama and Vice President Biden's hamburger lunch. He appears in the 2008 award-winning documentary Boogie Man: The Lee Atwater Story.
A skit on the 38th season of Sesame Street featured Anderson Cooper interviewing two grouches, "Walter Cranky" and "Dan Rather Not," who, when asked to answer questions, demurred with the phrase "I'd rather not."
Robert Redford portrayed Rather in the 2015 film Truth. Rather appeared in the docudrama Facing Saddam providing his views on Saddam Hussein.
Ratings
Under Rather's predecessor, Walter Cronkite, the CBS Evening News was a strong #1 in the ratings, which Rather maintained through much of the 1980s. However, Tom Brokaw and his NBC Nightly News, and Peter Jennings of ABC News' World News Tonight, increasing in popularity, eventually cut deep into the Rather broadcast's numbers.
See also
New Yorkers in journalism
References
Further reading
Dan Rather & Elliot Kirschner (2017). What Unites Us: Reflections on Patriotism Algonquin Books of Chapel Hill.
Rather, Dan. The Palace Guard, with Gary Gates
Rather, Dan. I Remember, with Peter Wyden.
Rather, Dan with Herskowitz, Mickey. The Camera Never Blinks Twice''. 1995. William Morrow.
2nd Saddam interview
External links
AXS TV The Big Interview
Dan Rather: American Journalist (Briscoe Center for American History)
Members of the Council on Foreign Relations
1931 births
Living people
American television reporters and correspondents
American war correspondents
American war correspondents of the Vietnam War
CBS News people
Emmy Award winners
Peabody Award winners
60 Minutes correspondents
Associated Press reporters
Houston Chronicle people
Television anchors from Houston
Journalists from Houston
Killian documents controversy
People from Wharton, Texas
Sam Houston State University alumni
Writers from Texas
American victims of crime
Texas Democrats
The Young Turks people
American male journalists
20th-century American journalists
21st-century American journalists
Journalists from New York City
People from Huntsville, Texas
Recipients of the Four Freedoms Award
Military personnel from Texas | true | [
"Ten Thirteen Productions is a production company founded by Chris Carter in 1993, which produced four television series and two films (The X-Files and The X-Files: I Want to Believe). The company was named after Carter's birthday, October 13. The Ten Thirteen offices are located in Santa Monica, Los Angeles, California.\n\nHistory\n\nThe company was founded when Carter began his series The X-Files in 1993. With the success of The X-Files continuously growing, in 1996 the company embarked on a new series; Millennium. The series lasted for three seasons. In 1998, they released a film simply titled The X-Files, which grossed $189,198,313. In 1999, as Millennium was canceled, a third series was put into production, Harsh Realm. Despite critical praise, it was canceled after only nine episodes. In 2001 they decided to create a direct spin-off from The X-Files and the result was The Lone Gunmen. This was canceled after one season.\n\nProduced material\n\nTelevision series (1993–2018)\nThe X-Files (1993–2002, 2016–2018)\nMillennium (1996–1999)\nHarsh Realm (1999–2000)\nThe Lone Gunmen (2001)\n\nFilms\nThe X-Files (1998)\nThe X-Files: I Want to Believe (2008)\n\nNotes and references \n\nTelevision production companies of the United States\nMass media companies established in 1993",
"\"Walking After You\" is a song by the Foo Fighters and appears on the band's 1997 album The Colour and the Shape. In 1998 a re-recorded version appeared on The X-Files: The Album, the soundtrack to the original X-Files movie, and was released as a single.\n\nSong information\nWhile none of the X-Files album songs are prominently featured in the movie itself, \"Walking After You\" is played during the end credit sequence, following Noel Gallagher's \"Teotihuacan.\" The single's B-side is Ween's \"Beacon Light\". The Foo Fighters had previously contributed a cover of Gary Numan's \"Down in the Park\" to the compilation album, Songs in the Key of X: Music From and Inspired by the X-Files. Grohl is an avid \"X-Files\" fan.\n\n\"Walking After You\" was a hit in the UK and was performed live on the chart show Top of the Pops. The song, along with the rest of The Colour and the Shape album was released as downloadable content for the Rock Band series of video games on November 13, 2008.\n\nVersion differences\nThe original album version was created in December 1996 at WGNS Studios in Washington, D.C., in between recording sessions for The Colour and the Shape. It was performed by Grohl on vocals (in one take) and all instrument parts (except bass, which was performed by the band's bassist Nate Mendel), and was recorded by Geoff Turner.\n\nThe soundtrack/single version was performed by the full band, including then-recent additions Taylor Hawkins and Franz Stahl, with guest backing vocals from Shudder to Think's Craig Wedren. It was recorded in early 1998 at Ocean Way Studios in Hollywood, and was produced by Talking Heads member Jerry Harrison. As a result of trying to muster as much emotion as possible, Grohl broke down during the recording of the vocal take which ended up being used in the final mix. This version also utilizes the addition of a piano part during the bridge, performed by Harrison. Stylistically, it employs more intricate drumming and guitar work than the original—which is much more sparse—and runs about a minute shorter.\n\nMusic video\nThe song's music video features a nattily-attired Grohl interacting with a woman (played by Spanish actress Arly Jover) in what appears to be an asylum or prison, where the two are separated by plate-glass windows. A stack of vintage television sets displays clips of retro fare such as Bela Lugosi films and Betty Boop cartoons.\n\nIt was directed by fashion photographer Matthew Rolston, who had also done videos for artists such as Janet Jackson, Madonna, and Lenny Kravitz.\n\nBefore Rolston's involvement in the video, X-Files star David Duchovny had expressed an interest in directing it, but was quick to admit his inexperience, saying \"I wouldn't know what the hell I'm doing.\" The concept was also initially considered to have more of a direct relation to The X-Files in some way, which the finished video does not bear.\n\nTrack listing\n\"Walking After You\" (edited single mix)\n\"Beacon Light\" (performed by Ween)\nThe previously unreleased Ween song \"Beacon Light\" was used as a B-side as it also appears on the film soundtrack to X-Files: Fight the Future.\n\nRecording\n\nThe Colour and the Shape\nDave Grohl – vocals, guitar, drums\nNate Mendel – bass\n\nThe X-Files: The Album\nDave Grohl – vocals, rhythm guitar\nNate Mendel – bass\nFranz Stahl – lead guitar\nTaylor Hawkins – drums\nCraig Wedren – backing vocals\nJerry Harrison – piano\n\nCharts\n\nReferences\n\n1998 singles\nFoo Fighters songs\nThe X-Files music\nSongs written by Dave Grohl\nSong recordings produced by Jerry Harrison\nMusic videos directed by Matthew Rolston\n1998 songs"
] | [
"Daniel Irvin Rather Jr. (; born October 31, 1931) is an American journalist and former national evening news anchor. Rather began his career in Texas, becoming a national name after his reporting saved thousands of lives during Hurricane Carla in September 1961.",
"Rather began his career in Texas, becoming a national name after his reporting saved thousands of lives during Hurricane Carla in September 1961. Rather spontaneously created the first radar weather report by overlaying a transparent map over a radar image of Hurricane Carla. In his first national broadcast, he helped initiate the successful evacuation of 350,000 people.",
"In his first national broadcast, he helped initiate the successful evacuation of 350,000 people. Rather reported from Dallas in November 1963 at the time that President John F. Kennedy was assassinated. Based on his reporting, he was promoted at CBS News, where he served as White House correspondent beginning in 1964.",
"Based on his reporting, he was promoted at CBS News, where he served as White House correspondent beginning in 1964. He served as foreign correspondent in London and Vietnam over the next two years before returning to the White House correspondent position.",
"He served as foreign correspondent in London and Vietnam over the next two years before returning to the White House correspondent position. He covered the presidency of Richard Nixon, including Nixon's trip to China, the Watergate scandal, and the president's resignation.",
"He covered the presidency of Richard Nixon, including Nixon's trip to China, the Watergate scandal, and the president's resignation. In 1981, Rather was promoted to news anchor for the CBS Evening News, a role he occupied for 24 years.",
"In 1981, Rather was promoted to news anchor for the CBS Evening News, a role he occupied for 24 years. Along with Peter Jennings at ABC News and Tom Brokaw at NBC News, he was one of the \"Big Three\" nightly news anchors in the U.S. from the 1980s through the early 2000s.",
"Along with Peter Jennings at ABC News and Tom Brokaw at NBC News, he was one of the \"Big Three\" nightly news anchors in the U.S. from the 1980s through the early 2000s. He frequently contributed to CBS's weekly news magazine, 60 Minutes.",
"He frequently contributed to CBS's weekly news magazine, 60 Minutes. Rather left the anchor desk in 2005 following the Killian documents controversy, in which he presented unauthenticated documents in a news report on President George W. Bush's Vietnam War–era service in the National Guard.",
"Rather left the anchor desk in 2005 following the Killian documents controversy, in which he presented unauthenticated documents in a news report on President George W. Bush's Vietnam War–era service in the National Guard. He continued to work with CBS until 2006, when he was abruptly fired.",
"He continued to work with CBS until 2006, when he was abruptly fired. In September 2007, Rather filed a $70 million lawsuit against CBS and its former parent company Viacom. Rather accused the network and its ownership and management of making him a \"scapegoat\" in the Killian story.",
"Rather accused the network and its ownership and management of making him a \"scapegoat\" in the Killian story. An intermediate New York state appeals court dismissed the lawsuit in September 2009, and the New York Court of Appeals refused to reinstate it in January 2010.",
"An intermediate New York state appeals court dismissed the lawsuit in September 2009, and the New York Court of Appeals refused to reinstate it in January 2010. On the cable channel AXS TV (then called HDNet), Rather hosted Dan Rather Reports, a 60 Minutes–style investigative news program, from 2006 to 2013.",
"On the cable channel AXS TV (then called HDNet), Rather hosted Dan Rather Reports, a 60 Minutes–style investigative news program, from 2006 to 2013. He also hosts several other projects for AXS TV, including Dan Rather Presents, which provides in-depth reporting on broad topics such as mental health care or adoption, and The Big Interview with Dan Rather, in which he conducts long-form interviews with musicians and other entertainers.",
"He also hosts several other projects for AXS TV, including Dan Rather Presents, which provides in-depth reporting on broad topics such as mental health care or adoption, and The Big Interview with Dan Rather, in which he conducts long-form interviews with musicians and other entertainers. In January 2018, he began hosting an online newscast called The News with Dan Rather on The Young Turks' YouTube channel.",
"In January 2018, he began hosting an online newscast called The News with Dan Rather on The Young Turks' YouTube channel. Early life Daniel Irvin Rather Jr. was born on October 31, 1931, in Wharton County, Texas, the son of Daniel Irvin Rather Sr., a ditch digger and pipe layer, and the former Byrl Veda Page.",
"Early life Daniel Irvin Rather Jr. was born on October 31, 1931, in Wharton County, Texas, the son of Daniel Irvin Rather Sr., a ditch digger and pipe layer, and the former Byrl Veda Page. The Rathers moved to Houston when he was a child, where Dan attended Lovett Elementary School and Hamilton Middle School.",
"The Rathers moved to Houston when he was a child, where Dan attended Lovett Elementary School and Hamilton Middle School. He graduated in 1950 from John H. Reagan High School in Houston.",
"He graduated in 1950 from John H. Reagan High School in Houston. In 1953, Rather earned a bachelor's degree in journalism from Sam Houston State Teachers College in Huntsville, Texas, where he was editor of the school newspaper, The Houstonian.",
"In 1953, Rather earned a bachelor's degree in journalism from Sam Houston State Teachers College in Huntsville, Texas, where he was editor of the school newspaper, The Houstonian. He was also a member of the Caballeros, the founding organization of the Epsilon Psi chapter of the Sigma Chi fraternity.",
"He was also a member of the Caballeros, the founding organization of the Epsilon Psi chapter of the Sigma Chi fraternity. While in college, Rather worked for KSAM-FM radio in Huntsville, calling junior high, high school, and Sam Houston State football games.",
"While in college, Rather worked for KSAM-FM radio in Huntsville, calling junior high, high school, and Sam Houston State football games. After obtaining his undergraduate degree, Rather briefly attended South Texas College of Law in Houston.",
"After obtaining his undergraduate degree, Rather briefly attended South Texas College of Law in Houston. In January 1954, Rather enlisted in the United States Marine Corps and was sent to the Marine Corps Recruit Depot San Diego.",
"In January 1954, Rather enlisted in the United States Marine Corps and was sent to the Marine Corps Recruit Depot San Diego. He was soon discharged, however, because he was found to have had rheumatic fever as a child, a fact he had omitted during the enlistment process.",
"He was soon discharged, however, because he was found to have had rheumatic fever as a child, a fact he had omitted during the enlistment process. Early career Rather began his journalism career in 1950 as an Associated Press reporter in Huntsville, Texas.",
"Early career Rather began his journalism career in 1950 as an Associated Press reporter in Huntsville, Texas. Later, he was a reporter for United Press (1950–1952), several Texas radio stations, and the Houston Chronicle (1954–1955). Around 1955, Rather wrote a piece on heroin.",
"Around 1955, Rather wrote a piece on heroin. Under the auspices of the Houston Police, he tried a dose of the drug, which he characterized as \"a special kind of hell.\" He worked for four seasons as the play-by-play announcer for the University of Houston football team.",
"He worked for four seasons as the play-by-play announcer for the University of Houston football team. During the 1959 minor league baseball season, Rather was the play-by-play radio announcer for the Texas League Houston Buffs. In 1959, Rather began his television career as a reporter for KTRK-TV, the ABC affiliate in Houston.",
"In 1959, Rather began his television career as a reporter for KTRK-TV, the ABC affiliate in Houston. He was subsequently promoted to the director of news for KHOU-TV, the CBS affiliate in Houston. In September 1961, Rather covered Hurricane Carla for KHOU-TV, broadcasting from the then National Weather Center in Galveston.",
"In September 1961, Rather covered Hurricane Carla for KHOU-TV, broadcasting from the then National Weather Center in Galveston. He is noted for showing the first radar image of a hurricane on TV. He conceived of overlaying a transparent map over the radar screen, in order to show the size of Hurricane Carla to the audience.",
"He conceived of overlaying a transparent map over the radar screen, in order to show the size of Hurricane Carla to the audience. Convinced of the threat, more than 350,000 people evacuated from the area, the largest known evacuation to that time.",
"Convinced of the threat, more than 350,000 people evacuated from the area, the largest known evacuation to that time. Their actions are believed to have saved thousands of lives compared to the previous hurricane, which had killed 6,000 to 12,000 people. Rather's live coverage of Carla was broadcast by New York and national stations.",
"Rather's live coverage of Carla was broadcast by New York and national stations. Ray Miller, news director of KPRC-TV, the NBC affiliate in Houston, also mentored Rather in the early years. On February 28, 1962, Rather left Houston for New York City for a six-month trial initiation at CBS.",
"On February 28, 1962, Rather left Houston for New York City for a six-month trial initiation at CBS. Rather did not fit in easily on the East Coast.",
"Rather did not fit in easily on the East Coast. His first reports for CBS included coverage of the crash of American Airlines Flight 1 in Jamaica Bay, and a report on the suffocation of children at a hospital in Binghamton, New York. Shortly after, Rather was made chief of CBS's Southwest bureau in Dallas.",
"Shortly after, Rather was made chief of CBS's Southwest bureau in Dallas. In August 1963, he was appointed chief of the Southern bureau in New Orleans, responsible for coverage of news events in the South, Southwest, Mexico and Central America.",
"In August 1963, he was appointed chief of the Southern bureau in New Orleans, responsible for coverage of news events in the South, Southwest, Mexico and Central America. CBS News JFK assassination to Watergate In his autobiography, Rather noted that he was in Dallas in November 1963 to return film from an interview in Uvalde at the ranch of former Vice President John Nance Garner, who celebrated his 95th birthday on November 22.",
"CBS News JFK assassination to Watergate In his autobiography, Rather noted that he was in Dallas in November 1963 to return film from an interview in Uvalde at the ranch of former Vice President John Nance Garner, who celebrated his 95th birthday on November 22. He happened to be \"on the other side of the railroad tracks, beyond the triple underpass, thirty yards from a grassy knoll that would later figure in so many conspiracy theories.\"",
"He happened to be \"on the other side of the railroad tracks, beyond the triple underpass, thirty yards from a grassy knoll that would later figure in so many conspiracy theories.\" His job was to fetch a film drop from a camera truck at that location, and take it to the station for editing.",
"His job was to fetch a film drop from a camera truck at that location, and take it to the station for editing. He did not witness the shooting of Kennedy, and knew nothing of the events until he reached KRLD, having run through Dealey Plaza.",
"He did not witness the shooting of Kennedy, and knew nothing of the events until he reached KRLD, having run through Dealey Plaza. He later wrote: “The moment I cleared the railroad tracks I saw a scene I will never forget. Some people were lying on the grass, some screaming, some running, some pointing.",
"Some people were lying on the grass, some screaming, some running, some pointing. Policemen swarmed everywhere and distinctly above the din, I heard one shout, 'DON'T ANYBODY PANIC.'",
"Policemen swarmed everywhere and distinctly above the din, I heard one shout, 'DON'T ANYBODY PANIC.' And of course, there was nothing but panic wherever you looked.” In his autobiography, Rather said he was one of the first to view the Zapruder film showing the assassination, and the first to describe it on television.",
"And of course, there was nothing but panic wherever you looked.” In his autobiography, Rather said he was one of the first to view the Zapruder film showing the assassination, and the first to describe it on television. Rather reported the fatal headshot as forcing Kennedy's head forward, but it was thrown backward.",
"Rather reported the fatal headshot as forcing Kennedy's head forward, but it was thrown backward. Later, he reported that some Dallas schoolchildren had applauded when they were notified of the president's death. Administrators said they had announced that school was to be dismissed early, and did not mention the assassination.",
"Administrators said they had announced that school was to be dismissed early, and did not mention the assassination. However, teacher Joanna Morgan confirmed that students had cheered at the news that Kennedy was shot. This story infuriated local journalists at then-CBS affiliate KRLD-TV (now Fox-owned-and-operated KDFW-TV).",
"This story infuriated local journalists at then-CBS affiliate KRLD-TV (now Fox-owned-and-operated KDFW-TV). Rather's reporting during the national mourning period following the Kennedy assassination and subsequent events impressed CBS News management. In 1964, they selected him for the network's White House correspondent position.",
"In 1964, they selected him for the network's White House correspondent position. In 1965, Rather served as a foreign correspondent for CBS in London, and in 1966 in Vietnam. He served again as White House correspondent during the presidency of Richard Nixon.",
"He served again as White House correspondent during the presidency of Richard Nixon. In 1970, he was also assigned as anchor for the CBS Sunday Night News (1970–73; 1974–75), and later for the CBS Saturday Evening News (1973–76). Rather was among those journalists who accompanied Nixon to China.",
"Rather was among those journalists who accompanied Nixon to China. He later covered the Watergate investigation, as well as the impeachment proceedings against Nixon in Congress. CBS Evening News anchor After President Nixon's resignation in 1974, Rather became chief correspondent for the documentary series CBS Reports.",
"CBS Evening News anchor After President Nixon's resignation in 1974, Rather became chief correspondent for the documentary series CBS Reports. In December 1975, he became a correspondent of the long-running Sunday night news show 60 Minutes—at the time the program was moved from a Sunday afternoon time-slot to primetime.",
"In December 1975, he became a correspondent of the long-running Sunday night news show 60 Minutes—at the time the program was moved from a Sunday afternoon time-slot to primetime. Success there helped Rather pull ahead of longtime correspondent Roger Mudd, who was in line to succeed Walter Cronkite as anchor and Managing Editor of The CBS Evening News.",
"Success there helped Rather pull ahead of longtime correspondent Roger Mudd, who was in line to succeed Walter Cronkite as anchor and Managing Editor of The CBS Evening News. Rather succeeded to the news anchor position after Cronkite's retirement, making his first broadcast on March 9, 1981. Rather had a significantly different style of reporting the news.",
"Rather had a significantly different style of reporting the news. In contrast to the avuncular Cronkite, who ended his newscast with “That's the way it is,” Rather searched to find a broadcast ending more suitable to his tastes.",
"In contrast to the avuncular Cronkite, who ended his newscast with “That's the way it is,” Rather searched to find a broadcast ending more suitable to his tastes. For one week in September 1986, with CBS the target of potentially hostile new ownership, Rather tried ending his broadcasts with the word \"courage,\" and was roundly ridiculed for it.",
"For one week in September 1986, with CBS the target of potentially hostile new ownership, Rather tried ending his broadcasts with the word \"courage,\" and was roundly ridiculed for it. For nearly two decades, Rather ended the show with: “That's part of our world tonight.” Rather also held other positions during his time as anchor.",
"For nearly two decades, Rather ended the show with: “That's part of our world tonight.” Rather also held other positions during his time as anchor. In January 1988, he became host of the newly created 48 Hours, and in January 1999, Rather joined the new 60 Minutes II as a correspondent.",
"In January 1988, he became host of the newly created 48 Hours, and in January 1999, Rather joined the new 60 Minutes II as a correspondent. Ratings for the Evening News with Rather at the helm fluctuated wildly, at a time when more alternatives to TV news were developing.",
"Ratings for the Evening News with Rather at the helm fluctuated wildly, at a time when more alternatives to TV news were developing. After a dip to second place, Rather regained the top spot in 1985 until 1989, when he ceded the ratings peak to rival Peter Jennings at ABC's World News Tonight.",
"After a dip to second place, Rather regained the top spot in 1985 until 1989, when he ceded the ratings peak to rival Peter Jennings at ABC's World News Tonight. By 1992, however, the Evening News had fallen to third place of the three major networks.",
"By 1992, however, the Evening News had fallen to third place of the three major networks. It rose in rankings in 2005, when Bob Schieffer became the interim anchor between Rather and Katie Couric.",
"It rose in rankings in 2005, when Bob Schieffer became the interim anchor between Rather and Katie Couric. It briefly moved ahead of ABC World News Tonight in the wake of the death of Peter Jennings, but remained behind NBC Nightly News.",
"It briefly moved ahead of ABC World News Tonight in the wake of the death of Peter Jennings, but remained behind NBC Nightly News. Rather was a frequent collaborator with CBS News producer Susan Zirinsky, a leading member of the news division's staff.",
"Rather was a frequent collaborator with CBS News producer Susan Zirinsky, a leading member of the news division's staff. In 1987, new CBS owner Laurence Tisch oversaw layoffs of hundreds of CBS News employees, in a major shake-up of the network.",
"In 1987, new CBS owner Laurence Tisch oversaw layoffs of hundreds of CBS News employees, in a major shake-up of the network. Among those to go were correspondents such as David Andelman, Fred Graham, Morton Dean, and Ike Pappas. Fewer videotape crews were dispatched to cover stories, and numerous bureaus were closed.",
"Fewer videotape crews were dispatched to cover stories, and numerous bureaus were closed. Critics cited the cutbacks as a major factor in CBS News' fall into third place in the ratings. For a short time from 1993 to 1995, Rather co-anchored the evening news with Connie Chung.",
"For a short time from 1993 to 1995, Rather co-anchored the evening news with Connie Chung. Chung had been a Washington, DC correspondent for CBS News, and anchored short news updates on the West Coast. On joining the CBS Evening News, she reported \"pop news\" stories.",
"On joining the CBS Evening News, she reported \"pop news\" stories. In one widely cited case, she aggressively pursued Tonya Harding, who was accused of a plot to injure fellow Olympic ice skater Nancy Kerrigan. After Chung left the network, Rather went back to doing the newscast alone.",
"After Chung left the network, Rather went back to doing the newscast alone. By the 2005–06 season, the end of Rather's time as anchor, CBS Evening News lagged behind NBC Nightly News and ABC World News Tonight in the ratings. But it still drew approximately 5.5 million viewers a night.",
"But it still drew approximately 5.5 million viewers a night. Criticism of Rather reached a fever pitch after 60 Minutes II ran his 2004 report about President Bush's military record. Numerous critics questioned the authenticity of the documents upon which the report was based. Rather subsequently admitted on the air that the documents' authenticity could not be proven.",
"Rather subsequently admitted on the air that the documents' authenticity could not be proven. In the aftermath, CBS fired several members of CBS News staff but temporarily retained Rather, until his contract was up for renewal the following year, whereupon he was completely ousted.",
"In the aftermath, CBS fired several members of CBS News staff but temporarily retained Rather, until his contract was up for renewal the following year, whereupon he was completely ousted. Journalistic history and influence Nixon During Richard Nixon's presidency, critics accused Rather of biased coverage against him.",
"Journalistic history and influence Nixon During Richard Nixon's presidency, critics accused Rather of biased coverage against him. At a Houston news conference in March 1974, Nixon fielded a question from Rather, still CBS's White House correspondent, who said, “Thank you, Mr. President.",
"At a Houston news conference in March 1974, Nixon fielded a question from Rather, still CBS's White House correspondent, who said, “Thank you, Mr. President. Dan Rather, of CBS News.” The room filled with jeers and applause, prompting Nixon to joke, “Are you running for something?” Rather replied, “No, sir, Mr. President.",
"Dan Rather, of CBS News.” The room filled with jeers and applause, prompting Nixon to joke, “Are you running for something?” Rather replied, “No, sir, Mr. President. Are you?” He questioned whether Nixon was cooperating with the grand jury investigation and House Judiciary Committee in relation to the Watergate scandal.",
"Are you?” He questioned whether Nixon was cooperating with the grand jury investigation and House Judiciary Committee in relation to the Watergate scandal. NBC's Tom Brokaw has said the network considered hiring him to replace Rather as its White House correspondent, but dropped it after word was leaked to the press.",
"NBC's Tom Brokaw has said the network considered hiring him to replace Rather as its White House correspondent, but dropped it after word was leaked to the press. Rather was believed to have provided tough coverage of the Watergate scandal, raising his profile.",
"Rather was believed to have provided tough coverage of the Watergate scandal, raising his profile. Space Shuttle Challenger disaster In January 1986, NASA faced repeated delays in the preparations to launch the Space Shuttles Columbia and Challenger in close sequence.",
"Space Shuttle Challenger disaster In January 1986, NASA faced repeated delays in the preparations to launch the Space Shuttles Columbia and Challenger in close sequence. Rather described the January 10 delay of Columbia as: “star-crossed space shuttle Columbia stood ready for launch again today, and once more, the launch was scrubbed.",
"Rather described the January 10 delay of Columbia as: “star-crossed space shuttle Columbia stood ready for launch again today, and once more, the launch was scrubbed. Heavy rain was the cause this time.",
"Heavy rain was the cause this time. The launch has been postponed so often since its original date, December 18, that it's now known as mission impossible.”This was considered an example of the \"biting sarcasm\" the media used related to NASA's scheduling. Columbia launched on January 12.",
"Columbia launched on January 12. Columbia launched on January 12. On January 27, Rather's reporting of the expected Challenger launch began as follows: On January 28, Challenger'''s explosion and destruction occurred 73 seconds after launch.",
"On January 27, Rather's reporting of the expected Challenger launch began as follows: On January 28, Challenger'''s explosion and destruction occurred 73 seconds after launch. Afghanistan, Reagan, and George H. W. Bush During the Soviet–Afghan War, Rather was filmed reporting near the front lines while wearing a traditional mujahideen headdress and garments.",
"Afghanistan, Reagan, and George H. W. Bush During the Soviet–Afghan War, Rather was filmed reporting near the front lines while wearing a traditional mujahideen headdress and garments. Rather attracted an Evening News audience (and was nicknamed \"Gunga Dan\"). The American comic strip Doonesbury spoofed his actions.",
"The American comic strip Doonesbury spoofed his actions. Rather's reports were later revealed to have been influential to Congressman Charlie Wilson (D-Texas), who led an effort to help the struggling mujahideen. The CIA developed its largest covert operation to supply aid and advanced arms to the mujahideen. The Soviets eventually quit Afghanistan.",
"The Soviets eventually quit Afghanistan. The Soviets eventually quit Afghanistan. Rather gained the anchor spot on the Evening News. He was competing with Roger Mudd, a more senior correspondent and a frequent substitute anchor for Walter Cronkite on Evening News. Mudd had also anchored the Sunday evening broadcast, but Rather traveled through Afghanistan when news led there.",
"Mudd had also anchored the Sunday evening broadcast, but Rather traveled through Afghanistan when news led there. A few years into his service as anchor, Rather began wearing sweaters beneath his suit jacket to soften his on-air appearance for viewers. During the 1980s, Rather gained further renown for his forceful and skeptical reporting on the Iran–Contra affair.",
"During the 1980s, Rather gained further renown for his forceful and skeptical reporting on the Iran–Contra affair. He eventually confronted Vice President George H. W. Bush in an on-air interview during the latter's presidential campaign.",
"He eventually confronted Vice President George H. W. Bush in an on-air interview during the latter's presidential campaign. Bush referred to Rather's \"dead air incident\" saying: “I want to talk about why I want to be President, why those 41 percent of the people are supporting me.",
"Bush referred to Rather's \"dead air incident\" saying: “I want to talk about why I want to be President, why those 41 percent of the people are supporting me. And I don't think it's fair to judge my whole career by a rehash on Iran.",
"And I don't think it's fair to judge my whole career by a rehash on Iran. How would you like it if I judged your career by those seven minutes when you walked off the set in New York?”Rather ignored Bush's comment.",
"How would you like it if I judged your career by those seven minutes when you walked off the set in New York?”Rather ignored Bush's comment. Shortly after Iraq invaded Kuwait, Rather secured an interview with Iraqi leader Saddam Hussein.",
"Shortly after Iraq invaded Kuwait, Rather secured an interview with Iraqi leader Saddam Hussein. On February 24, 2003, Rather conducted another interview with Hussein before the United States' 2003 invasion of Iraq. In the interview, Hussein invited Rather to be the moderator of a live television debate between him and George W. Bush.",
"In the interview, Hussein invited Rather to be the moderator of a live television debate between him and George W. Bush. The debate never took place. The Wall Within On June 2, 1988, Rather hosted a CBS News special, The Wall Within.",
"The Wall Within On June 2, 1988, Rather hosted a CBS News special, The Wall Within. In it, he interviewed six veterans, each of whom said he had witnessed horrible acts in Vietnam. Two of the men said that they had killed civilians, and two others said that they had seen friends die.",
"Two of the men said that they had killed civilians, and two others said that they had seen friends die. Each talked about the effects the war had upon their lives—including depression, unemployment, drug use, and homelessness. In 2004, National Review ran an article by Anne Morse entitled \"The First Rathergate.\"",
"In 2004, National Review ran an article by Anne Morse entitled \"The First Rathergate.\" She said that almost nothing claimed by participants in The Wall Within was true.",
"She said that almost nothing claimed by participants in The Wall Within was true. Citing the self-published book Stolen Valor (1998) by veteran B. G. Burkett, and investigative journalist Glenna Whitley, Morse said that military records revealed that the six former servicemen had lied about their experiences.",
"Citing the self-published book Stolen Valor (1998) by veteran B. G. Burkett, and investigative journalist Glenna Whitley, Morse said that military records revealed that the six former servicemen had lied about their experiences. Only one served in combat, and two had never been in Vietnam.",
"Only one served in combat, and two had never been in Vietnam. Killian documents On September 8, 2004, Rather reported on 60 Minutes Wednesday that a series of memos critical of President George W. Bush's Texas Air National Guard service record had been discovered in the personal files of Lt. Bush's former commanding officer, Lt. Col. Jerry B. Killian.",
"Killian documents On September 8, 2004, Rather reported on 60 Minutes Wednesday that a series of memos critical of President George W. Bush's Texas Air National Guard service record had been discovered in the personal files of Lt. Bush's former commanding officer, Lt. Col. Jerry B. Killian. Once copies of the documents were made available on the Internet, their authenticity was quickly called into question.",
"Once copies of the documents were made available on the Internet, their authenticity was quickly called into question. Much of this was based on the fact that the documents were proportionally printed and displayed using other modern typographic conventions usually unavailable on military typewriters of the 1970s.",
"Much of this was based on the fact that the documents were proportionally printed and displayed using other modern typographic conventions usually unavailable on military typewriters of the 1970s. The font used on the documents has characteristics that exactly or almost exactly match standard font features of Microsoft Word. This led to claims that the memos were forgeries.",
"This led to claims that the memos were forgeries. The accusations then spread over the following days into mainstream media outlets, including The Washington Post, The New York Times, and The Chicago Sun-Times. Rather and CBS initially defended the story, insisting that the documents had been authenticated by experts.",
"Rather and CBS initially defended the story, insisting that the documents had been authenticated by experts. CBS was contradicted by some of the experts it originally cited, and later reported that its source for the documents—former Texas Army National Guard officer Lt. Col. Bill Burkett—had misled the network about how he had obtained them.",
"CBS was contradicted by some of the experts it originally cited, and later reported that its source for the documents—former Texas Army National Guard officer Lt. Col. Bill Burkett—had misled the network about how he had obtained them. On September 20, 2004, CBS retracted the story.",
"On September 20, 2004, CBS retracted the story. Rather stated, “If I knew then what I know now, I would not have gone ahead with the story as it was aired, and I certainly would not have used the documents in question.” The controversy has been referred to by some as \"Memogate\" and \"Rathergate.\"",
"Rather stated, “If I knew then what I know now, I would not have gone ahead with the story as it was aired, and I certainly would not have used the documents in question.” The controversy has been referred to by some as \"Memogate\" and \"Rathergate.\" Following an investigation commissioned by CBS, CBS fired story producer Mary Mapes, and asked three other producers connected with the story to resign.",
"Following an investigation commissioned by CBS, CBS fired story producer Mary Mapes, and asked three other producers connected with the story to resign. Many believe Rather's retirement was hastened by this incident.",
"Many believe Rather's retirement was hastened by this incident. On September 20, 2007, Rather was interviewed on Larry King Live commenting, “Nobody has proved that they were fraudulent, much less a forgery. ...",
"... ... The truth of this story stands up to this day.” Departure from the CBS Evening News Rather retired as the anchorman and Managing Editor of the CBS Evening News in 2005; his last broadcast was Wednesday, March 9, 2005.",
"The truth of this story stands up to this day.” Departure from the CBS Evening News Rather retired as the anchorman and Managing Editor of the CBS Evening News in 2005; his last broadcast was Wednesday, March 9, 2005. He had worked as the anchorman for 24 full years, the longest tenure of anyone in American television history, and for a short time, continued to work as a correspondent for 60 Minutes.",
"He had worked as the anchorman for 24 full years, the longest tenure of anyone in American television history, and for a short time, continued to work as a correspondent for 60 Minutes. Bob Schieffer, a fellow Texan and host of Face the Nation, took over Rather's position on an interim basis, with Katie Couric replacing Schieffer in 2006.",
"Bob Schieffer, a fellow Texan and host of Face the Nation, took over Rather's position on an interim basis, with Katie Couric replacing Schieffer in 2006. Since retiring, Rather has spoken out about what he perceives as a lack of courage by American journalists. On January 24, 2006, Rather spoke to a Seattle audience.",
"On January 24, 2006, Rather spoke to a Seattle audience. Before the speaking engagement, he told a newspaper reporter, “In many ways on many days, [reporters] have sort of adopted the attitude of 'go along, get along.",
"Before the speaking engagement, he told a newspaper reporter, “In many ways on many days, [reporters] have sort of adopted the attitude of 'go along, get along. '” “What many of us need is a spine transplant,” Rather added.",
"'” “What many of us need is a spine transplant,” Rather added. “Whether it's City Hall, the State House, or the White House, part of our job is to speak truth to power.” Ousted from CBS News In June 2006, reports surfaced that CBS News would most likely not renew Dan Rather's contract.",
"“Whether it's City Hall, the State House, or the White House, part of our job is to speak truth to power.” Ousted from CBS News In June 2006, reports surfaced that CBS News would most likely not renew Dan Rather's contract. According to a Washington Post article, sources from CBS said that executives at the network decided \"there is no future role for Rather.\"",
"According to a Washington Post article, sources from CBS said that executives at the network decided \"there is no future role for Rather.\" On June 20, 2006, CBS News and Sports President Sean McManus announced that Rather would leave the network after 44 years.",
"On June 20, 2006, CBS News and Sports President Sean McManus announced that Rather would leave the network after 44 years. Rather issued a separate statement which accompanied the news of the departure: Lawsuit over ouster from CBS Network On September 19, 2007, Rather filed a $70 million lawsuit against CBS, its former parent company Viacom; CBS President and CEO Leslie Moonves; Sumner Redstone, chairman of both Viacom and CBS; and Andrew Heyward, former president of CBS News.",
"Rather issued a separate statement which accompanied the news of the departure: Lawsuit over ouster from CBS Network On September 19, 2007, Rather filed a $70 million lawsuit against CBS, its former parent company Viacom; CBS President and CEO Leslie Moonves; Sumner Redstone, chairman of both Viacom and CBS; and Andrew Heyward, former president of CBS News. Rather accused the network and its ownership and management of making him a \"scapegoat\" in the Killian story.",
"Rather accused the network and its ownership and management of making him a \"scapegoat\" in the Killian story. A CBS spokesman claimed that the lawsuit was \"old news\" and \"without merit.\"",
"A CBS spokesman claimed that the lawsuit was \"old news\" and \"without merit.\" On September 21, 2009, Rather's lawyers claimed that Bush's military service would be proven to be a sham, and Rather would be vindicated.",
"On September 21, 2009, Rather's lawyers claimed that Bush's military service would be proven to be a sham, and Rather would be vindicated. On September 29, 2009, a New York state appeals court dismissed Rather's lawsuit against CBS.",
"On September 29, 2009, a New York state appeals court dismissed Rather's lawsuit against CBS. On January 12, 2010, New York's top court refused to reinstate Rather's $70 million breach-of-contract lawsuit against CBS Corp.",
"On January 12, 2010, New York's top court refused to reinstate Rather's $70 million breach-of-contract lawsuit against CBS Corp. In his book titled Rather Outspoken, Rather claims that the lawsuit “took a big whack out of my time, my psyche and my bank balance, but even so, it was worth it.” On May 18, 2012, Rather appeared on Real Time With Bill Maher, and claimed he had been fired for reporting a story about George W. Bush's year of absence from the reserve unit he served with, and that the news corporations had been \"very uncomfortable\" with running the story.",
"In his book titled Rather Outspoken, Rather claims that the lawsuit “took a big whack out of my time, my psyche and my bank balance, but even so, it was worth it.” On May 18, 2012, Rather appeared on Real Time With Bill Maher, and claimed he had been fired for reporting a story about George W. Bush's year of absence from the reserve unit he served with, and that the news corporations had been \"very uncomfortable\" with running the story. Post-CBS career Following his departure from CBS, Dan Rather joined Mark Cuban's cable network AXS TV (then called HDNet) to host and produce the weekly one-hour news show Dan Rather Reports from 2006 until 2013.",
"Post-CBS career Following his departure from CBS, Dan Rather joined Mark Cuban's cable network AXS TV (then called HDNet) to host and produce the weekly one-hour news show Dan Rather Reports from 2006 until 2013. Since 2013, Rather has hosted and produced the hour-long series The Big Interview with Dan Rather on AXS TV, where he sits down for in-depth interviews with influential figures in music and entertainment, such as: John Fogerty, Quentin Tarantino, Simon Cowell, Aaron Sorkin, and Sammy Hagar.",
"Since 2013, Rather has hosted and produced the hour-long series The Big Interview with Dan Rather on AXS TV, where he sits down for in-depth interviews with influential figures in music and entertainment, such as: John Fogerty, Quentin Tarantino, Simon Cowell, Aaron Sorkin, and Sammy Hagar. He has also produced several documentary specials for the network under the banner Dan Rather Presents, including specials about \"America's Mental Health Crisis,\" the United States Secret Service, and \"The Shameful Side of International Adoption.\"",
"He has also produced several documentary specials for the network under the banner Dan Rather Presents, including specials about \"America's Mental Health Crisis,\" the United States Secret Service, and \"The Shameful Side of International Adoption.\" Rather also appears frequently on a number of news shows, including MSNBC's The Rachel Maddow Show and The Last Word with Lawrence O'Donnell and on CNN.",
"Rather also appears frequently on a number of news shows, including MSNBC's The Rachel Maddow Show and The Last Word with Lawrence O'Donnell and on CNN. He has also written for The Huffington Post and Mashable.",
"He has also written for The Huffington Post and Mashable. On May 28, 2007, Rather compared historical events to events in the Star Wars films in the History Channel special titled Star Wars: The Legacy Revealed. In 2012, Rather published an autobiography titled Rather Outspoken: My Life in the News.",
"In 2012, Rather published an autobiography titled Rather Outspoken: My Life in the News. In 2015, Rather launched an independent production company called News and Guts Media, through which he produces The Big Interview among other projects. In 2015, Rather also began actively posting on Facebook.",
"In 2015, Rather also began actively posting on Facebook. He credits young staffers at News and Guts Media with pushing him to try social media. While his posts were considerably longer than typical social media posts, they resonated with the audience, which soon grew to more than two million followers.",
"While his posts were considerably longer than typical social media posts, they resonated with the audience, which soon grew to more than two million followers. Even late night TV noticed Rather's unusual but effective Facebook presence. Subject matter has covered a range of topics, including: current political events, journalism, and childhood memories.",
"Subject matter has covered a range of topics, including: current political events, journalism, and childhood memories. On September 23, 2016, SiriusXM Radio announced a new hour-long weekly program, \"Dan Rather's America,\" airing Tuesday mornings at 10am Eastern on Radio Andy channel 102, debuting on September 27.",
"On September 23, 2016, SiriusXM Radio announced a new hour-long weekly program, \"Dan Rather's America,\" airing Tuesday mornings at 10am Eastern on Radio Andy channel 102, debuting on September 27. In the fall of 2017, the Briscoe Center for American History at the University of Texas completed a digital humanities project dedicated to the long career of the journalist that was titled Dan Rather: American Journalist.",
"In the fall of 2017, the Briscoe Center for American History at the University of Texas completed a digital humanities project dedicated to the long career of the journalist that was titled Dan Rather: American Journalist. The culmination of three years of research conducted at the Briscoe Center, the site uses materials from a dozen archives and libraries, and draws from over 25 of the Briscoe Center for American History's news media and photojournalism collections.",
"The culmination of three years of research conducted at the Briscoe Center, the site uses materials from a dozen archives and libraries, and draws from over 25 of the Briscoe Center for American History's news media and photojournalism collections. The website features over 2,000 digitized documents, 300 excerpts from twelve oral history interviews, and 1000 video clips, enabling visitors to dive deep into the history of the last 60 years through the lens of Dan Rather's career.",
"The website features over 2,000 digitized documents, 300 excerpts from twelve oral history interviews, and 1000 video clips, enabling visitors to dive deep into the history of the last 60 years through the lens of Dan Rather's career. On January 21, 2018, it was announced that Rather would be launching a weekly 30-minute newscast on The Young Turks.",
"On January 21, 2018, it was announced that Rather would be launching a weekly 30-minute newscast on The Young Turks. Titled The News with Dan Rather, it airs on Mondays at 5:30pm Eastern Time. Personal life Rather married Jean Goebel in 1957.",
"Personal life Rather married Jean Goebel in 1957. They have a son and daughter, and maintain homes in New York City and Austin, Texas. Their daughter Robin is an environmentalist and community activist in Austin, Texas. Their son Dan is an assistant district attorney in the District Attorney's office in Manhattan, New York.",
"Their son Dan is an assistant district attorney in the District Attorney's office in Manhattan, New York. Sam Houston State University renamed its mass communications building after Rather in 1994. The building houses The Houstonian and KSHU, the student-run radio and television stations.",
"The building houses The Houstonian and KSHU, the student-run radio and television stations. In May 2007, Rather received an honorary Doctor of Humane Letters from Siena College in Loudonville, New York, for his lifetime contributions to journalism.",
"In May 2007, Rather received an honorary Doctor of Humane Letters from Siena College in Loudonville, New York, for his lifetime contributions to journalism. A columnist whose work is distributed by King Features Syndicate, Rather continues to speak out against alleged influence in journalism by corporations and governments.",
"A columnist whose work is distributed by King Features Syndicate, Rather continues to speak out against alleged influence in journalism by corporations and governments. At a 2008 conference in Minneapolis, Minnesota, sponsored by the group Free Press, Rather criticized both local and national news organizations, stating—according to reports—that there is no longer incentive to do “good and valuable news.” Books The Palace Guard, with Gary Paul Gates, 1974. .",
"At a 2008 conference in Minneapolis, Minnesota, sponsored by the group Free Press, Rather criticized both local and national news organizations, stating—according to reports—that there is no longer incentive to do “good and valuable news.” Books The Palace Guard, with Gary Paul Gates, 1974. . The Camera Never Blinks: Adventures of a TV Journalist, with Mickey Herskowitz, 1977. .",
"The Camera Never Blinks: Adventures of a TV Journalist, with Mickey Herskowitz, 1977. . I Remember, with Peter Wyden, 1991. . The Camera Never Blinks Twice: The Further Adventures of a Television Journalist, with Mickey Herskowitz, 1994. . , 1999. .",
", 1999. . , 1999. . \"The American Dream: Stories from the Heart of Our Nation\", 2001. . , with Digby Diehl, 2013. . What Unites Us: Reflections on Patriotism, with Elliot Kirschner, 2017. .What Unites Us: The Graphic Novel, with Elliot Kirschner, illustrated by Tim Foley, 2021. .",
".What Unites Us: The Graphic Novel, with Elliot Kirschner, illustrated by Tim Foley, 2021. . Awards He has received numerous Emmy Awards, several Peabody Awards, and various honorary degrees from universities. In addition to these awards, Rather was inducted into the Television Hall of Fame in 2004.",
"In addition to these awards, Rather was inducted into the Television Hall of Fame in 2004. In 2001, he received the Golden Plate Award of the American Academy of Achievement.",
"In 2001, he received the Golden Plate Award of the American Academy of Achievement. Criticism As one of the last broadcast news journalists from the era of the \"Big Three\" network news primacy, Rather was generally regarded highly within his profession by long-serving journalists. Rather has been accused of having a liberal bias.",
"Rather has been accused of having a liberal bias. \"Dan Rather: a pioneer and a lightning rod\" at The Christian Science Monitor. Claims of bias Rather's on-screen comments and election-night reporting have come under attack dating back to Richard Nixon's presidency.",
"Claims of bias Rather's on-screen comments and election-night reporting have come under attack dating back to Richard Nixon's presidency. In a June 2002 interview with Larry King, his long-time co-worker (and self-described liberal), Andy Rooney stated that Rather is “transparently liberal.” During the weeks following the Killian documents stories, Rather received widespread criticism from other journalists and historians.",
"In a June 2002 interview with Larry King, his long-time co-worker (and self-described liberal), Andy Rooney stated that Rather is “transparently liberal.” During the weeks following the Killian documents stories, Rather received widespread criticism from other journalists and historians. In an interview with commentator Bill Maher, Rather accused Fox News Channel of receiving \"talking points\" from the Republican-controlled White House.",
"In an interview with commentator Bill Maher, Rather accused Fox News Channel of receiving \"talking points\" from the Republican-controlled White House. Fox News commentator Bill O'Reilly, who had defended Rather during the Killian documents incident, criticized Rather for not offering any evidence to support the claim.",
"Fox News commentator Bill O'Reilly, who had defended Rather during the Killian documents incident, criticized Rather for not offering any evidence to support the claim. In 2002, Bernard Goldberg published a book with the title Bias, alleging a liberal bias in print and broadcast news organizations.",
"In 2002, Bernard Goldberg published a book with the title Bias, alleging a liberal bias in print and broadcast news organizations. In the book, Goldberg used Dan Rather as a primary example of a news anchorman with a liberal bias.",
"In the book, Goldberg used Dan Rather as a primary example of a news anchorman with a liberal bias. He also criticized the anchor for his criticisms of President George W. Bush's and Vice President Dan Quayle's service in the National Guard, rather than the Active Duty military during the Vietnam War, and questioned Rather's own service.",
"He also criticized the anchor for his criticisms of President George W. Bush's and Vice President Dan Quayle's service in the National Guard, rather than the Active Duty military during the Vietnam War, and questioned Rather's own service. Fairness and Accuracy in Reporting has accused Rather of having \"an unwillingness to challenge official power and policy\" in his reporting.",
"Fairness and Accuracy in Reporting has accused Rather of having \"an unwillingness to challenge official power and policy\" in his reporting. Investigative reporter Mark Hertsgaard characterized Rather as a \"stern anti-Communist\" during the Reagan administration, for allegedly having \"reported the pronouncements of public officials with considerable respect.\"",
"Investigative reporter Mark Hertsgaard characterized Rather as a \"stern anti-Communist\" during the Reagan administration, for allegedly having \"reported the pronouncements of public officials with considerable respect.\" In April 2001, according to a front-page story in The Washington Post, Rather spoke at a Democratic party fundraiser in Austin, Texas, where he was the featured speaker.",
"In April 2001, according to a front-page story in The Washington Post, Rather spoke at a Democratic party fundraiser in Austin, Texas, where he was the featured speaker. One of the official hosts for the fundraiser was Rather's daughter, Robin Rather; Rather said that he did not realize that his daughter was a host of the fundraiser.",
"One of the official hosts for the fundraiser was Rather's daughter, Robin Rather; Rather said that he did not realize that his daughter was a host of the fundraiser. Rather also said that he did not realize that the event was a partisan fundraiser, although he did realize that after he arrived at the event.",
"Rather also said that he did not realize that the event was a partisan fundraiser, although he did realize that after he arrived at the event. From Walter Cronkite During an appearance on CNN's American Morning in 2005, former CBS anchor Walter Cronkite said about Rather: “It surprised quite a few people at CBS and elsewhere that, without being able to pull up the ratings beyond third in a three-man field, that they tolerated his being there for so long.” Cronkite also said that he would like to have seen Bob Schieffer in Rather's position sooner.",
"From Walter Cronkite During an appearance on CNN's American Morning in 2005, former CBS anchor Walter Cronkite said about Rather: “It surprised quite a few people at CBS and elsewhere that, without being able to pull up the ratings beyond third in a three-man field, that they tolerated his being there for so long.” Cronkite also said that he would like to have seen Bob Schieffer in Rather's position sooner. From Dallas CBS news director Eddie Barker In the aftermath of the Kennedy assassination while Rather was a Dallas reporter, he interviewed a minister, who said some local schoolchildren had cheered upon learning of the President's shooting.",
"From Dallas CBS news director Eddie Barker In the aftermath of the Kennedy assassination while Rather was a Dallas reporter, he interviewed a minister, who said some local schoolchildren had cheered upon learning of the President's shooting. The Associated Press later confirmed the story.",
"The Associated Press later confirmed the story. A teacher at the school backed up the Rather story, confirming that some students at the school had cheered at the principal's news about Kennedy.",
"A teacher at the school backed up the Rather story, confirming that some students at the school had cheered at the principal's news about Kennedy. Eddie Barker, local Dallas-area news director for CBS, said that Rather had in fact been aware that the children were merely happy about being sent home early, and they had not been given a reason for early school closure (Barker's children attended the school, as he informed Rather).",
"Eddie Barker, local Dallas-area news director for CBS, said that Rather had in fact been aware that the children were merely happy about being sent home early, and they had not been given a reason for early school closure (Barker's children attended the school, as he informed Rather). He stated that Rather had deliberately misrepresented the facts by indicating that the children were happy about the shooting.",
"He stated that Rather had deliberately misrepresented the facts by indicating that the children were happy about the shooting. Barker attempted to fire Rather, but was overruled by the national CBS News management.",
"Barker attempted to fire Rather, but was overruled by the national CBS News management. Incidents and controversies 1968 Democratic convention During live coverage of the 1968 Democratic National Convention, Rather attempted to interview a delegate from Georgia who appeared as though he was being forcibly removed by men without identification badges.",
"Incidents and controversies 1968 Democratic convention During live coverage of the 1968 Democratic National Convention, Rather attempted to interview a delegate from Georgia who appeared as though he was being forcibly removed by men without identification badges. As Rather approached the delegate to question the apparent strong-arm tactics of the Chicago political machine under Mayor Daley, he was punched in the stomach by one of the men, knocking him to the ground.",
"As Rather approached the delegate to question the apparent strong-arm tactics of the Chicago political machine under Mayor Daley, he was punched in the stomach by one of the men, knocking him to the ground. “He lifted me right off the floor and put me away.",
"“He lifted me right off the floor and put me away. I was down, the breath knocked out of me, as the whole group blew on by me ...",
"I was down, the breath knocked out of me, as the whole group blew on by me ... In the CBS control room, they had switched the camera onto me just as I was slugged.” Walter Cronkite, after being told by Rather what happened, added on-air, \"I think we got a bunch of thugs here Dan!\"",
"In the CBS control room, they had switched the camera onto me just as I was slugged.” Walter Cronkite, after being told by Rather what happened, added on-air, \"I think we got a bunch of thugs here Dan!\" Chicago cab ride On November 10, 1980, Rather landed at Chicago's O'Hare International Airport and got into a cab.",
"Chicago cab ride On November 10, 1980, Rather landed at Chicago's O'Hare International Airport and got into a cab. He asked the cab driver to take him to the home of writer Studs Terkel, whom he was interviewing for 60 Minutes.",
"He asked the cab driver to take him to the home of writer Studs Terkel, whom he was interviewing for 60 Minutes. A police spokesman said that the cab driver refused to go to the address and instead \"wildly drove through the city streets,\" with Rather shouting out the window asking for help.",
"A police spokesman said that the cab driver refused to go to the address and instead \"wildly drove through the city streets,\" with Rather shouting out the window asking for help. The driver was charged with disorderly conduct.",
"The driver was charged with disorderly conduct. Rather called the incident “a rather minor thing.” By the time the case was about to come to trial, he was about to add anchoring the CBS Evening News to his 60 Minutes role at CBS News.",
"Rather called the incident “a rather minor thing.” By the time the case was about to come to trial, he was about to add anchoring the CBS Evening News to his 60 Minutes role at CBS News. Rather declined to press charges, citing a \"mounting schedule of reporting assignments.\"",
"Rather declined to press charges, citing a \"mounting schedule of reporting assignments.\" Galloway lawsuit In 1980, Rather and CBS were taken to court when Carl Galloway, a California doctor, claimed that a report on 60 Minutes wrongfully implicated him in an insurance fraud scheme.",
"Galloway lawsuit In 1980, Rather and CBS were taken to court when Carl Galloway, a California doctor, claimed that a report on 60 Minutes wrongfully implicated him in an insurance fraud scheme. CBS stated Galloway had signed the bogus report, and was suing Rather because he was upset at being caught.",
"CBS stated Galloway had signed the bogus report, and was suing Rather because he was upset at being caught. The jury sided with CBS and Rather, and they won the case. During the trial, Galloway's side used outtakes from the TV report showing that one interview was rehearsed.",
"During the trial, Galloway's side used outtakes from the TV report showing that one interview was rehearsed. \"Courage\" For one week in September 1986, Rather signed off his broadcasts to CBS with the word \"courage.\"",
"\"Courage\" For one week in September 1986, Rather signed off his broadcasts to CBS with the word \"courage.\" He said that it was just a signature line, and had nothing to do with the news at the time. Other newscasters ridiculed and parodied Rather, and he dropped it.",
"Other newscasters ridiculed and parodied Rather, and he dropped it. \"Kenneth, what is the frequency?\" On October 4, 1986, while walking along Park Avenue to his apartment in Manhattan, Rather was attacked and punched from behind by a man who demanded to know \"Kenneth, what is the frequency?\"",
"On October 4, 1986, while walking along Park Avenue to his apartment in Manhattan, Rather was attacked and punched from behind by a man who demanded to know \"Kenneth, what is the frequency?\" while a second assailant chased and beat him. As the assailant pummeled and kicked Rather, he kept repeating the question.",
"As the assailant pummeled and kicked Rather, he kept repeating the question. In describing the incident, Rather said “I got mugged. Who understands these things? I didn't and I don't now. I didn't make a lot of it at the time and I don't now.",
"I didn't make a lot of it at the time and I don't now. I wish I knew who did it and why, but I have no idea.” Until the crime was resolved years later, Rather's description of the bizarre crime led some to doubt the veracity of his account, although the doorman and building supervisor who came to Rather's aid fully confirmed his version of events.",
"I wish I knew who did it and why, but I have no idea.” Until the crime was resolved years later, Rather's description of the bizarre crime led some to doubt the veracity of his account, although the doorman and building supervisor who came to Rather's aid fully confirmed his version of events. The assault remained unsolved for some time, and was referenced multiple times in popular culture.",
"The assault remained unsolved for some time, and was referenced multiple times in popular culture. The phrase \"What's the frequency, Kenneth?\" became a popular-culture reference over the years, such as in a scene in the graphic novel Like a Velvet Glove Cast in Iron by cartoonist Daniel Clowes.",
"became a popular-culture reference over the years, such as in a scene in the graphic novel Like a Velvet Glove Cast in Iron by cartoonist Daniel Clowes. The opening track of the 1987 album Lolita Nation by California power pop group Game Theory is titled \"Kenneth, What's the Frequency?\" In 1994, the band R.E.M.",
"In 1994, the band R.E.M. released the song \"What's the Frequency, Kenneth?\" on their album Monster. Rather later sang with R.E.M. during a sound check prior to a gig at New York's Madison Square Garden, which was shown the following night on the Late Show with David Letterman.",
"during a sound check prior to a gig at New York's Madison Square Garden, which was shown the following night on the Late Show with David Letterman. In 1997, a TV critic writing in the New York Daily News solved the mystery, publishing a photo of the alleged assailant, William Tager, who received a 12.5-to-25-year prison sentence for killing NBC stagehand Campbell Montgomery outside The Today Show studio in 1994.",
"In 1997, a TV critic writing in the New York Daily News solved the mystery, publishing a photo of the alleged assailant, William Tager, who received a 12.5-to-25-year prison sentence for killing NBC stagehand Campbell Montgomery outside The Today Show studio in 1994. Rather confirmed the story: \"There's no doubt in my mind that this is the person.\"",
"Rather confirmed the story: \"There's no doubt in my mind that this is the person.\" New York District Attorney Robert M. Morgenthau said \"William Tager's identity as the man who attacked Mr. Rather was established in the course of an investigation by my office.\"",
"New York District Attorney Robert M. Morgenthau said \"William Tager's identity as the man who attacked Mr. Rather was established in the course of an investigation by my office.\" Tager claimed he thought television networks were beaming signals into his brain.",
"Tager claimed he thought television networks were beaming signals into his brain. When he murdered the stagehand, Tager was trying to force his way into an NBC studio with a weapon, in order to find out the frequency the networks were using to attack him, so that he could block it. Tager was paroled in October 2010.",
"Tager was paroled in October 2010. Dead air On September 11, 1987, Rather walked off the set in anger just before a remote Evening News broadcast from Miami, where Pope John Paul II had begun a rare U.S. tour, when a U.S. Open tennis match was being broadcast into the time scheduled for the newscast.",
"Dead air On September 11, 1987, Rather walked off the set in anger just before a remote Evening News broadcast from Miami, where Pope John Paul II had begun a rare U.S. tour, when a U.S. Open tennis match was being broadcast into the time scheduled for the newscast. He was upset that the news was being cut into to make room for sports and discussed it with the sports department, and made it clear that if the newscast did not start on time, then CBS Sports should fill the half hour.",
"He was upset that the news was being cut into to make room for sports and discussed it with the sports department, and made it clear that if the newscast did not start on time, then CBS Sports should fill the half hour. The Steffi Graf–Lori McNeil tennis match coverage then ended sooner than expected at 6:32 p.m., but Rather had disappeared.",
"The Steffi Graf–Lori McNeil tennis match coverage then ended sooner than expected at 6:32 p.m., but Rather had disappeared. (CBS Sports had finally agreed to break away immediately after the match without commentary.) Thus, over 100 affiliates were forced to broadcast six minutes of dead air.",
"Thus, over 100 affiliates were forced to broadcast six minutes of dead air. Some stations were forced to air a slot of syndicated programming such as a rerun of a game show or a sitcom, and other stations were forced to pull out a technical difficulty telop graphic.",
"Some stations were forced to air a slot of syndicated programming such as a rerun of a game show or a sitcom, and other stations were forced to pull out a technical difficulty telop graphic. Phil Jones, the chairman of the CBS affiliation board and general manager of Kansas City's KCTV (which the station placed a technical difficulty graphic during dead air) wanted an apology from Rather.",
"Phil Jones, the chairman of the CBS affiliation board and general manager of Kansas City's KCTV (which the station placed a technical difficulty graphic during dead air) wanted an apology from Rather. Meanwhile in Miami, the city's CBS affiliate WTVJ was forced to drop the episode entirely, which ended up airing a syndicated rerun of a game show to fill the station's schedule.",
"Meanwhile in Miami, the city's CBS affiliate WTVJ was forced to drop the episode entirely, which ended up airing a syndicated rerun of a game show to fill the station's schedule. The next day, Rather apologized for leaving the anchor desk.",
"The next day, Rather apologized for leaving the anchor desk. The following year, when Rather asked then Vice President Bush about his role in the Iran–Contra affair during a live interview, Bush responded by saying, “Dan, how would you like it if I judged your entire career by those seven minutes when you walked off the set in New York?” Roger Ailes had a “mole” at CBS, who alerted him that the goal was to “take Bush out of the race” with a tough interview on Iran-Contra.",
"The following year, when Rather asked then Vice President Bush about his role in the Iran–Contra affair during a live interview, Bush responded by saying, “Dan, how would you like it if I judged your entire career by those seven minutes when you walked off the set in New York?” Roger Ailes had a “mole” at CBS, who alerted him that the goal was to “take Bush out of the race” with a tough interview on Iran-Contra. Ailes alerted Bush on the cab ride over, and fed him the seven minutes retort.",
"Ailes alerted Bush on the cab ride over, and fed him the seven minutes retort. The aftermath of the interview showed the episode was a boost for Bush. “The vice president's poll ratings in Iowa and New Hampshire bumped visibly upward.” \"Ratherisms\" Rather is known for his many colorful analogies and descriptions during live broadcasts.",
"“The vice president's poll ratings in Iowa and New Hampshire bumped visibly upward.” \"Ratherisms\" Rather is known for his many colorful analogies and descriptions during live broadcasts. Similar to those used by baseball announcer Red Barber, cycling commentator Phil Liggett, and Formula 1 commentator Murray Walker, these \"Ratherisms\" are also called \"Texanisms\" or \"Danisms\" by some.",
"Similar to those used by baseball announcer Red Barber, cycling commentator Phil Liggett, and Formula 1 commentator Murray Walker, these \"Ratherisms\" are also called \"Texanisms\" or \"Danisms\" by some. A few of the more colorful ones, several of which were used throughout the 2008 HBO made-for-TV movie Recount about the 2000 Election, include: “This race is shakier than cafeteria Jell-O.” “This thing is as tight as the rusted lugnuts on a '55 Ford.” His characterization of the Republican Party's assessment of President Obama: “[He] couldn't sell watermelons if you gave him the state troopers to flag down the traffic.” In popular culture Rather has been referenced in the television shows Saturday Night Live and Family Guy and many films.",
"A few of the more colorful ones, several of which were used throughout the 2008 HBO made-for-TV movie Recount about the 2000 Election, include: “This race is shakier than cafeteria Jell-O.” “This thing is as tight as the rusted lugnuts on a '55 Ford.” His characterization of the Republican Party's assessment of President Obama: “[He] couldn't sell watermelons if you gave him the state troopers to flag down the traffic.” In popular culture Rather has been referenced in the television shows Saturday Night Live and Family Guy and many films. An animated caricature of him made a cameo appearance in the JibJab political cartoon, Good to Be in D.C.",
"An animated caricature of him made a cameo appearance in the JibJab political cartoon, Good to Be in D.C. In 1971, he had a cameo in an episode of the number one hit comedy series All in the Family.",
"In 1971, he had a cameo in an episode of the number one hit comedy series All in the Family. Entitled The Man in the Street, series star Carroll O'Connor's Archie Bunker character excitedly awaits the viewing of a videotaped interview he gave earlier that day for the CBS Evening News.",
"Entitled The Man in the Street, series star Carroll O'Connor's Archie Bunker character excitedly awaits the viewing of a videotaped interview he gave earlier that day for the CBS Evening News. At the last minute, to his dismay, the segment is preempted by the telecast of a Richard Nixon presidential address from the Oval Office.",
"At the last minute, to his dismay, the segment is preempted by the telecast of a Richard Nixon presidential address from the Oval Office. Rather appears, as himself, delivering post-speech analysis from actual news footage.",
"Rather appears, as himself, delivering post-speech analysis from actual news footage. Jean Stapleton, as Archie's scatterbrained wife Edith Bunker, says of Rather how he's there to \"...tell us what Mr. Nixon just said.\"",
"Jean Stapleton, as Archie's scatterbrained wife Edith Bunker, says of Rather how he's there to \"...tell us what Mr. Nixon just said.\" In 2004, he was featured in the documentary film Barbecue: A Texas Love Story by Austin-based director Chris Elley.",
"In 2004, he was featured in the documentary film Barbecue: A Texas Love Story by Austin-based director Chris Elley. Two years later, Rather and Elley educated a group of New Yorkers in Madison Square Park about the true meaning of BBQ, and its significance to the identity of the Lone Star State.",
"Two years later, Rather and Elley educated a group of New Yorkers in Madison Square Park about the true meaning of BBQ, and its significance to the identity of the Lone Star State. In the 2006–07 graphic novel Shooting War, which is set in the year 2011, an 80-year-old Dan Rather is shown to be one of the last journalists still reporting from Iraq.",
"In the 2006–07 graphic novel Shooting War, which is set in the year 2011, an 80-year-old Dan Rather is shown to be one of the last journalists still reporting from Iraq. He had a cameo in the premiere of the Fall 2007 drama Dirty Sexy Money on ABC television.",
"He had a cameo in the premiere of the Fall 2007 drama Dirty Sexy Money on ABC television. He guest-starred as himself in The Simpsons episode, \"E Pluribus Wiggum.\"",
"He guest-starred as himself in The Simpsons episode, \"E Pluribus Wiggum.\" Rather appeared on The Daily Show in May 2009, wearing an Afro wig and mutton-chop sideburns to narrate a segment about the late former President Nixon eating a burrito, as a parody of MSNBC's extensive coverage of President Obama and Vice President Biden's hamburger lunch.",
"Rather appeared on The Daily Show in May 2009, wearing an Afro wig and mutton-chop sideburns to narrate a segment about the late former President Nixon eating a burrito, as a parody of MSNBC's extensive coverage of President Obama and Vice President Biden's hamburger lunch. He appears in the 2008 award-winning documentary Boogie Man: The Lee Atwater Story.",
"He appears in the 2008 award-winning documentary Boogie Man: The Lee Atwater Story. A skit on the 38th season of Sesame Street featured Anderson Cooper interviewing two grouches, \"Walter Cranky\" and \"Dan Rather Not,\" who, when asked to answer questions, demurred with the phrase \"I'd rather not.\"",
"A skit on the 38th season of Sesame Street featured Anderson Cooper interviewing two grouches, \"Walter Cranky\" and \"Dan Rather Not,\" who, when asked to answer questions, demurred with the phrase \"I'd rather not.\" Robert Redford portrayed Rather in the 2015 film Truth.",
"Robert Redford portrayed Rather in the 2015 film Truth. Rather appeared in the docudrama Facing Saddam providing his views on Saddam Hussein. Ratings Under Rather's predecessor, Walter Cronkite, the CBS Evening News was a strong #1 in the ratings, which Rather maintained through much of the 1980s.",
"Ratings Under Rather's predecessor, Walter Cronkite, the CBS Evening News was a strong #1 in the ratings, which Rather maintained through much of the 1980s. However, Tom Brokaw and his NBC Nightly News, and Peter Jennings of ABC News' World News Tonight, increasing in popularity, eventually cut deep into the Rather broadcast's numbers.",
"However, Tom Brokaw and his NBC Nightly News, and Peter Jennings of ABC News' World News Tonight, increasing in popularity, eventually cut deep into the Rather broadcast's numbers. See also New Yorkers in journalism References Further reading Dan Rather & Elliot Kirschner (2017).",
"See also New Yorkers in journalism References Further reading Dan Rather & Elliot Kirschner (2017). What Unites Us: Reflections on Patriotism Algonquin Books of Chapel Hill. Rather, Dan. The Palace Guard, with Gary Gates Rather, Dan. I Remember, with Peter Wyden. Rather, Dan with Herskowitz, Mickey.",
"Rather, Dan with Herskowitz, Mickey. The Camera Never Blinks Twice''. 1995. William Morrow.",
"1995. William Morrow. William Morrow. 2nd Saddam interview External links AXS TV The Big Interview Dan Rather: American Journalist (Briscoe Center for American History) Members of the Council on Foreign Relations 1931 births Living people American television reporters and correspondents American war correspondents American war correspondents of the Vietnam War CBS News people Emmy Award winners Peabody Award winners 60 Minutes correspondents Associated Press reporters Houston Chronicle people Television anchors from Houston Journalists from Houston Killian documents controversy People from Wharton, Texas Sam Houston State University alumni Writers from Texas American victims of crime Texas Democrats The Young Turks people American male journalists 20th-century American journalists 21st-century American journalists Journalists from New York City People from Huntsville, Texas Recipients of the Four Freedoms Award Military personnel from Texas"
] |
[
"Dan Rather",
"Killian documents",
"What is Rather's connection to the Killian documents?",
"Rather reported on 60 Minutes",
"What were the Killian documents?",
"personal files of Lt. Bush's former commanding officer, Lt. Col. Jerry B. Killian.",
"What was in the files?",
"memos critical of President George W. Bush's Texas Air National Guard service",
"Were there other things in the files besides these critical memos?",
"I don't know."
] | C_7f5b7fac03f240eba4b0cf53ca659b83_1 | What happened after Rather reported on these files? | 5 | What happened after Rather reported on the files in the Killian documents? | Dan Rather | On September 8, 2004, Rather reported on 60 Minutes Wednesday that a series of memos critical of President George W. Bush's Texas Air National Guard service record had been discovered in the personal files of Lt. Bush's former commanding officer, Lt. Col. Jerry B. Killian. Once copies of the documents were made available on the Internet, their authenticity was quickly called into question. Much of this was based on the fact that the documents were proportionally printed and displayed using other modern typographic conventions usually unavailable on military typewriters of the 1970s. The font used on the documents has characteristics that exactly match standard font features of Microsoft Word. This led to claims that the memos were forgeries. The accusations then spread over the following days into mainstream media outlets including The Washington Post, The New York Times, and the Chicago Sun-Times. Rather and CBS initially defended the story, insisting that the documents had been authenticated by experts. CBS was contradicted by some of the experts it originally cited, and later reported that its source for the documents - former Texas Army National Guard officer Lt. Col. Bill Burkett - had misled the network about how he had obtained them. On September 20, CBS retracted the story. Rather stated, "If I knew then what I know now, I would not have gone ahead with the story as it was aired, and I certainly would not have used the documents in question." The controversy has been referred to by some as "Memogate" and "Rathergate." Following an investigation commissioned by CBS, CBS fired story producer Mary Mapes and asked three other producers connected with the story to resign. Many believe Rather's retirement was hastened by this incident. On September 20, 2007, Rather was interviewed on Larry King Live commenting "Nobody has proved that they were fraudulent, much less a forgery. ... The truth of this story stands up to this day." CANNOTANSWER | their authenticity was quickly called into question. | Daniel Irvin Rather Jr. (; born October 31, 1931) is an American journalist and former national evening news anchor. Rather began his career in Texas, becoming a national name after his reporting saved thousands of lives during Hurricane Carla in September 1961. Rather spontaneously created the first radar weather report by overlaying a transparent map over a radar image of Hurricane Carla. In his first national broadcast, he helped initiate the successful evacuation of 350,000 people.
Rather reported from Dallas in November 1963 at the time that President John F. Kennedy was assassinated. Based on his reporting, he was promoted at CBS News, where he served as White House correspondent beginning in 1964. He served as foreign correspondent in London and Vietnam over the next two years before returning to the White House correspondent position. He covered the presidency of Richard Nixon, including Nixon's trip to China, the Watergate scandal, and the president's resignation.
In 1981, Rather was promoted to news anchor for the CBS Evening News, a role he occupied for 24 years. Along with Peter Jennings at ABC News and Tom Brokaw at NBC News, he was one of the "Big Three" nightly news anchors in the U.S. from the 1980s through the early 2000s. He frequently contributed to CBS's weekly news magazine, 60 Minutes.
Rather left the anchor desk in 2005 following the Killian documents controversy, in which he presented unauthenticated documents in a news report on President George W. Bush's Vietnam War–era service in the National Guard. He continued to work with CBS until 2006, when he was abruptly fired.
In September 2007, Rather filed a $70 million lawsuit against CBS and its former parent company Viacom. Rather accused the network and its ownership and management of making him a "scapegoat" in the Killian story. An intermediate New York state appeals court dismissed the lawsuit in September 2009, and the New York Court of Appeals refused to reinstate it in January 2010.
On the cable channel AXS TV (then called HDNet), Rather hosted Dan Rather Reports, a 60 Minutes–style investigative news program, from 2006 to 2013. He also hosts several other projects for AXS TV, including Dan Rather Presents, which provides in-depth reporting on broad topics such as mental health care or adoption, and The Big Interview with Dan Rather, in which he conducts long-form interviews with musicians and other entertainers. In January 2018, he began hosting an online newscast called The News with Dan Rather on The Young Turks' YouTube channel.
Early life
Daniel Irvin Rather Jr. was born on October 31, 1931, in Wharton County, Texas, the son of Daniel Irvin Rather Sr., a ditch digger and pipe layer, and the former Byrl Veda Page. The Rathers moved to Houston when he was a child, where Dan attended Lovett Elementary School and Hamilton Middle School. He graduated in 1950 from John H. Reagan High School in Houston.
In 1953, Rather earned a bachelor's degree in journalism from Sam Houston State Teachers College in Huntsville, Texas, where he was editor of the school newspaper, The Houstonian. He was also a member of the Caballeros, the founding organization of the Epsilon Psi chapter of the Sigma Chi fraternity. While in college, Rather worked for KSAM-FM radio in Huntsville, calling junior high, high school, and Sam Houston State football games. After obtaining his undergraduate degree, Rather briefly attended South Texas College of Law in Houston.
In January 1954, Rather enlisted in the United States Marine Corps and was sent to the Marine Corps Recruit Depot San Diego. He was soon discharged, however, because he was found to have had rheumatic fever as a child, a fact he had omitted during the enlistment process.
Early career
Rather began his journalism career in 1950 as an Associated Press reporter in Huntsville, Texas. Later, he was a reporter for United Press (1950–1952), several Texas radio stations, and the Houston Chronicle (1954–1955). Around 1955, Rather wrote a piece on heroin. Under the auspices of the Houston Police, he tried a dose of the drug, which he characterized as "a special kind of hell."
He worked for four seasons as the play-by-play announcer for the University of Houston football team. During the 1959 minor league baseball season, Rather was the play-by-play radio announcer for the Texas League Houston Buffs.
In 1959, Rather began his television career as a reporter for KTRK-TV, the ABC affiliate in Houston. He was subsequently promoted to the director of news for KHOU-TV, the CBS affiliate in Houston.
In September 1961, Rather covered Hurricane Carla for KHOU-TV, broadcasting from the then National Weather Center in Galveston. He is noted for showing the first radar image of a hurricane on TV. He conceived of overlaying a transparent map over the radar screen, in order to show the size of Hurricane Carla to the audience. Convinced of the threat, more than 350,000 people evacuated from the area, the largest known evacuation to that time. Their actions are believed to have saved thousands of lives compared to the previous hurricane, which had killed 6,000 to 12,000 people. Rather's live coverage of Carla was broadcast by New York and national stations. Ray Miller, news director of KPRC-TV, the NBC affiliate in Houston, also mentored Rather in the early years.
On February 28, 1962, Rather left Houston for New York City for a six-month trial initiation at CBS. Rather did not fit in easily on the East Coast. His first reports for CBS included coverage of the crash of American Airlines Flight 1 in Jamaica Bay, and a report on the suffocation of children at a hospital in Binghamton, New York. Shortly after, Rather was made chief of CBS's Southwest bureau in Dallas. In August 1963, he was appointed chief of the Southern bureau in New Orleans, responsible for coverage of news events in the South, Southwest, Mexico and Central America.
CBS News
JFK assassination to Watergate
In his autobiography, Rather noted that he was in Dallas in November 1963 to return film from an interview in Uvalde at the ranch of former Vice President John Nance Garner, who celebrated his 95th birthday on November 22. He happened to be "on the other side of the railroad tracks, beyond the triple underpass, thirty yards from a grassy knoll that would later figure in so many conspiracy theories." His job was to fetch a film drop from a camera truck at that location, and take it to the station for editing. He did not witness the shooting of Kennedy, and knew nothing of the events until he reached KRLD, having run through Dealey Plaza. He later wrote:
“The moment I cleared the railroad tracks I saw a scene I will never forget. Some people were lying on the grass, some screaming, some running, some pointing. Policemen swarmed everywhere and distinctly above the din, I heard one shout, 'DON'T ANYBODY PANIC.' And of course, there was nothing but panic wherever you looked.”
In his autobiography, Rather said he was one of the first to view the Zapruder film showing the assassination, and the first to describe it on television. Rather reported the fatal headshot as forcing Kennedy's head forward, but it was thrown backward.
Later, he reported that some Dallas schoolchildren had applauded when they were notified of the president's death. Administrators said they had announced that school was to be dismissed early, and did not mention the assassination. However, teacher Joanna Morgan confirmed that students had cheered at the news that Kennedy was shot. This story infuriated local journalists at then-CBS affiliate KRLD-TV (now Fox-owned-and-operated KDFW-TV).
Rather's reporting during the national mourning period following the Kennedy assassination and subsequent events impressed CBS News management. In 1964, they selected him for the network's White House correspondent position.
In 1965, Rather served as a foreign correspondent for CBS in London, and in 1966 in Vietnam. He served again as White House correspondent during the presidency of Richard Nixon. In 1970, he was also assigned as anchor for the CBS Sunday Night News (1970–73; 1974–75), and later for the CBS Saturday Evening News (1973–76). Rather was among those journalists who accompanied Nixon to China. He later covered the Watergate investigation, as well as the impeachment proceedings against Nixon in Congress.
CBS Evening News anchor
After President Nixon's resignation in 1974, Rather became chief correspondent for the documentary series CBS Reports. In December 1975, he became a correspondent of the long-running Sunday night news show 60 Minutes—at the time the program was moved from a Sunday afternoon time-slot to primetime. Success there helped Rather pull ahead of longtime correspondent Roger Mudd, who was in line to succeed Walter Cronkite as anchor and Managing Editor of The CBS Evening News.
Rather succeeded to the news anchor position after Cronkite's retirement, making his first broadcast on March 9, 1981. Rather had a significantly different style of reporting the news. In contrast to the avuncular Cronkite, who ended his newscast with “That's the way it is,” Rather searched to find a broadcast ending more suitable to his tastes. For one week in September 1986, with CBS the target of potentially hostile new ownership, Rather tried ending his broadcasts with the word "courage," and was roundly ridiculed for it. For nearly two decades, Rather ended the show with: “That's part of our world tonight.”
Rather also held other positions during his time as anchor. In January 1988, he became host of the newly created 48 Hours, and in January 1999, Rather joined the new 60 Minutes II as a correspondent.
Ratings for the Evening News with Rather at the helm fluctuated wildly, at a time when more alternatives to TV news were developing. After a dip to second place, Rather regained the top spot in 1985 until 1989, when he ceded the ratings peak to rival Peter Jennings at ABC's World News Tonight. By 1992, however, the Evening News had fallen to third place of the three major networks. It rose in rankings in 2005, when Bob Schieffer became the interim anchor between Rather and Katie Couric. It briefly moved ahead of ABC World News Tonight in the wake of the death of Peter Jennings, but remained behind NBC Nightly News. Rather was a frequent collaborator with CBS News producer Susan Zirinsky, a leading member of the news division's staff.
In 1987, new CBS owner Laurence Tisch oversaw layoffs of hundreds of CBS News employees, in a major shake-up of the network. Among those to go were correspondents such as David Andelman, Fred Graham, Morton Dean, and Ike Pappas. Fewer videotape crews were dispatched to cover stories, and numerous bureaus were closed. Critics cited the cutbacks as a major factor in CBS News' fall into third place in the ratings.
For a short time from 1993 to 1995, Rather co-anchored the evening news with Connie Chung. Chung had been a Washington, DC correspondent for CBS News, and anchored short news updates on the West Coast. On joining the CBS Evening News, she reported "pop news" stories. In one widely cited case, she aggressively pursued Tonya Harding, who was accused of a plot to injure fellow Olympic ice skater Nancy Kerrigan. After Chung left the network, Rather went back to doing the newscast alone.
By the 2005–06 season, the end of Rather's time as anchor, CBS Evening News lagged behind NBC Nightly News and ABC World News Tonight in the ratings. But it still drew approximately 5.5 million viewers a night. Criticism of Rather reached a fever pitch after 60 Minutes II ran his 2004 report about President Bush's military record. Numerous critics questioned the authenticity of the documents upon which the report was based. Rather subsequently admitted on the air that the documents' authenticity could not be proven. In the aftermath, CBS fired several members of CBS News staff but temporarily retained Rather, until his contract was up for renewal the following year, whereupon he was completely ousted.
Journalistic history and influence
Nixon
During Richard Nixon's presidency, critics accused Rather of biased coverage against him. At a Houston news conference in March 1974, Nixon fielded a question from Rather, still CBS's White House correspondent, who said, “Thank you, Mr. President. Dan Rather, of CBS News.” The room filled with jeers and applause, prompting Nixon to joke, “Are you running for something?” Rather replied, “No, sir, Mr. President. Are you?” He questioned whether Nixon was cooperating with the grand jury investigation and House Judiciary Committee in relation to the Watergate scandal.
NBC's Tom Brokaw has said the network considered hiring him to replace Rather as its White House correspondent, but dropped it after word was leaked to the press. Rather was believed to have provided tough coverage of the Watergate scandal, raising his profile.
Space Shuttle Challenger disaster
In January 1986, NASA faced repeated delays in the preparations to launch the Space Shuttles Columbia and Challenger in close sequence. Rather described the January 10 delay of Columbia as:
“star-crossed space shuttle Columbia stood ready for launch again today, and once more, the launch was scrubbed. Heavy rain was the cause this time. The launch has been postponed so often since its original date, December 18, that it's now known as mission impossible.”This was considered an example of the "biting sarcasm" the media used related to NASA's scheduling. Columbia launched on January 12.
On January 27, Rather's reporting of the expected Challenger launch began as follows:
On January 28, Challenger'''s explosion and destruction occurred 73 seconds after launch.
Afghanistan, Reagan, and George H. W. Bush
During the Soviet–Afghan War, Rather was filmed reporting near the front lines while wearing a traditional mujahideen headdress and garments. Rather attracted an Evening News audience (and was nicknamed "Gunga Dan"). The American comic strip Doonesbury spoofed his actions.
Rather's reports were later revealed to have been influential to Congressman Charlie Wilson (D-Texas), who led an effort to help the struggling mujahideen. The CIA developed its largest covert operation to supply aid and advanced arms to the mujahideen. The Soviets eventually quit Afghanistan.
Rather gained the anchor spot on the Evening News. He was competing with Roger Mudd, a more senior correspondent and a frequent substitute anchor for Walter Cronkite on Evening News. Mudd had also anchored the Sunday evening broadcast, but Rather traveled through Afghanistan when news led there. A few years into his service as anchor, Rather began wearing sweaters beneath his suit jacket to soften his on-air appearance for viewers.
During the 1980s, Rather gained further renown for his forceful and skeptical reporting on the Iran–Contra affair. He eventually confronted Vice President George H. W. Bush in an on-air interview during the latter's presidential campaign. Bush referred to Rather's "dead air incident" saying:
“I want to talk about why I want to be President, why those 41 percent of the people are supporting me. And I don't think it's fair to judge my whole career by a rehash on Iran. How would you like it if I judged your career by those seven minutes when you walked off the set in New York?”Rather ignored Bush's comment.
Shortly after Iraq invaded Kuwait, Rather secured an interview with Iraqi leader Saddam Hussein.
On February 24, 2003, Rather conducted another interview with Hussein before the United States' 2003 invasion of Iraq. In the interview, Hussein invited Rather to be the moderator of a live television debate between him and George W. Bush. The debate never took place.
The Wall Within
On June 2, 1988, Rather hosted a CBS News special, The Wall Within. In it, he interviewed six veterans, each of whom said he had witnessed horrible acts in Vietnam. Two of the men said that they had killed civilians, and two others said that they had seen friends die. Each talked about the effects the war had upon their lives—including depression, unemployment, drug use, and homelessness.
In 2004, National Review ran an article by Anne Morse entitled "The First Rathergate." She said that almost nothing claimed by participants in The Wall Within was true. Citing the self-published book Stolen Valor (1998) by veteran B. G. Burkett, and investigative journalist Glenna Whitley, Morse said that military records revealed that the six former servicemen had lied about their experiences. Only one served in combat, and two had never been in Vietnam.
Killian documents
On September 8, 2004, Rather reported on 60 Minutes Wednesday that a series of memos critical of President George W. Bush's Texas Air National Guard service record had been discovered in the personal files of Lt. Bush's former commanding officer, Lt. Col. Jerry B. Killian. Once copies of the documents were made available on the Internet, their authenticity was quickly called into question. Much of this was based on the fact that the documents were proportionally printed and displayed using other modern typographic conventions usually unavailable on military typewriters of the 1970s. The font used on the documents has characteristics that exactly or almost exactly match standard font features of Microsoft Word. This led to claims that the memos were forgeries. The accusations then spread over the following days into mainstream media outlets, including The Washington Post, The New York Times, and The Chicago Sun-Times.
Rather and CBS initially defended the story, insisting that the documents had been authenticated by experts. CBS was contradicted by some of the experts it originally cited, and later reported that its source for the documents—former Texas Army National Guard officer Lt. Col. Bill Burkett—had misled the network about how he had obtained them.
On September 20, 2004, CBS retracted the story. Rather stated, “If I knew then what I know now, I would not have gone ahead with the story as it was aired, and I certainly would not have used the documents in question.” The controversy has been referred to by some as "Memogate" and "Rathergate."
Following an investigation commissioned by CBS, CBS fired story producer Mary Mapes, and asked three other producers connected with the story to resign. Many believe Rather's retirement was hastened by this incident. On September 20, 2007, Rather was interviewed on Larry King Live commenting, “Nobody has proved that they were fraudulent, much less a forgery. ... The truth of this story stands up to this day.”
Departure from the CBS Evening News
Rather retired as the anchorman and Managing Editor of the CBS Evening News in 2005; his last broadcast was Wednesday, March 9, 2005. He had worked as the anchorman for 24 full years, the longest tenure of anyone in American television history, and for a short time, continued to work as a correspondent for 60 Minutes. Bob Schieffer, a fellow Texan and host of Face the Nation, took over Rather's position on an interim basis, with Katie Couric replacing Schieffer in 2006.
Since retiring, Rather has spoken out about what he perceives as a lack of courage by American journalists. On January 24, 2006, Rather spoke to a Seattle audience. Before the speaking engagement, he told a newspaper reporter, “In many ways on many days, [reporters] have sort of adopted the attitude of 'go along, get along.'”
“What many of us need is a spine transplant,” Rather added. “Whether it's City Hall, the State House, or the White House, part of our job is to speak truth to power.”
Ousted from CBS News
In June 2006, reports surfaced that CBS News would most likely not renew Dan Rather's contract. According to a Washington Post article, sources from CBS said that executives at the network decided "there is no future role for Rather."
On June 20, 2006, CBS News and Sports President Sean McManus announced that Rather would leave the network after 44 years. Rather issued a separate statement which accompanied the news of the departure:
Lawsuit over ouster from CBS Network
On September 19, 2007, Rather filed a $70 million lawsuit against CBS, its former parent company Viacom; CBS President and CEO Leslie Moonves; Sumner Redstone, chairman of both Viacom and CBS; and Andrew Heyward, former president of CBS News. Rather accused the network and its ownership and management of making him a "scapegoat" in the Killian story. A CBS spokesman claimed that the lawsuit was "old news" and "without merit." On September 21, 2009, Rather's lawyers claimed that Bush's military service would be proven to be a sham, and Rather would be vindicated. On September 29, 2009, a New York state appeals court dismissed Rather's lawsuit against CBS. On January 12, 2010, New York's top court refused to reinstate Rather's $70 million breach-of-contract lawsuit against CBS Corp. In his book titled Rather Outspoken, Rather claims that the lawsuit “took a big whack out of my time, my psyche and my bank balance, but even so, it was worth it.” On May 18, 2012, Rather appeared on Real Time With Bill Maher, and claimed he had been fired for reporting a story about George W. Bush's year of absence from the reserve unit he served with, and that the news corporations had been "very uncomfortable" with running the story.
Post-CBS career
Following his departure from CBS, Dan Rather joined Mark Cuban's cable network AXS TV (then called HDNet) to host and produce the weekly one-hour news show Dan Rather Reports from 2006 until 2013.
Since 2013, Rather has hosted and produced the hour-long series The Big Interview with Dan Rather on AXS TV, where he sits down for in-depth interviews with influential figures in music and entertainment, such as: John Fogerty, Quentin Tarantino, Simon Cowell, Aaron Sorkin, and Sammy Hagar. He has also produced several documentary specials for the network under the banner Dan Rather Presents, including specials about "America's Mental Health Crisis," the United States Secret Service, and "The Shameful Side of International Adoption."
Rather also appears frequently on a number of news shows, including MSNBC's The Rachel Maddow Show and The Last Word with Lawrence O'Donnell and on CNN. He has also written for The Huffington Post and Mashable.
On May 28, 2007, Rather compared historical events to events in the Star Wars films in the History Channel special titled Star Wars: The Legacy Revealed.
In 2012, Rather published an autobiography titled Rather Outspoken: My Life in the News.
In 2015, Rather launched an independent production company called News and Guts Media, through which he produces The Big Interview among other projects.
In 2015, Rather also began actively posting on Facebook. He credits young staffers at News and Guts Media with pushing him to try social media. While his posts were considerably longer than typical social media posts, they resonated with the audience, which soon grew to more than two million followers. Even late night TV noticed Rather's unusual but effective Facebook presence. Subject matter has covered a range of topics, including: current political events, journalism, and childhood memories.
On September 23, 2016, SiriusXM Radio announced a new hour-long weekly program, "Dan Rather's America," airing Tuesday mornings at 10am Eastern on Radio Andy channel 102, debuting on September 27.
In the fall of 2017, the Briscoe Center for American History at the University of Texas completed a digital humanities project dedicated to the long career of the journalist that was titled Dan Rather: American Journalist. The culmination of three years of research conducted at the Briscoe Center, the site uses materials from a dozen archives and libraries, and draws from over 25 of the Briscoe Center for American History's news media and photojournalism collections. The website features over 2,000 digitized documents, 300 excerpts from twelve oral history interviews, and 1000 video clips, enabling visitors to dive deep into the history of the last 60 years through the lens of Dan Rather's career.
On January 21, 2018, it was announced that Rather would be launching a weekly 30-minute newscast on The Young Turks. Titled The News with Dan Rather, it airs on Mondays at 5:30pm Eastern Time.
Personal life
Rather married Jean Goebel in 1957. They have a son and daughter, and maintain homes in New York City and Austin, Texas. Their daughter Robin is an environmentalist and community activist in Austin, Texas. Their son Dan is an assistant district attorney in the District Attorney's office in Manhattan, New York.
Sam Houston State University renamed its mass communications building after Rather in 1994. The building houses The Houstonian and KSHU, the student-run radio and television stations. In May 2007, Rather received an honorary Doctor of Humane Letters from Siena College in Loudonville, New York, for his lifetime contributions to journalism.
A columnist whose work is distributed by King Features Syndicate, Rather continues to speak out against alleged influence in journalism by corporations and governments. At a 2008 conference in Minneapolis, Minnesota, sponsored by the group Free Press, Rather criticized both local and national news organizations, stating—according to reports—that there is no longer incentive to do “good and valuable news.”
Books
The Palace Guard, with Gary Paul Gates, 1974. .
The Camera Never Blinks: Adventures of a TV Journalist, with Mickey Herskowitz, 1977. .
I Remember, with Peter Wyden, 1991. .
The Camera Never Blinks Twice: The Further Adventures of a Television Journalist, with Mickey Herskowitz, 1994. .
, 1999. .
"The American Dream: Stories from the Heart of Our Nation", 2001. .
, with Digby Diehl, 2013. .
What Unites Us: Reflections on Patriotism, with Elliot Kirschner, 2017. .What Unites Us: The Graphic Novel, with Elliot Kirschner, illustrated by Tim Foley, 2021. .
Awards
He has received numerous Emmy Awards, several Peabody Awards, and various honorary degrees from universities.
In addition to these awards, Rather was inducted into the Television Hall of Fame in 2004. In 2001, he received the Golden Plate Award of the American Academy of Achievement.
Criticism
As one of the last broadcast news journalists from the era of the "Big Three" network news primacy, Rather was generally regarded highly within his profession by long-serving journalists. Rather has been accused of having a liberal bias."Dan Rather: a pioneer and a lightning rod" at The Christian Science Monitor.
Claims of bias
Rather's on-screen comments and election-night reporting have come under attack dating back to Richard Nixon's presidency. In a June 2002 interview with Larry King, his long-time co-worker (and self-described liberal), Andy Rooney stated that Rather is “transparently liberal.”
During the weeks following the Killian documents stories, Rather received widespread criticism from other journalists and historians. In an interview with commentator Bill Maher, Rather accused Fox News Channel of receiving "talking points" from the Republican-controlled White House. Fox News commentator Bill O'Reilly, who had defended Rather during the Killian documents incident, criticized Rather for not offering any evidence to support the claim.
In 2002, Bernard Goldberg published a book with the title Bias, alleging a liberal bias in print and broadcast news organizations. In the book, Goldberg used Dan Rather as a primary example of a news anchorman with a liberal bias. He also criticized the anchor for his criticisms of President George W. Bush's and Vice President Dan Quayle's service in the National Guard, rather than the Active Duty military during the Vietnam War, and questioned Rather's own service.
Fairness and Accuracy in Reporting has accused Rather of having "an unwillingness to challenge official power and policy" in his reporting. Investigative reporter Mark Hertsgaard characterized Rather as a "stern anti-Communist" during the Reagan administration, for allegedly having "reported the pronouncements of public officials with considerable respect."
In April 2001, according to a front-page story in The Washington Post, Rather spoke at a Democratic party fundraiser in Austin, Texas, where he was the featured speaker. One of the official hosts for the fundraiser was Rather's daughter, Robin Rather; Rather said that he did not realize that his daughter was a host of the fundraiser. Rather also said that he did not realize that the event was a partisan fundraiser, although he did realize that after he arrived at the event.
From Walter Cronkite
During an appearance on CNN's American Morning in 2005, former CBS anchor Walter Cronkite said about Rather: “It surprised quite a few people at CBS and elsewhere that, without being able to pull up the ratings beyond third in a three-man field, that they tolerated his being there for so long.” Cronkite also said that he would like to have seen Bob Schieffer in Rather's position sooner.
From Dallas CBS news director Eddie Barker
In the aftermath of the Kennedy assassination while Rather was a Dallas reporter, he interviewed a minister, who said some local schoolchildren had cheered upon learning of the President's shooting. The Associated Press later confirmed the story. A teacher at the school backed up the Rather story, confirming that some students at the school had cheered at the principal's news about Kennedy. Eddie Barker, local Dallas-area news director for CBS, said that Rather had in fact been aware that the children were merely happy about being sent home early, and they had not been given a reason for early school closure (Barker's children attended the school, as he informed Rather). He stated that Rather had deliberately misrepresented the facts by indicating that the children were happy about the shooting. Barker attempted to fire Rather, but was overruled by the national CBS News management.
Incidents and controversies
1968 Democratic convention
During live coverage of the 1968 Democratic National Convention, Rather attempted to interview a delegate from Georgia who appeared as though he was being forcibly removed by men without identification badges.
As Rather approached the delegate to question the apparent strong-arm tactics of the Chicago political machine under Mayor Daley, he was punched in the stomach by one of the men, knocking him to the ground. “He lifted me right off the floor and put me away. I was down, the breath knocked out of me, as the whole group blew on by me ... In the CBS control room, they had switched the camera onto me just as I was slugged.” Walter Cronkite, after being told by Rather what happened, added on-air, "I think we got a bunch of thugs here Dan!"
Chicago cab ride
On November 10, 1980, Rather landed at Chicago's O'Hare International Airport and got into a cab. He asked the cab driver to take him to the home of writer Studs Terkel, whom he was interviewing for 60 Minutes. A police spokesman said that the cab driver refused to go to the address and instead "wildly drove through the city streets," with Rather shouting out the window asking for help. The driver was charged with disorderly conduct. Rather called the incident “a rather minor thing.”
By the time the case was about to come to trial, he was about to add anchoring the CBS Evening News to his 60 Minutes role at CBS News. Rather declined to press charges, citing a "mounting schedule of reporting assignments."
Galloway lawsuit
In 1980, Rather and CBS were taken to court when Carl Galloway, a California doctor, claimed that a report on 60 Minutes wrongfully implicated him in an insurance fraud scheme. CBS stated Galloway had signed the bogus report, and was suing Rather because he was upset at being caught. The jury sided with CBS and Rather, and they won the case. During the trial, Galloway's side used outtakes from the TV report showing that one interview was rehearsed.
"Courage"
For one week in September 1986, Rather signed off his broadcasts to CBS with the word "courage." He said that it was just a signature line, and had nothing to do with the news at the time. Other newscasters ridiculed and parodied Rather, and he dropped it.
"Kenneth, what is the frequency?"
On October 4, 1986, while walking along Park Avenue to his apartment in Manhattan, Rather was attacked and punched from behind by a man who demanded to know "Kenneth, what is the frequency?" while a second assailant chased and beat him. As the assailant pummeled and kicked Rather, he kept repeating the question. In describing the incident, Rather said “I got mugged. Who understands these things? I didn't and I don't now. I didn't make a lot of it at the time and I don't now. I wish I knew who did it and why, but I have no idea.” Until the crime was resolved years later, Rather's description of the bizarre crime led some to doubt the veracity of his account, although the doorman and building supervisor who came to Rather's aid fully confirmed his version of events.
The assault remained unsolved for some time, and was referenced multiple times in popular culture. The phrase "What's the frequency, Kenneth?" became a popular-culture reference over the years, such as in a scene in the graphic novel Like a Velvet Glove Cast in Iron by cartoonist Daniel Clowes. The opening track of the 1987 album Lolita Nation by California power pop group Game Theory is titled "Kenneth, What's the Frequency?" In 1994, the band R.E.M. released the song "What's the Frequency, Kenneth?" on their album Monster. Rather later sang with R.E.M. during a sound check prior to a gig at New York's Madison Square Garden, which was shown the following night on the Late Show with David Letterman.
In 1997, a TV critic writing in the New York Daily News solved the mystery, publishing a photo of the alleged assailant, William Tager, who received a 12.5-to-25-year prison sentence for killing NBC stagehand Campbell Montgomery outside The Today Show studio in 1994. Rather confirmed the story: "There's no doubt in my mind that this is the person." New York District Attorney Robert M. Morgenthau said "William Tager's identity as the man who attacked Mr. Rather was established in the course of an investigation by my office." Tager claimed he thought television networks were beaming signals into his brain. When he murdered the stagehand, Tager was trying to force his way into an NBC studio with a weapon, in order to find out the frequency the networks were using to attack him, so that he could block it. Tager was paroled in October 2010.
Dead air
On September 11, 1987, Rather walked off the set in anger just before a remote Evening News broadcast from Miami, where Pope John Paul II had begun a rare U.S. tour, when a U.S. Open tennis match was being broadcast into the time scheduled for the newscast. He was upset that the news was being cut into to make room for sports and discussed it with the sports department, and made it clear that if the newscast did not start on time, then CBS Sports should fill the half hour. The Steffi Graf–Lori McNeil tennis match coverage then ended sooner than expected at 6:32 p.m., but Rather had disappeared. (CBS Sports had finally agreed to break away immediately after the match without commentary.) Thus, over 100 affiliates were forced to broadcast six minutes of dead air. Some stations were forced to air a slot of syndicated programming such as a rerun of a game show or a sitcom, and other stations were forced to pull out a technical difficulty telop graphic. Phil Jones, the chairman of the CBS affiliation board and general manager of Kansas City's KCTV (which the station placed a technical difficulty graphic during dead air) wanted an apology from Rather. Meanwhile in Miami, the city's CBS affiliate WTVJ was forced to drop the episode entirely, which ended up airing a syndicated rerun of a game show to fill the station's schedule. The next day, Rather apologized for leaving the anchor desk. The following year, when Rather asked then Vice President Bush about his role in the Iran–Contra affair during a live interview, Bush responded by saying, “Dan, how would you like it if I judged your entire career by those seven minutes when you walked off the set in New York?” Roger Ailes had a “mole” at CBS, who alerted him that the goal was to “take Bush out of the race” with a tough interview on Iran-Contra. Ailes alerted Bush on the cab ride over, and fed him the seven minutes retort. The aftermath of the interview showed the episode was a boost for Bush. “The vice president's poll ratings in Iowa and New Hampshire bumped visibly upward.”
"Ratherisms"
Rather is known for his many colorful analogies and descriptions during live broadcasts. Similar to those used by baseball announcer Red Barber, cycling commentator Phil Liggett, and Formula 1 commentator Murray Walker, these "Ratherisms" are also called "Texanisms" or "Danisms" by some. A few of the more colorful ones, several of which were used throughout the 2008 HBO made-for-TV movie Recount about the 2000 Election, include:
“This race is shakier than cafeteria Jell-O.”
“This thing is as tight as the rusted lugnuts on a '55 Ford.”
His characterization of the Republican Party's assessment of President Obama: “[He] couldn't sell watermelons if you gave him the state troopers to flag down the traffic.”
In popular culture
Rather has been referenced in the television shows Saturday Night Live and Family Guy and many films. An animated caricature of him made a cameo appearance in the JibJab political cartoon, Good to Be in D.C. In 1971, he had a cameo in an episode of the number one hit comedy series All in the Family. Entitled The Man in the Street, series star Carroll O'Connor's Archie Bunker character excitedly awaits the viewing of a videotaped interview he gave earlier that day for the CBS Evening News. At the last minute, to his dismay, the segment is preempted by the telecast of a Richard Nixon presidential address from the Oval Office. Rather appears, as himself, delivering post-speech analysis from actual news footage. Jean Stapleton, as Archie's scatterbrained wife Edith Bunker, says of Rather how he's there to "...tell us what Mr. Nixon just said."
In 2004, he was featured in the documentary film Barbecue: A Texas Love Story by Austin-based director Chris Elley. Two years later, Rather and Elley educated a group of New Yorkers in Madison Square Park about the true meaning of BBQ, and its significance to the identity of the Lone Star State.
In the 2006–07 graphic novel Shooting War, which is set in the year 2011, an 80-year-old Dan Rather is shown to be one of the last journalists still reporting from Iraq. He had a cameo in the premiere of the Fall 2007 drama Dirty Sexy Money on ABC television. He guest-starred as himself in The Simpsons episode, "E Pluribus Wiggum."
Rather appeared on The Daily Show in May 2009, wearing an Afro wig and mutton-chop sideburns to narrate a segment about the late former President Nixon eating a burrito, as a parody of MSNBC's extensive coverage of President Obama and Vice President Biden's hamburger lunch. He appears in the 2008 award-winning documentary Boogie Man: The Lee Atwater Story.
A skit on the 38th season of Sesame Street featured Anderson Cooper interviewing two grouches, "Walter Cranky" and "Dan Rather Not," who, when asked to answer questions, demurred with the phrase "I'd rather not."
Robert Redford portrayed Rather in the 2015 film Truth. Rather appeared in the docudrama Facing Saddam providing his views on Saddam Hussein.
Ratings
Under Rather's predecessor, Walter Cronkite, the CBS Evening News was a strong #1 in the ratings, which Rather maintained through much of the 1980s. However, Tom Brokaw and his NBC Nightly News, and Peter Jennings of ABC News' World News Tonight, increasing in popularity, eventually cut deep into the Rather broadcast's numbers.
See also
New Yorkers in journalism
References
Further reading
Dan Rather & Elliot Kirschner (2017). What Unites Us: Reflections on Patriotism Algonquin Books of Chapel Hill.
Rather, Dan. The Palace Guard, with Gary Gates
Rather, Dan. I Remember, with Peter Wyden.
Rather, Dan with Herskowitz, Mickey. The Camera Never Blinks Twice''. 1995. William Morrow.
2nd Saddam interview
External links
AXS TV The Big Interview
Dan Rather: American Journalist (Briscoe Center for American History)
Members of the Council on Foreign Relations
1931 births
Living people
American television reporters and correspondents
American war correspondents
American war correspondents of the Vietnam War
CBS News people
Emmy Award winners
Peabody Award winners
60 Minutes correspondents
Associated Press reporters
Houston Chronicle people
Television anchors from Houston
Journalists from Houston
Killian documents controversy
People from Wharton, Texas
Sam Houston State University alumni
Writers from Texas
American victims of crime
Texas Democrats
The Young Turks people
American male journalists
20th-century American journalists
21st-century American journalists
Journalists from New York City
People from Huntsville, Texas
Recipients of the Four Freedoms Award
Military personnel from Texas | true | [
"PGPCoder or GPCode is a trojan that encrypts files on the infected computer and then asks for a ransom in order to release these files, a type of behavior dubbed ransomware or cryptovirology.\n\nTrojan \nOnce installed on a computer, the trojan creates two registry keys: one to ensure it is run on every system startup, and the second to monitor the progress of the trojan in the infected computer, counting the number of files that have been analyzed by the malicious code.\n\nOnce it has been run, the trojan embarks on its mission, which is to encrypt, using a digital encryption key, all the files it finds on computer drives with extensions corresponding to those listed in its code. These extensions include .doc, .html, .jpg, .xls, .zip, and .rar.\n\nThe blackmail is completed with the trojan dropping a text file in each directory, with instructions to the victim of what to do. An email address is supplied through which users are supposed to request for their files to be released after paying a ransom of $100–200 to an e-gold or Liberty Reserve account.\n\nEfforts to combat the trojan \nWhile a few Gpcode variants have been successfully implemented, many variants have flaws that allow users to recover data without paying the ransom fee. The first versions of Gpcode used a custom-written encryption routine that was easily broken. Variant Gpcode.ak writes the encrypted file to a new location, and deletes the unencrypted file, and this allows an undeletion utility to recover some of the files. Once some encrypted+unencrypted pairs have been found, this sometimes gives enough information to decrypt other files. Variant Gpcode.am uses symmetric encryption, which made key recovery very easy.\nIn late November 2010, a new version called Gpcode.ax was reported. It uses stronger encryption (RSA-1024 and AES-256) and physically overwrites the encrypted file, making recovery nearly impossible.\n\nKaspersky Lab has been able to make contact with the author of the program, and verify that the individual is the real author, but have so far been unable to determine his real world identity.\n\nReferences\n\nExternal links \n Kaspersky Lab\n Kaspersky Lab blog posts\n Kaspersky Lab forum dedicated to GPCode\n Kaspersky Lab virus descriptions\n StopGPCode trojan removal utilities\n Other virus description databases\n F-Secure\n Symantec\n McAfee: GPCoder GPCoder.e GPCoder.f GPCoder.g GPCoder.h GPCoder.i\n Trend Micro: TROJ_PGPCODER.A TROJ_PGPCODER.B TROJ_PGPCODER.C TROJ_PGPCODER.D TROJ_PGPCODER.E TROJ_PGPCODER.F TROJ_PGPCODER.G\n ThreatExpert\n\nWindows trojans\nRansomware",
"The most widely reported UFO incident in New Zealand, and the only one investigated, involved the Kaikoura lights encountered by aircraft, filmed and tracked by radar in December 1978. The New Zealand Defence Force does not take an official interest in UFO reports, but in December 2010 it released files on hundreds of purported UFO reports. New Zealand's then-Minister of Defence, Wayne Mapp said at the time people could \"make what they will\" of the reports, and said \"a quick scan of the files indicates that virtually everything has a natural explanation\".\n\n1950s\nIn 1955 the captain of a National Airways Corporation aircraft reported seeing a light that showed apparent movement and changes in colour and intensity. The Director of Intelligence at the Carter Observatory concluded that it was Venus as it rose in the night sky.\nA Blenheim farmer claimed to have seen lights and a UFO containing two men in silvery suits in the early morning of 13 July 1959.\n\n1970s\n\nThe 21 December 1978 incident in the Kaikoura area attracted media attention throughout New Zealand and Australia. The crew of a cargo plane reported strange lights over the Kaikoura Ranges and a Wellington radar team reported inexplicable readings. these were filmed by a news crew over several nights.\n\n2010s\nOn April 12, 2011 a family in Hāwera observed a fireball-like UFO at 8:55 PM, capturing the incident on camera. One witness stated it resembled a pyramid shape with a round top, later on it appeared to \"cool down\" with a red ring resembling a heating element. A week prior, a member of the Hawera Observatory and Astronomical Society observed a similar incident a week prior. A local dairy worker reported a similar sighting in the area during January 17 of the same year.\nOn June 2016, a spherical UFO was caught on camera near the city of Christchurch which rapidly changed colours and sped away after two hours. Two sightings of the object occurred, with both being captured on camera, the changes in color appeared to be coordinated in the second sighting, which involved two objects. \nOn 31 March 2019, a couple spotted two lights hovering 200 metres above the water in Karekare Beach in Western Auckland. One of the two objects reported changed colour and quickly flew away. The couple later spotted 5 others displaying erratic flight patterns and changing their color.\n\n2020s\nA woman residing in Porirua witnessed three objects hovering over the city in the morning of August 3, 2020. She captured the objects on film and shared them on a local Facebook group, where another resident commented he saw the same objects.\n\nSee also\nBruce Cathie, a New Zealand author who has written about flying saucers\n\nReferences\n\nFurther reading\n\nExternal links\nIan Porritt UFO UAP Researcher\nUFOCUS NZ\nNew Zealand sightings at UFOINFO\nOriginal files: New Zealands's UFO sightings\n\nNew Zealand\nHistorical events in New Zealand\nUFO"
] | [
"Daniel Irvin Rather Jr. (; born October 31, 1931) is an American journalist and former national evening news anchor. Rather began his career in Texas, becoming a national name after his reporting saved thousands of lives during Hurricane Carla in September 1961.",
"Rather began his career in Texas, becoming a national name after his reporting saved thousands of lives during Hurricane Carla in September 1961. Rather spontaneously created the first radar weather report by overlaying a transparent map over a radar image of Hurricane Carla. In his first national broadcast, he helped initiate the successful evacuation of 350,000 people.",
"In his first national broadcast, he helped initiate the successful evacuation of 350,000 people. Rather reported from Dallas in November 1963 at the time that President John F. Kennedy was assassinated. Based on his reporting, he was promoted at CBS News, where he served as White House correspondent beginning in 1964.",
"Based on his reporting, he was promoted at CBS News, where he served as White House correspondent beginning in 1964. He served as foreign correspondent in London and Vietnam over the next two years before returning to the White House correspondent position.",
"He served as foreign correspondent in London and Vietnam over the next two years before returning to the White House correspondent position. He covered the presidency of Richard Nixon, including Nixon's trip to China, the Watergate scandal, and the president's resignation.",
"He covered the presidency of Richard Nixon, including Nixon's trip to China, the Watergate scandal, and the president's resignation. In 1981, Rather was promoted to news anchor for the CBS Evening News, a role he occupied for 24 years.",
"In 1981, Rather was promoted to news anchor for the CBS Evening News, a role he occupied for 24 years. Along with Peter Jennings at ABC News and Tom Brokaw at NBC News, he was one of the \"Big Three\" nightly news anchors in the U.S. from the 1980s through the early 2000s.",
"Along with Peter Jennings at ABC News and Tom Brokaw at NBC News, he was one of the \"Big Three\" nightly news anchors in the U.S. from the 1980s through the early 2000s. He frequently contributed to CBS's weekly news magazine, 60 Minutes.",
"He frequently contributed to CBS's weekly news magazine, 60 Minutes. Rather left the anchor desk in 2005 following the Killian documents controversy, in which he presented unauthenticated documents in a news report on President George W. Bush's Vietnam War–era service in the National Guard.",
"Rather left the anchor desk in 2005 following the Killian documents controversy, in which he presented unauthenticated documents in a news report on President George W. Bush's Vietnam War–era service in the National Guard. He continued to work with CBS until 2006, when he was abruptly fired.",
"He continued to work with CBS until 2006, when he was abruptly fired. In September 2007, Rather filed a $70 million lawsuit against CBS and its former parent company Viacom. Rather accused the network and its ownership and management of making him a \"scapegoat\" in the Killian story.",
"Rather accused the network and its ownership and management of making him a \"scapegoat\" in the Killian story. An intermediate New York state appeals court dismissed the lawsuit in September 2009, and the New York Court of Appeals refused to reinstate it in January 2010.",
"An intermediate New York state appeals court dismissed the lawsuit in September 2009, and the New York Court of Appeals refused to reinstate it in January 2010. On the cable channel AXS TV (then called HDNet), Rather hosted Dan Rather Reports, a 60 Minutes–style investigative news program, from 2006 to 2013.",
"On the cable channel AXS TV (then called HDNet), Rather hosted Dan Rather Reports, a 60 Minutes–style investigative news program, from 2006 to 2013. He also hosts several other projects for AXS TV, including Dan Rather Presents, which provides in-depth reporting on broad topics such as mental health care or adoption, and The Big Interview with Dan Rather, in which he conducts long-form interviews with musicians and other entertainers.",
"He also hosts several other projects for AXS TV, including Dan Rather Presents, which provides in-depth reporting on broad topics such as mental health care or adoption, and The Big Interview with Dan Rather, in which he conducts long-form interviews with musicians and other entertainers. In January 2018, he began hosting an online newscast called The News with Dan Rather on The Young Turks' YouTube channel.",
"In January 2018, he began hosting an online newscast called The News with Dan Rather on The Young Turks' YouTube channel. Early life Daniel Irvin Rather Jr. was born on October 31, 1931, in Wharton County, Texas, the son of Daniel Irvin Rather Sr., a ditch digger and pipe layer, and the former Byrl Veda Page.",
"Early life Daniel Irvin Rather Jr. was born on October 31, 1931, in Wharton County, Texas, the son of Daniel Irvin Rather Sr., a ditch digger and pipe layer, and the former Byrl Veda Page. The Rathers moved to Houston when he was a child, where Dan attended Lovett Elementary School and Hamilton Middle School.",
"The Rathers moved to Houston when he was a child, where Dan attended Lovett Elementary School and Hamilton Middle School. He graduated in 1950 from John H. Reagan High School in Houston.",
"He graduated in 1950 from John H. Reagan High School in Houston. In 1953, Rather earned a bachelor's degree in journalism from Sam Houston State Teachers College in Huntsville, Texas, where he was editor of the school newspaper, The Houstonian.",
"In 1953, Rather earned a bachelor's degree in journalism from Sam Houston State Teachers College in Huntsville, Texas, where he was editor of the school newspaper, The Houstonian. He was also a member of the Caballeros, the founding organization of the Epsilon Psi chapter of the Sigma Chi fraternity.",
"He was also a member of the Caballeros, the founding organization of the Epsilon Psi chapter of the Sigma Chi fraternity. While in college, Rather worked for KSAM-FM radio in Huntsville, calling junior high, high school, and Sam Houston State football games.",
"While in college, Rather worked for KSAM-FM radio in Huntsville, calling junior high, high school, and Sam Houston State football games. After obtaining his undergraduate degree, Rather briefly attended South Texas College of Law in Houston.",
"After obtaining his undergraduate degree, Rather briefly attended South Texas College of Law in Houston. In January 1954, Rather enlisted in the United States Marine Corps and was sent to the Marine Corps Recruit Depot San Diego.",
"In January 1954, Rather enlisted in the United States Marine Corps and was sent to the Marine Corps Recruit Depot San Diego. He was soon discharged, however, because he was found to have had rheumatic fever as a child, a fact he had omitted during the enlistment process.",
"He was soon discharged, however, because he was found to have had rheumatic fever as a child, a fact he had omitted during the enlistment process. Early career Rather began his journalism career in 1950 as an Associated Press reporter in Huntsville, Texas.",
"Early career Rather began his journalism career in 1950 as an Associated Press reporter in Huntsville, Texas. Later, he was a reporter for United Press (1950–1952), several Texas radio stations, and the Houston Chronicle (1954–1955). Around 1955, Rather wrote a piece on heroin.",
"Around 1955, Rather wrote a piece on heroin. Under the auspices of the Houston Police, he tried a dose of the drug, which he characterized as \"a special kind of hell.\" He worked for four seasons as the play-by-play announcer for the University of Houston football team.",
"He worked for four seasons as the play-by-play announcer for the University of Houston football team. During the 1959 minor league baseball season, Rather was the play-by-play radio announcer for the Texas League Houston Buffs. In 1959, Rather began his television career as a reporter for KTRK-TV, the ABC affiliate in Houston.",
"In 1959, Rather began his television career as a reporter for KTRK-TV, the ABC affiliate in Houston. He was subsequently promoted to the director of news for KHOU-TV, the CBS affiliate in Houston. In September 1961, Rather covered Hurricane Carla for KHOU-TV, broadcasting from the then National Weather Center in Galveston.",
"In September 1961, Rather covered Hurricane Carla for KHOU-TV, broadcasting from the then National Weather Center in Galveston. He is noted for showing the first radar image of a hurricane on TV. He conceived of overlaying a transparent map over the radar screen, in order to show the size of Hurricane Carla to the audience.",
"He conceived of overlaying a transparent map over the radar screen, in order to show the size of Hurricane Carla to the audience. Convinced of the threat, more than 350,000 people evacuated from the area, the largest known evacuation to that time.",
"Convinced of the threat, more than 350,000 people evacuated from the area, the largest known evacuation to that time. Their actions are believed to have saved thousands of lives compared to the previous hurricane, which had killed 6,000 to 12,000 people. Rather's live coverage of Carla was broadcast by New York and national stations.",
"Rather's live coverage of Carla was broadcast by New York and national stations. Ray Miller, news director of KPRC-TV, the NBC affiliate in Houston, also mentored Rather in the early years. On February 28, 1962, Rather left Houston for New York City for a six-month trial initiation at CBS.",
"On February 28, 1962, Rather left Houston for New York City for a six-month trial initiation at CBS. Rather did not fit in easily on the East Coast.",
"Rather did not fit in easily on the East Coast. His first reports for CBS included coverage of the crash of American Airlines Flight 1 in Jamaica Bay, and a report on the suffocation of children at a hospital in Binghamton, New York. Shortly after, Rather was made chief of CBS's Southwest bureau in Dallas.",
"Shortly after, Rather was made chief of CBS's Southwest bureau in Dallas. In August 1963, he was appointed chief of the Southern bureau in New Orleans, responsible for coverage of news events in the South, Southwest, Mexico and Central America.",
"In August 1963, he was appointed chief of the Southern bureau in New Orleans, responsible for coverage of news events in the South, Southwest, Mexico and Central America. CBS News JFK assassination to Watergate In his autobiography, Rather noted that he was in Dallas in November 1963 to return film from an interview in Uvalde at the ranch of former Vice President John Nance Garner, who celebrated his 95th birthday on November 22.",
"CBS News JFK assassination to Watergate In his autobiography, Rather noted that he was in Dallas in November 1963 to return film from an interview in Uvalde at the ranch of former Vice President John Nance Garner, who celebrated his 95th birthday on November 22. He happened to be \"on the other side of the railroad tracks, beyond the triple underpass, thirty yards from a grassy knoll that would later figure in so many conspiracy theories.\"",
"He happened to be \"on the other side of the railroad tracks, beyond the triple underpass, thirty yards from a grassy knoll that would later figure in so many conspiracy theories.\" His job was to fetch a film drop from a camera truck at that location, and take it to the station for editing.",
"His job was to fetch a film drop from a camera truck at that location, and take it to the station for editing. He did not witness the shooting of Kennedy, and knew nothing of the events until he reached KRLD, having run through Dealey Plaza.",
"He did not witness the shooting of Kennedy, and knew nothing of the events until he reached KRLD, having run through Dealey Plaza. He later wrote: “The moment I cleared the railroad tracks I saw a scene I will never forget. Some people were lying on the grass, some screaming, some running, some pointing.",
"Some people were lying on the grass, some screaming, some running, some pointing. Policemen swarmed everywhere and distinctly above the din, I heard one shout, 'DON'T ANYBODY PANIC.'",
"Policemen swarmed everywhere and distinctly above the din, I heard one shout, 'DON'T ANYBODY PANIC.' And of course, there was nothing but panic wherever you looked.” In his autobiography, Rather said he was one of the first to view the Zapruder film showing the assassination, and the first to describe it on television.",
"And of course, there was nothing but panic wherever you looked.” In his autobiography, Rather said he was one of the first to view the Zapruder film showing the assassination, and the first to describe it on television. Rather reported the fatal headshot as forcing Kennedy's head forward, but it was thrown backward.",
"Rather reported the fatal headshot as forcing Kennedy's head forward, but it was thrown backward. Later, he reported that some Dallas schoolchildren had applauded when they were notified of the president's death. Administrators said they had announced that school was to be dismissed early, and did not mention the assassination.",
"Administrators said they had announced that school was to be dismissed early, and did not mention the assassination. However, teacher Joanna Morgan confirmed that students had cheered at the news that Kennedy was shot. This story infuriated local journalists at then-CBS affiliate KRLD-TV (now Fox-owned-and-operated KDFW-TV).",
"This story infuriated local journalists at then-CBS affiliate KRLD-TV (now Fox-owned-and-operated KDFW-TV). Rather's reporting during the national mourning period following the Kennedy assassination and subsequent events impressed CBS News management. In 1964, they selected him for the network's White House correspondent position.",
"In 1964, they selected him for the network's White House correspondent position. In 1965, Rather served as a foreign correspondent for CBS in London, and in 1966 in Vietnam. He served again as White House correspondent during the presidency of Richard Nixon.",
"He served again as White House correspondent during the presidency of Richard Nixon. In 1970, he was also assigned as anchor for the CBS Sunday Night News (1970–73; 1974–75), and later for the CBS Saturday Evening News (1973–76). Rather was among those journalists who accompanied Nixon to China.",
"Rather was among those journalists who accompanied Nixon to China. He later covered the Watergate investigation, as well as the impeachment proceedings against Nixon in Congress. CBS Evening News anchor After President Nixon's resignation in 1974, Rather became chief correspondent for the documentary series CBS Reports.",
"CBS Evening News anchor After President Nixon's resignation in 1974, Rather became chief correspondent for the documentary series CBS Reports. In December 1975, he became a correspondent of the long-running Sunday night news show 60 Minutes—at the time the program was moved from a Sunday afternoon time-slot to primetime.",
"In December 1975, he became a correspondent of the long-running Sunday night news show 60 Minutes—at the time the program was moved from a Sunday afternoon time-slot to primetime. Success there helped Rather pull ahead of longtime correspondent Roger Mudd, who was in line to succeed Walter Cronkite as anchor and Managing Editor of The CBS Evening News.",
"Success there helped Rather pull ahead of longtime correspondent Roger Mudd, who was in line to succeed Walter Cronkite as anchor and Managing Editor of The CBS Evening News. Rather succeeded to the news anchor position after Cronkite's retirement, making his first broadcast on March 9, 1981. Rather had a significantly different style of reporting the news.",
"Rather had a significantly different style of reporting the news. In contrast to the avuncular Cronkite, who ended his newscast with “That's the way it is,” Rather searched to find a broadcast ending more suitable to his tastes.",
"In contrast to the avuncular Cronkite, who ended his newscast with “That's the way it is,” Rather searched to find a broadcast ending more suitable to his tastes. For one week in September 1986, with CBS the target of potentially hostile new ownership, Rather tried ending his broadcasts with the word \"courage,\" and was roundly ridiculed for it.",
"For one week in September 1986, with CBS the target of potentially hostile new ownership, Rather tried ending his broadcasts with the word \"courage,\" and was roundly ridiculed for it. For nearly two decades, Rather ended the show with: “That's part of our world tonight.” Rather also held other positions during his time as anchor.",
"For nearly two decades, Rather ended the show with: “That's part of our world tonight.” Rather also held other positions during his time as anchor. In January 1988, he became host of the newly created 48 Hours, and in January 1999, Rather joined the new 60 Minutes II as a correspondent.",
"In January 1988, he became host of the newly created 48 Hours, and in January 1999, Rather joined the new 60 Minutes II as a correspondent. Ratings for the Evening News with Rather at the helm fluctuated wildly, at a time when more alternatives to TV news were developing.",
"Ratings for the Evening News with Rather at the helm fluctuated wildly, at a time when more alternatives to TV news were developing. After a dip to second place, Rather regained the top spot in 1985 until 1989, when he ceded the ratings peak to rival Peter Jennings at ABC's World News Tonight.",
"After a dip to second place, Rather regained the top spot in 1985 until 1989, when he ceded the ratings peak to rival Peter Jennings at ABC's World News Tonight. By 1992, however, the Evening News had fallen to third place of the three major networks.",
"By 1992, however, the Evening News had fallen to third place of the three major networks. It rose in rankings in 2005, when Bob Schieffer became the interim anchor between Rather and Katie Couric.",
"It rose in rankings in 2005, when Bob Schieffer became the interim anchor between Rather and Katie Couric. It briefly moved ahead of ABC World News Tonight in the wake of the death of Peter Jennings, but remained behind NBC Nightly News.",
"It briefly moved ahead of ABC World News Tonight in the wake of the death of Peter Jennings, but remained behind NBC Nightly News. Rather was a frequent collaborator with CBS News producer Susan Zirinsky, a leading member of the news division's staff.",
"Rather was a frequent collaborator with CBS News producer Susan Zirinsky, a leading member of the news division's staff. In 1987, new CBS owner Laurence Tisch oversaw layoffs of hundreds of CBS News employees, in a major shake-up of the network.",
"In 1987, new CBS owner Laurence Tisch oversaw layoffs of hundreds of CBS News employees, in a major shake-up of the network. Among those to go were correspondents such as David Andelman, Fred Graham, Morton Dean, and Ike Pappas. Fewer videotape crews were dispatched to cover stories, and numerous bureaus were closed.",
"Fewer videotape crews were dispatched to cover stories, and numerous bureaus were closed. Critics cited the cutbacks as a major factor in CBS News' fall into third place in the ratings. For a short time from 1993 to 1995, Rather co-anchored the evening news with Connie Chung.",
"For a short time from 1993 to 1995, Rather co-anchored the evening news with Connie Chung. Chung had been a Washington, DC correspondent for CBS News, and anchored short news updates on the West Coast. On joining the CBS Evening News, she reported \"pop news\" stories.",
"On joining the CBS Evening News, she reported \"pop news\" stories. In one widely cited case, she aggressively pursued Tonya Harding, who was accused of a plot to injure fellow Olympic ice skater Nancy Kerrigan. After Chung left the network, Rather went back to doing the newscast alone.",
"After Chung left the network, Rather went back to doing the newscast alone. By the 2005–06 season, the end of Rather's time as anchor, CBS Evening News lagged behind NBC Nightly News and ABC World News Tonight in the ratings. But it still drew approximately 5.5 million viewers a night.",
"But it still drew approximately 5.5 million viewers a night. Criticism of Rather reached a fever pitch after 60 Minutes II ran his 2004 report about President Bush's military record. Numerous critics questioned the authenticity of the documents upon which the report was based. Rather subsequently admitted on the air that the documents' authenticity could not be proven.",
"Rather subsequently admitted on the air that the documents' authenticity could not be proven. In the aftermath, CBS fired several members of CBS News staff but temporarily retained Rather, until his contract was up for renewal the following year, whereupon he was completely ousted.",
"In the aftermath, CBS fired several members of CBS News staff but temporarily retained Rather, until his contract was up for renewal the following year, whereupon he was completely ousted. Journalistic history and influence Nixon During Richard Nixon's presidency, critics accused Rather of biased coverage against him.",
"Journalistic history and influence Nixon During Richard Nixon's presidency, critics accused Rather of biased coverage against him. At a Houston news conference in March 1974, Nixon fielded a question from Rather, still CBS's White House correspondent, who said, “Thank you, Mr. President.",
"At a Houston news conference in March 1974, Nixon fielded a question from Rather, still CBS's White House correspondent, who said, “Thank you, Mr. President. Dan Rather, of CBS News.” The room filled with jeers and applause, prompting Nixon to joke, “Are you running for something?” Rather replied, “No, sir, Mr. President.",
"Dan Rather, of CBS News.” The room filled with jeers and applause, prompting Nixon to joke, “Are you running for something?” Rather replied, “No, sir, Mr. President. Are you?” He questioned whether Nixon was cooperating with the grand jury investigation and House Judiciary Committee in relation to the Watergate scandal.",
"Are you?” He questioned whether Nixon was cooperating with the grand jury investigation and House Judiciary Committee in relation to the Watergate scandal. NBC's Tom Brokaw has said the network considered hiring him to replace Rather as its White House correspondent, but dropped it after word was leaked to the press.",
"NBC's Tom Brokaw has said the network considered hiring him to replace Rather as its White House correspondent, but dropped it after word was leaked to the press. Rather was believed to have provided tough coverage of the Watergate scandal, raising his profile.",
"Rather was believed to have provided tough coverage of the Watergate scandal, raising his profile. Space Shuttle Challenger disaster In January 1986, NASA faced repeated delays in the preparations to launch the Space Shuttles Columbia and Challenger in close sequence.",
"Space Shuttle Challenger disaster In January 1986, NASA faced repeated delays in the preparations to launch the Space Shuttles Columbia and Challenger in close sequence. Rather described the January 10 delay of Columbia as: “star-crossed space shuttle Columbia stood ready for launch again today, and once more, the launch was scrubbed.",
"Rather described the January 10 delay of Columbia as: “star-crossed space shuttle Columbia stood ready for launch again today, and once more, the launch was scrubbed. Heavy rain was the cause this time.",
"Heavy rain was the cause this time. The launch has been postponed so often since its original date, December 18, that it's now known as mission impossible.”This was considered an example of the \"biting sarcasm\" the media used related to NASA's scheduling. Columbia launched on January 12.",
"Columbia launched on January 12. Columbia launched on January 12. On January 27, Rather's reporting of the expected Challenger launch began as follows: On January 28, Challenger'''s explosion and destruction occurred 73 seconds after launch.",
"On January 27, Rather's reporting of the expected Challenger launch began as follows: On January 28, Challenger'''s explosion and destruction occurred 73 seconds after launch. Afghanistan, Reagan, and George H. W. Bush During the Soviet–Afghan War, Rather was filmed reporting near the front lines while wearing a traditional mujahideen headdress and garments.",
"Afghanistan, Reagan, and George H. W. Bush During the Soviet–Afghan War, Rather was filmed reporting near the front lines while wearing a traditional mujahideen headdress and garments. Rather attracted an Evening News audience (and was nicknamed \"Gunga Dan\"). The American comic strip Doonesbury spoofed his actions.",
"The American comic strip Doonesbury spoofed his actions. Rather's reports were later revealed to have been influential to Congressman Charlie Wilson (D-Texas), who led an effort to help the struggling mujahideen. The CIA developed its largest covert operation to supply aid and advanced arms to the mujahideen. The Soviets eventually quit Afghanistan.",
"The Soviets eventually quit Afghanistan. The Soviets eventually quit Afghanistan. Rather gained the anchor spot on the Evening News. He was competing with Roger Mudd, a more senior correspondent and a frequent substitute anchor for Walter Cronkite on Evening News. Mudd had also anchored the Sunday evening broadcast, but Rather traveled through Afghanistan when news led there.",
"Mudd had also anchored the Sunday evening broadcast, but Rather traveled through Afghanistan when news led there. A few years into his service as anchor, Rather began wearing sweaters beneath his suit jacket to soften his on-air appearance for viewers. During the 1980s, Rather gained further renown for his forceful and skeptical reporting on the Iran–Contra affair.",
"During the 1980s, Rather gained further renown for his forceful and skeptical reporting on the Iran–Contra affair. He eventually confronted Vice President George H. W. Bush in an on-air interview during the latter's presidential campaign.",
"He eventually confronted Vice President George H. W. Bush in an on-air interview during the latter's presidential campaign. Bush referred to Rather's \"dead air incident\" saying: “I want to talk about why I want to be President, why those 41 percent of the people are supporting me.",
"Bush referred to Rather's \"dead air incident\" saying: “I want to talk about why I want to be President, why those 41 percent of the people are supporting me. And I don't think it's fair to judge my whole career by a rehash on Iran.",
"And I don't think it's fair to judge my whole career by a rehash on Iran. How would you like it if I judged your career by those seven minutes when you walked off the set in New York?”Rather ignored Bush's comment.",
"How would you like it if I judged your career by those seven minutes when you walked off the set in New York?”Rather ignored Bush's comment. Shortly after Iraq invaded Kuwait, Rather secured an interview with Iraqi leader Saddam Hussein.",
"Shortly after Iraq invaded Kuwait, Rather secured an interview with Iraqi leader Saddam Hussein. On February 24, 2003, Rather conducted another interview with Hussein before the United States' 2003 invasion of Iraq. In the interview, Hussein invited Rather to be the moderator of a live television debate between him and George W. Bush.",
"In the interview, Hussein invited Rather to be the moderator of a live television debate between him and George W. Bush. The debate never took place. The Wall Within On June 2, 1988, Rather hosted a CBS News special, The Wall Within.",
"The Wall Within On June 2, 1988, Rather hosted a CBS News special, The Wall Within. In it, he interviewed six veterans, each of whom said he had witnessed horrible acts in Vietnam. Two of the men said that they had killed civilians, and two others said that they had seen friends die.",
"Two of the men said that they had killed civilians, and two others said that they had seen friends die. Each talked about the effects the war had upon their lives—including depression, unemployment, drug use, and homelessness. In 2004, National Review ran an article by Anne Morse entitled \"The First Rathergate.\"",
"In 2004, National Review ran an article by Anne Morse entitled \"The First Rathergate.\" She said that almost nothing claimed by participants in The Wall Within was true.",
"She said that almost nothing claimed by participants in The Wall Within was true. Citing the self-published book Stolen Valor (1998) by veteran B. G. Burkett, and investigative journalist Glenna Whitley, Morse said that military records revealed that the six former servicemen had lied about their experiences.",
"Citing the self-published book Stolen Valor (1998) by veteran B. G. Burkett, and investigative journalist Glenna Whitley, Morse said that military records revealed that the six former servicemen had lied about their experiences. Only one served in combat, and two had never been in Vietnam.",
"Only one served in combat, and two had never been in Vietnam. Killian documents On September 8, 2004, Rather reported on 60 Minutes Wednesday that a series of memos critical of President George W. Bush's Texas Air National Guard service record had been discovered in the personal files of Lt. Bush's former commanding officer, Lt. Col. Jerry B. Killian.",
"Killian documents On September 8, 2004, Rather reported on 60 Minutes Wednesday that a series of memos critical of President George W. Bush's Texas Air National Guard service record had been discovered in the personal files of Lt. Bush's former commanding officer, Lt. Col. Jerry B. Killian. Once copies of the documents were made available on the Internet, their authenticity was quickly called into question.",
"Once copies of the documents were made available on the Internet, their authenticity was quickly called into question. Much of this was based on the fact that the documents were proportionally printed and displayed using other modern typographic conventions usually unavailable on military typewriters of the 1970s.",
"Much of this was based on the fact that the documents were proportionally printed and displayed using other modern typographic conventions usually unavailable on military typewriters of the 1970s. The font used on the documents has characteristics that exactly or almost exactly match standard font features of Microsoft Word. This led to claims that the memos were forgeries.",
"This led to claims that the memos were forgeries. The accusations then spread over the following days into mainstream media outlets, including The Washington Post, The New York Times, and The Chicago Sun-Times. Rather and CBS initially defended the story, insisting that the documents had been authenticated by experts.",
"Rather and CBS initially defended the story, insisting that the documents had been authenticated by experts. CBS was contradicted by some of the experts it originally cited, and later reported that its source for the documents—former Texas Army National Guard officer Lt. Col. Bill Burkett—had misled the network about how he had obtained them.",
"CBS was contradicted by some of the experts it originally cited, and later reported that its source for the documents—former Texas Army National Guard officer Lt. Col. Bill Burkett—had misled the network about how he had obtained them. On September 20, 2004, CBS retracted the story.",
"On September 20, 2004, CBS retracted the story. Rather stated, “If I knew then what I know now, I would not have gone ahead with the story as it was aired, and I certainly would not have used the documents in question.” The controversy has been referred to by some as \"Memogate\" and \"Rathergate.\"",
"Rather stated, “If I knew then what I know now, I would not have gone ahead with the story as it was aired, and I certainly would not have used the documents in question.” The controversy has been referred to by some as \"Memogate\" and \"Rathergate.\" Following an investigation commissioned by CBS, CBS fired story producer Mary Mapes, and asked three other producers connected with the story to resign.",
"Following an investigation commissioned by CBS, CBS fired story producer Mary Mapes, and asked three other producers connected with the story to resign. Many believe Rather's retirement was hastened by this incident.",
"Many believe Rather's retirement was hastened by this incident. On September 20, 2007, Rather was interviewed on Larry King Live commenting, “Nobody has proved that they were fraudulent, much less a forgery. ...",
"... ... The truth of this story stands up to this day.” Departure from the CBS Evening News Rather retired as the anchorman and Managing Editor of the CBS Evening News in 2005; his last broadcast was Wednesday, March 9, 2005.",
"The truth of this story stands up to this day.” Departure from the CBS Evening News Rather retired as the anchorman and Managing Editor of the CBS Evening News in 2005; his last broadcast was Wednesday, March 9, 2005. He had worked as the anchorman for 24 full years, the longest tenure of anyone in American television history, and for a short time, continued to work as a correspondent for 60 Minutes.",
"He had worked as the anchorman for 24 full years, the longest tenure of anyone in American television history, and for a short time, continued to work as a correspondent for 60 Minutes. Bob Schieffer, a fellow Texan and host of Face the Nation, took over Rather's position on an interim basis, with Katie Couric replacing Schieffer in 2006.",
"Bob Schieffer, a fellow Texan and host of Face the Nation, took over Rather's position on an interim basis, with Katie Couric replacing Schieffer in 2006. Since retiring, Rather has spoken out about what he perceives as a lack of courage by American journalists. On January 24, 2006, Rather spoke to a Seattle audience.",
"On January 24, 2006, Rather spoke to a Seattle audience. Before the speaking engagement, he told a newspaper reporter, “In many ways on many days, [reporters] have sort of adopted the attitude of 'go along, get along.",
"Before the speaking engagement, he told a newspaper reporter, “In many ways on many days, [reporters] have sort of adopted the attitude of 'go along, get along. '” “What many of us need is a spine transplant,” Rather added.",
"'” “What many of us need is a spine transplant,” Rather added. “Whether it's City Hall, the State House, or the White House, part of our job is to speak truth to power.” Ousted from CBS News In June 2006, reports surfaced that CBS News would most likely not renew Dan Rather's contract.",
"“Whether it's City Hall, the State House, or the White House, part of our job is to speak truth to power.” Ousted from CBS News In June 2006, reports surfaced that CBS News would most likely not renew Dan Rather's contract. According to a Washington Post article, sources from CBS said that executives at the network decided \"there is no future role for Rather.\"",
"According to a Washington Post article, sources from CBS said that executives at the network decided \"there is no future role for Rather.\" On June 20, 2006, CBS News and Sports President Sean McManus announced that Rather would leave the network after 44 years.",
"On June 20, 2006, CBS News and Sports President Sean McManus announced that Rather would leave the network after 44 years. Rather issued a separate statement which accompanied the news of the departure: Lawsuit over ouster from CBS Network On September 19, 2007, Rather filed a $70 million lawsuit against CBS, its former parent company Viacom; CBS President and CEO Leslie Moonves; Sumner Redstone, chairman of both Viacom and CBS; and Andrew Heyward, former president of CBS News.",
"Rather issued a separate statement which accompanied the news of the departure: Lawsuit over ouster from CBS Network On September 19, 2007, Rather filed a $70 million lawsuit against CBS, its former parent company Viacom; CBS President and CEO Leslie Moonves; Sumner Redstone, chairman of both Viacom and CBS; and Andrew Heyward, former president of CBS News. Rather accused the network and its ownership and management of making him a \"scapegoat\" in the Killian story.",
"Rather accused the network and its ownership and management of making him a \"scapegoat\" in the Killian story. A CBS spokesman claimed that the lawsuit was \"old news\" and \"without merit.\"",
"A CBS spokesman claimed that the lawsuit was \"old news\" and \"without merit.\" On September 21, 2009, Rather's lawyers claimed that Bush's military service would be proven to be a sham, and Rather would be vindicated.",
"On September 21, 2009, Rather's lawyers claimed that Bush's military service would be proven to be a sham, and Rather would be vindicated. On September 29, 2009, a New York state appeals court dismissed Rather's lawsuit against CBS.",
"On September 29, 2009, a New York state appeals court dismissed Rather's lawsuit against CBS. On January 12, 2010, New York's top court refused to reinstate Rather's $70 million breach-of-contract lawsuit against CBS Corp.",
"On January 12, 2010, New York's top court refused to reinstate Rather's $70 million breach-of-contract lawsuit against CBS Corp. In his book titled Rather Outspoken, Rather claims that the lawsuit “took a big whack out of my time, my psyche and my bank balance, but even so, it was worth it.” On May 18, 2012, Rather appeared on Real Time With Bill Maher, and claimed he had been fired for reporting a story about George W. Bush's year of absence from the reserve unit he served with, and that the news corporations had been \"very uncomfortable\" with running the story.",
"In his book titled Rather Outspoken, Rather claims that the lawsuit “took a big whack out of my time, my psyche and my bank balance, but even so, it was worth it.” On May 18, 2012, Rather appeared on Real Time With Bill Maher, and claimed he had been fired for reporting a story about George W. Bush's year of absence from the reserve unit he served with, and that the news corporations had been \"very uncomfortable\" with running the story. Post-CBS career Following his departure from CBS, Dan Rather joined Mark Cuban's cable network AXS TV (then called HDNet) to host and produce the weekly one-hour news show Dan Rather Reports from 2006 until 2013.",
"Post-CBS career Following his departure from CBS, Dan Rather joined Mark Cuban's cable network AXS TV (then called HDNet) to host and produce the weekly one-hour news show Dan Rather Reports from 2006 until 2013. Since 2013, Rather has hosted and produced the hour-long series The Big Interview with Dan Rather on AXS TV, where he sits down for in-depth interviews with influential figures in music and entertainment, such as: John Fogerty, Quentin Tarantino, Simon Cowell, Aaron Sorkin, and Sammy Hagar.",
"Since 2013, Rather has hosted and produced the hour-long series The Big Interview with Dan Rather on AXS TV, where he sits down for in-depth interviews with influential figures in music and entertainment, such as: John Fogerty, Quentin Tarantino, Simon Cowell, Aaron Sorkin, and Sammy Hagar. He has also produced several documentary specials for the network under the banner Dan Rather Presents, including specials about \"America's Mental Health Crisis,\" the United States Secret Service, and \"The Shameful Side of International Adoption.\"",
"He has also produced several documentary specials for the network under the banner Dan Rather Presents, including specials about \"America's Mental Health Crisis,\" the United States Secret Service, and \"The Shameful Side of International Adoption.\" Rather also appears frequently on a number of news shows, including MSNBC's The Rachel Maddow Show and The Last Word with Lawrence O'Donnell and on CNN.",
"Rather also appears frequently on a number of news shows, including MSNBC's The Rachel Maddow Show and The Last Word with Lawrence O'Donnell and on CNN. He has also written for The Huffington Post and Mashable.",
"He has also written for The Huffington Post and Mashable. On May 28, 2007, Rather compared historical events to events in the Star Wars films in the History Channel special titled Star Wars: The Legacy Revealed. In 2012, Rather published an autobiography titled Rather Outspoken: My Life in the News.",
"In 2012, Rather published an autobiography titled Rather Outspoken: My Life in the News. In 2015, Rather launched an independent production company called News and Guts Media, through which he produces The Big Interview among other projects. In 2015, Rather also began actively posting on Facebook.",
"In 2015, Rather also began actively posting on Facebook. He credits young staffers at News and Guts Media with pushing him to try social media. While his posts were considerably longer than typical social media posts, they resonated with the audience, which soon grew to more than two million followers.",
"While his posts were considerably longer than typical social media posts, they resonated with the audience, which soon grew to more than two million followers. Even late night TV noticed Rather's unusual but effective Facebook presence. Subject matter has covered a range of topics, including: current political events, journalism, and childhood memories.",
"Subject matter has covered a range of topics, including: current political events, journalism, and childhood memories. On September 23, 2016, SiriusXM Radio announced a new hour-long weekly program, \"Dan Rather's America,\" airing Tuesday mornings at 10am Eastern on Radio Andy channel 102, debuting on September 27.",
"On September 23, 2016, SiriusXM Radio announced a new hour-long weekly program, \"Dan Rather's America,\" airing Tuesday mornings at 10am Eastern on Radio Andy channel 102, debuting on September 27. In the fall of 2017, the Briscoe Center for American History at the University of Texas completed a digital humanities project dedicated to the long career of the journalist that was titled Dan Rather: American Journalist.",
"In the fall of 2017, the Briscoe Center for American History at the University of Texas completed a digital humanities project dedicated to the long career of the journalist that was titled Dan Rather: American Journalist. The culmination of three years of research conducted at the Briscoe Center, the site uses materials from a dozen archives and libraries, and draws from over 25 of the Briscoe Center for American History's news media and photojournalism collections.",
"The culmination of three years of research conducted at the Briscoe Center, the site uses materials from a dozen archives and libraries, and draws from over 25 of the Briscoe Center for American History's news media and photojournalism collections. The website features over 2,000 digitized documents, 300 excerpts from twelve oral history interviews, and 1000 video clips, enabling visitors to dive deep into the history of the last 60 years through the lens of Dan Rather's career.",
"The website features over 2,000 digitized documents, 300 excerpts from twelve oral history interviews, and 1000 video clips, enabling visitors to dive deep into the history of the last 60 years through the lens of Dan Rather's career. On January 21, 2018, it was announced that Rather would be launching a weekly 30-minute newscast on The Young Turks.",
"On January 21, 2018, it was announced that Rather would be launching a weekly 30-minute newscast on The Young Turks. Titled The News with Dan Rather, it airs on Mondays at 5:30pm Eastern Time. Personal life Rather married Jean Goebel in 1957.",
"Personal life Rather married Jean Goebel in 1957. They have a son and daughter, and maintain homes in New York City and Austin, Texas. Their daughter Robin is an environmentalist and community activist in Austin, Texas. Their son Dan is an assistant district attorney in the District Attorney's office in Manhattan, New York.",
"Their son Dan is an assistant district attorney in the District Attorney's office in Manhattan, New York. Sam Houston State University renamed its mass communications building after Rather in 1994. The building houses The Houstonian and KSHU, the student-run radio and television stations.",
"The building houses The Houstonian and KSHU, the student-run radio and television stations. In May 2007, Rather received an honorary Doctor of Humane Letters from Siena College in Loudonville, New York, for his lifetime contributions to journalism.",
"In May 2007, Rather received an honorary Doctor of Humane Letters from Siena College in Loudonville, New York, for his lifetime contributions to journalism. A columnist whose work is distributed by King Features Syndicate, Rather continues to speak out against alleged influence in journalism by corporations and governments.",
"A columnist whose work is distributed by King Features Syndicate, Rather continues to speak out against alleged influence in journalism by corporations and governments. At a 2008 conference in Minneapolis, Minnesota, sponsored by the group Free Press, Rather criticized both local and national news organizations, stating—according to reports—that there is no longer incentive to do “good and valuable news.” Books The Palace Guard, with Gary Paul Gates, 1974. .",
"At a 2008 conference in Minneapolis, Minnesota, sponsored by the group Free Press, Rather criticized both local and national news organizations, stating—according to reports—that there is no longer incentive to do “good and valuable news.” Books The Palace Guard, with Gary Paul Gates, 1974. . The Camera Never Blinks: Adventures of a TV Journalist, with Mickey Herskowitz, 1977. .",
"The Camera Never Blinks: Adventures of a TV Journalist, with Mickey Herskowitz, 1977. . I Remember, with Peter Wyden, 1991. . The Camera Never Blinks Twice: The Further Adventures of a Television Journalist, with Mickey Herskowitz, 1994. . , 1999. .",
", 1999. . , 1999. . \"The American Dream: Stories from the Heart of Our Nation\", 2001. . , with Digby Diehl, 2013. . What Unites Us: Reflections on Patriotism, with Elliot Kirschner, 2017. .What Unites Us: The Graphic Novel, with Elliot Kirschner, illustrated by Tim Foley, 2021. .",
".What Unites Us: The Graphic Novel, with Elliot Kirschner, illustrated by Tim Foley, 2021. . Awards He has received numerous Emmy Awards, several Peabody Awards, and various honorary degrees from universities. In addition to these awards, Rather was inducted into the Television Hall of Fame in 2004.",
"In addition to these awards, Rather was inducted into the Television Hall of Fame in 2004. In 2001, he received the Golden Plate Award of the American Academy of Achievement.",
"In 2001, he received the Golden Plate Award of the American Academy of Achievement. Criticism As one of the last broadcast news journalists from the era of the \"Big Three\" network news primacy, Rather was generally regarded highly within his profession by long-serving journalists. Rather has been accused of having a liberal bias.",
"Rather has been accused of having a liberal bias. \"Dan Rather: a pioneer and a lightning rod\" at The Christian Science Monitor. Claims of bias Rather's on-screen comments and election-night reporting have come under attack dating back to Richard Nixon's presidency.",
"Claims of bias Rather's on-screen comments and election-night reporting have come under attack dating back to Richard Nixon's presidency. In a June 2002 interview with Larry King, his long-time co-worker (and self-described liberal), Andy Rooney stated that Rather is “transparently liberal.” During the weeks following the Killian documents stories, Rather received widespread criticism from other journalists and historians.",
"In a June 2002 interview with Larry King, his long-time co-worker (and self-described liberal), Andy Rooney stated that Rather is “transparently liberal.” During the weeks following the Killian documents stories, Rather received widespread criticism from other journalists and historians. In an interview with commentator Bill Maher, Rather accused Fox News Channel of receiving \"talking points\" from the Republican-controlled White House.",
"In an interview with commentator Bill Maher, Rather accused Fox News Channel of receiving \"talking points\" from the Republican-controlled White House. Fox News commentator Bill O'Reilly, who had defended Rather during the Killian documents incident, criticized Rather for not offering any evidence to support the claim.",
"Fox News commentator Bill O'Reilly, who had defended Rather during the Killian documents incident, criticized Rather for not offering any evidence to support the claim. In 2002, Bernard Goldberg published a book with the title Bias, alleging a liberal bias in print and broadcast news organizations.",
"In 2002, Bernard Goldberg published a book with the title Bias, alleging a liberal bias in print and broadcast news organizations. In the book, Goldberg used Dan Rather as a primary example of a news anchorman with a liberal bias.",
"In the book, Goldberg used Dan Rather as a primary example of a news anchorman with a liberal bias. He also criticized the anchor for his criticisms of President George W. Bush's and Vice President Dan Quayle's service in the National Guard, rather than the Active Duty military during the Vietnam War, and questioned Rather's own service.",
"He also criticized the anchor for his criticisms of President George W. Bush's and Vice President Dan Quayle's service in the National Guard, rather than the Active Duty military during the Vietnam War, and questioned Rather's own service. Fairness and Accuracy in Reporting has accused Rather of having \"an unwillingness to challenge official power and policy\" in his reporting.",
"Fairness and Accuracy in Reporting has accused Rather of having \"an unwillingness to challenge official power and policy\" in his reporting. Investigative reporter Mark Hertsgaard characterized Rather as a \"stern anti-Communist\" during the Reagan administration, for allegedly having \"reported the pronouncements of public officials with considerable respect.\"",
"Investigative reporter Mark Hertsgaard characterized Rather as a \"stern anti-Communist\" during the Reagan administration, for allegedly having \"reported the pronouncements of public officials with considerable respect.\" In April 2001, according to a front-page story in The Washington Post, Rather spoke at a Democratic party fundraiser in Austin, Texas, where he was the featured speaker.",
"In April 2001, according to a front-page story in The Washington Post, Rather spoke at a Democratic party fundraiser in Austin, Texas, where he was the featured speaker. One of the official hosts for the fundraiser was Rather's daughter, Robin Rather; Rather said that he did not realize that his daughter was a host of the fundraiser.",
"One of the official hosts for the fundraiser was Rather's daughter, Robin Rather; Rather said that he did not realize that his daughter was a host of the fundraiser. Rather also said that he did not realize that the event was a partisan fundraiser, although he did realize that after he arrived at the event.",
"Rather also said that he did not realize that the event was a partisan fundraiser, although he did realize that after he arrived at the event. From Walter Cronkite During an appearance on CNN's American Morning in 2005, former CBS anchor Walter Cronkite said about Rather: “It surprised quite a few people at CBS and elsewhere that, without being able to pull up the ratings beyond third in a three-man field, that they tolerated his being there for so long.” Cronkite also said that he would like to have seen Bob Schieffer in Rather's position sooner.",
"From Walter Cronkite During an appearance on CNN's American Morning in 2005, former CBS anchor Walter Cronkite said about Rather: “It surprised quite a few people at CBS and elsewhere that, without being able to pull up the ratings beyond third in a three-man field, that they tolerated his being there for so long.” Cronkite also said that he would like to have seen Bob Schieffer in Rather's position sooner. From Dallas CBS news director Eddie Barker In the aftermath of the Kennedy assassination while Rather was a Dallas reporter, he interviewed a minister, who said some local schoolchildren had cheered upon learning of the President's shooting.",
"From Dallas CBS news director Eddie Barker In the aftermath of the Kennedy assassination while Rather was a Dallas reporter, he interviewed a minister, who said some local schoolchildren had cheered upon learning of the President's shooting. The Associated Press later confirmed the story.",
"The Associated Press later confirmed the story. A teacher at the school backed up the Rather story, confirming that some students at the school had cheered at the principal's news about Kennedy.",
"A teacher at the school backed up the Rather story, confirming that some students at the school had cheered at the principal's news about Kennedy. Eddie Barker, local Dallas-area news director for CBS, said that Rather had in fact been aware that the children were merely happy about being sent home early, and they had not been given a reason for early school closure (Barker's children attended the school, as he informed Rather).",
"Eddie Barker, local Dallas-area news director for CBS, said that Rather had in fact been aware that the children were merely happy about being sent home early, and they had not been given a reason for early school closure (Barker's children attended the school, as he informed Rather). He stated that Rather had deliberately misrepresented the facts by indicating that the children were happy about the shooting.",
"He stated that Rather had deliberately misrepresented the facts by indicating that the children were happy about the shooting. Barker attempted to fire Rather, but was overruled by the national CBS News management.",
"Barker attempted to fire Rather, but was overruled by the national CBS News management. Incidents and controversies 1968 Democratic convention During live coverage of the 1968 Democratic National Convention, Rather attempted to interview a delegate from Georgia who appeared as though he was being forcibly removed by men without identification badges.",
"Incidents and controversies 1968 Democratic convention During live coverage of the 1968 Democratic National Convention, Rather attempted to interview a delegate from Georgia who appeared as though he was being forcibly removed by men without identification badges. As Rather approached the delegate to question the apparent strong-arm tactics of the Chicago political machine under Mayor Daley, he was punched in the stomach by one of the men, knocking him to the ground.",
"As Rather approached the delegate to question the apparent strong-arm tactics of the Chicago political machine under Mayor Daley, he was punched in the stomach by one of the men, knocking him to the ground. “He lifted me right off the floor and put me away.",
"“He lifted me right off the floor and put me away. I was down, the breath knocked out of me, as the whole group blew on by me ...",
"I was down, the breath knocked out of me, as the whole group blew on by me ... In the CBS control room, they had switched the camera onto me just as I was slugged.” Walter Cronkite, after being told by Rather what happened, added on-air, \"I think we got a bunch of thugs here Dan!\"",
"In the CBS control room, they had switched the camera onto me just as I was slugged.” Walter Cronkite, after being told by Rather what happened, added on-air, \"I think we got a bunch of thugs here Dan!\" Chicago cab ride On November 10, 1980, Rather landed at Chicago's O'Hare International Airport and got into a cab.",
"Chicago cab ride On November 10, 1980, Rather landed at Chicago's O'Hare International Airport and got into a cab. He asked the cab driver to take him to the home of writer Studs Terkel, whom he was interviewing for 60 Minutes.",
"He asked the cab driver to take him to the home of writer Studs Terkel, whom he was interviewing for 60 Minutes. A police spokesman said that the cab driver refused to go to the address and instead \"wildly drove through the city streets,\" with Rather shouting out the window asking for help.",
"A police spokesman said that the cab driver refused to go to the address and instead \"wildly drove through the city streets,\" with Rather shouting out the window asking for help. The driver was charged with disorderly conduct.",
"The driver was charged with disorderly conduct. Rather called the incident “a rather minor thing.” By the time the case was about to come to trial, he was about to add anchoring the CBS Evening News to his 60 Minutes role at CBS News.",
"Rather called the incident “a rather minor thing.” By the time the case was about to come to trial, he was about to add anchoring the CBS Evening News to his 60 Minutes role at CBS News. Rather declined to press charges, citing a \"mounting schedule of reporting assignments.\"",
"Rather declined to press charges, citing a \"mounting schedule of reporting assignments.\" Galloway lawsuit In 1980, Rather and CBS were taken to court when Carl Galloway, a California doctor, claimed that a report on 60 Minutes wrongfully implicated him in an insurance fraud scheme.",
"Galloway lawsuit In 1980, Rather and CBS were taken to court when Carl Galloway, a California doctor, claimed that a report on 60 Minutes wrongfully implicated him in an insurance fraud scheme. CBS stated Galloway had signed the bogus report, and was suing Rather because he was upset at being caught.",
"CBS stated Galloway had signed the bogus report, and was suing Rather because he was upset at being caught. The jury sided with CBS and Rather, and they won the case. During the trial, Galloway's side used outtakes from the TV report showing that one interview was rehearsed.",
"During the trial, Galloway's side used outtakes from the TV report showing that one interview was rehearsed. \"Courage\" For one week in September 1986, Rather signed off his broadcasts to CBS with the word \"courage.\"",
"\"Courage\" For one week in September 1986, Rather signed off his broadcasts to CBS with the word \"courage.\" He said that it was just a signature line, and had nothing to do with the news at the time. Other newscasters ridiculed and parodied Rather, and he dropped it.",
"Other newscasters ridiculed and parodied Rather, and he dropped it. \"Kenneth, what is the frequency?\" On October 4, 1986, while walking along Park Avenue to his apartment in Manhattan, Rather was attacked and punched from behind by a man who demanded to know \"Kenneth, what is the frequency?\"",
"On October 4, 1986, while walking along Park Avenue to his apartment in Manhattan, Rather was attacked and punched from behind by a man who demanded to know \"Kenneth, what is the frequency?\" while a second assailant chased and beat him. As the assailant pummeled and kicked Rather, he kept repeating the question.",
"As the assailant pummeled and kicked Rather, he kept repeating the question. In describing the incident, Rather said “I got mugged. Who understands these things? I didn't and I don't now. I didn't make a lot of it at the time and I don't now.",
"I didn't make a lot of it at the time and I don't now. I wish I knew who did it and why, but I have no idea.” Until the crime was resolved years later, Rather's description of the bizarre crime led some to doubt the veracity of his account, although the doorman and building supervisor who came to Rather's aid fully confirmed his version of events.",
"I wish I knew who did it and why, but I have no idea.” Until the crime was resolved years later, Rather's description of the bizarre crime led some to doubt the veracity of his account, although the doorman and building supervisor who came to Rather's aid fully confirmed his version of events. The assault remained unsolved for some time, and was referenced multiple times in popular culture.",
"The assault remained unsolved for some time, and was referenced multiple times in popular culture. The phrase \"What's the frequency, Kenneth?\" became a popular-culture reference over the years, such as in a scene in the graphic novel Like a Velvet Glove Cast in Iron by cartoonist Daniel Clowes.",
"became a popular-culture reference over the years, such as in a scene in the graphic novel Like a Velvet Glove Cast in Iron by cartoonist Daniel Clowes. The opening track of the 1987 album Lolita Nation by California power pop group Game Theory is titled \"Kenneth, What's the Frequency?\" In 1994, the band R.E.M.",
"In 1994, the band R.E.M. released the song \"What's the Frequency, Kenneth?\" on their album Monster. Rather later sang with R.E.M. during a sound check prior to a gig at New York's Madison Square Garden, which was shown the following night on the Late Show with David Letterman.",
"during a sound check prior to a gig at New York's Madison Square Garden, which was shown the following night on the Late Show with David Letterman. In 1997, a TV critic writing in the New York Daily News solved the mystery, publishing a photo of the alleged assailant, William Tager, who received a 12.5-to-25-year prison sentence for killing NBC stagehand Campbell Montgomery outside The Today Show studio in 1994.",
"In 1997, a TV critic writing in the New York Daily News solved the mystery, publishing a photo of the alleged assailant, William Tager, who received a 12.5-to-25-year prison sentence for killing NBC stagehand Campbell Montgomery outside The Today Show studio in 1994. Rather confirmed the story: \"There's no doubt in my mind that this is the person.\"",
"Rather confirmed the story: \"There's no doubt in my mind that this is the person.\" New York District Attorney Robert M. Morgenthau said \"William Tager's identity as the man who attacked Mr. Rather was established in the course of an investigation by my office.\"",
"New York District Attorney Robert M. Morgenthau said \"William Tager's identity as the man who attacked Mr. Rather was established in the course of an investigation by my office.\" Tager claimed he thought television networks were beaming signals into his brain.",
"Tager claimed he thought television networks were beaming signals into his brain. When he murdered the stagehand, Tager was trying to force his way into an NBC studio with a weapon, in order to find out the frequency the networks were using to attack him, so that he could block it. Tager was paroled in October 2010.",
"Tager was paroled in October 2010. Dead air On September 11, 1987, Rather walked off the set in anger just before a remote Evening News broadcast from Miami, where Pope John Paul II had begun a rare U.S. tour, when a U.S. Open tennis match was being broadcast into the time scheduled for the newscast.",
"Dead air On September 11, 1987, Rather walked off the set in anger just before a remote Evening News broadcast from Miami, where Pope John Paul II had begun a rare U.S. tour, when a U.S. Open tennis match was being broadcast into the time scheduled for the newscast. He was upset that the news was being cut into to make room for sports and discussed it with the sports department, and made it clear that if the newscast did not start on time, then CBS Sports should fill the half hour.",
"He was upset that the news was being cut into to make room for sports and discussed it with the sports department, and made it clear that if the newscast did not start on time, then CBS Sports should fill the half hour. The Steffi Graf–Lori McNeil tennis match coverage then ended sooner than expected at 6:32 p.m., but Rather had disappeared.",
"The Steffi Graf–Lori McNeil tennis match coverage then ended sooner than expected at 6:32 p.m., but Rather had disappeared. (CBS Sports had finally agreed to break away immediately after the match without commentary.) Thus, over 100 affiliates were forced to broadcast six minutes of dead air.",
"Thus, over 100 affiliates were forced to broadcast six minutes of dead air. Some stations were forced to air a slot of syndicated programming such as a rerun of a game show or a sitcom, and other stations were forced to pull out a technical difficulty telop graphic.",
"Some stations were forced to air a slot of syndicated programming such as a rerun of a game show or a sitcom, and other stations were forced to pull out a technical difficulty telop graphic. Phil Jones, the chairman of the CBS affiliation board and general manager of Kansas City's KCTV (which the station placed a technical difficulty graphic during dead air) wanted an apology from Rather.",
"Phil Jones, the chairman of the CBS affiliation board and general manager of Kansas City's KCTV (which the station placed a technical difficulty graphic during dead air) wanted an apology from Rather. Meanwhile in Miami, the city's CBS affiliate WTVJ was forced to drop the episode entirely, which ended up airing a syndicated rerun of a game show to fill the station's schedule.",
"Meanwhile in Miami, the city's CBS affiliate WTVJ was forced to drop the episode entirely, which ended up airing a syndicated rerun of a game show to fill the station's schedule. The next day, Rather apologized for leaving the anchor desk.",
"The next day, Rather apologized for leaving the anchor desk. The following year, when Rather asked then Vice President Bush about his role in the Iran–Contra affair during a live interview, Bush responded by saying, “Dan, how would you like it if I judged your entire career by those seven minutes when you walked off the set in New York?” Roger Ailes had a “mole” at CBS, who alerted him that the goal was to “take Bush out of the race” with a tough interview on Iran-Contra.",
"The following year, when Rather asked then Vice President Bush about his role in the Iran–Contra affair during a live interview, Bush responded by saying, “Dan, how would you like it if I judged your entire career by those seven minutes when you walked off the set in New York?” Roger Ailes had a “mole” at CBS, who alerted him that the goal was to “take Bush out of the race” with a tough interview on Iran-Contra. Ailes alerted Bush on the cab ride over, and fed him the seven minutes retort.",
"Ailes alerted Bush on the cab ride over, and fed him the seven minutes retort. The aftermath of the interview showed the episode was a boost for Bush. “The vice president's poll ratings in Iowa and New Hampshire bumped visibly upward.” \"Ratherisms\" Rather is known for his many colorful analogies and descriptions during live broadcasts.",
"“The vice president's poll ratings in Iowa and New Hampshire bumped visibly upward.” \"Ratherisms\" Rather is known for his many colorful analogies and descriptions during live broadcasts. Similar to those used by baseball announcer Red Barber, cycling commentator Phil Liggett, and Formula 1 commentator Murray Walker, these \"Ratherisms\" are also called \"Texanisms\" or \"Danisms\" by some.",
"Similar to those used by baseball announcer Red Barber, cycling commentator Phil Liggett, and Formula 1 commentator Murray Walker, these \"Ratherisms\" are also called \"Texanisms\" or \"Danisms\" by some. A few of the more colorful ones, several of which were used throughout the 2008 HBO made-for-TV movie Recount about the 2000 Election, include: “This race is shakier than cafeteria Jell-O.” “This thing is as tight as the rusted lugnuts on a '55 Ford.” His characterization of the Republican Party's assessment of President Obama: “[He] couldn't sell watermelons if you gave him the state troopers to flag down the traffic.” In popular culture Rather has been referenced in the television shows Saturday Night Live and Family Guy and many films.",
"A few of the more colorful ones, several of which were used throughout the 2008 HBO made-for-TV movie Recount about the 2000 Election, include: “This race is shakier than cafeteria Jell-O.” “This thing is as tight as the rusted lugnuts on a '55 Ford.” His characterization of the Republican Party's assessment of President Obama: “[He] couldn't sell watermelons if you gave him the state troopers to flag down the traffic.” In popular culture Rather has been referenced in the television shows Saturday Night Live and Family Guy and many films. An animated caricature of him made a cameo appearance in the JibJab political cartoon, Good to Be in D.C.",
"An animated caricature of him made a cameo appearance in the JibJab political cartoon, Good to Be in D.C. In 1971, he had a cameo in an episode of the number one hit comedy series All in the Family.",
"In 1971, he had a cameo in an episode of the number one hit comedy series All in the Family. Entitled The Man in the Street, series star Carroll O'Connor's Archie Bunker character excitedly awaits the viewing of a videotaped interview he gave earlier that day for the CBS Evening News.",
"Entitled The Man in the Street, series star Carroll O'Connor's Archie Bunker character excitedly awaits the viewing of a videotaped interview he gave earlier that day for the CBS Evening News. At the last minute, to his dismay, the segment is preempted by the telecast of a Richard Nixon presidential address from the Oval Office.",
"At the last minute, to his dismay, the segment is preempted by the telecast of a Richard Nixon presidential address from the Oval Office. Rather appears, as himself, delivering post-speech analysis from actual news footage.",
"Rather appears, as himself, delivering post-speech analysis from actual news footage. Jean Stapleton, as Archie's scatterbrained wife Edith Bunker, says of Rather how he's there to \"...tell us what Mr. Nixon just said.\"",
"Jean Stapleton, as Archie's scatterbrained wife Edith Bunker, says of Rather how he's there to \"...tell us what Mr. Nixon just said.\" In 2004, he was featured in the documentary film Barbecue: A Texas Love Story by Austin-based director Chris Elley.",
"In 2004, he was featured in the documentary film Barbecue: A Texas Love Story by Austin-based director Chris Elley. Two years later, Rather and Elley educated a group of New Yorkers in Madison Square Park about the true meaning of BBQ, and its significance to the identity of the Lone Star State.",
"Two years later, Rather and Elley educated a group of New Yorkers in Madison Square Park about the true meaning of BBQ, and its significance to the identity of the Lone Star State. In the 2006–07 graphic novel Shooting War, which is set in the year 2011, an 80-year-old Dan Rather is shown to be one of the last journalists still reporting from Iraq.",
"In the 2006–07 graphic novel Shooting War, which is set in the year 2011, an 80-year-old Dan Rather is shown to be one of the last journalists still reporting from Iraq. He had a cameo in the premiere of the Fall 2007 drama Dirty Sexy Money on ABC television.",
"He had a cameo in the premiere of the Fall 2007 drama Dirty Sexy Money on ABC television. He guest-starred as himself in The Simpsons episode, \"E Pluribus Wiggum.\"",
"He guest-starred as himself in The Simpsons episode, \"E Pluribus Wiggum.\" Rather appeared on The Daily Show in May 2009, wearing an Afro wig and mutton-chop sideburns to narrate a segment about the late former President Nixon eating a burrito, as a parody of MSNBC's extensive coverage of President Obama and Vice President Biden's hamburger lunch.",
"Rather appeared on The Daily Show in May 2009, wearing an Afro wig and mutton-chop sideburns to narrate a segment about the late former President Nixon eating a burrito, as a parody of MSNBC's extensive coverage of President Obama and Vice President Biden's hamburger lunch. He appears in the 2008 award-winning documentary Boogie Man: The Lee Atwater Story.",
"He appears in the 2008 award-winning documentary Boogie Man: The Lee Atwater Story. A skit on the 38th season of Sesame Street featured Anderson Cooper interviewing two grouches, \"Walter Cranky\" and \"Dan Rather Not,\" who, when asked to answer questions, demurred with the phrase \"I'd rather not.\"",
"A skit on the 38th season of Sesame Street featured Anderson Cooper interviewing two grouches, \"Walter Cranky\" and \"Dan Rather Not,\" who, when asked to answer questions, demurred with the phrase \"I'd rather not.\" Robert Redford portrayed Rather in the 2015 film Truth.",
"Robert Redford portrayed Rather in the 2015 film Truth. Rather appeared in the docudrama Facing Saddam providing his views on Saddam Hussein. Ratings Under Rather's predecessor, Walter Cronkite, the CBS Evening News was a strong #1 in the ratings, which Rather maintained through much of the 1980s.",
"Ratings Under Rather's predecessor, Walter Cronkite, the CBS Evening News was a strong #1 in the ratings, which Rather maintained through much of the 1980s. However, Tom Brokaw and his NBC Nightly News, and Peter Jennings of ABC News' World News Tonight, increasing in popularity, eventually cut deep into the Rather broadcast's numbers.",
"However, Tom Brokaw and his NBC Nightly News, and Peter Jennings of ABC News' World News Tonight, increasing in popularity, eventually cut deep into the Rather broadcast's numbers. See also New Yorkers in journalism References Further reading Dan Rather & Elliot Kirschner (2017).",
"See also New Yorkers in journalism References Further reading Dan Rather & Elliot Kirschner (2017). What Unites Us: Reflections on Patriotism Algonquin Books of Chapel Hill. Rather, Dan. The Palace Guard, with Gary Gates Rather, Dan. I Remember, with Peter Wyden. Rather, Dan with Herskowitz, Mickey.",
"Rather, Dan with Herskowitz, Mickey. The Camera Never Blinks Twice''. 1995. William Morrow.",
"1995. William Morrow. William Morrow. 2nd Saddam interview External links AXS TV The Big Interview Dan Rather: American Journalist (Briscoe Center for American History) Members of the Council on Foreign Relations 1931 births Living people American television reporters and correspondents American war correspondents American war correspondents of the Vietnam War CBS News people Emmy Award winners Peabody Award winners 60 Minutes correspondents Associated Press reporters Houston Chronicle people Television anchors from Houston Journalists from Houston Killian documents controversy People from Wharton, Texas Sam Houston State University alumni Writers from Texas American victims of crime Texas Democrats The Young Turks people American male journalists 20th-century American journalists 21st-century American journalists Journalists from New York City People from Huntsville, Texas Recipients of the Four Freedoms Award Military personnel from Texas"
] |
[
"Dan Rather",
"Killian documents",
"What is Rather's connection to the Killian documents?",
"Rather reported on 60 Minutes",
"What were the Killian documents?",
"personal files of Lt. Bush's former commanding officer, Lt. Col. Jerry B. Killian.",
"What was in the files?",
"memos critical of President George W. Bush's Texas Air National Guard service",
"Were there other things in the files besides these critical memos?",
"I don't know.",
"What happened after Rather reported on these files?",
"their authenticity was quickly called into question."
] | C_7f5b7fac03f240eba4b0cf53ca659b83_1 | Was their authenticity ever confirmed? | 6 | Was the in Killian documents authenticity ever confirmed? | Dan Rather | On September 8, 2004, Rather reported on 60 Minutes Wednesday that a series of memos critical of President George W. Bush's Texas Air National Guard service record had been discovered in the personal files of Lt. Bush's former commanding officer, Lt. Col. Jerry B. Killian. Once copies of the documents were made available on the Internet, their authenticity was quickly called into question. Much of this was based on the fact that the documents were proportionally printed and displayed using other modern typographic conventions usually unavailable on military typewriters of the 1970s. The font used on the documents has characteristics that exactly match standard font features of Microsoft Word. This led to claims that the memos were forgeries. The accusations then spread over the following days into mainstream media outlets including The Washington Post, The New York Times, and the Chicago Sun-Times. Rather and CBS initially defended the story, insisting that the documents had been authenticated by experts. CBS was contradicted by some of the experts it originally cited, and later reported that its source for the documents - former Texas Army National Guard officer Lt. Col. Bill Burkett - had misled the network about how he had obtained them. On September 20, CBS retracted the story. Rather stated, "If I knew then what I know now, I would not have gone ahead with the story as it was aired, and I certainly would not have used the documents in question." The controversy has been referred to by some as "Memogate" and "Rathergate." Following an investigation commissioned by CBS, CBS fired story producer Mary Mapes and asked three other producers connected with the story to resign. Many believe Rather's retirement was hastened by this incident. On September 20, 2007, Rather was interviewed on Larry King Live commenting "Nobody has proved that they were fraudulent, much less a forgery. ... The truth of this story stands up to this day." CANNOTANSWER | Nobody has proved that they were fraudulent, much less a forgery. | Daniel Irvin Rather Jr. (; born October 31, 1931) is an American journalist and former national evening news anchor. Rather began his career in Texas, becoming a national name after his reporting saved thousands of lives during Hurricane Carla in September 1961. Rather spontaneously created the first radar weather report by overlaying a transparent map over a radar image of Hurricane Carla. In his first national broadcast, he helped initiate the successful evacuation of 350,000 people.
Rather reported from Dallas in November 1963 at the time that President John F. Kennedy was assassinated. Based on his reporting, he was promoted at CBS News, where he served as White House correspondent beginning in 1964. He served as foreign correspondent in London and Vietnam over the next two years before returning to the White House correspondent position. He covered the presidency of Richard Nixon, including Nixon's trip to China, the Watergate scandal, and the president's resignation.
In 1981, Rather was promoted to news anchor for the CBS Evening News, a role he occupied for 24 years. Along with Peter Jennings at ABC News and Tom Brokaw at NBC News, he was one of the "Big Three" nightly news anchors in the U.S. from the 1980s through the early 2000s. He frequently contributed to CBS's weekly news magazine, 60 Minutes.
Rather left the anchor desk in 2005 following the Killian documents controversy, in which he presented unauthenticated documents in a news report on President George W. Bush's Vietnam War–era service in the National Guard. He continued to work with CBS until 2006, when he was abruptly fired.
In September 2007, Rather filed a $70 million lawsuit against CBS and its former parent company Viacom. Rather accused the network and its ownership and management of making him a "scapegoat" in the Killian story. An intermediate New York state appeals court dismissed the lawsuit in September 2009, and the New York Court of Appeals refused to reinstate it in January 2010.
On the cable channel AXS TV (then called HDNet), Rather hosted Dan Rather Reports, a 60 Minutes–style investigative news program, from 2006 to 2013. He also hosts several other projects for AXS TV, including Dan Rather Presents, which provides in-depth reporting on broad topics such as mental health care or adoption, and The Big Interview with Dan Rather, in which he conducts long-form interviews with musicians and other entertainers. In January 2018, he began hosting an online newscast called The News with Dan Rather on The Young Turks' YouTube channel.
Early life
Daniel Irvin Rather Jr. was born on October 31, 1931, in Wharton County, Texas, the son of Daniel Irvin Rather Sr., a ditch digger and pipe layer, and the former Byrl Veda Page. The Rathers moved to Houston when he was a child, where Dan attended Lovett Elementary School and Hamilton Middle School. He graduated in 1950 from John H. Reagan High School in Houston.
In 1953, Rather earned a bachelor's degree in journalism from Sam Houston State Teachers College in Huntsville, Texas, where he was editor of the school newspaper, The Houstonian. He was also a member of the Caballeros, the founding organization of the Epsilon Psi chapter of the Sigma Chi fraternity. While in college, Rather worked for KSAM-FM radio in Huntsville, calling junior high, high school, and Sam Houston State football games. After obtaining his undergraduate degree, Rather briefly attended South Texas College of Law in Houston.
In January 1954, Rather enlisted in the United States Marine Corps and was sent to the Marine Corps Recruit Depot San Diego. He was soon discharged, however, because he was found to have had rheumatic fever as a child, a fact he had omitted during the enlistment process.
Early career
Rather began his journalism career in 1950 as an Associated Press reporter in Huntsville, Texas. Later, he was a reporter for United Press (1950–1952), several Texas radio stations, and the Houston Chronicle (1954–1955). Around 1955, Rather wrote a piece on heroin. Under the auspices of the Houston Police, he tried a dose of the drug, which he characterized as "a special kind of hell."
He worked for four seasons as the play-by-play announcer for the University of Houston football team. During the 1959 minor league baseball season, Rather was the play-by-play radio announcer for the Texas League Houston Buffs.
In 1959, Rather began his television career as a reporter for KTRK-TV, the ABC affiliate in Houston. He was subsequently promoted to the director of news for KHOU-TV, the CBS affiliate in Houston.
In September 1961, Rather covered Hurricane Carla for KHOU-TV, broadcasting from the then National Weather Center in Galveston. He is noted for showing the first radar image of a hurricane on TV. He conceived of overlaying a transparent map over the radar screen, in order to show the size of Hurricane Carla to the audience. Convinced of the threat, more than 350,000 people evacuated from the area, the largest known evacuation to that time. Their actions are believed to have saved thousands of lives compared to the previous hurricane, which had killed 6,000 to 12,000 people. Rather's live coverage of Carla was broadcast by New York and national stations. Ray Miller, news director of KPRC-TV, the NBC affiliate in Houston, also mentored Rather in the early years.
On February 28, 1962, Rather left Houston for New York City for a six-month trial initiation at CBS. Rather did not fit in easily on the East Coast. His first reports for CBS included coverage of the crash of American Airlines Flight 1 in Jamaica Bay, and a report on the suffocation of children at a hospital in Binghamton, New York. Shortly after, Rather was made chief of CBS's Southwest bureau in Dallas. In August 1963, he was appointed chief of the Southern bureau in New Orleans, responsible for coverage of news events in the South, Southwest, Mexico and Central America.
CBS News
JFK assassination to Watergate
In his autobiography, Rather noted that he was in Dallas in November 1963 to return film from an interview in Uvalde at the ranch of former Vice President John Nance Garner, who celebrated his 95th birthday on November 22. He happened to be "on the other side of the railroad tracks, beyond the triple underpass, thirty yards from a grassy knoll that would later figure in so many conspiracy theories." His job was to fetch a film drop from a camera truck at that location, and take it to the station for editing. He did not witness the shooting of Kennedy, and knew nothing of the events until he reached KRLD, having run through Dealey Plaza. He later wrote:
“The moment I cleared the railroad tracks I saw a scene I will never forget. Some people were lying on the grass, some screaming, some running, some pointing. Policemen swarmed everywhere and distinctly above the din, I heard one shout, 'DON'T ANYBODY PANIC.' And of course, there was nothing but panic wherever you looked.”
In his autobiography, Rather said he was one of the first to view the Zapruder film showing the assassination, and the first to describe it on television. Rather reported the fatal headshot as forcing Kennedy's head forward, but it was thrown backward.
Later, he reported that some Dallas schoolchildren had applauded when they were notified of the president's death. Administrators said they had announced that school was to be dismissed early, and did not mention the assassination. However, teacher Joanna Morgan confirmed that students had cheered at the news that Kennedy was shot. This story infuriated local journalists at then-CBS affiliate KRLD-TV (now Fox-owned-and-operated KDFW-TV).
Rather's reporting during the national mourning period following the Kennedy assassination and subsequent events impressed CBS News management. In 1964, they selected him for the network's White House correspondent position.
In 1965, Rather served as a foreign correspondent for CBS in London, and in 1966 in Vietnam. He served again as White House correspondent during the presidency of Richard Nixon. In 1970, he was also assigned as anchor for the CBS Sunday Night News (1970–73; 1974–75), and later for the CBS Saturday Evening News (1973–76). Rather was among those journalists who accompanied Nixon to China. He later covered the Watergate investigation, as well as the impeachment proceedings against Nixon in Congress.
CBS Evening News anchor
After President Nixon's resignation in 1974, Rather became chief correspondent for the documentary series CBS Reports. In December 1975, he became a correspondent of the long-running Sunday night news show 60 Minutes—at the time the program was moved from a Sunday afternoon time-slot to primetime. Success there helped Rather pull ahead of longtime correspondent Roger Mudd, who was in line to succeed Walter Cronkite as anchor and Managing Editor of The CBS Evening News.
Rather succeeded to the news anchor position after Cronkite's retirement, making his first broadcast on March 9, 1981. Rather had a significantly different style of reporting the news. In contrast to the avuncular Cronkite, who ended his newscast with “That's the way it is,” Rather searched to find a broadcast ending more suitable to his tastes. For one week in September 1986, with CBS the target of potentially hostile new ownership, Rather tried ending his broadcasts with the word "courage," and was roundly ridiculed for it. For nearly two decades, Rather ended the show with: “That's part of our world tonight.”
Rather also held other positions during his time as anchor. In January 1988, he became host of the newly created 48 Hours, and in January 1999, Rather joined the new 60 Minutes II as a correspondent.
Ratings for the Evening News with Rather at the helm fluctuated wildly, at a time when more alternatives to TV news were developing. After a dip to second place, Rather regained the top spot in 1985 until 1989, when he ceded the ratings peak to rival Peter Jennings at ABC's World News Tonight. By 1992, however, the Evening News had fallen to third place of the three major networks. It rose in rankings in 2005, when Bob Schieffer became the interim anchor between Rather and Katie Couric. It briefly moved ahead of ABC World News Tonight in the wake of the death of Peter Jennings, but remained behind NBC Nightly News. Rather was a frequent collaborator with CBS News producer Susan Zirinsky, a leading member of the news division's staff.
In 1987, new CBS owner Laurence Tisch oversaw layoffs of hundreds of CBS News employees, in a major shake-up of the network. Among those to go were correspondents such as David Andelman, Fred Graham, Morton Dean, and Ike Pappas. Fewer videotape crews were dispatched to cover stories, and numerous bureaus were closed. Critics cited the cutbacks as a major factor in CBS News' fall into third place in the ratings.
For a short time from 1993 to 1995, Rather co-anchored the evening news with Connie Chung. Chung had been a Washington, DC correspondent for CBS News, and anchored short news updates on the West Coast. On joining the CBS Evening News, she reported "pop news" stories. In one widely cited case, she aggressively pursued Tonya Harding, who was accused of a plot to injure fellow Olympic ice skater Nancy Kerrigan. After Chung left the network, Rather went back to doing the newscast alone.
By the 2005–06 season, the end of Rather's time as anchor, CBS Evening News lagged behind NBC Nightly News and ABC World News Tonight in the ratings. But it still drew approximately 5.5 million viewers a night. Criticism of Rather reached a fever pitch after 60 Minutes II ran his 2004 report about President Bush's military record. Numerous critics questioned the authenticity of the documents upon which the report was based. Rather subsequently admitted on the air that the documents' authenticity could not be proven. In the aftermath, CBS fired several members of CBS News staff but temporarily retained Rather, until his contract was up for renewal the following year, whereupon he was completely ousted.
Journalistic history and influence
Nixon
During Richard Nixon's presidency, critics accused Rather of biased coverage against him. At a Houston news conference in March 1974, Nixon fielded a question from Rather, still CBS's White House correspondent, who said, “Thank you, Mr. President. Dan Rather, of CBS News.” The room filled with jeers and applause, prompting Nixon to joke, “Are you running for something?” Rather replied, “No, sir, Mr. President. Are you?” He questioned whether Nixon was cooperating with the grand jury investigation and House Judiciary Committee in relation to the Watergate scandal.
NBC's Tom Brokaw has said the network considered hiring him to replace Rather as its White House correspondent, but dropped it after word was leaked to the press. Rather was believed to have provided tough coverage of the Watergate scandal, raising his profile.
Space Shuttle Challenger disaster
In January 1986, NASA faced repeated delays in the preparations to launch the Space Shuttles Columbia and Challenger in close sequence. Rather described the January 10 delay of Columbia as:
“star-crossed space shuttle Columbia stood ready for launch again today, and once more, the launch was scrubbed. Heavy rain was the cause this time. The launch has been postponed so often since its original date, December 18, that it's now known as mission impossible.”This was considered an example of the "biting sarcasm" the media used related to NASA's scheduling. Columbia launched on January 12.
On January 27, Rather's reporting of the expected Challenger launch began as follows:
On January 28, Challenger'''s explosion and destruction occurred 73 seconds after launch.
Afghanistan, Reagan, and George H. W. Bush
During the Soviet–Afghan War, Rather was filmed reporting near the front lines while wearing a traditional mujahideen headdress and garments. Rather attracted an Evening News audience (and was nicknamed "Gunga Dan"). The American comic strip Doonesbury spoofed his actions.
Rather's reports were later revealed to have been influential to Congressman Charlie Wilson (D-Texas), who led an effort to help the struggling mujahideen. The CIA developed its largest covert operation to supply aid and advanced arms to the mujahideen. The Soviets eventually quit Afghanistan.
Rather gained the anchor spot on the Evening News. He was competing with Roger Mudd, a more senior correspondent and a frequent substitute anchor for Walter Cronkite on Evening News. Mudd had also anchored the Sunday evening broadcast, but Rather traveled through Afghanistan when news led there. A few years into his service as anchor, Rather began wearing sweaters beneath his suit jacket to soften his on-air appearance for viewers.
During the 1980s, Rather gained further renown for his forceful and skeptical reporting on the Iran–Contra affair. He eventually confronted Vice President George H. W. Bush in an on-air interview during the latter's presidential campaign. Bush referred to Rather's "dead air incident" saying:
“I want to talk about why I want to be President, why those 41 percent of the people are supporting me. And I don't think it's fair to judge my whole career by a rehash on Iran. How would you like it if I judged your career by those seven minutes when you walked off the set in New York?”Rather ignored Bush's comment.
Shortly after Iraq invaded Kuwait, Rather secured an interview with Iraqi leader Saddam Hussein.
On February 24, 2003, Rather conducted another interview with Hussein before the United States' 2003 invasion of Iraq. In the interview, Hussein invited Rather to be the moderator of a live television debate between him and George W. Bush. The debate never took place.
The Wall Within
On June 2, 1988, Rather hosted a CBS News special, The Wall Within. In it, he interviewed six veterans, each of whom said he had witnessed horrible acts in Vietnam. Two of the men said that they had killed civilians, and two others said that they had seen friends die. Each talked about the effects the war had upon their lives—including depression, unemployment, drug use, and homelessness.
In 2004, National Review ran an article by Anne Morse entitled "The First Rathergate." She said that almost nothing claimed by participants in The Wall Within was true. Citing the self-published book Stolen Valor (1998) by veteran B. G. Burkett, and investigative journalist Glenna Whitley, Morse said that military records revealed that the six former servicemen had lied about their experiences. Only one served in combat, and two had never been in Vietnam.
Killian documents
On September 8, 2004, Rather reported on 60 Minutes Wednesday that a series of memos critical of President George W. Bush's Texas Air National Guard service record had been discovered in the personal files of Lt. Bush's former commanding officer, Lt. Col. Jerry B. Killian. Once copies of the documents were made available on the Internet, their authenticity was quickly called into question. Much of this was based on the fact that the documents were proportionally printed and displayed using other modern typographic conventions usually unavailable on military typewriters of the 1970s. The font used on the documents has characteristics that exactly or almost exactly match standard font features of Microsoft Word. This led to claims that the memos were forgeries. The accusations then spread over the following days into mainstream media outlets, including The Washington Post, The New York Times, and The Chicago Sun-Times.
Rather and CBS initially defended the story, insisting that the documents had been authenticated by experts. CBS was contradicted by some of the experts it originally cited, and later reported that its source for the documents—former Texas Army National Guard officer Lt. Col. Bill Burkett—had misled the network about how he had obtained them.
On September 20, 2004, CBS retracted the story. Rather stated, “If I knew then what I know now, I would not have gone ahead with the story as it was aired, and I certainly would not have used the documents in question.” The controversy has been referred to by some as "Memogate" and "Rathergate."
Following an investigation commissioned by CBS, CBS fired story producer Mary Mapes, and asked three other producers connected with the story to resign. Many believe Rather's retirement was hastened by this incident. On September 20, 2007, Rather was interviewed on Larry King Live commenting, “Nobody has proved that they were fraudulent, much less a forgery. ... The truth of this story stands up to this day.”
Departure from the CBS Evening News
Rather retired as the anchorman and Managing Editor of the CBS Evening News in 2005; his last broadcast was Wednesday, March 9, 2005. He had worked as the anchorman for 24 full years, the longest tenure of anyone in American television history, and for a short time, continued to work as a correspondent for 60 Minutes. Bob Schieffer, a fellow Texan and host of Face the Nation, took over Rather's position on an interim basis, with Katie Couric replacing Schieffer in 2006.
Since retiring, Rather has spoken out about what he perceives as a lack of courage by American journalists. On January 24, 2006, Rather spoke to a Seattle audience. Before the speaking engagement, he told a newspaper reporter, “In many ways on many days, [reporters] have sort of adopted the attitude of 'go along, get along.'”
“What many of us need is a spine transplant,” Rather added. “Whether it's City Hall, the State House, or the White House, part of our job is to speak truth to power.”
Ousted from CBS News
In June 2006, reports surfaced that CBS News would most likely not renew Dan Rather's contract. According to a Washington Post article, sources from CBS said that executives at the network decided "there is no future role for Rather."
On June 20, 2006, CBS News and Sports President Sean McManus announced that Rather would leave the network after 44 years. Rather issued a separate statement which accompanied the news of the departure:
Lawsuit over ouster from CBS Network
On September 19, 2007, Rather filed a $70 million lawsuit against CBS, its former parent company Viacom; CBS President and CEO Leslie Moonves; Sumner Redstone, chairman of both Viacom and CBS; and Andrew Heyward, former president of CBS News. Rather accused the network and its ownership and management of making him a "scapegoat" in the Killian story. A CBS spokesman claimed that the lawsuit was "old news" and "without merit." On September 21, 2009, Rather's lawyers claimed that Bush's military service would be proven to be a sham, and Rather would be vindicated. On September 29, 2009, a New York state appeals court dismissed Rather's lawsuit against CBS. On January 12, 2010, New York's top court refused to reinstate Rather's $70 million breach-of-contract lawsuit against CBS Corp. In his book titled Rather Outspoken, Rather claims that the lawsuit “took a big whack out of my time, my psyche and my bank balance, but even so, it was worth it.” On May 18, 2012, Rather appeared on Real Time With Bill Maher, and claimed he had been fired for reporting a story about George W. Bush's year of absence from the reserve unit he served with, and that the news corporations had been "very uncomfortable" with running the story.
Post-CBS career
Following his departure from CBS, Dan Rather joined Mark Cuban's cable network AXS TV (then called HDNet) to host and produce the weekly one-hour news show Dan Rather Reports from 2006 until 2013.
Since 2013, Rather has hosted and produced the hour-long series The Big Interview with Dan Rather on AXS TV, where he sits down for in-depth interviews with influential figures in music and entertainment, such as: John Fogerty, Quentin Tarantino, Simon Cowell, Aaron Sorkin, and Sammy Hagar. He has also produced several documentary specials for the network under the banner Dan Rather Presents, including specials about "America's Mental Health Crisis," the United States Secret Service, and "The Shameful Side of International Adoption."
Rather also appears frequently on a number of news shows, including MSNBC's The Rachel Maddow Show and The Last Word with Lawrence O'Donnell and on CNN. He has also written for The Huffington Post and Mashable.
On May 28, 2007, Rather compared historical events to events in the Star Wars films in the History Channel special titled Star Wars: The Legacy Revealed.
In 2012, Rather published an autobiography titled Rather Outspoken: My Life in the News.
In 2015, Rather launched an independent production company called News and Guts Media, through which he produces The Big Interview among other projects.
In 2015, Rather also began actively posting on Facebook. He credits young staffers at News and Guts Media with pushing him to try social media. While his posts were considerably longer than typical social media posts, they resonated with the audience, which soon grew to more than two million followers. Even late night TV noticed Rather's unusual but effective Facebook presence. Subject matter has covered a range of topics, including: current political events, journalism, and childhood memories.
On September 23, 2016, SiriusXM Radio announced a new hour-long weekly program, "Dan Rather's America," airing Tuesday mornings at 10am Eastern on Radio Andy channel 102, debuting on September 27.
In the fall of 2017, the Briscoe Center for American History at the University of Texas completed a digital humanities project dedicated to the long career of the journalist that was titled Dan Rather: American Journalist. The culmination of three years of research conducted at the Briscoe Center, the site uses materials from a dozen archives and libraries, and draws from over 25 of the Briscoe Center for American History's news media and photojournalism collections. The website features over 2,000 digitized documents, 300 excerpts from twelve oral history interviews, and 1000 video clips, enabling visitors to dive deep into the history of the last 60 years through the lens of Dan Rather's career.
On January 21, 2018, it was announced that Rather would be launching a weekly 30-minute newscast on The Young Turks. Titled The News with Dan Rather, it airs on Mondays at 5:30pm Eastern Time.
Personal life
Rather married Jean Goebel in 1957. They have a son and daughter, and maintain homes in New York City and Austin, Texas. Their daughter Robin is an environmentalist and community activist in Austin, Texas. Their son Dan is an assistant district attorney in the District Attorney's office in Manhattan, New York.
Sam Houston State University renamed its mass communications building after Rather in 1994. The building houses The Houstonian and KSHU, the student-run radio and television stations. In May 2007, Rather received an honorary Doctor of Humane Letters from Siena College in Loudonville, New York, for his lifetime contributions to journalism.
A columnist whose work is distributed by King Features Syndicate, Rather continues to speak out against alleged influence in journalism by corporations and governments. At a 2008 conference in Minneapolis, Minnesota, sponsored by the group Free Press, Rather criticized both local and national news organizations, stating—according to reports—that there is no longer incentive to do “good and valuable news.”
Books
The Palace Guard, with Gary Paul Gates, 1974. .
The Camera Never Blinks: Adventures of a TV Journalist, with Mickey Herskowitz, 1977. .
I Remember, with Peter Wyden, 1991. .
The Camera Never Blinks Twice: The Further Adventures of a Television Journalist, with Mickey Herskowitz, 1994. .
, 1999. .
"The American Dream: Stories from the Heart of Our Nation", 2001. .
, with Digby Diehl, 2013. .
What Unites Us: Reflections on Patriotism, with Elliot Kirschner, 2017. .What Unites Us: The Graphic Novel, with Elliot Kirschner, illustrated by Tim Foley, 2021. .
Awards
He has received numerous Emmy Awards, several Peabody Awards, and various honorary degrees from universities.
In addition to these awards, Rather was inducted into the Television Hall of Fame in 2004. In 2001, he received the Golden Plate Award of the American Academy of Achievement.
Criticism
As one of the last broadcast news journalists from the era of the "Big Three" network news primacy, Rather was generally regarded highly within his profession by long-serving journalists. Rather has been accused of having a liberal bias."Dan Rather: a pioneer and a lightning rod" at The Christian Science Monitor.
Claims of bias
Rather's on-screen comments and election-night reporting have come under attack dating back to Richard Nixon's presidency. In a June 2002 interview with Larry King, his long-time co-worker (and self-described liberal), Andy Rooney stated that Rather is “transparently liberal.”
During the weeks following the Killian documents stories, Rather received widespread criticism from other journalists and historians. In an interview with commentator Bill Maher, Rather accused Fox News Channel of receiving "talking points" from the Republican-controlled White House. Fox News commentator Bill O'Reilly, who had defended Rather during the Killian documents incident, criticized Rather for not offering any evidence to support the claim.
In 2002, Bernard Goldberg published a book with the title Bias, alleging a liberal bias in print and broadcast news organizations. In the book, Goldberg used Dan Rather as a primary example of a news anchorman with a liberal bias. He also criticized the anchor for his criticisms of President George W. Bush's and Vice President Dan Quayle's service in the National Guard, rather than the Active Duty military during the Vietnam War, and questioned Rather's own service.
Fairness and Accuracy in Reporting has accused Rather of having "an unwillingness to challenge official power and policy" in his reporting. Investigative reporter Mark Hertsgaard characterized Rather as a "stern anti-Communist" during the Reagan administration, for allegedly having "reported the pronouncements of public officials with considerable respect."
In April 2001, according to a front-page story in The Washington Post, Rather spoke at a Democratic party fundraiser in Austin, Texas, where he was the featured speaker. One of the official hosts for the fundraiser was Rather's daughter, Robin Rather; Rather said that he did not realize that his daughter was a host of the fundraiser. Rather also said that he did not realize that the event was a partisan fundraiser, although he did realize that after he arrived at the event.
From Walter Cronkite
During an appearance on CNN's American Morning in 2005, former CBS anchor Walter Cronkite said about Rather: “It surprised quite a few people at CBS and elsewhere that, without being able to pull up the ratings beyond third in a three-man field, that they tolerated his being there for so long.” Cronkite also said that he would like to have seen Bob Schieffer in Rather's position sooner.
From Dallas CBS news director Eddie Barker
In the aftermath of the Kennedy assassination while Rather was a Dallas reporter, he interviewed a minister, who said some local schoolchildren had cheered upon learning of the President's shooting. The Associated Press later confirmed the story. A teacher at the school backed up the Rather story, confirming that some students at the school had cheered at the principal's news about Kennedy. Eddie Barker, local Dallas-area news director for CBS, said that Rather had in fact been aware that the children were merely happy about being sent home early, and they had not been given a reason for early school closure (Barker's children attended the school, as he informed Rather). He stated that Rather had deliberately misrepresented the facts by indicating that the children were happy about the shooting. Barker attempted to fire Rather, but was overruled by the national CBS News management.
Incidents and controversies
1968 Democratic convention
During live coverage of the 1968 Democratic National Convention, Rather attempted to interview a delegate from Georgia who appeared as though he was being forcibly removed by men without identification badges.
As Rather approached the delegate to question the apparent strong-arm tactics of the Chicago political machine under Mayor Daley, he was punched in the stomach by one of the men, knocking him to the ground. “He lifted me right off the floor and put me away. I was down, the breath knocked out of me, as the whole group blew on by me ... In the CBS control room, they had switched the camera onto me just as I was slugged.” Walter Cronkite, after being told by Rather what happened, added on-air, "I think we got a bunch of thugs here Dan!"
Chicago cab ride
On November 10, 1980, Rather landed at Chicago's O'Hare International Airport and got into a cab. He asked the cab driver to take him to the home of writer Studs Terkel, whom he was interviewing for 60 Minutes. A police spokesman said that the cab driver refused to go to the address and instead "wildly drove through the city streets," with Rather shouting out the window asking for help. The driver was charged with disorderly conduct. Rather called the incident “a rather minor thing.”
By the time the case was about to come to trial, he was about to add anchoring the CBS Evening News to his 60 Minutes role at CBS News. Rather declined to press charges, citing a "mounting schedule of reporting assignments."
Galloway lawsuit
In 1980, Rather and CBS were taken to court when Carl Galloway, a California doctor, claimed that a report on 60 Minutes wrongfully implicated him in an insurance fraud scheme. CBS stated Galloway had signed the bogus report, and was suing Rather because he was upset at being caught. The jury sided with CBS and Rather, and they won the case. During the trial, Galloway's side used outtakes from the TV report showing that one interview was rehearsed.
"Courage"
For one week in September 1986, Rather signed off his broadcasts to CBS with the word "courage." He said that it was just a signature line, and had nothing to do with the news at the time. Other newscasters ridiculed and parodied Rather, and he dropped it.
"Kenneth, what is the frequency?"
On October 4, 1986, while walking along Park Avenue to his apartment in Manhattan, Rather was attacked and punched from behind by a man who demanded to know "Kenneth, what is the frequency?" while a second assailant chased and beat him. As the assailant pummeled and kicked Rather, he kept repeating the question. In describing the incident, Rather said “I got mugged. Who understands these things? I didn't and I don't now. I didn't make a lot of it at the time and I don't now. I wish I knew who did it and why, but I have no idea.” Until the crime was resolved years later, Rather's description of the bizarre crime led some to doubt the veracity of his account, although the doorman and building supervisor who came to Rather's aid fully confirmed his version of events.
The assault remained unsolved for some time, and was referenced multiple times in popular culture. The phrase "What's the frequency, Kenneth?" became a popular-culture reference over the years, such as in a scene in the graphic novel Like a Velvet Glove Cast in Iron by cartoonist Daniel Clowes. The opening track of the 1987 album Lolita Nation by California power pop group Game Theory is titled "Kenneth, What's the Frequency?" In 1994, the band R.E.M. released the song "What's the Frequency, Kenneth?" on their album Monster. Rather later sang with R.E.M. during a sound check prior to a gig at New York's Madison Square Garden, which was shown the following night on the Late Show with David Letterman.
In 1997, a TV critic writing in the New York Daily News solved the mystery, publishing a photo of the alleged assailant, William Tager, who received a 12.5-to-25-year prison sentence for killing NBC stagehand Campbell Montgomery outside The Today Show studio in 1994. Rather confirmed the story: "There's no doubt in my mind that this is the person." New York District Attorney Robert M. Morgenthau said "William Tager's identity as the man who attacked Mr. Rather was established in the course of an investigation by my office." Tager claimed he thought television networks were beaming signals into his brain. When he murdered the stagehand, Tager was trying to force his way into an NBC studio with a weapon, in order to find out the frequency the networks were using to attack him, so that he could block it. Tager was paroled in October 2010.
Dead air
On September 11, 1987, Rather walked off the set in anger just before a remote Evening News broadcast from Miami, where Pope John Paul II had begun a rare U.S. tour, when a U.S. Open tennis match was being broadcast into the time scheduled for the newscast. He was upset that the news was being cut into to make room for sports and discussed it with the sports department, and made it clear that if the newscast did not start on time, then CBS Sports should fill the half hour. The Steffi Graf–Lori McNeil tennis match coverage then ended sooner than expected at 6:32 p.m., but Rather had disappeared. (CBS Sports had finally agreed to break away immediately after the match without commentary.) Thus, over 100 affiliates were forced to broadcast six minutes of dead air. Some stations were forced to air a slot of syndicated programming such as a rerun of a game show or a sitcom, and other stations were forced to pull out a technical difficulty telop graphic. Phil Jones, the chairman of the CBS affiliation board and general manager of Kansas City's KCTV (which the station placed a technical difficulty graphic during dead air) wanted an apology from Rather. Meanwhile in Miami, the city's CBS affiliate WTVJ was forced to drop the episode entirely, which ended up airing a syndicated rerun of a game show to fill the station's schedule. The next day, Rather apologized for leaving the anchor desk. The following year, when Rather asked then Vice President Bush about his role in the Iran–Contra affair during a live interview, Bush responded by saying, “Dan, how would you like it if I judged your entire career by those seven minutes when you walked off the set in New York?” Roger Ailes had a “mole” at CBS, who alerted him that the goal was to “take Bush out of the race” with a tough interview on Iran-Contra. Ailes alerted Bush on the cab ride over, and fed him the seven minutes retort. The aftermath of the interview showed the episode was a boost for Bush. “The vice president's poll ratings in Iowa and New Hampshire bumped visibly upward.”
"Ratherisms"
Rather is known for his many colorful analogies and descriptions during live broadcasts. Similar to those used by baseball announcer Red Barber, cycling commentator Phil Liggett, and Formula 1 commentator Murray Walker, these "Ratherisms" are also called "Texanisms" or "Danisms" by some. A few of the more colorful ones, several of which were used throughout the 2008 HBO made-for-TV movie Recount about the 2000 Election, include:
“This race is shakier than cafeteria Jell-O.”
“This thing is as tight as the rusted lugnuts on a '55 Ford.”
His characterization of the Republican Party's assessment of President Obama: “[He] couldn't sell watermelons if you gave him the state troopers to flag down the traffic.”
In popular culture
Rather has been referenced in the television shows Saturday Night Live and Family Guy and many films. An animated caricature of him made a cameo appearance in the JibJab political cartoon, Good to Be in D.C. In 1971, he had a cameo in an episode of the number one hit comedy series All in the Family. Entitled The Man in the Street, series star Carroll O'Connor's Archie Bunker character excitedly awaits the viewing of a videotaped interview he gave earlier that day for the CBS Evening News. At the last minute, to his dismay, the segment is preempted by the telecast of a Richard Nixon presidential address from the Oval Office. Rather appears, as himself, delivering post-speech analysis from actual news footage. Jean Stapleton, as Archie's scatterbrained wife Edith Bunker, says of Rather how he's there to "...tell us what Mr. Nixon just said."
In 2004, he was featured in the documentary film Barbecue: A Texas Love Story by Austin-based director Chris Elley. Two years later, Rather and Elley educated a group of New Yorkers in Madison Square Park about the true meaning of BBQ, and its significance to the identity of the Lone Star State.
In the 2006–07 graphic novel Shooting War, which is set in the year 2011, an 80-year-old Dan Rather is shown to be one of the last journalists still reporting from Iraq. He had a cameo in the premiere of the Fall 2007 drama Dirty Sexy Money on ABC television. He guest-starred as himself in The Simpsons episode, "E Pluribus Wiggum."
Rather appeared on The Daily Show in May 2009, wearing an Afro wig and mutton-chop sideburns to narrate a segment about the late former President Nixon eating a burrito, as a parody of MSNBC's extensive coverage of President Obama and Vice President Biden's hamburger lunch. He appears in the 2008 award-winning documentary Boogie Man: The Lee Atwater Story.
A skit on the 38th season of Sesame Street featured Anderson Cooper interviewing two grouches, "Walter Cranky" and "Dan Rather Not," who, when asked to answer questions, demurred with the phrase "I'd rather not."
Robert Redford portrayed Rather in the 2015 film Truth. Rather appeared in the docudrama Facing Saddam providing his views on Saddam Hussein.
Ratings
Under Rather's predecessor, Walter Cronkite, the CBS Evening News was a strong #1 in the ratings, which Rather maintained through much of the 1980s. However, Tom Brokaw and his NBC Nightly News, and Peter Jennings of ABC News' World News Tonight, increasing in popularity, eventually cut deep into the Rather broadcast's numbers.
See also
New Yorkers in journalism
References
Further reading
Dan Rather & Elliot Kirschner (2017). What Unites Us: Reflections on Patriotism Algonquin Books of Chapel Hill.
Rather, Dan. The Palace Guard, with Gary Gates
Rather, Dan. I Remember, with Peter Wyden.
Rather, Dan with Herskowitz, Mickey. The Camera Never Blinks Twice''. 1995. William Morrow.
2nd Saddam interview
External links
AXS TV The Big Interview
Dan Rather: American Journalist (Briscoe Center for American History)
Members of the Council on Foreign Relations
1931 births
Living people
American television reporters and correspondents
American war correspondents
American war correspondents of the Vietnam War
CBS News people
Emmy Award winners
Peabody Award winners
60 Minutes correspondents
Associated Press reporters
Houston Chronicle people
Television anchors from Houston
Journalists from Houston
Killian documents controversy
People from Wharton, Texas
Sam Houston State University alumni
Writers from Texas
American victims of crime
Texas Democrats
The Young Turks people
American male journalists
20th-century American journalists
21st-century American journalists
Journalists from New York City
People from Huntsville, Texas
Recipients of the Four Freedoms Award
Military personnel from Texas | true | [
"Sunset at Montmajour is a landscape in oils painted by the Dutch artist Vincent van Gogh on 4 July 1888. It was painted while the artist was at Arles, France and depicts a landscape of garrigue with the ruins of Montmajour Abbey in the background. The painting is and was on display from 24 September 2013 until 12 January 2014 as part of an exhibition at the Van Gogh Museum in Amsterdam.\n\nIts authenticity was questioned several times before it was confirmed as a genuine van Gogh work in 2013. It is the first full-sized painting by Van Gogh to be newly confirmed since 1928.\n\nHistory\nThe painting was inventoried among Theo van Gogh's collection of his brother's works in 1890. It was sold in 1901 by his widow, Johanna van Gogh-Bonger, to a Paris art dealer. In 1908, the art dealer sold it to Christian Nicolai Mustad.\n\nIn 1908 a Norwegian industrialist, Christian Nicolai Mustad, who believed it to be the work of van Gogh, purchased and displayed the painting at his home. According to Mustad's family, the French ambassador to Sweden, while a guest at Mustad's home, advised that it probably was not by van Gogh. At that time Mustad took it down from display. The painting remained stored in his attic until Mustad's death, when it reappeared as part of his estate.\n\nAuthentication\n\nIn the 1990s, the painting was shown to staff at the Van Gogh Museum, but it was dismissed as not the work of van Gogh because it was not signed. With the development of improved investigative techniques, however, in 2011 a two-year investigation was launched by the Van Gogh Museum to examine the possible authenticity of the painting. The painting was subjected to a detailed investigation of style and materials. It was discovered to have been painted in the same range of paints that appears in works by van Gogh at that period, which led to further research. Among the evidence that confirmed the painting's authenticity was a letter written by Vincent van Gogh to his brother Theo on 5 July 1888, describing a landscape that he had painted the previous day: \n\nOn 9 September 2013, the Van Gogh Museum announced in a public unveiling of the painting, that the work had been confirmed as a painting by van Gogh.\n\nReception\nMartin Bailey praised Sunset at Montmajour as \"a major addition to [van Gogh's] oeuvre.\"\n\nSee also\nList of works by Vincent van Gogh\n\nReferences\n\nExternal links\n\n1888 paintings\nLandscape paintings\nPaintings by Vincent van Gogh\nPaintings of Arles by Vincent van Gogh",
"Madonna and Child is a c. 1460–1465 tempera on panel painting by Giovanni Bellini, signed on the trompe-l'œil parapet (IO[HANN]ES B[ELLI]N[US] F.). It dates from his early phase, when he was still strongly influenced by his father Jacopo and by Andrea Mantegna. The Christ Child holds a fruit, symbolising Original Sin and foreshadowing his Passion. Some art historians feel the haloes and drapery are too archaic for the work to be by Bellini, but the signature's authenticity was confirmed by a 1999 restoration.\n\nIt formed part of prince Luigi Alberico Trivulzio's collection, which was originally assigned to Turin in 1935. However, this was disputed by Milan and the work now hangs in Milan in the Pinacoteca del Castello Sforzesco.\n\nReferences \n\nMilan, 1460\n1465 paintings\nPaintings in the Sforza Castle"
] | [
"Daniel Irvin Rather Jr. (; born October 31, 1931) is an American journalist and former national evening news anchor. Rather began his career in Texas, becoming a national name after his reporting saved thousands of lives during Hurricane Carla in September 1961.",
"Rather began his career in Texas, becoming a national name after his reporting saved thousands of lives during Hurricane Carla in September 1961. Rather spontaneously created the first radar weather report by overlaying a transparent map over a radar image of Hurricane Carla. In his first national broadcast, he helped initiate the successful evacuation of 350,000 people.",
"In his first national broadcast, he helped initiate the successful evacuation of 350,000 people. Rather reported from Dallas in November 1963 at the time that President John F. Kennedy was assassinated. Based on his reporting, he was promoted at CBS News, where he served as White House correspondent beginning in 1964.",
"Based on his reporting, he was promoted at CBS News, where he served as White House correspondent beginning in 1964. He served as foreign correspondent in London and Vietnam over the next two years before returning to the White House correspondent position.",
"He served as foreign correspondent in London and Vietnam over the next two years before returning to the White House correspondent position. He covered the presidency of Richard Nixon, including Nixon's trip to China, the Watergate scandal, and the president's resignation.",
"He covered the presidency of Richard Nixon, including Nixon's trip to China, the Watergate scandal, and the president's resignation. In 1981, Rather was promoted to news anchor for the CBS Evening News, a role he occupied for 24 years.",
"In 1981, Rather was promoted to news anchor for the CBS Evening News, a role he occupied for 24 years. Along with Peter Jennings at ABC News and Tom Brokaw at NBC News, he was one of the \"Big Three\" nightly news anchors in the U.S. from the 1980s through the early 2000s.",
"Along with Peter Jennings at ABC News and Tom Brokaw at NBC News, he was one of the \"Big Three\" nightly news anchors in the U.S. from the 1980s through the early 2000s. He frequently contributed to CBS's weekly news magazine, 60 Minutes.",
"He frequently contributed to CBS's weekly news magazine, 60 Minutes. Rather left the anchor desk in 2005 following the Killian documents controversy, in which he presented unauthenticated documents in a news report on President George W. Bush's Vietnam War–era service in the National Guard.",
"Rather left the anchor desk in 2005 following the Killian documents controversy, in which he presented unauthenticated documents in a news report on President George W. Bush's Vietnam War–era service in the National Guard. He continued to work with CBS until 2006, when he was abruptly fired.",
"He continued to work with CBS until 2006, when he was abruptly fired. In September 2007, Rather filed a $70 million lawsuit against CBS and its former parent company Viacom. Rather accused the network and its ownership and management of making him a \"scapegoat\" in the Killian story.",
"Rather accused the network and its ownership and management of making him a \"scapegoat\" in the Killian story. An intermediate New York state appeals court dismissed the lawsuit in September 2009, and the New York Court of Appeals refused to reinstate it in January 2010.",
"An intermediate New York state appeals court dismissed the lawsuit in September 2009, and the New York Court of Appeals refused to reinstate it in January 2010. On the cable channel AXS TV (then called HDNet), Rather hosted Dan Rather Reports, a 60 Minutes–style investigative news program, from 2006 to 2013.",
"On the cable channel AXS TV (then called HDNet), Rather hosted Dan Rather Reports, a 60 Minutes–style investigative news program, from 2006 to 2013. He also hosts several other projects for AXS TV, including Dan Rather Presents, which provides in-depth reporting on broad topics such as mental health care or adoption, and The Big Interview with Dan Rather, in which he conducts long-form interviews with musicians and other entertainers.",
"He also hosts several other projects for AXS TV, including Dan Rather Presents, which provides in-depth reporting on broad topics such as mental health care or adoption, and The Big Interview with Dan Rather, in which he conducts long-form interviews with musicians and other entertainers. In January 2018, he began hosting an online newscast called The News with Dan Rather on The Young Turks' YouTube channel.",
"In January 2018, he began hosting an online newscast called The News with Dan Rather on The Young Turks' YouTube channel. Early life Daniel Irvin Rather Jr. was born on October 31, 1931, in Wharton County, Texas, the son of Daniel Irvin Rather Sr., a ditch digger and pipe layer, and the former Byrl Veda Page.",
"Early life Daniel Irvin Rather Jr. was born on October 31, 1931, in Wharton County, Texas, the son of Daniel Irvin Rather Sr., a ditch digger and pipe layer, and the former Byrl Veda Page. The Rathers moved to Houston when he was a child, where Dan attended Lovett Elementary School and Hamilton Middle School.",
"The Rathers moved to Houston when he was a child, where Dan attended Lovett Elementary School and Hamilton Middle School. He graduated in 1950 from John H. Reagan High School in Houston.",
"He graduated in 1950 from John H. Reagan High School in Houston. In 1953, Rather earned a bachelor's degree in journalism from Sam Houston State Teachers College in Huntsville, Texas, where he was editor of the school newspaper, The Houstonian.",
"In 1953, Rather earned a bachelor's degree in journalism from Sam Houston State Teachers College in Huntsville, Texas, where he was editor of the school newspaper, The Houstonian. He was also a member of the Caballeros, the founding organization of the Epsilon Psi chapter of the Sigma Chi fraternity.",
"He was also a member of the Caballeros, the founding organization of the Epsilon Psi chapter of the Sigma Chi fraternity. While in college, Rather worked for KSAM-FM radio in Huntsville, calling junior high, high school, and Sam Houston State football games.",
"While in college, Rather worked for KSAM-FM radio in Huntsville, calling junior high, high school, and Sam Houston State football games. After obtaining his undergraduate degree, Rather briefly attended South Texas College of Law in Houston.",
"After obtaining his undergraduate degree, Rather briefly attended South Texas College of Law in Houston. In January 1954, Rather enlisted in the United States Marine Corps and was sent to the Marine Corps Recruit Depot San Diego.",
"In January 1954, Rather enlisted in the United States Marine Corps and was sent to the Marine Corps Recruit Depot San Diego. He was soon discharged, however, because he was found to have had rheumatic fever as a child, a fact he had omitted during the enlistment process.",
"He was soon discharged, however, because he was found to have had rheumatic fever as a child, a fact he had omitted during the enlistment process. Early career Rather began his journalism career in 1950 as an Associated Press reporter in Huntsville, Texas.",
"Early career Rather began his journalism career in 1950 as an Associated Press reporter in Huntsville, Texas. Later, he was a reporter for United Press (1950–1952), several Texas radio stations, and the Houston Chronicle (1954–1955). Around 1955, Rather wrote a piece on heroin.",
"Around 1955, Rather wrote a piece on heroin. Under the auspices of the Houston Police, he tried a dose of the drug, which he characterized as \"a special kind of hell.\" He worked for four seasons as the play-by-play announcer for the University of Houston football team.",
"He worked for four seasons as the play-by-play announcer for the University of Houston football team. During the 1959 minor league baseball season, Rather was the play-by-play radio announcer for the Texas League Houston Buffs. In 1959, Rather began his television career as a reporter for KTRK-TV, the ABC affiliate in Houston.",
"In 1959, Rather began his television career as a reporter for KTRK-TV, the ABC affiliate in Houston. He was subsequently promoted to the director of news for KHOU-TV, the CBS affiliate in Houston. In September 1961, Rather covered Hurricane Carla for KHOU-TV, broadcasting from the then National Weather Center in Galveston.",
"In September 1961, Rather covered Hurricane Carla for KHOU-TV, broadcasting from the then National Weather Center in Galveston. He is noted for showing the first radar image of a hurricane on TV. He conceived of overlaying a transparent map over the radar screen, in order to show the size of Hurricane Carla to the audience.",
"He conceived of overlaying a transparent map over the radar screen, in order to show the size of Hurricane Carla to the audience. Convinced of the threat, more than 350,000 people evacuated from the area, the largest known evacuation to that time.",
"Convinced of the threat, more than 350,000 people evacuated from the area, the largest known evacuation to that time. Their actions are believed to have saved thousands of lives compared to the previous hurricane, which had killed 6,000 to 12,000 people. Rather's live coverage of Carla was broadcast by New York and national stations.",
"Rather's live coverage of Carla was broadcast by New York and national stations. Ray Miller, news director of KPRC-TV, the NBC affiliate in Houston, also mentored Rather in the early years. On February 28, 1962, Rather left Houston for New York City for a six-month trial initiation at CBS.",
"On February 28, 1962, Rather left Houston for New York City for a six-month trial initiation at CBS. Rather did not fit in easily on the East Coast.",
"Rather did not fit in easily on the East Coast. His first reports for CBS included coverage of the crash of American Airlines Flight 1 in Jamaica Bay, and a report on the suffocation of children at a hospital in Binghamton, New York. Shortly after, Rather was made chief of CBS's Southwest bureau in Dallas.",
"Shortly after, Rather was made chief of CBS's Southwest bureau in Dallas. In August 1963, he was appointed chief of the Southern bureau in New Orleans, responsible for coverage of news events in the South, Southwest, Mexico and Central America.",
"In August 1963, he was appointed chief of the Southern bureau in New Orleans, responsible for coverage of news events in the South, Southwest, Mexico and Central America. CBS News JFK assassination to Watergate In his autobiography, Rather noted that he was in Dallas in November 1963 to return film from an interview in Uvalde at the ranch of former Vice President John Nance Garner, who celebrated his 95th birthday on November 22.",
"CBS News JFK assassination to Watergate In his autobiography, Rather noted that he was in Dallas in November 1963 to return film from an interview in Uvalde at the ranch of former Vice President John Nance Garner, who celebrated his 95th birthday on November 22. He happened to be \"on the other side of the railroad tracks, beyond the triple underpass, thirty yards from a grassy knoll that would later figure in so many conspiracy theories.\"",
"He happened to be \"on the other side of the railroad tracks, beyond the triple underpass, thirty yards from a grassy knoll that would later figure in so many conspiracy theories.\" His job was to fetch a film drop from a camera truck at that location, and take it to the station for editing.",
"His job was to fetch a film drop from a camera truck at that location, and take it to the station for editing. He did not witness the shooting of Kennedy, and knew nothing of the events until he reached KRLD, having run through Dealey Plaza.",
"He did not witness the shooting of Kennedy, and knew nothing of the events until he reached KRLD, having run through Dealey Plaza. He later wrote: “The moment I cleared the railroad tracks I saw a scene I will never forget. Some people were lying on the grass, some screaming, some running, some pointing.",
"Some people were lying on the grass, some screaming, some running, some pointing. Policemen swarmed everywhere and distinctly above the din, I heard one shout, 'DON'T ANYBODY PANIC.'",
"Policemen swarmed everywhere and distinctly above the din, I heard one shout, 'DON'T ANYBODY PANIC.' And of course, there was nothing but panic wherever you looked.” In his autobiography, Rather said he was one of the first to view the Zapruder film showing the assassination, and the first to describe it on television.",
"And of course, there was nothing but panic wherever you looked.” In his autobiography, Rather said he was one of the first to view the Zapruder film showing the assassination, and the first to describe it on television. Rather reported the fatal headshot as forcing Kennedy's head forward, but it was thrown backward.",
"Rather reported the fatal headshot as forcing Kennedy's head forward, but it was thrown backward. Later, he reported that some Dallas schoolchildren had applauded when they were notified of the president's death. Administrators said they had announced that school was to be dismissed early, and did not mention the assassination.",
"Administrators said they had announced that school was to be dismissed early, and did not mention the assassination. However, teacher Joanna Morgan confirmed that students had cheered at the news that Kennedy was shot. This story infuriated local journalists at then-CBS affiliate KRLD-TV (now Fox-owned-and-operated KDFW-TV).",
"This story infuriated local journalists at then-CBS affiliate KRLD-TV (now Fox-owned-and-operated KDFW-TV). Rather's reporting during the national mourning period following the Kennedy assassination and subsequent events impressed CBS News management. In 1964, they selected him for the network's White House correspondent position.",
"In 1964, they selected him for the network's White House correspondent position. In 1965, Rather served as a foreign correspondent for CBS in London, and in 1966 in Vietnam. He served again as White House correspondent during the presidency of Richard Nixon.",
"He served again as White House correspondent during the presidency of Richard Nixon. In 1970, he was also assigned as anchor for the CBS Sunday Night News (1970–73; 1974–75), and later for the CBS Saturday Evening News (1973–76). Rather was among those journalists who accompanied Nixon to China.",
"Rather was among those journalists who accompanied Nixon to China. He later covered the Watergate investigation, as well as the impeachment proceedings against Nixon in Congress. CBS Evening News anchor After President Nixon's resignation in 1974, Rather became chief correspondent for the documentary series CBS Reports.",
"CBS Evening News anchor After President Nixon's resignation in 1974, Rather became chief correspondent for the documentary series CBS Reports. In December 1975, he became a correspondent of the long-running Sunday night news show 60 Minutes—at the time the program was moved from a Sunday afternoon time-slot to primetime.",
"In December 1975, he became a correspondent of the long-running Sunday night news show 60 Minutes—at the time the program was moved from a Sunday afternoon time-slot to primetime. Success there helped Rather pull ahead of longtime correspondent Roger Mudd, who was in line to succeed Walter Cronkite as anchor and Managing Editor of The CBS Evening News.",
"Success there helped Rather pull ahead of longtime correspondent Roger Mudd, who was in line to succeed Walter Cronkite as anchor and Managing Editor of The CBS Evening News. Rather succeeded to the news anchor position after Cronkite's retirement, making his first broadcast on March 9, 1981. Rather had a significantly different style of reporting the news.",
"Rather had a significantly different style of reporting the news. In contrast to the avuncular Cronkite, who ended his newscast with “That's the way it is,” Rather searched to find a broadcast ending more suitable to his tastes.",
"In contrast to the avuncular Cronkite, who ended his newscast with “That's the way it is,” Rather searched to find a broadcast ending more suitable to his tastes. For one week in September 1986, with CBS the target of potentially hostile new ownership, Rather tried ending his broadcasts with the word \"courage,\" and was roundly ridiculed for it.",
"For one week in September 1986, with CBS the target of potentially hostile new ownership, Rather tried ending his broadcasts with the word \"courage,\" and was roundly ridiculed for it. For nearly two decades, Rather ended the show with: “That's part of our world tonight.” Rather also held other positions during his time as anchor.",
"For nearly two decades, Rather ended the show with: “That's part of our world tonight.” Rather also held other positions during his time as anchor. In January 1988, he became host of the newly created 48 Hours, and in January 1999, Rather joined the new 60 Minutes II as a correspondent.",
"In January 1988, he became host of the newly created 48 Hours, and in January 1999, Rather joined the new 60 Minutes II as a correspondent. Ratings for the Evening News with Rather at the helm fluctuated wildly, at a time when more alternatives to TV news were developing.",
"Ratings for the Evening News with Rather at the helm fluctuated wildly, at a time when more alternatives to TV news were developing. After a dip to second place, Rather regained the top spot in 1985 until 1989, when he ceded the ratings peak to rival Peter Jennings at ABC's World News Tonight.",
"After a dip to second place, Rather regained the top spot in 1985 until 1989, when he ceded the ratings peak to rival Peter Jennings at ABC's World News Tonight. By 1992, however, the Evening News had fallen to third place of the three major networks.",
"By 1992, however, the Evening News had fallen to third place of the three major networks. It rose in rankings in 2005, when Bob Schieffer became the interim anchor between Rather and Katie Couric.",
"It rose in rankings in 2005, when Bob Schieffer became the interim anchor between Rather and Katie Couric. It briefly moved ahead of ABC World News Tonight in the wake of the death of Peter Jennings, but remained behind NBC Nightly News.",
"It briefly moved ahead of ABC World News Tonight in the wake of the death of Peter Jennings, but remained behind NBC Nightly News. Rather was a frequent collaborator with CBS News producer Susan Zirinsky, a leading member of the news division's staff.",
"Rather was a frequent collaborator with CBS News producer Susan Zirinsky, a leading member of the news division's staff. In 1987, new CBS owner Laurence Tisch oversaw layoffs of hundreds of CBS News employees, in a major shake-up of the network.",
"In 1987, new CBS owner Laurence Tisch oversaw layoffs of hundreds of CBS News employees, in a major shake-up of the network. Among those to go were correspondents such as David Andelman, Fred Graham, Morton Dean, and Ike Pappas. Fewer videotape crews were dispatched to cover stories, and numerous bureaus were closed.",
"Fewer videotape crews were dispatched to cover stories, and numerous bureaus were closed. Critics cited the cutbacks as a major factor in CBS News' fall into third place in the ratings. For a short time from 1993 to 1995, Rather co-anchored the evening news with Connie Chung.",
"For a short time from 1993 to 1995, Rather co-anchored the evening news with Connie Chung. Chung had been a Washington, DC correspondent for CBS News, and anchored short news updates on the West Coast. On joining the CBS Evening News, she reported \"pop news\" stories.",
"On joining the CBS Evening News, she reported \"pop news\" stories. In one widely cited case, she aggressively pursued Tonya Harding, who was accused of a plot to injure fellow Olympic ice skater Nancy Kerrigan. After Chung left the network, Rather went back to doing the newscast alone.",
"After Chung left the network, Rather went back to doing the newscast alone. By the 2005–06 season, the end of Rather's time as anchor, CBS Evening News lagged behind NBC Nightly News and ABC World News Tonight in the ratings. But it still drew approximately 5.5 million viewers a night.",
"But it still drew approximately 5.5 million viewers a night. Criticism of Rather reached a fever pitch after 60 Minutes II ran his 2004 report about President Bush's military record. Numerous critics questioned the authenticity of the documents upon which the report was based. Rather subsequently admitted on the air that the documents' authenticity could not be proven.",
"Rather subsequently admitted on the air that the documents' authenticity could not be proven. In the aftermath, CBS fired several members of CBS News staff but temporarily retained Rather, until his contract was up for renewal the following year, whereupon he was completely ousted.",
"In the aftermath, CBS fired several members of CBS News staff but temporarily retained Rather, until his contract was up for renewal the following year, whereupon he was completely ousted. Journalistic history and influence Nixon During Richard Nixon's presidency, critics accused Rather of biased coverage against him.",
"Journalistic history and influence Nixon During Richard Nixon's presidency, critics accused Rather of biased coverage against him. At a Houston news conference in March 1974, Nixon fielded a question from Rather, still CBS's White House correspondent, who said, “Thank you, Mr. President.",
"At a Houston news conference in March 1974, Nixon fielded a question from Rather, still CBS's White House correspondent, who said, “Thank you, Mr. President. Dan Rather, of CBS News.” The room filled with jeers and applause, prompting Nixon to joke, “Are you running for something?” Rather replied, “No, sir, Mr. President.",
"Dan Rather, of CBS News.” The room filled with jeers and applause, prompting Nixon to joke, “Are you running for something?” Rather replied, “No, sir, Mr. President. Are you?” He questioned whether Nixon was cooperating with the grand jury investigation and House Judiciary Committee in relation to the Watergate scandal.",
"Are you?” He questioned whether Nixon was cooperating with the grand jury investigation and House Judiciary Committee in relation to the Watergate scandal. NBC's Tom Brokaw has said the network considered hiring him to replace Rather as its White House correspondent, but dropped it after word was leaked to the press.",
"NBC's Tom Brokaw has said the network considered hiring him to replace Rather as its White House correspondent, but dropped it after word was leaked to the press. Rather was believed to have provided tough coverage of the Watergate scandal, raising his profile.",
"Rather was believed to have provided tough coverage of the Watergate scandal, raising his profile. Space Shuttle Challenger disaster In January 1986, NASA faced repeated delays in the preparations to launch the Space Shuttles Columbia and Challenger in close sequence.",
"Space Shuttle Challenger disaster In January 1986, NASA faced repeated delays in the preparations to launch the Space Shuttles Columbia and Challenger in close sequence. Rather described the January 10 delay of Columbia as: “star-crossed space shuttle Columbia stood ready for launch again today, and once more, the launch was scrubbed.",
"Rather described the January 10 delay of Columbia as: “star-crossed space shuttle Columbia stood ready for launch again today, and once more, the launch was scrubbed. Heavy rain was the cause this time.",
"Heavy rain was the cause this time. The launch has been postponed so often since its original date, December 18, that it's now known as mission impossible.”This was considered an example of the \"biting sarcasm\" the media used related to NASA's scheduling. Columbia launched on January 12.",
"Columbia launched on January 12. Columbia launched on January 12. On January 27, Rather's reporting of the expected Challenger launch began as follows: On January 28, Challenger'''s explosion and destruction occurred 73 seconds after launch.",
"On January 27, Rather's reporting of the expected Challenger launch began as follows: On January 28, Challenger'''s explosion and destruction occurred 73 seconds after launch. Afghanistan, Reagan, and George H. W. Bush During the Soviet–Afghan War, Rather was filmed reporting near the front lines while wearing a traditional mujahideen headdress and garments.",
"Afghanistan, Reagan, and George H. W. Bush During the Soviet–Afghan War, Rather was filmed reporting near the front lines while wearing a traditional mujahideen headdress and garments. Rather attracted an Evening News audience (and was nicknamed \"Gunga Dan\"). The American comic strip Doonesbury spoofed his actions.",
"The American comic strip Doonesbury spoofed his actions. Rather's reports were later revealed to have been influential to Congressman Charlie Wilson (D-Texas), who led an effort to help the struggling mujahideen. The CIA developed its largest covert operation to supply aid and advanced arms to the mujahideen. The Soviets eventually quit Afghanistan.",
"The Soviets eventually quit Afghanistan. The Soviets eventually quit Afghanistan. Rather gained the anchor spot on the Evening News. He was competing with Roger Mudd, a more senior correspondent and a frequent substitute anchor for Walter Cronkite on Evening News. Mudd had also anchored the Sunday evening broadcast, but Rather traveled through Afghanistan when news led there.",
"Mudd had also anchored the Sunday evening broadcast, but Rather traveled through Afghanistan when news led there. A few years into his service as anchor, Rather began wearing sweaters beneath his suit jacket to soften his on-air appearance for viewers. During the 1980s, Rather gained further renown for his forceful and skeptical reporting on the Iran–Contra affair.",
"During the 1980s, Rather gained further renown for his forceful and skeptical reporting on the Iran–Contra affair. He eventually confronted Vice President George H. W. Bush in an on-air interview during the latter's presidential campaign.",
"He eventually confronted Vice President George H. W. Bush in an on-air interview during the latter's presidential campaign. Bush referred to Rather's \"dead air incident\" saying: “I want to talk about why I want to be President, why those 41 percent of the people are supporting me.",
"Bush referred to Rather's \"dead air incident\" saying: “I want to talk about why I want to be President, why those 41 percent of the people are supporting me. And I don't think it's fair to judge my whole career by a rehash on Iran.",
"And I don't think it's fair to judge my whole career by a rehash on Iran. How would you like it if I judged your career by those seven minutes when you walked off the set in New York?”Rather ignored Bush's comment.",
"How would you like it if I judged your career by those seven minutes when you walked off the set in New York?”Rather ignored Bush's comment. Shortly after Iraq invaded Kuwait, Rather secured an interview with Iraqi leader Saddam Hussein.",
"Shortly after Iraq invaded Kuwait, Rather secured an interview with Iraqi leader Saddam Hussein. On February 24, 2003, Rather conducted another interview with Hussein before the United States' 2003 invasion of Iraq. In the interview, Hussein invited Rather to be the moderator of a live television debate between him and George W. Bush.",
"In the interview, Hussein invited Rather to be the moderator of a live television debate between him and George W. Bush. The debate never took place. The Wall Within On June 2, 1988, Rather hosted a CBS News special, The Wall Within.",
"The Wall Within On June 2, 1988, Rather hosted a CBS News special, The Wall Within. In it, he interviewed six veterans, each of whom said he had witnessed horrible acts in Vietnam. Two of the men said that they had killed civilians, and two others said that they had seen friends die.",
"Two of the men said that they had killed civilians, and two others said that they had seen friends die. Each talked about the effects the war had upon their lives—including depression, unemployment, drug use, and homelessness. In 2004, National Review ran an article by Anne Morse entitled \"The First Rathergate.\"",
"In 2004, National Review ran an article by Anne Morse entitled \"The First Rathergate.\" She said that almost nothing claimed by participants in The Wall Within was true.",
"She said that almost nothing claimed by participants in The Wall Within was true. Citing the self-published book Stolen Valor (1998) by veteran B. G. Burkett, and investigative journalist Glenna Whitley, Morse said that military records revealed that the six former servicemen had lied about their experiences.",
"Citing the self-published book Stolen Valor (1998) by veteran B. G. Burkett, and investigative journalist Glenna Whitley, Morse said that military records revealed that the six former servicemen had lied about their experiences. Only one served in combat, and two had never been in Vietnam.",
"Only one served in combat, and two had never been in Vietnam. Killian documents On September 8, 2004, Rather reported on 60 Minutes Wednesday that a series of memos critical of President George W. Bush's Texas Air National Guard service record had been discovered in the personal files of Lt. Bush's former commanding officer, Lt. Col. Jerry B. Killian.",
"Killian documents On September 8, 2004, Rather reported on 60 Minutes Wednesday that a series of memos critical of President George W. Bush's Texas Air National Guard service record had been discovered in the personal files of Lt. Bush's former commanding officer, Lt. Col. Jerry B. Killian. Once copies of the documents were made available on the Internet, their authenticity was quickly called into question.",
"Once copies of the documents were made available on the Internet, their authenticity was quickly called into question. Much of this was based on the fact that the documents were proportionally printed and displayed using other modern typographic conventions usually unavailable on military typewriters of the 1970s.",
"Much of this was based on the fact that the documents were proportionally printed and displayed using other modern typographic conventions usually unavailable on military typewriters of the 1970s. The font used on the documents has characteristics that exactly or almost exactly match standard font features of Microsoft Word. This led to claims that the memos were forgeries.",
"This led to claims that the memos were forgeries. The accusations then spread over the following days into mainstream media outlets, including The Washington Post, The New York Times, and The Chicago Sun-Times. Rather and CBS initially defended the story, insisting that the documents had been authenticated by experts.",
"Rather and CBS initially defended the story, insisting that the documents had been authenticated by experts. CBS was contradicted by some of the experts it originally cited, and later reported that its source for the documents—former Texas Army National Guard officer Lt. Col. Bill Burkett—had misled the network about how he had obtained them.",
"CBS was contradicted by some of the experts it originally cited, and later reported that its source for the documents—former Texas Army National Guard officer Lt. Col. Bill Burkett—had misled the network about how he had obtained them. On September 20, 2004, CBS retracted the story.",
"On September 20, 2004, CBS retracted the story. Rather stated, “If I knew then what I know now, I would not have gone ahead with the story as it was aired, and I certainly would not have used the documents in question.” The controversy has been referred to by some as \"Memogate\" and \"Rathergate.\"",
"Rather stated, “If I knew then what I know now, I would not have gone ahead with the story as it was aired, and I certainly would not have used the documents in question.” The controversy has been referred to by some as \"Memogate\" and \"Rathergate.\" Following an investigation commissioned by CBS, CBS fired story producer Mary Mapes, and asked three other producers connected with the story to resign.",
"Following an investigation commissioned by CBS, CBS fired story producer Mary Mapes, and asked three other producers connected with the story to resign. Many believe Rather's retirement was hastened by this incident.",
"Many believe Rather's retirement was hastened by this incident. On September 20, 2007, Rather was interviewed on Larry King Live commenting, “Nobody has proved that they were fraudulent, much less a forgery. ...",
"... ... The truth of this story stands up to this day.” Departure from the CBS Evening News Rather retired as the anchorman and Managing Editor of the CBS Evening News in 2005; his last broadcast was Wednesday, March 9, 2005.",
"The truth of this story stands up to this day.” Departure from the CBS Evening News Rather retired as the anchorman and Managing Editor of the CBS Evening News in 2005; his last broadcast was Wednesday, March 9, 2005. He had worked as the anchorman for 24 full years, the longest tenure of anyone in American television history, and for a short time, continued to work as a correspondent for 60 Minutes.",
"He had worked as the anchorman for 24 full years, the longest tenure of anyone in American television history, and for a short time, continued to work as a correspondent for 60 Minutes. Bob Schieffer, a fellow Texan and host of Face the Nation, took over Rather's position on an interim basis, with Katie Couric replacing Schieffer in 2006.",
"Bob Schieffer, a fellow Texan and host of Face the Nation, took over Rather's position on an interim basis, with Katie Couric replacing Schieffer in 2006. Since retiring, Rather has spoken out about what he perceives as a lack of courage by American journalists. On January 24, 2006, Rather spoke to a Seattle audience.",
"On January 24, 2006, Rather spoke to a Seattle audience. Before the speaking engagement, he told a newspaper reporter, “In many ways on many days, [reporters] have sort of adopted the attitude of 'go along, get along.",
"Before the speaking engagement, he told a newspaper reporter, “In many ways on many days, [reporters] have sort of adopted the attitude of 'go along, get along. '” “What many of us need is a spine transplant,” Rather added.",
"'” “What many of us need is a spine transplant,” Rather added. “Whether it's City Hall, the State House, or the White House, part of our job is to speak truth to power.” Ousted from CBS News In June 2006, reports surfaced that CBS News would most likely not renew Dan Rather's contract.",
"“Whether it's City Hall, the State House, or the White House, part of our job is to speak truth to power.” Ousted from CBS News In June 2006, reports surfaced that CBS News would most likely not renew Dan Rather's contract. According to a Washington Post article, sources from CBS said that executives at the network decided \"there is no future role for Rather.\"",
"According to a Washington Post article, sources from CBS said that executives at the network decided \"there is no future role for Rather.\" On June 20, 2006, CBS News and Sports President Sean McManus announced that Rather would leave the network after 44 years.",
"On June 20, 2006, CBS News and Sports President Sean McManus announced that Rather would leave the network after 44 years. Rather issued a separate statement which accompanied the news of the departure: Lawsuit over ouster from CBS Network On September 19, 2007, Rather filed a $70 million lawsuit against CBS, its former parent company Viacom; CBS President and CEO Leslie Moonves; Sumner Redstone, chairman of both Viacom and CBS; and Andrew Heyward, former president of CBS News.",
"Rather issued a separate statement which accompanied the news of the departure: Lawsuit over ouster from CBS Network On September 19, 2007, Rather filed a $70 million lawsuit against CBS, its former parent company Viacom; CBS President and CEO Leslie Moonves; Sumner Redstone, chairman of both Viacom and CBS; and Andrew Heyward, former president of CBS News. Rather accused the network and its ownership and management of making him a \"scapegoat\" in the Killian story.",
"Rather accused the network and its ownership and management of making him a \"scapegoat\" in the Killian story. A CBS spokesman claimed that the lawsuit was \"old news\" and \"without merit.\"",
"A CBS spokesman claimed that the lawsuit was \"old news\" and \"without merit.\" On September 21, 2009, Rather's lawyers claimed that Bush's military service would be proven to be a sham, and Rather would be vindicated.",
"On September 21, 2009, Rather's lawyers claimed that Bush's military service would be proven to be a sham, and Rather would be vindicated. On September 29, 2009, a New York state appeals court dismissed Rather's lawsuit against CBS.",
"On September 29, 2009, a New York state appeals court dismissed Rather's lawsuit against CBS. On January 12, 2010, New York's top court refused to reinstate Rather's $70 million breach-of-contract lawsuit against CBS Corp.",
"On January 12, 2010, New York's top court refused to reinstate Rather's $70 million breach-of-contract lawsuit against CBS Corp. In his book titled Rather Outspoken, Rather claims that the lawsuit “took a big whack out of my time, my psyche and my bank balance, but even so, it was worth it.” On May 18, 2012, Rather appeared on Real Time With Bill Maher, and claimed he had been fired for reporting a story about George W. Bush's year of absence from the reserve unit he served with, and that the news corporations had been \"very uncomfortable\" with running the story.",
"In his book titled Rather Outspoken, Rather claims that the lawsuit “took a big whack out of my time, my psyche and my bank balance, but even so, it was worth it.” On May 18, 2012, Rather appeared on Real Time With Bill Maher, and claimed he had been fired for reporting a story about George W. Bush's year of absence from the reserve unit he served with, and that the news corporations had been \"very uncomfortable\" with running the story. Post-CBS career Following his departure from CBS, Dan Rather joined Mark Cuban's cable network AXS TV (then called HDNet) to host and produce the weekly one-hour news show Dan Rather Reports from 2006 until 2013.",
"Post-CBS career Following his departure from CBS, Dan Rather joined Mark Cuban's cable network AXS TV (then called HDNet) to host and produce the weekly one-hour news show Dan Rather Reports from 2006 until 2013. Since 2013, Rather has hosted and produced the hour-long series The Big Interview with Dan Rather on AXS TV, where he sits down for in-depth interviews with influential figures in music and entertainment, such as: John Fogerty, Quentin Tarantino, Simon Cowell, Aaron Sorkin, and Sammy Hagar.",
"Since 2013, Rather has hosted and produced the hour-long series The Big Interview with Dan Rather on AXS TV, where he sits down for in-depth interviews with influential figures in music and entertainment, such as: John Fogerty, Quentin Tarantino, Simon Cowell, Aaron Sorkin, and Sammy Hagar. He has also produced several documentary specials for the network under the banner Dan Rather Presents, including specials about \"America's Mental Health Crisis,\" the United States Secret Service, and \"The Shameful Side of International Adoption.\"",
"He has also produced several documentary specials for the network under the banner Dan Rather Presents, including specials about \"America's Mental Health Crisis,\" the United States Secret Service, and \"The Shameful Side of International Adoption.\" Rather also appears frequently on a number of news shows, including MSNBC's The Rachel Maddow Show and The Last Word with Lawrence O'Donnell and on CNN.",
"Rather also appears frequently on a number of news shows, including MSNBC's The Rachel Maddow Show and The Last Word with Lawrence O'Donnell and on CNN. He has also written for The Huffington Post and Mashable.",
"He has also written for The Huffington Post and Mashable. On May 28, 2007, Rather compared historical events to events in the Star Wars films in the History Channel special titled Star Wars: The Legacy Revealed. In 2012, Rather published an autobiography titled Rather Outspoken: My Life in the News.",
"In 2012, Rather published an autobiography titled Rather Outspoken: My Life in the News. In 2015, Rather launched an independent production company called News and Guts Media, through which he produces The Big Interview among other projects. In 2015, Rather also began actively posting on Facebook.",
"In 2015, Rather also began actively posting on Facebook. He credits young staffers at News and Guts Media with pushing him to try social media. While his posts were considerably longer than typical social media posts, they resonated with the audience, which soon grew to more than two million followers.",
"While his posts were considerably longer than typical social media posts, they resonated with the audience, which soon grew to more than two million followers. Even late night TV noticed Rather's unusual but effective Facebook presence. Subject matter has covered a range of topics, including: current political events, journalism, and childhood memories.",
"Subject matter has covered a range of topics, including: current political events, journalism, and childhood memories. On September 23, 2016, SiriusXM Radio announced a new hour-long weekly program, \"Dan Rather's America,\" airing Tuesday mornings at 10am Eastern on Radio Andy channel 102, debuting on September 27.",
"On September 23, 2016, SiriusXM Radio announced a new hour-long weekly program, \"Dan Rather's America,\" airing Tuesday mornings at 10am Eastern on Radio Andy channel 102, debuting on September 27. In the fall of 2017, the Briscoe Center for American History at the University of Texas completed a digital humanities project dedicated to the long career of the journalist that was titled Dan Rather: American Journalist.",
"In the fall of 2017, the Briscoe Center for American History at the University of Texas completed a digital humanities project dedicated to the long career of the journalist that was titled Dan Rather: American Journalist. The culmination of three years of research conducted at the Briscoe Center, the site uses materials from a dozen archives and libraries, and draws from over 25 of the Briscoe Center for American History's news media and photojournalism collections.",
"The culmination of three years of research conducted at the Briscoe Center, the site uses materials from a dozen archives and libraries, and draws from over 25 of the Briscoe Center for American History's news media and photojournalism collections. The website features over 2,000 digitized documents, 300 excerpts from twelve oral history interviews, and 1000 video clips, enabling visitors to dive deep into the history of the last 60 years through the lens of Dan Rather's career.",
"The website features over 2,000 digitized documents, 300 excerpts from twelve oral history interviews, and 1000 video clips, enabling visitors to dive deep into the history of the last 60 years through the lens of Dan Rather's career. On January 21, 2018, it was announced that Rather would be launching a weekly 30-minute newscast on The Young Turks.",
"On January 21, 2018, it was announced that Rather would be launching a weekly 30-minute newscast on The Young Turks. Titled The News with Dan Rather, it airs on Mondays at 5:30pm Eastern Time. Personal life Rather married Jean Goebel in 1957.",
"Personal life Rather married Jean Goebel in 1957. They have a son and daughter, and maintain homes in New York City and Austin, Texas. Their daughter Robin is an environmentalist and community activist in Austin, Texas. Their son Dan is an assistant district attorney in the District Attorney's office in Manhattan, New York.",
"Their son Dan is an assistant district attorney in the District Attorney's office in Manhattan, New York. Sam Houston State University renamed its mass communications building after Rather in 1994. The building houses The Houstonian and KSHU, the student-run radio and television stations.",
"The building houses The Houstonian and KSHU, the student-run radio and television stations. In May 2007, Rather received an honorary Doctor of Humane Letters from Siena College in Loudonville, New York, for his lifetime contributions to journalism.",
"In May 2007, Rather received an honorary Doctor of Humane Letters from Siena College in Loudonville, New York, for his lifetime contributions to journalism. A columnist whose work is distributed by King Features Syndicate, Rather continues to speak out against alleged influence in journalism by corporations and governments.",
"A columnist whose work is distributed by King Features Syndicate, Rather continues to speak out against alleged influence in journalism by corporations and governments. At a 2008 conference in Minneapolis, Minnesota, sponsored by the group Free Press, Rather criticized both local and national news organizations, stating—according to reports—that there is no longer incentive to do “good and valuable news.” Books The Palace Guard, with Gary Paul Gates, 1974. .",
"At a 2008 conference in Minneapolis, Minnesota, sponsored by the group Free Press, Rather criticized both local and national news organizations, stating—according to reports—that there is no longer incentive to do “good and valuable news.” Books The Palace Guard, with Gary Paul Gates, 1974. . The Camera Never Blinks: Adventures of a TV Journalist, with Mickey Herskowitz, 1977. .",
"The Camera Never Blinks: Adventures of a TV Journalist, with Mickey Herskowitz, 1977. . I Remember, with Peter Wyden, 1991. . The Camera Never Blinks Twice: The Further Adventures of a Television Journalist, with Mickey Herskowitz, 1994. . , 1999. .",
", 1999. . , 1999. . \"The American Dream: Stories from the Heart of Our Nation\", 2001. . , with Digby Diehl, 2013. . What Unites Us: Reflections on Patriotism, with Elliot Kirschner, 2017. .What Unites Us: The Graphic Novel, with Elliot Kirschner, illustrated by Tim Foley, 2021. .",
".What Unites Us: The Graphic Novel, with Elliot Kirschner, illustrated by Tim Foley, 2021. . Awards He has received numerous Emmy Awards, several Peabody Awards, and various honorary degrees from universities. In addition to these awards, Rather was inducted into the Television Hall of Fame in 2004.",
"In addition to these awards, Rather was inducted into the Television Hall of Fame in 2004. In 2001, he received the Golden Plate Award of the American Academy of Achievement.",
"In 2001, he received the Golden Plate Award of the American Academy of Achievement. Criticism As one of the last broadcast news journalists from the era of the \"Big Three\" network news primacy, Rather was generally regarded highly within his profession by long-serving journalists. Rather has been accused of having a liberal bias.",
"Rather has been accused of having a liberal bias. \"Dan Rather: a pioneer and a lightning rod\" at The Christian Science Monitor. Claims of bias Rather's on-screen comments and election-night reporting have come under attack dating back to Richard Nixon's presidency.",
"Claims of bias Rather's on-screen comments and election-night reporting have come under attack dating back to Richard Nixon's presidency. In a June 2002 interview with Larry King, his long-time co-worker (and self-described liberal), Andy Rooney stated that Rather is “transparently liberal.” During the weeks following the Killian documents stories, Rather received widespread criticism from other journalists and historians.",
"In a June 2002 interview with Larry King, his long-time co-worker (and self-described liberal), Andy Rooney stated that Rather is “transparently liberal.” During the weeks following the Killian documents stories, Rather received widespread criticism from other journalists and historians. In an interview with commentator Bill Maher, Rather accused Fox News Channel of receiving \"talking points\" from the Republican-controlled White House.",
"In an interview with commentator Bill Maher, Rather accused Fox News Channel of receiving \"talking points\" from the Republican-controlled White House. Fox News commentator Bill O'Reilly, who had defended Rather during the Killian documents incident, criticized Rather for not offering any evidence to support the claim.",
"Fox News commentator Bill O'Reilly, who had defended Rather during the Killian documents incident, criticized Rather for not offering any evidence to support the claim. In 2002, Bernard Goldberg published a book with the title Bias, alleging a liberal bias in print and broadcast news organizations.",
"In 2002, Bernard Goldberg published a book with the title Bias, alleging a liberal bias in print and broadcast news organizations. In the book, Goldberg used Dan Rather as a primary example of a news anchorman with a liberal bias.",
"In the book, Goldberg used Dan Rather as a primary example of a news anchorman with a liberal bias. He also criticized the anchor for his criticisms of President George W. Bush's and Vice President Dan Quayle's service in the National Guard, rather than the Active Duty military during the Vietnam War, and questioned Rather's own service.",
"He also criticized the anchor for his criticisms of President George W. Bush's and Vice President Dan Quayle's service in the National Guard, rather than the Active Duty military during the Vietnam War, and questioned Rather's own service. Fairness and Accuracy in Reporting has accused Rather of having \"an unwillingness to challenge official power and policy\" in his reporting.",
"Fairness and Accuracy in Reporting has accused Rather of having \"an unwillingness to challenge official power and policy\" in his reporting. Investigative reporter Mark Hertsgaard characterized Rather as a \"stern anti-Communist\" during the Reagan administration, for allegedly having \"reported the pronouncements of public officials with considerable respect.\"",
"Investigative reporter Mark Hertsgaard characterized Rather as a \"stern anti-Communist\" during the Reagan administration, for allegedly having \"reported the pronouncements of public officials with considerable respect.\" In April 2001, according to a front-page story in The Washington Post, Rather spoke at a Democratic party fundraiser in Austin, Texas, where he was the featured speaker.",
"In April 2001, according to a front-page story in The Washington Post, Rather spoke at a Democratic party fundraiser in Austin, Texas, where he was the featured speaker. One of the official hosts for the fundraiser was Rather's daughter, Robin Rather; Rather said that he did not realize that his daughter was a host of the fundraiser.",
"One of the official hosts for the fundraiser was Rather's daughter, Robin Rather; Rather said that he did not realize that his daughter was a host of the fundraiser. Rather also said that he did not realize that the event was a partisan fundraiser, although he did realize that after he arrived at the event.",
"Rather also said that he did not realize that the event was a partisan fundraiser, although he did realize that after he arrived at the event. From Walter Cronkite During an appearance on CNN's American Morning in 2005, former CBS anchor Walter Cronkite said about Rather: “It surprised quite a few people at CBS and elsewhere that, without being able to pull up the ratings beyond third in a three-man field, that they tolerated his being there for so long.” Cronkite also said that he would like to have seen Bob Schieffer in Rather's position sooner.",
"From Walter Cronkite During an appearance on CNN's American Morning in 2005, former CBS anchor Walter Cronkite said about Rather: “It surprised quite a few people at CBS and elsewhere that, without being able to pull up the ratings beyond third in a three-man field, that they tolerated his being there for so long.” Cronkite also said that he would like to have seen Bob Schieffer in Rather's position sooner. From Dallas CBS news director Eddie Barker In the aftermath of the Kennedy assassination while Rather was a Dallas reporter, he interviewed a minister, who said some local schoolchildren had cheered upon learning of the President's shooting.",
"From Dallas CBS news director Eddie Barker In the aftermath of the Kennedy assassination while Rather was a Dallas reporter, he interviewed a minister, who said some local schoolchildren had cheered upon learning of the President's shooting. The Associated Press later confirmed the story.",
"The Associated Press later confirmed the story. A teacher at the school backed up the Rather story, confirming that some students at the school had cheered at the principal's news about Kennedy.",
"A teacher at the school backed up the Rather story, confirming that some students at the school had cheered at the principal's news about Kennedy. Eddie Barker, local Dallas-area news director for CBS, said that Rather had in fact been aware that the children were merely happy about being sent home early, and they had not been given a reason for early school closure (Barker's children attended the school, as he informed Rather).",
"Eddie Barker, local Dallas-area news director for CBS, said that Rather had in fact been aware that the children were merely happy about being sent home early, and they had not been given a reason for early school closure (Barker's children attended the school, as he informed Rather). He stated that Rather had deliberately misrepresented the facts by indicating that the children were happy about the shooting.",
"He stated that Rather had deliberately misrepresented the facts by indicating that the children were happy about the shooting. Barker attempted to fire Rather, but was overruled by the national CBS News management.",
"Barker attempted to fire Rather, but was overruled by the national CBS News management. Incidents and controversies 1968 Democratic convention During live coverage of the 1968 Democratic National Convention, Rather attempted to interview a delegate from Georgia who appeared as though he was being forcibly removed by men without identification badges.",
"Incidents and controversies 1968 Democratic convention During live coverage of the 1968 Democratic National Convention, Rather attempted to interview a delegate from Georgia who appeared as though he was being forcibly removed by men without identification badges. As Rather approached the delegate to question the apparent strong-arm tactics of the Chicago political machine under Mayor Daley, he was punched in the stomach by one of the men, knocking him to the ground.",
"As Rather approached the delegate to question the apparent strong-arm tactics of the Chicago political machine under Mayor Daley, he was punched in the stomach by one of the men, knocking him to the ground. “He lifted me right off the floor and put me away.",
"“He lifted me right off the floor and put me away. I was down, the breath knocked out of me, as the whole group blew on by me ...",
"I was down, the breath knocked out of me, as the whole group blew on by me ... In the CBS control room, they had switched the camera onto me just as I was slugged.” Walter Cronkite, after being told by Rather what happened, added on-air, \"I think we got a bunch of thugs here Dan!\"",
"In the CBS control room, they had switched the camera onto me just as I was slugged.” Walter Cronkite, after being told by Rather what happened, added on-air, \"I think we got a bunch of thugs here Dan!\" Chicago cab ride On November 10, 1980, Rather landed at Chicago's O'Hare International Airport and got into a cab.",
"Chicago cab ride On November 10, 1980, Rather landed at Chicago's O'Hare International Airport and got into a cab. He asked the cab driver to take him to the home of writer Studs Terkel, whom he was interviewing for 60 Minutes.",
"He asked the cab driver to take him to the home of writer Studs Terkel, whom he was interviewing for 60 Minutes. A police spokesman said that the cab driver refused to go to the address and instead \"wildly drove through the city streets,\" with Rather shouting out the window asking for help.",
"A police spokesman said that the cab driver refused to go to the address and instead \"wildly drove through the city streets,\" with Rather shouting out the window asking for help. The driver was charged with disorderly conduct.",
"The driver was charged with disorderly conduct. Rather called the incident “a rather minor thing.” By the time the case was about to come to trial, he was about to add anchoring the CBS Evening News to his 60 Minutes role at CBS News.",
"Rather called the incident “a rather minor thing.” By the time the case was about to come to trial, he was about to add anchoring the CBS Evening News to his 60 Minutes role at CBS News. Rather declined to press charges, citing a \"mounting schedule of reporting assignments.\"",
"Rather declined to press charges, citing a \"mounting schedule of reporting assignments.\" Galloway lawsuit In 1980, Rather and CBS were taken to court when Carl Galloway, a California doctor, claimed that a report on 60 Minutes wrongfully implicated him in an insurance fraud scheme.",
"Galloway lawsuit In 1980, Rather and CBS were taken to court when Carl Galloway, a California doctor, claimed that a report on 60 Minutes wrongfully implicated him in an insurance fraud scheme. CBS stated Galloway had signed the bogus report, and was suing Rather because he was upset at being caught.",
"CBS stated Galloway had signed the bogus report, and was suing Rather because he was upset at being caught. The jury sided with CBS and Rather, and they won the case. During the trial, Galloway's side used outtakes from the TV report showing that one interview was rehearsed.",
"During the trial, Galloway's side used outtakes from the TV report showing that one interview was rehearsed. \"Courage\" For one week in September 1986, Rather signed off his broadcasts to CBS with the word \"courage.\"",
"\"Courage\" For one week in September 1986, Rather signed off his broadcasts to CBS with the word \"courage.\" He said that it was just a signature line, and had nothing to do with the news at the time. Other newscasters ridiculed and parodied Rather, and he dropped it.",
"Other newscasters ridiculed and parodied Rather, and he dropped it. \"Kenneth, what is the frequency?\" On October 4, 1986, while walking along Park Avenue to his apartment in Manhattan, Rather was attacked and punched from behind by a man who demanded to know \"Kenneth, what is the frequency?\"",
"On October 4, 1986, while walking along Park Avenue to his apartment in Manhattan, Rather was attacked and punched from behind by a man who demanded to know \"Kenneth, what is the frequency?\" while a second assailant chased and beat him. As the assailant pummeled and kicked Rather, he kept repeating the question.",
"As the assailant pummeled and kicked Rather, he kept repeating the question. In describing the incident, Rather said “I got mugged. Who understands these things? I didn't and I don't now. I didn't make a lot of it at the time and I don't now.",
"I didn't make a lot of it at the time and I don't now. I wish I knew who did it and why, but I have no idea.” Until the crime was resolved years later, Rather's description of the bizarre crime led some to doubt the veracity of his account, although the doorman and building supervisor who came to Rather's aid fully confirmed his version of events.",
"I wish I knew who did it and why, but I have no idea.” Until the crime was resolved years later, Rather's description of the bizarre crime led some to doubt the veracity of his account, although the doorman and building supervisor who came to Rather's aid fully confirmed his version of events. The assault remained unsolved for some time, and was referenced multiple times in popular culture.",
"The assault remained unsolved for some time, and was referenced multiple times in popular culture. The phrase \"What's the frequency, Kenneth?\" became a popular-culture reference over the years, such as in a scene in the graphic novel Like a Velvet Glove Cast in Iron by cartoonist Daniel Clowes.",
"became a popular-culture reference over the years, such as in a scene in the graphic novel Like a Velvet Glove Cast in Iron by cartoonist Daniel Clowes. The opening track of the 1987 album Lolita Nation by California power pop group Game Theory is titled \"Kenneth, What's the Frequency?\" In 1994, the band R.E.M.",
"In 1994, the band R.E.M. released the song \"What's the Frequency, Kenneth?\" on their album Monster. Rather later sang with R.E.M. during a sound check prior to a gig at New York's Madison Square Garden, which was shown the following night on the Late Show with David Letterman.",
"during a sound check prior to a gig at New York's Madison Square Garden, which was shown the following night on the Late Show with David Letterman. In 1997, a TV critic writing in the New York Daily News solved the mystery, publishing a photo of the alleged assailant, William Tager, who received a 12.5-to-25-year prison sentence for killing NBC stagehand Campbell Montgomery outside The Today Show studio in 1994.",
"In 1997, a TV critic writing in the New York Daily News solved the mystery, publishing a photo of the alleged assailant, William Tager, who received a 12.5-to-25-year prison sentence for killing NBC stagehand Campbell Montgomery outside The Today Show studio in 1994. Rather confirmed the story: \"There's no doubt in my mind that this is the person.\"",
"Rather confirmed the story: \"There's no doubt in my mind that this is the person.\" New York District Attorney Robert M. Morgenthau said \"William Tager's identity as the man who attacked Mr. Rather was established in the course of an investigation by my office.\"",
"New York District Attorney Robert M. Morgenthau said \"William Tager's identity as the man who attacked Mr. Rather was established in the course of an investigation by my office.\" Tager claimed he thought television networks were beaming signals into his brain.",
"Tager claimed he thought television networks were beaming signals into his brain. When he murdered the stagehand, Tager was trying to force his way into an NBC studio with a weapon, in order to find out the frequency the networks were using to attack him, so that he could block it. Tager was paroled in October 2010.",
"Tager was paroled in October 2010. Dead air On September 11, 1987, Rather walked off the set in anger just before a remote Evening News broadcast from Miami, where Pope John Paul II had begun a rare U.S. tour, when a U.S. Open tennis match was being broadcast into the time scheduled for the newscast.",
"Dead air On September 11, 1987, Rather walked off the set in anger just before a remote Evening News broadcast from Miami, where Pope John Paul II had begun a rare U.S. tour, when a U.S. Open tennis match was being broadcast into the time scheduled for the newscast. He was upset that the news was being cut into to make room for sports and discussed it with the sports department, and made it clear that if the newscast did not start on time, then CBS Sports should fill the half hour.",
"He was upset that the news was being cut into to make room for sports and discussed it with the sports department, and made it clear that if the newscast did not start on time, then CBS Sports should fill the half hour. The Steffi Graf–Lori McNeil tennis match coverage then ended sooner than expected at 6:32 p.m., but Rather had disappeared.",
"The Steffi Graf–Lori McNeil tennis match coverage then ended sooner than expected at 6:32 p.m., but Rather had disappeared. (CBS Sports had finally agreed to break away immediately after the match without commentary.) Thus, over 100 affiliates were forced to broadcast six minutes of dead air.",
"Thus, over 100 affiliates were forced to broadcast six minutes of dead air. Some stations were forced to air a slot of syndicated programming such as a rerun of a game show or a sitcom, and other stations were forced to pull out a technical difficulty telop graphic.",
"Some stations were forced to air a slot of syndicated programming such as a rerun of a game show or a sitcom, and other stations were forced to pull out a technical difficulty telop graphic. Phil Jones, the chairman of the CBS affiliation board and general manager of Kansas City's KCTV (which the station placed a technical difficulty graphic during dead air) wanted an apology from Rather.",
"Phil Jones, the chairman of the CBS affiliation board and general manager of Kansas City's KCTV (which the station placed a technical difficulty graphic during dead air) wanted an apology from Rather. Meanwhile in Miami, the city's CBS affiliate WTVJ was forced to drop the episode entirely, which ended up airing a syndicated rerun of a game show to fill the station's schedule.",
"Meanwhile in Miami, the city's CBS affiliate WTVJ was forced to drop the episode entirely, which ended up airing a syndicated rerun of a game show to fill the station's schedule. The next day, Rather apologized for leaving the anchor desk.",
"The next day, Rather apologized for leaving the anchor desk. The following year, when Rather asked then Vice President Bush about his role in the Iran–Contra affair during a live interview, Bush responded by saying, “Dan, how would you like it if I judged your entire career by those seven minutes when you walked off the set in New York?” Roger Ailes had a “mole” at CBS, who alerted him that the goal was to “take Bush out of the race” with a tough interview on Iran-Contra.",
"The following year, when Rather asked then Vice President Bush about his role in the Iran–Contra affair during a live interview, Bush responded by saying, “Dan, how would you like it if I judged your entire career by those seven minutes when you walked off the set in New York?” Roger Ailes had a “mole” at CBS, who alerted him that the goal was to “take Bush out of the race” with a tough interview on Iran-Contra. Ailes alerted Bush on the cab ride over, and fed him the seven minutes retort.",
"Ailes alerted Bush on the cab ride over, and fed him the seven minutes retort. The aftermath of the interview showed the episode was a boost for Bush. “The vice president's poll ratings in Iowa and New Hampshire bumped visibly upward.” \"Ratherisms\" Rather is known for his many colorful analogies and descriptions during live broadcasts.",
"“The vice president's poll ratings in Iowa and New Hampshire bumped visibly upward.” \"Ratherisms\" Rather is known for his many colorful analogies and descriptions during live broadcasts. Similar to those used by baseball announcer Red Barber, cycling commentator Phil Liggett, and Formula 1 commentator Murray Walker, these \"Ratherisms\" are also called \"Texanisms\" or \"Danisms\" by some.",
"Similar to those used by baseball announcer Red Barber, cycling commentator Phil Liggett, and Formula 1 commentator Murray Walker, these \"Ratherisms\" are also called \"Texanisms\" or \"Danisms\" by some. A few of the more colorful ones, several of which were used throughout the 2008 HBO made-for-TV movie Recount about the 2000 Election, include: “This race is shakier than cafeteria Jell-O.” “This thing is as tight as the rusted lugnuts on a '55 Ford.” His characterization of the Republican Party's assessment of President Obama: “[He] couldn't sell watermelons if you gave him the state troopers to flag down the traffic.” In popular culture Rather has been referenced in the television shows Saturday Night Live and Family Guy and many films.",
"A few of the more colorful ones, several of which were used throughout the 2008 HBO made-for-TV movie Recount about the 2000 Election, include: “This race is shakier than cafeteria Jell-O.” “This thing is as tight as the rusted lugnuts on a '55 Ford.” His characterization of the Republican Party's assessment of President Obama: “[He] couldn't sell watermelons if you gave him the state troopers to flag down the traffic.” In popular culture Rather has been referenced in the television shows Saturday Night Live and Family Guy and many films. An animated caricature of him made a cameo appearance in the JibJab political cartoon, Good to Be in D.C.",
"An animated caricature of him made a cameo appearance in the JibJab political cartoon, Good to Be in D.C. In 1971, he had a cameo in an episode of the number one hit comedy series All in the Family.",
"In 1971, he had a cameo in an episode of the number one hit comedy series All in the Family. Entitled The Man in the Street, series star Carroll O'Connor's Archie Bunker character excitedly awaits the viewing of a videotaped interview he gave earlier that day for the CBS Evening News.",
"Entitled The Man in the Street, series star Carroll O'Connor's Archie Bunker character excitedly awaits the viewing of a videotaped interview he gave earlier that day for the CBS Evening News. At the last minute, to his dismay, the segment is preempted by the telecast of a Richard Nixon presidential address from the Oval Office.",
"At the last minute, to his dismay, the segment is preempted by the telecast of a Richard Nixon presidential address from the Oval Office. Rather appears, as himself, delivering post-speech analysis from actual news footage.",
"Rather appears, as himself, delivering post-speech analysis from actual news footage. Jean Stapleton, as Archie's scatterbrained wife Edith Bunker, says of Rather how he's there to \"...tell us what Mr. Nixon just said.\"",
"Jean Stapleton, as Archie's scatterbrained wife Edith Bunker, says of Rather how he's there to \"...tell us what Mr. Nixon just said.\" In 2004, he was featured in the documentary film Barbecue: A Texas Love Story by Austin-based director Chris Elley.",
"In 2004, he was featured in the documentary film Barbecue: A Texas Love Story by Austin-based director Chris Elley. Two years later, Rather and Elley educated a group of New Yorkers in Madison Square Park about the true meaning of BBQ, and its significance to the identity of the Lone Star State.",
"Two years later, Rather and Elley educated a group of New Yorkers in Madison Square Park about the true meaning of BBQ, and its significance to the identity of the Lone Star State. In the 2006–07 graphic novel Shooting War, which is set in the year 2011, an 80-year-old Dan Rather is shown to be one of the last journalists still reporting from Iraq.",
"In the 2006–07 graphic novel Shooting War, which is set in the year 2011, an 80-year-old Dan Rather is shown to be one of the last journalists still reporting from Iraq. He had a cameo in the premiere of the Fall 2007 drama Dirty Sexy Money on ABC television.",
"He had a cameo in the premiere of the Fall 2007 drama Dirty Sexy Money on ABC television. He guest-starred as himself in The Simpsons episode, \"E Pluribus Wiggum.\"",
"He guest-starred as himself in The Simpsons episode, \"E Pluribus Wiggum.\" Rather appeared on The Daily Show in May 2009, wearing an Afro wig and mutton-chop sideburns to narrate a segment about the late former President Nixon eating a burrito, as a parody of MSNBC's extensive coverage of President Obama and Vice President Biden's hamburger lunch.",
"Rather appeared on The Daily Show in May 2009, wearing an Afro wig and mutton-chop sideburns to narrate a segment about the late former President Nixon eating a burrito, as a parody of MSNBC's extensive coverage of President Obama and Vice President Biden's hamburger lunch. He appears in the 2008 award-winning documentary Boogie Man: The Lee Atwater Story.",
"He appears in the 2008 award-winning documentary Boogie Man: The Lee Atwater Story. A skit on the 38th season of Sesame Street featured Anderson Cooper interviewing two grouches, \"Walter Cranky\" and \"Dan Rather Not,\" who, when asked to answer questions, demurred with the phrase \"I'd rather not.\"",
"A skit on the 38th season of Sesame Street featured Anderson Cooper interviewing two grouches, \"Walter Cranky\" and \"Dan Rather Not,\" who, when asked to answer questions, demurred with the phrase \"I'd rather not.\" Robert Redford portrayed Rather in the 2015 film Truth.",
"Robert Redford portrayed Rather in the 2015 film Truth. Rather appeared in the docudrama Facing Saddam providing his views on Saddam Hussein. Ratings Under Rather's predecessor, Walter Cronkite, the CBS Evening News was a strong #1 in the ratings, which Rather maintained through much of the 1980s.",
"Ratings Under Rather's predecessor, Walter Cronkite, the CBS Evening News was a strong #1 in the ratings, which Rather maintained through much of the 1980s. However, Tom Brokaw and his NBC Nightly News, and Peter Jennings of ABC News' World News Tonight, increasing in popularity, eventually cut deep into the Rather broadcast's numbers.",
"However, Tom Brokaw and his NBC Nightly News, and Peter Jennings of ABC News' World News Tonight, increasing in popularity, eventually cut deep into the Rather broadcast's numbers. See also New Yorkers in journalism References Further reading Dan Rather & Elliot Kirschner (2017).",
"See also New Yorkers in journalism References Further reading Dan Rather & Elliot Kirschner (2017). What Unites Us: Reflections on Patriotism Algonquin Books of Chapel Hill. Rather, Dan. The Palace Guard, with Gary Gates Rather, Dan. I Remember, with Peter Wyden. Rather, Dan with Herskowitz, Mickey.",
"Rather, Dan with Herskowitz, Mickey. The Camera Never Blinks Twice''. 1995. William Morrow.",
"1995. William Morrow. William Morrow. 2nd Saddam interview External links AXS TV The Big Interview Dan Rather: American Journalist (Briscoe Center for American History) Members of the Council on Foreign Relations 1931 births Living people American television reporters and correspondents American war correspondents American war correspondents of the Vietnam War CBS News people Emmy Award winners Peabody Award winners 60 Minutes correspondents Associated Press reporters Houston Chronicle people Television anchors from Houston Journalists from Houston Killian documents controversy People from Wharton, Texas Sam Houston State University alumni Writers from Texas American victims of crime Texas Democrats The Young Turks people American male journalists 20th-century American journalists 21st-century American journalists Journalists from New York City People from Huntsville, Texas Recipients of the Four Freedoms Award Military personnel from Texas"
] |
[
"Dan Rather",
"Killian documents",
"What is Rather's connection to the Killian documents?",
"Rather reported on 60 Minutes",
"What were the Killian documents?",
"personal files of Lt. Bush's former commanding officer, Lt. Col. Jerry B. Killian.",
"What was in the files?",
"memos critical of President George W. Bush's Texas Air National Guard service",
"Were there other things in the files besides these critical memos?",
"I don't know.",
"What happened after Rather reported on these files?",
"their authenticity was quickly called into question.",
"Was their authenticity ever confirmed?",
"Nobody has proved that they were fraudulent, much less a forgery.",
"Did Rather ever win any awards related to this reporting?",
"I don't know.",
"Were there any other results of Rather's reporting on these files?",
"CBS fired story producer Mary Mapes and asked three other producers connected with the story to resign."
] | C_7f5b7fac03f240eba4b0cf53ca659b83_1 | Was Rather disciplined? | 9 | Was Dan Rather disciplined? | Dan Rather | On September 8, 2004, Rather reported on 60 Minutes Wednesday that a series of memos critical of President George W. Bush's Texas Air National Guard service record had been discovered in the personal files of Lt. Bush's former commanding officer, Lt. Col. Jerry B. Killian. Once copies of the documents were made available on the Internet, their authenticity was quickly called into question. Much of this was based on the fact that the documents were proportionally printed and displayed using other modern typographic conventions usually unavailable on military typewriters of the 1970s. The font used on the documents has characteristics that exactly match standard font features of Microsoft Word. This led to claims that the memos were forgeries. The accusations then spread over the following days into mainstream media outlets including The Washington Post, The New York Times, and the Chicago Sun-Times. Rather and CBS initially defended the story, insisting that the documents had been authenticated by experts. CBS was contradicted by some of the experts it originally cited, and later reported that its source for the documents - former Texas Army National Guard officer Lt. Col. Bill Burkett - had misled the network about how he had obtained them. On September 20, CBS retracted the story. Rather stated, "If I knew then what I know now, I would not have gone ahead with the story as it was aired, and I certainly would not have used the documents in question." The controversy has been referred to by some as "Memogate" and "Rathergate." Following an investigation commissioned by CBS, CBS fired story producer Mary Mapes and asked three other producers connected with the story to resign. Many believe Rather's retirement was hastened by this incident. On September 20, 2007, Rather was interviewed on Larry King Live commenting "Nobody has proved that they were fraudulent, much less a forgery. ... The truth of this story stands up to this day." CANNOTANSWER | The controversy has been referred to by some as "Memogate" and "Rathergate." | Daniel Irvin Rather Jr. (; born October 31, 1931) is an American journalist and former national evening news anchor. Rather began his career in Texas, becoming a national name after his reporting saved thousands of lives during Hurricane Carla in September 1961. Rather spontaneously created the first radar weather report by overlaying a transparent map over a radar image of Hurricane Carla. In his first national broadcast, he helped initiate the successful evacuation of 350,000 people.
Rather reported from Dallas in November 1963 at the time that President John F. Kennedy was assassinated. Based on his reporting, he was promoted at CBS News, where he served as White House correspondent beginning in 1964. He served as foreign correspondent in London and Vietnam over the next two years before returning to the White House correspondent position. He covered the presidency of Richard Nixon, including Nixon's trip to China, the Watergate scandal, and the president's resignation.
In 1981, Rather was promoted to news anchor for the CBS Evening News, a role he occupied for 24 years. Along with Peter Jennings at ABC News and Tom Brokaw at NBC News, he was one of the "Big Three" nightly news anchors in the U.S. from the 1980s through the early 2000s. He frequently contributed to CBS's weekly news magazine, 60 Minutes.
Rather left the anchor desk in 2005 following the Killian documents controversy, in which he presented unauthenticated documents in a news report on President George W. Bush's Vietnam War–era service in the National Guard. He continued to work with CBS until 2006, when he was abruptly fired.
In September 2007, Rather filed a $70 million lawsuit against CBS and its former parent company Viacom. Rather accused the network and its ownership and management of making him a "scapegoat" in the Killian story. An intermediate New York state appeals court dismissed the lawsuit in September 2009, and the New York Court of Appeals refused to reinstate it in January 2010.
On the cable channel AXS TV (then called HDNet), Rather hosted Dan Rather Reports, a 60 Minutes–style investigative news program, from 2006 to 2013. He also hosts several other projects for AXS TV, including Dan Rather Presents, which provides in-depth reporting on broad topics such as mental health care or adoption, and The Big Interview with Dan Rather, in which he conducts long-form interviews with musicians and other entertainers. In January 2018, he began hosting an online newscast called The News with Dan Rather on The Young Turks' YouTube channel.
Early life
Daniel Irvin Rather Jr. was born on October 31, 1931, in Wharton County, Texas, the son of Daniel Irvin Rather Sr., a ditch digger and pipe layer, and the former Byrl Veda Page. The Rathers moved to Houston when he was a child, where Dan attended Lovett Elementary School and Hamilton Middle School. He graduated in 1950 from John H. Reagan High School in Houston.
In 1953, Rather earned a bachelor's degree in journalism from Sam Houston State Teachers College in Huntsville, Texas, where he was editor of the school newspaper, The Houstonian. He was also a member of the Caballeros, the founding organization of the Epsilon Psi chapter of the Sigma Chi fraternity. While in college, Rather worked for KSAM-FM radio in Huntsville, calling junior high, high school, and Sam Houston State football games. After obtaining his undergraduate degree, Rather briefly attended South Texas College of Law in Houston.
In January 1954, Rather enlisted in the United States Marine Corps and was sent to the Marine Corps Recruit Depot San Diego. He was soon discharged, however, because he was found to have had rheumatic fever as a child, a fact he had omitted during the enlistment process.
Early career
Rather began his journalism career in 1950 as an Associated Press reporter in Huntsville, Texas. Later, he was a reporter for United Press (1950–1952), several Texas radio stations, and the Houston Chronicle (1954–1955). Around 1955, Rather wrote a piece on heroin. Under the auspices of the Houston Police, he tried a dose of the drug, which he characterized as "a special kind of hell."
He worked for four seasons as the play-by-play announcer for the University of Houston football team. During the 1959 minor league baseball season, Rather was the play-by-play radio announcer for the Texas League Houston Buffs.
In 1959, Rather began his television career as a reporter for KTRK-TV, the ABC affiliate in Houston. He was subsequently promoted to the director of news for KHOU-TV, the CBS affiliate in Houston.
In September 1961, Rather covered Hurricane Carla for KHOU-TV, broadcasting from the then National Weather Center in Galveston. He is noted for showing the first radar image of a hurricane on TV. He conceived of overlaying a transparent map over the radar screen, in order to show the size of Hurricane Carla to the audience. Convinced of the threat, more than 350,000 people evacuated from the area, the largest known evacuation to that time. Their actions are believed to have saved thousands of lives compared to the previous hurricane, which had killed 6,000 to 12,000 people. Rather's live coverage of Carla was broadcast by New York and national stations. Ray Miller, news director of KPRC-TV, the NBC affiliate in Houston, also mentored Rather in the early years.
On February 28, 1962, Rather left Houston for New York City for a six-month trial initiation at CBS. Rather did not fit in easily on the East Coast. His first reports for CBS included coverage of the crash of American Airlines Flight 1 in Jamaica Bay, and a report on the suffocation of children at a hospital in Binghamton, New York. Shortly after, Rather was made chief of CBS's Southwest bureau in Dallas. In August 1963, he was appointed chief of the Southern bureau in New Orleans, responsible for coverage of news events in the South, Southwest, Mexico and Central America.
CBS News
JFK assassination to Watergate
In his autobiography, Rather noted that he was in Dallas in November 1963 to return film from an interview in Uvalde at the ranch of former Vice President John Nance Garner, who celebrated his 95th birthday on November 22. He happened to be "on the other side of the railroad tracks, beyond the triple underpass, thirty yards from a grassy knoll that would later figure in so many conspiracy theories." His job was to fetch a film drop from a camera truck at that location, and take it to the station for editing. He did not witness the shooting of Kennedy, and knew nothing of the events until he reached KRLD, having run through Dealey Plaza. He later wrote:
“The moment I cleared the railroad tracks I saw a scene I will never forget. Some people were lying on the grass, some screaming, some running, some pointing. Policemen swarmed everywhere and distinctly above the din, I heard one shout, 'DON'T ANYBODY PANIC.' And of course, there was nothing but panic wherever you looked.”
In his autobiography, Rather said he was one of the first to view the Zapruder film showing the assassination, and the first to describe it on television. Rather reported the fatal headshot as forcing Kennedy's head forward, but it was thrown backward.
Later, he reported that some Dallas schoolchildren had applauded when they were notified of the president's death. Administrators said they had announced that school was to be dismissed early, and did not mention the assassination. However, teacher Joanna Morgan confirmed that students had cheered at the news that Kennedy was shot. This story infuriated local journalists at then-CBS affiliate KRLD-TV (now Fox-owned-and-operated KDFW-TV).
Rather's reporting during the national mourning period following the Kennedy assassination and subsequent events impressed CBS News management. In 1964, they selected him for the network's White House correspondent position.
In 1965, Rather served as a foreign correspondent for CBS in London, and in 1966 in Vietnam. He served again as White House correspondent during the presidency of Richard Nixon. In 1970, he was also assigned as anchor for the CBS Sunday Night News (1970–73; 1974–75), and later for the CBS Saturday Evening News (1973–76). Rather was among those journalists who accompanied Nixon to China. He later covered the Watergate investigation, as well as the impeachment proceedings against Nixon in Congress.
CBS Evening News anchor
After President Nixon's resignation in 1974, Rather became chief correspondent for the documentary series CBS Reports. In December 1975, he became a correspondent of the long-running Sunday night news show 60 Minutes—at the time the program was moved from a Sunday afternoon time-slot to primetime. Success there helped Rather pull ahead of longtime correspondent Roger Mudd, who was in line to succeed Walter Cronkite as anchor and Managing Editor of The CBS Evening News.
Rather succeeded to the news anchor position after Cronkite's retirement, making his first broadcast on March 9, 1981. Rather had a significantly different style of reporting the news. In contrast to the avuncular Cronkite, who ended his newscast with “That's the way it is,” Rather searched to find a broadcast ending more suitable to his tastes. For one week in September 1986, with CBS the target of potentially hostile new ownership, Rather tried ending his broadcasts with the word "courage," and was roundly ridiculed for it. For nearly two decades, Rather ended the show with: “That's part of our world tonight.”
Rather also held other positions during his time as anchor. In January 1988, he became host of the newly created 48 Hours, and in January 1999, Rather joined the new 60 Minutes II as a correspondent.
Ratings for the Evening News with Rather at the helm fluctuated wildly, at a time when more alternatives to TV news were developing. After a dip to second place, Rather regained the top spot in 1985 until 1989, when he ceded the ratings peak to rival Peter Jennings at ABC's World News Tonight. By 1992, however, the Evening News had fallen to third place of the three major networks. It rose in rankings in 2005, when Bob Schieffer became the interim anchor between Rather and Katie Couric. It briefly moved ahead of ABC World News Tonight in the wake of the death of Peter Jennings, but remained behind NBC Nightly News. Rather was a frequent collaborator with CBS News producer Susan Zirinsky, a leading member of the news division's staff.
In 1987, new CBS owner Laurence Tisch oversaw layoffs of hundreds of CBS News employees, in a major shake-up of the network. Among those to go were correspondents such as David Andelman, Fred Graham, Morton Dean, and Ike Pappas. Fewer videotape crews were dispatched to cover stories, and numerous bureaus were closed. Critics cited the cutbacks as a major factor in CBS News' fall into third place in the ratings.
For a short time from 1993 to 1995, Rather co-anchored the evening news with Connie Chung. Chung had been a Washington, DC correspondent for CBS News, and anchored short news updates on the West Coast. On joining the CBS Evening News, she reported "pop news" stories. In one widely cited case, she aggressively pursued Tonya Harding, who was accused of a plot to injure fellow Olympic ice skater Nancy Kerrigan. After Chung left the network, Rather went back to doing the newscast alone.
By the 2005–06 season, the end of Rather's time as anchor, CBS Evening News lagged behind NBC Nightly News and ABC World News Tonight in the ratings. But it still drew approximately 5.5 million viewers a night. Criticism of Rather reached a fever pitch after 60 Minutes II ran his 2004 report about President Bush's military record. Numerous critics questioned the authenticity of the documents upon which the report was based. Rather subsequently admitted on the air that the documents' authenticity could not be proven. In the aftermath, CBS fired several members of CBS News staff but temporarily retained Rather, until his contract was up for renewal the following year, whereupon he was completely ousted.
Journalistic history and influence
Nixon
During Richard Nixon's presidency, critics accused Rather of biased coverage against him. At a Houston news conference in March 1974, Nixon fielded a question from Rather, still CBS's White House correspondent, who said, “Thank you, Mr. President. Dan Rather, of CBS News.” The room filled with jeers and applause, prompting Nixon to joke, “Are you running for something?” Rather replied, “No, sir, Mr. President. Are you?” He questioned whether Nixon was cooperating with the grand jury investigation and House Judiciary Committee in relation to the Watergate scandal.
NBC's Tom Brokaw has said the network considered hiring him to replace Rather as its White House correspondent, but dropped it after word was leaked to the press. Rather was believed to have provided tough coverage of the Watergate scandal, raising his profile.
Space Shuttle Challenger disaster
In January 1986, NASA faced repeated delays in the preparations to launch the Space Shuttles Columbia and Challenger in close sequence. Rather described the January 10 delay of Columbia as:
“star-crossed space shuttle Columbia stood ready for launch again today, and once more, the launch was scrubbed. Heavy rain was the cause this time. The launch has been postponed so often since its original date, December 18, that it's now known as mission impossible.”This was considered an example of the "biting sarcasm" the media used related to NASA's scheduling. Columbia launched on January 12.
On January 27, Rather's reporting of the expected Challenger launch began as follows:
On January 28, Challenger'''s explosion and destruction occurred 73 seconds after launch.
Afghanistan, Reagan, and George H. W. Bush
During the Soviet–Afghan War, Rather was filmed reporting near the front lines while wearing a traditional mujahideen headdress and garments. Rather attracted an Evening News audience (and was nicknamed "Gunga Dan"). The American comic strip Doonesbury spoofed his actions.
Rather's reports were later revealed to have been influential to Congressman Charlie Wilson (D-Texas), who led an effort to help the struggling mujahideen. The CIA developed its largest covert operation to supply aid and advanced arms to the mujahideen. The Soviets eventually quit Afghanistan.
Rather gained the anchor spot on the Evening News. He was competing with Roger Mudd, a more senior correspondent and a frequent substitute anchor for Walter Cronkite on Evening News. Mudd had also anchored the Sunday evening broadcast, but Rather traveled through Afghanistan when news led there. A few years into his service as anchor, Rather began wearing sweaters beneath his suit jacket to soften his on-air appearance for viewers.
During the 1980s, Rather gained further renown for his forceful and skeptical reporting on the Iran–Contra affair. He eventually confronted Vice President George H. W. Bush in an on-air interview during the latter's presidential campaign. Bush referred to Rather's "dead air incident" saying:
“I want to talk about why I want to be President, why those 41 percent of the people are supporting me. And I don't think it's fair to judge my whole career by a rehash on Iran. How would you like it if I judged your career by those seven minutes when you walked off the set in New York?”Rather ignored Bush's comment.
Shortly after Iraq invaded Kuwait, Rather secured an interview with Iraqi leader Saddam Hussein.
On February 24, 2003, Rather conducted another interview with Hussein before the United States' 2003 invasion of Iraq. In the interview, Hussein invited Rather to be the moderator of a live television debate between him and George W. Bush. The debate never took place.
The Wall Within
On June 2, 1988, Rather hosted a CBS News special, The Wall Within. In it, he interviewed six veterans, each of whom said he had witnessed horrible acts in Vietnam. Two of the men said that they had killed civilians, and two others said that they had seen friends die. Each talked about the effects the war had upon their lives—including depression, unemployment, drug use, and homelessness.
In 2004, National Review ran an article by Anne Morse entitled "The First Rathergate." She said that almost nothing claimed by participants in The Wall Within was true. Citing the self-published book Stolen Valor (1998) by veteran B. G. Burkett, and investigative journalist Glenna Whitley, Morse said that military records revealed that the six former servicemen had lied about their experiences. Only one served in combat, and two had never been in Vietnam.
Killian documents
On September 8, 2004, Rather reported on 60 Minutes Wednesday that a series of memos critical of President George W. Bush's Texas Air National Guard service record had been discovered in the personal files of Lt. Bush's former commanding officer, Lt. Col. Jerry B. Killian. Once copies of the documents were made available on the Internet, their authenticity was quickly called into question. Much of this was based on the fact that the documents were proportionally printed and displayed using other modern typographic conventions usually unavailable on military typewriters of the 1970s. The font used on the documents has characteristics that exactly or almost exactly match standard font features of Microsoft Word. This led to claims that the memos were forgeries. The accusations then spread over the following days into mainstream media outlets, including The Washington Post, The New York Times, and The Chicago Sun-Times.
Rather and CBS initially defended the story, insisting that the documents had been authenticated by experts. CBS was contradicted by some of the experts it originally cited, and later reported that its source for the documents—former Texas Army National Guard officer Lt. Col. Bill Burkett—had misled the network about how he had obtained them.
On September 20, 2004, CBS retracted the story. Rather stated, “If I knew then what I know now, I would not have gone ahead with the story as it was aired, and I certainly would not have used the documents in question.” The controversy has been referred to by some as "Memogate" and "Rathergate."
Following an investigation commissioned by CBS, CBS fired story producer Mary Mapes, and asked three other producers connected with the story to resign. Many believe Rather's retirement was hastened by this incident. On September 20, 2007, Rather was interviewed on Larry King Live commenting, “Nobody has proved that they were fraudulent, much less a forgery. ... The truth of this story stands up to this day.”
Departure from the CBS Evening News
Rather retired as the anchorman and Managing Editor of the CBS Evening News in 2005; his last broadcast was Wednesday, March 9, 2005. He had worked as the anchorman for 24 full years, the longest tenure of anyone in American television history, and for a short time, continued to work as a correspondent for 60 Minutes. Bob Schieffer, a fellow Texan and host of Face the Nation, took over Rather's position on an interim basis, with Katie Couric replacing Schieffer in 2006.
Since retiring, Rather has spoken out about what he perceives as a lack of courage by American journalists. On January 24, 2006, Rather spoke to a Seattle audience. Before the speaking engagement, he told a newspaper reporter, “In many ways on many days, [reporters] have sort of adopted the attitude of 'go along, get along.'”
“What many of us need is a spine transplant,” Rather added. “Whether it's City Hall, the State House, or the White House, part of our job is to speak truth to power.”
Ousted from CBS News
In June 2006, reports surfaced that CBS News would most likely not renew Dan Rather's contract. According to a Washington Post article, sources from CBS said that executives at the network decided "there is no future role for Rather."
On June 20, 2006, CBS News and Sports President Sean McManus announced that Rather would leave the network after 44 years. Rather issued a separate statement which accompanied the news of the departure:
Lawsuit over ouster from CBS Network
On September 19, 2007, Rather filed a $70 million lawsuit against CBS, its former parent company Viacom; CBS President and CEO Leslie Moonves; Sumner Redstone, chairman of both Viacom and CBS; and Andrew Heyward, former president of CBS News. Rather accused the network and its ownership and management of making him a "scapegoat" in the Killian story. A CBS spokesman claimed that the lawsuit was "old news" and "without merit." On September 21, 2009, Rather's lawyers claimed that Bush's military service would be proven to be a sham, and Rather would be vindicated. On September 29, 2009, a New York state appeals court dismissed Rather's lawsuit against CBS. On January 12, 2010, New York's top court refused to reinstate Rather's $70 million breach-of-contract lawsuit against CBS Corp. In his book titled Rather Outspoken, Rather claims that the lawsuit “took a big whack out of my time, my psyche and my bank balance, but even so, it was worth it.” On May 18, 2012, Rather appeared on Real Time With Bill Maher, and claimed he had been fired for reporting a story about George W. Bush's year of absence from the reserve unit he served with, and that the news corporations had been "very uncomfortable" with running the story.
Post-CBS career
Following his departure from CBS, Dan Rather joined Mark Cuban's cable network AXS TV (then called HDNet) to host and produce the weekly one-hour news show Dan Rather Reports from 2006 until 2013.
Since 2013, Rather has hosted and produced the hour-long series The Big Interview with Dan Rather on AXS TV, where he sits down for in-depth interviews with influential figures in music and entertainment, such as: John Fogerty, Quentin Tarantino, Simon Cowell, Aaron Sorkin, and Sammy Hagar. He has also produced several documentary specials for the network under the banner Dan Rather Presents, including specials about "America's Mental Health Crisis," the United States Secret Service, and "The Shameful Side of International Adoption."
Rather also appears frequently on a number of news shows, including MSNBC's The Rachel Maddow Show and The Last Word with Lawrence O'Donnell and on CNN. He has also written for The Huffington Post and Mashable.
On May 28, 2007, Rather compared historical events to events in the Star Wars films in the History Channel special titled Star Wars: The Legacy Revealed.
In 2012, Rather published an autobiography titled Rather Outspoken: My Life in the News.
In 2015, Rather launched an independent production company called News and Guts Media, through which he produces The Big Interview among other projects.
In 2015, Rather also began actively posting on Facebook. He credits young staffers at News and Guts Media with pushing him to try social media. While his posts were considerably longer than typical social media posts, they resonated with the audience, which soon grew to more than two million followers. Even late night TV noticed Rather's unusual but effective Facebook presence. Subject matter has covered a range of topics, including: current political events, journalism, and childhood memories.
On September 23, 2016, SiriusXM Radio announced a new hour-long weekly program, "Dan Rather's America," airing Tuesday mornings at 10am Eastern on Radio Andy channel 102, debuting on September 27.
In the fall of 2017, the Briscoe Center for American History at the University of Texas completed a digital humanities project dedicated to the long career of the journalist that was titled Dan Rather: American Journalist. The culmination of three years of research conducted at the Briscoe Center, the site uses materials from a dozen archives and libraries, and draws from over 25 of the Briscoe Center for American History's news media and photojournalism collections. The website features over 2,000 digitized documents, 300 excerpts from twelve oral history interviews, and 1000 video clips, enabling visitors to dive deep into the history of the last 60 years through the lens of Dan Rather's career.
On January 21, 2018, it was announced that Rather would be launching a weekly 30-minute newscast on The Young Turks. Titled The News with Dan Rather, it airs on Mondays at 5:30pm Eastern Time.
Personal life
Rather married Jean Goebel in 1957. They have a son and daughter, and maintain homes in New York City and Austin, Texas. Their daughter Robin is an environmentalist and community activist in Austin, Texas. Their son Dan is an assistant district attorney in the District Attorney's office in Manhattan, New York.
Sam Houston State University renamed its mass communications building after Rather in 1994. The building houses The Houstonian and KSHU, the student-run radio and television stations. In May 2007, Rather received an honorary Doctor of Humane Letters from Siena College in Loudonville, New York, for his lifetime contributions to journalism.
A columnist whose work is distributed by King Features Syndicate, Rather continues to speak out against alleged influence in journalism by corporations and governments. At a 2008 conference in Minneapolis, Minnesota, sponsored by the group Free Press, Rather criticized both local and national news organizations, stating—according to reports—that there is no longer incentive to do “good and valuable news.”
Books
The Palace Guard, with Gary Paul Gates, 1974. .
The Camera Never Blinks: Adventures of a TV Journalist, with Mickey Herskowitz, 1977. .
I Remember, with Peter Wyden, 1991. .
The Camera Never Blinks Twice: The Further Adventures of a Television Journalist, with Mickey Herskowitz, 1994. .
, 1999. .
"The American Dream: Stories from the Heart of Our Nation", 2001. .
, with Digby Diehl, 2013. .
What Unites Us: Reflections on Patriotism, with Elliot Kirschner, 2017. .What Unites Us: The Graphic Novel, with Elliot Kirschner, illustrated by Tim Foley, 2021. .
Awards
He has received numerous Emmy Awards, several Peabody Awards, and various honorary degrees from universities.
In addition to these awards, Rather was inducted into the Television Hall of Fame in 2004. In 2001, he received the Golden Plate Award of the American Academy of Achievement.
Criticism
As one of the last broadcast news journalists from the era of the "Big Three" network news primacy, Rather was generally regarded highly within his profession by long-serving journalists. Rather has been accused of having a liberal bias."Dan Rather: a pioneer and a lightning rod" at The Christian Science Monitor.
Claims of bias
Rather's on-screen comments and election-night reporting have come under attack dating back to Richard Nixon's presidency. In a June 2002 interview with Larry King, his long-time co-worker (and self-described liberal), Andy Rooney stated that Rather is “transparently liberal.”
During the weeks following the Killian documents stories, Rather received widespread criticism from other journalists and historians. In an interview with commentator Bill Maher, Rather accused Fox News Channel of receiving "talking points" from the Republican-controlled White House. Fox News commentator Bill O'Reilly, who had defended Rather during the Killian documents incident, criticized Rather for not offering any evidence to support the claim.
In 2002, Bernard Goldberg published a book with the title Bias, alleging a liberal bias in print and broadcast news organizations. In the book, Goldberg used Dan Rather as a primary example of a news anchorman with a liberal bias. He also criticized the anchor for his criticisms of President George W. Bush's and Vice President Dan Quayle's service in the National Guard, rather than the Active Duty military during the Vietnam War, and questioned Rather's own service.
Fairness and Accuracy in Reporting has accused Rather of having "an unwillingness to challenge official power and policy" in his reporting. Investigative reporter Mark Hertsgaard characterized Rather as a "stern anti-Communist" during the Reagan administration, for allegedly having "reported the pronouncements of public officials with considerable respect."
In April 2001, according to a front-page story in The Washington Post, Rather spoke at a Democratic party fundraiser in Austin, Texas, where he was the featured speaker. One of the official hosts for the fundraiser was Rather's daughter, Robin Rather; Rather said that he did not realize that his daughter was a host of the fundraiser. Rather also said that he did not realize that the event was a partisan fundraiser, although he did realize that after he arrived at the event.
From Walter Cronkite
During an appearance on CNN's American Morning in 2005, former CBS anchor Walter Cronkite said about Rather: “It surprised quite a few people at CBS and elsewhere that, without being able to pull up the ratings beyond third in a three-man field, that they tolerated his being there for so long.” Cronkite also said that he would like to have seen Bob Schieffer in Rather's position sooner.
From Dallas CBS news director Eddie Barker
In the aftermath of the Kennedy assassination while Rather was a Dallas reporter, he interviewed a minister, who said some local schoolchildren had cheered upon learning of the President's shooting. The Associated Press later confirmed the story. A teacher at the school backed up the Rather story, confirming that some students at the school had cheered at the principal's news about Kennedy. Eddie Barker, local Dallas-area news director for CBS, said that Rather had in fact been aware that the children were merely happy about being sent home early, and they had not been given a reason for early school closure (Barker's children attended the school, as he informed Rather). He stated that Rather had deliberately misrepresented the facts by indicating that the children were happy about the shooting. Barker attempted to fire Rather, but was overruled by the national CBS News management.
Incidents and controversies
1968 Democratic convention
During live coverage of the 1968 Democratic National Convention, Rather attempted to interview a delegate from Georgia who appeared as though he was being forcibly removed by men without identification badges.
As Rather approached the delegate to question the apparent strong-arm tactics of the Chicago political machine under Mayor Daley, he was punched in the stomach by one of the men, knocking him to the ground. “He lifted me right off the floor and put me away. I was down, the breath knocked out of me, as the whole group blew on by me ... In the CBS control room, they had switched the camera onto me just as I was slugged.” Walter Cronkite, after being told by Rather what happened, added on-air, "I think we got a bunch of thugs here Dan!"
Chicago cab ride
On November 10, 1980, Rather landed at Chicago's O'Hare International Airport and got into a cab. He asked the cab driver to take him to the home of writer Studs Terkel, whom he was interviewing for 60 Minutes. A police spokesman said that the cab driver refused to go to the address and instead "wildly drove through the city streets," with Rather shouting out the window asking for help. The driver was charged with disorderly conduct. Rather called the incident “a rather minor thing.”
By the time the case was about to come to trial, he was about to add anchoring the CBS Evening News to his 60 Minutes role at CBS News. Rather declined to press charges, citing a "mounting schedule of reporting assignments."
Galloway lawsuit
In 1980, Rather and CBS were taken to court when Carl Galloway, a California doctor, claimed that a report on 60 Minutes wrongfully implicated him in an insurance fraud scheme. CBS stated Galloway had signed the bogus report, and was suing Rather because he was upset at being caught. The jury sided with CBS and Rather, and they won the case. During the trial, Galloway's side used outtakes from the TV report showing that one interview was rehearsed.
"Courage"
For one week in September 1986, Rather signed off his broadcasts to CBS with the word "courage." He said that it was just a signature line, and had nothing to do with the news at the time. Other newscasters ridiculed and parodied Rather, and he dropped it.
"Kenneth, what is the frequency?"
On October 4, 1986, while walking along Park Avenue to his apartment in Manhattan, Rather was attacked and punched from behind by a man who demanded to know "Kenneth, what is the frequency?" while a second assailant chased and beat him. As the assailant pummeled and kicked Rather, he kept repeating the question. In describing the incident, Rather said “I got mugged. Who understands these things? I didn't and I don't now. I didn't make a lot of it at the time and I don't now. I wish I knew who did it and why, but I have no idea.” Until the crime was resolved years later, Rather's description of the bizarre crime led some to doubt the veracity of his account, although the doorman and building supervisor who came to Rather's aid fully confirmed his version of events.
The assault remained unsolved for some time, and was referenced multiple times in popular culture. The phrase "What's the frequency, Kenneth?" became a popular-culture reference over the years, such as in a scene in the graphic novel Like a Velvet Glove Cast in Iron by cartoonist Daniel Clowes. The opening track of the 1987 album Lolita Nation by California power pop group Game Theory is titled "Kenneth, What's the Frequency?" In 1994, the band R.E.M. released the song "What's the Frequency, Kenneth?" on their album Monster. Rather later sang with R.E.M. during a sound check prior to a gig at New York's Madison Square Garden, which was shown the following night on the Late Show with David Letterman.
In 1997, a TV critic writing in the New York Daily News solved the mystery, publishing a photo of the alleged assailant, William Tager, who received a 12.5-to-25-year prison sentence for killing NBC stagehand Campbell Montgomery outside The Today Show studio in 1994. Rather confirmed the story: "There's no doubt in my mind that this is the person." New York District Attorney Robert M. Morgenthau said "William Tager's identity as the man who attacked Mr. Rather was established in the course of an investigation by my office." Tager claimed he thought television networks were beaming signals into his brain. When he murdered the stagehand, Tager was trying to force his way into an NBC studio with a weapon, in order to find out the frequency the networks were using to attack him, so that he could block it. Tager was paroled in October 2010.
Dead air
On September 11, 1987, Rather walked off the set in anger just before a remote Evening News broadcast from Miami, where Pope John Paul II had begun a rare U.S. tour, when a U.S. Open tennis match was being broadcast into the time scheduled for the newscast. He was upset that the news was being cut into to make room for sports and discussed it with the sports department, and made it clear that if the newscast did not start on time, then CBS Sports should fill the half hour. The Steffi Graf–Lori McNeil tennis match coverage then ended sooner than expected at 6:32 p.m., but Rather had disappeared. (CBS Sports had finally agreed to break away immediately after the match without commentary.) Thus, over 100 affiliates were forced to broadcast six minutes of dead air. Some stations were forced to air a slot of syndicated programming such as a rerun of a game show or a sitcom, and other stations were forced to pull out a technical difficulty telop graphic. Phil Jones, the chairman of the CBS affiliation board and general manager of Kansas City's KCTV (which the station placed a technical difficulty graphic during dead air) wanted an apology from Rather. Meanwhile in Miami, the city's CBS affiliate WTVJ was forced to drop the episode entirely, which ended up airing a syndicated rerun of a game show to fill the station's schedule. The next day, Rather apologized for leaving the anchor desk. The following year, when Rather asked then Vice President Bush about his role in the Iran–Contra affair during a live interview, Bush responded by saying, “Dan, how would you like it if I judged your entire career by those seven minutes when you walked off the set in New York?” Roger Ailes had a “mole” at CBS, who alerted him that the goal was to “take Bush out of the race” with a tough interview on Iran-Contra. Ailes alerted Bush on the cab ride over, and fed him the seven minutes retort. The aftermath of the interview showed the episode was a boost for Bush. “The vice president's poll ratings in Iowa and New Hampshire bumped visibly upward.”
"Ratherisms"
Rather is known for his many colorful analogies and descriptions during live broadcasts. Similar to those used by baseball announcer Red Barber, cycling commentator Phil Liggett, and Formula 1 commentator Murray Walker, these "Ratherisms" are also called "Texanisms" or "Danisms" by some. A few of the more colorful ones, several of which were used throughout the 2008 HBO made-for-TV movie Recount about the 2000 Election, include:
“This race is shakier than cafeteria Jell-O.”
“This thing is as tight as the rusted lugnuts on a '55 Ford.”
His characterization of the Republican Party's assessment of President Obama: “[He] couldn't sell watermelons if you gave him the state troopers to flag down the traffic.”
In popular culture
Rather has been referenced in the television shows Saturday Night Live and Family Guy and many films. An animated caricature of him made a cameo appearance in the JibJab political cartoon, Good to Be in D.C. In 1971, he had a cameo in an episode of the number one hit comedy series All in the Family. Entitled The Man in the Street, series star Carroll O'Connor's Archie Bunker character excitedly awaits the viewing of a videotaped interview he gave earlier that day for the CBS Evening News. At the last minute, to his dismay, the segment is preempted by the telecast of a Richard Nixon presidential address from the Oval Office. Rather appears, as himself, delivering post-speech analysis from actual news footage. Jean Stapleton, as Archie's scatterbrained wife Edith Bunker, says of Rather how he's there to "...tell us what Mr. Nixon just said."
In 2004, he was featured in the documentary film Barbecue: A Texas Love Story by Austin-based director Chris Elley. Two years later, Rather and Elley educated a group of New Yorkers in Madison Square Park about the true meaning of BBQ, and its significance to the identity of the Lone Star State.
In the 2006–07 graphic novel Shooting War, which is set in the year 2011, an 80-year-old Dan Rather is shown to be one of the last journalists still reporting from Iraq. He had a cameo in the premiere of the Fall 2007 drama Dirty Sexy Money on ABC television. He guest-starred as himself in The Simpsons episode, "E Pluribus Wiggum."
Rather appeared on The Daily Show in May 2009, wearing an Afro wig and mutton-chop sideburns to narrate a segment about the late former President Nixon eating a burrito, as a parody of MSNBC's extensive coverage of President Obama and Vice President Biden's hamburger lunch. He appears in the 2008 award-winning documentary Boogie Man: The Lee Atwater Story.
A skit on the 38th season of Sesame Street featured Anderson Cooper interviewing two grouches, "Walter Cranky" and "Dan Rather Not," who, when asked to answer questions, demurred with the phrase "I'd rather not."
Robert Redford portrayed Rather in the 2015 film Truth. Rather appeared in the docudrama Facing Saddam providing his views on Saddam Hussein.
Ratings
Under Rather's predecessor, Walter Cronkite, the CBS Evening News was a strong #1 in the ratings, which Rather maintained through much of the 1980s. However, Tom Brokaw and his NBC Nightly News, and Peter Jennings of ABC News' World News Tonight, increasing in popularity, eventually cut deep into the Rather broadcast's numbers.
See also
New Yorkers in journalism
References
Further reading
Dan Rather & Elliot Kirschner (2017). What Unites Us: Reflections on Patriotism Algonquin Books of Chapel Hill.
Rather, Dan. The Palace Guard, with Gary Gates
Rather, Dan. I Remember, with Peter Wyden.
Rather, Dan with Herskowitz, Mickey. The Camera Never Blinks Twice''. 1995. William Morrow.
2nd Saddam interview
External links
AXS TV The Big Interview
Dan Rather: American Journalist (Briscoe Center for American History)
Members of the Council on Foreign Relations
1931 births
Living people
American television reporters and correspondents
American war correspondents
American war correspondents of the Vietnam War
CBS News people
Emmy Award winners
Peabody Award winners
60 Minutes correspondents
Associated Press reporters
Houston Chronicle people
Television anchors from Houston
Journalists from Houston
Killian documents controversy
People from Wharton, Texas
Sam Houston State University alumni
Writers from Texas
American victims of crime
Texas Democrats
The Young Turks people
American male journalists
20th-century American journalists
21st-century American journalists
Journalists from New York City
People from Huntsville, Texas
Recipients of the Four Freedoms Award
Military personnel from Texas | true | [
"Disciplined Growth Investors, Inc. (DGI) is a SEC-registered independent asset management firm founded in February 1997 by Fred Martin in Minneapolis, Minnesota. Its headquarters are located on the 25th floor of the Fifth Street Towers in downtown Minneapolis.\n\nIn 2009, DGI had 145 clients. This included private individuals as well as institutions.\n\nDisciplined Growth Investors offers two equity portfolios to its clients: small-cap and mid-cap growth portfolios. DGI also offers a balanced portfolio which is a combination of the mid-cap growth portfolio and fixed-income securities. Disciplined Growth Investors employs a value investing approach applied to growth stocks and is an active participant with its rights as a shareholder and an open critic in regards to high CEO compensation. Disciplined Growth Investors also manages the Disciplined Growth Investors Fund (DGIFX).\n\nDisciplined Growth Investors was founded with $0.7 billion in assets under management (AUM). In 2009, the firm’s AUM was $5.1 billion. Focus Consulting Group identified Disciplined Growth Investors as one of its six \"Thriver\" firms that performed exceptionally well during the late-2000s recession, throughout which DGI remained optimistic about small to mid-cap investment opportunities. In 2011, the DGI's investment team published a book highlighting growth stock strategies based on the principles of Benjamin Graham.\n\nExternal links\nDisciplined Growth Investors website\nDGI Fund website\n\nReferences\n\nCompanies based in Minneapolis\nFinancial services companies established in 1997",
"Disciplined agile delivery (DAD) is the software development portion of the Disciplined Agile Toolkit. DAD enables teams to make simplified process decisions around incremental and iterative solution delivery. DAD builds on the many practices espoused by advocates of agile software development, including scrum, agile modeling, lean software development, and others.\n\nThe primary reference for disciplined agile delivery is the book Choose Your WoW!, written by Scott Ambler and Mark Lines.\n\nIn particular, DAD has been identified as a means of moving beyond scrum. According to Cutter Senior Consultant Bhuvan Unhelkar, \"DAD provides a carefully constructed mechanism that not only streamlines IT work, but more importantly, enables scaling.\" Paul Gorans and Philippe Kruchten call for more discipline in implementation of agile approaches and indicate that DAD, as an example framework, is \"a hybrid agile approach to enterprise IT solution delivery that provides a solid foundation from which to scale.\"\n\nHistory \n\nScott Ambler and Mark Lines initially led the development of DAD. Ambler and Lines continue to lead the evolution of DAD. DAD was developed to provide a more cohesive approach to agile software development; one that tries to fill in the process gaps that are (purposely) ignored by scrum, and one that is capable of enterprise-level scale. According to Ambler, \"Many agile methodologies—including scrum, XP, AM, Agile Data, kanban, and more—focus on a subset of the activities required to deliver a solution from project initiation to delivery. Before DAD was developed, you needed to cobble together your own agile methodology to get the job done.\"\n\nDAD was developed as a result of observing common patterns where agility was applied at scale successfully.\n\nIn 2015 the Disciplined Agile (DA) framework, later to become the Disciplined Agile Toolkit, was developed. This was called Disciplined Agile 2.x. DAD formed the foundation for DA. A second layer, disciplined DevOps, was added as was a third layer called Disciplined Agile IT (DAIT). These layers, respectively, addressed how to address DevOps and IT processes in an enterprise-class setting.\n\nDisciplined Agile 3.x was released in August 2017 to introduce a fourth layer, Disciplined Agile Enterprise (DAE), to address the full process range required for business agility.\n\nIn December 2018, Disciplined Agile 4, now referred to as the Disciplined Agile Toolkit, was released. It focused on a completely revamped description of DAD and a team-based improvement strategy called guided continuous improvement (GCI).\n\nIn August 2019, Disciplined Agile was acquired by Project Management Institute.\n\nKey aspects \n\nMany of the challenges that teams are facing are out of scope for scrum and the teams need to look to other methods with overlapping parts and conflicting terminology. DAD attempts to address these challenges by using a people-first, learning-oriented, hybrid approach to IT solution delivery.\n\nPeople-first \nDisciplined agile delivery (DAD) identifies that \"People, and the way they interact with each other, are the primary determinant of success for a solution delivery team.\" DAD supports a robust set of roles (see below section), rights, and responsibilities that you can tailor to meet the needs of your situation. DAD promotes the ideas that team members should collaborate closely and learn from each other, that the team should invest effort to learn from their experiences and evolve their approach, and that individuals should do so as well.\n\nHybrid \nDAD is a hybrid toolkit that adopts and tailors proven strategies from existing methods such as scrum, extreme programming (XP), SAFe, agile modeling (AM), Unified Process (UP), Kanban, outside-in software development, agile data (AD) and Spotify's development model. Rather than taking the time to adapt one of these existing frameworks, with DAD all of the effort of combining relevant pieces of each technique has already been done.\n\nFull delivery lifecycle \nUnlike first generation agile methods that typically focus on the construction aspects of the lifecycle, DAD addresses the full delivery lifecycle, from team initiation all the way to delivering a solution to your end users.\n\nSupport for multiple lifecycles \nDAD supports six lifecycles to choose from: agile, lean, continuous delivery, exploratory, and large-team versions of the lifecycle. DAD does not prescribe a single lifecycle because it recognizes that one approach does not fit all.\n\nComplete \nDAD shows how development, modeling, architecture, management, requirements/outcomes, documentation, governance and other strategies fit together in a streamlined whole. DAD does the \"process heavy lifting\" that other methods leave up to you.\n\nContext-sensitive \nThe approach is goal-driven or outcome-driven rather than prescriptive. In doing so, DAD provides contextual advice regarding viable alternatives - what works, what doesn't and more importantly why - and their trade-offs, enabling you to tailor your way of working to address the situation in which you find yourself and do so in a streamlined manner.\n\nConsumable solutions over working software \nDAD matures focus from simply producing software to providing consumable solutions that provide real business value to stakeholders. While software is clearly an important part of the deliverable, being solution focused means taking a holistic view of the overall problem. This can lead to suggested updates in hardware, business and organizational processes, and overall organizational structures.\n\nSelf-organization with appropriate governance \nAgile and lean teams are self-organizing, which means that the people who do the work are the ones who plan and estimate it. They must still work in an enterprise aware manner that reflects the priorities of their organization, and to do that they will need to be governed appropriately by senior leadership.\n\nLifecycles \nDisciplined originally supported an agile (scrum-based) project lifecycle and a Lean (Kanban-based) project lifecycle. It has since been extended to support six lifecycles:\n Agile. A three-phase project lifecycle based on scrum. The phases are Inception (what is sometimes called \"Sprint 0\"), Construction, and Transition (what is sometimes called a Release sprint).\n Lean. A three-phase project lifecycle based on Kanban.\n Continuous delivery: Agile. An Agile-based product lifecycle that supports a continuous flow of work resulting in incremental releases (typically once a week).\n Continuous delivery: Lean. A lean-based product lifecycle that supports a continuous flow of work.\n Exploratory. An experimentation-based lifecycle based on lean startup that has been extended to address the parallel development of minimum viable products as per the advice of cynefin.\n Program. A lifecycle for coordinating a team of teams.\n\nProcess goals \nDAD is described as a collection of twenty-one process goals, or process outcomes. These goals guides teams through a leaner process to decisions that address the context of the situation they face. It enables teams to focus on outcomes and not on process compliance and on guesswork of extending agile methods. It enables scaling by providing sophisticated-enough strategies to address the complexities you face.\n\nRoles\n\nPrimary roles \nThese five primary roles in the disciplined agile delivery are typically found regardless of scale.\n\n Stakeholder. Someone who is materially impacted by the outcome of the solution. More than just an end-user or customer, this is anyone potentially affected by the development and deployment of a software project.\n Product owner. The person on the team who speaks as the \"one voice of the customer\", representing the needs of the stakeholder community to the agile delivery team.\n Team member. The team member focuses on producing the actual solution for stakeholders, including but not limited to: testing, analysis, architecture, design, programming, planning, and estimation. They will have a subset of the overall needed skills and they will strive to gain more to become generalizing specialists. \n Team lead. The team lead is a host leader and also the agile coach, responsible for facilitating communication, empowering them to choose their way of working, and ensuring the team has the resources it needs and is free of obstacles.\n Architecture owner. Owns the architecture decisions for the team and facilitates the creation and evolution of the overall solution design.\n\nPotential supporting roles \nThese supporting roles are introduced (sometimes on a temporary basis) to address scaling issues.\n\n Specialist. Although most agile team members are generalizing specialists, sometimes other specialists are required depending on the needs of the project.\n Domain expert. While the product owner represents a wide range of stakeholders, a domain expert is sometimes required for complex domains where a more nuanced understanding is required.\n Technical expert. In cases where a particularly difficult problem is encountered, a technical expert can be brought in as needed. These could be build-masters, agile database administrators, user experience (UX) designers, or security experts.\n Independent tester. Although the majority of testing is done by the DAD team members, in cases with complex domains or technology an independent testing team can be brought in to work in parallel to validate the work.\n Integrator. For complex technical solutions at scale, an integrator (or multiple integrators) can be used to build the entire system from its various subsystems.\n\nReferences\n\nFurther reading \n \n \n Supporting Governance in Disciplined Agile Delivery Using Noninvasive Measurement and Process Mining, (November 2013 Cutter IT Journal, Astromiskis, Janes, Sillitti, Succi)\n 10 Principles for Success in Distributed Agile Delivery (November 2013 Cutter IT Journal, Bavani)\n\nAgile software development"
] | [
"Daniel Irvin Rather Jr. (; born October 31, 1931) is an American journalist and former national evening news anchor. Rather began his career in Texas, becoming a national name after his reporting saved thousands of lives during Hurricane Carla in September 1961.",
"Rather began his career in Texas, becoming a national name after his reporting saved thousands of lives during Hurricane Carla in September 1961. Rather spontaneously created the first radar weather report by overlaying a transparent map over a radar image of Hurricane Carla. In his first national broadcast, he helped initiate the successful evacuation of 350,000 people.",
"In his first national broadcast, he helped initiate the successful evacuation of 350,000 people. Rather reported from Dallas in November 1963 at the time that President John F. Kennedy was assassinated. Based on his reporting, he was promoted at CBS News, where he served as White House correspondent beginning in 1964.",
"Based on his reporting, he was promoted at CBS News, where he served as White House correspondent beginning in 1964. He served as foreign correspondent in London and Vietnam over the next two years before returning to the White House correspondent position.",
"He served as foreign correspondent in London and Vietnam over the next two years before returning to the White House correspondent position. He covered the presidency of Richard Nixon, including Nixon's trip to China, the Watergate scandal, and the president's resignation.",
"He covered the presidency of Richard Nixon, including Nixon's trip to China, the Watergate scandal, and the president's resignation. In 1981, Rather was promoted to news anchor for the CBS Evening News, a role he occupied for 24 years.",
"In 1981, Rather was promoted to news anchor for the CBS Evening News, a role he occupied for 24 years. Along with Peter Jennings at ABC News and Tom Brokaw at NBC News, he was one of the \"Big Three\" nightly news anchors in the U.S. from the 1980s through the early 2000s.",
"Along with Peter Jennings at ABC News and Tom Brokaw at NBC News, he was one of the \"Big Three\" nightly news anchors in the U.S. from the 1980s through the early 2000s. He frequently contributed to CBS's weekly news magazine, 60 Minutes.",
"He frequently contributed to CBS's weekly news magazine, 60 Minutes. Rather left the anchor desk in 2005 following the Killian documents controversy, in which he presented unauthenticated documents in a news report on President George W. Bush's Vietnam War–era service in the National Guard.",
"Rather left the anchor desk in 2005 following the Killian documents controversy, in which he presented unauthenticated documents in a news report on President George W. Bush's Vietnam War–era service in the National Guard. He continued to work with CBS until 2006, when he was abruptly fired.",
"He continued to work with CBS until 2006, when he was abruptly fired. In September 2007, Rather filed a $70 million lawsuit against CBS and its former parent company Viacom. Rather accused the network and its ownership and management of making him a \"scapegoat\" in the Killian story.",
"Rather accused the network and its ownership and management of making him a \"scapegoat\" in the Killian story. An intermediate New York state appeals court dismissed the lawsuit in September 2009, and the New York Court of Appeals refused to reinstate it in January 2010.",
"An intermediate New York state appeals court dismissed the lawsuit in September 2009, and the New York Court of Appeals refused to reinstate it in January 2010. On the cable channel AXS TV (then called HDNet), Rather hosted Dan Rather Reports, a 60 Minutes–style investigative news program, from 2006 to 2013.",
"On the cable channel AXS TV (then called HDNet), Rather hosted Dan Rather Reports, a 60 Minutes–style investigative news program, from 2006 to 2013. He also hosts several other projects for AXS TV, including Dan Rather Presents, which provides in-depth reporting on broad topics such as mental health care or adoption, and The Big Interview with Dan Rather, in which he conducts long-form interviews with musicians and other entertainers.",
"He also hosts several other projects for AXS TV, including Dan Rather Presents, which provides in-depth reporting on broad topics such as mental health care or adoption, and The Big Interview with Dan Rather, in which he conducts long-form interviews with musicians and other entertainers. In January 2018, he began hosting an online newscast called The News with Dan Rather on The Young Turks' YouTube channel.",
"In January 2018, he began hosting an online newscast called The News with Dan Rather on The Young Turks' YouTube channel. Early life Daniel Irvin Rather Jr. was born on October 31, 1931, in Wharton County, Texas, the son of Daniel Irvin Rather Sr., a ditch digger and pipe layer, and the former Byrl Veda Page.",
"Early life Daniel Irvin Rather Jr. was born on October 31, 1931, in Wharton County, Texas, the son of Daniel Irvin Rather Sr., a ditch digger and pipe layer, and the former Byrl Veda Page. The Rathers moved to Houston when he was a child, where Dan attended Lovett Elementary School and Hamilton Middle School.",
"The Rathers moved to Houston when he was a child, where Dan attended Lovett Elementary School and Hamilton Middle School. He graduated in 1950 from John H. Reagan High School in Houston.",
"He graduated in 1950 from John H. Reagan High School in Houston. In 1953, Rather earned a bachelor's degree in journalism from Sam Houston State Teachers College in Huntsville, Texas, where he was editor of the school newspaper, The Houstonian.",
"In 1953, Rather earned a bachelor's degree in journalism from Sam Houston State Teachers College in Huntsville, Texas, where he was editor of the school newspaper, The Houstonian. He was also a member of the Caballeros, the founding organization of the Epsilon Psi chapter of the Sigma Chi fraternity.",
"He was also a member of the Caballeros, the founding organization of the Epsilon Psi chapter of the Sigma Chi fraternity. While in college, Rather worked for KSAM-FM radio in Huntsville, calling junior high, high school, and Sam Houston State football games.",
"While in college, Rather worked for KSAM-FM radio in Huntsville, calling junior high, high school, and Sam Houston State football games. After obtaining his undergraduate degree, Rather briefly attended South Texas College of Law in Houston.",
"After obtaining his undergraduate degree, Rather briefly attended South Texas College of Law in Houston. In January 1954, Rather enlisted in the United States Marine Corps and was sent to the Marine Corps Recruit Depot San Diego.",
"In January 1954, Rather enlisted in the United States Marine Corps and was sent to the Marine Corps Recruit Depot San Diego. He was soon discharged, however, because he was found to have had rheumatic fever as a child, a fact he had omitted during the enlistment process.",
"He was soon discharged, however, because he was found to have had rheumatic fever as a child, a fact he had omitted during the enlistment process. Early career Rather began his journalism career in 1950 as an Associated Press reporter in Huntsville, Texas.",
"Early career Rather began his journalism career in 1950 as an Associated Press reporter in Huntsville, Texas. Later, he was a reporter for United Press (1950–1952), several Texas radio stations, and the Houston Chronicle (1954–1955). Around 1955, Rather wrote a piece on heroin.",
"Around 1955, Rather wrote a piece on heroin. Under the auspices of the Houston Police, he tried a dose of the drug, which he characterized as \"a special kind of hell.\" He worked for four seasons as the play-by-play announcer for the University of Houston football team.",
"He worked for four seasons as the play-by-play announcer for the University of Houston football team. During the 1959 minor league baseball season, Rather was the play-by-play radio announcer for the Texas League Houston Buffs. In 1959, Rather began his television career as a reporter for KTRK-TV, the ABC affiliate in Houston.",
"In 1959, Rather began his television career as a reporter for KTRK-TV, the ABC affiliate in Houston. He was subsequently promoted to the director of news for KHOU-TV, the CBS affiliate in Houston. In September 1961, Rather covered Hurricane Carla for KHOU-TV, broadcasting from the then National Weather Center in Galveston.",
"In September 1961, Rather covered Hurricane Carla for KHOU-TV, broadcasting from the then National Weather Center in Galveston. He is noted for showing the first radar image of a hurricane on TV. He conceived of overlaying a transparent map over the radar screen, in order to show the size of Hurricane Carla to the audience.",
"He conceived of overlaying a transparent map over the radar screen, in order to show the size of Hurricane Carla to the audience. Convinced of the threat, more than 350,000 people evacuated from the area, the largest known evacuation to that time.",
"Convinced of the threat, more than 350,000 people evacuated from the area, the largest known evacuation to that time. Their actions are believed to have saved thousands of lives compared to the previous hurricane, which had killed 6,000 to 12,000 people. Rather's live coverage of Carla was broadcast by New York and national stations.",
"Rather's live coverage of Carla was broadcast by New York and national stations. Ray Miller, news director of KPRC-TV, the NBC affiliate in Houston, also mentored Rather in the early years. On February 28, 1962, Rather left Houston for New York City for a six-month trial initiation at CBS.",
"On February 28, 1962, Rather left Houston for New York City for a six-month trial initiation at CBS. Rather did not fit in easily on the East Coast.",
"Rather did not fit in easily on the East Coast. His first reports for CBS included coverage of the crash of American Airlines Flight 1 in Jamaica Bay, and a report on the suffocation of children at a hospital in Binghamton, New York. Shortly after, Rather was made chief of CBS's Southwest bureau in Dallas.",
"Shortly after, Rather was made chief of CBS's Southwest bureau in Dallas. In August 1963, he was appointed chief of the Southern bureau in New Orleans, responsible for coverage of news events in the South, Southwest, Mexico and Central America.",
"In August 1963, he was appointed chief of the Southern bureau in New Orleans, responsible for coverage of news events in the South, Southwest, Mexico and Central America. CBS News JFK assassination to Watergate In his autobiography, Rather noted that he was in Dallas in November 1963 to return film from an interview in Uvalde at the ranch of former Vice President John Nance Garner, who celebrated his 95th birthday on November 22.",
"CBS News JFK assassination to Watergate In his autobiography, Rather noted that he was in Dallas in November 1963 to return film from an interview in Uvalde at the ranch of former Vice President John Nance Garner, who celebrated his 95th birthday on November 22. He happened to be \"on the other side of the railroad tracks, beyond the triple underpass, thirty yards from a grassy knoll that would later figure in so many conspiracy theories.\"",
"He happened to be \"on the other side of the railroad tracks, beyond the triple underpass, thirty yards from a grassy knoll that would later figure in so many conspiracy theories.\" His job was to fetch a film drop from a camera truck at that location, and take it to the station for editing.",
"His job was to fetch a film drop from a camera truck at that location, and take it to the station for editing. He did not witness the shooting of Kennedy, and knew nothing of the events until he reached KRLD, having run through Dealey Plaza.",
"He did not witness the shooting of Kennedy, and knew nothing of the events until he reached KRLD, having run through Dealey Plaza. He later wrote: “The moment I cleared the railroad tracks I saw a scene I will never forget. Some people were lying on the grass, some screaming, some running, some pointing.",
"Some people were lying on the grass, some screaming, some running, some pointing. Policemen swarmed everywhere and distinctly above the din, I heard one shout, 'DON'T ANYBODY PANIC.'",
"Policemen swarmed everywhere and distinctly above the din, I heard one shout, 'DON'T ANYBODY PANIC.' And of course, there was nothing but panic wherever you looked.” In his autobiography, Rather said he was one of the first to view the Zapruder film showing the assassination, and the first to describe it on television.",
"And of course, there was nothing but panic wherever you looked.” In his autobiography, Rather said he was one of the first to view the Zapruder film showing the assassination, and the first to describe it on television. Rather reported the fatal headshot as forcing Kennedy's head forward, but it was thrown backward.",
"Rather reported the fatal headshot as forcing Kennedy's head forward, but it was thrown backward. Later, he reported that some Dallas schoolchildren had applauded when they were notified of the president's death. Administrators said they had announced that school was to be dismissed early, and did not mention the assassination.",
"Administrators said they had announced that school was to be dismissed early, and did not mention the assassination. However, teacher Joanna Morgan confirmed that students had cheered at the news that Kennedy was shot. This story infuriated local journalists at then-CBS affiliate KRLD-TV (now Fox-owned-and-operated KDFW-TV).",
"This story infuriated local journalists at then-CBS affiliate KRLD-TV (now Fox-owned-and-operated KDFW-TV). Rather's reporting during the national mourning period following the Kennedy assassination and subsequent events impressed CBS News management. In 1964, they selected him for the network's White House correspondent position.",
"In 1964, they selected him for the network's White House correspondent position. In 1965, Rather served as a foreign correspondent for CBS in London, and in 1966 in Vietnam. He served again as White House correspondent during the presidency of Richard Nixon.",
"He served again as White House correspondent during the presidency of Richard Nixon. In 1970, he was also assigned as anchor for the CBS Sunday Night News (1970–73; 1974–75), and later for the CBS Saturday Evening News (1973–76). Rather was among those journalists who accompanied Nixon to China.",
"Rather was among those journalists who accompanied Nixon to China. He later covered the Watergate investigation, as well as the impeachment proceedings against Nixon in Congress. CBS Evening News anchor After President Nixon's resignation in 1974, Rather became chief correspondent for the documentary series CBS Reports.",
"CBS Evening News anchor After President Nixon's resignation in 1974, Rather became chief correspondent for the documentary series CBS Reports. In December 1975, he became a correspondent of the long-running Sunday night news show 60 Minutes—at the time the program was moved from a Sunday afternoon time-slot to primetime.",
"In December 1975, he became a correspondent of the long-running Sunday night news show 60 Minutes—at the time the program was moved from a Sunday afternoon time-slot to primetime. Success there helped Rather pull ahead of longtime correspondent Roger Mudd, who was in line to succeed Walter Cronkite as anchor and Managing Editor of The CBS Evening News.",
"Success there helped Rather pull ahead of longtime correspondent Roger Mudd, who was in line to succeed Walter Cronkite as anchor and Managing Editor of The CBS Evening News. Rather succeeded to the news anchor position after Cronkite's retirement, making his first broadcast on March 9, 1981. Rather had a significantly different style of reporting the news.",
"Rather had a significantly different style of reporting the news. In contrast to the avuncular Cronkite, who ended his newscast with “That's the way it is,” Rather searched to find a broadcast ending more suitable to his tastes.",
"In contrast to the avuncular Cronkite, who ended his newscast with “That's the way it is,” Rather searched to find a broadcast ending more suitable to his tastes. For one week in September 1986, with CBS the target of potentially hostile new ownership, Rather tried ending his broadcasts with the word \"courage,\" and was roundly ridiculed for it.",
"For one week in September 1986, with CBS the target of potentially hostile new ownership, Rather tried ending his broadcasts with the word \"courage,\" and was roundly ridiculed for it. For nearly two decades, Rather ended the show with: “That's part of our world tonight.” Rather also held other positions during his time as anchor.",
"For nearly two decades, Rather ended the show with: “That's part of our world tonight.” Rather also held other positions during his time as anchor. In January 1988, he became host of the newly created 48 Hours, and in January 1999, Rather joined the new 60 Minutes II as a correspondent.",
"In January 1988, he became host of the newly created 48 Hours, and in January 1999, Rather joined the new 60 Minutes II as a correspondent. Ratings for the Evening News with Rather at the helm fluctuated wildly, at a time when more alternatives to TV news were developing.",
"Ratings for the Evening News with Rather at the helm fluctuated wildly, at a time when more alternatives to TV news were developing. After a dip to second place, Rather regained the top spot in 1985 until 1989, when he ceded the ratings peak to rival Peter Jennings at ABC's World News Tonight.",
"After a dip to second place, Rather regained the top spot in 1985 until 1989, when he ceded the ratings peak to rival Peter Jennings at ABC's World News Tonight. By 1992, however, the Evening News had fallen to third place of the three major networks.",
"By 1992, however, the Evening News had fallen to third place of the three major networks. It rose in rankings in 2005, when Bob Schieffer became the interim anchor between Rather and Katie Couric.",
"It rose in rankings in 2005, when Bob Schieffer became the interim anchor between Rather and Katie Couric. It briefly moved ahead of ABC World News Tonight in the wake of the death of Peter Jennings, but remained behind NBC Nightly News.",
"It briefly moved ahead of ABC World News Tonight in the wake of the death of Peter Jennings, but remained behind NBC Nightly News. Rather was a frequent collaborator with CBS News producer Susan Zirinsky, a leading member of the news division's staff.",
"Rather was a frequent collaborator with CBS News producer Susan Zirinsky, a leading member of the news division's staff. In 1987, new CBS owner Laurence Tisch oversaw layoffs of hundreds of CBS News employees, in a major shake-up of the network.",
"In 1987, new CBS owner Laurence Tisch oversaw layoffs of hundreds of CBS News employees, in a major shake-up of the network. Among those to go were correspondents such as David Andelman, Fred Graham, Morton Dean, and Ike Pappas. Fewer videotape crews were dispatched to cover stories, and numerous bureaus were closed.",
"Fewer videotape crews were dispatched to cover stories, and numerous bureaus were closed. Critics cited the cutbacks as a major factor in CBS News' fall into third place in the ratings. For a short time from 1993 to 1995, Rather co-anchored the evening news with Connie Chung.",
"For a short time from 1993 to 1995, Rather co-anchored the evening news with Connie Chung. Chung had been a Washington, DC correspondent for CBS News, and anchored short news updates on the West Coast. On joining the CBS Evening News, she reported \"pop news\" stories.",
"On joining the CBS Evening News, she reported \"pop news\" stories. In one widely cited case, she aggressively pursued Tonya Harding, who was accused of a plot to injure fellow Olympic ice skater Nancy Kerrigan. After Chung left the network, Rather went back to doing the newscast alone.",
"After Chung left the network, Rather went back to doing the newscast alone. By the 2005–06 season, the end of Rather's time as anchor, CBS Evening News lagged behind NBC Nightly News and ABC World News Tonight in the ratings. But it still drew approximately 5.5 million viewers a night.",
"But it still drew approximately 5.5 million viewers a night. Criticism of Rather reached a fever pitch after 60 Minutes II ran his 2004 report about President Bush's military record. Numerous critics questioned the authenticity of the documents upon which the report was based. Rather subsequently admitted on the air that the documents' authenticity could not be proven.",
"Rather subsequently admitted on the air that the documents' authenticity could not be proven. In the aftermath, CBS fired several members of CBS News staff but temporarily retained Rather, until his contract was up for renewal the following year, whereupon he was completely ousted.",
"In the aftermath, CBS fired several members of CBS News staff but temporarily retained Rather, until his contract was up for renewal the following year, whereupon he was completely ousted. Journalistic history and influence Nixon During Richard Nixon's presidency, critics accused Rather of biased coverage against him.",
"Journalistic history and influence Nixon During Richard Nixon's presidency, critics accused Rather of biased coverage against him. At a Houston news conference in March 1974, Nixon fielded a question from Rather, still CBS's White House correspondent, who said, “Thank you, Mr. President.",
"At a Houston news conference in March 1974, Nixon fielded a question from Rather, still CBS's White House correspondent, who said, “Thank you, Mr. President. Dan Rather, of CBS News.” The room filled with jeers and applause, prompting Nixon to joke, “Are you running for something?” Rather replied, “No, sir, Mr. President.",
"Dan Rather, of CBS News.” The room filled with jeers and applause, prompting Nixon to joke, “Are you running for something?” Rather replied, “No, sir, Mr. President. Are you?” He questioned whether Nixon was cooperating with the grand jury investigation and House Judiciary Committee in relation to the Watergate scandal.",
"Are you?” He questioned whether Nixon was cooperating with the grand jury investigation and House Judiciary Committee in relation to the Watergate scandal. NBC's Tom Brokaw has said the network considered hiring him to replace Rather as its White House correspondent, but dropped it after word was leaked to the press.",
"NBC's Tom Brokaw has said the network considered hiring him to replace Rather as its White House correspondent, but dropped it after word was leaked to the press. Rather was believed to have provided tough coverage of the Watergate scandal, raising his profile.",
"Rather was believed to have provided tough coverage of the Watergate scandal, raising his profile. Space Shuttle Challenger disaster In January 1986, NASA faced repeated delays in the preparations to launch the Space Shuttles Columbia and Challenger in close sequence.",
"Space Shuttle Challenger disaster In January 1986, NASA faced repeated delays in the preparations to launch the Space Shuttles Columbia and Challenger in close sequence. Rather described the January 10 delay of Columbia as: “star-crossed space shuttle Columbia stood ready for launch again today, and once more, the launch was scrubbed.",
"Rather described the January 10 delay of Columbia as: “star-crossed space shuttle Columbia stood ready for launch again today, and once more, the launch was scrubbed. Heavy rain was the cause this time.",
"Heavy rain was the cause this time. The launch has been postponed so often since its original date, December 18, that it's now known as mission impossible.”This was considered an example of the \"biting sarcasm\" the media used related to NASA's scheduling. Columbia launched on January 12.",
"Columbia launched on January 12. Columbia launched on January 12. On January 27, Rather's reporting of the expected Challenger launch began as follows: On January 28, Challenger'''s explosion and destruction occurred 73 seconds after launch.",
"On January 27, Rather's reporting of the expected Challenger launch began as follows: On January 28, Challenger'''s explosion and destruction occurred 73 seconds after launch. Afghanistan, Reagan, and George H. W. Bush During the Soviet–Afghan War, Rather was filmed reporting near the front lines while wearing a traditional mujahideen headdress and garments.",
"Afghanistan, Reagan, and George H. W. Bush During the Soviet–Afghan War, Rather was filmed reporting near the front lines while wearing a traditional mujahideen headdress and garments. Rather attracted an Evening News audience (and was nicknamed \"Gunga Dan\"). The American comic strip Doonesbury spoofed his actions.",
"The American comic strip Doonesbury spoofed his actions. Rather's reports were later revealed to have been influential to Congressman Charlie Wilson (D-Texas), who led an effort to help the struggling mujahideen. The CIA developed its largest covert operation to supply aid and advanced arms to the mujahideen. The Soviets eventually quit Afghanistan.",
"The Soviets eventually quit Afghanistan. The Soviets eventually quit Afghanistan. Rather gained the anchor spot on the Evening News. He was competing with Roger Mudd, a more senior correspondent and a frequent substitute anchor for Walter Cronkite on Evening News. Mudd had also anchored the Sunday evening broadcast, but Rather traveled through Afghanistan when news led there.",
"Mudd had also anchored the Sunday evening broadcast, but Rather traveled through Afghanistan when news led there. A few years into his service as anchor, Rather began wearing sweaters beneath his suit jacket to soften his on-air appearance for viewers. During the 1980s, Rather gained further renown for his forceful and skeptical reporting on the Iran–Contra affair.",
"During the 1980s, Rather gained further renown for his forceful and skeptical reporting on the Iran–Contra affair. He eventually confronted Vice President George H. W. Bush in an on-air interview during the latter's presidential campaign.",
"He eventually confronted Vice President George H. W. Bush in an on-air interview during the latter's presidential campaign. Bush referred to Rather's \"dead air incident\" saying: “I want to talk about why I want to be President, why those 41 percent of the people are supporting me.",
"Bush referred to Rather's \"dead air incident\" saying: “I want to talk about why I want to be President, why those 41 percent of the people are supporting me. And I don't think it's fair to judge my whole career by a rehash on Iran.",
"And I don't think it's fair to judge my whole career by a rehash on Iran. How would you like it if I judged your career by those seven minutes when you walked off the set in New York?”Rather ignored Bush's comment.",
"How would you like it if I judged your career by those seven minutes when you walked off the set in New York?”Rather ignored Bush's comment. Shortly after Iraq invaded Kuwait, Rather secured an interview with Iraqi leader Saddam Hussein.",
"Shortly after Iraq invaded Kuwait, Rather secured an interview with Iraqi leader Saddam Hussein. On February 24, 2003, Rather conducted another interview with Hussein before the United States' 2003 invasion of Iraq. In the interview, Hussein invited Rather to be the moderator of a live television debate between him and George W. Bush.",
"In the interview, Hussein invited Rather to be the moderator of a live television debate between him and George W. Bush. The debate never took place. The Wall Within On June 2, 1988, Rather hosted a CBS News special, The Wall Within.",
"The Wall Within On June 2, 1988, Rather hosted a CBS News special, The Wall Within. In it, he interviewed six veterans, each of whom said he had witnessed horrible acts in Vietnam. Two of the men said that they had killed civilians, and two others said that they had seen friends die.",
"Two of the men said that they had killed civilians, and two others said that they had seen friends die. Each talked about the effects the war had upon their lives—including depression, unemployment, drug use, and homelessness. In 2004, National Review ran an article by Anne Morse entitled \"The First Rathergate.\"",
"In 2004, National Review ran an article by Anne Morse entitled \"The First Rathergate.\" She said that almost nothing claimed by participants in The Wall Within was true.",
"She said that almost nothing claimed by participants in The Wall Within was true. Citing the self-published book Stolen Valor (1998) by veteran B. G. Burkett, and investigative journalist Glenna Whitley, Morse said that military records revealed that the six former servicemen had lied about their experiences.",
"Citing the self-published book Stolen Valor (1998) by veteran B. G. Burkett, and investigative journalist Glenna Whitley, Morse said that military records revealed that the six former servicemen had lied about their experiences. Only one served in combat, and two had never been in Vietnam.",
"Only one served in combat, and two had never been in Vietnam. Killian documents On September 8, 2004, Rather reported on 60 Minutes Wednesday that a series of memos critical of President George W. Bush's Texas Air National Guard service record had been discovered in the personal files of Lt. Bush's former commanding officer, Lt. Col. Jerry B. Killian.",
"Killian documents On September 8, 2004, Rather reported on 60 Minutes Wednesday that a series of memos critical of President George W. Bush's Texas Air National Guard service record had been discovered in the personal files of Lt. Bush's former commanding officer, Lt. Col. Jerry B. Killian. Once copies of the documents were made available on the Internet, their authenticity was quickly called into question.",
"Once copies of the documents were made available on the Internet, their authenticity was quickly called into question. Much of this was based on the fact that the documents were proportionally printed and displayed using other modern typographic conventions usually unavailable on military typewriters of the 1970s.",
"Much of this was based on the fact that the documents were proportionally printed and displayed using other modern typographic conventions usually unavailable on military typewriters of the 1970s. The font used on the documents has characteristics that exactly or almost exactly match standard font features of Microsoft Word. This led to claims that the memos were forgeries.",
"This led to claims that the memos were forgeries. The accusations then spread over the following days into mainstream media outlets, including The Washington Post, The New York Times, and The Chicago Sun-Times. Rather and CBS initially defended the story, insisting that the documents had been authenticated by experts.",
"Rather and CBS initially defended the story, insisting that the documents had been authenticated by experts. CBS was contradicted by some of the experts it originally cited, and later reported that its source for the documents—former Texas Army National Guard officer Lt. Col. Bill Burkett—had misled the network about how he had obtained them.",
"CBS was contradicted by some of the experts it originally cited, and later reported that its source for the documents—former Texas Army National Guard officer Lt. Col. Bill Burkett—had misled the network about how he had obtained them. On September 20, 2004, CBS retracted the story.",
"On September 20, 2004, CBS retracted the story. Rather stated, “If I knew then what I know now, I would not have gone ahead with the story as it was aired, and I certainly would not have used the documents in question.” The controversy has been referred to by some as \"Memogate\" and \"Rathergate.\"",
"Rather stated, “If I knew then what I know now, I would not have gone ahead with the story as it was aired, and I certainly would not have used the documents in question.” The controversy has been referred to by some as \"Memogate\" and \"Rathergate.\" Following an investigation commissioned by CBS, CBS fired story producer Mary Mapes, and asked three other producers connected with the story to resign.",
"Following an investigation commissioned by CBS, CBS fired story producer Mary Mapes, and asked three other producers connected with the story to resign. Many believe Rather's retirement was hastened by this incident.",
"Many believe Rather's retirement was hastened by this incident. On September 20, 2007, Rather was interviewed on Larry King Live commenting, “Nobody has proved that they were fraudulent, much less a forgery. ...",
"... ... The truth of this story stands up to this day.” Departure from the CBS Evening News Rather retired as the anchorman and Managing Editor of the CBS Evening News in 2005; his last broadcast was Wednesday, March 9, 2005.",
"The truth of this story stands up to this day.” Departure from the CBS Evening News Rather retired as the anchorman and Managing Editor of the CBS Evening News in 2005; his last broadcast was Wednesday, March 9, 2005. He had worked as the anchorman for 24 full years, the longest tenure of anyone in American television history, and for a short time, continued to work as a correspondent for 60 Minutes.",
"He had worked as the anchorman for 24 full years, the longest tenure of anyone in American television history, and for a short time, continued to work as a correspondent for 60 Minutes. Bob Schieffer, a fellow Texan and host of Face the Nation, took over Rather's position on an interim basis, with Katie Couric replacing Schieffer in 2006.",
"Bob Schieffer, a fellow Texan and host of Face the Nation, took over Rather's position on an interim basis, with Katie Couric replacing Schieffer in 2006. Since retiring, Rather has spoken out about what he perceives as a lack of courage by American journalists. On January 24, 2006, Rather spoke to a Seattle audience.",
"On January 24, 2006, Rather spoke to a Seattle audience. Before the speaking engagement, he told a newspaper reporter, “In many ways on many days, [reporters] have sort of adopted the attitude of 'go along, get along.",
"Before the speaking engagement, he told a newspaper reporter, “In many ways on many days, [reporters] have sort of adopted the attitude of 'go along, get along. '” “What many of us need is a spine transplant,” Rather added.",
"'” “What many of us need is a spine transplant,” Rather added. “Whether it's City Hall, the State House, or the White House, part of our job is to speak truth to power.” Ousted from CBS News In June 2006, reports surfaced that CBS News would most likely not renew Dan Rather's contract.",
"“Whether it's City Hall, the State House, or the White House, part of our job is to speak truth to power.” Ousted from CBS News In June 2006, reports surfaced that CBS News would most likely not renew Dan Rather's contract. According to a Washington Post article, sources from CBS said that executives at the network decided \"there is no future role for Rather.\"",
"According to a Washington Post article, sources from CBS said that executives at the network decided \"there is no future role for Rather.\" On June 20, 2006, CBS News and Sports President Sean McManus announced that Rather would leave the network after 44 years.",
"On June 20, 2006, CBS News and Sports President Sean McManus announced that Rather would leave the network after 44 years. Rather issued a separate statement which accompanied the news of the departure: Lawsuit over ouster from CBS Network On September 19, 2007, Rather filed a $70 million lawsuit against CBS, its former parent company Viacom; CBS President and CEO Leslie Moonves; Sumner Redstone, chairman of both Viacom and CBS; and Andrew Heyward, former president of CBS News.",
"Rather issued a separate statement which accompanied the news of the departure: Lawsuit over ouster from CBS Network On September 19, 2007, Rather filed a $70 million lawsuit against CBS, its former parent company Viacom; CBS President and CEO Leslie Moonves; Sumner Redstone, chairman of both Viacom and CBS; and Andrew Heyward, former president of CBS News. Rather accused the network and its ownership and management of making him a \"scapegoat\" in the Killian story.",
"Rather accused the network and its ownership and management of making him a \"scapegoat\" in the Killian story. A CBS spokesman claimed that the lawsuit was \"old news\" and \"without merit.\"",
"A CBS spokesman claimed that the lawsuit was \"old news\" and \"without merit.\" On September 21, 2009, Rather's lawyers claimed that Bush's military service would be proven to be a sham, and Rather would be vindicated.",
"On September 21, 2009, Rather's lawyers claimed that Bush's military service would be proven to be a sham, and Rather would be vindicated. On September 29, 2009, a New York state appeals court dismissed Rather's lawsuit against CBS.",
"On September 29, 2009, a New York state appeals court dismissed Rather's lawsuit against CBS. On January 12, 2010, New York's top court refused to reinstate Rather's $70 million breach-of-contract lawsuit against CBS Corp.",
"On January 12, 2010, New York's top court refused to reinstate Rather's $70 million breach-of-contract lawsuit against CBS Corp. In his book titled Rather Outspoken, Rather claims that the lawsuit “took a big whack out of my time, my psyche and my bank balance, but even so, it was worth it.” On May 18, 2012, Rather appeared on Real Time With Bill Maher, and claimed he had been fired for reporting a story about George W. Bush's year of absence from the reserve unit he served with, and that the news corporations had been \"very uncomfortable\" with running the story.",
"In his book titled Rather Outspoken, Rather claims that the lawsuit “took a big whack out of my time, my psyche and my bank balance, but even so, it was worth it.” On May 18, 2012, Rather appeared on Real Time With Bill Maher, and claimed he had been fired for reporting a story about George W. Bush's year of absence from the reserve unit he served with, and that the news corporations had been \"very uncomfortable\" with running the story. Post-CBS career Following his departure from CBS, Dan Rather joined Mark Cuban's cable network AXS TV (then called HDNet) to host and produce the weekly one-hour news show Dan Rather Reports from 2006 until 2013.",
"Post-CBS career Following his departure from CBS, Dan Rather joined Mark Cuban's cable network AXS TV (then called HDNet) to host and produce the weekly one-hour news show Dan Rather Reports from 2006 until 2013. Since 2013, Rather has hosted and produced the hour-long series The Big Interview with Dan Rather on AXS TV, where he sits down for in-depth interviews with influential figures in music and entertainment, such as: John Fogerty, Quentin Tarantino, Simon Cowell, Aaron Sorkin, and Sammy Hagar.",
"Since 2013, Rather has hosted and produced the hour-long series The Big Interview with Dan Rather on AXS TV, where he sits down for in-depth interviews with influential figures in music and entertainment, such as: John Fogerty, Quentin Tarantino, Simon Cowell, Aaron Sorkin, and Sammy Hagar. He has also produced several documentary specials for the network under the banner Dan Rather Presents, including specials about \"America's Mental Health Crisis,\" the United States Secret Service, and \"The Shameful Side of International Adoption.\"",
"He has also produced several documentary specials for the network under the banner Dan Rather Presents, including specials about \"America's Mental Health Crisis,\" the United States Secret Service, and \"The Shameful Side of International Adoption.\" Rather also appears frequently on a number of news shows, including MSNBC's The Rachel Maddow Show and The Last Word with Lawrence O'Donnell and on CNN.",
"Rather also appears frequently on a number of news shows, including MSNBC's The Rachel Maddow Show and The Last Word with Lawrence O'Donnell and on CNN. He has also written for The Huffington Post and Mashable.",
"He has also written for The Huffington Post and Mashable. On May 28, 2007, Rather compared historical events to events in the Star Wars films in the History Channel special titled Star Wars: The Legacy Revealed. In 2012, Rather published an autobiography titled Rather Outspoken: My Life in the News.",
"In 2012, Rather published an autobiography titled Rather Outspoken: My Life in the News. In 2015, Rather launched an independent production company called News and Guts Media, through which he produces The Big Interview among other projects. In 2015, Rather also began actively posting on Facebook.",
"In 2015, Rather also began actively posting on Facebook. He credits young staffers at News and Guts Media with pushing him to try social media. While his posts were considerably longer than typical social media posts, they resonated with the audience, which soon grew to more than two million followers.",
"While his posts were considerably longer than typical social media posts, they resonated with the audience, which soon grew to more than two million followers. Even late night TV noticed Rather's unusual but effective Facebook presence. Subject matter has covered a range of topics, including: current political events, journalism, and childhood memories.",
"Subject matter has covered a range of topics, including: current political events, journalism, and childhood memories. On September 23, 2016, SiriusXM Radio announced a new hour-long weekly program, \"Dan Rather's America,\" airing Tuesday mornings at 10am Eastern on Radio Andy channel 102, debuting on September 27.",
"On September 23, 2016, SiriusXM Radio announced a new hour-long weekly program, \"Dan Rather's America,\" airing Tuesday mornings at 10am Eastern on Radio Andy channel 102, debuting on September 27. In the fall of 2017, the Briscoe Center for American History at the University of Texas completed a digital humanities project dedicated to the long career of the journalist that was titled Dan Rather: American Journalist.",
"In the fall of 2017, the Briscoe Center for American History at the University of Texas completed a digital humanities project dedicated to the long career of the journalist that was titled Dan Rather: American Journalist. The culmination of three years of research conducted at the Briscoe Center, the site uses materials from a dozen archives and libraries, and draws from over 25 of the Briscoe Center for American History's news media and photojournalism collections.",
"The culmination of three years of research conducted at the Briscoe Center, the site uses materials from a dozen archives and libraries, and draws from over 25 of the Briscoe Center for American History's news media and photojournalism collections. The website features over 2,000 digitized documents, 300 excerpts from twelve oral history interviews, and 1000 video clips, enabling visitors to dive deep into the history of the last 60 years through the lens of Dan Rather's career.",
"The website features over 2,000 digitized documents, 300 excerpts from twelve oral history interviews, and 1000 video clips, enabling visitors to dive deep into the history of the last 60 years through the lens of Dan Rather's career. On January 21, 2018, it was announced that Rather would be launching a weekly 30-minute newscast on The Young Turks.",
"On January 21, 2018, it was announced that Rather would be launching a weekly 30-minute newscast on The Young Turks. Titled The News with Dan Rather, it airs on Mondays at 5:30pm Eastern Time. Personal life Rather married Jean Goebel in 1957.",
"Personal life Rather married Jean Goebel in 1957. They have a son and daughter, and maintain homes in New York City and Austin, Texas. Their daughter Robin is an environmentalist and community activist in Austin, Texas. Their son Dan is an assistant district attorney in the District Attorney's office in Manhattan, New York.",
"Their son Dan is an assistant district attorney in the District Attorney's office in Manhattan, New York. Sam Houston State University renamed its mass communications building after Rather in 1994. The building houses The Houstonian and KSHU, the student-run radio and television stations.",
"The building houses The Houstonian and KSHU, the student-run radio and television stations. In May 2007, Rather received an honorary Doctor of Humane Letters from Siena College in Loudonville, New York, for his lifetime contributions to journalism.",
"In May 2007, Rather received an honorary Doctor of Humane Letters from Siena College in Loudonville, New York, for his lifetime contributions to journalism. A columnist whose work is distributed by King Features Syndicate, Rather continues to speak out against alleged influence in journalism by corporations and governments.",
"A columnist whose work is distributed by King Features Syndicate, Rather continues to speak out against alleged influence in journalism by corporations and governments. At a 2008 conference in Minneapolis, Minnesota, sponsored by the group Free Press, Rather criticized both local and national news organizations, stating—according to reports—that there is no longer incentive to do “good and valuable news.” Books The Palace Guard, with Gary Paul Gates, 1974. .",
"At a 2008 conference in Minneapolis, Minnesota, sponsored by the group Free Press, Rather criticized both local and national news organizations, stating—according to reports—that there is no longer incentive to do “good and valuable news.” Books The Palace Guard, with Gary Paul Gates, 1974. . The Camera Never Blinks: Adventures of a TV Journalist, with Mickey Herskowitz, 1977. .",
"The Camera Never Blinks: Adventures of a TV Journalist, with Mickey Herskowitz, 1977. . I Remember, with Peter Wyden, 1991. . The Camera Never Blinks Twice: The Further Adventures of a Television Journalist, with Mickey Herskowitz, 1994. . , 1999. .",
", 1999. . , 1999. . \"The American Dream: Stories from the Heart of Our Nation\", 2001. . , with Digby Diehl, 2013. . What Unites Us: Reflections on Patriotism, with Elliot Kirschner, 2017. .What Unites Us: The Graphic Novel, with Elliot Kirschner, illustrated by Tim Foley, 2021. .",
".What Unites Us: The Graphic Novel, with Elliot Kirschner, illustrated by Tim Foley, 2021. . Awards He has received numerous Emmy Awards, several Peabody Awards, and various honorary degrees from universities. In addition to these awards, Rather was inducted into the Television Hall of Fame in 2004.",
"In addition to these awards, Rather was inducted into the Television Hall of Fame in 2004. In 2001, he received the Golden Plate Award of the American Academy of Achievement.",
"In 2001, he received the Golden Plate Award of the American Academy of Achievement. Criticism As one of the last broadcast news journalists from the era of the \"Big Three\" network news primacy, Rather was generally regarded highly within his profession by long-serving journalists. Rather has been accused of having a liberal bias.",
"Rather has been accused of having a liberal bias. \"Dan Rather: a pioneer and a lightning rod\" at The Christian Science Monitor. Claims of bias Rather's on-screen comments and election-night reporting have come under attack dating back to Richard Nixon's presidency.",
"Claims of bias Rather's on-screen comments and election-night reporting have come under attack dating back to Richard Nixon's presidency. In a June 2002 interview with Larry King, his long-time co-worker (and self-described liberal), Andy Rooney stated that Rather is “transparently liberal.” During the weeks following the Killian documents stories, Rather received widespread criticism from other journalists and historians.",
"In a June 2002 interview with Larry King, his long-time co-worker (and self-described liberal), Andy Rooney stated that Rather is “transparently liberal.” During the weeks following the Killian documents stories, Rather received widespread criticism from other journalists and historians. In an interview with commentator Bill Maher, Rather accused Fox News Channel of receiving \"talking points\" from the Republican-controlled White House.",
"In an interview with commentator Bill Maher, Rather accused Fox News Channel of receiving \"talking points\" from the Republican-controlled White House. Fox News commentator Bill O'Reilly, who had defended Rather during the Killian documents incident, criticized Rather for not offering any evidence to support the claim.",
"Fox News commentator Bill O'Reilly, who had defended Rather during the Killian documents incident, criticized Rather for not offering any evidence to support the claim. In 2002, Bernard Goldberg published a book with the title Bias, alleging a liberal bias in print and broadcast news organizations.",
"In 2002, Bernard Goldberg published a book with the title Bias, alleging a liberal bias in print and broadcast news organizations. In the book, Goldberg used Dan Rather as a primary example of a news anchorman with a liberal bias.",
"In the book, Goldberg used Dan Rather as a primary example of a news anchorman with a liberal bias. He also criticized the anchor for his criticisms of President George W. Bush's and Vice President Dan Quayle's service in the National Guard, rather than the Active Duty military during the Vietnam War, and questioned Rather's own service.",
"He also criticized the anchor for his criticisms of President George W. Bush's and Vice President Dan Quayle's service in the National Guard, rather than the Active Duty military during the Vietnam War, and questioned Rather's own service. Fairness and Accuracy in Reporting has accused Rather of having \"an unwillingness to challenge official power and policy\" in his reporting.",
"Fairness and Accuracy in Reporting has accused Rather of having \"an unwillingness to challenge official power and policy\" in his reporting. Investigative reporter Mark Hertsgaard characterized Rather as a \"stern anti-Communist\" during the Reagan administration, for allegedly having \"reported the pronouncements of public officials with considerable respect.\"",
"Investigative reporter Mark Hertsgaard characterized Rather as a \"stern anti-Communist\" during the Reagan administration, for allegedly having \"reported the pronouncements of public officials with considerable respect.\" In April 2001, according to a front-page story in The Washington Post, Rather spoke at a Democratic party fundraiser in Austin, Texas, where he was the featured speaker.",
"In April 2001, according to a front-page story in The Washington Post, Rather spoke at a Democratic party fundraiser in Austin, Texas, where he was the featured speaker. One of the official hosts for the fundraiser was Rather's daughter, Robin Rather; Rather said that he did not realize that his daughter was a host of the fundraiser.",
"One of the official hosts for the fundraiser was Rather's daughter, Robin Rather; Rather said that he did not realize that his daughter was a host of the fundraiser. Rather also said that he did not realize that the event was a partisan fundraiser, although he did realize that after he arrived at the event.",
"Rather also said that he did not realize that the event was a partisan fundraiser, although he did realize that after he arrived at the event. From Walter Cronkite During an appearance on CNN's American Morning in 2005, former CBS anchor Walter Cronkite said about Rather: “It surprised quite a few people at CBS and elsewhere that, without being able to pull up the ratings beyond third in a three-man field, that they tolerated his being there for so long.” Cronkite also said that he would like to have seen Bob Schieffer in Rather's position sooner.",
"From Walter Cronkite During an appearance on CNN's American Morning in 2005, former CBS anchor Walter Cronkite said about Rather: “It surprised quite a few people at CBS and elsewhere that, without being able to pull up the ratings beyond third in a three-man field, that they tolerated his being there for so long.” Cronkite also said that he would like to have seen Bob Schieffer in Rather's position sooner. From Dallas CBS news director Eddie Barker In the aftermath of the Kennedy assassination while Rather was a Dallas reporter, he interviewed a minister, who said some local schoolchildren had cheered upon learning of the President's shooting.",
"From Dallas CBS news director Eddie Barker In the aftermath of the Kennedy assassination while Rather was a Dallas reporter, he interviewed a minister, who said some local schoolchildren had cheered upon learning of the President's shooting. The Associated Press later confirmed the story.",
"The Associated Press later confirmed the story. A teacher at the school backed up the Rather story, confirming that some students at the school had cheered at the principal's news about Kennedy.",
"A teacher at the school backed up the Rather story, confirming that some students at the school had cheered at the principal's news about Kennedy. Eddie Barker, local Dallas-area news director for CBS, said that Rather had in fact been aware that the children were merely happy about being sent home early, and they had not been given a reason for early school closure (Barker's children attended the school, as he informed Rather).",
"Eddie Barker, local Dallas-area news director for CBS, said that Rather had in fact been aware that the children were merely happy about being sent home early, and they had not been given a reason for early school closure (Barker's children attended the school, as he informed Rather). He stated that Rather had deliberately misrepresented the facts by indicating that the children were happy about the shooting.",
"He stated that Rather had deliberately misrepresented the facts by indicating that the children were happy about the shooting. Barker attempted to fire Rather, but was overruled by the national CBS News management.",
"Barker attempted to fire Rather, but was overruled by the national CBS News management. Incidents and controversies 1968 Democratic convention During live coverage of the 1968 Democratic National Convention, Rather attempted to interview a delegate from Georgia who appeared as though he was being forcibly removed by men without identification badges.",
"Incidents and controversies 1968 Democratic convention During live coverage of the 1968 Democratic National Convention, Rather attempted to interview a delegate from Georgia who appeared as though he was being forcibly removed by men without identification badges. As Rather approached the delegate to question the apparent strong-arm tactics of the Chicago political machine under Mayor Daley, he was punched in the stomach by one of the men, knocking him to the ground.",
"As Rather approached the delegate to question the apparent strong-arm tactics of the Chicago political machine under Mayor Daley, he was punched in the stomach by one of the men, knocking him to the ground. “He lifted me right off the floor and put me away.",
"“He lifted me right off the floor and put me away. I was down, the breath knocked out of me, as the whole group blew on by me ...",
"I was down, the breath knocked out of me, as the whole group blew on by me ... In the CBS control room, they had switched the camera onto me just as I was slugged.” Walter Cronkite, after being told by Rather what happened, added on-air, \"I think we got a bunch of thugs here Dan!\"",
"In the CBS control room, they had switched the camera onto me just as I was slugged.” Walter Cronkite, after being told by Rather what happened, added on-air, \"I think we got a bunch of thugs here Dan!\" Chicago cab ride On November 10, 1980, Rather landed at Chicago's O'Hare International Airport and got into a cab.",
"Chicago cab ride On November 10, 1980, Rather landed at Chicago's O'Hare International Airport and got into a cab. He asked the cab driver to take him to the home of writer Studs Terkel, whom he was interviewing for 60 Minutes.",
"He asked the cab driver to take him to the home of writer Studs Terkel, whom he was interviewing for 60 Minutes. A police spokesman said that the cab driver refused to go to the address and instead \"wildly drove through the city streets,\" with Rather shouting out the window asking for help.",
"A police spokesman said that the cab driver refused to go to the address and instead \"wildly drove through the city streets,\" with Rather shouting out the window asking for help. The driver was charged with disorderly conduct.",
"The driver was charged with disorderly conduct. Rather called the incident “a rather minor thing.” By the time the case was about to come to trial, he was about to add anchoring the CBS Evening News to his 60 Minutes role at CBS News.",
"Rather called the incident “a rather minor thing.” By the time the case was about to come to trial, he was about to add anchoring the CBS Evening News to his 60 Minutes role at CBS News. Rather declined to press charges, citing a \"mounting schedule of reporting assignments.\"",
"Rather declined to press charges, citing a \"mounting schedule of reporting assignments.\" Galloway lawsuit In 1980, Rather and CBS were taken to court when Carl Galloway, a California doctor, claimed that a report on 60 Minutes wrongfully implicated him in an insurance fraud scheme.",
"Galloway lawsuit In 1980, Rather and CBS were taken to court when Carl Galloway, a California doctor, claimed that a report on 60 Minutes wrongfully implicated him in an insurance fraud scheme. CBS stated Galloway had signed the bogus report, and was suing Rather because he was upset at being caught.",
"CBS stated Galloway had signed the bogus report, and was suing Rather because he was upset at being caught. The jury sided with CBS and Rather, and they won the case. During the trial, Galloway's side used outtakes from the TV report showing that one interview was rehearsed.",
"During the trial, Galloway's side used outtakes from the TV report showing that one interview was rehearsed. \"Courage\" For one week in September 1986, Rather signed off his broadcasts to CBS with the word \"courage.\"",
"\"Courage\" For one week in September 1986, Rather signed off his broadcasts to CBS with the word \"courage.\" He said that it was just a signature line, and had nothing to do with the news at the time. Other newscasters ridiculed and parodied Rather, and he dropped it.",
"Other newscasters ridiculed and parodied Rather, and he dropped it. \"Kenneth, what is the frequency?\" On October 4, 1986, while walking along Park Avenue to his apartment in Manhattan, Rather was attacked and punched from behind by a man who demanded to know \"Kenneth, what is the frequency?\"",
"On October 4, 1986, while walking along Park Avenue to his apartment in Manhattan, Rather was attacked and punched from behind by a man who demanded to know \"Kenneth, what is the frequency?\" while a second assailant chased and beat him. As the assailant pummeled and kicked Rather, he kept repeating the question.",
"As the assailant pummeled and kicked Rather, he kept repeating the question. In describing the incident, Rather said “I got mugged. Who understands these things? I didn't and I don't now. I didn't make a lot of it at the time and I don't now.",
"I didn't make a lot of it at the time and I don't now. I wish I knew who did it and why, but I have no idea.” Until the crime was resolved years later, Rather's description of the bizarre crime led some to doubt the veracity of his account, although the doorman and building supervisor who came to Rather's aid fully confirmed his version of events.",
"I wish I knew who did it and why, but I have no idea.” Until the crime was resolved years later, Rather's description of the bizarre crime led some to doubt the veracity of his account, although the doorman and building supervisor who came to Rather's aid fully confirmed his version of events. The assault remained unsolved for some time, and was referenced multiple times in popular culture.",
"The assault remained unsolved for some time, and was referenced multiple times in popular culture. The phrase \"What's the frequency, Kenneth?\" became a popular-culture reference over the years, such as in a scene in the graphic novel Like a Velvet Glove Cast in Iron by cartoonist Daniel Clowes.",
"became a popular-culture reference over the years, such as in a scene in the graphic novel Like a Velvet Glove Cast in Iron by cartoonist Daniel Clowes. The opening track of the 1987 album Lolita Nation by California power pop group Game Theory is titled \"Kenneth, What's the Frequency?\" In 1994, the band R.E.M.",
"In 1994, the band R.E.M. released the song \"What's the Frequency, Kenneth?\" on their album Monster. Rather later sang with R.E.M. during a sound check prior to a gig at New York's Madison Square Garden, which was shown the following night on the Late Show with David Letterman.",
"during a sound check prior to a gig at New York's Madison Square Garden, which was shown the following night on the Late Show with David Letterman. In 1997, a TV critic writing in the New York Daily News solved the mystery, publishing a photo of the alleged assailant, William Tager, who received a 12.5-to-25-year prison sentence for killing NBC stagehand Campbell Montgomery outside The Today Show studio in 1994.",
"In 1997, a TV critic writing in the New York Daily News solved the mystery, publishing a photo of the alleged assailant, William Tager, who received a 12.5-to-25-year prison sentence for killing NBC stagehand Campbell Montgomery outside The Today Show studio in 1994. Rather confirmed the story: \"There's no doubt in my mind that this is the person.\"",
"Rather confirmed the story: \"There's no doubt in my mind that this is the person.\" New York District Attorney Robert M. Morgenthau said \"William Tager's identity as the man who attacked Mr. Rather was established in the course of an investigation by my office.\"",
"New York District Attorney Robert M. Morgenthau said \"William Tager's identity as the man who attacked Mr. Rather was established in the course of an investigation by my office.\" Tager claimed he thought television networks were beaming signals into his brain.",
"Tager claimed he thought television networks were beaming signals into his brain. When he murdered the stagehand, Tager was trying to force his way into an NBC studio with a weapon, in order to find out the frequency the networks were using to attack him, so that he could block it. Tager was paroled in October 2010.",
"Tager was paroled in October 2010. Dead air On September 11, 1987, Rather walked off the set in anger just before a remote Evening News broadcast from Miami, where Pope John Paul II had begun a rare U.S. tour, when a U.S. Open tennis match was being broadcast into the time scheduled for the newscast.",
"Dead air On September 11, 1987, Rather walked off the set in anger just before a remote Evening News broadcast from Miami, where Pope John Paul II had begun a rare U.S. tour, when a U.S. Open tennis match was being broadcast into the time scheduled for the newscast. He was upset that the news was being cut into to make room for sports and discussed it with the sports department, and made it clear that if the newscast did not start on time, then CBS Sports should fill the half hour.",
"He was upset that the news was being cut into to make room for sports and discussed it with the sports department, and made it clear that if the newscast did not start on time, then CBS Sports should fill the half hour. The Steffi Graf–Lori McNeil tennis match coverage then ended sooner than expected at 6:32 p.m., but Rather had disappeared.",
"The Steffi Graf–Lori McNeil tennis match coverage then ended sooner than expected at 6:32 p.m., but Rather had disappeared. (CBS Sports had finally agreed to break away immediately after the match without commentary.) Thus, over 100 affiliates were forced to broadcast six minutes of dead air.",
"Thus, over 100 affiliates were forced to broadcast six minutes of dead air. Some stations were forced to air a slot of syndicated programming such as a rerun of a game show or a sitcom, and other stations were forced to pull out a technical difficulty telop graphic.",
"Some stations were forced to air a slot of syndicated programming such as a rerun of a game show or a sitcom, and other stations were forced to pull out a technical difficulty telop graphic. Phil Jones, the chairman of the CBS affiliation board and general manager of Kansas City's KCTV (which the station placed a technical difficulty graphic during dead air) wanted an apology from Rather.",
"Phil Jones, the chairman of the CBS affiliation board and general manager of Kansas City's KCTV (which the station placed a technical difficulty graphic during dead air) wanted an apology from Rather. Meanwhile in Miami, the city's CBS affiliate WTVJ was forced to drop the episode entirely, which ended up airing a syndicated rerun of a game show to fill the station's schedule.",
"Meanwhile in Miami, the city's CBS affiliate WTVJ was forced to drop the episode entirely, which ended up airing a syndicated rerun of a game show to fill the station's schedule. The next day, Rather apologized for leaving the anchor desk.",
"The next day, Rather apologized for leaving the anchor desk. The following year, when Rather asked then Vice President Bush about his role in the Iran–Contra affair during a live interview, Bush responded by saying, “Dan, how would you like it if I judged your entire career by those seven minutes when you walked off the set in New York?” Roger Ailes had a “mole” at CBS, who alerted him that the goal was to “take Bush out of the race” with a tough interview on Iran-Contra.",
"The following year, when Rather asked then Vice President Bush about his role in the Iran–Contra affair during a live interview, Bush responded by saying, “Dan, how would you like it if I judged your entire career by those seven minutes when you walked off the set in New York?” Roger Ailes had a “mole” at CBS, who alerted him that the goal was to “take Bush out of the race” with a tough interview on Iran-Contra. Ailes alerted Bush on the cab ride over, and fed him the seven minutes retort.",
"Ailes alerted Bush on the cab ride over, and fed him the seven minutes retort. The aftermath of the interview showed the episode was a boost for Bush. “The vice president's poll ratings in Iowa and New Hampshire bumped visibly upward.” \"Ratherisms\" Rather is known for his many colorful analogies and descriptions during live broadcasts.",
"“The vice president's poll ratings in Iowa and New Hampshire bumped visibly upward.” \"Ratherisms\" Rather is known for his many colorful analogies and descriptions during live broadcasts. Similar to those used by baseball announcer Red Barber, cycling commentator Phil Liggett, and Formula 1 commentator Murray Walker, these \"Ratherisms\" are also called \"Texanisms\" or \"Danisms\" by some.",
"Similar to those used by baseball announcer Red Barber, cycling commentator Phil Liggett, and Formula 1 commentator Murray Walker, these \"Ratherisms\" are also called \"Texanisms\" or \"Danisms\" by some. A few of the more colorful ones, several of which were used throughout the 2008 HBO made-for-TV movie Recount about the 2000 Election, include: “This race is shakier than cafeteria Jell-O.” “This thing is as tight as the rusted lugnuts on a '55 Ford.” His characterization of the Republican Party's assessment of President Obama: “[He] couldn't sell watermelons if you gave him the state troopers to flag down the traffic.” In popular culture Rather has been referenced in the television shows Saturday Night Live and Family Guy and many films.",
"A few of the more colorful ones, several of which were used throughout the 2008 HBO made-for-TV movie Recount about the 2000 Election, include: “This race is shakier than cafeteria Jell-O.” “This thing is as tight as the rusted lugnuts on a '55 Ford.” His characterization of the Republican Party's assessment of President Obama: “[He] couldn't sell watermelons if you gave him the state troopers to flag down the traffic.” In popular culture Rather has been referenced in the television shows Saturday Night Live and Family Guy and many films. An animated caricature of him made a cameo appearance in the JibJab political cartoon, Good to Be in D.C.",
"An animated caricature of him made a cameo appearance in the JibJab political cartoon, Good to Be in D.C. In 1971, he had a cameo in an episode of the number one hit comedy series All in the Family.",
"In 1971, he had a cameo in an episode of the number one hit comedy series All in the Family. Entitled The Man in the Street, series star Carroll O'Connor's Archie Bunker character excitedly awaits the viewing of a videotaped interview he gave earlier that day for the CBS Evening News.",
"Entitled The Man in the Street, series star Carroll O'Connor's Archie Bunker character excitedly awaits the viewing of a videotaped interview he gave earlier that day for the CBS Evening News. At the last minute, to his dismay, the segment is preempted by the telecast of a Richard Nixon presidential address from the Oval Office.",
"At the last minute, to his dismay, the segment is preempted by the telecast of a Richard Nixon presidential address from the Oval Office. Rather appears, as himself, delivering post-speech analysis from actual news footage.",
"Rather appears, as himself, delivering post-speech analysis from actual news footage. Jean Stapleton, as Archie's scatterbrained wife Edith Bunker, says of Rather how he's there to \"...tell us what Mr. Nixon just said.\"",
"Jean Stapleton, as Archie's scatterbrained wife Edith Bunker, says of Rather how he's there to \"...tell us what Mr. Nixon just said.\" In 2004, he was featured in the documentary film Barbecue: A Texas Love Story by Austin-based director Chris Elley.",
"In 2004, he was featured in the documentary film Barbecue: A Texas Love Story by Austin-based director Chris Elley. Two years later, Rather and Elley educated a group of New Yorkers in Madison Square Park about the true meaning of BBQ, and its significance to the identity of the Lone Star State.",
"Two years later, Rather and Elley educated a group of New Yorkers in Madison Square Park about the true meaning of BBQ, and its significance to the identity of the Lone Star State. In the 2006–07 graphic novel Shooting War, which is set in the year 2011, an 80-year-old Dan Rather is shown to be one of the last journalists still reporting from Iraq.",
"In the 2006–07 graphic novel Shooting War, which is set in the year 2011, an 80-year-old Dan Rather is shown to be one of the last journalists still reporting from Iraq. He had a cameo in the premiere of the Fall 2007 drama Dirty Sexy Money on ABC television.",
"He had a cameo in the premiere of the Fall 2007 drama Dirty Sexy Money on ABC television. He guest-starred as himself in The Simpsons episode, \"E Pluribus Wiggum.\"",
"He guest-starred as himself in The Simpsons episode, \"E Pluribus Wiggum.\" Rather appeared on The Daily Show in May 2009, wearing an Afro wig and mutton-chop sideburns to narrate a segment about the late former President Nixon eating a burrito, as a parody of MSNBC's extensive coverage of President Obama and Vice President Biden's hamburger lunch.",
"Rather appeared on The Daily Show in May 2009, wearing an Afro wig and mutton-chop sideburns to narrate a segment about the late former President Nixon eating a burrito, as a parody of MSNBC's extensive coverage of President Obama and Vice President Biden's hamburger lunch. He appears in the 2008 award-winning documentary Boogie Man: The Lee Atwater Story.",
"He appears in the 2008 award-winning documentary Boogie Man: The Lee Atwater Story. A skit on the 38th season of Sesame Street featured Anderson Cooper interviewing two grouches, \"Walter Cranky\" and \"Dan Rather Not,\" who, when asked to answer questions, demurred with the phrase \"I'd rather not.\"",
"A skit on the 38th season of Sesame Street featured Anderson Cooper interviewing two grouches, \"Walter Cranky\" and \"Dan Rather Not,\" who, when asked to answer questions, demurred with the phrase \"I'd rather not.\" Robert Redford portrayed Rather in the 2015 film Truth.",
"Robert Redford portrayed Rather in the 2015 film Truth. Rather appeared in the docudrama Facing Saddam providing his views on Saddam Hussein. Ratings Under Rather's predecessor, Walter Cronkite, the CBS Evening News was a strong #1 in the ratings, which Rather maintained through much of the 1980s.",
"Ratings Under Rather's predecessor, Walter Cronkite, the CBS Evening News was a strong #1 in the ratings, which Rather maintained through much of the 1980s. However, Tom Brokaw and his NBC Nightly News, and Peter Jennings of ABC News' World News Tonight, increasing in popularity, eventually cut deep into the Rather broadcast's numbers.",
"However, Tom Brokaw and his NBC Nightly News, and Peter Jennings of ABC News' World News Tonight, increasing in popularity, eventually cut deep into the Rather broadcast's numbers. See also New Yorkers in journalism References Further reading Dan Rather & Elliot Kirschner (2017).",
"See also New Yorkers in journalism References Further reading Dan Rather & Elliot Kirschner (2017). What Unites Us: Reflections on Patriotism Algonquin Books of Chapel Hill. Rather, Dan. The Palace Guard, with Gary Gates Rather, Dan. I Remember, with Peter Wyden. Rather, Dan with Herskowitz, Mickey.",
"Rather, Dan with Herskowitz, Mickey. The Camera Never Blinks Twice''. 1995. William Morrow.",
"1995. William Morrow. William Morrow. 2nd Saddam interview External links AXS TV The Big Interview Dan Rather: American Journalist (Briscoe Center for American History) Members of the Council on Foreign Relations 1931 births Living people American television reporters and correspondents American war correspondents American war correspondents of the Vietnam War CBS News people Emmy Award winners Peabody Award winners 60 Minutes correspondents Associated Press reporters Houston Chronicle people Television anchors from Houston Journalists from Houston Killian documents controversy People from Wharton, Texas Sam Houston State University alumni Writers from Texas American victims of crime Texas Democrats The Young Turks people American male journalists 20th-century American journalists 21st-century American journalists Journalists from New York City People from Huntsville, Texas Recipients of the Four Freedoms Award Military personnel from Texas"
] |
[
"James Levine",
"Early years and personal life",
"when was he born",
"I don't know."
] | C_65204209c84c44cd9d64d3dbaa8b91fb_1 | where was he born | 2 | Where was James Levine born? | James Levine | Levine was born in Cincinnati, Ohio, to a Jewish, musical family. His maternal grandfather was a composer and a cantor in a synagogue, his father (Lawrence) was a violinist who led dance bands under the name "Larry Lee" before entering his father's clothing business, and his mother (Helen Goldstein Levine) was briefly an actress on Broadway, performing as "Helen Golden". He has a brother Tom who is two years younger, who followed him to New York City from Cincinnati in 1974, and with whom he is very close. He employs Tom as his business assistant (looking after all of his affairs, arranging his rehearsal schedules, fielding queries, scouting out where he will live, meeting with accountants, and accompanying Levine on trips to Europe), and his brother is a painter as well. He also has a younger sister, Janet, who is a marriage counselor. He began to play the piano as a small child. On February 21, 1954, at the age of 10, Levine made his concert debut as soloist playing Felix Mendelssohn's Piano Concerto No. 2 at a youth concert of the Cincinnati Symphony Orchestra in Ohio. Levine subsequently studied music with Walter Levin, first violinist in the LaSalle Quartet. In 1956 he took piano lessons with Rudolf Serkin at the Marlboro Music School, in Vermont. In the following year he began to study piano with Rosina Lhevinne at the Aspen Music School. He graduated from Walnut Hills High School, an acclaimed magnet school in Cincinnati. He entered the Juilliard School of Music in New York City in 1961, and took courses in conducting with Jean Morel. He graduated from the Juilliard School in 1964, and joined the American Conductors project connected with the Baltimore Symphony Orchestra. Levine lives in The San Remo on Central Park West in New York City. CANNOTANSWER | Cincinnati, Ohio, | James Lawrence Levine (; June 23, 1943 – March 9, 2021) was an American conductor and pianist. He was music director of the Metropolitan Opera (the "Met") from 1976 to 2016. He was formally terminated from all his positions and affiliations with the Met on March 12, 2018, over sexual misconduct allegations, which he denied.
Levine held leadership positions with the Ravinia Festival, the Munich Philharmonic, and the Boston Symphony Orchestra. In 1980 he started the Lindemann Young Artists Development Program, and trained singers, conductors, and musicians for professional careers.
After taking an almost two-year health-related hiatus from conducting from 2011 to 2013, during which time he held artistic and administrative planning sessions at the Met, and led training of the Lindemann Young Artists, Levine retired as the Met's full-time Music Director following the 2015–16 season to become Music Director Emeritus.
Early years and personal life
Levine was born in Cincinnati, Ohio, to a Jewish, musical family. His maternal grandfather was a composer and a cantor in a synagogue; his father, Lawrence, was a violinist who led dance bands under the name "Larry Lee" before entering his father's clothing business; and his mother, Helen Goldstein Levine, was briefly an actress on Broadway, performing as "Helen Golden". He had a brother, Tom, who was two years younger, who followed him to New York City from Cincinnati in 1974, and with whom he was very close. He employed Tom as his business assistant, looking after his affairs, arranging his rehearsal schedules, fielding queries, scouting out places to live, meeting with accountants, and accompanying Levine on trips to Europe. Tom was also a painter. He also had a younger sister, Janet, who is a marriage counselor.
He began to play the piano as a small child. On February 21, 1954, at age 10, Levine made his concert debut as soloist playing Felix Mendelssohn's Piano Concerto No. 2 at a youth concert of the Cincinnati Symphony Orchestra in Ohio.
Levine subsequently studied music with Walter Levin, first violinist in the LaSalle Quartet. In 1956 he took piano lessons with Rudolf Serkin at the Marlboro Music School in Vermont. The next year he began to study piano with Rosina Lhévinne at the Aspen Music School. He graduated from Walnut Hills High School, a magnet school in Cincinnati. He entered the Juilliard School of Music in New York City in 1961, and took courses in conducting with Jean Morel. He graduated from Juilliard in 1964, and joined the American Conductors project connected with the Baltimore Symphony Orchestra.
Levine lived in The San Remo on Central Park West in New York City.
Career
Early career
From 1964 to 1965, Levine served as an apprentice to George Szell with the Cleveland Orchestra. He then served as the Orchestra's assistant conductor until 1970. That year, he also made debuts as guest conductor with the Philadelphia Orchestra at its summer home at Robin Hood Dell, the Welsh National Opera, and the San Francisco Opera. From 1965 to 1972 he concurrently taught at the Cleveland Institute of Music. In the summers, he worked at the Meadow Brook School of Music in Michigan and at the Ravinia Festival in Highland Park, Illinois, the summer home of the Chicago Symphony Orchestra. During that time, the charismatic Levine developed a devoted following of young musicians and music lovers.
In June 1971, Levine was called in at the last moment to substitute for István Kertész, to lead the Chicago Symphony Orchestra and Chorus in Mahler's Second Symphony for the Ravinia Festival's opening concert of their 36th season. This concert began a long association with the Chicago Symphony Orchestra. From 1973 to 1993 he was music director of the Ravinia Festival, succeeding the late Kertész. He made numerous recordings with the orchestra, including the symphonies and German Requiem of Johannes Brahms, and major works of Gershwin, Holst, Berg, Beethoven, Mozart, and others. In 1990, at the request of Roy E. Disney, he arranged the music and conducted the Chicago Symphony Orchestra and Chorus in the soundtrack of Fantasia 2000, released by Walt Disney Pictures. From 1974 to 1978, Levine also served as music director of the Cincinnati May Festival.
Metropolitan Opera
Levine made his Metropolitan Opera debut a few weeks before he turned 28, on June 5, 1971, leading a June Festival performance of Puccini's Tosca. After further appearances with the company, he was named its principal conductor in February 1972. He became its music director in 1975. In 1983, he served as conductor and musical director for the Franco Zeffirelli screen adaptation of Verdi's La Traviata, which featured the Met orchestra and chorus members. He became the company's first artistic director in 1986, and relinquished the title in 2004. In 2005, Levine's combined salary from the Boston Symphony Orchestra and the Met made him the highest-paid conductor in the country, at $3.5 million.
During Levine's tenure, the Metropolitan Opera orchestra expanded its activities into recording and concert series for the orchestra and chamber ensembles from the orchestra at Carnegie Hall. Levine led the Metropolitan Opera on many domestic and international tours. For the 25th anniversary of his Met debut, Levine conducted the world premiere of John Harbison's The Great Gatsby, commissioned for the occasion. On his appointment as general manager of the Met, Peter Gelb emphasized that Levine was welcome to remain as long as he wanted to direct music there. Levine was paid $2.1 million by the Met in 2010.
Following a series of injuries that began with a fall, Levine's health problems led to his withdrawal from many Metropolitan Opera engagements. After a May 2011 performance of Wagner's Die Walküre, Levine formally withdrew from all engagements at the Met. After two years of physical therapy, he returned to conducting with a May 2013 concert with the Metropolitan Opera Orchestra at Carnegie Hall. On September 25, 2013, Levine conducted his first Met performance since May 2011, in a revival production of Mozart's Così fan tutte. He was scheduled to conduct three productions at the opera house and three at Carnegie Hall in the 2013–14 season. On April 14, 2016, Met management announced that Levine would step down from his position as music director at the end of the 2015–16 season. Levine was paid $1.8 million by the Met for the 2015–16 season. He assumed the new title of Music Director Emeritus, which he held until December 2017, when in the wake of allegations that Levine had sexually abused four young men, the Met suspended its relationship with him and canceled all his scheduled performances with the company.
Boston Symphony Orchestra
Levine first conducted the Boston Symphony Orchestra (BSO) in April 1972. In October 2001, he was named its music director effective with the 2004–05 season, with an initial contract of five years, becoming the first American-born conductor to head the BSO.
One unique condition that Levine negotiated was increased flexibility of the time allotted for rehearsal, allowing the orchestra additional time to prepare more challenging works. After the start of his tenure, the orchestra also established an "Artistic Initiative Fund" of about $40 million to fund the more expensive of his projects.
One criticism of Levine during his BSO tenure is that he did not attend many orchestra auditions. A 2005 article reported that he had attended two out of 16 auditions during his tenure up to that time. Levine responded that he has the ability to provide input on musician tenure decisions after the initial probationary period, and that it is difficult to know how well a given player will fit the given position until that person has had a chance to work with the orchestra: "My message is the audition isn't everything."
Another 2005 report stated that during Levine's first season as music director, the greater workload from the demands of playing more unfamiliar and contemporary music had increased physical stress on some of the BSO musicians. Levine and the players met to discuss this, and he agreed to program changes to lessen these demands. He received general critical praise for revitalizing the orchestra's quality and repertoire since the beginning of his tenure.
Levine experienced ongoing health problems, starting with an onstage fall in 2006 that resulted in a torn rotator cuff and started discussion of how long Levine's tenure with the BSO would last. In April 2010, in the wake of his continuing health problems, it emerged that Levine had not officially signed a contract extension, so that he was the BSO's music director without a signed contract. On March 2, 2011, the BSO announced Levine's resignation as music director effective September 2011, after the Orchestra's Tanglewood season.
Working on a commission from Levine and the BSO, the composer John Harbison dedicated his Symphony No. 6 "in friendship and gratitude" to him, whose premature departure from the orchestra prevented him from conducting the premiere.
After allegations of his abusing a number of young men came out in December 2017 the BSO said Levine "will never be employed or contracted by the BSO at any time in the future".
Conducting in Europe
Levine's BSO contract limited his guest appearances with American orchestras, but he still conducted regularly in Europe, with the Vienna Philharmonic, Berlin Philharmonic, and at the Bayreuth Festival. Levine was a regular guest with the Philharmonia of London and the Staatskapelle Dresden. Beginning in 1975 he conducted regularly at the Salzburg Festival and the annual July Verbier Festival. From 1999 to 2004, he was chief conductor of the Munich Philharmonic, and was credited with improving the quality of instrumental ensemble during his tenure.
Work with students
Levine initiated the Lindemann Young Artists Development Program at the Metropolitan Opera in 1980, a professional training program for graduated singers with, today, many famous alumni.
Levine was conductor of the UBS Verbier Festival Orchestra, the student resident orchestra at the annual summer music festival in Verbier, Switzerland, from 1999 through 2006. It was Levine's first long-term commitment to a student orchestra since becoming music director at the Met.
After becoming music director of the Boston Symphony Orchestra, Levine also served as music director of the Tanglewood Music Center, the BSO's acclaimed summer academy at Tanglewood for student instrumentalists, singers, composers, and conductors. There he conducted the Tanglewood Music Center Orchestra, directed fully staged opera performances with student singers, and gave master classes for singers and conductors.
Levine said in an interview:
At my age, you are naturally inclined towards teaching. You want to teach what you have learned to the next generation so that they don't have to spend time reinventing the wheel. I was lucky that I met the right mentors and teachers at the right moment. I love working with young musicians and singers, and those at the Tanglewood Music Center are unequivocally some of the finest and most talented in the world.
He continued to work with young students even when his health issues kept him from conducting. He was awarded the Lotus Award ("for inspiration to young musicians") from Young Concert Artists. Anthony Tommasini wrote in The New York Times in 2016: "The aspiring singers in the Met's young artist development program, one of many important ventures Mr. Levine started, must understand how lucky they are to have, as a teacher and mentor, a musician who even in his 20s worked at the Met with giants like Jon Vickers and Renata Tebaldi."
Health problems and death
Levine experienced recurrent health issues beginning in 2006, including sciatica and what he called "intermittent tremors". On March 1, 2006, he tripped and fell onstage during a standing ovation after a performance with the Boston Symphony Orchestra and tore the rotator cuff in his right shoulder, leaving the remaining subscription concerts in Boston to his assistant conductor at the time. Later that month, Levine underwent surgery to repair the injury. He returned to the podium on July 7, 2006.
Levine withdrew from the majority of the Tanglewood 2008 summer season because of surgery required to remove a kidney with a malignant cyst. He returned to the podium in Boston on September 24, 2008, at Symphony Hall.
On September 29, 2009, it was announced that Levine would undergo emergency back surgery for a herniated disk. He missed three weeks of engagements.
In March 2010, the BSO announced that Levine would miss the remainder of the Boston Symphony season because of back pain. The Met also announced, on April 4, 2010, that he was withdrawing from the remainder of his performances for the season. According to the Met, Levine was required to have "corrective surgery for an ongoing lower back problem". He returned to conducting at the Met and the BSO at the beginning of the 2010–11 season, but in February 2011 canceled his Boston engagements for the rest of the season.
In the summer of 2011, Levine underwent further surgery on his back. In September 2011, after he fell down a flight of stairs, fractured his spine, and injured his back while on vacation in Vermont, the Met announced that he would not conduct at the Met at least for the rest of 2011.
After two years of surgery and physical therapy, Levine returned to conducting for the first time on May 19, 2013, in a concert with the Metropolitan Opera Orchestra at Carnegie Hall. Levine conducted from a motorized wheelchair, with a special platform designed to accommodate it, which could rise and descend like an elevator. He returned to the Met on September 24, 2013. The same type of platform was present in the Met orchestra pit for his September 2013 return performance.
For many years, both Levine and the Met denied as unfounded the rumors that Levine had Parkinson's disease. As New York magazine reported: "The conductor states flatly that the condition is not Parkinson's disease, as people had speculated in 'that silly Times piece.'" But in 2016 both he and the Met finally admitted that the rumors were true, and that Levine had in fact had the disease since 1994. The Washington Post noted: "It wasn't just the illnesses, but the constant alternation between concealment and an excess of revelation that kept so much attention focused on them and away from the music."
Levine died in his Palm Springs home on March 9, 2021. Len Horovitz, his personal physician, announced Levine's death on March 17 and said that he had died of natural causes.
Sexual assault allegations
Four men accused Levine of sexually molesting them (starting when they were 16, 17, 17, and 20 years old), from the 1960s to the 1990s.
On December 2, 2017, it was publicly revealed that an October 2016 police report detailed that Levine had allegedly sexually molested a male teenager for years. The alleged sexual abuse began while Levine was guest conductor at the Ravinia Festival, outside Chicago, where Levine was music director for the Chicago Symphony Orchestra's summer residencies from 1973 to 1993.
One accuser said that in the summer of 1968, when he was a 17-year-old high school student attending Meadow Brook School of Music in Michigan, Levine (then a 25-year-old faculty member) had sexual contact with a student. When he next saw Levine, the accuser told him that he would not repeat the sexual behavior, but asked if they could continue to make music as they had before; Levine said no. The accuser later played bass in the St. Paul Chamber Orchestra for decades and became a professor.
A second accuser said that that same summer, Levine had sexual contact with a 17-year-old student and that Levine then initiated with the teenager a number of sexual encounters that have since haunted him. He said (and another male corroborated, on the condition of anonymity) that the next year, in Cleveland, where Levine was an assistant conductor of the Cleveland Orchestra, Levine on several occasions had sexual contact with that student and other students.
A third accuser, a violinist and pianist who grew up in Illinois near the Ravinia Music Festival, a summer program for aspiring musicians of which Levine was music director from 1971 to 1993, said Levine sexually abused him beginning when the accuser was 16 years old (and Levine was in his 40s) in 1986. He had previously detailed his accusation in 2016 in a report to the Lake Forest Police Department in Illinois. On December 8, the department announced that Levine could not be charged criminally in Illinois because the accuser was 16 years old at the time, and while today a 16-year-old is not considered old enough to consent to such conduct in Illinois (he must be 17, or 18 in cases in which the suspect is in a position of trust, authority, or supervision in relation to the victim), at the time that was the statutory age of consent. The department noted: "we are bound to apply the law that was in effect at the time the allegations occurred rather than the law as it currently exists."
On December 4, a fourth man, who later had a long career as a violinist in the New Jersey Symphony Orchestra, said he had been abused by Levine beginning in 1968, when he was 20 years old and attending the Meadow Brook School of Music. Levine was a teacher in the summer program.
Reactions
The New York Times said that the Met had known of at least one sexual abuse allegation as early as 1979, but dismissed it as baseless. Furthermore, the Met (including its General Manager Peter Gelb, who was contacted directly by a police detective about the allegations in October 2016) had been aware of both the third accuser's abuse allegations since they were made in the 2016 police report, and of the attendant police investigation. But the Met did not suspend Levine or launch an investigation of its own until over a year later, in December 2017.
In response to the December 2017 news article, the Met announced that it would investigate the sexual abuse allegations dating to the 1980s that were set forth in the 2016 police report. On December 3, after two additional males came forward with allegations of abuse, the Met suspended its ties with Levine, and canceled all upcoming engagements with him. A fourth accuser came forward the following day.
For its part, the Ravinia Festival, in April 2017, six months after the criminal investigation of Levine began, created an honorific title for Levine—"Conductor Laureate"—and signed him to a five-year renewable contract to begin in 2018. On December 4, 2017, the Ravinia Festival severed all ties with Levine, and terminated his five-year contract to lead the Chicago Symphony there.
The Boston Symphony Orchestra said Levine "will never be employed or contracted by the BSO at any time in the future". The Juilliard School, where Levine had studied, replaced him in a February 2018 performance where he was scheduled to lead the Juilliard Orchestra and singers from the Met's Lindemann Young Artist Development Program. On December 5, the Cincinnati May Festival canceled Levine's appearance in May. On December 7, in New Plymouth, New Zealand, the cinema chain Event Cinemas abruptly cancelled the screening of a Met production of Levine conducting Mozart's Die Zauberflöte. On December 8, Fred Child, host of the classical music radio show Performance Today, wrote that Levine "is accused of inflicting grievous harm to living members of our musical community. Out of respect for these people and their wounds, I choose not to broadcast performances featuring Mr. Levine on the podium."
Classical music blogger, former Village Voice music critic, and Juilliard School faculty member Greg Sandow said he had been contacted by three men over the years who said that Levine had abused them, and that reports of sexual abuse by Levine were "widely talked about" for 40 years. Sandow said further: "Everybody in the classical music business at least since the 1980s has talked about Levine as a sex abuser. The investigation should have been done decades ago." Pulitzer Prize-winning music critic Justin Davidson mused on the culture website of New York magazine, "James Levine's career has clearly ended" and "I'm not sure the Met can survive Levine's disgrace." Similarly, drama critic Terry Teachout of The Wall Street Journal wrote an article called "The Levine Cataclysm; How allegations against James Levine of sexual misconduct with teenagers could topple the entire Metropolitan Opera". The Washington Post music critic Anne Midgette noted: "The Met has known about these allegations for at least a year, and are only investigating them now that they are public", and opined on her Facebook page that the Met has "quite probably spent years protecting its star conductor from just this kind of allegation". Music critic Tim Pfaff of the LGBT Bay Area Reporter wrote that The New York Times chief classical music critic Anthony Tommasini had the "weirdest" reaction, "lamenting the ugliness of it all under a...headline, 'Should I Put Away My James Levine Recordings?' His conclusion was that he and his husband...should move those recordings from their living room."
The Met orchestra musicians applauded the courage of the four men who came forward with accusations that Levine had abused them. Local 802 of the American Federation of Musicians, which represents the Met's orchestra and Levine, said, "We are horrified and sickened by the recently reported allegations of sexual abuse by Mr. Levine."
Five days after news of the accusations by the four men broke, Levine spoke about them for the first time, and called them "unfounded". The accusers stood by their claims, with one saying, "I will take a lie-detector test. Will he?" Six days later, music critic Arthur Kaptainis wrote in the Montreal Gazette that Levine's denial "had little effect".
On March 12, 2018, the Met announced that it had fired Levine. Its investigation found Levine had "engaged in sexually abusive and harassing conduct towards vulnerable artists in the early stages of their careers".
Levine sued the Metropolitan Opera in New York State Supreme Court for breach of contract and defamation on March 15, 2018, three days after the company fired him, seeking more than $5.8 million in damages. The Met denied Levine's allegations. A year later, a New York State Supreme Court judge dismissed most of Levine's claims, but ruled that the Met and its attorney had made defamatory statements.
The Metropolitan Opera and Levine announced a settlement on undisclosed terms in August 2019. In September 2020, the size of the payout was indirectly exposed by annual disclosure statements required for nonprofits; Levine had received $3.5 million in the settlement. It is speculated that he was able to negotiate such a large settlement due to the lack of a morals clause in his contract with the Met.
Recordings and film
Levine made many audio and video recordings. He recorded extensively with many orchestras, and especially often with the Metropolitan Opera. His performance of Aida with Leontyne Price, her last in opera, was preserved on video and may be seen at the Met's own online archive of performances. Of particular note are his performances of Wagner's complete Der Ring des Nibelungen. A studio recording made for Deutsche Grammophon from 1987 to 1989 is on compact disc, and a 1989 live performance of the Ring is available on DVD. He also appears on several dozen albums as a pianist, collaborating with such singers as Jessye Norman, Kathleen Battle, Christa Ludwig, and Dawn Upshaw, as well as performing the chamber music of Franz Schubert and Francis Poulenc, among others.
Levine was featured in the animated Disney film Fantasia 2000. He conducted the Chicago Symphony Orchestra in the soundtrack recordings of all the music in the film (with the exception of one segment from the original 1940 Fantasia). Levine is also seen in the film talking briefly with Mickey Mouse and Donald Duck, just as his predecessor Leopold Stokowski did in the original film.
Discography
Marilyn Horne: Divas in Song (1994), RCA Victor Red Seal CD, 09026-62547-2
Videography
Mozart: Idomeneo (1982), Deutsche Grammophon DVD, 00440-073-4234
The Metropolitan Opera Centennial Gala (1983), Deutsche Grammophon DVD, 00440-073-4538
The Metropolitan Opera Gala 1991, Deutsche Grammophon DVD, 00440-073-4582
James Levine's 25th Anniversary Metropolitan Opera Gala (1996), Deutsche Grammophon DVD, B0004602-09
Honors
Among the awards listed in his Met biography are:
1980 – Manhattan Cultural Award
1982 – first of eight Grammy Awards
1984 – Named "Musician of the Year" by Musical America
1986 – Smetana Medal (presented by the former Czechoslovakia)
1997 – National Medal of Arts
1999 – Wilhelm Furtwängler Prize from the Committee for Cultural Advancement of Baden-Baden, Germany
2003 – Kennedy Center Honors
2005 – Award for Distinguished Service to the Arts from the American Academy of Arts and Letters
2006 – Opera News Award
2009 – Award in the Vocal Arts from Bard College
2009 – Ditson Conductors Award from Columbia University
2010 – National Endowment for the Arts Opera Honoree
2010 – George Peabody Award from Peabody Conservatory at Johns Hopkins University
2010 – elected an honorary member of the American Academy of Arts and Letters
In addition, his biography says Levine has received honorary doctorates from the University of Cincinnati, the New England Conservatory of Music, Northwestern University, the State University of New York, and the Juilliard School. On May 3, 2018, SUNY revoked Levine's honorary doctorate in response to the sexual abuse allegations against him.
References
External links
1943 births
2021 deaths
20th-century American conductors (music)
20th-century American pianists
20th-century American male musicians
20th-century classical pianists
21st-century American conductors (music)
21st-century American male musicians
21st-century American pianists
21st-century classical pianists
American classical pianists
American male conductors (music)
American male pianists
Aspen Music Festival and School alumni
Conductors of the Metropolitan Opera
Deutsche Grammophon artists
Grammy Award winners
Jewish American classical musicians
Jewish classical pianists
Juilliard School alumni
Kennedy Center honorees
Male classical pianists
Metropolitan Opera people
Music directors (opera)
Musicians from Cincinnati
Musicians from New York City
Oehms Classics artists
People stripped of honorary degrees
People with Parkinson's disease
United States National Medal of Arts recipients
21st-century American Jews | true | [
"Miguel Skrobot (Warsaw, 1873 – Curitiba, February 20, 1912) was a businessman Brazilian of Polish origin.\n\nMiguel Skrobot was born in 1873, in Warsaw, Poland, to José Skrobot and Rosa Skrobot. When he was 18 he migrated to Brazil and settled in Curitiba as a merchant.\n\nHe married Maria Pansardi, who was born in Tibagi, Paraná, to Italian immigrants, and she bore him three children. He kept a steam-powered factory where he worked on grinding and toasting coffee beans under the \"Rio Branco\" brand, located on the spot where today stands the square called Praça Zacarias (square located in the center of Curitiba). He also owned a grocery store near Praça Tiradentes (also a square in the center of Curitiba, where the city was born). He died an early death, when he was 39, on February 20, 1912.\n\nReferences\n\n1873 births\n1912 deaths\nBrazilian businesspeople\nPeople from Curitiba\nPolish emigrants to Brazil",
"Adolf von Rauch (22 April 1798 - 12 December 1882) was a German paper manufacturer in Heilbronn, where he was born and died and where he was a major builder of social housing.\n\nPapermakers\n1798 births\n1882 deaths\nPeople from Heilbronn"
] | [
"James Lawrence Levine (; June 23, 1943 – March 9, 2021) was an American conductor and pianist. He was music director of the Metropolitan Opera (the \"Met\") from 1976 to 2016.",
"He was music director of the Metropolitan Opera (the \"Met\") from 1976 to 2016. He was formally terminated from all his positions and affiliations with the Met on March 12, 2018, over sexual misconduct allegations, which he denied.",
"He was formally terminated from all his positions and affiliations with the Met on March 12, 2018, over sexual misconduct allegations, which he denied. Levine held leadership positions with the Ravinia Festival, the Munich Philharmonic, and the Boston Symphony Orchestra.",
"Levine held leadership positions with the Ravinia Festival, the Munich Philharmonic, and the Boston Symphony Orchestra. In 1980 he started the Lindemann Young Artists Development Program, and trained singers, conductors, and musicians for professional careers.",
"In 1980 he started the Lindemann Young Artists Development Program, and trained singers, conductors, and musicians for professional careers. After taking an almost two-year health-related hiatus from conducting from 2011 to 2013, during which time he held artistic and administrative planning sessions at the Met, and led training of the Lindemann Young Artists, Levine retired as the Met's full-time Music Director following the 2015–16 season to become Music Director Emeritus.",
"After taking an almost two-year health-related hiatus from conducting from 2011 to 2013, during which time he held artistic and administrative planning sessions at the Met, and led training of the Lindemann Young Artists, Levine retired as the Met's full-time Music Director following the 2015–16 season to become Music Director Emeritus. Early years and personal life Levine was born in Cincinnati, Ohio, to a Jewish, musical family.",
"Early years and personal life Levine was born in Cincinnati, Ohio, to a Jewish, musical family. His maternal grandfather was a composer and a cantor in a synagogue; his father, Lawrence, was a violinist who led dance bands under the name \"Larry Lee\" before entering his father's clothing business; and his mother, Helen Goldstein Levine, was briefly an actress on Broadway, performing as \"Helen Golden\".",
"His maternal grandfather was a composer and a cantor in a synagogue; his father, Lawrence, was a violinist who led dance bands under the name \"Larry Lee\" before entering his father's clothing business; and his mother, Helen Goldstein Levine, was briefly an actress on Broadway, performing as \"Helen Golden\". He had a brother, Tom, who was two years younger, who followed him to New York City from Cincinnati in 1974, and with whom he was very close.",
"He had a brother, Tom, who was two years younger, who followed him to New York City from Cincinnati in 1974, and with whom he was very close. He employed Tom as his business assistant, looking after his affairs, arranging his rehearsal schedules, fielding queries, scouting out places to live, meeting with accountants, and accompanying Levine on trips to Europe.",
"He employed Tom as his business assistant, looking after his affairs, arranging his rehearsal schedules, fielding queries, scouting out places to live, meeting with accountants, and accompanying Levine on trips to Europe. Tom was also a painter. He also had a younger sister, Janet, who is a marriage counselor.",
"He also had a younger sister, Janet, who is a marriage counselor. He began to play the piano as a small child. On February 21, 1954, at age 10, Levine made his concert debut as soloist playing Felix Mendelssohn's Piano Concerto No. 2 at a youth concert of the Cincinnati Symphony Orchestra in Ohio.",
"2 at a youth concert of the Cincinnati Symphony Orchestra in Ohio. Levine subsequently studied music with Walter Levin, first violinist in the LaSalle Quartet. In 1956 he took piano lessons with Rudolf Serkin at the Marlboro Music School in Vermont. The next year he began to study piano with Rosina Lhévinne at the Aspen Music School.",
"The next year he began to study piano with Rosina Lhévinne at the Aspen Music School. He graduated from Walnut Hills High School, a magnet school in Cincinnati. He entered the Juilliard School of Music in New York City in 1961, and took courses in conducting with Jean Morel.",
"He entered the Juilliard School of Music in New York City in 1961, and took courses in conducting with Jean Morel. He graduated from Juilliard in 1964, and joined the American Conductors project connected with the Baltimore Symphony Orchestra. Levine lived in The San Remo on Central Park West in New York City.",
"Levine lived in The San Remo on Central Park West in New York City. Career Early career From 1964 to 1965, Levine served as an apprentice to George Szell with the Cleveland Orchestra. He then served as the Orchestra's assistant conductor until 1970.",
"He then served as the Orchestra's assistant conductor until 1970. That year, he also made debuts as guest conductor with the Philadelphia Orchestra at its summer home at Robin Hood Dell, the Welsh National Opera, and the San Francisco Opera. From 1965 to 1972 he concurrently taught at the Cleveland Institute of Music.",
"From 1965 to 1972 he concurrently taught at the Cleveland Institute of Music. In the summers, he worked at the Meadow Brook School of Music in Michigan and at the Ravinia Festival in Highland Park, Illinois, the summer home of the Chicago Symphony Orchestra.",
"In the summers, he worked at the Meadow Brook School of Music in Michigan and at the Ravinia Festival in Highland Park, Illinois, the summer home of the Chicago Symphony Orchestra. During that time, the charismatic Levine developed a devoted following of young musicians and music lovers.",
"During that time, the charismatic Levine developed a devoted following of young musicians and music lovers. In June 1971, Levine was called in at the last moment to substitute for István Kertész, to lead the Chicago Symphony Orchestra and Chorus in Mahler's Second Symphony for the Ravinia Festival's opening concert of their 36th season.",
"In June 1971, Levine was called in at the last moment to substitute for István Kertész, to lead the Chicago Symphony Orchestra and Chorus in Mahler's Second Symphony for the Ravinia Festival's opening concert of their 36th season. This concert began a long association with the Chicago Symphony Orchestra.",
"This concert began a long association with the Chicago Symphony Orchestra. From 1973 to 1993 he was music director of the Ravinia Festival, succeeding the late Kertész.",
"From 1973 to 1993 he was music director of the Ravinia Festival, succeeding the late Kertész. He made numerous recordings with the orchestra, including the symphonies and German Requiem of Johannes Brahms, and major works of Gershwin, Holst, Berg, Beethoven, Mozart, and others.",
"He made numerous recordings with the orchestra, including the symphonies and German Requiem of Johannes Brahms, and major works of Gershwin, Holst, Berg, Beethoven, Mozart, and others. In 1990, at the request of Roy E. Disney, he arranged the music and conducted the Chicago Symphony Orchestra and Chorus in the soundtrack of Fantasia 2000, released by Walt Disney Pictures.",
"In 1990, at the request of Roy E. Disney, he arranged the music and conducted the Chicago Symphony Orchestra and Chorus in the soundtrack of Fantasia 2000, released by Walt Disney Pictures. From 1974 to 1978, Levine also served as music director of the Cincinnati May Festival.",
"From 1974 to 1978, Levine also served as music director of the Cincinnati May Festival. Metropolitan Opera Levine made his Metropolitan Opera debut a few weeks before he turned 28, on June 5, 1971, leading a June Festival performance of Puccini's Tosca.",
"Metropolitan Opera Levine made his Metropolitan Opera debut a few weeks before he turned 28, on June 5, 1971, leading a June Festival performance of Puccini's Tosca. After further appearances with the company, he was named its principal conductor in February 1972. He became its music director in 1975.",
"He became its music director in 1975. In 1983, he served as conductor and musical director for the Franco Zeffirelli screen adaptation of Verdi's La Traviata, which featured the Met orchestra and chorus members. He became the company's first artistic director in 1986, and relinquished the title in 2004.",
"He became the company's first artistic director in 1986, and relinquished the title in 2004. In 2005, Levine's combined salary from the Boston Symphony Orchestra and the Met made him the highest-paid conductor in the country, at $3.5 million.",
"In 2005, Levine's combined salary from the Boston Symphony Orchestra and the Met made him the highest-paid conductor in the country, at $3.5 million. During Levine's tenure, the Metropolitan Opera orchestra expanded its activities into recording and concert series for the orchestra and chamber ensembles from the orchestra at Carnegie Hall.",
"During Levine's tenure, the Metropolitan Opera orchestra expanded its activities into recording and concert series for the orchestra and chamber ensembles from the orchestra at Carnegie Hall. Levine led the Metropolitan Opera on many domestic and international tours.",
"Levine led the Metropolitan Opera on many domestic and international tours. For the 25th anniversary of his Met debut, Levine conducted the world premiere of John Harbison's The Great Gatsby, commissioned for the occasion.",
"For the 25th anniversary of his Met debut, Levine conducted the world premiere of John Harbison's The Great Gatsby, commissioned for the occasion. On his appointment as general manager of the Met, Peter Gelb emphasized that Levine was welcome to remain as long as he wanted to direct music there.",
"On his appointment as general manager of the Met, Peter Gelb emphasized that Levine was welcome to remain as long as he wanted to direct music there. Levine was paid $2.1 million by the Met in 2010.",
"Levine was paid $2.1 million by the Met in 2010. Following a series of injuries that began with a fall, Levine's health problems led to his withdrawal from many Metropolitan Opera engagements. After a May 2011 performance of Wagner's Die Walküre, Levine formally withdrew from all engagements at the Met.",
"After a May 2011 performance of Wagner's Die Walküre, Levine formally withdrew from all engagements at the Met. After two years of physical therapy, he returned to conducting with a May 2013 concert with the Metropolitan Opera Orchestra at Carnegie Hall.",
"After two years of physical therapy, he returned to conducting with a May 2013 concert with the Metropolitan Opera Orchestra at Carnegie Hall. On September 25, 2013, Levine conducted his first Met performance since May 2011, in a revival production of Mozart's Così fan tutte.",
"On September 25, 2013, Levine conducted his first Met performance since May 2011, in a revival production of Mozart's Così fan tutte. He was scheduled to conduct three productions at the opera house and three at Carnegie Hall in the 2013–14 season.",
"He was scheduled to conduct three productions at the opera house and three at Carnegie Hall in the 2013–14 season. On April 14, 2016, Met management announced that Levine would step down from his position as music director at the end of the 2015–16 season. Levine was paid $1.8 million by the Met for the 2015–16 season.",
"Levine was paid $1.8 million by the Met for the 2015–16 season. He assumed the new title of Music Director Emeritus, which he held until December 2017, when in the wake of allegations that Levine had sexually abused four young men, the Met suspended its relationship with him and canceled all his scheduled performances with the company.",
"He assumed the new title of Music Director Emeritus, which he held until December 2017, when in the wake of allegations that Levine had sexually abused four young men, the Met suspended its relationship with him and canceled all his scheduled performances with the company. Boston Symphony Orchestra Levine first conducted the Boston Symphony Orchestra (BSO) in April 1972.",
"Boston Symphony Orchestra Levine first conducted the Boston Symphony Orchestra (BSO) in April 1972. In October 2001, he was named its music director effective with the 2004–05 season, with an initial contract of five years, becoming the first American-born conductor to head the BSO.",
"In October 2001, he was named its music director effective with the 2004–05 season, with an initial contract of five years, becoming the first American-born conductor to head the BSO. One unique condition that Levine negotiated was increased flexibility of the time allotted for rehearsal, allowing the orchestra additional time to prepare more challenging works.",
"One unique condition that Levine negotiated was increased flexibility of the time allotted for rehearsal, allowing the orchestra additional time to prepare more challenging works. After the start of his tenure, the orchestra also established an \"Artistic Initiative Fund\" of about $40 million to fund the more expensive of his projects.",
"After the start of his tenure, the orchestra also established an \"Artistic Initiative Fund\" of about $40 million to fund the more expensive of his projects. One criticism of Levine during his BSO tenure is that he did not attend many orchestra auditions.",
"One criticism of Levine during his BSO tenure is that he did not attend many orchestra auditions. A 2005 article reported that he had attended two out of 16 auditions during his tenure up to that time.",
"A 2005 article reported that he had attended two out of 16 auditions during his tenure up to that time. Levine responded that he has the ability to provide input on musician tenure decisions after the initial probationary period, and that it is difficult to know how well a given player will fit the given position until that person has had a chance to work with the orchestra: \"My message is the audition isn't everything.\"",
"Levine responded that he has the ability to provide input on musician tenure decisions after the initial probationary period, and that it is difficult to know how well a given player will fit the given position until that person has had a chance to work with the orchestra: \"My message is the audition isn't everything.\" Another 2005 report stated that during Levine's first season as music director, the greater workload from the demands of playing more unfamiliar and contemporary music had increased physical stress on some of the BSO musicians.",
"Another 2005 report stated that during Levine's first season as music director, the greater workload from the demands of playing more unfamiliar and contemporary music had increased physical stress on some of the BSO musicians. Levine and the players met to discuss this, and he agreed to program changes to lessen these demands.",
"Levine and the players met to discuss this, and he agreed to program changes to lessen these demands. He received general critical praise for revitalizing the orchestra's quality and repertoire since the beginning of his tenure.",
"He received general critical praise for revitalizing the orchestra's quality and repertoire since the beginning of his tenure. Levine experienced ongoing health problems, starting with an onstage fall in 2006 that resulted in a torn rotator cuff and started discussion of how long Levine's tenure with the BSO would last.",
"Levine experienced ongoing health problems, starting with an onstage fall in 2006 that resulted in a torn rotator cuff and started discussion of how long Levine's tenure with the BSO would last. In April 2010, in the wake of his continuing health problems, it emerged that Levine had not officially signed a contract extension, so that he was the BSO's music director without a signed contract.",
"In April 2010, in the wake of his continuing health problems, it emerged that Levine had not officially signed a contract extension, so that he was the BSO's music director without a signed contract. On March 2, 2011, the BSO announced Levine's resignation as music director effective September 2011, after the Orchestra's Tanglewood season.",
"On March 2, 2011, the BSO announced Levine's resignation as music director effective September 2011, after the Orchestra's Tanglewood season. Working on a commission from Levine and the BSO, the composer John Harbison dedicated his Symphony No.",
"Working on a commission from Levine and the BSO, the composer John Harbison dedicated his Symphony No. 6 \"in friendship and gratitude\" to him, whose premature departure from the orchestra prevented him from conducting the premiere.",
"6 \"in friendship and gratitude\" to him, whose premature departure from the orchestra prevented him from conducting the premiere. After allegations of his abusing a number of young men came out in December 2017 the BSO said Levine \"will never be employed or contracted by the BSO at any time in the future\".",
"After allegations of his abusing a number of young men came out in December 2017 the BSO said Levine \"will never be employed or contracted by the BSO at any time in the future\". Conducting in Europe Levine's BSO contract limited his guest appearances with American orchestras, but he still conducted regularly in Europe, with the Vienna Philharmonic, Berlin Philharmonic, and at the Bayreuth Festival.",
"Conducting in Europe Levine's BSO contract limited his guest appearances with American orchestras, but he still conducted regularly in Europe, with the Vienna Philharmonic, Berlin Philharmonic, and at the Bayreuth Festival. Levine was a regular guest with the Philharmonia of London and the Staatskapelle Dresden.",
"Levine was a regular guest with the Philharmonia of London and the Staatskapelle Dresden. Beginning in 1975 he conducted regularly at the Salzburg Festival and the annual July Verbier Festival. From 1999 to 2004, he was chief conductor of the Munich Philharmonic, and was credited with improving the quality of instrumental ensemble during his tenure.",
"From 1999 to 2004, he was chief conductor of the Munich Philharmonic, and was credited with improving the quality of instrumental ensemble during his tenure. Work with students Levine initiated the Lindemann Young Artists Development Program at the Metropolitan Opera in 1980, a professional training program for graduated singers with, today, many famous alumni.",
"Work with students Levine initiated the Lindemann Young Artists Development Program at the Metropolitan Opera in 1980, a professional training program for graduated singers with, today, many famous alumni. Levine was conductor of the UBS Verbier Festival Orchestra, the student resident orchestra at the annual summer music festival in Verbier, Switzerland, from 1999 through 2006.",
"Levine was conductor of the UBS Verbier Festival Orchestra, the student resident orchestra at the annual summer music festival in Verbier, Switzerland, from 1999 through 2006. It was Levine's first long-term commitment to a student orchestra since becoming music director at the Met.",
"It was Levine's first long-term commitment to a student orchestra since becoming music director at the Met. After becoming music director of the Boston Symphony Orchestra, Levine also served as music director of the Tanglewood Music Center, the BSO's acclaimed summer academy at Tanglewood for student instrumentalists, singers, composers, and conductors.",
"After becoming music director of the Boston Symphony Orchestra, Levine also served as music director of the Tanglewood Music Center, the BSO's acclaimed summer academy at Tanglewood for student instrumentalists, singers, composers, and conductors. There he conducted the Tanglewood Music Center Orchestra, directed fully staged opera performances with student singers, and gave master classes for singers and conductors.",
"There he conducted the Tanglewood Music Center Orchestra, directed fully staged opera performances with student singers, and gave master classes for singers and conductors. Levine said in an interview: At my age, you are naturally inclined towards teaching.",
"Levine said in an interview: At my age, you are naturally inclined towards teaching. You want to teach what you have learned to the next generation so that they don't have to spend time reinventing the wheel. I was lucky that I met the right mentors and teachers at the right moment.",
"I was lucky that I met the right mentors and teachers at the right moment. I love working with young musicians and singers, and those at the Tanglewood Music Center are unequivocally some of the finest and most talented in the world. He continued to work with young students even when his health issues kept him from conducting.",
"He continued to work with young students even when his health issues kept him from conducting. He was awarded the Lotus Award (\"for inspiration to young musicians\") from Young Concert Artists.",
"He was awarded the Lotus Award (\"for inspiration to young musicians\") from Young Concert Artists. Anthony Tommasini wrote in The New York Times in 2016: \"The aspiring singers in the Met's young artist development program, one of many important ventures Mr. Levine started, must understand how lucky they are to have, as a teacher and mentor, a musician who even in his 20s worked at the Met with giants like Jon Vickers and Renata Tebaldi.\"",
"Anthony Tommasini wrote in The New York Times in 2016: \"The aspiring singers in the Met's young artist development program, one of many important ventures Mr. Levine started, must understand how lucky they are to have, as a teacher and mentor, a musician who even in his 20s worked at the Met with giants like Jon Vickers and Renata Tebaldi.\" Health problems and death Levine experienced recurrent health issues beginning in 2006, including sciatica and what he called \"intermittent tremors\".",
"Health problems and death Levine experienced recurrent health issues beginning in 2006, including sciatica and what he called \"intermittent tremors\". On March 1, 2006, he tripped and fell onstage during a standing ovation after a performance with the Boston Symphony Orchestra and tore the rotator cuff in his right shoulder, leaving the remaining subscription concerts in Boston to his assistant conductor at the time.",
"On March 1, 2006, he tripped and fell onstage during a standing ovation after a performance with the Boston Symphony Orchestra and tore the rotator cuff in his right shoulder, leaving the remaining subscription concerts in Boston to his assistant conductor at the time. Later that month, Levine underwent surgery to repair the injury.",
"Later that month, Levine underwent surgery to repair the injury. He returned to the podium on July 7, 2006. Levine withdrew from the majority of the Tanglewood 2008 summer season because of surgery required to remove a kidney with a malignant cyst. He returned to the podium in Boston on September 24, 2008, at Symphony Hall.",
"He returned to the podium in Boston on September 24, 2008, at Symphony Hall. On September 29, 2009, it was announced that Levine would undergo emergency back surgery for a herniated disk. He missed three weeks of engagements.",
"He missed three weeks of engagements. In March 2010, the BSO announced that Levine would miss the remainder of the Boston Symphony season because of back pain. The Met also announced, on April 4, 2010, that he was withdrawing from the remainder of his performances for the season.",
"The Met also announced, on April 4, 2010, that he was withdrawing from the remainder of his performances for the season. According to the Met, Levine was required to have \"corrective surgery for an ongoing lower back problem\".",
"According to the Met, Levine was required to have \"corrective surgery for an ongoing lower back problem\". He returned to conducting at the Met and the BSO at the beginning of the 2010–11 season, but in February 2011 canceled his Boston engagements for the rest of the season.",
"He returned to conducting at the Met and the BSO at the beginning of the 2010–11 season, but in February 2011 canceled his Boston engagements for the rest of the season. In the summer of 2011, Levine underwent further surgery on his back.",
"In the summer of 2011, Levine underwent further surgery on his back. In September 2011, after he fell down a flight of stairs, fractured his spine, and injured his back while on vacation in Vermont, the Met announced that he would not conduct at the Met at least for the rest of 2011.",
"In September 2011, after he fell down a flight of stairs, fractured his spine, and injured his back while on vacation in Vermont, the Met announced that he would not conduct at the Met at least for the rest of 2011. After two years of surgery and physical therapy, Levine returned to conducting for the first time on May 19, 2013, in a concert with the Metropolitan Opera Orchestra at Carnegie Hall.",
"After two years of surgery and physical therapy, Levine returned to conducting for the first time on May 19, 2013, in a concert with the Metropolitan Opera Orchestra at Carnegie Hall. Levine conducted from a motorized wheelchair, with a special platform designed to accommodate it, which could rise and descend like an elevator.",
"Levine conducted from a motorized wheelchair, with a special platform designed to accommodate it, which could rise and descend like an elevator. He returned to the Met on September 24, 2013. The same type of platform was present in the Met orchestra pit for his September 2013 return performance.",
"The same type of platform was present in the Met orchestra pit for his September 2013 return performance. For many years, both Levine and the Met denied as unfounded the rumors that Levine had Parkinson's disease.",
"For many years, both Levine and the Met denied as unfounded the rumors that Levine had Parkinson's disease. As New York magazine reported: \"The conductor states flatly that the condition is not Parkinson's disease, as people had speculated in 'that silly Times piece.'\"",
"As New York magazine reported: \"The conductor states flatly that the condition is not Parkinson's disease, as people had speculated in 'that silly Times piece.'\" But in 2016 both he and the Met finally admitted that the rumors were true, and that Levine had in fact had the disease since 1994.",
"But in 2016 both he and the Met finally admitted that the rumors were true, and that Levine had in fact had the disease since 1994. The Washington Post noted: \"It wasn't just the illnesses, but the constant alternation between concealment and an excess of revelation that kept so much attention focused on them and away from the music.\"",
"The Washington Post noted: \"It wasn't just the illnesses, but the constant alternation between concealment and an excess of revelation that kept so much attention focused on them and away from the music.\" Levine died in his Palm Springs home on March 9, 2021.",
"Levine died in his Palm Springs home on March 9, 2021. Len Horovitz, his personal physician, announced Levine's death on March 17 and said that he had died of natural causes.",
"Len Horovitz, his personal physician, announced Levine's death on March 17 and said that he had died of natural causes. Sexual assault allegations Four men accused Levine of sexually molesting them (starting when they were 16, 17, 17, and 20 years old), from the 1960s to the 1990s.",
"Sexual assault allegations Four men accused Levine of sexually molesting them (starting when they were 16, 17, 17, and 20 years old), from the 1960s to the 1990s. On December 2, 2017, it was publicly revealed that an October 2016 police report detailed that Levine had allegedly sexually molested a male teenager for years.",
"On December 2, 2017, it was publicly revealed that an October 2016 police report detailed that Levine had allegedly sexually molested a male teenager for years. The alleged sexual abuse began while Levine was guest conductor at the Ravinia Festival, outside Chicago, where Levine was music director for the Chicago Symphony Orchestra's summer residencies from 1973 to 1993.",
"The alleged sexual abuse began while Levine was guest conductor at the Ravinia Festival, outside Chicago, where Levine was music director for the Chicago Symphony Orchestra's summer residencies from 1973 to 1993. One accuser said that in the summer of 1968, when he was a 17-year-old high school student attending Meadow Brook School of Music in Michigan, Levine (then a 25-year-old faculty member) had sexual contact with a student.",
"One accuser said that in the summer of 1968, when he was a 17-year-old high school student attending Meadow Brook School of Music in Michigan, Levine (then a 25-year-old faculty member) had sexual contact with a student. When he next saw Levine, the accuser told him that he would not repeat the sexual behavior, but asked if they could continue to make music as they had before; Levine said no.",
"When he next saw Levine, the accuser told him that he would not repeat the sexual behavior, but asked if they could continue to make music as they had before; Levine said no. The accuser later played bass in the St. Paul Chamber Orchestra for decades and became a professor.",
"The accuser later played bass in the St. Paul Chamber Orchestra for decades and became a professor. A second accuser said that that same summer, Levine had sexual contact with a 17-year-old student and that Levine then initiated with the teenager a number of sexual encounters that have since haunted him.",
"A second accuser said that that same summer, Levine had sexual contact with a 17-year-old student and that Levine then initiated with the teenager a number of sexual encounters that have since haunted him. He said (and another male corroborated, on the condition of anonymity) that the next year, in Cleveland, where Levine was an assistant conductor of the Cleveland Orchestra, Levine on several occasions had sexual contact with that student and other students.",
"He said (and another male corroborated, on the condition of anonymity) that the next year, in Cleveland, where Levine was an assistant conductor of the Cleveland Orchestra, Levine on several occasions had sexual contact with that student and other students. A third accuser, a violinist and pianist who grew up in Illinois near the Ravinia Music Festival, a summer program for aspiring musicians of which Levine was music director from 1971 to 1993, said Levine sexually abused him beginning when the accuser was 16 years old (and Levine was in his 40s) in 1986.",
"A third accuser, a violinist and pianist who grew up in Illinois near the Ravinia Music Festival, a summer program for aspiring musicians of which Levine was music director from 1971 to 1993, said Levine sexually abused him beginning when the accuser was 16 years old (and Levine was in his 40s) in 1986. He had previously detailed his accusation in 2016 in a report to the Lake Forest Police Department in Illinois.",
"He had previously detailed his accusation in 2016 in a report to the Lake Forest Police Department in Illinois. On December 8, the department announced that Levine could not be charged criminally in Illinois because the accuser was 16 years old at the time, and while today a 16-year-old is not considered old enough to consent to such conduct in Illinois (he must be 17, or 18 in cases in which the suspect is in a position of trust, authority, or supervision in relation to the victim), at the time that was the statutory age of consent.",
"On December 8, the department announced that Levine could not be charged criminally in Illinois because the accuser was 16 years old at the time, and while today a 16-year-old is not considered old enough to consent to such conduct in Illinois (he must be 17, or 18 in cases in which the suspect is in a position of trust, authority, or supervision in relation to the victim), at the time that was the statutory age of consent. The department noted: \"we are bound to apply the law that was in effect at the time the allegations occurred rather than the law as it currently exists.\"",
"The department noted: \"we are bound to apply the law that was in effect at the time the allegations occurred rather than the law as it currently exists.\" On December 4, a fourth man, who later had a long career as a violinist in the New Jersey Symphony Orchestra, said he had been abused by Levine beginning in 1968, when he was 20 years old and attending the Meadow Brook School of Music.",
"On December 4, a fourth man, who later had a long career as a violinist in the New Jersey Symphony Orchestra, said he had been abused by Levine beginning in 1968, when he was 20 years old and attending the Meadow Brook School of Music. Levine was a teacher in the summer program.",
"Levine was a teacher in the summer program. Reactions The New York Times said that the Met had known of at least one sexual abuse allegation as early as 1979, but dismissed it as baseless.",
"Reactions The New York Times said that the Met had known of at least one sexual abuse allegation as early as 1979, but dismissed it as baseless. Furthermore, the Met (including its General Manager Peter Gelb, who was contacted directly by a police detective about the allegations in October 2016) had been aware of both the third accuser's abuse allegations since they were made in the 2016 police report, and of the attendant police investigation.",
"Furthermore, the Met (including its General Manager Peter Gelb, who was contacted directly by a police detective about the allegations in October 2016) had been aware of both the third accuser's abuse allegations since they were made in the 2016 police report, and of the attendant police investigation. But the Met did not suspend Levine or launch an investigation of its own until over a year later, in December 2017.",
"But the Met did not suspend Levine or launch an investigation of its own until over a year later, in December 2017. In response to the December 2017 news article, the Met announced that it would investigate the sexual abuse allegations dating to the 1980s that were set forth in the 2016 police report.",
"In response to the December 2017 news article, the Met announced that it would investigate the sexual abuse allegations dating to the 1980s that were set forth in the 2016 police report. On December 3, after two additional males came forward with allegations of abuse, the Met suspended its ties with Levine, and canceled all upcoming engagements with him.",
"On December 3, after two additional males came forward with allegations of abuse, the Met suspended its ties with Levine, and canceled all upcoming engagements with him. A fourth accuser came forward the following day.",
"A fourth accuser came forward the following day. For its part, the Ravinia Festival, in April 2017, six months after the criminal investigation of Levine began, created an honorific title for Levine—\"Conductor Laureate\"—and signed him to a five-year renewable contract to begin in 2018.",
"For its part, the Ravinia Festival, in April 2017, six months after the criminal investigation of Levine began, created an honorific title for Levine—\"Conductor Laureate\"—and signed him to a five-year renewable contract to begin in 2018. On December 4, 2017, the Ravinia Festival severed all ties with Levine, and terminated his five-year contract to lead the Chicago Symphony there.",
"On December 4, 2017, the Ravinia Festival severed all ties with Levine, and terminated his five-year contract to lead the Chicago Symphony there. The Boston Symphony Orchestra said Levine \"will never be employed or contracted by the BSO at any time in the future\".",
"The Boston Symphony Orchestra said Levine \"will never be employed or contracted by the BSO at any time in the future\". The Juilliard School, where Levine had studied, replaced him in a February 2018 performance where he was scheduled to lead the Juilliard Orchestra and singers from the Met's Lindemann Young Artist Development Program.",
"The Juilliard School, where Levine had studied, replaced him in a February 2018 performance where he was scheduled to lead the Juilliard Orchestra and singers from the Met's Lindemann Young Artist Development Program. On December 5, the Cincinnati May Festival canceled Levine's appearance in May.",
"On December 5, the Cincinnati May Festival canceled Levine's appearance in May. On December 7, in New Plymouth, New Zealand, the cinema chain Event Cinemas abruptly cancelled the screening of a Met production of Levine conducting Mozart's Die Zauberflöte.",
"On December 7, in New Plymouth, New Zealand, the cinema chain Event Cinemas abruptly cancelled the screening of a Met production of Levine conducting Mozart's Die Zauberflöte. On December 8, Fred Child, host of the classical music radio show Performance Today, wrote that Levine \"is accused of inflicting grievous harm to living members of our musical community.",
"On December 8, Fred Child, host of the classical music radio show Performance Today, wrote that Levine \"is accused of inflicting grievous harm to living members of our musical community. Out of respect for these people and their wounds, I choose not to broadcast performances featuring Mr. Levine on the podium.\"",
"Out of respect for these people and their wounds, I choose not to broadcast performances featuring Mr. Levine on the podium.\" Classical music blogger, former Village Voice music critic, and Juilliard School faculty member Greg Sandow said he had been contacted by three men over the years who said that Levine had abused them, and that reports of sexual abuse by Levine were \"widely talked about\" for 40 years.",
"Classical music blogger, former Village Voice music critic, and Juilliard School faculty member Greg Sandow said he had been contacted by three men over the years who said that Levine had abused them, and that reports of sexual abuse by Levine were \"widely talked about\" for 40 years. Sandow said further: \"Everybody in the classical music business at least since the 1980s has talked about Levine as a sex abuser.",
"Sandow said further: \"Everybody in the classical music business at least since the 1980s has talked about Levine as a sex abuser. The investigation should have been done decades ago.\"",
"The investigation should have been done decades ago.\" Pulitzer Prize-winning music critic Justin Davidson mused on the culture website of New York magazine, \"James Levine's career has clearly ended\" and \"I'm not sure the Met can survive Levine's disgrace.\"",
"Pulitzer Prize-winning music critic Justin Davidson mused on the culture website of New York magazine, \"James Levine's career has clearly ended\" and \"I'm not sure the Met can survive Levine's disgrace.\" Similarly, drama critic Terry Teachout of The Wall Street Journal wrote an article called \"The Levine Cataclysm; How allegations against James Levine of sexual misconduct with teenagers could topple the entire Metropolitan Opera\".",
"Similarly, drama critic Terry Teachout of The Wall Street Journal wrote an article called \"The Levine Cataclysm; How allegations against James Levine of sexual misconduct with teenagers could topple the entire Metropolitan Opera\". The Washington Post music critic Anne Midgette noted: \"The Met has known about these allegations for at least a year, and are only investigating them now that they are public\", and opined on her Facebook page that the Met has \"quite probably spent years protecting its star conductor from just this kind of allegation\".",
"The Washington Post music critic Anne Midgette noted: \"The Met has known about these allegations for at least a year, and are only investigating them now that they are public\", and opined on her Facebook page that the Met has \"quite probably spent years protecting its star conductor from just this kind of allegation\". Music critic Tim Pfaff of the LGBT Bay Area Reporter wrote that The New York Times chief classical music critic Anthony Tommasini had the \"weirdest\" reaction, \"lamenting the ugliness of it all under a...headline, 'Should I Put Away My James Levine Recordings?'",
"Music critic Tim Pfaff of the LGBT Bay Area Reporter wrote that The New York Times chief classical music critic Anthony Tommasini had the \"weirdest\" reaction, \"lamenting the ugliness of it all under a...headline, 'Should I Put Away My James Levine Recordings?' His conclusion was that he and his husband...should move those recordings from their living room.\"",
"His conclusion was that he and his husband...should move those recordings from their living room.\" The Met orchestra musicians applauded the courage of the four men who came forward with accusations that Levine had abused them.",
"The Met orchestra musicians applauded the courage of the four men who came forward with accusations that Levine had abused them. Local 802 of the American Federation of Musicians, which represents the Met's orchestra and Levine, said, \"We are horrified and sickened by the recently reported allegations of sexual abuse by Mr. Levine.\"",
"Levine.\" Levine.\" Five days after news of the accusations by the four men broke, Levine spoke about them for the first time, and called them \"unfounded\". The accusers stood by their claims, with one saying, \"I will take a lie-detector test. Will he?\"",
"Will he?\" Will he?\" Six days later, music critic Arthur Kaptainis wrote in the Montreal Gazette that Levine's denial \"had little effect\". On March 12, 2018, the Met announced that it had fired Levine.",
"On March 12, 2018, the Met announced that it had fired Levine. Its investigation found Levine had \"engaged in sexually abusive and harassing conduct towards vulnerable artists in the early stages of their careers\".",
"Its investigation found Levine had \"engaged in sexually abusive and harassing conduct towards vulnerable artists in the early stages of their careers\". Levine sued the Metropolitan Opera in New York State Supreme Court for breach of contract and defamation on March 15, 2018, three days after the company fired him, seeking more than $5.8 million in damages.",
"Levine sued the Metropolitan Opera in New York State Supreme Court for breach of contract and defamation on March 15, 2018, three days after the company fired him, seeking more than $5.8 million in damages. The Met denied Levine's allegations.",
"The Met denied Levine's allegations. A year later, a New York State Supreme Court judge dismissed most of Levine's claims, but ruled that the Met and its attorney had made defamatory statements. The Metropolitan Opera and Levine announced a settlement on undisclosed terms in August 2019.",
"The Metropolitan Opera and Levine announced a settlement on undisclosed terms in August 2019. In September 2020, the size of the payout was indirectly exposed by annual disclosure statements required for nonprofits; Levine had received $3.5 million in the settlement.",
"In September 2020, the size of the payout was indirectly exposed by annual disclosure statements required for nonprofits; Levine had received $3.5 million in the settlement. It is speculated that he was able to negotiate such a large settlement due to the lack of a morals clause in his contract with the Met.",
"It is speculated that he was able to negotiate such a large settlement due to the lack of a morals clause in his contract with the Met. Recordings and film Levine made many audio and video recordings. He recorded extensively with many orchestras, and especially often with the Metropolitan Opera.",
"He recorded extensively with many orchestras, and especially often with the Metropolitan Opera. His performance of Aida with Leontyne Price, her last in opera, was preserved on video and may be seen at the Met's own online archive of performances. Of particular note are his performances of Wagner's complete Der Ring des Nibelungen.",
"Of particular note are his performances of Wagner's complete Der Ring des Nibelungen. A studio recording made for Deutsche Grammophon from 1987 to 1989 is on compact disc, and a 1989 live performance of the Ring is available on DVD.",
"A studio recording made for Deutsche Grammophon from 1987 to 1989 is on compact disc, and a 1989 live performance of the Ring is available on DVD. He also appears on several dozen albums as a pianist, collaborating with such singers as Jessye Norman, Kathleen Battle, Christa Ludwig, and Dawn Upshaw, as well as performing the chamber music of Franz Schubert and Francis Poulenc, among others.",
"He also appears on several dozen albums as a pianist, collaborating with such singers as Jessye Norman, Kathleen Battle, Christa Ludwig, and Dawn Upshaw, as well as performing the chamber music of Franz Schubert and Francis Poulenc, among others. Levine was featured in the animated Disney film Fantasia 2000.",
"Levine was featured in the animated Disney film Fantasia 2000. He conducted the Chicago Symphony Orchestra in the soundtrack recordings of all the music in the film (with the exception of one segment from the original 1940 Fantasia).",
"He conducted the Chicago Symphony Orchestra in the soundtrack recordings of all the music in the film (with the exception of one segment from the original 1940 Fantasia). Levine is also seen in the film talking briefly with Mickey Mouse and Donald Duck, just as his predecessor Leopold Stokowski did in the original film.",
"Levine is also seen in the film talking briefly with Mickey Mouse and Donald Duck, just as his predecessor Leopold Stokowski did in the original film. Discography Marilyn Horne: Divas in Song (1994), RCA Victor Red Seal CD, 09026-62547-2 Videography Mozart: Idomeneo (1982), Deutsche Grammophon DVD, 00440-073-4234 The Metropolitan Opera Centennial Gala (1983), Deutsche Grammophon DVD, 00440-073-4538 The Metropolitan Opera Gala 1991, Deutsche Grammophon DVD, 00440-073-4582 James Levine's 25th Anniversary Metropolitan Opera Gala (1996), Deutsche Grammophon DVD, B0004602-09 Honors Among the awards listed in his Met biography are: 1980 – Manhattan Cultural Award 1982 – first of eight Grammy Awards 1984 – Named \"Musician of the Year\" by Musical America 1986 – Smetana Medal (presented by the former Czechoslovakia) 1997 – National Medal of Arts 1999 – Wilhelm Furtwängler Prize from the Committee for Cultural Advancement of Baden-Baden, Germany 2003 – Kennedy Center Honors 2005 – Award for Distinguished Service to the Arts from the American Academy of Arts and Letters 2006 – Opera News Award 2009 – Award in the Vocal Arts from Bard College 2009 – Ditson Conductors Award from Columbia University 2010 – National Endowment for the Arts Opera Honoree 2010 – George Peabody Award from Peabody Conservatory at Johns Hopkins University 2010 – elected an honorary member of the American Academy of Arts and Letters In addition, his biography says Levine has received honorary doctorates from the University of Cincinnati, the New England Conservatory of Music, Northwestern University, the State University of New York, and the Juilliard School.",
"Discography Marilyn Horne: Divas in Song (1994), RCA Victor Red Seal CD, 09026-62547-2 Videography Mozart: Idomeneo (1982), Deutsche Grammophon DVD, 00440-073-4234 The Metropolitan Opera Centennial Gala (1983), Deutsche Grammophon DVD, 00440-073-4538 The Metropolitan Opera Gala 1991, Deutsche Grammophon DVD, 00440-073-4582 James Levine's 25th Anniversary Metropolitan Opera Gala (1996), Deutsche Grammophon DVD, B0004602-09 Honors Among the awards listed in his Met biography are: 1980 – Manhattan Cultural Award 1982 – first of eight Grammy Awards 1984 – Named \"Musician of the Year\" by Musical America 1986 – Smetana Medal (presented by the former Czechoslovakia) 1997 – National Medal of Arts 1999 – Wilhelm Furtwängler Prize from the Committee for Cultural Advancement of Baden-Baden, Germany 2003 – Kennedy Center Honors 2005 – Award for Distinguished Service to the Arts from the American Academy of Arts and Letters 2006 – Opera News Award 2009 – Award in the Vocal Arts from Bard College 2009 – Ditson Conductors Award from Columbia University 2010 – National Endowment for the Arts Opera Honoree 2010 – George Peabody Award from Peabody Conservatory at Johns Hopkins University 2010 – elected an honorary member of the American Academy of Arts and Letters In addition, his biography says Levine has received honorary doctorates from the University of Cincinnati, the New England Conservatory of Music, Northwestern University, the State University of New York, and the Juilliard School. On May 3, 2018, SUNY revoked Levine's honorary doctorate in response to the sexual abuse allegations against him.",
"On May 3, 2018, SUNY revoked Levine's honorary doctorate in response to the sexual abuse allegations against him. References External links 1943 births 2021 deaths 20th-century American conductors (music) 20th-century American pianists 20th-century American male musicians 20th-century classical pianists 21st-century American conductors (music) 21st-century American male musicians 21st-century American pianists 21st-century classical pianists American classical pianists American male conductors (music) American male pianists Aspen Music Festival and School alumni Conductors of the Metropolitan Opera Deutsche Grammophon artists Grammy Award winners Jewish American classical musicians Jewish classical pianists Juilliard School alumni Kennedy Center honorees Male classical pianists Metropolitan Opera people Music directors (opera) Musicians from Cincinnati Musicians from New York City Oehms Classics artists People stripped of honorary degrees People with Parkinson's disease United States National Medal of Arts recipients 21st-century American Jews"
] |
[
"James Levine",
"Early years and personal life",
"when was he born",
"I don't know.",
"where was he born",
"Cincinnati, Ohio,",
"which school did he attended",
"Marlboro Music School,"
] | C_65204209c84c44cd9d64d3dbaa8b91fb_1 | where was his school located | 4 | Where was James Levine's school located? | James Levine | Levine was born in Cincinnati, Ohio, to a Jewish, musical family. His maternal grandfather was a composer and a cantor in a synagogue, his father (Lawrence) was a violinist who led dance bands under the name "Larry Lee" before entering his father's clothing business, and his mother (Helen Goldstein Levine) was briefly an actress on Broadway, performing as "Helen Golden". He has a brother Tom who is two years younger, who followed him to New York City from Cincinnati in 1974, and with whom he is very close. He employs Tom as his business assistant (looking after all of his affairs, arranging his rehearsal schedules, fielding queries, scouting out where he will live, meeting with accountants, and accompanying Levine on trips to Europe), and his brother is a painter as well. He also has a younger sister, Janet, who is a marriage counselor. He began to play the piano as a small child. On February 21, 1954, at the age of 10, Levine made his concert debut as soloist playing Felix Mendelssohn's Piano Concerto No. 2 at a youth concert of the Cincinnati Symphony Orchestra in Ohio. Levine subsequently studied music with Walter Levin, first violinist in the LaSalle Quartet. In 1956 he took piano lessons with Rudolf Serkin at the Marlboro Music School, in Vermont. In the following year he began to study piano with Rosina Lhevinne at the Aspen Music School. He graduated from Walnut Hills High School, an acclaimed magnet school in Cincinnati. He entered the Juilliard School of Music in New York City in 1961, and took courses in conducting with Jean Morel. He graduated from the Juilliard School in 1964, and joined the American Conductors project connected with the Baltimore Symphony Orchestra. Levine lives in The San Remo on Central Park West in New York City. CANNOTANSWER | Cincinnati. | James Lawrence Levine (; June 23, 1943 – March 9, 2021) was an American conductor and pianist. He was music director of the Metropolitan Opera (the "Met") from 1976 to 2016. He was formally terminated from all his positions and affiliations with the Met on March 12, 2018, over sexual misconduct allegations, which he denied.
Levine held leadership positions with the Ravinia Festival, the Munich Philharmonic, and the Boston Symphony Orchestra. In 1980 he started the Lindemann Young Artists Development Program, and trained singers, conductors, and musicians for professional careers.
After taking an almost two-year health-related hiatus from conducting from 2011 to 2013, during which time he held artistic and administrative planning sessions at the Met, and led training of the Lindemann Young Artists, Levine retired as the Met's full-time Music Director following the 2015–16 season to become Music Director Emeritus.
Early years and personal life
Levine was born in Cincinnati, Ohio, to a Jewish, musical family. His maternal grandfather was a composer and a cantor in a synagogue; his father, Lawrence, was a violinist who led dance bands under the name "Larry Lee" before entering his father's clothing business; and his mother, Helen Goldstein Levine, was briefly an actress on Broadway, performing as "Helen Golden". He had a brother, Tom, who was two years younger, who followed him to New York City from Cincinnati in 1974, and with whom he was very close. He employed Tom as his business assistant, looking after his affairs, arranging his rehearsal schedules, fielding queries, scouting out places to live, meeting with accountants, and accompanying Levine on trips to Europe. Tom was also a painter. He also had a younger sister, Janet, who is a marriage counselor.
He began to play the piano as a small child. On February 21, 1954, at age 10, Levine made his concert debut as soloist playing Felix Mendelssohn's Piano Concerto No. 2 at a youth concert of the Cincinnati Symphony Orchestra in Ohio.
Levine subsequently studied music with Walter Levin, first violinist in the LaSalle Quartet. In 1956 he took piano lessons with Rudolf Serkin at the Marlboro Music School in Vermont. The next year he began to study piano with Rosina Lhévinne at the Aspen Music School. He graduated from Walnut Hills High School, a magnet school in Cincinnati. He entered the Juilliard School of Music in New York City in 1961, and took courses in conducting with Jean Morel. He graduated from Juilliard in 1964, and joined the American Conductors project connected with the Baltimore Symphony Orchestra.
Levine lived in The San Remo on Central Park West in New York City.
Career
Early career
From 1964 to 1965, Levine served as an apprentice to George Szell with the Cleveland Orchestra. He then served as the Orchestra's assistant conductor until 1970. That year, he also made debuts as guest conductor with the Philadelphia Orchestra at its summer home at Robin Hood Dell, the Welsh National Opera, and the San Francisco Opera. From 1965 to 1972 he concurrently taught at the Cleveland Institute of Music. In the summers, he worked at the Meadow Brook School of Music in Michigan and at the Ravinia Festival in Highland Park, Illinois, the summer home of the Chicago Symphony Orchestra. During that time, the charismatic Levine developed a devoted following of young musicians and music lovers.
In June 1971, Levine was called in at the last moment to substitute for István Kertész, to lead the Chicago Symphony Orchestra and Chorus in Mahler's Second Symphony for the Ravinia Festival's opening concert of their 36th season. This concert began a long association with the Chicago Symphony Orchestra. From 1973 to 1993 he was music director of the Ravinia Festival, succeeding the late Kertész. He made numerous recordings with the orchestra, including the symphonies and German Requiem of Johannes Brahms, and major works of Gershwin, Holst, Berg, Beethoven, Mozart, and others. In 1990, at the request of Roy E. Disney, he arranged the music and conducted the Chicago Symphony Orchestra and Chorus in the soundtrack of Fantasia 2000, released by Walt Disney Pictures. From 1974 to 1978, Levine also served as music director of the Cincinnati May Festival.
Metropolitan Opera
Levine made his Metropolitan Opera debut a few weeks before he turned 28, on June 5, 1971, leading a June Festival performance of Puccini's Tosca. After further appearances with the company, he was named its principal conductor in February 1972. He became its music director in 1975. In 1983, he served as conductor and musical director for the Franco Zeffirelli screen adaptation of Verdi's La Traviata, which featured the Met orchestra and chorus members. He became the company's first artistic director in 1986, and relinquished the title in 2004. In 2005, Levine's combined salary from the Boston Symphony Orchestra and the Met made him the highest-paid conductor in the country, at $3.5 million.
During Levine's tenure, the Metropolitan Opera orchestra expanded its activities into recording and concert series for the orchestra and chamber ensembles from the orchestra at Carnegie Hall. Levine led the Metropolitan Opera on many domestic and international tours. For the 25th anniversary of his Met debut, Levine conducted the world premiere of John Harbison's The Great Gatsby, commissioned for the occasion. On his appointment as general manager of the Met, Peter Gelb emphasized that Levine was welcome to remain as long as he wanted to direct music there. Levine was paid $2.1 million by the Met in 2010.
Following a series of injuries that began with a fall, Levine's health problems led to his withdrawal from many Metropolitan Opera engagements. After a May 2011 performance of Wagner's Die Walküre, Levine formally withdrew from all engagements at the Met. After two years of physical therapy, he returned to conducting with a May 2013 concert with the Metropolitan Opera Orchestra at Carnegie Hall. On September 25, 2013, Levine conducted his first Met performance since May 2011, in a revival production of Mozart's Così fan tutte. He was scheduled to conduct three productions at the opera house and three at Carnegie Hall in the 2013–14 season. On April 14, 2016, Met management announced that Levine would step down from his position as music director at the end of the 2015–16 season. Levine was paid $1.8 million by the Met for the 2015–16 season. He assumed the new title of Music Director Emeritus, which he held until December 2017, when in the wake of allegations that Levine had sexually abused four young men, the Met suspended its relationship with him and canceled all his scheduled performances with the company.
Boston Symphony Orchestra
Levine first conducted the Boston Symphony Orchestra (BSO) in April 1972. In October 2001, he was named its music director effective with the 2004–05 season, with an initial contract of five years, becoming the first American-born conductor to head the BSO.
One unique condition that Levine negotiated was increased flexibility of the time allotted for rehearsal, allowing the orchestra additional time to prepare more challenging works. After the start of his tenure, the orchestra also established an "Artistic Initiative Fund" of about $40 million to fund the more expensive of his projects.
One criticism of Levine during his BSO tenure is that he did not attend many orchestra auditions. A 2005 article reported that he had attended two out of 16 auditions during his tenure up to that time. Levine responded that he has the ability to provide input on musician tenure decisions after the initial probationary period, and that it is difficult to know how well a given player will fit the given position until that person has had a chance to work with the orchestra: "My message is the audition isn't everything."
Another 2005 report stated that during Levine's first season as music director, the greater workload from the demands of playing more unfamiliar and contemporary music had increased physical stress on some of the BSO musicians. Levine and the players met to discuss this, and he agreed to program changes to lessen these demands. He received general critical praise for revitalizing the orchestra's quality and repertoire since the beginning of his tenure.
Levine experienced ongoing health problems, starting with an onstage fall in 2006 that resulted in a torn rotator cuff and started discussion of how long Levine's tenure with the BSO would last. In April 2010, in the wake of his continuing health problems, it emerged that Levine had not officially signed a contract extension, so that he was the BSO's music director without a signed contract. On March 2, 2011, the BSO announced Levine's resignation as music director effective September 2011, after the Orchestra's Tanglewood season.
Working on a commission from Levine and the BSO, the composer John Harbison dedicated his Symphony No. 6 "in friendship and gratitude" to him, whose premature departure from the orchestra prevented him from conducting the premiere.
After allegations of his abusing a number of young men came out in December 2017 the BSO said Levine "will never be employed or contracted by the BSO at any time in the future".
Conducting in Europe
Levine's BSO contract limited his guest appearances with American orchestras, but he still conducted regularly in Europe, with the Vienna Philharmonic, Berlin Philharmonic, and at the Bayreuth Festival. Levine was a regular guest with the Philharmonia of London and the Staatskapelle Dresden. Beginning in 1975 he conducted regularly at the Salzburg Festival and the annual July Verbier Festival. From 1999 to 2004, he was chief conductor of the Munich Philharmonic, and was credited with improving the quality of instrumental ensemble during his tenure.
Work with students
Levine initiated the Lindemann Young Artists Development Program at the Metropolitan Opera in 1980, a professional training program for graduated singers with, today, many famous alumni.
Levine was conductor of the UBS Verbier Festival Orchestra, the student resident orchestra at the annual summer music festival in Verbier, Switzerland, from 1999 through 2006. It was Levine's first long-term commitment to a student orchestra since becoming music director at the Met.
After becoming music director of the Boston Symphony Orchestra, Levine also served as music director of the Tanglewood Music Center, the BSO's acclaimed summer academy at Tanglewood for student instrumentalists, singers, composers, and conductors. There he conducted the Tanglewood Music Center Orchestra, directed fully staged opera performances with student singers, and gave master classes for singers and conductors.
Levine said in an interview:
At my age, you are naturally inclined towards teaching. You want to teach what you have learned to the next generation so that they don't have to spend time reinventing the wheel. I was lucky that I met the right mentors and teachers at the right moment. I love working with young musicians and singers, and those at the Tanglewood Music Center are unequivocally some of the finest and most talented in the world.
He continued to work with young students even when his health issues kept him from conducting. He was awarded the Lotus Award ("for inspiration to young musicians") from Young Concert Artists. Anthony Tommasini wrote in The New York Times in 2016: "The aspiring singers in the Met's young artist development program, one of many important ventures Mr. Levine started, must understand how lucky they are to have, as a teacher and mentor, a musician who even in his 20s worked at the Met with giants like Jon Vickers and Renata Tebaldi."
Health problems and death
Levine experienced recurrent health issues beginning in 2006, including sciatica and what he called "intermittent tremors". On March 1, 2006, he tripped and fell onstage during a standing ovation after a performance with the Boston Symphony Orchestra and tore the rotator cuff in his right shoulder, leaving the remaining subscription concerts in Boston to his assistant conductor at the time. Later that month, Levine underwent surgery to repair the injury. He returned to the podium on July 7, 2006.
Levine withdrew from the majority of the Tanglewood 2008 summer season because of surgery required to remove a kidney with a malignant cyst. He returned to the podium in Boston on September 24, 2008, at Symphony Hall.
On September 29, 2009, it was announced that Levine would undergo emergency back surgery for a herniated disk. He missed three weeks of engagements.
In March 2010, the BSO announced that Levine would miss the remainder of the Boston Symphony season because of back pain. The Met also announced, on April 4, 2010, that he was withdrawing from the remainder of his performances for the season. According to the Met, Levine was required to have "corrective surgery for an ongoing lower back problem". He returned to conducting at the Met and the BSO at the beginning of the 2010–11 season, but in February 2011 canceled his Boston engagements for the rest of the season.
In the summer of 2011, Levine underwent further surgery on his back. In September 2011, after he fell down a flight of stairs, fractured his spine, and injured his back while on vacation in Vermont, the Met announced that he would not conduct at the Met at least for the rest of 2011.
After two years of surgery and physical therapy, Levine returned to conducting for the first time on May 19, 2013, in a concert with the Metropolitan Opera Orchestra at Carnegie Hall. Levine conducted from a motorized wheelchair, with a special platform designed to accommodate it, which could rise and descend like an elevator. He returned to the Met on September 24, 2013. The same type of platform was present in the Met orchestra pit for his September 2013 return performance.
For many years, both Levine and the Met denied as unfounded the rumors that Levine had Parkinson's disease. As New York magazine reported: "The conductor states flatly that the condition is not Parkinson's disease, as people had speculated in 'that silly Times piece.'" But in 2016 both he and the Met finally admitted that the rumors were true, and that Levine had in fact had the disease since 1994. The Washington Post noted: "It wasn't just the illnesses, but the constant alternation between concealment and an excess of revelation that kept so much attention focused on them and away from the music."
Levine died in his Palm Springs home on March 9, 2021. Len Horovitz, his personal physician, announced Levine's death on March 17 and said that he had died of natural causes.
Sexual assault allegations
Four men accused Levine of sexually molesting them (starting when they were 16, 17, 17, and 20 years old), from the 1960s to the 1990s.
On December 2, 2017, it was publicly revealed that an October 2016 police report detailed that Levine had allegedly sexually molested a male teenager for years. The alleged sexual abuse began while Levine was guest conductor at the Ravinia Festival, outside Chicago, where Levine was music director for the Chicago Symphony Orchestra's summer residencies from 1973 to 1993.
One accuser said that in the summer of 1968, when he was a 17-year-old high school student attending Meadow Brook School of Music in Michigan, Levine (then a 25-year-old faculty member) had sexual contact with a student. When he next saw Levine, the accuser told him that he would not repeat the sexual behavior, but asked if they could continue to make music as they had before; Levine said no. The accuser later played bass in the St. Paul Chamber Orchestra for decades and became a professor.
A second accuser said that that same summer, Levine had sexual contact with a 17-year-old student and that Levine then initiated with the teenager a number of sexual encounters that have since haunted him. He said (and another male corroborated, on the condition of anonymity) that the next year, in Cleveland, where Levine was an assistant conductor of the Cleveland Orchestra, Levine on several occasions had sexual contact with that student and other students.
A third accuser, a violinist and pianist who grew up in Illinois near the Ravinia Music Festival, a summer program for aspiring musicians of which Levine was music director from 1971 to 1993, said Levine sexually abused him beginning when the accuser was 16 years old (and Levine was in his 40s) in 1986. He had previously detailed his accusation in 2016 in a report to the Lake Forest Police Department in Illinois. On December 8, the department announced that Levine could not be charged criminally in Illinois because the accuser was 16 years old at the time, and while today a 16-year-old is not considered old enough to consent to such conduct in Illinois (he must be 17, or 18 in cases in which the suspect is in a position of trust, authority, or supervision in relation to the victim), at the time that was the statutory age of consent. The department noted: "we are bound to apply the law that was in effect at the time the allegations occurred rather than the law as it currently exists."
On December 4, a fourth man, who later had a long career as a violinist in the New Jersey Symphony Orchestra, said he had been abused by Levine beginning in 1968, when he was 20 years old and attending the Meadow Brook School of Music. Levine was a teacher in the summer program.
Reactions
The New York Times said that the Met had known of at least one sexual abuse allegation as early as 1979, but dismissed it as baseless. Furthermore, the Met (including its General Manager Peter Gelb, who was contacted directly by a police detective about the allegations in October 2016) had been aware of both the third accuser's abuse allegations since they were made in the 2016 police report, and of the attendant police investigation. But the Met did not suspend Levine or launch an investigation of its own until over a year later, in December 2017.
In response to the December 2017 news article, the Met announced that it would investigate the sexual abuse allegations dating to the 1980s that were set forth in the 2016 police report. On December 3, after two additional males came forward with allegations of abuse, the Met suspended its ties with Levine, and canceled all upcoming engagements with him. A fourth accuser came forward the following day.
For its part, the Ravinia Festival, in April 2017, six months after the criminal investigation of Levine began, created an honorific title for Levine—"Conductor Laureate"—and signed him to a five-year renewable contract to begin in 2018. On December 4, 2017, the Ravinia Festival severed all ties with Levine, and terminated his five-year contract to lead the Chicago Symphony there.
The Boston Symphony Orchestra said Levine "will never be employed or contracted by the BSO at any time in the future". The Juilliard School, where Levine had studied, replaced him in a February 2018 performance where he was scheduled to lead the Juilliard Orchestra and singers from the Met's Lindemann Young Artist Development Program. On December 5, the Cincinnati May Festival canceled Levine's appearance in May. On December 7, in New Plymouth, New Zealand, the cinema chain Event Cinemas abruptly cancelled the screening of a Met production of Levine conducting Mozart's Die Zauberflöte. On December 8, Fred Child, host of the classical music radio show Performance Today, wrote that Levine "is accused of inflicting grievous harm to living members of our musical community. Out of respect for these people and their wounds, I choose not to broadcast performances featuring Mr. Levine on the podium."
Classical music blogger, former Village Voice music critic, and Juilliard School faculty member Greg Sandow said he had been contacted by three men over the years who said that Levine had abused them, and that reports of sexual abuse by Levine were "widely talked about" for 40 years. Sandow said further: "Everybody in the classical music business at least since the 1980s has talked about Levine as a sex abuser. The investigation should have been done decades ago." Pulitzer Prize-winning music critic Justin Davidson mused on the culture website of New York magazine, "James Levine's career has clearly ended" and "I'm not sure the Met can survive Levine's disgrace." Similarly, drama critic Terry Teachout of The Wall Street Journal wrote an article called "The Levine Cataclysm; How allegations against James Levine of sexual misconduct with teenagers could topple the entire Metropolitan Opera". The Washington Post music critic Anne Midgette noted: "The Met has known about these allegations for at least a year, and are only investigating them now that they are public", and opined on her Facebook page that the Met has "quite probably spent years protecting its star conductor from just this kind of allegation". Music critic Tim Pfaff of the LGBT Bay Area Reporter wrote that The New York Times chief classical music critic Anthony Tommasini had the "weirdest" reaction, "lamenting the ugliness of it all under a...headline, 'Should I Put Away My James Levine Recordings?' His conclusion was that he and his husband...should move those recordings from their living room."
The Met orchestra musicians applauded the courage of the four men who came forward with accusations that Levine had abused them. Local 802 of the American Federation of Musicians, which represents the Met's orchestra and Levine, said, "We are horrified and sickened by the recently reported allegations of sexual abuse by Mr. Levine."
Five days after news of the accusations by the four men broke, Levine spoke about them for the first time, and called them "unfounded". The accusers stood by their claims, with one saying, "I will take a lie-detector test. Will he?" Six days later, music critic Arthur Kaptainis wrote in the Montreal Gazette that Levine's denial "had little effect".
On March 12, 2018, the Met announced that it had fired Levine. Its investigation found Levine had "engaged in sexually abusive and harassing conduct towards vulnerable artists in the early stages of their careers".
Levine sued the Metropolitan Opera in New York State Supreme Court for breach of contract and defamation on March 15, 2018, three days after the company fired him, seeking more than $5.8 million in damages. The Met denied Levine's allegations. A year later, a New York State Supreme Court judge dismissed most of Levine's claims, but ruled that the Met and its attorney had made defamatory statements.
The Metropolitan Opera and Levine announced a settlement on undisclosed terms in August 2019. In September 2020, the size of the payout was indirectly exposed by annual disclosure statements required for nonprofits; Levine had received $3.5 million in the settlement. It is speculated that he was able to negotiate such a large settlement due to the lack of a morals clause in his contract with the Met.
Recordings and film
Levine made many audio and video recordings. He recorded extensively with many orchestras, and especially often with the Metropolitan Opera. His performance of Aida with Leontyne Price, her last in opera, was preserved on video and may be seen at the Met's own online archive of performances. Of particular note are his performances of Wagner's complete Der Ring des Nibelungen. A studio recording made for Deutsche Grammophon from 1987 to 1989 is on compact disc, and a 1989 live performance of the Ring is available on DVD. He also appears on several dozen albums as a pianist, collaborating with such singers as Jessye Norman, Kathleen Battle, Christa Ludwig, and Dawn Upshaw, as well as performing the chamber music of Franz Schubert and Francis Poulenc, among others.
Levine was featured in the animated Disney film Fantasia 2000. He conducted the Chicago Symphony Orchestra in the soundtrack recordings of all the music in the film (with the exception of one segment from the original 1940 Fantasia). Levine is also seen in the film talking briefly with Mickey Mouse and Donald Duck, just as his predecessor Leopold Stokowski did in the original film.
Discography
Marilyn Horne: Divas in Song (1994), RCA Victor Red Seal CD, 09026-62547-2
Videography
Mozart: Idomeneo (1982), Deutsche Grammophon DVD, 00440-073-4234
The Metropolitan Opera Centennial Gala (1983), Deutsche Grammophon DVD, 00440-073-4538
The Metropolitan Opera Gala 1991, Deutsche Grammophon DVD, 00440-073-4582
James Levine's 25th Anniversary Metropolitan Opera Gala (1996), Deutsche Grammophon DVD, B0004602-09
Honors
Among the awards listed in his Met biography are:
1980 – Manhattan Cultural Award
1982 – first of eight Grammy Awards
1984 – Named "Musician of the Year" by Musical America
1986 – Smetana Medal (presented by the former Czechoslovakia)
1997 – National Medal of Arts
1999 – Wilhelm Furtwängler Prize from the Committee for Cultural Advancement of Baden-Baden, Germany
2003 – Kennedy Center Honors
2005 – Award for Distinguished Service to the Arts from the American Academy of Arts and Letters
2006 – Opera News Award
2009 – Award in the Vocal Arts from Bard College
2009 – Ditson Conductors Award from Columbia University
2010 – National Endowment for the Arts Opera Honoree
2010 – George Peabody Award from Peabody Conservatory at Johns Hopkins University
2010 – elected an honorary member of the American Academy of Arts and Letters
In addition, his biography says Levine has received honorary doctorates from the University of Cincinnati, the New England Conservatory of Music, Northwestern University, the State University of New York, and the Juilliard School. On May 3, 2018, SUNY revoked Levine's honorary doctorate in response to the sexual abuse allegations against him.
References
External links
1943 births
2021 deaths
20th-century American conductors (music)
20th-century American pianists
20th-century American male musicians
20th-century classical pianists
21st-century American conductors (music)
21st-century American male musicians
21st-century American pianists
21st-century classical pianists
American classical pianists
American male conductors (music)
American male pianists
Aspen Music Festival and School alumni
Conductors of the Metropolitan Opera
Deutsche Grammophon artists
Grammy Award winners
Jewish American classical musicians
Jewish classical pianists
Juilliard School alumni
Kennedy Center honorees
Male classical pianists
Metropolitan Opera people
Music directors (opera)
Musicians from Cincinnati
Musicians from New York City
Oehms Classics artists
People stripped of honorary degrees
People with Parkinson's disease
United States National Medal of Arts recipients
21st-century American Jews | true | [
"The San Aurelio National High School (SANHS) is a Public High School and a National High School, Located in Eastern District of Pangasinan, Ilocos region, and it was the first operating Public High School in the town of Balungao Balungao, Pangasinan. It was founded on 1967 as a Semi-private institution formerly located in the elementary school, it is known as San Aurelio Barangay High School until it was officially changed to San Aurelio National High School because of the increasing number of student from neighboring towns. It was moved from the Elementary school to the location where it was now located.\n\nHistory\nThe needs of secondary level Public High School in the town of Balungao Balungao, Pangasinan ceased the local government to establish a Semi-Private High School. The first high school in the town which was a Private High School, the Balungao Central High School located in the near the town proper doesn't relieve the needs of free education in the secondary level. Before it was created on 1967 the students from the town of Balungao attended Rosales National High School located in the neighboring town of Rosales and considered one of the oldest school in the Eastern District of Province of Pangasinan.\nIt was located at the San Aurelio Elementary School grounds when it was established in 1967 as San Aurelio Barangay High School with about six faculty members teaching uneven number of students coming from the 20 Barangay of the town and from neighboring towns, especially the town of Umingan. The semi-private institution tuition is far more cheaper than the Balungao Central High School. It was considered as the annex of the Rosales National High School.\n\nReferences\n\n1967 establishments in the Philippines\nEducational institutions established in 1967\nHigh schools in Pangasinan",
"Swedish Armoured Troops Cadet and Officer Candidate School (, PKAS) was a school of the Swedish Armoured Troops in the Swedish Army which operated in various forms the years 1942–1981. The school was located in Skövde Garrison in Skövde.\n\nHistory\nThe school was established on 28 September 1942 as the Swedish Armoured Troops Officer Candidate School (Pansartruppernas officersaspirantskola, POAS) and was located in Strängnäs. On 28 September 1945, the school was reorganized into the Swedish Armoured Troops Cadet School (Pansartruppernas kadettskola, PKS). In 1946, the school was co-located with the Göta Life Guards (P 1) in Enköping. On 1 April 1961, the school was reorganized into the Swedish Armoured Troops Cadet and Officer Candidate School (Pansartruppernas kadett- och aspirantskola, PKAS).\n\nThe Government Bill 1973:135 suggested that Göta Life Guards should be disbanded. The proposal also suggested that the Swedish Armoured Troops Cadet and Officer Candidate School should be relocated to Ystad or Revinge, and be subordinated to the South Scanian Regiment (P 7). However, the issue of disbanding Göta Life Guards was delayed until 1977, when the Riksdag, through the Defence Act of 1977 and the Government Bill 1977/78:65, established the Swedish Armed Forces new basic organization.\n\nThe Göta Life Guards was disbanded on 30 June 1980. With that, the school was relocated to Skövde. There, the Swedish Armoured Troops Cadet and Officer Candidate School was amalgamated with the Swedish Armoured Troops School into a new school, the Swedish Armoured Troops Combat School (Pansartruppernas stridsskola, PS) which was established on 1 June 1981.\n\nOperations\nThe school was directly subordinate to the Inspector of the Swedish Armoured Troops, but was in a barracks point of view subordinate to the executive officer (sekundchef) of the Göta Life Guards. The school was tasked with training officer candidates from all units within the Swedish Armoured Troops. These underwent two-stage training, first candidate school and second candidate school, then complete their training at the Royal Military Academy. The school was provided with loans of different types of combat vehicles from the armoured units, which was characterized by the fact that Stridsvagn 103 was presence at the school, but not at the Göta Life Guards.\n\nBarracks and training areas\nWhen the school was established as the Swedish Armoured Troops Officer Candidate School (Pansartruppernas officersaspirantskola, POAS), it was placed to Strängnäs Garrison on 29 September 1942, where it was co-located with the Södermanland Regiment (P 10). On 3 April 1946, the school was moved to Enköping Garrison, where it was co-located with Göta Life Guards (P 1). The school was placed in the barracks of the Life company before it was moved into a newly built school building within the barracks area on 1 March 1967. On 1 June 1980, the school was transferred to Skövde Garrison.\n\nCommanding officers\n1942–1961: ?\n1961–1965: Kurt Magnusson\n1965–1968: Erik Grönberg\n1968–1969: Stig Barke\n1969–1972: Nils Gunnar Ahlgren\n1972–1974: Rune Wrangdahl\n1974–1979: Birger Ericsson\n1979–1980: Ingemar Björnsson\n\nNames, designations and locations\n\nSee also\nSwedish Armoured Troops School\n\nReferences\n\nNotes\n\nPrint\n\nFurther reading\n\nDefunct schools in Sweden\nMilitary education and training in Sweden\nMilitary units and formations established in 1942\nMilitary units and formations disestablished in 1981\nEducational institutions established in 1942\nEducational institutions disestablished in 1981\n1942 establishments in Sweden\n1981 disestablishments in Sweden\nSträngnäs Garrison\nEnköping Garrison\nSkövde Garrison"
] | [
"James Lawrence Levine (; June 23, 1943 – March 9, 2021) was an American conductor and pianist. He was music director of the Metropolitan Opera (the \"Met\") from 1976 to 2016.",
"He was music director of the Metropolitan Opera (the \"Met\") from 1976 to 2016. He was formally terminated from all his positions and affiliations with the Met on March 12, 2018, over sexual misconduct allegations, which he denied.",
"He was formally terminated from all his positions and affiliations with the Met on March 12, 2018, over sexual misconduct allegations, which he denied. Levine held leadership positions with the Ravinia Festival, the Munich Philharmonic, and the Boston Symphony Orchestra.",
"Levine held leadership positions with the Ravinia Festival, the Munich Philharmonic, and the Boston Symphony Orchestra. In 1980 he started the Lindemann Young Artists Development Program, and trained singers, conductors, and musicians for professional careers.",
"In 1980 he started the Lindemann Young Artists Development Program, and trained singers, conductors, and musicians for professional careers. After taking an almost two-year health-related hiatus from conducting from 2011 to 2013, during which time he held artistic and administrative planning sessions at the Met, and led training of the Lindemann Young Artists, Levine retired as the Met's full-time Music Director following the 2015–16 season to become Music Director Emeritus.",
"After taking an almost two-year health-related hiatus from conducting from 2011 to 2013, during which time he held artistic and administrative planning sessions at the Met, and led training of the Lindemann Young Artists, Levine retired as the Met's full-time Music Director following the 2015–16 season to become Music Director Emeritus. Early years and personal life Levine was born in Cincinnati, Ohio, to a Jewish, musical family.",
"Early years and personal life Levine was born in Cincinnati, Ohio, to a Jewish, musical family. His maternal grandfather was a composer and a cantor in a synagogue; his father, Lawrence, was a violinist who led dance bands under the name \"Larry Lee\" before entering his father's clothing business; and his mother, Helen Goldstein Levine, was briefly an actress on Broadway, performing as \"Helen Golden\".",
"His maternal grandfather was a composer and a cantor in a synagogue; his father, Lawrence, was a violinist who led dance bands under the name \"Larry Lee\" before entering his father's clothing business; and his mother, Helen Goldstein Levine, was briefly an actress on Broadway, performing as \"Helen Golden\". He had a brother, Tom, who was two years younger, who followed him to New York City from Cincinnati in 1974, and with whom he was very close.",
"He had a brother, Tom, who was two years younger, who followed him to New York City from Cincinnati in 1974, and with whom he was very close. He employed Tom as his business assistant, looking after his affairs, arranging his rehearsal schedules, fielding queries, scouting out places to live, meeting with accountants, and accompanying Levine on trips to Europe.",
"He employed Tom as his business assistant, looking after his affairs, arranging his rehearsal schedules, fielding queries, scouting out places to live, meeting with accountants, and accompanying Levine on trips to Europe. Tom was also a painter. He also had a younger sister, Janet, who is a marriage counselor.",
"He also had a younger sister, Janet, who is a marriage counselor. He began to play the piano as a small child. On February 21, 1954, at age 10, Levine made his concert debut as soloist playing Felix Mendelssohn's Piano Concerto No. 2 at a youth concert of the Cincinnati Symphony Orchestra in Ohio.",
"2 at a youth concert of the Cincinnati Symphony Orchestra in Ohio. Levine subsequently studied music with Walter Levin, first violinist in the LaSalle Quartet. In 1956 he took piano lessons with Rudolf Serkin at the Marlboro Music School in Vermont. The next year he began to study piano with Rosina Lhévinne at the Aspen Music School.",
"The next year he began to study piano with Rosina Lhévinne at the Aspen Music School. He graduated from Walnut Hills High School, a magnet school in Cincinnati. He entered the Juilliard School of Music in New York City in 1961, and took courses in conducting with Jean Morel.",
"He entered the Juilliard School of Music in New York City in 1961, and took courses in conducting with Jean Morel. He graduated from Juilliard in 1964, and joined the American Conductors project connected with the Baltimore Symphony Orchestra. Levine lived in The San Remo on Central Park West in New York City.",
"Levine lived in The San Remo on Central Park West in New York City. Career Early career From 1964 to 1965, Levine served as an apprentice to George Szell with the Cleveland Orchestra. He then served as the Orchestra's assistant conductor until 1970.",
"He then served as the Orchestra's assistant conductor until 1970. That year, he also made debuts as guest conductor with the Philadelphia Orchestra at its summer home at Robin Hood Dell, the Welsh National Opera, and the San Francisco Opera. From 1965 to 1972 he concurrently taught at the Cleveland Institute of Music.",
"From 1965 to 1972 he concurrently taught at the Cleveland Institute of Music. In the summers, he worked at the Meadow Brook School of Music in Michigan and at the Ravinia Festival in Highland Park, Illinois, the summer home of the Chicago Symphony Orchestra.",
"In the summers, he worked at the Meadow Brook School of Music in Michigan and at the Ravinia Festival in Highland Park, Illinois, the summer home of the Chicago Symphony Orchestra. During that time, the charismatic Levine developed a devoted following of young musicians and music lovers.",
"During that time, the charismatic Levine developed a devoted following of young musicians and music lovers. In June 1971, Levine was called in at the last moment to substitute for István Kertész, to lead the Chicago Symphony Orchestra and Chorus in Mahler's Second Symphony for the Ravinia Festival's opening concert of their 36th season.",
"In June 1971, Levine was called in at the last moment to substitute for István Kertész, to lead the Chicago Symphony Orchestra and Chorus in Mahler's Second Symphony for the Ravinia Festival's opening concert of their 36th season. This concert began a long association with the Chicago Symphony Orchestra.",
"This concert began a long association with the Chicago Symphony Orchestra. From 1973 to 1993 he was music director of the Ravinia Festival, succeeding the late Kertész.",
"From 1973 to 1993 he was music director of the Ravinia Festival, succeeding the late Kertész. He made numerous recordings with the orchestra, including the symphonies and German Requiem of Johannes Brahms, and major works of Gershwin, Holst, Berg, Beethoven, Mozart, and others.",
"He made numerous recordings with the orchestra, including the symphonies and German Requiem of Johannes Brahms, and major works of Gershwin, Holst, Berg, Beethoven, Mozart, and others. In 1990, at the request of Roy E. Disney, he arranged the music and conducted the Chicago Symphony Orchestra and Chorus in the soundtrack of Fantasia 2000, released by Walt Disney Pictures.",
"In 1990, at the request of Roy E. Disney, he arranged the music and conducted the Chicago Symphony Orchestra and Chorus in the soundtrack of Fantasia 2000, released by Walt Disney Pictures. From 1974 to 1978, Levine also served as music director of the Cincinnati May Festival.",
"From 1974 to 1978, Levine also served as music director of the Cincinnati May Festival. Metropolitan Opera Levine made his Metropolitan Opera debut a few weeks before he turned 28, on June 5, 1971, leading a June Festival performance of Puccini's Tosca.",
"Metropolitan Opera Levine made his Metropolitan Opera debut a few weeks before he turned 28, on June 5, 1971, leading a June Festival performance of Puccini's Tosca. After further appearances with the company, he was named its principal conductor in February 1972. He became its music director in 1975.",
"He became its music director in 1975. In 1983, he served as conductor and musical director for the Franco Zeffirelli screen adaptation of Verdi's La Traviata, which featured the Met orchestra and chorus members. He became the company's first artistic director in 1986, and relinquished the title in 2004.",
"He became the company's first artistic director in 1986, and relinquished the title in 2004. In 2005, Levine's combined salary from the Boston Symphony Orchestra and the Met made him the highest-paid conductor in the country, at $3.5 million.",
"In 2005, Levine's combined salary from the Boston Symphony Orchestra and the Met made him the highest-paid conductor in the country, at $3.5 million. During Levine's tenure, the Metropolitan Opera orchestra expanded its activities into recording and concert series for the orchestra and chamber ensembles from the orchestra at Carnegie Hall.",
"During Levine's tenure, the Metropolitan Opera orchestra expanded its activities into recording and concert series for the orchestra and chamber ensembles from the orchestra at Carnegie Hall. Levine led the Metropolitan Opera on many domestic and international tours.",
"Levine led the Metropolitan Opera on many domestic and international tours. For the 25th anniversary of his Met debut, Levine conducted the world premiere of John Harbison's The Great Gatsby, commissioned for the occasion.",
"For the 25th anniversary of his Met debut, Levine conducted the world premiere of John Harbison's The Great Gatsby, commissioned for the occasion. On his appointment as general manager of the Met, Peter Gelb emphasized that Levine was welcome to remain as long as he wanted to direct music there.",
"On his appointment as general manager of the Met, Peter Gelb emphasized that Levine was welcome to remain as long as he wanted to direct music there. Levine was paid $2.1 million by the Met in 2010.",
"Levine was paid $2.1 million by the Met in 2010. Following a series of injuries that began with a fall, Levine's health problems led to his withdrawal from many Metropolitan Opera engagements. After a May 2011 performance of Wagner's Die Walküre, Levine formally withdrew from all engagements at the Met.",
"After a May 2011 performance of Wagner's Die Walküre, Levine formally withdrew from all engagements at the Met. After two years of physical therapy, he returned to conducting with a May 2013 concert with the Metropolitan Opera Orchestra at Carnegie Hall.",
"After two years of physical therapy, he returned to conducting with a May 2013 concert with the Metropolitan Opera Orchestra at Carnegie Hall. On September 25, 2013, Levine conducted his first Met performance since May 2011, in a revival production of Mozart's Così fan tutte.",
"On September 25, 2013, Levine conducted his first Met performance since May 2011, in a revival production of Mozart's Così fan tutte. He was scheduled to conduct three productions at the opera house and three at Carnegie Hall in the 2013–14 season.",
"He was scheduled to conduct three productions at the opera house and three at Carnegie Hall in the 2013–14 season. On April 14, 2016, Met management announced that Levine would step down from his position as music director at the end of the 2015–16 season. Levine was paid $1.8 million by the Met for the 2015–16 season.",
"Levine was paid $1.8 million by the Met for the 2015–16 season. He assumed the new title of Music Director Emeritus, which he held until December 2017, when in the wake of allegations that Levine had sexually abused four young men, the Met suspended its relationship with him and canceled all his scheduled performances with the company.",
"He assumed the new title of Music Director Emeritus, which he held until December 2017, when in the wake of allegations that Levine had sexually abused four young men, the Met suspended its relationship with him and canceled all his scheduled performances with the company. Boston Symphony Orchestra Levine first conducted the Boston Symphony Orchestra (BSO) in April 1972.",
"Boston Symphony Orchestra Levine first conducted the Boston Symphony Orchestra (BSO) in April 1972. In October 2001, he was named its music director effective with the 2004–05 season, with an initial contract of five years, becoming the first American-born conductor to head the BSO.",
"In October 2001, he was named its music director effective with the 2004–05 season, with an initial contract of five years, becoming the first American-born conductor to head the BSO. One unique condition that Levine negotiated was increased flexibility of the time allotted for rehearsal, allowing the orchestra additional time to prepare more challenging works.",
"One unique condition that Levine negotiated was increased flexibility of the time allotted for rehearsal, allowing the orchestra additional time to prepare more challenging works. After the start of his tenure, the orchestra also established an \"Artistic Initiative Fund\" of about $40 million to fund the more expensive of his projects.",
"After the start of his tenure, the orchestra also established an \"Artistic Initiative Fund\" of about $40 million to fund the more expensive of his projects. One criticism of Levine during his BSO tenure is that he did not attend many orchestra auditions.",
"One criticism of Levine during his BSO tenure is that he did not attend many orchestra auditions. A 2005 article reported that he had attended two out of 16 auditions during his tenure up to that time.",
"A 2005 article reported that he had attended two out of 16 auditions during his tenure up to that time. Levine responded that he has the ability to provide input on musician tenure decisions after the initial probationary period, and that it is difficult to know how well a given player will fit the given position until that person has had a chance to work with the orchestra: \"My message is the audition isn't everything.\"",
"Levine responded that he has the ability to provide input on musician tenure decisions after the initial probationary period, and that it is difficult to know how well a given player will fit the given position until that person has had a chance to work with the orchestra: \"My message is the audition isn't everything.\" Another 2005 report stated that during Levine's first season as music director, the greater workload from the demands of playing more unfamiliar and contemporary music had increased physical stress on some of the BSO musicians.",
"Another 2005 report stated that during Levine's first season as music director, the greater workload from the demands of playing more unfamiliar and contemporary music had increased physical stress on some of the BSO musicians. Levine and the players met to discuss this, and he agreed to program changes to lessen these demands.",
"Levine and the players met to discuss this, and he agreed to program changes to lessen these demands. He received general critical praise for revitalizing the orchestra's quality and repertoire since the beginning of his tenure.",
"He received general critical praise for revitalizing the orchestra's quality and repertoire since the beginning of his tenure. Levine experienced ongoing health problems, starting with an onstage fall in 2006 that resulted in a torn rotator cuff and started discussion of how long Levine's tenure with the BSO would last.",
"Levine experienced ongoing health problems, starting with an onstage fall in 2006 that resulted in a torn rotator cuff and started discussion of how long Levine's tenure with the BSO would last. In April 2010, in the wake of his continuing health problems, it emerged that Levine had not officially signed a contract extension, so that he was the BSO's music director without a signed contract.",
"In April 2010, in the wake of his continuing health problems, it emerged that Levine had not officially signed a contract extension, so that he was the BSO's music director without a signed contract. On March 2, 2011, the BSO announced Levine's resignation as music director effective September 2011, after the Orchestra's Tanglewood season.",
"On March 2, 2011, the BSO announced Levine's resignation as music director effective September 2011, after the Orchestra's Tanglewood season. Working on a commission from Levine and the BSO, the composer John Harbison dedicated his Symphony No.",
"Working on a commission from Levine and the BSO, the composer John Harbison dedicated his Symphony No. 6 \"in friendship and gratitude\" to him, whose premature departure from the orchestra prevented him from conducting the premiere.",
"6 \"in friendship and gratitude\" to him, whose premature departure from the orchestra prevented him from conducting the premiere. After allegations of his abusing a number of young men came out in December 2017 the BSO said Levine \"will never be employed or contracted by the BSO at any time in the future\".",
"After allegations of his abusing a number of young men came out in December 2017 the BSO said Levine \"will never be employed or contracted by the BSO at any time in the future\". Conducting in Europe Levine's BSO contract limited his guest appearances with American orchestras, but he still conducted regularly in Europe, with the Vienna Philharmonic, Berlin Philharmonic, and at the Bayreuth Festival.",
"Conducting in Europe Levine's BSO contract limited his guest appearances with American orchestras, but he still conducted regularly in Europe, with the Vienna Philharmonic, Berlin Philharmonic, and at the Bayreuth Festival. Levine was a regular guest with the Philharmonia of London and the Staatskapelle Dresden.",
"Levine was a regular guest with the Philharmonia of London and the Staatskapelle Dresden. Beginning in 1975 he conducted regularly at the Salzburg Festival and the annual July Verbier Festival. From 1999 to 2004, he was chief conductor of the Munich Philharmonic, and was credited with improving the quality of instrumental ensemble during his tenure.",
"From 1999 to 2004, he was chief conductor of the Munich Philharmonic, and was credited with improving the quality of instrumental ensemble during his tenure. Work with students Levine initiated the Lindemann Young Artists Development Program at the Metropolitan Opera in 1980, a professional training program for graduated singers with, today, many famous alumni.",
"Work with students Levine initiated the Lindemann Young Artists Development Program at the Metropolitan Opera in 1980, a professional training program for graduated singers with, today, many famous alumni. Levine was conductor of the UBS Verbier Festival Orchestra, the student resident orchestra at the annual summer music festival in Verbier, Switzerland, from 1999 through 2006.",
"Levine was conductor of the UBS Verbier Festival Orchestra, the student resident orchestra at the annual summer music festival in Verbier, Switzerland, from 1999 through 2006. It was Levine's first long-term commitment to a student orchestra since becoming music director at the Met.",
"It was Levine's first long-term commitment to a student orchestra since becoming music director at the Met. After becoming music director of the Boston Symphony Orchestra, Levine also served as music director of the Tanglewood Music Center, the BSO's acclaimed summer academy at Tanglewood for student instrumentalists, singers, composers, and conductors.",
"After becoming music director of the Boston Symphony Orchestra, Levine also served as music director of the Tanglewood Music Center, the BSO's acclaimed summer academy at Tanglewood for student instrumentalists, singers, composers, and conductors. There he conducted the Tanglewood Music Center Orchestra, directed fully staged opera performances with student singers, and gave master classes for singers and conductors.",
"There he conducted the Tanglewood Music Center Orchestra, directed fully staged opera performances with student singers, and gave master classes for singers and conductors. Levine said in an interview: At my age, you are naturally inclined towards teaching.",
"Levine said in an interview: At my age, you are naturally inclined towards teaching. You want to teach what you have learned to the next generation so that they don't have to spend time reinventing the wheel. I was lucky that I met the right mentors and teachers at the right moment.",
"I was lucky that I met the right mentors and teachers at the right moment. I love working with young musicians and singers, and those at the Tanglewood Music Center are unequivocally some of the finest and most talented in the world. He continued to work with young students even when his health issues kept him from conducting.",
"He continued to work with young students even when his health issues kept him from conducting. He was awarded the Lotus Award (\"for inspiration to young musicians\") from Young Concert Artists.",
"He was awarded the Lotus Award (\"for inspiration to young musicians\") from Young Concert Artists. Anthony Tommasini wrote in The New York Times in 2016: \"The aspiring singers in the Met's young artist development program, one of many important ventures Mr. Levine started, must understand how lucky they are to have, as a teacher and mentor, a musician who even in his 20s worked at the Met with giants like Jon Vickers and Renata Tebaldi.\"",
"Anthony Tommasini wrote in The New York Times in 2016: \"The aspiring singers in the Met's young artist development program, one of many important ventures Mr. Levine started, must understand how lucky they are to have, as a teacher and mentor, a musician who even in his 20s worked at the Met with giants like Jon Vickers and Renata Tebaldi.\" Health problems and death Levine experienced recurrent health issues beginning in 2006, including sciatica and what he called \"intermittent tremors\".",
"Health problems and death Levine experienced recurrent health issues beginning in 2006, including sciatica and what he called \"intermittent tremors\". On March 1, 2006, he tripped and fell onstage during a standing ovation after a performance with the Boston Symphony Orchestra and tore the rotator cuff in his right shoulder, leaving the remaining subscription concerts in Boston to his assistant conductor at the time.",
"On March 1, 2006, he tripped and fell onstage during a standing ovation after a performance with the Boston Symphony Orchestra and tore the rotator cuff in his right shoulder, leaving the remaining subscription concerts in Boston to his assistant conductor at the time. Later that month, Levine underwent surgery to repair the injury.",
"Later that month, Levine underwent surgery to repair the injury. He returned to the podium on July 7, 2006. Levine withdrew from the majority of the Tanglewood 2008 summer season because of surgery required to remove a kidney with a malignant cyst. He returned to the podium in Boston on September 24, 2008, at Symphony Hall.",
"He returned to the podium in Boston on September 24, 2008, at Symphony Hall. On September 29, 2009, it was announced that Levine would undergo emergency back surgery for a herniated disk. He missed three weeks of engagements.",
"He missed three weeks of engagements. In March 2010, the BSO announced that Levine would miss the remainder of the Boston Symphony season because of back pain. The Met also announced, on April 4, 2010, that he was withdrawing from the remainder of his performances for the season.",
"The Met also announced, on April 4, 2010, that he was withdrawing from the remainder of his performances for the season. According to the Met, Levine was required to have \"corrective surgery for an ongoing lower back problem\".",
"According to the Met, Levine was required to have \"corrective surgery for an ongoing lower back problem\". He returned to conducting at the Met and the BSO at the beginning of the 2010–11 season, but in February 2011 canceled his Boston engagements for the rest of the season.",
"He returned to conducting at the Met and the BSO at the beginning of the 2010–11 season, but in February 2011 canceled his Boston engagements for the rest of the season. In the summer of 2011, Levine underwent further surgery on his back.",
"In the summer of 2011, Levine underwent further surgery on his back. In September 2011, after he fell down a flight of stairs, fractured his spine, and injured his back while on vacation in Vermont, the Met announced that he would not conduct at the Met at least for the rest of 2011.",
"In September 2011, after he fell down a flight of stairs, fractured his spine, and injured his back while on vacation in Vermont, the Met announced that he would not conduct at the Met at least for the rest of 2011. After two years of surgery and physical therapy, Levine returned to conducting for the first time on May 19, 2013, in a concert with the Metropolitan Opera Orchestra at Carnegie Hall.",
"After two years of surgery and physical therapy, Levine returned to conducting for the first time on May 19, 2013, in a concert with the Metropolitan Opera Orchestra at Carnegie Hall. Levine conducted from a motorized wheelchair, with a special platform designed to accommodate it, which could rise and descend like an elevator.",
"Levine conducted from a motorized wheelchair, with a special platform designed to accommodate it, which could rise and descend like an elevator. He returned to the Met on September 24, 2013. The same type of platform was present in the Met orchestra pit for his September 2013 return performance.",
"The same type of platform was present in the Met orchestra pit for his September 2013 return performance. For many years, both Levine and the Met denied as unfounded the rumors that Levine had Parkinson's disease.",
"For many years, both Levine and the Met denied as unfounded the rumors that Levine had Parkinson's disease. As New York magazine reported: \"The conductor states flatly that the condition is not Parkinson's disease, as people had speculated in 'that silly Times piece.'\"",
"As New York magazine reported: \"The conductor states flatly that the condition is not Parkinson's disease, as people had speculated in 'that silly Times piece.'\" But in 2016 both he and the Met finally admitted that the rumors were true, and that Levine had in fact had the disease since 1994.",
"But in 2016 both he and the Met finally admitted that the rumors were true, and that Levine had in fact had the disease since 1994. The Washington Post noted: \"It wasn't just the illnesses, but the constant alternation between concealment and an excess of revelation that kept so much attention focused on them and away from the music.\"",
"The Washington Post noted: \"It wasn't just the illnesses, but the constant alternation between concealment and an excess of revelation that kept so much attention focused on them and away from the music.\" Levine died in his Palm Springs home on March 9, 2021.",
"Levine died in his Palm Springs home on March 9, 2021. Len Horovitz, his personal physician, announced Levine's death on March 17 and said that he had died of natural causes.",
"Len Horovitz, his personal physician, announced Levine's death on March 17 and said that he had died of natural causes. Sexual assault allegations Four men accused Levine of sexually molesting them (starting when they were 16, 17, 17, and 20 years old), from the 1960s to the 1990s.",
"Sexual assault allegations Four men accused Levine of sexually molesting them (starting when they were 16, 17, 17, and 20 years old), from the 1960s to the 1990s. On December 2, 2017, it was publicly revealed that an October 2016 police report detailed that Levine had allegedly sexually molested a male teenager for years.",
"On December 2, 2017, it was publicly revealed that an October 2016 police report detailed that Levine had allegedly sexually molested a male teenager for years. The alleged sexual abuse began while Levine was guest conductor at the Ravinia Festival, outside Chicago, where Levine was music director for the Chicago Symphony Orchestra's summer residencies from 1973 to 1993.",
"The alleged sexual abuse began while Levine was guest conductor at the Ravinia Festival, outside Chicago, where Levine was music director for the Chicago Symphony Orchestra's summer residencies from 1973 to 1993. One accuser said that in the summer of 1968, when he was a 17-year-old high school student attending Meadow Brook School of Music in Michigan, Levine (then a 25-year-old faculty member) had sexual contact with a student.",
"One accuser said that in the summer of 1968, when he was a 17-year-old high school student attending Meadow Brook School of Music in Michigan, Levine (then a 25-year-old faculty member) had sexual contact with a student. When he next saw Levine, the accuser told him that he would not repeat the sexual behavior, but asked if they could continue to make music as they had before; Levine said no.",
"When he next saw Levine, the accuser told him that he would not repeat the sexual behavior, but asked if they could continue to make music as they had before; Levine said no. The accuser later played bass in the St. Paul Chamber Orchestra for decades and became a professor.",
"The accuser later played bass in the St. Paul Chamber Orchestra for decades and became a professor. A second accuser said that that same summer, Levine had sexual contact with a 17-year-old student and that Levine then initiated with the teenager a number of sexual encounters that have since haunted him.",
"A second accuser said that that same summer, Levine had sexual contact with a 17-year-old student and that Levine then initiated with the teenager a number of sexual encounters that have since haunted him. He said (and another male corroborated, on the condition of anonymity) that the next year, in Cleveland, where Levine was an assistant conductor of the Cleveland Orchestra, Levine on several occasions had sexual contact with that student and other students.",
"He said (and another male corroborated, on the condition of anonymity) that the next year, in Cleveland, where Levine was an assistant conductor of the Cleveland Orchestra, Levine on several occasions had sexual contact with that student and other students. A third accuser, a violinist and pianist who grew up in Illinois near the Ravinia Music Festival, a summer program for aspiring musicians of which Levine was music director from 1971 to 1993, said Levine sexually abused him beginning when the accuser was 16 years old (and Levine was in his 40s) in 1986.",
"A third accuser, a violinist and pianist who grew up in Illinois near the Ravinia Music Festival, a summer program for aspiring musicians of which Levine was music director from 1971 to 1993, said Levine sexually abused him beginning when the accuser was 16 years old (and Levine was in his 40s) in 1986. He had previously detailed his accusation in 2016 in a report to the Lake Forest Police Department in Illinois.",
"He had previously detailed his accusation in 2016 in a report to the Lake Forest Police Department in Illinois. On December 8, the department announced that Levine could not be charged criminally in Illinois because the accuser was 16 years old at the time, and while today a 16-year-old is not considered old enough to consent to such conduct in Illinois (he must be 17, or 18 in cases in which the suspect is in a position of trust, authority, or supervision in relation to the victim), at the time that was the statutory age of consent.",
"On December 8, the department announced that Levine could not be charged criminally in Illinois because the accuser was 16 years old at the time, and while today a 16-year-old is not considered old enough to consent to such conduct in Illinois (he must be 17, or 18 in cases in which the suspect is in a position of trust, authority, or supervision in relation to the victim), at the time that was the statutory age of consent. The department noted: \"we are bound to apply the law that was in effect at the time the allegations occurred rather than the law as it currently exists.\"",
"The department noted: \"we are bound to apply the law that was in effect at the time the allegations occurred rather than the law as it currently exists.\" On December 4, a fourth man, who later had a long career as a violinist in the New Jersey Symphony Orchestra, said he had been abused by Levine beginning in 1968, when he was 20 years old and attending the Meadow Brook School of Music.",
"On December 4, a fourth man, who later had a long career as a violinist in the New Jersey Symphony Orchestra, said he had been abused by Levine beginning in 1968, when he was 20 years old and attending the Meadow Brook School of Music. Levine was a teacher in the summer program.",
"Levine was a teacher in the summer program. Reactions The New York Times said that the Met had known of at least one sexual abuse allegation as early as 1979, but dismissed it as baseless.",
"Reactions The New York Times said that the Met had known of at least one sexual abuse allegation as early as 1979, but dismissed it as baseless. Furthermore, the Met (including its General Manager Peter Gelb, who was contacted directly by a police detective about the allegations in October 2016) had been aware of both the third accuser's abuse allegations since they were made in the 2016 police report, and of the attendant police investigation.",
"Furthermore, the Met (including its General Manager Peter Gelb, who was contacted directly by a police detective about the allegations in October 2016) had been aware of both the third accuser's abuse allegations since they were made in the 2016 police report, and of the attendant police investigation. But the Met did not suspend Levine or launch an investigation of its own until over a year later, in December 2017.",
"But the Met did not suspend Levine or launch an investigation of its own until over a year later, in December 2017. In response to the December 2017 news article, the Met announced that it would investigate the sexual abuse allegations dating to the 1980s that were set forth in the 2016 police report.",
"In response to the December 2017 news article, the Met announced that it would investigate the sexual abuse allegations dating to the 1980s that were set forth in the 2016 police report. On December 3, after two additional males came forward with allegations of abuse, the Met suspended its ties with Levine, and canceled all upcoming engagements with him.",
"On December 3, after two additional males came forward with allegations of abuse, the Met suspended its ties with Levine, and canceled all upcoming engagements with him. A fourth accuser came forward the following day.",
"A fourth accuser came forward the following day. For its part, the Ravinia Festival, in April 2017, six months after the criminal investigation of Levine began, created an honorific title for Levine—\"Conductor Laureate\"—and signed him to a five-year renewable contract to begin in 2018.",
"For its part, the Ravinia Festival, in April 2017, six months after the criminal investigation of Levine began, created an honorific title for Levine—\"Conductor Laureate\"—and signed him to a five-year renewable contract to begin in 2018. On December 4, 2017, the Ravinia Festival severed all ties with Levine, and terminated his five-year contract to lead the Chicago Symphony there.",
"On December 4, 2017, the Ravinia Festival severed all ties with Levine, and terminated his five-year contract to lead the Chicago Symphony there. The Boston Symphony Orchestra said Levine \"will never be employed or contracted by the BSO at any time in the future\".",
"The Boston Symphony Orchestra said Levine \"will never be employed or contracted by the BSO at any time in the future\". The Juilliard School, where Levine had studied, replaced him in a February 2018 performance where he was scheduled to lead the Juilliard Orchestra and singers from the Met's Lindemann Young Artist Development Program.",
"The Juilliard School, where Levine had studied, replaced him in a February 2018 performance where he was scheduled to lead the Juilliard Orchestra and singers from the Met's Lindemann Young Artist Development Program. On December 5, the Cincinnati May Festival canceled Levine's appearance in May.",
"On December 5, the Cincinnati May Festival canceled Levine's appearance in May. On December 7, in New Plymouth, New Zealand, the cinema chain Event Cinemas abruptly cancelled the screening of a Met production of Levine conducting Mozart's Die Zauberflöte.",
"On December 7, in New Plymouth, New Zealand, the cinema chain Event Cinemas abruptly cancelled the screening of a Met production of Levine conducting Mozart's Die Zauberflöte. On December 8, Fred Child, host of the classical music radio show Performance Today, wrote that Levine \"is accused of inflicting grievous harm to living members of our musical community.",
"On December 8, Fred Child, host of the classical music radio show Performance Today, wrote that Levine \"is accused of inflicting grievous harm to living members of our musical community. Out of respect for these people and their wounds, I choose not to broadcast performances featuring Mr. Levine on the podium.\"",
"Out of respect for these people and their wounds, I choose not to broadcast performances featuring Mr. Levine on the podium.\" Classical music blogger, former Village Voice music critic, and Juilliard School faculty member Greg Sandow said he had been contacted by three men over the years who said that Levine had abused them, and that reports of sexual abuse by Levine were \"widely talked about\" for 40 years.",
"Classical music blogger, former Village Voice music critic, and Juilliard School faculty member Greg Sandow said he had been contacted by three men over the years who said that Levine had abused them, and that reports of sexual abuse by Levine were \"widely talked about\" for 40 years. Sandow said further: \"Everybody in the classical music business at least since the 1980s has talked about Levine as a sex abuser.",
"Sandow said further: \"Everybody in the classical music business at least since the 1980s has talked about Levine as a sex abuser. The investigation should have been done decades ago.\"",
"The investigation should have been done decades ago.\" Pulitzer Prize-winning music critic Justin Davidson mused on the culture website of New York magazine, \"James Levine's career has clearly ended\" and \"I'm not sure the Met can survive Levine's disgrace.\"",
"Pulitzer Prize-winning music critic Justin Davidson mused on the culture website of New York magazine, \"James Levine's career has clearly ended\" and \"I'm not sure the Met can survive Levine's disgrace.\" Similarly, drama critic Terry Teachout of The Wall Street Journal wrote an article called \"The Levine Cataclysm; How allegations against James Levine of sexual misconduct with teenagers could topple the entire Metropolitan Opera\".",
"Similarly, drama critic Terry Teachout of The Wall Street Journal wrote an article called \"The Levine Cataclysm; How allegations against James Levine of sexual misconduct with teenagers could topple the entire Metropolitan Opera\". The Washington Post music critic Anne Midgette noted: \"The Met has known about these allegations for at least a year, and are only investigating them now that they are public\", and opined on her Facebook page that the Met has \"quite probably spent years protecting its star conductor from just this kind of allegation\".",
"The Washington Post music critic Anne Midgette noted: \"The Met has known about these allegations for at least a year, and are only investigating them now that they are public\", and opined on her Facebook page that the Met has \"quite probably spent years protecting its star conductor from just this kind of allegation\". Music critic Tim Pfaff of the LGBT Bay Area Reporter wrote that The New York Times chief classical music critic Anthony Tommasini had the \"weirdest\" reaction, \"lamenting the ugliness of it all under a...headline, 'Should I Put Away My James Levine Recordings?'",
"Music critic Tim Pfaff of the LGBT Bay Area Reporter wrote that The New York Times chief classical music critic Anthony Tommasini had the \"weirdest\" reaction, \"lamenting the ugliness of it all under a...headline, 'Should I Put Away My James Levine Recordings?' His conclusion was that he and his husband...should move those recordings from their living room.\"",
"His conclusion was that he and his husband...should move those recordings from their living room.\" The Met orchestra musicians applauded the courage of the four men who came forward with accusations that Levine had abused them.",
"The Met orchestra musicians applauded the courage of the four men who came forward with accusations that Levine had abused them. Local 802 of the American Federation of Musicians, which represents the Met's orchestra and Levine, said, \"We are horrified and sickened by the recently reported allegations of sexual abuse by Mr. Levine.\"",
"Levine.\" Levine.\" Five days after news of the accusations by the four men broke, Levine spoke about them for the first time, and called them \"unfounded\". The accusers stood by their claims, with one saying, \"I will take a lie-detector test. Will he?\"",
"Will he?\" Will he?\" Six days later, music critic Arthur Kaptainis wrote in the Montreal Gazette that Levine's denial \"had little effect\". On March 12, 2018, the Met announced that it had fired Levine.",
"On March 12, 2018, the Met announced that it had fired Levine. Its investigation found Levine had \"engaged in sexually abusive and harassing conduct towards vulnerable artists in the early stages of their careers\".",
"Its investigation found Levine had \"engaged in sexually abusive and harassing conduct towards vulnerable artists in the early stages of their careers\". Levine sued the Metropolitan Opera in New York State Supreme Court for breach of contract and defamation on March 15, 2018, three days after the company fired him, seeking more than $5.8 million in damages.",
"Levine sued the Metropolitan Opera in New York State Supreme Court for breach of contract and defamation on March 15, 2018, three days after the company fired him, seeking more than $5.8 million in damages. The Met denied Levine's allegations.",
"The Met denied Levine's allegations. A year later, a New York State Supreme Court judge dismissed most of Levine's claims, but ruled that the Met and its attorney had made defamatory statements. The Metropolitan Opera and Levine announced a settlement on undisclosed terms in August 2019.",
"The Metropolitan Opera and Levine announced a settlement on undisclosed terms in August 2019. In September 2020, the size of the payout was indirectly exposed by annual disclosure statements required for nonprofits; Levine had received $3.5 million in the settlement.",
"In September 2020, the size of the payout was indirectly exposed by annual disclosure statements required for nonprofits; Levine had received $3.5 million in the settlement. It is speculated that he was able to negotiate such a large settlement due to the lack of a morals clause in his contract with the Met.",
"It is speculated that he was able to negotiate such a large settlement due to the lack of a morals clause in his contract with the Met. Recordings and film Levine made many audio and video recordings. He recorded extensively with many orchestras, and especially often with the Metropolitan Opera.",
"He recorded extensively with many orchestras, and especially often with the Metropolitan Opera. His performance of Aida with Leontyne Price, her last in opera, was preserved on video and may be seen at the Met's own online archive of performances. Of particular note are his performances of Wagner's complete Der Ring des Nibelungen.",
"Of particular note are his performances of Wagner's complete Der Ring des Nibelungen. A studio recording made for Deutsche Grammophon from 1987 to 1989 is on compact disc, and a 1989 live performance of the Ring is available on DVD.",
"A studio recording made for Deutsche Grammophon from 1987 to 1989 is on compact disc, and a 1989 live performance of the Ring is available on DVD. He also appears on several dozen albums as a pianist, collaborating with such singers as Jessye Norman, Kathleen Battle, Christa Ludwig, and Dawn Upshaw, as well as performing the chamber music of Franz Schubert and Francis Poulenc, among others.",
"He also appears on several dozen albums as a pianist, collaborating with such singers as Jessye Norman, Kathleen Battle, Christa Ludwig, and Dawn Upshaw, as well as performing the chamber music of Franz Schubert and Francis Poulenc, among others. Levine was featured in the animated Disney film Fantasia 2000.",
"Levine was featured in the animated Disney film Fantasia 2000. He conducted the Chicago Symphony Orchestra in the soundtrack recordings of all the music in the film (with the exception of one segment from the original 1940 Fantasia).",
"He conducted the Chicago Symphony Orchestra in the soundtrack recordings of all the music in the film (with the exception of one segment from the original 1940 Fantasia). Levine is also seen in the film talking briefly with Mickey Mouse and Donald Duck, just as his predecessor Leopold Stokowski did in the original film.",
"Levine is also seen in the film talking briefly with Mickey Mouse and Donald Duck, just as his predecessor Leopold Stokowski did in the original film. Discography Marilyn Horne: Divas in Song (1994), RCA Victor Red Seal CD, 09026-62547-2 Videography Mozart: Idomeneo (1982), Deutsche Grammophon DVD, 00440-073-4234 The Metropolitan Opera Centennial Gala (1983), Deutsche Grammophon DVD, 00440-073-4538 The Metropolitan Opera Gala 1991, Deutsche Grammophon DVD, 00440-073-4582 James Levine's 25th Anniversary Metropolitan Opera Gala (1996), Deutsche Grammophon DVD, B0004602-09 Honors Among the awards listed in his Met biography are: 1980 – Manhattan Cultural Award 1982 – first of eight Grammy Awards 1984 – Named \"Musician of the Year\" by Musical America 1986 – Smetana Medal (presented by the former Czechoslovakia) 1997 – National Medal of Arts 1999 – Wilhelm Furtwängler Prize from the Committee for Cultural Advancement of Baden-Baden, Germany 2003 – Kennedy Center Honors 2005 – Award for Distinguished Service to the Arts from the American Academy of Arts and Letters 2006 – Opera News Award 2009 – Award in the Vocal Arts from Bard College 2009 – Ditson Conductors Award from Columbia University 2010 – National Endowment for the Arts Opera Honoree 2010 – George Peabody Award from Peabody Conservatory at Johns Hopkins University 2010 – elected an honorary member of the American Academy of Arts and Letters In addition, his biography says Levine has received honorary doctorates from the University of Cincinnati, the New England Conservatory of Music, Northwestern University, the State University of New York, and the Juilliard School.",
"Discography Marilyn Horne: Divas in Song (1994), RCA Victor Red Seal CD, 09026-62547-2 Videography Mozart: Idomeneo (1982), Deutsche Grammophon DVD, 00440-073-4234 The Metropolitan Opera Centennial Gala (1983), Deutsche Grammophon DVD, 00440-073-4538 The Metropolitan Opera Gala 1991, Deutsche Grammophon DVD, 00440-073-4582 James Levine's 25th Anniversary Metropolitan Opera Gala (1996), Deutsche Grammophon DVD, B0004602-09 Honors Among the awards listed in his Met biography are: 1980 – Manhattan Cultural Award 1982 – first of eight Grammy Awards 1984 – Named \"Musician of the Year\" by Musical America 1986 – Smetana Medal (presented by the former Czechoslovakia) 1997 – National Medal of Arts 1999 – Wilhelm Furtwängler Prize from the Committee for Cultural Advancement of Baden-Baden, Germany 2003 – Kennedy Center Honors 2005 – Award for Distinguished Service to the Arts from the American Academy of Arts and Letters 2006 – Opera News Award 2009 – Award in the Vocal Arts from Bard College 2009 – Ditson Conductors Award from Columbia University 2010 – National Endowment for the Arts Opera Honoree 2010 – George Peabody Award from Peabody Conservatory at Johns Hopkins University 2010 – elected an honorary member of the American Academy of Arts and Letters In addition, his biography says Levine has received honorary doctorates from the University of Cincinnati, the New England Conservatory of Music, Northwestern University, the State University of New York, and the Juilliard School. On May 3, 2018, SUNY revoked Levine's honorary doctorate in response to the sexual abuse allegations against him.",
"On May 3, 2018, SUNY revoked Levine's honorary doctorate in response to the sexual abuse allegations against him. References External links 1943 births 2021 deaths 20th-century American conductors (music) 20th-century American pianists 20th-century American male musicians 20th-century classical pianists 21st-century American conductors (music) 21st-century American male musicians 21st-century American pianists 21st-century classical pianists American classical pianists American male conductors (music) American male pianists Aspen Music Festival and School alumni Conductors of the Metropolitan Opera Deutsche Grammophon artists Grammy Award winners Jewish American classical musicians Jewish classical pianists Juilliard School alumni Kennedy Center honorees Male classical pianists Metropolitan Opera people Music directors (opera) Musicians from Cincinnati Musicians from New York City Oehms Classics artists People stripped of honorary degrees People with Parkinson's disease United States National Medal of Arts recipients 21st-century American Jews"
] |
[
"James Levine",
"Early years and personal life",
"when was he born",
"I don't know.",
"where was he born",
"Cincinnati, Ohio,",
"which school did he attended",
"Marlboro Music School,",
"where was his school located",
"Cincinnati.",
"did he has degree or masters",
"He graduated from the Juilliard School in 1964,"
] | C_65204209c84c44cd9d64d3dbaa8b91fb_1 | what did he study in school | 6 | What did James Levine study in Juilliard School? | James Levine | Levine was born in Cincinnati, Ohio, to a Jewish, musical family. His maternal grandfather was a composer and a cantor in a synagogue, his father (Lawrence) was a violinist who led dance bands under the name "Larry Lee" before entering his father's clothing business, and his mother (Helen Goldstein Levine) was briefly an actress on Broadway, performing as "Helen Golden". He has a brother Tom who is two years younger, who followed him to New York City from Cincinnati in 1974, and with whom he is very close. He employs Tom as his business assistant (looking after all of his affairs, arranging his rehearsal schedules, fielding queries, scouting out where he will live, meeting with accountants, and accompanying Levine on trips to Europe), and his brother is a painter as well. He also has a younger sister, Janet, who is a marriage counselor. He began to play the piano as a small child. On February 21, 1954, at the age of 10, Levine made his concert debut as soloist playing Felix Mendelssohn's Piano Concerto No. 2 at a youth concert of the Cincinnati Symphony Orchestra in Ohio. Levine subsequently studied music with Walter Levin, first violinist in the LaSalle Quartet. In 1956 he took piano lessons with Rudolf Serkin at the Marlboro Music School, in Vermont. In the following year he began to study piano with Rosina Lhevinne at the Aspen Music School. He graduated from Walnut Hills High School, an acclaimed magnet school in Cincinnati. He entered the Juilliard School of Music in New York City in 1961, and took courses in conducting with Jean Morel. He graduated from the Juilliard School in 1964, and joined the American Conductors project connected with the Baltimore Symphony Orchestra. Levine lives in The San Remo on Central Park West in New York City. CANNOTANSWER | conducting | James Lawrence Levine (; June 23, 1943 – March 9, 2021) was an American conductor and pianist. He was music director of the Metropolitan Opera (the "Met") from 1976 to 2016. He was formally terminated from all his positions and affiliations with the Met on March 12, 2018, over sexual misconduct allegations, which he denied.
Levine held leadership positions with the Ravinia Festival, the Munich Philharmonic, and the Boston Symphony Orchestra. In 1980 he started the Lindemann Young Artists Development Program, and trained singers, conductors, and musicians for professional careers.
After taking an almost two-year health-related hiatus from conducting from 2011 to 2013, during which time he held artistic and administrative planning sessions at the Met, and led training of the Lindemann Young Artists, Levine retired as the Met's full-time Music Director following the 2015–16 season to become Music Director Emeritus.
Early years and personal life
Levine was born in Cincinnati, Ohio, to a Jewish, musical family. His maternal grandfather was a composer and a cantor in a synagogue; his father, Lawrence, was a violinist who led dance bands under the name "Larry Lee" before entering his father's clothing business; and his mother, Helen Goldstein Levine, was briefly an actress on Broadway, performing as "Helen Golden". He had a brother, Tom, who was two years younger, who followed him to New York City from Cincinnati in 1974, and with whom he was very close. He employed Tom as his business assistant, looking after his affairs, arranging his rehearsal schedules, fielding queries, scouting out places to live, meeting with accountants, and accompanying Levine on trips to Europe. Tom was also a painter. He also had a younger sister, Janet, who is a marriage counselor.
He began to play the piano as a small child. On February 21, 1954, at age 10, Levine made his concert debut as soloist playing Felix Mendelssohn's Piano Concerto No. 2 at a youth concert of the Cincinnati Symphony Orchestra in Ohio.
Levine subsequently studied music with Walter Levin, first violinist in the LaSalle Quartet. In 1956 he took piano lessons with Rudolf Serkin at the Marlboro Music School in Vermont. The next year he began to study piano with Rosina Lhévinne at the Aspen Music School. He graduated from Walnut Hills High School, a magnet school in Cincinnati. He entered the Juilliard School of Music in New York City in 1961, and took courses in conducting with Jean Morel. He graduated from Juilliard in 1964, and joined the American Conductors project connected with the Baltimore Symphony Orchestra.
Levine lived in The San Remo on Central Park West in New York City.
Career
Early career
From 1964 to 1965, Levine served as an apprentice to George Szell with the Cleveland Orchestra. He then served as the Orchestra's assistant conductor until 1970. That year, he also made debuts as guest conductor with the Philadelphia Orchestra at its summer home at Robin Hood Dell, the Welsh National Opera, and the San Francisco Opera. From 1965 to 1972 he concurrently taught at the Cleveland Institute of Music. In the summers, he worked at the Meadow Brook School of Music in Michigan and at the Ravinia Festival in Highland Park, Illinois, the summer home of the Chicago Symphony Orchestra. During that time, the charismatic Levine developed a devoted following of young musicians and music lovers.
In June 1971, Levine was called in at the last moment to substitute for István Kertész, to lead the Chicago Symphony Orchestra and Chorus in Mahler's Second Symphony for the Ravinia Festival's opening concert of their 36th season. This concert began a long association with the Chicago Symphony Orchestra. From 1973 to 1993 he was music director of the Ravinia Festival, succeeding the late Kertész. He made numerous recordings with the orchestra, including the symphonies and German Requiem of Johannes Brahms, and major works of Gershwin, Holst, Berg, Beethoven, Mozart, and others. In 1990, at the request of Roy E. Disney, he arranged the music and conducted the Chicago Symphony Orchestra and Chorus in the soundtrack of Fantasia 2000, released by Walt Disney Pictures. From 1974 to 1978, Levine also served as music director of the Cincinnati May Festival.
Metropolitan Opera
Levine made his Metropolitan Opera debut a few weeks before he turned 28, on June 5, 1971, leading a June Festival performance of Puccini's Tosca. After further appearances with the company, he was named its principal conductor in February 1972. He became its music director in 1975. In 1983, he served as conductor and musical director for the Franco Zeffirelli screen adaptation of Verdi's La Traviata, which featured the Met orchestra and chorus members. He became the company's first artistic director in 1986, and relinquished the title in 2004. In 2005, Levine's combined salary from the Boston Symphony Orchestra and the Met made him the highest-paid conductor in the country, at $3.5 million.
During Levine's tenure, the Metropolitan Opera orchestra expanded its activities into recording and concert series for the orchestra and chamber ensembles from the orchestra at Carnegie Hall. Levine led the Metropolitan Opera on many domestic and international tours. For the 25th anniversary of his Met debut, Levine conducted the world premiere of John Harbison's The Great Gatsby, commissioned for the occasion. On his appointment as general manager of the Met, Peter Gelb emphasized that Levine was welcome to remain as long as he wanted to direct music there. Levine was paid $2.1 million by the Met in 2010.
Following a series of injuries that began with a fall, Levine's health problems led to his withdrawal from many Metropolitan Opera engagements. After a May 2011 performance of Wagner's Die Walküre, Levine formally withdrew from all engagements at the Met. After two years of physical therapy, he returned to conducting with a May 2013 concert with the Metropolitan Opera Orchestra at Carnegie Hall. On September 25, 2013, Levine conducted his first Met performance since May 2011, in a revival production of Mozart's Così fan tutte. He was scheduled to conduct three productions at the opera house and three at Carnegie Hall in the 2013–14 season. On April 14, 2016, Met management announced that Levine would step down from his position as music director at the end of the 2015–16 season. Levine was paid $1.8 million by the Met for the 2015–16 season. He assumed the new title of Music Director Emeritus, which he held until December 2017, when in the wake of allegations that Levine had sexually abused four young men, the Met suspended its relationship with him and canceled all his scheduled performances with the company.
Boston Symphony Orchestra
Levine first conducted the Boston Symphony Orchestra (BSO) in April 1972. In October 2001, he was named its music director effective with the 2004–05 season, with an initial contract of five years, becoming the first American-born conductor to head the BSO.
One unique condition that Levine negotiated was increased flexibility of the time allotted for rehearsal, allowing the orchestra additional time to prepare more challenging works. After the start of his tenure, the orchestra also established an "Artistic Initiative Fund" of about $40 million to fund the more expensive of his projects.
One criticism of Levine during his BSO tenure is that he did not attend many orchestra auditions. A 2005 article reported that he had attended two out of 16 auditions during his tenure up to that time. Levine responded that he has the ability to provide input on musician tenure decisions after the initial probationary period, and that it is difficult to know how well a given player will fit the given position until that person has had a chance to work with the orchestra: "My message is the audition isn't everything."
Another 2005 report stated that during Levine's first season as music director, the greater workload from the demands of playing more unfamiliar and contemporary music had increased physical stress on some of the BSO musicians. Levine and the players met to discuss this, and he agreed to program changes to lessen these demands. He received general critical praise for revitalizing the orchestra's quality and repertoire since the beginning of his tenure.
Levine experienced ongoing health problems, starting with an onstage fall in 2006 that resulted in a torn rotator cuff and started discussion of how long Levine's tenure with the BSO would last. In April 2010, in the wake of his continuing health problems, it emerged that Levine had not officially signed a contract extension, so that he was the BSO's music director without a signed contract. On March 2, 2011, the BSO announced Levine's resignation as music director effective September 2011, after the Orchestra's Tanglewood season.
Working on a commission from Levine and the BSO, the composer John Harbison dedicated his Symphony No. 6 "in friendship and gratitude" to him, whose premature departure from the orchestra prevented him from conducting the premiere.
After allegations of his abusing a number of young men came out in December 2017 the BSO said Levine "will never be employed or contracted by the BSO at any time in the future".
Conducting in Europe
Levine's BSO contract limited his guest appearances with American orchestras, but he still conducted regularly in Europe, with the Vienna Philharmonic, Berlin Philharmonic, and at the Bayreuth Festival. Levine was a regular guest with the Philharmonia of London and the Staatskapelle Dresden. Beginning in 1975 he conducted regularly at the Salzburg Festival and the annual July Verbier Festival. From 1999 to 2004, he was chief conductor of the Munich Philharmonic, and was credited with improving the quality of instrumental ensemble during his tenure.
Work with students
Levine initiated the Lindemann Young Artists Development Program at the Metropolitan Opera in 1980, a professional training program for graduated singers with, today, many famous alumni.
Levine was conductor of the UBS Verbier Festival Orchestra, the student resident orchestra at the annual summer music festival in Verbier, Switzerland, from 1999 through 2006. It was Levine's first long-term commitment to a student orchestra since becoming music director at the Met.
After becoming music director of the Boston Symphony Orchestra, Levine also served as music director of the Tanglewood Music Center, the BSO's acclaimed summer academy at Tanglewood for student instrumentalists, singers, composers, and conductors. There he conducted the Tanglewood Music Center Orchestra, directed fully staged opera performances with student singers, and gave master classes for singers and conductors.
Levine said in an interview:
At my age, you are naturally inclined towards teaching. You want to teach what you have learned to the next generation so that they don't have to spend time reinventing the wheel. I was lucky that I met the right mentors and teachers at the right moment. I love working with young musicians and singers, and those at the Tanglewood Music Center are unequivocally some of the finest and most talented in the world.
He continued to work with young students even when his health issues kept him from conducting. He was awarded the Lotus Award ("for inspiration to young musicians") from Young Concert Artists. Anthony Tommasini wrote in The New York Times in 2016: "The aspiring singers in the Met's young artist development program, one of many important ventures Mr. Levine started, must understand how lucky they are to have, as a teacher and mentor, a musician who even in his 20s worked at the Met with giants like Jon Vickers and Renata Tebaldi."
Health problems and death
Levine experienced recurrent health issues beginning in 2006, including sciatica and what he called "intermittent tremors". On March 1, 2006, he tripped and fell onstage during a standing ovation after a performance with the Boston Symphony Orchestra and tore the rotator cuff in his right shoulder, leaving the remaining subscription concerts in Boston to his assistant conductor at the time. Later that month, Levine underwent surgery to repair the injury. He returned to the podium on July 7, 2006.
Levine withdrew from the majority of the Tanglewood 2008 summer season because of surgery required to remove a kidney with a malignant cyst. He returned to the podium in Boston on September 24, 2008, at Symphony Hall.
On September 29, 2009, it was announced that Levine would undergo emergency back surgery for a herniated disk. He missed three weeks of engagements.
In March 2010, the BSO announced that Levine would miss the remainder of the Boston Symphony season because of back pain. The Met also announced, on April 4, 2010, that he was withdrawing from the remainder of his performances for the season. According to the Met, Levine was required to have "corrective surgery for an ongoing lower back problem". He returned to conducting at the Met and the BSO at the beginning of the 2010–11 season, but in February 2011 canceled his Boston engagements for the rest of the season.
In the summer of 2011, Levine underwent further surgery on his back. In September 2011, after he fell down a flight of stairs, fractured his spine, and injured his back while on vacation in Vermont, the Met announced that he would not conduct at the Met at least for the rest of 2011.
After two years of surgery and physical therapy, Levine returned to conducting for the first time on May 19, 2013, in a concert with the Metropolitan Opera Orchestra at Carnegie Hall. Levine conducted from a motorized wheelchair, with a special platform designed to accommodate it, which could rise and descend like an elevator. He returned to the Met on September 24, 2013. The same type of platform was present in the Met orchestra pit for his September 2013 return performance.
For many years, both Levine and the Met denied as unfounded the rumors that Levine had Parkinson's disease. As New York magazine reported: "The conductor states flatly that the condition is not Parkinson's disease, as people had speculated in 'that silly Times piece.'" But in 2016 both he and the Met finally admitted that the rumors were true, and that Levine had in fact had the disease since 1994. The Washington Post noted: "It wasn't just the illnesses, but the constant alternation between concealment and an excess of revelation that kept so much attention focused on them and away from the music."
Levine died in his Palm Springs home on March 9, 2021. Len Horovitz, his personal physician, announced Levine's death on March 17 and said that he had died of natural causes.
Sexual assault allegations
Four men accused Levine of sexually molesting them (starting when they were 16, 17, 17, and 20 years old), from the 1960s to the 1990s.
On December 2, 2017, it was publicly revealed that an October 2016 police report detailed that Levine had allegedly sexually molested a male teenager for years. The alleged sexual abuse began while Levine was guest conductor at the Ravinia Festival, outside Chicago, where Levine was music director for the Chicago Symphony Orchestra's summer residencies from 1973 to 1993.
One accuser said that in the summer of 1968, when he was a 17-year-old high school student attending Meadow Brook School of Music in Michigan, Levine (then a 25-year-old faculty member) had sexual contact with a student. When he next saw Levine, the accuser told him that he would not repeat the sexual behavior, but asked if they could continue to make music as they had before; Levine said no. The accuser later played bass in the St. Paul Chamber Orchestra for decades and became a professor.
A second accuser said that that same summer, Levine had sexual contact with a 17-year-old student and that Levine then initiated with the teenager a number of sexual encounters that have since haunted him. He said (and another male corroborated, on the condition of anonymity) that the next year, in Cleveland, where Levine was an assistant conductor of the Cleveland Orchestra, Levine on several occasions had sexual contact with that student and other students.
A third accuser, a violinist and pianist who grew up in Illinois near the Ravinia Music Festival, a summer program for aspiring musicians of which Levine was music director from 1971 to 1993, said Levine sexually abused him beginning when the accuser was 16 years old (and Levine was in his 40s) in 1986. He had previously detailed his accusation in 2016 in a report to the Lake Forest Police Department in Illinois. On December 8, the department announced that Levine could not be charged criminally in Illinois because the accuser was 16 years old at the time, and while today a 16-year-old is not considered old enough to consent to such conduct in Illinois (he must be 17, or 18 in cases in which the suspect is in a position of trust, authority, or supervision in relation to the victim), at the time that was the statutory age of consent. The department noted: "we are bound to apply the law that was in effect at the time the allegations occurred rather than the law as it currently exists."
On December 4, a fourth man, who later had a long career as a violinist in the New Jersey Symphony Orchestra, said he had been abused by Levine beginning in 1968, when he was 20 years old and attending the Meadow Brook School of Music. Levine was a teacher in the summer program.
Reactions
The New York Times said that the Met had known of at least one sexual abuse allegation as early as 1979, but dismissed it as baseless. Furthermore, the Met (including its General Manager Peter Gelb, who was contacted directly by a police detective about the allegations in October 2016) had been aware of both the third accuser's abuse allegations since they were made in the 2016 police report, and of the attendant police investigation. But the Met did not suspend Levine or launch an investigation of its own until over a year later, in December 2017.
In response to the December 2017 news article, the Met announced that it would investigate the sexual abuse allegations dating to the 1980s that were set forth in the 2016 police report. On December 3, after two additional males came forward with allegations of abuse, the Met suspended its ties with Levine, and canceled all upcoming engagements with him. A fourth accuser came forward the following day.
For its part, the Ravinia Festival, in April 2017, six months after the criminal investigation of Levine began, created an honorific title for Levine—"Conductor Laureate"—and signed him to a five-year renewable contract to begin in 2018. On December 4, 2017, the Ravinia Festival severed all ties with Levine, and terminated his five-year contract to lead the Chicago Symphony there.
The Boston Symphony Orchestra said Levine "will never be employed or contracted by the BSO at any time in the future". The Juilliard School, where Levine had studied, replaced him in a February 2018 performance where he was scheduled to lead the Juilliard Orchestra and singers from the Met's Lindemann Young Artist Development Program. On December 5, the Cincinnati May Festival canceled Levine's appearance in May. On December 7, in New Plymouth, New Zealand, the cinema chain Event Cinemas abruptly cancelled the screening of a Met production of Levine conducting Mozart's Die Zauberflöte. On December 8, Fred Child, host of the classical music radio show Performance Today, wrote that Levine "is accused of inflicting grievous harm to living members of our musical community. Out of respect for these people and their wounds, I choose not to broadcast performances featuring Mr. Levine on the podium."
Classical music blogger, former Village Voice music critic, and Juilliard School faculty member Greg Sandow said he had been contacted by three men over the years who said that Levine had abused them, and that reports of sexual abuse by Levine were "widely talked about" for 40 years. Sandow said further: "Everybody in the classical music business at least since the 1980s has talked about Levine as a sex abuser. The investigation should have been done decades ago." Pulitzer Prize-winning music critic Justin Davidson mused on the culture website of New York magazine, "James Levine's career has clearly ended" and "I'm not sure the Met can survive Levine's disgrace." Similarly, drama critic Terry Teachout of The Wall Street Journal wrote an article called "The Levine Cataclysm; How allegations against James Levine of sexual misconduct with teenagers could topple the entire Metropolitan Opera". The Washington Post music critic Anne Midgette noted: "The Met has known about these allegations for at least a year, and are only investigating them now that they are public", and opined on her Facebook page that the Met has "quite probably spent years protecting its star conductor from just this kind of allegation". Music critic Tim Pfaff of the LGBT Bay Area Reporter wrote that The New York Times chief classical music critic Anthony Tommasini had the "weirdest" reaction, "lamenting the ugliness of it all under a...headline, 'Should I Put Away My James Levine Recordings?' His conclusion was that he and his husband...should move those recordings from their living room."
The Met orchestra musicians applauded the courage of the four men who came forward with accusations that Levine had abused them. Local 802 of the American Federation of Musicians, which represents the Met's orchestra and Levine, said, "We are horrified and sickened by the recently reported allegations of sexual abuse by Mr. Levine."
Five days after news of the accusations by the four men broke, Levine spoke about them for the first time, and called them "unfounded". The accusers stood by their claims, with one saying, "I will take a lie-detector test. Will he?" Six days later, music critic Arthur Kaptainis wrote in the Montreal Gazette that Levine's denial "had little effect".
On March 12, 2018, the Met announced that it had fired Levine. Its investigation found Levine had "engaged in sexually abusive and harassing conduct towards vulnerable artists in the early stages of their careers".
Levine sued the Metropolitan Opera in New York State Supreme Court for breach of contract and defamation on March 15, 2018, three days after the company fired him, seeking more than $5.8 million in damages. The Met denied Levine's allegations. A year later, a New York State Supreme Court judge dismissed most of Levine's claims, but ruled that the Met and its attorney had made defamatory statements.
The Metropolitan Opera and Levine announced a settlement on undisclosed terms in August 2019. In September 2020, the size of the payout was indirectly exposed by annual disclosure statements required for nonprofits; Levine had received $3.5 million in the settlement. It is speculated that he was able to negotiate such a large settlement due to the lack of a morals clause in his contract with the Met.
Recordings and film
Levine made many audio and video recordings. He recorded extensively with many orchestras, and especially often with the Metropolitan Opera. His performance of Aida with Leontyne Price, her last in opera, was preserved on video and may be seen at the Met's own online archive of performances. Of particular note are his performances of Wagner's complete Der Ring des Nibelungen. A studio recording made for Deutsche Grammophon from 1987 to 1989 is on compact disc, and a 1989 live performance of the Ring is available on DVD. He also appears on several dozen albums as a pianist, collaborating with such singers as Jessye Norman, Kathleen Battle, Christa Ludwig, and Dawn Upshaw, as well as performing the chamber music of Franz Schubert and Francis Poulenc, among others.
Levine was featured in the animated Disney film Fantasia 2000. He conducted the Chicago Symphony Orchestra in the soundtrack recordings of all the music in the film (with the exception of one segment from the original 1940 Fantasia). Levine is also seen in the film talking briefly with Mickey Mouse and Donald Duck, just as his predecessor Leopold Stokowski did in the original film.
Discography
Marilyn Horne: Divas in Song (1994), RCA Victor Red Seal CD, 09026-62547-2
Videography
Mozart: Idomeneo (1982), Deutsche Grammophon DVD, 00440-073-4234
The Metropolitan Opera Centennial Gala (1983), Deutsche Grammophon DVD, 00440-073-4538
The Metropolitan Opera Gala 1991, Deutsche Grammophon DVD, 00440-073-4582
James Levine's 25th Anniversary Metropolitan Opera Gala (1996), Deutsche Grammophon DVD, B0004602-09
Honors
Among the awards listed in his Met biography are:
1980 – Manhattan Cultural Award
1982 – first of eight Grammy Awards
1984 – Named "Musician of the Year" by Musical America
1986 – Smetana Medal (presented by the former Czechoslovakia)
1997 – National Medal of Arts
1999 – Wilhelm Furtwängler Prize from the Committee for Cultural Advancement of Baden-Baden, Germany
2003 – Kennedy Center Honors
2005 – Award for Distinguished Service to the Arts from the American Academy of Arts and Letters
2006 – Opera News Award
2009 – Award in the Vocal Arts from Bard College
2009 – Ditson Conductors Award from Columbia University
2010 – National Endowment for the Arts Opera Honoree
2010 – George Peabody Award from Peabody Conservatory at Johns Hopkins University
2010 – elected an honorary member of the American Academy of Arts and Letters
In addition, his biography says Levine has received honorary doctorates from the University of Cincinnati, the New England Conservatory of Music, Northwestern University, the State University of New York, and the Juilliard School. On May 3, 2018, SUNY revoked Levine's honorary doctorate in response to the sexual abuse allegations against him.
References
External links
1943 births
2021 deaths
20th-century American conductors (music)
20th-century American pianists
20th-century American male musicians
20th-century classical pianists
21st-century American conductors (music)
21st-century American male musicians
21st-century American pianists
21st-century classical pianists
American classical pianists
American male conductors (music)
American male pianists
Aspen Music Festival and School alumni
Conductors of the Metropolitan Opera
Deutsche Grammophon artists
Grammy Award winners
Jewish American classical musicians
Jewish classical pianists
Juilliard School alumni
Kennedy Center honorees
Male classical pianists
Metropolitan Opera people
Music directors (opera)
Musicians from Cincinnati
Musicians from New York City
Oehms Classics artists
People stripped of honorary degrees
People with Parkinson's disease
United States National Medal of Arts recipients
21st-century American Jews | true | [
"The Katy series is a set of novels by Sarah Chauncey Woolsey, writing under the pen-name of Susan Coolidge. The first in the series, What Katy Did, was published in 1872 and followed the next year by What Katy Did at School. What Katy Did Next was released in 1886. Two further novels, Clover (1888) and In the High Valley (1890), focused upon other members of the eponymous character's family. The series was popular with readers in the late 19th century.\n\nThe series was later adapted into a TV series entitled Katy in 1962, and two films, one also called Katy in 1972 and What Katy Did in 1999.\n\nNovels\n What Katy Did\n What Katy Did at School\n What Katy Did Next\n Clover\n In the High Valley\n\nAdaptions\n Katy (TV series, 1962)\n Katy (film, 1972)\n What Katy Did (film, 1999)\n\nLiterary Criticism\nCritics are divided about how much the series played into period gender norms and often compare the series to Little Women. Foster and Simmons argue for its subversion of gender in their book What Katy Read: Feminist Re-Readings of ‘Classic’ Stories for Girls by suggesting the series “deconstructs family hierarchies”.\n\nInfluence\nThe series is unusual for its time by having an entry which focuses not on the family life at home but at school in What Katy Did at School.\n\nIn a 1995 survey, What Katy Did was voted as one of the top 10 books for 12-year-old girls.\n\nSee also\n\nSarah Chauncey Woolsey\n\nReferences\n\nExternal links\nSeries details at Fantastic Fiction\n\nKaty series\n1870s novels\nNovel series\nSeries of children's books\nNovels by Susan Coolidge\n1880s novels\n1890s novels\n1962 American television series debuts\n1972 films\n1999 films",
"Wilbur Samuel Jackman (January 12, 1855 – January 28, 1907) was an American educator and one of the originators of the nature study movement. \n\nJackman was born in Mechanicstown, Ohio, and shortly after his birth the family moved to California, Pennsylvania where he spent his boyhood growing up on a farm that his grandfather had obtained from the local Indians in exchange for a copper kettle. It was his childhood experiences that engendered him with a love of the outdoors and all the plants and animals that live there.\n\nJackman continued his education at the California Normal School, travelling to school and back on horseback. He then went to Meadville College for three years. He then continued his education at Harvard University and graduated with a bachelor's degree from Harvard in 1884. On his way home after graduation he stopped at Pittsburgh, Pennsylvania where he was promptly offered a job to teach natural science to high school students. Jackman was influenced by Johann Friedrich Herbart, Johann Pestalozzi, Friedrich Froebel and other European educators and believed that children's enthusiasm needed to be utilized to incorporate introductions to all subjects including mathematics, chemistry and biology within nature. It is while he is teaching high school in Pittsburgh that he formulated the nature-study idea. Colonel Francis W. Parker met him in 1889 and invited him to join the faculty at the Cook County Normal School in Chicago, Illinois. In the fall of 1890, Jackman published bimonthly pamphlets that were 75 pages each titled \"Outlines in Elementary Science\". In the spring of 1891, these pamphlets were synthesized into the important book published that allowed the whole world to learn about nature-study in his book Nature-Study for Common Schools. After this, he continued to refine his ideas of nature-study in different publications.\n\nIn 1904, Jackman was appointed dean of the growing School of Education of the University of Chicago (formerly the Cook County Normal School). He also served in this time as editor of the journal Elementary School Teacher.\n\nJackman died suddenly at the age of 52 from what was diagnosed as pneumonia.\n\nReferences\n\nSources\nBailey, L. H. (1904). The nature-study idea: Being an interpretation of the new school-movement to put the child in sympathy with nature. New York: Doubleday, Page & Company.\nJackman, W. S. (1891). Nature-study for the common schools. New York, NY: Henry Holt and Company.\nJackman, W. S. (1894). Field work in nature study (second ed.). Chicago, Illinois: A. Flanagan.\nJackman, W. S. (1904). The third yearbook of the National Society for the scientific study of education Part II nature-study. Chicago, IL: The University of Chicago Press.\n\nExternal links\n Nature study for the common schools (1894)\nEditorial Notes: Policy Statement of the Elementary School Teacher at the Mead Project\nWilbur Samuel Jackman at Encyclopedia.com\nHyde Park Resources: Here's What's in Hyde Park\n\n1852 births\nHarvard University alumni\nChicago State University faculty\nUniversity of Chicago faculty\n1907 deaths\nDeaths from pneumonia in Illinois\nPeople from Carroll County, Ohio\nPeople from Washington County, Pennsylvania"
] | [
"James Lawrence Levine (; June 23, 1943 – March 9, 2021) was an American conductor and pianist. He was music director of the Metropolitan Opera (the \"Met\") from 1976 to 2016.",
"He was music director of the Metropolitan Opera (the \"Met\") from 1976 to 2016. He was formally terminated from all his positions and affiliations with the Met on March 12, 2018, over sexual misconduct allegations, which he denied.",
"He was formally terminated from all his positions and affiliations with the Met on March 12, 2018, over sexual misconduct allegations, which he denied. Levine held leadership positions with the Ravinia Festival, the Munich Philharmonic, and the Boston Symphony Orchestra.",
"Levine held leadership positions with the Ravinia Festival, the Munich Philharmonic, and the Boston Symphony Orchestra. In 1980 he started the Lindemann Young Artists Development Program, and trained singers, conductors, and musicians for professional careers.",
"In 1980 he started the Lindemann Young Artists Development Program, and trained singers, conductors, and musicians for professional careers. After taking an almost two-year health-related hiatus from conducting from 2011 to 2013, during which time he held artistic and administrative planning sessions at the Met, and led training of the Lindemann Young Artists, Levine retired as the Met's full-time Music Director following the 2015–16 season to become Music Director Emeritus.",
"After taking an almost two-year health-related hiatus from conducting from 2011 to 2013, during which time he held artistic and administrative planning sessions at the Met, and led training of the Lindemann Young Artists, Levine retired as the Met's full-time Music Director following the 2015–16 season to become Music Director Emeritus. Early years and personal life Levine was born in Cincinnati, Ohio, to a Jewish, musical family.",
"Early years and personal life Levine was born in Cincinnati, Ohio, to a Jewish, musical family. His maternal grandfather was a composer and a cantor in a synagogue; his father, Lawrence, was a violinist who led dance bands under the name \"Larry Lee\" before entering his father's clothing business; and his mother, Helen Goldstein Levine, was briefly an actress on Broadway, performing as \"Helen Golden\".",
"His maternal grandfather was a composer and a cantor in a synagogue; his father, Lawrence, was a violinist who led dance bands under the name \"Larry Lee\" before entering his father's clothing business; and his mother, Helen Goldstein Levine, was briefly an actress on Broadway, performing as \"Helen Golden\". He had a brother, Tom, who was two years younger, who followed him to New York City from Cincinnati in 1974, and with whom he was very close.",
"He had a brother, Tom, who was two years younger, who followed him to New York City from Cincinnati in 1974, and with whom he was very close. He employed Tom as his business assistant, looking after his affairs, arranging his rehearsal schedules, fielding queries, scouting out places to live, meeting with accountants, and accompanying Levine on trips to Europe.",
"He employed Tom as his business assistant, looking after his affairs, arranging his rehearsal schedules, fielding queries, scouting out places to live, meeting with accountants, and accompanying Levine on trips to Europe. Tom was also a painter. He also had a younger sister, Janet, who is a marriage counselor.",
"He also had a younger sister, Janet, who is a marriage counselor. He began to play the piano as a small child. On February 21, 1954, at age 10, Levine made his concert debut as soloist playing Felix Mendelssohn's Piano Concerto No. 2 at a youth concert of the Cincinnati Symphony Orchestra in Ohio.",
"2 at a youth concert of the Cincinnati Symphony Orchestra in Ohio. Levine subsequently studied music with Walter Levin, first violinist in the LaSalle Quartet. In 1956 he took piano lessons with Rudolf Serkin at the Marlboro Music School in Vermont. The next year he began to study piano with Rosina Lhévinne at the Aspen Music School.",
"The next year he began to study piano with Rosina Lhévinne at the Aspen Music School. He graduated from Walnut Hills High School, a magnet school in Cincinnati. He entered the Juilliard School of Music in New York City in 1961, and took courses in conducting with Jean Morel.",
"He entered the Juilliard School of Music in New York City in 1961, and took courses in conducting with Jean Morel. He graduated from Juilliard in 1964, and joined the American Conductors project connected with the Baltimore Symphony Orchestra. Levine lived in The San Remo on Central Park West in New York City.",
"Levine lived in The San Remo on Central Park West in New York City. Career Early career From 1964 to 1965, Levine served as an apprentice to George Szell with the Cleveland Orchestra. He then served as the Orchestra's assistant conductor until 1970.",
"He then served as the Orchestra's assistant conductor until 1970. That year, he also made debuts as guest conductor with the Philadelphia Orchestra at its summer home at Robin Hood Dell, the Welsh National Opera, and the San Francisco Opera. From 1965 to 1972 he concurrently taught at the Cleveland Institute of Music.",
"From 1965 to 1972 he concurrently taught at the Cleveland Institute of Music. In the summers, he worked at the Meadow Brook School of Music in Michigan and at the Ravinia Festival in Highland Park, Illinois, the summer home of the Chicago Symphony Orchestra.",
"In the summers, he worked at the Meadow Brook School of Music in Michigan and at the Ravinia Festival in Highland Park, Illinois, the summer home of the Chicago Symphony Orchestra. During that time, the charismatic Levine developed a devoted following of young musicians and music lovers.",
"During that time, the charismatic Levine developed a devoted following of young musicians and music lovers. In June 1971, Levine was called in at the last moment to substitute for István Kertész, to lead the Chicago Symphony Orchestra and Chorus in Mahler's Second Symphony for the Ravinia Festival's opening concert of their 36th season.",
"In June 1971, Levine was called in at the last moment to substitute for István Kertész, to lead the Chicago Symphony Orchestra and Chorus in Mahler's Second Symphony for the Ravinia Festival's opening concert of their 36th season. This concert began a long association with the Chicago Symphony Orchestra.",
"This concert began a long association with the Chicago Symphony Orchestra. From 1973 to 1993 he was music director of the Ravinia Festival, succeeding the late Kertész.",
"From 1973 to 1993 he was music director of the Ravinia Festival, succeeding the late Kertész. He made numerous recordings with the orchestra, including the symphonies and German Requiem of Johannes Brahms, and major works of Gershwin, Holst, Berg, Beethoven, Mozart, and others.",
"He made numerous recordings with the orchestra, including the symphonies and German Requiem of Johannes Brahms, and major works of Gershwin, Holst, Berg, Beethoven, Mozart, and others. In 1990, at the request of Roy E. Disney, he arranged the music and conducted the Chicago Symphony Orchestra and Chorus in the soundtrack of Fantasia 2000, released by Walt Disney Pictures.",
"In 1990, at the request of Roy E. Disney, he arranged the music and conducted the Chicago Symphony Orchestra and Chorus in the soundtrack of Fantasia 2000, released by Walt Disney Pictures. From 1974 to 1978, Levine also served as music director of the Cincinnati May Festival.",
"From 1974 to 1978, Levine also served as music director of the Cincinnati May Festival. Metropolitan Opera Levine made his Metropolitan Opera debut a few weeks before he turned 28, on June 5, 1971, leading a June Festival performance of Puccini's Tosca.",
"Metropolitan Opera Levine made his Metropolitan Opera debut a few weeks before he turned 28, on June 5, 1971, leading a June Festival performance of Puccini's Tosca. After further appearances with the company, he was named its principal conductor in February 1972. He became its music director in 1975.",
"He became its music director in 1975. In 1983, he served as conductor and musical director for the Franco Zeffirelli screen adaptation of Verdi's La Traviata, which featured the Met orchestra and chorus members. He became the company's first artistic director in 1986, and relinquished the title in 2004.",
"He became the company's first artistic director in 1986, and relinquished the title in 2004. In 2005, Levine's combined salary from the Boston Symphony Orchestra and the Met made him the highest-paid conductor in the country, at $3.5 million.",
"In 2005, Levine's combined salary from the Boston Symphony Orchestra and the Met made him the highest-paid conductor in the country, at $3.5 million. During Levine's tenure, the Metropolitan Opera orchestra expanded its activities into recording and concert series for the orchestra and chamber ensembles from the orchestra at Carnegie Hall.",
"During Levine's tenure, the Metropolitan Opera orchestra expanded its activities into recording and concert series for the orchestra and chamber ensembles from the orchestra at Carnegie Hall. Levine led the Metropolitan Opera on many domestic and international tours.",
"Levine led the Metropolitan Opera on many domestic and international tours. For the 25th anniversary of his Met debut, Levine conducted the world premiere of John Harbison's The Great Gatsby, commissioned for the occasion.",
"For the 25th anniversary of his Met debut, Levine conducted the world premiere of John Harbison's The Great Gatsby, commissioned for the occasion. On his appointment as general manager of the Met, Peter Gelb emphasized that Levine was welcome to remain as long as he wanted to direct music there.",
"On his appointment as general manager of the Met, Peter Gelb emphasized that Levine was welcome to remain as long as he wanted to direct music there. Levine was paid $2.1 million by the Met in 2010.",
"Levine was paid $2.1 million by the Met in 2010. Following a series of injuries that began with a fall, Levine's health problems led to his withdrawal from many Metropolitan Opera engagements. After a May 2011 performance of Wagner's Die Walküre, Levine formally withdrew from all engagements at the Met.",
"After a May 2011 performance of Wagner's Die Walküre, Levine formally withdrew from all engagements at the Met. After two years of physical therapy, he returned to conducting with a May 2013 concert with the Metropolitan Opera Orchestra at Carnegie Hall.",
"After two years of physical therapy, he returned to conducting with a May 2013 concert with the Metropolitan Opera Orchestra at Carnegie Hall. On September 25, 2013, Levine conducted his first Met performance since May 2011, in a revival production of Mozart's Così fan tutte.",
"On September 25, 2013, Levine conducted his first Met performance since May 2011, in a revival production of Mozart's Così fan tutte. He was scheduled to conduct three productions at the opera house and three at Carnegie Hall in the 2013–14 season.",
"He was scheduled to conduct three productions at the opera house and three at Carnegie Hall in the 2013–14 season. On April 14, 2016, Met management announced that Levine would step down from his position as music director at the end of the 2015–16 season. Levine was paid $1.8 million by the Met for the 2015–16 season.",
"Levine was paid $1.8 million by the Met for the 2015–16 season. He assumed the new title of Music Director Emeritus, which he held until December 2017, when in the wake of allegations that Levine had sexually abused four young men, the Met suspended its relationship with him and canceled all his scheduled performances with the company.",
"He assumed the new title of Music Director Emeritus, which he held until December 2017, when in the wake of allegations that Levine had sexually abused four young men, the Met suspended its relationship with him and canceled all his scheduled performances with the company. Boston Symphony Orchestra Levine first conducted the Boston Symphony Orchestra (BSO) in April 1972.",
"Boston Symphony Orchestra Levine first conducted the Boston Symphony Orchestra (BSO) in April 1972. In October 2001, he was named its music director effective with the 2004–05 season, with an initial contract of five years, becoming the first American-born conductor to head the BSO.",
"In October 2001, he was named its music director effective with the 2004–05 season, with an initial contract of five years, becoming the first American-born conductor to head the BSO. One unique condition that Levine negotiated was increased flexibility of the time allotted for rehearsal, allowing the orchestra additional time to prepare more challenging works.",
"One unique condition that Levine negotiated was increased flexibility of the time allotted for rehearsal, allowing the orchestra additional time to prepare more challenging works. After the start of his tenure, the orchestra also established an \"Artistic Initiative Fund\" of about $40 million to fund the more expensive of his projects.",
"After the start of his tenure, the orchestra also established an \"Artistic Initiative Fund\" of about $40 million to fund the more expensive of his projects. One criticism of Levine during his BSO tenure is that he did not attend many orchestra auditions.",
"One criticism of Levine during his BSO tenure is that he did not attend many orchestra auditions. A 2005 article reported that he had attended two out of 16 auditions during his tenure up to that time.",
"A 2005 article reported that he had attended two out of 16 auditions during his tenure up to that time. Levine responded that he has the ability to provide input on musician tenure decisions after the initial probationary period, and that it is difficult to know how well a given player will fit the given position until that person has had a chance to work with the orchestra: \"My message is the audition isn't everything.\"",
"Levine responded that he has the ability to provide input on musician tenure decisions after the initial probationary period, and that it is difficult to know how well a given player will fit the given position until that person has had a chance to work with the orchestra: \"My message is the audition isn't everything.\" Another 2005 report stated that during Levine's first season as music director, the greater workload from the demands of playing more unfamiliar and contemporary music had increased physical stress on some of the BSO musicians.",
"Another 2005 report stated that during Levine's first season as music director, the greater workload from the demands of playing more unfamiliar and contemporary music had increased physical stress on some of the BSO musicians. Levine and the players met to discuss this, and he agreed to program changes to lessen these demands.",
"Levine and the players met to discuss this, and he agreed to program changes to lessen these demands. He received general critical praise for revitalizing the orchestra's quality and repertoire since the beginning of his tenure.",
"He received general critical praise for revitalizing the orchestra's quality and repertoire since the beginning of his tenure. Levine experienced ongoing health problems, starting with an onstage fall in 2006 that resulted in a torn rotator cuff and started discussion of how long Levine's tenure with the BSO would last.",
"Levine experienced ongoing health problems, starting with an onstage fall in 2006 that resulted in a torn rotator cuff and started discussion of how long Levine's tenure with the BSO would last. In April 2010, in the wake of his continuing health problems, it emerged that Levine had not officially signed a contract extension, so that he was the BSO's music director without a signed contract.",
"In April 2010, in the wake of his continuing health problems, it emerged that Levine had not officially signed a contract extension, so that he was the BSO's music director without a signed contract. On March 2, 2011, the BSO announced Levine's resignation as music director effective September 2011, after the Orchestra's Tanglewood season.",
"On March 2, 2011, the BSO announced Levine's resignation as music director effective September 2011, after the Orchestra's Tanglewood season. Working on a commission from Levine and the BSO, the composer John Harbison dedicated his Symphony No.",
"Working on a commission from Levine and the BSO, the composer John Harbison dedicated his Symphony No. 6 \"in friendship and gratitude\" to him, whose premature departure from the orchestra prevented him from conducting the premiere.",
"6 \"in friendship and gratitude\" to him, whose premature departure from the orchestra prevented him from conducting the premiere. After allegations of his abusing a number of young men came out in December 2017 the BSO said Levine \"will never be employed or contracted by the BSO at any time in the future\".",
"After allegations of his abusing a number of young men came out in December 2017 the BSO said Levine \"will never be employed or contracted by the BSO at any time in the future\". Conducting in Europe Levine's BSO contract limited his guest appearances with American orchestras, but he still conducted regularly in Europe, with the Vienna Philharmonic, Berlin Philharmonic, and at the Bayreuth Festival.",
"Conducting in Europe Levine's BSO contract limited his guest appearances with American orchestras, but he still conducted regularly in Europe, with the Vienna Philharmonic, Berlin Philharmonic, and at the Bayreuth Festival. Levine was a regular guest with the Philharmonia of London and the Staatskapelle Dresden.",
"Levine was a regular guest with the Philharmonia of London and the Staatskapelle Dresden. Beginning in 1975 he conducted regularly at the Salzburg Festival and the annual July Verbier Festival. From 1999 to 2004, he was chief conductor of the Munich Philharmonic, and was credited with improving the quality of instrumental ensemble during his tenure.",
"From 1999 to 2004, he was chief conductor of the Munich Philharmonic, and was credited with improving the quality of instrumental ensemble during his tenure. Work with students Levine initiated the Lindemann Young Artists Development Program at the Metropolitan Opera in 1980, a professional training program for graduated singers with, today, many famous alumni.",
"Work with students Levine initiated the Lindemann Young Artists Development Program at the Metropolitan Opera in 1980, a professional training program for graduated singers with, today, many famous alumni. Levine was conductor of the UBS Verbier Festival Orchestra, the student resident orchestra at the annual summer music festival in Verbier, Switzerland, from 1999 through 2006.",
"Levine was conductor of the UBS Verbier Festival Orchestra, the student resident orchestra at the annual summer music festival in Verbier, Switzerland, from 1999 through 2006. It was Levine's first long-term commitment to a student orchestra since becoming music director at the Met.",
"It was Levine's first long-term commitment to a student orchestra since becoming music director at the Met. After becoming music director of the Boston Symphony Orchestra, Levine also served as music director of the Tanglewood Music Center, the BSO's acclaimed summer academy at Tanglewood for student instrumentalists, singers, composers, and conductors.",
"After becoming music director of the Boston Symphony Orchestra, Levine also served as music director of the Tanglewood Music Center, the BSO's acclaimed summer academy at Tanglewood for student instrumentalists, singers, composers, and conductors. There he conducted the Tanglewood Music Center Orchestra, directed fully staged opera performances with student singers, and gave master classes for singers and conductors.",
"There he conducted the Tanglewood Music Center Orchestra, directed fully staged opera performances with student singers, and gave master classes for singers and conductors. Levine said in an interview: At my age, you are naturally inclined towards teaching.",
"Levine said in an interview: At my age, you are naturally inclined towards teaching. You want to teach what you have learned to the next generation so that they don't have to spend time reinventing the wheel. I was lucky that I met the right mentors and teachers at the right moment.",
"I was lucky that I met the right mentors and teachers at the right moment. I love working with young musicians and singers, and those at the Tanglewood Music Center are unequivocally some of the finest and most talented in the world. He continued to work with young students even when his health issues kept him from conducting.",
"He continued to work with young students even when his health issues kept him from conducting. He was awarded the Lotus Award (\"for inspiration to young musicians\") from Young Concert Artists.",
"He was awarded the Lotus Award (\"for inspiration to young musicians\") from Young Concert Artists. Anthony Tommasini wrote in The New York Times in 2016: \"The aspiring singers in the Met's young artist development program, one of many important ventures Mr. Levine started, must understand how lucky they are to have, as a teacher and mentor, a musician who even in his 20s worked at the Met with giants like Jon Vickers and Renata Tebaldi.\"",
"Anthony Tommasini wrote in The New York Times in 2016: \"The aspiring singers in the Met's young artist development program, one of many important ventures Mr. Levine started, must understand how lucky they are to have, as a teacher and mentor, a musician who even in his 20s worked at the Met with giants like Jon Vickers and Renata Tebaldi.\" Health problems and death Levine experienced recurrent health issues beginning in 2006, including sciatica and what he called \"intermittent tremors\".",
"Health problems and death Levine experienced recurrent health issues beginning in 2006, including sciatica and what he called \"intermittent tremors\". On March 1, 2006, he tripped and fell onstage during a standing ovation after a performance with the Boston Symphony Orchestra and tore the rotator cuff in his right shoulder, leaving the remaining subscription concerts in Boston to his assistant conductor at the time.",
"On March 1, 2006, he tripped and fell onstage during a standing ovation after a performance with the Boston Symphony Orchestra and tore the rotator cuff in his right shoulder, leaving the remaining subscription concerts in Boston to his assistant conductor at the time. Later that month, Levine underwent surgery to repair the injury.",
"Later that month, Levine underwent surgery to repair the injury. He returned to the podium on July 7, 2006. Levine withdrew from the majority of the Tanglewood 2008 summer season because of surgery required to remove a kidney with a malignant cyst. He returned to the podium in Boston on September 24, 2008, at Symphony Hall.",
"He returned to the podium in Boston on September 24, 2008, at Symphony Hall. On September 29, 2009, it was announced that Levine would undergo emergency back surgery for a herniated disk. He missed three weeks of engagements.",
"He missed three weeks of engagements. In March 2010, the BSO announced that Levine would miss the remainder of the Boston Symphony season because of back pain. The Met also announced, on April 4, 2010, that he was withdrawing from the remainder of his performances for the season.",
"The Met also announced, on April 4, 2010, that he was withdrawing from the remainder of his performances for the season. According to the Met, Levine was required to have \"corrective surgery for an ongoing lower back problem\".",
"According to the Met, Levine was required to have \"corrective surgery for an ongoing lower back problem\". He returned to conducting at the Met and the BSO at the beginning of the 2010–11 season, but in February 2011 canceled his Boston engagements for the rest of the season.",
"He returned to conducting at the Met and the BSO at the beginning of the 2010–11 season, but in February 2011 canceled his Boston engagements for the rest of the season. In the summer of 2011, Levine underwent further surgery on his back.",
"In the summer of 2011, Levine underwent further surgery on his back. In September 2011, after he fell down a flight of stairs, fractured his spine, and injured his back while on vacation in Vermont, the Met announced that he would not conduct at the Met at least for the rest of 2011.",
"In September 2011, after he fell down a flight of stairs, fractured his spine, and injured his back while on vacation in Vermont, the Met announced that he would not conduct at the Met at least for the rest of 2011. After two years of surgery and physical therapy, Levine returned to conducting for the first time on May 19, 2013, in a concert with the Metropolitan Opera Orchestra at Carnegie Hall.",
"After two years of surgery and physical therapy, Levine returned to conducting for the first time on May 19, 2013, in a concert with the Metropolitan Opera Orchestra at Carnegie Hall. Levine conducted from a motorized wheelchair, with a special platform designed to accommodate it, which could rise and descend like an elevator.",
"Levine conducted from a motorized wheelchair, with a special platform designed to accommodate it, which could rise and descend like an elevator. He returned to the Met on September 24, 2013. The same type of platform was present in the Met orchestra pit for his September 2013 return performance.",
"The same type of platform was present in the Met orchestra pit for his September 2013 return performance. For many years, both Levine and the Met denied as unfounded the rumors that Levine had Parkinson's disease.",
"For many years, both Levine and the Met denied as unfounded the rumors that Levine had Parkinson's disease. As New York magazine reported: \"The conductor states flatly that the condition is not Parkinson's disease, as people had speculated in 'that silly Times piece.'\"",
"As New York magazine reported: \"The conductor states flatly that the condition is not Parkinson's disease, as people had speculated in 'that silly Times piece.'\" But in 2016 both he and the Met finally admitted that the rumors were true, and that Levine had in fact had the disease since 1994.",
"But in 2016 both he and the Met finally admitted that the rumors were true, and that Levine had in fact had the disease since 1994. The Washington Post noted: \"It wasn't just the illnesses, but the constant alternation between concealment and an excess of revelation that kept so much attention focused on them and away from the music.\"",
"The Washington Post noted: \"It wasn't just the illnesses, but the constant alternation between concealment and an excess of revelation that kept so much attention focused on them and away from the music.\" Levine died in his Palm Springs home on March 9, 2021.",
"Levine died in his Palm Springs home on March 9, 2021. Len Horovitz, his personal physician, announced Levine's death on March 17 and said that he had died of natural causes.",
"Len Horovitz, his personal physician, announced Levine's death on March 17 and said that he had died of natural causes. Sexual assault allegations Four men accused Levine of sexually molesting them (starting when they were 16, 17, 17, and 20 years old), from the 1960s to the 1990s.",
"Sexual assault allegations Four men accused Levine of sexually molesting them (starting when they were 16, 17, 17, and 20 years old), from the 1960s to the 1990s. On December 2, 2017, it was publicly revealed that an October 2016 police report detailed that Levine had allegedly sexually molested a male teenager for years.",
"On December 2, 2017, it was publicly revealed that an October 2016 police report detailed that Levine had allegedly sexually molested a male teenager for years. The alleged sexual abuse began while Levine was guest conductor at the Ravinia Festival, outside Chicago, where Levine was music director for the Chicago Symphony Orchestra's summer residencies from 1973 to 1993.",
"The alleged sexual abuse began while Levine was guest conductor at the Ravinia Festival, outside Chicago, where Levine was music director for the Chicago Symphony Orchestra's summer residencies from 1973 to 1993. One accuser said that in the summer of 1968, when he was a 17-year-old high school student attending Meadow Brook School of Music in Michigan, Levine (then a 25-year-old faculty member) had sexual contact with a student.",
"One accuser said that in the summer of 1968, when he was a 17-year-old high school student attending Meadow Brook School of Music in Michigan, Levine (then a 25-year-old faculty member) had sexual contact with a student. When he next saw Levine, the accuser told him that he would not repeat the sexual behavior, but asked if they could continue to make music as they had before; Levine said no.",
"When he next saw Levine, the accuser told him that he would not repeat the sexual behavior, but asked if they could continue to make music as they had before; Levine said no. The accuser later played bass in the St. Paul Chamber Orchestra for decades and became a professor.",
"The accuser later played bass in the St. Paul Chamber Orchestra for decades and became a professor. A second accuser said that that same summer, Levine had sexual contact with a 17-year-old student and that Levine then initiated with the teenager a number of sexual encounters that have since haunted him.",
"A second accuser said that that same summer, Levine had sexual contact with a 17-year-old student and that Levine then initiated with the teenager a number of sexual encounters that have since haunted him. He said (and another male corroborated, on the condition of anonymity) that the next year, in Cleveland, where Levine was an assistant conductor of the Cleveland Orchestra, Levine on several occasions had sexual contact with that student and other students.",
"He said (and another male corroborated, on the condition of anonymity) that the next year, in Cleveland, where Levine was an assistant conductor of the Cleveland Orchestra, Levine on several occasions had sexual contact with that student and other students. A third accuser, a violinist and pianist who grew up in Illinois near the Ravinia Music Festival, a summer program for aspiring musicians of which Levine was music director from 1971 to 1993, said Levine sexually abused him beginning when the accuser was 16 years old (and Levine was in his 40s) in 1986.",
"A third accuser, a violinist and pianist who grew up in Illinois near the Ravinia Music Festival, a summer program for aspiring musicians of which Levine was music director from 1971 to 1993, said Levine sexually abused him beginning when the accuser was 16 years old (and Levine was in his 40s) in 1986. He had previously detailed his accusation in 2016 in a report to the Lake Forest Police Department in Illinois.",
"He had previously detailed his accusation in 2016 in a report to the Lake Forest Police Department in Illinois. On December 8, the department announced that Levine could not be charged criminally in Illinois because the accuser was 16 years old at the time, and while today a 16-year-old is not considered old enough to consent to such conduct in Illinois (he must be 17, or 18 in cases in which the suspect is in a position of trust, authority, or supervision in relation to the victim), at the time that was the statutory age of consent.",
"On December 8, the department announced that Levine could not be charged criminally in Illinois because the accuser was 16 years old at the time, and while today a 16-year-old is not considered old enough to consent to such conduct in Illinois (he must be 17, or 18 in cases in which the suspect is in a position of trust, authority, or supervision in relation to the victim), at the time that was the statutory age of consent. The department noted: \"we are bound to apply the law that was in effect at the time the allegations occurred rather than the law as it currently exists.\"",
"The department noted: \"we are bound to apply the law that was in effect at the time the allegations occurred rather than the law as it currently exists.\" On December 4, a fourth man, who later had a long career as a violinist in the New Jersey Symphony Orchestra, said he had been abused by Levine beginning in 1968, when he was 20 years old and attending the Meadow Brook School of Music.",
"On December 4, a fourth man, who later had a long career as a violinist in the New Jersey Symphony Orchestra, said he had been abused by Levine beginning in 1968, when he was 20 years old and attending the Meadow Brook School of Music. Levine was a teacher in the summer program.",
"Levine was a teacher in the summer program. Reactions The New York Times said that the Met had known of at least one sexual abuse allegation as early as 1979, but dismissed it as baseless.",
"Reactions The New York Times said that the Met had known of at least one sexual abuse allegation as early as 1979, but dismissed it as baseless. Furthermore, the Met (including its General Manager Peter Gelb, who was contacted directly by a police detective about the allegations in October 2016) had been aware of both the third accuser's abuse allegations since they were made in the 2016 police report, and of the attendant police investigation.",
"Furthermore, the Met (including its General Manager Peter Gelb, who was contacted directly by a police detective about the allegations in October 2016) had been aware of both the third accuser's abuse allegations since they were made in the 2016 police report, and of the attendant police investigation. But the Met did not suspend Levine or launch an investigation of its own until over a year later, in December 2017.",
"But the Met did not suspend Levine or launch an investigation of its own until over a year later, in December 2017. In response to the December 2017 news article, the Met announced that it would investigate the sexual abuse allegations dating to the 1980s that were set forth in the 2016 police report.",
"In response to the December 2017 news article, the Met announced that it would investigate the sexual abuse allegations dating to the 1980s that were set forth in the 2016 police report. On December 3, after two additional males came forward with allegations of abuse, the Met suspended its ties with Levine, and canceled all upcoming engagements with him.",
"On December 3, after two additional males came forward with allegations of abuse, the Met suspended its ties with Levine, and canceled all upcoming engagements with him. A fourth accuser came forward the following day.",
"A fourth accuser came forward the following day. For its part, the Ravinia Festival, in April 2017, six months after the criminal investigation of Levine began, created an honorific title for Levine—\"Conductor Laureate\"—and signed him to a five-year renewable contract to begin in 2018.",
"For its part, the Ravinia Festival, in April 2017, six months after the criminal investigation of Levine began, created an honorific title for Levine—\"Conductor Laureate\"—and signed him to a five-year renewable contract to begin in 2018. On December 4, 2017, the Ravinia Festival severed all ties with Levine, and terminated his five-year contract to lead the Chicago Symphony there.",
"On December 4, 2017, the Ravinia Festival severed all ties with Levine, and terminated his five-year contract to lead the Chicago Symphony there. The Boston Symphony Orchestra said Levine \"will never be employed or contracted by the BSO at any time in the future\".",
"The Boston Symphony Orchestra said Levine \"will never be employed or contracted by the BSO at any time in the future\". The Juilliard School, where Levine had studied, replaced him in a February 2018 performance where he was scheduled to lead the Juilliard Orchestra and singers from the Met's Lindemann Young Artist Development Program.",
"The Juilliard School, where Levine had studied, replaced him in a February 2018 performance where he was scheduled to lead the Juilliard Orchestra and singers from the Met's Lindemann Young Artist Development Program. On December 5, the Cincinnati May Festival canceled Levine's appearance in May.",
"On December 5, the Cincinnati May Festival canceled Levine's appearance in May. On December 7, in New Plymouth, New Zealand, the cinema chain Event Cinemas abruptly cancelled the screening of a Met production of Levine conducting Mozart's Die Zauberflöte.",
"On December 7, in New Plymouth, New Zealand, the cinema chain Event Cinemas abruptly cancelled the screening of a Met production of Levine conducting Mozart's Die Zauberflöte. On December 8, Fred Child, host of the classical music radio show Performance Today, wrote that Levine \"is accused of inflicting grievous harm to living members of our musical community.",
"On December 8, Fred Child, host of the classical music radio show Performance Today, wrote that Levine \"is accused of inflicting grievous harm to living members of our musical community. Out of respect for these people and their wounds, I choose not to broadcast performances featuring Mr. Levine on the podium.\"",
"Out of respect for these people and their wounds, I choose not to broadcast performances featuring Mr. Levine on the podium.\" Classical music blogger, former Village Voice music critic, and Juilliard School faculty member Greg Sandow said he had been contacted by three men over the years who said that Levine had abused them, and that reports of sexual abuse by Levine were \"widely talked about\" for 40 years.",
"Classical music blogger, former Village Voice music critic, and Juilliard School faculty member Greg Sandow said he had been contacted by three men over the years who said that Levine had abused them, and that reports of sexual abuse by Levine were \"widely talked about\" for 40 years. Sandow said further: \"Everybody in the classical music business at least since the 1980s has talked about Levine as a sex abuser.",
"Sandow said further: \"Everybody in the classical music business at least since the 1980s has talked about Levine as a sex abuser. The investigation should have been done decades ago.\"",
"The investigation should have been done decades ago.\" Pulitzer Prize-winning music critic Justin Davidson mused on the culture website of New York magazine, \"James Levine's career has clearly ended\" and \"I'm not sure the Met can survive Levine's disgrace.\"",
"Pulitzer Prize-winning music critic Justin Davidson mused on the culture website of New York magazine, \"James Levine's career has clearly ended\" and \"I'm not sure the Met can survive Levine's disgrace.\" Similarly, drama critic Terry Teachout of The Wall Street Journal wrote an article called \"The Levine Cataclysm; How allegations against James Levine of sexual misconduct with teenagers could topple the entire Metropolitan Opera\".",
"Similarly, drama critic Terry Teachout of The Wall Street Journal wrote an article called \"The Levine Cataclysm; How allegations against James Levine of sexual misconduct with teenagers could topple the entire Metropolitan Opera\". The Washington Post music critic Anne Midgette noted: \"The Met has known about these allegations for at least a year, and are only investigating them now that they are public\", and opined on her Facebook page that the Met has \"quite probably spent years protecting its star conductor from just this kind of allegation\".",
"The Washington Post music critic Anne Midgette noted: \"The Met has known about these allegations for at least a year, and are only investigating them now that they are public\", and opined on her Facebook page that the Met has \"quite probably spent years protecting its star conductor from just this kind of allegation\". Music critic Tim Pfaff of the LGBT Bay Area Reporter wrote that The New York Times chief classical music critic Anthony Tommasini had the \"weirdest\" reaction, \"lamenting the ugliness of it all under a...headline, 'Should I Put Away My James Levine Recordings?'",
"Music critic Tim Pfaff of the LGBT Bay Area Reporter wrote that The New York Times chief classical music critic Anthony Tommasini had the \"weirdest\" reaction, \"lamenting the ugliness of it all under a...headline, 'Should I Put Away My James Levine Recordings?' His conclusion was that he and his husband...should move those recordings from their living room.\"",
"His conclusion was that he and his husband...should move those recordings from their living room.\" The Met orchestra musicians applauded the courage of the four men who came forward with accusations that Levine had abused them.",
"The Met orchestra musicians applauded the courage of the four men who came forward with accusations that Levine had abused them. Local 802 of the American Federation of Musicians, which represents the Met's orchestra and Levine, said, \"We are horrified and sickened by the recently reported allegations of sexual abuse by Mr. Levine.\"",
"Levine.\" Levine.\" Five days after news of the accusations by the four men broke, Levine spoke about them for the first time, and called them \"unfounded\". The accusers stood by their claims, with one saying, \"I will take a lie-detector test. Will he?\"",
"Will he?\" Will he?\" Six days later, music critic Arthur Kaptainis wrote in the Montreal Gazette that Levine's denial \"had little effect\". On March 12, 2018, the Met announced that it had fired Levine.",
"On March 12, 2018, the Met announced that it had fired Levine. Its investigation found Levine had \"engaged in sexually abusive and harassing conduct towards vulnerable artists in the early stages of their careers\".",
"Its investigation found Levine had \"engaged in sexually abusive and harassing conduct towards vulnerable artists in the early stages of their careers\". Levine sued the Metropolitan Opera in New York State Supreme Court for breach of contract and defamation on March 15, 2018, three days after the company fired him, seeking more than $5.8 million in damages.",
"Levine sued the Metropolitan Opera in New York State Supreme Court for breach of contract and defamation on March 15, 2018, three days after the company fired him, seeking more than $5.8 million in damages. The Met denied Levine's allegations.",
"The Met denied Levine's allegations. A year later, a New York State Supreme Court judge dismissed most of Levine's claims, but ruled that the Met and its attorney had made defamatory statements. The Metropolitan Opera and Levine announced a settlement on undisclosed terms in August 2019.",
"The Metropolitan Opera and Levine announced a settlement on undisclosed terms in August 2019. In September 2020, the size of the payout was indirectly exposed by annual disclosure statements required for nonprofits; Levine had received $3.5 million in the settlement.",
"In September 2020, the size of the payout was indirectly exposed by annual disclosure statements required for nonprofits; Levine had received $3.5 million in the settlement. It is speculated that he was able to negotiate such a large settlement due to the lack of a morals clause in his contract with the Met.",
"It is speculated that he was able to negotiate such a large settlement due to the lack of a morals clause in his contract with the Met. Recordings and film Levine made many audio and video recordings. He recorded extensively with many orchestras, and especially often with the Metropolitan Opera.",
"He recorded extensively with many orchestras, and especially often with the Metropolitan Opera. His performance of Aida with Leontyne Price, her last in opera, was preserved on video and may be seen at the Met's own online archive of performances. Of particular note are his performances of Wagner's complete Der Ring des Nibelungen.",
"Of particular note are his performances of Wagner's complete Der Ring des Nibelungen. A studio recording made for Deutsche Grammophon from 1987 to 1989 is on compact disc, and a 1989 live performance of the Ring is available on DVD.",
"A studio recording made for Deutsche Grammophon from 1987 to 1989 is on compact disc, and a 1989 live performance of the Ring is available on DVD. He also appears on several dozen albums as a pianist, collaborating with such singers as Jessye Norman, Kathleen Battle, Christa Ludwig, and Dawn Upshaw, as well as performing the chamber music of Franz Schubert and Francis Poulenc, among others.",
"He also appears on several dozen albums as a pianist, collaborating with such singers as Jessye Norman, Kathleen Battle, Christa Ludwig, and Dawn Upshaw, as well as performing the chamber music of Franz Schubert and Francis Poulenc, among others. Levine was featured in the animated Disney film Fantasia 2000.",
"Levine was featured in the animated Disney film Fantasia 2000. He conducted the Chicago Symphony Orchestra in the soundtrack recordings of all the music in the film (with the exception of one segment from the original 1940 Fantasia).",
"He conducted the Chicago Symphony Orchestra in the soundtrack recordings of all the music in the film (with the exception of one segment from the original 1940 Fantasia). Levine is also seen in the film talking briefly with Mickey Mouse and Donald Duck, just as his predecessor Leopold Stokowski did in the original film.",
"Levine is also seen in the film talking briefly with Mickey Mouse and Donald Duck, just as his predecessor Leopold Stokowski did in the original film. Discography Marilyn Horne: Divas in Song (1994), RCA Victor Red Seal CD, 09026-62547-2 Videography Mozart: Idomeneo (1982), Deutsche Grammophon DVD, 00440-073-4234 The Metropolitan Opera Centennial Gala (1983), Deutsche Grammophon DVD, 00440-073-4538 The Metropolitan Opera Gala 1991, Deutsche Grammophon DVD, 00440-073-4582 James Levine's 25th Anniversary Metropolitan Opera Gala (1996), Deutsche Grammophon DVD, B0004602-09 Honors Among the awards listed in his Met biography are: 1980 – Manhattan Cultural Award 1982 – first of eight Grammy Awards 1984 – Named \"Musician of the Year\" by Musical America 1986 – Smetana Medal (presented by the former Czechoslovakia) 1997 – National Medal of Arts 1999 – Wilhelm Furtwängler Prize from the Committee for Cultural Advancement of Baden-Baden, Germany 2003 – Kennedy Center Honors 2005 – Award for Distinguished Service to the Arts from the American Academy of Arts and Letters 2006 – Opera News Award 2009 – Award in the Vocal Arts from Bard College 2009 – Ditson Conductors Award from Columbia University 2010 – National Endowment for the Arts Opera Honoree 2010 – George Peabody Award from Peabody Conservatory at Johns Hopkins University 2010 – elected an honorary member of the American Academy of Arts and Letters In addition, his biography says Levine has received honorary doctorates from the University of Cincinnati, the New England Conservatory of Music, Northwestern University, the State University of New York, and the Juilliard School.",
"Discography Marilyn Horne: Divas in Song (1994), RCA Victor Red Seal CD, 09026-62547-2 Videography Mozart: Idomeneo (1982), Deutsche Grammophon DVD, 00440-073-4234 The Metropolitan Opera Centennial Gala (1983), Deutsche Grammophon DVD, 00440-073-4538 The Metropolitan Opera Gala 1991, Deutsche Grammophon DVD, 00440-073-4582 James Levine's 25th Anniversary Metropolitan Opera Gala (1996), Deutsche Grammophon DVD, B0004602-09 Honors Among the awards listed in his Met biography are: 1980 – Manhattan Cultural Award 1982 – first of eight Grammy Awards 1984 – Named \"Musician of the Year\" by Musical America 1986 – Smetana Medal (presented by the former Czechoslovakia) 1997 – National Medal of Arts 1999 – Wilhelm Furtwängler Prize from the Committee for Cultural Advancement of Baden-Baden, Germany 2003 – Kennedy Center Honors 2005 – Award for Distinguished Service to the Arts from the American Academy of Arts and Letters 2006 – Opera News Award 2009 – Award in the Vocal Arts from Bard College 2009 – Ditson Conductors Award from Columbia University 2010 – National Endowment for the Arts Opera Honoree 2010 – George Peabody Award from Peabody Conservatory at Johns Hopkins University 2010 – elected an honorary member of the American Academy of Arts and Letters In addition, his biography says Levine has received honorary doctorates from the University of Cincinnati, the New England Conservatory of Music, Northwestern University, the State University of New York, and the Juilliard School. On May 3, 2018, SUNY revoked Levine's honorary doctorate in response to the sexual abuse allegations against him.",
"On May 3, 2018, SUNY revoked Levine's honorary doctorate in response to the sexual abuse allegations against him. References External links 1943 births 2021 deaths 20th-century American conductors (music) 20th-century American pianists 20th-century American male musicians 20th-century classical pianists 21st-century American conductors (music) 21st-century American male musicians 21st-century American pianists 21st-century classical pianists American classical pianists American male conductors (music) American male pianists Aspen Music Festival and School alumni Conductors of the Metropolitan Opera Deutsche Grammophon artists Grammy Award winners Jewish American classical musicians Jewish classical pianists Juilliard School alumni Kennedy Center honorees Male classical pianists Metropolitan Opera people Music directors (opera) Musicians from Cincinnati Musicians from New York City Oehms Classics artists People stripped of honorary degrees People with Parkinson's disease United States National Medal of Arts recipients 21st-century American Jews"
] |
[
"James Levine",
"Early years and personal life",
"when was he born",
"I don't know.",
"where was he born",
"Cincinnati, Ohio,",
"which school did he attended",
"Marlboro Music School,",
"where was his school located",
"Cincinnati.",
"did he has degree or masters",
"He graduated from the Juilliard School in 1964,",
"what did he study in school",
"conducting",
"did he has any injury",
"I don't know."
] | C_65204209c84c44cd9d64d3dbaa8b91fb_1 | did he serve at any place | 8 | Did James Levine serve at any place? | James Levine | Levine was born in Cincinnati, Ohio, to a Jewish, musical family. His maternal grandfather was a composer and a cantor in a synagogue, his father (Lawrence) was a violinist who led dance bands under the name "Larry Lee" before entering his father's clothing business, and his mother (Helen Goldstein Levine) was briefly an actress on Broadway, performing as "Helen Golden". He has a brother Tom who is two years younger, who followed him to New York City from Cincinnati in 1974, and with whom he is very close. He employs Tom as his business assistant (looking after all of his affairs, arranging his rehearsal schedules, fielding queries, scouting out where he will live, meeting with accountants, and accompanying Levine on trips to Europe), and his brother is a painter as well. He also has a younger sister, Janet, who is a marriage counselor. He began to play the piano as a small child. On February 21, 1954, at the age of 10, Levine made his concert debut as soloist playing Felix Mendelssohn's Piano Concerto No. 2 at a youth concert of the Cincinnati Symphony Orchestra in Ohio. Levine subsequently studied music with Walter Levin, first violinist in the LaSalle Quartet. In 1956 he took piano lessons with Rudolf Serkin at the Marlboro Music School, in Vermont. In the following year he began to study piano with Rosina Lhevinne at the Aspen Music School. He graduated from Walnut Hills High School, an acclaimed magnet school in Cincinnati. He entered the Juilliard School of Music in New York City in 1961, and took courses in conducting with Jean Morel. He graduated from the Juilliard School in 1964, and joined the American Conductors project connected with the Baltimore Symphony Orchestra. Levine lives in The San Remo on Central Park West in New York City. CANNOTANSWER | Levine made his concert debut as soloist playing Felix Mendelssohn's Piano Concerto No. 2 at a youth concert | James Lawrence Levine (; June 23, 1943 – March 9, 2021) was an American conductor and pianist. He was music director of the Metropolitan Opera (the "Met") from 1976 to 2016. He was formally terminated from all his positions and affiliations with the Met on March 12, 2018, over sexual misconduct allegations, which he denied.
Levine held leadership positions with the Ravinia Festival, the Munich Philharmonic, and the Boston Symphony Orchestra. In 1980 he started the Lindemann Young Artists Development Program, and trained singers, conductors, and musicians for professional careers.
After taking an almost two-year health-related hiatus from conducting from 2011 to 2013, during which time he held artistic and administrative planning sessions at the Met, and led training of the Lindemann Young Artists, Levine retired as the Met's full-time Music Director following the 2015–16 season to become Music Director Emeritus.
Early years and personal life
Levine was born in Cincinnati, Ohio, to a Jewish, musical family. His maternal grandfather was a composer and a cantor in a synagogue; his father, Lawrence, was a violinist who led dance bands under the name "Larry Lee" before entering his father's clothing business; and his mother, Helen Goldstein Levine, was briefly an actress on Broadway, performing as "Helen Golden". He had a brother, Tom, who was two years younger, who followed him to New York City from Cincinnati in 1974, and with whom he was very close. He employed Tom as his business assistant, looking after his affairs, arranging his rehearsal schedules, fielding queries, scouting out places to live, meeting with accountants, and accompanying Levine on trips to Europe. Tom was also a painter. He also had a younger sister, Janet, who is a marriage counselor.
He began to play the piano as a small child. On February 21, 1954, at age 10, Levine made his concert debut as soloist playing Felix Mendelssohn's Piano Concerto No. 2 at a youth concert of the Cincinnati Symphony Orchestra in Ohio.
Levine subsequently studied music with Walter Levin, first violinist in the LaSalle Quartet. In 1956 he took piano lessons with Rudolf Serkin at the Marlboro Music School in Vermont. The next year he began to study piano with Rosina Lhévinne at the Aspen Music School. He graduated from Walnut Hills High School, a magnet school in Cincinnati. He entered the Juilliard School of Music in New York City in 1961, and took courses in conducting with Jean Morel. He graduated from Juilliard in 1964, and joined the American Conductors project connected with the Baltimore Symphony Orchestra.
Levine lived in The San Remo on Central Park West in New York City.
Career
Early career
From 1964 to 1965, Levine served as an apprentice to George Szell with the Cleveland Orchestra. He then served as the Orchestra's assistant conductor until 1970. That year, he also made debuts as guest conductor with the Philadelphia Orchestra at its summer home at Robin Hood Dell, the Welsh National Opera, and the San Francisco Opera. From 1965 to 1972 he concurrently taught at the Cleveland Institute of Music. In the summers, he worked at the Meadow Brook School of Music in Michigan and at the Ravinia Festival in Highland Park, Illinois, the summer home of the Chicago Symphony Orchestra. During that time, the charismatic Levine developed a devoted following of young musicians and music lovers.
In June 1971, Levine was called in at the last moment to substitute for István Kertész, to lead the Chicago Symphony Orchestra and Chorus in Mahler's Second Symphony for the Ravinia Festival's opening concert of their 36th season. This concert began a long association with the Chicago Symphony Orchestra. From 1973 to 1993 he was music director of the Ravinia Festival, succeeding the late Kertész. He made numerous recordings with the orchestra, including the symphonies and German Requiem of Johannes Brahms, and major works of Gershwin, Holst, Berg, Beethoven, Mozart, and others. In 1990, at the request of Roy E. Disney, he arranged the music and conducted the Chicago Symphony Orchestra and Chorus in the soundtrack of Fantasia 2000, released by Walt Disney Pictures. From 1974 to 1978, Levine also served as music director of the Cincinnati May Festival.
Metropolitan Opera
Levine made his Metropolitan Opera debut a few weeks before he turned 28, on June 5, 1971, leading a June Festival performance of Puccini's Tosca. After further appearances with the company, he was named its principal conductor in February 1972. He became its music director in 1975. In 1983, he served as conductor and musical director for the Franco Zeffirelli screen adaptation of Verdi's La Traviata, which featured the Met orchestra and chorus members. He became the company's first artistic director in 1986, and relinquished the title in 2004. In 2005, Levine's combined salary from the Boston Symphony Orchestra and the Met made him the highest-paid conductor in the country, at $3.5 million.
During Levine's tenure, the Metropolitan Opera orchestra expanded its activities into recording and concert series for the orchestra and chamber ensembles from the orchestra at Carnegie Hall. Levine led the Metropolitan Opera on many domestic and international tours. For the 25th anniversary of his Met debut, Levine conducted the world premiere of John Harbison's The Great Gatsby, commissioned for the occasion. On his appointment as general manager of the Met, Peter Gelb emphasized that Levine was welcome to remain as long as he wanted to direct music there. Levine was paid $2.1 million by the Met in 2010.
Following a series of injuries that began with a fall, Levine's health problems led to his withdrawal from many Metropolitan Opera engagements. After a May 2011 performance of Wagner's Die Walküre, Levine formally withdrew from all engagements at the Met. After two years of physical therapy, he returned to conducting with a May 2013 concert with the Metropolitan Opera Orchestra at Carnegie Hall. On September 25, 2013, Levine conducted his first Met performance since May 2011, in a revival production of Mozart's Così fan tutte. He was scheduled to conduct three productions at the opera house and three at Carnegie Hall in the 2013–14 season. On April 14, 2016, Met management announced that Levine would step down from his position as music director at the end of the 2015–16 season. Levine was paid $1.8 million by the Met for the 2015–16 season. He assumed the new title of Music Director Emeritus, which he held until December 2017, when in the wake of allegations that Levine had sexually abused four young men, the Met suspended its relationship with him and canceled all his scheduled performances with the company.
Boston Symphony Orchestra
Levine first conducted the Boston Symphony Orchestra (BSO) in April 1972. In October 2001, he was named its music director effective with the 2004–05 season, with an initial contract of five years, becoming the first American-born conductor to head the BSO.
One unique condition that Levine negotiated was increased flexibility of the time allotted for rehearsal, allowing the orchestra additional time to prepare more challenging works. After the start of his tenure, the orchestra also established an "Artistic Initiative Fund" of about $40 million to fund the more expensive of his projects.
One criticism of Levine during his BSO tenure is that he did not attend many orchestra auditions. A 2005 article reported that he had attended two out of 16 auditions during his tenure up to that time. Levine responded that he has the ability to provide input on musician tenure decisions after the initial probationary period, and that it is difficult to know how well a given player will fit the given position until that person has had a chance to work with the orchestra: "My message is the audition isn't everything."
Another 2005 report stated that during Levine's first season as music director, the greater workload from the demands of playing more unfamiliar and contemporary music had increased physical stress on some of the BSO musicians. Levine and the players met to discuss this, and he agreed to program changes to lessen these demands. He received general critical praise for revitalizing the orchestra's quality and repertoire since the beginning of his tenure.
Levine experienced ongoing health problems, starting with an onstage fall in 2006 that resulted in a torn rotator cuff and started discussion of how long Levine's tenure with the BSO would last. In April 2010, in the wake of his continuing health problems, it emerged that Levine had not officially signed a contract extension, so that he was the BSO's music director without a signed contract. On March 2, 2011, the BSO announced Levine's resignation as music director effective September 2011, after the Orchestra's Tanglewood season.
Working on a commission from Levine and the BSO, the composer John Harbison dedicated his Symphony No. 6 "in friendship and gratitude" to him, whose premature departure from the orchestra prevented him from conducting the premiere.
After allegations of his abusing a number of young men came out in December 2017 the BSO said Levine "will never be employed or contracted by the BSO at any time in the future".
Conducting in Europe
Levine's BSO contract limited his guest appearances with American orchestras, but he still conducted regularly in Europe, with the Vienna Philharmonic, Berlin Philharmonic, and at the Bayreuth Festival. Levine was a regular guest with the Philharmonia of London and the Staatskapelle Dresden. Beginning in 1975 he conducted regularly at the Salzburg Festival and the annual July Verbier Festival. From 1999 to 2004, he was chief conductor of the Munich Philharmonic, and was credited with improving the quality of instrumental ensemble during his tenure.
Work with students
Levine initiated the Lindemann Young Artists Development Program at the Metropolitan Opera in 1980, a professional training program for graduated singers with, today, many famous alumni.
Levine was conductor of the UBS Verbier Festival Orchestra, the student resident orchestra at the annual summer music festival in Verbier, Switzerland, from 1999 through 2006. It was Levine's first long-term commitment to a student orchestra since becoming music director at the Met.
After becoming music director of the Boston Symphony Orchestra, Levine also served as music director of the Tanglewood Music Center, the BSO's acclaimed summer academy at Tanglewood for student instrumentalists, singers, composers, and conductors. There he conducted the Tanglewood Music Center Orchestra, directed fully staged opera performances with student singers, and gave master classes for singers and conductors.
Levine said in an interview:
At my age, you are naturally inclined towards teaching. You want to teach what you have learned to the next generation so that they don't have to spend time reinventing the wheel. I was lucky that I met the right mentors and teachers at the right moment. I love working with young musicians and singers, and those at the Tanglewood Music Center are unequivocally some of the finest and most talented in the world.
He continued to work with young students even when his health issues kept him from conducting. He was awarded the Lotus Award ("for inspiration to young musicians") from Young Concert Artists. Anthony Tommasini wrote in The New York Times in 2016: "The aspiring singers in the Met's young artist development program, one of many important ventures Mr. Levine started, must understand how lucky they are to have, as a teacher and mentor, a musician who even in his 20s worked at the Met with giants like Jon Vickers and Renata Tebaldi."
Health problems and death
Levine experienced recurrent health issues beginning in 2006, including sciatica and what he called "intermittent tremors". On March 1, 2006, he tripped and fell onstage during a standing ovation after a performance with the Boston Symphony Orchestra and tore the rotator cuff in his right shoulder, leaving the remaining subscription concerts in Boston to his assistant conductor at the time. Later that month, Levine underwent surgery to repair the injury. He returned to the podium on July 7, 2006.
Levine withdrew from the majority of the Tanglewood 2008 summer season because of surgery required to remove a kidney with a malignant cyst. He returned to the podium in Boston on September 24, 2008, at Symphony Hall.
On September 29, 2009, it was announced that Levine would undergo emergency back surgery for a herniated disk. He missed three weeks of engagements.
In March 2010, the BSO announced that Levine would miss the remainder of the Boston Symphony season because of back pain. The Met also announced, on April 4, 2010, that he was withdrawing from the remainder of his performances for the season. According to the Met, Levine was required to have "corrective surgery for an ongoing lower back problem". He returned to conducting at the Met and the BSO at the beginning of the 2010–11 season, but in February 2011 canceled his Boston engagements for the rest of the season.
In the summer of 2011, Levine underwent further surgery on his back. In September 2011, after he fell down a flight of stairs, fractured his spine, and injured his back while on vacation in Vermont, the Met announced that he would not conduct at the Met at least for the rest of 2011.
After two years of surgery and physical therapy, Levine returned to conducting for the first time on May 19, 2013, in a concert with the Metropolitan Opera Orchestra at Carnegie Hall. Levine conducted from a motorized wheelchair, with a special platform designed to accommodate it, which could rise and descend like an elevator. He returned to the Met on September 24, 2013. The same type of platform was present in the Met orchestra pit for his September 2013 return performance.
For many years, both Levine and the Met denied as unfounded the rumors that Levine had Parkinson's disease. As New York magazine reported: "The conductor states flatly that the condition is not Parkinson's disease, as people had speculated in 'that silly Times piece.'" But in 2016 both he and the Met finally admitted that the rumors were true, and that Levine had in fact had the disease since 1994. The Washington Post noted: "It wasn't just the illnesses, but the constant alternation between concealment and an excess of revelation that kept so much attention focused on them and away from the music."
Levine died in his Palm Springs home on March 9, 2021. Len Horovitz, his personal physician, announced Levine's death on March 17 and said that he had died of natural causes.
Sexual assault allegations
Four men accused Levine of sexually molesting them (starting when they were 16, 17, 17, and 20 years old), from the 1960s to the 1990s.
On December 2, 2017, it was publicly revealed that an October 2016 police report detailed that Levine had allegedly sexually molested a male teenager for years. The alleged sexual abuse began while Levine was guest conductor at the Ravinia Festival, outside Chicago, where Levine was music director for the Chicago Symphony Orchestra's summer residencies from 1973 to 1993.
One accuser said that in the summer of 1968, when he was a 17-year-old high school student attending Meadow Brook School of Music in Michigan, Levine (then a 25-year-old faculty member) had sexual contact with a student. When he next saw Levine, the accuser told him that he would not repeat the sexual behavior, but asked if they could continue to make music as they had before; Levine said no. The accuser later played bass in the St. Paul Chamber Orchestra for decades and became a professor.
A second accuser said that that same summer, Levine had sexual contact with a 17-year-old student and that Levine then initiated with the teenager a number of sexual encounters that have since haunted him. He said (and another male corroborated, on the condition of anonymity) that the next year, in Cleveland, where Levine was an assistant conductor of the Cleveland Orchestra, Levine on several occasions had sexual contact with that student and other students.
A third accuser, a violinist and pianist who grew up in Illinois near the Ravinia Music Festival, a summer program for aspiring musicians of which Levine was music director from 1971 to 1993, said Levine sexually abused him beginning when the accuser was 16 years old (and Levine was in his 40s) in 1986. He had previously detailed his accusation in 2016 in a report to the Lake Forest Police Department in Illinois. On December 8, the department announced that Levine could not be charged criminally in Illinois because the accuser was 16 years old at the time, and while today a 16-year-old is not considered old enough to consent to such conduct in Illinois (he must be 17, or 18 in cases in which the suspect is in a position of trust, authority, or supervision in relation to the victim), at the time that was the statutory age of consent. The department noted: "we are bound to apply the law that was in effect at the time the allegations occurred rather than the law as it currently exists."
On December 4, a fourth man, who later had a long career as a violinist in the New Jersey Symphony Orchestra, said he had been abused by Levine beginning in 1968, when he was 20 years old and attending the Meadow Brook School of Music. Levine was a teacher in the summer program.
Reactions
The New York Times said that the Met had known of at least one sexual abuse allegation as early as 1979, but dismissed it as baseless. Furthermore, the Met (including its General Manager Peter Gelb, who was contacted directly by a police detective about the allegations in October 2016) had been aware of both the third accuser's abuse allegations since they were made in the 2016 police report, and of the attendant police investigation. But the Met did not suspend Levine or launch an investigation of its own until over a year later, in December 2017.
In response to the December 2017 news article, the Met announced that it would investigate the sexual abuse allegations dating to the 1980s that were set forth in the 2016 police report. On December 3, after two additional males came forward with allegations of abuse, the Met suspended its ties with Levine, and canceled all upcoming engagements with him. A fourth accuser came forward the following day.
For its part, the Ravinia Festival, in April 2017, six months after the criminal investigation of Levine began, created an honorific title for Levine—"Conductor Laureate"—and signed him to a five-year renewable contract to begin in 2018. On December 4, 2017, the Ravinia Festival severed all ties with Levine, and terminated his five-year contract to lead the Chicago Symphony there.
The Boston Symphony Orchestra said Levine "will never be employed or contracted by the BSO at any time in the future". The Juilliard School, where Levine had studied, replaced him in a February 2018 performance where he was scheduled to lead the Juilliard Orchestra and singers from the Met's Lindemann Young Artist Development Program. On December 5, the Cincinnati May Festival canceled Levine's appearance in May. On December 7, in New Plymouth, New Zealand, the cinema chain Event Cinemas abruptly cancelled the screening of a Met production of Levine conducting Mozart's Die Zauberflöte. On December 8, Fred Child, host of the classical music radio show Performance Today, wrote that Levine "is accused of inflicting grievous harm to living members of our musical community. Out of respect for these people and their wounds, I choose not to broadcast performances featuring Mr. Levine on the podium."
Classical music blogger, former Village Voice music critic, and Juilliard School faculty member Greg Sandow said he had been contacted by three men over the years who said that Levine had abused them, and that reports of sexual abuse by Levine were "widely talked about" for 40 years. Sandow said further: "Everybody in the classical music business at least since the 1980s has talked about Levine as a sex abuser. The investigation should have been done decades ago." Pulitzer Prize-winning music critic Justin Davidson mused on the culture website of New York magazine, "James Levine's career has clearly ended" and "I'm not sure the Met can survive Levine's disgrace." Similarly, drama critic Terry Teachout of The Wall Street Journal wrote an article called "The Levine Cataclysm; How allegations against James Levine of sexual misconduct with teenagers could topple the entire Metropolitan Opera". The Washington Post music critic Anne Midgette noted: "The Met has known about these allegations for at least a year, and are only investigating them now that they are public", and opined on her Facebook page that the Met has "quite probably spent years protecting its star conductor from just this kind of allegation". Music critic Tim Pfaff of the LGBT Bay Area Reporter wrote that The New York Times chief classical music critic Anthony Tommasini had the "weirdest" reaction, "lamenting the ugliness of it all under a...headline, 'Should I Put Away My James Levine Recordings?' His conclusion was that he and his husband...should move those recordings from their living room."
The Met orchestra musicians applauded the courage of the four men who came forward with accusations that Levine had abused them. Local 802 of the American Federation of Musicians, which represents the Met's orchestra and Levine, said, "We are horrified and sickened by the recently reported allegations of sexual abuse by Mr. Levine."
Five days after news of the accusations by the four men broke, Levine spoke about them for the first time, and called them "unfounded". The accusers stood by their claims, with one saying, "I will take a lie-detector test. Will he?" Six days later, music critic Arthur Kaptainis wrote in the Montreal Gazette that Levine's denial "had little effect".
On March 12, 2018, the Met announced that it had fired Levine. Its investigation found Levine had "engaged in sexually abusive and harassing conduct towards vulnerable artists in the early stages of their careers".
Levine sued the Metropolitan Opera in New York State Supreme Court for breach of contract and defamation on March 15, 2018, three days after the company fired him, seeking more than $5.8 million in damages. The Met denied Levine's allegations. A year later, a New York State Supreme Court judge dismissed most of Levine's claims, but ruled that the Met and its attorney had made defamatory statements.
The Metropolitan Opera and Levine announced a settlement on undisclosed terms in August 2019. In September 2020, the size of the payout was indirectly exposed by annual disclosure statements required for nonprofits; Levine had received $3.5 million in the settlement. It is speculated that he was able to negotiate such a large settlement due to the lack of a morals clause in his contract with the Met.
Recordings and film
Levine made many audio and video recordings. He recorded extensively with many orchestras, and especially often with the Metropolitan Opera. His performance of Aida with Leontyne Price, her last in opera, was preserved on video and may be seen at the Met's own online archive of performances. Of particular note are his performances of Wagner's complete Der Ring des Nibelungen. A studio recording made for Deutsche Grammophon from 1987 to 1989 is on compact disc, and a 1989 live performance of the Ring is available on DVD. He also appears on several dozen albums as a pianist, collaborating with such singers as Jessye Norman, Kathleen Battle, Christa Ludwig, and Dawn Upshaw, as well as performing the chamber music of Franz Schubert and Francis Poulenc, among others.
Levine was featured in the animated Disney film Fantasia 2000. He conducted the Chicago Symphony Orchestra in the soundtrack recordings of all the music in the film (with the exception of one segment from the original 1940 Fantasia). Levine is also seen in the film talking briefly with Mickey Mouse and Donald Duck, just as his predecessor Leopold Stokowski did in the original film.
Discography
Marilyn Horne: Divas in Song (1994), RCA Victor Red Seal CD, 09026-62547-2
Videography
Mozart: Idomeneo (1982), Deutsche Grammophon DVD, 00440-073-4234
The Metropolitan Opera Centennial Gala (1983), Deutsche Grammophon DVD, 00440-073-4538
The Metropolitan Opera Gala 1991, Deutsche Grammophon DVD, 00440-073-4582
James Levine's 25th Anniversary Metropolitan Opera Gala (1996), Deutsche Grammophon DVD, B0004602-09
Honors
Among the awards listed in his Met biography are:
1980 – Manhattan Cultural Award
1982 – first of eight Grammy Awards
1984 – Named "Musician of the Year" by Musical America
1986 – Smetana Medal (presented by the former Czechoslovakia)
1997 – National Medal of Arts
1999 – Wilhelm Furtwängler Prize from the Committee for Cultural Advancement of Baden-Baden, Germany
2003 – Kennedy Center Honors
2005 – Award for Distinguished Service to the Arts from the American Academy of Arts and Letters
2006 – Opera News Award
2009 – Award in the Vocal Arts from Bard College
2009 – Ditson Conductors Award from Columbia University
2010 – National Endowment for the Arts Opera Honoree
2010 – George Peabody Award from Peabody Conservatory at Johns Hopkins University
2010 – elected an honorary member of the American Academy of Arts and Letters
In addition, his biography says Levine has received honorary doctorates from the University of Cincinnati, the New England Conservatory of Music, Northwestern University, the State University of New York, and the Juilliard School. On May 3, 2018, SUNY revoked Levine's honorary doctorate in response to the sexual abuse allegations against him.
References
External links
1943 births
2021 deaths
20th-century American conductors (music)
20th-century American pianists
20th-century American male musicians
20th-century classical pianists
21st-century American conductors (music)
21st-century American male musicians
21st-century American pianists
21st-century classical pianists
American classical pianists
American male conductors (music)
American male pianists
Aspen Music Festival and School alumni
Conductors of the Metropolitan Opera
Deutsche Grammophon artists
Grammy Award winners
Jewish American classical musicians
Jewish classical pianists
Juilliard School alumni
Kennedy Center honorees
Male classical pianists
Metropolitan Opera people
Music directors (opera)
Musicians from Cincinnati
Musicians from New York City
Oehms Classics artists
People stripped of honorary degrees
People with Parkinson's disease
United States National Medal of Arts recipients
21st-century American Jews | true | [
"Leslie Brown (27 November 1936 – 28 January 2021) was an English association football midfielder. He was part of the Great Britain team at the 1960 Summer Olympics, but he did not play in any matches. He later became an entrepreneur. He died on 28 January 2021 at the age of 84.\n\nReferences\n\n1936 births\n2021 deaths\nAssociation football midfielders\nDulwich Hamlet F.C. players\nEnglish footballers\nFootballers at the 1960 Summer Olympics\nOlympic footballers of Great Britain\nWimbledon F.C. players\nPlace of birth missing\nPlace of death missing\nDate of death missing",
"Diego Nicolás Cristin (born 5 April 1981) is a former professional tennis player from Argentina.\n\nBiography\nA right-handed player, Cristin comes from the Núñez neighbourhood of Buenos Aires.\n\nCristin was known for his fast serve, once registering 214 km/h while still a teenager, surpassing the fastest serve of any other Argentine player at that time.\n\nIn 2003 he had the distinction of being the first player to beat future US Open winner Juan Martín del Potro in a professional match, which he did at a local satellite tournament.\n\nHe was unable to break into the ATP Tour, featuring only as high as Challenger level. As a doubles player he made the world's top 200 and won a Challenger tournament in Santiago in 2009, partnering Eduardo Schwank.\n\nChallenger titles\n\nDoubles: (1)\n\nReferences\n\nExternal links\n \n \n\n1981 births\nLiving people\nArgentine male tennis players\nTennis players from Buenos Aires"
] | [
"James Lawrence Levine (; June 23, 1943 – March 9, 2021) was an American conductor and pianist. He was music director of the Metropolitan Opera (the \"Met\") from 1976 to 2016.",
"He was music director of the Metropolitan Opera (the \"Met\") from 1976 to 2016. He was formally terminated from all his positions and affiliations with the Met on March 12, 2018, over sexual misconduct allegations, which he denied.",
"He was formally terminated from all his positions and affiliations with the Met on March 12, 2018, over sexual misconduct allegations, which he denied. Levine held leadership positions with the Ravinia Festival, the Munich Philharmonic, and the Boston Symphony Orchestra.",
"Levine held leadership positions with the Ravinia Festival, the Munich Philharmonic, and the Boston Symphony Orchestra. In 1980 he started the Lindemann Young Artists Development Program, and trained singers, conductors, and musicians for professional careers.",
"In 1980 he started the Lindemann Young Artists Development Program, and trained singers, conductors, and musicians for professional careers. After taking an almost two-year health-related hiatus from conducting from 2011 to 2013, during which time he held artistic and administrative planning sessions at the Met, and led training of the Lindemann Young Artists, Levine retired as the Met's full-time Music Director following the 2015–16 season to become Music Director Emeritus.",
"After taking an almost two-year health-related hiatus from conducting from 2011 to 2013, during which time he held artistic and administrative planning sessions at the Met, and led training of the Lindemann Young Artists, Levine retired as the Met's full-time Music Director following the 2015–16 season to become Music Director Emeritus. Early years and personal life Levine was born in Cincinnati, Ohio, to a Jewish, musical family.",
"Early years and personal life Levine was born in Cincinnati, Ohio, to a Jewish, musical family. His maternal grandfather was a composer and a cantor in a synagogue; his father, Lawrence, was a violinist who led dance bands under the name \"Larry Lee\" before entering his father's clothing business; and his mother, Helen Goldstein Levine, was briefly an actress on Broadway, performing as \"Helen Golden\".",
"His maternal grandfather was a composer and a cantor in a synagogue; his father, Lawrence, was a violinist who led dance bands under the name \"Larry Lee\" before entering his father's clothing business; and his mother, Helen Goldstein Levine, was briefly an actress on Broadway, performing as \"Helen Golden\". He had a brother, Tom, who was two years younger, who followed him to New York City from Cincinnati in 1974, and with whom he was very close.",
"He had a brother, Tom, who was two years younger, who followed him to New York City from Cincinnati in 1974, and with whom he was very close. He employed Tom as his business assistant, looking after his affairs, arranging his rehearsal schedules, fielding queries, scouting out places to live, meeting with accountants, and accompanying Levine on trips to Europe.",
"He employed Tom as his business assistant, looking after his affairs, arranging his rehearsal schedules, fielding queries, scouting out places to live, meeting with accountants, and accompanying Levine on trips to Europe. Tom was also a painter. He also had a younger sister, Janet, who is a marriage counselor.",
"He also had a younger sister, Janet, who is a marriage counselor. He began to play the piano as a small child. On February 21, 1954, at age 10, Levine made his concert debut as soloist playing Felix Mendelssohn's Piano Concerto No. 2 at a youth concert of the Cincinnati Symphony Orchestra in Ohio.",
"2 at a youth concert of the Cincinnati Symphony Orchestra in Ohio. Levine subsequently studied music with Walter Levin, first violinist in the LaSalle Quartet. In 1956 he took piano lessons with Rudolf Serkin at the Marlboro Music School in Vermont. The next year he began to study piano with Rosina Lhévinne at the Aspen Music School.",
"The next year he began to study piano with Rosina Lhévinne at the Aspen Music School. He graduated from Walnut Hills High School, a magnet school in Cincinnati. He entered the Juilliard School of Music in New York City in 1961, and took courses in conducting with Jean Morel.",
"He entered the Juilliard School of Music in New York City in 1961, and took courses in conducting with Jean Morel. He graduated from Juilliard in 1964, and joined the American Conductors project connected with the Baltimore Symphony Orchestra. Levine lived in The San Remo on Central Park West in New York City.",
"Levine lived in The San Remo on Central Park West in New York City. Career Early career From 1964 to 1965, Levine served as an apprentice to George Szell with the Cleveland Orchestra. He then served as the Orchestra's assistant conductor until 1970.",
"He then served as the Orchestra's assistant conductor until 1970. That year, he also made debuts as guest conductor with the Philadelphia Orchestra at its summer home at Robin Hood Dell, the Welsh National Opera, and the San Francisco Opera. From 1965 to 1972 he concurrently taught at the Cleveland Institute of Music.",
"From 1965 to 1972 he concurrently taught at the Cleveland Institute of Music. In the summers, he worked at the Meadow Brook School of Music in Michigan and at the Ravinia Festival in Highland Park, Illinois, the summer home of the Chicago Symphony Orchestra.",
"In the summers, he worked at the Meadow Brook School of Music in Michigan and at the Ravinia Festival in Highland Park, Illinois, the summer home of the Chicago Symphony Orchestra. During that time, the charismatic Levine developed a devoted following of young musicians and music lovers.",
"During that time, the charismatic Levine developed a devoted following of young musicians and music lovers. In June 1971, Levine was called in at the last moment to substitute for István Kertész, to lead the Chicago Symphony Orchestra and Chorus in Mahler's Second Symphony for the Ravinia Festival's opening concert of their 36th season.",
"In June 1971, Levine was called in at the last moment to substitute for István Kertész, to lead the Chicago Symphony Orchestra and Chorus in Mahler's Second Symphony for the Ravinia Festival's opening concert of their 36th season. This concert began a long association with the Chicago Symphony Orchestra.",
"This concert began a long association with the Chicago Symphony Orchestra. From 1973 to 1993 he was music director of the Ravinia Festival, succeeding the late Kertész.",
"From 1973 to 1993 he was music director of the Ravinia Festival, succeeding the late Kertész. He made numerous recordings with the orchestra, including the symphonies and German Requiem of Johannes Brahms, and major works of Gershwin, Holst, Berg, Beethoven, Mozart, and others.",
"He made numerous recordings with the orchestra, including the symphonies and German Requiem of Johannes Brahms, and major works of Gershwin, Holst, Berg, Beethoven, Mozart, and others. In 1990, at the request of Roy E. Disney, he arranged the music and conducted the Chicago Symphony Orchestra and Chorus in the soundtrack of Fantasia 2000, released by Walt Disney Pictures.",
"In 1990, at the request of Roy E. Disney, he arranged the music and conducted the Chicago Symphony Orchestra and Chorus in the soundtrack of Fantasia 2000, released by Walt Disney Pictures. From 1974 to 1978, Levine also served as music director of the Cincinnati May Festival.",
"From 1974 to 1978, Levine also served as music director of the Cincinnati May Festival. Metropolitan Opera Levine made his Metropolitan Opera debut a few weeks before he turned 28, on June 5, 1971, leading a June Festival performance of Puccini's Tosca.",
"Metropolitan Opera Levine made his Metropolitan Opera debut a few weeks before he turned 28, on June 5, 1971, leading a June Festival performance of Puccini's Tosca. After further appearances with the company, he was named its principal conductor in February 1972. He became its music director in 1975.",
"He became its music director in 1975. In 1983, he served as conductor and musical director for the Franco Zeffirelli screen adaptation of Verdi's La Traviata, which featured the Met orchestra and chorus members. He became the company's first artistic director in 1986, and relinquished the title in 2004.",
"He became the company's first artistic director in 1986, and relinquished the title in 2004. In 2005, Levine's combined salary from the Boston Symphony Orchestra and the Met made him the highest-paid conductor in the country, at $3.5 million.",
"In 2005, Levine's combined salary from the Boston Symphony Orchestra and the Met made him the highest-paid conductor in the country, at $3.5 million. During Levine's tenure, the Metropolitan Opera orchestra expanded its activities into recording and concert series for the orchestra and chamber ensembles from the orchestra at Carnegie Hall.",
"During Levine's tenure, the Metropolitan Opera orchestra expanded its activities into recording and concert series for the orchestra and chamber ensembles from the orchestra at Carnegie Hall. Levine led the Metropolitan Opera on many domestic and international tours.",
"Levine led the Metropolitan Opera on many domestic and international tours. For the 25th anniversary of his Met debut, Levine conducted the world premiere of John Harbison's The Great Gatsby, commissioned for the occasion.",
"For the 25th anniversary of his Met debut, Levine conducted the world premiere of John Harbison's The Great Gatsby, commissioned for the occasion. On his appointment as general manager of the Met, Peter Gelb emphasized that Levine was welcome to remain as long as he wanted to direct music there.",
"On his appointment as general manager of the Met, Peter Gelb emphasized that Levine was welcome to remain as long as he wanted to direct music there. Levine was paid $2.1 million by the Met in 2010.",
"Levine was paid $2.1 million by the Met in 2010. Following a series of injuries that began with a fall, Levine's health problems led to his withdrawal from many Metropolitan Opera engagements. After a May 2011 performance of Wagner's Die Walküre, Levine formally withdrew from all engagements at the Met.",
"After a May 2011 performance of Wagner's Die Walküre, Levine formally withdrew from all engagements at the Met. After two years of physical therapy, he returned to conducting with a May 2013 concert with the Metropolitan Opera Orchestra at Carnegie Hall.",
"After two years of physical therapy, he returned to conducting with a May 2013 concert with the Metropolitan Opera Orchestra at Carnegie Hall. On September 25, 2013, Levine conducted his first Met performance since May 2011, in a revival production of Mozart's Così fan tutte.",
"On September 25, 2013, Levine conducted his first Met performance since May 2011, in a revival production of Mozart's Così fan tutte. He was scheduled to conduct three productions at the opera house and three at Carnegie Hall in the 2013–14 season.",
"He was scheduled to conduct three productions at the opera house and three at Carnegie Hall in the 2013–14 season. On April 14, 2016, Met management announced that Levine would step down from his position as music director at the end of the 2015–16 season. Levine was paid $1.8 million by the Met for the 2015–16 season.",
"Levine was paid $1.8 million by the Met for the 2015–16 season. He assumed the new title of Music Director Emeritus, which he held until December 2017, when in the wake of allegations that Levine had sexually abused four young men, the Met suspended its relationship with him and canceled all his scheduled performances with the company.",
"He assumed the new title of Music Director Emeritus, which he held until December 2017, when in the wake of allegations that Levine had sexually abused four young men, the Met suspended its relationship with him and canceled all his scheduled performances with the company. Boston Symphony Orchestra Levine first conducted the Boston Symphony Orchestra (BSO) in April 1972.",
"Boston Symphony Orchestra Levine first conducted the Boston Symphony Orchestra (BSO) in April 1972. In October 2001, he was named its music director effective with the 2004–05 season, with an initial contract of five years, becoming the first American-born conductor to head the BSO.",
"In October 2001, he was named its music director effective with the 2004–05 season, with an initial contract of five years, becoming the first American-born conductor to head the BSO. One unique condition that Levine negotiated was increased flexibility of the time allotted for rehearsal, allowing the orchestra additional time to prepare more challenging works.",
"One unique condition that Levine negotiated was increased flexibility of the time allotted for rehearsal, allowing the orchestra additional time to prepare more challenging works. After the start of his tenure, the orchestra also established an \"Artistic Initiative Fund\" of about $40 million to fund the more expensive of his projects.",
"After the start of his tenure, the orchestra also established an \"Artistic Initiative Fund\" of about $40 million to fund the more expensive of his projects. One criticism of Levine during his BSO tenure is that he did not attend many orchestra auditions.",
"One criticism of Levine during his BSO tenure is that he did not attend many orchestra auditions. A 2005 article reported that he had attended two out of 16 auditions during his tenure up to that time.",
"A 2005 article reported that he had attended two out of 16 auditions during his tenure up to that time. Levine responded that he has the ability to provide input on musician tenure decisions after the initial probationary period, and that it is difficult to know how well a given player will fit the given position until that person has had a chance to work with the orchestra: \"My message is the audition isn't everything.\"",
"Levine responded that he has the ability to provide input on musician tenure decisions after the initial probationary period, and that it is difficult to know how well a given player will fit the given position until that person has had a chance to work with the orchestra: \"My message is the audition isn't everything.\" Another 2005 report stated that during Levine's first season as music director, the greater workload from the demands of playing more unfamiliar and contemporary music had increased physical stress on some of the BSO musicians.",
"Another 2005 report stated that during Levine's first season as music director, the greater workload from the demands of playing more unfamiliar and contemporary music had increased physical stress on some of the BSO musicians. Levine and the players met to discuss this, and he agreed to program changes to lessen these demands.",
"Levine and the players met to discuss this, and he agreed to program changes to lessen these demands. He received general critical praise for revitalizing the orchestra's quality and repertoire since the beginning of his tenure.",
"He received general critical praise for revitalizing the orchestra's quality and repertoire since the beginning of his tenure. Levine experienced ongoing health problems, starting with an onstage fall in 2006 that resulted in a torn rotator cuff and started discussion of how long Levine's tenure with the BSO would last.",
"Levine experienced ongoing health problems, starting with an onstage fall in 2006 that resulted in a torn rotator cuff and started discussion of how long Levine's tenure with the BSO would last. In April 2010, in the wake of his continuing health problems, it emerged that Levine had not officially signed a contract extension, so that he was the BSO's music director without a signed contract.",
"In April 2010, in the wake of his continuing health problems, it emerged that Levine had not officially signed a contract extension, so that he was the BSO's music director without a signed contract. On March 2, 2011, the BSO announced Levine's resignation as music director effective September 2011, after the Orchestra's Tanglewood season.",
"On March 2, 2011, the BSO announced Levine's resignation as music director effective September 2011, after the Orchestra's Tanglewood season. Working on a commission from Levine and the BSO, the composer John Harbison dedicated his Symphony No.",
"Working on a commission from Levine and the BSO, the composer John Harbison dedicated his Symphony No. 6 \"in friendship and gratitude\" to him, whose premature departure from the orchestra prevented him from conducting the premiere.",
"6 \"in friendship and gratitude\" to him, whose premature departure from the orchestra prevented him from conducting the premiere. After allegations of his abusing a number of young men came out in December 2017 the BSO said Levine \"will never be employed or contracted by the BSO at any time in the future\".",
"After allegations of his abusing a number of young men came out in December 2017 the BSO said Levine \"will never be employed or contracted by the BSO at any time in the future\". Conducting in Europe Levine's BSO contract limited his guest appearances with American orchestras, but he still conducted regularly in Europe, with the Vienna Philharmonic, Berlin Philharmonic, and at the Bayreuth Festival.",
"Conducting in Europe Levine's BSO contract limited his guest appearances with American orchestras, but he still conducted regularly in Europe, with the Vienna Philharmonic, Berlin Philharmonic, and at the Bayreuth Festival. Levine was a regular guest with the Philharmonia of London and the Staatskapelle Dresden.",
"Levine was a regular guest with the Philharmonia of London and the Staatskapelle Dresden. Beginning in 1975 he conducted regularly at the Salzburg Festival and the annual July Verbier Festival. From 1999 to 2004, he was chief conductor of the Munich Philharmonic, and was credited with improving the quality of instrumental ensemble during his tenure.",
"From 1999 to 2004, he was chief conductor of the Munich Philharmonic, and was credited with improving the quality of instrumental ensemble during his tenure. Work with students Levine initiated the Lindemann Young Artists Development Program at the Metropolitan Opera in 1980, a professional training program for graduated singers with, today, many famous alumni.",
"Work with students Levine initiated the Lindemann Young Artists Development Program at the Metropolitan Opera in 1980, a professional training program for graduated singers with, today, many famous alumni. Levine was conductor of the UBS Verbier Festival Orchestra, the student resident orchestra at the annual summer music festival in Verbier, Switzerland, from 1999 through 2006.",
"Levine was conductor of the UBS Verbier Festival Orchestra, the student resident orchestra at the annual summer music festival in Verbier, Switzerland, from 1999 through 2006. It was Levine's first long-term commitment to a student orchestra since becoming music director at the Met.",
"It was Levine's first long-term commitment to a student orchestra since becoming music director at the Met. After becoming music director of the Boston Symphony Orchestra, Levine also served as music director of the Tanglewood Music Center, the BSO's acclaimed summer academy at Tanglewood for student instrumentalists, singers, composers, and conductors.",
"After becoming music director of the Boston Symphony Orchestra, Levine also served as music director of the Tanglewood Music Center, the BSO's acclaimed summer academy at Tanglewood for student instrumentalists, singers, composers, and conductors. There he conducted the Tanglewood Music Center Orchestra, directed fully staged opera performances with student singers, and gave master classes for singers and conductors.",
"There he conducted the Tanglewood Music Center Orchestra, directed fully staged opera performances with student singers, and gave master classes for singers and conductors. Levine said in an interview: At my age, you are naturally inclined towards teaching.",
"Levine said in an interview: At my age, you are naturally inclined towards teaching. You want to teach what you have learned to the next generation so that they don't have to spend time reinventing the wheel. I was lucky that I met the right mentors and teachers at the right moment.",
"I was lucky that I met the right mentors and teachers at the right moment. I love working with young musicians and singers, and those at the Tanglewood Music Center are unequivocally some of the finest and most talented in the world. He continued to work with young students even when his health issues kept him from conducting.",
"He continued to work with young students even when his health issues kept him from conducting. He was awarded the Lotus Award (\"for inspiration to young musicians\") from Young Concert Artists.",
"He was awarded the Lotus Award (\"for inspiration to young musicians\") from Young Concert Artists. Anthony Tommasini wrote in The New York Times in 2016: \"The aspiring singers in the Met's young artist development program, one of many important ventures Mr. Levine started, must understand how lucky they are to have, as a teacher and mentor, a musician who even in his 20s worked at the Met with giants like Jon Vickers and Renata Tebaldi.\"",
"Anthony Tommasini wrote in The New York Times in 2016: \"The aspiring singers in the Met's young artist development program, one of many important ventures Mr. Levine started, must understand how lucky they are to have, as a teacher and mentor, a musician who even in his 20s worked at the Met with giants like Jon Vickers and Renata Tebaldi.\" Health problems and death Levine experienced recurrent health issues beginning in 2006, including sciatica and what he called \"intermittent tremors\".",
"Health problems and death Levine experienced recurrent health issues beginning in 2006, including sciatica and what he called \"intermittent tremors\". On March 1, 2006, he tripped and fell onstage during a standing ovation after a performance with the Boston Symphony Orchestra and tore the rotator cuff in his right shoulder, leaving the remaining subscription concerts in Boston to his assistant conductor at the time.",
"On March 1, 2006, he tripped and fell onstage during a standing ovation after a performance with the Boston Symphony Orchestra and tore the rotator cuff in his right shoulder, leaving the remaining subscription concerts in Boston to his assistant conductor at the time. Later that month, Levine underwent surgery to repair the injury.",
"Later that month, Levine underwent surgery to repair the injury. He returned to the podium on July 7, 2006. Levine withdrew from the majority of the Tanglewood 2008 summer season because of surgery required to remove a kidney with a malignant cyst. He returned to the podium in Boston on September 24, 2008, at Symphony Hall.",
"He returned to the podium in Boston on September 24, 2008, at Symphony Hall. On September 29, 2009, it was announced that Levine would undergo emergency back surgery for a herniated disk. He missed three weeks of engagements.",
"He missed three weeks of engagements. In March 2010, the BSO announced that Levine would miss the remainder of the Boston Symphony season because of back pain. The Met also announced, on April 4, 2010, that he was withdrawing from the remainder of his performances for the season.",
"The Met also announced, on April 4, 2010, that he was withdrawing from the remainder of his performances for the season. According to the Met, Levine was required to have \"corrective surgery for an ongoing lower back problem\".",
"According to the Met, Levine was required to have \"corrective surgery for an ongoing lower back problem\". He returned to conducting at the Met and the BSO at the beginning of the 2010–11 season, but in February 2011 canceled his Boston engagements for the rest of the season.",
"He returned to conducting at the Met and the BSO at the beginning of the 2010–11 season, but in February 2011 canceled his Boston engagements for the rest of the season. In the summer of 2011, Levine underwent further surgery on his back.",
"In the summer of 2011, Levine underwent further surgery on his back. In September 2011, after he fell down a flight of stairs, fractured his spine, and injured his back while on vacation in Vermont, the Met announced that he would not conduct at the Met at least for the rest of 2011.",
"In September 2011, after he fell down a flight of stairs, fractured his spine, and injured his back while on vacation in Vermont, the Met announced that he would not conduct at the Met at least for the rest of 2011. After two years of surgery and physical therapy, Levine returned to conducting for the first time on May 19, 2013, in a concert with the Metropolitan Opera Orchestra at Carnegie Hall.",
"After two years of surgery and physical therapy, Levine returned to conducting for the first time on May 19, 2013, in a concert with the Metropolitan Opera Orchestra at Carnegie Hall. Levine conducted from a motorized wheelchair, with a special platform designed to accommodate it, which could rise and descend like an elevator.",
"Levine conducted from a motorized wheelchair, with a special platform designed to accommodate it, which could rise and descend like an elevator. He returned to the Met on September 24, 2013. The same type of platform was present in the Met orchestra pit for his September 2013 return performance.",
"The same type of platform was present in the Met orchestra pit for his September 2013 return performance. For many years, both Levine and the Met denied as unfounded the rumors that Levine had Parkinson's disease.",
"For many years, both Levine and the Met denied as unfounded the rumors that Levine had Parkinson's disease. As New York magazine reported: \"The conductor states flatly that the condition is not Parkinson's disease, as people had speculated in 'that silly Times piece.'\"",
"As New York magazine reported: \"The conductor states flatly that the condition is not Parkinson's disease, as people had speculated in 'that silly Times piece.'\" But in 2016 both he and the Met finally admitted that the rumors were true, and that Levine had in fact had the disease since 1994.",
"But in 2016 both he and the Met finally admitted that the rumors were true, and that Levine had in fact had the disease since 1994. The Washington Post noted: \"It wasn't just the illnesses, but the constant alternation between concealment and an excess of revelation that kept so much attention focused on them and away from the music.\"",
"The Washington Post noted: \"It wasn't just the illnesses, but the constant alternation between concealment and an excess of revelation that kept so much attention focused on them and away from the music.\" Levine died in his Palm Springs home on March 9, 2021.",
"Levine died in his Palm Springs home on March 9, 2021. Len Horovitz, his personal physician, announced Levine's death on March 17 and said that he had died of natural causes.",
"Len Horovitz, his personal physician, announced Levine's death on March 17 and said that he had died of natural causes. Sexual assault allegations Four men accused Levine of sexually molesting them (starting when they were 16, 17, 17, and 20 years old), from the 1960s to the 1990s.",
"Sexual assault allegations Four men accused Levine of sexually molesting them (starting when they were 16, 17, 17, and 20 years old), from the 1960s to the 1990s. On December 2, 2017, it was publicly revealed that an October 2016 police report detailed that Levine had allegedly sexually molested a male teenager for years.",
"On December 2, 2017, it was publicly revealed that an October 2016 police report detailed that Levine had allegedly sexually molested a male teenager for years. The alleged sexual abuse began while Levine was guest conductor at the Ravinia Festival, outside Chicago, where Levine was music director for the Chicago Symphony Orchestra's summer residencies from 1973 to 1993.",
"The alleged sexual abuse began while Levine was guest conductor at the Ravinia Festival, outside Chicago, where Levine was music director for the Chicago Symphony Orchestra's summer residencies from 1973 to 1993. One accuser said that in the summer of 1968, when he was a 17-year-old high school student attending Meadow Brook School of Music in Michigan, Levine (then a 25-year-old faculty member) had sexual contact with a student.",
"One accuser said that in the summer of 1968, when he was a 17-year-old high school student attending Meadow Brook School of Music in Michigan, Levine (then a 25-year-old faculty member) had sexual contact with a student. When he next saw Levine, the accuser told him that he would not repeat the sexual behavior, but asked if they could continue to make music as they had before; Levine said no.",
"When he next saw Levine, the accuser told him that he would not repeat the sexual behavior, but asked if they could continue to make music as they had before; Levine said no. The accuser later played bass in the St. Paul Chamber Orchestra for decades and became a professor.",
"The accuser later played bass in the St. Paul Chamber Orchestra for decades and became a professor. A second accuser said that that same summer, Levine had sexual contact with a 17-year-old student and that Levine then initiated with the teenager a number of sexual encounters that have since haunted him.",
"A second accuser said that that same summer, Levine had sexual contact with a 17-year-old student and that Levine then initiated with the teenager a number of sexual encounters that have since haunted him. He said (and another male corroborated, on the condition of anonymity) that the next year, in Cleveland, where Levine was an assistant conductor of the Cleveland Orchestra, Levine on several occasions had sexual contact with that student and other students.",
"He said (and another male corroborated, on the condition of anonymity) that the next year, in Cleveland, where Levine was an assistant conductor of the Cleveland Orchestra, Levine on several occasions had sexual contact with that student and other students. A third accuser, a violinist and pianist who grew up in Illinois near the Ravinia Music Festival, a summer program for aspiring musicians of which Levine was music director from 1971 to 1993, said Levine sexually abused him beginning when the accuser was 16 years old (and Levine was in his 40s) in 1986.",
"A third accuser, a violinist and pianist who grew up in Illinois near the Ravinia Music Festival, a summer program for aspiring musicians of which Levine was music director from 1971 to 1993, said Levine sexually abused him beginning when the accuser was 16 years old (and Levine was in his 40s) in 1986. He had previously detailed his accusation in 2016 in a report to the Lake Forest Police Department in Illinois.",
"He had previously detailed his accusation in 2016 in a report to the Lake Forest Police Department in Illinois. On December 8, the department announced that Levine could not be charged criminally in Illinois because the accuser was 16 years old at the time, and while today a 16-year-old is not considered old enough to consent to such conduct in Illinois (he must be 17, or 18 in cases in which the suspect is in a position of trust, authority, or supervision in relation to the victim), at the time that was the statutory age of consent.",
"On December 8, the department announced that Levine could not be charged criminally in Illinois because the accuser was 16 years old at the time, and while today a 16-year-old is not considered old enough to consent to such conduct in Illinois (he must be 17, or 18 in cases in which the suspect is in a position of trust, authority, or supervision in relation to the victim), at the time that was the statutory age of consent. The department noted: \"we are bound to apply the law that was in effect at the time the allegations occurred rather than the law as it currently exists.\"",
"The department noted: \"we are bound to apply the law that was in effect at the time the allegations occurred rather than the law as it currently exists.\" On December 4, a fourth man, who later had a long career as a violinist in the New Jersey Symphony Orchestra, said he had been abused by Levine beginning in 1968, when he was 20 years old and attending the Meadow Brook School of Music.",
"On December 4, a fourth man, who later had a long career as a violinist in the New Jersey Symphony Orchestra, said he had been abused by Levine beginning in 1968, when he was 20 years old and attending the Meadow Brook School of Music. Levine was a teacher in the summer program.",
"Levine was a teacher in the summer program. Reactions The New York Times said that the Met had known of at least one sexual abuse allegation as early as 1979, but dismissed it as baseless.",
"Reactions The New York Times said that the Met had known of at least one sexual abuse allegation as early as 1979, but dismissed it as baseless. Furthermore, the Met (including its General Manager Peter Gelb, who was contacted directly by a police detective about the allegations in October 2016) had been aware of both the third accuser's abuse allegations since they were made in the 2016 police report, and of the attendant police investigation.",
"Furthermore, the Met (including its General Manager Peter Gelb, who was contacted directly by a police detective about the allegations in October 2016) had been aware of both the third accuser's abuse allegations since they were made in the 2016 police report, and of the attendant police investigation. But the Met did not suspend Levine or launch an investigation of its own until over a year later, in December 2017.",
"But the Met did not suspend Levine or launch an investigation of its own until over a year later, in December 2017. In response to the December 2017 news article, the Met announced that it would investigate the sexual abuse allegations dating to the 1980s that were set forth in the 2016 police report.",
"In response to the December 2017 news article, the Met announced that it would investigate the sexual abuse allegations dating to the 1980s that were set forth in the 2016 police report. On December 3, after two additional males came forward with allegations of abuse, the Met suspended its ties with Levine, and canceled all upcoming engagements with him.",
"On December 3, after two additional males came forward with allegations of abuse, the Met suspended its ties with Levine, and canceled all upcoming engagements with him. A fourth accuser came forward the following day.",
"A fourth accuser came forward the following day. For its part, the Ravinia Festival, in April 2017, six months after the criminal investigation of Levine began, created an honorific title for Levine—\"Conductor Laureate\"—and signed him to a five-year renewable contract to begin in 2018.",
"For its part, the Ravinia Festival, in April 2017, six months after the criminal investigation of Levine began, created an honorific title for Levine—\"Conductor Laureate\"—and signed him to a five-year renewable contract to begin in 2018. On December 4, 2017, the Ravinia Festival severed all ties with Levine, and terminated his five-year contract to lead the Chicago Symphony there.",
"On December 4, 2017, the Ravinia Festival severed all ties with Levine, and terminated his five-year contract to lead the Chicago Symphony there. The Boston Symphony Orchestra said Levine \"will never be employed or contracted by the BSO at any time in the future\".",
"The Boston Symphony Orchestra said Levine \"will never be employed or contracted by the BSO at any time in the future\". The Juilliard School, where Levine had studied, replaced him in a February 2018 performance where he was scheduled to lead the Juilliard Orchestra and singers from the Met's Lindemann Young Artist Development Program.",
"The Juilliard School, where Levine had studied, replaced him in a February 2018 performance where he was scheduled to lead the Juilliard Orchestra and singers from the Met's Lindemann Young Artist Development Program. On December 5, the Cincinnati May Festival canceled Levine's appearance in May.",
"On December 5, the Cincinnati May Festival canceled Levine's appearance in May. On December 7, in New Plymouth, New Zealand, the cinema chain Event Cinemas abruptly cancelled the screening of a Met production of Levine conducting Mozart's Die Zauberflöte.",
"On December 7, in New Plymouth, New Zealand, the cinema chain Event Cinemas abruptly cancelled the screening of a Met production of Levine conducting Mozart's Die Zauberflöte. On December 8, Fred Child, host of the classical music radio show Performance Today, wrote that Levine \"is accused of inflicting grievous harm to living members of our musical community.",
"On December 8, Fred Child, host of the classical music radio show Performance Today, wrote that Levine \"is accused of inflicting grievous harm to living members of our musical community. Out of respect for these people and their wounds, I choose not to broadcast performances featuring Mr. Levine on the podium.\"",
"Out of respect for these people and their wounds, I choose not to broadcast performances featuring Mr. Levine on the podium.\" Classical music blogger, former Village Voice music critic, and Juilliard School faculty member Greg Sandow said he had been contacted by three men over the years who said that Levine had abused them, and that reports of sexual abuse by Levine were \"widely talked about\" for 40 years.",
"Classical music blogger, former Village Voice music critic, and Juilliard School faculty member Greg Sandow said he had been contacted by three men over the years who said that Levine had abused them, and that reports of sexual abuse by Levine were \"widely talked about\" for 40 years. Sandow said further: \"Everybody in the classical music business at least since the 1980s has talked about Levine as a sex abuser.",
"Sandow said further: \"Everybody in the classical music business at least since the 1980s has talked about Levine as a sex abuser. The investigation should have been done decades ago.\"",
"The investigation should have been done decades ago.\" Pulitzer Prize-winning music critic Justin Davidson mused on the culture website of New York magazine, \"James Levine's career has clearly ended\" and \"I'm not sure the Met can survive Levine's disgrace.\"",
"Pulitzer Prize-winning music critic Justin Davidson mused on the culture website of New York magazine, \"James Levine's career has clearly ended\" and \"I'm not sure the Met can survive Levine's disgrace.\" Similarly, drama critic Terry Teachout of The Wall Street Journal wrote an article called \"The Levine Cataclysm; How allegations against James Levine of sexual misconduct with teenagers could topple the entire Metropolitan Opera\".",
"Similarly, drama critic Terry Teachout of The Wall Street Journal wrote an article called \"The Levine Cataclysm; How allegations against James Levine of sexual misconduct with teenagers could topple the entire Metropolitan Opera\". The Washington Post music critic Anne Midgette noted: \"The Met has known about these allegations for at least a year, and are only investigating them now that they are public\", and opined on her Facebook page that the Met has \"quite probably spent years protecting its star conductor from just this kind of allegation\".",
"The Washington Post music critic Anne Midgette noted: \"The Met has known about these allegations for at least a year, and are only investigating them now that they are public\", and opined on her Facebook page that the Met has \"quite probably spent years protecting its star conductor from just this kind of allegation\". Music critic Tim Pfaff of the LGBT Bay Area Reporter wrote that The New York Times chief classical music critic Anthony Tommasini had the \"weirdest\" reaction, \"lamenting the ugliness of it all under a...headline, 'Should I Put Away My James Levine Recordings?'",
"Music critic Tim Pfaff of the LGBT Bay Area Reporter wrote that The New York Times chief classical music critic Anthony Tommasini had the \"weirdest\" reaction, \"lamenting the ugliness of it all under a...headline, 'Should I Put Away My James Levine Recordings?' His conclusion was that he and his husband...should move those recordings from their living room.\"",
"His conclusion was that he and his husband...should move those recordings from their living room.\" The Met orchestra musicians applauded the courage of the four men who came forward with accusations that Levine had abused them.",
"The Met orchestra musicians applauded the courage of the four men who came forward with accusations that Levine had abused them. Local 802 of the American Federation of Musicians, which represents the Met's orchestra and Levine, said, \"We are horrified and sickened by the recently reported allegations of sexual abuse by Mr. Levine.\"",
"Levine.\" Levine.\" Five days after news of the accusations by the four men broke, Levine spoke about them for the first time, and called them \"unfounded\". The accusers stood by their claims, with one saying, \"I will take a lie-detector test. Will he?\"",
"Will he?\" Will he?\" Six days later, music critic Arthur Kaptainis wrote in the Montreal Gazette that Levine's denial \"had little effect\". On March 12, 2018, the Met announced that it had fired Levine.",
"On March 12, 2018, the Met announced that it had fired Levine. Its investigation found Levine had \"engaged in sexually abusive and harassing conduct towards vulnerable artists in the early stages of their careers\".",
"Its investigation found Levine had \"engaged in sexually abusive and harassing conduct towards vulnerable artists in the early stages of their careers\". Levine sued the Metropolitan Opera in New York State Supreme Court for breach of contract and defamation on March 15, 2018, three days after the company fired him, seeking more than $5.8 million in damages.",
"Levine sued the Metropolitan Opera in New York State Supreme Court for breach of contract and defamation on March 15, 2018, three days after the company fired him, seeking more than $5.8 million in damages. The Met denied Levine's allegations.",
"The Met denied Levine's allegations. A year later, a New York State Supreme Court judge dismissed most of Levine's claims, but ruled that the Met and its attorney had made defamatory statements. The Metropolitan Opera and Levine announced a settlement on undisclosed terms in August 2019.",
"The Metropolitan Opera and Levine announced a settlement on undisclosed terms in August 2019. In September 2020, the size of the payout was indirectly exposed by annual disclosure statements required for nonprofits; Levine had received $3.5 million in the settlement.",
"In September 2020, the size of the payout was indirectly exposed by annual disclosure statements required for nonprofits; Levine had received $3.5 million in the settlement. It is speculated that he was able to negotiate such a large settlement due to the lack of a morals clause in his contract with the Met.",
"It is speculated that he was able to negotiate such a large settlement due to the lack of a morals clause in his contract with the Met. Recordings and film Levine made many audio and video recordings. He recorded extensively with many orchestras, and especially often with the Metropolitan Opera.",
"He recorded extensively with many orchestras, and especially often with the Metropolitan Opera. His performance of Aida with Leontyne Price, her last in opera, was preserved on video and may be seen at the Met's own online archive of performances. Of particular note are his performances of Wagner's complete Der Ring des Nibelungen.",
"Of particular note are his performances of Wagner's complete Der Ring des Nibelungen. A studio recording made for Deutsche Grammophon from 1987 to 1989 is on compact disc, and a 1989 live performance of the Ring is available on DVD.",
"A studio recording made for Deutsche Grammophon from 1987 to 1989 is on compact disc, and a 1989 live performance of the Ring is available on DVD. He also appears on several dozen albums as a pianist, collaborating with such singers as Jessye Norman, Kathleen Battle, Christa Ludwig, and Dawn Upshaw, as well as performing the chamber music of Franz Schubert and Francis Poulenc, among others.",
"He also appears on several dozen albums as a pianist, collaborating with such singers as Jessye Norman, Kathleen Battle, Christa Ludwig, and Dawn Upshaw, as well as performing the chamber music of Franz Schubert and Francis Poulenc, among others. Levine was featured in the animated Disney film Fantasia 2000.",
"Levine was featured in the animated Disney film Fantasia 2000. He conducted the Chicago Symphony Orchestra in the soundtrack recordings of all the music in the film (with the exception of one segment from the original 1940 Fantasia).",
"He conducted the Chicago Symphony Orchestra in the soundtrack recordings of all the music in the film (with the exception of one segment from the original 1940 Fantasia). Levine is also seen in the film talking briefly with Mickey Mouse and Donald Duck, just as his predecessor Leopold Stokowski did in the original film.",
"Levine is also seen in the film talking briefly with Mickey Mouse and Donald Duck, just as his predecessor Leopold Stokowski did in the original film. Discography Marilyn Horne: Divas in Song (1994), RCA Victor Red Seal CD, 09026-62547-2 Videography Mozart: Idomeneo (1982), Deutsche Grammophon DVD, 00440-073-4234 The Metropolitan Opera Centennial Gala (1983), Deutsche Grammophon DVD, 00440-073-4538 The Metropolitan Opera Gala 1991, Deutsche Grammophon DVD, 00440-073-4582 James Levine's 25th Anniversary Metropolitan Opera Gala (1996), Deutsche Grammophon DVD, B0004602-09 Honors Among the awards listed in his Met biography are: 1980 – Manhattan Cultural Award 1982 – first of eight Grammy Awards 1984 – Named \"Musician of the Year\" by Musical America 1986 – Smetana Medal (presented by the former Czechoslovakia) 1997 – National Medal of Arts 1999 – Wilhelm Furtwängler Prize from the Committee for Cultural Advancement of Baden-Baden, Germany 2003 – Kennedy Center Honors 2005 – Award for Distinguished Service to the Arts from the American Academy of Arts and Letters 2006 – Opera News Award 2009 – Award in the Vocal Arts from Bard College 2009 – Ditson Conductors Award from Columbia University 2010 – National Endowment for the Arts Opera Honoree 2010 – George Peabody Award from Peabody Conservatory at Johns Hopkins University 2010 – elected an honorary member of the American Academy of Arts and Letters In addition, his biography says Levine has received honorary doctorates from the University of Cincinnati, the New England Conservatory of Music, Northwestern University, the State University of New York, and the Juilliard School.",
"Discography Marilyn Horne: Divas in Song (1994), RCA Victor Red Seal CD, 09026-62547-2 Videography Mozart: Idomeneo (1982), Deutsche Grammophon DVD, 00440-073-4234 The Metropolitan Opera Centennial Gala (1983), Deutsche Grammophon DVD, 00440-073-4538 The Metropolitan Opera Gala 1991, Deutsche Grammophon DVD, 00440-073-4582 James Levine's 25th Anniversary Metropolitan Opera Gala (1996), Deutsche Grammophon DVD, B0004602-09 Honors Among the awards listed in his Met biography are: 1980 – Manhattan Cultural Award 1982 – first of eight Grammy Awards 1984 – Named \"Musician of the Year\" by Musical America 1986 – Smetana Medal (presented by the former Czechoslovakia) 1997 – National Medal of Arts 1999 – Wilhelm Furtwängler Prize from the Committee for Cultural Advancement of Baden-Baden, Germany 2003 – Kennedy Center Honors 2005 – Award for Distinguished Service to the Arts from the American Academy of Arts and Letters 2006 – Opera News Award 2009 – Award in the Vocal Arts from Bard College 2009 – Ditson Conductors Award from Columbia University 2010 – National Endowment for the Arts Opera Honoree 2010 – George Peabody Award from Peabody Conservatory at Johns Hopkins University 2010 – elected an honorary member of the American Academy of Arts and Letters In addition, his biography says Levine has received honorary doctorates from the University of Cincinnati, the New England Conservatory of Music, Northwestern University, the State University of New York, and the Juilliard School. On May 3, 2018, SUNY revoked Levine's honorary doctorate in response to the sexual abuse allegations against him.",
"On May 3, 2018, SUNY revoked Levine's honorary doctorate in response to the sexual abuse allegations against him. References External links 1943 births 2021 deaths 20th-century American conductors (music) 20th-century American pianists 20th-century American male musicians 20th-century classical pianists 21st-century American conductors (music) 21st-century American male musicians 21st-century American pianists 21st-century classical pianists American classical pianists American male conductors (music) American male pianists Aspen Music Festival and School alumni Conductors of the Metropolitan Opera Deutsche Grammophon artists Grammy Award winners Jewish American classical musicians Jewish classical pianists Juilliard School alumni Kennedy Center honorees Male classical pianists Metropolitan Opera people Music directors (opera) Musicians from Cincinnati Musicians from New York City Oehms Classics artists People stripped of honorary degrees People with Parkinson's disease United States National Medal of Arts recipients 21st-century American Jews"
] |
[
"The Apples in Stereo",
"1991-1993: The Apples"
] | C_bb5692211f37444eb499f77b75cc7155_1 | What is The Apples? | 1 | What is The Apples? | The Apples in Stereo | In late 1991, Robert Schneider met Jim McIntyre on a commuter bus in Denver, Colorado. Schneider had recently moved to Colorado from Ruston, Louisiana, and often initiated conversations with McIntyre. When Schneider asked McIntyre what his music interests were, McIntyre named his favorite band: The Beach Boys -- a band Schneider was particularly fond of. Realizing that they shared many musical interests, McIntyre introduced Schneider to Hilarie Sidney. McIntyre already had a band called Von Hemmling in which McIntyre played bass and Sidney played drums. With Schneider, they discussed the idea of starting a band and perhaps a recording label. Schneider later met Chris Parfitt, who was also already in a band at the time that Schneider unsuccessfully auditioned for on bass. Schneider and Parfitt also became friends, however, and toyed with the idea of having a rock band similar to The Velvet Underground or Black Sabbath, with production qualities similar to that of The Beach Boys. Schneider then spent two weeks in Athens, Georgia recording music and spending time with his childhood friends Will Cullen Hart, Bill Doss and Jeff Mangum. He discussed the idea of starting a record label with them (which soon became The Elephant 6 Recording Company). It was also at this time that the name "The Apples" came about, inspired by the Pink Floyd song "Apples and Oranges". The earliest incarnation of the band began to form in 1992 upon Schneider's return to Denver, first between Schneider and Parfitt, both of whom played guitar. The two recruited McIntyre and Sidney during the autumn of that year, practicing material through the winter. Their first few live shows took place the following January, many of which were with the band Felt Pilotes. From February to April 1993, the band recorded their debut 7" EP, Tidal Wave, and released it in June as the first record ever to bear the Elephant 6 logo. CANNOTANSWER | Robert Schneider met Jim McIntyre | The Apples in Stereo, styled as The Apples in stereo, are an American rock band associated with Elephant Six Collective, a group of bands also including Neutral Milk Hotel, The Olivia Tremor Control, Elf Power, Of Montreal, and Circulatory System. The band is largely a product of lead vocalist/guitarist/producer Robert Schneider, who writes the majority of the band's music and lyrics. Currently, The Apples in Stereo also includes longstanding members John Hill (rhythm guitar) and Eric Allen (bass), as well as more recent members John Dufilho (drums), John Ferguson (keyboards), and Ben Phelan (keyboards/guitar/trumpet).
The band's sound draws comparisons to the psychedelic rock of The Beatles and The Beach Boys during the 1960s, as well as to bands such as Electric Light Orchestra and Pavement, and also draws from lo-fi, garage rock, new wave, R&B, bubblegum pop, power pop, punk, electro-pop and experimental music.
The band is also well known for their appearance in a The Powerpuff Girls music video performing the song "Signal in the Sky (Let's Go)". It aired immediately after the show's seventh episode of season 4, "Superfriends", which was based on the song's lyrics. The band has appeared widely in television and film, including performances on The Colbert Report, Late Night with Conan O'Brien and Last Call with Carson Daly, guest hosting on MTV, song placements in numerous television shows, commercials and motion pictures, the performance of the single "Energy" by the contestants on American Idol, and a song recorded for children's show Yo Gabba Gabba.
Band history
1991–1993: The Apples
In late 1991, Robert Schneider met Jim McIntyre on a commuter bus in Denver, Colorado. Schneider had recently moved to Colorado from Ruston, Louisiana, and often initiated conversations with McIntyre. When Schneider asked McIntyre what his music interests were, McIntyre named his favorite band: The Beach Boys — a band Schneider was particularly fond of. Realizing that they shared many musical interests, McIntyre introduced Schneider to Hilarie Sidney. McIntyre already had a band called Von Hemmling in which McIntyre played bass and Sidney played drums. With Schneider, they discussed the idea of starting a band and perhaps a recording label. Schneider later met Chris Parfitt, who at the time was also already in a band (which Schneider unsuccessfully auditioned for on bass). Schneider and Parfitt also became friends, however, and toyed with the idea of having a rock band similar to The Velvet Underground or Black Sabbath, with production qualities similar to that of The Beach Boys.
Schneider then spent two weeks in Athens, Georgia recording music and spending time with his childhood friends Will Cullen Hart, Bill Doss and Jeff Mangum. He discussed the idea of starting a record label with them (which soon became The Elephant 6 Recording Company). It was also at this time that the name "The Apples" came about, inspired by the Pink Floyd song "Apples and Oranges".
The earliest incarnation of the band began to form in 1992 upon Schneider's return to Denver, first between Schneider and Parfitt, both of whom played guitar. The two recruited McIntyre and Sidney during the autumn of that year, practicing material through the winter. Their first few live shows took place the following January, many of which were with the band Felt Pilotes. From February to April 1993, the band recorded their debut 7" EP, Tidal Wave, and released it in June as the first record ever to bear the Elephant 6 logo.
1994–1995: Hypnotic Suggestion and Fun Trick Noisemaker
Several conflicts would lead Parfitt to leave the band in early 1994. John Hill, a former bandmate of McIntyre's, would join the band as a rhythm guitarist while Schneider began to grow more comfortable playing lead guitar. It was also at this time that Schneider began to take stronger creative control of the band, shifting its sound from its stronger rock qualities to a spacier pop sound. The band started work on a debut album, but it instead became Hypnotic Suggestion, a second EP. However, after SpinART Records offered to buy the band an 8-track in return for an album, new plans for an LP arose.
In mid-1994, after Hypnotic Suggestion, McIntyre would be the second to leave the band, due to a number of personal distresses as well as stylistic changes that arose with Parfitt's departure. Having great difficulty finding a new permanent bassist, the band would rotate a number of frequent bass contributors, including Jeff Mangum of Neutral Milk Hotel, Kurt Heasley of The Lilys, Kyle Jones, Joel Richardson, and Joel Evans. Jim McIntyre would also occasionally guest on bass. This continued to be the makeup of the band as they toured the country in late 1994, recording the first half of their new album in Glendora, California. In early 1995, the band finished the album, Fun Trick Noisemaker, at Kyle Jones's house (the birthplace of Schneider's Pet Sounds Studio).
Now with a LP to support, the band began touring again. Eric Allen, whom the band had previously auditioned as a guitarist after the departure of Chris Parfitt, joined the band as a much welcomed permanent bassist. Late 1995, Schneider relocated Pet Sounds Studio to Jim McIntyre's house. McIntyre continued to be involved in the recording and engineering of the band's albums until the mid-2000s.
A significantly different band from the original 1992 four-piece, the official name of the band gradually became "The Apples in Stereo", with the "in stereo" usually somewhat under-emphasized, whether in lower-case or in parentheses. Schneider described this in an interview: "It's very clearcut, actually: we're The Apples, the music's in stereo. It's not actually the band name – it's a step back from it, a band name once removed. We're The Apples, in stereo. Kind of like a TV show, 'in stereo!' That always seemed to be a really big deal, that it was in stereo." McIntyre later remarked, "It's cool the name changed cause the Apples and the Apples in Stereo were really two different entities."
1996–2005: Tone Soul Evolution to Velocity of Sound
The band continued touring through 1996, playing in Japan for the first time. Several early recording sessions were held at Pet Sounds for the band's second album, Tone Soul Evolution, but the members were dissatisfied with the quality of the recordings. The majority of the album's songs were re-recorded at Studio .45 in Hartford, Connecticut before the album's release. In 1998, Chris McDuffie joined the band, playing various instruments including organs, synthesizers and assorted percussion. He would leave the band before Velocity of Sound was released in 2002.
Several more albums were released by the band through the years, including the psychedelic "concept EP", Her Wallpaper Reverie, The Discovery of a World Inside the Moone and Velocity of Sound; both of the latter of which were progressively aimed at capturing the live sound of the band, which continued to tighten as they continued to perform hundreds of live shows (about 100 a year). In particular, the 2002 album Velocity of Sound rejects most of the psych-pop production sensibilities that would come to be associated with the band, instead featuring stripped-down production and sparse, rock instrumentation.
The band members would also continue to pursue careers in side bands and solo projects, with Schneider producing several albums for Elephant 6 artists. Schneider and drummer Hilarie Sidney were married for a time, with a son Max born in 2000. They have since been divorced.
The band went on a brief hiatus during 2004 as Schneider released the debut album from a new band called Ulysses and Sidney released the debut album from her new band The High Water Marks; both were released on Eenie Meenie Records. In 2005, The Apples in Stereo contributed "Liza Jane" to the Eenie Meenie compilation, Dimension Mix. It was also around this time that news began to circulate among various websites concerning the band's next studio album.
2006–2008: New Magnetic Wonder and evolving lineup
In August 2006, longtime drummer Hilarie Sidney officially announced her departure from the band during the band's closing set at the Athens Popfest music festival in Athens, Georgia. Her replacement, John Dufilho, lead singer and principal songwriter of The Deathray Davies, was announced in October 2006. 2006 touring member Bill Doss of The Olivia Tremor Control also quietly joined the band "officially" as its new keyboardist. John Ferguson of Big Fresh and Ulysses joined the Apples in 2007, also playing keyboards, and wearing a Doctor Who-esque space suit on stage.
In December 2006, Robert Schneider appeared on the popular television show The Colbert Report singing the song "Stephen Stephen" recorded by The Apples in Stereo to glorify the show's host Stephen Colbert, to kick off a guitar solo contest between Colbert and Chris Funk of The Decemberists.
On February 6, 2007, The Apples in Stereo released their sixth studio LP, New Magnetic Wonder. Finishing a ten-year deal with spinART Records, New Magnetic Wonder was the premiere release on Simian Records, a newly formed record label founded by Elijah Wood. This was followed by a long-awaited b-sides and rarities compilation titled Electronic Projects for Musicians, released on April 1.
In 2008, spinART Records went out of business. Rights for all major releases by The Apples in Stereo on the label were subsequently acquired by One Little Indian Records, and have since reverted to the band. In a recent interview, Schneider noted that the band's EPs have yet to have been re-released, but will likely be collected for another compilation. Such a compilation would probably include the re-releases of Look Away + 4, Let's Go! and a number of non-album songs released alongside New Magnetic Wonder.
On August 4, 2008, the band appeared again on The Colbert Report. They performed their song Can You Feel It? to promote the release of the Japanese picture disc.
In early 2008, their song "Same Old Drag" won in The 7th Annual Independent Music Awards for Best Pop/Rock Song. The same year Apples in Stereo were nominated for Independent Music Awards Pop/Rock Album of the Year. The band members also joined the 9th annual Independent Music Awards judging panel to assist independent musicians' careers.
2009–2011: #1 Hits Explosion and Travellers in Space and Time
Yep Roc released #1 Hits Explosion, an Apples in Stereo best-of album, on September 1, 2009.
In late 2008, PepsiCo released an advertisement with their song "Energy" off of their album New Magnetic Wonder.
In early 2009, Robert appeared on ABC News's segment called "amplified" and gave some short performances of songs from New Magnetic Wonder and a song from his project "Robert Bobbert and the bubble machine" and he described the album as sounding like early 1970s R&B as it would sound played by aliens and emanating from an alien spaceship.He also confirmed that the band was recording their new album at Trout Recording in Brooklyn, New York. In interviews in Billboard magazine and other press outlets,
In April 2009, the single "Energy" from New Magnetic Wonder was performed by the contestants on the television show American Idol.
The result was the band's seventh album Travellers in Space and Time, released on April 20, 2010 on Simian Records. Described by Schneider as a "retro-futuristic" concept album intended as a time capsule for listeners of the future, Travellers has drawn comparisons to the style of Electric Light Orchestra. The record is the first Apples in Stereo album without Hilarie Sidney, making Schneider the last founding member remaining in the group, although John Hill joined before "in stereo" was added to the name. The band was invited by Jeff Mangum of Neutral Milk Hotel to perform at the All Tomorrow's Parties festival that he curated in March 2012 in Minehead, England.
Schneider announced in May 2012 that The Apples in Stereo had begun work on a new album, described as being "a very, very different sort of album."
In recent years, Schneider has explored a number of experimental music projects, such as the Teletron mind-controlled synthesizer and Non-Pythagorean scale of his own invention.
2012–present: Death of Bill Doss, hiatus and future
The death of Bill Doss, the band's keyboardist as well as the co-founder of fellow Elephant 6 band The Olivia Tremor Control, was announced on July 31, 2012. The cause of death was an aneurysm. Schneider released a statement saying, "I am heartbroken by the loss of my life-long friend, collaborator and band-mate. My world will never be the same without the wonderful, funny, supremely creative Bill Doss."
The band went into hiatus in the fall of 2012, after Doss' death and Schneider's acceptance into the PhD program in Mathematics at Emory University. In 2013, Phish started covering the Apples in Stereo song "Energy."
In early 2017, Schneider hinted at a new album called The Bicycle Day. He stated on Facebook that "Apples are working on a concept record called The Bicycle Day but it is too deep of a task to finish while I'm in graduate school... it isn't a pop record though ... (Air-Sea Dolphin and my band Spaceflyte with John Ferguson are the new pop projects though)". On August 10, 2017, the Apples played their first show since 2012 as a headlining act at the Athens Popfest music festival in Athens, Georgia with Marshmallow Coast, Antlered Auntlord, and Waxahatchee as prior performers.
In 2018, Schneider received a PhD in mathematics from Emory.
Band members
Current members
Robert Schneider - guitar, French horn, lead vocals (1992–present)
John Hill - guitar, xylophone (1994–present)
Eric Allen - bass, harmonica (1995–present)
John Dufilho - drums, harp (2006–present)
John Ferguson - vocals, keyboards, panflute (2007–present)
Former members
Hilarie Sidney - drums, vocals (1992-2006)
Jim McIntyre - bass (1992-1994)
Chris Parfitt - guitar (1992-1994)
Chris McDuffie - keyboards (1998-2002)
Bill Doss - vocals, keyboards, ukulele (2006-2012; died 2012)
Timeline
Selected discography
Fun Trick Noisemaker (1995)
Science Faire (1996)
Tone Soul Evolution (1997)
Her Wallpaper Reverie (1999)
The Discovery of a World Inside the Moone (2000)
Velocity of Sound (2002)
New Magnetic Wonder (2007)
Electronic Projects for Musicians (2008)
Travellers in Space and Time (2010)
References
External links
The Apples in Stereo at Elephant6.com
Tractor Beam Management
Apples in Stereo entry at Trouser Press
The Apples in Stereo at Live Music Archive
Interview with the Cornell Daily Sun
Step Through the Portal
The Elephant 6 Recording Company artists
Musical groups from Denver
Lo-fi music groups
Musical groups established in 1992
Independent Music Awards winners
Indie pop groups from Colorado
Indie rock musical groups from Colorado
Psychedelic pop music groups
American power pop groups
SpinART Records artists
Yep Roc Records artists | true | [
"In computer programming, string interpolation (or variable interpolation, variable substitution, or variable expansion) is the process of evaluating a string literal containing one or more placeholders, yielding a result in which the placeholders are replaced with their corresponding values. It is a form of simple template processing or, in formal terms, a form of quasi-quotation (or logic substitution interpretation). The placeholder may be a variable name, or in some languages an arbitrary expression, in either case evaluated in the current context.\n\nString interpolation is an alternative to building string via concatenation, which requires repeated quoting and unquoting; or substituting into a printf format string, where the variable is far from where it is used. Compare:\napples = 4\nprint(\"I have ${apples} apples.\") # string interpolation\nprint(\"I have \" + apples + \" apples.\") # string concatenation\nprintf(\"I have %s apples.\", apples) # format string\n\nTwo types of literal expression are usually offered: one with interpolation enabled, the other without. Non-interpolated strings may also escape sequences, in which case they are termed a raw string, though in other cases this is separate, yielding three classes of raw string, non-interpolated (but escaped) string, interpolated (and escaped) string. For example in Unix shells, single-quoted strings are raw, while double-quoted strings are interpolated. Placeholders are usually represented by a bare or a named sigil (typically $ or %), e.g. $apples or %apples, or with braces, e.g. {apples}, sometimes both, e.g. ${apples}. In some cases additional formatting specifiers can be used (as in printf), e.g. {apples:3}, and in some cases the formatting specifiers themselves can be interpolated, e.g. {apples:width}. Expansion of the string usually occurs at run time.\n\nLanguage support for string interpolation varies widely. Some languages do not offer string interpolation, instead using concatenation, simple formatting functions, or template libraries. String interpolation is common in many programming languages which make heavy use of string representations of data, such as Apache Groovy, Julia, Kotlin, Perl, PHP, Python, Ruby, Scala, Swift, Tcl and most Unix shells.\n\nAlgorithms \nThere are two main types of expand variable algorithms for variable interpolation:\n Replace and expand placeholders: creating a new string from the original one, by find-replace operations. Find variable-reference (placeholder), replace it by its variable-value. This algorithm offers no cache strategy.\n Split and join string: splitting the string into an array, and merging it with the corresponding array of values; then join items by concatenation. The split string can be cached to reuse.\n\nSecurity issues \nString interpolation, like string concatenation, may lead to security problems. If user input data is improperly escaped or filtered, the system will be exposed to SQL injection, script injection, XML External Entity Injection (XXE), and cross-site scripting (XSS) attacks.\n\nAn SQL injection example:\n query = \" \"\nIf $id is replaced with \"'; \", executing this query will wipe out all the data in Table.\n\nExamples \nThe following Perl code works identically in PHP:\n$name = \"Alice\";\nprint \"${name} said Hello World to the crowd of people.\";\nproduces the output: Alice said Hello World to the crowd of people.\n\nABAP \n\nDATA(apples) = 4.\nWRITE |I have { apples } apples|.The output will be:I have 4 apples\n\nBash \n\napples=4\necho \"I have $apples apples\"\n# or\necho \"I have ${apples} apples\"\nThe output will be:\nI have 4 apples\n\nBoo \n\napples = 4\nprint(\"I have $(apples) apples\")\n# or\nprint(\"I have {0} apples\" % apples)\nThe output will be:\nI have 4 apples\n\nC# \n\nvar apples = 4;\nvar bananas = 3;\n\nConsole.WriteLine($\"I have {apples} apples\");\nConsole.WriteLine($\"I have {apples + bananas} fruits\");\n\nThe output will be:\nI have 4 apples\nI have 7 fruits\n\nColdFusion Markup Language \n\nColdFusion Markup Language (CFML) script syntax:\napples = 4;\nwriteOutput(\"I have #apples# apples\");\n\nTag syntax:\n<cfset apples = 4>\n<cfoutput>I have #apples# apples</cfoutput>\n\nThe output will be:\n\nCoffeeScript \n\napples = 4\nconsole.log \"I have #{apples} apples\"\nThe output will be:\nI have 4 apples\n\nDart \n\nint apples = 4, bananas = 3;\nprint('I have $apples apples.');\nprint('I have ${apples+bananas} fruit.');\nThe output will be:\nI have 4 apples.\nI have 7 fruit.\n\nGo \n\n, Go does not have string interpolation. There have been some proposals for string interpolation in the next version of the language, Go 2. Instead, Go uses printf format strings in the fmt.Sprintf function, string concatenation, or template libraries like text/template.\n\nGroovy \n\nIn groovy, interpolated strings are known as GStrings:\ndef quality = \"superhero\"\nfinal age = 52\ndef sentence = \"A developer is a $quality, if he is ${age <= 42 ? \"young\" : \"seasoned\"}\"\nprintln sentence\nThe output will be:\nA developer is a superhero if he is seasoned\n\nHaxe \n\nvar apples = 4;\nvar bananas = 3;\ntrace('I have $apples apples.');\ntrace('I have ${apples+bananas} fruit.');\nThe output will be:\nI have 4 apples.\nI have 7 fruit.\n\nJava \n\n, Java does not have interpolated strings, and instead uses format functions, notably the MessageFormat class (Java version 1.1 and above) and the static method String.format (Java version 5 and above).\n\nJavaScript \n\nJavaScript, as of the ECMAScript 2015 (ES6) standard, supports string interpolation using backticks ``. This feature is called template literals. Here is an example:\nconst apples = 4;\nconst bananas = 3;\nconsole.log(`I have ${apples} apples`);\nconsole.log(`I have ${apples + bananas} fruit`);\nThe output will be:\nI have 4 apples\nI have 7 fruit\n\nTemplate literals can also be used for multi-line strings:\nconsole.log(`This is the first line of text.\nThis is the second line of text.`);\n\nThe output will be:\nThis is the first line of text.\nThis is the second line of text.\n\nJulia \n\napples = 4\nbananas = 3\nprint(\"I have $apples apples and $bananas bananas, making $(apples + bananas) pieces of fruit in total.\")\nThe output will be:\nI have 4 apples and 3 bananas, making 7 pieces of fruit in total.\n\nKotlin \n\nval quality = \"superhero\"\nval apples = 4\nval bananas = 3\nval sentence = \"A developer is a $quality. I have ${apples + bananas} fruit\"\nprintln(sentence)\nThe output will be:\nA developer is a superhero. I have 7 fruit\n\nNemerle \n\ndef apples = 4;\ndef bananas = 3;\nConsole.WriteLine($\"I have $apples apples.\");\nConsole.WriteLine($\"I have $(apples + bananas) fruit.\");\nIt also supports advanced formatting features, such as:\ndef fruit = [\"apple\", \"banana\"];\nConsole.WriteLine($<#I have ..$(fruit; \"\\n\"; f => f + \"s\")#>);\nThe output will be:\napples\nbananas\n\nNext Generation Shell \n\nThe recommended syntax is ${expr} though $var is also supported:\nquality = \"superhero\"\napples = 4\nbananas = 3\nsentence = \"A developer is a $quality. I have ${apples + bananas} fruit\"\necho(sentence)\nThe output will be:\nA developer is a superhero. I have 7 fruit\n\nNim \n\nNim provides string interpolation via the strutils module.\nFormatted string literals inspired by Python F-string are provided via the strformat module,\nthe strformat macro verifies that the format string is well-formed and well-typed,\nand then are expanded into Nim source code at compile-time.\nimport strutils, strformat\nvar apples = 4\nvar bananas = 3\necho \"I have $1 apples\".format(apples)\necho fmt\"I have {apples} apples\"\necho fmt\"I have {apples + bananas} fruits\"\n\n# Multi-line\necho fmt\"\"\"\nI have \n{apples} apples\"\"\"\n\n# Debug the formatting\necho fmt\"I have {apples=} apples\"\n\n# Custom openChar and closeChar characters\necho fmt(\"I have (apples) {apples}\", '(', ')')\n\n# Backslash inside the formatted string literal\necho fmt\"\"\"{ \"yep\\nope\" }\"\"\" \nThe output will be:\nI have 4 apples\nI have 4 apples\nI have 7 fruits\nI have\n4 apples\nI have apples=4 apples\nI have 4 {apples}\nyep\nope\n\nNix \n\nlet numberOfApples = \"4\";\nin \"I have ${numberOfApples} apples\"\nThe output will be:\nI have 4 apples\n\nParaSail \n\nconst Apples := 4\nconst Bananas := 3\nPrintln (\"I have `(Apples) apples.\\n\")\nPrintln (\"I have `(Apples+Bananas) fruit.\\n\")\nThe output will be:\nI have 4 apples.\nI have 7 fruit.\n\nPerl \n\nmy $apples = 4;\nmy $bananas = 3;\nprint \"I have $apples apples.\\n\";\nprint \"I have @{[$apples+$bananas]} fruit.\\n\"; # Uses the Perl array (@) interpolation.\nThe output will be:\nI have 4 apples.\nI have 7 fruit.\n\nPHP \n\n<?php\n$apples = 5;\n$bananas = 3;\necho \"There are $apples apples and $bananas bananas.\";\necho \"\\n\";\necho \"I have {$apples} apples and {$bananas} bananas.\";The output will be:\nThere are 5 apples and 3 bananas.\nI have 5 apples and 3 bananas.\n\nPython \n\nPython supports string interpolation as of version 3.6, referred to as \n\"formatted string literals\". Such a literal begins with an f or F before the opening quote, and uses braces for placeholders:\napples = 4\nbananas = 3\nprint(f'I have {apples} apples and {bananas} bananas')\nThe output will be:\nI have 4 apples and 3 bananas\n\nRuby / Crystal \n\napples = 4\nputs \"I have #{apples} apples\"\n# or\nputs \"I have %s apples\" % apples\n# or\nputs \"I have %{a} apples\" % {a: apples}\n\nThe output will be:\nI have 4 apples\n\nRust \n\nRust does not have general string interpolation, but provides similar functionality via macros, referred to as \"Captured identifiers in format strings\", introduced in version 1.58.0, released 2022-01-13.\n\nRust provides formatting via the std::fmt module, which is interfaced with through various macros such as format!, write!, and print!. These macros are converted into Rust source code at compile-time, whereby each argument interacts with a formatter. The formatter supports positional parameters, named parameters, argument types, defining various formatting traits, and capturing identifiers from the environment.\n\nlet (apples, bananas) = (4, 3);\n// println! captures the identifiers when formatting: the string itself isn't interpolated by Rust.\nprintln!(\"There are {apples} apples and {bananas} bananas.\");\nThe output will be:\n There are 4 apples and 3 bananas.\n\nScala \n\nScala 2.10+ has implemented the following string interpolators: s, f and raw. It is also possible to write custom ones or override the standard ones.\n\nThe f interpolator is a compiler macro that rewrites a format string with embedded expressions as an invocation of String.format. It verifies that the format string is well-formed and well-typed.\n\nThe standard interpolators \nScala 2.10+'s string interpolation allows embedding variable references directly in processed string literals. Here is an example:\nval apples = 4\nval bananas = 3\n//before Scala 2.10\nprintf(\"I have %d apples\\n\", apples)\nprintln(\"I have %d apples\" format apples)\n//Scala 2.10+\nprintln(s\"I have $apples apples\")\nprintln(s\"I have ${apples + bananas} fruits\")\nprintln(f\"I have $apples%d apples\")\n\nThe output will be:I have 4 apples\n\nSciter (tiscript) \n\nIn Sciter any function with name starting from $ is considered as interpolating function and so interpolation is customizable and context sensitive:\nvar apples = 4\nvar bananas = 3\nvar domElement = ...;\n\ndomElement.$content(<p>I have {apples} apples</p>);\ndomElement.$append(<p>I have {apples + bananas} fruits</p>);\n\nWhere domElement.$content(<p>I have {apples} apples</p>); gets compiled to this:\ndomElement.html = \"<p>I have \" + apples.toHtmlString() + \" apples</p>\";\n\nSnobol \n\n apples = 4 ; bananas = 3\n Output = \"I have \" apples \" apples.\"\n Output = \"I have \" (apples + bananas) \" fruit.\"\nThe output will be:\nI have 4 apples.\nI have 7 fruit.\n\nSwift\n\nIn Swift, a new String value can be created from a mix of constants, variables, literals, and expressions by including their values inside a string literal. Each item inserted into the string literal is wrapped in a pair of parentheses, prefixed by a backslash.\n\nlet apples = 4\nprint(\"I have \\(apples) apples\")The output will be:\nI have 4 apples\n\nTcl \n\nThe Tool Command Language has always supported string interpolation in all quote-delimited strings.\n\nset apples 4\nputs \"I have $apples apples.\"\nThe output will be:\nI have 4 apples.\n\nIn order to actually format - and not simply replace - the values, there is a formatting function.\n\nset apples 4\nputs [format \"I have %d apples.\" $apples]\n\nTypeScript \n\nAs of version 1.4, TypeScript supports string interpolation using backticks ``. Here is an example:\nvar apples: number = 4;\nconsole.log(`I have ${apples} apples`);\nThe output will be:\nI have 4 apples\nThe console.log function can be used as a printf function. The above example can be rewritten, thusly:\nvar apples: number = 4;\nconsole.log(\"I have %d apples\", apples);\nThe output remains the same.\n\nVisual Basic \nAs of Visual Basic 14, String Interpolation is supported in Visual Basic.\n \nname = \"Tom\"\nConsole.WriteLine($\"Hello, {name}\")\n\nwill print \"Hello, Tom\".\n\nSee also \n Concatenation\n Improper input validation\n printf format string\n Quasi-quotation\n String literal\n Substitution\n\nNotes \n\nProgramming constructs\nInterpolation\nVariable (computer science)",
"A comparison of apples and oranges occurs when two items or groups of items are compared that cannot be practically compared, typically because of inherent, fundamental and/or qualitative differences between the items.\n\nThe idiom, comparing apples and oranges, refers to the apparent differences between items which are popularly thought to be incomparable or incommensurable, such as apples and oranges. The idiom may also be used to indicate that a false analogy has been made between two items, such as where an apple is faulted for not being a good orange.\n\nVariants\n\nThe idiom is not unique to English. In Quebec French, it may take the form (to compare apples with oranges), while in European French the idiom says (to compare apples and pears) or (to compare cabbages and carrots). In Latin American Spanish, it is usually (comparing potatoes and sweet potatoes) or commonly for all varieties of Spanish (comparing pears with apples). In some other languages the term for 'orange' derives from 'apple', suggesting not only that a direct comparison between the two is possible, but that it is implicitly present in their names. Fruit other than apples and oranges can also be compared; for example, apples and pears are compared in Danish, Dutch, German, Spanish, Swedish, Croatian, Czech, Romanian, Hungarian, Italian, Slovak, Slovene, Luxembourgish, Serbian, and Turkish. In fact, in the Spanish-speaking world, a common idiom is , that is, to add pears with apples; the same thing applies in Italian () and Romanian (). In Portuguese, the expression is (compare orange with banana). In Czech, the idiom literally means 'to mix apples with pears'.\n\nSome languages use completely different items, such as the Serbian (comparing grandmothers and toads), or the Romanian (the grandmother and the machine gun); (the cow and the longjohns); or (the gypsy and the marker pen), or the Welsh (as different as honey and butter), while some languages compare dissimilar properties of dissimilar items. For example, an equivalent Danish idiom, means \"What is highest, the Round Tower or a thunderclap?\", referring to the size of the former and the sound of the latter. In Russian, the phrase (to compare warm and soft) is used. In Argentina, a common question is (What do love and the eye of an axe have in common?) and emphasizes dissimilarity between two subjects; in Colombia, a similar (though more rude) version is common: (to confuse shit with ointment). In Polish, the expression is used, meaning \"What has (is) gingerbread for a windmill?\". In Chinese, a phrase that has the similar meaning is (), literally meaning \"horses and cattles won't mate with each other\", and later used to describe things that are totally unrelated and incomparable.\n\nA number of more exaggerated comparisons are sometimes made, in cases in which the speaker believes the two objects being compared are radically different. For example, \"oranges with orangutans\", \"apples with dishwashers\", and so on. In English, different fruits, such as pears, plums, or lemons are sometimes substituted for oranges in this context.\n\nSometimes the two words sound similar, for example, Romanian (apples with pears) and the Hungarian (the season with the fashion).\n\nPublished comparisons\n\nScientific\n\nAt least two tongue-in-cheek scientific studies have been conducted on the subject, each of which concluded that apples can be compared with oranges fairly easily and on a low budget and the two fruits are quite similar.\n\nThe first study, conducted by Scott Sandford of the NASA Ames Research Center, used infrared spectroscopy to analyze both apples and oranges. The study, which was published in the satirical science magazine Annals of Improbable Research, concluded: \"... the comparing apples and oranges defense should no longer be considered valid. This is a somewhat startling revelation. It can be anticipated to have a dramatic effect on the strategies used in arguments and discussions in the future.\"\n\nA second study, written by Stamford Hospital's surgeon-in-chief James Barone and published in the British Medical Journal, noted that the phrase apples and oranges was appearing with increasing frequency in the medical literature, with some notable articles comparing \"Desflurane and propofol\" and \"Salmeterol and ipratropium\" with \"apples and oranges\". The study also found that both apples and oranges were sweet, similar in size, weight, and shape, that both are grown in orchards, and both may be eaten, juiced, and so on. The only significant differences found were in terms of seeds (the study used seedless oranges), the involvement of Johnny Appleseed, and color.\n\nThe Annals of Improbable Research subsequently noted that the \"earlier investigation was done with more depth, more rigour, and, most importantly, more expensive equipment\" than the British Medical Journal study.\n\nEconomic\nOn April Fools' Day 2014, The Economist compared worldwide production of apples and oranges from 1983 to 2013, however noted them to be \"unrelated variables\".\n\nIn teaching the use of units\nWhile references to comparing apples and oranges are often a rhetorical device, references to adding apples and oranges are made in the case of teaching students the proper uses of units. Here, the admonition not to \"add apples and oranges\" refers to the requirement that two quantities with different units may not be combined by addition, although they may always be combined in ratio form by multiplication, so that multiplying ratios of apples and oranges is allowed. Similarly, the concept of this distinction is often used metaphorically in elementary algebra.\n\nThe admonition is really more of a mnemonic, since in general counts of objects have no intrinsic unit and, for example, a number count of apples may be dimensionless or have dimension fruit; in either of these two cases, apples and oranges may indeed be added.\n\nSee also\n\nAgree to differ\nAmbiguity effect\nCategorization\nException that proves the rule\nFalsifiability\nGenetic fallacy\nLaw of identity\nNix v. Hedden, a U.S. Supreme Court case that partially defined \"fruit\" in the context of import tariffs.\nObjection to the consideration of a question\nPremise\nRhetorical device\nSemantic differential\nUmbrella term\n\nReferences\n\nEnglish-language idioms\nHumour\nApples\nOranges (fruit)\nComparisons\nMetaphors referring to food and drink"
] | [
"The Apples in Stereo, styled as The Apples in stereo, are an American rock band associated with Elephant Six Collective, a group of bands also including Neutral Milk Hotel, The Olivia Tremor Control, Elf Power, Of Montreal, and Circulatory System. The band is largely a product of lead vocalist/guitarist/producer Robert Schneider, who writes the majority of the band's music and lyrics.",
"The band is largely a product of lead vocalist/guitarist/producer Robert Schneider, who writes the majority of the band's music and lyrics. Currently, The Apples in Stereo also includes longstanding members John Hill (rhythm guitar) and Eric Allen (bass), as well as more recent members John Dufilho (drums), John Ferguson (keyboards), and Ben Phelan (keyboards/guitar/trumpet).",
"Currently, The Apples in Stereo also includes longstanding members John Hill (rhythm guitar) and Eric Allen (bass), as well as more recent members John Dufilho (drums), John Ferguson (keyboards), and Ben Phelan (keyboards/guitar/trumpet). The band's sound draws comparisons to the psychedelic rock of The Beatles and The Beach Boys during the 1960s, as well as to bands such as Electric Light Orchestra and Pavement, and also draws from lo-fi, garage rock, new wave, R&B, bubblegum pop, power pop, punk, electro-pop and experimental music.",
"The band's sound draws comparisons to the psychedelic rock of The Beatles and The Beach Boys during the 1960s, as well as to bands such as Electric Light Orchestra and Pavement, and also draws from lo-fi, garage rock, new wave, R&B, bubblegum pop, power pop, punk, electro-pop and experimental music. The band is also well known for their appearance in a The Powerpuff Girls music video performing the song \"Signal in the Sky (Let's Go)\".",
"The band is also well known for their appearance in a The Powerpuff Girls music video performing the song \"Signal in the Sky (Let's Go)\". It aired immediately after the show's seventh episode of season 4, \"Superfriends\", which was based on the song's lyrics.",
"It aired immediately after the show's seventh episode of season 4, \"Superfriends\", which was based on the song's lyrics. The band has appeared widely in television and film, including performances on The Colbert Report, Late Night with Conan O'Brien and Last Call with Carson Daly, guest hosting on MTV, song placements in numerous television shows, commercials and motion pictures, the performance of the single \"Energy\" by the contestants on American Idol, and a song recorded for children's show Yo Gabba Gabba.",
"The band has appeared widely in television and film, including performances on The Colbert Report, Late Night with Conan O'Brien and Last Call with Carson Daly, guest hosting on MTV, song placements in numerous television shows, commercials and motion pictures, the performance of the single \"Energy\" by the contestants on American Idol, and a song recorded for children's show Yo Gabba Gabba. Band history 1991–1993: The Apples In late 1991, Robert Schneider met Jim McIntyre on a commuter bus in Denver, Colorado.",
"Band history 1991–1993: The Apples In late 1991, Robert Schneider met Jim McIntyre on a commuter bus in Denver, Colorado. Schneider had recently moved to Colorado from Ruston, Louisiana, and often initiated conversations with McIntyre.",
"Schneider had recently moved to Colorado from Ruston, Louisiana, and often initiated conversations with McIntyre. When Schneider asked McIntyre what his music interests were, McIntyre named his favorite band: The Beach Boys — a band Schneider was particularly fond of. Realizing that they shared many musical interests, McIntyre introduced Schneider to Hilarie Sidney.",
"Realizing that they shared many musical interests, McIntyre introduced Schneider to Hilarie Sidney. McIntyre already had a band called Von Hemmling in which McIntyre played bass and Sidney played drums. With Schneider, they discussed the idea of starting a band and perhaps a recording label.",
"With Schneider, they discussed the idea of starting a band and perhaps a recording label. Schneider later met Chris Parfitt, who at the time was also already in a band (which Schneider unsuccessfully auditioned for on bass).",
"Schneider later met Chris Parfitt, who at the time was also already in a band (which Schneider unsuccessfully auditioned for on bass). Schneider and Parfitt also became friends, however, and toyed with the idea of having a rock band similar to The Velvet Underground or Black Sabbath, with production qualities similar to that of The Beach Boys.",
"Schneider and Parfitt also became friends, however, and toyed with the idea of having a rock band similar to The Velvet Underground or Black Sabbath, with production qualities similar to that of The Beach Boys. Schneider then spent two weeks in Athens, Georgia recording music and spending time with his childhood friends Will Cullen Hart, Bill Doss and Jeff Mangum.",
"Schneider then spent two weeks in Athens, Georgia recording music and spending time with his childhood friends Will Cullen Hart, Bill Doss and Jeff Mangum. He discussed the idea of starting a record label with them (which soon became The Elephant 6 Recording Company).",
"He discussed the idea of starting a record label with them (which soon became The Elephant 6 Recording Company). It was also at this time that the name \"The Apples\" came about, inspired by the Pink Floyd song \"Apples and Oranges\".",
"It was also at this time that the name \"The Apples\" came about, inspired by the Pink Floyd song \"Apples and Oranges\". The earliest incarnation of the band began to form in 1992 upon Schneider's return to Denver, first between Schneider and Parfitt, both of whom played guitar.",
"The earliest incarnation of the band began to form in 1992 upon Schneider's return to Denver, first between Schneider and Parfitt, both of whom played guitar. The two recruited McIntyre and Sidney during the autumn of that year, practicing material through the winter.",
"The two recruited McIntyre and Sidney during the autumn of that year, practicing material through the winter. Their first few live shows took place the following January, many of which were with the band Felt Pilotes.",
"Their first few live shows took place the following January, many of which were with the band Felt Pilotes. From February to April 1993, the band recorded their debut 7\" EP, Tidal Wave, and released it in June as the first record ever to bear the Elephant 6 logo.",
"From February to April 1993, the band recorded their debut 7\" EP, Tidal Wave, and released it in June as the first record ever to bear the Elephant 6 logo. 1994–1995: Hypnotic Suggestion and Fun Trick Noisemaker Several conflicts would lead Parfitt to leave the band in early 1994.",
"1994–1995: Hypnotic Suggestion and Fun Trick Noisemaker Several conflicts would lead Parfitt to leave the band in early 1994. John Hill, a former bandmate of McIntyre's, would join the band as a rhythm guitarist while Schneider began to grow more comfortable playing lead guitar.",
"John Hill, a former bandmate of McIntyre's, would join the band as a rhythm guitarist while Schneider began to grow more comfortable playing lead guitar. It was also at this time that Schneider began to take stronger creative control of the band, shifting its sound from its stronger rock qualities to a spacier pop sound.",
"It was also at this time that Schneider began to take stronger creative control of the band, shifting its sound from its stronger rock qualities to a spacier pop sound. The band started work on a debut album, but it instead became Hypnotic Suggestion, a second EP.",
"The band started work on a debut album, but it instead became Hypnotic Suggestion, a second EP. However, after SpinART Records offered to buy the band an 8-track in return for an album, new plans for an LP arose.",
"However, after SpinART Records offered to buy the band an 8-track in return for an album, new plans for an LP arose. In mid-1994, after Hypnotic Suggestion, McIntyre would be the second to leave the band, due to a number of personal distresses as well as stylistic changes that arose with Parfitt's departure.",
"In mid-1994, after Hypnotic Suggestion, McIntyre would be the second to leave the band, due to a number of personal distresses as well as stylistic changes that arose with Parfitt's departure. Having great difficulty finding a new permanent bassist, the band would rotate a number of frequent bass contributors, including Jeff Mangum of Neutral Milk Hotel, Kurt Heasley of The Lilys, Kyle Jones, Joel Richardson, and Joel Evans.",
"Having great difficulty finding a new permanent bassist, the band would rotate a number of frequent bass contributors, including Jeff Mangum of Neutral Milk Hotel, Kurt Heasley of The Lilys, Kyle Jones, Joel Richardson, and Joel Evans. Jim McIntyre would also occasionally guest on bass.",
"Jim McIntyre would also occasionally guest on bass. This continued to be the makeup of the band as they toured the country in late 1994, recording the first half of their new album in Glendora, California.",
"This continued to be the makeup of the band as they toured the country in late 1994, recording the first half of their new album in Glendora, California. In early 1995, the band finished the album, Fun Trick Noisemaker, at Kyle Jones's house (the birthplace of Schneider's Pet Sounds Studio).",
"In early 1995, the band finished the album, Fun Trick Noisemaker, at Kyle Jones's house (the birthplace of Schneider's Pet Sounds Studio). Now with a LP to support, the band began touring again.",
"Now with a LP to support, the band began touring again. Eric Allen, whom the band had previously auditioned as a guitarist after the departure of Chris Parfitt, joined the band as a much welcomed permanent bassist. Late 1995, Schneider relocated Pet Sounds Studio to Jim McIntyre's house.",
"Late 1995, Schneider relocated Pet Sounds Studio to Jim McIntyre's house. McIntyre continued to be involved in the recording and engineering of the band's albums until the mid-2000s.",
"McIntyre continued to be involved in the recording and engineering of the band's albums until the mid-2000s. A significantly different band from the original 1992 four-piece, the official name of the band gradually became \"The Apples in Stereo\", with the \"in stereo\" usually somewhat under-emphasized, whether in lower-case or in parentheses.",
"A significantly different band from the original 1992 four-piece, the official name of the band gradually became \"The Apples in Stereo\", with the \"in stereo\" usually somewhat under-emphasized, whether in lower-case or in parentheses. Schneider described this in an interview: \"It's very clearcut, actually: we're The Apples, the music's in stereo.",
"Schneider described this in an interview: \"It's very clearcut, actually: we're The Apples, the music's in stereo. It's not actually the band name – it's a step back from it, a band name once removed. We're The Apples, in stereo.",
"We're The Apples, in stereo. Kind of like a TV show, 'in stereo!' That always seemed to be a really big deal, that it was in stereo.\" McIntyre later remarked, \"It's cool the name changed cause the Apples and the Apples in Stereo were really two different entities.\"",
"McIntyre later remarked, \"It's cool the name changed cause the Apples and the Apples in Stereo were really two different entities.\" 1996–2005: Tone Soul Evolution to Velocity of Sound The band continued touring through 1996, playing in Japan for the first time.",
"1996–2005: Tone Soul Evolution to Velocity of Sound The band continued touring through 1996, playing in Japan for the first time. Several early recording sessions were held at Pet Sounds for the band's second album, Tone Soul Evolution, but the members were dissatisfied with the quality of the recordings.",
"Several early recording sessions were held at Pet Sounds for the band's second album, Tone Soul Evolution, but the members were dissatisfied with the quality of the recordings. The majority of the album's songs were re-recorded at Studio .45 in Hartford, Connecticut before the album's release.",
"The majority of the album's songs were re-recorded at Studio .45 in Hartford, Connecticut before the album's release. In 1998, Chris McDuffie joined the band, playing various instruments including organs, synthesizers and assorted percussion. He would leave the band before Velocity of Sound was released in 2002.",
"He would leave the band before Velocity of Sound was released in 2002. Several more albums were released by the band through the years, including the psychedelic \"concept EP\", Her Wallpaper Reverie, The Discovery of a World Inside the Moone and Velocity of Sound; both of the latter of which were progressively aimed at capturing the live sound of the band, which continued to tighten as they continued to perform hundreds of live shows (about 100 a year).",
"Several more albums were released by the band through the years, including the psychedelic \"concept EP\", Her Wallpaper Reverie, The Discovery of a World Inside the Moone and Velocity of Sound; both of the latter of which were progressively aimed at capturing the live sound of the band, which continued to tighten as they continued to perform hundreds of live shows (about 100 a year). In particular, the 2002 album Velocity of Sound rejects most of the psych-pop production sensibilities that would come to be associated with the band, instead featuring stripped-down production and sparse, rock instrumentation.",
"In particular, the 2002 album Velocity of Sound rejects most of the psych-pop production sensibilities that would come to be associated with the band, instead featuring stripped-down production and sparse, rock instrumentation. The band members would also continue to pursue careers in side bands and solo projects, with Schneider producing several albums for Elephant 6 artists.",
"The band members would also continue to pursue careers in side bands and solo projects, with Schneider producing several albums for Elephant 6 artists. Schneider and drummer Hilarie Sidney were married for a time, with a son Max born in 2000. They have since been divorced.",
"They have since been divorced. They have since been divorced. The band went on a brief hiatus during 2004 as Schneider released the debut album from a new band called Ulysses and Sidney released the debut album from her new band The High Water Marks; both were released on Eenie Meenie Records.",
"The band went on a brief hiatus during 2004 as Schneider released the debut album from a new band called Ulysses and Sidney released the debut album from her new band The High Water Marks; both were released on Eenie Meenie Records. In 2005, The Apples in Stereo contributed \"Liza Jane\" to the Eenie Meenie compilation, Dimension Mix.",
"In 2005, The Apples in Stereo contributed \"Liza Jane\" to the Eenie Meenie compilation, Dimension Mix. It was also around this time that news began to circulate among various websites concerning the band's next studio album.",
"It was also around this time that news began to circulate among various websites concerning the band's next studio album. 2006–2008: New Magnetic Wonder and evolving lineup In August 2006, longtime drummer Hilarie Sidney officially announced her departure from the band during the band's closing set at the Athens Popfest music festival in Athens, Georgia.",
"2006–2008: New Magnetic Wonder and evolving lineup In August 2006, longtime drummer Hilarie Sidney officially announced her departure from the band during the band's closing set at the Athens Popfest music festival in Athens, Georgia. Her replacement, John Dufilho, lead singer and principal songwriter of The Deathray Davies, was announced in October 2006.",
"Her replacement, John Dufilho, lead singer and principal songwriter of The Deathray Davies, was announced in October 2006. 2006 touring member Bill Doss of The Olivia Tremor Control also quietly joined the band \"officially\" as its new keyboardist.",
"2006 touring member Bill Doss of The Olivia Tremor Control also quietly joined the band \"officially\" as its new keyboardist. John Ferguson of Big Fresh and Ulysses joined the Apples in 2007, also playing keyboards, and wearing a Doctor Who-esque space suit on stage.",
"John Ferguson of Big Fresh and Ulysses joined the Apples in 2007, also playing keyboards, and wearing a Doctor Who-esque space suit on stage. In December 2006, Robert Schneider appeared on the popular television show The Colbert Report singing the song \"Stephen Stephen\" recorded by The Apples in Stereo to glorify the show's host Stephen Colbert, to kick off a guitar solo contest between Colbert and Chris Funk of The Decemberists.",
"In December 2006, Robert Schneider appeared on the popular television show The Colbert Report singing the song \"Stephen Stephen\" recorded by The Apples in Stereo to glorify the show's host Stephen Colbert, to kick off a guitar solo contest between Colbert and Chris Funk of The Decemberists. On February 6, 2007, The Apples in Stereo released their sixth studio LP, New Magnetic Wonder.",
"On February 6, 2007, The Apples in Stereo released their sixth studio LP, New Magnetic Wonder. Finishing a ten-year deal with spinART Records, New Magnetic Wonder was the premiere release on Simian Records, a newly formed record label founded by Elijah Wood.",
"Finishing a ten-year deal with spinART Records, New Magnetic Wonder was the premiere release on Simian Records, a newly formed record label founded by Elijah Wood. This was followed by a long-awaited b-sides and rarities compilation titled Electronic Projects for Musicians, released on April 1. In 2008, spinART Records went out of business.",
"In 2008, spinART Records went out of business. Rights for all major releases by The Apples in Stereo on the label were subsequently acquired by One Little Indian Records, and have since reverted to the band.",
"Rights for all major releases by The Apples in Stereo on the label were subsequently acquired by One Little Indian Records, and have since reverted to the band. In a recent interview, Schneider noted that the band's EPs have yet to have been re-released, but will likely be collected for another compilation.",
"In a recent interview, Schneider noted that the band's EPs have yet to have been re-released, but will likely be collected for another compilation. Such a compilation would probably include the re-releases of Look Away + 4, Let's Go! and a number of non-album songs released alongside New Magnetic Wonder.",
"and a number of non-album songs released alongside New Magnetic Wonder. On August 4, 2008, the band appeared again on The Colbert Report. They performed their song Can You Feel It? to promote the release of the Japanese picture disc.",
"to promote the release of the Japanese picture disc. In early 2008, their song \"Same Old Drag\" won in The 7th Annual Independent Music Awards for Best Pop/Rock Song. The same year Apples in Stereo were nominated for Independent Music Awards Pop/Rock Album of the Year.",
"The same year Apples in Stereo were nominated for Independent Music Awards Pop/Rock Album of the Year. The band members also joined the 9th annual Independent Music Awards judging panel to assist independent musicians' careers.",
"The band members also joined the 9th annual Independent Music Awards judging panel to assist independent musicians' careers. 2009–2011: #1 Hits Explosion and Travellers in Space and Time Yep Roc released #1 Hits Explosion, an Apples in Stereo best-of album, on September 1, 2009.",
"2009–2011: #1 Hits Explosion and Travellers in Space and Time Yep Roc released #1 Hits Explosion, an Apples in Stereo best-of album, on September 1, 2009. In late 2008, PepsiCo released an advertisement with their song \"Energy\" off of their album New Magnetic Wonder.",
"In late 2008, PepsiCo released an advertisement with their song \"Energy\" off of their album New Magnetic Wonder. In early 2009, Robert appeared on ABC News's segment called \"amplified\" and gave some short performances of songs from New Magnetic Wonder and a song from his project \"Robert Bobbert and the bubble machine\" and he described the album as sounding like early 1970s R&B as it would sound played by aliens and emanating from an alien spaceship.He also confirmed that the band was recording their new album at Trout Recording in Brooklyn, New York.",
"In early 2009, Robert appeared on ABC News's segment called \"amplified\" and gave some short performances of songs from New Magnetic Wonder and a song from his project \"Robert Bobbert and the bubble machine\" and he described the album as sounding like early 1970s R&B as it would sound played by aliens and emanating from an alien spaceship.He also confirmed that the band was recording their new album at Trout Recording in Brooklyn, New York. In interviews in Billboard magazine and other press outlets, In April 2009, the single \"Energy\" from New Magnetic Wonder was performed by the contestants on the television show American Idol.",
"In interviews in Billboard magazine and other press outlets, In April 2009, the single \"Energy\" from New Magnetic Wonder was performed by the contestants on the television show American Idol. The result was the band's seventh album Travellers in Space and Time, released on April 20, 2010 on Simian Records.",
"The result was the band's seventh album Travellers in Space and Time, released on April 20, 2010 on Simian Records. Described by Schneider as a \"retro-futuristic\" concept album intended as a time capsule for listeners of the future, Travellers has drawn comparisons to the style of Electric Light Orchestra.",
"Described by Schneider as a \"retro-futuristic\" concept album intended as a time capsule for listeners of the future, Travellers has drawn comparisons to the style of Electric Light Orchestra. The record is the first Apples in Stereo album without Hilarie Sidney, making Schneider the last founding member remaining in the group, although John Hill joined before \"in stereo\" was added to the name.",
"The record is the first Apples in Stereo album without Hilarie Sidney, making Schneider the last founding member remaining in the group, although John Hill joined before \"in stereo\" was added to the name. The band was invited by Jeff Mangum of Neutral Milk Hotel to perform at the All Tomorrow's Parties festival that he curated in March 2012 in Minehead, England.",
"The band was invited by Jeff Mangum of Neutral Milk Hotel to perform at the All Tomorrow's Parties festival that he curated in March 2012 in Minehead, England. Schneider announced in May 2012 that The Apples in Stereo had begun work on a new album, described as being \"a very, very different sort of album.\"",
"Schneider announced in May 2012 that The Apples in Stereo had begun work on a new album, described as being \"a very, very different sort of album.\" In recent years, Schneider has explored a number of experimental music projects, such as the Teletron mind-controlled synthesizer and Non-Pythagorean scale of his own invention.",
"In recent years, Schneider has explored a number of experimental music projects, such as the Teletron mind-controlled synthesizer and Non-Pythagorean scale of his own invention. 2012–present: Death of Bill Doss, hiatus and future The death of Bill Doss, the band's keyboardist as well as the co-founder of fellow Elephant 6 band The Olivia Tremor Control, was announced on July 31, 2012.",
"2012–present: Death of Bill Doss, hiatus and future The death of Bill Doss, the band's keyboardist as well as the co-founder of fellow Elephant 6 band The Olivia Tremor Control, was announced on July 31, 2012. The cause of death was an aneurysm.",
"The cause of death was an aneurysm. Schneider released a statement saying, \"I am heartbroken by the loss of my life-long friend, collaborator and band-mate. My world will never be the same without the wonderful, funny, supremely creative Bill Doss.\"",
"My world will never be the same without the wonderful, funny, supremely creative Bill Doss.\" The band went into hiatus in the fall of 2012, after Doss' death and Schneider's acceptance into the PhD program in Mathematics at Emory University. In 2013, Phish started covering the Apples in Stereo song \"Energy.\"",
"In 2013, Phish started covering the Apples in Stereo song \"Energy.\" In early 2017, Schneider hinted at a new album called The Bicycle Day.",
"In early 2017, Schneider hinted at a new album called The Bicycle Day. He stated on Facebook that \"Apples are working on a concept record called The Bicycle Day but it is too deep of a task to finish while I'm in graduate school... it isn't a pop record though ... (Air-Sea Dolphin and my band Spaceflyte with John Ferguson are the new pop projects though)\".",
"He stated on Facebook that \"Apples are working on a concept record called The Bicycle Day but it is too deep of a task to finish while I'm in graduate school... it isn't a pop record though ... (Air-Sea Dolphin and my band Spaceflyte with John Ferguson are the new pop projects though)\". On August 10, 2017, the Apples played their first show since 2012 as a headlining act at the Athens Popfest music festival in Athens, Georgia with Marshmallow Coast, Antlered Auntlord, and Waxahatchee as prior performers.",
"On August 10, 2017, the Apples played their first show since 2012 as a headlining act at the Athens Popfest music festival in Athens, Georgia with Marshmallow Coast, Antlered Auntlord, and Waxahatchee as prior performers. In 2018, Schneider received a PhD in mathematics from Emory.",
"In 2018, Schneider received a PhD in mathematics from Emory. Band members Current members Robert Schneider - guitar, French horn, lead vocals (1992–present) John Hill - guitar, xylophone (1994–present) Eric Allen - bass, harmonica (1995–present) John Dufilho - drums, harp (2006–present) John Ferguson - vocals, keyboards, panflute (2007–present) Former members Hilarie Sidney - drums, vocals (1992-2006) Jim McIntyre - bass (1992-1994) Chris Parfitt - guitar (1992-1994) Chris McDuffie - keyboards (1998-2002) Bill Doss - vocals, keyboards, ukulele (2006-2012; died 2012) Timeline Selected discography Fun Trick Noisemaker (1995) Science Faire (1996) Tone Soul Evolution (1997) Her Wallpaper Reverie (1999) The Discovery of a World Inside the Moone (2000) Velocity of Sound (2002) New Magnetic Wonder (2007) Electronic Projects for Musicians (2008) Travellers in Space and Time (2010) References External links The Apples in Stereo at Elephant6.com Tractor Beam Management Apples in Stereo entry at Trouser Press The Apples in Stereo at Live Music Archive Interview with the Cornell Daily Sun Step Through the Portal The Elephant 6 Recording Company artists Musical groups from Denver Lo-fi music groups Musical groups established in 1992 Independent Music Awards winners Indie pop groups from Colorado Indie rock musical groups from Colorado Psychedelic pop music groups American power pop groups SpinART Records artists Yep Roc Records artists"
] |
[
"The Apples in Stereo",
"1991-1993: The Apples",
"What is The Apples?",
"Robert Schneider met Jim McIntyre"
] | C_bb5692211f37444eb499f77b75cc7155_1 | What did the two do together? | 2 | What did Robert Schneider and Jim McIntyre do together? | The Apples in Stereo | In late 1991, Robert Schneider met Jim McIntyre on a commuter bus in Denver, Colorado. Schneider had recently moved to Colorado from Ruston, Louisiana, and often initiated conversations with McIntyre. When Schneider asked McIntyre what his music interests were, McIntyre named his favorite band: The Beach Boys -- a band Schneider was particularly fond of. Realizing that they shared many musical interests, McIntyre introduced Schneider to Hilarie Sidney. McIntyre already had a band called Von Hemmling in which McIntyre played bass and Sidney played drums. With Schneider, they discussed the idea of starting a band and perhaps a recording label. Schneider later met Chris Parfitt, who was also already in a band at the time that Schneider unsuccessfully auditioned for on bass. Schneider and Parfitt also became friends, however, and toyed with the idea of having a rock band similar to The Velvet Underground or Black Sabbath, with production qualities similar to that of The Beach Boys. Schneider then spent two weeks in Athens, Georgia recording music and spending time with his childhood friends Will Cullen Hart, Bill Doss and Jeff Mangum. He discussed the idea of starting a record label with them (which soon became The Elephant 6 Recording Company). It was also at this time that the name "The Apples" came about, inspired by the Pink Floyd song "Apples and Oranges". The earliest incarnation of the band began to form in 1992 upon Schneider's return to Denver, first between Schneider and Parfitt, both of whom played guitar. The two recruited McIntyre and Sidney during the autumn of that year, practicing material through the winter. Their first few live shows took place the following January, many of which were with the band Felt Pilotes. From February to April 1993, the band recorded their debut 7" EP, Tidal Wave, and released it in June as the first record ever to bear the Elephant 6 logo. CANNOTANSWER | they discussed the idea of starting a band | The Apples in Stereo, styled as The Apples in stereo, are an American rock band associated with Elephant Six Collective, a group of bands also including Neutral Milk Hotel, The Olivia Tremor Control, Elf Power, Of Montreal, and Circulatory System. The band is largely a product of lead vocalist/guitarist/producer Robert Schneider, who writes the majority of the band's music and lyrics. Currently, The Apples in Stereo also includes longstanding members John Hill (rhythm guitar) and Eric Allen (bass), as well as more recent members John Dufilho (drums), John Ferguson (keyboards), and Ben Phelan (keyboards/guitar/trumpet).
The band's sound draws comparisons to the psychedelic rock of The Beatles and The Beach Boys during the 1960s, as well as to bands such as Electric Light Orchestra and Pavement, and also draws from lo-fi, garage rock, new wave, R&B, bubblegum pop, power pop, punk, electro-pop and experimental music.
The band is also well known for their appearance in a The Powerpuff Girls music video performing the song "Signal in the Sky (Let's Go)". It aired immediately after the show's seventh episode of season 4, "Superfriends", which was based on the song's lyrics. The band has appeared widely in television and film, including performances on The Colbert Report, Late Night with Conan O'Brien and Last Call with Carson Daly, guest hosting on MTV, song placements in numerous television shows, commercials and motion pictures, the performance of the single "Energy" by the contestants on American Idol, and a song recorded for children's show Yo Gabba Gabba.
Band history
1991–1993: The Apples
In late 1991, Robert Schneider met Jim McIntyre on a commuter bus in Denver, Colorado. Schneider had recently moved to Colorado from Ruston, Louisiana, and often initiated conversations with McIntyre. When Schneider asked McIntyre what his music interests were, McIntyre named his favorite band: The Beach Boys — a band Schneider was particularly fond of. Realizing that they shared many musical interests, McIntyre introduced Schneider to Hilarie Sidney. McIntyre already had a band called Von Hemmling in which McIntyre played bass and Sidney played drums. With Schneider, they discussed the idea of starting a band and perhaps a recording label. Schneider later met Chris Parfitt, who at the time was also already in a band (which Schneider unsuccessfully auditioned for on bass). Schneider and Parfitt also became friends, however, and toyed with the idea of having a rock band similar to The Velvet Underground or Black Sabbath, with production qualities similar to that of The Beach Boys.
Schneider then spent two weeks in Athens, Georgia recording music and spending time with his childhood friends Will Cullen Hart, Bill Doss and Jeff Mangum. He discussed the idea of starting a record label with them (which soon became The Elephant 6 Recording Company). It was also at this time that the name "The Apples" came about, inspired by the Pink Floyd song "Apples and Oranges".
The earliest incarnation of the band began to form in 1992 upon Schneider's return to Denver, first between Schneider and Parfitt, both of whom played guitar. The two recruited McIntyre and Sidney during the autumn of that year, practicing material through the winter. Their first few live shows took place the following January, many of which were with the band Felt Pilotes. From February to April 1993, the band recorded their debut 7" EP, Tidal Wave, and released it in June as the first record ever to bear the Elephant 6 logo.
1994–1995: Hypnotic Suggestion and Fun Trick Noisemaker
Several conflicts would lead Parfitt to leave the band in early 1994. John Hill, a former bandmate of McIntyre's, would join the band as a rhythm guitarist while Schneider began to grow more comfortable playing lead guitar. It was also at this time that Schneider began to take stronger creative control of the band, shifting its sound from its stronger rock qualities to a spacier pop sound. The band started work on a debut album, but it instead became Hypnotic Suggestion, a second EP. However, after SpinART Records offered to buy the band an 8-track in return for an album, new plans for an LP arose.
In mid-1994, after Hypnotic Suggestion, McIntyre would be the second to leave the band, due to a number of personal distresses as well as stylistic changes that arose with Parfitt's departure. Having great difficulty finding a new permanent bassist, the band would rotate a number of frequent bass contributors, including Jeff Mangum of Neutral Milk Hotel, Kurt Heasley of The Lilys, Kyle Jones, Joel Richardson, and Joel Evans. Jim McIntyre would also occasionally guest on bass. This continued to be the makeup of the band as they toured the country in late 1994, recording the first half of their new album in Glendora, California. In early 1995, the band finished the album, Fun Trick Noisemaker, at Kyle Jones's house (the birthplace of Schneider's Pet Sounds Studio).
Now with a LP to support, the band began touring again. Eric Allen, whom the band had previously auditioned as a guitarist after the departure of Chris Parfitt, joined the band as a much welcomed permanent bassist. Late 1995, Schneider relocated Pet Sounds Studio to Jim McIntyre's house. McIntyre continued to be involved in the recording and engineering of the band's albums until the mid-2000s.
A significantly different band from the original 1992 four-piece, the official name of the band gradually became "The Apples in Stereo", with the "in stereo" usually somewhat under-emphasized, whether in lower-case or in parentheses. Schneider described this in an interview: "It's very clearcut, actually: we're The Apples, the music's in stereo. It's not actually the band name – it's a step back from it, a band name once removed. We're The Apples, in stereo. Kind of like a TV show, 'in stereo!' That always seemed to be a really big deal, that it was in stereo." McIntyre later remarked, "It's cool the name changed cause the Apples and the Apples in Stereo were really two different entities."
1996–2005: Tone Soul Evolution to Velocity of Sound
The band continued touring through 1996, playing in Japan for the first time. Several early recording sessions were held at Pet Sounds for the band's second album, Tone Soul Evolution, but the members were dissatisfied with the quality of the recordings. The majority of the album's songs were re-recorded at Studio .45 in Hartford, Connecticut before the album's release. In 1998, Chris McDuffie joined the band, playing various instruments including organs, synthesizers and assorted percussion. He would leave the band before Velocity of Sound was released in 2002.
Several more albums were released by the band through the years, including the psychedelic "concept EP", Her Wallpaper Reverie, The Discovery of a World Inside the Moone and Velocity of Sound; both of the latter of which were progressively aimed at capturing the live sound of the band, which continued to tighten as they continued to perform hundreds of live shows (about 100 a year). In particular, the 2002 album Velocity of Sound rejects most of the psych-pop production sensibilities that would come to be associated with the band, instead featuring stripped-down production and sparse, rock instrumentation.
The band members would also continue to pursue careers in side bands and solo projects, with Schneider producing several albums for Elephant 6 artists. Schneider and drummer Hilarie Sidney were married for a time, with a son Max born in 2000. They have since been divorced.
The band went on a brief hiatus during 2004 as Schneider released the debut album from a new band called Ulysses and Sidney released the debut album from her new band The High Water Marks; both were released on Eenie Meenie Records. In 2005, The Apples in Stereo contributed "Liza Jane" to the Eenie Meenie compilation, Dimension Mix. It was also around this time that news began to circulate among various websites concerning the band's next studio album.
2006–2008: New Magnetic Wonder and evolving lineup
In August 2006, longtime drummer Hilarie Sidney officially announced her departure from the band during the band's closing set at the Athens Popfest music festival in Athens, Georgia. Her replacement, John Dufilho, lead singer and principal songwriter of The Deathray Davies, was announced in October 2006. 2006 touring member Bill Doss of The Olivia Tremor Control also quietly joined the band "officially" as its new keyboardist. John Ferguson of Big Fresh and Ulysses joined the Apples in 2007, also playing keyboards, and wearing a Doctor Who-esque space suit on stage.
In December 2006, Robert Schneider appeared on the popular television show The Colbert Report singing the song "Stephen Stephen" recorded by The Apples in Stereo to glorify the show's host Stephen Colbert, to kick off a guitar solo contest between Colbert and Chris Funk of The Decemberists.
On February 6, 2007, The Apples in Stereo released their sixth studio LP, New Magnetic Wonder. Finishing a ten-year deal with spinART Records, New Magnetic Wonder was the premiere release on Simian Records, a newly formed record label founded by Elijah Wood. This was followed by a long-awaited b-sides and rarities compilation titled Electronic Projects for Musicians, released on April 1.
In 2008, spinART Records went out of business. Rights for all major releases by The Apples in Stereo on the label were subsequently acquired by One Little Indian Records, and have since reverted to the band. In a recent interview, Schneider noted that the band's EPs have yet to have been re-released, but will likely be collected for another compilation. Such a compilation would probably include the re-releases of Look Away + 4, Let's Go! and a number of non-album songs released alongside New Magnetic Wonder.
On August 4, 2008, the band appeared again on The Colbert Report. They performed their song Can You Feel It? to promote the release of the Japanese picture disc.
In early 2008, their song "Same Old Drag" won in The 7th Annual Independent Music Awards for Best Pop/Rock Song. The same year Apples in Stereo were nominated for Independent Music Awards Pop/Rock Album of the Year. The band members also joined the 9th annual Independent Music Awards judging panel to assist independent musicians' careers.
2009–2011: #1 Hits Explosion and Travellers in Space and Time
Yep Roc released #1 Hits Explosion, an Apples in Stereo best-of album, on September 1, 2009.
In late 2008, PepsiCo released an advertisement with their song "Energy" off of their album New Magnetic Wonder.
In early 2009, Robert appeared on ABC News's segment called "amplified" and gave some short performances of songs from New Magnetic Wonder and a song from his project "Robert Bobbert and the bubble machine" and he described the album as sounding like early 1970s R&B as it would sound played by aliens and emanating from an alien spaceship.He also confirmed that the band was recording their new album at Trout Recording in Brooklyn, New York. In interviews in Billboard magazine and other press outlets,
In April 2009, the single "Energy" from New Magnetic Wonder was performed by the contestants on the television show American Idol.
The result was the band's seventh album Travellers in Space and Time, released on April 20, 2010 on Simian Records. Described by Schneider as a "retro-futuristic" concept album intended as a time capsule for listeners of the future, Travellers has drawn comparisons to the style of Electric Light Orchestra. The record is the first Apples in Stereo album without Hilarie Sidney, making Schneider the last founding member remaining in the group, although John Hill joined before "in stereo" was added to the name. The band was invited by Jeff Mangum of Neutral Milk Hotel to perform at the All Tomorrow's Parties festival that he curated in March 2012 in Minehead, England.
Schneider announced in May 2012 that The Apples in Stereo had begun work on a new album, described as being "a very, very different sort of album."
In recent years, Schneider has explored a number of experimental music projects, such as the Teletron mind-controlled synthesizer and Non-Pythagorean scale of his own invention.
2012–present: Death of Bill Doss, hiatus and future
The death of Bill Doss, the band's keyboardist as well as the co-founder of fellow Elephant 6 band The Olivia Tremor Control, was announced on July 31, 2012. The cause of death was an aneurysm. Schneider released a statement saying, "I am heartbroken by the loss of my life-long friend, collaborator and band-mate. My world will never be the same without the wonderful, funny, supremely creative Bill Doss."
The band went into hiatus in the fall of 2012, after Doss' death and Schneider's acceptance into the PhD program in Mathematics at Emory University. In 2013, Phish started covering the Apples in Stereo song "Energy."
In early 2017, Schneider hinted at a new album called The Bicycle Day. He stated on Facebook that "Apples are working on a concept record called The Bicycle Day but it is too deep of a task to finish while I'm in graduate school... it isn't a pop record though ... (Air-Sea Dolphin and my band Spaceflyte with John Ferguson are the new pop projects though)". On August 10, 2017, the Apples played their first show since 2012 as a headlining act at the Athens Popfest music festival in Athens, Georgia with Marshmallow Coast, Antlered Auntlord, and Waxahatchee as prior performers.
In 2018, Schneider received a PhD in mathematics from Emory.
Band members
Current members
Robert Schneider - guitar, French horn, lead vocals (1992–present)
John Hill - guitar, xylophone (1994–present)
Eric Allen - bass, harmonica (1995–present)
John Dufilho - drums, harp (2006–present)
John Ferguson - vocals, keyboards, panflute (2007–present)
Former members
Hilarie Sidney - drums, vocals (1992-2006)
Jim McIntyre - bass (1992-1994)
Chris Parfitt - guitar (1992-1994)
Chris McDuffie - keyboards (1998-2002)
Bill Doss - vocals, keyboards, ukulele (2006-2012; died 2012)
Timeline
Selected discography
Fun Trick Noisemaker (1995)
Science Faire (1996)
Tone Soul Evolution (1997)
Her Wallpaper Reverie (1999)
The Discovery of a World Inside the Moone (2000)
Velocity of Sound (2002)
New Magnetic Wonder (2007)
Electronic Projects for Musicians (2008)
Travellers in Space and Time (2010)
References
External links
The Apples in Stereo at Elephant6.com
Tractor Beam Management
Apples in Stereo entry at Trouser Press
The Apples in Stereo at Live Music Archive
Interview with the Cornell Daily Sun
Step Through the Portal
The Elephant 6 Recording Company artists
Musical groups from Denver
Lo-fi music groups
Musical groups established in 1992
Independent Music Awards winners
Indie pop groups from Colorado
Indie rock musical groups from Colorado
Psychedelic pop music groups
American power pop groups
SpinART Records artists
Yep Roc Records artists | true | [
"\"What Did I Do to You?\" is a song recorded by British singer Lisa Stansfield for her 1989 album, Affection. It was written by Stansfield, Ian Devaney and Andy Morris, and produced by Devaney and Morris. The song was released as the fourth European single on 30 April 1990. It included three previously unreleased songs written by Stansfield, Devaney and Morris: \"My Apple Heart,\" \"Lay Me Down\" and \"Something's Happenin'.\" \"What Did I Do to You?\" was remixed by Mark Saunders and by the Grammy Award-winning American house music DJ and producer, David Morales. The single became a top forty hit in the European countries reaching number eighteen in Finland, number twenty in Ireland and number twenty-five in the United Kingdom. \"What Did I Do to You?\" was also released in Japan.\n\nIn 2014, the remixes of \"What Did I Do to You?\" were included on the deluxe 2CD + DVD re-release of Affection and on People Hold On ... The Remix Anthology. They were also featured on The Collection 1989–2003 box set (2014), including previously unreleased Red Zone Mix by David Morales.\n\nCritical reception\nThe song received positive reviews from music critics. Matthew Hocter from Albumism viewed it as a \"upbeat offering\". David Giles from Music Week said it is \"beautifully performed\" by Stansfield. A reviewer from Reading Eagle wrote that \"What Did I Do to You?\" \"would be right at home on the \"Saturday Night Fever\" soundtrack.\"\n\nMusic video\nA music video was produced to promote the single, directed by Philip Richardson, who had previously directed the videos for \"All Around the World\" and \"Live Together\". It features Stansfield with her kiss curls, dressed in a white outfit and performing with her band on a stage in front of a jumping audience. The video was later published on Stansfield's official YouTube channel in November 2009. It has amassed more than 1,6 million views as of October 2021.\n\nTrack listings\n\n European/UK 7\" single\n\"What Did I Do to You?\" (Mark Saunders Remix Edit) – 4:20\n\"Something's Happenin'\" – 3:59\n\n European/UK/Japanese CD single\n\"What Did I Do to You?\" (Mark Saunders Remix Edit) – 4:20\n\"My Apple Heart\" – 5:19\n\"Lay Me Down\" – 4:17\n\"Something's Happenin'\" – 3:59\n\n UK 10\" single\n\"What Did I Do to You?\" (Mark Saunders Remix) – 5:52\n\"My Apple Heart\" – 5:19\n\"Lay Me Down\" – 4:17\n\"Something's Happenin'\" – 3:59\n\n European/UK 12\" single\n\"What Did I Do to You?\" (Morales Mix) – 7:59\n\"My Apple Heart\" – 4:22\n\"Lay Me Down\" – 3:19\n\"Something's Happenin'\" – 3:15\n\n UK 12\" promotional single\n\"What Did I Do to You?\" (Morales Mix) – 7:59\n\"What Did I Do to You?\" (Anti Poll Tax Dub) – 6:31\n\n Other remixes\n\"What Did I Do to You?\" (Red Zone Mix) – 7:45\n\nCharts\n\nReferences\n\nLisa Stansfield songs\n1990 singles\nSongs written by Lisa Stansfield\n1989 songs\nArista Records singles\nSongs written by Ian Devaney\nSongs written by Andy Morris (musician)",
"Songs Put Together For (The Broken Giant) by Palace is a CD EP released in 1996 on Drag City Records, and is the soundtrack for the 1997 film The Broken Giant, directed by Estep Nagy.\n\nThe EP was reissued as Black/Rich Music by Will Oldham on June 22, 1998, on CD and 12\" vinyl.\n\nTrack listing\n\"Organ: Watch With Me\" (retitled \"Organ: Do What You Will Do\" on Black/Rich Music)\n\"Do What You Will Do\"\n\"The Risen Lord\"\n\"Organ: Allowance\"\n\"Allowance\"\n\"Black/Rich Tune\"\n\"Organ: Black/Rich\"\n\"Guitar: Do What You Will Do\"\n\n1996 EPs\nWill Oldham albums"
] | [
"The Apples in Stereo, styled as The Apples in stereo, are an American rock band associated with Elephant Six Collective, a group of bands also including Neutral Milk Hotel, The Olivia Tremor Control, Elf Power, Of Montreal, and Circulatory System. The band is largely a product of lead vocalist/guitarist/producer Robert Schneider, who writes the majority of the band's music and lyrics.",
"The band is largely a product of lead vocalist/guitarist/producer Robert Schneider, who writes the majority of the band's music and lyrics. Currently, The Apples in Stereo also includes longstanding members John Hill (rhythm guitar) and Eric Allen (bass), as well as more recent members John Dufilho (drums), John Ferguson (keyboards), and Ben Phelan (keyboards/guitar/trumpet).",
"Currently, The Apples in Stereo also includes longstanding members John Hill (rhythm guitar) and Eric Allen (bass), as well as more recent members John Dufilho (drums), John Ferguson (keyboards), and Ben Phelan (keyboards/guitar/trumpet). The band's sound draws comparisons to the psychedelic rock of The Beatles and The Beach Boys during the 1960s, as well as to bands such as Electric Light Orchestra and Pavement, and also draws from lo-fi, garage rock, new wave, R&B, bubblegum pop, power pop, punk, electro-pop and experimental music.",
"The band's sound draws comparisons to the psychedelic rock of The Beatles and The Beach Boys during the 1960s, as well as to bands such as Electric Light Orchestra and Pavement, and also draws from lo-fi, garage rock, new wave, R&B, bubblegum pop, power pop, punk, electro-pop and experimental music. The band is also well known for their appearance in a The Powerpuff Girls music video performing the song \"Signal in the Sky (Let's Go)\".",
"The band is also well known for their appearance in a The Powerpuff Girls music video performing the song \"Signal in the Sky (Let's Go)\". It aired immediately after the show's seventh episode of season 4, \"Superfriends\", which was based on the song's lyrics.",
"It aired immediately after the show's seventh episode of season 4, \"Superfriends\", which was based on the song's lyrics. The band has appeared widely in television and film, including performances on The Colbert Report, Late Night with Conan O'Brien and Last Call with Carson Daly, guest hosting on MTV, song placements in numerous television shows, commercials and motion pictures, the performance of the single \"Energy\" by the contestants on American Idol, and a song recorded for children's show Yo Gabba Gabba.",
"The band has appeared widely in television and film, including performances on The Colbert Report, Late Night with Conan O'Brien and Last Call with Carson Daly, guest hosting on MTV, song placements in numerous television shows, commercials and motion pictures, the performance of the single \"Energy\" by the contestants on American Idol, and a song recorded for children's show Yo Gabba Gabba. Band history 1991–1993: The Apples In late 1991, Robert Schneider met Jim McIntyre on a commuter bus in Denver, Colorado.",
"Band history 1991–1993: The Apples In late 1991, Robert Schneider met Jim McIntyre on a commuter bus in Denver, Colorado. Schneider had recently moved to Colorado from Ruston, Louisiana, and often initiated conversations with McIntyre.",
"Schneider had recently moved to Colorado from Ruston, Louisiana, and often initiated conversations with McIntyre. When Schneider asked McIntyre what his music interests were, McIntyre named his favorite band: The Beach Boys — a band Schneider was particularly fond of. Realizing that they shared many musical interests, McIntyre introduced Schneider to Hilarie Sidney.",
"Realizing that they shared many musical interests, McIntyre introduced Schneider to Hilarie Sidney. McIntyre already had a band called Von Hemmling in which McIntyre played bass and Sidney played drums. With Schneider, they discussed the idea of starting a band and perhaps a recording label.",
"With Schneider, they discussed the idea of starting a band and perhaps a recording label. Schneider later met Chris Parfitt, who at the time was also already in a band (which Schneider unsuccessfully auditioned for on bass).",
"Schneider later met Chris Parfitt, who at the time was also already in a band (which Schneider unsuccessfully auditioned for on bass). Schneider and Parfitt also became friends, however, and toyed with the idea of having a rock band similar to The Velvet Underground or Black Sabbath, with production qualities similar to that of The Beach Boys.",
"Schneider and Parfitt also became friends, however, and toyed with the idea of having a rock band similar to The Velvet Underground or Black Sabbath, with production qualities similar to that of The Beach Boys. Schneider then spent two weeks in Athens, Georgia recording music and spending time with his childhood friends Will Cullen Hart, Bill Doss and Jeff Mangum.",
"Schneider then spent two weeks in Athens, Georgia recording music and spending time with his childhood friends Will Cullen Hart, Bill Doss and Jeff Mangum. He discussed the idea of starting a record label with them (which soon became The Elephant 6 Recording Company).",
"He discussed the idea of starting a record label with them (which soon became The Elephant 6 Recording Company). It was also at this time that the name \"The Apples\" came about, inspired by the Pink Floyd song \"Apples and Oranges\".",
"It was also at this time that the name \"The Apples\" came about, inspired by the Pink Floyd song \"Apples and Oranges\". The earliest incarnation of the band began to form in 1992 upon Schneider's return to Denver, first between Schneider and Parfitt, both of whom played guitar.",
"The earliest incarnation of the band began to form in 1992 upon Schneider's return to Denver, first between Schneider and Parfitt, both of whom played guitar. The two recruited McIntyre and Sidney during the autumn of that year, practicing material through the winter.",
"The two recruited McIntyre and Sidney during the autumn of that year, practicing material through the winter. Their first few live shows took place the following January, many of which were with the band Felt Pilotes.",
"Their first few live shows took place the following January, many of which were with the band Felt Pilotes. From February to April 1993, the band recorded their debut 7\" EP, Tidal Wave, and released it in June as the first record ever to bear the Elephant 6 logo.",
"From February to April 1993, the band recorded their debut 7\" EP, Tidal Wave, and released it in June as the first record ever to bear the Elephant 6 logo. 1994–1995: Hypnotic Suggestion and Fun Trick Noisemaker Several conflicts would lead Parfitt to leave the band in early 1994.",
"1994–1995: Hypnotic Suggestion and Fun Trick Noisemaker Several conflicts would lead Parfitt to leave the band in early 1994. John Hill, a former bandmate of McIntyre's, would join the band as a rhythm guitarist while Schneider began to grow more comfortable playing lead guitar.",
"John Hill, a former bandmate of McIntyre's, would join the band as a rhythm guitarist while Schneider began to grow more comfortable playing lead guitar. It was also at this time that Schneider began to take stronger creative control of the band, shifting its sound from its stronger rock qualities to a spacier pop sound.",
"It was also at this time that Schneider began to take stronger creative control of the band, shifting its sound from its stronger rock qualities to a spacier pop sound. The band started work on a debut album, but it instead became Hypnotic Suggestion, a second EP.",
"The band started work on a debut album, but it instead became Hypnotic Suggestion, a second EP. However, after SpinART Records offered to buy the band an 8-track in return for an album, new plans for an LP arose.",
"However, after SpinART Records offered to buy the band an 8-track in return for an album, new plans for an LP arose. In mid-1994, after Hypnotic Suggestion, McIntyre would be the second to leave the band, due to a number of personal distresses as well as stylistic changes that arose with Parfitt's departure.",
"In mid-1994, after Hypnotic Suggestion, McIntyre would be the second to leave the band, due to a number of personal distresses as well as stylistic changes that arose with Parfitt's departure. Having great difficulty finding a new permanent bassist, the band would rotate a number of frequent bass contributors, including Jeff Mangum of Neutral Milk Hotel, Kurt Heasley of The Lilys, Kyle Jones, Joel Richardson, and Joel Evans.",
"Having great difficulty finding a new permanent bassist, the band would rotate a number of frequent bass contributors, including Jeff Mangum of Neutral Milk Hotel, Kurt Heasley of The Lilys, Kyle Jones, Joel Richardson, and Joel Evans. Jim McIntyre would also occasionally guest on bass.",
"Jim McIntyre would also occasionally guest on bass. This continued to be the makeup of the band as they toured the country in late 1994, recording the first half of their new album in Glendora, California.",
"This continued to be the makeup of the band as they toured the country in late 1994, recording the first half of their new album in Glendora, California. In early 1995, the band finished the album, Fun Trick Noisemaker, at Kyle Jones's house (the birthplace of Schneider's Pet Sounds Studio).",
"In early 1995, the band finished the album, Fun Trick Noisemaker, at Kyle Jones's house (the birthplace of Schneider's Pet Sounds Studio). Now with a LP to support, the band began touring again.",
"Now with a LP to support, the band began touring again. Eric Allen, whom the band had previously auditioned as a guitarist after the departure of Chris Parfitt, joined the band as a much welcomed permanent bassist. Late 1995, Schneider relocated Pet Sounds Studio to Jim McIntyre's house.",
"Late 1995, Schneider relocated Pet Sounds Studio to Jim McIntyre's house. McIntyre continued to be involved in the recording and engineering of the band's albums until the mid-2000s.",
"McIntyre continued to be involved in the recording and engineering of the band's albums until the mid-2000s. A significantly different band from the original 1992 four-piece, the official name of the band gradually became \"The Apples in Stereo\", with the \"in stereo\" usually somewhat under-emphasized, whether in lower-case or in parentheses.",
"A significantly different band from the original 1992 four-piece, the official name of the band gradually became \"The Apples in Stereo\", with the \"in stereo\" usually somewhat under-emphasized, whether in lower-case or in parentheses. Schneider described this in an interview: \"It's very clearcut, actually: we're The Apples, the music's in stereo.",
"Schneider described this in an interview: \"It's very clearcut, actually: we're The Apples, the music's in stereo. It's not actually the band name – it's a step back from it, a band name once removed. We're The Apples, in stereo.",
"We're The Apples, in stereo. Kind of like a TV show, 'in stereo!' That always seemed to be a really big deal, that it was in stereo.\" McIntyre later remarked, \"It's cool the name changed cause the Apples and the Apples in Stereo were really two different entities.\"",
"McIntyre later remarked, \"It's cool the name changed cause the Apples and the Apples in Stereo were really two different entities.\" 1996–2005: Tone Soul Evolution to Velocity of Sound The band continued touring through 1996, playing in Japan for the first time.",
"1996–2005: Tone Soul Evolution to Velocity of Sound The band continued touring through 1996, playing in Japan for the first time. Several early recording sessions were held at Pet Sounds for the band's second album, Tone Soul Evolution, but the members were dissatisfied with the quality of the recordings.",
"Several early recording sessions were held at Pet Sounds for the band's second album, Tone Soul Evolution, but the members were dissatisfied with the quality of the recordings. The majority of the album's songs were re-recorded at Studio .45 in Hartford, Connecticut before the album's release.",
"The majority of the album's songs were re-recorded at Studio .45 in Hartford, Connecticut before the album's release. In 1998, Chris McDuffie joined the band, playing various instruments including organs, synthesizers and assorted percussion. He would leave the band before Velocity of Sound was released in 2002.",
"He would leave the band before Velocity of Sound was released in 2002. Several more albums were released by the band through the years, including the psychedelic \"concept EP\", Her Wallpaper Reverie, The Discovery of a World Inside the Moone and Velocity of Sound; both of the latter of which were progressively aimed at capturing the live sound of the band, which continued to tighten as they continued to perform hundreds of live shows (about 100 a year).",
"Several more albums were released by the band through the years, including the psychedelic \"concept EP\", Her Wallpaper Reverie, The Discovery of a World Inside the Moone and Velocity of Sound; both of the latter of which were progressively aimed at capturing the live sound of the band, which continued to tighten as they continued to perform hundreds of live shows (about 100 a year). In particular, the 2002 album Velocity of Sound rejects most of the psych-pop production sensibilities that would come to be associated with the band, instead featuring stripped-down production and sparse, rock instrumentation.",
"In particular, the 2002 album Velocity of Sound rejects most of the psych-pop production sensibilities that would come to be associated with the band, instead featuring stripped-down production and sparse, rock instrumentation. The band members would also continue to pursue careers in side bands and solo projects, with Schneider producing several albums for Elephant 6 artists.",
"The band members would also continue to pursue careers in side bands and solo projects, with Schneider producing several albums for Elephant 6 artists. Schneider and drummer Hilarie Sidney were married for a time, with a son Max born in 2000. They have since been divorced.",
"They have since been divorced. They have since been divorced. The band went on a brief hiatus during 2004 as Schneider released the debut album from a new band called Ulysses and Sidney released the debut album from her new band The High Water Marks; both were released on Eenie Meenie Records.",
"The band went on a brief hiatus during 2004 as Schneider released the debut album from a new band called Ulysses and Sidney released the debut album from her new band The High Water Marks; both were released on Eenie Meenie Records. In 2005, The Apples in Stereo contributed \"Liza Jane\" to the Eenie Meenie compilation, Dimension Mix.",
"In 2005, The Apples in Stereo contributed \"Liza Jane\" to the Eenie Meenie compilation, Dimension Mix. It was also around this time that news began to circulate among various websites concerning the band's next studio album.",
"It was also around this time that news began to circulate among various websites concerning the band's next studio album. 2006–2008: New Magnetic Wonder and evolving lineup In August 2006, longtime drummer Hilarie Sidney officially announced her departure from the band during the band's closing set at the Athens Popfest music festival in Athens, Georgia.",
"2006–2008: New Magnetic Wonder and evolving lineup In August 2006, longtime drummer Hilarie Sidney officially announced her departure from the band during the band's closing set at the Athens Popfest music festival in Athens, Georgia. Her replacement, John Dufilho, lead singer and principal songwriter of The Deathray Davies, was announced in October 2006.",
"Her replacement, John Dufilho, lead singer and principal songwriter of The Deathray Davies, was announced in October 2006. 2006 touring member Bill Doss of The Olivia Tremor Control also quietly joined the band \"officially\" as its new keyboardist.",
"2006 touring member Bill Doss of The Olivia Tremor Control also quietly joined the band \"officially\" as its new keyboardist. John Ferguson of Big Fresh and Ulysses joined the Apples in 2007, also playing keyboards, and wearing a Doctor Who-esque space suit on stage.",
"John Ferguson of Big Fresh and Ulysses joined the Apples in 2007, also playing keyboards, and wearing a Doctor Who-esque space suit on stage. In December 2006, Robert Schneider appeared on the popular television show The Colbert Report singing the song \"Stephen Stephen\" recorded by The Apples in Stereo to glorify the show's host Stephen Colbert, to kick off a guitar solo contest between Colbert and Chris Funk of The Decemberists.",
"In December 2006, Robert Schneider appeared on the popular television show The Colbert Report singing the song \"Stephen Stephen\" recorded by The Apples in Stereo to glorify the show's host Stephen Colbert, to kick off a guitar solo contest between Colbert and Chris Funk of The Decemberists. On February 6, 2007, The Apples in Stereo released their sixth studio LP, New Magnetic Wonder.",
"On February 6, 2007, The Apples in Stereo released their sixth studio LP, New Magnetic Wonder. Finishing a ten-year deal with spinART Records, New Magnetic Wonder was the premiere release on Simian Records, a newly formed record label founded by Elijah Wood.",
"Finishing a ten-year deal with spinART Records, New Magnetic Wonder was the premiere release on Simian Records, a newly formed record label founded by Elijah Wood. This was followed by a long-awaited b-sides and rarities compilation titled Electronic Projects for Musicians, released on April 1. In 2008, spinART Records went out of business.",
"In 2008, spinART Records went out of business. Rights for all major releases by The Apples in Stereo on the label were subsequently acquired by One Little Indian Records, and have since reverted to the band.",
"Rights for all major releases by The Apples in Stereo on the label were subsequently acquired by One Little Indian Records, and have since reverted to the band. In a recent interview, Schneider noted that the band's EPs have yet to have been re-released, but will likely be collected for another compilation.",
"In a recent interview, Schneider noted that the band's EPs have yet to have been re-released, but will likely be collected for another compilation. Such a compilation would probably include the re-releases of Look Away + 4, Let's Go! and a number of non-album songs released alongside New Magnetic Wonder.",
"and a number of non-album songs released alongside New Magnetic Wonder. On August 4, 2008, the band appeared again on The Colbert Report. They performed their song Can You Feel It? to promote the release of the Japanese picture disc.",
"to promote the release of the Japanese picture disc. In early 2008, their song \"Same Old Drag\" won in The 7th Annual Independent Music Awards for Best Pop/Rock Song. The same year Apples in Stereo were nominated for Independent Music Awards Pop/Rock Album of the Year.",
"The same year Apples in Stereo were nominated for Independent Music Awards Pop/Rock Album of the Year. The band members also joined the 9th annual Independent Music Awards judging panel to assist independent musicians' careers.",
"The band members also joined the 9th annual Independent Music Awards judging panel to assist independent musicians' careers. 2009–2011: #1 Hits Explosion and Travellers in Space and Time Yep Roc released #1 Hits Explosion, an Apples in Stereo best-of album, on September 1, 2009.",
"2009–2011: #1 Hits Explosion and Travellers in Space and Time Yep Roc released #1 Hits Explosion, an Apples in Stereo best-of album, on September 1, 2009. In late 2008, PepsiCo released an advertisement with their song \"Energy\" off of their album New Magnetic Wonder.",
"In late 2008, PepsiCo released an advertisement with their song \"Energy\" off of their album New Magnetic Wonder. In early 2009, Robert appeared on ABC News's segment called \"amplified\" and gave some short performances of songs from New Magnetic Wonder and a song from his project \"Robert Bobbert and the bubble machine\" and he described the album as sounding like early 1970s R&B as it would sound played by aliens and emanating from an alien spaceship.He also confirmed that the band was recording their new album at Trout Recording in Brooklyn, New York.",
"In early 2009, Robert appeared on ABC News's segment called \"amplified\" and gave some short performances of songs from New Magnetic Wonder and a song from his project \"Robert Bobbert and the bubble machine\" and he described the album as sounding like early 1970s R&B as it would sound played by aliens and emanating from an alien spaceship.He also confirmed that the band was recording their new album at Trout Recording in Brooklyn, New York. In interviews in Billboard magazine and other press outlets, In April 2009, the single \"Energy\" from New Magnetic Wonder was performed by the contestants on the television show American Idol.",
"In interviews in Billboard magazine and other press outlets, In April 2009, the single \"Energy\" from New Magnetic Wonder was performed by the contestants on the television show American Idol. The result was the band's seventh album Travellers in Space and Time, released on April 20, 2010 on Simian Records.",
"The result was the band's seventh album Travellers in Space and Time, released on April 20, 2010 on Simian Records. Described by Schneider as a \"retro-futuristic\" concept album intended as a time capsule for listeners of the future, Travellers has drawn comparisons to the style of Electric Light Orchestra.",
"Described by Schneider as a \"retro-futuristic\" concept album intended as a time capsule for listeners of the future, Travellers has drawn comparisons to the style of Electric Light Orchestra. The record is the first Apples in Stereo album without Hilarie Sidney, making Schneider the last founding member remaining in the group, although John Hill joined before \"in stereo\" was added to the name.",
"The record is the first Apples in Stereo album without Hilarie Sidney, making Schneider the last founding member remaining in the group, although John Hill joined before \"in stereo\" was added to the name. The band was invited by Jeff Mangum of Neutral Milk Hotel to perform at the All Tomorrow's Parties festival that he curated in March 2012 in Minehead, England.",
"The band was invited by Jeff Mangum of Neutral Milk Hotel to perform at the All Tomorrow's Parties festival that he curated in March 2012 in Minehead, England. Schneider announced in May 2012 that The Apples in Stereo had begun work on a new album, described as being \"a very, very different sort of album.\"",
"Schneider announced in May 2012 that The Apples in Stereo had begun work on a new album, described as being \"a very, very different sort of album.\" In recent years, Schneider has explored a number of experimental music projects, such as the Teletron mind-controlled synthesizer and Non-Pythagorean scale of his own invention.",
"In recent years, Schneider has explored a number of experimental music projects, such as the Teletron mind-controlled synthesizer and Non-Pythagorean scale of his own invention. 2012–present: Death of Bill Doss, hiatus and future The death of Bill Doss, the band's keyboardist as well as the co-founder of fellow Elephant 6 band The Olivia Tremor Control, was announced on July 31, 2012.",
"2012–present: Death of Bill Doss, hiatus and future The death of Bill Doss, the band's keyboardist as well as the co-founder of fellow Elephant 6 band The Olivia Tremor Control, was announced on July 31, 2012. The cause of death was an aneurysm.",
"The cause of death was an aneurysm. Schneider released a statement saying, \"I am heartbroken by the loss of my life-long friend, collaborator and band-mate. My world will never be the same without the wonderful, funny, supremely creative Bill Doss.\"",
"My world will never be the same without the wonderful, funny, supremely creative Bill Doss.\" The band went into hiatus in the fall of 2012, after Doss' death and Schneider's acceptance into the PhD program in Mathematics at Emory University. In 2013, Phish started covering the Apples in Stereo song \"Energy.\"",
"In 2013, Phish started covering the Apples in Stereo song \"Energy.\" In early 2017, Schneider hinted at a new album called The Bicycle Day.",
"In early 2017, Schneider hinted at a new album called The Bicycle Day. He stated on Facebook that \"Apples are working on a concept record called The Bicycle Day but it is too deep of a task to finish while I'm in graduate school... it isn't a pop record though ... (Air-Sea Dolphin and my band Spaceflyte with John Ferguson are the new pop projects though)\".",
"He stated on Facebook that \"Apples are working on a concept record called The Bicycle Day but it is too deep of a task to finish while I'm in graduate school... it isn't a pop record though ... (Air-Sea Dolphin and my band Spaceflyte with John Ferguson are the new pop projects though)\". On August 10, 2017, the Apples played their first show since 2012 as a headlining act at the Athens Popfest music festival in Athens, Georgia with Marshmallow Coast, Antlered Auntlord, and Waxahatchee as prior performers.",
"On August 10, 2017, the Apples played their first show since 2012 as a headlining act at the Athens Popfest music festival in Athens, Georgia with Marshmallow Coast, Antlered Auntlord, and Waxahatchee as prior performers. In 2018, Schneider received a PhD in mathematics from Emory.",
"In 2018, Schneider received a PhD in mathematics from Emory. Band members Current members Robert Schneider - guitar, French horn, lead vocals (1992–present) John Hill - guitar, xylophone (1994–present) Eric Allen - bass, harmonica (1995–present) John Dufilho - drums, harp (2006–present) John Ferguson - vocals, keyboards, panflute (2007–present) Former members Hilarie Sidney - drums, vocals (1992-2006) Jim McIntyre - bass (1992-1994) Chris Parfitt - guitar (1992-1994) Chris McDuffie - keyboards (1998-2002) Bill Doss - vocals, keyboards, ukulele (2006-2012; died 2012) Timeline Selected discography Fun Trick Noisemaker (1995) Science Faire (1996) Tone Soul Evolution (1997) Her Wallpaper Reverie (1999) The Discovery of a World Inside the Moone (2000) Velocity of Sound (2002) New Magnetic Wonder (2007) Electronic Projects for Musicians (2008) Travellers in Space and Time (2010) References External links The Apples in Stereo at Elephant6.com Tractor Beam Management Apples in Stereo entry at Trouser Press The Apples in Stereo at Live Music Archive Interview with the Cornell Daily Sun Step Through the Portal The Elephant 6 Recording Company artists Musical groups from Denver Lo-fi music groups Musical groups established in 1992 Independent Music Awards winners Indie pop groups from Colorado Indie rock musical groups from Colorado Psychedelic pop music groups American power pop groups SpinART Records artists Yep Roc Records artists"
] |
[
"The Apples in Stereo",
"1991-1993: The Apples",
"What is The Apples?",
"Robert Schneider met Jim McIntyre",
"What did the two do together?",
"they discussed the idea of starting a band"
] | C_bb5692211f37444eb499f77b75cc7155_1 | What band did they start? | 3 | What band did Robert Schneider and Jim McIntyre start? | The Apples in Stereo | In late 1991, Robert Schneider met Jim McIntyre on a commuter bus in Denver, Colorado. Schneider had recently moved to Colorado from Ruston, Louisiana, and often initiated conversations with McIntyre. When Schneider asked McIntyre what his music interests were, McIntyre named his favorite band: The Beach Boys -- a band Schneider was particularly fond of. Realizing that they shared many musical interests, McIntyre introduced Schneider to Hilarie Sidney. McIntyre already had a band called Von Hemmling in which McIntyre played bass and Sidney played drums. With Schneider, they discussed the idea of starting a band and perhaps a recording label. Schneider later met Chris Parfitt, who was also already in a band at the time that Schneider unsuccessfully auditioned for on bass. Schneider and Parfitt also became friends, however, and toyed with the idea of having a rock band similar to The Velvet Underground or Black Sabbath, with production qualities similar to that of The Beach Boys. Schneider then spent two weeks in Athens, Georgia recording music and spending time with his childhood friends Will Cullen Hart, Bill Doss and Jeff Mangum. He discussed the idea of starting a record label with them (which soon became The Elephant 6 Recording Company). It was also at this time that the name "The Apples" came about, inspired by the Pink Floyd song "Apples and Oranges". The earliest incarnation of the band began to form in 1992 upon Schneider's return to Denver, first between Schneider and Parfitt, both of whom played guitar. The two recruited McIntyre and Sidney during the autumn of that year, practicing material through the winter. Their first few live shows took place the following January, many of which were with the band Felt Pilotes. From February to April 1993, the band recorded their debut 7" EP, Tidal Wave, and released it in June as the first record ever to bear the Elephant 6 logo. CANNOTANSWER | The Apples | The Apples in Stereo, styled as The Apples in stereo, are an American rock band associated with Elephant Six Collective, a group of bands also including Neutral Milk Hotel, The Olivia Tremor Control, Elf Power, Of Montreal, and Circulatory System. The band is largely a product of lead vocalist/guitarist/producer Robert Schneider, who writes the majority of the band's music and lyrics. Currently, The Apples in Stereo also includes longstanding members John Hill (rhythm guitar) and Eric Allen (bass), as well as more recent members John Dufilho (drums), John Ferguson (keyboards), and Ben Phelan (keyboards/guitar/trumpet).
The band's sound draws comparisons to the psychedelic rock of The Beatles and The Beach Boys during the 1960s, as well as to bands such as Electric Light Orchestra and Pavement, and also draws from lo-fi, garage rock, new wave, R&B, bubblegum pop, power pop, punk, electro-pop and experimental music.
The band is also well known for their appearance in a The Powerpuff Girls music video performing the song "Signal in the Sky (Let's Go)". It aired immediately after the show's seventh episode of season 4, "Superfriends", which was based on the song's lyrics. The band has appeared widely in television and film, including performances on The Colbert Report, Late Night with Conan O'Brien and Last Call with Carson Daly, guest hosting on MTV, song placements in numerous television shows, commercials and motion pictures, the performance of the single "Energy" by the contestants on American Idol, and a song recorded for children's show Yo Gabba Gabba.
Band history
1991–1993: The Apples
In late 1991, Robert Schneider met Jim McIntyre on a commuter bus in Denver, Colorado. Schneider had recently moved to Colorado from Ruston, Louisiana, and often initiated conversations with McIntyre. When Schneider asked McIntyre what his music interests were, McIntyre named his favorite band: The Beach Boys — a band Schneider was particularly fond of. Realizing that they shared many musical interests, McIntyre introduced Schneider to Hilarie Sidney. McIntyre already had a band called Von Hemmling in which McIntyre played bass and Sidney played drums. With Schneider, they discussed the idea of starting a band and perhaps a recording label. Schneider later met Chris Parfitt, who at the time was also already in a band (which Schneider unsuccessfully auditioned for on bass). Schneider and Parfitt also became friends, however, and toyed with the idea of having a rock band similar to The Velvet Underground or Black Sabbath, with production qualities similar to that of The Beach Boys.
Schneider then spent two weeks in Athens, Georgia recording music and spending time with his childhood friends Will Cullen Hart, Bill Doss and Jeff Mangum. He discussed the idea of starting a record label with them (which soon became The Elephant 6 Recording Company). It was also at this time that the name "The Apples" came about, inspired by the Pink Floyd song "Apples and Oranges".
The earliest incarnation of the band began to form in 1992 upon Schneider's return to Denver, first between Schneider and Parfitt, both of whom played guitar. The two recruited McIntyre and Sidney during the autumn of that year, practicing material through the winter. Their first few live shows took place the following January, many of which were with the band Felt Pilotes. From February to April 1993, the band recorded their debut 7" EP, Tidal Wave, and released it in June as the first record ever to bear the Elephant 6 logo.
1994–1995: Hypnotic Suggestion and Fun Trick Noisemaker
Several conflicts would lead Parfitt to leave the band in early 1994. John Hill, a former bandmate of McIntyre's, would join the band as a rhythm guitarist while Schneider began to grow more comfortable playing lead guitar. It was also at this time that Schneider began to take stronger creative control of the band, shifting its sound from its stronger rock qualities to a spacier pop sound. The band started work on a debut album, but it instead became Hypnotic Suggestion, a second EP. However, after SpinART Records offered to buy the band an 8-track in return for an album, new plans for an LP arose.
In mid-1994, after Hypnotic Suggestion, McIntyre would be the second to leave the band, due to a number of personal distresses as well as stylistic changes that arose with Parfitt's departure. Having great difficulty finding a new permanent bassist, the band would rotate a number of frequent bass contributors, including Jeff Mangum of Neutral Milk Hotel, Kurt Heasley of The Lilys, Kyle Jones, Joel Richardson, and Joel Evans. Jim McIntyre would also occasionally guest on bass. This continued to be the makeup of the band as they toured the country in late 1994, recording the first half of their new album in Glendora, California. In early 1995, the band finished the album, Fun Trick Noisemaker, at Kyle Jones's house (the birthplace of Schneider's Pet Sounds Studio).
Now with a LP to support, the band began touring again. Eric Allen, whom the band had previously auditioned as a guitarist after the departure of Chris Parfitt, joined the band as a much welcomed permanent bassist. Late 1995, Schneider relocated Pet Sounds Studio to Jim McIntyre's house. McIntyre continued to be involved in the recording and engineering of the band's albums until the mid-2000s.
A significantly different band from the original 1992 four-piece, the official name of the band gradually became "The Apples in Stereo", with the "in stereo" usually somewhat under-emphasized, whether in lower-case or in parentheses. Schneider described this in an interview: "It's very clearcut, actually: we're The Apples, the music's in stereo. It's not actually the band name – it's a step back from it, a band name once removed. We're The Apples, in stereo. Kind of like a TV show, 'in stereo!' That always seemed to be a really big deal, that it was in stereo." McIntyre later remarked, "It's cool the name changed cause the Apples and the Apples in Stereo were really two different entities."
1996–2005: Tone Soul Evolution to Velocity of Sound
The band continued touring through 1996, playing in Japan for the first time. Several early recording sessions were held at Pet Sounds for the band's second album, Tone Soul Evolution, but the members were dissatisfied with the quality of the recordings. The majority of the album's songs were re-recorded at Studio .45 in Hartford, Connecticut before the album's release. In 1998, Chris McDuffie joined the band, playing various instruments including organs, synthesizers and assorted percussion. He would leave the band before Velocity of Sound was released in 2002.
Several more albums were released by the band through the years, including the psychedelic "concept EP", Her Wallpaper Reverie, The Discovery of a World Inside the Moone and Velocity of Sound; both of the latter of which were progressively aimed at capturing the live sound of the band, which continued to tighten as they continued to perform hundreds of live shows (about 100 a year). In particular, the 2002 album Velocity of Sound rejects most of the psych-pop production sensibilities that would come to be associated with the band, instead featuring stripped-down production and sparse, rock instrumentation.
The band members would also continue to pursue careers in side bands and solo projects, with Schneider producing several albums for Elephant 6 artists. Schneider and drummer Hilarie Sidney were married for a time, with a son Max born in 2000. They have since been divorced.
The band went on a brief hiatus during 2004 as Schneider released the debut album from a new band called Ulysses and Sidney released the debut album from her new band The High Water Marks; both were released on Eenie Meenie Records. In 2005, The Apples in Stereo contributed "Liza Jane" to the Eenie Meenie compilation, Dimension Mix. It was also around this time that news began to circulate among various websites concerning the band's next studio album.
2006–2008: New Magnetic Wonder and evolving lineup
In August 2006, longtime drummer Hilarie Sidney officially announced her departure from the band during the band's closing set at the Athens Popfest music festival in Athens, Georgia. Her replacement, John Dufilho, lead singer and principal songwriter of The Deathray Davies, was announced in October 2006. 2006 touring member Bill Doss of The Olivia Tremor Control also quietly joined the band "officially" as its new keyboardist. John Ferguson of Big Fresh and Ulysses joined the Apples in 2007, also playing keyboards, and wearing a Doctor Who-esque space suit on stage.
In December 2006, Robert Schneider appeared on the popular television show The Colbert Report singing the song "Stephen Stephen" recorded by The Apples in Stereo to glorify the show's host Stephen Colbert, to kick off a guitar solo contest between Colbert and Chris Funk of The Decemberists.
On February 6, 2007, The Apples in Stereo released their sixth studio LP, New Magnetic Wonder. Finishing a ten-year deal with spinART Records, New Magnetic Wonder was the premiere release on Simian Records, a newly formed record label founded by Elijah Wood. This was followed by a long-awaited b-sides and rarities compilation titled Electronic Projects for Musicians, released on April 1.
In 2008, spinART Records went out of business. Rights for all major releases by The Apples in Stereo on the label were subsequently acquired by One Little Indian Records, and have since reverted to the band. In a recent interview, Schneider noted that the band's EPs have yet to have been re-released, but will likely be collected for another compilation. Such a compilation would probably include the re-releases of Look Away + 4, Let's Go! and a number of non-album songs released alongside New Magnetic Wonder.
On August 4, 2008, the band appeared again on The Colbert Report. They performed their song Can You Feel It? to promote the release of the Japanese picture disc.
In early 2008, their song "Same Old Drag" won in The 7th Annual Independent Music Awards for Best Pop/Rock Song. The same year Apples in Stereo were nominated for Independent Music Awards Pop/Rock Album of the Year. The band members also joined the 9th annual Independent Music Awards judging panel to assist independent musicians' careers.
2009–2011: #1 Hits Explosion and Travellers in Space and Time
Yep Roc released #1 Hits Explosion, an Apples in Stereo best-of album, on September 1, 2009.
In late 2008, PepsiCo released an advertisement with their song "Energy" off of their album New Magnetic Wonder.
In early 2009, Robert appeared on ABC News's segment called "amplified" and gave some short performances of songs from New Magnetic Wonder and a song from his project "Robert Bobbert and the bubble machine" and he described the album as sounding like early 1970s R&B as it would sound played by aliens and emanating from an alien spaceship.He also confirmed that the band was recording their new album at Trout Recording in Brooklyn, New York. In interviews in Billboard magazine and other press outlets,
In April 2009, the single "Energy" from New Magnetic Wonder was performed by the contestants on the television show American Idol.
The result was the band's seventh album Travellers in Space and Time, released on April 20, 2010 on Simian Records. Described by Schneider as a "retro-futuristic" concept album intended as a time capsule for listeners of the future, Travellers has drawn comparisons to the style of Electric Light Orchestra. The record is the first Apples in Stereo album without Hilarie Sidney, making Schneider the last founding member remaining in the group, although John Hill joined before "in stereo" was added to the name. The band was invited by Jeff Mangum of Neutral Milk Hotel to perform at the All Tomorrow's Parties festival that he curated in March 2012 in Minehead, England.
Schneider announced in May 2012 that The Apples in Stereo had begun work on a new album, described as being "a very, very different sort of album."
In recent years, Schneider has explored a number of experimental music projects, such as the Teletron mind-controlled synthesizer and Non-Pythagorean scale of his own invention.
2012–present: Death of Bill Doss, hiatus and future
The death of Bill Doss, the band's keyboardist as well as the co-founder of fellow Elephant 6 band The Olivia Tremor Control, was announced on July 31, 2012. The cause of death was an aneurysm. Schneider released a statement saying, "I am heartbroken by the loss of my life-long friend, collaborator and band-mate. My world will never be the same without the wonderful, funny, supremely creative Bill Doss."
The band went into hiatus in the fall of 2012, after Doss' death and Schneider's acceptance into the PhD program in Mathematics at Emory University. In 2013, Phish started covering the Apples in Stereo song "Energy."
In early 2017, Schneider hinted at a new album called The Bicycle Day. He stated on Facebook that "Apples are working on a concept record called The Bicycle Day but it is too deep of a task to finish while I'm in graduate school... it isn't a pop record though ... (Air-Sea Dolphin and my band Spaceflyte with John Ferguson are the new pop projects though)". On August 10, 2017, the Apples played their first show since 2012 as a headlining act at the Athens Popfest music festival in Athens, Georgia with Marshmallow Coast, Antlered Auntlord, and Waxahatchee as prior performers.
In 2018, Schneider received a PhD in mathematics from Emory.
Band members
Current members
Robert Schneider - guitar, French horn, lead vocals (1992–present)
John Hill - guitar, xylophone (1994–present)
Eric Allen - bass, harmonica (1995–present)
John Dufilho - drums, harp (2006–present)
John Ferguson - vocals, keyboards, panflute (2007–present)
Former members
Hilarie Sidney - drums, vocals (1992-2006)
Jim McIntyre - bass (1992-1994)
Chris Parfitt - guitar (1992-1994)
Chris McDuffie - keyboards (1998-2002)
Bill Doss - vocals, keyboards, ukulele (2006-2012; died 2012)
Timeline
Selected discography
Fun Trick Noisemaker (1995)
Science Faire (1996)
Tone Soul Evolution (1997)
Her Wallpaper Reverie (1999)
The Discovery of a World Inside the Moone (2000)
Velocity of Sound (2002)
New Magnetic Wonder (2007)
Electronic Projects for Musicians (2008)
Travellers in Space and Time (2010)
References
External links
The Apples in Stereo at Elephant6.com
Tractor Beam Management
Apples in Stereo entry at Trouser Press
The Apples in Stereo at Live Music Archive
Interview with the Cornell Daily Sun
Step Through the Portal
The Elephant 6 Recording Company artists
Musical groups from Denver
Lo-fi music groups
Musical groups established in 1992
Independent Music Awards winners
Indie pop groups from Colorado
Indie rock musical groups from Colorado
Psychedelic pop music groups
American power pop groups
SpinART Records artists
Yep Roc Records artists | true | [
"\"A Praise Chorus\" is a song by American rock band Jimmy Eat World. It was released in 2002 as the fourth single released from the band's fourth album Bleed American, which was later retitled Jimmy Eat World.\n\nSongs \"praised\" by this song\nAfter the second stanza, references to seven songs become the \"praise chorus\" of the title. The first line is sung continuously in the background before the other six are sung over it.\n\nTommy James and the Shondells – \"Crimson and Clover\" – \"Crimson and clover, over and over\", sung continuously in the background.\nMadness – \"Our House\" – \"Our house in the middle of the street.\"\nThe Promise Ring – \"Why Did Ever We Meet\" – \"Why did we ever meet?\"\nBad Company – \"Rock 'n' Roll Fantasy\" – \"[Started] my rock 'n' roll fantasy.\"\nThey Might Be Giants – \"Don't Let's Start\" – \"Don't, don't, don't let's start.\" \nThe Promise Ring – \"All of My Everythings\" – \"Why did we ever part?\"\nMötley Crüe – \"Kickstart My Heart\" – \"Kickstart my rock 'n roll heart.\"\n\nFollowing the recording of the song's demo (which contains none of these songs, but rather a repetition of \"Fast action/Come on, come on, come on/Fast action/So what'cha here for\"), the band felt that it needed some additional work in the chorus section. They sent the recording to The Promise Ring's Davey von Bohlen, a friend of the band, and asked him to \"Sing [us] something that [we] know\". During live performances, Tom Linton sings the repeated \"Crimson and Clover\" line, while Jim Adkins sings the lyrics from the other six songs.\n\nTrack listing\nThe Middle/A Praise Chorus AUS Tour EP\n\"The Middle\"\n\"A Praise Chorus\"\n\"Bleed American\" (live from the 9:30 Club, Washington DC 6/4/02)\n\"Firestarter\" (non-album) (The Prodigy cover)\n\"The Middle\" (acoustic)\n\nPromotional compact disc\n\"A Praise Chorus\"\n\"Authority Song\" (demo version)\n\nCharts\n\nReferences\n\nJimmy Eat World songs\n2001 singles\n2001 songs\nSongs written by Tommy James\nDreamWorks Records singles",
"Look What I Did is an American band, formed in 2001 in Nashville, Tennessee, United States. The band is known for its intense live show, described by Cincinnati CityBeat as a \"live act capable of unleashing a scary, uncontrolled intensity bordering on dangerous,\" and oft-satirical eccentric lyrics.\n\nHistory\nIn 2003, the band added a second guitar player, Aaron \"Skeet\" Childress, formerly of National Green, and relocated to Los Angeles, California. At this time they also released their first recording, an independently recorded, financed, and released LP, My First Time, on their own Clockrock Recordings. Despite its limited pressing, the record received many features from ezines such as theprp.com, loudside.com, and Opuszine.com. \n\nIn early 2008, the band signed a deal with new label Modernist Movement. The album Atlas Drugged was released on February 9, 2010 via Modernist Movement Recordings. Atlas Drugged was also produced by Brian Virtue. Decibel magazine referred to the band in a review of Atlas Drugged, \"Look What I Did crush on political philosophers, put Latin words in their song titles and generally get off on being a bunch of wiseasses to spazzed-out Adderall punk.\"\n\nZanzibar III: Analog Prison was named the Best Metal Album of 2015 by The Nashville Scene.\n\nThe band released a full new song ''If I Were You I Wouldn't'' in January 2016 on their YouTube account, followed by Fireball in June 2016, their first songs released since 'Zanzibar III : Analog Prison'.\n\nThe band was named after friend's child said the phrase 'Mommy, look what I did', about a drawing to her mother when Barry was talking to her over the phone discussing what the band's name should be.\n\nIn September 2020, the band announced that Evan Brewer has joined the band on bass, replacing Chad Omen, with new music underway in the studio.\n\nDiscography\n\nStudio albums\n2003: My First Time (Clockrock Recordings)\n2005: Minuteman for the Moment (Combat Records)\n2010: Atlas Drugged (Modernist Movement Recordings)\n2014: Zanzibar III: Analog Prison (So Say We All Records)\n2019: Sympathy Porn (So Say We All Records)\n\nVideography\n\"Minuteman for the Moment\" (2005)\n\"Fade to Daft\" (2010)\n\"I'm Majoring in Psychology\" (2010)\n\"Serf Song\" (2010)\n\"Pussy Comitatus\" (2011)\n\"Sebastian's Analog Prison\" (2013)\n\"Wait, Don't Jump\" (2015)\n\"If I Were You I Wouldn't\" (2016)\n\"Hands Off My Snacks\" (2019)\n\nReferences\n\nExternal links\nLook What I Did official website\nMusic on Reverbnation \nLook What I Did on Spotify\n[ Look What I Did @ Allmusic.com]\n\nMNRK Music Group artists\nMusical groups established in 2001"
] | [
"The Apples in Stereo, styled as The Apples in stereo, are an American rock band associated with Elephant Six Collective, a group of bands also including Neutral Milk Hotel, The Olivia Tremor Control, Elf Power, Of Montreal, and Circulatory System. The band is largely a product of lead vocalist/guitarist/producer Robert Schneider, who writes the majority of the band's music and lyrics.",
"The band is largely a product of lead vocalist/guitarist/producer Robert Schneider, who writes the majority of the band's music and lyrics. Currently, The Apples in Stereo also includes longstanding members John Hill (rhythm guitar) and Eric Allen (bass), as well as more recent members John Dufilho (drums), John Ferguson (keyboards), and Ben Phelan (keyboards/guitar/trumpet).",
"Currently, The Apples in Stereo also includes longstanding members John Hill (rhythm guitar) and Eric Allen (bass), as well as more recent members John Dufilho (drums), John Ferguson (keyboards), and Ben Phelan (keyboards/guitar/trumpet). The band's sound draws comparisons to the psychedelic rock of The Beatles and The Beach Boys during the 1960s, as well as to bands such as Electric Light Orchestra and Pavement, and also draws from lo-fi, garage rock, new wave, R&B, bubblegum pop, power pop, punk, electro-pop and experimental music.",
"The band's sound draws comparisons to the psychedelic rock of The Beatles and The Beach Boys during the 1960s, as well as to bands such as Electric Light Orchestra and Pavement, and also draws from lo-fi, garage rock, new wave, R&B, bubblegum pop, power pop, punk, electro-pop and experimental music. The band is also well known for their appearance in a The Powerpuff Girls music video performing the song \"Signal in the Sky (Let's Go)\".",
"The band is also well known for their appearance in a The Powerpuff Girls music video performing the song \"Signal in the Sky (Let's Go)\". It aired immediately after the show's seventh episode of season 4, \"Superfriends\", which was based on the song's lyrics.",
"It aired immediately after the show's seventh episode of season 4, \"Superfriends\", which was based on the song's lyrics. The band has appeared widely in television and film, including performances on The Colbert Report, Late Night with Conan O'Brien and Last Call with Carson Daly, guest hosting on MTV, song placements in numerous television shows, commercials and motion pictures, the performance of the single \"Energy\" by the contestants on American Idol, and a song recorded for children's show Yo Gabba Gabba.",
"The band has appeared widely in television and film, including performances on The Colbert Report, Late Night with Conan O'Brien and Last Call with Carson Daly, guest hosting on MTV, song placements in numerous television shows, commercials and motion pictures, the performance of the single \"Energy\" by the contestants on American Idol, and a song recorded for children's show Yo Gabba Gabba. Band history 1991–1993: The Apples In late 1991, Robert Schneider met Jim McIntyre on a commuter bus in Denver, Colorado.",
"Band history 1991–1993: The Apples In late 1991, Robert Schneider met Jim McIntyre on a commuter bus in Denver, Colorado. Schneider had recently moved to Colorado from Ruston, Louisiana, and often initiated conversations with McIntyre.",
"Schneider had recently moved to Colorado from Ruston, Louisiana, and often initiated conversations with McIntyre. When Schneider asked McIntyre what his music interests were, McIntyre named his favorite band: The Beach Boys — a band Schneider was particularly fond of. Realizing that they shared many musical interests, McIntyre introduced Schneider to Hilarie Sidney.",
"Realizing that they shared many musical interests, McIntyre introduced Schneider to Hilarie Sidney. McIntyre already had a band called Von Hemmling in which McIntyre played bass and Sidney played drums. With Schneider, they discussed the idea of starting a band and perhaps a recording label.",
"With Schneider, they discussed the idea of starting a band and perhaps a recording label. Schneider later met Chris Parfitt, who at the time was also already in a band (which Schneider unsuccessfully auditioned for on bass).",
"Schneider later met Chris Parfitt, who at the time was also already in a band (which Schneider unsuccessfully auditioned for on bass). Schneider and Parfitt also became friends, however, and toyed with the idea of having a rock band similar to The Velvet Underground or Black Sabbath, with production qualities similar to that of The Beach Boys.",
"Schneider and Parfitt also became friends, however, and toyed with the idea of having a rock band similar to The Velvet Underground or Black Sabbath, with production qualities similar to that of The Beach Boys. Schneider then spent two weeks in Athens, Georgia recording music and spending time with his childhood friends Will Cullen Hart, Bill Doss and Jeff Mangum.",
"Schneider then spent two weeks in Athens, Georgia recording music and spending time with his childhood friends Will Cullen Hart, Bill Doss and Jeff Mangum. He discussed the idea of starting a record label with them (which soon became The Elephant 6 Recording Company).",
"He discussed the idea of starting a record label with them (which soon became The Elephant 6 Recording Company). It was also at this time that the name \"The Apples\" came about, inspired by the Pink Floyd song \"Apples and Oranges\".",
"It was also at this time that the name \"The Apples\" came about, inspired by the Pink Floyd song \"Apples and Oranges\". The earliest incarnation of the band began to form in 1992 upon Schneider's return to Denver, first between Schneider and Parfitt, both of whom played guitar.",
"The earliest incarnation of the band began to form in 1992 upon Schneider's return to Denver, first between Schneider and Parfitt, both of whom played guitar. The two recruited McIntyre and Sidney during the autumn of that year, practicing material through the winter.",
"The two recruited McIntyre and Sidney during the autumn of that year, practicing material through the winter. Their first few live shows took place the following January, many of which were with the band Felt Pilotes.",
"Their first few live shows took place the following January, many of which were with the band Felt Pilotes. From February to April 1993, the band recorded their debut 7\" EP, Tidal Wave, and released it in June as the first record ever to bear the Elephant 6 logo.",
"From February to April 1993, the band recorded their debut 7\" EP, Tidal Wave, and released it in June as the first record ever to bear the Elephant 6 logo. 1994–1995: Hypnotic Suggestion and Fun Trick Noisemaker Several conflicts would lead Parfitt to leave the band in early 1994.",
"1994–1995: Hypnotic Suggestion and Fun Trick Noisemaker Several conflicts would lead Parfitt to leave the band in early 1994. John Hill, a former bandmate of McIntyre's, would join the band as a rhythm guitarist while Schneider began to grow more comfortable playing lead guitar.",
"John Hill, a former bandmate of McIntyre's, would join the band as a rhythm guitarist while Schneider began to grow more comfortable playing lead guitar. It was also at this time that Schneider began to take stronger creative control of the band, shifting its sound from its stronger rock qualities to a spacier pop sound.",
"It was also at this time that Schneider began to take stronger creative control of the band, shifting its sound from its stronger rock qualities to a spacier pop sound. The band started work on a debut album, but it instead became Hypnotic Suggestion, a second EP.",
"The band started work on a debut album, but it instead became Hypnotic Suggestion, a second EP. However, after SpinART Records offered to buy the band an 8-track in return for an album, new plans for an LP arose.",
"However, after SpinART Records offered to buy the band an 8-track in return for an album, new plans for an LP arose. In mid-1994, after Hypnotic Suggestion, McIntyre would be the second to leave the band, due to a number of personal distresses as well as stylistic changes that arose with Parfitt's departure.",
"In mid-1994, after Hypnotic Suggestion, McIntyre would be the second to leave the band, due to a number of personal distresses as well as stylistic changes that arose with Parfitt's departure. Having great difficulty finding a new permanent bassist, the band would rotate a number of frequent bass contributors, including Jeff Mangum of Neutral Milk Hotel, Kurt Heasley of The Lilys, Kyle Jones, Joel Richardson, and Joel Evans.",
"Having great difficulty finding a new permanent bassist, the band would rotate a number of frequent bass contributors, including Jeff Mangum of Neutral Milk Hotel, Kurt Heasley of The Lilys, Kyle Jones, Joel Richardson, and Joel Evans. Jim McIntyre would also occasionally guest on bass.",
"Jim McIntyre would also occasionally guest on bass. This continued to be the makeup of the band as they toured the country in late 1994, recording the first half of their new album in Glendora, California.",
"This continued to be the makeup of the band as they toured the country in late 1994, recording the first half of their new album in Glendora, California. In early 1995, the band finished the album, Fun Trick Noisemaker, at Kyle Jones's house (the birthplace of Schneider's Pet Sounds Studio).",
"In early 1995, the band finished the album, Fun Trick Noisemaker, at Kyle Jones's house (the birthplace of Schneider's Pet Sounds Studio). Now with a LP to support, the band began touring again.",
"Now with a LP to support, the band began touring again. Eric Allen, whom the band had previously auditioned as a guitarist after the departure of Chris Parfitt, joined the band as a much welcomed permanent bassist. Late 1995, Schneider relocated Pet Sounds Studio to Jim McIntyre's house.",
"Late 1995, Schneider relocated Pet Sounds Studio to Jim McIntyre's house. McIntyre continued to be involved in the recording and engineering of the band's albums until the mid-2000s.",
"McIntyre continued to be involved in the recording and engineering of the band's albums until the mid-2000s. A significantly different band from the original 1992 four-piece, the official name of the band gradually became \"The Apples in Stereo\", with the \"in stereo\" usually somewhat under-emphasized, whether in lower-case or in parentheses.",
"A significantly different band from the original 1992 four-piece, the official name of the band gradually became \"The Apples in Stereo\", with the \"in stereo\" usually somewhat under-emphasized, whether in lower-case or in parentheses. Schneider described this in an interview: \"It's very clearcut, actually: we're The Apples, the music's in stereo.",
"Schneider described this in an interview: \"It's very clearcut, actually: we're The Apples, the music's in stereo. It's not actually the band name – it's a step back from it, a band name once removed. We're The Apples, in stereo.",
"We're The Apples, in stereo. Kind of like a TV show, 'in stereo!' That always seemed to be a really big deal, that it was in stereo.\" McIntyre later remarked, \"It's cool the name changed cause the Apples and the Apples in Stereo were really two different entities.\"",
"McIntyre later remarked, \"It's cool the name changed cause the Apples and the Apples in Stereo were really two different entities.\" 1996–2005: Tone Soul Evolution to Velocity of Sound The band continued touring through 1996, playing in Japan for the first time.",
"1996–2005: Tone Soul Evolution to Velocity of Sound The band continued touring through 1996, playing in Japan for the first time. Several early recording sessions were held at Pet Sounds for the band's second album, Tone Soul Evolution, but the members were dissatisfied with the quality of the recordings.",
"Several early recording sessions were held at Pet Sounds for the band's second album, Tone Soul Evolution, but the members were dissatisfied with the quality of the recordings. The majority of the album's songs were re-recorded at Studio .45 in Hartford, Connecticut before the album's release.",
"The majority of the album's songs were re-recorded at Studio .45 in Hartford, Connecticut before the album's release. In 1998, Chris McDuffie joined the band, playing various instruments including organs, synthesizers and assorted percussion. He would leave the band before Velocity of Sound was released in 2002.",
"He would leave the band before Velocity of Sound was released in 2002. Several more albums were released by the band through the years, including the psychedelic \"concept EP\", Her Wallpaper Reverie, The Discovery of a World Inside the Moone and Velocity of Sound; both of the latter of which were progressively aimed at capturing the live sound of the band, which continued to tighten as they continued to perform hundreds of live shows (about 100 a year).",
"Several more albums were released by the band through the years, including the psychedelic \"concept EP\", Her Wallpaper Reverie, The Discovery of a World Inside the Moone and Velocity of Sound; both of the latter of which were progressively aimed at capturing the live sound of the band, which continued to tighten as they continued to perform hundreds of live shows (about 100 a year). In particular, the 2002 album Velocity of Sound rejects most of the psych-pop production sensibilities that would come to be associated with the band, instead featuring stripped-down production and sparse, rock instrumentation.",
"In particular, the 2002 album Velocity of Sound rejects most of the psych-pop production sensibilities that would come to be associated with the band, instead featuring stripped-down production and sparse, rock instrumentation. The band members would also continue to pursue careers in side bands and solo projects, with Schneider producing several albums for Elephant 6 artists.",
"The band members would also continue to pursue careers in side bands and solo projects, with Schneider producing several albums for Elephant 6 artists. Schneider and drummer Hilarie Sidney were married for a time, with a son Max born in 2000. They have since been divorced.",
"They have since been divorced. They have since been divorced. The band went on a brief hiatus during 2004 as Schneider released the debut album from a new band called Ulysses and Sidney released the debut album from her new band The High Water Marks; both were released on Eenie Meenie Records.",
"The band went on a brief hiatus during 2004 as Schneider released the debut album from a new band called Ulysses and Sidney released the debut album from her new band The High Water Marks; both were released on Eenie Meenie Records. In 2005, The Apples in Stereo contributed \"Liza Jane\" to the Eenie Meenie compilation, Dimension Mix.",
"In 2005, The Apples in Stereo contributed \"Liza Jane\" to the Eenie Meenie compilation, Dimension Mix. It was also around this time that news began to circulate among various websites concerning the band's next studio album.",
"It was also around this time that news began to circulate among various websites concerning the band's next studio album. 2006–2008: New Magnetic Wonder and evolving lineup In August 2006, longtime drummer Hilarie Sidney officially announced her departure from the band during the band's closing set at the Athens Popfest music festival in Athens, Georgia.",
"2006–2008: New Magnetic Wonder and evolving lineup In August 2006, longtime drummer Hilarie Sidney officially announced her departure from the band during the band's closing set at the Athens Popfest music festival in Athens, Georgia. Her replacement, John Dufilho, lead singer and principal songwriter of The Deathray Davies, was announced in October 2006.",
"Her replacement, John Dufilho, lead singer and principal songwriter of The Deathray Davies, was announced in October 2006. 2006 touring member Bill Doss of The Olivia Tremor Control also quietly joined the band \"officially\" as its new keyboardist.",
"2006 touring member Bill Doss of The Olivia Tremor Control also quietly joined the band \"officially\" as its new keyboardist. John Ferguson of Big Fresh and Ulysses joined the Apples in 2007, also playing keyboards, and wearing a Doctor Who-esque space suit on stage.",
"John Ferguson of Big Fresh and Ulysses joined the Apples in 2007, also playing keyboards, and wearing a Doctor Who-esque space suit on stage. In December 2006, Robert Schneider appeared on the popular television show The Colbert Report singing the song \"Stephen Stephen\" recorded by The Apples in Stereo to glorify the show's host Stephen Colbert, to kick off a guitar solo contest between Colbert and Chris Funk of The Decemberists.",
"In December 2006, Robert Schneider appeared on the popular television show The Colbert Report singing the song \"Stephen Stephen\" recorded by The Apples in Stereo to glorify the show's host Stephen Colbert, to kick off a guitar solo contest between Colbert and Chris Funk of The Decemberists. On February 6, 2007, The Apples in Stereo released their sixth studio LP, New Magnetic Wonder.",
"On February 6, 2007, The Apples in Stereo released their sixth studio LP, New Magnetic Wonder. Finishing a ten-year deal with spinART Records, New Magnetic Wonder was the premiere release on Simian Records, a newly formed record label founded by Elijah Wood.",
"Finishing a ten-year deal with spinART Records, New Magnetic Wonder was the premiere release on Simian Records, a newly formed record label founded by Elijah Wood. This was followed by a long-awaited b-sides and rarities compilation titled Electronic Projects for Musicians, released on April 1. In 2008, spinART Records went out of business.",
"In 2008, spinART Records went out of business. Rights for all major releases by The Apples in Stereo on the label were subsequently acquired by One Little Indian Records, and have since reverted to the band.",
"Rights for all major releases by The Apples in Stereo on the label were subsequently acquired by One Little Indian Records, and have since reverted to the band. In a recent interview, Schneider noted that the band's EPs have yet to have been re-released, but will likely be collected for another compilation.",
"In a recent interview, Schneider noted that the band's EPs have yet to have been re-released, but will likely be collected for another compilation. Such a compilation would probably include the re-releases of Look Away + 4, Let's Go! and a number of non-album songs released alongside New Magnetic Wonder.",
"and a number of non-album songs released alongside New Magnetic Wonder. On August 4, 2008, the band appeared again on The Colbert Report. They performed their song Can You Feel It? to promote the release of the Japanese picture disc.",
"to promote the release of the Japanese picture disc. In early 2008, their song \"Same Old Drag\" won in The 7th Annual Independent Music Awards for Best Pop/Rock Song. The same year Apples in Stereo were nominated for Independent Music Awards Pop/Rock Album of the Year.",
"The same year Apples in Stereo were nominated for Independent Music Awards Pop/Rock Album of the Year. The band members also joined the 9th annual Independent Music Awards judging panel to assist independent musicians' careers.",
"The band members also joined the 9th annual Independent Music Awards judging panel to assist independent musicians' careers. 2009–2011: #1 Hits Explosion and Travellers in Space and Time Yep Roc released #1 Hits Explosion, an Apples in Stereo best-of album, on September 1, 2009.",
"2009–2011: #1 Hits Explosion and Travellers in Space and Time Yep Roc released #1 Hits Explosion, an Apples in Stereo best-of album, on September 1, 2009. In late 2008, PepsiCo released an advertisement with their song \"Energy\" off of their album New Magnetic Wonder.",
"In late 2008, PepsiCo released an advertisement with their song \"Energy\" off of their album New Magnetic Wonder. In early 2009, Robert appeared on ABC News's segment called \"amplified\" and gave some short performances of songs from New Magnetic Wonder and a song from his project \"Robert Bobbert and the bubble machine\" and he described the album as sounding like early 1970s R&B as it would sound played by aliens and emanating from an alien spaceship.He also confirmed that the band was recording their new album at Trout Recording in Brooklyn, New York.",
"In early 2009, Robert appeared on ABC News's segment called \"amplified\" and gave some short performances of songs from New Magnetic Wonder and a song from his project \"Robert Bobbert and the bubble machine\" and he described the album as sounding like early 1970s R&B as it would sound played by aliens and emanating from an alien spaceship.He also confirmed that the band was recording their new album at Trout Recording in Brooklyn, New York. In interviews in Billboard magazine and other press outlets, In April 2009, the single \"Energy\" from New Magnetic Wonder was performed by the contestants on the television show American Idol.",
"In interviews in Billboard magazine and other press outlets, In April 2009, the single \"Energy\" from New Magnetic Wonder was performed by the contestants on the television show American Idol. The result was the band's seventh album Travellers in Space and Time, released on April 20, 2010 on Simian Records.",
"The result was the band's seventh album Travellers in Space and Time, released on April 20, 2010 on Simian Records. Described by Schneider as a \"retro-futuristic\" concept album intended as a time capsule for listeners of the future, Travellers has drawn comparisons to the style of Electric Light Orchestra.",
"Described by Schneider as a \"retro-futuristic\" concept album intended as a time capsule for listeners of the future, Travellers has drawn comparisons to the style of Electric Light Orchestra. The record is the first Apples in Stereo album without Hilarie Sidney, making Schneider the last founding member remaining in the group, although John Hill joined before \"in stereo\" was added to the name.",
"The record is the first Apples in Stereo album without Hilarie Sidney, making Schneider the last founding member remaining in the group, although John Hill joined before \"in stereo\" was added to the name. The band was invited by Jeff Mangum of Neutral Milk Hotel to perform at the All Tomorrow's Parties festival that he curated in March 2012 in Minehead, England.",
"The band was invited by Jeff Mangum of Neutral Milk Hotel to perform at the All Tomorrow's Parties festival that he curated in March 2012 in Minehead, England. Schneider announced in May 2012 that The Apples in Stereo had begun work on a new album, described as being \"a very, very different sort of album.\"",
"Schneider announced in May 2012 that The Apples in Stereo had begun work on a new album, described as being \"a very, very different sort of album.\" In recent years, Schneider has explored a number of experimental music projects, such as the Teletron mind-controlled synthesizer and Non-Pythagorean scale of his own invention.",
"In recent years, Schneider has explored a number of experimental music projects, such as the Teletron mind-controlled synthesizer and Non-Pythagorean scale of his own invention. 2012–present: Death of Bill Doss, hiatus and future The death of Bill Doss, the band's keyboardist as well as the co-founder of fellow Elephant 6 band The Olivia Tremor Control, was announced on July 31, 2012.",
"2012–present: Death of Bill Doss, hiatus and future The death of Bill Doss, the band's keyboardist as well as the co-founder of fellow Elephant 6 band The Olivia Tremor Control, was announced on July 31, 2012. The cause of death was an aneurysm.",
"The cause of death was an aneurysm. Schneider released a statement saying, \"I am heartbroken by the loss of my life-long friend, collaborator and band-mate. My world will never be the same without the wonderful, funny, supremely creative Bill Doss.\"",
"My world will never be the same without the wonderful, funny, supremely creative Bill Doss.\" The band went into hiatus in the fall of 2012, after Doss' death and Schneider's acceptance into the PhD program in Mathematics at Emory University. In 2013, Phish started covering the Apples in Stereo song \"Energy.\"",
"In 2013, Phish started covering the Apples in Stereo song \"Energy.\" In early 2017, Schneider hinted at a new album called The Bicycle Day.",
"In early 2017, Schneider hinted at a new album called The Bicycle Day. He stated on Facebook that \"Apples are working on a concept record called The Bicycle Day but it is too deep of a task to finish while I'm in graduate school... it isn't a pop record though ... (Air-Sea Dolphin and my band Spaceflyte with John Ferguson are the new pop projects though)\".",
"He stated on Facebook that \"Apples are working on a concept record called The Bicycle Day but it is too deep of a task to finish while I'm in graduate school... it isn't a pop record though ... (Air-Sea Dolphin and my band Spaceflyte with John Ferguson are the new pop projects though)\". On August 10, 2017, the Apples played their first show since 2012 as a headlining act at the Athens Popfest music festival in Athens, Georgia with Marshmallow Coast, Antlered Auntlord, and Waxahatchee as prior performers.",
"On August 10, 2017, the Apples played their first show since 2012 as a headlining act at the Athens Popfest music festival in Athens, Georgia with Marshmallow Coast, Antlered Auntlord, and Waxahatchee as prior performers. In 2018, Schneider received a PhD in mathematics from Emory.",
"In 2018, Schneider received a PhD in mathematics from Emory. Band members Current members Robert Schneider - guitar, French horn, lead vocals (1992–present) John Hill - guitar, xylophone (1994–present) Eric Allen - bass, harmonica (1995–present) John Dufilho - drums, harp (2006–present) John Ferguson - vocals, keyboards, panflute (2007–present) Former members Hilarie Sidney - drums, vocals (1992-2006) Jim McIntyre - bass (1992-1994) Chris Parfitt - guitar (1992-1994) Chris McDuffie - keyboards (1998-2002) Bill Doss - vocals, keyboards, ukulele (2006-2012; died 2012) Timeline Selected discography Fun Trick Noisemaker (1995) Science Faire (1996) Tone Soul Evolution (1997) Her Wallpaper Reverie (1999) The Discovery of a World Inside the Moone (2000) Velocity of Sound (2002) New Magnetic Wonder (2007) Electronic Projects for Musicians (2008) Travellers in Space and Time (2010) References External links The Apples in Stereo at Elephant6.com Tractor Beam Management Apples in Stereo entry at Trouser Press The Apples in Stereo at Live Music Archive Interview with the Cornell Daily Sun Step Through the Portal The Elephant 6 Recording Company artists Musical groups from Denver Lo-fi music groups Musical groups established in 1992 Independent Music Awards winners Indie pop groups from Colorado Indie rock musical groups from Colorado Psychedelic pop music groups American power pop groups SpinART Records artists Yep Roc Records artists"
] |
[
"The Apples in Stereo",
"1991-1993: The Apples",
"What is The Apples?",
"Robert Schneider met Jim McIntyre",
"What did the two do together?",
"they discussed the idea of starting a band",
"What band did they start?",
"The Apples"
] | C_bb5692211f37444eb499f77b75cc7155_1 | Was this band successful? | 4 | Were The Apples successful? | The Apples in Stereo | In late 1991, Robert Schneider met Jim McIntyre on a commuter bus in Denver, Colorado. Schneider had recently moved to Colorado from Ruston, Louisiana, and often initiated conversations with McIntyre. When Schneider asked McIntyre what his music interests were, McIntyre named his favorite band: The Beach Boys -- a band Schneider was particularly fond of. Realizing that they shared many musical interests, McIntyre introduced Schneider to Hilarie Sidney. McIntyre already had a band called Von Hemmling in which McIntyre played bass and Sidney played drums. With Schneider, they discussed the idea of starting a band and perhaps a recording label. Schneider later met Chris Parfitt, who was also already in a band at the time that Schneider unsuccessfully auditioned for on bass. Schneider and Parfitt also became friends, however, and toyed with the idea of having a rock band similar to The Velvet Underground or Black Sabbath, with production qualities similar to that of The Beach Boys. Schneider then spent two weeks in Athens, Georgia recording music and spending time with his childhood friends Will Cullen Hart, Bill Doss and Jeff Mangum. He discussed the idea of starting a record label with them (which soon became The Elephant 6 Recording Company). It was also at this time that the name "The Apples" came about, inspired by the Pink Floyd song "Apples and Oranges". The earliest incarnation of the band began to form in 1992 upon Schneider's return to Denver, first between Schneider and Parfitt, both of whom played guitar. The two recruited McIntyre and Sidney during the autumn of that year, practicing material through the winter. Their first few live shows took place the following January, many of which were with the band Felt Pilotes. From February to April 1993, the band recorded their debut 7" EP, Tidal Wave, and released it in June as the first record ever to bear the Elephant 6 logo. CANNOTANSWER | From February to April 1993, the band recorded their debut 7" EP, Tidal Wave, and released it in June as the first record ever to bear the Elephant 6 logo. | The Apples in Stereo, styled as The Apples in stereo, are an American rock band associated with Elephant Six Collective, a group of bands also including Neutral Milk Hotel, The Olivia Tremor Control, Elf Power, Of Montreal, and Circulatory System. The band is largely a product of lead vocalist/guitarist/producer Robert Schneider, who writes the majority of the band's music and lyrics. Currently, The Apples in Stereo also includes longstanding members John Hill (rhythm guitar) and Eric Allen (bass), as well as more recent members John Dufilho (drums), John Ferguson (keyboards), and Ben Phelan (keyboards/guitar/trumpet).
The band's sound draws comparisons to the psychedelic rock of The Beatles and The Beach Boys during the 1960s, as well as to bands such as Electric Light Orchestra and Pavement, and also draws from lo-fi, garage rock, new wave, R&B, bubblegum pop, power pop, punk, electro-pop and experimental music.
The band is also well known for their appearance in a The Powerpuff Girls music video performing the song "Signal in the Sky (Let's Go)". It aired immediately after the show's seventh episode of season 4, "Superfriends", which was based on the song's lyrics. The band has appeared widely in television and film, including performances on The Colbert Report, Late Night with Conan O'Brien and Last Call with Carson Daly, guest hosting on MTV, song placements in numerous television shows, commercials and motion pictures, the performance of the single "Energy" by the contestants on American Idol, and a song recorded for children's show Yo Gabba Gabba.
Band history
1991–1993: The Apples
In late 1991, Robert Schneider met Jim McIntyre on a commuter bus in Denver, Colorado. Schneider had recently moved to Colorado from Ruston, Louisiana, and often initiated conversations with McIntyre. When Schneider asked McIntyre what his music interests were, McIntyre named his favorite band: The Beach Boys — a band Schneider was particularly fond of. Realizing that they shared many musical interests, McIntyre introduced Schneider to Hilarie Sidney. McIntyre already had a band called Von Hemmling in which McIntyre played bass and Sidney played drums. With Schneider, they discussed the idea of starting a band and perhaps a recording label. Schneider later met Chris Parfitt, who at the time was also already in a band (which Schneider unsuccessfully auditioned for on bass). Schneider and Parfitt also became friends, however, and toyed with the idea of having a rock band similar to The Velvet Underground or Black Sabbath, with production qualities similar to that of The Beach Boys.
Schneider then spent two weeks in Athens, Georgia recording music and spending time with his childhood friends Will Cullen Hart, Bill Doss and Jeff Mangum. He discussed the idea of starting a record label with them (which soon became The Elephant 6 Recording Company). It was also at this time that the name "The Apples" came about, inspired by the Pink Floyd song "Apples and Oranges".
The earliest incarnation of the band began to form in 1992 upon Schneider's return to Denver, first between Schneider and Parfitt, both of whom played guitar. The two recruited McIntyre and Sidney during the autumn of that year, practicing material through the winter. Their first few live shows took place the following January, many of which were with the band Felt Pilotes. From February to April 1993, the band recorded their debut 7" EP, Tidal Wave, and released it in June as the first record ever to bear the Elephant 6 logo.
1994–1995: Hypnotic Suggestion and Fun Trick Noisemaker
Several conflicts would lead Parfitt to leave the band in early 1994. John Hill, a former bandmate of McIntyre's, would join the band as a rhythm guitarist while Schneider began to grow more comfortable playing lead guitar. It was also at this time that Schneider began to take stronger creative control of the band, shifting its sound from its stronger rock qualities to a spacier pop sound. The band started work on a debut album, but it instead became Hypnotic Suggestion, a second EP. However, after SpinART Records offered to buy the band an 8-track in return for an album, new plans for an LP arose.
In mid-1994, after Hypnotic Suggestion, McIntyre would be the second to leave the band, due to a number of personal distresses as well as stylistic changes that arose with Parfitt's departure. Having great difficulty finding a new permanent bassist, the band would rotate a number of frequent bass contributors, including Jeff Mangum of Neutral Milk Hotel, Kurt Heasley of The Lilys, Kyle Jones, Joel Richardson, and Joel Evans. Jim McIntyre would also occasionally guest on bass. This continued to be the makeup of the band as they toured the country in late 1994, recording the first half of their new album in Glendora, California. In early 1995, the band finished the album, Fun Trick Noisemaker, at Kyle Jones's house (the birthplace of Schneider's Pet Sounds Studio).
Now with a LP to support, the band began touring again. Eric Allen, whom the band had previously auditioned as a guitarist after the departure of Chris Parfitt, joined the band as a much welcomed permanent bassist. Late 1995, Schneider relocated Pet Sounds Studio to Jim McIntyre's house. McIntyre continued to be involved in the recording and engineering of the band's albums until the mid-2000s.
A significantly different band from the original 1992 four-piece, the official name of the band gradually became "The Apples in Stereo", with the "in stereo" usually somewhat under-emphasized, whether in lower-case or in parentheses. Schneider described this in an interview: "It's very clearcut, actually: we're The Apples, the music's in stereo. It's not actually the band name – it's a step back from it, a band name once removed. We're The Apples, in stereo. Kind of like a TV show, 'in stereo!' That always seemed to be a really big deal, that it was in stereo." McIntyre later remarked, "It's cool the name changed cause the Apples and the Apples in Stereo were really two different entities."
1996–2005: Tone Soul Evolution to Velocity of Sound
The band continued touring through 1996, playing in Japan for the first time. Several early recording sessions were held at Pet Sounds for the band's second album, Tone Soul Evolution, but the members were dissatisfied with the quality of the recordings. The majority of the album's songs were re-recorded at Studio .45 in Hartford, Connecticut before the album's release. In 1998, Chris McDuffie joined the band, playing various instruments including organs, synthesizers and assorted percussion. He would leave the band before Velocity of Sound was released in 2002.
Several more albums were released by the band through the years, including the psychedelic "concept EP", Her Wallpaper Reverie, The Discovery of a World Inside the Moone and Velocity of Sound; both of the latter of which were progressively aimed at capturing the live sound of the band, which continued to tighten as they continued to perform hundreds of live shows (about 100 a year). In particular, the 2002 album Velocity of Sound rejects most of the psych-pop production sensibilities that would come to be associated with the band, instead featuring stripped-down production and sparse, rock instrumentation.
The band members would also continue to pursue careers in side bands and solo projects, with Schneider producing several albums for Elephant 6 artists. Schneider and drummer Hilarie Sidney were married for a time, with a son Max born in 2000. They have since been divorced.
The band went on a brief hiatus during 2004 as Schneider released the debut album from a new band called Ulysses and Sidney released the debut album from her new band The High Water Marks; both were released on Eenie Meenie Records. In 2005, The Apples in Stereo contributed "Liza Jane" to the Eenie Meenie compilation, Dimension Mix. It was also around this time that news began to circulate among various websites concerning the band's next studio album.
2006–2008: New Magnetic Wonder and evolving lineup
In August 2006, longtime drummer Hilarie Sidney officially announced her departure from the band during the band's closing set at the Athens Popfest music festival in Athens, Georgia. Her replacement, John Dufilho, lead singer and principal songwriter of The Deathray Davies, was announced in October 2006. 2006 touring member Bill Doss of The Olivia Tremor Control also quietly joined the band "officially" as its new keyboardist. John Ferguson of Big Fresh and Ulysses joined the Apples in 2007, also playing keyboards, and wearing a Doctor Who-esque space suit on stage.
In December 2006, Robert Schneider appeared on the popular television show The Colbert Report singing the song "Stephen Stephen" recorded by The Apples in Stereo to glorify the show's host Stephen Colbert, to kick off a guitar solo contest between Colbert and Chris Funk of The Decemberists.
On February 6, 2007, The Apples in Stereo released their sixth studio LP, New Magnetic Wonder. Finishing a ten-year deal with spinART Records, New Magnetic Wonder was the premiere release on Simian Records, a newly formed record label founded by Elijah Wood. This was followed by a long-awaited b-sides and rarities compilation titled Electronic Projects for Musicians, released on April 1.
In 2008, spinART Records went out of business. Rights for all major releases by The Apples in Stereo on the label were subsequently acquired by One Little Indian Records, and have since reverted to the band. In a recent interview, Schneider noted that the band's EPs have yet to have been re-released, but will likely be collected for another compilation. Such a compilation would probably include the re-releases of Look Away + 4, Let's Go! and a number of non-album songs released alongside New Magnetic Wonder.
On August 4, 2008, the band appeared again on The Colbert Report. They performed their song Can You Feel It? to promote the release of the Japanese picture disc.
In early 2008, their song "Same Old Drag" won in The 7th Annual Independent Music Awards for Best Pop/Rock Song. The same year Apples in Stereo were nominated for Independent Music Awards Pop/Rock Album of the Year. The band members also joined the 9th annual Independent Music Awards judging panel to assist independent musicians' careers.
2009–2011: #1 Hits Explosion and Travellers in Space and Time
Yep Roc released #1 Hits Explosion, an Apples in Stereo best-of album, on September 1, 2009.
In late 2008, PepsiCo released an advertisement with their song "Energy" off of their album New Magnetic Wonder.
In early 2009, Robert appeared on ABC News's segment called "amplified" and gave some short performances of songs from New Magnetic Wonder and a song from his project "Robert Bobbert and the bubble machine" and he described the album as sounding like early 1970s R&B as it would sound played by aliens and emanating from an alien spaceship.He also confirmed that the band was recording their new album at Trout Recording in Brooklyn, New York. In interviews in Billboard magazine and other press outlets,
In April 2009, the single "Energy" from New Magnetic Wonder was performed by the contestants on the television show American Idol.
The result was the band's seventh album Travellers in Space and Time, released on April 20, 2010 on Simian Records. Described by Schneider as a "retro-futuristic" concept album intended as a time capsule for listeners of the future, Travellers has drawn comparisons to the style of Electric Light Orchestra. The record is the first Apples in Stereo album without Hilarie Sidney, making Schneider the last founding member remaining in the group, although John Hill joined before "in stereo" was added to the name. The band was invited by Jeff Mangum of Neutral Milk Hotel to perform at the All Tomorrow's Parties festival that he curated in March 2012 in Minehead, England.
Schneider announced in May 2012 that The Apples in Stereo had begun work on a new album, described as being "a very, very different sort of album."
In recent years, Schneider has explored a number of experimental music projects, such as the Teletron mind-controlled synthesizer and Non-Pythagorean scale of his own invention.
2012–present: Death of Bill Doss, hiatus and future
The death of Bill Doss, the band's keyboardist as well as the co-founder of fellow Elephant 6 band The Olivia Tremor Control, was announced on July 31, 2012. The cause of death was an aneurysm. Schneider released a statement saying, "I am heartbroken by the loss of my life-long friend, collaborator and band-mate. My world will never be the same without the wonderful, funny, supremely creative Bill Doss."
The band went into hiatus in the fall of 2012, after Doss' death and Schneider's acceptance into the PhD program in Mathematics at Emory University. In 2013, Phish started covering the Apples in Stereo song "Energy."
In early 2017, Schneider hinted at a new album called The Bicycle Day. He stated on Facebook that "Apples are working on a concept record called The Bicycle Day but it is too deep of a task to finish while I'm in graduate school... it isn't a pop record though ... (Air-Sea Dolphin and my band Spaceflyte with John Ferguson are the new pop projects though)". On August 10, 2017, the Apples played their first show since 2012 as a headlining act at the Athens Popfest music festival in Athens, Georgia with Marshmallow Coast, Antlered Auntlord, and Waxahatchee as prior performers.
In 2018, Schneider received a PhD in mathematics from Emory.
Band members
Current members
Robert Schneider - guitar, French horn, lead vocals (1992–present)
John Hill - guitar, xylophone (1994–present)
Eric Allen - bass, harmonica (1995–present)
John Dufilho - drums, harp (2006–present)
John Ferguson - vocals, keyboards, panflute (2007–present)
Former members
Hilarie Sidney - drums, vocals (1992-2006)
Jim McIntyre - bass (1992-1994)
Chris Parfitt - guitar (1992-1994)
Chris McDuffie - keyboards (1998-2002)
Bill Doss - vocals, keyboards, ukulele (2006-2012; died 2012)
Timeline
Selected discography
Fun Trick Noisemaker (1995)
Science Faire (1996)
Tone Soul Evolution (1997)
Her Wallpaper Reverie (1999)
The Discovery of a World Inside the Moone (2000)
Velocity of Sound (2002)
New Magnetic Wonder (2007)
Electronic Projects for Musicians (2008)
Travellers in Space and Time (2010)
References
External links
The Apples in Stereo at Elephant6.com
Tractor Beam Management
Apples in Stereo entry at Trouser Press
The Apples in Stereo at Live Music Archive
Interview with the Cornell Daily Sun
Step Through the Portal
The Elephant 6 Recording Company artists
Musical groups from Denver
Lo-fi music groups
Musical groups established in 1992
Independent Music Awards winners
Indie pop groups from Colorado
Indie rock musical groups from Colorado
Psychedelic pop music groups
American power pop groups
SpinART Records artists
Yep Roc Records artists | true | [
"\"Sin Despertar\" is a pop song performed by Chilean band Kudai. It was released as the first single of their debut album Vuelo. This single was also their first single as Kudai, after they gave up their old name band Ciao. This single was very successful in Chile and Argentina and later in the rest of Latin America, including Mexico.\n\nMusic video\nKudai's music video for their first single ever \"Sin Despertar\", was filmed in Santiago, Chile and the location used in this music videos was in O'Higgins Park, Movistar Arena Santiago, the video was premiered on 24 June 2004 on MTV, and this was very successful on Los 10+ Pedidos and Top 20.\n\nCharts\n\nReferences\n\nExternal links \nKudai Official Site\nEMI Music Mexico\n\n2004 singles\nKudai songs\n2005 singles\n2006 singles\n2004 songs",
"Los Twisters (English: The Twisters) was a Chilean rock 'n' roll band, formed in 1961.\n\nHistory \nLos Twisters was one of the first South American bands which recorded twist songs. The band originated in the early 1960s after Los Lyons broke up. The band was highly influenced by Bill Haley, Chubby Checker and Elvis Presley.\n\nFrom their beginnings, the band had Luis Dimas as lead vocalist and they had their first successful singles: \"Penas juveniles\", Caprichitos, Me recordarás, Sueña and \"Mi secreto\". In 1963 it was selected as the most popular band in Chile; but it didn't continued so much, because the next year Cecilia weed it to them, inducing the band to emigrate to Argentina. In Argentina, the band was quite successful, and Luis Dimas became so popular, and they wanted to dissolve in 1966. After they broke up, the band lost popularity until they released their unique album, El show de Los Twisters.\n\nMembers \n Luis Dimas - lead vocals\n Fernando Allende - drums\n Jorge Toscano - bass\n Franz Benko - guitar\n Jorge Pedreros - accordion\n\nReferences \n\nChilean rock music groups"
] | [
"The Apples in Stereo, styled as The Apples in stereo, are an American rock band associated with Elephant Six Collective, a group of bands also including Neutral Milk Hotel, The Olivia Tremor Control, Elf Power, Of Montreal, and Circulatory System. The band is largely a product of lead vocalist/guitarist/producer Robert Schneider, who writes the majority of the band's music and lyrics.",
"The band is largely a product of lead vocalist/guitarist/producer Robert Schneider, who writes the majority of the band's music and lyrics. Currently, The Apples in Stereo also includes longstanding members John Hill (rhythm guitar) and Eric Allen (bass), as well as more recent members John Dufilho (drums), John Ferguson (keyboards), and Ben Phelan (keyboards/guitar/trumpet).",
"Currently, The Apples in Stereo also includes longstanding members John Hill (rhythm guitar) and Eric Allen (bass), as well as more recent members John Dufilho (drums), John Ferguson (keyboards), and Ben Phelan (keyboards/guitar/trumpet). The band's sound draws comparisons to the psychedelic rock of The Beatles and The Beach Boys during the 1960s, as well as to bands such as Electric Light Orchestra and Pavement, and also draws from lo-fi, garage rock, new wave, R&B, bubblegum pop, power pop, punk, electro-pop and experimental music.",
"The band's sound draws comparisons to the psychedelic rock of The Beatles and The Beach Boys during the 1960s, as well as to bands such as Electric Light Orchestra and Pavement, and also draws from lo-fi, garage rock, new wave, R&B, bubblegum pop, power pop, punk, electro-pop and experimental music. The band is also well known for their appearance in a The Powerpuff Girls music video performing the song \"Signal in the Sky (Let's Go)\".",
"The band is also well known for their appearance in a The Powerpuff Girls music video performing the song \"Signal in the Sky (Let's Go)\". It aired immediately after the show's seventh episode of season 4, \"Superfriends\", which was based on the song's lyrics.",
"It aired immediately after the show's seventh episode of season 4, \"Superfriends\", which was based on the song's lyrics. The band has appeared widely in television and film, including performances on The Colbert Report, Late Night with Conan O'Brien and Last Call with Carson Daly, guest hosting on MTV, song placements in numerous television shows, commercials and motion pictures, the performance of the single \"Energy\" by the contestants on American Idol, and a song recorded for children's show Yo Gabba Gabba.",
"The band has appeared widely in television and film, including performances on The Colbert Report, Late Night with Conan O'Brien and Last Call with Carson Daly, guest hosting on MTV, song placements in numerous television shows, commercials and motion pictures, the performance of the single \"Energy\" by the contestants on American Idol, and a song recorded for children's show Yo Gabba Gabba. Band history 1991–1993: The Apples In late 1991, Robert Schneider met Jim McIntyre on a commuter bus in Denver, Colorado.",
"Band history 1991–1993: The Apples In late 1991, Robert Schneider met Jim McIntyre on a commuter bus in Denver, Colorado. Schneider had recently moved to Colorado from Ruston, Louisiana, and often initiated conversations with McIntyre.",
"Schneider had recently moved to Colorado from Ruston, Louisiana, and often initiated conversations with McIntyre. When Schneider asked McIntyre what his music interests were, McIntyre named his favorite band: The Beach Boys — a band Schneider was particularly fond of. Realizing that they shared many musical interests, McIntyre introduced Schneider to Hilarie Sidney.",
"Realizing that they shared many musical interests, McIntyre introduced Schneider to Hilarie Sidney. McIntyre already had a band called Von Hemmling in which McIntyre played bass and Sidney played drums. With Schneider, they discussed the idea of starting a band and perhaps a recording label.",
"With Schneider, they discussed the idea of starting a band and perhaps a recording label. Schneider later met Chris Parfitt, who at the time was also already in a band (which Schneider unsuccessfully auditioned for on bass).",
"Schneider later met Chris Parfitt, who at the time was also already in a band (which Schneider unsuccessfully auditioned for on bass). Schneider and Parfitt also became friends, however, and toyed with the idea of having a rock band similar to The Velvet Underground or Black Sabbath, with production qualities similar to that of The Beach Boys.",
"Schneider and Parfitt also became friends, however, and toyed with the idea of having a rock band similar to The Velvet Underground or Black Sabbath, with production qualities similar to that of The Beach Boys. Schneider then spent two weeks in Athens, Georgia recording music and spending time with his childhood friends Will Cullen Hart, Bill Doss and Jeff Mangum.",
"Schneider then spent two weeks in Athens, Georgia recording music and spending time with his childhood friends Will Cullen Hart, Bill Doss and Jeff Mangum. He discussed the idea of starting a record label with them (which soon became The Elephant 6 Recording Company).",
"He discussed the idea of starting a record label with them (which soon became The Elephant 6 Recording Company). It was also at this time that the name \"The Apples\" came about, inspired by the Pink Floyd song \"Apples and Oranges\".",
"It was also at this time that the name \"The Apples\" came about, inspired by the Pink Floyd song \"Apples and Oranges\". The earliest incarnation of the band began to form in 1992 upon Schneider's return to Denver, first between Schneider and Parfitt, both of whom played guitar.",
"The earliest incarnation of the band began to form in 1992 upon Schneider's return to Denver, first between Schneider and Parfitt, both of whom played guitar. The two recruited McIntyre and Sidney during the autumn of that year, practicing material through the winter.",
"The two recruited McIntyre and Sidney during the autumn of that year, practicing material through the winter. Their first few live shows took place the following January, many of which were with the band Felt Pilotes.",
"Their first few live shows took place the following January, many of which were with the band Felt Pilotes. From February to April 1993, the band recorded their debut 7\" EP, Tidal Wave, and released it in June as the first record ever to bear the Elephant 6 logo.",
"From February to April 1993, the band recorded their debut 7\" EP, Tidal Wave, and released it in June as the first record ever to bear the Elephant 6 logo. 1994–1995: Hypnotic Suggestion and Fun Trick Noisemaker Several conflicts would lead Parfitt to leave the band in early 1994.",
"1994–1995: Hypnotic Suggestion and Fun Trick Noisemaker Several conflicts would lead Parfitt to leave the band in early 1994. John Hill, a former bandmate of McIntyre's, would join the band as a rhythm guitarist while Schneider began to grow more comfortable playing lead guitar.",
"John Hill, a former bandmate of McIntyre's, would join the band as a rhythm guitarist while Schneider began to grow more comfortable playing lead guitar. It was also at this time that Schneider began to take stronger creative control of the band, shifting its sound from its stronger rock qualities to a spacier pop sound.",
"It was also at this time that Schneider began to take stronger creative control of the band, shifting its sound from its stronger rock qualities to a spacier pop sound. The band started work on a debut album, but it instead became Hypnotic Suggestion, a second EP.",
"The band started work on a debut album, but it instead became Hypnotic Suggestion, a second EP. However, after SpinART Records offered to buy the band an 8-track in return for an album, new plans for an LP arose.",
"However, after SpinART Records offered to buy the band an 8-track in return for an album, new plans for an LP arose. In mid-1994, after Hypnotic Suggestion, McIntyre would be the second to leave the band, due to a number of personal distresses as well as stylistic changes that arose with Parfitt's departure.",
"In mid-1994, after Hypnotic Suggestion, McIntyre would be the second to leave the band, due to a number of personal distresses as well as stylistic changes that arose with Parfitt's departure. Having great difficulty finding a new permanent bassist, the band would rotate a number of frequent bass contributors, including Jeff Mangum of Neutral Milk Hotel, Kurt Heasley of The Lilys, Kyle Jones, Joel Richardson, and Joel Evans.",
"Having great difficulty finding a new permanent bassist, the band would rotate a number of frequent bass contributors, including Jeff Mangum of Neutral Milk Hotel, Kurt Heasley of The Lilys, Kyle Jones, Joel Richardson, and Joel Evans. Jim McIntyre would also occasionally guest on bass.",
"Jim McIntyre would also occasionally guest on bass. This continued to be the makeup of the band as they toured the country in late 1994, recording the first half of their new album in Glendora, California.",
"This continued to be the makeup of the band as they toured the country in late 1994, recording the first half of their new album in Glendora, California. In early 1995, the band finished the album, Fun Trick Noisemaker, at Kyle Jones's house (the birthplace of Schneider's Pet Sounds Studio).",
"In early 1995, the band finished the album, Fun Trick Noisemaker, at Kyle Jones's house (the birthplace of Schneider's Pet Sounds Studio). Now with a LP to support, the band began touring again.",
"Now with a LP to support, the band began touring again. Eric Allen, whom the band had previously auditioned as a guitarist after the departure of Chris Parfitt, joined the band as a much welcomed permanent bassist. Late 1995, Schneider relocated Pet Sounds Studio to Jim McIntyre's house.",
"Late 1995, Schneider relocated Pet Sounds Studio to Jim McIntyre's house. McIntyre continued to be involved in the recording and engineering of the band's albums until the mid-2000s.",
"McIntyre continued to be involved in the recording and engineering of the band's albums until the mid-2000s. A significantly different band from the original 1992 four-piece, the official name of the band gradually became \"The Apples in Stereo\", with the \"in stereo\" usually somewhat under-emphasized, whether in lower-case or in parentheses.",
"A significantly different band from the original 1992 four-piece, the official name of the band gradually became \"The Apples in Stereo\", with the \"in stereo\" usually somewhat under-emphasized, whether in lower-case or in parentheses. Schneider described this in an interview: \"It's very clearcut, actually: we're The Apples, the music's in stereo.",
"Schneider described this in an interview: \"It's very clearcut, actually: we're The Apples, the music's in stereo. It's not actually the band name – it's a step back from it, a band name once removed. We're The Apples, in stereo.",
"We're The Apples, in stereo. Kind of like a TV show, 'in stereo!' That always seemed to be a really big deal, that it was in stereo.\" McIntyre later remarked, \"It's cool the name changed cause the Apples and the Apples in Stereo were really two different entities.\"",
"McIntyre later remarked, \"It's cool the name changed cause the Apples and the Apples in Stereo were really two different entities.\" 1996–2005: Tone Soul Evolution to Velocity of Sound The band continued touring through 1996, playing in Japan for the first time.",
"1996–2005: Tone Soul Evolution to Velocity of Sound The band continued touring through 1996, playing in Japan for the first time. Several early recording sessions were held at Pet Sounds for the band's second album, Tone Soul Evolution, but the members were dissatisfied with the quality of the recordings.",
"Several early recording sessions were held at Pet Sounds for the band's second album, Tone Soul Evolution, but the members were dissatisfied with the quality of the recordings. The majority of the album's songs were re-recorded at Studio .45 in Hartford, Connecticut before the album's release.",
"The majority of the album's songs were re-recorded at Studio .45 in Hartford, Connecticut before the album's release. In 1998, Chris McDuffie joined the band, playing various instruments including organs, synthesizers and assorted percussion. He would leave the band before Velocity of Sound was released in 2002.",
"He would leave the band before Velocity of Sound was released in 2002. Several more albums were released by the band through the years, including the psychedelic \"concept EP\", Her Wallpaper Reverie, The Discovery of a World Inside the Moone and Velocity of Sound; both of the latter of which were progressively aimed at capturing the live sound of the band, which continued to tighten as they continued to perform hundreds of live shows (about 100 a year).",
"Several more albums were released by the band through the years, including the psychedelic \"concept EP\", Her Wallpaper Reverie, The Discovery of a World Inside the Moone and Velocity of Sound; both of the latter of which were progressively aimed at capturing the live sound of the band, which continued to tighten as they continued to perform hundreds of live shows (about 100 a year). In particular, the 2002 album Velocity of Sound rejects most of the psych-pop production sensibilities that would come to be associated with the band, instead featuring stripped-down production and sparse, rock instrumentation.",
"In particular, the 2002 album Velocity of Sound rejects most of the psych-pop production sensibilities that would come to be associated with the band, instead featuring stripped-down production and sparse, rock instrumentation. The band members would also continue to pursue careers in side bands and solo projects, with Schneider producing several albums for Elephant 6 artists.",
"The band members would also continue to pursue careers in side bands and solo projects, with Schneider producing several albums for Elephant 6 artists. Schneider and drummer Hilarie Sidney were married for a time, with a son Max born in 2000. They have since been divorced.",
"They have since been divorced. They have since been divorced. The band went on a brief hiatus during 2004 as Schneider released the debut album from a new band called Ulysses and Sidney released the debut album from her new band The High Water Marks; both were released on Eenie Meenie Records.",
"The band went on a brief hiatus during 2004 as Schneider released the debut album from a new band called Ulysses and Sidney released the debut album from her new band The High Water Marks; both were released on Eenie Meenie Records. In 2005, The Apples in Stereo contributed \"Liza Jane\" to the Eenie Meenie compilation, Dimension Mix.",
"In 2005, The Apples in Stereo contributed \"Liza Jane\" to the Eenie Meenie compilation, Dimension Mix. It was also around this time that news began to circulate among various websites concerning the band's next studio album.",
"It was also around this time that news began to circulate among various websites concerning the band's next studio album. 2006–2008: New Magnetic Wonder and evolving lineup In August 2006, longtime drummer Hilarie Sidney officially announced her departure from the band during the band's closing set at the Athens Popfest music festival in Athens, Georgia.",
"2006–2008: New Magnetic Wonder and evolving lineup In August 2006, longtime drummer Hilarie Sidney officially announced her departure from the band during the band's closing set at the Athens Popfest music festival in Athens, Georgia. Her replacement, John Dufilho, lead singer and principal songwriter of The Deathray Davies, was announced in October 2006.",
"Her replacement, John Dufilho, lead singer and principal songwriter of The Deathray Davies, was announced in October 2006. 2006 touring member Bill Doss of The Olivia Tremor Control also quietly joined the band \"officially\" as its new keyboardist.",
"2006 touring member Bill Doss of The Olivia Tremor Control also quietly joined the band \"officially\" as its new keyboardist. John Ferguson of Big Fresh and Ulysses joined the Apples in 2007, also playing keyboards, and wearing a Doctor Who-esque space suit on stage.",
"John Ferguson of Big Fresh and Ulysses joined the Apples in 2007, also playing keyboards, and wearing a Doctor Who-esque space suit on stage. In December 2006, Robert Schneider appeared on the popular television show The Colbert Report singing the song \"Stephen Stephen\" recorded by The Apples in Stereo to glorify the show's host Stephen Colbert, to kick off a guitar solo contest between Colbert and Chris Funk of The Decemberists.",
"In December 2006, Robert Schneider appeared on the popular television show The Colbert Report singing the song \"Stephen Stephen\" recorded by The Apples in Stereo to glorify the show's host Stephen Colbert, to kick off a guitar solo contest between Colbert and Chris Funk of The Decemberists. On February 6, 2007, The Apples in Stereo released their sixth studio LP, New Magnetic Wonder.",
"On February 6, 2007, The Apples in Stereo released their sixth studio LP, New Magnetic Wonder. Finishing a ten-year deal with spinART Records, New Magnetic Wonder was the premiere release on Simian Records, a newly formed record label founded by Elijah Wood.",
"Finishing a ten-year deal with spinART Records, New Magnetic Wonder was the premiere release on Simian Records, a newly formed record label founded by Elijah Wood. This was followed by a long-awaited b-sides and rarities compilation titled Electronic Projects for Musicians, released on April 1. In 2008, spinART Records went out of business.",
"In 2008, spinART Records went out of business. Rights for all major releases by The Apples in Stereo on the label were subsequently acquired by One Little Indian Records, and have since reverted to the band.",
"Rights for all major releases by The Apples in Stereo on the label were subsequently acquired by One Little Indian Records, and have since reverted to the band. In a recent interview, Schneider noted that the band's EPs have yet to have been re-released, but will likely be collected for another compilation.",
"In a recent interview, Schneider noted that the band's EPs have yet to have been re-released, but will likely be collected for another compilation. Such a compilation would probably include the re-releases of Look Away + 4, Let's Go! and a number of non-album songs released alongside New Magnetic Wonder.",
"and a number of non-album songs released alongside New Magnetic Wonder. On August 4, 2008, the band appeared again on The Colbert Report. They performed their song Can You Feel It? to promote the release of the Japanese picture disc.",
"to promote the release of the Japanese picture disc. In early 2008, their song \"Same Old Drag\" won in The 7th Annual Independent Music Awards for Best Pop/Rock Song. The same year Apples in Stereo were nominated for Independent Music Awards Pop/Rock Album of the Year.",
"The same year Apples in Stereo were nominated for Independent Music Awards Pop/Rock Album of the Year. The band members also joined the 9th annual Independent Music Awards judging panel to assist independent musicians' careers.",
"The band members also joined the 9th annual Independent Music Awards judging panel to assist independent musicians' careers. 2009–2011: #1 Hits Explosion and Travellers in Space and Time Yep Roc released #1 Hits Explosion, an Apples in Stereo best-of album, on September 1, 2009.",
"2009–2011: #1 Hits Explosion and Travellers in Space and Time Yep Roc released #1 Hits Explosion, an Apples in Stereo best-of album, on September 1, 2009. In late 2008, PepsiCo released an advertisement with their song \"Energy\" off of their album New Magnetic Wonder.",
"In late 2008, PepsiCo released an advertisement with their song \"Energy\" off of their album New Magnetic Wonder. In early 2009, Robert appeared on ABC News's segment called \"amplified\" and gave some short performances of songs from New Magnetic Wonder and a song from his project \"Robert Bobbert and the bubble machine\" and he described the album as sounding like early 1970s R&B as it would sound played by aliens and emanating from an alien spaceship.He also confirmed that the band was recording their new album at Trout Recording in Brooklyn, New York.",
"In early 2009, Robert appeared on ABC News's segment called \"amplified\" and gave some short performances of songs from New Magnetic Wonder and a song from his project \"Robert Bobbert and the bubble machine\" and he described the album as sounding like early 1970s R&B as it would sound played by aliens and emanating from an alien spaceship.He also confirmed that the band was recording their new album at Trout Recording in Brooklyn, New York. In interviews in Billboard magazine and other press outlets, In April 2009, the single \"Energy\" from New Magnetic Wonder was performed by the contestants on the television show American Idol.",
"In interviews in Billboard magazine and other press outlets, In April 2009, the single \"Energy\" from New Magnetic Wonder was performed by the contestants on the television show American Idol. The result was the band's seventh album Travellers in Space and Time, released on April 20, 2010 on Simian Records.",
"The result was the band's seventh album Travellers in Space and Time, released on April 20, 2010 on Simian Records. Described by Schneider as a \"retro-futuristic\" concept album intended as a time capsule for listeners of the future, Travellers has drawn comparisons to the style of Electric Light Orchestra.",
"Described by Schneider as a \"retro-futuristic\" concept album intended as a time capsule for listeners of the future, Travellers has drawn comparisons to the style of Electric Light Orchestra. The record is the first Apples in Stereo album without Hilarie Sidney, making Schneider the last founding member remaining in the group, although John Hill joined before \"in stereo\" was added to the name.",
"The record is the first Apples in Stereo album without Hilarie Sidney, making Schneider the last founding member remaining in the group, although John Hill joined before \"in stereo\" was added to the name. The band was invited by Jeff Mangum of Neutral Milk Hotel to perform at the All Tomorrow's Parties festival that he curated in March 2012 in Minehead, England.",
"The band was invited by Jeff Mangum of Neutral Milk Hotel to perform at the All Tomorrow's Parties festival that he curated in March 2012 in Minehead, England. Schneider announced in May 2012 that The Apples in Stereo had begun work on a new album, described as being \"a very, very different sort of album.\"",
"Schneider announced in May 2012 that The Apples in Stereo had begun work on a new album, described as being \"a very, very different sort of album.\" In recent years, Schneider has explored a number of experimental music projects, such as the Teletron mind-controlled synthesizer and Non-Pythagorean scale of his own invention.",
"In recent years, Schneider has explored a number of experimental music projects, such as the Teletron mind-controlled synthesizer and Non-Pythagorean scale of his own invention. 2012–present: Death of Bill Doss, hiatus and future The death of Bill Doss, the band's keyboardist as well as the co-founder of fellow Elephant 6 band The Olivia Tremor Control, was announced on July 31, 2012.",
"2012–present: Death of Bill Doss, hiatus and future The death of Bill Doss, the band's keyboardist as well as the co-founder of fellow Elephant 6 band The Olivia Tremor Control, was announced on July 31, 2012. The cause of death was an aneurysm.",
"The cause of death was an aneurysm. Schneider released a statement saying, \"I am heartbroken by the loss of my life-long friend, collaborator and band-mate. My world will never be the same without the wonderful, funny, supremely creative Bill Doss.\"",
"My world will never be the same without the wonderful, funny, supremely creative Bill Doss.\" The band went into hiatus in the fall of 2012, after Doss' death and Schneider's acceptance into the PhD program in Mathematics at Emory University. In 2013, Phish started covering the Apples in Stereo song \"Energy.\"",
"In 2013, Phish started covering the Apples in Stereo song \"Energy.\" In early 2017, Schneider hinted at a new album called The Bicycle Day.",
"In early 2017, Schneider hinted at a new album called The Bicycle Day. He stated on Facebook that \"Apples are working on a concept record called The Bicycle Day but it is too deep of a task to finish while I'm in graduate school... it isn't a pop record though ... (Air-Sea Dolphin and my band Spaceflyte with John Ferguson are the new pop projects though)\".",
"He stated on Facebook that \"Apples are working on a concept record called The Bicycle Day but it is too deep of a task to finish while I'm in graduate school... it isn't a pop record though ... (Air-Sea Dolphin and my band Spaceflyte with John Ferguson are the new pop projects though)\". On August 10, 2017, the Apples played their first show since 2012 as a headlining act at the Athens Popfest music festival in Athens, Georgia with Marshmallow Coast, Antlered Auntlord, and Waxahatchee as prior performers.",
"On August 10, 2017, the Apples played their first show since 2012 as a headlining act at the Athens Popfest music festival in Athens, Georgia with Marshmallow Coast, Antlered Auntlord, and Waxahatchee as prior performers. In 2018, Schneider received a PhD in mathematics from Emory.",
"In 2018, Schneider received a PhD in mathematics from Emory. Band members Current members Robert Schneider - guitar, French horn, lead vocals (1992–present) John Hill - guitar, xylophone (1994–present) Eric Allen - bass, harmonica (1995–present) John Dufilho - drums, harp (2006–present) John Ferguson - vocals, keyboards, panflute (2007–present) Former members Hilarie Sidney - drums, vocals (1992-2006) Jim McIntyre - bass (1992-1994) Chris Parfitt - guitar (1992-1994) Chris McDuffie - keyboards (1998-2002) Bill Doss - vocals, keyboards, ukulele (2006-2012; died 2012) Timeline Selected discography Fun Trick Noisemaker (1995) Science Faire (1996) Tone Soul Evolution (1997) Her Wallpaper Reverie (1999) The Discovery of a World Inside the Moone (2000) Velocity of Sound (2002) New Magnetic Wonder (2007) Electronic Projects for Musicians (2008) Travellers in Space and Time (2010) References External links The Apples in Stereo at Elephant6.com Tractor Beam Management Apples in Stereo entry at Trouser Press The Apples in Stereo at Live Music Archive Interview with the Cornell Daily Sun Step Through the Portal The Elephant 6 Recording Company artists Musical groups from Denver Lo-fi music groups Musical groups established in 1992 Independent Music Awards winners Indie pop groups from Colorado Indie rock musical groups from Colorado Psychedelic pop music groups American power pop groups SpinART Records artists Yep Roc Records artists"
] |
[
"The Apples in Stereo",
"1991-1993: The Apples",
"What is The Apples?",
"Robert Schneider met Jim McIntyre",
"What did the two do together?",
"they discussed the idea of starting a band",
"What band did they start?",
"The Apples",
"Was this band successful?",
"From February to April 1993, the band recorded their debut 7\" EP, Tidal Wave, and released it in June as the first record ever to bear the Elephant 6 logo.",
"Did they receive any recognition or awards?",
"I don't know."
] | C_bb5692211f37444eb499f77b75cc7155_1 | What else did they do during this time? | 6 | Besides releasing Tidal Wave, what else did The Apples do during 1991-1993? | The Apples in Stereo | In late 1991, Robert Schneider met Jim McIntyre on a commuter bus in Denver, Colorado. Schneider had recently moved to Colorado from Ruston, Louisiana, and often initiated conversations with McIntyre. When Schneider asked McIntyre what his music interests were, McIntyre named his favorite band: The Beach Boys -- a band Schneider was particularly fond of. Realizing that they shared many musical interests, McIntyre introduced Schneider to Hilarie Sidney. McIntyre already had a band called Von Hemmling in which McIntyre played bass and Sidney played drums. With Schneider, they discussed the idea of starting a band and perhaps a recording label. Schneider later met Chris Parfitt, who was also already in a band at the time that Schneider unsuccessfully auditioned for on bass. Schneider and Parfitt also became friends, however, and toyed with the idea of having a rock band similar to The Velvet Underground or Black Sabbath, with production qualities similar to that of The Beach Boys. Schneider then spent two weeks in Athens, Georgia recording music and spending time with his childhood friends Will Cullen Hart, Bill Doss and Jeff Mangum. He discussed the idea of starting a record label with them (which soon became The Elephant 6 Recording Company). It was also at this time that the name "The Apples" came about, inspired by the Pink Floyd song "Apples and Oranges". The earliest incarnation of the band began to form in 1992 upon Schneider's return to Denver, first between Schneider and Parfitt, both of whom played guitar. The two recruited McIntyre and Sidney during the autumn of that year, practicing material through the winter. Their first few live shows took place the following January, many of which were with the band Felt Pilotes. From February to April 1993, the band recorded their debut 7" EP, Tidal Wave, and released it in June as the first record ever to bear the Elephant 6 logo. CANNOTANSWER | Schneider then spent two weeks in Athens, Georgia recording music and spending time with his childhood friends Will Cullen Hart, Bill Doss and Jeff Mangum. | The Apples in Stereo, styled as The Apples in stereo, are an American rock band associated with Elephant Six Collective, a group of bands also including Neutral Milk Hotel, The Olivia Tremor Control, Elf Power, Of Montreal, and Circulatory System. The band is largely a product of lead vocalist/guitarist/producer Robert Schneider, who writes the majority of the band's music and lyrics. Currently, The Apples in Stereo also includes longstanding members John Hill (rhythm guitar) and Eric Allen (bass), as well as more recent members John Dufilho (drums), John Ferguson (keyboards), and Ben Phelan (keyboards/guitar/trumpet).
The band's sound draws comparisons to the psychedelic rock of The Beatles and The Beach Boys during the 1960s, as well as to bands such as Electric Light Orchestra and Pavement, and also draws from lo-fi, garage rock, new wave, R&B, bubblegum pop, power pop, punk, electro-pop and experimental music.
The band is also well known for their appearance in a The Powerpuff Girls music video performing the song "Signal in the Sky (Let's Go)". It aired immediately after the show's seventh episode of season 4, "Superfriends", which was based on the song's lyrics. The band has appeared widely in television and film, including performances on The Colbert Report, Late Night with Conan O'Brien and Last Call with Carson Daly, guest hosting on MTV, song placements in numerous television shows, commercials and motion pictures, the performance of the single "Energy" by the contestants on American Idol, and a song recorded for children's show Yo Gabba Gabba.
Band history
1991–1993: The Apples
In late 1991, Robert Schneider met Jim McIntyre on a commuter bus in Denver, Colorado. Schneider had recently moved to Colorado from Ruston, Louisiana, and often initiated conversations with McIntyre. When Schneider asked McIntyre what his music interests were, McIntyre named his favorite band: The Beach Boys — a band Schneider was particularly fond of. Realizing that they shared many musical interests, McIntyre introduced Schneider to Hilarie Sidney. McIntyre already had a band called Von Hemmling in which McIntyre played bass and Sidney played drums. With Schneider, they discussed the idea of starting a band and perhaps a recording label. Schneider later met Chris Parfitt, who at the time was also already in a band (which Schneider unsuccessfully auditioned for on bass). Schneider and Parfitt also became friends, however, and toyed with the idea of having a rock band similar to The Velvet Underground or Black Sabbath, with production qualities similar to that of The Beach Boys.
Schneider then spent two weeks in Athens, Georgia recording music and spending time with his childhood friends Will Cullen Hart, Bill Doss and Jeff Mangum. He discussed the idea of starting a record label with them (which soon became The Elephant 6 Recording Company). It was also at this time that the name "The Apples" came about, inspired by the Pink Floyd song "Apples and Oranges".
The earliest incarnation of the band began to form in 1992 upon Schneider's return to Denver, first between Schneider and Parfitt, both of whom played guitar. The two recruited McIntyre and Sidney during the autumn of that year, practicing material through the winter. Their first few live shows took place the following January, many of which were with the band Felt Pilotes. From February to April 1993, the band recorded their debut 7" EP, Tidal Wave, and released it in June as the first record ever to bear the Elephant 6 logo.
1994–1995: Hypnotic Suggestion and Fun Trick Noisemaker
Several conflicts would lead Parfitt to leave the band in early 1994. John Hill, a former bandmate of McIntyre's, would join the band as a rhythm guitarist while Schneider began to grow more comfortable playing lead guitar. It was also at this time that Schneider began to take stronger creative control of the band, shifting its sound from its stronger rock qualities to a spacier pop sound. The band started work on a debut album, but it instead became Hypnotic Suggestion, a second EP. However, after SpinART Records offered to buy the band an 8-track in return for an album, new plans for an LP arose.
In mid-1994, after Hypnotic Suggestion, McIntyre would be the second to leave the band, due to a number of personal distresses as well as stylistic changes that arose with Parfitt's departure. Having great difficulty finding a new permanent bassist, the band would rotate a number of frequent bass contributors, including Jeff Mangum of Neutral Milk Hotel, Kurt Heasley of The Lilys, Kyle Jones, Joel Richardson, and Joel Evans. Jim McIntyre would also occasionally guest on bass. This continued to be the makeup of the band as they toured the country in late 1994, recording the first half of their new album in Glendora, California. In early 1995, the band finished the album, Fun Trick Noisemaker, at Kyle Jones's house (the birthplace of Schneider's Pet Sounds Studio).
Now with a LP to support, the band began touring again. Eric Allen, whom the band had previously auditioned as a guitarist after the departure of Chris Parfitt, joined the band as a much welcomed permanent bassist. Late 1995, Schneider relocated Pet Sounds Studio to Jim McIntyre's house. McIntyre continued to be involved in the recording and engineering of the band's albums until the mid-2000s.
A significantly different band from the original 1992 four-piece, the official name of the band gradually became "The Apples in Stereo", with the "in stereo" usually somewhat under-emphasized, whether in lower-case or in parentheses. Schneider described this in an interview: "It's very clearcut, actually: we're The Apples, the music's in stereo. It's not actually the band name – it's a step back from it, a band name once removed. We're The Apples, in stereo. Kind of like a TV show, 'in stereo!' That always seemed to be a really big deal, that it was in stereo." McIntyre later remarked, "It's cool the name changed cause the Apples and the Apples in Stereo were really two different entities."
1996–2005: Tone Soul Evolution to Velocity of Sound
The band continued touring through 1996, playing in Japan for the first time. Several early recording sessions were held at Pet Sounds for the band's second album, Tone Soul Evolution, but the members were dissatisfied with the quality of the recordings. The majority of the album's songs were re-recorded at Studio .45 in Hartford, Connecticut before the album's release. In 1998, Chris McDuffie joined the band, playing various instruments including organs, synthesizers and assorted percussion. He would leave the band before Velocity of Sound was released in 2002.
Several more albums were released by the band through the years, including the psychedelic "concept EP", Her Wallpaper Reverie, The Discovery of a World Inside the Moone and Velocity of Sound; both of the latter of which were progressively aimed at capturing the live sound of the band, which continued to tighten as they continued to perform hundreds of live shows (about 100 a year). In particular, the 2002 album Velocity of Sound rejects most of the psych-pop production sensibilities that would come to be associated with the band, instead featuring stripped-down production and sparse, rock instrumentation.
The band members would also continue to pursue careers in side bands and solo projects, with Schneider producing several albums for Elephant 6 artists. Schneider and drummer Hilarie Sidney were married for a time, with a son Max born in 2000. They have since been divorced.
The band went on a brief hiatus during 2004 as Schneider released the debut album from a new band called Ulysses and Sidney released the debut album from her new band The High Water Marks; both were released on Eenie Meenie Records. In 2005, The Apples in Stereo contributed "Liza Jane" to the Eenie Meenie compilation, Dimension Mix. It was also around this time that news began to circulate among various websites concerning the band's next studio album.
2006–2008: New Magnetic Wonder and evolving lineup
In August 2006, longtime drummer Hilarie Sidney officially announced her departure from the band during the band's closing set at the Athens Popfest music festival in Athens, Georgia. Her replacement, John Dufilho, lead singer and principal songwriter of The Deathray Davies, was announced in October 2006. 2006 touring member Bill Doss of The Olivia Tremor Control also quietly joined the band "officially" as its new keyboardist. John Ferguson of Big Fresh and Ulysses joined the Apples in 2007, also playing keyboards, and wearing a Doctor Who-esque space suit on stage.
In December 2006, Robert Schneider appeared on the popular television show The Colbert Report singing the song "Stephen Stephen" recorded by The Apples in Stereo to glorify the show's host Stephen Colbert, to kick off a guitar solo contest between Colbert and Chris Funk of The Decemberists.
On February 6, 2007, The Apples in Stereo released their sixth studio LP, New Magnetic Wonder. Finishing a ten-year deal with spinART Records, New Magnetic Wonder was the premiere release on Simian Records, a newly formed record label founded by Elijah Wood. This was followed by a long-awaited b-sides and rarities compilation titled Electronic Projects for Musicians, released on April 1.
In 2008, spinART Records went out of business. Rights for all major releases by The Apples in Stereo on the label were subsequently acquired by One Little Indian Records, and have since reverted to the band. In a recent interview, Schneider noted that the band's EPs have yet to have been re-released, but will likely be collected for another compilation. Such a compilation would probably include the re-releases of Look Away + 4, Let's Go! and a number of non-album songs released alongside New Magnetic Wonder.
On August 4, 2008, the band appeared again on The Colbert Report. They performed their song Can You Feel It? to promote the release of the Japanese picture disc.
In early 2008, their song "Same Old Drag" won in The 7th Annual Independent Music Awards for Best Pop/Rock Song. The same year Apples in Stereo were nominated for Independent Music Awards Pop/Rock Album of the Year. The band members also joined the 9th annual Independent Music Awards judging panel to assist independent musicians' careers.
2009–2011: #1 Hits Explosion and Travellers in Space and Time
Yep Roc released #1 Hits Explosion, an Apples in Stereo best-of album, on September 1, 2009.
In late 2008, PepsiCo released an advertisement with their song "Energy" off of their album New Magnetic Wonder.
In early 2009, Robert appeared on ABC News's segment called "amplified" and gave some short performances of songs from New Magnetic Wonder and a song from his project "Robert Bobbert and the bubble machine" and he described the album as sounding like early 1970s R&B as it would sound played by aliens and emanating from an alien spaceship.He also confirmed that the band was recording their new album at Trout Recording in Brooklyn, New York. In interviews in Billboard magazine and other press outlets,
In April 2009, the single "Energy" from New Magnetic Wonder was performed by the contestants on the television show American Idol.
The result was the band's seventh album Travellers in Space and Time, released on April 20, 2010 on Simian Records. Described by Schneider as a "retro-futuristic" concept album intended as a time capsule for listeners of the future, Travellers has drawn comparisons to the style of Electric Light Orchestra. The record is the first Apples in Stereo album without Hilarie Sidney, making Schneider the last founding member remaining in the group, although John Hill joined before "in stereo" was added to the name. The band was invited by Jeff Mangum of Neutral Milk Hotel to perform at the All Tomorrow's Parties festival that he curated in March 2012 in Minehead, England.
Schneider announced in May 2012 that The Apples in Stereo had begun work on a new album, described as being "a very, very different sort of album."
In recent years, Schneider has explored a number of experimental music projects, such as the Teletron mind-controlled synthesizer and Non-Pythagorean scale of his own invention.
2012–present: Death of Bill Doss, hiatus and future
The death of Bill Doss, the band's keyboardist as well as the co-founder of fellow Elephant 6 band The Olivia Tremor Control, was announced on July 31, 2012. The cause of death was an aneurysm. Schneider released a statement saying, "I am heartbroken by the loss of my life-long friend, collaborator and band-mate. My world will never be the same without the wonderful, funny, supremely creative Bill Doss."
The band went into hiatus in the fall of 2012, after Doss' death and Schneider's acceptance into the PhD program in Mathematics at Emory University. In 2013, Phish started covering the Apples in Stereo song "Energy."
In early 2017, Schneider hinted at a new album called The Bicycle Day. He stated on Facebook that "Apples are working on a concept record called The Bicycle Day but it is too deep of a task to finish while I'm in graduate school... it isn't a pop record though ... (Air-Sea Dolphin and my band Spaceflyte with John Ferguson are the new pop projects though)". On August 10, 2017, the Apples played their first show since 2012 as a headlining act at the Athens Popfest music festival in Athens, Georgia with Marshmallow Coast, Antlered Auntlord, and Waxahatchee as prior performers.
In 2018, Schneider received a PhD in mathematics from Emory.
Band members
Current members
Robert Schneider - guitar, French horn, lead vocals (1992–present)
John Hill - guitar, xylophone (1994–present)
Eric Allen - bass, harmonica (1995–present)
John Dufilho - drums, harp (2006–present)
John Ferguson - vocals, keyboards, panflute (2007–present)
Former members
Hilarie Sidney - drums, vocals (1992-2006)
Jim McIntyre - bass (1992-1994)
Chris Parfitt - guitar (1992-1994)
Chris McDuffie - keyboards (1998-2002)
Bill Doss - vocals, keyboards, ukulele (2006-2012; died 2012)
Timeline
Selected discography
Fun Trick Noisemaker (1995)
Science Faire (1996)
Tone Soul Evolution (1997)
Her Wallpaper Reverie (1999)
The Discovery of a World Inside the Moone (2000)
Velocity of Sound (2002)
New Magnetic Wonder (2007)
Electronic Projects for Musicians (2008)
Travellers in Space and Time (2010)
References
External links
The Apples in Stereo at Elephant6.com
Tractor Beam Management
Apples in Stereo entry at Trouser Press
The Apples in Stereo at Live Music Archive
Interview with the Cornell Daily Sun
Step Through the Portal
The Elephant 6 Recording Company artists
Musical groups from Denver
Lo-fi music groups
Musical groups established in 1992
Independent Music Awards winners
Indie pop groups from Colorado
Indie rock musical groups from Colorado
Psychedelic pop music groups
American power pop groups
SpinART Records artists
Yep Roc Records artists | true | [
"What Else Do You Do? (A Compilation of Quiet Music) is a various artists compilation album, released in 1990 by Shimmy Disc.\n\nTrack listing\n\nPersonnel \nAdapted from the What Else Do You Do? (A Compilation of Quiet Music) liner notes.\n Kramer – production, engineering\n\nRelease history\n\nReferences\n\nExternal links \n \n\n1990 compilation albums\nAlbums produced by Kramer (musician)\nShimmy Disc compilation albums",
"\n\nTrack listing\n Opening Overture\n \"I Get a Kick Out of You\" (Cole Porter)\n \"You Are the Sunshine of My Life\" (Stevie Wonder)\n \"You Will Be My Music\" (Joe Raposo)\n \"Don't Worry 'bout Me\" (Ted Koehler, Rube Bloom)\n \"If\" (David Gates)\n \"Bad, Bad Leroy Brown\" (Jim Croce)\n \"Ol' Man River\" (Jerome Kern, Oscar Hammerstein II)\n Famous Monologue\n Saloon Trilogy: \"Last Night When We Were Young\"/\"Violets for Your Furs\"/\"Here's That Rainy Day\" (Harold Arlen, E.Y. Harburg)/(Matt Dennis, Tom Adair)/(Jimmy Van Heusen, Johnny Burke)\n \"I've Got You Under My Skin\" (Porter)\n \"My Kind of Town\" (Sammy Cahn, Van Heusen)\n \"Let Me Try Again\" (Paul Anka, Cahn, Michel Jourdan)\n \"The Lady Is a Tramp\" (Richard Rodgers, Lorenz Hart)\n \"My Way\" (Anka, Claude Francois, Jacques Revaux, Gilles Thibaut)\n\nFrank Sinatra's Monologue About the Australian Press\nI do believe this is my interval, as we say... We've been having a marvelous time being chased around the country for three days. You know, I think it's worth mentioning because it's so idiotic, it's so ridiculous what's been happening. We came all the way to Australia because I chose to come here. I haven't been here for a long time and I wanted to come back for a few days. Wait now, wait. I'm not buttering anybody at all. I don't have to. I really don't have to. I like coming here. I like the people. I love your attitude. I like the booze and the beer and everything else that comes into the scene. I also like the way the country's growing and it's a swinging place.\n\nSo we come here and what happens? We gotta run all day long because of the parasites who chase us with automobiles. That's dangerous, too, on the road, you know. Might cause an accident. They won't quit. They wonder why I won't talk to them. I wouldn't drink their water, let alone talk to them. And if any of you folks in the press are in the audience, please quote me properly. Don't mix it up, do it exactly as I'm saying it, please. Write it down very clearly. One idiot called me up and he wanted to know what I had for breakfast. What the hell does he care what I had for breakfast? I was about to tell him what I did after breakfast. Oh, boy, they're murder! We have a name in the States for their counterparts: They're called parasites. Because they take and take and take and never give, absolutely, never give. I don't care what you think about any press in the world, I say they're bums and they'll always be bums, everyone of them. There are just a few exceptions to the rule. Some good editorial writers who don't go out in the street and chase people around. Critics don't bother me, because if I do badly, I know I'm bad before they even write it, and if I'm good, I know I'm good before they write it. It's true. I know best about myself. So, a critic is a critic. He doesn't anger me. It's the scandal man who bugs you, drives you crazy. It's the two-bit-type work that they do. They're pimps. They're just crazy, you know. And the broads who work in the press are the hookers of the press. Need I explain that to you? I might offer them a buck and a half... I'm not sure. I once gave a chick in Washington $2 and I overpaid her, I found out. She didn't even bathe. Imagine what that was like, ha, ha.\n\nNow, it's a good thing I'm not angry. Really. It's a good thing I'm not angry. I couldn't care less. The press of the world never made a person a star who was untalented, nor did they ever hurt any artist who was talented. So we, who have God-given talent, say, \"To hell with them.\" It doesn't make any difference, you know. And I want to say one more thing. From what I see what's happened since I was last here... what, 16 years ago? Twelve years ago. From what I've seen to happen with the type of news that they print in this town shocked me. And do you know what is devastating? It's old-fashioned. It was done in America and England twenty years ago. And they're catching up with it now, with the scandal sheet. They're rags, that's what they are. You use them to train your dog and your parrot. What else do I have to say? Oh, I guess that's it. That'll keep them talking to themselves for a while. I think most of them are a bunch of fags anyway. Never did a hard day's work in their life. I love when they say, \"What do you mean, you won't stand still when I take your picture?\" All of a sudden, they're God. We gotta do what they want us to do. It's incredible. A pox on them... Now, let's get down to some serious business here...\n\nSee also\nConcerts of Frank Sinatra\n\nFrank Sinatra"
] | [
"The Apples in Stereo, styled as The Apples in stereo, are an American rock band associated with Elephant Six Collective, a group of bands also including Neutral Milk Hotel, The Olivia Tremor Control, Elf Power, Of Montreal, and Circulatory System. The band is largely a product of lead vocalist/guitarist/producer Robert Schneider, who writes the majority of the band's music and lyrics.",
"The band is largely a product of lead vocalist/guitarist/producer Robert Schneider, who writes the majority of the band's music and lyrics. Currently, The Apples in Stereo also includes longstanding members John Hill (rhythm guitar) and Eric Allen (bass), as well as more recent members John Dufilho (drums), John Ferguson (keyboards), and Ben Phelan (keyboards/guitar/trumpet).",
"Currently, The Apples in Stereo also includes longstanding members John Hill (rhythm guitar) and Eric Allen (bass), as well as more recent members John Dufilho (drums), John Ferguson (keyboards), and Ben Phelan (keyboards/guitar/trumpet). The band's sound draws comparisons to the psychedelic rock of The Beatles and The Beach Boys during the 1960s, as well as to bands such as Electric Light Orchestra and Pavement, and also draws from lo-fi, garage rock, new wave, R&B, bubblegum pop, power pop, punk, electro-pop and experimental music.",
"The band's sound draws comparisons to the psychedelic rock of The Beatles and The Beach Boys during the 1960s, as well as to bands such as Electric Light Orchestra and Pavement, and also draws from lo-fi, garage rock, new wave, R&B, bubblegum pop, power pop, punk, electro-pop and experimental music. The band is also well known for their appearance in a The Powerpuff Girls music video performing the song \"Signal in the Sky (Let's Go)\".",
"The band is also well known for their appearance in a The Powerpuff Girls music video performing the song \"Signal in the Sky (Let's Go)\". It aired immediately after the show's seventh episode of season 4, \"Superfriends\", which was based on the song's lyrics.",
"It aired immediately after the show's seventh episode of season 4, \"Superfriends\", which was based on the song's lyrics. The band has appeared widely in television and film, including performances on The Colbert Report, Late Night with Conan O'Brien and Last Call with Carson Daly, guest hosting on MTV, song placements in numerous television shows, commercials and motion pictures, the performance of the single \"Energy\" by the contestants on American Idol, and a song recorded for children's show Yo Gabba Gabba.",
"The band has appeared widely in television and film, including performances on The Colbert Report, Late Night with Conan O'Brien and Last Call with Carson Daly, guest hosting on MTV, song placements in numerous television shows, commercials and motion pictures, the performance of the single \"Energy\" by the contestants on American Idol, and a song recorded for children's show Yo Gabba Gabba. Band history 1991–1993: The Apples In late 1991, Robert Schneider met Jim McIntyre on a commuter bus in Denver, Colorado.",
"Band history 1991–1993: The Apples In late 1991, Robert Schneider met Jim McIntyre on a commuter bus in Denver, Colorado. Schneider had recently moved to Colorado from Ruston, Louisiana, and often initiated conversations with McIntyre.",
"Schneider had recently moved to Colorado from Ruston, Louisiana, and often initiated conversations with McIntyre. When Schneider asked McIntyre what his music interests were, McIntyre named his favorite band: The Beach Boys — a band Schneider was particularly fond of. Realizing that they shared many musical interests, McIntyre introduced Schneider to Hilarie Sidney.",
"Realizing that they shared many musical interests, McIntyre introduced Schneider to Hilarie Sidney. McIntyre already had a band called Von Hemmling in which McIntyre played bass and Sidney played drums. With Schneider, they discussed the idea of starting a band and perhaps a recording label.",
"With Schneider, they discussed the idea of starting a band and perhaps a recording label. Schneider later met Chris Parfitt, who at the time was also already in a band (which Schneider unsuccessfully auditioned for on bass).",
"Schneider later met Chris Parfitt, who at the time was also already in a band (which Schneider unsuccessfully auditioned for on bass). Schneider and Parfitt also became friends, however, and toyed with the idea of having a rock band similar to The Velvet Underground or Black Sabbath, with production qualities similar to that of The Beach Boys.",
"Schneider and Parfitt also became friends, however, and toyed with the idea of having a rock band similar to The Velvet Underground or Black Sabbath, with production qualities similar to that of The Beach Boys. Schneider then spent two weeks in Athens, Georgia recording music and spending time with his childhood friends Will Cullen Hart, Bill Doss and Jeff Mangum.",
"Schneider then spent two weeks in Athens, Georgia recording music and spending time with his childhood friends Will Cullen Hart, Bill Doss and Jeff Mangum. He discussed the idea of starting a record label with them (which soon became The Elephant 6 Recording Company).",
"He discussed the idea of starting a record label with them (which soon became The Elephant 6 Recording Company). It was also at this time that the name \"The Apples\" came about, inspired by the Pink Floyd song \"Apples and Oranges\".",
"It was also at this time that the name \"The Apples\" came about, inspired by the Pink Floyd song \"Apples and Oranges\". The earliest incarnation of the band began to form in 1992 upon Schneider's return to Denver, first between Schneider and Parfitt, both of whom played guitar.",
"The earliest incarnation of the band began to form in 1992 upon Schneider's return to Denver, first between Schneider and Parfitt, both of whom played guitar. The two recruited McIntyre and Sidney during the autumn of that year, practicing material through the winter.",
"The two recruited McIntyre and Sidney during the autumn of that year, practicing material through the winter. Their first few live shows took place the following January, many of which were with the band Felt Pilotes.",
"Their first few live shows took place the following January, many of which were with the band Felt Pilotes. From February to April 1993, the band recorded their debut 7\" EP, Tidal Wave, and released it in June as the first record ever to bear the Elephant 6 logo.",
"From February to April 1993, the band recorded their debut 7\" EP, Tidal Wave, and released it in June as the first record ever to bear the Elephant 6 logo. 1994–1995: Hypnotic Suggestion and Fun Trick Noisemaker Several conflicts would lead Parfitt to leave the band in early 1994.",
"1994–1995: Hypnotic Suggestion and Fun Trick Noisemaker Several conflicts would lead Parfitt to leave the band in early 1994. John Hill, a former bandmate of McIntyre's, would join the band as a rhythm guitarist while Schneider began to grow more comfortable playing lead guitar.",
"John Hill, a former bandmate of McIntyre's, would join the band as a rhythm guitarist while Schneider began to grow more comfortable playing lead guitar. It was also at this time that Schneider began to take stronger creative control of the band, shifting its sound from its stronger rock qualities to a spacier pop sound.",
"It was also at this time that Schneider began to take stronger creative control of the band, shifting its sound from its stronger rock qualities to a spacier pop sound. The band started work on a debut album, but it instead became Hypnotic Suggestion, a second EP.",
"The band started work on a debut album, but it instead became Hypnotic Suggestion, a second EP. However, after SpinART Records offered to buy the band an 8-track in return for an album, new plans for an LP arose.",
"However, after SpinART Records offered to buy the band an 8-track in return for an album, new plans for an LP arose. In mid-1994, after Hypnotic Suggestion, McIntyre would be the second to leave the band, due to a number of personal distresses as well as stylistic changes that arose with Parfitt's departure.",
"In mid-1994, after Hypnotic Suggestion, McIntyre would be the second to leave the band, due to a number of personal distresses as well as stylistic changes that arose with Parfitt's departure. Having great difficulty finding a new permanent bassist, the band would rotate a number of frequent bass contributors, including Jeff Mangum of Neutral Milk Hotel, Kurt Heasley of The Lilys, Kyle Jones, Joel Richardson, and Joel Evans.",
"Having great difficulty finding a new permanent bassist, the band would rotate a number of frequent bass contributors, including Jeff Mangum of Neutral Milk Hotel, Kurt Heasley of The Lilys, Kyle Jones, Joel Richardson, and Joel Evans. Jim McIntyre would also occasionally guest on bass.",
"Jim McIntyre would also occasionally guest on bass. This continued to be the makeup of the band as they toured the country in late 1994, recording the first half of their new album in Glendora, California.",
"This continued to be the makeup of the band as they toured the country in late 1994, recording the first half of their new album in Glendora, California. In early 1995, the band finished the album, Fun Trick Noisemaker, at Kyle Jones's house (the birthplace of Schneider's Pet Sounds Studio).",
"In early 1995, the band finished the album, Fun Trick Noisemaker, at Kyle Jones's house (the birthplace of Schneider's Pet Sounds Studio). Now with a LP to support, the band began touring again.",
"Now with a LP to support, the band began touring again. Eric Allen, whom the band had previously auditioned as a guitarist after the departure of Chris Parfitt, joined the band as a much welcomed permanent bassist. Late 1995, Schneider relocated Pet Sounds Studio to Jim McIntyre's house.",
"Late 1995, Schneider relocated Pet Sounds Studio to Jim McIntyre's house. McIntyre continued to be involved in the recording and engineering of the band's albums until the mid-2000s.",
"McIntyre continued to be involved in the recording and engineering of the band's albums until the mid-2000s. A significantly different band from the original 1992 four-piece, the official name of the band gradually became \"The Apples in Stereo\", with the \"in stereo\" usually somewhat under-emphasized, whether in lower-case or in parentheses.",
"A significantly different band from the original 1992 four-piece, the official name of the band gradually became \"The Apples in Stereo\", with the \"in stereo\" usually somewhat under-emphasized, whether in lower-case or in parentheses. Schneider described this in an interview: \"It's very clearcut, actually: we're The Apples, the music's in stereo.",
"Schneider described this in an interview: \"It's very clearcut, actually: we're The Apples, the music's in stereo. It's not actually the band name – it's a step back from it, a band name once removed. We're The Apples, in stereo.",
"We're The Apples, in stereo. Kind of like a TV show, 'in stereo!' That always seemed to be a really big deal, that it was in stereo.\" McIntyre later remarked, \"It's cool the name changed cause the Apples and the Apples in Stereo were really two different entities.\"",
"McIntyre later remarked, \"It's cool the name changed cause the Apples and the Apples in Stereo were really two different entities.\" 1996–2005: Tone Soul Evolution to Velocity of Sound The band continued touring through 1996, playing in Japan for the first time.",
"1996–2005: Tone Soul Evolution to Velocity of Sound The band continued touring through 1996, playing in Japan for the first time. Several early recording sessions were held at Pet Sounds for the band's second album, Tone Soul Evolution, but the members were dissatisfied with the quality of the recordings.",
"Several early recording sessions were held at Pet Sounds for the band's second album, Tone Soul Evolution, but the members were dissatisfied with the quality of the recordings. The majority of the album's songs were re-recorded at Studio .45 in Hartford, Connecticut before the album's release.",
"The majority of the album's songs were re-recorded at Studio .45 in Hartford, Connecticut before the album's release. In 1998, Chris McDuffie joined the band, playing various instruments including organs, synthesizers and assorted percussion. He would leave the band before Velocity of Sound was released in 2002.",
"He would leave the band before Velocity of Sound was released in 2002. Several more albums were released by the band through the years, including the psychedelic \"concept EP\", Her Wallpaper Reverie, The Discovery of a World Inside the Moone and Velocity of Sound; both of the latter of which were progressively aimed at capturing the live sound of the band, which continued to tighten as they continued to perform hundreds of live shows (about 100 a year).",
"Several more albums were released by the band through the years, including the psychedelic \"concept EP\", Her Wallpaper Reverie, The Discovery of a World Inside the Moone and Velocity of Sound; both of the latter of which were progressively aimed at capturing the live sound of the band, which continued to tighten as they continued to perform hundreds of live shows (about 100 a year). In particular, the 2002 album Velocity of Sound rejects most of the psych-pop production sensibilities that would come to be associated with the band, instead featuring stripped-down production and sparse, rock instrumentation.",
"In particular, the 2002 album Velocity of Sound rejects most of the psych-pop production sensibilities that would come to be associated with the band, instead featuring stripped-down production and sparse, rock instrumentation. The band members would also continue to pursue careers in side bands and solo projects, with Schneider producing several albums for Elephant 6 artists.",
"The band members would also continue to pursue careers in side bands and solo projects, with Schneider producing several albums for Elephant 6 artists. Schneider and drummer Hilarie Sidney were married for a time, with a son Max born in 2000. They have since been divorced.",
"They have since been divorced. They have since been divorced. The band went on a brief hiatus during 2004 as Schneider released the debut album from a new band called Ulysses and Sidney released the debut album from her new band The High Water Marks; both were released on Eenie Meenie Records.",
"The band went on a brief hiatus during 2004 as Schneider released the debut album from a new band called Ulysses and Sidney released the debut album from her new band The High Water Marks; both were released on Eenie Meenie Records. In 2005, The Apples in Stereo contributed \"Liza Jane\" to the Eenie Meenie compilation, Dimension Mix.",
"In 2005, The Apples in Stereo contributed \"Liza Jane\" to the Eenie Meenie compilation, Dimension Mix. It was also around this time that news began to circulate among various websites concerning the band's next studio album.",
"It was also around this time that news began to circulate among various websites concerning the band's next studio album. 2006–2008: New Magnetic Wonder and evolving lineup In August 2006, longtime drummer Hilarie Sidney officially announced her departure from the band during the band's closing set at the Athens Popfest music festival in Athens, Georgia.",
"2006–2008: New Magnetic Wonder and evolving lineup In August 2006, longtime drummer Hilarie Sidney officially announced her departure from the band during the band's closing set at the Athens Popfest music festival in Athens, Georgia. Her replacement, John Dufilho, lead singer and principal songwriter of The Deathray Davies, was announced in October 2006.",
"Her replacement, John Dufilho, lead singer and principal songwriter of The Deathray Davies, was announced in October 2006. 2006 touring member Bill Doss of The Olivia Tremor Control also quietly joined the band \"officially\" as its new keyboardist.",
"2006 touring member Bill Doss of The Olivia Tremor Control also quietly joined the band \"officially\" as its new keyboardist. John Ferguson of Big Fresh and Ulysses joined the Apples in 2007, also playing keyboards, and wearing a Doctor Who-esque space suit on stage.",
"John Ferguson of Big Fresh and Ulysses joined the Apples in 2007, also playing keyboards, and wearing a Doctor Who-esque space suit on stage. In December 2006, Robert Schneider appeared on the popular television show The Colbert Report singing the song \"Stephen Stephen\" recorded by The Apples in Stereo to glorify the show's host Stephen Colbert, to kick off a guitar solo contest between Colbert and Chris Funk of The Decemberists.",
"In December 2006, Robert Schneider appeared on the popular television show The Colbert Report singing the song \"Stephen Stephen\" recorded by The Apples in Stereo to glorify the show's host Stephen Colbert, to kick off a guitar solo contest between Colbert and Chris Funk of The Decemberists. On February 6, 2007, The Apples in Stereo released their sixth studio LP, New Magnetic Wonder.",
"On February 6, 2007, The Apples in Stereo released their sixth studio LP, New Magnetic Wonder. Finishing a ten-year deal with spinART Records, New Magnetic Wonder was the premiere release on Simian Records, a newly formed record label founded by Elijah Wood.",
"Finishing a ten-year deal with spinART Records, New Magnetic Wonder was the premiere release on Simian Records, a newly formed record label founded by Elijah Wood. This was followed by a long-awaited b-sides and rarities compilation titled Electronic Projects for Musicians, released on April 1. In 2008, spinART Records went out of business.",
"In 2008, spinART Records went out of business. Rights for all major releases by The Apples in Stereo on the label were subsequently acquired by One Little Indian Records, and have since reverted to the band.",
"Rights for all major releases by The Apples in Stereo on the label were subsequently acquired by One Little Indian Records, and have since reverted to the band. In a recent interview, Schneider noted that the band's EPs have yet to have been re-released, but will likely be collected for another compilation.",
"In a recent interview, Schneider noted that the band's EPs have yet to have been re-released, but will likely be collected for another compilation. Such a compilation would probably include the re-releases of Look Away + 4, Let's Go! and a number of non-album songs released alongside New Magnetic Wonder.",
"and a number of non-album songs released alongside New Magnetic Wonder. On August 4, 2008, the band appeared again on The Colbert Report. They performed their song Can You Feel It? to promote the release of the Japanese picture disc.",
"to promote the release of the Japanese picture disc. In early 2008, their song \"Same Old Drag\" won in The 7th Annual Independent Music Awards for Best Pop/Rock Song. The same year Apples in Stereo were nominated for Independent Music Awards Pop/Rock Album of the Year.",
"The same year Apples in Stereo were nominated for Independent Music Awards Pop/Rock Album of the Year. The band members also joined the 9th annual Independent Music Awards judging panel to assist independent musicians' careers.",
"The band members also joined the 9th annual Independent Music Awards judging panel to assist independent musicians' careers. 2009–2011: #1 Hits Explosion and Travellers in Space and Time Yep Roc released #1 Hits Explosion, an Apples in Stereo best-of album, on September 1, 2009.",
"2009–2011: #1 Hits Explosion and Travellers in Space and Time Yep Roc released #1 Hits Explosion, an Apples in Stereo best-of album, on September 1, 2009. In late 2008, PepsiCo released an advertisement with their song \"Energy\" off of their album New Magnetic Wonder.",
"In late 2008, PepsiCo released an advertisement with their song \"Energy\" off of their album New Magnetic Wonder. In early 2009, Robert appeared on ABC News's segment called \"amplified\" and gave some short performances of songs from New Magnetic Wonder and a song from his project \"Robert Bobbert and the bubble machine\" and he described the album as sounding like early 1970s R&B as it would sound played by aliens and emanating from an alien spaceship.He also confirmed that the band was recording their new album at Trout Recording in Brooklyn, New York.",
"In early 2009, Robert appeared on ABC News's segment called \"amplified\" and gave some short performances of songs from New Magnetic Wonder and a song from his project \"Robert Bobbert and the bubble machine\" and he described the album as sounding like early 1970s R&B as it would sound played by aliens and emanating from an alien spaceship.He also confirmed that the band was recording their new album at Trout Recording in Brooklyn, New York. In interviews in Billboard magazine and other press outlets, In April 2009, the single \"Energy\" from New Magnetic Wonder was performed by the contestants on the television show American Idol.",
"In interviews in Billboard magazine and other press outlets, In April 2009, the single \"Energy\" from New Magnetic Wonder was performed by the contestants on the television show American Idol. The result was the band's seventh album Travellers in Space and Time, released on April 20, 2010 on Simian Records.",
"The result was the band's seventh album Travellers in Space and Time, released on April 20, 2010 on Simian Records. Described by Schneider as a \"retro-futuristic\" concept album intended as a time capsule for listeners of the future, Travellers has drawn comparisons to the style of Electric Light Orchestra.",
"Described by Schneider as a \"retro-futuristic\" concept album intended as a time capsule for listeners of the future, Travellers has drawn comparisons to the style of Electric Light Orchestra. The record is the first Apples in Stereo album without Hilarie Sidney, making Schneider the last founding member remaining in the group, although John Hill joined before \"in stereo\" was added to the name.",
"The record is the first Apples in Stereo album without Hilarie Sidney, making Schneider the last founding member remaining in the group, although John Hill joined before \"in stereo\" was added to the name. The band was invited by Jeff Mangum of Neutral Milk Hotel to perform at the All Tomorrow's Parties festival that he curated in March 2012 in Minehead, England.",
"The band was invited by Jeff Mangum of Neutral Milk Hotel to perform at the All Tomorrow's Parties festival that he curated in March 2012 in Minehead, England. Schneider announced in May 2012 that The Apples in Stereo had begun work on a new album, described as being \"a very, very different sort of album.\"",
"Schneider announced in May 2012 that The Apples in Stereo had begun work on a new album, described as being \"a very, very different sort of album.\" In recent years, Schneider has explored a number of experimental music projects, such as the Teletron mind-controlled synthesizer and Non-Pythagorean scale of his own invention.",
"In recent years, Schneider has explored a number of experimental music projects, such as the Teletron mind-controlled synthesizer and Non-Pythagorean scale of his own invention. 2012–present: Death of Bill Doss, hiatus and future The death of Bill Doss, the band's keyboardist as well as the co-founder of fellow Elephant 6 band The Olivia Tremor Control, was announced on July 31, 2012.",
"2012–present: Death of Bill Doss, hiatus and future The death of Bill Doss, the band's keyboardist as well as the co-founder of fellow Elephant 6 band The Olivia Tremor Control, was announced on July 31, 2012. The cause of death was an aneurysm.",
"The cause of death was an aneurysm. Schneider released a statement saying, \"I am heartbroken by the loss of my life-long friend, collaborator and band-mate. My world will never be the same without the wonderful, funny, supremely creative Bill Doss.\"",
"My world will never be the same without the wonderful, funny, supremely creative Bill Doss.\" The band went into hiatus in the fall of 2012, after Doss' death and Schneider's acceptance into the PhD program in Mathematics at Emory University. In 2013, Phish started covering the Apples in Stereo song \"Energy.\"",
"In 2013, Phish started covering the Apples in Stereo song \"Energy.\" In early 2017, Schneider hinted at a new album called The Bicycle Day.",
"In early 2017, Schneider hinted at a new album called The Bicycle Day. He stated on Facebook that \"Apples are working on a concept record called The Bicycle Day but it is too deep of a task to finish while I'm in graduate school... it isn't a pop record though ... (Air-Sea Dolphin and my band Spaceflyte with John Ferguson are the new pop projects though)\".",
"He stated on Facebook that \"Apples are working on a concept record called The Bicycle Day but it is too deep of a task to finish while I'm in graduate school... it isn't a pop record though ... (Air-Sea Dolphin and my band Spaceflyte with John Ferguson are the new pop projects though)\". On August 10, 2017, the Apples played their first show since 2012 as a headlining act at the Athens Popfest music festival in Athens, Georgia with Marshmallow Coast, Antlered Auntlord, and Waxahatchee as prior performers.",
"On August 10, 2017, the Apples played their first show since 2012 as a headlining act at the Athens Popfest music festival in Athens, Georgia with Marshmallow Coast, Antlered Auntlord, and Waxahatchee as prior performers. In 2018, Schneider received a PhD in mathematics from Emory.",
"In 2018, Schneider received a PhD in mathematics from Emory. Band members Current members Robert Schneider - guitar, French horn, lead vocals (1992–present) John Hill - guitar, xylophone (1994–present) Eric Allen - bass, harmonica (1995–present) John Dufilho - drums, harp (2006–present) John Ferguson - vocals, keyboards, panflute (2007–present) Former members Hilarie Sidney - drums, vocals (1992-2006) Jim McIntyre - bass (1992-1994) Chris Parfitt - guitar (1992-1994) Chris McDuffie - keyboards (1998-2002) Bill Doss - vocals, keyboards, ukulele (2006-2012; died 2012) Timeline Selected discography Fun Trick Noisemaker (1995) Science Faire (1996) Tone Soul Evolution (1997) Her Wallpaper Reverie (1999) The Discovery of a World Inside the Moone (2000) Velocity of Sound (2002) New Magnetic Wonder (2007) Electronic Projects for Musicians (2008) Travellers in Space and Time (2010) References External links The Apples in Stereo at Elephant6.com Tractor Beam Management Apples in Stereo entry at Trouser Press The Apples in Stereo at Live Music Archive Interview with the Cornell Daily Sun Step Through the Portal The Elephant 6 Recording Company artists Musical groups from Denver Lo-fi music groups Musical groups established in 1992 Independent Music Awards winners Indie pop groups from Colorado Indie rock musical groups from Colorado Psychedelic pop music groups American power pop groups SpinART Records artists Yep Roc Records artists"
] |
[
"The Apples in Stereo",
"1991-1993: The Apples",
"What is The Apples?",
"Robert Schneider met Jim McIntyre",
"What did the two do together?",
"they discussed the idea of starting a band",
"What band did they start?",
"The Apples",
"Was this band successful?",
"From February to April 1993, the band recorded their debut 7\" EP, Tidal Wave, and released it in June as the first record ever to bear the Elephant 6 logo.",
"Did they receive any recognition or awards?",
"I don't know.",
"What else did they do during this time?",
"Schneider then spent two weeks in Athens, Georgia recording music and spending time with his childhood friends Will Cullen Hart, Bill Doss and Jeff Mangum."
] | C_bb5692211f37444eb499f77b75cc7155_1 | Did they release an album? | 7 | Did The Apples release an album during 1991-1993? | The Apples in Stereo | In late 1991, Robert Schneider met Jim McIntyre on a commuter bus in Denver, Colorado. Schneider had recently moved to Colorado from Ruston, Louisiana, and often initiated conversations with McIntyre. When Schneider asked McIntyre what his music interests were, McIntyre named his favorite band: The Beach Boys -- a band Schneider was particularly fond of. Realizing that they shared many musical interests, McIntyre introduced Schneider to Hilarie Sidney. McIntyre already had a band called Von Hemmling in which McIntyre played bass and Sidney played drums. With Schneider, they discussed the idea of starting a band and perhaps a recording label. Schneider later met Chris Parfitt, who was also already in a band at the time that Schneider unsuccessfully auditioned for on bass. Schneider and Parfitt also became friends, however, and toyed with the idea of having a rock band similar to The Velvet Underground or Black Sabbath, with production qualities similar to that of The Beach Boys. Schneider then spent two weeks in Athens, Georgia recording music and spending time with his childhood friends Will Cullen Hart, Bill Doss and Jeff Mangum. He discussed the idea of starting a record label with them (which soon became The Elephant 6 Recording Company). It was also at this time that the name "The Apples" came about, inspired by the Pink Floyd song "Apples and Oranges". The earliest incarnation of the band began to form in 1992 upon Schneider's return to Denver, first between Schneider and Parfitt, both of whom played guitar. The two recruited McIntyre and Sidney during the autumn of that year, practicing material through the winter. Their first few live shows took place the following January, many of which were with the band Felt Pilotes. From February to April 1993, the band recorded their debut 7" EP, Tidal Wave, and released it in June as the first record ever to bear the Elephant 6 logo. CANNOTANSWER | the band recorded their debut 7" EP, Tidal Wave, | The Apples in Stereo, styled as The Apples in stereo, are an American rock band associated with Elephant Six Collective, a group of bands also including Neutral Milk Hotel, The Olivia Tremor Control, Elf Power, Of Montreal, and Circulatory System. The band is largely a product of lead vocalist/guitarist/producer Robert Schneider, who writes the majority of the band's music and lyrics. Currently, The Apples in Stereo also includes longstanding members John Hill (rhythm guitar) and Eric Allen (bass), as well as more recent members John Dufilho (drums), John Ferguson (keyboards), and Ben Phelan (keyboards/guitar/trumpet).
The band's sound draws comparisons to the psychedelic rock of The Beatles and The Beach Boys during the 1960s, as well as to bands such as Electric Light Orchestra and Pavement, and also draws from lo-fi, garage rock, new wave, R&B, bubblegum pop, power pop, punk, electro-pop and experimental music.
The band is also well known for their appearance in a The Powerpuff Girls music video performing the song "Signal in the Sky (Let's Go)". It aired immediately after the show's seventh episode of season 4, "Superfriends", which was based on the song's lyrics. The band has appeared widely in television and film, including performances on The Colbert Report, Late Night with Conan O'Brien and Last Call with Carson Daly, guest hosting on MTV, song placements in numerous television shows, commercials and motion pictures, the performance of the single "Energy" by the contestants on American Idol, and a song recorded for children's show Yo Gabba Gabba.
Band history
1991–1993: The Apples
In late 1991, Robert Schneider met Jim McIntyre on a commuter bus in Denver, Colorado. Schneider had recently moved to Colorado from Ruston, Louisiana, and often initiated conversations with McIntyre. When Schneider asked McIntyre what his music interests were, McIntyre named his favorite band: The Beach Boys — a band Schneider was particularly fond of. Realizing that they shared many musical interests, McIntyre introduced Schneider to Hilarie Sidney. McIntyre already had a band called Von Hemmling in which McIntyre played bass and Sidney played drums. With Schneider, they discussed the idea of starting a band and perhaps a recording label. Schneider later met Chris Parfitt, who at the time was also already in a band (which Schneider unsuccessfully auditioned for on bass). Schneider and Parfitt also became friends, however, and toyed with the idea of having a rock band similar to The Velvet Underground or Black Sabbath, with production qualities similar to that of The Beach Boys.
Schneider then spent two weeks in Athens, Georgia recording music and spending time with his childhood friends Will Cullen Hart, Bill Doss and Jeff Mangum. He discussed the idea of starting a record label with them (which soon became The Elephant 6 Recording Company). It was also at this time that the name "The Apples" came about, inspired by the Pink Floyd song "Apples and Oranges".
The earliest incarnation of the band began to form in 1992 upon Schneider's return to Denver, first between Schneider and Parfitt, both of whom played guitar. The two recruited McIntyre and Sidney during the autumn of that year, practicing material through the winter. Their first few live shows took place the following January, many of which were with the band Felt Pilotes. From February to April 1993, the band recorded their debut 7" EP, Tidal Wave, and released it in June as the first record ever to bear the Elephant 6 logo.
1994–1995: Hypnotic Suggestion and Fun Trick Noisemaker
Several conflicts would lead Parfitt to leave the band in early 1994. John Hill, a former bandmate of McIntyre's, would join the band as a rhythm guitarist while Schneider began to grow more comfortable playing lead guitar. It was also at this time that Schneider began to take stronger creative control of the band, shifting its sound from its stronger rock qualities to a spacier pop sound. The band started work on a debut album, but it instead became Hypnotic Suggestion, a second EP. However, after SpinART Records offered to buy the band an 8-track in return for an album, new plans for an LP arose.
In mid-1994, after Hypnotic Suggestion, McIntyre would be the second to leave the band, due to a number of personal distresses as well as stylistic changes that arose with Parfitt's departure. Having great difficulty finding a new permanent bassist, the band would rotate a number of frequent bass contributors, including Jeff Mangum of Neutral Milk Hotel, Kurt Heasley of The Lilys, Kyle Jones, Joel Richardson, and Joel Evans. Jim McIntyre would also occasionally guest on bass. This continued to be the makeup of the band as they toured the country in late 1994, recording the first half of their new album in Glendora, California. In early 1995, the band finished the album, Fun Trick Noisemaker, at Kyle Jones's house (the birthplace of Schneider's Pet Sounds Studio).
Now with a LP to support, the band began touring again. Eric Allen, whom the band had previously auditioned as a guitarist after the departure of Chris Parfitt, joined the band as a much welcomed permanent bassist. Late 1995, Schneider relocated Pet Sounds Studio to Jim McIntyre's house. McIntyre continued to be involved in the recording and engineering of the band's albums until the mid-2000s.
A significantly different band from the original 1992 four-piece, the official name of the band gradually became "The Apples in Stereo", with the "in stereo" usually somewhat under-emphasized, whether in lower-case or in parentheses. Schneider described this in an interview: "It's very clearcut, actually: we're The Apples, the music's in stereo. It's not actually the band name – it's a step back from it, a band name once removed. We're The Apples, in stereo. Kind of like a TV show, 'in stereo!' That always seemed to be a really big deal, that it was in stereo." McIntyre later remarked, "It's cool the name changed cause the Apples and the Apples in Stereo were really two different entities."
1996–2005: Tone Soul Evolution to Velocity of Sound
The band continued touring through 1996, playing in Japan for the first time. Several early recording sessions were held at Pet Sounds for the band's second album, Tone Soul Evolution, but the members were dissatisfied with the quality of the recordings. The majority of the album's songs were re-recorded at Studio .45 in Hartford, Connecticut before the album's release. In 1998, Chris McDuffie joined the band, playing various instruments including organs, synthesizers and assorted percussion. He would leave the band before Velocity of Sound was released in 2002.
Several more albums were released by the band through the years, including the psychedelic "concept EP", Her Wallpaper Reverie, The Discovery of a World Inside the Moone and Velocity of Sound; both of the latter of which were progressively aimed at capturing the live sound of the band, which continued to tighten as they continued to perform hundreds of live shows (about 100 a year). In particular, the 2002 album Velocity of Sound rejects most of the psych-pop production sensibilities that would come to be associated with the band, instead featuring stripped-down production and sparse, rock instrumentation.
The band members would also continue to pursue careers in side bands and solo projects, with Schneider producing several albums for Elephant 6 artists. Schneider and drummer Hilarie Sidney were married for a time, with a son Max born in 2000. They have since been divorced.
The band went on a brief hiatus during 2004 as Schneider released the debut album from a new band called Ulysses and Sidney released the debut album from her new band The High Water Marks; both were released on Eenie Meenie Records. In 2005, The Apples in Stereo contributed "Liza Jane" to the Eenie Meenie compilation, Dimension Mix. It was also around this time that news began to circulate among various websites concerning the band's next studio album.
2006–2008: New Magnetic Wonder and evolving lineup
In August 2006, longtime drummer Hilarie Sidney officially announced her departure from the band during the band's closing set at the Athens Popfest music festival in Athens, Georgia. Her replacement, John Dufilho, lead singer and principal songwriter of The Deathray Davies, was announced in October 2006. 2006 touring member Bill Doss of The Olivia Tremor Control also quietly joined the band "officially" as its new keyboardist. John Ferguson of Big Fresh and Ulysses joined the Apples in 2007, also playing keyboards, and wearing a Doctor Who-esque space suit on stage.
In December 2006, Robert Schneider appeared on the popular television show The Colbert Report singing the song "Stephen Stephen" recorded by The Apples in Stereo to glorify the show's host Stephen Colbert, to kick off a guitar solo contest between Colbert and Chris Funk of The Decemberists.
On February 6, 2007, The Apples in Stereo released their sixth studio LP, New Magnetic Wonder. Finishing a ten-year deal with spinART Records, New Magnetic Wonder was the premiere release on Simian Records, a newly formed record label founded by Elijah Wood. This was followed by a long-awaited b-sides and rarities compilation titled Electronic Projects for Musicians, released on April 1.
In 2008, spinART Records went out of business. Rights for all major releases by The Apples in Stereo on the label were subsequently acquired by One Little Indian Records, and have since reverted to the band. In a recent interview, Schneider noted that the band's EPs have yet to have been re-released, but will likely be collected for another compilation. Such a compilation would probably include the re-releases of Look Away + 4, Let's Go! and a number of non-album songs released alongside New Magnetic Wonder.
On August 4, 2008, the band appeared again on The Colbert Report. They performed their song Can You Feel It? to promote the release of the Japanese picture disc.
In early 2008, their song "Same Old Drag" won in The 7th Annual Independent Music Awards for Best Pop/Rock Song. The same year Apples in Stereo were nominated for Independent Music Awards Pop/Rock Album of the Year. The band members also joined the 9th annual Independent Music Awards judging panel to assist independent musicians' careers.
2009–2011: #1 Hits Explosion and Travellers in Space and Time
Yep Roc released #1 Hits Explosion, an Apples in Stereo best-of album, on September 1, 2009.
In late 2008, PepsiCo released an advertisement with their song "Energy" off of their album New Magnetic Wonder.
In early 2009, Robert appeared on ABC News's segment called "amplified" and gave some short performances of songs from New Magnetic Wonder and a song from his project "Robert Bobbert and the bubble machine" and he described the album as sounding like early 1970s R&B as it would sound played by aliens and emanating from an alien spaceship.He also confirmed that the band was recording their new album at Trout Recording in Brooklyn, New York. In interviews in Billboard magazine and other press outlets,
In April 2009, the single "Energy" from New Magnetic Wonder was performed by the contestants on the television show American Idol.
The result was the band's seventh album Travellers in Space and Time, released on April 20, 2010 on Simian Records. Described by Schneider as a "retro-futuristic" concept album intended as a time capsule for listeners of the future, Travellers has drawn comparisons to the style of Electric Light Orchestra. The record is the first Apples in Stereo album without Hilarie Sidney, making Schneider the last founding member remaining in the group, although John Hill joined before "in stereo" was added to the name. The band was invited by Jeff Mangum of Neutral Milk Hotel to perform at the All Tomorrow's Parties festival that he curated in March 2012 in Minehead, England.
Schneider announced in May 2012 that The Apples in Stereo had begun work on a new album, described as being "a very, very different sort of album."
In recent years, Schneider has explored a number of experimental music projects, such as the Teletron mind-controlled synthesizer and Non-Pythagorean scale of his own invention.
2012–present: Death of Bill Doss, hiatus and future
The death of Bill Doss, the band's keyboardist as well as the co-founder of fellow Elephant 6 band The Olivia Tremor Control, was announced on July 31, 2012. The cause of death was an aneurysm. Schneider released a statement saying, "I am heartbroken by the loss of my life-long friend, collaborator and band-mate. My world will never be the same without the wonderful, funny, supremely creative Bill Doss."
The band went into hiatus in the fall of 2012, after Doss' death and Schneider's acceptance into the PhD program in Mathematics at Emory University. In 2013, Phish started covering the Apples in Stereo song "Energy."
In early 2017, Schneider hinted at a new album called The Bicycle Day. He stated on Facebook that "Apples are working on a concept record called The Bicycle Day but it is too deep of a task to finish while I'm in graduate school... it isn't a pop record though ... (Air-Sea Dolphin and my band Spaceflyte with John Ferguson are the new pop projects though)". On August 10, 2017, the Apples played their first show since 2012 as a headlining act at the Athens Popfest music festival in Athens, Georgia with Marshmallow Coast, Antlered Auntlord, and Waxahatchee as prior performers.
In 2018, Schneider received a PhD in mathematics from Emory.
Band members
Current members
Robert Schneider - guitar, French horn, lead vocals (1992–present)
John Hill - guitar, xylophone (1994–present)
Eric Allen - bass, harmonica (1995–present)
John Dufilho - drums, harp (2006–present)
John Ferguson - vocals, keyboards, panflute (2007–present)
Former members
Hilarie Sidney - drums, vocals (1992-2006)
Jim McIntyre - bass (1992-1994)
Chris Parfitt - guitar (1992-1994)
Chris McDuffie - keyboards (1998-2002)
Bill Doss - vocals, keyboards, ukulele (2006-2012; died 2012)
Timeline
Selected discography
Fun Trick Noisemaker (1995)
Science Faire (1996)
Tone Soul Evolution (1997)
Her Wallpaper Reverie (1999)
The Discovery of a World Inside the Moone (2000)
Velocity of Sound (2002)
New Magnetic Wonder (2007)
Electronic Projects for Musicians (2008)
Travellers in Space and Time (2010)
References
External links
The Apples in Stereo at Elephant6.com
Tractor Beam Management
Apples in Stereo entry at Trouser Press
The Apples in Stereo at Live Music Archive
Interview with the Cornell Daily Sun
Step Through the Portal
The Elephant 6 Recording Company artists
Musical groups from Denver
Lo-fi music groups
Musical groups established in 1992
Independent Music Awards winners
Indie pop groups from Colorado
Indie rock musical groups from Colorado
Psychedelic pop music groups
American power pop groups
SpinART Records artists
Yep Roc Records artists | true | [
"Cover Up is an album by UB40, released in 2001. It was their first studio album release since 1998 when they released Labour of Love III. It debuted at number 29 on the UK charts but dropped out of the top-100 after its third week. There was no US release, but rather it was released as an international release. The first single released from this album was \"Since I Met You Lady\", but it did not rise higher than No. 40 on the UK charts.\n\nTrack listing\nAll tracks composed by UB40; except where indicated\n\nReferences\n\n2001 albums\nUB40 albums",
"Music is the fifth studio album by American ambient post-rock band, Windsor Airlift. It was released on September 23, 2013.\n\nBackground\nIn August 2013, Windsor Airlift started a kickstarter for their up-and-coming album Music. Around this time, they also announced that they would be having an album art contest for the album. After approximately 220 entries came in, the band announced the winner on September 6, 2013. The kickstarter was also a success and the band was able to release a quantity of physical copies for the release which are currently still available.\n\nOn October 13, 2013, the Johnson brothers did an interview with Flux9.com about the release and Windsor Airlift in general.\n\nTrack listing\n\n\"Music Through the Window\" performed by Emily Johnson\n\nMusic videos\n\nNotes and miscellanea\nThe song \"Silhouette Harbor\" was originally intended to be on the album Moonfish Parachutist 2. However, this album has yet to come to fruition. The release of Music encouraged the band to place it on this album instead.\nAs an added bonus to the success of the kickstarter, Windsor Airlift released The Adventures of Flames Pond in its entirety to YouTube.\n\nReferences\n\n2013 albums\nWindsor Airlift albums"
] | [
"The Apples in Stereo, styled as The Apples in stereo, are an American rock band associated with Elephant Six Collective, a group of bands also including Neutral Milk Hotel, The Olivia Tremor Control, Elf Power, Of Montreal, and Circulatory System. The band is largely a product of lead vocalist/guitarist/producer Robert Schneider, who writes the majority of the band's music and lyrics.",
"The band is largely a product of lead vocalist/guitarist/producer Robert Schneider, who writes the majority of the band's music and lyrics. Currently, The Apples in Stereo also includes longstanding members John Hill (rhythm guitar) and Eric Allen (bass), as well as more recent members John Dufilho (drums), John Ferguson (keyboards), and Ben Phelan (keyboards/guitar/trumpet).",
"Currently, The Apples in Stereo also includes longstanding members John Hill (rhythm guitar) and Eric Allen (bass), as well as more recent members John Dufilho (drums), John Ferguson (keyboards), and Ben Phelan (keyboards/guitar/trumpet). The band's sound draws comparisons to the psychedelic rock of The Beatles and The Beach Boys during the 1960s, as well as to bands such as Electric Light Orchestra and Pavement, and also draws from lo-fi, garage rock, new wave, R&B, bubblegum pop, power pop, punk, electro-pop and experimental music.",
"The band's sound draws comparisons to the psychedelic rock of The Beatles and The Beach Boys during the 1960s, as well as to bands such as Electric Light Orchestra and Pavement, and also draws from lo-fi, garage rock, new wave, R&B, bubblegum pop, power pop, punk, electro-pop and experimental music. The band is also well known for their appearance in a The Powerpuff Girls music video performing the song \"Signal in the Sky (Let's Go)\".",
"The band is also well known for their appearance in a The Powerpuff Girls music video performing the song \"Signal in the Sky (Let's Go)\". It aired immediately after the show's seventh episode of season 4, \"Superfriends\", which was based on the song's lyrics.",
"It aired immediately after the show's seventh episode of season 4, \"Superfriends\", which was based on the song's lyrics. The band has appeared widely in television and film, including performances on The Colbert Report, Late Night with Conan O'Brien and Last Call with Carson Daly, guest hosting on MTV, song placements in numerous television shows, commercials and motion pictures, the performance of the single \"Energy\" by the contestants on American Idol, and a song recorded for children's show Yo Gabba Gabba.",
"The band has appeared widely in television and film, including performances on The Colbert Report, Late Night with Conan O'Brien and Last Call with Carson Daly, guest hosting on MTV, song placements in numerous television shows, commercials and motion pictures, the performance of the single \"Energy\" by the contestants on American Idol, and a song recorded for children's show Yo Gabba Gabba. Band history 1991–1993: The Apples In late 1991, Robert Schneider met Jim McIntyre on a commuter bus in Denver, Colorado.",
"Band history 1991–1993: The Apples In late 1991, Robert Schneider met Jim McIntyre on a commuter bus in Denver, Colorado. Schneider had recently moved to Colorado from Ruston, Louisiana, and often initiated conversations with McIntyre.",
"Schneider had recently moved to Colorado from Ruston, Louisiana, and often initiated conversations with McIntyre. When Schneider asked McIntyre what his music interests were, McIntyre named his favorite band: The Beach Boys — a band Schneider was particularly fond of. Realizing that they shared many musical interests, McIntyre introduced Schneider to Hilarie Sidney.",
"Realizing that they shared many musical interests, McIntyre introduced Schneider to Hilarie Sidney. McIntyre already had a band called Von Hemmling in which McIntyre played bass and Sidney played drums. With Schneider, they discussed the idea of starting a band and perhaps a recording label.",
"With Schneider, they discussed the idea of starting a band and perhaps a recording label. Schneider later met Chris Parfitt, who at the time was also already in a band (which Schneider unsuccessfully auditioned for on bass).",
"Schneider later met Chris Parfitt, who at the time was also already in a band (which Schneider unsuccessfully auditioned for on bass). Schneider and Parfitt also became friends, however, and toyed with the idea of having a rock band similar to The Velvet Underground or Black Sabbath, with production qualities similar to that of The Beach Boys.",
"Schneider and Parfitt also became friends, however, and toyed with the idea of having a rock band similar to The Velvet Underground or Black Sabbath, with production qualities similar to that of The Beach Boys. Schneider then spent two weeks in Athens, Georgia recording music and spending time with his childhood friends Will Cullen Hart, Bill Doss and Jeff Mangum.",
"Schneider then spent two weeks in Athens, Georgia recording music and spending time with his childhood friends Will Cullen Hart, Bill Doss and Jeff Mangum. He discussed the idea of starting a record label with them (which soon became The Elephant 6 Recording Company).",
"He discussed the idea of starting a record label with them (which soon became The Elephant 6 Recording Company). It was also at this time that the name \"The Apples\" came about, inspired by the Pink Floyd song \"Apples and Oranges\".",
"It was also at this time that the name \"The Apples\" came about, inspired by the Pink Floyd song \"Apples and Oranges\". The earliest incarnation of the band began to form in 1992 upon Schneider's return to Denver, first between Schneider and Parfitt, both of whom played guitar.",
"The earliest incarnation of the band began to form in 1992 upon Schneider's return to Denver, first between Schneider and Parfitt, both of whom played guitar. The two recruited McIntyre and Sidney during the autumn of that year, practicing material through the winter.",
"The two recruited McIntyre and Sidney during the autumn of that year, practicing material through the winter. Their first few live shows took place the following January, many of which were with the band Felt Pilotes.",
"Their first few live shows took place the following January, many of which were with the band Felt Pilotes. From February to April 1993, the band recorded their debut 7\" EP, Tidal Wave, and released it in June as the first record ever to bear the Elephant 6 logo.",
"From February to April 1993, the band recorded their debut 7\" EP, Tidal Wave, and released it in June as the first record ever to bear the Elephant 6 logo. 1994–1995: Hypnotic Suggestion and Fun Trick Noisemaker Several conflicts would lead Parfitt to leave the band in early 1994.",
"1994–1995: Hypnotic Suggestion and Fun Trick Noisemaker Several conflicts would lead Parfitt to leave the band in early 1994. John Hill, a former bandmate of McIntyre's, would join the band as a rhythm guitarist while Schneider began to grow more comfortable playing lead guitar.",
"John Hill, a former bandmate of McIntyre's, would join the band as a rhythm guitarist while Schneider began to grow more comfortable playing lead guitar. It was also at this time that Schneider began to take stronger creative control of the band, shifting its sound from its stronger rock qualities to a spacier pop sound.",
"It was also at this time that Schneider began to take stronger creative control of the band, shifting its sound from its stronger rock qualities to a spacier pop sound. The band started work on a debut album, but it instead became Hypnotic Suggestion, a second EP.",
"The band started work on a debut album, but it instead became Hypnotic Suggestion, a second EP. However, after SpinART Records offered to buy the band an 8-track in return for an album, new plans for an LP arose.",
"However, after SpinART Records offered to buy the band an 8-track in return for an album, new plans for an LP arose. In mid-1994, after Hypnotic Suggestion, McIntyre would be the second to leave the band, due to a number of personal distresses as well as stylistic changes that arose with Parfitt's departure.",
"In mid-1994, after Hypnotic Suggestion, McIntyre would be the second to leave the band, due to a number of personal distresses as well as stylistic changes that arose with Parfitt's departure. Having great difficulty finding a new permanent bassist, the band would rotate a number of frequent bass contributors, including Jeff Mangum of Neutral Milk Hotel, Kurt Heasley of The Lilys, Kyle Jones, Joel Richardson, and Joel Evans.",
"Having great difficulty finding a new permanent bassist, the band would rotate a number of frequent bass contributors, including Jeff Mangum of Neutral Milk Hotel, Kurt Heasley of The Lilys, Kyle Jones, Joel Richardson, and Joel Evans. Jim McIntyre would also occasionally guest on bass.",
"Jim McIntyre would also occasionally guest on bass. This continued to be the makeup of the band as they toured the country in late 1994, recording the first half of their new album in Glendora, California.",
"This continued to be the makeup of the band as they toured the country in late 1994, recording the first half of their new album in Glendora, California. In early 1995, the band finished the album, Fun Trick Noisemaker, at Kyle Jones's house (the birthplace of Schneider's Pet Sounds Studio).",
"In early 1995, the band finished the album, Fun Trick Noisemaker, at Kyle Jones's house (the birthplace of Schneider's Pet Sounds Studio). Now with a LP to support, the band began touring again.",
"Now with a LP to support, the band began touring again. Eric Allen, whom the band had previously auditioned as a guitarist after the departure of Chris Parfitt, joined the band as a much welcomed permanent bassist. Late 1995, Schneider relocated Pet Sounds Studio to Jim McIntyre's house.",
"Late 1995, Schneider relocated Pet Sounds Studio to Jim McIntyre's house. McIntyre continued to be involved in the recording and engineering of the band's albums until the mid-2000s.",
"McIntyre continued to be involved in the recording and engineering of the band's albums until the mid-2000s. A significantly different band from the original 1992 four-piece, the official name of the band gradually became \"The Apples in Stereo\", with the \"in stereo\" usually somewhat under-emphasized, whether in lower-case or in parentheses.",
"A significantly different band from the original 1992 four-piece, the official name of the band gradually became \"The Apples in Stereo\", with the \"in stereo\" usually somewhat under-emphasized, whether in lower-case or in parentheses. Schneider described this in an interview: \"It's very clearcut, actually: we're The Apples, the music's in stereo.",
"Schneider described this in an interview: \"It's very clearcut, actually: we're The Apples, the music's in stereo. It's not actually the band name – it's a step back from it, a band name once removed. We're The Apples, in stereo.",
"We're The Apples, in stereo. Kind of like a TV show, 'in stereo!' That always seemed to be a really big deal, that it was in stereo.\" McIntyre later remarked, \"It's cool the name changed cause the Apples and the Apples in Stereo were really two different entities.\"",
"McIntyre later remarked, \"It's cool the name changed cause the Apples and the Apples in Stereo were really two different entities.\" 1996–2005: Tone Soul Evolution to Velocity of Sound The band continued touring through 1996, playing in Japan for the first time.",
"1996–2005: Tone Soul Evolution to Velocity of Sound The band continued touring through 1996, playing in Japan for the first time. Several early recording sessions were held at Pet Sounds for the band's second album, Tone Soul Evolution, but the members were dissatisfied with the quality of the recordings.",
"Several early recording sessions were held at Pet Sounds for the band's second album, Tone Soul Evolution, but the members were dissatisfied with the quality of the recordings. The majority of the album's songs were re-recorded at Studio .45 in Hartford, Connecticut before the album's release.",
"The majority of the album's songs were re-recorded at Studio .45 in Hartford, Connecticut before the album's release. In 1998, Chris McDuffie joined the band, playing various instruments including organs, synthesizers and assorted percussion. He would leave the band before Velocity of Sound was released in 2002.",
"He would leave the band before Velocity of Sound was released in 2002. Several more albums were released by the band through the years, including the psychedelic \"concept EP\", Her Wallpaper Reverie, The Discovery of a World Inside the Moone and Velocity of Sound; both of the latter of which were progressively aimed at capturing the live sound of the band, which continued to tighten as they continued to perform hundreds of live shows (about 100 a year).",
"Several more albums were released by the band through the years, including the psychedelic \"concept EP\", Her Wallpaper Reverie, The Discovery of a World Inside the Moone and Velocity of Sound; both of the latter of which were progressively aimed at capturing the live sound of the band, which continued to tighten as they continued to perform hundreds of live shows (about 100 a year). In particular, the 2002 album Velocity of Sound rejects most of the psych-pop production sensibilities that would come to be associated with the band, instead featuring stripped-down production and sparse, rock instrumentation.",
"In particular, the 2002 album Velocity of Sound rejects most of the psych-pop production sensibilities that would come to be associated with the band, instead featuring stripped-down production and sparse, rock instrumentation. The band members would also continue to pursue careers in side bands and solo projects, with Schneider producing several albums for Elephant 6 artists.",
"The band members would also continue to pursue careers in side bands and solo projects, with Schneider producing several albums for Elephant 6 artists. Schneider and drummer Hilarie Sidney were married for a time, with a son Max born in 2000. They have since been divorced.",
"They have since been divorced. They have since been divorced. The band went on a brief hiatus during 2004 as Schneider released the debut album from a new band called Ulysses and Sidney released the debut album from her new band The High Water Marks; both were released on Eenie Meenie Records.",
"The band went on a brief hiatus during 2004 as Schneider released the debut album from a new band called Ulysses and Sidney released the debut album from her new band The High Water Marks; both were released on Eenie Meenie Records. In 2005, The Apples in Stereo contributed \"Liza Jane\" to the Eenie Meenie compilation, Dimension Mix.",
"In 2005, The Apples in Stereo contributed \"Liza Jane\" to the Eenie Meenie compilation, Dimension Mix. It was also around this time that news began to circulate among various websites concerning the band's next studio album.",
"It was also around this time that news began to circulate among various websites concerning the band's next studio album. 2006–2008: New Magnetic Wonder and evolving lineup In August 2006, longtime drummer Hilarie Sidney officially announced her departure from the band during the band's closing set at the Athens Popfest music festival in Athens, Georgia.",
"2006–2008: New Magnetic Wonder and evolving lineup In August 2006, longtime drummer Hilarie Sidney officially announced her departure from the band during the band's closing set at the Athens Popfest music festival in Athens, Georgia. Her replacement, John Dufilho, lead singer and principal songwriter of The Deathray Davies, was announced in October 2006.",
"Her replacement, John Dufilho, lead singer and principal songwriter of The Deathray Davies, was announced in October 2006. 2006 touring member Bill Doss of The Olivia Tremor Control also quietly joined the band \"officially\" as its new keyboardist.",
"2006 touring member Bill Doss of The Olivia Tremor Control also quietly joined the band \"officially\" as its new keyboardist. John Ferguson of Big Fresh and Ulysses joined the Apples in 2007, also playing keyboards, and wearing a Doctor Who-esque space suit on stage.",
"John Ferguson of Big Fresh and Ulysses joined the Apples in 2007, also playing keyboards, and wearing a Doctor Who-esque space suit on stage. In December 2006, Robert Schneider appeared on the popular television show The Colbert Report singing the song \"Stephen Stephen\" recorded by The Apples in Stereo to glorify the show's host Stephen Colbert, to kick off a guitar solo contest between Colbert and Chris Funk of The Decemberists.",
"In December 2006, Robert Schneider appeared on the popular television show The Colbert Report singing the song \"Stephen Stephen\" recorded by The Apples in Stereo to glorify the show's host Stephen Colbert, to kick off a guitar solo contest between Colbert and Chris Funk of The Decemberists. On February 6, 2007, The Apples in Stereo released their sixth studio LP, New Magnetic Wonder.",
"On February 6, 2007, The Apples in Stereo released their sixth studio LP, New Magnetic Wonder. Finishing a ten-year deal with spinART Records, New Magnetic Wonder was the premiere release on Simian Records, a newly formed record label founded by Elijah Wood.",
"Finishing a ten-year deal with spinART Records, New Magnetic Wonder was the premiere release on Simian Records, a newly formed record label founded by Elijah Wood. This was followed by a long-awaited b-sides and rarities compilation titled Electronic Projects for Musicians, released on April 1. In 2008, spinART Records went out of business.",
"In 2008, spinART Records went out of business. Rights for all major releases by The Apples in Stereo on the label were subsequently acquired by One Little Indian Records, and have since reverted to the band.",
"Rights for all major releases by The Apples in Stereo on the label were subsequently acquired by One Little Indian Records, and have since reverted to the band. In a recent interview, Schneider noted that the band's EPs have yet to have been re-released, but will likely be collected for another compilation.",
"In a recent interview, Schneider noted that the band's EPs have yet to have been re-released, but will likely be collected for another compilation. Such a compilation would probably include the re-releases of Look Away + 4, Let's Go! and a number of non-album songs released alongside New Magnetic Wonder.",
"and a number of non-album songs released alongside New Magnetic Wonder. On August 4, 2008, the band appeared again on The Colbert Report. They performed their song Can You Feel It? to promote the release of the Japanese picture disc.",
"to promote the release of the Japanese picture disc. In early 2008, their song \"Same Old Drag\" won in The 7th Annual Independent Music Awards for Best Pop/Rock Song. The same year Apples in Stereo were nominated for Independent Music Awards Pop/Rock Album of the Year.",
"The same year Apples in Stereo were nominated for Independent Music Awards Pop/Rock Album of the Year. The band members also joined the 9th annual Independent Music Awards judging panel to assist independent musicians' careers.",
"The band members also joined the 9th annual Independent Music Awards judging panel to assist independent musicians' careers. 2009–2011: #1 Hits Explosion and Travellers in Space and Time Yep Roc released #1 Hits Explosion, an Apples in Stereo best-of album, on September 1, 2009.",
"2009–2011: #1 Hits Explosion and Travellers in Space and Time Yep Roc released #1 Hits Explosion, an Apples in Stereo best-of album, on September 1, 2009. In late 2008, PepsiCo released an advertisement with their song \"Energy\" off of their album New Magnetic Wonder.",
"In late 2008, PepsiCo released an advertisement with their song \"Energy\" off of their album New Magnetic Wonder. In early 2009, Robert appeared on ABC News's segment called \"amplified\" and gave some short performances of songs from New Magnetic Wonder and a song from his project \"Robert Bobbert and the bubble machine\" and he described the album as sounding like early 1970s R&B as it would sound played by aliens and emanating from an alien spaceship.He also confirmed that the band was recording their new album at Trout Recording in Brooklyn, New York.",
"In early 2009, Robert appeared on ABC News's segment called \"amplified\" and gave some short performances of songs from New Magnetic Wonder and a song from his project \"Robert Bobbert and the bubble machine\" and he described the album as sounding like early 1970s R&B as it would sound played by aliens and emanating from an alien spaceship.He also confirmed that the band was recording their new album at Trout Recording in Brooklyn, New York. In interviews in Billboard magazine and other press outlets, In April 2009, the single \"Energy\" from New Magnetic Wonder was performed by the contestants on the television show American Idol.",
"In interviews in Billboard magazine and other press outlets, In April 2009, the single \"Energy\" from New Magnetic Wonder was performed by the contestants on the television show American Idol. The result was the band's seventh album Travellers in Space and Time, released on April 20, 2010 on Simian Records.",
"The result was the band's seventh album Travellers in Space and Time, released on April 20, 2010 on Simian Records. Described by Schneider as a \"retro-futuristic\" concept album intended as a time capsule for listeners of the future, Travellers has drawn comparisons to the style of Electric Light Orchestra.",
"Described by Schneider as a \"retro-futuristic\" concept album intended as a time capsule for listeners of the future, Travellers has drawn comparisons to the style of Electric Light Orchestra. The record is the first Apples in Stereo album without Hilarie Sidney, making Schneider the last founding member remaining in the group, although John Hill joined before \"in stereo\" was added to the name.",
"The record is the first Apples in Stereo album without Hilarie Sidney, making Schneider the last founding member remaining in the group, although John Hill joined before \"in stereo\" was added to the name. The band was invited by Jeff Mangum of Neutral Milk Hotel to perform at the All Tomorrow's Parties festival that he curated in March 2012 in Minehead, England.",
"The band was invited by Jeff Mangum of Neutral Milk Hotel to perform at the All Tomorrow's Parties festival that he curated in March 2012 in Minehead, England. Schneider announced in May 2012 that The Apples in Stereo had begun work on a new album, described as being \"a very, very different sort of album.\"",
"Schneider announced in May 2012 that The Apples in Stereo had begun work on a new album, described as being \"a very, very different sort of album.\" In recent years, Schneider has explored a number of experimental music projects, such as the Teletron mind-controlled synthesizer and Non-Pythagorean scale of his own invention.",
"In recent years, Schneider has explored a number of experimental music projects, such as the Teletron mind-controlled synthesizer and Non-Pythagorean scale of his own invention. 2012–present: Death of Bill Doss, hiatus and future The death of Bill Doss, the band's keyboardist as well as the co-founder of fellow Elephant 6 band The Olivia Tremor Control, was announced on July 31, 2012.",
"2012–present: Death of Bill Doss, hiatus and future The death of Bill Doss, the band's keyboardist as well as the co-founder of fellow Elephant 6 band The Olivia Tremor Control, was announced on July 31, 2012. The cause of death was an aneurysm.",
"The cause of death was an aneurysm. Schneider released a statement saying, \"I am heartbroken by the loss of my life-long friend, collaborator and band-mate. My world will never be the same without the wonderful, funny, supremely creative Bill Doss.\"",
"My world will never be the same without the wonderful, funny, supremely creative Bill Doss.\" The band went into hiatus in the fall of 2012, after Doss' death and Schneider's acceptance into the PhD program in Mathematics at Emory University. In 2013, Phish started covering the Apples in Stereo song \"Energy.\"",
"In 2013, Phish started covering the Apples in Stereo song \"Energy.\" In early 2017, Schneider hinted at a new album called The Bicycle Day.",
"In early 2017, Schneider hinted at a new album called The Bicycle Day. He stated on Facebook that \"Apples are working on a concept record called The Bicycle Day but it is too deep of a task to finish while I'm in graduate school... it isn't a pop record though ... (Air-Sea Dolphin and my band Spaceflyte with John Ferguson are the new pop projects though)\".",
"He stated on Facebook that \"Apples are working on a concept record called The Bicycle Day but it is too deep of a task to finish while I'm in graduate school... it isn't a pop record though ... (Air-Sea Dolphin and my band Spaceflyte with John Ferguson are the new pop projects though)\". On August 10, 2017, the Apples played their first show since 2012 as a headlining act at the Athens Popfest music festival in Athens, Georgia with Marshmallow Coast, Antlered Auntlord, and Waxahatchee as prior performers.",
"On August 10, 2017, the Apples played their first show since 2012 as a headlining act at the Athens Popfest music festival in Athens, Georgia with Marshmallow Coast, Antlered Auntlord, and Waxahatchee as prior performers. In 2018, Schneider received a PhD in mathematics from Emory.",
"In 2018, Schneider received a PhD in mathematics from Emory. Band members Current members Robert Schneider - guitar, French horn, lead vocals (1992–present) John Hill - guitar, xylophone (1994–present) Eric Allen - bass, harmonica (1995–present) John Dufilho - drums, harp (2006–present) John Ferguson - vocals, keyboards, panflute (2007–present) Former members Hilarie Sidney - drums, vocals (1992-2006) Jim McIntyre - bass (1992-1994) Chris Parfitt - guitar (1992-1994) Chris McDuffie - keyboards (1998-2002) Bill Doss - vocals, keyboards, ukulele (2006-2012; died 2012) Timeline Selected discography Fun Trick Noisemaker (1995) Science Faire (1996) Tone Soul Evolution (1997) Her Wallpaper Reverie (1999) The Discovery of a World Inside the Moone (2000) Velocity of Sound (2002) New Magnetic Wonder (2007) Electronic Projects for Musicians (2008) Travellers in Space and Time (2010) References External links The Apples in Stereo at Elephant6.com Tractor Beam Management Apples in Stereo entry at Trouser Press The Apples in Stereo at Live Music Archive Interview with the Cornell Daily Sun Step Through the Portal The Elephant 6 Recording Company artists Musical groups from Denver Lo-fi music groups Musical groups established in 1992 Independent Music Awards winners Indie pop groups from Colorado Indie rock musical groups from Colorado Psychedelic pop music groups American power pop groups SpinART Records artists Yep Roc Records artists"
] |
[
"Muddy Waters",
"Commercial success, 1948-1957"
] | C_7caf21c5447947198403d9676d3f6f83_0 | what city did he live in? | 1 | What city did Muddy Waters live in? | Muddy Waters | Initially, the Chess brothers would not allow Muddy Waters to use his working band in the recording studio; instead, he was provided with a backing bass by Ernest "Big" Crawford or by musicians assembled specifically for the recording session, including "Baby Face" Leroy Foster and Johnny Jones. Gradually, Chess relented, and by September 1953 he was recording with one of the most acclaimed blues groups in history: Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums, and Otis Spann on piano. The band recorded a series of blues classics during the early 1950s, some with the help of the bassist and songwriter Willie Dixon, including "Hoochie Coochie Man", "I Just Want to Make Love to You", and "I'm Ready". Along with his former harmonica player Little Walter Jacobs and recent southern transplant Howlin' Wolf, Muddy Waters reigned over the early 1950s Chicago blues scene, his band becoming a proving ground for some of the city's best blues talent. Little Walter continued a collaborative relationship long after he left Muddy Waters's band in 1952, appearing on most of the band's classic recordings in the 1950s. Muddy Waters developed a long-running, generally good-natured rivalry with Wolf. The success of his ensemble paved the way for others in his group to make their own solo careers. In 1952, Little Walter left when his single "Juke" became a hit, and in 1955, Rogers quit to work exclusively with his own band, which had been a sideline until that time. During the mid-1950s, Muddy Waters' singles were frequently on Billboard magazine's various Rhythm & Blues charts including "Sugar Sweet" in 1955 and "Trouble No More", "Forty Days and Forty Nights", and "Don't Go No Farther" in 1956. 1956 also saw the release of one of his best-known numbers, "Got My Mojo Working", although it did not appear on the charts. However, by the late 1950s, his singles success had come to an end, with only "Close to You" reaching the chart in 1958. Also in 1958, Chess released Muddy Waters' first album, The Best of Muddy Waters, which collected twelve of his singles up to 1956. CANNOTANSWER | Chicago | McKinley Morganfield (April 4, 1913April 30, 1983), known professionally as Muddy Waters, was an American blues singer-songwriter and musician who was an important figure in the post-war blues scene, and is often cited as the "father of modern Chicago blues." His style of playing has been described as "raining down Delta beatitude."
Muddy Waters grew up on Stovall Plantation near Clarksdale, Mississippi, and by age 17 was playing the guitar and the harmonica, emulating the local blues artists Son House and Robert Johnson. He was recorded in Mississippi by Alan Lomax for the Library of Congress in 1941. In 1943, he moved to Chicago to become a full-time professional musician. In 1946, he recorded his first records for Columbia Records and then for Aristocrat Records, a newly formed label run by the brothers Leonard and Phil Chess.
In the early 1950s, Muddy Waters and his band—Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums and Otis Spann on piano—recorded several blues classics, some with the bassist and songwriter Willie Dixon. These songs included "Hoochie Coochie Man," "I Just Want to Make Love to You" and "I'm Ready". In 1958, he traveled to England, laying the foundations of the resurgence of interest in the blues there. His performance at the Newport Jazz Festival in 1960 was recorded and released as his first live album, At Newport 1960.
Muddy Waters' music has influenced various American music genres, including rock and roll and rock music.
Early life
Muddy Waters's place and date of birth are not conclusively known. He stated that he was born in Rolling Fork, Mississippi, in 1915, but other evidence suggests that he was born in Jug's Corner, in neighboring Issaquena County, in 1913. In the 1930s and 1940s, before his rise to fame, the year of his birth was reported as 1913 on his marriage license, recording notes, and musicians' union card. A 1955 interview in the Chicago Defender is the earliest in which he stated 1915 as the year of his birth, and he continued to say this in interviews from that point onward. The 1920 census lists him as five years old as of March 6, 1920, suggesting that his birth year may have been 1914. The Social Security Death Index, relying on the Social Security card application submitted after his move to Chicago in the mid-1940s, lists him as being born April 4, 1913. His gravestone gives his birth year as 1915.
His grandmother, Della Grant, raised him after his mother died shortly after his birth. Grant gave him the nickname "Muddy" at an early age because he loved to play in the muddy water of nearby Deer Creek. "Waters" was added years later, as he began to play harmonica and perform locally in his early teens. The remains of the cabin on Stovall Plantation where he lived in his youth are now at the Delta Blues Museum in Clarksdale, Mississippi.
He had his first introduction to music in church: "I used to belong to church. I was a good Baptist, singing in the church. So I got all of my good moaning and trembling going on for me right out of church," he recalled. By the time he was 17, he had purchased his first guitar. "I sold the last horse that we had. Made about fifteen dollars for him, gave my grandmother seven dollars and fifty cents, I kept seven-fifty and paid about two-fifty for that guitar. It was a Stella. The people ordered them from Sears-Roebuck in Chicago." He started playing his songs in joints near his hometown, mostly on a plantation owned by Colonel William Howard Stovall.
Career
Early career, early 1930s–1948
In the early 1930s, Muddy Waters accompanied Big Joe Williams on tours of the Delta, playing harmonica. Williams recounted to Blewett Thomas that he eventually dropped Muddy "because he was takin' away my women [fans]".
In August 1941, Alan Lomax went to Stovall, Mississippi, on behalf of the Library of Congress to record various country blues musicians. "He brought his stuff down and recorded me right in my house," Muddy told Rolling Stone magazine, "and when he played back the first song I sounded just like anybody's records. Man, you don't know how I felt that Saturday afternoon when I heard that voice and it was my own voice. Later on he sent me two copies of the pressing and a check for twenty bucks, and I carried that record up to the corner and put it on the jukebox. Just played it and played it and said, 'I can do it, I can do it'." Lomax came back in July 1942 to record him again. Both sessions were eventually released by Testament Records as Down on Stovall's Plantation. The complete recordings were reissued by Chess Records on CD as Muddy Waters: The Complete Plantation Recordings. The Historic 1941–42 Library of Congress Field Recordings in 1993 and remastered in 1997.
In 1943, Muddy Waters headed to Chicago with the hope of becoming a full-time professional musician. He later recalled arriving in Chicago as the single most momentous event in his life. He lived with a relative for a short period while driving a truck and working in a factory by day and performing at night. Big Bill Broonzy, then one of the leading bluesmen in Chicago, had Muddy open his shows in the rowdy clubs where Broonzy played. This gave him the opportunity to play in front of a large audience. In 1944, he bought his first electric guitar and then formed his first electric combo. He felt obliged to electrify his sound in Chicago because, he said, "When I went into the clubs, the first thing I wanted was an amplifier. Couldn't nobody hear you with an acoustic." His sound reflected the optimism of postwar African Americans. Willie Dixon said that "There was quite a few people around singing the blues but most of them was singing all sad blues. Muddy was giving his blues a little pep."
In 1946, Muddy recorded some songs for Mayo Williams at Columbia Records, with an old-fashioned combo consisting of clarinet, saxophone and piano; they were released a year later with Ivan Ballen's Philadelphia-based 20th Century label, billed as James "Sweet Lucy" Carter and his Orchestra – Muddy Waters' name was not mentioned on the label. Later that year, he began recording for Aristocrat Records, a newly formed label run by the brothers Leonard and Phil Chess. In 1947, he played guitar with Sunnyland Slim on piano on the cuts "Gypsy Woman" and "Little Anna Mae". These were also shelved, but in 1948, "I Can't Be Satisfied" and "I Feel Like Going Home" became hits, and his popularity in clubs began to take off. Soon after, Aristocrat changed its name to Chess Records. Muddy Waters's signature tune "Rollin' Stone" also became a hit that year.
Commercial success, 1948–1957
Initially, the Chess brothers would not allow Muddy Waters to use his working band in the recording studio; instead, he was provided with a backing bass by Ernest "Big" Crawford or by musicians assembled specifically for the recording session, including "Baby Face" Leroy Foster and Johnny Jones. Gradually, Chess relented, and by September 1953 he was recording with one of the most acclaimed blues groups in history: Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums, and Otis Spann on piano. The band recorded a series of blues classics during the early 1950s, some with the help of the bassist and songwriter Willie Dixon, including "Hoochie Coochie Man", "I Just Want to Make Love to You", and "I'm Ready"
Muddy Waters's band became a proving ground for some of the city's best blues talent, with members of the ensemble going on to successful careers of their own. In 1952, Little Walter left when his single "Juke" became a hit, although he continued a collaborative relationship long after he left, appearing on most of the band's classic recordings in the 1950s. Howlin' Wolf moved to Chicago in 1954 with financial support earned through his successful Chess singles, and the "legendary rivalry" with Muddy Waters began. The rivalry was, in part, stoked by Willie Dixon providing songs to both artists, with Wolf suspecting that Muddy was getting Dixon's best songs. 1955 saw the departure of Jimmy Rogers, who quit to work exclusively with his own band, which had been a sideline until that time.
In the mid-1950s, Muddy Waters' singles were frequently on Billboard magazine's various Rhythm & Blues charts including "Sugar Sweet" in 1955 and "Trouble No More", "Forty Days and Forty Nights", and "Don't Go No Farther" in 1956. 1956 also saw the release of one of his best-known numbers, "Got My Mojo Working", although it did not appear on the charts. However, by the late 1950s, his singles success had come to an end, with only "Close to You" reaching the chart in 1958. Also in 1958, Chess released his first compilation album, The Best of Muddy Waters, which collected twelve of his singles up to 1956.
Performances and crossover, 1958–1970
Muddy Waters toured England with Spann in 1958, where they were backed by local Dixieland-style or "trad jazz" musicians, including members of Chris Barber's band. At the time, English audiences had only been exposed to acoustic folk blues, as performed by artists such as Sonny Terry, Brownie McGhee, and Big Bill Broonzy. Both the musicians and audiences were unprepared for Waters' performance, which included his electric slide guitar playing. He recalled:
Although his performances alienated the old guard, some younger musicians, including Alexis Korner and Cyril Davies from Barber's band, were inspired to go in the more modern, electric blues direction. Korner and Davies' own groups included musicians who would later form the Rolling Stones (named after Muddy's 1950 hit "Rollin' Stone"), Cream, and the original Fleetwood Mac.
In the 1960s, Muddy Waters' performances continued to introduce a new generation to Chicago blues. At the Newport Jazz Festival, he recorded one of the first live blues albums, At Newport 1960, and his performance of "Got My Mojo Working" was nominated for a Grammy award. In September 1963, in Chess' attempt to connect with folk music audiences, he recorded Folk Singer, which replaced his trademark electric guitar sound with an acoustic band, including a then-unknown Buddy Guy on acoustic guitar. Folk Singer was not a commercial success, but it was lauded by critics, and in 2003 Rolling Stone magazine placed it at number 280 on its list of the 500 greatest albums of all time. In October 1963, Muddy Waters participated in the first of several annual European tours, organized as the American Folk Blues Festival, during which he also performed more acoustic-oriented numbers.
In 1967, he re-recorded several blues standards with Bo Diddley, Little Walter, and Howlin' Wolf, which were marketed as Super Blues and The Super Super Blues Band albums in Chess' attempt to reach a rock audience. The Super Super Blues Band united Wolf and Waters, who had a long-standing rivalry. It was, as Ken Chang wrote in his AllMusic review, flooded with "contentious studio banter [...] more entertaining than the otherwise unmemorable music from this stylistic train wreck". In 1968, at the instigation of Marshall Chess, he recorded Electric Mud, an album intended to revive his career by backing him with Rotary Connection, a psychedelic soul band that Chess had put together. The album proved controversial; although it reached number 127 on the Billboard 200 album chart, it was scorned by many critics, and eventually disowned by Muddy Waters himself:
Nonetheless, six months later he recorded a follow-up album, After the Rain, which had a similar sound and featured many of the same musicians.
Later in 1969, he recorded and released the album Fathers and Sons, which featured a return to his classic Chicago blues sound. Fathers and Sons had an all-star backing band that included Michael Bloomfield and Paul Butterfield, longtime fans whose desire to play with him was the impetus for the album. It was the most successful album of Muddy Waters' career, reaching number 70 on the Billboard 200.
Resurgence and later career, 1971–1982
In 1971, a show at Mister Kelly's, an upmarket Chicago nightclub, was recorded and released, signalling both Muddy Waters's return to form and the completion of his transfer to white audiences.
In 1972, he won his first Grammy Award, for Best Ethnic or Traditional Recording for They Call Me Muddy Waters, a 1971 album of old, but previously unreleased recordings.
Later in 1972, he flew to England to record the album The London Muddy Waters Sessions. The album was a follow-up to the previous year's The London Howlin' Wolf Sessions. Both albums were the brainchild of Chess Records producer Norman Dayron, and were intended to showcase Chicago blues musicians playing with the younger British rock musicians whom they had inspired. Muddy Waters brought with him two American musicians, harmonica player Carey Bell and guitarist Sammy Lawhorn. The British and Irish musicians who played on the album included Rory Gallagher, Steve Winwood, Rick Grech, and Mitch Mitchell. Muddy was dissatisfied by the results, due to the British musicians' more rock-oriented sound. "These boys are top musicians, they can play with me, put the book before 'em and play it, you know," he told Guralnick. "But that ain't what I need to sell my people, it ain't the Muddy Waters sound. An' if you change my sound, then you gonna change the whole man." He stated, "My blues look so simple, so easy to do, but it's not. They say my blues is the hardest blues in the world to play." Nevertheless, the album won another Grammy, again for Best Ethnic or Traditional Recording.
He won another Grammy for his last LP on Chess Records: The Muddy Waters Woodstock Album, recorded in 1975 with his new guitarist Bob Margolin, Pinetop Perkins, Paul Butterfield, and Levon Helm and Garth Hudson of the Band. In November 1976 he appeared as a featured special guest at The Band's Last Waltz farewell concert, and in the subsequent 1978 feature film documentary of the event.
From 1977 to 1981, blues musician Johnny Winter, who had idolized Muddy Waters since childhood and who had become a friend, produced four albums of his, all on the Blue Sky Records label: the studio albums Hard Again (1977), I'm Ready (1978) and King Bee (1981), and the live album Muddy "Mississippi" Waters – Live (1979). The albums were critical and commercial successes, with all but King Bee winning a Grammy. Hard Again has been especially praised by critics, who have tended to describe it as his comeback album.
In 1981, Muddy Waters was invited to perform at ChicagoFest, the city's top outdoor music festival. He was joined onstage by Johnny Winter and Buddy Miles, and played classics like "Mannish Boy", "Trouble No More", and "Mojo Working" to a new generation of fans. The performance was made available on DVD in 2009 by Shout! Factory. On November 22, he performed live with three members of British rock band the Rolling Stones (Mick Jagger, Keith Richards and Ronnie Wood) at the Checkerboard Lounge, a blues club in Bronzeville, on the South Side of Chicago, which was established in 1972 by Buddy Guy and L.C. Thurman. A DVD version of the performance was released in 2012.
In 1982, declining health dramatically stopped his performance schedule. His last public performance took place when he sat in with Eric Clapton's band at a concert in Florida in the summer of 1982.
Personal life
Muddy Waters' longtime partner, Geneva Wade, died of cancer on March 15, 1973. Gaining custody of his three children, Joseph, Renee, and Rosalind, he moved them into his home, eventually buying a new house in Westmont, Illinois. Years later, he traveled to Florida and met his future wife, 19-year-old Marva Jean Brooks, whom he nicknamed "Sunshine". Eric Clapton served as best man at their wedding in 1979.
His sons, Larry "Mud" Morganfield and Big Bill Morganfield, are also blues singers and musicians. In 2017 his youngest son, Joseph "Mojo" Morganfield, began publicly performing the blues. Joseph was known to play occasionally with his brothers. Mojo died in 2020 at the age of 56.
Death
Muddy Waters died in his sleep from heart failure, at his home in Westmont, Illinois, on April 30, 1983, from cancer-related complications. He was taken from his Westmont home, which he lived in for the last decade of his life, to Good Samaritan Hospital in Downers Grove, Illinois, where he was pronounced dead aged 70. His funeral was held on May 4, 1983. Throngs of blues musicians and fans attended his funeral at Restvale Cemetery in Alsip, Illinois. He is buried next to his wife, Geneva.
After his death, a lengthy court battle ensued between his heirs and Scott Cameron, his former manager. In 2010, his heir was petitioning for the courts to appoint Mercy Morganfield, his daughter, as administrator and distribute remaining assets, which mainly consists of copyrights to his music. The petition to reopen the estate was successful. In May 2018, the heirs' lawyer sought to hold Scott Cameron's wife in contempt for diverting royalty income. However, the heirs asked for that citation not to be pursued. The next court date was set for July 10, 2018.
Legacy
Two years after his death, the city of Chicago paid tribute to him by designating the one-block section between 900 and 1000 East 43rd Street near his former home on the south side "Honorary Muddy Waters Drive". In 2017, a ten stories-mural commissioned as a part of the Chicago Blues Festival and designed by Brazilian artist Eduardo Kobra was painted on the side of the building at 17 North State Street, at the corner of State and Washington Streets. The Chicago suburb of Westmont, where he lived the last decade of his life, named a section of Cass Avenue near his home "Honorary Muddy Waters Way".
In 2008, a Mississippi Blues Trail marker has been placed in Clarksdale, Mississippi, by the Mississippi Blues Commission designating the site of Muddy Waters' cabin. He also received a plaque on the Clarksdale Walk of Fame.
Muddy Waters' Chicago Home in the Kenwood neighborhood is in the process of being named a Chicago Landmark.
Influence
The British band The Rolling Stones named themselves after Muddy Waters' 1950 song "Rollin' Stone". Jimi Hendrix recalled that "I first heard him as a little boy and it scared me to death". The band Cream covered "Rollin' and Tumblin'" on their 1966 debut album, Fresh Cream. Eric Clapton was a big fan of Muddy Waters while growing up, and his music influenced Clapton's music career. The song was also covered by Canned Heat at the Monterey Pop Festival and later adapted by Bob Dylan on his album Modern Times. One of Led Zeppelin's biggest hits, "Whole Lotta Love", has its lyrics heavily influenced by the Muddy Waters hit "You Need Love" (written by Willie Dixon). "Hoochie Coochie Man", was covered by Allman Brothers Band, Humble Pie, Steppenwolf, Supertramp and Fear. In 1993, Paul Rodgers released the album Muddy Water Blues: A Tribute to Muddy Waters, on which he covered a number of his songs, including "Louisiana Blues", "Rollin' Stone", "(I'm your) Hoochie Coochie Man" and "I'm Ready" in collaboration with guitarists such as Gary Moore, Brian May and Jeff Beck. Angus Young, of the rock group AC/DC, has cited Muddy as one of his influences. The AC/DC song title "You Shook Me All Night Long" came from lyrics of the Muddy Waters song "You Shook Me", written by Willie Dixon and J. B. Lenoir. Earl Hooker first recorded it as an instrumental, which was then overdubbed with vocals by Muddy Waters in 1962. Led Zeppelin also covered it on their debut album.
In 1981 ZZ Top guitarist Billy Gibbons went to visit the Delta Blues Museum in Clarksdale with The Blues magazine founder Jim O'Neal. The museum's director, Sid Graves, brought Gibbons to visit Waters original house, and encouraged him to pick up a piece of scrap lumber that was originally part of the roof. Gibbons eventually converted the wood into a guitar. Named Muddywood, the instrument is now exhibited at the Delta Blues Museum in Clarksdale.
Following his death, fellow blues musician B.B. King told Guitar World magazine, "It's going to be years and years before most people realize how greatly he contributed to American music." John P. Hammond told Guitar World magazine, "Muddy was a master of just the right notes. It was profound guitar playing, deep and simple ... more country blues transposed to the electric guitar, the kind of playing that enhanced the lyrics, gave profundity to the words themselves."
Muddy Waters' songs have been featured in long-time fan Martin Scorsese's movies, including The Color of Money, Goodfellas, and Casino. A 1970s recording of his mid-'50s hit "Mannish Boy" was used in the films Goodfellas, Better Off Dead, Risky Business, and the rockumentary The Last Waltz. In 1988 "Mannish Boy" was also used in a Levi's 501 commercial and re-released in Europe as a single with "(I'm your) Hoochie Coochie Man" on the flip side.
Awards and recognition
Grammy Awards
Rock and Roll Hall of Fame
The Rock and Roll Hall of Fame listed four songs of Muddy Waters among the 500 Songs That Shaped Rock and Roll.
Blues Foundation Awards
Inductions
U.S. Postage Stamp
Discography
Studio albums
Muddy Waters Sings "Big Bill" (Chess, 1960)
Folk Singer (Chess, 1964)
Muddy, Brass & the Blues (Chess, 1966)
Electric Mud (Cadet, 1968)
After the Rain (Cadet, 1969)
Fathers and Sons (Chess, 1969)
The London Muddy Waters Sessions (Chess, 1972)
Can't Get No Grindin' (Chess, 1973)
Mud in Your Ear (Muse, 1973)
London Revisited (Chess, 1974) split album with Howlin' Wolf
"Unk" in Funk (Chess, 1974)
The Muddy Waters Woodstock Album (Chess, 1975)
Hard Again (Blue Sky, 1977)
I'm Ready (Blue Sky, 1978)
King Bee (Blue Sky, 1981)
Notes
References
External links
1913 births
1983 deaths
Chicago blues musicians
Electric blues musicians
Delta blues musicians
Blues revival musicians
African-American guitarists
African-American male singer-songwriters
American blues singer-songwriters
American blues guitarists
American male guitarists
Blues musicians from Mississippi
American street performers
Grammy Lifetime Achievement Award winners
Musicians from Clarksdale, Mississippi
People from Issaquena County, Mississippi
Singer-songwriters from Mississippi
Slide guitarists
Lead guitarists
Chess Records artists
Muse Records artists
Mississippi Blues Trail
Blues rock musicians
20th-century American guitarists
Singer-songwriters from Illinois
People from Westmont, Illinois
Guitarists from Illinois
Guitarists from Mississippi
Blind Pig Records artists
20th-century African-American male singers | true | [
"The Next Dimension is the first live album and live video by Praga Khan. It was recorded March 4 & 5, 2005 at the Stadsshouwberg in Antwerp and released in 2005. The CD version did not include the track \"Kinky World\".\n\nTrack listing\n \"Dreamcatcher\" – 3:57\t\n \"Supersonic Lovetoy\" – 4:36\t\n \"Love and Hate\" – 5:49\t\n \"What's Wrong with Me\" – 4:14\t\n \"Your Lying Eyes\" – 5:52\t\n \"Breakfast in Vegas\" – 3:07\t\n \"The Moon\" – 4:16\t\n \"Lady Alcohol\" – 5:10\t\n \"Kinky World\"\n \"Time\" – 4:08\t\n \"Mistress of Dreams\" – 5:03\t\n \"Meditation\" – 5:30\t\n \"Guilt\" – 4:03\t\n \"City of a 1000 Sins\" – 6:46\t\n \"The Test of Life\" – 4:22\t\n \"Visions & Imaginations\" – 4:24\t\n \"The Power of the Flower\" – 5:37\n\nNotes\n\n2005 live albums",
"Look at What the Light Did Now is a documentary/live album DVD/CD by Canadian indie pop artist Feist, first released in December 2010. The DVD comprises an 80-minute documentary directed by Anthony Seck, five music videos from 2007 album The Reminder, and a number of live performances recorded between 2007 and 2009, including covers of songs by artists such as Little River Band and Ron Sexsmith.\n\nThe set's accompanying CD features live tracks and solo piano takes of tracks from The Reminder, along with live covers of songs by artists such as The Kinks and Peggy Lee, and two studio recordings of a new song, Look at What the Light Did Now, written by Little Wings.\n\nPrior to its December 2010 home video release, the documentary screened at number of international fall festivals, including the 2010 Raindance Film Festival in London, CPH:DOX in Copenhagen, and the Pop Montreal music festival in Quebec. Look at What the Light Did Now marks both Feist's first official documentary and first official live album.\n\nReception\nLook at What the Light Did Now received limited reviews upon release that were mostly positive. Music site Drowned in Sound gave the release 8/10, stating that it is \"absolutely worth your time and attention,\" while at AllMusic, reviewer Andrew Leahey gave the release 3.5/5, commenting: \"Feist sounds great throughout, with a quirky alto voice that, although imperfect, only seems to break at the right moments.\"\n\nMeanwhile, film site Indiewire gave the film a B+ rating, stating that it was not a typical rock documentary. Reviewer Kimber Myers said it \"sets itself apart with an aesthetic that veers between art film and hipster craft fair, a tone that perfectly matches Feist’s own music, itself a mixture of polished and smartly produced tracks and earthy, quirky additions\".\n\nAccolades\nLook at What the Light Did Now won the 'DVD of the Year' prize at the 2012 Juno Awards in Canada, and was nominated for the Sound & Vision Award at CPH:DOX in Denmark.\n\nTour dates\n\nTrack listing\n\nDisc one (DVD)\nFeature Length Documentary \n Look at What the Light Did Now directed by Anthony Seck\n\nMusic videos\n My Moon My Man directed by Patrick Daughters\n 1234 directed by Patrick Daughters\n I Feel It All directed by Patrick Daughters\n The Water directed by Kevin Drew and starring Cillian Murphy\n Honey Honey directed by Anthony Seck\n\nLive Performances from The Reminder Tour 2007-2009\n Limit to Your Love \n Secret Heart (Ron Sexsmith cover) \n Help is On Its Way (Little River Band cover)\n The Water\n\nDisc two (CD)\nLook at What the Light Did Now (Solo) – 3:59 \nLimit To Your Love (Live) – 5:22 \nWhen I Was a Young Girl (Live) – 4:55 \nMy Moon My Man (Live at the Cameron House, 29 October 2008) – 3:41 \nSecret Heart (Live Ron Sexsmith cover) – 4:40 \nStrangers (Live at the Cameron House, 29 October 2008, The Kinks cover) – 2:34 \nSo Sorry (Live) – 3:46 \nWhere Can I Go Without You? (Live in Paris 2007, Peggy Lee cover) – 3:37\nIntuition (Chilly Gonzales solo) – 4:33\nThe Water (Chilly Gonzales solo) – 7:04 \nSea Lion Woman (Chilly Gonzales solo) – 3:35 \n1234 (Chilly Gonzales solo) – 6:39\nLook at What the Light Did Now (Duet with Little Wings) – 4:09\n\nTracks 9-12: Chilly Gonzales Original Score - Songs from The Reminder improvised and performed on solo piano.\n\nTotal running time: 58:43\n\nReferences\n\nExternal links\n\nLive video albums\n2010 live albums\n2010 video albums\nConcert films"
] | [
"McKinley Morganfield (April 4, 1913April 30, 1983), known professionally as Muddy Waters, was an American blues singer-songwriter and musician who was an important figure in the post-war blues scene, and is often cited as the \"father of modern Chicago blues.\" His style of playing has been described as \"raining down Delta beatitude.\"",
"His style of playing has been described as \"raining down Delta beatitude.\" Muddy Waters grew up on Stovall Plantation near Clarksdale, Mississippi, and by age 17 was playing the guitar and the harmonica, emulating the local blues artists Son House and Robert Johnson.",
"Muddy Waters grew up on Stovall Plantation near Clarksdale, Mississippi, and by age 17 was playing the guitar and the harmonica, emulating the local blues artists Son House and Robert Johnson. He was recorded in Mississippi by Alan Lomax for the Library of Congress in 1941.",
"He was recorded in Mississippi by Alan Lomax for the Library of Congress in 1941. In 1943, he moved to Chicago to become a full-time professional musician. In 1946, he recorded his first records for Columbia Records and then for Aristocrat Records, a newly formed label run by the brothers Leonard and Phil Chess.",
"In 1946, he recorded his first records for Columbia Records and then for Aristocrat Records, a newly formed label run by the brothers Leonard and Phil Chess. In the early 1950s, Muddy Waters and his band—Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums and Otis Spann on piano—recorded several blues classics, some with the bassist and songwriter Willie Dixon.",
"In the early 1950s, Muddy Waters and his band—Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums and Otis Spann on piano—recorded several blues classics, some with the bassist and songwriter Willie Dixon. These songs included \"Hoochie Coochie Man,\" \"I Just Want to Make Love to You\" and \"I'm Ready\".",
"These songs included \"Hoochie Coochie Man,\" \"I Just Want to Make Love to You\" and \"I'm Ready\". In 1958, he traveled to England, laying the foundations of the resurgence of interest in the blues there.",
"In 1958, he traveled to England, laying the foundations of the resurgence of interest in the blues there. His performance at the Newport Jazz Festival in 1960 was recorded and released as his first live album, At Newport 1960. Muddy Waters' music has influenced various American music genres, including rock and roll and rock music.",
"Muddy Waters' music has influenced various American music genres, including rock and roll and rock music. Early life Muddy Waters's place and date of birth are not conclusively known.",
"Early life Muddy Waters's place and date of birth are not conclusively known. He stated that he was born in Rolling Fork, Mississippi, in 1915, but other evidence suggests that he was born in Jug's Corner, in neighboring Issaquena County, in 1913.",
"He stated that he was born in Rolling Fork, Mississippi, in 1915, but other evidence suggests that he was born in Jug's Corner, in neighboring Issaquena County, in 1913. In the 1930s and 1940s, before his rise to fame, the year of his birth was reported as 1913 on his marriage license, recording notes, and musicians' union card.",
"In the 1930s and 1940s, before his rise to fame, the year of his birth was reported as 1913 on his marriage license, recording notes, and musicians' union card. A 1955 interview in the Chicago Defender is the earliest in which he stated 1915 as the year of his birth, and he continued to say this in interviews from that point onward.",
"A 1955 interview in the Chicago Defender is the earliest in which he stated 1915 as the year of his birth, and he continued to say this in interviews from that point onward. The 1920 census lists him as five years old as of March 6, 1920, suggesting that his birth year may have been 1914.",
"The 1920 census lists him as five years old as of March 6, 1920, suggesting that his birth year may have been 1914. The Social Security Death Index, relying on the Social Security card application submitted after his move to Chicago in the mid-1940s, lists him as being born April 4, 1913.",
"The Social Security Death Index, relying on the Social Security card application submitted after his move to Chicago in the mid-1940s, lists him as being born April 4, 1913. His gravestone gives his birth year as 1915. His grandmother, Della Grant, raised him after his mother died shortly after his birth.",
"His grandmother, Della Grant, raised him after his mother died shortly after his birth. Grant gave him the nickname \"Muddy\" at an early age because he loved to play in the muddy water of nearby Deer Creek.",
"Grant gave him the nickname \"Muddy\" at an early age because he loved to play in the muddy water of nearby Deer Creek. \"Waters\" was added years later, as he began to play harmonica and perform locally in his early teens.",
"\"Waters\" was added years later, as he began to play harmonica and perform locally in his early teens. The remains of the cabin on Stovall Plantation where he lived in his youth are now at the Delta Blues Museum in Clarksdale, Mississippi.",
"The remains of the cabin on Stovall Plantation where he lived in his youth are now at the Delta Blues Museum in Clarksdale, Mississippi. He had his first introduction to music in church: \"I used to belong to church. I was a good Baptist, singing in the church.",
"I was a good Baptist, singing in the church. So I got all of my good moaning and trembling going on for me right out of church,\" he recalled. By the time he was 17, he had purchased his first guitar. \"I sold the last horse that we had.",
"\"I sold the last horse that we had. Made about fifteen dollars for him, gave my grandmother seven dollars and fifty cents, I kept seven-fifty and paid about two-fifty for that guitar. It was a Stella. The people ordered them from Sears-Roebuck in Chicago.\"",
"The people ordered them from Sears-Roebuck in Chicago.\" He started playing his songs in joints near his hometown, mostly on a plantation owned by Colonel William Howard Stovall. Career Early career, early 1930s–1948 In the early 1930s, Muddy Waters accompanied Big Joe Williams on tours of the Delta, playing harmonica.",
"Career Early career, early 1930s–1948 In the early 1930s, Muddy Waters accompanied Big Joe Williams on tours of the Delta, playing harmonica. Williams recounted to Blewett Thomas that he eventually dropped Muddy \"because he was takin' away my women [fans]\".",
"Williams recounted to Blewett Thomas that he eventually dropped Muddy \"because he was takin' away my women [fans]\". In August 1941, Alan Lomax went to Stovall, Mississippi, on behalf of the Library of Congress to record various country blues musicians.",
"In August 1941, Alan Lomax went to Stovall, Mississippi, on behalf of the Library of Congress to record various country blues musicians. \"He brought his stuff down and recorded me right in my house,\" Muddy told Rolling Stone magazine, \"and when he played back the first song I sounded just like anybody's records.",
"\"He brought his stuff down and recorded me right in my house,\" Muddy told Rolling Stone magazine, \"and when he played back the first song I sounded just like anybody's records. Man, you don't know how I felt that Saturday afternoon when I heard that voice and it was my own voice.",
"Man, you don't know how I felt that Saturday afternoon when I heard that voice and it was my own voice. Later on he sent me two copies of the pressing and a check for twenty bucks, and I carried that record up to the corner and put it on the jukebox.",
"Later on he sent me two copies of the pressing and a check for twenty bucks, and I carried that record up to the corner and put it on the jukebox. Just played it and played it and said, 'I can do it, I can do it'.\"",
"Just played it and played it and said, 'I can do it, I can do it'.\" Lomax came back in July 1942 to record him again. Both sessions were eventually released by Testament Records as Down on Stovall's Plantation.",
"Both sessions were eventually released by Testament Records as Down on Stovall's Plantation. The complete recordings were reissued by Chess Records on CD as Muddy Waters: The Complete Plantation Recordings. The Historic 1941–42 Library of Congress Field Recordings in 1993 and remastered in 1997.",
"The Historic 1941–42 Library of Congress Field Recordings in 1993 and remastered in 1997. In 1943, Muddy Waters headed to Chicago with the hope of becoming a full-time professional musician. He later recalled arriving in Chicago as the single most momentous event in his life.",
"He later recalled arriving in Chicago as the single most momentous event in his life. He lived with a relative for a short period while driving a truck and working in a factory by day and performing at night.",
"He lived with a relative for a short period while driving a truck and working in a factory by day and performing at night. Big Bill Broonzy, then one of the leading bluesmen in Chicago, had Muddy open his shows in the rowdy clubs where Broonzy played.",
"Big Bill Broonzy, then one of the leading bluesmen in Chicago, had Muddy open his shows in the rowdy clubs where Broonzy played. This gave him the opportunity to play in front of a large audience. In 1944, he bought his first electric guitar and then formed his first electric combo.",
"In 1944, he bought his first electric guitar and then formed his first electric combo. He felt obliged to electrify his sound in Chicago because, he said, \"When I went into the clubs, the first thing I wanted was an amplifier. Couldn't nobody hear you with an acoustic.\"",
"Couldn't nobody hear you with an acoustic.\" His sound reflected the optimism of postwar African Americans. Willie Dixon said that \"There was quite a few people around singing the blues but most of them was singing all sad blues. Muddy was giving his blues a little pep.\"",
"Muddy was giving his blues a little pep.\" In 1946, Muddy recorded some songs for Mayo Williams at Columbia Records, with an old-fashioned combo consisting of clarinet, saxophone and piano; they were released a year later with Ivan Ballen's Philadelphia-based 20th Century label, billed as James \"Sweet Lucy\" Carter and his Orchestra – Muddy Waters' name was not mentioned on the label.",
"In 1946, Muddy recorded some songs for Mayo Williams at Columbia Records, with an old-fashioned combo consisting of clarinet, saxophone and piano; they were released a year later with Ivan Ballen's Philadelphia-based 20th Century label, billed as James \"Sweet Lucy\" Carter and his Orchestra – Muddy Waters' name was not mentioned on the label. Later that year, he began recording for Aristocrat Records, a newly formed label run by the brothers Leonard and Phil Chess.",
"Later that year, he began recording for Aristocrat Records, a newly formed label run by the brothers Leonard and Phil Chess. In 1947, he played guitar with Sunnyland Slim on piano on the cuts \"Gypsy Woman\" and \"Little Anna Mae\".",
"In 1947, he played guitar with Sunnyland Slim on piano on the cuts \"Gypsy Woman\" and \"Little Anna Mae\". These were also shelved, but in 1948, \"I Can't Be Satisfied\" and \"I Feel Like Going Home\" became hits, and his popularity in clubs began to take off.",
"These were also shelved, but in 1948, \"I Can't Be Satisfied\" and \"I Feel Like Going Home\" became hits, and his popularity in clubs began to take off. Soon after, Aristocrat changed its name to Chess Records.",
"Soon after, Aristocrat changed its name to Chess Records. Muddy Waters's signature tune \"Rollin' Stone\" also became a hit that year.",
"Muddy Waters's signature tune \"Rollin' Stone\" also became a hit that year. Commercial success, 1948–1957 Initially, the Chess brothers would not allow Muddy Waters to use his working band in the recording studio; instead, he was provided with a backing bass by Ernest \"Big\" Crawford or by musicians assembled specifically for the recording session, including \"Baby Face\" Leroy Foster and Johnny Jones.",
"Commercial success, 1948–1957 Initially, the Chess brothers would not allow Muddy Waters to use his working band in the recording studio; instead, he was provided with a backing bass by Ernest \"Big\" Crawford or by musicians assembled specifically for the recording session, including \"Baby Face\" Leroy Foster and Johnny Jones. Gradually, Chess relented, and by September 1953 he was recording with one of the most acclaimed blues groups in history: Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums, and Otis Spann on piano.",
"Gradually, Chess relented, and by September 1953 he was recording with one of the most acclaimed blues groups in history: Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums, and Otis Spann on piano. The band recorded a series of blues classics during the early 1950s, some with the help of the bassist and songwriter Willie Dixon, including \"Hoochie Coochie Man\", \"I Just Want to Make Love to You\", and \"I'm Ready\" Muddy Waters's band became a proving ground for some of the city's best blues talent, with members of the ensemble going on to successful careers of their own.",
"The band recorded a series of blues classics during the early 1950s, some with the help of the bassist and songwriter Willie Dixon, including \"Hoochie Coochie Man\", \"I Just Want to Make Love to You\", and \"I'm Ready\" Muddy Waters's band became a proving ground for some of the city's best blues talent, with members of the ensemble going on to successful careers of their own. In 1952, Little Walter left when his single \"Juke\" became a hit, although he continued a collaborative relationship long after he left, appearing on most of the band's classic recordings in the 1950s.",
"In 1952, Little Walter left when his single \"Juke\" became a hit, although he continued a collaborative relationship long after he left, appearing on most of the band's classic recordings in the 1950s. Howlin' Wolf moved to Chicago in 1954 with financial support earned through his successful Chess singles, and the \"legendary rivalry\" with Muddy Waters began.",
"Howlin' Wolf moved to Chicago in 1954 with financial support earned through his successful Chess singles, and the \"legendary rivalry\" with Muddy Waters began. The rivalry was, in part, stoked by Willie Dixon providing songs to both artists, with Wolf suspecting that Muddy was getting Dixon's best songs.",
"The rivalry was, in part, stoked by Willie Dixon providing songs to both artists, with Wolf suspecting that Muddy was getting Dixon's best songs. 1955 saw the departure of Jimmy Rogers, who quit to work exclusively with his own band, which had been a sideline until that time.",
"1955 saw the departure of Jimmy Rogers, who quit to work exclusively with his own band, which had been a sideline until that time. In the mid-1950s, Muddy Waters' singles were frequently on Billboard magazine's various Rhythm & Blues charts including \"Sugar Sweet\" in 1955 and \"Trouble No More\", \"Forty Days and Forty Nights\", and \"Don't Go No Farther\" in 1956.",
"In the mid-1950s, Muddy Waters' singles were frequently on Billboard magazine's various Rhythm & Blues charts including \"Sugar Sweet\" in 1955 and \"Trouble No More\", \"Forty Days and Forty Nights\", and \"Don't Go No Farther\" in 1956. 1956 also saw the release of one of his best-known numbers, \"Got My Mojo Working\", although it did not appear on the charts.",
"1956 also saw the release of one of his best-known numbers, \"Got My Mojo Working\", although it did not appear on the charts. However, by the late 1950s, his singles success had come to an end, with only \"Close to You\" reaching the chart in 1958.",
"However, by the late 1950s, his singles success had come to an end, with only \"Close to You\" reaching the chart in 1958. Also in 1958, Chess released his first compilation album, The Best of Muddy Waters, which collected twelve of his singles up to 1956.",
"Also in 1958, Chess released his first compilation album, The Best of Muddy Waters, which collected twelve of his singles up to 1956. Performances and crossover, 1958–1970 Muddy Waters toured England with Spann in 1958, where they were backed by local Dixieland-style or \"trad jazz\" musicians, including members of Chris Barber's band.",
"Performances and crossover, 1958–1970 Muddy Waters toured England with Spann in 1958, where they were backed by local Dixieland-style or \"trad jazz\" musicians, including members of Chris Barber's band. At the time, English audiences had only been exposed to acoustic folk blues, as performed by artists such as Sonny Terry, Brownie McGhee, and Big Bill Broonzy.",
"At the time, English audiences had only been exposed to acoustic folk blues, as performed by artists such as Sonny Terry, Brownie McGhee, and Big Bill Broonzy. Both the musicians and audiences were unprepared for Waters' performance, which included his electric slide guitar playing.",
"Both the musicians and audiences were unprepared for Waters' performance, which included his electric slide guitar playing. He recalled: Although his performances alienated the old guard, some younger musicians, including Alexis Korner and Cyril Davies from Barber's band, were inspired to go in the more modern, electric blues direction.",
"He recalled: Although his performances alienated the old guard, some younger musicians, including Alexis Korner and Cyril Davies from Barber's band, were inspired to go in the more modern, electric blues direction. Korner and Davies' own groups included musicians who would later form the Rolling Stones (named after Muddy's 1950 hit \"Rollin' Stone\"), Cream, and the original Fleetwood Mac.",
"Korner and Davies' own groups included musicians who would later form the Rolling Stones (named after Muddy's 1950 hit \"Rollin' Stone\"), Cream, and the original Fleetwood Mac. In the 1960s, Muddy Waters' performances continued to introduce a new generation to Chicago blues.",
"In the 1960s, Muddy Waters' performances continued to introduce a new generation to Chicago blues. At the Newport Jazz Festival, he recorded one of the first live blues albums, At Newport 1960, and his performance of \"Got My Mojo Working\" was nominated for a Grammy award.",
"At the Newport Jazz Festival, he recorded one of the first live blues albums, At Newport 1960, and his performance of \"Got My Mojo Working\" was nominated for a Grammy award. In September 1963, in Chess' attempt to connect with folk music audiences, he recorded Folk Singer, which replaced his trademark electric guitar sound with an acoustic band, including a then-unknown Buddy Guy on acoustic guitar.",
"In September 1963, in Chess' attempt to connect with folk music audiences, he recorded Folk Singer, which replaced his trademark electric guitar sound with an acoustic band, including a then-unknown Buddy Guy on acoustic guitar. Folk Singer was not a commercial success, but it was lauded by critics, and in 2003 Rolling Stone magazine placed it at number 280 on its list of the 500 greatest albums of all time.",
"Folk Singer was not a commercial success, but it was lauded by critics, and in 2003 Rolling Stone magazine placed it at number 280 on its list of the 500 greatest albums of all time. In October 1963, Muddy Waters participated in the first of several annual European tours, organized as the American Folk Blues Festival, during which he also performed more acoustic-oriented numbers.",
"In October 1963, Muddy Waters participated in the first of several annual European tours, organized as the American Folk Blues Festival, during which he also performed more acoustic-oriented numbers. In 1967, he re-recorded several blues standards with Bo Diddley, Little Walter, and Howlin' Wolf, which were marketed as Super Blues and The Super Super Blues Band albums in Chess' attempt to reach a rock audience.",
"In 1967, he re-recorded several blues standards with Bo Diddley, Little Walter, and Howlin' Wolf, which were marketed as Super Blues and The Super Super Blues Band albums in Chess' attempt to reach a rock audience. The Super Super Blues Band united Wolf and Waters, who had a long-standing rivalry.",
"The Super Super Blues Band united Wolf and Waters, who had a long-standing rivalry. It was, as Ken Chang wrote in his AllMusic review, flooded with \"contentious studio banter [...] more entertaining than the otherwise unmemorable music from this stylistic train wreck\".",
"It was, as Ken Chang wrote in his AllMusic review, flooded with \"contentious studio banter [...] more entertaining than the otherwise unmemorable music from this stylistic train wreck\". In 1968, at the instigation of Marshall Chess, he recorded Electric Mud, an album intended to revive his career by backing him with Rotary Connection, a psychedelic soul band that Chess had put together.",
"In 1968, at the instigation of Marshall Chess, he recorded Electric Mud, an album intended to revive his career by backing him with Rotary Connection, a psychedelic soul band that Chess had put together. The album proved controversial; although it reached number 127 on the Billboard 200 album chart, it was scorned by many critics, and eventually disowned by Muddy Waters himself: Nonetheless, six months later he recorded a follow-up album, After the Rain, which had a similar sound and featured many of the same musicians.",
"The album proved controversial; although it reached number 127 on the Billboard 200 album chart, it was scorned by many critics, and eventually disowned by Muddy Waters himself: Nonetheless, six months later he recorded a follow-up album, After the Rain, which had a similar sound and featured many of the same musicians. Later in 1969, he recorded and released the album Fathers and Sons, which featured a return to his classic Chicago blues sound.",
"Later in 1969, he recorded and released the album Fathers and Sons, which featured a return to his classic Chicago blues sound. Fathers and Sons had an all-star backing band that included Michael Bloomfield and Paul Butterfield, longtime fans whose desire to play with him was the impetus for the album.",
"Fathers and Sons had an all-star backing band that included Michael Bloomfield and Paul Butterfield, longtime fans whose desire to play with him was the impetus for the album. It was the most successful album of Muddy Waters' career, reaching number 70 on the Billboard 200.",
"It was the most successful album of Muddy Waters' career, reaching number 70 on the Billboard 200. Resurgence and later career, 1971–1982 In 1971, a show at Mister Kelly's, an upmarket Chicago nightclub, was recorded and released, signalling both Muddy Waters's return to form and the completion of his transfer to white audiences.",
"Resurgence and later career, 1971–1982 In 1971, a show at Mister Kelly's, an upmarket Chicago nightclub, was recorded and released, signalling both Muddy Waters's return to form and the completion of his transfer to white audiences. In 1972, he won his first Grammy Award, for Best Ethnic or Traditional Recording for They Call Me Muddy Waters, a 1971 album of old, but previously unreleased recordings.",
"In 1972, he won his first Grammy Award, for Best Ethnic or Traditional Recording for They Call Me Muddy Waters, a 1971 album of old, but previously unreleased recordings. Later in 1972, he flew to England to record the album The London Muddy Waters Sessions.",
"Later in 1972, he flew to England to record the album The London Muddy Waters Sessions. The album was a follow-up to the previous year's The London Howlin' Wolf Sessions.",
"The album was a follow-up to the previous year's The London Howlin' Wolf Sessions. Both albums were the brainchild of Chess Records producer Norman Dayron, and were intended to showcase Chicago blues musicians playing with the younger British rock musicians whom they had inspired.",
"Both albums were the brainchild of Chess Records producer Norman Dayron, and were intended to showcase Chicago blues musicians playing with the younger British rock musicians whom they had inspired. Muddy Waters brought with him two American musicians, harmonica player Carey Bell and guitarist Sammy Lawhorn.",
"Muddy Waters brought with him two American musicians, harmonica player Carey Bell and guitarist Sammy Lawhorn. The British and Irish musicians who played on the album included Rory Gallagher, Steve Winwood, Rick Grech, and Mitch Mitchell. Muddy was dissatisfied by the results, due to the British musicians' more rock-oriented sound.",
"Muddy was dissatisfied by the results, due to the British musicians' more rock-oriented sound. \"These boys are top musicians, they can play with me, put the book before 'em and play it, you know,\" he told Guralnick.",
"\"These boys are top musicians, they can play with me, put the book before 'em and play it, you know,\" he told Guralnick. \"But that ain't what I need to sell my people, it ain't the Muddy Waters sound.",
"\"But that ain't what I need to sell my people, it ain't the Muddy Waters sound. An' if you change my sound, then you gonna change the whole man.\" He stated, \"My blues look so simple, so easy to do, but it's not.",
"He stated, \"My blues look so simple, so easy to do, but it's not. They say my blues is the hardest blues in the world to play.\" Nevertheless, the album won another Grammy, again for Best Ethnic or Traditional Recording.",
"Nevertheless, the album won another Grammy, again for Best Ethnic or Traditional Recording. He won another Grammy for his last LP on Chess Records: The Muddy Waters Woodstock Album, recorded in 1975 with his new guitarist Bob Margolin, Pinetop Perkins, Paul Butterfield, and Levon Helm and Garth Hudson of the Band.",
"He won another Grammy for his last LP on Chess Records: The Muddy Waters Woodstock Album, recorded in 1975 with his new guitarist Bob Margolin, Pinetop Perkins, Paul Butterfield, and Levon Helm and Garth Hudson of the Band. In November 1976 he appeared as a featured special guest at The Band's Last Waltz farewell concert, and in the subsequent 1978 feature film documentary of the event.",
"In November 1976 he appeared as a featured special guest at The Band's Last Waltz farewell concert, and in the subsequent 1978 feature film documentary of the event. From 1977 to 1981, blues musician Johnny Winter, who had idolized Muddy Waters since childhood and who had become a friend, produced four albums of his, all on the Blue Sky Records label: the studio albums Hard Again (1977), I'm Ready (1978) and King Bee (1981), and the live album Muddy \"Mississippi\" Waters – Live (1979).",
"From 1977 to 1981, blues musician Johnny Winter, who had idolized Muddy Waters since childhood and who had become a friend, produced four albums of his, all on the Blue Sky Records label: the studio albums Hard Again (1977), I'm Ready (1978) and King Bee (1981), and the live album Muddy \"Mississippi\" Waters – Live (1979). The albums were critical and commercial successes, with all but King Bee winning a Grammy.",
"The albums were critical and commercial successes, with all but King Bee winning a Grammy. Hard Again has been especially praised by critics, who have tended to describe it as his comeback album. In 1981, Muddy Waters was invited to perform at ChicagoFest, the city's top outdoor music festival.",
"In 1981, Muddy Waters was invited to perform at ChicagoFest, the city's top outdoor music festival. He was joined onstage by Johnny Winter and Buddy Miles, and played classics like \"Mannish Boy\", \"Trouble No More\", and \"Mojo Working\" to a new generation of fans.",
"He was joined onstage by Johnny Winter and Buddy Miles, and played classics like \"Mannish Boy\", \"Trouble No More\", and \"Mojo Working\" to a new generation of fans. The performance was made available on DVD in 2009 by Shout! Factory.",
"Factory. Factory. On November 22, he performed live with three members of British rock band the Rolling Stones (Mick Jagger, Keith Richards and Ronnie Wood) at the Checkerboard Lounge, a blues club in Bronzeville, on the South Side of Chicago, which was established in 1972 by Buddy Guy and L.C. Thurman.",
"Thurman. Thurman. A DVD version of the performance was released in 2012. In 1982, declining health dramatically stopped his performance schedule. His last public performance took place when he sat in with Eric Clapton's band at a concert in Florida in the summer of 1982.",
"His last public performance took place when he sat in with Eric Clapton's band at a concert in Florida in the summer of 1982. Personal life Muddy Waters' longtime partner, Geneva Wade, died of cancer on March 15, 1973.",
"Personal life Muddy Waters' longtime partner, Geneva Wade, died of cancer on March 15, 1973. Gaining custody of his three children, Joseph, Renee, and Rosalind, he moved them into his home, eventually buying a new house in Westmont, Illinois.",
"Gaining custody of his three children, Joseph, Renee, and Rosalind, he moved them into his home, eventually buying a new house in Westmont, Illinois. Years later, he traveled to Florida and met his future wife, 19-year-old Marva Jean Brooks, whom he nicknamed \"Sunshine\".",
"Years later, he traveled to Florida and met his future wife, 19-year-old Marva Jean Brooks, whom he nicknamed \"Sunshine\". Eric Clapton served as best man at their wedding in 1979. His sons, Larry \"Mud\" Morganfield and Big Bill Morganfield, are also blues singers and musicians.",
"His sons, Larry \"Mud\" Morganfield and Big Bill Morganfield, are also blues singers and musicians. In 2017 his youngest son, Joseph \"Mojo\" Morganfield, began publicly performing the blues. Joseph was known to play occasionally with his brothers. Mojo died in 2020 at the age of 56.",
"Mojo died in 2020 at the age of 56. Death Muddy Waters died in his sleep from heart failure, at his home in Westmont, Illinois, on April 30, 1983, from cancer-related complications.",
"Death Muddy Waters died in his sleep from heart failure, at his home in Westmont, Illinois, on April 30, 1983, from cancer-related complications. He was taken from his Westmont home, which he lived in for the last decade of his life, to Good Samaritan Hospital in Downers Grove, Illinois, where he was pronounced dead aged 70.",
"He was taken from his Westmont home, which he lived in for the last decade of his life, to Good Samaritan Hospital in Downers Grove, Illinois, where he was pronounced dead aged 70. His funeral was held on May 4, 1983.",
"His funeral was held on May 4, 1983. Throngs of blues musicians and fans attended his funeral at Restvale Cemetery in Alsip, Illinois. He is buried next to his wife, Geneva. After his death, a lengthy court battle ensued between his heirs and Scott Cameron, his former manager.",
"After his death, a lengthy court battle ensued between his heirs and Scott Cameron, his former manager. In 2010, his heir was petitioning for the courts to appoint Mercy Morganfield, his daughter, as administrator and distribute remaining assets, which mainly consists of copyrights to his music. The petition to reopen the estate was successful.",
"The petition to reopen the estate was successful. In May 2018, the heirs' lawyer sought to hold Scott Cameron's wife in contempt for diverting royalty income. However, the heirs asked for that citation not to be pursued. The next court date was set for July 10, 2018.",
"The next court date was set for July 10, 2018. Legacy Two years after his death, the city of Chicago paid tribute to him by designating the one-block section between 900 and 1000 East 43rd Street near his former home on the south side \"Honorary Muddy Waters Drive\".",
"Legacy Two years after his death, the city of Chicago paid tribute to him by designating the one-block section between 900 and 1000 East 43rd Street near his former home on the south side \"Honorary Muddy Waters Drive\". In 2017, a ten stories-mural commissioned as a part of the Chicago Blues Festival and designed by Brazilian artist Eduardo Kobra was painted on the side of the building at 17 North State Street, at the corner of State and Washington Streets.",
"In 2017, a ten stories-mural commissioned as a part of the Chicago Blues Festival and designed by Brazilian artist Eduardo Kobra was painted on the side of the building at 17 North State Street, at the corner of State and Washington Streets. The Chicago suburb of Westmont, where he lived the last decade of his life, named a section of Cass Avenue near his home \"Honorary Muddy Waters Way\".",
"The Chicago suburb of Westmont, where he lived the last decade of his life, named a section of Cass Avenue near his home \"Honorary Muddy Waters Way\". In 2008, a Mississippi Blues Trail marker has been placed in Clarksdale, Mississippi, by the Mississippi Blues Commission designating the site of Muddy Waters' cabin.",
"In 2008, a Mississippi Blues Trail marker has been placed in Clarksdale, Mississippi, by the Mississippi Blues Commission designating the site of Muddy Waters' cabin. He also received a plaque on the Clarksdale Walk of Fame. Muddy Waters' Chicago Home in the Kenwood neighborhood is in the process of being named a Chicago Landmark.",
"Muddy Waters' Chicago Home in the Kenwood neighborhood is in the process of being named a Chicago Landmark. Influence The British band The Rolling Stones named themselves after Muddy Waters' 1950 song \"Rollin' Stone\". Jimi Hendrix recalled that \"I first heard him as a little boy and it scared me to death\".",
"Jimi Hendrix recalled that \"I first heard him as a little boy and it scared me to death\". The band Cream covered \"Rollin' and Tumblin'\" on their 1966 debut album, Fresh Cream. Eric Clapton was a big fan of Muddy Waters while growing up, and his music influenced Clapton's music career.",
"Eric Clapton was a big fan of Muddy Waters while growing up, and his music influenced Clapton's music career. The song was also covered by Canned Heat at the Monterey Pop Festival and later adapted by Bob Dylan on his album Modern Times.",
"The song was also covered by Canned Heat at the Monterey Pop Festival and later adapted by Bob Dylan on his album Modern Times. One of Led Zeppelin's biggest hits, \"Whole Lotta Love\", has its lyrics heavily influenced by the Muddy Waters hit \"You Need Love\" (written by Willie Dixon).",
"One of Led Zeppelin's biggest hits, \"Whole Lotta Love\", has its lyrics heavily influenced by the Muddy Waters hit \"You Need Love\" (written by Willie Dixon). \"Hoochie Coochie Man\", was covered by Allman Brothers Band, Humble Pie, Steppenwolf, Supertramp and Fear.",
"\"Hoochie Coochie Man\", was covered by Allman Brothers Band, Humble Pie, Steppenwolf, Supertramp and Fear. In 1993, Paul Rodgers released the album Muddy Water Blues: A Tribute to Muddy Waters, on which he covered a number of his songs, including \"Louisiana Blues\", \"Rollin' Stone\", \"(I'm your) Hoochie Coochie Man\" and \"I'm Ready\" in collaboration with guitarists such as Gary Moore, Brian May and Jeff Beck.",
"In 1993, Paul Rodgers released the album Muddy Water Blues: A Tribute to Muddy Waters, on which he covered a number of his songs, including \"Louisiana Blues\", \"Rollin' Stone\", \"(I'm your) Hoochie Coochie Man\" and \"I'm Ready\" in collaboration with guitarists such as Gary Moore, Brian May and Jeff Beck. Angus Young, of the rock group AC/DC, has cited Muddy as one of his influences.",
"Angus Young, of the rock group AC/DC, has cited Muddy as one of his influences. The AC/DC song title \"You Shook Me All Night Long\" came from lyrics of the Muddy Waters song \"You Shook Me\", written by Willie Dixon and J. B. Lenoir.",
"B. Lenoir. B. Lenoir. Earl Hooker first recorded it as an instrumental, which was then overdubbed with vocals by Muddy Waters in 1962. Led Zeppelin also covered it on their debut album. In 1981 ZZ Top guitarist Billy Gibbons went to visit the Delta Blues Museum in Clarksdale with The Blues magazine founder Jim O'Neal.",
"In 1981 ZZ Top guitarist Billy Gibbons went to visit the Delta Blues Museum in Clarksdale with The Blues magazine founder Jim O'Neal. The museum's director, Sid Graves, brought Gibbons to visit Waters original house, and encouraged him to pick up a piece of scrap lumber that was originally part of the roof.",
"The museum's director, Sid Graves, brought Gibbons to visit Waters original house, and encouraged him to pick up a piece of scrap lumber that was originally part of the roof. Gibbons eventually converted the wood into a guitar. Named Muddywood, the instrument is now exhibited at the Delta Blues Museum in Clarksdale.",
"Named Muddywood, the instrument is now exhibited at the Delta Blues Museum in Clarksdale. Following his death, fellow blues musician B.B. King told Guitar World magazine, \"It's going to be years and years before most people realize how greatly he contributed to American music.\"",
"King told Guitar World magazine, \"It's going to be years and years before most people realize how greatly he contributed to American music.\" John P. Hammond told Guitar World magazine, \"Muddy was a master of just the right notes.",
"John P. Hammond told Guitar World magazine, \"Muddy was a master of just the right notes. It was profound guitar playing, deep and simple ... more country blues transposed to the electric guitar, the kind of playing that enhanced the lyrics, gave profundity to the words themselves.\"",
"It was profound guitar playing, deep and simple ... more country blues transposed to the electric guitar, the kind of playing that enhanced the lyrics, gave profundity to the words themselves.\" Muddy Waters' songs have been featured in long-time fan Martin Scorsese's movies, including The Color of Money, Goodfellas, and Casino.",
"Muddy Waters' songs have been featured in long-time fan Martin Scorsese's movies, including The Color of Money, Goodfellas, and Casino. A 1970s recording of his mid-'50s hit \"Mannish Boy\" was used in the films Goodfellas, Better Off Dead, Risky Business, and the rockumentary The Last Waltz.",
"A 1970s recording of his mid-'50s hit \"Mannish Boy\" was used in the films Goodfellas, Better Off Dead, Risky Business, and the rockumentary The Last Waltz. In 1988 \"Mannish Boy\" was also used in a Levi's 501 commercial and re-released in Europe as a single with \"(I'm your) Hoochie Coochie Man\" on the flip side.",
"In 1988 \"Mannish Boy\" was also used in a Levi's 501 commercial and re-released in Europe as a single with \"(I'm your) Hoochie Coochie Man\" on the flip side. Awards and recognition Grammy Awards Rock and Roll Hall of Fame The Rock and Roll Hall of Fame listed four songs of Muddy Waters among the 500 Songs That Shaped Rock and Roll.",
"Awards and recognition Grammy Awards Rock and Roll Hall of Fame The Rock and Roll Hall of Fame listed four songs of Muddy Waters among the 500 Songs That Shaped Rock and Roll. Blues Foundation Awards Inductions U.S. Postage Stamp Discography Studio albums Muddy Waters Sings \"Big Bill\" (Chess, 1960) Folk Singer (Chess, 1964) Muddy, Brass & the Blues (Chess, 1966) Electric Mud (Cadet, 1968) After the Rain (Cadet, 1969) Fathers and Sons (Chess, 1969) The London Muddy Waters Sessions (Chess, 1972) Can't Get No Grindin' (Chess, 1973) Mud in Your Ear (Muse, 1973) London Revisited (Chess, 1974) split album with Howlin' Wolf \"Unk\" in Funk (Chess, 1974) The Muddy Waters Woodstock Album (Chess, 1975) Hard Again (Blue Sky, 1977) I'm Ready (Blue Sky, 1978) King Bee (Blue Sky, 1981) Notes References External links 1913 births 1983 deaths Chicago blues musicians Electric blues musicians Delta blues musicians Blues revival musicians African-American guitarists African-American male singer-songwriters American blues singer-songwriters American blues guitarists American male guitarists Blues musicians from Mississippi American street performers Grammy Lifetime Achievement Award winners Musicians from Clarksdale, Mississippi People from Issaquena County, Mississippi Singer-songwriters from Mississippi Slide guitarists Lead guitarists Chess Records artists Muse Records artists Mississippi Blues Trail Blues rock musicians 20th-century American guitarists Singer-songwriters from Illinois People from Westmont, Illinois Guitarists from Illinois Guitarists from Mississippi Blind Pig Records artists 20th-century African-American male singers"
] |
[
"Muddy Waters",
"Commercial success, 1948-1957",
"what city did he live in?",
"Chicago",
"what instruments did he play?",
"I don't know."
] | C_7caf21c5447947198403d9676d3f6f83_0 | who were some people he played with? | 3 | Who were some people that Muddy Waters played with? | Muddy Waters | Initially, the Chess brothers would not allow Muddy Waters to use his working band in the recording studio; instead, he was provided with a backing bass by Ernest "Big" Crawford or by musicians assembled specifically for the recording session, including "Baby Face" Leroy Foster and Johnny Jones. Gradually, Chess relented, and by September 1953 he was recording with one of the most acclaimed blues groups in history: Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums, and Otis Spann on piano. The band recorded a series of blues classics during the early 1950s, some with the help of the bassist and songwriter Willie Dixon, including "Hoochie Coochie Man", "I Just Want to Make Love to You", and "I'm Ready". Along with his former harmonica player Little Walter Jacobs and recent southern transplant Howlin' Wolf, Muddy Waters reigned over the early 1950s Chicago blues scene, his band becoming a proving ground for some of the city's best blues talent. Little Walter continued a collaborative relationship long after he left Muddy Waters's band in 1952, appearing on most of the band's classic recordings in the 1950s. Muddy Waters developed a long-running, generally good-natured rivalry with Wolf. The success of his ensemble paved the way for others in his group to make their own solo careers. In 1952, Little Walter left when his single "Juke" became a hit, and in 1955, Rogers quit to work exclusively with his own band, which had been a sideline until that time. During the mid-1950s, Muddy Waters' singles were frequently on Billboard magazine's various Rhythm & Blues charts including "Sugar Sweet" in 1955 and "Trouble No More", "Forty Days and Forty Nights", and "Don't Go No Farther" in 1956. 1956 also saw the release of one of his best-known numbers, "Got My Mojo Working", although it did not appear on the charts. However, by the late 1950s, his singles success had come to an end, with only "Close to You" reaching the chart in 1958. Also in 1958, Chess released Muddy Waters' first album, The Best of Muddy Waters, which collected twelve of his singles up to 1956. CANNOTANSWER | Baby Face" Leroy Foster and Johnny Jones. | McKinley Morganfield (April 4, 1913April 30, 1983), known professionally as Muddy Waters, was an American blues singer-songwriter and musician who was an important figure in the post-war blues scene, and is often cited as the "father of modern Chicago blues." His style of playing has been described as "raining down Delta beatitude."
Muddy Waters grew up on Stovall Plantation near Clarksdale, Mississippi, and by age 17 was playing the guitar and the harmonica, emulating the local blues artists Son House and Robert Johnson. He was recorded in Mississippi by Alan Lomax for the Library of Congress in 1941. In 1943, he moved to Chicago to become a full-time professional musician. In 1946, he recorded his first records for Columbia Records and then for Aristocrat Records, a newly formed label run by the brothers Leonard and Phil Chess.
In the early 1950s, Muddy Waters and his band—Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums and Otis Spann on piano—recorded several blues classics, some with the bassist and songwriter Willie Dixon. These songs included "Hoochie Coochie Man," "I Just Want to Make Love to You" and "I'm Ready". In 1958, he traveled to England, laying the foundations of the resurgence of interest in the blues there. His performance at the Newport Jazz Festival in 1960 was recorded and released as his first live album, At Newport 1960.
Muddy Waters' music has influenced various American music genres, including rock and roll and rock music.
Early life
Muddy Waters's place and date of birth are not conclusively known. He stated that he was born in Rolling Fork, Mississippi, in 1915, but other evidence suggests that he was born in Jug's Corner, in neighboring Issaquena County, in 1913. In the 1930s and 1940s, before his rise to fame, the year of his birth was reported as 1913 on his marriage license, recording notes, and musicians' union card. A 1955 interview in the Chicago Defender is the earliest in which he stated 1915 as the year of his birth, and he continued to say this in interviews from that point onward. The 1920 census lists him as five years old as of March 6, 1920, suggesting that his birth year may have been 1914. The Social Security Death Index, relying on the Social Security card application submitted after his move to Chicago in the mid-1940s, lists him as being born April 4, 1913. His gravestone gives his birth year as 1915.
His grandmother, Della Grant, raised him after his mother died shortly after his birth. Grant gave him the nickname "Muddy" at an early age because he loved to play in the muddy water of nearby Deer Creek. "Waters" was added years later, as he began to play harmonica and perform locally in his early teens. The remains of the cabin on Stovall Plantation where he lived in his youth are now at the Delta Blues Museum in Clarksdale, Mississippi.
He had his first introduction to music in church: "I used to belong to church. I was a good Baptist, singing in the church. So I got all of my good moaning and trembling going on for me right out of church," he recalled. By the time he was 17, he had purchased his first guitar. "I sold the last horse that we had. Made about fifteen dollars for him, gave my grandmother seven dollars and fifty cents, I kept seven-fifty and paid about two-fifty for that guitar. It was a Stella. The people ordered them from Sears-Roebuck in Chicago." He started playing his songs in joints near his hometown, mostly on a plantation owned by Colonel William Howard Stovall.
Career
Early career, early 1930s–1948
In the early 1930s, Muddy Waters accompanied Big Joe Williams on tours of the Delta, playing harmonica. Williams recounted to Blewett Thomas that he eventually dropped Muddy "because he was takin' away my women [fans]".
In August 1941, Alan Lomax went to Stovall, Mississippi, on behalf of the Library of Congress to record various country blues musicians. "He brought his stuff down and recorded me right in my house," Muddy told Rolling Stone magazine, "and when he played back the first song I sounded just like anybody's records. Man, you don't know how I felt that Saturday afternoon when I heard that voice and it was my own voice. Later on he sent me two copies of the pressing and a check for twenty bucks, and I carried that record up to the corner and put it on the jukebox. Just played it and played it and said, 'I can do it, I can do it'." Lomax came back in July 1942 to record him again. Both sessions were eventually released by Testament Records as Down on Stovall's Plantation. The complete recordings were reissued by Chess Records on CD as Muddy Waters: The Complete Plantation Recordings. The Historic 1941–42 Library of Congress Field Recordings in 1993 and remastered in 1997.
In 1943, Muddy Waters headed to Chicago with the hope of becoming a full-time professional musician. He later recalled arriving in Chicago as the single most momentous event in his life. He lived with a relative for a short period while driving a truck and working in a factory by day and performing at night. Big Bill Broonzy, then one of the leading bluesmen in Chicago, had Muddy open his shows in the rowdy clubs where Broonzy played. This gave him the opportunity to play in front of a large audience. In 1944, he bought his first electric guitar and then formed his first electric combo. He felt obliged to electrify his sound in Chicago because, he said, "When I went into the clubs, the first thing I wanted was an amplifier. Couldn't nobody hear you with an acoustic." His sound reflected the optimism of postwar African Americans. Willie Dixon said that "There was quite a few people around singing the blues but most of them was singing all sad blues. Muddy was giving his blues a little pep."
In 1946, Muddy recorded some songs for Mayo Williams at Columbia Records, with an old-fashioned combo consisting of clarinet, saxophone and piano; they were released a year later with Ivan Ballen's Philadelphia-based 20th Century label, billed as James "Sweet Lucy" Carter and his Orchestra – Muddy Waters' name was not mentioned on the label. Later that year, he began recording for Aristocrat Records, a newly formed label run by the brothers Leonard and Phil Chess. In 1947, he played guitar with Sunnyland Slim on piano on the cuts "Gypsy Woman" and "Little Anna Mae". These were also shelved, but in 1948, "I Can't Be Satisfied" and "I Feel Like Going Home" became hits, and his popularity in clubs began to take off. Soon after, Aristocrat changed its name to Chess Records. Muddy Waters's signature tune "Rollin' Stone" also became a hit that year.
Commercial success, 1948–1957
Initially, the Chess brothers would not allow Muddy Waters to use his working band in the recording studio; instead, he was provided with a backing bass by Ernest "Big" Crawford or by musicians assembled specifically for the recording session, including "Baby Face" Leroy Foster and Johnny Jones. Gradually, Chess relented, and by September 1953 he was recording with one of the most acclaimed blues groups in history: Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums, and Otis Spann on piano. The band recorded a series of blues classics during the early 1950s, some with the help of the bassist and songwriter Willie Dixon, including "Hoochie Coochie Man", "I Just Want to Make Love to You", and "I'm Ready"
Muddy Waters's band became a proving ground for some of the city's best blues talent, with members of the ensemble going on to successful careers of their own. In 1952, Little Walter left when his single "Juke" became a hit, although he continued a collaborative relationship long after he left, appearing on most of the band's classic recordings in the 1950s. Howlin' Wolf moved to Chicago in 1954 with financial support earned through his successful Chess singles, and the "legendary rivalry" with Muddy Waters began. The rivalry was, in part, stoked by Willie Dixon providing songs to both artists, with Wolf suspecting that Muddy was getting Dixon's best songs. 1955 saw the departure of Jimmy Rogers, who quit to work exclusively with his own band, which had been a sideline until that time.
In the mid-1950s, Muddy Waters' singles were frequently on Billboard magazine's various Rhythm & Blues charts including "Sugar Sweet" in 1955 and "Trouble No More", "Forty Days and Forty Nights", and "Don't Go No Farther" in 1956. 1956 also saw the release of one of his best-known numbers, "Got My Mojo Working", although it did not appear on the charts. However, by the late 1950s, his singles success had come to an end, with only "Close to You" reaching the chart in 1958. Also in 1958, Chess released his first compilation album, The Best of Muddy Waters, which collected twelve of his singles up to 1956.
Performances and crossover, 1958–1970
Muddy Waters toured England with Spann in 1958, where they were backed by local Dixieland-style or "trad jazz" musicians, including members of Chris Barber's band. At the time, English audiences had only been exposed to acoustic folk blues, as performed by artists such as Sonny Terry, Brownie McGhee, and Big Bill Broonzy. Both the musicians and audiences were unprepared for Waters' performance, which included his electric slide guitar playing. He recalled:
Although his performances alienated the old guard, some younger musicians, including Alexis Korner and Cyril Davies from Barber's band, were inspired to go in the more modern, electric blues direction. Korner and Davies' own groups included musicians who would later form the Rolling Stones (named after Muddy's 1950 hit "Rollin' Stone"), Cream, and the original Fleetwood Mac.
In the 1960s, Muddy Waters' performances continued to introduce a new generation to Chicago blues. At the Newport Jazz Festival, he recorded one of the first live blues albums, At Newport 1960, and his performance of "Got My Mojo Working" was nominated for a Grammy award. In September 1963, in Chess' attempt to connect with folk music audiences, he recorded Folk Singer, which replaced his trademark electric guitar sound with an acoustic band, including a then-unknown Buddy Guy on acoustic guitar. Folk Singer was not a commercial success, but it was lauded by critics, and in 2003 Rolling Stone magazine placed it at number 280 on its list of the 500 greatest albums of all time. In October 1963, Muddy Waters participated in the first of several annual European tours, organized as the American Folk Blues Festival, during which he also performed more acoustic-oriented numbers.
In 1967, he re-recorded several blues standards with Bo Diddley, Little Walter, and Howlin' Wolf, which were marketed as Super Blues and The Super Super Blues Band albums in Chess' attempt to reach a rock audience. The Super Super Blues Band united Wolf and Waters, who had a long-standing rivalry. It was, as Ken Chang wrote in his AllMusic review, flooded with "contentious studio banter [...] more entertaining than the otherwise unmemorable music from this stylistic train wreck". In 1968, at the instigation of Marshall Chess, he recorded Electric Mud, an album intended to revive his career by backing him with Rotary Connection, a psychedelic soul band that Chess had put together. The album proved controversial; although it reached number 127 on the Billboard 200 album chart, it was scorned by many critics, and eventually disowned by Muddy Waters himself:
Nonetheless, six months later he recorded a follow-up album, After the Rain, which had a similar sound and featured many of the same musicians.
Later in 1969, he recorded and released the album Fathers and Sons, which featured a return to his classic Chicago blues sound. Fathers and Sons had an all-star backing band that included Michael Bloomfield and Paul Butterfield, longtime fans whose desire to play with him was the impetus for the album. It was the most successful album of Muddy Waters' career, reaching number 70 on the Billboard 200.
Resurgence and later career, 1971–1982
In 1971, a show at Mister Kelly's, an upmarket Chicago nightclub, was recorded and released, signalling both Muddy Waters's return to form and the completion of his transfer to white audiences.
In 1972, he won his first Grammy Award, for Best Ethnic or Traditional Recording for They Call Me Muddy Waters, a 1971 album of old, but previously unreleased recordings.
Later in 1972, he flew to England to record the album The London Muddy Waters Sessions. The album was a follow-up to the previous year's The London Howlin' Wolf Sessions. Both albums were the brainchild of Chess Records producer Norman Dayron, and were intended to showcase Chicago blues musicians playing with the younger British rock musicians whom they had inspired. Muddy Waters brought with him two American musicians, harmonica player Carey Bell and guitarist Sammy Lawhorn. The British and Irish musicians who played on the album included Rory Gallagher, Steve Winwood, Rick Grech, and Mitch Mitchell. Muddy was dissatisfied by the results, due to the British musicians' more rock-oriented sound. "These boys are top musicians, they can play with me, put the book before 'em and play it, you know," he told Guralnick. "But that ain't what I need to sell my people, it ain't the Muddy Waters sound. An' if you change my sound, then you gonna change the whole man." He stated, "My blues look so simple, so easy to do, but it's not. They say my blues is the hardest blues in the world to play." Nevertheless, the album won another Grammy, again for Best Ethnic or Traditional Recording.
He won another Grammy for his last LP on Chess Records: The Muddy Waters Woodstock Album, recorded in 1975 with his new guitarist Bob Margolin, Pinetop Perkins, Paul Butterfield, and Levon Helm and Garth Hudson of the Band. In November 1976 he appeared as a featured special guest at The Band's Last Waltz farewell concert, and in the subsequent 1978 feature film documentary of the event.
From 1977 to 1981, blues musician Johnny Winter, who had idolized Muddy Waters since childhood and who had become a friend, produced four albums of his, all on the Blue Sky Records label: the studio albums Hard Again (1977), I'm Ready (1978) and King Bee (1981), and the live album Muddy "Mississippi" Waters – Live (1979). The albums were critical and commercial successes, with all but King Bee winning a Grammy. Hard Again has been especially praised by critics, who have tended to describe it as his comeback album.
In 1981, Muddy Waters was invited to perform at ChicagoFest, the city's top outdoor music festival. He was joined onstage by Johnny Winter and Buddy Miles, and played classics like "Mannish Boy", "Trouble No More", and "Mojo Working" to a new generation of fans. The performance was made available on DVD in 2009 by Shout! Factory. On November 22, he performed live with three members of British rock band the Rolling Stones (Mick Jagger, Keith Richards and Ronnie Wood) at the Checkerboard Lounge, a blues club in Bronzeville, on the South Side of Chicago, which was established in 1972 by Buddy Guy and L.C. Thurman. A DVD version of the performance was released in 2012.
In 1982, declining health dramatically stopped his performance schedule. His last public performance took place when he sat in with Eric Clapton's band at a concert in Florida in the summer of 1982.
Personal life
Muddy Waters' longtime partner, Geneva Wade, died of cancer on March 15, 1973. Gaining custody of his three children, Joseph, Renee, and Rosalind, he moved them into his home, eventually buying a new house in Westmont, Illinois. Years later, he traveled to Florida and met his future wife, 19-year-old Marva Jean Brooks, whom he nicknamed "Sunshine". Eric Clapton served as best man at their wedding in 1979.
His sons, Larry "Mud" Morganfield and Big Bill Morganfield, are also blues singers and musicians. In 2017 his youngest son, Joseph "Mojo" Morganfield, began publicly performing the blues. Joseph was known to play occasionally with his brothers. Mojo died in 2020 at the age of 56.
Death
Muddy Waters died in his sleep from heart failure, at his home in Westmont, Illinois, on April 30, 1983, from cancer-related complications. He was taken from his Westmont home, which he lived in for the last decade of his life, to Good Samaritan Hospital in Downers Grove, Illinois, where he was pronounced dead aged 70. His funeral was held on May 4, 1983. Throngs of blues musicians and fans attended his funeral at Restvale Cemetery in Alsip, Illinois. He is buried next to his wife, Geneva.
After his death, a lengthy court battle ensued between his heirs and Scott Cameron, his former manager. In 2010, his heir was petitioning for the courts to appoint Mercy Morganfield, his daughter, as administrator and distribute remaining assets, which mainly consists of copyrights to his music. The petition to reopen the estate was successful. In May 2018, the heirs' lawyer sought to hold Scott Cameron's wife in contempt for diverting royalty income. However, the heirs asked for that citation not to be pursued. The next court date was set for July 10, 2018.
Legacy
Two years after his death, the city of Chicago paid tribute to him by designating the one-block section between 900 and 1000 East 43rd Street near his former home on the south side "Honorary Muddy Waters Drive". In 2017, a ten stories-mural commissioned as a part of the Chicago Blues Festival and designed by Brazilian artist Eduardo Kobra was painted on the side of the building at 17 North State Street, at the corner of State and Washington Streets. The Chicago suburb of Westmont, where he lived the last decade of his life, named a section of Cass Avenue near his home "Honorary Muddy Waters Way".
In 2008, a Mississippi Blues Trail marker has been placed in Clarksdale, Mississippi, by the Mississippi Blues Commission designating the site of Muddy Waters' cabin. He also received a plaque on the Clarksdale Walk of Fame.
Muddy Waters' Chicago Home in the Kenwood neighborhood is in the process of being named a Chicago Landmark.
Influence
The British band The Rolling Stones named themselves after Muddy Waters' 1950 song "Rollin' Stone". Jimi Hendrix recalled that "I first heard him as a little boy and it scared me to death". The band Cream covered "Rollin' and Tumblin'" on their 1966 debut album, Fresh Cream. Eric Clapton was a big fan of Muddy Waters while growing up, and his music influenced Clapton's music career. The song was also covered by Canned Heat at the Monterey Pop Festival and later adapted by Bob Dylan on his album Modern Times. One of Led Zeppelin's biggest hits, "Whole Lotta Love", has its lyrics heavily influenced by the Muddy Waters hit "You Need Love" (written by Willie Dixon). "Hoochie Coochie Man", was covered by Allman Brothers Band, Humble Pie, Steppenwolf, Supertramp and Fear. In 1993, Paul Rodgers released the album Muddy Water Blues: A Tribute to Muddy Waters, on which he covered a number of his songs, including "Louisiana Blues", "Rollin' Stone", "(I'm your) Hoochie Coochie Man" and "I'm Ready" in collaboration with guitarists such as Gary Moore, Brian May and Jeff Beck. Angus Young, of the rock group AC/DC, has cited Muddy as one of his influences. The AC/DC song title "You Shook Me All Night Long" came from lyrics of the Muddy Waters song "You Shook Me", written by Willie Dixon and J. B. Lenoir. Earl Hooker first recorded it as an instrumental, which was then overdubbed with vocals by Muddy Waters in 1962. Led Zeppelin also covered it on their debut album.
In 1981 ZZ Top guitarist Billy Gibbons went to visit the Delta Blues Museum in Clarksdale with The Blues magazine founder Jim O'Neal. The museum's director, Sid Graves, brought Gibbons to visit Waters original house, and encouraged him to pick up a piece of scrap lumber that was originally part of the roof. Gibbons eventually converted the wood into a guitar. Named Muddywood, the instrument is now exhibited at the Delta Blues Museum in Clarksdale.
Following his death, fellow blues musician B.B. King told Guitar World magazine, "It's going to be years and years before most people realize how greatly he contributed to American music." John P. Hammond told Guitar World magazine, "Muddy was a master of just the right notes. It was profound guitar playing, deep and simple ... more country blues transposed to the electric guitar, the kind of playing that enhanced the lyrics, gave profundity to the words themselves."
Muddy Waters' songs have been featured in long-time fan Martin Scorsese's movies, including The Color of Money, Goodfellas, and Casino. A 1970s recording of his mid-'50s hit "Mannish Boy" was used in the films Goodfellas, Better Off Dead, Risky Business, and the rockumentary The Last Waltz. In 1988 "Mannish Boy" was also used in a Levi's 501 commercial and re-released in Europe as a single with "(I'm your) Hoochie Coochie Man" on the flip side.
Awards and recognition
Grammy Awards
Rock and Roll Hall of Fame
The Rock and Roll Hall of Fame listed four songs of Muddy Waters among the 500 Songs That Shaped Rock and Roll.
Blues Foundation Awards
Inductions
U.S. Postage Stamp
Discography
Studio albums
Muddy Waters Sings "Big Bill" (Chess, 1960)
Folk Singer (Chess, 1964)
Muddy, Brass & the Blues (Chess, 1966)
Electric Mud (Cadet, 1968)
After the Rain (Cadet, 1969)
Fathers and Sons (Chess, 1969)
The London Muddy Waters Sessions (Chess, 1972)
Can't Get No Grindin' (Chess, 1973)
Mud in Your Ear (Muse, 1973)
London Revisited (Chess, 1974) split album with Howlin' Wolf
"Unk" in Funk (Chess, 1974)
The Muddy Waters Woodstock Album (Chess, 1975)
Hard Again (Blue Sky, 1977)
I'm Ready (Blue Sky, 1978)
King Bee (Blue Sky, 1981)
Notes
References
External links
1913 births
1983 deaths
Chicago blues musicians
Electric blues musicians
Delta blues musicians
Blues revival musicians
African-American guitarists
African-American male singer-songwriters
American blues singer-songwriters
American blues guitarists
American male guitarists
Blues musicians from Mississippi
American street performers
Grammy Lifetime Achievement Award winners
Musicians from Clarksdale, Mississippi
People from Issaquena County, Mississippi
Singer-songwriters from Mississippi
Slide guitarists
Lead guitarists
Chess Records artists
Muse Records artists
Mississippi Blues Trail
Blues rock musicians
20th-century American guitarists
Singer-songwriters from Illinois
People from Westmont, Illinois
Guitarists from Illinois
Guitarists from Mississippi
Blind Pig Records artists
20th-century African-American male singers | true | [
"Joey Cristofanilli is a bassist who played in the bands Magic, Rough Cutt, Ratt, Jag Wire and Radio 9.\n\nWith the bands Magic and Rough Cutt, he was bandmates with keyboardist Claude Schnell, who later became famous for playing keyboards in the band Dio.\n\nAfter Rough Cutt, he played in the band Ratt.\n\nWith Ratt, he filled in for Juan Croucier, who briefly went back to Dokken after joining Ratt. In addition to playing on the version of \"You're In Trouble\" that was a bonus track on some copies of the Ratt EP, he also co-wrote \"Wanted Man\" on Out of the Cellar.\n\nAfter Ratt, he played in the band Jag Wire. He currently plays for the band Radio 9 with his wife Patsy Silver as lead singer. They reside in Buffalo, NY.\n\nDiscography\n\nWith Rough Cutt\n\"A Little Kindness\" and \"Used And Abused\" (1981)\n\nWith Ratt\n \"You're In Trouble\" (bonus track on some copies of the Ratt EP) (1983)\n\nWith Jag Wire\n Made In Heaven (1985)\n\nWith Radio 9\n Radio 9 (2017)\n\nReferences\n\nExternal links\n \n\nRough Cutt members\nRatt members\nLiving people\nYear of birth missing (living people)",
"Jerzy Sionek (born 30 October 1939) is a former Polish footballer who played as a midfielder.\n\nLife \nSionek started his career playing with Polonia Iłża, playing at an early age, and playing some part of Polonia's promotion from the fifth tier in 1953. Over the following seasons he played for Polonia in the IV liga, helping the team to record high finishes in the league. It is known that at some point Sionek moved to Gdańsk and started playing with RKS Stocznia Północna, playing a role in the teams promotion to the III liga. In 1963 Sionek joined Lechia Gdańsk, making his debut in the Polish Cup against Sparta Gryfice. His time with Lechia was the pinacle of his career, with Sionek making 63 appearances in the II liga over the span of three seasons. In 1967 Lechia were relegated to the III liga, with Sionek playing the first half of the season before joining Wisła Tczew during the mid-season break. He is known to have played with Wisła for four seasons from 1968 until at least 1972, however it is not known when he left Wisła Tczew or when he decided to retire from playing.\n\nReferences\n\n1939 births\nPossibly living people\nLechia Gdańsk players\nPolish footballers\nAssociation football midfielders"
] | [
"McKinley Morganfield (April 4, 1913April 30, 1983), known professionally as Muddy Waters, was an American blues singer-songwriter and musician who was an important figure in the post-war blues scene, and is often cited as the \"father of modern Chicago blues.\" His style of playing has been described as \"raining down Delta beatitude.\"",
"His style of playing has been described as \"raining down Delta beatitude.\" Muddy Waters grew up on Stovall Plantation near Clarksdale, Mississippi, and by age 17 was playing the guitar and the harmonica, emulating the local blues artists Son House and Robert Johnson.",
"Muddy Waters grew up on Stovall Plantation near Clarksdale, Mississippi, and by age 17 was playing the guitar and the harmonica, emulating the local blues artists Son House and Robert Johnson. He was recorded in Mississippi by Alan Lomax for the Library of Congress in 1941.",
"He was recorded in Mississippi by Alan Lomax for the Library of Congress in 1941. In 1943, he moved to Chicago to become a full-time professional musician. In 1946, he recorded his first records for Columbia Records and then for Aristocrat Records, a newly formed label run by the brothers Leonard and Phil Chess.",
"In 1946, he recorded his first records for Columbia Records and then for Aristocrat Records, a newly formed label run by the brothers Leonard and Phil Chess. In the early 1950s, Muddy Waters and his band—Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums and Otis Spann on piano—recorded several blues classics, some with the bassist and songwriter Willie Dixon.",
"In the early 1950s, Muddy Waters and his band—Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums and Otis Spann on piano—recorded several blues classics, some with the bassist and songwriter Willie Dixon. These songs included \"Hoochie Coochie Man,\" \"I Just Want to Make Love to You\" and \"I'm Ready\".",
"These songs included \"Hoochie Coochie Man,\" \"I Just Want to Make Love to You\" and \"I'm Ready\". In 1958, he traveled to England, laying the foundations of the resurgence of interest in the blues there.",
"In 1958, he traveled to England, laying the foundations of the resurgence of interest in the blues there. His performance at the Newport Jazz Festival in 1960 was recorded and released as his first live album, At Newport 1960. Muddy Waters' music has influenced various American music genres, including rock and roll and rock music.",
"Muddy Waters' music has influenced various American music genres, including rock and roll and rock music. Early life Muddy Waters's place and date of birth are not conclusively known.",
"Early life Muddy Waters's place and date of birth are not conclusively known. He stated that he was born in Rolling Fork, Mississippi, in 1915, but other evidence suggests that he was born in Jug's Corner, in neighboring Issaquena County, in 1913.",
"He stated that he was born in Rolling Fork, Mississippi, in 1915, but other evidence suggests that he was born in Jug's Corner, in neighboring Issaquena County, in 1913. In the 1930s and 1940s, before his rise to fame, the year of his birth was reported as 1913 on his marriage license, recording notes, and musicians' union card.",
"In the 1930s and 1940s, before his rise to fame, the year of his birth was reported as 1913 on his marriage license, recording notes, and musicians' union card. A 1955 interview in the Chicago Defender is the earliest in which he stated 1915 as the year of his birth, and he continued to say this in interviews from that point onward.",
"A 1955 interview in the Chicago Defender is the earliest in which he stated 1915 as the year of his birth, and he continued to say this in interviews from that point onward. The 1920 census lists him as five years old as of March 6, 1920, suggesting that his birth year may have been 1914.",
"The 1920 census lists him as five years old as of March 6, 1920, suggesting that his birth year may have been 1914. The Social Security Death Index, relying on the Social Security card application submitted after his move to Chicago in the mid-1940s, lists him as being born April 4, 1913.",
"The Social Security Death Index, relying on the Social Security card application submitted after his move to Chicago in the mid-1940s, lists him as being born April 4, 1913. His gravestone gives his birth year as 1915. His grandmother, Della Grant, raised him after his mother died shortly after his birth.",
"His grandmother, Della Grant, raised him after his mother died shortly after his birth. Grant gave him the nickname \"Muddy\" at an early age because he loved to play in the muddy water of nearby Deer Creek.",
"Grant gave him the nickname \"Muddy\" at an early age because he loved to play in the muddy water of nearby Deer Creek. \"Waters\" was added years later, as he began to play harmonica and perform locally in his early teens.",
"\"Waters\" was added years later, as he began to play harmonica and perform locally in his early teens. The remains of the cabin on Stovall Plantation where he lived in his youth are now at the Delta Blues Museum in Clarksdale, Mississippi.",
"The remains of the cabin on Stovall Plantation where he lived in his youth are now at the Delta Blues Museum in Clarksdale, Mississippi. He had his first introduction to music in church: \"I used to belong to church. I was a good Baptist, singing in the church.",
"I was a good Baptist, singing in the church. So I got all of my good moaning and trembling going on for me right out of church,\" he recalled. By the time he was 17, he had purchased his first guitar. \"I sold the last horse that we had.",
"\"I sold the last horse that we had. Made about fifteen dollars for him, gave my grandmother seven dollars and fifty cents, I kept seven-fifty and paid about two-fifty for that guitar. It was a Stella. The people ordered them from Sears-Roebuck in Chicago.\"",
"The people ordered them from Sears-Roebuck in Chicago.\" He started playing his songs in joints near his hometown, mostly on a plantation owned by Colonel William Howard Stovall. Career Early career, early 1930s–1948 In the early 1930s, Muddy Waters accompanied Big Joe Williams on tours of the Delta, playing harmonica.",
"Career Early career, early 1930s–1948 In the early 1930s, Muddy Waters accompanied Big Joe Williams on tours of the Delta, playing harmonica. Williams recounted to Blewett Thomas that he eventually dropped Muddy \"because he was takin' away my women [fans]\".",
"Williams recounted to Blewett Thomas that he eventually dropped Muddy \"because he was takin' away my women [fans]\". In August 1941, Alan Lomax went to Stovall, Mississippi, on behalf of the Library of Congress to record various country blues musicians.",
"In August 1941, Alan Lomax went to Stovall, Mississippi, on behalf of the Library of Congress to record various country blues musicians. \"He brought his stuff down and recorded me right in my house,\" Muddy told Rolling Stone magazine, \"and when he played back the first song I sounded just like anybody's records.",
"\"He brought his stuff down and recorded me right in my house,\" Muddy told Rolling Stone magazine, \"and when he played back the first song I sounded just like anybody's records. Man, you don't know how I felt that Saturday afternoon when I heard that voice and it was my own voice.",
"Man, you don't know how I felt that Saturday afternoon when I heard that voice and it was my own voice. Later on he sent me two copies of the pressing and a check for twenty bucks, and I carried that record up to the corner and put it on the jukebox.",
"Later on he sent me two copies of the pressing and a check for twenty bucks, and I carried that record up to the corner and put it on the jukebox. Just played it and played it and said, 'I can do it, I can do it'.\"",
"Just played it and played it and said, 'I can do it, I can do it'.\" Lomax came back in July 1942 to record him again. Both sessions were eventually released by Testament Records as Down on Stovall's Plantation.",
"Both sessions were eventually released by Testament Records as Down on Stovall's Plantation. The complete recordings were reissued by Chess Records on CD as Muddy Waters: The Complete Plantation Recordings. The Historic 1941–42 Library of Congress Field Recordings in 1993 and remastered in 1997.",
"The Historic 1941–42 Library of Congress Field Recordings in 1993 and remastered in 1997. In 1943, Muddy Waters headed to Chicago with the hope of becoming a full-time professional musician. He later recalled arriving in Chicago as the single most momentous event in his life.",
"He later recalled arriving in Chicago as the single most momentous event in his life. He lived with a relative for a short period while driving a truck and working in a factory by day and performing at night.",
"He lived with a relative for a short period while driving a truck and working in a factory by day and performing at night. Big Bill Broonzy, then one of the leading bluesmen in Chicago, had Muddy open his shows in the rowdy clubs where Broonzy played.",
"Big Bill Broonzy, then one of the leading bluesmen in Chicago, had Muddy open his shows in the rowdy clubs where Broonzy played. This gave him the opportunity to play in front of a large audience. In 1944, he bought his first electric guitar and then formed his first electric combo.",
"In 1944, he bought his first electric guitar and then formed his first electric combo. He felt obliged to electrify his sound in Chicago because, he said, \"When I went into the clubs, the first thing I wanted was an amplifier. Couldn't nobody hear you with an acoustic.\"",
"Couldn't nobody hear you with an acoustic.\" His sound reflected the optimism of postwar African Americans. Willie Dixon said that \"There was quite a few people around singing the blues but most of them was singing all sad blues. Muddy was giving his blues a little pep.\"",
"Muddy was giving his blues a little pep.\" In 1946, Muddy recorded some songs for Mayo Williams at Columbia Records, with an old-fashioned combo consisting of clarinet, saxophone and piano; they were released a year later with Ivan Ballen's Philadelphia-based 20th Century label, billed as James \"Sweet Lucy\" Carter and his Orchestra – Muddy Waters' name was not mentioned on the label.",
"In 1946, Muddy recorded some songs for Mayo Williams at Columbia Records, with an old-fashioned combo consisting of clarinet, saxophone and piano; they were released a year later with Ivan Ballen's Philadelphia-based 20th Century label, billed as James \"Sweet Lucy\" Carter and his Orchestra – Muddy Waters' name was not mentioned on the label. Later that year, he began recording for Aristocrat Records, a newly formed label run by the brothers Leonard and Phil Chess.",
"Later that year, he began recording for Aristocrat Records, a newly formed label run by the brothers Leonard and Phil Chess. In 1947, he played guitar with Sunnyland Slim on piano on the cuts \"Gypsy Woman\" and \"Little Anna Mae\".",
"In 1947, he played guitar with Sunnyland Slim on piano on the cuts \"Gypsy Woman\" and \"Little Anna Mae\". These were also shelved, but in 1948, \"I Can't Be Satisfied\" and \"I Feel Like Going Home\" became hits, and his popularity in clubs began to take off.",
"These were also shelved, but in 1948, \"I Can't Be Satisfied\" and \"I Feel Like Going Home\" became hits, and his popularity in clubs began to take off. Soon after, Aristocrat changed its name to Chess Records.",
"Soon after, Aristocrat changed its name to Chess Records. Muddy Waters's signature tune \"Rollin' Stone\" also became a hit that year.",
"Muddy Waters's signature tune \"Rollin' Stone\" also became a hit that year. Commercial success, 1948–1957 Initially, the Chess brothers would not allow Muddy Waters to use his working band in the recording studio; instead, he was provided with a backing bass by Ernest \"Big\" Crawford or by musicians assembled specifically for the recording session, including \"Baby Face\" Leroy Foster and Johnny Jones.",
"Commercial success, 1948–1957 Initially, the Chess brothers would not allow Muddy Waters to use his working band in the recording studio; instead, he was provided with a backing bass by Ernest \"Big\" Crawford or by musicians assembled specifically for the recording session, including \"Baby Face\" Leroy Foster and Johnny Jones. Gradually, Chess relented, and by September 1953 he was recording with one of the most acclaimed blues groups in history: Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums, and Otis Spann on piano.",
"Gradually, Chess relented, and by September 1953 he was recording with one of the most acclaimed blues groups in history: Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums, and Otis Spann on piano. The band recorded a series of blues classics during the early 1950s, some with the help of the bassist and songwriter Willie Dixon, including \"Hoochie Coochie Man\", \"I Just Want to Make Love to You\", and \"I'm Ready\" Muddy Waters's band became a proving ground for some of the city's best blues talent, with members of the ensemble going on to successful careers of their own.",
"The band recorded a series of blues classics during the early 1950s, some with the help of the bassist and songwriter Willie Dixon, including \"Hoochie Coochie Man\", \"I Just Want to Make Love to You\", and \"I'm Ready\" Muddy Waters's band became a proving ground for some of the city's best blues talent, with members of the ensemble going on to successful careers of their own. In 1952, Little Walter left when his single \"Juke\" became a hit, although he continued a collaborative relationship long after he left, appearing on most of the band's classic recordings in the 1950s.",
"In 1952, Little Walter left when his single \"Juke\" became a hit, although he continued a collaborative relationship long after he left, appearing on most of the band's classic recordings in the 1950s. Howlin' Wolf moved to Chicago in 1954 with financial support earned through his successful Chess singles, and the \"legendary rivalry\" with Muddy Waters began.",
"Howlin' Wolf moved to Chicago in 1954 with financial support earned through his successful Chess singles, and the \"legendary rivalry\" with Muddy Waters began. The rivalry was, in part, stoked by Willie Dixon providing songs to both artists, with Wolf suspecting that Muddy was getting Dixon's best songs.",
"The rivalry was, in part, stoked by Willie Dixon providing songs to both artists, with Wolf suspecting that Muddy was getting Dixon's best songs. 1955 saw the departure of Jimmy Rogers, who quit to work exclusively with his own band, which had been a sideline until that time.",
"1955 saw the departure of Jimmy Rogers, who quit to work exclusively with his own band, which had been a sideline until that time. In the mid-1950s, Muddy Waters' singles were frequently on Billboard magazine's various Rhythm & Blues charts including \"Sugar Sweet\" in 1955 and \"Trouble No More\", \"Forty Days and Forty Nights\", and \"Don't Go No Farther\" in 1956.",
"In the mid-1950s, Muddy Waters' singles were frequently on Billboard magazine's various Rhythm & Blues charts including \"Sugar Sweet\" in 1955 and \"Trouble No More\", \"Forty Days and Forty Nights\", and \"Don't Go No Farther\" in 1956. 1956 also saw the release of one of his best-known numbers, \"Got My Mojo Working\", although it did not appear on the charts.",
"1956 also saw the release of one of his best-known numbers, \"Got My Mojo Working\", although it did not appear on the charts. However, by the late 1950s, his singles success had come to an end, with only \"Close to You\" reaching the chart in 1958.",
"However, by the late 1950s, his singles success had come to an end, with only \"Close to You\" reaching the chart in 1958. Also in 1958, Chess released his first compilation album, The Best of Muddy Waters, which collected twelve of his singles up to 1956.",
"Also in 1958, Chess released his first compilation album, The Best of Muddy Waters, which collected twelve of his singles up to 1956. Performances and crossover, 1958–1970 Muddy Waters toured England with Spann in 1958, where they were backed by local Dixieland-style or \"trad jazz\" musicians, including members of Chris Barber's band.",
"Performances and crossover, 1958–1970 Muddy Waters toured England with Spann in 1958, where they were backed by local Dixieland-style or \"trad jazz\" musicians, including members of Chris Barber's band. At the time, English audiences had only been exposed to acoustic folk blues, as performed by artists such as Sonny Terry, Brownie McGhee, and Big Bill Broonzy.",
"At the time, English audiences had only been exposed to acoustic folk blues, as performed by artists such as Sonny Terry, Brownie McGhee, and Big Bill Broonzy. Both the musicians and audiences were unprepared for Waters' performance, which included his electric slide guitar playing.",
"Both the musicians and audiences were unprepared for Waters' performance, which included his electric slide guitar playing. He recalled: Although his performances alienated the old guard, some younger musicians, including Alexis Korner and Cyril Davies from Barber's band, were inspired to go in the more modern, electric blues direction.",
"He recalled: Although his performances alienated the old guard, some younger musicians, including Alexis Korner and Cyril Davies from Barber's band, were inspired to go in the more modern, electric blues direction. Korner and Davies' own groups included musicians who would later form the Rolling Stones (named after Muddy's 1950 hit \"Rollin' Stone\"), Cream, and the original Fleetwood Mac.",
"Korner and Davies' own groups included musicians who would later form the Rolling Stones (named after Muddy's 1950 hit \"Rollin' Stone\"), Cream, and the original Fleetwood Mac. In the 1960s, Muddy Waters' performances continued to introduce a new generation to Chicago blues.",
"In the 1960s, Muddy Waters' performances continued to introduce a new generation to Chicago blues. At the Newport Jazz Festival, he recorded one of the first live blues albums, At Newport 1960, and his performance of \"Got My Mojo Working\" was nominated for a Grammy award.",
"At the Newport Jazz Festival, he recorded one of the first live blues albums, At Newport 1960, and his performance of \"Got My Mojo Working\" was nominated for a Grammy award. In September 1963, in Chess' attempt to connect with folk music audiences, he recorded Folk Singer, which replaced his trademark electric guitar sound with an acoustic band, including a then-unknown Buddy Guy on acoustic guitar.",
"In September 1963, in Chess' attempt to connect with folk music audiences, he recorded Folk Singer, which replaced his trademark electric guitar sound with an acoustic band, including a then-unknown Buddy Guy on acoustic guitar. Folk Singer was not a commercial success, but it was lauded by critics, and in 2003 Rolling Stone magazine placed it at number 280 on its list of the 500 greatest albums of all time.",
"Folk Singer was not a commercial success, but it was lauded by critics, and in 2003 Rolling Stone magazine placed it at number 280 on its list of the 500 greatest albums of all time. In October 1963, Muddy Waters participated in the first of several annual European tours, organized as the American Folk Blues Festival, during which he also performed more acoustic-oriented numbers.",
"In October 1963, Muddy Waters participated in the first of several annual European tours, organized as the American Folk Blues Festival, during which he also performed more acoustic-oriented numbers. In 1967, he re-recorded several blues standards with Bo Diddley, Little Walter, and Howlin' Wolf, which were marketed as Super Blues and The Super Super Blues Band albums in Chess' attempt to reach a rock audience.",
"In 1967, he re-recorded several blues standards with Bo Diddley, Little Walter, and Howlin' Wolf, which were marketed as Super Blues and The Super Super Blues Band albums in Chess' attempt to reach a rock audience. The Super Super Blues Band united Wolf and Waters, who had a long-standing rivalry.",
"The Super Super Blues Band united Wolf and Waters, who had a long-standing rivalry. It was, as Ken Chang wrote in his AllMusic review, flooded with \"contentious studio banter [...] more entertaining than the otherwise unmemorable music from this stylistic train wreck\".",
"It was, as Ken Chang wrote in his AllMusic review, flooded with \"contentious studio banter [...] more entertaining than the otherwise unmemorable music from this stylistic train wreck\". In 1968, at the instigation of Marshall Chess, he recorded Electric Mud, an album intended to revive his career by backing him with Rotary Connection, a psychedelic soul band that Chess had put together.",
"In 1968, at the instigation of Marshall Chess, he recorded Electric Mud, an album intended to revive his career by backing him with Rotary Connection, a psychedelic soul band that Chess had put together. The album proved controversial; although it reached number 127 on the Billboard 200 album chart, it was scorned by many critics, and eventually disowned by Muddy Waters himself: Nonetheless, six months later he recorded a follow-up album, After the Rain, which had a similar sound and featured many of the same musicians.",
"The album proved controversial; although it reached number 127 on the Billboard 200 album chart, it was scorned by many critics, and eventually disowned by Muddy Waters himself: Nonetheless, six months later he recorded a follow-up album, After the Rain, which had a similar sound and featured many of the same musicians. Later in 1969, he recorded and released the album Fathers and Sons, which featured a return to his classic Chicago blues sound.",
"Later in 1969, he recorded and released the album Fathers and Sons, which featured a return to his classic Chicago blues sound. Fathers and Sons had an all-star backing band that included Michael Bloomfield and Paul Butterfield, longtime fans whose desire to play with him was the impetus for the album.",
"Fathers and Sons had an all-star backing band that included Michael Bloomfield and Paul Butterfield, longtime fans whose desire to play with him was the impetus for the album. It was the most successful album of Muddy Waters' career, reaching number 70 on the Billboard 200.",
"It was the most successful album of Muddy Waters' career, reaching number 70 on the Billboard 200. Resurgence and later career, 1971–1982 In 1971, a show at Mister Kelly's, an upmarket Chicago nightclub, was recorded and released, signalling both Muddy Waters's return to form and the completion of his transfer to white audiences.",
"Resurgence and later career, 1971–1982 In 1971, a show at Mister Kelly's, an upmarket Chicago nightclub, was recorded and released, signalling both Muddy Waters's return to form and the completion of his transfer to white audiences. In 1972, he won his first Grammy Award, for Best Ethnic or Traditional Recording for They Call Me Muddy Waters, a 1971 album of old, but previously unreleased recordings.",
"In 1972, he won his first Grammy Award, for Best Ethnic or Traditional Recording for They Call Me Muddy Waters, a 1971 album of old, but previously unreleased recordings. Later in 1972, he flew to England to record the album The London Muddy Waters Sessions.",
"Later in 1972, he flew to England to record the album The London Muddy Waters Sessions. The album was a follow-up to the previous year's The London Howlin' Wolf Sessions.",
"The album was a follow-up to the previous year's The London Howlin' Wolf Sessions. Both albums were the brainchild of Chess Records producer Norman Dayron, and were intended to showcase Chicago blues musicians playing with the younger British rock musicians whom they had inspired.",
"Both albums were the brainchild of Chess Records producer Norman Dayron, and were intended to showcase Chicago blues musicians playing with the younger British rock musicians whom they had inspired. Muddy Waters brought with him two American musicians, harmonica player Carey Bell and guitarist Sammy Lawhorn.",
"Muddy Waters brought with him two American musicians, harmonica player Carey Bell and guitarist Sammy Lawhorn. The British and Irish musicians who played on the album included Rory Gallagher, Steve Winwood, Rick Grech, and Mitch Mitchell. Muddy was dissatisfied by the results, due to the British musicians' more rock-oriented sound.",
"Muddy was dissatisfied by the results, due to the British musicians' more rock-oriented sound. \"These boys are top musicians, they can play with me, put the book before 'em and play it, you know,\" he told Guralnick.",
"\"These boys are top musicians, they can play with me, put the book before 'em and play it, you know,\" he told Guralnick. \"But that ain't what I need to sell my people, it ain't the Muddy Waters sound.",
"\"But that ain't what I need to sell my people, it ain't the Muddy Waters sound. An' if you change my sound, then you gonna change the whole man.\" He stated, \"My blues look so simple, so easy to do, but it's not.",
"He stated, \"My blues look so simple, so easy to do, but it's not. They say my blues is the hardest blues in the world to play.\" Nevertheless, the album won another Grammy, again for Best Ethnic or Traditional Recording.",
"Nevertheless, the album won another Grammy, again for Best Ethnic or Traditional Recording. He won another Grammy for his last LP on Chess Records: The Muddy Waters Woodstock Album, recorded in 1975 with his new guitarist Bob Margolin, Pinetop Perkins, Paul Butterfield, and Levon Helm and Garth Hudson of the Band.",
"He won another Grammy for his last LP on Chess Records: The Muddy Waters Woodstock Album, recorded in 1975 with his new guitarist Bob Margolin, Pinetop Perkins, Paul Butterfield, and Levon Helm and Garth Hudson of the Band. In November 1976 he appeared as a featured special guest at The Band's Last Waltz farewell concert, and in the subsequent 1978 feature film documentary of the event.",
"In November 1976 he appeared as a featured special guest at The Band's Last Waltz farewell concert, and in the subsequent 1978 feature film documentary of the event. From 1977 to 1981, blues musician Johnny Winter, who had idolized Muddy Waters since childhood and who had become a friend, produced four albums of his, all on the Blue Sky Records label: the studio albums Hard Again (1977), I'm Ready (1978) and King Bee (1981), and the live album Muddy \"Mississippi\" Waters – Live (1979).",
"From 1977 to 1981, blues musician Johnny Winter, who had idolized Muddy Waters since childhood and who had become a friend, produced four albums of his, all on the Blue Sky Records label: the studio albums Hard Again (1977), I'm Ready (1978) and King Bee (1981), and the live album Muddy \"Mississippi\" Waters – Live (1979). The albums were critical and commercial successes, with all but King Bee winning a Grammy.",
"The albums were critical and commercial successes, with all but King Bee winning a Grammy. Hard Again has been especially praised by critics, who have tended to describe it as his comeback album. In 1981, Muddy Waters was invited to perform at ChicagoFest, the city's top outdoor music festival.",
"In 1981, Muddy Waters was invited to perform at ChicagoFest, the city's top outdoor music festival. He was joined onstage by Johnny Winter and Buddy Miles, and played classics like \"Mannish Boy\", \"Trouble No More\", and \"Mojo Working\" to a new generation of fans.",
"He was joined onstage by Johnny Winter and Buddy Miles, and played classics like \"Mannish Boy\", \"Trouble No More\", and \"Mojo Working\" to a new generation of fans. The performance was made available on DVD in 2009 by Shout! Factory.",
"Factory. Factory. On November 22, he performed live with three members of British rock band the Rolling Stones (Mick Jagger, Keith Richards and Ronnie Wood) at the Checkerboard Lounge, a blues club in Bronzeville, on the South Side of Chicago, which was established in 1972 by Buddy Guy and L.C. Thurman.",
"Thurman. Thurman. A DVD version of the performance was released in 2012. In 1982, declining health dramatically stopped his performance schedule. His last public performance took place when he sat in with Eric Clapton's band at a concert in Florida in the summer of 1982.",
"His last public performance took place when he sat in with Eric Clapton's band at a concert in Florida in the summer of 1982. Personal life Muddy Waters' longtime partner, Geneva Wade, died of cancer on March 15, 1973.",
"Personal life Muddy Waters' longtime partner, Geneva Wade, died of cancer on March 15, 1973. Gaining custody of his three children, Joseph, Renee, and Rosalind, he moved them into his home, eventually buying a new house in Westmont, Illinois.",
"Gaining custody of his three children, Joseph, Renee, and Rosalind, he moved them into his home, eventually buying a new house in Westmont, Illinois. Years later, he traveled to Florida and met his future wife, 19-year-old Marva Jean Brooks, whom he nicknamed \"Sunshine\".",
"Years later, he traveled to Florida and met his future wife, 19-year-old Marva Jean Brooks, whom he nicknamed \"Sunshine\". Eric Clapton served as best man at their wedding in 1979. His sons, Larry \"Mud\" Morganfield and Big Bill Morganfield, are also blues singers and musicians.",
"His sons, Larry \"Mud\" Morganfield and Big Bill Morganfield, are also blues singers and musicians. In 2017 his youngest son, Joseph \"Mojo\" Morganfield, began publicly performing the blues. Joseph was known to play occasionally with his brothers. Mojo died in 2020 at the age of 56.",
"Mojo died in 2020 at the age of 56. Death Muddy Waters died in his sleep from heart failure, at his home in Westmont, Illinois, on April 30, 1983, from cancer-related complications.",
"Death Muddy Waters died in his sleep from heart failure, at his home in Westmont, Illinois, on April 30, 1983, from cancer-related complications. He was taken from his Westmont home, which he lived in for the last decade of his life, to Good Samaritan Hospital in Downers Grove, Illinois, where he was pronounced dead aged 70.",
"He was taken from his Westmont home, which he lived in for the last decade of his life, to Good Samaritan Hospital in Downers Grove, Illinois, where he was pronounced dead aged 70. His funeral was held on May 4, 1983.",
"His funeral was held on May 4, 1983. Throngs of blues musicians and fans attended his funeral at Restvale Cemetery in Alsip, Illinois. He is buried next to his wife, Geneva. After his death, a lengthy court battle ensued between his heirs and Scott Cameron, his former manager.",
"After his death, a lengthy court battle ensued between his heirs and Scott Cameron, his former manager. In 2010, his heir was petitioning for the courts to appoint Mercy Morganfield, his daughter, as administrator and distribute remaining assets, which mainly consists of copyrights to his music. The petition to reopen the estate was successful.",
"The petition to reopen the estate was successful. In May 2018, the heirs' lawyer sought to hold Scott Cameron's wife in contempt for diverting royalty income. However, the heirs asked for that citation not to be pursued. The next court date was set for July 10, 2018.",
"The next court date was set for July 10, 2018. Legacy Two years after his death, the city of Chicago paid tribute to him by designating the one-block section between 900 and 1000 East 43rd Street near his former home on the south side \"Honorary Muddy Waters Drive\".",
"Legacy Two years after his death, the city of Chicago paid tribute to him by designating the one-block section between 900 and 1000 East 43rd Street near his former home on the south side \"Honorary Muddy Waters Drive\". In 2017, a ten stories-mural commissioned as a part of the Chicago Blues Festival and designed by Brazilian artist Eduardo Kobra was painted on the side of the building at 17 North State Street, at the corner of State and Washington Streets.",
"In 2017, a ten stories-mural commissioned as a part of the Chicago Blues Festival and designed by Brazilian artist Eduardo Kobra was painted on the side of the building at 17 North State Street, at the corner of State and Washington Streets. The Chicago suburb of Westmont, where he lived the last decade of his life, named a section of Cass Avenue near his home \"Honorary Muddy Waters Way\".",
"The Chicago suburb of Westmont, where he lived the last decade of his life, named a section of Cass Avenue near his home \"Honorary Muddy Waters Way\". In 2008, a Mississippi Blues Trail marker has been placed in Clarksdale, Mississippi, by the Mississippi Blues Commission designating the site of Muddy Waters' cabin.",
"In 2008, a Mississippi Blues Trail marker has been placed in Clarksdale, Mississippi, by the Mississippi Blues Commission designating the site of Muddy Waters' cabin. He also received a plaque on the Clarksdale Walk of Fame. Muddy Waters' Chicago Home in the Kenwood neighborhood is in the process of being named a Chicago Landmark.",
"Muddy Waters' Chicago Home in the Kenwood neighborhood is in the process of being named a Chicago Landmark. Influence The British band The Rolling Stones named themselves after Muddy Waters' 1950 song \"Rollin' Stone\". Jimi Hendrix recalled that \"I first heard him as a little boy and it scared me to death\".",
"Jimi Hendrix recalled that \"I first heard him as a little boy and it scared me to death\". The band Cream covered \"Rollin' and Tumblin'\" on their 1966 debut album, Fresh Cream. Eric Clapton was a big fan of Muddy Waters while growing up, and his music influenced Clapton's music career.",
"Eric Clapton was a big fan of Muddy Waters while growing up, and his music influenced Clapton's music career. The song was also covered by Canned Heat at the Monterey Pop Festival and later adapted by Bob Dylan on his album Modern Times.",
"The song was also covered by Canned Heat at the Monterey Pop Festival and later adapted by Bob Dylan on his album Modern Times. One of Led Zeppelin's biggest hits, \"Whole Lotta Love\", has its lyrics heavily influenced by the Muddy Waters hit \"You Need Love\" (written by Willie Dixon).",
"One of Led Zeppelin's biggest hits, \"Whole Lotta Love\", has its lyrics heavily influenced by the Muddy Waters hit \"You Need Love\" (written by Willie Dixon). \"Hoochie Coochie Man\", was covered by Allman Brothers Band, Humble Pie, Steppenwolf, Supertramp and Fear.",
"\"Hoochie Coochie Man\", was covered by Allman Brothers Band, Humble Pie, Steppenwolf, Supertramp and Fear. In 1993, Paul Rodgers released the album Muddy Water Blues: A Tribute to Muddy Waters, on which he covered a number of his songs, including \"Louisiana Blues\", \"Rollin' Stone\", \"(I'm your) Hoochie Coochie Man\" and \"I'm Ready\" in collaboration with guitarists such as Gary Moore, Brian May and Jeff Beck.",
"In 1993, Paul Rodgers released the album Muddy Water Blues: A Tribute to Muddy Waters, on which he covered a number of his songs, including \"Louisiana Blues\", \"Rollin' Stone\", \"(I'm your) Hoochie Coochie Man\" and \"I'm Ready\" in collaboration with guitarists such as Gary Moore, Brian May and Jeff Beck. Angus Young, of the rock group AC/DC, has cited Muddy as one of his influences.",
"Angus Young, of the rock group AC/DC, has cited Muddy as one of his influences. The AC/DC song title \"You Shook Me All Night Long\" came from lyrics of the Muddy Waters song \"You Shook Me\", written by Willie Dixon and J. B. Lenoir.",
"B. Lenoir. B. Lenoir. Earl Hooker first recorded it as an instrumental, which was then overdubbed with vocals by Muddy Waters in 1962. Led Zeppelin also covered it on their debut album. In 1981 ZZ Top guitarist Billy Gibbons went to visit the Delta Blues Museum in Clarksdale with The Blues magazine founder Jim O'Neal.",
"In 1981 ZZ Top guitarist Billy Gibbons went to visit the Delta Blues Museum in Clarksdale with The Blues magazine founder Jim O'Neal. The museum's director, Sid Graves, brought Gibbons to visit Waters original house, and encouraged him to pick up a piece of scrap lumber that was originally part of the roof.",
"The museum's director, Sid Graves, brought Gibbons to visit Waters original house, and encouraged him to pick up a piece of scrap lumber that was originally part of the roof. Gibbons eventually converted the wood into a guitar. Named Muddywood, the instrument is now exhibited at the Delta Blues Museum in Clarksdale.",
"Named Muddywood, the instrument is now exhibited at the Delta Blues Museum in Clarksdale. Following his death, fellow blues musician B.B. King told Guitar World magazine, \"It's going to be years and years before most people realize how greatly he contributed to American music.\"",
"King told Guitar World magazine, \"It's going to be years and years before most people realize how greatly he contributed to American music.\" John P. Hammond told Guitar World magazine, \"Muddy was a master of just the right notes.",
"John P. Hammond told Guitar World magazine, \"Muddy was a master of just the right notes. It was profound guitar playing, deep and simple ... more country blues transposed to the electric guitar, the kind of playing that enhanced the lyrics, gave profundity to the words themselves.\"",
"It was profound guitar playing, deep and simple ... more country blues transposed to the electric guitar, the kind of playing that enhanced the lyrics, gave profundity to the words themselves.\" Muddy Waters' songs have been featured in long-time fan Martin Scorsese's movies, including The Color of Money, Goodfellas, and Casino.",
"Muddy Waters' songs have been featured in long-time fan Martin Scorsese's movies, including The Color of Money, Goodfellas, and Casino. A 1970s recording of his mid-'50s hit \"Mannish Boy\" was used in the films Goodfellas, Better Off Dead, Risky Business, and the rockumentary The Last Waltz.",
"A 1970s recording of his mid-'50s hit \"Mannish Boy\" was used in the films Goodfellas, Better Off Dead, Risky Business, and the rockumentary The Last Waltz. In 1988 \"Mannish Boy\" was also used in a Levi's 501 commercial and re-released in Europe as a single with \"(I'm your) Hoochie Coochie Man\" on the flip side.",
"In 1988 \"Mannish Boy\" was also used in a Levi's 501 commercial and re-released in Europe as a single with \"(I'm your) Hoochie Coochie Man\" on the flip side. Awards and recognition Grammy Awards Rock and Roll Hall of Fame The Rock and Roll Hall of Fame listed four songs of Muddy Waters among the 500 Songs That Shaped Rock and Roll.",
"Awards and recognition Grammy Awards Rock and Roll Hall of Fame The Rock and Roll Hall of Fame listed four songs of Muddy Waters among the 500 Songs That Shaped Rock and Roll. Blues Foundation Awards Inductions U.S. Postage Stamp Discography Studio albums Muddy Waters Sings \"Big Bill\" (Chess, 1960) Folk Singer (Chess, 1964) Muddy, Brass & the Blues (Chess, 1966) Electric Mud (Cadet, 1968) After the Rain (Cadet, 1969) Fathers and Sons (Chess, 1969) The London Muddy Waters Sessions (Chess, 1972) Can't Get No Grindin' (Chess, 1973) Mud in Your Ear (Muse, 1973) London Revisited (Chess, 1974) split album with Howlin' Wolf \"Unk\" in Funk (Chess, 1974) The Muddy Waters Woodstock Album (Chess, 1975) Hard Again (Blue Sky, 1977) I'm Ready (Blue Sky, 1978) King Bee (Blue Sky, 1981) Notes References External links 1913 births 1983 deaths Chicago blues musicians Electric blues musicians Delta blues musicians Blues revival musicians African-American guitarists African-American male singer-songwriters American blues singer-songwriters American blues guitarists American male guitarists Blues musicians from Mississippi American street performers Grammy Lifetime Achievement Award winners Musicians from Clarksdale, Mississippi People from Issaquena County, Mississippi Singer-songwriters from Mississippi Slide guitarists Lead guitarists Chess Records artists Muse Records artists Mississippi Blues Trail Blues rock musicians 20th-century American guitarists Singer-songwriters from Illinois People from Westmont, Illinois Guitarists from Illinois Guitarists from Mississippi Blind Pig Records artists 20th-century African-American male singers"
] |
[
"Muddy Waters",
"Commercial success, 1948-1957",
"what city did he live in?",
"Chicago",
"what instruments did he play?",
"I don't know.",
"who were some people he played with?",
"Baby Face\" Leroy Foster and Johnny Jones."
] | C_7caf21c5447947198403d9676d3f6f83_0 | what instruments did they play? | 4 | When other artists played with Muddy Waters what instruments did they play? | Muddy Waters | Initially, the Chess brothers would not allow Muddy Waters to use his working band in the recording studio; instead, he was provided with a backing bass by Ernest "Big" Crawford or by musicians assembled specifically for the recording session, including "Baby Face" Leroy Foster and Johnny Jones. Gradually, Chess relented, and by September 1953 he was recording with one of the most acclaimed blues groups in history: Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums, and Otis Spann on piano. The band recorded a series of blues classics during the early 1950s, some with the help of the bassist and songwriter Willie Dixon, including "Hoochie Coochie Man", "I Just Want to Make Love to You", and "I'm Ready". Along with his former harmonica player Little Walter Jacobs and recent southern transplant Howlin' Wolf, Muddy Waters reigned over the early 1950s Chicago blues scene, his band becoming a proving ground for some of the city's best blues talent. Little Walter continued a collaborative relationship long after he left Muddy Waters's band in 1952, appearing on most of the band's classic recordings in the 1950s. Muddy Waters developed a long-running, generally good-natured rivalry with Wolf. The success of his ensemble paved the way for others in his group to make their own solo careers. In 1952, Little Walter left when his single "Juke" became a hit, and in 1955, Rogers quit to work exclusively with his own band, which had been a sideline until that time. During the mid-1950s, Muddy Waters' singles were frequently on Billboard magazine's various Rhythm & Blues charts including "Sugar Sweet" in 1955 and "Trouble No More", "Forty Days and Forty Nights", and "Don't Go No Farther" in 1956. 1956 also saw the release of one of his best-known numbers, "Got My Mojo Working", although it did not appear on the charts. However, by the late 1950s, his singles success had come to an end, with only "Close to You" reaching the chart in 1958. Also in 1958, Chess released Muddy Waters' first album, The Best of Muddy Waters, which collected twelve of his singles up to 1956. CANNOTANSWER | Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums, and Otis Spann on piano. | McKinley Morganfield (April 4, 1913April 30, 1983), known professionally as Muddy Waters, was an American blues singer-songwriter and musician who was an important figure in the post-war blues scene, and is often cited as the "father of modern Chicago blues." His style of playing has been described as "raining down Delta beatitude."
Muddy Waters grew up on Stovall Plantation near Clarksdale, Mississippi, and by age 17 was playing the guitar and the harmonica, emulating the local blues artists Son House and Robert Johnson. He was recorded in Mississippi by Alan Lomax for the Library of Congress in 1941. In 1943, he moved to Chicago to become a full-time professional musician. In 1946, he recorded his first records for Columbia Records and then for Aristocrat Records, a newly formed label run by the brothers Leonard and Phil Chess.
In the early 1950s, Muddy Waters and his band—Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums and Otis Spann on piano—recorded several blues classics, some with the bassist and songwriter Willie Dixon. These songs included "Hoochie Coochie Man," "I Just Want to Make Love to You" and "I'm Ready". In 1958, he traveled to England, laying the foundations of the resurgence of interest in the blues there. His performance at the Newport Jazz Festival in 1960 was recorded and released as his first live album, At Newport 1960.
Muddy Waters' music has influenced various American music genres, including rock and roll and rock music.
Early life
Muddy Waters's place and date of birth are not conclusively known. He stated that he was born in Rolling Fork, Mississippi, in 1915, but other evidence suggests that he was born in Jug's Corner, in neighboring Issaquena County, in 1913. In the 1930s and 1940s, before his rise to fame, the year of his birth was reported as 1913 on his marriage license, recording notes, and musicians' union card. A 1955 interview in the Chicago Defender is the earliest in which he stated 1915 as the year of his birth, and he continued to say this in interviews from that point onward. The 1920 census lists him as five years old as of March 6, 1920, suggesting that his birth year may have been 1914. The Social Security Death Index, relying on the Social Security card application submitted after his move to Chicago in the mid-1940s, lists him as being born April 4, 1913. His gravestone gives his birth year as 1915.
His grandmother, Della Grant, raised him after his mother died shortly after his birth. Grant gave him the nickname "Muddy" at an early age because he loved to play in the muddy water of nearby Deer Creek. "Waters" was added years later, as he began to play harmonica and perform locally in his early teens. The remains of the cabin on Stovall Plantation where he lived in his youth are now at the Delta Blues Museum in Clarksdale, Mississippi.
He had his first introduction to music in church: "I used to belong to church. I was a good Baptist, singing in the church. So I got all of my good moaning and trembling going on for me right out of church," he recalled. By the time he was 17, he had purchased his first guitar. "I sold the last horse that we had. Made about fifteen dollars for him, gave my grandmother seven dollars and fifty cents, I kept seven-fifty and paid about two-fifty for that guitar. It was a Stella. The people ordered them from Sears-Roebuck in Chicago." He started playing his songs in joints near his hometown, mostly on a plantation owned by Colonel William Howard Stovall.
Career
Early career, early 1930s–1948
In the early 1930s, Muddy Waters accompanied Big Joe Williams on tours of the Delta, playing harmonica. Williams recounted to Blewett Thomas that he eventually dropped Muddy "because he was takin' away my women [fans]".
In August 1941, Alan Lomax went to Stovall, Mississippi, on behalf of the Library of Congress to record various country blues musicians. "He brought his stuff down and recorded me right in my house," Muddy told Rolling Stone magazine, "and when he played back the first song I sounded just like anybody's records. Man, you don't know how I felt that Saturday afternoon when I heard that voice and it was my own voice. Later on he sent me two copies of the pressing and a check for twenty bucks, and I carried that record up to the corner and put it on the jukebox. Just played it and played it and said, 'I can do it, I can do it'." Lomax came back in July 1942 to record him again. Both sessions were eventually released by Testament Records as Down on Stovall's Plantation. The complete recordings were reissued by Chess Records on CD as Muddy Waters: The Complete Plantation Recordings. The Historic 1941–42 Library of Congress Field Recordings in 1993 and remastered in 1997.
In 1943, Muddy Waters headed to Chicago with the hope of becoming a full-time professional musician. He later recalled arriving in Chicago as the single most momentous event in his life. He lived with a relative for a short period while driving a truck and working in a factory by day and performing at night. Big Bill Broonzy, then one of the leading bluesmen in Chicago, had Muddy open his shows in the rowdy clubs where Broonzy played. This gave him the opportunity to play in front of a large audience. In 1944, he bought his first electric guitar and then formed his first electric combo. He felt obliged to electrify his sound in Chicago because, he said, "When I went into the clubs, the first thing I wanted was an amplifier. Couldn't nobody hear you with an acoustic." His sound reflected the optimism of postwar African Americans. Willie Dixon said that "There was quite a few people around singing the blues but most of them was singing all sad blues. Muddy was giving his blues a little pep."
In 1946, Muddy recorded some songs for Mayo Williams at Columbia Records, with an old-fashioned combo consisting of clarinet, saxophone and piano; they were released a year later with Ivan Ballen's Philadelphia-based 20th Century label, billed as James "Sweet Lucy" Carter and his Orchestra – Muddy Waters' name was not mentioned on the label. Later that year, he began recording for Aristocrat Records, a newly formed label run by the brothers Leonard and Phil Chess. In 1947, he played guitar with Sunnyland Slim on piano on the cuts "Gypsy Woman" and "Little Anna Mae". These were also shelved, but in 1948, "I Can't Be Satisfied" and "I Feel Like Going Home" became hits, and his popularity in clubs began to take off. Soon after, Aristocrat changed its name to Chess Records. Muddy Waters's signature tune "Rollin' Stone" also became a hit that year.
Commercial success, 1948–1957
Initially, the Chess brothers would not allow Muddy Waters to use his working band in the recording studio; instead, he was provided with a backing bass by Ernest "Big" Crawford or by musicians assembled specifically for the recording session, including "Baby Face" Leroy Foster and Johnny Jones. Gradually, Chess relented, and by September 1953 he was recording with one of the most acclaimed blues groups in history: Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums, and Otis Spann on piano. The band recorded a series of blues classics during the early 1950s, some with the help of the bassist and songwriter Willie Dixon, including "Hoochie Coochie Man", "I Just Want to Make Love to You", and "I'm Ready"
Muddy Waters's band became a proving ground for some of the city's best blues talent, with members of the ensemble going on to successful careers of their own. In 1952, Little Walter left when his single "Juke" became a hit, although he continued a collaborative relationship long after he left, appearing on most of the band's classic recordings in the 1950s. Howlin' Wolf moved to Chicago in 1954 with financial support earned through his successful Chess singles, and the "legendary rivalry" with Muddy Waters began. The rivalry was, in part, stoked by Willie Dixon providing songs to both artists, with Wolf suspecting that Muddy was getting Dixon's best songs. 1955 saw the departure of Jimmy Rogers, who quit to work exclusively with his own band, which had been a sideline until that time.
In the mid-1950s, Muddy Waters' singles were frequently on Billboard magazine's various Rhythm & Blues charts including "Sugar Sweet" in 1955 and "Trouble No More", "Forty Days and Forty Nights", and "Don't Go No Farther" in 1956. 1956 also saw the release of one of his best-known numbers, "Got My Mojo Working", although it did not appear on the charts. However, by the late 1950s, his singles success had come to an end, with only "Close to You" reaching the chart in 1958. Also in 1958, Chess released his first compilation album, The Best of Muddy Waters, which collected twelve of his singles up to 1956.
Performances and crossover, 1958–1970
Muddy Waters toured England with Spann in 1958, where they were backed by local Dixieland-style or "trad jazz" musicians, including members of Chris Barber's band. At the time, English audiences had only been exposed to acoustic folk blues, as performed by artists such as Sonny Terry, Brownie McGhee, and Big Bill Broonzy. Both the musicians and audiences were unprepared for Waters' performance, which included his electric slide guitar playing. He recalled:
Although his performances alienated the old guard, some younger musicians, including Alexis Korner and Cyril Davies from Barber's band, were inspired to go in the more modern, electric blues direction. Korner and Davies' own groups included musicians who would later form the Rolling Stones (named after Muddy's 1950 hit "Rollin' Stone"), Cream, and the original Fleetwood Mac.
In the 1960s, Muddy Waters' performances continued to introduce a new generation to Chicago blues. At the Newport Jazz Festival, he recorded one of the first live blues albums, At Newport 1960, and his performance of "Got My Mojo Working" was nominated for a Grammy award. In September 1963, in Chess' attempt to connect with folk music audiences, he recorded Folk Singer, which replaced his trademark electric guitar sound with an acoustic band, including a then-unknown Buddy Guy on acoustic guitar. Folk Singer was not a commercial success, but it was lauded by critics, and in 2003 Rolling Stone magazine placed it at number 280 on its list of the 500 greatest albums of all time. In October 1963, Muddy Waters participated in the first of several annual European tours, organized as the American Folk Blues Festival, during which he also performed more acoustic-oriented numbers.
In 1967, he re-recorded several blues standards with Bo Diddley, Little Walter, and Howlin' Wolf, which were marketed as Super Blues and The Super Super Blues Band albums in Chess' attempt to reach a rock audience. The Super Super Blues Band united Wolf and Waters, who had a long-standing rivalry. It was, as Ken Chang wrote in his AllMusic review, flooded with "contentious studio banter [...] more entertaining than the otherwise unmemorable music from this stylistic train wreck". In 1968, at the instigation of Marshall Chess, he recorded Electric Mud, an album intended to revive his career by backing him with Rotary Connection, a psychedelic soul band that Chess had put together. The album proved controversial; although it reached number 127 on the Billboard 200 album chart, it was scorned by many critics, and eventually disowned by Muddy Waters himself:
Nonetheless, six months later he recorded a follow-up album, After the Rain, which had a similar sound and featured many of the same musicians.
Later in 1969, he recorded and released the album Fathers and Sons, which featured a return to his classic Chicago blues sound. Fathers and Sons had an all-star backing band that included Michael Bloomfield and Paul Butterfield, longtime fans whose desire to play with him was the impetus for the album. It was the most successful album of Muddy Waters' career, reaching number 70 on the Billboard 200.
Resurgence and later career, 1971–1982
In 1971, a show at Mister Kelly's, an upmarket Chicago nightclub, was recorded and released, signalling both Muddy Waters's return to form and the completion of his transfer to white audiences.
In 1972, he won his first Grammy Award, for Best Ethnic or Traditional Recording for They Call Me Muddy Waters, a 1971 album of old, but previously unreleased recordings.
Later in 1972, he flew to England to record the album The London Muddy Waters Sessions. The album was a follow-up to the previous year's The London Howlin' Wolf Sessions. Both albums were the brainchild of Chess Records producer Norman Dayron, and were intended to showcase Chicago blues musicians playing with the younger British rock musicians whom they had inspired. Muddy Waters brought with him two American musicians, harmonica player Carey Bell and guitarist Sammy Lawhorn. The British and Irish musicians who played on the album included Rory Gallagher, Steve Winwood, Rick Grech, and Mitch Mitchell. Muddy was dissatisfied by the results, due to the British musicians' more rock-oriented sound. "These boys are top musicians, they can play with me, put the book before 'em and play it, you know," he told Guralnick. "But that ain't what I need to sell my people, it ain't the Muddy Waters sound. An' if you change my sound, then you gonna change the whole man." He stated, "My blues look so simple, so easy to do, but it's not. They say my blues is the hardest blues in the world to play." Nevertheless, the album won another Grammy, again for Best Ethnic or Traditional Recording.
He won another Grammy for his last LP on Chess Records: The Muddy Waters Woodstock Album, recorded in 1975 with his new guitarist Bob Margolin, Pinetop Perkins, Paul Butterfield, and Levon Helm and Garth Hudson of the Band. In November 1976 he appeared as a featured special guest at The Band's Last Waltz farewell concert, and in the subsequent 1978 feature film documentary of the event.
From 1977 to 1981, blues musician Johnny Winter, who had idolized Muddy Waters since childhood and who had become a friend, produced four albums of his, all on the Blue Sky Records label: the studio albums Hard Again (1977), I'm Ready (1978) and King Bee (1981), and the live album Muddy "Mississippi" Waters – Live (1979). The albums were critical and commercial successes, with all but King Bee winning a Grammy. Hard Again has been especially praised by critics, who have tended to describe it as his comeback album.
In 1981, Muddy Waters was invited to perform at ChicagoFest, the city's top outdoor music festival. He was joined onstage by Johnny Winter and Buddy Miles, and played classics like "Mannish Boy", "Trouble No More", and "Mojo Working" to a new generation of fans. The performance was made available on DVD in 2009 by Shout! Factory. On November 22, he performed live with three members of British rock band the Rolling Stones (Mick Jagger, Keith Richards and Ronnie Wood) at the Checkerboard Lounge, a blues club in Bronzeville, on the South Side of Chicago, which was established in 1972 by Buddy Guy and L.C. Thurman. A DVD version of the performance was released in 2012.
In 1982, declining health dramatically stopped his performance schedule. His last public performance took place when he sat in with Eric Clapton's band at a concert in Florida in the summer of 1982.
Personal life
Muddy Waters' longtime partner, Geneva Wade, died of cancer on March 15, 1973. Gaining custody of his three children, Joseph, Renee, and Rosalind, he moved them into his home, eventually buying a new house in Westmont, Illinois. Years later, he traveled to Florida and met his future wife, 19-year-old Marva Jean Brooks, whom he nicknamed "Sunshine". Eric Clapton served as best man at their wedding in 1979.
His sons, Larry "Mud" Morganfield and Big Bill Morganfield, are also blues singers and musicians. In 2017 his youngest son, Joseph "Mojo" Morganfield, began publicly performing the blues. Joseph was known to play occasionally with his brothers. Mojo died in 2020 at the age of 56.
Death
Muddy Waters died in his sleep from heart failure, at his home in Westmont, Illinois, on April 30, 1983, from cancer-related complications. He was taken from his Westmont home, which he lived in for the last decade of his life, to Good Samaritan Hospital in Downers Grove, Illinois, where he was pronounced dead aged 70. His funeral was held on May 4, 1983. Throngs of blues musicians and fans attended his funeral at Restvale Cemetery in Alsip, Illinois. He is buried next to his wife, Geneva.
After his death, a lengthy court battle ensued between his heirs and Scott Cameron, his former manager. In 2010, his heir was petitioning for the courts to appoint Mercy Morganfield, his daughter, as administrator and distribute remaining assets, which mainly consists of copyrights to his music. The petition to reopen the estate was successful. In May 2018, the heirs' lawyer sought to hold Scott Cameron's wife in contempt for diverting royalty income. However, the heirs asked for that citation not to be pursued. The next court date was set for July 10, 2018.
Legacy
Two years after his death, the city of Chicago paid tribute to him by designating the one-block section between 900 and 1000 East 43rd Street near his former home on the south side "Honorary Muddy Waters Drive". In 2017, a ten stories-mural commissioned as a part of the Chicago Blues Festival and designed by Brazilian artist Eduardo Kobra was painted on the side of the building at 17 North State Street, at the corner of State and Washington Streets. The Chicago suburb of Westmont, where he lived the last decade of his life, named a section of Cass Avenue near his home "Honorary Muddy Waters Way".
In 2008, a Mississippi Blues Trail marker has been placed in Clarksdale, Mississippi, by the Mississippi Blues Commission designating the site of Muddy Waters' cabin. He also received a plaque on the Clarksdale Walk of Fame.
Muddy Waters' Chicago Home in the Kenwood neighborhood is in the process of being named a Chicago Landmark.
Influence
The British band The Rolling Stones named themselves after Muddy Waters' 1950 song "Rollin' Stone". Jimi Hendrix recalled that "I first heard him as a little boy and it scared me to death". The band Cream covered "Rollin' and Tumblin'" on their 1966 debut album, Fresh Cream. Eric Clapton was a big fan of Muddy Waters while growing up, and his music influenced Clapton's music career. The song was also covered by Canned Heat at the Monterey Pop Festival and later adapted by Bob Dylan on his album Modern Times. One of Led Zeppelin's biggest hits, "Whole Lotta Love", has its lyrics heavily influenced by the Muddy Waters hit "You Need Love" (written by Willie Dixon). "Hoochie Coochie Man", was covered by Allman Brothers Band, Humble Pie, Steppenwolf, Supertramp and Fear. In 1993, Paul Rodgers released the album Muddy Water Blues: A Tribute to Muddy Waters, on which he covered a number of his songs, including "Louisiana Blues", "Rollin' Stone", "(I'm your) Hoochie Coochie Man" and "I'm Ready" in collaboration with guitarists such as Gary Moore, Brian May and Jeff Beck. Angus Young, of the rock group AC/DC, has cited Muddy as one of his influences. The AC/DC song title "You Shook Me All Night Long" came from lyrics of the Muddy Waters song "You Shook Me", written by Willie Dixon and J. B. Lenoir. Earl Hooker first recorded it as an instrumental, which was then overdubbed with vocals by Muddy Waters in 1962. Led Zeppelin also covered it on their debut album.
In 1981 ZZ Top guitarist Billy Gibbons went to visit the Delta Blues Museum in Clarksdale with The Blues magazine founder Jim O'Neal. The museum's director, Sid Graves, brought Gibbons to visit Waters original house, and encouraged him to pick up a piece of scrap lumber that was originally part of the roof. Gibbons eventually converted the wood into a guitar. Named Muddywood, the instrument is now exhibited at the Delta Blues Museum in Clarksdale.
Following his death, fellow blues musician B.B. King told Guitar World magazine, "It's going to be years and years before most people realize how greatly he contributed to American music." John P. Hammond told Guitar World magazine, "Muddy was a master of just the right notes. It was profound guitar playing, deep and simple ... more country blues transposed to the electric guitar, the kind of playing that enhanced the lyrics, gave profundity to the words themselves."
Muddy Waters' songs have been featured in long-time fan Martin Scorsese's movies, including The Color of Money, Goodfellas, and Casino. A 1970s recording of his mid-'50s hit "Mannish Boy" was used in the films Goodfellas, Better Off Dead, Risky Business, and the rockumentary The Last Waltz. In 1988 "Mannish Boy" was also used in a Levi's 501 commercial and re-released in Europe as a single with "(I'm your) Hoochie Coochie Man" on the flip side.
Awards and recognition
Grammy Awards
Rock and Roll Hall of Fame
The Rock and Roll Hall of Fame listed four songs of Muddy Waters among the 500 Songs That Shaped Rock and Roll.
Blues Foundation Awards
Inductions
U.S. Postage Stamp
Discography
Studio albums
Muddy Waters Sings "Big Bill" (Chess, 1960)
Folk Singer (Chess, 1964)
Muddy, Brass & the Blues (Chess, 1966)
Electric Mud (Cadet, 1968)
After the Rain (Cadet, 1969)
Fathers and Sons (Chess, 1969)
The London Muddy Waters Sessions (Chess, 1972)
Can't Get No Grindin' (Chess, 1973)
Mud in Your Ear (Muse, 1973)
London Revisited (Chess, 1974) split album with Howlin' Wolf
"Unk" in Funk (Chess, 1974)
The Muddy Waters Woodstock Album (Chess, 1975)
Hard Again (Blue Sky, 1977)
I'm Ready (Blue Sky, 1978)
King Bee (Blue Sky, 1981)
Notes
References
External links
1913 births
1983 deaths
Chicago blues musicians
Electric blues musicians
Delta blues musicians
Blues revival musicians
African-American guitarists
African-American male singer-songwriters
American blues singer-songwriters
American blues guitarists
American male guitarists
Blues musicians from Mississippi
American street performers
Grammy Lifetime Achievement Award winners
Musicians from Clarksdale, Mississippi
People from Issaquena County, Mississippi
Singer-songwriters from Mississippi
Slide guitarists
Lead guitarists
Chess Records artists
Muse Records artists
Mississippi Blues Trail
Blues rock musicians
20th-century American guitarists
Singer-songwriters from Illinois
People from Westmont, Illinois
Guitarists from Illinois
Guitarists from Mississippi
Blind Pig Records artists
20th-century African-American male singers | true | [
"The panerusan instruments or elaborating instruments are one of the divisions of instruments used in Indonesian gamelan. Instead of the rhythmic structure provided by the colotomic instruments, and the core melody of the balungan instruments, the panerusan instruments play variations on the balungan. They are usually the most difficult instruments to learn in the gamelan, but provide the most opportunity for improvisation and creativity in the performer.\n\nPanerusan instruments include the gendér, suling, rebab, siter/celempung, bonang, and gambang. The female singer, the pesindhen, is also often included, as she sings in a similar fashion to the instrumental techniques. As these include the only wind instruments, string instruments, and wooden percussion instruments found in the gamelan, they provide a timbre which stands out from most of the gamelan.\n\nThe notes that the panerusan instruments play are largely in melodic formulas known as cengkok and sekaran. These are selected from a huge collection which every performer carries in his head, based on the patet, mood, and traditions surrounding a piece.\n\nSekaran\nSekaran (Javanese for \"flowering\") is a type of elaboration used in the Javanese gamelan, especially on the bonang barung.\n\nIt is similar to the cengkok of other elaborating instruments in its floridity and openness to improvisation, but a sekaran generally happens only at the end of a nongan or other colotomic division. It is usually preceded by imbal, an interlocking pattern between the bonang barung and the bonang panerus.\n\nDifferent sekaran are used in different pathet, but there are always a variety available. A good bonang player will choose a sekaran based on how the other instruments and the sindhen are improvising.\n\nTraditionally the bonang panerus did not play sekaran, and simply continued in the imbal pattern, but now some players use sekaran, as long as they maintain the fast character of typical bonang panerus parts.\n\nSee also\n\n Gamelan\n Slendro\n Pathet\n Cengkok\n Seleh\n Music of Indonesia\n Music of Java\n\nReferences\n\nGamelan instruments\nGamelan theory",
"The ukelin is a bowed psaltery with zither strings made popular in the 1920s. It is meant to be a combination of the violin and the Hawaiian ukulele. It lost popularity prior to the 1970s because the instrument was difficult to play and often returned to the manufacturer before it had been completely paid for.\n\nHistory\nThe history of the ukelin is hard to trace, since there were several instruments resembling the ukelin that were produced in the 1920s. Paul F. Richter filed the first known ukelin patent in December 1924, it was granted in April 1926. The Phonoharp Company, which merged with Oscar Schmidt, Inc. the same year, began producing ukelins in 1926. However, an instrument greatly resembling the ukelin had had its patent filed in 1923, a year before Richter filed his; yet the patent, filed by John Large, was not granted until after Richter's patent had already been given. Another similar instrument had a patent filed by Walter Schmidt in 1925. Because of these patents filed one after the other it is unclear who really invented the first ukelin.\n\nViolinist Henry Charles Marx was one of the first to sell what he called a violin-uke, among many other instruments he created to be manufactured by his company Marxochime Colony. He is thought to be the first to manufacture the instrument but soon had his design copied by International Music Company, who sold it under the name ukelin. The Phonoharp Company sold Richter's design before merging with Oscar Schmidt in 1926. Marxochime and Oscar Schmidt International, Inc. sold their instruments door-to-door through traveling salesmen, often to poor rural families. The salesmen would purchase the instruments from the company, then sell them at an inflated price, often on a payment plan. These prices increased as the economy grew stronger after the Depression. The customers were sometimes told that they were buying the instrument at a reduced price compared to a music store, but there is no evidence that they were ever sold in music stores. The instruments were usually sold for $35-$40.\n\nPlaying\nThe ukelin has sixteen melody strings and sixteen bass strings, divided into groups of four for playing accompanying chords. There is one large bass string in each group and three smaller chord strings. The ukelin is placed on the table in front of the player. The melody strings are played with a bow in the right hand, and the bass strings are plucked or strummed with the fingernails of the left hand or a pick. The ukelin is tuned to a C major scale, and unless tuned to include them, is unable to play chromatic notes; therefore, it is limited in what it can play. For ease of playing for amateurs, the strings are given numbers, and the booklets that were sold with the ukelin would give these numbers, a tabulature notation, instead of notes on a staff, for playing simple songs.\n\nDecline\nUkelins were sold to people under the impression that the instrument was easy to play, but this was not the case. They were also quite limited as to what they were capable of playing because they were designed as diatonic instruments. As a result, many instruments were returned to the manufacturers, who ended up with piles of instruments that they couldn't sell. Salesmen misrepresented the instruments to customers, who felt as if they had been tricked into buying a worthless instrument. Oscar Schmidt, Inc. stopped producing the ukelin in 1964 after the new owner, Glen Peterson, discovered the shady business practices of some of his salesmen. Between instrument returns and a declining interest in musical instruments due to the advent of television as a form of family entertainment, Marxochime was no longer able to produce the violin-uke and halted production in 1972.\n\nSee also \nMarxophone\n\nReferences\n\nExternal links\n Bob's Ukelin Home\n Amazing Grace played on the ukelin\n\nBox zithers\nBowed string instruments"
] | [
"McKinley Morganfield (April 4, 1913April 30, 1983), known professionally as Muddy Waters, was an American blues singer-songwriter and musician who was an important figure in the post-war blues scene, and is often cited as the \"father of modern Chicago blues.\" His style of playing has been described as \"raining down Delta beatitude.\"",
"His style of playing has been described as \"raining down Delta beatitude.\" Muddy Waters grew up on Stovall Plantation near Clarksdale, Mississippi, and by age 17 was playing the guitar and the harmonica, emulating the local blues artists Son House and Robert Johnson.",
"Muddy Waters grew up on Stovall Plantation near Clarksdale, Mississippi, and by age 17 was playing the guitar and the harmonica, emulating the local blues artists Son House and Robert Johnson. He was recorded in Mississippi by Alan Lomax for the Library of Congress in 1941.",
"He was recorded in Mississippi by Alan Lomax for the Library of Congress in 1941. In 1943, he moved to Chicago to become a full-time professional musician. In 1946, he recorded his first records for Columbia Records and then for Aristocrat Records, a newly formed label run by the brothers Leonard and Phil Chess.",
"In 1946, he recorded his first records for Columbia Records and then for Aristocrat Records, a newly formed label run by the brothers Leonard and Phil Chess. In the early 1950s, Muddy Waters and his band—Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums and Otis Spann on piano—recorded several blues classics, some with the bassist and songwriter Willie Dixon.",
"In the early 1950s, Muddy Waters and his band—Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums and Otis Spann on piano—recorded several blues classics, some with the bassist and songwriter Willie Dixon. These songs included \"Hoochie Coochie Man,\" \"I Just Want to Make Love to You\" and \"I'm Ready\".",
"These songs included \"Hoochie Coochie Man,\" \"I Just Want to Make Love to You\" and \"I'm Ready\". In 1958, he traveled to England, laying the foundations of the resurgence of interest in the blues there.",
"In 1958, he traveled to England, laying the foundations of the resurgence of interest in the blues there. His performance at the Newport Jazz Festival in 1960 was recorded and released as his first live album, At Newport 1960. Muddy Waters' music has influenced various American music genres, including rock and roll and rock music.",
"Muddy Waters' music has influenced various American music genres, including rock and roll and rock music. Early life Muddy Waters's place and date of birth are not conclusively known.",
"Early life Muddy Waters's place and date of birth are not conclusively known. He stated that he was born in Rolling Fork, Mississippi, in 1915, but other evidence suggests that he was born in Jug's Corner, in neighboring Issaquena County, in 1913.",
"He stated that he was born in Rolling Fork, Mississippi, in 1915, but other evidence suggests that he was born in Jug's Corner, in neighboring Issaquena County, in 1913. In the 1930s and 1940s, before his rise to fame, the year of his birth was reported as 1913 on his marriage license, recording notes, and musicians' union card.",
"In the 1930s and 1940s, before his rise to fame, the year of his birth was reported as 1913 on his marriage license, recording notes, and musicians' union card. A 1955 interview in the Chicago Defender is the earliest in which he stated 1915 as the year of his birth, and he continued to say this in interviews from that point onward.",
"A 1955 interview in the Chicago Defender is the earliest in which he stated 1915 as the year of his birth, and he continued to say this in interviews from that point onward. The 1920 census lists him as five years old as of March 6, 1920, suggesting that his birth year may have been 1914.",
"The 1920 census lists him as five years old as of March 6, 1920, suggesting that his birth year may have been 1914. The Social Security Death Index, relying on the Social Security card application submitted after his move to Chicago in the mid-1940s, lists him as being born April 4, 1913.",
"The Social Security Death Index, relying on the Social Security card application submitted after his move to Chicago in the mid-1940s, lists him as being born April 4, 1913. His gravestone gives his birth year as 1915. His grandmother, Della Grant, raised him after his mother died shortly after his birth.",
"His grandmother, Della Grant, raised him after his mother died shortly after his birth. Grant gave him the nickname \"Muddy\" at an early age because he loved to play in the muddy water of nearby Deer Creek.",
"Grant gave him the nickname \"Muddy\" at an early age because he loved to play in the muddy water of nearby Deer Creek. \"Waters\" was added years later, as he began to play harmonica and perform locally in his early teens.",
"\"Waters\" was added years later, as he began to play harmonica and perform locally in his early teens. The remains of the cabin on Stovall Plantation where he lived in his youth are now at the Delta Blues Museum in Clarksdale, Mississippi.",
"The remains of the cabin on Stovall Plantation where he lived in his youth are now at the Delta Blues Museum in Clarksdale, Mississippi. He had his first introduction to music in church: \"I used to belong to church. I was a good Baptist, singing in the church.",
"I was a good Baptist, singing in the church. So I got all of my good moaning and trembling going on for me right out of church,\" he recalled. By the time he was 17, he had purchased his first guitar. \"I sold the last horse that we had.",
"\"I sold the last horse that we had. Made about fifteen dollars for him, gave my grandmother seven dollars and fifty cents, I kept seven-fifty and paid about two-fifty for that guitar. It was a Stella. The people ordered them from Sears-Roebuck in Chicago.\"",
"The people ordered them from Sears-Roebuck in Chicago.\" He started playing his songs in joints near his hometown, mostly on a plantation owned by Colonel William Howard Stovall. Career Early career, early 1930s–1948 In the early 1930s, Muddy Waters accompanied Big Joe Williams on tours of the Delta, playing harmonica.",
"Career Early career, early 1930s–1948 In the early 1930s, Muddy Waters accompanied Big Joe Williams on tours of the Delta, playing harmonica. Williams recounted to Blewett Thomas that he eventually dropped Muddy \"because he was takin' away my women [fans]\".",
"Williams recounted to Blewett Thomas that he eventually dropped Muddy \"because he was takin' away my women [fans]\". In August 1941, Alan Lomax went to Stovall, Mississippi, on behalf of the Library of Congress to record various country blues musicians.",
"In August 1941, Alan Lomax went to Stovall, Mississippi, on behalf of the Library of Congress to record various country blues musicians. \"He brought his stuff down and recorded me right in my house,\" Muddy told Rolling Stone magazine, \"and when he played back the first song I sounded just like anybody's records.",
"\"He brought his stuff down and recorded me right in my house,\" Muddy told Rolling Stone magazine, \"and when he played back the first song I sounded just like anybody's records. Man, you don't know how I felt that Saturday afternoon when I heard that voice and it was my own voice.",
"Man, you don't know how I felt that Saturday afternoon when I heard that voice and it was my own voice. Later on he sent me two copies of the pressing and a check for twenty bucks, and I carried that record up to the corner and put it on the jukebox.",
"Later on he sent me two copies of the pressing and a check for twenty bucks, and I carried that record up to the corner and put it on the jukebox. Just played it and played it and said, 'I can do it, I can do it'.\"",
"Just played it and played it and said, 'I can do it, I can do it'.\" Lomax came back in July 1942 to record him again. Both sessions were eventually released by Testament Records as Down on Stovall's Plantation.",
"Both sessions were eventually released by Testament Records as Down on Stovall's Plantation. The complete recordings were reissued by Chess Records on CD as Muddy Waters: The Complete Plantation Recordings. The Historic 1941–42 Library of Congress Field Recordings in 1993 and remastered in 1997.",
"The Historic 1941–42 Library of Congress Field Recordings in 1993 and remastered in 1997. In 1943, Muddy Waters headed to Chicago with the hope of becoming a full-time professional musician. He later recalled arriving in Chicago as the single most momentous event in his life.",
"He later recalled arriving in Chicago as the single most momentous event in his life. He lived with a relative for a short period while driving a truck and working in a factory by day and performing at night.",
"He lived with a relative for a short period while driving a truck and working in a factory by day and performing at night. Big Bill Broonzy, then one of the leading bluesmen in Chicago, had Muddy open his shows in the rowdy clubs where Broonzy played.",
"Big Bill Broonzy, then one of the leading bluesmen in Chicago, had Muddy open his shows in the rowdy clubs where Broonzy played. This gave him the opportunity to play in front of a large audience. In 1944, he bought his first electric guitar and then formed his first electric combo.",
"In 1944, he bought his first electric guitar and then formed his first electric combo. He felt obliged to electrify his sound in Chicago because, he said, \"When I went into the clubs, the first thing I wanted was an amplifier. Couldn't nobody hear you with an acoustic.\"",
"Couldn't nobody hear you with an acoustic.\" His sound reflected the optimism of postwar African Americans. Willie Dixon said that \"There was quite a few people around singing the blues but most of them was singing all sad blues. Muddy was giving his blues a little pep.\"",
"Muddy was giving his blues a little pep.\" In 1946, Muddy recorded some songs for Mayo Williams at Columbia Records, with an old-fashioned combo consisting of clarinet, saxophone and piano; they were released a year later with Ivan Ballen's Philadelphia-based 20th Century label, billed as James \"Sweet Lucy\" Carter and his Orchestra – Muddy Waters' name was not mentioned on the label.",
"In 1946, Muddy recorded some songs for Mayo Williams at Columbia Records, with an old-fashioned combo consisting of clarinet, saxophone and piano; they were released a year later with Ivan Ballen's Philadelphia-based 20th Century label, billed as James \"Sweet Lucy\" Carter and his Orchestra – Muddy Waters' name was not mentioned on the label. Later that year, he began recording for Aristocrat Records, a newly formed label run by the brothers Leonard and Phil Chess.",
"Later that year, he began recording for Aristocrat Records, a newly formed label run by the brothers Leonard and Phil Chess. In 1947, he played guitar with Sunnyland Slim on piano on the cuts \"Gypsy Woman\" and \"Little Anna Mae\".",
"In 1947, he played guitar with Sunnyland Slim on piano on the cuts \"Gypsy Woman\" and \"Little Anna Mae\". These were also shelved, but in 1948, \"I Can't Be Satisfied\" and \"I Feel Like Going Home\" became hits, and his popularity in clubs began to take off.",
"These were also shelved, but in 1948, \"I Can't Be Satisfied\" and \"I Feel Like Going Home\" became hits, and his popularity in clubs began to take off. Soon after, Aristocrat changed its name to Chess Records.",
"Soon after, Aristocrat changed its name to Chess Records. Muddy Waters's signature tune \"Rollin' Stone\" also became a hit that year.",
"Muddy Waters's signature tune \"Rollin' Stone\" also became a hit that year. Commercial success, 1948–1957 Initially, the Chess brothers would not allow Muddy Waters to use his working band in the recording studio; instead, he was provided with a backing bass by Ernest \"Big\" Crawford or by musicians assembled specifically for the recording session, including \"Baby Face\" Leroy Foster and Johnny Jones.",
"Commercial success, 1948–1957 Initially, the Chess brothers would not allow Muddy Waters to use his working band in the recording studio; instead, he was provided with a backing bass by Ernest \"Big\" Crawford or by musicians assembled specifically for the recording session, including \"Baby Face\" Leroy Foster and Johnny Jones. Gradually, Chess relented, and by September 1953 he was recording with one of the most acclaimed blues groups in history: Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums, and Otis Spann on piano.",
"Gradually, Chess relented, and by September 1953 he was recording with one of the most acclaimed blues groups in history: Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums, and Otis Spann on piano. The band recorded a series of blues classics during the early 1950s, some with the help of the bassist and songwriter Willie Dixon, including \"Hoochie Coochie Man\", \"I Just Want to Make Love to You\", and \"I'm Ready\" Muddy Waters's band became a proving ground for some of the city's best blues talent, with members of the ensemble going on to successful careers of their own.",
"The band recorded a series of blues classics during the early 1950s, some with the help of the bassist and songwriter Willie Dixon, including \"Hoochie Coochie Man\", \"I Just Want to Make Love to You\", and \"I'm Ready\" Muddy Waters's band became a proving ground for some of the city's best blues talent, with members of the ensemble going on to successful careers of their own. In 1952, Little Walter left when his single \"Juke\" became a hit, although he continued a collaborative relationship long after he left, appearing on most of the band's classic recordings in the 1950s.",
"In 1952, Little Walter left when his single \"Juke\" became a hit, although he continued a collaborative relationship long after he left, appearing on most of the band's classic recordings in the 1950s. Howlin' Wolf moved to Chicago in 1954 with financial support earned through his successful Chess singles, and the \"legendary rivalry\" with Muddy Waters began.",
"Howlin' Wolf moved to Chicago in 1954 with financial support earned through his successful Chess singles, and the \"legendary rivalry\" with Muddy Waters began. The rivalry was, in part, stoked by Willie Dixon providing songs to both artists, with Wolf suspecting that Muddy was getting Dixon's best songs.",
"The rivalry was, in part, stoked by Willie Dixon providing songs to both artists, with Wolf suspecting that Muddy was getting Dixon's best songs. 1955 saw the departure of Jimmy Rogers, who quit to work exclusively with his own band, which had been a sideline until that time.",
"1955 saw the departure of Jimmy Rogers, who quit to work exclusively with his own band, which had been a sideline until that time. In the mid-1950s, Muddy Waters' singles were frequently on Billboard magazine's various Rhythm & Blues charts including \"Sugar Sweet\" in 1955 and \"Trouble No More\", \"Forty Days and Forty Nights\", and \"Don't Go No Farther\" in 1956.",
"In the mid-1950s, Muddy Waters' singles were frequently on Billboard magazine's various Rhythm & Blues charts including \"Sugar Sweet\" in 1955 and \"Trouble No More\", \"Forty Days and Forty Nights\", and \"Don't Go No Farther\" in 1956. 1956 also saw the release of one of his best-known numbers, \"Got My Mojo Working\", although it did not appear on the charts.",
"1956 also saw the release of one of his best-known numbers, \"Got My Mojo Working\", although it did not appear on the charts. However, by the late 1950s, his singles success had come to an end, with only \"Close to You\" reaching the chart in 1958.",
"However, by the late 1950s, his singles success had come to an end, with only \"Close to You\" reaching the chart in 1958. Also in 1958, Chess released his first compilation album, The Best of Muddy Waters, which collected twelve of his singles up to 1956.",
"Also in 1958, Chess released his first compilation album, The Best of Muddy Waters, which collected twelve of his singles up to 1956. Performances and crossover, 1958–1970 Muddy Waters toured England with Spann in 1958, where they were backed by local Dixieland-style or \"trad jazz\" musicians, including members of Chris Barber's band.",
"Performances and crossover, 1958–1970 Muddy Waters toured England with Spann in 1958, where they were backed by local Dixieland-style or \"trad jazz\" musicians, including members of Chris Barber's band. At the time, English audiences had only been exposed to acoustic folk blues, as performed by artists such as Sonny Terry, Brownie McGhee, and Big Bill Broonzy.",
"At the time, English audiences had only been exposed to acoustic folk blues, as performed by artists such as Sonny Terry, Brownie McGhee, and Big Bill Broonzy. Both the musicians and audiences were unprepared for Waters' performance, which included his electric slide guitar playing.",
"Both the musicians and audiences were unprepared for Waters' performance, which included his electric slide guitar playing. He recalled: Although his performances alienated the old guard, some younger musicians, including Alexis Korner and Cyril Davies from Barber's band, were inspired to go in the more modern, electric blues direction.",
"He recalled: Although his performances alienated the old guard, some younger musicians, including Alexis Korner and Cyril Davies from Barber's band, were inspired to go in the more modern, electric blues direction. Korner and Davies' own groups included musicians who would later form the Rolling Stones (named after Muddy's 1950 hit \"Rollin' Stone\"), Cream, and the original Fleetwood Mac.",
"Korner and Davies' own groups included musicians who would later form the Rolling Stones (named after Muddy's 1950 hit \"Rollin' Stone\"), Cream, and the original Fleetwood Mac. In the 1960s, Muddy Waters' performances continued to introduce a new generation to Chicago blues.",
"In the 1960s, Muddy Waters' performances continued to introduce a new generation to Chicago blues. At the Newport Jazz Festival, he recorded one of the first live blues albums, At Newport 1960, and his performance of \"Got My Mojo Working\" was nominated for a Grammy award.",
"At the Newport Jazz Festival, he recorded one of the first live blues albums, At Newport 1960, and his performance of \"Got My Mojo Working\" was nominated for a Grammy award. In September 1963, in Chess' attempt to connect with folk music audiences, he recorded Folk Singer, which replaced his trademark electric guitar sound with an acoustic band, including a then-unknown Buddy Guy on acoustic guitar.",
"In September 1963, in Chess' attempt to connect with folk music audiences, he recorded Folk Singer, which replaced his trademark electric guitar sound with an acoustic band, including a then-unknown Buddy Guy on acoustic guitar. Folk Singer was not a commercial success, but it was lauded by critics, and in 2003 Rolling Stone magazine placed it at number 280 on its list of the 500 greatest albums of all time.",
"Folk Singer was not a commercial success, but it was lauded by critics, and in 2003 Rolling Stone magazine placed it at number 280 on its list of the 500 greatest albums of all time. In October 1963, Muddy Waters participated in the first of several annual European tours, organized as the American Folk Blues Festival, during which he also performed more acoustic-oriented numbers.",
"In October 1963, Muddy Waters participated in the first of several annual European tours, organized as the American Folk Blues Festival, during which he also performed more acoustic-oriented numbers. In 1967, he re-recorded several blues standards with Bo Diddley, Little Walter, and Howlin' Wolf, which were marketed as Super Blues and The Super Super Blues Band albums in Chess' attempt to reach a rock audience.",
"In 1967, he re-recorded several blues standards with Bo Diddley, Little Walter, and Howlin' Wolf, which were marketed as Super Blues and The Super Super Blues Band albums in Chess' attempt to reach a rock audience. The Super Super Blues Band united Wolf and Waters, who had a long-standing rivalry.",
"The Super Super Blues Band united Wolf and Waters, who had a long-standing rivalry. It was, as Ken Chang wrote in his AllMusic review, flooded with \"contentious studio banter [...] more entertaining than the otherwise unmemorable music from this stylistic train wreck\".",
"It was, as Ken Chang wrote in his AllMusic review, flooded with \"contentious studio banter [...] more entertaining than the otherwise unmemorable music from this stylistic train wreck\". In 1968, at the instigation of Marshall Chess, he recorded Electric Mud, an album intended to revive his career by backing him with Rotary Connection, a psychedelic soul band that Chess had put together.",
"In 1968, at the instigation of Marshall Chess, he recorded Electric Mud, an album intended to revive his career by backing him with Rotary Connection, a psychedelic soul band that Chess had put together. The album proved controversial; although it reached number 127 on the Billboard 200 album chart, it was scorned by many critics, and eventually disowned by Muddy Waters himself: Nonetheless, six months later he recorded a follow-up album, After the Rain, which had a similar sound and featured many of the same musicians.",
"The album proved controversial; although it reached number 127 on the Billboard 200 album chart, it was scorned by many critics, and eventually disowned by Muddy Waters himself: Nonetheless, six months later he recorded a follow-up album, After the Rain, which had a similar sound and featured many of the same musicians. Later in 1969, he recorded and released the album Fathers and Sons, which featured a return to his classic Chicago blues sound.",
"Later in 1969, he recorded and released the album Fathers and Sons, which featured a return to his classic Chicago blues sound. Fathers and Sons had an all-star backing band that included Michael Bloomfield and Paul Butterfield, longtime fans whose desire to play with him was the impetus for the album.",
"Fathers and Sons had an all-star backing band that included Michael Bloomfield and Paul Butterfield, longtime fans whose desire to play with him was the impetus for the album. It was the most successful album of Muddy Waters' career, reaching number 70 on the Billboard 200.",
"It was the most successful album of Muddy Waters' career, reaching number 70 on the Billboard 200. Resurgence and later career, 1971–1982 In 1971, a show at Mister Kelly's, an upmarket Chicago nightclub, was recorded and released, signalling both Muddy Waters's return to form and the completion of his transfer to white audiences.",
"Resurgence and later career, 1971–1982 In 1971, a show at Mister Kelly's, an upmarket Chicago nightclub, was recorded and released, signalling both Muddy Waters's return to form and the completion of his transfer to white audiences. In 1972, he won his first Grammy Award, for Best Ethnic or Traditional Recording for They Call Me Muddy Waters, a 1971 album of old, but previously unreleased recordings.",
"In 1972, he won his first Grammy Award, for Best Ethnic or Traditional Recording for They Call Me Muddy Waters, a 1971 album of old, but previously unreleased recordings. Later in 1972, he flew to England to record the album The London Muddy Waters Sessions.",
"Later in 1972, he flew to England to record the album The London Muddy Waters Sessions. The album was a follow-up to the previous year's The London Howlin' Wolf Sessions.",
"The album was a follow-up to the previous year's The London Howlin' Wolf Sessions. Both albums were the brainchild of Chess Records producer Norman Dayron, and were intended to showcase Chicago blues musicians playing with the younger British rock musicians whom they had inspired.",
"Both albums were the brainchild of Chess Records producer Norman Dayron, and were intended to showcase Chicago blues musicians playing with the younger British rock musicians whom they had inspired. Muddy Waters brought with him two American musicians, harmonica player Carey Bell and guitarist Sammy Lawhorn.",
"Muddy Waters brought with him two American musicians, harmonica player Carey Bell and guitarist Sammy Lawhorn. The British and Irish musicians who played on the album included Rory Gallagher, Steve Winwood, Rick Grech, and Mitch Mitchell. Muddy was dissatisfied by the results, due to the British musicians' more rock-oriented sound.",
"Muddy was dissatisfied by the results, due to the British musicians' more rock-oriented sound. \"These boys are top musicians, they can play with me, put the book before 'em and play it, you know,\" he told Guralnick.",
"\"These boys are top musicians, they can play with me, put the book before 'em and play it, you know,\" he told Guralnick. \"But that ain't what I need to sell my people, it ain't the Muddy Waters sound.",
"\"But that ain't what I need to sell my people, it ain't the Muddy Waters sound. An' if you change my sound, then you gonna change the whole man.\" He stated, \"My blues look so simple, so easy to do, but it's not.",
"He stated, \"My blues look so simple, so easy to do, but it's not. They say my blues is the hardest blues in the world to play.\" Nevertheless, the album won another Grammy, again for Best Ethnic or Traditional Recording.",
"Nevertheless, the album won another Grammy, again for Best Ethnic or Traditional Recording. He won another Grammy for his last LP on Chess Records: The Muddy Waters Woodstock Album, recorded in 1975 with his new guitarist Bob Margolin, Pinetop Perkins, Paul Butterfield, and Levon Helm and Garth Hudson of the Band.",
"He won another Grammy for his last LP on Chess Records: The Muddy Waters Woodstock Album, recorded in 1975 with his new guitarist Bob Margolin, Pinetop Perkins, Paul Butterfield, and Levon Helm and Garth Hudson of the Band. In November 1976 he appeared as a featured special guest at The Band's Last Waltz farewell concert, and in the subsequent 1978 feature film documentary of the event.",
"In November 1976 he appeared as a featured special guest at The Band's Last Waltz farewell concert, and in the subsequent 1978 feature film documentary of the event. From 1977 to 1981, blues musician Johnny Winter, who had idolized Muddy Waters since childhood and who had become a friend, produced four albums of his, all on the Blue Sky Records label: the studio albums Hard Again (1977), I'm Ready (1978) and King Bee (1981), and the live album Muddy \"Mississippi\" Waters – Live (1979).",
"From 1977 to 1981, blues musician Johnny Winter, who had idolized Muddy Waters since childhood and who had become a friend, produced four albums of his, all on the Blue Sky Records label: the studio albums Hard Again (1977), I'm Ready (1978) and King Bee (1981), and the live album Muddy \"Mississippi\" Waters – Live (1979). The albums were critical and commercial successes, with all but King Bee winning a Grammy.",
"The albums were critical and commercial successes, with all but King Bee winning a Grammy. Hard Again has been especially praised by critics, who have tended to describe it as his comeback album. In 1981, Muddy Waters was invited to perform at ChicagoFest, the city's top outdoor music festival.",
"In 1981, Muddy Waters was invited to perform at ChicagoFest, the city's top outdoor music festival. He was joined onstage by Johnny Winter and Buddy Miles, and played classics like \"Mannish Boy\", \"Trouble No More\", and \"Mojo Working\" to a new generation of fans.",
"He was joined onstage by Johnny Winter and Buddy Miles, and played classics like \"Mannish Boy\", \"Trouble No More\", and \"Mojo Working\" to a new generation of fans. The performance was made available on DVD in 2009 by Shout! Factory.",
"Factory. Factory. On November 22, he performed live with three members of British rock band the Rolling Stones (Mick Jagger, Keith Richards and Ronnie Wood) at the Checkerboard Lounge, a blues club in Bronzeville, on the South Side of Chicago, which was established in 1972 by Buddy Guy and L.C. Thurman.",
"Thurman. Thurman. A DVD version of the performance was released in 2012. In 1982, declining health dramatically stopped his performance schedule. His last public performance took place when he sat in with Eric Clapton's band at a concert in Florida in the summer of 1982.",
"His last public performance took place when he sat in with Eric Clapton's band at a concert in Florida in the summer of 1982. Personal life Muddy Waters' longtime partner, Geneva Wade, died of cancer on March 15, 1973.",
"Personal life Muddy Waters' longtime partner, Geneva Wade, died of cancer on March 15, 1973. Gaining custody of his three children, Joseph, Renee, and Rosalind, he moved them into his home, eventually buying a new house in Westmont, Illinois.",
"Gaining custody of his three children, Joseph, Renee, and Rosalind, he moved them into his home, eventually buying a new house in Westmont, Illinois. Years later, he traveled to Florida and met his future wife, 19-year-old Marva Jean Brooks, whom he nicknamed \"Sunshine\".",
"Years later, he traveled to Florida and met his future wife, 19-year-old Marva Jean Brooks, whom he nicknamed \"Sunshine\". Eric Clapton served as best man at their wedding in 1979. His sons, Larry \"Mud\" Morganfield and Big Bill Morganfield, are also blues singers and musicians.",
"His sons, Larry \"Mud\" Morganfield and Big Bill Morganfield, are also blues singers and musicians. In 2017 his youngest son, Joseph \"Mojo\" Morganfield, began publicly performing the blues. Joseph was known to play occasionally with his brothers. Mojo died in 2020 at the age of 56.",
"Mojo died in 2020 at the age of 56. Death Muddy Waters died in his sleep from heart failure, at his home in Westmont, Illinois, on April 30, 1983, from cancer-related complications.",
"Death Muddy Waters died in his sleep from heart failure, at his home in Westmont, Illinois, on April 30, 1983, from cancer-related complications. He was taken from his Westmont home, which he lived in for the last decade of his life, to Good Samaritan Hospital in Downers Grove, Illinois, where he was pronounced dead aged 70.",
"He was taken from his Westmont home, which he lived in for the last decade of his life, to Good Samaritan Hospital in Downers Grove, Illinois, where he was pronounced dead aged 70. His funeral was held on May 4, 1983.",
"His funeral was held on May 4, 1983. Throngs of blues musicians and fans attended his funeral at Restvale Cemetery in Alsip, Illinois. He is buried next to his wife, Geneva. After his death, a lengthy court battle ensued between his heirs and Scott Cameron, his former manager.",
"After his death, a lengthy court battle ensued between his heirs and Scott Cameron, his former manager. In 2010, his heir was petitioning for the courts to appoint Mercy Morganfield, his daughter, as administrator and distribute remaining assets, which mainly consists of copyrights to his music. The petition to reopen the estate was successful.",
"The petition to reopen the estate was successful. In May 2018, the heirs' lawyer sought to hold Scott Cameron's wife in contempt for diverting royalty income. However, the heirs asked for that citation not to be pursued. The next court date was set for July 10, 2018.",
"The next court date was set for July 10, 2018. Legacy Two years after his death, the city of Chicago paid tribute to him by designating the one-block section between 900 and 1000 East 43rd Street near his former home on the south side \"Honorary Muddy Waters Drive\".",
"Legacy Two years after his death, the city of Chicago paid tribute to him by designating the one-block section between 900 and 1000 East 43rd Street near his former home on the south side \"Honorary Muddy Waters Drive\". In 2017, a ten stories-mural commissioned as a part of the Chicago Blues Festival and designed by Brazilian artist Eduardo Kobra was painted on the side of the building at 17 North State Street, at the corner of State and Washington Streets.",
"In 2017, a ten stories-mural commissioned as a part of the Chicago Blues Festival and designed by Brazilian artist Eduardo Kobra was painted on the side of the building at 17 North State Street, at the corner of State and Washington Streets. The Chicago suburb of Westmont, where he lived the last decade of his life, named a section of Cass Avenue near his home \"Honorary Muddy Waters Way\".",
"The Chicago suburb of Westmont, where he lived the last decade of his life, named a section of Cass Avenue near his home \"Honorary Muddy Waters Way\". In 2008, a Mississippi Blues Trail marker has been placed in Clarksdale, Mississippi, by the Mississippi Blues Commission designating the site of Muddy Waters' cabin.",
"In 2008, a Mississippi Blues Trail marker has been placed in Clarksdale, Mississippi, by the Mississippi Blues Commission designating the site of Muddy Waters' cabin. He also received a plaque on the Clarksdale Walk of Fame. Muddy Waters' Chicago Home in the Kenwood neighborhood is in the process of being named a Chicago Landmark.",
"Muddy Waters' Chicago Home in the Kenwood neighborhood is in the process of being named a Chicago Landmark. Influence The British band The Rolling Stones named themselves after Muddy Waters' 1950 song \"Rollin' Stone\". Jimi Hendrix recalled that \"I first heard him as a little boy and it scared me to death\".",
"Jimi Hendrix recalled that \"I first heard him as a little boy and it scared me to death\". The band Cream covered \"Rollin' and Tumblin'\" on their 1966 debut album, Fresh Cream. Eric Clapton was a big fan of Muddy Waters while growing up, and his music influenced Clapton's music career.",
"Eric Clapton was a big fan of Muddy Waters while growing up, and his music influenced Clapton's music career. The song was also covered by Canned Heat at the Monterey Pop Festival and later adapted by Bob Dylan on his album Modern Times.",
"The song was also covered by Canned Heat at the Monterey Pop Festival and later adapted by Bob Dylan on his album Modern Times. One of Led Zeppelin's biggest hits, \"Whole Lotta Love\", has its lyrics heavily influenced by the Muddy Waters hit \"You Need Love\" (written by Willie Dixon).",
"One of Led Zeppelin's biggest hits, \"Whole Lotta Love\", has its lyrics heavily influenced by the Muddy Waters hit \"You Need Love\" (written by Willie Dixon). \"Hoochie Coochie Man\", was covered by Allman Brothers Band, Humble Pie, Steppenwolf, Supertramp and Fear.",
"\"Hoochie Coochie Man\", was covered by Allman Brothers Band, Humble Pie, Steppenwolf, Supertramp and Fear. In 1993, Paul Rodgers released the album Muddy Water Blues: A Tribute to Muddy Waters, on which he covered a number of his songs, including \"Louisiana Blues\", \"Rollin' Stone\", \"(I'm your) Hoochie Coochie Man\" and \"I'm Ready\" in collaboration with guitarists such as Gary Moore, Brian May and Jeff Beck.",
"In 1993, Paul Rodgers released the album Muddy Water Blues: A Tribute to Muddy Waters, on which he covered a number of his songs, including \"Louisiana Blues\", \"Rollin' Stone\", \"(I'm your) Hoochie Coochie Man\" and \"I'm Ready\" in collaboration with guitarists such as Gary Moore, Brian May and Jeff Beck. Angus Young, of the rock group AC/DC, has cited Muddy as one of his influences.",
"Angus Young, of the rock group AC/DC, has cited Muddy as one of his influences. The AC/DC song title \"You Shook Me All Night Long\" came from lyrics of the Muddy Waters song \"You Shook Me\", written by Willie Dixon and J. B. Lenoir.",
"B. Lenoir. B. Lenoir. Earl Hooker first recorded it as an instrumental, which was then overdubbed with vocals by Muddy Waters in 1962. Led Zeppelin also covered it on their debut album. In 1981 ZZ Top guitarist Billy Gibbons went to visit the Delta Blues Museum in Clarksdale with The Blues magazine founder Jim O'Neal.",
"In 1981 ZZ Top guitarist Billy Gibbons went to visit the Delta Blues Museum in Clarksdale with The Blues magazine founder Jim O'Neal. The museum's director, Sid Graves, brought Gibbons to visit Waters original house, and encouraged him to pick up a piece of scrap lumber that was originally part of the roof.",
"The museum's director, Sid Graves, brought Gibbons to visit Waters original house, and encouraged him to pick up a piece of scrap lumber that was originally part of the roof. Gibbons eventually converted the wood into a guitar. Named Muddywood, the instrument is now exhibited at the Delta Blues Museum in Clarksdale.",
"Named Muddywood, the instrument is now exhibited at the Delta Blues Museum in Clarksdale. Following his death, fellow blues musician B.B. King told Guitar World magazine, \"It's going to be years and years before most people realize how greatly he contributed to American music.\"",
"King told Guitar World magazine, \"It's going to be years and years before most people realize how greatly he contributed to American music.\" John P. Hammond told Guitar World magazine, \"Muddy was a master of just the right notes.",
"John P. Hammond told Guitar World magazine, \"Muddy was a master of just the right notes. It was profound guitar playing, deep and simple ... more country blues transposed to the electric guitar, the kind of playing that enhanced the lyrics, gave profundity to the words themselves.\"",
"It was profound guitar playing, deep and simple ... more country blues transposed to the electric guitar, the kind of playing that enhanced the lyrics, gave profundity to the words themselves.\" Muddy Waters' songs have been featured in long-time fan Martin Scorsese's movies, including The Color of Money, Goodfellas, and Casino.",
"Muddy Waters' songs have been featured in long-time fan Martin Scorsese's movies, including The Color of Money, Goodfellas, and Casino. A 1970s recording of his mid-'50s hit \"Mannish Boy\" was used in the films Goodfellas, Better Off Dead, Risky Business, and the rockumentary The Last Waltz.",
"A 1970s recording of his mid-'50s hit \"Mannish Boy\" was used in the films Goodfellas, Better Off Dead, Risky Business, and the rockumentary The Last Waltz. In 1988 \"Mannish Boy\" was also used in a Levi's 501 commercial and re-released in Europe as a single with \"(I'm your) Hoochie Coochie Man\" on the flip side.",
"In 1988 \"Mannish Boy\" was also used in a Levi's 501 commercial and re-released in Europe as a single with \"(I'm your) Hoochie Coochie Man\" on the flip side. Awards and recognition Grammy Awards Rock and Roll Hall of Fame The Rock and Roll Hall of Fame listed four songs of Muddy Waters among the 500 Songs That Shaped Rock and Roll.",
"Awards and recognition Grammy Awards Rock and Roll Hall of Fame The Rock and Roll Hall of Fame listed four songs of Muddy Waters among the 500 Songs That Shaped Rock and Roll. Blues Foundation Awards Inductions U.S. Postage Stamp Discography Studio albums Muddy Waters Sings \"Big Bill\" (Chess, 1960) Folk Singer (Chess, 1964) Muddy, Brass & the Blues (Chess, 1966) Electric Mud (Cadet, 1968) After the Rain (Cadet, 1969) Fathers and Sons (Chess, 1969) The London Muddy Waters Sessions (Chess, 1972) Can't Get No Grindin' (Chess, 1973) Mud in Your Ear (Muse, 1973) London Revisited (Chess, 1974) split album with Howlin' Wolf \"Unk\" in Funk (Chess, 1974) The Muddy Waters Woodstock Album (Chess, 1975) Hard Again (Blue Sky, 1977) I'm Ready (Blue Sky, 1978) King Bee (Blue Sky, 1981) Notes References External links 1913 births 1983 deaths Chicago blues musicians Electric blues musicians Delta blues musicians Blues revival musicians African-American guitarists African-American male singer-songwriters American blues singer-songwriters American blues guitarists American male guitarists Blues musicians from Mississippi American street performers Grammy Lifetime Achievement Award winners Musicians from Clarksdale, Mississippi People from Issaquena County, Mississippi Singer-songwriters from Mississippi Slide guitarists Lead guitarists Chess Records artists Muse Records artists Mississippi Blues Trail Blues rock musicians 20th-century American guitarists Singer-songwriters from Illinois People from Westmont, Illinois Guitarists from Illinois Guitarists from Mississippi Blind Pig Records artists 20th-century African-American male singers"
] |
[
"Muddy Waters",
"Commercial success, 1948-1957",
"what city did he live in?",
"Chicago",
"what instruments did he play?",
"I don't know.",
"who were some people he played with?",
"Baby Face\" Leroy Foster and Johnny Jones.",
"what instruments did they play?",
"Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums, and Otis Spann on piano."
] | C_7caf21c5447947198403d9676d3f6f83_0 | any songs or albums? | 5 | What songs or albums did Muddy Waters release? | Muddy Waters | Initially, the Chess brothers would not allow Muddy Waters to use his working band in the recording studio; instead, he was provided with a backing bass by Ernest "Big" Crawford or by musicians assembled specifically for the recording session, including "Baby Face" Leroy Foster and Johnny Jones. Gradually, Chess relented, and by September 1953 he was recording with one of the most acclaimed blues groups in history: Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums, and Otis Spann on piano. The band recorded a series of blues classics during the early 1950s, some with the help of the bassist and songwriter Willie Dixon, including "Hoochie Coochie Man", "I Just Want to Make Love to You", and "I'm Ready". Along with his former harmonica player Little Walter Jacobs and recent southern transplant Howlin' Wolf, Muddy Waters reigned over the early 1950s Chicago blues scene, his band becoming a proving ground for some of the city's best blues talent. Little Walter continued a collaborative relationship long after he left Muddy Waters's band in 1952, appearing on most of the band's classic recordings in the 1950s. Muddy Waters developed a long-running, generally good-natured rivalry with Wolf. The success of his ensemble paved the way for others in his group to make their own solo careers. In 1952, Little Walter left when his single "Juke" became a hit, and in 1955, Rogers quit to work exclusively with his own band, which had been a sideline until that time. During the mid-1950s, Muddy Waters' singles were frequently on Billboard magazine's various Rhythm & Blues charts including "Sugar Sweet" in 1955 and "Trouble No More", "Forty Days and Forty Nights", and "Don't Go No Farther" in 1956. 1956 also saw the release of one of his best-known numbers, "Got My Mojo Working", although it did not appear on the charts. However, by the late 1950s, his singles success had come to an end, with only "Close to You" reaching the chart in 1958. Also in 1958, Chess released Muddy Waters' first album, The Best of Muddy Waters, which collected twelve of his singles up to 1956. CANNOTANSWER | Sugar Sweet" in 1955 and "Trouble No More", "Forty Days and Forty Nights", and "Don't Go No Farther" | McKinley Morganfield (April 4, 1913April 30, 1983), known professionally as Muddy Waters, was an American blues singer-songwriter and musician who was an important figure in the post-war blues scene, and is often cited as the "father of modern Chicago blues." His style of playing has been described as "raining down Delta beatitude."
Muddy Waters grew up on Stovall Plantation near Clarksdale, Mississippi, and by age 17 was playing the guitar and the harmonica, emulating the local blues artists Son House and Robert Johnson. He was recorded in Mississippi by Alan Lomax for the Library of Congress in 1941. In 1943, he moved to Chicago to become a full-time professional musician. In 1946, he recorded his first records for Columbia Records and then for Aristocrat Records, a newly formed label run by the brothers Leonard and Phil Chess.
In the early 1950s, Muddy Waters and his band—Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums and Otis Spann on piano—recorded several blues classics, some with the bassist and songwriter Willie Dixon. These songs included "Hoochie Coochie Man," "I Just Want to Make Love to You" and "I'm Ready". In 1958, he traveled to England, laying the foundations of the resurgence of interest in the blues there. His performance at the Newport Jazz Festival in 1960 was recorded and released as his first live album, At Newport 1960.
Muddy Waters' music has influenced various American music genres, including rock and roll and rock music.
Early life
Muddy Waters's place and date of birth are not conclusively known. He stated that he was born in Rolling Fork, Mississippi, in 1915, but other evidence suggests that he was born in Jug's Corner, in neighboring Issaquena County, in 1913. In the 1930s and 1940s, before his rise to fame, the year of his birth was reported as 1913 on his marriage license, recording notes, and musicians' union card. A 1955 interview in the Chicago Defender is the earliest in which he stated 1915 as the year of his birth, and he continued to say this in interviews from that point onward. The 1920 census lists him as five years old as of March 6, 1920, suggesting that his birth year may have been 1914. The Social Security Death Index, relying on the Social Security card application submitted after his move to Chicago in the mid-1940s, lists him as being born April 4, 1913. His gravestone gives his birth year as 1915.
His grandmother, Della Grant, raised him after his mother died shortly after his birth. Grant gave him the nickname "Muddy" at an early age because he loved to play in the muddy water of nearby Deer Creek. "Waters" was added years later, as he began to play harmonica and perform locally in his early teens. The remains of the cabin on Stovall Plantation where he lived in his youth are now at the Delta Blues Museum in Clarksdale, Mississippi.
He had his first introduction to music in church: "I used to belong to church. I was a good Baptist, singing in the church. So I got all of my good moaning and trembling going on for me right out of church," he recalled. By the time he was 17, he had purchased his first guitar. "I sold the last horse that we had. Made about fifteen dollars for him, gave my grandmother seven dollars and fifty cents, I kept seven-fifty and paid about two-fifty for that guitar. It was a Stella. The people ordered them from Sears-Roebuck in Chicago." He started playing his songs in joints near his hometown, mostly on a plantation owned by Colonel William Howard Stovall.
Career
Early career, early 1930s–1948
In the early 1930s, Muddy Waters accompanied Big Joe Williams on tours of the Delta, playing harmonica. Williams recounted to Blewett Thomas that he eventually dropped Muddy "because he was takin' away my women [fans]".
In August 1941, Alan Lomax went to Stovall, Mississippi, on behalf of the Library of Congress to record various country blues musicians. "He brought his stuff down and recorded me right in my house," Muddy told Rolling Stone magazine, "and when he played back the first song I sounded just like anybody's records. Man, you don't know how I felt that Saturday afternoon when I heard that voice and it was my own voice. Later on he sent me two copies of the pressing and a check for twenty bucks, and I carried that record up to the corner and put it on the jukebox. Just played it and played it and said, 'I can do it, I can do it'." Lomax came back in July 1942 to record him again. Both sessions were eventually released by Testament Records as Down on Stovall's Plantation. The complete recordings were reissued by Chess Records on CD as Muddy Waters: The Complete Plantation Recordings. The Historic 1941–42 Library of Congress Field Recordings in 1993 and remastered in 1997.
In 1943, Muddy Waters headed to Chicago with the hope of becoming a full-time professional musician. He later recalled arriving in Chicago as the single most momentous event in his life. He lived with a relative for a short period while driving a truck and working in a factory by day and performing at night. Big Bill Broonzy, then one of the leading bluesmen in Chicago, had Muddy open his shows in the rowdy clubs where Broonzy played. This gave him the opportunity to play in front of a large audience. In 1944, he bought his first electric guitar and then formed his first electric combo. He felt obliged to electrify his sound in Chicago because, he said, "When I went into the clubs, the first thing I wanted was an amplifier. Couldn't nobody hear you with an acoustic." His sound reflected the optimism of postwar African Americans. Willie Dixon said that "There was quite a few people around singing the blues but most of them was singing all sad blues. Muddy was giving his blues a little pep."
In 1946, Muddy recorded some songs for Mayo Williams at Columbia Records, with an old-fashioned combo consisting of clarinet, saxophone and piano; they were released a year later with Ivan Ballen's Philadelphia-based 20th Century label, billed as James "Sweet Lucy" Carter and his Orchestra – Muddy Waters' name was not mentioned on the label. Later that year, he began recording for Aristocrat Records, a newly formed label run by the brothers Leonard and Phil Chess. In 1947, he played guitar with Sunnyland Slim on piano on the cuts "Gypsy Woman" and "Little Anna Mae". These were also shelved, but in 1948, "I Can't Be Satisfied" and "I Feel Like Going Home" became hits, and his popularity in clubs began to take off. Soon after, Aristocrat changed its name to Chess Records. Muddy Waters's signature tune "Rollin' Stone" also became a hit that year.
Commercial success, 1948–1957
Initially, the Chess brothers would not allow Muddy Waters to use his working band in the recording studio; instead, he was provided with a backing bass by Ernest "Big" Crawford or by musicians assembled specifically for the recording session, including "Baby Face" Leroy Foster and Johnny Jones. Gradually, Chess relented, and by September 1953 he was recording with one of the most acclaimed blues groups in history: Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums, and Otis Spann on piano. The band recorded a series of blues classics during the early 1950s, some with the help of the bassist and songwriter Willie Dixon, including "Hoochie Coochie Man", "I Just Want to Make Love to You", and "I'm Ready"
Muddy Waters's band became a proving ground for some of the city's best blues talent, with members of the ensemble going on to successful careers of their own. In 1952, Little Walter left when his single "Juke" became a hit, although he continued a collaborative relationship long after he left, appearing on most of the band's classic recordings in the 1950s. Howlin' Wolf moved to Chicago in 1954 with financial support earned through his successful Chess singles, and the "legendary rivalry" with Muddy Waters began. The rivalry was, in part, stoked by Willie Dixon providing songs to both artists, with Wolf suspecting that Muddy was getting Dixon's best songs. 1955 saw the departure of Jimmy Rogers, who quit to work exclusively with his own band, which had been a sideline until that time.
In the mid-1950s, Muddy Waters' singles were frequently on Billboard magazine's various Rhythm & Blues charts including "Sugar Sweet" in 1955 and "Trouble No More", "Forty Days and Forty Nights", and "Don't Go No Farther" in 1956. 1956 also saw the release of one of his best-known numbers, "Got My Mojo Working", although it did not appear on the charts. However, by the late 1950s, his singles success had come to an end, with only "Close to You" reaching the chart in 1958. Also in 1958, Chess released his first compilation album, The Best of Muddy Waters, which collected twelve of his singles up to 1956.
Performances and crossover, 1958–1970
Muddy Waters toured England with Spann in 1958, where they were backed by local Dixieland-style or "trad jazz" musicians, including members of Chris Barber's band. At the time, English audiences had only been exposed to acoustic folk blues, as performed by artists such as Sonny Terry, Brownie McGhee, and Big Bill Broonzy. Both the musicians and audiences were unprepared for Waters' performance, which included his electric slide guitar playing. He recalled:
Although his performances alienated the old guard, some younger musicians, including Alexis Korner and Cyril Davies from Barber's band, were inspired to go in the more modern, electric blues direction. Korner and Davies' own groups included musicians who would later form the Rolling Stones (named after Muddy's 1950 hit "Rollin' Stone"), Cream, and the original Fleetwood Mac.
In the 1960s, Muddy Waters' performances continued to introduce a new generation to Chicago blues. At the Newport Jazz Festival, he recorded one of the first live blues albums, At Newport 1960, and his performance of "Got My Mojo Working" was nominated for a Grammy award. In September 1963, in Chess' attempt to connect with folk music audiences, he recorded Folk Singer, which replaced his trademark electric guitar sound with an acoustic band, including a then-unknown Buddy Guy on acoustic guitar. Folk Singer was not a commercial success, but it was lauded by critics, and in 2003 Rolling Stone magazine placed it at number 280 on its list of the 500 greatest albums of all time. In October 1963, Muddy Waters participated in the first of several annual European tours, organized as the American Folk Blues Festival, during which he also performed more acoustic-oriented numbers.
In 1967, he re-recorded several blues standards with Bo Diddley, Little Walter, and Howlin' Wolf, which were marketed as Super Blues and The Super Super Blues Band albums in Chess' attempt to reach a rock audience. The Super Super Blues Band united Wolf and Waters, who had a long-standing rivalry. It was, as Ken Chang wrote in his AllMusic review, flooded with "contentious studio banter [...] more entertaining than the otherwise unmemorable music from this stylistic train wreck". In 1968, at the instigation of Marshall Chess, he recorded Electric Mud, an album intended to revive his career by backing him with Rotary Connection, a psychedelic soul band that Chess had put together. The album proved controversial; although it reached number 127 on the Billboard 200 album chart, it was scorned by many critics, and eventually disowned by Muddy Waters himself:
Nonetheless, six months later he recorded a follow-up album, After the Rain, which had a similar sound and featured many of the same musicians.
Later in 1969, he recorded and released the album Fathers and Sons, which featured a return to his classic Chicago blues sound. Fathers and Sons had an all-star backing band that included Michael Bloomfield and Paul Butterfield, longtime fans whose desire to play with him was the impetus for the album. It was the most successful album of Muddy Waters' career, reaching number 70 on the Billboard 200.
Resurgence and later career, 1971–1982
In 1971, a show at Mister Kelly's, an upmarket Chicago nightclub, was recorded and released, signalling both Muddy Waters's return to form and the completion of his transfer to white audiences.
In 1972, he won his first Grammy Award, for Best Ethnic or Traditional Recording for They Call Me Muddy Waters, a 1971 album of old, but previously unreleased recordings.
Later in 1972, he flew to England to record the album The London Muddy Waters Sessions. The album was a follow-up to the previous year's The London Howlin' Wolf Sessions. Both albums were the brainchild of Chess Records producer Norman Dayron, and were intended to showcase Chicago blues musicians playing with the younger British rock musicians whom they had inspired. Muddy Waters brought with him two American musicians, harmonica player Carey Bell and guitarist Sammy Lawhorn. The British and Irish musicians who played on the album included Rory Gallagher, Steve Winwood, Rick Grech, and Mitch Mitchell. Muddy was dissatisfied by the results, due to the British musicians' more rock-oriented sound. "These boys are top musicians, they can play with me, put the book before 'em and play it, you know," he told Guralnick. "But that ain't what I need to sell my people, it ain't the Muddy Waters sound. An' if you change my sound, then you gonna change the whole man." He stated, "My blues look so simple, so easy to do, but it's not. They say my blues is the hardest blues in the world to play." Nevertheless, the album won another Grammy, again for Best Ethnic or Traditional Recording.
He won another Grammy for his last LP on Chess Records: The Muddy Waters Woodstock Album, recorded in 1975 with his new guitarist Bob Margolin, Pinetop Perkins, Paul Butterfield, and Levon Helm and Garth Hudson of the Band. In November 1976 he appeared as a featured special guest at The Band's Last Waltz farewell concert, and in the subsequent 1978 feature film documentary of the event.
From 1977 to 1981, blues musician Johnny Winter, who had idolized Muddy Waters since childhood and who had become a friend, produced four albums of his, all on the Blue Sky Records label: the studio albums Hard Again (1977), I'm Ready (1978) and King Bee (1981), and the live album Muddy "Mississippi" Waters – Live (1979). The albums were critical and commercial successes, with all but King Bee winning a Grammy. Hard Again has been especially praised by critics, who have tended to describe it as his comeback album.
In 1981, Muddy Waters was invited to perform at ChicagoFest, the city's top outdoor music festival. He was joined onstage by Johnny Winter and Buddy Miles, and played classics like "Mannish Boy", "Trouble No More", and "Mojo Working" to a new generation of fans. The performance was made available on DVD in 2009 by Shout! Factory. On November 22, he performed live with three members of British rock band the Rolling Stones (Mick Jagger, Keith Richards and Ronnie Wood) at the Checkerboard Lounge, a blues club in Bronzeville, on the South Side of Chicago, which was established in 1972 by Buddy Guy and L.C. Thurman. A DVD version of the performance was released in 2012.
In 1982, declining health dramatically stopped his performance schedule. His last public performance took place when he sat in with Eric Clapton's band at a concert in Florida in the summer of 1982.
Personal life
Muddy Waters' longtime partner, Geneva Wade, died of cancer on March 15, 1973. Gaining custody of his three children, Joseph, Renee, and Rosalind, he moved them into his home, eventually buying a new house in Westmont, Illinois. Years later, he traveled to Florida and met his future wife, 19-year-old Marva Jean Brooks, whom he nicknamed "Sunshine". Eric Clapton served as best man at their wedding in 1979.
His sons, Larry "Mud" Morganfield and Big Bill Morganfield, are also blues singers and musicians. In 2017 his youngest son, Joseph "Mojo" Morganfield, began publicly performing the blues. Joseph was known to play occasionally with his brothers. Mojo died in 2020 at the age of 56.
Death
Muddy Waters died in his sleep from heart failure, at his home in Westmont, Illinois, on April 30, 1983, from cancer-related complications. He was taken from his Westmont home, which he lived in for the last decade of his life, to Good Samaritan Hospital in Downers Grove, Illinois, where he was pronounced dead aged 70. His funeral was held on May 4, 1983. Throngs of blues musicians and fans attended his funeral at Restvale Cemetery in Alsip, Illinois. He is buried next to his wife, Geneva.
After his death, a lengthy court battle ensued between his heirs and Scott Cameron, his former manager. In 2010, his heir was petitioning for the courts to appoint Mercy Morganfield, his daughter, as administrator and distribute remaining assets, which mainly consists of copyrights to his music. The petition to reopen the estate was successful. In May 2018, the heirs' lawyer sought to hold Scott Cameron's wife in contempt for diverting royalty income. However, the heirs asked for that citation not to be pursued. The next court date was set for July 10, 2018.
Legacy
Two years after his death, the city of Chicago paid tribute to him by designating the one-block section between 900 and 1000 East 43rd Street near his former home on the south side "Honorary Muddy Waters Drive". In 2017, a ten stories-mural commissioned as a part of the Chicago Blues Festival and designed by Brazilian artist Eduardo Kobra was painted on the side of the building at 17 North State Street, at the corner of State and Washington Streets. The Chicago suburb of Westmont, where he lived the last decade of his life, named a section of Cass Avenue near his home "Honorary Muddy Waters Way".
In 2008, a Mississippi Blues Trail marker has been placed in Clarksdale, Mississippi, by the Mississippi Blues Commission designating the site of Muddy Waters' cabin. He also received a plaque on the Clarksdale Walk of Fame.
Muddy Waters' Chicago Home in the Kenwood neighborhood is in the process of being named a Chicago Landmark.
Influence
The British band The Rolling Stones named themselves after Muddy Waters' 1950 song "Rollin' Stone". Jimi Hendrix recalled that "I first heard him as a little boy and it scared me to death". The band Cream covered "Rollin' and Tumblin'" on their 1966 debut album, Fresh Cream. Eric Clapton was a big fan of Muddy Waters while growing up, and his music influenced Clapton's music career. The song was also covered by Canned Heat at the Monterey Pop Festival and later adapted by Bob Dylan on his album Modern Times. One of Led Zeppelin's biggest hits, "Whole Lotta Love", has its lyrics heavily influenced by the Muddy Waters hit "You Need Love" (written by Willie Dixon). "Hoochie Coochie Man", was covered by Allman Brothers Band, Humble Pie, Steppenwolf, Supertramp and Fear. In 1993, Paul Rodgers released the album Muddy Water Blues: A Tribute to Muddy Waters, on which he covered a number of his songs, including "Louisiana Blues", "Rollin' Stone", "(I'm your) Hoochie Coochie Man" and "I'm Ready" in collaboration with guitarists such as Gary Moore, Brian May and Jeff Beck. Angus Young, of the rock group AC/DC, has cited Muddy as one of his influences. The AC/DC song title "You Shook Me All Night Long" came from lyrics of the Muddy Waters song "You Shook Me", written by Willie Dixon and J. B. Lenoir. Earl Hooker first recorded it as an instrumental, which was then overdubbed with vocals by Muddy Waters in 1962. Led Zeppelin also covered it on their debut album.
In 1981 ZZ Top guitarist Billy Gibbons went to visit the Delta Blues Museum in Clarksdale with The Blues magazine founder Jim O'Neal. The museum's director, Sid Graves, brought Gibbons to visit Waters original house, and encouraged him to pick up a piece of scrap lumber that was originally part of the roof. Gibbons eventually converted the wood into a guitar. Named Muddywood, the instrument is now exhibited at the Delta Blues Museum in Clarksdale.
Following his death, fellow blues musician B.B. King told Guitar World magazine, "It's going to be years and years before most people realize how greatly he contributed to American music." John P. Hammond told Guitar World magazine, "Muddy was a master of just the right notes. It was profound guitar playing, deep and simple ... more country blues transposed to the electric guitar, the kind of playing that enhanced the lyrics, gave profundity to the words themselves."
Muddy Waters' songs have been featured in long-time fan Martin Scorsese's movies, including The Color of Money, Goodfellas, and Casino. A 1970s recording of his mid-'50s hit "Mannish Boy" was used in the films Goodfellas, Better Off Dead, Risky Business, and the rockumentary The Last Waltz. In 1988 "Mannish Boy" was also used in a Levi's 501 commercial and re-released in Europe as a single with "(I'm your) Hoochie Coochie Man" on the flip side.
Awards and recognition
Grammy Awards
Rock and Roll Hall of Fame
The Rock and Roll Hall of Fame listed four songs of Muddy Waters among the 500 Songs That Shaped Rock and Roll.
Blues Foundation Awards
Inductions
U.S. Postage Stamp
Discography
Studio albums
Muddy Waters Sings "Big Bill" (Chess, 1960)
Folk Singer (Chess, 1964)
Muddy, Brass & the Blues (Chess, 1966)
Electric Mud (Cadet, 1968)
After the Rain (Cadet, 1969)
Fathers and Sons (Chess, 1969)
The London Muddy Waters Sessions (Chess, 1972)
Can't Get No Grindin' (Chess, 1973)
Mud in Your Ear (Muse, 1973)
London Revisited (Chess, 1974) split album with Howlin' Wolf
"Unk" in Funk (Chess, 1974)
The Muddy Waters Woodstock Album (Chess, 1975)
Hard Again (Blue Sky, 1977)
I'm Ready (Blue Sky, 1978)
King Bee (Blue Sky, 1981)
Notes
References
External links
1913 births
1983 deaths
Chicago blues musicians
Electric blues musicians
Delta blues musicians
Blues revival musicians
African-American guitarists
African-American male singer-songwriters
American blues singer-songwriters
American blues guitarists
American male guitarists
Blues musicians from Mississippi
American street performers
Grammy Lifetime Achievement Award winners
Musicians from Clarksdale, Mississippi
People from Issaquena County, Mississippi
Singer-songwriters from Mississippi
Slide guitarists
Lead guitarists
Chess Records artists
Muse Records artists
Mississippi Blues Trail
Blues rock musicians
20th-century American guitarists
Singer-songwriters from Illinois
People from Westmont, Illinois
Guitarists from Illinois
Guitarists from Mississippi
Blind Pig Records artists
20th-century African-American male singers | true | [
"Sunday Morning Coming Down is a Johnny Cash album, released in 1972.\nIt is a compilation of previously released tracks. It consists of songs previously recorded on albums made from prison concerts or live albums and has songs such as \"Folsom Prison Blues\", \"Orange Blossom Special\", \"Understand Your Man\", and \"Sunday Morning Coming Down\".\n\nThe album was re-issued in 1999 without adding any new songs.\n\nTrack listing\n\nCharts\nAlbum – Billboard (United States)\n\nReferences\n\n1972 compilation albums\nJohnny Cash compilation albums",
"45 or 46 Songs That Weren't Good Enough to Go on Our Other Records is a double album released in 2002 by NOFX. There were 47 songs on the CD version, and all the songs easily fit onto one CD.\n\nThe band built up a list of songs that did not make it onto any of their albums, or had previously appeared on compilation albums, vinyl singles, or b-sides. Many of these had been dropped originally because of Fat Mike's tendency to not release albums that ran for too long.\n\nThe first CD contained a collection of songs spanning almost the entirety of the band's career. The oldest track was from the band's first demo, and the newest was recorded for this album.\n\nThe second CD contained the EPs Fuck the Kids and Surfer, each of which contained 13 or so very short songs that were previously available only on 7\" vinyl. Fat Mike chose to leave one song off of each of the EPs when compiling this CD, \"just to annoy people a bit\".\n\nThe vinyl release of the album was renamed to 22 Songs That Weren't Good Enough to Go on Our Other Records, but included only the first 21 tracks from the first CD, because of all of the second CD was already available on the two vinyl EPs.\n\nSong information\n\nCritical reception\n\nAll Music gave the album a 4 out of 5.\n\nTrack listing\n\nReferences\n\nExternal links\n\n45 or 46 Songs That Weren't Good Enough to Go on Our Other Records at YouTube (streamed copy where licensed)\n\nNOFX compilation albums\nB-side compilation albums\n2002 compilation albums\nFat Wreck Chords compilation albums"
] | [
"McKinley Morganfield (April 4, 1913April 30, 1983), known professionally as Muddy Waters, was an American blues singer-songwriter and musician who was an important figure in the post-war blues scene, and is often cited as the \"father of modern Chicago blues.\" His style of playing has been described as \"raining down Delta beatitude.\"",
"His style of playing has been described as \"raining down Delta beatitude.\" Muddy Waters grew up on Stovall Plantation near Clarksdale, Mississippi, and by age 17 was playing the guitar and the harmonica, emulating the local blues artists Son House and Robert Johnson.",
"Muddy Waters grew up on Stovall Plantation near Clarksdale, Mississippi, and by age 17 was playing the guitar and the harmonica, emulating the local blues artists Son House and Robert Johnson. He was recorded in Mississippi by Alan Lomax for the Library of Congress in 1941.",
"He was recorded in Mississippi by Alan Lomax for the Library of Congress in 1941. In 1943, he moved to Chicago to become a full-time professional musician. In 1946, he recorded his first records for Columbia Records and then for Aristocrat Records, a newly formed label run by the brothers Leonard and Phil Chess.",
"In 1946, he recorded his first records for Columbia Records and then for Aristocrat Records, a newly formed label run by the brothers Leonard and Phil Chess. In the early 1950s, Muddy Waters and his band—Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums and Otis Spann on piano—recorded several blues classics, some with the bassist and songwriter Willie Dixon.",
"In the early 1950s, Muddy Waters and his band—Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums and Otis Spann on piano—recorded several blues classics, some with the bassist and songwriter Willie Dixon. These songs included \"Hoochie Coochie Man,\" \"I Just Want to Make Love to You\" and \"I'm Ready\".",
"These songs included \"Hoochie Coochie Man,\" \"I Just Want to Make Love to You\" and \"I'm Ready\". In 1958, he traveled to England, laying the foundations of the resurgence of interest in the blues there.",
"In 1958, he traveled to England, laying the foundations of the resurgence of interest in the blues there. His performance at the Newport Jazz Festival in 1960 was recorded and released as his first live album, At Newport 1960. Muddy Waters' music has influenced various American music genres, including rock and roll and rock music.",
"Muddy Waters' music has influenced various American music genres, including rock and roll and rock music. Early life Muddy Waters's place and date of birth are not conclusively known.",
"Early life Muddy Waters's place and date of birth are not conclusively known. He stated that he was born in Rolling Fork, Mississippi, in 1915, but other evidence suggests that he was born in Jug's Corner, in neighboring Issaquena County, in 1913.",
"He stated that he was born in Rolling Fork, Mississippi, in 1915, but other evidence suggests that he was born in Jug's Corner, in neighboring Issaquena County, in 1913. In the 1930s and 1940s, before his rise to fame, the year of his birth was reported as 1913 on his marriage license, recording notes, and musicians' union card.",
"In the 1930s and 1940s, before his rise to fame, the year of his birth was reported as 1913 on his marriage license, recording notes, and musicians' union card. A 1955 interview in the Chicago Defender is the earliest in which he stated 1915 as the year of his birth, and he continued to say this in interviews from that point onward.",
"A 1955 interview in the Chicago Defender is the earliest in which he stated 1915 as the year of his birth, and he continued to say this in interviews from that point onward. The 1920 census lists him as five years old as of March 6, 1920, suggesting that his birth year may have been 1914.",
"The 1920 census lists him as five years old as of March 6, 1920, suggesting that his birth year may have been 1914. The Social Security Death Index, relying on the Social Security card application submitted after his move to Chicago in the mid-1940s, lists him as being born April 4, 1913.",
"The Social Security Death Index, relying on the Social Security card application submitted after his move to Chicago in the mid-1940s, lists him as being born April 4, 1913. His gravestone gives his birth year as 1915. His grandmother, Della Grant, raised him after his mother died shortly after his birth.",
"His grandmother, Della Grant, raised him after his mother died shortly after his birth. Grant gave him the nickname \"Muddy\" at an early age because he loved to play in the muddy water of nearby Deer Creek.",
"Grant gave him the nickname \"Muddy\" at an early age because he loved to play in the muddy water of nearby Deer Creek. \"Waters\" was added years later, as he began to play harmonica and perform locally in his early teens.",
"\"Waters\" was added years later, as he began to play harmonica and perform locally in his early teens. The remains of the cabin on Stovall Plantation where he lived in his youth are now at the Delta Blues Museum in Clarksdale, Mississippi.",
"The remains of the cabin on Stovall Plantation where he lived in his youth are now at the Delta Blues Museum in Clarksdale, Mississippi. He had his first introduction to music in church: \"I used to belong to church. I was a good Baptist, singing in the church.",
"I was a good Baptist, singing in the church. So I got all of my good moaning and trembling going on for me right out of church,\" he recalled. By the time he was 17, he had purchased his first guitar. \"I sold the last horse that we had.",
"\"I sold the last horse that we had. Made about fifteen dollars for him, gave my grandmother seven dollars and fifty cents, I kept seven-fifty and paid about two-fifty for that guitar. It was a Stella. The people ordered them from Sears-Roebuck in Chicago.\"",
"The people ordered them from Sears-Roebuck in Chicago.\" He started playing his songs in joints near his hometown, mostly on a plantation owned by Colonel William Howard Stovall. Career Early career, early 1930s–1948 In the early 1930s, Muddy Waters accompanied Big Joe Williams on tours of the Delta, playing harmonica.",
"Career Early career, early 1930s–1948 In the early 1930s, Muddy Waters accompanied Big Joe Williams on tours of the Delta, playing harmonica. Williams recounted to Blewett Thomas that he eventually dropped Muddy \"because he was takin' away my women [fans]\".",
"Williams recounted to Blewett Thomas that he eventually dropped Muddy \"because he was takin' away my women [fans]\". In August 1941, Alan Lomax went to Stovall, Mississippi, on behalf of the Library of Congress to record various country blues musicians.",
"In August 1941, Alan Lomax went to Stovall, Mississippi, on behalf of the Library of Congress to record various country blues musicians. \"He brought his stuff down and recorded me right in my house,\" Muddy told Rolling Stone magazine, \"and when he played back the first song I sounded just like anybody's records.",
"\"He brought his stuff down and recorded me right in my house,\" Muddy told Rolling Stone magazine, \"and when he played back the first song I sounded just like anybody's records. Man, you don't know how I felt that Saturday afternoon when I heard that voice and it was my own voice.",
"Man, you don't know how I felt that Saturday afternoon when I heard that voice and it was my own voice. Later on he sent me two copies of the pressing and a check for twenty bucks, and I carried that record up to the corner and put it on the jukebox.",
"Later on he sent me two copies of the pressing and a check for twenty bucks, and I carried that record up to the corner and put it on the jukebox. Just played it and played it and said, 'I can do it, I can do it'.\"",
"Just played it and played it and said, 'I can do it, I can do it'.\" Lomax came back in July 1942 to record him again. Both sessions were eventually released by Testament Records as Down on Stovall's Plantation.",
"Both sessions were eventually released by Testament Records as Down on Stovall's Plantation. The complete recordings were reissued by Chess Records on CD as Muddy Waters: The Complete Plantation Recordings. The Historic 1941–42 Library of Congress Field Recordings in 1993 and remastered in 1997.",
"The Historic 1941–42 Library of Congress Field Recordings in 1993 and remastered in 1997. In 1943, Muddy Waters headed to Chicago with the hope of becoming a full-time professional musician. He later recalled arriving in Chicago as the single most momentous event in his life.",
"He later recalled arriving in Chicago as the single most momentous event in his life. He lived with a relative for a short period while driving a truck and working in a factory by day and performing at night.",
"He lived with a relative for a short period while driving a truck and working in a factory by day and performing at night. Big Bill Broonzy, then one of the leading bluesmen in Chicago, had Muddy open his shows in the rowdy clubs where Broonzy played.",
"Big Bill Broonzy, then one of the leading bluesmen in Chicago, had Muddy open his shows in the rowdy clubs where Broonzy played. This gave him the opportunity to play in front of a large audience. In 1944, he bought his first electric guitar and then formed his first electric combo.",
"In 1944, he bought his first electric guitar and then formed his first electric combo. He felt obliged to electrify his sound in Chicago because, he said, \"When I went into the clubs, the first thing I wanted was an amplifier. Couldn't nobody hear you with an acoustic.\"",
"Couldn't nobody hear you with an acoustic.\" His sound reflected the optimism of postwar African Americans. Willie Dixon said that \"There was quite a few people around singing the blues but most of them was singing all sad blues. Muddy was giving his blues a little pep.\"",
"Muddy was giving his blues a little pep.\" In 1946, Muddy recorded some songs for Mayo Williams at Columbia Records, with an old-fashioned combo consisting of clarinet, saxophone and piano; they were released a year later with Ivan Ballen's Philadelphia-based 20th Century label, billed as James \"Sweet Lucy\" Carter and his Orchestra – Muddy Waters' name was not mentioned on the label.",
"In 1946, Muddy recorded some songs for Mayo Williams at Columbia Records, with an old-fashioned combo consisting of clarinet, saxophone and piano; they were released a year later with Ivan Ballen's Philadelphia-based 20th Century label, billed as James \"Sweet Lucy\" Carter and his Orchestra – Muddy Waters' name was not mentioned on the label. Later that year, he began recording for Aristocrat Records, a newly formed label run by the brothers Leonard and Phil Chess.",
"Later that year, he began recording for Aristocrat Records, a newly formed label run by the brothers Leonard and Phil Chess. In 1947, he played guitar with Sunnyland Slim on piano on the cuts \"Gypsy Woman\" and \"Little Anna Mae\".",
"In 1947, he played guitar with Sunnyland Slim on piano on the cuts \"Gypsy Woman\" and \"Little Anna Mae\". These were also shelved, but in 1948, \"I Can't Be Satisfied\" and \"I Feel Like Going Home\" became hits, and his popularity in clubs began to take off.",
"These were also shelved, but in 1948, \"I Can't Be Satisfied\" and \"I Feel Like Going Home\" became hits, and his popularity in clubs began to take off. Soon after, Aristocrat changed its name to Chess Records.",
"Soon after, Aristocrat changed its name to Chess Records. Muddy Waters's signature tune \"Rollin' Stone\" also became a hit that year.",
"Muddy Waters's signature tune \"Rollin' Stone\" also became a hit that year. Commercial success, 1948–1957 Initially, the Chess brothers would not allow Muddy Waters to use his working band in the recording studio; instead, he was provided with a backing bass by Ernest \"Big\" Crawford or by musicians assembled specifically for the recording session, including \"Baby Face\" Leroy Foster and Johnny Jones.",
"Commercial success, 1948–1957 Initially, the Chess brothers would not allow Muddy Waters to use his working band in the recording studio; instead, he was provided with a backing bass by Ernest \"Big\" Crawford or by musicians assembled specifically for the recording session, including \"Baby Face\" Leroy Foster and Johnny Jones. Gradually, Chess relented, and by September 1953 he was recording with one of the most acclaimed blues groups in history: Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums, and Otis Spann on piano.",
"Gradually, Chess relented, and by September 1953 he was recording with one of the most acclaimed blues groups in history: Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums, and Otis Spann on piano. The band recorded a series of blues classics during the early 1950s, some with the help of the bassist and songwriter Willie Dixon, including \"Hoochie Coochie Man\", \"I Just Want to Make Love to You\", and \"I'm Ready\" Muddy Waters's band became a proving ground for some of the city's best blues talent, with members of the ensemble going on to successful careers of their own.",
"The band recorded a series of blues classics during the early 1950s, some with the help of the bassist and songwriter Willie Dixon, including \"Hoochie Coochie Man\", \"I Just Want to Make Love to You\", and \"I'm Ready\" Muddy Waters's band became a proving ground for some of the city's best blues talent, with members of the ensemble going on to successful careers of their own. In 1952, Little Walter left when his single \"Juke\" became a hit, although he continued a collaborative relationship long after he left, appearing on most of the band's classic recordings in the 1950s.",
"In 1952, Little Walter left when his single \"Juke\" became a hit, although he continued a collaborative relationship long after he left, appearing on most of the band's classic recordings in the 1950s. Howlin' Wolf moved to Chicago in 1954 with financial support earned through his successful Chess singles, and the \"legendary rivalry\" with Muddy Waters began.",
"Howlin' Wolf moved to Chicago in 1954 with financial support earned through his successful Chess singles, and the \"legendary rivalry\" with Muddy Waters began. The rivalry was, in part, stoked by Willie Dixon providing songs to both artists, with Wolf suspecting that Muddy was getting Dixon's best songs.",
"The rivalry was, in part, stoked by Willie Dixon providing songs to both artists, with Wolf suspecting that Muddy was getting Dixon's best songs. 1955 saw the departure of Jimmy Rogers, who quit to work exclusively with his own band, which had been a sideline until that time.",
"1955 saw the departure of Jimmy Rogers, who quit to work exclusively with his own band, which had been a sideline until that time. In the mid-1950s, Muddy Waters' singles were frequently on Billboard magazine's various Rhythm & Blues charts including \"Sugar Sweet\" in 1955 and \"Trouble No More\", \"Forty Days and Forty Nights\", and \"Don't Go No Farther\" in 1956.",
"In the mid-1950s, Muddy Waters' singles were frequently on Billboard magazine's various Rhythm & Blues charts including \"Sugar Sweet\" in 1955 and \"Trouble No More\", \"Forty Days and Forty Nights\", and \"Don't Go No Farther\" in 1956. 1956 also saw the release of one of his best-known numbers, \"Got My Mojo Working\", although it did not appear on the charts.",
"1956 also saw the release of one of his best-known numbers, \"Got My Mojo Working\", although it did not appear on the charts. However, by the late 1950s, his singles success had come to an end, with only \"Close to You\" reaching the chart in 1958.",
"However, by the late 1950s, his singles success had come to an end, with only \"Close to You\" reaching the chart in 1958. Also in 1958, Chess released his first compilation album, The Best of Muddy Waters, which collected twelve of his singles up to 1956.",
"Also in 1958, Chess released his first compilation album, The Best of Muddy Waters, which collected twelve of his singles up to 1956. Performances and crossover, 1958–1970 Muddy Waters toured England with Spann in 1958, where they were backed by local Dixieland-style or \"trad jazz\" musicians, including members of Chris Barber's band.",
"Performances and crossover, 1958–1970 Muddy Waters toured England with Spann in 1958, where they were backed by local Dixieland-style or \"trad jazz\" musicians, including members of Chris Barber's band. At the time, English audiences had only been exposed to acoustic folk blues, as performed by artists such as Sonny Terry, Brownie McGhee, and Big Bill Broonzy.",
"At the time, English audiences had only been exposed to acoustic folk blues, as performed by artists such as Sonny Terry, Brownie McGhee, and Big Bill Broonzy. Both the musicians and audiences were unprepared for Waters' performance, which included his electric slide guitar playing.",
"Both the musicians and audiences were unprepared for Waters' performance, which included his electric slide guitar playing. He recalled: Although his performances alienated the old guard, some younger musicians, including Alexis Korner and Cyril Davies from Barber's band, were inspired to go in the more modern, electric blues direction.",
"He recalled: Although his performances alienated the old guard, some younger musicians, including Alexis Korner and Cyril Davies from Barber's band, were inspired to go in the more modern, electric blues direction. Korner and Davies' own groups included musicians who would later form the Rolling Stones (named after Muddy's 1950 hit \"Rollin' Stone\"), Cream, and the original Fleetwood Mac.",
"Korner and Davies' own groups included musicians who would later form the Rolling Stones (named after Muddy's 1950 hit \"Rollin' Stone\"), Cream, and the original Fleetwood Mac. In the 1960s, Muddy Waters' performances continued to introduce a new generation to Chicago blues.",
"In the 1960s, Muddy Waters' performances continued to introduce a new generation to Chicago blues. At the Newport Jazz Festival, he recorded one of the first live blues albums, At Newport 1960, and his performance of \"Got My Mojo Working\" was nominated for a Grammy award.",
"At the Newport Jazz Festival, he recorded one of the first live blues albums, At Newport 1960, and his performance of \"Got My Mojo Working\" was nominated for a Grammy award. In September 1963, in Chess' attempt to connect with folk music audiences, he recorded Folk Singer, which replaced his trademark electric guitar sound with an acoustic band, including a then-unknown Buddy Guy on acoustic guitar.",
"In September 1963, in Chess' attempt to connect with folk music audiences, he recorded Folk Singer, which replaced his trademark electric guitar sound with an acoustic band, including a then-unknown Buddy Guy on acoustic guitar. Folk Singer was not a commercial success, but it was lauded by critics, and in 2003 Rolling Stone magazine placed it at number 280 on its list of the 500 greatest albums of all time.",
"Folk Singer was not a commercial success, but it was lauded by critics, and in 2003 Rolling Stone magazine placed it at number 280 on its list of the 500 greatest albums of all time. In October 1963, Muddy Waters participated in the first of several annual European tours, organized as the American Folk Blues Festival, during which he also performed more acoustic-oriented numbers.",
"In October 1963, Muddy Waters participated in the first of several annual European tours, organized as the American Folk Blues Festival, during which he also performed more acoustic-oriented numbers. In 1967, he re-recorded several blues standards with Bo Diddley, Little Walter, and Howlin' Wolf, which were marketed as Super Blues and The Super Super Blues Band albums in Chess' attempt to reach a rock audience.",
"In 1967, he re-recorded several blues standards with Bo Diddley, Little Walter, and Howlin' Wolf, which were marketed as Super Blues and The Super Super Blues Band albums in Chess' attempt to reach a rock audience. The Super Super Blues Band united Wolf and Waters, who had a long-standing rivalry.",
"The Super Super Blues Band united Wolf and Waters, who had a long-standing rivalry. It was, as Ken Chang wrote in his AllMusic review, flooded with \"contentious studio banter [...] more entertaining than the otherwise unmemorable music from this stylistic train wreck\".",
"It was, as Ken Chang wrote in his AllMusic review, flooded with \"contentious studio banter [...] more entertaining than the otherwise unmemorable music from this stylistic train wreck\". In 1968, at the instigation of Marshall Chess, he recorded Electric Mud, an album intended to revive his career by backing him with Rotary Connection, a psychedelic soul band that Chess had put together.",
"In 1968, at the instigation of Marshall Chess, he recorded Electric Mud, an album intended to revive his career by backing him with Rotary Connection, a psychedelic soul band that Chess had put together. The album proved controversial; although it reached number 127 on the Billboard 200 album chart, it was scorned by many critics, and eventually disowned by Muddy Waters himself: Nonetheless, six months later he recorded a follow-up album, After the Rain, which had a similar sound and featured many of the same musicians.",
"The album proved controversial; although it reached number 127 on the Billboard 200 album chart, it was scorned by many critics, and eventually disowned by Muddy Waters himself: Nonetheless, six months later he recorded a follow-up album, After the Rain, which had a similar sound and featured many of the same musicians. Later in 1969, he recorded and released the album Fathers and Sons, which featured a return to his classic Chicago blues sound.",
"Later in 1969, he recorded and released the album Fathers and Sons, which featured a return to his classic Chicago blues sound. Fathers and Sons had an all-star backing band that included Michael Bloomfield and Paul Butterfield, longtime fans whose desire to play with him was the impetus for the album.",
"Fathers and Sons had an all-star backing band that included Michael Bloomfield and Paul Butterfield, longtime fans whose desire to play with him was the impetus for the album. It was the most successful album of Muddy Waters' career, reaching number 70 on the Billboard 200.",
"It was the most successful album of Muddy Waters' career, reaching number 70 on the Billboard 200. Resurgence and later career, 1971–1982 In 1971, a show at Mister Kelly's, an upmarket Chicago nightclub, was recorded and released, signalling both Muddy Waters's return to form and the completion of his transfer to white audiences.",
"Resurgence and later career, 1971–1982 In 1971, a show at Mister Kelly's, an upmarket Chicago nightclub, was recorded and released, signalling both Muddy Waters's return to form and the completion of his transfer to white audiences. In 1972, he won his first Grammy Award, for Best Ethnic or Traditional Recording for They Call Me Muddy Waters, a 1971 album of old, but previously unreleased recordings.",
"In 1972, he won his first Grammy Award, for Best Ethnic or Traditional Recording for They Call Me Muddy Waters, a 1971 album of old, but previously unreleased recordings. Later in 1972, he flew to England to record the album The London Muddy Waters Sessions.",
"Later in 1972, he flew to England to record the album The London Muddy Waters Sessions. The album was a follow-up to the previous year's The London Howlin' Wolf Sessions.",
"The album was a follow-up to the previous year's The London Howlin' Wolf Sessions. Both albums were the brainchild of Chess Records producer Norman Dayron, and were intended to showcase Chicago blues musicians playing with the younger British rock musicians whom they had inspired.",
"Both albums were the brainchild of Chess Records producer Norman Dayron, and were intended to showcase Chicago blues musicians playing with the younger British rock musicians whom they had inspired. Muddy Waters brought with him two American musicians, harmonica player Carey Bell and guitarist Sammy Lawhorn.",
"Muddy Waters brought with him two American musicians, harmonica player Carey Bell and guitarist Sammy Lawhorn. The British and Irish musicians who played on the album included Rory Gallagher, Steve Winwood, Rick Grech, and Mitch Mitchell. Muddy was dissatisfied by the results, due to the British musicians' more rock-oriented sound.",
"Muddy was dissatisfied by the results, due to the British musicians' more rock-oriented sound. \"These boys are top musicians, they can play with me, put the book before 'em and play it, you know,\" he told Guralnick.",
"\"These boys are top musicians, they can play with me, put the book before 'em and play it, you know,\" he told Guralnick. \"But that ain't what I need to sell my people, it ain't the Muddy Waters sound.",
"\"But that ain't what I need to sell my people, it ain't the Muddy Waters sound. An' if you change my sound, then you gonna change the whole man.\" He stated, \"My blues look so simple, so easy to do, but it's not.",
"He stated, \"My blues look so simple, so easy to do, but it's not. They say my blues is the hardest blues in the world to play.\" Nevertheless, the album won another Grammy, again for Best Ethnic or Traditional Recording.",
"Nevertheless, the album won another Grammy, again for Best Ethnic or Traditional Recording. He won another Grammy for his last LP on Chess Records: The Muddy Waters Woodstock Album, recorded in 1975 with his new guitarist Bob Margolin, Pinetop Perkins, Paul Butterfield, and Levon Helm and Garth Hudson of the Band.",
"He won another Grammy for his last LP on Chess Records: The Muddy Waters Woodstock Album, recorded in 1975 with his new guitarist Bob Margolin, Pinetop Perkins, Paul Butterfield, and Levon Helm and Garth Hudson of the Band. In November 1976 he appeared as a featured special guest at The Band's Last Waltz farewell concert, and in the subsequent 1978 feature film documentary of the event.",
"In November 1976 he appeared as a featured special guest at The Band's Last Waltz farewell concert, and in the subsequent 1978 feature film documentary of the event. From 1977 to 1981, blues musician Johnny Winter, who had idolized Muddy Waters since childhood and who had become a friend, produced four albums of his, all on the Blue Sky Records label: the studio albums Hard Again (1977), I'm Ready (1978) and King Bee (1981), and the live album Muddy \"Mississippi\" Waters – Live (1979).",
"From 1977 to 1981, blues musician Johnny Winter, who had idolized Muddy Waters since childhood and who had become a friend, produced four albums of his, all on the Blue Sky Records label: the studio albums Hard Again (1977), I'm Ready (1978) and King Bee (1981), and the live album Muddy \"Mississippi\" Waters – Live (1979). The albums were critical and commercial successes, with all but King Bee winning a Grammy.",
"The albums were critical and commercial successes, with all but King Bee winning a Grammy. Hard Again has been especially praised by critics, who have tended to describe it as his comeback album. In 1981, Muddy Waters was invited to perform at ChicagoFest, the city's top outdoor music festival.",
"In 1981, Muddy Waters was invited to perform at ChicagoFest, the city's top outdoor music festival. He was joined onstage by Johnny Winter and Buddy Miles, and played classics like \"Mannish Boy\", \"Trouble No More\", and \"Mojo Working\" to a new generation of fans.",
"He was joined onstage by Johnny Winter and Buddy Miles, and played classics like \"Mannish Boy\", \"Trouble No More\", and \"Mojo Working\" to a new generation of fans. The performance was made available on DVD in 2009 by Shout! Factory.",
"Factory. Factory. On November 22, he performed live with three members of British rock band the Rolling Stones (Mick Jagger, Keith Richards and Ronnie Wood) at the Checkerboard Lounge, a blues club in Bronzeville, on the South Side of Chicago, which was established in 1972 by Buddy Guy and L.C. Thurman.",
"Thurman. Thurman. A DVD version of the performance was released in 2012. In 1982, declining health dramatically stopped his performance schedule. His last public performance took place when he sat in with Eric Clapton's band at a concert in Florida in the summer of 1982.",
"His last public performance took place when he sat in with Eric Clapton's band at a concert in Florida in the summer of 1982. Personal life Muddy Waters' longtime partner, Geneva Wade, died of cancer on March 15, 1973.",
"Personal life Muddy Waters' longtime partner, Geneva Wade, died of cancer on March 15, 1973. Gaining custody of his three children, Joseph, Renee, and Rosalind, he moved them into his home, eventually buying a new house in Westmont, Illinois.",
"Gaining custody of his three children, Joseph, Renee, and Rosalind, he moved them into his home, eventually buying a new house in Westmont, Illinois. Years later, he traveled to Florida and met his future wife, 19-year-old Marva Jean Brooks, whom he nicknamed \"Sunshine\".",
"Years later, he traveled to Florida and met his future wife, 19-year-old Marva Jean Brooks, whom he nicknamed \"Sunshine\". Eric Clapton served as best man at their wedding in 1979. His sons, Larry \"Mud\" Morganfield and Big Bill Morganfield, are also blues singers and musicians.",
"His sons, Larry \"Mud\" Morganfield and Big Bill Morganfield, are also blues singers and musicians. In 2017 his youngest son, Joseph \"Mojo\" Morganfield, began publicly performing the blues. Joseph was known to play occasionally with his brothers. Mojo died in 2020 at the age of 56.",
"Mojo died in 2020 at the age of 56. Death Muddy Waters died in his sleep from heart failure, at his home in Westmont, Illinois, on April 30, 1983, from cancer-related complications.",
"Death Muddy Waters died in his sleep from heart failure, at his home in Westmont, Illinois, on April 30, 1983, from cancer-related complications. He was taken from his Westmont home, which he lived in for the last decade of his life, to Good Samaritan Hospital in Downers Grove, Illinois, where he was pronounced dead aged 70.",
"He was taken from his Westmont home, which he lived in for the last decade of his life, to Good Samaritan Hospital in Downers Grove, Illinois, where he was pronounced dead aged 70. His funeral was held on May 4, 1983.",
"His funeral was held on May 4, 1983. Throngs of blues musicians and fans attended his funeral at Restvale Cemetery in Alsip, Illinois. He is buried next to his wife, Geneva. After his death, a lengthy court battle ensued between his heirs and Scott Cameron, his former manager.",
"After his death, a lengthy court battle ensued between his heirs and Scott Cameron, his former manager. In 2010, his heir was petitioning for the courts to appoint Mercy Morganfield, his daughter, as administrator and distribute remaining assets, which mainly consists of copyrights to his music. The petition to reopen the estate was successful.",
"The petition to reopen the estate was successful. In May 2018, the heirs' lawyer sought to hold Scott Cameron's wife in contempt for diverting royalty income. However, the heirs asked for that citation not to be pursued. The next court date was set for July 10, 2018.",
"The next court date was set for July 10, 2018. Legacy Two years after his death, the city of Chicago paid tribute to him by designating the one-block section between 900 and 1000 East 43rd Street near his former home on the south side \"Honorary Muddy Waters Drive\".",
"Legacy Two years after his death, the city of Chicago paid tribute to him by designating the one-block section between 900 and 1000 East 43rd Street near his former home on the south side \"Honorary Muddy Waters Drive\". In 2017, a ten stories-mural commissioned as a part of the Chicago Blues Festival and designed by Brazilian artist Eduardo Kobra was painted on the side of the building at 17 North State Street, at the corner of State and Washington Streets.",
"In 2017, a ten stories-mural commissioned as a part of the Chicago Blues Festival and designed by Brazilian artist Eduardo Kobra was painted on the side of the building at 17 North State Street, at the corner of State and Washington Streets. The Chicago suburb of Westmont, where he lived the last decade of his life, named a section of Cass Avenue near his home \"Honorary Muddy Waters Way\".",
"The Chicago suburb of Westmont, where he lived the last decade of his life, named a section of Cass Avenue near his home \"Honorary Muddy Waters Way\". In 2008, a Mississippi Blues Trail marker has been placed in Clarksdale, Mississippi, by the Mississippi Blues Commission designating the site of Muddy Waters' cabin.",
"In 2008, a Mississippi Blues Trail marker has been placed in Clarksdale, Mississippi, by the Mississippi Blues Commission designating the site of Muddy Waters' cabin. He also received a plaque on the Clarksdale Walk of Fame. Muddy Waters' Chicago Home in the Kenwood neighborhood is in the process of being named a Chicago Landmark.",
"Muddy Waters' Chicago Home in the Kenwood neighborhood is in the process of being named a Chicago Landmark. Influence The British band The Rolling Stones named themselves after Muddy Waters' 1950 song \"Rollin' Stone\". Jimi Hendrix recalled that \"I first heard him as a little boy and it scared me to death\".",
"Jimi Hendrix recalled that \"I first heard him as a little boy and it scared me to death\". The band Cream covered \"Rollin' and Tumblin'\" on their 1966 debut album, Fresh Cream. Eric Clapton was a big fan of Muddy Waters while growing up, and his music influenced Clapton's music career.",
"Eric Clapton was a big fan of Muddy Waters while growing up, and his music influenced Clapton's music career. The song was also covered by Canned Heat at the Monterey Pop Festival and later adapted by Bob Dylan on his album Modern Times.",
"The song was also covered by Canned Heat at the Monterey Pop Festival and later adapted by Bob Dylan on his album Modern Times. One of Led Zeppelin's biggest hits, \"Whole Lotta Love\", has its lyrics heavily influenced by the Muddy Waters hit \"You Need Love\" (written by Willie Dixon).",
"One of Led Zeppelin's biggest hits, \"Whole Lotta Love\", has its lyrics heavily influenced by the Muddy Waters hit \"You Need Love\" (written by Willie Dixon). \"Hoochie Coochie Man\", was covered by Allman Brothers Band, Humble Pie, Steppenwolf, Supertramp and Fear.",
"\"Hoochie Coochie Man\", was covered by Allman Brothers Band, Humble Pie, Steppenwolf, Supertramp and Fear. In 1993, Paul Rodgers released the album Muddy Water Blues: A Tribute to Muddy Waters, on which he covered a number of his songs, including \"Louisiana Blues\", \"Rollin' Stone\", \"(I'm your) Hoochie Coochie Man\" and \"I'm Ready\" in collaboration with guitarists such as Gary Moore, Brian May and Jeff Beck.",
"In 1993, Paul Rodgers released the album Muddy Water Blues: A Tribute to Muddy Waters, on which he covered a number of his songs, including \"Louisiana Blues\", \"Rollin' Stone\", \"(I'm your) Hoochie Coochie Man\" and \"I'm Ready\" in collaboration with guitarists such as Gary Moore, Brian May and Jeff Beck. Angus Young, of the rock group AC/DC, has cited Muddy as one of his influences.",
"Angus Young, of the rock group AC/DC, has cited Muddy as one of his influences. The AC/DC song title \"You Shook Me All Night Long\" came from lyrics of the Muddy Waters song \"You Shook Me\", written by Willie Dixon and J. B. Lenoir.",
"B. Lenoir. B. Lenoir. Earl Hooker first recorded it as an instrumental, which was then overdubbed with vocals by Muddy Waters in 1962. Led Zeppelin also covered it on their debut album. In 1981 ZZ Top guitarist Billy Gibbons went to visit the Delta Blues Museum in Clarksdale with The Blues magazine founder Jim O'Neal.",
"In 1981 ZZ Top guitarist Billy Gibbons went to visit the Delta Blues Museum in Clarksdale with The Blues magazine founder Jim O'Neal. The museum's director, Sid Graves, brought Gibbons to visit Waters original house, and encouraged him to pick up a piece of scrap lumber that was originally part of the roof.",
"The museum's director, Sid Graves, brought Gibbons to visit Waters original house, and encouraged him to pick up a piece of scrap lumber that was originally part of the roof. Gibbons eventually converted the wood into a guitar. Named Muddywood, the instrument is now exhibited at the Delta Blues Museum in Clarksdale.",
"Named Muddywood, the instrument is now exhibited at the Delta Blues Museum in Clarksdale. Following his death, fellow blues musician B.B. King told Guitar World magazine, \"It's going to be years and years before most people realize how greatly he contributed to American music.\"",
"King told Guitar World magazine, \"It's going to be years and years before most people realize how greatly he contributed to American music.\" John P. Hammond told Guitar World magazine, \"Muddy was a master of just the right notes.",
"John P. Hammond told Guitar World magazine, \"Muddy was a master of just the right notes. It was profound guitar playing, deep and simple ... more country blues transposed to the electric guitar, the kind of playing that enhanced the lyrics, gave profundity to the words themselves.\"",
"It was profound guitar playing, deep and simple ... more country blues transposed to the electric guitar, the kind of playing that enhanced the lyrics, gave profundity to the words themselves.\" Muddy Waters' songs have been featured in long-time fan Martin Scorsese's movies, including The Color of Money, Goodfellas, and Casino.",
"Muddy Waters' songs have been featured in long-time fan Martin Scorsese's movies, including The Color of Money, Goodfellas, and Casino. A 1970s recording of his mid-'50s hit \"Mannish Boy\" was used in the films Goodfellas, Better Off Dead, Risky Business, and the rockumentary The Last Waltz.",
"A 1970s recording of his mid-'50s hit \"Mannish Boy\" was used in the films Goodfellas, Better Off Dead, Risky Business, and the rockumentary The Last Waltz. In 1988 \"Mannish Boy\" was also used in a Levi's 501 commercial and re-released in Europe as a single with \"(I'm your) Hoochie Coochie Man\" on the flip side.",
"In 1988 \"Mannish Boy\" was also used in a Levi's 501 commercial and re-released in Europe as a single with \"(I'm your) Hoochie Coochie Man\" on the flip side. Awards and recognition Grammy Awards Rock and Roll Hall of Fame The Rock and Roll Hall of Fame listed four songs of Muddy Waters among the 500 Songs That Shaped Rock and Roll.",
"Awards and recognition Grammy Awards Rock and Roll Hall of Fame The Rock and Roll Hall of Fame listed four songs of Muddy Waters among the 500 Songs That Shaped Rock and Roll. Blues Foundation Awards Inductions U.S. Postage Stamp Discography Studio albums Muddy Waters Sings \"Big Bill\" (Chess, 1960) Folk Singer (Chess, 1964) Muddy, Brass & the Blues (Chess, 1966) Electric Mud (Cadet, 1968) After the Rain (Cadet, 1969) Fathers and Sons (Chess, 1969) The London Muddy Waters Sessions (Chess, 1972) Can't Get No Grindin' (Chess, 1973) Mud in Your Ear (Muse, 1973) London Revisited (Chess, 1974) split album with Howlin' Wolf \"Unk\" in Funk (Chess, 1974) The Muddy Waters Woodstock Album (Chess, 1975) Hard Again (Blue Sky, 1977) I'm Ready (Blue Sky, 1978) King Bee (Blue Sky, 1981) Notes References External links 1913 births 1983 deaths Chicago blues musicians Electric blues musicians Delta blues musicians Blues revival musicians African-American guitarists African-American male singer-songwriters American blues singer-songwriters American blues guitarists American male guitarists Blues musicians from Mississippi American street performers Grammy Lifetime Achievement Award winners Musicians from Clarksdale, Mississippi People from Issaquena County, Mississippi Singer-songwriters from Mississippi Slide guitarists Lead guitarists Chess Records artists Muse Records artists Mississippi Blues Trail Blues rock musicians 20th-century American guitarists Singer-songwriters from Illinois People from Westmont, Illinois Guitarists from Illinois Guitarists from Mississippi Blind Pig Records artists 20th-century African-American male singers"
] |
[
"Muddy Waters",
"Commercial success, 1948-1957",
"what city did he live in?",
"Chicago",
"what instruments did he play?",
"I don't know.",
"who were some people he played with?",
"Baby Face\" Leroy Foster and Johnny Jones.",
"what instruments did they play?",
"Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums, and Otis Spann on piano.",
"any songs or albums?",
"Sugar Sweet\" in 1955 and \"Trouble No More\", \"Forty Days and Forty Nights\", and \"Don't Go No Farther\""
] | C_7caf21c5447947198403d9676d3f6f83_0 | did he receive media recognition? | 6 | Did Muddy Waters receive media recognition? | Muddy Waters | Initially, the Chess brothers would not allow Muddy Waters to use his working band in the recording studio; instead, he was provided with a backing bass by Ernest "Big" Crawford or by musicians assembled specifically for the recording session, including "Baby Face" Leroy Foster and Johnny Jones. Gradually, Chess relented, and by September 1953 he was recording with one of the most acclaimed blues groups in history: Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums, and Otis Spann on piano. The band recorded a series of blues classics during the early 1950s, some with the help of the bassist and songwriter Willie Dixon, including "Hoochie Coochie Man", "I Just Want to Make Love to You", and "I'm Ready". Along with his former harmonica player Little Walter Jacobs and recent southern transplant Howlin' Wolf, Muddy Waters reigned over the early 1950s Chicago blues scene, his band becoming a proving ground for some of the city's best blues talent. Little Walter continued a collaborative relationship long after he left Muddy Waters's band in 1952, appearing on most of the band's classic recordings in the 1950s. Muddy Waters developed a long-running, generally good-natured rivalry with Wolf. The success of his ensemble paved the way for others in his group to make their own solo careers. In 1952, Little Walter left when his single "Juke" became a hit, and in 1955, Rogers quit to work exclusively with his own band, which had been a sideline until that time. During the mid-1950s, Muddy Waters' singles were frequently on Billboard magazine's various Rhythm & Blues charts including "Sugar Sweet" in 1955 and "Trouble No More", "Forty Days and Forty Nights", and "Don't Go No Farther" in 1956. 1956 also saw the release of one of his best-known numbers, "Got My Mojo Working", although it did not appear on the charts. However, by the late 1950s, his singles success had come to an end, with only "Close to You" reaching the chart in 1958. Also in 1958, Chess released Muddy Waters' first album, The Best of Muddy Waters, which collected twelve of his singles up to 1956. CANNOTANSWER | Muddy Waters' singles were frequently on Billboard magazine's various Rhythm & Blues charts including "Sugar Sweet" | McKinley Morganfield (April 4, 1913April 30, 1983), known professionally as Muddy Waters, was an American blues singer-songwriter and musician who was an important figure in the post-war blues scene, and is often cited as the "father of modern Chicago blues." His style of playing has been described as "raining down Delta beatitude."
Muddy Waters grew up on Stovall Plantation near Clarksdale, Mississippi, and by age 17 was playing the guitar and the harmonica, emulating the local blues artists Son House and Robert Johnson. He was recorded in Mississippi by Alan Lomax for the Library of Congress in 1941. In 1943, he moved to Chicago to become a full-time professional musician. In 1946, he recorded his first records for Columbia Records and then for Aristocrat Records, a newly formed label run by the brothers Leonard and Phil Chess.
In the early 1950s, Muddy Waters and his band—Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums and Otis Spann on piano—recorded several blues classics, some with the bassist and songwriter Willie Dixon. These songs included "Hoochie Coochie Man," "I Just Want to Make Love to You" and "I'm Ready". In 1958, he traveled to England, laying the foundations of the resurgence of interest in the blues there. His performance at the Newport Jazz Festival in 1960 was recorded and released as his first live album, At Newport 1960.
Muddy Waters' music has influenced various American music genres, including rock and roll and rock music.
Early life
Muddy Waters's place and date of birth are not conclusively known. He stated that he was born in Rolling Fork, Mississippi, in 1915, but other evidence suggests that he was born in Jug's Corner, in neighboring Issaquena County, in 1913. In the 1930s and 1940s, before his rise to fame, the year of his birth was reported as 1913 on his marriage license, recording notes, and musicians' union card. A 1955 interview in the Chicago Defender is the earliest in which he stated 1915 as the year of his birth, and he continued to say this in interviews from that point onward. The 1920 census lists him as five years old as of March 6, 1920, suggesting that his birth year may have been 1914. The Social Security Death Index, relying on the Social Security card application submitted after his move to Chicago in the mid-1940s, lists him as being born April 4, 1913. His gravestone gives his birth year as 1915.
His grandmother, Della Grant, raised him after his mother died shortly after his birth. Grant gave him the nickname "Muddy" at an early age because he loved to play in the muddy water of nearby Deer Creek. "Waters" was added years later, as he began to play harmonica and perform locally in his early teens. The remains of the cabin on Stovall Plantation where he lived in his youth are now at the Delta Blues Museum in Clarksdale, Mississippi.
He had his first introduction to music in church: "I used to belong to church. I was a good Baptist, singing in the church. So I got all of my good moaning and trembling going on for me right out of church," he recalled. By the time he was 17, he had purchased his first guitar. "I sold the last horse that we had. Made about fifteen dollars for him, gave my grandmother seven dollars and fifty cents, I kept seven-fifty and paid about two-fifty for that guitar. It was a Stella. The people ordered them from Sears-Roebuck in Chicago." He started playing his songs in joints near his hometown, mostly on a plantation owned by Colonel William Howard Stovall.
Career
Early career, early 1930s–1948
In the early 1930s, Muddy Waters accompanied Big Joe Williams on tours of the Delta, playing harmonica. Williams recounted to Blewett Thomas that he eventually dropped Muddy "because he was takin' away my women [fans]".
In August 1941, Alan Lomax went to Stovall, Mississippi, on behalf of the Library of Congress to record various country blues musicians. "He brought his stuff down and recorded me right in my house," Muddy told Rolling Stone magazine, "and when he played back the first song I sounded just like anybody's records. Man, you don't know how I felt that Saturday afternoon when I heard that voice and it was my own voice. Later on he sent me two copies of the pressing and a check for twenty bucks, and I carried that record up to the corner and put it on the jukebox. Just played it and played it and said, 'I can do it, I can do it'." Lomax came back in July 1942 to record him again. Both sessions were eventually released by Testament Records as Down on Stovall's Plantation. The complete recordings were reissued by Chess Records on CD as Muddy Waters: The Complete Plantation Recordings. The Historic 1941–42 Library of Congress Field Recordings in 1993 and remastered in 1997.
In 1943, Muddy Waters headed to Chicago with the hope of becoming a full-time professional musician. He later recalled arriving in Chicago as the single most momentous event in his life. He lived with a relative for a short period while driving a truck and working in a factory by day and performing at night. Big Bill Broonzy, then one of the leading bluesmen in Chicago, had Muddy open his shows in the rowdy clubs where Broonzy played. This gave him the opportunity to play in front of a large audience. In 1944, he bought his first electric guitar and then formed his first electric combo. He felt obliged to electrify his sound in Chicago because, he said, "When I went into the clubs, the first thing I wanted was an amplifier. Couldn't nobody hear you with an acoustic." His sound reflected the optimism of postwar African Americans. Willie Dixon said that "There was quite a few people around singing the blues but most of them was singing all sad blues. Muddy was giving his blues a little pep."
In 1946, Muddy recorded some songs for Mayo Williams at Columbia Records, with an old-fashioned combo consisting of clarinet, saxophone and piano; they were released a year later with Ivan Ballen's Philadelphia-based 20th Century label, billed as James "Sweet Lucy" Carter and his Orchestra – Muddy Waters' name was not mentioned on the label. Later that year, he began recording for Aristocrat Records, a newly formed label run by the brothers Leonard and Phil Chess. In 1947, he played guitar with Sunnyland Slim on piano on the cuts "Gypsy Woman" and "Little Anna Mae". These were also shelved, but in 1948, "I Can't Be Satisfied" and "I Feel Like Going Home" became hits, and his popularity in clubs began to take off. Soon after, Aristocrat changed its name to Chess Records. Muddy Waters's signature tune "Rollin' Stone" also became a hit that year.
Commercial success, 1948–1957
Initially, the Chess brothers would not allow Muddy Waters to use his working band in the recording studio; instead, he was provided with a backing bass by Ernest "Big" Crawford or by musicians assembled specifically for the recording session, including "Baby Face" Leroy Foster and Johnny Jones. Gradually, Chess relented, and by September 1953 he was recording with one of the most acclaimed blues groups in history: Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums, and Otis Spann on piano. The band recorded a series of blues classics during the early 1950s, some with the help of the bassist and songwriter Willie Dixon, including "Hoochie Coochie Man", "I Just Want to Make Love to You", and "I'm Ready"
Muddy Waters's band became a proving ground for some of the city's best blues talent, with members of the ensemble going on to successful careers of their own. In 1952, Little Walter left when his single "Juke" became a hit, although he continued a collaborative relationship long after he left, appearing on most of the band's classic recordings in the 1950s. Howlin' Wolf moved to Chicago in 1954 with financial support earned through his successful Chess singles, and the "legendary rivalry" with Muddy Waters began. The rivalry was, in part, stoked by Willie Dixon providing songs to both artists, with Wolf suspecting that Muddy was getting Dixon's best songs. 1955 saw the departure of Jimmy Rogers, who quit to work exclusively with his own band, which had been a sideline until that time.
In the mid-1950s, Muddy Waters' singles were frequently on Billboard magazine's various Rhythm & Blues charts including "Sugar Sweet" in 1955 and "Trouble No More", "Forty Days and Forty Nights", and "Don't Go No Farther" in 1956. 1956 also saw the release of one of his best-known numbers, "Got My Mojo Working", although it did not appear on the charts. However, by the late 1950s, his singles success had come to an end, with only "Close to You" reaching the chart in 1958. Also in 1958, Chess released his first compilation album, The Best of Muddy Waters, which collected twelve of his singles up to 1956.
Performances and crossover, 1958–1970
Muddy Waters toured England with Spann in 1958, where they were backed by local Dixieland-style or "trad jazz" musicians, including members of Chris Barber's band. At the time, English audiences had only been exposed to acoustic folk blues, as performed by artists such as Sonny Terry, Brownie McGhee, and Big Bill Broonzy. Both the musicians and audiences were unprepared for Waters' performance, which included his electric slide guitar playing. He recalled:
Although his performances alienated the old guard, some younger musicians, including Alexis Korner and Cyril Davies from Barber's band, were inspired to go in the more modern, electric blues direction. Korner and Davies' own groups included musicians who would later form the Rolling Stones (named after Muddy's 1950 hit "Rollin' Stone"), Cream, and the original Fleetwood Mac.
In the 1960s, Muddy Waters' performances continued to introduce a new generation to Chicago blues. At the Newport Jazz Festival, he recorded one of the first live blues albums, At Newport 1960, and his performance of "Got My Mojo Working" was nominated for a Grammy award. In September 1963, in Chess' attempt to connect with folk music audiences, he recorded Folk Singer, which replaced his trademark electric guitar sound with an acoustic band, including a then-unknown Buddy Guy on acoustic guitar. Folk Singer was not a commercial success, but it was lauded by critics, and in 2003 Rolling Stone magazine placed it at number 280 on its list of the 500 greatest albums of all time. In October 1963, Muddy Waters participated in the first of several annual European tours, organized as the American Folk Blues Festival, during which he also performed more acoustic-oriented numbers.
In 1967, he re-recorded several blues standards with Bo Diddley, Little Walter, and Howlin' Wolf, which were marketed as Super Blues and The Super Super Blues Band albums in Chess' attempt to reach a rock audience. The Super Super Blues Band united Wolf and Waters, who had a long-standing rivalry. It was, as Ken Chang wrote in his AllMusic review, flooded with "contentious studio banter [...] more entertaining than the otherwise unmemorable music from this stylistic train wreck". In 1968, at the instigation of Marshall Chess, he recorded Electric Mud, an album intended to revive his career by backing him with Rotary Connection, a psychedelic soul band that Chess had put together. The album proved controversial; although it reached number 127 on the Billboard 200 album chart, it was scorned by many critics, and eventually disowned by Muddy Waters himself:
Nonetheless, six months later he recorded a follow-up album, After the Rain, which had a similar sound and featured many of the same musicians.
Later in 1969, he recorded and released the album Fathers and Sons, which featured a return to his classic Chicago blues sound. Fathers and Sons had an all-star backing band that included Michael Bloomfield and Paul Butterfield, longtime fans whose desire to play with him was the impetus for the album. It was the most successful album of Muddy Waters' career, reaching number 70 on the Billboard 200.
Resurgence and later career, 1971–1982
In 1971, a show at Mister Kelly's, an upmarket Chicago nightclub, was recorded and released, signalling both Muddy Waters's return to form and the completion of his transfer to white audiences.
In 1972, he won his first Grammy Award, for Best Ethnic or Traditional Recording for They Call Me Muddy Waters, a 1971 album of old, but previously unreleased recordings.
Later in 1972, he flew to England to record the album The London Muddy Waters Sessions. The album was a follow-up to the previous year's The London Howlin' Wolf Sessions. Both albums were the brainchild of Chess Records producer Norman Dayron, and were intended to showcase Chicago blues musicians playing with the younger British rock musicians whom they had inspired. Muddy Waters brought with him two American musicians, harmonica player Carey Bell and guitarist Sammy Lawhorn. The British and Irish musicians who played on the album included Rory Gallagher, Steve Winwood, Rick Grech, and Mitch Mitchell. Muddy was dissatisfied by the results, due to the British musicians' more rock-oriented sound. "These boys are top musicians, they can play with me, put the book before 'em and play it, you know," he told Guralnick. "But that ain't what I need to sell my people, it ain't the Muddy Waters sound. An' if you change my sound, then you gonna change the whole man." He stated, "My blues look so simple, so easy to do, but it's not. They say my blues is the hardest blues in the world to play." Nevertheless, the album won another Grammy, again for Best Ethnic or Traditional Recording.
He won another Grammy for his last LP on Chess Records: The Muddy Waters Woodstock Album, recorded in 1975 with his new guitarist Bob Margolin, Pinetop Perkins, Paul Butterfield, and Levon Helm and Garth Hudson of the Band. In November 1976 he appeared as a featured special guest at The Band's Last Waltz farewell concert, and in the subsequent 1978 feature film documentary of the event.
From 1977 to 1981, blues musician Johnny Winter, who had idolized Muddy Waters since childhood and who had become a friend, produced four albums of his, all on the Blue Sky Records label: the studio albums Hard Again (1977), I'm Ready (1978) and King Bee (1981), and the live album Muddy "Mississippi" Waters – Live (1979). The albums were critical and commercial successes, with all but King Bee winning a Grammy. Hard Again has been especially praised by critics, who have tended to describe it as his comeback album.
In 1981, Muddy Waters was invited to perform at ChicagoFest, the city's top outdoor music festival. He was joined onstage by Johnny Winter and Buddy Miles, and played classics like "Mannish Boy", "Trouble No More", and "Mojo Working" to a new generation of fans. The performance was made available on DVD in 2009 by Shout! Factory. On November 22, he performed live with three members of British rock band the Rolling Stones (Mick Jagger, Keith Richards and Ronnie Wood) at the Checkerboard Lounge, a blues club in Bronzeville, on the South Side of Chicago, which was established in 1972 by Buddy Guy and L.C. Thurman. A DVD version of the performance was released in 2012.
In 1982, declining health dramatically stopped his performance schedule. His last public performance took place when he sat in with Eric Clapton's band at a concert in Florida in the summer of 1982.
Personal life
Muddy Waters' longtime partner, Geneva Wade, died of cancer on March 15, 1973. Gaining custody of his three children, Joseph, Renee, and Rosalind, he moved them into his home, eventually buying a new house in Westmont, Illinois. Years later, he traveled to Florida and met his future wife, 19-year-old Marva Jean Brooks, whom he nicknamed "Sunshine". Eric Clapton served as best man at their wedding in 1979.
His sons, Larry "Mud" Morganfield and Big Bill Morganfield, are also blues singers and musicians. In 2017 his youngest son, Joseph "Mojo" Morganfield, began publicly performing the blues. Joseph was known to play occasionally with his brothers. Mojo died in 2020 at the age of 56.
Death
Muddy Waters died in his sleep from heart failure, at his home in Westmont, Illinois, on April 30, 1983, from cancer-related complications. He was taken from his Westmont home, which he lived in for the last decade of his life, to Good Samaritan Hospital in Downers Grove, Illinois, where he was pronounced dead aged 70. His funeral was held on May 4, 1983. Throngs of blues musicians and fans attended his funeral at Restvale Cemetery in Alsip, Illinois. He is buried next to his wife, Geneva.
After his death, a lengthy court battle ensued between his heirs and Scott Cameron, his former manager. In 2010, his heir was petitioning for the courts to appoint Mercy Morganfield, his daughter, as administrator and distribute remaining assets, which mainly consists of copyrights to his music. The petition to reopen the estate was successful. In May 2018, the heirs' lawyer sought to hold Scott Cameron's wife in contempt for diverting royalty income. However, the heirs asked for that citation not to be pursued. The next court date was set for July 10, 2018.
Legacy
Two years after his death, the city of Chicago paid tribute to him by designating the one-block section between 900 and 1000 East 43rd Street near his former home on the south side "Honorary Muddy Waters Drive". In 2017, a ten stories-mural commissioned as a part of the Chicago Blues Festival and designed by Brazilian artist Eduardo Kobra was painted on the side of the building at 17 North State Street, at the corner of State and Washington Streets. The Chicago suburb of Westmont, where he lived the last decade of his life, named a section of Cass Avenue near his home "Honorary Muddy Waters Way".
In 2008, a Mississippi Blues Trail marker has been placed in Clarksdale, Mississippi, by the Mississippi Blues Commission designating the site of Muddy Waters' cabin. He also received a plaque on the Clarksdale Walk of Fame.
Muddy Waters' Chicago Home in the Kenwood neighborhood is in the process of being named a Chicago Landmark.
Influence
The British band The Rolling Stones named themselves after Muddy Waters' 1950 song "Rollin' Stone". Jimi Hendrix recalled that "I first heard him as a little boy and it scared me to death". The band Cream covered "Rollin' and Tumblin'" on their 1966 debut album, Fresh Cream. Eric Clapton was a big fan of Muddy Waters while growing up, and his music influenced Clapton's music career. The song was also covered by Canned Heat at the Monterey Pop Festival and later adapted by Bob Dylan on his album Modern Times. One of Led Zeppelin's biggest hits, "Whole Lotta Love", has its lyrics heavily influenced by the Muddy Waters hit "You Need Love" (written by Willie Dixon). "Hoochie Coochie Man", was covered by Allman Brothers Band, Humble Pie, Steppenwolf, Supertramp and Fear. In 1993, Paul Rodgers released the album Muddy Water Blues: A Tribute to Muddy Waters, on which he covered a number of his songs, including "Louisiana Blues", "Rollin' Stone", "(I'm your) Hoochie Coochie Man" and "I'm Ready" in collaboration with guitarists such as Gary Moore, Brian May and Jeff Beck. Angus Young, of the rock group AC/DC, has cited Muddy as one of his influences. The AC/DC song title "You Shook Me All Night Long" came from lyrics of the Muddy Waters song "You Shook Me", written by Willie Dixon and J. B. Lenoir. Earl Hooker first recorded it as an instrumental, which was then overdubbed with vocals by Muddy Waters in 1962. Led Zeppelin also covered it on their debut album.
In 1981 ZZ Top guitarist Billy Gibbons went to visit the Delta Blues Museum in Clarksdale with The Blues magazine founder Jim O'Neal. The museum's director, Sid Graves, brought Gibbons to visit Waters original house, and encouraged him to pick up a piece of scrap lumber that was originally part of the roof. Gibbons eventually converted the wood into a guitar. Named Muddywood, the instrument is now exhibited at the Delta Blues Museum in Clarksdale.
Following his death, fellow blues musician B.B. King told Guitar World magazine, "It's going to be years and years before most people realize how greatly he contributed to American music." John P. Hammond told Guitar World magazine, "Muddy was a master of just the right notes. It was profound guitar playing, deep and simple ... more country blues transposed to the electric guitar, the kind of playing that enhanced the lyrics, gave profundity to the words themselves."
Muddy Waters' songs have been featured in long-time fan Martin Scorsese's movies, including The Color of Money, Goodfellas, and Casino. A 1970s recording of his mid-'50s hit "Mannish Boy" was used in the films Goodfellas, Better Off Dead, Risky Business, and the rockumentary The Last Waltz. In 1988 "Mannish Boy" was also used in a Levi's 501 commercial and re-released in Europe as a single with "(I'm your) Hoochie Coochie Man" on the flip side.
Awards and recognition
Grammy Awards
Rock and Roll Hall of Fame
The Rock and Roll Hall of Fame listed four songs of Muddy Waters among the 500 Songs That Shaped Rock and Roll.
Blues Foundation Awards
Inductions
U.S. Postage Stamp
Discography
Studio albums
Muddy Waters Sings "Big Bill" (Chess, 1960)
Folk Singer (Chess, 1964)
Muddy, Brass & the Blues (Chess, 1966)
Electric Mud (Cadet, 1968)
After the Rain (Cadet, 1969)
Fathers and Sons (Chess, 1969)
The London Muddy Waters Sessions (Chess, 1972)
Can't Get No Grindin' (Chess, 1973)
Mud in Your Ear (Muse, 1973)
London Revisited (Chess, 1974) split album with Howlin' Wolf
"Unk" in Funk (Chess, 1974)
The Muddy Waters Woodstock Album (Chess, 1975)
Hard Again (Blue Sky, 1977)
I'm Ready (Blue Sky, 1978)
King Bee (Blue Sky, 1981)
Notes
References
External links
1913 births
1983 deaths
Chicago blues musicians
Electric blues musicians
Delta blues musicians
Blues revival musicians
African-American guitarists
African-American male singer-songwriters
American blues singer-songwriters
American blues guitarists
American male guitarists
Blues musicians from Mississippi
American street performers
Grammy Lifetime Achievement Award winners
Musicians from Clarksdale, Mississippi
People from Issaquena County, Mississippi
Singer-songwriters from Mississippi
Slide guitarists
Lead guitarists
Chess Records artists
Muse Records artists
Mississippi Blues Trail
Blues rock musicians
20th-century American guitarists
Singer-songwriters from Illinois
People from Westmont, Illinois
Guitarists from Illinois
Guitarists from Mississippi
Blind Pig Records artists
20th-century African-American male singers | true | [
"This article lists the diplomatic missions of Transnistria. Transnistria is a state with limited recognition, that broke away from Moldova after the War of Transnistria in 1992. Transnistria did not receive recognition from any UN member states. It has been recognized as an independent state by Abkhazia, Nagorno-Karabakh and South Ossetia only. At present, Transnistria has three representative offices abroad.\n\nEurope\n \n Sukhumi (Representative office)\n\n Moscow (Official Diplomatic Bureau)\n \n Tskhinvali (Representative office)\n\nSee also \nForeign relations of Transnistria\nList of diplomatic missions in Transnistria\n\nReferences\n\nExternal links \n Ministry of Foreign Affairs of Pridnestrovian Moldavian Republic\n\nDiplomatic missions of\nTransnistria\nDiplomatic missions of Transnistria",
"This article lists the diplomatic missions in Transnistria. Transnistria is a state with limited recognition, that broke away from Moldova after the War of Transnistria in 1992. Transnistria did not receive recognition from any UN member states. It has been recognized as independent state by Abkhazia, Nagorno-Karabakh and South Ossetia only. At present, the capital Tiraspol hosts no embassies, but two representative offices and one consulate.\n\nEmbassies \nTiraspol\n none\n\nRepresentative offices \nTiraspol\n\nConsulates \nTiraspol\n\n (Consular office)\n\nSee also \nForeign relations of Transnistria\nList of diplomatic missions of Transnistria\n\nReferences\n\nExternal links \n Ministry of Foreign Affairs of Pridnestrovian Moldavian Republic\n\nDiplomatic missions in\nTransnistria\nDiplomatic missions in Transnistria\nDiplomatic missions"
] | [
"McKinley Morganfield (April 4, 1913April 30, 1983), known professionally as Muddy Waters, was an American blues singer-songwriter and musician who was an important figure in the post-war blues scene, and is often cited as the \"father of modern Chicago blues.\" His style of playing has been described as \"raining down Delta beatitude.\"",
"His style of playing has been described as \"raining down Delta beatitude.\" Muddy Waters grew up on Stovall Plantation near Clarksdale, Mississippi, and by age 17 was playing the guitar and the harmonica, emulating the local blues artists Son House and Robert Johnson.",
"Muddy Waters grew up on Stovall Plantation near Clarksdale, Mississippi, and by age 17 was playing the guitar and the harmonica, emulating the local blues artists Son House and Robert Johnson. He was recorded in Mississippi by Alan Lomax for the Library of Congress in 1941.",
"He was recorded in Mississippi by Alan Lomax for the Library of Congress in 1941. In 1943, he moved to Chicago to become a full-time professional musician. In 1946, he recorded his first records for Columbia Records and then for Aristocrat Records, a newly formed label run by the brothers Leonard and Phil Chess.",
"In 1946, he recorded his first records for Columbia Records and then for Aristocrat Records, a newly formed label run by the brothers Leonard and Phil Chess. In the early 1950s, Muddy Waters and his band—Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums and Otis Spann on piano—recorded several blues classics, some with the bassist and songwriter Willie Dixon.",
"In the early 1950s, Muddy Waters and his band—Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums and Otis Spann on piano—recorded several blues classics, some with the bassist and songwriter Willie Dixon. These songs included \"Hoochie Coochie Man,\" \"I Just Want to Make Love to You\" and \"I'm Ready\".",
"These songs included \"Hoochie Coochie Man,\" \"I Just Want to Make Love to You\" and \"I'm Ready\". In 1958, he traveled to England, laying the foundations of the resurgence of interest in the blues there.",
"In 1958, he traveled to England, laying the foundations of the resurgence of interest in the blues there. His performance at the Newport Jazz Festival in 1960 was recorded and released as his first live album, At Newport 1960. Muddy Waters' music has influenced various American music genres, including rock and roll and rock music.",
"Muddy Waters' music has influenced various American music genres, including rock and roll and rock music. Early life Muddy Waters's place and date of birth are not conclusively known.",
"Early life Muddy Waters's place and date of birth are not conclusively known. He stated that he was born in Rolling Fork, Mississippi, in 1915, but other evidence suggests that he was born in Jug's Corner, in neighboring Issaquena County, in 1913.",
"He stated that he was born in Rolling Fork, Mississippi, in 1915, but other evidence suggests that he was born in Jug's Corner, in neighboring Issaquena County, in 1913. In the 1930s and 1940s, before his rise to fame, the year of his birth was reported as 1913 on his marriage license, recording notes, and musicians' union card.",
"In the 1930s and 1940s, before his rise to fame, the year of his birth was reported as 1913 on his marriage license, recording notes, and musicians' union card. A 1955 interview in the Chicago Defender is the earliest in which he stated 1915 as the year of his birth, and he continued to say this in interviews from that point onward.",
"A 1955 interview in the Chicago Defender is the earliest in which he stated 1915 as the year of his birth, and he continued to say this in interviews from that point onward. The 1920 census lists him as five years old as of March 6, 1920, suggesting that his birth year may have been 1914.",
"The 1920 census lists him as five years old as of March 6, 1920, suggesting that his birth year may have been 1914. The Social Security Death Index, relying on the Social Security card application submitted after his move to Chicago in the mid-1940s, lists him as being born April 4, 1913.",
"The Social Security Death Index, relying on the Social Security card application submitted after his move to Chicago in the mid-1940s, lists him as being born April 4, 1913. His gravestone gives his birth year as 1915. His grandmother, Della Grant, raised him after his mother died shortly after his birth.",
"His grandmother, Della Grant, raised him after his mother died shortly after his birth. Grant gave him the nickname \"Muddy\" at an early age because he loved to play in the muddy water of nearby Deer Creek.",
"Grant gave him the nickname \"Muddy\" at an early age because he loved to play in the muddy water of nearby Deer Creek. \"Waters\" was added years later, as he began to play harmonica and perform locally in his early teens.",
"\"Waters\" was added years later, as he began to play harmonica and perform locally in his early teens. The remains of the cabin on Stovall Plantation where he lived in his youth are now at the Delta Blues Museum in Clarksdale, Mississippi.",
"The remains of the cabin on Stovall Plantation where he lived in his youth are now at the Delta Blues Museum in Clarksdale, Mississippi. He had his first introduction to music in church: \"I used to belong to church. I was a good Baptist, singing in the church.",
"I was a good Baptist, singing in the church. So I got all of my good moaning and trembling going on for me right out of church,\" he recalled. By the time he was 17, he had purchased his first guitar. \"I sold the last horse that we had.",
"\"I sold the last horse that we had. Made about fifteen dollars for him, gave my grandmother seven dollars and fifty cents, I kept seven-fifty and paid about two-fifty for that guitar. It was a Stella. The people ordered them from Sears-Roebuck in Chicago.\"",
"The people ordered them from Sears-Roebuck in Chicago.\" He started playing his songs in joints near his hometown, mostly on a plantation owned by Colonel William Howard Stovall. Career Early career, early 1930s–1948 In the early 1930s, Muddy Waters accompanied Big Joe Williams on tours of the Delta, playing harmonica.",
"Career Early career, early 1930s–1948 In the early 1930s, Muddy Waters accompanied Big Joe Williams on tours of the Delta, playing harmonica. Williams recounted to Blewett Thomas that he eventually dropped Muddy \"because he was takin' away my women [fans]\".",
"Williams recounted to Blewett Thomas that he eventually dropped Muddy \"because he was takin' away my women [fans]\". In August 1941, Alan Lomax went to Stovall, Mississippi, on behalf of the Library of Congress to record various country blues musicians.",
"In August 1941, Alan Lomax went to Stovall, Mississippi, on behalf of the Library of Congress to record various country blues musicians. \"He brought his stuff down and recorded me right in my house,\" Muddy told Rolling Stone magazine, \"and when he played back the first song I sounded just like anybody's records.",
"\"He brought his stuff down and recorded me right in my house,\" Muddy told Rolling Stone magazine, \"and when he played back the first song I sounded just like anybody's records. Man, you don't know how I felt that Saturday afternoon when I heard that voice and it was my own voice.",
"Man, you don't know how I felt that Saturday afternoon when I heard that voice and it was my own voice. Later on he sent me two copies of the pressing and a check for twenty bucks, and I carried that record up to the corner and put it on the jukebox.",
"Later on he sent me two copies of the pressing and a check for twenty bucks, and I carried that record up to the corner and put it on the jukebox. Just played it and played it and said, 'I can do it, I can do it'.\"",
"Just played it and played it and said, 'I can do it, I can do it'.\" Lomax came back in July 1942 to record him again. Both sessions were eventually released by Testament Records as Down on Stovall's Plantation.",
"Both sessions were eventually released by Testament Records as Down on Stovall's Plantation. The complete recordings were reissued by Chess Records on CD as Muddy Waters: The Complete Plantation Recordings. The Historic 1941–42 Library of Congress Field Recordings in 1993 and remastered in 1997.",
"The Historic 1941–42 Library of Congress Field Recordings in 1993 and remastered in 1997. In 1943, Muddy Waters headed to Chicago with the hope of becoming a full-time professional musician. He later recalled arriving in Chicago as the single most momentous event in his life.",
"He later recalled arriving in Chicago as the single most momentous event in his life. He lived with a relative for a short period while driving a truck and working in a factory by day and performing at night.",
"He lived with a relative for a short period while driving a truck and working in a factory by day and performing at night. Big Bill Broonzy, then one of the leading bluesmen in Chicago, had Muddy open his shows in the rowdy clubs where Broonzy played.",
"Big Bill Broonzy, then one of the leading bluesmen in Chicago, had Muddy open his shows in the rowdy clubs where Broonzy played. This gave him the opportunity to play in front of a large audience. In 1944, he bought his first electric guitar and then formed his first electric combo.",
"In 1944, he bought his first electric guitar and then formed his first electric combo. He felt obliged to electrify his sound in Chicago because, he said, \"When I went into the clubs, the first thing I wanted was an amplifier. Couldn't nobody hear you with an acoustic.\"",
"Couldn't nobody hear you with an acoustic.\" His sound reflected the optimism of postwar African Americans. Willie Dixon said that \"There was quite a few people around singing the blues but most of them was singing all sad blues. Muddy was giving his blues a little pep.\"",
"Muddy was giving his blues a little pep.\" In 1946, Muddy recorded some songs for Mayo Williams at Columbia Records, with an old-fashioned combo consisting of clarinet, saxophone and piano; they were released a year later with Ivan Ballen's Philadelphia-based 20th Century label, billed as James \"Sweet Lucy\" Carter and his Orchestra – Muddy Waters' name was not mentioned on the label.",
"In 1946, Muddy recorded some songs for Mayo Williams at Columbia Records, with an old-fashioned combo consisting of clarinet, saxophone and piano; they were released a year later with Ivan Ballen's Philadelphia-based 20th Century label, billed as James \"Sweet Lucy\" Carter and his Orchestra – Muddy Waters' name was not mentioned on the label. Later that year, he began recording for Aristocrat Records, a newly formed label run by the brothers Leonard and Phil Chess.",
"Later that year, he began recording for Aristocrat Records, a newly formed label run by the brothers Leonard and Phil Chess. In 1947, he played guitar with Sunnyland Slim on piano on the cuts \"Gypsy Woman\" and \"Little Anna Mae\".",
"In 1947, he played guitar with Sunnyland Slim on piano on the cuts \"Gypsy Woman\" and \"Little Anna Mae\". These were also shelved, but in 1948, \"I Can't Be Satisfied\" and \"I Feel Like Going Home\" became hits, and his popularity in clubs began to take off.",
"These were also shelved, but in 1948, \"I Can't Be Satisfied\" and \"I Feel Like Going Home\" became hits, and his popularity in clubs began to take off. Soon after, Aristocrat changed its name to Chess Records.",
"Soon after, Aristocrat changed its name to Chess Records. Muddy Waters's signature tune \"Rollin' Stone\" also became a hit that year.",
"Muddy Waters's signature tune \"Rollin' Stone\" also became a hit that year. Commercial success, 1948–1957 Initially, the Chess brothers would not allow Muddy Waters to use his working band in the recording studio; instead, he was provided with a backing bass by Ernest \"Big\" Crawford or by musicians assembled specifically for the recording session, including \"Baby Face\" Leroy Foster and Johnny Jones.",
"Commercial success, 1948–1957 Initially, the Chess brothers would not allow Muddy Waters to use his working band in the recording studio; instead, he was provided with a backing bass by Ernest \"Big\" Crawford or by musicians assembled specifically for the recording session, including \"Baby Face\" Leroy Foster and Johnny Jones. Gradually, Chess relented, and by September 1953 he was recording with one of the most acclaimed blues groups in history: Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums, and Otis Spann on piano.",
"Gradually, Chess relented, and by September 1953 he was recording with one of the most acclaimed blues groups in history: Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums, and Otis Spann on piano. The band recorded a series of blues classics during the early 1950s, some with the help of the bassist and songwriter Willie Dixon, including \"Hoochie Coochie Man\", \"I Just Want to Make Love to You\", and \"I'm Ready\" Muddy Waters's band became a proving ground for some of the city's best blues talent, with members of the ensemble going on to successful careers of their own.",
"The band recorded a series of blues classics during the early 1950s, some with the help of the bassist and songwriter Willie Dixon, including \"Hoochie Coochie Man\", \"I Just Want to Make Love to You\", and \"I'm Ready\" Muddy Waters's band became a proving ground for some of the city's best blues talent, with members of the ensemble going on to successful careers of their own. In 1952, Little Walter left when his single \"Juke\" became a hit, although he continued a collaborative relationship long after he left, appearing on most of the band's classic recordings in the 1950s.",
"In 1952, Little Walter left when his single \"Juke\" became a hit, although he continued a collaborative relationship long after he left, appearing on most of the band's classic recordings in the 1950s. Howlin' Wolf moved to Chicago in 1954 with financial support earned through his successful Chess singles, and the \"legendary rivalry\" with Muddy Waters began.",
"Howlin' Wolf moved to Chicago in 1954 with financial support earned through his successful Chess singles, and the \"legendary rivalry\" with Muddy Waters began. The rivalry was, in part, stoked by Willie Dixon providing songs to both artists, with Wolf suspecting that Muddy was getting Dixon's best songs.",
"The rivalry was, in part, stoked by Willie Dixon providing songs to both artists, with Wolf suspecting that Muddy was getting Dixon's best songs. 1955 saw the departure of Jimmy Rogers, who quit to work exclusively with his own band, which had been a sideline until that time.",
"1955 saw the departure of Jimmy Rogers, who quit to work exclusively with his own band, which had been a sideline until that time. In the mid-1950s, Muddy Waters' singles were frequently on Billboard magazine's various Rhythm & Blues charts including \"Sugar Sweet\" in 1955 and \"Trouble No More\", \"Forty Days and Forty Nights\", and \"Don't Go No Farther\" in 1956.",
"In the mid-1950s, Muddy Waters' singles were frequently on Billboard magazine's various Rhythm & Blues charts including \"Sugar Sweet\" in 1955 and \"Trouble No More\", \"Forty Days and Forty Nights\", and \"Don't Go No Farther\" in 1956. 1956 also saw the release of one of his best-known numbers, \"Got My Mojo Working\", although it did not appear on the charts.",
"1956 also saw the release of one of his best-known numbers, \"Got My Mojo Working\", although it did not appear on the charts. However, by the late 1950s, his singles success had come to an end, with only \"Close to You\" reaching the chart in 1958.",
"However, by the late 1950s, his singles success had come to an end, with only \"Close to You\" reaching the chart in 1958. Also in 1958, Chess released his first compilation album, The Best of Muddy Waters, which collected twelve of his singles up to 1956.",
"Also in 1958, Chess released his first compilation album, The Best of Muddy Waters, which collected twelve of his singles up to 1956. Performances and crossover, 1958–1970 Muddy Waters toured England with Spann in 1958, where they were backed by local Dixieland-style or \"trad jazz\" musicians, including members of Chris Barber's band.",
"Performances and crossover, 1958–1970 Muddy Waters toured England with Spann in 1958, where they were backed by local Dixieland-style or \"trad jazz\" musicians, including members of Chris Barber's band. At the time, English audiences had only been exposed to acoustic folk blues, as performed by artists such as Sonny Terry, Brownie McGhee, and Big Bill Broonzy.",
"At the time, English audiences had only been exposed to acoustic folk blues, as performed by artists such as Sonny Terry, Brownie McGhee, and Big Bill Broonzy. Both the musicians and audiences were unprepared for Waters' performance, which included his electric slide guitar playing.",
"Both the musicians and audiences were unprepared for Waters' performance, which included his electric slide guitar playing. He recalled: Although his performances alienated the old guard, some younger musicians, including Alexis Korner and Cyril Davies from Barber's band, were inspired to go in the more modern, electric blues direction.",
"He recalled: Although his performances alienated the old guard, some younger musicians, including Alexis Korner and Cyril Davies from Barber's band, were inspired to go in the more modern, electric blues direction. Korner and Davies' own groups included musicians who would later form the Rolling Stones (named after Muddy's 1950 hit \"Rollin' Stone\"), Cream, and the original Fleetwood Mac.",
"Korner and Davies' own groups included musicians who would later form the Rolling Stones (named after Muddy's 1950 hit \"Rollin' Stone\"), Cream, and the original Fleetwood Mac. In the 1960s, Muddy Waters' performances continued to introduce a new generation to Chicago blues.",
"In the 1960s, Muddy Waters' performances continued to introduce a new generation to Chicago blues. At the Newport Jazz Festival, he recorded one of the first live blues albums, At Newport 1960, and his performance of \"Got My Mojo Working\" was nominated for a Grammy award.",
"At the Newport Jazz Festival, he recorded one of the first live blues albums, At Newport 1960, and his performance of \"Got My Mojo Working\" was nominated for a Grammy award. In September 1963, in Chess' attempt to connect with folk music audiences, he recorded Folk Singer, which replaced his trademark electric guitar sound with an acoustic band, including a then-unknown Buddy Guy on acoustic guitar.",
"In September 1963, in Chess' attempt to connect with folk music audiences, he recorded Folk Singer, which replaced his trademark electric guitar sound with an acoustic band, including a then-unknown Buddy Guy on acoustic guitar. Folk Singer was not a commercial success, but it was lauded by critics, and in 2003 Rolling Stone magazine placed it at number 280 on its list of the 500 greatest albums of all time.",
"Folk Singer was not a commercial success, but it was lauded by critics, and in 2003 Rolling Stone magazine placed it at number 280 on its list of the 500 greatest albums of all time. In October 1963, Muddy Waters participated in the first of several annual European tours, organized as the American Folk Blues Festival, during which he also performed more acoustic-oriented numbers.",
"In October 1963, Muddy Waters participated in the first of several annual European tours, organized as the American Folk Blues Festival, during which he also performed more acoustic-oriented numbers. In 1967, he re-recorded several blues standards with Bo Diddley, Little Walter, and Howlin' Wolf, which were marketed as Super Blues and The Super Super Blues Band albums in Chess' attempt to reach a rock audience.",
"In 1967, he re-recorded several blues standards with Bo Diddley, Little Walter, and Howlin' Wolf, which were marketed as Super Blues and The Super Super Blues Band albums in Chess' attempt to reach a rock audience. The Super Super Blues Band united Wolf and Waters, who had a long-standing rivalry.",
"The Super Super Blues Band united Wolf and Waters, who had a long-standing rivalry. It was, as Ken Chang wrote in his AllMusic review, flooded with \"contentious studio banter [...] more entertaining than the otherwise unmemorable music from this stylistic train wreck\".",
"It was, as Ken Chang wrote in his AllMusic review, flooded with \"contentious studio banter [...] more entertaining than the otherwise unmemorable music from this stylistic train wreck\". In 1968, at the instigation of Marshall Chess, he recorded Electric Mud, an album intended to revive his career by backing him with Rotary Connection, a psychedelic soul band that Chess had put together.",
"In 1968, at the instigation of Marshall Chess, he recorded Electric Mud, an album intended to revive his career by backing him with Rotary Connection, a psychedelic soul band that Chess had put together. The album proved controversial; although it reached number 127 on the Billboard 200 album chart, it was scorned by many critics, and eventually disowned by Muddy Waters himself: Nonetheless, six months later he recorded a follow-up album, After the Rain, which had a similar sound and featured many of the same musicians.",
"The album proved controversial; although it reached number 127 on the Billboard 200 album chart, it was scorned by many critics, and eventually disowned by Muddy Waters himself: Nonetheless, six months later he recorded a follow-up album, After the Rain, which had a similar sound and featured many of the same musicians. Later in 1969, he recorded and released the album Fathers and Sons, which featured a return to his classic Chicago blues sound.",
"Later in 1969, he recorded and released the album Fathers and Sons, which featured a return to his classic Chicago blues sound. Fathers and Sons had an all-star backing band that included Michael Bloomfield and Paul Butterfield, longtime fans whose desire to play with him was the impetus for the album.",
"Fathers and Sons had an all-star backing band that included Michael Bloomfield and Paul Butterfield, longtime fans whose desire to play with him was the impetus for the album. It was the most successful album of Muddy Waters' career, reaching number 70 on the Billboard 200.",
"It was the most successful album of Muddy Waters' career, reaching number 70 on the Billboard 200. Resurgence and later career, 1971–1982 In 1971, a show at Mister Kelly's, an upmarket Chicago nightclub, was recorded and released, signalling both Muddy Waters's return to form and the completion of his transfer to white audiences.",
"Resurgence and later career, 1971–1982 In 1971, a show at Mister Kelly's, an upmarket Chicago nightclub, was recorded and released, signalling both Muddy Waters's return to form and the completion of his transfer to white audiences. In 1972, he won his first Grammy Award, for Best Ethnic or Traditional Recording for They Call Me Muddy Waters, a 1971 album of old, but previously unreleased recordings.",
"In 1972, he won his first Grammy Award, for Best Ethnic or Traditional Recording for They Call Me Muddy Waters, a 1971 album of old, but previously unreleased recordings. Later in 1972, he flew to England to record the album The London Muddy Waters Sessions.",
"Later in 1972, he flew to England to record the album The London Muddy Waters Sessions. The album was a follow-up to the previous year's The London Howlin' Wolf Sessions.",
"The album was a follow-up to the previous year's The London Howlin' Wolf Sessions. Both albums were the brainchild of Chess Records producer Norman Dayron, and were intended to showcase Chicago blues musicians playing with the younger British rock musicians whom they had inspired.",
"Both albums were the brainchild of Chess Records producer Norman Dayron, and were intended to showcase Chicago blues musicians playing with the younger British rock musicians whom they had inspired. Muddy Waters brought with him two American musicians, harmonica player Carey Bell and guitarist Sammy Lawhorn.",
"Muddy Waters brought with him two American musicians, harmonica player Carey Bell and guitarist Sammy Lawhorn. The British and Irish musicians who played on the album included Rory Gallagher, Steve Winwood, Rick Grech, and Mitch Mitchell. Muddy was dissatisfied by the results, due to the British musicians' more rock-oriented sound.",
"Muddy was dissatisfied by the results, due to the British musicians' more rock-oriented sound. \"These boys are top musicians, they can play with me, put the book before 'em and play it, you know,\" he told Guralnick.",
"\"These boys are top musicians, they can play with me, put the book before 'em and play it, you know,\" he told Guralnick. \"But that ain't what I need to sell my people, it ain't the Muddy Waters sound.",
"\"But that ain't what I need to sell my people, it ain't the Muddy Waters sound. An' if you change my sound, then you gonna change the whole man.\" He stated, \"My blues look so simple, so easy to do, but it's not.",
"He stated, \"My blues look so simple, so easy to do, but it's not. They say my blues is the hardest blues in the world to play.\" Nevertheless, the album won another Grammy, again for Best Ethnic or Traditional Recording.",
"Nevertheless, the album won another Grammy, again for Best Ethnic or Traditional Recording. He won another Grammy for his last LP on Chess Records: The Muddy Waters Woodstock Album, recorded in 1975 with his new guitarist Bob Margolin, Pinetop Perkins, Paul Butterfield, and Levon Helm and Garth Hudson of the Band.",
"He won another Grammy for his last LP on Chess Records: The Muddy Waters Woodstock Album, recorded in 1975 with his new guitarist Bob Margolin, Pinetop Perkins, Paul Butterfield, and Levon Helm and Garth Hudson of the Band. In November 1976 he appeared as a featured special guest at The Band's Last Waltz farewell concert, and in the subsequent 1978 feature film documentary of the event.",
"In November 1976 he appeared as a featured special guest at The Band's Last Waltz farewell concert, and in the subsequent 1978 feature film documentary of the event. From 1977 to 1981, blues musician Johnny Winter, who had idolized Muddy Waters since childhood and who had become a friend, produced four albums of his, all on the Blue Sky Records label: the studio albums Hard Again (1977), I'm Ready (1978) and King Bee (1981), and the live album Muddy \"Mississippi\" Waters – Live (1979).",
"From 1977 to 1981, blues musician Johnny Winter, who had idolized Muddy Waters since childhood and who had become a friend, produced four albums of his, all on the Blue Sky Records label: the studio albums Hard Again (1977), I'm Ready (1978) and King Bee (1981), and the live album Muddy \"Mississippi\" Waters – Live (1979). The albums were critical and commercial successes, with all but King Bee winning a Grammy.",
"The albums were critical and commercial successes, with all but King Bee winning a Grammy. Hard Again has been especially praised by critics, who have tended to describe it as his comeback album. In 1981, Muddy Waters was invited to perform at ChicagoFest, the city's top outdoor music festival.",
"In 1981, Muddy Waters was invited to perform at ChicagoFest, the city's top outdoor music festival. He was joined onstage by Johnny Winter and Buddy Miles, and played classics like \"Mannish Boy\", \"Trouble No More\", and \"Mojo Working\" to a new generation of fans.",
"He was joined onstage by Johnny Winter and Buddy Miles, and played classics like \"Mannish Boy\", \"Trouble No More\", and \"Mojo Working\" to a new generation of fans. The performance was made available on DVD in 2009 by Shout! Factory.",
"Factory. Factory. On November 22, he performed live with three members of British rock band the Rolling Stones (Mick Jagger, Keith Richards and Ronnie Wood) at the Checkerboard Lounge, a blues club in Bronzeville, on the South Side of Chicago, which was established in 1972 by Buddy Guy and L.C. Thurman.",
"Thurman. Thurman. A DVD version of the performance was released in 2012. In 1982, declining health dramatically stopped his performance schedule. His last public performance took place when he sat in with Eric Clapton's band at a concert in Florida in the summer of 1982.",
"His last public performance took place when he sat in with Eric Clapton's band at a concert in Florida in the summer of 1982. Personal life Muddy Waters' longtime partner, Geneva Wade, died of cancer on March 15, 1973.",
"Personal life Muddy Waters' longtime partner, Geneva Wade, died of cancer on March 15, 1973. Gaining custody of his three children, Joseph, Renee, and Rosalind, he moved them into his home, eventually buying a new house in Westmont, Illinois.",
"Gaining custody of his three children, Joseph, Renee, and Rosalind, he moved them into his home, eventually buying a new house in Westmont, Illinois. Years later, he traveled to Florida and met his future wife, 19-year-old Marva Jean Brooks, whom he nicknamed \"Sunshine\".",
"Years later, he traveled to Florida and met his future wife, 19-year-old Marva Jean Brooks, whom he nicknamed \"Sunshine\". Eric Clapton served as best man at their wedding in 1979. His sons, Larry \"Mud\" Morganfield and Big Bill Morganfield, are also blues singers and musicians.",
"His sons, Larry \"Mud\" Morganfield and Big Bill Morganfield, are also blues singers and musicians. In 2017 his youngest son, Joseph \"Mojo\" Morganfield, began publicly performing the blues. Joseph was known to play occasionally with his brothers. Mojo died in 2020 at the age of 56.",
"Mojo died in 2020 at the age of 56. Death Muddy Waters died in his sleep from heart failure, at his home in Westmont, Illinois, on April 30, 1983, from cancer-related complications.",
"Death Muddy Waters died in his sleep from heart failure, at his home in Westmont, Illinois, on April 30, 1983, from cancer-related complications. He was taken from his Westmont home, which he lived in for the last decade of his life, to Good Samaritan Hospital in Downers Grove, Illinois, where he was pronounced dead aged 70.",
"He was taken from his Westmont home, which he lived in for the last decade of his life, to Good Samaritan Hospital in Downers Grove, Illinois, where he was pronounced dead aged 70. His funeral was held on May 4, 1983.",
"His funeral was held on May 4, 1983. Throngs of blues musicians and fans attended his funeral at Restvale Cemetery in Alsip, Illinois. He is buried next to his wife, Geneva. After his death, a lengthy court battle ensued between his heirs and Scott Cameron, his former manager.",
"After his death, a lengthy court battle ensued between his heirs and Scott Cameron, his former manager. In 2010, his heir was petitioning for the courts to appoint Mercy Morganfield, his daughter, as administrator and distribute remaining assets, which mainly consists of copyrights to his music. The petition to reopen the estate was successful.",
"The petition to reopen the estate was successful. In May 2018, the heirs' lawyer sought to hold Scott Cameron's wife in contempt for diverting royalty income. However, the heirs asked for that citation not to be pursued. The next court date was set for July 10, 2018.",
"The next court date was set for July 10, 2018. Legacy Two years after his death, the city of Chicago paid tribute to him by designating the one-block section between 900 and 1000 East 43rd Street near his former home on the south side \"Honorary Muddy Waters Drive\".",
"Legacy Two years after his death, the city of Chicago paid tribute to him by designating the one-block section between 900 and 1000 East 43rd Street near his former home on the south side \"Honorary Muddy Waters Drive\". In 2017, a ten stories-mural commissioned as a part of the Chicago Blues Festival and designed by Brazilian artist Eduardo Kobra was painted on the side of the building at 17 North State Street, at the corner of State and Washington Streets.",
"In 2017, a ten stories-mural commissioned as a part of the Chicago Blues Festival and designed by Brazilian artist Eduardo Kobra was painted on the side of the building at 17 North State Street, at the corner of State and Washington Streets. The Chicago suburb of Westmont, where he lived the last decade of his life, named a section of Cass Avenue near his home \"Honorary Muddy Waters Way\".",
"The Chicago suburb of Westmont, where he lived the last decade of his life, named a section of Cass Avenue near his home \"Honorary Muddy Waters Way\". In 2008, a Mississippi Blues Trail marker has been placed in Clarksdale, Mississippi, by the Mississippi Blues Commission designating the site of Muddy Waters' cabin.",
"In 2008, a Mississippi Blues Trail marker has been placed in Clarksdale, Mississippi, by the Mississippi Blues Commission designating the site of Muddy Waters' cabin. He also received a plaque on the Clarksdale Walk of Fame. Muddy Waters' Chicago Home in the Kenwood neighborhood is in the process of being named a Chicago Landmark.",
"Muddy Waters' Chicago Home in the Kenwood neighborhood is in the process of being named a Chicago Landmark. Influence The British band The Rolling Stones named themselves after Muddy Waters' 1950 song \"Rollin' Stone\". Jimi Hendrix recalled that \"I first heard him as a little boy and it scared me to death\".",
"Jimi Hendrix recalled that \"I first heard him as a little boy and it scared me to death\". The band Cream covered \"Rollin' and Tumblin'\" on their 1966 debut album, Fresh Cream. Eric Clapton was a big fan of Muddy Waters while growing up, and his music influenced Clapton's music career.",
"Eric Clapton was a big fan of Muddy Waters while growing up, and his music influenced Clapton's music career. The song was also covered by Canned Heat at the Monterey Pop Festival and later adapted by Bob Dylan on his album Modern Times.",
"The song was also covered by Canned Heat at the Monterey Pop Festival and later adapted by Bob Dylan on his album Modern Times. One of Led Zeppelin's biggest hits, \"Whole Lotta Love\", has its lyrics heavily influenced by the Muddy Waters hit \"You Need Love\" (written by Willie Dixon).",
"One of Led Zeppelin's biggest hits, \"Whole Lotta Love\", has its lyrics heavily influenced by the Muddy Waters hit \"You Need Love\" (written by Willie Dixon). \"Hoochie Coochie Man\", was covered by Allman Brothers Band, Humble Pie, Steppenwolf, Supertramp and Fear.",
"\"Hoochie Coochie Man\", was covered by Allman Brothers Band, Humble Pie, Steppenwolf, Supertramp and Fear. In 1993, Paul Rodgers released the album Muddy Water Blues: A Tribute to Muddy Waters, on which he covered a number of his songs, including \"Louisiana Blues\", \"Rollin' Stone\", \"(I'm your) Hoochie Coochie Man\" and \"I'm Ready\" in collaboration with guitarists such as Gary Moore, Brian May and Jeff Beck.",
"In 1993, Paul Rodgers released the album Muddy Water Blues: A Tribute to Muddy Waters, on which he covered a number of his songs, including \"Louisiana Blues\", \"Rollin' Stone\", \"(I'm your) Hoochie Coochie Man\" and \"I'm Ready\" in collaboration with guitarists such as Gary Moore, Brian May and Jeff Beck. Angus Young, of the rock group AC/DC, has cited Muddy as one of his influences.",
"Angus Young, of the rock group AC/DC, has cited Muddy as one of his influences. The AC/DC song title \"You Shook Me All Night Long\" came from lyrics of the Muddy Waters song \"You Shook Me\", written by Willie Dixon and J. B. Lenoir.",
"B. Lenoir. B. Lenoir. Earl Hooker first recorded it as an instrumental, which was then overdubbed with vocals by Muddy Waters in 1962. Led Zeppelin also covered it on their debut album. In 1981 ZZ Top guitarist Billy Gibbons went to visit the Delta Blues Museum in Clarksdale with The Blues magazine founder Jim O'Neal.",
"In 1981 ZZ Top guitarist Billy Gibbons went to visit the Delta Blues Museum in Clarksdale with The Blues magazine founder Jim O'Neal. The museum's director, Sid Graves, brought Gibbons to visit Waters original house, and encouraged him to pick up a piece of scrap lumber that was originally part of the roof.",
"The museum's director, Sid Graves, brought Gibbons to visit Waters original house, and encouraged him to pick up a piece of scrap lumber that was originally part of the roof. Gibbons eventually converted the wood into a guitar. Named Muddywood, the instrument is now exhibited at the Delta Blues Museum in Clarksdale.",
"Named Muddywood, the instrument is now exhibited at the Delta Blues Museum in Clarksdale. Following his death, fellow blues musician B.B. King told Guitar World magazine, \"It's going to be years and years before most people realize how greatly he contributed to American music.\"",
"King told Guitar World magazine, \"It's going to be years and years before most people realize how greatly he contributed to American music.\" John P. Hammond told Guitar World magazine, \"Muddy was a master of just the right notes.",
"John P. Hammond told Guitar World magazine, \"Muddy was a master of just the right notes. It was profound guitar playing, deep and simple ... more country blues transposed to the electric guitar, the kind of playing that enhanced the lyrics, gave profundity to the words themselves.\"",
"It was profound guitar playing, deep and simple ... more country blues transposed to the electric guitar, the kind of playing that enhanced the lyrics, gave profundity to the words themselves.\" Muddy Waters' songs have been featured in long-time fan Martin Scorsese's movies, including The Color of Money, Goodfellas, and Casino.",
"Muddy Waters' songs have been featured in long-time fan Martin Scorsese's movies, including The Color of Money, Goodfellas, and Casino. A 1970s recording of his mid-'50s hit \"Mannish Boy\" was used in the films Goodfellas, Better Off Dead, Risky Business, and the rockumentary The Last Waltz.",
"A 1970s recording of his mid-'50s hit \"Mannish Boy\" was used in the films Goodfellas, Better Off Dead, Risky Business, and the rockumentary The Last Waltz. In 1988 \"Mannish Boy\" was also used in a Levi's 501 commercial and re-released in Europe as a single with \"(I'm your) Hoochie Coochie Man\" on the flip side.",
"In 1988 \"Mannish Boy\" was also used in a Levi's 501 commercial and re-released in Europe as a single with \"(I'm your) Hoochie Coochie Man\" on the flip side. Awards and recognition Grammy Awards Rock and Roll Hall of Fame The Rock and Roll Hall of Fame listed four songs of Muddy Waters among the 500 Songs That Shaped Rock and Roll.",
"Awards and recognition Grammy Awards Rock and Roll Hall of Fame The Rock and Roll Hall of Fame listed four songs of Muddy Waters among the 500 Songs That Shaped Rock and Roll. Blues Foundation Awards Inductions U.S. Postage Stamp Discography Studio albums Muddy Waters Sings \"Big Bill\" (Chess, 1960) Folk Singer (Chess, 1964) Muddy, Brass & the Blues (Chess, 1966) Electric Mud (Cadet, 1968) After the Rain (Cadet, 1969) Fathers and Sons (Chess, 1969) The London Muddy Waters Sessions (Chess, 1972) Can't Get No Grindin' (Chess, 1973) Mud in Your Ear (Muse, 1973) London Revisited (Chess, 1974) split album with Howlin' Wolf \"Unk\" in Funk (Chess, 1974) The Muddy Waters Woodstock Album (Chess, 1975) Hard Again (Blue Sky, 1977) I'm Ready (Blue Sky, 1978) King Bee (Blue Sky, 1981) Notes References External links 1913 births 1983 deaths Chicago blues musicians Electric blues musicians Delta blues musicians Blues revival musicians African-American guitarists African-American male singer-songwriters American blues singer-songwriters American blues guitarists American male guitarists Blues musicians from Mississippi American street performers Grammy Lifetime Achievement Award winners Musicians from Clarksdale, Mississippi People from Issaquena County, Mississippi Singer-songwriters from Mississippi Slide guitarists Lead guitarists Chess Records artists Muse Records artists Mississippi Blues Trail Blues rock musicians 20th-century American guitarists Singer-songwriters from Illinois People from Westmont, Illinois Guitarists from Illinois Guitarists from Mississippi Blind Pig Records artists 20th-century African-American male singers"
] |
[
"Chris Jericho",
"Undisputed WWF Champion (2001-2002)",
"What is the WWF Champion",
"I don't know."
] | C_f1fd2ce81cdd44bfb0cceafeff54588e_1 | What WWF was undisputed | 2 | What WWF Champion was undisputed | Chris Jericho | In the following months, Jericho became a major force in The Invasion storyline in which WCW and ECW joined forces to overtake the WWF. Jericho remained on the side of the WWF despite previously competing in WCW and ECW. However, Jericho began slow turning into a villain by showing jealousy toward fellow WWF member The Rock. They faced each other in a match at No Mercy for the WCW Championship after Jericho defeated Rob Van Dam in a number one contenders match. Jericho won the WCW Championship when he pinned The Rock after debuting a new finisher, the Breakdown, onto a steel chair, winning his first world title in the process. One night later, the two put their differences aside and won the WWF Tag Team title from the Dudley Boyz. After they lost the title to Test and Booker T, they continued their feud. On the November 5 episode of Raw, The Rock defeated Jericho to regain the WCW Championship. Following the match, Jericho attacked The Rock with a steel chair. At Survivor Series, Jericho solidified his heel turn by almost costing The Rock, and the WWF, victory in their elimination matchup by attacking The Rock again. At Vengeance, Jericho defeated both The Rock for the WCW Championship (unbranded and only referred to as the World Championship following Survivor Series) and Stone Cold Steve Austin for his first WWF Championship on the same night to become the first wrestler to hold both championships at the same time, which made him the first-ever Undisputed WWF Champion, as well as the fourth Grand Slam winner under the original format. He retained the title at Royal Rumble against The Rock and at No Way Out against Austin. Jericho later lost the title to Triple H in the main event of WrestleMania X8. After his title loss, Jericho became a member of the SmackDown! roster and continued his feud with Triple H. The rivalry culminated at Judgment Day when Triple H defeated Jericho in a Hell in a Cell match. CANNOTANSWER | to become the first wrestler to hold both championships at the same time, which made him the first-ever Undisputed WWF Champion, | Christopher Keith Irvine (born November 9, 1970), better known by the ring name Chris Jericho, is an American-Canadian professional wrestler and singer. He is currently signed to All Elite Wrestling (AEW), where he is the leader of The Inner Circle stable. Noted for his over-the-top rock star persona, he has been named by journalists and industry colleagues as one of the greatest professional wrestlers of all time.
During the 1990s, Jericho performed for American organizations Extreme Championship Wrestling (ECW) and World Championship Wrestling (WCW), as well as for promotions in countries such as Canada, Japan, and Mexico. At the end of 1999, he made his debut in the World Wrestling Federation (WWF). In 2001, he became the first Undisputed WWF Champion, and thus the final holder of the WCW World Heavyweight Championship (then referred to as the World Championship), having won and unified the WWF and World titles by defeating Stone Cold Steve Austin and The Rock on the same night. Jericho headlined multiple pay-per-view (PPV) events during his time with the WWF/WWE, including WrestleMania X8 and the inaugural TLC and Elimination Chamber shows. He was inducted into the Wrestling Observer Newsletter Hall of Fame in 2010.
Within the WWF/WWE, Jericho is a six-time world champion, having won the Undisputed WWF Championship once, the WCW/World Championship twice and the World Heavyweight Championship three times. He has also held the WWE Intercontinental Championship a record nine times and was the ninth Triple Crown Champion, as well as the fourth Grand Slam Champion in history. In addition, he was the 2008 Superstar of the Year Slammy Award winner and (along with Big Show as Jeri-Show) won the 2009 Tag Team of the Year Slammy Award—making him the only winner of both Superstar and Tag Team of the Year.
After his departure from WWE in 2018, Jericho signed with New Japan Pro-Wrestling (NJPW), where he became a one-time IWGP Intercontinental Champion, and becoming the first man to have held both the WWE and IWGP Intercontinental Championships. Jericho joined AEW in January 2019 and became the inaugural holder of the AEW World Championship in August of that year. All totalled, between ECW, WCW, WWE, NJPW and AEW, Jericho has held 36 championships (including seven World Championships, and 10 Intercontinental Championships).
In 1999, Jericho became lead vocalist of heavy metal band Fozzy, who released their eponymous debut album the following year. The group's early work is composed largely of cover versions, although they have focused primarily on original material from their third album, All That Remains (2005), onward. Jericho has also appeared on numerous television shows over the years, including the 2011 season of Dancing With the Stars. He hosted the ABC game show Downfall, the 2011 edition of the Revolver Golden Gods Awards, and the UK's Metal Hammer Golden Gods Awards in 2012 and 2017.
Early life
Christopher Keith Irvine was born in Manhasset, New York on November 9, 1970, the son of a Canadian couple. He is of Scottish descent from his father's side and Ukrainian descent from his mother's side. His father, ice hockey player Ted Irvine, had been playing for the New York Rangers at the time of his birth. When his father retired, the family moved back to Winnipeg, Manitoba, where Irvine grew up. He holds dual American and Canadian citizenships. Irvine's interest in professional wrestling began when he started watching the local American Wrestling Association (AWA) events that took place at the Winnipeg Arena with his family, and his desire to become a professional wrestler himself began when he saw footage of Owen Hart, then appearing with Stampede Wrestling, performing various high-flying moves. In addition, Irvine also cited Owen's older brother Bret, Ricky Steamboat and Shawn Michaels as inspirations for his becoming a professional wrestler. His first experience with a professional wrestling promotion was when he acted as part of the ring crew for the first tour of the newly opened Keystone Wrestling Alliance promotion, where he learned important pointers from independent wrestlers Catfish Charlie and Caveman Broda. He attended Red River College in Winnipeg, graduating in 1990 with a bachelor's degree in Creative Communications.
Professional wrestling career
Independent circuit (1990–1991)
At the age of 19, he entered the Hart Brothers School of Wrestling, where he met Lance Storm on his first day. He was trained by Ed Langley and local Calgary wrestler Brad Young.
Two months after completing training, he was ready to start wrestling on independent shows, making his debut at the Moose Hall in Ponoka, Alberta as "Cowboy" Chris Jericho, on October 2, 1990, in a ten-minute time limit draw against Storm. The pair then worked as a tag team, initially called Sudden Impact. According to a February 2019 interview with Rich Eisen on The Rich Eisen Show, Jericho stated that his initial name was going to be "Jack Action" however, someone remarked to him that the name was stupid, they then asked him what his name really was, he then got nervous and said "Chris Jericho". He took the name Jericho from an album, Walls of Jericho, by German power metal band, Helloween. Jericho and Storm worked for Tony Condello in the tours of Northern Manitoba with Adam Copeland (Edge), Jason Reso (Christian) and Terry Gerin (Rhino). The pair also wrestled in Calgary's Canadian National Wrestling Alliance (CNWA) and Canadian Rocky Mountain Wrestling (CRMW).
Frontier Martial-Arts Wrestling (1991)
In 1991, Jericho and Storm started touring in Japan for Frontier Martial-Arts Wrestling as Sudden Impact, where he befriended Ricky Fuji, who also trained under Stu Hart.
Consejo Mundial de Lucha Libre and other Mexican promotions (1992–1995)
In the winter of 1992, he traveled to Mexico and competed under the name Leon D'Oro ("Golden Lion", a name that fans voted on for him between "He-Man", "Chris Power", and his preferred choice "Leon D'Oro"), and later Corazón de León ("Lion Heart"), where he wrestled for several small wrestling companies.
From 1993 to 1995, he competed in Mexico's oldest promotion, Consejo Mundial de Lucha Libre (CMLL). In CMLL, Jericho took on Silver King, Negro Casas, and Último Dragón en route to an eleven-month reign as the NWA Middleweight Champion that began in December 1993.
Smoky Mountain Wrestling (1994)
1994 saw Jericho reunited with Storm, as The Thrillseekers in Jim Cornette's Appalachian Smoky Mountain Wrestling (SMW) promotion, where they feuded with the likes of Well Dunn, The Rock 'n' Roll Express, and The Heavenly Bodies.
Wrestling and Romance/WAR (1994–1996)
In late 1994, Jericho began competing regularly in Japan for Genichiro Tenryu's Wrestling and Romance (later known as Wrestle Association "R") (WAR) promotion as The Lion Heart. In November 1994, Último Dragón defeated him for the NWA World Middleweight Championship, which he had won while wrestling in Mexico.
In March 1995, Jericho lost to Gedo in the final of a tournament to crown the inaugural WAR International Junior Heavyweight Champion. He defeated Gedo for the championship in June 1995, losing it to Último Dragón the next month. In December 1995, Jericho competed in the second Super J-Cup tournament, defeating Hanzo Nakajima in the first round, but losing to Wild Pegasus in the second round.
In 1995, Jericho joined the heel stable Fuyuki-Gun ("Fuyuki Army") with Hiromichi Fuyuki, Gedo, and Jado, adopting the name Lion Do. In February 1996, Jericho and Gedo won a tournament for the newly created International Junior Heavyweight Tag Team Championship, defeating Lance Storm and Yuji Yasuraoka in the final. They lost the championship to Storm and Yasuraoka the following month. Jericho made his final appearances with WAR in July 1996, having wrestled a total of twenty-four tours for the company.
Extreme Championship Wrestling (1996)
In 1995, thanks in part to recommendations by Benoit, Dave Meltzer and Perry Saturn, to promoter Paul Heyman, and after Mick Foley saw Jericho's match against Último Dragón for the WAR International Junior Heavyweight Championship in July 1995 and gave a tape of the match to Heyman, Jericho began wrestling for the Philadelphia-based Extreme Championship Wrestling (ECW) promotion, winning the ECW World Television Championship from Pitbull #2 in June 1996 at Hardcore Heaven. While in ECW, Jericho wrestled Taz, Sabu, Rob Van Dam, Foley (as Cactus Jack), Shane Douglas, and 2 Cold Scorpio. He made his final appearance at The Doctor Is In in August 1996. It was during this time that he drew the attention of World Championship Wrestling (WCW).
World Championship Wrestling (1996 – 1999)
Early appearances (1996–1997)
Jericho debuted for WCW on August 20, 1996 by defeating Mr. JL, which aired on the August 31 episode of Saturday Night. Jericho's televised debut in WCW occurred on the August 26 episode of Monday Nitro against Alex Wright in a match which ended in a no contest. He made his pay-per-view debut on September 15 against Chris Benoit in a losing effort at Fall Brawl. The following month, at Halloween Havoc, Jericho lost to nWo member Syxx due to biased officiating by nWo referee Nick Patrick. This led to a match between Jericho and Patrick at World War 3, which stipulated that Jericho's one arm would be tied behind his back. Despite the odds stacked against him, Jericho won the match. Later that night, Jericho participated in the namesake battle royal for a future WCW World Heavyweight Championship match but failed to win the match.
Jericho represented WCW against nWo Japan member Masahiro Chono in a losing effort at the nWo Souled Out event. At SuperBrawl VII, Jericho unsuccessfully challenged Eddie Guerrero for the United States Heavyweight Championship.
Cruiserweight Champion (1997–1998)
On June 28, 1997, Jericho defeated Syxx at the Saturday Nitro live event in Los Angeles, California to win the WCW Cruiserweight Championship for the first time, thus winning the first championship of his WCW career. Jericho successfully defended the title against Ultimo Dragon at Bash at the Beach, before losing the title to Alex Wright on the July 28 episode of Monday Nitro. Jericho unsuccessfully challenged Wright for the title at Road Wild, before defeating Wright in a rematch to win his second Cruiserweight Championship on the August 16 episode of Saturday Night. Jericho began feuding with Eddie Guerrero over the title as he successfully defended the title against Guerrero at Clash of the Champions XXXV before losing the title to Guerrero at Fall Brawl. Jericho defeated Gedo at Halloween Havoc. At World War 3, Jericho participated in the namesake battle royal but failed to win.
On the January 15, 1998 episode of Thunder, Jericho defeated Eddie Guerrero to earn a title shot against Rey Mysterio Jr. for the Cruiserweight Championship at Souled Out. Jericho won the match by forcing Mysterio to submit to the Liontamer. After the match, Jericho turned heel by assaulting Mysterio's knee with a toolbox. In the storyline, Mysterio needed six months of recovery before he could return to the ring. Jericho then had a short feud with Juventud Guerrera in which Guerrera repeatedly requested a shot at Jericho's Cruiserweight Championship, but Jericho constantly rebuffed him. The feud culminated in a title versus mask match at SuperBrawl VIII. Guerrera lost the match and was forced to remove his mask. Following this match, Jericho began his ongoing gimmick of collecting and wearing to the ring trophy items from his defeated opponents, such as Guerrera's mask, Prince Iaukea's Hawaiian dress, and a headband from Disco Inferno.
Jericho then began a long feud with Dean Malenko, in which Jericho repeatedly claimed he was a better wrestler than Malenko, but refused to wrestle him. Because of his mastery of technical wrestling, Malenko was known as "The Man of 1,000 Holds", so Jericho claimed to be "The Man of 1,004 Holds"; Jericho mentions in his autobiography that this line originated from an IWA interview he saw as a child, where manager Floyd Creatchman claimed that Leo Burke, the first professional wrestler to be known as "The Man of 1,000 Holds", was now known as "The Man of 1,002 Holds", to which Floyd Creatchman stated that "he learned two more".
During the March 30, 1998 episode of Nitro, after defeating Marty Jannetty, Jericho pulled out a long pile of paper that listed each of the 1,004 holds he knew and recited them to the audience. Many of the holds were fictional, and nearly every other hold was an armbar. On the March 12, 1998 episode of Thunder, Malenko defeated a wrestler wearing Juventud Guerrera's mask who appeared to be Jericho. However, the masked wrestler was actually Lenny Lane, whom Jericho bribed to appear in the match. This started a minor feud between Lane and Jericho after Jericho refused to pay Lane. At Uncensored, Jericho finally wrestled Malenko and defeated him, after which Malenko took a leave of absence from wrestling. Jericho then proceeded to bring with him to the ring a portrait of Malenko that he insulted and demeaned. Just prior to Slamboree, J.J. Dillon (referred to by Jericho as "Jo Jo") scheduled a cruiserweight Battle Royal, the winner of which would immediately have a shot at Jericho's Cruiserweight Championship. Jericho accepted on the grounds that whoever he faced would be too tired to win a second match. At Slamboree, Jericho came out to introduce the competitors in an insulting fashion before the match started and then went backstage for coffee. An individual who appeared to be Ciclope won the battle royal after Juventud Guerrera shook his hand and then eliminated himself. The winner was a returning Malenko in disguise. Following one of the loudest crowd reactions in WCW history, Malenko proceeded to defeat Jericho for the championship. Jericho claiming he was the victim of a carefully planned conspiracy to get the belt off of him. He at first blamed the WCW locker room, then added Dillon, Ted Turner, and finally in a vignette, he walked around Washington, D.C. with the sign "conspiracy victim" and accused President Bill Clinton of being one of the conspirators after being rejected from a meeting. Eventually, Malenko vacated the title. Jericho ended up defeating Malenko at The Great American Bash to win the vacant title after Malenko was disqualified after hitting Jericho with a chair. The next night, Malenko was suspended for his actions.
At Bash at the Beach, the recently returned Rey Mysterio Jr. (who had recovered from his knee injury) defeated Jericho in a No Disqualification match after the still-suspended Malenko interfered. Jericho regained the Cruiserweight Championship from Mysterio the next night after he interrupted J.J. Dillon while Dillon was giving the championship to Mysterio. Jericho was again awarded the championship. Eventually, Jericho decisively lost the title to Juventud Guerrera in a match at Road Wild with Malenko as special referee.
World Television Champion (1998–1999)
On August 10, Jericho defeated Stevie Ray to win the World Television Championship (Stevie Ray substituting for the champion Booker T). Soon afterward, Jericho repeatedly called out WCW World Heavyweight Champion Goldberg in an attempt to begin a feud with him, but never actually wrestled him. Jericho cites Eric Bischoff, Goldberg and Hulk Hogan's refusal to book Jericho in a pay-per-view squash match loss against Goldberg, which Jericho felt would be a big draw, as a major reason for leaving the company.
On November 30, Jericho lost the World Television Championship to Konnan. In early 1999, Jericho began a feud with Perry Saturn. The feud saw Jericho and Saturn instigating bizarre stipulation matches, such as at Souled Out, where Jericho defeated Saturn in a "loser must wear a dress" match. At SuperBrawl IX, Jericho and Saturn wrestled in a "dress" match which Jericho won. Saturn finally defeated Jericho at Uncensored in a Dog Collar match. Jericho alternated between WCW and a number of Japanese tours before he signed a contract with the World Wrestling Federation (WWF) on June 30. Jericho's final WCW match came during a Peoria, Illinois, house show July 21, where he and Eddie Guerrero lost to Billy Kidman and Rey Mysterio Jr. in a tag team match.
Fifteen years after Jericho's departure from WCW, his best known entrance music within the company, "One Crazed Anarchist", lent its name to the second single from his band Fozzy's 2014 album, Do You Wanna Start a War.
New Japan Pro-Wrestling (1997–1998)
In January 1997, Jericho made his debut for New Japan Pro-Wrestling (NJPW), who had a working agreement with WCW, as Super Liger, the masked nemesis of Jyushin Thunder Liger. According to Jericho, Super Liger's first match against Koji Kanemoto at Wrestling World 1997 was so poorly received that the gimmick was dropped instantly. Jericho botched several moves in the match and complained he had difficulty seeing through the mask. The following six months, Jericho worked for New Japan unmasked, before being called back by WCW. On September 23, 1998, Jericho made a one-night-only return to NJPW at that years Big Wednesday show, teaming with Black Tiger against IWGP Junior Heavyweight Tag Team Champions Shinjiro Otani and Tatsuhito Takaiwa in a title match, which Jericho and Tiger lost.
World Wrestling Federation/Entertainment (1999 – 2005)
WWF Intercontinental Champion (1999–2001)
In the weeks before Jericho's debut, a clock labeled "countdown to the new millennium" appeared on WWF programming. On the home video, Break Down the Walls, Jericho states he was inspired to do this as his entrance when he saw a similar clock in a post office and Vince McMahon approved its use as his introduction to the WWF. The clock finally ran out on the August 9 episode of Raw Is War in Chicago, Illinois while The Rock was in the ring cutting a promo on the Big Show. Jericho entered the arena and proclaimed "Raw Is Jericho" and that he had "come to save the World Wrestling Federation", referring to himself as "Y2J" (a play on the Y2K bug). The Rock proceeded to verbally mock him for his interruption. Later that month, he would interact with several superstars including in particular interrupting a promo that The Undertaker was involved in, Jericho made his in-ring debut as a heel on August 26, losing a match against Road Dogg by disqualification on the inaugural episode of SmackDown! after he performed a powerbomb on Road Dogg through a table.
Jericho's first long-term feud was with Chyna, for the WWF Intercontinental Championship. After losing to Chyna at Survivor Series, Jericho defeated her to win his first WWF Intercontinental Championship at Armageddon. This feud included a controversial decision during a rematch in which two separate referees declared each one of them the winner of a match for the title. As a result, they became co-champions, during which Jericho turned face. He attained sole champion status at the Royal Rumble.
Jericho lost the WWF Intercontinental title to then-European Champion Kurt Angle at No Way Out. Jericho competed in a Triple Threat match against Chris Benoit and Angle at WrestleMania 2000 in a two-falls contest with both of Angle's titles at stake. Jericho won the European Championship by pinning Benoit, who in turn pinned Jericho to win the WWF Intercontinental Championship. This was the first of six pay-per-view matches between the pair within twelve months. Jericho was originally supposed to be in the main event of WrestleMania, but was taken out after Mick Foley, who was originally asked by writers to be in the match, took his place. Jericho was even advertised on the event's posters promoting the match. Jericho lost the title the next day to Eddie Guerrero on Raw after Chyna sided with Guerrero.
On the April 17 episode of Raw, Jericho upset Triple H in a WWF Championship match. Referee Earl Hebner made a fast count when Jericho pinned Triple H, causing Jericho to win the title. Hebner later reversed the decision due to pressure from Triple H, and WWE does not recognize Jericho's reign as champion. On April 19, Jericho defeated Eddie Guerrero at the Gary Albright Memorial Show organized by World Xtreme Wrestling (WXW). On the May 4 episode of SmackDown!, Jericho defeated Benoit to win his third WWF Intercontinental Championship but lost the title to Benoit four days later on Raw. Jericho's feud with Triple H ended at Fully Loaded, when they competed in a Last Man Standing match. Jericho lost the match to Triple H only by one second, despite the repeated assistance Triple H's wife, Stephanie, provided him in the match.
At the 2001 Royal Rumble, Jericho defeated Chris Benoit in a ladder match to win the WWF Intercontinental Championship for the fourth time. At WrestleMania X-Seven, he successfully defended his title in a match against William Regal, only to lose it four days later to Triple H. At Judgment Day, Jericho and Benoit won a tag team turmoil match and earned a shot at Stone Cold Steve Austin and Triple H for their WWF Tag Team Championship on Raw the next night. Benoit and Jericho won the match, in which Triple H legitimately tore his quadriceps, spending the rest of the year injured. Benoit and Jericho each became a WWF Tag Team Champion for the first time. The team defended their title in the first fatal four-way Tables, Ladders and Chairs match, where Benoit sustained a year-long injury after missing a diving headbutt through a table. Despite Benoit being carried out on a stretcher, he returned to the match to climb the ladder and retain the championship. The two lost the title one month later to The Dudley Boyz on the June 21 episode of SmackDown!. At King of the Ring, both Benoit and Jericho competed in a triple threat match for Austin's WWF Championship, in which Booker T interfered as the catalyst for The Invasion angle. Despite Booker T's interference, Austin retained the title.
Undisputed WWF Champion (2001–2002)
In the following months, Jericho became a major force in The Invasion storyline in which WCW and ECW joined forces to overtake the WWF. Jericho remained on the side of the WWF despite previously competing in WCW and ECW. However, Jericho began showing jealousy toward fellow WWF member The Rock. They faced each other in a match at No Mercy for the WCW Championship after Jericho defeated Rob Van Dam in a number one contenders match on the October 11 episode of SmackDown!. Jericho won the WCW Championship at No Mercy when he pinned The Rock after debuting a new finisher, the Breakdown, onto a steel chair, winning his first world title in the process. One night later, the two put their differences aside and won the WWF Tag Team Championship from the Dudley Boyz.
After they lost the titles to Test and Booker T on the November 1 episode of SmackDown!, they continued their feud. On the November 5 episode of Raw, The Rock defeated Jericho to regain the WCW Championship. Following the match, Jericho attacked The Rock with a steel chair. At Survivor Series, Jericho turned heel by almost costing Team WWF the victory after he was eliminated in their Winner Take All matchup by once again attacking The Rock. Despite this, Team WWF won the match. At Vengeance, Jericho defeated both The Rock for the World Championship (formerly the WCW Championship) and Stone Cold Steve Austin for his first WWF Championship on the same night to become the first wrestler to hold both championships at the same time, which made him the first-ever Undisputed WWF Champion, as well as the fourth Grand Slam winner under the original format. He retained the title at the Royal Rumble against The Rock and at No Way Out against Austin. Jericho later lost the title to Royal Rumble winner Triple H in the main event of WrestleMania X8. Jericho was later drafted to the SmackDown! brand in the inaugural WWF draft lottery. He would then appear at Backlash, interfering in Triple H's Undisputed WWF Championship match against Hollywood Hulk Hogan. He was quickly dumped out the ring, but Triple H would go on to lose the match. This would lead to a Hell in a Cell match at Judgment Day in May, where Triple H would emerge victorious. Jericho would then compete in the 2002 King of the Ring tournament, defeating Edge and The Big Valbowski to advance to the semi-finals, where he was defeated by Rob Van Dam at King of the Ring. In July, he began a feud with the debuting John Cena, losing to him at Vengeance.
Teaming and feuding with Christian (2002–2004)
After his feud with Cena ended, Jericho moved to the Raw brand on the July 29 episode of Raw, unwilling to work for SmackDown! General Manager Stephanie McMahon. Upon his arrival to the brand, he initiated a feud with Ric Flair, leading to a match at SummerSlam, which Jericho lost. On the September 16 episode of Raw, he won the WWE Intercontinental Championship for the fifth time from Rob Van Dam, before losing the title to Kane two weeks later on Raw. He then later formed a tag team with Christian, with whom he won the World Tag Team Championship by defeating Kane and The Hurricane on the October 14 episode of Raw. Christian and Jericho lost the titles to Booker T and Goldust in a fatal four-way elimination match, involving the teams of The Dudley Boyz, and William Regal and Lance Storm at Armageddon.
On the January 13 episode of Raw, Jericho won an over-the-top-rope challenge against Kane, Rob Van Dam, and Batista to select his entry number for the Royal Rumble match. He chose number two in order to start the match with Shawn Michaels, who had challenged him to prove Jericho's claims that he was better than Michaels. After Michaels's entrance, Jericho entered as the second participant. Christian, in Jericho's attire, appeared while the real Jericho attacked Shawn from behind. He eliminated Michaels shortly afterward, but Michaels got his revenge later in the match by causing Test to eliminate Jericho. Jericho spent the most time of any other wrestler in that same Royal Rumble. Jericho simultaneously feuded with Test, Michaels, and Jeff Hardy, defeating Hardy at No Way Out. Jericho and Michaels fought again at WrestleMania XIX, which Michaels won. Jericho, however, attacked Michaels with a low blow after the match following an embrace.
After this match, Jericho entered a rivalry with Goldberg, which was fueled by Goldberg's refusal to fight Jericho in WCW. During Jericho's first episode of the Highlight Reel, an interview segment, where Goldberg was the guest, he complained that no-one wanted Goldberg in WWE and continued to insult him in the following weeks. On the May 12 episode of Raw, a mystery assailant attempted to run over Goldberg with a limousine. A week later, Co-Raw General Manager, Stone Cold Steve Austin, interrogated several Raw superstars to find out who was driving the car. One of the interrogates was Lance Storm, who admitted that he was the assailant. Austin forced Storm into a match with Goldberg, who defeated Storm. After the match, Goldberg forced Storm to admit that Jericho was the superstar who conspired Storm into running him over. On the May 26 episode of Raw, Goldberg was once again a guest on the Highlight Reel. Jericho expressed jealousy towards Goldberg's success in WCW and felt that since joining WWE, he had achieved everything he had ever wanted in his career and all that was left was to defeat Goldberg and challenged him to a match. At Bad Blood, Goldberg settled the score with Jericho and defeated him.
On the October 27 episode of Raw, Jericho won his sixth WWE Intercontinental Championship when he defeated Rob Van Dam. He lost the title back to Van Dam immediately after in a steel cage match. Later in 2003, Jericho started a romance with Trish Stratus while his tag team partner Christian began one with Lita. This, however, turned out to be a bet over who could sleep with their respective paramour first, with a Canadian dollar at stake. Stratus overheard this and ended her relationship with Jericho, who seemingly felt bad for using Stratus. After he saved her from an attack by Kane, Stratus agreed that the two of them could just be "friends", thus turning Jericho face. After Christian put Stratus in the Walls of Jericho while competing against her in a match, Jericho sought revenge on Christian, which led to a match at WrestleMania XX. Christian defeated Jericho after Stratus ran down and "inadvertently" struck Jericho (thinking it was Christian) and Christian got the roll-up. After the match, Stratus turned on Jericho and revealed that she and Christian were a couple. This revelation led to a handicap match at Backlash that Jericho won. Jericho won his record-breaking seventh WWE Intercontinental Championship at Unforgiven in a ladder match against Christian, breaking the previous record held by Jeff Jarrett from 1999. Jericho's seventh reign was short lived, as he lost it at Taboo Tuesday to Shelton Benjamin.
World championship pursuits (2004–2005)
Jericho teamed up with Randy Orton, Chris Benoit, and Maven to take on Triple H, Batista, Edge, and Gene Snitsky at Survivor Series. The match stipulated that each member of the winning team would be the general manager of Raw over the next four weeks. Jericho's team won, and took turns as general manager. During Jericho's turn as general manager, the World Heavyweight Championship was vacated because a Triple Threat match for the title a week earlier ended in a draw. At New Year's Revolution, Jericho competed in the Elimination Chamber against Triple H, Chris Benoit, Batista, Randy Orton, and Edge for the vacant World Heavyweight Championship. Jericho began the match with Benoit and eliminated Edge, but was eliminated by Batista. Triple H went on to win. At WrestleMania 21, Jericho participated in the first ever Money in the Bank ladder match. Jericho suggested the match concept, and he competed in the match against Benjamin, Benoit, Kane, Christian, and Edge. Jericho lost the match when Edge claimed the briefcase.
At Backlash, Jericho challenged Shelton Benjamin for the WWE Intercontinental Championship, but lost the match. Jericho lost to Lance Storm at ECW One Night Stand. Jericho used his old "Lionheart" gimmick, instead of his more well known "Y2J" gimmick. Jericho lost the match after Jason and Justin Credible hit Jericho with a Singapore cane, which allowed Storm to win the match. The next night on Raw, Jericho turned heel by betraying WWE Champion John Cena after defeating Christian and Tyson Tomko in a tag team match. Jericho lost a Triple Threat match for the WWE Championship at Vengeance which also involved Christian and Cena. The feud continued throughout the summer and Jericho lost to Cena in a WWE Championship match at SummerSlam.
The next night on the August 22 episode of Raw, Jericho faced Cena for the WWE Championship again in a rematch, this time in a "You're fired" match. Cena won again, and Jericho was fired by Raw General Manager Eric Bischoff. Jericho was carried out of the arena by security as Kurt Angle attacked Cena. Jericho's WWE contract expired on August 25.
Return to WWE (2007–2010)
Feud with Shawn Michaels (2007–2008)
After a two-year hiatus, WWE promoted Jericho's return starting on the September 24, 2007 episode of Raw with a viral marketing campaign using a series of 15-second cryptic binary code videos, similar to the matrix digital rain used in The Matrix series. The videos contained hidden messages and biblical links related to Jericho. Jericho made his return to WWE television as a face on the November 19, 2007 episode of Raw when he interrupted Randy Orton during Orton's orchestrated "passing of the torch" ceremony. Jericho revealed his intentions to reclaim the WWE Championship in order to "save" WWE fans from Orton. On the November 26 episode of Raw, Jericho defeated Santino Marella and debuted a new finishing move called the Codebreaker. At Armageddon, he competed in a WWE title match against Orton, defeating him by disqualification when SmackDown!s color commentator John "Bradshaw" Layfield (JBL) interfered in the match, but Orton retained the title. He began a feud with JBL and met him at the Royal Rumble. Jericho was disqualified after hitting JBL with a steel chair. On the March 10 episode of Raw, Jericho captured the WWE Intercontinental Championship for a record eighth time when he defeated Jeff Hardy.
In April 2008, Jericho became involved in the ongoing feud between Shawn Michaels and Batista when he suggested that Michaels enjoyed retiring Ric Flair, causing Shawn Michaels to attack him. Jericho thus asked to be inserted into the match between Batista and Michaels at Backlash, but instead, he was appointed as the special guest referee. During the match at Backlash, Michaels feigned a knee injury so that Jericho would give him time to recover and lured Batista in for Sweet Chin Music for the win. After Backlash, Jericho accused Michaels of cheating, but Michaels continued to play up an injury. When Jericho was finally convinced and he apologized to Michaels for not believing him, Michaels then admitted to Jericho that he had faked his injury and he attacked Jericho with Sweet Chin Music. After losing to Michaels at Judgment Day, Jericho initiated a handshake after the match.
On the June 9 episode of Raw, Jericho hosted his talk show segment, The Highlight Reel, interviewing Michaels. Jericho pointed out that Michaels was still cheered by the fans despite Michaels's deceit and attack on Jericho during the previous months, whereas Jericho was booed when he tried to do the right thing. Jericho then assaulted Michaels with a low blow and sent Michaels through the "Jeritron 6000" television, damaging the eye of Michaels, and turning heel in the process. This began what was named by both Pro Wrestling Illustrated and the Wrestling Observer Newsletter the "Feud of the Year". At Night of Champions, Jericho lost the WWE Intercontinental title to Kofi Kingston after a distraction by Michaels. In June, Jericho took on Lance Cade as a protégé.
World Heavyweight Champion (2008–2009)
Afterward, Jericho developed a suit-wearing persona inspired by Javier Bardem's character Anton Chigurh from the 2007 film No Country for Old Men and wrestler Nick Bockwinkel. Jericho and Michaels met at The Great American Bash, which Jericho won after attacking the cut on Michaels's eye. At SummerSlam, Michaels said that his eye damage would force him to retire and insulted Jericho by saying he would never achieve Michaels's success. Jericho tried to attack Michaels, but Michaels ducked, so Jericho punched Michaels's wife, Rebecca, instead. As a result, they fought in an unsanctioned match at Unforgiven, which Jericho lost by referee stoppage. Later that night, Jericho entered the Championship Scramble match as a late replacement for the defending champion CM Punk and subsequently won the World Heavyweight Championship, defeating Batista, John "Bradshaw" Layfield (JBL), Kane, and Rey Mysterio. It was announced that Michaels would challenge Jericho for the championship in a ladder match at No Mercy, which Jericho won. At Cyber Sunday on October 26, Jericho lost the title to Batista, but later won it back eight days later on the 800th episode of Raw in a steel cage match. Jericho defeated Michaels in a Last Man Standing match on the November 10 episode of Raw after interference from JBL. Jericho lost the World Heavyweight Championship at Survivor Series to the returning John Cena. On the December 8 episode of Raw, Jericho was awarded the Slammy Award for 2008 Superstar of the Year award. Six days later, he lost his rematch with John Cena for the World Heavyweight Championship at Armageddon.
At the Royal Rumble on January 25, 2009, Jericho participated in the Royal Rumble match, but he was eliminated by the Undertaker. On February 15 at No Way Out, he competed in an Elimination Chamber match for the World Heavyweight Championship, but he failed to win as he was eliminated by Rey Mysterio. Following this, Jericho began a rivalry with veteran wrestlers Ric Flair, Ricky Steamboat, Jimmy Snuka and Roddy Piper, as well as actor Mickey Rourke. Jericho was originally arranged to face Rourke at WrestleMania 25, but Rourke later pulled out of the event. Instead, Jericho defeated Piper, Snuka and Steamboat in a 3-on-1 elimination handicap match at WrestleMania, but was knocked out by Rourke after the match.
On the April 13 episode of Raw, Jericho was drafted to the SmackDown brand as part of the 2009 WWE draft. Jericho then faced Steamboat in a singles match at Backlash, where Jericho was victorious. In May, Jericho started a feud with Intercontinental Champion Rey Mysterio, leading to a match at Judgment Day, which Jericho lost. However, Jericho defeated Mysterio in a No Holds Barred Match at Extreme Rules to win his ninth Intercontinental Championship, breaking his own record again. At The Bash, Jericho lost the Intercontinental Championship back to Mysterio in a mask vs. title match.
Jeri-Show and feud with Edge (2009–2010)
Later in the event, Jericho and his partner Edge won the Unified WWE Tag Team Championship as surprise entrants in a triple threat tag team match. As a result of this win, Jericho became the first wrestler to win every (original) Grand Slam eligible championship. Shortly thereafter Edge suffered an injury and Jericho revealed a clause in his contract to allow Edge to be replaced and Jericho's reign to continue uninterrupted. At Night of Champions, Jericho revealed Big Show as his new tag team partner, creating a team that would come to called Jeri-Show. The duo defeated Cody Rhodes and Ted DiBiase to retain the championship. Jeri-Show successfully defended the title against Cryme Tyme at SummerSlam, MVP and Mark Henry at Breaking Point and Rey Mysterio and Batista at Hell in a Cell. At Survivor Series, both Jericho and Big Show took part in a triple threat match for the World Heavyweight Championship, but the Undertaker successfully retained the title. At TLC: Tables, Ladders & Chairs, Jeri-Show lost the tag titles to D-Generation X (D-X) (Shawn Michaels and Triple H) in a Tables, Ladders and Chairs match. As a member of the SmackDown brand, Jericho could only appear on Raw as a champion and D-X intentionally disqualified themselves in a rematch to force Jericho off the show. On the January 4, 2010 of Raw, D-X defeated Jeri-Show to retain the championship once again, marking the end of Jeri-Show.
Jericho entered the 2010 Royal Rumble match on January 31, but was eliminated by the returning Edge, his former tag team partner, who went on to win the match. At Elimination Chamber, Jericho won the World Heavyweight Championship in an Elimination Chamber match, defeating The Undertaker, John Morrison, Rey Mysterio, CM Punk and R-Truth following interference from Shawn Michaels. The next night on Raw, Edge used his Royal Rumble win to challenge Jericho for the World Heavyweight Championship at WrestleMania XXVI. Jericho defeated Edge at WrestleMania to retain the title, but lost the championship to Jack Swagger on the following episode of SmackDown, who cashed in his Money in the Bank contract. Jericho then failed to regain the title from Swagger in a triple-threat match also involving Edge on the April 16 episode of SmackDown. Jericho and Edge continued their feud leading into Extreme Rules, where Jericho was defeated in a steel cage match.
Jericho was drafted to the Raw brand in the 2010 WWE draft. He formed a brief tag team with The Miz and unsuccessfully challenged The Hart Dynasty for the Unified WWE Tag Team Championship at Over the Limit. A month later, Jericho lost to Evan Bourne at Fatal 4-Way, but won a rematch during the following night on Raw, where he put his career on the line. On the July 19 episode of Raw, after being assaulted by The Nexus, Jericho teamed with rivals Edge, John Morrison, R-Truth, Daniel Bryan and Bret Hart in a team led by John Cena to face The Nexus at SummerSlam. Jericho and Cena bickered over leadership of the team, which led to him and Edge attacking Cena during the SummerSlam match that they won.
Jericho was punished for not showing solidarity against Nexus, when he was removed from a Six-Pack Challenge for Sheamus's WWE Championship at Night of Champions. Although he re-earned his place in the match after defeating The Hart Dynasty in a handicap steel cage match, he was the first man eliminated from the match at Night of Champions. On the September 27 episode of Raw, Jericho faced Randy Orton who punted him in the head. This was used to explain Jericho's departure from the company.
Second return to WWE (2011–2018)
Feud with CM Punk (2011–2012)
Beginning in November 2011, WWE aired cryptic vignettes that promoted a wrestler's return on the January 2, 2012 episode of Raw. On his return, after hyping the crowd and relishing their cheers for a prolonged period, Jericho left without verbally addressing his return. After exhibiting similar odd behavior in the proceeding two weeks, Jericho spoke on the January 23 episode of Raw to say, "This Sunday at the Royal Rumble, it is going to be the end of the world as you know it", but in the Royal Rumble match, he was eliminated last, by Sheamus. On the January 30 episode of Raw, Jericho began a feud with WWE Champion CM Punk after attacking him during his match with Daniel Bryan. He explained his actions by claiming other wrestlers in WWE were imitating him and named Punk as the worst offender.
At Elimination Chamber, Jericho participated in the Elimination Chamber match for the WWE Championship, entering last and eliminating Dolph Ziggler and Kofi Kingston before being knocked out of the structure by Punk, which injured him and removed him from the match without being eliminated. The following night on Raw, Jericho won a ten-man battle royal to become the number one contender for Punk's WWE Championship at WrestleMania XXVIII. In a bid to psychologically unsettle Punk, Jericho revealed that Punk's father was an alcoholic and Punk's sister was a drug addict, which contradicted Punk's straight edge philosophy; Jericho vowed to make Punk turn to alcohol by winning Punk's title from him. At WrestleMania, a stipulation was added that Punk would lose his WWE Championship if he was disqualified. During the match, Jericho unsuccessfully tried to taunt Punk into disqualifying himself, and Punk won the match.
Jericho continued his feud with Punk in the weeks that followed by attacking and dousing him with alcohol after his matches. At Extreme Rules, Jericho failed again to capture the WWE Championship from Punk in a Chicago Street Fight.
Championship pursuits (2012–2013)
Jericho faced Randy Orton, Alberto Del Rio and Sheamus in a fatal four-way match for the World Heavyweight Championship at Over the Limit, where Sheamus retained his title. On May 24 at a WWE live event in Brazil, Jericho wrestled a match against CM Punk, during which Jericho kicked a Brazilian flag, causing local police to intervene and threaten Jericho with arrest. Jericho issued an apology to the audience, enabling the event to resume. The following day, WWE suspended Jericho for 30 days while apologizing to the people and government of Brazil. Jericho returned on the June 25 episode of Raw, and his absence was explained by a European tour with his band Fozzy which happened to coincide with his suspension. At Money in the Bank, Jericho participated in the WWE Championship Money in the Bank ladder match, but failed to win as John Cena won. The following night on Raw, Jericho confronted newly crowned Mr. Money in the Bank, Dolph Ziggler, who claimed that Jericho had lost his touch. Jericho attacked Ziggler with a Codebreaker, thus turning face in the process. At SummerSlam, Jericho defeated Ziggler. The following night on Raw, Ziggler defeated Jericho in a rematch and, as a result, Ziggler retained his Money in the Bank contract and Jericho's WWE contract was terminated as per a pre match stipulation put in place by Raw General Manager, AJ Lee. This was used to write him off so he could tour with Fozzy for the remainder of the year.
On January 27, 2013, Jericho returned after a five-month hiatus entering the Royal Rumble match as the second entrant. Jericho lasted over 47 minutes before being eliminated by Dolph Ziggler. The following night on Raw, Jericho later revealed to Ziggler that due to a managerial change on Raw, he had been rehired by Vickie Guerrero, resuming his feud with Ziggler. Guerrero then paired the two in a match against WWE Tag Team Champions Team Hell No (Daniel Bryan and Kane). The match ended with Ziggler being pinned by Kane after Jericho framed him for pushing Kane. After beating Daniel Bryan on the February 11 episode of Raw, Jericho qualified for the Elimination Chamber match at Elimination Chamber (in which the winner would go on to be the number one contender for the World Heavyweight Championship at WrestleMania 29), where he was the fourth man eliminated. On the March 11 episode of Raw, Jericho faced The Miz in a No. 1 contenders match for Wade Barrett's WWE Intercontinental Championship, but the match was ruled a no contest after Barrett interfered and attacked both men. Both men then faced Barrett the following week on Raw, where he retained his title. Earlier in the episode, Jericho had a run-in with Fandango which led to Fandango costing him his match with Jack Swagger and attacking him four days later on SmackDown. At WrestleMania 29, Jericho was defeated by Fandango. They continued their feud in the following weeks, until Jericho defeated Fandango at Extreme Rules. He then faced the returning CM Punk at Payback, where he was defeated. Jericho then began feuding with Ryback, which led to a singles match on July 14 at Money in the Bank, where Ryback emerged victorious. On the July 19 episode of SmackDown, Jericho unsuccessfully challenged Curtis Axel for the WWE Intercontinental Championship and was afterwards attacked by Ryback. This was done to write Jericho off television as he was taking a temporary hiatus to tour with Fozzy for the remainder of the year and possibly January and February.
In a November interview for WWE.com, Jericho revealed that he would not be a full-time wrestler due to his musical and acting ventures.
Various sporadic feuds (2014–2016)
After an eleven-month hiatus, Jericho returned on the June 30, 2014 episode of Raw, attacking The Miz, who had also returned minutes earlier. The Wyatt Family then interrupted and ultimately attacked Jericho. Jericho faced Bray Wyatt at Battleground in a winning effort. At SummerSlam, with Wyatt Family members Luke Harper and Erick Rowan banned from ringside, Wyatt picked up the victory. On the September 8 episode of Raw, Jericho lost to Wyatt in a steel cage match, ending the feud. Jericho then feuded with Randy Orton, who had attacked him the week before after his match against Wyatt in the trainers room. Orton defeated him at Night of Champions. Throughout the rest of October and November, Jericho wrestled exclusively at live events, defeating Bray Wyatt. Jericho returned to WWE television in December as the guest general manager of the December 15 episode of Raw. Jericho booked himself in a street fight against Paul Heyman in the main event, which led to the return of Brock Lesnar. Before the match could begin, Lesnar attacked Jericho with an F-5.
In January 2015, Jericho revealed that he signed an exclusive WWE contract, under which he would compete at 16 house shows only. He later signed a similar contract once the former expired and competed at house shows throughout the rest of 2015. During this time he wrestled against the likes of Luke Harper, Kevin Owens and King Barrett in winning efforts. In May 2015, Jericho was one of the hosts of Tough Enoughs sixth season. Jericho also hosted two Live! With Chris Jericho specials on the WWE Network during 2015; his guests were John Cena and Stephanie McMahon. Jericho made his televised return at The Beast in the East, defeating Neville. At Night of Champions, Jericho was revealed as the mystery partner of Roman Reigns and Dean Ambrose, facing The Wyatt Family in a losing effort. On October 3, Jericho unsuccessfully challenged Kevin Owens for the WWE Intercontinental Championship at Live from Madison Square Garden. The match marked 20 years since Jericho's debut with ECW while also celebrating his 25th year as a professional wrestler in total.
On the January 4, 2016 episode of Raw, Jericho returned to in-ring competition full-time and confronted The New Day. At the 2016 Royal Rumble, Jericho entered as the sixth entrant, lasting over 50 minutes, before being eliminated by Dean Ambrose. On the January 25 episode of Raw, Jericho faced the recently debuted AJ Styles in a losing effort. Following the match, after initial hesitation by Jericho, the pair shook hands. On the February 11 episode of SmackDown, Jericho defeated Styles. At Fastlane, Styles was victorious in a third match between the pair. On the February 22 episode of Raw, Jericho and Styles formed a tag team, dubbed Y2AJ. Following their loss against The New Day on the March 7 episode of Raw, Jericho attacked Styles, ending their alliance, claiming that he was sick of the fans chanting for Styles instead of him, turning heel in the process. Their feud culminated at WrestleMania 32, where Jericho defeated Styles. However, on the April 4 episode of Raw, Jericho competed in a fatal-four-way match against Styles, Kevin Owens and Cesaro to determine the No. 1 contender for the WWE World Heavyweight Championship in a losing effort after being pinned by Styles, ending their feud.
The following week on Raw, Dean Ambrose interrupted The Highlight Reel, handing Jericho a note from Shane McMahon replacing the show with The Ambrose Asylum, igniting a feud between the two. During this time, Jericho tweaked his gimmick. He became arrogant and childish while wearing expensive scarfs and calling everyone who appeased him "stupid idiots". At Payback, Jericho faced Ambrose in a losing effort. After attacking one another and Ambrose destroying Jericho's light-up ring jacket, Jericho was challenged by Ambrose to an Asylum match at Extreme Rules, where Ambrose again defeated Jericho after Jericho was thrown in a pile of thumbtacks. On the May 23 episode of Raw, Jericho defeated Apollo Crews to qualify for the Money in the Bank ladder match at the Money in the Bank pay-per-view, where Jericho was unsuccessful as the match was won by Ambrose. On July 19 at the 2016 WWE draft, Jericho was drafted to the Raw brand. At Battleground on July 24, Jericho hosted a Highlight Reel segment with the returning Randy Orton, where he took an RKO from Orton after he insulted him. The next night on Raw, Jericho competed in a fatal four-way match to determine the number one contender for the newly created WWE Universal Championship at SummerSlam, but he was unsuccessful, as Roman Reigns won the match.
The List of Jericho (2016–2017)
Jericho then entered a feud with Enzo and Cass and on the August 1 episode of Raw, he teamed with Charlotte to defeat Enzo Amore and then WWE Women's Champion Sasha Banks in a mixed tag team match, after which Big Cass made the save as Jericho continued the assault on Amore. The following week on Raw, Jericho allied with Kevin Owens and later defeated Amore via disqualification when Cass interfered. This led to a tag team match at SummerSlam, where Jericho and Owens defeated Enzo and Cass. On the August 22 episode of Raw, Jericho interfered in Owens's match against Neville, allowing him to qualify for the fatal four-way match to determine the new WWE Universal Champion on the August 29 episode of Raw, which Owens won.
On the September 12 episode of Raw, Jericho hosted an episode of The Highlight Reel with Sami Zayn as his guest, who questioned his alliance with Owens, resulting in Jericho defending Owens and attacking Zayn. On the September 19 episode of Raw, as a result of feeling that he was being treated unjustly by General Manager Mick Foley, as well as other wrestlers beginning to annoy him, Jericho began a list called "The List of Jericho", where he wrote down the name of the person that bothered him and why. If someone annoyed Jericho, he would ask "you know what happens?" before shouting "you just made the list!" and writing the person's name down. The List of Jericho soon became incredibly popular with the fans, with many critics describing Jericho and his list as "easily one of the best moments of Raw's broadcast". At Clash of Champions on September 25, Jericho defeated Zayn and assisted Owens in his Universal Championship defense against Seth Rollins. At Hell in a Cell on October 30, Jericho aided Owens in retaining the Universal Championship against Rollins in a Hell in a Cell match after Owens sprayed a fire extinguisher at the referee, allowing Jericho to enter the cell.
Jericho teamed with Owens, Braun Strowman, Roman Reigns, and Seth Rollins as part of Team Raw at Survivor Series on November 20, in a losing effort. The next night on Raw, despite being banned from ringside, Jericho showed up in a Sin Cara mask and attacked Rollins, in another successful title defense for Owens. The following week on Raw, tensions between Jericho and Owens arose after both said that they did not need each other anymore, and Jericho was later attacked by Rollins in the parking lot. At Roadblock: End of the Line on December 18, Jericho lost to Rollins after Owens failed in his attempt to help him, Later that night, Jericho intentionally attacked Owens to prevent Reigns from winning the title. After both Jericho and Owens failed to win the WWE United States Championship from Reigns in multiple singles matches in late 2016, Jericho pinned Reigns in a handicap match also involving Owens on the January 9 episode of Raw to win the WWE United States Championship. Thus, Jericho won his first championship in nearly seven years and also become Grand Slam winner under the current format. Due to interfering multiple times in Owens's matches, Jericho was suspended above the ring in a shark proof cage during Reigns's rematch at the Royal Rumble pay-per-view event. Owens nonetheless retained the championship after Braun Strowman, taking advantage of the added no disqualification stipulation, interfered. Also at the event, Jericho entered as the second entrant in the Royal Rumble match, lasting over an hour (thus breaking the record with a cumulative time of over five hours) and being the third to last before being eliminated by Reigns.
In February, tensions grew between Jericho and Owens after Jericho accepted a Universal Championship challenge from Goldberg on Owens's behalf, much to the latter's dismay. On the February 13 episode of Raw, Jericho held a "Festival of Friendship" for Owens, who was not impressed and viciously attacked Jericho, ending their alliance. Jericho returned at Fastlane on March 5, distracting Owens during his match with Goldberg and causing Owens to lose the Universal Championship, turning face again in the process. This led to a match between Jericho and Owens being arranged for WrestleMania 33 on April 2, with Jericho's United States Championship on the line. At WrestleMania, Jericho lost the United States Championship to Owens. At Payback on April 30, Jericho defeated Owens to regain the title and moved to the SmackDown brand, but lost it back to him two nights later on SmackDown. Following the match, Owens attacked Jericho, who was carried out on a stretcher. Thus, Jericho was written off television so he could fulfill his commitments to tour with and promote his new album with Fozzy. Jericho made a surprise return at a house show in Singapore on June 28, where he lost to Hideo Itami.
Final matches and departure (2017–2018)
On the July 25 episode of SmackDown, Jericho made his televised return, interrupting an altercation between Kevin Owens and AJ Styles to get his rematch for Owens' WWE United States Championship. Later that night, Jericho participated in a triple threat match against Owens and Styles for the title in which Jericho was pinned by Styles. Show took place in Richmond, Virginia and was Jericho's last in-ring appearance for WWE in the United States.
On January 22, 2018 during the 25th Anniversary of Raw, Jericho appeared backstage in a segment with Elias, putting him on The List of Jericho. At the Greatest Royal Rumble, Jericho was the last entrant in the 50-man Royal Rumble match, eliminating Shelton Benjamin before being eliminated by the eventual winner Braun Strowman. This event marked Jericho's final appearance with WWE.
In September 2019, during an interview for the Mature Audiences Mayhem Podcast, Jericho revealed the exact point when he decided he was going to leave the WWE. Even though Jericho was with the WWE for 15 years, the final insult came at WrestleMania 33 in 2017. Despite the fact that Jericho and Kevin Owens had the best feud of the year, their match was demoted by placing it on the second place on the WrestleMania match card. The decision made by Vince McMahon was a big insult for Jericho and that prompted him to seek work elsewhere. Jericho reflecting his WWE departure stated:
"Originally, that was going to be the main event for the world title. Kevin Owens was the champion and I was going to beat him in the main event of WrestleMania as a babyface." Instead of having Jericho and Owens as the main event, Vince decided to put Bill Goldberg and Brock Lesnar on the main card. "Vince said that it’s going to be me versus Kevin Owens for the world title at WrestleMania and you are going to win the title, f*** yeah! Next week, he doesn’t tell me, but I hear that it’s changed to Brock Lesnar versus Bill Goldberg for the title. And not only did they take us out of the main event – and, once again, just because I was told I have no right to it and things change all the time, I’m a big boy, I can handle it. But to take us from the main event slot and then move us to the second match on the card on a card that has 12 matches on it? I was like, that’s a f***ing insult."
Return to NJPW (2017–2020)
Feud with Kenny Omega (2017–2018)
On November 5, 2017, Jericho returned to NJPW in a pre-taped vignette, challenging Kenny Omega to a match at Wrestle Kingdom 12 in Tokyo Dome. The challenge was immediately accepted by Omega and made official by NJPW the following day as a title match for Omega's IWGP United States Heavyweight Championship. The match, dubbed "Alpha vs. Omega", was Jericho's first match outside of WWE since he left WCW in July 1999. Journalist Dave Meltzer wrote that Jericho's WWE contract had expired and that he was a "free agent". NJPW also referred to Jericho as a free agent. In contrast, the Tokyo Sports newspaper described an anonymous NJPW official saying that Jericho is still under contract with WWE, and that WWE chairman Vince McMahon had given him permission to wrestle this match in NJPW. This was his first NJPW match in nearly 20 years. Jericho returned in person at the December 11 World Tag League show, attacking and bloodying Omega after his match, while also laying out a referee, a young lion and color commentator Don Callis, establishing himself as a heel. The following day at the Wrestle Kingdom 12 in Tokyo Dome press conference, Jericho and Omega would get into a second physical altercation. Because of the two incidents, NJPW turned the January 4 match into a no disqualification match. At the event, Jericho was defeated by Omega. It was later revealed that the match was awarded a five-star rating from Dave Meltzer of the Wrestling Observer Newsletter. This was the first of his career.
IWGP Intercontinental Champion (2018–2019)
The night after Wrestle Kingdom 12 in Tokyo Dome at New Year Dash!! 2018, Jericho attacked Tetsuya Naito. On May 4, Jericho once again attacked Naito at Wrestling Dontaku, leading to a match between the two at Dominion 6.9 in Osaka-jo Hall, in which he defeated Naito to win the IWGP Intercontinental Championship. At King of Pro-Wrestling, Jericho attacked Evil before his match against Zack Sabre Jr. Backstage, Jericho challenged Evil to an IWGP Intercontinental Championship title match at Power Struggle. At the event, Jericho made Evil submit to the Liontamer to retain the IWGP Intercontinental Championship. After the match, Jericho refused to release the hold until Tetsuya Naito ran in for the save and challenged Jericho. Despite Jericho stating that Naito would not receive a rematch, the match was made official for Wrestle Kingdom 13 in Tokyo Dome. On December 15, NJPW held a press conference for Jericho and Naito's IWGP Intercontinental Championship match. The press conference ended when Naito spat water in Jericho's face, which resulted in the two then brawling before being separated. Later that same day during a Road to Tokyo Dome show, Jericho laid out Naito with steel chair shots, and after stated that at Wrestle Kingdom 13 he would end Tetsuya Naito's career. At the event, Jericho was defeated by Naito, losing the IWGP Intercontinental Championship in the process.
Sporadic appearances (2019–2020)
At Dominion 6.9 in Osaka-jo Hall, Jericho challenged Kazuchika Okada for the IWGP Heavyweight Championship but was defeated. Following the match, Jericho attacked Okada, leading to Hiroshi Tanahashi making the save. Jericho returned at Power Struggle on November 3 and challenged Tanahashi to a match at Wrestle Kingdom 14. On December 28, it was announced that if Tanahashi were to defeat Jericho, he would be granted an AEW World Championship match at a later date. During the second night of Wrestle Kingdom on January 5, 2020, Jericho defeated Tanahashi.
Return to the independent circuit (2018–2019)
On September 1, 2018, Jericho (disguised as Penta El Zero) appeared at the All In show promoted by Cody and The Young Bucks, where he attacked Kenny Omega following Omega's victory over Penta to promote his upcoming Rock 'N' Wrestling Rager at Sea cruise.
In October 2018, Jericho organized Chris Jericho's Rock 'N' Wrestling Rager at Sea, a series of professional wrestling matches originating from Jericho's cruise ship, which embarked from Miami, Florida and featured wrestlers from Ring of Honor.
On May 3, 2019, Jericho appeared at a Southern Honor Wrestling event, where he was attacked by Kenny Omega.
All Elite Wrestling (2019–present)
Inaugural AEW World Champion (2019–2020)
On January 8, 2019, Jericho made a surprise appearance at a media event organized by the upstart All Elite Wrestling (AEW) promotion. Shortly afterwards, Jericho was filmed signing a full-time performers three-year contract with AEW and shaking hands with the company's President Tony Khan. Jericho defeated Kenny Omega at the promotion's inaugural event Double or Nothing on May 25, and went on to defeat Adam Page at All Out to become the inaugural AEW World Champion.
On the premiere episode of Dynamite on October 2, Jericho allied himself with Sammy Guevara, Jake Hager, Santana and Ortiz, creating a stable that would be known as The Inner Circle. Jericho would make successful title defences against Darby Allin on the October 16 episode of Dynamite and Cody at the Full Gear pay-per-view on November 9. On the episode of Dynamite after Full Gear, Jericho and Guevara challenged SoCal Uncensored (Frankie Kazarian and Scorpio Sky) for the AEW World Tag Team Championship, but they failed to win when Sky pinned Jericho with a small package, thus suffering his first loss in AEW. Jericho would successfully retain the AEW World Championship against Sky on the November 27 episode of Dynamite.
In December, The Inner Circle began to attempt to entice Jon Moxley to join the group. On the January 8, 2020 episode of Dynamite, Moxley initially joined the group, however, this was later revealed to be a ruse from Moxley as he attacked Jericho and Sammy Guevara. Moxley then became the number one contender for Jericho's championship at Revolution on February 29, where Moxley defeated Jericho to win the title, ending his inaugural AEW World Championship reign at 182 days.
Feud with MJF (2020–2021)
After losing the championship, Jericho and The Inner Circle began a feud with The Elite (Adam Page, Cody, Kenny Omega and The Young Bucks), who recruited the debuting Matt Hardy to oppose them. At Double or Nothing on May 23, The Inner Circle were defeated by Page, Omega, The Young Bucks and Hardy in a Stadium Stampede match. Jericho next began a rivalry with Orange Cassidy, with Jericho defeating him at Fyter Fest on July 8, but losing a rematch on the August 12 episode of Dynamite. The two faced once again at All Out on September 5, in a Mimosa Mayhem match, which Jericho lost.
Beginning in October, Jericho began a feud with MJF, who requested to join the Inner Circle, despite disapproval from Sammy Guevara, Santana and Ortiz. Jericho and MJF wrestled in a match at the Full Gear event on November 7, which MJF won, thus allowing him to join the Inner Circle. At Beach Break on February 3, 2021, Jericho and MJF won a tag team battle royal to become the number one contenders for the AEW World Tag Team Championship at the Revolution event against The Young Bucks, which they were unsuccessful in winning. On the March 10 episode of Dynamite, MJF betrayed and left The Inner Circle after revealing he had been secretly plotting against them and building his own stable, The Pinnacle—consisting of Wardlow, Shawn Spears and FTR (Cash Wheeler and Dax Harwood). At Blood and Guts on May 5, The Inner Circle lost to The Pinnacle in the inaugural Blood and Guts match. However, in the main event of Double or Nothing later that month, The Inner Circle defeated The Pinnacle in a Stadium Stampede match, after Sammy Guevara pinned Shawn Spears. Jericho then began pursuing another match with MJF, who stated that he would first have to defeat a gauntlet of opponents selected by MJF, in a series dubbed the "Labors of Jericho". Jericho would defeat each of MJF's handpicked opponents (Shawn Spears, Nick Gage, Juventud Guerrera and Wardlow) and faced MJF in the final labor on the August 18 episode of Dynamite, but he was defeated. Jericho demanded one more match, stipulating that if he lost, he would retire from in-ring competition, which MJF accepted. At All Out on September 5, Jericho defeated MJF to maintain his career and end their feud.
Various feuds (2021–present)
Following All Out, The Inner Circle started a rivalry with Men of the Year (Ethan Page and Scorpio Sky), and their ally, mixed martial arts (MMA) coach Dan Lambert. Lambert also brought in members of his MMA team American Top Team (ATT) to oppose The Inner Circle, including Andrei Arlovski and Junior dos Santos. At the Full Gear event on November 13, The Inner Circle defeated Men of the Year and ATT in a Minneapolis Street Fight.
Legacy
Known for his over-the-top, rock star persona, Jericho has been described by multiple industry commentators as one of the greatest professional wrestlers of all time. Journalist Chris Van Vliet noted that his name is "always thrown around as the GOAT [greatest of all time], or at least one of the GOATs", with Van Vliet himself asserting that Jericho is "if not the best, certainly one of the best". Todd Martin of the Pro Wrestling Torch remarked, to agreement from editor Wade Keller, that Jericho is "one of the great wrestlers of all time" and in "a lofty category", while likening his oeuvre to those of WWE Hall of Famers Randy Savage, Ricky Steamboat, Ted DiBiase and Dory Funk Jr. Praised for his ability to continually evolve his gimmick, Jericho was dubbed by KC Joyner of ESPN as "wrestling's David Bowie".
Various outlets have included Jericho in lists of the greatest wrestlers ever. Baltimore Sun reporter Kevin Eck, who has also served as editor of WCW Magazine and a WWE producer, featured Jericho in his "Top 10 favorite wrestlers of all time" and "Top 10 all-around performers"—the former piece noting that Jericho is "regarded as one of the very best talkers in the business". Keisha Hatchett in TV Guide wrote that Jericho "owns the mic with cerebral insults" and is set apart from peers by "his charismatic presence, which is highlighted by a laundry list of unforgettable catchphrases". He was voted by Wrestling Observer Newsletter (WON) readers as "Best on Interviews" for the 2000s decade, coinciding with his 2010 induction into the WON Hall of Fame. Fans also named Jericho the greatest WWE Intercontinental Champion of all time in a 2013 WWE poll, affording him a landslide 63% victory over the other four contenders (Mr. Perfect, The Honky Tonk Man, Rick Rude and Pat Patterson).
A number of Jericho's industry colleagues have hailed him as one of the greatest wrestlers in history. Stone Cold Steve Austin lauded his consistently "dynamic" promos and in-ring work, while arguing that he should be considered among the 10 best ever. Kenny Omega asserted that Jericho "has a legit argument for being the best of all time", based on his ability to achieve success and notoriety across numerous territories. Jon Moxley said, "Jericho is really making a case for being the greatest of all time... he's doing it again, he's doing something completely new, and breaking new barriers still here in 2020." Matt Striker pointed to Jericho's "magnanimous" nature as a contributing factor to his status as an all-time great; his willingness to impart knowledge was commended by James Ellsworth, who described Jericho as an "outstanding human being" and a childhood favorite. Kevin Owens stated that "Jericho was always someone I looked up to", while The Miz affirmed that he was part of a generation of young wrestlers who sought to "emulate" Jericho.
WWE declared Jericho a "marquee draw" with a "reputation as one of the best ever". As of 2019, he is one of the ten most prolific pay-per-view performers in company history.
After Jericho signed with All Elite Wrestling, it was said his role was similar to Terry Funk in ECW, as an experienced veteran bringing credibility to a younger promotion. Jericho was credited as one of the key attractions of AEW's weekly television broadcasts, leading to him adopting the nickname "The Demo God" due to many of the segments he appeared in being some of the highest viewed in the key demographics. He was voted as the Best Box Office Draw by readers of the Wrestling Observer Newsletter in 2019.
Music career
Jericho is the lead singer for the heavy metal band Fozzy. Since their debut album in 2000, Fozzy have released seven studio albums; Fozzy, Happenstance, All That Remains, Chasing the Grail, Sin and Bones, Do You Wanna Start a War, Judas, and one live album, Remains Alive.
In 2005, Jericho performed vocals on a cover of "The Evil That Men Do" on the Iron Maiden tribute album, Numbers from the Beast. He made a guest appearance on Dream Theater's album, Systematic Chaos on the song "Repentance", as one of several musical guests recorded apologizing to important people in their lives for wrongdoings in the past.
In the mid-1990s, Jericho wrote a monthly column for Metal Edge magazine focused on the heavy metal scene. The column ran for about a year. He started his own weekly XM Satellite Radio show in March 2005 called The Rock of Jericho, which aired Sunday nights on XM 41 The Boneyard.
Discography
Albums with Fozzy
Fozzy (2000)
Happenstance (2002)
All That Remains (2005)
Chasing the Grail (2010)
Sin and Bones (2012)
Do You Wanna Start a War (2014)
Judas (2017)
Live albums
Remains Alive (2009)
As guest
Don't You Wish You Were Me? - WWE Originals (2004)
King of the Night Time World - Spin the Bottle: An All-Star Tribute to Kiss (2004) * With Rich Ward, Mike Inez, Fred Coury
Bullet for My Valentine – Temper Temper – Dead to the World (2013)
Devin Townsend – Dark Matters (2014)
Michael Sweet – I'm Not Your Suicide – Anybody Else (2014)
Other endeavors
Film, theater, comedy, and writing
In 2000, a WWE produced VHS tape documenting Jericho's career titled Break Down the Walls was released. He later received two three disc sets profiling matches and interviews.
On June 24, 2006, Jericho premiered in his first Sci-Fi Channel movie Android Apocalypse alongside Scott Bairstow and Joey Lawrence.
Jericho debuted as a stage actor in a comedy play Opening Night, which premiered at the Toronto Centre for the Arts during July 20–22, 2006 in Toronto. During his stay in Toronto, Jericho hosted the sketch comedy show Sunday Night Live with sketch troupe The Sketchersons at The Brunswick House.
Jericho was also the first wrestler attached and interviewed for the wrestling documentary, Bloodstained Memoirs. The interview was recorded in the UK during a Fozzy tour in 2006.
Jericho wrote his autobiography, A Lion's Tale: Around the World in Spandex, which was released on October 25, 2007 and became a New York Times bestseller. It covers Jericho's life and wrestling career up to his debut in the WWE. Jericho's second autobiography, Undisputed: How to Become the World Champion in 1,372 Easy Steps, was released on February 16, 2011, and covers his wrestling career since his WWE debut. On October 14, 2014 Jericho's third book, The Best In The World...At What I Have No Idea, was released. It covers some untold stories of the "Save Us" era, his Fozzy career, and his multiple returns from 2011 to 2013. Jericho's fourth book, No Is a Four-Letter Word: How I Failed Spelling but Succeeded in Life, was released on August 29, 2017 and details twenty valuable lessons Jericho learned throughout his career as a wrestler and musician.
Jericho appeared in the 2009 film Albino Farm. In the film MacGruber, released May 21, 2010, he briefly appeared as Frank Korver, a former military teammate of the eponymous Green Beret, Navy Seal, and Army Ranger.
Jericho released a comedy web series on October 29, 2013 that is loosely based on his life entitled But I'm Chris Jericho! Jericho plays a former wrestler, struggling to make it big as an actor. A second season was produced in 2017 by CBC and distributed over CBC's television app and CBC.ca.
In 2016, Jericho starred in the documentary film Nine Legends alongside Mike Tyson and other wrestlers.
In August 2018, Jericho was confirmed to star in the film Killroy Was Here.
On March 14, 2019, filmmaker Kevin Smith cast Jericho as a KKK Grand Wizard in Jay and Silent Bob Reboot.
Television
Jericho was a contributor to the VH1 pop culture shows Best Week Ever, I Love the '80s, and VH1's top 100 artists.
Jericho also hosted the five-part, five-hour VH1 special 100 Most Shocking Music Moments, an update of the original special 100 Most Shocking Moments in Rock N' Roll first hosted by Mark McGrath of Sugar Ray.
On July 12, 2006, he made an appearance on G4's Attack of the Show!; he made a second appearance on August 21, 2009. In May 2006, Jericho appeared on VH1's 40 Greatest Metal Songs and Heavy: The Story of Metal as a commentator.
He was one of eight celebrities in the 2006 Fox Television singing reality show Celebrity Duets, produced by Simon Cowell, and was the first contestant eliminated. Jericho worked at a McDonald's to show off his skills while prepping for the show.
Jericho hosted his own reality show in 2008 titled Redemption Song, in which 11 women tried their hand at getting into the music scene. It was shown on Fuse TV.
He guest starred as Billy "The Body Bag" Cobb in "Xero Control", an episode of the Disney XD 2009 original series Aaron Stone.
He hosted VH1's 100 Most Shocking Music Moments, which began airing in December 2009. In June 2010, Jericho was named the host of the ABC prime-time game show Downfall.
On March 1, 2011, Chris Jericho was named one of the contestants on the 2011 lineup of Dancing with the Stars. His partner was two-time champion Cheryl Burke. This led to a wave of publicity, including an interview with Jay Leno. On April 26, Jericho was the fifth contestant eliminated on the show.
On May 5, Jericho made his third appearance as a guest on Attack of the Show! where he depicted Thor. He promoted Undisputed and hosted the Revolver Golden Gods Awards on May 28 on VH1 Classic. On January 17, 2012, Jericho made his fourth appearance on Attack of the Show! in a segment called "Twitter Twister" where he portrayed a character called "The Twistercutioner" and read tweets as instructions for a game of Twister between Kevin and Candace. Jericho hosted the UK's Metal Hammer Golden Gods Awards in 2012 and 2017.
On February 26, 2013, Jericho began hosting a robot combat competition program on SyFy titled Robot Combat League the series ended on April 23, 2015.
Talk Is Jericho podcast
In December 2013, Jericho began hosting his own podcast, Talk is Jericho. Episodes usually include a loosely scripted monolog before an interview, typically with a wrestler, rock musician or paranormal expert. The show originally appeared on PodcastOne, before moving to the WestwoodOne network in 2018. Notable guests on the show include Bruce Dickinson from Iron Maiden, Lemmy from Motörhead, Paul Stanley from KISS, Zak Bagans from Ghost Adventures, pornographic actress Asa Akira, writer/director Kevin Smith and many former and current wrestlers.
In April 2015, Jericho hosted his own video podcast on the WWE Network, Live! with Chris Jericho, with John Cena as his first guest, followed by Stephanie McMahon as his guest later that same month.
Once he signed with AEW, he was no longer allowed WWE performers as guests on the podcast.
Web
On August 10, 2019, Jericho launched his own dirtsheet website called WebIsJericho.com. The website is dedicated to the memory of Axl Rotten.
In May 2020, Jericho officially joined as a competitor of the Movie Trivia Schmoedown under manager Roxy Striar in the Roxstars faction. Jericho first expressed interest in the Schmoedown following an appearance on Collider Live with Striar and Schmoedown commissioner Kristian Harloff. He became friends with Striar following the interview and kept in contact. During the 2020 season, Jericho contacted Striar, asking to be a part of the league. Striar formally drafted Jericho into her faction during the first free-agent period following the season-opening draft. His first match is scheduled for August 27 against Kevin Smith.
Cruises
In 2017, Jericho launched Chris Jericho's Rock 'N' Wrestling Rager at Sea, a cruise "combining the worlds of rock and wrestling with a once in a lifetime amazing vacation experience". The cruise featured live band performances, artist-hosted activities and a Sea of Honor Tournament with over a dozen Ring of Honor wrestlers competing. Guests had the opportunity to get up close and personal with Chris and his closest wrestling, comedian, and musician friends including Jim Ross, Diamond Dallas Page and Jim Breuer, among others. The cruise sailed October 27–31, 2018 from Miami to Nassau, Bahamas.
Jericho hosted a second cruise, Chris Jericho's Rock 'N' Wrestling Rager at Sea Part Deux: Second Wave, which run from January 20–24, 2020. A third cruise, Chris Jericho's Rock 'N' Wrestling Rager at Sea Triple Whammy, is scheduled for October 21–25, 2021.
Video games
Jericho has appeared in numerous video games. They include WCW/nWo Revenge, WCW Nitro, WCW/nWo Thunder, WCW Mayhem, WWF WrestleMania 2000, WWF No Mercy, WWF SmackDown!, WWF SmackDown! 2: Know Your Role, WWF SmackDown! Just Bring It, WWF Raw, WWE SmackDown! Shut Your Mouth, WWE SmackDown! Here Comes the Pain, WWE SmackDown! vs. Raw, WWE SmackDown! vs. Raw 2006, WWE SmackDown vs. Raw 2009, WWE All Stars, WWE SmackDown vs. Raw 2010, WWE SmackDown vs. Raw 2011, WWE '13, WWE 2K14, WWE 2K15, WWE 2K16, WWE 2K17, WWE 2K18, WWE 2K19 and the upcoming All Elite Wrestling video game.
Personal life
Irvine married Jessica Lockhart on July 30, 2000. They reside in Odessa, Florida, with their three children: son Ash Edward Irvine (born 2003) and identical twin daughters Sierra Loretta "SiSi" Irvine and Cheyenne Lee "Chey" Irvine (born 2006). All three have been guests on his podcast, Talk Is Jericho, with his son discussing fish and his daughters discussing literature. Irvine owns three cats. In October 2020, Irvine reportedly donated $3,000 to Donald Trump's presidential re-election campaign.
Irvine is a Christian. He has a tattoo of his wife's name on his ring finger. He has the letter F, representing Fozzy, on the back of his hand. Since 2012, he has gradually gotten a sleeve over his left arm. His tattoos include: the artwork of Fozzy's album Sin and Bones, a Jack-o'-lantern (Avenged Sevenfold vocalist M. Shadows, who collaborated with Fozzy on the track "Sandpaper" from Sin and Bones, also got a matching tattoo), a lake monster, and himself from his WWF debut in 1999.
On July 5, 2004, Irvine was awarded Manitoba's The Order of the Buffalo Hunt, for his achievements in wrestling and his commitment to working with underprivileged children. – "After that, Gary Doer, the premier of Manitoba, awarded me with the Order of the Buffalo Hunt, which was the province's highest honor. It was quite the prestigious prize, which has been given to such dignitaries such as Mother Teresa, Desmond Tutu, Jimmy Carter, Pope John Paul II, and now Chris Jericho." / caption: "Manitoba Premier Gary Doer presents me with the Order of the Buffalo Hunt, along with a tiny bronze buffalo. I'm thinking, 'That's all I get?'"
Since January 2012, Irvine (along with former NFL Quarterback Tim Tebow, former NFL player Derrick Brooks, and former Atlanta Braves player Chipper Jones) has been the co-owner of a sports training facility in Tampa, a franchise site of D1 Sports Training and Therapy.
Irvine is a fan of Japanese convenience store chain Lawson, which Irvine would frequently shop at when he wrestled in Japan in the 1990s. Irvine still visits Lawson whenever he returns to Japan, whether to wrestle or if he is touring with Fozzy.https://www.instagram.com/p/CQCwN9vjtO_/
Legal issues
On February 7, 2009, a fan accused Irvine of punching her after she spat at him with fans outside Save-On-Foods Memorial Centre in Victoria, British Columbia after a live event. Video footage, however, clearly showed he did not make contact with the woman. As a result of the incident, police detained them, but released them without charge. Police did not press charges against anyone in the brawl as it was "hard to determine who provoked whom".
On January 27, 2010, Irvine and fellow wrestler Gregory Helms were arrested in Fort Mitchell, Kentucky after leaving a bar. A police report stated that Helms punched Irvine and the other passengers in the cab. Fellow wrestlers Christian and CM Punk bailed them out later.
Filmography
Film
Television
Video games
Championships and accomplishments
All Elite Wrestling AEW World Championship (1 time)
AEW Dynamite Awards (2 times)
Bleacher Report PPV Moment of the Year (2021) –
Biggest Beatdown (2021) –
The Baltimore Sun
Feud of the Year (2008)
Canadian Rocky Mountain Wrestling
CRMW North American Heavyweight Championship (1 time)
CRMW North American Tag Team Championship (2 times) – with Lance Storm
CRMW Mid-Heavyweight Championship (2 times)
Consejo Mundial de Lucha Libre
NWA World Middleweight Championship (1 time)
Extreme Championship Wrestling
ECW World Television Championship (1 time)
International Wrestling Alliance
IWA Junior Heavyweight Championship (1 time)
New Japan Pro-Wrestling
IWGP Intercontinental Championship (1 time)
Pro Wrestling Illustrated
Faction of the Year (2021) – with The Inner Circle
Feud of the Decade (2000s)
Feud of the Year (2008)
Feud of the Year (2021)
Most Hated Wrestler of the Year (2002, 2008)
Ranked No. 2 of the top 500 singles wrestlers in the PWI 500 in 2009
Rolling Stone
Ranked No. 3 of the 10 best WWE wrestlers of 2016
World Championship Wrestling
WCW Cruiserweight Championship (4 times)
WCW World Television Championship (1 time)
World Wrestling Federation/Entertainment/WWE
Undisputed WWF Championship (1 time)
World Heavyweight Championship (3 times)
WCW/World Championship (2 times)
WWF/WWE Intercontinental Championship (9 times)
WWE United States Championship (2 times)
WWF European Championship (1 time)
WWF Hardcore Championship (1 time)
WWE Tag Team Championship (2 times) – with Edge (1) and Big Show (1)
WWF/World Tag Team Championship (5 times) – with Chris Benoit (1), The Rock (1), Christian (1), Edge (1), and Big Show (1)
Bragging Rights Trophy (2009) – with Team SmackDown
WWF Undisputed Championship Tournament (2001)
Fourth Grand Slam Champion
Ninth Triple Crown Champion
Slammy Award (3 times)
Extreme Moment of the Year (2014)
Superstar of the Year (2008)
Tag Team of the Year (2009) – with Big Show
Wrestle Association "R"
WAR International Junior Heavyweight Championship (1 time)
WAR International Junior Heavyweight Tag Team Championship (1 time) – with Gedo
World Wrestling Association
WWA Tag Team Championship (1 time) – with El Dandy
Wrestling Observer Newsletter
Wrestler of the Year (2008, 2009, 2019)
Best on Interviews (2003, 2008, 2009, 2019)
Best on Interviews of the Decade (2000s)
Feud of the Year (2008)
Pro Wrestling Match of the Year (2008)
Most Underrated Wrestler (1999, 2000)
Readers' Favorite Wrestler (1999)
United States/Canada MVP (2019)
Most Charismatic (2019)
Best Box Office Draw (2019)
Best Pro Wrestling Book (2011)
Wrestling Observer Newsletter Hall of Fame (Class of 2010)
Luchas de Apuestas record
Notes
References
Further reading
External links
1970 births
21st-century American male actors
21st-century American singers
21st-century Canadian male actors
21st-century Canadian male singers
AEW World Champions
All Elite Wrestling personnel
American Christians
American color commentators
American game show hosts
American hard rock musicians
American heavy metal singers
American male film actors
American male professional wrestlers
American male singer-songwriters
American male television actors
American memoirists
American men podcasters
American people of Scottish descent
American people of Ukrainian descent
American podcasters
American radio personalities
American rock singers
American rock songwriters
American YouTubers
Canadian Christians
Canadian colour commentators
Canadian expatriate professional wrestlers in the United States
Canadian game show hosts
Canadian hard rock musicians
Canadian heavy metal singers
Canadian male film actors
Canadian male professional wrestlers
Canadian male singers
Canadian male singer-songwriters
Canadian male television actors
Canadian memoirists
Canadian men podcasters
Canadian people of Scottish descent
Canadian people of Ukrainian descent
Canadian podcasters
Canadian radio personalities
Canadian rock singers
Canadian YouTubers
Christians from New York (state)
ECW World Television Champions
Expatriate professional wrestlers in Japan
Expatriate professional wrestlers in Mexico
Fozzy members
IWGP Intercontinental champions
Living people
Male actors from New York (state)
Male actors from Winnipeg
Male YouTubers
Musicians from Winnipeg
NWA/WCW World Television Champions
NWA/WCW/WWE United States Heavyweight Champions
Participants in American reality television series
People from Manhasset, New York
Professional wrestlers from Manitoba
Professional wrestlers from New York (state)
Professional wrestling podcasters
Red River College alumni
Singer-songwriters from New York (state)
Sportspeople from Winnipeg
WCW World Heavyweight Champions
World Heavyweight Champions (WWE)
WWE Champions
WWE Grand Slam champions
WWF European Champions
WWF/WWE Hardcore Champions
WWF/WWE Intercontinental Champions | true | [
"The World Heavyweight Championship was a professional wrestling world heavyweight championship owned by WWE. It was one of two top championships in WWE from 2002 to 2006 and from 2010 to 2013, complementing the WWE Championship, and one of three top championships from 2006 to 2010 with the addition of the ECW World Heavyweight Championship.\n\nThe title was established under the Raw brand in 2002, after Raw and SmackDown became distinct brands under WWE, and moved between both brands on different occasions (mainly as a result of the WWE draft) until August 29, 2011, when all programming became full roster \"supershows\". The World Heavyweight Championship was retired at TLC: Tables, Ladders & Chairs on December 15, 2013, when it was unified with the WWE Championship. Triple H was the inaugural World Heavyweight Champion, with Randy Orton being the last.\n\nThe title was one of six to be represented by the historic Big Gold Belt, first introduced in 1986. Its heritage can be traced back to the first world heavyweight championship, thereby giving the belt a legacy over 100 years old, the oldest in the world.\n\nHistory\n\nBackground \nThe title's origins lay in the first world heavyweight championship, and then to events that began in the National Wrestling Alliance (NWA), which had many different territorial promotions as members. In the late 1980s, World Championship Wrestling (WCW) was a member of the NWA, having been formed by the purchase of Jim Crockett Promotions (JCP), which had absorbed many other NWA members, by Turner Broadcasting, which aired WCW's programming. During this time, WCW used the NWA World Heavyweight Championship as its world title. The WCW World Heavyweight Championship was soon established when the recognition was awarded to then-NWA World Heavyweight Champion Ric Flair in 1991. In 1993, WCW seceded from the NWA and grew to become a rival promotion to the World Wrestling Federation (WWF), itself a former member of the NWA. Both organizations grew into mainstream prominence and were eventually involved in a television ratings war dubbed the Monday Night Wars. Near the end of the ratings war, WCW began a financial decline which culminated in March 2001 with the WWF's purchase of selected assets of WCW.\n\nAs a result of the purchase, the WWF acquired the video library of WCW, select talent contracts, and championships among other assets. The slew of former WCW talent joining the WWF roster began \"The Invasion\" that effectively phased out the WCW name. Following this, the WCW World Heavyweight Championship was unified with the WWF Championship, the WWF's world title, at Vengeance in December. At the event, the WCW World Heavyweight Championship was decommissioned with Chris Jericho becoming the final WCW World Heavyweight Champion and the subsequent Undisputed WWF Champion after defeating The Rock and Steve Austin respectively. The WWF title became the undisputed championship in professional wrestling until September 2002 with the creation of the World Heavyweight Championship, spun off from the Undisputed WWE Championship as the successor to the WCW World Heavyweight Championship.\n\nCreation \n\nBy 2002, WWE's roster had doubled in size due to the overabundance of contracted workers. As a result of the increase, WWE divided the roster through its two main television programs, Raw and SmackDown, assigning championships and appointing figureheads to each brand of the same name. This expansion became known as the \"Brand Extension\". In May 2002, the WWF was renamed to World Wrestling Entertainment (WWE). Following these changes, the Undisputed WWE Championship remained unaffiliated with either brand as competitors from both brands could challenge the Undisputed Champion. Following the appointment of Eric Bischoff and Stephanie McMahon as General Managers of the Raw and SmackDown brands, respectively, Stephanie McMahon contracted then-WWE Undisputed Champion Brock Lesnar to the SmackDown brand, leaving the Raw brand without a world title. On September 2, Eric Bischoff announced the creation of the World Heavyweight Championship. Bischoff awarded the title to Triple H, who had been designated number-one contender to Lesnar's title the previous week. Immediately afterwards, the Undisputed Championship returned to being the WWE Championship as it was no longer undisputed. The World Heavyweight Championship and the WWE Championship switched brands a number of times before the first brand split ended in 2011.\n\nHistorical lineage \n\nWhile introduced in 2002 as a new title, the WWE often made allusions to other titles including those of WCW and the NWA, amalgamating the history of the championship with the history of the belt that represents it. As affirmed by WWE, the World Heavyweight Championship is not a continuation of the WCW Championship, but rather its successor by way of the WWE Undisputed Championship, just as the WCW Championship spun off from the NWA World Heavyweight Championship. Due to its relation to both titles, its lineage is connected with the earliest recognized world heavyweight championship. In 2009, WWE released a DVD set called History of the World Heavyweight Championship that definitively linked the title to the WCW and NWA titles.\n\nTitle unification\n\nFollowing the end of the first brand extension in 2011, both the World Heavyweight Champion and WWE Champion could appear on both Raw and SmackDown. In 2013, the night after Survivor Series, then-World Heavyweight Champion John Cena made a challenge to then-WWE Champion Randy Orton to determine an undisputed WWE world champion. Randy Orton defeated John Cena in a TLC match at the TLC: Tables, Ladders & Chairs pay-per-view on December 15, 2013, to unify the titles. Subsequently, the WWE Championship was renamed WWE World Heavyweight Championship. The unified championship retained the lineage of the WWE Championship, and the World Heavyweight Championship was retired. With his victory over John Cena, Randy Orton became the final World Heavyweight Champion. Like with the Undisputed Championship, the Big Gold Belt was used in tandem with the WWE Championship belt to represent the WWE World Heavyweight Championship until a single belt was presented to then champion Brock Lesnar in August 2014.\n\nBrand designation history \nThe following is a list of dates indicating the transitions of the World Heavyweight Championship between the Raw and SmackDown brands.\n\nReigns \n\nThe inaugural champion was Triple H, and there were 25 different champions overall. The longest reigning champion was Batista who held the title from April 3, 2005, to January 10, 2006, for a total of 282 days. Triple H holds the record for longest combined reigns at 616 days. The shortest reigning champion was Randy Orton in his fourth reign, who immediately retired the championship upon winning it and unifying it with the WWE Championship. He was also the youngest champion, at the age of 24. The oldest champion was The Undertaker who won at the age of 44. Edge held the title the most times with seven championship reigns. There were six vacancies throughout the title's history.\n\nRandy Orton was the final champion in his fourth reign. He defeated John Cena in a TLC match at TLC: Tables, Ladders & Chairs on December 15, 2013 in Houston, Texas to unify the WWE and World Heavyweight Championships.\n\nSee also\n List of former championships in WWE\n World championships in WWE\n\nNotes\n\nReferences\n\nExternal links \n Official WWE World Heavyweight Title History\n Wrestling-Titles.com: World Heavyweight Title (WWE)\n\nWorld heavyweight wrestling championships\nWWE championships",
"WWE has maintained several professional wrestling world championships since Capitol Wrestling Corporation seceded from the National Wrestling Alliance in 1963 to become the World Wide Wrestling Federation (WWWF), which was later subjected to various name changes, including World Wrestling Federation (WWF) and World Wrestling Entertainment (WWE)—in April 2011, the company ceased using its full name and has since just been referred to as WWE. Whenever the WWE brand extension has been implemented, separate world championships have been created or allocated for each brand.\n\nOverview\n\nHistory \n\nIn the 1950s, Capitol Wrestling Corporation (CWC) was a member of the National Wrestling Alliance (NWA) and by 1963, its executives held a controlling stake over NWA operations. During this time, Buddy Rogers held the NWA World Heavyweight Championship until January 24, when Lou Thesz defeated Rogers for the championship in a one fall match. Claiming the championship can only be contested in a traditional two out of three falls match, the promotion disputed the change, and thus seceded from the NWA and became the World Wide Wrestling Federation (WWWF). The WWWF World Heavyweight Championship was then established and awarded to Buddy Rogers with the explanation that he won a fictional tournament in Rio de Janeiro, supposedly defeating Antonino Rocca in the finals. After several years, the WWWF became affiliated with the NWA once again, and \"World\" was dropped from the championship's name. In 1979, the WWWF was renamed World Wrestling Federation (WWF), and then after conclusively ending its affiliation with the NWA in 1983, the championship became known as the WWF World Heavyweight Championship. Although the full name appeared on the belt until 1998, the name was often abbreviated to WWF Championship, which became its official name in 1998.\n\nIn 1991, World Championship Wrestling (WCW), a member of the NWA, established the WCW World Heavyweight Championship to replace the NWA's world championship. That same year, reigning and inaugural WCW Champion Ric Flair left WCW with the Big Gold Belt, which had represented the championship, and joined the WWF. Flair then began appearing on WWF television with the Big Gold Belt, calling himself \"The Real World Champion\"; however, this was never officially recognized as a world championship in WWF. In 1993, WCW seceded from the NWA and grew to become a rival promotion to the WWF. Both organizations grew into mainstream prominence and were eventually involved in a television ratings war, dubbed the Monday Night Wars. Near the end of the ratings war, WCW began a financial decline, which culminated in WWF purchasing WCW in March 2001. As a result of the purchase, the WWF acquired, among other assets, WCW's championships. Thus, there were two world championships in the WWF: the original WWF Championship and the WCW Championship, which was eventually renamed the \"World Championship\".\n\nIn December 2001, the two championships were unified at Vengeance. At the event, Stone Cold Steve Austin defeated Kurt Angle to retain the WWF Championship, while Chris Jericho defeated The Rock for the World Championship. After this, Jericho then defeated Austin, unifying the WWF and World Championships, and becoming the first Undisputed WWF Champion; the Undisputed championship retained the lineage of the WWF Championship and the World Championship was retired. The Undisputed Championship continued up through the beginning of the first brand extension, which saw wrestlers being drafted to the company's main television programs, Raw and SmackDown, each show representing the brand of the same name, with championships assigned to and authority figures appointed for each brand. The holder of the Undisputed Championship was the only male wrestler allowed to appear on both shows.\n\nIn May 2002, the WWF was renamed World Wrestling Entertainment (WWE) and the championships were renamed accordingly. At first, the Undisputed Championship remained unaffiliated with either brand as wrestlers from both brands could challenge the champion. Following the appointment of Eric Bischoff and Stephanie McMahon as General Managers of Raw and SmackDown, respectively, Stephanie McMahon convinced then-Undisputed Champion Brock Lesnar to become exclusive to the SmackDown brand, leaving the Raw brand without a world championship. In response, on September 2, Bischoff disputed Lesnar's status as champion, stating Lesnar was refusing to defend against the designated No. 1 contender, Triple H, and awarded the latter with the newly created World Heavyweight Championship. Immediately afterwards, Lesnar's championship dropped the epithet \"Undisputed\" and became known as the WWE Championship.\n\nIn 1994, Eastern Championship Wrestling seceded from the NWA and became Extreme Championship Wrestling (ECW) and established the ECW World Heavyweight Championship. In 2001, the ECW promotion folded due to bankruptcy and WWE bought the assets of ECW in 2003. In June 2006, WWE established a third brand dubbed ECW on which stars from the former promotion and newer talent competed. When ECW's Rob Van Dam won the WWE Championship at ECW One Night Stand, the ECW Championship was subsequently reactivated as the world championship of the ECW brand (and the third concurrently active world championship in WWE) and was awarded to Van Dam, who held both until he lost the WWE Championship to Raw's Edge the following month. The three world championships at one point or another switched brands over the course of the brand extension, usually as a result of the annual draft. The ECW brand was disbanded in 2010, subsequently deactivating the ECW Championship. The first brand extension ended in August 2011; earlier that year in April, the promotion ceased using its full name with \"WWE\" becoming an orphaned initialism.\n\nFollowing the end of the first brand extension, both the WWE Champion and World Heavyweight Champion could appear on both Raw and SmackDown. In November 2013, the night after Survivor Series, then-World Heavyweight Champion John Cena made a challenge to then-WWE Champion Randy Orton to determine an undisputed WWE world champion. Orton defeated Cena in a Tables, Ladders, and Chairs match at the TLC: Tables, Ladders & Chairs pay-per-view on December 15, 2013, to unify the championship. Subsequently, the unified championship was renamed WWE World Heavyweight Championship and retained the lineage of the WWE Championship; the World Heavyweight Championship was retired.\n\nAfter Dean Ambrose became champion in June 2016, the title's name reverted to \"WWE Championship\". In light of the return of the WWE brand extension the following month, Ambrose was drafted to SmackDown and retained his title at Battleground on July 24 against Raw draftees Seth Rollins and Roman Reigns, making it exclusive to SmackDown. On the July 25 episode of Raw, to address the lack of a world championship for the brand, the WWE Universal Championship was created; Finn Bálor became the inaugural champion at SummerSlam. After the unveiling of the Universal Championship, the WWE Championship was renamed WWE World Championship, but reverted to WWE Championship in December 2016 during AJ Styles' first reign.\n\nIn 2012, NXT was established as a developmental territory for WWE. The NXT Championship was also established that year and Seth Rollins became its inaugural champion. In 2019, NXT debuted on the USA Network, and its status rose to being WWE's third main brand alongside Raw and SmackDown. The NXT Championship is now recognized as a world championship, making it one of three concurrently active in WWE, along with the WWE Championship and Universal Championship.\n\nSuperlative reigns \n A \"+\" indicates that the title reign is ongoing.\n\nTen longest \nThe following list shows the ten longest world championship reigns in WWE history.\n\nLongest per championship \nThe following list shows the longest reigning champion for each world championship created and/or promoted by WWE.\n\nMost per championship \nThe following list shows the wrestlers with the most reigns for each world championship created and/or promoted by WWE.\n\nMost total reigns \nThe following list shows the wrestlers who have the most world championship reigns in total, combining all titles they have held as recognized by WWE. This list also shows the titles that they won to achieve this record (minimum five world championship reigns).\n\nSee also \n Tag team championships in WWE\n Women's championships in WWE\n\nReferences \n\nWorld heavyweight wrestling championships\nWWE championships"
] | [
"Christopher Keith Irvine (born November 9, 1970), better known by the ring name Chris Jericho, is an American-Canadian professional wrestler and singer. He is currently signed to All Elite Wrestling (AEW), where he is the leader of The Inner Circle stable.",
"He is currently signed to All Elite Wrestling (AEW), where he is the leader of The Inner Circle stable. Noted for his over-the-top rock star persona, he has been named by journalists and industry colleagues as one of the greatest professional wrestlers of all time.",
"Noted for his over-the-top rock star persona, he has been named by journalists and industry colleagues as one of the greatest professional wrestlers of all time. During the 1990s, Jericho performed for American organizations Extreme Championship Wrestling (ECW) and World Championship Wrestling (WCW), as well as for promotions in countries such as Canada, Japan, and Mexico.",
"During the 1990s, Jericho performed for American organizations Extreme Championship Wrestling (ECW) and World Championship Wrestling (WCW), as well as for promotions in countries such as Canada, Japan, and Mexico. At the end of 1999, he made his debut in the World Wrestling Federation (WWF).",
"At the end of 1999, he made his debut in the World Wrestling Federation (WWF). In 2001, he became the first Undisputed WWF Champion, and thus the final holder of the WCW World Heavyweight Championship (then referred to as the World Championship), having won and unified the WWF and World titles by defeating Stone Cold Steve Austin and The Rock on the same night.",
"In 2001, he became the first Undisputed WWF Champion, and thus the final holder of the WCW World Heavyweight Championship (then referred to as the World Championship), having won and unified the WWF and World titles by defeating Stone Cold Steve Austin and The Rock on the same night. Jericho headlined multiple pay-per-view (PPV) events during his time with the WWF/WWE, including WrestleMania X8 and the inaugural TLC and Elimination Chamber shows.",
"Jericho headlined multiple pay-per-view (PPV) events during his time with the WWF/WWE, including WrestleMania X8 and the inaugural TLC and Elimination Chamber shows. He was inducted into the Wrestling Observer Newsletter Hall of Fame in 2010.",
"He was inducted into the Wrestling Observer Newsletter Hall of Fame in 2010. Within the WWF/WWE, Jericho is a six-time world champion, having won the Undisputed WWF Championship once, the WCW/World Championship twice and the World Heavyweight Championship three times.",
"Within the WWF/WWE, Jericho is a six-time world champion, having won the Undisputed WWF Championship once, the WCW/World Championship twice and the World Heavyweight Championship three times. He has also held the WWE Intercontinental Championship a record nine times and was the ninth Triple Crown Champion, as well as the fourth Grand Slam Champion in history.",
"He has also held the WWE Intercontinental Championship a record nine times and was the ninth Triple Crown Champion, as well as the fourth Grand Slam Champion in history. In addition, he was the 2008 Superstar of the Year Slammy Award winner and (along with Big Show as Jeri-Show) won the 2009 Tag Team of the Year Slammy Award—making him the only winner of both Superstar and Tag Team of the Year.",
"In addition, he was the 2008 Superstar of the Year Slammy Award winner and (along with Big Show as Jeri-Show) won the 2009 Tag Team of the Year Slammy Award—making him the only winner of both Superstar and Tag Team of the Year. After his departure from WWE in 2018, Jericho signed with New Japan Pro-Wrestling (NJPW), where he became a one-time IWGP Intercontinental Champion, and becoming the first man to have held both the WWE and IWGP Intercontinental Championships.",
"After his departure from WWE in 2018, Jericho signed with New Japan Pro-Wrestling (NJPW), where he became a one-time IWGP Intercontinental Champion, and becoming the first man to have held both the WWE and IWGP Intercontinental Championships. Jericho joined AEW in January 2019 and became the inaugural holder of the AEW World Championship in August of that year.",
"Jericho joined AEW in January 2019 and became the inaugural holder of the AEW World Championship in August of that year. All totalled, between ECW, WCW, WWE, NJPW and AEW, Jericho has held 36 championships (including seven World Championships, and 10 Intercontinental Championships).",
"All totalled, between ECW, WCW, WWE, NJPW and AEW, Jericho has held 36 championships (including seven World Championships, and 10 Intercontinental Championships). In 1999, Jericho became lead vocalist of heavy metal band Fozzy, who released their eponymous debut album the following year.",
"In 1999, Jericho became lead vocalist of heavy metal band Fozzy, who released their eponymous debut album the following year. The group's early work is composed largely of cover versions, although they have focused primarily on original material from their third album, All That Remains (2005), onward.",
"The group's early work is composed largely of cover versions, although they have focused primarily on original material from their third album, All That Remains (2005), onward. Jericho has also appeared on numerous television shows over the years, including the 2011 season of Dancing With the Stars.",
"Jericho has also appeared on numerous television shows over the years, including the 2011 season of Dancing With the Stars. He hosted the ABC game show Downfall, the 2011 edition of the Revolver Golden Gods Awards, and the UK's Metal Hammer Golden Gods Awards in 2012 and 2017.",
"He hosted the ABC game show Downfall, the 2011 edition of the Revolver Golden Gods Awards, and the UK's Metal Hammer Golden Gods Awards in 2012 and 2017. Early life Christopher Keith Irvine was born in Manhasset, New York on November 9, 1970, the son of a Canadian couple.",
"Early life Christopher Keith Irvine was born in Manhasset, New York on November 9, 1970, the son of a Canadian couple. He is of Scottish descent from his father's side and Ukrainian descent from his mother's side.",
"He is of Scottish descent from his father's side and Ukrainian descent from his mother's side. His father, ice hockey player Ted Irvine, had been playing for the New York Rangers at the time of his birth. When his father retired, the family moved back to Winnipeg, Manitoba, where Irvine grew up.",
"When his father retired, the family moved back to Winnipeg, Manitoba, where Irvine grew up. He holds dual American and Canadian citizenships.",
"He holds dual American and Canadian citizenships. Irvine's interest in professional wrestling began when he started watching the local American Wrestling Association (AWA) events that took place at the Winnipeg Arena with his family, and his desire to become a professional wrestler himself began when he saw footage of Owen Hart, then appearing with Stampede Wrestling, performing various high-flying moves.",
"Irvine's interest in professional wrestling began when he started watching the local American Wrestling Association (AWA) events that took place at the Winnipeg Arena with his family, and his desire to become a professional wrestler himself began when he saw footage of Owen Hart, then appearing with Stampede Wrestling, performing various high-flying moves. In addition, Irvine also cited Owen's older brother Bret, Ricky Steamboat and Shawn Michaels as inspirations for his becoming a professional wrestler.",
"In addition, Irvine also cited Owen's older brother Bret, Ricky Steamboat and Shawn Michaels as inspirations for his becoming a professional wrestler. His first experience with a professional wrestling promotion was when he acted as part of the ring crew for the first tour of the newly opened Keystone Wrestling Alliance promotion, where he learned important pointers from independent wrestlers Catfish Charlie and Caveman Broda.",
"His first experience with a professional wrestling promotion was when he acted as part of the ring crew for the first tour of the newly opened Keystone Wrestling Alliance promotion, where he learned important pointers from independent wrestlers Catfish Charlie and Caveman Broda. He attended Red River College in Winnipeg, graduating in 1990 with a bachelor's degree in Creative Communications.",
"He attended Red River College in Winnipeg, graduating in 1990 with a bachelor's degree in Creative Communications. Professional wrestling career Independent circuit (1990–1991) At the age of 19, he entered the Hart Brothers School of Wrestling, where he met Lance Storm on his first day.",
"Professional wrestling career Independent circuit (1990–1991) At the age of 19, he entered the Hart Brothers School of Wrestling, where he met Lance Storm on his first day. He was trained by Ed Langley and local Calgary wrestler Brad Young.",
"He was trained by Ed Langley and local Calgary wrestler Brad Young. Two months after completing training, he was ready to start wrestling on independent shows, making his debut at the Moose Hall in Ponoka, Alberta as \"Cowboy\" Chris Jericho, on October 2, 1990, in a ten-minute time limit draw against Storm.",
"Two months after completing training, he was ready to start wrestling on independent shows, making his debut at the Moose Hall in Ponoka, Alberta as \"Cowboy\" Chris Jericho, on October 2, 1990, in a ten-minute time limit draw against Storm. The pair then worked as a tag team, initially called Sudden Impact.",
"The pair then worked as a tag team, initially called Sudden Impact. According to a February 2019 interview with Rich Eisen on The Rich Eisen Show, Jericho stated that his initial name was going to be \"Jack Action\" however, someone remarked to him that the name was stupid, they then asked him what his name really was, he then got nervous and said \"Chris Jericho\".",
"According to a February 2019 interview with Rich Eisen on The Rich Eisen Show, Jericho stated that his initial name was going to be \"Jack Action\" however, someone remarked to him that the name was stupid, they then asked him what his name really was, he then got nervous and said \"Chris Jericho\". He took the name Jericho from an album, Walls of Jericho, by German power metal band, Helloween.",
"He took the name Jericho from an album, Walls of Jericho, by German power metal band, Helloween. Jericho and Storm worked for Tony Condello in the tours of Northern Manitoba with Adam Copeland (Edge), Jason Reso (Christian) and Terry Gerin (Rhino).",
"Jericho and Storm worked for Tony Condello in the tours of Northern Manitoba with Adam Copeland (Edge), Jason Reso (Christian) and Terry Gerin (Rhino). The pair also wrestled in Calgary's Canadian National Wrestling Alliance (CNWA) and Canadian Rocky Mountain Wrestling (CRMW).",
"The pair also wrestled in Calgary's Canadian National Wrestling Alliance (CNWA) and Canadian Rocky Mountain Wrestling (CRMW). Frontier Martial-Arts Wrestling (1991) In 1991, Jericho and Storm started touring in Japan for Frontier Martial-Arts Wrestling as Sudden Impact, where he befriended Ricky Fuji, who also trained under Stu Hart.",
"Frontier Martial-Arts Wrestling (1991) In 1991, Jericho and Storm started touring in Japan for Frontier Martial-Arts Wrestling as Sudden Impact, where he befriended Ricky Fuji, who also trained under Stu Hart. Consejo Mundial de Lucha Libre and other Mexican promotions (1992–1995) In the winter of 1992, he traveled to Mexico and competed under the name Leon D'Oro (\"Golden Lion\", a name that fans voted on for him between \"He-Man\", \"Chris Power\", and his preferred choice \"Leon D'Oro\"), and later Corazón de León (\"Lion Heart\"), where he wrestled for several small wrestling companies.",
"Consejo Mundial de Lucha Libre and other Mexican promotions (1992–1995) In the winter of 1992, he traveled to Mexico and competed under the name Leon D'Oro (\"Golden Lion\", a name that fans voted on for him between \"He-Man\", \"Chris Power\", and his preferred choice \"Leon D'Oro\"), and later Corazón de León (\"Lion Heart\"), where he wrestled for several small wrestling companies. From 1993 to 1995, he competed in Mexico's oldest promotion, Consejo Mundial de Lucha Libre (CMLL).",
"From 1993 to 1995, he competed in Mexico's oldest promotion, Consejo Mundial de Lucha Libre (CMLL). In CMLL, Jericho took on Silver King, Negro Casas, and Último Dragón en route to an eleven-month reign as the NWA Middleweight Champion that began in December 1993.",
"In CMLL, Jericho took on Silver King, Negro Casas, and Último Dragón en route to an eleven-month reign as the NWA Middleweight Champion that began in December 1993. Smoky Mountain Wrestling (1994) 1994 saw Jericho reunited with Storm, as The Thrillseekers in Jim Cornette's Appalachian Smoky Mountain Wrestling (SMW) promotion, where they feuded with the likes of Well Dunn, The Rock 'n' Roll Express, and The Heavenly Bodies.",
"Smoky Mountain Wrestling (1994) 1994 saw Jericho reunited with Storm, as The Thrillseekers in Jim Cornette's Appalachian Smoky Mountain Wrestling (SMW) promotion, where they feuded with the likes of Well Dunn, The Rock 'n' Roll Express, and The Heavenly Bodies. Wrestling and Romance/WAR (1994–1996) In late 1994, Jericho began competing regularly in Japan for Genichiro Tenryu's Wrestling and Romance (later known as Wrestle Association \"R\") (WAR) promotion as The Lion Heart.",
"Wrestling and Romance/WAR (1994–1996) In late 1994, Jericho began competing regularly in Japan for Genichiro Tenryu's Wrestling and Romance (later known as Wrestle Association \"R\") (WAR) promotion as The Lion Heart. In November 1994, Último Dragón defeated him for the NWA World Middleweight Championship, which he had won while wrestling in Mexico.",
"In November 1994, Último Dragón defeated him for the NWA World Middleweight Championship, which he had won while wrestling in Mexico. In March 1995, Jericho lost to Gedo in the final of a tournament to crown the inaugural WAR International Junior Heavyweight Champion.",
"In March 1995, Jericho lost to Gedo in the final of a tournament to crown the inaugural WAR International Junior Heavyweight Champion. He defeated Gedo for the championship in June 1995, losing it to Último Dragón the next month.",
"He defeated Gedo for the championship in June 1995, losing it to Último Dragón the next month. In December 1995, Jericho competed in the second Super J-Cup tournament, defeating Hanzo Nakajima in the first round, but losing to Wild Pegasus in the second round.",
"In December 1995, Jericho competed in the second Super J-Cup tournament, defeating Hanzo Nakajima in the first round, but losing to Wild Pegasus in the second round. In 1995, Jericho joined the heel stable Fuyuki-Gun (\"Fuyuki Army\") with Hiromichi Fuyuki, Gedo, and Jado, adopting the name Lion Do.",
"In 1995, Jericho joined the heel stable Fuyuki-Gun (\"Fuyuki Army\") with Hiromichi Fuyuki, Gedo, and Jado, adopting the name Lion Do. In February 1996, Jericho and Gedo won a tournament for the newly created International Junior Heavyweight Tag Team Championship, defeating Lance Storm and Yuji Yasuraoka in the final.",
"In February 1996, Jericho and Gedo won a tournament for the newly created International Junior Heavyweight Tag Team Championship, defeating Lance Storm and Yuji Yasuraoka in the final. They lost the championship to Storm and Yasuraoka the following month.",
"They lost the championship to Storm and Yasuraoka the following month. Jericho made his final appearances with WAR in July 1996, having wrestled a total of twenty-four tours for the company.",
"Jericho made his final appearances with WAR in July 1996, having wrestled a total of twenty-four tours for the company. Extreme Championship Wrestling (1996) In 1995, thanks in part to recommendations by Benoit, Dave Meltzer and Perry Saturn, to promoter Paul Heyman, and after Mick Foley saw Jericho's match against Último Dragón for the WAR International Junior Heavyweight Championship in July 1995 and gave a tape of the match to Heyman, Jericho began wrestling for the Philadelphia-based Extreme Championship Wrestling (ECW) promotion, winning the ECW World Television Championship from Pitbull #2 in June 1996 at Hardcore Heaven.",
"Extreme Championship Wrestling (1996) In 1995, thanks in part to recommendations by Benoit, Dave Meltzer and Perry Saturn, to promoter Paul Heyman, and after Mick Foley saw Jericho's match against Último Dragón for the WAR International Junior Heavyweight Championship in July 1995 and gave a tape of the match to Heyman, Jericho began wrestling for the Philadelphia-based Extreme Championship Wrestling (ECW) promotion, winning the ECW World Television Championship from Pitbull #2 in June 1996 at Hardcore Heaven. While in ECW, Jericho wrestled Taz, Sabu, Rob Van Dam, Foley (as Cactus Jack), Shane Douglas, and 2 Cold Scorpio.",
"While in ECW, Jericho wrestled Taz, Sabu, Rob Van Dam, Foley (as Cactus Jack), Shane Douglas, and 2 Cold Scorpio. He made his final appearance at The Doctor Is In in August 1996. It was during this time that he drew the attention of World Championship Wrestling (WCW).",
"It was during this time that he drew the attention of World Championship Wrestling (WCW). World Championship Wrestling (1996 – 1999) Early appearances (1996–1997) Jericho debuted for WCW on August 20, 1996 by defeating Mr. JL, which aired on the August 31 episode of Saturday Night.",
"World Championship Wrestling (1996 – 1999) Early appearances (1996–1997) Jericho debuted for WCW on August 20, 1996 by defeating Mr. JL, which aired on the August 31 episode of Saturday Night. Jericho's televised debut in WCW occurred on the August 26 episode of Monday Nitro against Alex Wright in a match which ended in a no contest.",
"Jericho's televised debut in WCW occurred on the August 26 episode of Monday Nitro against Alex Wright in a match which ended in a no contest. He made his pay-per-view debut on September 15 against Chris Benoit in a losing effort at Fall Brawl.",
"He made his pay-per-view debut on September 15 against Chris Benoit in a losing effort at Fall Brawl. The following month, at Halloween Havoc, Jericho lost to nWo member Syxx due to biased officiating by nWo referee Nick Patrick.",
"The following month, at Halloween Havoc, Jericho lost to nWo member Syxx due to biased officiating by nWo referee Nick Patrick. This led to a match between Jericho and Patrick at World War 3, which stipulated that Jericho's one arm would be tied behind his back. Despite the odds stacked against him, Jericho won the match.",
"Despite the odds stacked against him, Jericho won the match. Later that night, Jericho participated in the namesake battle royal for a future WCW World Heavyweight Championship match but failed to win the match. Jericho represented WCW against nWo Japan member Masahiro Chono in a losing effort at the nWo Souled Out event.",
"Jericho represented WCW against nWo Japan member Masahiro Chono in a losing effort at the nWo Souled Out event. At SuperBrawl VII, Jericho unsuccessfully challenged Eddie Guerrero for the United States Heavyweight Championship.",
"At SuperBrawl VII, Jericho unsuccessfully challenged Eddie Guerrero for the United States Heavyweight Championship. Cruiserweight Champion (1997–1998) On June 28, 1997, Jericho defeated Syxx at the Saturday Nitro live event in Los Angeles, California to win the WCW Cruiserweight Championship for the first time, thus winning the first championship of his WCW career.",
"Cruiserweight Champion (1997–1998) On June 28, 1997, Jericho defeated Syxx at the Saturday Nitro live event in Los Angeles, California to win the WCW Cruiserweight Championship for the first time, thus winning the first championship of his WCW career. Jericho successfully defended the title against Ultimo Dragon at Bash at the Beach, before losing the title to Alex Wright on the July 28 episode of Monday Nitro.",
"Jericho successfully defended the title against Ultimo Dragon at Bash at the Beach, before losing the title to Alex Wright on the July 28 episode of Monday Nitro. Jericho unsuccessfully challenged Wright for the title at Road Wild, before defeating Wright in a rematch to win his second Cruiserweight Championship on the August 16 episode of Saturday Night.",
"Jericho unsuccessfully challenged Wright for the title at Road Wild, before defeating Wright in a rematch to win his second Cruiserweight Championship on the August 16 episode of Saturday Night. Jericho began feuding with Eddie Guerrero over the title as he successfully defended the title against Guerrero at Clash of the Champions XXXV before losing the title to Guerrero at Fall Brawl.",
"Jericho began feuding with Eddie Guerrero over the title as he successfully defended the title against Guerrero at Clash of the Champions XXXV before losing the title to Guerrero at Fall Brawl. Jericho defeated Gedo at Halloween Havoc. At World War 3, Jericho participated in the namesake battle royal but failed to win.",
"At World War 3, Jericho participated in the namesake battle royal but failed to win. On the January 15, 1998 episode of Thunder, Jericho defeated Eddie Guerrero to earn a title shot against Rey Mysterio Jr. for the Cruiserweight Championship at Souled Out. Jericho won the match by forcing Mysterio to submit to the Liontamer.",
"Jericho won the match by forcing Mysterio to submit to the Liontamer. After the match, Jericho turned heel by assaulting Mysterio's knee with a toolbox. In the storyline, Mysterio needed six months of recovery before he could return to the ring.",
"In the storyline, Mysterio needed six months of recovery before he could return to the ring. Jericho then had a short feud with Juventud Guerrera in which Guerrera repeatedly requested a shot at Jericho's Cruiserweight Championship, but Jericho constantly rebuffed him. The feud culminated in a title versus mask match at SuperBrawl VIII.",
"The feud culminated in a title versus mask match at SuperBrawl VIII. Guerrera lost the match and was forced to remove his mask.",
"Guerrera lost the match and was forced to remove his mask. Following this match, Jericho began his ongoing gimmick of collecting and wearing to the ring trophy items from his defeated opponents, such as Guerrera's mask, Prince Iaukea's Hawaiian dress, and a headband from Disco Inferno.",
"Following this match, Jericho began his ongoing gimmick of collecting and wearing to the ring trophy items from his defeated opponents, such as Guerrera's mask, Prince Iaukea's Hawaiian dress, and a headband from Disco Inferno. Jericho then began a long feud with Dean Malenko, in which Jericho repeatedly claimed he was a better wrestler than Malenko, but refused to wrestle him.",
"Jericho then began a long feud with Dean Malenko, in which Jericho repeatedly claimed he was a better wrestler than Malenko, but refused to wrestle him. Because of his mastery of technical wrestling, Malenko was known as \"The Man of 1,000 Holds\", so Jericho claimed to be \"The Man of 1,004 Holds\"; Jericho mentions in his autobiography that this line originated from an IWA interview he saw as a child, where manager Floyd Creatchman claimed that Leo Burke, the first professional wrestler to be known as \"The Man of 1,000 Holds\", was now known as \"The Man of 1,002 Holds\", to which Floyd Creatchman stated that \"he learned two more\".",
"Because of his mastery of technical wrestling, Malenko was known as \"The Man of 1,000 Holds\", so Jericho claimed to be \"The Man of 1,004 Holds\"; Jericho mentions in his autobiography that this line originated from an IWA interview he saw as a child, where manager Floyd Creatchman claimed that Leo Burke, the first professional wrestler to be known as \"The Man of 1,000 Holds\", was now known as \"The Man of 1,002 Holds\", to which Floyd Creatchman stated that \"he learned two more\". During the March 30, 1998 episode of Nitro, after defeating Marty Jannetty, Jericho pulled out a long pile of paper that listed each of the 1,004 holds he knew and recited them to the audience.",
"During the March 30, 1998 episode of Nitro, after defeating Marty Jannetty, Jericho pulled out a long pile of paper that listed each of the 1,004 holds he knew and recited them to the audience. Many of the holds were fictional, and nearly every other hold was an armbar.",
"Many of the holds were fictional, and nearly every other hold was an armbar. On the March 12, 1998 episode of Thunder, Malenko defeated a wrestler wearing Juventud Guerrera's mask who appeared to be Jericho. However, the masked wrestler was actually Lenny Lane, whom Jericho bribed to appear in the match.",
"However, the masked wrestler was actually Lenny Lane, whom Jericho bribed to appear in the match. This started a minor feud between Lane and Jericho after Jericho refused to pay Lane. At Uncensored, Jericho finally wrestled Malenko and defeated him, after which Malenko took a leave of absence from wrestling.",
"At Uncensored, Jericho finally wrestled Malenko and defeated him, after which Malenko took a leave of absence from wrestling. Jericho then proceeded to bring with him to the ring a portrait of Malenko that he insulted and demeaned.",
"Jericho then proceeded to bring with him to the ring a portrait of Malenko that he insulted and demeaned. Just prior to Slamboree, J.J. Dillon (referred to by Jericho as \"Jo Jo\") scheduled a cruiserweight Battle Royal, the winner of which would immediately have a shot at Jericho's Cruiserweight Championship.",
"Just prior to Slamboree, J.J. Dillon (referred to by Jericho as \"Jo Jo\") scheduled a cruiserweight Battle Royal, the winner of which would immediately have a shot at Jericho's Cruiserweight Championship. Jericho accepted on the grounds that whoever he faced would be too tired to win a second match.",
"Jericho accepted on the grounds that whoever he faced would be too tired to win a second match. At Slamboree, Jericho came out to introduce the competitors in an insulting fashion before the match started and then went backstage for coffee.",
"At Slamboree, Jericho came out to introduce the competitors in an insulting fashion before the match started and then went backstage for coffee. An individual who appeared to be Ciclope won the battle royal after Juventud Guerrera shook his hand and then eliminated himself. The winner was a returning Malenko in disguise.",
"The winner was a returning Malenko in disguise. Following one of the loudest crowd reactions in WCW history, Malenko proceeded to defeat Jericho for the championship. Jericho claiming he was the victim of a carefully planned conspiracy to get the belt off of him.",
"Jericho claiming he was the victim of a carefully planned conspiracy to get the belt off of him. He at first blamed the WCW locker room, then added Dillon, Ted Turner, and finally in a vignette, he walked around Washington, D.C. with the sign \"conspiracy victim\" and accused President Bill Clinton of being one of the conspirators after being rejected from a meeting.",
"He at first blamed the WCW locker room, then added Dillon, Ted Turner, and finally in a vignette, he walked around Washington, D.C. with the sign \"conspiracy victim\" and accused President Bill Clinton of being one of the conspirators after being rejected from a meeting. Eventually, Malenko vacated the title.",
"Eventually, Malenko vacated the title. Jericho ended up defeating Malenko at The Great American Bash to win the vacant title after Malenko was disqualified after hitting Jericho with a chair. The next night, Malenko was suspended for his actions.",
"The next night, Malenko was suspended for his actions. At Bash at the Beach, the recently returned Rey Mysterio Jr. (who had recovered from his knee injury) defeated Jericho in a No Disqualification match after the still-suspended Malenko interfered.",
"At Bash at the Beach, the recently returned Rey Mysterio Jr. (who had recovered from his knee injury) defeated Jericho in a No Disqualification match after the still-suspended Malenko interfered. Jericho regained the Cruiserweight Championship from Mysterio the next night after he interrupted J.J. Dillon while Dillon was giving the championship to Mysterio.",
"Jericho regained the Cruiserweight Championship from Mysterio the next night after he interrupted J.J. Dillon while Dillon was giving the championship to Mysterio. Jericho was again awarded the championship. Eventually, Jericho decisively lost the title to Juventud Guerrera in a match at Road Wild with Malenko as special referee.",
"Eventually, Jericho decisively lost the title to Juventud Guerrera in a match at Road Wild with Malenko as special referee. World Television Champion (1998–1999) On August 10, Jericho defeated Stevie Ray to win the World Television Championship (Stevie Ray substituting for the champion Booker T).",
"World Television Champion (1998–1999) On August 10, Jericho defeated Stevie Ray to win the World Television Championship (Stevie Ray substituting for the champion Booker T). Soon afterward, Jericho repeatedly called out WCW World Heavyweight Champion Goldberg in an attempt to begin a feud with him, but never actually wrestled him.",
"Soon afterward, Jericho repeatedly called out WCW World Heavyweight Champion Goldberg in an attempt to begin a feud with him, but never actually wrestled him. Jericho cites Eric Bischoff, Goldberg and Hulk Hogan's refusal to book Jericho in a pay-per-view squash match loss against Goldberg, which Jericho felt would be a big draw, as a major reason for leaving the company.",
"Jericho cites Eric Bischoff, Goldberg and Hulk Hogan's refusal to book Jericho in a pay-per-view squash match loss against Goldberg, which Jericho felt would be a big draw, as a major reason for leaving the company. On November 30, Jericho lost the World Television Championship to Konnan.",
"On November 30, Jericho lost the World Television Championship to Konnan. In early 1999, Jericho began a feud with Perry Saturn. The feud saw Jericho and Saturn instigating bizarre stipulation matches, such as at Souled Out, where Jericho defeated Saturn in a \"loser must wear a dress\" match.",
"The feud saw Jericho and Saturn instigating bizarre stipulation matches, such as at Souled Out, where Jericho defeated Saturn in a \"loser must wear a dress\" match. At SuperBrawl IX, Jericho and Saturn wrestled in a \"dress\" match which Jericho won. Saturn finally defeated Jericho at Uncensored in a Dog Collar match.",
"Saturn finally defeated Jericho at Uncensored in a Dog Collar match. Jericho alternated between WCW and a number of Japanese tours before he signed a contract with the World Wrestling Federation (WWF) on June 30.",
"Jericho alternated between WCW and a number of Japanese tours before he signed a contract with the World Wrestling Federation (WWF) on June 30. Jericho's final WCW match came during a Peoria, Illinois, house show July 21, where he and Eddie Guerrero lost to Billy Kidman and Rey Mysterio Jr. in a tag team match.",
"Jericho's final WCW match came during a Peoria, Illinois, house show July 21, where he and Eddie Guerrero lost to Billy Kidman and Rey Mysterio Jr. in a tag team match. Fifteen years after Jericho's departure from WCW, his best known entrance music within the company, \"One Crazed Anarchist\", lent its name to the second single from his band Fozzy's 2014 album, Do You Wanna Start a War.",
"Fifteen years after Jericho's departure from WCW, his best known entrance music within the company, \"One Crazed Anarchist\", lent its name to the second single from his band Fozzy's 2014 album, Do You Wanna Start a War. New Japan Pro-Wrestling (1997–1998) In January 1997, Jericho made his debut for New Japan Pro-Wrestling (NJPW), who had a working agreement with WCW, as Super Liger, the masked nemesis of Jyushin Thunder Liger.",
"New Japan Pro-Wrestling (1997–1998) In January 1997, Jericho made his debut for New Japan Pro-Wrestling (NJPW), who had a working agreement with WCW, as Super Liger, the masked nemesis of Jyushin Thunder Liger. According to Jericho, Super Liger's first match against Koji Kanemoto at Wrestling World 1997 was so poorly received that the gimmick was dropped instantly.",
"According to Jericho, Super Liger's first match against Koji Kanemoto at Wrestling World 1997 was so poorly received that the gimmick was dropped instantly. Jericho botched several moves in the match and complained he had difficulty seeing through the mask. The following six months, Jericho worked for New Japan unmasked, before being called back by WCW.",
"The following six months, Jericho worked for New Japan unmasked, before being called back by WCW. On September 23, 1998, Jericho made a one-night-only return to NJPW at that years Big Wednesday show, teaming with Black Tiger against IWGP Junior Heavyweight Tag Team Champions Shinjiro Otani and Tatsuhito Takaiwa in a title match, which Jericho and Tiger lost.",
"On September 23, 1998, Jericho made a one-night-only return to NJPW at that years Big Wednesday show, teaming with Black Tiger against IWGP Junior Heavyweight Tag Team Champions Shinjiro Otani and Tatsuhito Takaiwa in a title match, which Jericho and Tiger lost. World Wrestling Federation/Entertainment (1999 – 2005) WWF Intercontinental Champion (1999–2001) In the weeks before Jericho's debut, a clock labeled \"countdown to the new millennium\" appeared on WWF programming.",
"World Wrestling Federation/Entertainment (1999 – 2005) WWF Intercontinental Champion (1999–2001) In the weeks before Jericho's debut, a clock labeled \"countdown to the new millennium\" appeared on WWF programming. On the home video, Break Down the Walls, Jericho states he was inspired to do this as his entrance when he saw a similar clock in a post office and Vince McMahon approved its use as his introduction to the WWF.",
"On the home video, Break Down the Walls, Jericho states he was inspired to do this as his entrance when he saw a similar clock in a post office and Vince McMahon approved its use as his introduction to the WWF. The clock finally ran out on the August 9 episode of Raw Is War in Chicago, Illinois while The Rock was in the ring cutting a promo on the Big Show.",
"The clock finally ran out on the August 9 episode of Raw Is War in Chicago, Illinois while The Rock was in the ring cutting a promo on the Big Show. Jericho entered the arena and proclaimed \"Raw Is Jericho\" and that he had \"come to save the World Wrestling Federation\", referring to himself as \"Y2J\" (a play on the Y2K bug).",
"Jericho entered the arena and proclaimed \"Raw Is Jericho\" and that he had \"come to save the World Wrestling Federation\", referring to himself as \"Y2J\" (a play on the Y2K bug). The Rock proceeded to verbally mock him for his interruption.",
"The Rock proceeded to verbally mock him for his interruption. Later that month, he would interact with several superstars including in particular interrupting a promo that The Undertaker was involved in, Jericho made his in-ring debut as a heel on August 26, losing a match against Road Dogg by disqualification on the inaugural episode of SmackDown!",
"Later that month, he would interact with several superstars including in particular interrupting a promo that The Undertaker was involved in, Jericho made his in-ring debut as a heel on August 26, losing a match against Road Dogg by disqualification on the inaugural episode of SmackDown! after he performed a powerbomb on Road Dogg through a table.",
"after he performed a powerbomb on Road Dogg through a table. Jericho's first long-term feud was with Chyna, for the WWF Intercontinental Championship. After losing to Chyna at Survivor Series, Jericho defeated her to win his first WWF Intercontinental Championship at Armageddon.",
"After losing to Chyna at Survivor Series, Jericho defeated her to win his first WWF Intercontinental Championship at Armageddon. This feud included a controversial decision during a rematch in which two separate referees declared each one of them the winner of a match for the title. As a result, they became co-champions, during which Jericho turned face.",
"As a result, they became co-champions, during which Jericho turned face. He attained sole champion status at the Royal Rumble. Jericho lost the WWF Intercontinental title to then-European Champion Kurt Angle at No Way Out.",
"Jericho lost the WWF Intercontinental title to then-European Champion Kurt Angle at No Way Out. Jericho competed in a Triple Threat match against Chris Benoit and Angle at WrestleMania 2000 in a two-falls contest with both of Angle's titles at stake.",
"Jericho competed in a Triple Threat match against Chris Benoit and Angle at WrestleMania 2000 in a two-falls contest with both of Angle's titles at stake. Jericho won the European Championship by pinning Benoit, who in turn pinned Jericho to win the WWF Intercontinental Championship. This was the first of six pay-per-view matches between the pair within twelve months.",
"This was the first of six pay-per-view matches between the pair within twelve months. Jericho was originally supposed to be in the main event of WrestleMania, but was taken out after Mick Foley, who was originally asked by writers to be in the match, took his place.",
"Jericho was originally supposed to be in the main event of WrestleMania, but was taken out after Mick Foley, who was originally asked by writers to be in the match, took his place. Jericho was even advertised on the event's posters promoting the match.",
"Jericho was even advertised on the event's posters promoting the match. Jericho lost the title the next day to Eddie Guerrero on Raw after Chyna sided with Guerrero. On the April 17 episode of Raw, Jericho upset Triple H in a WWF Championship match.",
"On the April 17 episode of Raw, Jericho upset Triple H in a WWF Championship match. Referee Earl Hebner made a fast count when Jericho pinned Triple H, causing Jericho to win the title. Hebner later reversed the decision due to pressure from Triple H, and WWE does not recognize Jericho's reign as champion.",
"Hebner later reversed the decision due to pressure from Triple H, and WWE does not recognize Jericho's reign as champion. On April 19, Jericho defeated Eddie Guerrero at the Gary Albright Memorial Show organized by World Xtreme Wrestling (WXW).",
"On April 19, Jericho defeated Eddie Guerrero at the Gary Albright Memorial Show organized by World Xtreme Wrestling (WXW). On the May 4 episode of SmackDown!, Jericho defeated Benoit to win his third WWF Intercontinental Championship but lost the title to Benoit four days later on Raw.",
"On the May 4 episode of SmackDown!, Jericho defeated Benoit to win his third WWF Intercontinental Championship but lost the title to Benoit four days later on Raw. Jericho's feud with Triple H ended at Fully Loaded, when they competed in a Last Man Standing match.",
"Jericho's feud with Triple H ended at Fully Loaded, when they competed in a Last Man Standing match. Jericho lost the match to Triple H only by one second, despite the repeated assistance Triple H's wife, Stephanie, provided him in the match.",
"Jericho lost the match to Triple H only by one second, despite the repeated assistance Triple H's wife, Stephanie, provided him in the match. At the 2001 Royal Rumble, Jericho defeated Chris Benoit in a ladder match to win the WWF Intercontinental Championship for the fourth time.",
"At the 2001 Royal Rumble, Jericho defeated Chris Benoit in a ladder match to win the WWF Intercontinental Championship for the fourth time. At WrestleMania X-Seven, he successfully defended his title in a match against William Regal, only to lose it four days later to Triple H. At Judgment Day, Jericho and Benoit won a tag team turmoil match and earned a shot at Stone Cold Steve Austin and Triple H for their WWF Tag Team Championship on Raw the next night.",
"At WrestleMania X-Seven, he successfully defended his title in a match against William Regal, only to lose it four days later to Triple H. At Judgment Day, Jericho and Benoit won a tag team turmoil match and earned a shot at Stone Cold Steve Austin and Triple H for their WWF Tag Team Championship on Raw the next night. Benoit and Jericho won the match, in which Triple H legitimately tore his quadriceps, spending the rest of the year injured.",
"Benoit and Jericho won the match, in which Triple H legitimately tore his quadriceps, spending the rest of the year injured. Benoit and Jericho each became a WWF Tag Team Champion for the first time.",
"Benoit and Jericho each became a WWF Tag Team Champion for the first time. The team defended their title in the first fatal four-way Tables, Ladders and Chairs match, where Benoit sustained a year-long injury after missing a diving headbutt through a table.",
"The team defended their title in the first fatal four-way Tables, Ladders and Chairs match, where Benoit sustained a year-long injury after missing a diving headbutt through a table. Despite Benoit being carried out on a stretcher, he returned to the match to climb the ladder and retain the championship.",
"Despite Benoit being carried out on a stretcher, he returned to the match to climb the ladder and retain the championship. The two lost the title one month later to The Dudley Boyz on the June 21 episode of SmackDown!.",
"The two lost the title one month later to The Dudley Boyz on the June 21 episode of SmackDown!. At King of the Ring, both Benoit and Jericho competed in a triple threat match for Austin's WWF Championship, in which Booker T interfered as the catalyst for The Invasion angle.",
"At King of the Ring, both Benoit and Jericho competed in a triple threat match for Austin's WWF Championship, in which Booker T interfered as the catalyst for The Invasion angle. Despite Booker T's interference, Austin retained the title.",
"Despite Booker T's interference, Austin retained the title. Undisputed WWF Champion (2001–2002) In the following months, Jericho became a major force in The Invasion storyline in which WCW and ECW joined forces to overtake the WWF. Jericho remained on the side of the WWF despite previously competing in WCW and ECW.",
"Jericho remained on the side of the WWF despite previously competing in WCW and ECW. However, Jericho began showing jealousy toward fellow WWF member The Rock. They faced each other in a match at No Mercy for the WCW Championship after Jericho defeated Rob Van Dam in a number one contenders match on the October 11 episode of SmackDown!.",
"They faced each other in a match at No Mercy for the WCW Championship after Jericho defeated Rob Van Dam in a number one contenders match on the October 11 episode of SmackDown!. Jericho won the WCW Championship at No Mercy when he pinned The Rock after debuting a new finisher, the Breakdown, onto a steel chair, winning his first world title in the process.",
"Jericho won the WCW Championship at No Mercy when he pinned The Rock after debuting a new finisher, the Breakdown, onto a steel chair, winning his first world title in the process. One night later, the two put their differences aside and won the WWF Tag Team Championship from the Dudley Boyz.",
"One night later, the two put their differences aside and won the WWF Tag Team Championship from the Dudley Boyz. After they lost the titles to Test and Booker T on the November 1 episode of SmackDown!, they continued their feud. On the November 5 episode of Raw, The Rock defeated Jericho to regain the WCW Championship.",
"On the November 5 episode of Raw, The Rock defeated Jericho to regain the WCW Championship. Following the match, Jericho attacked The Rock with a steel chair. At Survivor Series, Jericho turned heel by almost costing Team WWF the victory after he was eliminated in their Winner Take All matchup by once again attacking The Rock.",
"At Survivor Series, Jericho turned heel by almost costing Team WWF the victory after he was eliminated in their Winner Take All matchup by once again attacking The Rock. Despite this, Team WWF won the match.",
"Despite this, Team WWF won the match. At Vengeance, Jericho defeated both The Rock for the World Championship (formerly the WCW Championship) and Stone Cold Steve Austin for his first WWF Championship on the same night to become the first wrestler to hold both championships at the same time, which made him the first-ever Undisputed WWF Champion, as well as the fourth Grand Slam winner under the original format.",
"At Vengeance, Jericho defeated both The Rock for the World Championship (formerly the WCW Championship) and Stone Cold Steve Austin for his first WWF Championship on the same night to become the first wrestler to hold both championships at the same time, which made him the first-ever Undisputed WWF Champion, as well as the fourth Grand Slam winner under the original format. He retained the title at the Royal Rumble against The Rock and at No Way Out against Austin.",
"He retained the title at the Royal Rumble against The Rock and at No Way Out against Austin. Jericho later lost the title to Royal Rumble winner Triple H in the main event of WrestleMania X8. Jericho was later drafted to the SmackDown! brand in the inaugural WWF draft lottery.",
"brand in the inaugural WWF draft lottery. He would then appear at Backlash, interfering in Triple H's Undisputed WWF Championship match against Hollywood Hulk Hogan. He was quickly dumped out the ring, but Triple H would go on to lose the match.",
"He was quickly dumped out the ring, but Triple H would go on to lose the match. This would lead to a Hell in a Cell match at Judgment Day in May, where Triple H would emerge victorious.",
"This would lead to a Hell in a Cell match at Judgment Day in May, where Triple H would emerge victorious. Jericho would then compete in the 2002 King of the Ring tournament, defeating Edge and The Big Valbowski to advance to the semi-finals, where he was defeated by Rob Van Dam at King of the Ring.",
"Jericho would then compete in the 2002 King of the Ring tournament, defeating Edge and The Big Valbowski to advance to the semi-finals, where he was defeated by Rob Van Dam at King of the Ring. In July, he began a feud with the debuting John Cena, losing to him at Vengeance.",
"In July, he began a feud with the debuting John Cena, losing to him at Vengeance. Teaming and feuding with Christian (2002–2004) After his feud with Cena ended, Jericho moved to the Raw brand on the July 29 episode of Raw, unwilling to work for SmackDown! General Manager Stephanie McMahon.",
"General Manager Stephanie McMahon. General Manager Stephanie McMahon. Upon his arrival to the brand, he initiated a feud with Ric Flair, leading to a match at SummerSlam, which Jericho lost.",
"Upon his arrival to the brand, he initiated a feud with Ric Flair, leading to a match at SummerSlam, which Jericho lost. On the September 16 episode of Raw, he won the WWE Intercontinental Championship for the fifth time from Rob Van Dam, before losing the title to Kane two weeks later on Raw.",
"On the September 16 episode of Raw, he won the WWE Intercontinental Championship for the fifth time from Rob Van Dam, before losing the title to Kane two weeks later on Raw. He then later formed a tag team with Christian, with whom he won the World Tag Team Championship by defeating Kane and The Hurricane on the October 14 episode of Raw.",
"He then later formed a tag team with Christian, with whom he won the World Tag Team Championship by defeating Kane and The Hurricane on the October 14 episode of Raw. Christian and Jericho lost the titles to Booker T and Goldust in a fatal four-way elimination match, involving the teams of The Dudley Boyz, and William Regal and Lance Storm at Armageddon.",
"Christian and Jericho lost the titles to Booker T and Goldust in a fatal four-way elimination match, involving the teams of The Dudley Boyz, and William Regal and Lance Storm at Armageddon. On the January 13 episode of Raw, Jericho won an over-the-top-rope challenge against Kane, Rob Van Dam, and Batista to select his entry number for the Royal Rumble match.",
"On the January 13 episode of Raw, Jericho won an over-the-top-rope challenge against Kane, Rob Van Dam, and Batista to select his entry number for the Royal Rumble match. He chose number two in order to start the match with Shawn Michaels, who had challenged him to prove Jericho's claims that he was better than Michaels.",
"He chose number two in order to start the match with Shawn Michaels, who had challenged him to prove Jericho's claims that he was better than Michaels. After Michaels's entrance, Jericho entered as the second participant. Christian, in Jericho's attire, appeared while the real Jericho attacked Shawn from behind.",
"Christian, in Jericho's attire, appeared while the real Jericho attacked Shawn from behind. He eliminated Michaels shortly afterward, but Michaels got his revenge later in the match by causing Test to eliminate Jericho. Jericho spent the most time of any other wrestler in that same Royal Rumble.",
"Jericho spent the most time of any other wrestler in that same Royal Rumble. Jericho simultaneously feuded with Test, Michaels, and Jeff Hardy, defeating Hardy at No Way Out. Jericho and Michaels fought again at WrestleMania XIX, which Michaels won. Jericho, however, attacked Michaels with a low blow after the match following an embrace.",
"Jericho, however, attacked Michaels with a low blow after the match following an embrace. After this match, Jericho entered a rivalry with Goldberg, which was fueled by Goldberg's refusal to fight Jericho in WCW.",
"After this match, Jericho entered a rivalry with Goldberg, which was fueled by Goldberg's refusal to fight Jericho in WCW. During Jericho's first episode of the Highlight Reel, an interview segment, where Goldberg was the guest, he complained that no-one wanted Goldberg in WWE and continued to insult him in the following weeks.",
"During Jericho's first episode of the Highlight Reel, an interview segment, where Goldberg was the guest, he complained that no-one wanted Goldberg in WWE and continued to insult him in the following weeks. On the May 12 episode of Raw, a mystery assailant attempted to run over Goldberg with a limousine.",
"On the May 12 episode of Raw, a mystery assailant attempted to run over Goldberg with a limousine. A week later, Co-Raw General Manager, Stone Cold Steve Austin, interrogated several Raw superstars to find out who was driving the car. One of the interrogates was Lance Storm, who admitted that he was the assailant.",
"One of the interrogates was Lance Storm, who admitted that he was the assailant. Austin forced Storm into a match with Goldberg, who defeated Storm. After the match, Goldberg forced Storm to admit that Jericho was the superstar who conspired Storm into running him over.",
"After the match, Goldberg forced Storm to admit that Jericho was the superstar who conspired Storm into running him over. On the May 26 episode of Raw, Goldberg was once again a guest on the Highlight Reel.",
"On the May 26 episode of Raw, Goldberg was once again a guest on the Highlight Reel. Jericho expressed jealousy towards Goldberg's success in WCW and felt that since joining WWE, he had achieved everything he had ever wanted in his career and all that was left was to defeat Goldberg and challenged him to a match.",
"Jericho expressed jealousy towards Goldberg's success in WCW and felt that since joining WWE, he had achieved everything he had ever wanted in his career and all that was left was to defeat Goldberg and challenged him to a match. At Bad Blood, Goldberg settled the score with Jericho and defeated him.",
"At Bad Blood, Goldberg settled the score with Jericho and defeated him. On the October 27 episode of Raw, Jericho won his sixth WWE Intercontinental Championship when he defeated Rob Van Dam. He lost the title back to Van Dam immediately after in a steel cage match.",
"He lost the title back to Van Dam immediately after in a steel cage match. Later in 2003, Jericho started a romance with Trish Stratus while his tag team partner Christian began one with Lita.",
"Later in 2003, Jericho started a romance with Trish Stratus while his tag team partner Christian began one with Lita. This, however, turned out to be a bet over who could sleep with their respective paramour first, with a Canadian dollar at stake.",
"This, however, turned out to be a bet over who could sleep with their respective paramour first, with a Canadian dollar at stake. Stratus overheard this and ended her relationship with Jericho, who seemingly felt bad for using Stratus.",
"Stratus overheard this and ended her relationship with Jericho, who seemingly felt bad for using Stratus. After he saved her from an attack by Kane, Stratus agreed that the two of them could just be \"friends\", thus turning Jericho face.",
"After he saved her from an attack by Kane, Stratus agreed that the two of them could just be \"friends\", thus turning Jericho face. After Christian put Stratus in the Walls of Jericho while competing against her in a match, Jericho sought revenge on Christian, which led to a match at WrestleMania XX.",
"After Christian put Stratus in the Walls of Jericho while competing against her in a match, Jericho sought revenge on Christian, which led to a match at WrestleMania XX. Christian defeated Jericho after Stratus ran down and \"inadvertently\" struck Jericho (thinking it was Christian) and Christian got the roll-up.",
"Christian defeated Jericho after Stratus ran down and \"inadvertently\" struck Jericho (thinking it was Christian) and Christian got the roll-up. After the match, Stratus turned on Jericho and revealed that she and Christian were a couple. This revelation led to a handicap match at Backlash that Jericho won.",
"This revelation led to a handicap match at Backlash that Jericho won. Jericho won his record-breaking seventh WWE Intercontinental Championship at Unforgiven in a ladder match against Christian, breaking the previous record held by Jeff Jarrett from 1999. Jericho's seventh reign was short lived, as he lost it at Taboo Tuesday to Shelton Benjamin.",
"Jericho's seventh reign was short lived, as he lost it at Taboo Tuesday to Shelton Benjamin. World championship pursuits (2004–2005) Jericho teamed up with Randy Orton, Chris Benoit, and Maven to take on Triple H, Batista, Edge, and Gene Snitsky at Survivor Series.",
"World championship pursuits (2004–2005) Jericho teamed up with Randy Orton, Chris Benoit, and Maven to take on Triple H, Batista, Edge, and Gene Snitsky at Survivor Series. The match stipulated that each member of the winning team would be the general manager of Raw over the next four weeks.",
"The match stipulated that each member of the winning team would be the general manager of Raw over the next four weeks. Jericho's team won, and took turns as general manager.",
"Jericho's team won, and took turns as general manager. During Jericho's turn as general manager, the World Heavyweight Championship was vacated because a Triple Threat match for the title a week earlier ended in a draw.",
"During Jericho's turn as general manager, the World Heavyweight Championship was vacated because a Triple Threat match for the title a week earlier ended in a draw. At New Year's Revolution, Jericho competed in the Elimination Chamber against Triple H, Chris Benoit, Batista, Randy Orton, and Edge for the vacant World Heavyweight Championship.",
"At New Year's Revolution, Jericho competed in the Elimination Chamber against Triple H, Chris Benoit, Batista, Randy Orton, and Edge for the vacant World Heavyweight Championship. Jericho began the match with Benoit and eliminated Edge, but was eliminated by Batista. Triple H went on to win.",
"Triple H went on to win. At WrestleMania 21, Jericho participated in the first ever Money in the Bank ladder match. Jericho suggested the match concept, and he competed in the match against Benjamin, Benoit, Kane, Christian, and Edge. Jericho lost the match when Edge claimed the briefcase.",
"Jericho lost the match when Edge claimed the briefcase. At Backlash, Jericho challenged Shelton Benjamin for the WWE Intercontinental Championship, but lost the match. Jericho lost to Lance Storm at ECW One Night Stand. Jericho used his old \"Lionheart\" gimmick, instead of his more well known \"Y2J\" gimmick.",
"Jericho used his old \"Lionheart\" gimmick, instead of his more well known \"Y2J\" gimmick. Jericho lost the match after Jason and Justin Credible hit Jericho with a Singapore cane, which allowed Storm to win the match.",
"Jericho lost the match after Jason and Justin Credible hit Jericho with a Singapore cane, which allowed Storm to win the match. The next night on Raw, Jericho turned heel by betraying WWE Champion John Cena after defeating Christian and Tyson Tomko in a tag team match.",
"The next night on Raw, Jericho turned heel by betraying WWE Champion John Cena after defeating Christian and Tyson Tomko in a tag team match. Jericho lost a Triple Threat match for the WWE Championship at Vengeance which also involved Christian and Cena.",
"Jericho lost a Triple Threat match for the WWE Championship at Vengeance which also involved Christian and Cena. The feud continued throughout the summer and Jericho lost to Cena in a WWE Championship match at SummerSlam.",
"The feud continued throughout the summer and Jericho lost to Cena in a WWE Championship match at SummerSlam. The next night on the August 22 episode of Raw, Jericho faced Cena for the WWE Championship again in a rematch, this time in a \"You're fired\" match.",
"The next night on the August 22 episode of Raw, Jericho faced Cena for the WWE Championship again in a rematch, this time in a \"You're fired\" match. Cena won again, and Jericho was fired by Raw General Manager Eric Bischoff. Jericho was carried out of the arena by security as Kurt Angle attacked Cena.",
"Jericho was carried out of the arena by security as Kurt Angle attacked Cena. Jericho's WWE contract expired on August 25.",
"Jericho's WWE contract expired on August 25. Return to WWE (2007–2010) Feud with Shawn Michaels (2007–2008) After a two-year hiatus, WWE promoted Jericho's return starting on the September 24, 2007 episode of Raw with a viral marketing campaign using a series of 15-second cryptic binary code videos, similar to the matrix digital rain used in The Matrix series.",
"Return to WWE (2007–2010) Feud with Shawn Michaels (2007–2008) After a two-year hiatus, WWE promoted Jericho's return starting on the September 24, 2007 episode of Raw with a viral marketing campaign using a series of 15-second cryptic binary code videos, similar to the matrix digital rain used in The Matrix series. The videos contained hidden messages and biblical links related to Jericho.",
"The videos contained hidden messages and biblical links related to Jericho. Jericho made his return to WWE television as a face on the November 19, 2007 episode of Raw when he interrupted Randy Orton during Orton's orchestrated \"passing of the torch\" ceremony.",
"Jericho made his return to WWE television as a face on the November 19, 2007 episode of Raw when he interrupted Randy Orton during Orton's orchestrated \"passing of the torch\" ceremony. Jericho revealed his intentions to reclaim the WWE Championship in order to \"save\" WWE fans from Orton.",
"Jericho revealed his intentions to reclaim the WWE Championship in order to \"save\" WWE fans from Orton. On the November 26 episode of Raw, Jericho defeated Santino Marella and debuted a new finishing move called the Codebreaker.",
"On the November 26 episode of Raw, Jericho defeated Santino Marella and debuted a new finishing move called the Codebreaker. At Armageddon, he competed in a WWE title match against Orton, defeating him by disqualification when SmackDown!s color commentator John \"Bradshaw\" Layfield (JBL) interfered in the match, but Orton retained the title.",
"At Armageddon, he competed in a WWE title match against Orton, defeating him by disqualification when SmackDown!s color commentator John \"Bradshaw\" Layfield (JBL) interfered in the match, but Orton retained the title. He began a feud with JBL and met him at the Royal Rumble.",
"He began a feud with JBL and met him at the Royal Rumble. Jericho was disqualified after hitting JBL with a steel chair. On the March 10 episode of Raw, Jericho captured the WWE Intercontinental Championship for a record eighth time when he defeated Jeff Hardy.",
"On the March 10 episode of Raw, Jericho captured the WWE Intercontinental Championship for a record eighth time when he defeated Jeff Hardy. In April 2008, Jericho became involved in the ongoing feud between Shawn Michaels and Batista when he suggested that Michaels enjoyed retiring Ric Flair, causing Shawn Michaels to attack him.",
"In April 2008, Jericho became involved in the ongoing feud between Shawn Michaels and Batista when he suggested that Michaels enjoyed retiring Ric Flair, causing Shawn Michaels to attack him. Jericho thus asked to be inserted into the match between Batista and Michaels at Backlash, but instead, he was appointed as the special guest referee.",
"Jericho thus asked to be inserted into the match between Batista and Michaels at Backlash, but instead, he was appointed as the special guest referee. During the match at Backlash, Michaels feigned a knee injury so that Jericho would give him time to recover and lured Batista in for Sweet Chin Music for the win.",
"During the match at Backlash, Michaels feigned a knee injury so that Jericho would give him time to recover and lured Batista in for Sweet Chin Music for the win. After Backlash, Jericho accused Michaels of cheating, but Michaels continued to play up an injury.",
"After Backlash, Jericho accused Michaels of cheating, but Michaels continued to play up an injury. When Jericho was finally convinced and he apologized to Michaels for not believing him, Michaels then admitted to Jericho that he had faked his injury and he attacked Jericho with Sweet Chin Music.",
"When Jericho was finally convinced and he apologized to Michaels for not believing him, Michaels then admitted to Jericho that he had faked his injury and he attacked Jericho with Sweet Chin Music. After losing to Michaels at Judgment Day, Jericho initiated a handshake after the match.",
"After losing to Michaels at Judgment Day, Jericho initiated a handshake after the match. On the June 9 episode of Raw, Jericho hosted his talk show segment, The Highlight Reel, interviewing Michaels.",
"On the June 9 episode of Raw, Jericho hosted his talk show segment, The Highlight Reel, interviewing Michaels. Jericho pointed out that Michaels was still cheered by the fans despite Michaels's deceit and attack on Jericho during the previous months, whereas Jericho was booed when he tried to do the right thing.",
"Jericho pointed out that Michaels was still cheered by the fans despite Michaels's deceit and attack on Jericho during the previous months, whereas Jericho was booed when he tried to do the right thing. Jericho then assaulted Michaels with a low blow and sent Michaels through the \"Jeritron 6000\" television, damaging the eye of Michaels, and turning heel in the process.",
"Jericho then assaulted Michaels with a low blow and sent Michaels through the \"Jeritron 6000\" television, damaging the eye of Michaels, and turning heel in the process. This began what was named by both Pro Wrestling Illustrated and the Wrestling Observer Newsletter the \"Feud of the Year\".",
"This began what was named by both Pro Wrestling Illustrated and the Wrestling Observer Newsletter the \"Feud of the Year\". At Night of Champions, Jericho lost the WWE Intercontinental title to Kofi Kingston after a distraction by Michaels. In June, Jericho took on Lance Cade as a protégé.",
"In June, Jericho took on Lance Cade as a protégé. World Heavyweight Champion (2008–2009) Afterward, Jericho developed a suit-wearing persona inspired by Javier Bardem's character Anton Chigurh from the 2007 film No Country for Old Men and wrestler Nick Bockwinkel.",
"World Heavyweight Champion (2008–2009) Afterward, Jericho developed a suit-wearing persona inspired by Javier Bardem's character Anton Chigurh from the 2007 film No Country for Old Men and wrestler Nick Bockwinkel. Jericho and Michaels met at The Great American Bash, which Jericho won after attacking the cut on Michaels's eye.",
"Jericho and Michaels met at The Great American Bash, which Jericho won after attacking the cut on Michaels's eye. At SummerSlam, Michaels said that his eye damage would force him to retire and insulted Jericho by saying he would never achieve Michaels's success.",
"At SummerSlam, Michaels said that his eye damage would force him to retire and insulted Jericho by saying he would never achieve Michaels's success. Jericho tried to attack Michaels, but Michaels ducked, so Jericho punched Michaels's wife, Rebecca, instead.",
"Jericho tried to attack Michaels, but Michaels ducked, so Jericho punched Michaels's wife, Rebecca, instead. As a result, they fought in an unsanctioned match at Unforgiven, which Jericho lost by referee stoppage.",
"As a result, they fought in an unsanctioned match at Unforgiven, which Jericho lost by referee stoppage. Later that night, Jericho entered the Championship Scramble match as a late replacement for the defending champion CM Punk and subsequently won the World Heavyweight Championship, defeating Batista, John \"Bradshaw\" Layfield (JBL), Kane, and Rey Mysterio.",
"Later that night, Jericho entered the Championship Scramble match as a late replacement for the defending champion CM Punk and subsequently won the World Heavyweight Championship, defeating Batista, John \"Bradshaw\" Layfield (JBL), Kane, and Rey Mysterio. It was announced that Michaels would challenge Jericho for the championship in a ladder match at No Mercy, which Jericho won.",
"It was announced that Michaels would challenge Jericho for the championship in a ladder match at No Mercy, which Jericho won. At Cyber Sunday on October 26, Jericho lost the title to Batista, but later won it back eight days later on the 800th episode of Raw in a steel cage match.",
"At Cyber Sunday on October 26, Jericho lost the title to Batista, but later won it back eight days later on the 800th episode of Raw in a steel cage match. Jericho defeated Michaels in a Last Man Standing match on the November 10 episode of Raw after interference from JBL.",
"Jericho defeated Michaels in a Last Man Standing match on the November 10 episode of Raw after interference from JBL. Jericho lost the World Heavyweight Championship at Survivor Series to the returning John Cena. On the December 8 episode of Raw, Jericho was awarded the Slammy Award for 2008 Superstar of the Year award.",
"On the December 8 episode of Raw, Jericho was awarded the Slammy Award for 2008 Superstar of the Year award. Six days later, he lost his rematch with John Cena for the World Heavyweight Championship at Armageddon.",
"Six days later, he lost his rematch with John Cena for the World Heavyweight Championship at Armageddon. At the Royal Rumble on January 25, 2009, Jericho participated in the Royal Rumble match, but he was eliminated by the Undertaker.",
"At the Royal Rumble on January 25, 2009, Jericho participated in the Royal Rumble match, but he was eliminated by the Undertaker. On February 15 at No Way Out, he competed in an Elimination Chamber match for the World Heavyweight Championship, but he failed to win as he was eliminated by Rey Mysterio.",
"On February 15 at No Way Out, he competed in an Elimination Chamber match for the World Heavyweight Championship, but he failed to win as he was eliminated by Rey Mysterio. Following this, Jericho began a rivalry with veteran wrestlers Ric Flair, Ricky Steamboat, Jimmy Snuka and Roddy Piper, as well as actor Mickey Rourke.",
"Following this, Jericho began a rivalry with veteran wrestlers Ric Flair, Ricky Steamboat, Jimmy Snuka and Roddy Piper, as well as actor Mickey Rourke. Jericho was originally arranged to face Rourke at WrestleMania 25, but Rourke later pulled out of the event.",
"Jericho was originally arranged to face Rourke at WrestleMania 25, but Rourke later pulled out of the event. Instead, Jericho defeated Piper, Snuka and Steamboat in a 3-on-1 elimination handicap match at WrestleMania, but was knocked out by Rourke after the match.",
"Instead, Jericho defeated Piper, Snuka and Steamboat in a 3-on-1 elimination handicap match at WrestleMania, but was knocked out by Rourke after the match. On the April 13 episode of Raw, Jericho was drafted to the SmackDown brand as part of the 2009 WWE draft.",
"On the April 13 episode of Raw, Jericho was drafted to the SmackDown brand as part of the 2009 WWE draft. Jericho then faced Steamboat in a singles match at Backlash, where Jericho was victorious. In May, Jericho started a feud with Intercontinental Champion Rey Mysterio, leading to a match at Judgment Day, which Jericho lost.",
"In May, Jericho started a feud with Intercontinental Champion Rey Mysterio, leading to a match at Judgment Day, which Jericho lost. However, Jericho defeated Mysterio in a No Holds Barred Match at Extreme Rules to win his ninth Intercontinental Championship, breaking his own record again.",
"However, Jericho defeated Mysterio in a No Holds Barred Match at Extreme Rules to win his ninth Intercontinental Championship, breaking his own record again. At The Bash, Jericho lost the Intercontinental Championship back to Mysterio in a mask vs. title match.",
"At The Bash, Jericho lost the Intercontinental Championship back to Mysterio in a mask vs. title match. Jeri-Show and feud with Edge (2009–2010) Later in the event, Jericho and his partner Edge won the Unified WWE Tag Team Championship as surprise entrants in a triple threat tag team match.",
"Jeri-Show and feud with Edge (2009–2010) Later in the event, Jericho and his partner Edge won the Unified WWE Tag Team Championship as surprise entrants in a triple threat tag team match. As a result of this win, Jericho became the first wrestler to win every (original) Grand Slam eligible championship.",
"As a result of this win, Jericho became the first wrestler to win every (original) Grand Slam eligible championship. Shortly thereafter Edge suffered an injury and Jericho revealed a clause in his contract to allow Edge to be replaced and Jericho's reign to continue uninterrupted.",
"Shortly thereafter Edge suffered an injury and Jericho revealed a clause in his contract to allow Edge to be replaced and Jericho's reign to continue uninterrupted. At Night of Champions, Jericho revealed Big Show as his new tag team partner, creating a team that would come to called Jeri-Show.",
"At Night of Champions, Jericho revealed Big Show as his new tag team partner, creating a team that would come to called Jeri-Show. The duo defeated Cody Rhodes and Ted DiBiase to retain the championship.",
"The duo defeated Cody Rhodes and Ted DiBiase to retain the championship. Jeri-Show successfully defended the title against Cryme Tyme at SummerSlam, MVP and Mark Henry at Breaking Point and Rey Mysterio and Batista at Hell in a Cell.",
"Jeri-Show successfully defended the title against Cryme Tyme at SummerSlam, MVP and Mark Henry at Breaking Point and Rey Mysterio and Batista at Hell in a Cell. At Survivor Series, both Jericho and Big Show took part in a triple threat match for the World Heavyweight Championship, but the Undertaker successfully retained the title.",
"At Survivor Series, both Jericho and Big Show took part in a triple threat match for the World Heavyweight Championship, but the Undertaker successfully retained the title. At TLC: Tables, Ladders & Chairs, Jeri-Show lost the tag titles to D-Generation X (D-X) (Shawn Michaels and Triple H) in a Tables, Ladders and Chairs match.",
"At TLC: Tables, Ladders & Chairs, Jeri-Show lost the tag titles to D-Generation X (D-X) (Shawn Michaels and Triple H) in a Tables, Ladders and Chairs match. As a member of the SmackDown brand, Jericho could only appear on Raw as a champion and D-X intentionally disqualified themselves in a rematch to force Jericho off the show.",
"As a member of the SmackDown brand, Jericho could only appear on Raw as a champion and D-X intentionally disqualified themselves in a rematch to force Jericho off the show. On the January 4, 2010 of Raw, D-X defeated Jeri-Show to retain the championship once again, marking the end of Jeri-Show.",
"On the January 4, 2010 of Raw, D-X defeated Jeri-Show to retain the championship once again, marking the end of Jeri-Show. Jericho entered the 2010 Royal Rumble match on January 31, but was eliminated by the returning Edge, his former tag team partner, who went on to win the match.",
"Jericho entered the 2010 Royal Rumble match on January 31, but was eliminated by the returning Edge, his former tag team partner, who went on to win the match. At Elimination Chamber, Jericho won the World Heavyweight Championship in an Elimination Chamber match, defeating The Undertaker, John Morrison, Rey Mysterio, CM Punk and R-Truth following interference from Shawn Michaels.",
"At Elimination Chamber, Jericho won the World Heavyweight Championship in an Elimination Chamber match, defeating The Undertaker, John Morrison, Rey Mysterio, CM Punk and R-Truth following interference from Shawn Michaels. The next night on Raw, Edge used his Royal Rumble win to challenge Jericho for the World Heavyweight Championship at WrestleMania XXVI.",
"The next night on Raw, Edge used his Royal Rumble win to challenge Jericho for the World Heavyweight Championship at WrestleMania XXVI. Jericho defeated Edge at WrestleMania to retain the title, but lost the championship to Jack Swagger on the following episode of SmackDown, who cashed in his Money in the Bank contract.",
"Jericho defeated Edge at WrestleMania to retain the title, but lost the championship to Jack Swagger on the following episode of SmackDown, who cashed in his Money in the Bank contract. Jericho then failed to regain the title from Swagger in a triple-threat match also involving Edge on the April 16 episode of SmackDown.",
"Jericho then failed to regain the title from Swagger in a triple-threat match also involving Edge on the April 16 episode of SmackDown. Jericho and Edge continued their feud leading into Extreme Rules, where Jericho was defeated in a steel cage match. Jericho was drafted to the Raw brand in the 2010 WWE draft.",
"Jericho was drafted to the Raw brand in the 2010 WWE draft. He formed a brief tag team with The Miz and unsuccessfully challenged The Hart Dynasty for the Unified WWE Tag Team Championship at Over the Limit.",
"He formed a brief tag team with The Miz and unsuccessfully challenged The Hart Dynasty for the Unified WWE Tag Team Championship at Over the Limit. A month later, Jericho lost to Evan Bourne at Fatal 4-Way, but won a rematch during the following night on Raw, where he put his career on the line.",
"A month later, Jericho lost to Evan Bourne at Fatal 4-Way, but won a rematch during the following night on Raw, where he put his career on the line. On the July 19 episode of Raw, after being assaulted by The Nexus, Jericho teamed with rivals Edge, John Morrison, R-Truth, Daniel Bryan and Bret Hart in a team led by John Cena to face The Nexus at SummerSlam.",
"On the July 19 episode of Raw, after being assaulted by The Nexus, Jericho teamed with rivals Edge, John Morrison, R-Truth, Daniel Bryan and Bret Hart in a team led by John Cena to face The Nexus at SummerSlam. Jericho and Cena bickered over leadership of the team, which led to him and Edge attacking Cena during the SummerSlam match that they won.",
"Jericho and Cena bickered over leadership of the team, which led to him and Edge attacking Cena during the SummerSlam match that they won. Jericho was punished for not showing solidarity against Nexus, when he was removed from a Six-Pack Challenge for Sheamus's WWE Championship at Night of Champions.",
"Jericho was punished for not showing solidarity against Nexus, when he was removed from a Six-Pack Challenge for Sheamus's WWE Championship at Night of Champions. Although he re-earned his place in the match after defeating The Hart Dynasty in a handicap steel cage match, he was the first man eliminated from the match at Night of Champions.",
"Although he re-earned his place in the match after defeating The Hart Dynasty in a handicap steel cage match, he was the first man eliminated from the match at Night of Champions. On the September 27 episode of Raw, Jericho faced Randy Orton who punted him in the head.",
"On the September 27 episode of Raw, Jericho faced Randy Orton who punted him in the head. This was used to explain Jericho's departure from the company.",
"This was used to explain Jericho's departure from the company. Second return to WWE (2011–2018) Feud with CM Punk (2011–2012) Beginning in November 2011, WWE aired cryptic vignettes that promoted a wrestler's return on the January 2, 2012 episode of Raw.",
"Second return to WWE (2011–2018) Feud with CM Punk (2011–2012) Beginning in November 2011, WWE aired cryptic vignettes that promoted a wrestler's return on the January 2, 2012 episode of Raw. On his return, after hyping the crowd and relishing their cheers for a prolonged period, Jericho left without verbally addressing his return.",
"On his return, after hyping the crowd and relishing their cheers for a prolonged period, Jericho left without verbally addressing his return. After exhibiting similar odd behavior in the proceeding two weeks, Jericho spoke on the January 23 episode of Raw to say, \"This Sunday at the Royal Rumble, it is going to be the end of the world as you know it\", but in the Royal Rumble match, he was eliminated last, by Sheamus.",
"After exhibiting similar odd behavior in the proceeding two weeks, Jericho spoke on the January 23 episode of Raw to say, \"This Sunday at the Royal Rumble, it is going to be the end of the world as you know it\", but in the Royal Rumble match, he was eliminated last, by Sheamus. On the January 30 episode of Raw, Jericho began a feud with WWE Champion CM Punk after attacking him during his match with Daniel Bryan.",
"On the January 30 episode of Raw, Jericho began a feud with WWE Champion CM Punk after attacking him during his match with Daniel Bryan. He explained his actions by claiming other wrestlers in WWE were imitating him and named Punk as the worst offender.",
"He explained his actions by claiming other wrestlers in WWE were imitating him and named Punk as the worst offender. At Elimination Chamber, Jericho participated in the Elimination Chamber match for the WWE Championship, entering last and eliminating Dolph Ziggler and Kofi Kingston before being knocked out of the structure by Punk, which injured him and removed him from the match without being eliminated.",
"At Elimination Chamber, Jericho participated in the Elimination Chamber match for the WWE Championship, entering last and eliminating Dolph Ziggler and Kofi Kingston before being knocked out of the structure by Punk, which injured him and removed him from the match without being eliminated. The following night on Raw, Jericho won a ten-man battle royal to become the number one contender for Punk's WWE Championship at WrestleMania XXVIII.",
"The following night on Raw, Jericho won a ten-man battle royal to become the number one contender for Punk's WWE Championship at WrestleMania XXVIII. In a bid to psychologically unsettle Punk, Jericho revealed that Punk's father was an alcoholic and Punk's sister was a drug addict, which contradicted Punk's straight edge philosophy; Jericho vowed to make Punk turn to alcohol by winning Punk's title from him.",
"In a bid to psychologically unsettle Punk, Jericho revealed that Punk's father was an alcoholic and Punk's sister was a drug addict, which contradicted Punk's straight edge philosophy; Jericho vowed to make Punk turn to alcohol by winning Punk's title from him. At WrestleMania, a stipulation was added that Punk would lose his WWE Championship if he was disqualified.",
"At WrestleMania, a stipulation was added that Punk would lose his WWE Championship if he was disqualified. During the match, Jericho unsuccessfully tried to taunt Punk into disqualifying himself, and Punk won the match. Jericho continued his feud with Punk in the weeks that followed by attacking and dousing him with alcohol after his matches.",
"Jericho continued his feud with Punk in the weeks that followed by attacking and dousing him with alcohol after his matches. At Extreme Rules, Jericho failed again to capture the WWE Championship from Punk in a Chicago Street Fight.",
"At Extreme Rules, Jericho failed again to capture the WWE Championship from Punk in a Chicago Street Fight. Championship pursuits (2012–2013) Jericho faced Randy Orton, Alberto Del Rio and Sheamus in a fatal four-way match for the World Heavyweight Championship at Over the Limit, where Sheamus retained his title.",
"Championship pursuits (2012–2013) Jericho faced Randy Orton, Alberto Del Rio and Sheamus in a fatal four-way match for the World Heavyweight Championship at Over the Limit, where Sheamus retained his title. On May 24 at a WWE live event in Brazil, Jericho wrestled a match against CM Punk, during which Jericho kicked a Brazilian flag, causing local police to intervene and threaten Jericho with arrest.",
"On May 24 at a WWE live event in Brazil, Jericho wrestled a match against CM Punk, during which Jericho kicked a Brazilian flag, causing local police to intervene and threaten Jericho with arrest. Jericho issued an apology to the audience, enabling the event to resume.",
"Jericho issued an apology to the audience, enabling the event to resume. The following day, WWE suspended Jericho for 30 days while apologizing to the people and government of Brazil.",
"The following day, WWE suspended Jericho for 30 days while apologizing to the people and government of Brazil. Jericho returned on the June 25 episode of Raw, and his absence was explained by a European tour with his band Fozzy which happened to coincide with his suspension.",
"Jericho returned on the June 25 episode of Raw, and his absence was explained by a European tour with his band Fozzy which happened to coincide with his suspension. At Money in the Bank, Jericho participated in the WWE Championship Money in the Bank ladder match, but failed to win as John Cena won.",
"At Money in the Bank, Jericho participated in the WWE Championship Money in the Bank ladder match, but failed to win as John Cena won. The following night on Raw, Jericho confronted newly crowned Mr. Money in the Bank, Dolph Ziggler, who claimed that Jericho had lost his touch.",
"The following night on Raw, Jericho confronted newly crowned Mr. Money in the Bank, Dolph Ziggler, who claimed that Jericho had lost his touch. Jericho attacked Ziggler with a Codebreaker, thus turning face in the process. At SummerSlam, Jericho defeated Ziggler.",
"At SummerSlam, Jericho defeated Ziggler. The following night on Raw, Ziggler defeated Jericho in a rematch and, as a result, Ziggler retained his Money in the Bank contract and Jericho's WWE contract was terminated as per a pre match stipulation put in place by Raw General Manager, AJ Lee.",
"The following night on Raw, Ziggler defeated Jericho in a rematch and, as a result, Ziggler retained his Money in the Bank contract and Jericho's WWE contract was terminated as per a pre match stipulation put in place by Raw General Manager, AJ Lee. This was used to write him off so he could tour with Fozzy for the remainder of the year.",
"This was used to write him off so he could tour with Fozzy for the remainder of the year. On January 27, 2013, Jericho returned after a five-month hiatus entering the Royal Rumble match as the second entrant. Jericho lasted over 47 minutes before being eliminated by Dolph Ziggler.",
"Jericho lasted over 47 minutes before being eliminated by Dolph Ziggler. The following night on Raw, Jericho later revealed to Ziggler that due to a managerial change on Raw, he had been rehired by Vickie Guerrero, resuming his feud with Ziggler.",
"The following night on Raw, Jericho later revealed to Ziggler that due to a managerial change on Raw, he had been rehired by Vickie Guerrero, resuming his feud with Ziggler. Guerrero then paired the two in a match against WWE Tag Team Champions Team Hell No (Daniel Bryan and Kane).",
"Guerrero then paired the two in a match against WWE Tag Team Champions Team Hell No (Daniel Bryan and Kane). The match ended with Ziggler being pinned by Kane after Jericho framed him for pushing Kane.",
"The match ended with Ziggler being pinned by Kane after Jericho framed him for pushing Kane. After beating Daniel Bryan on the February 11 episode of Raw, Jericho qualified for the Elimination Chamber match at Elimination Chamber (in which the winner would go on to be the number one contender for the World Heavyweight Championship at WrestleMania 29), where he was the fourth man eliminated.",
"After beating Daniel Bryan on the February 11 episode of Raw, Jericho qualified for the Elimination Chamber match at Elimination Chamber (in which the winner would go on to be the number one contender for the World Heavyweight Championship at WrestleMania 29), where he was the fourth man eliminated. On the March 11 episode of Raw, Jericho faced The Miz in a No.",
"On the March 11 episode of Raw, Jericho faced The Miz in a No. 1 contenders match for Wade Barrett's WWE Intercontinental Championship, but the match was ruled a no contest after Barrett interfered and attacked both men. Both men then faced Barrett the following week on Raw, where he retained his title.",
"Both men then faced Barrett the following week on Raw, where he retained his title. Earlier in the episode, Jericho had a run-in with Fandango which led to Fandango costing him his match with Jack Swagger and attacking him four days later on SmackDown. At WrestleMania 29, Jericho was defeated by Fandango.",
"At WrestleMania 29, Jericho was defeated by Fandango. They continued their feud in the following weeks, until Jericho defeated Fandango at Extreme Rules. He then faced the returning CM Punk at Payback, where he was defeated.",
"He then faced the returning CM Punk at Payback, where he was defeated. Jericho then began feuding with Ryback, which led to a singles match on July 14 at Money in the Bank, where Ryback emerged victorious.",
"Jericho then began feuding with Ryback, which led to a singles match on July 14 at Money in the Bank, where Ryback emerged victorious. On the July 19 episode of SmackDown, Jericho unsuccessfully challenged Curtis Axel for the WWE Intercontinental Championship and was afterwards attacked by Ryback.",
"On the July 19 episode of SmackDown, Jericho unsuccessfully challenged Curtis Axel for the WWE Intercontinental Championship and was afterwards attacked by Ryback. This was done to write Jericho off television as he was taking a temporary hiatus to tour with Fozzy for the remainder of the year and possibly January and February.",
"This was done to write Jericho off television as he was taking a temporary hiatus to tour with Fozzy for the remainder of the year and possibly January and February. In a November interview for WWE.com, Jericho revealed that he would not be a full-time wrestler due to his musical and acting ventures.",
"In a November interview for WWE.com, Jericho revealed that he would not be a full-time wrestler due to his musical and acting ventures. Various sporadic feuds (2014–2016) After an eleven-month hiatus, Jericho returned on the June 30, 2014 episode of Raw, attacking The Miz, who had also returned minutes earlier.",
"Various sporadic feuds (2014–2016) After an eleven-month hiatus, Jericho returned on the June 30, 2014 episode of Raw, attacking The Miz, who had also returned minutes earlier. The Wyatt Family then interrupted and ultimately attacked Jericho. Jericho faced Bray Wyatt at Battleground in a winning effort.",
"Jericho faced Bray Wyatt at Battleground in a winning effort. At SummerSlam, with Wyatt Family members Luke Harper and Erick Rowan banned from ringside, Wyatt picked up the victory. On the September 8 episode of Raw, Jericho lost to Wyatt in a steel cage match, ending the feud.",
"On the September 8 episode of Raw, Jericho lost to Wyatt in a steel cage match, ending the feud. Jericho then feuded with Randy Orton, who had attacked him the week before after his match against Wyatt in the trainers room. Orton defeated him at Night of Champions.",
"Orton defeated him at Night of Champions. Throughout the rest of October and November, Jericho wrestled exclusively at live events, defeating Bray Wyatt. Jericho returned to WWE television in December as the guest general manager of the December 15 episode of Raw.",
"Jericho returned to WWE television in December as the guest general manager of the December 15 episode of Raw. Jericho booked himself in a street fight against Paul Heyman in the main event, which led to the return of Brock Lesnar. Before the match could begin, Lesnar attacked Jericho with an F-5.",
"Before the match could begin, Lesnar attacked Jericho with an F-5. In January 2015, Jericho revealed that he signed an exclusive WWE contract, under which he would compete at 16 house shows only. He later signed a similar contract once the former expired and competed at house shows throughout the rest of 2015.",
"He later signed a similar contract once the former expired and competed at house shows throughout the rest of 2015. During this time he wrestled against the likes of Luke Harper, Kevin Owens and King Barrett in winning efforts. In May 2015, Jericho was one of the hosts of Tough Enoughs sixth season. Jericho also hosted two Live!",
"Jericho also hosted two Live! Jericho also hosted two Live! With Chris Jericho specials on the WWE Network during 2015; his guests were John Cena and Stephanie McMahon. Jericho made his televised return at The Beast in the East, defeating Neville.",
"Jericho made his televised return at The Beast in the East, defeating Neville. At Night of Champions, Jericho was revealed as the mystery partner of Roman Reigns and Dean Ambrose, facing The Wyatt Family in a losing effort. On October 3, Jericho unsuccessfully challenged Kevin Owens for the WWE Intercontinental Championship at Live from Madison Square Garden.",
"On October 3, Jericho unsuccessfully challenged Kevin Owens for the WWE Intercontinental Championship at Live from Madison Square Garden. The match marked 20 years since Jericho's debut with ECW while also celebrating his 25th year as a professional wrestler in total.",
"The match marked 20 years since Jericho's debut with ECW while also celebrating his 25th year as a professional wrestler in total. On the January 4, 2016 episode of Raw, Jericho returned to in-ring competition full-time and confronted The New Day.",
"On the January 4, 2016 episode of Raw, Jericho returned to in-ring competition full-time and confronted The New Day. At the 2016 Royal Rumble, Jericho entered as the sixth entrant, lasting over 50 minutes, before being eliminated by Dean Ambrose.",
"At the 2016 Royal Rumble, Jericho entered as the sixth entrant, lasting over 50 minutes, before being eliminated by Dean Ambrose. On the January 25 episode of Raw, Jericho faced the recently debuted AJ Styles in a losing effort. Following the match, after initial hesitation by Jericho, the pair shook hands.",
"Following the match, after initial hesitation by Jericho, the pair shook hands. On the February 11 episode of SmackDown, Jericho defeated Styles. At Fastlane, Styles was victorious in a third match between the pair. On the February 22 episode of Raw, Jericho and Styles formed a tag team, dubbed Y2AJ.",
"On the February 22 episode of Raw, Jericho and Styles formed a tag team, dubbed Y2AJ. Following their loss against The New Day on the March 7 episode of Raw, Jericho attacked Styles, ending their alliance, claiming that he was sick of the fans chanting for Styles instead of him, turning heel in the process.",
"Following their loss against The New Day on the March 7 episode of Raw, Jericho attacked Styles, ending their alliance, claiming that he was sick of the fans chanting for Styles instead of him, turning heel in the process. Their feud culminated at WrestleMania 32, where Jericho defeated Styles.",
"Their feud culminated at WrestleMania 32, where Jericho defeated Styles. However, on the April 4 episode of Raw, Jericho competed in a fatal-four-way match against Styles, Kevin Owens and Cesaro to determine the No. 1 contender for the WWE World Heavyweight Championship in a losing effort after being pinned by Styles, ending their feud.",
"1 contender for the WWE World Heavyweight Championship in a losing effort after being pinned by Styles, ending their feud. The following week on Raw, Dean Ambrose interrupted The Highlight Reel, handing Jericho a note from Shane McMahon replacing the show with The Ambrose Asylum, igniting a feud between the two.",
"The following week on Raw, Dean Ambrose interrupted The Highlight Reel, handing Jericho a note from Shane McMahon replacing the show with The Ambrose Asylum, igniting a feud between the two. During this time, Jericho tweaked his gimmick. He became arrogant and childish while wearing expensive scarfs and calling everyone who appeased him \"stupid idiots\".",
"He became arrogant and childish while wearing expensive scarfs and calling everyone who appeased him \"stupid idiots\". At Payback, Jericho faced Ambrose in a losing effort.",
"At Payback, Jericho faced Ambrose in a losing effort. After attacking one another and Ambrose destroying Jericho's light-up ring jacket, Jericho was challenged by Ambrose to an Asylum match at Extreme Rules, where Ambrose again defeated Jericho after Jericho was thrown in a pile of thumbtacks.",
"After attacking one another and Ambrose destroying Jericho's light-up ring jacket, Jericho was challenged by Ambrose to an Asylum match at Extreme Rules, where Ambrose again defeated Jericho after Jericho was thrown in a pile of thumbtacks. On the May 23 episode of Raw, Jericho defeated Apollo Crews to qualify for the Money in the Bank ladder match at the Money in the Bank pay-per-view, where Jericho was unsuccessful as the match was won by Ambrose.",
"On the May 23 episode of Raw, Jericho defeated Apollo Crews to qualify for the Money in the Bank ladder match at the Money in the Bank pay-per-view, where Jericho was unsuccessful as the match was won by Ambrose. On July 19 at the 2016 WWE draft, Jericho was drafted to the Raw brand.",
"On July 19 at the 2016 WWE draft, Jericho was drafted to the Raw brand. At Battleground on July 24, Jericho hosted a Highlight Reel segment with the returning Randy Orton, where he took an RKO from Orton after he insulted him.",
"At Battleground on July 24, Jericho hosted a Highlight Reel segment with the returning Randy Orton, where he took an RKO from Orton after he insulted him. The next night on Raw, Jericho competed in a fatal four-way match to determine the number one contender for the newly created WWE Universal Championship at SummerSlam, but he was unsuccessful, as Roman Reigns won the match.",
"The next night on Raw, Jericho competed in a fatal four-way match to determine the number one contender for the newly created WWE Universal Championship at SummerSlam, but he was unsuccessful, as Roman Reigns won the match. The List of Jericho (2016–2017) Jericho then entered a feud with Enzo and Cass and on the August 1 episode of Raw, he teamed with Charlotte to defeat Enzo Amore and then WWE Women's Champion Sasha Banks in a mixed tag team match, after which Big Cass made the save as Jericho continued the assault on Amore.",
"The List of Jericho (2016–2017) Jericho then entered a feud with Enzo and Cass and on the August 1 episode of Raw, he teamed with Charlotte to defeat Enzo Amore and then WWE Women's Champion Sasha Banks in a mixed tag team match, after which Big Cass made the save as Jericho continued the assault on Amore. The following week on Raw, Jericho allied with Kevin Owens and later defeated Amore via disqualification when Cass interfered.",
"The following week on Raw, Jericho allied with Kevin Owens and later defeated Amore via disqualification when Cass interfered. This led to a tag team match at SummerSlam, where Jericho and Owens defeated Enzo and Cass.",
"This led to a tag team match at SummerSlam, where Jericho and Owens defeated Enzo and Cass. On the August 22 episode of Raw, Jericho interfered in Owens's match against Neville, allowing him to qualify for the fatal four-way match to determine the new WWE Universal Champion on the August 29 episode of Raw, which Owens won.",
"On the August 22 episode of Raw, Jericho interfered in Owens's match against Neville, allowing him to qualify for the fatal four-way match to determine the new WWE Universal Champion on the August 29 episode of Raw, which Owens won. On the September 12 episode of Raw, Jericho hosted an episode of The Highlight Reel with Sami Zayn as his guest, who questioned his alliance with Owens, resulting in Jericho defending Owens and attacking Zayn.",
"On the September 12 episode of Raw, Jericho hosted an episode of The Highlight Reel with Sami Zayn as his guest, who questioned his alliance with Owens, resulting in Jericho defending Owens and attacking Zayn. On the September 19 episode of Raw, as a result of feeling that he was being treated unjustly by General Manager Mick Foley, as well as other wrestlers beginning to annoy him, Jericho began a list called \"The List of Jericho\", where he wrote down the name of the person that bothered him and why.",
"On the September 19 episode of Raw, as a result of feeling that he was being treated unjustly by General Manager Mick Foley, as well as other wrestlers beginning to annoy him, Jericho began a list called \"The List of Jericho\", where he wrote down the name of the person that bothered him and why. If someone annoyed Jericho, he would ask \"you know what happens?\"",
"If someone annoyed Jericho, he would ask \"you know what happens?\" before shouting \"you just made the list!\" and writing the person's name down.",
"and writing the person's name down. The List of Jericho soon became incredibly popular with the fans, with many critics describing Jericho and his list as \"easily one of the best moments of Raw's broadcast\".",
"The List of Jericho soon became incredibly popular with the fans, with many critics describing Jericho and his list as \"easily one of the best moments of Raw's broadcast\". At Clash of Champions on September 25, Jericho defeated Zayn and assisted Owens in his Universal Championship defense against Seth Rollins.",
"At Clash of Champions on September 25, Jericho defeated Zayn and assisted Owens in his Universal Championship defense against Seth Rollins. At Hell in a Cell on October 30, Jericho aided Owens in retaining the Universal Championship against Rollins in a Hell in a Cell match after Owens sprayed a fire extinguisher at the referee, allowing Jericho to enter the cell.",
"At Hell in a Cell on October 30, Jericho aided Owens in retaining the Universal Championship against Rollins in a Hell in a Cell match after Owens sprayed a fire extinguisher at the referee, allowing Jericho to enter the cell. Jericho teamed with Owens, Braun Strowman, Roman Reigns, and Seth Rollins as part of Team Raw at Survivor Series on November 20, in a losing effort.",
"Jericho teamed with Owens, Braun Strowman, Roman Reigns, and Seth Rollins as part of Team Raw at Survivor Series on November 20, in a losing effort. The next night on Raw, despite being banned from ringside, Jericho showed up in a Sin Cara mask and attacked Rollins, in another successful title defense for Owens.",
"The next night on Raw, despite being banned from ringside, Jericho showed up in a Sin Cara mask and attacked Rollins, in another successful title defense for Owens. The following week on Raw, tensions between Jericho and Owens arose after both said that they did not need each other anymore, and Jericho was later attacked by Rollins in the parking lot.",
"The following week on Raw, tensions between Jericho and Owens arose after both said that they did not need each other anymore, and Jericho was later attacked by Rollins in the parking lot. At Roadblock: End of the Line on December 18, Jericho lost to Rollins after Owens failed in his attempt to help him, Later that night, Jericho intentionally attacked Owens to prevent Reigns from winning the title.",
"At Roadblock: End of the Line on December 18, Jericho lost to Rollins after Owens failed in his attempt to help him, Later that night, Jericho intentionally attacked Owens to prevent Reigns from winning the title. After both Jericho and Owens failed to win the WWE United States Championship from Reigns in multiple singles matches in late 2016, Jericho pinned Reigns in a handicap match also involving Owens on the January 9 episode of Raw to win the WWE United States Championship.",
"After both Jericho and Owens failed to win the WWE United States Championship from Reigns in multiple singles matches in late 2016, Jericho pinned Reigns in a handicap match also involving Owens on the January 9 episode of Raw to win the WWE United States Championship. Thus, Jericho won his first championship in nearly seven years and also become Grand Slam winner under the current format.",
"Thus, Jericho won his first championship in nearly seven years and also become Grand Slam winner under the current format. Due to interfering multiple times in Owens's matches, Jericho was suspended above the ring in a shark proof cage during Reigns's rematch at the Royal Rumble pay-per-view event.",
"Due to interfering multiple times in Owens's matches, Jericho was suspended above the ring in a shark proof cage during Reigns's rematch at the Royal Rumble pay-per-view event. Owens nonetheless retained the championship after Braun Strowman, taking advantage of the added no disqualification stipulation, interfered.",
"Owens nonetheless retained the championship after Braun Strowman, taking advantage of the added no disqualification stipulation, interfered. Also at the event, Jericho entered as the second entrant in the Royal Rumble match, lasting over an hour (thus breaking the record with a cumulative time of over five hours) and being the third to last before being eliminated by Reigns.",
"Also at the event, Jericho entered as the second entrant in the Royal Rumble match, lasting over an hour (thus breaking the record with a cumulative time of over five hours) and being the third to last before being eliminated by Reigns. In February, tensions grew between Jericho and Owens after Jericho accepted a Universal Championship challenge from Goldberg on Owens's behalf, much to the latter's dismay.",
"In February, tensions grew between Jericho and Owens after Jericho accepted a Universal Championship challenge from Goldberg on Owens's behalf, much to the latter's dismay. On the February 13 episode of Raw, Jericho held a \"Festival of Friendship\" for Owens, who was not impressed and viciously attacked Jericho, ending their alliance.",
"On the February 13 episode of Raw, Jericho held a \"Festival of Friendship\" for Owens, who was not impressed and viciously attacked Jericho, ending their alliance. Jericho returned at Fastlane on March 5, distracting Owens during his match with Goldberg and causing Owens to lose the Universal Championship, turning face again in the process.",
"Jericho returned at Fastlane on March 5, distracting Owens during his match with Goldberg and causing Owens to lose the Universal Championship, turning face again in the process. This led to a match between Jericho and Owens being arranged for WrestleMania 33 on April 2, with Jericho's United States Championship on the line.",
"This led to a match between Jericho and Owens being arranged for WrestleMania 33 on April 2, with Jericho's United States Championship on the line. At WrestleMania, Jericho lost the United States Championship to Owens.",
"At WrestleMania, Jericho lost the United States Championship to Owens. At Payback on April 30, Jericho defeated Owens to regain the title and moved to the SmackDown brand, but lost it back to him two nights later on SmackDown. Following the match, Owens attacked Jericho, who was carried out on a stretcher.",
"Following the match, Owens attacked Jericho, who was carried out on a stretcher. Thus, Jericho was written off television so he could fulfill his commitments to tour with and promote his new album with Fozzy. Jericho made a surprise return at a house show in Singapore on June 28, where he lost to Hideo Itami.",
"Jericho made a surprise return at a house show in Singapore on June 28, where he lost to Hideo Itami. Final matches and departure (2017–2018) On the July 25 episode of SmackDown, Jericho made his televised return, interrupting an altercation between Kevin Owens and AJ Styles to get his rematch for Owens' WWE United States Championship.",
"Final matches and departure (2017–2018) On the July 25 episode of SmackDown, Jericho made his televised return, interrupting an altercation between Kevin Owens and AJ Styles to get his rematch for Owens' WWE United States Championship. Later that night, Jericho participated in a triple threat match against Owens and Styles for the title in which Jericho was pinned by Styles.",
"Later that night, Jericho participated in a triple threat match against Owens and Styles for the title in which Jericho was pinned by Styles. Show took place in Richmond, Virginia and was Jericho's last in-ring appearance for WWE in the United States.",
"Show took place in Richmond, Virginia and was Jericho's last in-ring appearance for WWE in the United States. On January 22, 2018 during the 25th Anniversary of Raw, Jericho appeared backstage in a segment with Elias, putting him on The List of Jericho.",
"On January 22, 2018 during the 25th Anniversary of Raw, Jericho appeared backstage in a segment with Elias, putting him on The List of Jericho. At the Greatest Royal Rumble, Jericho was the last entrant in the 50-man Royal Rumble match, eliminating Shelton Benjamin before being eliminated by the eventual winner Braun Strowman.",
"At the Greatest Royal Rumble, Jericho was the last entrant in the 50-man Royal Rumble match, eliminating Shelton Benjamin before being eliminated by the eventual winner Braun Strowman. This event marked Jericho's final appearance with WWE.",
"This event marked Jericho's final appearance with WWE. In September 2019, during an interview for the Mature Audiences Mayhem Podcast, Jericho revealed the exact point when he decided he was going to leave the WWE. Even though Jericho was with the WWE for 15 years, the final insult came at WrestleMania 33 in 2017.",
"Even though Jericho was with the WWE for 15 years, the final insult came at WrestleMania 33 in 2017. Despite the fact that Jericho and Kevin Owens had the best feud of the year, their match was demoted by placing it on the second place on the WrestleMania match card.",
"Despite the fact that Jericho and Kevin Owens had the best feud of the year, their match was demoted by placing it on the second place on the WrestleMania match card. The decision made by Vince McMahon was a big insult for Jericho and that prompted him to seek work elsewhere.",
"The decision made by Vince McMahon was a big insult for Jericho and that prompted him to seek work elsewhere. Jericho reflecting his WWE departure stated: \"Originally, that was going to be the main event for the world title.",
"Jericho reflecting his WWE departure stated: \"Originally, that was going to be the main event for the world title. Kevin Owens was the champion and I was going to beat him in the main event of WrestleMania as a babyface.\"",
"Kevin Owens was the champion and I was going to beat him in the main event of WrestleMania as a babyface.\" Instead of having Jericho and Owens as the main event, Vince decided to put Bill Goldberg and Brock Lesnar on the main card.",
"Instead of having Jericho and Owens as the main event, Vince decided to put Bill Goldberg and Brock Lesnar on the main card. \"Vince said that it’s going to be me versus Kevin Owens for the world title at WrestleMania and you are going to win the title, f*** yeah!",
"\"Vince said that it’s going to be me versus Kevin Owens for the world title at WrestleMania and you are going to win the title, f*** yeah! Next week, he doesn’t tell me, but I hear that it’s changed to Brock Lesnar versus Bill Goldberg for the title.",
"Next week, he doesn’t tell me, but I hear that it’s changed to Brock Lesnar versus Bill Goldberg for the title. And not only did they take us out of the main event – and, once again, just because I was told I have no right to it and things change all the time, I’m a big boy, I can handle it.",
"And not only did they take us out of the main event – and, once again, just because I was told I have no right to it and things change all the time, I’m a big boy, I can handle it. But to take us from the main event slot and then move us to the second match on the card on a card that has 12 matches on it?",
"But to take us from the main event slot and then move us to the second match on the card on a card that has 12 matches on it? I was like, that’s a f***ing insult.\"",
"I was like, that’s a f***ing insult.\" Return to NJPW (2017–2020) Feud with Kenny Omega (2017–2018) On November 5, 2017, Jericho returned to NJPW in a pre-taped vignette, challenging Kenny Omega to a match at Wrestle Kingdom 12 in Tokyo Dome.",
"Return to NJPW (2017–2020) Feud with Kenny Omega (2017–2018) On November 5, 2017, Jericho returned to NJPW in a pre-taped vignette, challenging Kenny Omega to a match at Wrestle Kingdom 12 in Tokyo Dome. The challenge was immediately accepted by Omega and made official by NJPW the following day as a title match for Omega's IWGP United States Heavyweight Championship.",
"The challenge was immediately accepted by Omega and made official by NJPW the following day as a title match for Omega's IWGP United States Heavyweight Championship. The match, dubbed \"Alpha vs. Omega\", was Jericho's first match outside of WWE since he left WCW in July 1999.",
"The match, dubbed \"Alpha vs. Omega\", was Jericho's first match outside of WWE since he left WCW in July 1999. Journalist Dave Meltzer wrote that Jericho's WWE contract had expired and that he was a \"free agent\". NJPW also referred to Jericho as a free agent.",
"NJPW also referred to Jericho as a free agent. In contrast, the Tokyo Sports newspaper described an anonymous NJPW official saying that Jericho is still under contract with WWE, and that WWE chairman Vince McMahon had given him permission to wrestle this match in NJPW. This was his first NJPW match in nearly 20 years.",
"This was his first NJPW match in nearly 20 years. Jericho returned in person at the December 11 World Tag League show, attacking and bloodying Omega after his match, while also laying out a referee, a young lion and color commentator Don Callis, establishing himself as a heel.",
"Jericho returned in person at the December 11 World Tag League show, attacking and bloodying Omega after his match, while also laying out a referee, a young lion and color commentator Don Callis, establishing himself as a heel. The following day at the Wrestle Kingdom 12 in Tokyo Dome press conference, Jericho and Omega would get into a second physical altercation.",
"The following day at the Wrestle Kingdom 12 in Tokyo Dome press conference, Jericho and Omega would get into a second physical altercation. Because of the two incidents, NJPW turned the January 4 match into a no disqualification match. At the event, Jericho was defeated by Omega.",
"At the event, Jericho was defeated by Omega. It was later revealed that the match was awarded a five-star rating from Dave Meltzer of the Wrestling Observer Newsletter. This was the first of his career. IWGP Intercontinental Champion (2018–2019) The night after Wrestle Kingdom 12 in Tokyo Dome at New Year Dash!!",
"IWGP Intercontinental Champion (2018–2019) The night after Wrestle Kingdom 12 in Tokyo Dome at New Year Dash!! 2018, Jericho attacked Tetsuya Naito.",
"2018, Jericho attacked Tetsuya Naito. On May 4, Jericho once again attacked Naito at Wrestling Dontaku, leading to a match between the two at Dominion 6.9 in Osaka-jo Hall, in which he defeated Naito to win the IWGP Intercontinental Championship. At King of Pro-Wrestling, Jericho attacked Evil before his match against Zack Sabre Jr.",
"At King of Pro-Wrestling, Jericho attacked Evil before his match against Zack Sabre Jr. Backstage, Jericho challenged Evil to an IWGP Intercontinental Championship title match at Power Struggle. At the event, Jericho made Evil submit to the Liontamer to retain the IWGP Intercontinental Championship.",
"At the event, Jericho made Evil submit to the Liontamer to retain the IWGP Intercontinental Championship. After the match, Jericho refused to release the hold until Tetsuya Naito ran in for the save and challenged Jericho. Despite Jericho stating that Naito would not receive a rematch, the match was made official for Wrestle Kingdom 13 in Tokyo Dome.",
"Despite Jericho stating that Naito would not receive a rematch, the match was made official for Wrestle Kingdom 13 in Tokyo Dome. On December 15, NJPW held a press conference for Jericho and Naito's IWGP Intercontinental Championship match.",
"On December 15, NJPW held a press conference for Jericho and Naito's IWGP Intercontinental Championship match. The press conference ended when Naito spat water in Jericho's face, which resulted in the two then brawling before being separated.",
"The press conference ended when Naito spat water in Jericho's face, which resulted in the two then brawling before being separated. Later that same day during a Road to Tokyo Dome show, Jericho laid out Naito with steel chair shots, and after stated that at Wrestle Kingdom 13 he would end Tetsuya Naito's career.",
"Later that same day during a Road to Tokyo Dome show, Jericho laid out Naito with steel chair shots, and after stated that at Wrestle Kingdom 13 he would end Tetsuya Naito's career. At the event, Jericho was defeated by Naito, losing the IWGP Intercontinental Championship in the process.",
"At the event, Jericho was defeated by Naito, losing the IWGP Intercontinental Championship in the process. Sporadic appearances (2019–2020) At Dominion 6.9 in Osaka-jo Hall, Jericho challenged Kazuchika Okada for the IWGP Heavyweight Championship but was defeated. Following the match, Jericho attacked Okada, leading to Hiroshi Tanahashi making the save.",
"Following the match, Jericho attacked Okada, leading to Hiroshi Tanahashi making the save. Jericho returned at Power Struggle on November 3 and challenged Tanahashi to a match at Wrestle Kingdom 14. On December 28, it was announced that if Tanahashi were to defeat Jericho, he would be granted an AEW World Championship match at a later date.",
"On December 28, it was announced that if Tanahashi were to defeat Jericho, he would be granted an AEW World Championship match at a later date. During the second night of Wrestle Kingdom on January 5, 2020, Jericho defeated Tanahashi.",
"During the second night of Wrestle Kingdom on January 5, 2020, Jericho defeated Tanahashi. Return to the independent circuit (2018–2019) On September 1, 2018, Jericho (disguised as Penta El Zero) appeared at the All In show promoted by Cody and The Young Bucks, where he attacked Kenny Omega following Omega's victory over Penta to promote his upcoming Rock 'N' Wrestling Rager at Sea cruise.",
"Return to the independent circuit (2018–2019) On September 1, 2018, Jericho (disguised as Penta El Zero) appeared at the All In show promoted by Cody and The Young Bucks, where he attacked Kenny Omega following Omega's victory over Penta to promote his upcoming Rock 'N' Wrestling Rager at Sea cruise. In October 2018, Jericho organized Chris Jericho's Rock 'N' Wrestling Rager at Sea, a series of professional wrestling matches originating from Jericho's cruise ship, which embarked from Miami, Florida and featured wrestlers from Ring of Honor.",
"In October 2018, Jericho organized Chris Jericho's Rock 'N' Wrestling Rager at Sea, a series of professional wrestling matches originating from Jericho's cruise ship, which embarked from Miami, Florida and featured wrestlers from Ring of Honor. On May 3, 2019, Jericho appeared at a Southern Honor Wrestling event, where he was attacked by Kenny Omega.",
"On May 3, 2019, Jericho appeared at a Southern Honor Wrestling event, where he was attacked by Kenny Omega. All Elite Wrestling (2019–present) Inaugural AEW World Champion (2019–2020) On January 8, 2019, Jericho made a surprise appearance at a media event organized by the upstart All Elite Wrestling (AEW) promotion.",
"All Elite Wrestling (2019–present) Inaugural AEW World Champion (2019–2020) On January 8, 2019, Jericho made a surprise appearance at a media event organized by the upstart All Elite Wrestling (AEW) promotion. Shortly afterwards, Jericho was filmed signing a full-time performers three-year contract with AEW and shaking hands with the company's President Tony Khan.",
"Shortly afterwards, Jericho was filmed signing a full-time performers three-year contract with AEW and shaking hands with the company's President Tony Khan. Jericho defeated Kenny Omega at the promotion's inaugural event Double or Nothing on May 25, and went on to defeat Adam Page at All Out to become the inaugural AEW World Champion.",
"Jericho defeated Kenny Omega at the promotion's inaugural event Double or Nothing on May 25, and went on to defeat Adam Page at All Out to become the inaugural AEW World Champion. On the premiere episode of Dynamite on October 2, Jericho allied himself with Sammy Guevara, Jake Hager, Santana and Ortiz, creating a stable that would be known as The Inner Circle.",
"On the premiere episode of Dynamite on October 2, Jericho allied himself with Sammy Guevara, Jake Hager, Santana and Ortiz, creating a stable that would be known as The Inner Circle. Jericho would make successful title defences against Darby Allin on the October 16 episode of Dynamite and Cody at the Full Gear pay-per-view on November 9.",
"Jericho would make successful title defences against Darby Allin on the October 16 episode of Dynamite and Cody at the Full Gear pay-per-view on November 9. On the episode of Dynamite after Full Gear, Jericho and Guevara challenged SoCal Uncensored (Frankie Kazarian and Scorpio Sky) for the AEW World Tag Team Championship, but they failed to win when Sky pinned Jericho with a small package, thus suffering his first loss in AEW.",
"On the episode of Dynamite after Full Gear, Jericho and Guevara challenged SoCal Uncensored (Frankie Kazarian and Scorpio Sky) for the AEW World Tag Team Championship, but they failed to win when Sky pinned Jericho with a small package, thus suffering his first loss in AEW. Jericho would successfully retain the AEW World Championship against Sky on the November 27 episode of Dynamite.",
"Jericho would successfully retain the AEW World Championship against Sky on the November 27 episode of Dynamite. In December, The Inner Circle began to attempt to entice Jon Moxley to join the group.",
"In December, The Inner Circle began to attempt to entice Jon Moxley to join the group. On the January 8, 2020 episode of Dynamite, Moxley initially joined the group, however, this was later revealed to be a ruse from Moxley as he attacked Jericho and Sammy Guevara.",
"On the January 8, 2020 episode of Dynamite, Moxley initially joined the group, however, this was later revealed to be a ruse from Moxley as he attacked Jericho and Sammy Guevara. Moxley then became the number one contender for Jericho's championship at Revolution on February 29, where Moxley defeated Jericho to win the title, ending his inaugural AEW World Championship reign at 182 days.",
"Moxley then became the number one contender for Jericho's championship at Revolution on February 29, where Moxley defeated Jericho to win the title, ending his inaugural AEW World Championship reign at 182 days. Feud with MJF (2020–2021) After losing the championship, Jericho and The Inner Circle began a feud with The Elite (Adam Page, Cody, Kenny Omega and The Young Bucks), who recruited the debuting Matt Hardy to oppose them.",
"Feud with MJF (2020–2021) After losing the championship, Jericho and The Inner Circle began a feud with The Elite (Adam Page, Cody, Kenny Omega and The Young Bucks), who recruited the debuting Matt Hardy to oppose them. At Double or Nothing on May 23, The Inner Circle were defeated by Page, Omega, The Young Bucks and Hardy in a Stadium Stampede match.",
"At Double or Nothing on May 23, The Inner Circle were defeated by Page, Omega, The Young Bucks and Hardy in a Stadium Stampede match. Jericho next began a rivalry with Orange Cassidy, with Jericho defeating him at Fyter Fest on July 8, but losing a rematch on the August 12 episode of Dynamite.",
"Jericho next began a rivalry with Orange Cassidy, with Jericho defeating him at Fyter Fest on July 8, but losing a rematch on the August 12 episode of Dynamite. The two faced once again at All Out on September 5, in a Mimosa Mayhem match, which Jericho lost.",
"The two faced once again at All Out on September 5, in a Mimosa Mayhem match, which Jericho lost. Beginning in October, Jericho began a feud with MJF, who requested to join the Inner Circle, despite disapproval from Sammy Guevara, Santana and Ortiz.",
"Beginning in October, Jericho began a feud with MJF, who requested to join the Inner Circle, despite disapproval from Sammy Guevara, Santana and Ortiz. Jericho and MJF wrestled in a match at the Full Gear event on November 7, which MJF won, thus allowing him to join the Inner Circle.",
"Jericho and MJF wrestled in a match at the Full Gear event on November 7, which MJF won, thus allowing him to join the Inner Circle. At Beach Break on February 3, 2021, Jericho and MJF won a tag team battle royal to become the number one contenders for the AEW World Tag Team Championship at the Revolution event against The Young Bucks, which they were unsuccessful in winning.",
"At Beach Break on February 3, 2021, Jericho and MJF won a tag team battle royal to become the number one contenders for the AEW World Tag Team Championship at the Revolution event against The Young Bucks, which they were unsuccessful in winning. On the March 10 episode of Dynamite, MJF betrayed and left The Inner Circle after revealing he had been secretly plotting against them and building his own stable, The Pinnacle—consisting of Wardlow, Shawn Spears and FTR (Cash Wheeler and Dax Harwood).",
"On the March 10 episode of Dynamite, MJF betrayed and left The Inner Circle after revealing he had been secretly plotting against them and building his own stable, The Pinnacle—consisting of Wardlow, Shawn Spears and FTR (Cash Wheeler and Dax Harwood). At Blood and Guts on May 5, The Inner Circle lost to The Pinnacle in the inaugural Blood and Guts match.",
"At Blood and Guts on May 5, The Inner Circle lost to The Pinnacle in the inaugural Blood and Guts match. However, in the main event of Double or Nothing later that month, The Inner Circle defeated The Pinnacle in a Stadium Stampede match, after Sammy Guevara pinned Shawn Spears.",
"However, in the main event of Double or Nothing later that month, The Inner Circle defeated The Pinnacle in a Stadium Stampede match, after Sammy Guevara pinned Shawn Spears. Jericho then began pursuing another match with MJF, who stated that he would first have to defeat a gauntlet of opponents selected by MJF, in a series dubbed the \"Labors of Jericho\".",
"Jericho then began pursuing another match with MJF, who stated that he would first have to defeat a gauntlet of opponents selected by MJF, in a series dubbed the \"Labors of Jericho\". Jericho would defeat each of MJF's handpicked opponents (Shawn Spears, Nick Gage, Juventud Guerrera and Wardlow) and faced MJF in the final labor on the August 18 episode of Dynamite, but he was defeated.",
"Jericho would defeat each of MJF's handpicked opponents (Shawn Spears, Nick Gage, Juventud Guerrera and Wardlow) and faced MJF in the final labor on the August 18 episode of Dynamite, but he was defeated. Jericho demanded one more match, stipulating that if he lost, he would retire from in-ring competition, which MJF accepted.",
"Jericho demanded one more match, stipulating that if he lost, he would retire from in-ring competition, which MJF accepted. At All Out on September 5, Jericho defeated MJF to maintain his career and end their feud.",
"At All Out on September 5, Jericho defeated MJF to maintain his career and end their feud. Various feuds (2021–present) Following All Out, The Inner Circle started a rivalry with Men of the Year (Ethan Page and Scorpio Sky), and their ally, mixed martial arts (MMA) coach Dan Lambert.",
"Various feuds (2021–present) Following All Out, The Inner Circle started a rivalry with Men of the Year (Ethan Page and Scorpio Sky), and their ally, mixed martial arts (MMA) coach Dan Lambert. Lambert also brought in members of his MMA team American Top Team (ATT) to oppose The Inner Circle, including Andrei Arlovski and Junior dos Santos.",
"Lambert also brought in members of his MMA team American Top Team (ATT) to oppose The Inner Circle, including Andrei Arlovski and Junior dos Santos. At the Full Gear event on November 13, The Inner Circle defeated Men of the Year and ATT in a Minneapolis Street Fight.",
"At the Full Gear event on November 13, The Inner Circle defeated Men of the Year and ATT in a Minneapolis Street Fight. Legacy Known for his over-the-top, rock star persona, Jericho has been described by multiple industry commentators as one of the greatest professional wrestlers of all time.",
"Legacy Known for his over-the-top, rock star persona, Jericho has been described by multiple industry commentators as one of the greatest professional wrestlers of all time. Journalist Chris Van Vliet noted that his name is \"always thrown around as the GOAT [greatest of all time], or at least one of the GOATs\", with Van Vliet himself asserting that Jericho is \"if not the best, certainly one of the best\".",
"Journalist Chris Van Vliet noted that his name is \"always thrown around as the GOAT [greatest of all time], or at least one of the GOATs\", with Van Vliet himself asserting that Jericho is \"if not the best, certainly one of the best\". Todd Martin of the Pro Wrestling Torch remarked, to agreement from editor Wade Keller, that Jericho is \"one of the great wrestlers of all time\" and in \"a lofty category\", while likening his oeuvre to those of WWE Hall of Famers Randy Savage, Ricky Steamboat, Ted DiBiase and Dory Funk Jr.",
"Todd Martin of the Pro Wrestling Torch remarked, to agreement from editor Wade Keller, that Jericho is \"one of the great wrestlers of all time\" and in \"a lofty category\", while likening his oeuvre to those of WWE Hall of Famers Randy Savage, Ricky Steamboat, Ted DiBiase and Dory Funk Jr. Praised for his ability to continually evolve his gimmick, Jericho was dubbed by KC Joyner of ESPN as \"wrestling's David Bowie\".",
"Praised for his ability to continually evolve his gimmick, Jericho was dubbed by KC Joyner of ESPN as \"wrestling's David Bowie\". Various outlets have included Jericho in lists of the greatest wrestlers ever.",
"Various outlets have included Jericho in lists of the greatest wrestlers ever. Baltimore Sun reporter Kevin Eck, who has also served as editor of WCW Magazine and a WWE producer, featured Jericho in his \"Top 10 favorite wrestlers of all time\" and \"Top 10 all-around performers\"—the former piece noting that Jericho is \"regarded as one of the very best talkers in the business\".",
"Baltimore Sun reporter Kevin Eck, who has also served as editor of WCW Magazine and a WWE producer, featured Jericho in his \"Top 10 favorite wrestlers of all time\" and \"Top 10 all-around performers\"—the former piece noting that Jericho is \"regarded as one of the very best talkers in the business\". Keisha Hatchett in TV Guide wrote that Jericho \"owns the mic with cerebral insults\" and is set apart from peers by \"his charismatic presence, which is highlighted by a laundry list of unforgettable catchphrases\".",
"Keisha Hatchett in TV Guide wrote that Jericho \"owns the mic with cerebral insults\" and is set apart from peers by \"his charismatic presence, which is highlighted by a laundry list of unforgettable catchphrases\". He was voted by Wrestling Observer Newsletter (WON) readers as \"Best on Interviews\" for the 2000s decade, coinciding with his 2010 induction into the WON Hall of Fame.",
"He was voted by Wrestling Observer Newsletter (WON) readers as \"Best on Interviews\" for the 2000s decade, coinciding with his 2010 induction into the WON Hall of Fame. Fans also named Jericho the greatest WWE Intercontinental Champion of all time in a 2013 WWE poll, affording him a landslide 63% victory over the other four contenders (Mr.",
"Fans also named Jericho the greatest WWE Intercontinental Champion of all time in a 2013 WWE poll, affording him a landslide 63% victory over the other four contenders (Mr. Perfect, The Honky Tonk Man, Rick Rude and Pat Patterson).",
"Perfect, The Honky Tonk Man, Rick Rude and Pat Patterson). A number of Jericho's industry colleagues have hailed him as one of the greatest wrestlers in history. Stone Cold Steve Austin lauded his consistently \"dynamic\" promos and in-ring work, while arguing that he should be considered among the 10 best ever.",
"Stone Cold Steve Austin lauded his consistently \"dynamic\" promos and in-ring work, while arguing that he should be considered among the 10 best ever. Kenny Omega asserted that Jericho \"has a legit argument for being the best of all time\", based on his ability to achieve success and notoriety across numerous territories.",
"Kenny Omega asserted that Jericho \"has a legit argument for being the best of all time\", based on his ability to achieve success and notoriety across numerous territories. Jon Moxley said, \"Jericho is really making a case for being the greatest of all time... he's doing it again, he's doing something completely new, and breaking new barriers still here in 2020.\"",
"Jon Moxley said, \"Jericho is really making a case for being the greatest of all time... he's doing it again, he's doing something completely new, and breaking new barriers still here in 2020.\" Matt Striker pointed to Jericho's \"magnanimous\" nature as a contributing factor to his status as an all-time great; his willingness to impart knowledge was commended by James Ellsworth, who described Jericho as an \"outstanding human being\" and a childhood favorite.",
"Matt Striker pointed to Jericho's \"magnanimous\" nature as a contributing factor to his status as an all-time great; his willingness to impart knowledge was commended by James Ellsworth, who described Jericho as an \"outstanding human being\" and a childhood favorite. Kevin Owens stated that \"Jericho was always someone I looked up to\", while The Miz affirmed that he was part of a generation of young wrestlers who sought to \"emulate\" Jericho.",
"Kevin Owens stated that \"Jericho was always someone I looked up to\", while The Miz affirmed that he was part of a generation of young wrestlers who sought to \"emulate\" Jericho. WWE declared Jericho a \"marquee draw\" with a \"reputation as one of the best ever\".",
"WWE declared Jericho a \"marquee draw\" with a \"reputation as one of the best ever\". As of 2019, he is one of the ten most prolific pay-per-view performers in company history.",
"As of 2019, he is one of the ten most prolific pay-per-view performers in company history. After Jericho signed with All Elite Wrestling, it was said his role was similar to Terry Funk in ECW, as an experienced veteran bringing credibility to a younger promotion.",
"After Jericho signed with All Elite Wrestling, it was said his role was similar to Terry Funk in ECW, as an experienced veteran bringing credibility to a younger promotion. Jericho was credited as one of the key attractions of AEW's weekly television broadcasts, leading to him adopting the nickname \"The Demo God\" due to many of the segments he appeared in being some of the highest viewed in the key demographics.",
"Jericho was credited as one of the key attractions of AEW's weekly television broadcasts, leading to him adopting the nickname \"The Demo God\" due to many of the segments he appeared in being some of the highest viewed in the key demographics. He was voted as the Best Box Office Draw by readers of the Wrestling Observer Newsletter in 2019.",
"He was voted as the Best Box Office Draw by readers of the Wrestling Observer Newsletter in 2019. Music career Jericho is the lead singer for the heavy metal band Fozzy.",
"Music career Jericho is the lead singer for the heavy metal band Fozzy. Since their debut album in 2000, Fozzy have released seven studio albums; Fozzy, Happenstance, All That Remains, Chasing the Grail, Sin and Bones, Do You Wanna Start a War, Judas, and one live album, Remains Alive.",
"Since their debut album in 2000, Fozzy have released seven studio albums; Fozzy, Happenstance, All That Remains, Chasing the Grail, Sin and Bones, Do You Wanna Start a War, Judas, and one live album, Remains Alive. In 2005, Jericho performed vocals on a cover of \"The Evil That Men Do\" on the Iron Maiden tribute album, Numbers from the Beast.",
"In 2005, Jericho performed vocals on a cover of \"The Evil That Men Do\" on the Iron Maiden tribute album, Numbers from the Beast. He made a guest appearance on Dream Theater's album, Systematic Chaos on the song \"Repentance\", as one of several musical guests recorded apologizing to important people in their lives for wrongdoings in the past.",
"He made a guest appearance on Dream Theater's album, Systematic Chaos on the song \"Repentance\", as one of several musical guests recorded apologizing to important people in their lives for wrongdoings in the past. In the mid-1990s, Jericho wrote a monthly column for Metal Edge magazine focused on the heavy metal scene.",
"In the mid-1990s, Jericho wrote a monthly column for Metal Edge magazine focused on the heavy metal scene. The column ran for about a year. He started his own weekly XM Satellite Radio show in March 2005 called The Rock of Jericho, which aired Sunday nights on XM 41 The Boneyard.",
"He started his own weekly XM Satellite Radio show in March 2005 called The Rock of Jericho, which aired Sunday nights on XM 41 The Boneyard. Discography Albums with Fozzy Fozzy (2000) Happenstance (2002) All That Remains (2005) Chasing the Grail (2010) Sin and Bones (2012) Do You Wanna Start a War (2014) Judas (2017) Live albums Remains Alive (2009) As guest Don't You Wish You Were Me?",
"Discography Albums with Fozzy Fozzy (2000) Happenstance (2002) All That Remains (2005) Chasing the Grail (2010) Sin and Bones (2012) Do You Wanna Start a War (2014) Judas (2017) Live albums Remains Alive (2009) As guest Don't You Wish You Were Me? - WWE Originals (2004) King of the Night Time World - Spin the Bottle: An All-Star Tribute to Kiss (2004) * With Rich Ward, Mike Inez, Fred Coury Bullet for My Valentine – Temper Temper – Dead to the World (2013) Devin Townsend – Dark Matters (2014) Michael Sweet – I'm Not Your Suicide – Anybody Else (2014) Other endeavors Film, theater, comedy, and writing In 2000, a WWE produced VHS tape documenting Jericho's career titled Break Down the Walls was released.",
"- WWE Originals (2004) King of the Night Time World - Spin the Bottle: An All-Star Tribute to Kiss (2004) * With Rich Ward, Mike Inez, Fred Coury Bullet for My Valentine – Temper Temper – Dead to the World (2013) Devin Townsend – Dark Matters (2014) Michael Sweet – I'm Not Your Suicide – Anybody Else (2014) Other endeavors Film, theater, comedy, and writing In 2000, a WWE produced VHS tape documenting Jericho's career titled Break Down the Walls was released. He later received two three disc sets profiling matches and interviews.",
"He later received two three disc sets profiling matches and interviews. On June 24, 2006, Jericho premiered in his first Sci-Fi Channel movie Android Apocalypse alongside Scott Bairstow and Joey Lawrence.",
"On June 24, 2006, Jericho premiered in his first Sci-Fi Channel movie Android Apocalypse alongside Scott Bairstow and Joey Lawrence. Jericho debuted as a stage actor in a comedy play Opening Night, which premiered at the Toronto Centre for the Arts during July 20–22, 2006 in Toronto.",
"Jericho debuted as a stage actor in a comedy play Opening Night, which premiered at the Toronto Centre for the Arts during July 20–22, 2006 in Toronto. During his stay in Toronto, Jericho hosted the sketch comedy show Sunday Night Live with sketch troupe The Sketchersons at The Brunswick House.",
"During his stay in Toronto, Jericho hosted the sketch comedy show Sunday Night Live with sketch troupe The Sketchersons at The Brunswick House. Jericho was also the first wrestler attached and interviewed for the wrestling documentary, Bloodstained Memoirs. The interview was recorded in the UK during a Fozzy tour in 2006.",
"The interview was recorded in the UK during a Fozzy tour in 2006. Jericho wrote his autobiography, A Lion's Tale: Around the World in Spandex, which was released on October 25, 2007 and became a New York Times bestseller. It covers Jericho's life and wrestling career up to his debut in the WWE.",
"It covers Jericho's life and wrestling career up to his debut in the WWE. Jericho's second autobiography, Undisputed: How to Become the World Champion in 1,372 Easy Steps, was released on February 16, 2011, and covers his wrestling career since his WWE debut.",
"Jericho's second autobiography, Undisputed: How to Become the World Champion in 1,372 Easy Steps, was released on February 16, 2011, and covers his wrestling career since his WWE debut. On October 14, 2014 Jericho's third book, The Best In The World...At What I Have No Idea, was released.",
"On October 14, 2014 Jericho's third book, The Best In The World...At What I Have No Idea, was released. It covers some untold stories of the \"Save Us\" era, his Fozzy career, and his multiple returns from 2011 to 2013.",
"It covers some untold stories of the \"Save Us\" era, his Fozzy career, and his multiple returns from 2011 to 2013. Jericho's fourth book, No Is a Four-Letter Word: How I Failed Spelling but Succeeded in Life, was released on August 29, 2017 and details twenty valuable lessons Jericho learned throughout his career as a wrestler and musician.",
"Jericho's fourth book, No Is a Four-Letter Word: How I Failed Spelling but Succeeded in Life, was released on August 29, 2017 and details twenty valuable lessons Jericho learned throughout his career as a wrestler and musician. Jericho appeared in the 2009 film Albino Farm.",
"Jericho appeared in the 2009 film Albino Farm. In the film MacGruber, released May 21, 2010, he briefly appeared as Frank Korver, a former military teammate of the eponymous Green Beret, Navy Seal, and Army Ranger.",
"In the film MacGruber, released May 21, 2010, he briefly appeared as Frank Korver, a former military teammate of the eponymous Green Beret, Navy Seal, and Army Ranger. Jericho released a comedy web series on October 29, 2013 that is loosely based on his life entitled But I'm Chris Jericho!",
"Jericho released a comedy web series on October 29, 2013 that is loosely based on his life entitled But I'm Chris Jericho! Jericho plays a former wrestler, struggling to make it big as an actor. A second season was produced in 2017 by CBC and distributed over CBC's television app and CBC.ca.",
"A second season was produced in 2017 by CBC and distributed over CBC's television app and CBC.ca. In 2016, Jericho starred in the documentary film Nine Legends alongside Mike Tyson and other wrestlers. In August 2018, Jericho was confirmed to star in the film Killroy Was Here.",
"In August 2018, Jericho was confirmed to star in the film Killroy Was Here. On March 14, 2019, filmmaker Kevin Smith cast Jericho as a KKK Grand Wizard in Jay and Silent Bob Reboot.",
"On March 14, 2019, filmmaker Kevin Smith cast Jericho as a KKK Grand Wizard in Jay and Silent Bob Reboot. Television Jericho was a contributor to the VH1 pop culture shows Best Week Ever, I Love the '80s, and VH1's top 100 artists.",
"Television Jericho was a contributor to the VH1 pop culture shows Best Week Ever, I Love the '80s, and VH1's top 100 artists. Jericho also hosted the five-part, five-hour VH1 special 100 Most Shocking Music Moments, an update of the original special 100 Most Shocking Moments in Rock N' Roll first hosted by Mark McGrath of Sugar Ray.",
"Jericho also hosted the five-part, five-hour VH1 special 100 Most Shocking Music Moments, an update of the original special 100 Most Shocking Moments in Rock N' Roll first hosted by Mark McGrath of Sugar Ray. On July 12, 2006, he made an appearance on G4's Attack of the Show!",
"On July 12, 2006, he made an appearance on G4's Attack of the Show! ; he made a second appearance on August 21, 2009. In May 2006, Jericho appeared on VH1's 40 Greatest Metal Songs and Heavy: The Story of Metal as a commentator.",
"In May 2006, Jericho appeared on VH1's 40 Greatest Metal Songs and Heavy: The Story of Metal as a commentator. He was one of eight celebrities in the 2006 Fox Television singing reality show Celebrity Duets, produced by Simon Cowell, and was the first contestant eliminated.",
"He was one of eight celebrities in the 2006 Fox Television singing reality show Celebrity Duets, produced by Simon Cowell, and was the first contestant eliminated. Jericho worked at a McDonald's to show off his skills while prepping for the show.",
"Jericho worked at a McDonald's to show off his skills while prepping for the show. Jericho hosted his own reality show in 2008 titled Redemption Song, in which 11 women tried their hand at getting into the music scene. It was shown on Fuse TV.",
"It was shown on Fuse TV. He guest starred as Billy \"The Body Bag\" Cobb in \"Xero Control\", an episode of the Disney XD 2009 original series Aaron Stone. He hosted VH1's 100 Most Shocking Music Moments, which began airing in December 2009.",
"He hosted VH1's 100 Most Shocking Music Moments, which began airing in December 2009. In June 2010, Jericho was named the host of the ABC prime-time game show Downfall. On March 1, 2011, Chris Jericho was named one of the contestants on the 2011 lineup of Dancing with the Stars.",
"On March 1, 2011, Chris Jericho was named one of the contestants on the 2011 lineup of Dancing with the Stars. His partner was two-time champion Cheryl Burke. This led to a wave of publicity, including an interview with Jay Leno. On April 26, Jericho was the fifth contestant eliminated on the show.",
"On April 26, Jericho was the fifth contestant eliminated on the show. On May 5, Jericho made his third appearance as a guest on Attack of the Show! where he depicted Thor. He promoted Undisputed and hosted the Revolver Golden Gods Awards on May 28 on VH1 Classic.",
"He promoted Undisputed and hosted the Revolver Golden Gods Awards on May 28 on VH1 Classic. On January 17, 2012, Jericho made his fourth appearance on Attack of the Show!",
"On January 17, 2012, Jericho made his fourth appearance on Attack of the Show! in a segment called \"Twitter Twister\" where he portrayed a character called \"The Twistercutioner\" and read tweets as instructions for a game of Twister between Kevin and Candace.",
"in a segment called \"Twitter Twister\" where he portrayed a character called \"The Twistercutioner\" and read tweets as instructions for a game of Twister between Kevin and Candace. Jericho hosted the UK's Metal Hammer Golden Gods Awards in 2012 and 2017.",
"Jericho hosted the UK's Metal Hammer Golden Gods Awards in 2012 and 2017. On February 26, 2013, Jericho began hosting a robot combat competition program on SyFy titled Robot Combat League the series ended on April 23, 2015. Talk Is Jericho podcast In December 2013, Jericho began hosting his own podcast, Talk is Jericho.",
"Talk Is Jericho podcast In December 2013, Jericho began hosting his own podcast, Talk is Jericho. Episodes usually include a loosely scripted monolog before an interview, typically with a wrestler, rock musician or paranormal expert.",
"Episodes usually include a loosely scripted monolog before an interview, typically with a wrestler, rock musician or paranormal expert. The show originally appeared on PodcastOne, before moving to the WestwoodOne network in 2018. Notable guests on the show include Bruce Dickinson from Iron Maiden, Lemmy from Motörhead, Paul Stanley from KISS, Zak Bagans from Ghost Adventures, pornographic actress Asa Akira, writer/director Kevin Smith and many former and current wrestlers.",
"The show originally appeared on PodcastOne, before moving to the WestwoodOne network in 2018. Notable guests on the show include Bruce Dickinson from Iron Maiden, Lemmy from Motörhead, Paul Stanley from KISS, Zak Bagans from Ghost Adventures, pornographic actress Asa Akira, writer/director Kevin Smith and many former and current wrestlers. In April 2015, Jericho hosted his own video podcast on the WWE Network, Live!",
"In April 2015, Jericho hosted his own video podcast on the WWE Network, Live! with Chris Jericho, with John Cena as his first guest, followed by Stephanie McMahon as his guest later that same month. Once he signed with AEW, he was no longer allowed WWE performers as guests on the podcast.",
"Once he signed with AEW, he was no longer allowed WWE performers as guests on the podcast. Web On August 10, 2019, Jericho launched his own dirtsheet website called WebIsJericho.com. The website is dedicated to the memory of Axl Rotten.",
"The website is dedicated to the memory of Axl Rotten. In May 2020, Jericho officially joined as a competitor of the Movie Trivia Schmoedown under manager Roxy Striar in the Roxstars faction. Jericho first expressed interest in the Schmoedown following an appearance on Collider Live with Striar and Schmoedown commissioner Kristian Harloff.",
"Jericho first expressed interest in the Schmoedown following an appearance on Collider Live with Striar and Schmoedown commissioner Kristian Harloff. He became friends with Striar following the interview and kept in contact. During the 2020 season, Jericho contacted Striar, asking to be a part of the league.",
"During the 2020 season, Jericho contacted Striar, asking to be a part of the league. Striar formally drafted Jericho into her faction during the first free-agent period following the season-opening draft. His first match is scheduled for August 27 against Kevin Smith.",
"His first match is scheduled for August 27 against Kevin Smith. Cruises In 2017, Jericho launched Chris Jericho's Rock 'N' Wrestling Rager at Sea, a cruise \"combining the worlds of rock and wrestling with a once in a lifetime amazing vacation experience\".",
"Cruises In 2017, Jericho launched Chris Jericho's Rock 'N' Wrestling Rager at Sea, a cruise \"combining the worlds of rock and wrestling with a once in a lifetime amazing vacation experience\". The cruise featured live band performances, artist-hosted activities and a Sea of Honor Tournament with over a dozen Ring of Honor wrestlers competing.",
"The cruise featured live band performances, artist-hosted activities and a Sea of Honor Tournament with over a dozen Ring of Honor wrestlers competing. Guests had the opportunity to get up close and personal with Chris and his closest wrestling, comedian, and musician friends including Jim Ross, Diamond Dallas Page and Jim Breuer, among others.",
"Guests had the opportunity to get up close and personal with Chris and his closest wrestling, comedian, and musician friends including Jim Ross, Diamond Dallas Page and Jim Breuer, among others. The cruise sailed October 27–31, 2018 from Miami to Nassau, Bahamas.",
"The cruise sailed October 27–31, 2018 from Miami to Nassau, Bahamas. Jericho hosted a second cruise, Chris Jericho's Rock 'N' Wrestling Rager at Sea Part Deux: Second Wave, which run from January 20–24, 2020.",
"Jericho hosted a second cruise, Chris Jericho's Rock 'N' Wrestling Rager at Sea Part Deux: Second Wave, which run from January 20–24, 2020. A third cruise, Chris Jericho's Rock 'N' Wrestling Rager at Sea Triple Whammy, is scheduled for October 21–25, 2021.",
"A third cruise, Chris Jericho's Rock 'N' Wrestling Rager at Sea Triple Whammy, is scheduled for October 21–25, 2021. Video games Jericho has appeared in numerous video games. They include WCW/nWo Revenge, WCW Nitro, WCW/nWo Thunder, WCW Mayhem, WWF WrestleMania 2000, WWF No Mercy, WWF SmackDown!, WWF SmackDown!",
"They include WCW/nWo Revenge, WCW Nitro, WCW/nWo Thunder, WCW Mayhem, WWF WrestleMania 2000, WWF No Mercy, WWF SmackDown!, WWF SmackDown! 2: Know Your Role, WWF SmackDown! Just Bring It, WWF Raw, WWE SmackDown! Shut Your Mouth, WWE SmackDown! Here Comes the Pain, WWE SmackDown!",
"Here Comes the Pain, WWE SmackDown! vs. Raw, WWE SmackDown! vs. Raw 2006, WWE SmackDown vs. Raw 2009, WWE All Stars, WWE SmackDown vs. Raw 2010, WWE SmackDown vs.",
"Raw 2010, WWE SmackDown vs. Raw 2011, WWE '13, WWE 2K14, WWE 2K15, WWE 2K16, WWE 2K17, WWE 2K18, WWE 2K19 and the upcoming All Elite Wrestling video game. Personal life Irvine married Jessica Lockhart on July 30, 2000.",
"Personal life Irvine married Jessica Lockhart on July 30, 2000. They reside in Odessa, Florida, with their three children: son Ash Edward Irvine (born 2003) and identical twin daughters Sierra Loretta \"SiSi\" Irvine and Cheyenne Lee \"Chey\" Irvine (born 2006).",
"They reside in Odessa, Florida, with their three children: son Ash Edward Irvine (born 2003) and identical twin daughters Sierra Loretta \"SiSi\" Irvine and Cheyenne Lee \"Chey\" Irvine (born 2006). All three have been guests on his podcast, Talk Is Jericho, with his son discussing fish and his daughters discussing literature.",
"All three have been guests on his podcast, Talk Is Jericho, with his son discussing fish and his daughters discussing literature. Irvine owns three cats. In October 2020, Irvine reportedly donated $3,000 to Donald Trump's presidential re-election campaign. Irvine is a Christian.",
"Irvine is a Christian. Irvine is a Christian. He has a tattoo of his wife's name on his ring finger. He has the letter F, representing Fozzy, on the back of his hand. Since 2012, he has gradually gotten a sleeve over his left arm.",
"Since 2012, he has gradually gotten a sleeve over his left arm. His tattoos include: the artwork of Fozzy's album Sin and Bones, a Jack-o'-lantern (Avenged Sevenfold vocalist M. Shadows, who collaborated with Fozzy on the track \"Sandpaper\" from Sin and Bones, also got a matching tattoo), a lake monster, and himself from his WWF debut in 1999.",
"His tattoos include: the artwork of Fozzy's album Sin and Bones, a Jack-o'-lantern (Avenged Sevenfold vocalist M. Shadows, who collaborated with Fozzy on the track \"Sandpaper\" from Sin and Bones, also got a matching tattoo), a lake monster, and himself from his WWF debut in 1999. On July 5, 2004, Irvine was awarded Manitoba's The Order of the Buffalo Hunt, for his achievements in wrestling and his commitment to working with underprivileged children.",
"On July 5, 2004, Irvine was awarded Manitoba's The Order of the Buffalo Hunt, for his achievements in wrestling and his commitment to working with underprivileged children. – \"After that, Gary Doer, the premier of Manitoba, awarded me with the Order of the Buffalo Hunt, which was the province's highest honor.",
"– \"After that, Gary Doer, the premier of Manitoba, awarded me with the Order of the Buffalo Hunt, which was the province's highest honor. It was quite the prestigious prize, which has been given to such dignitaries such as Mother Teresa, Desmond Tutu, Jimmy Carter, Pope John Paul II, and now Chris Jericho.\"",
"It was quite the prestigious prize, which has been given to such dignitaries such as Mother Teresa, Desmond Tutu, Jimmy Carter, Pope John Paul II, and now Chris Jericho.\" / caption: \"Manitoba Premier Gary Doer presents me with the Order of the Buffalo Hunt, along with a tiny bronze buffalo.",
"/ caption: \"Manitoba Premier Gary Doer presents me with the Order of the Buffalo Hunt, along with a tiny bronze buffalo. I'm thinking, 'That's all I get?'\"",
"I'm thinking, 'That's all I get?'\" Since January 2012, Irvine (along with former NFL Quarterback Tim Tebow, former NFL player Derrick Brooks, and former Atlanta Braves player Chipper Jones) has been the co-owner of a sports training facility in Tampa, a franchise site of D1 Sports Training and Therapy.",
"Since January 2012, Irvine (along with former NFL Quarterback Tim Tebow, former NFL player Derrick Brooks, and former Atlanta Braves player Chipper Jones) has been the co-owner of a sports training facility in Tampa, a franchise site of D1 Sports Training and Therapy. Irvine is a fan of Japanese convenience store chain Lawson, which Irvine would frequently shop at when he wrestled in Japan in the 1990s.",
"Irvine is a fan of Japanese convenience store chain Lawson, which Irvine would frequently shop at when he wrestled in Japan in the 1990s. Irvine still visits Lawson whenever he returns to Japan, whether to wrestle or if he is touring with Fozzy.https://www.instagram.com/p/CQCwN9vjtO_/ Legal issues On February 7, 2009, a fan accused Irvine of punching her after she spat at him with fans outside Save-On-Foods Memorial Centre in Victoria, British Columbia after a live event.",
"Irvine still visits Lawson whenever he returns to Japan, whether to wrestle or if he is touring with Fozzy.https://www.instagram.com/p/CQCwN9vjtO_/ Legal issues On February 7, 2009, a fan accused Irvine of punching her after she spat at him with fans outside Save-On-Foods Memorial Centre in Victoria, British Columbia after a live event. Video footage, however, clearly showed he did not make contact with the woman.",
"Video footage, however, clearly showed he did not make contact with the woman. As a result of the incident, police detained them, but released them without charge. Police did not press charges against anyone in the brawl as it was \"hard to determine who provoked whom\".",
"Police did not press charges against anyone in the brawl as it was \"hard to determine who provoked whom\". On January 27, 2010, Irvine and fellow wrestler Gregory Helms were arrested in Fort Mitchell, Kentucky after leaving a bar. A police report stated that Helms punched Irvine and the other passengers in the cab.",
"A police report stated that Helms punched Irvine and the other passengers in the cab. Fellow wrestlers Christian and CM Punk bailed them out later.",
"Fellow wrestlers Christian and CM Punk bailed them out later. Filmography Film Television Video games Championships and accomplishments All Elite Wrestling AEW World Championship (1 time) AEW Dynamite Awards (2 times) Bleacher Report PPV Moment of the Year (2021) – Biggest Beatdown (2021) – The Baltimore Sun Feud of the Year (2008) Canadian Rocky Mountain Wrestling CRMW North American Heavyweight Championship (1 time) CRMW North American Tag Team Championship (2 times) – with Lance Storm CRMW Mid-Heavyweight Championship (2 times) Consejo Mundial de Lucha Libre NWA World Middleweight Championship (1 time) Extreme Championship Wrestling ECW World Television Championship (1 time) International Wrestling Alliance IWA Junior Heavyweight Championship (1 time) New Japan Pro-Wrestling IWGP Intercontinental Championship (1 time) Pro Wrestling Illustrated Faction of the Year (2021) – with The Inner Circle Feud of the Decade (2000s) Feud of the Year (2008) Feud of the Year (2021) Most Hated Wrestler of the Year (2002, 2008) Ranked No.",
"Filmography Film Television Video games Championships and accomplishments All Elite Wrestling AEW World Championship (1 time) AEW Dynamite Awards (2 times) Bleacher Report PPV Moment of the Year (2021) – Biggest Beatdown (2021) – The Baltimore Sun Feud of the Year (2008) Canadian Rocky Mountain Wrestling CRMW North American Heavyweight Championship (1 time) CRMW North American Tag Team Championship (2 times) – with Lance Storm CRMW Mid-Heavyweight Championship (2 times) Consejo Mundial de Lucha Libre NWA World Middleweight Championship (1 time) Extreme Championship Wrestling ECW World Television Championship (1 time) International Wrestling Alliance IWA Junior Heavyweight Championship (1 time) New Japan Pro-Wrestling IWGP Intercontinental Championship (1 time) Pro Wrestling Illustrated Faction of the Year (2021) – with The Inner Circle Feud of the Decade (2000s) Feud of the Year (2008) Feud of the Year (2021) Most Hated Wrestler of the Year (2002, 2008) Ranked No. 2 of the top 500 singles wrestlers in the PWI 500 in 2009 Rolling Stone Ranked No.",
"2 of the top 500 singles wrestlers in the PWI 500 in 2009 Rolling Stone Ranked No. 3 of the 10 best WWE wrestlers of 2016 World Championship Wrestling WCW Cruiserweight Championship (4 times) WCW World Television Championship (1 time) World Wrestling Federation/Entertainment/WWE Undisputed WWF Championship (1 time) World Heavyweight Championship (3 times) WCW/World Championship (2 times) WWF/WWE Intercontinental Championship (9 times) WWE United States Championship (2 times) WWF European Championship (1 time) WWF Hardcore Championship (1 time) WWE Tag Team Championship (2 times) – with Edge (1) and Big Show (1) WWF/World Tag Team Championship (5 times) – with Chris Benoit (1), The Rock (1), Christian (1), Edge (1), and Big Show (1) Bragging Rights Trophy (2009) – with Team SmackDown WWF Undisputed Championship Tournament (2001) Fourth Grand Slam Champion Ninth Triple Crown Champion Slammy Award (3 times) Extreme Moment of the Year (2014) Superstar of the Year (2008) Tag Team of the Year (2009) – with Big Show Wrestle Association \"R\" WAR International Junior Heavyweight Championship (1 time) WAR International Junior Heavyweight Tag Team Championship (1 time) – with Gedo World Wrestling Association WWA Tag Team Championship (1 time) – with El Dandy Wrestling Observer Newsletter Wrestler of the Year (2008, 2009, 2019) Best on Interviews (2003, 2008, 2009, 2019) Best on Interviews of the Decade (2000s) Feud of the Year (2008) Pro Wrestling Match of the Year (2008) Most Underrated Wrestler (1999, 2000) Readers' Favorite Wrestler (1999) United States/Canada MVP (2019) Most Charismatic (2019) Best Box Office Draw (2019) Best Pro Wrestling Book (2011) Wrestling Observer Newsletter Hall of Fame (Class of 2010) Luchas de Apuestas record Notes References Further reading External links 1970 births 21st-century American male actors 21st-century American singers 21st-century Canadian male actors 21st-century Canadian male singers AEW World Champions All Elite Wrestling personnel American Christians American color commentators American game show hosts American hard rock musicians American heavy metal singers American male film actors American male professional wrestlers American male singer-songwriters American male television actors American memoirists American men podcasters American people of Scottish descent American people of Ukrainian descent American podcasters American radio personalities American rock singers American rock songwriters American YouTubers Canadian Christians Canadian colour commentators Canadian expatriate professional wrestlers in the United States Canadian game show hosts Canadian hard rock musicians Canadian heavy metal singers Canadian male film actors Canadian male professional wrestlers Canadian male singers Canadian male singer-songwriters Canadian male television actors Canadian memoirists Canadian men podcasters Canadian people of Scottish descent Canadian people of Ukrainian descent Canadian podcasters Canadian radio personalities Canadian rock singers Canadian YouTubers Christians from New York (state) ECW World Television Champions Expatriate professional wrestlers in Japan Expatriate professional wrestlers in Mexico Fozzy members IWGP Intercontinental champions Living people Male actors from New York (state) Male actors from Winnipeg Male YouTubers Musicians from Winnipeg NWA/WCW World Television Champions NWA/WCW/WWE United States Heavyweight Champions Participants in American reality television series People from Manhasset, New York Professional wrestlers from Manitoba Professional wrestlers from New York (state) Professional wrestling podcasters Red River College alumni Singer-songwriters from New York (state) Sportspeople from Winnipeg WCW World Heavyweight Champions World Heavyweight Champions (WWE) WWE Champions WWE Grand Slam champions WWF European Champions WWF/WWE Hardcore Champions WWF/WWE Intercontinental Champions"
] |
[
"Chris Jericho",
"Undisputed WWF Champion (2001-2002)",
"What is the WWF Champion",
"I don't know.",
"What WWF was undisputed",
"to become the first wrestler to hold both championships at the same time, which made him the first-ever Undisputed WWF Champion,"
] | C_f1fd2ce81cdd44bfb0cceafeff54588e_1 | what 2 championships did he have at the same time | 3 | what 2 championships did Chris Jericho have at the same time | Chris Jericho | In the following months, Jericho became a major force in The Invasion storyline in which WCW and ECW joined forces to overtake the WWF. Jericho remained on the side of the WWF despite previously competing in WCW and ECW. However, Jericho began slow turning into a villain by showing jealousy toward fellow WWF member The Rock. They faced each other in a match at No Mercy for the WCW Championship after Jericho defeated Rob Van Dam in a number one contenders match. Jericho won the WCW Championship when he pinned The Rock after debuting a new finisher, the Breakdown, onto a steel chair, winning his first world title in the process. One night later, the two put their differences aside and won the WWF Tag Team title from the Dudley Boyz. After they lost the title to Test and Booker T, they continued their feud. On the November 5 episode of Raw, The Rock defeated Jericho to regain the WCW Championship. Following the match, Jericho attacked The Rock with a steel chair. At Survivor Series, Jericho solidified his heel turn by almost costing The Rock, and the WWF, victory in their elimination matchup by attacking The Rock again. At Vengeance, Jericho defeated both The Rock for the WCW Championship (unbranded and only referred to as the World Championship following Survivor Series) and Stone Cold Steve Austin for his first WWF Championship on the same night to become the first wrestler to hold both championships at the same time, which made him the first-ever Undisputed WWF Champion, as well as the fourth Grand Slam winner under the original format. He retained the title at Royal Rumble against The Rock and at No Way Out against Austin. Jericho later lost the title to Triple H in the main event of WrestleMania X8. After his title loss, Jericho became a member of the SmackDown! roster and continued his feud with Triple H. The rivalry culminated at Judgment Day when Triple H defeated Jericho in a Hell in a Cell match. CANNOTANSWER | WWF Championship | Christopher Keith Irvine (born November 9, 1970), better known by the ring name Chris Jericho, is an American-Canadian professional wrestler and singer. He is currently signed to All Elite Wrestling (AEW), where he is the leader of The Inner Circle stable. Noted for his over-the-top rock star persona, he has been named by journalists and industry colleagues as one of the greatest professional wrestlers of all time.
During the 1990s, Jericho performed for American organizations Extreme Championship Wrestling (ECW) and World Championship Wrestling (WCW), as well as for promotions in countries such as Canada, Japan, and Mexico. At the end of 1999, he made his debut in the World Wrestling Federation (WWF). In 2001, he became the first Undisputed WWF Champion, and thus the final holder of the WCW World Heavyweight Championship (then referred to as the World Championship), having won and unified the WWF and World titles by defeating Stone Cold Steve Austin and The Rock on the same night. Jericho headlined multiple pay-per-view (PPV) events during his time with the WWF/WWE, including WrestleMania X8 and the inaugural TLC and Elimination Chamber shows. He was inducted into the Wrestling Observer Newsletter Hall of Fame in 2010.
Within the WWF/WWE, Jericho is a six-time world champion, having won the Undisputed WWF Championship once, the WCW/World Championship twice and the World Heavyweight Championship three times. He has also held the WWE Intercontinental Championship a record nine times and was the ninth Triple Crown Champion, as well as the fourth Grand Slam Champion in history. In addition, he was the 2008 Superstar of the Year Slammy Award winner and (along with Big Show as Jeri-Show) won the 2009 Tag Team of the Year Slammy Award—making him the only winner of both Superstar and Tag Team of the Year.
After his departure from WWE in 2018, Jericho signed with New Japan Pro-Wrestling (NJPW), where he became a one-time IWGP Intercontinental Champion, and becoming the first man to have held both the WWE and IWGP Intercontinental Championships. Jericho joined AEW in January 2019 and became the inaugural holder of the AEW World Championship in August of that year. All totalled, between ECW, WCW, WWE, NJPW and AEW, Jericho has held 36 championships (including seven World Championships, and 10 Intercontinental Championships).
In 1999, Jericho became lead vocalist of heavy metal band Fozzy, who released their eponymous debut album the following year. The group's early work is composed largely of cover versions, although they have focused primarily on original material from their third album, All That Remains (2005), onward. Jericho has also appeared on numerous television shows over the years, including the 2011 season of Dancing With the Stars. He hosted the ABC game show Downfall, the 2011 edition of the Revolver Golden Gods Awards, and the UK's Metal Hammer Golden Gods Awards in 2012 and 2017.
Early life
Christopher Keith Irvine was born in Manhasset, New York on November 9, 1970, the son of a Canadian couple. He is of Scottish descent from his father's side and Ukrainian descent from his mother's side. His father, ice hockey player Ted Irvine, had been playing for the New York Rangers at the time of his birth. When his father retired, the family moved back to Winnipeg, Manitoba, where Irvine grew up. He holds dual American and Canadian citizenships. Irvine's interest in professional wrestling began when he started watching the local American Wrestling Association (AWA) events that took place at the Winnipeg Arena with his family, and his desire to become a professional wrestler himself began when he saw footage of Owen Hart, then appearing with Stampede Wrestling, performing various high-flying moves. In addition, Irvine also cited Owen's older brother Bret, Ricky Steamboat and Shawn Michaels as inspirations for his becoming a professional wrestler. His first experience with a professional wrestling promotion was when he acted as part of the ring crew for the first tour of the newly opened Keystone Wrestling Alliance promotion, where he learned important pointers from independent wrestlers Catfish Charlie and Caveman Broda. He attended Red River College in Winnipeg, graduating in 1990 with a bachelor's degree in Creative Communications.
Professional wrestling career
Independent circuit (1990–1991)
At the age of 19, he entered the Hart Brothers School of Wrestling, where he met Lance Storm on his first day. He was trained by Ed Langley and local Calgary wrestler Brad Young.
Two months after completing training, he was ready to start wrestling on independent shows, making his debut at the Moose Hall in Ponoka, Alberta as "Cowboy" Chris Jericho, on October 2, 1990, in a ten-minute time limit draw against Storm. The pair then worked as a tag team, initially called Sudden Impact. According to a February 2019 interview with Rich Eisen on The Rich Eisen Show, Jericho stated that his initial name was going to be "Jack Action" however, someone remarked to him that the name was stupid, they then asked him what his name really was, he then got nervous and said "Chris Jericho". He took the name Jericho from an album, Walls of Jericho, by German power metal band, Helloween. Jericho and Storm worked for Tony Condello in the tours of Northern Manitoba with Adam Copeland (Edge), Jason Reso (Christian) and Terry Gerin (Rhino). The pair also wrestled in Calgary's Canadian National Wrestling Alliance (CNWA) and Canadian Rocky Mountain Wrestling (CRMW).
Frontier Martial-Arts Wrestling (1991)
In 1991, Jericho and Storm started touring in Japan for Frontier Martial-Arts Wrestling as Sudden Impact, where he befriended Ricky Fuji, who also trained under Stu Hart.
Consejo Mundial de Lucha Libre and other Mexican promotions (1992–1995)
In the winter of 1992, he traveled to Mexico and competed under the name Leon D'Oro ("Golden Lion", a name that fans voted on for him between "He-Man", "Chris Power", and his preferred choice "Leon D'Oro"), and later Corazón de León ("Lion Heart"), where he wrestled for several small wrestling companies.
From 1993 to 1995, he competed in Mexico's oldest promotion, Consejo Mundial de Lucha Libre (CMLL). In CMLL, Jericho took on Silver King, Negro Casas, and Último Dragón en route to an eleven-month reign as the NWA Middleweight Champion that began in December 1993.
Smoky Mountain Wrestling (1994)
1994 saw Jericho reunited with Storm, as The Thrillseekers in Jim Cornette's Appalachian Smoky Mountain Wrestling (SMW) promotion, where they feuded with the likes of Well Dunn, The Rock 'n' Roll Express, and The Heavenly Bodies.
Wrestling and Romance/WAR (1994–1996)
In late 1994, Jericho began competing regularly in Japan for Genichiro Tenryu's Wrestling and Romance (later known as Wrestle Association "R") (WAR) promotion as The Lion Heart. In November 1994, Último Dragón defeated him for the NWA World Middleweight Championship, which he had won while wrestling in Mexico.
In March 1995, Jericho lost to Gedo in the final of a tournament to crown the inaugural WAR International Junior Heavyweight Champion. He defeated Gedo for the championship in June 1995, losing it to Último Dragón the next month. In December 1995, Jericho competed in the second Super J-Cup tournament, defeating Hanzo Nakajima in the first round, but losing to Wild Pegasus in the second round.
In 1995, Jericho joined the heel stable Fuyuki-Gun ("Fuyuki Army") with Hiromichi Fuyuki, Gedo, and Jado, adopting the name Lion Do. In February 1996, Jericho and Gedo won a tournament for the newly created International Junior Heavyweight Tag Team Championship, defeating Lance Storm and Yuji Yasuraoka in the final. They lost the championship to Storm and Yasuraoka the following month. Jericho made his final appearances with WAR in July 1996, having wrestled a total of twenty-four tours for the company.
Extreme Championship Wrestling (1996)
In 1995, thanks in part to recommendations by Benoit, Dave Meltzer and Perry Saturn, to promoter Paul Heyman, and after Mick Foley saw Jericho's match against Último Dragón for the WAR International Junior Heavyweight Championship in July 1995 and gave a tape of the match to Heyman, Jericho began wrestling for the Philadelphia-based Extreme Championship Wrestling (ECW) promotion, winning the ECW World Television Championship from Pitbull #2 in June 1996 at Hardcore Heaven. While in ECW, Jericho wrestled Taz, Sabu, Rob Van Dam, Foley (as Cactus Jack), Shane Douglas, and 2 Cold Scorpio. He made his final appearance at The Doctor Is In in August 1996. It was during this time that he drew the attention of World Championship Wrestling (WCW).
World Championship Wrestling (1996 – 1999)
Early appearances (1996–1997)
Jericho debuted for WCW on August 20, 1996 by defeating Mr. JL, which aired on the August 31 episode of Saturday Night. Jericho's televised debut in WCW occurred on the August 26 episode of Monday Nitro against Alex Wright in a match which ended in a no contest. He made his pay-per-view debut on September 15 against Chris Benoit in a losing effort at Fall Brawl. The following month, at Halloween Havoc, Jericho lost to nWo member Syxx due to biased officiating by nWo referee Nick Patrick. This led to a match between Jericho and Patrick at World War 3, which stipulated that Jericho's one arm would be tied behind his back. Despite the odds stacked against him, Jericho won the match. Later that night, Jericho participated in the namesake battle royal for a future WCW World Heavyweight Championship match but failed to win the match.
Jericho represented WCW against nWo Japan member Masahiro Chono in a losing effort at the nWo Souled Out event. At SuperBrawl VII, Jericho unsuccessfully challenged Eddie Guerrero for the United States Heavyweight Championship.
Cruiserweight Champion (1997–1998)
On June 28, 1997, Jericho defeated Syxx at the Saturday Nitro live event in Los Angeles, California to win the WCW Cruiserweight Championship for the first time, thus winning the first championship of his WCW career. Jericho successfully defended the title against Ultimo Dragon at Bash at the Beach, before losing the title to Alex Wright on the July 28 episode of Monday Nitro. Jericho unsuccessfully challenged Wright for the title at Road Wild, before defeating Wright in a rematch to win his second Cruiserweight Championship on the August 16 episode of Saturday Night. Jericho began feuding with Eddie Guerrero over the title as he successfully defended the title against Guerrero at Clash of the Champions XXXV before losing the title to Guerrero at Fall Brawl. Jericho defeated Gedo at Halloween Havoc. At World War 3, Jericho participated in the namesake battle royal but failed to win.
On the January 15, 1998 episode of Thunder, Jericho defeated Eddie Guerrero to earn a title shot against Rey Mysterio Jr. for the Cruiserweight Championship at Souled Out. Jericho won the match by forcing Mysterio to submit to the Liontamer. After the match, Jericho turned heel by assaulting Mysterio's knee with a toolbox. In the storyline, Mysterio needed six months of recovery before he could return to the ring. Jericho then had a short feud with Juventud Guerrera in which Guerrera repeatedly requested a shot at Jericho's Cruiserweight Championship, but Jericho constantly rebuffed him. The feud culminated in a title versus mask match at SuperBrawl VIII. Guerrera lost the match and was forced to remove his mask. Following this match, Jericho began his ongoing gimmick of collecting and wearing to the ring trophy items from his defeated opponents, such as Guerrera's mask, Prince Iaukea's Hawaiian dress, and a headband from Disco Inferno.
Jericho then began a long feud with Dean Malenko, in which Jericho repeatedly claimed he was a better wrestler than Malenko, but refused to wrestle him. Because of his mastery of technical wrestling, Malenko was known as "The Man of 1,000 Holds", so Jericho claimed to be "The Man of 1,004 Holds"; Jericho mentions in his autobiography that this line originated from an IWA interview he saw as a child, where manager Floyd Creatchman claimed that Leo Burke, the first professional wrestler to be known as "The Man of 1,000 Holds", was now known as "The Man of 1,002 Holds", to which Floyd Creatchman stated that "he learned two more".
During the March 30, 1998 episode of Nitro, after defeating Marty Jannetty, Jericho pulled out a long pile of paper that listed each of the 1,004 holds he knew and recited them to the audience. Many of the holds were fictional, and nearly every other hold was an armbar. On the March 12, 1998 episode of Thunder, Malenko defeated a wrestler wearing Juventud Guerrera's mask who appeared to be Jericho. However, the masked wrestler was actually Lenny Lane, whom Jericho bribed to appear in the match. This started a minor feud between Lane and Jericho after Jericho refused to pay Lane. At Uncensored, Jericho finally wrestled Malenko and defeated him, after which Malenko took a leave of absence from wrestling. Jericho then proceeded to bring with him to the ring a portrait of Malenko that he insulted and demeaned. Just prior to Slamboree, J.J. Dillon (referred to by Jericho as "Jo Jo") scheduled a cruiserweight Battle Royal, the winner of which would immediately have a shot at Jericho's Cruiserweight Championship. Jericho accepted on the grounds that whoever he faced would be too tired to win a second match. At Slamboree, Jericho came out to introduce the competitors in an insulting fashion before the match started and then went backstage for coffee. An individual who appeared to be Ciclope won the battle royal after Juventud Guerrera shook his hand and then eliminated himself. The winner was a returning Malenko in disguise. Following one of the loudest crowd reactions in WCW history, Malenko proceeded to defeat Jericho for the championship. Jericho claiming he was the victim of a carefully planned conspiracy to get the belt off of him. He at first blamed the WCW locker room, then added Dillon, Ted Turner, and finally in a vignette, he walked around Washington, D.C. with the sign "conspiracy victim" and accused President Bill Clinton of being one of the conspirators after being rejected from a meeting. Eventually, Malenko vacated the title. Jericho ended up defeating Malenko at The Great American Bash to win the vacant title after Malenko was disqualified after hitting Jericho with a chair. The next night, Malenko was suspended for his actions.
At Bash at the Beach, the recently returned Rey Mysterio Jr. (who had recovered from his knee injury) defeated Jericho in a No Disqualification match after the still-suspended Malenko interfered. Jericho regained the Cruiserweight Championship from Mysterio the next night after he interrupted J.J. Dillon while Dillon was giving the championship to Mysterio. Jericho was again awarded the championship. Eventually, Jericho decisively lost the title to Juventud Guerrera in a match at Road Wild with Malenko as special referee.
World Television Champion (1998–1999)
On August 10, Jericho defeated Stevie Ray to win the World Television Championship (Stevie Ray substituting for the champion Booker T). Soon afterward, Jericho repeatedly called out WCW World Heavyweight Champion Goldberg in an attempt to begin a feud with him, but never actually wrestled him. Jericho cites Eric Bischoff, Goldberg and Hulk Hogan's refusal to book Jericho in a pay-per-view squash match loss against Goldberg, which Jericho felt would be a big draw, as a major reason for leaving the company.
On November 30, Jericho lost the World Television Championship to Konnan. In early 1999, Jericho began a feud with Perry Saturn. The feud saw Jericho and Saturn instigating bizarre stipulation matches, such as at Souled Out, where Jericho defeated Saturn in a "loser must wear a dress" match. At SuperBrawl IX, Jericho and Saturn wrestled in a "dress" match which Jericho won. Saturn finally defeated Jericho at Uncensored in a Dog Collar match. Jericho alternated between WCW and a number of Japanese tours before he signed a contract with the World Wrestling Federation (WWF) on June 30. Jericho's final WCW match came during a Peoria, Illinois, house show July 21, where he and Eddie Guerrero lost to Billy Kidman and Rey Mysterio Jr. in a tag team match.
Fifteen years after Jericho's departure from WCW, his best known entrance music within the company, "One Crazed Anarchist", lent its name to the second single from his band Fozzy's 2014 album, Do You Wanna Start a War.
New Japan Pro-Wrestling (1997–1998)
In January 1997, Jericho made his debut for New Japan Pro-Wrestling (NJPW), who had a working agreement with WCW, as Super Liger, the masked nemesis of Jyushin Thunder Liger. According to Jericho, Super Liger's first match against Koji Kanemoto at Wrestling World 1997 was so poorly received that the gimmick was dropped instantly. Jericho botched several moves in the match and complained he had difficulty seeing through the mask. The following six months, Jericho worked for New Japan unmasked, before being called back by WCW. On September 23, 1998, Jericho made a one-night-only return to NJPW at that years Big Wednesday show, teaming with Black Tiger against IWGP Junior Heavyweight Tag Team Champions Shinjiro Otani and Tatsuhito Takaiwa in a title match, which Jericho and Tiger lost.
World Wrestling Federation/Entertainment (1999 – 2005)
WWF Intercontinental Champion (1999–2001)
In the weeks before Jericho's debut, a clock labeled "countdown to the new millennium" appeared on WWF programming. On the home video, Break Down the Walls, Jericho states he was inspired to do this as his entrance when he saw a similar clock in a post office and Vince McMahon approved its use as his introduction to the WWF. The clock finally ran out on the August 9 episode of Raw Is War in Chicago, Illinois while The Rock was in the ring cutting a promo on the Big Show. Jericho entered the arena and proclaimed "Raw Is Jericho" and that he had "come to save the World Wrestling Federation", referring to himself as "Y2J" (a play on the Y2K bug). The Rock proceeded to verbally mock him for his interruption. Later that month, he would interact with several superstars including in particular interrupting a promo that The Undertaker was involved in, Jericho made his in-ring debut as a heel on August 26, losing a match against Road Dogg by disqualification on the inaugural episode of SmackDown! after he performed a powerbomb on Road Dogg through a table.
Jericho's first long-term feud was with Chyna, for the WWF Intercontinental Championship. After losing to Chyna at Survivor Series, Jericho defeated her to win his first WWF Intercontinental Championship at Armageddon. This feud included a controversial decision during a rematch in which two separate referees declared each one of them the winner of a match for the title. As a result, they became co-champions, during which Jericho turned face. He attained sole champion status at the Royal Rumble.
Jericho lost the WWF Intercontinental title to then-European Champion Kurt Angle at No Way Out. Jericho competed in a Triple Threat match against Chris Benoit and Angle at WrestleMania 2000 in a two-falls contest with both of Angle's titles at stake. Jericho won the European Championship by pinning Benoit, who in turn pinned Jericho to win the WWF Intercontinental Championship. This was the first of six pay-per-view matches between the pair within twelve months. Jericho was originally supposed to be in the main event of WrestleMania, but was taken out after Mick Foley, who was originally asked by writers to be in the match, took his place. Jericho was even advertised on the event's posters promoting the match. Jericho lost the title the next day to Eddie Guerrero on Raw after Chyna sided with Guerrero.
On the April 17 episode of Raw, Jericho upset Triple H in a WWF Championship match. Referee Earl Hebner made a fast count when Jericho pinned Triple H, causing Jericho to win the title. Hebner later reversed the decision due to pressure from Triple H, and WWE does not recognize Jericho's reign as champion. On April 19, Jericho defeated Eddie Guerrero at the Gary Albright Memorial Show organized by World Xtreme Wrestling (WXW). On the May 4 episode of SmackDown!, Jericho defeated Benoit to win his third WWF Intercontinental Championship but lost the title to Benoit four days later on Raw. Jericho's feud with Triple H ended at Fully Loaded, when they competed in a Last Man Standing match. Jericho lost the match to Triple H only by one second, despite the repeated assistance Triple H's wife, Stephanie, provided him in the match.
At the 2001 Royal Rumble, Jericho defeated Chris Benoit in a ladder match to win the WWF Intercontinental Championship for the fourth time. At WrestleMania X-Seven, he successfully defended his title in a match against William Regal, only to lose it four days later to Triple H. At Judgment Day, Jericho and Benoit won a tag team turmoil match and earned a shot at Stone Cold Steve Austin and Triple H for their WWF Tag Team Championship on Raw the next night. Benoit and Jericho won the match, in which Triple H legitimately tore his quadriceps, spending the rest of the year injured. Benoit and Jericho each became a WWF Tag Team Champion for the first time. The team defended their title in the first fatal four-way Tables, Ladders and Chairs match, where Benoit sustained a year-long injury after missing a diving headbutt through a table. Despite Benoit being carried out on a stretcher, he returned to the match to climb the ladder and retain the championship. The two lost the title one month later to The Dudley Boyz on the June 21 episode of SmackDown!. At King of the Ring, both Benoit and Jericho competed in a triple threat match for Austin's WWF Championship, in which Booker T interfered as the catalyst for The Invasion angle. Despite Booker T's interference, Austin retained the title.
Undisputed WWF Champion (2001–2002)
In the following months, Jericho became a major force in The Invasion storyline in which WCW and ECW joined forces to overtake the WWF. Jericho remained on the side of the WWF despite previously competing in WCW and ECW. However, Jericho began showing jealousy toward fellow WWF member The Rock. They faced each other in a match at No Mercy for the WCW Championship after Jericho defeated Rob Van Dam in a number one contenders match on the October 11 episode of SmackDown!. Jericho won the WCW Championship at No Mercy when he pinned The Rock after debuting a new finisher, the Breakdown, onto a steel chair, winning his first world title in the process. One night later, the two put their differences aside and won the WWF Tag Team Championship from the Dudley Boyz.
After they lost the titles to Test and Booker T on the November 1 episode of SmackDown!, they continued their feud. On the November 5 episode of Raw, The Rock defeated Jericho to regain the WCW Championship. Following the match, Jericho attacked The Rock with a steel chair. At Survivor Series, Jericho turned heel by almost costing Team WWF the victory after he was eliminated in their Winner Take All matchup by once again attacking The Rock. Despite this, Team WWF won the match. At Vengeance, Jericho defeated both The Rock for the World Championship (formerly the WCW Championship) and Stone Cold Steve Austin for his first WWF Championship on the same night to become the first wrestler to hold both championships at the same time, which made him the first-ever Undisputed WWF Champion, as well as the fourth Grand Slam winner under the original format. He retained the title at the Royal Rumble against The Rock and at No Way Out against Austin. Jericho later lost the title to Royal Rumble winner Triple H in the main event of WrestleMania X8. Jericho was later drafted to the SmackDown! brand in the inaugural WWF draft lottery. He would then appear at Backlash, interfering in Triple H's Undisputed WWF Championship match against Hollywood Hulk Hogan. He was quickly dumped out the ring, but Triple H would go on to lose the match. This would lead to a Hell in a Cell match at Judgment Day in May, where Triple H would emerge victorious. Jericho would then compete in the 2002 King of the Ring tournament, defeating Edge and The Big Valbowski to advance to the semi-finals, where he was defeated by Rob Van Dam at King of the Ring. In July, he began a feud with the debuting John Cena, losing to him at Vengeance.
Teaming and feuding with Christian (2002–2004)
After his feud with Cena ended, Jericho moved to the Raw brand on the July 29 episode of Raw, unwilling to work for SmackDown! General Manager Stephanie McMahon. Upon his arrival to the brand, he initiated a feud with Ric Flair, leading to a match at SummerSlam, which Jericho lost. On the September 16 episode of Raw, he won the WWE Intercontinental Championship for the fifth time from Rob Van Dam, before losing the title to Kane two weeks later on Raw. He then later formed a tag team with Christian, with whom he won the World Tag Team Championship by defeating Kane and The Hurricane on the October 14 episode of Raw. Christian and Jericho lost the titles to Booker T and Goldust in a fatal four-way elimination match, involving the teams of The Dudley Boyz, and William Regal and Lance Storm at Armageddon.
On the January 13 episode of Raw, Jericho won an over-the-top-rope challenge against Kane, Rob Van Dam, and Batista to select his entry number for the Royal Rumble match. He chose number two in order to start the match with Shawn Michaels, who had challenged him to prove Jericho's claims that he was better than Michaels. After Michaels's entrance, Jericho entered as the second participant. Christian, in Jericho's attire, appeared while the real Jericho attacked Shawn from behind. He eliminated Michaels shortly afterward, but Michaels got his revenge later in the match by causing Test to eliminate Jericho. Jericho spent the most time of any other wrestler in that same Royal Rumble. Jericho simultaneously feuded with Test, Michaels, and Jeff Hardy, defeating Hardy at No Way Out. Jericho and Michaels fought again at WrestleMania XIX, which Michaels won. Jericho, however, attacked Michaels with a low blow after the match following an embrace.
After this match, Jericho entered a rivalry with Goldberg, which was fueled by Goldberg's refusal to fight Jericho in WCW. During Jericho's first episode of the Highlight Reel, an interview segment, where Goldberg was the guest, he complained that no-one wanted Goldberg in WWE and continued to insult him in the following weeks. On the May 12 episode of Raw, a mystery assailant attempted to run over Goldberg with a limousine. A week later, Co-Raw General Manager, Stone Cold Steve Austin, interrogated several Raw superstars to find out who was driving the car. One of the interrogates was Lance Storm, who admitted that he was the assailant. Austin forced Storm into a match with Goldberg, who defeated Storm. After the match, Goldberg forced Storm to admit that Jericho was the superstar who conspired Storm into running him over. On the May 26 episode of Raw, Goldberg was once again a guest on the Highlight Reel. Jericho expressed jealousy towards Goldberg's success in WCW and felt that since joining WWE, he had achieved everything he had ever wanted in his career and all that was left was to defeat Goldberg and challenged him to a match. At Bad Blood, Goldberg settled the score with Jericho and defeated him.
On the October 27 episode of Raw, Jericho won his sixth WWE Intercontinental Championship when he defeated Rob Van Dam. He lost the title back to Van Dam immediately after in a steel cage match. Later in 2003, Jericho started a romance with Trish Stratus while his tag team partner Christian began one with Lita. This, however, turned out to be a bet over who could sleep with their respective paramour first, with a Canadian dollar at stake. Stratus overheard this and ended her relationship with Jericho, who seemingly felt bad for using Stratus. After he saved her from an attack by Kane, Stratus agreed that the two of them could just be "friends", thus turning Jericho face. After Christian put Stratus in the Walls of Jericho while competing against her in a match, Jericho sought revenge on Christian, which led to a match at WrestleMania XX. Christian defeated Jericho after Stratus ran down and "inadvertently" struck Jericho (thinking it was Christian) and Christian got the roll-up. After the match, Stratus turned on Jericho and revealed that she and Christian were a couple. This revelation led to a handicap match at Backlash that Jericho won. Jericho won his record-breaking seventh WWE Intercontinental Championship at Unforgiven in a ladder match against Christian, breaking the previous record held by Jeff Jarrett from 1999. Jericho's seventh reign was short lived, as he lost it at Taboo Tuesday to Shelton Benjamin.
World championship pursuits (2004–2005)
Jericho teamed up with Randy Orton, Chris Benoit, and Maven to take on Triple H, Batista, Edge, and Gene Snitsky at Survivor Series. The match stipulated that each member of the winning team would be the general manager of Raw over the next four weeks. Jericho's team won, and took turns as general manager. During Jericho's turn as general manager, the World Heavyweight Championship was vacated because a Triple Threat match for the title a week earlier ended in a draw. At New Year's Revolution, Jericho competed in the Elimination Chamber against Triple H, Chris Benoit, Batista, Randy Orton, and Edge for the vacant World Heavyweight Championship. Jericho began the match with Benoit and eliminated Edge, but was eliminated by Batista. Triple H went on to win. At WrestleMania 21, Jericho participated in the first ever Money in the Bank ladder match. Jericho suggested the match concept, and he competed in the match against Benjamin, Benoit, Kane, Christian, and Edge. Jericho lost the match when Edge claimed the briefcase.
At Backlash, Jericho challenged Shelton Benjamin for the WWE Intercontinental Championship, but lost the match. Jericho lost to Lance Storm at ECW One Night Stand. Jericho used his old "Lionheart" gimmick, instead of his more well known "Y2J" gimmick. Jericho lost the match after Jason and Justin Credible hit Jericho with a Singapore cane, which allowed Storm to win the match. The next night on Raw, Jericho turned heel by betraying WWE Champion John Cena after defeating Christian and Tyson Tomko in a tag team match. Jericho lost a Triple Threat match for the WWE Championship at Vengeance which also involved Christian and Cena. The feud continued throughout the summer and Jericho lost to Cena in a WWE Championship match at SummerSlam.
The next night on the August 22 episode of Raw, Jericho faced Cena for the WWE Championship again in a rematch, this time in a "You're fired" match. Cena won again, and Jericho was fired by Raw General Manager Eric Bischoff. Jericho was carried out of the arena by security as Kurt Angle attacked Cena. Jericho's WWE contract expired on August 25.
Return to WWE (2007–2010)
Feud with Shawn Michaels (2007–2008)
After a two-year hiatus, WWE promoted Jericho's return starting on the September 24, 2007 episode of Raw with a viral marketing campaign using a series of 15-second cryptic binary code videos, similar to the matrix digital rain used in The Matrix series. The videos contained hidden messages and biblical links related to Jericho. Jericho made his return to WWE television as a face on the November 19, 2007 episode of Raw when he interrupted Randy Orton during Orton's orchestrated "passing of the torch" ceremony. Jericho revealed his intentions to reclaim the WWE Championship in order to "save" WWE fans from Orton. On the November 26 episode of Raw, Jericho defeated Santino Marella and debuted a new finishing move called the Codebreaker. At Armageddon, he competed in a WWE title match against Orton, defeating him by disqualification when SmackDown!s color commentator John "Bradshaw" Layfield (JBL) interfered in the match, but Orton retained the title. He began a feud with JBL and met him at the Royal Rumble. Jericho was disqualified after hitting JBL with a steel chair. On the March 10 episode of Raw, Jericho captured the WWE Intercontinental Championship for a record eighth time when he defeated Jeff Hardy.
In April 2008, Jericho became involved in the ongoing feud between Shawn Michaels and Batista when he suggested that Michaels enjoyed retiring Ric Flair, causing Shawn Michaels to attack him. Jericho thus asked to be inserted into the match between Batista and Michaels at Backlash, but instead, he was appointed as the special guest referee. During the match at Backlash, Michaels feigned a knee injury so that Jericho would give him time to recover and lured Batista in for Sweet Chin Music for the win. After Backlash, Jericho accused Michaels of cheating, but Michaels continued to play up an injury. When Jericho was finally convinced and he apologized to Michaels for not believing him, Michaels then admitted to Jericho that he had faked his injury and he attacked Jericho with Sweet Chin Music. After losing to Michaels at Judgment Day, Jericho initiated a handshake after the match.
On the June 9 episode of Raw, Jericho hosted his talk show segment, The Highlight Reel, interviewing Michaels. Jericho pointed out that Michaels was still cheered by the fans despite Michaels's deceit and attack on Jericho during the previous months, whereas Jericho was booed when he tried to do the right thing. Jericho then assaulted Michaels with a low blow and sent Michaels through the "Jeritron 6000" television, damaging the eye of Michaels, and turning heel in the process. This began what was named by both Pro Wrestling Illustrated and the Wrestling Observer Newsletter the "Feud of the Year". At Night of Champions, Jericho lost the WWE Intercontinental title to Kofi Kingston after a distraction by Michaels. In June, Jericho took on Lance Cade as a protégé.
World Heavyweight Champion (2008–2009)
Afterward, Jericho developed a suit-wearing persona inspired by Javier Bardem's character Anton Chigurh from the 2007 film No Country for Old Men and wrestler Nick Bockwinkel. Jericho and Michaels met at The Great American Bash, which Jericho won after attacking the cut on Michaels's eye. At SummerSlam, Michaels said that his eye damage would force him to retire and insulted Jericho by saying he would never achieve Michaels's success. Jericho tried to attack Michaels, but Michaels ducked, so Jericho punched Michaels's wife, Rebecca, instead. As a result, they fought in an unsanctioned match at Unforgiven, which Jericho lost by referee stoppage. Later that night, Jericho entered the Championship Scramble match as a late replacement for the defending champion CM Punk and subsequently won the World Heavyweight Championship, defeating Batista, John "Bradshaw" Layfield (JBL), Kane, and Rey Mysterio. It was announced that Michaels would challenge Jericho for the championship in a ladder match at No Mercy, which Jericho won. At Cyber Sunday on October 26, Jericho lost the title to Batista, but later won it back eight days later on the 800th episode of Raw in a steel cage match. Jericho defeated Michaels in a Last Man Standing match on the November 10 episode of Raw after interference from JBL. Jericho lost the World Heavyweight Championship at Survivor Series to the returning John Cena. On the December 8 episode of Raw, Jericho was awarded the Slammy Award for 2008 Superstar of the Year award. Six days later, he lost his rematch with John Cena for the World Heavyweight Championship at Armageddon.
At the Royal Rumble on January 25, 2009, Jericho participated in the Royal Rumble match, but he was eliminated by the Undertaker. On February 15 at No Way Out, he competed in an Elimination Chamber match for the World Heavyweight Championship, but he failed to win as he was eliminated by Rey Mysterio. Following this, Jericho began a rivalry with veteran wrestlers Ric Flair, Ricky Steamboat, Jimmy Snuka and Roddy Piper, as well as actor Mickey Rourke. Jericho was originally arranged to face Rourke at WrestleMania 25, but Rourke later pulled out of the event. Instead, Jericho defeated Piper, Snuka and Steamboat in a 3-on-1 elimination handicap match at WrestleMania, but was knocked out by Rourke after the match.
On the April 13 episode of Raw, Jericho was drafted to the SmackDown brand as part of the 2009 WWE draft. Jericho then faced Steamboat in a singles match at Backlash, where Jericho was victorious. In May, Jericho started a feud with Intercontinental Champion Rey Mysterio, leading to a match at Judgment Day, which Jericho lost. However, Jericho defeated Mysterio in a No Holds Barred Match at Extreme Rules to win his ninth Intercontinental Championship, breaking his own record again. At The Bash, Jericho lost the Intercontinental Championship back to Mysterio in a mask vs. title match.
Jeri-Show and feud with Edge (2009–2010)
Later in the event, Jericho and his partner Edge won the Unified WWE Tag Team Championship as surprise entrants in a triple threat tag team match. As a result of this win, Jericho became the first wrestler to win every (original) Grand Slam eligible championship. Shortly thereafter Edge suffered an injury and Jericho revealed a clause in his contract to allow Edge to be replaced and Jericho's reign to continue uninterrupted. At Night of Champions, Jericho revealed Big Show as his new tag team partner, creating a team that would come to called Jeri-Show. The duo defeated Cody Rhodes and Ted DiBiase to retain the championship. Jeri-Show successfully defended the title against Cryme Tyme at SummerSlam, MVP and Mark Henry at Breaking Point and Rey Mysterio and Batista at Hell in a Cell. At Survivor Series, both Jericho and Big Show took part in a triple threat match for the World Heavyweight Championship, but the Undertaker successfully retained the title. At TLC: Tables, Ladders & Chairs, Jeri-Show lost the tag titles to D-Generation X (D-X) (Shawn Michaels and Triple H) in a Tables, Ladders and Chairs match. As a member of the SmackDown brand, Jericho could only appear on Raw as a champion and D-X intentionally disqualified themselves in a rematch to force Jericho off the show. On the January 4, 2010 of Raw, D-X defeated Jeri-Show to retain the championship once again, marking the end of Jeri-Show.
Jericho entered the 2010 Royal Rumble match on January 31, but was eliminated by the returning Edge, his former tag team partner, who went on to win the match. At Elimination Chamber, Jericho won the World Heavyweight Championship in an Elimination Chamber match, defeating The Undertaker, John Morrison, Rey Mysterio, CM Punk and R-Truth following interference from Shawn Michaels. The next night on Raw, Edge used his Royal Rumble win to challenge Jericho for the World Heavyweight Championship at WrestleMania XXVI. Jericho defeated Edge at WrestleMania to retain the title, but lost the championship to Jack Swagger on the following episode of SmackDown, who cashed in his Money in the Bank contract. Jericho then failed to regain the title from Swagger in a triple-threat match also involving Edge on the April 16 episode of SmackDown. Jericho and Edge continued their feud leading into Extreme Rules, where Jericho was defeated in a steel cage match.
Jericho was drafted to the Raw brand in the 2010 WWE draft. He formed a brief tag team with The Miz and unsuccessfully challenged The Hart Dynasty for the Unified WWE Tag Team Championship at Over the Limit. A month later, Jericho lost to Evan Bourne at Fatal 4-Way, but won a rematch during the following night on Raw, where he put his career on the line. On the July 19 episode of Raw, after being assaulted by The Nexus, Jericho teamed with rivals Edge, John Morrison, R-Truth, Daniel Bryan and Bret Hart in a team led by John Cena to face The Nexus at SummerSlam. Jericho and Cena bickered over leadership of the team, which led to him and Edge attacking Cena during the SummerSlam match that they won.
Jericho was punished for not showing solidarity against Nexus, when he was removed from a Six-Pack Challenge for Sheamus's WWE Championship at Night of Champions. Although he re-earned his place in the match after defeating The Hart Dynasty in a handicap steel cage match, he was the first man eliminated from the match at Night of Champions. On the September 27 episode of Raw, Jericho faced Randy Orton who punted him in the head. This was used to explain Jericho's departure from the company.
Second return to WWE (2011–2018)
Feud with CM Punk (2011–2012)
Beginning in November 2011, WWE aired cryptic vignettes that promoted a wrestler's return on the January 2, 2012 episode of Raw. On his return, after hyping the crowd and relishing their cheers for a prolonged period, Jericho left without verbally addressing his return. After exhibiting similar odd behavior in the proceeding two weeks, Jericho spoke on the January 23 episode of Raw to say, "This Sunday at the Royal Rumble, it is going to be the end of the world as you know it", but in the Royal Rumble match, he was eliminated last, by Sheamus. On the January 30 episode of Raw, Jericho began a feud with WWE Champion CM Punk after attacking him during his match with Daniel Bryan. He explained his actions by claiming other wrestlers in WWE were imitating him and named Punk as the worst offender.
At Elimination Chamber, Jericho participated in the Elimination Chamber match for the WWE Championship, entering last and eliminating Dolph Ziggler and Kofi Kingston before being knocked out of the structure by Punk, which injured him and removed him from the match without being eliminated. The following night on Raw, Jericho won a ten-man battle royal to become the number one contender for Punk's WWE Championship at WrestleMania XXVIII. In a bid to psychologically unsettle Punk, Jericho revealed that Punk's father was an alcoholic and Punk's sister was a drug addict, which contradicted Punk's straight edge philosophy; Jericho vowed to make Punk turn to alcohol by winning Punk's title from him. At WrestleMania, a stipulation was added that Punk would lose his WWE Championship if he was disqualified. During the match, Jericho unsuccessfully tried to taunt Punk into disqualifying himself, and Punk won the match.
Jericho continued his feud with Punk in the weeks that followed by attacking and dousing him with alcohol after his matches. At Extreme Rules, Jericho failed again to capture the WWE Championship from Punk in a Chicago Street Fight.
Championship pursuits (2012–2013)
Jericho faced Randy Orton, Alberto Del Rio and Sheamus in a fatal four-way match for the World Heavyweight Championship at Over the Limit, where Sheamus retained his title. On May 24 at a WWE live event in Brazil, Jericho wrestled a match against CM Punk, during which Jericho kicked a Brazilian flag, causing local police to intervene and threaten Jericho with arrest. Jericho issued an apology to the audience, enabling the event to resume. The following day, WWE suspended Jericho for 30 days while apologizing to the people and government of Brazil. Jericho returned on the June 25 episode of Raw, and his absence was explained by a European tour with his band Fozzy which happened to coincide with his suspension. At Money in the Bank, Jericho participated in the WWE Championship Money in the Bank ladder match, but failed to win as John Cena won. The following night on Raw, Jericho confronted newly crowned Mr. Money in the Bank, Dolph Ziggler, who claimed that Jericho had lost his touch. Jericho attacked Ziggler with a Codebreaker, thus turning face in the process. At SummerSlam, Jericho defeated Ziggler. The following night on Raw, Ziggler defeated Jericho in a rematch and, as a result, Ziggler retained his Money in the Bank contract and Jericho's WWE contract was terminated as per a pre match stipulation put in place by Raw General Manager, AJ Lee. This was used to write him off so he could tour with Fozzy for the remainder of the year.
On January 27, 2013, Jericho returned after a five-month hiatus entering the Royal Rumble match as the second entrant. Jericho lasted over 47 minutes before being eliminated by Dolph Ziggler. The following night on Raw, Jericho later revealed to Ziggler that due to a managerial change on Raw, he had been rehired by Vickie Guerrero, resuming his feud with Ziggler. Guerrero then paired the two in a match against WWE Tag Team Champions Team Hell No (Daniel Bryan and Kane). The match ended with Ziggler being pinned by Kane after Jericho framed him for pushing Kane. After beating Daniel Bryan on the February 11 episode of Raw, Jericho qualified for the Elimination Chamber match at Elimination Chamber (in which the winner would go on to be the number one contender for the World Heavyweight Championship at WrestleMania 29), where he was the fourth man eliminated. On the March 11 episode of Raw, Jericho faced The Miz in a No. 1 contenders match for Wade Barrett's WWE Intercontinental Championship, but the match was ruled a no contest after Barrett interfered and attacked both men. Both men then faced Barrett the following week on Raw, where he retained his title. Earlier in the episode, Jericho had a run-in with Fandango which led to Fandango costing him his match with Jack Swagger and attacking him four days later on SmackDown. At WrestleMania 29, Jericho was defeated by Fandango. They continued their feud in the following weeks, until Jericho defeated Fandango at Extreme Rules. He then faced the returning CM Punk at Payback, where he was defeated. Jericho then began feuding with Ryback, which led to a singles match on July 14 at Money in the Bank, where Ryback emerged victorious. On the July 19 episode of SmackDown, Jericho unsuccessfully challenged Curtis Axel for the WWE Intercontinental Championship and was afterwards attacked by Ryback. This was done to write Jericho off television as he was taking a temporary hiatus to tour with Fozzy for the remainder of the year and possibly January and February.
In a November interview for WWE.com, Jericho revealed that he would not be a full-time wrestler due to his musical and acting ventures.
Various sporadic feuds (2014–2016)
After an eleven-month hiatus, Jericho returned on the June 30, 2014 episode of Raw, attacking The Miz, who had also returned minutes earlier. The Wyatt Family then interrupted and ultimately attacked Jericho. Jericho faced Bray Wyatt at Battleground in a winning effort. At SummerSlam, with Wyatt Family members Luke Harper and Erick Rowan banned from ringside, Wyatt picked up the victory. On the September 8 episode of Raw, Jericho lost to Wyatt in a steel cage match, ending the feud. Jericho then feuded with Randy Orton, who had attacked him the week before after his match against Wyatt in the trainers room. Orton defeated him at Night of Champions. Throughout the rest of October and November, Jericho wrestled exclusively at live events, defeating Bray Wyatt. Jericho returned to WWE television in December as the guest general manager of the December 15 episode of Raw. Jericho booked himself in a street fight against Paul Heyman in the main event, which led to the return of Brock Lesnar. Before the match could begin, Lesnar attacked Jericho with an F-5.
In January 2015, Jericho revealed that he signed an exclusive WWE contract, under which he would compete at 16 house shows only. He later signed a similar contract once the former expired and competed at house shows throughout the rest of 2015. During this time he wrestled against the likes of Luke Harper, Kevin Owens and King Barrett in winning efforts. In May 2015, Jericho was one of the hosts of Tough Enoughs sixth season. Jericho also hosted two Live! With Chris Jericho specials on the WWE Network during 2015; his guests were John Cena and Stephanie McMahon. Jericho made his televised return at The Beast in the East, defeating Neville. At Night of Champions, Jericho was revealed as the mystery partner of Roman Reigns and Dean Ambrose, facing The Wyatt Family in a losing effort. On October 3, Jericho unsuccessfully challenged Kevin Owens for the WWE Intercontinental Championship at Live from Madison Square Garden. The match marked 20 years since Jericho's debut with ECW while also celebrating his 25th year as a professional wrestler in total.
On the January 4, 2016 episode of Raw, Jericho returned to in-ring competition full-time and confronted The New Day. At the 2016 Royal Rumble, Jericho entered as the sixth entrant, lasting over 50 minutes, before being eliminated by Dean Ambrose. On the January 25 episode of Raw, Jericho faced the recently debuted AJ Styles in a losing effort. Following the match, after initial hesitation by Jericho, the pair shook hands. On the February 11 episode of SmackDown, Jericho defeated Styles. At Fastlane, Styles was victorious in a third match between the pair. On the February 22 episode of Raw, Jericho and Styles formed a tag team, dubbed Y2AJ. Following their loss against The New Day on the March 7 episode of Raw, Jericho attacked Styles, ending their alliance, claiming that he was sick of the fans chanting for Styles instead of him, turning heel in the process. Their feud culminated at WrestleMania 32, where Jericho defeated Styles. However, on the April 4 episode of Raw, Jericho competed in a fatal-four-way match against Styles, Kevin Owens and Cesaro to determine the No. 1 contender for the WWE World Heavyweight Championship in a losing effort after being pinned by Styles, ending their feud.
The following week on Raw, Dean Ambrose interrupted The Highlight Reel, handing Jericho a note from Shane McMahon replacing the show with The Ambrose Asylum, igniting a feud between the two. During this time, Jericho tweaked his gimmick. He became arrogant and childish while wearing expensive scarfs and calling everyone who appeased him "stupid idiots". At Payback, Jericho faced Ambrose in a losing effort. After attacking one another and Ambrose destroying Jericho's light-up ring jacket, Jericho was challenged by Ambrose to an Asylum match at Extreme Rules, where Ambrose again defeated Jericho after Jericho was thrown in a pile of thumbtacks. On the May 23 episode of Raw, Jericho defeated Apollo Crews to qualify for the Money in the Bank ladder match at the Money in the Bank pay-per-view, where Jericho was unsuccessful as the match was won by Ambrose. On July 19 at the 2016 WWE draft, Jericho was drafted to the Raw brand. At Battleground on July 24, Jericho hosted a Highlight Reel segment with the returning Randy Orton, where he took an RKO from Orton after he insulted him. The next night on Raw, Jericho competed in a fatal four-way match to determine the number one contender for the newly created WWE Universal Championship at SummerSlam, but he was unsuccessful, as Roman Reigns won the match.
The List of Jericho (2016–2017)
Jericho then entered a feud with Enzo and Cass and on the August 1 episode of Raw, he teamed with Charlotte to defeat Enzo Amore and then WWE Women's Champion Sasha Banks in a mixed tag team match, after which Big Cass made the save as Jericho continued the assault on Amore. The following week on Raw, Jericho allied with Kevin Owens and later defeated Amore via disqualification when Cass interfered. This led to a tag team match at SummerSlam, where Jericho and Owens defeated Enzo and Cass. On the August 22 episode of Raw, Jericho interfered in Owens's match against Neville, allowing him to qualify for the fatal four-way match to determine the new WWE Universal Champion on the August 29 episode of Raw, which Owens won.
On the September 12 episode of Raw, Jericho hosted an episode of The Highlight Reel with Sami Zayn as his guest, who questioned his alliance with Owens, resulting in Jericho defending Owens and attacking Zayn. On the September 19 episode of Raw, as a result of feeling that he was being treated unjustly by General Manager Mick Foley, as well as other wrestlers beginning to annoy him, Jericho began a list called "The List of Jericho", where he wrote down the name of the person that bothered him and why. If someone annoyed Jericho, he would ask "you know what happens?" before shouting "you just made the list!" and writing the person's name down. The List of Jericho soon became incredibly popular with the fans, with many critics describing Jericho and his list as "easily one of the best moments of Raw's broadcast". At Clash of Champions on September 25, Jericho defeated Zayn and assisted Owens in his Universal Championship defense against Seth Rollins. At Hell in a Cell on October 30, Jericho aided Owens in retaining the Universal Championship against Rollins in a Hell in a Cell match after Owens sprayed a fire extinguisher at the referee, allowing Jericho to enter the cell.
Jericho teamed with Owens, Braun Strowman, Roman Reigns, and Seth Rollins as part of Team Raw at Survivor Series on November 20, in a losing effort. The next night on Raw, despite being banned from ringside, Jericho showed up in a Sin Cara mask and attacked Rollins, in another successful title defense for Owens. The following week on Raw, tensions between Jericho and Owens arose after both said that they did not need each other anymore, and Jericho was later attacked by Rollins in the parking lot. At Roadblock: End of the Line on December 18, Jericho lost to Rollins after Owens failed in his attempt to help him, Later that night, Jericho intentionally attacked Owens to prevent Reigns from winning the title. After both Jericho and Owens failed to win the WWE United States Championship from Reigns in multiple singles matches in late 2016, Jericho pinned Reigns in a handicap match also involving Owens on the January 9 episode of Raw to win the WWE United States Championship. Thus, Jericho won his first championship in nearly seven years and also become Grand Slam winner under the current format. Due to interfering multiple times in Owens's matches, Jericho was suspended above the ring in a shark proof cage during Reigns's rematch at the Royal Rumble pay-per-view event. Owens nonetheless retained the championship after Braun Strowman, taking advantage of the added no disqualification stipulation, interfered. Also at the event, Jericho entered as the second entrant in the Royal Rumble match, lasting over an hour (thus breaking the record with a cumulative time of over five hours) and being the third to last before being eliminated by Reigns.
In February, tensions grew between Jericho and Owens after Jericho accepted a Universal Championship challenge from Goldberg on Owens's behalf, much to the latter's dismay. On the February 13 episode of Raw, Jericho held a "Festival of Friendship" for Owens, who was not impressed and viciously attacked Jericho, ending their alliance. Jericho returned at Fastlane on March 5, distracting Owens during his match with Goldberg and causing Owens to lose the Universal Championship, turning face again in the process. This led to a match between Jericho and Owens being arranged for WrestleMania 33 on April 2, with Jericho's United States Championship on the line. At WrestleMania, Jericho lost the United States Championship to Owens. At Payback on April 30, Jericho defeated Owens to regain the title and moved to the SmackDown brand, but lost it back to him two nights later on SmackDown. Following the match, Owens attacked Jericho, who was carried out on a stretcher. Thus, Jericho was written off television so he could fulfill his commitments to tour with and promote his new album with Fozzy. Jericho made a surprise return at a house show in Singapore on June 28, where he lost to Hideo Itami.
Final matches and departure (2017–2018)
On the July 25 episode of SmackDown, Jericho made his televised return, interrupting an altercation between Kevin Owens and AJ Styles to get his rematch for Owens' WWE United States Championship. Later that night, Jericho participated in a triple threat match against Owens and Styles for the title in which Jericho was pinned by Styles. Show took place in Richmond, Virginia and was Jericho's last in-ring appearance for WWE in the United States.
On January 22, 2018 during the 25th Anniversary of Raw, Jericho appeared backstage in a segment with Elias, putting him on The List of Jericho. At the Greatest Royal Rumble, Jericho was the last entrant in the 50-man Royal Rumble match, eliminating Shelton Benjamin before being eliminated by the eventual winner Braun Strowman. This event marked Jericho's final appearance with WWE.
In September 2019, during an interview for the Mature Audiences Mayhem Podcast, Jericho revealed the exact point when he decided he was going to leave the WWE. Even though Jericho was with the WWE for 15 years, the final insult came at WrestleMania 33 in 2017. Despite the fact that Jericho and Kevin Owens had the best feud of the year, their match was demoted by placing it on the second place on the WrestleMania match card. The decision made by Vince McMahon was a big insult for Jericho and that prompted him to seek work elsewhere. Jericho reflecting his WWE departure stated:
"Originally, that was going to be the main event for the world title. Kevin Owens was the champion and I was going to beat him in the main event of WrestleMania as a babyface." Instead of having Jericho and Owens as the main event, Vince decided to put Bill Goldberg and Brock Lesnar on the main card. "Vince said that it’s going to be me versus Kevin Owens for the world title at WrestleMania and you are going to win the title, f*** yeah! Next week, he doesn’t tell me, but I hear that it’s changed to Brock Lesnar versus Bill Goldberg for the title. And not only did they take us out of the main event – and, once again, just because I was told I have no right to it and things change all the time, I’m a big boy, I can handle it. But to take us from the main event slot and then move us to the second match on the card on a card that has 12 matches on it? I was like, that’s a f***ing insult."
Return to NJPW (2017–2020)
Feud with Kenny Omega (2017–2018)
On November 5, 2017, Jericho returned to NJPW in a pre-taped vignette, challenging Kenny Omega to a match at Wrestle Kingdom 12 in Tokyo Dome. The challenge was immediately accepted by Omega and made official by NJPW the following day as a title match for Omega's IWGP United States Heavyweight Championship. The match, dubbed "Alpha vs. Omega", was Jericho's first match outside of WWE since he left WCW in July 1999. Journalist Dave Meltzer wrote that Jericho's WWE contract had expired and that he was a "free agent". NJPW also referred to Jericho as a free agent. In contrast, the Tokyo Sports newspaper described an anonymous NJPW official saying that Jericho is still under contract with WWE, and that WWE chairman Vince McMahon had given him permission to wrestle this match in NJPW. This was his first NJPW match in nearly 20 years. Jericho returned in person at the December 11 World Tag League show, attacking and bloodying Omega after his match, while also laying out a referee, a young lion and color commentator Don Callis, establishing himself as a heel. The following day at the Wrestle Kingdom 12 in Tokyo Dome press conference, Jericho and Omega would get into a second physical altercation. Because of the two incidents, NJPW turned the January 4 match into a no disqualification match. At the event, Jericho was defeated by Omega. It was later revealed that the match was awarded a five-star rating from Dave Meltzer of the Wrestling Observer Newsletter. This was the first of his career.
IWGP Intercontinental Champion (2018–2019)
The night after Wrestle Kingdom 12 in Tokyo Dome at New Year Dash!! 2018, Jericho attacked Tetsuya Naito. On May 4, Jericho once again attacked Naito at Wrestling Dontaku, leading to a match between the two at Dominion 6.9 in Osaka-jo Hall, in which he defeated Naito to win the IWGP Intercontinental Championship. At King of Pro-Wrestling, Jericho attacked Evil before his match against Zack Sabre Jr. Backstage, Jericho challenged Evil to an IWGP Intercontinental Championship title match at Power Struggle. At the event, Jericho made Evil submit to the Liontamer to retain the IWGP Intercontinental Championship. After the match, Jericho refused to release the hold until Tetsuya Naito ran in for the save and challenged Jericho. Despite Jericho stating that Naito would not receive a rematch, the match was made official for Wrestle Kingdom 13 in Tokyo Dome. On December 15, NJPW held a press conference for Jericho and Naito's IWGP Intercontinental Championship match. The press conference ended when Naito spat water in Jericho's face, which resulted in the two then brawling before being separated. Later that same day during a Road to Tokyo Dome show, Jericho laid out Naito with steel chair shots, and after stated that at Wrestle Kingdom 13 he would end Tetsuya Naito's career. At the event, Jericho was defeated by Naito, losing the IWGP Intercontinental Championship in the process.
Sporadic appearances (2019–2020)
At Dominion 6.9 in Osaka-jo Hall, Jericho challenged Kazuchika Okada for the IWGP Heavyweight Championship but was defeated. Following the match, Jericho attacked Okada, leading to Hiroshi Tanahashi making the save. Jericho returned at Power Struggle on November 3 and challenged Tanahashi to a match at Wrestle Kingdom 14. On December 28, it was announced that if Tanahashi were to defeat Jericho, he would be granted an AEW World Championship match at a later date. During the second night of Wrestle Kingdom on January 5, 2020, Jericho defeated Tanahashi.
Return to the independent circuit (2018–2019)
On September 1, 2018, Jericho (disguised as Penta El Zero) appeared at the All In show promoted by Cody and The Young Bucks, where he attacked Kenny Omega following Omega's victory over Penta to promote his upcoming Rock 'N' Wrestling Rager at Sea cruise.
In October 2018, Jericho organized Chris Jericho's Rock 'N' Wrestling Rager at Sea, a series of professional wrestling matches originating from Jericho's cruise ship, which embarked from Miami, Florida and featured wrestlers from Ring of Honor.
On May 3, 2019, Jericho appeared at a Southern Honor Wrestling event, where he was attacked by Kenny Omega.
All Elite Wrestling (2019–present)
Inaugural AEW World Champion (2019–2020)
On January 8, 2019, Jericho made a surprise appearance at a media event organized by the upstart All Elite Wrestling (AEW) promotion. Shortly afterwards, Jericho was filmed signing a full-time performers three-year contract with AEW and shaking hands with the company's President Tony Khan. Jericho defeated Kenny Omega at the promotion's inaugural event Double or Nothing on May 25, and went on to defeat Adam Page at All Out to become the inaugural AEW World Champion.
On the premiere episode of Dynamite on October 2, Jericho allied himself with Sammy Guevara, Jake Hager, Santana and Ortiz, creating a stable that would be known as The Inner Circle. Jericho would make successful title defences against Darby Allin on the October 16 episode of Dynamite and Cody at the Full Gear pay-per-view on November 9. On the episode of Dynamite after Full Gear, Jericho and Guevara challenged SoCal Uncensored (Frankie Kazarian and Scorpio Sky) for the AEW World Tag Team Championship, but they failed to win when Sky pinned Jericho with a small package, thus suffering his first loss in AEW. Jericho would successfully retain the AEW World Championship against Sky on the November 27 episode of Dynamite.
In December, The Inner Circle began to attempt to entice Jon Moxley to join the group. On the January 8, 2020 episode of Dynamite, Moxley initially joined the group, however, this was later revealed to be a ruse from Moxley as he attacked Jericho and Sammy Guevara. Moxley then became the number one contender for Jericho's championship at Revolution on February 29, where Moxley defeated Jericho to win the title, ending his inaugural AEW World Championship reign at 182 days.
Feud with MJF (2020–2021)
After losing the championship, Jericho and The Inner Circle began a feud with The Elite (Adam Page, Cody, Kenny Omega and The Young Bucks), who recruited the debuting Matt Hardy to oppose them. At Double or Nothing on May 23, The Inner Circle were defeated by Page, Omega, The Young Bucks and Hardy in a Stadium Stampede match. Jericho next began a rivalry with Orange Cassidy, with Jericho defeating him at Fyter Fest on July 8, but losing a rematch on the August 12 episode of Dynamite. The two faced once again at All Out on September 5, in a Mimosa Mayhem match, which Jericho lost.
Beginning in October, Jericho began a feud with MJF, who requested to join the Inner Circle, despite disapproval from Sammy Guevara, Santana and Ortiz. Jericho and MJF wrestled in a match at the Full Gear event on November 7, which MJF won, thus allowing him to join the Inner Circle. At Beach Break on February 3, 2021, Jericho and MJF won a tag team battle royal to become the number one contenders for the AEW World Tag Team Championship at the Revolution event against The Young Bucks, which they were unsuccessful in winning. On the March 10 episode of Dynamite, MJF betrayed and left The Inner Circle after revealing he had been secretly plotting against them and building his own stable, The Pinnacle—consisting of Wardlow, Shawn Spears and FTR (Cash Wheeler and Dax Harwood). At Blood and Guts on May 5, The Inner Circle lost to The Pinnacle in the inaugural Blood and Guts match. However, in the main event of Double or Nothing later that month, The Inner Circle defeated The Pinnacle in a Stadium Stampede match, after Sammy Guevara pinned Shawn Spears. Jericho then began pursuing another match with MJF, who stated that he would first have to defeat a gauntlet of opponents selected by MJF, in a series dubbed the "Labors of Jericho". Jericho would defeat each of MJF's handpicked opponents (Shawn Spears, Nick Gage, Juventud Guerrera and Wardlow) and faced MJF in the final labor on the August 18 episode of Dynamite, but he was defeated. Jericho demanded one more match, stipulating that if he lost, he would retire from in-ring competition, which MJF accepted. At All Out on September 5, Jericho defeated MJF to maintain his career and end their feud.
Various feuds (2021–present)
Following All Out, The Inner Circle started a rivalry with Men of the Year (Ethan Page and Scorpio Sky), and their ally, mixed martial arts (MMA) coach Dan Lambert. Lambert also brought in members of his MMA team American Top Team (ATT) to oppose The Inner Circle, including Andrei Arlovski and Junior dos Santos. At the Full Gear event on November 13, The Inner Circle defeated Men of the Year and ATT in a Minneapolis Street Fight.
Legacy
Known for his over-the-top, rock star persona, Jericho has been described by multiple industry commentators as one of the greatest professional wrestlers of all time. Journalist Chris Van Vliet noted that his name is "always thrown around as the GOAT [greatest of all time], or at least one of the GOATs", with Van Vliet himself asserting that Jericho is "if not the best, certainly one of the best". Todd Martin of the Pro Wrestling Torch remarked, to agreement from editor Wade Keller, that Jericho is "one of the great wrestlers of all time" and in "a lofty category", while likening his oeuvre to those of WWE Hall of Famers Randy Savage, Ricky Steamboat, Ted DiBiase and Dory Funk Jr. Praised for his ability to continually evolve his gimmick, Jericho was dubbed by KC Joyner of ESPN as "wrestling's David Bowie".
Various outlets have included Jericho in lists of the greatest wrestlers ever. Baltimore Sun reporter Kevin Eck, who has also served as editor of WCW Magazine and a WWE producer, featured Jericho in his "Top 10 favorite wrestlers of all time" and "Top 10 all-around performers"—the former piece noting that Jericho is "regarded as one of the very best talkers in the business". Keisha Hatchett in TV Guide wrote that Jericho "owns the mic with cerebral insults" and is set apart from peers by "his charismatic presence, which is highlighted by a laundry list of unforgettable catchphrases". He was voted by Wrestling Observer Newsletter (WON) readers as "Best on Interviews" for the 2000s decade, coinciding with his 2010 induction into the WON Hall of Fame. Fans also named Jericho the greatest WWE Intercontinental Champion of all time in a 2013 WWE poll, affording him a landslide 63% victory over the other four contenders (Mr. Perfect, The Honky Tonk Man, Rick Rude and Pat Patterson).
A number of Jericho's industry colleagues have hailed him as one of the greatest wrestlers in history. Stone Cold Steve Austin lauded his consistently "dynamic" promos and in-ring work, while arguing that he should be considered among the 10 best ever. Kenny Omega asserted that Jericho "has a legit argument for being the best of all time", based on his ability to achieve success and notoriety across numerous territories. Jon Moxley said, "Jericho is really making a case for being the greatest of all time... he's doing it again, he's doing something completely new, and breaking new barriers still here in 2020." Matt Striker pointed to Jericho's "magnanimous" nature as a contributing factor to his status as an all-time great; his willingness to impart knowledge was commended by James Ellsworth, who described Jericho as an "outstanding human being" and a childhood favorite. Kevin Owens stated that "Jericho was always someone I looked up to", while The Miz affirmed that he was part of a generation of young wrestlers who sought to "emulate" Jericho.
WWE declared Jericho a "marquee draw" with a "reputation as one of the best ever". As of 2019, he is one of the ten most prolific pay-per-view performers in company history.
After Jericho signed with All Elite Wrestling, it was said his role was similar to Terry Funk in ECW, as an experienced veteran bringing credibility to a younger promotion. Jericho was credited as one of the key attractions of AEW's weekly television broadcasts, leading to him adopting the nickname "The Demo God" due to many of the segments he appeared in being some of the highest viewed in the key demographics. He was voted as the Best Box Office Draw by readers of the Wrestling Observer Newsletter in 2019.
Music career
Jericho is the lead singer for the heavy metal band Fozzy. Since their debut album in 2000, Fozzy have released seven studio albums; Fozzy, Happenstance, All That Remains, Chasing the Grail, Sin and Bones, Do You Wanna Start a War, Judas, and one live album, Remains Alive.
In 2005, Jericho performed vocals on a cover of "The Evil That Men Do" on the Iron Maiden tribute album, Numbers from the Beast. He made a guest appearance on Dream Theater's album, Systematic Chaos on the song "Repentance", as one of several musical guests recorded apologizing to important people in their lives for wrongdoings in the past.
In the mid-1990s, Jericho wrote a monthly column for Metal Edge magazine focused on the heavy metal scene. The column ran for about a year. He started his own weekly XM Satellite Radio show in March 2005 called The Rock of Jericho, which aired Sunday nights on XM 41 The Boneyard.
Discography
Albums with Fozzy
Fozzy (2000)
Happenstance (2002)
All That Remains (2005)
Chasing the Grail (2010)
Sin and Bones (2012)
Do You Wanna Start a War (2014)
Judas (2017)
Live albums
Remains Alive (2009)
As guest
Don't You Wish You Were Me? - WWE Originals (2004)
King of the Night Time World - Spin the Bottle: An All-Star Tribute to Kiss (2004) * With Rich Ward, Mike Inez, Fred Coury
Bullet for My Valentine – Temper Temper – Dead to the World (2013)
Devin Townsend – Dark Matters (2014)
Michael Sweet – I'm Not Your Suicide – Anybody Else (2014)
Other endeavors
Film, theater, comedy, and writing
In 2000, a WWE produced VHS tape documenting Jericho's career titled Break Down the Walls was released. He later received two three disc sets profiling matches and interviews.
On June 24, 2006, Jericho premiered in his first Sci-Fi Channel movie Android Apocalypse alongside Scott Bairstow and Joey Lawrence.
Jericho debuted as a stage actor in a comedy play Opening Night, which premiered at the Toronto Centre for the Arts during July 20–22, 2006 in Toronto. During his stay in Toronto, Jericho hosted the sketch comedy show Sunday Night Live with sketch troupe The Sketchersons at The Brunswick House.
Jericho was also the first wrestler attached and interviewed for the wrestling documentary, Bloodstained Memoirs. The interview was recorded in the UK during a Fozzy tour in 2006.
Jericho wrote his autobiography, A Lion's Tale: Around the World in Spandex, which was released on October 25, 2007 and became a New York Times bestseller. It covers Jericho's life and wrestling career up to his debut in the WWE. Jericho's second autobiography, Undisputed: How to Become the World Champion in 1,372 Easy Steps, was released on February 16, 2011, and covers his wrestling career since his WWE debut. On October 14, 2014 Jericho's third book, The Best In The World...At What I Have No Idea, was released. It covers some untold stories of the "Save Us" era, his Fozzy career, and his multiple returns from 2011 to 2013. Jericho's fourth book, No Is a Four-Letter Word: How I Failed Spelling but Succeeded in Life, was released on August 29, 2017 and details twenty valuable lessons Jericho learned throughout his career as a wrestler and musician.
Jericho appeared in the 2009 film Albino Farm. In the film MacGruber, released May 21, 2010, he briefly appeared as Frank Korver, a former military teammate of the eponymous Green Beret, Navy Seal, and Army Ranger.
Jericho released a comedy web series on October 29, 2013 that is loosely based on his life entitled But I'm Chris Jericho! Jericho plays a former wrestler, struggling to make it big as an actor. A second season was produced in 2017 by CBC and distributed over CBC's television app and CBC.ca.
In 2016, Jericho starred in the documentary film Nine Legends alongside Mike Tyson and other wrestlers.
In August 2018, Jericho was confirmed to star in the film Killroy Was Here.
On March 14, 2019, filmmaker Kevin Smith cast Jericho as a KKK Grand Wizard in Jay and Silent Bob Reboot.
Television
Jericho was a contributor to the VH1 pop culture shows Best Week Ever, I Love the '80s, and VH1's top 100 artists.
Jericho also hosted the five-part, five-hour VH1 special 100 Most Shocking Music Moments, an update of the original special 100 Most Shocking Moments in Rock N' Roll first hosted by Mark McGrath of Sugar Ray.
On July 12, 2006, he made an appearance on G4's Attack of the Show!; he made a second appearance on August 21, 2009. In May 2006, Jericho appeared on VH1's 40 Greatest Metal Songs and Heavy: The Story of Metal as a commentator.
He was one of eight celebrities in the 2006 Fox Television singing reality show Celebrity Duets, produced by Simon Cowell, and was the first contestant eliminated. Jericho worked at a McDonald's to show off his skills while prepping for the show.
Jericho hosted his own reality show in 2008 titled Redemption Song, in which 11 women tried their hand at getting into the music scene. It was shown on Fuse TV.
He guest starred as Billy "The Body Bag" Cobb in "Xero Control", an episode of the Disney XD 2009 original series Aaron Stone.
He hosted VH1's 100 Most Shocking Music Moments, which began airing in December 2009. In June 2010, Jericho was named the host of the ABC prime-time game show Downfall.
On March 1, 2011, Chris Jericho was named one of the contestants on the 2011 lineup of Dancing with the Stars. His partner was two-time champion Cheryl Burke. This led to a wave of publicity, including an interview with Jay Leno. On April 26, Jericho was the fifth contestant eliminated on the show.
On May 5, Jericho made his third appearance as a guest on Attack of the Show! where he depicted Thor. He promoted Undisputed and hosted the Revolver Golden Gods Awards on May 28 on VH1 Classic. On January 17, 2012, Jericho made his fourth appearance on Attack of the Show! in a segment called "Twitter Twister" where he portrayed a character called "The Twistercutioner" and read tweets as instructions for a game of Twister between Kevin and Candace. Jericho hosted the UK's Metal Hammer Golden Gods Awards in 2012 and 2017.
On February 26, 2013, Jericho began hosting a robot combat competition program on SyFy titled Robot Combat League the series ended on April 23, 2015.
Talk Is Jericho podcast
In December 2013, Jericho began hosting his own podcast, Talk is Jericho. Episodes usually include a loosely scripted monolog before an interview, typically with a wrestler, rock musician or paranormal expert. The show originally appeared on PodcastOne, before moving to the WestwoodOne network in 2018. Notable guests on the show include Bruce Dickinson from Iron Maiden, Lemmy from Motörhead, Paul Stanley from KISS, Zak Bagans from Ghost Adventures, pornographic actress Asa Akira, writer/director Kevin Smith and many former and current wrestlers.
In April 2015, Jericho hosted his own video podcast on the WWE Network, Live! with Chris Jericho, with John Cena as his first guest, followed by Stephanie McMahon as his guest later that same month.
Once he signed with AEW, he was no longer allowed WWE performers as guests on the podcast.
Web
On August 10, 2019, Jericho launched his own dirtsheet website called WebIsJericho.com. The website is dedicated to the memory of Axl Rotten.
In May 2020, Jericho officially joined as a competitor of the Movie Trivia Schmoedown under manager Roxy Striar in the Roxstars faction. Jericho first expressed interest in the Schmoedown following an appearance on Collider Live with Striar and Schmoedown commissioner Kristian Harloff. He became friends with Striar following the interview and kept in contact. During the 2020 season, Jericho contacted Striar, asking to be a part of the league. Striar formally drafted Jericho into her faction during the first free-agent period following the season-opening draft. His first match is scheduled for August 27 against Kevin Smith.
Cruises
In 2017, Jericho launched Chris Jericho's Rock 'N' Wrestling Rager at Sea, a cruise "combining the worlds of rock and wrestling with a once in a lifetime amazing vacation experience". The cruise featured live band performances, artist-hosted activities and a Sea of Honor Tournament with over a dozen Ring of Honor wrestlers competing. Guests had the opportunity to get up close and personal with Chris and his closest wrestling, comedian, and musician friends including Jim Ross, Diamond Dallas Page and Jim Breuer, among others. The cruise sailed October 27–31, 2018 from Miami to Nassau, Bahamas.
Jericho hosted a second cruise, Chris Jericho's Rock 'N' Wrestling Rager at Sea Part Deux: Second Wave, which run from January 20–24, 2020. A third cruise, Chris Jericho's Rock 'N' Wrestling Rager at Sea Triple Whammy, is scheduled for October 21–25, 2021.
Video games
Jericho has appeared in numerous video games. They include WCW/nWo Revenge, WCW Nitro, WCW/nWo Thunder, WCW Mayhem, WWF WrestleMania 2000, WWF No Mercy, WWF SmackDown!, WWF SmackDown! 2: Know Your Role, WWF SmackDown! Just Bring It, WWF Raw, WWE SmackDown! Shut Your Mouth, WWE SmackDown! Here Comes the Pain, WWE SmackDown! vs. Raw, WWE SmackDown! vs. Raw 2006, WWE SmackDown vs. Raw 2009, WWE All Stars, WWE SmackDown vs. Raw 2010, WWE SmackDown vs. Raw 2011, WWE '13, WWE 2K14, WWE 2K15, WWE 2K16, WWE 2K17, WWE 2K18, WWE 2K19 and the upcoming All Elite Wrestling video game.
Personal life
Irvine married Jessica Lockhart on July 30, 2000. They reside in Odessa, Florida, with their three children: son Ash Edward Irvine (born 2003) and identical twin daughters Sierra Loretta "SiSi" Irvine and Cheyenne Lee "Chey" Irvine (born 2006). All three have been guests on his podcast, Talk Is Jericho, with his son discussing fish and his daughters discussing literature. Irvine owns three cats. In October 2020, Irvine reportedly donated $3,000 to Donald Trump's presidential re-election campaign.
Irvine is a Christian. He has a tattoo of his wife's name on his ring finger. He has the letter F, representing Fozzy, on the back of his hand. Since 2012, he has gradually gotten a sleeve over his left arm. His tattoos include: the artwork of Fozzy's album Sin and Bones, a Jack-o'-lantern (Avenged Sevenfold vocalist M. Shadows, who collaborated with Fozzy on the track "Sandpaper" from Sin and Bones, also got a matching tattoo), a lake monster, and himself from his WWF debut in 1999.
On July 5, 2004, Irvine was awarded Manitoba's The Order of the Buffalo Hunt, for his achievements in wrestling and his commitment to working with underprivileged children. – "After that, Gary Doer, the premier of Manitoba, awarded me with the Order of the Buffalo Hunt, which was the province's highest honor. It was quite the prestigious prize, which has been given to such dignitaries such as Mother Teresa, Desmond Tutu, Jimmy Carter, Pope John Paul II, and now Chris Jericho." / caption: "Manitoba Premier Gary Doer presents me with the Order of the Buffalo Hunt, along with a tiny bronze buffalo. I'm thinking, 'That's all I get?'"
Since January 2012, Irvine (along with former NFL Quarterback Tim Tebow, former NFL player Derrick Brooks, and former Atlanta Braves player Chipper Jones) has been the co-owner of a sports training facility in Tampa, a franchise site of D1 Sports Training and Therapy.
Irvine is a fan of Japanese convenience store chain Lawson, which Irvine would frequently shop at when he wrestled in Japan in the 1990s. Irvine still visits Lawson whenever he returns to Japan, whether to wrestle or if he is touring with Fozzy.https://www.instagram.com/p/CQCwN9vjtO_/
Legal issues
On February 7, 2009, a fan accused Irvine of punching her after she spat at him with fans outside Save-On-Foods Memorial Centre in Victoria, British Columbia after a live event. Video footage, however, clearly showed he did not make contact with the woman. As a result of the incident, police detained them, but released them without charge. Police did not press charges against anyone in the brawl as it was "hard to determine who provoked whom".
On January 27, 2010, Irvine and fellow wrestler Gregory Helms were arrested in Fort Mitchell, Kentucky after leaving a bar. A police report stated that Helms punched Irvine and the other passengers in the cab. Fellow wrestlers Christian and CM Punk bailed them out later.
Filmography
Film
Television
Video games
Championships and accomplishments
All Elite Wrestling AEW World Championship (1 time)
AEW Dynamite Awards (2 times)
Bleacher Report PPV Moment of the Year (2021) –
Biggest Beatdown (2021) –
The Baltimore Sun
Feud of the Year (2008)
Canadian Rocky Mountain Wrestling
CRMW North American Heavyweight Championship (1 time)
CRMW North American Tag Team Championship (2 times) – with Lance Storm
CRMW Mid-Heavyweight Championship (2 times)
Consejo Mundial de Lucha Libre
NWA World Middleweight Championship (1 time)
Extreme Championship Wrestling
ECW World Television Championship (1 time)
International Wrestling Alliance
IWA Junior Heavyweight Championship (1 time)
New Japan Pro-Wrestling
IWGP Intercontinental Championship (1 time)
Pro Wrestling Illustrated
Faction of the Year (2021) – with The Inner Circle
Feud of the Decade (2000s)
Feud of the Year (2008)
Feud of the Year (2021)
Most Hated Wrestler of the Year (2002, 2008)
Ranked No. 2 of the top 500 singles wrestlers in the PWI 500 in 2009
Rolling Stone
Ranked No. 3 of the 10 best WWE wrestlers of 2016
World Championship Wrestling
WCW Cruiserweight Championship (4 times)
WCW World Television Championship (1 time)
World Wrestling Federation/Entertainment/WWE
Undisputed WWF Championship (1 time)
World Heavyweight Championship (3 times)
WCW/World Championship (2 times)
WWF/WWE Intercontinental Championship (9 times)
WWE United States Championship (2 times)
WWF European Championship (1 time)
WWF Hardcore Championship (1 time)
WWE Tag Team Championship (2 times) – with Edge (1) and Big Show (1)
WWF/World Tag Team Championship (5 times) – with Chris Benoit (1), The Rock (1), Christian (1), Edge (1), and Big Show (1)
Bragging Rights Trophy (2009) – with Team SmackDown
WWF Undisputed Championship Tournament (2001)
Fourth Grand Slam Champion
Ninth Triple Crown Champion
Slammy Award (3 times)
Extreme Moment of the Year (2014)
Superstar of the Year (2008)
Tag Team of the Year (2009) – with Big Show
Wrestle Association "R"
WAR International Junior Heavyweight Championship (1 time)
WAR International Junior Heavyweight Tag Team Championship (1 time) – with Gedo
World Wrestling Association
WWA Tag Team Championship (1 time) – with El Dandy
Wrestling Observer Newsletter
Wrestler of the Year (2008, 2009, 2019)
Best on Interviews (2003, 2008, 2009, 2019)
Best on Interviews of the Decade (2000s)
Feud of the Year (2008)
Pro Wrestling Match of the Year (2008)
Most Underrated Wrestler (1999, 2000)
Readers' Favorite Wrestler (1999)
United States/Canada MVP (2019)
Most Charismatic (2019)
Best Box Office Draw (2019)
Best Pro Wrestling Book (2011)
Wrestling Observer Newsletter Hall of Fame (Class of 2010)
Luchas de Apuestas record
Notes
References
Further reading
External links
1970 births
21st-century American male actors
21st-century American singers
21st-century Canadian male actors
21st-century Canadian male singers
AEW World Champions
All Elite Wrestling personnel
American Christians
American color commentators
American game show hosts
American hard rock musicians
American heavy metal singers
American male film actors
American male professional wrestlers
American male singer-songwriters
American male television actors
American memoirists
American men podcasters
American people of Scottish descent
American people of Ukrainian descent
American podcasters
American radio personalities
American rock singers
American rock songwriters
American YouTubers
Canadian Christians
Canadian colour commentators
Canadian expatriate professional wrestlers in the United States
Canadian game show hosts
Canadian hard rock musicians
Canadian heavy metal singers
Canadian male film actors
Canadian male professional wrestlers
Canadian male singers
Canadian male singer-songwriters
Canadian male television actors
Canadian memoirists
Canadian men podcasters
Canadian people of Scottish descent
Canadian people of Ukrainian descent
Canadian podcasters
Canadian radio personalities
Canadian rock singers
Canadian YouTubers
Christians from New York (state)
ECW World Television Champions
Expatriate professional wrestlers in Japan
Expatriate professional wrestlers in Mexico
Fozzy members
IWGP Intercontinental champions
Living people
Male actors from New York (state)
Male actors from Winnipeg
Male YouTubers
Musicians from Winnipeg
NWA/WCW World Television Champions
NWA/WCW/WWE United States Heavyweight Champions
Participants in American reality television series
People from Manhasset, New York
Professional wrestlers from Manitoba
Professional wrestlers from New York (state)
Professional wrestling podcasters
Red River College alumni
Singer-songwriters from New York (state)
Sportspeople from Winnipeg
WCW World Heavyweight Champions
World Heavyweight Champions (WWE)
WWE Champions
WWE Grand Slam champions
WWF European Champions
WWF/WWE Hardcore Champions
WWF/WWE Intercontinental Champions | true | [
"Ids Hylke Postma (born 28 December 1973) is a Dutch former speed skater. He is an Olympic gold medalist and former world champion.\n\nIn 1993 Postma finished 2nd at the Speedskating World Championships for Juniors. In his first year as senior skater, he became Dutch Allround Champion, finished second behind Johann Olav Koss at the World Allround Championships, and came 4th in the European Championships, but nevertheless did not qualify for the Dutch Olympic team. In 1997 Postma won both the European Allround Championships and the World Allround Championships.\n\nHis greatest success came in 1998 when he became World Allround Champion again, also setting a world record in the point-sum combination, and won two Olympic medals at the Olympic Games in Nagano. He won the 1,000 meters event and placed second at his specialty, the 1,500 meters, just behind Ådne Søndrål from Norway. Also in 1998, he was the first skater who skated an official world record on the 1,500 meters below 1:50.00: Postma did this in Berlin. Erben Wennemars had done the same the summer before, but that time was not ratified by the International Skating Union. Postma's record did not last long, because a few hours later Kevin Overland skated to a new record in Calgary.\n\nPostma is also a three-time World Champion in the World Single Distance Championships. He won the 5,000 meters in 1996 and the 1,500 meters in 1999 and 2000.\n\nIn October 2004 Postma announced his retirement and nowadays he lives on his farm in Deersum. He married German speed skater Anni Friesinger on 11 August 2009 in Salzburg. The couple will not live together on the farm until renovations are complete. In August 2011, she gave birth to a daughter. He previously had a relationship with Renske Vellinga, until she died in a car crash in 1994.\n\nRecords\n\nPersonal records\n\nSource: www.isu.org & SpeedskatingResults.com\n\nWorld records\n\nSource: SpeedSkatingStats.com\n\nTournament overview\n\n- = Did not participate\nDNQ = Did not qualify for the final distance\nNC = No classification \nSource:\n\nWorld Cup overview\n\n– = Did not participate\n* = 10000 meter\n''(b) = Division B\n\nMedals won\n\nReferences\n\nExternal links\n Ids Postma at SpeedSkatingStats.com\n What's New at Q Sports?\n\n1973 births\nLiving people\nDutch male speed skaters\nOlympic speed skaters of the Netherlands\nSpeed skaters at the 1998 Winter Olympics\nSpeed skaters at the 2002 Winter Olympics\nOlympic medalists in speed skating\nWorld record setters in speed skating\nPeople from Boarnsterhim\nSportspeople from Friesland\nMedalists at the 1998 Winter Olympics\nOlympic gold medalists for the Netherlands\nOlympic silver medalists for the Netherlands\nWorld Allround Speed Skating Championships medalists\nWorld Single Distances Speed Skating Championships medalists",
"Jonathan Nsenga (born 21 April 1973) is a retired Belgian hurdler.\n\nHe was born in Mons and represented the club OCAN. In his early career he won the silver medal at the 1994 Jeux de la Francophonie, the gold medal at the 1995 Universiade, the bronze medal at the 1996 European Indoor Championships and the silver medal at the 1997 Universiade. He participated at the 1992 World Junior Championships, the 1994 European Championships, the 1995 World Indoor Championships, the 1995 World Championships, the 1996 Olympic Games and the 1997 World Championships without reaching the final. In 1997 he received a three-month doping ban for ephedrine use.\n\nAfter the doping ban he finished fourth at the 1998 European Indoor Championships, eighth at the 1998 European Championships, eighth at the 1999 World Championships and second at the 1999 Universiade and seventh at the 2000 European Indoor Championships. He also competed at the 2000 Olympic Games, the 2001 World Championships, the 2002 European Championships, the 2003 World Indoor Championships, the 2003 World Championships (did not finish), the 2005 World Championships and the 2006 European Championships (did not finish) without reaching the final.\n\nHe became Belgian champion in 1994, 1997, 1999, 2001, 2002, 2005 and 2006. His personal best time was 13.25 seconds in the 110 metres hurdles, achieved in the semifinal of the 1998 European Championships in Budapest. This is the Belgian national record as of 2007. In the 60 metres hurdles he had 7.55 seconds, also achieved in 1998. He was given the Golden Spike award in the same year.\n\nHe is now a coach. Among his athletes are Adrien Deghelt.\n\nReferences\n\n1973 births\nLiving people\nPeople from Mons\nBelgian male hurdlers\nAthletes (track and field) at the 1996 Summer Olympics\nAthletes (track and field) at the 2000 Summer Olympics\nOlympic athletes of Belgium\nWorld Athletics Championships athletes for Belgium\nDoping cases in athletics\nBelgian sportspeople in doping cases\nBelgian athletics coaches\nUniversiade medalists in athletics (track and field)\nUniversiade gold medalists for Belgium\nMedalists at the 1995 Summer Universiade\nMedalists at the 1997 Summer Universiade\nMedalists at the 1999 Summer Universiade"
] | [
"Christopher Keith Irvine (born November 9, 1970), better known by the ring name Chris Jericho, is an American-Canadian professional wrestler and singer. He is currently signed to All Elite Wrestling (AEW), where he is the leader of The Inner Circle stable.",
"He is currently signed to All Elite Wrestling (AEW), where he is the leader of The Inner Circle stable. Noted for his over-the-top rock star persona, he has been named by journalists and industry colleagues as one of the greatest professional wrestlers of all time.",
"Noted for his over-the-top rock star persona, he has been named by journalists and industry colleagues as one of the greatest professional wrestlers of all time. During the 1990s, Jericho performed for American organizations Extreme Championship Wrestling (ECW) and World Championship Wrestling (WCW), as well as for promotions in countries such as Canada, Japan, and Mexico.",
"During the 1990s, Jericho performed for American organizations Extreme Championship Wrestling (ECW) and World Championship Wrestling (WCW), as well as for promotions in countries such as Canada, Japan, and Mexico. At the end of 1999, he made his debut in the World Wrestling Federation (WWF).",
"At the end of 1999, he made his debut in the World Wrestling Federation (WWF). In 2001, he became the first Undisputed WWF Champion, and thus the final holder of the WCW World Heavyweight Championship (then referred to as the World Championship), having won and unified the WWF and World titles by defeating Stone Cold Steve Austin and The Rock on the same night.",
"In 2001, he became the first Undisputed WWF Champion, and thus the final holder of the WCW World Heavyweight Championship (then referred to as the World Championship), having won and unified the WWF and World titles by defeating Stone Cold Steve Austin and The Rock on the same night. Jericho headlined multiple pay-per-view (PPV) events during his time with the WWF/WWE, including WrestleMania X8 and the inaugural TLC and Elimination Chamber shows.",
"Jericho headlined multiple pay-per-view (PPV) events during his time with the WWF/WWE, including WrestleMania X8 and the inaugural TLC and Elimination Chamber shows. He was inducted into the Wrestling Observer Newsletter Hall of Fame in 2010.",
"He was inducted into the Wrestling Observer Newsletter Hall of Fame in 2010. Within the WWF/WWE, Jericho is a six-time world champion, having won the Undisputed WWF Championship once, the WCW/World Championship twice and the World Heavyweight Championship three times.",
"Within the WWF/WWE, Jericho is a six-time world champion, having won the Undisputed WWF Championship once, the WCW/World Championship twice and the World Heavyweight Championship three times. He has also held the WWE Intercontinental Championship a record nine times and was the ninth Triple Crown Champion, as well as the fourth Grand Slam Champion in history.",
"He has also held the WWE Intercontinental Championship a record nine times and was the ninth Triple Crown Champion, as well as the fourth Grand Slam Champion in history. In addition, he was the 2008 Superstar of the Year Slammy Award winner and (along with Big Show as Jeri-Show) won the 2009 Tag Team of the Year Slammy Award—making him the only winner of both Superstar and Tag Team of the Year.",
"In addition, he was the 2008 Superstar of the Year Slammy Award winner and (along with Big Show as Jeri-Show) won the 2009 Tag Team of the Year Slammy Award—making him the only winner of both Superstar and Tag Team of the Year. After his departure from WWE in 2018, Jericho signed with New Japan Pro-Wrestling (NJPW), where he became a one-time IWGP Intercontinental Champion, and becoming the first man to have held both the WWE and IWGP Intercontinental Championships.",
"After his departure from WWE in 2018, Jericho signed with New Japan Pro-Wrestling (NJPW), where he became a one-time IWGP Intercontinental Champion, and becoming the first man to have held both the WWE and IWGP Intercontinental Championships. Jericho joined AEW in January 2019 and became the inaugural holder of the AEW World Championship in August of that year.",
"Jericho joined AEW in January 2019 and became the inaugural holder of the AEW World Championship in August of that year. All totalled, between ECW, WCW, WWE, NJPW and AEW, Jericho has held 36 championships (including seven World Championships, and 10 Intercontinental Championships).",
"All totalled, between ECW, WCW, WWE, NJPW and AEW, Jericho has held 36 championships (including seven World Championships, and 10 Intercontinental Championships). In 1999, Jericho became lead vocalist of heavy metal band Fozzy, who released their eponymous debut album the following year.",
"In 1999, Jericho became lead vocalist of heavy metal band Fozzy, who released their eponymous debut album the following year. The group's early work is composed largely of cover versions, although they have focused primarily on original material from their third album, All That Remains (2005), onward.",
"The group's early work is composed largely of cover versions, although they have focused primarily on original material from their third album, All That Remains (2005), onward. Jericho has also appeared on numerous television shows over the years, including the 2011 season of Dancing With the Stars.",
"Jericho has also appeared on numerous television shows over the years, including the 2011 season of Dancing With the Stars. He hosted the ABC game show Downfall, the 2011 edition of the Revolver Golden Gods Awards, and the UK's Metal Hammer Golden Gods Awards in 2012 and 2017.",
"He hosted the ABC game show Downfall, the 2011 edition of the Revolver Golden Gods Awards, and the UK's Metal Hammer Golden Gods Awards in 2012 and 2017. Early life Christopher Keith Irvine was born in Manhasset, New York on November 9, 1970, the son of a Canadian couple.",
"Early life Christopher Keith Irvine was born in Manhasset, New York on November 9, 1970, the son of a Canadian couple. He is of Scottish descent from his father's side and Ukrainian descent from his mother's side.",
"He is of Scottish descent from his father's side and Ukrainian descent from his mother's side. His father, ice hockey player Ted Irvine, had been playing for the New York Rangers at the time of his birth. When his father retired, the family moved back to Winnipeg, Manitoba, where Irvine grew up.",
"When his father retired, the family moved back to Winnipeg, Manitoba, where Irvine grew up. He holds dual American and Canadian citizenships.",
"He holds dual American and Canadian citizenships. Irvine's interest in professional wrestling began when he started watching the local American Wrestling Association (AWA) events that took place at the Winnipeg Arena with his family, and his desire to become a professional wrestler himself began when he saw footage of Owen Hart, then appearing with Stampede Wrestling, performing various high-flying moves.",
"Irvine's interest in professional wrestling began when he started watching the local American Wrestling Association (AWA) events that took place at the Winnipeg Arena with his family, and his desire to become a professional wrestler himself began when he saw footage of Owen Hart, then appearing with Stampede Wrestling, performing various high-flying moves. In addition, Irvine also cited Owen's older brother Bret, Ricky Steamboat and Shawn Michaels as inspirations for his becoming a professional wrestler.",
"In addition, Irvine also cited Owen's older brother Bret, Ricky Steamboat and Shawn Michaels as inspirations for his becoming a professional wrestler. His first experience with a professional wrestling promotion was when he acted as part of the ring crew for the first tour of the newly opened Keystone Wrestling Alliance promotion, where he learned important pointers from independent wrestlers Catfish Charlie and Caveman Broda.",
"His first experience with a professional wrestling promotion was when he acted as part of the ring crew for the first tour of the newly opened Keystone Wrestling Alliance promotion, where he learned important pointers from independent wrestlers Catfish Charlie and Caveman Broda. He attended Red River College in Winnipeg, graduating in 1990 with a bachelor's degree in Creative Communications.",
"He attended Red River College in Winnipeg, graduating in 1990 with a bachelor's degree in Creative Communications. Professional wrestling career Independent circuit (1990–1991) At the age of 19, he entered the Hart Brothers School of Wrestling, where he met Lance Storm on his first day.",
"Professional wrestling career Independent circuit (1990–1991) At the age of 19, he entered the Hart Brothers School of Wrestling, where he met Lance Storm on his first day. He was trained by Ed Langley and local Calgary wrestler Brad Young.",
"He was trained by Ed Langley and local Calgary wrestler Brad Young. Two months after completing training, he was ready to start wrestling on independent shows, making his debut at the Moose Hall in Ponoka, Alberta as \"Cowboy\" Chris Jericho, on October 2, 1990, in a ten-minute time limit draw against Storm.",
"Two months after completing training, he was ready to start wrestling on independent shows, making his debut at the Moose Hall in Ponoka, Alberta as \"Cowboy\" Chris Jericho, on October 2, 1990, in a ten-minute time limit draw against Storm. The pair then worked as a tag team, initially called Sudden Impact.",
"The pair then worked as a tag team, initially called Sudden Impact. According to a February 2019 interview with Rich Eisen on The Rich Eisen Show, Jericho stated that his initial name was going to be \"Jack Action\" however, someone remarked to him that the name was stupid, they then asked him what his name really was, he then got nervous and said \"Chris Jericho\".",
"According to a February 2019 interview with Rich Eisen on The Rich Eisen Show, Jericho stated that his initial name was going to be \"Jack Action\" however, someone remarked to him that the name was stupid, they then asked him what his name really was, he then got nervous and said \"Chris Jericho\". He took the name Jericho from an album, Walls of Jericho, by German power metal band, Helloween.",
"He took the name Jericho from an album, Walls of Jericho, by German power metal band, Helloween. Jericho and Storm worked for Tony Condello in the tours of Northern Manitoba with Adam Copeland (Edge), Jason Reso (Christian) and Terry Gerin (Rhino).",
"Jericho and Storm worked for Tony Condello in the tours of Northern Manitoba with Adam Copeland (Edge), Jason Reso (Christian) and Terry Gerin (Rhino). The pair also wrestled in Calgary's Canadian National Wrestling Alliance (CNWA) and Canadian Rocky Mountain Wrestling (CRMW).",
"The pair also wrestled in Calgary's Canadian National Wrestling Alliance (CNWA) and Canadian Rocky Mountain Wrestling (CRMW). Frontier Martial-Arts Wrestling (1991) In 1991, Jericho and Storm started touring in Japan for Frontier Martial-Arts Wrestling as Sudden Impact, where he befriended Ricky Fuji, who also trained under Stu Hart.",
"Frontier Martial-Arts Wrestling (1991) In 1991, Jericho and Storm started touring in Japan for Frontier Martial-Arts Wrestling as Sudden Impact, where he befriended Ricky Fuji, who also trained under Stu Hart. Consejo Mundial de Lucha Libre and other Mexican promotions (1992–1995) In the winter of 1992, he traveled to Mexico and competed under the name Leon D'Oro (\"Golden Lion\", a name that fans voted on for him between \"He-Man\", \"Chris Power\", and his preferred choice \"Leon D'Oro\"), and later Corazón de León (\"Lion Heart\"), where he wrestled for several small wrestling companies.",
"Consejo Mundial de Lucha Libre and other Mexican promotions (1992–1995) In the winter of 1992, he traveled to Mexico and competed under the name Leon D'Oro (\"Golden Lion\", a name that fans voted on for him between \"He-Man\", \"Chris Power\", and his preferred choice \"Leon D'Oro\"), and later Corazón de León (\"Lion Heart\"), where he wrestled for several small wrestling companies. From 1993 to 1995, he competed in Mexico's oldest promotion, Consejo Mundial de Lucha Libre (CMLL).",
"From 1993 to 1995, he competed in Mexico's oldest promotion, Consejo Mundial de Lucha Libre (CMLL). In CMLL, Jericho took on Silver King, Negro Casas, and Último Dragón en route to an eleven-month reign as the NWA Middleweight Champion that began in December 1993.",
"In CMLL, Jericho took on Silver King, Negro Casas, and Último Dragón en route to an eleven-month reign as the NWA Middleweight Champion that began in December 1993. Smoky Mountain Wrestling (1994) 1994 saw Jericho reunited with Storm, as The Thrillseekers in Jim Cornette's Appalachian Smoky Mountain Wrestling (SMW) promotion, where they feuded with the likes of Well Dunn, The Rock 'n' Roll Express, and The Heavenly Bodies.",
"Smoky Mountain Wrestling (1994) 1994 saw Jericho reunited with Storm, as The Thrillseekers in Jim Cornette's Appalachian Smoky Mountain Wrestling (SMW) promotion, where they feuded with the likes of Well Dunn, The Rock 'n' Roll Express, and The Heavenly Bodies. Wrestling and Romance/WAR (1994–1996) In late 1994, Jericho began competing regularly in Japan for Genichiro Tenryu's Wrestling and Romance (later known as Wrestle Association \"R\") (WAR) promotion as The Lion Heart.",
"Wrestling and Romance/WAR (1994–1996) In late 1994, Jericho began competing regularly in Japan for Genichiro Tenryu's Wrestling and Romance (later known as Wrestle Association \"R\") (WAR) promotion as The Lion Heart. In November 1994, Último Dragón defeated him for the NWA World Middleweight Championship, which he had won while wrestling in Mexico.",
"In November 1994, Último Dragón defeated him for the NWA World Middleweight Championship, which he had won while wrestling in Mexico. In March 1995, Jericho lost to Gedo in the final of a tournament to crown the inaugural WAR International Junior Heavyweight Champion.",
"In March 1995, Jericho lost to Gedo in the final of a tournament to crown the inaugural WAR International Junior Heavyweight Champion. He defeated Gedo for the championship in June 1995, losing it to Último Dragón the next month.",
"He defeated Gedo for the championship in June 1995, losing it to Último Dragón the next month. In December 1995, Jericho competed in the second Super J-Cup tournament, defeating Hanzo Nakajima in the first round, but losing to Wild Pegasus in the second round.",
"In December 1995, Jericho competed in the second Super J-Cup tournament, defeating Hanzo Nakajima in the first round, but losing to Wild Pegasus in the second round. In 1995, Jericho joined the heel stable Fuyuki-Gun (\"Fuyuki Army\") with Hiromichi Fuyuki, Gedo, and Jado, adopting the name Lion Do.",
"In 1995, Jericho joined the heel stable Fuyuki-Gun (\"Fuyuki Army\") with Hiromichi Fuyuki, Gedo, and Jado, adopting the name Lion Do. In February 1996, Jericho and Gedo won a tournament for the newly created International Junior Heavyweight Tag Team Championship, defeating Lance Storm and Yuji Yasuraoka in the final.",
"In February 1996, Jericho and Gedo won a tournament for the newly created International Junior Heavyweight Tag Team Championship, defeating Lance Storm and Yuji Yasuraoka in the final. They lost the championship to Storm and Yasuraoka the following month.",
"They lost the championship to Storm and Yasuraoka the following month. Jericho made his final appearances with WAR in July 1996, having wrestled a total of twenty-four tours for the company.",
"Jericho made his final appearances with WAR in July 1996, having wrestled a total of twenty-four tours for the company. Extreme Championship Wrestling (1996) In 1995, thanks in part to recommendations by Benoit, Dave Meltzer and Perry Saturn, to promoter Paul Heyman, and after Mick Foley saw Jericho's match against Último Dragón for the WAR International Junior Heavyweight Championship in July 1995 and gave a tape of the match to Heyman, Jericho began wrestling for the Philadelphia-based Extreme Championship Wrestling (ECW) promotion, winning the ECW World Television Championship from Pitbull #2 in June 1996 at Hardcore Heaven.",
"Extreme Championship Wrestling (1996) In 1995, thanks in part to recommendations by Benoit, Dave Meltzer and Perry Saturn, to promoter Paul Heyman, and after Mick Foley saw Jericho's match against Último Dragón for the WAR International Junior Heavyweight Championship in July 1995 and gave a tape of the match to Heyman, Jericho began wrestling for the Philadelphia-based Extreme Championship Wrestling (ECW) promotion, winning the ECW World Television Championship from Pitbull #2 in June 1996 at Hardcore Heaven. While in ECW, Jericho wrestled Taz, Sabu, Rob Van Dam, Foley (as Cactus Jack), Shane Douglas, and 2 Cold Scorpio.",
"While in ECW, Jericho wrestled Taz, Sabu, Rob Van Dam, Foley (as Cactus Jack), Shane Douglas, and 2 Cold Scorpio. He made his final appearance at The Doctor Is In in August 1996. It was during this time that he drew the attention of World Championship Wrestling (WCW).",
"It was during this time that he drew the attention of World Championship Wrestling (WCW). World Championship Wrestling (1996 – 1999) Early appearances (1996–1997) Jericho debuted for WCW on August 20, 1996 by defeating Mr. JL, which aired on the August 31 episode of Saturday Night.",
"World Championship Wrestling (1996 – 1999) Early appearances (1996–1997) Jericho debuted for WCW on August 20, 1996 by defeating Mr. JL, which aired on the August 31 episode of Saturday Night. Jericho's televised debut in WCW occurred on the August 26 episode of Monday Nitro against Alex Wright in a match which ended in a no contest.",
"Jericho's televised debut in WCW occurred on the August 26 episode of Monday Nitro against Alex Wright in a match which ended in a no contest. He made his pay-per-view debut on September 15 against Chris Benoit in a losing effort at Fall Brawl.",
"He made his pay-per-view debut on September 15 against Chris Benoit in a losing effort at Fall Brawl. The following month, at Halloween Havoc, Jericho lost to nWo member Syxx due to biased officiating by nWo referee Nick Patrick.",
"The following month, at Halloween Havoc, Jericho lost to nWo member Syxx due to biased officiating by nWo referee Nick Patrick. This led to a match between Jericho and Patrick at World War 3, which stipulated that Jericho's one arm would be tied behind his back. Despite the odds stacked against him, Jericho won the match.",
"Despite the odds stacked against him, Jericho won the match. Later that night, Jericho participated in the namesake battle royal for a future WCW World Heavyweight Championship match but failed to win the match. Jericho represented WCW against nWo Japan member Masahiro Chono in a losing effort at the nWo Souled Out event.",
"Jericho represented WCW against nWo Japan member Masahiro Chono in a losing effort at the nWo Souled Out event. At SuperBrawl VII, Jericho unsuccessfully challenged Eddie Guerrero for the United States Heavyweight Championship.",
"At SuperBrawl VII, Jericho unsuccessfully challenged Eddie Guerrero for the United States Heavyweight Championship. Cruiserweight Champion (1997–1998) On June 28, 1997, Jericho defeated Syxx at the Saturday Nitro live event in Los Angeles, California to win the WCW Cruiserweight Championship for the first time, thus winning the first championship of his WCW career.",
"Cruiserweight Champion (1997–1998) On June 28, 1997, Jericho defeated Syxx at the Saturday Nitro live event in Los Angeles, California to win the WCW Cruiserweight Championship for the first time, thus winning the first championship of his WCW career. Jericho successfully defended the title against Ultimo Dragon at Bash at the Beach, before losing the title to Alex Wright on the July 28 episode of Monday Nitro.",
"Jericho successfully defended the title against Ultimo Dragon at Bash at the Beach, before losing the title to Alex Wright on the July 28 episode of Monday Nitro. Jericho unsuccessfully challenged Wright for the title at Road Wild, before defeating Wright in a rematch to win his second Cruiserweight Championship on the August 16 episode of Saturday Night.",
"Jericho unsuccessfully challenged Wright for the title at Road Wild, before defeating Wright in a rematch to win his second Cruiserweight Championship on the August 16 episode of Saturday Night. Jericho began feuding with Eddie Guerrero over the title as he successfully defended the title against Guerrero at Clash of the Champions XXXV before losing the title to Guerrero at Fall Brawl.",
"Jericho began feuding with Eddie Guerrero over the title as he successfully defended the title against Guerrero at Clash of the Champions XXXV before losing the title to Guerrero at Fall Brawl. Jericho defeated Gedo at Halloween Havoc. At World War 3, Jericho participated in the namesake battle royal but failed to win.",
"At World War 3, Jericho participated in the namesake battle royal but failed to win. On the January 15, 1998 episode of Thunder, Jericho defeated Eddie Guerrero to earn a title shot against Rey Mysterio Jr. for the Cruiserweight Championship at Souled Out. Jericho won the match by forcing Mysterio to submit to the Liontamer.",
"Jericho won the match by forcing Mysterio to submit to the Liontamer. After the match, Jericho turned heel by assaulting Mysterio's knee with a toolbox. In the storyline, Mysterio needed six months of recovery before he could return to the ring.",
"In the storyline, Mysterio needed six months of recovery before he could return to the ring. Jericho then had a short feud with Juventud Guerrera in which Guerrera repeatedly requested a shot at Jericho's Cruiserweight Championship, but Jericho constantly rebuffed him. The feud culminated in a title versus mask match at SuperBrawl VIII.",
"The feud culminated in a title versus mask match at SuperBrawl VIII. Guerrera lost the match and was forced to remove his mask.",
"Guerrera lost the match and was forced to remove his mask. Following this match, Jericho began his ongoing gimmick of collecting and wearing to the ring trophy items from his defeated opponents, such as Guerrera's mask, Prince Iaukea's Hawaiian dress, and a headband from Disco Inferno.",
"Following this match, Jericho began his ongoing gimmick of collecting and wearing to the ring trophy items from his defeated opponents, such as Guerrera's mask, Prince Iaukea's Hawaiian dress, and a headband from Disco Inferno. Jericho then began a long feud with Dean Malenko, in which Jericho repeatedly claimed he was a better wrestler than Malenko, but refused to wrestle him.",
"Jericho then began a long feud with Dean Malenko, in which Jericho repeatedly claimed he was a better wrestler than Malenko, but refused to wrestle him. Because of his mastery of technical wrestling, Malenko was known as \"The Man of 1,000 Holds\", so Jericho claimed to be \"The Man of 1,004 Holds\"; Jericho mentions in his autobiography that this line originated from an IWA interview he saw as a child, where manager Floyd Creatchman claimed that Leo Burke, the first professional wrestler to be known as \"The Man of 1,000 Holds\", was now known as \"The Man of 1,002 Holds\", to which Floyd Creatchman stated that \"he learned two more\".",
"Because of his mastery of technical wrestling, Malenko was known as \"The Man of 1,000 Holds\", so Jericho claimed to be \"The Man of 1,004 Holds\"; Jericho mentions in his autobiography that this line originated from an IWA interview he saw as a child, where manager Floyd Creatchman claimed that Leo Burke, the first professional wrestler to be known as \"The Man of 1,000 Holds\", was now known as \"The Man of 1,002 Holds\", to which Floyd Creatchman stated that \"he learned two more\". During the March 30, 1998 episode of Nitro, after defeating Marty Jannetty, Jericho pulled out a long pile of paper that listed each of the 1,004 holds he knew and recited them to the audience.",
"During the March 30, 1998 episode of Nitro, after defeating Marty Jannetty, Jericho pulled out a long pile of paper that listed each of the 1,004 holds he knew and recited them to the audience. Many of the holds were fictional, and nearly every other hold was an armbar.",
"Many of the holds were fictional, and nearly every other hold was an armbar. On the March 12, 1998 episode of Thunder, Malenko defeated a wrestler wearing Juventud Guerrera's mask who appeared to be Jericho. However, the masked wrestler was actually Lenny Lane, whom Jericho bribed to appear in the match.",
"However, the masked wrestler was actually Lenny Lane, whom Jericho bribed to appear in the match. This started a minor feud between Lane and Jericho after Jericho refused to pay Lane. At Uncensored, Jericho finally wrestled Malenko and defeated him, after which Malenko took a leave of absence from wrestling.",
"At Uncensored, Jericho finally wrestled Malenko and defeated him, after which Malenko took a leave of absence from wrestling. Jericho then proceeded to bring with him to the ring a portrait of Malenko that he insulted and demeaned.",
"Jericho then proceeded to bring with him to the ring a portrait of Malenko that he insulted and demeaned. Just prior to Slamboree, J.J. Dillon (referred to by Jericho as \"Jo Jo\") scheduled a cruiserweight Battle Royal, the winner of which would immediately have a shot at Jericho's Cruiserweight Championship.",
"Just prior to Slamboree, J.J. Dillon (referred to by Jericho as \"Jo Jo\") scheduled a cruiserweight Battle Royal, the winner of which would immediately have a shot at Jericho's Cruiserweight Championship. Jericho accepted on the grounds that whoever he faced would be too tired to win a second match.",
"Jericho accepted on the grounds that whoever he faced would be too tired to win a second match. At Slamboree, Jericho came out to introduce the competitors in an insulting fashion before the match started and then went backstage for coffee.",
"At Slamboree, Jericho came out to introduce the competitors in an insulting fashion before the match started and then went backstage for coffee. An individual who appeared to be Ciclope won the battle royal after Juventud Guerrera shook his hand and then eliminated himself. The winner was a returning Malenko in disguise.",
"The winner was a returning Malenko in disguise. Following one of the loudest crowd reactions in WCW history, Malenko proceeded to defeat Jericho for the championship. Jericho claiming he was the victim of a carefully planned conspiracy to get the belt off of him.",
"Jericho claiming he was the victim of a carefully planned conspiracy to get the belt off of him. He at first blamed the WCW locker room, then added Dillon, Ted Turner, and finally in a vignette, he walked around Washington, D.C. with the sign \"conspiracy victim\" and accused President Bill Clinton of being one of the conspirators after being rejected from a meeting.",
"He at first blamed the WCW locker room, then added Dillon, Ted Turner, and finally in a vignette, he walked around Washington, D.C. with the sign \"conspiracy victim\" and accused President Bill Clinton of being one of the conspirators after being rejected from a meeting. Eventually, Malenko vacated the title.",
"Eventually, Malenko vacated the title. Jericho ended up defeating Malenko at The Great American Bash to win the vacant title after Malenko was disqualified after hitting Jericho with a chair. The next night, Malenko was suspended for his actions.",
"The next night, Malenko was suspended for his actions. At Bash at the Beach, the recently returned Rey Mysterio Jr. (who had recovered from his knee injury) defeated Jericho in a No Disqualification match after the still-suspended Malenko interfered.",
"At Bash at the Beach, the recently returned Rey Mysterio Jr. (who had recovered from his knee injury) defeated Jericho in a No Disqualification match after the still-suspended Malenko interfered. Jericho regained the Cruiserweight Championship from Mysterio the next night after he interrupted J.J. Dillon while Dillon was giving the championship to Mysterio.",
"Jericho regained the Cruiserweight Championship from Mysterio the next night after he interrupted J.J. Dillon while Dillon was giving the championship to Mysterio. Jericho was again awarded the championship. Eventually, Jericho decisively lost the title to Juventud Guerrera in a match at Road Wild with Malenko as special referee.",
"Eventually, Jericho decisively lost the title to Juventud Guerrera in a match at Road Wild with Malenko as special referee. World Television Champion (1998–1999) On August 10, Jericho defeated Stevie Ray to win the World Television Championship (Stevie Ray substituting for the champion Booker T).",
"World Television Champion (1998–1999) On August 10, Jericho defeated Stevie Ray to win the World Television Championship (Stevie Ray substituting for the champion Booker T). Soon afterward, Jericho repeatedly called out WCW World Heavyweight Champion Goldberg in an attempt to begin a feud with him, but never actually wrestled him.",
"Soon afterward, Jericho repeatedly called out WCW World Heavyweight Champion Goldberg in an attempt to begin a feud with him, but never actually wrestled him. Jericho cites Eric Bischoff, Goldberg and Hulk Hogan's refusal to book Jericho in a pay-per-view squash match loss against Goldberg, which Jericho felt would be a big draw, as a major reason for leaving the company.",
"Jericho cites Eric Bischoff, Goldberg and Hulk Hogan's refusal to book Jericho in a pay-per-view squash match loss against Goldberg, which Jericho felt would be a big draw, as a major reason for leaving the company. On November 30, Jericho lost the World Television Championship to Konnan.",
"On November 30, Jericho lost the World Television Championship to Konnan. In early 1999, Jericho began a feud with Perry Saturn. The feud saw Jericho and Saturn instigating bizarre stipulation matches, such as at Souled Out, where Jericho defeated Saturn in a \"loser must wear a dress\" match.",
"The feud saw Jericho and Saturn instigating bizarre stipulation matches, such as at Souled Out, where Jericho defeated Saturn in a \"loser must wear a dress\" match. At SuperBrawl IX, Jericho and Saturn wrestled in a \"dress\" match which Jericho won. Saturn finally defeated Jericho at Uncensored in a Dog Collar match.",
"Saturn finally defeated Jericho at Uncensored in a Dog Collar match. Jericho alternated between WCW and a number of Japanese tours before he signed a contract with the World Wrestling Federation (WWF) on June 30.",
"Jericho alternated between WCW and a number of Japanese tours before he signed a contract with the World Wrestling Federation (WWF) on June 30. Jericho's final WCW match came during a Peoria, Illinois, house show July 21, where he and Eddie Guerrero lost to Billy Kidman and Rey Mysterio Jr. in a tag team match.",
"Jericho's final WCW match came during a Peoria, Illinois, house show July 21, where he and Eddie Guerrero lost to Billy Kidman and Rey Mysterio Jr. in a tag team match. Fifteen years after Jericho's departure from WCW, his best known entrance music within the company, \"One Crazed Anarchist\", lent its name to the second single from his band Fozzy's 2014 album, Do You Wanna Start a War.",
"Fifteen years after Jericho's departure from WCW, his best known entrance music within the company, \"One Crazed Anarchist\", lent its name to the second single from his band Fozzy's 2014 album, Do You Wanna Start a War. New Japan Pro-Wrestling (1997–1998) In January 1997, Jericho made his debut for New Japan Pro-Wrestling (NJPW), who had a working agreement with WCW, as Super Liger, the masked nemesis of Jyushin Thunder Liger.",
"New Japan Pro-Wrestling (1997–1998) In January 1997, Jericho made his debut for New Japan Pro-Wrestling (NJPW), who had a working agreement with WCW, as Super Liger, the masked nemesis of Jyushin Thunder Liger. According to Jericho, Super Liger's first match against Koji Kanemoto at Wrestling World 1997 was so poorly received that the gimmick was dropped instantly.",
"According to Jericho, Super Liger's first match against Koji Kanemoto at Wrestling World 1997 was so poorly received that the gimmick was dropped instantly. Jericho botched several moves in the match and complained he had difficulty seeing through the mask. The following six months, Jericho worked for New Japan unmasked, before being called back by WCW.",
"The following six months, Jericho worked for New Japan unmasked, before being called back by WCW. On September 23, 1998, Jericho made a one-night-only return to NJPW at that years Big Wednesday show, teaming with Black Tiger against IWGP Junior Heavyweight Tag Team Champions Shinjiro Otani and Tatsuhito Takaiwa in a title match, which Jericho and Tiger lost.",
"On September 23, 1998, Jericho made a one-night-only return to NJPW at that years Big Wednesday show, teaming with Black Tiger against IWGP Junior Heavyweight Tag Team Champions Shinjiro Otani and Tatsuhito Takaiwa in a title match, which Jericho and Tiger lost. World Wrestling Federation/Entertainment (1999 – 2005) WWF Intercontinental Champion (1999–2001) In the weeks before Jericho's debut, a clock labeled \"countdown to the new millennium\" appeared on WWF programming.",
"World Wrestling Federation/Entertainment (1999 – 2005) WWF Intercontinental Champion (1999–2001) In the weeks before Jericho's debut, a clock labeled \"countdown to the new millennium\" appeared on WWF programming. On the home video, Break Down the Walls, Jericho states he was inspired to do this as his entrance when he saw a similar clock in a post office and Vince McMahon approved its use as his introduction to the WWF.",
"On the home video, Break Down the Walls, Jericho states he was inspired to do this as his entrance when he saw a similar clock in a post office and Vince McMahon approved its use as his introduction to the WWF. The clock finally ran out on the August 9 episode of Raw Is War in Chicago, Illinois while The Rock was in the ring cutting a promo on the Big Show.",
"The clock finally ran out on the August 9 episode of Raw Is War in Chicago, Illinois while The Rock was in the ring cutting a promo on the Big Show. Jericho entered the arena and proclaimed \"Raw Is Jericho\" and that he had \"come to save the World Wrestling Federation\", referring to himself as \"Y2J\" (a play on the Y2K bug).",
"Jericho entered the arena and proclaimed \"Raw Is Jericho\" and that he had \"come to save the World Wrestling Federation\", referring to himself as \"Y2J\" (a play on the Y2K bug). The Rock proceeded to verbally mock him for his interruption.",
"The Rock proceeded to verbally mock him for his interruption. Later that month, he would interact with several superstars including in particular interrupting a promo that The Undertaker was involved in, Jericho made his in-ring debut as a heel on August 26, losing a match against Road Dogg by disqualification on the inaugural episode of SmackDown!",
"Later that month, he would interact with several superstars including in particular interrupting a promo that The Undertaker was involved in, Jericho made his in-ring debut as a heel on August 26, losing a match against Road Dogg by disqualification on the inaugural episode of SmackDown! after he performed a powerbomb on Road Dogg through a table.",
"after he performed a powerbomb on Road Dogg through a table. Jericho's first long-term feud was with Chyna, for the WWF Intercontinental Championship. After losing to Chyna at Survivor Series, Jericho defeated her to win his first WWF Intercontinental Championship at Armageddon.",
"After losing to Chyna at Survivor Series, Jericho defeated her to win his first WWF Intercontinental Championship at Armageddon. This feud included a controversial decision during a rematch in which two separate referees declared each one of them the winner of a match for the title. As a result, they became co-champions, during which Jericho turned face.",
"As a result, they became co-champions, during which Jericho turned face. He attained sole champion status at the Royal Rumble. Jericho lost the WWF Intercontinental title to then-European Champion Kurt Angle at No Way Out.",
"Jericho lost the WWF Intercontinental title to then-European Champion Kurt Angle at No Way Out. Jericho competed in a Triple Threat match against Chris Benoit and Angle at WrestleMania 2000 in a two-falls contest with both of Angle's titles at stake.",
"Jericho competed in a Triple Threat match against Chris Benoit and Angle at WrestleMania 2000 in a two-falls contest with both of Angle's titles at stake. Jericho won the European Championship by pinning Benoit, who in turn pinned Jericho to win the WWF Intercontinental Championship. This was the first of six pay-per-view matches between the pair within twelve months.",
"This was the first of six pay-per-view matches between the pair within twelve months. Jericho was originally supposed to be in the main event of WrestleMania, but was taken out after Mick Foley, who was originally asked by writers to be in the match, took his place.",
"Jericho was originally supposed to be in the main event of WrestleMania, but was taken out after Mick Foley, who was originally asked by writers to be in the match, took his place. Jericho was even advertised on the event's posters promoting the match.",
"Jericho was even advertised on the event's posters promoting the match. Jericho lost the title the next day to Eddie Guerrero on Raw after Chyna sided with Guerrero. On the April 17 episode of Raw, Jericho upset Triple H in a WWF Championship match.",
"On the April 17 episode of Raw, Jericho upset Triple H in a WWF Championship match. Referee Earl Hebner made a fast count when Jericho pinned Triple H, causing Jericho to win the title. Hebner later reversed the decision due to pressure from Triple H, and WWE does not recognize Jericho's reign as champion.",
"Hebner later reversed the decision due to pressure from Triple H, and WWE does not recognize Jericho's reign as champion. On April 19, Jericho defeated Eddie Guerrero at the Gary Albright Memorial Show organized by World Xtreme Wrestling (WXW).",
"On April 19, Jericho defeated Eddie Guerrero at the Gary Albright Memorial Show organized by World Xtreme Wrestling (WXW). On the May 4 episode of SmackDown!, Jericho defeated Benoit to win his third WWF Intercontinental Championship but lost the title to Benoit four days later on Raw.",
"On the May 4 episode of SmackDown!, Jericho defeated Benoit to win his third WWF Intercontinental Championship but lost the title to Benoit four days later on Raw. Jericho's feud with Triple H ended at Fully Loaded, when they competed in a Last Man Standing match.",
"Jericho's feud with Triple H ended at Fully Loaded, when they competed in a Last Man Standing match. Jericho lost the match to Triple H only by one second, despite the repeated assistance Triple H's wife, Stephanie, provided him in the match.",
"Jericho lost the match to Triple H only by one second, despite the repeated assistance Triple H's wife, Stephanie, provided him in the match. At the 2001 Royal Rumble, Jericho defeated Chris Benoit in a ladder match to win the WWF Intercontinental Championship for the fourth time.",
"At the 2001 Royal Rumble, Jericho defeated Chris Benoit in a ladder match to win the WWF Intercontinental Championship for the fourth time. At WrestleMania X-Seven, he successfully defended his title in a match against William Regal, only to lose it four days later to Triple H. At Judgment Day, Jericho and Benoit won a tag team turmoil match and earned a shot at Stone Cold Steve Austin and Triple H for their WWF Tag Team Championship on Raw the next night.",
"At WrestleMania X-Seven, he successfully defended his title in a match against William Regal, only to lose it four days later to Triple H. At Judgment Day, Jericho and Benoit won a tag team turmoil match and earned a shot at Stone Cold Steve Austin and Triple H for their WWF Tag Team Championship on Raw the next night. Benoit and Jericho won the match, in which Triple H legitimately tore his quadriceps, spending the rest of the year injured.",
"Benoit and Jericho won the match, in which Triple H legitimately tore his quadriceps, spending the rest of the year injured. Benoit and Jericho each became a WWF Tag Team Champion for the first time.",
"Benoit and Jericho each became a WWF Tag Team Champion for the first time. The team defended their title in the first fatal four-way Tables, Ladders and Chairs match, where Benoit sustained a year-long injury after missing a diving headbutt through a table.",
"The team defended their title in the first fatal four-way Tables, Ladders and Chairs match, where Benoit sustained a year-long injury after missing a diving headbutt through a table. Despite Benoit being carried out on a stretcher, he returned to the match to climb the ladder and retain the championship.",
"Despite Benoit being carried out on a stretcher, he returned to the match to climb the ladder and retain the championship. The two lost the title one month later to The Dudley Boyz on the June 21 episode of SmackDown!.",
"The two lost the title one month later to The Dudley Boyz on the June 21 episode of SmackDown!. At King of the Ring, both Benoit and Jericho competed in a triple threat match for Austin's WWF Championship, in which Booker T interfered as the catalyst for The Invasion angle.",
"At King of the Ring, both Benoit and Jericho competed in a triple threat match for Austin's WWF Championship, in which Booker T interfered as the catalyst for The Invasion angle. Despite Booker T's interference, Austin retained the title.",
"Despite Booker T's interference, Austin retained the title. Undisputed WWF Champion (2001–2002) In the following months, Jericho became a major force in The Invasion storyline in which WCW and ECW joined forces to overtake the WWF. Jericho remained on the side of the WWF despite previously competing in WCW and ECW.",
"Jericho remained on the side of the WWF despite previously competing in WCW and ECW. However, Jericho began showing jealousy toward fellow WWF member The Rock. They faced each other in a match at No Mercy for the WCW Championship after Jericho defeated Rob Van Dam in a number one contenders match on the October 11 episode of SmackDown!.",
"They faced each other in a match at No Mercy for the WCW Championship after Jericho defeated Rob Van Dam in a number one contenders match on the October 11 episode of SmackDown!. Jericho won the WCW Championship at No Mercy when he pinned The Rock after debuting a new finisher, the Breakdown, onto a steel chair, winning his first world title in the process.",
"Jericho won the WCW Championship at No Mercy when he pinned The Rock after debuting a new finisher, the Breakdown, onto a steel chair, winning his first world title in the process. One night later, the two put their differences aside and won the WWF Tag Team Championship from the Dudley Boyz.",
"One night later, the two put their differences aside and won the WWF Tag Team Championship from the Dudley Boyz. After they lost the titles to Test and Booker T on the November 1 episode of SmackDown!, they continued their feud. On the November 5 episode of Raw, The Rock defeated Jericho to regain the WCW Championship.",
"On the November 5 episode of Raw, The Rock defeated Jericho to regain the WCW Championship. Following the match, Jericho attacked The Rock with a steel chair. At Survivor Series, Jericho turned heel by almost costing Team WWF the victory after he was eliminated in their Winner Take All matchup by once again attacking The Rock.",
"At Survivor Series, Jericho turned heel by almost costing Team WWF the victory after he was eliminated in their Winner Take All matchup by once again attacking The Rock. Despite this, Team WWF won the match.",
"Despite this, Team WWF won the match. At Vengeance, Jericho defeated both The Rock for the World Championship (formerly the WCW Championship) and Stone Cold Steve Austin for his first WWF Championship on the same night to become the first wrestler to hold both championships at the same time, which made him the first-ever Undisputed WWF Champion, as well as the fourth Grand Slam winner under the original format.",
"At Vengeance, Jericho defeated both The Rock for the World Championship (formerly the WCW Championship) and Stone Cold Steve Austin for his first WWF Championship on the same night to become the first wrestler to hold both championships at the same time, which made him the first-ever Undisputed WWF Champion, as well as the fourth Grand Slam winner under the original format. He retained the title at the Royal Rumble against The Rock and at No Way Out against Austin.",
"He retained the title at the Royal Rumble against The Rock and at No Way Out against Austin. Jericho later lost the title to Royal Rumble winner Triple H in the main event of WrestleMania X8. Jericho was later drafted to the SmackDown! brand in the inaugural WWF draft lottery.",
"brand in the inaugural WWF draft lottery. He would then appear at Backlash, interfering in Triple H's Undisputed WWF Championship match against Hollywood Hulk Hogan. He was quickly dumped out the ring, but Triple H would go on to lose the match.",
"He was quickly dumped out the ring, but Triple H would go on to lose the match. This would lead to a Hell in a Cell match at Judgment Day in May, where Triple H would emerge victorious.",
"This would lead to a Hell in a Cell match at Judgment Day in May, where Triple H would emerge victorious. Jericho would then compete in the 2002 King of the Ring tournament, defeating Edge and The Big Valbowski to advance to the semi-finals, where he was defeated by Rob Van Dam at King of the Ring.",
"Jericho would then compete in the 2002 King of the Ring tournament, defeating Edge and The Big Valbowski to advance to the semi-finals, where he was defeated by Rob Van Dam at King of the Ring. In July, he began a feud with the debuting John Cena, losing to him at Vengeance.",
"In July, he began a feud with the debuting John Cena, losing to him at Vengeance. Teaming and feuding with Christian (2002–2004) After his feud with Cena ended, Jericho moved to the Raw brand on the July 29 episode of Raw, unwilling to work for SmackDown! General Manager Stephanie McMahon.",
"General Manager Stephanie McMahon. General Manager Stephanie McMahon. Upon his arrival to the brand, he initiated a feud with Ric Flair, leading to a match at SummerSlam, which Jericho lost.",
"Upon his arrival to the brand, he initiated a feud with Ric Flair, leading to a match at SummerSlam, which Jericho lost. On the September 16 episode of Raw, he won the WWE Intercontinental Championship for the fifth time from Rob Van Dam, before losing the title to Kane two weeks later on Raw.",
"On the September 16 episode of Raw, he won the WWE Intercontinental Championship for the fifth time from Rob Van Dam, before losing the title to Kane two weeks later on Raw. He then later formed a tag team with Christian, with whom he won the World Tag Team Championship by defeating Kane and The Hurricane on the October 14 episode of Raw.",
"He then later formed a tag team with Christian, with whom he won the World Tag Team Championship by defeating Kane and The Hurricane on the October 14 episode of Raw. Christian and Jericho lost the titles to Booker T and Goldust in a fatal four-way elimination match, involving the teams of The Dudley Boyz, and William Regal and Lance Storm at Armageddon.",
"Christian and Jericho lost the titles to Booker T and Goldust in a fatal four-way elimination match, involving the teams of The Dudley Boyz, and William Regal and Lance Storm at Armageddon. On the January 13 episode of Raw, Jericho won an over-the-top-rope challenge against Kane, Rob Van Dam, and Batista to select his entry number for the Royal Rumble match.",
"On the January 13 episode of Raw, Jericho won an over-the-top-rope challenge against Kane, Rob Van Dam, and Batista to select his entry number for the Royal Rumble match. He chose number two in order to start the match with Shawn Michaels, who had challenged him to prove Jericho's claims that he was better than Michaels.",
"He chose number two in order to start the match with Shawn Michaels, who had challenged him to prove Jericho's claims that he was better than Michaels. After Michaels's entrance, Jericho entered as the second participant. Christian, in Jericho's attire, appeared while the real Jericho attacked Shawn from behind.",
"Christian, in Jericho's attire, appeared while the real Jericho attacked Shawn from behind. He eliminated Michaels shortly afterward, but Michaels got his revenge later in the match by causing Test to eliminate Jericho. Jericho spent the most time of any other wrestler in that same Royal Rumble.",
"Jericho spent the most time of any other wrestler in that same Royal Rumble. Jericho simultaneously feuded with Test, Michaels, and Jeff Hardy, defeating Hardy at No Way Out. Jericho and Michaels fought again at WrestleMania XIX, which Michaels won. Jericho, however, attacked Michaels with a low blow after the match following an embrace.",
"Jericho, however, attacked Michaels with a low blow after the match following an embrace. After this match, Jericho entered a rivalry with Goldberg, which was fueled by Goldberg's refusal to fight Jericho in WCW.",
"After this match, Jericho entered a rivalry with Goldberg, which was fueled by Goldberg's refusal to fight Jericho in WCW. During Jericho's first episode of the Highlight Reel, an interview segment, where Goldberg was the guest, he complained that no-one wanted Goldberg in WWE and continued to insult him in the following weeks.",
"During Jericho's first episode of the Highlight Reel, an interview segment, where Goldberg was the guest, he complained that no-one wanted Goldberg in WWE and continued to insult him in the following weeks. On the May 12 episode of Raw, a mystery assailant attempted to run over Goldberg with a limousine.",
"On the May 12 episode of Raw, a mystery assailant attempted to run over Goldberg with a limousine. A week later, Co-Raw General Manager, Stone Cold Steve Austin, interrogated several Raw superstars to find out who was driving the car. One of the interrogates was Lance Storm, who admitted that he was the assailant.",
"One of the interrogates was Lance Storm, who admitted that he was the assailant. Austin forced Storm into a match with Goldberg, who defeated Storm. After the match, Goldberg forced Storm to admit that Jericho was the superstar who conspired Storm into running him over.",
"After the match, Goldberg forced Storm to admit that Jericho was the superstar who conspired Storm into running him over. On the May 26 episode of Raw, Goldberg was once again a guest on the Highlight Reel.",
"On the May 26 episode of Raw, Goldberg was once again a guest on the Highlight Reel. Jericho expressed jealousy towards Goldberg's success in WCW and felt that since joining WWE, he had achieved everything he had ever wanted in his career and all that was left was to defeat Goldberg and challenged him to a match.",
"Jericho expressed jealousy towards Goldberg's success in WCW and felt that since joining WWE, he had achieved everything he had ever wanted in his career and all that was left was to defeat Goldberg and challenged him to a match. At Bad Blood, Goldberg settled the score with Jericho and defeated him.",
"At Bad Blood, Goldberg settled the score with Jericho and defeated him. On the October 27 episode of Raw, Jericho won his sixth WWE Intercontinental Championship when he defeated Rob Van Dam. He lost the title back to Van Dam immediately after in a steel cage match.",
"He lost the title back to Van Dam immediately after in a steel cage match. Later in 2003, Jericho started a romance with Trish Stratus while his tag team partner Christian began one with Lita.",
"Later in 2003, Jericho started a romance with Trish Stratus while his tag team partner Christian began one with Lita. This, however, turned out to be a bet over who could sleep with their respective paramour first, with a Canadian dollar at stake.",
"This, however, turned out to be a bet over who could sleep with their respective paramour first, with a Canadian dollar at stake. Stratus overheard this and ended her relationship with Jericho, who seemingly felt bad for using Stratus.",
"Stratus overheard this and ended her relationship with Jericho, who seemingly felt bad for using Stratus. After he saved her from an attack by Kane, Stratus agreed that the two of them could just be \"friends\", thus turning Jericho face.",
"After he saved her from an attack by Kane, Stratus agreed that the two of them could just be \"friends\", thus turning Jericho face. After Christian put Stratus in the Walls of Jericho while competing against her in a match, Jericho sought revenge on Christian, which led to a match at WrestleMania XX.",
"After Christian put Stratus in the Walls of Jericho while competing against her in a match, Jericho sought revenge on Christian, which led to a match at WrestleMania XX. Christian defeated Jericho after Stratus ran down and \"inadvertently\" struck Jericho (thinking it was Christian) and Christian got the roll-up.",
"Christian defeated Jericho after Stratus ran down and \"inadvertently\" struck Jericho (thinking it was Christian) and Christian got the roll-up. After the match, Stratus turned on Jericho and revealed that she and Christian were a couple. This revelation led to a handicap match at Backlash that Jericho won.",
"This revelation led to a handicap match at Backlash that Jericho won. Jericho won his record-breaking seventh WWE Intercontinental Championship at Unforgiven in a ladder match against Christian, breaking the previous record held by Jeff Jarrett from 1999. Jericho's seventh reign was short lived, as he lost it at Taboo Tuesday to Shelton Benjamin.",
"Jericho's seventh reign was short lived, as he lost it at Taboo Tuesday to Shelton Benjamin. World championship pursuits (2004–2005) Jericho teamed up with Randy Orton, Chris Benoit, and Maven to take on Triple H, Batista, Edge, and Gene Snitsky at Survivor Series.",
"World championship pursuits (2004–2005) Jericho teamed up with Randy Orton, Chris Benoit, and Maven to take on Triple H, Batista, Edge, and Gene Snitsky at Survivor Series. The match stipulated that each member of the winning team would be the general manager of Raw over the next four weeks.",
"The match stipulated that each member of the winning team would be the general manager of Raw over the next four weeks. Jericho's team won, and took turns as general manager.",
"Jericho's team won, and took turns as general manager. During Jericho's turn as general manager, the World Heavyweight Championship was vacated because a Triple Threat match for the title a week earlier ended in a draw.",
"During Jericho's turn as general manager, the World Heavyweight Championship was vacated because a Triple Threat match for the title a week earlier ended in a draw. At New Year's Revolution, Jericho competed in the Elimination Chamber against Triple H, Chris Benoit, Batista, Randy Orton, and Edge for the vacant World Heavyweight Championship.",
"At New Year's Revolution, Jericho competed in the Elimination Chamber against Triple H, Chris Benoit, Batista, Randy Orton, and Edge for the vacant World Heavyweight Championship. Jericho began the match with Benoit and eliminated Edge, but was eliminated by Batista. Triple H went on to win.",
"Triple H went on to win. At WrestleMania 21, Jericho participated in the first ever Money in the Bank ladder match. Jericho suggested the match concept, and he competed in the match against Benjamin, Benoit, Kane, Christian, and Edge. Jericho lost the match when Edge claimed the briefcase.",
"Jericho lost the match when Edge claimed the briefcase. At Backlash, Jericho challenged Shelton Benjamin for the WWE Intercontinental Championship, but lost the match. Jericho lost to Lance Storm at ECW One Night Stand. Jericho used his old \"Lionheart\" gimmick, instead of his more well known \"Y2J\" gimmick.",
"Jericho used his old \"Lionheart\" gimmick, instead of his more well known \"Y2J\" gimmick. Jericho lost the match after Jason and Justin Credible hit Jericho with a Singapore cane, which allowed Storm to win the match.",
"Jericho lost the match after Jason and Justin Credible hit Jericho with a Singapore cane, which allowed Storm to win the match. The next night on Raw, Jericho turned heel by betraying WWE Champion John Cena after defeating Christian and Tyson Tomko in a tag team match.",
"The next night on Raw, Jericho turned heel by betraying WWE Champion John Cena after defeating Christian and Tyson Tomko in a tag team match. Jericho lost a Triple Threat match for the WWE Championship at Vengeance which also involved Christian and Cena.",
"Jericho lost a Triple Threat match for the WWE Championship at Vengeance which also involved Christian and Cena. The feud continued throughout the summer and Jericho lost to Cena in a WWE Championship match at SummerSlam.",
"The feud continued throughout the summer and Jericho lost to Cena in a WWE Championship match at SummerSlam. The next night on the August 22 episode of Raw, Jericho faced Cena for the WWE Championship again in a rematch, this time in a \"You're fired\" match.",
"The next night on the August 22 episode of Raw, Jericho faced Cena for the WWE Championship again in a rematch, this time in a \"You're fired\" match. Cena won again, and Jericho was fired by Raw General Manager Eric Bischoff. Jericho was carried out of the arena by security as Kurt Angle attacked Cena.",
"Jericho was carried out of the arena by security as Kurt Angle attacked Cena. Jericho's WWE contract expired on August 25.",
"Jericho's WWE contract expired on August 25. Return to WWE (2007–2010) Feud with Shawn Michaels (2007–2008) After a two-year hiatus, WWE promoted Jericho's return starting on the September 24, 2007 episode of Raw with a viral marketing campaign using a series of 15-second cryptic binary code videos, similar to the matrix digital rain used in The Matrix series.",
"Return to WWE (2007–2010) Feud with Shawn Michaels (2007–2008) After a two-year hiatus, WWE promoted Jericho's return starting on the September 24, 2007 episode of Raw with a viral marketing campaign using a series of 15-second cryptic binary code videos, similar to the matrix digital rain used in The Matrix series. The videos contained hidden messages and biblical links related to Jericho.",
"The videos contained hidden messages and biblical links related to Jericho. Jericho made his return to WWE television as a face on the November 19, 2007 episode of Raw when he interrupted Randy Orton during Orton's orchestrated \"passing of the torch\" ceremony.",
"Jericho made his return to WWE television as a face on the November 19, 2007 episode of Raw when he interrupted Randy Orton during Orton's orchestrated \"passing of the torch\" ceremony. Jericho revealed his intentions to reclaim the WWE Championship in order to \"save\" WWE fans from Orton.",
"Jericho revealed his intentions to reclaim the WWE Championship in order to \"save\" WWE fans from Orton. On the November 26 episode of Raw, Jericho defeated Santino Marella and debuted a new finishing move called the Codebreaker.",
"On the November 26 episode of Raw, Jericho defeated Santino Marella and debuted a new finishing move called the Codebreaker. At Armageddon, he competed in a WWE title match against Orton, defeating him by disqualification when SmackDown!s color commentator John \"Bradshaw\" Layfield (JBL) interfered in the match, but Orton retained the title.",
"At Armageddon, he competed in a WWE title match against Orton, defeating him by disqualification when SmackDown!s color commentator John \"Bradshaw\" Layfield (JBL) interfered in the match, but Orton retained the title. He began a feud with JBL and met him at the Royal Rumble.",
"He began a feud with JBL and met him at the Royal Rumble. Jericho was disqualified after hitting JBL with a steel chair. On the March 10 episode of Raw, Jericho captured the WWE Intercontinental Championship for a record eighth time when he defeated Jeff Hardy.",
"On the March 10 episode of Raw, Jericho captured the WWE Intercontinental Championship for a record eighth time when he defeated Jeff Hardy. In April 2008, Jericho became involved in the ongoing feud between Shawn Michaels and Batista when he suggested that Michaels enjoyed retiring Ric Flair, causing Shawn Michaels to attack him.",
"In April 2008, Jericho became involved in the ongoing feud between Shawn Michaels and Batista when he suggested that Michaels enjoyed retiring Ric Flair, causing Shawn Michaels to attack him. Jericho thus asked to be inserted into the match between Batista and Michaels at Backlash, but instead, he was appointed as the special guest referee.",
"Jericho thus asked to be inserted into the match between Batista and Michaels at Backlash, but instead, he was appointed as the special guest referee. During the match at Backlash, Michaels feigned a knee injury so that Jericho would give him time to recover and lured Batista in for Sweet Chin Music for the win.",
"During the match at Backlash, Michaels feigned a knee injury so that Jericho would give him time to recover and lured Batista in for Sweet Chin Music for the win. After Backlash, Jericho accused Michaels of cheating, but Michaels continued to play up an injury.",
"After Backlash, Jericho accused Michaels of cheating, but Michaels continued to play up an injury. When Jericho was finally convinced and he apologized to Michaels for not believing him, Michaels then admitted to Jericho that he had faked his injury and he attacked Jericho with Sweet Chin Music.",
"When Jericho was finally convinced and he apologized to Michaels for not believing him, Michaels then admitted to Jericho that he had faked his injury and he attacked Jericho with Sweet Chin Music. After losing to Michaels at Judgment Day, Jericho initiated a handshake after the match.",
"After losing to Michaels at Judgment Day, Jericho initiated a handshake after the match. On the June 9 episode of Raw, Jericho hosted his talk show segment, The Highlight Reel, interviewing Michaels.",
"On the June 9 episode of Raw, Jericho hosted his talk show segment, The Highlight Reel, interviewing Michaels. Jericho pointed out that Michaels was still cheered by the fans despite Michaels's deceit and attack on Jericho during the previous months, whereas Jericho was booed when he tried to do the right thing.",
"Jericho pointed out that Michaels was still cheered by the fans despite Michaels's deceit and attack on Jericho during the previous months, whereas Jericho was booed when he tried to do the right thing. Jericho then assaulted Michaels with a low blow and sent Michaels through the \"Jeritron 6000\" television, damaging the eye of Michaels, and turning heel in the process.",
"Jericho then assaulted Michaels with a low blow and sent Michaels through the \"Jeritron 6000\" television, damaging the eye of Michaels, and turning heel in the process. This began what was named by both Pro Wrestling Illustrated and the Wrestling Observer Newsletter the \"Feud of the Year\".",
"This began what was named by both Pro Wrestling Illustrated and the Wrestling Observer Newsletter the \"Feud of the Year\". At Night of Champions, Jericho lost the WWE Intercontinental title to Kofi Kingston after a distraction by Michaels. In June, Jericho took on Lance Cade as a protégé.",
"In June, Jericho took on Lance Cade as a protégé. World Heavyweight Champion (2008–2009) Afterward, Jericho developed a suit-wearing persona inspired by Javier Bardem's character Anton Chigurh from the 2007 film No Country for Old Men and wrestler Nick Bockwinkel.",
"World Heavyweight Champion (2008–2009) Afterward, Jericho developed a suit-wearing persona inspired by Javier Bardem's character Anton Chigurh from the 2007 film No Country for Old Men and wrestler Nick Bockwinkel. Jericho and Michaels met at The Great American Bash, which Jericho won after attacking the cut on Michaels's eye.",
"Jericho and Michaels met at The Great American Bash, which Jericho won after attacking the cut on Michaels's eye. At SummerSlam, Michaels said that his eye damage would force him to retire and insulted Jericho by saying he would never achieve Michaels's success.",
"At SummerSlam, Michaels said that his eye damage would force him to retire and insulted Jericho by saying he would never achieve Michaels's success. Jericho tried to attack Michaels, but Michaels ducked, so Jericho punched Michaels's wife, Rebecca, instead.",
"Jericho tried to attack Michaels, but Michaels ducked, so Jericho punched Michaels's wife, Rebecca, instead. As a result, they fought in an unsanctioned match at Unforgiven, which Jericho lost by referee stoppage.",
"As a result, they fought in an unsanctioned match at Unforgiven, which Jericho lost by referee stoppage. Later that night, Jericho entered the Championship Scramble match as a late replacement for the defending champion CM Punk and subsequently won the World Heavyweight Championship, defeating Batista, John \"Bradshaw\" Layfield (JBL), Kane, and Rey Mysterio.",
"Later that night, Jericho entered the Championship Scramble match as a late replacement for the defending champion CM Punk and subsequently won the World Heavyweight Championship, defeating Batista, John \"Bradshaw\" Layfield (JBL), Kane, and Rey Mysterio. It was announced that Michaels would challenge Jericho for the championship in a ladder match at No Mercy, which Jericho won.",
"It was announced that Michaels would challenge Jericho for the championship in a ladder match at No Mercy, which Jericho won. At Cyber Sunday on October 26, Jericho lost the title to Batista, but later won it back eight days later on the 800th episode of Raw in a steel cage match.",
"At Cyber Sunday on October 26, Jericho lost the title to Batista, but later won it back eight days later on the 800th episode of Raw in a steel cage match. Jericho defeated Michaels in a Last Man Standing match on the November 10 episode of Raw after interference from JBL.",
"Jericho defeated Michaels in a Last Man Standing match on the November 10 episode of Raw after interference from JBL. Jericho lost the World Heavyweight Championship at Survivor Series to the returning John Cena. On the December 8 episode of Raw, Jericho was awarded the Slammy Award for 2008 Superstar of the Year award.",
"On the December 8 episode of Raw, Jericho was awarded the Slammy Award for 2008 Superstar of the Year award. Six days later, he lost his rematch with John Cena for the World Heavyweight Championship at Armageddon.",
"Six days later, he lost his rematch with John Cena for the World Heavyweight Championship at Armageddon. At the Royal Rumble on January 25, 2009, Jericho participated in the Royal Rumble match, but he was eliminated by the Undertaker.",
"At the Royal Rumble on January 25, 2009, Jericho participated in the Royal Rumble match, but he was eliminated by the Undertaker. On February 15 at No Way Out, he competed in an Elimination Chamber match for the World Heavyweight Championship, but he failed to win as he was eliminated by Rey Mysterio.",
"On February 15 at No Way Out, he competed in an Elimination Chamber match for the World Heavyweight Championship, but he failed to win as he was eliminated by Rey Mysterio. Following this, Jericho began a rivalry with veteran wrestlers Ric Flair, Ricky Steamboat, Jimmy Snuka and Roddy Piper, as well as actor Mickey Rourke.",
"Following this, Jericho began a rivalry with veteran wrestlers Ric Flair, Ricky Steamboat, Jimmy Snuka and Roddy Piper, as well as actor Mickey Rourke. Jericho was originally arranged to face Rourke at WrestleMania 25, but Rourke later pulled out of the event.",
"Jericho was originally arranged to face Rourke at WrestleMania 25, but Rourke later pulled out of the event. Instead, Jericho defeated Piper, Snuka and Steamboat in a 3-on-1 elimination handicap match at WrestleMania, but was knocked out by Rourke after the match.",
"Instead, Jericho defeated Piper, Snuka and Steamboat in a 3-on-1 elimination handicap match at WrestleMania, but was knocked out by Rourke after the match. On the April 13 episode of Raw, Jericho was drafted to the SmackDown brand as part of the 2009 WWE draft.",
"On the April 13 episode of Raw, Jericho was drafted to the SmackDown brand as part of the 2009 WWE draft. Jericho then faced Steamboat in a singles match at Backlash, where Jericho was victorious. In May, Jericho started a feud with Intercontinental Champion Rey Mysterio, leading to a match at Judgment Day, which Jericho lost.",
"In May, Jericho started a feud with Intercontinental Champion Rey Mysterio, leading to a match at Judgment Day, which Jericho lost. However, Jericho defeated Mysterio in a No Holds Barred Match at Extreme Rules to win his ninth Intercontinental Championship, breaking his own record again.",
"However, Jericho defeated Mysterio in a No Holds Barred Match at Extreme Rules to win his ninth Intercontinental Championship, breaking his own record again. At The Bash, Jericho lost the Intercontinental Championship back to Mysterio in a mask vs. title match.",
"At The Bash, Jericho lost the Intercontinental Championship back to Mysterio in a mask vs. title match. Jeri-Show and feud with Edge (2009–2010) Later in the event, Jericho and his partner Edge won the Unified WWE Tag Team Championship as surprise entrants in a triple threat tag team match.",
"Jeri-Show and feud with Edge (2009–2010) Later in the event, Jericho and his partner Edge won the Unified WWE Tag Team Championship as surprise entrants in a triple threat tag team match. As a result of this win, Jericho became the first wrestler to win every (original) Grand Slam eligible championship.",
"As a result of this win, Jericho became the first wrestler to win every (original) Grand Slam eligible championship. Shortly thereafter Edge suffered an injury and Jericho revealed a clause in his contract to allow Edge to be replaced and Jericho's reign to continue uninterrupted.",
"Shortly thereafter Edge suffered an injury and Jericho revealed a clause in his contract to allow Edge to be replaced and Jericho's reign to continue uninterrupted. At Night of Champions, Jericho revealed Big Show as his new tag team partner, creating a team that would come to called Jeri-Show.",
"At Night of Champions, Jericho revealed Big Show as his new tag team partner, creating a team that would come to called Jeri-Show. The duo defeated Cody Rhodes and Ted DiBiase to retain the championship.",
"The duo defeated Cody Rhodes and Ted DiBiase to retain the championship. Jeri-Show successfully defended the title against Cryme Tyme at SummerSlam, MVP and Mark Henry at Breaking Point and Rey Mysterio and Batista at Hell in a Cell.",
"Jeri-Show successfully defended the title against Cryme Tyme at SummerSlam, MVP and Mark Henry at Breaking Point and Rey Mysterio and Batista at Hell in a Cell. At Survivor Series, both Jericho and Big Show took part in a triple threat match for the World Heavyweight Championship, but the Undertaker successfully retained the title.",
"At Survivor Series, both Jericho and Big Show took part in a triple threat match for the World Heavyweight Championship, but the Undertaker successfully retained the title. At TLC: Tables, Ladders & Chairs, Jeri-Show lost the tag titles to D-Generation X (D-X) (Shawn Michaels and Triple H) in a Tables, Ladders and Chairs match.",
"At TLC: Tables, Ladders & Chairs, Jeri-Show lost the tag titles to D-Generation X (D-X) (Shawn Michaels and Triple H) in a Tables, Ladders and Chairs match. As a member of the SmackDown brand, Jericho could only appear on Raw as a champion and D-X intentionally disqualified themselves in a rematch to force Jericho off the show.",
"As a member of the SmackDown brand, Jericho could only appear on Raw as a champion and D-X intentionally disqualified themselves in a rematch to force Jericho off the show. On the January 4, 2010 of Raw, D-X defeated Jeri-Show to retain the championship once again, marking the end of Jeri-Show.",
"On the January 4, 2010 of Raw, D-X defeated Jeri-Show to retain the championship once again, marking the end of Jeri-Show. Jericho entered the 2010 Royal Rumble match on January 31, but was eliminated by the returning Edge, his former tag team partner, who went on to win the match.",
"Jericho entered the 2010 Royal Rumble match on January 31, but was eliminated by the returning Edge, his former tag team partner, who went on to win the match. At Elimination Chamber, Jericho won the World Heavyweight Championship in an Elimination Chamber match, defeating The Undertaker, John Morrison, Rey Mysterio, CM Punk and R-Truth following interference from Shawn Michaels.",
"At Elimination Chamber, Jericho won the World Heavyweight Championship in an Elimination Chamber match, defeating The Undertaker, John Morrison, Rey Mysterio, CM Punk and R-Truth following interference from Shawn Michaels. The next night on Raw, Edge used his Royal Rumble win to challenge Jericho for the World Heavyweight Championship at WrestleMania XXVI.",
"The next night on Raw, Edge used his Royal Rumble win to challenge Jericho for the World Heavyweight Championship at WrestleMania XXVI. Jericho defeated Edge at WrestleMania to retain the title, but lost the championship to Jack Swagger on the following episode of SmackDown, who cashed in his Money in the Bank contract.",
"Jericho defeated Edge at WrestleMania to retain the title, but lost the championship to Jack Swagger on the following episode of SmackDown, who cashed in his Money in the Bank contract. Jericho then failed to regain the title from Swagger in a triple-threat match also involving Edge on the April 16 episode of SmackDown.",
"Jericho then failed to regain the title from Swagger in a triple-threat match also involving Edge on the April 16 episode of SmackDown. Jericho and Edge continued their feud leading into Extreme Rules, where Jericho was defeated in a steel cage match. Jericho was drafted to the Raw brand in the 2010 WWE draft.",
"Jericho was drafted to the Raw brand in the 2010 WWE draft. He formed a brief tag team with The Miz and unsuccessfully challenged The Hart Dynasty for the Unified WWE Tag Team Championship at Over the Limit.",
"He formed a brief tag team with The Miz and unsuccessfully challenged The Hart Dynasty for the Unified WWE Tag Team Championship at Over the Limit. A month later, Jericho lost to Evan Bourne at Fatal 4-Way, but won a rematch during the following night on Raw, where he put his career on the line.",
"A month later, Jericho lost to Evan Bourne at Fatal 4-Way, but won a rematch during the following night on Raw, where he put his career on the line. On the July 19 episode of Raw, after being assaulted by The Nexus, Jericho teamed with rivals Edge, John Morrison, R-Truth, Daniel Bryan and Bret Hart in a team led by John Cena to face The Nexus at SummerSlam.",
"On the July 19 episode of Raw, after being assaulted by The Nexus, Jericho teamed with rivals Edge, John Morrison, R-Truth, Daniel Bryan and Bret Hart in a team led by John Cena to face The Nexus at SummerSlam. Jericho and Cena bickered over leadership of the team, which led to him and Edge attacking Cena during the SummerSlam match that they won.",
"Jericho and Cena bickered over leadership of the team, which led to him and Edge attacking Cena during the SummerSlam match that they won. Jericho was punished for not showing solidarity against Nexus, when he was removed from a Six-Pack Challenge for Sheamus's WWE Championship at Night of Champions.",
"Jericho was punished for not showing solidarity against Nexus, when he was removed from a Six-Pack Challenge for Sheamus's WWE Championship at Night of Champions. Although he re-earned his place in the match after defeating The Hart Dynasty in a handicap steel cage match, he was the first man eliminated from the match at Night of Champions.",
"Although he re-earned his place in the match after defeating The Hart Dynasty in a handicap steel cage match, he was the first man eliminated from the match at Night of Champions. On the September 27 episode of Raw, Jericho faced Randy Orton who punted him in the head.",
"On the September 27 episode of Raw, Jericho faced Randy Orton who punted him in the head. This was used to explain Jericho's departure from the company.",
"This was used to explain Jericho's departure from the company. Second return to WWE (2011–2018) Feud with CM Punk (2011–2012) Beginning in November 2011, WWE aired cryptic vignettes that promoted a wrestler's return on the January 2, 2012 episode of Raw.",
"Second return to WWE (2011–2018) Feud with CM Punk (2011–2012) Beginning in November 2011, WWE aired cryptic vignettes that promoted a wrestler's return on the January 2, 2012 episode of Raw. On his return, after hyping the crowd and relishing their cheers for a prolonged period, Jericho left without verbally addressing his return.",
"On his return, after hyping the crowd and relishing their cheers for a prolonged period, Jericho left without verbally addressing his return. After exhibiting similar odd behavior in the proceeding two weeks, Jericho spoke on the January 23 episode of Raw to say, \"This Sunday at the Royal Rumble, it is going to be the end of the world as you know it\", but in the Royal Rumble match, he was eliminated last, by Sheamus.",
"After exhibiting similar odd behavior in the proceeding two weeks, Jericho spoke on the January 23 episode of Raw to say, \"This Sunday at the Royal Rumble, it is going to be the end of the world as you know it\", but in the Royal Rumble match, he was eliminated last, by Sheamus. On the January 30 episode of Raw, Jericho began a feud with WWE Champion CM Punk after attacking him during his match with Daniel Bryan.",
"On the January 30 episode of Raw, Jericho began a feud with WWE Champion CM Punk after attacking him during his match with Daniel Bryan. He explained his actions by claiming other wrestlers in WWE were imitating him and named Punk as the worst offender.",
"He explained his actions by claiming other wrestlers in WWE were imitating him and named Punk as the worst offender. At Elimination Chamber, Jericho participated in the Elimination Chamber match for the WWE Championship, entering last and eliminating Dolph Ziggler and Kofi Kingston before being knocked out of the structure by Punk, which injured him and removed him from the match without being eliminated.",
"At Elimination Chamber, Jericho participated in the Elimination Chamber match for the WWE Championship, entering last and eliminating Dolph Ziggler and Kofi Kingston before being knocked out of the structure by Punk, which injured him and removed him from the match without being eliminated. The following night on Raw, Jericho won a ten-man battle royal to become the number one contender for Punk's WWE Championship at WrestleMania XXVIII.",
"The following night on Raw, Jericho won a ten-man battle royal to become the number one contender for Punk's WWE Championship at WrestleMania XXVIII. In a bid to psychologically unsettle Punk, Jericho revealed that Punk's father was an alcoholic and Punk's sister was a drug addict, which contradicted Punk's straight edge philosophy; Jericho vowed to make Punk turn to alcohol by winning Punk's title from him.",
"In a bid to psychologically unsettle Punk, Jericho revealed that Punk's father was an alcoholic and Punk's sister was a drug addict, which contradicted Punk's straight edge philosophy; Jericho vowed to make Punk turn to alcohol by winning Punk's title from him. At WrestleMania, a stipulation was added that Punk would lose his WWE Championship if he was disqualified.",
"At WrestleMania, a stipulation was added that Punk would lose his WWE Championship if he was disqualified. During the match, Jericho unsuccessfully tried to taunt Punk into disqualifying himself, and Punk won the match. Jericho continued his feud with Punk in the weeks that followed by attacking and dousing him with alcohol after his matches.",
"Jericho continued his feud with Punk in the weeks that followed by attacking and dousing him with alcohol after his matches. At Extreme Rules, Jericho failed again to capture the WWE Championship from Punk in a Chicago Street Fight.",
"At Extreme Rules, Jericho failed again to capture the WWE Championship from Punk in a Chicago Street Fight. Championship pursuits (2012–2013) Jericho faced Randy Orton, Alberto Del Rio and Sheamus in a fatal four-way match for the World Heavyweight Championship at Over the Limit, where Sheamus retained his title.",
"Championship pursuits (2012–2013) Jericho faced Randy Orton, Alberto Del Rio and Sheamus in a fatal four-way match for the World Heavyweight Championship at Over the Limit, where Sheamus retained his title. On May 24 at a WWE live event in Brazil, Jericho wrestled a match against CM Punk, during which Jericho kicked a Brazilian flag, causing local police to intervene and threaten Jericho with arrest.",
"On May 24 at a WWE live event in Brazil, Jericho wrestled a match against CM Punk, during which Jericho kicked a Brazilian flag, causing local police to intervene and threaten Jericho with arrest. Jericho issued an apology to the audience, enabling the event to resume.",
"Jericho issued an apology to the audience, enabling the event to resume. The following day, WWE suspended Jericho for 30 days while apologizing to the people and government of Brazil.",
"The following day, WWE suspended Jericho for 30 days while apologizing to the people and government of Brazil. Jericho returned on the June 25 episode of Raw, and his absence was explained by a European tour with his band Fozzy which happened to coincide with his suspension.",
"Jericho returned on the June 25 episode of Raw, and his absence was explained by a European tour with his band Fozzy which happened to coincide with his suspension. At Money in the Bank, Jericho participated in the WWE Championship Money in the Bank ladder match, but failed to win as John Cena won.",
"At Money in the Bank, Jericho participated in the WWE Championship Money in the Bank ladder match, but failed to win as John Cena won. The following night on Raw, Jericho confronted newly crowned Mr. Money in the Bank, Dolph Ziggler, who claimed that Jericho had lost his touch.",
"The following night on Raw, Jericho confronted newly crowned Mr. Money in the Bank, Dolph Ziggler, who claimed that Jericho had lost his touch. Jericho attacked Ziggler with a Codebreaker, thus turning face in the process. At SummerSlam, Jericho defeated Ziggler.",
"At SummerSlam, Jericho defeated Ziggler. The following night on Raw, Ziggler defeated Jericho in a rematch and, as a result, Ziggler retained his Money in the Bank contract and Jericho's WWE contract was terminated as per a pre match stipulation put in place by Raw General Manager, AJ Lee.",
"The following night on Raw, Ziggler defeated Jericho in a rematch and, as a result, Ziggler retained his Money in the Bank contract and Jericho's WWE contract was terminated as per a pre match stipulation put in place by Raw General Manager, AJ Lee. This was used to write him off so he could tour with Fozzy for the remainder of the year.",
"This was used to write him off so he could tour with Fozzy for the remainder of the year. On January 27, 2013, Jericho returned after a five-month hiatus entering the Royal Rumble match as the second entrant. Jericho lasted over 47 minutes before being eliminated by Dolph Ziggler.",
"Jericho lasted over 47 minutes before being eliminated by Dolph Ziggler. The following night on Raw, Jericho later revealed to Ziggler that due to a managerial change on Raw, he had been rehired by Vickie Guerrero, resuming his feud with Ziggler.",
"The following night on Raw, Jericho later revealed to Ziggler that due to a managerial change on Raw, he had been rehired by Vickie Guerrero, resuming his feud with Ziggler. Guerrero then paired the two in a match against WWE Tag Team Champions Team Hell No (Daniel Bryan and Kane).",
"Guerrero then paired the two in a match against WWE Tag Team Champions Team Hell No (Daniel Bryan and Kane). The match ended with Ziggler being pinned by Kane after Jericho framed him for pushing Kane.",
"The match ended with Ziggler being pinned by Kane after Jericho framed him for pushing Kane. After beating Daniel Bryan on the February 11 episode of Raw, Jericho qualified for the Elimination Chamber match at Elimination Chamber (in which the winner would go on to be the number one contender for the World Heavyweight Championship at WrestleMania 29), where he was the fourth man eliminated.",
"After beating Daniel Bryan on the February 11 episode of Raw, Jericho qualified for the Elimination Chamber match at Elimination Chamber (in which the winner would go on to be the number one contender for the World Heavyweight Championship at WrestleMania 29), where he was the fourth man eliminated. On the March 11 episode of Raw, Jericho faced The Miz in a No.",
"On the March 11 episode of Raw, Jericho faced The Miz in a No. 1 contenders match for Wade Barrett's WWE Intercontinental Championship, but the match was ruled a no contest after Barrett interfered and attacked both men. Both men then faced Barrett the following week on Raw, where he retained his title.",
"Both men then faced Barrett the following week on Raw, where he retained his title. Earlier in the episode, Jericho had a run-in with Fandango which led to Fandango costing him his match with Jack Swagger and attacking him four days later on SmackDown. At WrestleMania 29, Jericho was defeated by Fandango.",
"At WrestleMania 29, Jericho was defeated by Fandango. They continued their feud in the following weeks, until Jericho defeated Fandango at Extreme Rules. He then faced the returning CM Punk at Payback, where he was defeated.",
"He then faced the returning CM Punk at Payback, where he was defeated. Jericho then began feuding with Ryback, which led to a singles match on July 14 at Money in the Bank, where Ryback emerged victorious.",
"Jericho then began feuding with Ryback, which led to a singles match on July 14 at Money in the Bank, where Ryback emerged victorious. On the July 19 episode of SmackDown, Jericho unsuccessfully challenged Curtis Axel for the WWE Intercontinental Championship and was afterwards attacked by Ryback.",
"On the July 19 episode of SmackDown, Jericho unsuccessfully challenged Curtis Axel for the WWE Intercontinental Championship and was afterwards attacked by Ryback. This was done to write Jericho off television as he was taking a temporary hiatus to tour with Fozzy for the remainder of the year and possibly January and February.",
"This was done to write Jericho off television as he was taking a temporary hiatus to tour with Fozzy for the remainder of the year and possibly January and February. In a November interview for WWE.com, Jericho revealed that he would not be a full-time wrestler due to his musical and acting ventures.",
"In a November interview for WWE.com, Jericho revealed that he would not be a full-time wrestler due to his musical and acting ventures. Various sporadic feuds (2014–2016) After an eleven-month hiatus, Jericho returned on the June 30, 2014 episode of Raw, attacking The Miz, who had also returned minutes earlier.",
"Various sporadic feuds (2014–2016) After an eleven-month hiatus, Jericho returned on the June 30, 2014 episode of Raw, attacking The Miz, who had also returned minutes earlier. The Wyatt Family then interrupted and ultimately attacked Jericho. Jericho faced Bray Wyatt at Battleground in a winning effort.",
"Jericho faced Bray Wyatt at Battleground in a winning effort. At SummerSlam, with Wyatt Family members Luke Harper and Erick Rowan banned from ringside, Wyatt picked up the victory. On the September 8 episode of Raw, Jericho lost to Wyatt in a steel cage match, ending the feud.",
"On the September 8 episode of Raw, Jericho lost to Wyatt in a steel cage match, ending the feud. Jericho then feuded with Randy Orton, who had attacked him the week before after his match against Wyatt in the trainers room. Orton defeated him at Night of Champions.",
"Orton defeated him at Night of Champions. Throughout the rest of October and November, Jericho wrestled exclusively at live events, defeating Bray Wyatt. Jericho returned to WWE television in December as the guest general manager of the December 15 episode of Raw.",
"Jericho returned to WWE television in December as the guest general manager of the December 15 episode of Raw. Jericho booked himself in a street fight against Paul Heyman in the main event, which led to the return of Brock Lesnar. Before the match could begin, Lesnar attacked Jericho with an F-5.",
"Before the match could begin, Lesnar attacked Jericho with an F-5. In January 2015, Jericho revealed that he signed an exclusive WWE contract, under which he would compete at 16 house shows only. He later signed a similar contract once the former expired and competed at house shows throughout the rest of 2015.",
"He later signed a similar contract once the former expired and competed at house shows throughout the rest of 2015. During this time he wrestled against the likes of Luke Harper, Kevin Owens and King Barrett in winning efforts. In May 2015, Jericho was one of the hosts of Tough Enoughs sixth season. Jericho also hosted two Live!",
"Jericho also hosted two Live! Jericho also hosted two Live! With Chris Jericho specials on the WWE Network during 2015; his guests were John Cena and Stephanie McMahon. Jericho made his televised return at The Beast in the East, defeating Neville.",
"Jericho made his televised return at The Beast in the East, defeating Neville. At Night of Champions, Jericho was revealed as the mystery partner of Roman Reigns and Dean Ambrose, facing The Wyatt Family in a losing effort. On October 3, Jericho unsuccessfully challenged Kevin Owens for the WWE Intercontinental Championship at Live from Madison Square Garden.",
"On October 3, Jericho unsuccessfully challenged Kevin Owens for the WWE Intercontinental Championship at Live from Madison Square Garden. The match marked 20 years since Jericho's debut with ECW while also celebrating his 25th year as a professional wrestler in total.",
"The match marked 20 years since Jericho's debut with ECW while also celebrating his 25th year as a professional wrestler in total. On the January 4, 2016 episode of Raw, Jericho returned to in-ring competition full-time and confronted The New Day.",
"On the January 4, 2016 episode of Raw, Jericho returned to in-ring competition full-time and confronted The New Day. At the 2016 Royal Rumble, Jericho entered as the sixth entrant, lasting over 50 minutes, before being eliminated by Dean Ambrose.",
"At the 2016 Royal Rumble, Jericho entered as the sixth entrant, lasting over 50 minutes, before being eliminated by Dean Ambrose. On the January 25 episode of Raw, Jericho faced the recently debuted AJ Styles in a losing effort. Following the match, after initial hesitation by Jericho, the pair shook hands.",
"Following the match, after initial hesitation by Jericho, the pair shook hands. On the February 11 episode of SmackDown, Jericho defeated Styles. At Fastlane, Styles was victorious in a third match between the pair. On the February 22 episode of Raw, Jericho and Styles formed a tag team, dubbed Y2AJ.",
"On the February 22 episode of Raw, Jericho and Styles formed a tag team, dubbed Y2AJ. Following their loss against The New Day on the March 7 episode of Raw, Jericho attacked Styles, ending their alliance, claiming that he was sick of the fans chanting for Styles instead of him, turning heel in the process.",
"Following their loss against The New Day on the March 7 episode of Raw, Jericho attacked Styles, ending their alliance, claiming that he was sick of the fans chanting for Styles instead of him, turning heel in the process. Their feud culminated at WrestleMania 32, where Jericho defeated Styles.",
"Their feud culminated at WrestleMania 32, where Jericho defeated Styles. However, on the April 4 episode of Raw, Jericho competed in a fatal-four-way match against Styles, Kevin Owens and Cesaro to determine the No. 1 contender for the WWE World Heavyweight Championship in a losing effort after being pinned by Styles, ending their feud.",
"1 contender for the WWE World Heavyweight Championship in a losing effort after being pinned by Styles, ending their feud. The following week on Raw, Dean Ambrose interrupted The Highlight Reel, handing Jericho a note from Shane McMahon replacing the show with The Ambrose Asylum, igniting a feud between the two.",
"The following week on Raw, Dean Ambrose interrupted The Highlight Reel, handing Jericho a note from Shane McMahon replacing the show with The Ambrose Asylum, igniting a feud between the two. During this time, Jericho tweaked his gimmick. He became arrogant and childish while wearing expensive scarfs and calling everyone who appeased him \"stupid idiots\".",
"He became arrogant and childish while wearing expensive scarfs and calling everyone who appeased him \"stupid idiots\". At Payback, Jericho faced Ambrose in a losing effort.",
"At Payback, Jericho faced Ambrose in a losing effort. After attacking one another and Ambrose destroying Jericho's light-up ring jacket, Jericho was challenged by Ambrose to an Asylum match at Extreme Rules, where Ambrose again defeated Jericho after Jericho was thrown in a pile of thumbtacks.",
"After attacking one another and Ambrose destroying Jericho's light-up ring jacket, Jericho was challenged by Ambrose to an Asylum match at Extreme Rules, where Ambrose again defeated Jericho after Jericho was thrown in a pile of thumbtacks. On the May 23 episode of Raw, Jericho defeated Apollo Crews to qualify for the Money in the Bank ladder match at the Money in the Bank pay-per-view, where Jericho was unsuccessful as the match was won by Ambrose.",
"On the May 23 episode of Raw, Jericho defeated Apollo Crews to qualify for the Money in the Bank ladder match at the Money in the Bank pay-per-view, where Jericho was unsuccessful as the match was won by Ambrose. On July 19 at the 2016 WWE draft, Jericho was drafted to the Raw brand.",
"On July 19 at the 2016 WWE draft, Jericho was drafted to the Raw brand. At Battleground on July 24, Jericho hosted a Highlight Reel segment with the returning Randy Orton, where he took an RKO from Orton after he insulted him.",
"At Battleground on July 24, Jericho hosted a Highlight Reel segment with the returning Randy Orton, where he took an RKO from Orton after he insulted him. The next night on Raw, Jericho competed in a fatal four-way match to determine the number one contender for the newly created WWE Universal Championship at SummerSlam, but he was unsuccessful, as Roman Reigns won the match.",
"The next night on Raw, Jericho competed in a fatal four-way match to determine the number one contender for the newly created WWE Universal Championship at SummerSlam, but he was unsuccessful, as Roman Reigns won the match. The List of Jericho (2016–2017) Jericho then entered a feud with Enzo and Cass and on the August 1 episode of Raw, he teamed with Charlotte to defeat Enzo Amore and then WWE Women's Champion Sasha Banks in a mixed tag team match, after which Big Cass made the save as Jericho continued the assault on Amore.",
"The List of Jericho (2016–2017) Jericho then entered a feud with Enzo and Cass and on the August 1 episode of Raw, he teamed with Charlotte to defeat Enzo Amore and then WWE Women's Champion Sasha Banks in a mixed tag team match, after which Big Cass made the save as Jericho continued the assault on Amore. The following week on Raw, Jericho allied with Kevin Owens and later defeated Amore via disqualification when Cass interfered.",
"The following week on Raw, Jericho allied with Kevin Owens and later defeated Amore via disqualification when Cass interfered. This led to a tag team match at SummerSlam, where Jericho and Owens defeated Enzo and Cass.",
"This led to a tag team match at SummerSlam, where Jericho and Owens defeated Enzo and Cass. On the August 22 episode of Raw, Jericho interfered in Owens's match against Neville, allowing him to qualify for the fatal four-way match to determine the new WWE Universal Champion on the August 29 episode of Raw, which Owens won.",
"On the August 22 episode of Raw, Jericho interfered in Owens's match against Neville, allowing him to qualify for the fatal four-way match to determine the new WWE Universal Champion on the August 29 episode of Raw, which Owens won. On the September 12 episode of Raw, Jericho hosted an episode of The Highlight Reel with Sami Zayn as his guest, who questioned his alliance with Owens, resulting in Jericho defending Owens and attacking Zayn.",
"On the September 12 episode of Raw, Jericho hosted an episode of The Highlight Reel with Sami Zayn as his guest, who questioned his alliance with Owens, resulting in Jericho defending Owens and attacking Zayn. On the September 19 episode of Raw, as a result of feeling that he was being treated unjustly by General Manager Mick Foley, as well as other wrestlers beginning to annoy him, Jericho began a list called \"The List of Jericho\", where he wrote down the name of the person that bothered him and why.",
"On the September 19 episode of Raw, as a result of feeling that he was being treated unjustly by General Manager Mick Foley, as well as other wrestlers beginning to annoy him, Jericho began a list called \"The List of Jericho\", where he wrote down the name of the person that bothered him and why. If someone annoyed Jericho, he would ask \"you know what happens?\"",
"If someone annoyed Jericho, he would ask \"you know what happens?\" before shouting \"you just made the list!\" and writing the person's name down.",
"and writing the person's name down. The List of Jericho soon became incredibly popular with the fans, with many critics describing Jericho and his list as \"easily one of the best moments of Raw's broadcast\".",
"The List of Jericho soon became incredibly popular with the fans, with many critics describing Jericho and his list as \"easily one of the best moments of Raw's broadcast\". At Clash of Champions on September 25, Jericho defeated Zayn and assisted Owens in his Universal Championship defense against Seth Rollins.",
"At Clash of Champions on September 25, Jericho defeated Zayn and assisted Owens in his Universal Championship defense against Seth Rollins. At Hell in a Cell on October 30, Jericho aided Owens in retaining the Universal Championship against Rollins in a Hell in a Cell match after Owens sprayed a fire extinguisher at the referee, allowing Jericho to enter the cell.",
"At Hell in a Cell on October 30, Jericho aided Owens in retaining the Universal Championship against Rollins in a Hell in a Cell match after Owens sprayed a fire extinguisher at the referee, allowing Jericho to enter the cell. Jericho teamed with Owens, Braun Strowman, Roman Reigns, and Seth Rollins as part of Team Raw at Survivor Series on November 20, in a losing effort.",
"Jericho teamed with Owens, Braun Strowman, Roman Reigns, and Seth Rollins as part of Team Raw at Survivor Series on November 20, in a losing effort. The next night on Raw, despite being banned from ringside, Jericho showed up in a Sin Cara mask and attacked Rollins, in another successful title defense for Owens.",
"The next night on Raw, despite being banned from ringside, Jericho showed up in a Sin Cara mask and attacked Rollins, in another successful title defense for Owens. The following week on Raw, tensions between Jericho and Owens arose after both said that they did not need each other anymore, and Jericho was later attacked by Rollins in the parking lot.",
"The following week on Raw, tensions between Jericho and Owens arose after both said that they did not need each other anymore, and Jericho was later attacked by Rollins in the parking lot. At Roadblock: End of the Line on December 18, Jericho lost to Rollins after Owens failed in his attempt to help him, Later that night, Jericho intentionally attacked Owens to prevent Reigns from winning the title.",
"At Roadblock: End of the Line on December 18, Jericho lost to Rollins after Owens failed in his attempt to help him, Later that night, Jericho intentionally attacked Owens to prevent Reigns from winning the title. After both Jericho and Owens failed to win the WWE United States Championship from Reigns in multiple singles matches in late 2016, Jericho pinned Reigns in a handicap match also involving Owens on the January 9 episode of Raw to win the WWE United States Championship.",
"After both Jericho and Owens failed to win the WWE United States Championship from Reigns in multiple singles matches in late 2016, Jericho pinned Reigns in a handicap match also involving Owens on the January 9 episode of Raw to win the WWE United States Championship. Thus, Jericho won his first championship in nearly seven years and also become Grand Slam winner under the current format.",
"Thus, Jericho won his first championship in nearly seven years and also become Grand Slam winner under the current format. Due to interfering multiple times in Owens's matches, Jericho was suspended above the ring in a shark proof cage during Reigns's rematch at the Royal Rumble pay-per-view event.",
"Due to interfering multiple times in Owens's matches, Jericho was suspended above the ring in a shark proof cage during Reigns's rematch at the Royal Rumble pay-per-view event. Owens nonetheless retained the championship after Braun Strowman, taking advantage of the added no disqualification stipulation, interfered.",
"Owens nonetheless retained the championship after Braun Strowman, taking advantage of the added no disqualification stipulation, interfered. Also at the event, Jericho entered as the second entrant in the Royal Rumble match, lasting over an hour (thus breaking the record with a cumulative time of over five hours) and being the third to last before being eliminated by Reigns.",
"Also at the event, Jericho entered as the second entrant in the Royal Rumble match, lasting over an hour (thus breaking the record with a cumulative time of over five hours) and being the third to last before being eliminated by Reigns. In February, tensions grew between Jericho and Owens after Jericho accepted a Universal Championship challenge from Goldberg on Owens's behalf, much to the latter's dismay.",
"In February, tensions grew between Jericho and Owens after Jericho accepted a Universal Championship challenge from Goldberg on Owens's behalf, much to the latter's dismay. On the February 13 episode of Raw, Jericho held a \"Festival of Friendship\" for Owens, who was not impressed and viciously attacked Jericho, ending their alliance.",
"On the February 13 episode of Raw, Jericho held a \"Festival of Friendship\" for Owens, who was not impressed and viciously attacked Jericho, ending their alliance. Jericho returned at Fastlane on March 5, distracting Owens during his match with Goldberg and causing Owens to lose the Universal Championship, turning face again in the process.",
"Jericho returned at Fastlane on March 5, distracting Owens during his match with Goldberg and causing Owens to lose the Universal Championship, turning face again in the process. This led to a match between Jericho and Owens being arranged for WrestleMania 33 on April 2, with Jericho's United States Championship on the line.",
"This led to a match between Jericho and Owens being arranged for WrestleMania 33 on April 2, with Jericho's United States Championship on the line. At WrestleMania, Jericho lost the United States Championship to Owens.",
"At WrestleMania, Jericho lost the United States Championship to Owens. At Payback on April 30, Jericho defeated Owens to regain the title and moved to the SmackDown brand, but lost it back to him two nights later on SmackDown. Following the match, Owens attacked Jericho, who was carried out on a stretcher.",
"Following the match, Owens attacked Jericho, who was carried out on a stretcher. Thus, Jericho was written off television so he could fulfill his commitments to tour with and promote his new album with Fozzy. Jericho made a surprise return at a house show in Singapore on June 28, where he lost to Hideo Itami.",
"Jericho made a surprise return at a house show in Singapore on June 28, where he lost to Hideo Itami. Final matches and departure (2017–2018) On the July 25 episode of SmackDown, Jericho made his televised return, interrupting an altercation between Kevin Owens and AJ Styles to get his rematch for Owens' WWE United States Championship.",
"Final matches and departure (2017–2018) On the July 25 episode of SmackDown, Jericho made his televised return, interrupting an altercation between Kevin Owens and AJ Styles to get his rematch for Owens' WWE United States Championship. Later that night, Jericho participated in a triple threat match against Owens and Styles for the title in which Jericho was pinned by Styles.",
"Later that night, Jericho participated in a triple threat match against Owens and Styles for the title in which Jericho was pinned by Styles. Show took place in Richmond, Virginia and was Jericho's last in-ring appearance for WWE in the United States.",
"Show took place in Richmond, Virginia and was Jericho's last in-ring appearance for WWE in the United States. On January 22, 2018 during the 25th Anniversary of Raw, Jericho appeared backstage in a segment with Elias, putting him on The List of Jericho.",
"On January 22, 2018 during the 25th Anniversary of Raw, Jericho appeared backstage in a segment with Elias, putting him on The List of Jericho. At the Greatest Royal Rumble, Jericho was the last entrant in the 50-man Royal Rumble match, eliminating Shelton Benjamin before being eliminated by the eventual winner Braun Strowman.",
"At the Greatest Royal Rumble, Jericho was the last entrant in the 50-man Royal Rumble match, eliminating Shelton Benjamin before being eliminated by the eventual winner Braun Strowman. This event marked Jericho's final appearance with WWE.",
"This event marked Jericho's final appearance with WWE. In September 2019, during an interview for the Mature Audiences Mayhem Podcast, Jericho revealed the exact point when he decided he was going to leave the WWE. Even though Jericho was with the WWE for 15 years, the final insult came at WrestleMania 33 in 2017.",
"Even though Jericho was with the WWE for 15 years, the final insult came at WrestleMania 33 in 2017. Despite the fact that Jericho and Kevin Owens had the best feud of the year, their match was demoted by placing it on the second place on the WrestleMania match card.",
"Despite the fact that Jericho and Kevin Owens had the best feud of the year, their match was demoted by placing it on the second place on the WrestleMania match card. The decision made by Vince McMahon was a big insult for Jericho and that prompted him to seek work elsewhere.",
"The decision made by Vince McMahon was a big insult for Jericho and that prompted him to seek work elsewhere. Jericho reflecting his WWE departure stated: \"Originally, that was going to be the main event for the world title.",
"Jericho reflecting his WWE departure stated: \"Originally, that was going to be the main event for the world title. Kevin Owens was the champion and I was going to beat him in the main event of WrestleMania as a babyface.\"",
"Kevin Owens was the champion and I was going to beat him in the main event of WrestleMania as a babyface.\" Instead of having Jericho and Owens as the main event, Vince decided to put Bill Goldberg and Brock Lesnar on the main card.",
"Instead of having Jericho and Owens as the main event, Vince decided to put Bill Goldberg and Brock Lesnar on the main card. \"Vince said that it’s going to be me versus Kevin Owens for the world title at WrestleMania and you are going to win the title, f*** yeah!",
"\"Vince said that it’s going to be me versus Kevin Owens for the world title at WrestleMania and you are going to win the title, f*** yeah! Next week, he doesn’t tell me, but I hear that it’s changed to Brock Lesnar versus Bill Goldberg for the title.",
"Next week, he doesn’t tell me, but I hear that it’s changed to Brock Lesnar versus Bill Goldberg for the title. And not only did they take us out of the main event – and, once again, just because I was told I have no right to it and things change all the time, I’m a big boy, I can handle it.",
"And not only did they take us out of the main event – and, once again, just because I was told I have no right to it and things change all the time, I’m a big boy, I can handle it. But to take us from the main event slot and then move us to the second match on the card on a card that has 12 matches on it?",
"But to take us from the main event slot and then move us to the second match on the card on a card that has 12 matches on it? I was like, that’s a f***ing insult.\"",
"I was like, that’s a f***ing insult.\" Return to NJPW (2017–2020) Feud with Kenny Omega (2017–2018) On November 5, 2017, Jericho returned to NJPW in a pre-taped vignette, challenging Kenny Omega to a match at Wrestle Kingdom 12 in Tokyo Dome.",
"Return to NJPW (2017–2020) Feud with Kenny Omega (2017–2018) On November 5, 2017, Jericho returned to NJPW in a pre-taped vignette, challenging Kenny Omega to a match at Wrestle Kingdom 12 in Tokyo Dome. The challenge was immediately accepted by Omega and made official by NJPW the following day as a title match for Omega's IWGP United States Heavyweight Championship.",
"The challenge was immediately accepted by Omega and made official by NJPW the following day as a title match for Omega's IWGP United States Heavyweight Championship. The match, dubbed \"Alpha vs. Omega\", was Jericho's first match outside of WWE since he left WCW in July 1999.",
"The match, dubbed \"Alpha vs. Omega\", was Jericho's first match outside of WWE since he left WCW in July 1999. Journalist Dave Meltzer wrote that Jericho's WWE contract had expired and that he was a \"free agent\". NJPW also referred to Jericho as a free agent.",
"NJPW also referred to Jericho as a free agent. In contrast, the Tokyo Sports newspaper described an anonymous NJPW official saying that Jericho is still under contract with WWE, and that WWE chairman Vince McMahon had given him permission to wrestle this match in NJPW. This was his first NJPW match in nearly 20 years.",
"This was his first NJPW match in nearly 20 years. Jericho returned in person at the December 11 World Tag League show, attacking and bloodying Omega after his match, while also laying out a referee, a young lion and color commentator Don Callis, establishing himself as a heel.",
"Jericho returned in person at the December 11 World Tag League show, attacking and bloodying Omega after his match, while also laying out a referee, a young lion and color commentator Don Callis, establishing himself as a heel. The following day at the Wrestle Kingdom 12 in Tokyo Dome press conference, Jericho and Omega would get into a second physical altercation.",
"The following day at the Wrestle Kingdom 12 in Tokyo Dome press conference, Jericho and Omega would get into a second physical altercation. Because of the two incidents, NJPW turned the January 4 match into a no disqualification match. At the event, Jericho was defeated by Omega.",
"At the event, Jericho was defeated by Omega. It was later revealed that the match was awarded a five-star rating from Dave Meltzer of the Wrestling Observer Newsletter. This was the first of his career. IWGP Intercontinental Champion (2018–2019) The night after Wrestle Kingdom 12 in Tokyo Dome at New Year Dash!!",
"IWGP Intercontinental Champion (2018–2019) The night after Wrestle Kingdom 12 in Tokyo Dome at New Year Dash!! 2018, Jericho attacked Tetsuya Naito.",
"2018, Jericho attacked Tetsuya Naito. On May 4, Jericho once again attacked Naito at Wrestling Dontaku, leading to a match between the two at Dominion 6.9 in Osaka-jo Hall, in which he defeated Naito to win the IWGP Intercontinental Championship. At King of Pro-Wrestling, Jericho attacked Evil before his match against Zack Sabre Jr.",
"At King of Pro-Wrestling, Jericho attacked Evil before his match against Zack Sabre Jr. Backstage, Jericho challenged Evil to an IWGP Intercontinental Championship title match at Power Struggle. At the event, Jericho made Evil submit to the Liontamer to retain the IWGP Intercontinental Championship.",
"At the event, Jericho made Evil submit to the Liontamer to retain the IWGP Intercontinental Championship. After the match, Jericho refused to release the hold until Tetsuya Naito ran in for the save and challenged Jericho. Despite Jericho stating that Naito would not receive a rematch, the match was made official for Wrestle Kingdom 13 in Tokyo Dome.",
"Despite Jericho stating that Naito would not receive a rematch, the match was made official for Wrestle Kingdom 13 in Tokyo Dome. On December 15, NJPW held a press conference for Jericho and Naito's IWGP Intercontinental Championship match.",
"On December 15, NJPW held a press conference for Jericho and Naito's IWGP Intercontinental Championship match. The press conference ended when Naito spat water in Jericho's face, which resulted in the two then brawling before being separated.",
"The press conference ended when Naito spat water in Jericho's face, which resulted in the two then brawling before being separated. Later that same day during a Road to Tokyo Dome show, Jericho laid out Naito with steel chair shots, and after stated that at Wrestle Kingdom 13 he would end Tetsuya Naito's career.",
"Later that same day during a Road to Tokyo Dome show, Jericho laid out Naito with steel chair shots, and after stated that at Wrestle Kingdom 13 he would end Tetsuya Naito's career. At the event, Jericho was defeated by Naito, losing the IWGP Intercontinental Championship in the process.",
"At the event, Jericho was defeated by Naito, losing the IWGP Intercontinental Championship in the process. Sporadic appearances (2019–2020) At Dominion 6.9 in Osaka-jo Hall, Jericho challenged Kazuchika Okada for the IWGP Heavyweight Championship but was defeated. Following the match, Jericho attacked Okada, leading to Hiroshi Tanahashi making the save.",
"Following the match, Jericho attacked Okada, leading to Hiroshi Tanahashi making the save. Jericho returned at Power Struggle on November 3 and challenged Tanahashi to a match at Wrestle Kingdom 14. On December 28, it was announced that if Tanahashi were to defeat Jericho, he would be granted an AEW World Championship match at a later date.",
"On December 28, it was announced that if Tanahashi were to defeat Jericho, he would be granted an AEW World Championship match at a later date. During the second night of Wrestle Kingdom on January 5, 2020, Jericho defeated Tanahashi.",
"During the second night of Wrestle Kingdom on January 5, 2020, Jericho defeated Tanahashi. Return to the independent circuit (2018–2019) On September 1, 2018, Jericho (disguised as Penta El Zero) appeared at the All In show promoted by Cody and The Young Bucks, where he attacked Kenny Omega following Omega's victory over Penta to promote his upcoming Rock 'N' Wrestling Rager at Sea cruise.",
"Return to the independent circuit (2018–2019) On September 1, 2018, Jericho (disguised as Penta El Zero) appeared at the All In show promoted by Cody and The Young Bucks, where he attacked Kenny Omega following Omega's victory over Penta to promote his upcoming Rock 'N' Wrestling Rager at Sea cruise. In October 2018, Jericho organized Chris Jericho's Rock 'N' Wrestling Rager at Sea, a series of professional wrestling matches originating from Jericho's cruise ship, which embarked from Miami, Florida and featured wrestlers from Ring of Honor.",
"In October 2018, Jericho organized Chris Jericho's Rock 'N' Wrestling Rager at Sea, a series of professional wrestling matches originating from Jericho's cruise ship, which embarked from Miami, Florida and featured wrestlers from Ring of Honor. On May 3, 2019, Jericho appeared at a Southern Honor Wrestling event, where he was attacked by Kenny Omega.",
"On May 3, 2019, Jericho appeared at a Southern Honor Wrestling event, where he was attacked by Kenny Omega. All Elite Wrestling (2019–present) Inaugural AEW World Champion (2019–2020) On January 8, 2019, Jericho made a surprise appearance at a media event organized by the upstart All Elite Wrestling (AEW) promotion.",
"All Elite Wrestling (2019–present) Inaugural AEW World Champion (2019–2020) On January 8, 2019, Jericho made a surprise appearance at a media event organized by the upstart All Elite Wrestling (AEW) promotion. Shortly afterwards, Jericho was filmed signing a full-time performers three-year contract with AEW and shaking hands with the company's President Tony Khan.",
"Shortly afterwards, Jericho was filmed signing a full-time performers three-year contract with AEW and shaking hands with the company's President Tony Khan. Jericho defeated Kenny Omega at the promotion's inaugural event Double or Nothing on May 25, and went on to defeat Adam Page at All Out to become the inaugural AEW World Champion.",
"Jericho defeated Kenny Omega at the promotion's inaugural event Double or Nothing on May 25, and went on to defeat Adam Page at All Out to become the inaugural AEW World Champion. On the premiere episode of Dynamite on October 2, Jericho allied himself with Sammy Guevara, Jake Hager, Santana and Ortiz, creating a stable that would be known as The Inner Circle.",
"On the premiere episode of Dynamite on October 2, Jericho allied himself with Sammy Guevara, Jake Hager, Santana and Ortiz, creating a stable that would be known as The Inner Circle. Jericho would make successful title defences against Darby Allin on the October 16 episode of Dynamite and Cody at the Full Gear pay-per-view on November 9.",
"Jericho would make successful title defences against Darby Allin on the October 16 episode of Dynamite and Cody at the Full Gear pay-per-view on November 9. On the episode of Dynamite after Full Gear, Jericho and Guevara challenged SoCal Uncensored (Frankie Kazarian and Scorpio Sky) for the AEW World Tag Team Championship, but they failed to win when Sky pinned Jericho with a small package, thus suffering his first loss in AEW.",
"On the episode of Dynamite after Full Gear, Jericho and Guevara challenged SoCal Uncensored (Frankie Kazarian and Scorpio Sky) for the AEW World Tag Team Championship, but they failed to win when Sky pinned Jericho with a small package, thus suffering his first loss in AEW. Jericho would successfully retain the AEW World Championship against Sky on the November 27 episode of Dynamite.",
"Jericho would successfully retain the AEW World Championship against Sky on the November 27 episode of Dynamite. In December, The Inner Circle began to attempt to entice Jon Moxley to join the group.",
"In December, The Inner Circle began to attempt to entice Jon Moxley to join the group. On the January 8, 2020 episode of Dynamite, Moxley initially joined the group, however, this was later revealed to be a ruse from Moxley as he attacked Jericho and Sammy Guevara.",
"On the January 8, 2020 episode of Dynamite, Moxley initially joined the group, however, this was later revealed to be a ruse from Moxley as he attacked Jericho and Sammy Guevara. Moxley then became the number one contender for Jericho's championship at Revolution on February 29, where Moxley defeated Jericho to win the title, ending his inaugural AEW World Championship reign at 182 days.",
"Moxley then became the number one contender for Jericho's championship at Revolution on February 29, where Moxley defeated Jericho to win the title, ending his inaugural AEW World Championship reign at 182 days. Feud with MJF (2020–2021) After losing the championship, Jericho and The Inner Circle began a feud with The Elite (Adam Page, Cody, Kenny Omega and The Young Bucks), who recruited the debuting Matt Hardy to oppose them.",
"Feud with MJF (2020–2021) After losing the championship, Jericho and The Inner Circle began a feud with The Elite (Adam Page, Cody, Kenny Omega and The Young Bucks), who recruited the debuting Matt Hardy to oppose them. At Double or Nothing on May 23, The Inner Circle were defeated by Page, Omega, The Young Bucks and Hardy in a Stadium Stampede match.",
"At Double or Nothing on May 23, The Inner Circle were defeated by Page, Omega, The Young Bucks and Hardy in a Stadium Stampede match. Jericho next began a rivalry with Orange Cassidy, with Jericho defeating him at Fyter Fest on July 8, but losing a rematch on the August 12 episode of Dynamite.",
"Jericho next began a rivalry with Orange Cassidy, with Jericho defeating him at Fyter Fest on July 8, but losing a rematch on the August 12 episode of Dynamite. The two faced once again at All Out on September 5, in a Mimosa Mayhem match, which Jericho lost.",
"The two faced once again at All Out on September 5, in a Mimosa Mayhem match, which Jericho lost. Beginning in October, Jericho began a feud with MJF, who requested to join the Inner Circle, despite disapproval from Sammy Guevara, Santana and Ortiz.",
"Beginning in October, Jericho began a feud with MJF, who requested to join the Inner Circle, despite disapproval from Sammy Guevara, Santana and Ortiz. Jericho and MJF wrestled in a match at the Full Gear event on November 7, which MJF won, thus allowing him to join the Inner Circle.",
"Jericho and MJF wrestled in a match at the Full Gear event on November 7, which MJF won, thus allowing him to join the Inner Circle. At Beach Break on February 3, 2021, Jericho and MJF won a tag team battle royal to become the number one contenders for the AEW World Tag Team Championship at the Revolution event against The Young Bucks, which they were unsuccessful in winning.",
"At Beach Break on February 3, 2021, Jericho and MJF won a tag team battle royal to become the number one contenders for the AEW World Tag Team Championship at the Revolution event against The Young Bucks, which they were unsuccessful in winning. On the March 10 episode of Dynamite, MJF betrayed and left The Inner Circle after revealing he had been secretly plotting against them and building his own stable, The Pinnacle—consisting of Wardlow, Shawn Spears and FTR (Cash Wheeler and Dax Harwood).",
"On the March 10 episode of Dynamite, MJF betrayed and left The Inner Circle after revealing he had been secretly plotting against them and building his own stable, The Pinnacle—consisting of Wardlow, Shawn Spears and FTR (Cash Wheeler and Dax Harwood). At Blood and Guts on May 5, The Inner Circle lost to The Pinnacle in the inaugural Blood and Guts match.",
"At Blood and Guts on May 5, The Inner Circle lost to The Pinnacle in the inaugural Blood and Guts match. However, in the main event of Double or Nothing later that month, The Inner Circle defeated The Pinnacle in a Stadium Stampede match, after Sammy Guevara pinned Shawn Spears.",
"However, in the main event of Double or Nothing later that month, The Inner Circle defeated The Pinnacle in a Stadium Stampede match, after Sammy Guevara pinned Shawn Spears. Jericho then began pursuing another match with MJF, who stated that he would first have to defeat a gauntlet of opponents selected by MJF, in a series dubbed the \"Labors of Jericho\".",
"Jericho then began pursuing another match with MJF, who stated that he would first have to defeat a gauntlet of opponents selected by MJF, in a series dubbed the \"Labors of Jericho\". Jericho would defeat each of MJF's handpicked opponents (Shawn Spears, Nick Gage, Juventud Guerrera and Wardlow) and faced MJF in the final labor on the August 18 episode of Dynamite, but he was defeated.",
"Jericho would defeat each of MJF's handpicked opponents (Shawn Spears, Nick Gage, Juventud Guerrera and Wardlow) and faced MJF in the final labor on the August 18 episode of Dynamite, but he was defeated. Jericho demanded one more match, stipulating that if he lost, he would retire from in-ring competition, which MJF accepted.",
"Jericho demanded one more match, stipulating that if he lost, he would retire from in-ring competition, which MJF accepted. At All Out on September 5, Jericho defeated MJF to maintain his career and end their feud.",
"At All Out on September 5, Jericho defeated MJF to maintain his career and end their feud. Various feuds (2021–present) Following All Out, The Inner Circle started a rivalry with Men of the Year (Ethan Page and Scorpio Sky), and their ally, mixed martial arts (MMA) coach Dan Lambert.",
"Various feuds (2021–present) Following All Out, The Inner Circle started a rivalry with Men of the Year (Ethan Page and Scorpio Sky), and their ally, mixed martial arts (MMA) coach Dan Lambert. Lambert also brought in members of his MMA team American Top Team (ATT) to oppose The Inner Circle, including Andrei Arlovski and Junior dos Santos.",
"Lambert also brought in members of his MMA team American Top Team (ATT) to oppose The Inner Circle, including Andrei Arlovski and Junior dos Santos. At the Full Gear event on November 13, The Inner Circle defeated Men of the Year and ATT in a Minneapolis Street Fight.",
"At the Full Gear event on November 13, The Inner Circle defeated Men of the Year and ATT in a Minneapolis Street Fight. Legacy Known for his over-the-top, rock star persona, Jericho has been described by multiple industry commentators as one of the greatest professional wrestlers of all time.",
"Legacy Known for his over-the-top, rock star persona, Jericho has been described by multiple industry commentators as one of the greatest professional wrestlers of all time. Journalist Chris Van Vliet noted that his name is \"always thrown around as the GOAT [greatest of all time], or at least one of the GOATs\", with Van Vliet himself asserting that Jericho is \"if not the best, certainly one of the best\".",
"Journalist Chris Van Vliet noted that his name is \"always thrown around as the GOAT [greatest of all time], or at least one of the GOATs\", with Van Vliet himself asserting that Jericho is \"if not the best, certainly one of the best\". Todd Martin of the Pro Wrestling Torch remarked, to agreement from editor Wade Keller, that Jericho is \"one of the great wrestlers of all time\" and in \"a lofty category\", while likening his oeuvre to those of WWE Hall of Famers Randy Savage, Ricky Steamboat, Ted DiBiase and Dory Funk Jr.",
"Todd Martin of the Pro Wrestling Torch remarked, to agreement from editor Wade Keller, that Jericho is \"one of the great wrestlers of all time\" and in \"a lofty category\", while likening his oeuvre to those of WWE Hall of Famers Randy Savage, Ricky Steamboat, Ted DiBiase and Dory Funk Jr. Praised for his ability to continually evolve his gimmick, Jericho was dubbed by KC Joyner of ESPN as \"wrestling's David Bowie\".",
"Praised for his ability to continually evolve his gimmick, Jericho was dubbed by KC Joyner of ESPN as \"wrestling's David Bowie\". Various outlets have included Jericho in lists of the greatest wrestlers ever.",
"Various outlets have included Jericho in lists of the greatest wrestlers ever. Baltimore Sun reporter Kevin Eck, who has also served as editor of WCW Magazine and a WWE producer, featured Jericho in his \"Top 10 favorite wrestlers of all time\" and \"Top 10 all-around performers\"—the former piece noting that Jericho is \"regarded as one of the very best talkers in the business\".",
"Baltimore Sun reporter Kevin Eck, who has also served as editor of WCW Magazine and a WWE producer, featured Jericho in his \"Top 10 favorite wrestlers of all time\" and \"Top 10 all-around performers\"—the former piece noting that Jericho is \"regarded as one of the very best talkers in the business\". Keisha Hatchett in TV Guide wrote that Jericho \"owns the mic with cerebral insults\" and is set apart from peers by \"his charismatic presence, which is highlighted by a laundry list of unforgettable catchphrases\".",
"Keisha Hatchett in TV Guide wrote that Jericho \"owns the mic with cerebral insults\" and is set apart from peers by \"his charismatic presence, which is highlighted by a laundry list of unforgettable catchphrases\". He was voted by Wrestling Observer Newsletter (WON) readers as \"Best on Interviews\" for the 2000s decade, coinciding with his 2010 induction into the WON Hall of Fame.",
"He was voted by Wrestling Observer Newsletter (WON) readers as \"Best on Interviews\" for the 2000s decade, coinciding with his 2010 induction into the WON Hall of Fame. Fans also named Jericho the greatest WWE Intercontinental Champion of all time in a 2013 WWE poll, affording him a landslide 63% victory over the other four contenders (Mr.",
"Fans also named Jericho the greatest WWE Intercontinental Champion of all time in a 2013 WWE poll, affording him a landslide 63% victory over the other four contenders (Mr. Perfect, The Honky Tonk Man, Rick Rude and Pat Patterson).",
"Perfect, The Honky Tonk Man, Rick Rude and Pat Patterson). A number of Jericho's industry colleagues have hailed him as one of the greatest wrestlers in history. Stone Cold Steve Austin lauded his consistently \"dynamic\" promos and in-ring work, while arguing that he should be considered among the 10 best ever.",
"Stone Cold Steve Austin lauded his consistently \"dynamic\" promos and in-ring work, while arguing that he should be considered among the 10 best ever. Kenny Omega asserted that Jericho \"has a legit argument for being the best of all time\", based on his ability to achieve success and notoriety across numerous territories.",
"Kenny Omega asserted that Jericho \"has a legit argument for being the best of all time\", based on his ability to achieve success and notoriety across numerous territories. Jon Moxley said, \"Jericho is really making a case for being the greatest of all time... he's doing it again, he's doing something completely new, and breaking new barriers still here in 2020.\"",
"Jon Moxley said, \"Jericho is really making a case for being the greatest of all time... he's doing it again, he's doing something completely new, and breaking new barriers still here in 2020.\" Matt Striker pointed to Jericho's \"magnanimous\" nature as a contributing factor to his status as an all-time great; his willingness to impart knowledge was commended by James Ellsworth, who described Jericho as an \"outstanding human being\" and a childhood favorite.",
"Matt Striker pointed to Jericho's \"magnanimous\" nature as a contributing factor to his status as an all-time great; his willingness to impart knowledge was commended by James Ellsworth, who described Jericho as an \"outstanding human being\" and a childhood favorite. Kevin Owens stated that \"Jericho was always someone I looked up to\", while The Miz affirmed that he was part of a generation of young wrestlers who sought to \"emulate\" Jericho.",
"Kevin Owens stated that \"Jericho was always someone I looked up to\", while The Miz affirmed that he was part of a generation of young wrestlers who sought to \"emulate\" Jericho. WWE declared Jericho a \"marquee draw\" with a \"reputation as one of the best ever\".",
"WWE declared Jericho a \"marquee draw\" with a \"reputation as one of the best ever\". As of 2019, he is one of the ten most prolific pay-per-view performers in company history.",
"As of 2019, he is one of the ten most prolific pay-per-view performers in company history. After Jericho signed with All Elite Wrestling, it was said his role was similar to Terry Funk in ECW, as an experienced veteran bringing credibility to a younger promotion.",
"After Jericho signed with All Elite Wrestling, it was said his role was similar to Terry Funk in ECW, as an experienced veteran bringing credibility to a younger promotion. Jericho was credited as one of the key attractions of AEW's weekly television broadcasts, leading to him adopting the nickname \"The Demo God\" due to many of the segments he appeared in being some of the highest viewed in the key demographics.",
"Jericho was credited as one of the key attractions of AEW's weekly television broadcasts, leading to him adopting the nickname \"The Demo God\" due to many of the segments he appeared in being some of the highest viewed in the key demographics. He was voted as the Best Box Office Draw by readers of the Wrestling Observer Newsletter in 2019.",
"He was voted as the Best Box Office Draw by readers of the Wrestling Observer Newsletter in 2019. Music career Jericho is the lead singer for the heavy metal band Fozzy.",
"Music career Jericho is the lead singer for the heavy metal band Fozzy. Since their debut album in 2000, Fozzy have released seven studio albums; Fozzy, Happenstance, All That Remains, Chasing the Grail, Sin and Bones, Do You Wanna Start a War, Judas, and one live album, Remains Alive.",
"Since their debut album in 2000, Fozzy have released seven studio albums; Fozzy, Happenstance, All That Remains, Chasing the Grail, Sin and Bones, Do You Wanna Start a War, Judas, and one live album, Remains Alive. In 2005, Jericho performed vocals on a cover of \"The Evil That Men Do\" on the Iron Maiden tribute album, Numbers from the Beast.",
"In 2005, Jericho performed vocals on a cover of \"The Evil That Men Do\" on the Iron Maiden tribute album, Numbers from the Beast. He made a guest appearance on Dream Theater's album, Systematic Chaos on the song \"Repentance\", as one of several musical guests recorded apologizing to important people in their lives for wrongdoings in the past.",
"He made a guest appearance on Dream Theater's album, Systematic Chaos on the song \"Repentance\", as one of several musical guests recorded apologizing to important people in their lives for wrongdoings in the past. In the mid-1990s, Jericho wrote a monthly column for Metal Edge magazine focused on the heavy metal scene.",
"In the mid-1990s, Jericho wrote a monthly column for Metal Edge magazine focused on the heavy metal scene. The column ran for about a year. He started his own weekly XM Satellite Radio show in March 2005 called The Rock of Jericho, which aired Sunday nights on XM 41 The Boneyard.",
"He started his own weekly XM Satellite Radio show in March 2005 called The Rock of Jericho, which aired Sunday nights on XM 41 The Boneyard. Discography Albums with Fozzy Fozzy (2000) Happenstance (2002) All That Remains (2005) Chasing the Grail (2010) Sin and Bones (2012) Do You Wanna Start a War (2014) Judas (2017) Live albums Remains Alive (2009) As guest Don't You Wish You Were Me?",
"Discography Albums with Fozzy Fozzy (2000) Happenstance (2002) All That Remains (2005) Chasing the Grail (2010) Sin and Bones (2012) Do You Wanna Start a War (2014) Judas (2017) Live albums Remains Alive (2009) As guest Don't You Wish You Were Me? - WWE Originals (2004) King of the Night Time World - Spin the Bottle: An All-Star Tribute to Kiss (2004) * With Rich Ward, Mike Inez, Fred Coury Bullet for My Valentine – Temper Temper – Dead to the World (2013) Devin Townsend – Dark Matters (2014) Michael Sweet – I'm Not Your Suicide – Anybody Else (2014) Other endeavors Film, theater, comedy, and writing In 2000, a WWE produced VHS tape documenting Jericho's career titled Break Down the Walls was released.",
"- WWE Originals (2004) King of the Night Time World - Spin the Bottle: An All-Star Tribute to Kiss (2004) * With Rich Ward, Mike Inez, Fred Coury Bullet for My Valentine – Temper Temper – Dead to the World (2013) Devin Townsend – Dark Matters (2014) Michael Sweet – I'm Not Your Suicide – Anybody Else (2014) Other endeavors Film, theater, comedy, and writing In 2000, a WWE produced VHS tape documenting Jericho's career titled Break Down the Walls was released. He later received two three disc sets profiling matches and interviews.",
"He later received two three disc sets profiling matches and interviews. On June 24, 2006, Jericho premiered in his first Sci-Fi Channel movie Android Apocalypse alongside Scott Bairstow and Joey Lawrence.",
"On June 24, 2006, Jericho premiered in his first Sci-Fi Channel movie Android Apocalypse alongside Scott Bairstow and Joey Lawrence. Jericho debuted as a stage actor in a comedy play Opening Night, which premiered at the Toronto Centre for the Arts during July 20–22, 2006 in Toronto.",
"Jericho debuted as a stage actor in a comedy play Opening Night, which premiered at the Toronto Centre for the Arts during July 20–22, 2006 in Toronto. During his stay in Toronto, Jericho hosted the sketch comedy show Sunday Night Live with sketch troupe The Sketchersons at The Brunswick House.",
"During his stay in Toronto, Jericho hosted the sketch comedy show Sunday Night Live with sketch troupe The Sketchersons at The Brunswick House. Jericho was also the first wrestler attached and interviewed for the wrestling documentary, Bloodstained Memoirs. The interview was recorded in the UK during a Fozzy tour in 2006.",
"The interview was recorded in the UK during a Fozzy tour in 2006. Jericho wrote his autobiography, A Lion's Tale: Around the World in Spandex, which was released on October 25, 2007 and became a New York Times bestseller. It covers Jericho's life and wrestling career up to his debut in the WWE.",
"It covers Jericho's life and wrestling career up to his debut in the WWE. Jericho's second autobiography, Undisputed: How to Become the World Champion in 1,372 Easy Steps, was released on February 16, 2011, and covers his wrestling career since his WWE debut.",
"Jericho's second autobiography, Undisputed: How to Become the World Champion in 1,372 Easy Steps, was released on February 16, 2011, and covers his wrestling career since his WWE debut. On October 14, 2014 Jericho's third book, The Best In The World...At What I Have No Idea, was released.",
"On October 14, 2014 Jericho's third book, The Best In The World...At What I Have No Idea, was released. It covers some untold stories of the \"Save Us\" era, his Fozzy career, and his multiple returns from 2011 to 2013.",
"It covers some untold stories of the \"Save Us\" era, his Fozzy career, and his multiple returns from 2011 to 2013. Jericho's fourth book, No Is a Four-Letter Word: How I Failed Spelling but Succeeded in Life, was released on August 29, 2017 and details twenty valuable lessons Jericho learned throughout his career as a wrestler and musician.",
"Jericho's fourth book, No Is a Four-Letter Word: How I Failed Spelling but Succeeded in Life, was released on August 29, 2017 and details twenty valuable lessons Jericho learned throughout his career as a wrestler and musician. Jericho appeared in the 2009 film Albino Farm.",
"Jericho appeared in the 2009 film Albino Farm. In the film MacGruber, released May 21, 2010, he briefly appeared as Frank Korver, a former military teammate of the eponymous Green Beret, Navy Seal, and Army Ranger.",
"In the film MacGruber, released May 21, 2010, he briefly appeared as Frank Korver, a former military teammate of the eponymous Green Beret, Navy Seal, and Army Ranger. Jericho released a comedy web series on October 29, 2013 that is loosely based on his life entitled But I'm Chris Jericho!",
"Jericho released a comedy web series on October 29, 2013 that is loosely based on his life entitled But I'm Chris Jericho! Jericho plays a former wrestler, struggling to make it big as an actor. A second season was produced in 2017 by CBC and distributed over CBC's television app and CBC.ca.",
"A second season was produced in 2017 by CBC and distributed over CBC's television app and CBC.ca. In 2016, Jericho starred in the documentary film Nine Legends alongside Mike Tyson and other wrestlers. In August 2018, Jericho was confirmed to star in the film Killroy Was Here.",
"In August 2018, Jericho was confirmed to star in the film Killroy Was Here. On March 14, 2019, filmmaker Kevin Smith cast Jericho as a KKK Grand Wizard in Jay and Silent Bob Reboot.",
"On March 14, 2019, filmmaker Kevin Smith cast Jericho as a KKK Grand Wizard in Jay and Silent Bob Reboot. Television Jericho was a contributor to the VH1 pop culture shows Best Week Ever, I Love the '80s, and VH1's top 100 artists.",
"Television Jericho was a contributor to the VH1 pop culture shows Best Week Ever, I Love the '80s, and VH1's top 100 artists. Jericho also hosted the five-part, five-hour VH1 special 100 Most Shocking Music Moments, an update of the original special 100 Most Shocking Moments in Rock N' Roll first hosted by Mark McGrath of Sugar Ray.",
"Jericho also hosted the five-part, five-hour VH1 special 100 Most Shocking Music Moments, an update of the original special 100 Most Shocking Moments in Rock N' Roll first hosted by Mark McGrath of Sugar Ray. On July 12, 2006, he made an appearance on G4's Attack of the Show!",
"On July 12, 2006, he made an appearance on G4's Attack of the Show! ; he made a second appearance on August 21, 2009. In May 2006, Jericho appeared on VH1's 40 Greatest Metal Songs and Heavy: The Story of Metal as a commentator.",
"In May 2006, Jericho appeared on VH1's 40 Greatest Metal Songs and Heavy: The Story of Metal as a commentator. He was one of eight celebrities in the 2006 Fox Television singing reality show Celebrity Duets, produced by Simon Cowell, and was the first contestant eliminated.",
"He was one of eight celebrities in the 2006 Fox Television singing reality show Celebrity Duets, produced by Simon Cowell, and was the first contestant eliminated. Jericho worked at a McDonald's to show off his skills while prepping for the show.",
"Jericho worked at a McDonald's to show off his skills while prepping for the show. Jericho hosted his own reality show in 2008 titled Redemption Song, in which 11 women tried their hand at getting into the music scene. It was shown on Fuse TV.",
"It was shown on Fuse TV. He guest starred as Billy \"The Body Bag\" Cobb in \"Xero Control\", an episode of the Disney XD 2009 original series Aaron Stone. He hosted VH1's 100 Most Shocking Music Moments, which began airing in December 2009.",
"He hosted VH1's 100 Most Shocking Music Moments, which began airing in December 2009. In June 2010, Jericho was named the host of the ABC prime-time game show Downfall. On March 1, 2011, Chris Jericho was named one of the contestants on the 2011 lineup of Dancing with the Stars.",
"On March 1, 2011, Chris Jericho was named one of the contestants on the 2011 lineup of Dancing with the Stars. His partner was two-time champion Cheryl Burke. This led to a wave of publicity, including an interview with Jay Leno. On April 26, Jericho was the fifth contestant eliminated on the show.",
"On April 26, Jericho was the fifth contestant eliminated on the show. On May 5, Jericho made his third appearance as a guest on Attack of the Show! where he depicted Thor. He promoted Undisputed and hosted the Revolver Golden Gods Awards on May 28 on VH1 Classic.",
"He promoted Undisputed and hosted the Revolver Golden Gods Awards on May 28 on VH1 Classic. On January 17, 2012, Jericho made his fourth appearance on Attack of the Show!",
"On January 17, 2012, Jericho made his fourth appearance on Attack of the Show! in a segment called \"Twitter Twister\" where he portrayed a character called \"The Twistercutioner\" and read tweets as instructions for a game of Twister between Kevin and Candace.",
"in a segment called \"Twitter Twister\" where he portrayed a character called \"The Twistercutioner\" and read tweets as instructions for a game of Twister between Kevin and Candace. Jericho hosted the UK's Metal Hammer Golden Gods Awards in 2012 and 2017.",
"Jericho hosted the UK's Metal Hammer Golden Gods Awards in 2012 and 2017. On February 26, 2013, Jericho began hosting a robot combat competition program on SyFy titled Robot Combat League the series ended on April 23, 2015. Talk Is Jericho podcast In December 2013, Jericho began hosting his own podcast, Talk is Jericho.",
"Talk Is Jericho podcast In December 2013, Jericho began hosting his own podcast, Talk is Jericho. Episodes usually include a loosely scripted monolog before an interview, typically with a wrestler, rock musician or paranormal expert.",
"Episodes usually include a loosely scripted monolog before an interview, typically with a wrestler, rock musician or paranormal expert. The show originally appeared on PodcastOne, before moving to the WestwoodOne network in 2018. Notable guests on the show include Bruce Dickinson from Iron Maiden, Lemmy from Motörhead, Paul Stanley from KISS, Zak Bagans from Ghost Adventures, pornographic actress Asa Akira, writer/director Kevin Smith and many former and current wrestlers.",
"The show originally appeared on PodcastOne, before moving to the WestwoodOne network in 2018. Notable guests on the show include Bruce Dickinson from Iron Maiden, Lemmy from Motörhead, Paul Stanley from KISS, Zak Bagans from Ghost Adventures, pornographic actress Asa Akira, writer/director Kevin Smith and many former and current wrestlers. In April 2015, Jericho hosted his own video podcast on the WWE Network, Live!",
"In April 2015, Jericho hosted his own video podcast on the WWE Network, Live! with Chris Jericho, with John Cena as his first guest, followed by Stephanie McMahon as his guest later that same month. Once he signed with AEW, he was no longer allowed WWE performers as guests on the podcast.",
"Once he signed with AEW, he was no longer allowed WWE performers as guests on the podcast. Web On August 10, 2019, Jericho launched his own dirtsheet website called WebIsJericho.com. The website is dedicated to the memory of Axl Rotten.",
"The website is dedicated to the memory of Axl Rotten. In May 2020, Jericho officially joined as a competitor of the Movie Trivia Schmoedown under manager Roxy Striar in the Roxstars faction. Jericho first expressed interest in the Schmoedown following an appearance on Collider Live with Striar and Schmoedown commissioner Kristian Harloff.",
"Jericho first expressed interest in the Schmoedown following an appearance on Collider Live with Striar and Schmoedown commissioner Kristian Harloff. He became friends with Striar following the interview and kept in contact. During the 2020 season, Jericho contacted Striar, asking to be a part of the league.",
"During the 2020 season, Jericho contacted Striar, asking to be a part of the league. Striar formally drafted Jericho into her faction during the first free-agent period following the season-opening draft. His first match is scheduled for August 27 against Kevin Smith.",
"His first match is scheduled for August 27 against Kevin Smith. Cruises In 2017, Jericho launched Chris Jericho's Rock 'N' Wrestling Rager at Sea, a cruise \"combining the worlds of rock and wrestling with a once in a lifetime amazing vacation experience\".",
"Cruises In 2017, Jericho launched Chris Jericho's Rock 'N' Wrestling Rager at Sea, a cruise \"combining the worlds of rock and wrestling with a once in a lifetime amazing vacation experience\". The cruise featured live band performances, artist-hosted activities and a Sea of Honor Tournament with over a dozen Ring of Honor wrestlers competing.",
"The cruise featured live band performances, artist-hosted activities and a Sea of Honor Tournament with over a dozen Ring of Honor wrestlers competing. Guests had the opportunity to get up close and personal with Chris and his closest wrestling, comedian, and musician friends including Jim Ross, Diamond Dallas Page and Jim Breuer, among others.",
"Guests had the opportunity to get up close and personal with Chris and his closest wrestling, comedian, and musician friends including Jim Ross, Diamond Dallas Page and Jim Breuer, among others. The cruise sailed October 27–31, 2018 from Miami to Nassau, Bahamas.",
"The cruise sailed October 27–31, 2018 from Miami to Nassau, Bahamas. Jericho hosted a second cruise, Chris Jericho's Rock 'N' Wrestling Rager at Sea Part Deux: Second Wave, which run from January 20–24, 2020.",
"Jericho hosted a second cruise, Chris Jericho's Rock 'N' Wrestling Rager at Sea Part Deux: Second Wave, which run from January 20–24, 2020. A third cruise, Chris Jericho's Rock 'N' Wrestling Rager at Sea Triple Whammy, is scheduled for October 21–25, 2021.",
"A third cruise, Chris Jericho's Rock 'N' Wrestling Rager at Sea Triple Whammy, is scheduled for October 21–25, 2021. Video games Jericho has appeared in numerous video games. They include WCW/nWo Revenge, WCW Nitro, WCW/nWo Thunder, WCW Mayhem, WWF WrestleMania 2000, WWF No Mercy, WWF SmackDown!, WWF SmackDown!",
"They include WCW/nWo Revenge, WCW Nitro, WCW/nWo Thunder, WCW Mayhem, WWF WrestleMania 2000, WWF No Mercy, WWF SmackDown!, WWF SmackDown! 2: Know Your Role, WWF SmackDown! Just Bring It, WWF Raw, WWE SmackDown! Shut Your Mouth, WWE SmackDown! Here Comes the Pain, WWE SmackDown!",
"Here Comes the Pain, WWE SmackDown! vs. Raw, WWE SmackDown! vs. Raw 2006, WWE SmackDown vs. Raw 2009, WWE All Stars, WWE SmackDown vs. Raw 2010, WWE SmackDown vs.",
"Raw 2010, WWE SmackDown vs. Raw 2011, WWE '13, WWE 2K14, WWE 2K15, WWE 2K16, WWE 2K17, WWE 2K18, WWE 2K19 and the upcoming All Elite Wrestling video game. Personal life Irvine married Jessica Lockhart on July 30, 2000.",
"Personal life Irvine married Jessica Lockhart on July 30, 2000. They reside in Odessa, Florida, with their three children: son Ash Edward Irvine (born 2003) and identical twin daughters Sierra Loretta \"SiSi\" Irvine and Cheyenne Lee \"Chey\" Irvine (born 2006).",
"They reside in Odessa, Florida, with their three children: son Ash Edward Irvine (born 2003) and identical twin daughters Sierra Loretta \"SiSi\" Irvine and Cheyenne Lee \"Chey\" Irvine (born 2006). All three have been guests on his podcast, Talk Is Jericho, with his son discussing fish and his daughters discussing literature.",
"All three have been guests on his podcast, Talk Is Jericho, with his son discussing fish and his daughters discussing literature. Irvine owns three cats. In October 2020, Irvine reportedly donated $3,000 to Donald Trump's presidential re-election campaign. Irvine is a Christian.",
"Irvine is a Christian. Irvine is a Christian. He has a tattoo of his wife's name on his ring finger. He has the letter F, representing Fozzy, on the back of his hand. Since 2012, he has gradually gotten a sleeve over his left arm.",
"Since 2012, he has gradually gotten a sleeve over his left arm. His tattoos include: the artwork of Fozzy's album Sin and Bones, a Jack-o'-lantern (Avenged Sevenfold vocalist M. Shadows, who collaborated with Fozzy on the track \"Sandpaper\" from Sin and Bones, also got a matching tattoo), a lake monster, and himself from his WWF debut in 1999.",
"His tattoos include: the artwork of Fozzy's album Sin and Bones, a Jack-o'-lantern (Avenged Sevenfold vocalist M. Shadows, who collaborated with Fozzy on the track \"Sandpaper\" from Sin and Bones, also got a matching tattoo), a lake monster, and himself from his WWF debut in 1999. On July 5, 2004, Irvine was awarded Manitoba's The Order of the Buffalo Hunt, for his achievements in wrestling and his commitment to working with underprivileged children.",
"On July 5, 2004, Irvine was awarded Manitoba's The Order of the Buffalo Hunt, for his achievements in wrestling and his commitment to working with underprivileged children. – \"After that, Gary Doer, the premier of Manitoba, awarded me with the Order of the Buffalo Hunt, which was the province's highest honor.",
"– \"After that, Gary Doer, the premier of Manitoba, awarded me with the Order of the Buffalo Hunt, which was the province's highest honor. It was quite the prestigious prize, which has been given to such dignitaries such as Mother Teresa, Desmond Tutu, Jimmy Carter, Pope John Paul II, and now Chris Jericho.\"",
"It was quite the prestigious prize, which has been given to such dignitaries such as Mother Teresa, Desmond Tutu, Jimmy Carter, Pope John Paul II, and now Chris Jericho.\" / caption: \"Manitoba Premier Gary Doer presents me with the Order of the Buffalo Hunt, along with a tiny bronze buffalo.",
"/ caption: \"Manitoba Premier Gary Doer presents me with the Order of the Buffalo Hunt, along with a tiny bronze buffalo. I'm thinking, 'That's all I get?'\"",
"I'm thinking, 'That's all I get?'\" Since January 2012, Irvine (along with former NFL Quarterback Tim Tebow, former NFL player Derrick Brooks, and former Atlanta Braves player Chipper Jones) has been the co-owner of a sports training facility in Tampa, a franchise site of D1 Sports Training and Therapy.",
"Since January 2012, Irvine (along with former NFL Quarterback Tim Tebow, former NFL player Derrick Brooks, and former Atlanta Braves player Chipper Jones) has been the co-owner of a sports training facility in Tampa, a franchise site of D1 Sports Training and Therapy. Irvine is a fan of Japanese convenience store chain Lawson, which Irvine would frequently shop at when he wrestled in Japan in the 1990s.",
"Irvine is a fan of Japanese convenience store chain Lawson, which Irvine would frequently shop at when he wrestled in Japan in the 1990s. Irvine still visits Lawson whenever he returns to Japan, whether to wrestle or if he is touring with Fozzy.https://www.instagram.com/p/CQCwN9vjtO_/ Legal issues On February 7, 2009, a fan accused Irvine of punching her after she spat at him with fans outside Save-On-Foods Memorial Centre in Victoria, British Columbia after a live event.",
"Irvine still visits Lawson whenever he returns to Japan, whether to wrestle or if he is touring with Fozzy.https://www.instagram.com/p/CQCwN9vjtO_/ Legal issues On February 7, 2009, a fan accused Irvine of punching her after she spat at him with fans outside Save-On-Foods Memorial Centre in Victoria, British Columbia after a live event. Video footage, however, clearly showed he did not make contact with the woman.",
"Video footage, however, clearly showed he did not make contact with the woman. As a result of the incident, police detained them, but released them without charge. Police did not press charges against anyone in the brawl as it was \"hard to determine who provoked whom\".",
"Police did not press charges against anyone in the brawl as it was \"hard to determine who provoked whom\". On January 27, 2010, Irvine and fellow wrestler Gregory Helms were arrested in Fort Mitchell, Kentucky after leaving a bar. A police report stated that Helms punched Irvine and the other passengers in the cab.",
"A police report stated that Helms punched Irvine and the other passengers in the cab. Fellow wrestlers Christian and CM Punk bailed them out later.",
"Fellow wrestlers Christian and CM Punk bailed them out later. Filmography Film Television Video games Championships and accomplishments All Elite Wrestling AEW World Championship (1 time) AEW Dynamite Awards (2 times) Bleacher Report PPV Moment of the Year (2021) – Biggest Beatdown (2021) – The Baltimore Sun Feud of the Year (2008) Canadian Rocky Mountain Wrestling CRMW North American Heavyweight Championship (1 time) CRMW North American Tag Team Championship (2 times) – with Lance Storm CRMW Mid-Heavyweight Championship (2 times) Consejo Mundial de Lucha Libre NWA World Middleweight Championship (1 time) Extreme Championship Wrestling ECW World Television Championship (1 time) International Wrestling Alliance IWA Junior Heavyweight Championship (1 time) New Japan Pro-Wrestling IWGP Intercontinental Championship (1 time) Pro Wrestling Illustrated Faction of the Year (2021) – with The Inner Circle Feud of the Decade (2000s) Feud of the Year (2008) Feud of the Year (2021) Most Hated Wrestler of the Year (2002, 2008) Ranked No.",
"Filmography Film Television Video games Championships and accomplishments All Elite Wrestling AEW World Championship (1 time) AEW Dynamite Awards (2 times) Bleacher Report PPV Moment of the Year (2021) – Biggest Beatdown (2021) – The Baltimore Sun Feud of the Year (2008) Canadian Rocky Mountain Wrestling CRMW North American Heavyweight Championship (1 time) CRMW North American Tag Team Championship (2 times) – with Lance Storm CRMW Mid-Heavyweight Championship (2 times) Consejo Mundial de Lucha Libre NWA World Middleweight Championship (1 time) Extreme Championship Wrestling ECW World Television Championship (1 time) International Wrestling Alliance IWA Junior Heavyweight Championship (1 time) New Japan Pro-Wrestling IWGP Intercontinental Championship (1 time) Pro Wrestling Illustrated Faction of the Year (2021) – with The Inner Circle Feud of the Decade (2000s) Feud of the Year (2008) Feud of the Year (2021) Most Hated Wrestler of the Year (2002, 2008) Ranked No. 2 of the top 500 singles wrestlers in the PWI 500 in 2009 Rolling Stone Ranked No.",
"2 of the top 500 singles wrestlers in the PWI 500 in 2009 Rolling Stone Ranked No. 3 of the 10 best WWE wrestlers of 2016 World Championship Wrestling WCW Cruiserweight Championship (4 times) WCW World Television Championship (1 time) World Wrestling Federation/Entertainment/WWE Undisputed WWF Championship (1 time) World Heavyweight Championship (3 times) WCW/World Championship (2 times) WWF/WWE Intercontinental Championship (9 times) WWE United States Championship (2 times) WWF European Championship (1 time) WWF Hardcore Championship (1 time) WWE Tag Team Championship (2 times) – with Edge (1) and Big Show (1) WWF/World Tag Team Championship (5 times) – with Chris Benoit (1), The Rock (1), Christian (1), Edge (1), and Big Show (1) Bragging Rights Trophy (2009) – with Team SmackDown WWF Undisputed Championship Tournament (2001) Fourth Grand Slam Champion Ninth Triple Crown Champion Slammy Award (3 times) Extreme Moment of the Year (2014) Superstar of the Year (2008) Tag Team of the Year (2009) – with Big Show Wrestle Association \"R\" WAR International Junior Heavyweight Championship (1 time) WAR International Junior Heavyweight Tag Team Championship (1 time) – with Gedo World Wrestling Association WWA Tag Team Championship (1 time) – with El Dandy Wrestling Observer Newsletter Wrestler of the Year (2008, 2009, 2019) Best on Interviews (2003, 2008, 2009, 2019) Best on Interviews of the Decade (2000s) Feud of the Year (2008) Pro Wrestling Match of the Year (2008) Most Underrated Wrestler (1999, 2000) Readers' Favorite Wrestler (1999) United States/Canada MVP (2019) Most Charismatic (2019) Best Box Office Draw (2019) Best Pro Wrestling Book (2011) Wrestling Observer Newsletter Hall of Fame (Class of 2010) Luchas de Apuestas record Notes References Further reading External links 1970 births 21st-century American male actors 21st-century American singers 21st-century Canadian male actors 21st-century Canadian male singers AEW World Champions All Elite Wrestling personnel American Christians American color commentators American game show hosts American hard rock musicians American heavy metal singers American male film actors American male professional wrestlers American male singer-songwriters American male television actors American memoirists American men podcasters American people of Scottish descent American people of Ukrainian descent American podcasters American radio personalities American rock singers American rock songwriters American YouTubers Canadian Christians Canadian colour commentators Canadian expatriate professional wrestlers in the United States Canadian game show hosts Canadian hard rock musicians Canadian heavy metal singers Canadian male film actors Canadian male professional wrestlers Canadian male singers Canadian male singer-songwriters Canadian male television actors Canadian memoirists Canadian men podcasters Canadian people of Scottish descent Canadian people of Ukrainian descent Canadian podcasters Canadian radio personalities Canadian rock singers Canadian YouTubers Christians from New York (state) ECW World Television Champions Expatriate professional wrestlers in Japan Expatriate professional wrestlers in Mexico Fozzy members IWGP Intercontinental champions Living people Male actors from New York (state) Male actors from Winnipeg Male YouTubers Musicians from Winnipeg NWA/WCW World Television Champions NWA/WCW/WWE United States Heavyweight Champions Participants in American reality television series People from Manhasset, New York Professional wrestlers from Manitoba Professional wrestlers from New York (state) Professional wrestling podcasters Red River College alumni Singer-songwriters from New York (state) Sportspeople from Winnipeg WCW World Heavyweight Champions World Heavyweight Champions (WWE) WWE Champions WWE Grand Slam champions WWF European Champions WWF/WWE Hardcore Champions WWF/WWE Intercontinental Champions"
] |
[
"Chris Jericho",
"Undisputed WWF Champion (2001-2002)",
"What is the WWF Champion",
"I don't know.",
"What WWF was undisputed",
"to become the first wrestler to hold both championships at the same time, which made him the first-ever Undisputed WWF Champion,",
"what 2 championships did he have at the same time",
"WWF Championship"
] | C_f1fd2ce81cdd44bfb0cceafeff54588e_1 | Which other one | 4 | Which other championship other than WWF | Chris Jericho | In the following months, Jericho became a major force in The Invasion storyline in which WCW and ECW joined forces to overtake the WWF. Jericho remained on the side of the WWF despite previously competing in WCW and ECW. However, Jericho began slow turning into a villain by showing jealousy toward fellow WWF member The Rock. They faced each other in a match at No Mercy for the WCW Championship after Jericho defeated Rob Van Dam in a number one contenders match. Jericho won the WCW Championship when he pinned The Rock after debuting a new finisher, the Breakdown, onto a steel chair, winning his first world title in the process. One night later, the two put their differences aside and won the WWF Tag Team title from the Dudley Boyz. After they lost the title to Test and Booker T, they continued their feud. On the November 5 episode of Raw, The Rock defeated Jericho to regain the WCW Championship. Following the match, Jericho attacked The Rock with a steel chair. At Survivor Series, Jericho solidified his heel turn by almost costing The Rock, and the WWF, victory in their elimination matchup by attacking The Rock again. At Vengeance, Jericho defeated both The Rock for the WCW Championship (unbranded and only referred to as the World Championship following Survivor Series) and Stone Cold Steve Austin for his first WWF Championship on the same night to become the first wrestler to hold both championships at the same time, which made him the first-ever Undisputed WWF Champion, as well as the fourth Grand Slam winner under the original format. He retained the title at Royal Rumble against The Rock and at No Way Out against Austin. Jericho later lost the title to Triple H in the main event of WrestleMania X8. After his title loss, Jericho became a member of the SmackDown! roster and continued his feud with Triple H. The rivalry culminated at Judgment Day when Triple H defeated Jericho in a Hell in a Cell match. CANNOTANSWER | WCW Championship | Christopher Keith Irvine (born November 9, 1970), better known by the ring name Chris Jericho, is an American-Canadian professional wrestler and singer. He is currently signed to All Elite Wrestling (AEW), where he is the leader of The Inner Circle stable. Noted for his over-the-top rock star persona, he has been named by journalists and industry colleagues as one of the greatest professional wrestlers of all time.
During the 1990s, Jericho performed for American organizations Extreme Championship Wrestling (ECW) and World Championship Wrestling (WCW), as well as for promotions in countries such as Canada, Japan, and Mexico. At the end of 1999, he made his debut in the World Wrestling Federation (WWF). In 2001, he became the first Undisputed WWF Champion, and thus the final holder of the WCW World Heavyweight Championship (then referred to as the World Championship), having won and unified the WWF and World titles by defeating Stone Cold Steve Austin and The Rock on the same night. Jericho headlined multiple pay-per-view (PPV) events during his time with the WWF/WWE, including WrestleMania X8 and the inaugural TLC and Elimination Chamber shows. He was inducted into the Wrestling Observer Newsletter Hall of Fame in 2010.
Within the WWF/WWE, Jericho is a six-time world champion, having won the Undisputed WWF Championship once, the WCW/World Championship twice and the World Heavyweight Championship three times. He has also held the WWE Intercontinental Championship a record nine times and was the ninth Triple Crown Champion, as well as the fourth Grand Slam Champion in history. In addition, he was the 2008 Superstar of the Year Slammy Award winner and (along with Big Show as Jeri-Show) won the 2009 Tag Team of the Year Slammy Award—making him the only winner of both Superstar and Tag Team of the Year.
After his departure from WWE in 2018, Jericho signed with New Japan Pro-Wrestling (NJPW), where he became a one-time IWGP Intercontinental Champion, and becoming the first man to have held both the WWE and IWGP Intercontinental Championships. Jericho joined AEW in January 2019 and became the inaugural holder of the AEW World Championship in August of that year. All totalled, between ECW, WCW, WWE, NJPW and AEW, Jericho has held 36 championships (including seven World Championships, and 10 Intercontinental Championships).
In 1999, Jericho became lead vocalist of heavy metal band Fozzy, who released their eponymous debut album the following year. The group's early work is composed largely of cover versions, although they have focused primarily on original material from their third album, All That Remains (2005), onward. Jericho has also appeared on numerous television shows over the years, including the 2011 season of Dancing With the Stars. He hosted the ABC game show Downfall, the 2011 edition of the Revolver Golden Gods Awards, and the UK's Metal Hammer Golden Gods Awards in 2012 and 2017.
Early life
Christopher Keith Irvine was born in Manhasset, New York on November 9, 1970, the son of a Canadian couple. He is of Scottish descent from his father's side and Ukrainian descent from his mother's side. His father, ice hockey player Ted Irvine, had been playing for the New York Rangers at the time of his birth. When his father retired, the family moved back to Winnipeg, Manitoba, where Irvine grew up. He holds dual American and Canadian citizenships. Irvine's interest in professional wrestling began when he started watching the local American Wrestling Association (AWA) events that took place at the Winnipeg Arena with his family, and his desire to become a professional wrestler himself began when he saw footage of Owen Hart, then appearing with Stampede Wrestling, performing various high-flying moves. In addition, Irvine also cited Owen's older brother Bret, Ricky Steamboat and Shawn Michaels as inspirations for his becoming a professional wrestler. His first experience with a professional wrestling promotion was when he acted as part of the ring crew for the first tour of the newly opened Keystone Wrestling Alliance promotion, where he learned important pointers from independent wrestlers Catfish Charlie and Caveman Broda. He attended Red River College in Winnipeg, graduating in 1990 with a bachelor's degree in Creative Communications.
Professional wrestling career
Independent circuit (1990–1991)
At the age of 19, he entered the Hart Brothers School of Wrestling, where he met Lance Storm on his first day. He was trained by Ed Langley and local Calgary wrestler Brad Young.
Two months after completing training, he was ready to start wrestling on independent shows, making his debut at the Moose Hall in Ponoka, Alberta as "Cowboy" Chris Jericho, on October 2, 1990, in a ten-minute time limit draw against Storm. The pair then worked as a tag team, initially called Sudden Impact. According to a February 2019 interview with Rich Eisen on The Rich Eisen Show, Jericho stated that his initial name was going to be "Jack Action" however, someone remarked to him that the name was stupid, they then asked him what his name really was, he then got nervous and said "Chris Jericho". He took the name Jericho from an album, Walls of Jericho, by German power metal band, Helloween. Jericho and Storm worked for Tony Condello in the tours of Northern Manitoba with Adam Copeland (Edge), Jason Reso (Christian) and Terry Gerin (Rhino). The pair also wrestled in Calgary's Canadian National Wrestling Alliance (CNWA) and Canadian Rocky Mountain Wrestling (CRMW).
Frontier Martial-Arts Wrestling (1991)
In 1991, Jericho and Storm started touring in Japan for Frontier Martial-Arts Wrestling as Sudden Impact, where he befriended Ricky Fuji, who also trained under Stu Hart.
Consejo Mundial de Lucha Libre and other Mexican promotions (1992–1995)
In the winter of 1992, he traveled to Mexico and competed under the name Leon D'Oro ("Golden Lion", a name that fans voted on for him between "He-Man", "Chris Power", and his preferred choice "Leon D'Oro"), and later Corazón de León ("Lion Heart"), where he wrestled for several small wrestling companies.
From 1993 to 1995, he competed in Mexico's oldest promotion, Consejo Mundial de Lucha Libre (CMLL). In CMLL, Jericho took on Silver King, Negro Casas, and Último Dragón en route to an eleven-month reign as the NWA Middleweight Champion that began in December 1993.
Smoky Mountain Wrestling (1994)
1994 saw Jericho reunited with Storm, as The Thrillseekers in Jim Cornette's Appalachian Smoky Mountain Wrestling (SMW) promotion, where they feuded with the likes of Well Dunn, The Rock 'n' Roll Express, and The Heavenly Bodies.
Wrestling and Romance/WAR (1994–1996)
In late 1994, Jericho began competing regularly in Japan for Genichiro Tenryu's Wrestling and Romance (later known as Wrestle Association "R") (WAR) promotion as The Lion Heart. In November 1994, Último Dragón defeated him for the NWA World Middleweight Championship, which he had won while wrestling in Mexico.
In March 1995, Jericho lost to Gedo in the final of a tournament to crown the inaugural WAR International Junior Heavyweight Champion. He defeated Gedo for the championship in June 1995, losing it to Último Dragón the next month. In December 1995, Jericho competed in the second Super J-Cup tournament, defeating Hanzo Nakajima in the first round, but losing to Wild Pegasus in the second round.
In 1995, Jericho joined the heel stable Fuyuki-Gun ("Fuyuki Army") with Hiromichi Fuyuki, Gedo, and Jado, adopting the name Lion Do. In February 1996, Jericho and Gedo won a tournament for the newly created International Junior Heavyweight Tag Team Championship, defeating Lance Storm and Yuji Yasuraoka in the final. They lost the championship to Storm and Yasuraoka the following month. Jericho made his final appearances with WAR in July 1996, having wrestled a total of twenty-four tours for the company.
Extreme Championship Wrestling (1996)
In 1995, thanks in part to recommendations by Benoit, Dave Meltzer and Perry Saturn, to promoter Paul Heyman, and after Mick Foley saw Jericho's match against Último Dragón for the WAR International Junior Heavyweight Championship in July 1995 and gave a tape of the match to Heyman, Jericho began wrestling for the Philadelphia-based Extreme Championship Wrestling (ECW) promotion, winning the ECW World Television Championship from Pitbull #2 in June 1996 at Hardcore Heaven. While in ECW, Jericho wrestled Taz, Sabu, Rob Van Dam, Foley (as Cactus Jack), Shane Douglas, and 2 Cold Scorpio. He made his final appearance at The Doctor Is In in August 1996. It was during this time that he drew the attention of World Championship Wrestling (WCW).
World Championship Wrestling (1996 – 1999)
Early appearances (1996–1997)
Jericho debuted for WCW on August 20, 1996 by defeating Mr. JL, which aired on the August 31 episode of Saturday Night. Jericho's televised debut in WCW occurred on the August 26 episode of Monday Nitro against Alex Wright in a match which ended in a no contest. He made his pay-per-view debut on September 15 against Chris Benoit in a losing effort at Fall Brawl. The following month, at Halloween Havoc, Jericho lost to nWo member Syxx due to biased officiating by nWo referee Nick Patrick. This led to a match between Jericho and Patrick at World War 3, which stipulated that Jericho's one arm would be tied behind his back. Despite the odds stacked against him, Jericho won the match. Later that night, Jericho participated in the namesake battle royal for a future WCW World Heavyweight Championship match but failed to win the match.
Jericho represented WCW against nWo Japan member Masahiro Chono in a losing effort at the nWo Souled Out event. At SuperBrawl VII, Jericho unsuccessfully challenged Eddie Guerrero for the United States Heavyweight Championship.
Cruiserweight Champion (1997–1998)
On June 28, 1997, Jericho defeated Syxx at the Saturday Nitro live event in Los Angeles, California to win the WCW Cruiserweight Championship for the first time, thus winning the first championship of his WCW career. Jericho successfully defended the title against Ultimo Dragon at Bash at the Beach, before losing the title to Alex Wright on the July 28 episode of Monday Nitro. Jericho unsuccessfully challenged Wright for the title at Road Wild, before defeating Wright in a rematch to win his second Cruiserweight Championship on the August 16 episode of Saturday Night. Jericho began feuding with Eddie Guerrero over the title as he successfully defended the title against Guerrero at Clash of the Champions XXXV before losing the title to Guerrero at Fall Brawl. Jericho defeated Gedo at Halloween Havoc. At World War 3, Jericho participated in the namesake battle royal but failed to win.
On the January 15, 1998 episode of Thunder, Jericho defeated Eddie Guerrero to earn a title shot against Rey Mysterio Jr. for the Cruiserweight Championship at Souled Out. Jericho won the match by forcing Mysterio to submit to the Liontamer. After the match, Jericho turned heel by assaulting Mysterio's knee with a toolbox. In the storyline, Mysterio needed six months of recovery before he could return to the ring. Jericho then had a short feud with Juventud Guerrera in which Guerrera repeatedly requested a shot at Jericho's Cruiserweight Championship, but Jericho constantly rebuffed him. The feud culminated in a title versus mask match at SuperBrawl VIII. Guerrera lost the match and was forced to remove his mask. Following this match, Jericho began his ongoing gimmick of collecting and wearing to the ring trophy items from his defeated opponents, such as Guerrera's mask, Prince Iaukea's Hawaiian dress, and a headband from Disco Inferno.
Jericho then began a long feud with Dean Malenko, in which Jericho repeatedly claimed he was a better wrestler than Malenko, but refused to wrestle him. Because of his mastery of technical wrestling, Malenko was known as "The Man of 1,000 Holds", so Jericho claimed to be "The Man of 1,004 Holds"; Jericho mentions in his autobiography that this line originated from an IWA interview he saw as a child, where manager Floyd Creatchman claimed that Leo Burke, the first professional wrestler to be known as "The Man of 1,000 Holds", was now known as "The Man of 1,002 Holds", to which Floyd Creatchman stated that "he learned two more".
During the March 30, 1998 episode of Nitro, after defeating Marty Jannetty, Jericho pulled out a long pile of paper that listed each of the 1,004 holds he knew and recited them to the audience. Many of the holds were fictional, and nearly every other hold was an armbar. On the March 12, 1998 episode of Thunder, Malenko defeated a wrestler wearing Juventud Guerrera's mask who appeared to be Jericho. However, the masked wrestler was actually Lenny Lane, whom Jericho bribed to appear in the match. This started a minor feud between Lane and Jericho after Jericho refused to pay Lane. At Uncensored, Jericho finally wrestled Malenko and defeated him, after which Malenko took a leave of absence from wrestling. Jericho then proceeded to bring with him to the ring a portrait of Malenko that he insulted and demeaned. Just prior to Slamboree, J.J. Dillon (referred to by Jericho as "Jo Jo") scheduled a cruiserweight Battle Royal, the winner of which would immediately have a shot at Jericho's Cruiserweight Championship. Jericho accepted on the grounds that whoever he faced would be too tired to win a second match. At Slamboree, Jericho came out to introduce the competitors in an insulting fashion before the match started and then went backstage for coffee. An individual who appeared to be Ciclope won the battle royal after Juventud Guerrera shook his hand and then eliminated himself. The winner was a returning Malenko in disguise. Following one of the loudest crowd reactions in WCW history, Malenko proceeded to defeat Jericho for the championship. Jericho claiming he was the victim of a carefully planned conspiracy to get the belt off of him. He at first blamed the WCW locker room, then added Dillon, Ted Turner, and finally in a vignette, he walked around Washington, D.C. with the sign "conspiracy victim" and accused President Bill Clinton of being one of the conspirators after being rejected from a meeting. Eventually, Malenko vacated the title. Jericho ended up defeating Malenko at The Great American Bash to win the vacant title after Malenko was disqualified after hitting Jericho with a chair. The next night, Malenko was suspended for his actions.
At Bash at the Beach, the recently returned Rey Mysterio Jr. (who had recovered from his knee injury) defeated Jericho in a No Disqualification match after the still-suspended Malenko interfered. Jericho regained the Cruiserweight Championship from Mysterio the next night after he interrupted J.J. Dillon while Dillon was giving the championship to Mysterio. Jericho was again awarded the championship. Eventually, Jericho decisively lost the title to Juventud Guerrera in a match at Road Wild with Malenko as special referee.
World Television Champion (1998–1999)
On August 10, Jericho defeated Stevie Ray to win the World Television Championship (Stevie Ray substituting for the champion Booker T). Soon afterward, Jericho repeatedly called out WCW World Heavyweight Champion Goldberg in an attempt to begin a feud with him, but never actually wrestled him. Jericho cites Eric Bischoff, Goldberg and Hulk Hogan's refusal to book Jericho in a pay-per-view squash match loss against Goldberg, which Jericho felt would be a big draw, as a major reason for leaving the company.
On November 30, Jericho lost the World Television Championship to Konnan. In early 1999, Jericho began a feud with Perry Saturn. The feud saw Jericho and Saturn instigating bizarre stipulation matches, such as at Souled Out, where Jericho defeated Saturn in a "loser must wear a dress" match. At SuperBrawl IX, Jericho and Saturn wrestled in a "dress" match which Jericho won. Saturn finally defeated Jericho at Uncensored in a Dog Collar match. Jericho alternated between WCW and a number of Japanese tours before he signed a contract with the World Wrestling Federation (WWF) on June 30. Jericho's final WCW match came during a Peoria, Illinois, house show July 21, where he and Eddie Guerrero lost to Billy Kidman and Rey Mysterio Jr. in a tag team match.
Fifteen years after Jericho's departure from WCW, his best known entrance music within the company, "One Crazed Anarchist", lent its name to the second single from his band Fozzy's 2014 album, Do You Wanna Start a War.
New Japan Pro-Wrestling (1997–1998)
In January 1997, Jericho made his debut for New Japan Pro-Wrestling (NJPW), who had a working agreement with WCW, as Super Liger, the masked nemesis of Jyushin Thunder Liger. According to Jericho, Super Liger's first match against Koji Kanemoto at Wrestling World 1997 was so poorly received that the gimmick was dropped instantly. Jericho botched several moves in the match and complained he had difficulty seeing through the mask. The following six months, Jericho worked for New Japan unmasked, before being called back by WCW. On September 23, 1998, Jericho made a one-night-only return to NJPW at that years Big Wednesday show, teaming with Black Tiger against IWGP Junior Heavyweight Tag Team Champions Shinjiro Otani and Tatsuhito Takaiwa in a title match, which Jericho and Tiger lost.
World Wrestling Federation/Entertainment (1999 – 2005)
WWF Intercontinental Champion (1999–2001)
In the weeks before Jericho's debut, a clock labeled "countdown to the new millennium" appeared on WWF programming. On the home video, Break Down the Walls, Jericho states he was inspired to do this as his entrance when he saw a similar clock in a post office and Vince McMahon approved its use as his introduction to the WWF. The clock finally ran out on the August 9 episode of Raw Is War in Chicago, Illinois while The Rock was in the ring cutting a promo on the Big Show. Jericho entered the arena and proclaimed "Raw Is Jericho" and that he had "come to save the World Wrestling Federation", referring to himself as "Y2J" (a play on the Y2K bug). The Rock proceeded to verbally mock him for his interruption. Later that month, he would interact with several superstars including in particular interrupting a promo that The Undertaker was involved in, Jericho made his in-ring debut as a heel on August 26, losing a match against Road Dogg by disqualification on the inaugural episode of SmackDown! after he performed a powerbomb on Road Dogg through a table.
Jericho's first long-term feud was with Chyna, for the WWF Intercontinental Championship. After losing to Chyna at Survivor Series, Jericho defeated her to win his first WWF Intercontinental Championship at Armageddon. This feud included a controversial decision during a rematch in which two separate referees declared each one of them the winner of a match for the title. As a result, they became co-champions, during which Jericho turned face. He attained sole champion status at the Royal Rumble.
Jericho lost the WWF Intercontinental title to then-European Champion Kurt Angle at No Way Out. Jericho competed in a Triple Threat match against Chris Benoit and Angle at WrestleMania 2000 in a two-falls contest with both of Angle's titles at stake. Jericho won the European Championship by pinning Benoit, who in turn pinned Jericho to win the WWF Intercontinental Championship. This was the first of six pay-per-view matches between the pair within twelve months. Jericho was originally supposed to be in the main event of WrestleMania, but was taken out after Mick Foley, who was originally asked by writers to be in the match, took his place. Jericho was even advertised on the event's posters promoting the match. Jericho lost the title the next day to Eddie Guerrero on Raw after Chyna sided with Guerrero.
On the April 17 episode of Raw, Jericho upset Triple H in a WWF Championship match. Referee Earl Hebner made a fast count when Jericho pinned Triple H, causing Jericho to win the title. Hebner later reversed the decision due to pressure from Triple H, and WWE does not recognize Jericho's reign as champion. On April 19, Jericho defeated Eddie Guerrero at the Gary Albright Memorial Show organized by World Xtreme Wrestling (WXW). On the May 4 episode of SmackDown!, Jericho defeated Benoit to win his third WWF Intercontinental Championship but lost the title to Benoit four days later on Raw. Jericho's feud with Triple H ended at Fully Loaded, when they competed in a Last Man Standing match. Jericho lost the match to Triple H only by one second, despite the repeated assistance Triple H's wife, Stephanie, provided him in the match.
At the 2001 Royal Rumble, Jericho defeated Chris Benoit in a ladder match to win the WWF Intercontinental Championship for the fourth time. At WrestleMania X-Seven, he successfully defended his title in a match against William Regal, only to lose it four days later to Triple H. At Judgment Day, Jericho and Benoit won a tag team turmoil match and earned a shot at Stone Cold Steve Austin and Triple H for their WWF Tag Team Championship on Raw the next night. Benoit and Jericho won the match, in which Triple H legitimately tore his quadriceps, spending the rest of the year injured. Benoit and Jericho each became a WWF Tag Team Champion for the first time. The team defended their title in the first fatal four-way Tables, Ladders and Chairs match, where Benoit sustained a year-long injury after missing a diving headbutt through a table. Despite Benoit being carried out on a stretcher, he returned to the match to climb the ladder and retain the championship. The two lost the title one month later to The Dudley Boyz on the June 21 episode of SmackDown!. At King of the Ring, both Benoit and Jericho competed in a triple threat match for Austin's WWF Championship, in which Booker T interfered as the catalyst for The Invasion angle. Despite Booker T's interference, Austin retained the title.
Undisputed WWF Champion (2001–2002)
In the following months, Jericho became a major force in The Invasion storyline in which WCW and ECW joined forces to overtake the WWF. Jericho remained on the side of the WWF despite previously competing in WCW and ECW. However, Jericho began showing jealousy toward fellow WWF member The Rock. They faced each other in a match at No Mercy for the WCW Championship after Jericho defeated Rob Van Dam in a number one contenders match on the October 11 episode of SmackDown!. Jericho won the WCW Championship at No Mercy when he pinned The Rock after debuting a new finisher, the Breakdown, onto a steel chair, winning his first world title in the process. One night later, the two put their differences aside and won the WWF Tag Team Championship from the Dudley Boyz.
After they lost the titles to Test and Booker T on the November 1 episode of SmackDown!, they continued their feud. On the November 5 episode of Raw, The Rock defeated Jericho to regain the WCW Championship. Following the match, Jericho attacked The Rock with a steel chair. At Survivor Series, Jericho turned heel by almost costing Team WWF the victory after he was eliminated in their Winner Take All matchup by once again attacking The Rock. Despite this, Team WWF won the match. At Vengeance, Jericho defeated both The Rock for the World Championship (formerly the WCW Championship) and Stone Cold Steve Austin for his first WWF Championship on the same night to become the first wrestler to hold both championships at the same time, which made him the first-ever Undisputed WWF Champion, as well as the fourth Grand Slam winner under the original format. He retained the title at the Royal Rumble against The Rock and at No Way Out against Austin. Jericho later lost the title to Royal Rumble winner Triple H in the main event of WrestleMania X8. Jericho was later drafted to the SmackDown! brand in the inaugural WWF draft lottery. He would then appear at Backlash, interfering in Triple H's Undisputed WWF Championship match against Hollywood Hulk Hogan. He was quickly dumped out the ring, but Triple H would go on to lose the match. This would lead to a Hell in a Cell match at Judgment Day in May, where Triple H would emerge victorious. Jericho would then compete in the 2002 King of the Ring tournament, defeating Edge and The Big Valbowski to advance to the semi-finals, where he was defeated by Rob Van Dam at King of the Ring. In July, he began a feud with the debuting John Cena, losing to him at Vengeance.
Teaming and feuding with Christian (2002–2004)
After his feud with Cena ended, Jericho moved to the Raw brand on the July 29 episode of Raw, unwilling to work for SmackDown! General Manager Stephanie McMahon. Upon his arrival to the brand, he initiated a feud with Ric Flair, leading to a match at SummerSlam, which Jericho lost. On the September 16 episode of Raw, he won the WWE Intercontinental Championship for the fifth time from Rob Van Dam, before losing the title to Kane two weeks later on Raw. He then later formed a tag team with Christian, with whom he won the World Tag Team Championship by defeating Kane and The Hurricane on the October 14 episode of Raw. Christian and Jericho lost the titles to Booker T and Goldust in a fatal four-way elimination match, involving the teams of The Dudley Boyz, and William Regal and Lance Storm at Armageddon.
On the January 13 episode of Raw, Jericho won an over-the-top-rope challenge against Kane, Rob Van Dam, and Batista to select his entry number for the Royal Rumble match. He chose number two in order to start the match with Shawn Michaels, who had challenged him to prove Jericho's claims that he was better than Michaels. After Michaels's entrance, Jericho entered as the second participant. Christian, in Jericho's attire, appeared while the real Jericho attacked Shawn from behind. He eliminated Michaels shortly afterward, but Michaels got his revenge later in the match by causing Test to eliminate Jericho. Jericho spent the most time of any other wrestler in that same Royal Rumble. Jericho simultaneously feuded with Test, Michaels, and Jeff Hardy, defeating Hardy at No Way Out. Jericho and Michaels fought again at WrestleMania XIX, which Michaels won. Jericho, however, attacked Michaels with a low blow after the match following an embrace.
After this match, Jericho entered a rivalry with Goldberg, which was fueled by Goldberg's refusal to fight Jericho in WCW. During Jericho's first episode of the Highlight Reel, an interview segment, where Goldberg was the guest, he complained that no-one wanted Goldberg in WWE and continued to insult him in the following weeks. On the May 12 episode of Raw, a mystery assailant attempted to run over Goldberg with a limousine. A week later, Co-Raw General Manager, Stone Cold Steve Austin, interrogated several Raw superstars to find out who was driving the car. One of the interrogates was Lance Storm, who admitted that he was the assailant. Austin forced Storm into a match with Goldberg, who defeated Storm. After the match, Goldberg forced Storm to admit that Jericho was the superstar who conspired Storm into running him over. On the May 26 episode of Raw, Goldberg was once again a guest on the Highlight Reel. Jericho expressed jealousy towards Goldberg's success in WCW and felt that since joining WWE, he had achieved everything he had ever wanted in his career and all that was left was to defeat Goldberg and challenged him to a match. At Bad Blood, Goldberg settled the score with Jericho and defeated him.
On the October 27 episode of Raw, Jericho won his sixth WWE Intercontinental Championship when he defeated Rob Van Dam. He lost the title back to Van Dam immediately after in a steel cage match. Later in 2003, Jericho started a romance with Trish Stratus while his tag team partner Christian began one with Lita. This, however, turned out to be a bet over who could sleep with their respective paramour first, with a Canadian dollar at stake. Stratus overheard this and ended her relationship with Jericho, who seemingly felt bad for using Stratus. After he saved her from an attack by Kane, Stratus agreed that the two of them could just be "friends", thus turning Jericho face. After Christian put Stratus in the Walls of Jericho while competing against her in a match, Jericho sought revenge on Christian, which led to a match at WrestleMania XX. Christian defeated Jericho after Stratus ran down and "inadvertently" struck Jericho (thinking it was Christian) and Christian got the roll-up. After the match, Stratus turned on Jericho and revealed that she and Christian were a couple. This revelation led to a handicap match at Backlash that Jericho won. Jericho won his record-breaking seventh WWE Intercontinental Championship at Unforgiven in a ladder match against Christian, breaking the previous record held by Jeff Jarrett from 1999. Jericho's seventh reign was short lived, as he lost it at Taboo Tuesday to Shelton Benjamin.
World championship pursuits (2004–2005)
Jericho teamed up with Randy Orton, Chris Benoit, and Maven to take on Triple H, Batista, Edge, and Gene Snitsky at Survivor Series. The match stipulated that each member of the winning team would be the general manager of Raw over the next four weeks. Jericho's team won, and took turns as general manager. During Jericho's turn as general manager, the World Heavyweight Championship was vacated because a Triple Threat match for the title a week earlier ended in a draw. At New Year's Revolution, Jericho competed in the Elimination Chamber against Triple H, Chris Benoit, Batista, Randy Orton, and Edge for the vacant World Heavyweight Championship. Jericho began the match with Benoit and eliminated Edge, but was eliminated by Batista. Triple H went on to win. At WrestleMania 21, Jericho participated in the first ever Money in the Bank ladder match. Jericho suggested the match concept, and he competed in the match against Benjamin, Benoit, Kane, Christian, and Edge. Jericho lost the match when Edge claimed the briefcase.
At Backlash, Jericho challenged Shelton Benjamin for the WWE Intercontinental Championship, but lost the match. Jericho lost to Lance Storm at ECW One Night Stand. Jericho used his old "Lionheart" gimmick, instead of his more well known "Y2J" gimmick. Jericho lost the match after Jason and Justin Credible hit Jericho with a Singapore cane, which allowed Storm to win the match. The next night on Raw, Jericho turned heel by betraying WWE Champion John Cena after defeating Christian and Tyson Tomko in a tag team match. Jericho lost a Triple Threat match for the WWE Championship at Vengeance which also involved Christian and Cena. The feud continued throughout the summer and Jericho lost to Cena in a WWE Championship match at SummerSlam.
The next night on the August 22 episode of Raw, Jericho faced Cena for the WWE Championship again in a rematch, this time in a "You're fired" match. Cena won again, and Jericho was fired by Raw General Manager Eric Bischoff. Jericho was carried out of the arena by security as Kurt Angle attacked Cena. Jericho's WWE contract expired on August 25.
Return to WWE (2007–2010)
Feud with Shawn Michaels (2007–2008)
After a two-year hiatus, WWE promoted Jericho's return starting on the September 24, 2007 episode of Raw with a viral marketing campaign using a series of 15-second cryptic binary code videos, similar to the matrix digital rain used in The Matrix series. The videos contained hidden messages and biblical links related to Jericho. Jericho made his return to WWE television as a face on the November 19, 2007 episode of Raw when he interrupted Randy Orton during Orton's orchestrated "passing of the torch" ceremony. Jericho revealed his intentions to reclaim the WWE Championship in order to "save" WWE fans from Orton. On the November 26 episode of Raw, Jericho defeated Santino Marella and debuted a new finishing move called the Codebreaker. At Armageddon, he competed in a WWE title match against Orton, defeating him by disqualification when SmackDown!s color commentator John "Bradshaw" Layfield (JBL) interfered in the match, but Orton retained the title. He began a feud with JBL and met him at the Royal Rumble. Jericho was disqualified after hitting JBL with a steel chair. On the March 10 episode of Raw, Jericho captured the WWE Intercontinental Championship for a record eighth time when he defeated Jeff Hardy.
In April 2008, Jericho became involved in the ongoing feud between Shawn Michaels and Batista when he suggested that Michaels enjoyed retiring Ric Flair, causing Shawn Michaels to attack him. Jericho thus asked to be inserted into the match between Batista and Michaels at Backlash, but instead, he was appointed as the special guest referee. During the match at Backlash, Michaels feigned a knee injury so that Jericho would give him time to recover and lured Batista in for Sweet Chin Music for the win. After Backlash, Jericho accused Michaels of cheating, but Michaels continued to play up an injury. When Jericho was finally convinced and he apologized to Michaels for not believing him, Michaels then admitted to Jericho that he had faked his injury and he attacked Jericho with Sweet Chin Music. After losing to Michaels at Judgment Day, Jericho initiated a handshake after the match.
On the June 9 episode of Raw, Jericho hosted his talk show segment, The Highlight Reel, interviewing Michaels. Jericho pointed out that Michaels was still cheered by the fans despite Michaels's deceit and attack on Jericho during the previous months, whereas Jericho was booed when he tried to do the right thing. Jericho then assaulted Michaels with a low blow and sent Michaels through the "Jeritron 6000" television, damaging the eye of Michaels, and turning heel in the process. This began what was named by both Pro Wrestling Illustrated and the Wrestling Observer Newsletter the "Feud of the Year". At Night of Champions, Jericho lost the WWE Intercontinental title to Kofi Kingston after a distraction by Michaels. In June, Jericho took on Lance Cade as a protégé.
World Heavyweight Champion (2008–2009)
Afterward, Jericho developed a suit-wearing persona inspired by Javier Bardem's character Anton Chigurh from the 2007 film No Country for Old Men and wrestler Nick Bockwinkel. Jericho and Michaels met at The Great American Bash, which Jericho won after attacking the cut on Michaels's eye. At SummerSlam, Michaels said that his eye damage would force him to retire and insulted Jericho by saying he would never achieve Michaels's success. Jericho tried to attack Michaels, but Michaels ducked, so Jericho punched Michaels's wife, Rebecca, instead. As a result, they fought in an unsanctioned match at Unforgiven, which Jericho lost by referee stoppage. Later that night, Jericho entered the Championship Scramble match as a late replacement for the defending champion CM Punk and subsequently won the World Heavyweight Championship, defeating Batista, John "Bradshaw" Layfield (JBL), Kane, and Rey Mysterio. It was announced that Michaels would challenge Jericho for the championship in a ladder match at No Mercy, which Jericho won. At Cyber Sunday on October 26, Jericho lost the title to Batista, but later won it back eight days later on the 800th episode of Raw in a steel cage match. Jericho defeated Michaels in a Last Man Standing match on the November 10 episode of Raw after interference from JBL. Jericho lost the World Heavyweight Championship at Survivor Series to the returning John Cena. On the December 8 episode of Raw, Jericho was awarded the Slammy Award for 2008 Superstar of the Year award. Six days later, he lost his rematch with John Cena for the World Heavyweight Championship at Armageddon.
At the Royal Rumble on January 25, 2009, Jericho participated in the Royal Rumble match, but he was eliminated by the Undertaker. On February 15 at No Way Out, he competed in an Elimination Chamber match for the World Heavyweight Championship, but he failed to win as he was eliminated by Rey Mysterio. Following this, Jericho began a rivalry with veteran wrestlers Ric Flair, Ricky Steamboat, Jimmy Snuka and Roddy Piper, as well as actor Mickey Rourke. Jericho was originally arranged to face Rourke at WrestleMania 25, but Rourke later pulled out of the event. Instead, Jericho defeated Piper, Snuka and Steamboat in a 3-on-1 elimination handicap match at WrestleMania, but was knocked out by Rourke after the match.
On the April 13 episode of Raw, Jericho was drafted to the SmackDown brand as part of the 2009 WWE draft. Jericho then faced Steamboat in a singles match at Backlash, where Jericho was victorious. In May, Jericho started a feud with Intercontinental Champion Rey Mysterio, leading to a match at Judgment Day, which Jericho lost. However, Jericho defeated Mysterio in a No Holds Barred Match at Extreme Rules to win his ninth Intercontinental Championship, breaking his own record again. At The Bash, Jericho lost the Intercontinental Championship back to Mysterio in a mask vs. title match.
Jeri-Show and feud with Edge (2009–2010)
Later in the event, Jericho and his partner Edge won the Unified WWE Tag Team Championship as surprise entrants in a triple threat tag team match. As a result of this win, Jericho became the first wrestler to win every (original) Grand Slam eligible championship. Shortly thereafter Edge suffered an injury and Jericho revealed a clause in his contract to allow Edge to be replaced and Jericho's reign to continue uninterrupted. At Night of Champions, Jericho revealed Big Show as his new tag team partner, creating a team that would come to called Jeri-Show. The duo defeated Cody Rhodes and Ted DiBiase to retain the championship. Jeri-Show successfully defended the title against Cryme Tyme at SummerSlam, MVP and Mark Henry at Breaking Point and Rey Mysterio and Batista at Hell in a Cell. At Survivor Series, both Jericho and Big Show took part in a triple threat match for the World Heavyweight Championship, but the Undertaker successfully retained the title. At TLC: Tables, Ladders & Chairs, Jeri-Show lost the tag titles to D-Generation X (D-X) (Shawn Michaels and Triple H) in a Tables, Ladders and Chairs match. As a member of the SmackDown brand, Jericho could only appear on Raw as a champion and D-X intentionally disqualified themselves in a rematch to force Jericho off the show. On the January 4, 2010 of Raw, D-X defeated Jeri-Show to retain the championship once again, marking the end of Jeri-Show.
Jericho entered the 2010 Royal Rumble match on January 31, but was eliminated by the returning Edge, his former tag team partner, who went on to win the match. At Elimination Chamber, Jericho won the World Heavyweight Championship in an Elimination Chamber match, defeating The Undertaker, John Morrison, Rey Mysterio, CM Punk and R-Truth following interference from Shawn Michaels. The next night on Raw, Edge used his Royal Rumble win to challenge Jericho for the World Heavyweight Championship at WrestleMania XXVI. Jericho defeated Edge at WrestleMania to retain the title, but lost the championship to Jack Swagger on the following episode of SmackDown, who cashed in his Money in the Bank contract. Jericho then failed to regain the title from Swagger in a triple-threat match also involving Edge on the April 16 episode of SmackDown. Jericho and Edge continued their feud leading into Extreme Rules, where Jericho was defeated in a steel cage match.
Jericho was drafted to the Raw brand in the 2010 WWE draft. He formed a brief tag team with The Miz and unsuccessfully challenged The Hart Dynasty for the Unified WWE Tag Team Championship at Over the Limit. A month later, Jericho lost to Evan Bourne at Fatal 4-Way, but won a rematch during the following night on Raw, where he put his career on the line. On the July 19 episode of Raw, after being assaulted by The Nexus, Jericho teamed with rivals Edge, John Morrison, R-Truth, Daniel Bryan and Bret Hart in a team led by John Cena to face The Nexus at SummerSlam. Jericho and Cena bickered over leadership of the team, which led to him and Edge attacking Cena during the SummerSlam match that they won.
Jericho was punished for not showing solidarity against Nexus, when he was removed from a Six-Pack Challenge for Sheamus's WWE Championship at Night of Champions. Although he re-earned his place in the match after defeating The Hart Dynasty in a handicap steel cage match, he was the first man eliminated from the match at Night of Champions. On the September 27 episode of Raw, Jericho faced Randy Orton who punted him in the head. This was used to explain Jericho's departure from the company.
Second return to WWE (2011–2018)
Feud with CM Punk (2011–2012)
Beginning in November 2011, WWE aired cryptic vignettes that promoted a wrestler's return on the January 2, 2012 episode of Raw. On his return, after hyping the crowd and relishing their cheers for a prolonged period, Jericho left without verbally addressing his return. After exhibiting similar odd behavior in the proceeding two weeks, Jericho spoke on the January 23 episode of Raw to say, "This Sunday at the Royal Rumble, it is going to be the end of the world as you know it", but in the Royal Rumble match, he was eliminated last, by Sheamus. On the January 30 episode of Raw, Jericho began a feud with WWE Champion CM Punk after attacking him during his match with Daniel Bryan. He explained his actions by claiming other wrestlers in WWE were imitating him and named Punk as the worst offender.
At Elimination Chamber, Jericho participated in the Elimination Chamber match for the WWE Championship, entering last and eliminating Dolph Ziggler and Kofi Kingston before being knocked out of the structure by Punk, which injured him and removed him from the match without being eliminated. The following night on Raw, Jericho won a ten-man battle royal to become the number one contender for Punk's WWE Championship at WrestleMania XXVIII. In a bid to psychologically unsettle Punk, Jericho revealed that Punk's father was an alcoholic and Punk's sister was a drug addict, which contradicted Punk's straight edge philosophy; Jericho vowed to make Punk turn to alcohol by winning Punk's title from him. At WrestleMania, a stipulation was added that Punk would lose his WWE Championship if he was disqualified. During the match, Jericho unsuccessfully tried to taunt Punk into disqualifying himself, and Punk won the match.
Jericho continued his feud with Punk in the weeks that followed by attacking and dousing him with alcohol after his matches. At Extreme Rules, Jericho failed again to capture the WWE Championship from Punk in a Chicago Street Fight.
Championship pursuits (2012–2013)
Jericho faced Randy Orton, Alberto Del Rio and Sheamus in a fatal four-way match for the World Heavyweight Championship at Over the Limit, where Sheamus retained his title. On May 24 at a WWE live event in Brazil, Jericho wrestled a match against CM Punk, during which Jericho kicked a Brazilian flag, causing local police to intervene and threaten Jericho with arrest. Jericho issued an apology to the audience, enabling the event to resume. The following day, WWE suspended Jericho for 30 days while apologizing to the people and government of Brazil. Jericho returned on the June 25 episode of Raw, and his absence was explained by a European tour with his band Fozzy which happened to coincide with his suspension. At Money in the Bank, Jericho participated in the WWE Championship Money in the Bank ladder match, but failed to win as John Cena won. The following night on Raw, Jericho confronted newly crowned Mr. Money in the Bank, Dolph Ziggler, who claimed that Jericho had lost his touch. Jericho attacked Ziggler with a Codebreaker, thus turning face in the process. At SummerSlam, Jericho defeated Ziggler. The following night on Raw, Ziggler defeated Jericho in a rematch and, as a result, Ziggler retained his Money in the Bank contract and Jericho's WWE contract was terminated as per a pre match stipulation put in place by Raw General Manager, AJ Lee. This was used to write him off so he could tour with Fozzy for the remainder of the year.
On January 27, 2013, Jericho returned after a five-month hiatus entering the Royal Rumble match as the second entrant. Jericho lasted over 47 minutes before being eliminated by Dolph Ziggler. The following night on Raw, Jericho later revealed to Ziggler that due to a managerial change on Raw, he had been rehired by Vickie Guerrero, resuming his feud with Ziggler. Guerrero then paired the two in a match against WWE Tag Team Champions Team Hell No (Daniel Bryan and Kane). The match ended with Ziggler being pinned by Kane after Jericho framed him for pushing Kane. After beating Daniel Bryan on the February 11 episode of Raw, Jericho qualified for the Elimination Chamber match at Elimination Chamber (in which the winner would go on to be the number one contender for the World Heavyweight Championship at WrestleMania 29), where he was the fourth man eliminated. On the March 11 episode of Raw, Jericho faced The Miz in a No. 1 contenders match for Wade Barrett's WWE Intercontinental Championship, but the match was ruled a no contest after Barrett interfered and attacked both men. Both men then faced Barrett the following week on Raw, where he retained his title. Earlier in the episode, Jericho had a run-in with Fandango which led to Fandango costing him his match with Jack Swagger and attacking him four days later on SmackDown. At WrestleMania 29, Jericho was defeated by Fandango. They continued their feud in the following weeks, until Jericho defeated Fandango at Extreme Rules. He then faced the returning CM Punk at Payback, where he was defeated. Jericho then began feuding with Ryback, which led to a singles match on July 14 at Money in the Bank, where Ryback emerged victorious. On the July 19 episode of SmackDown, Jericho unsuccessfully challenged Curtis Axel for the WWE Intercontinental Championship and was afterwards attacked by Ryback. This was done to write Jericho off television as he was taking a temporary hiatus to tour with Fozzy for the remainder of the year and possibly January and February.
In a November interview for WWE.com, Jericho revealed that he would not be a full-time wrestler due to his musical and acting ventures.
Various sporadic feuds (2014–2016)
After an eleven-month hiatus, Jericho returned on the June 30, 2014 episode of Raw, attacking The Miz, who had also returned minutes earlier. The Wyatt Family then interrupted and ultimately attacked Jericho. Jericho faced Bray Wyatt at Battleground in a winning effort. At SummerSlam, with Wyatt Family members Luke Harper and Erick Rowan banned from ringside, Wyatt picked up the victory. On the September 8 episode of Raw, Jericho lost to Wyatt in a steel cage match, ending the feud. Jericho then feuded with Randy Orton, who had attacked him the week before after his match against Wyatt in the trainers room. Orton defeated him at Night of Champions. Throughout the rest of October and November, Jericho wrestled exclusively at live events, defeating Bray Wyatt. Jericho returned to WWE television in December as the guest general manager of the December 15 episode of Raw. Jericho booked himself in a street fight against Paul Heyman in the main event, which led to the return of Brock Lesnar. Before the match could begin, Lesnar attacked Jericho with an F-5.
In January 2015, Jericho revealed that he signed an exclusive WWE contract, under which he would compete at 16 house shows only. He later signed a similar contract once the former expired and competed at house shows throughout the rest of 2015. During this time he wrestled against the likes of Luke Harper, Kevin Owens and King Barrett in winning efforts. In May 2015, Jericho was one of the hosts of Tough Enoughs sixth season. Jericho also hosted two Live! With Chris Jericho specials on the WWE Network during 2015; his guests were John Cena and Stephanie McMahon. Jericho made his televised return at The Beast in the East, defeating Neville. At Night of Champions, Jericho was revealed as the mystery partner of Roman Reigns and Dean Ambrose, facing The Wyatt Family in a losing effort. On October 3, Jericho unsuccessfully challenged Kevin Owens for the WWE Intercontinental Championship at Live from Madison Square Garden. The match marked 20 years since Jericho's debut with ECW while also celebrating his 25th year as a professional wrestler in total.
On the January 4, 2016 episode of Raw, Jericho returned to in-ring competition full-time and confronted The New Day. At the 2016 Royal Rumble, Jericho entered as the sixth entrant, lasting over 50 minutes, before being eliminated by Dean Ambrose. On the January 25 episode of Raw, Jericho faced the recently debuted AJ Styles in a losing effort. Following the match, after initial hesitation by Jericho, the pair shook hands. On the February 11 episode of SmackDown, Jericho defeated Styles. At Fastlane, Styles was victorious in a third match between the pair. On the February 22 episode of Raw, Jericho and Styles formed a tag team, dubbed Y2AJ. Following their loss against The New Day on the March 7 episode of Raw, Jericho attacked Styles, ending their alliance, claiming that he was sick of the fans chanting for Styles instead of him, turning heel in the process. Their feud culminated at WrestleMania 32, where Jericho defeated Styles. However, on the April 4 episode of Raw, Jericho competed in a fatal-four-way match against Styles, Kevin Owens and Cesaro to determine the No. 1 contender for the WWE World Heavyweight Championship in a losing effort after being pinned by Styles, ending their feud.
The following week on Raw, Dean Ambrose interrupted The Highlight Reel, handing Jericho a note from Shane McMahon replacing the show with The Ambrose Asylum, igniting a feud between the two. During this time, Jericho tweaked his gimmick. He became arrogant and childish while wearing expensive scarfs and calling everyone who appeased him "stupid idiots". At Payback, Jericho faced Ambrose in a losing effort. After attacking one another and Ambrose destroying Jericho's light-up ring jacket, Jericho was challenged by Ambrose to an Asylum match at Extreme Rules, where Ambrose again defeated Jericho after Jericho was thrown in a pile of thumbtacks. On the May 23 episode of Raw, Jericho defeated Apollo Crews to qualify for the Money in the Bank ladder match at the Money in the Bank pay-per-view, where Jericho was unsuccessful as the match was won by Ambrose. On July 19 at the 2016 WWE draft, Jericho was drafted to the Raw brand. At Battleground on July 24, Jericho hosted a Highlight Reel segment with the returning Randy Orton, where he took an RKO from Orton after he insulted him. The next night on Raw, Jericho competed in a fatal four-way match to determine the number one contender for the newly created WWE Universal Championship at SummerSlam, but he was unsuccessful, as Roman Reigns won the match.
The List of Jericho (2016–2017)
Jericho then entered a feud with Enzo and Cass and on the August 1 episode of Raw, he teamed with Charlotte to defeat Enzo Amore and then WWE Women's Champion Sasha Banks in a mixed tag team match, after which Big Cass made the save as Jericho continued the assault on Amore. The following week on Raw, Jericho allied with Kevin Owens and later defeated Amore via disqualification when Cass interfered. This led to a tag team match at SummerSlam, where Jericho and Owens defeated Enzo and Cass. On the August 22 episode of Raw, Jericho interfered in Owens's match against Neville, allowing him to qualify for the fatal four-way match to determine the new WWE Universal Champion on the August 29 episode of Raw, which Owens won.
On the September 12 episode of Raw, Jericho hosted an episode of The Highlight Reel with Sami Zayn as his guest, who questioned his alliance with Owens, resulting in Jericho defending Owens and attacking Zayn. On the September 19 episode of Raw, as a result of feeling that he was being treated unjustly by General Manager Mick Foley, as well as other wrestlers beginning to annoy him, Jericho began a list called "The List of Jericho", where he wrote down the name of the person that bothered him and why. If someone annoyed Jericho, he would ask "you know what happens?" before shouting "you just made the list!" and writing the person's name down. The List of Jericho soon became incredibly popular with the fans, with many critics describing Jericho and his list as "easily one of the best moments of Raw's broadcast". At Clash of Champions on September 25, Jericho defeated Zayn and assisted Owens in his Universal Championship defense against Seth Rollins. At Hell in a Cell on October 30, Jericho aided Owens in retaining the Universal Championship against Rollins in a Hell in a Cell match after Owens sprayed a fire extinguisher at the referee, allowing Jericho to enter the cell.
Jericho teamed with Owens, Braun Strowman, Roman Reigns, and Seth Rollins as part of Team Raw at Survivor Series on November 20, in a losing effort. The next night on Raw, despite being banned from ringside, Jericho showed up in a Sin Cara mask and attacked Rollins, in another successful title defense for Owens. The following week on Raw, tensions between Jericho and Owens arose after both said that they did not need each other anymore, and Jericho was later attacked by Rollins in the parking lot. At Roadblock: End of the Line on December 18, Jericho lost to Rollins after Owens failed in his attempt to help him, Later that night, Jericho intentionally attacked Owens to prevent Reigns from winning the title. After both Jericho and Owens failed to win the WWE United States Championship from Reigns in multiple singles matches in late 2016, Jericho pinned Reigns in a handicap match also involving Owens on the January 9 episode of Raw to win the WWE United States Championship. Thus, Jericho won his first championship in nearly seven years and also become Grand Slam winner under the current format. Due to interfering multiple times in Owens's matches, Jericho was suspended above the ring in a shark proof cage during Reigns's rematch at the Royal Rumble pay-per-view event. Owens nonetheless retained the championship after Braun Strowman, taking advantage of the added no disqualification stipulation, interfered. Also at the event, Jericho entered as the second entrant in the Royal Rumble match, lasting over an hour (thus breaking the record with a cumulative time of over five hours) and being the third to last before being eliminated by Reigns.
In February, tensions grew between Jericho and Owens after Jericho accepted a Universal Championship challenge from Goldberg on Owens's behalf, much to the latter's dismay. On the February 13 episode of Raw, Jericho held a "Festival of Friendship" for Owens, who was not impressed and viciously attacked Jericho, ending their alliance. Jericho returned at Fastlane on March 5, distracting Owens during his match with Goldberg and causing Owens to lose the Universal Championship, turning face again in the process. This led to a match between Jericho and Owens being arranged for WrestleMania 33 on April 2, with Jericho's United States Championship on the line. At WrestleMania, Jericho lost the United States Championship to Owens. At Payback on April 30, Jericho defeated Owens to regain the title and moved to the SmackDown brand, but lost it back to him two nights later on SmackDown. Following the match, Owens attacked Jericho, who was carried out on a stretcher. Thus, Jericho was written off television so he could fulfill his commitments to tour with and promote his new album with Fozzy. Jericho made a surprise return at a house show in Singapore on June 28, where he lost to Hideo Itami.
Final matches and departure (2017–2018)
On the July 25 episode of SmackDown, Jericho made his televised return, interrupting an altercation between Kevin Owens and AJ Styles to get his rematch for Owens' WWE United States Championship. Later that night, Jericho participated in a triple threat match against Owens and Styles for the title in which Jericho was pinned by Styles. Show took place in Richmond, Virginia and was Jericho's last in-ring appearance for WWE in the United States.
On January 22, 2018 during the 25th Anniversary of Raw, Jericho appeared backstage in a segment with Elias, putting him on The List of Jericho. At the Greatest Royal Rumble, Jericho was the last entrant in the 50-man Royal Rumble match, eliminating Shelton Benjamin before being eliminated by the eventual winner Braun Strowman. This event marked Jericho's final appearance with WWE.
In September 2019, during an interview for the Mature Audiences Mayhem Podcast, Jericho revealed the exact point when he decided he was going to leave the WWE. Even though Jericho was with the WWE for 15 years, the final insult came at WrestleMania 33 in 2017. Despite the fact that Jericho and Kevin Owens had the best feud of the year, their match was demoted by placing it on the second place on the WrestleMania match card. The decision made by Vince McMahon was a big insult for Jericho and that prompted him to seek work elsewhere. Jericho reflecting his WWE departure stated:
"Originally, that was going to be the main event for the world title. Kevin Owens was the champion and I was going to beat him in the main event of WrestleMania as a babyface." Instead of having Jericho and Owens as the main event, Vince decided to put Bill Goldberg and Brock Lesnar on the main card. "Vince said that it’s going to be me versus Kevin Owens for the world title at WrestleMania and you are going to win the title, f*** yeah! Next week, he doesn’t tell me, but I hear that it’s changed to Brock Lesnar versus Bill Goldberg for the title. And not only did they take us out of the main event – and, once again, just because I was told I have no right to it and things change all the time, I’m a big boy, I can handle it. But to take us from the main event slot and then move us to the second match on the card on a card that has 12 matches on it? I was like, that’s a f***ing insult."
Return to NJPW (2017–2020)
Feud with Kenny Omega (2017–2018)
On November 5, 2017, Jericho returned to NJPW in a pre-taped vignette, challenging Kenny Omega to a match at Wrestle Kingdom 12 in Tokyo Dome. The challenge was immediately accepted by Omega and made official by NJPW the following day as a title match for Omega's IWGP United States Heavyweight Championship. The match, dubbed "Alpha vs. Omega", was Jericho's first match outside of WWE since he left WCW in July 1999. Journalist Dave Meltzer wrote that Jericho's WWE contract had expired and that he was a "free agent". NJPW also referred to Jericho as a free agent. In contrast, the Tokyo Sports newspaper described an anonymous NJPW official saying that Jericho is still under contract with WWE, and that WWE chairman Vince McMahon had given him permission to wrestle this match in NJPW. This was his first NJPW match in nearly 20 years. Jericho returned in person at the December 11 World Tag League show, attacking and bloodying Omega after his match, while also laying out a referee, a young lion and color commentator Don Callis, establishing himself as a heel. The following day at the Wrestle Kingdom 12 in Tokyo Dome press conference, Jericho and Omega would get into a second physical altercation. Because of the two incidents, NJPW turned the January 4 match into a no disqualification match. At the event, Jericho was defeated by Omega. It was later revealed that the match was awarded a five-star rating from Dave Meltzer of the Wrestling Observer Newsletter. This was the first of his career.
IWGP Intercontinental Champion (2018–2019)
The night after Wrestle Kingdom 12 in Tokyo Dome at New Year Dash!! 2018, Jericho attacked Tetsuya Naito. On May 4, Jericho once again attacked Naito at Wrestling Dontaku, leading to a match between the two at Dominion 6.9 in Osaka-jo Hall, in which he defeated Naito to win the IWGP Intercontinental Championship. At King of Pro-Wrestling, Jericho attacked Evil before his match against Zack Sabre Jr. Backstage, Jericho challenged Evil to an IWGP Intercontinental Championship title match at Power Struggle. At the event, Jericho made Evil submit to the Liontamer to retain the IWGP Intercontinental Championship. After the match, Jericho refused to release the hold until Tetsuya Naito ran in for the save and challenged Jericho. Despite Jericho stating that Naito would not receive a rematch, the match was made official for Wrestle Kingdom 13 in Tokyo Dome. On December 15, NJPW held a press conference for Jericho and Naito's IWGP Intercontinental Championship match. The press conference ended when Naito spat water in Jericho's face, which resulted in the two then brawling before being separated. Later that same day during a Road to Tokyo Dome show, Jericho laid out Naito with steel chair shots, and after stated that at Wrestle Kingdom 13 he would end Tetsuya Naito's career. At the event, Jericho was defeated by Naito, losing the IWGP Intercontinental Championship in the process.
Sporadic appearances (2019–2020)
At Dominion 6.9 in Osaka-jo Hall, Jericho challenged Kazuchika Okada for the IWGP Heavyweight Championship but was defeated. Following the match, Jericho attacked Okada, leading to Hiroshi Tanahashi making the save. Jericho returned at Power Struggle on November 3 and challenged Tanahashi to a match at Wrestle Kingdom 14. On December 28, it was announced that if Tanahashi were to defeat Jericho, he would be granted an AEW World Championship match at a later date. During the second night of Wrestle Kingdom on January 5, 2020, Jericho defeated Tanahashi.
Return to the independent circuit (2018–2019)
On September 1, 2018, Jericho (disguised as Penta El Zero) appeared at the All In show promoted by Cody and The Young Bucks, where he attacked Kenny Omega following Omega's victory over Penta to promote his upcoming Rock 'N' Wrestling Rager at Sea cruise.
In October 2018, Jericho organized Chris Jericho's Rock 'N' Wrestling Rager at Sea, a series of professional wrestling matches originating from Jericho's cruise ship, which embarked from Miami, Florida and featured wrestlers from Ring of Honor.
On May 3, 2019, Jericho appeared at a Southern Honor Wrestling event, where he was attacked by Kenny Omega.
All Elite Wrestling (2019–present)
Inaugural AEW World Champion (2019–2020)
On January 8, 2019, Jericho made a surprise appearance at a media event organized by the upstart All Elite Wrestling (AEW) promotion. Shortly afterwards, Jericho was filmed signing a full-time performers three-year contract with AEW and shaking hands with the company's President Tony Khan. Jericho defeated Kenny Omega at the promotion's inaugural event Double or Nothing on May 25, and went on to defeat Adam Page at All Out to become the inaugural AEW World Champion.
On the premiere episode of Dynamite on October 2, Jericho allied himself with Sammy Guevara, Jake Hager, Santana and Ortiz, creating a stable that would be known as The Inner Circle. Jericho would make successful title defences against Darby Allin on the October 16 episode of Dynamite and Cody at the Full Gear pay-per-view on November 9. On the episode of Dynamite after Full Gear, Jericho and Guevara challenged SoCal Uncensored (Frankie Kazarian and Scorpio Sky) for the AEW World Tag Team Championship, but they failed to win when Sky pinned Jericho with a small package, thus suffering his first loss in AEW. Jericho would successfully retain the AEW World Championship against Sky on the November 27 episode of Dynamite.
In December, The Inner Circle began to attempt to entice Jon Moxley to join the group. On the January 8, 2020 episode of Dynamite, Moxley initially joined the group, however, this was later revealed to be a ruse from Moxley as he attacked Jericho and Sammy Guevara. Moxley then became the number one contender for Jericho's championship at Revolution on February 29, where Moxley defeated Jericho to win the title, ending his inaugural AEW World Championship reign at 182 days.
Feud with MJF (2020–2021)
After losing the championship, Jericho and The Inner Circle began a feud with The Elite (Adam Page, Cody, Kenny Omega and The Young Bucks), who recruited the debuting Matt Hardy to oppose them. At Double or Nothing on May 23, The Inner Circle were defeated by Page, Omega, The Young Bucks and Hardy in a Stadium Stampede match. Jericho next began a rivalry with Orange Cassidy, with Jericho defeating him at Fyter Fest on July 8, but losing a rematch on the August 12 episode of Dynamite. The two faced once again at All Out on September 5, in a Mimosa Mayhem match, which Jericho lost.
Beginning in October, Jericho began a feud with MJF, who requested to join the Inner Circle, despite disapproval from Sammy Guevara, Santana and Ortiz. Jericho and MJF wrestled in a match at the Full Gear event on November 7, which MJF won, thus allowing him to join the Inner Circle. At Beach Break on February 3, 2021, Jericho and MJF won a tag team battle royal to become the number one contenders for the AEW World Tag Team Championship at the Revolution event against The Young Bucks, which they were unsuccessful in winning. On the March 10 episode of Dynamite, MJF betrayed and left The Inner Circle after revealing he had been secretly plotting against them and building his own stable, The Pinnacle—consisting of Wardlow, Shawn Spears and FTR (Cash Wheeler and Dax Harwood). At Blood and Guts on May 5, The Inner Circle lost to The Pinnacle in the inaugural Blood and Guts match. However, in the main event of Double or Nothing later that month, The Inner Circle defeated The Pinnacle in a Stadium Stampede match, after Sammy Guevara pinned Shawn Spears. Jericho then began pursuing another match with MJF, who stated that he would first have to defeat a gauntlet of opponents selected by MJF, in a series dubbed the "Labors of Jericho". Jericho would defeat each of MJF's handpicked opponents (Shawn Spears, Nick Gage, Juventud Guerrera and Wardlow) and faced MJF in the final labor on the August 18 episode of Dynamite, but he was defeated. Jericho demanded one more match, stipulating that if he lost, he would retire from in-ring competition, which MJF accepted. At All Out on September 5, Jericho defeated MJF to maintain his career and end their feud.
Various feuds (2021–present)
Following All Out, The Inner Circle started a rivalry with Men of the Year (Ethan Page and Scorpio Sky), and their ally, mixed martial arts (MMA) coach Dan Lambert. Lambert also brought in members of his MMA team American Top Team (ATT) to oppose The Inner Circle, including Andrei Arlovski and Junior dos Santos. At the Full Gear event on November 13, The Inner Circle defeated Men of the Year and ATT in a Minneapolis Street Fight.
Legacy
Known for his over-the-top, rock star persona, Jericho has been described by multiple industry commentators as one of the greatest professional wrestlers of all time. Journalist Chris Van Vliet noted that his name is "always thrown around as the GOAT [greatest of all time], or at least one of the GOATs", with Van Vliet himself asserting that Jericho is "if not the best, certainly one of the best". Todd Martin of the Pro Wrestling Torch remarked, to agreement from editor Wade Keller, that Jericho is "one of the great wrestlers of all time" and in "a lofty category", while likening his oeuvre to those of WWE Hall of Famers Randy Savage, Ricky Steamboat, Ted DiBiase and Dory Funk Jr. Praised for his ability to continually evolve his gimmick, Jericho was dubbed by KC Joyner of ESPN as "wrestling's David Bowie".
Various outlets have included Jericho in lists of the greatest wrestlers ever. Baltimore Sun reporter Kevin Eck, who has also served as editor of WCW Magazine and a WWE producer, featured Jericho in his "Top 10 favorite wrestlers of all time" and "Top 10 all-around performers"—the former piece noting that Jericho is "regarded as one of the very best talkers in the business". Keisha Hatchett in TV Guide wrote that Jericho "owns the mic with cerebral insults" and is set apart from peers by "his charismatic presence, which is highlighted by a laundry list of unforgettable catchphrases". He was voted by Wrestling Observer Newsletter (WON) readers as "Best on Interviews" for the 2000s decade, coinciding with his 2010 induction into the WON Hall of Fame. Fans also named Jericho the greatest WWE Intercontinental Champion of all time in a 2013 WWE poll, affording him a landslide 63% victory over the other four contenders (Mr. Perfect, The Honky Tonk Man, Rick Rude and Pat Patterson).
A number of Jericho's industry colleagues have hailed him as one of the greatest wrestlers in history. Stone Cold Steve Austin lauded his consistently "dynamic" promos and in-ring work, while arguing that he should be considered among the 10 best ever. Kenny Omega asserted that Jericho "has a legit argument for being the best of all time", based on his ability to achieve success and notoriety across numerous territories. Jon Moxley said, "Jericho is really making a case for being the greatest of all time... he's doing it again, he's doing something completely new, and breaking new barriers still here in 2020." Matt Striker pointed to Jericho's "magnanimous" nature as a contributing factor to his status as an all-time great; his willingness to impart knowledge was commended by James Ellsworth, who described Jericho as an "outstanding human being" and a childhood favorite. Kevin Owens stated that "Jericho was always someone I looked up to", while The Miz affirmed that he was part of a generation of young wrestlers who sought to "emulate" Jericho.
WWE declared Jericho a "marquee draw" with a "reputation as one of the best ever". As of 2019, he is one of the ten most prolific pay-per-view performers in company history.
After Jericho signed with All Elite Wrestling, it was said his role was similar to Terry Funk in ECW, as an experienced veteran bringing credibility to a younger promotion. Jericho was credited as one of the key attractions of AEW's weekly television broadcasts, leading to him adopting the nickname "The Demo God" due to many of the segments he appeared in being some of the highest viewed in the key demographics. He was voted as the Best Box Office Draw by readers of the Wrestling Observer Newsletter in 2019.
Music career
Jericho is the lead singer for the heavy metal band Fozzy. Since their debut album in 2000, Fozzy have released seven studio albums; Fozzy, Happenstance, All That Remains, Chasing the Grail, Sin and Bones, Do You Wanna Start a War, Judas, and one live album, Remains Alive.
In 2005, Jericho performed vocals on a cover of "The Evil That Men Do" on the Iron Maiden tribute album, Numbers from the Beast. He made a guest appearance on Dream Theater's album, Systematic Chaos on the song "Repentance", as one of several musical guests recorded apologizing to important people in their lives for wrongdoings in the past.
In the mid-1990s, Jericho wrote a monthly column for Metal Edge magazine focused on the heavy metal scene. The column ran for about a year. He started his own weekly XM Satellite Radio show in March 2005 called The Rock of Jericho, which aired Sunday nights on XM 41 The Boneyard.
Discography
Albums with Fozzy
Fozzy (2000)
Happenstance (2002)
All That Remains (2005)
Chasing the Grail (2010)
Sin and Bones (2012)
Do You Wanna Start a War (2014)
Judas (2017)
Live albums
Remains Alive (2009)
As guest
Don't You Wish You Were Me? - WWE Originals (2004)
King of the Night Time World - Spin the Bottle: An All-Star Tribute to Kiss (2004) * With Rich Ward, Mike Inez, Fred Coury
Bullet for My Valentine – Temper Temper – Dead to the World (2013)
Devin Townsend – Dark Matters (2014)
Michael Sweet – I'm Not Your Suicide – Anybody Else (2014)
Other endeavors
Film, theater, comedy, and writing
In 2000, a WWE produced VHS tape documenting Jericho's career titled Break Down the Walls was released. He later received two three disc sets profiling matches and interviews.
On June 24, 2006, Jericho premiered in his first Sci-Fi Channel movie Android Apocalypse alongside Scott Bairstow and Joey Lawrence.
Jericho debuted as a stage actor in a comedy play Opening Night, which premiered at the Toronto Centre for the Arts during July 20–22, 2006 in Toronto. During his stay in Toronto, Jericho hosted the sketch comedy show Sunday Night Live with sketch troupe The Sketchersons at The Brunswick House.
Jericho was also the first wrestler attached and interviewed for the wrestling documentary, Bloodstained Memoirs. The interview was recorded in the UK during a Fozzy tour in 2006.
Jericho wrote his autobiography, A Lion's Tale: Around the World in Spandex, which was released on October 25, 2007 and became a New York Times bestseller. It covers Jericho's life and wrestling career up to his debut in the WWE. Jericho's second autobiography, Undisputed: How to Become the World Champion in 1,372 Easy Steps, was released on February 16, 2011, and covers his wrestling career since his WWE debut. On October 14, 2014 Jericho's third book, The Best In The World...At What I Have No Idea, was released. It covers some untold stories of the "Save Us" era, his Fozzy career, and his multiple returns from 2011 to 2013. Jericho's fourth book, No Is a Four-Letter Word: How I Failed Spelling but Succeeded in Life, was released on August 29, 2017 and details twenty valuable lessons Jericho learned throughout his career as a wrestler and musician.
Jericho appeared in the 2009 film Albino Farm. In the film MacGruber, released May 21, 2010, he briefly appeared as Frank Korver, a former military teammate of the eponymous Green Beret, Navy Seal, and Army Ranger.
Jericho released a comedy web series on October 29, 2013 that is loosely based on his life entitled But I'm Chris Jericho! Jericho plays a former wrestler, struggling to make it big as an actor. A second season was produced in 2017 by CBC and distributed over CBC's television app and CBC.ca.
In 2016, Jericho starred in the documentary film Nine Legends alongside Mike Tyson and other wrestlers.
In August 2018, Jericho was confirmed to star in the film Killroy Was Here.
On March 14, 2019, filmmaker Kevin Smith cast Jericho as a KKK Grand Wizard in Jay and Silent Bob Reboot.
Television
Jericho was a contributor to the VH1 pop culture shows Best Week Ever, I Love the '80s, and VH1's top 100 artists.
Jericho also hosted the five-part, five-hour VH1 special 100 Most Shocking Music Moments, an update of the original special 100 Most Shocking Moments in Rock N' Roll first hosted by Mark McGrath of Sugar Ray.
On July 12, 2006, he made an appearance on G4's Attack of the Show!; he made a second appearance on August 21, 2009. In May 2006, Jericho appeared on VH1's 40 Greatest Metal Songs and Heavy: The Story of Metal as a commentator.
He was one of eight celebrities in the 2006 Fox Television singing reality show Celebrity Duets, produced by Simon Cowell, and was the first contestant eliminated. Jericho worked at a McDonald's to show off his skills while prepping for the show.
Jericho hosted his own reality show in 2008 titled Redemption Song, in which 11 women tried their hand at getting into the music scene. It was shown on Fuse TV.
He guest starred as Billy "The Body Bag" Cobb in "Xero Control", an episode of the Disney XD 2009 original series Aaron Stone.
He hosted VH1's 100 Most Shocking Music Moments, which began airing in December 2009. In June 2010, Jericho was named the host of the ABC prime-time game show Downfall.
On March 1, 2011, Chris Jericho was named one of the contestants on the 2011 lineup of Dancing with the Stars. His partner was two-time champion Cheryl Burke. This led to a wave of publicity, including an interview with Jay Leno. On April 26, Jericho was the fifth contestant eliminated on the show.
On May 5, Jericho made his third appearance as a guest on Attack of the Show! where he depicted Thor. He promoted Undisputed and hosted the Revolver Golden Gods Awards on May 28 on VH1 Classic. On January 17, 2012, Jericho made his fourth appearance on Attack of the Show! in a segment called "Twitter Twister" where he portrayed a character called "The Twistercutioner" and read tweets as instructions for a game of Twister between Kevin and Candace. Jericho hosted the UK's Metal Hammer Golden Gods Awards in 2012 and 2017.
On February 26, 2013, Jericho began hosting a robot combat competition program on SyFy titled Robot Combat League the series ended on April 23, 2015.
Talk Is Jericho podcast
In December 2013, Jericho began hosting his own podcast, Talk is Jericho. Episodes usually include a loosely scripted monolog before an interview, typically with a wrestler, rock musician or paranormal expert. The show originally appeared on PodcastOne, before moving to the WestwoodOne network in 2018. Notable guests on the show include Bruce Dickinson from Iron Maiden, Lemmy from Motörhead, Paul Stanley from KISS, Zak Bagans from Ghost Adventures, pornographic actress Asa Akira, writer/director Kevin Smith and many former and current wrestlers.
In April 2015, Jericho hosted his own video podcast on the WWE Network, Live! with Chris Jericho, with John Cena as his first guest, followed by Stephanie McMahon as his guest later that same month.
Once he signed with AEW, he was no longer allowed WWE performers as guests on the podcast.
Web
On August 10, 2019, Jericho launched his own dirtsheet website called WebIsJericho.com. The website is dedicated to the memory of Axl Rotten.
In May 2020, Jericho officially joined as a competitor of the Movie Trivia Schmoedown under manager Roxy Striar in the Roxstars faction. Jericho first expressed interest in the Schmoedown following an appearance on Collider Live with Striar and Schmoedown commissioner Kristian Harloff. He became friends with Striar following the interview and kept in contact. During the 2020 season, Jericho contacted Striar, asking to be a part of the league. Striar formally drafted Jericho into her faction during the first free-agent period following the season-opening draft. His first match is scheduled for August 27 against Kevin Smith.
Cruises
In 2017, Jericho launched Chris Jericho's Rock 'N' Wrestling Rager at Sea, a cruise "combining the worlds of rock and wrestling with a once in a lifetime amazing vacation experience". The cruise featured live band performances, artist-hosted activities and a Sea of Honor Tournament with over a dozen Ring of Honor wrestlers competing. Guests had the opportunity to get up close and personal with Chris and his closest wrestling, comedian, and musician friends including Jim Ross, Diamond Dallas Page and Jim Breuer, among others. The cruise sailed October 27–31, 2018 from Miami to Nassau, Bahamas.
Jericho hosted a second cruise, Chris Jericho's Rock 'N' Wrestling Rager at Sea Part Deux: Second Wave, which run from January 20–24, 2020. A third cruise, Chris Jericho's Rock 'N' Wrestling Rager at Sea Triple Whammy, is scheduled for October 21–25, 2021.
Video games
Jericho has appeared in numerous video games. They include WCW/nWo Revenge, WCW Nitro, WCW/nWo Thunder, WCW Mayhem, WWF WrestleMania 2000, WWF No Mercy, WWF SmackDown!, WWF SmackDown! 2: Know Your Role, WWF SmackDown! Just Bring It, WWF Raw, WWE SmackDown! Shut Your Mouth, WWE SmackDown! Here Comes the Pain, WWE SmackDown! vs. Raw, WWE SmackDown! vs. Raw 2006, WWE SmackDown vs. Raw 2009, WWE All Stars, WWE SmackDown vs. Raw 2010, WWE SmackDown vs. Raw 2011, WWE '13, WWE 2K14, WWE 2K15, WWE 2K16, WWE 2K17, WWE 2K18, WWE 2K19 and the upcoming All Elite Wrestling video game.
Personal life
Irvine married Jessica Lockhart on July 30, 2000. They reside in Odessa, Florida, with their three children: son Ash Edward Irvine (born 2003) and identical twin daughters Sierra Loretta "SiSi" Irvine and Cheyenne Lee "Chey" Irvine (born 2006). All three have been guests on his podcast, Talk Is Jericho, with his son discussing fish and his daughters discussing literature. Irvine owns three cats. In October 2020, Irvine reportedly donated $3,000 to Donald Trump's presidential re-election campaign.
Irvine is a Christian. He has a tattoo of his wife's name on his ring finger. He has the letter F, representing Fozzy, on the back of his hand. Since 2012, he has gradually gotten a sleeve over his left arm. His tattoos include: the artwork of Fozzy's album Sin and Bones, a Jack-o'-lantern (Avenged Sevenfold vocalist M. Shadows, who collaborated with Fozzy on the track "Sandpaper" from Sin and Bones, also got a matching tattoo), a lake monster, and himself from his WWF debut in 1999.
On July 5, 2004, Irvine was awarded Manitoba's The Order of the Buffalo Hunt, for his achievements in wrestling and his commitment to working with underprivileged children. – "After that, Gary Doer, the premier of Manitoba, awarded me with the Order of the Buffalo Hunt, which was the province's highest honor. It was quite the prestigious prize, which has been given to such dignitaries such as Mother Teresa, Desmond Tutu, Jimmy Carter, Pope John Paul II, and now Chris Jericho." / caption: "Manitoba Premier Gary Doer presents me with the Order of the Buffalo Hunt, along with a tiny bronze buffalo. I'm thinking, 'That's all I get?'"
Since January 2012, Irvine (along with former NFL Quarterback Tim Tebow, former NFL player Derrick Brooks, and former Atlanta Braves player Chipper Jones) has been the co-owner of a sports training facility in Tampa, a franchise site of D1 Sports Training and Therapy.
Irvine is a fan of Japanese convenience store chain Lawson, which Irvine would frequently shop at when he wrestled in Japan in the 1990s. Irvine still visits Lawson whenever he returns to Japan, whether to wrestle or if he is touring with Fozzy.https://www.instagram.com/p/CQCwN9vjtO_/
Legal issues
On February 7, 2009, a fan accused Irvine of punching her after she spat at him with fans outside Save-On-Foods Memorial Centre in Victoria, British Columbia after a live event. Video footage, however, clearly showed he did not make contact with the woman. As a result of the incident, police detained them, but released them without charge. Police did not press charges against anyone in the brawl as it was "hard to determine who provoked whom".
On January 27, 2010, Irvine and fellow wrestler Gregory Helms were arrested in Fort Mitchell, Kentucky after leaving a bar. A police report stated that Helms punched Irvine and the other passengers in the cab. Fellow wrestlers Christian and CM Punk bailed them out later.
Filmography
Film
Television
Video games
Championships and accomplishments
All Elite Wrestling AEW World Championship (1 time)
AEW Dynamite Awards (2 times)
Bleacher Report PPV Moment of the Year (2021) –
Biggest Beatdown (2021) –
The Baltimore Sun
Feud of the Year (2008)
Canadian Rocky Mountain Wrestling
CRMW North American Heavyweight Championship (1 time)
CRMW North American Tag Team Championship (2 times) – with Lance Storm
CRMW Mid-Heavyweight Championship (2 times)
Consejo Mundial de Lucha Libre
NWA World Middleweight Championship (1 time)
Extreme Championship Wrestling
ECW World Television Championship (1 time)
International Wrestling Alliance
IWA Junior Heavyweight Championship (1 time)
New Japan Pro-Wrestling
IWGP Intercontinental Championship (1 time)
Pro Wrestling Illustrated
Faction of the Year (2021) – with The Inner Circle
Feud of the Decade (2000s)
Feud of the Year (2008)
Feud of the Year (2021)
Most Hated Wrestler of the Year (2002, 2008)
Ranked No. 2 of the top 500 singles wrestlers in the PWI 500 in 2009
Rolling Stone
Ranked No. 3 of the 10 best WWE wrestlers of 2016
World Championship Wrestling
WCW Cruiserweight Championship (4 times)
WCW World Television Championship (1 time)
World Wrestling Federation/Entertainment/WWE
Undisputed WWF Championship (1 time)
World Heavyweight Championship (3 times)
WCW/World Championship (2 times)
WWF/WWE Intercontinental Championship (9 times)
WWE United States Championship (2 times)
WWF European Championship (1 time)
WWF Hardcore Championship (1 time)
WWE Tag Team Championship (2 times) – with Edge (1) and Big Show (1)
WWF/World Tag Team Championship (5 times) – with Chris Benoit (1), The Rock (1), Christian (1), Edge (1), and Big Show (1)
Bragging Rights Trophy (2009) – with Team SmackDown
WWF Undisputed Championship Tournament (2001)
Fourth Grand Slam Champion
Ninth Triple Crown Champion
Slammy Award (3 times)
Extreme Moment of the Year (2014)
Superstar of the Year (2008)
Tag Team of the Year (2009) – with Big Show
Wrestle Association "R"
WAR International Junior Heavyweight Championship (1 time)
WAR International Junior Heavyweight Tag Team Championship (1 time) – with Gedo
World Wrestling Association
WWA Tag Team Championship (1 time) – with El Dandy
Wrestling Observer Newsletter
Wrestler of the Year (2008, 2009, 2019)
Best on Interviews (2003, 2008, 2009, 2019)
Best on Interviews of the Decade (2000s)
Feud of the Year (2008)
Pro Wrestling Match of the Year (2008)
Most Underrated Wrestler (1999, 2000)
Readers' Favorite Wrestler (1999)
United States/Canada MVP (2019)
Most Charismatic (2019)
Best Box Office Draw (2019)
Best Pro Wrestling Book (2011)
Wrestling Observer Newsletter Hall of Fame (Class of 2010)
Luchas de Apuestas record
Notes
References
Further reading
External links
1970 births
21st-century American male actors
21st-century American singers
21st-century Canadian male actors
21st-century Canadian male singers
AEW World Champions
All Elite Wrestling personnel
American Christians
American color commentators
American game show hosts
American hard rock musicians
American heavy metal singers
American male film actors
American male professional wrestlers
American male singer-songwriters
American male television actors
American memoirists
American men podcasters
American people of Scottish descent
American people of Ukrainian descent
American podcasters
American radio personalities
American rock singers
American rock songwriters
American YouTubers
Canadian Christians
Canadian colour commentators
Canadian expatriate professional wrestlers in the United States
Canadian game show hosts
Canadian hard rock musicians
Canadian heavy metal singers
Canadian male film actors
Canadian male professional wrestlers
Canadian male singers
Canadian male singer-songwriters
Canadian male television actors
Canadian memoirists
Canadian men podcasters
Canadian people of Scottish descent
Canadian people of Ukrainian descent
Canadian podcasters
Canadian radio personalities
Canadian rock singers
Canadian YouTubers
Christians from New York (state)
ECW World Television Champions
Expatriate professional wrestlers in Japan
Expatriate professional wrestlers in Mexico
Fozzy members
IWGP Intercontinental champions
Living people
Male actors from New York (state)
Male actors from Winnipeg
Male YouTubers
Musicians from Winnipeg
NWA/WCW World Television Champions
NWA/WCW/WWE United States Heavyweight Champions
Participants in American reality television series
People from Manhasset, New York
Professional wrestlers from Manitoba
Professional wrestlers from New York (state)
Professional wrestling podcasters
Red River College alumni
Singer-songwriters from New York (state)
Sportspeople from Winnipeg
WCW World Heavyweight Champions
World Heavyweight Champions (WWE)
WWE Champions
WWE Grand Slam champions
WWF European Champions
WWF/WWE Hardcore Champions
WWF/WWE Intercontinental Champions | true | [
"The idiom \"six of one, half a dozen of the other\" means that two alternatives are equivalent or indifferent; it doesn't matter which one we choose.\n\nSix of One, Half Dozen of the Other or Six of One may also refer to one of the following:\n\n Six of One (Battlestar Galactica), an episode of TV series Battlestar Galactica\nSix of One (novel), a 1978 novel by Rita Mae Brown\n Six of One, an Appreciation Society of TV series The Prisoner\nSix of One, one of the original names for the TV series Friends (1994-2004)\n Six of One, a character on TV series Tripping the Rift\n Six of One, Half-Dozen of the Other, the US version of the Marillion album A Singles Collection (1992)\n Six of One, Mach One album (1983)\n Six of One, Evan Parker's solo album (1980)\n Six of One, Half a Dozen of the Other, Del Reeves album (1967)\n Six of One, Half a Dozen of the Other: 1986-2002, Snuff album (2005)",
"A hippogonal (pronounced ) chess move is one similar to a knight's move. That is, a leap m squares in one of the orthogonal directions, and n squares in the other, for integer values of m and n. It need not be a 2:1 ratio for m and n. A specific type of hippogonal move can be written (m,n), usually with the smaller number first.\n\nFor example, the knight itself moves two squares in one orthogonal direction and one in the other—it moves hippogonally. It is a (1,2) hippogonal mover, sometimes referred to as a (1,2) leaper.\n\nOther hippogonally moving pieces include the camel, a fairy chess piece, which moves three squares in one direction and one in the other, and thus is a (1,3) hippogonal mover.\n\nThe pieces are colourbound if the sum of m and n is even, and change colour with every move otherwise.\n\nReferences\n\nExternal links \n Piececlopedia: Knight by Fergus Duniho and Hans Bodlaender, The Chess Variant Pages \n\nFairy chess pieces\nChess terminology"
] | [
"Christopher Keith Irvine (born November 9, 1970), better known by the ring name Chris Jericho, is an American-Canadian professional wrestler and singer. He is currently signed to All Elite Wrestling (AEW), where he is the leader of The Inner Circle stable.",
"He is currently signed to All Elite Wrestling (AEW), where he is the leader of The Inner Circle stable. Noted for his over-the-top rock star persona, he has been named by journalists and industry colleagues as one of the greatest professional wrestlers of all time.",
"Noted for his over-the-top rock star persona, he has been named by journalists and industry colleagues as one of the greatest professional wrestlers of all time. During the 1990s, Jericho performed for American organizations Extreme Championship Wrestling (ECW) and World Championship Wrestling (WCW), as well as for promotions in countries such as Canada, Japan, and Mexico.",
"During the 1990s, Jericho performed for American organizations Extreme Championship Wrestling (ECW) and World Championship Wrestling (WCW), as well as for promotions in countries such as Canada, Japan, and Mexico. At the end of 1999, he made his debut in the World Wrestling Federation (WWF).",
"At the end of 1999, he made his debut in the World Wrestling Federation (WWF). In 2001, he became the first Undisputed WWF Champion, and thus the final holder of the WCW World Heavyweight Championship (then referred to as the World Championship), having won and unified the WWF and World titles by defeating Stone Cold Steve Austin and The Rock on the same night.",
"In 2001, he became the first Undisputed WWF Champion, and thus the final holder of the WCW World Heavyweight Championship (then referred to as the World Championship), having won and unified the WWF and World titles by defeating Stone Cold Steve Austin and The Rock on the same night. Jericho headlined multiple pay-per-view (PPV) events during his time with the WWF/WWE, including WrestleMania X8 and the inaugural TLC and Elimination Chamber shows.",
"Jericho headlined multiple pay-per-view (PPV) events during his time with the WWF/WWE, including WrestleMania X8 and the inaugural TLC and Elimination Chamber shows. He was inducted into the Wrestling Observer Newsletter Hall of Fame in 2010.",
"He was inducted into the Wrestling Observer Newsletter Hall of Fame in 2010. Within the WWF/WWE, Jericho is a six-time world champion, having won the Undisputed WWF Championship once, the WCW/World Championship twice and the World Heavyweight Championship three times.",
"Within the WWF/WWE, Jericho is a six-time world champion, having won the Undisputed WWF Championship once, the WCW/World Championship twice and the World Heavyweight Championship three times. He has also held the WWE Intercontinental Championship a record nine times and was the ninth Triple Crown Champion, as well as the fourth Grand Slam Champion in history.",
"He has also held the WWE Intercontinental Championship a record nine times and was the ninth Triple Crown Champion, as well as the fourth Grand Slam Champion in history. In addition, he was the 2008 Superstar of the Year Slammy Award winner and (along with Big Show as Jeri-Show) won the 2009 Tag Team of the Year Slammy Award—making him the only winner of both Superstar and Tag Team of the Year.",
"In addition, he was the 2008 Superstar of the Year Slammy Award winner and (along with Big Show as Jeri-Show) won the 2009 Tag Team of the Year Slammy Award—making him the only winner of both Superstar and Tag Team of the Year. After his departure from WWE in 2018, Jericho signed with New Japan Pro-Wrestling (NJPW), where he became a one-time IWGP Intercontinental Champion, and becoming the first man to have held both the WWE and IWGP Intercontinental Championships.",
"After his departure from WWE in 2018, Jericho signed with New Japan Pro-Wrestling (NJPW), where he became a one-time IWGP Intercontinental Champion, and becoming the first man to have held both the WWE and IWGP Intercontinental Championships. Jericho joined AEW in January 2019 and became the inaugural holder of the AEW World Championship in August of that year.",
"Jericho joined AEW in January 2019 and became the inaugural holder of the AEW World Championship in August of that year. All totalled, between ECW, WCW, WWE, NJPW and AEW, Jericho has held 36 championships (including seven World Championships, and 10 Intercontinental Championships).",
"All totalled, between ECW, WCW, WWE, NJPW and AEW, Jericho has held 36 championships (including seven World Championships, and 10 Intercontinental Championships). In 1999, Jericho became lead vocalist of heavy metal band Fozzy, who released their eponymous debut album the following year.",
"In 1999, Jericho became lead vocalist of heavy metal band Fozzy, who released their eponymous debut album the following year. The group's early work is composed largely of cover versions, although they have focused primarily on original material from their third album, All That Remains (2005), onward.",
"The group's early work is composed largely of cover versions, although they have focused primarily on original material from their third album, All That Remains (2005), onward. Jericho has also appeared on numerous television shows over the years, including the 2011 season of Dancing With the Stars.",
"Jericho has also appeared on numerous television shows over the years, including the 2011 season of Dancing With the Stars. He hosted the ABC game show Downfall, the 2011 edition of the Revolver Golden Gods Awards, and the UK's Metal Hammer Golden Gods Awards in 2012 and 2017.",
"He hosted the ABC game show Downfall, the 2011 edition of the Revolver Golden Gods Awards, and the UK's Metal Hammer Golden Gods Awards in 2012 and 2017. Early life Christopher Keith Irvine was born in Manhasset, New York on November 9, 1970, the son of a Canadian couple.",
"Early life Christopher Keith Irvine was born in Manhasset, New York on November 9, 1970, the son of a Canadian couple. He is of Scottish descent from his father's side and Ukrainian descent from his mother's side.",
"He is of Scottish descent from his father's side and Ukrainian descent from his mother's side. His father, ice hockey player Ted Irvine, had been playing for the New York Rangers at the time of his birth. When his father retired, the family moved back to Winnipeg, Manitoba, where Irvine grew up.",
"When his father retired, the family moved back to Winnipeg, Manitoba, where Irvine grew up. He holds dual American and Canadian citizenships.",
"He holds dual American and Canadian citizenships. Irvine's interest in professional wrestling began when he started watching the local American Wrestling Association (AWA) events that took place at the Winnipeg Arena with his family, and his desire to become a professional wrestler himself began when he saw footage of Owen Hart, then appearing with Stampede Wrestling, performing various high-flying moves.",
"Irvine's interest in professional wrestling began when he started watching the local American Wrestling Association (AWA) events that took place at the Winnipeg Arena with his family, and his desire to become a professional wrestler himself began when he saw footage of Owen Hart, then appearing with Stampede Wrestling, performing various high-flying moves. In addition, Irvine also cited Owen's older brother Bret, Ricky Steamboat and Shawn Michaels as inspirations for his becoming a professional wrestler.",
"In addition, Irvine also cited Owen's older brother Bret, Ricky Steamboat and Shawn Michaels as inspirations for his becoming a professional wrestler. His first experience with a professional wrestling promotion was when he acted as part of the ring crew for the first tour of the newly opened Keystone Wrestling Alliance promotion, where he learned important pointers from independent wrestlers Catfish Charlie and Caveman Broda.",
"His first experience with a professional wrestling promotion was when he acted as part of the ring crew for the first tour of the newly opened Keystone Wrestling Alliance promotion, where he learned important pointers from independent wrestlers Catfish Charlie and Caveman Broda. He attended Red River College in Winnipeg, graduating in 1990 with a bachelor's degree in Creative Communications.",
"He attended Red River College in Winnipeg, graduating in 1990 with a bachelor's degree in Creative Communications. Professional wrestling career Independent circuit (1990–1991) At the age of 19, he entered the Hart Brothers School of Wrestling, where he met Lance Storm on his first day.",
"Professional wrestling career Independent circuit (1990–1991) At the age of 19, he entered the Hart Brothers School of Wrestling, where he met Lance Storm on his first day. He was trained by Ed Langley and local Calgary wrestler Brad Young.",
"He was trained by Ed Langley and local Calgary wrestler Brad Young. Two months after completing training, he was ready to start wrestling on independent shows, making his debut at the Moose Hall in Ponoka, Alberta as \"Cowboy\" Chris Jericho, on October 2, 1990, in a ten-minute time limit draw against Storm.",
"Two months after completing training, he was ready to start wrestling on independent shows, making his debut at the Moose Hall in Ponoka, Alberta as \"Cowboy\" Chris Jericho, on October 2, 1990, in a ten-minute time limit draw against Storm. The pair then worked as a tag team, initially called Sudden Impact.",
"The pair then worked as a tag team, initially called Sudden Impact. According to a February 2019 interview with Rich Eisen on The Rich Eisen Show, Jericho stated that his initial name was going to be \"Jack Action\" however, someone remarked to him that the name was stupid, they then asked him what his name really was, he then got nervous and said \"Chris Jericho\".",
"According to a February 2019 interview with Rich Eisen on The Rich Eisen Show, Jericho stated that his initial name was going to be \"Jack Action\" however, someone remarked to him that the name was stupid, they then asked him what his name really was, he then got nervous and said \"Chris Jericho\". He took the name Jericho from an album, Walls of Jericho, by German power metal band, Helloween.",
"He took the name Jericho from an album, Walls of Jericho, by German power metal band, Helloween. Jericho and Storm worked for Tony Condello in the tours of Northern Manitoba with Adam Copeland (Edge), Jason Reso (Christian) and Terry Gerin (Rhino).",
"Jericho and Storm worked for Tony Condello in the tours of Northern Manitoba with Adam Copeland (Edge), Jason Reso (Christian) and Terry Gerin (Rhino). The pair also wrestled in Calgary's Canadian National Wrestling Alliance (CNWA) and Canadian Rocky Mountain Wrestling (CRMW).",
"The pair also wrestled in Calgary's Canadian National Wrestling Alliance (CNWA) and Canadian Rocky Mountain Wrestling (CRMW). Frontier Martial-Arts Wrestling (1991) In 1991, Jericho and Storm started touring in Japan for Frontier Martial-Arts Wrestling as Sudden Impact, where he befriended Ricky Fuji, who also trained under Stu Hart.",
"Frontier Martial-Arts Wrestling (1991) In 1991, Jericho and Storm started touring in Japan for Frontier Martial-Arts Wrestling as Sudden Impact, where he befriended Ricky Fuji, who also trained under Stu Hart. Consejo Mundial de Lucha Libre and other Mexican promotions (1992–1995) In the winter of 1992, he traveled to Mexico and competed under the name Leon D'Oro (\"Golden Lion\", a name that fans voted on for him between \"He-Man\", \"Chris Power\", and his preferred choice \"Leon D'Oro\"), and later Corazón de León (\"Lion Heart\"), where he wrestled for several small wrestling companies.",
"Consejo Mundial de Lucha Libre and other Mexican promotions (1992–1995) In the winter of 1992, he traveled to Mexico and competed under the name Leon D'Oro (\"Golden Lion\", a name that fans voted on for him between \"He-Man\", \"Chris Power\", and his preferred choice \"Leon D'Oro\"), and later Corazón de León (\"Lion Heart\"), where he wrestled for several small wrestling companies. From 1993 to 1995, he competed in Mexico's oldest promotion, Consejo Mundial de Lucha Libre (CMLL).",
"From 1993 to 1995, he competed in Mexico's oldest promotion, Consejo Mundial de Lucha Libre (CMLL). In CMLL, Jericho took on Silver King, Negro Casas, and Último Dragón en route to an eleven-month reign as the NWA Middleweight Champion that began in December 1993.",
"In CMLL, Jericho took on Silver King, Negro Casas, and Último Dragón en route to an eleven-month reign as the NWA Middleweight Champion that began in December 1993. Smoky Mountain Wrestling (1994) 1994 saw Jericho reunited with Storm, as The Thrillseekers in Jim Cornette's Appalachian Smoky Mountain Wrestling (SMW) promotion, where they feuded with the likes of Well Dunn, The Rock 'n' Roll Express, and The Heavenly Bodies.",
"Smoky Mountain Wrestling (1994) 1994 saw Jericho reunited with Storm, as The Thrillseekers in Jim Cornette's Appalachian Smoky Mountain Wrestling (SMW) promotion, where they feuded with the likes of Well Dunn, The Rock 'n' Roll Express, and The Heavenly Bodies. Wrestling and Romance/WAR (1994–1996) In late 1994, Jericho began competing regularly in Japan for Genichiro Tenryu's Wrestling and Romance (later known as Wrestle Association \"R\") (WAR) promotion as The Lion Heart.",
"Wrestling and Romance/WAR (1994–1996) In late 1994, Jericho began competing regularly in Japan for Genichiro Tenryu's Wrestling and Romance (later known as Wrestle Association \"R\") (WAR) promotion as The Lion Heart. In November 1994, Último Dragón defeated him for the NWA World Middleweight Championship, which he had won while wrestling in Mexico.",
"In November 1994, Último Dragón defeated him for the NWA World Middleweight Championship, which he had won while wrestling in Mexico. In March 1995, Jericho lost to Gedo in the final of a tournament to crown the inaugural WAR International Junior Heavyweight Champion.",
"In March 1995, Jericho lost to Gedo in the final of a tournament to crown the inaugural WAR International Junior Heavyweight Champion. He defeated Gedo for the championship in June 1995, losing it to Último Dragón the next month.",
"He defeated Gedo for the championship in June 1995, losing it to Último Dragón the next month. In December 1995, Jericho competed in the second Super J-Cup tournament, defeating Hanzo Nakajima in the first round, but losing to Wild Pegasus in the second round.",
"In December 1995, Jericho competed in the second Super J-Cup tournament, defeating Hanzo Nakajima in the first round, but losing to Wild Pegasus in the second round. In 1995, Jericho joined the heel stable Fuyuki-Gun (\"Fuyuki Army\") with Hiromichi Fuyuki, Gedo, and Jado, adopting the name Lion Do.",
"In 1995, Jericho joined the heel stable Fuyuki-Gun (\"Fuyuki Army\") with Hiromichi Fuyuki, Gedo, and Jado, adopting the name Lion Do. In February 1996, Jericho and Gedo won a tournament for the newly created International Junior Heavyweight Tag Team Championship, defeating Lance Storm and Yuji Yasuraoka in the final.",
"In February 1996, Jericho and Gedo won a tournament for the newly created International Junior Heavyweight Tag Team Championship, defeating Lance Storm and Yuji Yasuraoka in the final. They lost the championship to Storm and Yasuraoka the following month.",
"They lost the championship to Storm and Yasuraoka the following month. Jericho made his final appearances with WAR in July 1996, having wrestled a total of twenty-four tours for the company.",
"Jericho made his final appearances with WAR in July 1996, having wrestled a total of twenty-four tours for the company. Extreme Championship Wrestling (1996) In 1995, thanks in part to recommendations by Benoit, Dave Meltzer and Perry Saturn, to promoter Paul Heyman, and after Mick Foley saw Jericho's match against Último Dragón for the WAR International Junior Heavyweight Championship in July 1995 and gave a tape of the match to Heyman, Jericho began wrestling for the Philadelphia-based Extreme Championship Wrestling (ECW) promotion, winning the ECW World Television Championship from Pitbull #2 in June 1996 at Hardcore Heaven.",
"Extreme Championship Wrestling (1996) In 1995, thanks in part to recommendations by Benoit, Dave Meltzer and Perry Saturn, to promoter Paul Heyman, and after Mick Foley saw Jericho's match against Último Dragón for the WAR International Junior Heavyweight Championship in July 1995 and gave a tape of the match to Heyman, Jericho began wrestling for the Philadelphia-based Extreme Championship Wrestling (ECW) promotion, winning the ECW World Television Championship from Pitbull #2 in June 1996 at Hardcore Heaven. While in ECW, Jericho wrestled Taz, Sabu, Rob Van Dam, Foley (as Cactus Jack), Shane Douglas, and 2 Cold Scorpio.",
"While in ECW, Jericho wrestled Taz, Sabu, Rob Van Dam, Foley (as Cactus Jack), Shane Douglas, and 2 Cold Scorpio. He made his final appearance at The Doctor Is In in August 1996. It was during this time that he drew the attention of World Championship Wrestling (WCW).",
"It was during this time that he drew the attention of World Championship Wrestling (WCW). World Championship Wrestling (1996 – 1999) Early appearances (1996–1997) Jericho debuted for WCW on August 20, 1996 by defeating Mr. JL, which aired on the August 31 episode of Saturday Night.",
"World Championship Wrestling (1996 – 1999) Early appearances (1996–1997) Jericho debuted for WCW on August 20, 1996 by defeating Mr. JL, which aired on the August 31 episode of Saturday Night. Jericho's televised debut in WCW occurred on the August 26 episode of Monday Nitro against Alex Wright in a match which ended in a no contest.",
"Jericho's televised debut in WCW occurred on the August 26 episode of Monday Nitro against Alex Wright in a match which ended in a no contest. He made his pay-per-view debut on September 15 against Chris Benoit in a losing effort at Fall Brawl.",
"He made his pay-per-view debut on September 15 against Chris Benoit in a losing effort at Fall Brawl. The following month, at Halloween Havoc, Jericho lost to nWo member Syxx due to biased officiating by nWo referee Nick Patrick.",
"The following month, at Halloween Havoc, Jericho lost to nWo member Syxx due to biased officiating by nWo referee Nick Patrick. This led to a match between Jericho and Patrick at World War 3, which stipulated that Jericho's one arm would be tied behind his back. Despite the odds stacked against him, Jericho won the match.",
"Despite the odds stacked against him, Jericho won the match. Later that night, Jericho participated in the namesake battle royal for a future WCW World Heavyweight Championship match but failed to win the match. Jericho represented WCW against nWo Japan member Masahiro Chono in a losing effort at the nWo Souled Out event.",
"Jericho represented WCW against nWo Japan member Masahiro Chono in a losing effort at the nWo Souled Out event. At SuperBrawl VII, Jericho unsuccessfully challenged Eddie Guerrero for the United States Heavyweight Championship.",
"At SuperBrawl VII, Jericho unsuccessfully challenged Eddie Guerrero for the United States Heavyweight Championship. Cruiserweight Champion (1997–1998) On June 28, 1997, Jericho defeated Syxx at the Saturday Nitro live event in Los Angeles, California to win the WCW Cruiserweight Championship for the first time, thus winning the first championship of his WCW career.",
"Cruiserweight Champion (1997–1998) On June 28, 1997, Jericho defeated Syxx at the Saturday Nitro live event in Los Angeles, California to win the WCW Cruiserweight Championship for the first time, thus winning the first championship of his WCW career. Jericho successfully defended the title against Ultimo Dragon at Bash at the Beach, before losing the title to Alex Wright on the July 28 episode of Monday Nitro.",
"Jericho successfully defended the title against Ultimo Dragon at Bash at the Beach, before losing the title to Alex Wright on the July 28 episode of Monday Nitro. Jericho unsuccessfully challenged Wright for the title at Road Wild, before defeating Wright in a rematch to win his second Cruiserweight Championship on the August 16 episode of Saturday Night.",
"Jericho unsuccessfully challenged Wright for the title at Road Wild, before defeating Wright in a rematch to win his second Cruiserweight Championship on the August 16 episode of Saturday Night. Jericho began feuding with Eddie Guerrero over the title as he successfully defended the title against Guerrero at Clash of the Champions XXXV before losing the title to Guerrero at Fall Brawl.",
"Jericho began feuding with Eddie Guerrero over the title as he successfully defended the title against Guerrero at Clash of the Champions XXXV before losing the title to Guerrero at Fall Brawl. Jericho defeated Gedo at Halloween Havoc. At World War 3, Jericho participated in the namesake battle royal but failed to win.",
"At World War 3, Jericho participated in the namesake battle royal but failed to win. On the January 15, 1998 episode of Thunder, Jericho defeated Eddie Guerrero to earn a title shot against Rey Mysterio Jr. for the Cruiserweight Championship at Souled Out. Jericho won the match by forcing Mysterio to submit to the Liontamer.",
"Jericho won the match by forcing Mysterio to submit to the Liontamer. After the match, Jericho turned heel by assaulting Mysterio's knee with a toolbox. In the storyline, Mysterio needed six months of recovery before he could return to the ring.",
"In the storyline, Mysterio needed six months of recovery before he could return to the ring. Jericho then had a short feud with Juventud Guerrera in which Guerrera repeatedly requested a shot at Jericho's Cruiserweight Championship, but Jericho constantly rebuffed him. The feud culminated in a title versus mask match at SuperBrawl VIII.",
"The feud culminated in a title versus mask match at SuperBrawl VIII. Guerrera lost the match and was forced to remove his mask.",
"Guerrera lost the match and was forced to remove his mask. Following this match, Jericho began his ongoing gimmick of collecting and wearing to the ring trophy items from his defeated opponents, such as Guerrera's mask, Prince Iaukea's Hawaiian dress, and a headband from Disco Inferno.",
"Following this match, Jericho began his ongoing gimmick of collecting and wearing to the ring trophy items from his defeated opponents, such as Guerrera's mask, Prince Iaukea's Hawaiian dress, and a headband from Disco Inferno. Jericho then began a long feud with Dean Malenko, in which Jericho repeatedly claimed he was a better wrestler than Malenko, but refused to wrestle him.",
"Jericho then began a long feud with Dean Malenko, in which Jericho repeatedly claimed he was a better wrestler than Malenko, but refused to wrestle him. Because of his mastery of technical wrestling, Malenko was known as \"The Man of 1,000 Holds\", so Jericho claimed to be \"The Man of 1,004 Holds\"; Jericho mentions in his autobiography that this line originated from an IWA interview he saw as a child, where manager Floyd Creatchman claimed that Leo Burke, the first professional wrestler to be known as \"The Man of 1,000 Holds\", was now known as \"The Man of 1,002 Holds\", to which Floyd Creatchman stated that \"he learned two more\".",
"Because of his mastery of technical wrestling, Malenko was known as \"The Man of 1,000 Holds\", so Jericho claimed to be \"The Man of 1,004 Holds\"; Jericho mentions in his autobiography that this line originated from an IWA interview he saw as a child, where manager Floyd Creatchman claimed that Leo Burke, the first professional wrestler to be known as \"The Man of 1,000 Holds\", was now known as \"The Man of 1,002 Holds\", to which Floyd Creatchman stated that \"he learned two more\". During the March 30, 1998 episode of Nitro, after defeating Marty Jannetty, Jericho pulled out a long pile of paper that listed each of the 1,004 holds he knew and recited them to the audience.",
"During the March 30, 1998 episode of Nitro, after defeating Marty Jannetty, Jericho pulled out a long pile of paper that listed each of the 1,004 holds he knew and recited them to the audience. Many of the holds were fictional, and nearly every other hold was an armbar.",
"Many of the holds were fictional, and nearly every other hold was an armbar. On the March 12, 1998 episode of Thunder, Malenko defeated a wrestler wearing Juventud Guerrera's mask who appeared to be Jericho. However, the masked wrestler was actually Lenny Lane, whom Jericho bribed to appear in the match.",
"However, the masked wrestler was actually Lenny Lane, whom Jericho bribed to appear in the match. This started a minor feud between Lane and Jericho after Jericho refused to pay Lane. At Uncensored, Jericho finally wrestled Malenko and defeated him, after which Malenko took a leave of absence from wrestling.",
"At Uncensored, Jericho finally wrestled Malenko and defeated him, after which Malenko took a leave of absence from wrestling. Jericho then proceeded to bring with him to the ring a portrait of Malenko that he insulted and demeaned.",
"Jericho then proceeded to bring with him to the ring a portrait of Malenko that he insulted and demeaned. Just prior to Slamboree, J.J. Dillon (referred to by Jericho as \"Jo Jo\") scheduled a cruiserweight Battle Royal, the winner of which would immediately have a shot at Jericho's Cruiserweight Championship.",
"Just prior to Slamboree, J.J. Dillon (referred to by Jericho as \"Jo Jo\") scheduled a cruiserweight Battle Royal, the winner of which would immediately have a shot at Jericho's Cruiserweight Championship. Jericho accepted on the grounds that whoever he faced would be too tired to win a second match.",
"Jericho accepted on the grounds that whoever he faced would be too tired to win a second match. At Slamboree, Jericho came out to introduce the competitors in an insulting fashion before the match started and then went backstage for coffee.",
"At Slamboree, Jericho came out to introduce the competitors in an insulting fashion before the match started and then went backstage for coffee. An individual who appeared to be Ciclope won the battle royal after Juventud Guerrera shook his hand and then eliminated himself. The winner was a returning Malenko in disguise.",
"The winner was a returning Malenko in disguise. Following one of the loudest crowd reactions in WCW history, Malenko proceeded to defeat Jericho for the championship. Jericho claiming he was the victim of a carefully planned conspiracy to get the belt off of him.",
"Jericho claiming he was the victim of a carefully planned conspiracy to get the belt off of him. He at first blamed the WCW locker room, then added Dillon, Ted Turner, and finally in a vignette, he walked around Washington, D.C. with the sign \"conspiracy victim\" and accused President Bill Clinton of being one of the conspirators after being rejected from a meeting.",
"He at first blamed the WCW locker room, then added Dillon, Ted Turner, and finally in a vignette, he walked around Washington, D.C. with the sign \"conspiracy victim\" and accused President Bill Clinton of being one of the conspirators after being rejected from a meeting. Eventually, Malenko vacated the title.",
"Eventually, Malenko vacated the title. Jericho ended up defeating Malenko at The Great American Bash to win the vacant title after Malenko was disqualified after hitting Jericho with a chair. The next night, Malenko was suspended for his actions.",
"The next night, Malenko was suspended for his actions. At Bash at the Beach, the recently returned Rey Mysterio Jr. (who had recovered from his knee injury) defeated Jericho in a No Disqualification match after the still-suspended Malenko interfered.",
"At Bash at the Beach, the recently returned Rey Mysterio Jr. (who had recovered from his knee injury) defeated Jericho in a No Disqualification match after the still-suspended Malenko interfered. Jericho regained the Cruiserweight Championship from Mysterio the next night after he interrupted J.J. Dillon while Dillon was giving the championship to Mysterio.",
"Jericho regained the Cruiserweight Championship from Mysterio the next night after he interrupted J.J. Dillon while Dillon was giving the championship to Mysterio. Jericho was again awarded the championship. Eventually, Jericho decisively lost the title to Juventud Guerrera in a match at Road Wild with Malenko as special referee.",
"Eventually, Jericho decisively lost the title to Juventud Guerrera in a match at Road Wild with Malenko as special referee. World Television Champion (1998–1999) On August 10, Jericho defeated Stevie Ray to win the World Television Championship (Stevie Ray substituting for the champion Booker T).",
"World Television Champion (1998–1999) On August 10, Jericho defeated Stevie Ray to win the World Television Championship (Stevie Ray substituting for the champion Booker T). Soon afterward, Jericho repeatedly called out WCW World Heavyweight Champion Goldberg in an attempt to begin a feud with him, but never actually wrestled him.",
"Soon afterward, Jericho repeatedly called out WCW World Heavyweight Champion Goldberg in an attempt to begin a feud with him, but never actually wrestled him. Jericho cites Eric Bischoff, Goldberg and Hulk Hogan's refusal to book Jericho in a pay-per-view squash match loss against Goldberg, which Jericho felt would be a big draw, as a major reason for leaving the company.",
"Jericho cites Eric Bischoff, Goldberg and Hulk Hogan's refusal to book Jericho in a pay-per-view squash match loss against Goldberg, which Jericho felt would be a big draw, as a major reason for leaving the company. On November 30, Jericho lost the World Television Championship to Konnan.",
"On November 30, Jericho lost the World Television Championship to Konnan. In early 1999, Jericho began a feud with Perry Saturn. The feud saw Jericho and Saturn instigating bizarre stipulation matches, such as at Souled Out, where Jericho defeated Saturn in a \"loser must wear a dress\" match.",
"The feud saw Jericho and Saturn instigating bizarre stipulation matches, such as at Souled Out, where Jericho defeated Saturn in a \"loser must wear a dress\" match. At SuperBrawl IX, Jericho and Saturn wrestled in a \"dress\" match which Jericho won. Saturn finally defeated Jericho at Uncensored in a Dog Collar match.",
"Saturn finally defeated Jericho at Uncensored in a Dog Collar match. Jericho alternated between WCW and a number of Japanese tours before he signed a contract with the World Wrestling Federation (WWF) on June 30.",
"Jericho alternated between WCW and a number of Japanese tours before he signed a contract with the World Wrestling Federation (WWF) on June 30. Jericho's final WCW match came during a Peoria, Illinois, house show July 21, where he and Eddie Guerrero lost to Billy Kidman and Rey Mysterio Jr. in a tag team match.",
"Jericho's final WCW match came during a Peoria, Illinois, house show July 21, where he and Eddie Guerrero lost to Billy Kidman and Rey Mysterio Jr. in a tag team match. Fifteen years after Jericho's departure from WCW, his best known entrance music within the company, \"One Crazed Anarchist\", lent its name to the second single from his band Fozzy's 2014 album, Do You Wanna Start a War.",
"Fifteen years after Jericho's departure from WCW, his best known entrance music within the company, \"One Crazed Anarchist\", lent its name to the second single from his band Fozzy's 2014 album, Do You Wanna Start a War. New Japan Pro-Wrestling (1997–1998) In January 1997, Jericho made his debut for New Japan Pro-Wrestling (NJPW), who had a working agreement with WCW, as Super Liger, the masked nemesis of Jyushin Thunder Liger.",
"New Japan Pro-Wrestling (1997–1998) In January 1997, Jericho made his debut for New Japan Pro-Wrestling (NJPW), who had a working agreement with WCW, as Super Liger, the masked nemesis of Jyushin Thunder Liger. According to Jericho, Super Liger's first match against Koji Kanemoto at Wrestling World 1997 was so poorly received that the gimmick was dropped instantly.",
"According to Jericho, Super Liger's first match against Koji Kanemoto at Wrestling World 1997 was so poorly received that the gimmick was dropped instantly. Jericho botched several moves in the match and complained he had difficulty seeing through the mask. The following six months, Jericho worked for New Japan unmasked, before being called back by WCW.",
"The following six months, Jericho worked for New Japan unmasked, before being called back by WCW. On September 23, 1998, Jericho made a one-night-only return to NJPW at that years Big Wednesday show, teaming with Black Tiger against IWGP Junior Heavyweight Tag Team Champions Shinjiro Otani and Tatsuhito Takaiwa in a title match, which Jericho and Tiger lost.",
"On September 23, 1998, Jericho made a one-night-only return to NJPW at that years Big Wednesday show, teaming with Black Tiger against IWGP Junior Heavyweight Tag Team Champions Shinjiro Otani and Tatsuhito Takaiwa in a title match, which Jericho and Tiger lost. World Wrestling Federation/Entertainment (1999 – 2005) WWF Intercontinental Champion (1999–2001) In the weeks before Jericho's debut, a clock labeled \"countdown to the new millennium\" appeared on WWF programming.",
"World Wrestling Federation/Entertainment (1999 – 2005) WWF Intercontinental Champion (1999–2001) In the weeks before Jericho's debut, a clock labeled \"countdown to the new millennium\" appeared on WWF programming. On the home video, Break Down the Walls, Jericho states he was inspired to do this as his entrance when he saw a similar clock in a post office and Vince McMahon approved its use as his introduction to the WWF.",
"On the home video, Break Down the Walls, Jericho states he was inspired to do this as his entrance when he saw a similar clock in a post office and Vince McMahon approved its use as his introduction to the WWF. The clock finally ran out on the August 9 episode of Raw Is War in Chicago, Illinois while The Rock was in the ring cutting a promo on the Big Show.",
"The clock finally ran out on the August 9 episode of Raw Is War in Chicago, Illinois while The Rock was in the ring cutting a promo on the Big Show. Jericho entered the arena and proclaimed \"Raw Is Jericho\" and that he had \"come to save the World Wrestling Federation\", referring to himself as \"Y2J\" (a play on the Y2K bug).",
"Jericho entered the arena and proclaimed \"Raw Is Jericho\" and that he had \"come to save the World Wrestling Federation\", referring to himself as \"Y2J\" (a play on the Y2K bug). The Rock proceeded to verbally mock him for his interruption.",
"The Rock proceeded to verbally mock him for his interruption. Later that month, he would interact with several superstars including in particular interrupting a promo that The Undertaker was involved in, Jericho made his in-ring debut as a heel on August 26, losing a match against Road Dogg by disqualification on the inaugural episode of SmackDown!",
"Later that month, he would interact with several superstars including in particular interrupting a promo that The Undertaker was involved in, Jericho made his in-ring debut as a heel on August 26, losing a match against Road Dogg by disqualification on the inaugural episode of SmackDown! after he performed a powerbomb on Road Dogg through a table.",
"after he performed a powerbomb on Road Dogg through a table. Jericho's first long-term feud was with Chyna, for the WWF Intercontinental Championship. After losing to Chyna at Survivor Series, Jericho defeated her to win his first WWF Intercontinental Championship at Armageddon.",
"After losing to Chyna at Survivor Series, Jericho defeated her to win his first WWF Intercontinental Championship at Armageddon. This feud included a controversial decision during a rematch in which two separate referees declared each one of them the winner of a match for the title. As a result, they became co-champions, during which Jericho turned face.",
"As a result, they became co-champions, during which Jericho turned face. He attained sole champion status at the Royal Rumble. Jericho lost the WWF Intercontinental title to then-European Champion Kurt Angle at No Way Out.",
"Jericho lost the WWF Intercontinental title to then-European Champion Kurt Angle at No Way Out. Jericho competed in a Triple Threat match against Chris Benoit and Angle at WrestleMania 2000 in a two-falls contest with both of Angle's titles at stake.",
"Jericho competed in a Triple Threat match against Chris Benoit and Angle at WrestleMania 2000 in a two-falls contest with both of Angle's titles at stake. Jericho won the European Championship by pinning Benoit, who in turn pinned Jericho to win the WWF Intercontinental Championship. This was the first of six pay-per-view matches between the pair within twelve months.",
"This was the first of six pay-per-view matches between the pair within twelve months. Jericho was originally supposed to be in the main event of WrestleMania, but was taken out after Mick Foley, who was originally asked by writers to be in the match, took his place.",
"Jericho was originally supposed to be in the main event of WrestleMania, but was taken out after Mick Foley, who was originally asked by writers to be in the match, took his place. Jericho was even advertised on the event's posters promoting the match.",
"Jericho was even advertised on the event's posters promoting the match. Jericho lost the title the next day to Eddie Guerrero on Raw after Chyna sided with Guerrero. On the April 17 episode of Raw, Jericho upset Triple H in a WWF Championship match.",
"On the April 17 episode of Raw, Jericho upset Triple H in a WWF Championship match. Referee Earl Hebner made a fast count when Jericho pinned Triple H, causing Jericho to win the title. Hebner later reversed the decision due to pressure from Triple H, and WWE does not recognize Jericho's reign as champion.",
"Hebner later reversed the decision due to pressure from Triple H, and WWE does not recognize Jericho's reign as champion. On April 19, Jericho defeated Eddie Guerrero at the Gary Albright Memorial Show organized by World Xtreme Wrestling (WXW).",
"On April 19, Jericho defeated Eddie Guerrero at the Gary Albright Memorial Show organized by World Xtreme Wrestling (WXW). On the May 4 episode of SmackDown!, Jericho defeated Benoit to win his third WWF Intercontinental Championship but lost the title to Benoit four days later on Raw.",
"On the May 4 episode of SmackDown!, Jericho defeated Benoit to win his third WWF Intercontinental Championship but lost the title to Benoit four days later on Raw. Jericho's feud with Triple H ended at Fully Loaded, when they competed in a Last Man Standing match.",
"Jericho's feud with Triple H ended at Fully Loaded, when they competed in a Last Man Standing match. Jericho lost the match to Triple H only by one second, despite the repeated assistance Triple H's wife, Stephanie, provided him in the match.",
"Jericho lost the match to Triple H only by one second, despite the repeated assistance Triple H's wife, Stephanie, provided him in the match. At the 2001 Royal Rumble, Jericho defeated Chris Benoit in a ladder match to win the WWF Intercontinental Championship for the fourth time.",
"At the 2001 Royal Rumble, Jericho defeated Chris Benoit in a ladder match to win the WWF Intercontinental Championship for the fourth time. At WrestleMania X-Seven, he successfully defended his title in a match against William Regal, only to lose it four days later to Triple H. At Judgment Day, Jericho and Benoit won a tag team turmoil match and earned a shot at Stone Cold Steve Austin and Triple H for their WWF Tag Team Championship on Raw the next night.",
"At WrestleMania X-Seven, he successfully defended his title in a match against William Regal, only to lose it four days later to Triple H. At Judgment Day, Jericho and Benoit won a tag team turmoil match and earned a shot at Stone Cold Steve Austin and Triple H for their WWF Tag Team Championship on Raw the next night. Benoit and Jericho won the match, in which Triple H legitimately tore his quadriceps, spending the rest of the year injured.",
"Benoit and Jericho won the match, in which Triple H legitimately tore his quadriceps, spending the rest of the year injured. Benoit and Jericho each became a WWF Tag Team Champion for the first time.",
"Benoit and Jericho each became a WWF Tag Team Champion for the first time. The team defended their title in the first fatal four-way Tables, Ladders and Chairs match, where Benoit sustained a year-long injury after missing a diving headbutt through a table.",
"The team defended their title in the first fatal four-way Tables, Ladders and Chairs match, where Benoit sustained a year-long injury after missing a diving headbutt through a table. Despite Benoit being carried out on a stretcher, he returned to the match to climb the ladder and retain the championship.",
"Despite Benoit being carried out on a stretcher, he returned to the match to climb the ladder and retain the championship. The two lost the title one month later to The Dudley Boyz on the June 21 episode of SmackDown!.",
"The two lost the title one month later to The Dudley Boyz on the June 21 episode of SmackDown!. At King of the Ring, both Benoit and Jericho competed in a triple threat match for Austin's WWF Championship, in which Booker T interfered as the catalyst for The Invasion angle.",
"At King of the Ring, both Benoit and Jericho competed in a triple threat match for Austin's WWF Championship, in which Booker T interfered as the catalyst for The Invasion angle. Despite Booker T's interference, Austin retained the title.",
"Despite Booker T's interference, Austin retained the title. Undisputed WWF Champion (2001–2002) In the following months, Jericho became a major force in The Invasion storyline in which WCW and ECW joined forces to overtake the WWF. Jericho remained on the side of the WWF despite previously competing in WCW and ECW.",
"Jericho remained on the side of the WWF despite previously competing in WCW and ECW. However, Jericho began showing jealousy toward fellow WWF member The Rock. They faced each other in a match at No Mercy for the WCW Championship after Jericho defeated Rob Van Dam in a number one contenders match on the October 11 episode of SmackDown!.",
"They faced each other in a match at No Mercy for the WCW Championship after Jericho defeated Rob Van Dam in a number one contenders match on the October 11 episode of SmackDown!. Jericho won the WCW Championship at No Mercy when he pinned The Rock after debuting a new finisher, the Breakdown, onto a steel chair, winning his first world title in the process.",
"Jericho won the WCW Championship at No Mercy when he pinned The Rock after debuting a new finisher, the Breakdown, onto a steel chair, winning his first world title in the process. One night later, the two put their differences aside and won the WWF Tag Team Championship from the Dudley Boyz.",
"One night later, the two put their differences aside and won the WWF Tag Team Championship from the Dudley Boyz. After they lost the titles to Test and Booker T on the November 1 episode of SmackDown!, they continued their feud. On the November 5 episode of Raw, The Rock defeated Jericho to regain the WCW Championship.",
"On the November 5 episode of Raw, The Rock defeated Jericho to regain the WCW Championship. Following the match, Jericho attacked The Rock with a steel chair. At Survivor Series, Jericho turned heel by almost costing Team WWF the victory after he was eliminated in their Winner Take All matchup by once again attacking The Rock.",
"At Survivor Series, Jericho turned heel by almost costing Team WWF the victory after he was eliminated in their Winner Take All matchup by once again attacking The Rock. Despite this, Team WWF won the match.",
"Despite this, Team WWF won the match. At Vengeance, Jericho defeated both The Rock for the World Championship (formerly the WCW Championship) and Stone Cold Steve Austin for his first WWF Championship on the same night to become the first wrestler to hold both championships at the same time, which made him the first-ever Undisputed WWF Champion, as well as the fourth Grand Slam winner under the original format.",
"At Vengeance, Jericho defeated both The Rock for the World Championship (formerly the WCW Championship) and Stone Cold Steve Austin for his first WWF Championship on the same night to become the first wrestler to hold both championships at the same time, which made him the first-ever Undisputed WWF Champion, as well as the fourth Grand Slam winner under the original format. He retained the title at the Royal Rumble against The Rock and at No Way Out against Austin.",
"He retained the title at the Royal Rumble against The Rock and at No Way Out against Austin. Jericho later lost the title to Royal Rumble winner Triple H in the main event of WrestleMania X8. Jericho was later drafted to the SmackDown! brand in the inaugural WWF draft lottery.",
"brand in the inaugural WWF draft lottery. He would then appear at Backlash, interfering in Triple H's Undisputed WWF Championship match against Hollywood Hulk Hogan. He was quickly dumped out the ring, but Triple H would go on to lose the match.",
"He was quickly dumped out the ring, but Triple H would go on to lose the match. This would lead to a Hell in a Cell match at Judgment Day in May, where Triple H would emerge victorious.",
"This would lead to a Hell in a Cell match at Judgment Day in May, where Triple H would emerge victorious. Jericho would then compete in the 2002 King of the Ring tournament, defeating Edge and The Big Valbowski to advance to the semi-finals, where he was defeated by Rob Van Dam at King of the Ring.",
"Jericho would then compete in the 2002 King of the Ring tournament, defeating Edge and The Big Valbowski to advance to the semi-finals, where he was defeated by Rob Van Dam at King of the Ring. In July, he began a feud with the debuting John Cena, losing to him at Vengeance.",
"In July, he began a feud with the debuting John Cena, losing to him at Vengeance. Teaming and feuding with Christian (2002–2004) After his feud with Cena ended, Jericho moved to the Raw brand on the July 29 episode of Raw, unwilling to work for SmackDown! General Manager Stephanie McMahon.",
"General Manager Stephanie McMahon. General Manager Stephanie McMahon. Upon his arrival to the brand, he initiated a feud with Ric Flair, leading to a match at SummerSlam, which Jericho lost.",
"Upon his arrival to the brand, he initiated a feud with Ric Flair, leading to a match at SummerSlam, which Jericho lost. On the September 16 episode of Raw, he won the WWE Intercontinental Championship for the fifth time from Rob Van Dam, before losing the title to Kane two weeks later on Raw.",
"On the September 16 episode of Raw, he won the WWE Intercontinental Championship for the fifth time from Rob Van Dam, before losing the title to Kane two weeks later on Raw. He then later formed a tag team with Christian, with whom he won the World Tag Team Championship by defeating Kane and The Hurricane on the October 14 episode of Raw.",
"He then later formed a tag team with Christian, with whom he won the World Tag Team Championship by defeating Kane and The Hurricane on the October 14 episode of Raw. Christian and Jericho lost the titles to Booker T and Goldust in a fatal four-way elimination match, involving the teams of The Dudley Boyz, and William Regal and Lance Storm at Armageddon.",
"Christian and Jericho lost the titles to Booker T and Goldust in a fatal four-way elimination match, involving the teams of The Dudley Boyz, and William Regal and Lance Storm at Armageddon. On the January 13 episode of Raw, Jericho won an over-the-top-rope challenge against Kane, Rob Van Dam, and Batista to select his entry number for the Royal Rumble match.",
"On the January 13 episode of Raw, Jericho won an over-the-top-rope challenge against Kane, Rob Van Dam, and Batista to select his entry number for the Royal Rumble match. He chose number two in order to start the match with Shawn Michaels, who had challenged him to prove Jericho's claims that he was better than Michaels.",
"He chose number two in order to start the match with Shawn Michaels, who had challenged him to prove Jericho's claims that he was better than Michaels. After Michaels's entrance, Jericho entered as the second participant. Christian, in Jericho's attire, appeared while the real Jericho attacked Shawn from behind.",
"Christian, in Jericho's attire, appeared while the real Jericho attacked Shawn from behind. He eliminated Michaels shortly afterward, but Michaels got his revenge later in the match by causing Test to eliminate Jericho. Jericho spent the most time of any other wrestler in that same Royal Rumble.",
"Jericho spent the most time of any other wrestler in that same Royal Rumble. Jericho simultaneously feuded with Test, Michaels, and Jeff Hardy, defeating Hardy at No Way Out. Jericho and Michaels fought again at WrestleMania XIX, which Michaels won. Jericho, however, attacked Michaels with a low blow after the match following an embrace.",
"Jericho, however, attacked Michaels with a low blow after the match following an embrace. After this match, Jericho entered a rivalry with Goldberg, which was fueled by Goldberg's refusal to fight Jericho in WCW.",
"After this match, Jericho entered a rivalry with Goldberg, which was fueled by Goldberg's refusal to fight Jericho in WCW. During Jericho's first episode of the Highlight Reel, an interview segment, where Goldberg was the guest, he complained that no-one wanted Goldberg in WWE and continued to insult him in the following weeks.",
"During Jericho's first episode of the Highlight Reel, an interview segment, where Goldberg was the guest, he complained that no-one wanted Goldberg in WWE and continued to insult him in the following weeks. On the May 12 episode of Raw, a mystery assailant attempted to run over Goldberg with a limousine.",
"On the May 12 episode of Raw, a mystery assailant attempted to run over Goldberg with a limousine. A week later, Co-Raw General Manager, Stone Cold Steve Austin, interrogated several Raw superstars to find out who was driving the car. One of the interrogates was Lance Storm, who admitted that he was the assailant.",
"One of the interrogates was Lance Storm, who admitted that he was the assailant. Austin forced Storm into a match with Goldberg, who defeated Storm. After the match, Goldberg forced Storm to admit that Jericho was the superstar who conspired Storm into running him over.",
"After the match, Goldberg forced Storm to admit that Jericho was the superstar who conspired Storm into running him over. On the May 26 episode of Raw, Goldberg was once again a guest on the Highlight Reel.",
"On the May 26 episode of Raw, Goldberg was once again a guest on the Highlight Reel. Jericho expressed jealousy towards Goldberg's success in WCW and felt that since joining WWE, he had achieved everything he had ever wanted in his career and all that was left was to defeat Goldberg and challenged him to a match.",
"Jericho expressed jealousy towards Goldberg's success in WCW and felt that since joining WWE, he had achieved everything he had ever wanted in his career and all that was left was to defeat Goldberg and challenged him to a match. At Bad Blood, Goldberg settled the score with Jericho and defeated him.",
"At Bad Blood, Goldberg settled the score with Jericho and defeated him. On the October 27 episode of Raw, Jericho won his sixth WWE Intercontinental Championship when he defeated Rob Van Dam. He lost the title back to Van Dam immediately after in a steel cage match.",
"He lost the title back to Van Dam immediately after in a steel cage match. Later in 2003, Jericho started a romance with Trish Stratus while his tag team partner Christian began one with Lita.",
"Later in 2003, Jericho started a romance with Trish Stratus while his tag team partner Christian began one with Lita. This, however, turned out to be a bet over who could sleep with their respective paramour first, with a Canadian dollar at stake.",
"This, however, turned out to be a bet over who could sleep with their respective paramour first, with a Canadian dollar at stake. Stratus overheard this and ended her relationship with Jericho, who seemingly felt bad for using Stratus.",
"Stratus overheard this and ended her relationship with Jericho, who seemingly felt bad for using Stratus. After he saved her from an attack by Kane, Stratus agreed that the two of them could just be \"friends\", thus turning Jericho face.",
"After he saved her from an attack by Kane, Stratus agreed that the two of them could just be \"friends\", thus turning Jericho face. After Christian put Stratus in the Walls of Jericho while competing against her in a match, Jericho sought revenge on Christian, which led to a match at WrestleMania XX.",
"After Christian put Stratus in the Walls of Jericho while competing against her in a match, Jericho sought revenge on Christian, which led to a match at WrestleMania XX. Christian defeated Jericho after Stratus ran down and \"inadvertently\" struck Jericho (thinking it was Christian) and Christian got the roll-up.",
"Christian defeated Jericho after Stratus ran down and \"inadvertently\" struck Jericho (thinking it was Christian) and Christian got the roll-up. After the match, Stratus turned on Jericho and revealed that she and Christian were a couple. This revelation led to a handicap match at Backlash that Jericho won.",
"This revelation led to a handicap match at Backlash that Jericho won. Jericho won his record-breaking seventh WWE Intercontinental Championship at Unforgiven in a ladder match against Christian, breaking the previous record held by Jeff Jarrett from 1999. Jericho's seventh reign was short lived, as he lost it at Taboo Tuesday to Shelton Benjamin.",
"Jericho's seventh reign was short lived, as he lost it at Taboo Tuesday to Shelton Benjamin. World championship pursuits (2004–2005) Jericho teamed up with Randy Orton, Chris Benoit, and Maven to take on Triple H, Batista, Edge, and Gene Snitsky at Survivor Series.",
"World championship pursuits (2004–2005) Jericho teamed up with Randy Orton, Chris Benoit, and Maven to take on Triple H, Batista, Edge, and Gene Snitsky at Survivor Series. The match stipulated that each member of the winning team would be the general manager of Raw over the next four weeks.",
"The match stipulated that each member of the winning team would be the general manager of Raw over the next four weeks. Jericho's team won, and took turns as general manager.",
"Jericho's team won, and took turns as general manager. During Jericho's turn as general manager, the World Heavyweight Championship was vacated because a Triple Threat match for the title a week earlier ended in a draw.",
"During Jericho's turn as general manager, the World Heavyweight Championship was vacated because a Triple Threat match for the title a week earlier ended in a draw. At New Year's Revolution, Jericho competed in the Elimination Chamber against Triple H, Chris Benoit, Batista, Randy Orton, and Edge for the vacant World Heavyweight Championship.",
"At New Year's Revolution, Jericho competed in the Elimination Chamber against Triple H, Chris Benoit, Batista, Randy Orton, and Edge for the vacant World Heavyweight Championship. Jericho began the match with Benoit and eliminated Edge, but was eliminated by Batista. Triple H went on to win.",
"Triple H went on to win. At WrestleMania 21, Jericho participated in the first ever Money in the Bank ladder match. Jericho suggested the match concept, and he competed in the match against Benjamin, Benoit, Kane, Christian, and Edge. Jericho lost the match when Edge claimed the briefcase.",
"Jericho lost the match when Edge claimed the briefcase. At Backlash, Jericho challenged Shelton Benjamin for the WWE Intercontinental Championship, but lost the match. Jericho lost to Lance Storm at ECW One Night Stand. Jericho used his old \"Lionheart\" gimmick, instead of his more well known \"Y2J\" gimmick.",
"Jericho used his old \"Lionheart\" gimmick, instead of his more well known \"Y2J\" gimmick. Jericho lost the match after Jason and Justin Credible hit Jericho with a Singapore cane, which allowed Storm to win the match.",
"Jericho lost the match after Jason and Justin Credible hit Jericho with a Singapore cane, which allowed Storm to win the match. The next night on Raw, Jericho turned heel by betraying WWE Champion John Cena after defeating Christian and Tyson Tomko in a tag team match.",
"The next night on Raw, Jericho turned heel by betraying WWE Champion John Cena after defeating Christian and Tyson Tomko in a tag team match. Jericho lost a Triple Threat match for the WWE Championship at Vengeance which also involved Christian and Cena.",
"Jericho lost a Triple Threat match for the WWE Championship at Vengeance which also involved Christian and Cena. The feud continued throughout the summer and Jericho lost to Cena in a WWE Championship match at SummerSlam.",
"The feud continued throughout the summer and Jericho lost to Cena in a WWE Championship match at SummerSlam. The next night on the August 22 episode of Raw, Jericho faced Cena for the WWE Championship again in a rematch, this time in a \"You're fired\" match.",
"The next night on the August 22 episode of Raw, Jericho faced Cena for the WWE Championship again in a rematch, this time in a \"You're fired\" match. Cena won again, and Jericho was fired by Raw General Manager Eric Bischoff. Jericho was carried out of the arena by security as Kurt Angle attacked Cena.",
"Jericho was carried out of the arena by security as Kurt Angle attacked Cena. Jericho's WWE contract expired on August 25.",
"Jericho's WWE contract expired on August 25. Return to WWE (2007–2010) Feud with Shawn Michaels (2007–2008) After a two-year hiatus, WWE promoted Jericho's return starting on the September 24, 2007 episode of Raw with a viral marketing campaign using a series of 15-second cryptic binary code videos, similar to the matrix digital rain used in The Matrix series.",
"Return to WWE (2007–2010) Feud with Shawn Michaels (2007–2008) After a two-year hiatus, WWE promoted Jericho's return starting on the September 24, 2007 episode of Raw with a viral marketing campaign using a series of 15-second cryptic binary code videos, similar to the matrix digital rain used in The Matrix series. The videos contained hidden messages and biblical links related to Jericho.",
"The videos contained hidden messages and biblical links related to Jericho. Jericho made his return to WWE television as a face on the November 19, 2007 episode of Raw when he interrupted Randy Orton during Orton's orchestrated \"passing of the torch\" ceremony.",
"Jericho made his return to WWE television as a face on the November 19, 2007 episode of Raw when he interrupted Randy Orton during Orton's orchestrated \"passing of the torch\" ceremony. Jericho revealed his intentions to reclaim the WWE Championship in order to \"save\" WWE fans from Orton.",
"Jericho revealed his intentions to reclaim the WWE Championship in order to \"save\" WWE fans from Orton. On the November 26 episode of Raw, Jericho defeated Santino Marella and debuted a new finishing move called the Codebreaker.",
"On the November 26 episode of Raw, Jericho defeated Santino Marella and debuted a new finishing move called the Codebreaker. At Armageddon, he competed in a WWE title match against Orton, defeating him by disqualification when SmackDown!s color commentator John \"Bradshaw\" Layfield (JBL) interfered in the match, but Orton retained the title.",
"At Armageddon, he competed in a WWE title match against Orton, defeating him by disqualification when SmackDown!s color commentator John \"Bradshaw\" Layfield (JBL) interfered in the match, but Orton retained the title. He began a feud with JBL and met him at the Royal Rumble.",
"He began a feud with JBL and met him at the Royal Rumble. Jericho was disqualified after hitting JBL with a steel chair. On the March 10 episode of Raw, Jericho captured the WWE Intercontinental Championship for a record eighth time when he defeated Jeff Hardy.",
"On the March 10 episode of Raw, Jericho captured the WWE Intercontinental Championship for a record eighth time when he defeated Jeff Hardy. In April 2008, Jericho became involved in the ongoing feud between Shawn Michaels and Batista when he suggested that Michaels enjoyed retiring Ric Flair, causing Shawn Michaels to attack him.",
"In April 2008, Jericho became involved in the ongoing feud between Shawn Michaels and Batista when he suggested that Michaels enjoyed retiring Ric Flair, causing Shawn Michaels to attack him. Jericho thus asked to be inserted into the match between Batista and Michaels at Backlash, but instead, he was appointed as the special guest referee.",
"Jericho thus asked to be inserted into the match between Batista and Michaels at Backlash, but instead, he was appointed as the special guest referee. During the match at Backlash, Michaels feigned a knee injury so that Jericho would give him time to recover and lured Batista in for Sweet Chin Music for the win.",
"During the match at Backlash, Michaels feigned a knee injury so that Jericho would give him time to recover and lured Batista in for Sweet Chin Music for the win. After Backlash, Jericho accused Michaels of cheating, but Michaels continued to play up an injury.",
"After Backlash, Jericho accused Michaels of cheating, but Michaels continued to play up an injury. When Jericho was finally convinced and he apologized to Michaels for not believing him, Michaels then admitted to Jericho that he had faked his injury and he attacked Jericho with Sweet Chin Music.",
"When Jericho was finally convinced and he apologized to Michaels for not believing him, Michaels then admitted to Jericho that he had faked his injury and he attacked Jericho with Sweet Chin Music. After losing to Michaels at Judgment Day, Jericho initiated a handshake after the match.",
"After losing to Michaels at Judgment Day, Jericho initiated a handshake after the match. On the June 9 episode of Raw, Jericho hosted his talk show segment, The Highlight Reel, interviewing Michaels.",
"On the June 9 episode of Raw, Jericho hosted his talk show segment, The Highlight Reel, interviewing Michaels. Jericho pointed out that Michaels was still cheered by the fans despite Michaels's deceit and attack on Jericho during the previous months, whereas Jericho was booed when he tried to do the right thing.",
"Jericho pointed out that Michaels was still cheered by the fans despite Michaels's deceit and attack on Jericho during the previous months, whereas Jericho was booed when he tried to do the right thing. Jericho then assaulted Michaels with a low blow and sent Michaels through the \"Jeritron 6000\" television, damaging the eye of Michaels, and turning heel in the process.",
"Jericho then assaulted Michaels with a low blow and sent Michaels through the \"Jeritron 6000\" television, damaging the eye of Michaels, and turning heel in the process. This began what was named by both Pro Wrestling Illustrated and the Wrestling Observer Newsletter the \"Feud of the Year\".",
"This began what was named by both Pro Wrestling Illustrated and the Wrestling Observer Newsletter the \"Feud of the Year\". At Night of Champions, Jericho lost the WWE Intercontinental title to Kofi Kingston after a distraction by Michaels. In June, Jericho took on Lance Cade as a protégé.",
"In June, Jericho took on Lance Cade as a protégé. World Heavyweight Champion (2008–2009) Afterward, Jericho developed a suit-wearing persona inspired by Javier Bardem's character Anton Chigurh from the 2007 film No Country for Old Men and wrestler Nick Bockwinkel.",
"World Heavyweight Champion (2008–2009) Afterward, Jericho developed a suit-wearing persona inspired by Javier Bardem's character Anton Chigurh from the 2007 film No Country for Old Men and wrestler Nick Bockwinkel. Jericho and Michaels met at The Great American Bash, which Jericho won after attacking the cut on Michaels's eye.",
"Jericho and Michaels met at The Great American Bash, which Jericho won after attacking the cut on Michaels's eye. At SummerSlam, Michaels said that his eye damage would force him to retire and insulted Jericho by saying he would never achieve Michaels's success.",
"At SummerSlam, Michaels said that his eye damage would force him to retire and insulted Jericho by saying he would never achieve Michaels's success. Jericho tried to attack Michaels, but Michaels ducked, so Jericho punched Michaels's wife, Rebecca, instead.",
"Jericho tried to attack Michaels, but Michaels ducked, so Jericho punched Michaels's wife, Rebecca, instead. As a result, they fought in an unsanctioned match at Unforgiven, which Jericho lost by referee stoppage.",
"As a result, they fought in an unsanctioned match at Unforgiven, which Jericho lost by referee stoppage. Later that night, Jericho entered the Championship Scramble match as a late replacement for the defending champion CM Punk and subsequently won the World Heavyweight Championship, defeating Batista, John \"Bradshaw\" Layfield (JBL), Kane, and Rey Mysterio.",
"Later that night, Jericho entered the Championship Scramble match as a late replacement for the defending champion CM Punk and subsequently won the World Heavyweight Championship, defeating Batista, John \"Bradshaw\" Layfield (JBL), Kane, and Rey Mysterio. It was announced that Michaels would challenge Jericho for the championship in a ladder match at No Mercy, which Jericho won.",
"It was announced that Michaels would challenge Jericho for the championship in a ladder match at No Mercy, which Jericho won. At Cyber Sunday on October 26, Jericho lost the title to Batista, but later won it back eight days later on the 800th episode of Raw in a steel cage match.",
"At Cyber Sunday on October 26, Jericho lost the title to Batista, but later won it back eight days later on the 800th episode of Raw in a steel cage match. Jericho defeated Michaels in a Last Man Standing match on the November 10 episode of Raw after interference from JBL.",
"Jericho defeated Michaels in a Last Man Standing match on the November 10 episode of Raw after interference from JBL. Jericho lost the World Heavyweight Championship at Survivor Series to the returning John Cena. On the December 8 episode of Raw, Jericho was awarded the Slammy Award for 2008 Superstar of the Year award.",
"On the December 8 episode of Raw, Jericho was awarded the Slammy Award for 2008 Superstar of the Year award. Six days later, he lost his rematch with John Cena for the World Heavyweight Championship at Armageddon.",
"Six days later, he lost his rematch with John Cena for the World Heavyweight Championship at Armageddon. At the Royal Rumble on January 25, 2009, Jericho participated in the Royal Rumble match, but he was eliminated by the Undertaker.",
"At the Royal Rumble on January 25, 2009, Jericho participated in the Royal Rumble match, but he was eliminated by the Undertaker. On February 15 at No Way Out, he competed in an Elimination Chamber match for the World Heavyweight Championship, but he failed to win as he was eliminated by Rey Mysterio.",
"On February 15 at No Way Out, he competed in an Elimination Chamber match for the World Heavyweight Championship, but he failed to win as he was eliminated by Rey Mysterio. Following this, Jericho began a rivalry with veteran wrestlers Ric Flair, Ricky Steamboat, Jimmy Snuka and Roddy Piper, as well as actor Mickey Rourke.",
"Following this, Jericho began a rivalry with veteran wrestlers Ric Flair, Ricky Steamboat, Jimmy Snuka and Roddy Piper, as well as actor Mickey Rourke. Jericho was originally arranged to face Rourke at WrestleMania 25, but Rourke later pulled out of the event.",
"Jericho was originally arranged to face Rourke at WrestleMania 25, but Rourke later pulled out of the event. Instead, Jericho defeated Piper, Snuka and Steamboat in a 3-on-1 elimination handicap match at WrestleMania, but was knocked out by Rourke after the match.",
"Instead, Jericho defeated Piper, Snuka and Steamboat in a 3-on-1 elimination handicap match at WrestleMania, but was knocked out by Rourke after the match. On the April 13 episode of Raw, Jericho was drafted to the SmackDown brand as part of the 2009 WWE draft.",
"On the April 13 episode of Raw, Jericho was drafted to the SmackDown brand as part of the 2009 WWE draft. Jericho then faced Steamboat in a singles match at Backlash, where Jericho was victorious. In May, Jericho started a feud with Intercontinental Champion Rey Mysterio, leading to a match at Judgment Day, which Jericho lost.",
"In May, Jericho started a feud with Intercontinental Champion Rey Mysterio, leading to a match at Judgment Day, which Jericho lost. However, Jericho defeated Mysterio in a No Holds Barred Match at Extreme Rules to win his ninth Intercontinental Championship, breaking his own record again.",
"However, Jericho defeated Mysterio in a No Holds Barred Match at Extreme Rules to win his ninth Intercontinental Championship, breaking his own record again. At The Bash, Jericho lost the Intercontinental Championship back to Mysterio in a mask vs. title match.",
"At The Bash, Jericho lost the Intercontinental Championship back to Mysterio in a mask vs. title match. Jeri-Show and feud with Edge (2009–2010) Later in the event, Jericho and his partner Edge won the Unified WWE Tag Team Championship as surprise entrants in a triple threat tag team match.",
"Jeri-Show and feud with Edge (2009–2010) Later in the event, Jericho and his partner Edge won the Unified WWE Tag Team Championship as surprise entrants in a triple threat tag team match. As a result of this win, Jericho became the first wrestler to win every (original) Grand Slam eligible championship.",
"As a result of this win, Jericho became the first wrestler to win every (original) Grand Slam eligible championship. Shortly thereafter Edge suffered an injury and Jericho revealed a clause in his contract to allow Edge to be replaced and Jericho's reign to continue uninterrupted.",
"Shortly thereafter Edge suffered an injury and Jericho revealed a clause in his contract to allow Edge to be replaced and Jericho's reign to continue uninterrupted. At Night of Champions, Jericho revealed Big Show as his new tag team partner, creating a team that would come to called Jeri-Show.",
"At Night of Champions, Jericho revealed Big Show as his new tag team partner, creating a team that would come to called Jeri-Show. The duo defeated Cody Rhodes and Ted DiBiase to retain the championship.",
"The duo defeated Cody Rhodes and Ted DiBiase to retain the championship. Jeri-Show successfully defended the title against Cryme Tyme at SummerSlam, MVP and Mark Henry at Breaking Point and Rey Mysterio and Batista at Hell in a Cell.",
"Jeri-Show successfully defended the title against Cryme Tyme at SummerSlam, MVP and Mark Henry at Breaking Point and Rey Mysterio and Batista at Hell in a Cell. At Survivor Series, both Jericho and Big Show took part in a triple threat match for the World Heavyweight Championship, but the Undertaker successfully retained the title.",
"At Survivor Series, both Jericho and Big Show took part in a triple threat match for the World Heavyweight Championship, but the Undertaker successfully retained the title. At TLC: Tables, Ladders & Chairs, Jeri-Show lost the tag titles to D-Generation X (D-X) (Shawn Michaels and Triple H) in a Tables, Ladders and Chairs match.",
"At TLC: Tables, Ladders & Chairs, Jeri-Show lost the tag titles to D-Generation X (D-X) (Shawn Michaels and Triple H) in a Tables, Ladders and Chairs match. As a member of the SmackDown brand, Jericho could only appear on Raw as a champion and D-X intentionally disqualified themselves in a rematch to force Jericho off the show.",
"As a member of the SmackDown brand, Jericho could only appear on Raw as a champion and D-X intentionally disqualified themselves in a rematch to force Jericho off the show. On the January 4, 2010 of Raw, D-X defeated Jeri-Show to retain the championship once again, marking the end of Jeri-Show.",
"On the January 4, 2010 of Raw, D-X defeated Jeri-Show to retain the championship once again, marking the end of Jeri-Show. Jericho entered the 2010 Royal Rumble match on January 31, but was eliminated by the returning Edge, his former tag team partner, who went on to win the match.",
"Jericho entered the 2010 Royal Rumble match on January 31, but was eliminated by the returning Edge, his former tag team partner, who went on to win the match. At Elimination Chamber, Jericho won the World Heavyweight Championship in an Elimination Chamber match, defeating The Undertaker, John Morrison, Rey Mysterio, CM Punk and R-Truth following interference from Shawn Michaels.",
"At Elimination Chamber, Jericho won the World Heavyweight Championship in an Elimination Chamber match, defeating The Undertaker, John Morrison, Rey Mysterio, CM Punk and R-Truth following interference from Shawn Michaels. The next night on Raw, Edge used his Royal Rumble win to challenge Jericho for the World Heavyweight Championship at WrestleMania XXVI.",
"The next night on Raw, Edge used his Royal Rumble win to challenge Jericho for the World Heavyweight Championship at WrestleMania XXVI. Jericho defeated Edge at WrestleMania to retain the title, but lost the championship to Jack Swagger on the following episode of SmackDown, who cashed in his Money in the Bank contract.",
"Jericho defeated Edge at WrestleMania to retain the title, but lost the championship to Jack Swagger on the following episode of SmackDown, who cashed in his Money in the Bank contract. Jericho then failed to regain the title from Swagger in a triple-threat match also involving Edge on the April 16 episode of SmackDown.",
"Jericho then failed to regain the title from Swagger in a triple-threat match also involving Edge on the April 16 episode of SmackDown. Jericho and Edge continued their feud leading into Extreme Rules, where Jericho was defeated in a steel cage match. Jericho was drafted to the Raw brand in the 2010 WWE draft.",
"Jericho was drafted to the Raw brand in the 2010 WWE draft. He formed a brief tag team with The Miz and unsuccessfully challenged The Hart Dynasty for the Unified WWE Tag Team Championship at Over the Limit.",
"He formed a brief tag team with The Miz and unsuccessfully challenged The Hart Dynasty for the Unified WWE Tag Team Championship at Over the Limit. A month later, Jericho lost to Evan Bourne at Fatal 4-Way, but won a rematch during the following night on Raw, where he put his career on the line.",
"A month later, Jericho lost to Evan Bourne at Fatal 4-Way, but won a rematch during the following night on Raw, where he put his career on the line. On the July 19 episode of Raw, after being assaulted by The Nexus, Jericho teamed with rivals Edge, John Morrison, R-Truth, Daniel Bryan and Bret Hart in a team led by John Cena to face The Nexus at SummerSlam.",
"On the July 19 episode of Raw, after being assaulted by The Nexus, Jericho teamed with rivals Edge, John Morrison, R-Truth, Daniel Bryan and Bret Hart in a team led by John Cena to face The Nexus at SummerSlam. Jericho and Cena bickered over leadership of the team, which led to him and Edge attacking Cena during the SummerSlam match that they won.",
"Jericho and Cena bickered over leadership of the team, which led to him and Edge attacking Cena during the SummerSlam match that they won. Jericho was punished for not showing solidarity against Nexus, when he was removed from a Six-Pack Challenge for Sheamus's WWE Championship at Night of Champions.",
"Jericho was punished for not showing solidarity against Nexus, when he was removed from a Six-Pack Challenge for Sheamus's WWE Championship at Night of Champions. Although he re-earned his place in the match after defeating The Hart Dynasty in a handicap steel cage match, he was the first man eliminated from the match at Night of Champions.",
"Although he re-earned his place in the match after defeating The Hart Dynasty in a handicap steel cage match, he was the first man eliminated from the match at Night of Champions. On the September 27 episode of Raw, Jericho faced Randy Orton who punted him in the head.",
"On the September 27 episode of Raw, Jericho faced Randy Orton who punted him in the head. This was used to explain Jericho's departure from the company.",
"This was used to explain Jericho's departure from the company. Second return to WWE (2011–2018) Feud with CM Punk (2011–2012) Beginning in November 2011, WWE aired cryptic vignettes that promoted a wrestler's return on the January 2, 2012 episode of Raw.",
"Second return to WWE (2011–2018) Feud with CM Punk (2011–2012) Beginning in November 2011, WWE aired cryptic vignettes that promoted a wrestler's return on the January 2, 2012 episode of Raw. On his return, after hyping the crowd and relishing their cheers for a prolonged period, Jericho left without verbally addressing his return.",
"On his return, after hyping the crowd and relishing their cheers for a prolonged period, Jericho left without verbally addressing his return. After exhibiting similar odd behavior in the proceeding two weeks, Jericho spoke on the January 23 episode of Raw to say, \"This Sunday at the Royal Rumble, it is going to be the end of the world as you know it\", but in the Royal Rumble match, he was eliminated last, by Sheamus.",
"After exhibiting similar odd behavior in the proceeding two weeks, Jericho spoke on the January 23 episode of Raw to say, \"This Sunday at the Royal Rumble, it is going to be the end of the world as you know it\", but in the Royal Rumble match, he was eliminated last, by Sheamus. On the January 30 episode of Raw, Jericho began a feud with WWE Champion CM Punk after attacking him during his match with Daniel Bryan.",
"On the January 30 episode of Raw, Jericho began a feud with WWE Champion CM Punk after attacking him during his match with Daniel Bryan. He explained his actions by claiming other wrestlers in WWE were imitating him and named Punk as the worst offender.",
"He explained his actions by claiming other wrestlers in WWE were imitating him and named Punk as the worst offender. At Elimination Chamber, Jericho participated in the Elimination Chamber match for the WWE Championship, entering last and eliminating Dolph Ziggler and Kofi Kingston before being knocked out of the structure by Punk, which injured him and removed him from the match without being eliminated.",
"At Elimination Chamber, Jericho participated in the Elimination Chamber match for the WWE Championship, entering last and eliminating Dolph Ziggler and Kofi Kingston before being knocked out of the structure by Punk, which injured him and removed him from the match without being eliminated. The following night on Raw, Jericho won a ten-man battle royal to become the number one contender for Punk's WWE Championship at WrestleMania XXVIII.",
"The following night on Raw, Jericho won a ten-man battle royal to become the number one contender for Punk's WWE Championship at WrestleMania XXVIII. In a bid to psychologically unsettle Punk, Jericho revealed that Punk's father was an alcoholic and Punk's sister was a drug addict, which contradicted Punk's straight edge philosophy; Jericho vowed to make Punk turn to alcohol by winning Punk's title from him.",
"In a bid to psychologically unsettle Punk, Jericho revealed that Punk's father was an alcoholic and Punk's sister was a drug addict, which contradicted Punk's straight edge philosophy; Jericho vowed to make Punk turn to alcohol by winning Punk's title from him. At WrestleMania, a stipulation was added that Punk would lose his WWE Championship if he was disqualified.",
"At WrestleMania, a stipulation was added that Punk would lose his WWE Championship if he was disqualified. During the match, Jericho unsuccessfully tried to taunt Punk into disqualifying himself, and Punk won the match. Jericho continued his feud with Punk in the weeks that followed by attacking and dousing him with alcohol after his matches.",
"Jericho continued his feud with Punk in the weeks that followed by attacking and dousing him with alcohol after his matches. At Extreme Rules, Jericho failed again to capture the WWE Championship from Punk in a Chicago Street Fight.",
"At Extreme Rules, Jericho failed again to capture the WWE Championship from Punk in a Chicago Street Fight. Championship pursuits (2012–2013) Jericho faced Randy Orton, Alberto Del Rio and Sheamus in a fatal four-way match for the World Heavyweight Championship at Over the Limit, where Sheamus retained his title.",
"Championship pursuits (2012–2013) Jericho faced Randy Orton, Alberto Del Rio and Sheamus in a fatal four-way match for the World Heavyweight Championship at Over the Limit, where Sheamus retained his title. On May 24 at a WWE live event in Brazil, Jericho wrestled a match against CM Punk, during which Jericho kicked a Brazilian flag, causing local police to intervene and threaten Jericho with arrest.",
"On May 24 at a WWE live event in Brazil, Jericho wrestled a match against CM Punk, during which Jericho kicked a Brazilian flag, causing local police to intervene and threaten Jericho with arrest. Jericho issued an apology to the audience, enabling the event to resume.",
"Jericho issued an apology to the audience, enabling the event to resume. The following day, WWE suspended Jericho for 30 days while apologizing to the people and government of Brazil.",
"The following day, WWE suspended Jericho for 30 days while apologizing to the people and government of Brazil. Jericho returned on the June 25 episode of Raw, and his absence was explained by a European tour with his band Fozzy which happened to coincide with his suspension.",
"Jericho returned on the June 25 episode of Raw, and his absence was explained by a European tour with his band Fozzy which happened to coincide with his suspension. At Money in the Bank, Jericho participated in the WWE Championship Money in the Bank ladder match, but failed to win as John Cena won.",
"At Money in the Bank, Jericho participated in the WWE Championship Money in the Bank ladder match, but failed to win as John Cena won. The following night on Raw, Jericho confronted newly crowned Mr. Money in the Bank, Dolph Ziggler, who claimed that Jericho had lost his touch.",
"The following night on Raw, Jericho confronted newly crowned Mr. Money in the Bank, Dolph Ziggler, who claimed that Jericho had lost his touch. Jericho attacked Ziggler with a Codebreaker, thus turning face in the process. At SummerSlam, Jericho defeated Ziggler.",
"At SummerSlam, Jericho defeated Ziggler. The following night on Raw, Ziggler defeated Jericho in a rematch and, as a result, Ziggler retained his Money in the Bank contract and Jericho's WWE contract was terminated as per a pre match stipulation put in place by Raw General Manager, AJ Lee.",
"The following night on Raw, Ziggler defeated Jericho in a rematch and, as a result, Ziggler retained his Money in the Bank contract and Jericho's WWE contract was terminated as per a pre match stipulation put in place by Raw General Manager, AJ Lee. This was used to write him off so he could tour with Fozzy for the remainder of the year.",
"This was used to write him off so he could tour with Fozzy for the remainder of the year. On January 27, 2013, Jericho returned after a five-month hiatus entering the Royal Rumble match as the second entrant. Jericho lasted over 47 minutes before being eliminated by Dolph Ziggler.",
"Jericho lasted over 47 minutes before being eliminated by Dolph Ziggler. The following night on Raw, Jericho later revealed to Ziggler that due to a managerial change on Raw, he had been rehired by Vickie Guerrero, resuming his feud with Ziggler.",
"The following night on Raw, Jericho later revealed to Ziggler that due to a managerial change on Raw, he had been rehired by Vickie Guerrero, resuming his feud with Ziggler. Guerrero then paired the two in a match against WWE Tag Team Champions Team Hell No (Daniel Bryan and Kane).",
"Guerrero then paired the two in a match against WWE Tag Team Champions Team Hell No (Daniel Bryan and Kane). The match ended with Ziggler being pinned by Kane after Jericho framed him for pushing Kane.",
"The match ended with Ziggler being pinned by Kane after Jericho framed him for pushing Kane. After beating Daniel Bryan on the February 11 episode of Raw, Jericho qualified for the Elimination Chamber match at Elimination Chamber (in which the winner would go on to be the number one contender for the World Heavyweight Championship at WrestleMania 29), where he was the fourth man eliminated.",
"After beating Daniel Bryan on the February 11 episode of Raw, Jericho qualified for the Elimination Chamber match at Elimination Chamber (in which the winner would go on to be the number one contender for the World Heavyweight Championship at WrestleMania 29), where he was the fourth man eliminated. On the March 11 episode of Raw, Jericho faced The Miz in a No.",
"On the March 11 episode of Raw, Jericho faced The Miz in a No. 1 contenders match for Wade Barrett's WWE Intercontinental Championship, but the match was ruled a no contest after Barrett interfered and attacked both men. Both men then faced Barrett the following week on Raw, where he retained his title.",
"Both men then faced Barrett the following week on Raw, where he retained his title. Earlier in the episode, Jericho had a run-in with Fandango which led to Fandango costing him his match with Jack Swagger and attacking him four days later on SmackDown. At WrestleMania 29, Jericho was defeated by Fandango.",
"At WrestleMania 29, Jericho was defeated by Fandango. They continued their feud in the following weeks, until Jericho defeated Fandango at Extreme Rules. He then faced the returning CM Punk at Payback, where he was defeated.",
"He then faced the returning CM Punk at Payback, where he was defeated. Jericho then began feuding with Ryback, which led to a singles match on July 14 at Money in the Bank, where Ryback emerged victorious.",
"Jericho then began feuding with Ryback, which led to a singles match on July 14 at Money in the Bank, where Ryback emerged victorious. On the July 19 episode of SmackDown, Jericho unsuccessfully challenged Curtis Axel for the WWE Intercontinental Championship and was afterwards attacked by Ryback.",
"On the July 19 episode of SmackDown, Jericho unsuccessfully challenged Curtis Axel for the WWE Intercontinental Championship and was afterwards attacked by Ryback. This was done to write Jericho off television as he was taking a temporary hiatus to tour with Fozzy for the remainder of the year and possibly January and February.",
"This was done to write Jericho off television as he was taking a temporary hiatus to tour with Fozzy for the remainder of the year and possibly January and February. In a November interview for WWE.com, Jericho revealed that he would not be a full-time wrestler due to his musical and acting ventures.",
"In a November interview for WWE.com, Jericho revealed that he would not be a full-time wrestler due to his musical and acting ventures. Various sporadic feuds (2014–2016) After an eleven-month hiatus, Jericho returned on the June 30, 2014 episode of Raw, attacking The Miz, who had also returned minutes earlier.",
"Various sporadic feuds (2014–2016) After an eleven-month hiatus, Jericho returned on the June 30, 2014 episode of Raw, attacking The Miz, who had also returned minutes earlier. The Wyatt Family then interrupted and ultimately attacked Jericho. Jericho faced Bray Wyatt at Battleground in a winning effort.",
"Jericho faced Bray Wyatt at Battleground in a winning effort. At SummerSlam, with Wyatt Family members Luke Harper and Erick Rowan banned from ringside, Wyatt picked up the victory. On the September 8 episode of Raw, Jericho lost to Wyatt in a steel cage match, ending the feud.",
"On the September 8 episode of Raw, Jericho lost to Wyatt in a steel cage match, ending the feud. Jericho then feuded with Randy Orton, who had attacked him the week before after his match against Wyatt in the trainers room. Orton defeated him at Night of Champions.",
"Orton defeated him at Night of Champions. Throughout the rest of October and November, Jericho wrestled exclusively at live events, defeating Bray Wyatt. Jericho returned to WWE television in December as the guest general manager of the December 15 episode of Raw.",
"Jericho returned to WWE television in December as the guest general manager of the December 15 episode of Raw. Jericho booked himself in a street fight against Paul Heyman in the main event, which led to the return of Brock Lesnar. Before the match could begin, Lesnar attacked Jericho with an F-5.",
"Before the match could begin, Lesnar attacked Jericho with an F-5. In January 2015, Jericho revealed that he signed an exclusive WWE contract, under which he would compete at 16 house shows only. He later signed a similar contract once the former expired and competed at house shows throughout the rest of 2015.",
"He later signed a similar contract once the former expired and competed at house shows throughout the rest of 2015. During this time he wrestled against the likes of Luke Harper, Kevin Owens and King Barrett in winning efforts. In May 2015, Jericho was one of the hosts of Tough Enoughs sixth season. Jericho also hosted two Live!",
"Jericho also hosted two Live! Jericho also hosted two Live! With Chris Jericho specials on the WWE Network during 2015; his guests were John Cena and Stephanie McMahon. Jericho made his televised return at The Beast in the East, defeating Neville.",
"Jericho made his televised return at The Beast in the East, defeating Neville. At Night of Champions, Jericho was revealed as the mystery partner of Roman Reigns and Dean Ambrose, facing The Wyatt Family in a losing effort. On October 3, Jericho unsuccessfully challenged Kevin Owens for the WWE Intercontinental Championship at Live from Madison Square Garden.",
"On October 3, Jericho unsuccessfully challenged Kevin Owens for the WWE Intercontinental Championship at Live from Madison Square Garden. The match marked 20 years since Jericho's debut with ECW while also celebrating his 25th year as a professional wrestler in total.",
"The match marked 20 years since Jericho's debut with ECW while also celebrating his 25th year as a professional wrestler in total. On the January 4, 2016 episode of Raw, Jericho returned to in-ring competition full-time and confronted The New Day.",
"On the January 4, 2016 episode of Raw, Jericho returned to in-ring competition full-time and confronted The New Day. At the 2016 Royal Rumble, Jericho entered as the sixth entrant, lasting over 50 minutes, before being eliminated by Dean Ambrose.",
"At the 2016 Royal Rumble, Jericho entered as the sixth entrant, lasting over 50 minutes, before being eliminated by Dean Ambrose. On the January 25 episode of Raw, Jericho faced the recently debuted AJ Styles in a losing effort. Following the match, after initial hesitation by Jericho, the pair shook hands.",
"Following the match, after initial hesitation by Jericho, the pair shook hands. On the February 11 episode of SmackDown, Jericho defeated Styles. At Fastlane, Styles was victorious in a third match between the pair. On the February 22 episode of Raw, Jericho and Styles formed a tag team, dubbed Y2AJ.",
"On the February 22 episode of Raw, Jericho and Styles formed a tag team, dubbed Y2AJ. Following their loss against The New Day on the March 7 episode of Raw, Jericho attacked Styles, ending their alliance, claiming that he was sick of the fans chanting for Styles instead of him, turning heel in the process.",
"Following their loss against The New Day on the March 7 episode of Raw, Jericho attacked Styles, ending their alliance, claiming that he was sick of the fans chanting for Styles instead of him, turning heel in the process. Their feud culminated at WrestleMania 32, where Jericho defeated Styles.",
"Their feud culminated at WrestleMania 32, where Jericho defeated Styles. However, on the April 4 episode of Raw, Jericho competed in a fatal-four-way match against Styles, Kevin Owens and Cesaro to determine the No. 1 contender for the WWE World Heavyweight Championship in a losing effort after being pinned by Styles, ending their feud.",
"1 contender for the WWE World Heavyweight Championship in a losing effort after being pinned by Styles, ending their feud. The following week on Raw, Dean Ambrose interrupted The Highlight Reel, handing Jericho a note from Shane McMahon replacing the show with The Ambrose Asylum, igniting a feud between the two.",
"The following week on Raw, Dean Ambrose interrupted The Highlight Reel, handing Jericho a note from Shane McMahon replacing the show with The Ambrose Asylum, igniting a feud between the two. During this time, Jericho tweaked his gimmick. He became arrogant and childish while wearing expensive scarfs and calling everyone who appeased him \"stupid idiots\".",
"He became arrogant and childish while wearing expensive scarfs and calling everyone who appeased him \"stupid idiots\". At Payback, Jericho faced Ambrose in a losing effort.",
"At Payback, Jericho faced Ambrose in a losing effort. After attacking one another and Ambrose destroying Jericho's light-up ring jacket, Jericho was challenged by Ambrose to an Asylum match at Extreme Rules, where Ambrose again defeated Jericho after Jericho was thrown in a pile of thumbtacks.",
"After attacking one another and Ambrose destroying Jericho's light-up ring jacket, Jericho was challenged by Ambrose to an Asylum match at Extreme Rules, where Ambrose again defeated Jericho after Jericho was thrown in a pile of thumbtacks. On the May 23 episode of Raw, Jericho defeated Apollo Crews to qualify for the Money in the Bank ladder match at the Money in the Bank pay-per-view, where Jericho was unsuccessful as the match was won by Ambrose.",
"On the May 23 episode of Raw, Jericho defeated Apollo Crews to qualify for the Money in the Bank ladder match at the Money in the Bank pay-per-view, where Jericho was unsuccessful as the match was won by Ambrose. On July 19 at the 2016 WWE draft, Jericho was drafted to the Raw brand.",
"On July 19 at the 2016 WWE draft, Jericho was drafted to the Raw brand. At Battleground on July 24, Jericho hosted a Highlight Reel segment with the returning Randy Orton, where he took an RKO from Orton after he insulted him.",
"At Battleground on July 24, Jericho hosted a Highlight Reel segment with the returning Randy Orton, where he took an RKO from Orton after he insulted him. The next night on Raw, Jericho competed in a fatal four-way match to determine the number one contender for the newly created WWE Universal Championship at SummerSlam, but he was unsuccessful, as Roman Reigns won the match.",
"The next night on Raw, Jericho competed in a fatal four-way match to determine the number one contender for the newly created WWE Universal Championship at SummerSlam, but he was unsuccessful, as Roman Reigns won the match. The List of Jericho (2016–2017) Jericho then entered a feud with Enzo and Cass and on the August 1 episode of Raw, he teamed with Charlotte to defeat Enzo Amore and then WWE Women's Champion Sasha Banks in a mixed tag team match, after which Big Cass made the save as Jericho continued the assault on Amore.",
"The List of Jericho (2016–2017) Jericho then entered a feud with Enzo and Cass and on the August 1 episode of Raw, he teamed with Charlotte to defeat Enzo Amore and then WWE Women's Champion Sasha Banks in a mixed tag team match, after which Big Cass made the save as Jericho continued the assault on Amore. The following week on Raw, Jericho allied with Kevin Owens and later defeated Amore via disqualification when Cass interfered.",
"The following week on Raw, Jericho allied with Kevin Owens and later defeated Amore via disqualification when Cass interfered. This led to a tag team match at SummerSlam, where Jericho and Owens defeated Enzo and Cass.",
"This led to a tag team match at SummerSlam, where Jericho and Owens defeated Enzo and Cass. On the August 22 episode of Raw, Jericho interfered in Owens's match against Neville, allowing him to qualify for the fatal four-way match to determine the new WWE Universal Champion on the August 29 episode of Raw, which Owens won.",
"On the August 22 episode of Raw, Jericho interfered in Owens's match against Neville, allowing him to qualify for the fatal four-way match to determine the new WWE Universal Champion on the August 29 episode of Raw, which Owens won. On the September 12 episode of Raw, Jericho hosted an episode of The Highlight Reel with Sami Zayn as his guest, who questioned his alliance with Owens, resulting in Jericho defending Owens and attacking Zayn.",
"On the September 12 episode of Raw, Jericho hosted an episode of The Highlight Reel with Sami Zayn as his guest, who questioned his alliance with Owens, resulting in Jericho defending Owens and attacking Zayn. On the September 19 episode of Raw, as a result of feeling that he was being treated unjustly by General Manager Mick Foley, as well as other wrestlers beginning to annoy him, Jericho began a list called \"The List of Jericho\", where he wrote down the name of the person that bothered him and why.",
"On the September 19 episode of Raw, as a result of feeling that he was being treated unjustly by General Manager Mick Foley, as well as other wrestlers beginning to annoy him, Jericho began a list called \"The List of Jericho\", where he wrote down the name of the person that bothered him and why. If someone annoyed Jericho, he would ask \"you know what happens?\"",
"If someone annoyed Jericho, he would ask \"you know what happens?\" before shouting \"you just made the list!\" and writing the person's name down.",
"and writing the person's name down. The List of Jericho soon became incredibly popular with the fans, with many critics describing Jericho and his list as \"easily one of the best moments of Raw's broadcast\".",
"The List of Jericho soon became incredibly popular with the fans, with many critics describing Jericho and his list as \"easily one of the best moments of Raw's broadcast\". At Clash of Champions on September 25, Jericho defeated Zayn and assisted Owens in his Universal Championship defense against Seth Rollins.",
"At Clash of Champions on September 25, Jericho defeated Zayn and assisted Owens in his Universal Championship defense against Seth Rollins. At Hell in a Cell on October 30, Jericho aided Owens in retaining the Universal Championship against Rollins in a Hell in a Cell match after Owens sprayed a fire extinguisher at the referee, allowing Jericho to enter the cell.",
"At Hell in a Cell on October 30, Jericho aided Owens in retaining the Universal Championship against Rollins in a Hell in a Cell match after Owens sprayed a fire extinguisher at the referee, allowing Jericho to enter the cell. Jericho teamed with Owens, Braun Strowman, Roman Reigns, and Seth Rollins as part of Team Raw at Survivor Series on November 20, in a losing effort.",
"Jericho teamed with Owens, Braun Strowman, Roman Reigns, and Seth Rollins as part of Team Raw at Survivor Series on November 20, in a losing effort. The next night on Raw, despite being banned from ringside, Jericho showed up in a Sin Cara mask and attacked Rollins, in another successful title defense for Owens.",
"The next night on Raw, despite being banned from ringside, Jericho showed up in a Sin Cara mask and attacked Rollins, in another successful title defense for Owens. The following week on Raw, tensions between Jericho and Owens arose after both said that they did not need each other anymore, and Jericho was later attacked by Rollins in the parking lot.",
"The following week on Raw, tensions between Jericho and Owens arose after both said that they did not need each other anymore, and Jericho was later attacked by Rollins in the parking lot. At Roadblock: End of the Line on December 18, Jericho lost to Rollins after Owens failed in his attempt to help him, Later that night, Jericho intentionally attacked Owens to prevent Reigns from winning the title.",
"At Roadblock: End of the Line on December 18, Jericho lost to Rollins after Owens failed in his attempt to help him, Later that night, Jericho intentionally attacked Owens to prevent Reigns from winning the title. After both Jericho and Owens failed to win the WWE United States Championship from Reigns in multiple singles matches in late 2016, Jericho pinned Reigns in a handicap match also involving Owens on the January 9 episode of Raw to win the WWE United States Championship.",
"After both Jericho and Owens failed to win the WWE United States Championship from Reigns in multiple singles matches in late 2016, Jericho pinned Reigns in a handicap match also involving Owens on the January 9 episode of Raw to win the WWE United States Championship. Thus, Jericho won his first championship in nearly seven years and also become Grand Slam winner under the current format.",
"Thus, Jericho won his first championship in nearly seven years and also become Grand Slam winner under the current format. Due to interfering multiple times in Owens's matches, Jericho was suspended above the ring in a shark proof cage during Reigns's rematch at the Royal Rumble pay-per-view event.",
"Due to interfering multiple times in Owens's matches, Jericho was suspended above the ring in a shark proof cage during Reigns's rematch at the Royal Rumble pay-per-view event. Owens nonetheless retained the championship after Braun Strowman, taking advantage of the added no disqualification stipulation, interfered.",
"Owens nonetheless retained the championship after Braun Strowman, taking advantage of the added no disqualification stipulation, interfered. Also at the event, Jericho entered as the second entrant in the Royal Rumble match, lasting over an hour (thus breaking the record with a cumulative time of over five hours) and being the third to last before being eliminated by Reigns.",
"Also at the event, Jericho entered as the second entrant in the Royal Rumble match, lasting over an hour (thus breaking the record with a cumulative time of over five hours) and being the third to last before being eliminated by Reigns. In February, tensions grew between Jericho and Owens after Jericho accepted a Universal Championship challenge from Goldberg on Owens's behalf, much to the latter's dismay.",
"In February, tensions grew between Jericho and Owens after Jericho accepted a Universal Championship challenge from Goldberg on Owens's behalf, much to the latter's dismay. On the February 13 episode of Raw, Jericho held a \"Festival of Friendship\" for Owens, who was not impressed and viciously attacked Jericho, ending their alliance.",
"On the February 13 episode of Raw, Jericho held a \"Festival of Friendship\" for Owens, who was not impressed and viciously attacked Jericho, ending their alliance. Jericho returned at Fastlane on March 5, distracting Owens during his match with Goldberg and causing Owens to lose the Universal Championship, turning face again in the process.",
"Jericho returned at Fastlane on March 5, distracting Owens during his match with Goldberg and causing Owens to lose the Universal Championship, turning face again in the process. This led to a match between Jericho and Owens being arranged for WrestleMania 33 on April 2, with Jericho's United States Championship on the line.",
"This led to a match between Jericho and Owens being arranged for WrestleMania 33 on April 2, with Jericho's United States Championship on the line. At WrestleMania, Jericho lost the United States Championship to Owens.",
"At WrestleMania, Jericho lost the United States Championship to Owens. At Payback on April 30, Jericho defeated Owens to regain the title and moved to the SmackDown brand, but lost it back to him two nights later on SmackDown. Following the match, Owens attacked Jericho, who was carried out on a stretcher.",
"Following the match, Owens attacked Jericho, who was carried out on a stretcher. Thus, Jericho was written off television so he could fulfill his commitments to tour with and promote his new album with Fozzy. Jericho made a surprise return at a house show in Singapore on June 28, where he lost to Hideo Itami.",
"Jericho made a surprise return at a house show in Singapore on June 28, where he lost to Hideo Itami. Final matches and departure (2017–2018) On the July 25 episode of SmackDown, Jericho made his televised return, interrupting an altercation between Kevin Owens and AJ Styles to get his rematch for Owens' WWE United States Championship.",
"Final matches and departure (2017–2018) On the July 25 episode of SmackDown, Jericho made his televised return, interrupting an altercation between Kevin Owens and AJ Styles to get his rematch for Owens' WWE United States Championship. Later that night, Jericho participated in a triple threat match against Owens and Styles for the title in which Jericho was pinned by Styles.",
"Later that night, Jericho participated in a triple threat match against Owens and Styles for the title in which Jericho was pinned by Styles. Show took place in Richmond, Virginia and was Jericho's last in-ring appearance for WWE in the United States.",
"Show took place in Richmond, Virginia and was Jericho's last in-ring appearance for WWE in the United States. On January 22, 2018 during the 25th Anniversary of Raw, Jericho appeared backstage in a segment with Elias, putting him on The List of Jericho.",
"On January 22, 2018 during the 25th Anniversary of Raw, Jericho appeared backstage in a segment with Elias, putting him on The List of Jericho. At the Greatest Royal Rumble, Jericho was the last entrant in the 50-man Royal Rumble match, eliminating Shelton Benjamin before being eliminated by the eventual winner Braun Strowman.",
"At the Greatest Royal Rumble, Jericho was the last entrant in the 50-man Royal Rumble match, eliminating Shelton Benjamin before being eliminated by the eventual winner Braun Strowman. This event marked Jericho's final appearance with WWE.",
"This event marked Jericho's final appearance with WWE. In September 2019, during an interview for the Mature Audiences Mayhem Podcast, Jericho revealed the exact point when he decided he was going to leave the WWE. Even though Jericho was with the WWE for 15 years, the final insult came at WrestleMania 33 in 2017.",
"Even though Jericho was with the WWE for 15 years, the final insult came at WrestleMania 33 in 2017. Despite the fact that Jericho and Kevin Owens had the best feud of the year, their match was demoted by placing it on the second place on the WrestleMania match card.",
"Despite the fact that Jericho and Kevin Owens had the best feud of the year, their match was demoted by placing it on the second place on the WrestleMania match card. The decision made by Vince McMahon was a big insult for Jericho and that prompted him to seek work elsewhere.",
"The decision made by Vince McMahon was a big insult for Jericho and that prompted him to seek work elsewhere. Jericho reflecting his WWE departure stated: \"Originally, that was going to be the main event for the world title.",
"Jericho reflecting his WWE departure stated: \"Originally, that was going to be the main event for the world title. Kevin Owens was the champion and I was going to beat him in the main event of WrestleMania as a babyface.\"",
"Kevin Owens was the champion and I was going to beat him in the main event of WrestleMania as a babyface.\" Instead of having Jericho and Owens as the main event, Vince decided to put Bill Goldberg and Brock Lesnar on the main card.",
"Instead of having Jericho and Owens as the main event, Vince decided to put Bill Goldberg and Brock Lesnar on the main card. \"Vince said that it’s going to be me versus Kevin Owens for the world title at WrestleMania and you are going to win the title, f*** yeah!",
"\"Vince said that it’s going to be me versus Kevin Owens for the world title at WrestleMania and you are going to win the title, f*** yeah! Next week, he doesn’t tell me, but I hear that it’s changed to Brock Lesnar versus Bill Goldberg for the title.",
"Next week, he doesn’t tell me, but I hear that it’s changed to Brock Lesnar versus Bill Goldberg for the title. And not only did they take us out of the main event – and, once again, just because I was told I have no right to it and things change all the time, I’m a big boy, I can handle it.",
"And not only did they take us out of the main event – and, once again, just because I was told I have no right to it and things change all the time, I’m a big boy, I can handle it. But to take us from the main event slot and then move us to the second match on the card on a card that has 12 matches on it?",
"But to take us from the main event slot and then move us to the second match on the card on a card that has 12 matches on it? I was like, that’s a f***ing insult.\"",
"I was like, that’s a f***ing insult.\" Return to NJPW (2017–2020) Feud with Kenny Omega (2017–2018) On November 5, 2017, Jericho returned to NJPW in a pre-taped vignette, challenging Kenny Omega to a match at Wrestle Kingdom 12 in Tokyo Dome.",
"Return to NJPW (2017–2020) Feud with Kenny Omega (2017–2018) On November 5, 2017, Jericho returned to NJPW in a pre-taped vignette, challenging Kenny Omega to a match at Wrestle Kingdom 12 in Tokyo Dome. The challenge was immediately accepted by Omega and made official by NJPW the following day as a title match for Omega's IWGP United States Heavyweight Championship.",
"The challenge was immediately accepted by Omega and made official by NJPW the following day as a title match for Omega's IWGP United States Heavyweight Championship. The match, dubbed \"Alpha vs. Omega\", was Jericho's first match outside of WWE since he left WCW in July 1999.",
"The match, dubbed \"Alpha vs. Omega\", was Jericho's first match outside of WWE since he left WCW in July 1999. Journalist Dave Meltzer wrote that Jericho's WWE contract had expired and that he was a \"free agent\". NJPW also referred to Jericho as a free agent.",
"NJPW also referred to Jericho as a free agent. In contrast, the Tokyo Sports newspaper described an anonymous NJPW official saying that Jericho is still under contract with WWE, and that WWE chairman Vince McMahon had given him permission to wrestle this match in NJPW. This was his first NJPW match in nearly 20 years.",
"This was his first NJPW match in nearly 20 years. Jericho returned in person at the December 11 World Tag League show, attacking and bloodying Omega after his match, while also laying out a referee, a young lion and color commentator Don Callis, establishing himself as a heel.",
"Jericho returned in person at the December 11 World Tag League show, attacking and bloodying Omega after his match, while also laying out a referee, a young lion and color commentator Don Callis, establishing himself as a heel. The following day at the Wrestle Kingdom 12 in Tokyo Dome press conference, Jericho and Omega would get into a second physical altercation.",
"The following day at the Wrestle Kingdom 12 in Tokyo Dome press conference, Jericho and Omega would get into a second physical altercation. Because of the two incidents, NJPW turned the January 4 match into a no disqualification match. At the event, Jericho was defeated by Omega.",
"At the event, Jericho was defeated by Omega. It was later revealed that the match was awarded a five-star rating from Dave Meltzer of the Wrestling Observer Newsletter. This was the first of his career. IWGP Intercontinental Champion (2018–2019) The night after Wrestle Kingdom 12 in Tokyo Dome at New Year Dash!!",
"IWGP Intercontinental Champion (2018–2019) The night after Wrestle Kingdom 12 in Tokyo Dome at New Year Dash!! 2018, Jericho attacked Tetsuya Naito.",
"2018, Jericho attacked Tetsuya Naito. On May 4, Jericho once again attacked Naito at Wrestling Dontaku, leading to a match between the two at Dominion 6.9 in Osaka-jo Hall, in which he defeated Naito to win the IWGP Intercontinental Championship. At King of Pro-Wrestling, Jericho attacked Evil before his match against Zack Sabre Jr.",
"At King of Pro-Wrestling, Jericho attacked Evil before his match against Zack Sabre Jr. Backstage, Jericho challenged Evil to an IWGP Intercontinental Championship title match at Power Struggle. At the event, Jericho made Evil submit to the Liontamer to retain the IWGP Intercontinental Championship.",
"At the event, Jericho made Evil submit to the Liontamer to retain the IWGP Intercontinental Championship. After the match, Jericho refused to release the hold until Tetsuya Naito ran in for the save and challenged Jericho. Despite Jericho stating that Naito would not receive a rematch, the match was made official for Wrestle Kingdom 13 in Tokyo Dome.",
"Despite Jericho stating that Naito would not receive a rematch, the match was made official for Wrestle Kingdom 13 in Tokyo Dome. On December 15, NJPW held a press conference for Jericho and Naito's IWGP Intercontinental Championship match.",
"On December 15, NJPW held a press conference for Jericho and Naito's IWGP Intercontinental Championship match. The press conference ended when Naito spat water in Jericho's face, which resulted in the two then brawling before being separated.",
"The press conference ended when Naito spat water in Jericho's face, which resulted in the two then brawling before being separated. Later that same day during a Road to Tokyo Dome show, Jericho laid out Naito with steel chair shots, and after stated that at Wrestle Kingdom 13 he would end Tetsuya Naito's career.",
"Later that same day during a Road to Tokyo Dome show, Jericho laid out Naito with steel chair shots, and after stated that at Wrestle Kingdom 13 he would end Tetsuya Naito's career. At the event, Jericho was defeated by Naito, losing the IWGP Intercontinental Championship in the process.",
"At the event, Jericho was defeated by Naito, losing the IWGP Intercontinental Championship in the process. Sporadic appearances (2019–2020) At Dominion 6.9 in Osaka-jo Hall, Jericho challenged Kazuchika Okada for the IWGP Heavyweight Championship but was defeated. Following the match, Jericho attacked Okada, leading to Hiroshi Tanahashi making the save.",
"Following the match, Jericho attacked Okada, leading to Hiroshi Tanahashi making the save. Jericho returned at Power Struggle on November 3 and challenged Tanahashi to a match at Wrestle Kingdom 14. On December 28, it was announced that if Tanahashi were to defeat Jericho, he would be granted an AEW World Championship match at a later date.",
"On December 28, it was announced that if Tanahashi were to defeat Jericho, he would be granted an AEW World Championship match at a later date. During the second night of Wrestle Kingdom on January 5, 2020, Jericho defeated Tanahashi.",
"During the second night of Wrestle Kingdom on January 5, 2020, Jericho defeated Tanahashi. Return to the independent circuit (2018–2019) On September 1, 2018, Jericho (disguised as Penta El Zero) appeared at the All In show promoted by Cody and The Young Bucks, where he attacked Kenny Omega following Omega's victory over Penta to promote his upcoming Rock 'N' Wrestling Rager at Sea cruise.",
"Return to the independent circuit (2018–2019) On September 1, 2018, Jericho (disguised as Penta El Zero) appeared at the All In show promoted by Cody and The Young Bucks, where he attacked Kenny Omega following Omega's victory over Penta to promote his upcoming Rock 'N' Wrestling Rager at Sea cruise. In October 2018, Jericho organized Chris Jericho's Rock 'N' Wrestling Rager at Sea, a series of professional wrestling matches originating from Jericho's cruise ship, which embarked from Miami, Florida and featured wrestlers from Ring of Honor.",
"In October 2018, Jericho organized Chris Jericho's Rock 'N' Wrestling Rager at Sea, a series of professional wrestling matches originating from Jericho's cruise ship, which embarked from Miami, Florida and featured wrestlers from Ring of Honor. On May 3, 2019, Jericho appeared at a Southern Honor Wrestling event, where he was attacked by Kenny Omega.",
"On May 3, 2019, Jericho appeared at a Southern Honor Wrestling event, where he was attacked by Kenny Omega. All Elite Wrestling (2019–present) Inaugural AEW World Champion (2019–2020) On January 8, 2019, Jericho made a surprise appearance at a media event organized by the upstart All Elite Wrestling (AEW) promotion.",
"All Elite Wrestling (2019–present) Inaugural AEW World Champion (2019–2020) On January 8, 2019, Jericho made a surprise appearance at a media event organized by the upstart All Elite Wrestling (AEW) promotion. Shortly afterwards, Jericho was filmed signing a full-time performers three-year contract with AEW and shaking hands with the company's President Tony Khan.",
"Shortly afterwards, Jericho was filmed signing a full-time performers three-year contract with AEW and shaking hands with the company's President Tony Khan. Jericho defeated Kenny Omega at the promotion's inaugural event Double or Nothing on May 25, and went on to defeat Adam Page at All Out to become the inaugural AEW World Champion.",
"Jericho defeated Kenny Omega at the promotion's inaugural event Double or Nothing on May 25, and went on to defeat Adam Page at All Out to become the inaugural AEW World Champion. On the premiere episode of Dynamite on October 2, Jericho allied himself with Sammy Guevara, Jake Hager, Santana and Ortiz, creating a stable that would be known as The Inner Circle.",
"On the premiere episode of Dynamite on October 2, Jericho allied himself with Sammy Guevara, Jake Hager, Santana and Ortiz, creating a stable that would be known as The Inner Circle. Jericho would make successful title defences against Darby Allin on the October 16 episode of Dynamite and Cody at the Full Gear pay-per-view on November 9.",
"Jericho would make successful title defences against Darby Allin on the October 16 episode of Dynamite and Cody at the Full Gear pay-per-view on November 9. On the episode of Dynamite after Full Gear, Jericho and Guevara challenged SoCal Uncensored (Frankie Kazarian and Scorpio Sky) for the AEW World Tag Team Championship, but they failed to win when Sky pinned Jericho with a small package, thus suffering his first loss in AEW.",
"On the episode of Dynamite after Full Gear, Jericho and Guevara challenged SoCal Uncensored (Frankie Kazarian and Scorpio Sky) for the AEW World Tag Team Championship, but they failed to win when Sky pinned Jericho with a small package, thus suffering his first loss in AEW. Jericho would successfully retain the AEW World Championship against Sky on the November 27 episode of Dynamite.",
"Jericho would successfully retain the AEW World Championship against Sky on the November 27 episode of Dynamite. In December, The Inner Circle began to attempt to entice Jon Moxley to join the group.",
"In December, The Inner Circle began to attempt to entice Jon Moxley to join the group. On the January 8, 2020 episode of Dynamite, Moxley initially joined the group, however, this was later revealed to be a ruse from Moxley as he attacked Jericho and Sammy Guevara.",
"On the January 8, 2020 episode of Dynamite, Moxley initially joined the group, however, this was later revealed to be a ruse from Moxley as he attacked Jericho and Sammy Guevara. Moxley then became the number one contender for Jericho's championship at Revolution on February 29, where Moxley defeated Jericho to win the title, ending his inaugural AEW World Championship reign at 182 days.",
"Moxley then became the number one contender for Jericho's championship at Revolution on February 29, where Moxley defeated Jericho to win the title, ending his inaugural AEW World Championship reign at 182 days. Feud with MJF (2020–2021) After losing the championship, Jericho and The Inner Circle began a feud with The Elite (Adam Page, Cody, Kenny Omega and The Young Bucks), who recruited the debuting Matt Hardy to oppose them.",
"Feud with MJF (2020–2021) After losing the championship, Jericho and The Inner Circle began a feud with The Elite (Adam Page, Cody, Kenny Omega and The Young Bucks), who recruited the debuting Matt Hardy to oppose them. At Double or Nothing on May 23, The Inner Circle were defeated by Page, Omega, The Young Bucks and Hardy in a Stadium Stampede match.",
"At Double or Nothing on May 23, The Inner Circle were defeated by Page, Omega, The Young Bucks and Hardy in a Stadium Stampede match. Jericho next began a rivalry with Orange Cassidy, with Jericho defeating him at Fyter Fest on July 8, but losing a rematch on the August 12 episode of Dynamite.",
"Jericho next began a rivalry with Orange Cassidy, with Jericho defeating him at Fyter Fest on July 8, but losing a rematch on the August 12 episode of Dynamite. The two faced once again at All Out on September 5, in a Mimosa Mayhem match, which Jericho lost.",
"The two faced once again at All Out on September 5, in a Mimosa Mayhem match, which Jericho lost. Beginning in October, Jericho began a feud with MJF, who requested to join the Inner Circle, despite disapproval from Sammy Guevara, Santana and Ortiz.",
"Beginning in October, Jericho began a feud with MJF, who requested to join the Inner Circle, despite disapproval from Sammy Guevara, Santana and Ortiz. Jericho and MJF wrestled in a match at the Full Gear event on November 7, which MJF won, thus allowing him to join the Inner Circle.",
"Jericho and MJF wrestled in a match at the Full Gear event on November 7, which MJF won, thus allowing him to join the Inner Circle. At Beach Break on February 3, 2021, Jericho and MJF won a tag team battle royal to become the number one contenders for the AEW World Tag Team Championship at the Revolution event against The Young Bucks, which they were unsuccessful in winning.",
"At Beach Break on February 3, 2021, Jericho and MJF won a tag team battle royal to become the number one contenders for the AEW World Tag Team Championship at the Revolution event against The Young Bucks, which they were unsuccessful in winning. On the March 10 episode of Dynamite, MJF betrayed and left The Inner Circle after revealing he had been secretly plotting against them and building his own stable, The Pinnacle—consisting of Wardlow, Shawn Spears and FTR (Cash Wheeler and Dax Harwood).",
"On the March 10 episode of Dynamite, MJF betrayed and left The Inner Circle after revealing he had been secretly plotting against them and building his own stable, The Pinnacle—consisting of Wardlow, Shawn Spears and FTR (Cash Wheeler and Dax Harwood). At Blood and Guts on May 5, The Inner Circle lost to The Pinnacle in the inaugural Blood and Guts match.",
"At Blood and Guts on May 5, The Inner Circle lost to The Pinnacle in the inaugural Blood and Guts match. However, in the main event of Double or Nothing later that month, The Inner Circle defeated The Pinnacle in a Stadium Stampede match, after Sammy Guevara pinned Shawn Spears.",
"However, in the main event of Double or Nothing later that month, The Inner Circle defeated The Pinnacle in a Stadium Stampede match, after Sammy Guevara pinned Shawn Spears. Jericho then began pursuing another match with MJF, who stated that he would first have to defeat a gauntlet of opponents selected by MJF, in a series dubbed the \"Labors of Jericho\".",
"Jericho then began pursuing another match with MJF, who stated that he would first have to defeat a gauntlet of opponents selected by MJF, in a series dubbed the \"Labors of Jericho\". Jericho would defeat each of MJF's handpicked opponents (Shawn Spears, Nick Gage, Juventud Guerrera and Wardlow) and faced MJF in the final labor on the August 18 episode of Dynamite, but he was defeated.",
"Jericho would defeat each of MJF's handpicked opponents (Shawn Spears, Nick Gage, Juventud Guerrera and Wardlow) and faced MJF in the final labor on the August 18 episode of Dynamite, but he was defeated. Jericho demanded one more match, stipulating that if he lost, he would retire from in-ring competition, which MJF accepted.",
"Jericho demanded one more match, stipulating that if he lost, he would retire from in-ring competition, which MJF accepted. At All Out on September 5, Jericho defeated MJF to maintain his career and end their feud.",
"At All Out on September 5, Jericho defeated MJF to maintain his career and end their feud. Various feuds (2021–present) Following All Out, The Inner Circle started a rivalry with Men of the Year (Ethan Page and Scorpio Sky), and their ally, mixed martial arts (MMA) coach Dan Lambert.",
"Various feuds (2021–present) Following All Out, The Inner Circle started a rivalry with Men of the Year (Ethan Page and Scorpio Sky), and their ally, mixed martial arts (MMA) coach Dan Lambert. Lambert also brought in members of his MMA team American Top Team (ATT) to oppose The Inner Circle, including Andrei Arlovski and Junior dos Santos.",
"Lambert also brought in members of his MMA team American Top Team (ATT) to oppose The Inner Circle, including Andrei Arlovski and Junior dos Santos. At the Full Gear event on November 13, The Inner Circle defeated Men of the Year and ATT in a Minneapolis Street Fight.",
"At the Full Gear event on November 13, The Inner Circle defeated Men of the Year and ATT in a Minneapolis Street Fight. Legacy Known for his over-the-top, rock star persona, Jericho has been described by multiple industry commentators as one of the greatest professional wrestlers of all time.",
"Legacy Known for his over-the-top, rock star persona, Jericho has been described by multiple industry commentators as one of the greatest professional wrestlers of all time. Journalist Chris Van Vliet noted that his name is \"always thrown around as the GOAT [greatest of all time], or at least one of the GOATs\", with Van Vliet himself asserting that Jericho is \"if not the best, certainly one of the best\".",
"Journalist Chris Van Vliet noted that his name is \"always thrown around as the GOAT [greatest of all time], or at least one of the GOATs\", with Van Vliet himself asserting that Jericho is \"if not the best, certainly one of the best\". Todd Martin of the Pro Wrestling Torch remarked, to agreement from editor Wade Keller, that Jericho is \"one of the great wrestlers of all time\" and in \"a lofty category\", while likening his oeuvre to those of WWE Hall of Famers Randy Savage, Ricky Steamboat, Ted DiBiase and Dory Funk Jr.",
"Todd Martin of the Pro Wrestling Torch remarked, to agreement from editor Wade Keller, that Jericho is \"one of the great wrestlers of all time\" and in \"a lofty category\", while likening his oeuvre to those of WWE Hall of Famers Randy Savage, Ricky Steamboat, Ted DiBiase and Dory Funk Jr. Praised for his ability to continually evolve his gimmick, Jericho was dubbed by KC Joyner of ESPN as \"wrestling's David Bowie\".",
"Praised for his ability to continually evolve his gimmick, Jericho was dubbed by KC Joyner of ESPN as \"wrestling's David Bowie\". Various outlets have included Jericho in lists of the greatest wrestlers ever.",
"Various outlets have included Jericho in lists of the greatest wrestlers ever. Baltimore Sun reporter Kevin Eck, who has also served as editor of WCW Magazine and a WWE producer, featured Jericho in his \"Top 10 favorite wrestlers of all time\" and \"Top 10 all-around performers\"—the former piece noting that Jericho is \"regarded as one of the very best talkers in the business\".",
"Baltimore Sun reporter Kevin Eck, who has also served as editor of WCW Magazine and a WWE producer, featured Jericho in his \"Top 10 favorite wrestlers of all time\" and \"Top 10 all-around performers\"—the former piece noting that Jericho is \"regarded as one of the very best talkers in the business\". Keisha Hatchett in TV Guide wrote that Jericho \"owns the mic with cerebral insults\" and is set apart from peers by \"his charismatic presence, which is highlighted by a laundry list of unforgettable catchphrases\".",
"Keisha Hatchett in TV Guide wrote that Jericho \"owns the mic with cerebral insults\" and is set apart from peers by \"his charismatic presence, which is highlighted by a laundry list of unforgettable catchphrases\". He was voted by Wrestling Observer Newsletter (WON) readers as \"Best on Interviews\" for the 2000s decade, coinciding with his 2010 induction into the WON Hall of Fame.",
"He was voted by Wrestling Observer Newsletter (WON) readers as \"Best on Interviews\" for the 2000s decade, coinciding with his 2010 induction into the WON Hall of Fame. Fans also named Jericho the greatest WWE Intercontinental Champion of all time in a 2013 WWE poll, affording him a landslide 63% victory over the other four contenders (Mr.",
"Fans also named Jericho the greatest WWE Intercontinental Champion of all time in a 2013 WWE poll, affording him a landslide 63% victory over the other four contenders (Mr. Perfect, The Honky Tonk Man, Rick Rude and Pat Patterson).",
"Perfect, The Honky Tonk Man, Rick Rude and Pat Patterson). A number of Jericho's industry colleagues have hailed him as one of the greatest wrestlers in history. Stone Cold Steve Austin lauded his consistently \"dynamic\" promos and in-ring work, while arguing that he should be considered among the 10 best ever.",
"Stone Cold Steve Austin lauded his consistently \"dynamic\" promos and in-ring work, while arguing that he should be considered among the 10 best ever. Kenny Omega asserted that Jericho \"has a legit argument for being the best of all time\", based on his ability to achieve success and notoriety across numerous territories.",
"Kenny Omega asserted that Jericho \"has a legit argument for being the best of all time\", based on his ability to achieve success and notoriety across numerous territories. Jon Moxley said, \"Jericho is really making a case for being the greatest of all time... he's doing it again, he's doing something completely new, and breaking new barriers still here in 2020.\"",
"Jon Moxley said, \"Jericho is really making a case for being the greatest of all time... he's doing it again, he's doing something completely new, and breaking new barriers still here in 2020.\" Matt Striker pointed to Jericho's \"magnanimous\" nature as a contributing factor to his status as an all-time great; his willingness to impart knowledge was commended by James Ellsworth, who described Jericho as an \"outstanding human being\" and a childhood favorite.",
"Matt Striker pointed to Jericho's \"magnanimous\" nature as a contributing factor to his status as an all-time great; his willingness to impart knowledge was commended by James Ellsworth, who described Jericho as an \"outstanding human being\" and a childhood favorite. Kevin Owens stated that \"Jericho was always someone I looked up to\", while The Miz affirmed that he was part of a generation of young wrestlers who sought to \"emulate\" Jericho.",
"Kevin Owens stated that \"Jericho was always someone I looked up to\", while The Miz affirmed that he was part of a generation of young wrestlers who sought to \"emulate\" Jericho. WWE declared Jericho a \"marquee draw\" with a \"reputation as one of the best ever\".",
"WWE declared Jericho a \"marquee draw\" with a \"reputation as one of the best ever\". As of 2019, he is one of the ten most prolific pay-per-view performers in company history.",
"As of 2019, he is one of the ten most prolific pay-per-view performers in company history. After Jericho signed with All Elite Wrestling, it was said his role was similar to Terry Funk in ECW, as an experienced veteran bringing credibility to a younger promotion.",
"After Jericho signed with All Elite Wrestling, it was said his role was similar to Terry Funk in ECW, as an experienced veteran bringing credibility to a younger promotion. Jericho was credited as one of the key attractions of AEW's weekly television broadcasts, leading to him adopting the nickname \"The Demo God\" due to many of the segments he appeared in being some of the highest viewed in the key demographics.",
"Jericho was credited as one of the key attractions of AEW's weekly television broadcasts, leading to him adopting the nickname \"The Demo God\" due to many of the segments he appeared in being some of the highest viewed in the key demographics. He was voted as the Best Box Office Draw by readers of the Wrestling Observer Newsletter in 2019.",
"He was voted as the Best Box Office Draw by readers of the Wrestling Observer Newsletter in 2019. Music career Jericho is the lead singer for the heavy metal band Fozzy.",
"Music career Jericho is the lead singer for the heavy metal band Fozzy. Since their debut album in 2000, Fozzy have released seven studio albums; Fozzy, Happenstance, All That Remains, Chasing the Grail, Sin and Bones, Do You Wanna Start a War, Judas, and one live album, Remains Alive.",
"Since their debut album in 2000, Fozzy have released seven studio albums; Fozzy, Happenstance, All That Remains, Chasing the Grail, Sin and Bones, Do You Wanna Start a War, Judas, and one live album, Remains Alive. In 2005, Jericho performed vocals on a cover of \"The Evil That Men Do\" on the Iron Maiden tribute album, Numbers from the Beast.",
"In 2005, Jericho performed vocals on a cover of \"The Evil That Men Do\" on the Iron Maiden tribute album, Numbers from the Beast. He made a guest appearance on Dream Theater's album, Systematic Chaos on the song \"Repentance\", as one of several musical guests recorded apologizing to important people in their lives for wrongdoings in the past.",
"He made a guest appearance on Dream Theater's album, Systematic Chaos on the song \"Repentance\", as one of several musical guests recorded apologizing to important people in their lives for wrongdoings in the past. In the mid-1990s, Jericho wrote a monthly column for Metal Edge magazine focused on the heavy metal scene.",
"In the mid-1990s, Jericho wrote a monthly column for Metal Edge magazine focused on the heavy metal scene. The column ran for about a year. He started his own weekly XM Satellite Radio show in March 2005 called The Rock of Jericho, which aired Sunday nights on XM 41 The Boneyard.",
"He started his own weekly XM Satellite Radio show in March 2005 called The Rock of Jericho, which aired Sunday nights on XM 41 The Boneyard. Discography Albums with Fozzy Fozzy (2000) Happenstance (2002) All That Remains (2005) Chasing the Grail (2010) Sin and Bones (2012) Do You Wanna Start a War (2014) Judas (2017) Live albums Remains Alive (2009) As guest Don't You Wish You Were Me?",
"Discography Albums with Fozzy Fozzy (2000) Happenstance (2002) All That Remains (2005) Chasing the Grail (2010) Sin and Bones (2012) Do You Wanna Start a War (2014) Judas (2017) Live albums Remains Alive (2009) As guest Don't You Wish You Were Me? - WWE Originals (2004) King of the Night Time World - Spin the Bottle: An All-Star Tribute to Kiss (2004) * With Rich Ward, Mike Inez, Fred Coury Bullet for My Valentine – Temper Temper – Dead to the World (2013) Devin Townsend – Dark Matters (2014) Michael Sweet – I'm Not Your Suicide – Anybody Else (2014) Other endeavors Film, theater, comedy, and writing In 2000, a WWE produced VHS tape documenting Jericho's career titled Break Down the Walls was released.",
"- WWE Originals (2004) King of the Night Time World - Spin the Bottle: An All-Star Tribute to Kiss (2004) * With Rich Ward, Mike Inez, Fred Coury Bullet for My Valentine – Temper Temper – Dead to the World (2013) Devin Townsend – Dark Matters (2014) Michael Sweet – I'm Not Your Suicide – Anybody Else (2014) Other endeavors Film, theater, comedy, and writing In 2000, a WWE produced VHS tape documenting Jericho's career titled Break Down the Walls was released. He later received two three disc sets profiling matches and interviews.",
"He later received two three disc sets profiling matches and interviews. On June 24, 2006, Jericho premiered in his first Sci-Fi Channel movie Android Apocalypse alongside Scott Bairstow and Joey Lawrence.",
"On June 24, 2006, Jericho premiered in his first Sci-Fi Channel movie Android Apocalypse alongside Scott Bairstow and Joey Lawrence. Jericho debuted as a stage actor in a comedy play Opening Night, which premiered at the Toronto Centre for the Arts during July 20–22, 2006 in Toronto.",
"Jericho debuted as a stage actor in a comedy play Opening Night, which premiered at the Toronto Centre for the Arts during July 20–22, 2006 in Toronto. During his stay in Toronto, Jericho hosted the sketch comedy show Sunday Night Live with sketch troupe The Sketchersons at The Brunswick House.",
"During his stay in Toronto, Jericho hosted the sketch comedy show Sunday Night Live with sketch troupe The Sketchersons at The Brunswick House. Jericho was also the first wrestler attached and interviewed for the wrestling documentary, Bloodstained Memoirs. The interview was recorded in the UK during a Fozzy tour in 2006.",
"The interview was recorded in the UK during a Fozzy tour in 2006. Jericho wrote his autobiography, A Lion's Tale: Around the World in Spandex, which was released on October 25, 2007 and became a New York Times bestseller. It covers Jericho's life and wrestling career up to his debut in the WWE.",
"It covers Jericho's life and wrestling career up to his debut in the WWE. Jericho's second autobiography, Undisputed: How to Become the World Champion in 1,372 Easy Steps, was released on February 16, 2011, and covers his wrestling career since his WWE debut.",
"Jericho's second autobiography, Undisputed: How to Become the World Champion in 1,372 Easy Steps, was released on February 16, 2011, and covers his wrestling career since his WWE debut. On October 14, 2014 Jericho's third book, The Best In The World...At What I Have No Idea, was released.",
"On October 14, 2014 Jericho's third book, The Best In The World...At What I Have No Idea, was released. It covers some untold stories of the \"Save Us\" era, his Fozzy career, and his multiple returns from 2011 to 2013.",
"It covers some untold stories of the \"Save Us\" era, his Fozzy career, and his multiple returns from 2011 to 2013. Jericho's fourth book, No Is a Four-Letter Word: How I Failed Spelling but Succeeded in Life, was released on August 29, 2017 and details twenty valuable lessons Jericho learned throughout his career as a wrestler and musician.",
"Jericho's fourth book, No Is a Four-Letter Word: How I Failed Spelling but Succeeded in Life, was released on August 29, 2017 and details twenty valuable lessons Jericho learned throughout his career as a wrestler and musician. Jericho appeared in the 2009 film Albino Farm.",
"Jericho appeared in the 2009 film Albino Farm. In the film MacGruber, released May 21, 2010, he briefly appeared as Frank Korver, a former military teammate of the eponymous Green Beret, Navy Seal, and Army Ranger.",
"In the film MacGruber, released May 21, 2010, he briefly appeared as Frank Korver, a former military teammate of the eponymous Green Beret, Navy Seal, and Army Ranger. Jericho released a comedy web series on October 29, 2013 that is loosely based on his life entitled But I'm Chris Jericho!",
"Jericho released a comedy web series on October 29, 2013 that is loosely based on his life entitled But I'm Chris Jericho! Jericho plays a former wrestler, struggling to make it big as an actor. A second season was produced in 2017 by CBC and distributed over CBC's television app and CBC.ca.",
"A second season was produced in 2017 by CBC and distributed over CBC's television app and CBC.ca. In 2016, Jericho starred in the documentary film Nine Legends alongside Mike Tyson and other wrestlers. In August 2018, Jericho was confirmed to star in the film Killroy Was Here.",
"In August 2018, Jericho was confirmed to star in the film Killroy Was Here. On March 14, 2019, filmmaker Kevin Smith cast Jericho as a KKK Grand Wizard in Jay and Silent Bob Reboot.",
"On March 14, 2019, filmmaker Kevin Smith cast Jericho as a KKK Grand Wizard in Jay and Silent Bob Reboot. Television Jericho was a contributor to the VH1 pop culture shows Best Week Ever, I Love the '80s, and VH1's top 100 artists.",
"Television Jericho was a contributor to the VH1 pop culture shows Best Week Ever, I Love the '80s, and VH1's top 100 artists. Jericho also hosted the five-part, five-hour VH1 special 100 Most Shocking Music Moments, an update of the original special 100 Most Shocking Moments in Rock N' Roll first hosted by Mark McGrath of Sugar Ray.",
"Jericho also hosted the five-part, five-hour VH1 special 100 Most Shocking Music Moments, an update of the original special 100 Most Shocking Moments in Rock N' Roll first hosted by Mark McGrath of Sugar Ray. On July 12, 2006, he made an appearance on G4's Attack of the Show!",
"On July 12, 2006, he made an appearance on G4's Attack of the Show! ; he made a second appearance on August 21, 2009. In May 2006, Jericho appeared on VH1's 40 Greatest Metal Songs and Heavy: The Story of Metal as a commentator.",
"In May 2006, Jericho appeared on VH1's 40 Greatest Metal Songs and Heavy: The Story of Metal as a commentator. He was one of eight celebrities in the 2006 Fox Television singing reality show Celebrity Duets, produced by Simon Cowell, and was the first contestant eliminated.",
"He was one of eight celebrities in the 2006 Fox Television singing reality show Celebrity Duets, produced by Simon Cowell, and was the first contestant eliminated. Jericho worked at a McDonald's to show off his skills while prepping for the show.",
"Jericho worked at a McDonald's to show off his skills while prepping for the show. Jericho hosted his own reality show in 2008 titled Redemption Song, in which 11 women tried their hand at getting into the music scene. It was shown on Fuse TV.",
"It was shown on Fuse TV. He guest starred as Billy \"The Body Bag\" Cobb in \"Xero Control\", an episode of the Disney XD 2009 original series Aaron Stone. He hosted VH1's 100 Most Shocking Music Moments, which began airing in December 2009.",
"He hosted VH1's 100 Most Shocking Music Moments, which began airing in December 2009. In June 2010, Jericho was named the host of the ABC prime-time game show Downfall. On March 1, 2011, Chris Jericho was named one of the contestants on the 2011 lineup of Dancing with the Stars.",
"On March 1, 2011, Chris Jericho was named one of the contestants on the 2011 lineup of Dancing with the Stars. His partner was two-time champion Cheryl Burke. This led to a wave of publicity, including an interview with Jay Leno. On April 26, Jericho was the fifth contestant eliminated on the show.",
"On April 26, Jericho was the fifth contestant eliminated on the show. On May 5, Jericho made his third appearance as a guest on Attack of the Show! where he depicted Thor. He promoted Undisputed and hosted the Revolver Golden Gods Awards on May 28 on VH1 Classic.",
"He promoted Undisputed and hosted the Revolver Golden Gods Awards on May 28 on VH1 Classic. On January 17, 2012, Jericho made his fourth appearance on Attack of the Show!",
"On January 17, 2012, Jericho made his fourth appearance on Attack of the Show! in a segment called \"Twitter Twister\" where he portrayed a character called \"The Twistercutioner\" and read tweets as instructions for a game of Twister between Kevin and Candace.",
"in a segment called \"Twitter Twister\" where he portrayed a character called \"The Twistercutioner\" and read tweets as instructions for a game of Twister between Kevin and Candace. Jericho hosted the UK's Metal Hammer Golden Gods Awards in 2012 and 2017.",
"Jericho hosted the UK's Metal Hammer Golden Gods Awards in 2012 and 2017. On February 26, 2013, Jericho began hosting a robot combat competition program on SyFy titled Robot Combat League the series ended on April 23, 2015. Talk Is Jericho podcast In December 2013, Jericho began hosting his own podcast, Talk is Jericho.",
"Talk Is Jericho podcast In December 2013, Jericho began hosting his own podcast, Talk is Jericho. Episodes usually include a loosely scripted monolog before an interview, typically with a wrestler, rock musician or paranormal expert.",
"Episodes usually include a loosely scripted monolog before an interview, typically with a wrestler, rock musician or paranormal expert. The show originally appeared on PodcastOne, before moving to the WestwoodOne network in 2018. Notable guests on the show include Bruce Dickinson from Iron Maiden, Lemmy from Motörhead, Paul Stanley from KISS, Zak Bagans from Ghost Adventures, pornographic actress Asa Akira, writer/director Kevin Smith and many former and current wrestlers.",
"The show originally appeared on PodcastOne, before moving to the WestwoodOne network in 2018. Notable guests on the show include Bruce Dickinson from Iron Maiden, Lemmy from Motörhead, Paul Stanley from KISS, Zak Bagans from Ghost Adventures, pornographic actress Asa Akira, writer/director Kevin Smith and many former and current wrestlers. In April 2015, Jericho hosted his own video podcast on the WWE Network, Live!",
"In April 2015, Jericho hosted his own video podcast on the WWE Network, Live! with Chris Jericho, with John Cena as his first guest, followed by Stephanie McMahon as his guest later that same month. Once he signed with AEW, he was no longer allowed WWE performers as guests on the podcast.",
"Once he signed with AEW, he was no longer allowed WWE performers as guests on the podcast. Web On August 10, 2019, Jericho launched his own dirtsheet website called WebIsJericho.com. The website is dedicated to the memory of Axl Rotten.",
"The website is dedicated to the memory of Axl Rotten. In May 2020, Jericho officially joined as a competitor of the Movie Trivia Schmoedown under manager Roxy Striar in the Roxstars faction. Jericho first expressed interest in the Schmoedown following an appearance on Collider Live with Striar and Schmoedown commissioner Kristian Harloff.",
"Jericho first expressed interest in the Schmoedown following an appearance on Collider Live with Striar and Schmoedown commissioner Kristian Harloff. He became friends with Striar following the interview and kept in contact. During the 2020 season, Jericho contacted Striar, asking to be a part of the league.",
"During the 2020 season, Jericho contacted Striar, asking to be a part of the league. Striar formally drafted Jericho into her faction during the first free-agent period following the season-opening draft. His first match is scheduled for August 27 against Kevin Smith.",
"His first match is scheduled for August 27 against Kevin Smith. Cruises In 2017, Jericho launched Chris Jericho's Rock 'N' Wrestling Rager at Sea, a cruise \"combining the worlds of rock and wrestling with a once in a lifetime amazing vacation experience\".",
"Cruises In 2017, Jericho launched Chris Jericho's Rock 'N' Wrestling Rager at Sea, a cruise \"combining the worlds of rock and wrestling with a once in a lifetime amazing vacation experience\". The cruise featured live band performances, artist-hosted activities and a Sea of Honor Tournament with over a dozen Ring of Honor wrestlers competing.",
"The cruise featured live band performances, artist-hosted activities and a Sea of Honor Tournament with over a dozen Ring of Honor wrestlers competing. Guests had the opportunity to get up close and personal with Chris and his closest wrestling, comedian, and musician friends including Jim Ross, Diamond Dallas Page and Jim Breuer, among others.",
"Guests had the opportunity to get up close and personal with Chris and his closest wrestling, comedian, and musician friends including Jim Ross, Diamond Dallas Page and Jim Breuer, among others. The cruise sailed October 27–31, 2018 from Miami to Nassau, Bahamas.",
"The cruise sailed October 27–31, 2018 from Miami to Nassau, Bahamas. Jericho hosted a second cruise, Chris Jericho's Rock 'N' Wrestling Rager at Sea Part Deux: Second Wave, which run from January 20–24, 2020.",
"Jericho hosted a second cruise, Chris Jericho's Rock 'N' Wrestling Rager at Sea Part Deux: Second Wave, which run from January 20–24, 2020. A third cruise, Chris Jericho's Rock 'N' Wrestling Rager at Sea Triple Whammy, is scheduled for October 21–25, 2021.",
"A third cruise, Chris Jericho's Rock 'N' Wrestling Rager at Sea Triple Whammy, is scheduled for October 21–25, 2021. Video games Jericho has appeared in numerous video games. They include WCW/nWo Revenge, WCW Nitro, WCW/nWo Thunder, WCW Mayhem, WWF WrestleMania 2000, WWF No Mercy, WWF SmackDown!, WWF SmackDown!",
"They include WCW/nWo Revenge, WCW Nitro, WCW/nWo Thunder, WCW Mayhem, WWF WrestleMania 2000, WWF No Mercy, WWF SmackDown!, WWF SmackDown! 2: Know Your Role, WWF SmackDown! Just Bring It, WWF Raw, WWE SmackDown! Shut Your Mouth, WWE SmackDown! Here Comes the Pain, WWE SmackDown!",
"Here Comes the Pain, WWE SmackDown! vs. Raw, WWE SmackDown! vs. Raw 2006, WWE SmackDown vs. Raw 2009, WWE All Stars, WWE SmackDown vs. Raw 2010, WWE SmackDown vs.",
"Raw 2010, WWE SmackDown vs. Raw 2011, WWE '13, WWE 2K14, WWE 2K15, WWE 2K16, WWE 2K17, WWE 2K18, WWE 2K19 and the upcoming All Elite Wrestling video game. Personal life Irvine married Jessica Lockhart on July 30, 2000.",
"Personal life Irvine married Jessica Lockhart on July 30, 2000. They reside in Odessa, Florida, with their three children: son Ash Edward Irvine (born 2003) and identical twin daughters Sierra Loretta \"SiSi\" Irvine and Cheyenne Lee \"Chey\" Irvine (born 2006).",
"They reside in Odessa, Florida, with their three children: son Ash Edward Irvine (born 2003) and identical twin daughters Sierra Loretta \"SiSi\" Irvine and Cheyenne Lee \"Chey\" Irvine (born 2006). All three have been guests on his podcast, Talk Is Jericho, with his son discussing fish and his daughters discussing literature.",
"All three have been guests on his podcast, Talk Is Jericho, with his son discussing fish and his daughters discussing literature. Irvine owns three cats. In October 2020, Irvine reportedly donated $3,000 to Donald Trump's presidential re-election campaign. Irvine is a Christian.",
"Irvine is a Christian. Irvine is a Christian. He has a tattoo of his wife's name on his ring finger. He has the letter F, representing Fozzy, on the back of his hand. Since 2012, he has gradually gotten a sleeve over his left arm.",
"Since 2012, he has gradually gotten a sleeve over his left arm. His tattoos include: the artwork of Fozzy's album Sin and Bones, a Jack-o'-lantern (Avenged Sevenfold vocalist M. Shadows, who collaborated with Fozzy on the track \"Sandpaper\" from Sin and Bones, also got a matching tattoo), a lake monster, and himself from his WWF debut in 1999.",
"His tattoos include: the artwork of Fozzy's album Sin and Bones, a Jack-o'-lantern (Avenged Sevenfold vocalist M. Shadows, who collaborated with Fozzy on the track \"Sandpaper\" from Sin and Bones, also got a matching tattoo), a lake monster, and himself from his WWF debut in 1999. On July 5, 2004, Irvine was awarded Manitoba's The Order of the Buffalo Hunt, for his achievements in wrestling and his commitment to working with underprivileged children.",
"On July 5, 2004, Irvine was awarded Manitoba's The Order of the Buffalo Hunt, for his achievements in wrestling and his commitment to working with underprivileged children. – \"After that, Gary Doer, the premier of Manitoba, awarded me with the Order of the Buffalo Hunt, which was the province's highest honor.",
"– \"After that, Gary Doer, the premier of Manitoba, awarded me with the Order of the Buffalo Hunt, which was the province's highest honor. It was quite the prestigious prize, which has been given to such dignitaries such as Mother Teresa, Desmond Tutu, Jimmy Carter, Pope John Paul II, and now Chris Jericho.\"",
"It was quite the prestigious prize, which has been given to such dignitaries such as Mother Teresa, Desmond Tutu, Jimmy Carter, Pope John Paul II, and now Chris Jericho.\" / caption: \"Manitoba Premier Gary Doer presents me with the Order of the Buffalo Hunt, along with a tiny bronze buffalo.",
"/ caption: \"Manitoba Premier Gary Doer presents me with the Order of the Buffalo Hunt, along with a tiny bronze buffalo. I'm thinking, 'That's all I get?'\"",
"I'm thinking, 'That's all I get?'\" Since January 2012, Irvine (along with former NFL Quarterback Tim Tebow, former NFL player Derrick Brooks, and former Atlanta Braves player Chipper Jones) has been the co-owner of a sports training facility in Tampa, a franchise site of D1 Sports Training and Therapy.",
"Since January 2012, Irvine (along with former NFL Quarterback Tim Tebow, former NFL player Derrick Brooks, and former Atlanta Braves player Chipper Jones) has been the co-owner of a sports training facility in Tampa, a franchise site of D1 Sports Training and Therapy. Irvine is a fan of Japanese convenience store chain Lawson, which Irvine would frequently shop at when he wrestled in Japan in the 1990s.",
"Irvine is a fan of Japanese convenience store chain Lawson, which Irvine would frequently shop at when he wrestled in Japan in the 1990s. Irvine still visits Lawson whenever he returns to Japan, whether to wrestle or if he is touring with Fozzy.https://www.instagram.com/p/CQCwN9vjtO_/ Legal issues On February 7, 2009, a fan accused Irvine of punching her after she spat at him with fans outside Save-On-Foods Memorial Centre in Victoria, British Columbia after a live event.",
"Irvine still visits Lawson whenever he returns to Japan, whether to wrestle or if he is touring with Fozzy.https://www.instagram.com/p/CQCwN9vjtO_/ Legal issues On February 7, 2009, a fan accused Irvine of punching her after she spat at him with fans outside Save-On-Foods Memorial Centre in Victoria, British Columbia after a live event. Video footage, however, clearly showed he did not make contact with the woman.",
"Video footage, however, clearly showed he did not make contact with the woman. As a result of the incident, police detained them, but released them without charge. Police did not press charges against anyone in the brawl as it was \"hard to determine who provoked whom\".",
"Police did not press charges against anyone in the brawl as it was \"hard to determine who provoked whom\". On January 27, 2010, Irvine and fellow wrestler Gregory Helms were arrested in Fort Mitchell, Kentucky after leaving a bar. A police report stated that Helms punched Irvine and the other passengers in the cab.",
"A police report stated that Helms punched Irvine and the other passengers in the cab. Fellow wrestlers Christian and CM Punk bailed them out later.",
"Fellow wrestlers Christian and CM Punk bailed them out later. Filmography Film Television Video games Championships and accomplishments All Elite Wrestling AEW World Championship (1 time) AEW Dynamite Awards (2 times) Bleacher Report PPV Moment of the Year (2021) – Biggest Beatdown (2021) – The Baltimore Sun Feud of the Year (2008) Canadian Rocky Mountain Wrestling CRMW North American Heavyweight Championship (1 time) CRMW North American Tag Team Championship (2 times) – with Lance Storm CRMW Mid-Heavyweight Championship (2 times) Consejo Mundial de Lucha Libre NWA World Middleweight Championship (1 time) Extreme Championship Wrestling ECW World Television Championship (1 time) International Wrestling Alliance IWA Junior Heavyweight Championship (1 time) New Japan Pro-Wrestling IWGP Intercontinental Championship (1 time) Pro Wrestling Illustrated Faction of the Year (2021) – with The Inner Circle Feud of the Decade (2000s) Feud of the Year (2008) Feud of the Year (2021) Most Hated Wrestler of the Year (2002, 2008) Ranked No.",
"Filmography Film Television Video games Championships and accomplishments All Elite Wrestling AEW World Championship (1 time) AEW Dynamite Awards (2 times) Bleacher Report PPV Moment of the Year (2021) – Biggest Beatdown (2021) – The Baltimore Sun Feud of the Year (2008) Canadian Rocky Mountain Wrestling CRMW North American Heavyweight Championship (1 time) CRMW North American Tag Team Championship (2 times) – with Lance Storm CRMW Mid-Heavyweight Championship (2 times) Consejo Mundial de Lucha Libre NWA World Middleweight Championship (1 time) Extreme Championship Wrestling ECW World Television Championship (1 time) International Wrestling Alliance IWA Junior Heavyweight Championship (1 time) New Japan Pro-Wrestling IWGP Intercontinental Championship (1 time) Pro Wrestling Illustrated Faction of the Year (2021) – with The Inner Circle Feud of the Decade (2000s) Feud of the Year (2008) Feud of the Year (2021) Most Hated Wrestler of the Year (2002, 2008) Ranked No. 2 of the top 500 singles wrestlers in the PWI 500 in 2009 Rolling Stone Ranked No.",
"2 of the top 500 singles wrestlers in the PWI 500 in 2009 Rolling Stone Ranked No. 3 of the 10 best WWE wrestlers of 2016 World Championship Wrestling WCW Cruiserweight Championship (4 times) WCW World Television Championship (1 time) World Wrestling Federation/Entertainment/WWE Undisputed WWF Championship (1 time) World Heavyweight Championship (3 times) WCW/World Championship (2 times) WWF/WWE Intercontinental Championship (9 times) WWE United States Championship (2 times) WWF European Championship (1 time) WWF Hardcore Championship (1 time) WWE Tag Team Championship (2 times) – with Edge (1) and Big Show (1) WWF/World Tag Team Championship (5 times) – with Chris Benoit (1), The Rock (1), Christian (1), Edge (1), and Big Show (1) Bragging Rights Trophy (2009) – with Team SmackDown WWF Undisputed Championship Tournament (2001) Fourth Grand Slam Champion Ninth Triple Crown Champion Slammy Award (3 times) Extreme Moment of the Year (2014) Superstar of the Year (2008) Tag Team of the Year (2009) – with Big Show Wrestle Association \"R\" WAR International Junior Heavyweight Championship (1 time) WAR International Junior Heavyweight Tag Team Championship (1 time) – with Gedo World Wrestling Association WWA Tag Team Championship (1 time) – with El Dandy Wrestling Observer Newsletter Wrestler of the Year (2008, 2009, 2019) Best on Interviews (2003, 2008, 2009, 2019) Best on Interviews of the Decade (2000s) Feud of the Year (2008) Pro Wrestling Match of the Year (2008) Most Underrated Wrestler (1999, 2000) Readers' Favorite Wrestler (1999) United States/Canada MVP (2019) Most Charismatic (2019) Best Box Office Draw (2019) Best Pro Wrestling Book (2011) Wrestling Observer Newsletter Hall of Fame (Class of 2010) Luchas de Apuestas record Notes References Further reading External links 1970 births 21st-century American male actors 21st-century American singers 21st-century Canadian male actors 21st-century Canadian male singers AEW World Champions All Elite Wrestling personnel American Christians American color commentators American game show hosts American hard rock musicians American heavy metal singers American male film actors American male professional wrestlers American male singer-songwriters American male television actors American memoirists American men podcasters American people of Scottish descent American people of Ukrainian descent American podcasters American radio personalities American rock singers American rock songwriters American YouTubers Canadian Christians Canadian colour commentators Canadian expatriate professional wrestlers in the United States Canadian game show hosts Canadian hard rock musicians Canadian heavy metal singers Canadian male film actors Canadian male professional wrestlers Canadian male singers Canadian male singer-songwriters Canadian male television actors Canadian memoirists Canadian men podcasters Canadian people of Scottish descent Canadian people of Ukrainian descent Canadian podcasters Canadian radio personalities Canadian rock singers Canadian YouTubers Christians from New York (state) ECW World Television Champions Expatriate professional wrestlers in Japan Expatriate professional wrestlers in Mexico Fozzy members IWGP Intercontinental champions Living people Male actors from New York (state) Male actors from Winnipeg Male YouTubers Musicians from Winnipeg NWA/WCW World Television Champions NWA/WCW/WWE United States Heavyweight Champions Participants in American reality television series People from Manhasset, New York Professional wrestlers from Manitoba Professional wrestlers from New York (state) Professional wrestling podcasters Red River College alumni Singer-songwriters from New York (state) Sportspeople from Winnipeg WCW World Heavyweight Champions World Heavyweight Champions (WWE) WWE Champions WWE Grand Slam champions WWF European Champions WWF/WWE Hardcore Champions WWF/WWE Intercontinental Champions"
] |
[
"Chris Jericho",
"Undisputed WWF Champion (2001-2002)",
"What is the WWF Champion",
"I don't know.",
"What WWF was undisputed",
"to become the first wrestler to hold both championships at the same time, which made him the first-ever Undisputed WWF Champion,",
"what 2 championships did he have at the same time",
"WWF Championship",
"Which other one",
"WCW Championship",
"In what year did it happen",
"I don't know."
] | C_f1fd2ce81cdd44bfb0cceafeff54588e_1 | What was taking place in the year 2001 | 6 | What was tournament taking place in the year 2001 | Chris Jericho | In the following months, Jericho became a major force in The Invasion storyline in which WCW and ECW joined forces to overtake the WWF. Jericho remained on the side of the WWF despite previously competing in WCW and ECW. However, Jericho began slow turning into a villain by showing jealousy toward fellow WWF member The Rock. They faced each other in a match at No Mercy for the WCW Championship after Jericho defeated Rob Van Dam in a number one contenders match. Jericho won the WCW Championship when he pinned The Rock after debuting a new finisher, the Breakdown, onto a steel chair, winning his first world title in the process. One night later, the two put their differences aside and won the WWF Tag Team title from the Dudley Boyz. After they lost the title to Test and Booker T, they continued their feud. On the November 5 episode of Raw, The Rock defeated Jericho to regain the WCW Championship. Following the match, Jericho attacked The Rock with a steel chair. At Survivor Series, Jericho solidified his heel turn by almost costing The Rock, and the WWF, victory in their elimination matchup by attacking The Rock again. At Vengeance, Jericho defeated both The Rock for the WCW Championship (unbranded and only referred to as the World Championship following Survivor Series) and Stone Cold Steve Austin for his first WWF Championship on the same night to become the first wrestler to hold both championships at the same time, which made him the first-ever Undisputed WWF Champion, as well as the fourth Grand Slam winner under the original format. He retained the title at Royal Rumble against The Rock and at No Way Out against Austin. Jericho later lost the title to Triple H in the main event of WrestleMania X8. After his title loss, Jericho became a member of the SmackDown! roster and continued his feud with Triple H. The rivalry culminated at Judgment Day when Triple H defeated Jericho in a Hell in a Cell match. CANNOTANSWER | Jericho became a major force in The Invasion storyline | Christopher Keith Irvine (born November 9, 1970), better known by the ring name Chris Jericho, is an American-Canadian professional wrestler and singer. He is currently signed to All Elite Wrestling (AEW), where he is the leader of The Inner Circle stable. Noted for his over-the-top rock star persona, he has been named by journalists and industry colleagues as one of the greatest professional wrestlers of all time.
During the 1990s, Jericho performed for American organizations Extreme Championship Wrestling (ECW) and World Championship Wrestling (WCW), as well as for promotions in countries such as Canada, Japan, and Mexico. At the end of 1999, he made his debut in the World Wrestling Federation (WWF). In 2001, he became the first Undisputed WWF Champion, and thus the final holder of the WCW World Heavyweight Championship (then referred to as the World Championship), having won and unified the WWF and World titles by defeating Stone Cold Steve Austin and The Rock on the same night. Jericho headlined multiple pay-per-view (PPV) events during his time with the WWF/WWE, including WrestleMania X8 and the inaugural TLC and Elimination Chamber shows. He was inducted into the Wrestling Observer Newsletter Hall of Fame in 2010.
Within the WWF/WWE, Jericho is a six-time world champion, having won the Undisputed WWF Championship once, the WCW/World Championship twice and the World Heavyweight Championship three times. He has also held the WWE Intercontinental Championship a record nine times and was the ninth Triple Crown Champion, as well as the fourth Grand Slam Champion in history. In addition, he was the 2008 Superstar of the Year Slammy Award winner and (along with Big Show as Jeri-Show) won the 2009 Tag Team of the Year Slammy Award—making him the only winner of both Superstar and Tag Team of the Year.
After his departure from WWE in 2018, Jericho signed with New Japan Pro-Wrestling (NJPW), where he became a one-time IWGP Intercontinental Champion, and becoming the first man to have held both the WWE and IWGP Intercontinental Championships. Jericho joined AEW in January 2019 and became the inaugural holder of the AEW World Championship in August of that year. All totalled, between ECW, WCW, WWE, NJPW and AEW, Jericho has held 36 championships (including seven World Championships, and 10 Intercontinental Championships).
In 1999, Jericho became lead vocalist of heavy metal band Fozzy, who released their eponymous debut album the following year. The group's early work is composed largely of cover versions, although they have focused primarily on original material from their third album, All That Remains (2005), onward. Jericho has also appeared on numerous television shows over the years, including the 2011 season of Dancing With the Stars. He hosted the ABC game show Downfall, the 2011 edition of the Revolver Golden Gods Awards, and the UK's Metal Hammer Golden Gods Awards in 2012 and 2017.
Early life
Christopher Keith Irvine was born in Manhasset, New York on November 9, 1970, the son of a Canadian couple. He is of Scottish descent from his father's side and Ukrainian descent from his mother's side. His father, ice hockey player Ted Irvine, had been playing for the New York Rangers at the time of his birth. When his father retired, the family moved back to Winnipeg, Manitoba, where Irvine grew up. He holds dual American and Canadian citizenships. Irvine's interest in professional wrestling began when he started watching the local American Wrestling Association (AWA) events that took place at the Winnipeg Arena with his family, and his desire to become a professional wrestler himself began when he saw footage of Owen Hart, then appearing with Stampede Wrestling, performing various high-flying moves. In addition, Irvine also cited Owen's older brother Bret, Ricky Steamboat and Shawn Michaels as inspirations for his becoming a professional wrestler. His first experience with a professional wrestling promotion was when he acted as part of the ring crew for the first tour of the newly opened Keystone Wrestling Alliance promotion, where he learned important pointers from independent wrestlers Catfish Charlie and Caveman Broda. He attended Red River College in Winnipeg, graduating in 1990 with a bachelor's degree in Creative Communications.
Professional wrestling career
Independent circuit (1990–1991)
At the age of 19, he entered the Hart Brothers School of Wrestling, where he met Lance Storm on his first day. He was trained by Ed Langley and local Calgary wrestler Brad Young.
Two months after completing training, he was ready to start wrestling on independent shows, making his debut at the Moose Hall in Ponoka, Alberta as "Cowboy" Chris Jericho, on October 2, 1990, in a ten-minute time limit draw against Storm. The pair then worked as a tag team, initially called Sudden Impact. According to a February 2019 interview with Rich Eisen on The Rich Eisen Show, Jericho stated that his initial name was going to be "Jack Action" however, someone remarked to him that the name was stupid, they then asked him what his name really was, he then got nervous and said "Chris Jericho". He took the name Jericho from an album, Walls of Jericho, by German power metal band, Helloween. Jericho and Storm worked for Tony Condello in the tours of Northern Manitoba with Adam Copeland (Edge), Jason Reso (Christian) and Terry Gerin (Rhino). The pair also wrestled in Calgary's Canadian National Wrestling Alliance (CNWA) and Canadian Rocky Mountain Wrestling (CRMW).
Frontier Martial-Arts Wrestling (1991)
In 1991, Jericho and Storm started touring in Japan for Frontier Martial-Arts Wrestling as Sudden Impact, where he befriended Ricky Fuji, who also trained under Stu Hart.
Consejo Mundial de Lucha Libre and other Mexican promotions (1992–1995)
In the winter of 1992, he traveled to Mexico and competed under the name Leon D'Oro ("Golden Lion", a name that fans voted on for him between "He-Man", "Chris Power", and his preferred choice "Leon D'Oro"), and later Corazón de León ("Lion Heart"), where he wrestled for several small wrestling companies.
From 1993 to 1995, he competed in Mexico's oldest promotion, Consejo Mundial de Lucha Libre (CMLL). In CMLL, Jericho took on Silver King, Negro Casas, and Último Dragón en route to an eleven-month reign as the NWA Middleweight Champion that began in December 1993.
Smoky Mountain Wrestling (1994)
1994 saw Jericho reunited with Storm, as The Thrillseekers in Jim Cornette's Appalachian Smoky Mountain Wrestling (SMW) promotion, where they feuded with the likes of Well Dunn, The Rock 'n' Roll Express, and The Heavenly Bodies.
Wrestling and Romance/WAR (1994–1996)
In late 1994, Jericho began competing regularly in Japan for Genichiro Tenryu's Wrestling and Romance (later known as Wrestle Association "R") (WAR) promotion as The Lion Heart. In November 1994, Último Dragón defeated him for the NWA World Middleweight Championship, which he had won while wrestling in Mexico.
In March 1995, Jericho lost to Gedo in the final of a tournament to crown the inaugural WAR International Junior Heavyweight Champion. He defeated Gedo for the championship in June 1995, losing it to Último Dragón the next month. In December 1995, Jericho competed in the second Super J-Cup tournament, defeating Hanzo Nakajima in the first round, but losing to Wild Pegasus in the second round.
In 1995, Jericho joined the heel stable Fuyuki-Gun ("Fuyuki Army") with Hiromichi Fuyuki, Gedo, and Jado, adopting the name Lion Do. In February 1996, Jericho and Gedo won a tournament for the newly created International Junior Heavyweight Tag Team Championship, defeating Lance Storm and Yuji Yasuraoka in the final. They lost the championship to Storm and Yasuraoka the following month. Jericho made his final appearances with WAR in July 1996, having wrestled a total of twenty-four tours for the company.
Extreme Championship Wrestling (1996)
In 1995, thanks in part to recommendations by Benoit, Dave Meltzer and Perry Saturn, to promoter Paul Heyman, and after Mick Foley saw Jericho's match against Último Dragón for the WAR International Junior Heavyweight Championship in July 1995 and gave a tape of the match to Heyman, Jericho began wrestling for the Philadelphia-based Extreme Championship Wrestling (ECW) promotion, winning the ECW World Television Championship from Pitbull #2 in June 1996 at Hardcore Heaven. While in ECW, Jericho wrestled Taz, Sabu, Rob Van Dam, Foley (as Cactus Jack), Shane Douglas, and 2 Cold Scorpio. He made his final appearance at The Doctor Is In in August 1996. It was during this time that he drew the attention of World Championship Wrestling (WCW).
World Championship Wrestling (1996 – 1999)
Early appearances (1996–1997)
Jericho debuted for WCW on August 20, 1996 by defeating Mr. JL, which aired on the August 31 episode of Saturday Night. Jericho's televised debut in WCW occurred on the August 26 episode of Monday Nitro against Alex Wright in a match which ended in a no contest. He made his pay-per-view debut on September 15 against Chris Benoit in a losing effort at Fall Brawl. The following month, at Halloween Havoc, Jericho lost to nWo member Syxx due to biased officiating by nWo referee Nick Patrick. This led to a match between Jericho and Patrick at World War 3, which stipulated that Jericho's one arm would be tied behind his back. Despite the odds stacked against him, Jericho won the match. Later that night, Jericho participated in the namesake battle royal for a future WCW World Heavyweight Championship match but failed to win the match.
Jericho represented WCW against nWo Japan member Masahiro Chono in a losing effort at the nWo Souled Out event. At SuperBrawl VII, Jericho unsuccessfully challenged Eddie Guerrero for the United States Heavyweight Championship.
Cruiserweight Champion (1997–1998)
On June 28, 1997, Jericho defeated Syxx at the Saturday Nitro live event in Los Angeles, California to win the WCW Cruiserweight Championship for the first time, thus winning the first championship of his WCW career. Jericho successfully defended the title against Ultimo Dragon at Bash at the Beach, before losing the title to Alex Wright on the July 28 episode of Monday Nitro. Jericho unsuccessfully challenged Wright for the title at Road Wild, before defeating Wright in a rematch to win his second Cruiserweight Championship on the August 16 episode of Saturday Night. Jericho began feuding with Eddie Guerrero over the title as he successfully defended the title against Guerrero at Clash of the Champions XXXV before losing the title to Guerrero at Fall Brawl. Jericho defeated Gedo at Halloween Havoc. At World War 3, Jericho participated in the namesake battle royal but failed to win.
On the January 15, 1998 episode of Thunder, Jericho defeated Eddie Guerrero to earn a title shot against Rey Mysterio Jr. for the Cruiserweight Championship at Souled Out. Jericho won the match by forcing Mysterio to submit to the Liontamer. After the match, Jericho turned heel by assaulting Mysterio's knee with a toolbox. In the storyline, Mysterio needed six months of recovery before he could return to the ring. Jericho then had a short feud with Juventud Guerrera in which Guerrera repeatedly requested a shot at Jericho's Cruiserweight Championship, but Jericho constantly rebuffed him. The feud culminated in a title versus mask match at SuperBrawl VIII. Guerrera lost the match and was forced to remove his mask. Following this match, Jericho began his ongoing gimmick of collecting and wearing to the ring trophy items from his defeated opponents, such as Guerrera's mask, Prince Iaukea's Hawaiian dress, and a headband from Disco Inferno.
Jericho then began a long feud with Dean Malenko, in which Jericho repeatedly claimed he was a better wrestler than Malenko, but refused to wrestle him. Because of his mastery of technical wrestling, Malenko was known as "The Man of 1,000 Holds", so Jericho claimed to be "The Man of 1,004 Holds"; Jericho mentions in his autobiography that this line originated from an IWA interview he saw as a child, where manager Floyd Creatchman claimed that Leo Burke, the first professional wrestler to be known as "The Man of 1,000 Holds", was now known as "The Man of 1,002 Holds", to which Floyd Creatchman stated that "he learned two more".
During the March 30, 1998 episode of Nitro, after defeating Marty Jannetty, Jericho pulled out a long pile of paper that listed each of the 1,004 holds he knew and recited them to the audience. Many of the holds were fictional, and nearly every other hold was an armbar. On the March 12, 1998 episode of Thunder, Malenko defeated a wrestler wearing Juventud Guerrera's mask who appeared to be Jericho. However, the masked wrestler was actually Lenny Lane, whom Jericho bribed to appear in the match. This started a minor feud between Lane and Jericho after Jericho refused to pay Lane. At Uncensored, Jericho finally wrestled Malenko and defeated him, after which Malenko took a leave of absence from wrestling. Jericho then proceeded to bring with him to the ring a portrait of Malenko that he insulted and demeaned. Just prior to Slamboree, J.J. Dillon (referred to by Jericho as "Jo Jo") scheduled a cruiserweight Battle Royal, the winner of which would immediately have a shot at Jericho's Cruiserweight Championship. Jericho accepted on the grounds that whoever he faced would be too tired to win a second match. At Slamboree, Jericho came out to introduce the competitors in an insulting fashion before the match started and then went backstage for coffee. An individual who appeared to be Ciclope won the battle royal after Juventud Guerrera shook his hand and then eliminated himself. The winner was a returning Malenko in disguise. Following one of the loudest crowd reactions in WCW history, Malenko proceeded to defeat Jericho for the championship. Jericho claiming he was the victim of a carefully planned conspiracy to get the belt off of him. He at first blamed the WCW locker room, then added Dillon, Ted Turner, and finally in a vignette, he walked around Washington, D.C. with the sign "conspiracy victim" and accused President Bill Clinton of being one of the conspirators after being rejected from a meeting. Eventually, Malenko vacated the title. Jericho ended up defeating Malenko at The Great American Bash to win the vacant title after Malenko was disqualified after hitting Jericho with a chair. The next night, Malenko was suspended for his actions.
At Bash at the Beach, the recently returned Rey Mysterio Jr. (who had recovered from his knee injury) defeated Jericho in a No Disqualification match after the still-suspended Malenko interfered. Jericho regained the Cruiserweight Championship from Mysterio the next night after he interrupted J.J. Dillon while Dillon was giving the championship to Mysterio. Jericho was again awarded the championship. Eventually, Jericho decisively lost the title to Juventud Guerrera in a match at Road Wild with Malenko as special referee.
World Television Champion (1998–1999)
On August 10, Jericho defeated Stevie Ray to win the World Television Championship (Stevie Ray substituting for the champion Booker T). Soon afterward, Jericho repeatedly called out WCW World Heavyweight Champion Goldberg in an attempt to begin a feud with him, but never actually wrestled him. Jericho cites Eric Bischoff, Goldberg and Hulk Hogan's refusal to book Jericho in a pay-per-view squash match loss against Goldberg, which Jericho felt would be a big draw, as a major reason for leaving the company.
On November 30, Jericho lost the World Television Championship to Konnan. In early 1999, Jericho began a feud with Perry Saturn. The feud saw Jericho and Saturn instigating bizarre stipulation matches, such as at Souled Out, where Jericho defeated Saturn in a "loser must wear a dress" match. At SuperBrawl IX, Jericho and Saturn wrestled in a "dress" match which Jericho won. Saturn finally defeated Jericho at Uncensored in a Dog Collar match. Jericho alternated between WCW and a number of Japanese tours before he signed a contract with the World Wrestling Federation (WWF) on June 30. Jericho's final WCW match came during a Peoria, Illinois, house show July 21, where he and Eddie Guerrero lost to Billy Kidman and Rey Mysterio Jr. in a tag team match.
Fifteen years after Jericho's departure from WCW, his best known entrance music within the company, "One Crazed Anarchist", lent its name to the second single from his band Fozzy's 2014 album, Do You Wanna Start a War.
New Japan Pro-Wrestling (1997–1998)
In January 1997, Jericho made his debut for New Japan Pro-Wrestling (NJPW), who had a working agreement with WCW, as Super Liger, the masked nemesis of Jyushin Thunder Liger. According to Jericho, Super Liger's first match against Koji Kanemoto at Wrestling World 1997 was so poorly received that the gimmick was dropped instantly. Jericho botched several moves in the match and complained he had difficulty seeing through the mask. The following six months, Jericho worked for New Japan unmasked, before being called back by WCW. On September 23, 1998, Jericho made a one-night-only return to NJPW at that years Big Wednesday show, teaming with Black Tiger against IWGP Junior Heavyweight Tag Team Champions Shinjiro Otani and Tatsuhito Takaiwa in a title match, which Jericho and Tiger lost.
World Wrestling Federation/Entertainment (1999 – 2005)
WWF Intercontinental Champion (1999–2001)
In the weeks before Jericho's debut, a clock labeled "countdown to the new millennium" appeared on WWF programming. On the home video, Break Down the Walls, Jericho states he was inspired to do this as his entrance when he saw a similar clock in a post office and Vince McMahon approved its use as his introduction to the WWF. The clock finally ran out on the August 9 episode of Raw Is War in Chicago, Illinois while The Rock was in the ring cutting a promo on the Big Show. Jericho entered the arena and proclaimed "Raw Is Jericho" and that he had "come to save the World Wrestling Federation", referring to himself as "Y2J" (a play on the Y2K bug). The Rock proceeded to verbally mock him for his interruption. Later that month, he would interact with several superstars including in particular interrupting a promo that The Undertaker was involved in, Jericho made his in-ring debut as a heel on August 26, losing a match against Road Dogg by disqualification on the inaugural episode of SmackDown! after he performed a powerbomb on Road Dogg through a table.
Jericho's first long-term feud was with Chyna, for the WWF Intercontinental Championship. After losing to Chyna at Survivor Series, Jericho defeated her to win his first WWF Intercontinental Championship at Armageddon. This feud included a controversial decision during a rematch in which two separate referees declared each one of them the winner of a match for the title. As a result, they became co-champions, during which Jericho turned face. He attained sole champion status at the Royal Rumble.
Jericho lost the WWF Intercontinental title to then-European Champion Kurt Angle at No Way Out. Jericho competed in a Triple Threat match against Chris Benoit and Angle at WrestleMania 2000 in a two-falls contest with both of Angle's titles at stake. Jericho won the European Championship by pinning Benoit, who in turn pinned Jericho to win the WWF Intercontinental Championship. This was the first of six pay-per-view matches between the pair within twelve months. Jericho was originally supposed to be in the main event of WrestleMania, but was taken out after Mick Foley, who was originally asked by writers to be in the match, took his place. Jericho was even advertised on the event's posters promoting the match. Jericho lost the title the next day to Eddie Guerrero on Raw after Chyna sided with Guerrero.
On the April 17 episode of Raw, Jericho upset Triple H in a WWF Championship match. Referee Earl Hebner made a fast count when Jericho pinned Triple H, causing Jericho to win the title. Hebner later reversed the decision due to pressure from Triple H, and WWE does not recognize Jericho's reign as champion. On April 19, Jericho defeated Eddie Guerrero at the Gary Albright Memorial Show organized by World Xtreme Wrestling (WXW). On the May 4 episode of SmackDown!, Jericho defeated Benoit to win his third WWF Intercontinental Championship but lost the title to Benoit four days later on Raw. Jericho's feud with Triple H ended at Fully Loaded, when they competed in a Last Man Standing match. Jericho lost the match to Triple H only by one second, despite the repeated assistance Triple H's wife, Stephanie, provided him in the match.
At the 2001 Royal Rumble, Jericho defeated Chris Benoit in a ladder match to win the WWF Intercontinental Championship for the fourth time. At WrestleMania X-Seven, he successfully defended his title in a match against William Regal, only to lose it four days later to Triple H. At Judgment Day, Jericho and Benoit won a tag team turmoil match and earned a shot at Stone Cold Steve Austin and Triple H for their WWF Tag Team Championship on Raw the next night. Benoit and Jericho won the match, in which Triple H legitimately tore his quadriceps, spending the rest of the year injured. Benoit and Jericho each became a WWF Tag Team Champion for the first time. The team defended their title in the first fatal four-way Tables, Ladders and Chairs match, where Benoit sustained a year-long injury after missing a diving headbutt through a table. Despite Benoit being carried out on a stretcher, he returned to the match to climb the ladder and retain the championship. The two lost the title one month later to The Dudley Boyz on the June 21 episode of SmackDown!. At King of the Ring, both Benoit and Jericho competed in a triple threat match for Austin's WWF Championship, in which Booker T interfered as the catalyst for The Invasion angle. Despite Booker T's interference, Austin retained the title.
Undisputed WWF Champion (2001–2002)
In the following months, Jericho became a major force in The Invasion storyline in which WCW and ECW joined forces to overtake the WWF. Jericho remained on the side of the WWF despite previously competing in WCW and ECW. However, Jericho began showing jealousy toward fellow WWF member The Rock. They faced each other in a match at No Mercy for the WCW Championship after Jericho defeated Rob Van Dam in a number one contenders match on the October 11 episode of SmackDown!. Jericho won the WCW Championship at No Mercy when he pinned The Rock after debuting a new finisher, the Breakdown, onto a steel chair, winning his first world title in the process. One night later, the two put their differences aside and won the WWF Tag Team Championship from the Dudley Boyz.
After they lost the titles to Test and Booker T on the November 1 episode of SmackDown!, they continued their feud. On the November 5 episode of Raw, The Rock defeated Jericho to regain the WCW Championship. Following the match, Jericho attacked The Rock with a steel chair. At Survivor Series, Jericho turned heel by almost costing Team WWF the victory after he was eliminated in their Winner Take All matchup by once again attacking The Rock. Despite this, Team WWF won the match. At Vengeance, Jericho defeated both The Rock for the World Championship (formerly the WCW Championship) and Stone Cold Steve Austin for his first WWF Championship on the same night to become the first wrestler to hold both championships at the same time, which made him the first-ever Undisputed WWF Champion, as well as the fourth Grand Slam winner under the original format. He retained the title at the Royal Rumble against The Rock and at No Way Out against Austin. Jericho later lost the title to Royal Rumble winner Triple H in the main event of WrestleMania X8. Jericho was later drafted to the SmackDown! brand in the inaugural WWF draft lottery. He would then appear at Backlash, interfering in Triple H's Undisputed WWF Championship match against Hollywood Hulk Hogan. He was quickly dumped out the ring, but Triple H would go on to lose the match. This would lead to a Hell in a Cell match at Judgment Day in May, where Triple H would emerge victorious. Jericho would then compete in the 2002 King of the Ring tournament, defeating Edge and The Big Valbowski to advance to the semi-finals, where he was defeated by Rob Van Dam at King of the Ring. In July, he began a feud with the debuting John Cena, losing to him at Vengeance.
Teaming and feuding with Christian (2002–2004)
After his feud with Cena ended, Jericho moved to the Raw brand on the July 29 episode of Raw, unwilling to work for SmackDown! General Manager Stephanie McMahon. Upon his arrival to the brand, he initiated a feud with Ric Flair, leading to a match at SummerSlam, which Jericho lost. On the September 16 episode of Raw, he won the WWE Intercontinental Championship for the fifth time from Rob Van Dam, before losing the title to Kane two weeks later on Raw. He then later formed a tag team with Christian, with whom he won the World Tag Team Championship by defeating Kane and The Hurricane on the October 14 episode of Raw. Christian and Jericho lost the titles to Booker T and Goldust in a fatal four-way elimination match, involving the teams of The Dudley Boyz, and William Regal and Lance Storm at Armageddon.
On the January 13 episode of Raw, Jericho won an over-the-top-rope challenge against Kane, Rob Van Dam, and Batista to select his entry number for the Royal Rumble match. He chose number two in order to start the match with Shawn Michaels, who had challenged him to prove Jericho's claims that he was better than Michaels. After Michaels's entrance, Jericho entered as the second participant. Christian, in Jericho's attire, appeared while the real Jericho attacked Shawn from behind. He eliminated Michaels shortly afterward, but Michaels got his revenge later in the match by causing Test to eliminate Jericho. Jericho spent the most time of any other wrestler in that same Royal Rumble. Jericho simultaneously feuded with Test, Michaels, and Jeff Hardy, defeating Hardy at No Way Out. Jericho and Michaels fought again at WrestleMania XIX, which Michaels won. Jericho, however, attacked Michaels with a low blow after the match following an embrace.
After this match, Jericho entered a rivalry with Goldberg, which was fueled by Goldberg's refusal to fight Jericho in WCW. During Jericho's first episode of the Highlight Reel, an interview segment, where Goldberg was the guest, he complained that no-one wanted Goldberg in WWE and continued to insult him in the following weeks. On the May 12 episode of Raw, a mystery assailant attempted to run over Goldberg with a limousine. A week later, Co-Raw General Manager, Stone Cold Steve Austin, interrogated several Raw superstars to find out who was driving the car. One of the interrogates was Lance Storm, who admitted that he was the assailant. Austin forced Storm into a match with Goldberg, who defeated Storm. After the match, Goldberg forced Storm to admit that Jericho was the superstar who conspired Storm into running him over. On the May 26 episode of Raw, Goldberg was once again a guest on the Highlight Reel. Jericho expressed jealousy towards Goldberg's success in WCW and felt that since joining WWE, he had achieved everything he had ever wanted in his career and all that was left was to defeat Goldberg and challenged him to a match. At Bad Blood, Goldberg settled the score with Jericho and defeated him.
On the October 27 episode of Raw, Jericho won his sixth WWE Intercontinental Championship when he defeated Rob Van Dam. He lost the title back to Van Dam immediately after in a steel cage match. Later in 2003, Jericho started a romance with Trish Stratus while his tag team partner Christian began one with Lita. This, however, turned out to be a bet over who could sleep with their respective paramour first, with a Canadian dollar at stake. Stratus overheard this and ended her relationship with Jericho, who seemingly felt bad for using Stratus. After he saved her from an attack by Kane, Stratus agreed that the two of them could just be "friends", thus turning Jericho face. After Christian put Stratus in the Walls of Jericho while competing against her in a match, Jericho sought revenge on Christian, which led to a match at WrestleMania XX. Christian defeated Jericho after Stratus ran down and "inadvertently" struck Jericho (thinking it was Christian) and Christian got the roll-up. After the match, Stratus turned on Jericho and revealed that she and Christian were a couple. This revelation led to a handicap match at Backlash that Jericho won. Jericho won his record-breaking seventh WWE Intercontinental Championship at Unforgiven in a ladder match against Christian, breaking the previous record held by Jeff Jarrett from 1999. Jericho's seventh reign was short lived, as he lost it at Taboo Tuesday to Shelton Benjamin.
World championship pursuits (2004–2005)
Jericho teamed up with Randy Orton, Chris Benoit, and Maven to take on Triple H, Batista, Edge, and Gene Snitsky at Survivor Series. The match stipulated that each member of the winning team would be the general manager of Raw over the next four weeks. Jericho's team won, and took turns as general manager. During Jericho's turn as general manager, the World Heavyweight Championship was vacated because a Triple Threat match for the title a week earlier ended in a draw. At New Year's Revolution, Jericho competed in the Elimination Chamber against Triple H, Chris Benoit, Batista, Randy Orton, and Edge for the vacant World Heavyweight Championship. Jericho began the match with Benoit and eliminated Edge, but was eliminated by Batista. Triple H went on to win. At WrestleMania 21, Jericho participated in the first ever Money in the Bank ladder match. Jericho suggested the match concept, and he competed in the match against Benjamin, Benoit, Kane, Christian, and Edge. Jericho lost the match when Edge claimed the briefcase.
At Backlash, Jericho challenged Shelton Benjamin for the WWE Intercontinental Championship, but lost the match. Jericho lost to Lance Storm at ECW One Night Stand. Jericho used his old "Lionheart" gimmick, instead of his more well known "Y2J" gimmick. Jericho lost the match after Jason and Justin Credible hit Jericho with a Singapore cane, which allowed Storm to win the match. The next night on Raw, Jericho turned heel by betraying WWE Champion John Cena after defeating Christian and Tyson Tomko in a tag team match. Jericho lost a Triple Threat match for the WWE Championship at Vengeance which also involved Christian and Cena. The feud continued throughout the summer and Jericho lost to Cena in a WWE Championship match at SummerSlam.
The next night on the August 22 episode of Raw, Jericho faced Cena for the WWE Championship again in a rematch, this time in a "You're fired" match. Cena won again, and Jericho was fired by Raw General Manager Eric Bischoff. Jericho was carried out of the arena by security as Kurt Angle attacked Cena. Jericho's WWE contract expired on August 25.
Return to WWE (2007–2010)
Feud with Shawn Michaels (2007–2008)
After a two-year hiatus, WWE promoted Jericho's return starting on the September 24, 2007 episode of Raw with a viral marketing campaign using a series of 15-second cryptic binary code videos, similar to the matrix digital rain used in The Matrix series. The videos contained hidden messages and biblical links related to Jericho. Jericho made his return to WWE television as a face on the November 19, 2007 episode of Raw when he interrupted Randy Orton during Orton's orchestrated "passing of the torch" ceremony. Jericho revealed his intentions to reclaim the WWE Championship in order to "save" WWE fans from Orton. On the November 26 episode of Raw, Jericho defeated Santino Marella and debuted a new finishing move called the Codebreaker. At Armageddon, he competed in a WWE title match against Orton, defeating him by disqualification when SmackDown!s color commentator John "Bradshaw" Layfield (JBL) interfered in the match, but Orton retained the title. He began a feud with JBL and met him at the Royal Rumble. Jericho was disqualified after hitting JBL with a steel chair. On the March 10 episode of Raw, Jericho captured the WWE Intercontinental Championship for a record eighth time when he defeated Jeff Hardy.
In April 2008, Jericho became involved in the ongoing feud between Shawn Michaels and Batista when he suggested that Michaels enjoyed retiring Ric Flair, causing Shawn Michaels to attack him. Jericho thus asked to be inserted into the match between Batista and Michaels at Backlash, but instead, he was appointed as the special guest referee. During the match at Backlash, Michaels feigned a knee injury so that Jericho would give him time to recover and lured Batista in for Sweet Chin Music for the win. After Backlash, Jericho accused Michaels of cheating, but Michaels continued to play up an injury. When Jericho was finally convinced and he apologized to Michaels for not believing him, Michaels then admitted to Jericho that he had faked his injury and he attacked Jericho with Sweet Chin Music. After losing to Michaels at Judgment Day, Jericho initiated a handshake after the match.
On the June 9 episode of Raw, Jericho hosted his talk show segment, The Highlight Reel, interviewing Michaels. Jericho pointed out that Michaels was still cheered by the fans despite Michaels's deceit and attack on Jericho during the previous months, whereas Jericho was booed when he tried to do the right thing. Jericho then assaulted Michaels with a low blow and sent Michaels through the "Jeritron 6000" television, damaging the eye of Michaels, and turning heel in the process. This began what was named by both Pro Wrestling Illustrated and the Wrestling Observer Newsletter the "Feud of the Year". At Night of Champions, Jericho lost the WWE Intercontinental title to Kofi Kingston after a distraction by Michaels. In June, Jericho took on Lance Cade as a protégé.
World Heavyweight Champion (2008–2009)
Afterward, Jericho developed a suit-wearing persona inspired by Javier Bardem's character Anton Chigurh from the 2007 film No Country for Old Men and wrestler Nick Bockwinkel. Jericho and Michaels met at The Great American Bash, which Jericho won after attacking the cut on Michaels's eye. At SummerSlam, Michaels said that his eye damage would force him to retire and insulted Jericho by saying he would never achieve Michaels's success. Jericho tried to attack Michaels, but Michaels ducked, so Jericho punched Michaels's wife, Rebecca, instead. As a result, they fought in an unsanctioned match at Unforgiven, which Jericho lost by referee stoppage. Later that night, Jericho entered the Championship Scramble match as a late replacement for the defending champion CM Punk and subsequently won the World Heavyweight Championship, defeating Batista, John "Bradshaw" Layfield (JBL), Kane, and Rey Mysterio. It was announced that Michaels would challenge Jericho for the championship in a ladder match at No Mercy, which Jericho won. At Cyber Sunday on October 26, Jericho lost the title to Batista, but later won it back eight days later on the 800th episode of Raw in a steel cage match. Jericho defeated Michaels in a Last Man Standing match on the November 10 episode of Raw after interference from JBL. Jericho lost the World Heavyweight Championship at Survivor Series to the returning John Cena. On the December 8 episode of Raw, Jericho was awarded the Slammy Award for 2008 Superstar of the Year award. Six days later, he lost his rematch with John Cena for the World Heavyweight Championship at Armageddon.
At the Royal Rumble on January 25, 2009, Jericho participated in the Royal Rumble match, but he was eliminated by the Undertaker. On February 15 at No Way Out, he competed in an Elimination Chamber match for the World Heavyweight Championship, but he failed to win as he was eliminated by Rey Mysterio. Following this, Jericho began a rivalry with veteran wrestlers Ric Flair, Ricky Steamboat, Jimmy Snuka and Roddy Piper, as well as actor Mickey Rourke. Jericho was originally arranged to face Rourke at WrestleMania 25, but Rourke later pulled out of the event. Instead, Jericho defeated Piper, Snuka and Steamboat in a 3-on-1 elimination handicap match at WrestleMania, but was knocked out by Rourke after the match.
On the April 13 episode of Raw, Jericho was drafted to the SmackDown brand as part of the 2009 WWE draft. Jericho then faced Steamboat in a singles match at Backlash, where Jericho was victorious. In May, Jericho started a feud with Intercontinental Champion Rey Mysterio, leading to a match at Judgment Day, which Jericho lost. However, Jericho defeated Mysterio in a No Holds Barred Match at Extreme Rules to win his ninth Intercontinental Championship, breaking his own record again. At The Bash, Jericho lost the Intercontinental Championship back to Mysterio in a mask vs. title match.
Jeri-Show and feud with Edge (2009–2010)
Later in the event, Jericho and his partner Edge won the Unified WWE Tag Team Championship as surprise entrants in a triple threat tag team match. As a result of this win, Jericho became the first wrestler to win every (original) Grand Slam eligible championship. Shortly thereafter Edge suffered an injury and Jericho revealed a clause in his contract to allow Edge to be replaced and Jericho's reign to continue uninterrupted. At Night of Champions, Jericho revealed Big Show as his new tag team partner, creating a team that would come to called Jeri-Show. The duo defeated Cody Rhodes and Ted DiBiase to retain the championship. Jeri-Show successfully defended the title against Cryme Tyme at SummerSlam, MVP and Mark Henry at Breaking Point and Rey Mysterio and Batista at Hell in a Cell. At Survivor Series, both Jericho and Big Show took part in a triple threat match for the World Heavyweight Championship, but the Undertaker successfully retained the title. At TLC: Tables, Ladders & Chairs, Jeri-Show lost the tag titles to D-Generation X (D-X) (Shawn Michaels and Triple H) in a Tables, Ladders and Chairs match. As a member of the SmackDown brand, Jericho could only appear on Raw as a champion and D-X intentionally disqualified themselves in a rematch to force Jericho off the show. On the January 4, 2010 of Raw, D-X defeated Jeri-Show to retain the championship once again, marking the end of Jeri-Show.
Jericho entered the 2010 Royal Rumble match on January 31, but was eliminated by the returning Edge, his former tag team partner, who went on to win the match. At Elimination Chamber, Jericho won the World Heavyweight Championship in an Elimination Chamber match, defeating The Undertaker, John Morrison, Rey Mysterio, CM Punk and R-Truth following interference from Shawn Michaels. The next night on Raw, Edge used his Royal Rumble win to challenge Jericho for the World Heavyweight Championship at WrestleMania XXVI. Jericho defeated Edge at WrestleMania to retain the title, but lost the championship to Jack Swagger on the following episode of SmackDown, who cashed in his Money in the Bank contract. Jericho then failed to regain the title from Swagger in a triple-threat match also involving Edge on the April 16 episode of SmackDown. Jericho and Edge continued their feud leading into Extreme Rules, where Jericho was defeated in a steel cage match.
Jericho was drafted to the Raw brand in the 2010 WWE draft. He formed a brief tag team with The Miz and unsuccessfully challenged The Hart Dynasty for the Unified WWE Tag Team Championship at Over the Limit. A month later, Jericho lost to Evan Bourne at Fatal 4-Way, but won a rematch during the following night on Raw, where he put his career on the line. On the July 19 episode of Raw, after being assaulted by The Nexus, Jericho teamed with rivals Edge, John Morrison, R-Truth, Daniel Bryan and Bret Hart in a team led by John Cena to face The Nexus at SummerSlam. Jericho and Cena bickered over leadership of the team, which led to him and Edge attacking Cena during the SummerSlam match that they won.
Jericho was punished for not showing solidarity against Nexus, when he was removed from a Six-Pack Challenge for Sheamus's WWE Championship at Night of Champions. Although he re-earned his place in the match after defeating The Hart Dynasty in a handicap steel cage match, he was the first man eliminated from the match at Night of Champions. On the September 27 episode of Raw, Jericho faced Randy Orton who punted him in the head. This was used to explain Jericho's departure from the company.
Second return to WWE (2011–2018)
Feud with CM Punk (2011–2012)
Beginning in November 2011, WWE aired cryptic vignettes that promoted a wrestler's return on the January 2, 2012 episode of Raw. On his return, after hyping the crowd and relishing their cheers for a prolonged period, Jericho left without verbally addressing his return. After exhibiting similar odd behavior in the proceeding two weeks, Jericho spoke on the January 23 episode of Raw to say, "This Sunday at the Royal Rumble, it is going to be the end of the world as you know it", but in the Royal Rumble match, he was eliminated last, by Sheamus. On the January 30 episode of Raw, Jericho began a feud with WWE Champion CM Punk after attacking him during his match with Daniel Bryan. He explained his actions by claiming other wrestlers in WWE were imitating him and named Punk as the worst offender.
At Elimination Chamber, Jericho participated in the Elimination Chamber match for the WWE Championship, entering last and eliminating Dolph Ziggler and Kofi Kingston before being knocked out of the structure by Punk, which injured him and removed him from the match without being eliminated. The following night on Raw, Jericho won a ten-man battle royal to become the number one contender for Punk's WWE Championship at WrestleMania XXVIII. In a bid to psychologically unsettle Punk, Jericho revealed that Punk's father was an alcoholic and Punk's sister was a drug addict, which contradicted Punk's straight edge philosophy; Jericho vowed to make Punk turn to alcohol by winning Punk's title from him. At WrestleMania, a stipulation was added that Punk would lose his WWE Championship if he was disqualified. During the match, Jericho unsuccessfully tried to taunt Punk into disqualifying himself, and Punk won the match.
Jericho continued his feud with Punk in the weeks that followed by attacking and dousing him with alcohol after his matches. At Extreme Rules, Jericho failed again to capture the WWE Championship from Punk in a Chicago Street Fight.
Championship pursuits (2012–2013)
Jericho faced Randy Orton, Alberto Del Rio and Sheamus in a fatal four-way match for the World Heavyweight Championship at Over the Limit, where Sheamus retained his title. On May 24 at a WWE live event in Brazil, Jericho wrestled a match against CM Punk, during which Jericho kicked a Brazilian flag, causing local police to intervene and threaten Jericho with arrest. Jericho issued an apology to the audience, enabling the event to resume. The following day, WWE suspended Jericho for 30 days while apologizing to the people and government of Brazil. Jericho returned on the June 25 episode of Raw, and his absence was explained by a European tour with his band Fozzy which happened to coincide with his suspension. At Money in the Bank, Jericho participated in the WWE Championship Money in the Bank ladder match, but failed to win as John Cena won. The following night on Raw, Jericho confronted newly crowned Mr. Money in the Bank, Dolph Ziggler, who claimed that Jericho had lost his touch. Jericho attacked Ziggler with a Codebreaker, thus turning face in the process. At SummerSlam, Jericho defeated Ziggler. The following night on Raw, Ziggler defeated Jericho in a rematch and, as a result, Ziggler retained his Money in the Bank contract and Jericho's WWE contract was terminated as per a pre match stipulation put in place by Raw General Manager, AJ Lee. This was used to write him off so he could tour with Fozzy for the remainder of the year.
On January 27, 2013, Jericho returned after a five-month hiatus entering the Royal Rumble match as the second entrant. Jericho lasted over 47 minutes before being eliminated by Dolph Ziggler. The following night on Raw, Jericho later revealed to Ziggler that due to a managerial change on Raw, he had been rehired by Vickie Guerrero, resuming his feud with Ziggler. Guerrero then paired the two in a match against WWE Tag Team Champions Team Hell No (Daniel Bryan and Kane). The match ended with Ziggler being pinned by Kane after Jericho framed him for pushing Kane. After beating Daniel Bryan on the February 11 episode of Raw, Jericho qualified for the Elimination Chamber match at Elimination Chamber (in which the winner would go on to be the number one contender for the World Heavyweight Championship at WrestleMania 29), where he was the fourth man eliminated. On the March 11 episode of Raw, Jericho faced The Miz in a No. 1 contenders match for Wade Barrett's WWE Intercontinental Championship, but the match was ruled a no contest after Barrett interfered and attacked both men. Both men then faced Barrett the following week on Raw, where he retained his title. Earlier in the episode, Jericho had a run-in with Fandango which led to Fandango costing him his match with Jack Swagger and attacking him four days later on SmackDown. At WrestleMania 29, Jericho was defeated by Fandango. They continued their feud in the following weeks, until Jericho defeated Fandango at Extreme Rules. He then faced the returning CM Punk at Payback, where he was defeated. Jericho then began feuding with Ryback, which led to a singles match on July 14 at Money in the Bank, where Ryback emerged victorious. On the July 19 episode of SmackDown, Jericho unsuccessfully challenged Curtis Axel for the WWE Intercontinental Championship and was afterwards attacked by Ryback. This was done to write Jericho off television as he was taking a temporary hiatus to tour with Fozzy for the remainder of the year and possibly January and February.
In a November interview for WWE.com, Jericho revealed that he would not be a full-time wrestler due to his musical and acting ventures.
Various sporadic feuds (2014–2016)
After an eleven-month hiatus, Jericho returned on the June 30, 2014 episode of Raw, attacking The Miz, who had also returned minutes earlier. The Wyatt Family then interrupted and ultimately attacked Jericho. Jericho faced Bray Wyatt at Battleground in a winning effort. At SummerSlam, with Wyatt Family members Luke Harper and Erick Rowan banned from ringside, Wyatt picked up the victory. On the September 8 episode of Raw, Jericho lost to Wyatt in a steel cage match, ending the feud. Jericho then feuded with Randy Orton, who had attacked him the week before after his match against Wyatt in the trainers room. Orton defeated him at Night of Champions. Throughout the rest of October and November, Jericho wrestled exclusively at live events, defeating Bray Wyatt. Jericho returned to WWE television in December as the guest general manager of the December 15 episode of Raw. Jericho booked himself in a street fight against Paul Heyman in the main event, which led to the return of Brock Lesnar. Before the match could begin, Lesnar attacked Jericho with an F-5.
In January 2015, Jericho revealed that he signed an exclusive WWE contract, under which he would compete at 16 house shows only. He later signed a similar contract once the former expired and competed at house shows throughout the rest of 2015. During this time he wrestled against the likes of Luke Harper, Kevin Owens and King Barrett in winning efforts. In May 2015, Jericho was one of the hosts of Tough Enoughs sixth season. Jericho also hosted two Live! With Chris Jericho specials on the WWE Network during 2015; his guests were John Cena and Stephanie McMahon. Jericho made his televised return at The Beast in the East, defeating Neville. At Night of Champions, Jericho was revealed as the mystery partner of Roman Reigns and Dean Ambrose, facing The Wyatt Family in a losing effort. On October 3, Jericho unsuccessfully challenged Kevin Owens for the WWE Intercontinental Championship at Live from Madison Square Garden. The match marked 20 years since Jericho's debut with ECW while also celebrating his 25th year as a professional wrestler in total.
On the January 4, 2016 episode of Raw, Jericho returned to in-ring competition full-time and confronted The New Day. At the 2016 Royal Rumble, Jericho entered as the sixth entrant, lasting over 50 minutes, before being eliminated by Dean Ambrose. On the January 25 episode of Raw, Jericho faced the recently debuted AJ Styles in a losing effort. Following the match, after initial hesitation by Jericho, the pair shook hands. On the February 11 episode of SmackDown, Jericho defeated Styles. At Fastlane, Styles was victorious in a third match between the pair. On the February 22 episode of Raw, Jericho and Styles formed a tag team, dubbed Y2AJ. Following their loss against The New Day on the March 7 episode of Raw, Jericho attacked Styles, ending their alliance, claiming that he was sick of the fans chanting for Styles instead of him, turning heel in the process. Their feud culminated at WrestleMania 32, where Jericho defeated Styles. However, on the April 4 episode of Raw, Jericho competed in a fatal-four-way match against Styles, Kevin Owens and Cesaro to determine the No. 1 contender for the WWE World Heavyweight Championship in a losing effort after being pinned by Styles, ending their feud.
The following week on Raw, Dean Ambrose interrupted The Highlight Reel, handing Jericho a note from Shane McMahon replacing the show with The Ambrose Asylum, igniting a feud between the two. During this time, Jericho tweaked his gimmick. He became arrogant and childish while wearing expensive scarfs and calling everyone who appeased him "stupid idiots". At Payback, Jericho faced Ambrose in a losing effort. After attacking one another and Ambrose destroying Jericho's light-up ring jacket, Jericho was challenged by Ambrose to an Asylum match at Extreme Rules, where Ambrose again defeated Jericho after Jericho was thrown in a pile of thumbtacks. On the May 23 episode of Raw, Jericho defeated Apollo Crews to qualify for the Money in the Bank ladder match at the Money in the Bank pay-per-view, where Jericho was unsuccessful as the match was won by Ambrose. On July 19 at the 2016 WWE draft, Jericho was drafted to the Raw brand. At Battleground on July 24, Jericho hosted a Highlight Reel segment with the returning Randy Orton, where he took an RKO from Orton after he insulted him. The next night on Raw, Jericho competed in a fatal four-way match to determine the number one contender for the newly created WWE Universal Championship at SummerSlam, but he was unsuccessful, as Roman Reigns won the match.
The List of Jericho (2016–2017)
Jericho then entered a feud with Enzo and Cass and on the August 1 episode of Raw, he teamed with Charlotte to defeat Enzo Amore and then WWE Women's Champion Sasha Banks in a mixed tag team match, after which Big Cass made the save as Jericho continued the assault on Amore. The following week on Raw, Jericho allied with Kevin Owens and later defeated Amore via disqualification when Cass interfered. This led to a tag team match at SummerSlam, where Jericho and Owens defeated Enzo and Cass. On the August 22 episode of Raw, Jericho interfered in Owens's match against Neville, allowing him to qualify for the fatal four-way match to determine the new WWE Universal Champion on the August 29 episode of Raw, which Owens won.
On the September 12 episode of Raw, Jericho hosted an episode of The Highlight Reel with Sami Zayn as his guest, who questioned his alliance with Owens, resulting in Jericho defending Owens and attacking Zayn. On the September 19 episode of Raw, as a result of feeling that he was being treated unjustly by General Manager Mick Foley, as well as other wrestlers beginning to annoy him, Jericho began a list called "The List of Jericho", where he wrote down the name of the person that bothered him and why. If someone annoyed Jericho, he would ask "you know what happens?" before shouting "you just made the list!" and writing the person's name down. The List of Jericho soon became incredibly popular with the fans, with many critics describing Jericho and his list as "easily one of the best moments of Raw's broadcast". At Clash of Champions on September 25, Jericho defeated Zayn and assisted Owens in his Universal Championship defense against Seth Rollins. At Hell in a Cell on October 30, Jericho aided Owens in retaining the Universal Championship against Rollins in a Hell in a Cell match after Owens sprayed a fire extinguisher at the referee, allowing Jericho to enter the cell.
Jericho teamed with Owens, Braun Strowman, Roman Reigns, and Seth Rollins as part of Team Raw at Survivor Series on November 20, in a losing effort. The next night on Raw, despite being banned from ringside, Jericho showed up in a Sin Cara mask and attacked Rollins, in another successful title defense for Owens. The following week on Raw, tensions between Jericho and Owens arose after both said that they did not need each other anymore, and Jericho was later attacked by Rollins in the parking lot. At Roadblock: End of the Line on December 18, Jericho lost to Rollins after Owens failed in his attempt to help him, Later that night, Jericho intentionally attacked Owens to prevent Reigns from winning the title. After both Jericho and Owens failed to win the WWE United States Championship from Reigns in multiple singles matches in late 2016, Jericho pinned Reigns in a handicap match also involving Owens on the January 9 episode of Raw to win the WWE United States Championship. Thus, Jericho won his first championship in nearly seven years and also become Grand Slam winner under the current format. Due to interfering multiple times in Owens's matches, Jericho was suspended above the ring in a shark proof cage during Reigns's rematch at the Royal Rumble pay-per-view event. Owens nonetheless retained the championship after Braun Strowman, taking advantage of the added no disqualification stipulation, interfered. Also at the event, Jericho entered as the second entrant in the Royal Rumble match, lasting over an hour (thus breaking the record with a cumulative time of over five hours) and being the third to last before being eliminated by Reigns.
In February, tensions grew between Jericho and Owens after Jericho accepted a Universal Championship challenge from Goldberg on Owens's behalf, much to the latter's dismay. On the February 13 episode of Raw, Jericho held a "Festival of Friendship" for Owens, who was not impressed and viciously attacked Jericho, ending their alliance. Jericho returned at Fastlane on March 5, distracting Owens during his match with Goldberg and causing Owens to lose the Universal Championship, turning face again in the process. This led to a match between Jericho and Owens being arranged for WrestleMania 33 on April 2, with Jericho's United States Championship on the line. At WrestleMania, Jericho lost the United States Championship to Owens. At Payback on April 30, Jericho defeated Owens to regain the title and moved to the SmackDown brand, but lost it back to him two nights later on SmackDown. Following the match, Owens attacked Jericho, who was carried out on a stretcher. Thus, Jericho was written off television so he could fulfill his commitments to tour with and promote his new album with Fozzy. Jericho made a surprise return at a house show in Singapore on June 28, where he lost to Hideo Itami.
Final matches and departure (2017–2018)
On the July 25 episode of SmackDown, Jericho made his televised return, interrupting an altercation between Kevin Owens and AJ Styles to get his rematch for Owens' WWE United States Championship. Later that night, Jericho participated in a triple threat match against Owens and Styles for the title in which Jericho was pinned by Styles. Show took place in Richmond, Virginia and was Jericho's last in-ring appearance for WWE in the United States.
On January 22, 2018 during the 25th Anniversary of Raw, Jericho appeared backstage in a segment with Elias, putting him on The List of Jericho. At the Greatest Royal Rumble, Jericho was the last entrant in the 50-man Royal Rumble match, eliminating Shelton Benjamin before being eliminated by the eventual winner Braun Strowman. This event marked Jericho's final appearance with WWE.
In September 2019, during an interview for the Mature Audiences Mayhem Podcast, Jericho revealed the exact point when he decided he was going to leave the WWE. Even though Jericho was with the WWE for 15 years, the final insult came at WrestleMania 33 in 2017. Despite the fact that Jericho and Kevin Owens had the best feud of the year, their match was demoted by placing it on the second place on the WrestleMania match card. The decision made by Vince McMahon was a big insult for Jericho and that prompted him to seek work elsewhere. Jericho reflecting his WWE departure stated:
"Originally, that was going to be the main event for the world title. Kevin Owens was the champion and I was going to beat him in the main event of WrestleMania as a babyface." Instead of having Jericho and Owens as the main event, Vince decided to put Bill Goldberg and Brock Lesnar on the main card. "Vince said that it’s going to be me versus Kevin Owens for the world title at WrestleMania and you are going to win the title, f*** yeah! Next week, he doesn’t tell me, but I hear that it’s changed to Brock Lesnar versus Bill Goldberg for the title. And not only did they take us out of the main event – and, once again, just because I was told I have no right to it and things change all the time, I’m a big boy, I can handle it. But to take us from the main event slot and then move us to the second match on the card on a card that has 12 matches on it? I was like, that’s a f***ing insult."
Return to NJPW (2017–2020)
Feud with Kenny Omega (2017–2018)
On November 5, 2017, Jericho returned to NJPW in a pre-taped vignette, challenging Kenny Omega to a match at Wrestle Kingdom 12 in Tokyo Dome. The challenge was immediately accepted by Omega and made official by NJPW the following day as a title match for Omega's IWGP United States Heavyweight Championship. The match, dubbed "Alpha vs. Omega", was Jericho's first match outside of WWE since he left WCW in July 1999. Journalist Dave Meltzer wrote that Jericho's WWE contract had expired and that he was a "free agent". NJPW also referred to Jericho as a free agent. In contrast, the Tokyo Sports newspaper described an anonymous NJPW official saying that Jericho is still under contract with WWE, and that WWE chairman Vince McMahon had given him permission to wrestle this match in NJPW. This was his first NJPW match in nearly 20 years. Jericho returned in person at the December 11 World Tag League show, attacking and bloodying Omega after his match, while also laying out a referee, a young lion and color commentator Don Callis, establishing himself as a heel. The following day at the Wrestle Kingdom 12 in Tokyo Dome press conference, Jericho and Omega would get into a second physical altercation. Because of the two incidents, NJPW turned the January 4 match into a no disqualification match. At the event, Jericho was defeated by Omega. It was later revealed that the match was awarded a five-star rating from Dave Meltzer of the Wrestling Observer Newsletter. This was the first of his career.
IWGP Intercontinental Champion (2018–2019)
The night after Wrestle Kingdom 12 in Tokyo Dome at New Year Dash!! 2018, Jericho attacked Tetsuya Naito. On May 4, Jericho once again attacked Naito at Wrestling Dontaku, leading to a match between the two at Dominion 6.9 in Osaka-jo Hall, in which he defeated Naito to win the IWGP Intercontinental Championship. At King of Pro-Wrestling, Jericho attacked Evil before his match against Zack Sabre Jr. Backstage, Jericho challenged Evil to an IWGP Intercontinental Championship title match at Power Struggle. At the event, Jericho made Evil submit to the Liontamer to retain the IWGP Intercontinental Championship. After the match, Jericho refused to release the hold until Tetsuya Naito ran in for the save and challenged Jericho. Despite Jericho stating that Naito would not receive a rematch, the match was made official for Wrestle Kingdom 13 in Tokyo Dome. On December 15, NJPW held a press conference for Jericho and Naito's IWGP Intercontinental Championship match. The press conference ended when Naito spat water in Jericho's face, which resulted in the two then brawling before being separated. Later that same day during a Road to Tokyo Dome show, Jericho laid out Naito with steel chair shots, and after stated that at Wrestle Kingdom 13 he would end Tetsuya Naito's career. At the event, Jericho was defeated by Naito, losing the IWGP Intercontinental Championship in the process.
Sporadic appearances (2019–2020)
At Dominion 6.9 in Osaka-jo Hall, Jericho challenged Kazuchika Okada for the IWGP Heavyweight Championship but was defeated. Following the match, Jericho attacked Okada, leading to Hiroshi Tanahashi making the save. Jericho returned at Power Struggle on November 3 and challenged Tanahashi to a match at Wrestle Kingdom 14. On December 28, it was announced that if Tanahashi were to defeat Jericho, he would be granted an AEW World Championship match at a later date. During the second night of Wrestle Kingdom on January 5, 2020, Jericho defeated Tanahashi.
Return to the independent circuit (2018–2019)
On September 1, 2018, Jericho (disguised as Penta El Zero) appeared at the All In show promoted by Cody and The Young Bucks, where he attacked Kenny Omega following Omega's victory over Penta to promote his upcoming Rock 'N' Wrestling Rager at Sea cruise.
In October 2018, Jericho organized Chris Jericho's Rock 'N' Wrestling Rager at Sea, a series of professional wrestling matches originating from Jericho's cruise ship, which embarked from Miami, Florida and featured wrestlers from Ring of Honor.
On May 3, 2019, Jericho appeared at a Southern Honor Wrestling event, where he was attacked by Kenny Omega.
All Elite Wrestling (2019–present)
Inaugural AEW World Champion (2019–2020)
On January 8, 2019, Jericho made a surprise appearance at a media event organized by the upstart All Elite Wrestling (AEW) promotion. Shortly afterwards, Jericho was filmed signing a full-time performers three-year contract with AEW and shaking hands with the company's President Tony Khan. Jericho defeated Kenny Omega at the promotion's inaugural event Double or Nothing on May 25, and went on to defeat Adam Page at All Out to become the inaugural AEW World Champion.
On the premiere episode of Dynamite on October 2, Jericho allied himself with Sammy Guevara, Jake Hager, Santana and Ortiz, creating a stable that would be known as The Inner Circle. Jericho would make successful title defences against Darby Allin on the October 16 episode of Dynamite and Cody at the Full Gear pay-per-view on November 9. On the episode of Dynamite after Full Gear, Jericho and Guevara challenged SoCal Uncensored (Frankie Kazarian and Scorpio Sky) for the AEW World Tag Team Championship, but they failed to win when Sky pinned Jericho with a small package, thus suffering his first loss in AEW. Jericho would successfully retain the AEW World Championship against Sky on the November 27 episode of Dynamite.
In December, The Inner Circle began to attempt to entice Jon Moxley to join the group. On the January 8, 2020 episode of Dynamite, Moxley initially joined the group, however, this was later revealed to be a ruse from Moxley as he attacked Jericho and Sammy Guevara. Moxley then became the number one contender for Jericho's championship at Revolution on February 29, where Moxley defeated Jericho to win the title, ending his inaugural AEW World Championship reign at 182 days.
Feud with MJF (2020–2021)
After losing the championship, Jericho and The Inner Circle began a feud with The Elite (Adam Page, Cody, Kenny Omega and The Young Bucks), who recruited the debuting Matt Hardy to oppose them. At Double or Nothing on May 23, The Inner Circle were defeated by Page, Omega, The Young Bucks and Hardy in a Stadium Stampede match. Jericho next began a rivalry with Orange Cassidy, with Jericho defeating him at Fyter Fest on July 8, but losing a rematch on the August 12 episode of Dynamite. The two faced once again at All Out on September 5, in a Mimosa Mayhem match, which Jericho lost.
Beginning in October, Jericho began a feud with MJF, who requested to join the Inner Circle, despite disapproval from Sammy Guevara, Santana and Ortiz. Jericho and MJF wrestled in a match at the Full Gear event on November 7, which MJF won, thus allowing him to join the Inner Circle. At Beach Break on February 3, 2021, Jericho and MJF won a tag team battle royal to become the number one contenders for the AEW World Tag Team Championship at the Revolution event against The Young Bucks, which they were unsuccessful in winning. On the March 10 episode of Dynamite, MJF betrayed and left The Inner Circle after revealing he had been secretly plotting against them and building his own stable, The Pinnacle—consisting of Wardlow, Shawn Spears and FTR (Cash Wheeler and Dax Harwood). At Blood and Guts on May 5, The Inner Circle lost to The Pinnacle in the inaugural Blood and Guts match. However, in the main event of Double or Nothing later that month, The Inner Circle defeated The Pinnacle in a Stadium Stampede match, after Sammy Guevara pinned Shawn Spears. Jericho then began pursuing another match with MJF, who stated that he would first have to defeat a gauntlet of opponents selected by MJF, in a series dubbed the "Labors of Jericho". Jericho would defeat each of MJF's handpicked opponents (Shawn Spears, Nick Gage, Juventud Guerrera and Wardlow) and faced MJF in the final labor on the August 18 episode of Dynamite, but he was defeated. Jericho demanded one more match, stipulating that if he lost, he would retire from in-ring competition, which MJF accepted. At All Out on September 5, Jericho defeated MJF to maintain his career and end their feud.
Various feuds (2021–present)
Following All Out, The Inner Circle started a rivalry with Men of the Year (Ethan Page and Scorpio Sky), and their ally, mixed martial arts (MMA) coach Dan Lambert. Lambert also brought in members of his MMA team American Top Team (ATT) to oppose The Inner Circle, including Andrei Arlovski and Junior dos Santos. At the Full Gear event on November 13, The Inner Circle defeated Men of the Year and ATT in a Minneapolis Street Fight.
Legacy
Known for his over-the-top, rock star persona, Jericho has been described by multiple industry commentators as one of the greatest professional wrestlers of all time. Journalist Chris Van Vliet noted that his name is "always thrown around as the GOAT [greatest of all time], or at least one of the GOATs", with Van Vliet himself asserting that Jericho is "if not the best, certainly one of the best". Todd Martin of the Pro Wrestling Torch remarked, to agreement from editor Wade Keller, that Jericho is "one of the great wrestlers of all time" and in "a lofty category", while likening his oeuvre to those of WWE Hall of Famers Randy Savage, Ricky Steamboat, Ted DiBiase and Dory Funk Jr. Praised for his ability to continually evolve his gimmick, Jericho was dubbed by KC Joyner of ESPN as "wrestling's David Bowie".
Various outlets have included Jericho in lists of the greatest wrestlers ever. Baltimore Sun reporter Kevin Eck, who has also served as editor of WCW Magazine and a WWE producer, featured Jericho in his "Top 10 favorite wrestlers of all time" and "Top 10 all-around performers"—the former piece noting that Jericho is "regarded as one of the very best talkers in the business". Keisha Hatchett in TV Guide wrote that Jericho "owns the mic with cerebral insults" and is set apart from peers by "his charismatic presence, which is highlighted by a laundry list of unforgettable catchphrases". He was voted by Wrestling Observer Newsletter (WON) readers as "Best on Interviews" for the 2000s decade, coinciding with his 2010 induction into the WON Hall of Fame. Fans also named Jericho the greatest WWE Intercontinental Champion of all time in a 2013 WWE poll, affording him a landslide 63% victory over the other four contenders (Mr. Perfect, The Honky Tonk Man, Rick Rude and Pat Patterson).
A number of Jericho's industry colleagues have hailed him as one of the greatest wrestlers in history. Stone Cold Steve Austin lauded his consistently "dynamic" promos and in-ring work, while arguing that he should be considered among the 10 best ever. Kenny Omega asserted that Jericho "has a legit argument for being the best of all time", based on his ability to achieve success and notoriety across numerous territories. Jon Moxley said, "Jericho is really making a case for being the greatest of all time... he's doing it again, he's doing something completely new, and breaking new barriers still here in 2020." Matt Striker pointed to Jericho's "magnanimous" nature as a contributing factor to his status as an all-time great; his willingness to impart knowledge was commended by James Ellsworth, who described Jericho as an "outstanding human being" and a childhood favorite. Kevin Owens stated that "Jericho was always someone I looked up to", while The Miz affirmed that he was part of a generation of young wrestlers who sought to "emulate" Jericho.
WWE declared Jericho a "marquee draw" with a "reputation as one of the best ever". As of 2019, he is one of the ten most prolific pay-per-view performers in company history.
After Jericho signed with All Elite Wrestling, it was said his role was similar to Terry Funk in ECW, as an experienced veteran bringing credibility to a younger promotion. Jericho was credited as one of the key attractions of AEW's weekly television broadcasts, leading to him adopting the nickname "The Demo God" due to many of the segments he appeared in being some of the highest viewed in the key demographics. He was voted as the Best Box Office Draw by readers of the Wrestling Observer Newsletter in 2019.
Music career
Jericho is the lead singer for the heavy metal band Fozzy. Since their debut album in 2000, Fozzy have released seven studio albums; Fozzy, Happenstance, All That Remains, Chasing the Grail, Sin and Bones, Do You Wanna Start a War, Judas, and one live album, Remains Alive.
In 2005, Jericho performed vocals on a cover of "The Evil That Men Do" on the Iron Maiden tribute album, Numbers from the Beast. He made a guest appearance on Dream Theater's album, Systematic Chaos on the song "Repentance", as one of several musical guests recorded apologizing to important people in their lives for wrongdoings in the past.
In the mid-1990s, Jericho wrote a monthly column for Metal Edge magazine focused on the heavy metal scene. The column ran for about a year. He started his own weekly XM Satellite Radio show in March 2005 called The Rock of Jericho, which aired Sunday nights on XM 41 The Boneyard.
Discography
Albums with Fozzy
Fozzy (2000)
Happenstance (2002)
All That Remains (2005)
Chasing the Grail (2010)
Sin and Bones (2012)
Do You Wanna Start a War (2014)
Judas (2017)
Live albums
Remains Alive (2009)
As guest
Don't You Wish You Were Me? - WWE Originals (2004)
King of the Night Time World - Spin the Bottle: An All-Star Tribute to Kiss (2004) * With Rich Ward, Mike Inez, Fred Coury
Bullet for My Valentine – Temper Temper – Dead to the World (2013)
Devin Townsend – Dark Matters (2014)
Michael Sweet – I'm Not Your Suicide – Anybody Else (2014)
Other endeavors
Film, theater, comedy, and writing
In 2000, a WWE produced VHS tape documenting Jericho's career titled Break Down the Walls was released. He later received two three disc sets profiling matches and interviews.
On June 24, 2006, Jericho premiered in his first Sci-Fi Channel movie Android Apocalypse alongside Scott Bairstow and Joey Lawrence.
Jericho debuted as a stage actor in a comedy play Opening Night, which premiered at the Toronto Centre for the Arts during July 20–22, 2006 in Toronto. During his stay in Toronto, Jericho hosted the sketch comedy show Sunday Night Live with sketch troupe The Sketchersons at The Brunswick House.
Jericho was also the first wrestler attached and interviewed for the wrestling documentary, Bloodstained Memoirs. The interview was recorded in the UK during a Fozzy tour in 2006.
Jericho wrote his autobiography, A Lion's Tale: Around the World in Spandex, which was released on October 25, 2007 and became a New York Times bestseller. It covers Jericho's life and wrestling career up to his debut in the WWE. Jericho's second autobiography, Undisputed: How to Become the World Champion in 1,372 Easy Steps, was released on February 16, 2011, and covers his wrestling career since his WWE debut. On October 14, 2014 Jericho's third book, The Best In The World...At What I Have No Idea, was released. It covers some untold stories of the "Save Us" era, his Fozzy career, and his multiple returns from 2011 to 2013. Jericho's fourth book, No Is a Four-Letter Word: How I Failed Spelling but Succeeded in Life, was released on August 29, 2017 and details twenty valuable lessons Jericho learned throughout his career as a wrestler and musician.
Jericho appeared in the 2009 film Albino Farm. In the film MacGruber, released May 21, 2010, he briefly appeared as Frank Korver, a former military teammate of the eponymous Green Beret, Navy Seal, and Army Ranger.
Jericho released a comedy web series on October 29, 2013 that is loosely based on his life entitled But I'm Chris Jericho! Jericho plays a former wrestler, struggling to make it big as an actor. A second season was produced in 2017 by CBC and distributed over CBC's television app and CBC.ca.
In 2016, Jericho starred in the documentary film Nine Legends alongside Mike Tyson and other wrestlers.
In August 2018, Jericho was confirmed to star in the film Killroy Was Here.
On March 14, 2019, filmmaker Kevin Smith cast Jericho as a KKK Grand Wizard in Jay and Silent Bob Reboot.
Television
Jericho was a contributor to the VH1 pop culture shows Best Week Ever, I Love the '80s, and VH1's top 100 artists.
Jericho also hosted the five-part, five-hour VH1 special 100 Most Shocking Music Moments, an update of the original special 100 Most Shocking Moments in Rock N' Roll first hosted by Mark McGrath of Sugar Ray.
On July 12, 2006, he made an appearance on G4's Attack of the Show!; he made a second appearance on August 21, 2009. In May 2006, Jericho appeared on VH1's 40 Greatest Metal Songs and Heavy: The Story of Metal as a commentator.
He was one of eight celebrities in the 2006 Fox Television singing reality show Celebrity Duets, produced by Simon Cowell, and was the first contestant eliminated. Jericho worked at a McDonald's to show off his skills while prepping for the show.
Jericho hosted his own reality show in 2008 titled Redemption Song, in which 11 women tried their hand at getting into the music scene. It was shown on Fuse TV.
He guest starred as Billy "The Body Bag" Cobb in "Xero Control", an episode of the Disney XD 2009 original series Aaron Stone.
He hosted VH1's 100 Most Shocking Music Moments, which began airing in December 2009. In June 2010, Jericho was named the host of the ABC prime-time game show Downfall.
On March 1, 2011, Chris Jericho was named one of the contestants on the 2011 lineup of Dancing with the Stars. His partner was two-time champion Cheryl Burke. This led to a wave of publicity, including an interview with Jay Leno. On April 26, Jericho was the fifth contestant eliminated on the show.
On May 5, Jericho made his third appearance as a guest on Attack of the Show! where he depicted Thor. He promoted Undisputed and hosted the Revolver Golden Gods Awards on May 28 on VH1 Classic. On January 17, 2012, Jericho made his fourth appearance on Attack of the Show! in a segment called "Twitter Twister" where he portrayed a character called "The Twistercutioner" and read tweets as instructions for a game of Twister between Kevin and Candace. Jericho hosted the UK's Metal Hammer Golden Gods Awards in 2012 and 2017.
On February 26, 2013, Jericho began hosting a robot combat competition program on SyFy titled Robot Combat League the series ended on April 23, 2015.
Talk Is Jericho podcast
In December 2013, Jericho began hosting his own podcast, Talk is Jericho. Episodes usually include a loosely scripted monolog before an interview, typically with a wrestler, rock musician or paranormal expert. The show originally appeared on PodcastOne, before moving to the WestwoodOne network in 2018. Notable guests on the show include Bruce Dickinson from Iron Maiden, Lemmy from Motörhead, Paul Stanley from KISS, Zak Bagans from Ghost Adventures, pornographic actress Asa Akira, writer/director Kevin Smith and many former and current wrestlers.
In April 2015, Jericho hosted his own video podcast on the WWE Network, Live! with Chris Jericho, with John Cena as his first guest, followed by Stephanie McMahon as his guest later that same month.
Once he signed with AEW, he was no longer allowed WWE performers as guests on the podcast.
Web
On August 10, 2019, Jericho launched his own dirtsheet website called WebIsJericho.com. The website is dedicated to the memory of Axl Rotten.
In May 2020, Jericho officially joined as a competitor of the Movie Trivia Schmoedown under manager Roxy Striar in the Roxstars faction. Jericho first expressed interest in the Schmoedown following an appearance on Collider Live with Striar and Schmoedown commissioner Kristian Harloff. He became friends with Striar following the interview and kept in contact. During the 2020 season, Jericho contacted Striar, asking to be a part of the league. Striar formally drafted Jericho into her faction during the first free-agent period following the season-opening draft. His first match is scheduled for August 27 against Kevin Smith.
Cruises
In 2017, Jericho launched Chris Jericho's Rock 'N' Wrestling Rager at Sea, a cruise "combining the worlds of rock and wrestling with a once in a lifetime amazing vacation experience". The cruise featured live band performances, artist-hosted activities and a Sea of Honor Tournament with over a dozen Ring of Honor wrestlers competing. Guests had the opportunity to get up close and personal with Chris and his closest wrestling, comedian, and musician friends including Jim Ross, Diamond Dallas Page and Jim Breuer, among others. The cruise sailed October 27–31, 2018 from Miami to Nassau, Bahamas.
Jericho hosted a second cruise, Chris Jericho's Rock 'N' Wrestling Rager at Sea Part Deux: Second Wave, which run from January 20–24, 2020. A third cruise, Chris Jericho's Rock 'N' Wrestling Rager at Sea Triple Whammy, is scheduled for October 21–25, 2021.
Video games
Jericho has appeared in numerous video games. They include WCW/nWo Revenge, WCW Nitro, WCW/nWo Thunder, WCW Mayhem, WWF WrestleMania 2000, WWF No Mercy, WWF SmackDown!, WWF SmackDown! 2: Know Your Role, WWF SmackDown! Just Bring It, WWF Raw, WWE SmackDown! Shut Your Mouth, WWE SmackDown! Here Comes the Pain, WWE SmackDown! vs. Raw, WWE SmackDown! vs. Raw 2006, WWE SmackDown vs. Raw 2009, WWE All Stars, WWE SmackDown vs. Raw 2010, WWE SmackDown vs. Raw 2011, WWE '13, WWE 2K14, WWE 2K15, WWE 2K16, WWE 2K17, WWE 2K18, WWE 2K19 and the upcoming All Elite Wrestling video game.
Personal life
Irvine married Jessica Lockhart on July 30, 2000. They reside in Odessa, Florida, with their three children: son Ash Edward Irvine (born 2003) and identical twin daughters Sierra Loretta "SiSi" Irvine and Cheyenne Lee "Chey" Irvine (born 2006). All three have been guests on his podcast, Talk Is Jericho, with his son discussing fish and his daughters discussing literature. Irvine owns three cats. In October 2020, Irvine reportedly donated $3,000 to Donald Trump's presidential re-election campaign.
Irvine is a Christian. He has a tattoo of his wife's name on his ring finger. He has the letter F, representing Fozzy, on the back of his hand. Since 2012, he has gradually gotten a sleeve over his left arm. His tattoos include: the artwork of Fozzy's album Sin and Bones, a Jack-o'-lantern (Avenged Sevenfold vocalist M. Shadows, who collaborated with Fozzy on the track "Sandpaper" from Sin and Bones, also got a matching tattoo), a lake monster, and himself from his WWF debut in 1999.
On July 5, 2004, Irvine was awarded Manitoba's The Order of the Buffalo Hunt, for his achievements in wrestling and his commitment to working with underprivileged children. – "After that, Gary Doer, the premier of Manitoba, awarded me with the Order of the Buffalo Hunt, which was the province's highest honor. It was quite the prestigious prize, which has been given to such dignitaries such as Mother Teresa, Desmond Tutu, Jimmy Carter, Pope John Paul II, and now Chris Jericho." / caption: "Manitoba Premier Gary Doer presents me with the Order of the Buffalo Hunt, along with a tiny bronze buffalo. I'm thinking, 'That's all I get?'"
Since January 2012, Irvine (along with former NFL Quarterback Tim Tebow, former NFL player Derrick Brooks, and former Atlanta Braves player Chipper Jones) has been the co-owner of a sports training facility in Tampa, a franchise site of D1 Sports Training and Therapy.
Irvine is a fan of Japanese convenience store chain Lawson, which Irvine would frequently shop at when he wrestled in Japan in the 1990s. Irvine still visits Lawson whenever he returns to Japan, whether to wrestle or if he is touring with Fozzy.https://www.instagram.com/p/CQCwN9vjtO_/
Legal issues
On February 7, 2009, a fan accused Irvine of punching her after she spat at him with fans outside Save-On-Foods Memorial Centre in Victoria, British Columbia after a live event. Video footage, however, clearly showed he did not make contact with the woman. As a result of the incident, police detained them, but released them without charge. Police did not press charges against anyone in the brawl as it was "hard to determine who provoked whom".
On January 27, 2010, Irvine and fellow wrestler Gregory Helms were arrested in Fort Mitchell, Kentucky after leaving a bar. A police report stated that Helms punched Irvine and the other passengers in the cab. Fellow wrestlers Christian and CM Punk bailed them out later.
Filmography
Film
Television
Video games
Championships and accomplishments
All Elite Wrestling AEW World Championship (1 time)
AEW Dynamite Awards (2 times)
Bleacher Report PPV Moment of the Year (2021) –
Biggest Beatdown (2021) –
The Baltimore Sun
Feud of the Year (2008)
Canadian Rocky Mountain Wrestling
CRMW North American Heavyweight Championship (1 time)
CRMW North American Tag Team Championship (2 times) – with Lance Storm
CRMW Mid-Heavyweight Championship (2 times)
Consejo Mundial de Lucha Libre
NWA World Middleweight Championship (1 time)
Extreme Championship Wrestling
ECW World Television Championship (1 time)
International Wrestling Alliance
IWA Junior Heavyweight Championship (1 time)
New Japan Pro-Wrestling
IWGP Intercontinental Championship (1 time)
Pro Wrestling Illustrated
Faction of the Year (2021) – with The Inner Circle
Feud of the Decade (2000s)
Feud of the Year (2008)
Feud of the Year (2021)
Most Hated Wrestler of the Year (2002, 2008)
Ranked No. 2 of the top 500 singles wrestlers in the PWI 500 in 2009
Rolling Stone
Ranked No. 3 of the 10 best WWE wrestlers of 2016
World Championship Wrestling
WCW Cruiserweight Championship (4 times)
WCW World Television Championship (1 time)
World Wrestling Federation/Entertainment/WWE
Undisputed WWF Championship (1 time)
World Heavyweight Championship (3 times)
WCW/World Championship (2 times)
WWF/WWE Intercontinental Championship (9 times)
WWE United States Championship (2 times)
WWF European Championship (1 time)
WWF Hardcore Championship (1 time)
WWE Tag Team Championship (2 times) – with Edge (1) and Big Show (1)
WWF/World Tag Team Championship (5 times) – with Chris Benoit (1), The Rock (1), Christian (1), Edge (1), and Big Show (1)
Bragging Rights Trophy (2009) – with Team SmackDown
WWF Undisputed Championship Tournament (2001)
Fourth Grand Slam Champion
Ninth Triple Crown Champion
Slammy Award (3 times)
Extreme Moment of the Year (2014)
Superstar of the Year (2008)
Tag Team of the Year (2009) – with Big Show
Wrestle Association "R"
WAR International Junior Heavyweight Championship (1 time)
WAR International Junior Heavyweight Tag Team Championship (1 time) – with Gedo
World Wrestling Association
WWA Tag Team Championship (1 time) – with El Dandy
Wrestling Observer Newsletter
Wrestler of the Year (2008, 2009, 2019)
Best on Interviews (2003, 2008, 2009, 2019)
Best on Interviews of the Decade (2000s)
Feud of the Year (2008)
Pro Wrestling Match of the Year (2008)
Most Underrated Wrestler (1999, 2000)
Readers' Favorite Wrestler (1999)
United States/Canada MVP (2019)
Most Charismatic (2019)
Best Box Office Draw (2019)
Best Pro Wrestling Book (2011)
Wrestling Observer Newsletter Hall of Fame (Class of 2010)
Luchas de Apuestas record
Notes
References
Further reading
External links
1970 births
21st-century American male actors
21st-century American singers
21st-century Canadian male actors
21st-century Canadian male singers
AEW World Champions
All Elite Wrestling personnel
American Christians
American color commentators
American game show hosts
American hard rock musicians
American heavy metal singers
American male film actors
American male professional wrestlers
American male singer-songwriters
American male television actors
American memoirists
American men podcasters
American people of Scottish descent
American people of Ukrainian descent
American podcasters
American radio personalities
American rock singers
American rock songwriters
American YouTubers
Canadian Christians
Canadian colour commentators
Canadian expatriate professional wrestlers in the United States
Canadian game show hosts
Canadian hard rock musicians
Canadian heavy metal singers
Canadian male film actors
Canadian male professional wrestlers
Canadian male singers
Canadian male singer-songwriters
Canadian male television actors
Canadian memoirists
Canadian men podcasters
Canadian people of Scottish descent
Canadian people of Ukrainian descent
Canadian podcasters
Canadian radio personalities
Canadian rock singers
Canadian YouTubers
Christians from New York (state)
ECW World Television Champions
Expatriate professional wrestlers in Japan
Expatriate professional wrestlers in Mexico
Fozzy members
IWGP Intercontinental champions
Living people
Male actors from New York (state)
Male actors from Winnipeg
Male YouTubers
Musicians from Winnipeg
NWA/WCW World Television Champions
NWA/WCW/WWE United States Heavyweight Champions
Participants in American reality television series
People from Manhasset, New York
Professional wrestlers from Manitoba
Professional wrestlers from New York (state)
Professional wrestling podcasters
Red River College alumni
Singer-songwriters from New York (state)
Sportspeople from Winnipeg
WCW World Heavyweight Champions
World Heavyweight Champions (WWE)
WWE Champions
WWE Grand Slam champions
WWF European Champions
WWF/WWE Hardcore Champions
WWF/WWE Intercontinental Champions | true | [
"The Lovelace Tavern was a bar located in what is now the Financial District of Manhattan in New York City. Owned by the then-governor of New York colony, Colonel Francis Lovelace, it was in business from 1670 until 1706. The building's remains were discovered in 1979, when construction for present-day 85 Broad Street was taking place. The building burned down in 1706, but the original foundation walls can be seen today through glass set into the sidewalk.\n\nReferences\n\nTaverns in New York (state)\n1670 establishments in New York\nFinancial District, Manhattan\nArchaeology of the United States\n1706 disestablishments in the Thirteen Colonies",
"The Geraldton Cup is an unlisted Thoroughbred horse race taking place at the Geraldton Racecourse 435km north of Perth, Australia, which was first run on 8 December 1887 with a winner's purse of £300. The race, staged over 3,200 metres, was won by Baron Necktar, a full brother to Dunlop, the Melbourne Cup winner of the same year. In 1887, the Perth Cup had a winner's purse of £250 and placed Geraldton racing ahead of what was to become one of Western Australia's most popular races.\n\nThe Geraldton Gold Cup is hosted by the Geraldton Turf Club. The prize-money for the Geraldton Cup for 2015 was $90,000 and run over 2100m.\n\nIn 2007, Tapdog became the first horse to win the race three times.\n\nPast winners\n\nNotes\n\nSports competitions in Western Australia\nHorse races in Australia\nGeraldton"
] | [
"Christopher Keith Irvine (born November 9, 1970), better known by the ring name Chris Jericho, is an American-Canadian professional wrestler and singer. He is currently signed to All Elite Wrestling (AEW), where he is the leader of The Inner Circle stable.",
"He is currently signed to All Elite Wrestling (AEW), where he is the leader of The Inner Circle stable. Noted for his over-the-top rock star persona, he has been named by journalists and industry colleagues as one of the greatest professional wrestlers of all time.",
"Noted for his over-the-top rock star persona, he has been named by journalists and industry colleagues as one of the greatest professional wrestlers of all time. During the 1990s, Jericho performed for American organizations Extreme Championship Wrestling (ECW) and World Championship Wrestling (WCW), as well as for promotions in countries such as Canada, Japan, and Mexico.",
"During the 1990s, Jericho performed for American organizations Extreme Championship Wrestling (ECW) and World Championship Wrestling (WCW), as well as for promotions in countries such as Canada, Japan, and Mexico. At the end of 1999, he made his debut in the World Wrestling Federation (WWF).",
"At the end of 1999, he made his debut in the World Wrestling Federation (WWF). In 2001, he became the first Undisputed WWF Champion, and thus the final holder of the WCW World Heavyweight Championship (then referred to as the World Championship), having won and unified the WWF and World titles by defeating Stone Cold Steve Austin and The Rock on the same night.",
"In 2001, he became the first Undisputed WWF Champion, and thus the final holder of the WCW World Heavyweight Championship (then referred to as the World Championship), having won and unified the WWF and World titles by defeating Stone Cold Steve Austin and The Rock on the same night. Jericho headlined multiple pay-per-view (PPV) events during his time with the WWF/WWE, including WrestleMania X8 and the inaugural TLC and Elimination Chamber shows.",
"Jericho headlined multiple pay-per-view (PPV) events during his time with the WWF/WWE, including WrestleMania X8 and the inaugural TLC and Elimination Chamber shows. He was inducted into the Wrestling Observer Newsletter Hall of Fame in 2010.",
"He was inducted into the Wrestling Observer Newsletter Hall of Fame in 2010. Within the WWF/WWE, Jericho is a six-time world champion, having won the Undisputed WWF Championship once, the WCW/World Championship twice and the World Heavyweight Championship three times.",
"Within the WWF/WWE, Jericho is a six-time world champion, having won the Undisputed WWF Championship once, the WCW/World Championship twice and the World Heavyweight Championship three times. He has also held the WWE Intercontinental Championship a record nine times and was the ninth Triple Crown Champion, as well as the fourth Grand Slam Champion in history.",
"He has also held the WWE Intercontinental Championship a record nine times and was the ninth Triple Crown Champion, as well as the fourth Grand Slam Champion in history. In addition, he was the 2008 Superstar of the Year Slammy Award winner and (along with Big Show as Jeri-Show) won the 2009 Tag Team of the Year Slammy Award—making him the only winner of both Superstar and Tag Team of the Year.",
"In addition, he was the 2008 Superstar of the Year Slammy Award winner and (along with Big Show as Jeri-Show) won the 2009 Tag Team of the Year Slammy Award—making him the only winner of both Superstar and Tag Team of the Year. After his departure from WWE in 2018, Jericho signed with New Japan Pro-Wrestling (NJPW), where he became a one-time IWGP Intercontinental Champion, and becoming the first man to have held both the WWE and IWGP Intercontinental Championships.",
"After his departure from WWE in 2018, Jericho signed with New Japan Pro-Wrestling (NJPW), where he became a one-time IWGP Intercontinental Champion, and becoming the first man to have held both the WWE and IWGP Intercontinental Championships. Jericho joined AEW in January 2019 and became the inaugural holder of the AEW World Championship in August of that year.",
"Jericho joined AEW in January 2019 and became the inaugural holder of the AEW World Championship in August of that year. All totalled, between ECW, WCW, WWE, NJPW and AEW, Jericho has held 36 championships (including seven World Championships, and 10 Intercontinental Championships).",
"All totalled, between ECW, WCW, WWE, NJPW and AEW, Jericho has held 36 championships (including seven World Championships, and 10 Intercontinental Championships). In 1999, Jericho became lead vocalist of heavy metal band Fozzy, who released their eponymous debut album the following year.",
"In 1999, Jericho became lead vocalist of heavy metal band Fozzy, who released their eponymous debut album the following year. The group's early work is composed largely of cover versions, although they have focused primarily on original material from their third album, All That Remains (2005), onward.",
"The group's early work is composed largely of cover versions, although they have focused primarily on original material from their third album, All That Remains (2005), onward. Jericho has also appeared on numerous television shows over the years, including the 2011 season of Dancing With the Stars.",
"Jericho has also appeared on numerous television shows over the years, including the 2011 season of Dancing With the Stars. He hosted the ABC game show Downfall, the 2011 edition of the Revolver Golden Gods Awards, and the UK's Metal Hammer Golden Gods Awards in 2012 and 2017.",
"He hosted the ABC game show Downfall, the 2011 edition of the Revolver Golden Gods Awards, and the UK's Metal Hammer Golden Gods Awards in 2012 and 2017. Early life Christopher Keith Irvine was born in Manhasset, New York on November 9, 1970, the son of a Canadian couple.",
"Early life Christopher Keith Irvine was born in Manhasset, New York on November 9, 1970, the son of a Canadian couple. He is of Scottish descent from his father's side and Ukrainian descent from his mother's side.",
"He is of Scottish descent from his father's side and Ukrainian descent from his mother's side. His father, ice hockey player Ted Irvine, had been playing for the New York Rangers at the time of his birth. When his father retired, the family moved back to Winnipeg, Manitoba, where Irvine grew up.",
"When his father retired, the family moved back to Winnipeg, Manitoba, where Irvine grew up. He holds dual American and Canadian citizenships.",
"He holds dual American and Canadian citizenships. Irvine's interest in professional wrestling began when he started watching the local American Wrestling Association (AWA) events that took place at the Winnipeg Arena with his family, and his desire to become a professional wrestler himself began when he saw footage of Owen Hart, then appearing with Stampede Wrestling, performing various high-flying moves.",
"Irvine's interest in professional wrestling began when he started watching the local American Wrestling Association (AWA) events that took place at the Winnipeg Arena with his family, and his desire to become a professional wrestler himself began when he saw footage of Owen Hart, then appearing with Stampede Wrestling, performing various high-flying moves. In addition, Irvine also cited Owen's older brother Bret, Ricky Steamboat and Shawn Michaels as inspirations for his becoming a professional wrestler.",
"In addition, Irvine also cited Owen's older brother Bret, Ricky Steamboat and Shawn Michaels as inspirations for his becoming a professional wrestler. His first experience with a professional wrestling promotion was when he acted as part of the ring crew for the first tour of the newly opened Keystone Wrestling Alliance promotion, where he learned important pointers from independent wrestlers Catfish Charlie and Caveman Broda.",
"His first experience with a professional wrestling promotion was when he acted as part of the ring crew for the first tour of the newly opened Keystone Wrestling Alliance promotion, where he learned important pointers from independent wrestlers Catfish Charlie and Caveman Broda. He attended Red River College in Winnipeg, graduating in 1990 with a bachelor's degree in Creative Communications.",
"He attended Red River College in Winnipeg, graduating in 1990 with a bachelor's degree in Creative Communications. Professional wrestling career Independent circuit (1990–1991) At the age of 19, he entered the Hart Brothers School of Wrestling, where he met Lance Storm on his first day.",
"Professional wrestling career Independent circuit (1990–1991) At the age of 19, he entered the Hart Brothers School of Wrestling, where he met Lance Storm on his first day. He was trained by Ed Langley and local Calgary wrestler Brad Young.",
"He was trained by Ed Langley and local Calgary wrestler Brad Young. Two months after completing training, he was ready to start wrestling on independent shows, making his debut at the Moose Hall in Ponoka, Alberta as \"Cowboy\" Chris Jericho, on October 2, 1990, in a ten-minute time limit draw against Storm.",
"Two months after completing training, he was ready to start wrestling on independent shows, making his debut at the Moose Hall in Ponoka, Alberta as \"Cowboy\" Chris Jericho, on October 2, 1990, in a ten-minute time limit draw against Storm. The pair then worked as a tag team, initially called Sudden Impact.",
"The pair then worked as a tag team, initially called Sudden Impact. According to a February 2019 interview with Rich Eisen on The Rich Eisen Show, Jericho stated that his initial name was going to be \"Jack Action\" however, someone remarked to him that the name was stupid, they then asked him what his name really was, he then got nervous and said \"Chris Jericho\".",
"According to a February 2019 interview with Rich Eisen on The Rich Eisen Show, Jericho stated that his initial name was going to be \"Jack Action\" however, someone remarked to him that the name was stupid, they then asked him what his name really was, he then got nervous and said \"Chris Jericho\". He took the name Jericho from an album, Walls of Jericho, by German power metal band, Helloween.",
"He took the name Jericho from an album, Walls of Jericho, by German power metal band, Helloween. Jericho and Storm worked for Tony Condello in the tours of Northern Manitoba with Adam Copeland (Edge), Jason Reso (Christian) and Terry Gerin (Rhino).",
"Jericho and Storm worked for Tony Condello in the tours of Northern Manitoba with Adam Copeland (Edge), Jason Reso (Christian) and Terry Gerin (Rhino). The pair also wrestled in Calgary's Canadian National Wrestling Alliance (CNWA) and Canadian Rocky Mountain Wrestling (CRMW).",
"The pair also wrestled in Calgary's Canadian National Wrestling Alliance (CNWA) and Canadian Rocky Mountain Wrestling (CRMW). Frontier Martial-Arts Wrestling (1991) In 1991, Jericho and Storm started touring in Japan for Frontier Martial-Arts Wrestling as Sudden Impact, where he befriended Ricky Fuji, who also trained under Stu Hart.",
"Frontier Martial-Arts Wrestling (1991) In 1991, Jericho and Storm started touring in Japan for Frontier Martial-Arts Wrestling as Sudden Impact, where he befriended Ricky Fuji, who also trained under Stu Hart. Consejo Mundial de Lucha Libre and other Mexican promotions (1992–1995) In the winter of 1992, he traveled to Mexico and competed under the name Leon D'Oro (\"Golden Lion\", a name that fans voted on for him between \"He-Man\", \"Chris Power\", and his preferred choice \"Leon D'Oro\"), and later Corazón de León (\"Lion Heart\"), where he wrestled for several small wrestling companies.",
"Consejo Mundial de Lucha Libre and other Mexican promotions (1992–1995) In the winter of 1992, he traveled to Mexico and competed under the name Leon D'Oro (\"Golden Lion\", a name that fans voted on for him between \"He-Man\", \"Chris Power\", and his preferred choice \"Leon D'Oro\"), and later Corazón de León (\"Lion Heart\"), where he wrestled for several small wrestling companies. From 1993 to 1995, he competed in Mexico's oldest promotion, Consejo Mundial de Lucha Libre (CMLL).",
"From 1993 to 1995, he competed in Mexico's oldest promotion, Consejo Mundial de Lucha Libre (CMLL). In CMLL, Jericho took on Silver King, Negro Casas, and Último Dragón en route to an eleven-month reign as the NWA Middleweight Champion that began in December 1993.",
"In CMLL, Jericho took on Silver King, Negro Casas, and Último Dragón en route to an eleven-month reign as the NWA Middleweight Champion that began in December 1993. Smoky Mountain Wrestling (1994) 1994 saw Jericho reunited with Storm, as The Thrillseekers in Jim Cornette's Appalachian Smoky Mountain Wrestling (SMW) promotion, where they feuded with the likes of Well Dunn, The Rock 'n' Roll Express, and The Heavenly Bodies.",
"Smoky Mountain Wrestling (1994) 1994 saw Jericho reunited with Storm, as The Thrillseekers in Jim Cornette's Appalachian Smoky Mountain Wrestling (SMW) promotion, where they feuded with the likes of Well Dunn, The Rock 'n' Roll Express, and The Heavenly Bodies. Wrestling and Romance/WAR (1994–1996) In late 1994, Jericho began competing regularly in Japan for Genichiro Tenryu's Wrestling and Romance (later known as Wrestle Association \"R\") (WAR) promotion as The Lion Heart.",
"Wrestling and Romance/WAR (1994–1996) In late 1994, Jericho began competing regularly in Japan for Genichiro Tenryu's Wrestling and Romance (later known as Wrestle Association \"R\") (WAR) promotion as The Lion Heart. In November 1994, Último Dragón defeated him for the NWA World Middleweight Championship, which he had won while wrestling in Mexico.",
"In November 1994, Último Dragón defeated him for the NWA World Middleweight Championship, which he had won while wrestling in Mexico. In March 1995, Jericho lost to Gedo in the final of a tournament to crown the inaugural WAR International Junior Heavyweight Champion.",
"In March 1995, Jericho lost to Gedo in the final of a tournament to crown the inaugural WAR International Junior Heavyweight Champion. He defeated Gedo for the championship in June 1995, losing it to Último Dragón the next month.",
"He defeated Gedo for the championship in June 1995, losing it to Último Dragón the next month. In December 1995, Jericho competed in the second Super J-Cup tournament, defeating Hanzo Nakajima in the first round, but losing to Wild Pegasus in the second round.",
"In December 1995, Jericho competed in the second Super J-Cup tournament, defeating Hanzo Nakajima in the first round, but losing to Wild Pegasus in the second round. In 1995, Jericho joined the heel stable Fuyuki-Gun (\"Fuyuki Army\") with Hiromichi Fuyuki, Gedo, and Jado, adopting the name Lion Do.",
"In 1995, Jericho joined the heel stable Fuyuki-Gun (\"Fuyuki Army\") with Hiromichi Fuyuki, Gedo, and Jado, adopting the name Lion Do. In February 1996, Jericho and Gedo won a tournament for the newly created International Junior Heavyweight Tag Team Championship, defeating Lance Storm and Yuji Yasuraoka in the final.",
"In February 1996, Jericho and Gedo won a tournament for the newly created International Junior Heavyweight Tag Team Championship, defeating Lance Storm and Yuji Yasuraoka in the final. They lost the championship to Storm and Yasuraoka the following month.",
"They lost the championship to Storm and Yasuraoka the following month. Jericho made his final appearances with WAR in July 1996, having wrestled a total of twenty-four tours for the company.",
"Jericho made his final appearances with WAR in July 1996, having wrestled a total of twenty-four tours for the company. Extreme Championship Wrestling (1996) In 1995, thanks in part to recommendations by Benoit, Dave Meltzer and Perry Saturn, to promoter Paul Heyman, and after Mick Foley saw Jericho's match against Último Dragón for the WAR International Junior Heavyweight Championship in July 1995 and gave a tape of the match to Heyman, Jericho began wrestling for the Philadelphia-based Extreme Championship Wrestling (ECW) promotion, winning the ECW World Television Championship from Pitbull #2 in June 1996 at Hardcore Heaven.",
"Extreme Championship Wrestling (1996) In 1995, thanks in part to recommendations by Benoit, Dave Meltzer and Perry Saturn, to promoter Paul Heyman, and after Mick Foley saw Jericho's match against Último Dragón for the WAR International Junior Heavyweight Championship in July 1995 and gave a tape of the match to Heyman, Jericho began wrestling for the Philadelphia-based Extreme Championship Wrestling (ECW) promotion, winning the ECW World Television Championship from Pitbull #2 in June 1996 at Hardcore Heaven. While in ECW, Jericho wrestled Taz, Sabu, Rob Van Dam, Foley (as Cactus Jack), Shane Douglas, and 2 Cold Scorpio.",
"While in ECW, Jericho wrestled Taz, Sabu, Rob Van Dam, Foley (as Cactus Jack), Shane Douglas, and 2 Cold Scorpio. He made his final appearance at The Doctor Is In in August 1996. It was during this time that he drew the attention of World Championship Wrestling (WCW).",
"It was during this time that he drew the attention of World Championship Wrestling (WCW). World Championship Wrestling (1996 – 1999) Early appearances (1996–1997) Jericho debuted for WCW on August 20, 1996 by defeating Mr. JL, which aired on the August 31 episode of Saturday Night.",
"World Championship Wrestling (1996 – 1999) Early appearances (1996–1997) Jericho debuted for WCW on August 20, 1996 by defeating Mr. JL, which aired on the August 31 episode of Saturday Night. Jericho's televised debut in WCW occurred on the August 26 episode of Monday Nitro against Alex Wright in a match which ended in a no contest.",
"Jericho's televised debut in WCW occurred on the August 26 episode of Monday Nitro against Alex Wright in a match which ended in a no contest. He made his pay-per-view debut on September 15 against Chris Benoit in a losing effort at Fall Brawl.",
"He made his pay-per-view debut on September 15 against Chris Benoit in a losing effort at Fall Brawl. The following month, at Halloween Havoc, Jericho lost to nWo member Syxx due to biased officiating by nWo referee Nick Patrick.",
"The following month, at Halloween Havoc, Jericho lost to nWo member Syxx due to biased officiating by nWo referee Nick Patrick. This led to a match between Jericho and Patrick at World War 3, which stipulated that Jericho's one arm would be tied behind his back. Despite the odds stacked against him, Jericho won the match.",
"Despite the odds stacked against him, Jericho won the match. Later that night, Jericho participated in the namesake battle royal for a future WCW World Heavyweight Championship match but failed to win the match. Jericho represented WCW against nWo Japan member Masahiro Chono in a losing effort at the nWo Souled Out event.",
"Jericho represented WCW against nWo Japan member Masahiro Chono in a losing effort at the nWo Souled Out event. At SuperBrawl VII, Jericho unsuccessfully challenged Eddie Guerrero for the United States Heavyweight Championship.",
"At SuperBrawl VII, Jericho unsuccessfully challenged Eddie Guerrero for the United States Heavyweight Championship. Cruiserweight Champion (1997–1998) On June 28, 1997, Jericho defeated Syxx at the Saturday Nitro live event in Los Angeles, California to win the WCW Cruiserweight Championship for the first time, thus winning the first championship of his WCW career.",
"Cruiserweight Champion (1997–1998) On June 28, 1997, Jericho defeated Syxx at the Saturday Nitro live event in Los Angeles, California to win the WCW Cruiserweight Championship for the first time, thus winning the first championship of his WCW career. Jericho successfully defended the title against Ultimo Dragon at Bash at the Beach, before losing the title to Alex Wright on the July 28 episode of Monday Nitro.",
"Jericho successfully defended the title against Ultimo Dragon at Bash at the Beach, before losing the title to Alex Wright on the July 28 episode of Monday Nitro. Jericho unsuccessfully challenged Wright for the title at Road Wild, before defeating Wright in a rematch to win his second Cruiserweight Championship on the August 16 episode of Saturday Night.",
"Jericho unsuccessfully challenged Wright for the title at Road Wild, before defeating Wright in a rematch to win his second Cruiserweight Championship on the August 16 episode of Saturday Night. Jericho began feuding with Eddie Guerrero over the title as he successfully defended the title against Guerrero at Clash of the Champions XXXV before losing the title to Guerrero at Fall Brawl.",
"Jericho began feuding with Eddie Guerrero over the title as he successfully defended the title against Guerrero at Clash of the Champions XXXV before losing the title to Guerrero at Fall Brawl. Jericho defeated Gedo at Halloween Havoc. At World War 3, Jericho participated in the namesake battle royal but failed to win.",
"At World War 3, Jericho participated in the namesake battle royal but failed to win. On the January 15, 1998 episode of Thunder, Jericho defeated Eddie Guerrero to earn a title shot against Rey Mysterio Jr. for the Cruiserweight Championship at Souled Out. Jericho won the match by forcing Mysterio to submit to the Liontamer.",
"Jericho won the match by forcing Mysterio to submit to the Liontamer. After the match, Jericho turned heel by assaulting Mysterio's knee with a toolbox. In the storyline, Mysterio needed six months of recovery before he could return to the ring.",
"In the storyline, Mysterio needed six months of recovery before he could return to the ring. Jericho then had a short feud with Juventud Guerrera in which Guerrera repeatedly requested a shot at Jericho's Cruiserweight Championship, but Jericho constantly rebuffed him. The feud culminated in a title versus mask match at SuperBrawl VIII.",
"The feud culminated in a title versus mask match at SuperBrawl VIII. Guerrera lost the match and was forced to remove his mask.",
"Guerrera lost the match and was forced to remove his mask. Following this match, Jericho began his ongoing gimmick of collecting and wearing to the ring trophy items from his defeated opponents, such as Guerrera's mask, Prince Iaukea's Hawaiian dress, and a headband from Disco Inferno.",
"Following this match, Jericho began his ongoing gimmick of collecting and wearing to the ring trophy items from his defeated opponents, such as Guerrera's mask, Prince Iaukea's Hawaiian dress, and a headband from Disco Inferno. Jericho then began a long feud with Dean Malenko, in which Jericho repeatedly claimed he was a better wrestler than Malenko, but refused to wrestle him.",
"Jericho then began a long feud with Dean Malenko, in which Jericho repeatedly claimed he was a better wrestler than Malenko, but refused to wrestle him. Because of his mastery of technical wrestling, Malenko was known as \"The Man of 1,000 Holds\", so Jericho claimed to be \"The Man of 1,004 Holds\"; Jericho mentions in his autobiography that this line originated from an IWA interview he saw as a child, where manager Floyd Creatchman claimed that Leo Burke, the first professional wrestler to be known as \"The Man of 1,000 Holds\", was now known as \"The Man of 1,002 Holds\", to which Floyd Creatchman stated that \"he learned two more\".",
"Because of his mastery of technical wrestling, Malenko was known as \"The Man of 1,000 Holds\", so Jericho claimed to be \"The Man of 1,004 Holds\"; Jericho mentions in his autobiography that this line originated from an IWA interview he saw as a child, where manager Floyd Creatchman claimed that Leo Burke, the first professional wrestler to be known as \"The Man of 1,000 Holds\", was now known as \"The Man of 1,002 Holds\", to which Floyd Creatchman stated that \"he learned two more\". During the March 30, 1998 episode of Nitro, after defeating Marty Jannetty, Jericho pulled out a long pile of paper that listed each of the 1,004 holds he knew and recited them to the audience.",
"During the March 30, 1998 episode of Nitro, after defeating Marty Jannetty, Jericho pulled out a long pile of paper that listed each of the 1,004 holds he knew and recited them to the audience. Many of the holds were fictional, and nearly every other hold was an armbar.",
"Many of the holds were fictional, and nearly every other hold was an armbar. On the March 12, 1998 episode of Thunder, Malenko defeated a wrestler wearing Juventud Guerrera's mask who appeared to be Jericho. However, the masked wrestler was actually Lenny Lane, whom Jericho bribed to appear in the match.",
"However, the masked wrestler was actually Lenny Lane, whom Jericho bribed to appear in the match. This started a minor feud between Lane and Jericho after Jericho refused to pay Lane. At Uncensored, Jericho finally wrestled Malenko and defeated him, after which Malenko took a leave of absence from wrestling.",
"At Uncensored, Jericho finally wrestled Malenko and defeated him, after which Malenko took a leave of absence from wrestling. Jericho then proceeded to bring with him to the ring a portrait of Malenko that he insulted and demeaned.",
"Jericho then proceeded to bring with him to the ring a portrait of Malenko that he insulted and demeaned. Just prior to Slamboree, J.J. Dillon (referred to by Jericho as \"Jo Jo\") scheduled a cruiserweight Battle Royal, the winner of which would immediately have a shot at Jericho's Cruiserweight Championship.",
"Just prior to Slamboree, J.J. Dillon (referred to by Jericho as \"Jo Jo\") scheduled a cruiserweight Battle Royal, the winner of which would immediately have a shot at Jericho's Cruiserweight Championship. Jericho accepted on the grounds that whoever he faced would be too tired to win a second match.",
"Jericho accepted on the grounds that whoever he faced would be too tired to win a second match. At Slamboree, Jericho came out to introduce the competitors in an insulting fashion before the match started and then went backstage for coffee.",
"At Slamboree, Jericho came out to introduce the competitors in an insulting fashion before the match started and then went backstage for coffee. An individual who appeared to be Ciclope won the battle royal after Juventud Guerrera shook his hand and then eliminated himself. The winner was a returning Malenko in disguise.",
"The winner was a returning Malenko in disguise. Following one of the loudest crowd reactions in WCW history, Malenko proceeded to defeat Jericho for the championship. Jericho claiming he was the victim of a carefully planned conspiracy to get the belt off of him.",
"Jericho claiming he was the victim of a carefully planned conspiracy to get the belt off of him. He at first blamed the WCW locker room, then added Dillon, Ted Turner, and finally in a vignette, he walked around Washington, D.C. with the sign \"conspiracy victim\" and accused President Bill Clinton of being one of the conspirators after being rejected from a meeting.",
"He at first blamed the WCW locker room, then added Dillon, Ted Turner, and finally in a vignette, he walked around Washington, D.C. with the sign \"conspiracy victim\" and accused President Bill Clinton of being one of the conspirators after being rejected from a meeting. Eventually, Malenko vacated the title.",
"Eventually, Malenko vacated the title. Jericho ended up defeating Malenko at The Great American Bash to win the vacant title after Malenko was disqualified after hitting Jericho with a chair. The next night, Malenko was suspended for his actions.",
"The next night, Malenko was suspended for his actions. At Bash at the Beach, the recently returned Rey Mysterio Jr. (who had recovered from his knee injury) defeated Jericho in a No Disqualification match after the still-suspended Malenko interfered.",
"At Bash at the Beach, the recently returned Rey Mysterio Jr. (who had recovered from his knee injury) defeated Jericho in a No Disqualification match after the still-suspended Malenko interfered. Jericho regained the Cruiserweight Championship from Mysterio the next night after he interrupted J.J. Dillon while Dillon was giving the championship to Mysterio.",
"Jericho regained the Cruiserweight Championship from Mysterio the next night after he interrupted J.J. Dillon while Dillon was giving the championship to Mysterio. Jericho was again awarded the championship. Eventually, Jericho decisively lost the title to Juventud Guerrera in a match at Road Wild with Malenko as special referee.",
"Eventually, Jericho decisively lost the title to Juventud Guerrera in a match at Road Wild with Malenko as special referee. World Television Champion (1998–1999) On August 10, Jericho defeated Stevie Ray to win the World Television Championship (Stevie Ray substituting for the champion Booker T).",
"World Television Champion (1998–1999) On August 10, Jericho defeated Stevie Ray to win the World Television Championship (Stevie Ray substituting for the champion Booker T). Soon afterward, Jericho repeatedly called out WCW World Heavyweight Champion Goldberg in an attempt to begin a feud with him, but never actually wrestled him.",
"Soon afterward, Jericho repeatedly called out WCW World Heavyweight Champion Goldberg in an attempt to begin a feud with him, but never actually wrestled him. Jericho cites Eric Bischoff, Goldberg and Hulk Hogan's refusal to book Jericho in a pay-per-view squash match loss against Goldberg, which Jericho felt would be a big draw, as a major reason for leaving the company.",
"Jericho cites Eric Bischoff, Goldberg and Hulk Hogan's refusal to book Jericho in a pay-per-view squash match loss against Goldberg, which Jericho felt would be a big draw, as a major reason for leaving the company. On November 30, Jericho lost the World Television Championship to Konnan.",
"On November 30, Jericho lost the World Television Championship to Konnan. In early 1999, Jericho began a feud with Perry Saturn. The feud saw Jericho and Saturn instigating bizarre stipulation matches, such as at Souled Out, where Jericho defeated Saturn in a \"loser must wear a dress\" match.",
"The feud saw Jericho and Saturn instigating bizarre stipulation matches, such as at Souled Out, where Jericho defeated Saturn in a \"loser must wear a dress\" match. At SuperBrawl IX, Jericho and Saturn wrestled in a \"dress\" match which Jericho won. Saturn finally defeated Jericho at Uncensored in a Dog Collar match.",
"Saturn finally defeated Jericho at Uncensored in a Dog Collar match. Jericho alternated between WCW and a number of Japanese tours before he signed a contract with the World Wrestling Federation (WWF) on June 30.",
"Jericho alternated between WCW and a number of Japanese tours before he signed a contract with the World Wrestling Federation (WWF) on June 30. Jericho's final WCW match came during a Peoria, Illinois, house show July 21, where he and Eddie Guerrero lost to Billy Kidman and Rey Mysterio Jr. in a tag team match.",
"Jericho's final WCW match came during a Peoria, Illinois, house show July 21, where he and Eddie Guerrero lost to Billy Kidman and Rey Mysterio Jr. in a tag team match. Fifteen years after Jericho's departure from WCW, his best known entrance music within the company, \"One Crazed Anarchist\", lent its name to the second single from his band Fozzy's 2014 album, Do You Wanna Start a War.",
"Fifteen years after Jericho's departure from WCW, his best known entrance music within the company, \"One Crazed Anarchist\", lent its name to the second single from his band Fozzy's 2014 album, Do You Wanna Start a War. New Japan Pro-Wrestling (1997–1998) In January 1997, Jericho made his debut for New Japan Pro-Wrestling (NJPW), who had a working agreement with WCW, as Super Liger, the masked nemesis of Jyushin Thunder Liger.",
"New Japan Pro-Wrestling (1997–1998) In January 1997, Jericho made his debut for New Japan Pro-Wrestling (NJPW), who had a working agreement with WCW, as Super Liger, the masked nemesis of Jyushin Thunder Liger. According to Jericho, Super Liger's first match against Koji Kanemoto at Wrestling World 1997 was so poorly received that the gimmick was dropped instantly.",
"According to Jericho, Super Liger's first match against Koji Kanemoto at Wrestling World 1997 was so poorly received that the gimmick was dropped instantly. Jericho botched several moves in the match and complained he had difficulty seeing through the mask. The following six months, Jericho worked for New Japan unmasked, before being called back by WCW.",
"The following six months, Jericho worked for New Japan unmasked, before being called back by WCW. On September 23, 1998, Jericho made a one-night-only return to NJPW at that years Big Wednesday show, teaming with Black Tiger against IWGP Junior Heavyweight Tag Team Champions Shinjiro Otani and Tatsuhito Takaiwa in a title match, which Jericho and Tiger lost.",
"On September 23, 1998, Jericho made a one-night-only return to NJPW at that years Big Wednesday show, teaming with Black Tiger against IWGP Junior Heavyweight Tag Team Champions Shinjiro Otani and Tatsuhito Takaiwa in a title match, which Jericho and Tiger lost. World Wrestling Federation/Entertainment (1999 – 2005) WWF Intercontinental Champion (1999–2001) In the weeks before Jericho's debut, a clock labeled \"countdown to the new millennium\" appeared on WWF programming.",
"World Wrestling Federation/Entertainment (1999 – 2005) WWF Intercontinental Champion (1999–2001) In the weeks before Jericho's debut, a clock labeled \"countdown to the new millennium\" appeared on WWF programming. On the home video, Break Down the Walls, Jericho states he was inspired to do this as his entrance when he saw a similar clock in a post office and Vince McMahon approved its use as his introduction to the WWF.",
"On the home video, Break Down the Walls, Jericho states he was inspired to do this as his entrance when he saw a similar clock in a post office and Vince McMahon approved its use as his introduction to the WWF. The clock finally ran out on the August 9 episode of Raw Is War in Chicago, Illinois while The Rock was in the ring cutting a promo on the Big Show.",
"The clock finally ran out on the August 9 episode of Raw Is War in Chicago, Illinois while The Rock was in the ring cutting a promo on the Big Show. Jericho entered the arena and proclaimed \"Raw Is Jericho\" and that he had \"come to save the World Wrestling Federation\", referring to himself as \"Y2J\" (a play on the Y2K bug).",
"Jericho entered the arena and proclaimed \"Raw Is Jericho\" and that he had \"come to save the World Wrestling Federation\", referring to himself as \"Y2J\" (a play on the Y2K bug). The Rock proceeded to verbally mock him for his interruption.",
"The Rock proceeded to verbally mock him for his interruption. Later that month, he would interact with several superstars including in particular interrupting a promo that The Undertaker was involved in, Jericho made his in-ring debut as a heel on August 26, losing a match against Road Dogg by disqualification on the inaugural episode of SmackDown!",
"Later that month, he would interact with several superstars including in particular interrupting a promo that The Undertaker was involved in, Jericho made his in-ring debut as a heel on August 26, losing a match against Road Dogg by disqualification on the inaugural episode of SmackDown! after he performed a powerbomb on Road Dogg through a table.",
"after he performed a powerbomb on Road Dogg through a table. Jericho's first long-term feud was with Chyna, for the WWF Intercontinental Championship. After losing to Chyna at Survivor Series, Jericho defeated her to win his first WWF Intercontinental Championship at Armageddon.",
"After losing to Chyna at Survivor Series, Jericho defeated her to win his first WWF Intercontinental Championship at Armageddon. This feud included a controversial decision during a rematch in which two separate referees declared each one of them the winner of a match for the title. As a result, they became co-champions, during which Jericho turned face.",
"As a result, they became co-champions, during which Jericho turned face. He attained sole champion status at the Royal Rumble. Jericho lost the WWF Intercontinental title to then-European Champion Kurt Angle at No Way Out.",
"Jericho lost the WWF Intercontinental title to then-European Champion Kurt Angle at No Way Out. Jericho competed in a Triple Threat match against Chris Benoit and Angle at WrestleMania 2000 in a two-falls contest with both of Angle's titles at stake.",
"Jericho competed in a Triple Threat match against Chris Benoit and Angle at WrestleMania 2000 in a two-falls contest with both of Angle's titles at stake. Jericho won the European Championship by pinning Benoit, who in turn pinned Jericho to win the WWF Intercontinental Championship. This was the first of six pay-per-view matches between the pair within twelve months.",
"This was the first of six pay-per-view matches between the pair within twelve months. Jericho was originally supposed to be in the main event of WrestleMania, but was taken out after Mick Foley, who was originally asked by writers to be in the match, took his place.",
"Jericho was originally supposed to be in the main event of WrestleMania, but was taken out after Mick Foley, who was originally asked by writers to be in the match, took his place. Jericho was even advertised on the event's posters promoting the match.",
"Jericho was even advertised on the event's posters promoting the match. Jericho lost the title the next day to Eddie Guerrero on Raw after Chyna sided with Guerrero. On the April 17 episode of Raw, Jericho upset Triple H in a WWF Championship match.",
"On the April 17 episode of Raw, Jericho upset Triple H in a WWF Championship match. Referee Earl Hebner made a fast count when Jericho pinned Triple H, causing Jericho to win the title. Hebner later reversed the decision due to pressure from Triple H, and WWE does not recognize Jericho's reign as champion.",
"Hebner later reversed the decision due to pressure from Triple H, and WWE does not recognize Jericho's reign as champion. On April 19, Jericho defeated Eddie Guerrero at the Gary Albright Memorial Show organized by World Xtreme Wrestling (WXW).",
"On April 19, Jericho defeated Eddie Guerrero at the Gary Albright Memorial Show organized by World Xtreme Wrestling (WXW). On the May 4 episode of SmackDown!, Jericho defeated Benoit to win his third WWF Intercontinental Championship but lost the title to Benoit four days later on Raw.",
"On the May 4 episode of SmackDown!, Jericho defeated Benoit to win his third WWF Intercontinental Championship but lost the title to Benoit four days later on Raw. Jericho's feud with Triple H ended at Fully Loaded, when they competed in a Last Man Standing match.",
"Jericho's feud with Triple H ended at Fully Loaded, when they competed in a Last Man Standing match. Jericho lost the match to Triple H only by one second, despite the repeated assistance Triple H's wife, Stephanie, provided him in the match.",
"Jericho lost the match to Triple H only by one second, despite the repeated assistance Triple H's wife, Stephanie, provided him in the match. At the 2001 Royal Rumble, Jericho defeated Chris Benoit in a ladder match to win the WWF Intercontinental Championship for the fourth time.",
"At the 2001 Royal Rumble, Jericho defeated Chris Benoit in a ladder match to win the WWF Intercontinental Championship for the fourth time. At WrestleMania X-Seven, he successfully defended his title in a match against William Regal, only to lose it four days later to Triple H. At Judgment Day, Jericho and Benoit won a tag team turmoil match and earned a shot at Stone Cold Steve Austin and Triple H for their WWF Tag Team Championship on Raw the next night.",
"At WrestleMania X-Seven, he successfully defended his title in a match against William Regal, only to lose it four days later to Triple H. At Judgment Day, Jericho and Benoit won a tag team turmoil match and earned a shot at Stone Cold Steve Austin and Triple H for their WWF Tag Team Championship on Raw the next night. Benoit and Jericho won the match, in which Triple H legitimately tore his quadriceps, spending the rest of the year injured.",
"Benoit and Jericho won the match, in which Triple H legitimately tore his quadriceps, spending the rest of the year injured. Benoit and Jericho each became a WWF Tag Team Champion for the first time.",
"Benoit and Jericho each became a WWF Tag Team Champion for the first time. The team defended their title in the first fatal four-way Tables, Ladders and Chairs match, where Benoit sustained a year-long injury after missing a diving headbutt through a table.",
"The team defended their title in the first fatal four-way Tables, Ladders and Chairs match, where Benoit sustained a year-long injury after missing a diving headbutt through a table. Despite Benoit being carried out on a stretcher, he returned to the match to climb the ladder and retain the championship.",
"Despite Benoit being carried out on a stretcher, he returned to the match to climb the ladder and retain the championship. The two lost the title one month later to The Dudley Boyz on the June 21 episode of SmackDown!.",
"The two lost the title one month later to The Dudley Boyz on the June 21 episode of SmackDown!. At King of the Ring, both Benoit and Jericho competed in a triple threat match for Austin's WWF Championship, in which Booker T interfered as the catalyst for The Invasion angle.",
"At King of the Ring, both Benoit and Jericho competed in a triple threat match for Austin's WWF Championship, in which Booker T interfered as the catalyst for The Invasion angle. Despite Booker T's interference, Austin retained the title.",
"Despite Booker T's interference, Austin retained the title. Undisputed WWF Champion (2001–2002) In the following months, Jericho became a major force in The Invasion storyline in which WCW and ECW joined forces to overtake the WWF. Jericho remained on the side of the WWF despite previously competing in WCW and ECW.",
"Jericho remained on the side of the WWF despite previously competing in WCW and ECW. However, Jericho began showing jealousy toward fellow WWF member The Rock. They faced each other in a match at No Mercy for the WCW Championship after Jericho defeated Rob Van Dam in a number one contenders match on the October 11 episode of SmackDown!.",
"They faced each other in a match at No Mercy for the WCW Championship after Jericho defeated Rob Van Dam in a number one contenders match on the October 11 episode of SmackDown!. Jericho won the WCW Championship at No Mercy when he pinned The Rock after debuting a new finisher, the Breakdown, onto a steel chair, winning his first world title in the process.",
"Jericho won the WCW Championship at No Mercy when he pinned The Rock after debuting a new finisher, the Breakdown, onto a steel chair, winning his first world title in the process. One night later, the two put their differences aside and won the WWF Tag Team Championship from the Dudley Boyz.",
"One night later, the two put their differences aside and won the WWF Tag Team Championship from the Dudley Boyz. After they lost the titles to Test and Booker T on the November 1 episode of SmackDown!, they continued their feud. On the November 5 episode of Raw, The Rock defeated Jericho to regain the WCW Championship.",
"On the November 5 episode of Raw, The Rock defeated Jericho to regain the WCW Championship. Following the match, Jericho attacked The Rock with a steel chair. At Survivor Series, Jericho turned heel by almost costing Team WWF the victory after he was eliminated in their Winner Take All matchup by once again attacking The Rock.",
"At Survivor Series, Jericho turned heel by almost costing Team WWF the victory after he was eliminated in their Winner Take All matchup by once again attacking The Rock. Despite this, Team WWF won the match.",
"Despite this, Team WWF won the match. At Vengeance, Jericho defeated both The Rock for the World Championship (formerly the WCW Championship) and Stone Cold Steve Austin for his first WWF Championship on the same night to become the first wrestler to hold both championships at the same time, which made him the first-ever Undisputed WWF Champion, as well as the fourth Grand Slam winner under the original format.",
"At Vengeance, Jericho defeated both The Rock for the World Championship (formerly the WCW Championship) and Stone Cold Steve Austin for his first WWF Championship on the same night to become the first wrestler to hold both championships at the same time, which made him the first-ever Undisputed WWF Champion, as well as the fourth Grand Slam winner under the original format. He retained the title at the Royal Rumble against The Rock and at No Way Out against Austin.",
"He retained the title at the Royal Rumble against The Rock and at No Way Out against Austin. Jericho later lost the title to Royal Rumble winner Triple H in the main event of WrestleMania X8. Jericho was later drafted to the SmackDown! brand in the inaugural WWF draft lottery.",
"brand in the inaugural WWF draft lottery. He would then appear at Backlash, interfering in Triple H's Undisputed WWF Championship match against Hollywood Hulk Hogan. He was quickly dumped out the ring, but Triple H would go on to lose the match.",
"He was quickly dumped out the ring, but Triple H would go on to lose the match. This would lead to a Hell in a Cell match at Judgment Day in May, where Triple H would emerge victorious.",
"This would lead to a Hell in a Cell match at Judgment Day in May, where Triple H would emerge victorious. Jericho would then compete in the 2002 King of the Ring tournament, defeating Edge and The Big Valbowski to advance to the semi-finals, where he was defeated by Rob Van Dam at King of the Ring.",
"Jericho would then compete in the 2002 King of the Ring tournament, defeating Edge and The Big Valbowski to advance to the semi-finals, where he was defeated by Rob Van Dam at King of the Ring. In July, he began a feud with the debuting John Cena, losing to him at Vengeance.",
"In July, he began a feud with the debuting John Cena, losing to him at Vengeance. Teaming and feuding with Christian (2002–2004) After his feud with Cena ended, Jericho moved to the Raw brand on the July 29 episode of Raw, unwilling to work for SmackDown! General Manager Stephanie McMahon.",
"General Manager Stephanie McMahon. General Manager Stephanie McMahon. Upon his arrival to the brand, he initiated a feud with Ric Flair, leading to a match at SummerSlam, which Jericho lost.",
"Upon his arrival to the brand, he initiated a feud with Ric Flair, leading to a match at SummerSlam, which Jericho lost. On the September 16 episode of Raw, he won the WWE Intercontinental Championship for the fifth time from Rob Van Dam, before losing the title to Kane two weeks later on Raw.",
"On the September 16 episode of Raw, he won the WWE Intercontinental Championship for the fifth time from Rob Van Dam, before losing the title to Kane two weeks later on Raw. He then later formed a tag team with Christian, with whom he won the World Tag Team Championship by defeating Kane and The Hurricane on the October 14 episode of Raw.",
"He then later formed a tag team with Christian, with whom he won the World Tag Team Championship by defeating Kane and The Hurricane on the October 14 episode of Raw. Christian and Jericho lost the titles to Booker T and Goldust in a fatal four-way elimination match, involving the teams of The Dudley Boyz, and William Regal and Lance Storm at Armageddon.",
"Christian and Jericho lost the titles to Booker T and Goldust in a fatal four-way elimination match, involving the teams of The Dudley Boyz, and William Regal and Lance Storm at Armageddon. On the January 13 episode of Raw, Jericho won an over-the-top-rope challenge against Kane, Rob Van Dam, and Batista to select his entry number for the Royal Rumble match.",
"On the January 13 episode of Raw, Jericho won an over-the-top-rope challenge against Kane, Rob Van Dam, and Batista to select his entry number for the Royal Rumble match. He chose number two in order to start the match with Shawn Michaels, who had challenged him to prove Jericho's claims that he was better than Michaels.",
"He chose number two in order to start the match with Shawn Michaels, who had challenged him to prove Jericho's claims that he was better than Michaels. After Michaels's entrance, Jericho entered as the second participant. Christian, in Jericho's attire, appeared while the real Jericho attacked Shawn from behind.",
"Christian, in Jericho's attire, appeared while the real Jericho attacked Shawn from behind. He eliminated Michaels shortly afterward, but Michaels got his revenge later in the match by causing Test to eliminate Jericho. Jericho spent the most time of any other wrestler in that same Royal Rumble.",
"Jericho spent the most time of any other wrestler in that same Royal Rumble. Jericho simultaneously feuded with Test, Michaels, and Jeff Hardy, defeating Hardy at No Way Out. Jericho and Michaels fought again at WrestleMania XIX, which Michaels won. Jericho, however, attacked Michaels with a low blow after the match following an embrace.",
"Jericho, however, attacked Michaels with a low blow after the match following an embrace. After this match, Jericho entered a rivalry with Goldberg, which was fueled by Goldberg's refusal to fight Jericho in WCW.",
"After this match, Jericho entered a rivalry with Goldberg, which was fueled by Goldberg's refusal to fight Jericho in WCW. During Jericho's first episode of the Highlight Reel, an interview segment, where Goldberg was the guest, he complained that no-one wanted Goldberg in WWE and continued to insult him in the following weeks.",
"During Jericho's first episode of the Highlight Reel, an interview segment, where Goldberg was the guest, he complained that no-one wanted Goldberg in WWE and continued to insult him in the following weeks. On the May 12 episode of Raw, a mystery assailant attempted to run over Goldberg with a limousine.",
"On the May 12 episode of Raw, a mystery assailant attempted to run over Goldberg with a limousine. A week later, Co-Raw General Manager, Stone Cold Steve Austin, interrogated several Raw superstars to find out who was driving the car. One of the interrogates was Lance Storm, who admitted that he was the assailant.",
"One of the interrogates was Lance Storm, who admitted that he was the assailant. Austin forced Storm into a match with Goldberg, who defeated Storm. After the match, Goldberg forced Storm to admit that Jericho was the superstar who conspired Storm into running him over.",
"After the match, Goldberg forced Storm to admit that Jericho was the superstar who conspired Storm into running him over. On the May 26 episode of Raw, Goldberg was once again a guest on the Highlight Reel.",
"On the May 26 episode of Raw, Goldberg was once again a guest on the Highlight Reel. Jericho expressed jealousy towards Goldberg's success in WCW and felt that since joining WWE, he had achieved everything he had ever wanted in his career and all that was left was to defeat Goldberg and challenged him to a match.",
"Jericho expressed jealousy towards Goldberg's success in WCW and felt that since joining WWE, he had achieved everything he had ever wanted in his career and all that was left was to defeat Goldberg and challenged him to a match. At Bad Blood, Goldberg settled the score with Jericho and defeated him.",
"At Bad Blood, Goldberg settled the score with Jericho and defeated him. On the October 27 episode of Raw, Jericho won his sixth WWE Intercontinental Championship when he defeated Rob Van Dam. He lost the title back to Van Dam immediately after in a steel cage match.",
"He lost the title back to Van Dam immediately after in a steel cage match. Later in 2003, Jericho started a romance with Trish Stratus while his tag team partner Christian began one with Lita.",
"Later in 2003, Jericho started a romance with Trish Stratus while his tag team partner Christian began one with Lita. This, however, turned out to be a bet over who could sleep with their respective paramour first, with a Canadian dollar at stake.",
"This, however, turned out to be a bet over who could sleep with their respective paramour first, with a Canadian dollar at stake. Stratus overheard this and ended her relationship with Jericho, who seemingly felt bad for using Stratus.",
"Stratus overheard this and ended her relationship with Jericho, who seemingly felt bad for using Stratus. After he saved her from an attack by Kane, Stratus agreed that the two of them could just be \"friends\", thus turning Jericho face.",
"After he saved her from an attack by Kane, Stratus agreed that the two of them could just be \"friends\", thus turning Jericho face. After Christian put Stratus in the Walls of Jericho while competing against her in a match, Jericho sought revenge on Christian, which led to a match at WrestleMania XX.",
"After Christian put Stratus in the Walls of Jericho while competing against her in a match, Jericho sought revenge on Christian, which led to a match at WrestleMania XX. Christian defeated Jericho after Stratus ran down and \"inadvertently\" struck Jericho (thinking it was Christian) and Christian got the roll-up.",
"Christian defeated Jericho after Stratus ran down and \"inadvertently\" struck Jericho (thinking it was Christian) and Christian got the roll-up. After the match, Stratus turned on Jericho and revealed that she and Christian were a couple. This revelation led to a handicap match at Backlash that Jericho won.",
"This revelation led to a handicap match at Backlash that Jericho won. Jericho won his record-breaking seventh WWE Intercontinental Championship at Unforgiven in a ladder match against Christian, breaking the previous record held by Jeff Jarrett from 1999. Jericho's seventh reign was short lived, as he lost it at Taboo Tuesday to Shelton Benjamin.",
"Jericho's seventh reign was short lived, as he lost it at Taboo Tuesday to Shelton Benjamin. World championship pursuits (2004–2005) Jericho teamed up with Randy Orton, Chris Benoit, and Maven to take on Triple H, Batista, Edge, and Gene Snitsky at Survivor Series.",
"World championship pursuits (2004–2005) Jericho teamed up with Randy Orton, Chris Benoit, and Maven to take on Triple H, Batista, Edge, and Gene Snitsky at Survivor Series. The match stipulated that each member of the winning team would be the general manager of Raw over the next four weeks.",
"The match stipulated that each member of the winning team would be the general manager of Raw over the next four weeks. Jericho's team won, and took turns as general manager.",
"Jericho's team won, and took turns as general manager. During Jericho's turn as general manager, the World Heavyweight Championship was vacated because a Triple Threat match for the title a week earlier ended in a draw.",
"During Jericho's turn as general manager, the World Heavyweight Championship was vacated because a Triple Threat match for the title a week earlier ended in a draw. At New Year's Revolution, Jericho competed in the Elimination Chamber against Triple H, Chris Benoit, Batista, Randy Orton, and Edge for the vacant World Heavyweight Championship.",
"At New Year's Revolution, Jericho competed in the Elimination Chamber against Triple H, Chris Benoit, Batista, Randy Orton, and Edge for the vacant World Heavyweight Championship. Jericho began the match with Benoit and eliminated Edge, but was eliminated by Batista. Triple H went on to win.",
"Triple H went on to win. At WrestleMania 21, Jericho participated in the first ever Money in the Bank ladder match. Jericho suggested the match concept, and he competed in the match against Benjamin, Benoit, Kane, Christian, and Edge. Jericho lost the match when Edge claimed the briefcase.",
"Jericho lost the match when Edge claimed the briefcase. At Backlash, Jericho challenged Shelton Benjamin for the WWE Intercontinental Championship, but lost the match. Jericho lost to Lance Storm at ECW One Night Stand. Jericho used his old \"Lionheart\" gimmick, instead of his more well known \"Y2J\" gimmick.",
"Jericho used his old \"Lionheart\" gimmick, instead of his more well known \"Y2J\" gimmick. Jericho lost the match after Jason and Justin Credible hit Jericho with a Singapore cane, which allowed Storm to win the match.",
"Jericho lost the match after Jason and Justin Credible hit Jericho with a Singapore cane, which allowed Storm to win the match. The next night on Raw, Jericho turned heel by betraying WWE Champion John Cena after defeating Christian and Tyson Tomko in a tag team match.",
"The next night on Raw, Jericho turned heel by betraying WWE Champion John Cena after defeating Christian and Tyson Tomko in a tag team match. Jericho lost a Triple Threat match for the WWE Championship at Vengeance which also involved Christian and Cena.",
"Jericho lost a Triple Threat match for the WWE Championship at Vengeance which also involved Christian and Cena. The feud continued throughout the summer and Jericho lost to Cena in a WWE Championship match at SummerSlam.",
"The feud continued throughout the summer and Jericho lost to Cena in a WWE Championship match at SummerSlam. The next night on the August 22 episode of Raw, Jericho faced Cena for the WWE Championship again in a rematch, this time in a \"You're fired\" match.",
"The next night on the August 22 episode of Raw, Jericho faced Cena for the WWE Championship again in a rematch, this time in a \"You're fired\" match. Cena won again, and Jericho was fired by Raw General Manager Eric Bischoff. Jericho was carried out of the arena by security as Kurt Angle attacked Cena.",
"Jericho was carried out of the arena by security as Kurt Angle attacked Cena. Jericho's WWE contract expired on August 25.",
"Jericho's WWE contract expired on August 25. Return to WWE (2007–2010) Feud with Shawn Michaels (2007–2008) After a two-year hiatus, WWE promoted Jericho's return starting on the September 24, 2007 episode of Raw with a viral marketing campaign using a series of 15-second cryptic binary code videos, similar to the matrix digital rain used in The Matrix series.",
"Return to WWE (2007–2010) Feud with Shawn Michaels (2007–2008) After a two-year hiatus, WWE promoted Jericho's return starting on the September 24, 2007 episode of Raw with a viral marketing campaign using a series of 15-second cryptic binary code videos, similar to the matrix digital rain used in The Matrix series. The videos contained hidden messages and biblical links related to Jericho.",
"The videos contained hidden messages and biblical links related to Jericho. Jericho made his return to WWE television as a face on the November 19, 2007 episode of Raw when he interrupted Randy Orton during Orton's orchestrated \"passing of the torch\" ceremony.",
"Jericho made his return to WWE television as a face on the November 19, 2007 episode of Raw when he interrupted Randy Orton during Orton's orchestrated \"passing of the torch\" ceremony. Jericho revealed his intentions to reclaim the WWE Championship in order to \"save\" WWE fans from Orton.",
"Jericho revealed his intentions to reclaim the WWE Championship in order to \"save\" WWE fans from Orton. On the November 26 episode of Raw, Jericho defeated Santino Marella and debuted a new finishing move called the Codebreaker.",
"On the November 26 episode of Raw, Jericho defeated Santino Marella and debuted a new finishing move called the Codebreaker. At Armageddon, he competed in a WWE title match against Orton, defeating him by disqualification when SmackDown!s color commentator John \"Bradshaw\" Layfield (JBL) interfered in the match, but Orton retained the title.",
"At Armageddon, he competed in a WWE title match against Orton, defeating him by disqualification when SmackDown!s color commentator John \"Bradshaw\" Layfield (JBL) interfered in the match, but Orton retained the title. He began a feud with JBL and met him at the Royal Rumble.",
"He began a feud with JBL and met him at the Royal Rumble. Jericho was disqualified after hitting JBL with a steel chair. On the March 10 episode of Raw, Jericho captured the WWE Intercontinental Championship for a record eighth time when he defeated Jeff Hardy.",
"On the March 10 episode of Raw, Jericho captured the WWE Intercontinental Championship for a record eighth time when he defeated Jeff Hardy. In April 2008, Jericho became involved in the ongoing feud between Shawn Michaels and Batista when he suggested that Michaels enjoyed retiring Ric Flair, causing Shawn Michaels to attack him.",
"In April 2008, Jericho became involved in the ongoing feud between Shawn Michaels and Batista when he suggested that Michaels enjoyed retiring Ric Flair, causing Shawn Michaels to attack him. Jericho thus asked to be inserted into the match between Batista and Michaels at Backlash, but instead, he was appointed as the special guest referee.",
"Jericho thus asked to be inserted into the match between Batista and Michaels at Backlash, but instead, he was appointed as the special guest referee. During the match at Backlash, Michaels feigned a knee injury so that Jericho would give him time to recover and lured Batista in for Sweet Chin Music for the win.",
"During the match at Backlash, Michaels feigned a knee injury so that Jericho would give him time to recover and lured Batista in for Sweet Chin Music for the win. After Backlash, Jericho accused Michaels of cheating, but Michaels continued to play up an injury.",
"After Backlash, Jericho accused Michaels of cheating, but Michaels continued to play up an injury. When Jericho was finally convinced and he apologized to Michaels for not believing him, Michaels then admitted to Jericho that he had faked his injury and he attacked Jericho with Sweet Chin Music.",
"When Jericho was finally convinced and he apologized to Michaels for not believing him, Michaels then admitted to Jericho that he had faked his injury and he attacked Jericho with Sweet Chin Music. After losing to Michaels at Judgment Day, Jericho initiated a handshake after the match.",
"After losing to Michaels at Judgment Day, Jericho initiated a handshake after the match. On the June 9 episode of Raw, Jericho hosted his talk show segment, The Highlight Reel, interviewing Michaels.",
"On the June 9 episode of Raw, Jericho hosted his talk show segment, The Highlight Reel, interviewing Michaels. Jericho pointed out that Michaels was still cheered by the fans despite Michaels's deceit and attack on Jericho during the previous months, whereas Jericho was booed when he tried to do the right thing.",
"Jericho pointed out that Michaels was still cheered by the fans despite Michaels's deceit and attack on Jericho during the previous months, whereas Jericho was booed when he tried to do the right thing. Jericho then assaulted Michaels with a low blow and sent Michaels through the \"Jeritron 6000\" television, damaging the eye of Michaels, and turning heel in the process.",
"Jericho then assaulted Michaels with a low blow and sent Michaels through the \"Jeritron 6000\" television, damaging the eye of Michaels, and turning heel in the process. This began what was named by both Pro Wrestling Illustrated and the Wrestling Observer Newsletter the \"Feud of the Year\".",
"This began what was named by both Pro Wrestling Illustrated and the Wrestling Observer Newsletter the \"Feud of the Year\". At Night of Champions, Jericho lost the WWE Intercontinental title to Kofi Kingston after a distraction by Michaels. In June, Jericho took on Lance Cade as a protégé.",
"In June, Jericho took on Lance Cade as a protégé. World Heavyweight Champion (2008–2009) Afterward, Jericho developed a suit-wearing persona inspired by Javier Bardem's character Anton Chigurh from the 2007 film No Country for Old Men and wrestler Nick Bockwinkel.",
"World Heavyweight Champion (2008–2009) Afterward, Jericho developed a suit-wearing persona inspired by Javier Bardem's character Anton Chigurh from the 2007 film No Country for Old Men and wrestler Nick Bockwinkel. Jericho and Michaels met at The Great American Bash, which Jericho won after attacking the cut on Michaels's eye.",
"Jericho and Michaels met at The Great American Bash, which Jericho won after attacking the cut on Michaels's eye. At SummerSlam, Michaels said that his eye damage would force him to retire and insulted Jericho by saying he would never achieve Michaels's success.",
"At SummerSlam, Michaels said that his eye damage would force him to retire and insulted Jericho by saying he would never achieve Michaels's success. Jericho tried to attack Michaels, but Michaels ducked, so Jericho punched Michaels's wife, Rebecca, instead.",
"Jericho tried to attack Michaels, but Michaels ducked, so Jericho punched Michaels's wife, Rebecca, instead. As a result, they fought in an unsanctioned match at Unforgiven, which Jericho lost by referee stoppage.",
"As a result, they fought in an unsanctioned match at Unforgiven, which Jericho lost by referee stoppage. Later that night, Jericho entered the Championship Scramble match as a late replacement for the defending champion CM Punk and subsequently won the World Heavyweight Championship, defeating Batista, John \"Bradshaw\" Layfield (JBL), Kane, and Rey Mysterio.",
"Later that night, Jericho entered the Championship Scramble match as a late replacement for the defending champion CM Punk and subsequently won the World Heavyweight Championship, defeating Batista, John \"Bradshaw\" Layfield (JBL), Kane, and Rey Mysterio. It was announced that Michaels would challenge Jericho for the championship in a ladder match at No Mercy, which Jericho won.",
"It was announced that Michaels would challenge Jericho for the championship in a ladder match at No Mercy, which Jericho won. At Cyber Sunday on October 26, Jericho lost the title to Batista, but later won it back eight days later on the 800th episode of Raw in a steel cage match.",
"At Cyber Sunday on October 26, Jericho lost the title to Batista, but later won it back eight days later on the 800th episode of Raw in a steel cage match. Jericho defeated Michaels in a Last Man Standing match on the November 10 episode of Raw after interference from JBL.",
"Jericho defeated Michaels in a Last Man Standing match on the November 10 episode of Raw after interference from JBL. Jericho lost the World Heavyweight Championship at Survivor Series to the returning John Cena. On the December 8 episode of Raw, Jericho was awarded the Slammy Award for 2008 Superstar of the Year award.",
"On the December 8 episode of Raw, Jericho was awarded the Slammy Award for 2008 Superstar of the Year award. Six days later, he lost his rematch with John Cena for the World Heavyweight Championship at Armageddon.",
"Six days later, he lost his rematch with John Cena for the World Heavyweight Championship at Armageddon. At the Royal Rumble on January 25, 2009, Jericho participated in the Royal Rumble match, but he was eliminated by the Undertaker.",
"At the Royal Rumble on January 25, 2009, Jericho participated in the Royal Rumble match, but he was eliminated by the Undertaker. On February 15 at No Way Out, he competed in an Elimination Chamber match for the World Heavyweight Championship, but he failed to win as he was eliminated by Rey Mysterio.",
"On February 15 at No Way Out, he competed in an Elimination Chamber match for the World Heavyweight Championship, but he failed to win as he was eliminated by Rey Mysterio. Following this, Jericho began a rivalry with veteran wrestlers Ric Flair, Ricky Steamboat, Jimmy Snuka and Roddy Piper, as well as actor Mickey Rourke.",
"Following this, Jericho began a rivalry with veteran wrestlers Ric Flair, Ricky Steamboat, Jimmy Snuka and Roddy Piper, as well as actor Mickey Rourke. Jericho was originally arranged to face Rourke at WrestleMania 25, but Rourke later pulled out of the event.",
"Jericho was originally arranged to face Rourke at WrestleMania 25, but Rourke later pulled out of the event. Instead, Jericho defeated Piper, Snuka and Steamboat in a 3-on-1 elimination handicap match at WrestleMania, but was knocked out by Rourke after the match.",
"Instead, Jericho defeated Piper, Snuka and Steamboat in a 3-on-1 elimination handicap match at WrestleMania, but was knocked out by Rourke after the match. On the April 13 episode of Raw, Jericho was drafted to the SmackDown brand as part of the 2009 WWE draft.",
"On the April 13 episode of Raw, Jericho was drafted to the SmackDown brand as part of the 2009 WWE draft. Jericho then faced Steamboat in a singles match at Backlash, where Jericho was victorious. In May, Jericho started a feud with Intercontinental Champion Rey Mysterio, leading to a match at Judgment Day, which Jericho lost.",
"In May, Jericho started a feud with Intercontinental Champion Rey Mysterio, leading to a match at Judgment Day, which Jericho lost. However, Jericho defeated Mysterio in a No Holds Barred Match at Extreme Rules to win his ninth Intercontinental Championship, breaking his own record again.",
"However, Jericho defeated Mysterio in a No Holds Barred Match at Extreme Rules to win his ninth Intercontinental Championship, breaking his own record again. At The Bash, Jericho lost the Intercontinental Championship back to Mysterio in a mask vs. title match.",
"At The Bash, Jericho lost the Intercontinental Championship back to Mysterio in a mask vs. title match. Jeri-Show and feud with Edge (2009–2010) Later in the event, Jericho and his partner Edge won the Unified WWE Tag Team Championship as surprise entrants in a triple threat tag team match.",
"Jeri-Show and feud with Edge (2009–2010) Later in the event, Jericho and his partner Edge won the Unified WWE Tag Team Championship as surprise entrants in a triple threat tag team match. As a result of this win, Jericho became the first wrestler to win every (original) Grand Slam eligible championship.",
"As a result of this win, Jericho became the first wrestler to win every (original) Grand Slam eligible championship. Shortly thereafter Edge suffered an injury and Jericho revealed a clause in his contract to allow Edge to be replaced and Jericho's reign to continue uninterrupted.",
"Shortly thereafter Edge suffered an injury and Jericho revealed a clause in his contract to allow Edge to be replaced and Jericho's reign to continue uninterrupted. At Night of Champions, Jericho revealed Big Show as his new tag team partner, creating a team that would come to called Jeri-Show.",
"At Night of Champions, Jericho revealed Big Show as his new tag team partner, creating a team that would come to called Jeri-Show. The duo defeated Cody Rhodes and Ted DiBiase to retain the championship.",
"The duo defeated Cody Rhodes and Ted DiBiase to retain the championship. Jeri-Show successfully defended the title against Cryme Tyme at SummerSlam, MVP and Mark Henry at Breaking Point and Rey Mysterio and Batista at Hell in a Cell.",
"Jeri-Show successfully defended the title against Cryme Tyme at SummerSlam, MVP and Mark Henry at Breaking Point and Rey Mysterio and Batista at Hell in a Cell. At Survivor Series, both Jericho and Big Show took part in a triple threat match for the World Heavyweight Championship, but the Undertaker successfully retained the title.",
"At Survivor Series, both Jericho and Big Show took part in a triple threat match for the World Heavyweight Championship, but the Undertaker successfully retained the title. At TLC: Tables, Ladders & Chairs, Jeri-Show lost the tag titles to D-Generation X (D-X) (Shawn Michaels and Triple H) in a Tables, Ladders and Chairs match.",
"At TLC: Tables, Ladders & Chairs, Jeri-Show lost the tag titles to D-Generation X (D-X) (Shawn Michaels and Triple H) in a Tables, Ladders and Chairs match. As a member of the SmackDown brand, Jericho could only appear on Raw as a champion and D-X intentionally disqualified themselves in a rematch to force Jericho off the show.",
"As a member of the SmackDown brand, Jericho could only appear on Raw as a champion and D-X intentionally disqualified themselves in a rematch to force Jericho off the show. On the January 4, 2010 of Raw, D-X defeated Jeri-Show to retain the championship once again, marking the end of Jeri-Show.",
"On the January 4, 2010 of Raw, D-X defeated Jeri-Show to retain the championship once again, marking the end of Jeri-Show. Jericho entered the 2010 Royal Rumble match on January 31, but was eliminated by the returning Edge, his former tag team partner, who went on to win the match.",
"Jericho entered the 2010 Royal Rumble match on January 31, but was eliminated by the returning Edge, his former tag team partner, who went on to win the match. At Elimination Chamber, Jericho won the World Heavyweight Championship in an Elimination Chamber match, defeating The Undertaker, John Morrison, Rey Mysterio, CM Punk and R-Truth following interference from Shawn Michaels.",
"At Elimination Chamber, Jericho won the World Heavyweight Championship in an Elimination Chamber match, defeating The Undertaker, John Morrison, Rey Mysterio, CM Punk and R-Truth following interference from Shawn Michaels. The next night on Raw, Edge used his Royal Rumble win to challenge Jericho for the World Heavyweight Championship at WrestleMania XXVI.",
"The next night on Raw, Edge used his Royal Rumble win to challenge Jericho for the World Heavyweight Championship at WrestleMania XXVI. Jericho defeated Edge at WrestleMania to retain the title, but lost the championship to Jack Swagger on the following episode of SmackDown, who cashed in his Money in the Bank contract.",
"Jericho defeated Edge at WrestleMania to retain the title, but lost the championship to Jack Swagger on the following episode of SmackDown, who cashed in his Money in the Bank contract. Jericho then failed to regain the title from Swagger in a triple-threat match also involving Edge on the April 16 episode of SmackDown.",
"Jericho then failed to regain the title from Swagger in a triple-threat match also involving Edge on the April 16 episode of SmackDown. Jericho and Edge continued their feud leading into Extreme Rules, where Jericho was defeated in a steel cage match. Jericho was drafted to the Raw brand in the 2010 WWE draft.",
"Jericho was drafted to the Raw brand in the 2010 WWE draft. He formed a brief tag team with The Miz and unsuccessfully challenged The Hart Dynasty for the Unified WWE Tag Team Championship at Over the Limit.",
"He formed a brief tag team with The Miz and unsuccessfully challenged The Hart Dynasty for the Unified WWE Tag Team Championship at Over the Limit. A month later, Jericho lost to Evan Bourne at Fatal 4-Way, but won a rematch during the following night on Raw, where he put his career on the line.",
"A month later, Jericho lost to Evan Bourne at Fatal 4-Way, but won a rematch during the following night on Raw, where he put his career on the line. On the July 19 episode of Raw, after being assaulted by The Nexus, Jericho teamed with rivals Edge, John Morrison, R-Truth, Daniel Bryan and Bret Hart in a team led by John Cena to face The Nexus at SummerSlam.",
"On the July 19 episode of Raw, after being assaulted by The Nexus, Jericho teamed with rivals Edge, John Morrison, R-Truth, Daniel Bryan and Bret Hart in a team led by John Cena to face The Nexus at SummerSlam. Jericho and Cena bickered over leadership of the team, which led to him and Edge attacking Cena during the SummerSlam match that they won.",
"Jericho and Cena bickered over leadership of the team, which led to him and Edge attacking Cena during the SummerSlam match that they won. Jericho was punished for not showing solidarity against Nexus, when he was removed from a Six-Pack Challenge for Sheamus's WWE Championship at Night of Champions.",
"Jericho was punished for not showing solidarity against Nexus, when he was removed from a Six-Pack Challenge for Sheamus's WWE Championship at Night of Champions. Although he re-earned his place in the match after defeating The Hart Dynasty in a handicap steel cage match, he was the first man eliminated from the match at Night of Champions.",
"Although he re-earned his place in the match after defeating The Hart Dynasty in a handicap steel cage match, he was the first man eliminated from the match at Night of Champions. On the September 27 episode of Raw, Jericho faced Randy Orton who punted him in the head.",
"On the September 27 episode of Raw, Jericho faced Randy Orton who punted him in the head. This was used to explain Jericho's departure from the company.",
"This was used to explain Jericho's departure from the company. Second return to WWE (2011–2018) Feud with CM Punk (2011–2012) Beginning in November 2011, WWE aired cryptic vignettes that promoted a wrestler's return on the January 2, 2012 episode of Raw.",
"Second return to WWE (2011–2018) Feud with CM Punk (2011–2012) Beginning in November 2011, WWE aired cryptic vignettes that promoted a wrestler's return on the January 2, 2012 episode of Raw. On his return, after hyping the crowd and relishing their cheers for a prolonged period, Jericho left without verbally addressing his return.",
"On his return, after hyping the crowd and relishing their cheers for a prolonged period, Jericho left without verbally addressing his return. After exhibiting similar odd behavior in the proceeding two weeks, Jericho spoke on the January 23 episode of Raw to say, \"This Sunday at the Royal Rumble, it is going to be the end of the world as you know it\", but in the Royal Rumble match, he was eliminated last, by Sheamus.",
"After exhibiting similar odd behavior in the proceeding two weeks, Jericho spoke on the January 23 episode of Raw to say, \"This Sunday at the Royal Rumble, it is going to be the end of the world as you know it\", but in the Royal Rumble match, he was eliminated last, by Sheamus. On the January 30 episode of Raw, Jericho began a feud with WWE Champion CM Punk after attacking him during his match with Daniel Bryan.",
"On the January 30 episode of Raw, Jericho began a feud with WWE Champion CM Punk after attacking him during his match with Daniel Bryan. He explained his actions by claiming other wrestlers in WWE were imitating him and named Punk as the worst offender.",
"He explained his actions by claiming other wrestlers in WWE were imitating him and named Punk as the worst offender. At Elimination Chamber, Jericho participated in the Elimination Chamber match for the WWE Championship, entering last and eliminating Dolph Ziggler and Kofi Kingston before being knocked out of the structure by Punk, which injured him and removed him from the match without being eliminated.",
"At Elimination Chamber, Jericho participated in the Elimination Chamber match for the WWE Championship, entering last and eliminating Dolph Ziggler and Kofi Kingston before being knocked out of the structure by Punk, which injured him and removed him from the match without being eliminated. The following night on Raw, Jericho won a ten-man battle royal to become the number one contender for Punk's WWE Championship at WrestleMania XXVIII.",
"The following night on Raw, Jericho won a ten-man battle royal to become the number one contender for Punk's WWE Championship at WrestleMania XXVIII. In a bid to psychologically unsettle Punk, Jericho revealed that Punk's father was an alcoholic and Punk's sister was a drug addict, which contradicted Punk's straight edge philosophy; Jericho vowed to make Punk turn to alcohol by winning Punk's title from him.",
"In a bid to psychologically unsettle Punk, Jericho revealed that Punk's father was an alcoholic and Punk's sister was a drug addict, which contradicted Punk's straight edge philosophy; Jericho vowed to make Punk turn to alcohol by winning Punk's title from him. At WrestleMania, a stipulation was added that Punk would lose his WWE Championship if he was disqualified.",
"At WrestleMania, a stipulation was added that Punk would lose his WWE Championship if he was disqualified. During the match, Jericho unsuccessfully tried to taunt Punk into disqualifying himself, and Punk won the match. Jericho continued his feud with Punk in the weeks that followed by attacking and dousing him with alcohol after his matches.",
"Jericho continued his feud with Punk in the weeks that followed by attacking and dousing him with alcohol after his matches. At Extreme Rules, Jericho failed again to capture the WWE Championship from Punk in a Chicago Street Fight.",
"At Extreme Rules, Jericho failed again to capture the WWE Championship from Punk in a Chicago Street Fight. Championship pursuits (2012–2013) Jericho faced Randy Orton, Alberto Del Rio and Sheamus in a fatal four-way match for the World Heavyweight Championship at Over the Limit, where Sheamus retained his title.",
"Championship pursuits (2012–2013) Jericho faced Randy Orton, Alberto Del Rio and Sheamus in a fatal four-way match for the World Heavyweight Championship at Over the Limit, where Sheamus retained his title. On May 24 at a WWE live event in Brazil, Jericho wrestled a match against CM Punk, during which Jericho kicked a Brazilian flag, causing local police to intervene and threaten Jericho with arrest.",
"On May 24 at a WWE live event in Brazil, Jericho wrestled a match against CM Punk, during which Jericho kicked a Brazilian flag, causing local police to intervene and threaten Jericho with arrest. Jericho issued an apology to the audience, enabling the event to resume.",
"Jericho issued an apology to the audience, enabling the event to resume. The following day, WWE suspended Jericho for 30 days while apologizing to the people and government of Brazil.",
"The following day, WWE suspended Jericho for 30 days while apologizing to the people and government of Brazil. Jericho returned on the June 25 episode of Raw, and his absence was explained by a European tour with his band Fozzy which happened to coincide with his suspension.",
"Jericho returned on the June 25 episode of Raw, and his absence was explained by a European tour with his band Fozzy which happened to coincide with his suspension. At Money in the Bank, Jericho participated in the WWE Championship Money in the Bank ladder match, but failed to win as John Cena won.",
"At Money in the Bank, Jericho participated in the WWE Championship Money in the Bank ladder match, but failed to win as John Cena won. The following night on Raw, Jericho confronted newly crowned Mr. Money in the Bank, Dolph Ziggler, who claimed that Jericho had lost his touch.",
"The following night on Raw, Jericho confronted newly crowned Mr. Money in the Bank, Dolph Ziggler, who claimed that Jericho had lost his touch. Jericho attacked Ziggler with a Codebreaker, thus turning face in the process. At SummerSlam, Jericho defeated Ziggler.",
"At SummerSlam, Jericho defeated Ziggler. The following night on Raw, Ziggler defeated Jericho in a rematch and, as a result, Ziggler retained his Money in the Bank contract and Jericho's WWE contract was terminated as per a pre match stipulation put in place by Raw General Manager, AJ Lee.",
"The following night on Raw, Ziggler defeated Jericho in a rematch and, as a result, Ziggler retained his Money in the Bank contract and Jericho's WWE contract was terminated as per a pre match stipulation put in place by Raw General Manager, AJ Lee. This was used to write him off so he could tour with Fozzy for the remainder of the year.",
"This was used to write him off so he could tour with Fozzy for the remainder of the year. On January 27, 2013, Jericho returned after a five-month hiatus entering the Royal Rumble match as the second entrant. Jericho lasted over 47 minutes before being eliminated by Dolph Ziggler.",
"Jericho lasted over 47 minutes before being eliminated by Dolph Ziggler. The following night on Raw, Jericho later revealed to Ziggler that due to a managerial change on Raw, he had been rehired by Vickie Guerrero, resuming his feud with Ziggler.",
"The following night on Raw, Jericho later revealed to Ziggler that due to a managerial change on Raw, he had been rehired by Vickie Guerrero, resuming his feud with Ziggler. Guerrero then paired the two in a match against WWE Tag Team Champions Team Hell No (Daniel Bryan and Kane).",
"Guerrero then paired the two in a match against WWE Tag Team Champions Team Hell No (Daniel Bryan and Kane). The match ended with Ziggler being pinned by Kane after Jericho framed him for pushing Kane.",
"The match ended with Ziggler being pinned by Kane after Jericho framed him for pushing Kane. After beating Daniel Bryan on the February 11 episode of Raw, Jericho qualified for the Elimination Chamber match at Elimination Chamber (in which the winner would go on to be the number one contender for the World Heavyweight Championship at WrestleMania 29), where he was the fourth man eliminated.",
"After beating Daniel Bryan on the February 11 episode of Raw, Jericho qualified for the Elimination Chamber match at Elimination Chamber (in which the winner would go on to be the number one contender for the World Heavyweight Championship at WrestleMania 29), where he was the fourth man eliminated. On the March 11 episode of Raw, Jericho faced The Miz in a No.",
"On the March 11 episode of Raw, Jericho faced The Miz in a No. 1 contenders match for Wade Barrett's WWE Intercontinental Championship, but the match was ruled a no contest after Barrett interfered and attacked both men. Both men then faced Barrett the following week on Raw, where he retained his title.",
"Both men then faced Barrett the following week on Raw, where he retained his title. Earlier in the episode, Jericho had a run-in with Fandango which led to Fandango costing him his match with Jack Swagger and attacking him four days later on SmackDown. At WrestleMania 29, Jericho was defeated by Fandango.",
"At WrestleMania 29, Jericho was defeated by Fandango. They continued their feud in the following weeks, until Jericho defeated Fandango at Extreme Rules. He then faced the returning CM Punk at Payback, where he was defeated.",
"He then faced the returning CM Punk at Payback, where he was defeated. Jericho then began feuding with Ryback, which led to a singles match on July 14 at Money in the Bank, where Ryback emerged victorious.",
"Jericho then began feuding with Ryback, which led to a singles match on July 14 at Money in the Bank, where Ryback emerged victorious. On the July 19 episode of SmackDown, Jericho unsuccessfully challenged Curtis Axel for the WWE Intercontinental Championship and was afterwards attacked by Ryback.",
"On the July 19 episode of SmackDown, Jericho unsuccessfully challenged Curtis Axel for the WWE Intercontinental Championship and was afterwards attacked by Ryback. This was done to write Jericho off television as he was taking a temporary hiatus to tour with Fozzy for the remainder of the year and possibly January and February.",
"This was done to write Jericho off television as he was taking a temporary hiatus to tour with Fozzy for the remainder of the year and possibly January and February. In a November interview for WWE.com, Jericho revealed that he would not be a full-time wrestler due to his musical and acting ventures.",
"In a November interview for WWE.com, Jericho revealed that he would not be a full-time wrestler due to his musical and acting ventures. Various sporadic feuds (2014–2016) After an eleven-month hiatus, Jericho returned on the June 30, 2014 episode of Raw, attacking The Miz, who had also returned minutes earlier.",
"Various sporadic feuds (2014–2016) After an eleven-month hiatus, Jericho returned on the June 30, 2014 episode of Raw, attacking The Miz, who had also returned minutes earlier. The Wyatt Family then interrupted and ultimately attacked Jericho. Jericho faced Bray Wyatt at Battleground in a winning effort.",
"Jericho faced Bray Wyatt at Battleground in a winning effort. At SummerSlam, with Wyatt Family members Luke Harper and Erick Rowan banned from ringside, Wyatt picked up the victory. On the September 8 episode of Raw, Jericho lost to Wyatt in a steel cage match, ending the feud.",
"On the September 8 episode of Raw, Jericho lost to Wyatt in a steel cage match, ending the feud. Jericho then feuded with Randy Orton, who had attacked him the week before after his match against Wyatt in the trainers room. Orton defeated him at Night of Champions.",
"Orton defeated him at Night of Champions. Throughout the rest of October and November, Jericho wrestled exclusively at live events, defeating Bray Wyatt. Jericho returned to WWE television in December as the guest general manager of the December 15 episode of Raw.",
"Jericho returned to WWE television in December as the guest general manager of the December 15 episode of Raw. Jericho booked himself in a street fight against Paul Heyman in the main event, which led to the return of Brock Lesnar. Before the match could begin, Lesnar attacked Jericho with an F-5.",
"Before the match could begin, Lesnar attacked Jericho with an F-5. In January 2015, Jericho revealed that he signed an exclusive WWE contract, under which he would compete at 16 house shows only. He later signed a similar contract once the former expired and competed at house shows throughout the rest of 2015.",
"He later signed a similar contract once the former expired and competed at house shows throughout the rest of 2015. During this time he wrestled against the likes of Luke Harper, Kevin Owens and King Barrett in winning efforts. In May 2015, Jericho was one of the hosts of Tough Enoughs sixth season. Jericho also hosted two Live!",
"Jericho also hosted two Live! Jericho also hosted two Live! With Chris Jericho specials on the WWE Network during 2015; his guests were John Cena and Stephanie McMahon. Jericho made his televised return at The Beast in the East, defeating Neville.",
"Jericho made his televised return at The Beast in the East, defeating Neville. At Night of Champions, Jericho was revealed as the mystery partner of Roman Reigns and Dean Ambrose, facing The Wyatt Family in a losing effort. On October 3, Jericho unsuccessfully challenged Kevin Owens for the WWE Intercontinental Championship at Live from Madison Square Garden.",
"On October 3, Jericho unsuccessfully challenged Kevin Owens for the WWE Intercontinental Championship at Live from Madison Square Garden. The match marked 20 years since Jericho's debut with ECW while also celebrating his 25th year as a professional wrestler in total.",
"The match marked 20 years since Jericho's debut with ECW while also celebrating his 25th year as a professional wrestler in total. On the January 4, 2016 episode of Raw, Jericho returned to in-ring competition full-time and confronted The New Day.",
"On the January 4, 2016 episode of Raw, Jericho returned to in-ring competition full-time and confronted The New Day. At the 2016 Royal Rumble, Jericho entered as the sixth entrant, lasting over 50 minutes, before being eliminated by Dean Ambrose.",
"At the 2016 Royal Rumble, Jericho entered as the sixth entrant, lasting over 50 minutes, before being eliminated by Dean Ambrose. On the January 25 episode of Raw, Jericho faced the recently debuted AJ Styles in a losing effort. Following the match, after initial hesitation by Jericho, the pair shook hands.",
"Following the match, after initial hesitation by Jericho, the pair shook hands. On the February 11 episode of SmackDown, Jericho defeated Styles. At Fastlane, Styles was victorious in a third match between the pair. On the February 22 episode of Raw, Jericho and Styles formed a tag team, dubbed Y2AJ.",
"On the February 22 episode of Raw, Jericho and Styles formed a tag team, dubbed Y2AJ. Following their loss against The New Day on the March 7 episode of Raw, Jericho attacked Styles, ending their alliance, claiming that he was sick of the fans chanting for Styles instead of him, turning heel in the process.",
"Following their loss against The New Day on the March 7 episode of Raw, Jericho attacked Styles, ending their alliance, claiming that he was sick of the fans chanting for Styles instead of him, turning heel in the process. Their feud culminated at WrestleMania 32, where Jericho defeated Styles.",
"Their feud culminated at WrestleMania 32, where Jericho defeated Styles. However, on the April 4 episode of Raw, Jericho competed in a fatal-four-way match against Styles, Kevin Owens and Cesaro to determine the No. 1 contender for the WWE World Heavyweight Championship in a losing effort after being pinned by Styles, ending their feud.",
"1 contender for the WWE World Heavyweight Championship in a losing effort after being pinned by Styles, ending their feud. The following week on Raw, Dean Ambrose interrupted The Highlight Reel, handing Jericho a note from Shane McMahon replacing the show with The Ambrose Asylum, igniting a feud between the two.",
"The following week on Raw, Dean Ambrose interrupted The Highlight Reel, handing Jericho a note from Shane McMahon replacing the show with The Ambrose Asylum, igniting a feud between the two. During this time, Jericho tweaked his gimmick. He became arrogant and childish while wearing expensive scarfs and calling everyone who appeased him \"stupid idiots\".",
"He became arrogant and childish while wearing expensive scarfs and calling everyone who appeased him \"stupid idiots\". At Payback, Jericho faced Ambrose in a losing effort.",
"At Payback, Jericho faced Ambrose in a losing effort. After attacking one another and Ambrose destroying Jericho's light-up ring jacket, Jericho was challenged by Ambrose to an Asylum match at Extreme Rules, where Ambrose again defeated Jericho after Jericho was thrown in a pile of thumbtacks.",
"After attacking one another and Ambrose destroying Jericho's light-up ring jacket, Jericho was challenged by Ambrose to an Asylum match at Extreme Rules, where Ambrose again defeated Jericho after Jericho was thrown in a pile of thumbtacks. On the May 23 episode of Raw, Jericho defeated Apollo Crews to qualify for the Money in the Bank ladder match at the Money in the Bank pay-per-view, where Jericho was unsuccessful as the match was won by Ambrose.",
"On the May 23 episode of Raw, Jericho defeated Apollo Crews to qualify for the Money in the Bank ladder match at the Money in the Bank pay-per-view, where Jericho was unsuccessful as the match was won by Ambrose. On July 19 at the 2016 WWE draft, Jericho was drafted to the Raw brand.",
"On July 19 at the 2016 WWE draft, Jericho was drafted to the Raw brand. At Battleground on July 24, Jericho hosted a Highlight Reel segment with the returning Randy Orton, where he took an RKO from Orton after he insulted him.",
"At Battleground on July 24, Jericho hosted a Highlight Reel segment with the returning Randy Orton, where he took an RKO from Orton after he insulted him. The next night on Raw, Jericho competed in a fatal four-way match to determine the number one contender for the newly created WWE Universal Championship at SummerSlam, but he was unsuccessful, as Roman Reigns won the match.",
"The next night on Raw, Jericho competed in a fatal four-way match to determine the number one contender for the newly created WWE Universal Championship at SummerSlam, but he was unsuccessful, as Roman Reigns won the match. The List of Jericho (2016–2017) Jericho then entered a feud with Enzo and Cass and on the August 1 episode of Raw, he teamed with Charlotte to defeat Enzo Amore and then WWE Women's Champion Sasha Banks in a mixed tag team match, after which Big Cass made the save as Jericho continued the assault on Amore.",
"The List of Jericho (2016–2017) Jericho then entered a feud with Enzo and Cass and on the August 1 episode of Raw, he teamed with Charlotte to defeat Enzo Amore and then WWE Women's Champion Sasha Banks in a mixed tag team match, after which Big Cass made the save as Jericho continued the assault on Amore. The following week on Raw, Jericho allied with Kevin Owens and later defeated Amore via disqualification when Cass interfered.",
"The following week on Raw, Jericho allied with Kevin Owens and later defeated Amore via disqualification when Cass interfered. This led to a tag team match at SummerSlam, where Jericho and Owens defeated Enzo and Cass.",
"This led to a tag team match at SummerSlam, where Jericho and Owens defeated Enzo and Cass. On the August 22 episode of Raw, Jericho interfered in Owens's match against Neville, allowing him to qualify for the fatal four-way match to determine the new WWE Universal Champion on the August 29 episode of Raw, which Owens won.",
"On the August 22 episode of Raw, Jericho interfered in Owens's match against Neville, allowing him to qualify for the fatal four-way match to determine the new WWE Universal Champion on the August 29 episode of Raw, which Owens won. On the September 12 episode of Raw, Jericho hosted an episode of The Highlight Reel with Sami Zayn as his guest, who questioned his alliance with Owens, resulting in Jericho defending Owens and attacking Zayn.",
"On the September 12 episode of Raw, Jericho hosted an episode of The Highlight Reel with Sami Zayn as his guest, who questioned his alliance with Owens, resulting in Jericho defending Owens and attacking Zayn. On the September 19 episode of Raw, as a result of feeling that he was being treated unjustly by General Manager Mick Foley, as well as other wrestlers beginning to annoy him, Jericho began a list called \"The List of Jericho\", where he wrote down the name of the person that bothered him and why.",
"On the September 19 episode of Raw, as a result of feeling that he was being treated unjustly by General Manager Mick Foley, as well as other wrestlers beginning to annoy him, Jericho began a list called \"The List of Jericho\", where he wrote down the name of the person that bothered him and why. If someone annoyed Jericho, he would ask \"you know what happens?\"",
"If someone annoyed Jericho, he would ask \"you know what happens?\" before shouting \"you just made the list!\" and writing the person's name down.",
"and writing the person's name down. The List of Jericho soon became incredibly popular with the fans, with many critics describing Jericho and his list as \"easily one of the best moments of Raw's broadcast\".",
"The List of Jericho soon became incredibly popular with the fans, with many critics describing Jericho and his list as \"easily one of the best moments of Raw's broadcast\". At Clash of Champions on September 25, Jericho defeated Zayn and assisted Owens in his Universal Championship defense against Seth Rollins.",
"At Clash of Champions on September 25, Jericho defeated Zayn and assisted Owens in his Universal Championship defense against Seth Rollins. At Hell in a Cell on October 30, Jericho aided Owens in retaining the Universal Championship against Rollins in a Hell in a Cell match after Owens sprayed a fire extinguisher at the referee, allowing Jericho to enter the cell.",
"At Hell in a Cell on October 30, Jericho aided Owens in retaining the Universal Championship against Rollins in a Hell in a Cell match after Owens sprayed a fire extinguisher at the referee, allowing Jericho to enter the cell. Jericho teamed with Owens, Braun Strowman, Roman Reigns, and Seth Rollins as part of Team Raw at Survivor Series on November 20, in a losing effort.",
"Jericho teamed with Owens, Braun Strowman, Roman Reigns, and Seth Rollins as part of Team Raw at Survivor Series on November 20, in a losing effort. The next night on Raw, despite being banned from ringside, Jericho showed up in a Sin Cara mask and attacked Rollins, in another successful title defense for Owens.",
"The next night on Raw, despite being banned from ringside, Jericho showed up in a Sin Cara mask and attacked Rollins, in another successful title defense for Owens. The following week on Raw, tensions between Jericho and Owens arose after both said that they did not need each other anymore, and Jericho was later attacked by Rollins in the parking lot.",
"The following week on Raw, tensions between Jericho and Owens arose after both said that they did not need each other anymore, and Jericho was later attacked by Rollins in the parking lot. At Roadblock: End of the Line on December 18, Jericho lost to Rollins after Owens failed in his attempt to help him, Later that night, Jericho intentionally attacked Owens to prevent Reigns from winning the title.",
"At Roadblock: End of the Line on December 18, Jericho lost to Rollins after Owens failed in his attempt to help him, Later that night, Jericho intentionally attacked Owens to prevent Reigns from winning the title. After both Jericho and Owens failed to win the WWE United States Championship from Reigns in multiple singles matches in late 2016, Jericho pinned Reigns in a handicap match also involving Owens on the January 9 episode of Raw to win the WWE United States Championship.",
"After both Jericho and Owens failed to win the WWE United States Championship from Reigns in multiple singles matches in late 2016, Jericho pinned Reigns in a handicap match also involving Owens on the January 9 episode of Raw to win the WWE United States Championship. Thus, Jericho won his first championship in nearly seven years and also become Grand Slam winner under the current format.",
"Thus, Jericho won his first championship in nearly seven years and also become Grand Slam winner under the current format. Due to interfering multiple times in Owens's matches, Jericho was suspended above the ring in a shark proof cage during Reigns's rematch at the Royal Rumble pay-per-view event.",
"Due to interfering multiple times in Owens's matches, Jericho was suspended above the ring in a shark proof cage during Reigns's rematch at the Royal Rumble pay-per-view event. Owens nonetheless retained the championship after Braun Strowman, taking advantage of the added no disqualification stipulation, interfered.",
"Owens nonetheless retained the championship after Braun Strowman, taking advantage of the added no disqualification stipulation, interfered. Also at the event, Jericho entered as the second entrant in the Royal Rumble match, lasting over an hour (thus breaking the record with a cumulative time of over five hours) and being the third to last before being eliminated by Reigns.",
"Also at the event, Jericho entered as the second entrant in the Royal Rumble match, lasting over an hour (thus breaking the record with a cumulative time of over five hours) and being the third to last before being eliminated by Reigns. In February, tensions grew between Jericho and Owens after Jericho accepted a Universal Championship challenge from Goldberg on Owens's behalf, much to the latter's dismay.",
"In February, tensions grew between Jericho and Owens after Jericho accepted a Universal Championship challenge from Goldberg on Owens's behalf, much to the latter's dismay. On the February 13 episode of Raw, Jericho held a \"Festival of Friendship\" for Owens, who was not impressed and viciously attacked Jericho, ending their alliance.",
"On the February 13 episode of Raw, Jericho held a \"Festival of Friendship\" for Owens, who was not impressed and viciously attacked Jericho, ending their alliance. Jericho returned at Fastlane on March 5, distracting Owens during his match with Goldberg and causing Owens to lose the Universal Championship, turning face again in the process.",
"Jericho returned at Fastlane on March 5, distracting Owens during his match with Goldberg and causing Owens to lose the Universal Championship, turning face again in the process. This led to a match between Jericho and Owens being arranged for WrestleMania 33 on April 2, with Jericho's United States Championship on the line.",
"This led to a match between Jericho and Owens being arranged for WrestleMania 33 on April 2, with Jericho's United States Championship on the line. At WrestleMania, Jericho lost the United States Championship to Owens.",
"At WrestleMania, Jericho lost the United States Championship to Owens. At Payback on April 30, Jericho defeated Owens to regain the title and moved to the SmackDown brand, but lost it back to him two nights later on SmackDown. Following the match, Owens attacked Jericho, who was carried out on a stretcher.",
"Following the match, Owens attacked Jericho, who was carried out on a stretcher. Thus, Jericho was written off television so he could fulfill his commitments to tour with and promote his new album with Fozzy. Jericho made a surprise return at a house show in Singapore on June 28, where he lost to Hideo Itami.",
"Jericho made a surprise return at a house show in Singapore on June 28, where he lost to Hideo Itami. Final matches and departure (2017–2018) On the July 25 episode of SmackDown, Jericho made his televised return, interrupting an altercation between Kevin Owens and AJ Styles to get his rematch for Owens' WWE United States Championship.",
"Final matches and departure (2017–2018) On the July 25 episode of SmackDown, Jericho made his televised return, interrupting an altercation between Kevin Owens and AJ Styles to get his rematch for Owens' WWE United States Championship. Later that night, Jericho participated in a triple threat match against Owens and Styles for the title in which Jericho was pinned by Styles.",
"Later that night, Jericho participated in a triple threat match against Owens and Styles for the title in which Jericho was pinned by Styles. Show took place in Richmond, Virginia and was Jericho's last in-ring appearance for WWE in the United States.",
"Show took place in Richmond, Virginia and was Jericho's last in-ring appearance for WWE in the United States. On January 22, 2018 during the 25th Anniversary of Raw, Jericho appeared backstage in a segment with Elias, putting him on The List of Jericho.",
"On January 22, 2018 during the 25th Anniversary of Raw, Jericho appeared backstage in a segment with Elias, putting him on The List of Jericho. At the Greatest Royal Rumble, Jericho was the last entrant in the 50-man Royal Rumble match, eliminating Shelton Benjamin before being eliminated by the eventual winner Braun Strowman.",
"At the Greatest Royal Rumble, Jericho was the last entrant in the 50-man Royal Rumble match, eliminating Shelton Benjamin before being eliminated by the eventual winner Braun Strowman. This event marked Jericho's final appearance with WWE.",
"This event marked Jericho's final appearance with WWE. In September 2019, during an interview for the Mature Audiences Mayhem Podcast, Jericho revealed the exact point when he decided he was going to leave the WWE. Even though Jericho was with the WWE for 15 years, the final insult came at WrestleMania 33 in 2017.",
"Even though Jericho was with the WWE for 15 years, the final insult came at WrestleMania 33 in 2017. Despite the fact that Jericho and Kevin Owens had the best feud of the year, their match was demoted by placing it on the second place on the WrestleMania match card.",
"Despite the fact that Jericho and Kevin Owens had the best feud of the year, their match was demoted by placing it on the second place on the WrestleMania match card. The decision made by Vince McMahon was a big insult for Jericho and that prompted him to seek work elsewhere.",
"The decision made by Vince McMahon was a big insult for Jericho and that prompted him to seek work elsewhere. Jericho reflecting his WWE departure stated: \"Originally, that was going to be the main event for the world title.",
"Jericho reflecting his WWE departure stated: \"Originally, that was going to be the main event for the world title. Kevin Owens was the champion and I was going to beat him in the main event of WrestleMania as a babyface.\"",
"Kevin Owens was the champion and I was going to beat him in the main event of WrestleMania as a babyface.\" Instead of having Jericho and Owens as the main event, Vince decided to put Bill Goldberg and Brock Lesnar on the main card.",
"Instead of having Jericho and Owens as the main event, Vince decided to put Bill Goldberg and Brock Lesnar on the main card. \"Vince said that it’s going to be me versus Kevin Owens for the world title at WrestleMania and you are going to win the title, f*** yeah!",
"\"Vince said that it’s going to be me versus Kevin Owens for the world title at WrestleMania and you are going to win the title, f*** yeah! Next week, he doesn’t tell me, but I hear that it’s changed to Brock Lesnar versus Bill Goldberg for the title.",
"Next week, he doesn’t tell me, but I hear that it’s changed to Brock Lesnar versus Bill Goldberg for the title. And not only did they take us out of the main event – and, once again, just because I was told I have no right to it and things change all the time, I’m a big boy, I can handle it.",
"And not only did they take us out of the main event – and, once again, just because I was told I have no right to it and things change all the time, I’m a big boy, I can handle it. But to take us from the main event slot and then move us to the second match on the card on a card that has 12 matches on it?",
"But to take us from the main event slot and then move us to the second match on the card on a card that has 12 matches on it? I was like, that’s a f***ing insult.\"",
"I was like, that’s a f***ing insult.\" Return to NJPW (2017–2020) Feud with Kenny Omega (2017–2018) On November 5, 2017, Jericho returned to NJPW in a pre-taped vignette, challenging Kenny Omega to a match at Wrestle Kingdom 12 in Tokyo Dome.",
"Return to NJPW (2017–2020) Feud with Kenny Omega (2017–2018) On November 5, 2017, Jericho returned to NJPW in a pre-taped vignette, challenging Kenny Omega to a match at Wrestle Kingdom 12 in Tokyo Dome. The challenge was immediately accepted by Omega and made official by NJPW the following day as a title match for Omega's IWGP United States Heavyweight Championship.",
"The challenge was immediately accepted by Omega and made official by NJPW the following day as a title match for Omega's IWGP United States Heavyweight Championship. The match, dubbed \"Alpha vs. Omega\", was Jericho's first match outside of WWE since he left WCW in July 1999.",
"The match, dubbed \"Alpha vs. Omega\", was Jericho's first match outside of WWE since he left WCW in July 1999. Journalist Dave Meltzer wrote that Jericho's WWE contract had expired and that he was a \"free agent\". NJPW also referred to Jericho as a free agent.",
"NJPW also referred to Jericho as a free agent. In contrast, the Tokyo Sports newspaper described an anonymous NJPW official saying that Jericho is still under contract with WWE, and that WWE chairman Vince McMahon had given him permission to wrestle this match in NJPW. This was his first NJPW match in nearly 20 years.",
"This was his first NJPW match in nearly 20 years. Jericho returned in person at the December 11 World Tag League show, attacking and bloodying Omega after his match, while also laying out a referee, a young lion and color commentator Don Callis, establishing himself as a heel.",
"Jericho returned in person at the December 11 World Tag League show, attacking and bloodying Omega after his match, while also laying out a referee, a young lion and color commentator Don Callis, establishing himself as a heel. The following day at the Wrestle Kingdom 12 in Tokyo Dome press conference, Jericho and Omega would get into a second physical altercation.",
"The following day at the Wrestle Kingdom 12 in Tokyo Dome press conference, Jericho and Omega would get into a second physical altercation. Because of the two incidents, NJPW turned the January 4 match into a no disqualification match. At the event, Jericho was defeated by Omega.",
"At the event, Jericho was defeated by Omega. It was later revealed that the match was awarded a five-star rating from Dave Meltzer of the Wrestling Observer Newsletter. This was the first of his career. IWGP Intercontinental Champion (2018–2019) The night after Wrestle Kingdom 12 in Tokyo Dome at New Year Dash!!",
"IWGP Intercontinental Champion (2018–2019) The night after Wrestle Kingdom 12 in Tokyo Dome at New Year Dash!! 2018, Jericho attacked Tetsuya Naito.",
"2018, Jericho attacked Tetsuya Naito. On May 4, Jericho once again attacked Naito at Wrestling Dontaku, leading to a match between the two at Dominion 6.9 in Osaka-jo Hall, in which he defeated Naito to win the IWGP Intercontinental Championship. At King of Pro-Wrestling, Jericho attacked Evil before his match against Zack Sabre Jr.",
"At King of Pro-Wrestling, Jericho attacked Evil before his match against Zack Sabre Jr. Backstage, Jericho challenged Evil to an IWGP Intercontinental Championship title match at Power Struggle. At the event, Jericho made Evil submit to the Liontamer to retain the IWGP Intercontinental Championship.",
"At the event, Jericho made Evil submit to the Liontamer to retain the IWGP Intercontinental Championship. After the match, Jericho refused to release the hold until Tetsuya Naito ran in for the save and challenged Jericho. Despite Jericho stating that Naito would not receive a rematch, the match was made official for Wrestle Kingdom 13 in Tokyo Dome.",
"Despite Jericho stating that Naito would not receive a rematch, the match was made official for Wrestle Kingdom 13 in Tokyo Dome. On December 15, NJPW held a press conference for Jericho and Naito's IWGP Intercontinental Championship match.",
"On December 15, NJPW held a press conference for Jericho and Naito's IWGP Intercontinental Championship match. The press conference ended when Naito spat water in Jericho's face, which resulted in the two then brawling before being separated.",
"The press conference ended when Naito spat water in Jericho's face, which resulted in the two then brawling before being separated. Later that same day during a Road to Tokyo Dome show, Jericho laid out Naito with steel chair shots, and after stated that at Wrestle Kingdom 13 he would end Tetsuya Naito's career.",
"Later that same day during a Road to Tokyo Dome show, Jericho laid out Naito with steel chair shots, and after stated that at Wrestle Kingdom 13 he would end Tetsuya Naito's career. At the event, Jericho was defeated by Naito, losing the IWGP Intercontinental Championship in the process.",
"At the event, Jericho was defeated by Naito, losing the IWGP Intercontinental Championship in the process. Sporadic appearances (2019–2020) At Dominion 6.9 in Osaka-jo Hall, Jericho challenged Kazuchika Okada for the IWGP Heavyweight Championship but was defeated. Following the match, Jericho attacked Okada, leading to Hiroshi Tanahashi making the save.",
"Following the match, Jericho attacked Okada, leading to Hiroshi Tanahashi making the save. Jericho returned at Power Struggle on November 3 and challenged Tanahashi to a match at Wrestle Kingdom 14. On December 28, it was announced that if Tanahashi were to defeat Jericho, he would be granted an AEW World Championship match at a later date.",
"On December 28, it was announced that if Tanahashi were to defeat Jericho, he would be granted an AEW World Championship match at a later date. During the second night of Wrestle Kingdom on January 5, 2020, Jericho defeated Tanahashi.",
"During the second night of Wrestle Kingdom on January 5, 2020, Jericho defeated Tanahashi. Return to the independent circuit (2018–2019) On September 1, 2018, Jericho (disguised as Penta El Zero) appeared at the All In show promoted by Cody and The Young Bucks, where he attacked Kenny Omega following Omega's victory over Penta to promote his upcoming Rock 'N' Wrestling Rager at Sea cruise.",
"Return to the independent circuit (2018–2019) On September 1, 2018, Jericho (disguised as Penta El Zero) appeared at the All In show promoted by Cody and The Young Bucks, where he attacked Kenny Omega following Omega's victory over Penta to promote his upcoming Rock 'N' Wrestling Rager at Sea cruise. In October 2018, Jericho organized Chris Jericho's Rock 'N' Wrestling Rager at Sea, a series of professional wrestling matches originating from Jericho's cruise ship, which embarked from Miami, Florida and featured wrestlers from Ring of Honor.",
"In October 2018, Jericho organized Chris Jericho's Rock 'N' Wrestling Rager at Sea, a series of professional wrestling matches originating from Jericho's cruise ship, which embarked from Miami, Florida and featured wrestlers from Ring of Honor. On May 3, 2019, Jericho appeared at a Southern Honor Wrestling event, where he was attacked by Kenny Omega.",
"On May 3, 2019, Jericho appeared at a Southern Honor Wrestling event, where he was attacked by Kenny Omega. All Elite Wrestling (2019–present) Inaugural AEW World Champion (2019–2020) On January 8, 2019, Jericho made a surprise appearance at a media event organized by the upstart All Elite Wrestling (AEW) promotion.",
"All Elite Wrestling (2019–present) Inaugural AEW World Champion (2019–2020) On January 8, 2019, Jericho made a surprise appearance at a media event organized by the upstart All Elite Wrestling (AEW) promotion. Shortly afterwards, Jericho was filmed signing a full-time performers three-year contract with AEW and shaking hands with the company's President Tony Khan.",
"Shortly afterwards, Jericho was filmed signing a full-time performers three-year contract with AEW and shaking hands with the company's President Tony Khan. Jericho defeated Kenny Omega at the promotion's inaugural event Double or Nothing on May 25, and went on to defeat Adam Page at All Out to become the inaugural AEW World Champion.",
"Jericho defeated Kenny Omega at the promotion's inaugural event Double or Nothing on May 25, and went on to defeat Adam Page at All Out to become the inaugural AEW World Champion. On the premiere episode of Dynamite on October 2, Jericho allied himself with Sammy Guevara, Jake Hager, Santana and Ortiz, creating a stable that would be known as The Inner Circle.",
"On the premiere episode of Dynamite on October 2, Jericho allied himself with Sammy Guevara, Jake Hager, Santana and Ortiz, creating a stable that would be known as The Inner Circle. Jericho would make successful title defences against Darby Allin on the October 16 episode of Dynamite and Cody at the Full Gear pay-per-view on November 9.",
"Jericho would make successful title defences against Darby Allin on the October 16 episode of Dynamite and Cody at the Full Gear pay-per-view on November 9. On the episode of Dynamite after Full Gear, Jericho and Guevara challenged SoCal Uncensored (Frankie Kazarian and Scorpio Sky) for the AEW World Tag Team Championship, but they failed to win when Sky pinned Jericho with a small package, thus suffering his first loss in AEW.",
"On the episode of Dynamite after Full Gear, Jericho and Guevara challenged SoCal Uncensored (Frankie Kazarian and Scorpio Sky) for the AEW World Tag Team Championship, but they failed to win when Sky pinned Jericho with a small package, thus suffering his first loss in AEW. Jericho would successfully retain the AEW World Championship against Sky on the November 27 episode of Dynamite.",
"Jericho would successfully retain the AEW World Championship against Sky on the November 27 episode of Dynamite. In December, The Inner Circle began to attempt to entice Jon Moxley to join the group.",
"In December, The Inner Circle began to attempt to entice Jon Moxley to join the group. On the January 8, 2020 episode of Dynamite, Moxley initially joined the group, however, this was later revealed to be a ruse from Moxley as he attacked Jericho and Sammy Guevara.",
"On the January 8, 2020 episode of Dynamite, Moxley initially joined the group, however, this was later revealed to be a ruse from Moxley as he attacked Jericho and Sammy Guevara. Moxley then became the number one contender for Jericho's championship at Revolution on February 29, where Moxley defeated Jericho to win the title, ending his inaugural AEW World Championship reign at 182 days.",
"Moxley then became the number one contender for Jericho's championship at Revolution on February 29, where Moxley defeated Jericho to win the title, ending his inaugural AEW World Championship reign at 182 days. Feud with MJF (2020–2021) After losing the championship, Jericho and The Inner Circle began a feud with The Elite (Adam Page, Cody, Kenny Omega and The Young Bucks), who recruited the debuting Matt Hardy to oppose them.",
"Feud with MJF (2020–2021) After losing the championship, Jericho and The Inner Circle began a feud with The Elite (Adam Page, Cody, Kenny Omega and The Young Bucks), who recruited the debuting Matt Hardy to oppose them. At Double or Nothing on May 23, The Inner Circle were defeated by Page, Omega, The Young Bucks and Hardy in a Stadium Stampede match.",
"At Double or Nothing on May 23, The Inner Circle were defeated by Page, Omega, The Young Bucks and Hardy in a Stadium Stampede match. Jericho next began a rivalry with Orange Cassidy, with Jericho defeating him at Fyter Fest on July 8, but losing a rematch on the August 12 episode of Dynamite.",
"Jericho next began a rivalry with Orange Cassidy, with Jericho defeating him at Fyter Fest on July 8, but losing a rematch on the August 12 episode of Dynamite. The two faced once again at All Out on September 5, in a Mimosa Mayhem match, which Jericho lost.",
"The two faced once again at All Out on September 5, in a Mimosa Mayhem match, which Jericho lost. Beginning in October, Jericho began a feud with MJF, who requested to join the Inner Circle, despite disapproval from Sammy Guevara, Santana and Ortiz.",
"Beginning in October, Jericho began a feud with MJF, who requested to join the Inner Circle, despite disapproval from Sammy Guevara, Santana and Ortiz. Jericho and MJF wrestled in a match at the Full Gear event on November 7, which MJF won, thus allowing him to join the Inner Circle.",
"Jericho and MJF wrestled in a match at the Full Gear event on November 7, which MJF won, thus allowing him to join the Inner Circle. At Beach Break on February 3, 2021, Jericho and MJF won a tag team battle royal to become the number one contenders for the AEW World Tag Team Championship at the Revolution event against The Young Bucks, which they were unsuccessful in winning.",
"At Beach Break on February 3, 2021, Jericho and MJF won a tag team battle royal to become the number one contenders for the AEW World Tag Team Championship at the Revolution event against The Young Bucks, which they were unsuccessful in winning. On the March 10 episode of Dynamite, MJF betrayed and left The Inner Circle after revealing he had been secretly plotting against them and building his own stable, The Pinnacle—consisting of Wardlow, Shawn Spears and FTR (Cash Wheeler and Dax Harwood).",
"On the March 10 episode of Dynamite, MJF betrayed and left The Inner Circle after revealing he had been secretly plotting against them and building his own stable, The Pinnacle—consisting of Wardlow, Shawn Spears and FTR (Cash Wheeler and Dax Harwood). At Blood and Guts on May 5, The Inner Circle lost to The Pinnacle in the inaugural Blood and Guts match.",
"At Blood and Guts on May 5, The Inner Circle lost to The Pinnacle in the inaugural Blood and Guts match. However, in the main event of Double or Nothing later that month, The Inner Circle defeated The Pinnacle in a Stadium Stampede match, after Sammy Guevara pinned Shawn Spears.",
"However, in the main event of Double or Nothing later that month, The Inner Circle defeated The Pinnacle in a Stadium Stampede match, after Sammy Guevara pinned Shawn Spears. Jericho then began pursuing another match with MJF, who stated that he would first have to defeat a gauntlet of opponents selected by MJF, in a series dubbed the \"Labors of Jericho\".",
"Jericho then began pursuing another match with MJF, who stated that he would first have to defeat a gauntlet of opponents selected by MJF, in a series dubbed the \"Labors of Jericho\". Jericho would defeat each of MJF's handpicked opponents (Shawn Spears, Nick Gage, Juventud Guerrera and Wardlow) and faced MJF in the final labor on the August 18 episode of Dynamite, but he was defeated.",
"Jericho would defeat each of MJF's handpicked opponents (Shawn Spears, Nick Gage, Juventud Guerrera and Wardlow) and faced MJF in the final labor on the August 18 episode of Dynamite, but he was defeated. Jericho demanded one more match, stipulating that if he lost, he would retire from in-ring competition, which MJF accepted.",
"Jericho demanded one more match, stipulating that if he lost, he would retire from in-ring competition, which MJF accepted. At All Out on September 5, Jericho defeated MJF to maintain his career and end their feud.",
"At All Out on September 5, Jericho defeated MJF to maintain his career and end their feud. Various feuds (2021–present) Following All Out, The Inner Circle started a rivalry with Men of the Year (Ethan Page and Scorpio Sky), and their ally, mixed martial arts (MMA) coach Dan Lambert.",
"Various feuds (2021–present) Following All Out, The Inner Circle started a rivalry with Men of the Year (Ethan Page and Scorpio Sky), and their ally, mixed martial arts (MMA) coach Dan Lambert. Lambert also brought in members of his MMA team American Top Team (ATT) to oppose The Inner Circle, including Andrei Arlovski and Junior dos Santos.",
"Lambert also brought in members of his MMA team American Top Team (ATT) to oppose The Inner Circle, including Andrei Arlovski and Junior dos Santos. At the Full Gear event on November 13, The Inner Circle defeated Men of the Year and ATT in a Minneapolis Street Fight.",
"At the Full Gear event on November 13, The Inner Circle defeated Men of the Year and ATT in a Minneapolis Street Fight. Legacy Known for his over-the-top, rock star persona, Jericho has been described by multiple industry commentators as one of the greatest professional wrestlers of all time.",
"Legacy Known for his over-the-top, rock star persona, Jericho has been described by multiple industry commentators as one of the greatest professional wrestlers of all time. Journalist Chris Van Vliet noted that his name is \"always thrown around as the GOAT [greatest of all time], or at least one of the GOATs\", with Van Vliet himself asserting that Jericho is \"if not the best, certainly one of the best\".",
"Journalist Chris Van Vliet noted that his name is \"always thrown around as the GOAT [greatest of all time], or at least one of the GOATs\", with Van Vliet himself asserting that Jericho is \"if not the best, certainly one of the best\". Todd Martin of the Pro Wrestling Torch remarked, to agreement from editor Wade Keller, that Jericho is \"one of the great wrestlers of all time\" and in \"a lofty category\", while likening his oeuvre to those of WWE Hall of Famers Randy Savage, Ricky Steamboat, Ted DiBiase and Dory Funk Jr.",
"Todd Martin of the Pro Wrestling Torch remarked, to agreement from editor Wade Keller, that Jericho is \"one of the great wrestlers of all time\" and in \"a lofty category\", while likening his oeuvre to those of WWE Hall of Famers Randy Savage, Ricky Steamboat, Ted DiBiase and Dory Funk Jr. Praised for his ability to continually evolve his gimmick, Jericho was dubbed by KC Joyner of ESPN as \"wrestling's David Bowie\".",
"Praised for his ability to continually evolve his gimmick, Jericho was dubbed by KC Joyner of ESPN as \"wrestling's David Bowie\". Various outlets have included Jericho in lists of the greatest wrestlers ever.",
"Various outlets have included Jericho in lists of the greatest wrestlers ever. Baltimore Sun reporter Kevin Eck, who has also served as editor of WCW Magazine and a WWE producer, featured Jericho in his \"Top 10 favorite wrestlers of all time\" and \"Top 10 all-around performers\"—the former piece noting that Jericho is \"regarded as one of the very best talkers in the business\".",
"Baltimore Sun reporter Kevin Eck, who has also served as editor of WCW Magazine and a WWE producer, featured Jericho in his \"Top 10 favorite wrestlers of all time\" and \"Top 10 all-around performers\"—the former piece noting that Jericho is \"regarded as one of the very best talkers in the business\". Keisha Hatchett in TV Guide wrote that Jericho \"owns the mic with cerebral insults\" and is set apart from peers by \"his charismatic presence, which is highlighted by a laundry list of unforgettable catchphrases\".",
"Keisha Hatchett in TV Guide wrote that Jericho \"owns the mic with cerebral insults\" and is set apart from peers by \"his charismatic presence, which is highlighted by a laundry list of unforgettable catchphrases\". He was voted by Wrestling Observer Newsletter (WON) readers as \"Best on Interviews\" for the 2000s decade, coinciding with his 2010 induction into the WON Hall of Fame.",
"He was voted by Wrestling Observer Newsletter (WON) readers as \"Best on Interviews\" for the 2000s decade, coinciding with his 2010 induction into the WON Hall of Fame. Fans also named Jericho the greatest WWE Intercontinental Champion of all time in a 2013 WWE poll, affording him a landslide 63% victory over the other four contenders (Mr.",
"Fans also named Jericho the greatest WWE Intercontinental Champion of all time in a 2013 WWE poll, affording him a landslide 63% victory over the other four contenders (Mr. Perfect, The Honky Tonk Man, Rick Rude and Pat Patterson).",
"Perfect, The Honky Tonk Man, Rick Rude and Pat Patterson). A number of Jericho's industry colleagues have hailed him as one of the greatest wrestlers in history. Stone Cold Steve Austin lauded his consistently \"dynamic\" promos and in-ring work, while arguing that he should be considered among the 10 best ever.",
"Stone Cold Steve Austin lauded his consistently \"dynamic\" promos and in-ring work, while arguing that he should be considered among the 10 best ever. Kenny Omega asserted that Jericho \"has a legit argument for being the best of all time\", based on his ability to achieve success and notoriety across numerous territories.",
"Kenny Omega asserted that Jericho \"has a legit argument for being the best of all time\", based on his ability to achieve success and notoriety across numerous territories. Jon Moxley said, \"Jericho is really making a case for being the greatest of all time... he's doing it again, he's doing something completely new, and breaking new barriers still here in 2020.\"",
"Jon Moxley said, \"Jericho is really making a case for being the greatest of all time... he's doing it again, he's doing something completely new, and breaking new barriers still here in 2020.\" Matt Striker pointed to Jericho's \"magnanimous\" nature as a contributing factor to his status as an all-time great; his willingness to impart knowledge was commended by James Ellsworth, who described Jericho as an \"outstanding human being\" and a childhood favorite.",
"Matt Striker pointed to Jericho's \"magnanimous\" nature as a contributing factor to his status as an all-time great; his willingness to impart knowledge was commended by James Ellsworth, who described Jericho as an \"outstanding human being\" and a childhood favorite. Kevin Owens stated that \"Jericho was always someone I looked up to\", while The Miz affirmed that he was part of a generation of young wrestlers who sought to \"emulate\" Jericho.",
"Kevin Owens stated that \"Jericho was always someone I looked up to\", while The Miz affirmed that he was part of a generation of young wrestlers who sought to \"emulate\" Jericho. WWE declared Jericho a \"marquee draw\" with a \"reputation as one of the best ever\".",
"WWE declared Jericho a \"marquee draw\" with a \"reputation as one of the best ever\". As of 2019, he is one of the ten most prolific pay-per-view performers in company history.",
"As of 2019, he is one of the ten most prolific pay-per-view performers in company history. After Jericho signed with All Elite Wrestling, it was said his role was similar to Terry Funk in ECW, as an experienced veteran bringing credibility to a younger promotion.",
"After Jericho signed with All Elite Wrestling, it was said his role was similar to Terry Funk in ECW, as an experienced veteran bringing credibility to a younger promotion. Jericho was credited as one of the key attractions of AEW's weekly television broadcasts, leading to him adopting the nickname \"The Demo God\" due to many of the segments he appeared in being some of the highest viewed in the key demographics.",
"Jericho was credited as one of the key attractions of AEW's weekly television broadcasts, leading to him adopting the nickname \"The Demo God\" due to many of the segments he appeared in being some of the highest viewed in the key demographics. He was voted as the Best Box Office Draw by readers of the Wrestling Observer Newsletter in 2019.",
"He was voted as the Best Box Office Draw by readers of the Wrestling Observer Newsletter in 2019. Music career Jericho is the lead singer for the heavy metal band Fozzy.",
"Music career Jericho is the lead singer for the heavy metal band Fozzy. Since their debut album in 2000, Fozzy have released seven studio albums; Fozzy, Happenstance, All That Remains, Chasing the Grail, Sin and Bones, Do You Wanna Start a War, Judas, and one live album, Remains Alive.",
"Since their debut album in 2000, Fozzy have released seven studio albums; Fozzy, Happenstance, All That Remains, Chasing the Grail, Sin and Bones, Do You Wanna Start a War, Judas, and one live album, Remains Alive. In 2005, Jericho performed vocals on a cover of \"The Evil That Men Do\" on the Iron Maiden tribute album, Numbers from the Beast.",
"In 2005, Jericho performed vocals on a cover of \"The Evil That Men Do\" on the Iron Maiden tribute album, Numbers from the Beast. He made a guest appearance on Dream Theater's album, Systematic Chaos on the song \"Repentance\", as one of several musical guests recorded apologizing to important people in their lives for wrongdoings in the past.",
"He made a guest appearance on Dream Theater's album, Systematic Chaos on the song \"Repentance\", as one of several musical guests recorded apologizing to important people in their lives for wrongdoings in the past. In the mid-1990s, Jericho wrote a monthly column for Metal Edge magazine focused on the heavy metal scene.",
"In the mid-1990s, Jericho wrote a monthly column for Metal Edge magazine focused on the heavy metal scene. The column ran for about a year. He started his own weekly XM Satellite Radio show in March 2005 called The Rock of Jericho, which aired Sunday nights on XM 41 The Boneyard.",
"He started his own weekly XM Satellite Radio show in March 2005 called The Rock of Jericho, which aired Sunday nights on XM 41 The Boneyard. Discography Albums with Fozzy Fozzy (2000) Happenstance (2002) All That Remains (2005) Chasing the Grail (2010) Sin and Bones (2012) Do You Wanna Start a War (2014) Judas (2017) Live albums Remains Alive (2009) As guest Don't You Wish You Were Me?",
"Discography Albums with Fozzy Fozzy (2000) Happenstance (2002) All That Remains (2005) Chasing the Grail (2010) Sin and Bones (2012) Do You Wanna Start a War (2014) Judas (2017) Live albums Remains Alive (2009) As guest Don't You Wish You Were Me? - WWE Originals (2004) King of the Night Time World - Spin the Bottle: An All-Star Tribute to Kiss (2004) * With Rich Ward, Mike Inez, Fred Coury Bullet for My Valentine – Temper Temper – Dead to the World (2013) Devin Townsend – Dark Matters (2014) Michael Sweet – I'm Not Your Suicide – Anybody Else (2014) Other endeavors Film, theater, comedy, and writing In 2000, a WWE produced VHS tape documenting Jericho's career titled Break Down the Walls was released.",
"- WWE Originals (2004) King of the Night Time World - Spin the Bottle: An All-Star Tribute to Kiss (2004) * With Rich Ward, Mike Inez, Fred Coury Bullet for My Valentine – Temper Temper – Dead to the World (2013) Devin Townsend – Dark Matters (2014) Michael Sweet – I'm Not Your Suicide – Anybody Else (2014) Other endeavors Film, theater, comedy, and writing In 2000, a WWE produced VHS tape documenting Jericho's career titled Break Down the Walls was released. He later received two three disc sets profiling matches and interviews.",
"He later received two three disc sets profiling matches and interviews. On June 24, 2006, Jericho premiered in his first Sci-Fi Channel movie Android Apocalypse alongside Scott Bairstow and Joey Lawrence.",
"On June 24, 2006, Jericho premiered in his first Sci-Fi Channel movie Android Apocalypse alongside Scott Bairstow and Joey Lawrence. Jericho debuted as a stage actor in a comedy play Opening Night, which premiered at the Toronto Centre for the Arts during July 20–22, 2006 in Toronto.",
"Jericho debuted as a stage actor in a comedy play Opening Night, which premiered at the Toronto Centre for the Arts during July 20–22, 2006 in Toronto. During his stay in Toronto, Jericho hosted the sketch comedy show Sunday Night Live with sketch troupe The Sketchersons at The Brunswick House.",
"During his stay in Toronto, Jericho hosted the sketch comedy show Sunday Night Live with sketch troupe The Sketchersons at The Brunswick House. Jericho was also the first wrestler attached and interviewed for the wrestling documentary, Bloodstained Memoirs. The interview was recorded in the UK during a Fozzy tour in 2006.",
"The interview was recorded in the UK during a Fozzy tour in 2006. Jericho wrote his autobiography, A Lion's Tale: Around the World in Spandex, which was released on October 25, 2007 and became a New York Times bestseller. It covers Jericho's life and wrestling career up to his debut in the WWE.",
"It covers Jericho's life and wrestling career up to his debut in the WWE. Jericho's second autobiography, Undisputed: How to Become the World Champion in 1,372 Easy Steps, was released on February 16, 2011, and covers his wrestling career since his WWE debut.",
"Jericho's second autobiography, Undisputed: How to Become the World Champion in 1,372 Easy Steps, was released on February 16, 2011, and covers his wrestling career since his WWE debut. On October 14, 2014 Jericho's third book, The Best In The World...At What I Have No Idea, was released.",
"On October 14, 2014 Jericho's third book, The Best In The World...At What I Have No Idea, was released. It covers some untold stories of the \"Save Us\" era, his Fozzy career, and his multiple returns from 2011 to 2013.",
"It covers some untold stories of the \"Save Us\" era, his Fozzy career, and his multiple returns from 2011 to 2013. Jericho's fourth book, No Is a Four-Letter Word: How I Failed Spelling but Succeeded in Life, was released on August 29, 2017 and details twenty valuable lessons Jericho learned throughout his career as a wrestler and musician.",
"Jericho's fourth book, No Is a Four-Letter Word: How I Failed Spelling but Succeeded in Life, was released on August 29, 2017 and details twenty valuable lessons Jericho learned throughout his career as a wrestler and musician. Jericho appeared in the 2009 film Albino Farm.",
"Jericho appeared in the 2009 film Albino Farm. In the film MacGruber, released May 21, 2010, he briefly appeared as Frank Korver, a former military teammate of the eponymous Green Beret, Navy Seal, and Army Ranger.",
"In the film MacGruber, released May 21, 2010, he briefly appeared as Frank Korver, a former military teammate of the eponymous Green Beret, Navy Seal, and Army Ranger. Jericho released a comedy web series on October 29, 2013 that is loosely based on his life entitled But I'm Chris Jericho!",
"Jericho released a comedy web series on October 29, 2013 that is loosely based on his life entitled But I'm Chris Jericho! Jericho plays a former wrestler, struggling to make it big as an actor. A second season was produced in 2017 by CBC and distributed over CBC's television app and CBC.ca.",
"A second season was produced in 2017 by CBC and distributed over CBC's television app and CBC.ca. In 2016, Jericho starred in the documentary film Nine Legends alongside Mike Tyson and other wrestlers. In August 2018, Jericho was confirmed to star in the film Killroy Was Here.",
"In August 2018, Jericho was confirmed to star in the film Killroy Was Here. On March 14, 2019, filmmaker Kevin Smith cast Jericho as a KKK Grand Wizard in Jay and Silent Bob Reboot.",
"On March 14, 2019, filmmaker Kevin Smith cast Jericho as a KKK Grand Wizard in Jay and Silent Bob Reboot. Television Jericho was a contributor to the VH1 pop culture shows Best Week Ever, I Love the '80s, and VH1's top 100 artists.",
"Television Jericho was a contributor to the VH1 pop culture shows Best Week Ever, I Love the '80s, and VH1's top 100 artists. Jericho also hosted the five-part, five-hour VH1 special 100 Most Shocking Music Moments, an update of the original special 100 Most Shocking Moments in Rock N' Roll first hosted by Mark McGrath of Sugar Ray.",
"Jericho also hosted the five-part, five-hour VH1 special 100 Most Shocking Music Moments, an update of the original special 100 Most Shocking Moments in Rock N' Roll first hosted by Mark McGrath of Sugar Ray. On July 12, 2006, he made an appearance on G4's Attack of the Show!",
"On July 12, 2006, he made an appearance on G4's Attack of the Show! ; he made a second appearance on August 21, 2009. In May 2006, Jericho appeared on VH1's 40 Greatest Metal Songs and Heavy: The Story of Metal as a commentator.",
"In May 2006, Jericho appeared on VH1's 40 Greatest Metal Songs and Heavy: The Story of Metal as a commentator. He was one of eight celebrities in the 2006 Fox Television singing reality show Celebrity Duets, produced by Simon Cowell, and was the first contestant eliminated.",
"He was one of eight celebrities in the 2006 Fox Television singing reality show Celebrity Duets, produced by Simon Cowell, and was the first contestant eliminated. Jericho worked at a McDonald's to show off his skills while prepping for the show.",
"Jericho worked at a McDonald's to show off his skills while prepping for the show. Jericho hosted his own reality show in 2008 titled Redemption Song, in which 11 women tried their hand at getting into the music scene. It was shown on Fuse TV.",
"It was shown on Fuse TV. He guest starred as Billy \"The Body Bag\" Cobb in \"Xero Control\", an episode of the Disney XD 2009 original series Aaron Stone. He hosted VH1's 100 Most Shocking Music Moments, which began airing in December 2009.",
"He hosted VH1's 100 Most Shocking Music Moments, which began airing in December 2009. In June 2010, Jericho was named the host of the ABC prime-time game show Downfall. On March 1, 2011, Chris Jericho was named one of the contestants on the 2011 lineup of Dancing with the Stars.",
"On March 1, 2011, Chris Jericho was named one of the contestants on the 2011 lineup of Dancing with the Stars. His partner was two-time champion Cheryl Burke. This led to a wave of publicity, including an interview with Jay Leno. On April 26, Jericho was the fifth contestant eliminated on the show.",
"On April 26, Jericho was the fifth contestant eliminated on the show. On May 5, Jericho made his third appearance as a guest on Attack of the Show! where he depicted Thor. He promoted Undisputed and hosted the Revolver Golden Gods Awards on May 28 on VH1 Classic.",
"He promoted Undisputed and hosted the Revolver Golden Gods Awards on May 28 on VH1 Classic. On January 17, 2012, Jericho made his fourth appearance on Attack of the Show!",
"On January 17, 2012, Jericho made his fourth appearance on Attack of the Show! in a segment called \"Twitter Twister\" where he portrayed a character called \"The Twistercutioner\" and read tweets as instructions for a game of Twister between Kevin and Candace.",
"in a segment called \"Twitter Twister\" where he portrayed a character called \"The Twistercutioner\" and read tweets as instructions for a game of Twister between Kevin and Candace. Jericho hosted the UK's Metal Hammer Golden Gods Awards in 2012 and 2017.",
"Jericho hosted the UK's Metal Hammer Golden Gods Awards in 2012 and 2017. On February 26, 2013, Jericho began hosting a robot combat competition program on SyFy titled Robot Combat League the series ended on April 23, 2015. Talk Is Jericho podcast In December 2013, Jericho began hosting his own podcast, Talk is Jericho.",
"Talk Is Jericho podcast In December 2013, Jericho began hosting his own podcast, Talk is Jericho. Episodes usually include a loosely scripted monolog before an interview, typically with a wrestler, rock musician or paranormal expert.",
"Episodes usually include a loosely scripted monolog before an interview, typically with a wrestler, rock musician or paranormal expert. The show originally appeared on PodcastOne, before moving to the WestwoodOne network in 2018. Notable guests on the show include Bruce Dickinson from Iron Maiden, Lemmy from Motörhead, Paul Stanley from KISS, Zak Bagans from Ghost Adventures, pornographic actress Asa Akira, writer/director Kevin Smith and many former and current wrestlers.",
"The show originally appeared on PodcastOne, before moving to the WestwoodOne network in 2018. Notable guests on the show include Bruce Dickinson from Iron Maiden, Lemmy from Motörhead, Paul Stanley from KISS, Zak Bagans from Ghost Adventures, pornographic actress Asa Akira, writer/director Kevin Smith and many former and current wrestlers. In April 2015, Jericho hosted his own video podcast on the WWE Network, Live!",
"In April 2015, Jericho hosted his own video podcast on the WWE Network, Live! with Chris Jericho, with John Cena as his first guest, followed by Stephanie McMahon as his guest later that same month. Once he signed with AEW, he was no longer allowed WWE performers as guests on the podcast.",
"Once he signed with AEW, he was no longer allowed WWE performers as guests on the podcast. Web On August 10, 2019, Jericho launched his own dirtsheet website called WebIsJericho.com. The website is dedicated to the memory of Axl Rotten.",
"The website is dedicated to the memory of Axl Rotten. In May 2020, Jericho officially joined as a competitor of the Movie Trivia Schmoedown under manager Roxy Striar in the Roxstars faction. Jericho first expressed interest in the Schmoedown following an appearance on Collider Live with Striar and Schmoedown commissioner Kristian Harloff.",
"Jericho first expressed interest in the Schmoedown following an appearance on Collider Live with Striar and Schmoedown commissioner Kristian Harloff. He became friends with Striar following the interview and kept in contact. During the 2020 season, Jericho contacted Striar, asking to be a part of the league.",
"During the 2020 season, Jericho contacted Striar, asking to be a part of the league. Striar formally drafted Jericho into her faction during the first free-agent period following the season-opening draft. His first match is scheduled for August 27 against Kevin Smith.",
"His first match is scheduled for August 27 against Kevin Smith. Cruises In 2017, Jericho launched Chris Jericho's Rock 'N' Wrestling Rager at Sea, a cruise \"combining the worlds of rock and wrestling with a once in a lifetime amazing vacation experience\".",
"Cruises In 2017, Jericho launched Chris Jericho's Rock 'N' Wrestling Rager at Sea, a cruise \"combining the worlds of rock and wrestling with a once in a lifetime amazing vacation experience\". The cruise featured live band performances, artist-hosted activities and a Sea of Honor Tournament with over a dozen Ring of Honor wrestlers competing.",
"The cruise featured live band performances, artist-hosted activities and a Sea of Honor Tournament with over a dozen Ring of Honor wrestlers competing. Guests had the opportunity to get up close and personal with Chris and his closest wrestling, comedian, and musician friends including Jim Ross, Diamond Dallas Page and Jim Breuer, among others.",
"Guests had the opportunity to get up close and personal with Chris and his closest wrestling, comedian, and musician friends including Jim Ross, Diamond Dallas Page and Jim Breuer, among others. The cruise sailed October 27–31, 2018 from Miami to Nassau, Bahamas.",
"The cruise sailed October 27–31, 2018 from Miami to Nassau, Bahamas. Jericho hosted a second cruise, Chris Jericho's Rock 'N' Wrestling Rager at Sea Part Deux: Second Wave, which run from January 20–24, 2020.",
"Jericho hosted a second cruise, Chris Jericho's Rock 'N' Wrestling Rager at Sea Part Deux: Second Wave, which run from January 20–24, 2020. A third cruise, Chris Jericho's Rock 'N' Wrestling Rager at Sea Triple Whammy, is scheduled for October 21–25, 2021.",
"A third cruise, Chris Jericho's Rock 'N' Wrestling Rager at Sea Triple Whammy, is scheduled for October 21–25, 2021. Video games Jericho has appeared in numerous video games. They include WCW/nWo Revenge, WCW Nitro, WCW/nWo Thunder, WCW Mayhem, WWF WrestleMania 2000, WWF No Mercy, WWF SmackDown!, WWF SmackDown!",
"They include WCW/nWo Revenge, WCW Nitro, WCW/nWo Thunder, WCW Mayhem, WWF WrestleMania 2000, WWF No Mercy, WWF SmackDown!, WWF SmackDown! 2: Know Your Role, WWF SmackDown! Just Bring It, WWF Raw, WWE SmackDown! Shut Your Mouth, WWE SmackDown! Here Comes the Pain, WWE SmackDown!",
"Here Comes the Pain, WWE SmackDown! vs. Raw, WWE SmackDown! vs. Raw 2006, WWE SmackDown vs. Raw 2009, WWE All Stars, WWE SmackDown vs. Raw 2010, WWE SmackDown vs.",
"Raw 2010, WWE SmackDown vs. Raw 2011, WWE '13, WWE 2K14, WWE 2K15, WWE 2K16, WWE 2K17, WWE 2K18, WWE 2K19 and the upcoming All Elite Wrestling video game. Personal life Irvine married Jessica Lockhart on July 30, 2000.",
"Personal life Irvine married Jessica Lockhart on July 30, 2000. They reside in Odessa, Florida, with their three children: son Ash Edward Irvine (born 2003) and identical twin daughters Sierra Loretta \"SiSi\" Irvine and Cheyenne Lee \"Chey\" Irvine (born 2006).",
"They reside in Odessa, Florida, with their three children: son Ash Edward Irvine (born 2003) and identical twin daughters Sierra Loretta \"SiSi\" Irvine and Cheyenne Lee \"Chey\" Irvine (born 2006). All three have been guests on his podcast, Talk Is Jericho, with his son discussing fish and his daughters discussing literature.",
"All three have been guests on his podcast, Talk Is Jericho, with his son discussing fish and his daughters discussing literature. Irvine owns three cats. In October 2020, Irvine reportedly donated $3,000 to Donald Trump's presidential re-election campaign. Irvine is a Christian.",
"Irvine is a Christian. Irvine is a Christian. He has a tattoo of his wife's name on his ring finger. He has the letter F, representing Fozzy, on the back of his hand. Since 2012, he has gradually gotten a sleeve over his left arm.",
"Since 2012, he has gradually gotten a sleeve over his left arm. His tattoos include: the artwork of Fozzy's album Sin and Bones, a Jack-o'-lantern (Avenged Sevenfold vocalist M. Shadows, who collaborated with Fozzy on the track \"Sandpaper\" from Sin and Bones, also got a matching tattoo), a lake monster, and himself from his WWF debut in 1999.",
"His tattoos include: the artwork of Fozzy's album Sin and Bones, a Jack-o'-lantern (Avenged Sevenfold vocalist M. Shadows, who collaborated with Fozzy on the track \"Sandpaper\" from Sin and Bones, also got a matching tattoo), a lake monster, and himself from his WWF debut in 1999. On July 5, 2004, Irvine was awarded Manitoba's The Order of the Buffalo Hunt, for his achievements in wrestling and his commitment to working with underprivileged children.",
"On July 5, 2004, Irvine was awarded Manitoba's The Order of the Buffalo Hunt, for his achievements in wrestling and his commitment to working with underprivileged children. – \"After that, Gary Doer, the premier of Manitoba, awarded me with the Order of the Buffalo Hunt, which was the province's highest honor.",
"– \"After that, Gary Doer, the premier of Manitoba, awarded me with the Order of the Buffalo Hunt, which was the province's highest honor. It was quite the prestigious prize, which has been given to such dignitaries such as Mother Teresa, Desmond Tutu, Jimmy Carter, Pope John Paul II, and now Chris Jericho.\"",
"It was quite the prestigious prize, which has been given to such dignitaries such as Mother Teresa, Desmond Tutu, Jimmy Carter, Pope John Paul II, and now Chris Jericho.\" / caption: \"Manitoba Premier Gary Doer presents me with the Order of the Buffalo Hunt, along with a tiny bronze buffalo.",
"/ caption: \"Manitoba Premier Gary Doer presents me with the Order of the Buffalo Hunt, along with a tiny bronze buffalo. I'm thinking, 'That's all I get?'\"",
"I'm thinking, 'That's all I get?'\" Since January 2012, Irvine (along with former NFL Quarterback Tim Tebow, former NFL player Derrick Brooks, and former Atlanta Braves player Chipper Jones) has been the co-owner of a sports training facility in Tampa, a franchise site of D1 Sports Training and Therapy.",
"Since January 2012, Irvine (along with former NFL Quarterback Tim Tebow, former NFL player Derrick Brooks, and former Atlanta Braves player Chipper Jones) has been the co-owner of a sports training facility in Tampa, a franchise site of D1 Sports Training and Therapy. Irvine is a fan of Japanese convenience store chain Lawson, which Irvine would frequently shop at when he wrestled in Japan in the 1990s.",
"Irvine is a fan of Japanese convenience store chain Lawson, which Irvine would frequently shop at when he wrestled in Japan in the 1990s. Irvine still visits Lawson whenever he returns to Japan, whether to wrestle or if he is touring with Fozzy.https://www.instagram.com/p/CQCwN9vjtO_/ Legal issues On February 7, 2009, a fan accused Irvine of punching her after she spat at him with fans outside Save-On-Foods Memorial Centre in Victoria, British Columbia after a live event.",
"Irvine still visits Lawson whenever he returns to Japan, whether to wrestle or if he is touring with Fozzy.https://www.instagram.com/p/CQCwN9vjtO_/ Legal issues On February 7, 2009, a fan accused Irvine of punching her after she spat at him with fans outside Save-On-Foods Memorial Centre in Victoria, British Columbia after a live event. Video footage, however, clearly showed he did not make contact with the woman.",
"Video footage, however, clearly showed he did not make contact with the woman. As a result of the incident, police detained them, but released them without charge. Police did not press charges against anyone in the brawl as it was \"hard to determine who provoked whom\".",
"Police did not press charges against anyone in the brawl as it was \"hard to determine who provoked whom\". On January 27, 2010, Irvine and fellow wrestler Gregory Helms were arrested in Fort Mitchell, Kentucky after leaving a bar. A police report stated that Helms punched Irvine and the other passengers in the cab.",
"A police report stated that Helms punched Irvine and the other passengers in the cab. Fellow wrestlers Christian and CM Punk bailed them out later.",
"Fellow wrestlers Christian and CM Punk bailed them out later. Filmography Film Television Video games Championships and accomplishments All Elite Wrestling AEW World Championship (1 time) AEW Dynamite Awards (2 times) Bleacher Report PPV Moment of the Year (2021) – Biggest Beatdown (2021) – The Baltimore Sun Feud of the Year (2008) Canadian Rocky Mountain Wrestling CRMW North American Heavyweight Championship (1 time) CRMW North American Tag Team Championship (2 times) – with Lance Storm CRMW Mid-Heavyweight Championship (2 times) Consejo Mundial de Lucha Libre NWA World Middleweight Championship (1 time) Extreme Championship Wrestling ECW World Television Championship (1 time) International Wrestling Alliance IWA Junior Heavyweight Championship (1 time) New Japan Pro-Wrestling IWGP Intercontinental Championship (1 time) Pro Wrestling Illustrated Faction of the Year (2021) – with The Inner Circle Feud of the Decade (2000s) Feud of the Year (2008) Feud of the Year (2021) Most Hated Wrestler of the Year (2002, 2008) Ranked No.",
"Filmography Film Television Video games Championships and accomplishments All Elite Wrestling AEW World Championship (1 time) AEW Dynamite Awards (2 times) Bleacher Report PPV Moment of the Year (2021) – Biggest Beatdown (2021) – The Baltimore Sun Feud of the Year (2008) Canadian Rocky Mountain Wrestling CRMW North American Heavyweight Championship (1 time) CRMW North American Tag Team Championship (2 times) – with Lance Storm CRMW Mid-Heavyweight Championship (2 times) Consejo Mundial de Lucha Libre NWA World Middleweight Championship (1 time) Extreme Championship Wrestling ECW World Television Championship (1 time) International Wrestling Alliance IWA Junior Heavyweight Championship (1 time) New Japan Pro-Wrestling IWGP Intercontinental Championship (1 time) Pro Wrestling Illustrated Faction of the Year (2021) – with The Inner Circle Feud of the Decade (2000s) Feud of the Year (2008) Feud of the Year (2021) Most Hated Wrestler of the Year (2002, 2008) Ranked No. 2 of the top 500 singles wrestlers in the PWI 500 in 2009 Rolling Stone Ranked No.",
"2 of the top 500 singles wrestlers in the PWI 500 in 2009 Rolling Stone Ranked No. 3 of the 10 best WWE wrestlers of 2016 World Championship Wrestling WCW Cruiserweight Championship (4 times) WCW World Television Championship (1 time) World Wrestling Federation/Entertainment/WWE Undisputed WWF Championship (1 time) World Heavyweight Championship (3 times) WCW/World Championship (2 times) WWF/WWE Intercontinental Championship (9 times) WWE United States Championship (2 times) WWF European Championship (1 time) WWF Hardcore Championship (1 time) WWE Tag Team Championship (2 times) – with Edge (1) and Big Show (1) WWF/World Tag Team Championship (5 times) – with Chris Benoit (1), The Rock (1), Christian (1), Edge (1), and Big Show (1) Bragging Rights Trophy (2009) – with Team SmackDown WWF Undisputed Championship Tournament (2001) Fourth Grand Slam Champion Ninth Triple Crown Champion Slammy Award (3 times) Extreme Moment of the Year (2014) Superstar of the Year (2008) Tag Team of the Year (2009) – with Big Show Wrestle Association \"R\" WAR International Junior Heavyweight Championship (1 time) WAR International Junior Heavyweight Tag Team Championship (1 time) – with Gedo World Wrestling Association WWA Tag Team Championship (1 time) – with El Dandy Wrestling Observer Newsletter Wrestler of the Year (2008, 2009, 2019) Best on Interviews (2003, 2008, 2009, 2019) Best on Interviews of the Decade (2000s) Feud of the Year (2008) Pro Wrestling Match of the Year (2008) Most Underrated Wrestler (1999, 2000) Readers' Favorite Wrestler (1999) United States/Canada MVP (2019) Most Charismatic (2019) Best Box Office Draw (2019) Best Pro Wrestling Book (2011) Wrestling Observer Newsletter Hall of Fame (Class of 2010) Luchas de Apuestas record Notes References Further reading External links 1970 births 21st-century American male actors 21st-century American singers 21st-century Canadian male actors 21st-century Canadian male singers AEW World Champions All Elite Wrestling personnel American Christians American color commentators American game show hosts American hard rock musicians American heavy metal singers American male film actors American male professional wrestlers American male singer-songwriters American male television actors American memoirists American men podcasters American people of Scottish descent American people of Ukrainian descent American podcasters American radio personalities American rock singers American rock songwriters American YouTubers Canadian Christians Canadian colour commentators Canadian expatriate professional wrestlers in the United States Canadian game show hosts Canadian hard rock musicians Canadian heavy metal singers Canadian male film actors Canadian male professional wrestlers Canadian male singers Canadian male singer-songwriters Canadian male television actors Canadian memoirists Canadian men podcasters Canadian people of Scottish descent Canadian people of Ukrainian descent Canadian podcasters Canadian radio personalities Canadian rock singers Canadian YouTubers Christians from New York (state) ECW World Television Champions Expatriate professional wrestlers in Japan Expatriate professional wrestlers in Mexico Fozzy members IWGP Intercontinental champions Living people Male actors from New York (state) Male actors from Winnipeg Male YouTubers Musicians from Winnipeg NWA/WCW World Television Champions NWA/WCW/WWE United States Heavyweight Champions Participants in American reality television series People from Manhasset, New York Professional wrestlers from Manitoba Professional wrestlers from New York (state) Professional wrestling podcasters Red River College alumni Singer-songwriters from New York (state) Sportspeople from Winnipeg WCW World Heavyweight Champions World Heavyweight Champions (WWE) WWE Champions WWE Grand Slam champions WWF European Champions WWF/WWE Hardcore Champions WWF/WWE Intercontinental Champions"
] |
[
"Chris Jericho",
"Undisputed WWF Champion (2001-2002)",
"What is the WWF Champion",
"I don't know.",
"What WWF was undisputed",
"to become the first wrestler to hold both championships at the same time, which made him the first-ever Undisputed WWF Champion,",
"what 2 championships did he have at the same time",
"WWF Championship",
"Which other one",
"WCW Championship",
"In what year did it happen",
"I don't know.",
"What was taking place in the year 2001",
"Jericho became a major force in The Invasion storyline"
] | C_f1fd2ce81cdd44bfb0cceafeff54588e_1 | Why was he considered a major force | 7 | Why was Chris Jericho considered a major force | Chris Jericho | In the following months, Jericho became a major force in The Invasion storyline in which WCW and ECW joined forces to overtake the WWF. Jericho remained on the side of the WWF despite previously competing in WCW and ECW. However, Jericho began slow turning into a villain by showing jealousy toward fellow WWF member The Rock. They faced each other in a match at No Mercy for the WCW Championship after Jericho defeated Rob Van Dam in a number one contenders match. Jericho won the WCW Championship when he pinned The Rock after debuting a new finisher, the Breakdown, onto a steel chair, winning his first world title in the process. One night later, the two put their differences aside and won the WWF Tag Team title from the Dudley Boyz. After they lost the title to Test and Booker T, they continued their feud. On the November 5 episode of Raw, The Rock defeated Jericho to regain the WCW Championship. Following the match, Jericho attacked The Rock with a steel chair. At Survivor Series, Jericho solidified his heel turn by almost costing The Rock, and the WWF, victory in their elimination matchup by attacking The Rock again. At Vengeance, Jericho defeated both The Rock for the WCW Championship (unbranded and only referred to as the World Championship following Survivor Series) and Stone Cold Steve Austin for his first WWF Championship on the same night to become the first wrestler to hold both championships at the same time, which made him the first-ever Undisputed WWF Champion, as well as the fourth Grand Slam winner under the original format. He retained the title at Royal Rumble against The Rock and at No Way Out against Austin. Jericho later lost the title to Triple H in the main event of WrestleMania X8. After his title loss, Jericho became a member of the SmackDown! roster and continued his feud with Triple H. The rivalry culminated at Judgment Day when Triple H defeated Jericho in a Hell in a Cell match. CANNOTANSWER | WCW and ECW joined forces to overtake the WWF. | Christopher Keith Irvine (born November 9, 1970), better known by the ring name Chris Jericho, is an American-Canadian professional wrestler and singer. He is currently signed to All Elite Wrestling (AEW), where he is the leader of The Inner Circle stable. Noted for his over-the-top rock star persona, he has been named by journalists and industry colleagues as one of the greatest professional wrestlers of all time.
During the 1990s, Jericho performed for American organizations Extreme Championship Wrestling (ECW) and World Championship Wrestling (WCW), as well as for promotions in countries such as Canada, Japan, and Mexico. At the end of 1999, he made his debut in the World Wrestling Federation (WWF). In 2001, he became the first Undisputed WWF Champion, and thus the final holder of the WCW World Heavyweight Championship (then referred to as the World Championship), having won and unified the WWF and World titles by defeating Stone Cold Steve Austin and The Rock on the same night. Jericho headlined multiple pay-per-view (PPV) events during his time with the WWF/WWE, including WrestleMania X8 and the inaugural TLC and Elimination Chamber shows. He was inducted into the Wrestling Observer Newsletter Hall of Fame in 2010.
Within the WWF/WWE, Jericho is a six-time world champion, having won the Undisputed WWF Championship once, the WCW/World Championship twice and the World Heavyweight Championship three times. He has also held the WWE Intercontinental Championship a record nine times and was the ninth Triple Crown Champion, as well as the fourth Grand Slam Champion in history. In addition, he was the 2008 Superstar of the Year Slammy Award winner and (along with Big Show as Jeri-Show) won the 2009 Tag Team of the Year Slammy Award—making him the only winner of both Superstar and Tag Team of the Year.
After his departure from WWE in 2018, Jericho signed with New Japan Pro-Wrestling (NJPW), where he became a one-time IWGP Intercontinental Champion, and becoming the first man to have held both the WWE and IWGP Intercontinental Championships. Jericho joined AEW in January 2019 and became the inaugural holder of the AEW World Championship in August of that year. All totalled, between ECW, WCW, WWE, NJPW and AEW, Jericho has held 36 championships (including seven World Championships, and 10 Intercontinental Championships).
In 1999, Jericho became lead vocalist of heavy metal band Fozzy, who released their eponymous debut album the following year. The group's early work is composed largely of cover versions, although they have focused primarily on original material from their third album, All That Remains (2005), onward. Jericho has also appeared on numerous television shows over the years, including the 2011 season of Dancing With the Stars. He hosted the ABC game show Downfall, the 2011 edition of the Revolver Golden Gods Awards, and the UK's Metal Hammer Golden Gods Awards in 2012 and 2017.
Early life
Christopher Keith Irvine was born in Manhasset, New York on November 9, 1970, the son of a Canadian couple. He is of Scottish descent from his father's side and Ukrainian descent from his mother's side. His father, ice hockey player Ted Irvine, had been playing for the New York Rangers at the time of his birth. When his father retired, the family moved back to Winnipeg, Manitoba, where Irvine grew up. He holds dual American and Canadian citizenships. Irvine's interest in professional wrestling began when he started watching the local American Wrestling Association (AWA) events that took place at the Winnipeg Arena with his family, and his desire to become a professional wrestler himself began when he saw footage of Owen Hart, then appearing with Stampede Wrestling, performing various high-flying moves. In addition, Irvine also cited Owen's older brother Bret, Ricky Steamboat and Shawn Michaels as inspirations for his becoming a professional wrestler. His first experience with a professional wrestling promotion was when he acted as part of the ring crew for the first tour of the newly opened Keystone Wrestling Alliance promotion, where he learned important pointers from independent wrestlers Catfish Charlie and Caveman Broda. He attended Red River College in Winnipeg, graduating in 1990 with a bachelor's degree in Creative Communications.
Professional wrestling career
Independent circuit (1990–1991)
At the age of 19, he entered the Hart Brothers School of Wrestling, where he met Lance Storm on his first day. He was trained by Ed Langley and local Calgary wrestler Brad Young.
Two months after completing training, he was ready to start wrestling on independent shows, making his debut at the Moose Hall in Ponoka, Alberta as "Cowboy" Chris Jericho, on October 2, 1990, in a ten-minute time limit draw against Storm. The pair then worked as a tag team, initially called Sudden Impact. According to a February 2019 interview with Rich Eisen on The Rich Eisen Show, Jericho stated that his initial name was going to be "Jack Action" however, someone remarked to him that the name was stupid, they then asked him what his name really was, he then got nervous and said "Chris Jericho". He took the name Jericho from an album, Walls of Jericho, by German power metal band, Helloween. Jericho and Storm worked for Tony Condello in the tours of Northern Manitoba with Adam Copeland (Edge), Jason Reso (Christian) and Terry Gerin (Rhino). The pair also wrestled in Calgary's Canadian National Wrestling Alliance (CNWA) and Canadian Rocky Mountain Wrestling (CRMW).
Frontier Martial-Arts Wrestling (1991)
In 1991, Jericho and Storm started touring in Japan for Frontier Martial-Arts Wrestling as Sudden Impact, where he befriended Ricky Fuji, who also trained under Stu Hart.
Consejo Mundial de Lucha Libre and other Mexican promotions (1992–1995)
In the winter of 1992, he traveled to Mexico and competed under the name Leon D'Oro ("Golden Lion", a name that fans voted on for him between "He-Man", "Chris Power", and his preferred choice "Leon D'Oro"), and later Corazón de León ("Lion Heart"), where he wrestled for several small wrestling companies.
From 1993 to 1995, he competed in Mexico's oldest promotion, Consejo Mundial de Lucha Libre (CMLL). In CMLL, Jericho took on Silver King, Negro Casas, and Último Dragón en route to an eleven-month reign as the NWA Middleweight Champion that began in December 1993.
Smoky Mountain Wrestling (1994)
1994 saw Jericho reunited with Storm, as The Thrillseekers in Jim Cornette's Appalachian Smoky Mountain Wrestling (SMW) promotion, where they feuded with the likes of Well Dunn, The Rock 'n' Roll Express, and The Heavenly Bodies.
Wrestling and Romance/WAR (1994–1996)
In late 1994, Jericho began competing regularly in Japan for Genichiro Tenryu's Wrestling and Romance (later known as Wrestle Association "R") (WAR) promotion as The Lion Heart. In November 1994, Último Dragón defeated him for the NWA World Middleweight Championship, which he had won while wrestling in Mexico.
In March 1995, Jericho lost to Gedo in the final of a tournament to crown the inaugural WAR International Junior Heavyweight Champion. He defeated Gedo for the championship in June 1995, losing it to Último Dragón the next month. In December 1995, Jericho competed in the second Super J-Cup tournament, defeating Hanzo Nakajima in the first round, but losing to Wild Pegasus in the second round.
In 1995, Jericho joined the heel stable Fuyuki-Gun ("Fuyuki Army") with Hiromichi Fuyuki, Gedo, and Jado, adopting the name Lion Do. In February 1996, Jericho and Gedo won a tournament for the newly created International Junior Heavyweight Tag Team Championship, defeating Lance Storm and Yuji Yasuraoka in the final. They lost the championship to Storm and Yasuraoka the following month. Jericho made his final appearances with WAR in July 1996, having wrestled a total of twenty-four tours for the company.
Extreme Championship Wrestling (1996)
In 1995, thanks in part to recommendations by Benoit, Dave Meltzer and Perry Saturn, to promoter Paul Heyman, and after Mick Foley saw Jericho's match against Último Dragón for the WAR International Junior Heavyweight Championship in July 1995 and gave a tape of the match to Heyman, Jericho began wrestling for the Philadelphia-based Extreme Championship Wrestling (ECW) promotion, winning the ECW World Television Championship from Pitbull #2 in June 1996 at Hardcore Heaven. While in ECW, Jericho wrestled Taz, Sabu, Rob Van Dam, Foley (as Cactus Jack), Shane Douglas, and 2 Cold Scorpio. He made his final appearance at The Doctor Is In in August 1996. It was during this time that he drew the attention of World Championship Wrestling (WCW).
World Championship Wrestling (1996 – 1999)
Early appearances (1996–1997)
Jericho debuted for WCW on August 20, 1996 by defeating Mr. JL, which aired on the August 31 episode of Saturday Night. Jericho's televised debut in WCW occurred on the August 26 episode of Monday Nitro against Alex Wright in a match which ended in a no contest. He made his pay-per-view debut on September 15 against Chris Benoit in a losing effort at Fall Brawl. The following month, at Halloween Havoc, Jericho lost to nWo member Syxx due to biased officiating by nWo referee Nick Patrick. This led to a match between Jericho and Patrick at World War 3, which stipulated that Jericho's one arm would be tied behind his back. Despite the odds stacked against him, Jericho won the match. Later that night, Jericho participated in the namesake battle royal for a future WCW World Heavyweight Championship match but failed to win the match.
Jericho represented WCW against nWo Japan member Masahiro Chono in a losing effort at the nWo Souled Out event. At SuperBrawl VII, Jericho unsuccessfully challenged Eddie Guerrero for the United States Heavyweight Championship.
Cruiserweight Champion (1997–1998)
On June 28, 1997, Jericho defeated Syxx at the Saturday Nitro live event in Los Angeles, California to win the WCW Cruiserweight Championship for the first time, thus winning the first championship of his WCW career. Jericho successfully defended the title against Ultimo Dragon at Bash at the Beach, before losing the title to Alex Wright on the July 28 episode of Monday Nitro. Jericho unsuccessfully challenged Wright for the title at Road Wild, before defeating Wright in a rematch to win his second Cruiserweight Championship on the August 16 episode of Saturday Night. Jericho began feuding with Eddie Guerrero over the title as he successfully defended the title against Guerrero at Clash of the Champions XXXV before losing the title to Guerrero at Fall Brawl. Jericho defeated Gedo at Halloween Havoc. At World War 3, Jericho participated in the namesake battle royal but failed to win.
On the January 15, 1998 episode of Thunder, Jericho defeated Eddie Guerrero to earn a title shot against Rey Mysterio Jr. for the Cruiserweight Championship at Souled Out. Jericho won the match by forcing Mysterio to submit to the Liontamer. After the match, Jericho turned heel by assaulting Mysterio's knee with a toolbox. In the storyline, Mysterio needed six months of recovery before he could return to the ring. Jericho then had a short feud with Juventud Guerrera in which Guerrera repeatedly requested a shot at Jericho's Cruiserweight Championship, but Jericho constantly rebuffed him. The feud culminated in a title versus mask match at SuperBrawl VIII. Guerrera lost the match and was forced to remove his mask. Following this match, Jericho began his ongoing gimmick of collecting and wearing to the ring trophy items from his defeated opponents, such as Guerrera's mask, Prince Iaukea's Hawaiian dress, and a headband from Disco Inferno.
Jericho then began a long feud with Dean Malenko, in which Jericho repeatedly claimed he was a better wrestler than Malenko, but refused to wrestle him. Because of his mastery of technical wrestling, Malenko was known as "The Man of 1,000 Holds", so Jericho claimed to be "The Man of 1,004 Holds"; Jericho mentions in his autobiography that this line originated from an IWA interview he saw as a child, where manager Floyd Creatchman claimed that Leo Burke, the first professional wrestler to be known as "The Man of 1,000 Holds", was now known as "The Man of 1,002 Holds", to which Floyd Creatchman stated that "he learned two more".
During the March 30, 1998 episode of Nitro, after defeating Marty Jannetty, Jericho pulled out a long pile of paper that listed each of the 1,004 holds he knew and recited them to the audience. Many of the holds were fictional, and nearly every other hold was an armbar. On the March 12, 1998 episode of Thunder, Malenko defeated a wrestler wearing Juventud Guerrera's mask who appeared to be Jericho. However, the masked wrestler was actually Lenny Lane, whom Jericho bribed to appear in the match. This started a minor feud between Lane and Jericho after Jericho refused to pay Lane. At Uncensored, Jericho finally wrestled Malenko and defeated him, after which Malenko took a leave of absence from wrestling. Jericho then proceeded to bring with him to the ring a portrait of Malenko that he insulted and demeaned. Just prior to Slamboree, J.J. Dillon (referred to by Jericho as "Jo Jo") scheduled a cruiserweight Battle Royal, the winner of which would immediately have a shot at Jericho's Cruiserweight Championship. Jericho accepted on the grounds that whoever he faced would be too tired to win a second match. At Slamboree, Jericho came out to introduce the competitors in an insulting fashion before the match started and then went backstage for coffee. An individual who appeared to be Ciclope won the battle royal after Juventud Guerrera shook his hand and then eliminated himself. The winner was a returning Malenko in disguise. Following one of the loudest crowd reactions in WCW history, Malenko proceeded to defeat Jericho for the championship. Jericho claiming he was the victim of a carefully planned conspiracy to get the belt off of him. He at first blamed the WCW locker room, then added Dillon, Ted Turner, and finally in a vignette, he walked around Washington, D.C. with the sign "conspiracy victim" and accused President Bill Clinton of being one of the conspirators after being rejected from a meeting. Eventually, Malenko vacated the title. Jericho ended up defeating Malenko at The Great American Bash to win the vacant title after Malenko was disqualified after hitting Jericho with a chair. The next night, Malenko was suspended for his actions.
At Bash at the Beach, the recently returned Rey Mysterio Jr. (who had recovered from his knee injury) defeated Jericho in a No Disqualification match after the still-suspended Malenko interfered. Jericho regained the Cruiserweight Championship from Mysterio the next night after he interrupted J.J. Dillon while Dillon was giving the championship to Mysterio. Jericho was again awarded the championship. Eventually, Jericho decisively lost the title to Juventud Guerrera in a match at Road Wild with Malenko as special referee.
World Television Champion (1998–1999)
On August 10, Jericho defeated Stevie Ray to win the World Television Championship (Stevie Ray substituting for the champion Booker T). Soon afterward, Jericho repeatedly called out WCW World Heavyweight Champion Goldberg in an attempt to begin a feud with him, but never actually wrestled him. Jericho cites Eric Bischoff, Goldberg and Hulk Hogan's refusal to book Jericho in a pay-per-view squash match loss against Goldberg, which Jericho felt would be a big draw, as a major reason for leaving the company.
On November 30, Jericho lost the World Television Championship to Konnan. In early 1999, Jericho began a feud with Perry Saturn. The feud saw Jericho and Saturn instigating bizarre stipulation matches, such as at Souled Out, where Jericho defeated Saturn in a "loser must wear a dress" match. At SuperBrawl IX, Jericho and Saturn wrestled in a "dress" match which Jericho won. Saturn finally defeated Jericho at Uncensored in a Dog Collar match. Jericho alternated between WCW and a number of Japanese tours before he signed a contract with the World Wrestling Federation (WWF) on June 30. Jericho's final WCW match came during a Peoria, Illinois, house show July 21, where he and Eddie Guerrero lost to Billy Kidman and Rey Mysterio Jr. in a tag team match.
Fifteen years after Jericho's departure from WCW, his best known entrance music within the company, "One Crazed Anarchist", lent its name to the second single from his band Fozzy's 2014 album, Do You Wanna Start a War.
New Japan Pro-Wrestling (1997–1998)
In January 1997, Jericho made his debut for New Japan Pro-Wrestling (NJPW), who had a working agreement with WCW, as Super Liger, the masked nemesis of Jyushin Thunder Liger. According to Jericho, Super Liger's first match against Koji Kanemoto at Wrestling World 1997 was so poorly received that the gimmick was dropped instantly. Jericho botched several moves in the match and complained he had difficulty seeing through the mask. The following six months, Jericho worked for New Japan unmasked, before being called back by WCW. On September 23, 1998, Jericho made a one-night-only return to NJPW at that years Big Wednesday show, teaming with Black Tiger against IWGP Junior Heavyweight Tag Team Champions Shinjiro Otani and Tatsuhito Takaiwa in a title match, which Jericho and Tiger lost.
World Wrestling Federation/Entertainment (1999 – 2005)
WWF Intercontinental Champion (1999–2001)
In the weeks before Jericho's debut, a clock labeled "countdown to the new millennium" appeared on WWF programming. On the home video, Break Down the Walls, Jericho states he was inspired to do this as his entrance when he saw a similar clock in a post office and Vince McMahon approved its use as his introduction to the WWF. The clock finally ran out on the August 9 episode of Raw Is War in Chicago, Illinois while The Rock was in the ring cutting a promo on the Big Show. Jericho entered the arena and proclaimed "Raw Is Jericho" and that he had "come to save the World Wrestling Federation", referring to himself as "Y2J" (a play on the Y2K bug). The Rock proceeded to verbally mock him for his interruption. Later that month, he would interact with several superstars including in particular interrupting a promo that The Undertaker was involved in, Jericho made his in-ring debut as a heel on August 26, losing a match against Road Dogg by disqualification on the inaugural episode of SmackDown! after he performed a powerbomb on Road Dogg through a table.
Jericho's first long-term feud was with Chyna, for the WWF Intercontinental Championship. After losing to Chyna at Survivor Series, Jericho defeated her to win his first WWF Intercontinental Championship at Armageddon. This feud included a controversial decision during a rematch in which two separate referees declared each one of them the winner of a match for the title. As a result, they became co-champions, during which Jericho turned face. He attained sole champion status at the Royal Rumble.
Jericho lost the WWF Intercontinental title to then-European Champion Kurt Angle at No Way Out. Jericho competed in a Triple Threat match against Chris Benoit and Angle at WrestleMania 2000 in a two-falls contest with both of Angle's titles at stake. Jericho won the European Championship by pinning Benoit, who in turn pinned Jericho to win the WWF Intercontinental Championship. This was the first of six pay-per-view matches between the pair within twelve months. Jericho was originally supposed to be in the main event of WrestleMania, but was taken out after Mick Foley, who was originally asked by writers to be in the match, took his place. Jericho was even advertised on the event's posters promoting the match. Jericho lost the title the next day to Eddie Guerrero on Raw after Chyna sided with Guerrero.
On the April 17 episode of Raw, Jericho upset Triple H in a WWF Championship match. Referee Earl Hebner made a fast count when Jericho pinned Triple H, causing Jericho to win the title. Hebner later reversed the decision due to pressure from Triple H, and WWE does not recognize Jericho's reign as champion. On April 19, Jericho defeated Eddie Guerrero at the Gary Albright Memorial Show organized by World Xtreme Wrestling (WXW). On the May 4 episode of SmackDown!, Jericho defeated Benoit to win his third WWF Intercontinental Championship but lost the title to Benoit four days later on Raw. Jericho's feud with Triple H ended at Fully Loaded, when they competed in a Last Man Standing match. Jericho lost the match to Triple H only by one second, despite the repeated assistance Triple H's wife, Stephanie, provided him in the match.
At the 2001 Royal Rumble, Jericho defeated Chris Benoit in a ladder match to win the WWF Intercontinental Championship for the fourth time. At WrestleMania X-Seven, he successfully defended his title in a match against William Regal, only to lose it four days later to Triple H. At Judgment Day, Jericho and Benoit won a tag team turmoil match and earned a shot at Stone Cold Steve Austin and Triple H for their WWF Tag Team Championship on Raw the next night. Benoit and Jericho won the match, in which Triple H legitimately tore his quadriceps, spending the rest of the year injured. Benoit and Jericho each became a WWF Tag Team Champion for the first time. The team defended their title in the first fatal four-way Tables, Ladders and Chairs match, where Benoit sustained a year-long injury after missing a diving headbutt through a table. Despite Benoit being carried out on a stretcher, he returned to the match to climb the ladder and retain the championship. The two lost the title one month later to The Dudley Boyz on the June 21 episode of SmackDown!. At King of the Ring, both Benoit and Jericho competed in a triple threat match for Austin's WWF Championship, in which Booker T interfered as the catalyst for The Invasion angle. Despite Booker T's interference, Austin retained the title.
Undisputed WWF Champion (2001–2002)
In the following months, Jericho became a major force in The Invasion storyline in which WCW and ECW joined forces to overtake the WWF. Jericho remained on the side of the WWF despite previously competing in WCW and ECW. However, Jericho began showing jealousy toward fellow WWF member The Rock. They faced each other in a match at No Mercy for the WCW Championship after Jericho defeated Rob Van Dam in a number one contenders match on the October 11 episode of SmackDown!. Jericho won the WCW Championship at No Mercy when he pinned The Rock after debuting a new finisher, the Breakdown, onto a steel chair, winning his first world title in the process. One night later, the two put their differences aside and won the WWF Tag Team Championship from the Dudley Boyz.
After they lost the titles to Test and Booker T on the November 1 episode of SmackDown!, they continued their feud. On the November 5 episode of Raw, The Rock defeated Jericho to regain the WCW Championship. Following the match, Jericho attacked The Rock with a steel chair. At Survivor Series, Jericho turned heel by almost costing Team WWF the victory after he was eliminated in their Winner Take All matchup by once again attacking The Rock. Despite this, Team WWF won the match. At Vengeance, Jericho defeated both The Rock for the World Championship (formerly the WCW Championship) and Stone Cold Steve Austin for his first WWF Championship on the same night to become the first wrestler to hold both championships at the same time, which made him the first-ever Undisputed WWF Champion, as well as the fourth Grand Slam winner under the original format. He retained the title at the Royal Rumble against The Rock and at No Way Out against Austin. Jericho later lost the title to Royal Rumble winner Triple H in the main event of WrestleMania X8. Jericho was later drafted to the SmackDown! brand in the inaugural WWF draft lottery. He would then appear at Backlash, interfering in Triple H's Undisputed WWF Championship match against Hollywood Hulk Hogan. He was quickly dumped out the ring, but Triple H would go on to lose the match. This would lead to a Hell in a Cell match at Judgment Day in May, where Triple H would emerge victorious. Jericho would then compete in the 2002 King of the Ring tournament, defeating Edge and The Big Valbowski to advance to the semi-finals, where he was defeated by Rob Van Dam at King of the Ring. In July, he began a feud with the debuting John Cena, losing to him at Vengeance.
Teaming and feuding with Christian (2002–2004)
After his feud with Cena ended, Jericho moved to the Raw brand on the July 29 episode of Raw, unwilling to work for SmackDown! General Manager Stephanie McMahon. Upon his arrival to the brand, he initiated a feud with Ric Flair, leading to a match at SummerSlam, which Jericho lost. On the September 16 episode of Raw, he won the WWE Intercontinental Championship for the fifth time from Rob Van Dam, before losing the title to Kane two weeks later on Raw. He then later formed a tag team with Christian, with whom he won the World Tag Team Championship by defeating Kane and The Hurricane on the October 14 episode of Raw. Christian and Jericho lost the titles to Booker T and Goldust in a fatal four-way elimination match, involving the teams of The Dudley Boyz, and William Regal and Lance Storm at Armageddon.
On the January 13 episode of Raw, Jericho won an over-the-top-rope challenge against Kane, Rob Van Dam, and Batista to select his entry number for the Royal Rumble match. He chose number two in order to start the match with Shawn Michaels, who had challenged him to prove Jericho's claims that he was better than Michaels. After Michaels's entrance, Jericho entered as the second participant. Christian, in Jericho's attire, appeared while the real Jericho attacked Shawn from behind. He eliminated Michaels shortly afterward, but Michaels got his revenge later in the match by causing Test to eliminate Jericho. Jericho spent the most time of any other wrestler in that same Royal Rumble. Jericho simultaneously feuded with Test, Michaels, and Jeff Hardy, defeating Hardy at No Way Out. Jericho and Michaels fought again at WrestleMania XIX, which Michaels won. Jericho, however, attacked Michaels with a low blow after the match following an embrace.
After this match, Jericho entered a rivalry with Goldberg, which was fueled by Goldberg's refusal to fight Jericho in WCW. During Jericho's first episode of the Highlight Reel, an interview segment, where Goldberg was the guest, he complained that no-one wanted Goldberg in WWE and continued to insult him in the following weeks. On the May 12 episode of Raw, a mystery assailant attempted to run over Goldberg with a limousine. A week later, Co-Raw General Manager, Stone Cold Steve Austin, interrogated several Raw superstars to find out who was driving the car. One of the interrogates was Lance Storm, who admitted that he was the assailant. Austin forced Storm into a match with Goldberg, who defeated Storm. After the match, Goldberg forced Storm to admit that Jericho was the superstar who conspired Storm into running him over. On the May 26 episode of Raw, Goldberg was once again a guest on the Highlight Reel. Jericho expressed jealousy towards Goldberg's success in WCW and felt that since joining WWE, he had achieved everything he had ever wanted in his career and all that was left was to defeat Goldberg and challenged him to a match. At Bad Blood, Goldberg settled the score with Jericho and defeated him.
On the October 27 episode of Raw, Jericho won his sixth WWE Intercontinental Championship when he defeated Rob Van Dam. He lost the title back to Van Dam immediately after in a steel cage match. Later in 2003, Jericho started a romance with Trish Stratus while his tag team partner Christian began one with Lita. This, however, turned out to be a bet over who could sleep with their respective paramour first, with a Canadian dollar at stake. Stratus overheard this and ended her relationship with Jericho, who seemingly felt bad for using Stratus. After he saved her from an attack by Kane, Stratus agreed that the two of them could just be "friends", thus turning Jericho face. After Christian put Stratus in the Walls of Jericho while competing against her in a match, Jericho sought revenge on Christian, which led to a match at WrestleMania XX. Christian defeated Jericho after Stratus ran down and "inadvertently" struck Jericho (thinking it was Christian) and Christian got the roll-up. After the match, Stratus turned on Jericho and revealed that she and Christian were a couple. This revelation led to a handicap match at Backlash that Jericho won. Jericho won his record-breaking seventh WWE Intercontinental Championship at Unforgiven in a ladder match against Christian, breaking the previous record held by Jeff Jarrett from 1999. Jericho's seventh reign was short lived, as he lost it at Taboo Tuesday to Shelton Benjamin.
World championship pursuits (2004–2005)
Jericho teamed up with Randy Orton, Chris Benoit, and Maven to take on Triple H, Batista, Edge, and Gene Snitsky at Survivor Series. The match stipulated that each member of the winning team would be the general manager of Raw over the next four weeks. Jericho's team won, and took turns as general manager. During Jericho's turn as general manager, the World Heavyweight Championship was vacated because a Triple Threat match for the title a week earlier ended in a draw. At New Year's Revolution, Jericho competed in the Elimination Chamber against Triple H, Chris Benoit, Batista, Randy Orton, and Edge for the vacant World Heavyweight Championship. Jericho began the match with Benoit and eliminated Edge, but was eliminated by Batista. Triple H went on to win. At WrestleMania 21, Jericho participated in the first ever Money in the Bank ladder match. Jericho suggested the match concept, and he competed in the match against Benjamin, Benoit, Kane, Christian, and Edge. Jericho lost the match when Edge claimed the briefcase.
At Backlash, Jericho challenged Shelton Benjamin for the WWE Intercontinental Championship, but lost the match. Jericho lost to Lance Storm at ECW One Night Stand. Jericho used his old "Lionheart" gimmick, instead of his more well known "Y2J" gimmick. Jericho lost the match after Jason and Justin Credible hit Jericho with a Singapore cane, which allowed Storm to win the match. The next night on Raw, Jericho turned heel by betraying WWE Champion John Cena after defeating Christian and Tyson Tomko in a tag team match. Jericho lost a Triple Threat match for the WWE Championship at Vengeance which also involved Christian and Cena. The feud continued throughout the summer and Jericho lost to Cena in a WWE Championship match at SummerSlam.
The next night on the August 22 episode of Raw, Jericho faced Cena for the WWE Championship again in a rematch, this time in a "You're fired" match. Cena won again, and Jericho was fired by Raw General Manager Eric Bischoff. Jericho was carried out of the arena by security as Kurt Angle attacked Cena. Jericho's WWE contract expired on August 25.
Return to WWE (2007–2010)
Feud with Shawn Michaels (2007–2008)
After a two-year hiatus, WWE promoted Jericho's return starting on the September 24, 2007 episode of Raw with a viral marketing campaign using a series of 15-second cryptic binary code videos, similar to the matrix digital rain used in The Matrix series. The videos contained hidden messages and biblical links related to Jericho. Jericho made his return to WWE television as a face on the November 19, 2007 episode of Raw when he interrupted Randy Orton during Orton's orchestrated "passing of the torch" ceremony. Jericho revealed his intentions to reclaim the WWE Championship in order to "save" WWE fans from Orton. On the November 26 episode of Raw, Jericho defeated Santino Marella and debuted a new finishing move called the Codebreaker. At Armageddon, he competed in a WWE title match against Orton, defeating him by disqualification when SmackDown!s color commentator John "Bradshaw" Layfield (JBL) interfered in the match, but Orton retained the title. He began a feud with JBL and met him at the Royal Rumble. Jericho was disqualified after hitting JBL with a steel chair. On the March 10 episode of Raw, Jericho captured the WWE Intercontinental Championship for a record eighth time when he defeated Jeff Hardy.
In April 2008, Jericho became involved in the ongoing feud between Shawn Michaels and Batista when he suggested that Michaels enjoyed retiring Ric Flair, causing Shawn Michaels to attack him. Jericho thus asked to be inserted into the match between Batista and Michaels at Backlash, but instead, he was appointed as the special guest referee. During the match at Backlash, Michaels feigned a knee injury so that Jericho would give him time to recover and lured Batista in for Sweet Chin Music for the win. After Backlash, Jericho accused Michaels of cheating, but Michaels continued to play up an injury. When Jericho was finally convinced and he apologized to Michaels for not believing him, Michaels then admitted to Jericho that he had faked his injury and he attacked Jericho with Sweet Chin Music. After losing to Michaels at Judgment Day, Jericho initiated a handshake after the match.
On the June 9 episode of Raw, Jericho hosted his talk show segment, The Highlight Reel, interviewing Michaels. Jericho pointed out that Michaels was still cheered by the fans despite Michaels's deceit and attack on Jericho during the previous months, whereas Jericho was booed when he tried to do the right thing. Jericho then assaulted Michaels with a low blow and sent Michaels through the "Jeritron 6000" television, damaging the eye of Michaels, and turning heel in the process. This began what was named by both Pro Wrestling Illustrated and the Wrestling Observer Newsletter the "Feud of the Year". At Night of Champions, Jericho lost the WWE Intercontinental title to Kofi Kingston after a distraction by Michaels. In June, Jericho took on Lance Cade as a protégé.
World Heavyweight Champion (2008–2009)
Afterward, Jericho developed a suit-wearing persona inspired by Javier Bardem's character Anton Chigurh from the 2007 film No Country for Old Men and wrestler Nick Bockwinkel. Jericho and Michaels met at The Great American Bash, which Jericho won after attacking the cut on Michaels's eye. At SummerSlam, Michaels said that his eye damage would force him to retire and insulted Jericho by saying he would never achieve Michaels's success. Jericho tried to attack Michaels, but Michaels ducked, so Jericho punched Michaels's wife, Rebecca, instead. As a result, they fought in an unsanctioned match at Unforgiven, which Jericho lost by referee stoppage. Later that night, Jericho entered the Championship Scramble match as a late replacement for the defending champion CM Punk and subsequently won the World Heavyweight Championship, defeating Batista, John "Bradshaw" Layfield (JBL), Kane, and Rey Mysterio. It was announced that Michaels would challenge Jericho for the championship in a ladder match at No Mercy, which Jericho won. At Cyber Sunday on October 26, Jericho lost the title to Batista, but later won it back eight days later on the 800th episode of Raw in a steel cage match. Jericho defeated Michaels in a Last Man Standing match on the November 10 episode of Raw after interference from JBL. Jericho lost the World Heavyweight Championship at Survivor Series to the returning John Cena. On the December 8 episode of Raw, Jericho was awarded the Slammy Award for 2008 Superstar of the Year award. Six days later, he lost his rematch with John Cena for the World Heavyweight Championship at Armageddon.
At the Royal Rumble on January 25, 2009, Jericho participated in the Royal Rumble match, but he was eliminated by the Undertaker. On February 15 at No Way Out, he competed in an Elimination Chamber match for the World Heavyweight Championship, but he failed to win as he was eliminated by Rey Mysterio. Following this, Jericho began a rivalry with veteran wrestlers Ric Flair, Ricky Steamboat, Jimmy Snuka and Roddy Piper, as well as actor Mickey Rourke. Jericho was originally arranged to face Rourke at WrestleMania 25, but Rourke later pulled out of the event. Instead, Jericho defeated Piper, Snuka and Steamboat in a 3-on-1 elimination handicap match at WrestleMania, but was knocked out by Rourke after the match.
On the April 13 episode of Raw, Jericho was drafted to the SmackDown brand as part of the 2009 WWE draft. Jericho then faced Steamboat in a singles match at Backlash, where Jericho was victorious. In May, Jericho started a feud with Intercontinental Champion Rey Mysterio, leading to a match at Judgment Day, which Jericho lost. However, Jericho defeated Mysterio in a No Holds Barred Match at Extreme Rules to win his ninth Intercontinental Championship, breaking his own record again. At The Bash, Jericho lost the Intercontinental Championship back to Mysterio in a mask vs. title match.
Jeri-Show and feud with Edge (2009–2010)
Later in the event, Jericho and his partner Edge won the Unified WWE Tag Team Championship as surprise entrants in a triple threat tag team match. As a result of this win, Jericho became the first wrestler to win every (original) Grand Slam eligible championship. Shortly thereafter Edge suffered an injury and Jericho revealed a clause in his contract to allow Edge to be replaced and Jericho's reign to continue uninterrupted. At Night of Champions, Jericho revealed Big Show as his new tag team partner, creating a team that would come to called Jeri-Show. The duo defeated Cody Rhodes and Ted DiBiase to retain the championship. Jeri-Show successfully defended the title against Cryme Tyme at SummerSlam, MVP and Mark Henry at Breaking Point and Rey Mysterio and Batista at Hell in a Cell. At Survivor Series, both Jericho and Big Show took part in a triple threat match for the World Heavyweight Championship, but the Undertaker successfully retained the title. At TLC: Tables, Ladders & Chairs, Jeri-Show lost the tag titles to D-Generation X (D-X) (Shawn Michaels and Triple H) in a Tables, Ladders and Chairs match. As a member of the SmackDown brand, Jericho could only appear on Raw as a champion and D-X intentionally disqualified themselves in a rematch to force Jericho off the show. On the January 4, 2010 of Raw, D-X defeated Jeri-Show to retain the championship once again, marking the end of Jeri-Show.
Jericho entered the 2010 Royal Rumble match on January 31, but was eliminated by the returning Edge, his former tag team partner, who went on to win the match. At Elimination Chamber, Jericho won the World Heavyweight Championship in an Elimination Chamber match, defeating The Undertaker, John Morrison, Rey Mysterio, CM Punk and R-Truth following interference from Shawn Michaels. The next night on Raw, Edge used his Royal Rumble win to challenge Jericho for the World Heavyweight Championship at WrestleMania XXVI. Jericho defeated Edge at WrestleMania to retain the title, but lost the championship to Jack Swagger on the following episode of SmackDown, who cashed in his Money in the Bank contract. Jericho then failed to regain the title from Swagger in a triple-threat match also involving Edge on the April 16 episode of SmackDown. Jericho and Edge continued their feud leading into Extreme Rules, where Jericho was defeated in a steel cage match.
Jericho was drafted to the Raw brand in the 2010 WWE draft. He formed a brief tag team with The Miz and unsuccessfully challenged The Hart Dynasty for the Unified WWE Tag Team Championship at Over the Limit. A month later, Jericho lost to Evan Bourne at Fatal 4-Way, but won a rematch during the following night on Raw, where he put his career on the line. On the July 19 episode of Raw, after being assaulted by The Nexus, Jericho teamed with rivals Edge, John Morrison, R-Truth, Daniel Bryan and Bret Hart in a team led by John Cena to face The Nexus at SummerSlam. Jericho and Cena bickered over leadership of the team, which led to him and Edge attacking Cena during the SummerSlam match that they won.
Jericho was punished for not showing solidarity against Nexus, when he was removed from a Six-Pack Challenge for Sheamus's WWE Championship at Night of Champions. Although he re-earned his place in the match after defeating The Hart Dynasty in a handicap steel cage match, he was the first man eliminated from the match at Night of Champions. On the September 27 episode of Raw, Jericho faced Randy Orton who punted him in the head. This was used to explain Jericho's departure from the company.
Second return to WWE (2011–2018)
Feud with CM Punk (2011–2012)
Beginning in November 2011, WWE aired cryptic vignettes that promoted a wrestler's return on the January 2, 2012 episode of Raw. On his return, after hyping the crowd and relishing their cheers for a prolonged period, Jericho left without verbally addressing his return. After exhibiting similar odd behavior in the proceeding two weeks, Jericho spoke on the January 23 episode of Raw to say, "This Sunday at the Royal Rumble, it is going to be the end of the world as you know it", but in the Royal Rumble match, he was eliminated last, by Sheamus. On the January 30 episode of Raw, Jericho began a feud with WWE Champion CM Punk after attacking him during his match with Daniel Bryan. He explained his actions by claiming other wrestlers in WWE were imitating him and named Punk as the worst offender.
At Elimination Chamber, Jericho participated in the Elimination Chamber match for the WWE Championship, entering last and eliminating Dolph Ziggler and Kofi Kingston before being knocked out of the structure by Punk, which injured him and removed him from the match without being eliminated. The following night on Raw, Jericho won a ten-man battle royal to become the number one contender for Punk's WWE Championship at WrestleMania XXVIII. In a bid to psychologically unsettle Punk, Jericho revealed that Punk's father was an alcoholic and Punk's sister was a drug addict, which contradicted Punk's straight edge philosophy; Jericho vowed to make Punk turn to alcohol by winning Punk's title from him. At WrestleMania, a stipulation was added that Punk would lose his WWE Championship if he was disqualified. During the match, Jericho unsuccessfully tried to taunt Punk into disqualifying himself, and Punk won the match.
Jericho continued his feud with Punk in the weeks that followed by attacking and dousing him with alcohol after his matches. At Extreme Rules, Jericho failed again to capture the WWE Championship from Punk in a Chicago Street Fight.
Championship pursuits (2012–2013)
Jericho faced Randy Orton, Alberto Del Rio and Sheamus in a fatal four-way match for the World Heavyweight Championship at Over the Limit, where Sheamus retained his title. On May 24 at a WWE live event in Brazil, Jericho wrestled a match against CM Punk, during which Jericho kicked a Brazilian flag, causing local police to intervene and threaten Jericho with arrest. Jericho issued an apology to the audience, enabling the event to resume. The following day, WWE suspended Jericho for 30 days while apologizing to the people and government of Brazil. Jericho returned on the June 25 episode of Raw, and his absence was explained by a European tour with his band Fozzy which happened to coincide with his suspension. At Money in the Bank, Jericho participated in the WWE Championship Money in the Bank ladder match, but failed to win as John Cena won. The following night on Raw, Jericho confronted newly crowned Mr. Money in the Bank, Dolph Ziggler, who claimed that Jericho had lost his touch. Jericho attacked Ziggler with a Codebreaker, thus turning face in the process. At SummerSlam, Jericho defeated Ziggler. The following night on Raw, Ziggler defeated Jericho in a rematch and, as a result, Ziggler retained his Money in the Bank contract and Jericho's WWE contract was terminated as per a pre match stipulation put in place by Raw General Manager, AJ Lee. This was used to write him off so he could tour with Fozzy for the remainder of the year.
On January 27, 2013, Jericho returned after a five-month hiatus entering the Royal Rumble match as the second entrant. Jericho lasted over 47 minutes before being eliminated by Dolph Ziggler. The following night on Raw, Jericho later revealed to Ziggler that due to a managerial change on Raw, he had been rehired by Vickie Guerrero, resuming his feud with Ziggler. Guerrero then paired the two in a match against WWE Tag Team Champions Team Hell No (Daniel Bryan and Kane). The match ended with Ziggler being pinned by Kane after Jericho framed him for pushing Kane. After beating Daniel Bryan on the February 11 episode of Raw, Jericho qualified for the Elimination Chamber match at Elimination Chamber (in which the winner would go on to be the number one contender for the World Heavyweight Championship at WrestleMania 29), where he was the fourth man eliminated. On the March 11 episode of Raw, Jericho faced The Miz in a No. 1 contenders match for Wade Barrett's WWE Intercontinental Championship, but the match was ruled a no contest after Barrett interfered and attacked both men. Both men then faced Barrett the following week on Raw, where he retained his title. Earlier in the episode, Jericho had a run-in with Fandango which led to Fandango costing him his match with Jack Swagger and attacking him four days later on SmackDown. At WrestleMania 29, Jericho was defeated by Fandango. They continued their feud in the following weeks, until Jericho defeated Fandango at Extreme Rules. He then faced the returning CM Punk at Payback, where he was defeated. Jericho then began feuding with Ryback, which led to a singles match on July 14 at Money in the Bank, where Ryback emerged victorious. On the July 19 episode of SmackDown, Jericho unsuccessfully challenged Curtis Axel for the WWE Intercontinental Championship and was afterwards attacked by Ryback. This was done to write Jericho off television as he was taking a temporary hiatus to tour with Fozzy for the remainder of the year and possibly January and February.
In a November interview for WWE.com, Jericho revealed that he would not be a full-time wrestler due to his musical and acting ventures.
Various sporadic feuds (2014–2016)
After an eleven-month hiatus, Jericho returned on the June 30, 2014 episode of Raw, attacking The Miz, who had also returned minutes earlier. The Wyatt Family then interrupted and ultimately attacked Jericho. Jericho faced Bray Wyatt at Battleground in a winning effort. At SummerSlam, with Wyatt Family members Luke Harper and Erick Rowan banned from ringside, Wyatt picked up the victory. On the September 8 episode of Raw, Jericho lost to Wyatt in a steel cage match, ending the feud. Jericho then feuded with Randy Orton, who had attacked him the week before after his match against Wyatt in the trainers room. Orton defeated him at Night of Champions. Throughout the rest of October and November, Jericho wrestled exclusively at live events, defeating Bray Wyatt. Jericho returned to WWE television in December as the guest general manager of the December 15 episode of Raw. Jericho booked himself in a street fight against Paul Heyman in the main event, which led to the return of Brock Lesnar. Before the match could begin, Lesnar attacked Jericho with an F-5.
In January 2015, Jericho revealed that he signed an exclusive WWE contract, under which he would compete at 16 house shows only. He later signed a similar contract once the former expired and competed at house shows throughout the rest of 2015. During this time he wrestled against the likes of Luke Harper, Kevin Owens and King Barrett in winning efforts. In May 2015, Jericho was one of the hosts of Tough Enoughs sixth season. Jericho also hosted two Live! With Chris Jericho specials on the WWE Network during 2015; his guests were John Cena and Stephanie McMahon. Jericho made his televised return at The Beast in the East, defeating Neville. At Night of Champions, Jericho was revealed as the mystery partner of Roman Reigns and Dean Ambrose, facing The Wyatt Family in a losing effort. On October 3, Jericho unsuccessfully challenged Kevin Owens for the WWE Intercontinental Championship at Live from Madison Square Garden. The match marked 20 years since Jericho's debut with ECW while also celebrating his 25th year as a professional wrestler in total.
On the January 4, 2016 episode of Raw, Jericho returned to in-ring competition full-time and confronted The New Day. At the 2016 Royal Rumble, Jericho entered as the sixth entrant, lasting over 50 minutes, before being eliminated by Dean Ambrose. On the January 25 episode of Raw, Jericho faced the recently debuted AJ Styles in a losing effort. Following the match, after initial hesitation by Jericho, the pair shook hands. On the February 11 episode of SmackDown, Jericho defeated Styles. At Fastlane, Styles was victorious in a third match between the pair. On the February 22 episode of Raw, Jericho and Styles formed a tag team, dubbed Y2AJ. Following their loss against The New Day on the March 7 episode of Raw, Jericho attacked Styles, ending their alliance, claiming that he was sick of the fans chanting for Styles instead of him, turning heel in the process. Their feud culminated at WrestleMania 32, where Jericho defeated Styles. However, on the April 4 episode of Raw, Jericho competed in a fatal-four-way match against Styles, Kevin Owens and Cesaro to determine the No. 1 contender for the WWE World Heavyweight Championship in a losing effort after being pinned by Styles, ending their feud.
The following week on Raw, Dean Ambrose interrupted The Highlight Reel, handing Jericho a note from Shane McMahon replacing the show with The Ambrose Asylum, igniting a feud between the two. During this time, Jericho tweaked his gimmick. He became arrogant and childish while wearing expensive scarfs and calling everyone who appeased him "stupid idiots". At Payback, Jericho faced Ambrose in a losing effort. After attacking one another and Ambrose destroying Jericho's light-up ring jacket, Jericho was challenged by Ambrose to an Asylum match at Extreme Rules, where Ambrose again defeated Jericho after Jericho was thrown in a pile of thumbtacks. On the May 23 episode of Raw, Jericho defeated Apollo Crews to qualify for the Money in the Bank ladder match at the Money in the Bank pay-per-view, where Jericho was unsuccessful as the match was won by Ambrose. On July 19 at the 2016 WWE draft, Jericho was drafted to the Raw brand. At Battleground on July 24, Jericho hosted a Highlight Reel segment with the returning Randy Orton, where he took an RKO from Orton after he insulted him. The next night on Raw, Jericho competed in a fatal four-way match to determine the number one contender for the newly created WWE Universal Championship at SummerSlam, but he was unsuccessful, as Roman Reigns won the match.
The List of Jericho (2016–2017)
Jericho then entered a feud with Enzo and Cass and on the August 1 episode of Raw, he teamed with Charlotte to defeat Enzo Amore and then WWE Women's Champion Sasha Banks in a mixed tag team match, after which Big Cass made the save as Jericho continued the assault on Amore. The following week on Raw, Jericho allied with Kevin Owens and later defeated Amore via disqualification when Cass interfered. This led to a tag team match at SummerSlam, where Jericho and Owens defeated Enzo and Cass. On the August 22 episode of Raw, Jericho interfered in Owens's match against Neville, allowing him to qualify for the fatal four-way match to determine the new WWE Universal Champion on the August 29 episode of Raw, which Owens won.
On the September 12 episode of Raw, Jericho hosted an episode of The Highlight Reel with Sami Zayn as his guest, who questioned his alliance with Owens, resulting in Jericho defending Owens and attacking Zayn. On the September 19 episode of Raw, as a result of feeling that he was being treated unjustly by General Manager Mick Foley, as well as other wrestlers beginning to annoy him, Jericho began a list called "The List of Jericho", where he wrote down the name of the person that bothered him and why. If someone annoyed Jericho, he would ask "you know what happens?" before shouting "you just made the list!" and writing the person's name down. The List of Jericho soon became incredibly popular with the fans, with many critics describing Jericho and his list as "easily one of the best moments of Raw's broadcast". At Clash of Champions on September 25, Jericho defeated Zayn and assisted Owens in his Universal Championship defense against Seth Rollins. At Hell in a Cell on October 30, Jericho aided Owens in retaining the Universal Championship against Rollins in a Hell in a Cell match after Owens sprayed a fire extinguisher at the referee, allowing Jericho to enter the cell.
Jericho teamed with Owens, Braun Strowman, Roman Reigns, and Seth Rollins as part of Team Raw at Survivor Series on November 20, in a losing effort. The next night on Raw, despite being banned from ringside, Jericho showed up in a Sin Cara mask and attacked Rollins, in another successful title defense for Owens. The following week on Raw, tensions between Jericho and Owens arose after both said that they did not need each other anymore, and Jericho was later attacked by Rollins in the parking lot. At Roadblock: End of the Line on December 18, Jericho lost to Rollins after Owens failed in his attempt to help him, Later that night, Jericho intentionally attacked Owens to prevent Reigns from winning the title. After both Jericho and Owens failed to win the WWE United States Championship from Reigns in multiple singles matches in late 2016, Jericho pinned Reigns in a handicap match also involving Owens on the January 9 episode of Raw to win the WWE United States Championship. Thus, Jericho won his first championship in nearly seven years and also become Grand Slam winner under the current format. Due to interfering multiple times in Owens's matches, Jericho was suspended above the ring in a shark proof cage during Reigns's rematch at the Royal Rumble pay-per-view event. Owens nonetheless retained the championship after Braun Strowman, taking advantage of the added no disqualification stipulation, interfered. Also at the event, Jericho entered as the second entrant in the Royal Rumble match, lasting over an hour (thus breaking the record with a cumulative time of over five hours) and being the third to last before being eliminated by Reigns.
In February, tensions grew between Jericho and Owens after Jericho accepted a Universal Championship challenge from Goldberg on Owens's behalf, much to the latter's dismay. On the February 13 episode of Raw, Jericho held a "Festival of Friendship" for Owens, who was not impressed and viciously attacked Jericho, ending their alliance. Jericho returned at Fastlane on March 5, distracting Owens during his match with Goldberg and causing Owens to lose the Universal Championship, turning face again in the process. This led to a match between Jericho and Owens being arranged for WrestleMania 33 on April 2, with Jericho's United States Championship on the line. At WrestleMania, Jericho lost the United States Championship to Owens. At Payback on April 30, Jericho defeated Owens to regain the title and moved to the SmackDown brand, but lost it back to him two nights later on SmackDown. Following the match, Owens attacked Jericho, who was carried out on a stretcher. Thus, Jericho was written off television so he could fulfill his commitments to tour with and promote his new album with Fozzy. Jericho made a surprise return at a house show in Singapore on June 28, where he lost to Hideo Itami.
Final matches and departure (2017–2018)
On the July 25 episode of SmackDown, Jericho made his televised return, interrupting an altercation between Kevin Owens and AJ Styles to get his rematch for Owens' WWE United States Championship. Later that night, Jericho participated in a triple threat match against Owens and Styles for the title in which Jericho was pinned by Styles. Show took place in Richmond, Virginia and was Jericho's last in-ring appearance for WWE in the United States.
On January 22, 2018 during the 25th Anniversary of Raw, Jericho appeared backstage in a segment with Elias, putting him on The List of Jericho. At the Greatest Royal Rumble, Jericho was the last entrant in the 50-man Royal Rumble match, eliminating Shelton Benjamin before being eliminated by the eventual winner Braun Strowman. This event marked Jericho's final appearance with WWE.
In September 2019, during an interview for the Mature Audiences Mayhem Podcast, Jericho revealed the exact point when he decided he was going to leave the WWE. Even though Jericho was with the WWE for 15 years, the final insult came at WrestleMania 33 in 2017. Despite the fact that Jericho and Kevin Owens had the best feud of the year, their match was demoted by placing it on the second place on the WrestleMania match card. The decision made by Vince McMahon was a big insult for Jericho and that prompted him to seek work elsewhere. Jericho reflecting his WWE departure stated:
"Originally, that was going to be the main event for the world title. Kevin Owens was the champion and I was going to beat him in the main event of WrestleMania as a babyface." Instead of having Jericho and Owens as the main event, Vince decided to put Bill Goldberg and Brock Lesnar on the main card. "Vince said that it’s going to be me versus Kevin Owens for the world title at WrestleMania and you are going to win the title, f*** yeah! Next week, he doesn’t tell me, but I hear that it’s changed to Brock Lesnar versus Bill Goldberg for the title. And not only did they take us out of the main event – and, once again, just because I was told I have no right to it and things change all the time, I’m a big boy, I can handle it. But to take us from the main event slot and then move us to the second match on the card on a card that has 12 matches on it? I was like, that’s a f***ing insult."
Return to NJPW (2017–2020)
Feud with Kenny Omega (2017–2018)
On November 5, 2017, Jericho returned to NJPW in a pre-taped vignette, challenging Kenny Omega to a match at Wrestle Kingdom 12 in Tokyo Dome. The challenge was immediately accepted by Omega and made official by NJPW the following day as a title match for Omega's IWGP United States Heavyweight Championship. The match, dubbed "Alpha vs. Omega", was Jericho's first match outside of WWE since he left WCW in July 1999. Journalist Dave Meltzer wrote that Jericho's WWE contract had expired and that he was a "free agent". NJPW also referred to Jericho as a free agent. In contrast, the Tokyo Sports newspaper described an anonymous NJPW official saying that Jericho is still under contract with WWE, and that WWE chairman Vince McMahon had given him permission to wrestle this match in NJPW. This was his first NJPW match in nearly 20 years. Jericho returned in person at the December 11 World Tag League show, attacking and bloodying Omega after his match, while also laying out a referee, a young lion and color commentator Don Callis, establishing himself as a heel. The following day at the Wrestle Kingdom 12 in Tokyo Dome press conference, Jericho and Omega would get into a second physical altercation. Because of the two incidents, NJPW turned the January 4 match into a no disqualification match. At the event, Jericho was defeated by Omega. It was later revealed that the match was awarded a five-star rating from Dave Meltzer of the Wrestling Observer Newsletter. This was the first of his career.
IWGP Intercontinental Champion (2018–2019)
The night after Wrestle Kingdom 12 in Tokyo Dome at New Year Dash!! 2018, Jericho attacked Tetsuya Naito. On May 4, Jericho once again attacked Naito at Wrestling Dontaku, leading to a match between the two at Dominion 6.9 in Osaka-jo Hall, in which he defeated Naito to win the IWGP Intercontinental Championship. At King of Pro-Wrestling, Jericho attacked Evil before his match against Zack Sabre Jr. Backstage, Jericho challenged Evil to an IWGP Intercontinental Championship title match at Power Struggle. At the event, Jericho made Evil submit to the Liontamer to retain the IWGP Intercontinental Championship. After the match, Jericho refused to release the hold until Tetsuya Naito ran in for the save and challenged Jericho. Despite Jericho stating that Naito would not receive a rematch, the match was made official for Wrestle Kingdom 13 in Tokyo Dome. On December 15, NJPW held a press conference for Jericho and Naito's IWGP Intercontinental Championship match. The press conference ended when Naito spat water in Jericho's face, which resulted in the two then brawling before being separated. Later that same day during a Road to Tokyo Dome show, Jericho laid out Naito with steel chair shots, and after stated that at Wrestle Kingdom 13 he would end Tetsuya Naito's career. At the event, Jericho was defeated by Naito, losing the IWGP Intercontinental Championship in the process.
Sporadic appearances (2019–2020)
At Dominion 6.9 in Osaka-jo Hall, Jericho challenged Kazuchika Okada for the IWGP Heavyweight Championship but was defeated. Following the match, Jericho attacked Okada, leading to Hiroshi Tanahashi making the save. Jericho returned at Power Struggle on November 3 and challenged Tanahashi to a match at Wrestle Kingdom 14. On December 28, it was announced that if Tanahashi were to defeat Jericho, he would be granted an AEW World Championship match at a later date. During the second night of Wrestle Kingdom on January 5, 2020, Jericho defeated Tanahashi.
Return to the independent circuit (2018–2019)
On September 1, 2018, Jericho (disguised as Penta El Zero) appeared at the All In show promoted by Cody and The Young Bucks, where he attacked Kenny Omega following Omega's victory over Penta to promote his upcoming Rock 'N' Wrestling Rager at Sea cruise.
In October 2018, Jericho organized Chris Jericho's Rock 'N' Wrestling Rager at Sea, a series of professional wrestling matches originating from Jericho's cruise ship, which embarked from Miami, Florida and featured wrestlers from Ring of Honor.
On May 3, 2019, Jericho appeared at a Southern Honor Wrestling event, where he was attacked by Kenny Omega.
All Elite Wrestling (2019–present)
Inaugural AEW World Champion (2019–2020)
On January 8, 2019, Jericho made a surprise appearance at a media event organized by the upstart All Elite Wrestling (AEW) promotion. Shortly afterwards, Jericho was filmed signing a full-time performers three-year contract with AEW and shaking hands with the company's President Tony Khan. Jericho defeated Kenny Omega at the promotion's inaugural event Double or Nothing on May 25, and went on to defeat Adam Page at All Out to become the inaugural AEW World Champion.
On the premiere episode of Dynamite on October 2, Jericho allied himself with Sammy Guevara, Jake Hager, Santana and Ortiz, creating a stable that would be known as The Inner Circle. Jericho would make successful title defences against Darby Allin on the October 16 episode of Dynamite and Cody at the Full Gear pay-per-view on November 9. On the episode of Dynamite after Full Gear, Jericho and Guevara challenged SoCal Uncensored (Frankie Kazarian and Scorpio Sky) for the AEW World Tag Team Championship, but they failed to win when Sky pinned Jericho with a small package, thus suffering his first loss in AEW. Jericho would successfully retain the AEW World Championship against Sky on the November 27 episode of Dynamite.
In December, The Inner Circle began to attempt to entice Jon Moxley to join the group. On the January 8, 2020 episode of Dynamite, Moxley initially joined the group, however, this was later revealed to be a ruse from Moxley as he attacked Jericho and Sammy Guevara. Moxley then became the number one contender for Jericho's championship at Revolution on February 29, where Moxley defeated Jericho to win the title, ending his inaugural AEW World Championship reign at 182 days.
Feud with MJF (2020–2021)
After losing the championship, Jericho and The Inner Circle began a feud with The Elite (Adam Page, Cody, Kenny Omega and The Young Bucks), who recruited the debuting Matt Hardy to oppose them. At Double or Nothing on May 23, The Inner Circle were defeated by Page, Omega, The Young Bucks and Hardy in a Stadium Stampede match. Jericho next began a rivalry with Orange Cassidy, with Jericho defeating him at Fyter Fest on July 8, but losing a rematch on the August 12 episode of Dynamite. The two faced once again at All Out on September 5, in a Mimosa Mayhem match, which Jericho lost.
Beginning in October, Jericho began a feud with MJF, who requested to join the Inner Circle, despite disapproval from Sammy Guevara, Santana and Ortiz. Jericho and MJF wrestled in a match at the Full Gear event on November 7, which MJF won, thus allowing him to join the Inner Circle. At Beach Break on February 3, 2021, Jericho and MJF won a tag team battle royal to become the number one contenders for the AEW World Tag Team Championship at the Revolution event against The Young Bucks, which they were unsuccessful in winning. On the March 10 episode of Dynamite, MJF betrayed and left The Inner Circle after revealing he had been secretly plotting against them and building his own stable, The Pinnacle—consisting of Wardlow, Shawn Spears and FTR (Cash Wheeler and Dax Harwood). At Blood and Guts on May 5, The Inner Circle lost to The Pinnacle in the inaugural Blood and Guts match. However, in the main event of Double or Nothing later that month, The Inner Circle defeated The Pinnacle in a Stadium Stampede match, after Sammy Guevara pinned Shawn Spears. Jericho then began pursuing another match with MJF, who stated that he would first have to defeat a gauntlet of opponents selected by MJF, in a series dubbed the "Labors of Jericho". Jericho would defeat each of MJF's handpicked opponents (Shawn Spears, Nick Gage, Juventud Guerrera and Wardlow) and faced MJF in the final labor on the August 18 episode of Dynamite, but he was defeated. Jericho demanded one more match, stipulating that if he lost, he would retire from in-ring competition, which MJF accepted. At All Out on September 5, Jericho defeated MJF to maintain his career and end their feud.
Various feuds (2021–present)
Following All Out, The Inner Circle started a rivalry with Men of the Year (Ethan Page and Scorpio Sky), and their ally, mixed martial arts (MMA) coach Dan Lambert. Lambert also brought in members of his MMA team American Top Team (ATT) to oppose The Inner Circle, including Andrei Arlovski and Junior dos Santos. At the Full Gear event on November 13, The Inner Circle defeated Men of the Year and ATT in a Minneapolis Street Fight.
Legacy
Known for his over-the-top, rock star persona, Jericho has been described by multiple industry commentators as one of the greatest professional wrestlers of all time. Journalist Chris Van Vliet noted that his name is "always thrown around as the GOAT [greatest of all time], or at least one of the GOATs", with Van Vliet himself asserting that Jericho is "if not the best, certainly one of the best". Todd Martin of the Pro Wrestling Torch remarked, to agreement from editor Wade Keller, that Jericho is "one of the great wrestlers of all time" and in "a lofty category", while likening his oeuvre to those of WWE Hall of Famers Randy Savage, Ricky Steamboat, Ted DiBiase and Dory Funk Jr. Praised for his ability to continually evolve his gimmick, Jericho was dubbed by KC Joyner of ESPN as "wrestling's David Bowie".
Various outlets have included Jericho in lists of the greatest wrestlers ever. Baltimore Sun reporter Kevin Eck, who has also served as editor of WCW Magazine and a WWE producer, featured Jericho in his "Top 10 favorite wrestlers of all time" and "Top 10 all-around performers"—the former piece noting that Jericho is "regarded as one of the very best talkers in the business". Keisha Hatchett in TV Guide wrote that Jericho "owns the mic with cerebral insults" and is set apart from peers by "his charismatic presence, which is highlighted by a laundry list of unforgettable catchphrases". He was voted by Wrestling Observer Newsletter (WON) readers as "Best on Interviews" for the 2000s decade, coinciding with his 2010 induction into the WON Hall of Fame. Fans also named Jericho the greatest WWE Intercontinental Champion of all time in a 2013 WWE poll, affording him a landslide 63% victory over the other four contenders (Mr. Perfect, The Honky Tonk Man, Rick Rude and Pat Patterson).
A number of Jericho's industry colleagues have hailed him as one of the greatest wrestlers in history. Stone Cold Steve Austin lauded his consistently "dynamic" promos and in-ring work, while arguing that he should be considered among the 10 best ever. Kenny Omega asserted that Jericho "has a legit argument for being the best of all time", based on his ability to achieve success and notoriety across numerous territories. Jon Moxley said, "Jericho is really making a case for being the greatest of all time... he's doing it again, he's doing something completely new, and breaking new barriers still here in 2020." Matt Striker pointed to Jericho's "magnanimous" nature as a contributing factor to his status as an all-time great; his willingness to impart knowledge was commended by James Ellsworth, who described Jericho as an "outstanding human being" and a childhood favorite. Kevin Owens stated that "Jericho was always someone I looked up to", while The Miz affirmed that he was part of a generation of young wrestlers who sought to "emulate" Jericho.
WWE declared Jericho a "marquee draw" with a "reputation as one of the best ever". As of 2019, he is one of the ten most prolific pay-per-view performers in company history.
After Jericho signed with All Elite Wrestling, it was said his role was similar to Terry Funk in ECW, as an experienced veteran bringing credibility to a younger promotion. Jericho was credited as one of the key attractions of AEW's weekly television broadcasts, leading to him adopting the nickname "The Demo God" due to many of the segments he appeared in being some of the highest viewed in the key demographics. He was voted as the Best Box Office Draw by readers of the Wrestling Observer Newsletter in 2019.
Music career
Jericho is the lead singer for the heavy metal band Fozzy. Since their debut album in 2000, Fozzy have released seven studio albums; Fozzy, Happenstance, All That Remains, Chasing the Grail, Sin and Bones, Do You Wanna Start a War, Judas, and one live album, Remains Alive.
In 2005, Jericho performed vocals on a cover of "The Evil That Men Do" on the Iron Maiden tribute album, Numbers from the Beast. He made a guest appearance on Dream Theater's album, Systematic Chaos on the song "Repentance", as one of several musical guests recorded apologizing to important people in their lives for wrongdoings in the past.
In the mid-1990s, Jericho wrote a monthly column for Metal Edge magazine focused on the heavy metal scene. The column ran for about a year. He started his own weekly XM Satellite Radio show in March 2005 called The Rock of Jericho, which aired Sunday nights on XM 41 The Boneyard.
Discography
Albums with Fozzy
Fozzy (2000)
Happenstance (2002)
All That Remains (2005)
Chasing the Grail (2010)
Sin and Bones (2012)
Do You Wanna Start a War (2014)
Judas (2017)
Live albums
Remains Alive (2009)
As guest
Don't You Wish You Were Me? - WWE Originals (2004)
King of the Night Time World - Spin the Bottle: An All-Star Tribute to Kiss (2004) * With Rich Ward, Mike Inez, Fred Coury
Bullet for My Valentine – Temper Temper – Dead to the World (2013)
Devin Townsend – Dark Matters (2014)
Michael Sweet – I'm Not Your Suicide – Anybody Else (2014)
Other endeavors
Film, theater, comedy, and writing
In 2000, a WWE produced VHS tape documenting Jericho's career titled Break Down the Walls was released. He later received two three disc sets profiling matches and interviews.
On June 24, 2006, Jericho premiered in his first Sci-Fi Channel movie Android Apocalypse alongside Scott Bairstow and Joey Lawrence.
Jericho debuted as a stage actor in a comedy play Opening Night, which premiered at the Toronto Centre for the Arts during July 20–22, 2006 in Toronto. During his stay in Toronto, Jericho hosted the sketch comedy show Sunday Night Live with sketch troupe The Sketchersons at The Brunswick House.
Jericho was also the first wrestler attached and interviewed for the wrestling documentary, Bloodstained Memoirs. The interview was recorded in the UK during a Fozzy tour in 2006.
Jericho wrote his autobiography, A Lion's Tale: Around the World in Spandex, which was released on October 25, 2007 and became a New York Times bestseller. It covers Jericho's life and wrestling career up to his debut in the WWE. Jericho's second autobiography, Undisputed: How to Become the World Champion in 1,372 Easy Steps, was released on February 16, 2011, and covers his wrestling career since his WWE debut. On October 14, 2014 Jericho's third book, The Best In The World...At What I Have No Idea, was released. It covers some untold stories of the "Save Us" era, his Fozzy career, and his multiple returns from 2011 to 2013. Jericho's fourth book, No Is a Four-Letter Word: How I Failed Spelling but Succeeded in Life, was released on August 29, 2017 and details twenty valuable lessons Jericho learned throughout his career as a wrestler and musician.
Jericho appeared in the 2009 film Albino Farm. In the film MacGruber, released May 21, 2010, he briefly appeared as Frank Korver, a former military teammate of the eponymous Green Beret, Navy Seal, and Army Ranger.
Jericho released a comedy web series on October 29, 2013 that is loosely based on his life entitled But I'm Chris Jericho! Jericho plays a former wrestler, struggling to make it big as an actor. A second season was produced in 2017 by CBC and distributed over CBC's television app and CBC.ca.
In 2016, Jericho starred in the documentary film Nine Legends alongside Mike Tyson and other wrestlers.
In August 2018, Jericho was confirmed to star in the film Killroy Was Here.
On March 14, 2019, filmmaker Kevin Smith cast Jericho as a KKK Grand Wizard in Jay and Silent Bob Reboot.
Television
Jericho was a contributor to the VH1 pop culture shows Best Week Ever, I Love the '80s, and VH1's top 100 artists.
Jericho also hosted the five-part, five-hour VH1 special 100 Most Shocking Music Moments, an update of the original special 100 Most Shocking Moments in Rock N' Roll first hosted by Mark McGrath of Sugar Ray.
On July 12, 2006, he made an appearance on G4's Attack of the Show!; he made a second appearance on August 21, 2009. In May 2006, Jericho appeared on VH1's 40 Greatest Metal Songs and Heavy: The Story of Metal as a commentator.
He was one of eight celebrities in the 2006 Fox Television singing reality show Celebrity Duets, produced by Simon Cowell, and was the first contestant eliminated. Jericho worked at a McDonald's to show off his skills while prepping for the show.
Jericho hosted his own reality show in 2008 titled Redemption Song, in which 11 women tried their hand at getting into the music scene. It was shown on Fuse TV.
He guest starred as Billy "The Body Bag" Cobb in "Xero Control", an episode of the Disney XD 2009 original series Aaron Stone.
He hosted VH1's 100 Most Shocking Music Moments, which began airing in December 2009. In June 2010, Jericho was named the host of the ABC prime-time game show Downfall.
On March 1, 2011, Chris Jericho was named one of the contestants on the 2011 lineup of Dancing with the Stars. His partner was two-time champion Cheryl Burke. This led to a wave of publicity, including an interview with Jay Leno. On April 26, Jericho was the fifth contestant eliminated on the show.
On May 5, Jericho made his third appearance as a guest on Attack of the Show! where he depicted Thor. He promoted Undisputed and hosted the Revolver Golden Gods Awards on May 28 on VH1 Classic. On January 17, 2012, Jericho made his fourth appearance on Attack of the Show! in a segment called "Twitter Twister" where he portrayed a character called "The Twistercutioner" and read tweets as instructions for a game of Twister between Kevin and Candace. Jericho hosted the UK's Metal Hammer Golden Gods Awards in 2012 and 2017.
On February 26, 2013, Jericho began hosting a robot combat competition program on SyFy titled Robot Combat League the series ended on April 23, 2015.
Talk Is Jericho podcast
In December 2013, Jericho began hosting his own podcast, Talk is Jericho. Episodes usually include a loosely scripted monolog before an interview, typically with a wrestler, rock musician or paranormal expert. The show originally appeared on PodcastOne, before moving to the WestwoodOne network in 2018. Notable guests on the show include Bruce Dickinson from Iron Maiden, Lemmy from Motörhead, Paul Stanley from KISS, Zak Bagans from Ghost Adventures, pornographic actress Asa Akira, writer/director Kevin Smith and many former and current wrestlers.
In April 2015, Jericho hosted his own video podcast on the WWE Network, Live! with Chris Jericho, with John Cena as his first guest, followed by Stephanie McMahon as his guest later that same month.
Once he signed with AEW, he was no longer allowed WWE performers as guests on the podcast.
Web
On August 10, 2019, Jericho launched his own dirtsheet website called WebIsJericho.com. The website is dedicated to the memory of Axl Rotten.
In May 2020, Jericho officially joined as a competitor of the Movie Trivia Schmoedown under manager Roxy Striar in the Roxstars faction. Jericho first expressed interest in the Schmoedown following an appearance on Collider Live with Striar and Schmoedown commissioner Kristian Harloff. He became friends with Striar following the interview and kept in contact. During the 2020 season, Jericho contacted Striar, asking to be a part of the league. Striar formally drafted Jericho into her faction during the first free-agent period following the season-opening draft. His first match is scheduled for August 27 against Kevin Smith.
Cruises
In 2017, Jericho launched Chris Jericho's Rock 'N' Wrestling Rager at Sea, a cruise "combining the worlds of rock and wrestling with a once in a lifetime amazing vacation experience". The cruise featured live band performances, artist-hosted activities and a Sea of Honor Tournament with over a dozen Ring of Honor wrestlers competing. Guests had the opportunity to get up close and personal with Chris and his closest wrestling, comedian, and musician friends including Jim Ross, Diamond Dallas Page and Jim Breuer, among others. The cruise sailed October 27–31, 2018 from Miami to Nassau, Bahamas.
Jericho hosted a second cruise, Chris Jericho's Rock 'N' Wrestling Rager at Sea Part Deux: Second Wave, which run from January 20–24, 2020. A third cruise, Chris Jericho's Rock 'N' Wrestling Rager at Sea Triple Whammy, is scheduled for October 21–25, 2021.
Video games
Jericho has appeared in numerous video games. They include WCW/nWo Revenge, WCW Nitro, WCW/nWo Thunder, WCW Mayhem, WWF WrestleMania 2000, WWF No Mercy, WWF SmackDown!, WWF SmackDown! 2: Know Your Role, WWF SmackDown! Just Bring It, WWF Raw, WWE SmackDown! Shut Your Mouth, WWE SmackDown! Here Comes the Pain, WWE SmackDown! vs. Raw, WWE SmackDown! vs. Raw 2006, WWE SmackDown vs. Raw 2009, WWE All Stars, WWE SmackDown vs. Raw 2010, WWE SmackDown vs. Raw 2011, WWE '13, WWE 2K14, WWE 2K15, WWE 2K16, WWE 2K17, WWE 2K18, WWE 2K19 and the upcoming All Elite Wrestling video game.
Personal life
Irvine married Jessica Lockhart on July 30, 2000. They reside in Odessa, Florida, with their three children: son Ash Edward Irvine (born 2003) and identical twin daughters Sierra Loretta "SiSi" Irvine and Cheyenne Lee "Chey" Irvine (born 2006). All three have been guests on his podcast, Talk Is Jericho, with his son discussing fish and his daughters discussing literature. Irvine owns three cats. In October 2020, Irvine reportedly donated $3,000 to Donald Trump's presidential re-election campaign.
Irvine is a Christian. He has a tattoo of his wife's name on his ring finger. He has the letter F, representing Fozzy, on the back of his hand. Since 2012, he has gradually gotten a sleeve over his left arm. His tattoos include: the artwork of Fozzy's album Sin and Bones, a Jack-o'-lantern (Avenged Sevenfold vocalist M. Shadows, who collaborated with Fozzy on the track "Sandpaper" from Sin and Bones, also got a matching tattoo), a lake monster, and himself from his WWF debut in 1999.
On July 5, 2004, Irvine was awarded Manitoba's The Order of the Buffalo Hunt, for his achievements in wrestling and his commitment to working with underprivileged children. – "After that, Gary Doer, the premier of Manitoba, awarded me with the Order of the Buffalo Hunt, which was the province's highest honor. It was quite the prestigious prize, which has been given to such dignitaries such as Mother Teresa, Desmond Tutu, Jimmy Carter, Pope John Paul II, and now Chris Jericho." / caption: "Manitoba Premier Gary Doer presents me with the Order of the Buffalo Hunt, along with a tiny bronze buffalo. I'm thinking, 'That's all I get?'"
Since January 2012, Irvine (along with former NFL Quarterback Tim Tebow, former NFL player Derrick Brooks, and former Atlanta Braves player Chipper Jones) has been the co-owner of a sports training facility in Tampa, a franchise site of D1 Sports Training and Therapy.
Irvine is a fan of Japanese convenience store chain Lawson, which Irvine would frequently shop at when he wrestled in Japan in the 1990s. Irvine still visits Lawson whenever he returns to Japan, whether to wrestle or if he is touring with Fozzy.https://www.instagram.com/p/CQCwN9vjtO_/
Legal issues
On February 7, 2009, a fan accused Irvine of punching her after she spat at him with fans outside Save-On-Foods Memorial Centre in Victoria, British Columbia after a live event. Video footage, however, clearly showed he did not make contact with the woman. As a result of the incident, police detained them, but released them without charge. Police did not press charges against anyone in the brawl as it was "hard to determine who provoked whom".
On January 27, 2010, Irvine and fellow wrestler Gregory Helms were arrested in Fort Mitchell, Kentucky after leaving a bar. A police report stated that Helms punched Irvine and the other passengers in the cab. Fellow wrestlers Christian and CM Punk bailed them out later.
Filmography
Film
Television
Video games
Championships and accomplishments
All Elite Wrestling AEW World Championship (1 time)
AEW Dynamite Awards (2 times)
Bleacher Report PPV Moment of the Year (2021) –
Biggest Beatdown (2021) –
The Baltimore Sun
Feud of the Year (2008)
Canadian Rocky Mountain Wrestling
CRMW North American Heavyweight Championship (1 time)
CRMW North American Tag Team Championship (2 times) – with Lance Storm
CRMW Mid-Heavyweight Championship (2 times)
Consejo Mundial de Lucha Libre
NWA World Middleweight Championship (1 time)
Extreme Championship Wrestling
ECW World Television Championship (1 time)
International Wrestling Alliance
IWA Junior Heavyweight Championship (1 time)
New Japan Pro-Wrestling
IWGP Intercontinental Championship (1 time)
Pro Wrestling Illustrated
Faction of the Year (2021) – with The Inner Circle
Feud of the Decade (2000s)
Feud of the Year (2008)
Feud of the Year (2021)
Most Hated Wrestler of the Year (2002, 2008)
Ranked No. 2 of the top 500 singles wrestlers in the PWI 500 in 2009
Rolling Stone
Ranked No. 3 of the 10 best WWE wrestlers of 2016
World Championship Wrestling
WCW Cruiserweight Championship (4 times)
WCW World Television Championship (1 time)
World Wrestling Federation/Entertainment/WWE
Undisputed WWF Championship (1 time)
World Heavyweight Championship (3 times)
WCW/World Championship (2 times)
WWF/WWE Intercontinental Championship (9 times)
WWE United States Championship (2 times)
WWF European Championship (1 time)
WWF Hardcore Championship (1 time)
WWE Tag Team Championship (2 times) – with Edge (1) and Big Show (1)
WWF/World Tag Team Championship (5 times) – with Chris Benoit (1), The Rock (1), Christian (1), Edge (1), and Big Show (1)
Bragging Rights Trophy (2009) – with Team SmackDown
WWF Undisputed Championship Tournament (2001)
Fourth Grand Slam Champion
Ninth Triple Crown Champion
Slammy Award (3 times)
Extreme Moment of the Year (2014)
Superstar of the Year (2008)
Tag Team of the Year (2009) – with Big Show
Wrestle Association "R"
WAR International Junior Heavyweight Championship (1 time)
WAR International Junior Heavyweight Tag Team Championship (1 time) – with Gedo
World Wrestling Association
WWA Tag Team Championship (1 time) – with El Dandy
Wrestling Observer Newsletter
Wrestler of the Year (2008, 2009, 2019)
Best on Interviews (2003, 2008, 2009, 2019)
Best on Interviews of the Decade (2000s)
Feud of the Year (2008)
Pro Wrestling Match of the Year (2008)
Most Underrated Wrestler (1999, 2000)
Readers' Favorite Wrestler (1999)
United States/Canada MVP (2019)
Most Charismatic (2019)
Best Box Office Draw (2019)
Best Pro Wrestling Book (2011)
Wrestling Observer Newsletter Hall of Fame (Class of 2010)
Luchas de Apuestas record
Notes
References
Further reading
External links
1970 births
21st-century American male actors
21st-century American singers
21st-century Canadian male actors
21st-century Canadian male singers
AEW World Champions
All Elite Wrestling personnel
American Christians
American color commentators
American game show hosts
American hard rock musicians
American heavy metal singers
American male film actors
American male professional wrestlers
American male singer-songwriters
American male television actors
American memoirists
American men podcasters
American people of Scottish descent
American people of Ukrainian descent
American podcasters
American radio personalities
American rock singers
American rock songwriters
American YouTubers
Canadian Christians
Canadian colour commentators
Canadian expatriate professional wrestlers in the United States
Canadian game show hosts
Canadian hard rock musicians
Canadian heavy metal singers
Canadian male film actors
Canadian male professional wrestlers
Canadian male singers
Canadian male singer-songwriters
Canadian male television actors
Canadian memoirists
Canadian men podcasters
Canadian people of Scottish descent
Canadian people of Ukrainian descent
Canadian podcasters
Canadian radio personalities
Canadian rock singers
Canadian YouTubers
Christians from New York (state)
ECW World Television Champions
Expatriate professional wrestlers in Japan
Expatriate professional wrestlers in Mexico
Fozzy members
IWGP Intercontinental champions
Living people
Male actors from New York (state)
Male actors from Winnipeg
Male YouTubers
Musicians from Winnipeg
NWA/WCW World Television Champions
NWA/WCW/WWE United States Heavyweight Champions
Participants in American reality television series
People from Manhasset, New York
Professional wrestlers from Manitoba
Professional wrestlers from New York (state)
Professional wrestling podcasters
Red River College alumni
Singer-songwriters from New York (state)
Sportspeople from Winnipeg
WCW World Heavyweight Champions
World Heavyweight Champions (WWE)
WWE Champions
WWE Grand Slam champions
WWF European Champions
WWF/WWE Hardcore Champions
WWF/WWE Intercontinental Champions | true | [
"Gerald Gustafson (born September 14, 1928) was a pilot after the post-war period of the United States. His most notable achievements came during the Vietnam War, where he was awarded the Air Force Cross.\n\nEarly life\n\nGustafson was born in St. Peter, Minnesota in 1928. His grandparents were Swedish immigrants and his father, Herbert C. Gustafson was an artilleryman in France during World War I. Both parents were offspring of Swedish immigrants. In the early part of his life he lost the tip of his right index finger in a farming accident. Later on his flying career was almost ended because the Air Force considered it a \"missing digit\" but later changed its classification to a \"terminal digit.\"\n\nAir Force Service\n\nGustafson initially joined the Air Force in 1950 and after completing basic training in Texas was trained in the use of bombardier equipment on the B-26. After completing his training and missing service in the Korean War, he was approved for a new pilot program and trained in Piper Cubs and T-6 Texans. He received advanced fighter training in the P-80 Shooting Star.\n\nAfter his officer and flight training, Gustafson was stationed in Wisconsin; Thule, Greenland; Texas; and California. During this time he flew F-86D Sabres, F-102s, and F-106 Delta Darts.\n\nImmediately before his Vietnam service, he was cross trained in the F-105 Thunderchief out of Nellis AFB. After his service in Vietnam, he flew F-105s out of Okinowa.\n\nAir Force Cross\n\nGerald Gustafson won the Air Force Cross, the second highest award for gallantry in the United States Air Force, during the Vietnam War. He flew F-105 Thunderchiefs from Takhli Royal Thai Air Force Base in Thailand and was shot down on two occasions.\n\nHe was awarded the medal in November, 1967. His citation noted that \"The President of the United States of America, authorized by Title 10, Section 8742, United States Code, awards the Air Force Cross to Major Gerald C. Gustafson for extraordinary heroism in military operations against an opposing armed force as an F-105 Aircraft Commander over North Vietnam on November 19, 1967. On that date, Major Gustafson's aircraft was severely damaged by a surface-to-air missile while he was assisting another pilot who had received battle damage and had been wounded. Major Gustafson refused to leave his comrade until other escort aircraft could be vectored in to give the wounded pilot assistance in reaching his home base safely. Only then, did Major Gustafson egress to a safer area where he was forced to eject from his own stricken aircraft. Through his extraordinary heroism, superb airmanship, and aggressiveness, Major Gustafson reflected the highest credit upon himself and the United States Air Force.\"\n\nGustafson along with Lieutenant Colonel Robert W. Smith and Major Bruce Stocks all received Air Force Crosses for the same mission on November 19, 1967.\n\nPost-Air Force\n\nAfter Vietnam, Gustafson was put off of flying duty due to an injury which left his eye unable to dilate properly. He was transferred first to attend at the National War College, then worked at the Pentagon. He retired with the rank of Colonel in 1979 to New Richland. Gustafson is actively involved in the VFW, the Red River Valley Fighter Pilots Association, and the Air Force Association. He often speaks to students and classes about his experiences.\n\nReferences\n\n1928 births\nLiving people\nAmerican people of Swedish descent\nAviators from Minnesota\nUnited States Air Force colonels\nUnited States Air Force personnel of the Vietnam War\nRecipients of the Air Force Cross (United States)\nPeople from St. Peter, Minnesota\nMilitary personnel from Minnesota",
"Major General Altay Ramazan oglu Mehdiyev () was the Commander of Azerbaijani Air Forces.\n\nCareer \nGeneral Mehdiev originates from the city of Lankaran.\n\nAir force commander \nAfter the assassination of the Commander of Azerbaijani Air Force, Lieutenant General Rail Rzayev on February 11, 2009 the position remained unfilled until May 12, 2009 when President Ilham Aliyev appointed Mehdiyev to take over the command. Before the appointment, Mehdiyev served as the Chief of Staff of Azerbaijani Armed Forces in Nakhchivan. He's considered to be a professional, well trained for air force operations.\n\nMehdiyev was awarded with Veten Ughrunda Medal (In the Name of Motherland) for service to his country on June 22, 2006.\n\nDismissal \nHe was dismissed on 18 November 2013. He was appointed to the post of rector of the War College of the Azerbaijani Armed Forces.\n\nReferences\n\n21st-century Azerbaijani Air Forces personnel\nLiving people\nYear of birth missing (living people)"
] | [
"Christopher Keith Irvine (born November 9, 1970), better known by the ring name Chris Jericho, is an American-Canadian professional wrestler and singer. He is currently signed to All Elite Wrestling (AEW), where he is the leader of The Inner Circle stable.",
"He is currently signed to All Elite Wrestling (AEW), where he is the leader of The Inner Circle stable. Noted for his over-the-top rock star persona, he has been named by journalists and industry colleagues as one of the greatest professional wrestlers of all time.",
"Noted for his over-the-top rock star persona, he has been named by journalists and industry colleagues as one of the greatest professional wrestlers of all time. During the 1990s, Jericho performed for American organizations Extreme Championship Wrestling (ECW) and World Championship Wrestling (WCW), as well as for promotions in countries such as Canada, Japan, and Mexico.",
"During the 1990s, Jericho performed for American organizations Extreme Championship Wrestling (ECW) and World Championship Wrestling (WCW), as well as for promotions in countries such as Canada, Japan, and Mexico. At the end of 1999, he made his debut in the World Wrestling Federation (WWF).",
"At the end of 1999, he made his debut in the World Wrestling Federation (WWF). In 2001, he became the first Undisputed WWF Champion, and thus the final holder of the WCW World Heavyweight Championship (then referred to as the World Championship), having won and unified the WWF and World titles by defeating Stone Cold Steve Austin and The Rock on the same night.",
"In 2001, he became the first Undisputed WWF Champion, and thus the final holder of the WCW World Heavyweight Championship (then referred to as the World Championship), having won and unified the WWF and World titles by defeating Stone Cold Steve Austin and The Rock on the same night. Jericho headlined multiple pay-per-view (PPV) events during his time with the WWF/WWE, including WrestleMania X8 and the inaugural TLC and Elimination Chamber shows.",
"Jericho headlined multiple pay-per-view (PPV) events during his time with the WWF/WWE, including WrestleMania X8 and the inaugural TLC and Elimination Chamber shows. He was inducted into the Wrestling Observer Newsletter Hall of Fame in 2010.",
"He was inducted into the Wrestling Observer Newsletter Hall of Fame in 2010. Within the WWF/WWE, Jericho is a six-time world champion, having won the Undisputed WWF Championship once, the WCW/World Championship twice and the World Heavyweight Championship three times.",
"Within the WWF/WWE, Jericho is a six-time world champion, having won the Undisputed WWF Championship once, the WCW/World Championship twice and the World Heavyweight Championship three times. He has also held the WWE Intercontinental Championship a record nine times and was the ninth Triple Crown Champion, as well as the fourth Grand Slam Champion in history.",
"He has also held the WWE Intercontinental Championship a record nine times and was the ninth Triple Crown Champion, as well as the fourth Grand Slam Champion in history. In addition, he was the 2008 Superstar of the Year Slammy Award winner and (along with Big Show as Jeri-Show) won the 2009 Tag Team of the Year Slammy Award—making him the only winner of both Superstar and Tag Team of the Year.",
"In addition, he was the 2008 Superstar of the Year Slammy Award winner and (along with Big Show as Jeri-Show) won the 2009 Tag Team of the Year Slammy Award—making him the only winner of both Superstar and Tag Team of the Year. After his departure from WWE in 2018, Jericho signed with New Japan Pro-Wrestling (NJPW), where he became a one-time IWGP Intercontinental Champion, and becoming the first man to have held both the WWE and IWGP Intercontinental Championships.",
"After his departure from WWE in 2018, Jericho signed with New Japan Pro-Wrestling (NJPW), where he became a one-time IWGP Intercontinental Champion, and becoming the first man to have held both the WWE and IWGP Intercontinental Championships. Jericho joined AEW in January 2019 and became the inaugural holder of the AEW World Championship in August of that year.",
"Jericho joined AEW in January 2019 and became the inaugural holder of the AEW World Championship in August of that year. All totalled, between ECW, WCW, WWE, NJPW and AEW, Jericho has held 36 championships (including seven World Championships, and 10 Intercontinental Championships).",
"All totalled, between ECW, WCW, WWE, NJPW and AEW, Jericho has held 36 championships (including seven World Championships, and 10 Intercontinental Championships). In 1999, Jericho became lead vocalist of heavy metal band Fozzy, who released their eponymous debut album the following year.",
"In 1999, Jericho became lead vocalist of heavy metal band Fozzy, who released their eponymous debut album the following year. The group's early work is composed largely of cover versions, although they have focused primarily on original material from their third album, All That Remains (2005), onward.",
"The group's early work is composed largely of cover versions, although they have focused primarily on original material from their third album, All That Remains (2005), onward. Jericho has also appeared on numerous television shows over the years, including the 2011 season of Dancing With the Stars.",
"Jericho has also appeared on numerous television shows over the years, including the 2011 season of Dancing With the Stars. He hosted the ABC game show Downfall, the 2011 edition of the Revolver Golden Gods Awards, and the UK's Metal Hammer Golden Gods Awards in 2012 and 2017.",
"He hosted the ABC game show Downfall, the 2011 edition of the Revolver Golden Gods Awards, and the UK's Metal Hammer Golden Gods Awards in 2012 and 2017. Early life Christopher Keith Irvine was born in Manhasset, New York on November 9, 1970, the son of a Canadian couple.",
"Early life Christopher Keith Irvine was born in Manhasset, New York on November 9, 1970, the son of a Canadian couple. He is of Scottish descent from his father's side and Ukrainian descent from his mother's side.",
"He is of Scottish descent from his father's side and Ukrainian descent from his mother's side. His father, ice hockey player Ted Irvine, had been playing for the New York Rangers at the time of his birth. When his father retired, the family moved back to Winnipeg, Manitoba, where Irvine grew up.",
"When his father retired, the family moved back to Winnipeg, Manitoba, where Irvine grew up. He holds dual American and Canadian citizenships.",
"He holds dual American and Canadian citizenships. Irvine's interest in professional wrestling began when he started watching the local American Wrestling Association (AWA) events that took place at the Winnipeg Arena with his family, and his desire to become a professional wrestler himself began when he saw footage of Owen Hart, then appearing with Stampede Wrestling, performing various high-flying moves.",
"Irvine's interest in professional wrestling began when he started watching the local American Wrestling Association (AWA) events that took place at the Winnipeg Arena with his family, and his desire to become a professional wrestler himself began when he saw footage of Owen Hart, then appearing with Stampede Wrestling, performing various high-flying moves. In addition, Irvine also cited Owen's older brother Bret, Ricky Steamboat and Shawn Michaels as inspirations for his becoming a professional wrestler.",
"In addition, Irvine also cited Owen's older brother Bret, Ricky Steamboat and Shawn Michaels as inspirations for his becoming a professional wrestler. His first experience with a professional wrestling promotion was when he acted as part of the ring crew for the first tour of the newly opened Keystone Wrestling Alliance promotion, where he learned important pointers from independent wrestlers Catfish Charlie and Caveman Broda.",
"His first experience with a professional wrestling promotion was when he acted as part of the ring crew for the first tour of the newly opened Keystone Wrestling Alliance promotion, where he learned important pointers from independent wrestlers Catfish Charlie and Caveman Broda. He attended Red River College in Winnipeg, graduating in 1990 with a bachelor's degree in Creative Communications.",
"He attended Red River College in Winnipeg, graduating in 1990 with a bachelor's degree in Creative Communications. Professional wrestling career Independent circuit (1990–1991) At the age of 19, he entered the Hart Brothers School of Wrestling, where he met Lance Storm on his first day.",
"Professional wrestling career Independent circuit (1990–1991) At the age of 19, he entered the Hart Brothers School of Wrestling, where he met Lance Storm on his first day. He was trained by Ed Langley and local Calgary wrestler Brad Young.",
"He was trained by Ed Langley and local Calgary wrestler Brad Young. Two months after completing training, he was ready to start wrestling on independent shows, making his debut at the Moose Hall in Ponoka, Alberta as \"Cowboy\" Chris Jericho, on October 2, 1990, in a ten-minute time limit draw against Storm.",
"Two months after completing training, he was ready to start wrestling on independent shows, making his debut at the Moose Hall in Ponoka, Alberta as \"Cowboy\" Chris Jericho, on October 2, 1990, in a ten-minute time limit draw against Storm. The pair then worked as a tag team, initially called Sudden Impact.",
"The pair then worked as a tag team, initially called Sudden Impact. According to a February 2019 interview with Rich Eisen on The Rich Eisen Show, Jericho stated that his initial name was going to be \"Jack Action\" however, someone remarked to him that the name was stupid, they then asked him what his name really was, he then got nervous and said \"Chris Jericho\".",
"According to a February 2019 interview with Rich Eisen on The Rich Eisen Show, Jericho stated that his initial name was going to be \"Jack Action\" however, someone remarked to him that the name was stupid, they then asked him what his name really was, he then got nervous and said \"Chris Jericho\". He took the name Jericho from an album, Walls of Jericho, by German power metal band, Helloween.",
"He took the name Jericho from an album, Walls of Jericho, by German power metal band, Helloween. Jericho and Storm worked for Tony Condello in the tours of Northern Manitoba with Adam Copeland (Edge), Jason Reso (Christian) and Terry Gerin (Rhino).",
"Jericho and Storm worked for Tony Condello in the tours of Northern Manitoba with Adam Copeland (Edge), Jason Reso (Christian) and Terry Gerin (Rhino). The pair also wrestled in Calgary's Canadian National Wrestling Alliance (CNWA) and Canadian Rocky Mountain Wrestling (CRMW).",
"The pair also wrestled in Calgary's Canadian National Wrestling Alliance (CNWA) and Canadian Rocky Mountain Wrestling (CRMW). Frontier Martial-Arts Wrestling (1991) In 1991, Jericho and Storm started touring in Japan for Frontier Martial-Arts Wrestling as Sudden Impact, where he befriended Ricky Fuji, who also trained under Stu Hart.",
"Frontier Martial-Arts Wrestling (1991) In 1991, Jericho and Storm started touring in Japan for Frontier Martial-Arts Wrestling as Sudden Impact, where he befriended Ricky Fuji, who also trained under Stu Hart. Consejo Mundial de Lucha Libre and other Mexican promotions (1992–1995) In the winter of 1992, he traveled to Mexico and competed under the name Leon D'Oro (\"Golden Lion\", a name that fans voted on for him between \"He-Man\", \"Chris Power\", and his preferred choice \"Leon D'Oro\"), and later Corazón de León (\"Lion Heart\"), where he wrestled for several small wrestling companies.",
"Consejo Mundial de Lucha Libre and other Mexican promotions (1992–1995) In the winter of 1992, he traveled to Mexico and competed under the name Leon D'Oro (\"Golden Lion\", a name that fans voted on for him between \"He-Man\", \"Chris Power\", and his preferred choice \"Leon D'Oro\"), and later Corazón de León (\"Lion Heart\"), where he wrestled for several small wrestling companies. From 1993 to 1995, he competed in Mexico's oldest promotion, Consejo Mundial de Lucha Libre (CMLL).",
"From 1993 to 1995, he competed in Mexico's oldest promotion, Consejo Mundial de Lucha Libre (CMLL). In CMLL, Jericho took on Silver King, Negro Casas, and Último Dragón en route to an eleven-month reign as the NWA Middleweight Champion that began in December 1993.",
"In CMLL, Jericho took on Silver King, Negro Casas, and Último Dragón en route to an eleven-month reign as the NWA Middleweight Champion that began in December 1993. Smoky Mountain Wrestling (1994) 1994 saw Jericho reunited with Storm, as The Thrillseekers in Jim Cornette's Appalachian Smoky Mountain Wrestling (SMW) promotion, where they feuded with the likes of Well Dunn, The Rock 'n' Roll Express, and The Heavenly Bodies.",
"Smoky Mountain Wrestling (1994) 1994 saw Jericho reunited with Storm, as The Thrillseekers in Jim Cornette's Appalachian Smoky Mountain Wrestling (SMW) promotion, where they feuded with the likes of Well Dunn, The Rock 'n' Roll Express, and The Heavenly Bodies. Wrestling and Romance/WAR (1994–1996) In late 1994, Jericho began competing regularly in Japan for Genichiro Tenryu's Wrestling and Romance (later known as Wrestle Association \"R\") (WAR) promotion as The Lion Heart.",
"Wrestling and Romance/WAR (1994–1996) In late 1994, Jericho began competing regularly in Japan for Genichiro Tenryu's Wrestling and Romance (later known as Wrestle Association \"R\") (WAR) promotion as The Lion Heart. In November 1994, Último Dragón defeated him for the NWA World Middleweight Championship, which he had won while wrestling in Mexico.",
"In November 1994, Último Dragón defeated him for the NWA World Middleweight Championship, which he had won while wrestling in Mexico. In March 1995, Jericho lost to Gedo in the final of a tournament to crown the inaugural WAR International Junior Heavyweight Champion.",
"In March 1995, Jericho lost to Gedo in the final of a tournament to crown the inaugural WAR International Junior Heavyweight Champion. He defeated Gedo for the championship in June 1995, losing it to Último Dragón the next month.",
"He defeated Gedo for the championship in June 1995, losing it to Último Dragón the next month. In December 1995, Jericho competed in the second Super J-Cup tournament, defeating Hanzo Nakajima in the first round, but losing to Wild Pegasus in the second round.",
"In December 1995, Jericho competed in the second Super J-Cup tournament, defeating Hanzo Nakajima in the first round, but losing to Wild Pegasus in the second round. In 1995, Jericho joined the heel stable Fuyuki-Gun (\"Fuyuki Army\") with Hiromichi Fuyuki, Gedo, and Jado, adopting the name Lion Do.",
"In 1995, Jericho joined the heel stable Fuyuki-Gun (\"Fuyuki Army\") with Hiromichi Fuyuki, Gedo, and Jado, adopting the name Lion Do. In February 1996, Jericho and Gedo won a tournament for the newly created International Junior Heavyweight Tag Team Championship, defeating Lance Storm and Yuji Yasuraoka in the final.",
"In February 1996, Jericho and Gedo won a tournament for the newly created International Junior Heavyweight Tag Team Championship, defeating Lance Storm and Yuji Yasuraoka in the final. They lost the championship to Storm and Yasuraoka the following month.",
"They lost the championship to Storm and Yasuraoka the following month. Jericho made his final appearances with WAR in July 1996, having wrestled a total of twenty-four tours for the company.",
"Jericho made his final appearances with WAR in July 1996, having wrestled a total of twenty-four tours for the company. Extreme Championship Wrestling (1996) In 1995, thanks in part to recommendations by Benoit, Dave Meltzer and Perry Saturn, to promoter Paul Heyman, and after Mick Foley saw Jericho's match against Último Dragón for the WAR International Junior Heavyweight Championship in July 1995 and gave a tape of the match to Heyman, Jericho began wrestling for the Philadelphia-based Extreme Championship Wrestling (ECW) promotion, winning the ECW World Television Championship from Pitbull #2 in June 1996 at Hardcore Heaven.",
"Extreme Championship Wrestling (1996) In 1995, thanks in part to recommendations by Benoit, Dave Meltzer and Perry Saturn, to promoter Paul Heyman, and after Mick Foley saw Jericho's match against Último Dragón for the WAR International Junior Heavyweight Championship in July 1995 and gave a tape of the match to Heyman, Jericho began wrestling for the Philadelphia-based Extreme Championship Wrestling (ECW) promotion, winning the ECW World Television Championship from Pitbull #2 in June 1996 at Hardcore Heaven. While in ECW, Jericho wrestled Taz, Sabu, Rob Van Dam, Foley (as Cactus Jack), Shane Douglas, and 2 Cold Scorpio.",
"While in ECW, Jericho wrestled Taz, Sabu, Rob Van Dam, Foley (as Cactus Jack), Shane Douglas, and 2 Cold Scorpio. He made his final appearance at The Doctor Is In in August 1996. It was during this time that he drew the attention of World Championship Wrestling (WCW).",
"It was during this time that he drew the attention of World Championship Wrestling (WCW). World Championship Wrestling (1996 – 1999) Early appearances (1996–1997) Jericho debuted for WCW on August 20, 1996 by defeating Mr. JL, which aired on the August 31 episode of Saturday Night.",
"World Championship Wrestling (1996 – 1999) Early appearances (1996–1997) Jericho debuted for WCW on August 20, 1996 by defeating Mr. JL, which aired on the August 31 episode of Saturday Night. Jericho's televised debut in WCW occurred on the August 26 episode of Monday Nitro against Alex Wright in a match which ended in a no contest.",
"Jericho's televised debut in WCW occurred on the August 26 episode of Monday Nitro against Alex Wright in a match which ended in a no contest. He made his pay-per-view debut on September 15 against Chris Benoit in a losing effort at Fall Brawl.",
"He made his pay-per-view debut on September 15 against Chris Benoit in a losing effort at Fall Brawl. The following month, at Halloween Havoc, Jericho lost to nWo member Syxx due to biased officiating by nWo referee Nick Patrick.",
"The following month, at Halloween Havoc, Jericho lost to nWo member Syxx due to biased officiating by nWo referee Nick Patrick. This led to a match between Jericho and Patrick at World War 3, which stipulated that Jericho's one arm would be tied behind his back. Despite the odds stacked against him, Jericho won the match.",
"Despite the odds stacked against him, Jericho won the match. Later that night, Jericho participated in the namesake battle royal for a future WCW World Heavyweight Championship match but failed to win the match. Jericho represented WCW against nWo Japan member Masahiro Chono in a losing effort at the nWo Souled Out event.",
"Jericho represented WCW against nWo Japan member Masahiro Chono in a losing effort at the nWo Souled Out event. At SuperBrawl VII, Jericho unsuccessfully challenged Eddie Guerrero for the United States Heavyweight Championship.",
"At SuperBrawl VII, Jericho unsuccessfully challenged Eddie Guerrero for the United States Heavyweight Championship. Cruiserweight Champion (1997–1998) On June 28, 1997, Jericho defeated Syxx at the Saturday Nitro live event in Los Angeles, California to win the WCW Cruiserweight Championship for the first time, thus winning the first championship of his WCW career.",
"Cruiserweight Champion (1997–1998) On June 28, 1997, Jericho defeated Syxx at the Saturday Nitro live event in Los Angeles, California to win the WCW Cruiserweight Championship for the first time, thus winning the first championship of his WCW career. Jericho successfully defended the title against Ultimo Dragon at Bash at the Beach, before losing the title to Alex Wright on the July 28 episode of Monday Nitro.",
"Jericho successfully defended the title against Ultimo Dragon at Bash at the Beach, before losing the title to Alex Wright on the July 28 episode of Monday Nitro. Jericho unsuccessfully challenged Wright for the title at Road Wild, before defeating Wright in a rematch to win his second Cruiserweight Championship on the August 16 episode of Saturday Night.",
"Jericho unsuccessfully challenged Wright for the title at Road Wild, before defeating Wright in a rematch to win his second Cruiserweight Championship on the August 16 episode of Saturday Night. Jericho began feuding with Eddie Guerrero over the title as he successfully defended the title against Guerrero at Clash of the Champions XXXV before losing the title to Guerrero at Fall Brawl.",
"Jericho began feuding with Eddie Guerrero over the title as he successfully defended the title against Guerrero at Clash of the Champions XXXV before losing the title to Guerrero at Fall Brawl. Jericho defeated Gedo at Halloween Havoc. At World War 3, Jericho participated in the namesake battle royal but failed to win.",
"At World War 3, Jericho participated in the namesake battle royal but failed to win. On the January 15, 1998 episode of Thunder, Jericho defeated Eddie Guerrero to earn a title shot against Rey Mysterio Jr. for the Cruiserweight Championship at Souled Out. Jericho won the match by forcing Mysterio to submit to the Liontamer.",
"Jericho won the match by forcing Mysterio to submit to the Liontamer. After the match, Jericho turned heel by assaulting Mysterio's knee with a toolbox. In the storyline, Mysterio needed six months of recovery before he could return to the ring.",
"In the storyline, Mysterio needed six months of recovery before he could return to the ring. Jericho then had a short feud with Juventud Guerrera in which Guerrera repeatedly requested a shot at Jericho's Cruiserweight Championship, but Jericho constantly rebuffed him. The feud culminated in a title versus mask match at SuperBrawl VIII.",
"The feud culminated in a title versus mask match at SuperBrawl VIII. Guerrera lost the match and was forced to remove his mask.",
"Guerrera lost the match and was forced to remove his mask. Following this match, Jericho began his ongoing gimmick of collecting and wearing to the ring trophy items from his defeated opponents, such as Guerrera's mask, Prince Iaukea's Hawaiian dress, and a headband from Disco Inferno.",
"Following this match, Jericho began his ongoing gimmick of collecting and wearing to the ring trophy items from his defeated opponents, such as Guerrera's mask, Prince Iaukea's Hawaiian dress, and a headband from Disco Inferno. Jericho then began a long feud with Dean Malenko, in which Jericho repeatedly claimed he was a better wrestler than Malenko, but refused to wrestle him.",
"Jericho then began a long feud with Dean Malenko, in which Jericho repeatedly claimed he was a better wrestler than Malenko, but refused to wrestle him. Because of his mastery of technical wrestling, Malenko was known as \"The Man of 1,000 Holds\", so Jericho claimed to be \"The Man of 1,004 Holds\"; Jericho mentions in his autobiography that this line originated from an IWA interview he saw as a child, where manager Floyd Creatchman claimed that Leo Burke, the first professional wrestler to be known as \"The Man of 1,000 Holds\", was now known as \"The Man of 1,002 Holds\", to which Floyd Creatchman stated that \"he learned two more\".",
"Because of his mastery of technical wrestling, Malenko was known as \"The Man of 1,000 Holds\", so Jericho claimed to be \"The Man of 1,004 Holds\"; Jericho mentions in his autobiography that this line originated from an IWA interview he saw as a child, where manager Floyd Creatchman claimed that Leo Burke, the first professional wrestler to be known as \"The Man of 1,000 Holds\", was now known as \"The Man of 1,002 Holds\", to which Floyd Creatchman stated that \"he learned two more\". During the March 30, 1998 episode of Nitro, after defeating Marty Jannetty, Jericho pulled out a long pile of paper that listed each of the 1,004 holds he knew and recited them to the audience.",
"During the March 30, 1998 episode of Nitro, after defeating Marty Jannetty, Jericho pulled out a long pile of paper that listed each of the 1,004 holds he knew and recited them to the audience. Many of the holds were fictional, and nearly every other hold was an armbar.",
"Many of the holds were fictional, and nearly every other hold was an armbar. On the March 12, 1998 episode of Thunder, Malenko defeated a wrestler wearing Juventud Guerrera's mask who appeared to be Jericho. However, the masked wrestler was actually Lenny Lane, whom Jericho bribed to appear in the match.",
"However, the masked wrestler was actually Lenny Lane, whom Jericho bribed to appear in the match. This started a minor feud between Lane and Jericho after Jericho refused to pay Lane. At Uncensored, Jericho finally wrestled Malenko and defeated him, after which Malenko took a leave of absence from wrestling.",
"At Uncensored, Jericho finally wrestled Malenko and defeated him, after which Malenko took a leave of absence from wrestling. Jericho then proceeded to bring with him to the ring a portrait of Malenko that he insulted and demeaned.",
"Jericho then proceeded to bring with him to the ring a portrait of Malenko that he insulted and demeaned. Just prior to Slamboree, J.J. Dillon (referred to by Jericho as \"Jo Jo\") scheduled a cruiserweight Battle Royal, the winner of which would immediately have a shot at Jericho's Cruiserweight Championship.",
"Just prior to Slamboree, J.J. Dillon (referred to by Jericho as \"Jo Jo\") scheduled a cruiserweight Battle Royal, the winner of which would immediately have a shot at Jericho's Cruiserweight Championship. Jericho accepted on the grounds that whoever he faced would be too tired to win a second match.",
"Jericho accepted on the grounds that whoever he faced would be too tired to win a second match. At Slamboree, Jericho came out to introduce the competitors in an insulting fashion before the match started and then went backstage for coffee.",
"At Slamboree, Jericho came out to introduce the competitors in an insulting fashion before the match started and then went backstage for coffee. An individual who appeared to be Ciclope won the battle royal after Juventud Guerrera shook his hand and then eliminated himself. The winner was a returning Malenko in disguise.",
"The winner was a returning Malenko in disguise. Following one of the loudest crowd reactions in WCW history, Malenko proceeded to defeat Jericho for the championship. Jericho claiming he was the victim of a carefully planned conspiracy to get the belt off of him.",
"Jericho claiming he was the victim of a carefully planned conspiracy to get the belt off of him. He at first blamed the WCW locker room, then added Dillon, Ted Turner, and finally in a vignette, he walked around Washington, D.C. with the sign \"conspiracy victim\" and accused President Bill Clinton of being one of the conspirators after being rejected from a meeting.",
"He at first blamed the WCW locker room, then added Dillon, Ted Turner, and finally in a vignette, he walked around Washington, D.C. with the sign \"conspiracy victim\" and accused President Bill Clinton of being one of the conspirators after being rejected from a meeting. Eventually, Malenko vacated the title.",
"Eventually, Malenko vacated the title. Jericho ended up defeating Malenko at The Great American Bash to win the vacant title after Malenko was disqualified after hitting Jericho with a chair. The next night, Malenko was suspended for his actions.",
"The next night, Malenko was suspended for his actions. At Bash at the Beach, the recently returned Rey Mysterio Jr. (who had recovered from his knee injury) defeated Jericho in a No Disqualification match after the still-suspended Malenko interfered.",
"At Bash at the Beach, the recently returned Rey Mysterio Jr. (who had recovered from his knee injury) defeated Jericho in a No Disqualification match after the still-suspended Malenko interfered. Jericho regained the Cruiserweight Championship from Mysterio the next night after he interrupted J.J. Dillon while Dillon was giving the championship to Mysterio.",
"Jericho regained the Cruiserweight Championship from Mysterio the next night after he interrupted J.J. Dillon while Dillon was giving the championship to Mysterio. Jericho was again awarded the championship. Eventually, Jericho decisively lost the title to Juventud Guerrera in a match at Road Wild with Malenko as special referee.",
"Eventually, Jericho decisively lost the title to Juventud Guerrera in a match at Road Wild with Malenko as special referee. World Television Champion (1998–1999) On August 10, Jericho defeated Stevie Ray to win the World Television Championship (Stevie Ray substituting for the champion Booker T).",
"World Television Champion (1998–1999) On August 10, Jericho defeated Stevie Ray to win the World Television Championship (Stevie Ray substituting for the champion Booker T). Soon afterward, Jericho repeatedly called out WCW World Heavyweight Champion Goldberg in an attempt to begin a feud with him, but never actually wrestled him.",
"Soon afterward, Jericho repeatedly called out WCW World Heavyweight Champion Goldberg in an attempt to begin a feud with him, but never actually wrestled him. Jericho cites Eric Bischoff, Goldberg and Hulk Hogan's refusal to book Jericho in a pay-per-view squash match loss against Goldberg, which Jericho felt would be a big draw, as a major reason for leaving the company.",
"Jericho cites Eric Bischoff, Goldberg and Hulk Hogan's refusal to book Jericho in a pay-per-view squash match loss against Goldberg, which Jericho felt would be a big draw, as a major reason for leaving the company. On November 30, Jericho lost the World Television Championship to Konnan.",
"On November 30, Jericho lost the World Television Championship to Konnan. In early 1999, Jericho began a feud with Perry Saturn. The feud saw Jericho and Saturn instigating bizarre stipulation matches, such as at Souled Out, where Jericho defeated Saturn in a \"loser must wear a dress\" match.",
"The feud saw Jericho and Saturn instigating bizarre stipulation matches, such as at Souled Out, where Jericho defeated Saturn in a \"loser must wear a dress\" match. At SuperBrawl IX, Jericho and Saturn wrestled in a \"dress\" match which Jericho won. Saturn finally defeated Jericho at Uncensored in a Dog Collar match.",
"Saturn finally defeated Jericho at Uncensored in a Dog Collar match. Jericho alternated between WCW and a number of Japanese tours before he signed a contract with the World Wrestling Federation (WWF) on June 30.",
"Jericho alternated between WCW and a number of Japanese tours before he signed a contract with the World Wrestling Federation (WWF) on June 30. Jericho's final WCW match came during a Peoria, Illinois, house show July 21, where he and Eddie Guerrero lost to Billy Kidman and Rey Mysterio Jr. in a tag team match.",
"Jericho's final WCW match came during a Peoria, Illinois, house show July 21, where he and Eddie Guerrero lost to Billy Kidman and Rey Mysterio Jr. in a tag team match. Fifteen years after Jericho's departure from WCW, his best known entrance music within the company, \"One Crazed Anarchist\", lent its name to the second single from his band Fozzy's 2014 album, Do You Wanna Start a War.",
"Fifteen years after Jericho's departure from WCW, his best known entrance music within the company, \"One Crazed Anarchist\", lent its name to the second single from his band Fozzy's 2014 album, Do You Wanna Start a War. New Japan Pro-Wrestling (1997–1998) In January 1997, Jericho made his debut for New Japan Pro-Wrestling (NJPW), who had a working agreement with WCW, as Super Liger, the masked nemesis of Jyushin Thunder Liger.",
"New Japan Pro-Wrestling (1997–1998) In January 1997, Jericho made his debut for New Japan Pro-Wrestling (NJPW), who had a working agreement with WCW, as Super Liger, the masked nemesis of Jyushin Thunder Liger. According to Jericho, Super Liger's first match against Koji Kanemoto at Wrestling World 1997 was so poorly received that the gimmick was dropped instantly.",
"According to Jericho, Super Liger's first match against Koji Kanemoto at Wrestling World 1997 was so poorly received that the gimmick was dropped instantly. Jericho botched several moves in the match and complained he had difficulty seeing through the mask. The following six months, Jericho worked for New Japan unmasked, before being called back by WCW.",
"The following six months, Jericho worked for New Japan unmasked, before being called back by WCW. On September 23, 1998, Jericho made a one-night-only return to NJPW at that years Big Wednesday show, teaming with Black Tiger against IWGP Junior Heavyweight Tag Team Champions Shinjiro Otani and Tatsuhito Takaiwa in a title match, which Jericho and Tiger lost.",
"On September 23, 1998, Jericho made a one-night-only return to NJPW at that years Big Wednesday show, teaming with Black Tiger against IWGP Junior Heavyweight Tag Team Champions Shinjiro Otani and Tatsuhito Takaiwa in a title match, which Jericho and Tiger lost. World Wrestling Federation/Entertainment (1999 – 2005) WWF Intercontinental Champion (1999–2001) In the weeks before Jericho's debut, a clock labeled \"countdown to the new millennium\" appeared on WWF programming.",
"World Wrestling Federation/Entertainment (1999 – 2005) WWF Intercontinental Champion (1999–2001) In the weeks before Jericho's debut, a clock labeled \"countdown to the new millennium\" appeared on WWF programming. On the home video, Break Down the Walls, Jericho states he was inspired to do this as his entrance when he saw a similar clock in a post office and Vince McMahon approved its use as his introduction to the WWF.",
"On the home video, Break Down the Walls, Jericho states he was inspired to do this as his entrance when he saw a similar clock in a post office and Vince McMahon approved its use as his introduction to the WWF. The clock finally ran out on the August 9 episode of Raw Is War in Chicago, Illinois while The Rock was in the ring cutting a promo on the Big Show.",
"The clock finally ran out on the August 9 episode of Raw Is War in Chicago, Illinois while The Rock was in the ring cutting a promo on the Big Show. Jericho entered the arena and proclaimed \"Raw Is Jericho\" and that he had \"come to save the World Wrestling Federation\", referring to himself as \"Y2J\" (a play on the Y2K bug).",
"Jericho entered the arena and proclaimed \"Raw Is Jericho\" and that he had \"come to save the World Wrestling Federation\", referring to himself as \"Y2J\" (a play on the Y2K bug). The Rock proceeded to verbally mock him for his interruption.",
"The Rock proceeded to verbally mock him for his interruption. Later that month, he would interact with several superstars including in particular interrupting a promo that The Undertaker was involved in, Jericho made his in-ring debut as a heel on August 26, losing a match against Road Dogg by disqualification on the inaugural episode of SmackDown!",
"Later that month, he would interact with several superstars including in particular interrupting a promo that The Undertaker was involved in, Jericho made his in-ring debut as a heel on August 26, losing a match against Road Dogg by disqualification on the inaugural episode of SmackDown! after he performed a powerbomb on Road Dogg through a table.",
"after he performed a powerbomb on Road Dogg through a table. Jericho's first long-term feud was with Chyna, for the WWF Intercontinental Championship. After losing to Chyna at Survivor Series, Jericho defeated her to win his first WWF Intercontinental Championship at Armageddon.",
"After losing to Chyna at Survivor Series, Jericho defeated her to win his first WWF Intercontinental Championship at Armageddon. This feud included a controversial decision during a rematch in which two separate referees declared each one of them the winner of a match for the title. As a result, they became co-champions, during which Jericho turned face.",
"As a result, they became co-champions, during which Jericho turned face. He attained sole champion status at the Royal Rumble. Jericho lost the WWF Intercontinental title to then-European Champion Kurt Angle at No Way Out.",
"Jericho lost the WWF Intercontinental title to then-European Champion Kurt Angle at No Way Out. Jericho competed in a Triple Threat match against Chris Benoit and Angle at WrestleMania 2000 in a two-falls contest with both of Angle's titles at stake.",
"Jericho competed in a Triple Threat match against Chris Benoit and Angle at WrestleMania 2000 in a two-falls contest with both of Angle's titles at stake. Jericho won the European Championship by pinning Benoit, who in turn pinned Jericho to win the WWF Intercontinental Championship. This was the first of six pay-per-view matches between the pair within twelve months.",
"This was the first of six pay-per-view matches between the pair within twelve months. Jericho was originally supposed to be in the main event of WrestleMania, but was taken out after Mick Foley, who was originally asked by writers to be in the match, took his place.",
"Jericho was originally supposed to be in the main event of WrestleMania, but was taken out after Mick Foley, who was originally asked by writers to be in the match, took his place. Jericho was even advertised on the event's posters promoting the match.",
"Jericho was even advertised on the event's posters promoting the match. Jericho lost the title the next day to Eddie Guerrero on Raw after Chyna sided with Guerrero. On the April 17 episode of Raw, Jericho upset Triple H in a WWF Championship match.",
"On the April 17 episode of Raw, Jericho upset Triple H in a WWF Championship match. Referee Earl Hebner made a fast count when Jericho pinned Triple H, causing Jericho to win the title. Hebner later reversed the decision due to pressure from Triple H, and WWE does not recognize Jericho's reign as champion.",
"Hebner later reversed the decision due to pressure from Triple H, and WWE does not recognize Jericho's reign as champion. On April 19, Jericho defeated Eddie Guerrero at the Gary Albright Memorial Show organized by World Xtreme Wrestling (WXW).",
"On April 19, Jericho defeated Eddie Guerrero at the Gary Albright Memorial Show organized by World Xtreme Wrestling (WXW). On the May 4 episode of SmackDown!, Jericho defeated Benoit to win his third WWF Intercontinental Championship but lost the title to Benoit four days later on Raw.",
"On the May 4 episode of SmackDown!, Jericho defeated Benoit to win his third WWF Intercontinental Championship but lost the title to Benoit four days later on Raw. Jericho's feud with Triple H ended at Fully Loaded, when they competed in a Last Man Standing match.",
"Jericho's feud with Triple H ended at Fully Loaded, when they competed in a Last Man Standing match. Jericho lost the match to Triple H only by one second, despite the repeated assistance Triple H's wife, Stephanie, provided him in the match.",
"Jericho lost the match to Triple H only by one second, despite the repeated assistance Triple H's wife, Stephanie, provided him in the match. At the 2001 Royal Rumble, Jericho defeated Chris Benoit in a ladder match to win the WWF Intercontinental Championship for the fourth time.",
"At the 2001 Royal Rumble, Jericho defeated Chris Benoit in a ladder match to win the WWF Intercontinental Championship for the fourth time. At WrestleMania X-Seven, he successfully defended his title in a match against William Regal, only to lose it four days later to Triple H. At Judgment Day, Jericho and Benoit won a tag team turmoil match and earned a shot at Stone Cold Steve Austin and Triple H for their WWF Tag Team Championship on Raw the next night.",
"At WrestleMania X-Seven, he successfully defended his title in a match against William Regal, only to lose it four days later to Triple H. At Judgment Day, Jericho and Benoit won a tag team turmoil match and earned a shot at Stone Cold Steve Austin and Triple H for their WWF Tag Team Championship on Raw the next night. Benoit and Jericho won the match, in which Triple H legitimately tore his quadriceps, spending the rest of the year injured.",
"Benoit and Jericho won the match, in which Triple H legitimately tore his quadriceps, spending the rest of the year injured. Benoit and Jericho each became a WWF Tag Team Champion for the first time.",
"Benoit and Jericho each became a WWF Tag Team Champion for the first time. The team defended their title in the first fatal four-way Tables, Ladders and Chairs match, where Benoit sustained a year-long injury after missing a diving headbutt through a table.",
"The team defended their title in the first fatal four-way Tables, Ladders and Chairs match, where Benoit sustained a year-long injury after missing a diving headbutt through a table. Despite Benoit being carried out on a stretcher, he returned to the match to climb the ladder and retain the championship.",
"Despite Benoit being carried out on a stretcher, he returned to the match to climb the ladder and retain the championship. The two lost the title one month later to The Dudley Boyz on the June 21 episode of SmackDown!.",
"The two lost the title one month later to The Dudley Boyz on the June 21 episode of SmackDown!. At King of the Ring, both Benoit and Jericho competed in a triple threat match for Austin's WWF Championship, in which Booker T interfered as the catalyst for The Invasion angle.",
"At King of the Ring, both Benoit and Jericho competed in a triple threat match for Austin's WWF Championship, in which Booker T interfered as the catalyst for The Invasion angle. Despite Booker T's interference, Austin retained the title.",
"Despite Booker T's interference, Austin retained the title. Undisputed WWF Champion (2001–2002) In the following months, Jericho became a major force in The Invasion storyline in which WCW and ECW joined forces to overtake the WWF. Jericho remained on the side of the WWF despite previously competing in WCW and ECW.",
"Jericho remained on the side of the WWF despite previously competing in WCW and ECW. However, Jericho began showing jealousy toward fellow WWF member The Rock. They faced each other in a match at No Mercy for the WCW Championship after Jericho defeated Rob Van Dam in a number one contenders match on the October 11 episode of SmackDown!.",
"They faced each other in a match at No Mercy for the WCW Championship after Jericho defeated Rob Van Dam in a number one contenders match on the October 11 episode of SmackDown!. Jericho won the WCW Championship at No Mercy when he pinned The Rock after debuting a new finisher, the Breakdown, onto a steel chair, winning his first world title in the process.",
"Jericho won the WCW Championship at No Mercy when he pinned The Rock after debuting a new finisher, the Breakdown, onto a steel chair, winning his first world title in the process. One night later, the two put their differences aside and won the WWF Tag Team Championship from the Dudley Boyz.",
"One night later, the two put their differences aside and won the WWF Tag Team Championship from the Dudley Boyz. After they lost the titles to Test and Booker T on the November 1 episode of SmackDown!, they continued their feud. On the November 5 episode of Raw, The Rock defeated Jericho to regain the WCW Championship.",
"On the November 5 episode of Raw, The Rock defeated Jericho to regain the WCW Championship. Following the match, Jericho attacked The Rock with a steel chair. At Survivor Series, Jericho turned heel by almost costing Team WWF the victory after he was eliminated in their Winner Take All matchup by once again attacking The Rock.",
"At Survivor Series, Jericho turned heel by almost costing Team WWF the victory after he was eliminated in their Winner Take All matchup by once again attacking The Rock. Despite this, Team WWF won the match.",
"Despite this, Team WWF won the match. At Vengeance, Jericho defeated both The Rock for the World Championship (formerly the WCW Championship) and Stone Cold Steve Austin for his first WWF Championship on the same night to become the first wrestler to hold both championships at the same time, which made him the first-ever Undisputed WWF Champion, as well as the fourth Grand Slam winner under the original format.",
"At Vengeance, Jericho defeated both The Rock for the World Championship (formerly the WCW Championship) and Stone Cold Steve Austin for his first WWF Championship on the same night to become the first wrestler to hold both championships at the same time, which made him the first-ever Undisputed WWF Champion, as well as the fourth Grand Slam winner under the original format. He retained the title at the Royal Rumble against The Rock and at No Way Out against Austin.",
"He retained the title at the Royal Rumble against The Rock and at No Way Out against Austin. Jericho later lost the title to Royal Rumble winner Triple H in the main event of WrestleMania X8. Jericho was later drafted to the SmackDown! brand in the inaugural WWF draft lottery.",
"brand in the inaugural WWF draft lottery. He would then appear at Backlash, interfering in Triple H's Undisputed WWF Championship match against Hollywood Hulk Hogan. He was quickly dumped out the ring, but Triple H would go on to lose the match.",
"He was quickly dumped out the ring, but Triple H would go on to lose the match. This would lead to a Hell in a Cell match at Judgment Day in May, where Triple H would emerge victorious.",
"This would lead to a Hell in a Cell match at Judgment Day in May, where Triple H would emerge victorious. Jericho would then compete in the 2002 King of the Ring tournament, defeating Edge and The Big Valbowski to advance to the semi-finals, where he was defeated by Rob Van Dam at King of the Ring.",
"Jericho would then compete in the 2002 King of the Ring tournament, defeating Edge and The Big Valbowski to advance to the semi-finals, where he was defeated by Rob Van Dam at King of the Ring. In July, he began a feud with the debuting John Cena, losing to him at Vengeance.",
"In July, he began a feud with the debuting John Cena, losing to him at Vengeance. Teaming and feuding with Christian (2002–2004) After his feud with Cena ended, Jericho moved to the Raw brand on the July 29 episode of Raw, unwilling to work for SmackDown! General Manager Stephanie McMahon.",
"General Manager Stephanie McMahon. General Manager Stephanie McMahon. Upon his arrival to the brand, he initiated a feud with Ric Flair, leading to a match at SummerSlam, which Jericho lost.",
"Upon his arrival to the brand, he initiated a feud with Ric Flair, leading to a match at SummerSlam, which Jericho lost. On the September 16 episode of Raw, he won the WWE Intercontinental Championship for the fifth time from Rob Van Dam, before losing the title to Kane two weeks later on Raw.",
"On the September 16 episode of Raw, he won the WWE Intercontinental Championship for the fifth time from Rob Van Dam, before losing the title to Kane two weeks later on Raw. He then later formed a tag team with Christian, with whom he won the World Tag Team Championship by defeating Kane and The Hurricane on the October 14 episode of Raw.",
"He then later formed a tag team with Christian, with whom he won the World Tag Team Championship by defeating Kane and The Hurricane on the October 14 episode of Raw. Christian and Jericho lost the titles to Booker T and Goldust in a fatal four-way elimination match, involving the teams of The Dudley Boyz, and William Regal and Lance Storm at Armageddon.",
"Christian and Jericho lost the titles to Booker T and Goldust in a fatal four-way elimination match, involving the teams of The Dudley Boyz, and William Regal and Lance Storm at Armageddon. On the January 13 episode of Raw, Jericho won an over-the-top-rope challenge against Kane, Rob Van Dam, and Batista to select his entry number for the Royal Rumble match.",
"On the January 13 episode of Raw, Jericho won an over-the-top-rope challenge against Kane, Rob Van Dam, and Batista to select his entry number for the Royal Rumble match. He chose number two in order to start the match with Shawn Michaels, who had challenged him to prove Jericho's claims that he was better than Michaels.",
"He chose number two in order to start the match with Shawn Michaels, who had challenged him to prove Jericho's claims that he was better than Michaels. After Michaels's entrance, Jericho entered as the second participant. Christian, in Jericho's attire, appeared while the real Jericho attacked Shawn from behind.",
"Christian, in Jericho's attire, appeared while the real Jericho attacked Shawn from behind. He eliminated Michaels shortly afterward, but Michaels got his revenge later in the match by causing Test to eliminate Jericho. Jericho spent the most time of any other wrestler in that same Royal Rumble.",
"Jericho spent the most time of any other wrestler in that same Royal Rumble. Jericho simultaneously feuded with Test, Michaels, and Jeff Hardy, defeating Hardy at No Way Out. Jericho and Michaels fought again at WrestleMania XIX, which Michaels won. Jericho, however, attacked Michaels with a low blow after the match following an embrace.",
"Jericho, however, attacked Michaels with a low blow after the match following an embrace. After this match, Jericho entered a rivalry with Goldberg, which was fueled by Goldberg's refusal to fight Jericho in WCW.",
"After this match, Jericho entered a rivalry with Goldberg, which was fueled by Goldberg's refusal to fight Jericho in WCW. During Jericho's first episode of the Highlight Reel, an interview segment, where Goldberg was the guest, he complained that no-one wanted Goldberg in WWE and continued to insult him in the following weeks.",
"During Jericho's first episode of the Highlight Reel, an interview segment, where Goldberg was the guest, he complained that no-one wanted Goldberg in WWE and continued to insult him in the following weeks. On the May 12 episode of Raw, a mystery assailant attempted to run over Goldberg with a limousine.",
"On the May 12 episode of Raw, a mystery assailant attempted to run over Goldberg with a limousine. A week later, Co-Raw General Manager, Stone Cold Steve Austin, interrogated several Raw superstars to find out who was driving the car. One of the interrogates was Lance Storm, who admitted that he was the assailant.",
"One of the interrogates was Lance Storm, who admitted that he was the assailant. Austin forced Storm into a match with Goldberg, who defeated Storm. After the match, Goldberg forced Storm to admit that Jericho was the superstar who conspired Storm into running him over.",
"After the match, Goldberg forced Storm to admit that Jericho was the superstar who conspired Storm into running him over. On the May 26 episode of Raw, Goldberg was once again a guest on the Highlight Reel.",
"On the May 26 episode of Raw, Goldberg was once again a guest on the Highlight Reel. Jericho expressed jealousy towards Goldberg's success in WCW and felt that since joining WWE, he had achieved everything he had ever wanted in his career and all that was left was to defeat Goldberg and challenged him to a match.",
"Jericho expressed jealousy towards Goldberg's success in WCW and felt that since joining WWE, he had achieved everything he had ever wanted in his career and all that was left was to defeat Goldberg and challenged him to a match. At Bad Blood, Goldberg settled the score with Jericho and defeated him.",
"At Bad Blood, Goldberg settled the score with Jericho and defeated him. On the October 27 episode of Raw, Jericho won his sixth WWE Intercontinental Championship when he defeated Rob Van Dam. He lost the title back to Van Dam immediately after in a steel cage match.",
"He lost the title back to Van Dam immediately after in a steel cage match. Later in 2003, Jericho started a romance with Trish Stratus while his tag team partner Christian began one with Lita.",
"Later in 2003, Jericho started a romance with Trish Stratus while his tag team partner Christian began one with Lita. This, however, turned out to be a bet over who could sleep with their respective paramour first, with a Canadian dollar at stake.",
"This, however, turned out to be a bet over who could sleep with their respective paramour first, with a Canadian dollar at stake. Stratus overheard this and ended her relationship with Jericho, who seemingly felt bad for using Stratus.",
"Stratus overheard this and ended her relationship with Jericho, who seemingly felt bad for using Stratus. After he saved her from an attack by Kane, Stratus agreed that the two of them could just be \"friends\", thus turning Jericho face.",
"After he saved her from an attack by Kane, Stratus agreed that the two of them could just be \"friends\", thus turning Jericho face. After Christian put Stratus in the Walls of Jericho while competing against her in a match, Jericho sought revenge on Christian, which led to a match at WrestleMania XX.",
"After Christian put Stratus in the Walls of Jericho while competing against her in a match, Jericho sought revenge on Christian, which led to a match at WrestleMania XX. Christian defeated Jericho after Stratus ran down and \"inadvertently\" struck Jericho (thinking it was Christian) and Christian got the roll-up.",
"Christian defeated Jericho after Stratus ran down and \"inadvertently\" struck Jericho (thinking it was Christian) and Christian got the roll-up. After the match, Stratus turned on Jericho and revealed that she and Christian were a couple. This revelation led to a handicap match at Backlash that Jericho won.",
"This revelation led to a handicap match at Backlash that Jericho won. Jericho won his record-breaking seventh WWE Intercontinental Championship at Unforgiven in a ladder match against Christian, breaking the previous record held by Jeff Jarrett from 1999. Jericho's seventh reign was short lived, as he lost it at Taboo Tuesday to Shelton Benjamin.",
"Jericho's seventh reign was short lived, as he lost it at Taboo Tuesday to Shelton Benjamin. World championship pursuits (2004–2005) Jericho teamed up with Randy Orton, Chris Benoit, and Maven to take on Triple H, Batista, Edge, and Gene Snitsky at Survivor Series.",
"World championship pursuits (2004–2005) Jericho teamed up with Randy Orton, Chris Benoit, and Maven to take on Triple H, Batista, Edge, and Gene Snitsky at Survivor Series. The match stipulated that each member of the winning team would be the general manager of Raw over the next four weeks.",
"The match stipulated that each member of the winning team would be the general manager of Raw over the next four weeks. Jericho's team won, and took turns as general manager.",
"Jericho's team won, and took turns as general manager. During Jericho's turn as general manager, the World Heavyweight Championship was vacated because a Triple Threat match for the title a week earlier ended in a draw.",
"During Jericho's turn as general manager, the World Heavyweight Championship was vacated because a Triple Threat match for the title a week earlier ended in a draw. At New Year's Revolution, Jericho competed in the Elimination Chamber against Triple H, Chris Benoit, Batista, Randy Orton, and Edge for the vacant World Heavyweight Championship.",
"At New Year's Revolution, Jericho competed in the Elimination Chamber against Triple H, Chris Benoit, Batista, Randy Orton, and Edge for the vacant World Heavyweight Championship. Jericho began the match with Benoit and eliminated Edge, but was eliminated by Batista. Triple H went on to win.",
"Triple H went on to win. At WrestleMania 21, Jericho participated in the first ever Money in the Bank ladder match. Jericho suggested the match concept, and he competed in the match against Benjamin, Benoit, Kane, Christian, and Edge. Jericho lost the match when Edge claimed the briefcase.",
"Jericho lost the match when Edge claimed the briefcase. At Backlash, Jericho challenged Shelton Benjamin for the WWE Intercontinental Championship, but lost the match. Jericho lost to Lance Storm at ECW One Night Stand. Jericho used his old \"Lionheart\" gimmick, instead of his more well known \"Y2J\" gimmick.",
"Jericho used his old \"Lionheart\" gimmick, instead of his more well known \"Y2J\" gimmick. Jericho lost the match after Jason and Justin Credible hit Jericho with a Singapore cane, which allowed Storm to win the match.",
"Jericho lost the match after Jason and Justin Credible hit Jericho with a Singapore cane, which allowed Storm to win the match. The next night on Raw, Jericho turned heel by betraying WWE Champion John Cena after defeating Christian and Tyson Tomko in a tag team match.",
"The next night on Raw, Jericho turned heel by betraying WWE Champion John Cena after defeating Christian and Tyson Tomko in a tag team match. Jericho lost a Triple Threat match for the WWE Championship at Vengeance which also involved Christian and Cena.",
"Jericho lost a Triple Threat match for the WWE Championship at Vengeance which also involved Christian and Cena. The feud continued throughout the summer and Jericho lost to Cena in a WWE Championship match at SummerSlam.",
"The feud continued throughout the summer and Jericho lost to Cena in a WWE Championship match at SummerSlam. The next night on the August 22 episode of Raw, Jericho faced Cena for the WWE Championship again in a rematch, this time in a \"You're fired\" match.",
"The next night on the August 22 episode of Raw, Jericho faced Cena for the WWE Championship again in a rematch, this time in a \"You're fired\" match. Cena won again, and Jericho was fired by Raw General Manager Eric Bischoff. Jericho was carried out of the arena by security as Kurt Angle attacked Cena.",
"Jericho was carried out of the arena by security as Kurt Angle attacked Cena. Jericho's WWE contract expired on August 25.",
"Jericho's WWE contract expired on August 25. Return to WWE (2007–2010) Feud with Shawn Michaels (2007–2008) After a two-year hiatus, WWE promoted Jericho's return starting on the September 24, 2007 episode of Raw with a viral marketing campaign using a series of 15-second cryptic binary code videos, similar to the matrix digital rain used in The Matrix series.",
"Return to WWE (2007–2010) Feud with Shawn Michaels (2007–2008) After a two-year hiatus, WWE promoted Jericho's return starting on the September 24, 2007 episode of Raw with a viral marketing campaign using a series of 15-second cryptic binary code videos, similar to the matrix digital rain used in The Matrix series. The videos contained hidden messages and biblical links related to Jericho.",
"The videos contained hidden messages and biblical links related to Jericho. Jericho made his return to WWE television as a face on the November 19, 2007 episode of Raw when he interrupted Randy Orton during Orton's orchestrated \"passing of the torch\" ceremony.",
"Jericho made his return to WWE television as a face on the November 19, 2007 episode of Raw when he interrupted Randy Orton during Orton's orchestrated \"passing of the torch\" ceremony. Jericho revealed his intentions to reclaim the WWE Championship in order to \"save\" WWE fans from Orton.",
"Jericho revealed his intentions to reclaim the WWE Championship in order to \"save\" WWE fans from Orton. On the November 26 episode of Raw, Jericho defeated Santino Marella and debuted a new finishing move called the Codebreaker.",
"On the November 26 episode of Raw, Jericho defeated Santino Marella and debuted a new finishing move called the Codebreaker. At Armageddon, he competed in a WWE title match against Orton, defeating him by disqualification when SmackDown!s color commentator John \"Bradshaw\" Layfield (JBL) interfered in the match, but Orton retained the title.",
"At Armageddon, he competed in a WWE title match against Orton, defeating him by disqualification when SmackDown!s color commentator John \"Bradshaw\" Layfield (JBL) interfered in the match, but Orton retained the title. He began a feud with JBL and met him at the Royal Rumble.",
"He began a feud with JBL and met him at the Royal Rumble. Jericho was disqualified after hitting JBL with a steel chair. On the March 10 episode of Raw, Jericho captured the WWE Intercontinental Championship for a record eighth time when he defeated Jeff Hardy.",
"On the March 10 episode of Raw, Jericho captured the WWE Intercontinental Championship for a record eighth time when he defeated Jeff Hardy. In April 2008, Jericho became involved in the ongoing feud between Shawn Michaels and Batista when he suggested that Michaels enjoyed retiring Ric Flair, causing Shawn Michaels to attack him.",
"In April 2008, Jericho became involved in the ongoing feud between Shawn Michaels and Batista when he suggested that Michaels enjoyed retiring Ric Flair, causing Shawn Michaels to attack him. Jericho thus asked to be inserted into the match between Batista and Michaels at Backlash, but instead, he was appointed as the special guest referee.",
"Jericho thus asked to be inserted into the match between Batista and Michaels at Backlash, but instead, he was appointed as the special guest referee. During the match at Backlash, Michaels feigned a knee injury so that Jericho would give him time to recover and lured Batista in for Sweet Chin Music for the win.",
"During the match at Backlash, Michaels feigned a knee injury so that Jericho would give him time to recover and lured Batista in for Sweet Chin Music for the win. After Backlash, Jericho accused Michaels of cheating, but Michaels continued to play up an injury.",
"After Backlash, Jericho accused Michaels of cheating, but Michaels continued to play up an injury. When Jericho was finally convinced and he apologized to Michaels for not believing him, Michaels then admitted to Jericho that he had faked his injury and he attacked Jericho with Sweet Chin Music.",
"When Jericho was finally convinced and he apologized to Michaels for not believing him, Michaels then admitted to Jericho that he had faked his injury and he attacked Jericho with Sweet Chin Music. After losing to Michaels at Judgment Day, Jericho initiated a handshake after the match.",
"After losing to Michaels at Judgment Day, Jericho initiated a handshake after the match. On the June 9 episode of Raw, Jericho hosted his talk show segment, The Highlight Reel, interviewing Michaels.",
"On the June 9 episode of Raw, Jericho hosted his talk show segment, The Highlight Reel, interviewing Michaels. Jericho pointed out that Michaels was still cheered by the fans despite Michaels's deceit and attack on Jericho during the previous months, whereas Jericho was booed when he tried to do the right thing.",
"Jericho pointed out that Michaels was still cheered by the fans despite Michaels's deceit and attack on Jericho during the previous months, whereas Jericho was booed when he tried to do the right thing. Jericho then assaulted Michaels with a low blow and sent Michaels through the \"Jeritron 6000\" television, damaging the eye of Michaels, and turning heel in the process.",
"Jericho then assaulted Michaels with a low blow and sent Michaels through the \"Jeritron 6000\" television, damaging the eye of Michaels, and turning heel in the process. This began what was named by both Pro Wrestling Illustrated and the Wrestling Observer Newsletter the \"Feud of the Year\".",
"This began what was named by both Pro Wrestling Illustrated and the Wrestling Observer Newsletter the \"Feud of the Year\". At Night of Champions, Jericho lost the WWE Intercontinental title to Kofi Kingston after a distraction by Michaels. In June, Jericho took on Lance Cade as a protégé.",
"In June, Jericho took on Lance Cade as a protégé. World Heavyweight Champion (2008–2009) Afterward, Jericho developed a suit-wearing persona inspired by Javier Bardem's character Anton Chigurh from the 2007 film No Country for Old Men and wrestler Nick Bockwinkel.",
"World Heavyweight Champion (2008–2009) Afterward, Jericho developed a suit-wearing persona inspired by Javier Bardem's character Anton Chigurh from the 2007 film No Country for Old Men and wrestler Nick Bockwinkel. Jericho and Michaels met at The Great American Bash, which Jericho won after attacking the cut on Michaels's eye.",
"Jericho and Michaels met at The Great American Bash, which Jericho won after attacking the cut on Michaels's eye. At SummerSlam, Michaels said that his eye damage would force him to retire and insulted Jericho by saying he would never achieve Michaels's success.",
"At SummerSlam, Michaels said that his eye damage would force him to retire and insulted Jericho by saying he would never achieve Michaels's success. Jericho tried to attack Michaels, but Michaels ducked, so Jericho punched Michaels's wife, Rebecca, instead.",
"Jericho tried to attack Michaels, but Michaels ducked, so Jericho punched Michaels's wife, Rebecca, instead. As a result, they fought in an unsanctioned match at Unforgiven, which Jericho lost by referee stoppage.",
"As a result, they fought in an unsanctioned match at Unforgiven, which Jericho lost by referee stoppage. Later that night, Jericho entered the Championship Scramble match as a late replacement for the defending champion CM Punk and subsequently won the World Heavyweight Championship, defeating Batista, John \"Bradshaw\" Layfield (JBL), Kane, and Rey Mysterio.",
"Later that night, Jericho entered the Championship Scramble match as a late replacement for the defending champion CM Punk and subsequently won the World Heavyweight Championship, defeating Batista, John \"Bradshaw\" Layfield (JBL), Kane, and Rey Mysterio. It was announced that Michaels would challenge Jericho for the championship in a ladder match at No Mercy, which Jericho won.",
"It was announced that Michaels would challenge Jericho for the championship in a ladder match at No Mercy, which Jericho won. At Cyber Sunday on October 26, Jericho lost the title to Batista, but later won it back eight days later on the 800th episode of Raw in a steel cage match.",
"At Cyber Sunday on October 26, Jericho lost the title to Batista, but later won it back eight days later on the 800th episode of Raw in a steel cage match. Jericho defeated Michaels in a Last Man Standing match on the November 10 episode of Raw after interference from JBL.",
"Jericho defeated Michaels in a Last Man Standing match on the November 10 episode of Raw after interference from JBL. Jericho lost the World Heavyweight Championship at Survivor Series to the returning John Cena. On the December 8 episode of Raw, Jericho was awarded the Slammy Award for 2008 Superstar of the Year award.",
"On the December 8 episode of Raw, Jericho was awarded the Slammy Award for 2008 Superstar of the Year award. Six days later, he lost his rematch with John Cena for the World Heavyweight Championship at Armageddon.",
"Six days later, he lost his rematch with John Cena for the World Heavyweight Championship at Armageddon. At the Royal Rumble on January 25, 2009, Jericho participated in the Royal Rumble match, but he was eliminated by the Undertaker.",
"At the Royal Rumble on January 25, 2009, Jericho participated in the Royal Rumble match, but he was eliminated by the Undertaker. On February 15 at No Way Out, he competed in an Elimination Chamber match for the World Heavyweight Championship, but he failed to win as he was eliminated by Rey Mysterio.",
"On February 15 at No Way Out, he competed in an Elimination Chamber match for the World Heavyweight Championship, but he failed to win as he was eliminated by Rey Mysterio. Following this, Jericho began a rivalry with veteran wrestlers Ric Flair, Ricky Steamboat, Jimmy Snuka and Roddy Piper, as well as actor Mickey Rourke.",
"Following this, Jericho began a rivalry with veteran wrestlers Ric Flair, Ricky Steamboat, Jimmy Snuka and Roddy Piper, as well as actor Mickey Rourke. Jericho was originally arranged to face Rourke at WrestleMania 25, but Rourke later pulled out of the event.",
"Jericho was originally arranged to face Rourke at WrestleMania 25, but Rourke later pulled out of the event. Instead, Jericho defeated Piper, Snuka and Steamboat in a 3-on-1 elimination handicap match at WrestleMania, but was knocked out by Rourke after the match.",
"Instead, Jericho defeated Piper, Snuka and Steamboat in a 3-on-1 elimination handicap match at WrestleMania, but was knocked out by Rourke after the match. On the April 13 episode of Raw, Jericho was drafted to the SmackDown brand as part of the 2009 WWE draft.",
"On the April 13 episode of Raw, Jericho was drafted to the SmackDown brand as part of the 2009 WWE draft. Jericho then faced Steamboat in a singles match at Backlash, where Jericho was victorious. In May, Jericho started a feud with Intercontinental Champion Rey Mysterio, leading to a match at Judgment Day, which Jericho lost.",
"In May, Jericho started a feud with Intercontinental Champion Rey Mysterio, leading to a match at Judgment Day, which Jericho lost. However, Jericho defeated Mysterio in a No Holds Barred Match at Extreme Rules to win his ninth Intercontinental Championship, breaking his own record again.",
"However, Jericho defeated Mysterio in a No Holds Barred Match at Extreme Rules to win his ninth Intercontinental Championship, breaking his own record again. At The Bash, Jericho lost the Intercontinental Championship back to Mysterio in a mask vs. title match.",
"At The Bash, Jericho lost the Intercontinental Championship back to Mysterio in a mask vs. title match. Jeri-Show and feud with Edge (2009–2010) Later in the event, Jericho and his partner Edge won the Unified WWE Tag Team Championship as surprise entrants in a triple threat tag team match.",
"Jeri-Show and feud with Edge (2009–2010) Later in the event, Jericho and his partner Edge won the Unified WWE Tag Team Championship as surprise entrants in a triple threat tag team match. As a result of this win, Jericho became the first wrestler to win every (original) Grand Slam eligible championship.",
"As a result of this win, Jericho became the first wrestler to win every (original) Grand Slam eligible championship. Shortly thereafter Edge suffered an injury and Jericho revealed a clause in his contract to allow Edge to be replaced and Jericho's reign to continue uninterrupted.",
"Shortly thereafter Edge suffered an injury and Jericho revealed a clause in his contract to allow Edge to be replaced and Jericho's reign to continue uninterrupted. At Night of Champions, Jericho revealed Big Show as his new tag team partner, creating a team that would come to called Jeri-Show.",
"At Night of Champions, Jericho revealed Big Show as his new tag team partner, creating a team that would come to called Jeri-Show. The duo defeated Cody Rhodes and Ted DiBiase to retain the championship.",
"The duo defeated Cody Rhodes and Ted DiBiase to retain the championship. Jeri-Show successfully defended the title against Cryme Tyme at SummerSlam, MVP and Mark Henry at Breaking Point and Rey Mysterio and Batista at Hell in a Cell.",
"Jeri-Show successfully defended the title against Cryme Tyme at SummerSlam, MVP and Mark Henry at Breaking Point and Rey Mysterio and Batista at Hell in a Cell. At Survivor Series, both Jericho and Big Show took part in a triple threat match for the World Heavyweight Championship, but the Undertaker successfully retained the title.",
"At Survivor Series, both Jericho and Big Show took part in a triple threat match for the World Heavyweight Championship, but the Undertaker successfully retained the title. At TLC: Tables, Ladders & Chairs, Jeri-Show lost the tag titles to D-Generation X (D-X) (Shawn Michaels and Triple H) in a Tables, Ladders and Chairs match.",
"At TLC: Tables, Ladders & Chairs, Jeri-Show lost the tag titles to D-Generation X (D-X) (Shawn Michaels and Triple H) in a Tables, Ladders and Chairs match. As a member of the SmackDown brand, Jericho could only appear on Raw as a champion and D-X intentionally disqualified themselves in a rematch to force Jericho off the show.",
"As a member of the SmackDown brand, Jericho could only appear on Raw as a champion and D-X intentionally disqualified themselves in a rematch to force Jericho off the show. On the January 4, 2010 of Raw, D-X defeated Jeri-Show to retain the championship once again, marking the end of Jeri-Show.",
"On the January 4, 2010 of Raw, D-X defeated Jeri-Show to retain the championship once again, marking the end of Jeri-Show. Jericho entered the 2010 Royal Rumble match on January 31, but was eliminated by the returning Edge, his former tag team partner, who went on to win the match.",
"Jericho entered the 2010 Royal Rumble match on January 31, but was eliminated by the returning Edge, his former tag team partner, who went on to win the match. At Elimination Chamber, Jericho won the World Heavyweight Championship in an Elimination Chamber match, defeating The Undertaker, John Morrison, Rey Mysterio, CM Punk and R-Truth following interference from Shawn Michaels.",
"At Elimination Chamber, Jericho won the World Heavyweight Championship in an Elimination Chamber match, defeating The Undertaker, John Morrison, Rey Mysterio, CM Punk and R-Truth following interference from Shawn Michaels. The next night on Raw, Edge used his Royal Rumble win to challenge Jericho for the World Heavyweight Championship at WrestleMania XXVI.",
"The next night on Raw, Edge used his Royal Rumble win to challenge Jericho for the World Heavyweight Championship at WrestleMania XXVI. Jericho defeated Edge at WrestleMania to retain the title, but lost the championship to Jack Swagger on the following episode of SmackDown, who cashed in his Money in the Bank contract.",
"Jericho defeated Edge at WrestleMania to retain the title, but lost the championship to Jack Swagger on the following episode of SmackDown, who cashed in his Money in the Bank contract. Jericho then failed to regain the title from Swagger in a triple-threat match also involving Edge on the April 16 episode of SmackDown.",
"Jericho then failed to regain the title from Swagger in a triple-threat match also involving Edge on the April 16 episode of SmackDown. Jericho and Edge continued their feud leading into Extreme Rules, where Jericho was defeated in a steel cage match. Jericho was drafted to the Raw brand in the 2010 WWE draft.",
"Jericho was drafted to the Raw brand in the 2010 WWE draft. He formed a brief tag team with The Miz and unsuccessfully challenged The Hart Dynasty for the Unified WWE Tag Team Championship at Over the Limit.",
"He formed a brief tag team with The Miz and unsuccessfully challenged The Hart Dynasty for the Unified WWE Tag Team Championship at Over the Limit. A month later, Jericho lost to Evan Bourne at Fatal 4-Way, but won a rematch during the following night on Raw, where he put his career on the line.",
"A month later, Jericho lost to Evan Bourne at Fatal 4-Way, but won a rematch during the following night on Raw, where he put his career on the line. On the July 19 episode of Raw, after being assaulted by The Nexus, Jericho teamed with rivals Edge, John Morrison, R-Truth, Daniel Bryan and Bret Hart in a team led by John Cena to face The Nexus at SummerSlam.",
"On the July 19 episode of Raw, after being assaulted by The Nexus, Jericho teamed with rivals Edge, John Morrison, R-Truth, Daniel Bryan and Bret Hart in a team led by John Cena to face The Nexus at SummerSlam. Jericho and Cena bickered over leadership of the team, which led to him and Edge attacking Cena during the SummerSlam match that they won.",
"Jericho and Cena bickered over leadership of the team, which led to him and Edge attacking Cena during the SummerSlam match that they won. Jericho was punished for not showing solidarity against Nexus, when he was removed from a Six-Pack Challenge for Sheamus's WWE Championship at Night of Champions.",
"Jericho was punished for not showing solidarity against Nexus, when he was removed from a Six-Pack Challenge for Sheamus's WWE Championship at Night of Champions. Although he re-earned his place in the match after defeating The Hart Dynasty in a handicap steel cage match, he was the first man eliminated from the match at Night of Champions.",
"Although he re-earned his place in the match after defeating The Hart Dynasty in a handicap steel cage match, he was the first man eliminated from the match at Night of Champions. On the September 27 episode of Raw, Jericho faced Randy Orton who punted him in the head.",
"On the September 27 episode of Raw, Jericho faced Randy Orton who punted him in the head. This was used to explain Jericho's departure from the company.",
"This was used to explain Jericho's departure from the company. Second return to WWE (2011–2018) Feud with CM Punk (2011–2012) Beginning in November 2011, WWE aired cryptic vignettes that promoted a wrestler's return on the January 2, 2012 episode of Raw.",
"Second return to WWE (2011–2018) Feud with CM Punk (2011–2012) Beginning in November 2011, WWE aired cryptic vignettes that promoted a wrestler's return on the January 2, 2012 episode of Raw. On his return, after hyping the crowd and relishing their cheers for a prolonged period, Jericho left without verbally addressing his return.",
"On his return, after hyping the crowd and relishing their cheers for a prolonged period, Jericho left without verbally addressing his return. After exhibiting similar odd behavior in the proceeding two weeks, Jericho spoke on the January 23 episode of Raw to say, \"This Sunday at the Royal Rumble, it is going to be the end of the world as you know it\", but in the Royal Rumble match, he was eliminated last, by Sheamus.",
"After exhibiting similar odd behavior in the proceeding two weeks, Jericho spoke on the January 23 episode of Raw to say, \"This Sunday at the Royal Rumble, it is going to be the end of the world as you know it\", but in the Royal Rumble match, he was eliminated last, by Sheamus. On the January 30 episode of Raw, Jericho began a feud with WWE Champion CM Punk after attacking him during his match with Daniel Bryan.",
"On the January 30 episode of Raw, Jericho began a feud with WWE Champion CM Punk after attacking him during his match with Daniel Bryan. He explained his actions by claiming other wrestlers in WWE were imitating him and named Punk as the worst offender.",
"He explained his actions by claiming other wrestlers in WWE were imitating him and named Punk as the worst offender. At Elimination Chamber, Jericho participated in the Elimination Chamber match for the WWE Championship, entering last and eliminating Dolph Ziggler and Kofi Kingston before being knocked out of the structure by Punk, which injured him and removed him from the match without being eliminated.",
"At Elimination Chamber, Jericho participated in the Elimination Chamber match for the WWE Championship, entering last and eliminating Dolph Ziggler and Kofi Kingston before being knocked out of the structure by Punk, which injured him and removed him from the match without being eliminated. The following night on Raw, Jericho won a ten-man battle royal to become the number one contender for Punk's WWE Championship at WrestleMania XXVIII.",
"The following night on Raw, Jericho won a ten-man battle royal to become the number one contender for Punk's WWE Championship at WrestleMania XXVIII. In a bid to psychologically unsettle Punk, Jericho revealed that Punk's father was an alcoholic and Punk's sister was a drug addict, which contradicted Punk's straight edge philosophy; Jericho vowed to make Punk turn to alcohol by winning Punk's title from him.",
"In a bid to psychologically unsettle Punk, Jericho revealed that Punk's father was an alcoholic and Punk's sister was a drug addict, which contradicted Punk's straight edge philosophy; Jericho vowed to make Punk turn to alcohol by winning Punk's title from him. At WrestleMania, a stipulation was added that Punk would lose his WWE Championship if he was disqualified.",
"At WrestleMania, a stipulation was added that Punk would lose his WWE Championship if he was disqualified. During the match, Jericho unsuccessfully tried to taunt Punk into disqualifying himself, and Punk won the match. Jericho continued his feud with Punk in the weeks that followed by attacking and dousing him with alcohol after his matches.",
"Jericho continued his feud with Punk in the weeks that followed by attacking and dousing him with alcohol after his matches. At Extreme Rules, Jericho failed again to capture the WWE Championship from Punk in a Chicago Street Fight.",
"At Extreme Rules, Jericho failed again to capture the WWE Championship from Punk in a Chicago Street Fight. Championship pursuits (2012–2013) Jericho faced Randy Orton, Alberto Del Rio and Sheamus in a fatal four-way match for the World Heavyweight Championship at Over the Limit, where Sheamus retained his title.",
"Championship pursuits (2012–2013) Jericho faced Randy Orton, Alberto Del Rio and Sheamus in a fatal four-way match for the World Heavyweight Championship at Over the Limit, where Sheamus retained his title. On May 24 at a WWE live event in Brazil, Jericho wrestled a match against CM Punk, during which Jericho kicked a Brazilian flag, causing local police to intervene and threaten Jericho with arrest.",
"On May 24 at a WWE live event in Brazil, Jericho wrestled a match against CM Punk, during which Jericho kicked a Brazilian flag, causing local police to intervene and threaten Jericho with arrest. Jericho issued an apology to the audience, enabling the event to resume.",
"Jericho issued an apology to the audience, enabling the event to resume. The following day, WWE suspended Jericho for 30 days while apologizing to the people and government of Brazil.",
"The following day, WWE suspended Jericho for 30 days while apologizing to the people and government of Brazil. Jericho returned on the June 25 episode of Raw, and his absence was explained by a European tour with his band Fozzy which happened to coincide with his suspension.",
"Jericho returned on the June 25 episode of Raw, and his absence was explained by a European tour with his band Fozzy which happened to coincide with his suspension. At Money in the Bank, Jericho participated in the WWE Championship Money in the Bank ladder match, but failed to win as John Cena won.",
"At Money in the Bank, Jericho participated in the WWE Championship Money in the Bank ladder match, but failed to win as John Cena won. The following night on Raw, Jericho confronted newly crowned Mr. Money in the Bank, Dolph Ziggler, who claimed that Jericho had lost his touch.",
"The following night on Raw, Jericho confronted newly crowned Mr. Money in the Bank, Dolph Ziggler, who claimed that Jericho had lost his touch. Jericho attacked Ziggler with a Codebreaker, thus turning face in the process. At SummerSlam, Jericho defeated Ziggler.",
"At SummerSlam, Jericho defeated Ziggler. The following night on Raw, Ziggler defeated Jericho in a rematch and, as a result, Ziggler retained his Money in the Bank contract and Jericho's WWE contract was terminated as per a pre match stipulation put in place by Raw General Manager, AJ Lee.",
"The following night on Raw, Ziggler defeated Jericho in a rematch and, as a result, Ziggler retained his Money in the Bank contract and Jericho's WWE contract was terminated as per a pre match stipulation put in place by Raw General Manager, AJ Lee. This was used to write him off so he could tour with Fozzy for the remainder of the year.",
"This was used to write him off so he could tour with Fozzy for the remainder of the year. On January 27, 2013, Jericho returned after a five-month hiatus entering the Royal Rumble match as the second entrant. Jericho lasted over 47 minutes before being eliminated by Dolph Ziggler.",
"Jericho lasted over 47 minutes before being eliminated by Dolph Ziggler. The following night on Raw, Jericho later revealed to Ziggler that due to a managerial change on Raw, he had been rehired by Vickie Guerrero, resuming his feud with Ziggler.",
"The following night on Raw, Jericho later revealed to Ziggler that due to a managerial change on Raw, he had been rehired by Vickie Guerrero, resuming his feud with Ziggler. Guerrero then paired the two in a match against WWE Tag Team Champions Team Hell No (Daniel Bryan and Kane).",
"Guerrero then paired the two in a match against WWE Tag Team Champions Team Hell No (Daniel Bryan and Kane). The match ended with Ziggler being pinned by Kane after Jericho framed him for pushing Kane.",
"The match ended with Ziggler being pinned by Kane after Jericho framed him for pushing Kane. After beating Daniel Bryan on the February 11 episode of Raw, Jericho qualified for the Elimination Chamber match at Elimination Chamber (in which the winner would go on to be the number one contender for the World Heavyweight Championship at WrestleMania 29), where he was the fourth man eliminated.",
"After beating Daniel Bryan on the February 11 episode of Raw, Jericho qualified for the Elimination Chamber match at Elimination Chamber (in which the winner would go on to be the number one contender for the World Heavyweight Championship at WrestleMania 29), where he was the fourth man eliminated. On the March 11 episode of Raw, Jericho faced The Miz in a No.",
"On the March 11 episode of Raw, Jericho faced The Miz in a No. 1 contenders match for Wade Barrett's WWE Intercontinental Championship, but the match was ruled a no contest after Barrett interfered and attacked both men. Both men then faced Barrett the following week on Raw, where he retained his title.",
"Both men then faced Barrett the following week on Raw, where he retained his title. Earlier in the episode, Jericho had a run-in with Fandango which led to Fandango costing him his match with Jack Swagger and attacking him four days later on SmackDown. At WrestleMania 29, Jericho was defeated by Fandango.",
"At WrestleMania 29, Jericho was defeated by Fandango. They continued their feud in the following weeks, until Jericho defeated Fandango at Extreme Rules. He then faced the returning CM Punk at Payback, where he was defeated.",
"He then faced the returning CM Punk at Payback, where he was defeated. Jericho then began feuding with Ryback, which led to a singles match on July 14 at Money in the Bank, where Ryback emerged victorious.",
"Jericho then began feuding with Ryback, which led to a singles match on July 14 at Money in the Bank, where Ryback emerged victorious. On the July 19 episode of SmackDown, Jericho unsuccessfully challenged Curtis Axel for the WWE Intercontinental Championship and was afterwards attacked by Ryback.",
"On the July 19 episode of SmackDown, Jericho unsuccessfully challenged Curtis Axel for the WWE Intercontinental Championship and was afterwards attacked by Ryback. This was done to write Jericho off television as he was taking a temporary hiatus to tour with Fozzy for the remainder of the year and possibly January and February.",
"This was done to write Jericho off television as he was taking a temporary hiatus to tour with Fozzy for the remainder of the year and possibly January and February. In a November interview for WWE.com, Jericho revealed that he would not be a full-time wrestler due to his musical and acting ventures.",
"In a November interview for WWE.com, Jericho revealed that he would not be a full-time wrestler due to his musical and acting ventures. Various sporadic feuds (2014–2016) After an eleven-month hiatus, Jericho returned on the June 30, 2014 episode of Raw, attacking The Miz, who had also returned minutes earlier.",
"Various sporadic feuds (2014–2016) After an eleven-month hiatus, Jericho returned on the June 30, 2014 episode of Raw, attacking The Miz, who had also returned minutes earlier. The Wyatt Family then interrupted and ultimately attacked Jericho. Jericho faced Bray Wyatt at Battleground in a winning effort.",
"Jericho faced Bray Wyatt at Battleground in a winning effort. At SummerSlam, with Wyatt Family members Luke Harper and Erick Rowan banned from ringside, Wyatt picked up the victory. On the September 8 episode of Raw, Jericho lost to Wyatt in a steel cage match, ending the feud.",
"On the September 8 episode of Raw, Jericho lost to Wyatt in a steel cage match, ending the feud. Jericho then feuded with Randy Orton, who had attacked him the week before after his match against Wyatt in the trainers room. Orton defeated him at Night of Champions.",
"Orton defeated him at Night of Champions. Throughout the rest of October and November, Jericho wrestled exclusively at live events, defeating Bray Wyatt. Jericho returned to WWE television in December as the guest general manager of the December 15 episode of Raw.",
"Jericho returned to WWE television in December as the guest general manager of the December 15 episode of Raw. Jericho booked himself in a street fight against Paul Heyman in the main event, which led to the return of Brock Lesnar. Before the match could begin, Lesnar attacked Jericho with an F-5.",
"Before the match could begin, Lesnar attacked Jericho with an F-5. In January 2015, Jericho revealed that he signed an exclusive WWE contract, under which he would compete at 16 house shows only. He later signed a similar contract once the former expired and competed at house shows throughout the rest of 2015.",
"He later signed a similar contract once the former expired and competed at house shows throughout the rest of 2015. During this time he wrestled against the likes of Luke Harper, Kevin Owens and King Barrett in winning efforts. In May 2015, Jericho was one of the hosts of Tough Enoughs sixth season. Jericho also hosted two Live!",
"Jericho also hosted two Live! Jericho also hosted two Live! With Chris Jericho specials on the WWE Network during 2015; his guests were John Cena and Stephanie McMahon. Jericho made his televised return at The Beast in the East, defeating Neville.",
"Jericho made his televised return at The Beast in the East, defeating Neville. At Night of Champions, Jericho was revealed as the mystery partner of Roman Reigns and Dean Ambrose, facing The Wyatt Family in a losing effort. On October 3, Jericho unsuccessfully challenged Kevin Owens for the WWE Intercontinental Championship at Live from Madison Square Garden.",
"On October 3, Jericho unsuccessfully challenged Kevin Owens for the WWE Intercontinental Championship at Live from Madison Square Garden. The match marked 20 years since Jericho's debut with ECW while also celebrating his 25th year as a professional wrestler in total.",
"The match marked 20 years since Jericho's debut with ECW while also celebrating his 25th year as a professional wrestler in total. On the January 4, 2016 episode of Raw, Jericho returned to in-ring competition full-time and confronted The New Day.",
"On the January 4, 2016 episode of Raw, Jericho returned to in-ring competition full-time and confronted The New Day. At the 2016 Royal Rumble, Jericho entered as the sixth entrant, lasting over 50 minutes, before being eliminated by Dean Ambrose.",
"At the 2016 Royal Rumble, Jericho entered as the sixth entrant, lasting over 50 minutes, before being eliminated by Dean Ambrose. On the January 25 episode of Raw, Jericho faced the recently debuted AJ Styles in a losing effort. Following the match, after initial hesitation by Jericho, the pair shook hands.",
"Following the match, after initial hesitation by Jericho, the pair shook hands. On the February 11 episode of SmackDown, Jericho defeated Styles. At Fastlane, Styles was victorious in a third match between the pair. On the February 22 episode of Raw, Jericho and Styles formed a tag team, dubbed Y2AJ.",
"On the February 22 episode of Raw, Jericho and Styles formed a tag team, dubbed Y2AJ. Following their loss against The New Day on the March 7 episode of Raw, Jericho attacked Styles, ending their alliance, claiming that he was sick of the fans chanting for Styles instead of him, turning heel in the process.",
"Following their loss against The New Day on the March 7 episode of Raw, Jericho attacked Styles, ending their alliance, claiming that he was sick of the fans chanting for Styles instead of him, turning heel in the process. Their feud culminated at WrestleMania 32, where Jericho defeated Styles.",
"Their feud culminated at WrestleMania 32, where Jericho defeated Styles. However, on the April 4 episode of Raw, Jericho competed in a fatal-four-way match against Styles, Kevin Owens and Cesaro to determine the No. 1 contender for the WWE World Heavyweight Championship in a losing effort after being pinned by Styles, ending their feud.",
"1 contender for the WWE World Heavyweight Championship in a losing effort after being pinned by Styles, ending their feud. The following week on Raw, Dean Ambrose interrupted The Highlight Reel, handing Jericho a note from Shane McMahon replacing the show with The Ambrose Asylum, igniting a feud between the two.",
"The following week on Raw, Dean Ambrose interrupted The Highlight Reel, handing Jericho a note from Shane McMahon replacing the show with The Ambrose Asylum, igniting a feud between the two. During this time, Jericho tweaked his gimmick. He became arrogant and childish while wearing expensive scarfs and calling everyone who appeased him \"stupid idiots\".",
"He became arrogant and childish while wearing expensive scarfs and calling everyone who appeased him \"stupid idiots\". At Payback, Jericho faced Ambrose in a losing effort.",
"At Payback, Jericho faced Ambrose in a losing effort. After attacking one another and Ambrose destroying Jericho's light-up ring jacket, Jericho was challenged by Ambrose to an Asylum match at Extreme Rules, where Ambrose again defeated Jericho after Jericho was thrown in a pile of thumbtacks.",
"After attacking one another and Ambrose destroying Jericho's light-up ring jacket, Jericho was challenged by Ambrose to an Asylum match at Extreme Rules, where Ambrose again defeated Jericho after Jericho was thrown in a pile of thumbtacks. On the May 23 episode of Raw, Jericho defeated Apollo Crews to qualify for the Money in the Bank ladder match at the Money in the Bank pay-per-view, where Jericho was unsuccessful as the match was won by Ambrose.",
"On the May 23 episode of Raw, Jericho defeated Apollo Crews to qualify for the Money in the Bank ladder match at the Money in the Bank pay-per-view, where Jericho was unsuccessful as the match was won by Ambrose. On July 19 at the 2016 WWE draft, Jericho was drafted to the Raw brand.",
"On July 19 at the 2016 WWE draft, Jericho was drafted to the Raw brand. At Battleground on July 24, Jericho hosted a Highlight Reel segment with the returning Randy Orton, where he took an RKO from Orton after he insulted him.",
"At Battleground on July 24, Jericho hosted a Highlight Reel segment with the returning Randy Orton, where he took an RKO from Orton after he insulted him. The next night on Raw, Jericho competed in a fatal four-way match to determine the number one contender for the newly created WWE Universal Championship at SummerSlam, but he was unsuccessful, as Roman Reigns won the match.",
"The next night on Raw, Jericho competed in a fatal four-way match to determine the number one contender for the newly created WWE Universal Championship at SummerSlam, but he was unsuccessful, as Roman Reigns won the match. The List of Jericho (2016–2017) Jericho then entered a feud with Enzo and Cass and on the August 1 episode of Raw, he teamed with Charlotte to defeat Enzo Amore and then WWE Women's Champion Sasha Banks in a mixed tag team match, after which Big Cass made the save as Jericho continued the assault on Amore.",
"The List of Jericho (2016–2017) Jericho then entered a feud with Enzo and Cass and on the August 1 episode of Raw, he teamed with Charlotte to defeat Enzo Amore and then WWE Women's Champion Sasha Banks in a mixed tag team match, after which Big Cass made the save as Jericho continued the assault on Amore. The following week on Raw, Jericho allied with Kevin Owens and later defeated Amore via disqualification when Cass interfered.",
"The following week on Raw, Jericho allied with Kevin Owens and later defeated Amore via disqualification when Cass interfered. This led to a tag team match at SummerSlam, where Jericho and Owens defeated Enzo and Cass.",
"This led to a tag team match at SummerSlam, where Jericho and Owens defeated Enzo and Cass. On the August 22 episode of Raw, Jericho interfered in Owens's match against Neville, allowing him to qualify for the fatal four-way match to determine the new WWE Universal Champion on the August 29 episode of Raw, which Owens won.",
"On the August 22 episode of Raw, Jericho interfered in Owens's match against Neville, allowing him to qualify for the fatal four-way match to determine the new WWE Universal Champion on the August 29 episode of Raw, which Owens won. On the September 12 episode of Raw, Jericho hosted an episode of The Highlight Reel with Sami Zayn as his guest, who questioned his alliance with Owens, resulting in Jericho defending Owens and attacking Zayn.",
"On the September 12 episode of Raw, Jericho hosted an episode of The Highlight Reel with Sami Zayn as his guest, who questioned his alliance with Owens, resulting in Jericho defending Owens and attacking Zayn. On the September 19 episode of Raw, as a result of feeling that he was being treated unjustly by General Manager Mick Foley, as well as other wrestlers beginning to annoy him, Jericho began a list called \"The List of Jericho\", where he wrote down the name of the person that bothered him and why.",
"On the September 19 episode of Raw, as a result of feeling that he was being treated unjustly by General Manager Mick Foley, as well as other wrestlers beginning to annoy him, Jericho began a list called \"The List of Jericho\", where he wrote down the name of the person that bothered him and why. If someone annoyed Jericho, he would ask \"you know what happens?\"",
"If someone annoyed Jericho, he would ask \"you know what happens?\" before shouting \"you just made the list!\" and writing the person's name down.",
"and writing the person's name down. The List of Jericho soon became incredibly popular with the fans, with many critics describing Jericho and his list as \"easily one of the best moments of Raw's broadcast\".",
"The List of Jericho soon became incredibly popular with the fans, with many critics describing Jericho and his list as \"easily one of the best moments of Raw's broadcast\". At Clash of Champions on September 25, Jericho defeated Zayn and assisted Owens in his Universal Championship defense against Seth Rollins.",
"At Clash of Champions on September 25, Jericho defeated Zayn and assisted Owens in his Universal Championship defense against Seth Rollins. At Hell in a Cell on October 30, Jericho aided Owens in retaining the Universal Championship against Rollins in a Hell in a Cell match after Owens sprayed a fire extinguisher at the referee, allowing Jericho to enter the cell.",
"At Hell in a Cell on October 30, Jericho aided Owens in retaining the Universal Championship against Rollins in a Hell in a Cell match after Owens sprayed a fire extinguisher at the referee, allowing Jericho to enter the cell. Jericho teamed with Owens, Braun Strowman, Roman Reigns, and Seth Rollins as part of Team Raw at Survivor Series on November 20, in a losing effort.",
"Jericho teamed with Owens, Braun Strowman, Roman Reigns, and Seth Rollins as part of Team Raw at Survivor Series on November 20, in a losing effort. The next night on Raw, despite being banned from ringside, Jericho showed up in a Sin Cara mask and attacked Rollins, in another successful title defense for Owens.",
"The next night on Raw, despite being banned from ringside, Jericho showed up in a Sin Cara mask and attacked Rollins, in another successful title defense for Owens. The following week on Raw, tensions between Jericho and Owens arose after both said that they did not need each other anymore, and Jericho was later attacked by Rollins in the parking lot.",
"The following week on Raw, tensions between Jericho and Owens arose after both said that they did not need each other anymore, and Jericho was later attacked by Rollins in the parking lot. At Roadblock: End of the Line on December 18, Jericho lost to Rollins after Owens failed in his attempt to help him, Later that night, Jericho intentionally attacked Owens to prevent Reigns from winning the title.",
"At Roadblock: End of the Line on December 18, Jericho lost to Rollins after Owens failed in his attempt to help him, Later that night, Jericho intentionally attacked Owens to prevent Reigns from winning the title. After both Jericho and Owens failed to win the WWE United States Championship from Reigns in multiple singles matches in late 2016, Jericho pinned Reigns in a handicap match also involving Owens on the January 9 episode of Raw to win the WWE United States Championship.",
"After both Jericho and Owens failed to win the WWE United States Championship from Reigns in multiple singles matches in late 2016, Jericho pinned Reigns in a handicap match also involving Owens on the January 9 episode of Raw to win the WWE United States Championship. Thus, Jericho won his first championship in nearly seven years and also become Grand Slam winner under the current format.",
"Thus, Jericho won his first championship in nearly seven years and also become Grand Slam winner under the current format. Due to interfering multiple times in Owens's matches, Jericho was suspended above the ring in a shark proof cage during Reigns's rematch at the Royal Rumble pay-per-view event.",
"Due to interfering multiple times in Owens's matches, Jericho was suspended above the ring in a shark proof cage during Reigns's rematch at the Royal Rumble pay-per-view event. Owens nonetheless retained the championship after Braun Strowman, taking advantage of the added no disqualification stipulation, interfered.",
"Owens nonetheless retained the championship after Braun Strowman, taking advantage of the added no disqualification stipulation, interfered. Also at the event, Jericho entered as the second entrant in the Royal Rumble match, lasting over an hour (thus breaking the record with a cumulative time of over five hours) and being the third to last before being eliminated by Reigns.",
"Also at the event, Jericho entered as the second entrant in the Royal Rumble match, lasting over an hour (thus breaking the record with a cumulative time of over five hours) and being the third to last before being eliminated by Reigns. In February, tensions grew between Jericho and Owens after Jericho accepted a Universal Championship challenge from Goldberg on Owens's behalf, much to the latter's dismay.",
"In February, tensions grew between Jericho and Owens after Jericho accepted a Universal Championship challenge from Goldberg on Owens's behalf, much to the latter's dismay. On the February 13 episode of Raw, Jericho held a \"Festival of Friendship\" for Owens, who was not impressed and viciously attacked Jericho, ending their alliance.",
"On the February 13 episode of Raw, Jericho held a \"Festival of Friendship\" for Owens, who was not impressed and viciously attacked Jericho, ending their alliance. Jericho returned at Fastlane on March 5, distracting Owens during his match with Goldberg and causing Owens to lose the Universal Championship, turning face again in the process.",
"Jericho returned at Fastlane on March 5, distracting Owens during his match with Goldberg and causing Owens to lose the Universal Championship, turning face again in the process. This led to a match between Jericho and Owens being arranged for WrestleMania 33 on April 2, with Jericho's United States Championship on the line.",
"This led to a match between Jericho and Owens being arranged for WrestleMania 33 on April 2, with Jericho's United States Championship on the line. At WrestleMania, Jericho lost the United States Championship to Owens.",
"At WrestleMania, Jericho lost the United States Championship to Owens. At Payback on April 30, Jericho defeated Owens to regain the title and moved to the SmackDown brand, but lost it back to him two nights later on SmackDown. Following the match, Owens attacked Jericho, who was carried out on a stretcher.",
"Following the match, Owens attacked Jericho, who was carried out on a stretcher. Thus, Jericho was written off television so he could fulfill his commitments to tour with and promote his new album with Fozzy. Jericho made a surprise return at a house show in Singapore on June 28, where he lost to Hideo Itami.",
"Jericho made a surprise return at a house show in Singapore on June 28, where he lost to Hideo Itami. Final matches and departure (2017–2018) On the July 25 episode of SmackDown, Jericho made his televised return, interrupting an altercation between Kevin Owens and AJ Styles to get his rematch for Owens' WWE United States Championship.",
"Final matches and departure (2017–2018) On the July 25 episode of SmackDown, Jericho made his televised return, interrupting an altercation between Kevin Owens and AJ Styles to get his rematch for Owens' WWE United States Championship. Later that night, Jericho participated in a triple threat match against Owens and Styles for the title in which Jericho was pinned by Styles.",
"Later that night, Jericho participated in a triple threat match against Owens and Styles for the title in which Jericho was pinned by Styles. Show took place in Richmond, Virginia and was Jericho's last in-ring appearance for WWE in the United States.",
"Show took place in Richmond, Virginia and was Jericho's last in-ring appearance for WWE in the United States. On January 22, 2018 during the 25th Anniversary of Raw, Jericho appeared backstage in a segment with Elias, putting him on The List of Jericho.",
"On January 22, 2018 during the 25th Anniversary of Raw, Jericho appeared backstage in a segment with Elias, putting him on The List of Jericho. At the Greatest Royal Rumble, Jericho was the last entrant in the 50-man Royal Rumble match, eliminating Shelton Benjamin before being eliminated by the eventual winner Braun Strowman.",
"At the Greatest Royal Rumble, Jericho was the last entrant in the 50-man Royal Rumble match, eliminating Shelton Benjamin before being eliminated by the eventual winner Braun Strowman. This event marked Jericho's final appearance with WWE.",
"This event marked Jericho's final appearance with WWE. In September 2019, during an interview for the Mature Audiences Mayhem Podcast, Jericho revealed the exact point when he decided he was going to leave the WWE. Even though Jericho was with the WWE for 15 years, the final insult came at WrestleMania 33 in 2017.",
"Even though Jericho was with the WWE for 15 years, the final insult came at WrestleMania 33 in 2017. Despite the fact that Jericho and Kevin Owens had the best feud of the year, their match was demoted by placing it on the second place on the WrestleMania match card.",
"Despite the fact that Jericho and Kevin Owens had the best feud of the year, their match was demoted by placing it on the second place on the WrestleMania match card. The decision made by Vince McMahon was a big insult for Jericho and that prompted him to seek work elsewhere.",
"The decision made by Vince McMahon was a big insult for Jericho and that prompted him to seek work elsewhere. Jericho reflecting his WWE departure stated: \"Originally, that was going to be the main event for the world title.",
"Jericho reflecting his WWE departure stated: \"Originally, that was going to be the main event for the world title. Kevin Owens was the champion and I was going to beat him in the main event of WrestleMania as a babyface.\"",
"Kevin Owens was the champion and I was going to beat him in the main event of WrestleMania as a babyface.\" Instead of having Jericho and Owens as the main event, Vince decided to put Bill Goldberg and Brock Lesnar on the main card.",
"Instead of having Jericho and Owens as the main event, Vince decided to put Bill Goldberg and Brock Lesnar on the main card. \"Vince said that it’s going to be me versus Kevin Owens for the world title at WrestleMania and you are going to win the title, f*** yeah!",
"\"Vince said that it’s going to be me versus Kevin Owens for the world title at WrestleMania and you are going to win the title, f*** yeah! Next week, he doesn’t tell me, but I hear that it’s changed to Brock Lesnar versus Bill Goldberg for the title.",
"Next week, he doesn’t tell me, but I hear that it’s changed to Brock Lesnar versus Bill Goldberg for the title. And not only did they take us out of the main event – and, once again, just because I was told I have no right to it and things change all the time, I’m a big boy, I can handle it.",
"And not only did they take us out of the main event – and, once again, just because I was told I have no right to it and things change all the time, I’m a big boy, I can handle it. But to take us from the main event slot and then move us to the second match on the card on a card that has 12 matches on it?",
"But to take us from the main event slot and then move us to the second match on the card on a card that has 12 matches on it? I was like, that’s a f***ing insult.\"",
"I was like, that’s a f***ing insult.\" Return to NJPW (2017–2020) Feud with Kenny Omega (2017–2018) On November 5, 2017, Jericho returned to NJPW in a pre-taped vignette, challenging Kenny Omega to a match at Wrestle Kingdom 12 in Tokyo Dome.",
"Return to NJPW (2017–2020) Feud with Kenny Omega (2017–2018) On November 5, 2017, Jericho returned to NJPW in a pre-taped vignette, challenging Kenny Omega to a match at Wrestle Kingdom 12 in Tokyo Dome. The challenge was immediately accepted by Omega and made official by NJPW the following day as a title match for Omega's IWGP United States Heavyweight Championship.",
"The challenge was immediately accepted by Omega and made official by NJPW the following day as a title match for Omega's IWGP United States Heavyweight Championship. The match, dubbed \"Alpha vs. Omega\", was Jericho's first match outside of WWE since he left WCW in July 1999.",
"The match, dubbed \"Alpha vs. Omega\", was Jericho's first match outside of WWE since he left WCW in July 1999. Journalist Dave Meltzer wrote that Jericho's WWE contract had expired and that he was a \"free agent\". NJPW also referred to Jericho as a free agent.",
"NJPW also referred to Jericho as a free agent. In contrast, the Tokyo Sports newspaper described an anonymous NJPW official saying that Jericho is still under contract with WWE, and that WWE chairman Vince McMahon had given him permission to wrestle this match in NJPW. This was his first NJPW match in nearly 20 years.",
"This was his first NJPW match in nearly 20 years. Jericho returned in person at the December 11 World Tag League show, attacking and bloodying Omega after his match, while also laying out a referee, a young lion and color commentator Don Callis, establishing himself as a heel.",
"Jericho returned in person at the December 11 World Tag League show, attacking and bloodying Omega after his match, while also laying out a referee, a young lion and color commentator Don Callis, establishing himself as a heel. The following day at the Wrestle Kingdom 12 in Tokyo Dome press conference, Jericho and Omega would get into a second physical altercation.",
"The following day at the Wrestle Kingdom 12 in Tokyo Dome press conference, Jericho and Omega would get into a second physical altercation. Because of the two incidents, NJPW turned the January 4 match into a no disqualification match. At the event, Jericho was defeated by Omega.",
"At the event, Jericho was defeated by Omega. It was later revealed that the match was awarded a five-star rating from Dave Meltzer of the Wrestling Observer Newsletter. This was the first of his career. IWGP Intercontinental Champion (2018–2019) The night after Wrestle Kingdom 12 in Tokyo Dome at New Year Dash!!",
"IWGP Intercontinental Champion (2018–2019) The night after Wrestle Kingdom 12 in Tokyo Dome at New Year Dash!! 2018, Jericho attacked Tetsuya Naito.",
"2018, Jericho attacked Tetsuya Naito. On May 4, Jericho once again attacked Naito at Wrestling Dontaku, leading to a match between the two at Dominion 6.9 in Osaka-jo Hall, in which he defeated Naito to win the IWGP Intercontinental Championship. At King of Pro-Wrestling, Jericho attacked Evil before his match against Zack Sabre Jr.",
"At King of Pro-Wrestling, Jericho attacked Evil before his match against Zack Sabre Jr. Backstage, Jericho challenged Evil to an IWGP Intercontinental Championship title match at Power Struggle. At the event, Jericho made Evil submit to the Liontamer to retain the IWGP Intercontinental Championship.",
"At the event, Jericho made Evil submit to the Liontamer to retain the IWGP Intercontinental Championship. After the match, Jericho refused to release the hold until Tetsuya Naito ran in for the save and challenged Jericho. Despite Jericho stating that Naito would not receive a rematch, the match was made official for Wrestle Kingdom 13 in Tokyo Dome.",
"Despite Jericho stating that Naito would not receive a rematch, the match was made official for Wrestle Kingdom 13 in Tokyo Dome. On December 15, NJPW held a press conference for Jericho and Naito's IWGP Intercontinental Championship match.",
"On December 15, NJPW held a press conference for Jericho and Naito's IWGP Intercontinental Championship match. The press conference ended when Naito spat water in Jericho's face, which resulted in the two then brawling before being separated.",
"The press conference ended when Naito spat water in Jericho's face, which resulted in the two then brawling before being separated. Later that same day during a Road to Tokyo Dome show, Jericho laid out Naito with steel chair shots, and after stated that at Wrestle Kingdom 13 he would end Tetsuya Naito's career.",
"Later that same day during a Road to Tokyo Dome show, Jericho laid out Naito with steel chair shots, and after stated that at Wrestle Kingdom 13 he would end Tetsuya Naito's career. At the event, Jericho was defeated by Naito, losing the IWGP Intercontinental Championship in the process.",
"At the event, Jericho was defeated by Naito, losing the IWGP Intercontinental Championship in the process. Sporadic appearances (2019–2020) At Dominion 6.9 in Osaka-jo Hall, Jericho challenged Kazuchika Okada for the IWGP Heavyweight Championship but was defeated. Following the match, Jericho attacked Okada, leading to Hiroshi Tanahashi making the save.",
"Following the match, Jericho attacked Okada, leading to Hiroshi Tanahashi making the save. Jericho returned at Power Struggle on November 3 and challenged Tanahashi to a match at Wrestle Kingdom 14. On December 28, it was announced that if Tanahashi were to defeat Jericho, he would be granted an AEW World Championship match at a later date.",
"On December 28, it was announced that if Tanahashi were to defeat Jericho, he would be granted an AEW World Championship match at a later date. During the second night of Wrestle Kingdom on January 5, 2020, Jericho defeated Tanahashi.",
"During the second night of Wrestle Kingdom on January 5, 2020, Jericho defeated Tanahashi. Return to the independent circuit (2018–2019) On September 1, 2018, Jericho (disguised as Penta El Zero) appeared at the All In show promoted by Cody and The Young Bucks, where he attacked Kenny Omega following Omega's victory over Penta to promote his upcoming Rock 'N' Wrestling Rager at Sea cruise.",
"Return to the independent circuit (2018–2019) On September 1, 2018, Jericho (disguised as Penta El Zero) appeared at the All In show promoted by Cody and The Young Bucks, where he attacked Kenny Omega following Omega's victory over Penta to promote his upcoming Rock 'N' Wrestling Rager at Sea cruise. In October 2018, Jericho organized Chris Jericho's Rock 'N' Wrestling Rager at Sea, a series of professional wrestling matches originating from Jericho's cruise ship, which embarked from Miami, Florida and featured wrestlers from Ring of Honor.",
"In October 2018, Jericho organized Chris Jericho's Rock 'N' Wrestling Rager at Sea, a series of professional wrestling matches originating from Jericho's cruise ship, which embarked from Miami, Florida and featured wrestlers from Ring of Honor. On May 3, 2019, Jericho appeared at a Southern Honor Wrestling event, where he was attacked by Kenny Omega.",
"On May 3, 2019, Jericho appeared at a Southern Honor Wrestling event, where he was attacked by Kenny Omega. All Elite Wrestling (2019–present) Inaugural AEW World Champion (2019–2020) On January 8, 2019, Jericho made a surprise appearance at a media event organized by the upstart All Elite Wrestling (AEW) promotion.",
"All Elite Wrestling (2019–present) Inaugural AEW World Champion (2019–2020) On January 8, 2019, Jericho made a surprise appearance at a media event organized by the upstart All Elite Wrestling (AEW) promotion. Shortly afterwards, Jericho was filmed signing a full-time performers three-year contract with AEW and shaking hands with the company's President Tony Khan.",
"Shortly afterwards, Jericho was filmed signing a full-time performers three-year contract with AEW and shaking hands with the company's President Tony Khan. Jericho defeated Kenny Omega at the promotion's inaugural event Double or Nothing on May 25, and went on to defeat Adam Page at All Out to become the inaugural AEW World Champion.",
"Jericho defeated Kenny Omega at the promotion's inaugural event Double or Nothing on May 25, and went on to defeat Adam Page at All Out to become the inaugural AEW World Champion. On the premiere episode of Dynamite on October 2, Jericho allied himself with Sammy Guevara, Jake Hager, Santana and Ortiz, creating a stable that would be known as The Inner Circle.",
"On the premiere episode of Dynamite on October 2, Jericho allied himself with Sammy Guevara, Jake Hager, Santana and Ortiz, creating a stable that would be known as The Inner Circle. Jericho would make successful title defences against Darby Allin on the October 16 episode of Dynamite and Cody at the Full Gear pay-per-view on November 9.",
"Jericho would make successful title defences against Darby Allin on the October 16 episode of Dynamite and Cody at the Full Gear pay-per-view on November 9. On the episode of Dynamite after Full Gear, Jericho and Guevara challenged SoCal Uncensored (Frankie Kazarian and Scorpio Sky) for the AEW World Tag Team Championship, but they failed to win when Sky pinned Jericho with a small package, thus suffering his first loss in AEW.",
"On the episode of Dynamite after Full Gear, Jericho and Guevara challenged SoCal Uncensored (Frankie Kazarian and Scorpio Sky) for the AEW World Tag Team Championship, but they failed to win when Sky pinned Jericho with a small package, thus suffering his first loss in AEW. Jericho would successfully retain the AEW World Championship against Sky on the November 27 episode of Dynamite.",
"Jericho would successfully retain the AEW World Championship against Sky on the November 27 episode of Dynamite. In December, The Inner Circle began to attempt to entice Jon Moxley to join the group.",
"In December, The Inner Circle began to attempt to entice Jon Moxley to join the group. On the January 8, 2020 episode of Dynamite, Moxley initially joined the group, however, this was later revealed to be a ruse from Moxley as he attacked Jericho and Sammy Guevara.",
"On the January 8, 2020 episode of Dynamite, Moxley initially joined the group, however, this was later revealed to be a ruse from Moxley as he attacked Jericho and Sammy Guevara. Moxley then became the number one contender for Jericho's championship at Revolution on February 29, where Moxley defeated Jericho to win the title, ending his inaugural AEW World Championship reign at 182 days.",
"Moxley then became the number one contender for Jericho's championship at Revolution on February 29, where Moxley defeated Jericho to win the title, ending his inaugural AEW World Championship reign at 182 days. Feud with MJF (2020–2021) After losing the championship, Jericho and The Inner Circle began a feud with The Elite (Adam Page, Cody, Kenny Omega and The Young Bucks), who recruited the debuting Matt Hardy to oppose them.",
"Feud with MJF (2020–2021) After losing the championship, Jericho and The Inner Circle began a feud with The Elite (Adam Page, Cody, Kenny Omega and The Young Bucks), who recruited the debuting Matt Hardy to oppose them. At Double or Nothing on May 23, The Inner Circle were defeated by Page, Omega, The Young Bucks and Hardy in a Stadium Stampede match.",
"At Double or Nothing on May 23, The Inner Circle were defeated by Page, Omega, The Young Bucks and Hardy in a Stadium Stampede match. Jericho next began a rivalry with Orange Cassidy, with Jericho defeating him at Fyter Fest on July 8, but losing a rematch on the August 12 episode of Dynamite.",
"Jericho next began a rivalry with Orange Cassidy, with Jericho defeating him at Fyter Fest on July 8, but losing a rematch on the August 12 episode of Dynamite. The two faced once again at All Out on September 5, in a Mimosa Mayhem match, which Jericho lost.",
"The two faced once again at All Out on September 5, in a Mimosa Mayhem match, which Jericho lost. Beginning in October, Jericho began a feud with MJF, who requested to join the Inner Circle, despite disapproval from Sammy Guevara, Santana and Ortiz.",
"Beginning in October, Jericho began a feud with MJF, who requested to join the Inner Circle, despite disapproval from Sammy Guevara, Santana and Ortiz. Jericho and MJF wrestled in a match at the Full Gear event on November 7, which MJF won, thus allowing him to join the Inner Circle.",
"Jericho and MJF wrestled in a match at the Full Gear event on November 7, which MJF won, thus allowing him to join the Inner Circle. At Beach Break on February 3, 2021, Jericho and MJF won a tag team battle royal to become the number one contenders for the AEW World Tag Team Championship at the Revolution event against The Young Bucks, which they were unsuccessful in winning.",
"At Beach Break on February 3, 2021, Jericho and MJF won a tag team battle royal to become the number one contenders for the AEW World Tag Team Championship at the Revolution event against The Young Bucks, which they were unsuccessful in winning. On the March 10 episode of Dynamite, MJF betrayed and left The Inner Circle after revealing he had been secretly plotting against them and building his own stable, The Pinnacle—consisting of Wardlow, Shawn Spears and FTR (Cash Wheeler and Dax Harwood).",
"On the March 10 episode of Dynamite, MJF betrayed and left The Inner Circle after revealing he had been secretly plotting against them and building his own stable, The Pinnacle—consisting of Wardlow, Shawn Spears and FTR (Cash Wheeler and Dax Harwood). At Blood and Guts on May 5, The Inner Circle lost to The Pinnacle in the inaugural Blood and Guts match.",
"At Blood and Guts on May 5, The Inner Circle lost to The Pinnacle in the inaugural Blood and Guts match. However, in the main event of Double or Nothing later that month, The Inner Circle defeated The Pinnacle in a Stadium Stampede match, after Sammy Guevara pinned Shawn Spears.",
"However, in the main event of Double or Nothing later that month, The Inner Circle defeated The Pinnacle in a Stadium Stampede match, after Sammy Guevara pinned Shawn Spears. Jericho then began pursuing another match with MJF, who stated that he would first have to defeat a gauntlet of opponents selected by MJF, in a series dubbed the \"Labors of Jericho\".",
"Jericho then began pursuing another match with MJF, who stated that he would first have to defeat a gauntlet of opponents selected by MJF, in a series dubbed the \"Labors of Jericho\". Jericho would defeat each of MJF's handpicked opponents (Shawn Spears, Nick Gage, Juventud Guerrera and Wardlow) and faced MJF in the final labor on the August 18 episode of Dynamite, but he was defeated.",
"Jericho would defeat each of MJF's handpicked opponents (Shawn Spears, Nick Gage, Juventud Guerrera and Wardlow) and faced MJF in the final labor on the August 18 episode of Dynamite, but he was defeated. Jericho demanded one more match, stipulating that if he lost, he would retire from in-ring competition, which MJF accepted.",
"Jericho demanded one more match, stipulating that if he lost, he would retire from in-ring competition, which MJF accepted. At All Out on September 5, Jericho defeated MJF to maintain his career and end their feud.",
"At All Out on September 5, Jericho defeated MJF to maintain his career and end their feud. Various feuds (2021–present) Following All Out, The Inner Circle started a rivalry with Men of the Year (Ethan Page and Scorpio Sky), and their ally, mixed martial arts (MMA) coach Dan Lambert.",
"Various feuds (2021–present) Following All Out, The Inner Circle started a rivalry with Men of the Year (Ethan Page and Scorpio Sky), and their ally, mixed martial arts (MMA) coach Dan Lambert. Lambert also brought in members of his MMA team American Top Team (ATT) to oppose The Inner Circle, including Andrei Arlovski and Junior dos Santos.",
"Lambert also brought in members of his MMA team American Top Team (ATT) to oppose The Inner Circle, including Andrei Arlovski and Junior dos Santos. At the Full Gear event on November 13, The Inner Circle defeated Men of the Year and ATT in a Minneapolis Street Fight.",
"At the Full Gear event on November 13, The Inner Circle defeated Men of the Year and ATT in a Minneapolis Street Fight. Legacy Known for his over-the-top, rock star persona, Jericho has been described by multiple industry commentators as one of the greatest professional wrestlers of all time.",
"Legacy Known for his over-the-top, rock star persona, Jericho has been described by multiple industry commentators as one of the greatest professional wrestlers of all time. Journalist Chris Van Vliet noted that his name is \"always thrown around as the GOAT [greatest of all time], or at least one of the GOATs\", with Van Vliet himself asserting that Jericho is \"if not the best, certainly one of the best\".",
"Journalist Chris Van Vliet noted that his name is \"always thrown around as the GOAT [greatest of all time], or at least one of the GOATs\", with Van Vliet himself asserting that Jericho is \"if not the best, certainly one of the best\". Todd Martin of the Pro Wrestling Torch remarked, to agreement from editor Wade Keller, that Jericho is \"one of the great wrestlers of all time\" and in \"a lofty category\", while likening his oeuvre to those of WWE Hall of Famers Randy Savage, Ricky Steamboat, Ted DiBiase and Dory Funk Jr.",
"Todd Martin of the Pro Wrestling Torch remarked, to agreement from editor Wade Keller, that Jericho is \"one of the great wrestlers of all time\" and in \"a lofty category\", while likening his oeuvre to those of WWE Hall of Famers Randy Savage, Ricky Steamboat, Ted DiBiase and Dory Funk Jr. Praised for his ability to continually evolve his gimmick, Jericho was dubbed by KC Joyner of ESPN as \"wrestling's David Bowie\".",
"Praised for his ability to continually evolve his gimmick, Jericho was dubbed by KC Joyner of ESPN as \"wrestling's David Bowie\". Various outlets have included Jericho in lists of the greatest wrestlers ever.",
"Various outlets have included Jericho in lists of the greatest wrestlers ever. Baltimore Sun reporter Kevin Eck, who has also served as editor of WCW Magazine and a WWE producer, featured Jericho in his \"Top 10 favorite wrestlers of all time\" and \"Top 10 all-around performers\"—the former piece noting that Jericho is \"regarded as one of the very best talkers in the business\".",
"Baltimore Sun reporter Kevin Eck, who has also served as editor of WCW Magazine and a WWE producer, featured Jericho in his \"Top 10 favorite wrestlers of all time\" and \"Top 10 all-around performers\"—the former piece noting that Jericho is \"regarded as one of the very best talkers in the business\". Keisha Hatchett in TV Guide wrote that Jericho \"owns the mic with cerebral insults\" and is set apart from peers by \"his charismatic presence, which is highlighted by a laundry list of unforgettable catchphrases\".",
"Keisha Hatchett in TV Guide wrote that Jericho \"owns the mic with cerebral insults\" and is set apart from peers by \"his charismatic presence, which is highlighted by a laundry list of unforgettable catchphrases\". He was voted by Wrestling Observer Newsletter (WON) readers as \"Best on Interviews\" for the 2000s decade, coinciding with his 2010 induction into the WON Hall of Fame.",
"He was voted by Wrestling Observer Newsletter (WON) readers as \"Best on Interviews\" for the 2000s decade, coinciding with his 2010 induction into the WON Hall of Fame. Fans also named Jericho the greatest WWE Intercontinental Champion of all time in a 2013 WWE poll, affording him a landslide 63% victory over the other four contenders (Mr.",
"Fans also named Jericho the greatest WWE Intercontinental Champion of all time in a 2013 WWE poll, affording him a landslide 63% victory over the other four contenders (Mr. Perfect, The Honky Tonk Man, Rick Rude and Pat Patterson).",
"Perfect, The Honky Tonk Man, Rick Rude and Pat Patterson). A number of Jericho's industry colleagues have hailed him as one of the greatest wrestlers in history. Stone Cold Steve Austin lauded his consistently \"dynamic\" promos and in-ring work, while arguing that he should be considered among the 10 best ever.",
"Stone Cold Steve Austin lauded his consistently \"dynamic\" promos and in-ring work, while arguing that he should be considered among the 10 best ever. Kenny Omega asserted that Jericho \"has a legit argument for being the best of all time\", based on his ability to achieve success and notoriety across numerous territories.",
"Kenny Omega asserted that Jericho \"has a legit argument for being the best of all time\", based on his ability to achieve success and notoriety across numerous territories. Jon Moxley said, \"Jericho is really making a case for being the greatest of all time... he's doing it again, he's doing something completely new, and breaking new barriers still here in 2020.\"",
"Jon Moxley said, \"Jericho is really making a case for being the greatest of all time... he's doing it again, he's doing something completely new, and breaking new barriers still here in 2020.\" Matt Striker pointed to Jericho's \"magnanimous\" nature as a contributing factor to his status as an all-time great; his willingness to impart knowledge was commended by James Ellsworth, who described Jericho as an \"outstanding human being\" and a childhood favorite.",
"Matt Striker pointed to Jericho's \"magnanimous\" nature as a contributing factor to his status as an all-time great; his willingness to impart knowledge was commended by James Ellsworth, who described Jericho as an \"outstanding human being\" and a childhood favorite. Kevin Owens stated that \"Jericho was always someone I looked up to\", while The Miz affirmed that he was part of a generation of young wrestlers who sought to \"emulate\" Jericho.",
"Kevin Owens stated that \"Jericho was always someone I looked up to\", while The Miz affirmed that he was part of a generation of young wrestlers who sought to \"emulate\" Jericho. WWE declared Jericho a \"marquee draw\" with a \"reputation as one of the best ever\".",
"WWE declared Jericho a \"marquee draw\" with a \"reputation as one of the best ever\". As of 2019, he is one of the ten most prolific pay-per-view performers in company history.",
"As of 2019, he is one of the ten most prolific pay-per-view performers in company history. After Jericho signed with All Elite Wrestling, it was said his role was similar to Terry Funk in ECW, as an experienced veteran bringing credibility to a younger promotion.",
"After Jericho signed with All Elite Wrestling, it was said his role was similar to Terry Funk in ECW, as an experienced veteran bringing credibility to a younger promotion. Jericho was credited as one of the key attractions of AEW's weekly television broadcasts, leading to him adopting the nickname \"The Demo God\" due to many of the segments he appeared in being some of the highest viewed in the key demographics.",
"Jericho was credited as one of the key attractions of AEW's weekly television broadcasts, leading to him adopting the nickname \"The Demo God\" due to many of the segments he appeared in being some of the highest viewed in the key demographics. He was voted as the Best Box Office Draw by readers of the Wrestling Observer Newsletter in 2019.",
"He was voted as the Best Box Office Draw by readers of the Wrestling Observer Newsletter in 2019. Music career Jericho is the lead singer for the heavy metal band Fozzy.",
"Music career Jericho is the lead singer for the heavy metal band Fozzy. Since their debut album in 2000, Fozzy have released seven studio albums; Fozzy, Happenstance, All That Remains, Chasing the Grail, Sin and Bones, Do You Wanna Start a War, Judas, and one live album, Remains Alive.",
"Since their debut album in 2000, Fozzy have released seven studio albums; Fozzy, Happenstance, All That Remains, Chasing the Grail, Sin and Bones, Do You Wanna Start a War, Judas, and one live album, Remains Alive. In 2005, Jericho performed vocals on a cover of \"The Evil That Men Do\" on the Iron Maiden tribute album, Numbers from the Beast.",
"In 2005, Jericho performed vocals on a cover of \"The Evil That Men Do\" on the Iron Maiden tribute album, Numbers from the Beast. He made a guest appearance on Dream Theater's album, Systematic Chaos on the song \"Repentance\", as one of several musical guests recorded apologizing to important people in their lives for wrongdoings in the past.",
"He made a guest appearance on Dream Theater's album, Systematic Chaos on the song \"Repentance\", as one of several musical guests recorded apologizing to important people in their lives for wrongdoings in the past. In the mid-1990s, Jericho wrote a monthly column for Metal Edge magazine focused on the heavy metal scene.",
"In the mid-1990s, Jericho wrote a monthly column for Metal Edge magazine focused on the heavy metal scene. The column ran for about a year. He started his own weekly XM Satellite Radio show in March 2005 called The Rock of Jericho, which aired Sunday nights on XM 41 The Boneyard.",
"He started his own weekly XM Satellite Radio show in March 2005 called The Rock of Jericho, which aired Sunday nights on XM 41 The Boneyard. Discography Albums with Fozzy Fozzy (2000) Happenstance (2002) All That Remains (2005) Chasing the Grail (2010) Sin and Bones (2012) Do You Wanna Start a War (2014) Judas (2017) Live albums Remains Alive (2009) As guest Don't You Wish You Were Me?",
"Discography Albums with Fozzy Fozzy (2000) Happenstance (2002) All That Remains (2005) Chasing the Grail (2010) Sin and Bones (2012) Do You Wanna Start a War (2014) Judas (2017) Live albums Remains Alive (2009) As guest Don't You Wish You Were Me? - WWE Originals (2004) King of the Night Time World - Spin the Bottle: An All-Star Tribute to Kiss (2004) * With Rich Ward, Mike Inez, Fred Coury Bullet for My Valentine – Temper Temper – Dead to the World (2013) Devin Townsend – Dark Matters (2014) Michael Sweet – I'm Not Your Suicide – Anybody Else (2014) Other endeavors Film, theater, comedy, and writing In 2000, a WWE produced VHS tape documenting Jericho's career titled Break Down the Walls was released.",
"- WWE Originals (2004) King of the Night Time World - Spin the Bottle: An All-Star Tribute to Kiss (2004) * With Rich Ward, Mike Inez, Fred Coury Bullet for My Valentine – Temper Temper – Dead to the World (2013) Devin Townsend – Dark Matters (2014) Michael Sweet – I'm Not Your Suicide – Anybody Else (2014) Other endeavors Film, theater, comedy, and writing In 2000, a WWE produced VHS tape documenting Jericho's career titled Break Down the Walls was released. He later received two three disc sets profiling matches and interviews.",
"He later received two three disc sets profiling matches and interviews. On June 24, 2006, Jericho premiered in his first Sci-Fi Channel movie Android Apocalypse alongside Scott Bairstow and Joey Lawrence.",
"On June 24, 2006, Jericho premiered in his first Sci-Fi Channel movie Android Apocalypse alongside Scott Bairstow and Joey Lawrence. Jericho debuted as a stage actor in a comedy play Opening Night, which premiered at the Toronto Centre for the Arts during July 20–22, 2006 in Toronto.",
"Jericho debuted as a stage actor in a comedy play Opening Night, which premiered at the Toronto Centre for the Arts during July 20–22, 2006 in Toronto. During his stay in Toronto, Jericho hosted the sketch comedy show Sunday Night Live with sketch troupe The Sketchersons at The Brunswick House.",
"During his stay in Toronto, Jericho hosted the sketch comedy show Sunday Night Live with sketch troupe The Sketchersons at The Brunswick House. Jericho was also the first wrestler attached and interviewed for the wrestling documentary, Bloodstained Memoirs. The interview was recorded in the UK during a Fozzy tour in 2006.",
"The interview was recorded in the UK during a Fozzy tour in 2006. Jericho wrote his autobiography, A Lion's Tale: Around the World in Spandex, which was released on October 25, 2007 and became a New York Times bestseller. It covers Jericho's life and wrestling career up to his debut in the WWE.",
"It covers Jericho's life and wrestling career up to his debut in the WWE. Jericho's second autobiography, Undisputed: How to Become the World Champion in 1,372 Easy Steps, was released on February 16, 2011, and covers his wrestling career since his WWE debut.",
"Jericho's second autobiography, Undisputed: How to Become the World Champion in 1,372 Easy Steps, was released on February 16, 2011, and covers his wrestling career since his WWE debut. On October 14, 2014 Jericho's third book, The Best In The World...At What I Have No Idea, was released.",
"On October 14, 2014 Jericho's third book, The Best In The World...At What I Have No Idea, was released. It covers some untold stories of the \"Save Us\" era, his Fozzy career, and his multiple returns from 2011 to 2013.",
"It covers some untold stories of the \"Save Us\" era, his Fozzy career, and his multiple returns from 2011 to 2013. Jericho's fourth book, No Is a Four-Letter Word: How I Failed Spelling but Succeeded in Life, was released on August 29, 2017 and details twenty valuable lessons Jericho learned throughout his career as a wrestler and musician.",
"Jericho's fourth book, No Is a Four-Letter Word: How I Failed Spelling but Succeeded in Life, was released on August 29, 2017 and details twenty valuable lessons Jericho learned throughout his career as a wrestler and musician. Jericho appeared in the 2009 film Albino Farm.",
"Jericho appeared in the 2009 film Albino Farm. In the film MacGruber, released May 21, 2010, he briefly appeared as Frank Korver, a former military teammate of the eponymous Green Beret, Navy Seal, and Army Ranger.",
"In the film MacGruber, released May 21, 2010, he briefly appeared as Frank Korver, a former military teammate of the eponymous Green Beret, Navy Seal, and Army Ranger. Jericho released a comedy web series on October 29, 2013 that is loosely based on his life entitled But I'm Chris Jericho!",
"Jericho released a comedy web series on October 29, 2013 that is loosely based on his life entitled But I'm Chris Jericho! Jericho plays a former wrestler, struggling to make it big as an actor. A second season was produced in 2017 by CBC and distributed over CBC's television app and CBC.ca.",
"A second season was produced in 2017 by CBC and distributed over CBC's television app and CBC.ca. In 2016, Jericho starred in the documentary film Nine Legends alongside Mike Tyson and other wrestlers. In August 2018, Jericho was confirmed to star in the film Killroy Was Here.",
"In August 2018, Jericho was confirmed to star in the film Killroy Was Here. On March 14, 2019, filmmaker Kevin Smith cast Jericho as a KKK Grand Wizard in Jay and Silent Bob Reboot.",
"On March 14, 2019, filmmaker Kevin Smith cast Jericho as a KKK Grand Wizard in Jay and Silent Bob Reboot. Television Jericho was a contributor to the VH1 pop culture shows Best Week Ever, I Love the '80s, and VH1's top 100 artists.",
"Television Jericho was a contributor to the VH1 pop culture shows Best Week Ever, I Love the '80s, and VH1's top 100 artists. Jericho also hosted the five-part, five-hour VH1 special 100 Most Shocking Music Moments, an update of the original special 100 Most Shocking Moments in Rock N' Roll first hosted by Mark McGrath of Sugar Ray.",
"Jericho also hosted the five-part, five-hour VH1 special 100 Most Shocking Music Moments, an update of the original special 100 Most Shocking Moments in Rock N' Roll first hosted by Mark McGrath of Sugar Ray. On July 12, 2006, he made an appearance on G4's Attack of the Show!",
"On July 12, 2006, he made an appearance on G4's Attack of the Show! ; he made a second appearance on August 21, 2009. In May 2006, Jericho appeared on VH1's 40 Greatest Metal Songs and Heavy: The Story of Metal as a commentator.",
"In May 2006, Jericho appeared on VH1's 40 Greatest Metal Songs and Heavy: The Story of Metal as a commentator. He was one of eight celebrities in the 2006 Fox Television singing reality show Celebrity Duets, produced by Simon Cowell, and was the first contestant eliminated.",
"He was one of eight celebrities in the 2006 Fox Television singing reality show Celebrity Duets, produced by Simon Cowell, and was the first contestant eliminated. Jericho worked at a McDonald's to show off his skills while prepping for the show.",
"Jericho worked at a McDonald's to show off his skills while prepping for the show. Jericho hosted his own reality show in 2008 titled Redemption Song, in which 11 women tried their hand at getting into the music scene. It was shown on Fuse TV.",
"It was shown on Fuse TV. He guest starred as Billy \"The Body Bag\" Cobb in \"Xero Control\", an episode of the Disney XD 2009 original series Aaron Stone. He hosted VH1's 100 Most Shocking Music Moments, which began airing in December 2009.",
"He hosted VH1's 100 Most Shocking Music Moments, which began airing in December 2009. In June 2010, Jericho was named the host of the ABC prime-time game show Downfall. On March 1, 2011, Chris Jericho was named one of the contestants on the 2011 lineup of Dancing with the Stars.",
"On March 1, 2011, Chris Jericho was named one of the contestants on the 2011 lineup of Dancing with the Stars. His partner was two-time champion Cheryl Burke. This led to a wave of publicity, including an interview with Jay Leno. On April 26, Jericho was the fifth contestant eliminated on the show.",
"On April 26, Jericho was the fifth contestant eliminated on the show. On May 5, Jericho made his third appearance as a guest on Attack of the Show! where he depicted Thor. He promoted Undisputed and hosted the Revolver Golden Gods Awards on May 28 on VH1 Classic.",
"He promoted Undisputed and hosted the Revolver Golden Gods Awards on May 28 on VH1 Classic. On January 17, 2012, Jericho made his fourth appearance on Attack of the Show!",
"On January 17, 2012, Jericho made his fourth appearance on Attack of the Show! in a segment called \"Twitter Twister\" where he portrayed a character called \"The Twistercutioner\" and read tweets as instructions for a game of Twister between Kevin and Candace.",
"in a segment called \"Twitter Twister\" where he portrayed a character called \"The Twistercutioner\" and read tweets as instructions for a game of Twister between Kevin and Candace. Jericho hosted the UK's Metal Hammer Golden Gods Awards in 2012 and 2017.",
"Jericho hosted the UK's Metal Hammer Golden Gods Awards in 2012 and 2017. On February 26, 2013, Jericho began hosting a robot combat competition program on SyFy titled Robot Combat League the series ended on April 23, 2015. Talk Is Jericho podcast In December 2013, Jericho began hosting his own podcast, Talk is Jericho.",
"Talk Is Jericho podcast In December 2013, Jericho began hosting his own podcast, Talk is Jericho. Episodes usually include a loosely scripted monolog before an interview, typically with a wrestler, rock musician or paranormal expert.",
"Episodes usually include a loosely scripted monolog before an interview, typically with a wrestler, rock musician or paranormal expert. The show originally appeared on PodcastOne, before moving to the WestwoodOne network in 2018. Notable guests on the show include Bruce Dickinson from Iron Maiden, Lemmy from Motörhead, Paul Stanley from KISS, Zak Bagans from Ghost Adventures, pornographic actress Asa Akira, writer/director Kevin Smith and many former and current wrestlers.",
"The show originally appeared on PodcastOne, before moving to the WestwoodOne network in 2018. Notable guests on the show include Bruce Dickinson from Iron Maiden, Lemmy from Motörhead, Paul Stanley from KISS, Zak Bagans from Ghost Adventures, pornographic actress Asa Akira, writer/director Kevin Smith and many former and current wrestlers. In April 2015, Jericho hosted his own video podcast on the WWE Network, Live!",
"In April 2015, Jericho hosted his own video podcast on the WWE Network, Live! with Chris Jericho, with John Cena as his first guest, followed by Stephanie McMahon as his guest later that same month. Once he signed with AEW, he was no longer allowed WWE performers as guests on the podcast.",
"Once he signed with AEW, he was no longer allowed WWE performers as guests on the podcast. Web On August 10, 2019, Jericho launched his own dirtsheet website called WebIsJericho.com. The website is dedicated to the memory of Axl Rotten.",
"The website is dedicated to the memory of Axl Rotten. In May 2020, Jericho officially joined as a competitor of the Movie Trivia Schmoedown under manager Roxy Striar in the Roxstars faction. Jericho first expressed interest in the Schmoedown following an appearance on Collider Live with Striar and Schmoedown commissioner Kristian Harloff.",
"Jericho first expressed interest in the Schmoedown following an appearance on Collider Live with Striar and Schmoedown commissioner Kristian Harloff. He became friends with Striar following the interview and kept in contact. During the 2020 season, Jericho contacted Striar, asking to be a part of the league.",
"During the 2020 season, Jericho contacted Striar, asking to be a part of the league. Striar formally drafted Jericho into her faction during the first free-agent period following the season-opening draft. His first match is scheduled for August 27 against Kevin Smith.",
"His first match is scheduled for August 27 against Kevin Smith. Cruises In 2017, Jericho launched Chris Jericho's Rock 'N' Wrestling Rager at Sea, a cruise \"combining the worlds of rock and wrestling with a once in a lifetime amazing vacation experience\".",
"Cruises In 2017, Jericho launched Chris Jericho's Rock 'N' Wrestling Rager at Sea, a cruise \"combining the worlds of rock and wrestling with a once in a lifetime amazing vacation experience\". The cruise featured live band performances, artist-hosted activities and a Sea of Honor Tournament with over a dozen Ring of Honor wrestlers competing.",
"The cruise featured live band performances, artist-hosted activities and a Sea of Honor Tournament with over a dozen Ring of Honor wrestlers competing. Guests had the opportunity to get up close and personal with Chris and his closest wrestling, comedian, and musician friends including Jim Ross, Diamond Dallas Page and Jim Breuer, among others.",
"Guests had the opportunity to get up close and personal with Chris and his closest wrestling, comedian, and musician friends including Jim Ross, Diamond Dallas Page and Jim Breuer, among others. The cruise sailed October 27–31, 2018 from Miami to Nassau, Bahamas.",
"The cruise sailed October 27–31, 2018 from Miami to Nassau, Bahamas. Jericho hosted a second cruise, Chris Jericho's Rock 'N' Wrestling Rager at Sea Part Deux: Second Wave, which run from January 20–24, 2020.",
"Jericho hosted a second cruise, Chris Jericho's Rock 'N' Wrestling Rager at Sea Part Deux: Second Wave, which run from January 20–24, 2020. A third cruise, Chris Jericho's Rock 'N' Wrestling Rager at Sea Triple Whammy, is scheduled for October 21–25, 2021.",
"A third cruise, Chris Jericho's Rock 'N' Wrestling Rager at Sea Triple Whammy, is scheduled for October 21–25, 2021. Video games Jericho has appeared in numerous video games. They include WCW/nWo Revenge, WCW Nitro, WCW/nWo Thunder, WCW Mayhem, WWF WrestleMania 2000, WWF No Mercy, WWF SmackDown!, WWF SmackDown!",
"They include WCW/nWo Revenge, WCW Nitro, WCW/nWo Thunder, WCW Mayhem, WWF WrestleMania 2000, WWF No Mercy, WWF SmackDown!, WWF SmackDown! 2: Know Your Role, WWF SmackDown! Just Bring It, WWF Raw, WWE SmackDown! Shut Your Mouth, WWE SmackDown! Here Comes the Pain, WWE SmackDown!",
"Here Comes the Pain, WWE SmackDown! vs. Raw, WWE SmackDown! vs. Raw 2006, WWE SmackDown vs. Raw 2009, WWE All Stars, WWE SmackDown vs. Raw 2010, WWE SmackDown vs.",
"Raw 2010, WWE SmackDown vs. Raw 2011, WWE '13, WWE 2K14, WWE 2K15, WWE 2K16, WWE 2K17, WWE 2K18, WWE 2K19 and the upcoming All Elite Wrestling video game. Personal life Irvine married Jessica Lockhart on July 30, 2000.",
"Personal life Irvine married Jessica Lockhart on July 30, 2000. They reside in Odessa, Florida, with their three children: son Ash Edward Irvine (born 2003) and identical twin daughters Sierra Loretta \"SiSi\" Irvine and Cheyenne Lee \"Chey\" Irvine (born 2006).",
"They reside in Odessa, Florida, with their three children: son Ash Edward Irvine (born 2003) and identical twin daughters Sierra Loretta \"SiSi\" Irvine and Cheyenne Lee \"Chey\" Irvine (born 2006). All three have been guests on his podcast, Talk Is Jericho, with his son discussing fish and his daughters discussing literature.",
"All three have been guests on his podcast, Talk Is Jericho, with his son discussing fish and his daughters discussing literature. Irvine owns three cats. In October 2020, Irvine reportedly donated $3,000 to Donald Trump's presidential re-election campaign. Irvine is a Christian.",
"Irvine is a Christian. Irvine is a Christian. He has a tattoo of his wife's name on his ring finger. He has the letter F, representing Fozzy, on the back of his hand. Since 2012, he has gradually gotten a sleeve over his left arm.",
"Since 2012, he has gradually gotten a sleeve over his left arm. His tattoos include: the artwork of Fozzy's album Sin and Bones, a Jack-o'-lantern (Avenged Sevenfold vocalist M. Shadows, who collaborated with Fozzy on the track \"Sandpaper\" from Sin and Bones, also got a matching tattoo), a lake monster, and himself from his WWF debut in 1999.",
"His tattoos include: the artwork of Fozzy's album Sin and Bones, a Jack-o'-lantern (Avenged Sevenfold vocalist M. Shadows, who collaborated with Fozzy on the track \"Sandpaper\" from Sin and Bones, also got a matching tattoo), a lake monster, and himself from his WWF debut in 1999. On July 5, 2004, Irvine was awarded Manitoba's The Order of the Buffalo Hunt, for his achievements in wrestling and his commitment to working with underprivileged children.",
"On July 5, 2004, Irvine was awarded Manitoba's The Order of the Buffalo Hunt, for his achievements in wrestling and his commitment to working with underprivileged children. – \"After that, Gary Doer, the premier of Manitoba, awarded me with the Order of the Buffalo Hunt, which was the province's highest honor.",
"– \"After that, Gary Doer, the premier of Manitoba, awarded me with the Order of the Buffalo Hunt, which was the province's highest honor. It was quite the prestigious prize, which has been given to such dignitaries such as Mother Teresa, Desmond Tutu, Jimmy Carter, Pope John Paul II, and now Chris Jericho.\"",
"It was quite the prestigious prize, which has been given to such dignitaries such as Mother Teresa, Desmond Tutu, Jimmy Carter, Pope John Paul II, and now Chris Jericho.\" / caption: \"Manitoba Premier Gary Doer presents me with the Order of the Buffalo Hunt, along with a tiny bronze buffalo.",
"/ caption: \"Manitoba Premier Gary Doer presents me with the Order of the Buffalo Hunt, along with a tiny bronze buffalo. I'm thinking, 'That's all I get?'\"",
"I'm thinking, 'That's all I get?'\" Since January 2012, Irvine (along with former NFL Quarterback Tim Tebow, former NFL player Derrick Brooks, and former Atlanta Braves player Chipper Jones) has been the co-owner of a sports training facility in Tampa, a franchise site of D1 Sports Training and Therapy.",
"Since January 2012, Irvine (along with former NFL Quarterback Tim Tebow, former NFL player Derrick Brooks, and former Atlanta Braves player Chipper Jones) has been the co-owner of a sports training facility in Tampa, a franchise site of D1 Sports Training and Therapy. Irvine is a fan of Japanese convenience store chain Lawson, which Irvine would frequently shop at when he wrestled in Japan in the 1990s.",
"Irvine is a fan of Japanese convenience store chain Lawson, which Irvine would frequently shop at when he wrestled in Japan in the 1990s. Irvine still visits Lawson whenever he returns to Japan, whether to wrestle or if he is touring with Fozzy.https://www.instagram.com/p/CQCwN9vjtO_/ Legal issues On February 7, 2009, a fan accused Irvine of punching her after she spat at him with fans outside Save-On-Foods Memorial Centre in Victoria, British Columbia after a live event.",
"Irvine still visits Lawson whenever he returns to Japan, whether to wrestle or if he is touring with Fozzy.https://www.instagram.com/p/CQCwN9vjtO_/ Legal issues On February 7, 2009, a fan accused Irvine of punching her after she spat at him with fans outside Save-On-Foods Memorial Centre in Victoria, British Columbia after a live event. Video footage, however, clearly showed he did not make contact with the woman.",
"Video footage, however, clearly showed he did not make contact with the woman. As a result of the incident, police detained them, but released them without charge. Police did not press charges against anyone in the brawl as it was \"hard to determine who provoked whom\".",
"Police did not press charges against anyone in the brawl as it was \"hard to determine who provoked whom\". On January 27, 2010, Irvine and fellow wrestler Gregory Helms were arrested in Fort Mitchell, Kentucky after leaving a bar. A police report stated that Helms punched Irvine and the other passengers in the cab.",
"A police report stated that Helms punched Irvine and the other passengers in the cab. Fellow wrestlers Christian and CM Punk bailed them out later.",
"Fellow wrestlers Christian and CM Punk bailed them out later. Filmography Film Television Video games Championships and accomplishments All Elite Wrestling AEW World Championship (1 time) AEW Dynamite Awards (2 times) Bleacher Report PPV Moment of the Year (2021) – Biggest Beatdown (2021) – The Baltimore Sun Feud of the Year (2008) Canadian Rocky Mountain Wrestling CRMW North American Heavyweight Championship (1 time) CRMW North American Tag Team Championship (2 times) – with Lance Storm CRMW Mid-Heavyweight Championship (2 times) Consejo Mundial de Lucha Libre NWA World Middleweight Championship (1 time) Extreme Championship Wrestling ECW World Television Championship (1 time) International Wrestling Alliance IWA Junior Heavyweight Championship (1 time) New Japan Pro-Wrestling IWGP Intercontinental Championship (1 time) Pro Wrestling Illustrated Faction of the Year (2021) – with The Inner Circle Feud of the Decade (2000s) Feud of the Year (2008) Feud of the Year (2021) Most Hated Wrestler of the Year (2002, 2008) Ranked No.",
"Filmography Film Television Video games Championships and accomplishments All Elite Wrestling AEW World Championship (1 time) AEW Dynamite Awards (2 times) Bleacher Report PPV Moment of the Year (2021) – Biggest Beatdown (2021) – The Baltimore Sun Feud of the Year (2008) Canadian Rocky Mountain Wrestling CRMW North American Heavyweight Championship (1 time) CRMW North American Tag Team Championship (2 times) – with Lance Storm CRMW Mid-Heavyweight Championship (2 times) Consejo Mundial de Lucha Libre NWA World Middleweight Championship (1 time) Extreme Championship Wrestling ECW World Television Championship (1 time) International Wrestling Alliance IWA Junior Heavyweight Championship (1 time) New Japan Pro-Wrestling IWGP Intercontinental Championship (1 time) Pro Wrestling Illustrated Faction of the Year (2021) – with The Inner Circle Feud of the Decade (2000s) Feud of the Year (2008) Feud of the Year (2021) Most Hated Wrestler of the Year (2002, 2008) Ranked No. 2 of the top 500 singles wrestlers in the PWI 500 in 2009 Rolling Stone Ranked No.",
"2 of the top 500 singles wrestlers in the PWI 500 in 2009 Rolling Stone Ranked No. 3 of the 10 best WWE wrestlers of 2016 World Championship Wrestling WCW Cruiserweight Championship (4 times) WCW World Television Championship (1 time) World Wrestling Federation/Entertainment/WWE Undisputed WWF Championship (1 time) World Heavyweight Championship (3 times) WCW/World Championship (2 times) WWF/WWE Intercontinental Championship (9 times) WWE United States Championship (2 times) WWF European Championship (1 time) WWF Hardcore Championship (1 time) WWE Tag Team Championship (2 times) – with Edge (1) and Big Show (1) WWF/World Tag Team Championship (5 times) – with Chris Benoit (1), The Rock (1), Christian (1), Edge (1), and Big Show (1) Bragging Rights Trophy (2009) – with Team SmackDown WWF Undisputed Championship Tournament (2001) Fourth Grand Slam Champion Ninth Triple Crown Champion Slammy Award (3 times) Extreme Moment of the Year (2014) Superstar of the Year (2008) Tag Team of the Year (2009) – with Big Show Wrestle Association \"R\" WAR International Junior Heavyweight Championship (1 time) WAR International Junior Heavyweight Tag Team Championship (1 time) – with Gedo World Wrestling Association WWA Tag Team Championship (1 time) – with El Dandy Wrestling Observer Newsletter Wrestler of the Year (2008, 2009, 2019) Best on Interviews (2003, 2008, 2009, 2019) Best on Interviews of the Decade (2000s) Feud of the Year (2008) Pro Wrestling Match of the Year (2008) Most Underrated Wrestler (1999, 2000) Readers' Favorite Wrestler (1999) United States/Canada MVP (2019) Most Charismatic (2019) Best Box Office Draw (2019) Best Pro Wrestling Book (2011) Wrestling Observer Newsletter Hall of Fame (Class of 2010) Luchas de Apuestas record Notes References Further reading External links 1970 births 21st-century American male actors 21st-century American singers 21st-century Canadian male actors 21st-century Canadian male singers AEW World Champions All Elite Wrestling personnel American Christians American color commentators American game show hosts American hard rock musicians American heavy metal singers American male film actors American male professional wrestlers American male singer-songwriters American male television actors American memoirists American men podcasters American people of Scottish descent American people of Ukrainian descent American podcasters American radio personalities American rock singers American rock songwriters American YouTubers Canadian Christians Canadian colour commentators Canadian expatriate professional wrestlers in the United States Canadian game show hosts Canadian hard rock musicians Canadian heavy metal singers Canadian male film actors Canadian male professional wrestlers Canadian male singers Canadian male singer-songwriters Canadian male television actors Canadian memoirists Canadian men podcasters Canadian people of Scottish descent Canadian people of Ukrainian descent Canadian podcasters Canadian radio personalities Canadian rock singers Canadian YouTubers Christians from New York (state) ECW World Television Champions Expatriate professional wrestlers in Japan Expatriate professional wrestlers in Mexico Fozzy members IWGP Intercontinental champions Living people Male actors from New York (state) Male actors from Winnipeg Male YouTubers Musicians from Winnipeg NWA/WCW World Television Champions NWA/WCW/WWE United States Heavyweight Champions Participants in American reality television series People from Manhasset, New York Professional wrestlers from Manitoba Professional wrestlers from New York (state) Professional wrestling podcasters Red River College alumni Singer-songwriters from New York (state) Sportspeople from Winnipeg WCW World Heavyweight Champions World Heavyweight Champions (WWE) WWE Champions WWE Grand Slam champions WWF European Champions WWF/WWE Hardcore Champions WWF/WWE Intercontinental Champions"
] |
[
"Chris Hedges",
"The New York Times"
] | C_93d6f68d107c4aad9ce4395c004be4ac_1 | Who did he work for | 1 | Who did Chris Hedges work for? | Chris Hedges | Hedges worked for 15 years as a foreign correspondent for The New York Times. He was based in the Middle East for five years, serving for four of those years as the Middle East bureau chief. He covered the war in the former Yugoslavia as the Balkan bureau chief based in Sarajevo. He later covered Al Qaeda in Europe and the Middle East from Paris. Three of Hedges' articles were based upon the stories of Iraqi defectors, who had been furnished to Hedges by the Information Collection Program of the US-funded Iraqi National Congress. The program promoted stories to major media outlets in order to orchestrate US intervention in Iraq in the aftermath of the 9/11 attacks. Most significant of his reports in this period was a November 8, 2001, front-page story about two former Iraqi military commanders who claimed to have trained foreign mujahedeen how to hijack planes without using guns. Hedges quoted a man whom he believed to be an Iraqi general: "These Islamic radicals ... came from a variety of countries, including Saudi Arabia, Yemen, Algeria, Egypt, and Morocco. We were training these people to attack installations important to the United States". The two defectors also asserted there was a secret compound in Salman Pak facility where a German scientist was producing biological weapons. According to Mother Jones: "The impact of the article ... was immediate: Op-eds ran in major papers, and the story was taken to a wider audience through cable-TV talk shows. When Condoleezza Rice, then George W. Bush's national security adviser, was asked about the report at a press briefing, she said, 'I think it surprises no one that Saddam Hussein is engaged in all kinds of activities that are destabilizing.'" As late as 2006, conservative magazines including The Weekly Standard and National Review continued to use this article to justify the invasion of Iraq. It later was revealed that the story which Hedges reported was "an elaborate scam". The defector whom Hedges quoted, who had identified himself as Lt. General Jamal al-Ghurairy, was a former sergeant. The real Ghurairy had never left Iraq. Hedges said that he had taken on reporting this account at the request of Lowell Bergman of Frontline, who wanted the defectors for his show but could not go to Beirut for the interview. The trip had been organized by Ahmed Chalabi, whom Hedges considered to be unreliable. Hedges said he had done the piece as a favor to Bergman, explaining, "There has to be a level of trust between reporters. We cover each other's sources when it's a good story because otherwise everyone would get hold of it." Hedges had relied on the US embassy in Turkey for further confirmation of the man's identity. Hedges wrote two more articles that year that were informed by Chalabi-coached defectors. The second one, claiming that Iraq still held 80 Kuwaitis captured in the 1991 Gulf War in a secret underground prison, was also found to be baseless. CANNOTANSWER | The New York Times. | Christopher Lynn Hedges (born September 18, 1956) is an American journalist, Presbyterian minister, author and television host. A former reporter for The New York Times, Hedges has pursued work and activism related to covering his perspectives on political violence and critical views on American liberalism.
In his early career, Hedges worked as a freelance war correspondent in Central America for The Christian Science Monitor, NPR, and Dallas Morning News. Hedges began working for The New York Times in 1990. During his fifteen year tenure, Hedges reported from more than fifty countries and served as the Times Middle East Bureau Chief and Balkan Bureau Chief during the wars in the former Yugoslavia.
In 2001, Hedges contributed to The New York Times staff entry that received the 2002 Pulitzer Prize for Explanatory Reporting for the paper's coverage of global terrorism. He also received the Amnesty International Global Award for Human Rights Journalism in 2002. Hedges left the Times in 2005 after an internal dispute over his public opposition to the Iraq War.
Hedges produced a weekly column for Truthdig for 14 years until the outlet's unexpected hiatus in 2020. Hedges' books include War Is a Force That Gives Us Meaning (2002), a finalist for the National Book Critics Circle Award for Nonfiction; American Fascists: The Christian Right and the War on America (2007); Death of the Liberal Class (2010); and Days of Destruction, Days of Revolt (2012), written with cartoonist Joe Sacco.
Hedges has taught at Columbia University, New York University, the University of Toronto and Princeton University. He has taught college credit writing courses in New Jersey prisons as part of the B.A. program offered by Rutgers University.
Hedges hosts the Emmy-nominated program On Contact for the RT (formerly Russia Today) television network. Hedges has described himself as a socialist and an anarchist, identifying with Dorothy Day in particular.
Early life
Christopher Lynn Hedges was born on September 18, 1956 in St. Johnsbury, Vermont. His father was a World War II veteran, Presbyterian minister, and anti-war activist. He grew up in rural Schoharie County, New York, southwest of Albany.
Education
Hedges received a scholarship to attend Loomis Chaffee School, a private boarding school in Windsor, Connecticut. Hedges founded an underground newspaper at the school that was banned by the administration and resulted in his being put on probation. He graduated in 1975.
Hedges enrolled into Colgate University and, though heterosexual, helped found an LGBT student group. Hedges received his Bachelor of Arts degree in English from Colgate in 1979. He received a Master of Divinity degree from Harvard University's Divinity School (where he studied under James Luther Adams) in 1983. Hedges lived in Roxbury, a blighted inner city neighborhood in Boston, as a seminarian and ran a small church. He was also a member of the Greater Boston YMCA's boxing team, writing that the boxing gym was "the only place I felt safe." He studied Latin and Classical Greek at Harvard.
Early career
Hedges began his career as a freelance journalist in Latin America. He wrote for several publications, including The Washington Post, and covered the Falklands War from Buenos Aires for National Public Radio. From 1983 to 1984, he covered the conflicts in El Salvador, Nicaragua and Guatemala for The Christian Science Monitor and NPR. He was hired as the Central America Bureau Chief for The Dallas Morning News in 1984 and held this position until 1988. Noam Chomsky wrote of Hedges at the time that he was one of the "few US journalists in Central America who merit the title."
Hedges took a sabbatical to study Arabic in 1988. He was appointed the Middle East Bureau Chief for The Dallas Morning News in 1989. In one of his first stories for the paper he tracked down Robert Manning, the prime suspect in the 1985 bombing death in California of Alex Odeh, head of the American-Arab Anti-Discrimination Committee’s Western office, in the Jewish settlement of Kiryat Arba in the Israeli-occupied West Bank. Before Hedges discovered Manning, Israel claimed it had no knowledge of Manning’s whereabouts. Manning, linked to the militant Jewish Defense League and allegedly behind several murders, was extradited to the United States in 1991 where he is serving a life sentence for a separate bombing incident.
The New York Times
In 1990, Hedges was hired by The New York Times. He covered the first Gulf War for the paper, where he refused to participate in the military pool system that restricted the movement and reporting of journalists. He was arrested by the United States Army and had his press credentials revoked, but continued to defy the military restrictions to report outside the pool system. Hedges subsequently entered Kuwait with U.S. Marine Corps members who were distrustful of the Army's press control. Within The New York Times, R.W. Apple Jr. supported Hedges' defiance of the pool system.
Hedges was taken prisoner in Basra after the war by the Iraqi Republican Guard during the Shiite uprising. He was freed after a week. Hedges was appointed the paper’s Middle East Bureau Chief in 1991. His reporting on the atrocities committed by Saddam Hussein in the Kurdish-held parts of northern Iraq saw the Iraqi leader offer a bounty for anyone who killed Hedges, along with other western journalists and aid workers in the region. Several aid workers and journalists, including the German reporter Lissy Schmidt, were assassinated and others were severely wounded.
Yugoslav Wars (1995–2000)
In 1995, Hedges was named the Balkan Bureau Chief for The New York Times. He was based in Sarajevo when the city was being hit by over 300 shells a day by the surrounding Bosnia Serbs. He reported on the Srebrenica massacre in July 1995 and shortly after the war uncovered what appeared to be one of the central collection points and hiding places for perhaps thousands of corpses at the large open pit Ljubija mine during the Bosnian Serbs' ethnic cleansing campaign. He and the photographer Wade Goddard were the first reporters to travel with armed units of the Kosovo Liberation Army (KLA) in Kosovo. Hedges investigative piece was published in The New York Times in June 1999 detailing how Hashim Thaçi, leader of the Kosovo Liberation Army (and later president of Kosovo), directed a campaign in which as many as half a dozen top rebel commanders were assassinated and many others were brutally purged to consolidate his power. Thaci, indicted by the special court in The Hague on 10 counts of war crimes, is in detention in The Hague awaiting trial.
Hedges was a Nieman Fellow at Harvard University during the 1998–1999 academic year.
Hedges ended his career of reporting in active conflicts in October 2000, partly due to trauma sustained from witnessing the death of a juvenile boy in Kosovo during a firefight.
Terrorism coverage and Iraq War (2001–2005)
Hedges was based in Paris following the attacks of 9/11, covering Al Qaeda in Europe and the Middle East. He was a part of an investigative team in The New York Times that won the Pulitzer Prize for Breaking News Reporting in 2002 for their coverage of Al Qaeda. Hedges' contribution was an October 2001 article describing Al Qaeda's foiled bombing plot of the Embassy of the United States, Paris. Most of the awarded reporting was done by Judith Miller, who was later disgraced due to her work that falsely connected the operations of Al Qaeda to the Republic of Iraq led by Saddam Hussein. Many Times editors pushed to utilize dubious American intelligence reports that gave misleading or fabricated details around an alleged Iraqi connection to international terror.
Reporting from coached defectors
In a collaboration between The New York Times and Frontline, Hedges authored three articles covering the claims of false Iraqi defectors. Hedges worked on the behalf of Lowell Bergman of Frontline, who could not travel to Beirut to interview the purported defectors. The trip was organized by Ahmed Chalabi, who Hedges considered to be unreliable. The first defector Hedges interviewed identified themselves as Lt. General Jamal al-Ghurairy. Hedges consulted the U.S. Embassy in Turkey to confirm their identity, and the embassy falsely did so as the real al-Ghurairy had never left Iraq.
Hedges wrote a November 8, 2001 Times cover story about two former Iraqi military commanders who claimed to have trained foreign mujahedeen how to hijack planes and destroy vital American infrastructure. The two defectors also asserted there was a secret compound in Salman Pak facility where a German scientist was producing biological weapons. The Frontline report featured statements from American officials who doubted the claims of the defectors.
According to Jack Fairweather in Mother Jones: "The impact of the article ... was immediate: Op-eds ran in major papers, and the story was taken to a wider audience through cable-TV talk shows. When Condoleezza Rice, then President George W. Bush's national security adviser, was asked about the report at a press briefing, she said, 'I think it surprises no one that Saddam Hussein is engaged in all kinds of activities that are destabilizing. As late as 2006, according to Fairweather in the same article, conservative magazines including The Weekly Standard and National Review continued to use this article to justify the invasion of Iraq.
In the aftermath of the revelations that the Iraqi defectors were not legitimate, Hedges defended his comportment since he had done the story as a favor to Lowell Bergman, adding that "There has to be a level of trust between reporters. We cover each other's sources when it's a good story because otherwise everyone would get hold of it."
Exit from the Times
In 2003, Hedges was reprimanded by The New York Times for his opposition to U.S. involvement in the Iraq War because of perceived challenges to partiality. This was a motivating factor for his resignation from the Times in 2005.
Later career
In 2005, Hedges left The New York Times to become a senior fellow at Type Media Center, and a columnist at Truthdig, in addition to writing books and teaching inmates at a New Jersey correctional institution.
Obey, a 2013 documentary by British filmmaker Temujin Doran, is based on Hedges' book Death of the Liberal Class.
Truthdig (2006–2020)
Hedges produced a weekly column in Truthdig for 14 years. He was fired along with all of the editorial staff in March 2020. Hedges and the staff had gone on strike earlier in the month to protest the publisher's attempt to fire the Editor-in-Chief Robert Scheer, demand an end to a series of unfair labor practices and the right to form a union. Hedges has since been a writer for Scheerpost.
Citation error controversy
In June 2014, Christopher Ketcham published an article on The New Republic website accusing Hedges of improper citations, alleging the offenses constituted plagiarism. In response, some formatting and reference errors were corrected on the website for Truthdig. Additional accusations of plagiarism from Ketcham were countered by an independent investigation from the Type Media Center.
The Washington Free Beacon reported that a spokesperson for The New York Times said it "did not have reason to believe Hedges plagiarized in his work for the paper" and had no plans to investigate Hedges for plagiarism.
Prison writing teacher
Hedges has worked for a decade teaching writing classes in prisons in New Jersey through a program offered by Princeton University and later Rutgers University. A class that Hedges taught at East Jersey State Prison in 2013 went on to collaborate in the creation of a play titled Caged. Hedges has become a fierce critic of mass incarceration in the United States, and his experience as an educator in New Jersey prisons served as inspiration for his 2021 book Our Class: Trauma and Transformation in an American Prison.
Ordination and ministerial installation
On October 5, 2014, Hedges was ordained a minister within the Presbyterian Church. He was installed as Associate Pastor and Minister of Social Witness and Prison Ministry at the Second Presbyterian Church Elizabeth in Elizabeth, New Jersey. He mentioned being rejected for ordination 30 years earlier, saying that "going to El Salvador as a reporter was not something the Presbyterian Church at the time recognized as a valid ministry, and a committee rejected my 'call.
Political views
Economic views
Hedges contended at the Left Forum in 2015 that with the "denouement of capitalism and the disintegration of globalism", Karl Marx has been "vindicated as capitalism's most prescient and important critic". He said that Marx "foresaw that capitalism had built within it the seeds of its own destruction. He knew that reigning ideologies—think neoliberalism—were created to serve the interests of the elites and in particular the economic elites."
Environmental views
In a March 2009 column, Hedges warned that human over-population and mass species extinction are serious problems, and that any measures to save the ecosystem will be futile unless we cut population growth, and noted that, "As long as the Earth is viewed as the personal property of the human race, a belief embraced by everyone from born-again Christians to Marxists to free-market economists, we are destined to soon inhabit a biological wasteland."
On September 20, 2014, a day before the People's Climate March, Hedges joined Bernie Sanders, Naomi Klein, Bill McKibben, and Kshama Sawant on a panel moderated by WNYC's Brian Lehrer to discuss the issue of climate change. Hedges and Klein also participated in the 'Flood Wall Street' protests that occurred shortly thereafter.
Hedges' environmental concerns were his primary motivation to be vegan. Hedges authored an introduction to a vegan cookbook in 2015.
Other views
In March 2008, Hedges published the book titled I Don't Believe in Atheists, in which he argues that new atheism presents a danger that is similar to religious extremism.
In a December 2014 TruthDig column, Hedges compared the ethnic cleansing of ISIS to the actions of Israel's founding fathers in the late 1940s.
Hedges has repudiated the view that the Founding Fathers of the United States represented a legitimate form of democracy, writing that they rigged America's electoral process to thwart direct democracy and to protect the property rights of the aristocracy. He has written that the Electoral College has served to disenfranchise women, Native Americans, African Americans, and men who do not own property. He has praised abolitionists, labor organizers, women's suffragists, civil rights protestors, and anti-war activists for bringing some change to the structure of the U.S. government.
Hedges told Julian Casablancas, the lead singer for The Strokes who interviewed him for Rolling Stone on December 23, 2020, that one of the few events worth celebrating in American history took place on June 25, 1876 when Lakota, Northern Cheyenne, and Arapaho, led by Crazy Horse and Chief Gall, annihilated the 7th Cavalry under the command of Lt. Col. George Armstrong Custer.
Activism
Anti-war activism
Hedges was an early critic of the Iraq War. In May 2003, he delivered a commencement address at Rockford College in Rockford, Illinois, saying: "We are embarking on an occupation that, if history is any guide, will be as damaging to our souls as it will be to our prestige and power and security." His speech was received with boos, "two students approached the stage to push [him] off the podium" (as he told an interviewer), and his microphone was shut off three minutes after he began speaking. Hedges had to end the commencement speech short because of the various student disruptions.
The New York Times, his employer, criticized his statements and issued him a formal reprimand for "public remarks that could undermine public trust in the paper's impartiality".
On December 16, 2010, he was arrested outside the White House along with Daniel Ellsberg and more than 100 activists who were protesting the war in Afghanistan.
In a piece published in Salon Magazine in March 2022, Hedges argued that NATO was at fault for Russia's invasion of Ukraine:The European Union has allocated hundreds of millions of euros to purchase weapons for Ukraine. Germany will almost triple its own defense budget for 2022. The Biden administration has asked Congress to provide $6.4 billion in funding to assist Ukraine, supplementing the $650 million in military aid to Ukraine over the past year. The permanent war economy operates outside the laws of supply and demand. It is the root of the two-decade-long quagmire in the Middle East. It is the root of the conflict with Moscow.
Occupy involvement
Hedges appeared as a guest on an October 2011 episode of the CBC News Network's Lang and O'Leary Exchange to discuss his support for the Occupy Wall Street protests; co-host Kevin O'Leary criticized him, saying that he sounded "like a left-wing nutbar". Hedges said "it will be the last time" he appears on the show, and compared the CBC to Fox News. CBC's ombudsman found O'Leary's heated remarks to be a violation of the public broadcaster's journalistic standards.
On November 3, 2011, Hedges was arrested with others in New York as part of the Occupy Wall Street demonstration, during which the activists staged a "people's hearing" on the activities of the investment bank Goldman Sachs and blocked the entrance to their corporate headquarters.
NDAA lawsuit
In 2012, after the Obama administration signed the National Defense Authorization Act, or NDAA, Hedges sued members of the U.S. government, asserting that section 1021 of the law unconstitutionally allowed presidential authority for indefinite detention without habeas corpus. He was later joined in the suit, Hedges v. Obama, by activists including Noam Chomsky and Daniel Ellsberg. In May 2012 Judge Katherine B. Forrest of the Southern District of New York ruled that the counter-terrorism provision of the NDAA is unconstitutional. The Obama administration appealed the decision and it was overturned in July 2013 by the Second Circuit Court of Appeals. Hedges petitioned the U.S. Supreme Court to hear the case, but the Supreme Court denied certiorari in April 2014.
Other activism
In the 2008 United States presidential campaign, Hedges was a speech writer for candidate Ralph Nader.
On April 15, 2016, Hedges was arrested, along with 100 other protesters, during a sit-in outside the Capitol building in Washington D.C. during Democracy Spring to protest the capture of the political system by corporations.
On May 27, 2020, Hedges announced that he would run as a Green Party candidate in New Jersey's 12th congressional district for the 2020 elections. However, he was informed the following day that running for office would conflict with FCC fairness doctrine rules because he was at that time hosting the nationally broadcast RT America television show On Contact. Hedges decided not to pursue office in order to keep hosting the show.
In September 2020, Chris Hedges spoke at the Movement for a People's Party convention.
Personal life
Hedges is married to the Canadian actress Eunice Wong. The couple have two children. Hedges also has two children from a previous marriage. He currently lives in Princeton, New Jersey. On November 11, 2014, Hedges announced that he and his family had become vegan. Hedges compared his decision to a vow of abstinence, adding that it is necessary "to make radical changes to save ourselves from ecological meltdown."
Hedges has post-traumatic stress disorder from his experience reporting in war zones.
Hedges studied Latin and Ancient Greek at Harvard, and speaks Arabic, French, and Spanish in addition to his native English.
Books
2002: War Is a Force That Gives Us Meaning ()
2003: What Every Person Should Know About War ()
2005: Losing Moses on the Freeway: The 10 Commandments in America ()
2007: American Fascists: The Christian Right and the War on America ()
2008: I Don't Believe in Atheists ()
2008: Collateral Damage: America's War Against Iraqi Civilians, with Laila Al-Arian ()
2009: When Atheism Becomes Religion: America's New Fundamentalists, (), a retitled edition of I Don't Believe in Atheists
2009: Empire of Illusion: The End of Literacy and the Triumph of Spectacle ()
2010: Death of the Liberal Class ()
2010: The World As It Is: Dispatches on the Myth of Human Progress ()
2012: Days of Destruction, Days of Revolt, with Joe Sacco ()
2015: Wages of Rebellion: The Moral Imperative of Revolt ()
2016: Unspeakable ()
2018: America: The Farewell Tour ()
2021 Our Class: Trauma and Transformation in an American Prison ()
See also
Christian left
Sacrifice zone
References
External links
APB Speakers Bureau Chris Hedges
"Capitalism's 'Sacrifice Zones Bill Moyers talks with Chris Hedges, and comic-journalist Joe Sacco talking about their collaboration and showing drawings for their book Days of Destruction, Days of Revolt, July 20, 2012. Retrieved July 30, 2012
Columns by Chris Hedges at Truthdig
What Every Person Should Know About War, first chapter at The New York Times
Chris Hedges at Scheerpost.
1956 births
Living people
21st-century American male writers
21st-century American non-fiction writers
American anarchists
American anti-capitalists
American anti-fascists
American Christian socialists
American foreign policy writers
American male non-fiction writers
American political writers
American Presbyterians
American reporters and correspondents
American socialists
American war correspondents
Anarchist writers
Anti-consumerists
Anti-corporate activists
Christian anarchists
The Christian Science Monitor people
Colgate University alumni
Columbia University faculty
Critics of atheism
The Dallas Morning News people
Harvard Divinity School alumni
Loomis Chaffee School alumni
The Nation (U.S. magazine) people
The New York Times writers
Nieman Fellows
PEN Oakland/Josephine Miles Literary Award winners
People from Schoharie, New York
People from St. Johnsbury, Vermont
Presbyterian socialists
RT (TV network) people
War correspondents of the Iraq War
War correspondents of the Yugoslav Wars
Writers about religion and science | true | [
"Robert D. Gustafson (August 8, 1920 – November 28, 2001) was an American cartoonist whose work includes eight years on Tillie the Toiler and a 27-year run on the Beetle Bailey comic books.\n\nEarly life\nGustafson was born on August 8, 1920, in Brookline, Massachusetts. He served in the Army as a pilot and pitched semi-pro baseball in the Boston area. Gustafson attended Boston's School of the Museum of Fine Arts and did his first work for Bostonian magazine in the early 1940s.\n\nComic strips\nIn the post-World War II years he did his Sunday strip Specs for the New York Tribune Syndicate. Published for one full year (May 12, 1946 to May 25, 1947), it was a filler strip which did not always appear every week.\n\nIn the 1950s, he did gag cartoons for Ladies' Home Journal, Ridgefield Press, Good Housekeeping, The Saturday Evening Post, Collier's and Judge. He assisted on Russ Westover's Tillie the Toiler strip for King Features. After Westover departed, Gustafson's signature appeared on the strip beginning October 4, 1954 and ending March 7, 1959.\n\nIn the 1960s, he assisted as a writer on Joe Palooka for the McNaught Syndicate before joining Mort Walker's staff. From 1963 until the mid-1970s, he assisted on Walker's Beetle Bailey, Boner's Ark and Hi and Lois. Gustafson was mainly involved in the Beetle Bailey comic books published by Dell Publishing/Western (early 1960s), King Comics (mid-1960s) and Charlton Comics (early 1970s). He drew Robert Baldwin's Freddy for Dell Comics and his other work for Dell includes Mr. Magoo and Ponytail.\n\nEditorial cartoons\nIn later years, he did editorial cartoons for the Acorn group of Connecticut newspapers.\n\nAwards\nGustafson received the National Cartoonists Society Comic Book Award for 1962 and 1982 and their Humor Comic Book Award for 1971 and 1972. He retired to Old Greenwich, Connecticut and died there on November 28, 2001.\n\nReferences\n\nFurther reading\n Westover, Russ. Tillie the Toiler and the Masquerading Duchess (Whitman, 1943)\n\nExternal links\n Who's Who in Ridgefield\n NCS Awards\n Lambiek: Bob Gustafson\n Tillie the Toiler\n\n1920 births\n2001 deaths\nAmerican comic strip cartoonists\nAmerican editorial cartoonists\nAmerican people of Swedish descent\nPeople from Old Greenwich, Connecticut\nUnited States Army personnel",
"William Woolnoth (1780–1837) was an engraver. He was one of the engravers whose work was included in Cadell and Davies Britannia depicta. He did engravings of work by artists such as Thomas Mann Baynes, Robert Blemmell Schnebbelie, Frederick Wilton Litchfield Stockdale and Thomas Allom. He also did the engravings for Edward William Brayley's The ancient castles of England and Wales. He did the engravings for a book that he published in 1816 on the cathedral church of Canterbury (A graphical illustration of the metropolitan cathedral church of Canterbury; accompanied by a history and description of that venerable fabric) According to Oxford Reference he also did engraving work in Spain. He was also one of the engravers for The Architecture of M. Vitruvius Pollio in Ten Books (De architectura).\n\nHis engravings are part of the British Museum collection and National Archives. An engraving by Woolnoth is also included in the Gott Collection of William Gott, a wool merchant, and his son John Gott who was vicar of Leeds and Bishop of Truro.\n\nReferences\n\n1780 births\n1837 deaths\nEnglish engravers"
] | [
"Christopher Lynn Hedges (born September 18, 1956) is an American journalist, Presbyterian minister, author and television host. A former reporter for The New York Times, Hedges has pursued work and activism related to covering his perspectives on political violence and critical views on American liberalism.",
"A former reporter for The New York Times, Hedges has pursued work and activism related to covering his perspectives on political violence and critical views on American liberalism. In his early career, Hedges worked as a freelance war correspondent in Central America for The Christian Science Monitor, NPR, and Dallas Morning News.",
"In his early career, Hedges worked as a freelance war correspondent in Central America for The Christian Science Monitor, NPR, and Dallas Morning News. Hedges began working for The New York Times in 1990.",
"Hedges began working for The New York Times in 1990. During his fifteen year tenure, Hedges reported from more than fifty countries and served as the Times Middle East Bureau Chief and Balkan Bureau Chief during the wars in the former Yugoslavia.",
"During his fifteen year tenure, Hedges reported from more than fifty countries and served as the Times Middle East Bureau Chief and Balkan Bureau Chief during the wars in the former Yugoslavia. In 2001, Hedges contributed to The New York Times staff entry that received the 2002 Pulitzer Prize for Explanatory Reporting for the paper's coverage of global terrorism.",
"In 2001, Hedges contributed to The New York Times staff entry that received the 2002 Pulitzer Prize for Explanatory Reporting for the paper's coverage of global terrorism. He also received the Amnesty International Global Award for Human Rights Journalism in 2002. Hedges left the Times in 2005 after an internal dispute over his public opposition to the Iraq War.",
"Hedges left the Times in 2005 after an internal dispute over his public opposition to the Iraq War. Hedges produced a weekly column for Truthdig for 14 years until the outlet's unexpected hiatus in 2020.",
"Hedges produced a weekly column for Truthdig for 14 years until the outlet's unexpected hiatus in 2020. Hedges' books include War Is a Force That Gives Us Meaning (2002), a finalist for the National Book Critics Circle Award for Nonfiction; American Fascists: The Christian Right and the War on America (2007); Death of the Liberal Class (2010); and Days of Destruction, Days of Revolt (2012), written with cartoonist Joe Sacco.",
"Hedges' books include War Is a Force That Gives Us Meaning (2002), a finalist for the National Book Critics Circle Award for Nonfiction; American Fascists: The Christian Right and the War on America (2007); Death of the Liberal Class (2010); and Days of Destruction, Days of Revolt (2012), written with cartoonist Joe Sacco. Hedges has taught at Columbia University, New York University, the University of Toronto and Princeton University.",
"Hedges has taught at Columbia University, New York University, the University of Toronto and Princeton University. He has taught college credit writing courses in New Jersey prisons as part of the B.A. program offered by Rutgers University. Hedges hosts the Emmy-nominated program On Contact for the RT (formerly Russia Today) television network.",
"Hedges hosts the Emmy-nominated program On Contact for the RT (formerly Russia Today) television network. Hedges has described himself as a socialist and an anarchist, identifying with Dorothy Day in particular. Early life Christopher Lynn Hedges was born on September 18, 1956 in St. Johnsbury, Vermont.",
"Early life Christopher Lynn Hedges was born on September 18, 1956 in St. Johnsbury, Vermont. His father was a World War II veteran, Presbyterian minister, and anti-war activist. He grew up in rural Schoharie County, New York, southwest of Albany.",
"He grew up in rural Schoharie County, New York, southwest of Albany. Education Hedges received a scholarship to attend Loomis Chaffee School, a private boarding school in Windsor, Connecticut. Hedges founded an underground newspaper at the school that was banned by the administration and resulted in his being put on probation. He graduated in 1975.",
"He graduated in 1975. He graduated in 1975. Hedges enrolled into Colgate University and, though heterosexual, helped found an LGBT student group. Hedges received his Bachelor of Arts degree in English from Colgate in 1979.",
"Hedges received his Bachelor of Arts degree in English from Colgate in 1979. He received a Master of Divinity degree from Harvard University's Divinity School (where he studied under James Luther Adams) in 1983. Hedges lived in Roxbury, a blighted inner city neighborhood in Boston, as a seminarian and ran a small church.",
"Hedges lived in Roxbury, a blighted inner city neighborhood in Boston, as a seminarian and ran a small church. He was also a member of the Greater Boston YMCA's boxing team, writing that the boxing gym was \"the only place I felt safe.\" He studied Latin and Classical Greek at Harvard.",
"He studied Latin and Classical Greek at Harvard. Early career Hedges began his career as a freelance journalist in Latin America. He wrote for several publications, including The Washington Post, and covered the Falklands War from Buenos Aires for National Public Radio.",
"He wrote for several publications, including The Washington Post, and covered the Falklands War from Buenos Aires for National Public Radio. From 1983 to 1984, he covered the conflicts in El Salvador, Nicaragua and Guatemala for The Christian Science Monitor and NPR.",
"From 1983 to 1984, he covered the conflicts in El Salvador, Nicaragua and Guatemala for The Christian Science Monitor and NPR. He was hired as the Central America Bureau Chief for The Dallas Morning News in 1984 and held this position until 1988.",
"He was hired as the Central America Bureau Chief for The Dallas Morning News in 1984 and held this position until 1988. Noam Chomsky wrote of Hedges at the time that he was one of the \"few US journalists in Central America who merit the title.\" Hedges took a sabbatical to study Arabic in 1988.",
"Hedges took a sabbatical to study Arabic in 1988. He was appointed the Middle East Bureau Chief for The Dallas Morning News in 1989.",
"He was appointed the Middle East Bureau Chief for The Dallas Morning News in 1989. In one of his first stories for the paper he tracked down Robert Manning, the prime suspect in the 1985 bombing death in California of Alex Odeh, head of the American-Arab Anti-Discrimination Committee’s Western office, in the Jewish settlement of Kiryat Arba in the Israeli-occupied West Bank.",
"In one of his first stories for the paper he tracked down Robert Manning, the prime suspect in the 1985 bombing death in California of Alex Odeh, head of the American-Arab Anti-Discrimination Committee’s Western office, in the Jewish settlement of Kiryat Arba in the Israeli-occupied West Bank. Before Hedges discovered Manning, Israel claimed it had no knowledge of Manning’s whereabouts.",
"Before Hedges discovered Manning, Israel claimed it had no knowledge of Manning’s whereabouts. Manning, linked to the militant Jewish Defense League and allegedly behind several murders, was extradited to the United States in 1991 where he is serving a life sentence for a separate bombing incident.",
"Manning, linked to the militant Jewish Defense League and allegedly behind several murders, was extradited to the United States in 1991 where he is serving a life sentence for a separate bombing incident. The New York Times In 1990, Hedges was hired by The New York Times.",
"The New York Times In 1990, Hedges was hired by The New York Times. He covered the first Gulf War for the paper, where he refused to participate in the military pool system that restricted the movement and reporting of journalists.",
"He covered the first Gulf War for the paper, where he refused to participate in the military pool system that restricted the movement and reporting of journalists. He was arrested by the United States Army and had his press credentials revoked, but continued to defy the military restrictions to report outside the pool system.",
"He was arrested by the United States Army and had his press credentials revoked, but continued to defy the military restrictions to report outside the pool system. Hedges subsequently entered Kuwait with U.S. Marine Corps members who were distrustful of the Army's press control. Within The New York Times, R.W.",
"Within The New York Times, R.W. Apple Jr. supported Hedges' defiance of the pool system. Hedges was taken prisoner in Basra after the war by the Iraqi Republican Guard during the Shiite uprising. He was freed after a week. Hedges was appointed the paper’s Middle East Bureau Chief in 1991.",
"Hedges was appointed the paper’s Middle East Bureau Chief in 1991. His reporting on the atrocities committed by Saddam Hussein in the Kurdish-held parts of northern Iraq saw the Iraqi leader offer a bounty for anyone who killed Hedges, along with other western journalists and aid workers in the region.",
"His reporting on the atrocities committed by Saddam Hussein in the Kurdish-held parts of northern Iraq saw the Iraqi leader offer a bounty for anyone who killed Hedges, along with other western journalists and aid workers in the region. Several aid workers and journalists, including the German reporter Lissy Schmidt, were assassinated and others were severely wounded.",
"Several aid workers and journalists, including the German reporter Lissy Schmidt, were assassinated and others were severely wounded. Yugoslav Wars (1995–2000) In 1995, Hedges was named the Balkan Bureau Chief for The New York Times.",
"Yugoslav Wars (1995–2000) In 1995, Hedges was named the Balkan Bureau Chief for The New York Times. He was based in Sarajevo when the city was being hit by over 300 shells a day by the surrounding Bosnia Serbs.",
"He was based in Sarajevo when the city was being hit by over 300 shells a day by the surrounding Bosnia Serbs. He reported on the Srebrenica massacre in July 1995 and shortly after the war uncovered what appeared to be one of the central collection points and hiding places for perhaps thousands of corpses at the large open pit Ljubija mine during the Bosnian Serbs' ethnic cleansing campaign.",
"He reported on the Srebrenica massacre in July 1995 and shortly after the war uncovered what appeared to be one of the central collection points and hiding places for perhaps thousands of corpses at the large open pit Ljubija mine during the Bosnian Serbs' ethnic cleansing campaign. He and the photographer Wade Goddard were the first reporters to travel with armed units of the Kosovo Liberation Army (KLA) in Kosovo.",
"He and the photographer Wade Goddard were the first reporters to travel with armed units of the Kosovo Liberation Army (KLA) in Kosovo. Hedges investigative piece was published in The New York Times in June 1999 detailing how Hashim Thaçi, leader of the Kosovo Liberation Army (and later president of Kosovo), directed a campaign in which as many as half a dozen top rebel commanders were assassinated and many others were brutally purged to consolidate his power.",
"Hedges investigative piece was published in The New York Times in June 1999 detailing how Hashim Thaçi, leader of the Kosovo Liberation Army (and later president of Kosovo), directed a campaign in which as many as half a dozen top rebel commanders were assassinated and many others were brutally purged to consolidate his power. Thaci, indicted by the special court in The Hague on 10 counts of war crimes, is in detention in The Hague awaiting trial.",
"Thaci, indicted by the special court in The Hague on 10 counts of war crimes, is in detention in The Hague awaiting trial. Hedges was a Nieman Fellow at Harvard University during the 1998–1999 academic year.",
"Hedges was a Nieman Fellow at Harvard University during the 1998–1999 academic year. Hedges ended his career of reporting in active conflicts in October 2000, partly due to trauma sustained from witnessing the death of a juvenile boy in Kosovo during a firefight.",
"Hedges ended his career of reporting in active conflicts in October 2000, partly due to trauma sustained from witnessing the death of a juvenile boy in Kosovo during a firefight. Terrorism coverage and Iraq War (2001–2005) Hedges was based in Paris following the attacks of 9/11, covering Al Qaeda in Europe and the Middle East.",
"Terrorism coverage and Iraq War (2001–2005) Hedges was based in Paris following the attacks of 9/11, covering Al Qaeda in Europe and the Middle East. He was a part of an investigative team in The New York Times that won the Pulitzer Prize for Breaking News Reporting in 2002 for their coverage of Al Qaeda.",
"He was a part of an investigative team in The New York Times that won the Pulitzer Prize for Breaking News Reporting in 2002 for their coverage of Al Qaeda. Hedges' contribution was an October 2001 article describing Al Qaeda's foiled bombing plot of the Embassy of the United States, Paris.",
"Hedges' contribution was an October 2001 article describing Al Qaeda's foiled bombing plot of the Embassy of the United States, Paris. Most of the awarded reporting was done by Judith Miller, who was later disgraced due to her work that falsely connected the operations of Al Qaeda to the Republic of Iraq led by Saddam Hussein.",
"Most of the awarded reporting was done by Judith Miller, who was later disgraced due to her work that falsely connected the operations of Al Qaeda to the Republic of Iraq led by Saddam Hussein. Many Times editors pushed to utilize dubious American intelligence reports that gave misleading or fabricated details around an alleged Iraqi connection to international terror.",
"Many Times editors pushed to utilize dubious American intelligence reports that gave misleading or fabricated details around an alleged Iraqi connection to international terror. Reporting from coached defectors In a collaboration between The New York Times and Frontline, Hedges authored three articles covering the claims of false Iraqi defectors.",
"Reporting from coached defectors In a collaboration between The New York Times and Frontline, Hedges authored three articles covering the claims of false Iraqi defectors. Hedges worked on the behalf of Lowell Bergman of Frontline, who could not travel to Beirut to interview the purported defectors.",
"Hedges worked on the behalf of Lowell Bergman of Frontline, who could not travel to Beirut to interview the purported defectors. The trip was organized by Ahmed Chalabi, who Hedges considered to be unreliable. The first defector Hedges interviewed identified themselves as Lt. General Jamal al-Ghurairy.",
"The first defector Hedges interviewed identified themselves as Lt. General Jamal al-Ghurairy. Hedges consulted the U.S. Embassy in Turkey to confirm their identity, and the embassy falsely did so as the real al-Ghurairy had never left Iraq.",
"Hedges consulted the U.S. Embassy in Turkey to confirm their identity, and the embassy falsely did so as the real al-Ghurairy had never left Iraq. Hedges wrote a November 8, 2001 Times cover story about two former Iraqi military commanders who claimed to have trained foreign mujahedeen how to hijack planes and destroy vital American infrastructure.",
"Hedges wrote a November 8, 2001 Times cover story about two former Iraqi military commanders who claimed to have trained foreign mujahedeen how to hijack planes and destroy vital American infrastructure. The two defectors also asserted there was a secret compound in Salman Pak facility where a German scientist was producing biological weapons.",
"The two defectors also asserted there was a secret compound in Salman Pak facility where a German scientist was producing biological weapons. The Frontline report featured statements from American officials who doubted the claims of the defectors.",
"The Frontline report featured statements from American officials who doubted the claims of the defectors. According to Jack Fairweather in Mother Jones: \"The impact of the article ... was immediate: Op-eds ran in major papers, and the story was taken to a wider audience through cable-TV talk shows.",
"According to Jack Fairweather in Mother Jones: \"The impact of the article ... was immediate: Op-eds ran in major papers, and the story was taken to a wider audience through cable-TV talk shows. When Condoleezza Rice, then President George W. Bush's national security adviser, was asked about the report at a press briefing, she said, 'I think it surprises no one that Saddam Hussein is engaged in all kinds of activities that are destabilizing.",
"When Condoleezza Rice, then President George W. Bush's national security adviser, was asked about the report at a press briefing, she said, 'I think it surprises no one that Saddam Hussein is engaged in all kinds of activities that are destabilizing. As late as 2006, according to Fairweather in the same article, conservative magazines including The Weekly Standard and National Review continued to use this article to justify the invasion of Iraq.",
"As late as 2006, according to Fairweather in the same article, conservative magazines including The Weekly Standard and National Review continued to use this article to justify the invasion of Iraq. In the aftermath of the revelations that the Iraqi defectors were not legitimate, Hedges defended his comportment since he had done the story as a favor to Lowell Bergman, adding that \"There has to be a level of trust between reporters.",
"In the aftermath of the revelations that the Iraqi defectors were not legitimate, Hedges defended his comportment since he had done the story as a favor to Lowell Bergman, adding that \"There has to be a level of trust between reporters. We cover each other's sources when it's a good story because otherwise everyone would get hold of it.\"",
"We cover each other's sources when it's a good story because otherwise everyone would get hold of it.\" Exit from the Times In 2003, Hedges was reprimanded by The New York Times for his opposition to U.S. involvement in the Iraq War because of perceived challenges to partiality.",
"Exit from the Times In 2003, Hedges was reprimanded by The New York Times for his opposition to U.S. involvement in the Iraq War because of perceived challenges to partiality. This was a motivating factor for his resignation from the Times in 2005.",
"This was a motivating factor for his resignation from the Times in 2005. Later career In 2005, Hedges left The New York Times to become a senior fellow at Type Media Center, and a columnist at Truthdig, in addition to writing books and teaching inmates at a New Jersey correctional institution.",
"Later career In 2005, Hedges left The New York Times to become a senior fellow at Type Media Center, and a columnist at Truthdig, in addition to writing books and teaching inmates at a New Jersey correctional institution. Obey, a 2013 documentary by British filmmaker Temujin Doran, is based on Hedges' book Death of the Liberal Class.",
"Obey, a 2013 documentary by British filmmaker Temujin Doran, is based on Hedges' book Death of the Liberal Class. Truthdig (2006–2020) Hedges produced a weekly column in Truthdig for 14 years. He was fired along with all of the editorial staff in March 2020.",
"He was fired along with all of the editorial staff in March 2020. Hedges and the staff had gone on strike earlier in the month to protest the publisher's attempt to fire the Editor-in-Chief Robert Scheer, demand an end to a series of unfair labor practices and the right to form a union.",
"Hedges and the staff had gone on strike earlier in the month to protest the publisher's attempt to fire the Editor-in-Chief Robert Scheer, demand an end to a series of unfair labor practices and the right to form a union. Hedges has since been a writer for Scheerpost.",
"Hedges has since been a writer for Scheerpost. Citation error controversy In June 2014, Christopher Ketcham published an article on The New Republic website accusing Hedges of improper citations, alleging the offenses constituted plagiarism. In response, some formatting and reference errors were corrected on the website for Truthdig.",
"In response, some formatting and reference errors were corrected on the website for Truthdig. Additional accusations of plagiarism from Ketcham were countered by an independent investigation from the Type Media Center.",
"Additional accusations of plagiarism from Ketcham were countered by an independent investigation from the Type Media Center. The Washington Free Beacon reported that a spokesperson for The New York Times said it \"did not have reason to believe Hedges plagiarized in his work for the paper\" and had no plans to investigate Hedges for plagiarism.",
"The Washington Free Beacon reported that a spokesperson for The New York Times said it \"did not have reason to believe Hedges plagiarized in his work for the paper\" and had no plans to investigate Hedges for plagiarism. Prison writing teacher Hedges has worked for a decade teaching writing classes in prisons in New Jersey through a program offered by Princeton University and later Rutgers University.",
"Prison writing teacher Hedges has worked for a decade teaching writing classes in prisons in New Jersey through a program offered by Princeton University and later Rutgers University. A class that Hedges taught at East Jersey State Prison in 2013 went on to collaborate in the creation of a play titled Caged.",
"A class that Hedges taught at East Jersey State Prison in 2013 went on to collaborate in the creation of a play titled Caged. Hedges has become a fierce critic of mass incarceration in the United States, and his experience as an educator in New Jersey prisons served as inspiration for his 2021 book Our Class: Trauma and Transformation in an American Prison.",
"Hedges has become a fierce critic of mass incarceration in the United States, and his experience as an educator in New Jersey prisons served as inspiration for his 2021 book Our Class: Trauma and Transformation in an American Prison. Ordination and ministerial installation On October 5, 2014, Hedges was ordained a minister within the Presbyterian Church.",
"Ordination and ministerial installation On October 5, 2014, Hedges was ordained a minister within the Presbyterian Church. He was installed as Associate Pastor and Minister of Social Witness and Prison Ministry at the Second Presbyterian Church Elizabeth in Elizabeth, New Jersey.",
"He was installed as Associate Pastor and Minister of Social Witness and Prison Ministry at the Second Presbyterian Church Elizabeth in Elizabeth, New Jersey. He mentioned being rejected for ordination 30 years earlier, saying that \"going to El Salvador as a reporter was not something the Presbyterian Church at the time recognized as a valid ministry, and a committee rejected my 'call.",
"He mentioned being rejected for ordination 30 years earlier, saying that \"going to El Salvador as a reporter was not something the Presbyterian Church at the time recognized as a valid ministry, and a committee rejected my 'call. Political views Economic views Hedges contended at the Left Forum in 2015 that with the \"denouement of capitalism and the disintegration of globalism\", Karl Marx has been \"vindicated as capitalism's most prescient and important critic\".",
"Political views Economic views Hedges contended at the Left Forum in 2015 that with the \"denouement of capitalism and the disintegration of globalism\", Karl Marx has been \"vindicated as capitalism's most prescient and important critic\". He said that Marx \"foresaw that capitalism had built within it the seeds of its own destruction.",
"He said that Marx \"foresaw that capitalism had built within it the seeds of its own destruction. He knew that reigning ideologies—think neoliberalism—were created to serve the interests of the elites and in particular the economic elites.\"",
"He knew that reigning ideologies—think neoliberalism—were created to serve the interests of the elites and in particular the economic elites.\" Environmental views In a March 2009 column, Hedges warned that human over-population and mass species extinction are serious problems, and that any measures to save the ecosystem will be futile unless we cut population growth, and noted that, \"As long as the Earth is viewed as the personal property of the human race, a belief embraced by everyone from born-again Christians to Marxists to free-market economists, we are destined to soon inhabit a biological wasteland.\"",
"Environmental views In a March 2009 column, Hedges warned that human over-population and mass species extinction are serious problems, and that any measures to save the ecosystem will be futile unless we cut population growth, and noted that, \"As long as the Earth is viewed as the personal property of the human race, a belief embraced by everyone from born-again Christians to Marxists to free-market economists, we are destined to soon inhabit a biological wasteland.\" On September 20, 2014, a day before the People's Climate March, Hedges joined Bernie Sanders, Naomi Klein, Bill McKibben, and Kshama Sawant on a panel moderated by WNYC's Brian Lehrer to discuss the issue of climate change.",
"On September 20, 2014, a day before the People's Climate March, Hedges joined Bernie Sanders, Naomi Klein, Bill McKibben, and Kshama Sawant on a panel moderated by WNYC's Brian Lehrer to discuss the issue of climate change. Hedges and Klein also participated in the 'Flood Wall Street' protests that occurred shortly thereafter.",
"Hedges and Klein also participated in the 'Flood Wall Street' protests that occurred shortly thereafter. Hedges' environmental concerns were his primary motivation to be vegan. Hedges authored an introduction to a vegan cookbook in 2015.",
"Hedges authored an introduction to a vegan cookbook in 2015. Other views In March 2008, Hedges published the book titled I Don't Believe in Atheists, in which he argues that new atheism presents a danger that is similar to religious extremism.",
"Other views In March 2008, Hedges published the book titled I Don't Believe in Atheists, in which he argues that new atheism presents a danger that is similar to religious extremism. In a December 2014 TruthDig column, Hedges compared the ethnic cleansing of ISIS to the actions of Israel's founding fathers in the late 1940s.",
"In a December 2014 TruthDig column, Hedges compared the ethnic cleansing of ISIS to the actions of Israel's founding fathers in the late 1940s. Hedges has repudiated the view that the Founding Fathers of the United States represented a legitimate form of democracy, writing that they rigged America's electoral process to thwart direct democracy and to protect the property rights of the aristocracy.",
"Hedges has repudiated the view that the Founding Fathers of the United States represented a legitimate form of democracy, writing that they rigged America's electoral process to thwart direct democracy and to protect the property rights of the aristocracy. He has written that the Electoral College has served to disenfranchise women, Native Americans, African Americans, and men who do not own property.",
"He has written that the Electoral College has served to disenfranchise women, Native Americans, African Americans, and men who do not own property. He has praised abolitionists, labor organizers, women's suffragists, civil rights protestors, and anti-war activists for bringing some change to the structure of the U.S. government.",
"He has praised abolitionists, labor organizers, women's suffragists, civil rights protestors, and anti-war activists for bringing some change to the structure of the U.S. government. Hedges told Julian Casablancas, the lead singer for The Strokes who interviewed him for Rolling Stone on December 23, 2020, that one of the few events worth celebrating in American history took place on June 25, 1876 when Lakota, Northern Cheyenne, and Arapaho, led by Crazy Horse and Chief Gall, annihilated the 7th Cavalry under the command of Lt. Col. George Armstrong Custer.",
"Hedges told Julian Casablancas, the lead singer for The Strokes who interviewed him for Rolling Stone on December 23, 2020, that one of the few events worth celebrating in American history took place on June 25, 1876 when Lakota, Northern Cheyenne, and Arapaho, led by Crazy Horse and Chief Gall, annihilated the 7th Cavalry under the command of Lt. Col. George Armstrong Custer. Activism Anti-war activism Hedges was an early critic of the Iraq War.",
"Activism Anti-war activism Hedges was an early critic of the Iraq War. In May 2003, he delivered a commencement address at Rockford College in Rockford, Illinois, saying: \"We are embarking on an occupation that, if history is any guide, will be as damaging to our souls as it will be to our prestige and power and security.\"",
"In May 2003, he delivered a commencement address at Rockford College in Rockford, Illinois, saying: \"We are embarking on an occupation that, if history is any guide, will be as damaging to our souls as it will be to our prestige and power and security.\" His speech was received with boos, \"two students approached the stage to push [him] off the podium\" (as he told an interviewer), and his microphone was shut off three minutes after he began speaking.",
"His speech was received with boos, \"two students approached the stage to push [him] off the podium\" (as he told an interviewer), and his microphone was shut off three minutes after he began speaking. Hedges had to end the commencement speech short because of the various student disruptions.",
"Hedges had to end the commencement speech short because of the various student disruptions. The New York Times, his employer, criticized his statements and issued him a formal reprimand for \"public remarks that could undermine public trust in the paper's impartiality\".",
"The New York Times, his employer, criticized his statements and issued him a formal reprimand for \"public remarks that could undermine public trust in the paper's impartiality\". On December 16, 2010, he was arrested outside the White House along with Daniel Ellsberg and more than 100 activists who were protesting the war in Afghanistan.",
"On December 16, 2010, he was arrested outside the White House along with Daniel Ellsberg and more than 100 activists who were protesting the war in Afghanistan. In a piece published in Salon Magazine in March 2022, Hedges argued that NATO was at fault for Russia's invasion of Ukraine:The European Union has allocated hundreds of millions of euros to purchase weapons for Ukraine.",
"In a piece published in Salon Magazine in March 2022, Hedges argued that NATO was at fault for Russia's invasion of Ukraine:The European Union has allocated hundreds of millions of euros to purchase weapons for Ukraine. Germany will almost triple its own defense budget for 2022.",
"Germany will almost triple its own defense budget for 2022. The Biden administration has asked Congress to provide $6.4 billion in funding to assist Ukraine, supplementing the $650 million in military aid to Ukraine over the past year. The permanent war economy operates outside the laws of supply and demand.",
"The permanent war economy operates outside the laws of supply and demand. It is the root of the two-decade-long quagmire in the Middle East. It is the root of the conflict with Moscow.",
"It is the root of the conflict with Moscow. Occupy involvement Hedges appeared as a guest on an October 2011 episode of the CBC News Network's Lang and O'Leary Exchange to discuss his support for the Occupy Wall Street protests; co-host Kevin O'Leary criticized him, saying that he sounded \"like a left-wing nutbar\".",
"Occupy involvement Hedges appeared as a guest on an October 2011 episode of the CBC News Network's Lang and O'Leary Exchange to discuss his support for the Occupy Wall Street protests; co-host Kevin O'Leary criticized him, saying that he sounded \"like a left-wing nutbar\". Hedges said \"it will be the last time\" he appears on the show, and compared the CBC to Fox News.",
"Hedges said \"it will be the last time\" he appears on the show, and compared the CBC to Fox News. CBC's ombudsman found O'Leary's heated remarks to be a violation of the public broadcaster's journalistic standards.",
"CBC's ombudsman found O'Leary's heated remarks to be a violation of the public broadcaster's journalistic standards. On November 3, 2011, Hedges was arrested with others in New York as part of the Occupy Wall Street demonstration, during which the activists staged a \"people's hearing\" on the activities of the investment bank Goldman Sachs and blocked the entrance to their corporate headquarters.",
"On November 3, 2011, Hedges was arrested with others in New York as part of the Occupy Wall Street demonstration, during which the activists staged a \"people's hearing\" on the activities of the investment bank Goldman Sachs and blocked the entrance to their corporate headquarters. NDAA lawsuit In 2012, after the Obama administration signed the National Defense Authorization Act, or NDAA, Hedges sued members of the U.S. government, asserting that section 1021 of the law unconstitutionally allowed presidential authority for indefinite detention without habeas corpus.",
"NDAA lawsuit In 2012, after the Obama administration signed the National Defense Authorization Act, or NDAA, Hedges sued members of the U.S. government, asserting that section 1021 of the law unconstitutionally allowed presidential authority for indefinite detention without habeas corpus. He was later joined in the suit, Hedges v. Obama, by activists including Noam Chomsky and Daniel Ellsberg.",
"He was later joined in the suit, Hedges v. Obama, by activists including Noam Chomsky and Daniel Ellsberg. In May 2012 Judge Katherine B. Forrest of the Southern District of New York ruled that the counter-terrorism provision of the NDAA is unconstitutional.",
"In May 2012 Judge Katherine B. Forrest of the Southern District of New York ruled that the counter-terrorism provision of the NDAA is unconstitutional. The Obama administration appealed the decision and it was overturned in July 2013 by the Second Circuit Court of Appeals.",
"The Obama administration appealed the decision and it was overturned in July 2013 by the Second Circuit Court of Appeals. Hedges petitioned the U.S. Supreme Court to hear the case, but the Supreme Court denied certiorari in April 2014. Other activism In the 2008 United States presidential campaign, Hedges was a speech writer for candidate Ralph Nader.",
"Other activism In the 2008 United States presidential campaign, Hedges was a speech writer for candidate Ralph Nader. On April 15, 2016, Hedges was arrested, along with 100 other protesters, during a sit-in outside the Capitol building in Washington D.C. during Democracy Spring to protest the capture of the political system by corporations.",
"On April 15, 2016, Hedges was arrested, along with 100 other protesters, during a sit-in outside the Capitol building in Washington D.C. during Democracy Spring to protest the capture of the political system by corporations. On May 27, 2020, Hedges announced that he would run as a Green Party candidate in New Jersey's 12th congressional district for the 2020 elections.",
"On May 27, 2020, Hedges announced that he would run as a Green Party candidate in New Jersey's 12th congressional district for the 2020 elections. However, he was informed the following day that running for office would conflict with FCC fairness doctrine rules because he was at that time hosting the nationally broadcast RT America television show On Contact.",
"However, he was informed the following day that running for office would conflict with FCC fairness doctrine rules because he was at that time hosting the nationally broadcast RT America television show On Contact. Hedges decided not to pursue office in order to keep hosting the show.",
"Hedges decided not to pursue office in order to keep hosting the show. In September 2020, Chris Hedges spoke at the Movement for a People's Party convention. Personal life Hedges is married to the Canadian actress Eunice Wong. The couple have two children. Hedges also has two children from a previous marriage.",
"Hedges also has two children from a previous marriage. He currently lives in Princeton, New Jersey. On November 11, 2014, Hedges announced that he and his family had become vegan. Hedges compared his decision to a vow of abstinence, adding that it is necessary \"to make radical changes to save ourselves from ecological meltdown.\"",
"Hedges compared his decision to a vow of abstinence, adding that it is necessary \"to make radical changes to save ourselves from ecological meltdown.\" Hedges has post-traumatic stress disorder from his experience reporting in war zones.",
"Hedges has post-traumatic stress disorder from his experience reporting in war zones. Hedges studied Latin and Ancient Greek at Harvard, and speaks Arabic, French, and Spanish in addition to his native English.",
"Hedges studied Latin and Ancient Greek at Harvard, and speaks Arabic, French, and Spanish in addition to his native English. Books 2002: War Is a Force That Gives Us Meaning () 2003: What Every Person Should Know About War () 2005: Losing Moses on the Freeway: The 10 Commandments in America () 2007: American Fascists: The Christian Right and the War on America () 2008: I Don't Believe in Atheists () 2008: Collateral Damage: America's War Against Iraqi Civilians, with Laila Al-Arian () 2009: When Atheism Becomes Religion: America's New Fundamentalists, (), a retitled edition of I Don't Believe in Atheists 2009: Empire of Illusion: The End of Literacy and the Triumph of Spectacle () 2010: Death of the Liberal Class () 2010: The World As It Is: Dispatches on the Myth of Human Progress () 2012: Days of Destruction, Days of Revolt, with Joe Sacco () 2015: Wages of Rebellion: The Moral Imperative of Revolt () 2016: Unspeakable () 2018: America: The Farewell Tour () 2021 Our Class: Trauma and Transformation in an American Prison () See also Christian left Sacrifice zone References External links APB Speakers Bureau Chris Hedges \"Capitalism's 'Sacrifice Zones Bill Moyers talks with Chris Hedges, and comic-journalist Joe Sacco talking about their collaboration and showing drawings for their book Days of Destruction, Days of Revolt, July 20, 2012.",
"Books 2002: War Is a Force That Gives Us Meaning () 2003: What Every Person Should Know About War () 2005: Losing Moses on the Freeway: The 10 Commandments in America () 2007: American Fascists: The Christian Right and the War on America () 2008: I Don't Believe in Atheists () 2008: Collateral Damage: America's War Against Iraqi Civilians, with Laila Al-Arian () 2009: When Atheism Becomes Religion: America's New Fundamentalists, (), a retitled edition of I Don't Believe in Atheists 2009: Empire of Illusion: The End of Literacy and the Triumph of Spectacle () 2010: Death of the Liberal Class () 2010: The World As It Is: Dispatches on the Myth of Human Progress () 2012: Days of Destruction, Days of Revolt, with Joe Sacco () 2015: Wages of Rebellion: The Moral Imperative of Revolt () 2016: Unspeakable () 2018: America: The Farewell Tour () 2021 Our Class: Trauma and Transformation in an American Prison () See also Christian left Sacrifice zone References External links APB Speakers Bureau Chris Hedges \"Capitalism's 'Sacrifice Zones Bill Moyers talks with Chris Hedges, and comic-journalist Joe Sacco talking about their collaboration and showing drawings for their book Days of Destruction, Days of Revolt, July 20, 2012. Retrieved July 30, 2012 Columns by Chris Hedges at Truthdig What Every Person Should Know About War, first chapter at The New York Times Chris Hedges at Scheerpost.",
"Retrieved July 30, 2012 Columns by Chris Hedges at Truthdig What Every Person Should Know About War, first chapter at The New York Times Chris Hedges at Scheerpost. 1956 births Living people 21st-century American male writers 21st-century American non-fiction writers American anarchists American anti-capitalists American anti-fascists American Christian socialists American foreign policy writers American male non-fiction writers American political writers American Presbyterians American reporters and correspondents American socialists American war correspondents Anarchist writers Anti-consumerists Anti-corporate activists Christian anarchists The Christian Science Monitor people Colgate University alumni Columbia University faculty Critics of atheism The Dallas Morning News people Harvard Divinity School alumni Loomis Chaffee School alumni The Nation (U.S. magazine) people The New York Times writers Nieman Fellows PEN Oakland/Josephine Miles Literary Award winners People from Schoharie, New York People from St. Johnsbury, Vermont Presbyterian socialists RT (TV network) people War correspondents of the Iraq War War correspondents of the Yugoslav Wars Writers about religion and science"
] |
[
"Chris Hedges",
"The New York Times",
"Who did he work for",
"The New York Times.",
"where was he located at",
"He was based in the Middle East for five years,",
"Where did he spend this time at",
"serving for four of those years as the Middle East bureau chief.",
"How long did he work for the new york times",
"15 years as a foreign correspondent",
"what country did he cover war in",
"war in the former Yugoslavia as the Balkan bureau chief based in Sarajevo.",
"What other war did he cover",
"He later covered Al Qaeda"
] | C_93d6f68d107c4aad9ce4395c004be4ac_1 | where did he cover them from | 7 | Where did Chris Hedges cover Al Qaeda from? | Chris Hedges | Hedges worked for 15 years as a foreign correspondent for The New York Times. He was based in the Middle East for five years, serving for four of those years as the Middle East bureau chief. He covered the war in the former Yugoslavia as the Balkan bureau chief based in Sarajevo. He later covered Al Qaeda in Europe and the Middle East from Paris. Three of Hedges' articles were based upon the stories of Iraqi defectors, who had been furnished to Hedges by the Information Collection Program of the US-funded Iraqi National Congress. The program promoted stories to major media outlets in order to orchestrate US intervention in Iraq in the aftermath of the 9/11 attacks. Most significant of his reports in this period was a November 8, 2001, front-page story about two former Iraqi military commanders who claimed to have trained foreign mujahedeen how to hijack planes without using guns. Hedges quoted a man whom he believed to be an Iraqi general: "These Islamic radicals ... came from a variety of countries, including Saudi Arabia, Yemen, Algeria, Egypt, and Morocco. We were training these people to attack installations important to the United States". The two defectors also asserted there was a secret compound in Salman Pak facility where a German scientist was producing biological weapons. According to Mother Jones: "The impact of the article ... was immediate: Op-eds ran in major papers, and the story was taken to a wider audience through cable-TV talk shows. When Condoleezza Rice, then George W. Bush's national security adviser, was asked about the report at a press briefing, she said, 'I think it surprises no one that Saddam Hussein is engaged in all kinds of activities that are destabilizing.'" As late as 2006, conservative magazines including The Weekly Standard and National Review continued to use this article to justify the invasion of Iraq. It later was revealed that the story which Hedges reported was "an elaborate scam". The defector whom Hedges quoted, who had identified himself as Lt. General Jamal al-Ghurairy, was a former sergeant. The real Ghurairy had never left Iraq. Hedges said that he had taken on reporting this account at the request of Lowell Bergman of Frontline, who wanted the defectors for his show but could not go to Beirut for the interview. The trip had been organized by Ahmed Chalabi, whom Hedges considered to be unreliable. Hedges said he had done the piece as a favor to Bergman, explaining, "There has to be a level of trust between reporters. We cover each other's sources when it's a good story because otherwise everyone would get hold of it." Hedges had relied on the US embassy in Turkey for further confirmation of the man's identity. Hedges wrote two more articles that year that were informed by Chalabi-coached defectors. The second one, claiming that Iraq still held 80 Kuwaitis captured in the 1991 Gulf War in a secret underground prison, was also found to be baseless. CANNOTANSWER | Europe and the Middle East | Christopher Lynn Hedges (born September 18, 1956) is an American journalist, Presbyterian minister, author and television host. A former reporter for The New York Times, Hedges has pursued work and activism related to covering his perspectives on political violence and critical views on American liberalism.
In his early career, Hedges worked as a freelance war correspondent in Central America for The Christian Science Monitor, NPR, and Dallas Morning News. Hedges began working for The New York Times in 1990. During his fifteen year tenure, Hedges reported from more than fifty countries and served as the Times Middle East Bureau Chief and Balkan Bureau Chief during the wars in the former Yugoslavia.
In 2001, Hedges contributed to The New York Times staff entry that received the 2002 Pulitzer Prize for Explanatory Reporting for the paper's coverage of global terrorism. He also received the Amnesty International Global Award for Human Rights Journalism in 2002. Hedges left the Times in 2005 after an internal dispute over his public opposition to the Iraq War.
Hedges produced a weekly column for Truthdig for 14 years until the outlet's unexpected hiatus in 2020. Hedges' books include War Is a Force That Gives Us Meaning (2002), a finalist for the National Book Critics Circle Award for Nonfiction; American Fascists: The Christian Right and the War on America (2007); Death of the Liberal Class (2010); and Days of Destruction, Days of Revolt (2012), written with cartoonist Joe Sacco.
Hedges has taught at Columbia University, New York University, the University of Toronto and Princeton University. He has taught college credit writing courses in New Jersey prisons as part of the B.A. program offered by Rutgers University.
Hedges hosts the Emmy-nominated program On Contact for the RT (formerly Russia Today) television network. Hedges has described himself as a socialist and an anarchist, identifying with Dorothy Day in particular.
Early life
Christopher Lynn Hedges was born on September 18, 1956 in St. Johnsbury, Vermont. His father was a World War II veteran, Presbyterian minister, and anti-war activist. He grew up in rural Schoharie County, New York, southwest of Albany.
Education
Hedges received a scholarship to attend Loomis Chaffee School, a private boarding school in Windsor, Connecticut. Hedges founded an underground newspaper at the school that was banned by the administration and resulted in his being put on probation. He graduated in 1975.
Hedges enrolled into Colgate University and, though heterosexual, helped found an LGBT student group. Hedges received his Bachelor of Arts degree in English from Colgate in 1979. He received a Master of Divinity degree from Harvard University's Divinity School (where he studied under James Luther Adams) in 1983. Hedges lived in Roxbury, a blighted inner city neighborhood in Boston, as a seminarian and ran a small church. He was also a member of the Greater Boston YMCA's boxing team, writing that the boxing gym was "the only place I felt safe." He studied Latin and Classical Greek at Harvard.
Early career
Hedges began his career as a freelance journalist in Latin America. He wrote for several publications, including The Washington Post, and covered the Falklands War from Buenos Aires for National Public Radio. From 1983 to 1984, he covered the conflicts in El Salvador, Nicaragua and Guatemala for The Christian Science Monitor and NPR. He was hired as the Central America Bureau Chief for The Dallas Morning News in 1984 and held this position until 1988. Noam Chomsky wrote of Hedges at the time that he was one of the "few US journalists in Central America who merit the title."
Hedges took a sabbatical to study Arabic in 1988. He was appointed the Middle East Bureau Chief for The Dallas Morning News in 1989. In one of his first stories for the paper he tracked down Robert Manning, the prime suspect in the 1985 bombing death in California of Alex Odeh, head of the American-Arab Anti-Discrimination Committee’s Western office, in the Jewish settlement of Kiryat Arba in the Israeli-occupied West Bank. Before Hedges discovered Manning, Israel claimed it had no knowledge of Manning’s whereabouts. Manning, linked to the militant Jewish Defense League and allegedly behind several murders, was extradited to the United States in 1991 where he is serving a life sentence for a separate bombing incident.
The New York Times
In 1990, Hedges was hired by The New York Times. He covered the first Gulf War for the paper, where he refused to participate in the military pool system that restricted the movement and reporting of journalists. He was arrested by the United States Army and had his press credentials revoked, but continued to defy the military restrictions to report outside the pool system. Hedges subsequently entered Kuwait with U.S. Marine Corps members who were distrustful of the Army's press control. Within The New York Times, R.W. Apple Jr. supported Hedges' defiance of the pool system.
Hedges was taken prisoner in Basra after the war by the Iraqi Republican Guard during the Shiite uprising. He was freed after a week. Hedges was appointed the paper’s Middle East Bureau Chief in 1991. His reporting on the atrocities committed by Saddam Hussein in the Kurdish-held parts of northern Iraq saw the Iraqi leader offer a bounty for anyone who killed Hedges, along with other western journalists and aid workers in the region. Several aid workers and journalists, including the German reporter Lissy Schmidt, were assassinated and others were severely wounded.
Yugoslav Wars (1995–2000)
In 1995, Hedges was named the Balkan Bureau Chief for The New York Times. He was based in Sarajevo when the city was being hit by over 300 shells a day by the surrounding Bosnia Serbs. He reported on the Srebrenica massacre in July 1995 and shortly after the war uncovered what appeared to be one of the central collection points and hiding places for perhaps thousands of corpses at the large open pit Ljubija mine during the Bosnian Serbs' ethnic cleansing campaign. He and the photographer Wade Goddard were the first reporters to travel with armed units of the Kosovo Liberation Army (KLA) in Kosovo. Hedges investigative piece was published in The New York Times in June 1999 detailing how Hashim Thaçi, leader of the Kosovo Liberation Army (and later president of Kosovo), directed a campaign in which as many as half a dozen top rebel commanders were assassinated and many others were brutally purged to consolidate his power. Thaci, indicted by the special court in The Hague on 10 counts of war crimes, is in detention in The Hague awaiting trial.
Hedges was a Nieman Fellow at Harvard University during the 1998–1999 academic year.
Hedges ended his career of reporting in active conflicts in October 2000, partly due to trauma sustained from witnessing the death of a juvenile boy in Kosovo during a firefight.
Terrorism coverage and Iraq War (2001–2005)
Hedges was based in Paris following the attacks of 9/11, covering Al Qaeda in Europe and the Middle East. He was a part of an investigative team in The New York Times that won the Pulitzer Prize for Breaking News Reporting in 2002 for their coverage of Al Qaeda. Hedges' contribution was an October 2001 article describing Al Qaeda's foiled bombing plot of the Embassy of the United States, Paris. Most of the awarded reporting was done by Judith Miller, who was later disgraced due to her work that falsely connected the operations of Al Qaeda to the Republic of Iraq led by Saddam Hussein. Many Times editors pushed to utilize dubious American intelligence reports that gave misleading or fabricated details around an alleged Iraqi connection to international terror.
Reporting from coached defectors
In a collaboration between The New York Times and Frontline, Hedges authored three articles covering the claims of false Iraqi defectors. Hedges worked on the behalf of Lowell Bergman of Frontline, who could not travel to Beirut to interview the purported defectors. The trip was organized by Ahmed Chalabi, who Hedges considered to be unreliable. The first defector Hedges interviewed identified themselves as Lt. General Jamal al-Ghurairy. Hedges consulted the U.S. Embassy in Turkey to confirm their identity, and the embassy falsely did so as the real al-Ghurairy had never left Iraq.
Hedges wrote a November 8, 2001 Times cover story about two former Iraqi military commanders who claimed to have trained foreign mujahedeen how to hijack planes and destroy vital American infrastructure. The two defectors also asserted there was a secret compound in Salman Pak facility where a German scientist was producing biological weapons. The Frontline report featured statements from American officials who doubted the claims of the defectors.
According to Jack Fairweather in Mother Jones: "The impact of the article ... was immediate: Op-eds ran in major papers, and the story was taken to a wider audience through cable-TV talk shows. When Condoleezza Rice, then President George W. Bush's national security adviser, was asked about the report at a press briefing, she said, 'I think it surprises no one that Saddam Hussein is engaged in all kinds of activities that are destabilizing. As late as 2006, according to Fairweather in the same article, conservative magazines including The Weekly Standard and National Review continued to use this article to justify the invasion of Iraq.
In the aftermath of the revelations that the Iraqi defectors were not legitimate, Hedges defended his comportment since he had done the story as a favor to Lowell Bergman, adding that "There has to be a level of trust between reporters. We cover each other's sources when it's a good story because otherwise everyone would get hold of it."
Exit from the Times
In 2003, Hedges was reprimanded by The New York Times for his opposition to U.S. involvement in the Iraq War because of perceived challenges to partiality. This was a motivating factor for his resignation from the Times in 2005.
Later career
In 2005, Hedges left The New York Times to become a senior fellow at Type Media Center, and a columnist at Truthdig, in addition to writing books and teaching inmates at a New Jersey correctional institution.
Obey, a 2013 documentary by British filmmaker Temujin Doran, is based on Hedges' book Death of the Liberal Class.
Truthdig (2006–2020)
Hedges produced a weekly column in Truthdig for 14 years. He was fired along with all of the editorial staff in March 2020. Hedges and the staff had gone on strike earlier in the month to protest the publisher's attempt to fire the Editor-in-Chief Robert Scheer, demand an end to a series of unfair labor practices and the right to form a union. Hedges has since been a writer for Scheerpost.
Citation error controversy
In June 2014, Christopher Ketcham published an article on The New Republic website accusing Hedges of improper citations, alleging the offenses constituted plagiarism. In response, some formatting and reference errors were corrected on the website for Truthdig. Additional accusations of plagiarism from Ketcham were countered by an independent investigation from the Type Media Center.
The Washington Free Beacon reported that a spokesperson for The New York Times said it "did not have reason to believe Hedges plagiarized in his work for the paper" and had no plans to investigate Hedges for plagiarism.
Prison writing teacher
Hedges has worked for a decade teaching writing classes in prisons in New Jersey through a program offered by Princeton University and later Rutgers University. A class that Hedges taught at East Jersey State Prison in 2013 went on to collaborate in the creation of a play titled Caged. Hedges has become a fierce critic of mass incarceration in the United States, and his experience as an educator in New Jersey prisons served as inspiration for his 2021 book Our Class: Trauma and Transformation in an American Prison.
Ordination and ministerial installation
On October 5, 2014, Hedges was ordained a minister within the Presbyterian Church. He was installed as Associate Pastor and Minister of Social Witness and Prison Ministry at the Second Presbyterian Church Elizabeth in Elizabeth, New Jersey. He mentioned being rejected for ordination 30 years earlier, saying that "going to El Salvador as a reporter was not something the Presbyterian Church at the time recognized as a valid ministry, and a committee rejected my 'call.
Political views
Economic views
Hedges contended at the Left Forum in 2015 that with the "denouement of capitalism and the disintegration of globalism", Karl Marx has been "vindicated as capitalism's most prescient and important critic". He said that Marx "foresaw that capitalism had built within it the seeds of its own destruction. He knew that reigning ideologies—think neoliberalism—were created to serve the interests of the elites and in particular the economic elites."
Environmental views
In a March 2009 column, Hedges warned that human over-population and mass species extinction are serious problems, and that any measures to save the ecosystem will be futile unless we cut population growth, and noted that, "As long as the Earth is viewed as the personal property of the human race, a belief embraced by everyone from born-again Christians to Marxists to free-market economists, we are destined to soon inhabit a biological wasteland."
On September 20, 2014, a day before the People's Climate March, Hedges joined Bernie Sanders, Naomi Klein, Bill McKibben, and Kshama Sawant on a panel moderated by WNYC's Brian Lehrer to discuss the issue of climate change. Hedges and Klein also participated in the 'Flood Wall Street' protests that occurred shortly thereafter.
Hedges' environmental concerns were his primary motivation to be vegan. Hedges authored an introduction to a vegan cookbook in 2015.
Other views
In March 2008, Hedges published the book titled I Don't Believe in Atheists, in which he argues that new atheism presents a danger that is similar to religious extremism.
In a December 2014 TruthDig column, Hedges compared the ethnic cleansing of ISIS to the actions of Israel's founding fathers in the late 1940s.
Hedges has repudiated the view that the Founding Fathers of the United States represented a legitimate form of democracy, writing that they rigged America's electoral process to thwart direct democracy and to protect the property rights of the aristocracy. He has written that the Electoral College has served to disenfranchise women, Native Americans, African Americans, and men who do not own property. He has praised abolitionists, labor organizers, women's suffragists, civil rights protestors, and anti-war activists for bringing some change to the structure of the U.S. government.
Hedges told Julian Casablancas, the lead singer for The Strokes who interviewed him for Rolling Stone on December 23, 2020, that one of the few events worth celebrating in American history took place on June 25, 1876 when Lakota, Northern Cheyenne, and Arapaho, led by Crazy Horse and Chief Gall, annihilated the 7th Cavalry under the command of Lt. Col. George Armstrong Custer.
Activism
Anti-war activism
Hedges was an early critic of the Iraq War. In May 2003, he delivered a commencement address at Rockford College in Rockford, Illinois, saying: "We are embarking on an occupation that, if history is any guide, will be as damaging to our souls as it will be to our prestige and power and security." His speech was received with boos, "two students approached the stage to push [him] off the podium" (as he told an interviewer), and his microphone was shut off three minutes after he began speaking. Hedges had to end the commencement speech short because of the various student disruptions.
The New York Times, his employer, criticized his statements and issued him a formal reprimand for "public remarks that could undermine public trust in the paper's impartiality".
On December 16, 2010, he was arrested outside the White House along with Daniel Ellsberg and more than 100 activists who were protesting the war in Afghanistan.
In a piece published in Salon Magazine in March 2022, Hedges argued that NATO was at fault for Russia's invasion of Ukraine:The European Union has allocated hundreds of millions of euros to purchase weapons for Ukraine. Germany will almost triple its own defense budget for 2022. The Biden administration has asked Congress to provide $6.4 billion in funding to assist Ukraine, supplementing the $650 million in military aid to Ukraine over the past year. The permanent war economy operates outside the laws of supply and demand. It is the root of the two-decade-long quagmire in the Middle East. It is the root of the conflict with Moscow.
Occupy involvement
Hedges appeared as a guest on an October 2011 episode of the CBC News Network's Lang and O'Leary Exchange to discuss his support for the Occupy Wall Street protests; co-host Kevin O'Leary criticized him, saying that he sounded "like a left-wing nutbar". Hedges said "it will be the last time" he appears on the show, and compared the CBC to Fox News. CBC's ombudsman found O'Leary's heated remarks to be a violation of the public broadcaster's journalistic standards.
On November 3, 2011, Hedges was arrested with others in New York as part of the Occupy Wall Street demonstration, during which the activists staged a "people's hearing" on the activities of the investment bank Goldman Sachs and blocked the entrance to their corporate headquarters.
NDAA lawsuit
In 2012, after the Obama administration signed the National Defense Authorization Act, or NDAA, Hedges sued members of the U.S. government, asserting that section 1021 of the law unconstitutionally allowed presidential authority for indefinite detention without habeas corpus. He was later joined in the suit, Hedges v. Obama, by activists including Noam Chomsky and Daniel Ellsberg. In May 2012 Judge Katherine B. Forrest of the Southern District of New York ruled that the counter-terrorism provision of the NDAA is unconstitutional. The Obama administration appealed the decision and it was overturned in July 2013 by the Second Circuit Court of Appeals. Hedges petitioned the U.S. Supreme Court to hear the case, but the Supreme Court denied certiorari in April 2014.
Other activism
In the 2008 United States presidential campaign, Hedges was a speech writer for candidate Ralph Nader.
On April 15, 2016, Hedges was arrested, along with 100 other protesters, during a sit-in outside the Capitol building in Washington D.C. during Democracy Spring to protest the capture of the political system by corporations.
On May 27, 2020, Hedges announced that he would run as a Green Party candidate in New Jersey's 12th congressional district for the 2020 elections. However, he was informed the following day that running for office would conflict with FCC fairness doctrine rules because he was at that time hosting the nationally broadcast RT America television show On Contact. Hedges decided not to pursue office in order to keep hosting the show.
In September 2020, Chris Hedges spoke at the Movement for a People's Party convention.
Personal life
Hedges is married to the Canadian actress Eunice Wong. The couple have two children. Hedges also has two children from a previous marriage. He currently lives in Princeton, New Jersey. On November 11, 2014, Hedges announced that he and his family had become vegan. Hedges compared his decision to a vow of abstinence, adding that it is necessary "to make radical changes to save ourselves from ecological meltdown."
Hedges has post-traumatic stress disorder from his experience reporting in war zones.
Hedges studied Latin and Ancient Greek at Harvard, and speaks Arabic, French, and Spanish in addition to his native English.
Books
2002: War Is a Force That Gives Us Meaning ()
2003: What Every Person Should Know About War ()
2005: Losing Moses on the Freeway: The 10 Commandments in America ()
2007: American Fascists: The Christian Right and the War on America ()
2008: I Don't Believe in Atheists ()
2008: Collateral Damage: America's War Against Iraqi Civilians, with Laila Al-Arian ()
2009: When Atheism Becomes Religion: America's New Fundamentalists, (), a retitled edition of I Don't Believe in Atheists
2009: Empire of Illusion: The End of Literacy and the Triumph of Spectacle ()
2010: Death of the Liberal Class ()
2010: The World As It Is: Dispatches on the Myth of Human Progress ()
2012: Days of Destruction, Days of Revolt, with Joe Sacco ()
2015: Wages of Rebellion: The Moral Imperative of Revolt ()
2016: Unspeakable ()
2018: America: The Farewell Tour ()
2021 Our Class: Trauma and Transformation in an American Prison ()
See also
Christian left
Sacrifice zone
References
External links
APB Speakers Bureau Chris Hedges
"Capitalism's 'Sacrifice Zones Bill Moyers talks with Chris Hedges, and comic-journalist Joe Sacco talking about their collaboration and showing drawings for their book Days of Destruction, Days of Revolt, July 20, 2012. Retrieved July 30, 2012
Columns by Chris Hedges at Truthdig
What Every Person Should Know About War, first chapter at The New York Times
Chris Hedges at Scheerpost.
1956 births
Living people
21st-century American male writers
21st-century American non-fiction writers
American anarchists
American anti-capitalists
American anti-fascists
American Christian socialists
American foreign policy writers
American male non-fiction writers
American political writers
American Presbyterians
American reporters and correspondents
American socialists
American war correspondents
Anarchist writers
Anti-consumerists
Anti-corporate activists
Christian anarchists
The Christian Science Monitor people
Colgate University alumni
Columbia University faculty
Critics of atheism
The Dallas Morning News people
Harvard Divinity School alumni
Loomis Chaffee School alumni
The Nation (U.S. magazine) people
The New York Times writers
Nieman Fellows
PEN Oakland/Josephine Miles Literary Award winners
People from Schoharie, New York
People from St. Johnsbury, Vermont
Presbyterian socialists
RT (TV network) people
War correspondents of the Iraq War
War correspondents of the Yugoslav Wars
Writers about religion and science | true | [
"Paul Sidney Laune (1899 in Woodward, Oklahoma – 1977) was an author, painter and illustrator, known for his book covers and for paintings he did of rural Western U.S. pioneer scenes. He covered pioneers, ranch-life, quarter horses in his paintings. He painted five murals for the Plains Indians and Pioneers Museum in his hometown of Woodward, Oklahoma.\n\nAfter graduating from the University of Oklahoma, Laune worked as an illustrator and art critic in New York. He also lived in Phoenix, Arizona, where he drew quarter horses and wrote a book on them.\n\nAmong the more famous works he illustrated, were books in the Hardy Boys Mystery Series.\n\nWorks\nThe Forgotten Books Of Eden. Illustrations, 1930.\nThe Secret Warning. Hardy Boys Mystery Series, illustrations, 1938\nThe Thirsty Pony, author, cover art and illustrations, 1940\nThe Clue of the Broken Blade. Hardy Boys Mystery Series #21, illustrator, 1942\nThe Flickering Torch Mystery. Hardy Boys Mystery Series #22, illustrator\nThe Mustang Roundup, author\nThe Silver Chalice, illustrations, 1952\nSouthwest, John Houghton Allen, 1952\nWhen the Legends Die, book cover, 1963\nAmerica's Quarter Horses, author, 1977\n\nReferences\n\nExternal links\n \nPictures of the Rotunda with murals by Paule Laune and Pat “Kemoha” Patterson.\n\n1899 births\n1977 deaths\nPeople from Woodward, Oklahoma\n20th-century American painters\nAmerican male painters\n20th-century American writers\nAmerican muralists\nAmerican illustrators\nPainters from Oklahoma\nWriters from Oklahoma\nUniversity of Oklahoma alumni",
"Painter of Dead Girls is a compilation album by the grindcore band Pig Destroyer. It features songs from their Gnob and Benümb splits as well as a cover of the Helmet song \"In the Meantime\". J. R. Hayes once said that he did not remember the lyrics to the first seven tracks, and that he could not decipher them. Said lyrics have now been found and are available online. The cover art was done by Chris Taylor of Pg. 99.\n\nThe iTunes version of Painter excludes the three cover songs.\n\nTrack listing \nAll lyrics written by J. R. Hayes. All music written by Scott Hull, except where noted.\n\"Hymn\" – 1:37\n\"Taskmaster\" – 0:45\n\"Black Centipede\" – 0:30\n\"Immune to Life\" – 0:28\n\"Fuck You Up and Get High\" (Dwarves cover) – 0:33\n\"Contagion\" – 0:16\n\"Blank Dice\" – 0:27\n\"Blonde Prostitute\" – 0:55\n\"Patterns of Failure\" – 1:25\n\"Rejection Fetish\" – 1:38\n\"Dark Satellites\" – 0:51\n\"Purity Undone\" – 0:34\n\"Forgotten Child\" – 1:31\n\"White Sand\" – 0:27\n\"Painter of Dead Girls\" – 0:49\n\"Down in the Streets\" (The Stooges cover) – 3:45\n\"In the Meantime\" (Helmet cover) – 3:01\n\nPersonnel\nJ. R. Hayes – vocals\nScott Hull – guitar\nBrian Harvey – drums\nChris Taylor – artwork\n\nReferences\n\n2004 compilation albums\nPig Destroyer albums\nRobotic Empire compilation albums"
] | [
"Christopher Lynn Hedges (born September 18, 1956) is an American journalist, Presbyterian minister, author and television host. A former reporter for The New York Times, Hedges has pursued work and activism related to covering his perspectives on political violence and critical views on American liberalism.",
"A former reporter for The New York Times, Hedges has pursued work and activism related to covering his perspectives on political violence and critical views on American liberalism. In his early career, Hedges worked as a freelance war correspondent in Central America for The Christian Science Monitor, NPR, and Dallas Morning News.",
"In his early career, Hedges worked as a freelance war correspondent in Central America for The Christian Science Monitor, NPR, and Dallas Morning News. Hedges began working for The New York Times in 1990.",
"Hedges began working for The New York Times in 1990. During his fifteen year tenure, Hedges reported from more than fifty countries and served as the Times Middle East Bureau Chief and Balkan Bureau Chief during the wars in the former Yugoslavia.",
"During his fifteen year tenure, Hedges reported from more than fifty countries and served as the Times Middle East Bureau Chief and Balkan Bureau Chief during the wars in the former Yugoslavia. In 2001, Hedges contributed to The New York Times staff entry that received the 2002 Pulitzer Prize for Explanatory Reporting for the paper's coverage of global terrorism.",
"In 2001, Hedges contributed to The New York Times staff entry that received the 2002 Pulitzer Prize for Explanatory Reporting for the paper's coverage of global terrorism. He also received the Amnesty International Global Award for Human Rights Journalism in 2002. Hedges left the Times in 2005 after an internal dispute over his public opposition to the Iraq War.",
"Hedges left the Times in 2005 after an internal dispute over his public opposition to the Iraq War. Hedges produced a weekly column for Truthdig for 14 years until the outlet's unexpected hiatus in 2020.",
"Hedges produced a weekly column for Truthdig for 14 years until the outlet's unexpected hiatus in 2020. Hedges' books include War Is a Force That Gives Us Meaning (2002), a finalist for the National Book Critics Circle Award for Nonfiction; American Fascists: The Christian Right and the War on America (2007); Death of the Liberal Class (2010); and Days of Destruction, Days of Revolt (2012), written with cartoonist Joe Sacco.",
"Hedges' books include War Is a Force That Gives Us Meaning (2002), a finalist for the National Book Critics Circle Award for Nonfiction; American Fascists: The Christian Right and the War on America (2007); Death of the Liberal Class (2010); and Days of Destruction, Days of Revolt (2012), written with cartoonist Joe Sacco. Hedges has taught at Columbia University, New York University, the University of Toronto and Princeton University.",
"Hedges has taught at Columbia University, New York University, the University of Toronto and Princeton University. He has taught college credit writing courses in New Jersey prisons as part of the B.A. program offered by Rutgers University. Hedges hosts the Emmy-nominated program On Contact for the RT (formerly Russia Today) television network.",
"Hedges hosts the Emmy-nominated program On Contact for the RT (formerly Russia Today) television network. Hedges has described himself as a socialist and an anarchist, identifying with Dorothy Day in particular. Early life Christopher Lynn Hedges was born on September 18, 1956 in St. Johnsbury, Vermont.",
"Early life Christopher Lynn Hedges was born on September 18, 1956 in St. Johnsbury, Vermont. His father was a World War II veteran, Presbyterian minister, and anti-war activist. He grew up in rural Schoharie County, New York, southwest of Albany.",
"He grew up in rural Schoharie County, New York, southwest of Albany. Education Hedges received a scholarship to attend Loomis Chaffee School, a private boarding school in Windsor, Connecticut. Hedges founded an underground newspaper at the school that was banned by the administration and resulted in his being put on probation. He graduated in 1975.",
"He graduated in 1975. He graduated in 1975. Hedges enrolled into Colgate University and, though heterosexual, helped found an LGBT student group. Hedges received his Bachelor of Arts degree in English from Colgate in 1979.",
"Hedges received his Bachelor of Arts degree in English from Colgate in 1979. He received a Master of Divinity degree from Harvard University's Divinity School (where he studied under James Luther Adams) in 1983. Hedges lived in Roxbury, a blighted inner city neighborhood in Boston, as a seminarian and ran a small church.",
"Hedges lived in Roxbury, a blighted inner city neighborhood in Boston, as a seminarian and ran a small church. He was also a member of the Greater Boston YMCA's boxing team, writing that the boxing gym was \"the only place I felt safe.\" He studied Latin and Classical Greek at Harvard.",
"He studied Latin and Classical Greek at Harvard. Early career Hedges began his career as a freelance journalist in Latin America. He wrote for several publications, including The Washington Post, and covered the Falklands War from Buenos Aires for National Public Radio.",
"He wrote for several publications, including The Washington Post, and covered the Falklands War from Buenos Aires for National Public Radio. From 1983 to 1984, he covered the conflicts in El Salvador, Nicaragua and Guatemala for The Christian Science Monitor and NPR.",
"From 1983 to 1984, he covered the conflicts in El Salvador, Nicaragua and Guatemala for The Christian Science Monitor and NPR. He was hired as the Central America Bureau Chief for The Dallas Morning News in 1984 and held this position until 1988.",
"He was hired as the Central America Bureau Chief for The Dallas Morning News in 1984 and held this position until 1988. Noam Chomsky wrote of Hedges at the time that he was one of the \"few US journalists in Central America who merit the title.\" Hedges took a sabbatical to study Arabic in 1988.",
"Hedges took a sabbatical to study Arabic in 1988. He was appointed the Middle East Bureau Chief for The Dallas Morning News in 1989.",
"He was appointed the Middle East Bureau Chief for The Dallas Morning News in 1989. In one of his first stories for the paper he tracked down Robert Manning, the prime suspect in the 1985 bombing death in California of Alex Odeh, head of the American-Arab Anti-Discrimination Committee’s Western office, in the Jewish settlement of Kiryat Arba in the Israeli-occupied West Bank.",
"In one of his first stories for the paper he tracked down Robert Manning, the prime suspect in the 1985 bombing death in California of Alex Odeh, head of the American-Arab Anti-Discrimination Committee’s Western office, in the Jewish settlement of Kiryat Arba in the Israeli-occupied West Bank. Before Hedges discovered Manning, Israel claimed it had no knowledge of Manning’s whereabouts.",
"Before Hedges discovered Manning, Israel claimed it had no knowledge of Manning’s whereabouts. Manning, linked to the militant Jewish Defense League and allegedly behind several murders, was extradited to the United States in 1991 where he is serving a life sentence for a separate bombing incident.",
"Manning, linked to the militant Jewish Defense League and allegedly behind several murders, was extradited to the United States in 1991 where he is serving a life sentence for a separate bombing incident. The New York Times In 1990, Hedges was hired by The New York Times.",
"The New York Times In 1990, Hedges was hired by The New York Times. He covered the first Gulf War for the paper, where he refused to participate in the military pool system that restricted the movement and reporting of journalists.",
"He covered the first Gulf War for the paper, where he refused to participate in the military pool system that restricted the movement and reporting of journalists. He was arrested by the United States Army and had his press credentials revoked, but continued to defy the military restrictions to report outside the pool system.",
"He was arrested by the United States Army and had his press credentials revoked, but continued to defy the military restrictions to report outside the pool system. Hedges subsequently entered Kuwait with U.S. Marine Corps members who were distrustful of the Army's press control. Within The New York Times, R.W.",
"Within The New York Times, R.W. Apple Jr. supported Hedges' defiance of the pool system. Hedges was taken prisoner in Basra after the war by the Iraqi Republican Guard during the Shiite uprising. He was freed after a week. Hedges was appointed the paper’s Middle East Bureau Chief in 1991.",
"Hedges was appointed the paper’s Middle East Bureau Chief in 1991. His reporting on the atrocities committed by Saddam Hussein in the Kurdish-held parts of northern Iraq saw the Iraqi leader offer a bounty for anyone who killed Hedges, along with other western journalists and aid workers in the region.",
"His reporting on the atrocities committed by Saddam Hussein in the Kurdish-held parts of northern Iraq saw the Iraqi leader offer a bounty for anyone who killed Hedges, along with other western journalists and aid workers in the region. Several aid workers and journalists, including the German reporter Lissy Schmidt, were assassinated and others were severely wounded.",
"Several aid workers and journalists, including the German reporter Lissy Schmidt, were assassinated and others were severely wounded. Yugoslav Wars (1995–2000) In 1995, Hedges was named the Balkan Bureau Chief for The New York Times.",
"Yugoslav Wars (1995–2000) In 1995, Hedges was named the Balkan Bureau Chief for The New York Times. He was based in Sarajevo when the city was being hit by over 300 shells a day by the surrounding Bosnia Serbs.",
"He was based in Sarajevo when the city was being hit by over 300 shells a day by the surrounding Bosnia Serbs. He reported on the Srebrenica massacre in July 1995 and shortly after the war uncovered what appeared to be one of the central collection points and hiding places for perhaps thousands of corpses at the large open pit Ljubija mine during the Bosnian Serbs' ethnic cleansing campaign.",
"He reported on the Srebrenica massacre in July 1995 and shortly after the war uncovered what appeared to be one of the central collection points and hiding places for perhaps thousands of corpses at the large open pit Ljubija mine during the Bosnian Serbs' ethnic cleansing campaign. He and the photographer Wade Goddard were the first reporters to travel with armed units of the Kosovo Liberation Army (KLA) in Kosovo.",
"He and the photographer Wade Goddard were the first reporters to travel with armed units of the Kosovo Liberation Army (KLA) in Kosovo. Hedges investigative piece was published in The New York Times in June 1999 detailing how Hashim Thaçi, leader of the Kosovo Liberation Army (and later president of Kosovo), directed a campaign in which as many as half a dozen top rebel commanders were assassinated and many others were brutally purged to consolidate his power.",
"Hedges investigative piece was published in The New York Times in June 1999 detailing how Hashim Thaçi, leader of the Kosovo Liberation Army (and later president of Kosovo), directed a campaign in which as many as half a dozen top rebel commanders were assassinated and many others were brutally purged to consolidate his power. Thaci, indicted by the special court in The Hague on 10 counts of war crimes, is in detention in The Hague awaiting trial.",
"Thaci, indicted by the special court in The Hague on 10 counts of war crimes, is in detention in The Hague awaiting trial. Hedges was a Nieman Fellow at Harvard University during the 1998–1999 academic year.",
"Hedges was a Nieman Fellow at Harvard University during the 1998–1999 academic year. Hedges ended his career of reporting in active conflicts in October 2000, partly due to trauma sustained from witnessing the death of a juvenile boy in Kosovo during a firefight.",
"Hedges ended his career of reporting in active conflicts in October 2000, partly due to trauma sustained from witnessing the death of a juvenile boy in Kosovo during a firefight. Terrorism coverage and Iraq War (2001–2005) Hedges was based in Paris following the attacks of 9/11, covering Al Qaeda in Europe and the Middle East.",
"Terrorism coverage and Iraq War (2001–2005) Hedges was based in Paris following the attacks of 9/11, covering Al Qaeda in Europe and the Middle East. He was a part of an investigative team in The New York Times that won the Pulitzer Prize for Breaking News Reporting in 2002 for their coverage of Al Qaeda.",
"He was a part of an investigative team in The New York Times that won the Pulitzer Prize for Breaking News Reporting in 2002 for their coverage of Al Qaeda. Hedges' contribution was an October 2001 article describing Al Qaeda's foiled bombing plot of the Embassy of the United States, Paris.",
"Hedges' contribution was an October 2001 article describing Al Qaeda's foiled bombing plot of the Embassy of the United States, Paris. Most of the awarded reporting was done by Judith Miller, who was later disgraced due to her work that falsely connected the operations of Al Qaeda to the Republic of Iraq led by Saddam Hussein.",
"Most of the awarded reporting was done by Judith Miller, who was later disgraced due to her work that falsely connected the operations of Al Qaeda to the Republic of Iraq led by Saddam Hussein. Many Times editors pushed to utilize dubious American intelligence reports that gave misleading or fabricated details around an alleged Iraqi connection to international terror.",
"Many Times editors pushed to utilize dubious American intelligence reports that gave misleading or fabricated details around an alleged Iraqi connection to international terror. Reporting from coached defectors In a collaboration between The New York Times and Frontline, Hedges authored three articles covering the claims of false Iraqi defectors.",
"Reporting from coached defectors In a collaboration between The New York Times and Frontline, Hedges authored three articles covering the claims of false Iraqi defectors. Hedges worked on the behalf of Lowell Bergman of Frontline, who could not travel to Beirut to interview the purported defectors.",
"Hedges worked on the behalf of Lowell Bergman of Frontline, who could not travel to Beirut to interview the purported defectors. The trip was organized by Ahmed Chalabi, who Hedges considered to be unreliable. The first defector Hedges interviewed identified themselves as Lt. General Jamal al-Ghurairy.",
"The first defector Hedges interviewed identified themselves as Lt. General Jamal al-Ghurairy. Hedges consulted the U.S. Embassy in Turkey to confirm their identity, and the embassy falsely did so as the real al-Ghurairy had never left Iraq.",
"Hedges consulted the U.S. Embassy in Turkey to confirm their identity, and the embassy falsely did so as the real al-Ghurairy had never left Iraq. Hedges wrote a November 8, 2001 Times cover story about two former Iraqi military commanders who claimed to have trained foreign mujahedeen how to hijack planes and destroy vital American infrastructure.",
"Hedges wrote a November 8, 2001 Times cover story about two former Iraqi military commanders who claimed to have trained foreign mujahedeen how to hijack planes and destroy vital American infrastructure. The two defectors also asserted there was a secret compound in Salman Pak facility where a German scientist was producing biological weapons.",
"The two defectors also asserted there was a secret compound in Salman Pak facility where a German scientist was producing biological weapons. The Frontline report featured statements from American officials who doubted the claims of the defectors.",
"The Frontline report featured statements from American officials who doubted the claims of the defectors. According to Jack Fairweather in Mother Jones: \"The impact of the article ... was immediate: Op-eds ran in major papers, and the story was taken to a wider audience through cable-TV talk shows.",
"According to Jack Fairweather in Mother Jones: \"The impact of the article ... was immediate: Op-eds ran in major papers, and the story was taken to a wider audience through cable-TV talk shows. When Condoleezza Rice, then President George W. Bush's national security adviser, was asked about the report at a press briefing, she said, 'I think it surprises no one that Saddam Hussein is engaged in all kinds of activities that are destabilizing.",
"When Condoleezza Rice, then President George W. Bush's national security adviser, was asked about the report at a press briefing, she said, 'I think it surprises no one that Saddam Hussein is engaged in all kinds of activities that are destabilizing. As late as 2006, according to Fairweather in the same article, conservative magazines including The Weekly Standard and National Review continued to use this article to justify the invasion of Iraq.",
"As late as 2006, according to Fairweather in the same article, conservative magazines including The Weekly Standard and National Review continued to use this article to justify the invasion of Iraq. In the aftermath of the revelations that the Iraqi defectors were not legitimate, Hedges defended his comportment since he had done the story as a favor to Lowell Bergman, adding that \"There has to be a level of trust between reporters.",
"In the aftermath of the revelations that the Iraqi defectors were not legitimate, Hedges defended his comportment since he had done the story as a favor to Lowell Bergman, adding that \"There has to be a level of trust between reporters. We cover each other's sources when it's a good story because otherwise everyone would get hold of it.\"",
"We cover each other's sources when it's a good story because otherwise everyone would get hold of it.\" Exit from the Times In 2003, Hedges was reprimanded by The New York Times for his opposition to U.S. involvement in the Iraq War because of perceived challenges to partiality.",
"Exit from the Times In 2003, Hedges was reprimanded by The New York Times for his opposition to U.S. involvement in the Iraq War because of perceived challenges to partiality. This was a motivating factor for his resignation from the Times in 2005.",
"This was a motivating factor for his resignation from the Times in 2005. Later career In 2005, Hedges left The New York Times to become a senior fellow at Type Media Center, and a columnist at Truthdig, in addition to writing books and teaching inmates at a New Jersey correctional institution.",
"Later career In 2005, Hedges left The New York Times to become a senior fellow at Type Media Center, and a columnist at Truthdig, in addition to writing books and teaching inmates at a New Jersey correctional institution. Obey, a 2013 documentary by British filmmaker Temujin Doran, is based on Hedges' book Death of the Liberal Class.",
"Obey, a 2013 documentary by British filmmaker Temujin Doran, is based on Hedges' book Death of the Liberal Class. Truthdig (2006–2020) Hedges produced a weekly column in Truthdig for 14 years. He was fired along with all of the editorial staff in March 2020.",
"He was fired along with all of the editorial staff in March 2020. Hedges and the staff had gone on strike earlier in the month to protest the publisher's attempt to fire the Editor-in-Chief Robert Scheer, demand an end to a series of unfair labor practices and the right to form a union.",
"Hedges and the staff had gone on strike earlier in the month to protest the publisher's attempt to fire the Editor-in-Chief Robert Scheer, demand an end to a series of unfair labor practices and the right to form a union. Hedges has since been a writer for Scheerpost.",
"Hedges has since been a writer for Scheerpost. Citation error controversy In June 2014, Christopher Ketcham published an article on The New Republic website accusing Hedges of improper citations, alleging the offenses constituted plagiarism. In response, some formatting and reference errors were corrected on the website for Truthdig.",
"In response, some formatting and reference errors were corrected on the website for Truthdig. Additional accusations of plagiarism from Ketcham were countered by an independent investigation from the Type Media Center.",
"Additional accusations of plagiarism from Ketcham were countered by an independent investigation from the Type Media Center. The Washington Free Beacon reported that a spokesperson for The New York Times said it \"did not have reason to believe Hedges plagiarized in his work for the paper\" and had no plans to investigate Hedges for plagiarism.",
"The Washington Free Beacon reported that a spokesperson for The New York Times said it \"did not have reason to believe Hedges plagiarized in his work for the paper\" and had no plans to investigate Hedges for plagiarism. Prison writing teacher Hedges has worked for a decade teaching writing classes in prisons in New Jersey through a program offered by Princeton University and later Rutgers University.",
"Prison writing teacher Hedges has worked for a decade teaching writing classes in prisons in New Jersey through a program offered by Princeton University and later Rutgers University. A class that Hedges taught at East Jersey State Prison in 2013 went on to collaborate in the creation of a play titled Caged.",
"A class that Hedges taught at East Jersey State Prison in 2013 went on to collaborate in the creation of a play titled Caged. Hedges has become a fierce critic of mass incarceration in the United States, and his experience as an educator in New Jersey prisons served as inspiration for his 2021 book Our Class: Trauma and Transformation in an American Prison.",
"Hedges has become a fierce critic of mass incarceration in the United States, and his experience as an educator in New Jersey prisons served as inspiration for his 2021 book Our Class: Trauma and Transformation in an American Prison. Ordination and ministerial installation On October 5, 2014, Hedges was ordained a minister within the Presbyterian Church.",
"Ordination and ministerial installation On October 5, 2014, Hedges was ordained a minister within the Presbyterian Church. He was installed as Associate Pastor and Minister of Social Witness and Prison Ministry at the Second Presbyterian Church Elizabeth in Elizabeth, New Jersey.",
"He was installed as Associate Pastor and Minister of Social Witness and Prison Ministry at the Second Presbyterian Church Elizabeth in Elizabeth, New Jersey. He mentioned being rejected for ordination 30 years earlier, saying that \"going to El Salvador as a reporter was not something the Presbyterian Church at the time recognized as a valid ministry, and a committee rejected my 'call.",
"He mentioned being rejected for ordination 30 years earlier, saying that \"going to El Salvador as a reporter was not something the Presbyterian Church at the time recognized as a valid ministry, and a committee rejected my 'call. Political views Economic views Hedges contended at the Left Forum in 2015 that with the \"denouement of capitalism and the disintegration of globalism\", Karl Marx has been \"vindicated as capitalism's most prescient and important critic\".",
"Political views Economic views Hedges contended at the Left Forum in 2015 that with the \"denouement of capitalism and the disintegration of globalism\", Karl Marx has been \"vindicated as capitalism's most prescient and important critic\". He said that Marx \"foresaw that capitalism had built within it the seeds of its own destruction.",
"He said that Marx \"foresaw that capitalism had built within it the seeds of its own destruction. He knew that reigning ideologies—think neoliberalism—were created to serve the interests of the elites and in particular the economic elites.\"",
"He knew that reigning ideologies—think neoliberalism—were created to serve the interests of the elites and in particular the economic elites.\" Environmental views In a March 2009 column, Hedges warned that human over-population and mass species extinction are serious problems, and that any measures to save the ecosystem will be futile unless we cut population growth, and noted that, \"As long as the Earth is viewed as the personal property of the human race, a belief embraced by everyone from born-again Christians to Marxists to free-market economists, we are destined to soon inhabit a biological wasteland.\"",
"Environmental views In a March 2009 column, Hedges warned that human over-population and mass species extinction are serious problems, and that any measures to save the ecosystem will be futile unless we cut population growth, and noted that, \"As long as the Earth is viewed as the personal property of the human race, a belief embraced by everyone from born-again Christians to Marxists to free-market economists, we are destined to soon inhabit a biological wasteland.\" On September 20, 2014, a day before the People's Climate March, Hedges joined Bernie Sanders, Naomi Klein, Bill McKibben, and Kshama Sawant on a panel moderated by WNYC's Brian Lehrer to discuss the issue of climate change.",
"On September 20, 2014, a day before the People's Climate March, Hedges joined Bernie Sanders, Naomi Klein, Bill McKibben, and Kshama Sawant on a panel moderated by WNYC's Brian Lehrer to discuss the issue of climate change. Hedges and Klein also participated in the 'Flood Wall Street' protests that occurred shortly thereafter.",
"Hedges and Klein also participated in the 'Flood Wall Street' protests that occurred shortly thereafter. Hedges' environmental concerns were his primary motivation to be vegan. Hedges authored an introduction to a vegan cookbook in 2015.",
"Hedges authored an introduction to a vegan cookbook in 2015. Other views In March 2008, Hedges published the book titled I Don't Believe in Atheists, in which he argues that new atheism presents a danger that is similar to religious extremism.",
"Other views In March 2008, Hedges published the book titled I Don't Believe in Atheists, in which he argues that new atheism presents a danger that is similar to religious extremism. In a December 2014 TruthDig column, Hedges compared the ethnic cleansing of ISIS to the actions of Israel's founding fathers in the late 1940s.",
"In a December 2014 TruthDig column, Hedges compared the ethnic cleansing of ISIS to the actions of Israel's founding fathers in the late 1940s. Hedges has repudiated the view that the Founding Fathers of the United States represented a legitimate form of democracy, writing that they rigged America's electoral process to thwart direct democracy and to protect the property rights of the aristocracy.",
"Hedges has repudiated the view that the Founding Fathers of the United States represented a legitimate form of democracy, writing that they rigged America's electoral process to thwart direct democracy and to protect the property rights of the aristocracy. He has written that the Electoral College has served to disenfranchise women, Native Americans, African Americans, and men who do not own property.",
"He has written that the Electoral College has served to disenfranchise women, Native Americans, African Americans, and men who do not own property. He has praised abolitionists, labor organizers, women's suffragists, civil rights protestors, and anti-war activists for bringing some change to the structure of the U.S. government.",
"He has praised abolitionists, labor organizers, women's suffragists, civil rights protestors, and anti-war activists for bringing some change to the structure of the U.S. government. Hedges told Julian Casablancas, the lead singer for The Strokes who interviewed him for Rolling Stone on December 23, 2020, that one of the few events worth celebrating in American history took place on June 25, 1876 when Lakota, Northern Cheyenne, and Arapaho, led by Crazy Horse and Chief Gall, annihilated the 7th Cavalry under the command of Lt. Col. George Armstrong Custer.",
"Hedges told Julian Casablancas, the lead singer for The Strokes who interviewed him for Rolling Stone on December 23, 2020, that one of the few events worth celebrating in American history took place on June 25, 1876 when Lakota, Northern Cheyenne, and Arapaho, led by Crazy Horse and Chief Gall, annihilated the 7th Cavalry under the command of Lt. Col. George Armstrong Custer. Activism Anti-war activism Hedges was an early critic of the Iraq War.",
"Activism Anti-war activism Hedges was an early critic of the Iraq War. In May 2003, he delivered a commencement address at Rockford College in Rockford, Illinois, saying: \"We are embarking on an occupation that, if history is any guide, will be as damaging to our souls as it will be to our prestige and power and security.\"",
"In May 2003, he delivered a commencement address at Rockford College in Rockford, Illinois, saying: \"We are embarking on an occupation that, if history is any guide, will be as damaging to our souls as it will be to our prestige and power and security.\" His speech was received with boos, \"two students approached the stage to push [him] off the podium\" (as he told an interviewer), and his microphone was shut off three minutes after he began speaking.",
"His speech was received with boos, \"two students approached the stage to push [him] off the podium\" (as he told an interviewer), and his microphone was shut off three minutes after he began speaking. Hedges had to end the commencement speech short because of the various student disruptions.",
"Hedges had to end the commencement speech short because of the various student disruptions. The New York Times, his employer, criticized his statements and issued him a formal reprimand for \"public remarks that could undermine public trust in the paper's impartiality\".",
"The New York Times, his employer, criticized his statements and issued him a formal reprimand for \"public remarks that could undermine public trust in the paper's impartiality\". On December 16, 2010, he was arrested outside the White House along with Daniel Ellsberg and more than 100 activists who were protesting the war in Afghanistan.",
"On December 16, 2010, he was arrested outside the White House along with Daniel Ellsberg and more than 100 activists who were protesting the war in Afghanistan. In a piece published in Salon Magazine in March 2022, Hedges argued that NATO was at fault for Russia's invasion of Ukraine:The European Union has allocated hundreds of millions of euros to purchase weapons for Ukraine.",
"In a piece published in Salon Magazine in March 2022, Hedges argued that NATO was at fault for Russia's invasion of Ukraine:The European Union has allocated hundreds of millions of euros to purchase weapons for Ukraine. Germany will almost triple its own defense budget for 2022.",
"Germany will almost triple its own defense budget for 2022. The Biden administration has asked Congress to provide $6.4 billion in funding to assist Ukraine, supplementing the $650 million in military aid to Ukraine over the past year. The permanent war economy operates outside the laws of supply and demand.",
"The permanent war economy operates outside the laws of supply and demand. It is the root of the two-decade-long quagmire in the Middle East. It is the root of the conflict with Moscow.",
"It is the root of the conflict with Moscow. Occupy involvement Hedges appeared as a guest on an October 2011 episode of the CBC News Network's Lang and O'Leary Exchange to discuss his support for the Occupy Wall Street protests; co-host Kevin O'Leary criticized him, saying that he sounded \"like a left-wing nutbar\".",
"Occupy involvement Hedges appeared as a guest on an October 2011 episode of the CBC News Network's Lang and O'Leary Exchange to discuss his support for the Occupy Wall Street protests; co-host Kevin O'Leary criticized him, saying that he sounded \"like a left-wing nutbar\". Hedges said \"it will be the last time\" he appears on the show, and compared the CBC to Fox News.",
"Hedges said \"it will be the last time\" he appears on the show, and compared the CBC to Fox News. CBC's ombudsman found O'Leary's heated remarks to be a violation of the public broadcaster's journalistic standards.",
"CBC's ombudsman found O'Leary's heated remarks to be a violation of the public broadcaster's journalistic standards. On November 3, 2011, Hedges was arrested with others in New York as part of the Occupy Wall Street demonstration, during which the activists staged a \"people's hearing\" on the activities of the investment bank Goldman Sachs and blocked the entrance to their corporate headquarters.",
"On November 3, 2011, Hedges was arrested with others in New York as part of the Occupy Wall Street demonstration, during which the activists staged a \"people's hearing\" on the activities of the investment bank Goldman Sachs and blocked the entrance to their corporate headquarters. NDAA lawsuit In 2012, after the Obama administration signed the National Defense Authorization Act, or NDAA, Hedges sued members of the U.S. government, asserting that section 1021 of the law unconstitutionally allowed presidential authority for indefinite detention without habeas corpus.",
"NDAA lawsuit In 2012, after the Obama administration signed the National Defense Authorization Act, or NDAA, Hedges sued members of the U.S. government, asserting that section 1021 of the law unconstitutionally allowed presidential authority for indefinite detention without habeas corpus. He was later joined in the suit, Hedges v. Obama, by activists including Noam Chomsky and Daniel Ellsberg.",
"He was later joined in the suit, Hedges v. Obama, by activists including Noam Chomsky and Daniel Ellsberg. In May 2012 Judge Katherine B. Forrest of the Southern District of New York ruled that the counter-terrorism provision of the NDAA is unconstitutional.",
"In May 2012 Judge Katherine B. Forrest of the Southern District of New York ruled that the counter-terrorism provision of the NDAA is unconstitutional. The Obama administration appealed the decision and it was overturned in July 2013 by the Second Circuit Court of Appeals.",
"The Obama administration appealed the decision and it was overturned in July 2013 by the Second Circuit Court of Appeals. Hedges petitioned the U.S. Supreme Court to hear the case, but the Supreme Court denied certiorari in April 2014. Other activism In the 2008 United States presidential campaign, Hedges was a speech writer for candidate Ralph Nader.",
"Other activism In the 2008 United States presidential campaign, Hedges was a speech writer for candidate Ralph Nader. On April 15, 2016, Hedges was arrested, along with 100 other protesters, during a sit-in outside the Capitol building in Washington D.C. during Democracy Spring to protest the capture of the political system by corporations.",
"On April 15, 2016, Hedges was arrested, along with 100 other protesters, during a sit-in outside the Capitol building in Washington D.C. during Democracy Spring to protest the capture of the political system by corporations. On May 27, 2020, Hedges announced that he would run as a Green Party candidate in New Jersey's 12th congressional district for the 2020 elections.",
"On May 27, 2020, Hedges announced that he would run as a Green Party candidate in New Jersey's 12th congressional district for the 2020 elections. However, he was informed the following day that running for office would conflict with FCC fairness doctrine rules because he was at that time hosting the nationally broadcast RT America television show On Contact.",
"However, he was informed the following day that running for office would conflict with FCC fairness doctrine rules because he was at that time hosting the nationally broadcast RT America television show On Contact. Hedges decided not to pursue office in order to keep hosting the show.",
"Hedges decided not to pursue office in order to keep hosting the show. In September 2020, Chris Hedges spoke at the Movement for a People's Party convention. Personal life Hedges is married to the Canadian actress Eunice Wong. The couple have two children. Hedges also has two children from a previous marriage.",
"Hedges also has two children from a previous marriage. He currently lives in Princeton, New Jersey. On November 11, 2014, Hedges announced that he and his family had become vegan. Hedges compared his decision to a vow of abstinence, adding that it is necessary \"to make radical changes to save ourselves from ecological meltdown.\"",
"Hedges compared his decision to a vow of abstinence, adding that it is necessary \"to make radical changes to save ourselves from ecological meltdown.\" Hedges has post-traumatic stress disorder from his experience reporting in war zones.",
"Hedges has post-traumatic stress disorder from his experience reporting in war zones. Hedges studied Latin and Ancient Greek at Harvard, and speaks Arabic, French, and Spanish in addition to his native English.",
"Hedges studied Latin and Ancient Greek at Harvard, and speaks Arabic, French, and Spanish in addition to his native English. Books 2002: War Is a Force That Gives Us Meaning () 2003: What Every Person Should Know About War () 2005: Losing Moses on the Freeway: The 10 Commandments in America () 2007: American Fascists: The Christian Right and the War on America () 2008: I Don't Believe in Atheists () 2008: Collateral Damage: America's War Against Iraqi Civilians, with Laila Al-Arian () 2009: When Atheism Becomes Religion: America's New Fundamentalists, (), a retitled edition of I Don't Believe in Atheists 2009: Empire of Illusion: The End of Literacy and the Triumph of Spectacle () 2010: Death of the Liberal Class () 2010: The World As It Is: Dispatches on the Myth of Human Progress () 2012: Days of Destruction, Days of Revolt, with Joe Sacco () 2015: Wages of Rebellion: The Moral Imperative of Revolt () 2016: Unspeakable () 2018: America: The Farewell Tour () 2021 Our Class: Trauma and Transformation in an American Prison () See also Christian left Sacrifice zone References External links APB Speakers Bureau Chris Hedges \"Capitalism's 'Sacrifice Zones Bill Moyers talks with Chris Hedges, and comic-journalist Joe Sacco talking about their collaboration and showing drawings for their book Days of Destruction, Days of Revolt, July 20, 2012.",
"Books 2002: War Is a Force That Gives Us Meaning () 2003: What Every Person Should Know About War () 2005: Losing Moses on the Freeway: The 10 Commandments in America () 2007: American Fascists: The Christian Right and the War on America () 2008: I Don't Believe in Atheists () 2008: Collateral Damage: America's War Against Iraqi Civilians, with Laila Al-Arian () 2009: When Atheism Becomes Religion: America's New Fundamentalists, (), a retitled edition of I Don't Believe in Atheists 2009: Empire of Illusion: The End of Literacy and the Triumph of Spectacle () 2010: Death of the Liberal Class () 2010: The World As It Is: Dispatches on the Myth of Human Progress () 2012: Days of Destruction, Days of Revolt, with Joe Sacco () 2015: Wages of Rebellion: The Moral Imperative of Revolt () 2016: Unspeakable () 2018: America: The Farewell Tour () 2021 Our Class: Trauma and Transformation in an American Prison () See also Christian left Sacrifice zone References External links APB Speakers Bureau Chris Hedges \"Capitalism's 'Sacrifice Zones Bill Moyers talks with Chris Hedges, and comic-journalist Joe Sacco talking about their collaboration and showing drawings for their book Days of Destruction, Days of Revolt, July 20, 2012. Retrieved July 30, 2012 Columns by Chris Hedges at Truthdig What Every Person Should Know About War, first chapter at The New York Times Chris Hedges at Scheerpost.",
"Retrieved July 30, 2012 Columns by Chris Hedges at Truthdig What Every Person Should Know About War, first chapter at The New York Times Chris Hedges at Scheerpost. 1956 births Living people 21st-century American male writers 21st-century American non-fiction writers American anarchists American anti-capitalists American anti-fascists American Christian socialists American foreign policy writers American male non-fiction writers American political writers American Presbyterians American reporters and correspondents American socialists American war correspondents Anarchist writers Anti-consumerists Anti-corporate activists Christian anarchists The Christian Science Monitor people Colgate University alumni Columbia University faculty Critics of atheism The Dallas Morning News people Harvard Divinity School alumni Loomis Chaffee School alumni The Nation (U.S. magazine) people The New York Times writers Nieman Fellows PEN Oakland/Josephine Miles Literary Award winners People from Schoharie, New York People from St. Johnsbury, Vermont Presbyterian socialists RT (TV network) people War correspondents of the Iraq War War correspondents of the Yugoslav Wars Writers about religion and science"
] |
[
"Chris Hedges",
"The New York Times",
"Who did he work for",
"The New York Times.",
"where was he located at",
"He was based in the Middle East for five years,",
"Where did he spend this time at",
"serving for four of those years as the Middle East bureau chief.",
"How long did he work for the new york times",
"15 years as a foreign correspondent",
"what country did he cover war in",
"war in the former Yugoslavia as the Balkan bureau chief based in Sarajevo.",
"What other war did he cover",
"He later covered Al Qaeda",
"where did he cover them from",
"Europe and the Middle East",
"What country was he in at the time",
"Iraqi defectors, who had been furnished to Hedges by the Information Collection Program of the US-funded Iraqi National Congress."
] | C_93d6f68d107c4aad9ce4395c004be4ac_1 | What city was he in | 9 | What city was Chris Hedges in when the Iraqi defectors were furnished to him? | Chris Hedges | Hedges worked for 15 years as a foreign correspondent for The New York Times. He was based in the Middle East for five years, serving for four of those years as the Middle East bureau chief. He covered the war in the former Yugoslavia as the Balkan bureau chief based in Sarajevo. He later covered Al Qaeda in Europe and the Middle East from Paris. Three of Hedges' articles were based upon the stories of Iraqi defectors, who had been furnished to Hedges by the Information Collection Program of the US-funded Iraqi National Congress. The program promoted stories to major media outlets in order to orchestrate US intervention in Iraq in the aftermath of the 9/11 attacks. Most significant of his reports in this period was a November 8, 2001, front-page story about two former Iraqi military commanders who claimed to have trained foreign mujahedeen how to hijack planes without using guns. Hedges quoted a man whom he believed to be an Iraqi general: "These Islamic radicals ... came from a variety of countries, including Saudi Arabia, Yemen, Algeria, Egypt, and Morocco. We were training these people to attack installations important to the United States". The two defectors also asserted there was a secret compound in Salman Pak facility where a German scientist was producing biological weapons. According to Mother Jones: "The impact of the article ... was immediate: Op-eds ran in major papers, and the story was taken to a wider audience through cable-TV talk shows. When Condoleezza Rice, then George W. Bush's national security adviser, was asked about the report at a press briefing, she said, 'I think it surprises no one that Saddam Hussein is engaged in all kinds of activities that are destabilizing.'" As late as 2006, conservative magazines including The Weekly Standard and National Review continued to use this article to justify the invasion of Iraq. It later was revealed that the story which Hedges reported was "an elaborate scam". The defector whom Hedges quoted, who had identified himself as Lt. General Jamal al-Ghurairy, was a former sergeant. The real Ghurairy had never left Iraq. Hedges said that he had taken on reporting this account at the request of Lowell Bergman of Frontline, who wanted the defectors for his show but could not go to Beirut for the interview. The trip had been organized by Ahmed Chalabi, whom Hedges considered to be unreliable. Hedges said he had done the piece as a favor to Bergman, explaining, "There has to be a level of trust between reporters. We cover each other's sources when it's a good story because otherwise everyone would get hold of it." Hedges had relied on the US embassy in Turkey for further confirmation of the man's identity. Hedges wrote two more articles that year that were informed by Chalabi-coached defectors. The second one, claiming that Iraq still held 80 Kuwaitis captured in the 1991 Gulf War in a secret underground prison, was also found to be baseless. CANNOTANSWER | Paris. | Christopher Lynn Hedges (born September 18, 1956) is an American journalist, Presbyterian minister, author and television host. A former reporter for The New York Times, Hedges has pursued work and activism related to covering his perspectives on political violence and critical views on American liberalism.
In his early career, Hedges worked as a freelance war correspondent in Central America for The Christian Science Monitor, NPR, and Dallas Morning News. Hedges began working for The New York Times in 1990. During his fifteen year tenure, Hedges reported from more than fifty countries and served as the Times Middle East Bureau Chief and Balkan Bureau Chief during the wars in the former Yugoslavia.
In 2001, Hedges contributed to The New York Times staff entry that received the 2002 Pulitzer Prize for Explanatory Reporting for the paper's coverage of global terrorism. He also received the Amnesty International Global Award for Human Rights Journalism in 2002. Hedges left the Times in 2005 after an internal dispute over his public opposition to the Iraq War.
Hedges produced a weekly column for Truthdig for 14 years until the outlet's unexpected hiatus in 2020. Hedges' books include War Is a Force That Gives Us Meaning (2002), a finalist for the National Book Critics Circle Award for Nonfiction; American Fascists: The Christian Right and the War on America (2007); Death of the Liberal Class (2010); and Days of Destruction, Days of Revolt (2012), written with cartoonist Joe Sacco.
Hedges has taught at Columbia University, New York University, the University of Toronto and Princeton University. He has taught college credit writing courses in New Jersey prisons as part of the B.A. program offered by Rutgers University.
Hedges hosts the Emmy-nominated program On Contact for the RT (formerly Russia Today) television network. Hedges has described himself as a socialist and an anarchist, identifying with Dorothy Day in particular.
Early life
Christopher Lynn Hedges was born on September 18, 1956 in St. Johnsbury, Vermont. His father was a World War II veteran, Presbyterian minister, and anti-war activist. He grew up in rural Schoharie County, New York, southwest of Albany.
Education
Hedges received a scholarship to attend Loomis Chaffee School, a private boarding school in Windsor, Connecticut. Hedges founded an underground newspaper at the school that was banned by the administration and resulted in his being put on probation. He graduated in 1975.
Hedges enrolled into Colgate University and, though heterosexual, helped found an LGBT student group. Hedges received his Bachelor of Arts degree in English from Colgate in 1979. He received a Master of Divinity degree from Harvard University's Divinity School (where he studied under James Luther Adams) in 1983. Hedges lived in Roxbury, a blighted inner city neighborhood in Boston, as a seminarian and ran a small church. He was also a member of the Greater Boston YMCA's boxing team, writing that the boxing gym was "the only place I felt safe." He studied Latin and Classical Greek at Harvard.
Early career
Hedges began his career as a freelance journalist in Latin America. He wrote for several publications, including The Washington Post, and covered the Falklands War from Buenos Aires for National Public Radio. From 1983 to 1984, he covered the conflicts in El Salvador, Nicaragua and Guatemala for The Christian Science Monitor and NPR. He was hired as the Central America Bureau Chief for The Dallas Morning News in 1984 and held this position until 1988. Noam Chomsky wrote of Hedges at the time that he was one of the "few US journalists in Central America who merit the title."
Hedges took a sabbatical to study Arabic in 1988. He was appointed the Middle East Bureau Chief for The Dallas Morning News in 1989. In one of his first stories for the paper he tracked down Robert Manning, the prime suspect in the 1985 bombing death in California of Alex Odeh, head of the American-Arab Anti-Discrimination Committee’s Western office, in the Jewish settlement of Kiryat Arba in the Israeli-occupied West Bank. Before Hedges discovered Manning, Israel claimed it had no knowledge of Manning’s whereabouts. Manning, linked to the militant Jewish Defense League and allegedly behind several murders, was extradited to the United States in 1991 where he is serving a life sentence for a separate bombing incident.
The New York Times
In 1990, Hedges was hired by The New York Times. He covered the first Gulf War for the paper, where he refused to participate in the military pool system that restricted the movement and reporting of journalists. He was arrested by the United States Army and had his press credentials revoked, but continued to defy the military restrictions to report outside the pool system. Hedges subsequently entered Kuwait with U.S. Marine Corps members who were distrustful of the Army's press control. Within The New York Times, R.W. Apple Jr. supported Hedges' defiance of the pool system.
Hedges was taken prisoner in Basra after the war by the Iraqi Republican Guard during the Shiite uprising. He was freed after a week. Hedges was appointed the paper’s Middle East Bureau Chief in 1991. His reporting on the atrocities committed by Saddam Hussein in the Kurdish-held parts of northern Iraq saw the Iraqi leader offer a bounty for anyone who killed Hedges, along with other western journalists and aid workers in the region. Several aid workers and journalists, including the German reporter Lissy Schmidt, were assassinated and others were severely wounded.
Yugoslav Wars (1995–2000)
In 1995, Hedges was named the Balkan Bureau Chief for The New York Times. He was based in Sarajevo when the city was being hit by over 300 shells a day by the surrounding Bosnia Serbs. He reported on the Srebrenica massacre in July 1995 and shortly after the war uncovered what appeared to be one of the central collection points and hiding places for perhaps thousands of corpses at the large open pit Ljubija mine during the Bosnian Serbs' ethnic cleansing campaign. He and the photographer Wade Goddard were the first reporters to travel with armed units of the Kosovo Liberation Army (KLA) in Kosovo. Hedges investigative piece was published in The New York Times in June 1999 detailing how Hashim Thaçi, leader of the Kosovo Liberation Army (and later president of Kosovo), directed a campaign in which as many as half a dozen top rebel commanders were assassinated and many others were brutally purged to consolidate his power. Thaci, indicted by the special court in The Hague on 10 counts of war crimes, is in detention in The Hague awaiting trial.
Hedges was a Nieman Fellow at Harvard University during the 1998–1999 academic year.
Hedges ended his career of reporting in active conflicts in October 2000, partly due to trauma sustained from witnessing the death of a juvenile boy in Kosovo during a firefight.
Terrorism coverage and Iraq War (2001–2005)
Hedges was based in Paris following the attacks of 9/11, covering Al Qaeda in Europe and the Middle East. He was a part of an investigative team in The New York Times that won the Pulitzer Prize for Breaking News Reporting in 2002 for their coverage of Al Qaeda. Hedges' contribution was an October 2001 article describing Al Qaeda's foiled bombing plot of the Embassy of the United States, Paris. Most of the awarded reporting was done by Judith Miller, who was later disgraced due to her work that falsely connected the operations of Al Qaeda to the Republic of Iraq led by Saddam Hussein. Many Times editors pushed to utilize dubious American intelligence reports that gave misleading or fabricated details around an alleged Iraqi connection to international terror.
Reporting from coached defectors
In a collaboration between The New York Times and Frontline, Hedges authored three articles covering the claims of false Iraqi defectors. Hedges worked on the behalf of Lowell Bergman of Frontline, who could not travel to Beirut to interview the purported defectors. The trip was organized by Ahmed Chalabi, who Hedges considered to be unreliable. The first defector Hedges interviewed identified themselves as Lt. General Jamal al-Ghurairy. Hedges consulted the U.S. Embassy in Turkey to confirm their identity, and the embassy falsely did so as the real al-Ghurairy had never left Iraq.
Hedges wrote a November 8, 2001 Times cover story about two former Iraqi military commanders who claimed to have trained foreign mujahedeen how to hijack planes and destroy vital American infrastructure. The two defectors also asserted there was a secret compound in Salman Pak facility where a German scientist was producing biological weapons. The Frontline report featured statements from American officials who doubted the claims of the defectors.
According to Jack Fairweather in Mother Jones: "The impact of the article ... was immediate: Op-eds ran in major papers, and the story was taken to a wider audience through cable-TV talk shows. When Condoleezza Rice, then President George W. Bush's national security adviser, was asked about the report at a press briefing, she said, 'I think it surprises no one that Saddam Hussein is engaged in all kinds of activities that are destabilizing. As late as 2006, according to Fairweather in the same article, conservative magazines including The Weekly Standard and National Review continued to use this article to justify the invasion of Iraq.
In the aftermath of the revelations that the Iraqi defectors were not legitimate, Hedges defended his comportment since he had done the story as a favor to Lowell Bergman, adding that "There has to be a level of trust between reporters. We cover each other's sources when it's a good story because otherwise everyone would get hold of it."
Exit from the Times
In 2003, Hedges was reprimanded by The New York Times for his opposition to U.S. involvement in the Iraq War because of perceived challenges to partiality. This was a motivating factor for his resignation from the Times in 2005.
Later career
In 2005, Hedges left The New York Times to become a senior fellow at Type Media Center, and a columnist at Truthdig, in addition to writing books and teaching inmates at a New Jersey correctional institution.
Obey, a 2013 documentary by British filmmaker Temujin Doran, is based on Hedges' book Death of the Liberal Class.
Truthdig (2006–2020)
Hedges produced a weekly column in Truthdig for 14 years. He was fired along with all of the editorial staff in March 2020. Hedges and the staff had gone on strike earlier in the month to protest the publisher's attempt to fire the Editor-in-Chief Robert Scheer, demand an end to a series of unfair labor practices and the right to form a union. Hedges has since been a writer for Scheerpost.
Citation error controversy
In June 2014, Christopher Ketcham published an article on The New Republic website accusing Hedges of improper citations, alleging the offenses constituted plagiarism. In response, some formatting and reference errors were corrected on the website for Truthdig. Additional accusations of plagiarism from Ketcham were countered by an independent investigation from the Type Media Center.
The Washington Free Beacon reported that a spokesperson for The New York Times said it "did not have reason to believe Hedges plagiarized in his work for the paper" and had no plans to investigate Hedges for plagiarism.
Prison writing teacher
Hedges has worked for a decade teaching writing classes in prisons in New Jersey through a program offered by Princeton University and later Rutgers University. A class that Hedges taught at East Jersey State Prison in 2013 went on to collaborate in the creation of a play titled Caged. Hedges has become a fierce critic of mass incarceration in the United States, and his experience as an educator in New Jersey prisons served as inspiration for his 2021 book Our Class: Trauma and Transformation in an American Prison.
Ordination and ministerial installation
On October 5, 2014, Hedges was ordained a minister within the Presbyterian Church. He was installed as Associate Pastor and Minister of Social Witness and Prison Ministry at the Second Presbyterian Church Elizabeth in Elizabeth, New Jersey. He mentioned being rejected for ordination 30 years earlier, saying that "going to El Salvador as a reporter was not something the Presbyterian Church at the time recognized as a valid ministry, and a committee rejected my 'call.
Political views
Economic views
Hedges contended at the Left Forum in 2015 that with the "denouement of capitalism and the disintegration of globalism", Karl Marx has been "vindicated as capitalism's most prescient and important critic". He said that Marx "foresaw that capitalism had built within it the seeds of its own destruction. He knew that reigning ideologies—think neoliberalism—were created to serve the interests of the elites and in particular the economic elites."
Environmental views
In a March 2009 column, Hedges warned that human over-population and mass species extinction are serious problems, and that any measures to save the ecosystem will be futile unless we cut population growth, and noted that, "As long as the Earth is viewed as the personal property of the human race, a belief embraced by everyone from born-again Christians to Marxists to free-market economists, we are destined to soon inhabit a biological wasteland."
On September 20, 2014, a day before the People's Climate March, Hedges joined Bernie Sanders, Naomi Klein, Bill McKibben, and Kshama Sawant on a panel moderated by WNYC's Brian Lehrer to discuss the issue of climate change. Hedges and Klein also participated in the 'Flood Wall Street' protests that occurred shortly thereafter.
Hedges' environmental concerns were his primary motivation to be vegan. Hedges authored an introduction to a vegan cookbook in 2015.
Other views
In March 2008, Hedges published the book titled I Don't Believe in Atheists, in which he argues that new atheism presents a danger that is similar to religious extremism.
In a December 2014 TruthDig column, Hedges compared the ethnic cleansing of ISIS to the actions of Israel's founding fathers in the late 1940s.
Hedges has repudiated the view that the Founding Fathers of the United States represented a legitimate form of democracy, writing that they rigged America's electoral process to thwart direct democracy and to protect the property rights of the aristocracy. He has written that the Electoral College has served to disenfranchise women, Native Americans, African Americans, and men who do not own property. He has praised abolitionists, labor organizers, women's suffragists, civil rights protestors, and anti-war activists for bringing some change to the structure of the U.S. government.
Hedges told Julian Casablancas, the lead singer for The Strokes who interviewed him for Rolling Stone on December 23, 2020, that one of the few events worth celebrating in American history took place on June 25, 1876 when Lakota, Northern Cheyenne, and Arapaho, led by Crazy Horse and Chief Gall, annihilated the 7th Cavalry under the command of Lt. Col. George Armstrong Custer.
Activism
Anti-war activism
Hedges was an early critic of the Iraq War. In May 2003, he delivered a commencement address at Rockford College in Rockford, Illinois, saying: "We are embarking on an occupation that, if history is any guide, will be as damaging to our souls as it will be to our prestige and power and security." His speech was received with boos, "two students approached the stage to push [him] off the podium" (as he told an interviewer), and his microphone was shut off three minutes after he began speaking. Hedges had to end the commencement speech short because of the various student disruptions.
The New York Times, his employer, criticized his statements and issued him a formal reprimand for "public remarks that could undermine public trust in the paper's impartiality".
On December 16, 2010, he was arrested outside the White House along with Daniel Ellsberg and more than 100 activists who were protesting the war in Afghanistan.
In a piece published in Salon Magazine in March 2022, Hedges argued that NATO was at fault for Russia's invasion of Ukraine:The European Union has allocated hundreds of millions of euros to purchase weapons for Ukraine. Germany will almost triple its own defense budget for 2022. The Biden administration has asked Congress to provide $6.4 billion in funding to assist Ukraine, supplementing the $650 million in military aid to Ukraine over the past year. The permanent war economy operates outside the laws of supply and demand. It is the root of the two-decade-long quagmire in the Middle East. It is the root of the conflict with Moscow.
Occupy involvement
Hedges appeared as a guest on an October 2011 episode of the CBC News Network's Lang and O'Leary Exchange to discuss his support for the Occupy Wall Street protests; co-host Kevin O'Leary criticized him, saying that he sounded "like a left-wing nutbar". Hedges said "it will be the last time" he appears on the show, and compared the CBC to Fox News. CBC's ombudsman found O'Leary's heated remarks to be a violation of the public broadcaster's journalistic standards.
On November 3, 2011, Hedges was arrested with others in New York as part of the Occupy Wall Street demonstration, during which the activists staged a "people's hearing" on the activities of the investment bank Goldman Sachs and blocked the entrance to their corporate headquarters.
NDAA lawsuit
In 2012, after the Obama administration signed the National Defense Authorization Act, or NDAA, Hedges sued members of the U.S. government, asserting that section 1021 of the law unconstitutionally allowed presidential authority for indefinite detention without habeas corpus. He was later joined in the suit, Hedges v. Obama, by activists including Noam Chomsky and Daniel Ellsberg. In May 2012 Judge Katherine B. Forrest of the Southern District of New York ruled that the counter-terrorism provision of the NDAA is unconstitutional. The Obama administration appealed the decision and it was overturned in July 2013 by the Second Circuit Court of Appeals. Hedges petitioned the U.S. Supreme Court to hear the case, but the Supreme Court denied certiorari in April 2014.
Other activism
In the 2008 United States presidential campaign, Hedges was a speech writer for candidate Ralph Nader.
On April 15, 2016, Hedges was arrested, along with 100 other protesters, during a sit-in outside the Capitol building in Washington D.C. during Democracy Spring to protest the capture of the political system by corporations.
On May 27, 2020, Hedges announced that he would run as a Green Party candidate in New Jersey's 12th congressional district for the 2020 elections. However, he was informed the following day that running for office would conflict with FCC fairness doctrine rules because he was at that time hosting the nationally broadcast RT America television show On Contact. Hedges decided not to pursue office in order to keep hosting the show.
In September 2020, Chris Hedges spoke at the Movement for a People's Party convention.
Personal life
Hedges is married to the Canadian actress Eunice Wong. The couple have two children. Hedges also has two children from a previous marriage. He currently lives in Princeton, New Jersey. On November 11, 2014, Hedges announced that he and his family had become vegan. Hedges compared his decision to a vow of abstinence, adding that it is necessary "to make radical changes to save ourselves from ecological meltdown."
Hedges has post-traumatic stress disorder from his experience reporting in war zones.
Hedges studied Latin and Ancient Greek at Harvard, and speaks Arabic, French, and Spanish in addition to his native English.
Books
2002: War Is a Force That Gives Us Meaning ()
2003: What Every Person Should Know About War ()
2005: Losing Moses on the Freeway: The 10 Commandments in America ()
2007: American Fascists: The Christian Right and the War on America ()
2008: I Don't Believe in Atheists ()
2008: Collateral Damage: America's War Against Iraqi Civilians, with Laila Al-Arian ()
2009: When Atheism Becomes Religion: America's New Fundamentalists, (), a retitled edition of I Don't Believe in Atheists
2009: Empire of Illusion: The End of Literacy and the Triumph of Spectacle ()
2010: Death of the Liberal Class ()
2010: The World As It Is: Dispatches on the Myth of Human Progress ()
2012: Days of Destruction, Days of Revolt, with Joe Sacco ()
2015: Wages of Rebellion: The Moral Imperative of Revolt ()
2016: Unspeakable ()
2018: America: The Farewell Tour ()
2021 Our Class: Trauma and Transformation in an American Prison ()
See also
Christian left
Sacrifice zone
References
External links
APB Speakers Bureau Chris Hedges
"Capitalism's 'Sacrifice Zones Bill Moyers talks with Chris Hedges, and comic-journalist Joe Sacco talking about their collaboration and showing drawings for their book Days of Destruction, Days of Revolt, July 20, 2012. Retrieved July 30, 2012
Columns by Chris Hedges at Truthdig
What Every Person Should Know About War, first chapter at The New York Times
Chris Hedges at Scheerpost.
1956 births
Living people
21st-century American male writers
21st-century American non-fiction writers
American anarchists
American anti-capitalists
American anti-fascists
American Christian socialists
American foreign policy writers
American male non-fiction writers
American political writers
American Presbyterians
American reporters and correspondents
American socialists
American war correspondents
Anarchist writers
Anti-consumerists
Anti-corporate activists
Christian anarchists
The Christian Science Monitor people
Colgate University alumni
Columbia University faculty
Critics of atheism
The Dallas Morning News people
Harvard Divinity School alumni
Loomis Chaffee School alumni
The Nation (U.S. magazine) people
The New York Times writers
Nieman Fellows
PEN Oakland/Josephine Miles Literary Award winners
People from Schoharie, New York
People from St. Johnsbury, Vermont
Presbyterian socialists
RT (TV network) people
War correspondents of the Iraq War
War correspondents of the Yugoslav Wars
Writers about religion and science | true | [
"What Cheer (pronounced 'WOT-cheer') is a city in Keokuk County, Iowa, United States. It is a former coal town, and from the 1870s to the early 1900s was one of the major coal-producing centers of Iowa. Its greatest recorded population was 3,246, in the 1890 census. The population was 607 in the 2020 census.\n\nNaming\nWhat Cheer was founded in 1865 as Petersburg, named after Peter Britton, its founder. This name was rejected by the Post Office, forcing a change of name. Joseph Andrews, a major and veteran of the American Civil War, suggested the name \"What Cheer,\" and the town was officially renamed on December 1, 1879.\n\nSources differ as to why the name What Cheer was chosen. The phrase what cheer with you is an ancient English greeting dating back at least to the 15th century. One theory of the name is that a Scottish miner exclaimed What cheer! on discovering a coal seam near town.\n\nA more elaborate theory suggests that Joseph Andrews chose the name because of one of the founding myths of his native town of Providence, Rhode Island. According to the story, when Roger Williams arrived at the site that would become Providence in 1636, he was greeted by Narragansett Native Americans with \"What Cheer, Netop\". Netop was the Narragansett word for friend, and the Narragansetts had picked up the what cheer greeting from English settlers. It is possible that the connection between What Cheer, Iowa and What Cheer, the shibboleth of Rhode Island, was merely coincidental - the entries for these subjects are adjacent but not connected in the 1908 edition of the Encyclopedia Americana.\n\nWhat Cheer has frequently been noted on lists of unusual place names.\n\nHistory\n\nRobert Forsyth, born in Kilmarnock, Scotland, came to America in 1857, and made his way to Rock Island, Illinois, where he arrived penniless. He worked for most of a decade as a coal miner before coming to Petersburg, the future What Cheer. In the 1870s, he began buying coal lands around town, mostly on credit. When the railroad came to town, he leased his land to the coal companies and bought into a local drug store, eventually operating stores in What Cheer, Mystic and Jerome, Iowa. Other Scots from the Kilmarnock region (Ayrshire) also settled in the area. Robert Orr came in 1875 after working in the coal mines of Colchester, Illinois. His son Alexander went on a successful career as a mine owner in Mystic.\n\nThe Burlington, Cedar Rapids and Northern Railway (BCR&N) built a branch to What Cheer in 1879. With the arrival of the railroad, the What Cheer coalfield quickly became one of the most important coal mining centers in Iowa. The Starr Coal Company had over 200 employees and could produce 1,000 tons of coal per day. By 1883, they were operating three mines and took over several others. When, in 1884, the Chicago and North Western Railway built its line through What Cheer to Muchakinock, there was a further expansion of mining in the area.\n\nLocal Assembly 1474 of the Knights of Labor was based in What Cheer and had a membership of 65 in 1884. On Oct. 15, 1884, 500 miners in What Cheer went on strike, demanding higher wages. The established wage was 3 cents per bushel, and the miners demanded an additional half cent. The state militia was put on alert, but after 6 weeks, the miners accepted a quarter-cent raise. This strike cut coal production in the What Cheer significantly.\n\nIn 1886, the What Cheer Coal Company began to consolidate the local mines, buying up the Starr Coal Company and the Granger Coal Company. In 1887, they employed 1,100 miners, and they continued to operate until 1899. From 1885 to 1901, the Crescent Coal Company was an important local producer.\n\nIn 1891, the BCR&N Railroad's Iowa City Division, serving What Cheer, carried 38,080 tons of coal, by far the most important commodity carried by that line.\nIn 1892, mines along the BCR&N (all of which were in the What Cheer region) loaded 129,316 tons of coal.\n\nOn May 1, 1891, the miners of What Cheer and many other mining towns went on strike for the eight-hour day. 1000 men walked off the job in What Cheer, but returned to work defeated on June 16. On August 15, 1896, the miners struck again over several small grievances. The strike lasted 10 to 12 weeks. Local 841 of the United Mine Workers union was organized in What Cheer in 1897, and in 1902, it had 200 members.\n\nThe first industrial development in What Cheer was driven by the needs of the coal mines. In 1890, What Cheer was home to three firms making mining drills, Walker & Thompson, Enterprise Manufacturing and the newly formed What Cheer Drill Company. Within the decade, the What Cheer Drill and Miners' Tool Company was selling equipment in mining districts around the nation. Alexander Walker, originally with Walker & Thompson filed numerous patents on mining equipment, most of which were assigned to the What Cheer Drill and Miners' Tool Company, later named the What Cheer Tool Company. In 1903, the Starr Manufacturing Company, American Mining Tool Company and the What Cheer Tool Company agreed to a union wage scale with the International Brotherhood of Blacksmiths. At the time, the blacksmiths local 259 had just 17 members.\n\nIn 1907, the Volunteer Brick and Tile company was operating its own coal mine to fuel its kilns. The mine had a steam hoist to lift coal 40 feet from a coal seam from 4 to 5 feet thick. The Lea Brothers' mine in north-central What Cheer also had a steam hoist and still shipped some coal by rail. The remaining mines in the area were all small, using horse-gins to operate their hoists.\n\nBy 1909, there were only a few mines left in the county, all producing coal for local consumption in What Cheer. The decline of What Cheer's mines in the 20th century was reflected in declining union membership. In 1912, Local 841 of the United Mine Workers, based in What Cheer, had only 18 members.\n\nThe What Cheer Clay Products Company strip mined local coal into the mid-century, but in their case, coal was a byproduct. Their primary source of clay was the 8 to 12 foot (2.5 to 4 meter) underclay found immediately below the coal. What Cheer Clay Products was organized in 1911. The plant cost $300,000 to build, and was seriously damaged by a fire in 1917. Despite this, by 1920, the company was expanding, purchasing a new Dragline excavator in order to work their clay pit.\n\nGeography\nThe central business district and the larger part of the town is located on the north-east bank of Coal Creek, a tributary of the North fork of the Skunk River.\nAccording to the United States Census Bureau, the city has a total area of , of which, is land and is water.\n\nTransportation\nIowa Highway 21 runs north–south through What Cheer. The city's northwestern outskirts border G29 Road.\n\nDemographics\n\n2010 census\nAs of the census of 2010, there were 646 people, 293 households, and 164 families residing in the city. The population density was . There were 347 housing units at an average density of . The racial makeup of the city was 98.6% White, 0.2% Native American, 0.2% Asian, 0.2% from other races, and 0.9% from two or more races. Hispanic or Latino of any race were 0.2% of the population.\n\nThere were 293 households, of which 23.9% had children under the age of 18 living with them, 40.6% were married couples living together, 11.3% had a female householder with no husband present, 4.1% had a male householder with no wife present, and 44.0% were non-families. 38.9% of all households were made up of individuals, and 17.4% had someone living alone who was 65 years of age or older. The average household size was 2.20 and the average family size was 2.95.\n\nThe median age in the city was 45.3 years. 23.2% of residents were under the age of 18; 7% were between the ages of 18 and 24; 19.5% were from 25 to 44; 28% were from 45 to 64; and 22.3% were 65 years of age or older. The gender makeup of the city was 47.8% male and 52.2% female.\n\n2000 census\nAs of the census of 2000, there were 678 people, 307 households, and 182 families residing in the city. The population density was 559.4 people per square mile (216.3/km). There were 345 housing units at an average density of 284.7 per square mile (110.1/km). The racial makeup of the city was 98.38% White, 0.29% Native American, 0.15% from other races, and 1.18% from two or more races. Hispanic or Latino of any race were 0.44% of the population.\n\nThere were 307 households, out of which 22.8% had children under the age of 18 living with them, 46.9% were married couples living together, 9.4% had a female householder with no husband present, and 40.7% were non-families. 36.2% of all households were made up of individuals, and 20.2% had someone living alone who was 65 years of age or older. The average household size was 2.21 and the average family size was 2.90.\n\nIn the city, the population was spread out, with 22.7% under the age of 18, 8.0% from 18 to 24, 21.8% from 25 to 44, 24.0% from 45 to 64, and 23.5% who were 65 years of age or older. The median age was 43 years. For every 100 females, there were 89.4 males. For every 100 females age 18 and over, there were 86.5 males.\n\nThe median income for a household in the city was $27,292, and the median income for a family was $36,500. Males had a median income of $30,859 versus $22,917 for females. The per capita income for the city was $16,613. About 8.6% of families and 11.2% of the population were below the poverty line, including 9.8% of those under age 18 and 11.9% of those age 65 or over.\n\nEducation\nThe Tri-County Community School District operates local area public schools.\n\nNotable people\n\n Betty De Boef, Iowa State Representative and resident\n Frank Hayes, president of the United Mine Workers, 1917–1920, born in What Cheer in 1882\n B. J. Palmer, the developer of chiropractic was born in What Cheer in 1882. \n Ed Thomas, raised in What Cheer, was NFL high school football coach of the year in 2005; he was murdered four years later by one of his former players\n\nIn fiction\nWhat Cheer is the hometown of the title character in Marguerite Young's enormous novel Miss MacIntosh, My Darling (1965). In a 1993 interview, Young claimed to have been unaware that What Cheer was genuine.\n\nIt is mentioned in “Extreme Prey”, by John Sandford, New York: G.P. Putnam's Sons, Copyright 2016. Library of Congress Catalog number PS3569.A516 E88 2016.\n\nIt is also mentioned several times in the short story \"Dan Peters and Casey Jones\" by Wilbur Schramm, published in Open Throttle. Library of Congress Catalog card number AC 66–10170. Copyright 1966 by Phyllis R. Fenner.\n\nWhat Cheer is also the setting in the novel, \"The Home For Wayward Clocks,\" written by Kathie Giorgio, published by The Main Street Rag Publishing Company in 2011. Library of Congress Control Number: 2010933347\n\nReferences\n\nExternal links\n\n \nMap of coal mines in and around What Cheer\nWhat Cheer Paper\nCity-Data Comprehensive statistical data and more about What Cheer\n\nCities in Keokuk County, Iowa\nCities in Iowa\nPopulated places established in 1865\nCoal towns in Iowa\n1865 establishments in Iowa",
"Anthony Robert Gizzo (August 4, 1902 – April 1, 1953) was a Kansas City, Missouri mobster with the Cosa Nostra and a boss of the Kansas City crime family.\n\nGizzo was born in New York City and was known as \"Tony\". In the early 1920s, after being arrested on a narcotics charge, Gizzo attempted to bribe a federal officer with $10,000 ($ today). Gizzo was convicted and in 1924 served one year and a day at Leavenworth Federal Penitentiary in Leavenworth, Kansas.\n\nGizzo was a close friend of mobster Charles Binaggio. In 1930, Gizzo and Binaggio were arrested in Denver, Colorado, on a minor charge. During this time, both men were lieutenants to Kansas City North End political boss John Lazia in his illegal gambling operations. Gizzo soon became known as one of the five \"Iron Men\" due to his underworld clout. \n\nIn 1950, with Binaggio's murder, it is believed that Gizzo assumed leadership of the Kansas City family.\n\nKefauver Committee\nGizzo testified in Kansas City before the U.S. Senate Kefauver Committee in its investigations of organized crime. At one point, a senator asked Gizzo if he belonged to the Mafia. Gizzo replied,\n \nWhat is the Mafia? I don’t even know what the Mafia is.\n\nLater on, Gizzo had the following exchange with the Committee when asked if he knew Balestrere:\n\n\"Yes, sir\", Gizzo replied.\n\"He is rather widely known as a prominent man in the Mafia, isn’t he?\" asked the committee.\n\"That’s what you hear,\" said Gizzo.\n\"What did you hear?\" questioned the committee.\n\"The same thing that you just said there\", answered Gizzo. \n\nOn April 1, 1953 Gizzo died of a heart attack in Dallas, Texas. He is buried in Calvary Cemetery in Kansas City, Missouri.\n\nReferences\n\n\"The Mafia Made Easy\" by Peter J. Devico, Peter J. De Vico\n\nExternal links\nThe American Mafia: Crime Bosses of Kansas City\nAmerican Mafia: The Five Iron Men of Kansas City by Allan May\n\nAmerican crime bosses\nAmerican gangsters of Italian descent\nKansas City crime family\n1902 births\n1953 deaths"
] | [
"Christopher Lynn Hedges (born September 18, 1956) is an American journalist, Presbyterian minister, author and television host. A former reporter for The New York Times, Hedges has pursued work and activism related to covering his perspectives on political violence and critical views on American liberalism.",
"A former reporter for The New York Times, Hedges has pursued work and activism related to covering his perspectives on political violence and critical views on American liberalism. In his early career, Hedges worked as a freelance war correspondent in Central America for The Christian Science Monitor, NPR, and Dallas Morning News.",
"In his early career, Hedges worked as a freelance war correspondent in Central America for The Christian Science Monitor, NPR, and Dallas Morning News. Hedges began working for The New York Times in 1990.",
"Hedges began working for The New York Times in 1990. During his fifteen year tenure, Hedges reported from more than fifty countries and served as the Times Middle East Bureau Chief and Balkan Bureau Chief during the wars in the former Yugoslavia.",
"During his fifteen year tenure, Hedges reported from more than fifty countries and served as the Times Middle East Bureau Chief and Balkan Bureau Chief during the wars in the former Yugoslavia. In 2001, Hedges contributed to The New York Times staff entry that received the 2002 Pulitzer Prize for Explanatory Reporting for the paper's coverage of global terrorism.",
"In 2001, Hedges contributed to The New York Times staff entry that received the 2002 Pulitzer Prize for Explanatory Reporting for the paper's coverage of global terrorism. He also received the Amnesty International Global Award for Human Rights Journalism in 2002. Hedges left the Times in 2005 after an internal dispute over his public opposition to the Iraq War.",
"Hedges left the Times in 2005 after an internal dispute over his public opposition to the Iraq War. Hedges produced a weekly column for Truthdig for 14 years until the outlet's unexpected hiatus in 2020.",
"Hedges produced a weekly column for Truthdig for 14 years until the outlet's unexpected hiatus in 2020. Hedges' books include War Is a Force That Gives Us Meaning (2002), a finalist for the National Book Critics Circle Award for Nonfiction; American Fascists: The Christian Right and the War on America (2007); Death of the Liberal Class (2010); and Days of Destruction, Days of Revolt (2012), written with cartoonist Joe Sacco.",
"Hedges' books include War Is a Force That Gives Us Meaning (2002), a finalist for the National Book Critics Circle Award for Nonfiction; American Fascists: The Christian Right and the War on America (2007); Death of the Liberal Class (2010); and Days of Destruction, Days of Revolt (2012), written with cartoonist Joe Sacco. Hedges has taught at Columbia University, New York University, the University of Toronto and Princeton University.",
"Hedges has taught at Columbia University, New York University, the University of Toronto and Princeton University. He has taught college credit writing courses in New Jersey prisons as part of the B.A. program offered by Rutgers University. Hedges hosts the Emmy-nominated program On Contact for the RT (formerly Russia Today) television network.",
"Hedges hosts the Emmy-nominated program On Contact for the RT (formerly Russia Today) television network. Hedges has described himself as a socialist and an anarchist, identifying with Dorothy Day in particular. Early life Christopher Lynn Hedges was born on September 18, 1956 in St. Johnsbury, Vermont.",
"Early life Christopher Lynn Hedges was born on September 18, 1956 in St. Johnsbury, Vermont. His father was a World War II veteran, Presbyterian minister, and anti-war activist. He grew up in rural Schoharie County, New York, southwest of Albany.",
"He grew up in rural Schoharie County, New York, southwest of Albany. Education Hedges received a scholarship to attend Loomis Chaffee School, a private boarding school in Windsor, Connecticut. Hedges founded an underground newspaper at the school that was banned by the administration and resulted in his being put on probation. He graduated in 1975.",
"He graduated in 1975. He graduated in 1975. Hedges enrolled into Colgate University and, though heterosexual, helped found an LGBT student group. Hedges received his Bachelor of Arts degree in English from Colgate in 1979.",
"Hedges received his Bachelor of Arts degree in English from Colgate in 1979. He received a Master of Divinity degree from Harvard University's Divinity School (where he studied under James Luther Adams) in 1983. Hedges lived in Roxbury, a blighted inner city neighborhood in Boston, as a seminarian and ran a small church.",
"Hedges lived in Roxbury, a blighted inner city neighborhood in Boston, as a seminarian and ran a small church. He was also a member of the Greater Boston YMCA's boxing team, writing that the boxing gym was \"the only place I felt safe.\" He studied Latin and Classical Greek at Harvard.",
"He studied Latin and Classical Greek at Harvard. Early career Hedges began his career as a freelance journalist in Latin America. He wrote for several publications, including The Washington Post, and covered the Falklands War from Buenos Aires for National Public Radio.",
"He wrote for several publications, including The Washington Post, and covered the Falklands War from Buenos Aires for National Public Radio. From 1983 to 1984, he covered the conflicts in El Salvador, Nicaragua and Guatemala for The Christian Science Monitor and NPR.",
"From 1983 to 1984, he covered the conflicts in El Salvador, Nicaragua and Guatemala for The Christian Science Monitor and NPR. He was hired as the Central America Bureau Chief for The Dallas Morning News in 1984 and held this position until 1988.",
"He was hired as the Central America Bureau Chief for The Dallas Morning News in 1984 and held this position until 1988. Noam Chomsky wrote of Hedges at the time that he was one of the \"few US journalists in Central America who merit the title.\" Hedges took a sabbatical to study Arabic in 1988.",
"Hedges took a sabbatical to study Arabic in 1988. He was appointed the Middle East Bureau Chief for The Dallas Morning News in 1989.",
"He was appointed the Middle East Bureau Chief for The Dallas Morning News in 1989. In one of his first stories for the paper he tracked down Robert Manning, the prime suspect in the 1985 bombing death in California of Alex Odeh, head of the American-Arab Anti-Discrimination Committee’s Western office, in the Jewish settlement of Kiryat Arba in the Israeli-occupied West Bank.",
"In one of his first stories for the paper he tracked down Robert Manning, the prime suspect in the 1985 bombing death in California of Alex Odeh, head of the American-Arab Anti-Discrimination Committee’s Western office, in the Jewish settlement of Kiryat Arba in the Israeli-occupied West Bank. Before Hedges discovered Manning, Israel claimed it had no knowledge of Manning’s whereabouts.",
"Before Hedges discovered Manning, Israel claimed it had no knowledge of Manning’s whereabouts. Manning, linked to the militant Jewish Defense League and allegedly behind several murders, was extradited to the United States in 1991 where he is serving a life sentence for a separate bombing incident.",
"Manning, linked to the militant Jewish Defense League and allegedly behind several murders, was extradited to the United States in 1991 where he is serving a life sentence for a separate bombing incident. The New York Times In 1990, Hedges was hired by The New York Times.",
"The New York Times In 1990, Hedges was hired by The New York Times. He covered the first Gulf War for the paper, where he refused to participate in the military pool system that restricted the movement and reporting of journalists.",
"He covered the first Gulf War for the paper, where he refused to participate in the military pool system that restricted the movement and reporting of journalists. He was arrested by the United States Army and had his press credentials revoked, but continued to defy the military restrictions to report outside the pool system.",
"He was arrested by the United States Army and had his press credentials revoked, but continued to defy the military restrictions to report outside the pool system. Hedges subsequently entered Kuwait with U.S. Marine Corps members who were distrustful of the Army's press control. Within The New York Times, R.W.",
"Within The New York Times, R.W. Apple Jr. supported Hedges' defiance of the pool system. Hedges was taken prisoner in Basra after the war by the Iraqi Republican Guard during the Shiite uprising. He was freed after a week. Hedges was appointed the paper’s Middle East Bureau Chief in 1991.",
"Hedges was appointed the paper’s Middle East Bureau Chief in 1991. His reporting on the atrocities committed by Saddam Hussein in the Kurdish-held parts of northern Iraq saw the Iraqi leader offer a bounty for anyone who killed Hedges, along with other western journalists and aid workers in the region.",
"His reporting on the atrocities committed by Saddam Hussein in the Kurdish-held parts of northern Iraq saw the Iraqi leader offer a bounty for anyone who killed Hedges, along with other western journalists and aid workers in the region. Several aid workers and journalists, including the German reporter Lissy Schmidt, were assassinated and others were severely wounded.",
"Several aid workers and journalists, including the German reporter Lissy Schmidt, were assassinated and others were severely wounded. Yugoslav Wars (1995–2000) In 1995, Hedges was named the Balkan Bureau Chief for The New York Times.",
"Yugoslav Wars (1995–2000) In 1995, Hedges was named the Balkan Bureau Chief for The New York Times. He was based in Sarajevo when the city was being hit by over 300 shells a day by the surrounding Bosnia Serbs.",
"He was based in Sarajevo when the city was being hit by over 300 shells a day by the surrounding Bosnia Serbs. He reported on the Srebrenica massacre in July 1995 and shortly after the war uncovered what appeared to be one of the central collection points and hiding places for perhaps thousands of corpses at the large open pit Ljubija mine during the Bosnian Serbs' ethnic cleansing campaign.",
"He reported on the Srebrenica massacre in July 1995 and shortly after the war uncovered what appeared to be one of the central collection points and hiding places for perhaps thousands of corpses at the large open pit Ljubija mine during the Bosnian Serbs' ethnic cleansing campaign. He and the photographer Wade Goddard were the first reporters to travel with armed units of the Kosovo Liberation Army (KLA) in Kosovo.",
"He and the photographer Wade Goddard were the first reporters to travel with armed units of the Kosovo Liberation Army (KLA) in Kosovo. Hedges investigative piece was published in The New York Times in June 1999 detailing how Hashim Thaçi, leader of the Kosovo Liberation Army (and later president of Kosovo), directed a campaign in which as many as half a dozen top rebel commanders were assassinated and many others were brutally purged to consolidate his power.",
"Hedges investigative piece was published in The New York Times in June 1999 detailing how Hashim Thaçi, leader of the Kosovo Liberation Army (and later president of Kosovo), directed a campaign in which as many as half a dozen top rebel commanders were assassinated and many others were brutally purged to consolidate his power. Thaci, indicted by the special court in The Hague on 10 counts of war crimes, is in detention in The Hague awaiting trial.",
"Thaci, indicted by the special court in The Hague on 10 counts of war crimes, is in detention in The Hague awaiting trial. Hedges was a Nieman Fellow at Harvard University during the 1998–1999 academic year.",
"Hedges was a Nieman Fellow at Harvard University during the 1998–1999 academic year. Hedges ended his career of reporting in active conflicts in October 2000, partly due to trauma sustained from witnessing the death of a juvenile boy in Kosovo during a firefight.",
"Hedges ended his career of reporting in active conflicts in October 2000, partly due to trauma sustained from witnessing the death of a juvenile boy in Kosovo during a firefight. Terrorism coverage and Iraq War (2001–2005) Hedges was based in Paris following the attacks of 9/11, covering Al Qaeda in Europe and the Middle East.",
"Terrorism coverage and Iraq War (2001–2005) Hedges was based in Paris following the attacks of 9/11, covering Al Qaeda in Europe and the Middle East. He was a part of an investigative team in The New York Times that won the Pulitzer Prize for Breaking News Reporting in 2002 for their coverage of Al Qaeda.",
"He was a part of an investigative team in The New York Times that won the Pulitzer Prize for Breaking News Reporting in 2002 for their coverage of Al Qaeda. Hedges' contribution was an October 2001 article describing Al Qaeda's foiled bombing plot of the Embassy of the United States, Paris.",
"Hedges' contribution was an October 2001 article describing Al Qaeda's foiled bombing plot of the Embassy of the United States, Paris. Most of the awarded reporting was done by Judith Miller, who was later disgraced due to her work that falsely connected the operations of Al Qaeda to the Republic of Iraq led by Saddam Hussein.",
"Most of the awarded reporting was done by Judith Miller, who was later disgraced due to her work that falsely connected the operations of Al Qaeda to the Republic of Iraq led by Saddam Hussein. Many Times editors pushed to utilize dubious American intelligence reports that gave misleading or fabricated details around an alleged Iraqi connection to international terror.",
"Many Times editors pushed to utilize dubious American intelligence reports that gave misleading or fabricated details around an alleged Iraqi connection to international terror. Reporting from coached defectors In a collaboration between The New York Times and Frontline, Hedges authored three articles covering the claims of false Iraqi defectors.",
"Reporting from coached defectors In a collaboration between The New York Times and Frontline, Hedges authored three articles covering the claims of false Iraqi defectors. Hedges worked on the behalf of Lowell Bergman of Frontline, who could not travel to Beirut to interview the purported defectors.",
"Hedges worked on the behalf of Lowell Bergman of Frontline, who could not travel to Beirut to interview the purported defectors. The trip was organized by Ahmed Chalabi, who Hedges considered to be unreliable. The first defector Hedges interviewed identified themselves as Lt. General Jamal al-Ghurairy.",
"The first defector Hedges interviewed identified themselves as Lt. General Jamal al-Ghurairy. Hedges consulted the U.S. Embassy in Turkey to confirm their identity, and the embassy falsely did so as the real al-Ghurairy had never left Iraq.",
"Hedges consulted the U.S. Embassy in Turkey to confirm their identity, and the embassy falsely did so as the real al-Ghurairy had never left Iraq. Hedges wrote a November 8, 2001 Times cover story about two former Iraqi military commanders who claimed to have trained foreign mujahedeen how to hijack planes and destroy vital American infrastructure.",
"Hedges wrote a November 8, 2001 Times cover story about two former Iraqi military commanders who claimed to have trained foreign mujahedeen how to hijack planes and destroy vital American infrastructure. The two defectors also asserted there was a secret compound in Salman Pak facility where a German scientist was producing biological weapons.",
"The two defectors also asserted there was a secret compound in Salman Pak facility where a German scientist was producing biological weapons. The Frontline report featured statements from American officials who doubted the claims of the defectors.",
"The Frontline report featured statements from American officials who doubted the claims of the defectors. According to Jack Fairweather in Mother Jones: \"The impact of the article ... was immediate: Op-eds ran in major papers, and the story was taken to a wider audience through cable-TV talk shows.",
"According to Jack Fairweather in Mother Jones: \"The impact of the article ... was immediate: Op-eds ran in major papers, and the story was taken to a wider audience through cable-TV talk shows. When Condoleezza Rice, then President George W. Bush's national security adviser, was asked about the report at a press briefing, she said, 'I think it surprises no one that Saddam Hussein is engaged in all kinds of activities that are destabilizing.",
"When Condoleezza Rice, then President George W. Bush's national security adviser, was asked about the report at a press briefing, she said, 'I think it surprises no one that Saddam Hussein is engaged in all kinds of activities that are destabilizing. As late as 2006, according to Fairweather in the same article, conservative magazines including The Weekly Standard and National Review continued to use this article to justify the invasion of Iraq.",
"As late as 2006, according to Fairweather in the same article, conservative magazines including The Weekly Standard and National Review continued to use this article to justify the invasion of Iraq. In the aftermath of the revelations that the Iraqi defectors were not legitimate, Hedges defended his comportment since he had done the story as a favor to Lowell Bergman, adding that \"There has to be a level of trust between reporters.",
"In the aftermath of the revelations that the Iraqi defectors were not legitimate, Hedges defended his comportment since he had done the story as a favor to Lowell Bergman, adding that \"There has to be a level of trust between reporters. We cover each other's sources when it's a good story because otherwise everyone would get hold of it.\"",
"We cover each other's sources when it's a good story because otherwise everyone would get hold of it.\" Exit from the Times In 2003, Hedges was reprimanded by The New York Times for his opposition to U.S. involvement in the Iraq War because of perceived challenges to partiality.",
"Exit from the Times In 2003, Hedges was reprimanded by The New York Times for his opposition to U.S. involvement in the Iraq War because of perceived challenges to partiality. This was a motivating factor for his resignation from the Times in 2005.",
"This was a motivating factor for his resignation from the Times in 2005. Later career In 2005, Hedges left The New York Times to become a senior fellow at Type Media Center, and a columnist at Truthdig, in addition to writing books and teaching inmates at a New Jersey correctional institution.",
"Later career In 2005, Hedges left The New York Times to become a senior fellow at Type Media Center, and a columnist at Truthdig, in addition to writing books and teaching inmates at a New Jersey correctional institution. Obey, a 2013 documentary by British filmmaker Temujin Doran, is based on Hedges' book Death of the Liberal Class.",
"Obey, a 2013 documentary by British filmmaker Temujin Doran, is based on Hedges' book Death of the Liberal Class. Truthdig (2006–2020) Hedges produced a weekly column in Truthdig for 14 years. He was fired along with all of the editorial staff in March 2020.",
"He was fired along with all of the editorial staff in March 2020. Hedges and the staff had gone on strike earlier in the month to protest the publisher's attempt to fire the Editor-in-Chief Robert Scheer, demand an end to a series of unfair labor practices and the right to form a union.",
"Hedges and the staff had gone on strike earlier in the month to protest the publisher's attempt to fire the Editor-in-Chief Robert Scheer, demand an end to a series of unfair labor practices and the right to form a union. Hedges has since been a writer for Scheerpost.",
"Hedges has since been a writer for Scheerpost. Citation error controversy In June 2014, Christopher Ketcham published an article on The New Republic website accusing Hedges of improper citations, alleging the offenses constituted plagiarism. In response, some formatting and reference errors were corrected on the website for Truthdig.",
"In response, some formatting and reference errors were corrected on the website for Truthdig. Additional accusations of plagiarism from Ketcham were countered by an independent investigation from the Type Media Center.",
"Additional accusations of plagiarism from Ketcham were countered by an independent investigation from the Type Media Center. The Washington Free Beacon reported that a spokesperson for The New York Times said it \"did not have reason to believe Hedges plagiarized in his work for the paper\" and had no plans to investigate Hedges for plagiarism.",
"The Washington Free Beacon reported that a spokesperson for The New York Times said it \"did not have reason to believe Hedges plagiarized in his work for the paper\" and had no plans to investigate Hedges for plagiarism. Prison writing teacher Hedges has worked for a decade teaching writing classes in prisons in New Jersey through a program offered by Princeton University and later Rutgers University.",
"Prison writing teacher Hedges has worked for a decade teaching writing classes in prisons in New Jersey through a program offered by Princeton University and later Rutgers University. A class that Hedges taught at East Jersey State Prison in 2013 went on to collaborate in the creation of a play titled Caged.",
"A class that Hedges taught at East Jersey State Prison in 2013 went on to collaborate in the creation of a play titled Caged. Hedges has become a fierce critic of mass incarceration in the United States, and his experience as an educator in New Jersey prisons served as inspiration for his 2021 book Our Class: Trauma and Transformation in an American Prison.",
"Hedges has become a fierce critic of mass incarceration in the United States, and his experience as an educator in New Jersey prisons served as inspiration for his 2021 book Our Class: Trauma and Transformation in an American Prison. Ordination and ministerial installation On October 5, 2014, Hedges was ordained a minister within the Presbyterian Church.",
"Ordination and ministerial installation On October 5, 2014, Hedges was ordained a minister within the Presbyterian Church. He was installed as Associate Pastor and Minister of Social Witness and Prison Ministry at the Second Presbyterian Church Elizabeth in Elizabeth, New Jersey.",
"He was installed as Associate Pastor and Minister of Social Witness and Prison Ministry at the Second Presbyterian Church Elizabeth in Elizabeth, New Jersey. He mentioned being rejected for ordination 30 years earlier, saying that \"going to El Salvador as a reporter was not something the Presbyterian Church at the time recognized as a valid ministry, and a committee rejected my 'call.",
"He mentioned being rejected for ordination 30 years earlier, saying that \"going to El Salvador as a reporter was not something the Presbyterian Church at the time recognized as a valid ministry, and a committee rejected my 'call. Political views Economic views Hedges contended at the Left Forum in 2015 that with the \"denouement of capitalism and the disintegration of globalism\", Karl Marx has been \"vindicated as capitalism's most prescient and important critic\".",
"Political views Economic views Hedges contended at the Left Forum in 2015 that with the \"denouement of capitalism and the disintegration of globalism\", Karl Marx has been \"vindicated as capitalism's most prescient and important critic\". He said that Marx \"foresaw that capitalism had built within it the seeds of its own destruction.",
"He said that Marx \"foresaw that capitalism had built within it the seeds of its own destruction. He knew that reigning ideologies—think neoliberalism—were created to serve the interests of the elites and in particular the economic elites.\"",
"He knew that reigning ideologies—think neoliberalism—were created to serve the interests of the elites and in particular the economic elites.\" Environmental views In a March 2009 column, Hedges warned that human over-population and mass species extinction are serious problems, and that any measures to save the ecosystem will be futile unless we cut population growth, and noted that, \"As long as the Earth is viewed as the personal property of the human race, a belief embraced by everyone from born-again Christians to Marxists to free-market economists, we are destined to soon inhabit a biological wasteland.\"",
"Environmental views In a March 2009 column, Hedges warned that human over-population and mass species extinction are serious problems, and that any measures to save the ecosystem will be futile unless we cut population growth, and noted that, \"As long as the Earth is viewed as the personal property of the human race, a belief embraced by everyone from born-again Christians to Marxists to free-market economists, we are destined to soon inhabit a biological wasteland.\" On September 20, 2014, a day before the People's Climate March, Hedges joined Bernie Sanders, Naomi Klein, Bill McKibben, and Kshama Sawant on a panel moderated by WNYC's Brian Lehrer to discuss the issue of climate change.",
"On September 20, 2014, a day before the People's Climate March, Hedges joined Bernie Sanders, Naomi Klein, Bill McKibben, and Kshama Sawant on a panel moderated by WNYC's Brian Lehrer to discuss the issue of climate change. Hedges and Klein also participated in the 'Flood Wall Street' protests that occurred shortly thereafter.",
"Hedges and Klein also participated in the 'Flood Wall Street' protests that occurred shortly thereafter. Hedges' environmental concerns were his primary motivation to be vegan. Hedges authored an introduction to a vegan cookbook in 2015.",
"Hedges authored an introduction to a vegan cookbook in 2015. Other views In March 2008, Hedges published the book titled I Don't Believe in Atheists, in which he argues that new atheism presents a danger that is similar to religious extremism.",
"Other views In March 2008, Hedges published the book titled I Don't Believe in Atheists, in which he argues that new atheism presents a danger that is similar to religious extremism. In a December 2014 TruthDig column, Hedges compared the ethnic cleansing of ISIS to the actions of Israel's founding fathers in the late 1940s.",
"In a December 2014 TruthDig column, Hedges compared the ethnic cleansing of ISIS to the actions of Israel's founding fathers in the late 1940s. Hedges has repudiated the view that the Founding Fathers of the United States represented a legitimate form of democracy, writing that they rigged America's electoral process to thwart direct democracy and to protect the property rights of the aristocracy.",
"Hedges has repudiated the view that the Founding Fathers of the United States represented a legitimate form of democracy, writing that they rigged America's electoral process to thwart direct democracy and to protect the property rights of the aristocracy. He has written that the Electoral College has served to disenfranchise women, Native Americans, African Americans, and men who do not own property.",
"He has written that the Electoral College has served to disenfranchise women, Native Americans, African Americans, and men who do not own property. He has praised abolitionists, labor organizers, women's suffragists, civil rights protestors, and anti-war activists for bringing some change to the structure of the U.S. government.",
"He has praised abolitionists, labor organizers, women's suffragists, civil rights protestors, and anti-war activists for bringing some change to the structure of the U.S. government. Hedges told Julian Casablancas, the lead singer for The Strokes who interviewed him for Rolling Stone on December 23, 2020, that one of the few events worth celebrating in American history took place on June 25, 1876 when Lakota, Northern Cheyenne, and Arapaho, led by Crazy Horse and Chief Gall, annihilated the 7th Cavalry under the command of Lt. Col. George Armstrong Custer.",
"Hedges told Julian Casablancas, the lead singer for The Strokes who interviewed him for Rolling Stone on December 23, 2020, that one of the few events worth celebrating in American history took place on June 25, 1876 when Lakota, Northern Cheyenne, and Arapaho, led by Crazy Horse and Chief Gall, annihilated the 7th Cavalry under the command of Lt. Col. George Armstrong Custer. Activism Anti-war activism Hedges was an early critic of the Iraq War.",
"Activism Anti-war activism Hedges was an early critic of the Iraq War. In May 2003, he delivered a commencement address at Rockford College in Rockford, Illinois, saying: \"We are embarking on an occupation that, if history is any guide, will be as damaging to our souls as it will be to our prestige and power and security.\"",
"In May 2003, he delivered a commencement address at Rockford College in Rockford, Illinois, saying: \"We are embarking on an occupation that, if history is any guide, will be as damaging to our souls as it will be to our prestige and power and security.\" His speech was received with boos, \"two students approached the stage to push [him] off the podium\" (as he told an interviewer), and his microphone was shut off three minutes after he began speaking.",
"His speech was received with boos, \"two students approached the stage to push [him] off the podium\" (as he told an interviewer), and his microphone was shut off three minutes after he began speaking. Hedges had to end the commencement speech short because of the various student disruptions.",
"Hedges had to end the commencement speech short because of the various student disruptions. The New York Times, his employer, criticized his statements and issued him a formal reprimand for \"public remarks that could undermine public trust in the paper's impartiality\".",
"The New York Times, his employer, criticized his statements and issued him a formal reprimand for \"public remarks that could undermine public trust in the paper's impartiality\". On December 16, 2010, he was arrested outside the White House along with Daniel Ellsberg and more than 100 activists who were protesting the war in Afghanistan.",
"On December 16, 2010, he was arrested outside the White House along with Daniel Ellsberg and more than 100 activists who were protesting the war in Afghanistan. In a piece published in Salon Magazine in March 2022, Hedges argued that NATO was at fault for Russia's invasion of Ukraine:The European Union has allocated hundreds of millions of euros to purchase weapons for Ukraine.",
"In a piece published in Salon Magazine in March 2022, Hedges argued that NATO was at fault for Russia's invasion of Ukraine:The European Union has allocated hundreds of millions of euros to purchase weapons for Ukraine. Germany will almost triple its own defense budget for 2022.",
"Germany will almost triple its own defense budget for 2022. The Biden administration has asked Congress to provide $6.4 billion in funding to assist Ukraine, supplementing the $650 million in military aid to Ukraine over the past year. The permanent war economy operates outside the laws of supply and demand.",
"The permanent war economy operates outside the laws of supply and demand. It is the root of the two-decade-long quagmire in the Middle East. It is the root of the conflict with Moscow.",
"It is the root of the conflict with Moscow. Occupy involvement Hedges appeared as a guest on an October 2011 episode of the CBC News Network's Lang and O'Leary Exchange to discuss his support for the Occupy Wall Street protests; co-host Kevin O'Leary criticized him, saying that he sounded \"like a left-wing nutbar\".",
"Occupy involvement Hedges appeared as a guest on an October 2011 episode of the CBC News Network's Lang and O'Leary Exchange to discuss his support for the Occupy Wall Street protests; co-host Kevin O'Leary criticized him, saying that he sounded \"like a left-wing nutbar\". Hedges said \"it will be the last time\" he appears on the show, and compared the CBC to Fox News.",
"Hedges said \"it will be the last time\" he appears on the show, and compared the CBC to Fox News. CBC's ombudsman found O'Leary's heated remarks to be a violation of the public broadcaster's journalistic standards.",
"CBC's ombudsman found O'Leary's heated remarks to be a violation of the public broadcaster's journalistic standards. On November 3, 2011, Hedges was arrested with others in New York as part of the Occupy Wall Street demonstration, during which the activists staged a \"people's hearing\" on the activities of the investment bank Goldman Sachs and blocked the entrance to their corporate headquarters.",
"On November 3, 2011, Hedges was arrested with others in New York as part of the Occupy Wall Street demonstration, during which the activists staged a \"people's hearing\" on the activities of the investment bank Goldman Sachs and blocked the entrance to their corporate headquarters. NDAA lawsuit In 2012, after the Obama administration signed the National Defense Authorization Act, or NDAA, Hedges sued members of the U.S. government, asserting that section 1021 of the law unconstitutionally allowed presidential authority for indefinite detention without habeas corpus.",
"NDAA lawsuit In 2012, after the Obama administration signed the National Defense Authorization Act, or NDAA, Hedges sued members of the U.S. government, asserting that section 1021 of the law unconstitutionally allowed presidential authority for indefinite detention without habeas corpus. He was later joined in the suit, Hedges v. Obama, by activists including Noam Chomsky and Daniel Ellsberg.",
"He was later joined in the suit, Hedges v. Obama, by activists including Noam Chomsky and Daniel Ellsberg. In May 2012 Judge Katherine B. Forrest of the Southern District of New York ruled that the counter-terrorism provision of the NDAA is unconstitutional.",
"In May 2012 Judge Katherine B. Forrest of the Southern District of New York ruled that the counter-terrorism provision of the NDAA is unconstitutional. The Obama administration appealed the decision and it was overturned in July 2013 by the Second Circuit Court of Appeals.",
"The Obama administration appealed the decision and it was overturned in July 2013 by the Second Circuit Court of Appeals. Hedges petitioned the U.S. Supreme Court to hear the case, but the Supreme Court denied certiorari in April 2014. Other activism In the 2008 United States presidential campaign, Hedges was a speech writer for candidate Ralph Nader.",
"Other activism In the 2008 United States presidential campaign, Hedges was a speech writer for candidate Ralph Nader. On April 15, 2016, Hedges was arrested, along with 100 other protesters, during a sit-in outside the Capitol building in Washington D.C. during Democracy Spring to protest the capture of the political system by corporations.",
"On April 15, 2016, Hedges was arrested, along with 100 other protesters, during a sit-in outside the Capitol building in Washington D.C. during Democracy Spring to protest the capture of the political system by corporations. On May 27, 2020, Hedges announced that he would run as a Green Party candidate in New Jersey's 12th congressional district for the 2020 elections.",
"On May 27, 2020, Hedges announced that he would run as a Green Party candidate in New Jersey's 12th congressional district for the 2020 elections. However, he was informed the following day that running for office would conflict with FCC fairness doctrine rules because he was at that time hosting the nationally broadcast RT America television show On Contact.",
"However, he was informed the following day that running for office would conflict with FCC fairness doctrine rules because he was at that time hosting the nationally broadcast RT America television show On Contact. Hedges decided not to pursue office in order to keep hosting the show.",
"Hedges decided not to pursue office in order to keep hosting the show. In September 2020, Chris Hedges spoke at the Movement for a People's Party convention. Personal life Hedges is married to the Canadian actress Eunice Wong. The couple have two children. Hedges also has two children from a previous marriage.",
"Hedges also has two children from a previous marriage. He currently lives in Princeton, New Jersey. On November 11, 2014, Hedges announced that he and his family had become vegan. Hedges compared his decision to a vow of abstinence, adding that it is necessary \"to make radical changes to save ourselves from ecological meltdown.\"",
"Hedges compared his decision to a vow of abstinence, adding that it is necessary \"to make radical changes to save ourselves from ecological meltdown.\" Hedges has post-traumatic stress disorder from his experience reporting in war zones.",
"Hedges has post-traumatic stress disorder from his experience reporting in war zones. Hedges studied Latin and Ancient Greek at Harvard, and speaks Arabic, French, and Spanish in addition to his native English.",
"Hedges studied Latin and Ancient Greek at Harvard, and speaks Arabic, French, and Spanish in addition to his native English. Books 2002: War Is a Force That Gives Us Meaning () 2003: What Every Person Should Know About War () 2005: Losing Moses on the Freeway: The 10 Commandments in America () 2007: American Fascists: The Christian Right and the War on America () 2008: I Don't Believe in Atheists () 2008: Collateral Damage: America's War Against Iraqi Civilians, with Laila Al-Arian () 2009: When Atheism Becomes Religion: America's New Fundamentalists, (), a retitled edition of I Don't Believe in Atheists 2009: Empire of Illusion: The End of Literacy and the Triumph of Spectacle () 2010: Death of the Liberal Class () 2010: The World As It Is: Dispatches on the Myth of Human Progress () 2012: Days of Destruction, Days of Revolt, with Joe Sacco () 2015: Wages of Rebellion: The Moral Imperative of Revolt () 2016: Unspeakable () 2018: America: The Farewell Tour () 2021 Our Class: Trauma and Transformation in an American Prison () See also Christian left Sacrifice zone References External links APB Speakers Bureau Chris Hedges \"Capitalism's 'Sacrifice Zones Bill Moyers talks with Chris Hedges, and comic-journalist Joe Sacco talking about their collaboration and showing drawings for their book Days of Destruction, Days of Revolt, July 20, 2012.",
"Books 2002: War Is a Force That Gives Us Meaning () 2003: What Every Person Should Know About War () 2005: Losing Moses on the Freeway: The 10 Commandments in America () 2007: American Fascists: The Christian Right and the War on America () 2008: I Don't Believe in Atheists () 2008: Collateral Damage: America's War Against Iraqi Civilians, with Laila Al-Arian () 2009: When Atheism Becomes Religion: America's New Fundamentalists, (), a retitled edition of I Don't Believe in Atheists 2009: Empire of Illusion: The End of Literacy and the Triumph of Spectacle () 2010: Death of the Liberal Class () 2010: The World As It Is: Dispatches on the Myth of Human Progress () 2012: Days of Destruction, Days of Revolt, with Joe Sacco () 2015: Wages of Rebellion: The Moral Imperative of Revolt () 2016: Unspeakable () 2018: America: The Farewell Tour () 2021 Our Class: Trauma and Transformation in an American Prison () See also Christian left Sacrifice zone References External links APB Speakers Bureau Chris Hedges \"Capitalism's 'Sacrifice Zones Bill Moyers talks with Chris Hedges, and comic-journalist Joe Sacco talking about their collaboration and showing drawings for their book Days of Destruction, Days of Revolt, July 20, 2012. Retrieved July 30, 2012 Columns by Chris Hedges at Truthdig What Every Person Should Know About War, first chapter at The New York Times Chris Hedges at Scheerpost.",
"Retrieved July 30, 2012 Columns by Chris Hedges at Truthdig What Every Person Should Know About War, first chapter at The New York Times Chris Hedges at Scheerpost. 1956 births Living people 21st-century American male writers 21st-century American non-fiction writers American anarchists American anti-capitalists American anti-fascists American Christian socialists American foreign policy writers American male non-fiction writers American political writers American Presbyterians American reporters and correspondents American socialists American war correspondents Anarchist writers Anti-consumerists Anti-corporate activists Christian anarchists The Christian Science Monitor people Colgate University alumni Columbia University faculty Critics of atheism The Dallas Morning News people Harvard Divinity School alumni Loomis Chaffee School alumni The Nation (U.S. magazine) people The New York Times writers Nieman Fellows PEN Oakland/Josephine Miles Literary Award winners People from Schoharie, New York People from St. Johnsbury, Vermont Presbyterian socialists RT (TV network) people War correspondents of the Iraq War War correspondents of the Yugoslav Wars Writers about religion and science"
] |
[
"Pinhead (Hellraiser)",
"Personality",
"what kind of personality do they have?",
"his intended portrayal of Pinhead as an articulate and intelligent character was initially not well received by the producers:",
"what did they end up doing?",
"Barker insisted that Pinhead's personality be more evocative of Christopher Lee's portrayal of Count Dracula:",
"did he follow the suggestion?",
"Pinhead prefers using coercive methods in order to obtain his goals,"
] | C_3c76bfd405d241c6995d986a52937357_1 | is there anything else interesting? | 4 | Besides his intelligence and preference for using coercive methods to obtain his goals, is there anything else interesting about Pinhead's personality? | Pinhead (Hellraiser) | According to Clive Barker, as the writing of the Hellraiser script took place during the height of the A Nightmare on Elm Street, Friday the 13th and Halloween film series, his intended portrayal of Pinhead as an articulate and intelligent character was initially not well received by the producers: some suggested that Pinhead should act more like Freddy Krueger and crack jokes, while others suggested that he be a silent character like Jason Voorhees and Michael Myers. Barker insisted that Pinhead's personality be more evocative of Christopher Lee's portrayal of Count Dracula: "Part of the chill of Dracula surely lies in the fact that he is very clearly and articulately aware of what he is doing - you feel that this is a penetrating intelligence - and I don't find dumb things terribly scary - I find intelligence scary, particularly twisted intelligence; it's one of the reasons why Hannibal Lecter is scary, isn't it? It's because you always feel that he's going to be three jumps ahead of you." Though described by Pinhead's human half in Hellraiser III: Hell on Earth as being "very persuasive and very inventive", Pinhead prefers using coercive methods in order to obtain his goals, a fact which brings him into conflict with his ally, the demon Princess Angelique. Pinhead can be reasoned and bargained with. In both Hellraiser and Hellraiser: Hellseeker, Kirsty Cotton bargains with Pinhead to offer him more "souls" in exchange for her own (in particular, her human adversaries), thus resulting in her life being spared. In Hellraiser: Revelations, Pinhead is prepared to take Emma to the cenobite realm for having opened the box before other characters explain that she was forced to open it at gunpoint by her boyfriend; Pinhead agrees to let Emma go and take Nico instead. In his demonic incarnations, Pinhead is irreverent toward Christianity: in the third film, club owner J.P. Monroe exclaims "Jesus Christ," to which Pinhead mockingly replies, "Not quite.", and later on mockingly imitates the stigmata in a church, and states in the fourth "Do I look like someone who cares what God thinks?" In Clive Barker's Hellraiser comics published by BOOM! in 2011, Pinhead has reached a crisis point in his existence and now yearns for spiritual salvation and the opportunity to reach Heaven, and puts into motion a plan to destroy his fellow cenobites as a means of atonement. Paul T. Taylor, who portrays Pinhead in Hellraiser: Judgment, described the character as "twisted and intelligent". Finding Pinhead's mannerisms and demeanor to be unique among horror icons, Taylor tried to capture that in his performance: "It's about the stillness. He's already so terrifying that when he makes a move, it means something. He's very economical and when he speaks, he's so eloquent." Taylor also incorporated the uncomfortable make-up and costume into his presentation of the sadomasochist, stating "Pinhead's always in agony so he likes it. I feel like I was in character the whole time, and I don't mean that in some sort of artistic, lofty way. I mean I maintained the demeanor the whole time because I had to." CANNOTANSWER | Pinhead can be reasoned and bargained with. | Pinhead, Lead Cenobite, or the Hell Priest, is the main antagonist of the Hellraiser franchise, first appearing as an unnamed figure in the 1986 Clive Barker novella The Hellbound Heart. When Clive Barker adapted the novella into the 1987 film Hellraiser, he referred to the character in early drafts as "the Priest" but the final film gave no name. The production and make-up crew nicknamed the character "Pinhead" and fans accepted the sobriquet, which was then used in press materials, tie-in media, and on-screen in some of the sequel films, although Clive Barker himself despises the nickname. In the 2011 comic book series Hellraiser published by BOOM! Studios, Barker refers to the character as "the Priest." In that comic book series and the subsequent series Hellraiser: The Dark Watch, Cenobites refer to him as holding the title of "the Hell Priest" or "the Pontifex", making him "Hell's Pope." Nearly thirty years after The Hellbound Heart was published, Barker's 2015 novel The Scarlet Gospels cements the character's official title and rank is "the Hell Priest" and that he hates the nickname "Pinhead." In a later novella, Hellraiser: The Toll (which acts as a bridge between The Hellbound Heart and The Scarlet Gospels), it is said the character is also known to some as the Cold Man.
Pinhead is one of the leaders of the Cenobites, said to be humans who were later transformed into demonic creatures blindly devoted to the practice of experimental sadomasochism. They exist in an extra-dimensional realm that is Hell or one of many versions of Hell that co-exist. Cenobites are usually only summoned to Earth through puzzle boxes, such as one called the Lemarchand Configuration (known as the Lament Configuration in the movies). The film series reveals Pinhead was once British soldier, Captain Elliott Spencer, who became disillusioned with life and humanity during his experiences during World War I, leading him to summon the Cenobites and join their ranks. Barker's BOOM! Studios comics imply that Spencer was not the first Hell Priest or Pontifex and indicate that others will be recruited to fill the role if he ever leaves or is destroyed. Barker's novel The Scarlet Gospels indicate there is debate on whether there has always been one Hell Priest existing for many millennia ago or if the title and nature of the Hell Priest has been adopted by many different humans-turned-Cenobite across the centuries.
The Hell Priest's nature, and the motivations of the Cenobites, vary depending on the story. The character's appearance in 1987's Hellraiser marked a significant departure from the standard 1980s depiction of horror film villains, who tended to either be completely mute, or provide glib commentary while killing their victims. Instead, Pinhead was depicted as articulate and intelligent, speaking only when he deemed necessary, capable of great evil but also bound by a personal code of honor (such as sparing the life of a young girl who summons him to Earth in Hellbound: Hellraiser II because he realizes she acted as the pawn of another person). Barker drew influence from classical cinematic depictions of Count Dracula, in particular as portrayed by Christopher Lee.
Development
According to Clive Barker and Doug Bradley, the earliest incarnation of Pinhead appeared in Hunters in the Snow, an original 1973 play with Doug Bradley in the role of the Dutchman, an undead inquisitor, and torturer. A later film titled The Forbidden, which was shot in 16 millimeter and in black and white, included a prop in the form of a wooden block with six nails in it, which gave distorted shadow formations under different lighting angles. Years later, during the scripting of Hellraiser, the same design was applied to Pinhead's face to give the same effect.
After being disappointed with the way his material had been treated by producers in Underworld (which included a scene in which needles burst out of a character's skull), Barker wrote the novella The Hellbound Heart (1986) as his first step in directing a film by himself, introducing the Cenobites whom he also referred to as "sadomasochists from Hell." The following year, Barker adapted the novella into the first Hellraiser film, introducing the Cenobites to a wider audience. A Cenobite from the novella, described as having his head decorated by a gridwork pattern and jeweled pins, was depicted in the movie as having a similar appearance involving iron nails and operating as the apparent leader of his order of demons. The film credits him as "Lead Cenobite", but the make-up crew and production team referred to him as Pinhead, a name that was learned of and adopted by fans. The character is glibly referred to by the name "Pinhead" on-screen for the first time in Hellraiser III. The Pinhead name was used in press materials for the films and the various films to follow, as well as tie-in comic books published by Marvel Comics, including a crossover comic with Marshal Law, and a mini-series entitled Pinhead. Clive Barker did not care for the nickname, believing it did not suit the dignity of the villain.
During filming of the first Hellraiser movie, actor Doug Bradley discussed the character with Clive Barker. Both agreed, as the novella indicated, that Pinhead was once human, though when he had lived and died was undecided. Bradley later concluded that while the Cenobites have been active for centuries, Pinhead was originally a person belonging to the 20th century, telling Fangoria, "To me, Pinhead is the chief Cenobite of the 20th Century." This idea was expanded on in the second Hellraiser movie, when the movie incarnation of Pinhead was said to have originally lived as a World War I officer named Elliott Spencer.
In comics published by Marvel during the 1990s, Barker plotted and oversaw many stories that followed the canon of the Hellraiser movies, starting with the comic series Hellraiser, and later including the spin-off titles Pinhead and The Harrowers. In Barker's later prose work, the Pinhead character did not appear again for some time, but the Cenobites were occasionally referenced as the "Surgeons" or the "Order of the Gash." In 2011, a new Hellraiser comic book series was published by Boom! Studios, plotted by Clive Barker who co-wrote it with various authors. Within the series, only humans refer to the lead Cenobite by the nickname "Pinhead", while other Cenobites referred to him as "the Priest" or the "Hell Priest," describing him as Hell's closest approximation to the Pope. It is also indicated that this title and position is assumed by different Cenobites over the millennia because there must always be a Hell Priest or Priestess. In the follow-up 2013 comic book series Hellraiser: The Dark Watch, the title "Pontifex" is also used to describe the rank of Hell Priest or Priestess. The same series confirms that there are different versions of Hell co-existing, each ruled by a different leader, and that Leviathan and the Cenobites specifically target souls whose major sins involve the pursuit of pleasure, whereas other realms target different motivations (for example, the Hell dimension ruled by Abaddon harvests souls who were motivated by fury to sin).
Barker promised to give the character an official name in The Scarlet Gospels. In that novel, published in 2015, the character was given the official title and rank of "the Hell Priest." The narration stated the Hell Priest hates when humans referred to him by the nickname "Pinhead." Rather than say for sure that the prose version of the Hell Priest is also Elliott Spencer, The Scarlet Gospels indicates there is debate among characters on whether the Hell Priest has been the same person/Cenobite for many centuries, possibly thousands of years, or if there have been several to hold that rank and assume that appearance, and the current one only died and became a Cenobite during the 20th century. The book states that there is evidence to support both ideas. However, after he is turned, he becomes very frank and informative to his "victims" than ever.
Appearances
The novella The Hellbound Heart introduces the Cenobites as other-dimensional beings, priest-like figures known as the Order of the Gash, summoned via puzzle boxes by people who wish to explore the limits of physical experience. The Cenobites have pushed their self-experimentation to such a degree that they appear inhuman, demonic, and sexless. They are amoral creatures, seeing no real difference between pain and pleasure, prizing and hoarding the human souls they harvest. Their home dimension is vaguely implied to either be Hell or one of many dimensional realms that might be Hell or serve as the inspiration for stories of Hell. The protagonist Kirsty also wonders if other puzzle boxes might open doorways to Heavenly dimensions.
The Cenobites in The Hellbound Heart are unnamed, except for one who appears to be a leader, and is called the Engineer. One of the Cenobites is described as having jeweled pins and a grid pattern decorating his head.
The prose incarnation of the character next appears in Barker's The Scarlet Gospels (2015), now depicted not only as a Cenobite but also a leading figure of Hell. The narration says the jeweled pins in his head have blackened over the years, now resembling iron nails (giving him an appearance now more in line with the film franchise). The character is known as "the Hell Priest" in the novel, not a true name but an official title marking him as a powerful and high ranking authority in Hell. The novel mentions that some humans do refer to the Hell Priest as Pinhead, but that doing so in the demon's presence is to risk his anger. The same novel indicates there is debate among Earth's magicians as to whether this is the same Hell Priest who has existed for thousands of years or if he is a man who became a Cenobite during the 20th century, and is simply the latest of many to have Pinhead's appearance, power, and rank.
In 1998, Clive Barker stated that the novel would mark the death of Pinhead, and he hoped it would be definitive.
The Scarlet Gospels novel established that Lucifer, the Biblical Devil who rules Hell, abandoned his dominion some time ago. A thriving society of demons rise in his absence, with the Hell Priest becoming a powerful figure. Eventually deciding to conquer the realm for himself, the Hell Priest spends years secretly killing off rivals in Hell as well as many magic-users on Earth, securing their sources of magical knowledge and power. After attempting and failing to kill occult detective Harry D'Amour, the Hell Priest decides the detective will witness and chronicle his rise to power. He kidnaps D'Amour's friend, a blind medium named Norma Paine, as a hostage. The Hell Priest journeys to a forbidden part of Hell where Lucifer is said to reside, hoping to gain enlightenment from their encounter. Instead, he finds an armored Lucifer in a crypt, dead by his own hand. The Hell Priest dons Lucifer's armor, increasing his own power but inadvertently resurrecting the Devil in the process. Lucifer mortally wounds the Hell Priest, who then rapes Norma Paine to death and blinds Harry before dying. The battle concluded, the Devil journeys to Earth. All of Hell is then destroyed by an unseen force, including the Hell Priest's remains.
The 2018 novella Hellraiser: The Toll, plotted by Barker and written by his assistant Mark Alan Miller, bridges the gap between The Hellbound Heart and The Scarlet Gospels. In the novella, the Hell Priest is also known as the Cold Man.
Captain Elliot Spencer, Pinhead's human incarnation from the film franchise, has a cameo appearance in the novel The Bloody Red Baron by Kim Newman, in which he is working as an agent of the Diogenes Club. Suffering from shell shock, Spencer is discharged from the army after hammering nails into his own skull. In his introduction to Newman's collection The Original Doctor Shade and Other Stories, author Neil Gaiman claims Kim Newman was part of a group of friends who inspired the depiction of the Cenobites.
Film
In the films, the character is first referred to as "Pinhead" onscreen in Hellraiser III: Hell on Earth, a nickname proposed by glib protagonist Joey Summerskill. In the film Hellworld, the Cenobites are believed to be fictional characters and so different people in the story refer to the lead Cenobite as Pinhead just as fans of the Hellraiser franchise often do. In the film Hellraiser: Judgment, the name is used onscreen as a derogative term towards the Cenobite by an angel named Jophiel.
In Hellraiser (1987), directed and written by Clive Barker, Frank Cotton escapes from the Cenobites, slowly rebuilding his body from the flesh and blood of victims. He recruits his sister-in-law and secret lover Julia Cotton as an accomplice in these murders. Frank's niece and Julia's step-daughter Kirsty Cotton unintentionally summons the Cenobites, led by Pinhead who explains they are "demons to some, angels to others." Kirsty offers to lead the Cenobites to her uncle who had escaped them, and Pinhead agrees to spare her. After claiming not only Frank but also Julia, the Cenobites turn on Kirsty, but she uses the puzzle box to banish them back to their realm.
In Hellbound: Hellraiser II (1988), Clive Barker worked on the film's plot and acted as executive producer but did not direct or write. The movie reveals Pinhead and the Cenobites follow Leviathan, a god of chaos who rules over Hell, depicted as a great labyrinth filled with tortures. The Cenobites are summoned to Earth by Tiffany, a young mute savant girl, but Pinhead declares they will spare her since she was manipulated to open the box by Julia, who escaped them, and her new accomplice, the corrupt Dr. Channard. Kirsty realizes the Cenobites have human origins and shows Pinhead a photograph of World War I British Army Captain Elliott Spencer, the man he once was. Pinhead regains his human memories, regaining his humanity. He smiles to Kirsty before being killed by Channard (now a Cenobite) and Julia, who are later defeated. Kirsty and Tiffany escape the labyrinth.
This film is the first to name the villain "Pinhead" in the credits. Clive Barker intended Pinhead and his entourage to die in this film, leaving Julia Cotton to become the villain of future Hellraiser stories. However, the studio wanted to return Pinhead to his villainous roots in a sequel. Clive Barker did not work on the stories for the subsequent films.
In Hellraiser III: Hell on Earth (1992), it is revealed that the death of Spencer in the previous film means the death of Pinhead's restraint and moral code. A new incarnation of Pinhead manifests who engage in a random killing spree, transforming some victims into new Cenobites. Reporter Joey Summerskill discovers Elliott Spencer's soul in Limbo. Spencer explains his experiences in World War I caused him to see humanity and life as corrupt, leading him to use the Lament Configuration to summon the Cenobites, eventually joining their ranks. With Summerskill's help, Spencer's spirit escapes Limbo and re-merges with Pinhead. Summerskill then uses the Lament Configuration to banish the restored Cenobite back to Hell.
In this film, Summerskill glibly refers to the villain as "Pinhead," marking the first time the Cenobite is called by this name onscreen.
In Hellraiser: Bloodline (1996), Pinhead allies himself with the demon princess Angelique, in order to force John Merchant (a descendant of the inventor Lemarchand who built the Lemarchand/Lament Configuration) to create an unsealable gateway to Hell. The future segments of the film reveal that Pinhead is finally destroyed in the year 2127 by Dr. Paul Merchant, another descendant, who uses a space station to complete the "Elysium Configuration", capable of closing Hell's gateway for good. Pinhead and other Cenobites are trapped inside it and are destroyed along with the box.
Bloodline was beset by numerous problems during production, leading the film's director to request his name be removed and credit given to Alan Smithee. The later films in the franchise were all direct release to home video or video on demand.
In Hellraiser: Inferno (2000), Pinhead appears primarily under the guise of police psychiatrist Doctor Paul Gregory, assuming his true form near the end to inform protagonist Detective Joseph Thorne that he has been in Hell for the duration of the film, and is being punished for his corruption and various misdeeds in life.
In Hellraiser: Hellseeker (2002), Pinhead serves a role similar to the one he fulfilled in Inferno. Kirsty is now married to Trevor, a corrupt insurance agent who plots to have her killed in a murder-for-money scheme, using Lemarchand's box to "cleanly" kill Kirsty without the evidence pointing to himself, his mistress, or his conspirators. Pinhead appears at the end of the film to inform Trevor, who had amnesia throughout the film, that he has actually been dead and trapped by the Cenobites for some time; Pinhead had appeared to Kirsty, pleased at the prospect of a "reunion," but Kirsty ultimately struck a deal with him: she would be left alone in exchange for killing Trevor and his conspirators, thus giving the Cenobites the victims' souls.
In Hellraiser: Deader (2005), Pinhead appears several times to reporter Amy Klein after she tinkers with the box, a central relic of a cult she is investigating. After Amy is captured by the group's leader, Winter, she learns he is a descendant of puzzle creator Phillip Lemarchand, and believes that it is his birthright to control the box and, thereby, the Cenobites. However, neither he nor any of his followers have been able to open it. Amy successfully opens the box, but rather than submit to Winter, Pinhead instead kills him and his followers for attempting to control it. Subject to being taken to the Cenobite realm for having opened the box, Amy instead chooses to commit suicide.
In Hellraiser: Hellworld (2005), Pinhead and the Cenobites are horror film characters and have become the basis for a successful MMORPG called Hellworld. The game seems to come to life as Pinhead attacks the guests at a Hellraiser-themed party, but this is revealed to be the hallucination of five guests who have been drugged and buried alive by the party's host, who blames them for not preventing the suicide of his son, a Hellworld-obsessed fan. In the film's climax, the host discovers that the Hellraiser stories are based on fact, and his son came into possession of a real Lemarchand box. Opening it, the host is greeted by Pinhead, who praises his son's ingenuity before ordering a pair of Cenobites to kill him.
In Hellraiser: Revelations (2011), Pinhead is physically portrayed by Stephan Smith Collins and voiced by Fred Tatasciore.
In Hellraiser: Judgment (2018), Pinhead is portrayed by Paul T. Taylor. In the film, Pinhead eviscerates the angel Jophiel after manipulating events to cause the death of a serial murderer who is integral to God's plan to instill fear into sinners. Pinhead is punished by being expelled from Hell and sent to earth as a mortal man, crying out in longing for his revered state of eternal agony.
In Hellraiser (2022), an upcoming remake to be released on Hulu, Pinhead will be portrayed by Jamie Clayton.
Comics
Published by Marvel Comics' Epic Comics imprint in the 1990s, the original Hellraiser comics follow the canon of the movies rather than Barker's original novella, referring to the lead Cenobite as Pinhead. A spin-off miniseries was entitled Pinhead. In these comics, Pinhead is depicted as the latest incarnation of the cenobite spirit Xipe Totec, an entity derived from Aztec mythology. In the storytline "The Harrowing", Pinhead is revealed to have been romantically involved with a cenobite named Merkova, who was killed by the disciples of Morte Mamme, the sister and rival of Leviathan. Morte Mamme then selects a group of humans to act in opposition to the Cenobites, calling them the Harrowers. The team stars in the spin-off comic Clive Barker's The Harrowers, which ran for six issues from 1993-1994. In the Pinhead/Marshal Law crossover, it is revealed that Pinhead's human incarnation, Captain Spencer, took part in the Battle of the Somme.
In 2011, Barker began writing a series of Hellraiser comics for BOOM! Studios. These comics followed the canon of the first three films, taking place sometime after the events of the third. Starting with issue #2, the series refers to the character as "the Priest" rather than Pinhead. Reunited in Hell with his Cenobite entourage from the first two films (referred to in the comic series as his personal "Cenobium"), the Priest is still haunted by his full memories and now sees only futility in his existence, longing to explore new experiences and interests. He declares he wants to permanently return to his human form and seek spiritual salvation, then sends anonymous clues to Kirsty Cotton as to the locations of Earth's remaining Lemarchand puzzles. Kirsty summons the Priest, who betrays his Cenobium. Bargaining with Kirsty, she has her take his place so he can return to humanity. Kirsty becomes a Cenobite called "the Priestess" who resembles Pinhead but wearing a white robe and, unlike most Cenobites, is allowed to retain her memories and personality. A year later, Elliott Spencer appears on Earth, human once again and no longer fully remembering his existence as a Cenobite. Kirsty's friend and surrogate daughter Tiffany recruits Spencer into the Harrowers, humans who oppose the Cenobites and hunt down Lamarchand puzzles. Later, Kirsty arranges for Spencer's memories to be restored. Spencer then allies with another demon lord in order to attain new power and fulfill his true mission, to unleash damned souls on Earth, conquer humanity, and replace Leviathan. During this battle, occult detective Harry D'Amour attempts to help the US government stop the chaos, guided by his psychic friend Norma Paine and Spencer's former lieutenant, the Cenobite known as the Female. He and Kirsty learn of Spencer's corrupt behavior before World War I, his desire to sleep with his own daughter Danielle, and that his final test to become a Cenobite involved fathering a child Priscilla with his daughter. Together, they defeat Spencer's bid for god-like power.
The Hellraiser series ended with issue #20, and the finale featured Spencer being defeated and then imprisoned alongside Kirsty within a "memory sphere" in Leviathan's realm. The series was followed by the 2013 limited comic book series Hellraiser: The Dark Watch, which begins one year later and reveals that Harry D'Amour became the Hell Priest or Pontifex following Kirsty's imprisonment, adopting an appearance similar to Pinhead but retaining his memories and personality because Leviathan saw him as more useful that way. D'Amour considers that the Cenobites, being human converts, are different in nature and motivation to the purebred demons he has met before (in the short story "The Last Illusion"). He confirms that while Leviathan and his Cenobites punish those who sin for the sake of pleasure, other realms of Hell have different demon orders that target other sins. D'Amour's ally Tiffany frees Kirsty and Spencer from imprisonment, later becoming a Cenobite herself. Elliott Spencer joins Abaddon's realm (which punishes the sins born of fury) and helps lead an army of the damned against Leviathan's Cenobite forces, with the hopes of then using the army to conquer Earth. After Abaddon's forces are stopped, Leviathan makes a deal with Kirsty and Spencer each in order to end their conflicts. Kirsty has humanity restored to herself, D'Amour and Tiffany, while her dead lover Edgar is restored to life. Elliott Spencer once again becomes the Hell Priest, but now with greater power and authority. He then kills Edgar and says goodbye to Kirsty.
Other tales of the Cenobites and Spencer as the Hell Priest are presented in the BOOM! Studios anthology comic book mini-series Hellraiser: The Beastiary (2015). The BOOM! Studios mini-series Hellraiser: The Road Below" (2014) reveals Kirsty's first solo mission as the "new Pinhead" following her transformation into a Cenobite.
Character design and portrayal
Design
Barker drew inspiration for the cenobite designs from punk fashion, Catholicism and by visits he made to S&M clubs in New York and Amsterdam. For Pinhead specifically, Barker drew inspiration from African fetish sculptures. Initially, Barker intended Pinhead to have a navel piercing implying that the character had genital piercings. Barker's original "Hell Priest" sketches for Pinhead were eventually adapted into an officially licensed mask by Composite Effects, to be released in limited quantity to the public on 24 March 2017. This was done in celebration of the 30th Anniversary of Hellraiser.
After securing funding in early 1986, Barker and his producer Chris Figg assembled a team to design the Cenobites. Among the team were Bob Keen and Geoff Portass at Image Animation and Jane Wildgoose, a costume designer who was requested to make a series of costumes for 4–5 "super-butchers" while refining the scarification designs with Image Animation. Rather than gold or jeweled pins, the character would have black iron nails decorating his head. In terms of lighting, Pinhead was designed so that shadows would swirl round his head. By July 1986, the shooting script positively identified the single pinheaded Cenobite from the earlier draft as clearly the leader.
Barker's original concept art for Pinhead was adapted into a Hell Priest mask in 2017.
The 2018 film Hellraiser: Judgment updated Pinhead's appearance from the previous films. As writer-director Gary J. Tunnicliffe explained, "This is a very no-nonsense Pinhead. No glib one-liners, he's a little leaner and a little meaner. We especially tried to incorporate this into the make-up and costume; the cuts are deeper, the pins a little longer, his eyes are completely black and the wardrobe is a little sleeker and more visceral. Someone on set described him as the 'bad ass' version of Pinhead." The flesh exposed on Pinhead's chest was redesigned as a rhombus in honour of Pinhead's master, the fictional character Leviathan.
Physical portrayal
In the first eight Hellraiser films, Pinhead is portrayed by Doug Bradley. Because of his eventual skill at the application and removal of the Pinhead appliances and costume, Bradley has been credited in some of the Hellraiser films as an assistant make-up artist. When he read the script for the first time, Bradley stated on interview that he saw Pinhead as a cross between Oscar Wilde and Noël Coward. Upon asking Barker how he should play Pinhead, Barker told him to "[think] of him as a cross between an administrator and a surgeon who's responsible for running a hospital where there are no wards, only operating theaters. As well as being the man who wields the knife, he's the man who has to keep the timetable going." In the original novella, the character Frank believed the Cenobites may have once been human but that their extreme experiments on themselves left them demonic and sexless. In keeping with this, Barker and Bradley decided early on that Pinhead had once been a human being before joining the Cenobites:
The Pinhead makeup took six hours to apply. When Bradley first donned the Pinhead makeup, he spent a few minutes alone in his room getting into character by looking at himself in the mirror. During rehearsals, Barker told Bradley, who at the time was more used to working in theatre, to subdue his movements and gestures, in order to give Pinhead an aura of complete control and to indicate he was confident enough to not feel the need to make threatening gestures or displays. New World Productions originally considered overdubbing Bradley's voice with that of an American actor, but this was reconsidered when the producers saw him perform.
Paul T. Taylor portrays Pinhead in Hellraiser: Judgment, an experience he describes as a dream-come-true. According to Taylor, "[Pinhead] was always my favorite horror icon because he was the most twisted and intelligent in my mind." The American actor used a faux British accent when portraying the character due to his belief that "Pinhead has to be British". Gary Tunnicliffe gave Taylor room to create his own interpretation of Pinhead, as Taylor brought an intentional vulnerability to the role. In addition to prior knowledge, Taylor used Hellraiser comic books as preparation for the film.
Characterization
In the film franchise, Pinhead's role has varied with each installment. In the script for the original film, Barker describes Pinhead and the other cenobites as "demons" in his notes; the character himself, however, upon capturing Kirsty Cotton, identifies himself as neither explicitly angelic nor demonic, stating that he and his fellow entourage are "Explorers in the further regions of experience. Demons to some. Angels to others." The second film expounds on the idea of the Cenobites as demons by depicting them as denizens of a realm called Hell, a maze-like dimension ruled over by an entity known as Leviathan, where they subject their quarry to emotional and psychological torture. The third film radically altered the original concept, making Pinhead into a purely evil demon of chaos, explained by Pinhead losing the human, 'orderly', part of himself during the previous film. In the fourth film he is presented as a megalomaniac bent on world domination, and by the fifth he acts as a judge, punishing those who open the box for their sins by making them face their personal demons. In this film, he goes by the title of "Engineer", a name derived from an apparent Cenobite leader in Clive Barker's original novella.
The first Hellraiser went into production during the height of the A Nightmare on Elm Street, Friday the 13th and Halloween film series. According to Clive Barker, the popularity of these films led to producers and studios not caring for his intended portrayal of Pinhead as an articulate and intelligent character. Some suggested Pinhead should act more like Freddy Krueger and crack jokes, while others suggested he be a silent character like Jason Voorhees and Michael Myers. Barker insisted Pinhead's personality be more evocative of Christopher Lee's portrayal of Count Dracula: "Part of the chill of Dracula surely lies in the fact that he is very clearly and articulately aware of what he is doing – you feel that this is a penetrating intelligence – and I don't find dumb things terribly scary – I find intelligence scary, particularly twisted intelligence. It's one of the reasons why Hannibal Lecter is scary, isn't it? It's because you always feel that he's going to be three jumps ahead of you." Starting with the third film, Pinhead is more glib and also openly irreverent toward Christianity, mockingly imitating the stigmata and remarking "not quite" when someone seeing him exclaims "Jesus Christ." In contrast to the first film where Pinhead seemed aloof about his nature, indicating he and his kind were "angels to some, demons to others," the fourth film Bloodline depicts him sneering as he asks, "Do I look like someone who cares what God thinks?" His glibness increases in later films, such as in Hellworld when a character believes the Cenobites are just a dream from which he must awake. After the Cenobites kill him, Pinhead asks, "How's that for a wake-up call?"
In Hellbound: Hellraiser II, it is made clear that Pinhead has no memory of his human past as Elliott Spencer, believing he has always been a Priest of the Cenobites. Once he is reminded of his human past and recalls his former life, he transforms into a human appearance and is then vulnerable to an attack by Channard. Screenwriter Peter Atkins explained that Pinhead regaining Spencer's humanity left him "spiritually weakened" and thus vulnerable to attack. As a result, the third film Hell on Earth depicts a new incarnation of Pinhead who lacks restraint and embraces chaos, wreaking havoc on Earth and indiscriminately killing humans he encounters. When Spencer's spirit willingly merges with him once again, the fusion regains Pinhead's previous sense of restraint and belief that he must follows the rules of his station. In the BOOM! Studios comics, it is said that Pinhead retains the memories of Elliott Spencer following the events of Hell On Earth, leading him to feel less satisfied and certain of his power and purpose, now desiring more than his life as a Hell Priest in service to Leviathan.
In the original novella and first movie, the Cenobites refuse to return to their dimension without a human soul, immediately targeting the person who opened the puzzle box. While Kirsty defends that she did not fully understand the box's nature, the Cenobites imply that desiring to open the box at all is enough to justify being taken and tortured by them. However, in Hellbound: Hellraiser II, Pinhead stops the Cenobites from targeting teenage girl Tiffany, who opened the box not out of curiosity or desire but because she had been manipulated to do so by Dr. Channard and Julia Cotton, both of whom wished to avoid the immediate consequences of accessing the Cenobites' realm. Pinhead justifies sparing Tiffany by saying, "It is not hands that call us. It is desire." In addition to his belief in rules, Pinhead can be reasoned and bargained with. In both Hellraiser and Hellraiser: Hellseeker, Kirsty Cotton bargains with Pinhead to offer him other souls in exchange for her own (in particular, her human adversaries), and appeals to the villain's vanity and pride while doing so. In Hellraiser: Revelations, Pinhead is prepared to take Emma to the Cenobite realm but reconsiders when other characters explain she was forced to open the puzzle box at gunpoint by her boyfriend Nico. He then agrees to let Emma go and takes Nico instead.
In the film Bloodline, Pinhead is shown to prefer manipulating or coercing agents to achieve his goals, avoiding direct action until necessary. This brings him into conflict with the demon Princess Angelique, who prefers to recruit agents through seduction rather than force. In Clive Barker's Hellraiser comics published by BOOM! Studios in 2011, which follow the canon of the first three films, Pinhead has becomes disillusioned with his existence and becomes willing to destroy his fellow Cenobites and other demons of Hell if it means he can achieve his new goals of power. He takes a similar stance in The Scarlet Gospels, initially targeting human magic-users to acquire their power and secrets, and so they won't interfere with his plans.
Paul T. Taylor, who portrays Pinhead in Hellraiser: Judgment, described the character as "twisted and intelligent." Finding Pinhead's mannerisms and demeanor to be unique among horror icons, Taylor tried to capture that in his performance: "It's about the stillness. He's already so terrifying that when he makes a move, it means something. He's very economical and when he speaks, he's so eloquent." Taylor also incorporated the uncomfortable make-up and costume into his presentation of the sadomasochist, stating "Pinhead's always in agony so he likes it. I feel like I was in character the whole time, and I don't mean that in some sort of artistic, lofty way. I mean I maintained the demeanor the whole time because I had to."
Origins
The character's past, which is alluded to in Hellbound, is expanded upon in the third film Hell on Earth. It is revealed that Pinhead originated as Elliott Spencer, a captain in the British Expeditionary Force suffering from PTSD and survivor guilt. Spencer participated in the Battle of Passchendaele, after which he lost faith in humanity and God. He wandered Earth indulging in a hedonistic lifestyle to bury his trauma, turning to the baser methods of gratification and pleasure until finding the Lament Configuration in British India in 1921. Some time after summoning the Cenobites, he joined their ranks and became a powerful leader, though this experience caused him to forget his human life and conclude that he had always been a demonic force. When he is temporarily restored as a spirit in Limbo in the film Hellraiser III, Spencer refers to his Pinhead incarnation as "very persuasive and very inventive", while finding the incarnation of Pinhead that lacks humanity to be a terrible and abhorrent force of evil and suffering.
The BOOM! Studios comics, plotted by Clive Barker (and written by him and several other creators), follow the mythology of the first three Hellraiser films and expand it. The comics reveal that Spencer was a corrupt and at times sadistic person for many years before his experiences in World War I, that he abused his wife and enjoyed shocking his daughter Danielle with behavior he saw as corrupt or provocative, such as dressing in women's underwear in front of her and having sex with her mother while she was in the room. Spencer came to sexually desire his daughter when she grew older, but believed acting on such desire would be an action too far. During World War I, Spencer saw a collection of dead bodies hanging from a tree and considered it to be beautiful and also confirmation that there was no order to the world. Desiring answers, he abandoned his duties and wandered, eventually discovering a Lemarchand puzzle box, determined to learn more insight from the Cenobites. His high-level of apathy towards degradation of pain interested Leviathan, who decided to make him the new Hell Priest. Leviathan tested Spencer by having him seduce his daughter Danielle, letting him live out his fantasy at last. Spencer believed this was an illusion, but in fact it happened and Danielle then gave birth to a daughter Priscilla, whom she later abandoned.
Powers, weaknesses and limitations
Described by Doug Bradley as stronger than Jason Voorhees and Michael Myers, Pinhead is an extremely powerful being with supernatural abilities. His preferred method of attack is to summon hooks and chains that mutilate victims, often tearing them apart. These chains are subject to his total mental control, able to emerge from seemingly anywhere and move in any direction according to his will. The chains and hooks may even change shape after having attached to a victim. Pinhead is highly resilient to physical damage, resisting both gunshots and futuristic energy weapons. His magic can be used to summon objects out of thin air, teleport, cause explosions at a distance, and cast illusions. He is capable of converting other people into Cenobites, though this requires them to die in the process.
In order to act in the physical world, Pinhead needs to have been purposely summoned through the Lemarchand/Lament Configuration, which acts as a doorway to Hell (or one of many Hell dimensions). The comic books reveal that humans who lay down certain spells and magical seals can ensure a Cenobite has limited power and will not take them even if summoned. The movie Hellbound: Hellraiser II showed that restoring a Cenobite's memories of their previous human existence can spiritually weaken them, restoring their humanity and making them vulnerable to attack. Once Pinhead was restored at the end of Hellraiser III, he retained his memories of being Elliott Spencer, but was no longer vulnerable because of it, his full power and resistance to injury now restored. Likewise, the BOOM! Studios comic series featured two other Cenobites who took on the mantle of the Hell Priest when Pinhead was gone, each retaining their human memories and not becoming more vulnerable as a result.
In spite of being a Hell priest, Pinhead follows a "lawful evil" code of rules. He does not kill or torture indiscriminately, targeting those who open the Lament Configuration out of a desire to do so, or those who willingly get in his way of his goals. He spares the lives of Tiffany and Emma as they were manipulated into opening the box by others who wanted to see it opened. He can also be bargained and reasoned with, as Kirsty Cotton was able to do on a few occasions.
Cenobium
Pinhead is shown in all his appearances to be accompanied by other denizens of Hell, an entourage that is referred to in the BOOM! Studios comics as a "Cenobium." Although originally portrayed as a subordinate of "The Engineer" in The Hellbound Heart, his film incarnations show him as the leader of secondary cenobite characters. The most consistent members of his Cenobium are a trio of Cenobites known as Butterball, The Female, and Chatterer. All three appear the first two Hellraiser films, and the BOOM! Studios comic series. The Female and Butterball make appearances in the novel The Scarlet Gospels, while Chatterer appears in all but two of the Hellraiser films. In Hellraiser III: Hell on Earth and Hellraiser: Bloodline, Pinhead forcibly recruits several people to be new Cenobites, giving them characteristics evocative of their past lives or professions. Later films in the series depict Pinhead accompanied by new Cenobites of unknown origin.
In Hellraiser: Bloodline, Pinhead regards a demon named Angelique as an equal in the hierarchy of demons. Though initially reverent toward her, Pinhead is disillusioned when he sees she manipulates and recruits through seduction rather than pain and force.
In the BOOM! Studios comics and the novel The Scarlet Gospels, the Hell Priest decides to seek out greater power and enlightenment, deciding in the process that all other Cenobites and all demons, even high-ranking demon lords such as Abaddon or demonic deities such as Leviathan, are beneath him and expendable.
Hellraiser remake
Doug Bradley has stated that he wasn’t approached to reprise the role of Pinhead in the remake, stating that "seeing someone else become Pinhead feels like a kick in the teeth".
Pinhead redesign
Gary Tunnicliffe, who was responsible for the Pinhead makeup in the last four films, improvised a new design for Pinhead called Project Angel: Recreating an Icon, the photos of which he published in Fangoria.
Among Tunnicliffe's redesigns included the usage of square shafted nails for the iconic pins, which were meant to look rusted and handmade. He also designed the new Pinhead as wearing a white priest's robe rather than the original black leather, as a homage to the origins of the word "cenobite" which implies a religious connection.
The redesign was criticised by Clive Barker as being too bloody:
Pascal Laugier, who was set to write the remake wrote an online statement, stressing that Tunnicliffe's redesign was unauthorised, and that he himself had a very different design in mind.
In October 2021, it was revealed that Pinhead was going to be played by Jamie Clayton in the remake.
See also
List of monster movies
References
External links
for Doug Bradley
Further reading
Fictional demons and devils
Fictional undead
Fictional mass murderers
Fictional priests and priestesses
Fictional military captains
Fictional English people
Fictional World War I veterans
Fictional British Army officers
Fictional telepaths
Fictional shapeshifters
Fictional soul collectors
Fictional characters who can teleport
Fictional characters with superhuman strength
Fictional telekinetics
Male horror film villains
Hellraiser characters
Literary characters introduced in 1986
Male literary villains
Characters in British novels of the 20th century
Fictional monsters
Fictional torturers
Film supervillains | true | [
"\"How Interesting: A Tiny Man\" is a 2010 science fiction/magical realism short story by American writer Harlan Ellison. It was first published in Realms of Fantasy.\n\nPlot summary\nA scientist creates a tiny man. The tiny man is initially very popular, but then draws the hatred of the world, and so the tiny man must flee, together with the scientist (who is now likewise hated, for having created the tiny man).\n\nReception\n\"How Interesting: A Tiny Man\" won the 2010 Nebula Award for Best Short Story, tied with Kij Johnson's \"Ponies\". It was Ellison's final Nebula nomination and win, of his record-setting eight nominations and three wins.\n\nTor.com calls the story \"deceptively simple\", with \"execution (that) is flawless\" and a \"Geppetto-like\" narrator, while Publishers Weekly describes it as \"memorably depict(ing) humanity's smallness of spirit\". The SF Site, however, felt it was \"contrived and less than profound\".\n\nNick Mamatas compared \"How Interesting: A Tiny Man\" negatively to Ellison's other Nebula-winning short stories, and stated that the story's two mutually exclusive endings (in one, the tiny man is killed; in the other, he becomes God) are evocative of the process of writing short stories. Ben Peek considered it to be \"more allegory than (...) anything else\", and interpreted it as being about how the media \"give(s) everyone a voice\", and also about how Ellison was treated by science fiction fandom.\n\nReferences\n\nExternal links\nAudio version of ''How Interesting: A Tiny Man, at StarShipSofa\nHow Interesting: A Tiny Man, at the Internet Speculative Fiction Database\n\nNebula Award for Best Short Story-winning works\nShort stories by Harlan Ellison",
"In baseball, a fair ball is a batted ball that entitles the batter to attempt to reach first base. By contrast, a foul ball is a batted ball that does not entitle the batter to attempt to reach first base. Whether a batted ball is fair or foul is determined by the location of the ball at the appropriate reference point, as follows:\n\n if the ball leaves the playing field without touching anything, the point where the ball leaves the field;\n else, if the ball first lands past first or third base without touching anything, the point where the ball lands;\n else, if the ball rolls or bounces past first or third base without touching anything other than the ground, the point where the ball passes the base;\n else, if the ball touches anything other than the ground (such as an umpire, a player, or any equipment left on the field) before any of the above happens, the point of such touching;\n else (the ball comes to a rest before reaching first or third base), the point where the ball comes to a rest.\n\nIf any part of the ball is on or above fair territory at the appropriate reference point, it is fair; else it is foul. Fair territory or fair ground is defined as the area of the playing field between the two foul lines, and includes the foul lines themselves and the foul poles. However, certain exceptions exist:\n\n A ball that touches first, second, or third base is always fair.\n Under Rule 5.09(a)(7)-(8), if a batted ball touches the batter or his bat while the batter is in the batter's box and not intentionally interfering with the course of the ball, the ball is foul.\n A ball that hits the foul pole without first having touched anything else off the bat is fair.\n Ground rules may provide whether a ball hitting specific objects (e.g. roof, overhead speaker) is fair or foul.\n\nOn a fair ball, the batter attempts to reach first base or any subsequent base, runners attempt to advance and fielders try to record outs. A fair ball is considered a live ball until the ball becomes dead by leaving the field or any other method.\n\nReferences\n\nBaseball rules"
] | [
"Pinhead, Lead Cenobite, or the Hell Priest, is the main antagonist of the Hellraiser franchise, first appearing as an unnamed figure in the 1986 Clive Barker novella The Hellbound Heart. When Clive Barker adapted the novella into the 1987 film Hellraiser, he referred to the character in early drafts as \"the Priest\" but the final film gave no name.",
"When Clive Barker adapted the novella into the 1987 film Hellraiser, he referred to the character in early drafts as \"the Priest\" but the final film gave no name. The production and make-up crew nicknamed the character \"Pinhead\" and fans accepted the sobriquet, which was then used in press materials, tie-in media, and on-screen in some of the sequel films, although Clive Barker himself despises the nickname.",
"The production and make-up crew nicknamed the character \"Pinhead\" and fans accepted the sobriquet, which was then used in press materials, tie-in media, and on-screen in some of the sequel films, although Clive Barker himself despises the nickname. In the 2011 comic book series Hellraiser published by BOOM!",
"In the 2011 comic book series Hellraiser published by BOOM! Studios, Barker refers to the character as \"the Priest.\"",
"Studios, Barker refers to the character as \"the Priest.\" In that comic book series and the subsequent series Hellraiser: The Dark Watch, Cenobites refer to him as holding the title of \"the Hell Priest\" or \"the Pontifex\", making him \"Hell's Pope.\"",
"In that comic book series and the subsequent series Hellraiser: The Dark Watch, Cenobites refer to him as holding the title of \"the Hell Priest\" or \"the Pontifex\", making him \"Hell's Pope.\" Nearly thirty years after The Hellbound Heart was published, Barker's 2015 novel The Scarlet Gospels cements the character's official title and rank is \"the Hell Priest\" and that he hates the nickname \"Pinhead.\"",
"Nearly thirty years after The Hellbound Heart was published, Barker's 2015 novel The Scarlet Gospels cements the character's official title and rank is \"the Hell Priest\" and that he hates the nickname \"Pinhead.\" In a later novella, Hellraiser: The Toll (which acts as a bridge between The Hellbound Heart and The Scarlet Gospels), it is said the character is also known to some as the Cold Man.",
"In a later novella, Hellraiser: The Toll (which acts as a bridge between The Hellbound Heart and The Scarlet Gospels), it is said the character is also known to some as the Cold Man. Pinhead is one of the leaders of the Cenobites, said to be humans who were later transformed into demonic creatures blindly devoted to the practice of experimental sadomasochism.",
"Pinhead is one of the leaders of the Cenobites, said to be humans who were later transformed into demonic creatures blindly devoted to the practice of experimental sadomasochism. They exist in an extra-dimensional realm that is Hell or one of many versions of Hell that co-exist.",
"They exist in an extra-dimensional realm that is Hell or one of many versions of Hell that co-exist. Cenobites are usually only summoned to Earth through puzzle boxes, such as one called the Lemarchand Configuration (known as the Lament Configuration in the movies).",
"Cenobites are usually only summoned to Earth through puzzle boxes, such as one called the Lemarchand Configuration (known as the Lament Configuration in the movies). The film series reveals Pinhead was once British soldier, Captain Elliott Spencer, who became disillusioned with life and humanity during his experiences during World War I, leading him to summon the Cenobites and join their ranks.",
"The film series reveals Pinhead was once British soldier, Captain Elliott Spencer, who became disillusioned with life and humanity during his experiences during World War I, leading him to summon the Cenobites and join their ranks. Barker's BOOM!",
"Barker's BOOM! Barker's BOOM! Studios comics imply that Spencer was not the first Hell Priest or Pontifex and indicate that others will be recruited to fill the role if he ever leaves or is destroyed.",
"Studios comics imply that Spencer was not the first Hell Priest or Pontifex and indicate that others will be recruited to fill the role if he ever leaves or is destroyed. Barker's novel The Scarlet Gospels indicate there is debate on whether there has always been one Hell Priest existing for many millennia ago or if the title and nature of the Hell Priest has been adopted by many different humans-turned-Cenobite across the centuries.",
"Barker's novel The Scarlet Gospels indicate there is debate on whether there has always been one Hell Priest existing for many millennia ago or if the title and nature of the Hell Priest has been adopted by many different humans-turned-Cenobite across the centuries. The Hell Priest's nature, and the motivations of the Cenobites, vary depending on the story.",
"The Hell Priest's nature, and the motivations of the Cenobites, vary depending on the story. The character's appearance in 1987's Hellraiser marked a significant departure from the standard 1980s depiction of horror film villains, who tended to either be completely mute, or provide glib commentary while killing their victims.",
"The character's appearance in 1987's Hellraiser marked a significant departure from the standard 1980s depiction of horror film villains, who tended to either be completely mute, or provide glib commentary while killing their victims. Instead, Pinhead was depicted as articulate and intelligent, speaking only when he deemed necessary, capable of great evil but also bound by a personal code of honor (such as sparing the life of a young girl who summons him to Earth in Hellbound: Hellraiser II because he realizes she acted as the pawn of another person).",
"Instead, Pinhead was depicted as articulate and intelligent, speaking only when he deemed necessary, capable of great evil but also bound by a personal code of honor (such as sparing the life of a young girl who summons him to Earth in Hellbound: Hellraiser II because he realizes she acted as the pawn of another person). Barker drew influence from classical cinematic depictions of Count Dracula, in particular as portrayed by Christopher Lee.",
"Barker drew influence from classical cinematic depictions of Count Dracula, in particular as portrayed by Christopher Lee. Development According to Clive Barker and Doug Bradley, the earliest incarnation of Pinhead appeared in Hunters in the Snow, an original 1973 play with Doug Bradley in the role of the Dutchman, an undead inquisitor, and torturer.",
"Development According to Clive Barker and Doug Bradley, the earliest incarnation of Pinhead appeared in Hunters in the Snow, an original 1973 play with Doug Bradley in the role of the Dutchman, an undead inquisitor, and torturer. A later film titled The Forbidden, which was shot in 16 millimeter and in black and white, included a prop in the form of a wooden block with six nails in it, which gave distorted shadow formations under different lighting angles.",
"A later film titled The Forbidden, which was shot in 16 millimeter and in black and white, included a prop in the form of a wooden block with six nails in it, which gave distorted shadow formations under different lighting angles. Years later, during the scripting of Hellraiser, the same design was applied to Pinhead's face to give the same effect.",
"Years later, during the scripting of Hellraiser, the same design was applied to Pinhead's face to give the same effect. After being disappointed with the way his material had been treated by producers in Underworld (which included a scene in which needles burst out of a character's skull), Barker wrote the novella The Hellbound Heart (1986) as his first step in directing a film by himself, introducing the Cenobites whom he also referred to as \"sadomasochists from Hell.\"",
"After being disappointed with the way his material had been treated by producers in Underworld (which included a scene in which needles burst out of a character's skull), Barker wrote the novella The Hellbound Heart (1986) as his first step in directing a film by himself, introducing the Cenobites whom he also referred to as \"sadomasochists from Hell.\" The following year, Barker adapted the novella into the first Hellraiser film, introducing the Cenobites to a wider audience.",
"The following year, Barker adapted the novella into the first Hellraiser film, introducing the Cenobites to a wider audience. A Cenobite from the novella, described as having his head decorated by a gridwork pattern and jeweled pins, was depicted in the movie as having a similar appearance involving iron nails and operating as the apparent leader of his order of demons.",
"A Cenobite from the novella, described as having his head decorated by a gridwork pattern and jeweled pins, was depicted in the movie as having a similar appearance involving iron nails and operating as the apparent leader of his order of demons. The film credits him as \"Lead Cenobite\", but the make-up crew and production team referred to him as Pinhead, a name that was learned of and adopted by fans.",
"The film credits him as \"Lead Cenobite\", but the make-up crew and production team referred to him as Pinhead, a name that was learned of and adopted by fans. The character is glibly referred to by the name \"Pinhead\" on-screen for the first time in Hellraiser III.",
"The character is glibly referred to by the name \"Pinhead\" on-screen for the first time in Hellraiser III. The Pinhead name was used in press materials for the films and the various films to follow, as well as tie-in comic books published by Marvel Comics, including a crossover comic with Marshal Law, and a mini-series entitled Pinhead.",
"The Pinhead name was used in press materials for the films and the various films to follow, as well as tie-in comic books published by Marvel Comics, including a crossover comic with Marshal Law, and a mini-series entitled Pinhead. Clive Barker did not care for the nickname, believing it did not suit the dignity of the villain.",
"Clive Barker did not care for the nickname, believing it did not suit the dignity of the villain. During filming of the first Hellraiser movie, actor Doug Bradley discussed the character with Clive Barker. Both agreed, as the novella indicated, that Pinhead was once human, though when he had lived and died was undecided.",
"Both agreed, as the novella indicated, that Pinhead was once human, though when he had lived and died was undecided. Bradley later concluded that while the Cenobites have been active for centuries, Pinhead was originally a person belonging to the 20th century, telling Fangoria, \"To me, Pinhead is the chief Cenobite of the 20th Century.\"",
"Bradley later concluded that while the Cenobites have been active for centuries, Pinhead was originally a person belonging to the 20th century, telling Fangoria, \"To me, Pinhead is the chief Cenobite of the 20th Century.\" This idea was expanded on in the second Hellraiser movie, when the movie incarnation of Pinhead was said to have originally lived as a World War I officer named Elliott Spencer.",
"This idea was expanded on in the second Hellraiser movie, when the movie incarnation of Pinhead was said to have originally lived as a World War I officer named Elliott Spencer. In comics published by Marvel during the 1990s, Barker plotted and oversaw many stories that followed the canon of the Hellraiser movies, starting with the comic series Hellraiser, and later including the spin-off titles Pinhead and The Harrowers.",
"In comics published by Marvel during the 1990s, Barker plotted and oversaw many stories that followed the canon of the Hellraiser movies, starting with the comic series Hellraiser, and later including the spin-off titles Pinhead and The Harrowers. In Barker's later prose work, the Pinhead character did not appear again for some time, but the Cenobites were occasionally referenced as the \"Surgeons\" or the \"Order of the Gash.\"",
"In Barker's later prose work, the Pinhead character did not appear again for some time, but the Cenobites were occasionally referenced as the \"Surgeons\" or the \"Order of the Gash.\" In 2011, a new Hellraiser comic book series was published by Boom!",
"In 2011, a new Hellraiser comic book series was published by Boom! Studios, plotted by Clive Barker who co-wrote it with various authors.",
"Studios, plotted by Clive Barker who co-wrote it with various authors. Within the series, only humans refer to the lead Cenobite by the nickname \"Pinhead\", while other Cenobites referred to him as \"the Priest\" or the \"Hell Priest,\" describing him as Hell's closest approximation to the Pope.",
"Within the series, only humans refer to the lead Cenobite by the nickname \"Pinhead\", while other Cenobites referred to him as \"the Priest\" or the \"Hell Priest,\" describing him as Hell's closest approximation to the Pope. It is also indicated that this title and position is assumed by different Cenobites over the millennia because there must always be a Hell Priest or Priestess.",
"It is also indicated that this title and position is assumed by different Cenobites over the millennia because there must always be a Hell Priest or Priestess. In the follow-up 2013 comic book series Hellraiser: The Dark Watch, the title \"Pontifex\" is also used to describe the rank of Hell Priest or Priestess.",
"In the follow-up 2013 comic book series Hellraiser: The Dark Watch, the title \"Pontifex\" is also used to describe the rank of Hell Priest or Priestess. The same series confirms that there are different versions of Hell co-existing, each ruled by a different leader, and that Leviathan and the Cenobites specifically target souls whose major sins involve the pursuit of pleasure, whereas other realms target different motivations (for example, the Hell dimension ruled by Abaddon harvests souls who were motivated by fury to sin).",
"The same series confirms that there are different versions of Hell co-existing, each ruled by a different leader, and that Leviathan and the Cenobites specifically target souls whose major sins involve the pursuit of pleasure, whereas other realms target different motivations (for example, the Hell dimension ruled by Abaddon harvests souls who were motivated by fury to sin). Barker promised to give the character an official name in The Scarlet Gospels.",
"Barker promised to give the character an official name in The Scarlet Gospels. In that novel, published in 2015, the character was given the official title and rank of \"the Hell Priest.\" The narration stated the Hell Priest hates when humans referred to him by the nickname \"Pinhead.\"",
"The narration stated the Hell Priest hates when humans referred to him by the nickname \"Pinhead.\" Rather than say for sure that the prose version of the Hell Priest is also Elliott Spencer, The Scarlet Gospels indicates there is debate among characters on whether the Hell Priest has been the same person/Cenobite for many centuries, possibly thousands of years, or if there have been several to hold that rank and assume that appearance, and the current one only died and became a Cenobite during the 20th century.",
"Rather than say for sure that the prose version of the Hell Priest is also Elliott Spencer, The Scarlet Gospels indicates there is debate among characters on whether the Hell Priest has been the same person/Cenobite for many centuries, possibly thousands of years, or if there have been several to hold that rank and assume that appearance, and the current one only died and became a Cenobite during the 20th century. The book states that there is evidence to support both ideas.",
"The book states that there is evidence to support both ideas. However, after he is turned, he becomes very frank and informative to his \"victims\" than ever.",
"However, after he is turned, he becomes very frank and informative to his \"victims\" than ever. Appearances The novella The Hellbound Heart introduces the Cenobites as other-dimensional beings, priest-like figures known as the Order of the Gash, summoned via puzzle boxes by people who wish to explore the limits of physical experience.",
"Appearances The novella The Hellbound Heart introduces the Cenobites as other-dimensional beings, priest-like figures known as the Order of the Gash, summoned via puzzle boxes by people who wish to explore the limits of physical experience. The Cenobites have pushed their self-experimentation to such a degree that they appear inhuman, demonic, and sexless.",
"The Cenobites have pushed their self-experimentation to such a degree that they appear inhuman, demonic, and sexless. They are amoral creatures, seeing no real difference between pain and pleasure, prizing and hoarding the human souls they harvest.",
"They are amoral creatures, seeing no real difference between pain and pleasure, prizing and hoarding the human souls they harvest. Their home dimension is vaguely implied to either be Hell or one of many dimensional realms that might be Hell or serve as the inspiration for stories of Hell.",
"Their home dimension is vaguely implied to either be Hell or one of many dimensional realms that might be Hell or serve as the inspiration for stories of Hell. The protagonist Kirsty also wonders if other puzzle boxes might open doorways to Heavenly dimensions.",
"The protagonist Kirsty also wonders if other puzzle boxes might open doorways to Heavenly dimensions. The Cenobites in The Hellbound Heart are unnamed, except for one who appears to be a leader, and is called the Engineer. One of the Cenobites is described as having jeweled pins and a grid pattern decorating his head.",
"One of the Cenobites is described as having jeweled pins and a grid pattern decorating his head. The prose incarnation of the character next appears in Barker's The Scarlet Gospels (2015), now depicted not only as a Cenobite but also a leading figure of Hell.",
"The prose incarnation of the character next appears in Barker's The Scarlet Gospels (2015), now depicted not only as a Cenobite but also a leading figure of Hell. The narration says the jeweled pins in his head have blackened over the years, now resembling iron nails (giving him an appearance now more in line with the film franchise).",
"The narration says the jeweled pins in his head have blackened over the years, now resembling iron nails (giving him an appearance now more in line with the film franchise). The character is known as \"the Hell Priest\" in the novel, not a true name but an official title marking him as a powerful and high ranking authority in Hell.",
"The character is known as \"the Hell Priest\" in the novel, not a true name but an official title marking him as a powerful and high ranking authority in Hell. The novel mentions that some humans do refer to the Hell Priest as Pinhead, but that doing so in the demon's presence is to risk his anger.",
"The novel mentions that some humans do refer to the Hell Priest as Pinhead, but that doing so in the demon's presence is to risk his anger. The same novel indicates there is debate among Earth's magicians as to whether this is the same Hell Priest who has existed for thousands of years or if he is a man who became a Cenobite during the 20th century, and is simply the latest of many to have Pinhead's appearance, power, and rank.",
"The same novel indicates there is debate among Earth's magicians as to whether this is the same Hell Priest who has existed for thousands of years or if he is a man who became a Cenobite during the 20th century, and is simply the latest of many to have Pinhead's appearance, power, and rank. In 1998, Clive Barker stated that the novel would mark the death of Pinhead, and he hoped it would be definitive.",
"In 1998, Clive Barker stated that the novel would mark the death of Pinhead, and he hoped it would be definitive. The Scarlet Gospels novel established that Lucifer, the Biblical Devil who rules Hell, abandoned his dominion some time ago.",
"The Scarlet Gospels novel established that Lucifer, the Biblical Devil who rules Hell, abandoned his dominion some time ago. A thriving society of demons rise in his absence, with the Hell Priest becoming a powerful figure.",
"A thriving society of demons rise in his absence, with the Hell Priest becoming a powerful figure. Eventually deciding to conquer the realm for himself, the Hell Priest spends years secretly killing off rivals in Hell as well as many magic-users on Earth, securing their sources of magical knowledge and power.",
"Eventually deciding to conquer the realm for himself, the Hell Priest spends years secretly killing off rivals in Hell as well as many magic-users on Earth, securing their sources of magical knowledge and power. After attempting and failing to kill occult detective Harry D'Amour, the Hell Priest decides the detective will witness and chronicle his rise to power.",
"After attempting and failing to kill occult detective Harry D'Amour, the Hell Priest decides the detective will witness and chronicle his rise to power. He kidnaps D'Amour's friend, a blind medium named Norma Paine, as a hostage.",
"He kidnaps D'Amour's friend, a blind medium named Norma Paine, as a hostage. The Hell Priest journeys to a forbidden part of Hell where Lucifer is said to reside, hoping to gain enlightenment from their encounter. Instead, he finds an armored Lucifer in a crypt, dead by his own hand.",
"Instead, he finds an armored Lucifer in a crypt, dead by his own hand. The Hell Priest dons Lucifer's armor, increasing his own power but inadvertently resurrecting the Devil in the process. Lucifer mortally wounds the Hell Priest, who then rapes Norma Paine to death and blinds Harry before dying.",
"Lucifer mortally wounds the Hell Priest, who then rapes Norma Paine to death and blinds Harry before dying. The battle concluded, the Devil journeys to Earth. All of Hell is then destroyed by an unseen force, including the Hell Priest's remains.",
"All of Hell is then destroyed by an unseen force, including the Hell Priest's remains. The 2018 novella Hellraiser: The Toll, plotted by Barker and written by his assistant Mark Alan Miller, bridges the gap between The Hellbound Heart and The Scarlet Gospels.",
"The 2018 novella Hellraiser: The Toll, plotted by Barker and written by his assistant Mark Alan Miller, bridges the gap between The Hellbound Heart and The Scarlet Gospels. In the novella, the Hell Priest is also known as the Cold Man.",
"In the novella, the Hell Priest is also known as the Cold Man. Captain Elliot Spencer, Pinhead's human incarnation from the film franchise, has a cameo appearance in the novel The Bloody Red Baron by Kim Newman, in which he is working as an agent of the Diogenes Club.",
"Captain Elliot Spencer, Pinhead's human incarnation from the film franchise, has a cameo appearance in the novel The Bloody Red Baron by Kim Newman, in which he is working as an agent of the Diogenes Club. Suffering from shell shock, Spencer is discharged from the army after hammering nails into his own skull.",
"Suffering from shell shock, Spencer is discharged from the army after hammering nails into his own skull. In his introduction to Newman's collection The Original Doctor Shade and Other Stories, author Neil Gaiman claims Kim Newman was part of a group of friends who inspired the depiction of the Cenobites.",
"In his introduction to Newman's collection The Original Doctor Shade and Other Stories, author Neil Gaiman claims Kim Newman was part of a group of friends who inspired the depiction of the Cenobites. Film In the films, the character is first referred to as \"Pinhead\" onscreen in Hellraiser III: Hell on Earth, a nickname proposed by glib protagonist Joey Summerskill.",
"Film In the films, the character is first referred to as \"Pinhead\" onscreen in Hellraiser III: Hell on Earth, a nickname proposed by glib protagonist Joey Summerskill. In the film Hellworld, the Cenobites are believed to be fictional characters and so different people in the story refer to the lead Cenobite as Pinhead just as fans of the Hellraiser franchise often do.",
"In the film Hellworld, the Cenobites are believed to be fictional characters and so different people in the story refer to the lead Cenobite as Pinhead just as fans of the Hellraiser franchise often do. In the film Hellraiser: Judgment, the name is used onscreen as a derogative term towards the Cenobite by an angel named Jophiel.",
"In the film Hellraiser: Judgment, the name is used onscreen as a derogative term towards the Cenobite by an angel named Jophiel. In Hellraiser (1987), directed and written by Clive Barker, Frank Cotton escapes from the Cenobites, slowly rebuilding his body from the flesh and blood of victims.",
"In Hellraiser (1987), directed and written by Clive Barker, Frank Cotton escapes from the Cenobites, slowly rebuilding his body from the flesh and blood of victims. He recruits his sister-in-law and secret lover Julia Cotton as an accomplice in these murders.",
"He recruits his sister-in-law and secret lover Julia Cotton as an accomplice in these murders. Frank's niece and Julia's step-daughter Kirsty Cotton unintentionally summons the Cenobites, led by Pinhead who explains they are \"demons to some, angels to others.\"",
"Frank's niece and Julia's step-daughter Kirsty Cotton unintentionally summons the Cenobites, led by Pinhead who explains they are \"demons to some, angels to others.\" Kirsty offers to lead the Cenobites to her uncle who had escaped them, and Pinhead agrees to spare her.",
"Kirsty offers to lead the Cenobites to her uncle who had escaped them, and Pinhead agrees to spare her. After claiming not only Frank but also Julia, the Cenobites turn on Kirsty, but she uses the puzzle box to banish them back to their realm.",
"After claiming not only Frank but also Julia, the Cenobites turn on Kirsty, but she uses the puzzle box to banish them back to their realm. In Hellbound: Hellraiser II (1988), Clive Barker worked on the film's plot and acted as executive producer but did not direct or write.",
"In Hellbound: Hellraiser II (1988), Clive Barker worked on the film's plot and acted as executive producer but did not direct or write. The movie reveals Pinhead and the Cenobites follow Leviathan, a god of chaos who rules over Hell, depicted as a great labyrinth filled with tortures.",
"The movie reveals Pinhead and the Cenobites follow Leviathan, a god of chaos who rules over Hell, depicted as a great labyrinth filled with tortures. The Cenobites are summoned to Earth by Tiffany, a young mute savant girl, but Pinhead declares they will spare her since she was manipulated to open the box by Julia, who escaped them, and her new accomplice, the corrupt Dr. Channard.",
"The Cenobites are summoned to Earth by Tiffany, a young mute savant girl, but Pinhead declares they will spare her since she was manipulated to open the box by Julia, who escaped them, and her new accomplice, the corrupt Dr. Channard. Kirsty realizes the Cenobites have human origins and shows Pinhead a photograph of World War I British Army Captain Elliott Spencer, the man he once was.",
"Kirsty realizes the Cenobites have human origins and shows Pinhead a photograph of World War I British Army Captain Elliott Spencer, the man he once was. Pinhead regains his human memories, regaining his humanity. He smiles to Kirsty before being killed by Channard (now a Cenobite) and Julia, who are later defeated.",
"He smiles to Kirsty before being killed by Channard (now a Cenobite) and Julia, who are later defeated. Kirsty and Tiffany escape the labyrinth. This film is the first to name the villain \"Pinhead\" in the credits.",
"This film is the first to name the villain \"Pinhead\" in the credits. Clive Barker intended Pinhead and his entourage to die in this film, leaving Julia Cotton to become the villain of future Hellraiser stories. However, the studio wanted to return Pinhead to his villainous roots in a sequel.",
"However, the studio wanted to return Pinhead to his villainous roots in a sequel. Clive Barker did not work on the stories for the subsequent films. In Hellraiser III: Hell on Earth (1992), it is revealed that the death of Spencer in the previous film means the death of Pinhead's restraint and moral code.",
"In Hellraiser III: Hell on Earth (1992), it is revealed that the death of Spencer in the previous film means the death of Pinhead's restraint and moral code. A new incarnation of Pinhead manifests who engage in a random killing spree, transforming some victims into new Cenobites.",
"A new incarnation of Pinhead manifests who engage in a random killing spree, transforming some victims into new Cenobites. Reporter Joey Summerskill discovers Elliott Spencer's soul in Limbo.",
"Reporter Joey Summerskill discovers Elliott Spencer's soul in Limbo. Spencer explains his experiences in World War I caused him to see humanity and life as corrupt, leading him to use the Lament Configuration to summon the Cenobites, eventually joining their ranks. With Summerskill's help, Spencer's spirit escapes Limbo and re-merges with Pinhead.",
"With Summerskill's help, Spencer's spirit escapes Limbo and re-merges with Pinhead. Summerskill then uses the Lament Configuration to banish the restored Cenobite back to Hell. In this film, Summerskill glibly refers to the villain as \"Pinhead,\" marking the first time the Cenobite is called by this name onscreen.",
"In this film, Summerskill glibly refers to the villain as \"Pinhead,\" marking the first time the Cenobite is called by this name onscreen. In Hellraiser: Bloodline (1996), Pinhead allies himself with the demon princess Angelique, in order to force John Merchant (a descendant of the inventor Lemarchand who built the Lemarchand/Lament Configuration) to create an unsealable gateway to Hell.",
"In Hellraiser: Bloodline (1996), Pinhead allies himself with the demon princess Angelique, in order to force John Merchant (a descendant of the inventor Lemarchand who built the Lemarchand/Lament Configuration) to create an unsealable gateway to Hell. The future segments of the film reveal that Pinhead is finally destroyed in the year 2127 by Dr. Paul Merchant, another descendant, who uses a space station to complete the \"Elysium Configuration\", capable of closing Hell's gateway for good.",
"The future segments of the film reveal that Pinhead is finally destroyed in the year 2127 by Dr. Paul Merchant, another descendant, who uses a space station to complete the \"Elysium Configuration\", capable of closing Hell's gateway for good. Pinhead and other Cenobites are trapped inside it and are destroyed along with the box.",
"Pinhead and other Cenobites are trapped inside it and are destroyed along with the box. Bloodline was beset by numerous problems during production, leading the film's director to request his name be removed and credit given to Alan Smithee. The later films in the franchise were all direct release to home video or video on demand.",
"The later films in the franchise were all direct release to home video or video on demand. In Hellraiser: Inferno (2000), Pinhead appears primarily under the guise of police psychiatrist Doctor Paul Gregory, assuming his true form near the end to inform protagonist Detective Joseph Thorne that he has been in Hell for the duration of the film, and is being punished for his corruption and various misdeeds in life.",
"In Hellraiser: Inferno (2000), Pinhead appears primarily under the guise of police psychiatrist Doctor Paul Gregory, assuming his true form near the end to inform protagonist Detective Joseph Thorne that he has been in Hell for the duration of the film, and is being punished for his corruption and various misdeeds in life. In Hellraiser: Hellseeker (2002), Pinhead serves a role similar to the one he fulfilled in Inferno.",
"In Hellraiser: Hellseeker (2002), Pinhead serves a role similar to the one he fulfilled in Inferno. Kirsty is now married to Trevor, a corrupt insurance agent who plots to have her killed in a murder-for-money scheme, using Lemarchand's box to \"cleanly\" kill Kirsty without the evidence pointing to himself, his mistress, or his conspirators.",
"Kirsty is now married to Trevor, a corrupt insurance agent who plots to have her killed in a murder-for-money scheme, using Lemarchand's box to \"cleanly\" kill Kirsty without the evidence pointing to himself, his mistress, or his conspirators. Pinhead appears at the end of the film to inform Trevor, who had amnesia throughout the film, that he has actually been dead and trapped by the Cenobites for some time; Pinhead had appeared to Kirsty, pleased at the prospect of a \"reunion,\" but Kirsty ultimately struck a deal with him: she would be left alone in exchange for killing Trevor and his conspirators, thus giving the Cenobites the victims' souls.",
"Pinhead appears at the end of the film to inform Trevor, who had amnesia throughout the film, that he has actually been dead and trapped by the Cenobites for some time; Pinhead had appeared to Kirsty, pleased at the prospect of a \"reunion,\" but Kirsty ultimately struck a deal with him: she would be left alone in exchange for killing Trevor and his conspirators, thus giving the Cenobites the victims' souls. In Hellraiser: Deader (2005), Pinhead appears several times to reporter Amy Klein after she tinkers with the box, a central relic of a cult she is investigating.",
"In Hellraiser: Deader (2005), Pinhead appears several times to reporter Amy Klein after she tinkers with the box, a central relic of a cult she is investigating. After Amy is captured by the group's leader, Winter, she learns he is a descendant of puzzle creator Phillip Lemarchand, and believes that it is his birthright to control the box and, thereby, the Cenobites.",
"After Amy is captured by the group's leader, Winter, she learns he is a descendant of puzzle creator Phillip Lemarchand, and believes that it is his birthright to control the box and, thereby, the Cenobites. However, neither he nor any of his followers have been able to open it.",
"However, neither he nor any of his followers have been able to open it. Amy successfully opens the box, but rather than submit to Winter, Pinhead instead kills him and his followers for attempting to control it. Subject to being taken to the Cenobite realm for having opened the box, Amy instead chooses to commit suicide.",
"Subject to being taken to the Cenobite realm for having opened the box, Amy instead chooses to commit suicide. In Hellraiser: Hellworld (2005), Pinhead and the Cenobites are horror film characters and have become the basis for a successful MMORPG called Hellworld.",
"In Hellraiser: Hellworld (2005), Pinhead and the Cenobites are horror film characters and have become the basis for a successful MMORPG called Hellworld. The game seems to come to life as Pinhead attacks the guests at a Hellraiser-themed party, but this is revealed to be the hallucination of five guests who have been drugged and buried alive by the party's host, who blames them for not preventing the suicide of his son, a Hellworld-obsessed fan.",
"The game seems to come to life as Pinhead attacks the guests at a Hellraiser-themed party, but this is revealed to be the hallucination of five guests who have been drugged and buried alive by the party's host, who blames them for not preventing the suicide of his son, a Hellworld-obsessed fan. In the film's climax, the host discovers that the Hellraiser stories are based on fact, and his son came into possession of a real Lemarchand box.",
"In the film's climax, the host discovers that the Hellraiser stories are based on fact, and his son came into possession of a real Lemarchand box. Opening it, the host is greeted by Pinhead, who praises his son's ingenuity before ordering a pair of Cenobites to kill him.",
"Opening it, the host is greeted by Pinhead, who praises his son's ingenuity before ordering a pair of Cenobites to kill him. In Hellraiser: Revelations (2011), Pinhead is physically portrayed by Stephan Smith Collins and voiced by Fred Tatasciore. In Hellraiser: Judgment (2018), Pinhead is portrayed by Paul T. Taylor.",
"In Hellraiser: Judgment (2018), Pinhead is portrayed by Paul T. Taylor. In the film, Pinhead eviscerates the angel Jophiel after manipulating events to cause the death of a serial murderer who is integral to God's plan to instill fear into sinners.",
"In the film, Pinhead eviscerates the angel Jophiel after manipulating events to cause the death of a serial murderer who is integral to God's plan to instill fear into sinners. Pinhead is punished by being expelled from Hell and sent to earth as a mortal man, crying out in longing for his revered state of eternal agony.",
"Pinhead is punished by being expelled from Hell and sent to earth as a mortal man, crying out in longing for his revered state of eternal agony. In Hellraiser (2022), an upcoming remake to be released on Hulu, Pinhead will be portrayed by Jamie Clayton.",
"In Hellraiser (2022), an upcoming remake to be released on Hulu, Pinhead will be portrayed by Jamie Clayton. Comics Published by Marvel Comics' Epic Comics imprint in the 1990s, the original Hellraiser comics follow the canon of the movies rather than Barker's original novella, referring to the lead Cenobite as Pinhead.",
"Comics Published by Marvel Comics' Epic Comics imprint in the 1990s, the original Hellraiser comics follow the canon of the movies rather than Barker's original novella, referring to the lead Cenobite as Pinhead. A spin-off miniseries was entitled Pinhead.",
"A spin-off miniseries was entitled Pinhead. In these comics, Pinhead is depicted as the latest incarnation of the cenobite spirit Xipe Totec, an entity derived from Aztec mythology.",
"In these comics, Pinhead is depicted as the latest incarnation of the cenobite spirit Xipe Totec, an entity derived from Aztec mythology. In the storytline \"The Harrowing\", Pinhead is revealed to have been romantically involved with a cenobite named Merkova, who was killed by the disciples of Morte Mamme, the sister and rival of Leviathan.",
"In the storytline \"The Harrowing\", Pinhead is revealed to have been romantically involved with a cenobite named Merkova, who was killed by the disciples of Morte Mamme, the sister and rival of Leviathan. Morte Mamme then selects a group of humans to act in opposition to the Cenobites, calling them the Harrowers.",
"Morte Mamme then selects a group of humans to act in opposition to the Cenobites, calling them the Harrowers. The team stars in the spin-off comic Clive Barker's The Harrowers, which ran for six issues from 1993-1994.",
"The team stars in the spin-off comic Clive Barker's The Harrowers, which ran for six issues from 1993-1994. In the Pinhead/Marshal Law crossover, it is revealed that Pinhead's human incarnation, Captain Spencer, took part in the Battle of the Somme. In 2011, Barker began writing a series of Hellraiser comics for BOOM! Studios.",
"Studios. Studios. These comics followed the canon of the first three films, taking place sometime after the events of the third. Starting with issue #2, the series refers to the character as \"the Priest\" rather than Pinhead.",
"Starting with issue #2, the series refers to the character as \"the Priest\" rather than Pinhead. Reunited in Hell with his Cenobite entourage from the first two films (referred to in the comic series as his personal \"Cenobium\"), the Priest is still haunted by his full memories and now sees only futility in his existence, longing to explore new experiences and interests.",
"Reunited in Hell with his Cenobite entourage from the first two films (referred to in the comic series as his personal \"Cenobium\"), the Priest is still haunted by his full memories and now sees only futility in his existence, longing to explore new experiences and interests. He declares he wants to permanently return to his human form and seek spiritual salvation, then sends anonymous clues to Kirsty Cotton as to the locations of Earth's remaining Lemarchand puzzles.",
"He declares he wants to permanently return to his human form and seek spiritual salvation, then sends anonymous clues to Kirsty Cotton as to the locations of Earth's remaining Lemarchand puzzles. Kirsty summons the Priest, who betrays his Cenobium. Bargaining with Kirsty, she has her take his place so he can return to humanity.",
"Bargaining with Kirsty, she has her take his place so he can return to humanity. Kirsty becomes a Cenobite called \"the Priestess\" who resembles Pinhead but wearing a white robe and, unlike most Cenobites, is allowed to retain her memories and personality.",
"Kirsty becomes a Cenobite called \"the Priestess\" who resembles Pinhead but wearing a white robe and, unlike most Cenobites, is allowed to retain her memories and personality. A year later, Elliott Spencer appears on Earth, human once again and no longer fully remembering his existence as a Cenobite.",
"A year later, Elliott Spencer appears on Earth, human once again and no longer fully remembering his existence as a Cenobite. Kirsty's friend and surrogate daughter Tiffany recruits Spencer into the Harrowers, humans who oppose the Cenobites and hunt down Lamarchand puzzles. Later, Kirsty arranges for Spencer's memories to be restored.",
"Later, Kirsty arranges for Spencer's memories to be restored. Spencer then allies with another demon lord in order to attain new power and fulfill his true mission, to unleash damned souls on Earth, conquer humanity, and replace Leviathan.",
"Spencer then allies with another demon lord in order to attain new power and fulfill his true mission, to unleash damned souls on Earth, conquer humanity, and replace Leviathan. During this battle, occult detective Harry D'Amour attempts to help the US government stop the chaos, guided by his psychic friend Norma Paine and Spencer's former lieutenant, the Cenobite known as the Female.",
"During this battle, occult detective Harry D'Amour attempts to help the US government stop the chaos, guided by his psychic friend Norma Paine and Spencer's former lieutenant, the Cenobite known as the Female. He and Kirsty learn of Spencer's corrupt behavior before World War I, his desire to sleep with his own daughter Danielle, and that his final test to become a Cenobite involved fathering a child Priscilla with his daughter.",
"He and Kirsty learn of Spencer's corrupt behavior before World War I, his desire to sleep with his own daughter Danielle, and that his final test to become a Cenobite involved fathering a child Priscilla with his daughter. Together, they defeat Spencer's bid for god-like power.",
"Together, they defeat Spencer's bid for god-like power. The Hellraiser series ended with issue #20, and the finale featured Spencer being defeated and then imprisoned alongside Kirsty within a \"memory sphere\" in Leviathan's realm.",
"The Hellraiser series ended with issue #20, and the finale featured Spencer being defeated and then imprisoned alongside Kirsty within a \"memory sphere\" in Leviathan's realm. The series was followed by the 2013 limited comic book series Hellraiser: The Dark Watch, which begins one year later and reveals that Harry D'Amour became the Hell Priest or Pontifex following Kirsty's imprisonment, adopting an appearance similar to Pinhead but retaining his memories and personality because Leviathan saw him as more useful that way.",
"The series was followed by the 2013 limited comic book series Hellraiser: The Dark Watch, which begins one year later and reveals that Harry D'Amour became the Hell Priest or Pontifex following Kirsty's imprisonment, adopting an appearance similar to Pinhead but retaining his memories and personality because Leviathan saw him as more useful that way. D'Amour considers that the Cenobites, being human converts, are different in nature and motivation to the purebred demons he has met before (in the short story \"The Last Illusion\").",
"D'Amour considers that the Cenobites, being human converts, are different in nature and motivation to the purebred demons he has met before (in the short story \"The Last Illusion\"). He confirms that while Leviathan and his Cenobites punish those who sin for the sake of pleasure, other realms of Hell have different demon orders that target other sins.",
"He confirms that while Leviathan and his Cenobites punish those who sin for the sake of pleasure, other realms of Hell have different demon orders that target other sins. D'Amour's ally Tiffany frees Kirsty and Spencer from imprisonment, later becoming a Cenobite herself.",
"D'Amour's ally Tiffany frees Kirsty and Spencer from imprisonment, later becoming a Cenobite herself. Elliott Spencer joins Abaddon's realm (which punishes the sins born of fury) and helps lead an army of the damned against Leviathan's Cenobite forces, with the hopes of then using the army to conquer Earth.",
"Elliott Spencer joins Abaddon's realm (which punishes the sins born of fury) and helps lead an army of the damned against Leviathan's Cenobite forces, with the hopes of then using the army to conquer Earth. After Abaddon's forces are stopped, Leviathan makes a deal with Kirsty and Spencer each in order to end their conflicts.",
"After Abaddon's forces are stopped, Leviathan makes a deal with Kirsty and Spencer each in order to end their conflicts. Kirsty has humanity restored to herself, D'Amour and Tiffany, while her dead lover Edgar is restored to life. Elliott Spencer once again becomes the Hell Priest, but now with greater power and authority.",
"Elliott Spencer once again becomes the Hell Priest, but now with greater power and authority. He then kills Edgar and says goodbye to Kirsty. Other tales of the Cenobites and Spencer as the Hell Priest are presented in the BOOM! Studios anthology comic book mini-series Hellraiser: The Beastiary (2015). The BOOM!",
"The BOOM! The BOOM! Studios mini-series Hellraiser: The Road Below\" (2014) reveals Kirsty's first solo mission as the \"new Pinhead\" following her transformation into a Cenobite.",
"Studios mini-series Hellraiser: The Road Below\" (2014) reveals Kirsty's first solo mission as the \"new Pinhead\" following her transformation into a Cenobite. Character design and portrayal Design Barker drew inspiration for the cenobite designs from punk fashion, Catholicism and by visits he made to S&M clubs in New York and Amsterdam.",
"Character design and portrayal Design Barker drew inspiration for the cenobite designs from punk fashion, Catholicism and by visits he made to S&M clubs in New York and Amsterdam. For Pinhead specifically, Barker drew inspiration from African fetish sculptures. Initially, Barker intended Pinhead to have a navel piercing implying that the character had genital piercings.",
"Initially, Barker intended Pinhead to have a navel piercing implying that the character had genital piercings. Barker's original \"Hell Priest\" sketches for Pinhead were eventually adapted into an officially licensed mask by Composite Effects, to be released in limited quantity to the public on 24 March 2017.",
"Barker's original \"Hell Priest\" sketches for Pinhead were eventually adapted into an officially licensed mask by Composite Effects, to be released in limited quantity to the public on 24 March 2017. This was done in celebration of the 30th Anniversary of Hellraiser.",
"This was done in celebration of the 30th Anniversary of Hellraiser. After securing funding in early 1986, Barker and his producer Chris Figg assembled a team to design the Cenobites.",
"After securing funding in early 1986, Barker and his producer Chris Figg assembled a team to design the Cenobites. Among the team were Bob Keen and Geoff Portass at Image Animation and Jane Wildgoose, a costume designer who was requested to make a series of costumes for 4–5 \"super-butchers\" while refining the scarification designs with Image Animation.",
"Among the team were Bob Keen and Geoff Portass at Image Animation and Jane Wildgoose, a costume designer who was requested to make a series of costumes for 4–5 \"super-butchers\" while refining the scarification designs with Image Animation. Rather than gold or jeweled pins, the character would have black iron nails decorating his head.",
"Rather than gold or jeweled pins, the character would have black iron nails decorating his head. In terms of lighting, Pinhead was designed so that shadows would swirl round his head. By July 1986, the shooting script positively identified the single pinheaded Cenobite from the earlier draft as clearly the leader.",
"By July 1986, the shooting script positively identified the single pinheaded Cenobite from the earlier draft as clearly the leader. Barker's original concept art for Pinhead was adapted into a Hell Priest mask in 2017. The 2018 film Hellraiser: Judgment updated Pinhead's appearance from the previous films.",
"The 2018 film Hellraiser: Judgment updated Pinhead's appearance from the previous films. As writer-director Gary J. Tunnicliffe explained, \"This is a very no-nonsense Pinhead. No glib one-liners, he's a little leaner and a little meaner.",
"No glib one-liners, he's a little leaner and a little meaner. We especially tried to incorporate this into the make-up and costume; the cuts are deeper, the pins a little longer, his eyes are completely black and the wardrobe is a little sleeker and more visceral.",
"We especially tried to incorporate this into the make-up and costume; the cuts are deeper, the pins a little longer, his eyes are completely black and the wardrobe is a little sleeker and more visceral. Someone on set described him as the 'bad ass' version of Pinhead.\"",
"Someone on set described him as the 'bad ass' version of Pinhead.\" The flesh exposed on Pinhead's chest was redesigned as a rhombus in honour of Pinhead's master, the fictional character Leviathan. Physical portrayal In the first eight Hellraiser films, Pinhead is portrayed by Doug Bradley.",
"Physical portrayal In the first eight Hellraiser films, Pinhead is portrayed by Doug Bradley. Because of his eventual skill at the application and removal of the Pinhead appliances and costume, Bradley has been credited in some of the Hellraiser films as an assistant make-up artist.",
"Because of his eventual skill at the application and removal of the Pinhead appliances and costume, Bradley has been credited in some of the Hellraiser films as an assistant make-up artist. When he read the script for the first time, Bradley stated on interview that he saw Pinhead as a cross between Oscar Wilde and Noël Coward.",
"When he read the script for the first time, Bradley stated on interview that he saw Pinhead as a cross between Oscar Wilde and Noël Coward. Upon asking Barker how he should play Pinhead, Barker told him to \"[think] of him as a cross between an administrator and a surgeon who's responsible for running a hospital where there are no wards, only operating theaters.",
"Upon asking Barker how he should play Pinhead, Barker told him to \"[think] of him as a cross between an administrator and a surgeon who's responsible for running a hospital where there are no wards, only operating theaters. As well as being the man who wields the knife, he's the man who has to keep the timetable going.\"",
"As well as being the man who wields the knife, he's the man who has to keep the timetable going.\" In the original novella, the character Frank believed the Cenobites may have once been human but that their extreme experiments on themselves left them demonic and sexless.",
"In the original novella, the character Frank believed the Cenobites may have once been human but that their extreme experiments on themselves left them demonic and sexless. In keeping with this, Barker and Bradley decided early on that Pinhead had once been a human being before joining the Cenobites: The Pinhead makeup took six hours to apply.",
"In keeping with this, Barker and Bradley decided early on that Pinhead had once been a human being before joining the Cenobites: The Pinhead makeup took six hours to apply. When Bradley first donned the Pinhead makeup, he spent a few minutes alone in his room getting into character by looking at himself in the mirror.",
"When Bradley first donned the Pinhead makeup, he spent a few minutes alone in his room getting into character by looking at himself in the mirror. During rehearsals, Barker told Bradley, who at the time was more used to working in theatre, to subdue his movements and gestures, in order to give Pinhead an aura of complete control and to indicate he was confident enough to not feel the need to make threatening gestures or displays.",
"During rehearsals, Barker told Bradley, who at the time was more used to working in theatre, to subdue his movements and gestures, in order to give Pinhead an aura of complete control and to indicate he was confident enough to not feel the need to make threatening gestures or displays. New World Productions originally considered overdubbing Bradley's voice with that of an American actor, but this was reconsidered when the producers saw him perform.",
"New World Productions originally considered overdubbing Bradley's voice with that of an American actor, but this was reconsidered when the producers saw him perform. Paul T. Taylor portrays Pinhead in Hellraiser: Judgment, an experience he describes as a dream-come-true.",
"Paul T. Taylor portrays Pinhead in Hellraiser: Judgment, an experience he describes as a dream-come-true. According to Taylor, \"[Pinhead] was always my favorite horror icon because he was the most twisted and intelligent in my mind.\"",
"According to Taylor, \"[Pinhead] was always my favorite horror icon because he was the most twisted and intelligent in my mind.\" The American actor used a faux British accent when portraying the character due to his belief that \"Pinhead has to be British\".",
"The American actor used a faux British accent when portraying the character due to his belief that \"Pinhead has to be British\". Gary Tunnicliffe gave Taylor room to create his own interpretation of Pinhead, as Taylor brought an intentional vulnerability to the role.",
"Gary Tunnicliffe gave Taylor room to create his own interpretation of Pinhead, as Taylor brought an intentional vulnerability to the role. In addition to prior knowledge, Taylor used Hellraiser comic books as preparation for the film. Characterization In the film franchise, Pinhead's role has varied with each installment.",
"Characterization In the film franchise, Pinhead's role has varied with each installment. In the script for the original film, Barker describes Pinhead and the other cenobites as \"demons\" in his notes; the character himself, however, upon capturing Kirsty Cotton, identifies himself as neither explicitly angelic nor demonic, stating that he and his fellow entourage are \"Explorers in the further regions of experience.",
"In the script for the original film, Barker describes Pinhead and the other cenobites as \"demons\" in his notes; the character himself, however, upon capturing Kirsty Cotton, identifies himself as neither explicitly angelic nor demonic, stating that he and his fellow entourage are \"Explorers in the further regions of experience. Demons to some.",
"Demons to some. Demons to some. Angels to others.\" The second film expounds on the idea of the Cenobites as demons by depicting them as denizens of a realm called Hell, a maze-like dimension ruled over by an entity known as Leviathan, where they subject their quarry to emotional and psychological torture.",
"The second film expounds on the idea of the Cenobites as demons by depicting them as denizens of a realm called Hell, a maze-like dimension ruled over by an entity known as Leviathan, where they subject their quarry to emotional and psychological torture. The third film radically altered the original concept, making Pinhead into a purely evil demon of chaos, explained by Pinhead losing the human, 'orderly', part of himself during the previous film.",
"The third film radically altered the original concept, making Pinhead into a purely evil demon of chaos, explained by Pinhead losing the human, 'orderly', part of himself during the previous film. In the fourth film he is presented as a megalomaniac bent on world domination, and by the fifth he acts as a judge, punishing those who open the box for their sins by making them face their personal demons.",
"In the fourth film he is presented as a megalomaniac bent on world domination, and by the fifth he acts as a judge, punishing those who open the box for their sins by making them face their personal demons. In this film, he goes by the title of \"Engineer\", a name derived from an apparent Cenobite leader in Clive Barker's original novella.",
"In this film, he goes by the title of \"Engineer\", a name derived from an apparent Cenobite leader in Clive Barker's original novella. The first Hellraiser went into production during the height of the A Nightmare on Elm Street, Friday the 13th and Halloween film series.",
"The first Hellraiser went into production during the height of the A Nightmare on Elm Street, Friday the 13th and Halloween film series. According to Clive Barker, the popularity of these films led to producers and studios not caring for his intended portrayal of Pinhead as an articulate and intelligent character.",
"According to Clive Barker, the popularity of these films led to producers and studios not caring for his intended portrayal of Pinhead as an articulate and intelligent character. Some suggested Pinhead should act more like Freddy Krueger and crack jokes, while others suggested he be a silent character like Jason Voorhees and Michael Myers.",
"Some suggested Pinhead should act more like Freddy Krueger and crack jokes, while others suggested he be a silent character like Jason Voorhees and Michael Myers. Barker insisted Pinhead's personality be more evocative of Christopher Lee's portrayal of Count Dracula: \"Part of the chill of Dracula surely lies in the fact that he is very clearly and articulately aware of what he is doing – you feel that this is a penetrating intelligence – and I don't find dumb things terribly scary – I find intelligence scary, particularly twisted intelligence.",
"Barker insisted Pinhead's personality be more evocative of Christopher Lee's portrayal of Count Dracula: \"Part of the chill of Dracula surely lies in the fact that he is very clearly and articulately aware of what he is doing – you feel that this is a penetrating intelligence – and I don't find dumb things terribly scary – I find intelligence scary, particularly twisted intelligence. It's one of the reasons why Hannibal Lecter is scary, isn't it?",
"It's one of the reasons why Hannibal Lecter is scary, isn't it? It's because you always feel that he's going to be three jumps ahead of you.\"",
"It's because you always feel that he's going to be three jumps ahead of you.\" Starting with the third film, Pinhead is more glib and also openly irreverent toward Christianity, mockingly imitating the stigmata and remarking \"not quite\" when someone seeing him exclaims \"Jesus Christ.\"",
"Starting with the third film, Pinhead is more glib and also openly irreverent toward Christianity, mockingly imitating the stigmata and remarking \"not quite\" when someone seeing him exclaims \"Jesus Christ.\" In contrast to the first film where Pinhead seemed aloof about his nature, indicating he and his kind were \"angels to some, demons to others,\" the fourth film Bloodline depicts him sneering as he asks, \"Do I look like someone who cares what God thinks?\"",
"In contrast to the first film where Pinhead seemed aloof about his nature, indicating he and his kind were \"angels to some, demons to others,\" the fourth film Bloodline depicts him sneering as he asks, \"Do I look like someone who cares what God thinks?\" His glibness increases in later films, such as in Hellworld when a character believes the Cenobites are just a dream from which he must awake.",
"His glibness increases in later films, such as in Hellworld when a character believes the Cenobites are just a dream from which he must awake. After the Cenobites kill him, Pinhead asks, \"How's that for a wake-up call?\"",
"After the Cenobites kill him, Pinhead asks, \"How's that for a wake-up call?\" In Hellbound: Hellraiser II, it is made clear that Pinhead has no memory of his human past as Elliott Spencer, believing he has always been a Priest of the Cenobites.",
"In Hellbound: Hellraiser II, it is made clear that Pinhead has no memory of his human past as Elliott Spencer, believing he has always been a Priest of the Cenobites. Once he is reminded of his human past and recalls his former life, he transforms into a human appearance and is then vulnerable to an attack by Channard.",
"Once he is reminded of his human past and recalls his former life, he transforms into a human appearance and is then vulnerable to an attack by Channard. Screenwriter Peter Atkins explained that Pinhead regaining Spencer's humanity left him \"spiritually weakened\" and thus vulnerable to attack.",
"Screenwriter Peter Atkins explained that Pinhead regaining Spencer's humanity left him \"spiritually weakened\" and thus vulnerable to attack. As a result, the third film Hell on Earth depicts a new incarnation of Pinhead who lacks restraint and embraces chaos, wreaking havoc on Earth and indiscriminately killing humans he encounters.",
"As a result, the third film Hell on Earth depicts a new incarnation of Pinhead who lacks restraint and embraces chaos, wreaking havoc on Earth and indiscriminately killing humans he encounters. When Spencer's spirit willingly merges with him once again, the fusion regains Pinhead's previous sense of restraint and belief that he must follows the rules of his station.",
"When Spencer's spirit willingly merges with him once again, the fusion regains Pinhead's previous sense of restraint and belief that he must follows the rules of his station. In the BOOM!",
"In the BOOM! In the BOOM! Studios comics, it is said that Pinhead retains the memories of Elliott Spencer following the events of Hell On Earth, leading him to feel less satisfied and certain of his power and purpose, now desiring more than his life as a Hell Priest in service to Leviathan.",
"Studios comics, it is said that Pinhead retains the memories of Elliott Spencer following the events of Hell On Earth, leading him to feel less satisfied and certain of his power and purpose, now desiring more than his life as a Hell Priest in service to Leviathan. In the original novella and first movie, the Cenobites refuse to return to their dimension without a human soul, immediately targeting the person who opened the puzzle box.",
"In the original novella and first movie, the Cenobites refuse to return to their dimension without a human soul, immediately targeting the person who opened the puzzle box. While Kirsty defends that she did not fully understand the box's nature, the Cenobites imply that desiring to open the box at all is enough to justify being taken and tortured by them.",
"While Kirsty defends that she did not fully understand the box's nature, the Cenobites imply that desiring to open the box at all is enough to justify being taken and tortured by them. However, in Hellbound: Hellraiser II, Pinhead stops the Cenobites from targeting teenage girl Tiffany, who opened the box not out of curiosity or desire but because she had been manipulated to do so by Dr. Channard and Julia Cotton, both of whom wished to avoid the immediate consequences of accessing the Cenobites' realm.",
"However, in Hellbound: Hellraiser II, Pinhead stops the Cenobites from targeting teenage girl Tiffany, who opened the box not out of curiosity or desire but because she had been manipulated to do so by Dr. Channard and Julia Cotton, both of whom wished to avoid the immediate consequences of accessing the Cenobites' realm. Pinhead justifies sparing Tiffany by saying, \"It is not hands that call us.",
"Pinhead justifies sparing Tiffany by saying, \"It is not hands that call us. It is desire.\" In addition to his belief in rules, Pinhead can be reasoned and bargained with.",
"In addition to his belief in rules, Pinhead can be reasoned and bargained with. In both Hellraiser and Hellraiser: Hellseeker, Kirsty Cotton bargains with Pinhead to offer him other souls in exchange for her own (in particular, her human adversaries), and appeals to the villain's vanity and pride while doing so.",
"In both Hellraiser and Hellraiser: Hellseeker, Kirsty Cotton bargains with Pinhead to offer him other souls in exchange for her own (in particular, her human adversaries), and appeals to the villain's vanity and pride while doing so. In Hellraiser: Revelations, Pinhead is prepared to take Emma to the Cenobite realm but reconsiders when other characters explain she was forced to open the puzzle box at gunpoint by her boyfriend Nico.",
"In Hellraiser: Revelations, Pinhead is prepared to take Emma to the Cenobite realm but reconsiders when other characters explain she was forced to open the puzzle box at gunpoint by her boyfriend Nico. He then agrees to let Emma go and takes Nico instead.",
"He then agrees to let Emma go and takes Nico instead. In the film Bloodline, Pinhead is shown to prefer manipulating or coercing agents to achieve his goals, avoiding direct action until necessary. This brings him into conflict with the demon Princess Angelique, who prefers to recruit agents through seduction rather than force.",
"This brings him into conflict with the demon Princess Angelique, who prefers to recruit agents through seduction rather than force. In Clive Barker's Hellraiser comics published by BOOM!",
"In Clive Barker's Hellraiser comics published by BOOM! Studios in 2011, which follow the canon of the first three films, Pinhead has becomes disillusioned with his existence and becomes willing to destroy his fellow Cenobites and other demons of Hell if it means he can achieve his new goals of power.",
"Studios in 2011, which follow the canon of the first three films, Pinhead has becomes disillusioned with his existence and becomes willing to destroy his fellow Cenobites and other demons of Hell if it means he can achieve his new goals of power. He takes a similar stance in The Scarlet Gospels, initially targeting human magic-users to acquire their power and secrets, and so they won't interfere with his plans.",
"He takes a similar stance in The Scarlet Gospels, initially targeting human magic-users to acquire their power and secrets, and so they won't interfere with his plans. Paul T. Taylor, who portrays Pinhead in Hellraiser: Judgment, described the character as \"twisted and intelligent.\"",
"Paul T. Taylor, who portrays Pinhead in Hellraiser: Judgment, described the character as \"twisted and intelligent.\" Finding Pinhead's mannerisms and demeanor to be unique among horror icons, Taylor tried to capture that in his performance: \"It's about the stillness.",
"Finding Pinhead's mannerisms and demeanor to be unique among horror icons, Taylor tried to capture that in his performance: \"It's about the stillness. He's already so terrifying that when he makes a move, it means something. He's very economical and when he speaks, he's so eloquent.\"",
"He's very economical and when he speaks, he's so eloquent.\" Taylor also incorporated the uncomfortable make-up and costume into his presentation of the sadomasochist, stating \"Pinhead's always in agony so he likes it.",
"Taylor also incorporated the uncomfortable make-up and costume into his presentation of the sadomasochist, stating \"Pinhead's always in agony so he likes it. I feel like I was in character the whole time, and I don't mean that in some sort of artistic, lofty way.",
"I feel like I was in character the whole time, and I don't mean that in some sort of artistic, lofty way. I mean I maintained the demeanor the whole time because I had to.\"",
"I mean I maintained the demeanor the whole time because I had to.\" Origins The character's past, which is alluded to in Hellbound, is expanded upon in the third film Hell on Earth. It is revealed that Pinhead originated as Elliott Spencer, a captain in the British Expeditionary Force suffering from PTSD and survivor guilt.",
"It is revealed that Pinhead originated as Elliott Spencer, a captain in the British Expeditionary Force suffering from PTSD and survivor guilt. Spencer participated in the Battle of Passchendaele, after which he lost faith in humanity and God.",
"Spencer participated in the Battle of Passchendaele, after which he lost faith in humanity and God. He wandered Earth indulging in a hedonistic lifestyle to bury his trauma, turning to the baser methods of gratification and pleasure until finding the Lament Configuration in British India in 1921.",
"He wandered Earth indulging in a hedonistic lifestyle to bury his trauma, turning to the baser methods of gratification and pleasure until finding the Lament Configuration in British India in 1921. Some time after summoning the Cenobites, he joined their ranks and became a powerful leader, though this experience caused him to forget his human life and conclude that he had always been a demonic force.",
"Some time after summoning the Cenobites, he joined their ranks and became a powerful leader, though this experience caused him to forget his human life and conclude that he had always been a demonic force. When he is temporarily restored as a spirit in Limbo in the film Hellraiser III, Spencer refers to his Pinhead incarnation as \"very persuasive and very inventive\", while finding the incarnation of Pinhead that lacks humanity to be a terrible and abhorrent force of evil and suffering.",
"When he is temporarily restored as a spirit in Limbo in the film Hellraiser III, Spencer refers to his Pinhead incarnation as \"very persuasive and very inventive\", while finding the incarnation of Pinhead that lacks humanity to be a terrible and abhorrent force of evil and suffering. The BOOM!",
"The BOOM! The BOOM! Studios comics, plotted by Clive Barker (and written by him and several other creators), follow the mythology of the first three Hellraiser films and expand it.",
"Studios comics, plotted by Clive Barker (and written by him and several other creators), follow the mythology of the first three Hellraiser films and expand it. The comics reveal that Spencer was a corrupt and at times sadistic person for many years before his experiences in World War I, that he abused his wife and enjoyed shocking his daughter Danielle with behavior he saw as corrupt or provocative, such as dressing in women's underwear in front of her and having sex with her mother while she was in the room.",
"The comics reveal that Spencer was a corrupt and at times sadistic person for many years before his experiences in World War I, that he abused his wife and enjoyed shocking his daughter Danielle with behavior he saw as corrupt or provocative, such as dressing in women's underwear in front of her and having sex with her mother while she was in the room. Spencer came to sexually desire his daughter when she grew older, but believed acting on such desire would be an action too far.",
"Spencer came to sexually desire his daughter when she grew older, but believed acting on such desire would be an action too far. During World War I, Spencer saw a collection of dead bodies hanging from a tree and considered it to be beautiful and also confirmation that there was no order to the world.",
"During World War I, Spencer saw a collection of dead bodies hanging from a tree and considered it to be beautiful and also confirmation that there was no order to the world. Desiring answers, he abandoned his duties and wandered, eventually discovering a Lemarchand puzzle box, determined to learn more insight from the Cenobites.",
"Desiring answers, he abandoned his duties and wandered, eventually discovering a Lemarchand puzzle box, determined to learn more insight from the Cenobites. His high-level of apathy towards degradation of pain interested Leviathan, who decided to make him the new Hell Priest.",
"His high-level of apathy towards degradation of pain interested Leviathan, who decided to make him the new Hell Priest. Leviathan tested Spencer by having him seduce his daughter Danielle, letting him live out his fantasy at last.",
"Leviathan tested Spencer by having him seduce his daughter Danielle, letting him live out his fantasy at last. Spencer believed this was an illusion, but in fact it happened and Danielle then gave birth to a daughter Priscilla, whom she later abandoned.",
"Spencer believed this was an illusion, but in fact it happened and Danielle then gave birth to a daughter Priscilla, whom she later abandoned. Powers, weaknesses and limitations Described by Doug Bradley as stronger than Jason Voorhees and Michael Myers, Pinhead is an extremely powerful being with supernatural abilities.",
"Powers, weaknesses and limitations Described by Doug Bradley as stronger than Jason Voorhees and Michael Myers, Pinhead is an extremely powerful being with supernatural abilities. His preferred method of attack is to summon hooks and chains that mutilate victims, often tearing them apart.",
"His preferred method of attack is to summon hooks and chains that mutilate victims, often tearing them apart. These chains are subject to his total mental control, able to emerge from seemingly anywhere and move in any direction according to his will. The chains and hooks may even change shape after having attached to a victim.",
"The chains and hooks may even change shape after having attached to a victim. Pinhead is highly resilient to physical damage, resisting both gunshots and futuristic energy weapons. His magic can be used to summon objects out of thin air, teleport, cause explosions at a distance, and cast illusions.",
"His magic can be used to summon objects out of thin air, teleport, cause explosions at a distance, and cast illusions. He is capable of converting other people into Cenobites, though this requires them to die in the process.",
"He is capable of converting other people into Cenobites, though this requires them to die in the process. In order to act in the physical world, Pinhead needs to have been purposely summoned through the Lemarchand/Lament Configuration, which acts as a doorway to Hell (or one of many Hell dimensions).",
"In order to act in the physical world, Pinhead needs to have been purposely summoned through the Lemarchand/Lament Configuration, which acts as a doorway to Hell (or one of many Hell dimensions). The comic books reveal that humans who lay down certain spells and magical seals can ensure a Cenobite has limited power and will not take them even if summoned.",
"The comic books reveal that humans who lay down certain spells and magical seals can ensure a Cenobite has limited power and will not take them even if summoned. The movie Hellbound: Hellraiser II showed that restoring a Cenobite's memories of their previous human existence can spiritually weaken them, restoring their humanity and making them vulnerable to attack.",
"The movie Hellbound: Hellraiser II showed that restoring a Cenobite's memories of their previous human existence can spiritually weaken them, restoring their humanity and making them vulnerable to attack. Once Pinhead was restored at the end of Hellraiser III, he retained his memories of being Elliott Spencer, but was no longer vulnerable because of it, his full power and resistance to injury now restored.",
"Once Pinhead was restored at the end of Hellraiser III, he retained his memories of being Elliott Spencer, but was no longer vulnerable because of it, his full power and resistance to injury now restored. Likewise, the BOOM!",
"Likewise, the BOOM! Likewise, the BOOM! Studios comic series featured two other Cenobites who took on the mantle of the Hell Priest when Pinhead was gone, each retaining their human memories and not becoming more vulnerable as a result. In spite of being a Hell priest, Pinhead follows a \"lawful evil\" code of rules.",
"In spite of being a Hell priest, Pinhead follows a \"lawful evil\" code of rules. He does not kill or torture indiscriminately, targeting those who open the Lament Configuration out of a desire to do so, or those who willingly get in his way of his goals.",
"He does not kill or torture indiscriminately, targeting those who open the Lament Configuration out of a desire to do so, or those who willingly get in his way of his goals. He spares the lives of Tiffany and Emma as they were manipulated into opening the box by others who wanted to see it opened.",
"He spares the lives of Tiffany and Emma as they were manipulated into opening the box by others who wanted to see it opened. He can also be bargained and reasoned with, as Kirsty Cotton was able to do on a few occasions.",
"He can also be bargained and reasoned with, as Kirsty Cotton was able to do on a few occasions. Cenobium Pinhead is shown in all his appearances to be accompanied by other denizens of Hell, an entourage that is referred to in the BOOM! Studios comics as a \"Cenobium.\"",
"Studios comics as a \"Cenobium.\" Although originally portrayed as a subordinate of \"The Engineer\" in The Hellbound Heart, his film incarnations show him as the leader of secondary cenobite characters. The most consistent members of his Cenobium are a trio of Cenobites known as Butterball, The Female, and Chatterer.",
"The most consistent members of his Cenobium are a trio of Cenobites known as Butterball, The Female, and Chatterer. All three appear the first two Hellraiser films, and the BOOM! Studios comic series. The Female and Butterball make appearances in the novel The Scarlet Gospels, while Chatterer appears in all but two of the Hellraiser films.",
"The Female and Butterball make appearances in the novel The Scarlet Gospels, while Chatterer appears in all but two of the Hellraiser films. In Hellraiser III: Hell on Earth and Hellraiser: Bloodline, Pinhead forcibly recruits several people to be new Cenobites, giving them characteristics evocative of their past lives or professions.",
"In Hellraiser III: Hell on Earth and Hellraiser: Bloodline, Pinhead forcibly recruits several people to be new Cenobites, giving them characteristics evocative of their past lives or professions. Later films in the series depict Pinhead accompanied by new Cenobites of unknown origin.",
"Later films in the series depict Pinhead accompanied by new Cenobites of unknown origin. In Hellraiser: Bloodline, Pinhead regards a demon named Angelique as an equal in the hierarchy of demons. Though initially reverent toward her, Pinhead is disillusioned when he sees she manipulates and recruits through seduction rather than pain and force. In the BOOM!",
"In the BOOM! In the BOOM! Studios comics and the novel The Scarlet Gospels, the Hell Priest decides to seek out greater power and enlightenment, deciding in the process that all other Cenobites and all demons, even high-ranking demon lords such as Abaddon or demonic deities such as Leviathan, are beneath him and expendable.",
"Studios comics and the novel The Scarlet Gospels, the Hell Priest decides to seek out greater power and enlightenment, deciding in the process that all other Cenobites and all demons, even high-ranking demon lords such as Abaddon or demonic deities such as Leviathan, are beneath him and expendable. Hellraiser remake Doug Bradley has stated that he wasn’t approached to reprise the role of Pinhead in the remake, stating that \"seeing someone else become Pinhead feels like a kick in the teeth\".",
"Hellraiser remake Doug Bradley has stated that he wasn’t approached to reprise the role of Pinhead in the remake, stating that \"seeing someone else become Pinhead feels like a kick in the teeth\". Pinhead redesign Gary Tunnicliffe, who was responsible for the Pinhead makeup in the last four films, improvised a new design for Pinhead called Project Angel: Recreating an Icon, the photos of which he published in Fangoria.",
"Pinhead redesign Gary Tunnicliffe, who was responsible for the Pinhead makeup in the last four films, improvised a new design for Pinhead called Project Angel: Recreating an Icon, the photos of which he published in Fangoria. Among Tunnicliffe's redesigns included the usage of square shafted nails for the iconic pins, which were meant to look rusted and handmade.",
"Among Tunnicliffe's redesigns included the usage of square shafted nails for the iconic pins, which were meant to look rusted and handmade. He also designed the new Pinhead as wearing a white priest's robe rather than the original black leather, as a homage to the origins of the word \"cenobite\" which implies a religious connection.",
"He also designed the new Pinhead as wearing a white priest's robe rather than the original black leather, as a homage to the origins of the word \"cenobite\" which implies a religious connection. The redesign was criticised by Clive Barker as being too bloody: Pascal Laugier, who was set to write the remake wrote an online statement, stressing that Tunnicliffe's redesign was unauthorised, and that he himself had a very different design in mind.",
"The redesign was criticised by Clive Barker as being too bloody: Pascal Laugier, who was set to write the remake wrote an online statement, stressing that Tunnicliffe's redesign was unauthorised, and that he himself had a very different design in mind. In October 2021, it was revealed that Pinhead was going to be played by Jamie Clayton in the remake.",
"In October 2021, it was revealed that Pinhead was going to be played by Jamie Clayton in the remake. See also List of monster movies References External links for Doug Bradley Further reading Fictional demons and devils Fictional undead Fictional mass murderers Fictional priests and priestesses Fictional military captains Fictional English people Fictional World War I veterans Fictional British Army officers Fictional telepaths Fictional shapeshifters Fictional soul collectors Fictional characters who can teleport Fictional characters with superhuman strength Fictional telekinetics Male horror film villains Hellraiser characters Literary characters introduced in 1986 Male literary villains Characters in British novels of the 20th century Fictional monsters Fictional torturers Film supervillains"
] |
[
"P. G. Wodehouse",
"Broadway: 1915-19"
] | C_01908f72800044fda5b1d74a25e24226_1 | What happened in 1915? | 1 | What happened in 1915 to P.G. Wodehouse? | P. G. Wodehouse | A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator. Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York. The show was successful, but they thought the song lyrics weak and invited Wodehouse to join them on its successor. This was Miss Springtime (1916), which ran for 227 performances--a good run by the standards of the day. The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917-18) and Oh, Lady! Lady!! (1918), and Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin. Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies. Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do. Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical. In the Grove Dictionary of American Music Larry Stempel writes, "By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy." The theatre writer Gerald Bordman calls Wodehouse "the most observant, literate, and witty lyricist of his day". The composer Richard Rodgers wrote, "Before Larry Hart, only P.G. Wodehouse had made any real assault on the intelligence of the song-listening public." In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones. Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest. Various other young men-about-town appeared in short stories about members of the Drones Club. The Wodehouses returned to England, where they had a house in London for some years, but Wodehouse continued to cross the Atlantic frequently, spending substantial periods in New York. He continued to work in the theatre. During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York). He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnar, and A Damsel in Distress (1928), a dramatisation of his 1919 novel. Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods. Donaldson lists among those with whom he was on friendly terms writers including A.A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith, Jr., Heather Thatcher and Dorothy Dickson. CANNOTANSWER | Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator. | Sir Pelham Grenville Wodehouse, ( ; 15 October 188114 February 1975) was an English author and one of the most widely read humorists of the 20th century. His creations include the feather-brained Bertie Wooster and his sagacious valet, Jeeves; the immaculate and loquacious Psmith; Lord Emsworth and the Blandings Castle set; the Oldest Member, with stories about golf; and Mr Mulliner, with tall tales on subjects ranging from bibulous bishops to megalomaniac movie moguls.
Born in Guildford, the third son of a British magistrate based in Hong Kong, Wodehouse spent happy teenage years at Dulwich College, to which he remained devoted all his life. After leaving school he was employed by a bank but disliked the work and turned to writing in his spare time. His early novels were mostly school stories, but he later switched to comic fiction. Most of Wodehouse's fiction is set in his native United Kingdom, although he spent much of his life in the US and used New York and Hollywood as settings for some of his novels and short stories. He wrote a series of Broadway musical comedies during and after the First World War, together with Guy Bolton and Jerome Kern, that played an important part in the development of the American musical. He began the 1930s writing for MGM in Hollywood. In a 1931 interview, his naive revelations of incompetence and extravagance in the studios caused a furore. In the same decade, his literary career reached a new peak.
In 1934 Wodehouse moved to France for tax reasons; in 1940 he was taken prisoner at Le Touquet by the invading Germans and interned for nearly a year. After his release he made six broadcasts from German radio in Berlin to the US, which had not yet entered the war. The talks were comic and apolitical, but his broadcasting over enemy radio prompted anger and strident controversy in Britain, and a threat of prosecution. Wodehouse never returned to England. From 1947 until his death he lived in the US, taking dual British-American citizenship in 1955. He died in 1975, at the age of 93, in Southampton, New York.
Wodehouse was a prolific writer throughout his life, publishing more than ninety books, forty plays, two hundred short stories and other writings between 1902 and 1974. He worked extensively on his books, sometimes having two or more in preparation simultaneously. He would take up to two years to build a plot and write a scenario of about thirty thousand words. After the scenario was complete he would write the story. Early in his career Wodehouse would produce a novel in about three months, but he slowed in old age to around six months. He used a mixture of Edwardian slang, quotations from and allusions to numerous poets, and several literary techniques to produce a prose style that has been compared to comic poetry and musical comedy. Some critics of Wodehouse have considered his work flippant, but among his fans are former British prime ministers and many of his fellow writers.
Life and career
Early years
Wodehouse was born in Guildford, Surrey, the third son of Henry Ernest Wodehouse (1845–1929), a magistrate resident in the British colony of Hong Kong, and his wife, Eleanor (1861–1941), daughter of the Rev John Bathurst Deane. The Wodehouses, who traced their ancestry back to the 13th century, belonged to a cadet branch of the family of the earls of Kimberley. Eleanor Wodehouse was also of ancient aristocratic ancestry. She was visiting her sister in Guildford when Wodehouse was born there prematurely.
The boy was baptised at the Church of St Nicolas, Guildford, and was named after his godfather, Pelham von Donop. Wodehouse wrote in 1957, "If you ask me to tell you frankly if I like the name Pelham Grenville Wodehouse, I must confess that I do not.... I was named after a godfather, and not a thing to show for it but a small silver mug which I lost in 1897." The first name was rapidly elided to "Plum", the name by which Wodehouse became known to family and friends.
Mother and son sailed for Hong Kong, where for his first two years Wodehouse was raised by a Chinese amah (nurse), alongside his elder brothers Peveril (1877–1951) and Armine (1879–1936). When he was two, the brothers were brought to England, where they were placed under the care of an English nanny in a house adjoining that of Eleanor's father and mother. The boys' parents returned to Hong Kong and became virtual strangers to their sons. Such an arrangement was then normal for middle-class families based in the colonies. The lack of parental contact, and the harsh regime of some of those in loco parentis, left permanent emotional scars on many children from similar backgrounds, including the writers Thackeray, Saki, Kipling and Walpole. Wodehouse was more fortunate; his nanny, Emma Roper, was strict but not unkind, and both with her and later at his different schools Wodehouse had a generally happy childhood. His recollection was that "it went like a breeze from start to finish, with everybody I met understanding me perfectly". The biographer Robert McCrum suggests that nonetheless Wodehouse's isolation from his parents left a psychological mark, causing him to avoid emotional engagement both in life and in his works. Another biographer, Frances Donaldson, writes, "Deprived so early, not merely of maternal love, but of home life and even a stable background, Wodehouse consoled himself from the youngest age in an imaginary world of his own."
In 1886 the brothers were sent to a dame-school in Croydon, where they spent three years. Peveril was then found to have a "weak chest"; sea air was prescribed, and the three boys were moved to Elizabeth College on the island of Guernsey. In 1891 Wodehouse went on to Malvern House Preparatory School in Kent, which concentrated on preparing its pupils for entry to the Royal Navy. His father had planned a naval career for him, but the boy's eyesight was found to be too poor for it. He was unimpressed by the school's narrow curriculum and zealous discipline; he later parodied it in his novels, with Bertie Wooster recalling his early years as a pupil at a "penitentiary... with the outward guise of a prep school" called Malvern House.
Throughout their school years the brothers were sent to stay during the holidays with various uncles and aunts from both sides of the family. In the Oxford Dictionary of National Biography, Iain Sproat counts twenty aunts and considers that they played an important part not only in Wodehouse's early life, but, thinly disguised, in his mature novels, as the formidable aunts who dominate the action in the Wooster, Blandings, and other stories. The boys had fifteen uncles, four of whom were clergymen. Sproat writes that they inspired Wodehouse's "pious but fallible curates, vicars, and bishops, of which he wrote with friendly irreverence but without mockery".
At the age of twelve in 1894, to his great joy, Wodehouse was able to follow his brother Armine to Dulwich College. He was entirely at home there; Donaldson comments that Dulwich gave him, for the first time, "some continuity and a stable and ordered life". He loved the camaraderie, distinguished himself at cricket, rugby and boxing, and was a good, if not consistently diligent, student. The headmaster at the time was A. H. Gilkes, a respected classicist, who was a strong influence on Wodehouse. In a study of Wodehouse's works, Richard Usborne argues that "only a writer who was himself a scholar and had had his face ground into Latin and Greek (especially Thucydides) as a boy" could sustain the complex sequences of subordinate clauses sometimes found in Wodehouse's comic prose.
Wodehouse's six years at Dulwich were among the happiest of his life: "To me the years between 1894 and 1900 were like heaven." In addition to his sporting achievements he was a good singer and enjoyed taking part in school concerts; his literary leanings found an outlet in editing the school magazine, The Alleynian. For the rest of his life he remained devoted to the school. The biographer Barry Phelps writes that Wodehouse "loved the college as much as he loved anything or anybody".
Reluctant banker; budding writer: 1900–1908
Wodehouse expected to follow Armine to the University of Oxford, but the family's finances took a turn for the worse at the crucial moment. Ernest Wodehouse had retired in 1895, and his pension was paid in rupees; fluctuation against the pound reduced its value in Britain. Wodehouse recalled, "The wolf was not actually whining at the door and there was always a little something in the kitty for the butcher and the grocer, but the finances would not run to anything in the nature of a splash". Instead of a university career, in September 1900 Wodehouse was engaged in a junior position in the London office of the Hongkong and Shanghai Bank. He was unsuited to it and found the work baffling and uncongenial. He later wrote a humorous account of his experiences at the bank, but at the time he longed for the end of each working day, when he could return to his rented lodgings in Chelsea and write. At first he concentrated, with some success, on serious articles about school sports for Public School Magazine. In November 1900 his first comic piece, "Men Who Missed Their Own Weddings", was accepted by Tit-Bits. A new magazine for boys, The Captain, provided further well-paid opportunities, and during his two years at the bank, Wodehouse had eighty pieces published in a total of nine magazines.
In 1901, with the help of a former Dulwich master, William Beach Thomas, Wodehouse secured an appointment—at first temporary and later permanent—writing for The Globes popular "By the Way" column. He held the post until 1909. At around the same time his first novel was published—a school story called The Pothunters, serialised incomplete in Public School Magazine in early 1902, and issued in full in hardback in September. He resigned from the bank that month to devote himself to writing full-time.
Between the publication of The Pothunters 1902 and that of Mike in 1909, Wodehouse wrote eight novels and co-wrote another two. The critic R. D. B. French writes that, of Wodehouse's work from this period, almost all that deserves to survive is the school fiction. Looking back in the 1950s Wodehouse viewed these as his apprentice years: "I was practically in swaddling clothes and it is extremely creditable to me that I was able to write at all."
From his boyhood Wodehouse had been fascinated by America, which he conceived of as "a land of romance"; he "yearned" to visit the country, and by 1904 he had earned enough to do so. In April he sailed to New York, which he found greatly to his liking. He noted in his diary: "In New York gathering experience. Worth many guineas in the future but none for the moment." This prediction proved correct: few British writers had first-hand experience of the US, and his articles about life in New York brought him higher than usual fees. He later recalled that "in 1904 anyone in the London writing world who had been to America was regarded with awe and looked upon as an authority on that terra incognita.... After that trip to New York I was a man who counted.... My income rose like a rocketing pheasant."
Wodehouse's other new venture in 1904 was writing for the stage. Towards the end of the year the librettist Owen Hall invited him to contribute an additional lyric for a musical comedy Sergeant Brue. Wodehouse had loved theatre since his first visit, aged thirteen, when Gilbert and Sullivan's Patience had made him "drunk with ecstasy". His lyric for Hall, "Put Me in My Little Cell", was a Gilbertian number for a trio of comic crooks, with music by Frederick Rosse; it was well received and launched Wodehouse on a career as a theatre writer that spanned three decades.
Although it made little impact on its first publication, the 1906 novel Love Among the Chickens contained what French calls the author's first original comic creation: Stanley Featherstonehaugh Ukridge. The character, an amoral, bungling opportunist, is partly based on Wodehouse's Globe colleague Herbert Westbrook. The two collaborated between 1907 and 1913 on two books, two music hall sketches, and a play, Brother Alfred. Wodehouse would return to the character in short stories over the next six decades.
In early 1906 the actor-manager Seymour Hicks invited Wodehouse to become resident lyricist at the Aldwych Theatre, to add topical verses to newly imported or long-running shows. Hicks had already recruited the young Jerome Kern to write the music for such songs. The first Kern-Wodehouse collaboration, a comic number for The Beauty of Bath titled "Mr [Joseph] Chamberlain", was a show-stopper and was briefly the most popular song in London.
Psmith, Blandings, Wooster and Jeeves: 1908–1915
Wodehouse's early period as a writer came to an end in 1908 with the serialisation of The Lost Lambs, published the following year in book form as the second half of the novel Mike. The work begins as a conventional school story, but Wodehouse introduces a new and strikingly original character, Psmith, whose creation both Evelyn Waugh and George Orwell regarded as a watershed in Wodehouse's development. Wodehouse said that he based Psmith on the hotelier and impresario Rupert D'Oyly Carte—"the only thing in my literary career which was handed to me on a silver plate with watercress around it". Wodehouse wrote in the 1970s that a cousin of his who had been at school with Carte told him of the latter's monocle, studied suavity, and stateliness of speech, all of which Wodehouse adopted for his new character. Psmith featured in three more novels: Psmith in the City (1910), a burlesque of banking; Psmith, Journalist (1915) set in New York; and Leave It to Psmith (1923), set at Blandings Castle.
In May 1909 Wodehouse made his second visit to New York, where he sold two short stories to Cosmopolitan and Collier's for a total of $500, a much higher fee than he had commanded previously. He resigned from The Globe and stayed in New York for nearly a year. He sold many more stories, but none of the American publications offered a permanent relationship and guaranteed income. Wodehouse returned to England in late 1910, rejoining The Globe and also contributing regularly to The Strand Magazine. Between then and the outbreak of the First World War in 1914 he revisited America frequently.
Wodehouse was in New York when the war began. Ineligible for military service because of his poor eyesight, he remained in the US throughout the war, detached from the conflict in Europe and absorbed in his theatrical and literary concerns. In September 1914 he married Ethel May Wayman, née Newton (1885–1984), an English widow. The marriage proved happy and lifelong. Ethel's personality was in contrast with her husband's: he was shy and impractical; she was gregarious, decisive and well organised. In Sproat's phrase, she "took charge of Wodehouse's life and made certain that he had the peace and quiet he needed to write". There were no children of the marriage, but Wodehouse came to love Ethel's daughter Leonora (1905–1944) and legally adopted her.
Wodehouse experimented with different genres of fiction in these years; Psmith, Journalist, mixing comedy with social comment on slum landlords and racketeers, was published in 1915. In the same year The Saturday Evening Post paid $3,500 to serialise Something New, the first of what became a series of novels set at Blandings Castle. It was published in hardback in the US and the UK in the same year (the British edition being retitled Something Fresh). It was Wodehouse's first farcical novel; it was also his first best-seller, and although his later books included some gentler, lightly sentimental stories, it was as a farceur that he became known. Later in the same year "Extricating Young Gussie", the first story about Bertie and Jeeves, was published. These stories introduced two sets of characters about whom Wodehouse wrote for the rest of his life. The Blandings Castle stories, set in an English stately home, depict the attempts of the placid Lord Emsworth to evade the many distractions around him, which include successive pairs of young lovers, the machinations of his exuberant brother Galahad, the demands of his domineering sisters and super-efficient secretaries, and anything detrimental to his prize sow, the Empress of Blandings. The Bertie and Jeeves stories feature an amiable young man-about-town, regularly rescued from the consequences of his idiocy by the benign interference of his valet.
Broadway: 1915–1919
A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator. Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York. The show was successful, but they thought the song lyrics weak and invited Wodehouse to join them on its successor. This was Miss Springtime (1916), which ran for 227 performances—a good run by the standards of the day. The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917–18) and Oh, Lady! Lady!! (1918), and Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin.
Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies. Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do. Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical. In the Grove Dictionary of American Music Larry Stempel writes, "By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy." The theatre writer Gerald Bordman calls Wodehouse "the most observant, literate, and witty lyricist of his day". The composer Richard Rodgers wrote, "Before Larry Hart, only P.G. Wodehouse had made any real assault on the intelligence of the song-listening public."
1920s
In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones. Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest. Various other young men-about-town appeared in short stories about members of the Drones Club.
The Wodehouses returned to England, where they had a house in London for some years, but Wodehouse continued to cross the Atlantic frequently, spending substantial periods in New York. He continued to work in the theatre. During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York). He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnár, and A Damsel in Distress (1928), a dramatisation of his 1919 novel.
Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods. Donaldson lists among those with whom he was on friendly terms writers including A. A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith Jr., Heather Thatcher and Dorothy Dickson.
Hollywood: 1929–1931
There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name. Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM). Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week. This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929.
The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories. He commented, "It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary." Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used. In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was "as close to a success as Wodehouse was to have at MGM. His only other credits were minimal, and the other projects he worked on were not produced."
Wodehouse's contract ended after a year and was not renewed. At MGM's request, he gave an interview to The Los Angeles Times. Wodehouse was described by Herbert Warren Wind as "politically naive [and] fundamentally unworldly", and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent. The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry. Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been "a storm in a teacup", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable.
Wind's view of Wodehouse's naïveté is not universally held. Biographers including Donaldson, McCrum and Phelps suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute. He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire.
Best-seller: 1930s
During the 1930s Wodehouse's theatrical work tailed off. He wrote or adapted four plays for the West End; Leave it to Psmith (1930), which he adapted in collaboration with Ian Hay, was the only one to have a long run. The reviewer in The Manchester Guardian praised the play, but commented: "It is Mr Wodehouse's own inimitable narrative comments and descriptions in his own person of the antics of his puppets that one misses. They cannot be got into a play and they are at least half the fun of the novels." In 1934 Wodehouse collaborated with Bolton on the book for Cole Porter's Anything Goes (Porter wrote his own lyrics), but at the last minute their version was almost entirely rewritten by others at the instigation of the producer, who disliked the original script. Concentrating on writing novels and short stories, Wodehouse reached the peak of his productivity in this decade, averaging two books each year, and grossing an annual £100,000.
His practice of dividing his time between Britain and America caused Wodehouse difficulties with the tax authorities of both countries. Both the UK Inland Revenue and the US Internal Revenue Service sought to tax him as a resident. The matter was settled after lengthy negotiations, but the Wodehouses decided to change their residential status beyond doubt by moving to France, where they bought a house near Le Touquet in the north.
In 1935 Wodehouse created the last of his regular cast of principal characters, Lord Ickenham, otherwise known as Uncle Fred, who, in Usborne's words, "leads the dance in four novels and a short story... a whirring dynamo of misrule". His other books from the decade include Right Ho, Jeeves, which Donaldson judged his best work, Uncle Fred in the Springtime, which the writer Bernard Levin considered the best, and Blandings Castle, which contains "Lord Emsworth and the Girl Friend", which Rudyard Kipling thought "one of the most perfect short stories I have ever read".
Other leading literary figures who admired Wodehouse were A. E. Housman, Max Beerbohm and Hilaire Belloc; on the radio and in print Belloc called Wodehouse "the best writer of our time: the best living writer of English... the head of my profession". Wodehouse regarded Belloc's plaudit as "a gag, to get a rise out of serious-minded authors whom he disliked". Wodehouse was never sure that his books had literary merit as well as popular appeal, and, Donaldson suggests, must have been overwhelmed when the University of Oxford conferred an honorary doctorate of letters on him in June 1939. His visit to England for the awarding ceremony was the last time he set foot in his native land.
Second World War: internment and broadcasts
At the start of the Second World War Wodehouse and his wife remained at their Le Touquet house, where, during the Phoney War, he worked on Joy in the Morning. With the advance of the Germans, the nearby Royal Air Force base withdrew; Wodehouse was offered the sole spare seat in one of the fighter aircraft, but he turned down the opportunity as it would have meant leaving behind Ethel and their dog. On 21 May 1940, with German troops advancing through northern France, the Wodehouses decided to drive to Portugal and fly from there to the US. Two miles from home their car broke down, so they returned and borrowed a car from a neighbour; with the routes blocked with refugees, they returned home again.
The Germans occupied Le Touquet on 22 May 1940 and Wodehouse had to report to the authorities daily. After two months of occupation the Germans interned all male enemy nationals under 60, and Wodehouse was sent to a former prison in Loos, a suburb of Lille, on 21 July; Ethel remained in Le Touquet. The internees were placed four to a cell, each of which had been designed for one man. One bed was available per cell, which was made available to the eldest man—not Wodehouse, who slept on the granite floor. The prisoners were not kept long in Loos before they were transported in cattle trucks to a former barracks in Liège, Belgium, which was run as a prison by the SS. After a week the men were transferred to Huy in Liège, where they were incarcerated in the local citadel. They remained there until September 1940, when they were transported to Tost in Upper Silesia (then Germany, now Toszek in Poland).
Wodehouse's family and friends had not had any news of his location after the fall of France, but an article from an Associated Press reporter who had visited Tost in December 1940 led to pressure on the German authorities to release the novelist. This included a petition from influential people in the US; Senator W. Warren Barbour presented it to the German ambassador. Although his captors refused to release him, Wodehouse was provided with a typewriter and, to pass the time, he wrote Money in the Bank. Throughout his time in Tost, he sent postcards to his US literary agent asking for $5 to be sent to various people in Canada, mentioning his name. These were the families of Canadian prisoners of war, and the news from Wodehouse was the first indication that their sons were alive and well. Wodehouse risked severe punishment for the communication, but managed to evade the German censor.
On 21 June 1941, while he was in the middle of playing a game of cricket, Wodehouse received a visit from two members of the Gestapo. He was given ten minutes to pack his things before he was taken to the Hotel Adlon, a top luxury hotel in Berlin. He stayed there at his own expense; royalties from the German editions of his books had been put into a special frozen bank account at the outset of the war, and Wodehouse was permitted to draw upon this money he had earned while staying in Berlin. He was thus released from internment a few months before his sixtieth birthday—the age at which civilian internees were released by the Nazis. Shortly afterwards Wodehouse was, in the words of Phelps, "cleverly trapped" into making five broadcasts to the US via German radio, with the Berlin-based correspondent of the Columbia Broadcasting System. The broadcasts—aired on 28 June, 9, 23 and 30 July and 6 August—were titled How to be an Internee Without Previous Training, and comprised humorous anecdotes about Wodehouse's experiences as a prisoner, including some gentle mocking of his captors. The German propaganda ministry arranged for the recordings to be broadcast to Britain in August. The day after Wodehouse recorded his final programme, Ethel joined him in Berlin, having sold most of her jewellery to pay for the journey.
Aftermath: reactions and investigation
The reaction in Britain to Wodehouse's broadcasts was hostile, and he was "reviled ... as a traitor, collaborator, Nazi propagandist, and a coward", although, Phelps observes, many of those who decried his actions had not heard the content of the programmes. A front-page article in The Daily Mirror stated that Wodehouse "lived luxuriously because Britain laughed with him, but when the laughter was out of his country's heart, ... [he] was not ready to share her suffering. He hadn't the guts ... even to stick it out in the internment camp." In the House of Commons Anthony Eden, the Foreign Secretary, regretted Wodehouse's actions. Several libraries removed Wodehouse novels from their shelves.
On 15 July the journalist William Connor, under his pen name Cassandra, broadcast a postscript to the news programme railing against Wodehouse. According to The Times, the broadcast "provoked a storm of complaint ... from listeners all over the country". Wodehouse's biographer, Joseph Connolly, thinks the broadcast "inaccurate, spiteful and slanderous"; Phelps calls it "probably the most vituperative attack on an individual ever heard on British radio". The broadcast was made at the direct instruction of Duff Cooper, the Minister of Information, who overruled strong protests made by the BBC against the decision to air the programme. Numerous letters appeared in the British press, both supporting and criticising Wodehouse. The letters page of The Daily Telegraph became a focus for censuring Wodehouse, including one from Wodehouse's friend, ; a reply from their fellow author Compton Mackenzie in defence of Wodehouse was not published because the editor claimed a lack of space. Most of those defending Wodehouse against accusations of disloyalty, including Sax Rohmer, Dorothy L. Sayers and Gilbert Frankau, conceded that he had acted stupidly. Some members of the public wrote to the newspapers to say that the full facts were not yet known and a fair judgment could not be made until they were. The management of the BBC, who considered Wodehouse's actions no worse than "ill advised", pointed out to Cooper that there was no evidence at that point whether Wodehouse had acted voluntarily or under compulsion.
When Wodehouse heard of the furore the broadcasts had caused, he contacted the Foreign Office—through the Swiss embassy in Berlin—to explain his actions, and attempted to return home via neutral countries, but the German authorities refused to let him leave. In Performing Flea, a 1953 collection of letters, Wodehouse wrote, "Of course I ought to have had the sense to see that it was a loony thing to do to use the German radio for even the most harmless stuff, but I didn't. I suppose prison life saps the intellect". The reaction in America was mixed: the left-leaning publication PM accused Wodehouse of "play[ing] Jeeves to the Nazis", but the Department of War used the interviews as an ideal representation of anti-Nazi propaganda.
The Wodehouses remained in Germany until September 1943, when, because of the Allied bombings, they were allowed to move back to Paris. They were living there when the city was liberated on 25 August 1944; Wodehouse reported to the American authorities the following day, asking them to inform the British of his whereabouts. He was subsequently visited by Malcolm Muggeridge, recently arrived in Paris as an intelligence officer with MI6. The young officer quickly came to like Wodehouse and considered the question of treasonable behaviour as "ludicrous"; he summed up the writer as "ill-fitted to live in an age of ideological conflict". On 9 September Wodehouse was visited by an MI5 officer and former barrister, Major Edward Cussen, who formally investigated him, a process that stretched over four days. On 28 September Cussen filed his report, which states that in regard to the broadcasts, Wodehouse's behaviour "has been unwise", but advised against further action. On 23 November Theobald Matthew, the Director of Public Prosecutions, decided there was no evidence to justify prosecuting Wodehouse.
In November 1944 Duff Cooper was appointed British ambassador to France and was provided accommodation at the Hôtel Le Bristol, where the Wodehouses were living. Cooper complained to the French authorities, and the couple were moved to a different hotel. They were subsequently arrested by French police and placed under preventive detention, despite no charges being presented. When Muggeridge tracked them down later, he managed to get Ethel released straight away and, four days later, ensured that the French authorities declared Wodehouse unwell and put him in a nearby hospital, which was more comfortable than where they had been detained. While in this hospital, Wodehouse worked on his novel Uncle Dynamite.
While still detained by the French, Wodehouse was again mentioned in questions in the House of Commons in December 1944 when MPs wondered if the French authorities could repatriate him to stand trial. Eden stated that the "matter has been gone into, and, according to the advice given, there are no grounds upon which we could take action". Two months later, Orwell wrote the essay "In Defence of P.G. Wodehouse", where he stated that "it is important to realise that the events of 1941 do not convict Wodehouse of anything worse than stupidity". Orwell's rationale was that Wodehouse's "moral outlook has remained that of a public-school boy, and according to the public-school code, treachery in time of war is the most unforgivable of all the sins", which was compounded by his "complete lack—so far as one can judge from his printed works—of political awareness".
On 15 January 1945 the French authorities released Wodehouse, but they did not inform him, until June 1946, that he would not face any official charges and was free to leave the country.
American exile: 1946–1975
Having secured American visas in July 1946, the Wodehouses made preparations to return to New York. They were delayed by Ethel's insistence on acquiring suitable new clothes and by Wodehouse's wish to finish writing his current novel, The Mating Season, in the peace of the French countryside. In April 1947 they sailed to New York, where Wodehouse was relieved at the friendly reception he received from the large press contingent awaiting his arrival. Ethel secured a comfortable penthouse apartment in Manhattan's Upper East Side, but Wodehouse was not at ease. The New York that he had known before the war was much changed. The magazines that had paid lavishly for his stories were in decline, and those that remained were not much interested in him. He was sounded out about writing for Broadway, but he was not at home in the post-war theatre; he had money problems, with large sums temporarily tied up in Britain, and for the first time in his career he had no ideas for a new novel. He did not complete one until 1951.
Wodehouse remained unsettled until he and Ethel left New York City for Long Island. Bolton and his wife lived in the prosperous hamlet of Remsenburg, part of the Southampton area of Long Island, east of Manhattan. Wodehouse stayed with them frequently, and in 1952 he and Ethel bought a house nearby. They lived at Remsenburg for the rest of their lives. Between 1952 and 1975 he published more than twenty novels, as well as two collections of short stories, a heavily edited collection of his letters, a volume of memoirs, and a selection of his magazine articles. He continued to hanker after a revival of his theatrical career. A 1959 off-Broadway revival of the 1917 Bolton-Wodehouse-Kern Leave It to Jane was a surprise hit, running for 928 performances, but his few post-war stage works, some in collaboration with Bolton, made little impression.
Although Ethel made a return visit to England in 1948 to shop and visit family and friends, Wodehouse never left America after his arrival in 1947. It was not until 1965 that the British government indicated privately that he could return without fear of legal proceedings, and by then he felt too old to make the journey. The biographers Benny Green and Robert McCrum both take the view that this exile benefited Wodehouse's writing, helping him to go on depicting an idealised England seen in his mind's eye, rather than as it actually was in the post-war decades. During their years in Long Island, the couple often took in stray animals and contributed substantial funds to a local animal shelter.
In 1955 Wodehouse became an American citizen, though he remained a British subject, and was therefore still eligible for UK state honours. He was considered for the award of a knighthood three times from 1967, but the honour was twice blocked by British officials. In 1974 the British prime minister, Harold Wilson, intervened to secure a knighthood (KBE) for Wodehouse, which was announced in the January 1975 New Year Honours list. The Times commented that Wodehouse's honour signalled "official forgiveness for his wartime indiscretion.... It is late, but not too late, to take the sting out of that unhappy incident."
The following month Wodehouse entered Southampton Hospital, Long Island, for treatment of a skin complaint. While there, he suffered a heart attack and died on 14 February 1975 at the age of 93. He was buried at Remsenburg Presbyterian Church four days later. Ethel outlived him by more than nine years; Leonora had predeceased him, dying suddenly in 1944.
Writing
Technique and approach
Before starting a book Wodehouse would write up to four hundred pages of notes bringing together an outline of the plot; he acknowledged that "It's the plots that I find so hard to work out. It takes such a long time to work one out." He always completed the plot before working on specific character actions. For a novel the note-writing process could take up to two years, and he would usually have two or more novels in preparation simultaneously. After he had completed his notes, he would draw up a fuller scenario of about thirty thousand words, which ensured plot holes were avoided, and allowed for the dialogue to begin to develop. When interviewed in 1975 he revealed that "For a humorous novel you've got to have a scenario, and you've got to test it so that you know where the comedy comes in, where the situations come in ... splitting it up into scenes (you can make a scene of almost anything) and have as little stuff in between as possible." He preferred working between 4 and 7 pm—but never after dinner—and would work seven days a week. In his younger years, he would write around two to three thousand words a day, although he slowed as he aged, so that in his nineties he would produce a thousand. The reduced speed in writing slowed his production of books: when younger he would produce a novel in about three months, while Bachelors Anonymous, published in 1973, took around six months. Although studies of language production in normal healthy ageing show a marked decline from the mid-70s on, a study of Wodehouse's works did not find any evidence of a decline in linguistic ability with age.
Wodehouse believed that one of the factors that made his stories humorous was his view of life, and he stated that "If you take life fairly easily, then you take a humorous view of things. It's probably because you were born that way." He carried this view through into his writing, describing the approach as "making the thing a sort of musical comedy without music, and ignoring real life altogether". The literary critic Edward L. Galligan considers Wodehouse's stories to show his mastery in adapting the form of the American musical comedy for his writings. Wodehouse would ensure that his first draft was as carefully and accurately done as possible, correcting and refining the prose as he wrote, and would then make another good copy, before proofreading again and then making a final copy for his publisher.
Most of Wodehouse's canon is set in an undated period around the 1920s and 1930s. The critic Anthony Lejeune describes the settings of Wodehouse's novels, such as the Drones Club and Blandings Castle, as "a fairyland". Although some critics thought Wodehouse's fiction was based on a world that had never existed, Wodehouse affirmed that "it did. It was going strong between the wars", although he agreed that his version was to some extent "a sort of artificial world of my own creation". The novels showed a largely unchanging world, regardless of when they were written, and only rarely—and mistakenly in McCrum's view—did Wodehouse allow modernity to intrude, as he did in the 1966 story "Bingo Bans the Bomb".
When dealing with the dialogue in his novels, Wodehouse would consider the book's characters as if they were actors in a play, ensuring that the main roles were kept suitably employed throughout the storyline, which must be strong: "If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them." Many of Wodehouse's parts were stereotypes, and he acknowledged that "a real character in one of my books sticks out like a sore thumb." The publisher Michael Joseph identifies that even within the stereotypes Wodehouse understood human nature, and therefore "shares with [Charles] Dickens and Charles Chaplin the ability to present the comic resistance of the individual against those superior forces to which we are all subject".
Much of Wodehouse's use of slang terms reflects the influence of his time at school in Dulwich, and partly reflects Edwardian slang. As a young man he enjoyed the literary works of Arthur Conan Doyle and Jerome K. Jerome, and the operatic works of Gilbert and Sullivan. Wodehouse quotes from and alludes to numerous poets throughout his work. The scholar Clarke Olney lists those quoted, including Milton, Byron, Longfellow, Coleridge, Swinburne, Tennyson, Wordsworth and Shakespeare. Another favoured source was the King James Bible.
Language
In 1941 the Concise Cambridge History of English Literature opined that Wodehouse had "a gift for highly original aptness of phrase that almost suggests a poet struggling for release among the wild extravagances of farce", while McCrum thinks that Wodehouse manages to combine "high farce with the inverted poetry of his mature comic style", particularly in The Code of the Woosters; the novelist Anthony Powell believes Wodehouse to be a "comic poet". Robert A. Hall Jr., in his study of Wodehouse's style and technique, describes the author as a master of prose, an opinion also shared by Levin, who considers Wodehouse "one of the finest and purest writers of English prose". Hall identifies several techniques used by Wodehouse to achieve comic effect, including the creation of new words through adding or removing prefixes and suffixes, so when Pongo Twistleton removes the housemaid Elsie Bean from a cupboard, Wodehouse writes that the character "de-Beaned the cupboard". Wodehouse created new words by splitting others in two, thus Wodehouse divides "hobnobbing" when he writes: "To offer a housemaid a cigarette is not hobbing. Nor, when you light it for her, does that constitute nobbing."
Richard Voorhees, Wodehouse's biographer, believes that the author used clichés in a deliberate and ironic manner. His opinion is shared by the academic Stephen Medcalf, who deems Wodehouse's skill is to "bring a cliché just enough to life to kill it", although Pamela March, writing in The Christian Science Monitor, considers Wodehouse to have "an ability to decliché a cliché". Medcalf provides an example from Right Ho, Jeeves in which the teetotal Gussie Fink-Nottle has surreptitiously been given whisky and gin in a punch prior to a prize-giving:
'It seems to me, Jeeves, that the ceremony may be one fraught with considerable interest.'
'Yes, sir.'
'What, in your opinion, will the harvest be?'
'One finds it difficult to hazard a conjecture, sir.'
'You mean imagination boggles?'
'Yes, sir.'
I inspected my imagination. He was right. It boggled.
The stylistic device most commonly found in Wodehouse's work is his use of comparative imagery that includes similes. Hall opines that the humour comes from Wodehouse's ability to accentuate "resemblances which at first glance seem highly incongruous". Examples can be seen in Joy in the Morning, Chapter 29: "There was a sound in the background like a distant sheep coughing gently on a mountainside. Jeeves sailing into action", or Psmith, Chapter 7: "A sound like two or three pigs feeding rather noisily in the middle of a thunderstorm interrupted his meditation." Hall also identifies that periodically Wodehouse used the stylistic device of a transferred epithet, with an adjective that properly belongs to a person applied instead to some inanimate object. The form of expression is used sparingly by Wodehouse in comparison with other mechanisms, only once or twice in a story or novel, according to Hall.
"I balanced a thoughtful lump of sugar on the teaspoon."
—Joy in the Morning, Chapter 5
"As I sat in the bath-tub, soaping a meditative foot ..."
—Jeeves and the Feudal Spirit, Chapter 1
"The first thing he did was to prod Jeeves in the lower ribs with an uncouth forefinger."
—Much Obliged, Jeeves, Chapter 4
Wordplay is a key element in Wodehouse's writing. This can take the form of puns, such as in Jeeves and the Feudal Spirit, when Bertie is released after a night in the police cells, and says that he has "a pinched look" about him. Linguistic confusion is another humorous mechanism, such as in Uncle Dynamite when Constable Potter says he has been "assaulted by the duck pond". In reply, Sir Aylmer, confusing the two meanings of the word "by", asks: "How the devil can you be assaulted by a duck pond?" Wodehouse also uses metaphor and mixed metaphor to add humour. Some come through exaggeration, such as Bingo Little's infant child who "not only has the aspect of a mass murderer, but that of a mass murderer suffering from an ingrown toenail", or Wooster's complaint that "the rumpuses that Bobbie Wickham is already starting may be amusing to her, but not to the unfortunate toads beneath the harrow whom she ruthlessly plunges into the soup." Bertie Wooster's half-forgotten vocabulary also provides a further humorous device. In Jeeves and the Feudal Spirit Bertie asks Jeeves "Let a plugugly like young Thos loose in the community with a cosh, and you are inviting disaster and ... what's the word? Something about cats." Jeeves replies, "Cataclysms, sir?"
Reception and reputation
Literary reception
Wodehouse's early career as a lyricist and playwright was profitable, and his work with Bolton, according to The Guardian, "was one of the most successful in the history of musical comedy". At the outbreak of the Second World War he was earning £40,000 a year from his work, which had broadened to include novels and short stories. Following the furore ensuing from the wartime broadcasts, he suffered a downturn in his popularity and book sales; The Saturday Evening Post stopped publishing his short stories, a stance they reversed in 1965, although his popularity—and the sales figures—slowly recovered over time.
Wodehouse received great praise from many of his contemporaries, including Max Beerbohm, Rudyard Kipling, A. E. Housman and Evelyn Waugh—the last of whom opines, "One has to regard a man as a Master who can produce on average three uniquely brilliant and entirely original similes on each page." There are dissenters to the praise. The writer Alan Bennett thinks that "inspired though his language is, I can never take more than ten pages of the novels at a time, their relentless flippancy wearing and tedious", while the literary critic Q. D. Leavis writes that Wodehouse had a "stereotyped humour ... of ingenious variations on a laugh in one place". In a 2010 study of Wodehouse's few relatively serious novels, such as The Coming of Bill (1919), Jill the Reckless (1920) and The Adventures of Sally (1922), David Heddendorf concludes that though their literary quality does not match that of the farcical novels, they show a range of empathy and interests that in real life—and in his most comic works—the author seemed to lack. "Never oblivious to grief and despair, he opts in clear-eyed awareness for his timeless world of spats and woolly-headed peers. It's an austere, almost bloodless preference for pristine artifice over the pain and messy outcomes of actual existence, but it's a case of Wodehouse keeping faith with his own unique art."
The American literary analyst Robert F. Kiernan, defining "camp" as "excessive stylization of whatever kind", brackets Wodehouse as "a master of the camp novel", along with Thomas Love Peacock, Max Beerbohm, Ronald Firbank, E. F. Benson and Ivy Compton-Burnett. The literary critic and writer Cyril Connolly calls Wodehouse a "politicians' author"—one who does "not like art to be exacting and difficult". Two former British prime ministers, H. H. Asquith and Tony Blair, are on record as Wodehouse aficionados, and the latter became a patron of the Wodehouse Society. Seán O'Casey, a successful playwright of the 1920s, thought little of Wodehouse; he commented in 1941 that it was damaging to England's dignity that the public or "the academic government of Oxford, dead from the chin up" considered Wodehouse an important figure in English literature. His jibe that Wodehouse was "English literature's performing flea" provided his target with the title of his collected letters, published in 1953. McCrum, writing in 2004, observes, "Wodehouse is more popular today than on the day he died", and "his comic vision has an absolutely secure place in the English literary imagination."
Honours and influence
The proposed nominations of Wodehouse for a knighthood in 1967 and 1971 were blocked for fear that such an award would "revive the controversy of his wartime behaviour and give currency to a Bertie Wooster image of the British character which the embassy was doing its best to eradicate". When Wodehouse was awarded the knighthood, only four years later, the journalist Dennis Barker wrote in The Guardian that the writer was "the solitary surviving English literary comic genius". After his death six weeks later, the journalist Michael Davie, writing in the same paper, observed that "Many people regarded ... [Wodehouse] as he regarded Beachcomber, as 'one, if not more than one, of England's greatest men'", while in the view of the obituarist for The Times Wodehouse "was a comic genius recognized in his lifetime as a classic and an old master of farce". In September 2019 Wodehouse was commemorated with a memorial stone in Westminster Abbey; the dedication was held two days after it was installed.
Since Wodehouse's death there have been numerous adaptations and dramatisations of his work on television and film; Wodehouse himself has been portrayed on radio and screen numerous times. There are several literary societies dedicated to Wodehouse. The P.G. Wodehouse Society (UK) was founded in 1997 and has over 1,000 members as at 2015. The president of the society as at 2017 is Alexander Armstrong; past presidents have included Terry Wogan and Richard Briers. There are also other groups of Wodehouse fans in Australia, Belgium, France, Finland, India, Italy, Russia, Sweden and the US. As at 2015 the Oxford English Dictionary contains over 1,750 quotations from Wodehouse, illustrating terms from crispish to zippiness. Voorhees, while acknowledging that Wodehouse's antecedents in literature range from Ben Jonson to Oscar Wilde, writes:
Notes, references and sources
Notes
References
Sources
External links
P. G. Wodehouse collection at One More Library
P.G. Wodehouse Archive on loan to the British Library
The Wodehouse Society
The P. G. Wodehouse Society (UK)
Transcripts of Wodehouse's Berlin Broadcasts
"P. G. Wodehouse: An English Master of American Slang" from The American Legion Weekly, 24 October 1919
Orwell, George "In Defence of P.G. Wodehouse"
1881 births
1975 deaths
20th-century English novelists
20th-century British dramatists and playwrights
British emigrants to the United States
English lyricists
Knights Commander of the Order of the British Empire
English male dramatists and playwrights
British male novelists
People educated at Dulwich College
People educated at Elizabeth College, Guernsey
People from Guildford
People from Long Island
PG
People interned during World War II
English humorists
20th-century American novelists
American dramatists and playwrights
American humorists
American lyricists
American male novelists
Novelists from New York (state)
Literature controversies
English broadcasters for Nazi Germany
20th-century American male writers | true | [
"Don Juan Manuel's Tales of Count Lucanor, in Spanish Libro de los ejemplos del conde Lucanor y de Patronio (Book of the Examples of Count Lucanor and of Patronio), also commonly known as El Conde Lucanor, Libro de Patronio, or Libro de los ejemplos (original Old Castilian: Libro de los enxiemplos del Conde Lucanor et de Patronio), is one of the earliest works of prose in Castilian Spanish. It was first written in 1335.\n\nThe book is divided into four parts. The first and most well-known part is a series of 51 short stories (some no more than a page or two) drawn from various sources, such as Aesop and other classical writers, and Arabic folktales.\n\nTales of Count Lucanor was first printed in 1575 when it was published at Seville under the auspices of Argote de Molina. It was again printed at Madrid in 1642, after which it lay forgotten for nearly two centuries.\n\nPurpose and structure\n\nA didactic, moralistic purpose, which would color so much of the Spanish literature to follow (see Novela picaresca), is the mark of this book. Count Lucanor engages in conversation with his advisor Patronio, putting to him a problem (\"Some man has made me a proposition...\" or \"I fear that such and such person intends to...\") and asking for advice. Patronio responds always with the greatest humility, claiming not to wish to offer advice to so illustrious a person as the Count, but offering to tell him a story of which the Count's problem reminds him. (Thus, the stories are \"examples\" [ejemplos] of wise action.) At the end he advises the Count to do as the protagonist of his story did.\n\nEach chapter ends in more or less the same way, with slight variations on: \"And this pleased the Count greatly and he did just so, and found it well. And Don Johán (Juan) saw that this example was very good, and had it written in this book, and composed the following verses.\" A rhymed couplet closes, giving the moral of the story.\n\nOrigin of stories and influence on later literature\nMany of the stories written in the book are the first examples written in a modern European language of various stories, which many other writers would use in the proceeding centuries. Many of the stories he included were themselves derived from other stories, coming from western and Arab sources.\n\nShakespeare's The Taming of the Shrew has the basic elements of Tale 35, \"What Happened to a Young Man Who Married a Strong and Ill-tempered Woman\".\n\nTale 32, \"What Happened to the King and the Tricksters Who Made Cloth\" tells the story that Hans Christian Andersen made popular as The Emperor's New Clothes.\n\nStory 7, \"What Happened to a Woman Named Truhana\", a version of Aesop's The Milkmaid and Her Pail, was claimed by Max Müller to originate in the Hindu cycle Panchatantra.\n\nTale 2, \"What happened to a good Man and his Son, leading a beast to market,\" is the familiar fable The miller, his son and the donkey.\n\nIn 2016, Baroque Decay released a game under the name \"The Count Lucanor\". As well as some protagonists' names, certain events from the books inspired past events in the game.\n\nThe stories\n\nThe book opens with a prologue which introduces the characters of the Count and Patronio. The titles in the following list are those given in Keller and Keating's 1977 translation into English. James York's 1868 translation into English gives a significantly different ordering of the stories and omits the fifty-first.\n\n What Happened to a King and His Favorite \n What Happened to a Good Man and His Son \n How King Richard of England Leapt into the Sea against the Moors\n What a Genoese Said to His Soul When He Was about to Die \n What Happened to a Fox and a Crow Who Had a Piece of Cheese in His Beak\n How the Swallow Warned the Other Birds When She Saw Flax Being Sown \n What Happened to a Woman Named Truhana \n What Happened to a Man Whose Liver Had to Be Washed \n What Happened to Two Horses Which Were Thrown to the Lion \n What Happened to a Man Who on Account of Poverty and Lack of Other Food Was Eating Bitter Lentils \n What Happened to a Dean of Santiago de Compostela and Don Yllán, the Grand Master of Toledo\n What Happened to the Fox and the Rooster \n What Happened to a Man Who Was Hunting Partridges \n The Miracle of Saint Dominick When He Preached against the Usurer \n What Happened to Lorenzo Suárez at the Siege of Seville \n The Reply that count Fernán González Gave to His Relative Núño Laynes \n What Happened to a Very Hungry Man Who Was Half-heartedly Invited to Dinner \n What Happened to Pero Meléndez de Valdés When He Broke His Leg \n What Happened to the Crows and the Owls \n What Happened to a King for Whom a Man Promised to Perform Alchemy \n What Happened to a Young King and a Philosopher to Whom his Father Commended Him \n What Happened to the Lion and the Bull \n How the Ants Provide for Themselves \n What Happened to the King Who Wanted to Test His Three Sons \n What Happened to the Count of Provence and How He Was Freed from Prison by the Advice of Saladin\n What Happened to the Tree of Lies \n What Happened to an Emperor and to Don Alvarfáñez Minaya and Their Wives \n What Happened in Granada to Don Lorenzo Suárez Gallinato When He Beheaded the Renegade Chaplain \n What Happened to a Fox Who Lay down in the Street to Play Dead \n What Happened to King Abenabet of Seville and Ramayquía His Wife \n How a Cardinal Judged between the Canons of Paris and the Friars Minor \n What Happened to the King and the Tricksters Who Made Cloth \n What Happened to Don Juan Manuel's Saker Falcon and an Eagle and a Heron \n What Happened to a Blind Man Who Was Leading Another \n What Happened to a Young Man Who Married a Strong and Ill-tempered Woman\n What Happened to a Merchant When He Found His Son and His Wife Sleeping Together \n What Happened to Count Fernán González with His Men after He Had Won the Battle of Hacinas \n What Happened to a Man Who Was Loaded down with Precious Stones and Drowned in the River \n What Happened to a Man and a Swallow and a Sparrow \n Why the Seneschal of Carcassonne Lost His Soul \n What Happened to a King of Córdova Named Al-Haquem \n What Happened to a Woman of Sham Piety \n What Happened to Good and Evil and the Wise Man and the Madman \n What Happened to Don Pero Núñez the Loyal, to Don Ruy González de Zavallos, and to Don Gutier Roiz de Blaguiello with Don Rodrigo the Generous \n What Happened to a Man Who Became the Devil's Friend and Vassal \n What Happened to a Philosopher who by Accident Went down a Street Where Prostitutes Lived \n What Befell a Moor and His Sister Who Pretended That She Was Timid \n What Happened to a Man Who Tested His Friends \n What Happened to the Man Whom They Cast out Naked on an Island When They Took away from Him the Kingdom He Ruled \n What Happened to Saladin and a Lady, the Wife of a Knight Who Was His Vassal \n What Happened to a Christian King Who Was Very Powerful and Haughty\n\nReferences\n\nNotes\n\nBibliography\n\n Sturm, Harlan\n\n Wacks, David\n\nExternal links\n\nThe Internet Archive provides free access to the 1868 translation by James York.\nJSTOR has the to the 1977 translation by Keller and Keating.\nSelections in English and Spanish (pedagogical edition) with introduction, notes, and bibliography in Open Iberia/América (open access teaching anthology)\n\n14th-century books\nSpanish literature\n1335 books",
"\"What Happened to Us\" is a song by Australian recording artist Jessica Mauboy, featuring English recording artist Jay Sean. It was written by Sean, Josh Alexander, Billy Steinberg, Jeremy Skaller, Rob Larow, Khaled Rohaim and Israel Cruz. \"What Happened to Us\" was leaked online in October 2010, and was released on 10 March 2011, as the third single from Mauboy's second studio album, Get 'Em Girls (2010). The song received positive reviews from critics.\n\nA remix of \"What Happened to Us\" made by production team OFM, was released on 11 April 2011. A different version of the song which features Stan Walker, was released on 29 May 2011. \"What Happened to Us\" charted on the ARIA Singles Chart at number 14 and was certified platinum by the Australian Recording Industry Association (ARIA). An accompanying music video was directed by Mark Alston, and reminisces on a former relationship between Mauboy and Sean.\n\nProduction and release\n\n\"What Happened to Us\" was written by Josh Alexander, Billy Steinberg, Jeremy Skaller, Rob Larow, Khaled Rohaim, Israel Cruz and Jay Sean. It was produced by Skaller, Cruz, Rohaim and Bobby Bass. The song uses C, D, and B minor chords in the chorus. \"What Happened to Us\" was sent to contemporary hit radio in Australia on 14 February 2011. The cover art for the song was revealed on 22 February on Mauboy's official Facebook page. A CD release was available for purchase via her official website on 10 March, for one week only. It was released digitally the following day.\n\nReception\nMajhid Heath from ABC Online Indigenous called the song a \"Jordin Sparks-esque duet\", and wrote that it \"has a nice innocence to it that rings true to the experience of losing a first love.\" Chris Urankar from Nine to Five wrote that it as a \"mid-tempo duet ballad\" which signifies Mauboy's strength as a global player. On 21 March 2011, \"What Happened to Us\" debuted at number 30 on the ARIA Singles Chart, and peaked at number 14 the following week. The song was certified platinum by the Australian Recording Industry Association (ARIA), for selling 70,000 copies. \"What Happened to Us\" spent a total of ten weeks in the ARIA top fifty.\n\nMusic video\n\nBackground\nThe music video for the song was shot in the Elizabeth Bay House in Sydney on 26 November 2010. The video was shot during Sean's visit to Australia for the Summerbeatz tour. During an interview with The Daily Telegraph while on the set of the video, Sean said \"the song is sick! ... Jessica's voice is amazing and we're shooting [the video] in this ridiculously beautiful mansion overlooking the harbour.\" The video was directed by Mark Alston, who had previously directed the video for Mauboy's single \"Let Me Be Me\" (2009). It premiered on YouTube on 10 February 2011.\n\nSynopsis and reception\nThe video begins showing Mauboy who appears to be sitting on a yellow antique couch in a mansion, wearing a purple dress. As the video progresses, scenes of memories are displayed of Mauboy and her love interest, played by Sean, spending time there previously. It then cuts to the scenes where Sean appears in the main entrance room of the mansion. The final scene shows Mauboy outdoors in a gold dress, surrounded by green grass and trees. She is later joined by Sean who appears in a black suit and a white shirt, and together they sing the chorus of the song to each other. David Lim of Feed Limmy wrote that the video is \"easily the best thing our R&B princess has committed to film – ever\" and praised the \"mansion and wondrous interior décor\". He also commended Mauboy for choosing Australian talent to direct the video instead of American directors, which she had used for her previous two music videos. Since its release, the video has received over two million views on Vevo.\n\nLive performances\nMauboy performed \"What Happened to Us\" live for the first time during her YouTube Live Sessions program on 4 December 2010. She also appeared on Adam Hills in Gordon Street Tonight on 23 February 2011 for an interview and later performed the song. On 15 March 2011, Mauboy performed \"What Happened to Us\" on Sunrise. She also performed the song with Stan Walker during the Australian leg of Chris Brown's F.A.M.E. Tour in April 2011. Mauboy and Walker later performed \"What Happened to Us\" on Dancing with the Stars Australia on 29 May 2011. From November 2013 to February 2014, \"What Happened to Us\" was part of the set list of the To the End of the Earth Tour, Mauboy's second headlining tour of Australia, with Nathaniel Willemse singing Sean's part.\n\nTrack listing\n\nDigital download\n \"What Happened to Us\" featuring Jay Sean – 3:19\n \"What Happened to Us\" featuring Jay Sean (Sgt Slick Remix) – 6:33\n \"What Happened to Us\" featuring Jay Sean (Just Witness Remix) – 3:45\n\nCD single\n \"What Happened to Us\" featuring Jay Sean (Album Version) – 3:19\n \"What Happened to Us\" featuring Jay Sean (Sgt Slick Remix) – 6:33\n \"What Happened to Us\" featuring Jay Sean (OFM Remix) – 3:39\n\nDigital download – Remix\n \"What Happened to Us\" featuring Jay Sean (OFM Remix) – 3:38\n\nDigital download\n \"What Happened to Us\" featuring Stan Walker – 3:20\n\nPersonnel\nSongwriting – Josh Alexander, Billy Steinberg, Jeremy Skaller, Rob Larow, Khaled Rohaim, Israel Cruz, Jay Sean\nProduction – Jeremy Skaller, Bobby Bass\nAdditional production – Israel Cruz, Khaled Rohaim\nLead vocals – Jessica Mauboy, Jay Sean\nMixing – Phil Tan\nAdditional mixing – Damien Lewis\nMastering – Tom Coyne \nSource:\n\nCharts\n\nWeekly chart\n\nYear-end chart\n\nCertification\n\nRadio dates and release history\n\nReferences\n\n2010 songs\n2011 singles\nJessica Mauboy songs\nJay Sean songs\nSongs written by Billy Steinberg\nSongs written by Jay Sean\nSongs written by Josh Alexander\nSongs written by Israel Cruz\nVocal duets\nSony Music Australia singles\nSongs written by Khaled Rohaim"
] | [
"Sir Pelham Grenville Wodehouse, ( ; 15 October 188114 February 1975) was an English author and one of the most widely read humorists of the 20th century. His creations include the feather-brained Bertie Wooster and his sagacious valet, Jeeves; the immaculate and loquacious Psmith; Lord Emsworth and the Blandings Castle set; the Oldest Member, with stories about golf; and Mr Mulliner, with tall tales on subjects ranging from bibulous bishops to megalomaniac movie moguls.",
"His creations include the feather-brained Bertie Wooster and his sagacious valet, Jeeves; the immaculate and loquacious Psmith; Lord Emsworth and the Blandings Castle set; the Oldest Member, with stories about golf; and Mr Mulliner, with tall tales on subjects ranging from bibulous bishops to megalomaniac movie moguls. Born in Guildford, the third son of a British magistrate based in Hong Kong, Wodehouse spent happy teenage years at Dulwich College, to which he remained devoted all his life.",
"Born in Guildford, the third son of a British magistrate based in Hong Kong, Wodehouse spent happy teenage years at Dulwich College, to which he remained devoted all his life. After leaving school he was employed by a bank but disliked the work and turned to writing in his spare time.",
"After leaving school he was employed by a bank but disliked the work and turned to writing in his spare time. His early novels were mostly school stories, but he later switched to comic fiction.",
"His early novels were mostly school stories, but he later switched to comic fiction. Most of Wodehouse's fiction is set in his native United Kingdom, although he spent much of his life in the US and used New York and Hollywood as settings for some of his novels and short stories.",
"Most of Wodehouse's fiction is set in his native United Kingdom, although he spent much of his life in the US and used New York and Hollywood as settings for some of his novels and short stories. He wrote a series of Broadway musical comedies during and after the First World War, together with Guy Bolton and Jerome Kern, that played an important part in the development of the American musical.",
"He wrote a series of Broadway musical comedies during and after the First World War, together with Guy Bolton and Jerome Kern, that played an important part in the development of the American musical. He began the 1930s writing for MGM in Hollywood.",
"He began the 1930s writing for MGM in Hollywood. In a 1931 interview, his naive revelations of incompetence and extravagance in the studios caused a furore. In the same decade, his literary career reached a new peak.",
"In the same decade, his literary career reached a new peak. In 1934 Wodehouse moved to France for tax reasons; in 1940 he was taken prisoner at Le Touquet by the invading Germans and interned for nearly a year.",
"In 1934 Wodehouse moved to France for tax reasons; in 1940 he was taken prisoner at Le Touquet by the invading Germans and interned for nearly a year. After his release he made six broadcasts from German radio in Berlin to the US, which had not yet entered the war.",
"After his release he made six broadcasts from German radio in Berlin to the US, which had not yet entered the war. The talks were comic and apolitical, but his broadcasting over enemy radio prompted anger and strident controversy in Britain, and a threat of prosecution. Wodehouse never returned to England.",
"Wodehouse never returned to England. Wodehouse never returned to England. From 1947 until his death he lived in the US, taking dual British-American citizenship in 1955. He died in 1975, at the age of 93, in Southampton, New York.",
"He died in 1975, at the age of 93, in Southampton, New York. Wodehouse was a prolific writer throughout his life, publishing more than ninety books, forty plays, two hundred short stories and other writings between 1902 and 1974. He worked extensively on his books, sometimes having two or more in preparation simultaneously.",
"He worked extensively on his books, sometimes having two or more in preparation simultaneously. He would take up to two years to build a plot and write a scenario of about thirty thousand words. After the scenario was complete he would write the story.",
"After the scenario was complete he would write the story. Early in his career Wodehouse would produce a novel in about three months, but he slowed in old age to around six months.",
"Early in his career Wodehouse would produce a novel in about three months, but he slowed in old age to around six months. He used a mixture of Edwardian slang, quotations from and allusions to numerous poets, and several literary techniques to produce a prose style that has been compared to comic poetry and musical comedy.",
"He used a mixture of Edwardian slang, quotations from and allusions to numerous poets, and several literary techniques to produce a prose style that has been compared to comic poetry and musical comedy. Some critics of Wodehouse have considered his work flippant, but among his fans are former British prime ministers and many of his fellow writers.",
"Some critics of Wodehouse have considered his work flippant, but among his fans are former British prime ministers and many of his fellow writers. Life and career Early years Wodehouse was born in Guildford, Surrey, the third son of Henry Ernest Wodehouse (1845–1929), a magistrate resident in the British colony of Hong Kong, and his wife, Eleanor (1861–1941), daughter of the Rev John Bathurst Deane.",
"Life and career Early years Wodehouse was born in Guildford, Surrey, the third son of Henry Ernest Wodehouse (1845–1929), a magistrate resident in the British colony of Hong Kong, and his wife, Eleanor (1861–1941), daughter of the Rev John Bathurst Deane. The Wodehouses, who traced their ancestry back to the 13th century, belonged to a cadet branch of the family of the earls of Kimberley.",
"The Wodehouses, who traced their ancestry back to the 13th century, belonged to a cadet branch of the family of the earls of Kimberley. Eleanor Wodehouse was also of ancient aristocratic ancestry. She was visiting her sister in Guildford when Wodehouse was born there prematurely.",
"She was visiting her sister in Guildford when Wodehouse was born there prematurely. The boy was baptised at the Church of St Nicolas, Guildford, and was named after his godfather, Pelham von Donop.",
"The boy was baptised at the Church of St Nicolas, Guildford, and was named after his godfather, Pelham von Donop. Wodehouse wrote in 1957, \"If you ask me to tell you frankly if I like the name Pelham Grenville Wodehouse, I must confess that I do not....",
"Wodehouse wrote in 1957, \"If you ask me to tell you frankly if I like the name Pelham Grenville Wodehouse, I must confess that I do not.... I was named after a godfather, and not a thing to show for it but a small silver mug which I lost in 1897.\"",
"I was named after a godfather, and not a thing to show for it but a small silver mug which I lost in 1897.\" The first name was rapidly elided to \"Plum\", the name by which Wodehouse became known to family and friends.",
"The first name was rapidly elided to \"Plum\", the name by which Wodehouse became known to family and friends. Mother and son sailed for Hong Kong, where for his first two years Wodehouse was raised by a Chinese amah (nurse), alongside his elder brothers Peveril (1877–1951) and Armine (1879–1936).",
"Mother and son sailed for Hong Kong, where for his first two years Wodehouse was raised by a Chinese amah (nurse), alongside his elder brothers Peveril (1877–1951) and Armine (1879–1936). When he was two, the brothers were brought to England, where they were placed under the care of an English nanny in a house adjoining that of Eleanor's father and mother.",
"When he was two, the brothers were brought to England, where they were placed under the care of an English nanny in a house adjoining that of Eleanor's father and mother. The boys' parents returned to Hong Kong and became virtual strangers to their sons.",
"The boys' parents returned to Hong Kong and became virtual strangers to their sons. Such an arrangement was then normal for middle-class families based in the colonies.",
"Such an arrangement was then normal for middle-class families based in the colonies. The lack of parental contact, and the harsh regime of some of those in loco parentis, left permanent emotional scars on many children from similar backgrounds, including the writers Thackeray, Saki, Kipling and Walpole.",
"The lack of parental contact, and the harsh regime of some of those in loco parentis, left permanent emotional scars on many children from similar backgrounds, including the writers Thackeray, Saki, Kipling and Walpole. Wodehouse was more fortunate; his nanny, Emma Roper, was strict but not unkind, and both with her and later at his different schools Wodehouse had a generally happy childhood.",
"Wodehouse was more fortunate; his nanny, Emma Roper, was strict but not unkind, and both with her and later at his different schools Wodehouse had a generally happy childhood. His recollection was that \"it went like a breeze from start to finish, with everybody I met understanding me perfectly\".",
"His recollection was that \"it went like a breeze from start to finish, with everybody I met understanding me perfectly\". The biographer Robert McCrum suggests that nonetheless Wodehouse's isolation from his parents left a psychological mark, causing him to avoid emotional engagement both in life and in his works.",
"The biographer Robert McCrum suggests that nonetheless Wodehouse's isolation from his parents left a psychological mark, causing him to avoid emotional engagement both in life and in his works. Another biographer, Frances Donaldson, writes, \"Deprived so early, not merely of maternal love, but of home life and even a stable background, Wodehouse consoled himself from the youngest age in an imaginary world of his own.\"",
"Another biographer, Frances Donaldson, writes, \"Deprived so early, not merely of maternal love, but of home life and even a stable background, Wodehouse consoled himself from the youngest age in an imaginary world of his own.\" In 1886 the brothers were sent to a dame-school in Croydon, where they spent three years.",
"In 1886 the brothers were sent to a dame-school in Croydon, where they spent three years. Peveril was then found to have a \"weak chest\"; sea air was prescribed, and the three boys were moved to Elizabeth College on the island of Guernsey.",
"Peveril was then found to have a \"weak chest\"; sea air was prescribed, and the three boys were moved to Elizabeth College on the island of Guernsey. In 1891 Wodehouse went on to Malvern House Preparatory School in Kent, which concentrated on preparing its pupils for entry to the Royal Navy.",
"In 1891 Wodehouse went on to Malvern House Preparatory School in Kent, which concentrated on preparing its pupils for entry to the Royal Navy. His father had planned a naval career for him, but the boy's eyesight was found to be too poor for it.",
"His father had planned a naval career for him, but the boy's eyesight was found to be too poor for it. He was unimpressed by the school's narrow curriculum and zealous discipline; he later parodied it in his novels, with Bertie Wooster recalling his early years as a pupil at a \"penitentiary... with the outward guise of a prep school\" called Malvern House.",
"He was unimpressed by the school's narrow curriculum and zealous discipline; he later parodied it in his novels, with Bertie Wooster recalling his early years as a pupil at a \"penitentiary... with the outward guise of a prep school\" called Malvern House. Throughout their school years the brothers were sent to stay during the holidays with various uncles and aunts from both sides of the family.",
"Throughout their school years the brothers were sent to stay during the holidays with various uncles and aunts from both sides of the family. In the Oxford Dictionary of National Biography, Iain Sproat counts twenty aunts and considers that they played an important part not only in Wodehouse's early life, but, thinly disguised, in his mature novels, as the formidable aunts who dominate the action in the Wooster, Blandings, and other stories.",
"In the Oxford Dictionary of National Biography, Iain Sproat counts twenty aunts and considers that they played an important part not only in Wodehouse's early life, but, thinly disguised, in his mature novels, as the formidable aunts who dominate the action in the Wooster, Blandings, and other stories. The boys had fifteen uncles, four of whom were clergymen.",
"The boys had fifteen uncles, four of whom were clergymen. Sproat writes that they inspired Wodehouse's \"pious but fallible curates, vicars, and bishops, of which he wrote with friendly irreverence but without mockery\".",
"Sproat writes that they inspired Wodehouse's \"pious but fallible curates, vicars, and bishops, of which he wrote with friendly irreverence but without mockery\". At the age of twelve in 1894, to his great joy, Wodehouse was able to follow his brother Armine to Dulwich College.",
"At the age of twelve in 1894, to his great joy, Wodehouse was able to follow his brother Armine to Dulwich College. He was entirely at home there; Donaldson comments that Dulwich gave him, for the first time, \"some continuity and a stable and ordered life\".",
"He was entirely at home there; Donaldson comments that Dulwich gave him, for the first time, \"some continuity and a stable and ordered life\". He loved the camaraderie, distinguished himself at cricket, rugby and boxing, and was a good, if not consistently diligent, student.",
"He loved the camaraderie, distinguished himself at cricket, rugby and boxing, and was a good, if not consistently diligent, student. The headmaster at the time was A. H. Gilkes, a respected classicist, who was a strong influence on Wodehouse.",
"The headmaster at the time was A. H. Gilkes, a respected classicist, who was a strong influence on Wodehouse. In a study of Wodehouse's works, Richard Usborne argues that \"only a writer who was himself a scholar and had had his face ground into Latin and Greek (especially Thucydides) as a boy\" could sustain the complex sequences of subordinate clauses sometimes found in Wodehouse's comic prose.",
"In a study of Wodehouse's works, Richard Usborne argues that \"only a writer who was himself a scholar and had had his face ground into Latin and Greek (especially Thucydides) as a boy\" could sustain the complex sequences of subordinate clauses sometimes found in Wodehouse's comic prose. Wodehouse's six years at Dulwich were among the happiest of his life: \"To me the years between 1894 and 1900 were like heaven.\"",
"Wodehouse's six years at Dulwich were among the happiest of his life: \"To me the years between 1894 and 1900 were like heaven.\" In addition to his sporting achievements he was a good singer and enjoyed taking part in school concerts; his literary leanings found an outlet in editing the school magazine, The Alleynian.",
"In addition to his sporting achievements he was a good singer and enjoyed taking part in school concerts; his literary leanings found an outlet in editing the school magazine, The Alleynian. For the rest of his life he remained devoted to the school.",
"For the rest of his life he remained devoted to the school. The biographer Barry Phelps writes that Wodehouse \"loved the college as much as he loved anything or anybody\".",
"The biographer Barry Phelps writes that Wodehouse \"loved the college as much as he loved anything or anybody\". Reluctant banker; budding writer: 1900–1908 Wodehouse expected to follow Armine to the University of Oxford, but the family's finances took a turn for the worse at the crucial moment.",
"Reluctant banker; budding writer: 1900–1908 Wodehouse expected to follow Armine to the University of Oxford, but the family's finances took a turn for the worse at the crucial moment. Ernest Wodehouse had retired in 1895, and his pension was paid in rupees; fluctuation against the pound reduced its value in Britain.",
"Ernest Wodehouse had retired in 1895, and his pension was paid in rupees; fluctuation against the pound reduced its value in Britain. Wodehouse recalled, \"The wolf was not actually whining at the door and there was always a little something in the kitty for the butcher and the grocer, but the finances would not run to anything in the nature of a splash\".",
"Wodehouse recalled, \"The wolf was not actually whining at the door and there was always a little something in the kitty for the butcher and the grocer, but the finances would not run to anything in the nature of a splash\". Instead of a university career, in September 1900 Wodehouse was engaged in a junior position in the London office of the Hongkong and Shanghai Bank.",
"Instead of a university career, in September 1900 Wodehouse was engaged in a junior position in the London office of the Hongkong and Shanghai Bank. He was unsuited to it and found the work baffling and uncongenial.",
"He was unsuited to it and found the work baffling and uncongenial. He later wrote a humorous account of his experiences at the bank, but at the time he longed for the end of each working day, when he could return to his rented lodgings in Chelsea and write.",
"He later wrote a humorous account of his experiences at the bank, but at the time he longed for the end of each working day, when he could return to his rented lodgings in Chelsea and write. At first he concentrated, with some success, on serious articles about school sports for Public School Magazine.",
"At first he concentrated, with some success, on serious articles about school sports for Public School Magazine. In November 1900 his first comic piece, \"Men Who Missed Their Own Weddings\", was accepted by Tit-Bits.",
"In November 1900 his first comic piece, \"Men Who Missed Their Own Weddings\", was accepted by Tit-Bits. A new magazine for boys, The Captain, provided further well-paid opportunities, and during his two years at the bank, Wodehouse had eighty pieces published in a total of nine magazines.",
"A new magazine for boys, The Captain, provided further well-paid opportunities, and during his two years at the bank, Wodehouse had eighty pieces published in a total of nine magazines. In 1901, with the help of a former Dulwich master, William Beach Thomas, Wodehouse secured an appointment—at first temporary and later permanent—writing for The Globes popular \"By the Way\" column.",
"In 1901, with the help of a former Dulwich master, William Beach Thomas, Wodehouse secured an appointment—at first temporary and later permanent—writing for The Globes popular \"By the Way\" column. He held the post until 1909.",
"He held the post until 1909. At around the same time his first novel was published—a school story called The Pothunters, serialised incomplete in Public School Magazine in early 1902, and issued in full in hardback in September. He resigned from the bank that month to devote himself to writing full-time.",
"He resigned from the bank that month to devote himself to writing full-time. Between the publication of The Pothunters 1902 and that of Mike in 1909, Wodehouse wrote eight novels and co-wrote another two.",
"Between the publication of The Pothunters 1902 and that of Mike in 1909, Wodehouse wrote eight novels and co-wrote another two. The critic R. D. B. French writes that, of Wodehouse's work from this period, almost all that deserves to survive is the school fiction.",
"The critic R. D. B. French writes that, of Wodehouse's work from this period, almost all that deserves to survive is the school fiction. Looking back in the 1950s Wodehouse viewed these as his apprentice years: \"I was practically in swaddling clothes and it is extremely creditable to me that I was able to write at all.\"",
"Looking back in the 1950s Wodehouse viewed these as his apprentice years: \"I was practically in swaddling clothes and it is extremely creditable to me that I was able to write at all.\" From his boyhood Wodehouse had been fascinated by America, which he conceived of as \"a land of romance\"; he \"yearned\" to visit the country, and by 1904 he had earned enough to do so.",
"From his boyhood Wodehouse had been fascinated by America, which he conceived of as \"a land of romance\"; he \"yearned\" to visit the country, and by 1904 he had earned enough to do so. In April he sailed to New York, which he found greatly to his liking.",
"In April he sailed to New York, which he found greatly to his liking. He noted in his diary: \"In New York gathering experience. Worth many guineas in the future but none for the moment.\"",
"Worth many guineas in the future but none for the moment.\" This prediction proved correct: few British writers had first-hand experience of the US, and his articles about life in New York brought him higher than usual fees.",
"This prediction proved correct: few British writers had first-hand experience of the US, and his articles about life in New York brought him higher than usual fees. He later recalled that \"in 1904 anyone in the London writing world who had been to America was regarded with awe and looked upon as an authority on that terra incognita.... After that trip to New York I was a man who counted.... My income rose like a rocketing pheasant.\"",
"He later recalled that \"in 1904 anyone in the London writing world who had been to America was regarded with awe and looked upon as an authority on that terra incognita.... After that trip to New York I was a man who counted.... My income rose like a rocketing pheasant.\" Wodehouse's other new venture in 1904 was writing for the stage.",
"Wodehouse's other new venture in 1904 was writing for the stage. Towards the end of the year the librettist Owen Hall invited him to contribute an additional lyric for a musical comedy Sergeant Brue. Wodehouse had loved theatre since his first visit, aged thirteen, when Gilbert and Sullivan's Patience had made him \"drunk with ecstasy\".",
"Wodehouse had loved theatre since his first visit, aged thirteen, when Gilbert and Sullivan's Patience had made him \"drunk with ecstasy\". His lyric for Hall, \"Put Me in My Little Cell\", was a Gilbertian number for a trio of comic crooks, with music by Frederick Rosse; it was well received and launched Wodehouse on a career as a theatre writer that spanned three decades.",
"His lyric for Hall, \"Put Me in My Little Cell\", was a Gilbertian number for a trio of comic crooks, with music by Frederick Rosse; it was well received and launched Wodehouse on a career as a theatre writer that spanned three decades. Although it made little impact on its first publication, the 1906 novel Love Among the Chickens contained what French calls the author's first original comic creation: Stanley Featherstonehaugh Ukridge.",
"Although it made little impact on its first publication, the 1906 novel Love Among the Chickens contained what French calls the author's first original comic creation: Stanley Featherstonehaugh Ukridge. The character, an amoral, bungling opportunist, is partly based on Wodehouse's Globe colleague Herbert Westbrook.",
"The character, an amoral, bungling opportunist, is partly based on Wodehouse's Globe colleague Herbert Westbrook. The two collaborated between 1907 and 1913 on two books, two music hall sketches, and a play, Brother Alfred. Wodehouse would return to the character in short stories over the next six decades.",
"Wodehouse would return to the character in short stories over the next six decades. In early 1906 the actor-manager Seymour Hicks invited Wodehouse to become resident lyricist at the Aldwych Theatre, to add topical verses to newly imported or long-running shows. Hicks had already recruited the young Jerome Kern to write the music for such songs.",
"Hicks had already recruited the young Jerome Kern to write the music for such songs. The first Kern-Wodehouse collaboration, a comic number for The Beauty of Bath titled \"Mr [Joseph] Chamberlain\", was a show-stopper and was briefly the most popular song in London.",
"The first Kern-Wodehouse collaboration, a comic number for The Beauty of Bath titled \"Mr [Joseph] Chamberlain\", was a show-stopper and was briefly the most popular song in London. Psmith, Blandings, Wooster and Jeeves: 1908–1915 Wodehouse's early period as a writer came to an end in 1908 with the serialisation of The Lost Lambs, published the following year in book form as the second half of the novel Mike.",
"Psmith, Blandings, Wooster and Jeeves: 1908–1915 Wodehouse's early period as a writer came to an end in 1908 with the serialisation of The Lost Lambs, published the following year in book form as the second half of the novel Mike. The work begins as a conventional school story, but Wodehouse introduces a new and strikingly original character, Psmith, whose creation both Evelyn Waugh and George Orwell regarded as a watershed in Wodehouse's development.",
"The work begins as a conventional school story, but Wodehouse introduces a new and strikingly original character, Psmith, whose creation both Evelyn Waugh and George Orwell regarded as a watershed in Wodehouse's development. Wodehouse said that he based Psmith on the hotelier and impresario Rupert D'Oyly Carte—\"the only thing in my literary career which was handed to me on a silver plate with watercress around it\".",
"Wodehouse said that he based Psmith on the hotelier and impresario Rupert D'Oyly Carte—\"the only thing in my literary career which was handed to me on a silver plate with watercress around it\". Wodehouse wrote in the 1970s that a cousin of his who had been at school with Carte told him of the latter's monocle, studied suavity, and stateliness of speech, all of which Wodehouse adopted for his new character.",
"Wodehouse wrote in the 1970s that a cousin of his who had been at school with Carte told him of the latter's monocle, studied suavity, and stateliness of speech, all of which Wodehouse adopted for his new character. Psmith featured in three more novels: Psmith in the City (1910), a burlesque of banking; Psmith, Journalist (1915) set in New York; and Leave It to Psmith (1923), set at Blandings Castle.",
"Psmith featured in three more novels: Psmith in the City (1910), a burlesque of banking; Psmith, Journalist (1915) set in New York; and Leave It to Psmith (1923), set at Blandings Castle. In May 1909 Wodehouse made his second visit to New York, where he sold two short stories to Cosmopolitan and Collier's for a total of $500, a much higher fee than he had commanded previously.",
"In May 1909 Wodehouse made his second visit to New York, where he sold two short stories to Cosmopolitan and Collier's for a total of $500, a much higher fee than he had commanded previously. He resigned from The Globe and stayed in New York for nearly a year.",
"He resigned from The Globe and stayed in New York for nearly a year. He sold many more stories, but none of the American publications offered a permanent relationship and guaranteed income. Wodehouse returned to England in late 1910, rejoining The Globe and also contributing regularly to The Strand Magazine.",
"Wodehouse returned to England in late 1910, rejoining The Globe and also contributing regularly to The Strand Magazine. Between then and the outbreak of the First World War in 1914 he revisited America frequently. Wodehouse was in New York when the war began.",
"Wodehouse was in New York when the war began. Ineligible for military service because of his poor eyesight, he remained in the US throughout the war, detached from the conflict in Europe and absorbed in his theatrical and literary concerns. In September 1914 he married Ethel May Wayman, née Newton (1885–1984), an English widow.",
"In September 1914 he married Ethel May Wayman, née Newton (1885–1984), an English widow. The marriage proved happy and lifelong. Ethel's personality was in contrast with her husband's: he was shy and impractical; she was gregarious, decisive and well organised.",
"Ethel's personality was in contrast with her husband's: he was shy and impractical; she was gregarious, decisive and well organised. In Sproat's phrase, she \"took charge of Wodehouse's life and made certain that he had the peace and quiet he needed to write\".",
"In Sproat's phrase, she \"took charge of Wodehouse's life and made certain that he had the peace and quiet he needed to write\". There were no children of the marriage, but Wodehouse came to love Ethel's daughter Leonora (1905–1944) and legally adopted her.",
"There were no children of the marriage, but Wodehouse came to love Ethel's daughter Leonora (1905–1944) and legally adopted her. Wodehouse experimented with different genres of fiction in these years; Psmith, Journalist, mixing comedy with social comment on slum landlords and racketeers, was published in 1915.",
"Wodehouse experimented with different genres of fiction in these years; Psmith, Journalist, mixing comedy with social comment on slum landlords and racketeers, was published in 1915. In the same year The Saturday Evening Post paid $3,500 to serialise Something New, the first of what became a series of novels set at Blandings Castle.",
"In the same year The Saturday Evening Post paid $3,500 to serialise Something New, the first of what became a series of novels set at Blandings Castle. It was published in hardback in the US and the UK in the same year (the British edition being retitled Something Fresh).",
"It was published in hardback in the US and the UK in the same year (the British edition being retitled Something Fresh). It was Wodehouse's first farcical novel; it was also his first best-seller, and although his later books included some gentler, lightly sentimental stories, it was as a farceur that he became known.",
"It was Wodehouse's first farcical novel; it was also his first best-seller, and although his later books included some gentler, lightly sentimental stories, it was as a farceur that he became known. Later in the same year \"Extricating Young Gussie\", the first story about Bertie and Jeeves, was published.",
"Later in the same year \"Extricating Young Gussie\", the first story about Bertie and Jeeves, was published. These stories introduced two sets of characters about whom Wodehouse wrote for the rest of his life.",
"These stories introduced two sets of characters about whom Wodehouse wrote for the rest of his life. The Blandings Castle stories, set in an English stately home, depict the attempts of the placid Lord Emsworth to evade the many distractions around him, which include successive pairs of young lovers, the machinations of his exuberant brother Galahad, the demands of his domineering sisters and super-efficient secretaries, and anything detrimental to his prize sow, the Empress of Blandings.",
"The Blandings Castle stories, set in an English stately home, depict the attempts of the placid Lord Emsworth to evade the many distractions around him, which include successive pairs of young lovers, the machinations of his exuberant brother Galahad, the demands of his domineering sisters and super-efficient secretaries, and anything detrimental to his prize sow, the Empress of Blandings. The Bertie and Jeeves stories feature an amiable young man-about-town, regularly rescued from the consequences of his idiocy by the benign interference of his valet.",
"The Bertie and Jeeves stories feature an amiable young man-about-town, regularly rescued from the consequences of his idiocy by the benign interference of his valet. Broadway: 1915–1919 A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator.",
"Broadway: 1915–1919 A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator. Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York.",
"Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York. The show was successful, but they thought the song lyrics weak and invited Wodehouse to join them on its successor. This was Miss Springtime (1916), which ran for 227 performances—a good run by the standards of the day.",
"This was Miss Springtime (1916), which ran for 227 performances—a good run by the standards of the day. The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917–18) and Oh, Lady! Lady!!",
"Lady!! Lady!! (1918), and Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin.",
"In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin. Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies.",
"Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies. Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do.",
"Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do. Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical.",
"Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical. In the Grove Dictionary of American Music Larry Stempel writes, \"By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy.\"",
"In the Grove Dictionary of American Music Larry Stempel writes, \"By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy.\" The theatre writer Gerald Bordman calls Wodehouse \"the most observant, literate, and witty lyricist of his day\".",
"The theatre writer Gerald Bordman calls Wodehouse \"the most observant, literate, and witty lyricist of his day\". The composer Richard Rodgers wrote, \"Before Larry Hart, only P.G. Wodehouse had made any real assault on the intelligence of the song-listening public.\"",
"Wodehouse had made any real assault on the intelligence of the song-listening public.\" 1920s In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones.",
"1920s In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones. Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest.",
"Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest. Various other young men-about-town appeared in short stories about members of the Drones Club.",
"Various other young men-about-town appeared in short stories about members of the Drones Club. The Wodehouses returned to England, where they had a house in London for some years, but Wodehouse continued to cross the Atlantic frequently, spending substantial periods in New York. He continued to work in the theatre.",
"He continued to work in the theatre. During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York).",
"During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York). He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnár, and A Damsel in Distress (1928), a dramatisation of his 1919 novel.",
"He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnár, and A Damsel in Distress (1928), a dramatisation of his 1919 novel. Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods.",
"Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods. Donaldson lists among those with whom he was on friendly terms writers including A. A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith Jr., Heather Thatcher and Dorothy Dickson.",
"A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith Jr., Heather Thatcher and Dorothy Dickson. Hollywood: 1929–1931 There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name.",
"Hollywood: 1929–1931 There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name. Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM).",
"Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM). Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week.",
"Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week. This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929.",
"This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929. The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories.",
"The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories. He commented, \"It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary.\"",
"He commented, \"It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary.\" Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used.",
"Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used. In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was \"as close to a success as Wodehouse was to have at MGM.",
"In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was \"as close to a success as Wodehouse was to have at MGM. His only other credits were minimal, and the other projects he worked on were not produced.\"",
"His only other credits were minimal, and the other projects he worked on were not produced.\" Wodehouse's contract ended after a year and was not renewed. At MGM's request, he gave an interview to The Los Angeles Times.",
"At MGM's request, he gave an interview to The Los Angeles Times. Wodehouse was described by Herbert Warren Wind as \"politically naive [and] fundamentally unworldly\", and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent.",
"Wodehouse was described by Herbert Warren Wind as \"politically naive [and] fundamentally unworldly\", and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent. The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry.",
"The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry. Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been \"a storm in a teacup\", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable.",
"Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been \"a storm in a teacup\", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable. Wind's view of Wodehouse's naïveté is not universally held.",
"Wind's view of Wodehouse's naïveté is not universally held. Biographers including Donaldson, McCrum and Phelps suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute.",
"Biographers including Donaldson, McCrum and Phelps suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute. He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire.",
"He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire. Best-seller: 1930s During the 1930s Wodehouse's theatrical work tailed off.",
"Best-seller: 1930s During the 1930s Wodehouse's theatrical work tailed off. He wrote or adapted four plays for the West End; Leave it to Psmith (1930), which he adapted in collaboration with Ian Hay, was the only one to have a long run.",
"He wrote or adapted four plays for the West End; Leave it to Psmith (1930), which he adapted in collaboration with Ian Hay, was the only one to have a long run. The reviewer in The Manchester Guardian praised the play, but commented: \"It is Mr Wodehouse's own inimitable narrative comments and descriptions in his own person of the antics of his puppets that one misses.",
"The reviewer in The Manchester Guardian praised the play, but commented: \"It is Mr Wodehouse's own inimitable narrative comments and descriptions in his own person of the antics of his puppets that one misses. They cannot be got into a play and they are at least half the fun of the novels.\"",
"They cannot be got into a play and they are at least half the fun of the novels.\" In 1934 Wodehouse collaborated with Bolton on the book for Cole Porter's Anything Goes (Porter wrote his own lyrics), but at the last minute their version was almost entirely rewritten by others at the instigation of the producer, who disliked the original script.",
"In 1934 Wodehouse collaborated with Bolton on the book for Cole Porter's Anything Goes (Porter wrote his own lyrics), but at the last minute their version was almost entirely rewritten by others at the instigation of the producer, who disliked the original script. Concentrating on writing novels and short stories, Wodehouse reached the peak of his productivity in this decade, averaging two books each year, and grossing an annual £100,000.",
"Concentrating on writing novels and short stories, Wodehouse reached the peak of his productivity in this decade, averaging two books each year, and grossing an annual £100,000. His practice of dividing his time between Britain and America caused Wodehouse difficulties with the tax authorities of both countries.",
"His practice of dividing his time between Britain and America caused Wodehouse difficulties with the tax authorities of both countries. Both the UK Inland Revenue and the US Internal Revenue Service sought to tax him as a resident.",
"Both the UK Inland Revenue and the US Internal Revenue Service sought to tax him as a resident. The matter was settled after lengthy negotiations, but the Wodehouses decided to change their residential status beyond doubt by moving to France, where they bought a house near Le Touquet in the north.",
"The matter was settled after lengthy negotiations, but the Wodehouses decided to change their residential status beyond doubt by moving to France, where they bought a house near Le Touquet in the north. In 1935 Wodehouse created the last of his regular cast of principal characters, Lord Ickenham, otherwise known as Uncle Fred, who, in Usborne's words, \"leads the dance in four novels and a short story... a whirring dynamo of misrule\".",
"In 1935 Wodehouse created the last of his regular cast of principal characters, Lord Ickenham, otherwise known as Uncle Fred, who, in Usborne's words, \"leads the dance in four novels and a short story... a whirring dynamo of misrule\". His other books from the decade include Right Ho, Jeeves, which Donaldson judged his best work, Uncle Fred in the Springtime, which the writer Bernard Levin considered the best, and Blandings Castle, which contains \"Lord Emsworth and the Girl Friend\", which Rudyard Kipling thought \"one of the most perfect short stories I have ever read\".",
"His other books from the decade include Right Ho, Jeeves, which Donaldson judged his best work, Uncle Fred in the Springtime, which the writer Bernard Levin considered the best, and Blandings Castle, which contains \"Lord Emsworth and the Girl Friend\", which Rudyard Kipling thought \"one of the most perfect short stories I have ever read\". Other leading literary figures who admired Wodehouse were A. E. Housman, Max Beerbohm and Hilaire Belloc; on the radio and in print Belloc called Wodehouse \"the best writer of our time: the best living writer of English... the head of my profession\".",
"Other leading literary figures who admired Wodehouse were A. E. Housman, Max Beerbohm and Hilaire Belloc; on the radio and in print Belloc called Wodehouse \"the best writer of our time: the best living writer of English... the head of my profession\". Wodehouse regarded Belloc's plaudit as \"a gag, to get a rise out of serious-minded authors whom he disliked\".",
"Wodehouse regarded Belloc's plaudit as \"a gag, to get a rise out of serious-minded authors whom he disliked\". Wodehouse was never sure that his books had literary merit as well as popular appeal, and, Donaldson suggests, must have been overwhelmed when the University of Oxford conferred an honorary doctorate of letters on him in June 1939.",
"Wodehouse was never sure that his books had literary merit as well as popular appeal, and, Donaldson suggests, must have been overwhelmed when the University of Oxford conferred an honorary doctorate of letters on him in June 1939. His visit to England for the awarding ceremony was the last time he set foot in his native land.",
"His visit to England for the awarding ceremony was the last time he set foot in his native land. Second World War: internment and broadcasts At the start of the Second World War Wodehouse and his wife remained at their Le Touquet house, where, during the Phoney War, he worked on Joy in the Morning.",
"Second World War: internment and broadcasts At the start of the Second World War Wodehouse and his wife remained at their Le Touquet house, where, during the Phoney War, he worked on Joy in the Morning. With the advance of the Germans, the nearby Royal Air Force base withdrew; Wodehouse was offered the sole spare seat in one of the fighter aircraft, but he turned down the opportunity as it would have meant leaving behind Ethel and their dog.",
"With the advance of the Germans, the nearby Royal Air Force base withdrew; Wodehouse was offered the sole spare seat in one of the fighter aircraft, but he turned down the opportunity as it would have meant leaving behind Ethel and their dog. On 21 May 1940, with German troops advancing through northern France, the Wodehouses decided to drive to Portugal and fly from there to the US.",
"On 21 May 1940, with German troops advancing through northern France, the Wodehouses decided to drive to Portugal and fly from there to the US. Two miles from home their car broke down, so they returned and borrowed a car from a neighbour; with the routes blocked with refugees, they returned home again.",
"Two miles from home their car broke down, so they returned and borrowed a car from a neighbour; with the routes blocked with refugees, they returned home again. The Germans occupied Le Touquet on 22 May 1940 and Wodehouse had to report to the authorities daily.",
"The Germans occupied Le Touquet on 22 May 1940 and Wodehouse had to report to the authorities daily. After two months of occupation the Germans interned all male enemy nationals under 60, and Wodehouse was sent to a former prison in Loos, a suburb of Lille, on 21 July; Ethel remained in Le Touquet.",
"After two months of occupation the Germans interned all male enemy nationals under 60, and Wodehouse was sent to a former prison in Loos, a suburb of Lille, on 21 July; Ethel remained in Le Touquet. The internees were placed four to a cell, each of which had been designed for one man.",
"The internees were placed four to a cell, each of which had been designed for one man. One bed was available per cell, which was made available to the eldest man—not Wodehouse, who slept on the granite floor.",
"One bed was available per cell, which was made available to the eldest man—not Wodehouse, who slept on the granite floor. The prisoners were not kept long in Loos before they were transported in cattle trucks to a former barracks in Liège, Belgium, which was run as a prison by the SS.",
"The prisoners were not kept long in Loos before they were transported in cattle trucks to a former barracks in Liège, Belgium, which was run as a prison by the SS. After a week the men were transferred to Huy in Liège, where they were incarcerated in the local citadel.",
"After a week the men were transferred to Huy in Liège, where they were incarcerated in the local citadel. They remained there until September 1940, when they were transported to Tost in Upper Silesia (then Germany, now Toszek in Poland).",
"They remained there until September 1940, when they were transported to Tost in Upper Silesia (then Germany, now Toszek in Poland). Wodehouse's family and friends had not had any news of his location after the fall of France, but an article from an Associated Press reporter who had visited Tost in December 1940 led to pressure on the German authorities to release the novelist.",
"Wodehouse's family and friends had not had any news of his location after the fall of France, but an article from an Associated Press reporter who had visited Tost in December 1940 led to pressure on the German authorities to release the novelist. This included a petition from influential people in the US; Senator W. Warren Barbour presented it to the German ambassador.",
"This included a petition from influential people in the US; Senator W. Warren Barbour presented it to the German ambassador. Although his captors refused to release him, Wodehouse was provided with a typewriter and, to pass the time, he wrote Money in the Bank.",
"Although his captors refused to release him, Wodehouse was provided with a typewriter and, to pass the time, he wrote Money in the Bank. Throughout his time in Tost, he sent postcards to his US literary agent asking for $5 to be sent to various people in Canada, mentioning his name.",
"Throughout his time in Tost, he sent postcards to his US literary agent asking for $5 to be sent to various people in Canada, mentioning his name. These were the families of Canadian prisoners of war, and the news from Wodehouse was the first indication that their sons were alive and well.",
"These were the families of Canadian prisoners of war, and the news from Wodehouse was the first indication that their sons were alive and well. Wodehouse risked severe punishment for the communication, but managed to evade the German censor.",
"Wodehouse risked severe punishment for the communication, but managed to evade the German censor. On 21 June 1941, while he was in the middle of playing a game of cricket, Wodehouse received a visit from two members of the Gestapo.",
"On 21 June 1941, while he was in the middle of playing a game of cricket, Wodehouse received a visit from two members of the Gestapo. He was given ten minutes to pack his things before he was taken to the Hotel Adlon, a top luxury hotel in Berlin.",
"He was given ten minutes to pack his things before he was taken to the Hotel Adlon, a top luxury hotel in Berlin. He stayed there at his own expense; royalties from the German editions of his books had been put into a special frozen bank account at the outset of the war, and Wodehouse was permitted to draw upon this money he had earned while staying in Berlin.",
"He stayed there at his own expense; royalties from the German editions of his books had been put into a special frozen bank account at the outset of the war, and Wodehouse was permitted to draw upon this money he had earned while staying in Berlin. He was thus released from internment a few months before his sixtieth birthday—the age at which civilian internees were released by the Nazis.",
"He was thus released from internment a few months before his sixtieth birthday—the age at which civilian internees were released by the Nazis. Shortly afterwards Wodehouse was, in the words of Phelps, \"cleverly trapped\" into making five broadcasts to the US via German radio, with the Berlin-based correspondent of the Columbia Broadcasting System.",
"Shortly afterwards Wodehouse was, in the words of Phelps, \"cleverly trapped\" into making five broadcasts to the US via German radio, with the Berlin-based correspondent of the Columbia Broadcasting System. The broadcasts—aired on 28 June, 9, 23 and 30 July and 6 August—were titled How to be an Internee Without Previous Training, and comprised humorous anecdotes about Wodehouse's experiences as a prisoner, including some gentle mocking of his captors.",
"The broadcasts—aired on 28 June, 9, 23 and 30 July and 6 August—were titled How to be an Internee Without Previous Training, and comprised humorous anecdotes about Wodehouse's experiences as a prisoner, including some gentle mocking of his captors. The German propaganda ministry arranged for the recordings to be broadcast to Britain in August.",
"The German propaganda ministry arranged for the recordings to be broadcast to Britain in August. The day after Wodehouse recorded his final programme, Ethel joined him in Berlin, having sold most of her jewellery to pay for the journey.",
"The day after Wodehouse recorded his final programme, Ethel joined him in Berlin, having sold most of her jewellery to pay for the journey. Aftermath: reactions and investigation The reaction in Britain to Wodehouse's broadcasts was hostile, and he was \"reviled ... as a traitor, collaborator, Nazi propagandist, and a coward\", although, Phelps observes, many of those who decried his actions had not heard the content of the programmes.",
"Aftermath: reactions and investigation The reaction in Britain to Wodehouse's broadcasts was hostile, and he was \"reviled ... as a traitor, collaborator, Nazi propagandist, and a coward\", although, Phelps observes, many of those who decried his actions had not heard the content of the programmes. A front-page article in The Daily Mirror stated that Wodehouse \"lived luxuriously because Britain laughed with him, but when the laughter was out of his country's heart, ... [he] was not ready to share her suffering.",
"A front-page article in The Daily Mirror stated that Wodehouse \"lived luxuriously because Britain laughed with him, but when the laughter was out of his country's heart, ... [he] was not ready to share her suffering. He hadn't the guts ... even to stick it out in the internment camp.\"",
"He hadn't the guts ... even to stick it out in the internment camp.\" In the House of Commons Anthony Eden, the Foreign Secretary, regretted Wodehouse's actions. Several libraries removed Wodehouse novels from their shelves.",
"Several libraries removed Wodehouse novels from their shelves. On 15 July the journalist William Connor, under his pen name Cassandra, broadcast a postscript to the news programme railing against Wodehouse. According to The Times, the broadcast \"provoked a storm of complaint ... from listeners all over the country\".",
"According to The Times, the broadcast \"provoked a storm of complaint ... from listeners all over the country\". Wodehouse's biographer, Joseph Connolly, thinks the broadcast \"inaccurate, spiteful and slanderous\"; Phelps calls it \"probably the most vituperative attack on an individual ever heard on British radio\".",
"Wodehouse's biographer, Joseph Connolly, thinks the broadcast \"inaccurate, spiteful and slanderous\"; Phelps calls it \"probably the most vituperative attack on an individual ever heard on British radio\". The broadcast was made at the direct instruction of Duff Cooper, the Minister of Information, who overruled strong protests made by the BBC against the decision to air the programme.",
"The broadcast was made at the direct instruction of Duff Cooper, the Minister of Information, who overruled strong protests made by the BBC against the decision to air the programme. Numerous letters appeared in the British press, both supporting and criticising Wodehouse.",
"Numerous letters appeared in the British press, both supporting and criticising Wodehouse. The letters page of The Daily Telegraph became a focus for censuring Wodehouse, including one from Wodehouse's friend, ; a reply from their fellow author Compton Mackenzie in defence of Wodehouse was not published because the editor claimed a lack of space.",
"The letters page of The Daily Telegraph became a focus for censuring Wodehouse, including one from Wodehouse's friend, ; a reply from their fellow author Compton Mackenzie in defence of Wodehouse was not published because the editor claimed a lack of space. Most of those defending Wodehouse against accusations of disloyalty, including Sax Rohmer, Dorothy L. Sayers and Gilbert Frankau, conceded that he had acted stupidly.",
"Most of those defending Wodehouse against accusations of disloyalty, including Sax Rohmer, Dorothy L. Sayers and Gilbert Frankau, conceded that he had acted stupidly. Some members of the public wrote to the newspapers to say that the full facts were not yet known and a fair judgment could not be made until they were.",
"Some members of the public wrote to the newspapers to say that the full facts were not yet known and a fair judgment could not be made until they were. The management of the BBC, who considered Wodehouse's actions no worse than \"ill advised\", pointed out to Cooper that there was no evidence at that point whether Wodehouse had acted voluntarily or under compulsion.",
"The management of the BBC, who considered Wodehouse's actions no worse than \"ill advised\", pointed out to Cooper that there was no evidence at that point whether Wodehouse had acted voluntarily or under compulsion. When Wodehouse heard of the furore the broadcasts had caused, he contacted the Foreign Office—through the Swiss embassy in Berlin—to explain his actions, and attempted to return home via neutral countries, but the German authorities refused to let him leave.",
"When Wodehouse heard of the furore the broadcasts had caused, he contacted the Foreign Office—through the Swiss embassy in Berlin—to explain his actions, and attempted to return home via neutral countries, but the German authorities refused to let him leave. In Performing Flea, a 1953 collection of letters, Wodehouse wrote, \"Of course I ought to have had the sense to see that it was a loony thing to do to use the German radio for even the most harmless stuff, but I didn't.",
"In Performing Flea, a 1953 collection of letters, Wodehouse wrote, \"Of course I ought to have had the sense to see that it was a loony thing to do to use the German radio for even the most harmless stuff, but I didn't. I suppose prison life saps the intellect\".",
"I suppose prison life saps the intellect\". The reaction in America was mixed: the left-leaning publication PM accused Wodehouse of \"play[ing] Jeeves to the Nazis\", but the Department of War used the interviews as an ideal representation of anti-Nazi propaganda.",
"The reaction in America was mixed: the left-leaning publication PM accused Wodehouse of \"play[ing] Jeeves to the Nazis\", but the Department of War used the interviews as an ideal representation of anti-Nazi propaganda. The Wodehouses remained in Germany until September 1943, when, because of the Allied bombings, they were allowed to move back to Paris.",
"The Wodehouses remained in Germany until September 1943, when, because of the Allied bombings, they were allowed to move back to Paris. They were living there when the city was liberated on 25 August 1944; Wodehouse reported to the American authorities the following day, asking them to inform the British of his whereabouts.",
"They were living there when the city was liberated on 25 August 1944; Wodehouse reported to the American authorities the following day, asking them to inform the British of his whereabouts. He was subsequently visited by Malcolm Muggeridge, recently arrived in Paris as an intelligence officer with MI6.",
"He was subsequently visited by Malcolm Muggeridge, recently arrived in Paris as an intelligence officer with MI6. The young officer quickly came to like Wodehouse and considered the question of treasonable behaviour as \"ludicrous\"; he summed up the writer as \"ill-fitted to live in an age of ideological conflict\".",
"The young officer quickly came to like Wodehouse and considered the question of treasonable behaviour as \"ludicrous\"; he summed up the writer as \"ill-fitted to live in an age of ideological conflict\". On 9 September Wodehouse was visited by an MI5 officer and former barrister, Major Edward Cussen, who formally investigated him, a process that stretched over four days.",
"On 9 September Wodehouse was visited by an MI5 officer and former barrister, Major Edward Cussen, who formally investigated him, a process that stretched over four days. On 28 September Cussen filed his report, which states that in regard to the broadcasts, Wodehouse's behaviour \"has been unwise\", but advised against further action.",
"On 28 September Cussen filed his report, which states that in regard to the broadcasts, Wodehouse's behaviour \"has been unwise\", but advised against further action. On 23 November Theobald Matthew, the Director of Public Prosecutions, decided there was no evidence to justify prosecuting Wodehouse.",
"On 23 November Theobald Matthew, the Director of Public Prosecutions, decided there was no evidence to justify prosecuting Wodehouse. In November 1944 Duff Cooper was appointed British ambassador to France and was provided accommodation at the Hôtel Le Bristol, where the Wodehouses were living.",
"In November 1944 Duff Cooper was appointed British ambassador to France and was provided accommodation at the Hôtel Le Bristol, where the Wodehouses were living. Cooper complained to the French authorities, and the couple were moved to a different hotel. They were subsequently arrested by French police and placed under preventive detention, despite no charges being presented.",
"They were subsequently arrested by French police and placed under preventive detention, despite no charges being presented. When Muggeridge tracked them down later, he managed to get Ethel released straight away and, four days later, ensured that the French authorities declared Wodehouse unwell and put him in a nearby hospital, which was more comfortable than where they had been detained.",
"When Muggeridge tracked them down later, he managed to get Ethel released straight away and, four days later, ensured that the French authorities declared Wodehouse unwell and put him in a nearby hospital, which was more comfortable than where they had been detained. While in this hospital, Wodehouse worked on his novel Uncle Dynamite.",
"While in this hospital, Wodehouse worked on his novel Uncle Dynamite. While still detained by the French, Wodehouse was again mentioned in questions in the House of Commons in December 1944 when MPs wondered if the French authorities could repatriate him to stand trial.",
"While still detained by the French, Wodehouse was again mentioned in questions in the House of Commons in December 1944 when MPs wondered if the French authorities could repatriate him to stand trial. Eden stated that the \"matter has been gone into, and, according to the advice given, there are no grounds upon which we could take action\".",
"Eden stated that the \"matter has been gone into, and, according to the advice given, there are no grounds upon which we could take action\". Two months later, Orwell wrote the essay \"In Defence of P.G.",
"Two months later, Orwell wrote the essay \"In Defence of P.G. Wodehouse\", where he stated that \"it is important to realise that the events of 1941 do not convict Wodehouse of anything worse than stupidity\".",
"Wodehouse\", where he stated that \"it is important to realise that the events of 1941 do not convict Wodehouse of anything worse than stupidity\". Orwell's rationale was that Wodehouse's \"moral outlook has remained that of a public-school boy, and according to the public-school code, treachery in time of war is the most unforgivable of all the sins\", which was compounded by his \"complete lack—so far as one can judge from his printed works—of political awareness\".",
"Orwell's rationale was that Wodehouse's \"moral outlook has remained that of a public-school boy, and according to the public-school code, treachery in time of war is the most unforgivable of all the sins\", which was compounded by his \"complete lack—so far as one can judge from his printed works—of political awareness\". On 15 January 1945 the French authorities released Wodehouse, but they did not inform him, until June 1946, that he would not face any official charges and was free to leave the country.",
"On 15 January 1945 the French authorities released Wodehouse, but they did not inform him, until June 1946, that he would not face any official charges and was free to leave the country. American exile: 1946–1975 Having secured American visas in July 1946, the Wodehouses made preparations to return to New York.",
"American exile: 1946–1975 Having secured American visas in July 1946, the Wodehouses made preparations to return to New York. They were delayed by Ethel's insistence on acquiring suitable new clothes and by Wodehouse's wish to finish writing his current novel, The Mating Season, in the peace of the French countryside.",
"They were delayed by Ethel's insistence on acquiring suitable new clothes and by Wodehouse's wish to finish writing his current novel, The Mating Season, in the peace of the French countryside. In April 1947 they sailed to New York, where Wodehouse was relieved at the friendly reception he received from the large press contingent awaiting his arrival.",
"In April 1947 they sailed to New York, where Wodehouse was relieved at the friendly reception he received from the large press contingent awaiting his arrival. Ethel secured a comfortable penthouse apartment in Manhattan's Upper East Side, but Wodehouse was not at ease. The New York that he had known before the war was much changed.",
"The New York that he had known before the war was much changed. The magazines that had paid lavishly for his stories were in decline, and those that remained were not much interested in him.",
"The magazines that had paid lavishly for his stories were in decline, and those that remained were not much interested in him. He was sounded out about writing for Broadway, but he was not at home in the post-war theatre; he had money problems, with large sums temporarily tied up in Britain, and for the first time in his career he had no ideas for a new novel.",
"He was sounded out about writing for Broadway, but he was not at home in the post-war theatre; he had money problems, with large sums temporarily tied up in Britain, and for the first time in his career he had no ideas for a new novel. He did not complete one until 1951.",
"He did not complete one until 1951. Wodehouse remained unsettled until he and Ethel left New York City for Long Island. Bolton and his wife lived in the prosperous hamlet of Remsenburg, part of the Southampton area of Long Island, east of Manhattan.",
"Bolton and his wife lived in the prosperous hamlet of Remsenburg, part of the Southampton area of Long Island, east of Manhattan. Wodehouse stayed with them frequently, and in 1952 he and Ethel bought a house nearby. They lived at Remsenburg for the rest of their lives.",
"They lived at Remsenburg for the rest of their lives. Between 1952 and 1975 he published more than twenty novels, as well as two collections of short stories, a heavily edited collection of his letters, a volume of memoirs, and a selection of his magazine articles. He continued to hanker after a revival of his theatrical career.",
"He continued to hanker after a revival of his theatrical career. A 1959 off-Broadway revival of the 1917 Bolton-Wodehouse-Kern Leave It to Jane was a surprise hit, running for 928 performances, but his few post-war stage works, some in collaboration with Bolton, made little impression.",
"A 1959 off-Broadway revival of the 1917 Bolton-Wodehouse-Kern Leave It to Jane was a surprise hit, running for 928 performances, but his few post-war stage works, some in collaboration with Bolton, made little impression. Although Ethel made a return visit to England in 1948 to shop and visit family and friends, Wodehouse never left America after his arrival in 1947.",
"Although Ethel made a return visit to England in 1948 to shop and visit family and friends, Wodehouse never left America after his arrival in 1947. It was not until 1965 that the British government indicated privately that he could return without fear of legal proceedings, and by then he felt too old to make the journey.",
"It was not until 1965 that the British government indicated privately that he could return without fear of legal proceedings, and by then he felt too old to make the journey. The biographers Benny Green and Robert McCrum both take the view that this exile benefited Wodehouse's writing, helping him to go on depicting an idealised England seen in his mind's eye, rather than as it actually was in the post-war decades.",
"The biographers Benny Green and Robert McCrum both take the view that this exile benefited Wodehouse's writing, helping him to go on depicting an idealised England seen in his mind's eye, rather than as it actually was in the post-war decades. During their years in Long Island, the couple often took in stray animals and contributed substantial funds to a local animal shelter.",
"During their years in Long Island, the couple often took in stray animals and contributed substantial funds to a local animal shelter. In 1955 Wodehouse became an American citizen, though he remained a British subject, and was therefore still eligible for UK state honours.",
"In 1955 Wodehouse became an American citizen, though he remained a British subject, and was therefore still eligible for UK state honours. He was considered for the award of a knighthood three times from 1967, but the honour was twice blocked by British officials.",
"He was considered for the award of a knighthood three times from 1967, but the honour was twice blocked by British officials. In 1974 the British prime minister, Harold Wilson, intervened to secure a knighthood (KBE) for Wodehouse, which was announced in the January 1975 New Year Honours list.",
"In 1974 the British prime minister, Harold Wilson, intervened to secure a knighthood (KBE) for Wodehouse, which was announced in the January 1975 New Year Honours list. The Times commented that Wodehouse's honour signalled \"official forgiveness for his wartime indiscretion....",
"The Times commented that Wodehouse's honour signalled \"official forgiveness for his wartime indiscretion.... It is late, but not too late, to take the sting out of that unhappy incident.\" The following month Wodehouse entered Southampton Hospital, Long Island, for treatment of a skin complaint.",
"The following month Wodehouse entered Southampton Hospital, Long Island, for treatment of a skin complaint. While there, he suffered a heart attack and died on 14 February 1975 at the age of 93. He was buried at Remsenburg Presbyterian Church four days later.",
"He was buried at Remsenburg Presbyterian Church four days later. Ethel outlived him by more than nine years; Leonora had predeceased him, dying suddenly in 1944.",
"Ethel outlived him by more than nine years; Leonora had predeceased him, dying suddenly in 1944. Writing Technique and approach Before starting a book Wodehouse would write up to four hundred pages of notes bringing together an outline of the plot; he acknowledged that \"It's the plots that I find so hard to work out.",
"Writing Technique and approach Before starting a book Wodehouse would write up to four hundred pages of notes bringing together an outline of the plot; he acknowledged that \"It's the plots that I find so hard to work out. It takes such a long time to work one out.\"",
"It takes such a long time to work one out.\" He always completed the plot before working on specific character actions. For a novel the note-writing process could take up to two years, and he would usually have two or more novels in preparation simultaneously.",
"For a novel the note-writing process could take up to two years, and he would usually have two or more novels in preparation simultaneously. After he had completed his notes, he would draw up a fuller scenario of about thirty thousand words, which ensured plot holes were avoided, and allowed for the dialogue to begin to develop.",
"After he had completed his notes, he would draw up a fuller scenario of about thirty thousand words, which ensured plot holes were avoided, and allowed for the dialogue to begin to develop. When interviewed in 1975 he revealed that \"For a humorous novel you've got to have a scenario, and you've got to test it so that you know where the comedy comes in, where the situations come in ... splitting it up into scenes (you can make a scene of almost anything) and have as little stuff in between as possible.\"",
"When interviewed in 1975 he revealed that \"For a humorous novel you've got to have a scenario, and you've got to test it so that you know where the comedy comes in, where the situations come in ... splitting it up into scenes (you can make a scene of almost anything) and have as little stuff in between as possible.\" He preferred working between 4 and 7 pm—but never after dinner—and would work seven days a week.",
"He preferred working between 4 and 7 pm—but never after dinner—and would work seven days a week. In his younger years, he would write around two to three thousand words a day, although he slowed as he aged, so that in his nineties he would produce a thousand.",
"In his younger years, he would write around two to three thousand words a day, although he slowed as he aged, so that in his nineties he would produce a thousand. The reduced speed in writing slowed his production of books: when younger he would produce a novel in about three months, while Bachelors Anonymous, published in 1973, took around six months.",
"The reduced speed in writing slowed his production of books: when younger he would produce a novel in about three months, while Bachelors Anonymous, published in 1973, took around six months. Although studies of language production in normal healthy ageing show a marked decline from the mid-70s on, a study of Wodehouse's works did not find any evidence of a decline in linguistic ability with age.",
"Although studies of language production in normal healthy ageing show a marked decline from the mid-70s on, a study of Wodehouse's works did not find any evidence of a decline in linguistic ability with age. Wodehouse believed that one of the factors that made his stories humorous was his view of life, and he stated that \"If you take life fairly easily, then you take a humorous view of things.",
"Wodehouse believed that one of the factors that made his stories humorous was his view of life, and he stated that \"If you take life fairly easily, then you take a humorous view of things. It's probably because you were born that way.\"",
"It's probably because you were born that way.\" He carried this view through into his writing, describing the approach as \"making the thing a sort of musical comedy without music, and ignoring real life altogether\".",
"He carried this view through into his writing, describing the approach as \"making the thing a sort of musical comedy without music, and ignoring real life altogether\". The literary critic Edward L. Galligan considers Wodehouse's stories to show his mastery in adapting the form of the American musical comedy for his writings.",
"The literary critic Edward L. Galligan considers Wodehouse's stories to show his mastery in adapting the form of the American musical comedy for his writings. Wodehouse would ensure that his first draft was as carefully and accurately done as possible, correcting and refining the prose as he wrote, and would then make another good copy, before proofreading again and then making a final copy for his publisher.",
"Wodehouse would ensure that his first draft was as carefully and accurately done as possible, correcting and refining the prose as he wrote, and would then make another good copy, before proofreading again and then making a final copy for his publisher. Most of Wodehouse's canon is set in an undated period around the 1920s and 1930s.",
"Most of Wodehouse's canon is set in an undated period around the 1920s and 1930s. The critic Anthony Lejeune describes the settings of Wodehouse's novels, such as the Drones Club and Blandings Castle, as \"a fairyland\".",
"The critic Anthony Lejeune describes the settings of Wodehouse's novels, such as the Drones Club and Blandings Castle, as \"a fairyland\". Although some critics thought Wodehouse's fiction was based on a world that had never existed, Wodehouse affirmed that \"it did.",
"Although some critics thought Wodehouse's fiction was based on a world that had never existed, Wodehouse affirmed that \"it did. It was going strong between the wars\", although he agreed that his version was to some extent \"a sort of artificial world of my own creation\".",
"It was going strong between the wars\", although he agreed that his version was to some extent \"a sort of artificial world of my own creation\". The novels showed a largely unchanging world, regardless of when they were written, and only rarely—and mistakenly in McCrum's view—did Wodehouse allow modernity to intrude, as he did in the 1966 story \"Bingo Bans the Bomb\".",
"The novels showed a largely unchanging world, regardless of when they were written, and only rarely—and mistakenly in McCrum's view—did Wodehouse allow modernity to intrude, as he did in the 1966 story \"Bingo Bans the Bomb\". When dealing with the dialogue in his novels, Wodehouse would consider the book's characters as if they were actors in a play, ensuring that the main roles were kept suitably employed throughout the storyline, which must be strong: \"If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them.\"",
"When dealing with the dialogue in his novels, Wodehouse would consider the book's characters as if they were actors in a play, ensuring that the main roles were kept suitably employed throughout the storyline, which must be strong: \"If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them.\" Many of Wodehouse's parts were stereotypes, and he acknowledged that \"a real character in one of my books sticks out like a sore thumb.\"",
"Many of Wodehouse's parts were stereotypes, and he acknowledged that \"a real character in one of my books sticks out like a sore thumb.\" The publisher Michael Joseph identifies that even within the stereotypes Wodehouse understood human nature, and therefore \"shares with [Charles] Dickens and Charles Chaplin the ability to present the comic resistance of the individual against those superior forces to which we are all subject\".",
"The publisher Michael Joseph identifies that even within the stereotypes Wodehouse understood human nature, and therefore \"shares with [Charles] Dickens and Charles Chaplin the ability to present the comic resistance of the individual against those superior forces to which we are all subject\". Much of Wodehouse's use of slang terms reflects the influence of his time at school in Dulwich, and partly reflects Edwardian slang.",
"Much of Wodehouse's use of slang terms reflects the influence of his time at school in Dulwich, and partly reflects Edwardian slang. As a young man he enjoyed the literary works of Arthur Conan Doyle and Jerome K. Jerome, and the operatic works of Gilbert and Sullivan. Wodehouse quotes from and alludes to numerous poets throughout his work.",
"Wodehouse quotes from and alludes to numerous poets throughout his work. The scholar Clarke Olney lists those quoted, including Milton, Byron, Longfellow, Coleridge, Swinburne, Tennyson, Wordsworth and Shakespeare. Another favoured source was the King James Bible.",
"Another favoured source was the King James Bible. Language In 1941 the Concise Cambridge History of English Literature opined that Wodehouse had \"a gift for highly original aptness of phrase that almost suggests a poet struggling for release among the wild extravagances of farce\", while McCrum thinks that Wodehouse manages to combine \"high farce with the inverted poetry of his mature comic style\", particularly in The Code of the Woosters; the novelist Anthony Powell believes Wodehouse to be a \"comic poet\".",
"Language In 1941 the Concise Cambridge History of English Literature opined that Wodehouse had \"a gift for highly original aptness of phrase that almost suggests a poet struggling for release among the wild extravagances of farce\", while McCrum thinks that Wodehouse manages to combine \"high farce with the inverted poetry of his mature comic style\", particularly in The Code of the Woosters; the novelist Anthony Powell believes Wodehouse to be a \"comic poet\". Robert A.",
"Robert A. Robert A. Hall Jr., in his study of Wodehouse's style and technique, describes the author as a master of prose, an opinion also shared by Levin, who considers Wodehouse \"one of the finest and purest writers of English prose\".",
"Hall Jr., in his study of Wodehouse's style and technique, describes the author as a master of prose, an opinion also shared by Levin, who considers Wodehouse \"one of the finest and purest writers of English prose\". Hall identifies several techniques used by Wodehouse to achieve comic effect, including the creation of new words through adding or removing prefixes and suffixes, so when Pongo Twistleton removes the housemaid Elsie Bean from a cupboard, Wodehouse writes that the character \"de-Beaned the cupboard\".",
"Hall identifies several techniques used by Wodehouse to achieve comic effect, including the creation of new words through adding or removing prefixes and suffixes, so when Pongo Twistleton removes the housemaid Elsie Bean from a cupboard, Wodehouse writes that the character \"de-Beaned the cupboard\". Wodehouse created new words by splitting others in two, thus Wodehouse divides \"hobnobbing\" when he writes: \"To offer a housemaid a cigarette is not hobbing.",
"Wodehouse created new words by splitting others in two, thus Wodehouse divides \"hobnobbing\" when he writes: \"To offer a housemaid a cigarette is not hobbing. Nor, when you light it for her, does that constitute nobbing.\"",
"Nor, when you light it for her, does that constitute nobbing.\" Richard Voorhees, Wodehouse's biographer, believes that the author used clichés in a deliberate and ironic manner.",
"Richard Voorhees, Wodehouse's biographer, believes that the author used clichés in a deliberate and ironic manner. His opinion is shared by the academic Stephen Medcalf, who deems Wodehouse's skill is to \"bring a cliché just enough to life to kill it\", although Pamela March, writing in The Christian Science Monitor, considers Wodehouse to have \"an ability to decliché a cliché\".",
"His opinion is shared by the academic Stephen Medcalf, who deems Wodehouse's skill is to \"bring a cliché just enough to life to kill it\", although Pamela March, writing in The Christian Science Monitor, considers Wodehouse to have \"an ability to decliché a cliché\". Medcalf provides an example from Right Ho, Jeeves in which the teetotal Gussie Fink-Nottle has surreptitiously been given whisky and gin in a punch prior to a prize-giving: 'It seems to me, Jeeves, that the ceremony may be one fraught with considerable interest.'",
"Medcalf provides an example from Right Ho, Jeeves in which the teetotal Gussie Fink-Nottle has surreptitiously been given whisky and gin in a punch prior to a prize-giving: 'It seems to me, Jeeves, that the ceremony may be one fraught with considerable interest.' 'Yes, sir.'",
"'Yes, sir.' 'Yes, sir.' 'What, in your opinion, will the harvest be?' 'One finds it difficult to hazard a conjecture, sir.' 'You mean imagination boggles?' 'Yes, sir.' I inspected my imagination. He was right. It boggled.",
"He was right. It boggled. It boggled. The stylistic device most commonly found in Wodehouse's work is his use of comparative imagery that includes similes. Hall opines that the humour comes from Wodehouse's ability to accentuate \"resemblances which at first glance seem highly incongruous\".",
"Hall opines that the humour comes from Wodehouse's ability to accentuate \"resemblances which at first glance seem highly incongruous\". Examples can be seen in Joy in the Morning, Chapter 29: \"There was a sound in the background like a distant sheep coughing gently on a mountainside.",
"Examples can be seen in Joy in the Morning, Chapter 29: \"There was a sound in the background like a distant sheep coughing gently on a mountainside. Jeeves sailing into action\", or Psmith, Chapter 7: \"A sound like two or three pigs feeding rather noisily in the middle of a thunderstorm interrupted his meditation.\"",
"Jeeves sailing into action\", or Psmith, Chapter 7: \"A sound like two or three pigs feeding rather noisily in the middle of a thunderstorm interrupted his meditation.\" Hall also identifies that periodically Wodehouse used the stylistic device of a transferred epithet, with an adjective that properly belongs to a person applied instead to some inanimate object.",
"Hall also identifies that periodically Wodehouse used the stylistic device of a transferred epithet, with an adjective that properly belongs to a person applied instead to some inanimate object. The form of expression is used sparingly by Wodehouse in comparison with other mechanisms, only once or twice in a story or novel, according to Hall.",
"The form of expression is used sparingly by Wodehouse in comparison with other mechanisms, only once or twice in a story or novel, according to Hall. \"I balanced a thoughtful lump of sugar on the teaspoon.\"",
"\"I balanced a thoughtful lump of sugar on the teaspoon.\" —Joy in the Morning, Chapter 5 \"As I sat in the bath-tub, soaping a meditative foot ...\" —Jeeves and the Feudal Spirit, Chapter 1 \"The first thing he did was to prod Jeeves in the lower ribs with an uncouth forefinger.\"",
"—Joy in the Morning, Chapter 5 \"As I sat in the bath-tub, soaping a meditative foot ...\" —Jeeves and the Feudal Spirit, Chapter 1 \"The first thing he did was to prod Jeeves in the lower ribs with an uncouth forefinger.\" —Much Obliged, Jeeves, Chapter 4 Wordplay is a key element in Wodehouse's writing.",
"—Much Obliged, Jeeves, Chapter 4 Wordplay is a key element in Wodehouse's writing. This can take the form of puns, such as in Jeeves and the Feudal Spirit, when Bertie is released after a night in the police cells, and says that he has \"a pinched look\" about him.",
"This can take the form of puns, such as in Jeeves and the Feudal Spirit, when Bertie is released after a night in the police cells, and says that he has \"a pinched look\" about him. Linguistic confusion is another humorous mechanism, such as in Uncle Dynamite when Constable Potter says he has been \"assaulted by the duck pond\".",
"Linguistic confusion is another humorous mechanism, such as in Uncle Dynamite when Constable Potter says he has been \"assaulted by the duck pond\". In reply, Sir Aylmer, confusing the two meanings of the word \"by\", asks: \"How the devil can you be assaulted by a duck pond?\"",
"In reply, Sir Aylmer, confusing the two meanings of the word \"by\", asks: \"How the devil can you be assaulted by a duck pond?\" Wodehouse also uses metaphor and mixed metaphor to add humour.",
"Wodehouse also uses metaphor and mixed metaphor to add humour. Some come through exaggeration, such as Bingo Little's infant child who \"not only has the aspect of a mass murderer, but that of a mass murderer suffering from an ingrown toenail\", or Wooster's complaint that \"the rumpuses that Bobbie Wickham is already starting may be amusing to her, but not to the unfortunate toads beneath the harrow whom she ruthlessly plunges into the soup.\"",
"Some come through exaggeration, such as Bingo Little's infant child who \"not only has the aspect of a mass murderer, but that of a mass murderer suffering from an ingrown toenail\", or Wooster's complaint that \"the rumpuses that Bobbie Wickham is already starting may be amusing to her, but not to the unfortunate toads beneath the harrow whom she ruthlessly plunges into the soup.\" Bertie Wooster's half-forgotten vocabulary also provides a further humorous device.",
"Bertie Wooster's half-forgotten vocabulary also provides a further humorous device. In Jeeves and the Feudal Spirit Bertie asks Jeeves \"Let a plugugly like young Thos loose in the community with a cosh, and you are inviting disaster and ... what's the word? Something about cats.\" Jeeves replies, \"Cataclysms, sir?\"",
"Jeeves replies, \"Cataclysms, sir?\" Reception and reputation Literary reception Wodehouse's early career as a lyricist and playwright was profitable, and his work with Bolton, according to The Guardian, \"was one of the most successful in the history of musical comedy\".",
"Reception and reputation Literary reception Wodehouse's early career as a lyricist and playwright was profitable, and his work with Bolton, according to The Guardian, \"was one of the most successful in the history of musical comedy\". At the outbreak of the Second World War he was earning £40,000 a year from his work, which had broadened to include novels and short stories.",
"At the outbreak of the Second World War he was earning £40,000 a year from his work, which had broadened to include novels and short stories. Following the furore ensuing from the wartime broadcasts, he suffered a downturn in his popularity and book sales; The Saturday Evening Post stopped publishing his short stories, a stance they reversed in 1965, although his popularity—and the sales figures—slowly recovered over time.",
"Following the furore ensuing from the wartime broadcasts, he suffered a downturn in his popularity and book sales; The Saturday Evening Post stopped publishing his short stories, a stance they reversed in 1965, although his popularity—and the sales figures—slowly recovered over time. Wodehouse received great praise from many of his contemporaries, including Max Beerbohm, Rudyard Kipling, A. E. Housman and Evelyn Waugh—the last of whom opines, \"One has to regard a man as a Master who can produce on average three uniquely brilliant and entirely original similes on each page.\"",
"Wodehouse received great praise from many of his contemporaries, including Max Beerbohm, Rudyard Kipling, A. E. Housman and Evelyn Waugh—the last of whom opines, \"One has to regard a man as a Master who can produce on average three uniquely brilliant and entirely original similes on each page.\" There are dissenters to the praise.",
"There are dissenters to the praise. The writer Alan Bennett thinks that \"inspired though his language is, I can never take more than ten pages of the novels at a time, their relentless flippancy wearing and tedious\", while the literary critic Q. D. Leavis writes that Wodehouse had a \"stereotyped humour ... of ingenious variations on a laugh in one place\".",
"The writer Alan Bennett thinks that \"inspired though his language is, I can never take more than ten pages of the novels at a time, their relentless flippancy wearing and tedious\", while the literary critic Q. D. Leavis writes that Wodehouse had a \"stereotyped humour ... of ingenious variations on a laugh in one place\". In a 2010 study of Wodehouse's few relatively serious novels, such as The Coming of Bill (1919), Jill the Reckless (1920) and The Adventures of Sally (1922), David Heddendorf concludes that though their literary quality does not match that of the farcical novels, they show a range of empathy and interests that in real life—and in his most comic works—the author seemed to lack.",
"In a 2010 study of Wodehouse's few relatively serious novels, such as The Coming of Bill (1919), Jill the Reckless (1920) and The Adventures of Sally (1922), David Heddendorf concludes that though their literary quality does not match that of the farcical novels, they show a range of empathy and interests that in real life—and in his most comic works—the author seemed to lack. \"Never oblivious to grief and despair, he opts in clear-eyed awareness for his timeless world of spats and woolly-headed peers.",
"\"Never oblivious to grief and despair, he opts in clear-eyed awareness for his timeless world of spats and woolly-headed peers. It's an austere, almost bloodless preference for pristine artifice over the pain and messy outcomes of actual existence, but it's a case of Wodehouse keeping faith with his own unique art.\"",
"It's an austere, almost bloodless preference for pristine artifice over the pain and messy outcomes of actual existence, but it's a case of Wodehouse keeping faith with his own unique art.\" The American literary analyst Robert F. Kiernan, defining \"camp\" as \"excessive stylization of whatever kind\", brackets Wodehouse as \"a master of the camp novel\", along with Thomas Love Peacock, Max Beerbohm, Ronald Firbank, E. F. Benson and Ivy Compton-Burnett.",
"The American literary analyst Robert F. Kiernan, defining \"camp\" as \"excessive stylization of whatever kind\", brackets Wodehouse as \"a master of the camp novel\", along with Thomas Love Peacock, Max Beerbohm, Ronald Firbank, E. F. Benson and Ivy Compton-Burnett. The literary critic and writer Cyril Connolly calls Wodehouse a \"politicians' author\"—one who does \"not like art to be exacting and difficult\".",
"The literary critic and writer Cyril Connolly calls Wodehouse a \"politicians' author\"—one who does \"not like art to be exacting and difficult\". Two former British prime ministers, H. H. Asquith and Tony Blair, are on record as Wodehouse aficionados, and the latter became a patron of the Wodehouse Society.",
"Two former British prime ministers, H. H. Asquith and Tony Blair, are on record as Wodehouse aficionados, and the latter became a patron of the Wodehouse Society. Seán O'Casey, a successful playwright of the 1920s, thought little of Wodehouse; he commented in 1941 that it was damaging to England's dignity that the public or \"the academic government of Oxford, dead from the chin up\" considered Wodehouse an important figure in English literature.",
"Seán O'Casey, a successful playwright of the 1920s, thought little of Wodehouse; he commented in 1941 that it was damaging to England's dignity that the public or \"the academic government of Oxford, dead from the chin up\" considered Wodehouse an important figure in English literature. His jibe that Wodehouse was \"English literature's performing flea\" provided his target with the title of his collected letters, published in 1953.",
"His jibe that Wodehouse was \"English literature's performing flea\" provided his target with the title of his collected letters, published in 1953. McCrum, writing in 2004, observes, \"Wodehouse is more popular today than on the day he died\", and \"his comic vision has an absolutely secure place in the English literary imagination.\"",
"McCrum, writing in 2004, observes, \"Wodehouse is more popular today than on the day he died\", and \"his comic vision has an absolutely secure place in the English literary imagination.\" Honours and influence The proposed nominations of Wodehouse for a knighthood in 1967 and 1971 were blocked for fear that such an award would \"revive the controversy of his wartime behaviour and give currency to a Bertie Wooster image of the British character which the embassy was doing its best to eradicate\".",
"Honours and influence The proposed nominations of Wodehouse for a knighthood in 1967 and 1971 were blocked for fear that such an award would \"revive the controversy of his wartime behaviour and give currency to a Bertie Wooster image of the British character which the embassy was doing its best to eradicate\". When Wodehouse was awarded the knighthood, only four years later, the journalist Dennis Barker wrote in The Guardian that the writer was \"the solitary surviving English literary comic genius\".",
"When Wodehouse was awarded the knighthood, only four years later, the journalist Dennis Barker wrote in The Guardian that the writer was \"the solitary surviving English literary comic genius\". After his death six weeks later, the journalist Michael Davie, writing in the same paper, observed that \"Many people regarded ... [Wodehouse] as he regarded Beachcomber, as 'one, if not more than one, of England's greatest men'\", while in the view of the obituarist for The Times Wodehouse \"was a comic genius recognized in his lifetime as a classic and an old master of farce\".",
"After his death six weeks later, the journalist Michael Davie, writing in the same paper, observed that \"Many people regarded ... [Wodehouse] as he regarded Beachcomber, as 'one, if not more than one, of England's greatest men'\", while in the view of the obituarist for The Times Wodehouse \"was a comic genius recognized in his lifetime as a classic and an old master of farce\". In September 2019 Wodehouse was commemorated with a memorial stone in Westminster Abbey; the dedication was held two days after it was installed.",
"In September 2019 Wodehouse was commemorated with a memorial stone in Westminster Abbey; the dedication was held two days after it was installed. Since Wodehouse's death there have been numerous adaptations and dramatisations of his work on television and film; Wodehouse himself has been portrayed on radio and screen numerous times.",
"Since Wodehouse's death there have been numerous adaptations and dramatisations of his work on television and film; Wodehouse himself has been portrayed on radio and screen numerous times. There are several literary societies dedicated to Wodehouse. The P.G. Wodehouse Society (UK) was founded in 1997 and has over 1,000 members as at 2015.",
"Wodehouse Society (UK) was founded in 1997 and has over 1,000 members as at 2015. The president of the society as at 2017 is Alexander Armstrong; past presidents have included Terry Wogan and Richard Briers.",
"The president of the society as at 2017 is Alexander Armstrong; past presidents have included Terry Wogan and Richard Briers. There are also other groups of Wodehouse fans in Australia, Belgium, France, Finland, India, Italy, Russia, Sweden and the US.",
"There are also other groups of Wodehouse fans in Australia, Belgium, France, Finland, India, Italy, Russia, Sweden and the US. As at 2015 the Oxford English Dictionary contains over 1,750 quotations from Wodehouse, illustrating terms from crispish to zippiness.",
"As at 2015 the Oxford English Dictionary contains over 1,750 quotations from Wodehouse, illustrating terms from crispish to zippiness. Voorhees, while acknowledging that Wodehouse's antecedents in literature range from Ben Jonson to Oscar Wilde, writes: Notes, references and sources Notes References Sources External links P. G. Wodehouse collection at One More Library P.G.",
"Voorhees, while acknowledging that Wodehouse's antecedents in literature range from Ben Jonson to Oscar Wilde, writes: Notes, references and sources Notes References Sources External links P. G. Wodehouse collection at One More Library P.G. Wodehouse Archive on loan to the British Library The Wodehouse Society The P. G. Wodehouse Society (UK) Transcripts of Wodehouse's Berlin Broadcasts \"P. G. Wodehouse: An English Master of American Slang\" from The American Legion Weekly, 24 October 1919 Orwell, George \"In Defence of P.G.",
"Wodehouse Archive on loan to the British Library The Wodehouse Society The P. G. Wodehouse Society (UK) Transcripts of Wodehouse's Berlin Broadcasts \"P. G. Wodehouse: An English Master of American Slang\" from The American Legion Weekly, 24 October 1919 Orwell, George \"In Defence of P.G. Wodehouse\" 1881 births 1975 deaths 20th-century English novelists 20th-century British dramatists and playwrights British emigrants to the United States English lyricists Knights Commander of the Order of the British Empire English male dramatists and playwrights British male novelists People educated at Dulwich College People educated at Elizabeth College, Guernsey People from Guildford People from Long Island PG People interned during World War II English humorists 20th-century American novelists American dramatists and playwrights American humorists American lyricists American male novelists Novelists from New York (state) Literature controversies English broadcasters for Nazi Germany 20th-century American male writers"
] |
[
"P. G. Wodehouse",
"Broadway: 1915-19",
"What happened in 1915?",
"Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator.",
"what did the two collaborate on?",
"This was Miss Springtime (1916), which ran for 227 performances--a good run by the standards of the day.",
"what did they do next?",
"The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917-18) and Oh, Lady! Lady!! (1918),"
] | C_01908f72800044fda5b1d74a25e24226_1 | were there any other successes? | 4 | Besides Miss Springtime, Leave it to Jane, Oh, Boy! and Oh, Lady! Lady!! were there any other successes for P.G. Wodehouse and Guy Bolton?? | P. G. Wodehouse | A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator. Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York. The show was successful, but they thought the song lyrics weak and invited Wodehouse to join them on its successor. This was Miss Springtime (1916), which ran for 227 performances--a good run by the standards of the day. The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917-18) and Oh, Lady! Lady!! (1918), and Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin. Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies. Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do. Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical. In the Grove Dictionary of American Music Larry Stempel writes, "By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy." The theatre writer Gerald Bordman calls Wodehouse "the most observant, literate, and witty lyricist of his day". The composer Richard Rodgers wrote, "Before Larry Hart, only P.G. Wodehouse had made any real assault on the intelligence of the song-listening public." In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones. Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest. Various other young men-about-town appeared in short stories about members of the Drones Club. The Wodehouses returned to England, where they had a house in London for some years, but Wodehouse continued to cross the Atlantic frequently, spending substantial periods in New York. He continued to work in the theatre. During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York). He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnar, and A Damsel in Distress (1928), a dramatisation of his 1919 novel. Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods. Donaldson lists among those with whom he was on friendly terms writers including A.A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith, Jr., Heather Thatcher and Dorothy Dickson. CANNOTANSWER | Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin. | Sir Pelham Grenville Wodehouse, ( ; 15 October 188114 February 1975) was an English author and one of the most widely read humorists of the 20th century. His creations include the feather-brained Bertie Wooster and his sagacious valet, Jeeves; the immaculate and loquacious Psmith; Lord Emsworth and the Blandings Castle set; the Oldest Member, with stories about golf; and Mr Mulliner, with tall tales on subjects ranging from bibulous bishops to megalomaniac movie moguls.
Born in Guildford, the third son of a British magistrate based in Hong Kong, Wodehouse spent happy teenage years at Dulwich College, to which he remained devoted all his life. After leaving school he was employed by a bank but disliked the work and turned to writing in his spare time. His early novels were mostly school stories, but he later switched to comic fiction. Most of Wodehouse's fiction is set in his native United Kingdom, although he spent much of his life in the US and used New York and Hollywood as settings for some of his novels and short stories. He wrote a series of Broadway musical comedies during and after the First World War, together with Guy Bolton and Jerome Kern, that played an important part in the development of the American musical. He began the 1930s writing for MGM in Hollywood. In a 1931 interview, his naive revelations of incompetence and extravagance in the studios caused a furore. In the same decade, his literary career reached a new peak.
In 1934 Wodehouse moved to France for tax reasons; in 1940 he was taken prisoner at Le Touquet by the invading Germans and interned for nearly a year. After his release he made six broadcasts from German radio in Berlin to the US, which had not yet entered the war. The talks were comic and apolitical, but his broadcasting over enemy radio prompted anger and strident controversy in Britain, and a threat of prosecution. Wodehouse never returned to England. From 1947 until his death he lived in the US, taking dual British-American citizenship in 1955. He died in 1975, at the age of 93, in Southampton, New York.
Wodehouse was a prolific writer throughout his life, publishing more than ninety books, forty plays, two hundred short stories and other writings between 1902 and 1974. He worked extensively on his books, sometimes having two or more in preparation simultaneously. He would take up to two years to build a plot and write a scenario of about thirty thousand words. After the scenario was complete he would write the story. Early in his career Wodehouse would produce a novel in about three months, but he slowed in old age to around six months. He used a mixture of Edwardian slang, quotations from and allusions to numerous poets, and several literary techniques to produce a prose style that has been compared to comic poetry and musical comedy. Some critics of Wodehouse have considered his work flippant, but among his fans are former British prime ministers and many of his fellow writers.
Life and career
Early years
Wodehouse was born in Guildford, Surrey, the third son of Henry Ernest Wodehouse (1845–1929), a magistrate resident in the British colony of Hong Kong, and his wife, Eleanor (1861–1941), daughter of the Rev John Bathurst Deane. The Wodehouses, who traced their ancestry back to the 13th century, belonged to a cadet branch of the family of the earls of Kimberley. Eleanor Wodehouse was also of ancient aristocratic ancestry. She was visiting her sister in Guildford when Wodehouse was born there prematurely.
The boy was baptised at the Church of St Nicolas, Guildford, and was named after his godfather, Pelham von Donop. Wodehouse wrote in 1957, "If you ask me to tell you frankly if I like the name Pelham Grenville Wodehouse, I must confess that I do not.... I was named after a godfather, and not a thing to show for it but a small silver mug which I lost in 1897." The first name was rapidly elided to "Plum", the name by which Wodehouse became known to family and friends.
Mother and son sailed for Hong Kong, where for his first two years Wodehouse was raised by a Chinese amah (nurse), alongside his elder brothers Peveril (1877–1951) and Armine (1879–1936). When he was two, the brothers were brought to England, where they were placed under the care of an English nanny in a house adjoining that of Eleanor's father and mother. The boys' parents returned to Hong Kong and became virtual strangers to their sons. Such an arrangement was then normal for middle-class families based in the colonies. The lack of parental contact, and the harsh regime of some of those in loco parentis, left permanent emotional scars on many children from similar backgrounds, including the writers Thackeray, Saki, Kipling and Walpole. Wodehouse was more fortunate; his nanny, Emma Roper, was strict but not unkind, and both with her and later at his different schools Wodehouse had a generally happy childhood. His recollection was that "it went like a breeze from start to finish, with everybody I met understanding me perfectly". The biographer Robert McCrum suggests that nonetheless Wodehouse's isolation from his parents left a psychological mark, causing him to avoid emotional engagement both in life and in his works. Another biographer, Frances Donaldson, writes, "Deprived so early, not merely of maternal love, but of home life and even a stable background, Wodehouse consoled himself from the youngest age in an imaginary world of his own."
In 1886 the brothers were sent to a dame-school in Croydon, where they spent three years. Peveril was then found to have a "weak chest"; sea air was prescribed, and the three boys were moved to Elizabeth College on the island of Guernsey. In 1891 Wodehouse went on to Malvern House Preparatory School in Kent, which concentrated on preparing its pupils for entry to the Royal Navy. His father had planned a naval career for him, but the boy's eyesight was found to be too poor for it. He was unimpressed by the school's narrow curriculum and zealous discipline; he later parodied it in his novels, with Bertie Wooster recalling his early years as a pupil at a "penitentiary... with the outward guise of a prep school" called Malvern House.
Throughout their school years the brothers were sent to stay during the holidays with various uncles and aunts from both sides of the family. In the Oxford Dictionary of National Biography, Iain Sproat counts twenty aunts and considers that they played an important part not only in Wodehouse's early life, but, thinly disguised, in his mature novels, as the formidable aunts who dominate the action in the Wooster, Blandings, and other stories. The boys had fifteen uncles, four of whom were clergymen. Sproat writes that they inspired Wodehouse's "pious but fallible curates, vicars, and bishops, of which he wrote with friendly irreverence but without mockery".
At the age of twelve in 1894, to his great joy, Wodehouse was able to follow his brother Armine to Dulwich College. He was entirely at home there; Donaldson comments that Dulwich gave him, for the first time, "some continuity and a stable and ordered life". He loved the camaraderie, distinguished himself at cricket, rugby and boxing, and was a good, if not consistently diligent, student. The headmaster at the time was A. H. Gilkes, a respected classicist, who was a strong influence on Wodehouse. In a study of Wodehouse's works, Richard Usborne argues that "only a writer who was himself a scholar and had had his face ground into Latin and Greek (especially Thucydides) as a boy" could sustain the complex sequences of subordinate clauses sometimes found in Wodehouse's comic prose.
Wodehouse's six years at Dulwich were among the happiest of his life: "To me the years between 1894 and 1900 were like heaven." In addition to his sporting achievements he was a good singer and enjoyed taking part in school concerts; his literary leanings found an outlet in editing the school magazine, The Alleynian. For the rest of his life he remained devoted to the school. The biographer Barry Phelps writes that Wodehouse "loved the college as much as he loved anything or anybody".
Reluctant banker; budding writer: 1900–1908
Wodehouse expected to follow Armine to the University of Oxford, but the family's finances took a turn for the worse at the crucial moment. Ernest Wodehouse had retired in 1895, and his pension was paid in rupees; fluctuation against the pound reduced its value in Britain. Wodehouse recalled, "The wolf was not actually whining at the door and there was always a little something in the kitty for the butcher and the grocer, but the finances would not run to anything in the nature of a splash". Instead of a university career, in September 1900 Wodehouse was engaged in a junior position in the London office of the Hongkong and Shanghai Bank. He was unsuited to it and found the work baffling and uncongenial. He later wrote a humorous account of his experiences at the bank, but at the time he longed for the end of each working day, when he could return to his rented lodgings in Chelsea and write. At first he concentrated, with some success, on serious articles about school sports for Public School Magazine. In November 1900 his first comic piece, "Men Who Missed Their Own Weddings", was accepted by Tit-Bits. A new magazine for boys, The Captain, provided further well-paid opportunities, and during his two years at the bank, Wodehouse had eighty pieces published in a total of nine magazines.
In 1901, with the help of a former Dulwich master, William Beach Thomas, Wodehouse secured an appointment—at first temporary and later permanent—writing for The Globes popular "By the Way" column. He held the post until 1909. At around the same time his first novel was published—a school story called The Pothunters, serialised incomplete in Public School Magazine in early 1902, and issued in full in hardback in September. He resigned from the bank that month to devote himself to writing full-time.
Between the publication of The Pothunters 1902 and that of Mike in 1909, Wodehouse wrote eight novels and co-wrote another two. The critic R. D. B. French writes that, of Wodehouse's work from this period, almost all that deserves to survive is the school fiction. Looking back in the 1950s Wodehouse viewed these as his apprentice years: "I was practically in swaddling clothes and it is extremely creditable to me that I was able to write at all."
From his boyhood Wodehouse had been fascinated by America, which he conceived of as "a land of romance"; he "yearned" to visit the country, and by 1904 he had earned enough to do so. In April he sailed to New York, which he found greatly to his liking. He noted in his diary: "In New York gathering experience. Worth many guineas in the future but none for the moment." This prediction proved correct: few British writers had first-hand experience of the US, and his articles about life in New York brought him higher than usual fees. He later recalled that "in 1904 anyone in the London writing world who had been to America was regarded with awe and looked upon as an authority on that terra incognita.... After that trip to New York I was a man who counted.... My income rose like a rocketing pheasant."
Wodehouse's other new venture in 1904 was writing for the stage. Towards the end of the year the librettist Owen Hall invited him to contribute an additional lyric for a musical comedy Sergeant Brue. Wodehouse had loved theatre since his first visit, aged thirteen, when Gilbert and Sullivan's Patience had made him "drunk with ecstasy". His lyric for Hall, "Put Me in My Little Cell", was a Gilbertian number for a trio of comic crooks, with music by Frederick Rosse; it was well received and launched Wodehouse on a career as a theatre writer that spanned three decades.
Although it made little impact on its first publication, the 1906 novel Love Among the Chickens contained what French calls the author's first original comic creation: Stanley Featherstonehaugh Ukridge. The character, an amoral, bungling opportunist, is partly based on Wodehouse's Globe colleague Herbert Westbrook. The two collaborated between 1907 and 1913 on two books, two music hall sketches, and a play, Brother Alfred. Wodehouse would return to the character in short stories over the next six decades.
In early 1906 the actor-manager Seymour Hicks invited Wodehouse to become resident lyricist at the Aldwych Theatre, to add topical verses to newly imported or long-running shows. Hicks had already recruited the young Jerome Kern to write the music for such songs. The first Kern-Wodehouse collaboration, a comic number for The Beauty of Bath titled "Mr [Joseph] Chamberlain", was a show-stopper and was briefly the most popular song in London.
Psmith, Blandings, Wooster and Jeeves: 1908–1915
Wodehouse's early period as a writer came to an end in 1908 with the serialisation of The Lost Lambs, published the following year in book form as the second half of the novel Mike. The work begins as a conventional school story, but Wodehouse introduces a new and strikingly original character, Psmith, whose creation both Evelyn Waugh and George Orwell regarded as a watershed in Wodehouse's development. Wodehouse said that he based Psmith on the hotelier and impresario Rupert D'Oyly Carte—"the only thing in my literary career which was handed to me on a silver plate with watercress around it". Wodehouse wrote in the 1970s that a cousin of his who had been at school with Carte told him of the latter's monocle, studied suavity, and stateliness of speech, all of which Wodehouse adopted for his new character. Psmith featured in three more novels: Psmith in the City (1910), a burlesque of banking; Psmith, Journalist (1915) set in New York; and Leave It to Psmith (1923), set at Blandings Castle.
In May 1909 Wodehouse made his second visit to New York, where he sold two short stories to Cosmopolitan and Collier's for a total of $500, a much higher fee than he had commanded previously. He resigned from The Globe and stayed in New York for nearly a year. He sold many more stories, but none of the American publications offered a permanent relationship and guaranteed income. Wodehouse returned to England in late 1910, rejoining The Globe and also contributing regularly to The Strand Magazine. Between then and the outbreak of the First World War in 1914 he revisited America frequently.
Wodehouse was in New York when the war began. Ineligible for military service because of his poor eyesight, he remained in the US throughout the war, detached from the conflict in Europe and absorbed in his theatrical and literary concerns. In September 1914 he married Ethel May Wayman, née Newton (1885–1984), an English widow. The marriage proved happy and lifelong. Ethel's personality was in contrast with her husband's: he was shy and impractical; she was gregarious, decisive and well organised. In Sproat's phrase, she "took charge of Wodehouse's life and made certain that he had the peace and quiet he needed to write". There were no children of the marriage, but Wodehouse came to love Ethel's daughter Leonora (1905–1944) and legally adopted her.
Wodehouse experimented with different genres of fiction in these years; Psmith, Journalist, mixing comedy with social comment on slum landlords and racketeers, was published in 1915. In the same year The Saturday Evening Post paid $3,500 to serialise Something New, the first of what became a series of novels set at Blandings Castle. It was published in hardback in the US and the UK in the same year (the British edition being retitled Something Fresh). It was Wodehouse's first farcical novel; it was also his first best-seller, and although his later books included some gentler, lightly sentimental stories, it was as a farceur that he became known. Later in the same year "Extricating Young Gussie", the first story about Bertie and Jeeves, was published. These stories introduced two sets of characters about whom Wodehouse wrote for the rest of his life. The Blandings Castle stories, set in an English stately home, depict the attempts of the placid Lord Emsworth to evade the many distractions around him, which include successive pairs of young lovers, the machinations of his exuberant brother Galahad, the demands of his domineering sisters and super-efficient secretaries, and anything detrimental to his prize sow, the Empress of Blandings. The Bertie and Jeeves stories feature an amiable young man-about-town, regularly rescued from the consequences of his idiocy by the benign interference of his valet.
Broadway: 1915–1919
A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator. Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York. The show was successful, but they thought the song lyrics weak and invited Wodehouse to join them on its successor. This was Miss Springtime (1916), which ran for 227 performances—a good run by the standards of the day. The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917–18) and Oh, Lady! Lady!! (1918), and Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin.
Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies. Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do. Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical. In the Grove Dictionary of American Music Larry Stempel writes, "By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy." The theatre writer Gerald Bordman calls Wodehouse "the most observant, literate, and witty lyricist of his day". The composer Richard Rodgers wrote, "Before Larry Hart, only P.G. Wodehouse had made any real assault on the intelligence of the song-listening public."
1920s
In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones. Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest. Various other young men-about-town appeared in short stories about members of the Drones Club.
The Wodehouses returned to England, where they had a house in London for some years, but Wodehouse continued to cross the Atlantic frequently, spending substantial periods in New York. He continued to work in the theatre. During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York). He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnár, and A Damsel in Distress (1928), a dramatisation of his 1919 novel.
Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods. Donaldson lists among those with whom he was on friendly terms writers including A. A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith Jr., Heather Thatcher and Dorothy Dickson.
Hollywood: 1929–1931
There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name. Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM). Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week. This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929.
The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories. He commented, "It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary." Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used. In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was "as close to a success as Wodehouse was to have at MGM. His only other credits were minimal, and the other projects he worked on were not produced."
Wodehouse's contract ended after a year and was not renewed. At MGM's request, he gave an interview to The Los Angeles Times. Wodehouse was described by Herbert Warren Wind as "politically naive [and] fundamentally unworldly", and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent. The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry. Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been "a storm in a teacup", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable.
Wind's view of Wodehouse's naïveté is not universally held. Biographers including Donaldson, McCrum and Phelps suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute. He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire.
Best-seller: 1930s
During the 1930s Wodehouse's theatrical work tailed off. He wrote or adapted four plays for the West End; Leave it to Psmith (1930), which he adapted in collaboration with Ian Hay, was the only one to have a long run. The reviewer in The Manchester Guardian praised the play, but commented: "It is Mr Wodehouse's own inimitable narrative comments and descriptions in his own person of the antics of his puppets that one misses. They cannot be got into a play and they are at least half the fun of the novels." In 1934 Wodehouse collaborated with Bolton on the book for Cole Porter's Anything Goes (Porter wrote his own lyrics), but at the last minute their version was almost entirely rewritten by others at the instigation of the producer, who disliked the original script. Concentrating on writing novels and short stories, Wodehouse reached the peak of his productivity in this decade, averaging two books each year, and grossing an annual £100,000.
His practice of dividing his time between Britain and America caused Wodehouse difficulties with the tax authorities of both countries. Both the UK Inland Revenue and the US Internal Revenue Service sought to tax him as a resident. The matter was settled after lengthy negotiations, but the Wodehouses decided to change their residential status beyond doubt by moving to France, where they bought a house near Le Touquet in the north.
In 1935 Wodehouse created the last of his regular cast of principal characters, Lord Ickenham, otherwise known as Uncle Fred, who, in Usborne's words, "leads the dance in four novels and a short story... a whirring dynamo of misrule". His other books from the decade include Right Ho, Jeeves, which Donaldson judged his best work, Uncle Fred in the Springtime, which the writer Bernard Levin considered the best, and Blandings Castle, which contains "Lord Emsworth and the Girl Friend", which Rudyard Kipling thought "one of the most perfect short stories I have ever read".
Other leading literary figures who admired Wodehouse were A. E. Housman, Max Beerbohm and Hilaire Belloc; on the radio and in print Belloc called Wodehouse "the best writer of our time: the best living writer of English... the head of my profession". Wodehouse regarded Belloc's plaudit as "a gag, to get a rise out of serious-minded authors whom he disliked". Wodehouse was never sure that his books had literary merit as well as popular appeal, and, Donaldson suggests, must have been overwhelmed when the University of Oxford conferred an honorary doctorate of letters on him in June 1939. His visit to England for the awarding ceremony was the last time he set foot in his native land.
Second World War: internment and broadcasts
At the start of the Second World War Wodehouse and his wife remained at their Le Touquet house, where, during the Phoney War, he worked on Joy in the Morning. With the advance of the Germans, the nearby Royal Air Force base withdrew; Wodehouse was offered the sole spare seat in one of the fighter aircraft, but he turned down the opportunity as it would have meant leaving behind Ethel and their dog. On 21 May 1940, with German troops advancing through northern France, the Wodehouses decided to drive to Portugal and fly from there to the US. Two miles from home their car broke down, so they returned and borrowed a car from a neighbour; with the routes blocked with refugees, they returned home again.
The Germans occupied Le Touquet on 22 May 1940 and Wodehouse had to report to the authorities daily. After two months of occupation the Germans interned all male enemy nationals under 60, and Wodehouse was sent to a former prison in Loos, a suburb of Lille, on 21 July; Ethel remained in Le Touquet. The internees were placed four to a cell, each of which had been designed for one man. One bed was available per cell, which was made available to the eldest man—not Wodehouse, who slept on the granite floor. The prisoners were not kept long in Loos before they were transported in cattle trucks to a former barracks in Liège, Belgium, which was run as a prison by the SS. After a week the men were transferred to Huy in Liège, where they were incarcerated in the local citadel. They remained there until September 1940, when they were transported to Tost in Upper Silesia (then Germany, now Toszek in Poland).
Wodehouse's family and friends had not had any news of his location after the fall of France, but an article from an Associated Press reporter who had visited Tost in December 1940 led to pressure on the German authorities to release the novelist. This included a petition from influential people in the US; Senator W. Warren Barbour presented it to the German ambassador. Although his captors refused to release him, Wodehouse was provided with a typewriter and, to pass the time, he wrote Money in the Bank. Throughout his time in Tost, he sent postcards to his US literary agent asking for $5 to be sent to various people in Canada, mentioning his name. These were the families of Canadian prisoners of war, and the news from Wodehouse was the first indication that their sons were alive and well. Wodehouse risked severe punishment for the communication, but managed to evade the German censor.
On 21 June 1941, while he was in the middle of playing a game of cricket, Wodehouse received a visit from two members of the Gestapo. He was given ten minutes to pack his things before he was taken to the Hotel Adlon, a top luxury hotel in Berlin. He stayed there at his own expense; royalties from the German editions of his books had been put into a special frozen bank account at the outset of the war, and Wodehouse was permitted to draw upon this money he had earned while staying in Berlin. He was thus released from internment a few months before his sixtieth birthday—the age at which civilian internees were released by the Nazis. Shortly afterwards Wodehouse was, in the words of Phelps, "cleverly trapped" into making five broadcasts to the US via German radio, with the Berlin-based correspondent of the Columbia Broadcasting System. The broadcasts—aired on 28 June, 9, 23 and 30 July and 6 August—were titled How to be an Internee Without Previous Training, and comprised humorous anecdotes about Wodehouse's experiences as a prisoner, including some gentle mocking of his captors. The German propaganda ministry arranged for the recordings to be broadcast to Britain in August. The day after Wodehouse recorded his final programme, Ethel joined him in Berlin, having sold most of her jewellery to pay for the journey.
Aftermath: reactions and investigation
The reaction in Britain to Wodehouse's broadcasts was hostile, and he was "reviled ... as a traitor, collaborator, Nazi propagandist, and a coward", although, Phelps observes, many of those who decried his actions had not heard the content of the programmes. A front-page article in The Daily Mirror stated that Wodehouse "lived luxuriously because Britain laughed with him, but when the laughter was out of his country's heart, ... [he] was not ready to share her suffering. He hadn't the guts ... even to stick it out in the internment camp." In the House of Commons Anthony Eden, the Foreign Secretary, regretted Wodehouse's actions. Several libraries removed Wodehouse novels from their shelves.
On 15 July the journalist William Connor, under his pen name Cassandra, broadcast a postscript to the news programme railing against Wodehouse. According to The Times, the broadcast "provoked a storm of complaint ... from listeners all over the country". Wodehouse's biographer, Joseph Connolly, thinks the broadcast "inaccurate, spiteful and slanderous"; Phelps calls it "probably the most vituperative attack on an individual ever heard on British radio". The broadcast was made at the direct instruction of Duff Cooper, the Minister of Information, who overruled strong protests made by the BBC against the decision to air the programme. Numerous letters appeared in the British press, both supporting and criticising Wodehouse. The letters page of The Daily Telegraph became a focus for censuring Wodehouse, including one from Wodehouse's friend, ; a reply from their fellow author Compton Mackenzie in defence of Wodehouse was not published because the editor claimed a lack of space. Most of those defending Wodehouse against accusations of disloyalty, including Sax Rohmer, Dorothy L. Sayers and Gilbert Frankau, conceded that he had acted stupidly. Some members of the public wrote to the newspapers to say that the full facts were not yet known and a fair judgment could not be made until they were. The management of the BBC, who considered Wodehouse's actions no worse than "ill advised", pointed out to Cooper that there was no evidence at that point whether Wodehouse had acted voluntarily or under compulsion.
When Wodehouse heard of the furore the broadcasts had caused, he contacted the Foreign Office—through the Swiss embassy in Berlin—to explain his actions, and attempted to return home via neutral countries, but the German authorities refused to let him leave. In Performing Flea, a 1953 collection of letters, Wodehouse wrote, "Of course I ought to have had the sense to see that it was a loony thing to do to use the German radio for even the most harmless stuff, but I didn't. I suppose prison life saps the intellect". The reaction in America was mixed: the left-leaning publication PM accused Wodehouse of "play[ing] Jeeves to the Nazis", but the Department of War used the interviews as an ideal representation of anti-Nazi propaganda.
The Wodehouses remained in Germany until September 1943, when, because of the Allied bombings, they were allowed to move back to Paris. They were living there when the city was liberated on 25 August 1944; Wodehouse reported to the American authorities the following day, asking them to inform the British of his whereabouts. He was subsequently visited by Malcolm Muggeridge, recently arrived in Paris as an intelligence officer with MI6. The young officer quickly came to like Wodehouse and considered the question of treasonable behaviour as "ludicrous"; he summed up the writer as "ill-fitted to live in an age of ideological conflict". On 9 September Wodehouse was visited by an MI5 officer and former barrister, Major Edward Cussen, who formally investigated him, a process that stretched over four days. On 28 September Cussen filed his report, which states that in regard to the broadcasts, Wodehouse's behaviour "has been unwise", but advised against further action. On 23 November Theobald Matthew, the Director of Public Prosecutions, decided there was no evidence to justify prosecuting Wodehouse.
In November 1944 Duff Cooper was appointed British ambassador to France and was provided accommodation at the Hôtel Le Bristol, where the Wodehouses were living. Cooper complained to the French authorities, and the couple were moved to a different hotel. They were subsequently arrested by French police and placed under preventive detention, despite no charges being presented. When Muggeridge tracked them down later, he managed to get Ethel released straight away and, four days later, ensured that the French authorities declared Wodehouse unwell and put him in a nearby hospital, which was more comfortable than where they had been detained. While in this hospital, Wodehouse worked on his novel Uncle Dynamite.
While still detained by the French, Wodehouse was again mentioned in questions in the House of Commons in December 1944 when MPs wondered if the French authorities could repatriate him to stand trial. Eden stated that the "matter has been gone into, and, according to the advice given, there are no grounds upon which we could take action". Two months later, Orwell wrote the essay "In Defence of P.G. Wodehouse", where he stated that "it is important to realise that the events of 1941 do not convict Wodehouse of anything worse than stupidity". Orwell's rationale was that Wodehouse's "moral outlook has remained that of a public-school boy, and according to the public-school code, treachery in time of war is the most unforgivable of all the sins", which was compounded by his "complete lack—so far as one can judge from his printed works—of political awareness".
On 15 January 1945 the French authorities released Wodehouse, but they did not inform him, until June 1946, that he would not face any official charges and was free to leave the country.
American exile: 1946–1975
Having secured American visas in July 1946, the Wodehouses made preparations to return to New York. They were delayed by Ethel's insistence on acquiring suitable new clothes and by Wodehouse's wish to finish writing his current novel, The Mating Season, in the peace of the French countryside. In April 1947 they sailed to New York, where Wodehouse was relieved at the friendly reception he received from the large press contingent awaiting his arrival. Ethel secured a comfortable penthouse apartment in Manhattan's Upper East Side, but Wodehouse was not at ease. The New York that he had known before the war was much changed. The magazines that had paid lavishly for his stories were in decline, and those that remained were not much interested in him. He was sounded out about writing for Broadway, but he was not at home in the post-war theatre; he had money problems, with large sums temporarily tied up in Britain, and for the first time in his career he had no ideas for a new novel. He did not complete one until 1951.
Wodehouse remained unsettled until he and Ethel left New York City for Long Island. Bolton and his wife lived in the prosperous hamlet of Remsenburg, part of the Southampton area of Long Island, east of Manhattan. Wodehouse stayed with them frequently, and in 1952 he and Ethel bought a house nearby. They lived at Remsenburg for the rest of their lives. Between 1952 and 1975 he published more than twenty novels, as well as two collections of short stories, a heavily edited collection of his letters, a volume of memoirs, and a selection of his magazine articles. He continued to hanker after a revival of his theatrical career. A 1959 off-Broadway revival of the 1917 Bolton-Wodehouse-Kern Leave It to Jane was a surprise hit, running for 928 performances, but his few post-war stage works, some in collaboration with Bolton, made little impression.
Although Ethel made a return visit to England in 1948 to shop and visit family and friends, Wodehouse never left America after his arrival in 1947. It was not until 1965 that the British government indicated privately that he could return without fear of legal proceedings, and by then he felt too old to make the journey. The biographers Benny Green and Robert McCrum both take the view that this exile benefited Wodehouse's writing, helping him to go on depicting an idealised England seen in his mind's eye, rather than as it actually was in the post-war decades. During their years in Long Island, the couple often took in stray animals and contributed substantial funds to a local animal shelter.
In 1955 Wodehouse became an American citizen, though he remained a British subject, and was therefore still eligible for UK state honours. He was considered for the award of a knighthood three times from 1967, but the honour was twice blocked by British officials. In 1974 the British prime minister, Harold Wilson, intervened to secure a knighthood (KBE) for Wodehouse, which was announced in the January 1975 New Year Honours list. The Times commented that Wodehouse's honour signalled "official forgiveness for his wartime indiscretion.... It is late, but not too late, to take the sting out of that unhappy incident."
The following month Wodehouse entered Southampton Hospital, Long Island, for treatment of a skin complaint. While there, he suffered a heart attack and died on 14 February 1975 at the age of 93. He was buried at Remsenburg Presbyterian Church four days later. Ethel outlived him by more than nine years; Leonora had predeceased him, dying suddenly in 1944.
Writing
Technique and approach
Before starting a book Wodehouse would write up to four hundred pages of notes bringing together an outline of the plot; he acknowledged that "It's the plots that I find so hard to work out. It takes such a long time to work one out." He always completed the plot before working on specific character actions. For a novel the note-writing process could take up to two years, and he would usually have two or more novels in preparation simultaneously. After he had completed his notes, he would draw up a fuller scenario of about thirty thousand words, which ensured plot holes were avoided, and allowed for the dialogue to begin to develop. When interviewed in 1975 he revealed that "For a humorous novel you've got to have a scenario, and you've got to test it so that you know where the comedy comes in, where the situations come in ... splitting it up into scenes (you can make a scene of almost anything) and have as little stuff in between as possible." He preferred working between 4 and 7 pm—but never after dinner—and would work seven days a week. In his younger years, he would write around two to three thousand words a day, although he slowed as he aged, so that in his nineties he would produce a thousand. The reduced speed in writing slowed his production of books: when younger he would produce a novel in about three months, while Bachelors Anonymous, published in 1973, took around six months. Although studies of language production in normal healthy ageing show a marked decline from the mid-70s on, a study of Wodehouse's works did not find any evidence of a decline in linguistic ability with age.
Wodehouse believed that one of the factors that made his stories humorous was his view of life, and he stated that "If you take life fairly easily, then you take a humorous view of things. It's probably because you were born that way." He carried this view through into his writing, describing the approach as "making the thing a sort of musical comedy without music, and ignoring real life altogether". The literary critic Edward L. Galligan considers Wodehouse's stories to show his mastery in adapting the form of the American musical comedy for his writings. Wodehouse would ensure that his first draft was as carefully and accurately done as possible, correcting and refining the prose as he wrote, and would then make another good copy, before proofreading again and then making a final copy for his publisher.
Most of Wodehouse's canon is set in an undated period around the 1920s and 1930s. The critic Anthony Lejeune describes the settings of Wodehouse's novels, such as the Drones Club and Blandings Castle, as "a fairyland". Although some critics thought Wodehouse's fiction was based on a world that had never existed, Wodehouse affirmed that "it did. It was going strong between the wars", although he agreed that his version was to some extent "a sort of artificial world of my own creation". The novels showed a largely unchanging world, regardless of when they were written, and only rarely—and mistakenly in McCrum's view—did Wodehouse allow modernity to intrude, as he did in the 1966 story "Bingo Bans the Bomb".
When dealing with the dialogue in his novels, Wodehouse would consider the book's characters as if they were actors in a play, ensuring that the main roles were kept suitably employed throughout the storyline, which must be strong: "If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them." Many of Wodehouse's parts were stereotypes, and he acknowledged that "a real character in one of my books sticks out like a sore thumb." The publisher Michael Joseph identifies that even within the stereotypes Wodehouse understood human nature, and therefore "shares with [Charles] Dickens and Charles Chaplin the ability to present the comic resistance of the individual against those superior forces to which we are all subject".
Much of Wodehouse's use of slang terms reflects the influence of his time at school in Dulwich, and partly reflects Edwardian slang. As a young man he enjoyed the literary works of Arthur Conan Doyle and Jerome K. Jerome, and the operatic works of Gilbert and Sullivan. Wodehouse quotes from and alludes to numerous poets throughout his work. The scholar Clarke Olney lists those quoted, including Milton, Byron, Longfellow, Coleridge, Swinburne, Tennyson, Wordsworth and Shakespeare. Another favoured source was the King James Bible.
Language
In 1941 the Concise Cambridge History of English Literature opined that Wodehouse had "a gift for highly original aptness of phrase that almost suggests a poet struggling for release among the wild extravagances of farce", while McCrum thinks that Wodehouse manages to combine "high farce with the inverted poetry of his mature comic style", particularly in The Code of the Woosters; the novelist Anthony Powell believes Wodehouse to be a "comic poet". Robert A. Hall Jr., in his study of Wodehouse's style and technique, describes the author as a master of prose, an opinion also shared by Levin, who considers Wodehouse "one of the finest and purest writers of English prose". Hall identifies several techniques used by Wodehouse to achieve comic effect, including the creation of new words through adding or removing prefixes and suffixes, so when Pongo Twistleton removes the housemaid Elsie Bean from a cupboard, Wodehouse writes that the character "de-Beaned the cupboard". Wodehouse created new words by splitting others in two, thus Wodehouse divides "hobnobbing" when he writes: "To offer a housemaid a cigarette is not hobbing. Nor, when you light it for her, does that constitute nobbing."
Richard Voorhees, Wodehouse's biographer, believes that the author used clichés in a deliberate and ironic manner. His opinion is shared by the academic Stephen Medcalf, who deems Wodehouse's skill is to "bring a cliché just enough to life to kill it", although Pamela March, writing in The Christian Science Monitor, considers Wodehouse to have "an ability to decliché a cliché". Medcalf provides an example from Right Ho, Jeeves in which the teetotal Gussie Fink-Nottle has surreptitiously been given whisky and gin in a punch prior to a prize-giving:
'It seems to me, Jeeves, that the ceremony may be one fraught with considerable interest.'
'Yes, sir.'
'What, in your opinion, will the harvest be?'
'One finds it difficult to hazard a conjecture, sir.'
'You mean imagination boggles?'
'Yes, sir.'
I inspected my imagination. He was right. It boggled.
The stylistic device most commonly found in Wodehouse's work is his use of comparative imagery that includes similes. Hall opines that the humour comes from Wodehouse's ability to accentuate "resemblances which at first glance seem highly incongruous". Examples can be seen in Joy in the Morning, Chapter 29: "There was a sound in the background like a distant sheep coughing gently on a mountainside. Jeeves sailing into action", or Psmith, Chapter 7: "A sound like two or three pigs feeding rather noisily in the middle of a thunderstorm interrupted his meditation." Hall also identifies that periodically Wodehouse used the stylistic device of a transferred epithet, with an adjective that properly belongs to a person applied instead to some inanimate object. The form of expression is used sparingly by Wodehouse in comparison with other mechanisms, only once or twice in a story or novel, according to Hall.
"I balanced a thoughtful lump of sugar on the teaspoon."
—Joy in the Morning, Chapter 5
"As I sat in the bath-tub, soaping a meditative foot ..."
—Jeeves and the Feudal Spirit, Chapter 1
"The first thing he did was to prod Jeeves in the lower ribs with an uncouth forefinger."
—Much Obliged, Jeeves, Chapter 4
Wordplay is a key element in Wodehouse's writing. This can take the form of puns, such as in Jeeves and the Feudal Spirit, when Bertie is released after a night in the police cells, and says that he has "a pinched look" about him. Linguistic confusion is another humorous mechanism, such as in Uncle Dynamite when Constable Potter says he has been "assaulted by the duck pond". In reply, Sir Aylmer, confusing the two meanings of the word "by", asks: "How the devil can you be assaulted by a duck pond?" Wodehouse also uses metaphor and mixed metaphor to add humour. Some come through exaggeration, such as Bingo Little's infant child who "not only has the aspect of a mass murderer, but that of a mass murderer suffering from an ingrown toenail", or Wooster's complaint that "the rumpuses that Bobbie Wickham is already starting may be amusing to her, but not to the unfortunate toads beneath the harrow whom she ruthlessly plunges into the soup." Bertie Wooster's half-forgotten vocabulary also provides a further humorous device. In Jeeves and the Feudal Spirit Bertie asks Jeeves "Let a plugugly like young Thos loose in the community with a cosh, and you are inviting disaster and ... what's the word? Something about cats." Jeeves replies, "Cataclysms, sir?"
Reception and reputation
Literary reception
Wodehouse's early career as a lyricist and playwright was profitable, and his work with Bolton, according to The Guardian, "was one of the most successful in the history of musical comedy". At the outbreak of the Second World War he was earning £40,000 a year from his work, which had broadened to include novels and short stories. Following the furore ensuing from the wartime broadcasts, he suffered a downturn in his popularity and book sales; The Saturday Evening Post stopped publishing his short stories, a stance they reversed in 1965, although his popularity—and the sales figures—slowly recovered over time.
Wodehouse received great praise from many of his contemporaries, including Max Beerbohm, Rudyard Kipling, A. E. Housman and Evelyn Waugh—the last of whom opines, "One has to regard a man as a Master who can produce on average three uniquely brilliant and entirely original similes on each page." There are dissenters to the praise. The writer Alan Bennett thinks that "inspired though his language is, I can never take more than ten pages of the novels at a time, their relentless flippancy wearing and tedious", while the literary critic Q. D. Leavis writes that Wodehouse had a "stereotyped humour ... of ingenious variations on a laugh in one place". In a 2010 study of Wodehouse's few relatively serious novels, such as The Coming of Bill (1919), Jill the Reckless (1920) and The Adventures of Sally (1922), David Heddendorf concludes that though their literary quality does not match that of the farcical novels, they show a range of empathy and interests that in real life—and in his most comic works—the author seemed to lack. "Never oblivious to grief and despair, he opts in clear-eyed awareness for his timeless world of spats and woolly-headed peers. It's an austere, almost bloodless preference for pristine artifice over the pain and messy outcomes of actual existence, but it's a case of Wodehouse keeping faith with his own unique art."
The American literary analyst Robert F. Kiernan, defining "camp" as "excessive stylization of whatever kind", brackets Wodehouse as "a master of the camp novel", along with Thomas Love Peacock, Max Beerbohm, Ronald Firbank, E. F. Benson and Ivy Compton-Burnett. The literary critic and writer Cyril Connolly calls Wodehouse a "politicians' author"—one who does "not like art to be exacting and difficult". Two former British prime ministers, H. H. Asquith and Tony Blair, are on record as Wodehouse aficionados, and the latter became a patron of the Wodehouse Society. Seán O'Casey, a successful playwright of the 1920s, thought little of Wodehouse; he commented in 1941 that it was damaging to England's dignity that the public or "the academic government of Oxford, dead from the chin up" considered Wodehouse an important figure in English literature. His jibe that Wodehouse was "English literature's performing flea" provided his target with the title of his collected letters, published in 1953. McCrum, writing in 2004, observes, "Wodehouse is more popular today than on the day he died", and "his comic vision has an absolutely secure place in the English literary imagination."
Honours and influence
The proposed nominations of Wodehouse for a knighthood in 1967 and 1971 were blocked for fear that such an award would "revive the controversy of his wartime behaviour and give currency to a Bertie Wooster image of the British character which the embassy was doing its best to eradicate". When Wodehouse was awarded the knighthood, only four years later, the journalist Dennis Barker wrote in The Guardian that the writer was "the solitary surviving English literary comic genius". After his death six weeks later, the journalist Michael Davie, writing in the same paper, observed that "Many people regarded ... [Wodehouse] as he regarded Beachcomber, as 'one, if not more than one, of England's greatest men'", while in the view of the obituarist for The Times Wodehouse "was a comic genius recognized in his lifetime as a classic and an old master of farce". In September 2019 Wodehouse was commemorated with a memorial stone in Westminster Abbey; the dedication was held two days after it was installed.
Since Wodehouse's death there have been numerous adaptations and dramatisations of his work on television and film; Wodehouse himself has been portrayed on radio and screen numerous times. There are several literary societies dedicated to Wodehouse. The P.G. Wodehouse Society (UK) was founded in 1997 and has over 1,000 members as at 2015. The president of the society as at 2017 is Alexander Armstrong; past presidents have included Terry Wogan and Richard Briers. There are also other groups of Wodehouse fans in Australia, Belgium, France, Finland, India, Italy, Russia, Sweden and the US. As at 2015 the Oxford English Dictionary contains over 1,750 quotations from Wodehouse, illustrating terms from crispish to zippiness. Voorhees, while acknowledging that Wodehouse's antecedents in literature range from Ben Jonson to Oscar Wilde, writes:
Notes, references and sources
Notes
References
Sources
External links
P. G. Wodehouse collection at One More Library
P.G. Wodehouse Archive on loan to the British Library
The Wodehouse Society
The P. G. Wodehouse Society (UK)
Transcripts of Wodehouse's Berlin Broadcasts
"P. G. Wodehouse: An English Master of American Slang" from The American Legion Weekly, 24 October 1919
Orwell, George "In Defence of P.G. Wodehouse"
1881 births
1975 deaths
20th-century English novelists
20th-century British dramatists and playwrights
British emigrants to the United States
English lyricists
Knights Commander of the Order of the British Empire
English male dramatists and playwrights
British male novelists
People educated at Dulwich College
People educated at Elizabeth College, Guernsey
People from Guildford
People from Long Island
PG
People interned during World War II
English humorists
20th-century American novelists
American dramatists and playwrights
American humorists
American lyricists
American male novelists
Novelists from New York (state)
Literature controversies
English broadcasters for Nazi Germany
20th-century American male writers | true | [
"In probability theory and statistics, the negative hypergeometric distribution describes probabilities for when sampling from a finite population without replacement in which each sample can be classified into two mutually exclusive categories like Pass/Fail, Male/Female or Employed/Unemployed. As random selections are made from the population, each subsequent draw decreases the population causing the probability of success to change with each draw. Unlike the standard hypergeometric distribution, which describes the number of successes in a fixed sample size, in the negative hypergeometric distribution, samples are drawn until failures have been found, and the distribution describes the probability of finding successes in such a sample. In other words, the negative hypergeometric distribution describes the likelihood of successes in a sample with exactly failures.\n\nDefinition \nThere are elements, of which are defined as \"successes\" and the rest are \"failures\".\n\nElements are drawn one after the other, without replacements, until failures are encountered. Then, the drawing stops and the number of successes is counted. The negative hypergeometric distribution, is the discrete distribution of this .\n\nThe negative hypergeometric distribution is a special case of the beta-binomial distribution with parameters and both being integers (and ).\n\nThe outcome requires that we observe successes in draws and the bit must be a failure. The probability of the former can be found by the direct application of the hypergeometric distribution and the probability of the latter is simply the number of failures remaining divided by the size of the remaining population . The probability of having exactly successes up to the failure (i.e. the drawing stops as soon as the sample includes the predefined number of failures) is then the product of these two probabilities: \n\nTherefore, a random variable follows the negative hypergeometric distribution if its probability mass function (pmf) is given by\n\nwhere\n is the population size,\n is the number of success states in the population,\n is the number of failures,\n is the number of observed successes,\n is a binomial coefficient\nBy design the probabilities sum up to 1. However, in case we want show it explicitly we have:\n\nwhere we have used that,\n\nwhich can be derived using the binomial identity, , and the Chu–Vandermonde identity, , which holds for any complex-values and and any non-negative integer . \n\nThe relationship can also be found by examination of the coefficient of in the expansion of , using Newton's binomial series.\n\nExpectation \nWhen counting the number of successes before failures, the expected number of successes is and can be derived as follows. \n\nwhere we have used the relationship , that we derived above to show that the negative hypergeometric distribution was properly normalized.\n\nVariance \nThe variance can be derived by the following calculation.\n\nThen the variance is\n\nRelated distributions \nIf the drawing stops after a constant number of draws (regardless of the number of failures), then the number of successes has the hypergeometric distribution, . The two functions are related in the following way:\n\nNegative-hypergeometric distribution (like the hypergeometric distribution) deals with draws without replacement, so that the probability of success is different in each draw. In contrast, negative-binomial distribution (like the binomial distribution) deals with draws with replacement, so that the probability of success is the same and the trials are independent. The following table summarizes the four distributions related to drawing items:\n\nReferences \n\nDiscrete distributions\nFactorial and binomial topics",
"In the design of experiments in statistics, the lady tasting tea is a randomized experiment devised by Ronald Fisher and reported in his book The Design of Experiments (1935). The experiment is the original exposition of Fisher's notion of a null hypothesis, which is \"never proved or established, but is possibly disproved, in the course of experimentation\".\n\nThe lady in question (Muriel Bristol) claimed to be able to tell whether the tea or the milk was added first to a cup. Fisher proposed to give her eight cups, four of each variety, in random order. One could then ask what the probability was for her getting the specific number of cups she identified correct, but just by chance.\n\nFisher's description is less than 10 pages in length and is notable for its simplicity and completeness regarding terminology, calculations and design of the experiment. The example is loosely based on an event in Fisher's life. The test used was Fisher's exact test.\n\nThe experiment \nThe experiment provides a subject with 8 randomly ordered cups of tea – 4 prepared by first pouring the tea, then adding milk, 4 prepared by first pouring the milk, then adding the tea. The subject has to select 4 cups prepared by one method. Judging cups by direct comparison is allowed. The method employed in the experiment is fully disclosed to the subject.\n\nThe null hypothesis is that the subject has no ability to distinguish the teas. In Fisher's approach, there was no alternative hypothesis, unlike in the Neyman–Pearson approach.\n\nThe test statistic is a simple count of the number of successes in selecting the 4 cups (the number of cups of the given type successfully selected). The distribution of possible numbers of successes, assuming the null hypothesis is true, can be computed using the number of combinations. Using the combination formula, with total cups and cups chosen, there are\n\npossible combinations.\n\nThe frequencies of the possible numbers of successes, given in the final column of this table, are derived as follows. For 0 successes, there is clearly only one set of four choices (namely, choosing all four incorrect cups) giving this result. For one success and three failures, there are four correct cups of which one is selected, which by the combination formula can occur in different ways (as shown in column 2, with x denoting a correct cup that is chosen and o denoting a correct cup that is not chosen); and independently of that, there are four incorrect cups of which three are selected, which can occur in ways (as shown in the second column, this time with x interpreted as an incorrect cup which is not chosen, and o indicating an incorrect cup which is chosen). Thus a selection of any one correct cup and any three incorrect cups can occur in any of 4×4 = 16 ways. The frequencies of the other possible numbers of successes are calculated correspondingly. Thus the number of successes is distributed according to the hypergeometric distribution. The distribution of combinations for making k selections out of the 2k available selections corresponds to the kth row of Pascal's triangle, such that each integer in the row is squared. In this case, because 4 teacups are selected from the 8 available teacups.\n\nThe critical region for rejection of the null of no ability to distinguish was the single case of 4 successes of 4 possible, based on the conventional probability criterion < 5%. This is the critical region because under the null of no ability to distinguish, 4 successes has 1 chance out of 70 (≈ 1.4% < 5%) of occurring, whereas at least 3 of 4 successes has a probability of (16+1)/70 (≈ 24.3% > 5%).\n\nThus, if and only if the lady properly categorized all 8 cups was Fisher willing to reject the null hypothesis – effectively acknowledging the lady's ability at a 1.4% significance level (but without quantifying her ability). Fisher later discussed the benefits of more trials and repeated tests.\n\nDavid Salsburg reports that a colleague of Fisher, H. Fairfield Smith, revealed that in the actual experiment the lady succeeded in identifying all eight cups correctly.\nThe chance of someone who just guesses of getting all correct, assuming she guesses that any four had the tea put in first and the other four the milk, would be only 1 in 70 (the combinations of 8 taken 4 at a time).\n\nThe Lady Tasting Tea book \n\nDavid Salsburg published a popular science book entitled The Lady Tasting Tea, which describes Fisher's experiment and ideas on randomization. Deb Basu wrote that \"the famous case of the 'lady tasting tea'\" was \"one of the two supporting pillars ... of the randomization analysis of experimental data.\"\n\nSee also\n Hypergeometric distribution\n Permutation test\n Random assignment\n Randomization test\n\nReferences\n\n \n \n Basu, D. (1980b). \"The Fisher Randomization Test\", reprinted with a new preface in Statistical Information and Likelihood : A Collection of Critical Essays by Dr. D. Basu ; J. K. Ghosh, editor. Springer 1988.\n \n Salsburg, D. (2002) The Lady Tasting Tea: How Statistics Revolutionized Science in the Twentieth Century, W.H. Freeman / Owl Book. \n\nDesign of experiments\nAnalysis of variance\nStatistical hypothesis testing\nScience experiments"
] | [
"Sir Pelham Grenville Wodehouse, ( ; 15 October 188114 February 1975) was an English author and one of the most widely read humorists of the 20th century. His creations include the feather-brained Bertie Wooster and his sagacious valet, Jeeves; the immaculate and loquacious Psmith; Lord Emsworth and the Blandings Castle set; the Oldest Member, with stories about golf; and Mr Mulliner, with tall tales on subjects ranging from bibulous bishops to megalomaniac movie moguls.",
"His creations include the feather-brained Bertie Wooster and his sagacious valet, Jeeves; the immaculate and loquacious Psmith; Lord Emsworth and the Blandings Castle set; the Oldest Member, with stories about golf; and Mr Mulliner, with tall tales on subjects ranging from bibulous bishops to megalomaniac movie moguls. Born in Guildford, the third son of a British magistrate based in Hong Kong, Wodehouse spent happy teenage years at Dulwich College, to which he remained devoted all his life.",
"Born in Guildford, the third son of a British magistrate based in Hong Kong, Wodehouse spent happy teenage years at Dulwich College, to which he remained devoted all his life. After leaving school he was employed by a bank but disliked the work and turned to writing in his spare time.",
"After leaving school he was employed by a bank but disliked the work and turned to writing in his spare time. His early novels were mostly school stories, but he later switched to comic fiction.",
"His early novels were mostly school stories, but he later switched to comic fiction. Most of Wodehouse's fiction is set in his native United Kingdom, although he spent much of his life in the US and used New York and Hollywood as settings for some of his novels and short stories.",
"Most of Wodehouse's fiction is set in his native United Kingdom, although he spent much of his life in the US and used New York and Hollywood as settings for some of his novels and short stories. He wrote a series of Broadway musical comedies during and after the First World War, together with Guy Bolton and Jerome Kern, that played an important part in the development of the American musical.",
"He wrote a series of Broadway musical comedies during and after the First World War, together with Guy Bolton and Jerome Kern, that played an important part in the development of the American musical. He began the 1930s writing for MGM in Hollywood.",
"He began the 1930s writing for MGM in Hollywood. In a 1931 interview, his naive revelations of incompetence and extravagance in the studios caused a furore. In the same decade, his literary career reached a new peak.",
"In the same decade, his literary career reached a new peak. In 1934 Wodehouse moved to France for tax reasons; in 1940 he was taken prisoner at Le Touquet by the invading Germans and interned for nearly a year.",
"In 1934 Wodehouse moved to France for tax reasons; in 1940 he was taken prisoner at Le Touquet by the invading Germans and interned for nearly a year. After his release he made six broadcasts from German radio in Berlin to the US, which had not yet entered the war.",
"After his release he made six broadcasts from German radio in Berlin to the US, which had not yet entered the war. The talks were comic and apolitical, but his broadcasting over enemy radio prompted anger and strident controversy in Britain, and a threat of prosecution. Wodehouse never returned to England.",
"Wodehouse never returned to England. Wodehouse never returned to England. From 1947 until his death he lived in the US, taking dual British-American citizenship in 1955. He died in 1975, at the age of 93, in Southampton, New York.",
"He died in 1975, at the age of 93, in Southampton, New York. Wodehouse was a prolific writer throughout his life, publishing more than ninety books, forty plays, two hundred short stories and other writings between 1902 and 1974. He worked extensively on his books, sometimes having two or more in preparation simultaneously.",
"He worked extensively on his books, sometimes having two or more in preparation simultaneously. He would take up to two years to build a plot and write a scenario of about thirty thousand words. After the scenario was complete he would write the story.",
"After the scenario was complete he would write the story. Early in his career Wodehouse would produce a novel in about three months, but he slowed in old age to around six months.",
"Early in his career Wodehouse would produce a novel in about three months, but he slowed in old age to around six months. He used a mixture of Edwardian slang, quotations from and allusions to numerous poets, and several literary techniques to produce a prose style that has been compared to comic poetry and musical comedy.",
"He used a mixture of Edwardian slang, quotations from and allusions to numerous poets, and several literary techniques to produce a prose style that has been compared to comic poetry and musical comedy. Some critics of Wodehouse have considered his work flippant, but among his fans are former British prime ministers and many of his fellow writers.",
"Some critics of Wodehouse have considered his work flippant, but among his fans are former British prime ministers and many of his fellow writers. Life and career Early years Wodehouse was born in Guildford, Surrey, the third son of Henry Ernest Wodehouse (1845–1929), a magistrate resident in the British colony of Hong Kong, and his wife, Eleanor (1861–1941), daughter of the Rev John Bathurst Deane.",
"Life and career Early years Wodehouse was born in Guildford, Surrey, the third son of Henry Ernest Wodehouse (1845–1929), a magistrate resident in the British colony of Hong Kong, and his wife, Eleanor (1861–1941), daughter of the Rev John Bathurst Deane. The Wodehouses, who traced their ancestry back to the 13th century, belonged to a cadet branch of the family of the earls of Kimberley.",
"The Wodehouses, who traced their ancestry back to the 13th century, belonged to a cadet branch of the family of the earls of Kimberley. Eleanor Wodehouse was also of ancient aristocratic ancestry. She was visiting her sister in Guildford when Wodehouse was born there prematurely.",
"She was visiting her sister in Guildford when Wodehouse was born there prematurely. The boy was baptised at the Church of St Nicolas, Guildford, and was named after his godfather, Pelham von Donop.",
"The boy was baptised at the Church of St Nicolas, Guildford, and was named after his godfather, Pelham von Donop. Wodehouse wrote in 1957, \"If you ask me to tell you frankly if I like the name Pelham Grenville Wodehouse, I must confess that I do not....",
"Wodehouse wrote in 1957, \"If you ask me to tell you frankly if I like the name Pelham Grenville Wodehouse, I must confess that I do not.... I was named after a godfather, and not a thing to show for it but a small silver mug which I lost in 1897.\"",
"I was named after a godfather, and not a thing to show for it but a small silver mug which I lost in 1897.\" The first name was rapidly elided to \"Plum\", the name by which Wodehouse became known to family and friends.",
"The first name was rapidly elided to \"Plum\", the name by which Wodehouse became known to family and friends. Mother and son sailed for Hong Kong, where for his first two years Wodehouse was raised by a Chinese amah (nurse), alongside his elder brothers Peveril (1877–1951) and Armine (1879–1936).",
"Mother and son sailed for Hong Kong, where for his first two years Wodehouse was raised by a Chinese amah (nurse), alongside his elder brothers Peveril (1877–1951) and Armine (1879–1936). When he was two, the brothers were brought to England, where they were placed under the care of an English nanny in a house adjoining that of Eleanor's father and mother.",
"When he was two, the brothers were brought to England, where they were placed under the care of an English nanny in a house adjoining that of Eleanor's father and mother. The boys' parents returned to Hong Kong and became virtual strangers to their sons.",
"The boys' parents returned to Hong Kong and became virtual strangers to their sons. Such an arrangement was then normal for middle-class families based in the colonies.",
"Such an arrangement was then normal for middle-class families based in the colonies. The lack of parental contact, and the harsh regime of some of those in loco parentis, left permanent emotional scars on many children from similar backgrounds, including the writers Thackeray, Saki, Kipling and Walpole.",
"The lack of parental contact, and the harsh regime of some of those in loco parentis, left permanent emotional scars on many children from similar backgrounds, including the writers Thackeray, Saki, Kipling and Walpole. Wodehouse was more fortunate; his nanny, Emma Roper, was strict but not unkind, and both with her and later at his different schools Wodehouse had a generally happy childhood.",
"Wodehouse was more fortunate; his nanny, Emma Roper, was strict but not unkind, and both with her and later at his different schools Wodehouse had a generally happy childhood. His recollection was that \"it went like a breeze from start to finish, with everybody I met understanding me perfectly\".",
"His recollection was that \"it went like a breeze from start to finish, with everybody I met understanding me perfectly\". The biographer Robert McCrum suggests that nonetheless Wodehouse's isolation from his parents left a psychological mark, causing him to avoid emotional engagement both in life and in his works.",
"The biographer Robert McCrum suggests that nonetheless Wodehouse's isolation from his parents left a psychological mark, causing him to avoid emotional engagement both in life and in his works. Another biographer, Frances Donaldson, writes, \"Deprived so early, not merely of maternal love, but of home life and even a stable background, Wodehouse consoled himself from the youngest age in an imaginary world of his own.\"",
"Another biographer, Frances Donaldson, writes, \"Deprived so early, not merely of maternal love, but of home life and even a stable background, Wodehouse consoled himself from the youngest age in an imaginary world of his own.\" In 1886 the brothers were sent to a dame-school in Croydon, where they spent three years.",
"In 1886 the brothers were sent to a dame-school in Croydon, where they spent three years. Peveril was then found to have a \"weak chest\"; sea air was prescribed, and the three boys were moved to Elizabeth College on the island of Guernsey.",
"Peveril was then found to have a \"weak chest\"; sea air was prescribed, and the three boys were moved to Elizabeth College on the island of Guernsey. In 1891 Wodehouse went on to Malvern House Preparatory School in Kent, which concentrated on preparing its pupils for entry to the Royal Navy.",
"In 1891 Wodehouse went on to Malvern House Preparatory School in Kent, which concentrated on preparing its pupils for entry to the Royal Navy. His father had planned a naval career for him, but the boy's eyesight was found to be too poor for it.",
"His father had planned a naval career for him, but the boy's eyesight was found to be too poor for it. He was unimpressed by the school's narrow curriculum and zealous discipline; he later parodied it in his novels, with Bertie Wooster recalling his early years as a pupil at a \"penitentiary... with the outward guise of a prep school\" called Malvern House.",
"He was unimpressed by the school's narrow curriculum and zealous discipline; he later parodied it in his novels, with Bertie Wooster recalling his early years as a pupil at a \"penitentiary... with the outward guise of a prep school\" called Malvern House. Throughout their school years the brothers were sent to stay during the holidays with various uncles and aunts from both sides of the family.",
"Throughout their school years the brothers were sent to stay during the holidays with various uncles and aunts from both sides of the family. In the Oxford Dictionary of National Biography, Iain Sproat counts twenty aunts and considers that they played an important part not only in Wodehouse's early life, but, thinly disguised, in his mature novels, as the formidable aunts who dominate the action in the Wooster, Blandings, and other stories.",
"In the Oxford Dictionary of National Biography, Iain Sproat counts twenty aunts and considers that they played an important part not only in Wodehouse's early life, but, thinly disguised, in his mature novels, as the formidable aunts who dominate the action in the Wooster, Blandings, and other stories. The boys had fifteen uncles, four of whom were clergymen.",
"The boys had fifteen uncles, four of whom were clergymen. Sproat writes that they inspired Wodehouse's \"pious but fallible curates, vicars, and bishops, of which he wrote with friendly irreverence but without mockery\".",
"Sproat writes that they inspired Wodehouse's \"pious but fallible curates, vicars, and bishops, of which he wrote with friendly irreverence but without mockery\". At the age of twelve in 1894, to his great joy, Wodehouse was able to follow his brother Armine to Dulwich College.",
"At the age of twelve in 1894, to his great joy, Wodehouse was able to follow his brother Armine to Dulwich College. He was entirely at home there; Donaldson comments that Dulwich gave him, for the first time, \"some continuity and a stable and ordered life\".",
"He was entirely at home there; Donaldson comments that Dulwich gave him, for the first time, \"some continuity and a stable and ordered life\". He loved the camaraderie, distinguished himself at cricket, rugby and boxing, and was a good, if not consistently diligent, student.",
"He loved the camaraderie, distinguished himself at cricket, rugby and boxing, and was a good, if not consistently diligent, student. The headmaster at the time was A. H. Gilkes, a respected classicist, who was a strong influence on Wodehouse.",
"The headmaster at the time was A. H. Gilkes, a respected classicist, who was a strong influence on Wodehouse. In a study of Wodehouse's works, Richard Usborne argues that \"only a writer who was himself a scholar and had had his face ground into Latin and Greek (especially Thucydides) as a boy\" could sustain the complex sequences of subordinate clauses sometimes found in Wodehouse's comic prose.",
"In a study of Wodehouse's works, Richard Usborne argues that \"only a writer who was himself a scholar and had had his face ground into Latin and Greek (especially Thucydides) as a boy\" could sustain the complex sequences of subordinate clauses sometimes found in Wodehouse's comic prose. Wodehouse's six years at Dulwich were among the happiest of his life: \"To me the years between 1894 and 1900 were like heaven.\"",
"Wodehouse's six years at Dulwich were among the happiest of his life: \"To me the years between 1894 and 1900 were like heaven.\" In addition to his sporting achievements he was a good singer and enjoyed taking part in school concerts; his literary leanings found an outlet in editing the school magazine, The Alleynian.",
"In addition to his sporting achievements he was a good singer and enjoyed taking part in school concerts; his literary leanings found an outlet in editing the school magazine, The Alleynian. For the rest of his life he remained devoted to the school.",
"For the rest of his life he remained devoted to the school. The biographer Barry Phelps writes that Wodehouse \"loved the college as much as he loved anything or anybody\".",
"The biographer Barry Phelps writes that Wodehouse \"loved the college as much as he loved anything or anybody\". Reluctant banker; budding writer: 1900–1908 Wodehouse expected to follow Armine to the University of Oxford, but the family's finances took a turn for the worse at the crucial moment.",
"Reluctant banker; budding writer: 1900–1908 Wodehouse expected to follow Armine to the University of Oxford, but the family's finances took a turn for the worse at the crucial moment. Ernest Wodehouse had retired in 1895, and his pension was paid in rupees; fluctuation against the pound reduced its value in Britain.",
"Ernest Wodehouse had retired in 1895, and his pension was paid in rupees; fluctuation against the pound reduced its value in Britain. Wodehouse recalled, \"The wolf was not actually whining at the door and there was always a little something in the kitty for the butcher and the grocer, but the finances would not run to anything in the nature of a splash\".",
"Wodehouse recalled, \"The wolf was not actually whining at the door and there was always a little something in the kitty for the butcher and the grocer, but the finances would not run to anything in the nature of a splash\". Instead of a university career, in September 1900 Wodehouse was engaged in a junior position in the London office of the Hongkong and Shanghai Bank.",
"Instead of a university career, in September 1900 Wodehouse was engaged in a junior position in the London office of the Hongkong and Shanghai Bank. He was unsuited to it and found the work baffling and uncongenial.",
"He was unsuited to it and found the work baffling and uncongenial. He later wrote a humorous account of his experiences at the bank, but at the time he longed for the end of each working day, when he could return to his rented lodgings in Chelsea and write.",
"He later wrote a humorous account of his experiences at the bank, but at the time he longed for the end of each working day, when he could return to his rented lodgings in Chelsea and write. At first he concentrated, with some success, on serious articles about school sports for Public School Magazine.",
"At first he concentrated, with some success, on serious articles about school sports for Public School Magazine. In November 1900 his first comic piece, \"Men Who Missed Their Own Weddings\", was accepted by Tit-Bits.",
"In November 1900 his first comic piece, \"Men Who Missed Their Own Weddings\", was accepted by Tit-Bits. A new magazine for boys, The Captain, provided further well-paid opportunities, and during his two years at the bank, Wodehouse had eighty pieces published in a total of nine magazines.",
"A new magazine for boys, The Captain, provided further well-paid opportunities, and during his two years at the bank, Wodehouse had eighty pieces published in a total of nine magazines. In 1901, with the help of a former Dulwich master, William Beach Thomas, Wodehouse secured an appointment—at first temporary and later permanent—writing for The Globes popular \"By the Way\" column.",
"In 1901, with the help of a former Dulwich master, William Beach Thomas, Wodehouse secured an appointment—at first temporary and later permanent—writing for The Globes popular \"By the Way\" column. He held the post until 1909.",
"He held the post until 1909. At around the same time his first novel was published—a school story called The Pothunters, serialised incomplete in Public School Magazine in early 1902, and issued in full in hardback in September. He resigned from the bank that month to devote himself to writing full-time.",
"He resigned from the bank that month to devote himself to writing full-time. Between the publication of The Pothunters 1902 and that of Mike in 1909, Wodehouse wrote eight novels and co-wrote another two.",
"Between the publication of The Pothunters 1902 and that of Mike in 1909, Wodehouse wrote eight novels and co-wrote another two. The critic R. D. B. French writes that, of Wodehouse's work from this period, almost all that deserves to survive is the school fiction.",
"The critic R. D. B. French writes that, of Wodehouse's work from this period, almost all that deserves to survive is the school fiction. Looking back in the 1950s Wodehouse viewed these as his apprentice years: \"I was practically in swaddling clothes and it is extremely creditable to me that I was able to write at all.\"",
"Looking back in the 1950s Wodehouse viewed these as his apprentice years: \"I was practically in swaddling clothes and it is extremely creditable to me that I was able to write at all.\" From his boyhood Wodehouse had been fascinated by America, which he conceived of as \"a land of romance\"; he \"yearned\" to visit the country, and by 1904 he had earned enough to do so.",
"From his boyhood Wodehouse had been fascinated by America, which he conceived of as \"a land of romance\"; he \"yearned\" to visit the country, and by 1904 he had earned enough to do so. In April he sailed to New York, which he found greatly to his liking.",
"In April he sailed to New York, which he found greatly to his liking. He noted in his diary: \"In New York gathering experience. Worth many guineas in the future but none for the moment.\"",
"Worth many guineas in the future but none for the moment.\" This prediction proved correct: few British writers had first-hand experience of the US, and his articles about life in New York brought him higher than usual fees.",
"This prediction proved correct: few British writers had first-hand experience of the US, and his articles about life in New York brought him higher than usual fees. He later recalled that \"in 1904 anyone in the London writing world who had been to America was regarded with awe and looked upon as an authority on that terra incognita.... After that trip to New York I was a man who counted.... My income rose like a rocketing pheasant.\"",
"He later recalled that \"in 1904 anyone in the London writing world who had been to America was regarded with awe and looked upon as an authority on that terra incognita.... After that trip to New York I was a man who counted.... My income rose like a rocketing pheasant.\" Wodehouse's other new venture in 1904 was writing for the stage.",
"Wodehouse's other new venture in 1904 was writing for the stage. Towards the end of the year the librettist Owen Hall invited him to contribute an additional lyric for a musical comedy Sergeant Brue. Wodehouse had loved theatre since his first visit, aged thirteen, when Gilbert and Sullivan's Patience had made him \"drunk with ecstasy\".",
"Wodehouse had loved theatre since his first visit, aged thirteen, when Gilbert and Sullivan's Patience had made him \"drunk with ecstasy\". His lyric for Hall, \"Put Me in My Little Cell\", was a Gilbertian number for a trio of comic crooks, with music by Frederick Rosse; it was well received and launched Wodehouse on a career as a theatre writer that spanned three decades.",
"His lyric for Hall, \"Put Me in My Little Cell\", was a Gilbertian number for a trio of comic crooks, with music by Frederick Rosse; it was well received and launched Wodehouse on a career as a theatre writer that spanned three decades. Although it made little impact on its first publication, the 1906 novel Love Among the Chickens contained what French calls the author's first original comic creation: Stanley Featherstonehaugh Ukridge.",
"Although it made little impact on its first publication, the 1906 novel Love Among the Chickens contained what French calls the author's first original comic creation: Stanley Featherstonehaugh Ukridge. The character, an amoral, bungling opportunist, is partly based on Wodehouse's Globe colleague Herbert Westbrook.",
"The character, an amoral, bungling opportunist, is partly based on Wodehouse's Globe colleague Herbert Westbrook. The two collaborated between 1907 and 1913 on two books, two music hall sketches, and a play, Brother Alfred. Wodehouse would return to the character in short stories over the next six decades.",
"Wodehouse would return to the character in short stories over the next six decades. In early 1906 the actor-manager Seymour Hicks invited Wodehouse to become resident lyricist at the Aldwych Theatre, to add topical verses to newly imported or long-running shows. Hicks had already recruited the young Jerome Kern to write the music for such songs.",
"Hicks had already recruited the young Jerome Kern to write the music for such songs. The first Kern-Wodehouse collaboration, a comic number for The Beauty of Bath titled \"Mr [Joseph] Chamberlain\", was a show-stopper and was briefly the most popular song in London.",
"The first Kern-Wodehouse collaboration, a comic number for The Beauty of Bath titled \"Mr [Joseph] Chamberlain\", was a show-stopper and was briefly the most popular song in London. Psmith, Blandings, Wooster and Jeeves: 1908–1915 Wodehouse's early period as a writer came to an end in 1908 with the serialisation of The Lost Lambs, published the following year in book form as the second half of the novel Mike.",
"Psmith, Blandings, Wooster and Jeeves: 1908–1915 Wodehouse's early period as a writer came to an end in 1908 with the serialisation of The Lost Lambs, published the following year in book form as the second half of the novel Mike. The work begins as a conventional school story, but Wodehouse introduces a new and strikingly original character, Psmith, whose creation both Evelyn Waugh and George Orwell regarded as a watershed in Wodehouse's development.",
"The work begins as a conventional school story, but Wodehouse introduces a new and strikingly original character, Psmith, whose creation both Evelyn Waugh and George Orwell regarded as a watershed in Wodehouse's development. Wodehouse said that he based Psmith on the hotelier and impresario Rupert D'Oyly Carte—\"the only thing in my literary career which was handed to me on a silver plate with watercress around it\".",
"Wodehouse said that he based Psmith on the hotelier and impresario Rupert D'Oyly Carte—\"the only thing in my literary career which was handed to me on a silver plate with watercress around it\". Wodehouse wrote in the 1970s that a cousin of his who had been at school with Carte told him of the latter's monocle, studied suavity, and stateliness of speech, all of which Wodehouse adopted for his new character.",
"Wodehouse wrote in the 1970s that a cousin of his who had been at school with Carte told him of the latter's monocle, studied suavity, and stateliness of speech, all of which Wodehouse adopted for his new character. Psmith featured in three more novels: Psmith in the City (1910), a burlesque of banking; Psmith, Journalist (1915) set in New York; and Leave It to Psmith (1923), set at Blandings Castle.",
"Psmith featured in three more novels: Psmith in the City (1910), a burlesque of banking; Psmith, Journalist (1915) set in New York; and Leave It to Psmith (1923), set at Blandings Castle. In May 1909 Wodehouse made his second visit to New York, where he sold two short stories to Cosmopolitan and Collier's for a total of $500, a much higher fee than he had commanded previously.",
"In May 1909 Wodehouse made his second visit to New York, where he sold two short stories to Cosmopolitan and Collier's for a total of $500, a much higher fee than he had commanded previously. He resigned from The Globe and stayed in New York for nearly a year.",
"He resigned from The Globe and stayed in New York for nearly a year. He sold many more stories, but none of the American publications offered a permanent relationship and guaranteed income. Wodehouse returned to England in late 1910, rejoining The Globe and also contributing regularly to The Strand Magazine.",
"Wodehouse returned to England in late 1910, rejoining The Globe and also contributing regularly to The Strand Magazine. Between then and the outbreak of the First World War in 1914 he revisited America frequently. Wodehouse was in New York when the war began.",
"Wodehouse was in New York when the war began. Ineligible for military service because of his poor eyesight, he remained in the US throughout the war, detached from the conflict in Europe and absorbed in his theatrical and literary concerns. In September 1914 he married Ethel May Wayman, née Newton (1885–1984), an English widow.",
"In September 1914 he married Ethel May Wayman, née Newton (1885–1984), an English widow. The marriage proved happy and lifelong. Ethel's personality was in contrast with her husband's: he was shy and impractical; she was gregarious, decisive and well organised.",
"Ethel's personality was in contrast with her husband's: he was shy and impractical; she was gregarious, decisive and well organised. In Sproat's phrase, she \"took charge of Wodehouse's life and made certain that he had the peace and quiet he needed to write\".",
"In Sproat's phrase, she \"took charge of Wodehouse's life and made certain that he had the peace and quiet he needed to write\". There were no children of the marriage, but Wodehouse came to love Ethel's daughter Leonora (1905–1944) and legally adopted her.",
"There were no children of the marriage, but Wodehouse came to love Ethel's daughter Leonora (1905–1944) and legally adopted her. Wodehouse experimented with different genres of fiction in these years; Psmith, Journalist, mixing comedy with social comment on slum landlords and racketeers, was published in 1915.",
"Wodehouse experimented with different genres of fiction in these years; Psmith, Journalist, mixing comedy with social comment on slum landlords and racketeers, was published in 1915. In the same year The Saturday Evening Post paid $3,500 to serialise Something New, the first of what became a series of novels set at Blandings Castle.",
"In the same year The Saturday Evening Post paid $3,500 to serialise Something New, the first of what became a series of novels set at Blandings Castle. It was published in hardback in the US and the UK in the same year (the British edition being retitled Something Fresh).",
"It was published in hardback in the US and the UK in the same year (the British edition being retitled Something Fresh). It was Wodehouse's first farcical novel; it was also his first best-seller, and although his later books included some gentler, lightly sentimental stories, it was as a farceur that he became known.",
"It was Wodehouse's first farcical novel; it was also his first best-seller, and although his later books included some gentler, lightly sentimental stories, it was as a farceur that he became known. Later in the same year \"Extricating Young Gussie\", the first story about Bertie and Jeeves, was published.",
"Later in the same year \"Extricating Young Gussie\", the first story about Bertie and Jeeves, was published. These stories introduced two sets of characters about whom Wodehouse wrote for the rest of his life.",
"These stories introduced two sets of characters about whom Wodehouse wrote for the rest of his life. The Blandings Castle stories, set in an English stately home, depict the attempts of the placid Lord Emsworth to evade the many distractions around him, which include successive pairs of young lovers, the machinations of his exuberant brother Galahad, the demands of his domineering sisters and super-efficient secretaries, and anything detrimental to his prize sow, the Empress of Blandings.",
"The Blandings Castle stories, set in an English stately home, depict the attempts of the placid Lord Emsworth to evade the many distractions around him, which include successive pairs of young lovers, the machinations of his exuberant brother Galahad, the demands of his domineering sisters and super-efficient secretaries, and anything detrimental to his prize sow, the Empress of Blandings. The Bertie and Jeeves stories feature an amiable young man-about-town, regularly rescued from the consequences of his idiocy by the benign interference of his valet.",
"The Bertie and Jeeves stories feature an amiable young man-about-town, regularly rescued from the consequences of his idiocy by the benign interference of his valet. Broadway: 1915–1919 A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator.",
"Broadway: 1915–1919 A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator. Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York.",
"Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York. The show was successful, but they thought the song lyrics weak and invited Wodehouse to join them on its successor. This was Miss Springtime (1916), which ran for 227 performances—a good run by the standards of the day.",
"This was Miss Springtime (1916), which ran for 227 performances—a good run by the standards of the day. The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917–18) and Oh, Lady! Lady!!",
"Lady!! Lady!! (1918), and Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin.",
"In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin. Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies.",
"Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies. Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do.",
"Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do. Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical.",
"Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical. In the Grove Dictionary of American Music Larry Stempel writes, \"By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy.\"",
"In the Grove Dictionary of American Music Larry Stempel writes, \"By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy.\" The theatre writer Gerald Bordman calls Wodehouse \"the most observant, literate, and witty lyricist of his day\".",
"The theatre writer Gerald Bordman calls Wodehouse \"the most observant, literate, and witty lyricist of his day\". The composer Richard Rodgers wrote, \"Before Larry Hart, only P.G. Wodehouse had made any real assault on the intelligence of the song-listening public.\"",
"Wodehouse had made any real assault on the intelligence of the song-listening public.\" 1920s In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones.",
"1920s In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones. Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest.",
"Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest. Various other young men-about-town appeared in short stories about members of the Drones Club.",
"Various other young men-about-town appeared in short stories about members of the Drones Club. The Wodehouses returned to England, where they had a house in London for some years, but Wodehouse continued to cross the Atlantic frequently, spending substantial periods in New York. He continued to work in the theatre.",
"He continued to work in the theatre. During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York).",
"During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York). He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnár, and A Damsel in Distress (1928), a dramatisation of his 1919 novel.",
"He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnár, and A Damsel in Distress (1928), a dramatisation of his 1919 novel. Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods.",
"Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods. Donaldson lists among those with whom he was on friendly terms writers including A. A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith Jr., Heather Thatcher and Dorothy Dickson.",
"A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith Jr., Heather Thatcher and Dorothy Dickson. Hollywood: 1929–1931 There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name.",
"Hollywood: 1929–1931 There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name. Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM).",
"Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM). Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week.",
"Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week. This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929.",
"This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929. The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories.",
"The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories. He commented, \"It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary.\"",
"He commented, \"It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary.\" Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used.",
"Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used. In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was \"as close to a success as Wodehouse was to have at MGM.",
"In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was \"as close to a success as Wodehouse was to have at MGM. His only other credits were minimal, and the other projects he worked on were not produced.\"",
"His only other credits were minimal, and the other projects he worked on were not produced.\" Wodehouse's contract ended after a year and was not renewed. At MGM's request, he gave an interview to The Los Angeles Times.",
"At MGM's request, he gave an interview to The Los Angeles Times. Wodehouse was described by Herbert Warren Wind as \"politically naive [and] fundamentally unworldly\", and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent.",
"Wodehouse was described by Herbert Warren Wind as \"politically naive [and] fundamentally unworldly\", and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent. The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry.",
"The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry. Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been \"a storm in a teacup\", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable.",
"Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been \"a storm in a teacup\", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable. Wind's view of Wodehouse's naïveté is not universally held.",
"Wind's view of Wodehouse's naïveté is not universally held. Biographers including Donaldson, McCrum and Phelps suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute.",
"Biographers including Donaldson, McCrum and Phelps suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute. He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire.",
"He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire. Best-seller: 1930s During the 1930s Wodehouse's theatrical work tailed off.",
"Best-seller: 1930s During the 1930s Wodehouse's theatrical work tailed off. He wrote or adapted four plays for the West End; Leave it to Psmith (1930), which he adapted in collaboration with Ian Hay, was the only one to have a long run.",
"He wrote or adapted four plays for the West End; Leave it to Psmith (1930), which he adapted in collaboration with Ian Hay, was the only one to have a long run. The reviewer in The Manchester Guardian praised the play, but commented: \"It is Mr Wodehouse's own inimitable narrative comments and descriptions in his own person of the antics of his puppets that one misses.",
"The reviewer in The Manchester Guardian praised the play, but commented: \"It is Mr Wodehouse's own inimitable narrative comments and descriptions in his own person of the antics of his puppets that one misses. They cannot be got into a play and they are at least half the fun of the novels.\"",
"They cannot be got into a play and they are at least half the fun of the novels.\" In 1934 Wodehouse collaborated with Bolton on the book for Cole Porter's Anything Goes (Porter wrote his own lyrics), but at the last minute their version was almost entirely rewritten by others at the instigation of the producer, who disliked the original script.",
"In 1934 Wodehouse collaborated with Bolton on the book for Cole Porter's Anything Goes (Porter wrote his own lyrics), but at the last minute their version was almost entirely rewritten by others at the instigation of the producer, who disliked the original script. Concentrating on writing novels and short stories, Wodehouse reached the peak of his productivity in this decade, averaging two books each year, and grossing an annual £100,000.",
"Concentrating on writing novels and short stories, Wodehouse reached the peak of his productivity in this decade, averaging two books each year, and grossing an annual £100,000. His practice of dividing his time between Britain and America caused Wodehouse difficulties with the tax authorities of both countries.",
"His practice of dividing his time between Britain and America caused Wodehouse difficulties with the tax authorities of both countries. Both the UK Inland Revenue and the US Internal Revenue Service sought to tax him as a resident.",
"Both the UK Inland Revenue and the US Internal Revenue Service sought to tax him as a resident. The matter was settled after lengthy negotiations, but the Wodehouses decided to change their residential status beyond doubt by moving to France, where they bought a house near Le Touquet in the north.",
"The matter was settled after lengthy negotiations, but the Wodehouses decided to change their residential status beyond doubt by moving to France, where they bought a house near Le Touquet in the north. In 1935 Wodehouse created the last of his regular cast of principal characters, Lord Ickenham, otherwise known as Uncle Fred, who, in Usborne's words, \"leads the dance in four novels and a short story... a whirring dynamo of misrule\".",
"In 1935 Wodehouse created the last of his regular cast of principal characters, Lord Ickenham, otherwise known as Uncle Fred, who, in Usborne's words, \"leads the dance in four novels and a short story... a whirring dynamo of misrule\". His other books from the decade include Right Ho, Jeeves, which Donaldson judged his best work, Uncle Fred in the Springtime, which the writer Bernard Levin considered the best, and Blandings Castle, which contains \"Lord Emsworth and the Girl Friend\", which Rudyard Kipling thought \"one of the most perfect short stories I have ever read\".",
"His other books from the decade include Right Ho, Jeeves, which Donaldson judged his best work, Uncle Fred in the Springtime, which the writer Bernard Levin considered the best, and Blandings Castle, which contains \"Lord Emsworth and the Girl Friend\", which Rudyard Kipling thought \"one of the most perfect short stories I have ever read\". Other leading literary figures who admired Wodehouse were A. E. Housman, Max Beerbohm and Hilaire Belloc; on the radio and in print Belloc called Wodehouse \"the best writer of our time: the best living writer of English... the head of my profession\".",
"Other leading literary figures who admired Wodehouse were A. E. Housman, Max Beerbohm and Hilaire Belloc; on the radio and in print Belloc called Wodehouse \"the best writer of our time: the best living writer of English... the head of my profession\". Wodehouse regarded Belloc's plaudit as \"a gag, to get a rise out of serious-minded authors whom he disliked\".",
"Wodehouse regarded Belloc's plaudit as \"a gag, to get a rise out of serious-minded authors whom he disliked\". Wodehouse was never sure that his books had literary merit as well as popular appeal, and, Donaldson suggests, must have been overwhelmed when the University of Oxford conferred an honorary doctorate of letters on him in June 1939.",
"Wodehouse was never sure that his books had literary merit as well as popular appeal, and, Donaldson suggests, must have been overwhelmed when the University of Oxford conferred an honorary doctorate of letters on him in June 1939. His visit to England for the awarding ceremony was the last time he set foot in his native land.",
"His visit to England for the awarding ceremony was the last time he set foot in his native land. Second World War: internment and broadcasts At the start of the Second World War Wodehouse and his wife remained at their Le Touquet house, where, during the Phoney War, he worked on Joy in the Morning.",
"Second World War: internment and broadcasts At the start of the Second World War Wodehouse and his wife remained at their Le Touquet house, where, during the Phoney War, he worked on Joy in the Morning. With the advance of the Germans, the nearby Royal Air Force base withdrew; Wodehouse was offered the sole spare seat in one of the fighter aircraft, but he turned down the opportunity as it would have meant leaving behind Ethel and their dog.",
"With the advance of the Germans, the nearby Royal Air Force base withdrew; Wodehouse was offered the sole spare seat in one of the fighter aircraft, but he turned down the opportunity as it would have meant leaving behind Ethel and their dog. On 21 May 1940, with German troops advancing through northern France, the Wodehouses decided to drive to Portugal and fly from there to the US.",
"On 21 May 1940, with German troops advancing through northern France, the Wodehouses decided to drive to Portugal and fly from there to the US. Two miles from home their car broke down, so they returned and borrowed a car from a neighbour; with the routes blocked with refugees, they returned home again.",
"Two miles from home their car broke down, so they returned and borrowed a car from a neighbour; with the routes blocked with refugees, they returned home again. The Germans occupied Le Touquet on 22 May 1940 and Wodehouse had to report to the authorities daily.",
"The Germans occupied Le Touquet on 22 May 1940 and Wodehouse had to report to the authorities daily. After two months of occupation the Germans interned all male enemy nationals under 60, and Wodehouse was sent to a former prison in Loos, a suburb of Lille, on 21 July; Ethel remained in Le Touquet.",
"After two months of occupation the Germans interned all male enemy nationals under 60, and Wodehouse was sent to a former prison in Loos, a suburb of Lille, on 21 July; Ethel remained in Le Touquet. The internees were placed four to a cell, each of which had been designed for one man.",
"The internees were placed four to a cell, each of which had been designed for one man. One bed was available per cell, which was made available to the eldest man—not Wodehouse, who slept on the granite floor.",
"One bed was available per cell, which was made available to the eldest man—not Wodehouse, who slept on the granite floor. The prisoners were not kept long in Loos before they were transported in cattle trucks to a former barracks in Liège, Belgium, which was run as a prison by the SS.",
"The prisoners were not kept long in Loos before they were transported in cattle trucks to a former barracks in Liège, Belgium, which was run as a prison by the SS. After a week the men were transferred to Huy in Liège, where they were incarcerated in the local citadel.",
"After a week the men were transferred to Huy in Liège, where they were incarcerated in the local citadel. They remained there until September 1940, when they were transported to Tost in Upper Silesia (then Germany, now Toszek in Poland).",
"They remained there until September 1940, when they were transported to Tost in Upper Silesia (then Germany, now Toszek in Poland). Wodehouse's family and friends had not had any news of his location after the fall of France, but an article from an Associated Press reporter who had visited Tost in December 1940 led to pressure on the German authorities to release the novelist.",
"Wodehouse's family and friends had not had any news of his location after the fall of France, but an article from an Associated Press reporter who had visited Tost in December 1940 led to pressure on the German authorities to release the novelist. This included a petition from influential people in the US; Senator W. Warren Barbour presented it to the German ambassador.",
"This included a petition from influential people in the US; Senator W. Warren Barbour presented it to the German ambassador. Although his captors refused to release him, Wodehouse was provided with a typewriter and, to pass the time, he wrote Money in the Bank.",
"Although his captors refused to release him, Wodehouse was provided with a typewriter and, to pass the time, he wrote Money in the Bank. Throughout his time in Tost, he sent postcards to his US literary agent asking for $5 to be sent to various people in Canada, mentioning his name.",
"Throughout his time in Tost, he sent postcards to his US literary agent asking for $5 to be sent to various people in Canada, mentioning his name. These were the families of Canadian prisoners of war, and the news from Wodehouse was the first indication that their sons were alive and well.",
"These were the families of Canadian prisoners of war, and the news from Wodehouse was the first indication that their sons were alive and well. Wodehouse risked severe punishment for the communication, but managed to evade the German censor.",
"Wodehouse risked severe punishment for the communication, but managed to evade the German censor. On 21 June 1941, while he was in the middle of playing a game of cricket, Wodehouse received a visit from two members of the Gestapo.",
"On 21 June 1941, while he was in the middle of playing a game of cricket, Wodehouse received a visit from two members of the Gestapo. He was given ten minutes to pack his things before he was taken to the Hotel Adlon, a top luxury hotel in Berlin.",
"He was given ten minutes to pack his things before he was taken to the Hotel Adlon, a top luxury hotel in Berlin. He stayed there at his own expense; royalties from the German editions of his books had been put into a special frozen bank account at the outset of the war, and Wodehouse was permitted to draw upon this money he had earned while staying in Berlin.",
"He stayed there at his own expense; royalties from the German editions of his books had been put into a special frozen bank account at the outset of the war, and Wodehouse was permitted to draw upon this money he had earned while staying in Berlin. He was thus released from internment a few months before his sixtieth birthday—the age at which civilian internees were released by the Nazis.",
"He was thus released from internment a few months before his sixtieth birthday—the age at which civilian internees were released by the Nazis. Shortly afterwards Wodehouse was, in the words of Phelps, \"cleverly trapped\" into making five broadcasts to the US via German radio, with the Berlin-based correspondent of the Columbia Broadcasting System.",
"Shortly afterwards Wodehouse was, in the words of Phelps, \"cleverly trapped\" into making five broadcasts to the US via German radio, with the Berlin-based correspondent of the Columbia Broadcasting System. The broadcasts—aired on 28 June, 9, 23 and 30 July and 6 August—were titled How to be an Internee Without Previous Training, and comprised humorous anecdotes about Wodehouse's experiences as a prisoner, including some gentle mocking of his captors.",
"The broadcasts—aired on 28 June, 9, 23 and 30 July and 6 August—were titled How to be an Internee Without Previous Training, and comprised humorous anecdotes about Wodehouse's experiences as a prisoner, including some gentle mocking of his captors. The German propaganda ministry arranged for the recordings to be broadcast to Britain in August.",
"The German propaganda ministry arranged for the recordings to be broadcast to Britain in August. The day after Wodehouse recorded his final programme, Ethel joined him in Berlin, having sold most of her jewellery to pay for the journey.",
"The day after Wodehouse recorded his final programme, Ethel joined him in Berlin, having sold most of her jewellery to pay for the journey. Aftermath: reactions and investigation The reaction in Britain to Wodehouse's broadcasts was hostile, and he was \"reviled ... as a traitor, collaborator, Nazi propagandist, and a coward\", although, Phelps observes, many of those who decried his actions had not heard the content of the programmes.",
"Aftermath: reactions and investigation The reaction in Britain to Wodehouse's broadcasts was hostile, and he was \"reviled ... as a traitor, collaborator, Nazi propagandist, and a coward\", although, Phelps observes, many of those who decried his actions had not heard the content of the programmes. A front-page article in The Daily Mirror stated that Wodehouse \"lived luxuriously because Britain laughed with him, but when the laughter was out of his country's heart, ... [he] was not ready to share her suffering.",
"A front-page article in The Daily Mirror stated that Wodehouse \"lived luxuriously because Britain laughed with him, but when the laughter was out of his country's heart, ... [he] was not ready to share her suffering. He hadn't the guts ... even to stick it out in the internment camp.\"",
"He hadn't the guts ... even to stick it out in the internment camp.\" In the House of Commons Anthony Eden, the Foreign Secretary, regretted Wodehouse's actions. Several libraries removed Wodehouse novels from their shelves.",
"Several libraries removed Wodehouse novels from their shelves. On 15 July the journalist William Connor, under his pen name Cassandra, broadcast a postscript to the news programme railing against Wodehouse. According to The Times, the broadcast \"provoked a storm of complaint ... from listeners all over the country\".",
"According to The Times, the broadcast \"provoked a storm of complaint ... from listeners all over the country\". Wodehouse's biographer, Joseph Connolly, thinks the broadcast \"inaccurate, spiteful and slanderous\"; Phelps calls it \"probably the most vituperative attack on an individual ever heard on British radio\".",
"Wodehouse's biographer, Joseph Connolly, thinks the broadcast \"inaccurate, spiteful and slanderous\"; Phelps calls it \"probably the most vituperative attack on an individual ever heard on British radio\". The broadcast was made at the direct instruction of Duff Cooper, the Minister of Information, who overruled strong protests made by the BBC against the decision to air the programme.",
"The broadcast was made at the direct instruction of Duff Cooper, the Minister of Information, who overruled strong protests made by the BBC against the decision to air the programme. Numerous letters appeared in the British press, both supporting and criticising Wodehouse.",
"Numerous letters appeared in the British press, both supporting and criticising Wodehouse. The letters page of The Daily Telegraph became a focus for censuring Wodehouse, including one from Wodehouse's friend, ; a reply from their fellow author Compton Mackenzie in defence of Wodehouse was not published because the editor claimed a lack of space.",
"The letters page of The Daily Telegraph became a focus for censuring Wodehouse, including one from Wodehouse's friend, ; a reply from their fellow author Compton Mackenzie in defence of Wodehouse was not published because the editor claimed a lack of space. Most of those defending Wodehouse against accusations of disloyalty, including Sax Rohmer, Dorothy L. Sayers and Gilbert Frankau, conceded that he had acted stupidly.",
"Most of those defending Wodehouse against accusations of disloyalty, including Sax Rohmer, Dorothy L. Sayers and Gilbert Frankau, conceded that he had acted stupidly. Some members of the public wrote to the newspapers to say that the full facts were not yet known and a fair judgment could not be made until they were.",
"Some members of the public wrote to the newspapers to say that the full facts were not yet known and a fair judgment could not be made until they were. The management of the BBC, who considered Wodehouse's actions no worse than \"ill advised\", pointed out to Cooper that there was no evidence at that point whether Wodehouse had acted voluntarily or under compulsion.",
"The management of the BBC, who considered Wodehouse's actions no worse than \"ill advised\", pointed out to Cooper that there was no evidence at that point whether Wodehouse had acted voluntarily or under compulsion. When Wodehouse heard of the furore the broadcasts had caused, he contacted the Foreign Office—through the Swiss embassy in Berlin—to explain his actions, and attempted to return home via neutral countries, but the German authorities refused to let him leave.",
"When Wodehouse heard of the furore the broadcasts had caused, he contacted the Foreign Office—through the Swiss embassy in Berlin—to explain his actions, and attempted to return home via neutral countries, but the German authorities refused to let him leave. In Performing Flea, a 1953 collection of letters, Wodehouse wrote, \"Of course I ought to have had the sense to see that it was a loony thing to do to use the German radio for even the most harmless stuff, but I didn't.",
"In Performing Flea, a 1953 collection of letters, Wodehouse wrote, \"Of course I ought to have had the sense to see that it was a loony thing to do to use the German radio for even the most harmless stuff, but I didn't. I suppose prison life saps the intellect\".",
"I suppose prison life saps the intellect\". The reaction in America was mixed: the left-leaning publication PM accused Wodehouse of \"play[ing] Jeeves to the Nazis\", but the Department of War used the interviews as an ideal representation of anti-Nazi propaganda.",
"The reaction in America was mixed: the left-leaning publication PM accused Wodehouse of \"play[ing] Jeeves to the Nazis\", but the Department of War used the interviews as an ideal representation of anti-Nazi propaganda. The Wodehouses remained in Germany until September 1943, when, because of the Allied bombings, they were allowed to move back to Paris.",
"The Wodehouses remained in Germany until September 1943, when, because of the Allied bombings, they were allowed to move back to Paris. They were living there when the city was liberated on 25 August 1944; Wodehouse reported to the American authorities the following day, asking them to inform the British of his whereabouts.",
"They were living there when the city was liberated on 25 August 1944; Wodehouse reported to the American authorities the following day, asking them to inform the British of his whereabouts. He was subsequently visited by Malcolm Muggeridge, recently arrived in Paris as an intelligence officer with MI6.",
"He was subsequently visited by Malcolm Muggeridge, recently arrived in Paris as an intelligence officer with MI6. The young officer quickly came to like Wodehouse and considered the question of treasonable behaviour as \"ludicrous\"; he summed up the writer as \"ill-fitted to live in an age of ideological conflict\".",
"The young officer quickly came to like Wodehouse and considered the question of treasonable behaviour as \"ludicrous\"; he summed up the writer as \"ill-fitted to live in an age of ideological conflict\". On 9 September Wodehouse was visited by an MI5 officer and former barrister, Major Edward Cussen, who formally investigated him, a process that stretched over four days.",
"On 9 September Wodehouse was visited by an MI5 officer and former barrister, Major Edward Cussen, who formally investigated him, a process that stretched over four days. On 28 September Cussen filed his report, which states that in regard to the broadcasts, Wodehouse's behaviour \"has been unwise\", but advised against further action.",
"On 28 September Cussen filed his report, which states that in regard to the broadcasts, Wodehouse's behaviour \"has been unwise\", but advised against further action. On 23 November Theobald Matthew, the Director of Public Prosecutions, decided there was no evidence to justify prosecuting Wodehouse.",
"On 23 November Theobald Matthew, the Director of Public Prosecutions, decided there was no evidence to justify prosecuting Wodehouse. In November 1944 Duff Cooper was appointed British ambassador to France and was provided accommodation at the Hôtel Le Bristol, where the Wodehouses were living.",
"In November 1944 Duff Cooper was appointed British ambassador to France and was provided accommodation at the Hôtel Le Bristol, where the Wodehouses were living. Cooper complained to the French authorities, and the couple were moved to a different hotel. They were subsequently arrested by French police and placed under preventive detention, despite no charges being presented.",
"They were subsequently arrested by French police and placed under preventive detention, despite no charges being presented. When Muggeridge tracked them down later, he managed to get Ethel released straight away and, four days later, ensured that the French authorities declared Wodehouse unwell and put him in a nearby hospital, which was more comfortable than where they had been detained.",
"When Muggeridge tracked them down later, he managed to get Ethel released straight away and, four days later, ensured that the French authorities declared Wodehouse unwell and put him in a nearby hospital, which was more comfortable than where they had been detained. While in this hospital, Wodehouse worked on his novel Uncle Dynamite.",
"While in this hospital, Wodehouse worked on his novel Uncle Dynamite. While still detained by the French, Wodehouse was again mentioned in questions in the House of Commons in December 1944 when MPs wondered if the French authorities could repatriate him to stand trial.",
"While still detained by the French, Wodehouse was again mentioned in questions in the House of Commons in December 1944 when MPs wondered if the French authorities could repatriate him to stand trial. Eden stated that the \"matter has been gone into, and, according to the advice given, there are no grounds upon which we could take action\".",
"Eden stated that the \"matter has been gone into, and, according to the advice given, there are no grounds upon which we could take action\". Two months later, Orwell wrote the essay \"In Defence of P.G.",
"Two months later, Orwell wrote the essay \"In Defence of P.G. Wodehouse\", where he stated that \"it is important to realise that the events of 1941 do not convict Wodehouse of anything worse than stupidity\".",
"Wodehouse\", where he stated that \"it is important to realise that the events of 1941 do not convict Wodehouse of anything worse than stupidity\". Orwell's rationale was that Wodehouse's \"moral outlook has remained that of a public-school boy, and according to the public-school code, treachery in time of war is the most unforgivable of all the sins\", which was compounded by his \"complete lack—so far as one can judge from his printed works—of political awareness\".",
"Orwell's rationale was that Wodehouse's \"moral outlook has remained that of a public-school boy, and according to the public-school code, treachery in time of war is the most unforgivable of all the sins\", which was compounded by his \"complete lack—so far as one can judge from his printed works—of political awareness\". On 15 January 1945 the French authorities released Wodehouse, but they did not inform him, until June 1946, that he would not face any official charges and was free to leave the country.",
"On 15 January 1945 the French authorities released Wodehouse, but they did not inform him, until June 1946, that he would not face any official charges and was free to leave the country. American exile: 1946–1975 Having secured American visas in July 1946, the Wodehouses made preparations to return to New York.",
"American exile: 1946–1975 Having secured American visas in July 1946, the Wodehouses made preparations to return to New York. They were delayed by Ethel's insistence on acquiring suitable new clothes and by Wodehouse's wish to finish writing his current novel, The Mating Season, in the peace of the French countryside.",
"They were delayed by Ethel's insistence on acquiring suitable new clothes and by Wodehouse's wish to finish writing his current novel, The Mating Season, in the peace of the French countryside. In April 1947 they sailed to New York, where Wodehouse was relieved at the friendly reception he received from the large press contingent awaiting his arrival.",
"In April 1947 they sailed to New York, where Wodehouse was relieved at the friendly reception he received from the large press contingent awaiting his arrival. Ethel secured a comfortable penthouse apartment in Manhattan's Upper East Side, but Wodehouse was not at ease. The New York that he had known before the war was much changed.",
"The New York that he had known before the war was much changed. The magazines that had paid lavishly for his stories were in decline, and those that remained were not much interested in him.",
"The magazines that had paid lavishly for his stories were in decline, and those that remained were not much interested in him. He was sounded out about writing for Broadway, but he was not at home in the post-war theatre; he had money problems, with large sums temporarily tied up in Britain, and for the first time in his career he had no ideas for a new novel.",
"He was sounded out about writing for Broadway, but he was not at home in the post-war theatre; he had money problems, with large sums temporarily tied up in Britain, and for the first time in his career he had no ideas for a new novel. He did not complete one until 1951.",
"He did not complete one until 1951. Wodehouse remained unsettled until he and Ethel left New York City for Long Island. Bolton and his wife lived in the prosperous hamlet of Remsenburg, part of the Southampton area of Long Island, east of Manhattan.",
"Bolton and his wife lived in the prosperous hamlet of Remsenburg, part of the Southampton area of Long Island, east of Manhattan. Wodehouse stayed with them frequently, and in 1952 he and Ethel bought a house nearby. They lived at Remsenburg for the rest of their lives.",
"They lived at Remsenburg for the rest of their lives. Between 1952 and 1975 he published more than twenty novels, as well as two collections of short stories, a heavily edited collection of his letters, a volume of memoirs, and a selection of his magazine articles. He continued to hanker after a revival of his theatrical career.",
"He continued to hanker after a revival of his theatrical career. A 1959 off-Broadway revival of the 1917 Bolton-Wodehouse-Kern Leave It to Jane was a surprise hit, running for 928 performances, but his few post-war stage works, some in collaboration with Bolton, made little impression.",
"A 1959 off-Broadway revival of the 1917 Bolton-Wodehouse-Kern Leave It to Jane was a surprise hit, running for 928 performances, but his few post-war stage works, some in collaboration with Bolton, made little impression. Although Ethel made a return visit to England in 1948 to shop and visit family and friends, Wodehouse never left America after his arrival in 1947.",
"Although Ethel made a return visit to England in 1948 to shop and visit family and friends, Wodehouse never left America after his arrival in 1947. It was not until 1965 that the British government indicated privately that he could return without fear of legal proceedings, and by then he felt too old to make the journey.",
"It was not until 1965 that the British government indicated privately that he could return without fear of legal proceedings, and by then he felt too old to make the journey. The biographers Benny Green and Robert McCrum both take the view that this exile benefited Wodehouse's writing, helping him to go on depicting an idealised England seen in his mind's eye, rather than as it actually was in the post-war decades.",
"The biographers Benny Green and Robert McCrum both take the view that this exile benefited Wodehouse's writing, helping him to go on depicting an idealised England seen in his mind's eye, rather than as it actually was in the post-war decades. During their years in Long Island, the couple often took in stray animals and contributed substantial funds to a local animal shelter.",
"During their years in Long Island, the couple often took in stray animals and contributed substantial funds to a local animal shelter. In 1955 Wodehouse became an American citizen, though he remained a British subject, and was therefore still eligible for UK state honours.",
"In 1955 Wodehouse became an American citizen, though he remained a British subject, and was therefore still eligible for UK state honours. He was considered for the award of a knighthood three times from 1967, but the honour was twice blocked by British officials.",
"He was considered for the award of a knighthood three times from 1967, but the honour was twice blocked by British officials. In 1974 the British prime minister, Harold Wilson, intervened to secure a knighthood (KBE) for Wodehouse, which was announced in the January 1975 New Year Honours list.",
"In 1974 the British prime minister, Harold Wilson, intervened to secure a knighthood (KBE) for Wodehouse, which was announced in the January 1975 New Year Honours list. The Times commented that Wodehouse's honour signalled \"official forgiveness for his wartime indiscretion....",
"The Times commented that Wodehouse's honour signalled \"official forgiveness for his wartime indiscretion.... It is late, but not too late, to take the sting out of that unhappy incident.\" The following month Wodehouse entered Southampton Hospital, Long Island, for treatment of a skin complaint.",
"The following month Wodehouse entered Southampton Hospital, Long Island, for treatment of a skin complaint. While there, he suffered a heart attack and died on 14 February 1975 at the age of 93. He was buried at Remsenburg Presbyterian Church four days later.",
"He was buried at Remsenburg Presbyterian Church four days later. Ethel outlived him by more than nine years; Leonora had predeceased him, dying suddenly in 1944.",
"Ethel outlived him by more than nine years; Leonora had predeceased him, dying suddenly in 1944. Writing Technique and approach Before starting a book Wodehouse would write up to four hundred pages of notes bringing together an outline of the plot; he acknowledged that \"It's the plots that I find so hard to work out.",
"Writing Technique and approach Before starting a book Wodehouse would write up to four hundred pages of notes bringing together an outline of the plot; he acknowledged that \"It's the plots that I find so hard to work out. It takes such a long time to work one out.\"",
"It takes such a long time to work one out.\" He always completed the plot before working on specific character actions. For a novel the note-writing process could take up to two years, and he would usually have two or more novels in preparation simultaneously.",
"For a novel the note-writing process could take up to two years, and he would usually have two or more novels in preparation simultaneously. After he had completed his notes, he would draw up a fuller scenario of about thirty thousand words, which ensured plot holes were avoided, and allowed for the dialogue to begin to develop.",
"After he had completed his notes, he would draw up a fuller scenario of about thirty thousand words, which ensured plot holes were avoided, and allowed for the dialogue to begin to develop. When interviewed in 1975 he revealed that \"For a humorous novel you've got to have a scenario, and you've got to test it so that you know where the comedy comes in, where the situations come in ... splitting it up into scenes (you can make a scene of almost anything) and have as little stuff in between as possible.\"",
"When interviewed in 1975 he revealed that \"For a humorous novel you've got to have a scenario, and you've got to test it so that you know where the comedy comes in, where the situations come in ... splitting it up into scenes (you can make a scene of almost anything) and have as little stuff in between as possible.\" He preferred working between 4 and 7 pm—but never after dinner—and would work seven days a week.",
"He preferred working between 4 and 7 pm—but never after dinner—and would work seven days a week. In his younger years, he would write around two to three thousand words a day, although he slowed as he aged, so that in his nineties he would produce a thousand.",
"In his younger years, he would write around two to three thousand words a day, although he slowed as he aged, so that in his nineties he would produce a thousand. The reduced speed in writing slowed his production of books: when younger he would produce a novel in about three months, while Bachelors Anonymous, published in 1973, took around six months.",
"The reduced speed in writing slowed his production of books: when younger he would produce a novel in about three months, while Bachelors Anonymous, published in 1973, took around six months. Although studies of language production in normal healthy ageing show a marked decline from the mid-70s on, a study of Wodehouse's works did not find any evidence of a decline in linguistic ability with age.",
"Although studies of language production in normal healthy ageing show a marked decline from the mid-70s on, a study of Wodehouse's works did not find any evidence of a decline in linguistic ability with age. Wodehouse believed that one of the factors that made his stories humorous was his view of life, and he stated that \"If you take life fairly easily, then you take a humorous view of things.",
"Wodehouse believed that one of the factors that made his stories humorous was his view of life, and he stated that \"If you take life fairly easily, then you take a humorous view of things. It's probably because you were born that way.\"",
"It's probably because you were born that way.\" He carried this view through into his writing, describing the approach as \"making the thing a sort of musical comedy without music, and ignoring real life altogether\".",
"He carried this view through into his writing, describing the approach as \"making the thing a sort of musical comedy without music, and ignoring real life altogether\". The literary critic Edward L. Galligan considers Wodehouse's stories to show his mastery in adapting the form of the American musical comedy for his writings.",
"The literary critic Edward L. Galligan considers Wodehouse's stories to show his mastery in adapting the form of the American musical comedy for his writings. Wodehouse would ensure that his first draft was as carefully and accurately done as possible, correcting and refining the prose as he wrote, and would then make another good copy, before proofreading again and then making a final copy for his publisher.",
"Wodehouse would ensure that his first draft was as carefully and accurately done as possible, correcting and refining the prose as he wrote, and would then make another good copy, before proofreading again and then making a final copy for his publisher. Most of Wodehouse's canon is set in an undated period around the 1920s and 1930s.",
"Most of Wodehouse's canon is set in an undated period around the 1920s and 1930s. The critic Anthony Lejeune describes the settings of Wodehouse's novels, such as the Drones Club and Blandings Castle, as \"a fairyland\".",
"The critic Anthony Lejeune describes the settings of Wodehouse's novels, such as the Drones Club and Blandings Castle, as \"a fairyland\". Although some critics thought Wodehouse's fiction was based on a world that had never existed, Wodehouse affirmed that \"it did.",
"Although some critics thought Wodehouse's fiction was based on a world that had never existed, Wodehouse affirmed that \"it did. It was going strong between the wars\", although he agreed that his version was to some extent \"a sort of artificial world of my own creation\".",
"It was going strong between the wars\", although he agreed that his version was to some extent \"a sort of artificial world of my own creation\". The novels showed a largely unchanging world, regardless of when they were written, and only rarely—and mistakenly in McCrum's view—did Wodehouse allow modernity to intrude, as he did in the 1966 story \"Bingo Bans the Bomb\".",
"The novels showed a largely unchanging world, regardless of when they were written, and only rarely—and mistakenly in McCrum's view—did Wodehouse allow modernity to intrude, as he did in the 1966 story \"Bingo Bans the Bomb\". When dealing with the dialogue in his novels, Wodehouse would consider the book's characters as if they were actors in a play, ensuring that the main roles were kept suitably employed throughout the storyline, which must be strong: \"If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them.\"",
"When dealing with the dialogue in his novels, Wodehouse would consider the book's characters as if they were actors in a play, ensuring that the main roles were kept suitably employed throughout the storyline, which must be strong: \"If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them.\" Many of Wodehouse's parts were stereotypes, and he acknowledged that \"a real character in one of my books sticks out like a sore thumb.\"",
"Many of Wodehouse's parts were stereotypes, and he acknowledged that \"a real character in one of my books sticks out like a sore thumb.\" The publisher Michael Joseph identifies that even within the stereotypes Wodehouse understood human nature, and therefore \"shares with [Charles] Dickens and Charles Chaplin the ability to present the comic resistance of the individual against those superior forces to which we are all subject\".",
"The publisher Michael Joseph identifies that even within the stereotypes Wodehouse understood human nature, and therefore \"shares with [Charles] Dickens and Charles Chaplin the ability to present the comic resistance of the individual against those superior forces to which we are all subject\". Much of Wodehouse's use of slang terms reflects the influence of his time at school in Dulwich, and partly reflects Edwardian slang.",
"Much of Wodehouse's use of slang terms reflects the influence of his time at school in Dulwich, and partly reflects Edwardian slang. As a young man he enjoyed the literary works of Arthur Conan Doyle and Jerome K. Jerome, and the operatic works of Gilbert and Sullivan. Wodehouse quotes from and alludes to numerous poets throughout his work.",
"Wodehouse quotes from and alludes to numerous poets throughout his work. The scholar Clarke Olney lists those quoted, including Milton, Byron, Longfellow, Coleridge, Swinburne, Tennyson, Wordsworth and Shakespeare. Another favoured source was the King James Bible.",
"Another favoured source was the King James Bible. Language In 1941 the Concise Cambridge History of English Literature opined that Wodehouse had \"a gift for highly original aptness of phrase that almost suggests a poet struggling for release among the wild extravagances of farce\", while McCrum thinks that Wodehouse manages to combine \"high farce with the inverted poetry of his mature comic style\", particularly in The Code of the Woosters; the novelist Anthony Powell believes Wodehouse to be a \"comic poet\".",
"Language In 1941 the Concise Cambridge History of English Literature opined that Wodehouse had \"a gift for highly original aptness of phrase that almost suggests a poet struggling for release among the wild extravagances of farce\", while McCrum thinks that Wodehouse manages to combine \"high farce with the inverted poetry of his mature comic style\", particularly in The Code of the Woosters; the novelist Anthony Powell believes Wodehouse to be a \"comic poet\". Robert A.",
"Robert A. Robert A. Hall Jr., in his study of Wodehouse's style and technique, describes the author as a master of prose, an opinion also shared by Levin, who considers Wodehouse \"one of the finest and purest writers of English prose\".",
"Hall Jr., in his study of Wodehouse's style and technique, describes the author as a master of prose, an opinion also shared by Levin, who considers Wodehouse \"one of the finest and purest writers of English prose\". Hall identifies several techniques used by Wodehouse to achieve comic effect, including the creation of new words through adding or removing prefixes and suffixes, so when Pongo Twistleton removes the housemaid Elsie Bean from a cupboard, Wodehouse writes that the character \"de-Beaned the cupboard\".",
"Hall identifies several techniques used by Wodehouse to achieve comic effect, including the creation of new words through adding or removing prefixes and suffixes, so when Pongo Twistleton removes the housemaid Elsie Bean from a cupboard, Wodehouse writes that the character \"de-Beaned the cupboard\". Wodehouse created new words by splitting others in two, thus Wodehouse divides \"hobnobbing\" when he writes: \"To offer a housemaid a cigarette is not hobbing.",
"Wodehouse created new words by splitting others in two, thus Wodehouse divides \"hobnobbing\" when he writes: \"To offer a housemaid a cigarette is not hobbing. Nor, when you light it for her, does that constitute nobbing.\"",
"Nor, when you light it for her, does that constitute nobbing.\" Richard Voorhees, Wodehouse's biographer, believes that the author used clichés in a deliberate and ironic manner.",
"Richard Voorhees, Wodehouse's biographer, believes that the author used clichés in a deliberate and ironic manner. His opinion is shared by the academic Stephen Medcalf, who deems Wodehouse's skill is to \"bring a cliché just enough to life to kill it\", although Pamela March, writing in The Christian Science Monitor, considers Wodehouse to have \"an ability to decliché a cliché\".",
"His opinion is shared by the academic Stephen Medcalf, who deems Wodehouse's skill is to \"bring a cliché just enough to life to kill it\", although Pamela March, writing in The Christian Science Monitor, considers Wodehouse to have \"an ability to decliché a cliché\". Medcalf provides an example from Right Ho, Jeeves in which the teetotal Gussie Fink-Nottle has surreptitiously been given whisky and gin in a punch prior to a prize-giving: 'It seems to me, Jeeves, that the ceremony may be one fraught with considerable interest.'",
"Medcalf provides an example from Right Ho, Jeeves in which the teetotal Gussie Fink-Nottle has surreptitiously been given whisky and gin in a punch prior to a prize-giving: 'It seems to me, Jeeves, that the ceremony may be one fraught with considerable interest.' 'Yes, sir.'",
"'Yes, sir.' 'Yes, sir.' 'What, in your opinion, will the harvest be?' 'One finds it difficult to hazard a conjecture, sir.' 'You mean imagination boggles?' 'Yes, sir.' I inspected my imagination. He was right. It boggled.",
"He was right. It boggled. It boggled. The stylistic device most commonly found in Wodehouse's work is his use of comparative imagery that includes similes. Hall opines that the humour comes from Wodehouse's ability to accentuate \"resemblances which at first glance seem highly incongruous\".",
"Hall opines that the humour comes from Wodehouse's ability to accentuate \"resemblances which at first glance seem highly incongruous\". Examples can be seen in Joy in the Morning, Chapter 29: \"There was a sound in the background like a distant sheep coughing gently on a mountainside.",
"Examples can be seen in Joy in the Morning, Chapter 29: \"There was a sound in the background like a distant sheep coughing gently on a mountainside. Jeeves sailing into action\", or Psmith, Chapter 7: \"A sound like two or three pigs feeding rather noisily in the middle of a thunderstorm interrupted his meditation.\"",
"Jeeves sailing into action\", or Psmith, Chapter 7: \"A sound like two or three pigs feeding rather noisily in the middle of a thunderstorm interrupted his meditation.\" Hall also identifies that periodically Wodehouse used the stylistic device of a transferred epithet, with an adjective that properly belongs to a person applied instead to some inanimate object.",
"Hall also identifies that periodically Wodehouse used the stylistic device of a transferred epithet, with an adjective that properly belongs to a person applied instead to some inanimate object. The form of expression is used sparingly by Wodehouse in comparison with other mechanisms, only once or twice in a story or novel, according to Hall.",
"The form of expression is used sparingly by Wodehouse in comparison with other mechanisms, only once or twice in a story or novel, according to Hall. \"I balanced a thoughtful lump of sugar on the teaspoon.\"",
"\"I balanced a thoughtful lump of sugar on the teaspoon.\" —Joy in the Morning, Chapter 5 \"As I sat in the bath-tub, soaping a meditative foot ...\" —Jeeves and the Feudal Spirit, Chapter 1 \"The first thing he did was to prod Jeeves in the lower ribs with an uncouth forefinger.\"",
"—Joy in the Morning, Chapter 5 \"As I sat in the bath-tub, soaping a meditative foot ...\" —Jeeves and the Feudal Spirit, Chapter 1 \"The first thing he did was to prod Jeeves in the lower ribs with an uncouth forefinger.\" —Much Obliged, Jeeves, Chapter 4 Wordplay is a key element in Wodehouse's writing.",
"—Much Obliged, Jeeves, Chapter 4 Wordplay is a key element in Wodehouse's writing. This can take the form of puns, such as in Jeeves and the Feudal Spirit, when Bertie is released after a night in the police cells, and says that he has \"a pinched look\" about him.",
"This can take the form of puns, such as in Jeeves and the Feudal Spirit, when Bertie is released after a night in the police cells, and says that he has \"a pinched look\" about him. Linguistic confusion is another humorous mechanism, such as in Uncle Dynamite when Constable Potter says he has been \"assaulted by the duck pond\".",
"Linguistic confusion is another humorous mechanism, such as in Uncle Dynamite when Constable Potter says he has been \"assaulted by the duck pond\". In reply, Sir Aylmer, confusing the two meanings of the word \"by\", asks: \"How the devil can you be assaulted by a duck pond?\"",
"In reply, Sir Aylmer, confusing the two meanings of the word \"by\", asks: \"How the devil can you be assaulted by a duck pond?\" Wodehouse also uses metaphor and mixed metaphor to add humour.",
"Wodehouse also uses metaphor and mixed metaphor to add humour. Some come through exaggeration, such as Bingo Little's infant child who \"not only has the aspect of a mass murderer, but that of a mass murderer suffering from an ingrown toenail\", or Wooster's complaint that \"the rumpuses that Bobbie Wickham is already starting may be amusing to her, but not to the unfortunate toads beneath the harrow whom she ruthlessly plunges into the soup.\"",
"Some come through exaggeration, such as Bingo Little's infant child who \"not only has the aspect of a mass murderer, but that of a mass murderer suffering from an ingrown toenail\", or Wooster's complaint that \"the rumpuses that Bobbie Wickham is already starting may be amusing to her, but not to the unfortunate toads beneath the harrow whom she ruthlessly plunges into the soup.\" Bertie Wooster's half-forgotten vocabulary also provides a further humorous device.",
"Bertie Wooster's half-forgotten vocabulary also provides a further humorous device. In Jeeves and the Feudal Spirit Bertie asks Jeeves \"Let a plugugly like young Thos loose in the community with a cosh, and you are inviting disaster and ... what's the word? Something about cats.\" Jeeves replies, \"Cataclysms, sir?\"",
"Jeeves replies, \"Cataclysms, sir?\" Reception and reputation Literary reception Wodehouse's early career as a lyricist and playwright was profitable, and his work with Bolton, according to The Guardian, \"was one of the most successful in the history of musical comedy\".",
"Reception and reputation Literary reception Wodehouse's early career as a lyricist and playwright was profitable, and his work with Bolton, according to The Guardian, \"was one of the most successful in the history of musical comedy\". At the outbreak of the Second World War he was earning £40,000 a year from his work, which had broadened to include novels and short stories.",
"At the outbreak of the Second World War he was earning £40,000 a year from his work, which had broadened to include novels and short stories. Following the furore ensuing from the wartime broadcasts, he suffered a downturn in his popularity and book sales; The Saturday Evening Post stopped publishing his short stories, a stance they reversed in 1965, although his popularity—and the sales figures—slowly recovered over time.",
"Following the furore ensuing from the wartime broadcasts, he suffered a downturn in his popularity and book sales; The Saturday Evening Post stopped publishing his short stories, a stance they reversed in 1965, although his popularity—and the sales figures—slowly recovered over time. Wodehouse received great praise from many of his contemporaries, including Max Beerbohm, Rudyard Kipling, A. E. Housman and Evelyn Waugh—the last of whom opines, \"One has to regard a man as a Master who can produce on average three uniquely brilliant and entirely original similes on each page.\"",
"Wodehouse received great praise from many of his contemporaries, including Max Beerbohm, Rudyard Kipling, A. E. Housman and Evelyn Waugh—the last of whom opines, \"One has to regard a man as a Master who can produce on average three uniquely brilliant and entirely original similes on each page.\" There are dissenters to the praise.",
"There are dissenters to the praise. The writer Alan Bennett thinks that \"inspired though his language is, I can never take more than ten pages of the novels at a time, their relentless flippancy wearing and tedious\", while the literary critic Q. D. Leavis writes that Wodehouse had a \"stereotyped humour ... of ingenious variations on a laugh in one place\".",
"The writer Alan Bennett thinks that \"inspired though his language is, I can never take more than ten pages of the novels at a time, their relentless flippancy wearing and tedious\", while the literary critic Q. D. Leavis writes that Wodehouse had a \"stereotyped humour ... of ingenious variations on a laugh in one place\". In a 2010 study of Wodehouse's few relatively serious novels, such as The Coming of Bill (1919), Jill the Reckless (1920) and The Adventures of Sally (1922), David Heddendorf concludes that though their literary quality does not match that of the farcical novels, they show a range of empathy and interests that in real life—and in his most comic works—the author seemed to lack.",
"In a 2010 study of Wodehouse's few relatively serious novels, such as The Coming of Bill (1919), Jill the Reckless (1920) and The Adventures of Sally (1922), David Heddendorf concludes that though their literary quality does not match that of the farcical novels, they show a range of empathy and interests that in real life—and in his most comic works—the author seemed to lack. \"Never oblivious to grief and despair, he opts in clear-eyed awareness for his timeless world of spats and woolly-headed peers.",
"\"Never oblivious to grief and despair, he opts in clear-eyed awareness for his timeless world of spats and woolly-headed peers. It's an austere, almost bloodless preference for pristine artifice over the pain and messy outcomes of actual existence, but it's a case of Wodehouse keeping faith with his own unique art.\"",
"It's an austere, almost bloodless preference for pristine artifice over the pain and messy outcomes of actual existence, but it's a case of Wodehouse keeping faith with his own unique art.\" The American literary analyst Robert F. Kiernan, defining \"camp\" as \"excessive stylization of whatever kind\", brackets Wodehouse as \"a master of the camp novel\", along with Thomas Love Peacock, Max Beerbohm, Ronald Firbank, E. F. Benson and Ivy Compton-Burnett.",
"The American literary analyst Robert F. Kiernan, defining \"camp\" as \"excessive stylization of whatever kind\", brackets Wodehouse as \"a master of the camp novel\", along with Thomas Love Peacock, Max Beerbohm, Ronald Firbank, E. F. Benson and Ivy Compton-Burnett. The literary critic and writer Cyril Connolly calls Wodehouse a \"politicians' author\"—one who does \"not like art to be exacting and difficult\".",
"The literary critic and writer Cyril Connolly calls Wodehouse a \"politicians' author\"—one who does \"not like art to be exacting and difficult\". Two former British prime ministers, H. H. Asquith and Tony Blair, are on record as Wodehouse aficionados, and the latter became a patron of the Wodehouse Society.",
"Two former British prime ministers, H. H. Asquith and Tony Blair, are on record as Wodehouse aficionados, and the latter became a patron of the Wodehouse Society. Seán O'Casey, a successful playwright of the 1920s, thought little of Wodehouse; he commented in 1941 that it was damaging to England's dignity that the public or \"the academic government of Oxford, dead from the chin up\" considered Wodehouse an important figure in English literature.",
"Seán O'Casey, a successful playwright of the 1920s, thought little of Wodehouse; he commented in 1941 that it was damaging to England's dignity that the public or \"the academic government of Oxford, dead from the chin up\" considered Wodehouse an important figure in English literature. His jibe that Wodehouse was \"English literature's performing flea\" provided his target with the title of his collected letters, published in 1953.",
"His jibe that Wodehouse was \"English literature's performing flea\" provided his target with the title of his collected letters, published in 1953. McCrum, writing in 2004, observes, \"Wodehouse is more popular today than on the day he died\", and \"his comic vision has an absolutely secure place in the English literary imagination.\"",
"McCrum, writing in 2004, observes, \"Wodehouse is more popular today than on the day he died\", and \"his comic vision has an absolutely secure place in the English literary imagination.\" Honours and influence The proposed nominations of Wodehouse for a knighthood in 1967 and 1971 were blocked for fear that such an award would \"revive the controversy of his wartime behaviour and give currency to a Bertie Wooster image of the British character which the embassy was doing its best to eradicate\".",
"Honours and influence The proposed nominations of Wodehouse for a knighthood in 1967 and 1971 were blocked for fear that such an award would \"revive the controversy of his wartime behaviour and give currency to a Bertie Wooster image of the British character which the embassy was doing its best to eradicate\". When Wodehouse was awarded the knighthood, only four years later, the journalist Dennis Barker wrote in The Guardian that the writer was \"the solitary surviving English literary comic genius\".",
"When Wodehouse was awarded the knighthood, only four years later, the journalist Dennis Barker wrote in The Guardian that the writer was \"the solitary surviving English literary comic genius\". After his death six weeks later, the journalist Michael Davie, writing in the same paper, observed that \"Many people regarded ... [Wodehouse] as he regarded Beachcomber, as 'one, if not more than one, of England's greatest men'\", while in the view of the obituarist for The Times Wodehouse \"was a comic genius recognized in his lifetime as a classic and an old master of farce\".",
"After his death six weeks later, the journalist Michael Davie, writing in the same paper, observed that \"Many people regarded ... [Wodehouse] as he regarded Beachcomber, as 'one, if not more than one, of England's greatest men'\", while in the view of the obituarist for The Times Wodehouse \"was a comic genius recognized in his lifetime as a classic and an old master of farce\". In September 2019 Wodehouse was commemorated with a memorial stone in Westminster Abbey; the dedication was held two days after it was installed.",
"In September 2019 Wodehouse was commemorated with a memorial stone in Westminster Abbey; the dedication was held two days after it was installed. Since Wodehouse's death there have been numerous adaptations and dramatisations of his work on television and film; Wodehouse himself has been portrayed on radio and screen numerous times.",
"Since Wodehouse's death there have been numerous adaptations and dramatisations of his work on television and film; Wodehouse himself has been portrayed on radio and screen numerous times. There are several literary societies dedicated to Wodehouse. The P.G. Wodehouse Society (UK) was founded in 1997 and has over 1,000 members as at 2015.",
"Wodehouse Society (UK) was founded in 1997 and has over 1,000 members as at 2015. The president of the society as at 2017 is Alexander Armstrong; past presidents have included Terry Wogan and Richard Briers.",
"The president of the society as at 2017 is Alexander Armstrong; past presidents have included Terry Wogan and Richard Briers. There are also other groups of Wodehouse fans in Australia, Belgium, France, Finland, India, Italy, Russia, Sweden and the US.",
"There are also other groups of Wodehouse fans in Australia, Belgium, France, Finland, India, Italy, Russia, Sweden and the US. As at 2015 the Oxford English Dictionary contains over 1,750 quotations from Wodehouse, illustrating terms from crispish to zippiness.",
"As at 2015 the Oxford English Dictionary contains over 1,750 quotations from Wodehouse, illustrating terms from crispish to zippiness. Voorhees, while acknowledging that Wodehouse's antecedents in literature range from Ben Jonson to Oscar Wilde, writes: Notes, references and sources Notes References Sources External links P. G. Wodehouse collection at One More Library P.G.",
"Voorhees, while acknowledging that Wodehouse's antecedents in literature range from Ben Jonson to Oscar Wilde, writes: Notes, references and sources Notes References Sources External links P. G. Wodehouse collection at One More Library P.G. Wodehouse Archive on loan to the British Library The Wodehouse Society The P. G. Wodehouse Society (UK) Transcripts of Wodehouse's Berlin Broadcasts \"P. G. Wodehouse: An English Master of American Slang\" from The American Legion Weekly, 24 October 1919 Orwell, George \"In Defence of P.G.",
"Wodehouse Archive on loan to the British Library The Wodehouse Society The P. G. Wodehouse Society (UK) Transcripts of Wodehouse's Berlin Broadcasts \"P. G. Wodehouse: An English Master of American Slang\" from The American Legion Weekly, 24 October 1919 Orwell, George \"In Defence of P.G. Wodehouse\" 1881 births 1975 deaths 20th-century English novelists 20th-century British dramatists and playwrights British emigrants to the United States English lyricists Knights Commander of the Order of the British Empire English male dramatists and playwrights British male novelists People educated at Dulwich College People educated at Elizabeth College, Guernsey People from Guildford People from Long Island PG People interned during World War II English humorists 20th-century American novelists American dramatists and playwrights American humorists American lyricists American male novelists Novelists from New York (state) Literature controversies English broadcasters for Nazi Germany 20th-century American male writers"
] |
[
"P. G. Wodehouse",
"Broadway: 1915-19",
"What happened in 1915?",
"Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator.",
"what did the two collaborate on?",
"This was Miss Springtime (1916), which ran for 227 performances--a good run by the standards of the day.",
"what did they do next?",
"The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917-18) and Oh, Lady! Lady!! (1918),",
"were there any other successes?",
"Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin.",
"what other composers?",
"I don't know."
] | C_01908f72800044fda5b1d74a25e24226_1 | Did he do anything other than musicals? | 6 | Did PG Wodehouse do anything other than musicals? | P. G. Wodehouse | A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator. Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York. The show was successful, but they thought the song lyrics weak and invited Wodehouse to join them on its successor. This was Miss Springtime (1916), which ran for 227 performances--a good run by the standards of the day. The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917-18) and Oh, Lady! Lady!! (1918), and Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin. Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies. Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do. Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical. In the Grove Dictionary of American Music Larry Stempel writes, "By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy." The theatre writer Gerald Bordman calls Wodehouse "the most observant, literate, and witty lyricist of his day". The composer Richard Rodgers wrote, "Before Larry Hart, only P.G. Wodehouse had made any real assault on the intelligence of the song-listening public." In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones. Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest. Various other young men-about-town appeared in short stories about members of the Drones Club. The Wodehouses returned to England, where they had a house in London for some years, but Wodehouse continued to cross the Atlantic frequently, spending substantial periods in New York. He continued to work in the theatre. During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York). He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnar, and A Damsel in Distress (1928), a dramatisation of his 1919 novel. Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods. Donaldson lists among those with whom he was on friendly terms writers including A.A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith, Jr., Heather Thatcher and Dorothy Dickson. CANNOTANSWER | Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; | Sir Pelham Grenville Wodehouse, ( ; 15 October 188114 February 1975) was an English author and one of the most widely read humorists of the 20th century. His creations include the feather-brained Bertie Wooster and his sagacious valet, Jeeves; the immaculate and loquacious Psmith; Lord Emsworth and the Blandings Castle set; the Oldest Member, with stories about golf; and Mr Mulliner, with tall tales on subjects ranging from bibulous bishops to megalomaniac movie moguls.
Born in Guildford, the third son of a British magistrate based in Hong Kong, Wodehouse spent happy teenage years at Dulwich College, to which he remained devoted all his life. After leaving school he was employed by a bank but disliked the work and turned to writing in his spare time. His early novels were mostly school stories, but he later switched to comic fiction. Most of Wodehouse's fiction is set in his native United Kingdom, although he spent much of his life in the US and used New York and Hollywood as settings for some of his novels and short stories. He wrote a series of Broadway musical comedies during and after the First World War, together with Guy Bolton and Jerome Kern, that played an important part in the development of the American musical. He began the 1930s writing for MGM in Hollywood. In a 1931 interview, his naive revelations of incompetence and extravagance in the studios caused a furore. In the same decade, his literary career reached a new peak.
In 1934 Wodehouse moved to France for tax reasons; in 1940 he was taken prisoner at Le Touquet by the invading Germans and interned for nearly a year. After his release he made six broadcasts from German radio in Berlin to the US, which had not yet entered the war. The talks were comic and apolitical, but his broadcasting over enemy radio prompted anger and strident controversy in Britain, and a threat of prosecution. Wodehouse never returned to England. From 1947 until his death he lived in the US, taking dual British-American citizenship in 1955. He died in 1975, at the age of 93, in Southampton, New York.
Wodehouse was a prolific writer throughout his life, publishing more than ninety books, forty plays, two hundred short stories and other writings between 1902 and 1974. He worked extensively on his books, sometimes having two or more in preparation simultaneously. He would take up to two years to build a plot and write a scenario of about thirty thousand words. After the scenario was complete he would write the story. Early in his career Wodehouse would produce a novel in about three months, but he slowed in old age to around six months. He used a mixture of Edwardian slang, quotations from and allusions to numerous poets, and several literary techniques to produce a prose style that has been compared to comic poetry and musical comedy. Some critics of Wodehouse have considered his work flippant, but among his fans are former British prime ministers and many of his fellow writers.
Life and career
Early years
Wodehouse was born in Guildford, Surrey, the third son of Henry Ernest Wodehouse (1845–1929), a magistrate resident in the British colony of Hong Kong, and his wife, Eleanor (1861–1941), daughter of the Rev John Bathurst Deane. The Wodehouses, who traced their ancestry back to the 13th century, belonged to a cadet branch of the family of the earls of Kimberley. Eleanor Wodehouse was also of ancient aristocratic ancestry. She was visiting her sister in Guildford when Wodehouse was born there prematurely.
The boy was baptised at the Church of St Nicolas, Guildford, and was named after his godfather, Pelham von Donop. Wodehouse wrote in 1957, "If you ask me to tell you frankly if I like the name Pelham Grenville Wodehouse, I must confess that I do not.... I was named after a godfather, and not a thing to show for it but a small silver mug which I lost in 1897." The first name was rapidly elided to "Plum", the name by which Wodehouse became known to family and friends.
Mother and son sailed for Hong Kong, where for his first two years Wodehouse was raised by a Chinese amah (nurse), alongside his elder brothers Peveril (1877–1951) and Armine (1879–1936). When he was two, the brothers were brought to England, where they were placed under the care of an English nanny in a house adjoining that of Eleanor's father and mother. The boys' parents returned to Hong Kong and became virtual strangers to their sons. Such an arrangement was then normal for middle-class families based in the colonies. The lack of parental contact, and the harsh regime of some of those in loco parentis, left permanent emotional scars on many children from similar backgrounds, including the writers Thackeray, Saki, Kipling and Walpole. Wodehouse was more fortunate; his nanny, Emma Roper, was strict but not unkind, and both with her and later at his different schools Wodehouse had a generally happy childhood. His recollection was that "it went like a breeze from start to finish, with everybody I met understanding me perfectly". The biographer Robert McCrum suggests that nonetheless Wodehouse's isolation from his parents left a psychological mark, causing him to avoid emotional engagement both in life and in his works. Another biographer, Frances Donaldson, writes, "Deprived so early, not merely of maternal love, but of home life and even a stable background, Wodehouse consoled himself from the youngest age in an imaginary world of his own."
In 1886 the brothers were sent to a dame-school in Croydon, where they spent three years. Peveril was then found to have a "weak chest"; sea air was prescribed, and the three boys were moved to Elizabeth College on the island of Guernsey. In 1891 Wodehouse went on to Malvern House Preparatory School in Kent, which concentrated on preparing its pupils for entry to the Royal Navy. His father had planned a naval career for him, but the boy's eyesight was found to be too poor for it. He was unimpressed by the school's narrow curriculum and zealous discipline; he later parodied it in his novels, with Bertie Wooster recalling his early years as a pupil at a "penitentiary... with the outward guise of a prep school" called Malvern House.
Throughout their school years the brothers were sent to stay during the holidays with various uncles and aunts from both sides of the family. In the Oxford Dictionary of National Biography, Iain Sproat counts twenty aunts and considers that they played an important part not only in Wodehouse's early life, but, thinly disguised, in his mature novels, as the formidable aunts who dominate the action in the Wooster, Blandings, and other stories. The boys had fifteen uncles, four of whom were clergymen. Sproat writes that they inspired Wodehouse's "pious but fallible curates, vicars, and bishops, of which he wrote with friendly irreverence but without mockery".
At the age of twelve in 1894, to his great joy, Wodehouse was able to follow his brother Armine to Dulwich College. He was entirely at home there; Donaldson comments that Dulwich gave him, for the first time, "some continuity and a stable and ordered life". He loved the camaraderie, distinguished himself at cricket, rugby and boxing, and was a good, if not consistently diligent, student. The headmaster at the time was A. H. Gilkes, a respected classicist, who was a strong influence on Wodehouse. In a study of Wodehouse's works, Richard Usborne argues that "only a writer who was himself a scholar and had had his face ground into Latin and Greek (especially Thucydides) as a boy" could sustain the complex sequences of subordinate clauses sometimes found in Wodehouse's comic prose.
Wodehouse's six years at Dulwich were among the happiest of his life: "To me the years between 1894 and 1900 were like heaven." In addition to his sporting achievements he was a good singer and enjoyed taking part in school concerts; his literary leanings found an outlet in editing the school magazine, The Alleynian. For the rest of his life he remained devoted to the school. The biographer Barry Phelps writes that Wodehouse "loved the college as much as he loved anything or anybody".
Reluctant banker; budding writer: 1900–1908
Wodehouse expected to follow Armine to the University of Oxford, but the family's finances took a turn for the worse at the crucial moment. Ernest Wodehouse had retired in 1895, and his pension was paid in rupees; fluctuation against the pound reduced its value in Britain. Wodehouse recalled, "The wolf was not actually whining at the door and there was always a little something in the kitty for the butcher and the grocer, but the finances would not run to anything in the nature of a splash". Instead of a university career, in September 1900 Wodehouse was engaged in a junior position in the London office of the Hongkong and Shanghai Bank. He was unsuited to it and found the work baffling and uncongenial. He later wrote a humorous account of his experiences at the bank, but at the time he longed for the end of each working day, when he could return to his rented lodgings in Chelsea and write. At first he concentrated, with some success, on serious articles about school sports for Public School Magazine. In November 1900 his first comic piece, "Men Who Missed Their Own Weddings", was accepted by Tit-Bits. A new magazine for boys, The Captain, provided further well-paid opportunities, and during his two years at the bank, Wodehouse had eighty pieces published in a total of nine magazines.
In 1901, with the help of a former Dulwich master, William Beach Thomas, Wodehouse secured an appointment—at first temporary and later permanent—writing for The Globes popular "By the Way" column. He held the post until 1909. At around the same time his first novel was published—a school story called The Pothunters, serialised incomplete in Public School Magazine in early 1902, and issued in full in hardback in September. He resigned from the bank that month to devote himself to writing full-time.
Between the publication of The Pothunters 1902 and that of Mike in 1909, Wodehouse wrote eight novels and co-wrote another two. The critic R. D. B. French writes that, of Wodehouse's work from this period, almost all that deserves to survive is the school fiction. Looking back in the 1950s Wodehouse viewed these as his apprentice years: "I was practically in swaddling clothes and it is extremely creditable to me that I was able to write at all."
From his boyhood Wodehouse had been fascinated by America, which he conceived of as "a land of romance"; he "yearned" to visit the country, and by 1904 he had earned enough to do so. In April he sailed to New York, which he found greatly to his liking. He noted in his diary: "In New York gathering experience. Worth many guineas in the future but none for the moment." This prediction proved correct: few British writers had first-hand experience of the US, and his articles about life in New York brought him higher than usual fees. He later recalled that "in 1904 anyone in the London writing world who had been to America was regarded with awe and looked upon as an authority on that terra incognita.... After that trip to New York I was a man who counted.... My income rose like a rocketing pheasant."
Wodehouse's other new venture in 1904 was writing for the stage. Towards the end of the year the librettist Owen Hall invited him to contribute an additional lyric for a musical comedy Sergeant Brue. Wodehouse had loved theatre since his first visit, aged thirteen, when Gilbert and Sullivan's Patience had made him "drunk with ecstasy". His lyric for Hall, "Put Me in My Little Cell", was a Gilbertian number for a trio of comic crooks, with music by Frederick Rosse; it was well received and launched Wodehouse on a career as a theatre writer that spanned three decades.
Although it made little impact on its first publication, the 1906 novel Love Among the Chickens contained what French calls the author's first original comic creation: Stanley Featherstonehaugh Ukridge. The character, an amoral, bungling opportunist, is partly based on Wodehouse's Globe colleague Herbert Westbrook. The two collaborated between 1907 and 1913 on two books, two music hall sketches, and a play, Brother Alfred. Wodehouse would return to the character in short stories over the next six decades.
In early 1906 the actor-manager Seymour Hicks invited Wodehouse to become resident lyricist at the Aldwych Theatre, to add topical verses to newly imported or long-running shows. Hicks had already recruited the young Jerome Kern to write the music for such songs. The first Kern-Wodehouse collaboration, a comic number for The Beauty of Bath titled "Mr [Joseph] Chamberlain", was a show-stopper and was briefly the most popular song in London.
Psmith, Blandings, Wooster and Jeeves: 1908–1915
Wodehouse's early period as a writer came to an end in 1908 with the serialisation of The Lost Lambs, published the following year in book form as the second half of the novel Mike. The work begins as a conventional school story, but Wodehouse introduces a new and strikingly original character, Psmith, whose creation both Evelyn Waugh and George Orwell regarded as a watershed in Wodehouse's development. Wodehouse said that he based Psmith on the hotelier and impresario Rupert D'Oyly Carte—"the only thing in my literary career which was handed to me on a silver plate with watercress around it". Wodehouse wrote in the 1970s that a cousin of his who had been at school with Carte told him of the latter's monocle, studied suavity, and stateliness of speech, all of which Wodehouse adopted for his new character. Psmith featured in three more novels: Psmith in the City (1910), a burlesque of banking; Psmith, Journalist (1915) set in New York; and Leave It to Psmith (1923), set at Blandings Castle.
In May 1909 Wodehouse made his second visit to New York, where he sold two short stories to Cosmopolitan and Collier's for a total of $500, a much higher fee than he had commanded previously. He resigned from The Globe and stayed in New York for nearly a year. He sold many more stories, but none of the American publications offered a permanent relationship and guaranteed income. Wodehouse returned to England in late 1910, rejoining The Globe and also contributing regularly to The Strand Magazine. Between then and the outbreak of the First World War in 1914 he revisited America frequently.
Wodehouse was in New York when the war began. Ineligible for military service because of his poor eyesight, he remained in the US throughout the war, detached from the conflict in Europe and absorbed in his theatrical and literary concerns. In September 1914 he married Ethel May Wayman, née Newton (1885–1984), an English widow. The marriage proved happy and lifelong. Ethel's personality was in contrast with her husband's: he was shy and impractical; she was gregarious, decisive and well organised. In Sproat's phrase, she "took charge of Wodehouse's life and made certain that he had the peace and quiet he needed to write". There were no children of the marriage, but Wodehouse came to love Ethel's daughter Leonora (1905–1944) and legally adopted her.
Wodehouse experimented with different genres of fiction in these years; Psmith, Journalist, mixing comedy with social comment on slum landlords and racketeers, was published in 1915. In the same year The Saturday Evening Post paid $3,500 to serialise Something New, the first of what became a series of novels set at Blandings Castle. It was published in hardback in the US and the UK in the same year (the British edition being retitled Something Fresh). It was Wodehouse's first farcical novel; it was also his first best-seller, and although his later books included some gentler, lightly sentimental stories, it was as a farceur that he became known. Later in the same year "Extricating Young Gussie", the first story about Bertie and Jeeves, was published. These stories introduced two sets of characters about whom Wodehouse wrote for the rest of his life. The Blandings Castle stories, set in an English stately home, depict the attempts of the placid Lord Emsworth to evade the many distractions around him, which include successive pairs of young lovers, the machinations of his exuberant brother Galahad, the demands of his domineering sisters and super-efficient secretaries, and anything detrimental to his prize sow, the Empress of Blandings. The Bertie and Jeeves stories feature an amiable young man-about-town, regularly rescued from the consequences of his idiocy by the benign interference of his valet.
Broadway: 1915–1919
A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator. Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York. The show was successful, but they thought the song lyrics weak and invited Wodehouse to join them on its successor. This was Miss Springtime (1916), which ran for 227 performances—a good run by the standards of the day. The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917–18) and Oh, Lady! Lady!! (1918), and Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin.
Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies. Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do. Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical. In the Grove Dictionary of American Music Larry Stempel writes, "By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy." The theatre writer Gerald Bordman calls Wodehouse "the most observant, literate, and witty lyricist of his day". The composer Richard Rodgers wrote, "Before Larry Hart, only P.G. Wodehouse had made any real assault on the intelligence of the song-listening public."
1920s
In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones. Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest. Various other young men-about-town appeared in short stories about members of the Drones Club.
The Wodehouses returned to England, where they had a house in London for some years, but Wodehouse continued to cross the Atlantic frequently, spending substantial periods in New York. He continued to work in the theatre. During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York). He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnár, and A Damsel in Distress (1928), a dramatisation of his 1919 novel.
Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods. Donaldson lists among those with whom he was on friendly terms writers including A. A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith Jr., Heather Thatcher and Dorothy Dickson.
Hollywood: 1929–1931
There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name. Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM). Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week. This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929.
The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories. He commented, "It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary." Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used. In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was "as close to a success as Wodehouse was to have at MGM. His only other credits were minimal, and the other projects he worked on were not produced."
Wodehouse's contract ended after a year and was not renewed. At MGM's request, he gave an interview to The Los Angeles Times. Wodehouse was described by Herbert Warren Wind as "politically naive [and] fundamentally unworldly", and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent. The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry. Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been "a storm in a teacup", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable.
Wind's view of Wodehouse's naïveté is not universally held. Biographers including Donaldson, McCrum and Phelps suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute. He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire.
Best-seller: 1930s
During the 1930s Wodehouse's theatrical work tailed off. He wrote or adapted four plays for the West End; Leave it to Psmith (1930), which he adapted in collaboration with Ian Hay, was the only one to have a long run. The reviewer in The Manchester Guardian praised the play, but commented: "It is Mr Wodehouse's own inimitable narrative comments and descriptions in his own person of the antics of his puppets that one misses. They cannot be got into a play and they are at least half the fun of the novels." In 1934 Wodehouse collaborated with Bolton on the book for Cole Porter's Anything Goes (Porter wrote his own lyrics), but at the last minute their version was almost entirely rewritten by others at the instigation of the producer, who disliked the original script. Concentrating on writing novels and short stories, Wodehouse reached the peak of his productivity in this decade, averaging two books each year, and grossing an annual £100,000.
His practice of dividing his time between Britain and America caused Wodehouse difficulties with the tax authorities of both countries. Both the UK Inland Revenue and the US Internal Revenue Service sought to tax him as a resident. The matter was settled after lengthy negotiations, but the Wodehouses decided to change their residential status beyond doubt by moving to France, where they bought a house near Le Touquet in the north.
In 1935 Wodehouse created the last of his regular cast of principal characters, Lord Ickenham, otherwise known as Uncle Fred, who, in Usborne's words, "leads the dance in four novels and a short story... a whirring dynamo of misrule". His other books from the decade include Right Ho, Jeeves, which Donaldson judged his best work, Uncle Fred in the Springtime, which the writer Bernard Levin considered the best, and Blandings Castle, which contains "Lord Emsworth and the Girl Friend", which Rudyard Kipling thought "one of the most perfect short stories I have ever read".
Other leading literary figures who admired Wodehouse were A. E. Housman, Max Beerbohm and Hilaire Belloc; on the radio and in print Belloc called Wodehouse "the best writer of our time: the best living writer of English... the head of my profession". Wodehouse regarded Belloc's plaudit as "a gag, to get a rise out of serious-minded authors whom he disliked". Wodehouse was never sure that his books had literary merit as well as popular appeal, and, Donaldson suggests, must have been overwhelmed when the University of Oxford conferred an honorary doctorate of letters on him in June 1939. His visit to England for the awarding ceremony was the last time he set foot in his native land.
Second World War: internment and broadcasts
At the start of the Second World War Wodehouse and his wife remained at their Le Touquet house, where, during the Phoney War, he worked on Joy in the Morning. With the advance of the Germans, the nearby Royal Air Force base withdrew; Wodehouse was offered the sole spare seat in one of the fighter aircraft, but he turned down the opportunity as it would have meant leaving behind Ethel and their dog. On 21 May 1940, with German troops advancing through northern France, the Wodehouses decided to drive to Portugal and fly from there to the US. Two miles from home their car broke down, so they returned and borrowed a car from a neighbour; with the routes blocked with refugees, they returned home again.
The Germans occupied Le Touquet on 22 May 1940 and Wodehouse had to report to the authorities daily. After two months of occupation the Germans interned all male enemy nationals under 60, and Wodehouse was sent to a former prison in Loos, a suburb of Lille, on 21 July; Ethel remained in Le Touquet. The internees were placed four to a cell, each of which had been designed for one man. One bed was available per cell, which was made available to the eldest man—not Wodehouse, who slept on the granite floor. The prisoners were not kept long in Loos before they were transported in cattle trucks to a former barracks in Liège, Belgium, which was run as a prison by the SS. After a week the men were transferred to Huy in Liège, where they were incarcerated in the local citadel. They remained there until September 1940, when they were transported to Tost in Upper Silesia (then Germany, now Toszek in Poland).
Wodehouse's family and friends had not had any news of his location after the fall of France, but an article from an Associated Press reporter who had visited Tost in December 1940 led to pressure on the German authorities to release the novelist. This included a petition from influential people in the US; Senator W. Warren Barbour presented it to the German ambassador. Although his captors refused to release him, Wodehouse was provided with a typewriter and, to pass the time, he wrote Money in the Bank. Throughout his time in Tost, he sent postcards to his US literary agent asking for $5 to be sent to various people in Canada, mentioning his name. These were the families of Canadian prisoners of war, and the news from Wodehouse was the first indication that their sons were alive and well. Wodehouse risked severe punishment for the communication, but managed to evade the German censor.
On 21 June 1941, while he was in the middle of playing a game of cricket, Wodehouse received a visit from two members of the Gestapo. He was given ten minutes to pack his things before he was taken to the Hotel Adlon, a top luxury hotel in Berlin. He stayed there at his own expense; royalties from the German editions of his books had been put into a special frozen bank account at the outset of the war, and Wodehouse was permitted to draw upon this money he had earned while staying in Berlin. He was thus released from internment a few months before his sixtieth birthday—the age at which civilian internees were released by the Nazis. Shortly afterwards Wodehouse was, in the words of Phelps, "cleverly trapped" into making five broadcasts to the US via German radio, with the Berlin-based correspondent of the Columbia Broadcasting System. The broadcasts—aired on 28 June, 9, 23 and 30 July and 6 August—were titled How to be an Internee Without Previous Training, and comprised humorous anecdotes about Wodehouse's experiences as a prisoner, including some gentle mocking of his captors. The German propaganda ministry arranged for the recordings to be broadcast to Britain in August. The day after Wodehouse recorded his final programme, Ethel joined him in Berlin, having sold most of her jewellery to pay for the journey.
Aftermath: reactions and investigation
The reaction in Britain to Wodehouse's broadcasts was hostile, and he was "reviled ... as a traitor, collaborator, Nazi propagandist, and a coward", although, Phelps observes, many of those who decried his actions had not heard the content of the programmes. A front-page article in The Daily Mirror stated that Wodehouse "lived luxuriously because Britain laughed with him, but when the laughter was out of his country's heart, ... [he] was not ready to share her suffering. He hadn't the guts ... even to stick it out in the internment camp." In the House of Commons Anthony Eden, the Foreign Secretary, regretted Wodehouse's actions. Several libraries removed Wodehouse novels from their shelves.
On 15 July the journalist William Connor, under his pen name Cassandra, broadcast a postscript to the news programme railing against Wodehouse. According to The Times, the broadcast "provoked a storm of complaint ... from listeners all over the country". Wodehouse's biographer, Joseph Connolly, thinks the broadcast "inaccurate, spiteful and slanderous"; Phelps calls it "probably the most vituperative attack on an individual ever heard on British radio". The broadcast was made at the direct instruction of Duff Cooper, the Minister of Information, who overruled strong protests made by the BBC against the decision to air the programme. Numerous letters appeared in the British press, both supporting and criticising Wodehouse. The letters page of The Daily Telegraph became a focus for censuring Wodehouse, including one from Wodehouse's friend, ; a reply from their fellow author Compton Mackenzie in defence of Wodehouse was not published because the editor claimed a lack of space. Most of those defending Wodehouse against accusations of disloyalty, including Sax Rohmer, Dorothy L. Sayers and Gilbert Frankau, conceded that he had acted stupidly. Some members of the public wrote to the newspapers to say that the full facts were not yet known and a fair judgment could not be made until they were. The management of the BBC, who considered Wodehouse's actions no worse than "ill advised", pointed out to Cooper that there was no evidence at that point whether Wodehouse had acted voluntarily or under compulsion.
When Wodehouse heard of the furore the broadcasts had caused, he contacted the Foreign Office—through the Swiss embassy in Berlin—to explain his actions, and attempted to return home via neutral countries, but the German authorities refused to let him leave. In Performing Flea, a 1953 collection of letters, Wodehouse wrote, "Of course I ought to have had the sense to see that it was a loony thing to do to use the German radio for even the most harmless stuff, but I didn't. I suppose prison life saps the intellect". The reaction in America was mixed: the left-leaning publication PM accused Wodehouse of "play[ing] Jeeves to the Nazis", but the Department of War used the interviews as an ideal representation of anti-Nazi propaganda.
The Wodehouses remained in Germany until September 1943, when, because of the Allied bombings, they were allowed to move back to Paris. They were living there when the city was liberated on 25 August 1944; Wodehouse reported to the American authorities the following day, asking them to inform the British of his whereabouts. He was subsequently visited by Malcolm Muggeridge, recently arrived in Paris as an intelligence officer with MI6. The young officer quickly came to like Wodehouse and considered the question of treasonable behaviour as "ludicrous"; he summed up the writer as "ill-fitted to live in an age of ideological conflict". On 9 September Wodehouse was visited by an MI5 officer and former barrister, Major Edward Cussen, who formally investigated him, a process that stretched over four days. On 28 September Cussen filed his report, which states that in regard to the broadcasts, Wodehouse's behaviour "has been unwise", but advised against further action. On 23 November Theobald Matthew, the Director of Public Prosecutions, decided there was no evidence to justify prosecuting Wodehouse.
In November 1944 Duff Cooper was appointed British ambassador to France and was provided accommodation at the Hôtel Le Bristol, where the Wodehouses were living. Cooper complained to the French authorities, and the couple were moved to a different hotel. They were subsequently arrested by French police and placed under preventive detention, despite no charges being presented. When Muggeridge tracked them down later, he managed to get Ethel released straight away and, four days later, ensured that the French authorities declared Wodehouse unwell and put him in a nearby hospital, which was more comfortable than where they had been detained. While in this hospital, Wodehouse worked on his novel Uncle Dynamite.
While still detained by the French, Wodehouse was again mentioned in questions in the House of Commons in December 1944 when MPs wondered if the French authorities could repatriate him to stand trial. Eden stated that the "matter has been gone into, and, according to the advice given, there are no grounds upon which we could take action". Two months later, Orwell wrote the essay "In Defence of P.G. Wodehouse", where he stated that "it is important to realise that the events of 1941 do not convict Wodehouse of anything worse than stupidity". Orwell's rationale was that Wodehouse's "moral outlook has remained that of a public-school boy, and according to the public-school code, treachery in time of war is the most unforgivable of all the sins", which was compounded by his "complete lack—so far as one can judge from his printed works—of political awareness".
On 15 January 1945 the French authorities released Wodehouse, but they did not inform him, until June 1946, that he would not face any official charges and was free to leave the country.
American exile: 1946–1975
Having secured American visas in July 1946, the Wodehouses made preparations to return to New York. They were delayed by Ethel's insistence on acquiring suitable new clothes and by Wodehouse's wish to finish writing his current novel, The Mating Season, in the peace of the French countryside. In April 1947 they sailed to New York, where Wodehouse was relieved at the friendly reception he received from the large press contingent awaiting his arrival. Ethel secured a comfortable penthouse apartment in Manhattan's Upper East Side, but Wodehouse was not at ease. The New York that he had known before the war was much changed. The magazines that had paid lavishly for his stories were in decline, and those that remained were not much interested in him. He was sounded out about writing for Broadway, but he was not at home in the post-war theatre; he had money problems, with large sums temporarily tied up in Britain, and for the first time in his career he had no ideas for a new novel. He did not complete one until 1951.
Wodehouse remained unsettled until he and Ethel left New York City for Long Island. Bolton and his wife lived in the prosperous hamlet of Remsenburg, part of the Southampton area of Long Island, east of Manhattan. Wodehouse stayed with them frequently, and in 1952 he and Ethel bought a house nearby. They lived at Remsenburg for the rest of their lives. Between 1952 and 1975 he published more than twenty novels, as well as two collections of short stories, a heavily edited collection of his letters, a volume of memoirs, and a selection of his magazine articles. He continued to hanker after a revival of his theatrical career. A 1959 off-Broadway revival of the 1917 Bolton-Wodehouse-Kern Leave It to Jane was a surprise hit, running for 928 performances, but his few post-war stage works, some in collaboration with Bolton, made little impression.
Although Ethel made a return visit to England in 1948 to shop and visit family and friends, Wodehouse never left America after his arrival in 1947. It was not until 1965 that the British government indicated privately that he could return without fear of legal proceedings, and by then he felt too old to make the journey. The biographers Benny Green and Robert McCrum both take the view that this exile benefited Wodehouse's writing, helping him to go on depicting an idealised England seen in his mind's eye, rather than as it actually was in the post-war decades. During their years in Long Island, the couple often took in stray animals and contributed substantial funds to a local animal shelter.
In 1955 Wodehouse became an American citizen, though he remained a British subject, and was therefore still eligible for UK state honours. He was considered for the award of a knighthood three times from 1967, but the honour was twice blocked by British officials. In 1974 the British prime minister, Harold Wilson, intervened to secure a knighthood (KBE) for Wodehouse, which was announced in the January 1975 New Year Honours list. The Times commented that Wodehouse's honour signalled "official forgiveness for his wartime indiscretion.... It is late, but not too late, to take the sting out of that unhappy incident."
The following month Wodehouse entered Southampton Hospital, Long Island, for treatment of a skin complaint. While there, he suffered a heart attack and died on 14 February 1975 at the age of 93. He was buried at Remsenburg Presbyterian Church four days later. Ethel outlived him by more than nine years; Leonora had predeceased him, dying suddenly in 1944.
Writing
Technique and approach
Before starting a book Wodehouse would write up to four hundred pages of notes bringing together an outline of the plot; he acknowledged that "It's the plots that I find so hard to work out. It takes such a long time to work one out." He always completed the plot before working on specific character actions. For a novel the note-writing process could take up to two years, and he would usually have two or more novels in preparation simultaneously. After he had completed his notes, he would draw up a fuller scenario of about thirty thousand words, which ensured plot holes were avoided, and allowed for the dialogue to begin to develop. When interviewed in 1975 he revealed that "For a humorous novel you've got to have a scenario, and you've got to test it so that you know where the comedy comes in, where the situations come in ... splitting it up into scenes (you can make a scene of almost anything) and have as little stuff in between as possible." He preferred working between 4 and 7 pm—but never after dinner—and would work seven days a week. In his younger years, he would write around two to three thousand words a day, although he slowed as he aged, so that in his nineties he would produce a thousand. The reduced speed in writing slowed his production of books: when younger he would produce a novel in about three months, while Bachelors Anonymous, published in 1973, took around six months. Although studies of language production in normal healthy ageing show a marked decline from the mid-70s on, a study of Wodehouse's works did not find any evidence of a decline in linguistic ability with age.
Wodehouse believed that one of the factors that made his stories humorous was his view of life, and he stated that "If you take life fairly easily, then you take a humorous view of things. It's probably because you were born that way." He carried this view through into his writing, describing the approach as "making the thing a sort of musical comedy without music, and ignoring real life altogether". The literary critic Edward L. Galligan considers Wodehouse's stories to show his mastery in adapting the form of the American musical comedy for his writings. Wodehouse would ensure that his first draft was as carefully and accurately done as possible, correcting and refining the prose as he wrote, and would then make another good copy, before proofreading again and then making a final copy for his publisher.
Most of Wodehouse's canon is set in an undated period around the 1920s and 1930s. The critic Anthony Lejeune describes the settings of Wodehouse's novels, such as the Drones Club and Blandings Castle, as "a fairyland". Although some critics thought Wodehouse's fiction was based on a world that had never existed, Wodehouse affirmed that "it did. It was going strong between the wars", although he agreed that his version was to some extent "a sort of artificial world of my own creation". The novels showed a largely unchanging world, regardless of when they were written, and only rarely—and mistakenly in McCrum's view—did Wodehouse allow modernity to intrude, as he did in the 1966 story "Bingo Bans the Bomb".
When dealing with the dialogue in his novels, Wodehouse would consider the book's characters as if they were actors in a play, ensuring that the main roles were kept suitably employed throughout the storyline, which must be strong: "If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them." Many of Wodehouse's parts were stereotypes, and he acknowledged that "a real character in one of my books sticks out like a sore thumb." The publisher Michael Joseph identifies that even within the stereotypes Wodehouse understood human nature, and therefore "shares with [Charles] Dickens and Charles Chaplin the ability to present the comic resistance of the individual against those superior forces to which we are all subject".
Much of Wodehouse's use of slang terms reflects the influence of his time at school in Dulwich, and partly reflects Edwardian slang. As a young man he enjoyed the literary works of Arthur Conan Doyle and Jerome K. Jerome, and the operatic works of Gilbert and Sullivan. Wodehouse quotes from and alludes to numerous poets throughout his work. The scholar Clarke Olney lists those quoted, including Milton, Byron, Longfellow, Coleridge, Swinburne, Tennyson, Wordsworth and Shakespeare. Another favoured source was the King James Bible.
Language
In 1941 the Concise Cambridge History of English Literature opined that Wodehouse had "a gift for highly original aptness of phrase that almost suggests a poet struggling for release among the wild extravagances of farce", while McCrum thinks that Wodehouse manages to combine "high farce with the inverted poetry of his mature comic style", particularly in The Code of the Woosters; the novelist Anthony Powell believes Wodehouse to be a "comic poet". Robert A. Hall Jr., in his study of Wodehouse's style and technique, describes the author as a master of prose, an opinion also shared by Levin, who considers Wodehouse "one of the finest and purest writers of English prose". Hall identifies several techniques used by Wodehouse to achieve comic effect, including the creation of new words through adding or removing prefixes and suffixes, so when Pongo Twistleton removes the housemaid Elsie Bean from a cupboard, Wodehouse writes that the character "de-Beaned the cupboard". Wodehouse created new words by splitting others in two, thus Wodehouse divides "hobnobbing" when he writes: "To offer a housemaid a cigarette is not hobbing. Nor, when you light it for her, does that constitute nobbing."
Richard Voorhees, Wodehouse's biographer, believes that the author used clichés in a deliberate and ironic manner. His opinion is shared by the academic Stephen Medcalf, who deems Wodehouse's skill is to "bring a cliché just enough to life to kill it", although Pamela March, writing in The Christian Science Monitor, considers Wodehouse to have "an ability to decliché a cliché". Medcalf provides an example from Right Ho, Jeeves in which the teetotal Gussie Fink-Nottle has surreptitiously been given whisky and gin in a punch prior to a prize-giving:
'It seems to me, Jeeves, that the ceremony may be one fraught with considerable interest.'
'Yes, sir.'
'What, in your opinion, will the harvest be?'
'One finds it difficult to hazard a conjecture, sir.'
'You mean imagination boggles?'
'Yes, sir.'
I inspected my imagination. He was right. It boggled.
The stylistic device most commonly found in Wodehouse's work is his use of comparative imagery that includes similes. Hall opines that the humour comes from Wodehouse's ability to accentuate "resemblances which at first glance seem highly incongruous". Examples can be seen in Joy in the Morning, Chapter 29: "There was a sound in the background like a distant sheep coughing gently on a mountainside. Jeeves sailing into action", or Psmith, Chapter 7: "A sound like two or three pigs feeding rather noisily in the middle of a thunderstorm interrupted his meditation." Hall also identifies that periodically Wodehouse used the stylistic device of a transferred epithet, with an adjective that properly belongs to a person applied instead to some inanimate object. The form of expression is used sparingly by Wodehouse in comparison with other mechanisms, only once or twice in a story or novel, according to Hall.
"I balanced a thoughtful lump of sugar on the teaspoon."
—Joy in the Morning, Chapter 5
"As I sat in the bath-tub, soaping a meditative foot ..."
—Jeeves and the Feudal Spirit, Chapter 1
"The first thing he did was to prod Jeeves in the lower ribs with an uncouth forefinger."
—Much Obliged, Jeeves, Chapter 4
Wordplay is a key element in Wodehouse's writing. This can take the form of puns, such as in Jeeves and the Feudal Spirit, when Bertie is released after a night in the police cells, and says that he has "a pinched look" about him. Linguistic confusion is another humorous mechanism, such as in Uncle Dynamite when Constable Potter says he has been "assaulted by the duck pond". In reply, Sir Aylmer, confusing the two meanings of the word "by", asks: "How the devil can you be assaulted by a duck pond?" Wodehouse also uses metaphor and mixed metaphor to add humour. Some come through exaggeration, such as Bingo Little's infant child who "not only has the aspect of a mass murderer, but that of a mass murderer suffering from an ingrown toenail", or Wooster's complaint that "the rumpuses that Bobbie Wickham is already starting may be amusing to her, but not to the unfortunate toads beneath the harrow whom she ruthlessly plunges into the soup." Bertie Wooster's half-forgotten vocabulary also provides a further humorous device. In Jeeves and the Feudal Spirit Bertie asks Jeeves "Let a plugugly like young Thos loose in the community with a cosh, and you are inviting disaster and ... what's the word? Something about cats." Jeeves replies, "Cataclysms, sir?"
Reception and reputation
Literary reception
Wodehouse's early career as a lyricist and playwright was profitable, and his work with Bolton, according to The Guardian, "was one of the most successful in the history of musical comedy". At the outbreak of the Second World War he was earning £40,000 a year from his work, which had broadened to include novels and short stories. Following the furore ensuing from the wartime broadcasts, he suffered a downturn in his popularity and book sales; The Saturday Evening Post stopped publishing his short stories, a stance they reversed in 1965, although his popularity—and the sales figures—slowly recovered over time.
Wodehouse received great praise from many of his contemporaries, including Max Beerbohm, Rudyard Kipling, A. E. Housman and Evelyn Waugh—the last of whom opines, "One has to regard a man as a Master who can produce on average three uniquely brilliant and entirely original similes on each page." There are dissenters to the praise. The writer Alan Bennett thinks that "inspired though his language is, I can never take more than ten pages of the novels at a time, their relentless flippancy wearing and tedious", while the literary critic Q. D. Leavis writes that Wodehouse had a "stereotyped humour ... of ingenious variations on a laugh in one place". In a 2010 study of Wodehouse's few relatively serious novels, such as The Coming of Bill (1919), Jill the Reckless (1920) and The Adventures of Sally (1922), David Heddendorf concludes that though their literary quality does not match that of the farcical novels, they show a range of empathy and interests that in real life—and in his most comic works—the author seemed to lack. "Never oblivious to grief and despair, he opts in clear-eyed awareness for his timeless world of spats and woolly-headed peers. It's an austere, almost bloodless preference for pristine artifice over the pain and messy outcomes of actual existence, but it's a case of Wodehouse keeping faith with his own unique art."
The American literary analyst Robert F. Kiernan, defining "camp" as "excessive stylization of whatever kind", brackets Wodehouse as "a master of the camp novel", along with Thomas Love Peacock, Max Beerbohm, Ronald Firbank, E. F. Benson and Ivy Compton-Burnett. The literary critic and writer Cyril Connolly calls Wodehouse a "politicians' author"—one who does "not like art to be exacting and difficult". Two former British prime ministers, H. H. Asquith and Tony Blair, are on record as Wodehouse aficionados, and the latter became a patron of the Wodehouse Society. Seán O'Casey, a successful playwright of the 1920s, thought little of Wodehouse; he commented in 1941 that it was damaging to England's dignity that the public or "the academic government of Oxford, dead from the chin up" considered Wodehouse an important figure in English literature. His jibe that Wodehouse was "English literature's performing flea" provided his target with the title of his collected letters, published in 1953. McCrum, writing in 2004, observes, "Wodehouse is more popular today than on the day he died", and "his comic vision has an absolutely secure place in the English literary imagination."
Honours and influence
The proposed nominations of Wodehouse for a knighthood in 1967 and 1971 were blocked for fear that such an award would "revive the controversy of his wartime behaviour and give currency to a Bertie Wooster image of the British character which the embassy was doing its best to eradicate". When Wodehouse was awarded the knighthood, only four years later, the journalist Dennis Barker wrote in The Guardian that the writer was "the solitary surviving English literary comic genius". After his death six weeks later, the journalist Michael Davie, writing in the same paper, observed that "Many people regarded ... [Wodehouse] as he regarded Beachcomber, as 'one, if not more than one, of England's greatest men'", while in the view of the obituarist for The Times Wodehouse "was a comic genius recognized in his lifetime as a classic and an old master of farce". In September 2019 Wodehouse was commemorated with a memorial stone in Westminster Abbey; the dedication was held two days after it was installed.
Since Wodehouse's death there have been numerous adaptations and dramatisations of his work on television and film; Wodehouse himself has been portrayed on radio and screen numerous times. There are several literary societies dedicated to Wodehouse. The P.G. Wodehouse Society (UK) was founded in 1997 and has over 1,000 members as at 2015. The president of the society as at 2017 is Alexander Armstrong; past presidents have included Terry Wogan and Richard Briers. There are also other groups of Wodehouse fans in Australia, Belgium, France, Finland, India, Italy, Russia, Sweden and the US. As at 2015 the Oxford English Dictionary contains over 1,750 quotations from Wodehouse, illustrating terms from crispish to zippiness. Voorhees, while acknowledging that Wodehouse's antecedents in literature range from Ben Jonson to Oscar Wilde, writes:
Notes, references and sources
Notes
References
Sources
External links
P. G. Wodehouse collection at One More Library
P.G. Wodehouse Archive on loan to the British Library
The Wodehouse Society
The P. G. Wodehouse Society (UK)
Transcripts of Wodehouse's Berlin Broadcasts
"P. G. Wodehouse: An English Master of American Slang" from The American Legion Weekly, 24 October 1919
Orwell, George "In Defence of P.G. Wodehouse"
1881 births
1975 deaths
20th-century English novelists
20th-century British dramatists and playwrights
British emigrants to the United States
English lyricists
Knights Commander of the Order of the British Empire
English male dramatists and playwrights
British male novelists
People educated at Dulwich College
People educated at Elizabeth College, Guernsey
People from Guildford
People from Long Island
PG
People interned during World War II
English humorists
20th-century American novelists
American dramatists and playwrights
American humorists
American lyricists
American male novelists
Novelists from New York (state)
Literature controversies
English broadcasters for Nazi Germany
20th-century American male writers | true | [
"A , also known as an anime musical, is a type of modern Japanese musical theatre production based exclusively on popular Japanese anime, manga, or video games. The term \"2.5D musical\" was coined to describe stories presented in a two-dimensional medium being brought to real life.\n\nApproximately 70 2.5D musicals were produced in 2013 and attracted at least 1.6 million people, most of them young women in their teens and 20s. 2.5D musicals are often seen as the starting point of many young actors in Japan.\n\nDefinition\n\n2.5D musicals are defined through make-up and costuming that accurately depicts the actor as the original character, along with exaggerated acting that mimics the expressions in the original work. It also include special effects and stunts that reenact the setting and tone of the original work. Directors of the musicals are usually the ones who write the lyrics to the songs. With the evolution of technology, some of the modern 2.5D musicals uses projection mapping, in which backgrounds and special effects are projected onto the stage and screens. According to the Japan 2.5-Dimensional Musical Association, the term not only applies to musicals, but also plays, comedies, and dramas.\n\nHistory\n\nThe first successful manga-based musical production was The Rose of Versailles in 1974 by the Takarazuka Revue. At the time, these plays were simply known as \"musicals\" or \"anime musicals.\" Around the 1990s, a number of musicals and small stage skits produced were based on anime and manga series aimed at elementary school girls, such as Sailor Moon, Akazukin Chacha, and Hime-chan's Ribbon, which performed moderately well, but were not popular and were known as . However, in 2000, Hunter x Hunter was considered revolutionary for the time because the voice cast for the original anime series had also played the characters onstage.\n\nJapanese media-based musicals rose to popularity in 2003 with Musical: The Prince of Tennis through word-of-mouth and social media, which soon became a starting point for many up-and-coming actors. The shows attracted more than 2 million people during its run and was notable for using stage effects to simulate a tennis match, and it was popular enough to include its first overseas shows in South Korea and Taiwan in 2008. After its success, many productions based on anime, manga, and video games soon followed, some of the well-documented ones including Naruto, Yowamushi Pedal, Hyper Projection Engeki: Haikyu!! among others. Unlike productions featuring the Takarazuka Revue, which are supported by fans of the troupe, these musicals mainly draw anime and manga fans and other audiences that usually do not see plays on a regular basis.\n\nThe term \"2.5D musical\" was codified in 2014 when the initial director of Musical: The Prince of Tennis, Makoto Matsuda, first established the Japan 2.5-Dimensional Musical Association. At first, despite the success of Musical: The Prince of Tennis, he did not consider it a formal stage production on par with most modern theater performances imported from Western works such as Broadway productions. However, after a group of South Korean musical professionals had acknowledged Black Butler'''s production value and standards in performing arts, Matsuda decided to bring the genre worldwide. Plays certified by the Japan 2.5-Dimensional Musical Association offer theater glasses that contain subtitles in four other languages for people who do not speak Japanese. Since 2014, many 2.5D musicals have also been performed abroad in places like China, Taiwan, the United States, and parts of Europe.\n\nIn 2018, \"2.5D Musical Studies\" was added as a program at the Tokyo School of Anime. In April 2018, actor Kenta Suga, who has starred as Gaara in Naruto and Hinata in Hyper Projection Engeki: Haikyu!!'', was appointed as overseas ambassador by the Japan 2.5-Dimensional Musical Association, succeeding Ryo Kato. By the end of 2018, the 2.5D musical market had increased by 44.9% over the previous year, grossing .\n\nReferences\n\nExternal links\n Japan 2.5-Dimensional Musical Association\n\nAnime\nAnime and manga terminology\nJapanese musicals\n2.5D musicals\nJapan\nJapanese culture\nMusical theatre\nMusicals based on anime and manga\nMusicals based on video games\nOtaku\nPerforming arts in Japan\nTheatre in Japan\nTheatre",
"Brolle (born Kjell Junior Wallmark, November 10, 1981), is a Swedish singer and musician who was discovered in the Kanal 5 series Popstars in 2001.\n\nBrolle was born in Boden. Although he did not reach the final of Popstars, Brolle soon got a record deal and released his first single Playing with fire. He has also done musicals such as Footloose (in which he replaced Måns Zelmerlöw) and he performed music by Buddy Holly.\n\nDiscography\n\nAlbums\n\nSingles\n2002: \"Last Night\"\n2002: \"Playing with Fire\" \n2002: \"Heartbreak City\" \n2004: \"Watching the Stars\"\n2004: \"Sound of a Drum\"\n2004: \"Let It Rain\" \n2005: \"Sommarkort - En stund på jorden\" \n2008: \"Solo i Stockholm\" \n2008: \"Fashion\"\n2010: \"Anything She Wants\"\n\nReferences\n\nMelodifestivalen contestants\n1981 births\nLiving people\n21st-century Swedish singers\n21st-century Swedish male singers"
] | [
"Sir Pelham Grenville Wodehouse, ( ; 15 October 188114 February 1975) was an English author and one of the most widely read humorists of the 20th century. His creations include the feather-brained Bertie Wooster and his sagacious valet, Jeeves; the immaculate and loquacious Psmith; Lord Emsworth and the Blandings Castle set; the Oldest Member, with stories about golf; and Mr Mulliner, with tall tales on subjects ranging from bibulous bishops to megalomaniac movie moguls.",
"His creations include the feather-brained Bertie Wooster and his sagacious valet, Jeeves; the immaculate and loquacious Psmith; Lord Emsworth and the Blandings Castle set; the Oldest Member, with stories about golf; and Mr Mulliner, with tall tales on subjects ranging from bibulous bishops to megalomaniac movie moguls. Born in Guildford, the third son of a British magistrate based in Hong Kong, Wodehouse spent happy teenage years at Dulwich College, to which he remained devoted all his life.",
"Born in Guildford, the third son of a British magistrate based in Hong Kong, Wodehouse spent happy teenage years at Dulwich College, to which he remained devoted all his life. After leaving school he was employed by a bank but disliked the work and turned to writing in his spare time.",
"After leaving school he was employed by a bank but disliked the work and turned to writing in his spare time. His early novels were mostly school stories, but he later switched to comic fiction.",
"His early novels were mostly school stories, but he later switched to comic fiction. Most of Wodehouse's fiction is set in his native United Kingdom, although he spent much of his life in the US and used New York and Hollywood as settings for some of his novels and short stories.",
"Most of Wodehouse's fiction is set in his native United Kingdom, although he spent much of his life in the US and used New York and Hollywood as settings for some of his novels and short stories. He wrote a series of Broadway musical comedies during and after the First World War, together with Guy Bolton and Jerome Kern, that played an important part in the development of the American musical.",
"He wrote a series of Broadway musical comedies during and after the First World War, together with Guy Bolton and Jerome Kern, that played an important part in the development of the American musical. He began the 1930s writing for MGM in Hollywood.",
"He began the 1930s writing for MGM in Hollywood. In a 1931 interview, his naive revelations of incompetence and extravagance in the studios caused a furore. In the same decade, his literary career reached a new peak.",
"In the same decade, his literary career reached a new peak. In 1934 Wodehouse moved to France for tax reasons; in 1940 he was taken prisoner at Le Touquet by the invading Germans and interned for nearly a year.",
"In 1934 Wodehouse moved to France for tax reasons; in 1940 he was taken prisoner at Le Touquet by the invading Germans and interned for nearly a year. After his release he made six broadcasts from German radio in Berlin to the US, which had not yet entered the war.",
"After his release he made six broadcasts from German radio in Berlin to the US, which had not yet entered the war. The talks were comic and apolitical, but his broadcasting over enemy radio prompted anger and strident controversy in Britain, and a threat of prosecution. Wodehouse never returned to England.",
"Wodehouse never returned to England. Wodehouse never returned to England. From 1947 until his death he lived in the US, taking dual British-American citizenship in 1955. He died in 1975, at the age of 93, in Southampton, New York.",
"He died in 1975, at the age of 93, in Southampton, New York. Wodehouse was a prolific writer throughout his life, publishing more than ninety books, forty plays, two hundred short stories and other writings between 1902 and 1974. He worked extensively on his books, sometimes having two or more in preparation simultaneously.",
"He worked extensively on his books, sometimes having two or more in preparation simultaneously. He would take up to two years to build a plot and write a scenario of about thirty thousand words. After the scenario was complete he would write the story.",
"After the scenario was complete he would write the story. Early in his career Wodehouse would produce a novel in about three months, but he slowed in old age to around six months.",
"Early in his career Wodehouse would produce a novel in about three months, but he slowed in old age to around six months. He used a mixture of Edwardian slang, quotations from and allusions to numerous poets, and several literary techniques to produce a prose style that has been compared to comic poetry and musical comedy.",
"He used a mixture of Edwardian slang, quotations from and allusions to numerous poets, and several literary techniques to produce a prose style that has been compared to comic poetry and musical comedy. Some critics of Wodehouse have considered his work flippant, but among his fans are former British prime ministers and many of his fellow writers.",
"Some critics of Wodehouse have considered his work flippant, but among his fans are former British prime ministers and many of his fellow writers. Life and career Early years Wodehouse was born in Guildford, Surrey, the third son of Henry Ernest Wodehouse (1845–1929), a magistrate resident in the British colony of Hong Kong, and his wife, Eleanor (1861–1941), daughter of the Rev John Bathurst Deane.",
"Life and career Early years Wodehouse was born in Guildford, Surrey, the third son of Henry Ernest Wodehouse (1845–1929), a magistrate resident in the British colony of Hong Kong, and his wife, Eleanor (1861–1941), daughter of the Rev John Bathurst Deane. The Wodehouses, who traced their ancestry back to the 13th century, belonged to a cadet branch of the family of the earls of Kimberley.",
"The Wodehouses, who traced their ancestry back to the 13th century, belonged to a cadet branch of the family of the earls of Kimberley. Eleanor Wodehouse was also of ancient aristocratic ancestry. She was visiting her sister in Guildford when Wodehouse was born there prematurely.",
"She was visiting her sister in Guildford when Wodehouse was born there prematurely. The boy was baptised at the Church of St Nicolas, Guildford, and was named after his godfather, Pelham von Donop.",
"The boy was baptised at the Church of St Nicolas, Guildford, and was named after his godfather, Pelham von Donop. Wodehouse wrote in 1957, \"If you ask me to tell you frankly if I like the name Pelham Grenville Wodehouse, I must confess that I do not....",
"Wodehouse wrote in 1957, \"If you ask me to tell you frankly if I like the name Pelham Grenville Wodehouse, I must confess that I do not.... I was named after a godfather, and not a thing to show for it but a small silver mug which I lost in 1897.\"",
"I was named after a godfather, and not a thing to show for it but a small silver mug which I lost in 1897.\" The first name was rapidly elided to \"Plum\", the name by which Wodehouse became known to family and friends.",
"The first name was rapidly elided to \"Plum\", the name by which Wodehouse became known to family and friends. Mother and son sailed for Hong Kong, where for his first two years Wodehouse was raised by a Chinese amah (nurse), alongside his elder brothers Peveril (1877–1951) and Armine (1879–1936).",
"Mother and son sailed for Hong Kong, where for his first two years Wodehouse was raised by a Chinese amah (nurse), alongside his elder brothers Peveril (1877–1951) and Armine (1879–1936). When he was two, the brothers were brought to England, where they were placed under the care of an English nanny in a house adjoining that of Eleanor's father and mother.",
"When he was two, the brothers were brought to England, where they were placed under the care of an English nanny in a house adjoining that of Eleanor's father and mother. The boys' parents returned to Hong Kong and became virtual strangers to their sons.",
"The boys' parents returned to Hong Kong and became virtual strangers to their sons. Such an arrangement was then normal for middle-class families based in the colonies.",
"Such an arrangement was then normal for middle-class families based in the colonies. The lack of parental contact, and the harsh regime of some of those in loco parentis, left permanent emotional scars on many children from similar backgrounds, including the writers Thackeray, Saki, Kipling and Walpole.",
"The lack of parental contact, and the harsh regime of some of those in loco parentis, left permanent emotional scars on many children from similar backgrounds, including the writers Thackeray, Saki, Kipling and Walpole. Wodehouse was more fortunate; his nanny, Emma Roper, was strict but not unkind, and both with her and later at his different schools Wodehouse had a generally happy childhood.",
"Wodehouse was more fortunate; his nanny, Emma Roper, was strict but not unkind, and both with her and later at his different schools Wodehouse had a generally happy childhood. His recollection was that \"it went like a breeze from start to finish, with everybody I met understanding me perfectly\".",
"His recollection was that \"it went like a breeze from start to finish, with everybody I met understanding me perfectly\". The biographer Robert McCrum suggests that nonetheless Wodehouse's isolation from his parents left a psychological mark, causing him to avoid emotional engagement both in life and in his works.",
"The biographer Robert McCrum suggests that nonetheless Wodehouse's isolation from his parents left a psychological mark, causing him to avoid emotional engagement both in life and in his works. Another biographer, Frances Donaldson, writes, \"Deprived so early, not merely of maternal love, but of home life and even a stable background, Wodehouse consoled himself from the youngest age in an imaginary world of his own.\"",
"Another biographer, Frances Donaldson, writes, \"Deprived so early, not merely of maternal love, but of home life and even a stable background, Wodehouse consoled himself from the youngest age in an imaginary world of his own.\" In 1886 the brothers were sent to a dame-school in Croydon, where they spent three years.",
"In 1886 the brothers were sent to a dame-school in Croydon, where they spent three years. Peveril was then found to have a \"weak chest\"; sea air was prescribed, and the three boys were moved to Elizabeth College on the island of Guernsey.",
"Peveril was then found to have a \"weak chest\"; sea air was prescribed, and the three boys were moved to Elizabeth College on the island of Guernsey. In 1891 Wodehouse went on to Malvern House Preparatory School in Kent, which concentrated on preparing its pupils for entry to the Royal Navy.",
"In 1891 Wodehouse went on to Malvern House Preparatory School in Kent, which concentrated on preparing its pupils for entry to the Royal Navy. His father had planned a naval career for him, but the boy's eyesight was found to be too poor for it.",
"His father had planned a naval career for him, but the boy's eyesight was found to be too poor for it. He was unimpressed by the school's narrow curriculum and zealous discipline; he later parodied it in his novels, with Bertie Wooster recalling his early years as a pupil at a \"penitentiary... with the outward guise of a prep school\" called Malvern House.",
"He was unimpressed by the school's narrow curriculum and zealous discipline; he later parodied it in his novels, with Bertie Wooster recalling his early years as a pupil at a \"penitentiary... with the outward guise of a prep school\" called Malvern House. Throughout their school years the brothers were sent to stay during the holidays with various uncles and aunts from both sides of the family.",
"Throughout their school years the brothers were sent to stay during the holidays with various uncles and aunts from both sides of the family. In the Oxford Dictionary of National Biography, Iain Sproat counts twenty aunts and considers that they played an important part not only in Wodehouse's early life, but, thinly disguised, in his mature novels, as the formidable aunts who dominate the action in the Wooster, Blandings, and other stories.",
"In the Oxford Dictionary of National Biography, Iain Sproat counts twenty aunts and considers that they played an important part not only in Wodehouse's early life, but, thinly disguised, in his mature novels, as the formidable aunts who dominate the action in the Wooster, Blandings, and other stories. The boys had fifteen uncles, four of whom were clergymen.",
"The boys had fifteen uncles, four of whom were clergymen. Sproat writes that they inspired Wodehouse's \"pious but fallible curates, vicars, and bishops, of which he wrote with friendly irreverence but without mockery\".",
"Sproat writes that they inspired Wodehouse's \"pious but fallible curates, vicars, and bishops, of which he wrote with friendly irreverence but without mockery\". At the age of twelve in 1894, to his great joy, Wodehouse was able to follow his brother Armine to Dulwich College.",
"At the age of twelve in 1894, to his great joy, Wodehouse was able to follow his brother Armine to Dulwich College. He was entirely at home there; Donaldson comments that Dulwich gave him, for the first time, \"some continuity and a stable and ordered life\".",
"He was entirely at home there; Donaldson comments that Dulwich gave him, for the first time, \"some continuity and a stable and ordered life\". He loved the camaraderie, distinguished himself at cricket, rugby and boxing, and was a good, if not consistently diligent, student.",
"He loved the camaraderie, distinguished himself at cricket, rugby and boxing, and was a good, if not consistently diligent, student. The headmaster at the time was A. H. Gilkes, a respected classicist, who was a strong influence on Wodehouse.",
"The headmaster at the time was A. H. Gilkes, a respected classicist, who was a strong influence on Wodehouse. In a study of Wodehouse's works, Richard Usborne argues that \"only a writer who was himself a scholar and had had his face ground into Latin and Greek (especially Thucydides) as a boy\" could sustain the complex sequences of subordinate clauses sometimes found in Wodehouse's comic prose.",
"In a study of Wodehouse's works, Richard Usborne argues that \"only a writer who was himself a scholar and had had his face ground into Latin and Greek (especially Thucydides) as a boy\" could sustain the complex sequences of subordinate clauses sometimes found in Wodehouse's comic prose. Wodehouse's six years at Dulwich were among the happiest of his life: \"To me the years between 1894 and 1900 were like heaven.\"",
"Wodehouse's six years at Dulwich were among the happiest of his life: \"To me the years between 1894 and 1900 were like heaven.\" In addition to his sporting achievements he was a good singer and enjoyed taking part in school concerts; his literary leanings found an outlet in editing the school magazine, The Alleynian.",
"In addition to his sporting achievements he was a good singer and enjoyed taking part in school concerts; his literary leanings found an outlet in editing the school magazine, The Alleynian. For the rest of his life he remained devoted to the school.",
"For the rest of his life he remained devoted to the school. The biographer Barry Phelps writes that Wodehouse \"loved the college as much as he loved anything or anybody\".",
"The biographer Barry Phelps writes that Wodehouse \"loved the college as much as he loved anything or anybody\". Reluctant banker; budding writer: 1900–1908 Wodehouse expected to follow Armine to the University of Oxford, but the family's finances took a turn for the worse at the crucial moment.",
"Reluctant banker; budding writer: 1900–1908 Wodehouse expected to follow Armine to the University of Oxford, but the family's finances took a turn for the worse at the crucial moment. Ernest Wodehouse had retired in 1895, and his pension was paid in rupees; fluctuation against the pound reduced its value in Britain.",
"Ernest Wodehouse had retired in 1895, and his pension was paid in rupees; fluctuation against the pound reduced its value in Britain. Wodehouse recalled, \"The wolf was not actually whining at the door and there was always a little something in the kitty for the butcher and the grocer, but the finances would not run to anything in the nature of a splash\".",
"Wodehouse recalled, \"The wolf was not actually whining at the door and there was always a little something in the kitty for the butcher and the grocer, but the finances would not run to anything in the nature of a splash\". Instead of a university career, in September 1900 Wodehouse was engaged in a junior position in the London office of the Hongkong and Shanghai Bank.",
"Instead of a university career, in September 1900 Wodehouse was engaged in a junior position in the London office of the Hongkong and Shanghai Bank. He was unsuited to it and found the work baffling and uncongenial.",
"He was unsuited to it and found the work baffling and uncongenial. He later wrote a humorous account of his experiences at the bank, but at the time he longed for the end of each working day, when he could return to his rented lodgings in Chelsea and write.",
"He later wrote a humorous account of his experiences at the bank, but at the time he longed for the end of each working day, when he could return to his rented lodgings in Chelsea and write. At first he concentrated, with some success, on serious articles about school sports for Public School Magazine.",
"At first he concentrated, with some success, on serious articles about school sports for Public School Magazine. In November 1900 his first comic piece, \"Men Who Missed Their Own Weddings\", was accepted by Tit-Bits.",
"In November 1900 his first comic piece, \"Men Who Missed Their Own Weddings\", was accepted by Tit-Bits. A new magazine for boys, The Captain, provided further well-paid opportunities, and during his two years at the bank, Wodehouse had eighty pieces published in a total of nine magazines.",
"A new magazine for boys, The Captain, provided further well-paid opportunities, and during his two years at the bank, Wodehouse had eighty pieces published in a total of nine magazines. In 1901, with the help of a former Dulwich master, William Beach Thomas, Wodehouse secured an appointment—at first temporary and later permanent—writing for The Globes popular \"By the Way\" column.",
"In 1901, with the help of a former Dulwich master, William Beach Thomas, Wodehouse secured an appointment—at first temporary and later permanent—writing for The Globes popular \"By the Way\" column. He held the post until 1909.",
"He held the post until 1909. At around the same time his first novel was published—a school story called The Pothunters, serialised incomplete in Public School Magazine in early 1902, and issued in full in hardback in September. He resigned from the bank that month to devote himself to writing full-time.",
"He resigned from the bank that month to devote himself to writing full-time. Between the publication of The Pothunters 1902 and that of Mike in 1909, Wodehouse wrote eight novels and co-wrote another two.",
"Between the publication of The Pothunters 1902 and that of Mike in 1909, Wodehouse wrote eight novels and co-wrote another two. The critic R. D. B. French writes that, of Wodehouse's work from this period, almost all that deserves to survive is the school fiction.",
"The critic R. D. B. French writes that, of Wodehouse's work from this period, almost all that deserves to survive is the school fiction. Looking back in the 1950s Wodehouse viewed these as his apprentice years: \"I was practically in swaddling clothes and it is extremely creditable to me that I was able to write at all.\"",
"Looking back in the 1950s Wodehouse viewed these as his apprentice years: \"I was practically in swaddling clothes and it is extremely creditable to me that I was able to write at all.\" From his boyhood Wodehouse had been fascinated by America, which he conceived of as \"a land of romance\"; he \"yearned\" to visit the country, and by 1904 he had earned enough to do so.",
"From his boyhood Wodehouse had been fascinated by America, which he conceived of as \"a land of romance\"; he \"yearned\" to visit the country, and by 1904 he had earned enough to do so. In April he sailed to New York, which he found greatly to his liking.",
"In April he sailed to New York, which he found greatly to his liking. He noted in his diary: \"In New York gathering experience. Worth many guineas in the future but none for the moment.\"",
"Worth many guineas in the future but none for the moment.\" This prediction proved correct: few British writers had first-hand experience of the US, and his articles about life in New York brought him higher than usual fees.",
"This prediction proved correct: few British writers had first-hand experience of the US, and his articles about life in New York brought him higher than usual fees. He later recalled that \"in 1904 anyone in the London writing world who had been to America was regarded with awe and looked upon as an authority on that terra incognita.... After that trip to New York I was a man who counted.... My income rose like a rocketing pheasant.\"",
"He later recalled that \"in 1904 anyone in the London writing world who had been to America was regarded with awe and looked upon as an authority on that terra incognita.... After that trip to New York I was a man who counted.... My income rose like a rocketing pheasant.\" Wodehouse's other new venture in 1904 was writing for the stage.",
"Wodehouse's other new venture in 1904 was writing for the stage. Towards the end of the year the librettist Owen Hall invited him to contribute an additional lyric for a musical comedy Sergeant Brue. Wodehouse had loved theatre since his first visit, aged thirteen, when Gilbert and Sullivan's Patience had made him \"drunk with ecstasy\".",
"Wodehouse had loved theatre since his first visit, aged thirteen, when Gilbert and Sullivan's Patience had made him \"drunk with ecstasy\". His lyric for Hall, \"Put Me in My Little Cell\", was a Gilbertian number for a trio of comic crooks, with music by Frederick Rosse; it was well received and launched Wodehouse on a career as a theatre writer that spanned three decades.",
"His lyric for Hall, \"Put Me in My Little Cell\", was a Gilbertian number for a trio of comic crooks, with music by Frederick Rosse; it was well received and launched Wodehouse on a career as a theatre writer that spanned three decades. Although it made little impact on its first publication, the 1906 novel Love Among the Chickens contained what French calls the author's first original comic creation: Stanley Featherstonehaugh Ukridge.",
"Although it made little impact on its first publication, the 1906 novel Love Among the Chickens contained what French calls the author's first original comic creation: Stanley Featherstonehaugh Ukridge. The character, an amoral, bungling opportunist, is partly based on Wodehouse's Globe colleague Herbert Westbrook.",
"The character, an amoral, bungling opportunist, is partly based on Wodehouse's Globe colleague Herbert Westbrook. The two collaborated between 1907 and 1913 on two books, two music hall sketches, and a play, Brother Alfred. Wodehouse would return to the character in short stories over the next six decades.",
"Wodehouse would return to the character in short stories over the next six decades. In early 1906 the actor-manager Seymour Hicks invited Wodehouse to become resident lyricist at the Aldwych Theatre, to add topical verses to newly imported or long-running shows. Hicks had already recruited the young Jerome Kern to write the music for such songs.",
"Hicks had already recruited the young Jerome Kern to write the music for such songs. The first Kern-Wodehouse collaboration, a comic number for The Beauty of Bath titled \"Mr [Joseph] Chamberlain\", was a show-stopper and was briefly the most popular song in London.",
"The first Kern-Wodehouse collaboration, a comic number for The Beauty of Bath titled \"Mr [Joseph] Chamberlain\", was a show-stopper and was briefly the most popular song in London. Psmith, Blandings, Wooster and Jeeves: 1908–1915 Wodehouse's early period as a writer came to an end in 1908 with the serialisation of The Lost Lambs, published the following year in book form as the second half of the novel Mike.",
"Psmith, Blandings, Wooster and Jeeves: 1908–1915 Wodehouse's early period as a writer came to an end in 1908 with the serialisation of The Lost Lambs, published the following year in book form as the second half of the novel Mike. The work begins as a conventional school story, but Wodehouse introduces a new and strikingly original character, Psmith, whose creation both Evelyn Waugh and George Orwell regarded as a watershed in Wodehouse's development.",
"The work begins as a conventional school story, but Wodehouse introduces a new and strikingly original character, Psmith, whose creation both Evelyn Waugh and George Orwell regarded as a watershed in Wodehouse's development. Wodehouse said that he based Psmith on the hotelier and impresario Rupert D'Oyly Carte—\"the only thing in my literary career which was handed to me on a silver plate with watercress around it\".",
"Wodehouse said that he based Psmith on the hotelier and impresario Rupert D'Oyly Carte—\"the only thing in my literary career which was handed to me on a silver plate with watercress around it\". Wodehouse wrote in the 1970s that a cousin of his who had been at school with Carte told him of the latter's monocle, studied suavity, and stateliness of speech, all of which Wodehouse adopted for his new character.",
"Wodehouse wrote in the 1970s that a cousin of his who had been at school with Carte told him of the latter's monocle, studied suavity, and stateliness of speech, all of which Wodehouse adopted for his new character. Psmith featured in three more novels: Psmith in the City (1910), a burlesque of banking; Psmith, Journalist (1915) set in New York; and Leave It to Psmith (1923), set at Blandings Castle.",
"Psmith featured in three more novels: Psmith in the City (1910), a burlesque of banking; Psmith, Journalist (1915) set in New York; and Leave It to Psmith (1923), set at Blandings Castle. In May 1909 Wodehouse made his second visit to New York, where he sold two short stories to Cosmopolitan and Collier's for a total of $500, a much higher fee than he had commanded previously.",
"In May 1909 Wodehouse made his second visit to New York, where he sold two short stories to Cosmopolitan and Collier's for a total of $500, a much higher fee than he had commanded previously. He resigned from The Globe and stayed in New York for nearly a year.",
"He resigned from The Globe and stayed in New York for nearly a year. He sold many more stories, but none of the American publications offered a permanent relationship and guaranteed income. Wodehouse returned to England in late 1910, rejoining The Globe and also contributing regularly to The Strand Magazine.",
"Wodehouse returned to England in late 1910, rejoining The Globe and also contributing regularly to The Strand Magazine. Between then and the outbreak of the First World War in 1914 he revisited America frequently. Wodehouse was in New York when the war began.",
"Wodehouse was in New York when the war began. Ineligible for military service because of his poor eyesight, he remained in the US throughout the war, detached from the conflict in Europe and absorbed in his theatrical and literary concerns. In September 1914 he married Ethel May Wayman, née Newton (1885–1984), an English widow.",
"In September 1914 he married Ethel May Wayman, née Newton (1885–1984), an English widow. The marriage proved happy and lifelong. Ethel's personality was in contrast with her husband's: he was shy and impractical; she was gregarious, decisive and well organised.",
"Ethel's personality was in contrast with her husband's: he was shy and impractical; she was gregarious, decisive and well organised. In Sproat's phrase, she \"took charge of Wodehouse's life and made certain that he had the peace and quiet he needed to write\".",
"In Sproat's phrase, she \"took charge of Wodehouse's life and made certain that he had the peace and quiet he needed to write\". There were no children of the marriage, but Wodehouse came to love Ethel's daughter Leonora (1905–1944) and legally adopted her.",
"There were no children of the marriage, but Wodehouse came to love Ethel's daughter Leonora (1905–1944) and legally adopted her. Wodehouse experimented with different genres of fiction in these years; Psmith, Journalist, mixing comedy with social comment on slum landlords and racketeers, was published in 1915.",
"Wodehouse experimented with different genres of fiction in these years; Psmith, Journalist, mixing comedy with social comment on slum landlords and racketeers, was published in 1915. In the same year The Saturday Evening Post paid $3,500 to serialise Something New, the first of what became a series of novels set at Blandings Castle.",
"In the same year The Saturday Evening Post paid $3,500 to serialise Something New, the first of what became a series of novels set at Blandings Castle. It was published in hardback in the US and the UK in the same year (the British edition being retitled Something Fresh).",
"It was published in hardback in the US and the UK in the same year (the British edition being retitled Something Fresh). It was Wodehouse's first farcical novel; it was also his first best-seller, and although his later books included some gentler, lightly sentimental stories, it was as a farceur that he became known.",
"It was Wodehouse's first farcical novel; it was also his first best-seller, and although his later books included some gentler, lightly sentimental stories, it was as a farceur that he became known. Later in the same year \"Extricating Young Gussie\", the first story about Bertie and Jeeves, was published.",
"Later in the same year \"Extricating Young Gussie\", the first story about Bertie and Jeeves, was published. These stories introduced two sets of characters about whom Wodehouse wrote for the rest of his life.",
"These stories introduced two sets of characters about whom Wodehouse wrote for the rest of his life. The Blandings Castle stories, set in an English stately home, depict the attempts of the placid Lord Emsworth to evade the many distractions around him, which include successive pairs of young lovers, the machinations of his exuberant brother Galahad, the demands of his domineering sisters and super-efficient secretaries, and anything detrimental to his prize sow, the Empress of Blandings.",
"The Blandings Castle stories, set in an English stately home, depict the attempts of the placid Lord Emsworth to evade the many distractions around him, which include successive pairs of young lovers, the machinations of his exuberant brother Galahad, the demands of his domineering sisters and super-efficient secretaries, and anything detrimental to his prize sow, the Empress of Blandings. The Bertie and Jeeves stories feature an amiable young man-about-town, regularly rescued from the consequences of his idiocy by the benign interference of his valet.",
"The Bertie and Jeeves stories feature an amiable young man-about-town, regularly rescued from the consequences of his idiocy by the benign interference of his valet. Broadway: 1915–1919 A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator.",
"Broadway: 1915–1919 A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator. Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York.",
"Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York. The show was successful, but they thought the song lyrics weak and invited Wodehouse to join them on its successor. This was Miss Springtime (1916), which ran for 227 performances—a good run by the standards of the day.",
"This was Miss Springtime (1916), which ran for 227 performances—a good run by the standards of the day. The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917–18) and Oh, Lady! Lady!!",
"Lady!! Lady!! (1918), and Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin.",
"In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin. Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies.",
"Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies. Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do.",
"Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do. Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical.",
"Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical. In the Grove Dictionary of American Music Larry Stempel writes, \"By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy.\"",
"In the Grove Dictionary of American Music Larry Stempel writes, \"By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy.\" The theatre writer Gerald Bordman calls Wodehouse \"the most observant, literate, and witty lyricist of his day\".",
"The theatre writer Gerald Bordman calls Wodehouse \"the most observant, literate, and witty lyricist of his day\". The composer Richard Rodgers wrote, \"Before Larry Hart, only P.G. Wodehouse had made any real assault on the intelligence of the song-listening public.\"",
"Wodehouse had made any real assault on the intelligence of the song-listening public.\" 1920s In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones.",
"1920s In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones. Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest.",
"Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest. Various other young men-about-town appeared in short stories about members of the Drones Club.",
"Various other young men-about-town appeared in short stories about members of the Drones Club. The Wodehouses returned to England, where they had a house in London for some years, but Wodehouse continued to cross the Atlantic frequently, spending substantial periods in New York. He continued to work in the theatre.",
"He continued to work in the theatre. During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York).",
"During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York). He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnár, and A Damsel in Distress (1928), a dramatisation of his 1919 novel.",
"He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnár, and A Damsel in Distress (1928), a dramatisation of his 1919 novel. Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods.",
"Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods. Donaldson lists among those with whom he was on friendly terms writers including A. A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith Jr., Heather Thatcher and Dorothy Dickson.",
"A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith Jr., Heather Thatcher and Dorothy Dickson. Hollywood: 1929–1931 There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name.",
"Hollywood: 1929–1931 There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name. Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM).",
"Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM). Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week.",
"Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week. This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929.",
"This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929. The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories.",
"The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories. He commented, \"It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary.\"",
"He commented, \"It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary.\" Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used.",
"Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used. In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was \"as close to a success as Wodehouse was to have at MGM.",
"In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was \"as close to a success as Wodehouse was to have at MGM. His only other credits were minimal, and the other projects he worked on were not produced.\"",
"His only other credits were minimal, and the other projects he worked on were not produced.\" Wodehouse's contract ended after a year and was not renewed. At MGM's request, he gave an interview to The Los Angeles Times.",
"At MGM's request, he gave an interview to The Los Angeles Times. Wodehouse was described by Herbert Warren Wind as \"politically naive [and] fundamentally unworldly\", and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent.",
"Wodehouse was described by Herbert Warren Wind as \"politically naive [and] fundamentally unworldly\", and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent. The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry.",
"The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry. Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been \"a storm in a teacup\", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable.",
"Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been \"a storm in a teacup\", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable. Wind's view of Wodehouse's naïveté is not universally held.",
"Wind's view of Wodehouse's naïveté is not universally held. Biographers including Donaldson, McCrum and Phelps suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute.",
"Biographers including Donaldson, McCrum and Phelps suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute. He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire.",
"He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire. Best-seller: 1930s During the 1930s Wodehouse's theatrical work tailed off.",
"Best-seller: 1930s During the 1930s Wodehouse's theatrical work tailed off. He wrote or adapted four plays for the West End; Leave it to Psmith (1930), which he adapted in collaboration with Ian Hay, was the only one to have a long run.",
"He wrote or adapted four plays for the West End; Leave it to Psmith (1930), which he adapted in collaboration with Ian Hay, was the only one to have a long run. The reviewer in The Manchester Guardian praised the play, but commented: \"It is Mr Wodehouse's own inimitable narrative comments and descriptions in his own person of the antics of his puppets that one misses.",
"The reviewer in The Manchester Guardian praised the play, but commented: \"It is Mr Wodehouse's own inimitable narrative comments and descriptions in his own person of the antics of his puppets that one misses. They cannot be got into a play and they are at least half the fun of the novels.\"",
"They cannot be got into a play and they are at least half the fun of the novels.\" In 1934 Wodehouse collaborated with Bolton on the book for Cole Porter's Anything Goes (Porter wrote his own lyrics), but at the last minute their version was almost entirely rewritten by others at the instigation of the producer, who disliked the original script.",
"In 1934 Wodehouse collaborated with Bolton on the book for Cole Porter's Anything Goes (Porter wrote his own lyrics), but at the last minute their version was almost entirely rewritten by others at the instigation of the producer, who disliked the original script. Concentrating on writing novels and short stories, Wodehouse reached the peak of his productivity in this decade, averaging two books each year, and grossing an annual £100,000.",
"Concentrating on writing novels and short stories, Wodehouse reached the peak of his productivity in this decade, averaging two books each year, and grossing an annual £100,000. His practice of dividing his time between Britain and America caused Wodehouse difficulties with the tax authorities of both countries.",
"His practice of dividing his time between Britain and America caused Wodehouse difficulties with the tax authorities of both countries. Both the UK Inland Revenue and the US Internal Revenue Service sought to tax him as a resident.",
"Both the UK Inland Revenue and the US Internal Revenue Service sought to tax him as a resident. The matter was settled after lengthy negotiations, but the Wodehouses decided to change their residential status beyond doubt by moving to France, where they bought a house near Le Touquet in the north.",
"The matter was settled after lengthy negotiations, but the Wodehouses decided to change their residential status beyond doubt by moving to France, where they bought a house near Le Touquet in the north. In 1935 Wodehouse created the last of his regular cast of principal characters, Lord Ickenham, otherwise known as Uncle Fred, who, in Usborne's words, \"leads the dance in four novels and a short story... a whirring dynamo of misrule\".",
"In 1935 Wodehouse created the last of his regular cast of principal characters, Lord Ickenham, otherwise known as Uncle Fred, who, in Usborne's words, \"leads the dance in four novels and a short story... a whirring dynamo of misrule\". His other books from the decade include Right Ho, Jeeves, which Donaldson judged his best work, Uncle Fred in the Springtime, which the writer Bernard Levin considered the best, and Blandings Castle, which contains \"Lord Emsworth and the Girl Friend\", which Rudyard Kipling thought \"one of the most perfect short stories I have ever read\".",
"His other books from the decade include Right Ho, Jeeves, which Donaldson judged his best work, Uncle Fred in the Springtime, which the writer Bernard Levin considered the best, and Blandings Castle, which contains \"Lord Emsworth and the Girl Friend\", which Rudyard Kipling thought \"one of the most perfect short stories I have ever read\". Other leading literary figures who admired Wodehouse were A. E. Housman, Max Beerbohm and Hilaire Belloc; on the radio and in print Belloc called Wodehouse \"the best writer of our time: the best living writer of English... the head of my profession\".",
"Other leading literary figures who admired Wodehouse were A. E. Housman, Max Beerbohm and Hilaire Belloc; on the radio and in print Belloc called Wodehouse \"the best writer of our time: the best living writer of English... the head of my profession\". Wodehouse regarded Belloc's plaudit as \"a gag, to get a rise out of serious-minded authors whom he disliked\".",
"Wodehouse regarded Belloc's plaudit as \"a gag, to get a rise out of serious-minded authors whom he disliked\". Wodehouse was never sure that his books had literary merit as well as popular appeal, and, Donaldson suggests, must have been overwhelmed when the University of Oxford conferred an honorary doctorate of letters on him in June 1939.",
"Wodehouse was never sure that his books had literary merit as well as popular appeal, and, Donaldson suggests, must have been overwhelmed when the University of Oxford conferred an honorary doctorate of letters on him in June 1939. His visit to England for the awarding ceremony was the last time he set foot in his native land.",
"His visit to England for the awarding ceremony was the last time he set foot in his native land. Second World War: internment and broadcasts At the start of the Second World War Wodehouse and his wife remained at their Le Touquet house, where, during the Phoney War, he worked on Joy in the Morning.",
"Second World War: internment and broadcasts At the start of the Second World War Wodehouse and his wife remained at their Le Touquet house, where, during the Phoney War, he worked on Joy in the Morning. With the advance of the Germans, the nearby Royal Air Force base withdrew; Wodehouse was offered the sole spare seat in one of the fighter aircraft, but he turned down the opportunity as it would have meant leaving behind Ethel and their dog.",
"With the advance of the Germans, the nearby Royal Air Force base withdrew; Wodehouse was offered the sole spare seat in one of the fighter aircraft, but he turned down the opportunity as it would have meant leaving behind Ethel and their dog. On 21 May 1940, with German troops advancing through northern France, the Wodehouses decided to drive to Portugal and fly from there to the US.",
"On 21 May 1940, with German troops advancing through northern France, the Wodehouses decided to drive to Portugal and fly from there to the US. Two miles from home their car broke down, so they returned and borrowed a car from a neighbour; with the routes blocked with refugees, they returned home again.",
"Two miles from home their car broke down, so they returned and borrowed a car from a neighbour; with the routes blocked with refugees, they returned home again. The Germans occupied Le Touquet on 22 May 1940 and Wodehouse had to report to the authorities daily.",
"The Germans occupied Le Touquet on 22 May 1940 and Wodehouse had to report to the authorities daily. After two months of occupation the Germans interned all male enemy nationals under 60, and Wodehouse was sent to a former prison in Loos, a suburb of Lille, on 21 July; Ethel remained in Le Touquet.",
"After two months of occupation the Germans interned all male enemy nationals under 60, and Wodehouse was sent to a former prison in Loos, a suburb of Lille, on 21 July; Ethel remained in Le Touquet. The internees were placed four to a cell, each of which had been designed for one man.",
"The internees were placed four to a cell, each of which had been designed for one man. One bed was available per cell, which was made available to the eldest man—not Wodehouse, who slept on the granite floor.",
"One bed was available per cell, which was made available to the eldest man—not Wodehouse, who slept on the granite floor. The prisoners were not kept long in Loos before they were transported in cattle trucks to a former barracks in Liège, Belgium, which was run as a prison by the SS.",
"The prisoners were not kept long in Loos before they were transported in cattle trucks to a former barracks in Liège, Belgium, which was run as a prison by the SS. After a week the men were transferred to Huy in Liège, where they were incarcerated in the local citadel.",
"After a week the men were transferred to Huy in Liège, where they were incarcerated in the local citadel. They remained there until September 1940, when they were transported to Tost in Upper Silesia (then Germany, now Toszek in Poland).",
"They remained there until September 1940, when they were transported to Tost in Upper Silesia (then Germany, now Toszek in Poland). Wodehouse's family and friends had not had any news of his location after the fall of France, but an article from an Associated Press reporter who had visited Tost in December 1940 led to pressure on the German authorities to release the novelist.",
"Wodehouse's family and friends had not had any news of his location after the fall of France, but an article from an Associated Press reporter who had visited Tost in December 1940 led to pressure on the German authorities to release the novelist. This included a petition from influential people in the US; Senator W. Warren Barbour presented it to the German ambassador.",
"This included a petition from influential people in the US; Senator W. Warren Barbour presented it to the German ambassador. Although his captors refused to release him, Wodehouse was provided with a typewriter and, to pass the time, he wrote Money in the Bank.",
"Although his captors refused to release him, Wodehouse was provided with a typewriter and, to pass the time, he wrote Money in the Bank. Throughout his time in Tost, he sent postcards to his US literary agent asking for $5 to be sent to various people in Canada, mentioning his name.",
"Throughout his time in Tost, he sent postcards to his US literary agent asking for $5 to be sent to various people in Canada, mentioning his name. These were the families of Canadian prisoners of war, and the news from Wodehouse was the first indication that their sons were alive and well.",
"These were the families of Canadian prisoners of war, and the news from Wodehouse was the first indication that their sons were alive and well. Wodehouse risked severe punishment for the communication, but managed to evade the German censor.",
"Wodehouse risked severe punishment for the communication, but managed to evade the German censor. On 21 June 1941, while he was in the middle of playing a game of cricket, Wodehouse received a visit from two members of the Gestapo.",
"On 21 June 1941, while he was in the middle of playing a game of cricket, Wodehouse received a visit from two members of the Gestapo. He was given ten minutes to pack his things before he was taken to the Hotel Adlon, a top luxury hotel in Berlin.",
"He was given ten minutes to pack his things before he was taken to the Hotel Adlon, a top luxury hotel in Berlin. He stayed there at his own expense; royalties from the German editions of his books had been put into a special frozen bank account at the outset of the war, and Wodehouse was permitted to draw upon this money he had earned while staying in Berlin.",
"He stayed there at his own expense; royalties from the German editions of his books had been put into a special frozen bank account at the outset of the war, and Wodehouse was permitted to draw upon this money he had earned while staying in Berlin. He was thus released from internment a few months before his sixtieth birthday—the age at which civilian internees were released by the Nazis.",
"He was thus released from internment a few months before his sixtieth birthday—the age at which civilian internees were released by the Nazis. Shortly afterwards Wodehouse was, in the words of Phelps, \"cleverly trapped\" into making five broadcasts to the US via German radio, with the Berlin-based correspondent of the Columbia Broadcasting System.",
"Shortly afterwards Wodehouse was, in the words of Phelps, \"cleverly trapped\" into making five broadcasts to the US via German radio, with the Berlin-based correspondent of the Columbia Broadcasting System. The broadcasts—aired on 28 June, 9, 23 and 30 July and 6 August—were titled How to be an Internee Without Previous Training, and comprised humorous anecdotes about Wodehouse's experiences as a prisoner, including some gentle mocking of his captors.",
"The broadcasts—aired on 28 June, 9, 23 and 30 July and 6 August—were titled How to be an Internee Without Previous Training, and comprised humorous anecdotes about Wodehouse's experiences as a prisoner, including some gentle mocking of his captors. The German propaganda ministry arranged for the recordings to be broadcast to Britain in August.",
"The German propaganda ministry arranged for the recordings to be broadcast to Britain in August. The day after Wodehouse recorded his final programme, Ethel joined him in Berlin, having sold most of her jewellery to pay for the journey.",
"The day after Wodehouse recorded his final programme, Ethel joined him in Berlin, having sold most of her jewellery to pay for the journey. Aftermath: reactions and investigation The reaction in Britain to Wodehouse's broadcasts was hostile, and he was \"reviled ... as a traitor, collaborator, Nazi propagandist, and a coward\", although, Phelps observes, many of those who decried his actions had not heard the content of the programmes.",
"Aftermath: reactions and investigation The reaction in Britain to Wodehouse's broadcasts was hostile, and he was \"reviled ... as a traitor, collaborator, Nazi propagandist, and a coward\", although, Phelps observes, many of those who decried his actions had not heard the content of the programmes. A front-page article in The Daily Mirror stated that Wodehouse \"lived luxuriously because Britain laughed with him, but when the laughter was out of his country's heart, ... [he] was not ready to share her suffering.",
"A front-page article in The Daily Mirror stated that Wodehouse \"lived luxuriously because Britain laughed with him, but when the laughter was out of his country's heart, ... [he] was not ready to share her suffering. He hadn't the guts ... even to stick it out in the internment camp.\"",
"He hadn't the guts ... even to stick it out in the internment camp.\" In the House of Commons Anthony Eden, the Foreign Secretary, regretted Wodehouse's actions. Several libraries removed Wodehouse novels from their shelves.",
"Several libraries removed Wodehouse novels from their shelves. On 15 July the journalist William Connor, under his pen name Cassandra, broadcast a postscript to the news programme railing against Wodehouse. According to The Times, the broadcast \"provoked a storm of complaint ... from listeners all over the country\".",
"According to The Times, the broadcast \"provoked a storm of complaint ... from listeners all over the country\". Wodehouse's biographer, Joseph Connolly, thinks the broadcast \"inaccurate, spiteful and slanderous\"; Phelps calls it \"probably the most vituperative attack on an individual ever heard on British radio\".",
"Wodehouse's biographer, Joseph Connolly, thinks the broadcast \"inaccurate, spiteful and slanderous\"; Phelps calls it \"probably the most vituperative attack on an individual ever heard on British radio\". The broadcast was made at the direct instruction of Duff Cooper, the Minister of Information, who overruled strong protests made by the BBC against the decision to air the programme.",
"The broadcast was made at the direct instruction of Duff Cooper, the Minister of Information, who overruled strong protests made by the BBC against the decision to air the programme. Numerous letters appeared in the British press, both supporting and criticising Wodehouse.",
"Numerous letters appeared in the British press, both supporting and criticising Wodehouse. The letters page of The Daily Telegraph became a focus for censuring Wodehouse, including one from Wodehouse's friend, ; a reply from their fellow author Compton Mackenzie in defence of Wodehouse was not published because the editor claimed a lack of space.",
"The letters page of The Daily Telegraph became a focus for censuring Wodehouse, including one from Wodehouse's friend, ; a reply from their fellow author Compton Mackenzie in defence of Wodehouse was not published because the editor claimed a lack of space. Most of those defending Wodehouse against accusations of disloyalty, including Sax Rohmer, Dorothy L. Sayers and Gilbert Frankau, conceded that he had acted stupidly.",
"Most of those defending Wodehouse against accusations of disloyalty, including Sax Rohmer, Dorothy L. Sayers and Gilbert Frankau, conceded that he had acted stupidly. Some members of the public wrote to the newspapers to say that the full facts were not yet known and a fair judgment could not be made until they were.",
"Some members of the public wrote to the newspapers to say that the full facts were not yet known and a fair judgment could not be made until they were. The management of the BBC, who considered Wodehouse's actions no worse than \"ill advised\", pointed out to Cooper that there was no evidence at that point whether Wodehouse had acted voluntarily or under compulsion.",
"The management of the BBC, who considered Wodehouse's actions no worse than \"ill advised\", pointed out to Cooper that there was no evidence at that point whether Wodehouse had acted voluntarily or under compulsion. When Wodehouse heard of the furore the broadcasts had caused, he contacted the Foreign Office—through the Swiss embassy in Berlin—to explain his actions, and attempted to return home via neutral countries, but the German authorities refused to let him leave.",
"When Wodehouse heard of the furore the broadcasts had caused, he contacted the Foreign Office—through the Swiss embassy in Berlin—to explain his actions, and attempted to return home via neutral countries, but the German authorities refused to let him leave. In Performing Flea, a 1953 collection of letters, Wodehouse wrote, \"Of course I ought to have had the sense to see that it was a loony thing to do to use the German radio for even the most harmless stuff, but I didn't.",
"In Performing Flea, a 1953 collection of letters, Wodehouse wrote, \"Of course I ought to have had the sense to see that it was a loony thing to do to use the German radio for even the most harmless stuff, but I didn't. I suppose prison life saps the intellect\".",
"I suppose prison life saps the intellect\". The reaction in America was mixed: the left-leaning publication PM accused Wodehouse of \"play[ing] Jeeves to the Nazis\", but the Department of War used the interviews as an ideal representation of anti-Nazi propaganda.",
"The reaction in America was mixed: the left-leaning publication PM accused Wodehouse of \"play[ing] Jeeves to the Nazis\", but the Department of War used the interviews as an ideal representation of anti-Nazi propaganda. The Wodehouses remained in Germany until September 1943, when, because of the Allied bombings, they were allowed to move back to Paris.",
"The Wodehouses remained in Germany until September 1943, when, because of the Allied bombings, they were allowed to move back to Paris. They were living there when the city was liberated on 25 August 1944; Wodehouse reported to the American authorities the following day, asking them to inform the British of his whereabouts.",
"They were living there when the city was liberated on 25 August 1944; Wodehouse reported to the American authorities the following day, asking them to inform the British of his whereabouts. He was subsequently visited by Malcolm Muggeridge, recently arrived in Paris as an intelligence officer with MI6.",
"He was subsequently visited by Malcolm Muggeridge, recently arrived in Paris as an intelligence officer with MI6. The young officer quickly came to like Wodehouse and considered the question of treasonable behaviour as \"ludicrous\"; he summed up the writer as \"ill-fitted to live in an age of ideological conflict\".",
"The young officer quickly came to like Wodehouse and considered the question of treasonable behaviour as \"ludicrous\"; he summed up the writer as \"ill-fitted to live in an age of ideological conflict\". On 9 September Wodehouse was visited by an MI5 officer and former barrister, Major Edward Cussen, who formally investigated him, a process that stretched over four days.",
"On 9 September Wodehouse was visited by an MI5 officer and former barrister, Major Edward Cussen, who formally investigated him, a process that stretched over four days. On 28 September Cussen filed his report, which states that in regard to the broadcasts, Wodehouse's behaviour \"has been unwise\", but advised against further action.",
"On 28 September Cussen filed his report, which states that in regard to the broadcasts, Wodehouse's behaviour \"has been unwise\", but advised against further action. On 23 November Theobald Matthew, the Director of Public Prosecutions, decided there was no evidence to justify prosecuting Wodehouse.",
"On 23 November Theobald Matthew, the Director of Public Prosecutions, decided there was no evidence to justify prosecuting Wodehouse. In November 1944 Duff Cooper was appointed British ambassador to France and was provided accommodation at the Hôtel Le Bristol, where the Wodehouses were living.",
"In November 1944 Duff Cooper was appointed British ambassador to France and was provided accommodation at the Hôtel Le Bristol, where the Wodehouses were living. Cooper complained to the French authorities, and the couple were moved to a different hotel. They were subsequently arrested by French police and placed under preventive detention, despite no charges being presented.",
"They were subsequently arrested by French police and placed under preventive detention, despite no charges being presented. When Muggeridge tracked them down later, he managed to get Ethel released straight away and, four days later, ensured that the French authorities declared Wodehouse unwell and put him in a nearby hospital, which was more comfortable than where they had been detained.",
"When Muggeridge tracked them down later, he managed to get Ethel released straight away and, four days later, ensured that the French authorities declared Wodehouse unwell and put him in a nearby hospital, which was more comfortable than where they had been detained. While in this hospital, Wodehouse worked on his novel Uncle Dynamite.",
"While in this hospital, Wodehouse worked on his novel Uncle Dynamite. While still detained by the French, Wodehouse was again mentioned in questions in the House of Commons in December 1944 when MPs wondered if the French authorities could repatriate him to stand trial.",
"While still detained by the French, Wodehouse was again mentioned in questions in the House of Commons in December 1944 when MPs wondered if the French authorities could repatriate him to stand trial. Eden stated that the \"matter has been gone into, and, according to the advice given, there are no grounds upon which we could take action\".",
"Eden stated that the \"matter has been gone into, and, according to the advice given, there are no grounds upon which we could take action\". Two months later, Orwell wrote the essay \"In Defence of P.G.",
"Two months later, Orwell wrote the essay \"In Defence of P.G. Wodehouse\", where he stated that \"it is important to realise that the events of 1941 do not convict Wodehouse of anything worse than stupidity\".",
"Wodehouse\", where he stated that \"it is important to realise that the events of 1941 do not convict Wodehouse of anything worse than stupidity\". Orwell's rationale was that Wodehouse's \"moral outlook has remained that of a public-school boy, and according to the public-school code, treachery in time of war is the most unforgivable of all the sins\", which was compounded by his \"complete lack—so far as one can judge from his printed works—of political awareness\".",
"Orwell's rationale was that Wodehouse's \"moral outlook has remained that of a public-school boy, and according to the public-school code, treachery in time of war is the most unforgivable of all the sins\", which was compounded by his \"complete lack—so far as one can judge from his printed works—of political awareness\". On 15 January 1945 the French authorities released Wodehouse, but they did not inform him, until June 1946, that he would not face any official charges and was free to leave the country.",
"On 15 January 1945 the French authorities released Wodehouse, but they did not inform him, until June 1946, that he would not face any official charges and was free to leave the country. American exile: 1946–1975 Having secured American visas in July 1946, the Wodehouses made preparations to return to New York.",
"American exile: 1946–1975 Having secured American visas in July 1946, the Wodehouses made preparations to return to New York. They were delayed by Ethel's insistence on acquiring suitable new clothes and by Wodehouse's wish to finish writing his current novel, The Mating Season, in the peace of the French countryside.",
"They were delayed by Ethel's insistence on acquiring suitable new clothes and by Wodehouse's wish to finish writing his current novel, The Mating Season, in the peace of the French countryside. In April 1947 they sailed to New York, where Wodehouse was relieved at the friendly reception he received from the large press contingent awaiting his arrival.",
"In April 1947 they sailed to New York, where Wodehouse was relieved at the friendly reception he received from the large press contingent awaiting his arrival. Ethel secured a comfortable penthouse apartment in Manhattan's Upper East Side, but Wodehouse was not at ease. The New York that he had known before the war was much changed.",
"The New York that he had known before the war was much changed. The magazines that had paid lavishly for his stories were in decline, and those that remained were not much interested in him.",
"The magazines that had paid lavishly for his stories were in decline, and those that remained were not much interested in him. He was sounded out about writing for Broadway, but he was not at home in the post-war theatre; he had money problems, with large sums temporarily tied up in Britain, and for the first time in his career he had no ideas for a new novel.",
"He was sounded out about writing for Broadway, but he was not at home in the post-war theatre; he had money problems, with large sums temporarily tied up in Britain, and for the first time in his career he had no ideas for a new novel. He did not complete one until 1951.",
"He did not complete one until 1951. Wodehouse remained unsettled until he and Ethel left New York City for Long Island. Bolton and his wife lived in the prosperous hamlet of Remsenburg, part of the Southampton area of Long Island, east of Manhattan.",
"Bolton and his wife lived in the prosperous hamlet of Remsenburg, part of the Southampton area of Long Island, east of Manhattan. Wodehouse stayed with them frequently, and in 1952 he and Ethel bought a house nearby. They lived at Remsenburg for the rest of their lives.",
"They lived at Remsenburg for the rest of their lives. Between 1952 and 1975 he published more than twenty novels, as well as two collections of short stories, a heavily edited collection of his letters, a volume of memoirs, and a selection of his magazine articles. He continued to hanker after a revival of his theatrical career.",
"He continued to hanker after a revival of his theatrical career. A 1959 off-Broadway revival of the 1917 Bolton-Wodehouse-Kern Leave It to Jane was a surprise hit, running for 928 performances, but his few post-war stage works, some in collaboration with Bolton, made little impression.",
"A 1959 off-Broadway revival of the 1917 Bolton-Wodehouse-Kern Leave It to Jane was a surprise hit, running for 928 performances, but his few post-war stage works, some in collaboration with Bolton, made little impression. Although Ethel made a return visit to England in 1948 to shop and visit family and friends, Wodehouse never left America after his arrival in 1947.",
"Although Ethel made a return visit to England in 1948 to shop and visit family and friends, Wodehouse never left America after his arrival in 1947. It was not until 1965 that the British government indicated privately that he could return without fear of legal proceedings, and by then he felt too old to make the journey.",
"It was not until 1965 that the British government indicated privately that he could return without fear of legal proceedings, and by then he felt too old to make the journey. The biographers Benny Green and Robert McCrum both take the view that this exile benefited Wodehouse's writing, helping him to go on depicting an idealised England seen in his mind's eye, rather than as it actually was in the post-war decades.",
"The biographers Benny Green and Robert McCrum both take the view that this exile benefited Wodehouse's writing, helping him to go on depicting an idealised England seen in his mind's eye, rather than as it actually was in the post-war decades. During their years in Long Island, the couple often took in stray animals and contributed substantial funds to a local animal shelter.",
"During their years in Long Island, the couple often took in stray animals and contributed substantial funds to a local animal shelter. In 1955 Wodehouse became an American citizen, though he remained a British subject, and was therefore still eligible for UK state honours.",
"In 1955 Wodehouse became an American citizen, though he remained a British subject, and was therefore still eligible for UK state honours. He was considered for the award of a knighthood three times from 1967, but the honour was twice blocked by British officials.",
"He was considered for the award of a knighthood three times from 1967, but the honour was twice blocked by British officials. In 1974 the British prime minister, Harold Wilson, intervened to secure a knighthood (KBE) for Wodehouse, which was announced in the January 1975 New Year Honours list.",
"In 1974 the British prime minister, Harold Wilson, intervened to secure a knighthood (KBE) for Wodehouse, which was announced in the January 1975 New Year Honours list. The Times commented that Wodehouse's honour signalled \"official forgiveness for his wartime indiscretion....",
"The Times commented that Wodehouse's honour signalled \"official forgiveness for his wartime indiscretion.... It is late, but not too late, to take the sting out of that unhappy incident.\" The following month Wodehouse entered Southampton Hospital, Long Island, for treatment of a skin complaint.",
"The following month Wodehouse entered Southampton Hospital, Long Island, for treatment of a skin complaint. While there, he suffered a heart attack and died on 14 February 1975 at the age of 93. He was buried at Remsenburg Presbyterian Church four days later.",
"He was buried at Remsenburg Presbyterian Church four days later. Ethel outlived him by more than nine years; Leonora had predeceased him, dying suddenly in 1944.",
"Ethel outlived him by more than nine years; Leonora had predeceased him, dying suddenly in 1944. Writing Technique and approach Before starting a book Wodehouse would write up to four hundred pages of notes bringing together an outline of the plot; he acknowledged that \"It's the plots that I find so hard to work out.",
"Writing Technique and approach Before starting a book Wodehouse would write up to four hundred pages of notes bringing together an outline of the plot; he acknowledged that \"It's the plots that I find so hard to work out. It takes such a long time to work one out.\"",
"It takes such a long time to work one out.\" He always completed the plot before working on specific character actions. For a novel the note-writing process could take up to two years, and he would usually have two or more novels in preparation simultaneously.",
"For a novel the note-writing process could take up to two years, and he would usually have two or more novels in preparation simultaneously. After he had completed his notes, he would draw up a fuller scenario of about thirty thousand words, which ensured plot holes were avoided, and allowed for the dialogue to begin to develop.",
"After he had completed his notes, he would draw up a fuller scenario of about thirty thousand words, which ensured plot holes were avoided, and allowed for the dialogue to begin to develop. When interviewed in 1975 he revealed that \"For a humorous novel you've got to have a scenario, and you've got to test it so that you know where the comedy comes in, where the situations come in ... splitting it up into scenes (you can make a scene of almost anything) and have as little stuff in between as possible.\"",
"When interviewed in 1975 he revealed that \"For a humorous novel you've got to have a scenario, and you've got to test it so that you know where the comedy comes in, where the situations come in ... splitting it up into scenes (you can make a scene of almost anything) and have as little stuff in between as possible.\" He preferred working between 4 and 7 pm—but never after dinner—and would work seven days a week.",
"He preferred working between 4 and 7 pm—but never after dinner—and would work seven days a week. In his younger years, he would write around two to three thousand words a day, although he slowed as he aged, so that in his nineties he would produce a thousand.",
"In his younger years, he would write around two to three thousand words a day, although he slowed as he aged, so that in his nineties he would produce a thousand. The reduced speed in writing slowed his production of books: when younger he would produce a novel in about three months, while Bachelors Anonymous, published in 1973, took around six months.",
"The reduced speed in writing slowed his production of books: when younger he would produce a novel in about three months, while Bachelors Anonymous, published in 1973, took around six months. Although studies of language production in normal healthy ageing show a marked decline from the mid-70s on, a study of Wodehouse's works did not find any evidence of a decline in linguistic ability with age.",
"Although studies of language production in normal healthy ageing show a marked decline from the mid-70s on, a study of Wodehouse's works did not find any evidence of a decline in linguistic ability with age. Wodehouse believed that one of the factors that made his stories humorous was his view of life, and he stated that \"If you take life fairly easily, then you take a humorous view of things.",
"Wodehouse believed that one of the factors that made his stories humorous was his view of life, and he stated that \"If you take life fairly easily, then you take a humorous view of things. It's probably because you were born that way.\"",
"It's probably because you were born that way.\" He carried this view through into his writing, describing the approach as \"making the thing a sort of musical comedy without music, and ignoring real life altogether\".",
"He carried this view through into his writing, describing the approach as \"making the thing a sort of musical comedy without music, and ignoring real life altogether\". The literary critic Edward L. Galligan considers Wodehouse's stories to show his mastery in adapting the form of the American musical comedy for his writings.",
"The literary critic Edward L. Galligan considers Wodehouse's stories to show his mastery in adapting the form of the American musical comedy for his writings. Wodehouse would ensure that his first draft was as carefully and accurately done as possible, correcting and refining the prose as he wrote, and would then make another good copy, before proofreading again and then making a final copy for his publisher.",
"Wodehouse would ensure that his first draft was as carefully and accurately done as possible, correcting and refining the prose as he wrote, and would then make another good copy, before proofreading again and then making a final copy for his publisher. Most of Wodehouse's canon is set in an undated period around the 1920s and 1930s.",
"Most of Wodehouse's canon is set in an undated period around the 1920s and 1930s. The critic Anthony Lejeune describes the settings of Wodehouse's novels, such as the Drones Club and Blandings Castle, as \"a fairyland\".",
"The critic Anthony Lejeune describes the settings of Wodehouse's novels, such as the Drones Club and Blandings Castle, as \"a fairyland\". Although some critics thought Wodehouse's fiction was based on a world that had never existed, Wodehouse affirmed that \"it did.",
"Although some critics thought Wodehouse's fiction was based on a world that had never existed, Wodehouse affirmed that \"it did. It was going strong between the wars\", although he agreed that his version was to some extent \"a sort of artificial world of my own creation\".",
"It was going strong between the wars\", although he agreed that his version was to some extent \"a sort of artificial world of my own creation\". The novels showed a largely unchanging world, regardless of when they were written, and only rarely—and mistakenly in McCrum's view—did Wodehouse allow modernity to intrude, as he did in the 1966 story \"Bingo Bans the Bomb\".",
"The novels showed a largely unchanging world, regardless of when they were written, and only rarely—and mistakenly in McCrum's view—did Wodehouse allow modernity to intrude, as he did in the 1966 story \"Bingo Bans the Bomb\". When dealing with the dialogue in his novels, Wodehouse would consider the book's characters as if they were actors in a play, ensuring that the main roles were kept suitably employed throughout the storyline, which must be strong: \"If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them.\"",
"When dealing with the dialogue in his novels, Wodehouse would consider the book's characters as if they were actors in a play, ensuring that the main roles were kept suitably employed throughout the storyline, which must be strong: \"If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them.\" Many of Wodehouse's parts were stereotypes, and he acknowledged that \"a real character in one of my books sticks out like a sore thumb.\"",
"Many of Wodehouse's parts were stereotypes, and he acknowledged that \"a real character in one of my books sticks out like a sore thumb.\" The publisher Michael Joseph identifies that even within the stereotypes Wodehouse understood human nature, and therefore \"shares with [Charles] Dickens and Charles Chaplin the ability to present the comic resistance of the individual against those superior forces to which we are all subject\".",
"The publisher Michael Joseph identifies that even within the stereotypes Wodehouse understood human nature, and therefore \"shares with [Charles] Dickens and Charles Chaplin the ability to present the comic resistance of the individual against those superior forces to which we are all subject\". Much of Wodehouse's use of slang terms reflects the influence of his time at school in Dulwich, and partly reflects Edwardian slang.",
"Much of Wodehouse's use of slang terms reflects the influence of his time at school in Dulwich, and partly reflects Edwardian slang. As a young man he enjoyed the literary works of Arthur Conan Doyle and Jerome K. Jerome, and the operatic works of Gilbert and Sullivan. Wodehouse quotes from and alludes to numerous poets throughout his work.",
"Wodehouse quotes from and alludes to numerous poets throughout his work. The scholar Clarke Olney lists those quoted, including Milton, Byron, Longfellow, Coleridge, Swinburne, Tennyson, Wordsworth and Shakespeare. Another favoured source was the King James Bible.",
"Another favoured source was the King James Bible. Language In 1941 the Concise Cambridge History of English Literature opined that Wodehouse had \"a gift for highly original aptness of phrase that almost suggests a poet struggling for release among the wild extravagances of farce\", while McCrum thinks that Wodehouse manages to combine \"high farce with the inverted poetry of his mature comic style\", particularly in The Code of the Woosters; the novelist Anthony Powell believes Wodehouse to be a \"comic poet\".",
"Language In 1941 the Concise Cambridge History of English Literature opined that Wodehouse had \"a gift for highly original aptness of phrase that almost suggests a poet struggling for release among the wild extravagances of farce\", while McCrum thinks that Wodehouse manages to combine \"high farce with the inverted poetry of his mature comic style\", particularly in The Code of the Woosters; the novelist Anthony Powell believes Wodehouse to be a \"comic poet\". Robert A.",
"Robert A. Robert A. Hall Jr., in his study of Wodehouse's style and technique, describes the author as a master of prose, an opinion also shared by Levin, who considers Wodehouse \"one of the finest and purest writers of English prose\".",
"Hall Jr., in his study of Wodehouse's style and technique, describes the author as a master of prose, an opinion also shared by Levin, who considers Wodehouse \"one of the finest and purest writers of English prose\". Hall identifies several techniques used by Wodehouse to achieve comic effect, including the creation of new words through adding or removing prefixes and suffixes, so when Pongo Twistleton removes the housemaid Elsie Bean from a cupboard, Wodehouse writes that the character \"de-Beaned the cupboard\".",
"Hall identifies several techniques used by Wodehouse to achieve comic effect, including the creation of new words through adding or removing prefixes and suffixes, so when Pongo Twistleton removes the housemaid Elsie Bean from a cupboard, Wodehouse writes that the character \"de-Beaned the cupboard\". Wodehouse created new words by splitting others in two, thus Wodehouse divides \"hobnobbing\" when he writes: \"To offer a housemaid a cigarette is not hobbing.",
"Wodehouse created new words by splitting others in two, thus Wodehouse divides \"hobnobbing\" when he writes: \"To offer a housemaid a cigarette is not hobbing. Nor, when you light it for her, does that constitute nobbing.\"",
"Nor, when you light it for her, does that constitute nobbing.\" Richard Voorhees, Wodehouse's biographer, believes that the author used clichés in a deliberate and ironic manner.",
"Richard Voorhees, Wodehouse's biographer, believes that the author used clichés in a deliberate and ironic manner. His opinion is shared by the academic Stephen Medcalf, who deems Wodehouse's skill is to \"bring a cliché just enough to life to kill it\", although Pamela March, writing in The Christian Science Monitor, considers Wodehouse to have \"an ability to decliché a cliché\".",
"His opinion is shared by the academic Stephen Medcalf, who deems Wodehouse's skill is to \"bring a cliché just enough to life to kill it\", although Pamela March, writing in The Christian Science Monitor, considers Wodehouse to have \"an ability to decliché a cliché\". Medcalf provides an example from Right Ho, Jeeves in which the teetotal Gussie Fink-Nottle has surreptitiously been given whisky and gin in a punch prior to a prize-giving: 'It seems to me, Jeeves, that the ceremony may be one fraught with considerable interest.'",
"Medcalf provides an example from Right Ho, Jeeves in which the teetotal Gussie Fink-Nottle has surreptitiously been given whisky and gin in a punch prior to a prize-giving: 'It seems to me, Jeeves, that the ceremony may be one fraught with considerable interest.' 'Yes, sir.'",
"'Yes, sir.' 'Yes, sir.' 'What, in your opinion, will the harvest be?' 'One finds it difficult to hazard a conjecture, sir.' 'You mean imagination boggles?' 'Yes, sir.' I inspected my imagination. He was right. It boggled.",
"He was right. It boggled. It boggled. The stylistic device most commonly found in Wodehouse's work is his use of comparative imagery that includes similes. Hall opines that the humour comes from Wodehouse's ability to accentuate \"resemblances which at first glance seem highly incongruous\".",
"Hall opines that the humour comes from Wodehouse's ability to accentuate \"resemblances which at first glance seem highly incongruous\". Examples can be seen in Joy in the Morning, Chapter 29: \"There was a sound in the background like a distant sheep coughing gently on a mountainside.",
"Examples can be seen in Joy in the Morning, Chapter 29: \"There was a sound in the background like a distant sheep coughing gently on a mountainside. Jeeves sailing into action\", or Psmith, Chapter 7: \"A sound like two or three pigs feeding rather noisily in the middle of a thunderstorm interrupted his meditation.\"",
"Jeeves sailing into action\", or Psmith, Chapter 7: \"A sound like two or three pigs feeding rather noisily in the middle of a thunderstorm interrupted his meditation.\" Hall also identifies that periodically Wodehouse used the stylistic device of a transferred epithet, with an adjective that properly belongs to a person applied instead to some inanimate object.",
"Hall also identifies that periodically Wodehouse used the stylistic device of a transferred epithet, with an adjective that properly belongs to a person applied instead to some inanimate object. The form of expression is used sparingly by Wodehouse in comparison with other mechanisms, only once or twice in a story or novel, according to Hall.",
"The form of expression is used sparingly by Wodehouse in comparison with other mechanisms, only once or twice in a story or novel, according to Hall. \"I balanced a thoughtful lump of sugar on the teaspoon.\"",
"\"I balanced a thoughtful lump of sugar on the teaspoon.\" —Joy in the Morning, Chapter 5 \"As I sat in the bath-tub, soaping a meditative foot ...\" —Jeeves and the Feudal Spirit, Chapter 1 \"The first thing he did was to prod Jeeves in the lower ribs with an uncouth forefinger.\"",
"—Joy in the Morning, Chapter 5 \"As I sat in the bath-tub, soaping a meditative foot ...\" —Jeeves and the Feudal Spirit, Chapter 1 \"The first thing he did was to prod Jeeves in the lower ribs with an uncouth forefinger.\" —Much Obliged, Jeeves, Chapter 4 Wordplay is a key element in Wodehouse's writing.",
"—Much Obliged, Jeeves, Chapter 4 Wordplay is a key element in Wodehouse's writing. This can take the form of puns, such as in Jeeves and the Feudal Spirit, when Bertie is released after a night in the police cells, and says that he has \"a pinched look\" about him.",
"This can take the form of puns, such as in Jeeves and the Feudal Spirit, when Bertie is released after a night in the police cells, and says that he has \"a pinched look\" about him. Linguistic confusion is another humorous mechanism, such as in Uncle Dynamite when Constable Potter says he has been \"assaulted by the duck pond\".",
"Linguistic confusion is another humorous mechanism, such as in Uncle Dynamite when Constable Potter says he has been \"assaulted by the duck pond\". In reply, Sir Aylmer, confusing the two meanings of the word \"by\", asks: \"How the devil can you be assaulted by a duck pond?\"",
"In reply, Sir Aylmer, confusing the two meanings of the word \"by\", asks: \"How the devil can you be assaulted by a duck pond?\" Wodehouse also uses metaphor and mixed metaphor to add humour.",
"Wodehouse also uses metaphor and mixed metaphor to add humour. Some come through exaggeration, such as Bingo Little's infant child who \"not only has the aspect of a mass murderer, but that of a mass murderer suffering from an ingrown toenail\", or Wooster's complaint that \"the rumpuses that Bobbie Wickham is already starting may be amusing to her, but not to the unfortunate toads beneath the harrow whom she ruthlessly plunges into the soup.\"",
"Some come through exaggeration, such as Bingo Little's infant child who \"not only has the aspect of a mass murderer, but that of a mass murderer suffering from an ingrown toenail\", or Wooster's complaint that \"the rumpuses that Bobbie Wickham is already starting may be amusing to her, but not to the unfortunate toads beneath the harrow whom she ruthlessly plunges into the soup.\" Bertie Wooster's half-forgotten vocabulary also provides a further humorous device.",
"Bertie Wooster's half-forgotten vocabulary also provides a further humorous device. In Jeeves and the Feudal Spirit Bertie asks Jeeves \"Let a plugugly like young Thos loose in the community with a cosh, and you are inviting disaster and ... what's the word? Something about cats.\" Jeeves replies, \"Cataclysms, sir?\"",
"Jeeves replies, \"Cataclysms, sir?\" Reception and reputation Literary reception Wodehouse's early career as a lyricist and playwright was profitable, and his work with Bolton, according to The Guardian, \"was one of the most successful in the history of musical comedy\".",
"Reception and reputation Literary reception Wodehouse's early career as a lyricist and playwright was profitable, and his work with Bolton, according to The Guardian, \"was one of the most successful in the history of musical comedy\". At the outbreak of the Second World War he was earning £40,000 a year from his work, which had broadened to include novels and short stories.",
"At the outbreak of the Second World War he was earning £40,000 a year from his work, which had broadened to include novels and short stories. Following the furore ensuing from the wartime broadcasts, he suffered a downturn in his popularity and book sales; The Saturday Evening Post stopped publishing his short stories, a stance they reversed in 1965, although his popularity—and the sales figures—slowly recovered over time.",
"Following the furore ensuing from the wartime broadcasts, he suffered a downturn in his popularity and book sales; The Saturday Evening Post stopped publishing his short stories, a stance they reversed in 1965, although his popularity—and the sales figures—slowly recovered over time. Wodehouse received great praise from many of his contemporaries, including Max Beerbohm, Rudyard Kipling, A. E. Housman and Evelyn Waugh—the last of whom opines, \"One has to regard a man as a Master who can produce on average three uniquely brilliant and entirely original similes on each page.\"",
"Wodehouse received great praise from many of his contemporaries, including Max Beerbohm, Rudyard Kipling, A. E. Housman and Evelyn Waugh—the last of whom opines, \"One has to regard a man as a Master who can produce on average three uniquely brilliant and entirely original similes on each page.\" There are dissenters to the praise.",
"There are dissenters to the praise. The writer Alan Bennett thinks that \"inspired though his language is, I can never take more than ten pages of the novels at a time, their relentless flippancy wearing and tedious\", while the literary critic Q. D. Leavis writes that Wodehouse had a \"stereotyped humour ... of ingenious variations on a laugh in one place\".",
"The writer Alan Bennett thinks that \"inspired though his language is, I can never take more than ten pages of the novels at a time, their relentless flippancy wearing and tedious\", while the literary critic Q. D. Leavis writes that Wodehouse had a \"stereotyped humour ... of ingenious variations on a laugh in one place\". In a 2010 study of Wodehouse's few relatively serious novels, such as The Coming of Bill (1919), Jill the Reckless (1920) and The Adventures of Sally (1922), David Heddendorf concludes that though their literary quality does not match that of the farcical novels, they show a range of empathy and interests that in real life—and in his most comic works—the author seemed to lack.",
"In a 2010 study of Wodehouse's few relatively serious novels, such as The Coming of Bill (1919), Jill the Reckless (1920) and The Adventures of Sally (1922), David Heddendorf concludes that though their literary quality does not match that of the farcical novels, they show a range of empathy and interests that in real life—and in his most comic works—the author seemed to lack. \"Never oblivious to grief and despair, he opts in clear-eyed awareness for his timeless world of spats and woolly-headed peers.",
"\"Never oblivious to grief and despair, he opts in clear-eyed awareness for his timeless world of spats and woolly-headed peers. It's an austere, almost bloodless preference for pristine artifice over the pain and messy outcomes of actual existence, but it's a case of Wodehouse keeping faith with his own unique art.\"",
"It's an austere, almost bloodless preference for pristine artifice over the pain and messy outcomes of actual existence, but it's a case of Wodehouse keeping faith with his own unique art.\" The American literary analyst Robert F. Kiernan, defining \"camp\" as \"excessive stylization of whatever kind\", brackets Wodehouse as \"a master of the camp novel\", along with Thomas Love Peacock, Max Beerbohm, Ronald Firbank, E. F. Benson and Ivy Compton-Burnett.",
"The American literary analyst Robert F. Kiernan, defining \"camp\" as \"excessive stylization of whatever kind\", brackets Wodehouse as \"a master of the camp novel\", along with Thomas Love Peacock, Max Beerbohm, Ronald Firbank, E. F. Benson and Ivy Compton-Burnett. The literary critic and writer Cyril Connolly calls Wodehouse a \"politicians' author\"—one who does \"not like art to be exacting and difficult\".",
"The literary critic and writer Cyril Connolly calls Wodehouse a \"politicians' author\"—one who does \"not like art to be exacting and difficult\". Two former British prime ministers, H. H. Asquith and Tony Blair, are on record as Wodehouse aficionados, and the latter became a patron of the Wodehouse Society.",
"Two former British prime ministers, H. H. Asquith and Tony Blair, are on record as Wodehouse aficionados, and the latter became a patron of the Wodehouse Society. Seán O'Casey, a successful playwright of the 1920s, thought little of Wodehouse; he commented in 1941 that it was damaging to England's dignity that the public or \"the academic government of Oxford, dead from the chin up\" considered Wodehouse an important figure in English literature.",
"Seán O'Casey, a successful playwright of the 1920s, thought little of Wodehouse; he commented in 1941 that it was damaging to England's dignity that the public or \"the academic government of Oxford, dead from the chin up\" considered Wodehouse an important figure in English literature. His jibe that Wodehouse was \"English literature's performing flea\" provided his target with the title of his collected letters, published in 1953.",
"His jibe that Wodehouse was \"English literature's performing flea\" provided his target with the title of his collected letters, published in 1953. McCrum, writing in 2004, observes, \"Wodehouse is more popular today than on the day he died\", and \"his comic vision has an absolutely secure place in the English literary imagination.\"",
"McCrum, writing in 2004, observes, \"Wodehouse is more popular today than on the day he died\", and \"his comic vision has an absolutely secure place in the English literary imagination.\" Honours and influence The proposed nominations of Wodehouse for a knighthood in 1967 and 1971 were blocked for fear that such an award would \"revive the controversy of his wartime behaviour and give currency to a Bertie Wooster image of the British character which the embassy was doing its best to eradicate\".",
"Honours and influence The proposed nominations of Wodehouse for a knighthood in 1967 and 1971 were blocked for fear that such an award would \"revive the controversy of his wartime behaviour and give currency to a Bertie Wooster image of the British character which the embassy was doing its best to eradicate\". When Wodehouse was awarded the knighthood, only four years later, the journalist Dennis Barker wrote in The Guardian that the writer was \"the solitary surviving English literary comic genius\".",
"When Wodehouse was awarded the knighthood, only four years later, the journalist Dennis Barker wrote in The Guardian that the writer was \"the solitary surviving English literary comic genius\". After his death six weeks later, the journalist Michael Davie, writing in the same paper, observed that \"Many people regarded ... [Wodehouse] as he regarded Beachcomber, as 'one, if not more than one, of England's greatest men'\", while in the view of the obituarist for The Times Wodehouse \"was a comic genius recognized in his lifetime as a classic and an old master of farce\".",
"After his death six weeks later, the journalist Michael Davie, writing in the same paper, observed that \"Many people regarded ... [Wodehouse] as he regarded Beachcomber, as 'one, if not more than one, of England's greatest men'\", while in the view of the obituarist for The Times Wodehouse \"was a comic genius recognized in his lifetime as a classic and an old master of farce\". In September 2019 Wodehouse was commemorated with a memorial stone in Westminster Abbey; the dedication was held two days after it was installed.",
"In September 2019 Wodehouse was commemorated with a memorial stone in Westminster Abbey; the dedication was held two days after it was installed. Since Wodehouse's death there have been numerous adaptations and dramatisations of his work on television and film; Wodehouse himself has been portrayed on radio and screen numerous times.",
"Since Wodehouse's death there have been numerous adaptations and dramatisations of his work on television and film; Wodehouse himself has been portrayed on radio and screen numerous times. There are several literary societies dedicated to Wodehouse. The P.G. Wodehouse Society (UK) was founded in 1997 and has over 1,000 members as at 2015.",
"Wodehouse Society (UK) was founded in 1997 and has over 1,000 members as at 2015. The president of the society as at 2017 is Alexander Armstrong; past presidents have included Terry Wogan and Richard Briers.",
"The president of the society as at 2017 is Alexander Armstrong; past presidents have included Terry Wogan and Richard Briers. There are also other groups of Wodehouse fans in Australia, Belgium, France, Finland, India, Italy, Russia, Sweden and the US.",
"There are also other groups of Wodehouse fans in Australia, Belgium, France, Finland, India, Italy, Russia, Sweden and the US. As at 2015 the Oxford English Dictionary contains over 1,750 quotations from Wodehouse, illustrating terms from crispish to zippiness.",
"As at 2015 the Oxford English Dictionary contains over 1,750 quotations from Wodehouse, illustrating terms from crispish to zippiness. Voorhees, while acknowledging that Wodehouse's antecedents in literature range from Ben Jonson to Oscar Wilde, writes: Notes, references and sources Notes References Sources External links P. G. Wodehouse collection at One More Library P.G.",
"Voorhees, while acknowledging that Wodehouse's antecedents in literature range from Ben Jonson to Oscar Wilde, writes: Notes, references and sources Notes References Sources External links P. G. Wodehouse collection at One More Library P.G. Wodehouse Archive on loan to the British Library The Wodehouse Society The P. G. Wodehouse Society (UK) Transcripts of Wodehouse's Berlin Broadcasts \"P. G. Wodehouse: An English Master of American Slang\" from The American Legion Weekly, 24 October 1919 Orwell, George \"In Defence of P.G.",
"Wodehouse Archive on loan to the British Library The Wodehouse Society The P. G. Wodehouse Society (UK) Transcripts of Wodehouse's Berlin Broadcasts \"P. G. Wodehouse: An English Master of American Slang\" from The American Legion Weekly, 24 October 1919 Orwell, George \"In Defence of P.G. Wodehouse\" 1881 births 1975 deaths 20th-century English novelists 20th-century British dramatists and playwrights British emigrants to the United States English lyricists Knights Commander of the Order of the British Empire English male dramatists and playwrights British male novelists People educated at Dulwich College People educated at Elizabeth College, Guernsey People from Guildford People from Long Island PG People interned during World War II English humorists 20th-century American novelists American dramatists and playwrights American humorists American lyricists American male novelists Novelists from New York (state) Literature controversies English broadcasters for Nazi Germany 20th-century American male writers"
] |
[
"P. G. Wodehouse",
"Broadway: 1915-19",
"What happened in 1915?",
"Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator.",
"what did the two collaborate on?",
"This was Miss Springtime (1916), which ran for 227 performances--a good run by the standards of the day.",
"what did they do next?",
"The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917-18) and Oh, Lady! Lady!! (1918),",
"were there any other successes?",
"Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin.",
"what other composers?",
"I don't know.",
"Did he do anything other than musicals?",
"Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories;",
"were his novels popular?",
"I don't know."
] | C_01908f72800044fda5b1d74a25e24226_1 | did he collaborate with anyone else? | 8 | Besides Guy Bolton did PG Wodehouse collaborate with anyone else? | P. G. Wodehouse | A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator. Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York. The show was successful, but they thought the song lyrics weak and invited Wodehouse to join them on its successor. This was Miss Springtime (1916), which ran for 227 performances--a good run by the standards of the day. The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917-18) and Oh, Lady! Lady!! (1918), and Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin. Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies. Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do. Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical. In the Grove Dictionary of American Music Larry Stempel writes, "By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy." The theatre writer Gerald Bordman calls Wodehouse "the most observant, literate, and witty lyricist of his day". The composer Richard Rodgers wrote, "Before Larry Hart, only P.G. Wodehouse had made any real assault on the intelligence of the song-listening public." In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones. Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest. Various other young men-about-town appeared in short stories about members of the Drones Club. The Wodehouses returned to England, where they had a house in London for some years, but Wodehouse continued to cross the Atlantic frequently, spending substantial periods in New York. He continued to work in the theatre. During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York). He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnar, and A Damsel in Distress (1928), a dramatisation of his 1919 novel. Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods. Donaldson lists among those with whom he was on friendly terms writers including A.A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith, Jr., Heather Thatcher and Dorothy Dickson. CANNOTANSWER | During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, | Sir Pelham Grenville Wodehouse, ( ; 15 October 188114 February 1975) was an English author and one of the most widely read humorists of the 20th century. His creations include the feather-brained Bertie Wooster and his sagacious valet, Jeeves; the immaculate and loquacious Psmith; Lord Emsworth and the Blandings Castle set; the Oldest Member, with stories about golf; and Mr Mulliner, with tall tales on subjects ranging from bibulous bishops to megalomaniac movie moguls.
Born in Guildford, the third son of a British magistrate based in Hong Kong, Wodehouse spent happy teenage years at Dulwich College, to which he remained devoted all his life. After leaving school he was employed by a bank but disliked the work and turned to writing in his spare time. His early novels were mostly school stories, but he later switched to comic fiction. Most of Wodehouse's fiction is set in his native United Kingdom, although he spent much of his life in the US and used New York and Hollywood as settings for some of his novels and short stories. He wrote a series of Broadway musical comedies during and after the First World War, together with Guy Bolton and Jerome Kern, that played an important part in the development of the American musical. He began the 1930s writing for MGM in Hollywood. In a 1931 interview, his naive revelations of incompetence and extravagance in the studios caused a furore. In the same decade, his literary career reached a new peak.
In 1934 Wodehouse moved to France for tax reasons; in 1940 he was taken prisoner at Le Touquet by the invading Germans and interned for nearly a year. After his release he made six broadcasts from German radio in Berlin to the US, which had not yet entered the war. The talks were comic and apolitical, but his broadcasting over enemy radio prompted anger and strident controversy in Britain, and a threat of prosecution. Wodehouse never returned to England. From 1947 until his death he lived in the US, taking dual British-American citizenship in 1955. He died in 1975, at the age of 93, in Southampton, New York.
Wodehouse was a prolific writer throughout his life, publishing more than ninety books, forty plays, two hundred short stories and other writings between 1902 and 1974. He worked extensively on his books, sometimes having two or more in preparation simultaneously. He would take up to two years to build a plot and write a scenario of about thirty thousand words. After the scenario was complete he would write the story. Early in his career Wodehouse would produce a novel in about three months, but he slowed in old age to around six months. He used a mixture of Edwardian slang, quotations from and allusions to numerous poets, and several literary techniques to produce a prose style that has been compared to comic poetry and musical comedy. Some critics of Wodehouse have considered his work flippant, but among his fans are former British prime ministers and many of his fellow writers.
Life and career
Early years
Wodehouse was born in Guildford, Surrey, the third son of Henry Ernest Wodehouse (1845–1929), a magistrate resident in the British colony of Hong Kong, and his wife, Eleanor (1861–1941), daughter of the Rev John Bathurst Deane. The Wodehouses, who traced their ancestry back to the 13th century, belonged to a cadet branch of the family of the earls of Kimberley. Eleanor Wodehouse was also of ancient aristocratic ancestry. She was visiting her sister in Guildford when Wodehouse was born there prematurely.
The boy was baptised at the Church of St Nicolas, Guildford, and was named after his godfather, Pelham von Donop. Wodehouse wrote in 1957, "If you ask me to tell you frankly if I like the name Pelham Grenville Wodehouse, I must confess that I do not.... I was named after a godfather, and not a thing to show for it but a small silver mug which I lost in 1897." The first name was rapidly elided to "Plum", the name by which Wodehouse became known to family and friends.
Mother and son sailed for Hong Kong, where for his first two years Wodehouse was raised by a Chinese amah (nurse), alongside his elder brothers Peveril (1877–1951) and Armine (1879–1936). When he was two, the brothers were brought to England, where they were placed under the care of an English nanny in a house adjoining that of Eleanor's father and mother. The boys' parents returned to Hong Kong and became virtual strangers to their sons. Such an arrangement was then normal for middle-class families based in the colonies. The lack of parental contact, and the harsh regime of some of those in loco parentis, left permanent emotional scars on many children from similar backgrounds, including the writers Thackeray, Saki, Kipling and Walpole. Wodehouse was more fortunate; his nanny, Emma Roper, was strict but not unkind, and both with her and later at his different schools Wodehouse had a generally happy childhood. His recollection was that "it went like a breeze from start to finish, with everybody I met understanding me perfectly". The biographer Robert McCrum suggests that nonetheless Wodehouse's isolation from his parents left a psychological mark, causing him to avoid emotional engagement both in life and in his works. Another biographer, Frances Donaldson, writes, "Deprived so early, not merely of maternal love, but of home life and even a stable background, Wodehouse consoled himself from the youngest age in an imaginary world of his own."
In 1886 the brothers were sent to a dame-school in Croydon, where they spent three years. Peveril was then found to have a "weak chest"; sea air was prescribed, and the three boys were moved to Elizabeth College on the island of Guernsey. In 1891 Wodehouse went on to Malvern House Preparatory School in Kent, which concentrated on preparing its pupils for entry to the Royal Navy. His father had planned a naval career for him, but the boy's eyesight was found to be too poor for it. He was unimpressed by the school's narrow curriculum and zealous discipline; he later parodied it in his novels, with Bertie Wooster recalling his early years as a pupil at a "penitentiary... with the outward guise of a prep school" called Malvern House.
Throughout their school years the brothers were sent to stay during the holidays with various uncles and aunts from both sides of the family. In the Oxford Dictionary of National Biography, Iain Sproat counts twenty aunts and considers that they played an important part not only in Wodehouse's early life, but, thinly disguised, in his mature novels, as the formidable aunts who dominate the action in the Wooster, Blandings, and other stories. The boys had fifteen uncles, four of whom were clergymen. Sproat writes that they inspired Wodehouse's "pious but fallible curates, vicars, and bishops, of which he wrote with friendly irreverence but without mockery".
At the age of twelve in 1894, to his great joy, Wodehouse was able to follow his brother Armine to Dulwich College. He was entirely at home there; Donaldson comments that Dulwich gave him, for the first time, "some continuity and a stable and ordered life". He loved the camaraderie, distinguished himself at cricket, rugby and boxing, and was a good, if not consistently diligent, student. The headmaster at the time was A. H. Gilkes, a respected classicist, who was a strong influence on Wodehouse. In a study of Wodehouse's works, Richard Usborne argues that "only a writer who was himself a scholar and had had his face ground into Latin and Greek (especially Thucydides) as a boy" could sustain the complex sequences of subordinate clauses sometimes found in Wodehouse's comic prose.
Wodehouse's six years at Dulwich were among the happiest of his life: "To me the years between 1894 and 1900 were like heaven." In addition to his sporting achievements he was a good singer and enjoyed taking part in school concerts; his literary leanings found an outlet in editing the school magazine, The Alleynian. For the rest of his life he remained devoted to the school. The biographer Barry Phelps writes that Wodehouse "loved the college as much as he loved anything or anybody".
Reluctant banker; budding writer: 1900–1908
Wodehouse expected to follow Armine to the University of Oxford, but the family's finances took a turn for the worse at the crucial moment. Ernest Wodehouse had retired in 1895, and his pension was paid in rupees; fluctuation against the pound reduced its value in Britain. Wodehouse recalled, "The wolf was not actually whining at the door and there was always a little something in the kitty for the butcher and the grocer, but the finances would not run to anything in the nature of a splash". Instead of a university career, in September 1900 Wodehouse was engaged in a junior position in the London office of the Hongkong and Shanghai Bank. He was unsuited to it and found the work baffling and uncongenial. He later wrote a humorous account of his experiences at the bank, but at the time he longed for the end of each working day, when he could return to his rented lodgings in Chelsea and write. At first he concentrated, with some success, on serious articles about school sports for Public School Magazine. In November 1900 his first comic piece, "Men Who Missed Their Own Weddings", was accepted by Tit-Bits. A new magazine for boys, The Captain, provided further well-paid opportunities, and during his two years at the bank, Wodehouse had eighty pieces published in a total of nine magazines.
In 1901, with the help of a former Dulwich master, William Beach Thomas, Wodehouse secured an appointment—at first temporary and later permanent—writing for The Globes popular "By the Way" column. He held the post until 1909. At around the same time his first novel was published—a school story called The Pothunters, serialised incomplete in Public School Magazine in early 1902, and issued in full in hardback in September. He resigned from the bank that month to devote himself to writing full-time.
Between the publication of The Pothunters 1902 and that of Mike in 1909, Wodehouse wrote eight novels and co-wrote another two. The critic R. D. B. French writes that, of Wodehouse's work from this period, almost all that deserves to survive is the school fiction. Looking back in the 1950s Wodehouse viewed these as his apprentice years: "I was practically in swaddling clothes and it is extremely creditable to me that I was able to write at all."
From his boyhood Wodehouse had been fascinated by America, which he conceived of as "a land of romance"; he "yearned" to visit the country, and by 1904 he had earned enough to do so. In April he sailed to New York, which he found greatly to his liking. He noted in his diary: "In New York gathering experience. Worth many guineas in the future but none for the moment." This prediction proved correct: few British writers had first-hand experience of the US, and his articles about life in New York brought him higher than usual fees. He later recalled that "in 1904 anyone in the London writing world who had been to America was regarded with awe and looked upon as an authority on that terra incognita.... After that trip to New York I was a man who counted.... My income rose like a rocketing pheasant."
Wodehouse's other new venture in 1904 was writing for the stage. Towards the end of the year the librettist Owen Hall invited him to contribute an additional lyric for a musical comedy Sergeant Brue. Wodehouse had loved theatre since his first visit, aged thirteen, when Gilbert and Sullivan's Patience had made him "drunk with ecstasy". His lyric for Hall, "Put Me in My Little Cell", was a Gilbertian number for a trio of comic crooks, with music by Frederick Rosse; it was well received and launched Wodehouse on a career as a theatre writer that spanned three decades.
Although it made little impact on its first publication, the 1906 novel Love Among the Chickens contained what French calls the author's first original comic creation: Stanley Featherstonehaugh Ukridge. The character, an amoral, bungling opportunist, is partly based on Wodehouse's Globe colleague Herbert Westbrook. The two collaborated between 1907 and 1913 on two books, two music hall sketches, and a play, Brother Alfred. Wodehouse would return to the character in short stories over the next six decades.
In early 1906 the actor-manager Seymour Hicks invited Wodehouse to become resident lyricist at the Aldwych Theatre, to add topical verses to newly imported or long-running shows. Hicks had already recruited the young Jerome Kern to write the music for such songs. The first Kern-Wodehouse collaboration, a comic number for The Beauty of Bath titled "Mr [Joseph] Chamberlain", was a show-stopper and was briefly the most popular song in London.
Psmith, Blandings, Wooster and Jeeves: 1908–1915
Wodehouse's early period as a writer came to an end in 1908 with the serialisation of The Lost Lambs, published the following year in book form as the second half of the novel Mike. The work begins as a conventional school story, but Wodehouse introduces a new and strikingly original character, Psmith, whose creation both Evelyn Waugh and George Orwell regarded as a watershed in Wodehouse's development. Wodehouse said that he based Psmith on the hotelier and impresario Rupert D'Oyly Carte—"the only thing in my literary career which was handed to me on a silver plate with watercress around it". Wodehouse wrote in the 1970s that a cousin of his who had been at school with Carte told him of the latter's monocle, studied suavity, and stateliness of speech, all of which Wodehouse adopted for his new character. Psmith featured in three more novels: Psmith in the City (1910), a burlesque of banking; Psmith, Journalist (1915) set in New York; and Leave It to Psmith (1923), set at Blandings Castle.
In May 1909 Wodehouse made his second visit to New York, where he sold two short stories to Cosmopolitan and Collier's for a total of $500, a much higher fee than he had commanded previously. He resigned from The Globe and stayed in New York for nearly a year. He sold many more stories, but none of the American publications offered a permanent relationship and guaranteed income. Wodehouse returned to England in late 1910, rejoining The Globe and also contributing regularly to The Strand Magazine. Between then and the outbreak of the First World War in 1914 he revisited America frequently.
Wodehouse was in New York when the war began. Ineligible for military service because of his poor eyesight, he remained in the US throughout the war, detached from the conflict in Europe and absorbed in his theatrical and literary concerns. In September 1914 he married Ethel May Wayman, née Newton (1885–1984), an English widow. The marriage proved happy and lifelong. Ethel's personality was in contrast with her husband's: he was shy and impractical; she was gregarious, decisive and well organised. In Sproat's phrase, she "took charge of Wodehouse's life and made certain that he had the peace and quiet he needed to write". There were no children of the marriage, but Wodehouse came to love Ethel's daughter Leonora (1905–1944) and legally adopted her.
Wodehouse experimented with different genres of fiction in these years; Psmith, Journalist, mixing comedy with social comment on slum landlords and racketeers, was published in 1915. In the same year The Saturday Evening Post paid $3,500 to serialise Something New, the first of what became a series of novels set at Blandings Castle. It was published in hardback in the US and the UK in the same year (the British edition being retitled Something Fresh). It was Wodehouse's first farcical novel; it was also his first best-seller, and although his later books included some gentler, lightly sentimental stories, it was as a farceur that he became known. Later in the same year "Extricating Young Gussie", the first story about Bertie and Jeeves, was published. These stories introduced two sets of characters about whom Wodehouse wrote for the rest of his life. The Blandings Castle stories, set in an English stately home, depict the attempts of the placid Lord Emsworth to evade the many distractions around him, which include successive pairs of young lovers, the machinations of his exuberant brother Galahad, the demands of his domineering sisters and super-efficient secretaries, and anything detrimental to his prize sow, the Empress of Blandings. The Bertie and Jeeves stories feature an amiable young man-about-town, regularly rescued from the consequences of his idiocy by the benign interference of his valet.
Broadway: 1915–1919
A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator. Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York. The show was successful, but they thought the song lyrics weak and invited Wodehouse to join them on its successor. This was Miss Springtime (1916), which ran for 227 performances—a good run by the standards of the day. The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917–18) and Oh, Lady! Lady!! (1918), and Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin.
Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies. Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do. Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical. In the Grove Dictionary of American Music Larry Stempel writes, "By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy." The theatre writer Gerald Bordman calls Wodehouse "the most observant, literate, and witty lyricist of his day". The composer Richard Rodgers wrote, "Before Larry Hart, only P.G. Wodehouse had made any real assault on the intelligence of the song-listening public."
1920s
In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones. Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest. Various other young men-about-town appeared in short stories about members of the Drones Club.
The Wodehouses returned to England, where they had a house in London for some years, but Wodehouse continued to cross the Atlantic frequently, spending substantial periods in New York. He continued to work in the theatre. During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York). He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnár, and A Damsel in Distress (1928), a dramatisation of his 1919 novel.
Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods. Donaldson lists among those with whom he was on friendly terms writers including A. A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith Jr., Heather Thatcher and Dorothy Dickson.
Hollywood: 1929–1931
There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name. Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM). Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week. This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929.
The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories. He commented, "It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary." Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used. In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was "as close to a success as Wodehouse was to have at MGM. His only other credits were minimal, and the other projects he worked on were not produced."
Wodehouse's contract ended after a year and was not renewed. At MGM's request, he gave an interview to The Los Angeles Times. Wodehouse was described by Herbert Warren Wind as "politically naive [and] fundamentally unworldly", and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent. The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry. Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been "a storm in a teacup", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable.
Wind's view of Wodehouse's naïveté is not universally held. Biographers including Donaldson, McCrum and Phelps suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute. He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire.
Best-seller: 1930s
During the 1930s Wodehouse's theatrical work tailed off. He wrote or adapted four plays for the West End; Leave it to Psmith (1930), which he adapted in collaboration with Ian Hay, was the only one to have a long run. The reviewer in The Manchester Guardian praised the play, but commented: "It is Mr Wodehouse's own inimitable narrative comments and descriptions in his own person of the antics of his puppets that one misses. They cannot be got into a play and they are at least half the fun of the novels." In 1934 Wodehouse collaborated with Bolton on the book for Cole Porter's Anything Goes (Porter wrote his own lyrics), but at the last minute their version was almost entirely rewritten by others at the instigation of the producer, who disliked the original script. Concentrating on writing novels and short stories, Wodehouse reached the peak of his productivity in this decade, averaging two books each year, and grossing an annual £100,000.
His practice of dividing his time between Britain and America caused Wodehouse difficulties with the tax authorities of both countries. Both the UK Inland Revenue and the US Internal Revenue Service sought to tax him as a resident. The matter was settled after lengthy negotiations, but the Wodehouses decided to change their residential status beyond doubt by moving to France, where they bought a house near Le Touquet in the north.
In 1935 Wodehouse created the last of his regular cast of principal characters, Lord Ickenham, otherwise known as Uncle Fred, who, in Usborne's words, "leads the dance in four novels and a short story... a whirring dynamo of misrule". His other books from the decade include Right Ho, Jeeves, which Donaldson judged his best work, Uncle Fred in the Springtime, which the writer Bernard Levin considered the best, and Blandings Castle, which contains "Lord Emsworth and the Girl Friend", which Rudyard Kipling thought "one of the most perfect short stories I have ever read".
Other leading literary figures who admired Wodehouse were A. E. Housman, Max Beerbohm and Hilaire Belloc; on the radio and in print Belloc called Wodehouse "the best writer of our time: the best living writer of English... the head of my profession". Wodehouse regarded Belloc's plaudit as "a gag, to get a rise out of serious-minded authors whom he disliked". Wodehouse was never sure that his books had literary merit as well as popular appeal, and, Donaldson suggests, must have been overwhelmed when the University of Oxford conferred an honorary doctorate of letters on him in June 1939. His visit to England for the awarding ceremony was the last time he set foot in his native land.
Second World War: internment and broadcasts
At the start of the Second World War Wodehouse and his wife remained at their Le Touquet house, where, during the Phoney War, he worked on Joy in the Morning. With the advance of the Germans, the nearby Royal Air Force base withdrew; Wodehouse was offered the sole spare seat in one of the fighter aircraft, but he turned down the opportunity as it would have meant leaving behind Ethel and their dog. On 21 May 1940, with German troops advancing through northern France, the Wodehouses decided to drive to Portugal and fly from there to the US. Two miles from home their car broke down, so they returned and borrowed a car from a neighbour; with the routes blocked with refugees, they returned home again.
The Germans occupied Le Touquet on 22 May 1940 and Wodehouse had to report to the authorities daily. After two months of occupation the Germans interned all male enemy nationals under 60, and Wodehouse was sent to a former prison in Loos, a suburb of Lille, on 21 July; Ethel remained in Le Touquet. The internees were placed four to a cell, each of which had been designed for one man. One bed was available per cell, which was made available to the eldest man—not Wodehouse, who slept on the granite floor. The prisoners were not kept long in Loos before they were transported in cattle trucks to a former barracks in Liège, Belgium, which was run as a prison by the SS. After a week the men were transferred to Huy in Liège, where they were incarcerated in the local citadel. They remained there until September 1940, when they were transported to Tost in Upper Silesia (then Germany, now Toszek in Poland).
Wodehouse's family and friends had not had any news of his location after the fall of France, but an article from an Associated Press reporter who had visited Tost in December 1940 led to pressure on the German authorities to release the novelist. This included a petition from influential people in the US; Senator W. Warren Barbour presented it to the German ambassador. Although his captors refused to release him, Wodehouse was provided with a typewriter and, to pass the time, he wrote Money in the Bank. Throughout his time in Tost, he sent postcards to his US literary agent asking for $5 to be sent to various people in Canada, mentioning his name. These were the families of Canadian prisoners of war, and the news from Wodehouse was the first indication that their sons were alive and well. Wodehouse risked severe punishment for the communication, but managed to evade the German censor.
On 21 June 1941, while he was in the middle of playing a game of cricket, Wodehouse received a visit from two members of the Gestapo. He was given ten minutes to pack his things before he was taken to the Hotel Adlon, a top luxury hotel in Berlin. He stayed there at his own expense; royalties from the German editions of his books had been put into a special frozen bank account at the outset of the war, and Wodehouse was permitted to draw upon this money he had earned while staying in Berlin. He was thus released from internment a few months before his sixtieth birthday—the age at which civilian internees were released by the Nazis. Shortly afterwards Wodehouse was, in the words of Phelps, "cleverly trapped" into making five broadcasts to the US via German radio, with the Berlin-based correspondent of the Columbia Broadcasting System. The broadcasts—aired on 28 June, 9, 23 and 30 July and 6 August—were titled How to be an Internee Without Previous Training, and comprised humorous anecdotes about Wodehouse's experiences as a prisoner, including some gentle mocking of his captors. The German propaganda ministry arranged for the recordings to be broadcast to Britain in August. The day after Wodehouse recorded his final programme, Ethel joined him in Berlin, having sold most of her jewellery to pay for the journey.
Aftermath: reactions and investigation
The reaction in Britain to Wodehouse's broadcasts was hostile, and he was "reviled ... as a traitor, collaborator, Nazi propagandist, and a coward", although, Phelps observes, many of those who decried his actions had not heard the content of the programmes. A front-page article in The Daily Mirror stated that Wodehouse "lived luxuriously because Britain laughed with him, but when the laughter was out of his country's heart, ... [he] was not ready to share her suffering. He hadn't the guts ... even to stick it out in the internment camp." In the House of Commons Anthony Eden, the Foreign Secretary, regretted Wodehouse's actions. Several libraries removed Wodehouse novels from their shelves.
On 15 July the journalist William Connor, under his pen name Cassandra, broadcast a postscript to the news programme railing against Wodehouse. According to The Times, the broadcast "provoked a storm of complaint ... from listeners all over the country". Wodehouse's biographer, Joseph Connolly, thinks the broadcast "inaccurate, spiteful and slanderous"; Phelps calls it "probably the most vituperative attack on an individual ever heard on British radio". The broadcast was made at the direct instruction of Duff Cooper, the Minister of Information, who overruled strong protests made by the BBC against the decision to air the programme. Numerous letters appeared in the British press, both supporting and criticising Wodehouse. The letters page of The Daily Telegraph became a focus for censuring Wodehouse, including one from Wodehouse's friend, ; a reply from their fellow author Compton Mackenzie in defence of Wodehouse was not published because the editor claimed a lack of space. Most of those defending Wodehouse against accusations of disloyalty, including Sax Rohmer, Dorothy L. Sayers and Gilbert Frankau, conceded that he had acted stupidly. Some members of the public wrote to the newspapers to say that the full facts were not yet known and a fair judgment could not be made until they were. The management of the BBC, who considered Wodehouse's actions no worse than "ill advised", pointed out to Cooper that there was no evidence at that point whether Wodehouse had acted voluntarily or under compulsion.
When Wodehouse heard of the furore the broadcasts had caused, he contacted the Foreign Office—through the Swiss embassy in Berlin—to explain his actions, and attempted to return home via neutral countries, but the German authorities refused to let him leave. In Performing Flea, a 1953 collection of letters, Wodehouse wrote, "Of course I ought to have had the sense to see that it was a loony thing to do to use the German radio for even the most harmless stuff, but I didn't. I suppose prison life saps the intellect". The reaction in America was mixed: the left-leaning publication PM accused Wodehouse of "play[ing] Jeeves to the Nazis", but the Department of War used the interviews as an ideal representation of anti-Nazi propaganda.
The Wodehouses remained in Germany until September 1943, when, because of the Allied bombings, they were allowed to move back to Paris. They were living there when the city was liberated on 25 August 1944; Wodehouse reported to the American authorities the following day, asking them to inform the British of his whereabouts. He was subsequently visited by Malcolm Muggeridge, recently arrived in Paris as an intelligence officer with MI6. The young officer quickly came to like Wodehouse and considered the question of treasonable behaviour as "ludicrous"; he summed up the writer as "ill-fitted to live in an age of ideological conflict". On 9 September Wodehouse was visited by an MI5 officer and former barrister, Major Edward Cussen, who formally investigated him, a process that stretched over four days. On 28 September Cussen filed his report, which states that in regard to the broadcasts, Wodehouse's behaviour "has been unwise", but advised against further action. On 23 November Theobald Matthew, the Director of Public Prosecutions, decided there was no evidence to justify prosecuting Wodehouse.
In November 1944 Duff Cooper was appointed British ambassador to France and was provided accommodation at the Hôtel Le Bristol, where the Wodehouses were living. Cooper complained to the French authorities, and the couple were moved to a different hotel. They were subsequently arrested by French police and placed under preventive detention, despite no charges being presented. When Muggeridge tracked them down later, he managed to get Ethel released straight away and, four days later, ensured that the French authorities declared Wodehouse unwell and put him in a nearby hospital, which was more comfortable than where they had been detained. While in this hospital, Wodehouse worked on his novel Uncle Dynamite.
While still detained by the French, Wodehouse was again mentioned in questions in the House of Commons in December 1944 when MPs wondered if the French authorities could repatriate him to stand trial. Eden stated that the "matter has been gone into, and, according to the advice given, there are no grounds upon which we could take action". Two months later, Orwell wrote the essay "In Defence of P.G. Wodehouse", where he stated that "it is important to realise that the events of 1941 do not convict Wodehouse of anything worse than stupidity". Orwell's rationale was that Wodehouse's "moral outlook has remained that of a public-school boy, and according to the public-school code, treachery in time of war is the most unforgivable of all the sins", which was compounded by his "complete lack—so far as one can judge from his printed works—of political awareness".
On 15 January 1945 the French authorities released Wodehouse, but they did not inform him, until June 1946, that he would not face any official charges and was free to leave the country.
American exile: 1946–1975
Having secured American visas in July 1946, the Wodehouses made preparations to return to New York. They were delayed by Ethel's insistence on acquiring suitable new clothes and by Wodehouse's wish to finish writing his current novel, The Mating Season, in the peace of the French countryside. In April 1947 they sailed to New York, where Wodehouse was relieved at the friendly reception he received from the large press contingent awaiting his arrival. Ethel secured a comfortable penthouse apartment in Manhattan's Upper East Side, but Wodehouse was not at ease. The New York that he had known before the war was much changed. The magazines that had paid lavishly for his stories were in decline, and those that remained were not much interested in him. He was sounded out about writing for Broadway, but he was not at home in the post-war theatre; he had money problems, with large sums temporarily tied up in Britain, and for the first time in his career he had no ideas for a new novel. He did not complete one until 1951.
Wodehouse remained unsettled until he and Ethel left New York City for Long Island. Bolton and his wife lived in the prosperous hamlet of Remsenburg, part of the Southampton area of Long Island, east of Manhattan. Wodehouse stayed with them frequently, and in 1952 he and Ethel bought a house nearby. They lived at Remsenburg for the rest of their lives. Between 1952 and 1975 he published more than twenty novels, as well as two collections of short stories, a heavily edited collection of his letters, a volume of memoirs, and a selection of his magazine articles. He continued to hanker after a revival of his theatrical career. A 1959 off-Broadway revival of the 1917 Bolton-Wodehouse-Kern Leave It to Jane was a surprise hit, running for 928 performances, but his few post-war stage works, some in collaboration with Bolton, made little impression.
Although Ethel made a return visit to England in 1948 to shop and visit family and friends, Wodehouse never left America after his arrival in 1947. It was not until 1965 that the British government indicated privately that he could return without fear of legal proceedings, and by then he felt too old to make the journey. The biographers Benny Green and Robert McCrum both take the view that this exile benefited Wodehouse's writing, helping him to go on depicting an idealised England seen in his mind's eye, rather than as it actually was in the post-war decades. During their years in Long Island, the couple often took in stray animals and contributed substantial funds to a local animal shelter.
In 1955 Wodehouse became an American citizen, though he remained a British subject, and was therefore still eligible for UK state honours. He was considered for the award of a knighthood three times from 1967, but the honour was twice blocked by British officials. In 1974 the British prime minister, Harold Wilson, intervened to secure a knighthood (KBE) for Wodehouse, which was announced in the January 1975 New Year Honours list. The Times commented that Wodehouse's honour signalled "official forgiveness for his wartime indiscretion.... It is late, but not too late, to take the sting out of that unhappy incident."
The following month Wodehouse entered Southampton Hospital, Long Island, for treatment of a skin complaint. While there, he suffered a heart attack and died on 14 February 1975 at the age of 93. He was buried at Remsenburg Presbyterian Church four days later. Ethel outlived him by more than nine years; Leonora had predeceased him, dying suddenly in 1944.
Writing
Technique and approach
Before starting a book Wodehouse would write up to four hundred pages of notes bringing together an outline of the plot; he acknowledged that "It's the plots that I find so hard to work out. It takes such a long time to work one out." He always completed the plot before working on specific character actions. For a novel the note-writing process could take up to two years, and he would usually have two or more novels in preparation simultaneously. After he had completed his notes, he would draw up a fuller scenario of about thirty thousand words, which ensured plot holes were avoided, and allowed for the dialogue to begin to develop. When interviewed in 1975 he revealed that "For a humorous novel you've got to have a scenario, and you've got to test it so that you know where the comedy comes in, where the situations come in ... splitting it up into scenes (you can make a scene of almost anything) and have as little stuff in between as possible." He preferred working between 4 and 7 pm—but never after dinner—and would work seven days a week. In his younger years, he would write around two to three thousand words a day, although he slowed as he aged, so that in his nineties he would produce a thousand. The reduced speed in writing slowed his production of books: when younger he would produce a novel in about three months, while Bachelors Anonymous, published in 1973, took around six months. Although studies of language production in normal healthy ageing show a marked decline from the mid-70s on, a study of Wodehouse's works did not find any evidence of a decline in linguistic ability with age.
Wodehouse believed that one of the factors that made his stories humorous was his view of life, and he stated that "If you take life fairly easily, then you take a humorous view of things. It's probably because you were born that way." He carried this view through into his writing, describing the approach as "making the thing a sort of musical comedy without music, and ignoring real life altogether". The literary critic Edward L. Galligan considers Wodehouse's stories to show his mastery in adapting the form of the American musical comedy for his writings. Wodehouse would ensure that his first draft was as carefully and accurately done as possible, correcting and refining the prose as he wrote, and would then make another good copy, before proofreading again and then making a final copy for his publisher.
Most of Wodehouse's canon is set in an undated period around the 1920s and 1930s. The critic Anthony Lejeune describes the settings of Wodehouse's novels, such as the Drones Club and Blandings Castle, as "a fairyland". Although some critics thought Wodehouse's fiction was based on a world that had never existed, Wodehouse affirmed that "it did. It was going strong between the wars", although he agreed that his version was to some extent "a sort of artificial world of my own creation". The novels showed a largely unchanging world, regardless of when they were written, and only rarely—and mistakenly in McCrum's view—did Wodehouse allow modernity to intrude, as he did in the 1966 story "Bingo Bans the Bomb".
When dealing with the dialogue in his novels, Wodehouse would consider the book's characters as if they were actors in a play, ensuring that the main roles were kept suitably employed throughout the storyline, which must be strong: "If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them." Many of Wodehouse's parts were stereotypes, and he acknowledged that "a real character in one of my books sticks out like a sore thumb." The publisher Michael Joseph identifies that even within the stereotypes Wodehouse understood human nature, and therefore "shares with [Charles] Dickens and Charles Chaplin the ability to present the comic resistance of the individual against those superior forces to which we are all subject".
Much of Wodehouse's use of slang terms reflects the influence of his time at school in Dulwich, and partly reflects Edwardian slang. As a young man he enjoyed the literary works of Arthur Conan Doyle and Jerome K. Jerome, and the operatic works of Gilbert and Sullivan. Wodehouse quotes from and alludes to numerous poets throughout his work. The scholar Clarke Olney lists those quoted, including Milton, Byron, Longfellow, Coleridge, Swinburne, Tennyson, Wordsworth and Shakespeare. Another favoured source was the King James Bible.
Language
In 1941 the Concise Cambridge History of English Literature opined that Wodehouse had "a gift for highly original aptness of phrase that almost suggests a poet struggling for release among the wild extravagances of farce", while McCrum thinks that Wodehouse manages to combine "high farce with the inverted poetry of his mature comic style", particularly in The Code of the Woosters; the novelist Anthony Powell believes Wodehouse to be a "comic poet". Robert A. Hall Jr., in his study of Wodehouse's style and technique, describes the author as a master of prose, an opinion also shared by Levin, who considers Wodehouse "one of the finest and purest writers of English prose". Hall identifies several techniques used by Wodehouse to achieve comic effect, including the creation of new words through adding or removing prefixes and suffixes, so when Pongo Twistleton removes the housemaid Elsie Bean from a cupboard, Wodehouse writes that the character "de-Beaned the cupboard". Wodehouse created new words by splitting others in two, thus Wodehouse divides "hobnobbing" when he writes: "To offer a housemaid a cigarette is not hobbing. Nor, when you light it for her, does that constitute nobbing."
Richard Voorhees, Wodehouse's biographer, believes that the author used clichés in a deliberate and ironic manner. His opinion is shared by the academic Stephen Medcalf, who deems Wodehouse's skill is to "bring a cliché just enough to life to kill it", although Pamela March, writing in The Christian Science Monitor, considers Wodehouse to have "an ability to decliché a cliché". Medcalf provides an example from Right Ho, Jeeves in which the teetotal Gussie Fink-Nottle has surreptitiously been given whisky and gin in a punch prior to a prize-giving:
'It seems to me, Jeeves, that the ceremony may be one fraught with considerable interest.'
'Yes, sir.'
'What, in your opinion, will the harvest be?'
'One finds it difficult to hazard a conjecture, sir.'
'You mean imagination boggles?'
'Yes, sir.'
I inspected my imagination. He was right. It boggled.
The stylistic device most commonly found in Wodehouse's work is his use of comparative imagery that includes similes. Hall opines that the humour comes from Wodehouse's ability to accentuate "resemblances which at first glance seem highly incongruous". Examples can be seen in Joy in the Morning, Chapter 29: "There was a sound in the background like a distant sheep coughing gently on a mountainside. Jeeves sailing into action", or Psmith, Chapter 7: "A sound like two or three pigs feeding rather noisily in the middle of a thunderstorm interrupted his meditation." Hall also identifies that periodically Wodehouse used the stylistic device of a transferred epithet, with an adjective that properly belongs to a person applied instead to some inanimate object. The form of expression is used sparingly by Wodehouse in comparison with other mechanisms, only once or twice in a story or novel, according to Hall.
"I balanced a thoughtful lump of sugar on the teaspoon."
—Joy in the Morning, Chapter 5
"As I sat in the bath-tub, soaping a meditative foot ..."
—Jeeves and the Feudal Spirit, Chapter 1
"The first thing he did was to prod Jeeves in the lower ribs with an uncouth forefinger."
—Much Obliged, Jeeves, Chapter 4
Wordplay is a key element in Wodehouse's writing. This can take the form of puns, such as in Jeeves and the Feudal Spirit, when Bertie is released after a night in the police cells, and says that he has "a pinched look" about him. Linguistic confusion is another humorous mechanism, such as in Uncle Dynamite when Constable Potter says he has been "assaulted by the duck pond". In reply, Sir Aylmer, confusing the two meanings of the word "by", asks: "How the devil can you be assaulted by a duck pond?" Wodehouse also uses metaphor and mixed metaphor to add humour. Some come through exaggeration, such as Bingo Little's infant child who "not only has the aspect of a mass murderer, but that of a mass murderer suffering from an ingrown toenail", or Wooster's complaint that "the rumpuses that Bobbie Wickham is already starting may be amusing to her, but not to the unfortunate toads beneath the harrow whom she ruthlessly plunges into the soup." Bertie Wooster's half-forgotten vocabulary also provides a further humorous device. In Jeeves and the Feudal Spirit Bertie asks Jeeves "Let a plugugly like young Thos loose in the community with a cosh, and you are inviting disaster and ... what's the word? Something about cats." Jeeves replies, "Cataclysms, sir?"
Reception and reputation
Literary reception
Wodehouse's early career as a lyricist and playwright was profitable, and his work with Bolton, according to The Guardian, "was one of the most successful in the history of musical comedy". At the outbreak of the Second World War he was earning £40,000 a year from his work, which had broadened to include novels and short stories. Following the furore ensuing from the wartime broadcasts, he suffered a downturn in his popularity and book sales; The Saturday Evening Post stopped publishing his short stories, a stance they reversed in 1965, although his popularity—and the sales figures—slowly recovered over time.
Wodehouse received great praise from many of his contemporaries, including Max Beerbohm, Rudyard Kipling, A. E. Housman and Evelyn Waugh—the last of whom opines, "One has to regard a man as a Master who can produce on average three uniquely brilliant and entirely original similes on each page." There are dissenters to the praise. The writer Alan Bennett thinks that "inspired though his language is, I can never take more than ten pages of the novels at a time, their relentless flippancy wearing and tedious", while the literary critic Q. D. Leavis writes that Wodehouse had a "stereotyped humour ... of ingenious variations on a laugh in one place". In a 2010 study of Wodehouse's few relatively serious novels, such as The Coming of Bill (1919), Jill the Reckless (1920) and The Adventures of Sally (1922), David Heddendorf concludes that though their literary quality does not match that of the farcical novels, they show a range of empathy and interests that in real life—and in his most comic works—the author seemed to lack. "Never oblivious to grief and despair, he opts in clear-eyed awareness for his timeless world of spats and woolly-headed peers. It's an austere, almost bloodless preference for pristine artifice over the pain and messy outcomes of actual existence, but it's a case of Wodehouse keeping faith with his own unique art."
The American literary analyst Robert F. Kiernan, defining "camp" as "excessive stylization of whatever kind", brackets Wodehouse as "a master of the camp novel", along with Thomas Love Peacock, Max Beerbohm, Ronald Firbank, E. F. Benson and Ivy Compton-Burnett. The literary critic and writer Cyril Connolly calls Wodehouse a "politicians' author"—one who does "not like art to be exacting and difficult". Two former British prime ministers, H. H. Asquith and Tony Blair, are on record as Wodehouse aficionados, and the latter became a patron of the Wodehouse Society. Seán O'Casey, a successful playwright of the 1920s, thought little of Wodehouse; he commented in 1941 that it was damaging to England's dignity that the public or "the academic government of Oxford, dead from the chin up" considered Wodehouse an important figure in English literature. His jibe that Wodehouse was "English literature's performing flea" provided his target with the title of his collected letters, published in 1953. McCrum, writing in 2004, observes, "Wodehouse is more popular today than on the day he died", and "his comic vision has an absolutely secure place in the English literary imagination."
Honours and influence
The proposed nominations of Wodehouse for a knighthood in 1967 and 1971 were blocked for fear that such an award would "revive the controversy of his wartime behaviour and give currency to a Bertie Wooster image of the British character which the embassy was doing its best to eradicate". When Wodehouse was awarded the knighthood, only four years later, the journalist Dennis Barker wrote in The Guardian that the writer was "the solitary surviving English literary comic genius". After his death six weeks later, the journalist Michael Davie, writing in the same paper, observed that "Many people regarded ... [Wodehouse] as he regarded Beachcomber, as 'one, if not more than one, of England's greatest men'", while in the view of the obituarist for The Times Wodehouse "was a comic genius recognized in his lifetime as a classic and an old master of farce". In September 2019 Wodehouse was commemorated with a memorial stone in Westminster Abbey; the dedication was held two days after it was installed.
Since Wodehouse's death there have been numerous adaptations and dramatisations of his work on television and film; Wodehouse himself has been portrayed on radio and screen numerous times. There are several literary societies dedicated to Wodehouse. The P.G. Wodehouse Society (UK) was founded in 1997 and has over 1,000 members as at 2015. The president of the society as at 2017 is Alexander Armstrong; past presidents have included Terry Wogan and Richard Briers. There are also other groups of Wodehouse fans in Australia, Belgium, France, Finland, India, Italy, Russia, Sweden and the US. As at 2015 the Oxford English Dictionary contains over 1,750 quotations from Wodehouse, illustrating terms from crispish to zippiness. Voorhees, while acknowledging that Wodehouse's antecedents in literature range from Ben Jonson to Oscar Wilde, writes:
Notes, references and sources
Notes
References
Sources
External links
P. G. Wodehouse collection at One More Library
P.G. Wodehouse Archive on loan to the British Library
The Wodehouse Society
The P. G. Wodehouse Society (UK)
Transcripts of Wodehouse's Berlin Broadcasts
"P. G. Wodehouse: An English Master of American Slang" from The American Legion Weekly, 24 October 1919
Orwell, George "In Defence of P.G. Wodehouse"
1881 births
1975 deaths
20th-century English novelists
20th-century British dramatists and playwrights
British emigrants to the United States
English lyricists
Knights Commander of the Order of the British Empire
English male dramatists and playwrights
British male novelists
People educated at Dulwich College
People educated at Elizabeth College, Guernsey
People from Guildford
People from Long Island
PG
People interned during World War II
English humorists
20th-century American novelists
American dramatists and playwrights
American humorists
American lyricists
American male novelists
Novelists from New York (state)
Literature controversies
English broadcasters for Nazi Germany
20th-century American male writers | true | [
"Ruwida El-Hubti (born 16 April 1989) is an Olympic athlete from Libya. At the 2004 Summer Olympics, she competed in the Women's 400 metres. She finished last in her heat with a time of 1:03.57, almost 11 seconds slower than anyone else in the heat, and the slowest of anyone in the competition. However, she did set a national record.\n\nReferences\n\n1989 births\nLiving people\nOlympic athletes of Libya\nAthletes (track and field) at the 2004 Summer Olympics",
"ARIA Number 1 Hits in Symphony is the sixth studio album by Australian pop singer Anthony Callea. It features instrumentation by the Melbourne Symphony Orchestra. The album features a selection of tracks that have peaked at number 1 on the ARIA Charts. The album was announced in June 2017 and was released on 1 September 2017.\n\nUpon announcement, Callea said \"[These are] Songs that have not only been part of my musical landscape for the past 30 years but have resonated with so many of us – the ARIA charts don't lie.\"\n\nTour\nCallea will also perform a one-off show alongside the Melbourne Symphony Orchestra at Hamer Hall in Melbourne on 8 September 2017.\nCallea said: \"As a singer who craves the art of live performance, I could not think of anyone else I would want to collaborate with than the Melbourne Symphony Orchestra, not only for their grandiose live concert experience, but also a stunning recorded body of work. With one of the finest orchestras in the world conducted by my dear friend and album producer John Foreman and collaborating also with my own incredible band members, these iconic ARIA Number #1 hits will be presented in a way you have never experienced before.\"\n\nTrack listing\n\nCharts\n\nRelease history\n\nSee also\n List of number-one albums of 2017 (Australia)\n\nReferences\n\n2017 albums\nAnthony Callea albums\nCovers albums\nSony Music Australia albums\nMelbourne Symphony Orchestra albums"
] | [
"Sir Pelham Grenville Wodehouse, ( ; 15 October 188114 February 1975) was an English author and one of the most widely read humorists of the 20th century. His creations include the feather-brained Bertie Wooster and his sagacious valet, Jeeves; the immaculate and loquacious Psmith; Lord Emsworth and the Blandings Castle set; the Oldest Member, with stories about golf; and Mr Mulliner, with tall tales on subjects ranging from bibulous bishops to megalomaniac movie moguls.",
"His creations include the feather-brained Bertie Wooster and his sagacious valet, Jeeves; the immaculate and loquacious Psmith; Lord Emsworth and the Blandings Castle set; the Oldest Member, with stories about golf; and Mr Mulliner, with tall tales on subjects ranging from bibulous bishops to megalomaniac movie moguls. Born in Guildford, the third son of a British magistrate based in Hong Kong, Wodehouse spent happy teenage years at Dulwich College, to which he remained devoted all his life.",
"Born in Guildford, the third son of a British magistrate based in Hong Kong, Wodehouse spent happy teenage years at Dulwich College, to which he remained devoted all his life. After leaving school he was employed by a bank but disliked the work and turned to writing in his spare time.",
"After leaving school he was employed by a bank but disliked the work and turned to writing in his spare time. His early novels were mostly school stories, but he later switched to comic fiction.",
"His early novels were mostly school stories, but he later switched to comic fiction. Most of Wodehouse's fiction is set in his native United Kingdom, although he spent much of his life in the US and used New York and Hollywood as settings for some of his novels and short stories.",
"Most of Wodehouse's fiction is set in his native United Kingdom, although he spent much of his life in the US and used New York and Hollywood as settings for some of his novels and short stories. He wrote a series of Broadway musical comedies during and after the First World War, together with Guy Bolton and Jerome Kern, that played an important part in the development of the American musical.",
"He wrote a series of Broadway musical comedies during and after the First World War, together with Guy Bolton and Jerome Kern, that played an important part in the development of the American musical. He began the 1930s writing for MGM in Hollywood.",
"He began the 1930s writing for MGM in Hollywood. In a 1931 interview, his naive revelations of incompetence and extravagance in the studios caused a furore. In the same decade, his literary career reached a new peak.",
"In the same decade, his literary career reached a new peak. In 1934 Wodehouse moved to France for tax reasons; in 1940 he was taken prisoner at Le Touquet by the invading Germans and interned for nearly a year.",
"In 1934 Wodehouse moved to France for tax reasons; in 1940 he was taken prisoner at Le Touquet by the invading Germans and interned for nearly a year. After his release he made six broadcasts from German radio in Berlin to the US, which had not yet entered the war.",
"After his release he made six broadcasts from German radio in Berlin to the US, which had not yet entered the war. The talks were comic and apolitical, but his broadcasting over enemy radio prompted anger and strident controversy in Britain, and a threat of prosecution. Wodehouse never returned to England.",
"Wodehouse never returned to England. Wodehouse never returned to England. From 1947 until his death he lived in the US, taking dual British-American citizenship in 1955. He died in 1975, at the age of 93, in Southampton, New York.",
"He died in 1975, at the age of 93, in Southampton, New York. Wodehouse was a prolific writer throughout his life, publishing more than ninety books, forty plays, two hundred short stories and other writings between 1902 and 1974. He worked extensively on his books, sometimes having two or more in preparation simultaneously.",
"He worked extensively on his books, sometimes having two or more in preparation simultaneously. He would take up to two years to build a plot and write a scenario of about thirty thousand words. After the scenario was complete he would write the story.",
"After the scenario was complete he would write the story. Early in his career Wodehouse would produce a novel in about three months, but he slowed in old age to around six months.",
"Early in his career Wodehouse would produce a novel in about three months, but he slowed in old age to around six months. He used a mixture of Edwardian slang, quotations from and allusions to numerous poets, and several literary techniques to produce a prose style that has been compared to comic poetry and musical comedy.",
"He used a mixture of Edwardian slang, quotations from and allusions to numerous poets, and several literary techniques to produce a prose style that has been compared to comic poetry and musical comedy. Some critics of Wodehouse have considered his work flippant, but among his fans are former British prime ministers and many of his fellow writers.",
"Some critics of Wodehouse have considered his work flippant, but among his fans are former British prime ministers and many of his fellow writers. Life and career Early years Wodehouse was born in Guildford, Surrey, the third son of Henry Ernest Wodehouse (1845–1929), a magistrate resident in the British colony of Hong Kong, and his wife, Eleanor (1861–1941), daughter of the Rev John Bathurst Deane.",
"Life and career Early years Wodehouse was born in Guildford, Surrey, the third son of Henry Ernest Wodehouse (1845–1929), a magistrate resident in the British colony of Hong Kong, and his wife, Eleanor (1861–1941), daughter of the Rev John Bathurst Deane. The Wodehouses, who traced their ancestry back to the 13th century, belonged to a cadet branch of the family of the earls of Kimberley.",
"The Wodehouses, who traced their ancestry back to the 13th century, belonged to a cadet branch of the family of the earls of Kimberley. Eleanor Wodehouse was also of ancient aristocratic ancestry. She was visiting her sister in Guildford when Wodehouse was born there prematurely.",
"She was visiting her sister in Guildford when Wodehouse was born there prematurely. The boy was baptised at the Church of St Nicolas, Guildford, and was named after his godfather, Pelham von Donop.",
"The boy was baptised at the Church of St Nicolas, Guildford, and was named after his godfather, Pelham von Donop. Wodehouse wrote in 1957, \"If you ask me to tell you frankly if I like the name Pelham Grenville Wodehouse, I must confess that I do not....",
"Wodehouse wrote in 1957, \"If you ask me to tell you frankly if I like the name Pelham Grenville Wodehouse, I must confess that I do not.... I was named after a godfather, and not a thing to show for it but a small silver mug which I lost in 1897.\"",
"I was named after a godfather, and not a thing to show for it but a small silver mug which I lost in 1897.\" The first name was rapidly elided to \"Plum\", the name by which Wodehouse became known to family and friends.",
"The first name was rapidly elided to \"Plum\", the name by which Wodehouse became known to family and friends. Mother and son sailed for Hong Kong, where for his first two years Wodehouse was raised by a Chinese amah (nurse), alongside his elder brothers Peveril (1877–1951) and Armine (1879–1936).",
"Mother and son sailed for Hong Kong, where for his first two years Wodehouse was raised by a Chinese amah (nurse), alongside his elder brothers Peveril (1877–1951) and Armine (1879–1936). When he was two, the brothers were brought to England, where they were placed under the care of an English nanny in a house adjoining that of Eleanor's father and mother.",
"When he was two, the brothers were brought to England, where they were placed under the care of an English nanny in a house adjoining that of Eleanor's father and mother. The boys' parents returned to Hong Kong and became virtual strangers to their sons.",
"The boys' parents returned to Hong Kong and became virtual strangers to their sons. Such an arrangement was then normal for middle-class families based in the colonies.",
"Such an arrangement was then normal for middle-class families based in the colonies. The lack of parental contact, and the harsh regime of some of those in loco parentis, left permanent emotional scars on many children from similar backgrounds, including the writers Thackeray, Saki, Kipling and Walpole.",
"The lack of parental contact, and the harsh regime of some of those in loco parentis, left permanent emotional scars on many children from similar backgrounds, including the writers Thackeray, Saki, Kipling and Walpole. Wodehouse was more fortunate; his nanny, Emma Roper, was strict but not unkind, and both with her and later at his different schools Wodehouse had a generally happy childhood.",
"Wodehouse was more fortunate; his nanny, Emma Roper, was strict but not unkind, and both with her and later at his different schools Wodehouse had a generally happy childhood. His recollection was that \"it went like a breeze from start to finish, with everybody I met understanding me perfectly\".",
"His recollection was that \"it went like a breeze from start to finish, with everybody I met understanding me perfectly\". The biographer Robert McCrum suggests that nonetheless Wodehouse's isolation from his parents left a psychological mark, causing him to avoid emotional engagement both in life and in his works.",
"The biographer Robert McCrum suggests that nonetheless Wodehouse's isolation from his parents left a psychological mark, causing him to avoid emotional engagement both in life and in his works. Another biographer, Frances Donaldson, writes, \"Deprived so early, not merely of maternal love, but of home life and even a stable background, Wodehouse consoled himself from the youngest age in an imaginary world of his own.\"",
"Another biographer, Frances Donaldson, writes, \"Deprived so early, not merely of maternal love, but of home life and even a stable background, Wodehouse consoled himself from the youngest age in an imaginary world of his own.\" In 1886 the brothers were sent to a dame-school in Croydon, where they spent three years.",
"In 1886 the brothers were sent to a dame-school in Croydon, where they spent three years. Peveril was then found to have a \"weak chest\"; sea air was prescribed, and the three boys were moved to Elizabeth College on the island of Guernsey.",
"Peveril was then found to have a \"weak chest\"; sea air was prescribed, and the three boys were moved to Elizabeth College on the island of Guernsey. In 1891 Wodehouse went on to Malvern House Preparatory School in Kent, which concentrated on preparing its pupils for entry to the Royal Navy.",
"In 1891 Wodehouse went on to Malvern House Preparatory School in Kent, which concentrated on preparing its pupils for entry to the Royal Navy. His father had planned a naval career for him, but the boy's eyesight was found to be too poor for it.",
"His father had planned a naval career for him, but the boy's eyesight was found to be too poor for it. He was unimpressed by the school's narrow curriculum and zealous discipline; he later parodied it in his novels, with Bertie Wooster recalling his early years as a pupil at a \"penitentiary... with the outward guise of a prep school\" called Malvern House.",
"He was unimpressed by the school's narrow curriculum and zealous discipline; he later parodied it in his novels, with Bertie Wooster recalling his early years as a pupil at a \"penitentiary... with the outward guise of a prep school\" called Malvern House. Throughout their school years the brothers were sent to stay during the holidays with various uncles and aunts from both sides of the family.",
"Throughout their school years the brothers were sent to stay during the holidays with various uncles and aunts from both sides of the family. In the Oxford Dictionary of National Biography, Iain Sproat counts twenty aunts and considers that they played an important part not only in Wodehouse's early life, but, thinly disguised, in his mature novels, as the formidable aunts who dominate the action in the Wooster, Blandings, and other stories.",
"In the Oxford Dictionary of National Biography, Iain Sproat counts twenty aunts and considers that they played an important part not only in Wodehouse's early life, but, thinly disguised, in his mature novels, as the formidable aunts who dominate the action in the Wooster, Blandings, and other stories. The boys had fifteen uncles, four of whom were clergymen.",
"The boys had fifteen uncles, four of whom were clergymen. Sproat writes that they inspired Wodehouse's \"pious but fallible curates, vicars, and bishops, of which he wrote with friendly irreverence but without mockery\".",
"Sproat writes that they inspired Wodehouse's \"pious but fallible curates, vicars, and bishops, of which he wrote with friendly irreverence but without mockery\". At the age of twelve in 1894, to his great joy, Wodehouse was able to follow his brother Armine to Dulwich College.",
"At the age of twelve in 1894, to his great joy, Wodehouse was able to follow his brother Armine to Dulwich College. He was entirely at home there; Donaldson comments that Dulwich gave him, for the first time, \"some continuity and a stable and ordered life\".",
"He was entirely at home there; Donaldson comments that Dulwich gave him, for the first time, \"some continuity and a stable and ordered life\". He loved the camaraderie, distinguished himself at cricket, rugby and boxing, and was a good, if not consistently diligent, student.",
"He loved the camaraderie, distinguished himself at cricket, rugby and boxing, and was a good, if not consistently diligent, student. The headmaster at the time was A. H. Gilkes, a respected classicist, who was a strong influence on Wodehouse.",
"The headmaster at the time was A. H. Gilkes, a respected classicist, who was a strong influence on Wodehouse. In a study of Wodehouse's works, Richard Usborne argues that \"only a writer who was himself a scholar and had had his face ground into Latin and Greek (especially Thucydides) as a boy\" could sustain the complex sequences of subordinate clauses sometimes found in Wodehouse's comic prose.",
"In a study of Wodehouse's works, Richard Usborne argues that \"only a writer who was himself a scholar and had had his face ground into Latin and Greek (especially Thucydides) as a boy\" could sustain the complex sequences of subordinate clauses sometimes found in Wodehouse's comic prose. Wodehouse's six years at Dulwich were among the happiest of his life: \"To me the years between 1894 and 1900 were like heaven.\"",
"Wodehouse's six years at Dulwich were among the happiest of his life: \"To me the years between 1894 and 1900 were like heaven.\" In addition to his sporting achievements he was a good singer and enjoyed taking part in school concerts; his literary leanings found an outlet in editing the school magazine, The Alleynian.",
"In addition to his sporting achievements he was a good singer and enjoyed taking part in school concerts; his literary leanings found an outlet in editing the school magazine, The Alleynian. For the rest of his life he remained devoted to the school.",
"For the rest of his life he remained devoted to the school. The biographer Barry Phelps writes that Wodehouse \"loved the college as much as he loved anything or anybody\".",
"The biographer Barry Phelps writes that Wodehouse \"loved the college as much as he loved anything or anybody\". Reluctant banker; budding writer: 1900–1908 Wodehouse expected to follow Armine to the University of Oxford, but the family's finances took a turn for the worse at the crucial moment.",
"Reluctant banker; budding writer: 1900–1908 Wodehouse expected to follow Armine to the University of Oxford, but the family's finances took a turn for the worse at the crucial moment. Ernest Wodehouse had retired in 1895, and his pension was paid in rupees; fluctuation against the pound reduced its value in Britain.",
"Ernest Wodehouse had retired in 1895, and his pension was paid in rupees; fluctuation against the pound reduced its value in Britain. Wodehouse recalled, \"The wolf was not actually whining at the door and there was always a little something in the kitty for the butcher and the grocer, but the finances would not run to anything in the nature of a splash\".",
"Wodehouse recalled, \"The wolf was not actually whining at the door and there was always a little something in the kitty for the butcher and the grocer, but the finances would not run to anything in the nature of a splash\". Instead of a university career, in September 1900 Wodehouse was engaged in a junior position in the London office of the Hongkong and Shanghai Bank.",
"Instead of a university career, in September 1900 Wodehouse was engaged in a junior position in the London office of the Hongkong and Shanghai Bank. He was unsuited to it and found the work baffling and uncongenial.",
"He was unsuited to it and found the work baffling and uncongenial. He later wrote a humorous account of his experiences at the bank, but at the time he longed for the end of each working day, when he could return to his rented lodgings in Chelsea and write.",
"He later wrote a humorous account of his experiences at the bank, but at the time he longed for the end of each working day, when he could return to his rented lodgings in Chelsea and write. At first he concentrated, with some success, on serious articles about school sports for Public School Magazine.",
"At first he concentrated, with some success, on serious articles about school sports for Public School Magazine. In November 1900 his first comic piece, \"Men Who Missed Their Own Weddings\", was accepted by Tit-Bits.",
"In November 1900 his first comic piece, \"Men Who Missed Their Own Weddings\", was accepted by Tit-Bits. A new magazine for boys, The Captain, provided further well-paid opportunities, and during his two years at the bank, Wodehouse had eighty pieces published in a total of nine magazines.",
"A new magazine for boys, The Captain, provided further well-paid opportunities, and during his two years at the bank, Wodehouse had eighty pieces published in a total of nine magazines. In 1901, with the help of a former Dulwich master, William Beach Thomas, Wodehouse secured an appointment—at first temporary and later permanent—writing for The Globes popular \"By the Way\" column.",
"In 1901, with the help of a former Dulwich master, William Beach Thomas, Wodehouse secured an appointment—at first temporary and later permanent—writing for The Globes popular \"By the Way\" column. He held the post until 1909.",
"He held the post until 1909. At around the same time his first novel was published—a school story called The Pothunters, serialised incomplete in Public School Magazine in early 1902, and issued in full in hardback in September. He resigned from the bank that month to devote himself to writing full-time.",
"He resigned from the bank that month to devote himself to writing full-time. Between the publication of The Pothunters 1902 and that of Mike in 1909, Wodehouse wrote eight novels and co-wrote another two.",
"Between the publication of The Pothunters 1902 and that of Mike in 1909, Wodehouse wrote eight novels and co-wrote another two. The critic R. D. B. French writes that, of Wodehouse's work from this period, almost all that deserves to survive is the school fiction.",
"The critic R. D. B. French writes that, of Wodehouse's work from this period, almost all that deserves to survive is the school fiction. Looking back in the 1950s Wodehouse viewed these as his apprentice years: \"I was practically in swaddling clothes and it is extremely creditable to me that I was able to write at all.\"",
"Looking back in the 1950s Wodehouse viewed these as his apprentice years: \"I was practically in swaddling clothes and it is extremely creditable to me that I was able to write at all.\" From his boyhood Wodehouse had been fascinated by America, which he conceived of as \"a land of romance\"; he \"yearned\" to visit the country, and by 1904 he had earned enough to do so.",
"From his boyhood Wodehouse had been fascinated by America, which he conceived of as \"a land of romance\"; he \"yearned\" to visit the country, and by 1904 he had earned enough to do so. In April he sailed to New York, which he found greatly to his liking.",
"In April he sailed to New York, which he found greatly to his liking. He noted in his diary: \"In New York gathering experience. Worth many guineas in the future but none for the moment.\"",
"Worth many guineas in the future but none for the moment.\" This prediction proved correct: few British writers had first-hand experience of the US, and his articles about life in New York brought him higher than usual fees.",
"This prediction proved correct: few British writers had first-hand experience of the US, and his articles about life in New York brought him higher than usual fees. He later recalled that \"in 1904 anyone in the London writing world who had been to America was regarded with awe and looked upon as an authority on that terra incognita.... After that trip to New York I was a man who counted.... My income rose like a rocketing pheasant.\"",
"He later recalled that \"in 1904 anyone in the London writing world who had been to America was regarded with awe and looked upon as an authority on that terra incognita.... After that trip to New York I was a man who counted.... My income rose like a rocketing pheasant.\" Wodehouse's other new venture in 1904 was writing for the stage.",
"Wodehouse's other new venture in 1904 was writing for the stage. Towards the end of the year the librettist Owen Hall invited him to contribute an additional lyric for a musical comedy Sergeant Brue. Wodehouse had loved theatre since his first visit, aged thirteen, when Gilbert and Sullivan's Patience had made him \"drunk with ecstasy\".",
"Wodehouse had loved theatre since his first visit, aged thirteen, when Gilbert and Sullivan's Patience had made him \"drunk with ecstasy\". His lyric for Hall, \"Put Me in My Little Cell\", was a Gilbertian number for a trio of comic crooks, with music by Frederick Rosse; it was well received and launched Wodehouse on a career as a theatre writer that spanned three decades.",
"His lyric for Hall, \"Put Me in My Little Cell\", was a Gilbertian number for a trio of comic crooks, with music by Frederick Rosse; it was well received and launched Wodehouse on a career as a theatre writer that spanned three decades. Although it made little impact on its first publication, the 1906 novel Love Among the Chickens contained what French calls the author's first original comic creation: Stanley Featherstonehaugh Ukridge.",
"Although it made little impact on its first publication, the 1906 novel Love Among the Chickens contained what French calls the author's first original comic creation: Stanley Featherstonehaugh Ukridge. The character, an amoral, bungling opportunist, is partly based on Wodehouse's Globe colleague Herbert Westbrook.",
"The character, an amoral, bungling opportunist, is partly based on Wodehouse's Globe colleague Herbert Westbrook. The two collaborated between 1907 and 1913 on two books, two music hall sketches, and a play, Brother Alfred. Wodehouse would return to the character in short stories over the next six decades.",
"Wodehouse would return to the character in short stories over the next six decades. In early 1906 the actor-manager Seymour Hicks invited Wodehouse to become resident lyricist at the Aldwych Theatre, to add topical verses to newly imported or long-running shows. Hicks had already recruited the young Jerome Kern to write the music for such songs.",
"Hicks had already recruited the young Jerome Kern to write the music for such songs. The first Kern-Wodehouse collaboration, a comic number for The Beauty of Bath titled \"Mr [Joseph] Chamberlain\", was a show-stopper and was briefly the most popular song in London.",
"The first Kern-Wodehouse collaboration, a comic number for The Beauty of Bath titled \"Mr [Joseph] Chamberlain\", was a show-stopper and was briefly the most popular song in London. Psmith, Blandings, Wooster and Jeeves: 1908–1915 Wodehouse's early period as a writer came to an end in 1908 with the serialisation of The Lost Lambs, published the following year in book form as the second half of the novel Mike.",
"Psmith, Blandings, Wooster and Jeeves: 1908–1915 Wodehouse's early period as a writer came to an end in 1908 with the serialisation of The Lost Lambs, published the following year in book form as the second half of the novel Mike. The work begins as a conventional school story, but Wodehouse introduces a new and strikingly original character, Psmith, whose creation both Evelyn Waugh and George Orwell regarded as a watershed in Wodehouse's development.",
"The work begins as a conventional school story, but Wodehouse introduces a new and strikingly original character, Psmith, whose creation both Evelyn Waugh and George Orwell regarded as a watershed in Wodehouse's development. Wodehouse said that he based Psmith on the hotelier and impresario Rupert D'Oyly Carte—\"the only thing in my literary career which was handed to me on a silver plate with watercress around it\".",
"Wodehouse said that he based Psmith on the hotelier and impresario Rupert D'Oyly Carte—\"the only thing in my literary career which was handed to me on a silver plate with watercress around it\". Wodehouse wrote in the 1970s that a cousin of his who had been at school with Carte told him of the latter's monocle, studied suavity, and stateliness of speech, all of which Wodehouse adopted for his new character.",
"Wodehouse wrote in the 1970s that a cousin of his who had been at school with Carte told him of the latter's monocle, studied suavity, and stateliness of speech, all of which Wodehouse adopted for his new character. Psmith featured in three more novels: Psmith in the City (1910), a burlesque of banking; Psmith, Journalist (1915) set in New York; and Leave It to Psmith (1923), set at Blandings Castle.",
"Psmith featured in three more novels: Psmith in the City (1910), a burlesque of banking; Psmith, Journalist (1915) set in New York; and Leave It to Psmith (1923), set at Blandings Castle. In May 1909 Wodehouse made his second visit to New York, where he sold two short stories to Cosmopolitan and Collier's for a total of $500, a much higher fee than he had commanded previously.",
"In May 1909 Wodehouse made his second visit to New York, where he sold two short stories to Cosmopolitan and Collier's for a total of $500, a much higher fee than he had commanded previously. He resigned from The Globe and stayed in New York for nearly a year.",
"He resigned from The Globe and stayed in New York for nearly a year. He sold many more stories, but none of the American publications offered a permanent relationship and guaranteed income. Wodehouse returned to England in late 1910, rejoining The Globe and also contributing regularly to The Strand Magazine.",
"Wodehouse returned to England in late 1910, rejoining The Globe and also contributing regularly to The Strand Magazine. Between then and the outbreak of the First World War in 1914 he revisited America frequently. Wodehouse was in New York when the war began.",
"Wodehouse was in New York when the war began. Ineligible for military service because of his poor eyesight, he remained in the US throughout the war, detached from the conflict in Europe and absorbed in his theatrical and literary concerns. In September 1914 he married Ethel May Wayman, née Newton (1885–1984), an English widow.",
"In September 1914 he married Ethel May Wayman, née Newton (1885–1984), an English widow. The marriage proved happy and lifelong. Ethel's personality was in contrast with her husband's: he was shy and impractical; she was gregarious, decisive and well organised.",
"Ethel's personality was in contrast with her husband's: he was shy and impractical; she was gregarious, decisive and well organised. In Sproat's phrase, she \"took charge of Wodehouse's life and made certain that he had the peace and quiet he needed to write\".",
"In Sproat's phrase, she \"took charge of Wodehouse's life and made certain that he had the peace and quiet he needed to write\". There were no children of the marriage, but Wodehouse came to love Ethel's daughter Leonora (1905–1944) and legally adopted her.",
"There were no children of the marriage, but Wodehouse came to love Ethel's daughter Leonora (1905–1944) and legally adopted her. Wodehouse experimented with different genres of fiction in these years; Psmith, Journalist, mixing comedy with social comment on slum landlords and racketeers, was published in 1915.",
"Wodehouse experimented with different genres of fiction in these years; Psmith, Journalist, mixing comedy with social comment on slum landlords and racketeers, was published in 1915. In the same year The Saturday Evening Post paid $3,500 to serialise Something New, the first of what became a series of novels set at Blandings Castle.",
"In the same year The Saturday Evening Post paid $3,500 to serialise Something New, the first of what became a series of novels set at Blandings Castle. It was published in hardback in the US and the UK in the same year (the British edition being retitled Something Fresh).",
"It was published in hardback in the US and the UK in the same year (the British edition being retitled Something Fresh). It was Wodehouse's first farcical novel; it was also his first best-seller, and although his later books included some gentler, lightly sentimental stories, it was as a farceur that he became known.",
"It was Wodehouse's first farcical novel; it was also his first best-seller, and although his later books included some gentler, lightly sentimental stories, it was as a farceur that he became known. Later in the same year \"Extricating Young Gussie\", the first story about Bertie and Jeeves, was published.",
"Later in the same year \"Extricating Young Gussie\", the first story about Bertie and Jeeves, was published. These stories introduced two sets of characters about whom Wodehouse wrote for the rest of his life.",
"These stories introduced two sets of characters about whom Wodehouse wrote for the rest of his life. The Blandings Castle stories, set in an English stately home, depict the attempts of the placid Lord Emsworth to evade the many distractions around him, which include successive pairs of young lovers, the machinations of his exuberant brother Galahad, the demands of his domineering sisters and super-efficient secretaries, and anything detrimental to his prize sow, the Empress of Blandings.",
"The Blandings Castle stories, set in an English stately home, depict the attempts of the placid Lord Emsworth to evade the many distractions around him, which include successive pairs of young lovers, the machinations of his exuberant brother Galahad, the demands of his domineering sisters and super-efficient secretaries, and anything detrimental to his prize sow, the Empress of Blandings. The Bertie and Jeeves stories feature an amiable young man-about-town, regularly rescued from the consequences of his idiocy by the benign interference of his valet.",
"The Bertie and Jeeves stories feature an amiable young man-about-town, regularly rescued from the consequences of his idiocy by the benign interference of his valet. Broadway: 1915–1919 A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator.",
"Broadway: 1915–1919 A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator. Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York.",
"Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York. The show was successful, but they thought the song lyrics weak and invited Wodehouse to join them on its successor. This was Miss Springtime (1916), which ran for 227 performances—a good run by the standards of the day.",
"This was Miss Springtime (1916), which ran for 227 performances—a good run by the standards of the day. The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917–18) and Oh, Lady! Lady!!",
"Lady!! Lady!! (1918), and Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin.",
"In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin. Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies.",
"Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies. Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do.",
"Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do. Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical.",
"Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical. In the Grove Dictionary of American Music Larry Stempel writes, \"By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy.\"",
"In the Grove Dictionary of American Music Larry Stempel writes, \"By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy.\" The theatre writer Gerald Bordman calls Wodehouse \"the most observant, literate, and witty lyricist of his day\".",
"The theatre writer Gerald Bordman calls Wodehouse \"the most observant, literate, and witty lyricist of his day\". The composer Richard Rodgers wrote, \"Before Larry Hart, only P.G. Wodehouse had made any real assault on the intelligence of the song-listening public.\"",
"Wodehouse had made any real assault on the intelligence of the song-listening public.\" 1920s In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones.",
"1920s In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones. Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest.",
"Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest. Various other young men-about-town appeared in short stories about members of the Drones Club.",
"Various other young men-about-town appeared in short stories about members of the Drones Club. The Wodehouses returned to England, where they had a house in London for some years, but Wodehouse continued to cross the Atlantic frequently, spending substantial periods in New York. He continued to work in the theatre.",
"He continued to work in the theatre. During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York).",
"During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York). He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnár, and A Damsel in Distress (1928), a dramatisation of his 1919 novel.",
"He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnár, and A Damsel in Distress (1928), a dramatisation of his 1919 novel. Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods.",
"Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods. Donaldson lists among those with whom he was on friendly terms writers including A. A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith Jr., Heather Thatcher and Dorothy Dickson.",
"A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith Jr., Heather Thatcher and Dorothy Dickson. Hollywood: 1929–1931 There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name.",
"Hollywood: 1929–1931 There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name. Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM).",
"Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM). Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week.",
"Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week. This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929.",
"This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929. The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories.",
"The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories. He commented, \"It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary.\"",
"He commented, \"It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary.\" Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used.",
"Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used. In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was \"as close to a success as Wodehouse was to have at MGM.",
"In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was \"as close to a success as Wodehouse was to have at MGM. His only other credits were minimal, and the other projects he worked on were not produced.\"",
"His only other credits were minimal, and the other projects he worked on were not produced.\" Wodehouse's contract ended after a year and was not renewed. At MGM's request, he gave an interview to The Los Angeles Times.",
"At MGM's request, he gave an interview to The Los Angeles Times. Wodehouse was described by Herbert Warren Wind as \"politically naive [and] fundamentally unworldly\", and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent.",
"Wodehouse was described by Herbert Warren Wind as \"politically naive [and] fundamentally unworldly\", and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent. The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry.",
"The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry. Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been \"a storm in a teacup\", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable.",
"Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been \"a storm in a teacup\", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable. Wind's view of Wodehouse's naïveté is not universally held.",
"Wind's view of Wodehouse's naïveté is not universally held. Biographers including Donaldson, McCrum and Phelps suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute.",
"Biographers including Donaldson, McCrum and Phelps suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute. He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire.",
"He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire. Best-seller: 1930s During the 1930s Wodehouse's theatrical work tailed off.",
"Best-seller: 1930s During the 1930s Wodehouse's theatrical work tailed off. He wrote or adapted four plays for the West End; Leave it to Psmith (1930), which he adapted in collaboration with Ian Hay, was the only one to have a long run.",
"He wrote or adapted four plays for the West End; Leave it to Psmith (1930), which he adapted in collaboration with Ian Hay, was the only one to have a long run. The reviewer in The Manchester Guardian praised the play, but commented: \"It is Mr Wodehouse's own inimitable narrative comments and descriptions in his own person of the antics of his puppets that one misses.",
"The reviewer in The Manchester Guardian praised the play, but commented: \"It is Mr Wodehouse's own inimitable narrative comments and descriptions in his own person of the antics of his puppets that one misses. They cannot be got into a play and they are at least half the fun of the novels.\"",
"They cannot be got into a play and they are at least half the fun of the novels.\" In 1934 Wodehouse collaborated with Bolton on the book for Cole Porter's Anything Goes (Porter wrote his own lyrics), but at the last minute their version was almost entirely rewritten by others at the instigation of the producer, who disliked the original script.",
"In 1934 Wodehouse collaborated with Bolton on the book for Cole Porter's Anything Goes (Porter wrote his own lyrics), but at the last minute their version was almost entirely rewritten by others at the instigation of the producer, who disliked the original script. Concentrating on writing novels and short stories, Wodehouse reached the peak of his productivity in this decade, averaging two books each year, and grossing an annual £100,000.",
"Concentrating on writing novels and short stories, Wodehouse reached the peak of his productivity in this decade, averaging two books each year, and grossing an annual £100,000. His practice of dividing his time between Britain and America caused Wodehouse difficulties with the tax authorities of both countries.",
"His practice of dividing his time between Britain and America caused Wodehouse difficulties with the tax authorities of both countries. Both the UK Inland Revenue and the US Internal Revenue Service sought to tax him as a resident.",
"Both the UK Inland Revenue and the US Internal Revenue Service sought to tax him as a resident. The matter was settled after lengthy negotiations, but the Wodehouses decided to change their residential status beyond doubt by moving to France, where they bought a house near Le Touquet in the north.",
"The matter was settled after lengthy negotiations, but the Wodehouses decided to change their residential status beyond doubt by moving to France, where they bought a house near Le Touquet in the north. In 1935 Wodehouse created the last of his regular cast of principal characters, Lord Ickenham, otherwise known as Uncle Fred, who, in Usborne's words, \"leads the dance in four novels and a short story... a whirring dynamo of misrule\".",
"In 1935 Wodehouse created the last of his regular cast of principal characters, Lord Ickenham, otherwise known as Uncle Fred, who, in Usborne's words, \"leads the dance in four novels and a short story... a whirring dynamo of misrule\". His other books from the decade include Right Ho, Jeeves, which Donaldson judged his best work, Uncle Fred in the Springtime, which the writer Bernard Levin considered the best, and Blandings Castle, which contains \"Lord Emsworth and the Girl Friend\", which Rudyard Kipling thought \"one of the most perfect short stories I have ever read\".",
"His other books from the decade include Right Ho, Jeeves, which Donaldson judged his best work, Uncle Fred in the Springtime, which the writer Bernard Levin considered the best, and Blandings Castle, which contains \"Lord Emsworth and the Girl Friend\", which Rudyard Kipling thought \"one of the most perfect short stories I have ever read\". Other leading literary figures who admired Wodehouse were A. E. Housman, Max Beerbohm and Hilaire Belloc; on the radio and in print Belloc called Wodehouse \"the best writer of our time: the best living writer of English... the head of my profession\".",
"Other leading literary figures who admired Wodehouse were A. E. Housman, Max Beerbohm and Hilaire Belloc; on the radio and in print Belloc called Wodehouse \"the best writer of our time: the best living writer of English... the head of my profession\". Wodehouse regarded Belloc's plaudit as \"a gag, to get a rise out of serious-minded authors whom he disliked\".",
"Wodehouse regarded Belloc's plaudit as \"a gag, to get a rise out of serious-minded authors whom he disliked\". Wodehouse was never sure that his books had literary merit as well as popular appeal, and, Donaldson suggests, must have been overwhelmed when the University of Oxford conferred an honorary doctorate of letters on him in June 1939.",
"Wodehouse was never sure that his books had literary merit as well as popular appeal, and, Donaldson suggests, must have been overwhelmed when the University of Oxford conferred an honorary doctorate of letters on him in June 1939. His visit to England for the awarding ceremony was the last time he set foot in his native land.",
"His visit to England for the awarding ceremony was the last time he set foot in his native land. Second World War: internment and broadcasts At the start of the Second World War Wodehouse and his wife remained at their Le Touquet house, where, during the Phoney War, he worked on Joy in the Morning.",
"Second World War: internment and broadcasts At the start of the Second World War Wodehouse and his wife remained at their Le Touquet house, where, during the Phoney War, he worked on Joy in the Morning. With the advance of the Germans, the nearby Royal Air Force base withdrew; Wodehouse was offered the sole spare seat in one of the fighter aircraft, but he turned down the opportunity as it would have meant leaving behind Ethel and their dog.",
"With the advance of the Germans, the nearby Royal Air Force base withdrew; Wodehouse was offered the sole spare seat in one of the fighter aircraft, but he turned down the opportunity as it would have meant leaving behind Ethel and their dog. On 21 May 1940, with German troops advancing through northern France, the Wodehouses decided to drive to Portugal and fly from there to the US.",
"On 21 May 1940, with German troops advancing through northern France, the Wodehouses decided to drive to Portugal and fly from there to the US. Two miles from home their car broke down, so they returned and borrowed a car from a neighbour; with the routes blocked with refugees, they returned home again.",
"Two miles from home their car broke down, so they returned and borrowed a car from a neighbour; with the routes blocked with refugees, they returned home again. The Germans occupied Le Touquet on 22 May 1940 and Wodehouse had to report to the authorities daily.",
"The Germans occupied Le Touquet on 22 May 1940 and Wodehouse had to report to the authorities daily. After two months of occupation the Germans interned all male enemy nationals under 60, and Wodehouse was sent to a former prison in Loos, a suburb of Lille, on 21 July; Ethel remained in Le Touquet.",
"After two months of occupation the Germans interned all male enemy nationals under 60, and Wodehouse was sent to a former prison in Loos, a suburb of Lille, on 21 July; Ethel remained in Le Touquet. The internees were placed four to a cell, each of which had been designed for one man.",
"The internees were placed four to a cell, each of which had been designed for one man. One bed was available per cell, which was made available to the eldest man—not Wodehouse, who slept on the granite floor.",
"One bed was available per cell, which was made available to the eldest man—not Wodehouse, who slept on the granite floor. The prisoners were not kept long in Loos before they were transported in cattle trucks to a former barracks in Liège, Belgium, which was run as a prison by the SS.",
"The prisoners were not kept long in Loos before they were transported in cattle trucks to a former barracks in Liège, Belgium, which was run as a prison by the SS. After a week the men were transferred to Huy in Liège, where they were incarcerated in the local citadel.",
"After a week the men were transferred to Huy in Liège, where they were incarcerated in the local citadel. They remained there until September 1940, when they were transported to Tost in Upper Silesia (then Germany, now Toszek in Poland).",
"They remained there until September 1940, when they were transported to Tost in Upper Silesia (then Germany, now Toszek in Poland). Wodehouse's family and friends had not had any news of his location after the fall of France, but an article from an Associated Press reporter who had visited Tost in December 1940 led to pressure on the German authorities to release the novelist.",
"Wodehouse's family and friends had not had any news of his location after the fall of France, but an article from an Associated Press reporter who had visited Tost in December 1940 led to pressure on the German authorities to release the novelist. This included a petition from influential people in the US; Senator W. Warren Barbour presented it to the German ambassador.",
"This included a petition from influential people in the US; Senator W. Warren Barbour presented it to the German ambassador. Although his captors refused to release him, Wodehouse was provided with a typewriter and, to pass the time, he wrote Money in the Bank.",
"Although his captors refused to release him, Wodehouse was provided with a typewriter and, to pass the time, he wrote Money in the Bank. Throughout his time in Tost, he sent postcards to his US literary agent asking for $5 to be sent to various people in Canada, mentioning his name.",
"Throughout his time in Tost, he sent postcards to his US literary agent asking for $5 to be sent to various people in Canada, mentioning his name. These were the families of Canadian prisoners of war, and the news from Wodehouse was the first indication that their sons were alive and well.",
"These were the families of Canadian prisoners of war, and the news from Wodehouse was the first indication that their sons were alive and well. Wodehouse risked severe punishment for the communication, but managed to evade the German censor.",
"Wodehouse risked severe punishment for the communication, but managed to evade the German censor. On 21 June 1941, while he was in the middle of playing a game of cricket, Wodehouse received a visit from two members of the Gestapo.",
"On 21 June 1941, while he was in the middle of playing a game of cricket, Wodehouse received a visit from two members of the Gestapo. He was given ten minutes to pack his things before he was taken to the Hotel Adlon, a top luxury hotel in Berlin.",
"He was given ten minutes to pack his things before he was taken to the Hotel Adlon, a top luxury hotel in Berlin. He stayed there at his own expense; royalties from the German editions of his books had been put into a special frozen bank account at the outset of the war, and Wodehouse was permitted to draw upon this money he had earned while staying in Berlin.",
"He stayed there at his own expense; royalties from the German editions of his books had been put into a special frozen bank account at the outset of the war, and Wodehouse was permitted to draw upon this money he had earned while staying in Berlin. He was thus released from internment a few months before his sixtieth birthday—the age at which civilian internees were released by the Nazis.",
"He was thus released from internment a few months before his sixtieth birthday—the age at which civilian internees were released by the Nazis. Shortly afterwards Wodehouse was, in the words of Phelps, \"cleverly trapped\" into making five broadcasts to the US via German radio, with the Berlin-based correspondent of the Columbia Broadcasting System.",
"Shortly afterwards Wodehouse was, in the words of Phelps, \"cleverly trapped\" into making five broadcasts to the US via German radio, with the Berlin-based correspondent of the Columbia Broadcasting System. The broadcasts—aired on 28 June, 9, 23 and 30 July and 6 August—were titled How to be an Internee Without Previous Training, and comprised humorous anecdotes about Wodehouse's experiences as a prisoner, including some gentle mocking of his captors.",
"The broadcasts—aired on 28 June, 9, 23 and 30 July and 6 August—were titled How to be an Internee Without Previous Training, and comprised humorous anecdotes about Wodehouse's experiences as a prisoner, including some gentle mocking of his captors. The German propaganda ministry arranged for the recordings to be broadcast to Britain in August.",
"The German propaganda ministry arranged for the recordings to be broadcast to Britain in August. The day after Wodehouse recorded his final programme, Ethel joined him in Berlin, having sold most of her jewellery to pay for the journey.",
"The day after Wodehouse recorded his final programme, Ethel joined him in Berlin, having sold most of her jewellery to pay for the journey. Aftermath: reactions and investigation The reaction in Britain to Wodehouse's broadcasts was hostile, and he was \"reviled ... as a traitor, collaborator, Nazi propagandist, and a coward\", although, Phelps observes, many of those who decried his actions had not heard the content of the programmes.",
"Aftermath: reactions and investigation The reaction in Britain to Wodehouse's broadcasts was hostile, and he was \"reviled ... as a traitor, collaborator, Nazi propagandist, and a coward\", although, Phelps observes, many of those who decried his actions had not heard the content of the programmes. A front-page article in The Daily Mirror stated that Wodehouse \"lived luxuriously because Britain laughed with him, but when the laughter was out of his country's heart, ... [he] was not ready to share her suffering.",
"A front-page article in The Daily Mirror stated that Wodehouse \"lived luxuriously because Britain laughed with him, but when the laughter was out of his country's heart, ... [he] was not ready to share her suffering. He hadn't the guts ... even to stick it out in the internment camp.\"",
"He hadn't the guts ... even to stick it out in the internment camp.\" In the House of Commons Anthony Eden, the Foreign Secretary, regretted Wodehouse's actions. Several libraries removed Wodehouse novels from their shelves.",
"Several libraries removed Wodehouse novels from their shelves. On 15 July the journalist William Connor, under his pen name Cassandra, broadcast a postscript to the news programme railing against Wodehouse. According to The Times, the broadcast \"provoked a storm of complaint ... from listeners all over the country\".",
"According to The Times, the broadcast \"provoked a storm of complaint ... from listeners all over the country\". Wodehouse's biographer, Joseph Connolly, thinks the broadcast \"inaccurate, spiteful and slanderous\"; Phelps calls it \"probably the most vituperative attack on an individual ever heard on British radio\".",
"Wodehouse's biographer, Joseph Connolly, thinks the broadcast \"inaccurate, spiteful and slanderous\"; Phelps calls it \"probably the most vituperative attack on an individual ever heard on British radio\". The broadcast was made at the direct instruction of Duff Cooper, the Minister of Information, who overruled strong protests made by the BBC against the decision to air the programme.",
"The broadcast was made at the direct instruction of Duff Cooper, the Minister of Information, who overruled strong protests made by the BBC against the decision to air the programme. Numerous letters appeared in the British press, both supporting and criticising Wodehouse.",
"Numerous letters appeared in the British press, both supporting and criticising Wodehouse. The letters page of The Daily Telegraph became a focus for censuring Wodehouse, including one from Wodehouse's friend, ; a reply from their fellow author Compton Mackenzie in defence of Wodehouse was not published because the editor claimed a lack of space.",
"The letters page of The Daily Telegraph became a focus for censuring Wodehouse, including one from Wodehouse's friend, ; a reply from their fellow author Compton Mackenzie in defence of Wodehouse was not published because the editor claimed a lack of space. Most of those defending Wodehouse against accusations of disloyalty, including Sax Rohmer, Dorothy L. Sayers and Gilbert Frankau, conceded that he had acted stupidly.",
"Most of those defending Wodehouse against accusations of disloyalty, including Sax Rohmer, Dorothy L. Sayers and Gilbert Frankau, conceded that he had acted stupidly. Some members of the public wrote to the newspapers to say that the full facts were not yet known and a fair judgment could not be made until they were.",
"Some members of the public wrote to the newspapers to say that the full facts were not yet known and a fair judgment could not be made until they were. The management of the BBC, who considered Wodehouse's actions no worse than \"ill advised\", pointed out to Cooper that there was no evidence at that point whether Wodehouse had acted voluntarily or under compulsion.",
"The management of the BBC, who considered Wodehouse's actions no worse than \"ill advised\", pointed out to Cooper that there was no evidence at that point whether Wodehouse had acted voluntarily or under compulsion. When Wodehouse heard of the furore the broadcasts had caused, he contacted the Foreign Office—through the Swiss embassy in Berlin—to explain his actions, and attempted to return home via neutral countries, but the German authorities refused to let him leave.",
"When Wodehouse heard of the furore the broadcasts had caused, he contacted the Foreign Office—through the Swiss embassy in Berlin—to explain his actions, and attempted to return home via neutral countries, but the German authorities refused to let him leave. In Performing Flea, a 1953 collection of letters, Wodehouse wrote, \"Of course I ought to have had the sense to see that it was a loony thing to do to use the German radio for even the most harmless stuff, but I didn't.",
"In Performing Flea, a 1953 collection of letters, Wodehouse wrote, \"Of course I ought to have had the sense to see that it was a loony thing to do to use the German radio for even the most harmless stuff, but I didn't. I suppose prison life saps the intellect\".",
"I suppose prison life saps the intellect\". The reaction in America was mixed: the left-leaning publication PM accused Wodehouse of \"play[ing] Jeeves to the Nazis\", but the Department of War used the interviews as an ideal representation of anti-Nazi propaganda.",
"The reaction in America was mixed: the left-leaning publication PM accused Wodehouse of \"play[ing] Jeeves to the Nazis\", but the Department of War used the interviews as an ideal representation of anti-Nazi propaganda. The Wodehouses remained in Germany until September 1943, when, because of the Allied bombings, they were allowed to move back to Paris.",
"The Wodehouses remained in Germany until September 1943, when, because of the Allied bombings, they were allowed to move back to Paris. They were living there when the city was liberated on 25 August 1944; Wodehouse reported to the American authorities the following day, asking them to inform the British of his whereabouts.",
"They were living there when the city was liberated on 25 August 1944; Wodehouse reported to the American authorities the following day, asking them to inform the British of his whereabouts. He was subsequently visited by Malcolm Muggeridge, recently arrived in Paris as an intelligence officer with MI6.",
"He was subsequently visited by Malcolm Muggeridge, recently arrived in Paris as an intelligence officer with MI6. The young officer quickly came to like Wodehouse and considered the question of treasonable behaviour as \"ludicrous\"; he summed up the writer as \"ill-fitted to live in an age of ideological conflict\".",
"The young officer quickly came to like Wodehouse and considered the question of treasonable behaviour as \"ludicrous\"; he summed up the writer as \"ill-fitted to live in an age of ideological conflict\". On 9 September Wodehouse was visited by an MI5 officer and former barrister, Major Edward Cussen, who formally investigated him, a process that stretched over four days.",
"On 9 September Wodehouse was visited by an MI5 officer and former barrister, Major Edward Cussen, who formally investigated him, a process that stretched over four days. On 28 September Cussen filed his report, which states that in regard to the broadcasts, Wodehouse's behaviour \"has been unwise\", but advised against further action.",
"On 28 September Cussen filed his report, which states that in regard to the broadcasts, Wodehouse's behaviour \"has been unwise\", but advised against further action. On 23 November Theobald Matthew, the Director of Public Prosecutions, decided there was no evidence to justify prosecuting Wodehouse.",
"On 23 November Theobald Matthew, the Director of Public Prosecutions, decided there was no evidence to justify prosecuting Wodehouse. In November 1944 Duff Cooper was appointed British ambassador to France and was provided accommodation at the Hôtel Le Bristol, where the Wodehouses were living.",
"In November 1944 Duff Cooper was appointed British ambassador to France and was provided accommodation at the Hôtel Le Bristol, where the Wodehouses were living. Cooper complained to the French authorities, and the couple were moved to a different hotel. They were subsequently arrested by French police and placed under preventive detention, despite no charges being presented.",
"They were subsequently arrested by French police and placed under preventive detention, despite no charges being presented. When Muggeridge tracked them down later, he managed to get Ethel released straight away and, four days later, ensured that the French authorities declared Wodehouse unwell and put him in a nearby hospital, which was more comfortable than where they had been detained.",
"When Muggeridge tracked them down later, he managed to get Ethel released straight away and, four days later, ensured that the French authorities declared Wodehouse unwell and put him in a nearby hospital, which was more comfortable than where they had been detained. While in this hospital, Wodehouse worked on his novel Uncle Dynamite.",
"While in this hospital, Wodehouse worked on his novel Uncle Dynamite. While still detained by the French, Wodehouse was again mentioned in questions in the House of Commons in December 1944 when MPs wondered if the French authorities could repatriate him to stand trial.",
"While still detained by the French, Wodehouse was again mentioned in questions in the House of Commons in December 1944 when MPs wondered if the French authorities could repatriate him to stand trial. Eden stated that the \"matter has been gone into, and, according to the advice given, there are no grounds upon which we could take action\".",
"Eden stated that the \"matter has been gone into, and, according to the advice given, there are no grounds upon which we could take action\". Two months later, Orwell wrote the essay \"In Defence of P.G.",
"Two months later, Orwell wrote the essay \"In Defence of P.G. Wodehouse\", where he stated that \"it is important to realise that the events of 1941 do not convict Wodehouse of anything worse than stupidity\".",
"Wodehouse\", where he stated that \"it is important to realise that the events of 1941 do not convict Wodehouse of anything worse than stupidity\". Orwell's rationale was that Wodehouse's \"moral outlook has remained that of a public-school boy, and according to the public-school code, treachery in time of war is the most unforgivable of all the sins\", which was compounded by his \"complete lack—so far as one can judge from his printed works—of political awareness\".",
"Orwell's rationale was that Wodehouse's \"moral outlook has remained that of a public-school boy, and according to the public-school code, treachery in time of war is the most unforgivable of all the sins\", which was compounded by his \"complete lack—so far as one can judge from his printed works—of political awareness\". On 15 January 1945 the French authorities released Wodehouse, but they did not inform him, until June 1946, that he would not face any official charges and was free to leave the country.",
"On 15 January 1945 the French authorities released Wodehouse, but they did not inform him, until June 1946, that he would not face any official charges and was free to leave the country. American exile: 1946–1975 Having secured American visas in July 1946, the Wodehouses made preparations to return to New York.",
"American exile: 1946–1975 Having secured American visas in July 1946, the Wodehouses made preparations to return to New York. They were delayed by Ethel's insistence on acquiring suitable new clothes and by Wodehouse's wish to finish writing his current novel, The Mating Season, in the peace of the French countryside.",
"They were delayed by Ethel's insistence on acquiring suitable new clothes and by Wodehouse's wish to finish writing his current novel, The Mating Season, in the peace of the French countryside. In April 1947 they sailed to New York, where Wodehouse was relieved at the friendly reception he received from the large press contingent awaiting his arrival.",
"In April 1947 they sailed to New York, where Wodehouse was relieved at the friendly reception he received from the large press contingent awaiting his arrival. Ethel secured a comfortable penthouse apartment in Manhattan's Upper East Side, but Wodehouse was not at ease. The New York that he had known before the war was much changed.",
"The New York that he had known before the war was much changed. The magazines that had paid lavishly for his stories were in decline, and those that remained were not much interested in him.",
"The magazines that had paid lavishly for his stories were in decline, and those that remained were not much interested in him. He was sounded out about writing for Broadway, but he was not at home in the post-war theatre; he had money problems, with large sums temporarily tied up in Britain, and for the first time in his career he had no ideas for a new novel.",
"He was sounded out about writing for Broadway, but he was not at home in the post-war theatre; he had money problems, with large sums temporarily tied up in Britain, and for the first time in his career he had no ideas for a new novel. He did not complete one until 1951.",
"He did not complete one until 1951. Wodehouse remained unsettled until he and Ethel left New York City for Long Island. Bolton and his wife lived in the prosperous hamlet of Remsenburg, part of the Southampton area of Long Island, east of Manhattan.",
"Bolton and his wife lived in the prosperous hamlet of Remsenburg, part of the Southampton area of Long Island, east of Manhattan. Wodehouse stayed with them frequently, and in 1952 he and Ethel bought a house nearby. They lived at Remsenburg for the rest of their lives.",
"They lived at Remsenburg for the rest of their lives. Between 1952 and 1975 he published more than twenty novels, as well as two collections of short stories, a heavily edited collection of his letters, a volume of memoirs, and a selection of his magazine articles. He continued to hanker after a revival of his theatrical career.",
"He continued to hanker after a revival of his theatrical career. A 1959 off-Broadway revival of the 1917 Bolton-Wodehouse-Kern Leave It to Jane was a surprise hit, running for 928 performances, but his few post-war stage works, some in collaboration with Bolton, made little impression.",
"A 1959 off-Broadway revival of the 1917 Bolton-Wodehouse-Kern Leave It to Jane was a surprise hit, running for 928 performances, but his few post-war stage works, some in collaboration with Bolton, made little impression. Although Ethel made a return visit to England in 1948 to shop and visit family and friends, Wodehouse never left America after his arrival in 1947.",
"Although Ethel made a return visit to England in 1948 to shop and visit family and friends, Wodehouse never left America after his arrival in 1947. It was not until 1965 that the British government indicated privately that he could return without fear of legal proceedings, and by then he felt too old to make the journey.",
"It was not until 1965 that the British government indicated privately that he could return without fear of legal proceedings, and by then he felt too old to make the journey. The biographers Benny Green and Robert McCrum both take the view that this exile benefited Wodehouse's writing, helping him to go on depicting an idealised England seen in his mind's eye, rather than as it actually was in the post-war decades.",
"The biographers Benny Green and Robert McCrum both take the view that this exile benefited Wodehouse's writing, helping him to go on depicting an idealised England seen in his mind's eye, rather than as it actually was in the post-war decades. During their years in Long Island, the couple often took in stray animals and contributed substantial funds to a local animal shelter.",
"During their years in Long Island, the couple often took in stray animals and contributed substantial funds to a local animal shelter. In 1955 Wodehouse became an American citizen, though he remained a British subject, and was therefore still eligible for UK state honours.",
"In 1955 Wodehouse became an American citizen, though he remained a British subject, and was therefore still eligible for UK state honours. He was considered for the award of a knighthood three times from 1967, but the honour was twice blocked by British officials.",
"He was considered for the award of a knighthood three times from 1967, but the honour was twice blocked by British officials. In 1974 the British prime minister, Harold Wilson, intervened to secure a knighthood (KBE) for Wodehouse, which was announced in the January 1975 New Year Honours list.",
"In 1974 the British prime minister, Harold Wilson, intervened to secure a knighthood (KBE) for Wodehouse, which was announced in the January 1975 New Year Honours list. The Times commented that Wodehouse's honour signalled \"official forgiveness for his wartime indiscretion....",
"The Times commented that Wodehouse's honour signalled \"official forgiveness for his wartime indiscretion.... It is late, but not too late, to take the sting out of that unhappy incident.\" The following month Wodehouse entered Southampton Hospital, Long Island, for treatment of a skin complaint.",
"The following month Wodehouse entered Southampton Hospital, Long Island, for treatment of a skin complaint. While there, he suffered a heart attack and died on 14 February 1975 at the age of 93. He was buried at Remsenburg Presbyterian Church four days later.",
"He was buried at Remsenburg Presbyterian Church four days later. Ethel outlived him by more than nine years; Leonora had predeceased him, dying suddenly in 1944.",
"Ethel outlived him by more than nine years; Leonora had predeceased him, dying suddenly in 1944. Writing Technique and approach Before starting a book Wodehouse would write up to four hundred pages of notes bringing together an outline of the plot; he acknowledged that \"It's the plots that I find so hard to work out.",
"Writing Technique and approach Before starting a book Wodehouse would write up to four hundred pages of notes bringing together an outline of the plot; he acknowledged that \"It's the plots that I find so hard to work out. It takes such a long time to work one out.\"",
"It takes such a long time to work one out.\" He always completed the plot before working on specific character actions. For a novel the note-writing process could take up to two years, and he would usually have two or more novels in preparation simultaneously.",
"For a novel the note-writing process could take up to two years, and he would usually have two or more novels in preparation simultaneously. After he had completed his notes, he would draw up a fuller scenario of about thirty thousand words, which ensured plot holes were avoided, and allowed for the dialogue to begin to develop.",
"After he had completed his notes, he would draw up a fuller scenario of about thirty thousand words, which ensured plot holes were avoided, and allowed for the dialogue to begin to develop. When interviewed in 1975 he revealed that \"For a humorous novel you've got to have a scenario, and you've got to test it so that you know where the comedy comes in, where the situations come in ... splitting it up into scenes (you can make a scene of almost anything) and have as little stuff in between as possible.\"",
"When interviewed in 1975 he revealed that \"For a humorous novel you've got to have a scenario, and you've got to test it so that you know where the comedy comes in, where the situations come in ... splitting it up into scenes (you can make a scene of almost anything) and have as little stuff in between as possible.\" He preferred working between 4 and 7 pm—but never after dinner—and would work seven days a week.",
"He preferred working between 4 and 7 pm—but never after dinner—and would work seven days a week. In his younger years, he would write around two to three thousand words a day, although he slowed as he aged, so that in his nineties he would produce a thousand.",
"In his younger years, he would write around two to three thousand words a day, although he slowed as he aged, so that in his nineties he would produce a thousand. The reduced speed in writing slowed his production of books: when younger he would produce a novel in about three months, while Bachelors Anonymous, published in 1973, took around six months.",
"The reduced speed in writing slowed his production of books: when younger he would produce a novel in about three months, while Bachelors Anonymous, published in 1973, took around six months. Although studies of language production in normal healthy ageing show a marked decline from the mid-70s on, a study of Wodehouse's works did not find any evidence of a decline in linguistic ability with age.",
"Although studies of language production in normal healthy ageing show a marked decline from the mid-70s on, a study of Wodehouse's works did not find any evidence of a decline in linguistic ability with age. Wodehouse believed that one of the factors that made his stories humorous was his view of life, and he stated that \"If you take life fairly easily, then you take a humorous view of things.",
"Wodehouse believed that one of the factors that made his stories humorous was his view of life, and he stated that \"If you take life fairly easily, then you take a humorous view of things. It's probably because you were born that way.\"",
"It's probably because you were born that way.\" He carried this view through into his writing, describing the approach as \"making the thing a sort of musical comedy without music, and ignoring real life altogether\".",
"He carried this view through into his writing, describing the approach as \"making the thing a sort of musical comedy without music, and ignoring real life altogether\". The literary critic Edward L. Galligan considers Wodehouse's stories to show his mastery in adapting the form of the American musical comedy for his writings.",
"The literary critic Edward L. Galligan considers Wodehouse's stories to show his mastery in adapting the form of the American musical comedy for his writings. Wodehouse would ensure that his first draft was as carefully and accurately done as possible, correcting and refining the prose as he wrote, and would then make another good copy, before proofreading again and then making a final copy for his publisher.",
"Wodehouse would ensure that his first draft was as carefully and accurately done as possible, correcting and refining the prose as he wrote, and would then make another good copy, before proofreading again and then making a final copy for his publisher. Most of Wodehouse's canon is set in an undated period around the 1920s and 1930s.",
"Most of Wodehouse's canon is set in an undated period around the 1920s and 1930s. The critic Anthony Lejeune describes the settings of Wodehouse's novels, such as the Drones Club and Blandings Castle, as \"a fairyland\".",
"The critic Anthony Lejeune describes the settings of Wodehouse's novels, such as the Drones Club and Blandings Castle, as \"a fairyland\". Although some critics thought Wodehouse's fiction was based on a world that had never existed, Wodehouse affirmed that \"it did.",
"Although some critics thought Wodehouse's fiction was based on a world that had never existed, Wodehouse affirmed that \"it did. It was going strong between the wars\", although he agreed that his version was to some extent \"a sort of artificial world of my own creation\".",
"It was going strong between the wars\", although he agreed that his version was to some extent \"a sort of artificial world of my own creation\". The novels showed a largely unchanging world, regardless of when they were written, and only rarely—and mistakenly in McCrum's view—did Wodehouse allow modernity to intrude, as he did in the 1966 story \"Bingo Bans the Bomb\".",
"The novels showed a largely unchanging world, regardless of when they were written, and only rarely—and mistakenly in McCrum's view—did Wodehouse allow modernity to intrude, as he did in the 1966 story \"Bingo Bans the Bomb\". When dealing with the dialogue in his novels, Wodehouse would consider the book's characters as if they were actors in a play, ensuring that the main roles were kept suitably employed throughout the storyline, which must be strong: \"If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them.\"",
"When dealing with the dialogue in his novels, Wodehouse would consider the book's characters as if they were actors in a play, ensuring that the main roles were kept suitably employed throughout the storyline, which must be strong: \"If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them.\" Many of Wodehouse's parts were stereotypes, and he acknowledged that \"a real character in one of my books sticks out like a sore thumb.\"",
"Many of Wodehouse's parts were stereotypes, and he acknowledged that \"a real character in one of my books sticks out like a sore thumb.\" The publisher Michael Joseph identifies that even within the stereotypes Wodehouse understood human nature, and therefore \"shares with [Charles] Dickens and Charles Chaplin the ability to present the comic resistance of the individual against those superior forces to which we are all subject\".",
"The publisher Michael Joseph identifies that even within the stereotypes Wodehouse understood human nature, and therefore \"shares with [Charles] Dickens and Charles Chaplin the ability to present the comic resistance of the individual against those superior forces to which we are all subject\". Much of Wodehouse's use of slang terms reflects the influence of his time at school in Dulwich, and partly reflects Edwardian slang.",
"Much of Wodehouse's use of slang terms reflects the influence of his time at school in Dulwich, and partly reflects Edwardian slang. As a young man he enjoyed the literary works of Arthur Conan Doyle and Jerome K. Jerome, and the operatic works of Gilbert and Sullivan. Wodehouse quotes from and alludes to numerous poets throughout his work.",
"Wodehouse quotes from and alludes to numerous poets throughout his work. The scholar Clarke Olney lists those quoted, including Milton, Byron, Longfellow, Coleridge, Swinburne, Tennyson, Wordsworth and Shakespeare. Another favoured source was the King James Bible.",
"Another favoured source was the King James Bible. Language In 1941 the Concise Cambridge History of English Literature opined that Wodehouse had \"a gift for highly original aptness of phrase that almost suggests a poet struggling for release among the wild extravagances of farce\", while McCrum thinks that Wodehouse manages to combine \"high farce with the inverted poetry of his mature comic style\", particularly in The Code of the Woosters; the novelist Anthony Powell believes Wodehouse to be a \"comic poet\".",
"Language In 1941 the Concise Cambridge History of English Literature opined that Wodehouse had \"a gift for highly original aptness of phrase that almost suggests a poet struggling for release among the wild extravagances of farce\", while McCrum thinks that Wodehouse manages to combine \"high farce with the inverted poetry of his mature comic style\", particularly in The Code of the Woosters; the novelist Anthony Powell believes Wodehouse to be a \"comic poet\". Robert A.",
"Robert A. Robert A. Hall Jr., in his study of Wodehouse's style and technique, describes the author as a master of prose, an opinion also shared by Levin, who considers Wodehouse \"one of the finest and purest writers of English prose\".",
"Hall Jr., in his study of Wodehouse's style and technique, describes the author as a master of prose, an opinion also shared by Levin, who considers Wodehouse \"one of the finest and purest writers of English prose\". Hall identifies several techniques used by Wodehouse to achieve comic effect, including the creation of new words through adding or removing prefixes and suffixes, so when Pongo Twistleton removes the housemaid Elsie Bean from a cupboard, Wodehouse writes that the character \"de-Beaned the cupboard\".",
"Hall identifies several techniques used by Wodehouse to achieve comic effect, including the creation of new words through adding or removing prefixes and suffixes, so when Pongo Twistleton removes the housemaid Elsie Bean from a cupboard, Wodehouse writes that the character \"de-Beaned the cupboard\". Wodehouse created new words by splitting others in two, thus Wodehouse divides \"hobnobbing\" when he writes: \"To offer a housemaid a cigarette is not hobbing.",
"Wodehouse created new words by splitting others in two, thus Wodehouse divides \"hobnobbing\" when he writes: \"To offer a housemaid a cigarette is not hobbing. Nor, when you light it for her, does that constitute nobbing.\"",
"Nor, when you light it for her, does that constitute nobbing.\" Richard Voorhees, Wodehouse's biographer, believes that the author used clichés in a deliberate and ironic manner.",
"Richard Voorhees, Wodehouse's biographer, believes that the author used clichés in a deliberate and ironic manner. His opinion is shared by the academic Stephen Medcalf, who deems Wodehouse's skill is to \"bring a cliché just enough to life to kill it\", although Pamela March, writing in The Christian Science Monitor, considers Wodehouse to have \"an ability to decliché a cliché\".",
"His opinion is shared by the academic Stephen Medcalf, who deems Wodehouse's skill is to \"bring a cliché just enough to life to kill it\", although Pamela March, writing in The Christian Science Monitor, considers Wodehouse to have \"an ability to decliché a cliché\". Medcalf provides an example from Right Ho, Jeeves in which the teetotal Gussie Fink-Nottle has surreptitiously been given whisky and gin in a punch prior to a prize-giving: 'It seems to me, Jeeves, that the ceremony may be one fraught with considerable interest.'",
"Medcalf provides an example from Right Ho, Jeeves in which the teetotal Gussie Fink-Nottle has surreptitiously been given whisky and gin in a punch prior to a prize-giving: 'It seems to me, Jeeves, that the ceremony may be one fraught with considerable interest.' 'Yes, sir.'",
"'Yes, sir.' 'Yes, sir.' 'What, in your opinion, will the harvest be?' 'One finds it difficult to hazard a conjecture, sir.' 'You mean imagination boggles?' 'Yes, sir.' I inspected my imagination. He was right. It boggled.",
"He was right. It boggled. It boggled. The stylistic device most commonly found in Wodehouse's work is his use of comparative imagery that includes similes. Hall opines that the humour comes from Wodehouse's ability to accentuate \"resemblances which at first glance seem highly incongruous\".",
"Hall opines that the humour comes from Wodehouse's ability to accentuate \"resemblances which at first glance seem highly incongruous\". Examples can be seen in Joy in the Morning, Chapter 29: \"There was a sound in the background like a distant sheep coughing gently on a mountainside.",
"Examples can be seen in Joy in the Morning, Chapter 29: \"There was a sound in the background like a distant sheep coughing gently on a mountainside. Jeeves sailing into action\", or Psmith, Chapter 7: \"A sound like two or three pigs feeding rather noisily in the middle of a thunderstorm interrupted his meditation.\"",
"Jeeves sailing into action\", or Psmith, Chapter 7: \"A sound like two or three pigs feeding rather noisily in the middle of a thunderstorm interrupted his meditation.\" Hall also identifies that periodically Wodehouse used the stylistic device of a transferred epithet, with an adjective that properly belongs to a person applied instead to some inanimate object.",
"Hall also identifies that periodically Wodehouse used the stylistic device of a transferred epithet, with an adjective that properly belongs to a person applied instead to some inanimate object. The form of expression is used sparingly by Wodehouse in comparison with other mechanisms, only once or twice in a story or novel, according to Hall.",
"The form of expression is used sparingly by Wodehouse in comparison with other mechanisms, only once or twice in a story or novel, according to Hall. \"I balanced a thoughtful lump of sugar on the teaspoon.\"",
"\"I balanced a thoughtful lump of sugar on the teaspoon.\" —Joy in the Morning, Chapter 5 \"As I sat in the bath-tub, soaping a meditative foot ...\" —Jeeves and the Feudal Spirit, Chapter 1 \"The first thing he did was to prod Jeeves in the lower ribs with an uncouth forefinger.\"",
"—Joy in the Morning, Chapter 5 \"As I sat in the bath-tub, soaping a meditative foot ...\" —Jeeves and the Feudal Spirit, Chapter 1 \"The first thing he did was to prod Jeeves in the lower ribs with an uncouth forefinger.\" —Much Obliged, Jeeves, Chapter 4 Wordplay is a key element in Wodehouse's writing.",
"—Much Obliged, Jeeves, Chapter 4 Wordplay is a key element in Wodehouse's writing. This can take the form of puns, such as in Jeeves and the Feudal Spirit, when Bertie is released after a night in the police cells, and says that he has \"a pinched look\" about him.",
"This can take the form of puns, such as in Jeeves and the Feudal Spirit, when Bertie is released after a night in the police cells, and says that he has \"a pinched look\" about him. Linguistic confusion is another humorous mechanism, such as in Uncle Dynamite when Constable Potter says he has been \"assaulted by the duck pond\".",
"Linguistic confusion is another humorous mechanism, such as in Uncle Dynamite when Constable Potter says he has been \"assaulted by the duck pond\". In reply, Sir Aylmer, confusing the two meanings of the word \"by\", asks: \"How the devil can you be assaulted by a duck pond?\"",
"In reply, Sir Aylmer, confusing the two meanings of the word \"by\", asks: \"How the devil can you be assaulted by a duck pond?\" Wodehouse also uses metaphor and mixed metaphor to add humour.",
"Wodehouse also uses metaphor and mixed metaphor to add humour. Some come through exaggeration, such as Bingo Little's infant child who \"not only has the aspect of a mass murderer, but that of a mass murderer suffering from an ingrown toenail\", or Wooster's complaint that \"the rumpuses that Bobbie Wickham is already starting may be amusing to her, but not to the unfortunate toads beneath the harrow whom she ruthlessly plunges into the soup.\"",
"Some come through exaggeration, such as Bingo Little's infant child who \"not only has the aspect of a mass murderer, but that of a mass murderer suffering from an ingrown toenail\", or Wooster's complaint that \"the rumpuses that Bobbie Wickham is already starting may be amusing to her, but not to the unfortunate toads beneath the harrow whom she ruthlessly plunges into the soup.\" Bertie Wooster's half-forgotten vocabulary also provides a further humorous device.",
"Bertie Wooster's half-forgotten vocabulary also provides a further humorous device. In Jeeves and the Feudal Spirit Bertie asks Jeeves \"Let a plugugly like young Thos loose in the community with a cosh, and you are inviting disaster and ... what's the word? Something about cats.\" Jeeves replies, \"Cataclysms, sir?\"",
"Jeeves replies, \"Cataclysms, sir?\" Reception and reputation Literary reception Wodehouse's early career as a lyricist and playwright was profitable, and his work with Bolton, according to The Guardian, \"was one of the most successful in the history of musical comedy\".",
"Reception and reputation Literary reception Wodehouse's early career as a lyricist and playwright was profitable, and his work with Bolton, according to The Guardian, \"was one of the most successful in the history of musical comedy\". At the outbreak of the Second World War he was earning £40,000 a year from his work, which had broadened to include novels and short stories.",
"At the outbreak of the Second World War he was earning £40,000 a year from his work, which had broadened to include novels and short stories. Following the furore ensuing from the wartime broadcasts, he suffered a downturn in his popularity and book sales; The Saturday Evening Post stopped publishing his short stories, a stance they reversed in 1965, although his popularity—and the sales figures—slowly recovered over time.",
"Following the furore ensuing from the wartime broadcasts, he suffered a downturn in his popularity and book sales; The Saturday Evening Post stopped publishing his short stories, a stance they reversed in 1965, although his popularity—and the sales figures—slowly recovered over time. Wodehouse received great praise from many of his contemporaries, including Max Beerbohm, Rudyard Kipling, A. E. Housman and Evelyn Waugh—the last of whom opines, \"One has to regard a man as a Master who can produce on average three uniquely brilliant and entirely original similes on each page.\"",
"Wodehouse received great praise from many of his contemporaries, including Max Beerbohm, Rudyard Kipling, A. E. Housman and Evelyn Waugh—the last of whom opines, \"One has to regard a man as a Master who can produce on average three uniquely brilliant and entirely original similes on each page.\" There are dissenters to the praise.",
"There are dissenters to the praise. The writer Alan Bennett thinks that \"inspired though his language is, I can never take more than ten pages of the novels at a time, their relentless flippancy wearing and tedious\", while the literary critic Q. D. Leavis writes that Wodehouse had a \"stereotyped humour ... of ingenious variations on a laugh in one place\".",
"The writer Alan Bennett thinks that \"inspired though his language is, I can never take more than ten pages of the novels at a time, their relentless flippancy wearing and tedious\", while the literary critic Q. D. Leavis writes that Wodehouse had a \"stereotyped humour ... of ingenious variations on a laugh in one place\". In a 2010 study of Wodehouse's few relatively serious novels, such as The Coming of Bill (1919), Jill the Reckless (1920) and The Adventures of Sally (1922), David Heddendorf concludes that though their literary quality does not match that of the farcical novels, they show a range of empathy and interests that in real life—and in his most comic works—the author seemed to lack.",
"In a 2010 study of Wodehouse's few relatively serious novels, such as The Coming of Bill (1919), Jill the Reckless (1920) and The Adventures of Sally (1922), David Heddendorf concludes that though their literary quality does not match that of the farcical novels, they show a range of empathy and interests that in real life—and in his most comic works—the author seemed to lack. \"Never oblivious to grief and despair, he opts in clear-eyed awareness for his timeless world of spats and woolly-headed peers.",
"\"Never oblivious to grief and despair, he opts in clear-eyed awareness for his timeless world of spats and woolly-headed peers. It's an austere, almost bloodless preference for pristine artifice over the pain and messy outcomes of actual existence, but it's a case of Wodehouse keeping faith with his own unique art.\"",
"It's an austere, almost bloodless preference for pristine artifice over the pain and messy outcomes of actual existence, but it's a case of Wodehouse keeping faith with his own unique art.\" The American literary analyst Robert F. Kiernan, defining \"camp\" as \"excessive stylization of whatever kind\", brackets Wodehouse as \"a master of the camp novel\", along with Thomas Love Peacock, Max Beerbohm, Ronald Firbank, E. F. Benson and Ivy Compton-Burnett.",
"The American literary analyst Robert F. Kiernan, defining \"camp\" as \"excessive stylization of whatever kind\", brackets Wodehouse as \"a master of the camp novel\", along with Thomas Love Peacock, Max Beerbohm, Ronald Firbank, E. F. Benson and Ivy Compton-Burnett. The literary critic and writer Cyril Connolly calls Wodehouse a \"politicians' author\"—one who does \"not like art to be exacting and difficult\".",
"The literary critic and writer Cyril Connolly calls Wodehouse a \"politicians' author\"—one who does \"not like art to be exacting and difficult\". Two former British prime ministers, H. H. Asquith and Tony Blair, are on record as Wodehouse aficionados, and the latter became a patron of the Wodehouse Society.",
"Two former British prime ministers, H. H. Asquith and Tony Blair, are on record as Wodehouse aficionados, and the latter became a patron of the Wodehouse Society. Seán O'Casey, a successful playwright of the 1920s, thought little of Wodehouse; he commented in 1941 that it was damaging to England's dignity that the public or \"the academic government of Oxford, dead from the chin up\" considered Wodehouse an important figure in English literature.",
"Seán O'Casey, a successful playwright of the 1920s, thought little of Wodehouse; he commented in 1941 that it was damaging to England's dignity that the public or \"the academic government of Oxford, dead from the chin up\" considered Wodehouse an important figure in English literature. His jibe that Wodehouse was \"English literature's performing flea\" provided his target with the title of his collected letters, published in 1953.",
"His jibe that Wodehouse was \"English literature's performing flea\" provided his target with the title of his collected letters, published in 1953. McCrum, writing in 2004, observes, \"Wodehouse is more popular today than on the day he died\", and \"his comic vision has an absolutely secure place in the English literary imagination.\"",
"McCrum, writing in 2004, observes, \"Wodehouse is more popular today than on the day he died\", and \"his comic vision has an absolutely secure place in the English literary imagination.\" Honours and influence The proposed nominations of Wodehouse for a knighthood in 1967 and 1971 were blocked for fear that such an award would \"revive the controversy of his wartime behaviour and give currency to a Bertie Wooster image of the British character which the embassy was doing its best to eradicate\".",
"Honours and influence The proposed nominations of Wodehouse for a knighthood in 1967 and 1971 were blocked for fear that such an award would \"revive the controversy of his wartime behaviour and give currency to a Bertie Wooster image of the British character which the embassy was doing its best to eradicate\". When Wodehouse was awarded the knighthood, only four years later, the journalist Dennis Barker wrote in The Guardian that the writer was \"the solitary surviving English literary comic genius\".",
"When Wodehouse was awarded the knighthood, only four years later, the journalist Dennis Barker wrote in The Guardian that the writer was \"the solitary surviving English literary comic genius\". After his death six weeks later, the journalist Michael Davie, writing in the same paper, observed that \"Many people regarded ... [Wodehouse] as he regarded Beachcomber, as 'one, if not more than one, of England's greatest men'\", while in the view of the obituarist for The Times Wodehouse \"was a comic genius recognized in his lifetime as a classic and an old master of farce\".",
"After his death six weeks later, the journalist Michael Davie, writing in the same paper, observed that \"Many people regarded ... [Wodehouse] as he regarded Beachcomber, as 'one, if not more than one, of England's greatest men'\", while in the view of the obituarist for The Times Wodehouse \"was a comic genius recognized in his lifetime as a classic and an old master of farce\". In September 2019 Wodehouse was commemorated with a memorial stone in Westminster Abbey; the dedication was held two days after it was installed.",
"In September 2019 Wodehouse was commemorated with a memorial stone in Westminster Abbey; the dedication was held two days after it was installed. Since Wodehouse's death there have been numerous adaptations and dramatisations of his work on television and film; Wodehouse himself has been portrayed on radio and screen numerous times.",
"Since Wodehouse's death there have been numerous adaptations and dramatisations of his work on television and film; Wodehouse himself has been portrayed on radio and screen numerous times. There are several literary societies dedicated to Wodehouse. The P.G. Wodehouse Society (UK) was founded in 1997 and has over 1,000 members as at 2015.",
"Wodehouse Society (UK) was founded in 1997 and has over 1,000 members as at 2015. The president of the society as at 2017 is Alexander Armstrong; past presidents have included Terry Wogan and Richard Briers.",
"The president of the society as at 2017 is Alexander Armstrong; past presidents have included Terry Wogan and Richard Briers. There are also other groups of Wodehouse fans in Australia, Belgium, France, Finland, India, Italy, Russia, Sweden and the US.",
"There are also other groups of Wodehouse fans in Australia, Belgium, France, Finland, India, Italy, Russia, Sweden and the US. As at 2015 the Oxford English Dictionary contains over 1,750 quotations from Wodehouse, illustrating terms from crispish to zippiness.",
"As at 2015 the Oxford English Dictionary contains over 1,750 quotations from Wodehouse, illustrating terms from crispish to zippiness. Voorhees, while acknowledging that Wodehouse's antecedents in literature range from Ben Jonson to Oscar Wilde, writes: Notes, references and sources Notes References Sources External links P. G. Wodehouse collection at One More Library P.G.",
"Voorhees, while acknowledging that Wodehouse's antecedents in literature range from Ben Jonson to Oscar Wilde, writes: Notes, references and sources Notes References Sources External links P. G. Wodehouse collection at One More Library P.G. Wodehouse Archive on loan to the British Library The Wodehouse Society The P. G. Wodehouse Society (UK) Transcripts of Wodehouse's Berlin Broadcasts \"P. G. Wodehouse: An English Master of American Slang\" from The American Legion Weekly, 24 October 1919 Orwell, George \"In Defence of P.G.",
"Wodehouse Archive on loan to the British Library The Wodehouse Society The P. G. Wodehouse Society (UK) Transcripts of Wodehouse's Berlin Broadcasts \"P. G. Wodehouse: An English Master of American Slang\" from The American Legion Weekly, 24 October 1919 Orwell, George \"In Defence of P.G. Wodehouse\" 1881 births 1975 deaths 20th-century English novelists 20th-century British dramatists and playwrights British emigrants to the United States English lyricists Knights Commander of the Order of the British Empire English male dramatists and playwrights British male novelists People educated at Dulwich College People educated at Elizabeth College, Guernsey People from Guildford People from Long Island PG People interned during World War II English humorists 20th-century American novelists American dramatists and playwrights American humorists American lyricists American male novelists Novelists from New York (state) Literature controversies English broadcasters for Nazi Germany 20th-century American male writers"
] |
[
"P. G. Wodehouse",
"Broadway: 1915-19",
"What happened in 1915?",
"Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator.",
"what did the two collaborate on?",
"This was Miss Springtime (1916), which ran for 227 performances--a good run by the standards of the day.",
"what did they do next?",
"The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917-18) and Oh, Lady! Lady!! (1918),",
"were there any other successes?",
"Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin.",
"what other composers?",
"I don't know.",
"Did he do anything other than musicals?",
"Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories;",
"were his novels popular?",
"I don't know.",
"did he collaborate with anyone else?",
"During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End,",
"were they successful?",
"He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnar, and A Damsel in Distress (1928), a dramatisation of his 1919 novel."
] | C_01908f72800044fda5b1d74a25e24226_1 | Are there any other interesting aspects about this article? | 10 | Other than the novels and short storiesAre there any other interesting aspects about this article? | P. G. Wodehouse | A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator. Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York. The show was successful, but they thought the song lyrics weak and invited Wodehouse to join them on its successor. This was Miss Springtime (1916), which ran for 227 performances--a good run by the standards of the day. The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917-18) and Oh, Lady! Lady!! (1918), and Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin. Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies. Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do. Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical. In the Grove Dictionary of American Music Larry Stempel writes, "By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy." The theatre writer Gerald Bordman calls Wodehouse "the most observant, literate, and witty lyricist of his day". The composer Richard Rodgers wrote, "Before Larry Hart, only P.G. Wodehouse had made any real assault on the intelligence of the song-listening public." In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones. Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest. Various other young men-about-town appeared in short stories about members of the Drones Club. The Wodehouses returned to England, where they had a house in London for some years, but Wodehouse continued to cross the Atlantic frequently, spending substantial periods in New York. He continued to work in the theatre. During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York). He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnar, and A Damsel in Distress (1928), a dramatisation of his 1919 novel. Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods. Donaldson lists among those with whom he was on friendly terms writers including A.A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith, Jr., Heather Thatcher and Dorothy Dickson. CANNOTANSWER | Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods. | Sir Pelham Grenville Wodehouse, ( ; 15 October 188114 February 1975) was an English author and one of the most widely read humorists of the 20th century. His creations include the feather-brained Bertie Wooster and his sagacious valet, Jeeves; the immaculate and loquacious Psmith; Lord Emsworth and the Blandings Castle set; the Oldest Member, with stories about golf; and Mr Mulliner, with tall tales on subjects ranging from bibulous bishops to megalomaniac movie moguls.
Born in Guildford, the third son of a British magistrate based in Hong Kong, Wodehouse spent happy teenage years at Dulwich College, to which he remained devoted all his life. After leaving school he was employed by a bank but disliked the work and turned to writing in his spare time. His early novels were mostly school stories, but he later switched to comic fiction. Most of Wodehouse's fiction is set in his native United Kingdom, although he spent much of his life in the US and used New York and Hollywood as settings for some of his novels and short stories. He wrote a series of Broadway musical comedies during and after the First World War, together with Guy Bolton and Jerome Kern, that played an important part in the development of the American musical. He began the 1930s writing for MGM in Hollywood. In a 1931 interview, his naive revelations of incompetence and extravagance in the studios caused a furore. In the same decade, his literary career reached a new peak.
In 1934 Wodehouse moved to France for tax reasons; in 1940 he was taken prisoner at Le Touquet by the invading Germans and interned for nearly a year. After his release he made six broadcasts from German radio in Berlin to the US, which had not yet entered the war. The talks were comic and apolitical, but his broadcasting over enemy radio prompted anger and strident controversy in Britain, and a threat of prosecution. Wodehouse never returned to England. From 1947 until his death he lived in the US, taking dual British-American citizenship in 1955. He died in 1975, at the age of 93, in Southampton, New York.
Wodehouse was a prolific writer throughout his life, publishing more than ninety books, forty plays, two hundred short stories and other writings between 1902 and 1974. He worked extensively on his books, sometimes having two or more in preparation simultaneously. He would take up to two years to build a plot and write a scenario of about thirty thousand words. After the scenario was complete he would write the story. Early in his career Wodehouse would produce a novel in about three months, but he slowed in old age to around six months. He used a mixture of Edwardian slang, quotations from and allusions to numerous poets, and several literary techniques to produce a prose style that has been compared to comic poetry and musical comedy. Some critics of Wodehouse have considered his work flippant, but among his fans are former British prime ministers and many of his fellow writers.
Life and career
Early years
Wodehouse was born in Guildford, Surrey, the third son of Henry Ernest Wodehouse (1845–1929), a magistrate resident in the British colony of Hong Kong, and his wife, Eleanor (1861–1941), daughter of the Rev John Bathurst Deane. The Wodehouses, who traced their ancestry back to the 13th century, belonged to a cadet branch of the family of the earls of Kimberley. Eleanor Wodehouse was also of ancient aristocratic ancestry. She was visiting her sister in Guildford when Wodehouse was born there prematurely.
The boy was baptised at the Church of St Nicolas, Guildford, and was named after his godfather, Pelham von Donop. Wodehouse wrote in 1957, "If you ask me to tell you frankly if I like the name Pelham Grenville Wodehouse, I must confess that I do not.... I was named after a godfather, and not a thing to show for it but a small silver mug which I lost in 1897." The first name was rapidly elided to "Plum", the name by which Wodehouse became known to family and friends.
Mother and son sailed for Hong Kong, where for his first two years Wodehouse was raised by a Chinese amah (nurse), alongside his elder brothers Peveril (1877–1951) and Armine (1879–1936). When he was two, the brothers were brought to England, where they were placed under the care of an English nanny in a house adjoining that of Eleanor's father and mother. The boys' parents returned to Hong Kong and became virtual strangers to their sons. Such an arrangement was then normal for middle-class families based in the colonies. The lack of parental contact, and the harsh regime of some of those in loco parentis, left permanent emotional scars on many children from similar backgrounds, including the writers Thackeray, Saki, Kipling and Walpole. Wodehouse was more fortunate; his nanny, Emma Roper, was strict but not unkind, and both with her and later at his different schools Wodehouse had a generally happy childhood. His recollection was that "it went like a breeze from start to finish, with everybody I met understanding me perfectly". The biographer Robert McCrum suggests that nonetheless Wodehouse's isolation from his parents left a psychological mark, causing him to avoid emotional engagement both in life and in his works. Another biographer, Frances Donaldson, writes, "Deprived so early, not merely of maternal love, but of home life and even a stable background, Wodehouse consoled himself from the youngest age in an imaginary world of his own."
In 1886 the brothers were sent to a dame-school in Croydon, where they spent three years. Peveril was then found to have a "weak chest"; sea air was prescribed, and the three boys were moved to Elizabeth College on the island of Guernsey. In 1891 Wodehouse went on to Malvern House Preparatory School in Kent, which concentrated on preparing its pupils for entry to the Royal Navy. His father had planned a naval career for him, but the boy's eyesight was found to be too poor for it. He was unimpressed by the school's narrow curriculum and zealous discipline; he later parodied it in his novels, with Bertie Wooster recalling his early years as a pupil at a "penitentiary... with the outward guise of a prep school" called Malvern House.
Throughout their school years the brothers were sent to stay during the holidays with various uncles and aunts from both sides of the family. In the Oxford Dictionary of National Biography, Iain Sproat counts twenty aunts and considers that they played an important part not only in Wodehouse's early life, but, thinly disguised, in his mature novels, as the formidable aunts who dominate the action in the Wooster, Blandings, and other stories. The boys had fifteen uncles, four of whom were clergymen. Sproat writes that they inspired Wodehouse's "pious but fallible curates, vicars, and bishops, of which he wrote with friendly irreverence but without mockery".
At the age of twelve in 1894, to his great joy, Wodehouse was able to follow his brother Armine to Dulwich College. He was entirely at home there; Donaldson comments that Dulwich gave him, for the first time, "some continuity and a stable and ordered life". He loved the camaraderie, distinguished himself at cricket, rugby and boxing, and was a good, if not consistently diligent, student. The headmaster at the time was A. H. Gilkes, a respected classicist, who was a strong influence on Wodehouse. In a study of Wodehouse's works, Richard Usborne argues that "only a writer who was himself a scholar and had had his face ground into Latin and Greek (especially Thucydides) as a boy" could sustain the complex sequences of subordinate clauses sometimes found in Wodehouse's comic prose.
Wodehouse's six years at Dulwich were among the happiest of his life: "To me the years between 1894 and 1900 were like heaven." In addition to his sporting achievements he was a good singer and enjoyed taking part in school concerts; his literary leanings found an outlet in editing the school magazine, The Alleynian. For the rest of his life he remained devoted to the school. The biographer Barry Phelps writes that Wodehouse "loved the college as much as he loved anything or anybody".
Reluctant banker; budding writer: 1900–1908
Wodehouse expected to follow Armine to the University of Oxford, but the family's finances took a turn for the worse at the crucial moment. Ernest Wodehouse had retired in 1895, and his pension was paid in rupees; fluctuation against the pound reduced its value in Britain. Wodehouse recalled, "The wolf was not actually whining at the door and there was always a little something in the kitty for the butcher and the grocer, but the finances would not run to anything in the nature of a splash". Instead of a university career, in September 1900 Wodehouse was engaged in a junior position in the London office of the Hongkong and Shanghai Bank. He was unsuited to it and found the work baffling and uncongenial. He later wrote a humorous account of his experiences at the bank, but at the time he longed for the end of each working day, when he could return to his rented lodgings in Chelsea and write. At first he concentrated, with some success, on serious articles about school sports for Public School Magazine. In November 1900 his first comic piece, "Men Who Missed Their Own Weddings", was accepted by Tit-Bits. A new magazine for boys, The Captain, provided further well-paid opportunities, and during his two years at the bank, Wodehouse had eighty pieces published in a total of nine magazines.
In 1901, with the help of a former Dulwich master, William Beach Thomas, Wodehouse secured an appointment—at first temporary and later permanent—writing for The Globes popular "By the Way" column. He held the post until 1909. At around the same time his first novel was published—a school story called The Pothunters, serialised incomplete in Public School Magazine in early 1902, and issued in full in hardback in September. He resigned from the bank that month to devote himself to writing full-time.
Between the publication of The Pothunters 1902 and that of Mike in 1909, Wodehouse wrote eight novels and co-wrote another two. The critic R. D. B. French writes that, of Wodehouse's work from this period, almost all that deserves to survive is the school fiction. Looking back in the 1950s Wodehouse viewed these as his apprentice years: "I was practically in swaddling clothes and it is extremely creditable to me that I was able to write at all."
From his boyhood Wodehouse had been fascinated by America, which he conceived of as "a land of romance"; he "yearned" to visit the country, and by 1904 he had earned enough to do so. In April he sailed to New York, which he found greatly to his liking. He noted in his diary: "In New York gathering experience. Worth many guineas in the future but none for the moment." This prediction proved correct: few British writers had first-hand experience of the US, and his articles about life in New York brought him higher than usual fees. He later recalled that "in 1904 anyone in the London writing world who had been to America was regarded with awe and looked upon as an authority on that terra incognita.... After that trip to New York I was a man who counted.... My income rose like a rocketing pheasant."
Wodehouse's other new venture in 1904 was writing for the stage. Towards the end of the year the librettist Owen Hall invited him to contribute an additional lyric for a musical comedy Sergeant Brue. Wodehouse had loved theatre since his first visit, aged thirteen, when Gilbert and Sullivan's Patience had made him "drunk with ecstasy". His lyric for Hall, "Put Me in My Little Cell", was a Gilbertian number for a trio of comic crooks, with music by Frederick Rosse; it was well received and launched Wodehouse on a career as a theatre writer that spanned three decades.
Although it made little impact on its first publication, the 1906 novel Love Among the Chickens contained what French calls the author's first original comic creation: Stanley Featherstonehaugh Ukridge. The character, an amoral, bungling opportunist, is partly based on Wodehouse's Globe colleague Herbert Westbrook. The two collaborated between 1907 and 1913 on two books, two music hall sketches, and a play, Brother Alfred. Wodehouse would return to the character in short stories over the next six decades.
In early 1906 the actor-manager Seymour Hicks invited Wodehouse to become resident lyricist at the Aldwych Theatre, to add topical verses to newly imported or long-running shows. Hicks had already recruited the young Jerome Kern to write the music for such songs. The first Kern-Wodehouse collaboration, a comic number for The Beauty of Bath titled "Mr [Joseph] Chamberlain", was a show-stopper and was briefly the most popular song in London.
Psmith, Blandings, Wooster and Jeeves: 1908–1915
Wodehouse's early period as a writer came to an end in 1908 with the serialisation of The Lost Lambs, published the following year in book form as the second half of the novel Mike. The work begins as a conventional school story, but Wodehouse introduces a new and strikingly original character, Psmith, whose creation both Evelyn Waugh and George Orwell regarded as a watershed in Wodehouse's development. Wodehouse said that he based Psmith on the hotelier and impresario Rupert D'Oyly Carte—"the only thing in my literary career which was handed to me on a silver plate with watercress around it". Wodehouse wrote in the 1970s that a cousin of his who had been at school with Carte told him of the latter's monocle, studied suavity, and stateliness of speech, all of which Wodehouse adopted for his new character. Psmith featured in three more novels: Psmith in the City (1910), a burlesque of banking; Psmith, Journalist (1915) set in New York; and Leave It to Psmith (1923), set at Blandings Castle.
In May 1909 Wodehouse made his second visit to New York, where he sold two short stories to Cosmopolitan and Collier's for a total of $500, a much higher fee than he had commanded previously. He resigned from The Globe and stayed in New York for nearly a year. He sold many more stories, but none of the American publications offered a permanent relationship and guaranteed income. Wodehouse returned to England in late 1910, rejoining The Globe and also contributing regularly to The Strand Magazine. Between then and the outbreak of the First World War in 1914 he revisited America frequently.
Wodehouse was in New York when the war began. Ineligible for military service because of his poor eyesight, he remained in the US throughout the war, detached from the conflict in Europe and absorbed in his theatrical and literary concerns. In September 1914 he married Ethel May Wayman, née Newton (1885–1984), an English widow. The marriage proved happy and lifelong. Ethel's personality was in contrast with her husband's: he was shy and impractical; she was gregarious, decisive and well organised. In Sproat's phrase, she "took charge of Wodehouse's life and made certain that he had the peace and quiet he needed to write". There were no children of the marriage, but Wodehouse came to love Ethel's daughter Leonora (1905–1944) and legally adopted her.
Wodehouse experimented with different genres of fiction in these years; Psmith, Journalist, mixing comedy with social comment on slum landlords and racketeers, was published in 1915. In the same year The Saturday Evening Post paid $3,500 to serialise Something New, the first of what became a series of novels set at Blandings Castle. It was published in hardback in the US and the UK in the same year (the British edition being retitled Something Fresh). It was Wodehouse's first farcical novel; it was also his first best-seller, and although his later books included some gentler, lightly sentimental stories, it was as a farceur that he became known. Later in the same year "Extricating Young Gussie", the first story about Bertie and Jeeves, was published. These stories introduced two sets of characters about whom Wodehouse wrote for the rest of his life. The Blandings Castle stories, set in an English stately home, depict the attempts of the placid Lord Emsworth to evade the many distractions around him, which include successive pairs of young lovers, the machinations of his exuberant brother Galahad, the demands of his domineering sisters and super-efficient secretaries, and anything detrimental to his prize sow, the Empress of Blandings. The Bertie and Jeeves stories feature an amiable young man-about-town, regularly rescued from the consequences of his idiocy by the benign interference of his valet.
Broadway: 1915–1919
A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator. Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York. The show was successful, but they thought the song lyrics weak and invited Wodehouse to join them on its successor. This was Miss Springtime (1916), which ran for 227 performances—a good run by the standards of the day. The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917–18) and Oh, Lady! Lady!! (1918), and Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin.
Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies. Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do. Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical. In the Grove Dictionary of American Music Larry Stempel writes, "By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy." The theatre writer Gerald Bordman calls Wodehouse "the most observant, literate, and witty lyricist of his day". The composer Richard Rodgers wrote, "Before Larry Hart, only P.G. Wodehouse had made any real assault on the intelligence of the song-listening public."
1920s
In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones. Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest. Various other young men-about-town appeared in short stories about members of the Drones Club.
The Wodehouses returned to England, where they had a house in London for some years, but Wodehouse continued to cross the Atlantic frequently, spending substantial periods in New York. He continued to work in the theatre. During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York). He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnár, and A Damsel in Distress (1928), a dramatisation of his 1919 novel.
Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods. Donaldson lists among those with whom he was on friendly terms writers including A. A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith Jr., Heather Thatcher and Dorothy Dickson.
Hollywood: 1929–1931
There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name. Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM). Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week. This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929.
The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories. He commented, "It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary." Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used. In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was "as close to a success as Wodehouse was to have at MGM. His only other credits were minimal, and the other projects he worked on were not produced."
Wodehouse's contract ended after a year and was not renewed. At MGM's request, he gave an interview to The Los Angeles Times. Wodehouse was described by Herbert Warren Wind as "politically naive [and] fundamentally unworldly", and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent. The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry. Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been "a storm in a teacup", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable.
Wind's view of Wodehouse's naïveté is not universally held. Biographers including Donaldson, McCrum and Phelps suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute. He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire.
Best-seller: 1930s
During the 1930s Wodehouse's theatrical work tailed off. He wrote or adapted four plays for the West End; Leave it to Psmith (1930), which he adapted in collaboration with Ian Hay, was the only one to have a long run. The reviewer in The Manchester Guardian praised the play, but commented: "It is Mr Wodehouse's own inimitable narrative comments and descriptions in his own person of the antics of his puppets that one misses. They cannot be got into a play and they are at least half the fun of the novels." In 1934 Wodehouse collaborated with Bolton on the book for Cole Porter's Anything Goes (Porter wrote his own lyrics), but at the last minute their version was almost entirely rewritten by others at the instigation of the producer, who disliked the original script. Concentrating on writing novels and short stories, Wodehouse reached the peak of his productivity in this decade, averaging two books each year, and grossing an annual £100,000.
His practice of dividing his time between Britain and America caused Wodehouse difficulties with the tax authorities of both countries. Both the UK Inland Revenue and the US Internal Revenue Service sought to tax him as a resident. The matter was settled after lengthy negotiations, but the Wodehouses decided to change their residential status beyond doubt by moving to France, where they bought a house near Le Touquet in the north.
In 1935 Wodehouse created the last of his regular cast of principal characters, Lord Ickenham, otherwise known as Uncle Fred, who, in Usborne's words, "leads the dance in four novels and a short story... a whirring dynamo of misrule". His other books from the decade include Right Ho, Jeeves, which Donaldson judged his best work, Uncle Fred in the Springtime, which the writer Bernard Levin considered the best, and Blandings Castle, which contains "Lord Emsworth and the Girl Friend", which Rudyard Kipling thought "one of the most perfect short stories I have ever read".
Other leading literary figures who admired Wodehouse were A. E. Housman, Max Beerbohm and Hilaire Belloc; on the radio and in print Belloc called Wodehouse "the best writer of our time: the best living writer of English... the head of my profession". Wodehouse regarded Belloc's plaudit as "a gag, to get a rise out of serious-minded authors whom he disliked". Wodehouse was never sure that his books had literary merit as well as popular appeal, and, Donaldson suggests, must have been overwhelmed when the University of Oxford conferred an honorary doctorate of letters on him in June 1939. His visit to England for the awarding ceremony was the last time he set foot in his native land.
Second World War: internment and broadcasts
At the start of the Second World War Wodehouse and his wife remained at their Le Touquet house, where, during the Phoney War, he worked on Joy in the Morning. With the advance of the Germans, the nearby Royal Air Force base withdrew; Wodehouse was offered the sole spare seat in one of the fighter aircraft, but he turned down the opportunity as it would have meant leaving behind Ethel and their dog. On 21 May 1940, with German troops advancing through northern France, the Wodehouses decided to drive to Portugal and fly from there to the US. Two miles from home their car broke down, so they returned and borrowed a car from a neighbour; with the routes blocked with refugees, they returned home again.
The Germans occupied Le Touquet on 22 May 1940 and Wodehouse had to report to the authorities daily. After two months of occupation the Germans interned all male enemy nationals under 60, and Wodehouse was sent to a former prison in Loos, a suburb of Lille, on 21 July; Ethel remained in Le Touquet. The internees were placed four to a cell, each of which had been designed for one man. One bed was available per cell, which was made available to the eldest man—not Wodehouse, who slept on the granite floor. The prisoners were not kept long in Loos before they were transported in cattle trucks to a former barracks in Liège, Belgium, which was run as a prison by the SS. After a week the men were transferred to Huy in Liège, where they were incarcerated in the local citadel. They remained there until September 1940, when they were transported to Tost in Upper Silesia (then Germany, now Toszek in Poland).
Wodehouse's family and friends had not had any news of his location after the fall of France, but an article from an Associated Press reporter who had visited Tost in December 1940 led to pressure on the German authorities to release the novelist. This included a petition from influential people in the US; Senator W. Warren Barbour presented it to the German ambassador. Although his captors refused to release him, Wodehouse was provided with a typewriter and, to pass the time, he wrote Money in the Bank. Throughout his time in Tost, he sent postcards to his US literary agent asking for $5 to be sent to various people in Canada, mentioning his name. These were the families of Canadian prisoners of war, and the news from Wodehouse was the first indication that their sons were alive and well. Wodehouse risked severe punishment for the communication, but managed to evade the German censor.
On 21 June 1941, while he was in the middle of playing a game of cricket, Wodehouse received a visit from two members of the Gestapo. He was given ten minutes to pack his things before he was taken to the Hotel Adlon, a top luxury hotel in Berlin. He stayed there at his own expense; royalties from the German editions of his books had been put into a special frozen bank account at the outset of the war, and Wodehouse was permitted to draw upon this money he had earned while staying in Berlin. He was thus released from internment a few months before his sixtieth birthday—the age at which civilian internees were released by the Nazis. Shortly afterwards Wodehouse was, in the words of Phelps, "cleverly trapped" into making five broadcasts to the US via German radio, with the Berlin-based correspondent of the Columbia Broadcasting System. The broadcasts—aired on 28 June, 9, 23 and 30 July and 6 August—were titled How to be an Internee Without Previous Training, and comprised humorous anecdotes about Wodehouse's experiences as a prisoner, including some gentle mocking of his captors. The German propaganda ministry arranged for the recordings to be broadcast to Britain in August. The day after Wodehouse recorded his final programme, Ethel joined him in Berlin, having sold most of her jewellery to pay for the journey.
Aftermath: reactions and investigation
The reaction in Britain to Wodehouse's broadcasts was hostile, and he was "reviled ... as a traitor, collaborator, Nazi propagandist, and a coward", although, Phelps observes, many of those who decried his actions had not heard the content of the programmes. A front-page article in The Daily Mirror stated that Wodehouse "lived luxuriously because Britain laughed with him, but when the laughter was out of his country's heart, ... [he] was not ready to share her suffering. He hadn't the guts ... even to stick it out in the internment camp." In the House of Commons Anthony Eden, the Foreign Secretary, regretted Wodehouse's actions. Several libraries removed Wodehouse novels from their shelves.
On 15 July the journalist William Connor, under his pen name Cassandra, broadcast a postscript to the news programme railing against Wodehouse. According to The Times, the broadcast "provoked a storm of complaint ... from listeners all over the country". Wodehouse's biographer, Joseph Connolly, thinks the broadcast "inaccurate, spiteful and slanderous"; Phelps calls it "probably the most vituperative attack on an individual ever heard on British radio". The broadcast was made at the direct instruction of Duff Cooper, the Minister of Information, who overruled strong protests made by the BBC against the decision to air the programme. Numerous letters appeared in the British press, both supporting and criticising Wodehouse. The letters page of The Daily Telegraph became a focus for censuring Wodehouse, including one from Wodehouse's friend, ; a reply from their fellow author Compton Mackenzie in defence of Wodehouse was not published because the editor claimed a lack of space. Most of those defending Wodehouse against accusations of disloyalty, including Sax Rohmer, Dorothy L. Sayers and Gilbert Frankau, conceded that he had acted stupidly. Some members of the public wrote to the newspapers to say that the full facts were not yet known and a fair judgment could not be made until they were. The management of the BBC, who considered Wodehouse's actions no worse than "ill advised", pointed out to Cooper that there was no evidence at that point whether Wodehouse had acted voluntarily or under compulsion.
When Wodehouse heard of the furore the broadcasts had caused, he contacted the Foreign Office—through the Swiss embassy in Berlin—to explain his actions, and attempted to return home via neutral countries, but the German authorities refused to let him leave. In Performing Flea, a 1953 collection of letters, Wodehouse wrote, "Of course I ought to have had the sense to see that it was a loony thing to do to use the German radio for even the most harmless stuff, but I didn't. I suppose prison life saps the intellect". The reaction in America was mixed: the left-leaning publication PM accused Wodehouse of "play[ing] Jeeves to the Nazis", but the Department of War used the interviews as an ideal representation of anti-Nazi propaganda.
The Wodehouses remained in Germany until September 1943, when, because of the Allied bombings, they were allowed to move back to Paris. They were living there when the city was liberated on 25 August 1944; Wodehouse reported to the American authorities the following day, asking them to inform the British of his whereabouts. He was subsequently visited by Malcolm Muggeridge, recently arrived in Paris as an intelligence officer with MI6. The young officer quickly came to like Wodehouse and considered the question of treasonable behaviour as "ludicrous"; he summed up the writer as "ill-fitted to live in an age of ideological conflict". On 9 September Wodehouse was visited by an MI5 officer and former barrister, Major Edward Cussen, who formally investigated him, a process that stretched over four days. On 28 September Cussen filed his report, which states that in regard to the broadcasts, Wodehouse's behaviour "has been unwise", but advised against further action. On 23 November Theobald Matthew, the Director of Public Prosecutions, decided there was no evidence to justify prosecuting Wodehouse.
In November 1944 Duff Cooper was appointed British ambassador to France and was provided accommodation at the Hôtel Le Bristol, where the Wodehouses were living. Cooper complained to the French authorities, and the couple were moved to a different hotel. They were subsequently arrested by French police and placed under preventive detention, despite no charges being presented. When Muggeridge tracked them down later, he managed to get Ethel released straight away and, four days later, ensured that the French authorities declared Wodehouse unwell and put him in a nearby hospital, which was more comfortable than where they had been detained. While in this hospital, Wodehouse worked on his novel Uncle Dynamite.
While still detained by the French, Wodehouse was again mentioned in questions in the House of Commons in December 1944 when MPs wondered if the French authorities could repatriate him to stand trial. Eden stated that the "matter has been gone into, and, according to the advice given, there are no grounds upon which we could take action". Two months later, Orwell wrote the essay "In Defence of P.G. Wodehouse", where he stated that "it is important to realise that the events of 1941 do not convict Wodehouse of anything worse than stupidity". Orwell's rationale was that Wodehouse's "moral outlook has remained that of a public-school boy, and according to the public-school code, treachery in time of war is the most unforgivable of all the sins", which was compounded by his "complete lack—so far as one can judge from his printed works—of political awareness".
On 15 January 1945 the French authorities released Wodehouse, but they did not inform him, until June 1946, that he would not face any official charges and was free to leave the country.
American exile: 1946–1975
Having secured American visas in July 1946, the Wodehouses made preparations to return to New York. They were delayed by Ethel's insistence on acquiring suitable new clothes and by Wodehouse's wish to finish writing his current novel, The Mating Season, in the peace of the French countryside. In April 1947 they sailed to New York, where Wodehouse was relieved at the friendly reception he received from the large press contingent awaiting his arrival. Ethel secured a comfortable penthouse apartment in Manhattan's Upper East Side, but Wodehouse was not at ease. The New York that he had known before the war was much changed. The magazines that had paid lavishly for his stories were in decline, and those that remained were not much interested in him. He was sounded out about writing for Broadway, but he was not at home in the post-war theatre; he had money problems, with large sums temporarily tied up in Britain, and for the first time in his career he had no ideas for a new novel. He did not complete one until 1951.
Wodehouse remained unsettled until he and Ethel left New York City for Long Island. Bolton and his wife lived in the prosperous hamlet of Remsenburg, part of the Southampton area of Long Island, east of Manhattan. Wodehouse stayed with them frequently, and in 1952 he and Ethel bought a house nearby. They lived at Remsenburg for the rest of their lives. Between 1952 and 1975 he published more than twenty novels, as well as two collections of short stories, a heavily edited collection of his letters, a volume of memoirs, and a selection of his magazine articles. He continued to hanker after a revival of his theatrical career. A 1959 off-Broadway revival of the 1917 Bolton-Wodehouse-Kern Leave It to Jane was a surprise hit, running for 928 performances, but his few post-war stage works, some in collaboration with Bolton, made little impression.
Although Ethel made a return visit to England in 1948 to shop and visit family and friends, Wodehouse never left America after his arrival in 1947. It was not until 1965 that the British government indicated privately that he could return without fear of legal proceedings, and by then he felt too old to make the journey. The biographers Benny Green and Robert McCrum both take the view that this exile benefited Wodehouse's writing, helping him to go on depicting an idealised England seen in his mind's eye, rather than as it actually was in the post-war decades. During their years in Long Island, the couple often took in stray animals and contributed substantial funds to a local animal shelter.
In 1955 Wodehouse became an American citizen, though he remained a British subject, and was therefore still eligible for UK state honours. He was considered for the award of a knighthood three times from 1967, but the honour was twice blocked by British officials. In 1974 the British prime minister, Harold Wilson, intervened to secure a knighthood (KBE) for Wodehouse, which was announced in the January 1975 New Year Honours list. The Times commented that Wodehouse's honour signalled "official forgiveness for his wartime indiscretion.... It is late, but not too late, to take the sting out of that unhappy incident."
The following month Wodehouse entered Southampton Hospital, Long Island, for treatment of a skin complaint. While there, he suffered a heart attack and died on 14 February 1975 at the age of 93. He was buried at Remsenburg Presbyterian Church four days later. Ethel outlived him by more than nine years; Leonora had predeceased him, dying suddenly in 1944.
Writing
Technique and approach
Before starting a book Wodehouse would write up to four hundred pages of notes bringing together an outline of the plot; he acknowledged that "It's the plots that I find so hard to work out. It takes such a long time to work one out." He always completed the plot before working on specific character actions. For a novel the note-writing process could take up to two years, and he would usually have two or more novels in preparation simultaneously. After he had completed his notes, he would draw up a fuller scenario of about thirty thousand words, which ensured plot holes were avoided, and allowed for the dialogue to begin to develop. When interviewed in 1975 he revealed that "For a humorous novel you've got to have a scenario, and you've got to test it so that you know where the comedy comes in, where the situations come in ... splitting it up into scenes (you can make a scene of almost anything) and have as little stuff in between as possible." He preferred working between 4 and 7 pm—but never after dinner—and would work seven days a week. In his younger years, he would write around two to three thousand words a day, although he slowed as he aged, so that in his nineties he would produce a thousand. The reduced speed in writing slowed his production of books: when younger he would produce a novel in about three months, while Bachelors Anonymous, published in 1973, took around six months. Although studies of language production in normal healthy ageing show a marked decline from the mid-70s on, a study of Wodehouse's works did not find any evidence of a decline in linguistic ability with age.
Wodehouse believed that one of the factors that made his stories humorous was his view of life, and he stated that "If you take life fairly easily, then you take a humorous view of things. It's probably because you were born that way." He carried this view through into his writing, describing the approach as "making the thing a sort of musical comedy without music, and ignoring real life altogether". The literary critic Edward L. Galligan considers Wodehouse's stories to show his mastery in adapting the form of the American musical comedy for his writings. Wodehouse would ensure that his first draft was as carefully and accurately done as possible, correcting and refining the prose as he wrote, and would then make another good copy, before proofreading again and then making a final copy for his publisher.
Most of Wodehouse's canon is set in an undated period around the 1920s and 1930s. The critic Anthony Lejeune describes the settings of Wodehouse's novels, such as the Drones Club and Blandings Castle, as "a fairyland". Although some critics thought Wodehouse's fiction was based on a world that had never existed, Wodehouse affirmed that "it did. It was going strong between the wars", although he agreed that his version was to some extent "a sort of artificial world of my own creation". The novels showed a largely unchanging world, regardless of when they were written, and only rarely—and mistakenly in McCrum's view—did Wodehouse allow modernity to intrude, as he did in the 1966 story "Bingo Bans the Bomb".
When dealing with the dialogue in his novels, Wodehouse would consider the book's characters as if they were actors in a play, ensuring that the main roles were kept suitably employed throughout the storyline, which must be strong: "If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them." Many of Wodehouse's parts were stereotypes, and he acknowledged that "a real character in one of my books sticks out like a sore thumb." The publisher Michael Joseph identifies that even within the stereotypes Wodehouse understood human nature, and therefore "shares with [Charles] Dickens and Charles Chaplin the ability to present the comic resistance of the individual against those superior forces to which we are all subject".
Much of Wodehouse's use of slang terms reflects the influence of his time at school in Dulwich, and partly reflects Edwardian slang. As a young man he enjoyed the literary works of Arthur Conan Doyle and Jerome K. Jerome, and the operatic works of Gilbert and Sullivan. Wodehouse quotes from and alludes to numerous poets throughout his work. The scholar Clarke Olney lists those quoted, including Milton, Byron, Longfellow, Coleridge, Swinburne, Tennyson, Wordsworth and Shakespeare. Another favoured source was the King James Bible.
Language
In 1941 the Concise Cambridge History of English Literature opined that Wodehouse had "a gift for highly original aptness of phrase that almost suggests a poet struggling for release among the wild extravagances of farce", while McCrum thinks that Wodehouse manages to combine "high farce with the inverted poetry of his mature comic style", particularly in The Code of the Woosters; the novelist Anthony Powell believes Wodehouse to be a "comic poet". Robert A. Hall Jr., in his study of Wodehouse's style and technique, describes the author as a master of prose, an opinion also shared by Levin, who considers Wodehouse "one of the finest and purest writers of English prose". Hall identifies several techniques used by Wodehouse to achieve comic effect, including the creation of new words through adding or removing prefixes and suffixes, so when Pongo Twistleton removes the housemaid Elsie Bean from a cupboard, Wodehouse writes that the character "de-Beaned the cupboard". Wodehouse created new words by splitting others in two, thus Wodehouse divides "hobnobbing" when he writes: "To offer a housemaid a cigarette is not hobbing. Nor, when you light it for her, does that constitute nobbing."
Richard Voorhees, Wodehouse's biographer, believes that the author used clichés in a deliberate and ironic manner. His opinion is shared by the academic Stephen Medcalf, who deems Wodehouse's skill is to "bring a cliché just enough to life to kill it", although Pamela March, writing in The Christian Science Monitor, considers Wodehouse to have "an ability to decliché a cliché". Medcalf provides an example from Right Ho, Jeeves in which the teetotal Gussie Fink-Nottle has surreptitiously been given whisky and gin in a punch prior to a prize-giving:
'It seems to me, Jeeves, that the ceremony may be one fraught with considerable interest.'
'Yes, sir.'
'What, in your opinion, will the harvest be?'
'One finds it difficult to hazard a conjecture, sir.'
'You mean imagination boggles?'
'Yes, sir.'
I inspected my imagination. He was right. It boggled.
The stylistic device most commonly found in Wodehouse's work is his use of comparative imagery that includes similes. Hall opines that the humour comes from Wodehouse's ability to accentuate "resemblances which at first glance seem highly incongruous". Examples can be seen in Joy in the Morning, Chapter 29: "There was a sound in the background like a distant sheep coughing gently on a mountainside. Jeeves sailing into action", or Psmith, Chapter 7: "A sound like two or three pigs feeding rather noisily in the middle of a thunderstorm interrupted his meditation." Hall also identifies that periodically Wodehouse used the stylistic device of a transferred epithet, with an adjective that properly belongs to a person applied instead to some inanimate object. The form of expression is used sparingly by Wodehouse in comparison with other mechanisms, only once or twice in a story or novel, according to Hall.
"I balanced a thoughtful lump of sugar on the teaspoon."
—Joy in the Morning, Chapter 5
"As I sat in the bath-tub, soaping a meditative foot ..."
—Jeeves and the Feudal Spirit, Chapter 1
"The first thing he did was to prod Jeeves in the lower ribs with an uncouth forefinger."
—Much Obliged, Jeeves, Chapter 4
Wordplay is a key element in Wodehouse's writing. This can take the form of puns, such as in Jeeves and the Feudal Spirit, when Bertie is released after a night in the police cells, and says that he has "a pinched look" about him. Linguistic confusion is another humorous mechanism, such as in Uncle Dynamite when Constable Potter says he has been "assaulted by the duck pond". In reply, Sir Aylmer, confusing the two meanings of the word "by", asks: "How the devil can you be assaulted by a duck pond?" Wodehouse also uses metaphor and mixed metaphor to add humour. Some come through exaggeration, such as Bingo Little's infant child who "not only has the aspect of a mass murderer, but that of a mass murderer suffering from an ingrown toenail", or Wooster's complaint that "the rumpuses that Bobbie Wickham is already starting may be amusing to her, but not to the unfortunate toads beneath the harrow whom she ruthlessly plunges into the soup." Bertie Wooster's half-forgotten vocabulary also provides a further humorous device. In Jeeves and the Feudal Spirit Bertie asks Jeeves "Let a plugugly like young Thos loose in the community with a cosh, and you are inviting disaster and ... what's the word? Something about cats." Jeeves replies, "Cataclysms, sir?"
Reception and reputation
Literary reception
Wodehouse's early career as a lyricist and playwright was profitable, and his work with Bolton, according to The Guardian, "was one of the most successful in the history of musical comedy". At the outbreak of the Second World War he was earning £40,000 a year from his work, which had broadened to include novels and short stories. Following the furore ensuing from the wartime broadcasts, he suffered a downturn in his popularity and book sales; The Saturday Evening Post stopped publishing his short stories, a stance they reversed in 1965, although his popularity—and the sales figures—slowly recovered over time.
Wodehouse received great praise from many of his contemporaries, including Max Beerbohm, Rudyard Kipling, A. E. Housman and Evelyn Waugh—the last of whom opines, "One has to regard a man as a Master who can produce on average three uniquely brilliant and entirely original similes on each page." There are dissenters to the praise. The writer Alan Bennett thinks that "inspired though his language is, I can never take more than ten pages of the novels at a time, their relentless flippancy wearing and tedious", while the literary critic Q. D. Leavis writes that Wodehouse had a "stereotyped humour ... of ingenious variations on a laugh in one place". In a 2010 study of Wodehouse's few relatively serious novels, such as The Coming of Bill (1919), Jill the Reckless (1920) and The Adventures of Sally (1922), David Heddendorf concludes that though their literary quality does not match that of the farcical novels, they show a range of empathy and interests that in real life—and in his most comic works—the author seemed to lack. "Never oblivious to grief and despair, he opts in clear-eyed awareness for his timeless world of spats and woolly-headed peers. It's an austere, almost bloodless preference for pristine artifice over the pain and messy outcomes of actual existence, but it's a case of Wodehouse keeping faith with his own unique art."
The American literary analyst Robert F. Kiernan, defining "camp" as "excessive stylization of whatever kind", brackets Wodehouse as "a master of the camp novel", along with Thomas Love Peacock, Max Beerbohm, Ronald Firbank, E. F. Benson and Ivy Compton-Burnett. The literary critic and writer Cyril Connolly calls Wodehouse a "politicians' author"—one who does "not like art to be exacting and difficult". Two former British prime ministers, H. H. Asquith and Tony Blair, are on record as Wodehouse aficionados, and the latter became a patron of the Wodehouse Society. Seán O'Casey, a successful playwright of the 1920s, thought little of Wodehouse; he commented in 1941 that it was damaging to England's dignity that the public or "the academic government of Oxford, dead from the chin up" considered Wodehouse an important figure in English literature. His jibe that Wodehouse was "English literature's performing flea" provided his target with the title of his collected letters, published in 1953. McCrum, writing in 2004, observes, "Wodehouse is more popular today than on the day he died", and "his comic vision has an absolutely secure place in the English literary imagination."
Honours and influence
The proposed nominations of Wodehouse for a knighthood in 1967 and 1971 were blocked for fear that such an award would "revive the controversy of his wartime behaviour and give currency to a Bertie Wooster image of the British character which the embassy was doing its best to eradicate". When Wodehouse was awarded the knighthood, only four years later, the journalist Dennis Barker wrote in The Guardian that the writer was "the solitary surviving English literary comic genius". After his death six weeks later, the journalist Michael Davie, writing in the same paper, observed that "Many people regarded ... [Wodehouse] as he regarded Beachcomber, as 'one, if not more than one, of England's greatest men'", while in the view of the obituarist for The Times Wodehouse "was a comic genius recognized in his lifetime as a classic and an old master of farce". In September 2019 Wodehouse was commemorated with a memorial stone in Westminster Abbey; the dedication was held two days after it was installed.
Since Wodehouse's death there have been numerous adaptations and dramatisations of his work on television and film; Wodehouse himself has been portrayed on radio and screen numerous times. There are several literary societies dedicated to Wodehouse. The P.G. Wodehouse Society (UK) was founded in 1997 and has over 1,000 members as at 2015. The president of the society as at 2017 is Alexander Armstrong; past presidents have included Terry Wogan and Richard Briers. There are also other groups of Wodehouse fans in Australia, Belgium, France, Finland, India, Italy, Russia, Sweden and the US. As at 2015 the Oxford English Dictionary contains over 1,750 quotations from Wodehouse, illustrating terms from crispish to zippiness. Voorhees, while acknowledging that Wodehouse's antecedents in literature range from Ben Jonson to Oscar Wilde, writes:
Notes, references and sources
Notes
References
Sources
External links
P. G. Wodehouse collection at One More Library
P.G. Wodehouse Archive on loan to the British Library
The Wodehouse Society
The P. G. Wodehouse Society (UK)
Transcripts of Wodehouse's Berlin Broadcasts
"P. G. Wodehouse: An English Master of American Slang" from The American Legion Weekly, 24 October 1919
Orwell, George "In Defence of P.G. Wodehouse"
1881 births
1975 deaths
20th-century English novelists
20th-century British dramatists and playwrights
British emigrants to the United States
English lyricists
Knights Commander of the Order of the British Empire
English male dramatists and playwrights
British male novelists
People educated at Dulwich College
People educated at Elizabeth College, Guernsey
People from Guildford
People from Long Island
PG
People interned during World War II
English humorists
20th-century American novelists
American dramatists and playwrights
American humorists
American lyricists
American male novelists
Novelists from New York (state)
Literature controversies
English broadcasters for Nazi Germany
20th-century American male writers | true | [
"Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\n\nKobylinec and Ptáčovský kopeček\n\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\n\nPonds\n\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\n\nSyenitové skály near Pocoucov\n\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\n\nExternal links\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\n\nReferences\n\nExternal links\nNature near the village Trnava which is there\n\nTřebíč\nParks in the Czech Republic\nTourist attractions in the Vysočina Region",
"Damn Interesting is an independent website founded by Alan Bellows in 2005. The website presents true stories from science, history, and psychology, primarily as long-form articles, often illustrated with original artwork. Works are written by various authors, and published at irregular intervals. The website openly rejects advertising, relying on reader and listener donations to cover operating costs.\n\nAs of October 2012, each article is also published as a podcast under the same name. In November 2019, a second podcast was launched under the title Damn Interesting Week, featuring unscripted commentary on an assortment of news articles featured on the website's \"Curated Links\" section that week. In mid-2020, a third podcast called Damn Interesting Curio Cabinet began highlighting the website's periodic short-form articles in the same radioplay format as the original podcast.\n\nIn July 2009, Damn Interesting published the print book Alien Hand Syndrome through Workman Publishing. It contains some favorites from the site and some exclusive content.\n\nAwards and recognition \nIn August 2007, PC Magazine named Damn Interesting one of the \"Top 100 Undiscovered Web Sites\".\nThe article \"The Zero-Armed Bandit\" by Alan Bellows won a 2015 Sidney Award from David Brooks in The New York Times.\nThe article \"Ghoulish Acts and Dastardly Deeds\" by Alan Bellows was cited as \"nonfiction journalism from 2017 that will stand the test of time\" by Conor Friedersdorf in The Atlantic.\nThe article \"Dupes and Duplicity\" by Jennifer Lee Noonan won a 2020 Sidney Award from David Brooks in the New York Times.\n\nAccusing The Dollop of plagiarism \n\nOn July 9, 2015, Bellows posted an open letter accusing The Dollop, a comedy podcast about history, of plagiarism due to their repeated use of verbatim text from Damn Interesting articles without permission or attribution. Dave Anthony, the writer of The Dollop, responded on reddit, admitting to using Damn Interesting content, but claiming that the use was protected by fair use, and that \"historical facts are not copyrightable.\" In an article about the controversy on Plagiarism Today, Jonathan Bailey concluded, \"Any way one looks at it, The Dollop failed its ethical obligations to all of the people, not just those writing for Damn Interesting, who put in the time, energy and expertise into writing the original content upon which their show is based.\"\n\nReferences\n\nExternal links \n Official website\n\n2005 podcast debuts"
] | [
"Sir Pelham Grenville Wodehouse, ( ; 15 October 188114 February 1975) was an English author and one of the most widely read humorists of the 20th century. His creations include the feather-brained Bertie Wooster and his sagacious valet, Jeeves; the immaculate and loquacious Psmith; Lord Emsworth and the Blandings Castle set; the Oldest Member, with stories about golf; and Mr Mulliner, with tall tales on subjects ranging from bibulous bishops to megalomaniac movie moguls.",
"His creations include the feather-brained Bertie Wooster and his sagacious valet, Jeeves; the immaculate and loquacious Psmith; Lord Emsworth and the Blandings Castle set; the Oldest Member, with stories about golf; and Mr Mulliner, with tall tales on subjects ranging from bibulous bishops to megalomaniac movie moguls. Born in Guildford, the third son of a British magistrate based in Hong Kong, Wodehouse spent happy teenage years at Dulwich College, to which he remained devoted all his life.",
"Born in Guildford, the third son of a British magistrate based in Hong Kong, Wodehouse spent happy teenage years at Dulwich College, to which he remained devoted all his life. After leaving school he was employed by a bank but disliked the work and turned to writing in his spare time.",
"After leaving school he was employed by a bank but disliked the work and turned to writing in his spare time. His early novels were mostly school stories, but he later switched to comic fiction.",
"His early novels were mostly school stories, but he later switched to comic fiction. Most of Wodehouse's fiction is set in his native United Kingdom, although he spent much of his life in the US and used New York and Hollywood as settings for some of his novels and short stories.",
"Most of Wodehouse's fiction is set in his native United Kingdom, although he spent much of his life in the US and used New York and Hollywood as settings for some of his novels and short stories. He wrote a series of Broadway musical comedies during and after the First World War, together with Guy Bolton and Jerome Kern, that played an important part in the development of the American musical.",
"He wrote a series of Broadway musical comedies during and after the First World War, together with Guy Bolton and Jerome Kern, that played an important part in the development of the American musical. He began the 1930s writing for MGM in Hollywood.",
"He began the 1930s writing for MGM in Hollywood. In a 1931 interview, his naive revelations of incompetence and extravagance in the studios caused a furore. In the same decade, his literary career reached a new peak.",
"In the same decade, his literary career reached a new peak. In 1934 Wodehouse moved to France for tax reasons; in 1940 he was taken prisoner at Le Touquet by the invading Germans and interned for nearly a year.",
"In 1934 Wodehouse moved to France for tax reasons; in 1940 he was taken prisoner at Le Touquet by the invading Germans and interned for nearly a year. After his release he made six broadcasts from German radio in Berlin to the US, which had not yet entered the war.",
"After his release he made six broadcasts from German radio in Berlin to the US, which had not yet entered the war. The talks were comic and apolitical, but his broadcasting over enemy radio prompted anger and strident controversy in Britain, and a threat of prosecution. Wodehouse never returned to England.",
"Wodehouse never returned to England. Wodehouse never returned to England. From 1947 until his death he lived in the US, taking dual British-American citizenship in 1955. He died in 1975, at the age of 93, in Southampton, New York.",
"He died in 1975, at the age of 93, in Southampton, New York. Wodehouse was a prolific writer throughout his life, publishing more than ninety books, forty plays, two hundred short stories and other writings between 1902 and 1974. He worked extensively on his books, sometimes having two or more in preparation simultaneously.",
"He worked extensively on his books, sometimes having two or more in preparation simultaneously. He would take up to two years to build a plot and write a scenario of about thirty thousand words. After the scenario was complete he would write the story.",
"After the scenario was complete he would write the story. Early in his career Wodehouse would produce a novel in about three months, but he slowed in old age to around six months.",
"Early in his career Wodehouse would produce a novel in about three months, but he slowed in old age to around six months. He used a mixture of Edwardian slang, quotations from and allusions to numerous poets, and several literary techniques to produce a prose style that has been compared to comic poetry and musical comedy.",
"He used a mixture of Edwardian slang, quotations from and allusions to numerous poets, and several literary techniques to produce a prose style that has been compared to comic poetry and musical comedy. Some critics of Wodehouse have considered his work flippant, but among his fans are former British prime ministers and many of his fellow writers.",
"Some critics of Wodehouse have considered his work flippant, but among his fans are former British prime ministers and many of his fellow writers. Life and career Early years Wodehouse was born in Guildford, Surrey, the third son of Henry Ernest Wodehouse (1845–1929), a magistrate resident in the British colony of Hong Kong, and his wife, Eleanor (1861–1941), daughter of the Rev John Bathurst Deane.",
"Life and career Early years Wodehouse was born in Guildford, Surrey, the third son of Henry Ernest Wodehouse (1845–1929), a magistrate resident in the British colony of Hong Kong, and his wife, Eleanor (1861–1941), daughter of the Rev John Bathurst Deane. The Wodehouses, who traced their ancestry back to the 13th century, belonged to a cadet branch of the family of the earls of Kimberley.",
"The Wodehouses, who traced their ancestry back to the 13th century, belonged to a cadet branch of the family of the earls of Kimberley. Eleanor Wodehouse was also of ancient aristocratic ancestry. She was visiting her sister in Guildford when Wodehouse was born there prematurely.",
"She was visiting her sister in Guildford when Wodehouse was born there prematurely. The boy was baptised at the Church of St Nicolas, Guildford, and was named after his godfather, Pelham von Donop.",
"The boy was baptised at the Church of St Nicolas, Guildford, and was named after his godfather, Pelham von Donop. Wodehouse wrote in 1957, \"If you ask me to tell you frankly if I like the name Pelham Grenville Wodehouse, I must confess that I do not....",
"Wodehouse wrote in 1957, \"If you ask me to tell you frankly if I like the name Pelham Grenville Wodehouse, I must confess that I do not.... I was named after a godfather, and not a thing to show for it but a small silver mug which I lost in 1897.\"",
"I was named after a godfather, and not a thing to show for it but a small silver mug which I lost in 1897.\" The first name was rapidly elided to \"Plum\", the name by which Wodehouse became known to family and friends.",
"The first name was rapidly elided to \"Plum\", the name by which Wodehouse became known to family and friends. Mother and son sailed for Hong Kong, where for his first two years Wodehouse was raised by a Chinese amah (nurse), alongside his elder brothers Peveril (1877–1951) and Armine (1879–1936).",
"Mother and son sailed for Hong Kong, where for his first two years Wodehouse was raised by a Chinese amah (nurse), alongside his elder brothers Peveril (1877–1951) and Armine (1879–1936). When he was two, the brothers were brought to England, where they were placed under the care of an English nanny in a house adjoining that of Eleanor's father and mother.",
"When he was two, the brothers were brought to England, where they were placed under the care of an English nanny in a house adjoining that of Eleanor's father and mother. The boys' parents returned to Hong Kong and became virtual strangers to their sons.",
"The boys' parents returned to Hong Kong and became virtual strangers to their sons. Such an arrangement was then normal for middle-class families based in the colonies.",
"Such an arrangement was then normal for middle-class families based in the colonies. The lack of parental contact, and the harsh regime of some of those in loco parentis, left permanent emotional scars on many children from similar backgrounds, including the writers Thackeray, Saki, Kipling and Walpole.",
"The lack of parental contact, and the harsh regime of some of those in loco parentis, left permanent emotional scars on many children from similar backgrounds, including the writers Thackeray, Saki, Kipling and Walpole. Wodehouse was more fortunate; his nanny, Emma Roper, was strict but not unkind, and both with her and later at his different schools Wodehouse had a generally happy childhood.",
"Wodehouse was more fortunate; his nanny, Emma Roper, was strict but not unkind, and both with her and later at his different schools Wodehouse had a generally happy childhood. His recollection was that \"it went like a breeze from start to finish, with everybody I met understanding me perfectly\".",
"His recollection was that \"it went like a breeze from start to finish, with everybody I met understanding me perfectly\". The biographer Robert McCrum suggests that nonetheless Wodehouse's isolation from his parents left a psychological mark, causing him to avoid emotional engagement both in life and in his works.",
"The biographer Robert McCrum suggests that nonetheless Wodehouse's isolation from his parents left a psychological mark, causing him to avoid emotional engagement both in life and in his works. Another biographer, Frances Donaldson, writes, \"Deprived so early, not merely of maternal love, but of home life and even a stable background, Wodehouse consoled himself from the youngest age in an imaginary world of his own.\"",
"Another biographer, Frances Donaldson, writes, \"Deprived so early, not merely of maternal love, but of home life and even a stable background, Wodehouse consoled himself from the youngest age in an imaginary world of his own.\" In 1886 the brothers were sent to a dame-school in Croydon, where they spent three years.",
"In 1886 the brothers were sent to a dame-school in Croydon, where they spent three years. Peveril was then found to have a \"weak chest\"; sea air was prescribed, and the three boys were moved to Elizabeth College on the island of Guernsey.",
"Peveril was then found to have a \"weak chest\"; sea air was prescribed, and the three boys were moved to Elizabeth College on the island of Guernsey. In 1891 Wodehouse went on to Malvern House Preparatory School in Kent, which concentrated on preparing its pupils for entry to the Royal Navy.",
"In 1891 Wodehouse went on to Malvern House Preparatory School in Kent, which concentrated on preparing its pupils for entry to the Royal Navy. His father had planned a naval career for him, but the boy's eyesight was found to be too poor for it.",
"His father had planned a naval career for him, but the boy's eyesight was found to be too poor for it. He was unimpressed by the school's narrow curriculum and zealous discipline; he later parodied it in his novels, with Bertie Wooster recalling his early years as a pupil at a \"penitentiary... with the outward guise of a prep school\" called Malvern House.",
"He was unimpressed by the school's narrow curriculum and zealous discipline; he later parodied it in his novels, with Bertie Wooster recalling his early years as a pupil at a \"penitentiary... with the outward guise of a prep school\" called Malvern House. Throughout their school years the brothers were sent to stay during the holidays with various uncles and aunts from both sides of the family.",
"Throughout their school years the brothers were sent to stay during the holidays with various uncles and aunts from both sides of the family. In the Oxford Dictionary of National Biography, Iain Sproat counts twenty aunts and considers that they played an important part not only in Wodehouse's early life, but, thinly disguised, in his mature novels, as the formidable aunts who dominate the action in the Wooster, Blandings, and other stories.",
"In the Oxford Dictionary of National Biography, Iain Sproat counts twenty aunts and considers that they played an important part not only in Wodehouse's early life, but, thinly disguised, in his mature novels, as the formidable aunts who dominate the action in the Wooster, Blandings, and other stories. The boys had fifteen uncles, four of whom were clergymen.",
"The boys had fifteen uncles, four of whom were clergymen. Sproat writes that they inspired Wodehouse's \"pious but fallible curates, vicars, and bishops, of which he wrote with friendly irreverence but without mockery\".",
"Sproat writes that they inspired Wodehouse's \"pious but fallible curates, vicars, and bishops, of which he wrote with friendly irreverence but without mockery\". At the age of twelve in 1894, to his great joy, Wodehouse was able to follow his brother Armine to Dulwich College.",
"At the age of twelve in 1894, to his great joy, Wodehouse was able to follow his brother Armine to Dulwich College. He was entirely at home there; Donaldson comments that Dulwich gave him, for the first time, \"some continuity and a stable and ordered life\".",
"He was entirely at home there; Donaldson comments that Dulwich gave him, for the first time, \"some continuity and a stable and ordered life\". He loved the camaraderie, distinguished himself at cricket, rugby and boxing, and was a good, if not consistently diligent, student.",
"He loved the camaraderie, distinguished himself at cricket, rugby and boxing, and was a good, if not consistently diligent, student. The headmaster at the time was A. H. Gilkes, a respected classicist, who was a strong influence on Wodehouse.",
"The headmaster at the time was A. H. Gilkes, a respected classicist, who was a strong influence on Wodehouse. In a study of Wodehouse's works, Richard Usborne argues that \"only a writer who was himself a scholar and had had his face ground into Latin and Greek (especially Thucydides) as a boy\" could sustain the complex sequences of subordinate clauses sometimes found in Wodehouse's comic prose.",
"In a study of Wodehouse's works, Richard Usborne argues that \"only a writer who was himself a scholar and had had his face ground into Latin and Greek (especially Thucydides) as a boy\" could sustain the complex sequences of subordinate clauses sometimes found in Wodehouse's comic prose. Wodehouse's six years at Dulwich were among the happiest of his life: \"To me the years between 1894 and 1900 were like heaven.\"",
"Wodehouse's six years at Dulwich were among the happiest of his life: \"To me the years between 1894 and 1900 were like heaven.\" In addition to his sporting achievements he was a good singer and enjoyed taking part in school concerts; his literary leanings found an outlet in editing the school magazine, The Alleynian.",
"In addition to his sporting achievements he was a good singer and enjoyed taking part in school concerts; his literary leanings found an outlet in editing the school magazine, The Alleynian. For the rest of his life he remained devoted to the school.",
"For the rest of his life he remained devoted to the school. The biographer Barry Phelps writes that Wodehouse \"loved the college as much as he loved anything or anybody\".",
"The biographer Barry Phelps writes that Wodehouse \"loved the college as much as he loved anything or anybody\". Reluctant banker; budding writer: 1900–1908 Wodehouse expected to follow Armine to the University of Oxford, but the family's finances took a turn for the worse at the crucial moment.",
"Reluctant banker; budding writer: 1900–1908 Wodehouse expected to follow Armine to the University of Oxford, but the family's finances took a turn for the worse at the crucial moment. Ernest Wodehouse had retired in 1895, and his pension was paid in rupees; fluctuation against the pound reduced its value in Britain.",
"Ernest Wodehouse had retired in 1895, and his pension was paid in rupees; fluctuation against the pound reduced its value in Britain. Wodehouse recalled, \"The wolf was not actually whining at the door and there was always a little something in the kitty for the butcher and the grocer, but the finances would not run to anything in the nature of a splash\".",
"Wodehouse recalled, \"The wolf was not actually whining at the door and there was always a little something in the kitty for the butcher and the grocer, but the finances would not run to anything in the nature of a splash\". Instead of a university career, in September 1900 Wodehouse was engaged in a junior position in the London office of the Hongkong and Shanghai Bank.",
"Instead of a university career, in September 1900 Wodehouse was engaged in a junior position in the London office of the Hongkong and Shanghai Bank. He was unsuited to it and found the work baffling and uncongenial.",
"He was unsuited to it and found the work baffling and uncongenial. He later wrote a humorous account of his experiences at the bank, but at the time he longed for the end of each working day, when he could return to his rented lodgings in Chelsea and write.",
"He later wrote a humorous account of his experiences at the bank, but at the time he longed for the end of each working day, when he could return to his rented lodgings in Chelsea and write. At first he concentrated, with some success, on serious articles about school sports for Public School Magazine.",
"At first he concentrated, with some success, on serious articles about school sports for Public School Magazine. In November 1900 his first comic piece, \"Men Who Missed Their Own Weddings\", was accepted by Tit-Bits.",
"In November 1900 his first comic piece, \"Men Who Missed Their Own Weddings\", was accepted by Tit-Bits. A new magazine for boys, The Captain, provided further well-paid opportunities, and during his two years at the bank, Wodehouse had eighty pieces published in a total of nine magazines.",
"A new magazine for boys, The Captain, provided further well-paid opportunities, and during his two years at the bank, Wodehouse had eighty pieces published in a total of nine magazines. In 1901, with the help of a former Dulwich master, William Beach Thomas, Wodehouse secured an appointment—at first temporary and later permanent—writing for The Globes popular \"By the Way\" column.",
"In 1901, with the help of a former Dulwich master, William Beach Thomas, Wodehouse secured an appointment—at first temporary and later permanent—writing for The Globes popular \"By the Way\" column. He held the post until 1909.",
"He held the post until 1909. At around the same time his first novel was published—a school story called The Pothunters, serialised incomplete in Public School Magazine in early 1902, and issued in full in hardback in September. He resigned from the bank that month to devote himself to writing full-time.",
"He resigned from the bank that month to devote himself to writing full-time. Between the publication of The Pothunters 1902 and that of Mike in 1909, Wodehouse wrote eight novels and co-wrote another two.",
"Between the publication of The Pothunters 1902 and that of Mike in 1909, Wodehouse wrote eight novels and co-wrote another two. The critic R. D. B. French writes that, of Wodehouse's work from this period, almost all that deserves to survive is the school fiction.",
"The critic R. D. B. French writes that, of Wodehouse's work from this period, almost all that deserves to survive is the school fiction. Looking back in the 1950s Wodehouse viewed these as his apprentice years: \"I was practically in swaddling clothes and it is extremely creditable to me that I was able to write at all.\"",
"Looking back in the 1950s Wodehouse viewed these as his apprentice years: \"I was practically in swaddling clothes and it is extremely creditable to me that I was able to write at all.\" From his boyhood Wodehouse had been fascinated by America, which he conceived of as \"a land of romance\"; he \"yearned\" to visit the country, and by 1904 he had earned enough to do so.",
"From his boyhood Wodehouse had been fascinated by America, which he conceived of as \"a land of romance\"; he \"yearned\" to visit the country, and by 1904 he had earned enough to do so. In April he sailed to New York, which he found greatly to his liking.",
"In April he sailed to New York, which he found greatly to his liking. He noted in his diary: \"In New York gathering experience. Worth many guineas in the future but none for the moment.\"",
"Worth many guineas in the future but none for the moment.\" This prediction proved correct: few British writers had first-hand experience of the US, and his articles about life in New York brought him higher than usual fees.",
"This prediction proved correct: few British writers had first-hand experience of the US, and his articles about life in New York brought him higher than usual fees. He later recalled that \"in 1904 anyone in the London writing world who had been to America was regarded with awe and looked upon as an authority on that terra incognita.... After that trip to New York I was a man who counted.... My income rose like a rocketing pheasant.\"",
"He later recalled that \"in 1904 anyone in the London writing world who had been to America was regarded with awe and looked upon as an authority on that terra incognita.... After that trip to New York I was a man who counted.... My income rose like a rocketing pheasant.\" Wodehouse's other new venture in 1904 was writing for the stage.",
"Wodehouse's other new venture in 1904 was writing for the stage. Towards the end of the year the librettist Owen Hall invited him to contribute an additional lyric for a musical comedy Sergeant Brue. Wodehouse had loved theatre since his first visit, aged thirteen, when Gilbert and Sullivan's Patience had made him \"drunk with ecstasy\".",
"Wodehouse had loved theatre since his first visit, aged thirteen, when Gilbert and Sullivan's Patience had made him \"drunk with ecstasy\". His lyric for Hall, \"Put Me in My Little Cell\", was a Gilbertian number for a trio of comic crooks, with music by Frederick Rosse; it was well received and launched Wodehouse on a career as a theatre writer that spanned three decades.",
"His lyric for Hall, \"Put Me in My Little Cell\", was a Gilbertian number for a trio of comic crooks, with music by Frederick Rosse; it was well received and launched Wodehouse on a career as a theatre writer that spanned three decades. Although it made little impact on its first publication, the 1906 novel Love Among the Chickens contained what French calls the author's first original comic creation: Stanley Featherstonehaugh Ukridge.",
"Although it made little impact on its first publication, the 1906 novel Love Among the Chickens contained what French calls the author's first original comic creation: Stanley Featherstonehaugh Ukridge. The character, an amoral, bungling opportunist, is partly based on Wodehouse's Globe colleague Herbert Westbrook.",
"The character, an amoral, bungling opportunist, is partly based on Wodehouse's Globe colleague Herbert Westbrook. The two collaborated between 1907 and 1913 on two books, two music hall sketches, and a play, Brother Alfred. Wodehouse would return to the character in short stories over the next six decades.",
"Wodehouse would return to the character in short stories over the next six decades. In early 1906 the actor-manager Seymour Hicks invited Wodehouse to become resident lyricist at the Aldwych Theatre, to add topical verses to newly imported or long-running shows. Hicks had already recruited the young Jerome Kern to write the music for such songs.",
"Hicks had already recruited the young Jerome Kern to write the music for such songs. The first Kern-Wodehouse collaboration, a comic number for The Beauty of Bath titled \"Mr [Joseph] Chamberlain\", was a show-stopper and was briefly the most popular song in London.",
"The first Kern-Wodehouse collaboration, a comic number for The Beauty of Bath titled \"Mr [Joseph] Chamberlain\", was a show-stopper and was briefly the most popular song in London. Psmith, Blandings, Wooster and Jeeves: 1908–1915 Wodehouse's early period as a writer came to an end in 1908 with the serialisation of The Lost Lambs, published the following year in book form as the second half of the novel Mike.",
"Psmith, Blandings, Wooster and Jeeves: 1908–1915 Wodehouse's early period as a writer came to an end in 1908 with the serialisation of The Lost Lambs, published the following year in book form as the second half of the novel Mike. The work begins as a conventional school story, but Wodehouse introduces a new and strikingly original character, Psmith, whose creation both Evelyn Waugh and George Orwell regarded as a watershed in Wodehouse's development.",
"The work begins as a conventional school story, but Wodehouse introduces a new and strikingly original character, Psmith, whose creation both Evelyn Waugh and George Orwell regarded as a watershed in Wodehouse's development. Wodehouse said that he based Psmith on the hotelier and impresario Rupert D'Oyly Carte—\"the only thing in my literary career which was handed to me on a silver plate with watercress around it\".",
"Wodehouse said that he based Psmith on the hotelier and impresario Rupert D'Oyly Carte—\"the only thing in my literary career which was handed to me on a silver plate with watercress around it\". Wodehouse wrote in the 1970s that a cousin of his who had been at school with Carte told him of the latter's monocle, studied suavity, and stateliness of speech, all of which Wodehouse adopted for his new character.",
"Wodehouse wrote in the 1970s that a cousin of his who had been at school with Carte told him of the latter's monocle, studied suavity, and stateliness of speech, all of which Wodehouse adopted for his new character. Psmith featured in three more novels: Psmith in the City (1910), a burlesque of banking; Psmith, Journalist (1915) set in New York; and Leave It to Psmith (1923), set at Blandings Castle.",
"Psmith featured in three more novels: Psmith in the City (1910), a burlesque of banking; Psmith, Journalist (1915) set in New York; and Leave It to Psmith (1923), set at Blandings Castle. In May 1909 Wodehouse made his second visit to New York, where he sold two short stories to Cosmopolitan and Collier's for a total of $500, a much higher fee than he had commanded previously.",
"In May 1909 Wodehouse made his second visit to New York, where he sold two short stories to Cosmopolitan and Collier's for a total of $500, a much higher fee than he had commanded previously. He resigned from The Globe and stayed in New York for nearly a year.",
"He resigned from The Globe and stayed in New York for nearly a year. He sold many more stories, but none of the American publications offered a permanent relationship and guaranteed income. Wodehouse returned to England in late 1910, rejoining The Globe and also contributing regularly to The Strand Magazine.",
"Wodehouse returned to England in late 1910, rejoining The Globe and also contributing regularly to The Strand Magazine. Between then and the outbreak of the First World War in 1914 he revisited America frequently. Wodehouse was in New York when the war began.",
"Wodehouse was in New York when the war began. Ineligible for military service because of his poor eyesight, he remained in the US throughout the war, detached from the conflict in Europe and absorbed in his theatrical and literary concerns. In September 1914 he married Ethel May Wayman, née Newton (1885–1984), an English widow.",
"In September 1914 he married Ethel May Wayman, née Newton (1885–1984), an English widow. The marriage proved happy and lifelong. Ethel's personality was in contrast with her husband's: he was shy and impractical; she was gregarious, decisive and well organised.",
"Ethel's personality was in contrast with her husband's: he was shy and impractical; she was gregarious, decisive and well organised. In Sproat's phrase, she \"took charge of Wodehouse's life and made certain that he had the peace and quiet he needed to write\".",
"In Sproat's phrase, she \"took charge of Wodehouse's life and made certain that he had the peace and quiet he needed to write\". There were no children of the marriage, but Wodehouse came to love Ethel's daughter Leonora (1905–1944) and legally adopted her.",
"There were no children of the marriage, but Wodehouse came to love Ethel's daughter Leonora (1905–1944) and legally adopted her. Wodehouse experimented with different genres of fiction in these years; Psmith, Journalist, mixing comedy with social comment on slum landlords and racketeers, was published in 1915.",
"Wodehouse experimented with different genres of fiction in these years; Psmith, Journalist, mixing comedy with social comment on slum landlords and racketeers, was published in 1915. In the same year The Saturday Evening Post paid $3,500 to serialise Something New, the first of what became a series of novels set at Blandings Castle.",
"In the same year The Saturday Evening Post paid $3,500 to serialise Something New, the first of what became a series of novels set at Blandings Castle. It was published in hardback in the US and the UK in the same year (the British edition being retitled Something Fresh).",
"It was published in hardback in the US and the UK in the same year (the British edition being retitled Something Fresh). It was Wodehouse's first farcical novel; it was also his first best-seller, and although his later books included some gentler, lightly sentimental stories, it was as a farceur that he became known.",
"It was Wodehouse's first farcical novel; it was also his first best-seller, and although his later books included some gentler, lightly sentimental stories, it was as a farceur that he became known. Later in the same year \"Extricating Young Gussie\", the first story about Bertie and Jeeves, was published.",
"Later in the same year \"Extricating Young Gussie\", the first story about Bertie and Jeeves, was published. These stories introduced two sets of characters about whom Wodehouse wrote for the rest of his life.",
"These stories introduced two sets of characters about whom Wodehouse wrote for the rest of his life. The Blandings Castle stories, set in an English stately home, depict the attempts of the placid Lord Emsworth to evade the many distractions around him, which include successive pairs of young lovers, the machinations of his exuberant brother Galahad, the demands of his domineering sisters and super-efficient secretaries, and anything detrimental to his prize sow, the Empress of Blandings.",
"The Blandings Castle stories, set in an English stately home, depict the attempts of the placid Lord Emsworth to evade the many distractions around him, which include successive pairs of young lovers, the machinations of his exuberant brother Galahad, the demands of his domineering sisters and super-efficient secretaries, and anything detrimental to his prize sow, the Empress of Blandings. The Bertie and Jeeves stories feature an amiable young man-about-town, regularly rescued from the consequences of his idiocy by the benign interference of his valet.",
"The Bertie and Jeeves stories feature an amiable young man-about-town, regularly rescued from the consequences of his idiocy by the benign interference of his valet. Broadway: 1915–1919 A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator.",
"Broadway: 1915–1919 A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator. Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York.",
"Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York. The show was successful, but they thought the song lyrics weak and invited Wodehouse to join them on its successor. This was Miss Springtime (1916), which ran for 227 performances—a good run by the standards of the day.",
"This was Miss Springtime (1916), which ran for 227 performances—a good run by the standards of the day. The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917–18) and Oh, Lady! Lady!!",
"Lady!! Lady!! (1918), and Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin.",
"In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin. Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies.",
"Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies. Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do.",
"Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do. Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical.",
"Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical. In the Grove Dictionary of American Music Larry Stempel writes, \"By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy.\"",
"In the Grove Dictionary of American Music Larry Stempel writes, \"By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy.\" The theatre writer Gerald Bordman calls Wodehouse \"the most observant, literate, and witty lyricist of his day\".",
"The theatre writer Gerald Bordman calls Wodehouse \"the most observant, literate, and witty lyricist of his day\". The composer Richard Rodgers wrote, \"Before Larry Hart, only P.G. Wodehouse had made any real assault on the intelligence of the song-listening public.\"",
"Wodehouse had made any real assault on the intelligence of the song-listening public.\" 1920s In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones.",
"1920s In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones. Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest.",
"Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest. Various other young men-about-town appeared in short stories about members of the Drones Club.",
"Various other young men-about-town appeared in short stories about members of the Drones Club. The Wodehouses returned to England, where they had a house in London for some years, but Wodehouse continued to cross the Atlantic frequently, spending substantial periods in New York. He continued to work in the theatre.",
"He continued to work in the theatre. During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York).",
"During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York). He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnár, and A Damsel in Distress (1928), a dramatisation of his 1919 novel.",
"He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnár, and A Damsel in Distress (1928), a dramatisation of his 1919 novel. Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods.",
"Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods. Donaldson lists among those with whom he was on friendly terms writers including A. A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith Jr., Heather Thatcher and Dorothy Dickson.",
"A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith Jr., Heather Thatcher and Dorothy Dickson. Hollywood: 1929–1931 There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name.",
"Hollywood: 1929–1931 There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name. Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM).",
"Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM). Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week.",
"Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week. This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929.",
"This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929. The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories.",
"The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories. He commented, \"It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary.\"",
"He commented, \"It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary.\" Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used.",
"Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used. In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was \"as close to a success as Wodehouse was to have at MGM.",
"In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was \"as close to a success as Wodehouse was to have at MGM. His only other credits were minimal, and the other projects he worked on were not produced.\"",
"His only other credits were minimal, and the other projects he worked on were not produced.\" Wodehouse's contract ended after a year and was not renewed. At MGM's request, he gave an interview to The Los Angeles Times.",
"At MGM's request, he gave an interview to The Los Angeles Times. Wodehouse was described by Herbert Warren Wind as \"politically naive [and] fundamentally unworldly\", and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent.",
"Wodehouse was described by Herbert Warren Wind as \"politically naive [and] fundamentally unworldly\", and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent. The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry.",
"The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry. Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been \"a storm in a teacup\", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable.",
"Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been \"a storm in a teacup\", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable. Wind's view of Wodehouse's naïveté is not universally held.",
"Wind's view of Wodehouse's naïveté is not universally held. Biographers including Donaldson, McCrum and Phelps suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute.",
"Biographers including Donaldson, McCrum and Phelps suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute. He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire.",
"He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire. Best-seller: 1930s During the 1930s Wodehouse's theatrical work tailed off.",
"Best-seller: 1930s During the 1930s Wodehouse's theatrical work tailed off. He wrote or adapted four plays for the West End; Leave it to Psmith (1930), which he adapted in collaboration with Ian Hay, was the only one to have a long run.",
"He wrote or adapted four plays for the West End; Leave it to Psmith (1930), which he adapted in collaboration with Ian Hay, was the only one to have a long run. The reviewer in The Manchester Guardian praised the play, but commented: \"It is Mr Wodehouse's own inimitable narrative comments and descriptions in his own person of the antics of his puppets that one misses.",
"The reviewer in The Manchester Guardian praised the play, but commented: \"It is Mr Wodehouse's own inimitable narrative comments and descriptions in his own person of the antics of his puppets that one misses. They cannot be got into a play and they are at least half the fun of the novels.\"",
"They cannot be got into a play and they are at least half the fun of the novels.\" In 1934 Wodehouse collaborated with Bolton on the book for Cole Porter's Anything Goes (Porter wrote his own lyrics), but at the last minute their version was almost entirely rewritten by others at the instigation of the producer, who disliked the original script.",
"In 1934 Wodehouse collaborated with Bolton on the book for Cole Porter's Anything Goes (Porter wrote his own lyrics), but at the last minute their version was almost entirely rewritten by others at the instigation of the producer, who disliked the original script. Concentrating on writing novels and short stories, Wodehouse reached the peak of his productivity in this decade, averaging two books each year, and grossing an annual £100,000.",
"Concentrating on writing novels and short stories, Wodehouse reached the peak of his productivity in this decade, averaging two books each year, and grossing an annual £100,000. His practice of dividing his time between Britain and America caused Wodehouse difficulties with the tax authorities of both countries.",
"His practice of dividing his time between Britain and America caused Wodehouse difficulties with the tax authorities of both countries. Both the UK Inland Revenue and the US Internal Revenue Service sought to tax him as a resident.",
"Both the UK Inland Revenue and the US Internal Revenue Service sought to tax him as a resident. The matter was settled after lengthy negotiations, but the Wodehouses decided to change their residential status beyond doubt by moving to France, where they bought a house near Le Touquet in the north.",
"The matter was settled after lengthy negotiations, but the Wodehouses decided to change their residential status beyond doubt by moving to France, where they bought a house near Le Touquet in the north. In 1935 Wodehouse created the last of his regular cast of principal characters, Lord Ickenham, otherwise known as Uncle Fred, who, in Usborne's words, \"leads the dance in four novels and a short story... a whirring dynamo of misrule\".",
"In 1935 Wodehouse created the last of his regular cast of principal characters, Lord Ickenham, otherwise known as Uncle Fred, who, in Usborne's words, \"leads the dance in four novels and a short story... a whirring dynamo of misrule\". His other books from the decade include Right Ho, Jeeves, which Donaldson judged his best work, Uncle Fred in the Springtime, which the writer Bernard Levin considered the best, and Blandings Castle, which contains \"Lord Emsworth and the Girl Friend\", which Rudyard Kipling thought \"one of the most perfect short stories I have ever read\".",
"His other books from the decade include Right Ho, Jeeves, which Donaldson judged his best work, Uncle Fred in the Springtime, which the writer Bernard Levin considered the best, and Blandings Castle, which contains \"Lord Emsworth and the Girl Friend\", which Rudyard Kipling thought \"one of the most perfect short stories I have ever read\". Other leading literary figures who admired Wodehouse were A. E. Housman, Max Beerbohm and Hilaire Belloc; on the radio and in print Belloc called Wodehouse \"the best writer of our time: the best living writer of English... the head of my profession\".",
"Other leading literary figures who admired Wodehouse were A. E. Housman, Max Beerbohm and Hilaire Belloc; on the radio and in print Belloc called Wodehouse \"the best writer of our time: the best living writer of English... the head of my profession\". Wodehouse regarded Belloc's plaudit as \"a gag, to get a rise out of serious-minded authors whom he disliked\".",
"Wodehouse regarded Belloc's plaudit as \"a gag, to get a rise out of serious-minded authors whom he disliked\". Wodehouse was never sure that his books had literary merit as well as popular appeal, and, Donaldson suggests, must have been overwhelmed when the University of Oxford conferred an honorary doctorate of letters on him in June 1939.",
"Wodehouse was never sure that his books had literary merit as well as popular appeal, and, Donaldson suggests, must have been overwhelmed when the University of Oxford conferred an honorary doctorate of letters on him in June 1939. His visit to England for the awarding ceremony was the last time he set foot in his native land.",
"His visit to England for the awarding ceremony was the last time he set foot in his native land. Second World War: internment and broadcasts At the start of the Second World War Wodehouse and his wife remained at their Le Touquet house, where, during the Phoney War, he worked on Joy in the Morning.",
"Second World War: internment and broadcasts At the start of the Second World War Wodehouse and his wife remained at their Le Touquet house, where, during the Phoney War, he worked on Joy in the Morning. With the advance of the Germans, the nearby Royal Air Force base withdrew; Wodehouse was offered the sole spare seat in one of the fighter aircraft, but he turned down the opportunity as it would have meant leaving behind Ethel and their dog.",
"With the advance of the Germans, the nearby Royal Air Force base withdrew; Wodehouse was offered the sole spare seat in one of the fighter aircraft, but he turned down the opportunity as it would have meant leaving behind Ethel and their dog. On 21 May 1940, with German troops advancing through northern France, the Wodehouses decided to drive to Portugal and fly from there to the US.",
"On 21 May 1940, with German troops advancing through northern France, the Wodehouses decided to drive to Portugal and fly from there to the US. Two miles from home their car broke down, so they returned and borrowed a car from a neighbour; with the routes blocked with refugees, they returned home again.",
"Two miles from home their car broke down, so they returned and borrowed a car from a neighbour; with the routes blocked with refugees, they returned home again. The Germans occupied Le Touquet on 22 May 1940 and Wodehouse had to report to the authorities daily.",
"The Germans occupied Le Touquet on 22 May 1940 and Wodehouse had to report to the authorities daily. After two months of occupation the Germans interned all male enemy nationals under 60, and Wodehouse was sent to a former prison in Loos, a suburb of Lille, on 21 July; Ethel remained in Le Touquet.",
"After two months of occupation the Germans interned all male enemy nationals under 60, and Wodehouse was sent to a former prison in Loos, a suburb of Lille, on 21 July; Ethel remained in Le Touquet. The internees were placed four to a cell, each of which had been designed for one man.",
"The internees were placed four to a cell, each of which had been designed for one man. One bed was available per cell, which was made available to the eldest man—not Wodehouse, who slept on the granite floor.",
"One bed was available per cell, which was made available to the eldest man—not Wodehouse, who slept on the granite floor. The prisoners were not kept long in Loos before they were transported in cattle trucks to a former barracks in Liège, Belgium, which was run as a prison by the SS.",
"The prisoners were not kept long in Loos before they were transported in cattle trucks to a former barracks in Liège, Belgium, which was run as a prison by the SS. After a week the men were transferred to Huy in Liège, where they were incarcerated in the local citadel.",
"After a week the men were transferred to Huy in Liège, where they were incarcerated in the local citadel. They remained there until September 1940, when they were transported to Tost in Upper Silesia (then Germany, now Toszek in Poland).",
"They remained there until September 1940, when they were transported to Tost in Upper Silesia (then Germany, now Toszek in Poland). Wodehouse's family and friends had not had any news of his location after the fall of France, but an article from an Associated Press reporter who had visited Tost in December 1940 led to pressure on the German authorities to release the novelist.",
"Wodehouse's family and friends had not had any news of his location after the fall of France, but an article from an Associated Press reporter who had visited Tost in December 1940 led to pressure on the German authorities to release the novelist. This included a petition from influential people in the US; Senator W. Warren Barbour presented it to the German ambassador.",
"This included a petition from influential people in the US; Senator W. Warren Barbour presented it to the German ambassador. Although his captors refused to release him, Wodehouse was provided with a typewriter and, to pass the time, he wrote Money in the Bank.",
"Although his captors refused to release him, Wodehouse was provided with a typewriter and, to pass the time, he wrote Money in the Bank. Throughout his time in Tost, he sent postcards to his US literary agent asking for $5 to be sent to various people in Canada, mentioning his name.",
"Throughout his time in Tost, he sent postcards to his US literary agent asking for $5 to be sent to various people in Canada, mentioning his name. These were the families of Canadian prisoners of war, and the news from Wodehouse was the first indication that their sons were alive and well.",
"These were the families of Canadian prisoners of war, and the news from Wodehouse was the first indication that their sons were alive and well. Wodehouse risked severe punishment for the communication, but managed to evade the German censor.",
"Wodehouse risked severe punishment for the communication, but managed to evade the German censor. On 21 June 1941, while he was in the middle of playing a game of cricket, Wodehouse received a visit from two members of the Gestapo.",
"On 21 June 1941, while he was in the middle of playing a game of cricket, Wodehouse received a visit from two members of the Gestapo. He was given ten minutes to pack his things before he was taken to the Hotel Adlon, a top luxury hotel in Berlin.",
"He was given ten minutes to pack his things before he was taken to the Hotel Adlon, a top luxury hotel in Berlin. He stayed there at his own expense; royalties from the German editions of his books had been put into a special frozen bank account at the outset of the war, and Wodehouse was permitted to draw upon this money he had earned while staying in Berlin.",
"He stayed there at his own expense; royalties from the German editions of his books had been put into a special frozen bank account at the outset of the war, and Wodehouse was permitted to draw upon this money he had earned while staying in Berlin. He was thus released from internment a few months before his sixtieth birthday—the age at which civilian internees were released by the Nazis.",
"He was thus released from internment a few months before his sixtieth birthday—the age at which civilian internees were released by the Nazis. Shortly afterwards Wodehouse was, in the words of Phelps, \"cleverly trapped\" into making five broadcasts to the US via German radio, with the Berlin-based correspondent of the Columbia Broadcasting System.",
"Shortly afterwards Wodehouse was, in the words of Phelps, \"cleverly trapped\" into making five broadcasts to the US via German radio, with the Berlin-based correspondent of the Columbia Broadcasting System. The broadcasts—aired on 28 June, 9, 23 and 30 July and 6 August—were titled How to be an Internee Without Previous Training, and comprised humorous anecdotes about Wodehouse's experiences as a prisoner, including some gentle mocking of his captors.",
"The broadcasts—aired on 28 June, 9, 23 and 30 July and 6 August—were titled How to be an Internee Without Previous Training, and comprised humorous anecdotes about Wodehouse's experiences as a prisoner, including some gentle mocking of his captors. The German propaganda ministry arranged for the recordings to be broadcast to Britain in August.",
"The German propaganda ministry arranged for the recordings to be broadcast to Britain in August. The day after Wodehouse recorded his final programme, Ethel joined him in Berlin, having sold most of her jewellery to pay for the journey.",
"The day after Wodehouse recorded his final programme, Ethel joined him in Berlin, having sold most of her jewellery to pay for the journey. Aftermath: reactions and investigation The reaction in Britain to Wodehouse's broadcasts was hostile, and he was \"reviled ... as a traitor, collaborator, Nazi propagandist, and a coward\", although, Phelps observes, many of those who decried his actions had not heard the content of the programmes.",
"Aftermath: reactions and investigation The reaction in Britain to Wodehouse's broadcasts was hostile, and he was \"reviled ... as a traitor, collaborator, Nazi propagandist, and a coward\", although, Phelps observes, many of those who decried his actions had not heard the content of the programmes. A front-page article in The Daily Mirror stated that Wodehouse \"lived luxuriously because Britain laughed with him, but when the laughter was out of his country's heart, ... [he] was not ready to share her suffering.",
"A front-page article in The Daily Mirror stated that Wodehouse \"lived luxuriously because Britain laughed with him, but when the laughter was out of his country's heart, ... [he] was not ready to share her suffering. He hadn't the guts ... even to stick it out in the internment camp.\"",
"He hadn't the guts ... even to stick it out in the internment camp.\" In the House of Commons Anthony Eden, the Foreign Secretary, regretted Wodehouse's actions. Several libraries removed Wodehouse novels from their shelves.",
"Several libraries removed Wodehouse novels from their shelves. On 15 July the journalist William Connor, under his pen name Cassandra, broadcast a postscript to the news programme railing against Wodehouse. According to The Times, the broadcast \"provoked a storm of complaint ... from listeners all over the country\".",
"According to The Times, the broadcast \"provoked a storm of complaint ... from listeners all over the country\". Wodehouse's biographer, Joseph Connolly, thinks the broadcast \"inaccurate, spiteful and slanderous\"; Phelps calls it \"probably the most vituperative attack on an individual ever heard on British radio\".",
"Wodehouse's biographer, Joseph Connolly, thinks the broadcast \"inaccurate, spiteful and slanderous\"; Phelps calls it \"probably the most vituperative attack on an individual ever heard on British radio\". The broadcast was made at the direct instruction of Duff Cooper, the Minister of Information, who overruled strong protests made by the BBC against the decision to air the programme.",
"The broadcast was made at the direct instruction of Duff Cooper, the Minister of Information, who overruled strong protests made by the BBC against the decision to air the programme. Numerous letters appeared in the British press, both supporting and criticising Wodehouse.",
"Numerous letters appeared in the British press, both supporting and criticising Wodehouse. The letters page of The Daily Telegraph became a focus for censuring Wodehouse, including one from Wodehouse's friend, ; a reply from their fellow author Compton Mackenzie in defence of Wodehouse was not published because the editor claimed a lack of space.",
"The letters page of The Daily Telegraph became a focus for censuring Wodehouse, including one from Wodehouse's friend, ; a reply from their fellow author Compton Mackenzie in defence of Wodehouse was not published because the editor claimed a lack of space. Most of those defending Wodehouse against accusations of disloyalty, including Sax Rohmer, Dorothy L. Sayers and Gilbert Frankau, conceded that he had acted stupidly.",
"Most of those defending Wodehouse against accusations of disloyalty, including Sax Rohmer, Dorothy L. Sayers and Gilbert Frankau, conceded that he had acted stupidly. Some members of the public wrote to the newspapers to say that the full facts were not yet known and a fair judgment could not be made until they were.",
"Some members of the public wrote to the newspapers to say that the full facts were not yet known and a fair judgment could not be made until they were. The management of the BBC, who considered Wodehouse's actions no worse than \"ill advised\", pointed out to Cooper that there was no evidence at that point whether Wodehouse had acted voluntarily or under compulsion.",
"The management of the BBC, who considered Wodehouse's actions no worse than \"ill advised\", pointed out to Cooper that there was no evidence at that point whether Wodehouse had acted voluntarily or under compulsion. When Wodehouse heard of the furore the broadcasts had caused, he contacted the Foreign Office—through the Swiss embassy in Berlin—to explain his actions, and attempted to return home via neutral countries, but the German authorities refused to let him leave.",
"When Wodehouse heard of the furore the broadcasts had caused, he contacted the Foreign Office—through the Swiss embassy in Berlin—to explain his actions, and attempted to return home via neutral countries, but the German authorities refused to let him leave. In Performing Flea, a 1953 collection of letters, Wodehouse wrote, \"Of course I ought to have had the sense to see that it was a loony thing to do to use the German radio for even the most harmless stuff, but I didn't.",
"In Performing Flea, a 1953 collection of letters, Wodehouse wrote, \"Of course I ought to have had the sense to see that it was a loony thing to do to use the German radio for even the most harmless stuff, but I didn't. I suppose prison life saps the intellect\".",
"I suppose prison life saps the intellect\". The reaction in America was mixed: the left-leaning publication PM accused Wodehouse of \"play[ing] Jeeves to the Nazis\", but the Department of War used the interviews as an ideal representation of anti-Nazi propaganda.",
"The reaction in America was mixed: the left-leaning publication PM accused Wodehouse of \"play[ing] Jeeves to the Nazis\", but the Department of War used the interviews as an ideal representation of anti-Nazi propaganda. The Wodehouses remained in Germany until September 1943, when, because of the Allied bombings, they were allowed to move back to Paris.",
"The Wodehouses remained in Germany until September 1943, when, because of the Allied bombings, they were allowed to move back to Paris. They were living there when the city was liberated on 25 August 1944; Wodehouse reported to the American authorities the following day, asking them to inform the British of his whereabouts.",
"They were living there when the city was liberated on 25 August 1944; Wodehouse reported to the American authorities the following day, asking them to inform the British of his whereabouts. He was subsequently visited by Malcolm Muggeridge, recently arrived in Paris as an intelligence officer with MI6.",
"He was subsequently visited by Malcolm Muggeridge, recently arrived in Paris as an intelligence officer with MI6. The young officer quickly came to like Wodehouse and considered the question of treasonable behaviour as \"ludicrous\"; he summed up the writer as \"ill-fitted to live in an age of ideological conflict\".",
"The young officer quickly came to like Wodehouse and considered the question of treasonable behaviour as \"ludicrous\"; he summed up the writer as \"ill-fitted to live in an age of ideological conflict\". On 9 September Wodehouse was visited by an MI5 officer and former barrister, Major Edward Cussen, who formally investigated him, a process that stretched over four days.",
"On 9 September Wodehouse was visited by an MI5 officer and former barrister, Major Edward Cussen, who formally investigated him, a process that stretched over four days. On 28 September Cussen filed his report, which states that in regard to the broadcasts, Wodehouse's behaviour \"has been unwise\", but advised against further action.",
"On 28 September Cussen filed his report, which states that in regard to the broadcasts, Wodehouse's behaviour \"has been unwise\", but advised against further action. On 23 November Theobald Matthew, the Director of Public Prosecutions, decided there was no evidence to justify prosecuting Wodehouse.",
"On 23 November Theobald Matthew, the Director of Public Prosecutions, decided there was no evidence to justify prosecuting Wodehouse. In November 1944 Duff Cooper was appointed British ambassador to France and was provided accommodation at the Hôtel Le Bristol, where the Wodehouses were living.",
"In November 1944 Duff Cooper was appointed British ambassador to France and was provided accommodation at the Hôtel Le Bristol, where the Wodehouses were living. Cooper complained to the French authorities, and the couple were moved to a different hotel. They were subsequently arrested by French police and placed under preventive detention, despite no charges being presented.",
"They were subsequently arrested by French police and placed under preventive detention, despite no charges being presented. When Muggeridge tracked them down later, he managed to get Ethel released straight away and, four days later, ensured that the French authorities declared Wodehouse unwell and put him in a nearby hospital, which was more comfortable than where they had been detained.",
"When Muggeridge tracked them down later, he managed to get Ethel released straight away and, four days later, ensured that the French authorities declared Wodehouse unwell and put him in a nearby hospital, which was more comfortable than where they had been detained. While in this hospital, Wodehouse worked on his novel Uncle Dynamite.",
"While in this hospital, Wodehouse worked on his novel Uncle Dynamite. While still detained by the French, Wodehouse was again mentioned in questions in the House of Commons in December 1944 when MPs wondered if the French authorities could repatriate him to stand trial.",
"While still detained by the French, Wodehouse was again mentioned in questions in the House of Commons in December 1944 when MPs wondered if the French authorities could repatriate him to stand trial. Eden stated that the \"matter has been gone into, and, according to the advice given, there are no grounds upon which we could take action\".",
"Eden stated that the \"matter has been gone into, and, according to the advice given, there are no grounds upon which we could take action\". Two months later, Orwell wrote the essay \"In Defence of P.G.",
"Two months later, Orwell wrote the essay \"In Defence of P.G. Wodehouse\", where he stated that \"it is important to realise that the events of 1941 do not convict Wodehouse of anything worse than stupidity\".",
"Wodehouse\", where he stated that \"it is important to realise that the events of 1941 do not convict Wodehouse of anything worse than stupidity\". Orwell's rationale was that Wodehouse's \"moral outlook has remained that of a public-school boy, and according to the public-school code, treachery in time of war is the most unforgivable of all the sins\", which was compounded by his \"complete lack—so far as one can judge from his printed works—of political awareness\".",
"Orwell's rationale was that Wodehouse's \"moral outlook has remained that of a public-school boy, and according to the public-school code, treachery in time of war is the most unforgivable of all the sins\", which was compounded by his \"complete lack—so far as one can judge from his printed works—of political awareness\". On 15 January 1945 the French authorities released Wodehouse, but they did not inform him, until June 1946, that he would not face any official charges and was free to leave the country.",
"On 15 January 1945 the French authorities released Wodehouse, but they did not inform him, until June 1946, that he would not face any official charges and was free to leave the country. American exile: 1946–1975 Having secured American visas in July 1946, the Wodehouses made preparations to return to New York.",
"American exile: 1946–1975 Having secured American visas in July 1946, the Wodehouses made preparations to return to New York. They were delayed by Ethel's insistence on acquiring suitable new clothes and by Wodehouse's wish to finish writing his current novel, The Mating Season, in the peace of the French countryside.",
"They were delayed by Ethel's insistence on acquiring suitable new clothes and by Wodehouse's wish to finish writing his current novel, The Mating Season, in the peace of the French countryside. In April 1947 they sailed to New York, where Wodehouse was relieved at the friendly reception he received from the large press contingent awaiting his arrival.",
"In April 1947 they sailed to New York, where Wodehouse was relieved at the friendly reception he received from the large press contingent awaiting his arrival. Ethel secured a comfortable penthouse apartment in Manhattan's Upper East Side, but Wodehouse was not at ease. The New York that he had known before the war was much changed.",
"The New York that he had known before the war was much changed. The magazines that had paid lavishly for his stories were in decline, and those that remained were not much interested in him.",
"The magazines that had paid lavishly for his stories were in decline, and those that remained were not much interested in him. He was sounded out about writing for Broadway, but he was not at home in the post-war theatre; he had money problems, with large sums temporarily tied up in Britain, and for the first time in his career he had no ideas for a new novel.",
"He was sounded out about writing for Broadway, but he was not at home in the post-war theatre; he had money problems, with large sums temporarily tied up in Britain, and for the first time in his career he had no ideas for a new novel. He did not complete one until 1951.",
"He did not complete one until 1951. Wodehouse remained unsettled until he and Ethel left New York City for Long Island. Bolton and his wife lived in the prosperous hamlet of Remsenburg, part of the Southampton area of Long Island, east of Manhattan.",
"Bolton and his wife lived in the prosperous hamlet of Remsenburg, part of the Southampton area of Long Island, east of Manhattan. Wodehouse stayed with them frequently, and in 1952 he and Ethel bought a house nearby. They lived at Remsenburg for the rest of their lives.",
"They lived at Remsenburg for the rest of their lives. Between 1952 and 1975 he published more than twenty novels, as well as two collections of short stories, a heavily edited collection of his letters, a volume of memoirs, and a selection of his magazine articles. He continued to hanker after a revival of his theatrical career.",
"He continued to hanker after a revival of his theatrical career. A 1959 off-Broadway revival of the 1917 Bolton-Wodehouse-Kern Leave It to Jane was a surprise hit, running for 928 performances, but his few post-war stage works, some in collaboration with Bolton, made little impression.",
"A 1959 off-Broadway revival of the 1917 Bolton-Wodehouse-Kern Leave It to Jane was a surprise hit, running for 928 performances, but his few post-war stage works, some in collaboration with Bolton, made little impression. Although Ethel made a return visit to England in 1948 to shop and visit family and friends, Wodehouse never left America after his arrival in 1947.",
"Although Ethel made a return visit to England in 1948 to shop and visit family and friends, Wodehouse never left America after his arrival in 1947. It was not until 1965 that the British government indicated privately that he could return without fear of legal proceedings, and by then he felt too old to make the journey.",
"It was not until 1965 that the British government indicated privately that he could return without fear of legal proceedings, and by then he felt too old to make the journey. The biographers Benny Green and Robert McCrum both take the view that this exile benefited Wodehouse's writing, helping him to go on depicting an idealised England seen in his mind's eye, rather than as it actually was in the post-war decades.",
"The biographers Benny Green and Robert McCrum both take the view that this exile benefited Wodehouse's writing, helping him to go on depicting an idealised England seen in his mind's eye, rather than as it actually was in the post-war decades. During their years in Long Island, the couple often took in stray animals and contributed substantial funds to a local animal shelter.",
"During their years in Long Island, the couple often took in stray animals and contributed substantial funds to a local animal shelter. In 1955 Wodehouse became an American citizen, though he remained a British subject, and was therefore still eligible for UK state honours.",
"In 1955 Wodehouse became an American citizen, though he remained a British subject, and was therefore still eligible for UK state honours. He was considered for the award of a knighthood three times from 1967, but the honour was twice blocked by British officials.",
"He was considered for the award of a knighthood three times from 1967, but the honour was twice blocked by British officials. In 1974 the British prime minister, Harold Wilson, intervened to secure a knighthood (KBE) for Wodehouse, which was announced in the January 1975 New Year Honours list.",
"In 1974 the British prime minister, Harold Wilson, intervened to secure a knighthood (KBE) for Wodehouse, which was announced in the January 1975 New Year Honours list. The Times commented that Wodehouse's honour signalled \"official forgiveness for his wartime indiscretion....",
"The Times commented that Wodehouse's honour signalled \"official forgiveness for his wartime indiscretion.... It is late, but not too late, to take the sting out of that unhappy incident.\" The following month Wodehouse entered Southampton Hospital, Long Island, for treatment of a skin complaint.",
"The following month Wodehouse entered Southampton Hospital, Long Island, for treatment of a skin complaint. While there, he suffered a heart attack and died on 14 February 1975 at the age of 93. He was buried at Remsenburg Presbyterian Church four days later.",
"He was buried at Remsenburg Presbyterian Church four days later. Ethel outlived him by more than nine years; Leonora had predeceased him, dying suddenly in 1944.",
"Ethel outlived him by more than nine years; Leonora had predeceased him, dying suddenly in 1944. Writing Technique and approach Before starting a book Wodehouse would write up to four hundred pages of notes bringing together an outline of the plot; he acknowledged that \"It's the plots that I find so hard to work out.",
"Writing Technique and approach Before starting a book Wodehouse would write up to four hundred pages of notes bringing together an outline of the plot; he acknowledged that \"It's the plots that I find so hard to work out. It takes such a long time to work one out.\"",
"It takes such a long time to work one out.\" He always completed the plot before working on specific character actions. For a novel the note-writing process could take up to two years, and he would usually have two or more novels in preparation simultaneously.",
"For a novel the note-writing process could take up to two years, and he would usually have two or more novels in preparation simultaneously. After he had completed his notes, he would draw up a fuller scenario of about thirty thousand words, which ensured plot holes were avoided, and allowed for the dialogue to begin to develop.",
"After he had completed his notes, he would draw up a fuller scenario of about thirty thousand words, which ensured plot holes were avoided, and allowed for the dialogue to begin to develop. When interviewed in 1975 he revealed that \"For a humorous novel you've got to have a scenario, and you've got to test it so that you know where the comedy comes in, where the situations come in ... splitting it up into scenes (you can make a scene of almost anything) and have as little stuff in between as possible.\"",
"When interviewed in 1975 he revealed that \"For a humorous novel you've got to have a scenario, and you've got to test it so that you know where the comedy comes in, where the situations come in ... splitting it up into scenes (you can make a scene of almost anything) and have as little stuff in between as possible.\" He preferred working between 4 and 7 pm—but never after dinner—and would work seven days a week.",
"He preferred working between 4 and 7 pm—but never after dinner—and would work seven days a week. In his younger years, he would write around two to three thousand words a day, although he slowed as he aged, so that in his nineties he would produce a thousand.",
"In his younger years, he would write around two to three thousand words a day, although he slowed as he aged, so that in his nineties he would produce a thousand. The reduced speed in writing slowed his production of books: when younger he would produce a novel in about three months, while Bachelors Anonymous, published in 1973, took around six months.",
"The reduced speed in writing slowed his production of books: when younger he would produce a novel in about three months, while Bachelors Anonymous, published in 1973, took around six months. Although studies of language production in normal healthy ageing show a marked decline from the mid-70s on, a study of Wodehouse's works did not find any evidence of a decline in linguistic ability with age.",
"Although studies of language production in normal healthy ageing show a marked decline from the mid-70s on, a study of Wodehouse's works did not find any evidence of a decline in linguistic ability with age. Wodehouse believed that one of the factors that made his stories humorous was his view of life, and he stated that \"If you take life fairly easily, then you take a humorous view of things.",
"Wodehouse believed that one of the factors that made his stories humorous was his view of life, and he stated that \"If you take life fairly easily, then you take a humorous view of things. It's probably because you were born that way.\"",
"It's probably because you were born that way.\" He carried this view through into his writing, describing the approach as \"making the thing a sort of musical comedy without music, and ignoring real life altogether\".",
"He carried this view through into his writing, describing the approach as \"making the thing a sort of musical comedy without music, and ignoring real life altogether\". The literary critic Edward L. Galligan considers Wodehouse's stories to show his mastery in adapting the form of the American musical comedy for his writings.",
"The literary critic Edward L. Galligan considers Wodehouse's stories to show his mastery in adapting the form of the American musical comedy for his writings. Wodehouse would ensure that his first draft was as carefully and accurately done as possible, correcting and refining the prose as he wrote, and would then make another good copy, before proofreading again and then making a final copy for his publisher.",
"Wodehouse would ensure that his first draft was as carefully and accurately done as possible, correcting and refining the prose as he wrote, and would then make another good copy, before proofreading again and then making a final copy for his publisher. Most of Wodehouse's canon is set in an undated period around the 1920s and 1930s.",
"Most of Wodehouse's canon is set in an undated period around the 1920s and 1930s. The critic Anthony Lejeune describes the settings of Wodehouse's novels, such as the Drones Club and Blandings Castle, as \"a fairyland\".",
"The critic Anthony Lejeune describes the settings of Wodehouse's novels, such as the Drones Club and Blandings Castle, as \"a fairyland\". Although some critics thought Wodehouse's fiction was based on a world that had never existed, Wodehouse affirmed that \"it did.",
"Although some critics thought Wodehouse's fiction was based on a world that had never existed, Wodehouse affirmed that \"it did. It was going strong between the wars\", although he agreed that his version was to some extent \"a sort of artificial world of my own creation\".",
"It was going strong between the wars\", although he agreed that his version was to some extent \"a sort of artificial world of my own creation\". The novels showed a largely unchanging world, regardless of when they were written, and only rarely—and mistakenly in McCrum's view—did Wodehouse allow modernity to intrude, as he did in the 1966 story \"Bingo Bans the Bomb\".",
"The novels showed a largely unchanging world, regardless of when they were written, and only rarely—and mistakenly in McCrum's view—did Wodehouse allow modernity to intrude, as he did in the 1966 story \"Bingo Bans the Bomb\". When dealing with the dialogue in his novels, Wodehouse would consider the book's characters as if they were actors in a play, ensuring that the main roles were kept suitably employed throughout the storyline, which must be strong: \"If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them.\"",
"When dealing with the dialogue in his novels, Wodehouse would consider the book's characters as if they were actors in a play, ensuring that the main roles were kept suitably employed throughout the storyline, which must be strong: \"If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them.\" Many of Wodehouse's parts were stereotypes, and he acknowledged that \"a real character in one of my books sticks out like a sore thumb.\"",
"Many of Wodehouse's parts were stereotypes, and he acknowledged that \"a real character in one of my books sticks out like a sore thumb.\" The publisher Michael Joseph identifies that even within the stereotypes Wodehouse understood human nature, and therefore \"shares with [Charles] Dickens and Charles Chaplin the ability to present the comic resistance of the individual against those superior forces to which we are all subject\".",
"The publisher Michael Joseph identifies that even within the stereotypes Wodehouse understood human nature, and therefore \"shares with [Charles] Dickens and Charles Chaplin the ability to present the comic resistance of the individual against those superior forces to which we are all subject\". Much of Wodehouse's use of slang terms reflects the influence of his time at school in Dulwich, and partly reflects Edwardian slang.",
"Much of Wodehouse's use of slang terms reflects the influence of his time at school in Dulwich, and partly reflects Edwardian slang. As a young man he enjoyed the literary works of Arthur Conan Doyle and Jerome K. Jerome, and the operatic works of Gilbert and Sullivan. Wodehouse quotes from and alludes to numerous poets throughout his work.",
"Wodehouse quotes from and alludes to numerous poets throughout his work. The scholar Clarke Olney lists those quoted, including Milton, Byron, Longfellow, Coleridge, Swinburne, Tennyson, Wordsworth and Shakespeare. Another favoured source was the King James Bible.",
"Another favoured source was the King James Bible. Language In 1941 the Concise Cambridge History of English Literature opined that Wodehouse had \"a gift for highly original aptness of phrase that almost suggests a poet struggling for release among the wild extravagances of farce\", while McCrum thinks that Wodehouse manages to combine \"high farce with the inverted poetry of his mature comic style\", particularly in The Code of the Woosters; the novelist Anthony Powell believes Wodehouse to be a \"comic poet\".",
"Language In 1941 the Concise Cambridge History of English Literature opined that Wodehouse had \"a gift for highly original aptness of phrase that almost suggests a poet struggling for release among the wild extravagances of farce\", while McCrum thinks that Wodehouse manages to combine \"high farce with the inverted poetry of his mature comic style\", particularly in The Code of the Woosters; the novelist Anthony Powell believes Wodehouse to be a \"comic poet\". Robert A.",
"Robert A. Robert A. Hall Jr., in his study of Wodehouse's style and technique, describes the author as a master of prose, an opinion also shared by Levin, who considers Wodehouse \"one of the finest and purest writers of English prose\".",
"Hall Jr., in his study of Wodehouse's style and technique, describes the author as a master of prose, an opinion also shared by Levin, who considers Wodehouse \"one of the finest and purest writers of English prose\". Hall identifies several techniques used by Wodehouse to achieve comic effect, including the creation of new words through adding or removing prefixes and suffixes, so when Pongo Twistleton removes the housemaid Elsie Bean from a cupboard, Wodehouse writes that the character \"de-Beaned the cupboard\".",
"Hall identifies several techniques used by Wodehouse to achieve comic effect, including the creation of new words through adding or removing prefixes and suffixes, so when Pongo Twistleton removes the housemaid Elsie Bean from a cupboard, Wodehouse writes that the character \"de-Beaned the cupboard\". Wodehouse created new words by splitting others in two, thus Wodehouse divides \"hobnobbing\" when he writes: \"To offer a housemaid a cigarette is not hobbing.",
"Wodehouse created new words by splitting others in two, thus Wodehouse divides \"hobnobbing\" when he writes: \"To offer a housemaid a cigarette is not hobbing. Nor, when you light it for her, does that constitute nobbing.\"",
"Nor, when you light it for her, does that constitute nobbing.\" Richard Voorhees, Wodehouse's biographer, believes that the author used clichés in a deliberate and ironic manner.",
"Richard Voorhees, Wodehouse's biographer, believes that the author used clichés in a deliberate and ironic manner. His opinion is shared by the academic Stephen Medcalf, who deems Wodehouse's skill is to \"bring a cliché just enough to life to kill it\", although Pamela March, writing in The Christian Science Monitor, considers Wodehouse to have \"an ability to decliché a cliché\".",
"His opinion is shared by the academic Stephen Medcalf, who deems Wodehouse's skill is to \"bring a cliché just enough to life to kill it\", although Pamela March, writing in The Christian Science Monitor, considers Wodehouse to have \"an ability to decliché a cliché\". Medcalf provides an example from Right Ho, Jeeves in which the teetotal Gussie Fink-Nottle has surreptitiously been given whisky and gin in a punch prior to a prize-giving: 'It seems to me, Jeeves, that the ceremony may be one fraught with considerable interest.'",
"Medcalf provides an example from Right Ho, Jeeves in which the teetotal Gussie Fink-Nottle has surreptitiously been given whisky and gin in a punch prior to a prize-giving: 'It seems to me, Jeeves, that the ceremony may be one fraught with considerable interest.' 'Yes, sir.'",
"'Yes, sir.' 'Yes, sir.' 'What, in your opinion, will the harvest be?' 'One finds it difficult to hazard a conjecture, sir.' 'You mean imagination boggles?' 'Yes, sir.' I inspected my imagination. He was right. It boggled.",
"He was right. It boggled. It boggled. The stylistic device most commonly found in Wodehouse's work is his use of comparative imagery that includes similes. Hall opines that the humour comes from Wodehouse's ability to accentuate \"resemblances which at first glance seem highly incongruous\".",
"Hall opines that the humour comes from Wodehouse's ability to accentuate \"resemblances which at first glance seem highly incongruous\". Examples can be seen in Joy in the Morning, Chapter 29: \"There was a sound in the background like a distant sheep coughing gently on a mountainside.",
"Examples can be seen in Joy in the Morning, Chapter 29: \"There was a sound in the background like a distant sheep coughing gently on a mountainside. Jeeves sailing into action\", or Psmith, Chapter 7: \"A sound like two or three pigs feeding rather noisily in the middle of a thunderstorm interrupted his meditation.\"",
"Jeeves sailing into action\", or Psmith, Chapter 7: \"A sound like two or three pigs feeding rather noisily in the middle of a thunderstorm interrupted his meditation.\" Hall also identifies that periodically Wodehouse used the stylistic device of a transferred epithet, with an adjective that properly belongs to a person applied instead to some inanimate object.",
"Hall also identifies that periodically Wodehouse used the stylistic device of a transferred epithet, with an adjective that properly belongs to a person applied instead to some inanimate object. The form of expression is used sparingly by Wodehouse in comparison with other mechanisms, only once or twice in a story or novel, according to Hall.",
"The form of expression is used sparingly by Wodehouse in comparison with other mechanisms, only once or twice in a story or novel, according to Hall. \"I balanced a thoughtful lump of sugar on the teaspoon.\"",
"\"I balanced a thoughtful lump of sugar on the teaspoon.\" —Joy in the Morning, Chapter 5 \"As I sat in the bath-tub, soaping a meditative foot ...\" —Jeeves and the Feudal Spirit, Chapter 1 \"The first thing he did was to prod Jeeves in the lower ribs with an uncouth forefinger.\"",
"—Joy in the Morning, Chapter 5 \"As I sat in the bath-tub, soaping a meditative foot ...\" —Jeeves and the Feudal Spirit, Chapter 1 \"The first thing he did was to prod Jeeves in the lower ribs with an uncouth forefinger.\" —Much Obliged, Jeeves, Chapter 4 Wordplay is a key element in Wodehouse's writing.",
"—Much Obliged, Jeeves, Chapter 4 Wordplay is a key element in Wodehouse's writing. This can take the form of puns, such as in Jeeves and the Feudal Spirit, when Bertie is released after a night in the police cells, and says that he has \"a pinched look\" about him.",
"This can take the form of puns, such as in Jeeves and the Feudal Spirit, when Bertie is released after a night in the police cells, and says that he has \"a pinched look\" about him. Linguistic confusion is another humorous mechanism, such as in Uncle Dynamite when Constable Potter says he has been \"assaulted by the duck pond\".",
"Linguistic confusion is another humorous mechanism, such as in Uncle Dynamite when Constable Potter says he has been \"assaulted by the duck pond\". In reply, Sir Aylmer, confusing the two meanings of the word \"by\", asks: \"How the devil can you be assaulted by a duck pond?\"",
"In reply, Sir Aylmer, confusing the two meanings of the word \"by\", asks: \"How the devil can you be assaulted by a duck pond?\" Wodehouse also uses metaphor and mixed metaphor to add humour.",
"Wodehouse also uses metaphor and mixed metaphor to add humour. Some come through exaggeration, such as Bingo Little's infant child who \"not only has the aspect of a mass murderer, but that of a mass murderer suffering from an ingrown toenail\", or Wooster's complaint that \"the rumpuses that Bobbie Wickham is already starting may be amusing to her, but not to the unfortunate toads beneath the harrow whom she ruthlessly plunges into the soup.\"",
"Some come through exaggeration, such as Bingo Little's infant child who \"not only has the aspect of a mass murderer, but that of a mass murderer suffering from an ingrown toenail\", or Wooster's complaint that \"the rumpuses that Bobbie Wickham is already starting may be amusing to her, but not to the unfortunate toads beneath the harrow whom she ruthlessly plunges into the soup.\" Bertie Wooster's half-forgotten vocabulary also provides a further humorous device.",
"Bertie Wooster's half-forgotten vocabulary also provides a further humorous device. In Jeeves and the Feudal Spirit Bertie asks Jeeves \"Let a plugugly like young Thos loose in the community with a cosh, and you are inviting disaster and ... what's the word? Something about cats.\" Jeeves replies, \"Cataclysms, sir?\"",
"Jeeves replies, \"Cataclysms, sir?\" Reception and reputation Literary reception Wodehouse's early career as a lyricist and playwright was profitable, and his work with Bolton, according to The Guardian, \"was one of the most successful in the history of musical comedy\".",
"Reception and reputation Literary reception Wodehouse's early career as a lyricist and playwright was profitable, and his work with Bolton, according to The Guardian, \"was one of the most successful in the history of musical comedy\". At the outbreak of the Second World War he was earning £40,000 a year from his work, which had broadened to include novels and short stories.",
"At the outbreak of the Second World War he was earning £40,000 a year from his work, which had broadened to include novels and short stories. Following the furore ensuing from the wartime broadcasts, he suffered a downturn in his popularity and book sales; The Saturday Evening Post stopped publishing his short stories, a stance they reversed in 1965, although his popularity—and the sales figures—slowly recovered over time.",
"Following the furore ensuing from the wartime broadcasts, he suffered a downturn in his popularity and book sales; The Saturday Evening Post stopped publishing his short stories, a stance they reversed in 1965, although his popularity—and the sales figures—slowly recovered over time. Wodehouse received great praise from many of his contemporaries, including Max Beerbohm, Rudyard Kipling, A. E. Housman and Evelyn Waugh—the last of whom opines, \"One has to regard a man as a Master who can produce on average three uniquely brilliant and entirely original similes on each page.\"",
"Wodehouse received great praise from many of his contemporaries, including Max Beerbohm, Rudyard Kipling, A. E. Housman and Evelyn Waugh—the last of whom opines, \"One has to regard a man as a Master who can produce on average three uniquely brilliant and entirely original similes on each page.\" There are dissenters to the praise.",
"There are dissenters to the praise. The writer Alan Bennett thinks that \"inspired though his language is, I can never take more than ten pages of the novels at a time, their relentless flippancy wearing and tedious\", while the literary critic Q. D. Leavis writes that Wodehouse had a \"stereotyped humour ... of ingenious variations on a laugh in one place\".",
"The writer Alan Bennett thinks that \"inspired though his language is, I can never take more than ten pages of the novels at a time, their relentless flippancy wearing and tedious\", while the literary critic Q. D. Leavis writes that Wodehouse had a \"stereotyped humour ... of ingenious variations on a laugh in one place\". In a 2010 study of Wodehouse's few relatively serious novels, such as The Coming of Bill (1919), Jill the Reckless (1920) and The Adventures of Sally (1922), David Heddendorf concludes that though their literary quality does not match that of the farcical novels, they show a range of empathy and interests that in real life—and in his most comic works—the author seemed to lack.",
"In a 2010 study of Wodehouse's few relatively serious novels, such as The Coming of Bill (1919), Jill the Reckless (1920) and The Adventures of Sally (1922), David Heddendorf concludes that though their literary quality does not match that of the farcical novels, they show a range of empathy and interests that in real life—and in his most comic works—the author seemed to lack. \"Never oblivious to grief and despair, he opts in clear-eyed awareness for his timeless world of spats and woolly-headed peers.",
"\"Never oblivious to grief and despair, he opts in clear-eyed awareness for his timeless world of spats and woolly-headed peers. It's an austere, almost bloodless preference for pristine artifice over the pain and messy outcomes of actual existence, but it's a case of Wodehouse keeping faith with his own unique art.\"",
"It's an austere, almost bloodless preference for pristine artifice over the pain and messy outcomes of actual existence, but it's a case of Wodehouse keeping faith with his own unique art.\" The American literary analyst Robert F. Kiernan, defining \"camp\" as \"excessive stylization of whatever kind\", brackets Wodehouse as \"a master of the camp novel\", along with Thomas Love Peacock, Max Beerbohm, Ronald Firbank, E. F. Benson and Ivy Compton-Burnett.",
"The American literary analyst Robert F. Kiernan, defining \"camp\" as \"excessive stylization of whatever kind\", brackets Wodehouse as \"a master of the camp novel\", along with Thomas Love Peacock, Max Beerbohm, Ronald Firbank, E. F. Benson and Ivy Compton-Burnett. The literary critic and writer Cyril Connolly calls Wodehouse a \"politicians' author\"—one who does \"not like art to be exacting and difficult\".",
"The literary critic and writer Cyril Connolly calls Wodehouse a \"politicians' author\"—one who does \"not like art to be exacting and difficult\". Two former British prime ministers, H. H. Asquith and Tony Blair, are on record as Wodehouse aficionados, and the latter became a patron of the Wodehouse Society.",
"Two former British prime ministers, H. H. Asquith and Tony Blair, are on record as Wodehouse aficionados, and the latter became a patron of the Wodehouse Society. Seán O'Casey, a successful playwright of the 1920s, thought little of Wodehouse; he commented in 1941 that it was damaging to England's dignity that the public or \"the academic government of Oxford, dead from the chin up\" considered Wodehouse an important figure in English literature.",
"Seán O'Casey, a successful playwright of the 1920s, thought little of Wodehouse; he commented in 1941 that it was damaging to England's dignity that the public or \"the academic government of Oxford, dead from the chin up\" considered Wodehouse an important figure in English literature. His jibe that Wodehouse was \"English literature's performing flea\" provided his target with the title of his collected letters, published in 1953.",
"His jibe that Wodehouse was \"English literature's performing flea\" provided his target with the title of his collected letters, published in 1953. McCrum, writing in 2004, observes, \"Wodehouse is more popular today than on the day he died\", and \"his comic vision has an absolutely secure place in the English literary imagination.\"",
"McCrum, writing in 2004, observes, \"Wodehouse is more popular today than on the day he died\", and \"his comic vision has an absolutely secure place in the English literary imagination.\" Honours and influence The proposed nominations of Wodehouse for a knighthood in 1967 and 1971 were blocked for fear that such an award would \"revive the controversy of his wartime behaviour and give currency to a Bertie Wooster image of the British character which the embassy was doing its best to eradicate\".",
"Honours and influence The proposed nominations of Wodehouse for a knighthood in 1967 and 1971 were blocked for fear that such an award would \"revive the controversy of his wartime behaviour and give currency to a Bertie Wooster image of the British character which the embassy was doing its best to eradicate\". When Wodehouse was awarded the knighthood, only four years later, the journalist Dennis Barker wrote in The Guardian that the writer was \"the solitary surviving English literary comic genius\".",
"When Wodehouse was awarded the knighthood, only four years later, the journalist Dennis Barker wrote in The Guardian that the writer was \"the solitary surviving English literary comic genius\". After his death six weeks later, the journalist Michael Davie, writing in the same paper, observed that \"Many people regarded ... [Wodehouse] as he regarded Beachcomber, as 'one, if not more than one, of England's greatest men'\", while in the view of the obituarist for The Times Wodehouse \"was a comic genius recognized in his lifetime as a classic and an old master of farce\".",
"After his death six weeks later, the journalist Michael Davie, writing in the same paper, observed that \"Many people regarded ... [Wodehouse] as he regarded Beachcomber, as 'one, if not more than one, of England's greatest men'\", while in the view of the obituarist for The Times Wodehouse \"was a comic genius recognized in his lifetime as a classic and an old master of farce\". In September 2019 Wodehouse was commemorated with a memorial stone in Westminster Abbey; the dedication was held two days after it was installed.",
"In September 2019 Wodehouse was commemorated with a memorial stone in Westminster Abbey; the dedication was held two days after it was installed. Since Wodehouse's death there have been numerous adaptations and dramatisations of his work on television and film; Wodehouse himself has been portrayed on radio and screen numerous times.",
"Since Wodehouse's death there have been numerous adaptations and dramatisations of his work on television and film; Wodehouse himself has been portrayed on radio and screen numerous times. There are several literary societies dedicated to Wodehouse. The P.G. Wodehouse Society (UK) was founded in 1997 and has over 1,000 members as at 2015.",
"Wodehouse Society (UK) was founded in 1997 and has over 1,000 members as at 2015. The president of the society as at 2017 is Alexander Armstrong; past presidents have included Terry Wogan and Richard Briers.",
"The president of the society as at 2017 is Alexander Armstrong; past presidents have included Terry Wogan and Richard Briers. There are also other groups of Wodehouse fans in Australia, Belgium, France, Finland, India, Italy, Russia, Sweden and the US.",
"There are also other groups of Wodehouse fans in Australia, Belgium, France, Finland, India, Italy, Russia, Sweden and the US. As at 2015 the Oxford English Dictionary contains over 1,750 quotations from Wodehouse, illustrating terms from crispish to zippiness.",
"As at 2015 the Oxford English Dictionary contains over 1,750 quotations from Wodehouse, illustrating terms from crispish to zippiness. Voorhees, while acknowledging that Wodehouse's antecedents in literature range from Ben Jonson to Oscar Wilde, writes: Notes, references and sources Notes References Sources External links P. G. Wodehouse collection at One More Library P.G.",
"Voorhees, while acknowledging that Wodehouse's antecedents in literature range from Ben Jonson to Oscar Wilde, writes: Notes, references and sources Notes References Sources External links P. G. Wodehouse collection at One More Library P.G. Wodehouse Archive on loan to the British Library The Wodehouse Society The P. G. Wodehouse Society (UK) Transcripts of Wodehouse's Berlin Broadcasts \"P. G. Wodehouse: An English Master of American Slang\" from The American Legion Weekly, 24 October 1919 Orwell, George \"In Defence of P.G.",
"Wodehouse Archive on loan to the British Library The Wodehouse Society The P. G. Wodehouse Society (UK) Transcripts of Wodehouse's Berlin Broadcasts \"P. G. Wodehouse: An English Master of American Slang\" from The American Legion Weekly, 24 October 1919 Orwell, George \"In Defence of P.G. Wodehouse\" 1881 births 1975 deaths 20th-century English novelists 20th-century British dramatists and playwrights British emigrants to the United States English lyricists Knights Commander of the Order of the British Empire English male dramatists and playwrights British male novelists People educated at Dulwich College People educated at Elizabeth College, Guernsey People from Guildford People from Long Island PG People interned during World War II English humorists 20th-century American novelists American dramatists and playwrights American humorists American lyricists American male novelists Novelists from New York (state) Literature controversies English broadcasters for Nazi Germany 20th-century American male writers"
] |
[
"Tori Amos",
"The Epic Records years (2002-07)"
] | C_f2c7f26de77949ff80c91a7bd337fb42_1 | Did Amos release any albums during these years? | 1 | Did Tori Amos release any albums during thee years of 2002-07? | Tori Amos | With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a "sonic novel", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA. Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline. Amos would later hint in interviews that during the creation of her next album, those in charge at the label following the aforementioned merger were interested "only in making money", the effects of which on the album have not been disclosed. Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the "posse") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200. During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records. CANNOTANSWER | In October 2002, Amos released Scarlet's Walk, another concept album. | Tori Amos (born Myra Ellen Amos; August 22, 1963) is an American singer-songwriter and pianist. She is a classically trained musician with a mezzo-soprano vocal range. Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted. She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as "musical insubordination". Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s. Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion.
Her charting singles include "Crucify", "Silent All These Years", "God", "Cornflake Girl", "Caught a Lite Sneeze", "Professional Widow", "Spark", "1000 Oceans", "Flavor" and "A Sorta Fairytale", her most commercially successful single in the U.S. to date. Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album. She is listed on VH1's 1999 "100 Greatest Women of Rock and Roll" at number 71.
Early life and education
Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos. She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity.
When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C. Her older brother and sister took piano lessons, but Tori did not need them. From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs. She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia:
At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music. She studied classical piano at Peabody from 1968 to 1974. In 1974, when she was eleven, her scholarship was discontinued, and she was asked to leave. Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music.
In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church. At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father.
Amos won a county teen talent contest in 1977, singing a song called "More Than Just a Friend". As a senior at Richard Montgomery High School, she co-wrote "Baltimore" with her brother, Mike Amos, for a competition involving the Baltimore Orioles. The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, "Walking With You". Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast.
Career
1979–1989: Career beginnings and Y Kant Tori Read
By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers. Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released. Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her.
In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area.
In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading. In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber. The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time. Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released. Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: "The only good thing about that album is my ankle high boots."
Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist. She also recorded a song called "Distant Storm" for the film China O'Brien. In the credits, the song is attributed to a band called Tess Makes Good.
1990–1995: Little Earthquakes and Under the Pink
Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990. The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented. The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault. This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15. Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single "Silent All These Years".
Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink. The album was received with mostly favorable reviews and sold enough copies to chart at No. 12 on the Billboard 200, a significantly higher position than the preceding album's position at No. 54 on the same chart. However, the album found its biggest success in the UK, debuting at number one upon release in February 1994.
1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back
Her third solo album, Boys for Pele, was released in January 1996. Prior to its release, the first single, "Caught a Lite Sneeze" became the first full song released for streaming online prior to an album's release.
The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics. For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano. The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability. Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No. 2 on the UK Top 40 and No. 2 on the Billboard 200 upon its release.
Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios.
From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums. Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes. The underlying themes of both albums deal with womanhood and Amos's own miscarriages and marriage. Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality. Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week. To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download.
2001–2004: Strange Little Girls and Scarlet's Walk
Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective. That became Strange Little Girls, released in September 2001. The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song. Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label.
With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a "sonic novel", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA.
Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline.
2005–2008: The Beekeeper and American Doll Posse
Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the "posse") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200.
During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records.
2008–2011: Abnormally Attracted to Sin and Midwinter Graces
In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work. In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes. By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a "joint venture" deal with Universal Republic Records.
Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews. The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so. Abnormally Attracted to Sin, admitted Amos, is a "personal album", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin. Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year. The album features reworked versions of traditional carols, as well as original songs written by Amos.
During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010. In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble.
After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010. The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow. The set was released exclusively through her website and only 2000 copies were produced.
2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines
In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group. Amos recorded the album with several musicians, including the Apollon Musagète string quartet.
To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra. The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon.
On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists.
In 2013, Amos collaborated with the Bullitts on the track "Wait Until Tomorrow" from their debut album, They Die by Dawn & Other Short Stories. She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a "return to contemporary music".
September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott. It premiered at London's Royal National Theatre and ended in February 2014. The Light Princess and its lead actress, Rosalie Craig, were nominated for Best Musical and Best Musical Performance respectively at the Evening Standard Award. Craig won the Best Musical Performance category.
Amos's 14th studio album, Unrepentant Geraldines, was released on May 13, 2014, via Mercury Classics/Universal Music Classics in the US. Its first single, "Trouble's Lament", was released on March 28. The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014. In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House.
According to a press release, Unrepentant Geraldines was a "return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years. [It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world."
The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics. Apart from the original cast performances, the recording also includes two songs from the musical ("Highness in the Sky" and "Darkest Hour') performed by Amos.
2016–present: Native Invader, Christmastide and Ocean to Ocean
On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release. This follows the deluxe re-releases of her first two albums in 2015.
On September 8, 2017, Amos released Native Invader, accompanied by a world tour. During the summer of 2017, Amos launched three songs from the album: "Cloud Riders", "Up the Creek" and "Reindeer King", the latter featuring string arrangements by John Philip Shenale. Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations.
The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak. Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader. The album, released on September 8, 2017, has been presented in two formats: standard and deluxe. The standard version includes 13 songs, while the deluxe edition adds two extra songs to the tracklist: "Upside Down 2" and "Russia". Native Invader has been well received by most music critics upon release. The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating "generally favorable reviews".
On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl. The EP consists of four original songs and features her first work with bandmates Matt Chamberlain and Jon Evans since 2009. Amos recorded the EP remotely due to the impact of the COVID-19 pandemic.
On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29. The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores "a universal story of going to rock bottom and renewing yourself all over again". Amos will embark on a European tour in support of the album in 2022. Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces.
In print
Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005). The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records.
Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos. Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore.
Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996).
Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process.
Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020.
Personal life
Amos married English sound engineer Mark Hawley on February 22, 1998. Their daughter was born in 2000. The family divides their time between Sewall's Point in Florida, US, and Bude, Cornwall in the UK.
Amos' mother, Mary Ellen, died on May 11, 2019.
Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song "Tear in Your Hand" and also in print interviews. Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they "steal shamelessly from each other". She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo. Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009. In 2019, Amos performed the British standard "A Nightingale Sang in Berkeley Square" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett.
Activism
In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded. Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline. She was the first national spokesperson for the organization and has continued to be closely associated with RAINN. On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN. On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA.
Discography
Studio albums
Little Earthquakes (1992)
Under the Pink (1994)
Boys for Pele (1996)
From the Choirgirl Hotel (1998)
To Venus and Back (1999)
Strange Little Girls (2001)
Scarlet's Walk (2002)
The Beekeeper (2005)
American Doll Posse (2007)
Abnormally Attracted to Sin (2009)
Midwinter Graces (2009)
Night of Hunters (2011)
Gold Dust (2012)
Unrepentant Geraldines (2014)
Native Invader (2017)
Ocean to Ocean (2021)
Tours
Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992. In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine. Her concerts are notable for their changing set lists from night to night.
Little Earthquakes Tour
Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland. She performed solo with a Yamaha CP-70 unless the venue was able to provide a piano. The tour included 142 concerts around the globe.
Under the Pink Tour
Amos's second world tour began on February 24, 1994 in Newcastle upon Tyne and ended on December 13, 1994 in Perth, Western Australia. Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during "Bells for Her". The tour included 181 concerts.
Dew Drop Inn Tour
The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder. Amos performed each night on piano, harpsichord, and harmonium, with Steve Caton on guitar on some songs. The tour included 187 concerts.
Plugged '98 Tour
Amos's first band tour. Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass. The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts.
5 ½ Weeks Tour / To Dallas and Back
Amos's fifth tour was North America–only. The first part of the tour was co-headlining with Alanis Morissette and featured the same band and equipment line-up as in 1998. Amos and the band continued for eight shows before Amos embarked on a series of solo shows. The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts.
Strange Little Tour
This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996). It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented. Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months. It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts.
On Scarlet's Walk / Lottapianos Tour
Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton. The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening. The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts. The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album).
Original Sinsuality Tour / Summer of Sin
This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes. The tour also encompassed Australia for the first time since 1994. Amos announced at a concert on this tour that she would never stop touring but would scale down the tours. Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles. The tour featured "Tori's Piano Bar", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show. One of the songs chosen was the Kylie Minogue hit "Can't Get You Out of My Head", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public. Other songs performed by Amos include The Doors' "People are Strange", Depeche Mode's "Personal Jesus", Joni Mitchell's "The Circle Game", Madonna's "Live to Tell" and "Like a Prayer", Björk's "Hyperballad", Led Zeppelin's "When the Levee Breaks" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's "And Dream of Sheep" and Crowded House's "Don't Dream It's Over", dedicating it to drummer Paul Hester who had died a week before. The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs.
American Doll Posse World Tour
This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band. Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards. The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles. Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show. The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series.
Sinful Attraction Tour
For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard. The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009. A solo leg through Australia began in Melbourne on November 12, 2009 and ended in Brisbane on November 24, 2009. The entire tour featured 63 concerts.
Night of Hunters tour
Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa. It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas.
Gold Dust Orchestral Tour
Amos began her 2012 tour in Rotterdam on October 1.
Unrepentant Geraldines Tour
Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts.
Native Invader Tour
Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October.
Ocean to Ocean Tour
Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland.
Awards and nominations
{| class="wikitable sortable plainrowheaders"
|-
! scope="col" | Award
! scope="col" | Year
! scope="col" | Nominee(s)
! scope="col" | Category
! scope="col" | Result
! scope="col" class="unsortable"|
|-
! scope="row" rowspan=3|Brit Awards
| rowspan=2|1993
| rowspan=3|Herself
| International Breakthrough Act
|
| rowspan=2|
|-
| International Solo Artist
|
|-
| 1995
| International Female Solo Artist
|
|
|-
! scope="row"|Critics' Choice Documentary Awards
| 2016
| "Flicker"
| Best Song in a Documentary
|
|
|-
!scope="row"|ECHO Awards
| 1995
| Herself
| Best International Female
|
|
|-
! scope="row"|ECHO Klassik Awards
| rowspan=1|2012
| Night of Hunters
| The Klassik-ohne-Grenzen Prize
|
|
|-
! scope="row" rowspan=4|GAFFA Awards
| 2000
| rowspan=3|Herself
| rowspan=2|Best Foreign Female Act
|
| rowspan=2|
|-
| 2003
|
|-
| rowspan=2|2022
| Best Foreign Solo Act
|
|
|-
| Ocean to Ocean
| Best Foreign Album
|
|-
! scope="row"|George Peabody Medal
| 2019
| Herself
| Outstanding Contributions to Music
|
|
|-
! scope="row"|Glamour Awards
| 1998
| Herself
| Woman of the Year
|
|
|-
! scope="row" rowspan=8|Grammy Awards
| 1995
| Under the Pink
| rowspan=3|Best Alternative Music Album
|
| rowspan=8|
|-
| 1997
| Boys for Pele
|
|-
| rowspan=2|1999
| From the Choirgirl Hotel
|
|-
| "Raspberry Swirl"
| rowspan=2|Best Female Rock Vocal Performance
|
|-
| rowspan=2|2000
| "Bliss"
|
|-
| To Venus and Back
| rowspan=2|Best Alternative Music Album
|
|-
| rowspan=2|2002
| Strange Little Girls
|
|-
| "Strange Little Girl"
| Best Female Rock Vocal Performance
|
|-
! scope="row"|Hollywood Music in Media Awards
| 2016
| "Flicker"
| Best Original Song in a Documentary
|
|
|-
! scope="row"|Hungarian Music Awards
| 2010
| Abnormally Attracted to Sin
| Best Foreign Alternative Album
|
|
|-
! scope="row"|MTV Europe Music Awards
| 1994
| Herself
| Best Female
|
|
|-
! scope="row" rowspan=4|MTV Video Music Awards
| rowspan=4|1992
| rowspan=4|"Silent All These Years"
| Best Female Video
|
|rowspan=4|
|-
| Best New Artist in a Video
|
|-
| Breakthrough Video
|
|-
| Best Cinematography in a Video
|
|-
! scope="row"|NME Awards
| 2016
| Under the Pink
| Best Reissue
|
|
|-
! scope="row"|North Carolina Music Hall of Fame
| 2012
| Herself
| Inducted
|
|
|-
!scope="row" rowspan=5|Pollstar Concert Industry Awards
| rowspan=2|1993
| rowspan=2|Little Earthquakes Tour
| Best New Rock Artist
|
| rowspan=2|
|-
| Club Tour Of The Year
|
|-
| 1995
| Under the Pink Tour
| rowspan=3|Small Hall Tour Of The Year
|
|
|-
| 1997
| Dew Drop Inn Tour
|
|
|-
| 1999
| 5 ½ Weeks Tour
|
|
|-
! scope="row"|Q Awards
| 1992
| Herself
| Best New Act
|
|
|-
! scope="row" rowspan=2|WhatsOnStage Awards
| rowspan=2|2014
| rowspan=2|The Light Princess
| Best New Musical
|
| rowspan=2|
|-
| Best London Newcomer of the Year
|
|-
!scope="row"|Žebřík Music Awards
| 2001
| Herself
| Best International Female
|
|
1999: Spin Readers' Poll Awards (Won)
On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony. Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel.
Film appearances
Tori appears as a wedding singer in the film Mona Lisa Smile.
References
Citations
Works cited
External links
1963 births
20th-century American composers
20th-century American keyboardists
20th-century American women pianists
20th-century American pianists
20th-century American women singers
21st-century American keyboardists
21st-century American women pianists
21st-century American pianists
21st-century American women singers
Alternative rock keyboardists
Alternative rock pianists
Alternative rock singers
American alternative rock musicians
American expatriates in the Republic of Ireland
American expatriates in the United Kingdom
American women composers
American women singer-songwriters
American feminist writers
American harpsichordists
American mezzo-sopranos
American organists
American people who self-identify as being of Native American descent
American pop pianists
American rock pianists
American women rock singers
American rock songwriters
Articles containing video clips
Art rock musicians
Atlantic Records artists
Child classical musicians
Clavichordists
Deutsche Grammophon artists
Electronica musicians
Epic Records artists
Feminist musicians
Harmonium players
Island Records artists
Living people
Montgomery College alumni
Musicians from Baltimore
Musicians from County Cork
Musicians from Rockville, Maryland
People from Georgetown (Washington, D.C.)
People from Newton, North Carolina
People from Sewall's Point, Florida
Republic Records artists
Sexual abuse victim advocates
Singer-songwriters from Maryland
Singer-songwriters from North Carolina
Women organists
20th-century women composers
American women in electronic music
20th-century American singers
21st-century American singers
Singer-songwriters from Washington, D.C. | true | [
"Live at Montreux 1991/1992 is a Tori Amos live album and DVD set, released on September 22, 2008 in the United Kingdom and on September 30, 2008 in the United States, featuring two separate performances at the Montreux Jazz Festival early in her career. The first 10-song set was recorded on July 3, 1991 with the second 9-song set recorded one year later on July 7, 1992. The bulk of the set list for each show was taken from Amos' solo debut album Little Earthquakes.\n\nEagle Rock Entertainment, a distributor for many releases of Montreux Jazz Festival performances, released the CD and DVD sets over 15 years after these performances were originally recorded.\n\nTrack listing\nThe complete set lists for the 1991 and 1992 performances are available on the DVD and the two-disc European/Latin American CD. The single-disc North American CD release features all but three songs from both performances (the exceptions being \"Silent All These Years\", \"Crucify\" and \"Happy Phantom\" from the 1992 show). The three omitted tracks were made available as a digital download only.\n\nPersonnel\n Tori Amos – vocals, piano\n Jon Astley – Mastering\n\nRelease history\nWhile audio bootlegs of these two performances have been circulating for many years, this is the first official release for this pair of early Amos performances. The same footage was released on Blu-ray format in both the United Kingdom and the United States in December 2008. It was released on vinyl as a 2xLP in the UK and Europe in 2014, and again in Europe in 2019.\n\nReferences\n\nTori Amos video albums\nTori Amos live albums\n2008 video albums\nLive video albums\nAlbums recorded at the Montreux Jazz Festival\n2008 live albums",
"Little Earthquakes is a VHS video released by singer/songwriter Tori Amos in 1992, which serves as Amos' first video release. The release contains all four music videos released in conjunction with Amos' debut solo album of the same name interspersed\nwith live performances and interview footage.\n\nThe video, out of print as of 2005, is packaged in a regular cardboard video box and was released by A*Vision Videos, a subsidiary of Atlantic Records, with a catalogue number of 50335-3. \n\nThe contents are:\n\n Silent All These Years (Music Video)\n Leather (Live)\n Precious Things (Live)\n Crucify (Music Video)\n Me and a Gun (Live on Japanese Television)\n Little Earthquakes (Live)\n China (Music Video)\n Happy Phantom (Live)\n Here. In My Head (Live)\n Winter (Music Video)\n Song for Eric (Live)\n\nSee also\nLittle Earthquakes (album)\n\nTori Amos video albums\n1992 video albums\nLive video albums\n1992 live albums"
] | [
"Tori Amos (born Myra Ellen Amos; August 22, 1963) is an American singer-songwriter and pianist. She is a classically trained musician with a mezzo-soprano vocal range.",
"She is a classically trained musician with a mezzo-soprano vocal range. Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted.",
"Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted. She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \"musical insubordination\".",
"She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \"musical insubordination\". Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s.",
"Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s. Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion.",
"Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion. Her charting singles include \"Crucify\", \"Silent All These Years\", \"God\", \"Cornflake Girl\", \"Caught a Lite Sneeze\", \"Professional Widow\", \"Spark\", \"1000 Oceans\", \"Flavor\" and \"A Sorta Fairytale\", her most commercially successful single in the U.S. to date.",
"Her charting singles include \"Crucify\", \"Silent All These Years\", \"God\", \"Cornflake Girl\", \"Caught a Lite Sneeze\", \"Professional Widow\", \"Spark\", \"1000 Oceans\", \"Flavor\" and \"A Sorta Fairytale\", her most commercially successful single in the U.S. to date. Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album.",
"Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album. She is listed on VH1's 1999 \"100 Greatest Women of Rock and Roll\" at number 71.",
"She is listed on VH1's 1999 \"100 Greatest Women of Rock and Roll\" at number 71. Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos.",
"Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos. She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity.",
"She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity. When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C.",
"When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C. Her older brother and sister took piano lessons, but Tori did not need them.",
"Her older brother and sister took piano lessons, but Tori did not need them. From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs.",
"From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs. She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music.",
"She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music. She studied classical piano at Peabody from 1968 to 1974.",
"She studied classical piano at Peabody from 1968 to 1974. In 1974, when she was eleven, her scholarship was discontinued, and she was asked to leave. Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music.",
"Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music. In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church.",
"In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church. At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father.",
"At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father. Amos won a county teen talent contest in 1977, singing a song called \"More Than Just a Friend\".",
"Amos won a county teen talent contest in 1977, singing a song called \"More Than Just a Friend\". As a senior at Richard Montgomery High School, she co-wrote \"Baltimore\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles.",
"As a senior at Richard Montgomery High School, she co-wrote \"Baltimore\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles. The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \"Walking With You\".",
"The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \"Walking With You\". Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast.",
"Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast. Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers.",
"Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers. Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released.",
"Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released. Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her.",
"Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her. In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area.",
"In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area. In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading.",
"In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading. In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber.",
"In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber. The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time.",
"The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time. Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released.",
"Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released. Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \"The only good thing about that album is my ankle high boots.\"",
"Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \"The only good thing about that album is my ankle high boots.\" Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist.",
"Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist. She also recorded a song called \"Distant Storm\" for the film China O'Brien.",
"She also recorded a song called \"Distant Storm\" for the film China O'Brien. In the credits, the song is attributed to a band called Tess Makes Good.",
"In the credits, the song is attributed to a band called Tess Makes Good. 1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990.",
"1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990. The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented.",
"The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented. The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault.",
"The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault. This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15.",
"This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15. Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \"Silent All These Years\".",
"Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \"Silent All These Years\". Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink.",
"Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink. The album was received with mostly favorable reviews and sold enough copies to chart at No. 12 on the Billboard 200, a significantly higher position than the preceding album's position at No.",
"12 on the Billboard 200, a significantly higher position than the preceding album's position at No. 54 on the same chart. However, the album found its biggest success in the UK, debuting at number one upon release in February 1994.",
"However, the album found its biggest success in the UK, debuting at number one upon release in February 1994. 1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996.",
"1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996. Prior to its release, the first single, \"Caught a Lite Sneeze\" became the first full song released for streaming online prior to an album's release.",
"Prior to its release, the first single, \"Caught a Lite Sneeze\" became the first full song released for streaming online prior to an album's release. The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics.",
"The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics. For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano.",
"For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano. The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability.",
"The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability. Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No.",
"Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No. 2 on the UK Top 40 and No. 2 on the Billboard 200 upon its release.",
"2 on the Billboard 200 upon its release. Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios.",
"Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios. From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums.",
"From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums. Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes.",
"Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes. The underlying themes of both albums deal with womanhood and Amos's own miscarriages and marriage. Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality.",
"Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality. Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week.",
"Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week. To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download.",
"To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download. 2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective.",
"2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective. That became Strange Little Girls, released in September 2001.",
"That became Strange Little Girls, released in September 2001. The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song.",
"The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song. Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label.",
"Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label. With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001.",
"With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11.",
"Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny.",
"Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA.",
"Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA. Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003.",
"Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group.",
"Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline.",
"Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline. 2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007).",
"2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment.",
"The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics.",
"Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No.",
"The album debuted at No. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts.",
"5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it.",
"While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's.",
"American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No.",
"Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200.",
"5 on the Billboard 200. 5 on the Billboard 200. During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records.",
"During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records. 2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work.",
"2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work. In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes.",
"In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes. By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \"joint venture\" deal with Universal Republic Records.",
"By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \"joint venture\" deal with Universal Republic Records. Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews.",
"Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews. The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so.",
"The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so. Abnormally Attracted to Sin, admitted Amos, is a \"personal album\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin.",
"Abnormally Attracted to Sin, admitted Amos, is a \"personal album\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin. Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year.",
"Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year. The album features reworked versions of traditional carols, as well as original songs written by Amos.",
"The album features reworked versions of traditional carols, as well as original songs written by Amos. During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010.",
"During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010. In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble.",
"In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble. After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010.",
"After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010. The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow.",
"The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow. The set was released exclusively through her website and only 2000 copies were produced.",
"The set was released exclusively through her website and only 2000 copies were produced. 2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group.",
"2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group. Amos recorded the album with several musicians, including the Apollon Musagète string quartet.",
"Amos recorded the album with several musicians, including the Apollon Musagète string quartet. To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra.",
"To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra. The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon.",
"The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon. On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists.",
"On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists. In 2013, Amos collaborated with the Bullitts on the track \"Wait Until Tomorrow\" from their debut album, They Die by Dawn & Other Short Stories.",
"In 2013, Amos collaborated with the Bullitts on the track \"Wait Until Tomorrow\" from their debut album, They Die by Dawn & Other Short Stories. She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \"return to contemporary music\".",
"She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \"return to contemporary music\". September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott.",
"September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott. It premiered at London's Royal National Theatre and ended in February 2014.",
"It premiered at London's Royal National Theatre and ended in February 2014. The Light Princess and its lead actress, Rosalie Craig, were nominated for Best Musical and Best Musical Performance respectively at the Evening Standard Award. Craig won the Best Musical Performance category.",
"Craig won the Best Musical Performance category. Amos's 14th studio album, Unrepentant Geraldines, was released on May 13, 2014, via Mercury Classics/Universal Music Classics in the US. Its first single, \"Trouble's Lament\", was released on March 28.",
"Its first single, \"Trouble's Lament\", was released on March 28. The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014.",
"The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014. In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House.",
"In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House. According to a press release, Unrepentant Geraldines was a \"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years.",
"According to a press release, Unrepentant Geraldines was a \"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years. [It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\"",
"[It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\" The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics.",
"The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics. Apart from the original cast performances, the recording also includes two songs from the musical (\"Highness in the Sky\" and \"Darkest Hour') performed by Amos.",
"Apart from the original cast performances, the recording also includes two songs from the musical (\"Highness in the Sky\" and \"Darkest Hour') performed by Amos. 2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release.",
"2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release. This follows the deluxe re-releases of her first two albums in 2015.",
"This follows the deluxe re-releases of her first two albums in 2015. On September 8, 2017, Amos released Native Invader, accompanied by a world tour.",
"On September 8, 2017, Amos released Native Invader, accompanied by a world tour. During the summer of 2017, Amos launched three songs from the album: \"Cloud Riders\", \"Up the Creek\" and \"Reindeer King\", the latter featuring string arrangements by John Philip Shenale.",
"During the summer of 2017, Amos launched three songs from the album: \"Cloud Riders\", \"Up the Creek\" and \"Reindeer King\", the latter featuring string arrangements by John Philip Shenale. Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations.",
"Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations. The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak.",
"The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak. Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader.",
"Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader. The album, released on September 8, 2017, has been presented in two formats: standard and deluxe.",
"The album, released on September 8, 2017, has been presented in two formats: standard and deluxe. The standard version includes 13 songs, while the deluxe edition adds two extra songs to the tracklist: \"Upside Down 2\" and \"Russia\". Native Invader has been well received by most music critics upon release.",
"Native Invader has been well received by most music critics upon release. The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \"generally favorable reviews\".",
"The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \"generally favorable reviews\". On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl.",
"On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl. The EP consists of four original songs and features her first work with bandmates Matt Chamberlain and Jon Evans since 2009. Amos recorded the EP remotely due to the impact of the COVID-19 pandemic.",
"Amos recorded the EP remotely due to the impact of the COVID-19 pandemic. On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29.",
"On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29. The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \"a universal story of going to rock bottom and renewing yourself all over again\".",
"The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \"a universal story of going to rock bottom and renewing yourself all over again\". Amos will embark on a European tour in support of the album in 2022.",
"Amos will embark on a European tour in support of the album in 2022. Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces.",
"Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces. In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005).",
"In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005). The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records.",
"The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records. Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos.",
"Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos. Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore.",
"Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore. Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996).",
"Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996). Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process.",
"Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process. Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020.",
"Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020. Personal life Amos married English sound engineer Mark Hawley on February 22, 1998. Their daughter was born in 2000.",
"Their daughter was born in 2000. The family divides their time between Sewall's Point in Florida, US, and Bude, Cornwall in the UK. Amos' mother, Mary Ellen, died on May 11, 2019.",
"Amos' mother, Mary Ellen, died on May 11, 2019. Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \"Tear in Your Hand\" and also in print interviews.",
"Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \"Tear in Your Hand\" and also in print interviews. Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \"steal shamelessly from each other\".",
"Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \"steal shamelessly from each other\". She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo.",
"She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo. Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009.",
"Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009. In 2019, Amos performed the British standard \"A Nightingale Sang in Berkeley Square\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett.",
"In 2019, Amos performed the British standard \"A Nightingale Sang in Berkeley Square\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett. Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded.",
"Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded. Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline.",
"Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline. She was the first national spokesperson for the organization and has continued to be closely associated with RAINN.",
"She was the first national spokesperson for the organization and has continued to be closely associated with RAINN. On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN.",
"On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN. On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA.",
"On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA. Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992.",
"Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992. In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine.",
"In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine. Her concerts are notable for their changing set lists from night to night. Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland.",
"Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland. She performed solo with a Yamaha CP-70 unless the venue was able to provide a piano. The tour included 142 concerts around the globe.",
"The tour included 142 concerts around the globe. Under the Pink Tour Amos's second world tour began on February 24, 1994 in Newcastle upon Tyne and ended on December 13, 1994 in Perth, Western Australia. Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \"Bells for Her\".",
"Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \"Bells for Her\". The tour included 181 concerts. Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder.",
"Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder. Amos performed each night on piano, harpsichord, and harmonium, with Steve Caton on guitar on some songs. The tour included 187 concerts.",
"The tour included 187 concerts. The tour included 187 concerts. Plugged '98 Tour Amos's first band tour. Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass.",
"Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass. The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts.",
"The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts. 5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only.",
"5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only. The first part of the tour was co-headlining with Alanis Morissette and featured the same band and equipment line-up as in 1998. Amos and the band continued for eight shows before Amos embarked on a series of solo shows.",
"Amos and the band continued for eight shows before Amos embarked on a series of solo shows. The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts.",
"The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts. Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996).",
"Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996). It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented.",
"It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented. Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months.",
"Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months. It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts.",
"It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts. On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton.",
"On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton. The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening.",
"The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening. The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts.",
"The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts. The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album).",
"The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album). Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes.",
"Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes. The tour also encompassed Australia for the first time since 1994.",
"The tour also encompassed Australia for the first time since 1994. Amos announced at a concert on this tour that she would never stop touring but would scale down the tours. Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles.",
"Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles. The tour featured \"Tori's Piano Bar\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show.",
"The tour featured \"Tori's Piano Bar\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show. One of the songs chosen was the Kylie Minogue hit \"Can't Get You Out of My Head\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public.",
"One of the songs chosen was the Kylie Minogue hit \"Can't Get You Out of My Head\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public. Other songs performed by Amos include The Doors' \"People are Strange\", Depeche Mode's \"Personal Jesus\", Joni Mitchell's \"The Circle Game\", Madonna's \"Live to Tell\" and \"Like a Prayer\", Björk's \"Hyperballad\", Led Zeppelin's \"When the Levee Breaks\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \"And Dream of Sheep\" and Crowded House's \"Don't Dream It's Over\", dedicating it to drummer Paul Hester who had died a week before.",
"Other songs performed by Amos include The Doors' \"People are Strange\", Depeche Mode's \"Personal Jesus\", Joni Mitchell's \"The Circle Game\", Madonna's \"Live to Tell\" and \"Like a Prayer\", Björk's \"Hyperballad\", Led Zeppelin's \"When the Levee Breaks\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \"And Dream of Sheep\" and Crowded House's \"Don't Dream It's Over\", dedicating it to drummer Paul Hester who had died a week before. The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs.",
"The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs. American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band.",
"American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band. Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards.",
"Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards. The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles.",
"The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles. Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show.",
"Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show. The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series.",
"The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series. Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard.",
"Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard. The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009.",
"The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009. A solo leg through Australia began in Melbourne on November 12, 2009 and ended in Brisbane on November 24, 2009. The entire tour featured 63 concerts.",
"The entire tour featured 63 concerts. Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa.",
"Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa. It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas.",
"It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas. Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1.",
"Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1. Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts.",
"Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts. Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October.",
"Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October. Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland.",
"Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland. Awards and nominations {| class=\"wikitable sortable plainrowheaders\" |- ! scope=\"col\" | Award !",
"scope=\"col\" | Award ! scope=\"col\" | Year ! scope=\"col\" | Nominee(s) ! scope=\"col\" | Category ! scope=\"col\" | Result ! scope=\"col\" class=\"unsortable\"| |- !",
"scope=\"col\" class=\"unsortable\"| |- ! scope=\"row\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- !",
"scope=\"row\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- ! scope=\"row\"|Critics' Choice Documentary Awards | 2016 | \"Flicker\" | Best Song in a Documentary | | |- !scope=\"row\"|ECHO Awards | 1995 | Herself | Best International Female | | |- !",
"scope=\"row\"|Critics' Choice Documentary Awards | 2016 | \"Flicker\" | Best Song in a Documentary | | |- !scope=\"row\"|ECHO Awards | 1995 | Herself | Best International Female | | |- ! scope=\"row\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- !",
"scope=\"row\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- ! scope=\"row\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- !",
"scope=\"row\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- ! scope=\"row\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- !",
"scope=\"row\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- ! scope=\"row\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- !",
"scope=\"row\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- ! scope=\"row\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \"Raspberry Swirl\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \"Bliss\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \"Strange Little Girl\" | Best Female Rock Vocal Performance | |- !",
"scope=\"row\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \"Raspberry Swirl\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \"Bliss\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \"Strange Little Girl\" | Best Female Rock Vocal Performance | |- ! scope=\"row\"|Hollywood Music in Media Awards | 2016 | \"Flicker\" | Best Original Song in a Documentary | | |- !",
"scope=\"row\"|Hollywood Music in Media Awards | 2016 | \"Flicker\" | Best Original Song in a Documentary | | |- ! scope=\"row\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- !",
"scope=\"row\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- ! scope=\"row\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- !",
"scope=\"row\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- ! scope=\"row\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\"Silent All These Years\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- !",
"scope=\"row\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\"Silent All These Years\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- ! scope=\"row\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- !",
"scope=\"row\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- ! scope=\"row\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\"row\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- !",
"scope=\"row\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\"row\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- ! scope=\"row\"|Q Awards | 1992 | Herself | Best New Act | | |- !",
"scope=\"row\"|Q Awards | 1992 | Herself | Best New Act | | |- ! scope=\"row\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\"row\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony.",
"scope=\"row\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\"row\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony. Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel.",
"Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel. Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile.",
"Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile. References Citations Works cited External links 1963 births 20th-century American composers 20th-century American keyboardists 20th-century American women pianists 20th-century American pianists 20th-century American women singers 21st-century American keyboardists 21st-century American women pianists 21st-century American pianists 21st-century American women singers Alternative rock keyboardists Alternative rock pianists Alternative rock singers American alternative rock musicians American expatriates in the Republic of Ireland American expatriates in the United Kingdom American women composers American women singer-songwriters American feminist writers American harpsichordists American mezzo-sopranos American organists American people who self-identify as being of Native American descent American pop pianists American rock pianists American women rock singers American rock songwriters Articles containing video clips Art rock musicians Atlantic Records artists Child classical musicians Clavichordists Deutsche Grammophon artists Electronica musicians Epic Records artists Feminist musicians Harmonium players Island Records artists Living people Montgomery College alumni Musicians from Baltimore Musicians from County Cork Musicians from Rockville, Maryland People from Georgetown (Washington, D.C.) People from Newton, North Carolina People from Sewall's Point, Florida Republic Records artists Sexual abuse victim advocates Singer-songwriters from Maryland Singer-songwriters from North Carolina Women organists 20th-century women composers American women in electronic music 20th-century American singers 21st-century American singers Singer-songwriters from Washington, D.C."
] |
[
"Tori Amos",
"The Epic Records years (2002-07)",
"Did Amos release any albums during these years?",
"In October 2002, Amos released Scarlet's Walk, another concept album."
] | C_f2c7f26de77949ff80c91a7bd337fb42_1 | Was the album successful? | 2 | Was the album Scarlet's Walk by Tori Amos successful? | Tori Amos | With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a "sonic novel", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA. Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline. Amos would later hint in interviews that during the creation of her next album, those in charge at the label following the aforementioned merger were interested "only in making money", the effects of which on the album have not been disclosed. Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the "posse") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200. During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records. CANNOTANSWER | strong debut at No. 7 on the Billboard 200. | Tori Amos (born Myra Ellen Amos; August 22, 1963) is an American singer-songwriter and pianist. She is a classically trained musician with a mezzo-soprano vocal range. Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted. She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as "musical insubordination". Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s. Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion.
Her charting singles include "Crucify", "Silent All These Years", "God", "Cornflake Girl", "Caught a Lite Sneeze", "Professional Widow", "Spark", "1000 Oceans", "Flavor" and "A Sorta Fairytale", her most commercially successful single in the U.S. to date. Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album. She is listed on VH1's 1999 "100 Greatest Women of Rock and Roll" at number 71.
Early life and education
Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos. She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity.
When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C. Her older brother and sister took piano lessons, but Tori did not need them. From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs. She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia:
At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music. She studied classical piano at Peabody from 1968 to 1974. In 1974, when she was eleven, her scholarship was discontinued, and she was asked to leave. Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music.
In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church. At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father.
Amos won a county teen talent contest in 1977, singing a song called "More Than Just a Friend". As a senior at Richard Montgomery High School, she co-wrote "Baltimore" with her brother, Mike Amos, for a competition involving the Baltimore Orioles. The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, "Walking With You". Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast.
Career
1979–1989: Career beginnings and Y Kant Tori Read
By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers. Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released. Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her.
In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area.
In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading. In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber. The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time. Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released. Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: "The only good thing about that album is my ankle high boots."
Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist. She also recorded a song called "Distant Storm" for the film China O'Brien. In the credits, the song is attributed to a band called Tess Makes Good.
1990–1995: Little Earthquakes and Under the Pink
Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990. The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented. The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault. This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15. Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single "Silent All These Years".
Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink. The album was received with mostly favorable reviews and sold enough copies to chart at No. 12 on the Billboard 200, a significantly higher position than the preceding album's position at No. 54 on the same chart. However, the album found its biggest success in the UK, debuting at number one upon release in February 1994.
1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back
Her third solo album, Boys for Pele, was released in January 1996. Prior to its release, the first single, "Caught a Lite Sneeze" became the first full song released for streaming online prior to an album's release.
The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics. For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano. The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability. Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No. 2 on the UK Top 40 and No. 2 on the Billboard 200 upon its release.
Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios.
From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums. Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes. The underlying themes of both albums deal with womanhood and Amos's own miscarriages and marriage. Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality. Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week. To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download.
2001–2004: Strange Little Girls and Scarlet's Walk
Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective. That became Strange Little Girls, released in September 2001. The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song. Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label.
With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a "sonic novel", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA.
Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline.
2005–2008: The Beekeeper and American Doll Posse
Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the "posse") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200.
During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records.
2008–2011: Abnormally Attracted to Sin and Midwinter Graces
In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work. In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes. By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a "joint venture" deal with Universal Republic Records.
Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews. The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so. Abnormally Attracted to Sin, admitted Amos, is a "personal album", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin. Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year. The album features reworked versions of traditional carols, as well as original songs written by Amos.
During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010. In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble.
After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010. The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow. The set was released exclusively through her website and only 2000 copies were produced.
2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines
In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group. Amos recorded the album with several musicians, including the Apollon Musagète string quartet.
To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra. The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon.
On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists.
In 2013, Amos collaborated with the Bullitts on the track "Wait Until Tomorrow" from their debut album, They Die by Dawn & Other Short Stories. She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a "return to contemporary music".
September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott. It premiered at London's Royal National Theatre and ended in February 2014. The Light Princess and its lead actress, Rosalie Craig, were nominated for Best Musical and Best Musical Performance respectively at the Evening Standard Award. Craig won the Best Musical Performance category.
Amos's 14th studio album, Unrepentant Geraldines, was released on May 13, 2014, via Mercury Classics/Universal Music Classics in the US. Its first single, "Trouble's Lament", was released on March 28. The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014. In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House.
According to a press release, Unrepentant Geraldines was a "return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years. [It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world."
The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics. Apart from the original cast performances, the recording also includes two songs from the musical ("Highness in the Sky" and "Darkest Hour') performed by Amos.
2016–present: Native Invader, Christmastide and Ocean to Ocean
On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release. This follows the deluxe re-releases of her first two albums in 2015.
On September 8, 2017, Amos released Native Invader, accompanied by a world tour. During the summer of 2017, Amos launched three songs from the album: "Cloud Riders", "Up the Creek" and "Reindeer King", the latter featuring string arrangements by John Philip Shenale. Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations.
The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak. Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader. The album, released on September 8, 2017, has been presented in two formats: standard and deluxe. The standard version includes 13 songs, while the deluxe edition adds two extra songs to the tracklist: "Upside Down 2" and "Russia". Native Invader has been well received by most music critics upon release. The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating "generally favorable reviews".
On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl. The EP consists of four original songs and features her first work with bandmates Matt Chamberlain and Jon Evans since 2009. Amos recorded the EP remotely due to the impact of the COVID-19 pandemic.
On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29. The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores "a universal story of going to rock bottom and renewing yourself all over again". Amos will embark on a European tour in support of the album in 2022. Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces.
In print
Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005). The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records.
Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos. Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore.
Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996).
Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process.
Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020.
Personal life
Amos married English sound engineer Mark Hawley on February 22, 1998. Their daughter was born in 2000. The family divides their time between Sewall's Point in Florida, US, and Bude, Cornwall in the UK.
Amos' mother, Mary Ellen, died on May 11, 2019.
Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song "Tear in Your Hand" and also in print interviews. Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they "steal shamelessly from each other". She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo. Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009. In 2019, Amos performed the British standard "A Nightingale Sang in Berkeley Square" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett.
Activism
In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded. Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline. She was the first national spokesperson for the organization and has continued to be closely associated with RAINN. On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN. On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA.
Discography
Studio albums
Little Earthquakes (1992)
Under the Pink (1994)
Boys for Pele (1996)
From the Choirgirl Hotel (1998)
To Venus and Back (1999)
Strange Little Girls (2001)
Scarlet's Walk (2002)
The Beekeeper (2005)
American Doll Posse (2007)
Abnormally Attracted to Sin (2009)
Midwinter Graces (2009)
Night of Hunters (2011)
Gold Dust (2012)
Unrepentant Geraldines (2014)
Native Invader (2017)
Ocean to Ocean (2021)
Tours
Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992. In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine. Her concerts are notable for their changing set lists from night to night.
Little Earthquakes Tour
Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland. She performed solo with a Yamaha CP-70 unless the venue was able to provide a piano. The tour included 142 concerts around the globe.
Under the Pink Tour
Amos's second world tour began on February 24, 1994 in Newcastle upon Tyne and ended on December 13, 1994 in Perth, Western Australia. Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during "Bells for Her". The tour included 181 concerts.
Dew Drop Inn Tour
The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder. Amos performed each night on piano, harpsichord, and harmonium, with Steve Caton on guitar on some songs. The tour included 187 concerts.
Plugged '98 Tour
Amos's first band tour. Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass. The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts.
5 ½ Weeks Tour / To Dallas and Back
Amos's fifth tour was North America–only. The first part of the tour was co-headlining with Alanis Morissette and featured the same band and equipment line-up as in 1998. Amos and the band continued for eight shows before Amos embarked on a series of solo shows. The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts.
Strange Little Tour
This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996). It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented. Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months. It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts.
On Scarlet's Walk / Lottapianos Tour
Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton. The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening. The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts. The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album).
Original Sinsuality Tour / Summer of Sin
This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes. The tour also encompassed Australia for the first time since 1994. Amos announced at a concert on this tour that she would never stop touring but would scale down the tours. Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles. The tour featured "Tori's Piano Bar", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show. One of the songs chosen was the Kylie Minogue hit "Can't Get You Out of My Head", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public. Other songs performed by Amos include The Doors' "People are Strange", Depeche Mode's "Personal Jesus", Joni Mitchell's "The Circle Game", Madonna's "Live to Tell" and "Like a Prayer", Björk's "Hyperballad", Led Zeppelin's "When the Levee Breaks" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's "And Dream of Sheep" and Crowded House's "Don't Dream It's Over", dedicating it to drummer Paul Hester who had died a week before. The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs.
American Doll Posse World Tour
This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band. Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards. The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles. Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show. The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series.
Sinful Attraction Tour
For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard. The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009. A solo leg through Australia began in Melbourne on November 12, 2009 and ended in Brisbane on November 24, 2009. The entire tour featured 63 concerts.
Night of Hunters tour
Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa. It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas.
Gold Dust Orchestral Tour
Amos began her 2012 tour in Rotterdam on October 1.
Unrepentant Geraldines Tour
Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts.
Native Invader Tour
Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October.
Ocean to Ocean Tour
Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland.
Awards and nominations
{| class="wikitable sortable plainrowheaders"
|-
! scope="col" | Award
! scope="col" | Year
! scope="col" | Nominee(s)
! scope="col" | Category
! scope="col" | Result
! scope="col" class="unsortable"|
|-
! scope="row" rowspan=3|Brit Awards
| rowspan=2|1993
| rowspan=3|Herself
| International Breakthrough Act
|
| rowspan=2|
|-
| International Solo Artist
|
|-
| 1995
| International Female Solo Artist
|
|
|-
! scope="row"|Critics' Choice Documentary Awards
| 2016
| "Flicker"
| Best Song in a Documentary
|
|
|-
!scope="row"|ECHO Awards
| 1995
| Herself
| Best International Female
|
|
|-
! scope="row"|ECHO Klassik Awards
| rowspan=1|2012
| Night of Hunters
| The Klassik-ohne-Grenzen Prize
|
|
|-
! scope="row" rowspan=4|GAFFA Awards
| 2000
| rowspan=3|Herself
| rowspan=2|Best Foreign Female Act
|
| rowspan=2|
|-
| 2003
|
|-
| rowspan=2|2022
| Best Foreign Solo Act
|
|
|-
| Ocean to Ocean
| Best Foreign Album
|
|-
! scope="row"|George Peabody Medal
| 2019
| Herself
| Outstanding Contributions to Music
|
|
|-
! scope="row"|Glamour Awards
| 1998
| Herself
| Woman of the Year
|
|
|-
! scope="row" rowspan=8|Grammy Awards
| 1995
| Under the Pink
| rowspan=3|Best Alternative Music Album
|
| rowspan=8|
|-
| 1997
| Boys for Pele
|
|-
| rowspan=2|1999
| From the Choirgirl Hotel
|
|-
| "Raspberry Swirl"
| rowspan=2|Best Female Rock Vocal Performance
|
|-
| rowspan=2|2000
| "Bliss"
|
|-
| To Venus and Back
| rowspan=2|Best Alternative Music Album
|
|-
| rowspan=2|2002
| Strange Little Girls
|
|-
| "Strange Little Girl"
| Best Female Rock Vocal Performance
|
|-
! scope="row"|Hollywood Music in Media Awards
| 2016
| "Flicker"
| Best Original Song in a Documentary
|
|
|-
! scope="row"|Hungarian Music Awards
| 2010
| Abnormally Attracted to Sin
| Best Foreign Alternative Album
|
|
|-
! scope="row"|MTV Europe Music Awards
| 1994
| Herself
| Best Female
|
|
|-
! scope="row" rowspan=4|MTV Video Music Awards
| rowspan=4|1992
| rowspan=4|"Silent All These Years"
| Best Female Video
|
|rowspan=4|
|-
| Best New Artist in a Video
|
|-
| Breakthrough Video
|
|-
| Best Cinematography in a Video
|
|-
! scope="row"|NME Awards
| 2016
| Under the Pink
| Best Reissue
|
|
|-
! scope="row"|North Carolina Music Hall of Fame
| 2012
| Herself
| Inducted
|
|
|-
!scope="row" rowspan=5|Pollstar Concert Industry Awards
| rowspan=2|1993
| rowspan=2|Little Earthquakes Tour
| Best New Rock Artist
|
| rowspan=2|
|-
| Club Tour Of The Year
|
|-
| 1995
| Under the Pink Tour
| rowspan=3|Small Hall Tour Of The Year
|
|
|-
| 1997
| Dew Drop Inn Tour
|
|
|-
| 1999
| 5 ½ Weeks Tour
|
|
|-
! scope="row"|Q Awards
| 1992
| Herself
| Best New Act
|
|
|-
! scope="row" rowspan=2|WhatsOnStage Awards
| rowspan=2|2014
| rowspan=2|The Light Princess
| Best New Musical
|
| rowspan=2|
|-
| Best London Newcomer of the Year
|
|-
!scope="row"|Žebřík Music Awards
| 2001
| Herself
| Best International Female
|
|
1999: Spin Readers' Poll Awards (Won)
On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony. Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel.
Film appearances
Tori appears as a wedding singer in the film Mona Lisa Smile.
References
Citations
Works cited
External links
1963 births
20th-century American composers
20th-century American keyboardists
20th-century American women pianists
20th-century American pianists
20th-century American women singers
21st-century American keyboardists
21st-century American women pianists
21st-century American pianists
21st-century American women singers
Alternative rock keyboardists
Alternative rock pianists
Alternative rock singers
American alternative rock musicians
American expatriates in the Republic of Ireland
American expatriates in the United Kingdom
American women composers
American women singer-songwriters
American feminist writers
American harpsichordists
American mezzo-sopranos
American organists
American people who self-identify as being of Native American descent
American pop pianists
American rock pianists
American women rock singers
American rock songwriters
Articles containing video clips
Art rock musicians
Atlantic Records artists
Child classical musicians
Clavichordists
Deutsche Grammophon artists
Electronica musicians
Epic Records artists
Feminist musicians
Harmonium players
Island Records artists
Living people
Montgomery College alumni
Musicians from Baltimore
Musicians from County Cork
Musicians from Rockville, Maryland
People from Georgetown (Washington, D.C.)
People from Newton, North Carolina
People from Sewall's Point, Florida
Republic Records artists
Sexual abuse victim advocates
Singer-songwriters from Maryland
Singer-songwriters from North Carolina
Women organists
20th-century women composers
American women in electronic music
20th-century American singers
21st-century American singers
Singer-songwriters from Washington, D.C. | true | [
"Maria Arredondo is the first album by Norwegian singer Maria Arredondo, released in Norway on March 17, 2003, with a second edition released on June 30, 2003. The album was the most successful album by Arredondo either in critics or sales. It has 12 songs with the second edition and 5 singles were released. One of the singles, \"In Love With An Angel\", a duet with Christian Ingebrigtsen, was nominated for the 2003 Norwegian Grammy Awards as 'Song Of The Year'.\n\nHistory \nAfter two years recording the songs, Arredondo signed with Universal Music Norway. The album entered the Norwegian Top 40 and Norwegian Topp 30 Norsk at #2 and spent 23 weeks on the charts. It was recorded in Sweden and Norway, and was produced by several well-known Scandinavian producers such as Jonas von Der Burg, Espen Lind, Bluefish, Jonny Sjo, Harry Sommerdahl and Bjørn Erik Pedersen. Several successful songwriters also contributed, including Christian Ingebrigtsen, Jonas von Der Burg, Silje Nergaard, Espen Lind and Harry Sommerdahl. The first single released was \"Can Let Go\". The second single, \"Just A Little Heartache\" was very successful in the radio charts. \"In Love With An Angel\" was the third single and became the first and only #1 single for Arredondo.\n\nThe album was re-released with a new song, \"Hardly Hurts At All\", which was released as a single. The last single from the album was \"A Thousand Nights\". The album went platinum and sold more than 70,000 copies.\n\nTrack listing\n\nCharts\n\nAlbum\n\nSingles\n\nReferences \n\n2003 debut albums\nMaria Arredondo albums\nUniversal Music Norway albums",
"Black and White is the second studio album and major label debut by British hip hop recording artist Wretch 32. The album was released in the United Kingdom on 21 August 2011 through Ministry of Sound, debuting at number four on the UK Albums Chart with first week sales of nearly 25,000 copies. The album follows his independent debut album, Wretchrospective, which was released three years earlier, in 2008. The album spawned six singles over the course of eighteen months, all of which peaked inside the UK top 50, including three top five singles, and a number one single, \"Don't Go\". The album includes collaborations with Ed Sheeran, Daley, Etta Bond and Example.\n\nSingles\n \"Traktor\" was released as the first single released from the album on 16 January 2011. It peaked at number five on the UK Singles Chart, becoming the third most successful single from the album. The track features vocals from L Marshall and was produced by Yogi.\n \"Unorthodox\" was released as the second single from the album on 17 April 2011. It peaked at number two on the UK Singles Chart, becoming the second most successful single from the album. The track features vocals from Example.\n \"Don't Go\" was released as the third single from the album on 14 August 2011. It peaked at number one on the UK Singles Chart, becoming the album's most successful single. The track features vocals from upcoming musician and songwriter Josh Kumra.\n \"Forgiveness\" was released as the fourth single from the album on 11 December 2011. It peaked at number 39 on the UK Singles Chart, becoming the least successful single from the album. The track features vocals from Etta Bond, and was produced by Labrinth.\n \"Long Way Home\" was released as a single from the album on 14 February 2012, in promotion of the track's featuring artist, Daley. It was ineligible to chart on the UK Singles Chart, and was simply released in the form of a promotional music video.\n \"Hush Little Baby\" was released as the fifth and final single from the album on 27 May 2012. It peaked at number 35 on the UK Singles Chart, due to little promotion. The track features vocals from singer-songwriter Ed Sheeran.\n\nTrack listing \n\nNotes\n \"Forgiveness\" features uncredited vocals from Labrinth.\n\nSample credits\n \"Black and White\" samples \"Different Strokes\" by Syl Johnson\n \"Unorthodox\" samples \"Fools Gold\" by The Stone Roses.\n \"Hush Little Baby\" adapts lyrics from the lullaby \"Hush, Little Baby\".\n\nCharts\n\nRelease history\n\nReferences\n\n2011 albums\nWretch 32 albums\nMinistry of Sound albums\nAlbums produced by Labrinth"
] | [
"Tori Amos (born Myra Ellen Amos; August 22, 1963) is an American singer-songwriter and pianist. She is a classically trained musician with a mezzo-soprano vocal range.",
"She is a classically trained musician with a mezzo-soprano vocal range. Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted.",
"Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted. She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \"musical insubordination\".",
"She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \"musical insubordination\". Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s.",
"Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s. Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion.",
"Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion. Her charting singles include \"Crucify\", \"Silent All These Years\", \"God\", \"Cornflake Girl\", \"Caught a Lite Sneeze\", \"Professional Widow\", \"Spark\", \"1000 Oceans\", \"Flavor\" and \"A Sorta Fairytale\", her most commercially successful single in the U.S. to date.",
"Her charting singles include \"Crucify\", \"Silent All These Years\", \"God\", \"Cornflake Girl\", \"Caught a Lite Sneeze\", \"Professional Widow\", \"Spark\", \"1000 Oceans\", \"Flavor\" and \"A Sorta Fairytale\", her most commercially successful single in the U.S. to date. Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album.",
"Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album. She is listed on VH1's 1999 \"100 Greatest Women of Rock and Roll\" at number 71.",
"She is listed on VH1's 1999 \"100 Greatest Women of Rock and Roll\" at number 71. Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos.",
"Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos. She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity.",
"She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity. When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C.",
"When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C. Her older brother and sister took piano lessons, but Tori did not need them.",
"Her older brother and sister took piano lessons, but Tori did not need them. From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs.",
"From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs. She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music.",
"She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music. She studied classical piano at Peabody from 1968 to 1974.",
"She studied classical piano at Peabody from 1968 to 1974. In 1974, when she was eleven, her scholarship was discontinued, and she was asked to leave. Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music.",
"Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music. In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church.",
"In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church. At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father.",
"At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father. Amos won a county teen talent contest in 1977, singing a song called \"More Than Just a Friend\".",
"Amos won a county teen talent contest in 1977, singing a song called \"More Than Just a Friend\". As a senior at Richard Montgomery High School, she co-wrote \"Baltimore\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles.",
"As a senior at Richard Montgomery High School, she co-wrote \"Baltimore\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles. The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \"Walking With You\".",
"The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \"Walking With You\". Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast.",
"Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast. Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers.",
"Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers. Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released.",
"Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released. Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her.",
"Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her. In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area.",
"In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area. In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading.",
"In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading. In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber.",
"In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber. The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time.",
"The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time. Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released.",
"Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released. Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \"The only good thing about that album is my ankle high boots.\"",
"Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \"The only good thing about that album is my ankle high boots.\" Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist.",
"Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist. She also recorded a song called \"Distant Storm\" for the film China O'Brien.",
"She also recorded a song called \"Distant Storm\" for the film China O'Brien. In the credits, the song is attributed to a band called Tess Makes Good.",
"In the credits, the song is attributed to a band called Tess Makes Good. 1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990.",
"1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990. The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented.",
"The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented. The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault.",
"The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault. This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15.",
"This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15. Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \"Silent All These Years\".",
"Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \"Silent All These Years\". Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink.",
"Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink. The album was received with mostly favorable reviews and sold enough copies to chart at No. 12 on the Billboard 200, a significantly higher position than the preceding album's position at No.",
"12 on the Billboard 200, a significantly higher position than the preceding album's position at No. 54 on the same chart. However, the album found its biggest success in the UK, debuting at number one upon release in February 1994.",
"However, the album found its biggest success in the UK, debuting at number one upon release in February 1994. 1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996.",
"1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996. Prior to its release, the first single, \"Caught a Lite Sneeze\" became the first full song released for streaming online prior to an album's release.",
"Prior to its release, the first single, \"Caught a Lite Sneeze\" became the first full song released for streaming online prior to an album's release. The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics.",
"The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics. For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano.",
"For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano. The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability.",
"The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability. Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No.",
"Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No. 2 on the UK Top 40 and No. 2 on the Billboard 200 upon its release.",
"2 on the Billboard 200 upon its release. Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios.",
"Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios. From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums.",
"From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums. Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes.",
"Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes. The underlying themes of both albums deal with womanhood and Amos's own miscarriages and marriage. Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality.",
"Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality. Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week.",
"Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week. To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download.",
"To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download. 2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective.",
"2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective. That became Strange Little Girls, released in September 2001.",
"That became Strange Little Girls, released in September 2001. The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song.",
"The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song. Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label.",
"Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label. With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001.",
"With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11.",
"Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny.",
"Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA.",
"Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA. Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003.",
"Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group.",
"Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline.",
"Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline. 2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007).",
"2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment.",
"The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics.",
"Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No.",
"The album debuted at No. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts.",
"5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it.",
"While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's.",
"American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No.",
"Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200.",
"5 on the Billboard 200. 5 on the Billboard 200. During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records.",
"During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records. 2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work.",
"2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work. In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes.",
"In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes. By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \"joint venture\" deal with Universal Republic Records.",
"By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \"joint venture\" deal with Universal Republic Records. Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews.",
"Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews. The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so.",
"The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so. Abnormally Attracted to Sin, admitted Amos, is a \"personal album\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin.",
"Abnormally Attracted to Sin, admitted Amos, is a \"personal album\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin. Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year.",
"Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year. The album features reworked versions of traditional carols, as well as original songs written by Amos.",
"The album features reworked versions of traditional carols, as well as original songs written by Amos. During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010.",
"During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010. In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble.",
"In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble. After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010.",
"After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010. The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow.",
"The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow. The set was released exclusively through her website and only 2000 copies were produced.",
"The set was released exclusively through her website and only 2000 copies were produced. 2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group.",
"2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group. Amos recorded the album with several musicians, including the Apollon Musagète string quartet.",
"Amos recorded the album with several musicians, including the Apollon Musagète string quartet. To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra.",
"To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra. The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon.",
"The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon. On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists.",
"On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists. In 2013, Amos collaborated with the Bullitts on the track \"Wait Until Tomorrow\" from their debut album, They Die by Dawn & Other Short Stories.",
"In 2013, Amos collaborated with the Bullitts on the track \"Wait Until Tomorrow\" from their debut album, They Die by Dawn & Other Short Stories. She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \"return to contemporary music\".",
"She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \"return to contemporary music\". September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott.",
"September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott. It premiered at London's Royal National Theatre and ended in February 2014.",
"It premiered at London's Royal National Theatre and ended in February 2014. The Light Princess and its lead actress, Rosalie Craig, were nominated for Best Musical and Best Musical Performance respectively at the Evening Standard Award. Craig won the Best Musical Performance category.",
"Craig won the Best Musical Performance category. Amos's 14th studio album, Unrepentant Geraldines, was released on May 13, 2014, via Mercury Classics/Universal Music Classics in the US. Its first single, \"Trouble's Lament\", was released on March 28.",
"Its first single, \"Trouble's Lament\", was released on March 28. The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014.",
"The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014. In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House.",
"In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House. According to a press release, Unrepentant Geraldines was a \"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years.",
"According to a press release, Unrepentant Geraldines was a \"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years. [It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\"",
"[It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\" The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics.",
"The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics. Apart from the original cast performances, the recording also includes two songs from the musical (\"Highness in the Sky\" and \"Darkest Hour') performed by Amos.",
"Apart from the original cast performances, the recording also includes two songs from the musical (\"Highness in the Sky\" and \"Darkest Hour') performed by Amos. 2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release.",
"2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release. This follows the deluxe re-releases of her first two albums in 2015.",
"This follows the deluxe re-releases of her first two albums in 2015. On September 8, 2017, Amos released Native Invader, accompanied by a world tour.",
"On September 8, 2017, Amos released Native Invader, accompanied by a world tour. During the summer of 2017, Amos launched three songs from the album: \"Cloud Riders\", \"Up the Creek\" and \"Reindeer King\", the latter featuring string arrangements by John Philip Shenale.",
"During the summer of 2017, Amos launched three songs from the album: \"Cloud Riders\", \"Up the Creek\" and \"Reindeer King\", the latter featuring string arrangements by John Philip Shenale. Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations.",
"Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations. The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak.",
"The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak. Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader.",
"Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader. The album, released on September 8, 2017, has been presented in two formats: standard and deluxe.",
"The album, released on September 8, 2017, has been presented in two formats: standard and deluxe. The standard version includes 13 songs, while the deluxe edition adds two extra songs to the tracklist: \"Upside Down 2\" and \"Russia\". Native Invader has been well received by most music critics upon release.",
"Native Invader has been well received by most music critics upon release. The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \"generally favorable reviews\".",
"The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \"generally favorable reviews\". On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl.",
"On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl. The EP consists of four original songs and features her first work with bandmates Matt Chamberlain and Jon Evans since 2009. Amos recorded the EP remotely due to the impact of the COVID-19 pandemic.",
"Amos recorded the EP remotely due to the impact of the COVID-19 pandemic. On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29.",
"On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29. The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \"a universal story of going to rock bottom and renewing yourself all over again\".",
"The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \"a universal story of going to rock bottom and renewing yourself all over again\". Amos will embark on a European tour in support of the album in 2022.",
"Amos will embark on a European tour in support of the album in 2022. Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces.",
"Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces. In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005).",
"In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005). The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records.",
"The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records. Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos.",
"Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos. Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore.",
"Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore. Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996).",
"Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996). Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process.",
"Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process. Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020.",
"Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020. Personal life Amos married English sound engineer Mark Hawley on February 22, 1998. Their daughter was born in 2000.",
"Their daughter was born in 2000. The family divides their time between Sewall's Point in Florida, US, and Bude, Cornwall in the UK. Amos' mother, Mary Ellen, died on May 11, 2019.",
"Amos' mother, Mary Ellen, died on May 11, 2019. Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \"Tear in Your Hand\" and also in print interviews.",
"Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \"Tear in Your Hand\" and also in print interviews. Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \"steal shamelessly from each other\".",
"Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \"steal shamelessly from each other\". She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo.",
"She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo. Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009.",
"Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009. In 2019, Amos performed the British standard \"A Nightingale Sang in Berkeley Square\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett.",
"In 2019, Amos performed the British standard \"A Nightingale Sang in Berkeley Square\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett. Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded.",
"Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded. Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline.",
"Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline. She was the first national spokesperson for the organization and has continued to be closely associated with RAINN.",
"She was the first national spokesperson for the organization and has continued to be closely associated with RAINN. On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN.",
"On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN. On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA.",
"On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA. Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992.",
"Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992. In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine.",
"In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine. Her concerts are notable for their changing set lists from night to night. Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland.",
"Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland. She performed solo with a Yamaha CP-70 unless the venue was able to provide a piano. The tour included 142 concerts around the globe.",
"The tour included 142 concerts around the globe. Under the Pink Tour Amos's second world tour began on February 24, 1994 in Newcastle upon Tyne and ended on December 13, 1994 in Perth, Western Australia. Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \"Bells for Her\".",
"Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \"Bells for Her\". The tour included 181 concerts. Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder.",
"Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder. Amos performed each night on piano, harpsichord, and harmonium, with Steve Caton on guitar on some songs. The tour included 187 concerts.",
"The tour included 187 concerts. The tour included 187 concerts. Plugged '98 Tour Amos's first band tour. Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass.",
"Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass. The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts.",
"The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts. 5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only.",
"5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only. The first part of the tour was co-headlining with Alanis Morissette and featured the same band and equipment line-up as in 1998. Amos and the band continued for eight shows before Amos embarked on a series of solo shows.",
"Amos and the band continued for eight shows before Amos embarked on a series of solo shows. The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts.",
"The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts. Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996).",
"Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996). It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented.",
"It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented. Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months.",
"Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months. It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts.",
"It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts. On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton.",
"On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton. The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening.",
"The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening. The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts.",
"The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts. The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album).",
"The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album). Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes.",
"Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes. The tour also encompassed Australia for the first time since 1994.",
"The tour also encompassed Australia for the first time since 1994. Amos announced at a concert on this tour that she would never stop touring but would scale down the tours. Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles.",
"Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles. The tour featured \"Tori's Piano Bar\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show.",
"The tour featured \"Tori's Piano Bar\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show. One of the songs chosen was the Kylie Minogue hit \"Can't Get You Out of My Head\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public.",
"One of the songs chosen was the Kylie Minogue hit \"Can't Get You Out of My Head\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public. Other songs performed by Amos include The Doors' \"People are Strange\", Depeche Mode's \"Personal Jesus\", Joni Mitchell's \"The Circle Game\", Madonna's \"Live to Tell\" and \"Like a Prayer\", Björk's \"Hyperballad\", Led Zeppelin's \"When the Levee Breaks\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \"And Dream of Sheep\" and Crowded House's \"Don't Dream It's Over\", dedicating it to drummer Paul Hester who had died a week before.",
"Other songs performed by Amos include The Doors' \"People are Strange\", Depeche Mode's \"Personal Jesus\", Joni Mitchell's \"The Circle Game\", Madonna's \"Live to Tell\" and \"Like a Prayer\", Björk's \"Hyperballad\", Led Zeppelin's \"When the Levee Breaks\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \"And Dream of Sheep\" and Crowded House's \"Don't Dream It's Over\", dedicating it to drummer Paul Hester who had died a week before. The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs.",
"The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs. American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band.",
"American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band. Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards.",
"Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards. The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles.",
"The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles. Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show.",
"Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show. The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series.",
"The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series. Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard.",
"Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard. The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009.",
"The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009. A solo leg through Australia began in Melbourne on November 12, 2009 and ended in Brisbane on November 24, 2009. The entire tour featured 63 concerts.",
"The entire tour featured 63 concerts. Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa.",
"Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa. It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas.",
"It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas. Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1.",
"Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1. Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts.",
"Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts. Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October.",
"Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October. Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland.",
"Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland. Awards and nominations {| class=\"wikitable sortable plainrowheaders\" |- ! scope=\"col\" | Award !",
"scope=\"col\" | Award ! scope=\"col\" | Year ! scope=\"col\" | Nominee(s) ! scope=\"col\" | Category ! scope=\"col\" | Result ! scope=\"col\" class=\"unsortable\"| |- !",
"scope=\"col\" class=\"unsortable\"| |- ! scope=\"row\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- !",
"scope=\"row\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- ! scope=\"row\"|Critics' Choice Documentary Awards | 2016 | \"Flicker\" | Best Song in a Documentary | | |- !scope=\"row\"|ECHO Awards | 1995 | Herself | Best International Female | | |- !",
"scope=\"row\"|Critics' Choice Documentary Awards | 2016 | \"Flicker\" | Best Song in a Documentary | | |- !scope=\"row\"|ECHO Awards | 1995 | Herself | Best International Female | | |- ! scope=\"row\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- !",
"scope=\"row\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- ! scope=\"row\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- !",
"scope=\"row\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- ! scope=\"row\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- !",
"scope=\"row\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- ! scope=\"row\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- !",
"scope=\"row\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- ! scope=\"row\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \"Raspberry Swirl\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \"Bliss\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \"Strange Little Girl\" | Best Female Rock Vocal Performance | |- !",
"scope=\"row\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \"Raspberry Swirl\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \"Bliss\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \"Strange Little Girl\" | Best Female Rock Vocal Performance | |- ! scope=\"row\"|Hollywood Music in Media Awards | 2016 | \"Flicker\" | Best Original Song in a Documentary | | |- !",
"scope=\"row\"|Hollywood Music in Media Awards | 2016 | \"Flicker\" | Best Original Song in a Documentary | | |- ! scope=\"row\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- !",
"scope=\"row\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- ! scope=\"row\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- !",
"scope=\"row\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- ! scope=\"row\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\"Silent All These Years\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- !",
"scope=\"row\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\"Silent All These Years\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- ! scope=\"row\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- !",
"scope=\"row\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- ! scope=\"row\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\"row\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- !",
"scope=\"row\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\"row\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- ! scope=\"row\"|Q Awards | 1992 | Herself | Best New Act | | |- !",
"scope=\"row\"|Q Awards | 1992 | Herself | Best New Act | | |- ! scope=\"row\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\"row\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony.",
"scope=\"row\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\"row\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony. Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel.",
"Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel. Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile.",
"Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile. References Citations Works cited External links 1963 births 20th-century American composers 20th-century American keyboardists 20th-century American women pianists 20th-century American pianists 20th-century American women singers 21st-century American keyboardists 21st-century American women pianists 21st-century American pianists 21st-century American women singers Alternative rock keyboardists Alternative rock pianists Alternative rock singers American alternative rock musicians American expatriates in the Republic of Ireland American expatriates in the United Kingdom American women composers American women singer-songwriters American feminist writers American harpsichordists American mezzo-sopranos American organists American people who self-identify as being of Native American descent American pop pianists American rock pianists American women rock singers American rock songwriters Articles containing video clips Art rock musicians Atlantic Records artists Child classical musicians Clavichordists Deutsche Grammophon artists Electronica musicians Epic Records artists Feminist musicians Harmonium players Island Records artists Living people Montgomery College alumni Musicians from Baltimore Musicians from County Cork Musicians from Rockville, Maryland People from Georgetown (Washington, D.C.) People from Newton, North Carolina People from Sewall's Point, Florida Republic Records artists Sexual abuse victim advocates Singer-songwriters from Maryland Singer-songwriters from North Carolina Women organists 20th-century women composers American women in electronic music 20th-century American singers 21st-century American singers Singer-songwriters from Washington, D.C."
] |
[
"Tori Amos",
"The Epic Records years (2002-07)",
"Did Amos release any albums during these years?",
"In October 2002, Amos released Scarlet's Walk, another concept album.",
"Was the album successful?",
"strong debut at No. 7 on the Billboard 200."
] | C_f2c7f26de77949ff80c91a7bd337fb42_1 | Did Amos release any albums after Scarlet's Walk? | 3 | Did Tori Amos release any albums after Scarlet's Walk? | Tori Amos | With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a "sonic novel", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA. Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline. Amos would later hint in interviews that during the creation of her next album, those in charge at the label following the aforementioned merger were interested "only in making money", the effects of which on the album have not been disclosed. Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the "posse") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200. During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records. CANNOTANSWER | The Beekeeper (2005) and American Doll Posse (2007). | Tori Amos (born Myra Ellen Amos; August 22, 1963) is an American singer-songwriter and pianist. She is a classically trained musician with a mezzo-soprano vocal range. Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted. She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as "musical insubordination". Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s. Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion.
Her charting singles include "Crucify", "Silent All These Years", "God", "Cornflake Girl", "Caught a Lite Sneeze", "Professional Widow", "Spark", "1000 Oceans", "Flavor" and "A Sorta Fairytale", her most commercially successful single in the U.S. to date. Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album. She is listed on VH1's 1999 "100 Greatest Women of Rock and Roll" at number 71.
Early life and education
Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos. She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity.
When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C. Her older brother and sister took piano lessons, but Tori did not need them. From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs. She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia:
At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music. She studied classical piano at Peabody from 1968 to 1974. In 1974, when she was eleven, her scholarship was discontinued, and she was asked to leave. Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music.
In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church. At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father.
Amos won a county teen talent contest in 1977, singing a song called "More Than Just a Friend". As a senior at Richard Montgomery High School, she co-wrote "Baltimore" with her brother, Mike Amos, for a competition involving the Baltimore Orioles. The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, "Walking With You". Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast.
Career
1979–1989: Career beginnings and Y Kant Tori Read
By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers. Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released. Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her.
In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area.
In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading. In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber. The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time. Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released. Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: "The only good thing about that album is my ankle high boots."
Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist. She also recorded a song called "Distant Storm" for the film China O'Brien. In the credits, the song is attributed to a band called Tess Makes Good.
1990–1995: Little Earthquakes and Under the Pink
Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990. The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented. The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault. This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15. Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single "Silent All These Years".
Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink. The album was received with mostly favorable reviews and sold enough copies to chart at No. 12 on the Billboard 200, a significantly higher position than the preceding album's position at No. 54 on the same chart. However, the album found its biggest success in the UK, debuting at number one upon release in February 1994.
1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back
Her third solo album, Boys for Pele, was released in January 1996. Prior to its release, the first single, "Caught a Lite Sneeze" became the first full song released for streaming online prior to an album's release.
The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics. For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano. The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability. Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No. 2 on the UK Top 40 and No. 2 on the Billboard 200 upon its release.
Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios.
From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums. Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes. The underlying themes of both albums deal with womanhood and Amos's own miscarriages and marriage. Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality. Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week. To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download.
2001–2004: Strange Little Girls and Scarlet's Walk
Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective. That became Strange Little Girls, released in September 2001. The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song. Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label.
With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a "sonic novel", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA.
Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline.
2005–2008: The Beekeeper and American Doll Posse
Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the "posse") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200.
During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records.
2008–2011: Abnormally Attracted to Sin and Midwinter Graces
In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work. In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes. By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a "joint venture" deal with Universal Republic Records.
Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews. The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so. Abnormally Attracted to Sin, admitted Amos, is a "personal album", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin. Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year. The album features reworked versions of traditional carols, as well as original songs written by Amos.
During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010. In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble.
After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010. The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow. The set was released exclusively through her website and only 2000 copies were produced.
2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines
In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group. Amos recorded the album with several musicians, including the Apollon Musagète string quartet.
To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra. The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon.
On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists.
In 2013, Amos collaborated with the Bullitts on the track "Wait Until Tomorrow" from their debut album, They Die by Dawn & Other Short Stories. She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a "return to contemporary music".
September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott. It premiered at London's Royal National Theatre and ended in February 2014. The Light Princess and its lead actress, Rosalie Craig, were nominated for Best Musical and Best Musical Performance respectively at the Evening Standard Award. Craig won the Best Musical Performance category.
Amos's 14th studio album, Unrepentant Geraldines, was released on May 13, 2014, via Mercury Classics/Universal Music Classics in the US. Its first single, "Trouble's Lament", was released on March 28. The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014. In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House.
According to a press release, Unrepentant Geraldines was a "return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years. [It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world."
The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics. Apart from the original cast performances, the recording also includes two songs from the musical ("Highness in the Sky" and "Darkest Hour') performed by Amos.
2016–present: Native Invader, Christmastide and Ocean to Ocean
On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release. This follows the deluxe re-releases of her first two albums in 2015.
On September 8, 2017, Amos released Native Invader, accompanied by a world tour. During the summer of 2017, Amos launched three songs from the album: "Cloud Riders", "Up the Creek" and "Reindeer King", the latter featuring string arrangements by John Philip Shenale. Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations.
The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak. Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader. The album, released on September 8, 2017, has been presented in two formats: standard and deluxe. The standard version includes 13 songs, while the deluxe edition adds two extra songs to the tracklist: "Upside Down 2" and "Russia". Native Invader has been well received by most music critics upon release. The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating "generally favorable reviews".
On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl. The EP consists of four original songs and features her first work with bandmates Matt Chamberlain and Jon Evans since 2009. Amos recorded the EP remotely due to the impact of the COVID-19 pandemic.
On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29. The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores "a universal story of going to rock bottom and renewing yourself all over again". Amos will embark on a European tour in support of the album in 2022. Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces.
In print
Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005). The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records.
Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos. Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore.
Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996).
Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process.
Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020.
Personal life
Amos married English sound engineer Mark Hawley on February 22, 1998. Their daughter was born in 2000. The family divides their time between Sewall's Point in Florida, US, and Bude, Cornwall in the UK.
Amos' mother, Mary Ellen, died on May 11, 2019.
Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song "Tear in Your Hand" and also in print interviews. Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they "steal shamelessly from each other". She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo. Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009. In 2019, Amos performed the British standard "A Nightingale Sang in Berkeley Square" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett.
Activism
In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded. Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline. She was the first national spokesperson for the organization and has continued to be closely associated with RAINN. On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN. On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA.
Discography
Studio albums
Little Earthquakes (1992)
Under the Pink (1994)
Boys for Pele (1996)
From the Choirgirl Hotel (1998)
To Venus and Back (1999)
Strange Little Girls (2001)
Scarlet's Walk (2002)
The Beekeeper (2005)
American Doll Posse (2007)
Abnormally Attracted to Sin (2009)
Midwinter Graces (2009)
Night of Hunters (2011)
Gold Dust (2012)
Unrepentant Geraldines (2014)
Native Invader (2017)
Ocean to Ocean (2021)
Tours
Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992. In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine. Her concerts are notable for their changing set lists from night to night.
Little Earthquakes Tour
Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland. She performed solo with a Yamaha CP-70 unless the venue was able to provide a piano. The tour included 142 concerts around the globe.
Under the Pink Tour
Amos's second world tour began on February 24, 1994 in Newcastle upon Tyne and ended on December 13, 1994 in Perth, Western Australia. Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during "Bells for Her". The tour included 181 concerts.
Dew Drop Inn Tour
The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder. Amos performed each night on piano, harpsichord, and harmonium, with Steve Caton on guitar on some songs. The tour included 187 concerts.
Plugged '98 Tour
Amos's first band tour. Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass. The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts.
5 ½ Weeks Tour / To Dallas and Back
Amos's fifth tour was North America–only. The first part of the tour was co-headlining with Alanis Morissette and featured the same band and equipment line-up as in 1998. Amos and the band continued for eight shows before Amos embarked on a series of solo shows. The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts.
Strange Little Tour
This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996). It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented. Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months. It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts.
On Scarlet's Walk / Lottapianos Tour
Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton. The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening. The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts. The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album).
Original Sinsuality Tour / Summer of Sin
This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes. The tour also encompassed Australia for the first time since 1994. Amos announced at a concert on this tour that she would never stop touring but would scale down the tours. Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles. The tour featured "Tori's Piano Bar", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show. One of the songs chosen was the Kylie Minogue hit "Can't Get You Out of My Head", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public. Other songs performed by Amos include The Doors' "People are Strange", Depeche Mode's "Personal Jesus", Joni Mitchell's "The Circle Game", Madonna's "Live to Tell" and "Like a Prayer", Björk's "Hyperballad", Led Zeppelin's "When the Levee Breaks" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's "And Dream of Sheep" and Crowded House's "Don't Dream It's Over", dedicating it to drummer Paul Hester who had died a week before. The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs.
American Doll Posse World Tour
This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band. Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards. The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles. Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show. The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series.
Sinful Attraction Tour
For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard. The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009. A solo leg through Australia began in Melbourne on November 12, 2009 and ended in Brisbane on November 24, 2009. The entire tour featured 63 concerts.
Night of Hunters tour
Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa. It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas.
Gold Dust Orchestral Tour
Amos began her 2012 tour in Rotterdam on October 1.
Unrepentant Geraldines Tour
Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts.
Native Invader Tour
Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October.
Ocean to Ocean Tour
Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland.
Awards and nominations
{| class="wikitable sortable plainrowheaders"
|-
! scope="col" | Award
! scope="col" | Year
! scope="col" | Nominee(s)
! scope="col" | Category
! scope="col" | Result
! scope="col" class="unsortable"|
|-
! scope="row" rowspan=3|Brit Awards
| rowspan=2|1993
| rowspan=3|Herself
| International Breakthrough Act
|
| rowspan=2|
|-
| International Solo Artist
|
|-
| 1995
| International Female Solo Artist
|
|
|-
! scope="row"|Critics' Choice Documentary Awards
| 2016
| "Flicker"
| Best Song in a Documentary
|
|
|-
!scope="row"|ECHO Awards
| 1995
| Herself
| Best International Female
|
|
|-
! scope="row"|ECHO Klassik Awards
| rowspan=1|2012
| Night of Hunters
| The Klassik-ohne-Grenzen Prize
|
|
|-
! scope="row" rowspan=4|GAFFA Awards
| 2000
| rowspan=3|Herself
| rowspan=2|Best Foreign Female Act
|
| rowspan=2|
|-
| 2003
|
|-
| rowspan=2|2022
| Best Foreign Solo Act
|
|
|-
| Ocean to Ocean
| Best Foreign Album
|
|-
! scope="row"|George Peabody Medal
| 2019
| Herself
| Outstanding Contributions to Music
|
|
|-
! scope="row"|Glamour Awards
| 1998
| Herself
| Woman of the Year
|
|
|-
! scope="row" rowspan=8|Grammy Awards
| 1995
| Under the Pink
| rowspan=3|Best Alternative Music Album
|
| rowspan=8|
|-
| 1997
| Boys for Pele
|
|-
| rowspan=2|1999
| From the Choirgirl Hotel
|
|-
| "Raspberry Swirl"
| rowspan=2|Best Female Rock Vocal Performance
|
|-
| rowspan=2|2000
| "Bliss"
|
|-
| To Venus and Back
| rowspan=2|Best Alternative Music Album
|
|-
| rowspan=2|2002
| Strange Little Girls
|
|-
| "Strange Little Girl"
| Best Female Rock Vocal Performance
|
|-
! scope="row"|Hollywood Music in Media Awards
| 2016
| "Flicker"
| Best Original Song in a Documentary
|
|
|-
! scope="row"|Hungarian Music Awards
| 2010
| Abnormally Attracted to Sin
| Best Foreign Alternative Album
|
|
|-
! scope="row"|MTV Europe Music Awards
| 1994
| Herself
| Best Female
|
|
|-
! scope="row" rowspan=4|MTV Video Music Awards
| rowspan=4|1992
| rowspan=4|"Silent All These Years"
| Best Female Video
|
|rowspan=4|
|-
| Best New Artist in a Video
|
|-
| Breakthrough Video
|
|-
| Best Cinematography in a Video
|
|-
! scope="row"|NME Awards
| 2016
| Under the Pink
| Best Reissue
|
|
|-
! scope="row"|North Carolina Music Hall of Fame
| 2012
| Herself
| Inducted
|
|
|-
!scope="row" rowspan=5|Pollstar Concert Industry Awards
| rowspan=2|1993
| rowspan=2|Little Earthquakes Tour
| Best New Rock Artist
|
| rowspan=2|
|-
| Club Tour Of The Year
|
|-
| 1995
| Under the Pink Tour
| rowspan=3|Small Hall Tour Of The Year
|
|
|-
| 1997
| Dew Drop Inn Tour
|
|
|-
| 1999
| 5 ½ Weeks Tour
|
|
|-
! scope="row"|Q Awards
| 1992
| Herself
| Best New Act
|
|
|-
! scope="row" rowspan=2|WhatsOnStage Awards
| rowspan=2|2014
| rowspan=2|The Light Princess
| Best New Musical
|
| rowspan=2|
|-
| Best London Newcomer of the Year
|
|-
!scope="row"|Žebřík Music Awards
| 2001
| Herself
| Best International Female
|
|
1999: Spin Readers' Poll Awards (Won)
On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony. Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel.
Film appearances
Tori appears as a wedding singer in the film Mona Lisa Smile.
References
Citations
Works cited
External links
1963 births
20th-century American composers
20th-century American keyboardists
20th-century American women pianists
20th-century American pianists
20th-century American women singers
21st-century American keyboardists
21st-century American women pianists
21st-century American pianists
21st-century American women singers
Alternative rock keyboardists
Alternative rock pianists
Alternative rock singers
American alternative rock musicians
American expatriates in the Republic of Ireland
American expatriates in the United Kingdom
American women composers
American women singer-songwriters
American feminist writers
American harpsichordists
American mezzo-sopranos
American organists
American people who self-identify as being of Native American descent
American pop pianists
American rock pianists
American women rock singers
American rock songwriters
Articles containing video clips
Art rock musicians
Atlantic Records artists
Child classical musicians
Clavichordists
Deutsche Grammophon artists
Electronica musicians
Epic Records artists
Feminist musicians
Harmonium players
Island Records artists
Living people
Montgomery College alumni
Musicians from Baltimore
Musicians from County Cork
Musicians from Rockville, Maryland
People from Georgetown (Washington, D.C.)
People from Newton, North Carolina
People from Sewall's Point, Florida
Republic Records artists
Sexual abuse victim advocates
Singer-songwriters from Maryland
Singer-songwriters from North Carolina
Women organists
20th-century women composers
American women in electronic music
20th-century American singers
21st-century American singers
Singer-songwriters from Washington, D.C. | true | [
"Scarlet's Walk is the seventh studio album released by Tori Amos. The 18-track concept album details the cross-country travels of Scarlet, a character loosely based on Amos, as well as the concept of America post–September 11, 2001. The album was the first released by Amos on Epic Records after her split with former label Atlantic Records. After a period of trouble with her last label, Amos proved her fan base was still with her when the album debuted at number 7 in the US, selling 107,000 copies in its first week, and reaching RIAA Gold status about a month after its release.\n\nTheme description\nAccording to author Neil Gaiman, \"The CD's about America — it's a story that's also a journey, that begins in LA and crosses the country, slowly heading east. America's in there, and specific places and things, Native American history and pornography and a girl on a plane who'll never get to New York, and Oliver Stone and Andrew Jackson and madness and a lot more. Not to mention a girl called Scarlet who may be the land and may be a person and may be a trail of blood.\" The song \"Amber Waves\" is named after Julianne Moore's character in Boogie Nights.\n\nCritical reception\n\nKludge magazine included Scarlet's Walk on their list of best albums of 2002.\n\nTrack listing\n\nNotes\n Polaroids\n Commentary by Amos on Gold Dust and A Sorta Fairytale videos.\n\nSingles and B-sides\n\nSingles\nThe first single from the album was the track \"A Sorta Fairytale\" (released September 2002), which proved to be one of Amos's more successful singles, landing her in the US Top 10 Adult Contemporary chart. A commercial single was also released in the UK with a B-side entitled \"Operation Peter Pan\", based on the Cuban Missile Crisis of 1962. This served as the last commercial CD single of Amos's career to date.\n\n\"Taxi Ride\", a partial homage to the late make-up artist Kevyn Aucoin, a friend of Amos's who died in May 2002, served as the second single from the album. An on-line contest was held asking fans to direct and submit a music video for the song. The song reached the Top 40 Adult Contemporary chart in the US. The third single, \"Strange\", was released to radio in a redone version that was given a Country and Western feel with twangy guitars and additional vocals. A Timo Maas dance remix of \"Don't Make Me Come to Vegas\" served as the fourth single continued Amos's fortunes on the dance charts. Of the last three singles, only the latter was released commercially, exclusively on a 12\" vinyl single in the US.\n\nB-sides\nThe album, as with most of Amos's albums, is also known for its collection of original B-sides. Amos recorded a host of songs that did not make the album, but were released as B-sides to various singles or performed live in concerts.\n\nPersonnel\nTori Amos - Bösendorfer piano, Rhodes, Wurlitzer, ARP, vocals \nDavid Torn, Mac Aladdin, Robbie McIntosh - guitar\nJon Evans - bass\nMatt Chamberlain - drums, percussion\nSinfonia of London - strings\nJohn Philip Shenale - string arrangements\nDavid Firman - conductor\nPeter Willison - director of strings\n\nRelease history\nIn addition to the standard CD release, a limited edition of Scarlet’s Walk was released in a special box set containing the album, a bonus DVD, a map detailing Scarlet's journey, stickers, a bracelet-charm and mock Polaroid postcards. The album also provided entry to \"Scarlet's Web\" a web site that was the sole source for special concert ticket offers, photos, merchandise, and unreleased B-side tracks. The elaborate packaging of the limited edition version of the album garnered Amos a Grammy nomination. The UK limited edition did not include a charm bracelet as The Official Charts Company declared it would have been an unfair incentive to purchase the album, otherwise sales of the record would not have been chart eligible.\n\nIn an attempt to prevent Internet trading of the album, Amos, in conjunction with her husband and crew, used glue to bind closed portable CD players containing the album. These were then distributed to the press on the understanding that they would be returned within forty-eight hours. If an attempt was made to open the player, both it and the disc inside would shatter. The success of this attempt was so great that the record industry began to follow suit. As an additional incentive to buy the album rather than download its contents illicitly, the CD also served as a key to access \"Scarlet's Web\", a website which featured several songs (\"Tombigbee\", \"Seaside\", \"Mountain\") as well as various photographs and journal entries that were not available elsewhere.\n\nCharts\n\nWeekly charts\n\nSingles\n\n Billboard Hot Single Sales chart/ 2003 *\n\n∞ - Denotes position on Billboard Bubbling Under Hot 100 Singles\n\nCertifications\n\nReferences\n\nExternal links\n\nTori Amos albums\n2002 albums\nEpic Records albums\nConcept albums",
"\"Taxi Ride\" is a song by American recording artist Tori Amos from her seventh studio album Scarlet's Walk (2002). The song was released as the album's second single in January 2003. It was written, composed and produced by Amos. The song is a folk pop track, which features instrumentation of electric guitars, drums, bongos, and acoustic guitar. The track was her second offering after departing from Atlantic Records and signed with Epic Records.\n\n\"Taxi Ride\" received positive reviews from music critics, who complimented the song's production and lyrical delivery. The song charted at thirty-five on the Adult Top 40 and Radio & Records chart in the US. Amos has performed the song on several tours she has commissioned.\n\nBackground\nTori Amos' track \"Taxi Ride\" appears on her seventh studio album, Scarlet's Walk (2002). In September 2001, Amos released her first concept album Strange Little Girls. Motherhood inspired Amos to produce a cover album, recording songs written by men about women and reversing the gender roles to show a woman's perspective. Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them new original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label. Nevertheless, Strange Little Girls received mostly favorable reviews from music critics, some who complimented the idea of twisting the male perspective into female views and the composition, while some dismissed this. It sold over 110,000 units in its first week in the US, reaching number four on the Billboard 200.\n\nAfter leaving Atlantic, she signed to Epic Records to record the Scarlet's Walk album. However, Epic's President Polly Anthony announced her resignation that would be fulfilled in early 2003. Amos personally liked Anthony and was the reason why she signed to the label, so Amos formed Bridge Entertainment Group. However, Epic and Sony Music Entertainment merged with BMG as a result to the industry's sales decline. Despite this, Amos carried on recording the album. Scarlet's Walk was released in October 2002. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. It reached number seven on the Billboard 200 and was certified gold by the Recording Industry Association of America (RIAA).\n\nComposition\nWritten, composed and produced by Amos, \"Taxi Ride\" is a folk pop song. According to the music sheet at Musicnotes.com, \"Taxi Ride\" is set in the key of F minor. Performed in a moderately slow rhythmic pace of 80 beats per minute, Amos' vocals range span from F3 to E5. Lyrically, \"Taxi Ride\" is about the death of Amos' make-up artist and friend Kevyn Aucoin, who died of kidney and liver failure as a result of Acetaminophen toxicity in May 2002.\n\nAmos commented extensively about the lyrical content on the Scarlet Selections;\n\nRelease\n\"Taxi Ride\" was released as the second single by Epic from Scarlet's Walk. It was released as a promotional CD single in Europe, which contained the radio edit of the track. The cover artwork features a black-and-white image of Amos, surrounded by an orange-and-white border. A promotional CD was released in Poland by Sony Music Entertainment Polska, which featured the album version of \"Taxi Ride\".\n\nReception\n\"Taxi Ride\" received mostly positive reviews from music critics. Greg Fasolino and Michael Zwirn from Trouser Press highlighted \"Taxi Ride\" and Scarlet's Walk tracks \"Another Girl's Paradise\" and \"Don't Make Me Come to Vegas\" as good tracks. They commented “This is her strongest work since Boys for Pele, and one of the best albums of her career.” Stephen Thomas Erlewine from Allmusic highlighted the song as an album stand out. Rolling Stone's editor Greg Kot complimented the lyrical content for being fun, highlighting the line \"Even a glamorous bitch can be in need. Slant Magazine's Sal Cinquemani had cited \"Taxi Ride\" as the album's best track.\n\nTrack listing\nPromo-only single\n \"Taxi Ride\" (radio edit) – 3:56\n\nChart performance\n\nReferences\n\nTori Amos songs\n2003 singles\nEpic Records singles\nLGBT-related songs"
] | [
"Tori Amos (born Myra Ellen Amos; August 22, 1963) is an American singer-songwriter and pianist. She is a classically trained musician with a mezzo-soprano vocal range.",
"She is a classically trained musician with a mezzo-soprano vocal range. Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted.",
"Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted. She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \"musical insubordination\".",
"She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \"musical insubordination\". Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s.",
"Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s. Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion.",
"Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion. Her charting singles include \"Crucify\", \"Silent All These Years\", \"God\", \"Cornflake Girl\", \"Caught a Lite Sneeze\", \"Professional Widow\", \"Spark\", \"1000 Oceans\", \"Flavor\" and \"A Sorta Fairytale\", her most commercially successful single in the U.S. to date.",
"Her charting singles include \"Crucify\", \"Silent All These Years\", \"God\", \"Cornflake Girl\", \"Caught a Lite Sneeze\", \"Professional Widow\", \"Spark\", \"1000 Oceans\", \"Flavor\" and \"A Sorta Fairytale\", her most commercially successful single in the U.S. to date. Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album.",
"Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album. She is listed on VH1's 1999 \"100 Greatest Women of Rock and Roll\" at number 71.",
"She is listed on VH1's 1999 \"100 Greatest Women of Rock and Roll\" at number 71. Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos.",
"Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos. She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity.",
"She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity. When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C.",
"When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C. Her older brother and sister took piano lessons, but Tori did not need them.",
"Her older brother and sister took piano lessons, but Tori did not need them. From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs.",
"From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs. She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music.",
"She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music. She studied classical piano at Peabody from 1968 to 1974.",
"She studied classical piano at Peabody from 1968 to 1974. In 1974, when she was eleven, her scholarship was discontinued, and she was asked to leave. Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music.",
"Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music. In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church.",
"In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church. At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father.",
"At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father. Amos won a county teen talent contest in 1977, singing a song called \"More Than Just a Friend\".",
"Amos won a county teen talent contest in 1977, singing a song called \"More Than Just a Friend\". As a senior at Richard Montgomery High School, she co-wrote \"Baltimore\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles.",
"As a senior at Richard Montgomery High School, she co-wrote \"Baltimore\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles. The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \"Walking With You\".",
"The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \"Walking With You\". Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast.",
"Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast. Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers.",
"Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers. Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released.",
"Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released. Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her.",
"Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her. In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area.",
"In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area. In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading.",
"In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading. In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber.",
"In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber. The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time.",
"The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time. Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released.",
"Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released. Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \"The only good thing about that album is my ankle high boots.\"",
"Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \"The only good thing about that album is my ankle high boots.\" Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist.",
"Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist. She also recorded a song called \"Distant Storm\" for the film China O'Brien.",
"She also recorded a song called \"Distant Storm\" for the film China O'Brien. In the credits, the song is attributed to a band called Tess Makes Good.",
"In the credits, the song is attributed to a band called Tess Makes Good. 1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990.",
"1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990. The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented.",
"The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented. The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault.",
"The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault. This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15.",
"This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15. Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \"Silent All These Years\".",
"Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \"Silent All These Years\". Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink.",
"Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink. The album was received with mostly favorable reviews and sold enough copies to chart at No. 12 on the Billboard 200, a significantly higher position than the preceding album's position at No.",
"12 on the Billboard 200, a significantly higher position than the preceding album's position at No. 54 on the same chart. However, the album found its biggest success in the UK, debuting at number one upon release in February 1994.",
"However, the album found its biggest success in the UK, debuting at number one upon release in February 1994. 1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996.",
"1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996. Prior to its release, the first single, \"Caught a Lite Sneeze\" became the first full song released for streaming online prior to an album's release.",
"Prior to its release, the first single, \"Caught a Lite Sneeze\" became the first full song released for streaming online prior to an album's release. The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics.",
"The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics. For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano.",
"For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano. The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability.",
"The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability. Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No.",
"Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No. 2 on the UK Top 40 and No. 2 on the Billboard 200 upon its release.",
"2 on the Billboard 200 upon its release. Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios.",
"Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios. From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums.",
"From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums. Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes.",
"Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes. The underlying themes of both albums deal with womanhood and Amos's own miscarriages and marriage. Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality.",
"Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality. Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week.",
"Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week. To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download.",
"To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download. 2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective.",
"2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective. That became Strange Little Girls, released in September 2001.",
"That became Strange Little Girls, released in September 2001. The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song.",
"The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song. Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label.",
"Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label. With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001.",
"With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11.",
"Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny.",
"Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA.",
"Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA. Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003.",
"Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group.",
"Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline.",
"Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline. 2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007).",
"2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment.",
"The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics.",
"Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No.",
"The album debuted at No. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts.",
"5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it.",
"While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's.",
"American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No.",
"Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200.",
"5 on the Billboard 200. 5 on the Billboard 200. During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records.",
"During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records. 2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work.",
"2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work. In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes.",
"In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes. By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \"joint venture\" deal with Universal Republic Records.",
"By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \"joint venture\" deal with Universal Republic Records. Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews.",
"Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews. The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so.",
"The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so. Abnormally Attracted to Sin, admitted Amos, is a \"personal album\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin.",
"Abnormally Attracted to Sin, admitted Amos, is a \"personal album\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin. Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year.",
"Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year. The album features reworked versions of traditional carols, as well as original songs written by Amos.",
"The album features reworked versions of traditional carols, as well as original songs written by Amos. During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010.",
"During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010. In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble.",
"In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble. After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010.",
"After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010. The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow.",
"The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow. The set was released exclusively through her website and only 2000 copies were produced.",
"The set was released exclusively through her website and only 2000 copies were produced. 2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group.",
"2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group. Amos recorded the album with several musicians, including the Apollon Musagète string quartet.",
"Amos recorded the album with several musicians, including the Apollon Musagète string quartet. To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra.",
"To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra. The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon.",
"The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon. On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists.",
"On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists. In 2013, Amos collaborated with the Bullitts on the track \"Wait Until Tomorrow\" from their debut album, They Die by Dawn & Other Short Stories.",
"In 2013, Amos collaborated with the Bullitts on the track \"Wait Until Tomorrow\" from their debut album, They Die by Dawn & Other Short Stories. She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \"return to contemporary music\".",
"She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \"return to contemporary music\". September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott.",
"September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott. It premiered at London's Royal National Theatre and ended in February 2014.",
"It premiered at London's Royal National Theatre and ended in February 2014. The Light Princess and its lead actress, Rosalie Craig, were nominated for Best Musical and Best Musical Performance respectively at the Evening Standard Award. Craig won the Best Musical Performance category.",
"Craig won the Best Musical Performance category. Amos's 14th studio album, Unrepentant Geraldines, was released on May 13, 2014, via Mercury Classics/Universal Music Classics in the US. Its first single, \"Trouble's Lament\", was released on March 28.",
"Its first single, \"Trouble's Lament\", was released on March 28. The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014.",
"The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014. In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House.",
"In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House. According to a press release, Unrepentant Geraldines was a \"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years.",
"According to a press release, Unrepentant Geraldines was a \"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years. [It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\"",
"[It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\" The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics.",
"The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics. Apart from the original cast performances, the recording also includes two songs from the musical (\"Highness in the Sky\" and \"Darkest Hour') performed by Amos.",
"Apart from the original cast performances, the recording also includes two songs from the musical (\"Highness in the Sky\" and \"Darkest Hour') performed by Amos. 2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release.",
"2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release. This follows the deluxe re-releases of her first two albums in 2015.",
"This follows the deluxe re-releases of her first two albums in 2015. On September 8, 2017, Amos released Native Invader, accompanied by a world tour.",
"On September 8, 2017, Amos released Native Invader, accompanied by a world tour. During the summer of 2017, Amos launched three songs from the album: \"Cloud Riders\", \"Up the Creek\" and \"Reindeer King\", the latter featuring string arrangements by John Philip Shenale.",
"During the summer of 2017, Amos launched three songs from the album: \"Cloud Riders\", \"Up the Creek\" and \"Reindeer King\", the latter featuring string arrangements by John Philip Shenale. Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations.",
"Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations. The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak.",
"The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak. Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader.",
"Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader. The album, released on September 8, 2017, has been presented in two formats: standard and deluxe.",
"The album, released on September 8, 2017, has been presented in two formats: standard and deluxe. The standard version includes 13 songs, while the deluxe edition adds two extra songs to the tracklist: \"Upside Down 2\" and \"Russia\". Native Invader has been well received by most music critics upon release.",
"Native Invader has been well received by most music critics upon release. The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \"generally favorable reviews\".",
"The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \"generally favorable reviews\". On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl.",
"On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl. The EP consists of four original songs and features her first work with bandmates Matt Chamberlain and Jon Evans since 2009. Amos recorded the EP remotely due to the impact of the COVID-19 pandemic.",
"Amos recorded the EP remotely due to the impact of the COVID-19 pandemic. On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29.",
"On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29. The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \"a universal story of going to rock bottom and renewing yourself all over again\".",
"The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \"a universal story of going to rock bottom and renewing yourself all over again\". Amos will embark on a European tour in support of the album in 2022.",
"Amos will embark on a European tour in support of the album in 2022. Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces.",
"Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces. In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005).",
"In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005). The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records.",
"The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records. Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos.",
"Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos. Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore.",
"Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore. Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996).",
"Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996). Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process.",
"Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process. Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020.",
"Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020. Personal life Amos married English sound engineer Mark Hawley on February 22, 1998. Their daughter was born in 2000.",
"Their daughter was born in 2000. The family divides their time between Sewall's Point in Florida, US, and Bude, Cornwall in the UK. Amos' mother, Mary Ellen, died on May 11, 2019.",
"Amos' mother, Mary Ellen, died on May 11, 2019. Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \"Tear in Your Hand\" and also in print interviews.",
"Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \"Tear in Your Hand\" and also in print interviews. Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \"steal shamelessly from each other\".",
"Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \"steal shamelessly from each other\". She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo.",
"She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo. Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009.",
"Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009. In 2019, Amos performed the British standard \"A Nightingale Sang in Berkeley Square\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett.",
"In 2019, Amos performed the British standard \"A Nightingale Sang in Berkeley Square\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett. Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded.",
"Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded. Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline.",
"Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline. She was the first national spokesperson for the organization and has continued to be closely associated with RAINN.",
"She was the first national spokesperson for the organization and has continued to be closely associated with RAINN. On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN.",
"On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN. On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA.",
"On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA. Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992.",
"Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992. In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine.",
"In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine. Her concerts are notable for their changing set lists from night to night. Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland.",
"Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland. She performed solo with a Yamaha CP-70 unless the venue was able to provide a piano. The tour included 142 concerts around the globe.",
"The tour included 142 concerts around the globe. Under the Pink Tour Amos's second world tour began on February 24, 1994 in Newcastle upon Tyne and ended on December 13, 1994 in Perth, Western Australia. Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \"Bells for Her\".",
"Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \"Bells for Her\". The tour included 181 concerts. Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder.",
"Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder. Amos performed each night on piano, harpsichord, and harmonium, with Steve Caton on guitar on some songs. The tour included 187 concerts.",
"The tour included 187 concerts. The tour included 187 concerts. Plugged '98 Tour Amos's first band tour. Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass.",
"Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass. The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts.",
"The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts. 5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only.",
"5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only. The first part of the tour was co-headlining with Alanis Morissette and featured the same band and equipment line-up as in 1998. Amos and the band continued for eight shows before Amos embarked on a series of solo shows.",
"Amos and the band continued for eight shows before Amos embarked on a series of solo shows. The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts.",
"The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts. Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996).",
"Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996). It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented.",
"It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented. Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months.",
"Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months. It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts.",
"It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts. On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton.",
"On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton. The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening.",
"The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening. The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts.",
"The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts. The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album).",
"The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album). Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes.",
"Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes. The tour also encompassed Australia for the first time since 1994.",
"The tour also encompassed Australia for the first time since 1994. Amos announced at a concert on this tour that she would never stop touring but would scale down the tours. Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles.",
"Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles. The tour featured \"Tori's Piano Bar\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show.",
"The tour featured \"Tori's Piano Bar\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show. One of the songs chosen was the Kylie Minogue hit \"Can't Get You Out of My Head\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public.",
"One of the songs chosen was the Kylie Minogue hit \"Can't Get You Out of My Head\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public. Other songs performed by Amos include The Doors' \"People are Strange\", Depeche Mode's \"Personal Jesus\", Joni Mitchell's \"The Circle Game\", Madonna's \"Live to Tell\" and \"Like a Prayer\", Björk's \"Hyperballad\", Led Zeppelin's \"When the Levee Breaks\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \"And Dream of Sheep\" and Crowded House's \"Don't Dream It's Over\", dedicating it to drummer Paul Hester who had died a week before.",
"Other songs performed by Amos include The Doors' \"People are Strange\", Depeche Mode's \"Personal Jesus\", Joni Mitchell's \"The Circle Game\", Madonna's \"Live to Tell\" and \"Like a Prayer\", Björk's \"Hyperballad\", Led Zeppelin's \"When the Levee Breaks\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \"And Dream of Sheep\" and Crowded House's \"Don't Dream It's Over\", dedicating it to drummer Paul Hester who had died a week before. The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs.",
"The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs. American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band.",
"American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band. Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards.",
"Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards. The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles.",
"The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles. Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show.",
"Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show. The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series.",
"The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series. Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard.",
"Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard. The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009.",
"The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009. A solo leg through Australia began in Melbourne on November 12, 2009 and ended in Brisbane on November 24, 2009. The entire tour featured 63 concerts.",
"The entire tour featured 63 concerts. Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa.",
"Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa. It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas.",
"It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas. Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1.",
"Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1. Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts.",
"Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts. Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October.",
"Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October. Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland.",
"Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland. Awards and nominations {| class=\"wikitable sortable plainrowheaders\" |- ! scope=\"col\" | Award !",
"scope=\"col\" | Award ! scope=\"col\" | Year ! scope=\"col\" | Nominee(s) ! scope=\"col\" | Category ! scope=\"col\" | Result ! scope=\"col\" class=\"unsortable\"| |- !",
"scope=\"col\" class=\"unsortable\"| |- ! scope=\"row\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- !",
"scope=\"row\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- ! scope=\"row\"|Critics' Choice Documentary Awards | 2016 | \"Flicker\" | Best Song in a Documentary | | |- !scope=\"row\"|ECHO Awards | 1995 | Herself | Best International Female | | |- !",
"scope=\"row\"|Critics' Choice Documentary Awards | 2016 | \"Flicker\" | Best Song in a Documentary | | |- !scope=\"row\"|ECHO Awards | 1995 | Herself | Best International Female | | |- ! scope=\"row\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- !",
"scope=\"row\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- ! scope=\"row\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- !",
"scope=\"row\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- ! scope=\"row\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- !",
"scope=\"row\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- ! scope=\"row\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- !",
"scope=\"row\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- ! scope=\"row\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \"Raspberry Swirl\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \"Bliss\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \"Strange Little Girl\" | Best Female Rock Vocal Performance | |- !",
"scope=\"row\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \"Raspberry Swirl\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \"Bliss\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \"Strange Little Girl\" | Best Female Rock Vocal Performance | |- ! scope=\"row\"|Hollywood Music in Media Awards | 2016 | \"Flicker\" | Best Original Song in a Documentary | | |- !",
"scope=\"row\"|Hollywood Music in Media Awards | 2016 | \"Flicker\" | Best Original Song in a Documentary | | |- ! scope=\"row\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- !",
"scope=\"row\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- ! scope=\"row\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- !",
"scope=\"row\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- ! scope=\"row\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\"Silent All These Years\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- !",
"scope=\"row\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\"Silent All These Years\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- ! scope=\"row\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- !",
"scope=\"row\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- ! scope=\"row\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\"row\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- !",
"scope=\"row\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\"row\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- ! scope=\"row\"|Q Awards | 1992 | Herself | Best New Act | | |- !",
"scope=\"row\"|Q Awards | 1992 | Herself | Best New Act | | |- ! scope=\"row\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\"row\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony.",
"scope=\"row\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\"row\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony. Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel.",
"Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel. Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile.",
"Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile. References Citations Works cited External links 1963 births 20th-century American composers 20th-century American keyboardists 20th-century American women pianists 20th-century American pianists 20th-century American women singers 21st-century American keyboardists 21st-century American women pianists 21st-century American pianists 21st-century American women singers Alternative rock keyboardists Alternative rock pianists Alternative rock singers American alternative rock musicians American expatriates in the Republic of Ireland American expatriates in the United Kingdom American women composers American women singer-songwriters American feminist writers American harpsichordists American mezzo-sopranos American organists American people who self-identify as being of Native American descent American pop pianists American rock pianists American women rock singers American rock songwriters Articles containing video clips Art rock musicians Atlantic Records artists Child classical musicians Clavichordists Deutsche Grammophon artists Electronica musicians Epic Records artists Feminist musicians Harmonium players Island Records artists Living people Montgomery College alumni Musicians from Baltimore Musicians from County Cork Musicians from Rockville, Maryland People from Georgetown (Washington, D.C.) People from Newton, North Carolina People from Sewall's Point, Florida Republic Records artists Sexual abuse victim advocates Singer-songwriters from Maryland Singer-songwriters from North Carolina Women organists 20th-century women composers American women in electronic music 20th-century American singers 21st-century American singers Singer-songwriters from Washington, D.C."
] |
[
"Tori Amos",
"The Epic Records years (2002-07)",
"Did Amos release any albums during these years?",
"In October 2002, Amos released Scarlet's Walk, another concept album.",
"Was the album successful?",
"strong debut at No. 7 on the Billboard 200.",
"Did Amos release any albums after Scarlet's Walk?",
"The Beekeeper (2005) and American Doll Posse (2007)."
] | C_f2c7f26de77949ff80c91a7bd337fb42_1 | What can you tell me about The Beekeeper? | 4 | What can you tell me about The Beekeeper by Tori Amos? | Tori Amos | With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a "sonic novel", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA. Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline. Amos would later hint in interviews that during the creation of her next album, those in charge at the label following the aforementioned merger were interested "only in making money", the effects of which on the album have not been disclosed. Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the "posse") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200. During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records. CANNOTANSWER | The Beekeeper was conceptually influenced by the ancient art of beekeeping, | Tori Amos (born Myra Ellen Amos; August 22, 1963) is an American singer-songwriter and pianist. She is a classically trained musician with a mezzo-soprano vocal range. Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted. She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as "musical insubordination". Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s. Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion.
Her charting singles include "Crucify", "Silent All These Years", "God", "Cornflake Girl", "Caught a Lite Sneeze", "Professional Widow", "Spark", "1000 Oceans", "Flavor" and "A Sorta Fairytale", her most commercially successful single in the U.S. to date. Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album. She is listed on VH1's 1999 "100 Greatest Women of Rock and Roll" at number 71.
Early life and education
Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos. She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity.
When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C. Her older brother and sister took piano lessons, but Tori did not need them. From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs. She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia:
At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music. She studied classical piano at Peabody from 1968 to 1974. In 1974, when she was eleven, her scholarship was discontinued, and she was asked to leave. Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music.
In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church. At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father.
Amos won a county teen talent contest in 1977, singing a song called "More Than Just a Friend". As a senior at Richard Montgomery High School, she co-wrote "Baltimore" with her brother, Mike Amos, for a competition involving the Baltimore Orioles. The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, "Walking With You". Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast.
Career
1979–1989: Career beginnings and Y Kant Tori Read
By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers. Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released. Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her.
In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area.
In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading. In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber. The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time. Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released. Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: "The only good thing about that album is my ankle high boots."
Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist. She also recorded a song called "Distant Storm" for the film China O'Brien. In the credits, the song is attributed to a band called Tess Makes Good.
1990–1995: Little Earthquakes and Under the Pink
Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990. The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented. The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault. This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15. Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single "Silent All These Years".
Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink. The album was received with mostly favorable reviews and sold enough copies to chart at No. 12 on the Billboard 200, a significantly higher position than the preceding album's position at No. 54 on the same chart. However, the album found its biggest success in the UK, debuting at number one upon release in February 1994.
1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back
Her third solo album, Boys for Pele, was released in January 1996. Prior to its release, the first single, "Caught a Lite Sneeze" became the first full song released for streaming online prior to an album's release.
The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics. For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano. The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability. Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No. 2 on the UK Top 40 and No. 2 on the Billboard 200 upon its release.
Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios.
From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums. Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes. The underlying themes of both albums deal with womanhood and Amos's own miscarriages and marriage. Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality. Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week. To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download.
2001–2004: Strange Little Girls and Scarlet's Walk
Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective. That became Strange Little Girls, released in September 2001. The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song. Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label.
With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a "sonic novel", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA.
Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline.
2005–2008: The Beekeeper and American Doll Posse
Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the "posse") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200.
During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records.
2008–2011: Abnormally Attracted to Sin and Midwinter Graces
In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work. In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes. By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a "joint venture" deal with Universal Republic Records.
Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews. The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so. Abnormally Attracted to Sin, admitted Amos, is a "personal album", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin. Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year. The album features reworked versions of traditional carols, as well as original songs written by Amos.
During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010. In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble.
After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010. The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow. The set was released exclusively through her website and only 2000 copies were produced.
2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines
In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group. Amos recorded the album with several musicians, including the Apollon Musagète string quartet.
To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra. The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon.
On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists.
In 2013, Amos collaborated with the Bullitts on the track "Wait Until Tomorrow" from their debut album, They Die by Dawn & Other Short Stories. She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a "return to contemporary music".
September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott. It premiered at London's Royal National Theatre and ended in February 2014. The Light Princess and its lead actress, Rosalie Craig, were nominated for Best Musical and Best Musical Performance respectively at the Evening Standard Award. Craig won the Best Musical Performance category.
Amos's 14th studio album, Unrepentant Geraldines, was released on May 13, 2014, via Mercury Classics/Universal Music Classics in the US. Its first single, "Trouble's Lament", was released on March 28. The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014. In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House.
According to a press release, Unrepentant Geraldines was a "return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years. [It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world."
The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics. Apart from the original cast performances, the recording also includes two songs from the musical ("Highness in the Sky" and "Darkest Hour') performed by Amos.
2016–present: Native Invader, Christmastide and Ocean to Ocean
On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release. This follows the deluxe re-releases of her first two albums in 2015.
On September 8, 2017, Amos released Native Invader, accompanied by a world tour. During the summer of 2017, Amos launched three songs from the album: "Cloud Riders", "Up the Creek" and "Reindeer King", the latter featuring string arrangements by John Philip Shenale. Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations.
The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak. Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader. The album, released on September 8, 2017, has been presented in two formats: standard and deluxe. The standard version includes 13 songs, while the deluxe edition adds two extra songs to the tracklist: "Upside Down 2" and "Russia". Native Invader has been well received by most music critics upon release. The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating "generally favorable reviews".
On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl. The EP consists of four original songs and features her first work with bandmates Matt Chamberlain and Jon Evans since 2009. Amos recorded the EP remotely due to the impact of the COVID-19 pandemic.
On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29. The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores "a universal story of going to rock bottom and renewing yourself all over again". Amos will embark on a European tour in support of the album in 2022. Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces.
In print
Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005). The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records.
Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos. Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore.
Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996).
Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process.
Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020.
Personal life
Amos married English sound engineer Mark Hawley on February 22, 1998. Their daughter was born in 2000. The family divides their time between Sewall's Point in Florida, US, and Bude, Cornwall in the UK.
Amos' mother, Mary Ellen, died on May 11, 2019.
Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song "Tear in Your Hand" and also in print interviews. Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they "steal shamelessly from each other". She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo. Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009. In 2019, Amos performed the British standard "A Nightingale Sang in Berkeley Square" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett.
Activism
In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded. Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline. She was the first national spokesperson for the organization and has continued to be closely associated with RAINN. On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN. On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA.
Discography
Studio albums
Little Earthquakes (1992)
Under the Pink (1994)
Boys for Pele (1996)
From the Choirgirl Hotel (1998)
To Venus and Back (1999)
Strange Little Girls (2001)
Scarlet's Walk (2002)
The Beekeeper (2005)
American Doll Posse (2007)
Abnormally Attracted to Sin (2009)
Midwinter Graces (2009)
Night of Hunters (2011)
Gold Dust (2012)
Unrepentant Geraldines (2014)
Native Invader (2017)
Ocean to Ocean (2021)
Tours
Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992. In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine. Her concerts are notable for their changing set lists from night to night.
Little Earthquakes Tour
Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland. She performed solo with a Yamaha CP-70 unless the venue was able to provide a piano. The tour included 142 concerts around the globe.
Under the Pink Tour
Amos's second world tour began on February 24, 1994 in Newcastle upon Tyne and ended on December 13, 1994 in Perth, Western Australia. Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during "Bells for Her". The tour included 181 concerts.
Dew Drop Inn Tour
The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder. Amos performed each night on piano, harpsichord, and harmonium, with Steve Caton on guitar on some songs. The tour included 187 concerts.
Plugged '98 Tour
Amos's first band tour. Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass. The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts.
5 ½ Weeks Tour / To Dallas and Back
Amos's fifth tour was North America–only. The first part of the tour was co-headlining with Alanis Morissette and featured the same band and equipment line-up as in 1998. Amos and the band continued for eight shows before Amos embarked on a series of solo shows. The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts.
Strange Little Tour
This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996). It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented. Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months. It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts.
On Scarlet's Walk / Lottapianos Tour
Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton. The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening. The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts. The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album).
Original Sinsuality Tour / Summer of Sin
This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes. The tour also encompassed Australia for the first time since 1994. Amos announced at a concert on this tour that she would never stop touring but would scale down the tours. Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles. The tour featured "Tori's Piano Bar", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show. One of the songs chosen was the Kylie Minogue hit "Can't Get You Out of My Head", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public. Other songs performed by Amos include The Doors' "People are Strange", Depeche Mode's "Personal Jesus", Joni Mitchell's "The Circle Game", Madonna's "Live to Tell" and "Like a Prayer", Björk's "Hyperballad", Led Zeppelin's "When the Levee Breaks" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's "And Dream of Sheep" and Crowded House's "Don't Dream It's Over", dedicating it to drummer Paul Hester who had died a week before. The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs.
American Doll Posse World Tour
This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band. Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards. The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles. Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show. The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series.
Sinful Attraction Tour
For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard. The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009. A solo leg through Australia began in Melbourne on November 12, 2009 and ended in Brisbane on November 24, 2009. The entire tour featured 63 concerts.
Night of Hunters tour
Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa. It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas.
Gold Dust Orchestral Tour
Amos began her 2012 tour in Rotterdam on October 1.
Unrepentant Geraldines Tour
Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts.
Native Invader Tour
Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October.
Ocean to Ocean Tour
Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland.
Awards and nominations
{| class="wikitable sortable plainrowheaders"
|-
! scope="col" | Award
! scope="col" | Year
! scope="col" | Nominee(s)
! scope="col" | Category
! scope="col" | Result
! scope="col" class="unsortable"|
|-
! scope="row" rowspan=3|Brit Awards
| rowspan=2|1993
| rowspan=3|Herself
| International Breakthrough Act
|
| rowspan=2|
|-
| International Solo Artist
|
|-
| 1995
| International Female Solo Artist
|
|
|-
! scope="row"|Critics' Choice Documentary Awards
| 2016
| "Flicker"
| Best Song in a Documentary
|
|
|-
!scope="row"|ECHO Awards
| 1995
| Herself
| Best International Female
|
|
|-
! scope="row"|ECHO Klassik Awards
| rowspan=1|2012
| Night of Hunters
| The Klassik-ohne-Grenzen Prize
|
|
|-
! scope="row" rowspan=4|GAFFA Awards
| 2000
| rowspan=3|Herself
| rowspan=2|Best Foreign Female Act
|
| rowspan=2|
|-
| 2003
|
|-
| rowspan=2|2022
| Best Foreign Solo Act
|
|
|-
| Ocean to Ocean
| Best Foreign Album
|
|-
! scope="row"|George Peabody Medal
| 2019
| Herself
| Outstanding Contributions to Music
|
|
|-
! scope="row"|Glamour Awards
| 1998
| Herself
| Woman of the Year
|
|
|-
! scope="row" rowspan=8|Grammy Awards
| 1995
| Under the Pink
| rowspan=3|Best Alternative Music Album
|
| rowspan=8|
|-
| 1997
| Boys for Pele
|
|-
| rowspan=2|1999
| From the Choirgirl Hotel
|
|-
| "Raspberry Swirl"
| rowspan=2|Best Female Rock Vocal Performance
|
|-
| rowspan=2|2000
| "Bliss"
|
|-
| To Venus and Back
| rowspan=2|Best Alternative Music Album
|
|-
| rowspan=2|2002
| Strange Little Girls
|
|-
| "Strange Little Girl"
| Best Female Rock Vocal Performance
|
|-
! scope="row"|Hollywood Music in Media Awards
| 2016
| "Flicker"
| Best Original Song in a Documentary
|
|
|-
! scope="row"|Hungarian Music Awards
| 2010
| Abnormally Attracted to Sin
| Best Foreign Alternative Album
|
|
|-
! scope="row"|MTV Europe Music Awards
| 1994
| Herself
| Best Female
|
|
|-
! scope="row" rowspan=4|MTV Video Music Awards
| rowspan=4|1992
| rowspan=4|"Silent All These Years"
| Best Female Video
|
|rowspan=4|
|-
| Best New Artist in a Video
|
|-
| Breakthrough Video
|
|-
| Best Cinematography in a Video
|
|-
! scope="row"|NME Awards
| 2016
| Under the Pink
| Best Reissue
|
|
|-
! scope="row"|North Carolina Music Hall of Fame
| 2012
| Herself
| Inducted
|
|
|-
!scope="row" rowspan=5|Pollstar Concert Industry Awards
| rowspan=2|1993
| rowspan=2|Little Earthquakes Tour
| Best New Rock Artist
|
| rowspan=2|
|-
| Club Tour Of The Year
|
|-
| 1995
| Under the Pink Tour
| rowspan=3|Small Hall Tour Of The Year
|
|
|-
| 1997
| Dew Drop Inn Tour
|
|
|-
| 1999
| 5 ½ Weeks Tour
|
|
|-
! scope="row"|Q Awards
| 1992
| Herself
| Best New Act
|
|
|-
! scope="row" rowspan=2|WhatsOnStage Awards
| rowspan=2|2014
| rowspan=2|The Light Princess
| Best New Musical
|
| rowspan=2|
|-
| Best London Newcomer of the Year
|
|-
!scope="row"|Žebřík Music Awards
| 2001
| Herself
| Best International Female
|
|
1999: Spin Readers' Poll Awards (Won)
On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony. Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel.
Film appearances
Tori appears as a wedding singer in the film Mona Lisa Smile.
References
Citations
Works cited
External links
1963 births
20th-century American composers
20th-century American keyboardists
20th-century American women pianists
20th-century American pianists
20th-century American women singers
21st-century American keyboardists
21st-century American women pianists
21st-century American pianists
21st-century American women singers
Alternative rock keyboardists
Alternative rock pianists
Alternative rock singers
American alternative rock musicians
American expatriates in the Republic of Ireland
American expatriates in the United Kingdom
American women composers
American women singer-songwriters
American feminist writers
American harpsichordists
American mezzo-sopranos
American organists
American people who self-identify as being of Native American descent
American pop pianists
American rock pianists
American women rock singers
American rock songwriters
Articles containing video clips
Art rock musicians
Atlantic Records artists
Child classical musicians
Clavichordists
Deutsche Grammophon artists
Electronica musicians
Epic Records artists
Feminist musicians
Harmonium players
Island Records artists
Living people
Montgomery College alumni
Musicians from Baltimore
Musicians from County Cork
Musicians from Rockville, Maryland
People from Georgetown (Washington, D.C.)
People from Newton, North Carolina
People from Sewall's Point, Florida
Republic Records artists
Sexual abuse victim advocates
Singer-songwriters from Maryland
Singer-songwriters from North Carolina
Women organists
20th-century women composers
American women in electronic music
20th-century American singers
21st-century American singers
Singer-songwriters from Washington, D.C. | true | [
"\"Tell Me What You Want\" is the fourth single by English R&B band Loose Ends from their first studio album, A Little Spice, and was released in February 1984 by Virgin Records. The single reached number 74 in the UK Singles Chart.\n\nTrack listing\n7” Single: VS658\n \"Tell Me What You Want) 3.35\n \"Tell Me What You Want (Dub Mix)\" 3.34\n\n12” Single: VS658-12\n \"Tell Me What You Want (Extended Version)\" 6.11\n \"Tell Me What You Want (Extended Dub Mix)\" 5.41\n\nU.S. only release - 12” Single: MCA23596 (released 1985)\n \"Tell Me What You Want (U.S. Extended Remix)\" 6.08 *\n \"Tell Me What You Want (U.S. Dub Version)\" 5.18\n\n* The U.S. Extended Remix version was released on CD on the U.S. Version of the 'A Little Spice' album (MCAD27141).\n\nThe Extended Version also featured on Side D of the limited gatefold sleeve version of 'Magic Touch'\n\nChart performance\n\nReferences\n\nExternal links\n Tell Me What You Want at Discogs.\n\n1984 singles\nLoose Ends (band) songs\nSong recordings produced by Nick Martinelli\nSongs written by Carl McIntosh (musician)\nSongs written by Steve Nichol\n1984 songs\nVirgin Records singles",
"\"Tell Me What You Want Me to Do\" is the title of a number-one R&B single by singer Tevin Campbell. To date, the single is Campbell's biggest hit peaking at number 6 on the Billboard Hot 100 and spending one week at number-one on the US R&B chart. The hit song is also Tevin's one and only Adult Contemporary hit, where it peaked at number 43. The song showcases Campbell's four-octave vocal range from a low note of E2 to a D#6 during the bridge of the song.\n\nTrack listings\nUS 7\" vinyl\nA \"Tell Me What You Want Me to Do\" (edit) – 4:16\t\nB \"Tell Me What You Want Me to Do\" (instrumental) – 5:00\n\n12\" vinyl\nA \"Tell Me What You Want Me to Do\" (edit) – 4:16\t\nB \"Tell Me What You Want Me to Do\" (album version) – 5:02\n\nUK CD\n \"Tell Me What You Want Me to Do\" – 4:16\n \"Goodbye\" (7\" Remix Edit) – 3:48\n \"Goodbye\" (Sidub and Listen) – 4:58\n \"Goodbye\" (Tevin's Dub Pt 1 & 2) – 6:53\n\nJapan CD\n \"Tell Me What You Want Me to Do\" – 4:10\n \"Tell Me What You Want Me to Do\" (instrumental version) – 4:10\n\nGermany CD\n \"Tell Me What You Want Me to Do\" (edit) – 4:10\n \"Just Ask Me\" (featuring Chubb Rock) – 4:07\n \"Tomorrow\" (A Better You, Better Me) – 4:46\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nSee also\nList of number-one R&B singles of 1992 (U.S.)\n\nReferences\n\nTevin Campbell songs\n1991 singles\n1991 songs\nSongs written by Tevin Campbell\nSongs written by Narada Michael Walden\nSong recordings produced by Narada Michael Walden\nWarner Records singles\nContemporary R&B ballads\nPop ballads\nSoul ballads\n1990s ballads"
] | [
"Tori Amos (born Myra Ellen Amos; August 22, 1963) is an American singer-songwriter and pianist. She is a classically trained musician with a mezzo-soprano vocal range.",
"She is a classically trained musician with a mezzo-soprano vocal range. Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted.",
"Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted. She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \"musical insubordination\".",
"She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \"musical insubordination\". Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s.",
"Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s. Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion.",
"Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion. Her charting singles include \"Crucify\", \"Silent All These Years\", \"God\", \"Cornflake Girl\", \"Caught a Lite Sneeze\", \"Professional Widow\", \"Spark\", \"1000 Oceans\", \"Flavor\" and \"A Sorta Fairytale\", her most commercially successful single in the U.S. to date.",
"Her charting singles include \"Crucify\", \"Silent All These Years\", \"God\", \"Cornflake Girl\", \"Caught a Lite Sneeze\", \"Professional Widow\", \"Spark\", \"1000 Oceans\", \"Flavor\" and \"A Sorta Fairytale\", her most commercially successful single in the U.S. to date. Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album.",
"Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album. She is listed on VH1's 1999 \"100 Greatest Women of Rock and Roll\" at number 71.",
"She is listed on VH1's 1999 \"100 Greatest Women of Rock and Roll\" at number 71. Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos.",
"Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos. She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity.",
"She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity. When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C.",
"When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C. Her older brother and sister took piano lessons, but Tori did not need them.",
"Her older brother and sister took piano lessons, but Tori did not need them. From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs.",
"From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs. She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music.",
"She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music. She studied classical piano at Peabody from 1968 to 1974.",
"She studied classical piano at Peabody from 1968 to 1974. In 1974, when she was eleven, her scholarship was discontinued, and she was asked to leave. Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music.",
"Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music. In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church.",
"In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church. At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father.",
"At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father. Amos won a county teen talent contest in 1977, singing a song called \"More Than Just a Friend\".",
"Amos won a county teen talent contest in 1977, singing a song called \"More Than Just a Friend\". As a senior at Richard Montgomery High School, she co-wrote \"Baltimore\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles.",
"As a senior at Richard Montgomery High School, she co-wrote \"Baltimore\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles. The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \"Walking With You\".",
"The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \"Walking With You\". Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast.",
"Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast. Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers.",
"Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers. Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released.",
"Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released. Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her.",
"Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her. In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area.",
"In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area. In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading.",
"In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading. In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber.",
"In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber. The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time.",
"The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time. Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released.",
"Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released. Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \"The only good thing about that album is my ankle high boots.\"",
"Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \"The only good thing about that album is my ankle high boots.\" Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist.",
"Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist. She also recorded a song called \"Distant Storm\" for the film China O'Brien.",
"She also recorded a song called \"Distant Storm\" for the film China O'Brien. In the credits, the song is attributed to a band called Tess Makes Good.",
"In the credits, the song is attributed to a band called Tess Makes Good. 1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990.",
"1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990. The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented.",
"The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented. The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault.",
"The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault. This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15.",
"This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15. Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \"Silent All These Years\".",
"Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \"Silent All These Years\". Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink.",
"Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink. The album was received with mostly favorable reviews and sold enough copies to chart at No. 12 on the Billboard 200, a significantly higher position than the preceding album's position at No.",
"12 on the Billboard 200, a significantly higher position than the preceding album's position at No. 54 on the same chart. However, the album found its biggest success in the UK, debuting at number one upon release in February 1994.",
"However, the album found its biggest success in the UK, debuting at number one upon release in February 1994. 1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996.",
"1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996. Prior to its release, the first single, \"Caught a Lite Sneeze\" became the first full song released for streaming online prior to an album's release.",
"Prior to its release, the first single, \"Caught a Lite Sneeze\" became the first full song released for streaming online prior to an album's release. The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics.",
"The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics. For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano.",
"For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano. The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability.",
"The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability. Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No.",
"Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No. 2 on the UK Top 40 and No. 2 on the Billboard 200 upon its release.",
"2 on the Billboard 200 upon its release. Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios.",
"Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios. From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums.",
"From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums. Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes.",
"Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes. The underlying themes of both albums deal with womanhood and Amos's own miscarriages and marriage. Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality.",
"Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality. Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week.",
"Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week. To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download.",
"To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download. 2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective.",
"2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective. That became Strange Little Girls, released in September 2001.",
"That became Strange Little Girls, released in September 2001. The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song.",
"The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song. Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label.",
"Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label. With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001.",
"With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11.",
"Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny.",
"Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA.",
"Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA. Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003.",
"Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group.",
"Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline.",
"Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline. 2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007).",
"2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment.",
"The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics.",
"Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No.",
"The album debuted at No. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts.",
"5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it.",
"While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's.",
"American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No.",
"Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200.",
"5 on the Billboard 200. 5 on the Billboard 200. During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records.",
"During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records. 2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work.",
"2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work. In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes.",
"In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes. By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \"joint venture\" deal with Universal Republic Records.",
"By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \"joint venture\" deal with Universal Republic Records. Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews.",
"Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews. The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so.",
"The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so. Abnormally Attracted to Sin, admitted Amos, is a \"personal album\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin.",
"Abnormally Attracted to Sin, admitted Amos, is a \"personal album\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin. Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year.",
"Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year. The album features reworked versions of traditional carols, as well as original songs written by Amos.",
"The album features reworked versions of traditional carols, as well as original songs written by Amos. During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010.",
"During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010. In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble.",
"In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble. After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010.",
"After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010. The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow.",
"The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow. The set was released exclusively through her website and only 2000 copies were produced.",
"The set was released exclusively through her website and only 2000 copies were produced. 2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group.",
"2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group. Amos recorded the album with several musicians, including the Apollon Musagète string quartet.",
"Amos recorded the album with several musicians, including the Apollon Musagète string quartet. To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra.",
"To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra. The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon.",
"The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon. On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists.",
"On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists. In 2013, Amos collaborated with the Bullitts on the track \"Wait Until Tomorrow\" from their debut album, They Die by Dawn & Other Short Stories.",
"In 2013, Amos collaborated with the Bullitts on the track \"Wait Until Tomorrow\" from their debut album, They Die by Dawn & Other Short Stories. She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \"return to contemporary music\".",
"She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \"return to contemporary music\". September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott.",
"September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott. It premiered at London's Royal National Theatre and ended in February 2014.",
"It premiered at London's Royal National Theatre and ended in February 2014. The Light Princess and its lead actress, Rosalie Craig, were nominated for Best Musical and Best Musical Performance respectively at the Evening Standard Award. Craig won the Best Musical Performance category.",
"Craig won the Best Musical Performance category. Amos's 14th studio album, Unrepentant Geraldines, was released on May 13, 2014, via Mercury Classics/Universal Music Classics in the US. Its first single, \"Trouble's Lament\", was released on March 28.",
"Its first single, \"Trouble's Lament\", was released on March 28. The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014.",
"The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014. In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House.",
"In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House. According to a press release, Unrepentant Geraldines was a \"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years.",
"According to a press release, Unrepentant Geraldines was a \"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years. [It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\"",
"[It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\" The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics.",
"The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics. Apart from the original cast performances, the recording also includes two songs from the musical (\"Highness in the Sky\" and \"Darkest Hour') performed by Amos.",
"Apart from the original cast performances, the recording also includes two songs from the musical (\"Highness in the Sky\" and \"Darkest Hour') performed by Amos. 2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release.",
"2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release. This follows the deluxe re-releases of her first two albums in 2015.",
"This follows the deluxe re-releases of her first two albums in 2015. On September 8, 2017, Amos released Native Invader, accompanied by a world tour.",
"On September 8, 2017, Amos released Native Invader, accompanied by a world tour. During the summer of 2017, Amos launched three songs from the album: \"Cloud Riders\", \"Up the Creek\" and \"Reindeer King\", the latter featuring string arrangements by John Philip Shenale.",
"During the summer of 2017, Amos launched three songs from the album: \"Cloud Riders\", \"Up the Creek\" and \"Reindeer King\", the latter featuring string arrangements by John Philip Shenale. Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations.",
"Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations. The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak.",
"The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak. Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader.",
"Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader. The album, released on September 8, 2017, has been presented in two formats: standard and deluxe.",
"The album, released on September 8, 2017, has been presented in two formats: standard and deluxe. The standard version includes 13 songs, while the deluxe edition adds two extra songs to the tracklist: \"Upside Down 2\" and \"Russia\". Native Invader has been well received by most music critics upon release.",
"Native Invader has been well received by most music critics upon release. The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \"generally favorable reviews\".",
"The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \"generally favorable reviews\". On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl.",
"On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl. The EP consists of four original songs and features her first work with bandmates Matt Chamberlain and Jon Evans since 2009. Amos recorded the EP remotely due to the impact of the COVID-19 pandemic.",
"Amos recorded the EP remotely due to the impact of the COVID-19 pandemic. On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29.",
"On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29. The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \"a universal story of going to rock bottom and renewing yourself all over again\".",
"The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \"a universal story of going to rock bottom and renewing yourself all over again\". Amos will embark on a European tour in support of the album in 2022.",
"Amos will embark on a European tour in support of the album in 2022. Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces.",
"Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces. In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005).",
"In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005). The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records.",
"The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records. Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos.",
"Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos. Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore.",
"Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore. Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996).",
"Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996). Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process.",
"Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process. Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020.",
"Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020. Personal life Amos married English sound engineer Mark Hawley on February 22, 1998. Their daughter was born in 2000.",
"Their daughter was born in 2000. The family divides their time between Sewall's Point in Florida, US, and Bude, Cornwall in the UK. Amos' mother, Mary Ellen, died on May 11, 2019.",
"Amos' mother, Mary Ellen, died on May 11, 2019. Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \"Tear in Your Hand\" and also in print interviews.",
"Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \"Tear in Your Hand\" and also in print interviews. Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \"steal shamelessly from each other\".",
"Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \"steal shamelessly from each other\". She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo.",
"She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo. Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009.",
"Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009. In 2019, Amos performed the British standard \"A Nightingale Sang in Berkeley Square\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett.",
"In 2019, Amos performed the British standard \"A Nightingale Sang in Berkeley Square\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett. Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded.",
"Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded. Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline.",
"Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline. She was the first national spokesperson for the organization and has continued to be closely associated with RAINN.",
"She was the first national spokesperson for the organization and has continued to be closely associated with RAINN. On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN.",
"On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN. On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA.",
"On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA. Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992.",
"Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992. In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine.",
"In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine. Her concerts are notable for their changing set lists from night to night. Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland.",
"Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland. She performed solo with a Yamaha CP-70 unless the venue was able to provide a piano. The tour included 142 concerts around the globe.",
"The tour included 142 concerts around the globe. Under the Pink Tour Amos's second world tour began on February 24, 1994 in Newcastle upon Tyne and ended on December 13, 1994 in Perth, Western Australia. Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \"Bells for Her\".",
"Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \"Bells for Her\". The tour included 181 concerts. Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder.",
"Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder. Amos performed each night on piano, harpsichord, and harmonium, with Steve Caton on guitar on some songs. The tour included 187 concerts.",
"The tour included 187 concerts. The tour included 187 concerts. Plugged '98 Tour Amos's first band tour. Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass.",
"Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass. The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts.",
"The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts. 5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only.",
"5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only. The first part of the tour was co-headlining with Alanis Morissette and featured the same band and equipment line-up as in 1998. Amos and the band continued for eight shows before Amos embarked on a series of solo shows.",
"Amos and the band continued for eight shows before Amos embarked on a series of solo shows. The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts.",
"The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts. Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996).",
"Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996). It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented.",
"It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented. Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months.",
"Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months. It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts.",
"It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts. On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton.",
"On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton. The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening.",
"The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening. The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts.",
"The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts. The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album).",
"The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album). Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes.",
"Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes. The tour also encompassed Australia for the first time since 1994.",
"The tour also encompassed Australia for the first time since 1994. Amos announced at a concert on this tour that she would never stop touring but would scale down the tours. Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles.",
"Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles. The tour featured \"Tori's Piano Bar\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show.",
"The tour featured \"Tori's Piano Bar\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show. One of the songs chosen was the Kylie Minogue hit \"Can't Get You Out of My Head\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public.",
"One of the songs chosen was the Kylie Minogue hit \"Can't Get You Out of My Head\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public. Other songs performed by Amos include The Doors' \"People are Strange\", Depeche Mode's \"Personal Jesus\", Joni Mitchell's \"The Circle Game\", Madonna's \"Live to Tell\" and \"Like a Prayer\", Björk's \"Hyperballad\", Led Zeppelin's \"When the Levee Breaks\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \"And Dream of Sheep\" and Crowded House's \"Don't Dream It's Over\", dedicating it to drummer Paul Hester who had died a week before.",
"Other songs performed by Amos include The Doors' \"People are Strange\", Depeche Mode's \"Personal Jesus\", Joni Mitchell's \"The Circle Game\", Madonna's \"Live to Tell\" and \"Like a Prayer\", Björk's \"Hyperballad\", Led Zeppelin's \"When the Levee Breaks\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \"And Dream of Sheep\" and Crowded House's \"Don't Dream It's Over\", dedicating it to drummer Paul Hester who had died a week before. The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs.",
"The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs. American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band.",
"American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band. Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards.",
"Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards. The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles.",
"The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles. Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show.",
"Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show. The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series.",
"The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series. Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard.",
"Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard. The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009.",
"The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009. A solo leg through Australia began in Melbourne on November 12, 2009 and ended in Brisbane on November 24, 2009. The entire tour featured 63 concerts.",
"The entire tour featured 63 concerts. Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa.",
"Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa. It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas.",
"It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas. Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1.",
"Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1. Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts.",
"Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts. Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October.",
"Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October. Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland.",
"Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland. Awards and nominations {| class=\"wikitable sortable plainrowheaders\" |- ! scope=\"col\" | Award !",
"scope=\"col\" | Award ! scope=\"col\" | Year ! scope=\"col\" | Nominee(s) ! scope=\"col\" | Category ! scope=\"col\" | Result ! scope=\"col\" class=\"unsortable\"| |- !",
"scope=\"col\" class=\"unsortable\"| |- ! scope=\"row\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- !",
"scope=\"row\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- ! scope=\"row\"|Critics' Choice Documentary Awards | 2016 | \"Flicker\" | Best Song in a Documentary | | |- !scope=\"row\"|ECHO Awards | 1995 | Herself | Best International Female | | |- !",
"scope=\"row\"|Critics' Choice Documentary Awards | 2016 | \"Flicker\" | Best Song in a Documentary | | |- !scope=\"row\"|ECHO Awards | 1995 | Herself | Best International Female | | |- ! scope=\"row\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- !",
"scope=\"row\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- ! scope=\"row\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- !",
"scope=\"row\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- ! scope=\"row\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- !",
"scope=\"row\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- ! scope=\"row\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- !",
"scope=\"row\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- ! scope=\"row\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \"Raspberry Swirl\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \"Bliss\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \"Strange Little Girl\" | Best Female Rock Vocal Performance | |- !",
"scope=\"row\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \"Raspberry Swirl\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \"Bliss\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \"Strange Little Girl\" | Best Female Rock Vocal Performance | |- ! scope=\"row\"|Hollywood Music in Media Awards | 2016 | \"Flicker\" | Best Original Song in a Documentary | | |- !",
"scope=\"row\"|Hollywood Music in Media Awards | 2016 | \"Flicker\" | Best Original Song in a Documentary | | |- ! scope=\"row\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- !",
"scope=\"row\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- ! scope=\"row\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- !",
"scope=\"row\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- ! scope=\"row\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\"Silent All These Years\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- !",
"scope=\"row\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\"Silent All These Years\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- ! scope=\"row\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- !",
"scope=\"row\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- ! scope=\"row\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\"row\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- !",
"scope=\"row\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\"row\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- ! scope=\"row\"|Q Awards | 1992 | Herself | Best New Act | | |- !",
"scope=\"row\"|Q Awards | 1992 | Herself | Best New Act | | |- ! scope=\"row\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\"row\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony.",
"scope=\"row\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\"row\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony. Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel.",
"Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel. Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile.",
"Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile. References Citations Works cited External links 1963 births 20th-century American composers 20th-century American keyboardists 20th-century American women pianists 20th-century American pianists 20th-century American women singers 21st-century American keyboardists 21st-century American women pianists 21st-century American pianists 21st-century American women singers Alternative rock keyboardists Alternative rock pianists Alternative rock singers American alternative rock musicians American expatriates in the Republic of Ireland American expatriates in the United Kingdom American women composers American women singer-songwriters American feminist writers American harpsichordists American mezzo-sopranos American organists American people who self-identify as being of Native American descent American pop pianists American rock pianists American women rock singers American rock songwriters Articles containing video clips Art rock musicians Atlantic Records artists Child classical musicians Clavichordists Deutsche Grammophon artists Electronica musicians Epic Records artists Feminist musicians Harmonium players Island Records artists Living people Montgomery College alumni Musicians from Baltimore Musicians from County Cork Musicians from Rockville, Maryland People from Georgetown (Washington, D.C.) People from Newton, North Carolina People from Sewall's Point, Florida Republic Records artists Sexual abuse victim advocates Singer-songwriters from Maryland Singer-songwriters from North Carolina Women organists 20th-century women composers American women in electronic music 20th-century American singers 21st-century American singers Singer-songwriters from Washington, D.C."
] |
[
"Tori Amos",
"The Epic Records years (2002-07)",
"Did Amos release any albums during these years?",
"In October 2002, Amos released Scarlet's Walk, another concept album.",
"Was the album successful?",
"strong debut at No. 7 on the Billboard 200.",
"Did Amos release any albums after Scarlet's Walk?",
"The Beekeeper (2005) and American Doll Posse (2007).",
"What can you tell me about The Beekeeper?",
"The Beekeeper was conceptually influenced by the ancient art of beekeeping,"
] | C_f2c7f26de77949ff80c91a7bd337fb42_1 | Did either album win any awards? | 5 | Did either The Beekeeper or American Doll Posse by Tori Amos win any awards? | Tori Amos | With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a "sonic novel", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA. Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline. Amos would later hint in interviews that during the creation of her next album, those in charge at the label following the aforementioned merger were interested "only in making money", the effects of which on the album have not been disclosed. Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the "posse") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200. During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records. CANNOTANSWER | Both albums received generally favorable reviews. | Tori Amos (born Myra Ellen Amos; August 22, 1963) is an American singer-songwriter and pianist. She is a classically trained musician with a mezzo-soprano vocal range. Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted. She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as "musical insubordination". Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s. Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion.
Her charting singles include "Crucify", "Silent All These Years", "God", "Cornflake Girl", "Caught a Lite Sneeze", "Professional Widow", "Spark", "1000 Oceans", "Flavor" and "A Sorta Fairytale", her most commercially successful single in the U.S. to date. Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album. She is listed on VH1's 1999 "100 Greatest Women of Rock and Roll" at number 71.
Early life and education
Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos. She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity.
When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C. Her older brother and sister took piano lessons, but Tori did not need them. From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs. She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia:
At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music. She studied classical piano at Peabody from 1968 to 1974. In 1974, when she was eleven, her scholarship was discontinued, and she was asked to leave. Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music.
In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church. At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father.
Amos won a county teen talent contest in 1977, singing a song called "More Than Just a Friend". As a senior at Richard Montgomery High School, she co-wrote "Baltimore" with her brother, Mike Amos, for a competition involving the Baltimore Orioles. The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, "Walking With You". Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast.
Career
1979–1989: Career beginnings and Y Kant Tori Read
By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers. Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released. Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her.
In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area.
In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading. In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber. The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time. Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released. Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: "The only good thing about that album is my ankle high boots."
Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist. She also recorded a song called "Distant Storm" for the film China O'Brien. In the credits, the song is attributed to a band called Tess Makes Good.
1990–1995: Little Earthquakes and Under the Pink
Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990. The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented. The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault. This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15. Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single "Silent All These Years".
Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink. The album was received with mostly favorable reviews and sold enough copies to chart at No. 12 on the Billboard 200, a significantly higher position than the preceding album's position at No. 54 on the same chart. However, the album found its biggest success in the UK, debuting at number one upon release in February 1994.
1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back
Her third solo album, Boys for Pele, was released in January 1996. Prior to its release, the first single, "Caught a Lite Sneeze" became the first full song released for streaming online prior to an album's release.
The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics. For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano. The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability. Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No. 2 on the UK Top 40 and No. 2 on the Billboard 200 upon its release.
Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios.
From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums. Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes. The underlying themes of both albums deal with womanhood and Amos's own miscarriages and marriage. Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality. Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week. To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download.
2001–2004: Strange Little Girls and Scarlet's Walk
Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective. That became Strange Little Girls, released in September 2001. The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song. Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label.
With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a "sonic novel", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA.
Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline.
2005–2008: The Beekeeper and American Doll Posse
Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the "posse") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200.
During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records.
2008–2011: Abnormally Attracted to Sin and Midwinter Graces
In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work. In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes. By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a "joint venture" deal with Universal Republic Records.
Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews. The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so. Abnormally Attracted to Sin, admitted Amos, is a "personal album", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin. Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year. The album features reworked versions of traditional carols, as well as original songs written by Amos.
During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010. In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble.
After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010. The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow. The set was released exclusively through her website and only 2000 copies were produced.
2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines
In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group. Amos recorded the album with several musicians, including the Apollon Musagète string quartet.
To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra. The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon.
On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists.
In 2013, Amos collaborated with the Bullitts on the track "Wait Until Tomorrow" from their debut album, They Die by Dawn & Other Short Stories. She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a "return to contemporary music".
September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott. It premiered at London's Royal National Theatre and ended in February 2014. The Light Princess and its lead actress, Rosalie Craig, were nominated for Best Musical and Best Musical Performance respectively at the Evening Standard Award. Craig won the Best Musical Performance category.
Amos's 14th studio album, Unrepentant Geraldines, was released on May 13, 2014, via Mercury Classics/Universal Music Classics in the US. Its first single, "Trouble's Lament", was released on March 28. The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014. In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House.
According to a press release, Unrepentant Geraldines was a "return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years. [It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world."
The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics. Apart from the original cast performances, the recording also includes two songs from the musical ("Highness in the Sky" and "Darkest Hour') performed by Amos.
2016–present: Native Invader, Christmastide and Ocean to Ocean
On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release. This follows the deluxe re-releases of her first two albums in 2015.
On September 8, 2017, Amos released Native Invader, accompanied by a world tour. During the summer of 2017, Amos launched three songs from the album: "Cloud Riders", "Up the Creek" and "Reindeer King", the latter featuring string arrangements by John Philip Shenale. Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations.
The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak. Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader. The album, released on September 8, 2017, has been presented in two formats: standard and deluxe. The standard version includes 13 songs, while the deluxe edition adds two extra songs to the tracklist: "Upside Down 2" and "Russia". Native Invader has been well received by most music critics upon release. The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating "generally favorable reviews".
On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl. The EP consists of four original songs and features her first work with bandmates Matt Chamberlain and Jon Evans since 2009. Amos recorded the EP remotely due to the impact of the COVID-19 pandemic.
On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29. The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores "a universal story of going to rock bottom and renewing yourself all over again". Amos will embark on a European tour in support of the album in 2022. Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces.
In print
Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005). The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records.
Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos. Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore.
Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996).
Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process.
Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020.
Personal life
Amos married English sound engineer Mark Hawley on February 22, 1998. Their daughter was born in 2000. The family divides their time between Sewall's Point in Florida, US, and Bude, Cornwall in the UK.
Amos' mother, Mary Ellen, died on May 11, 2019.
Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song "Tear in Your Hand" and also in print interviews. Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they "steal shamelessly from each other". She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo. Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009. In 2019, Amos performed the British standard "A Nightingale Sang in Berkeley Square" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett.
Activism
In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded. Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline. She was the first national spokesperson for the organization and has continued to be closely associated with RAINN. On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN. On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA.
Discography
Studio albums
Little Earthquakes (1992)
Under the Pink (1994)
Boys for Pele (1996)
From the Choirgirl Hotel (1998)
To Venus and Back (1999)
Strange Little Girls (2001)
Scarlet's Walk (2002)
The Beekeeper (2005)
American Doll Posse (2007)
Abnormally Attracted to Sin (2009)
Midwinter Graces (2009)
Night of Hunters (2011)
Gold Dust (2012)
Unrepentant Geraldines (2014)
Native Invader (2017)
Ocean to Ocean (2021)
Tours
Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992. In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine. Her concerts are notable for their changing set lists from night to night.
Little Earthquakes Tour
Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland. She performed solo with a Yamaha CP-70 unless the venue was able to provide a piano. The tour included 142 concerts around the globe.
Under the Pink Tour
Amos's second world tour began on February 24, 1994 in Newcastle upon Tyne and ended on December 13, 1994 in Perth, Western Australia. Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during "Bells for Her". The tour included 181 concerts.
Dew Drop Inn Tour
The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder. Amos performed each night on piano, harpsichord, and harmonium, with Steve Caton on guitar on some songs. The tour included 187 concerts.
Plugged '98 Tour
Amos's first band tour. Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass. The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts.
5 ½ Weeks Tour / To Dallas and Back
Amos's fifth tour was North America–only. The first part of the tour was co-headlining with Alanis Morissette and featured the same band and equipment line-up as in 1998. Amos and the band continued for eight shows before Amos embarked on a series of solo shows. The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts.
Strange Little Tour
This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996). It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented. Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months. It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts.
On Scarlet's Walk / Lottapianos Tour
Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton. The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening. The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts. The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album).
Original Sinsuality Tour / Summer of Sin
This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes. The tour also encompassed Australia for the first time since 1994. Amos announced at a concert on this tour that she would never stop touring but would scale down the tours. Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles. The tour featured "Tori's Piano Bar", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show. One of the songs chosen was the Kylie Minogue hit "Can't Get You Out of My Head", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public. Other songs performed by Amos include The Doors' "People are Strange", Depeche Mode's "Personal Jesus", Joni Mitchell's "The Circle Game", Madonna's "Live to Tell" and "Like a Prayer", Björk's "Hyperballad", Led Zeppelin's "When the Levee Breaks" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's "And Dream of Sheep" and Crowded House's "Don't Dream It's Over", dedicating it to drummer Paul Hester who had died a week before. The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs.
American Doll Posse World Tour
This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band. Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards. The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles. Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show. The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series.
Sinful Attraction Tour
For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard. The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009. A solo leg through Australia began in Melbourne on November 12, 2009 and ended in Brisbane on November 24, 2009. The entire tour featured 63 concerts.
Night of Hunters tour
Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa. It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas.
Gold Dust Orchestral Tour
Amos began her 2012 tour in Rotterdam on October 1.
Unrepentant Geraldines Tour
Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts.
Native Invader Tour
Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October.
Ocean to Ocean Tour
Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland.
Awards and nominations
{| class="wikitable sortable plainrowheaders"
|-
! scope="col" | Award
! scope="col" | Year
! scope="col" | Nominee(s)
! scope="col" | Category
! scope="col" | Result
! scope="col" class="unsortable"|
|-
! scope="row" rowspan=3|Brit Awards
| rowspan=2|1993
| rowspan=3|Herself
| International Breakthrough Act
|
| rowspan=2|
|-
| International Solo Artist
|
|-
| 1995
| International Female Solo Artist
|
|
|-
! scope="row"|Critics' Choice Documentary Awards
| 2016
| "Flicker"
| Best Song in a Documentary
|
|
|-
!scope="row"|ECHO Awards
| 1995
| Herself
| Best International Female
|
|
|-
! scope="row"|ECHO Klassik Awards
| rowspan=1|2012
| Night of Hunters
| The Klassik-ohne-Grenzen Prize
|
|
|-
! scope="row" rowspan=4|GAFFA Awards
| 2000
| rowspan=3|Herself
| rowspan=2|Best Foreign Female Act
|
| rowspan=2|
|-
| 2003
|
|-
| rowspan=2|2022
| Best Foreign Solo Act
|
|
|-
| Ocean to Ocean
| Best Foreign Album
|
|-
! scope="row"|George Peabody Medal
| 2019
| Herself
| Outstanding Contributions to Music
|
|
|-
! scope="row"|Glamour Awards
| 1998
| Herself
| Woman of the Year
|
|
|-
! scope="row" rowspan=8|Grammy Awards
| 1995
| Under the Pink
| rowspan=3|Best Alternative Music Album
|
| rowspan=8|
|-
| 1997
| Boys for Pele
|
|-
| rowspan=2|1999
| From the Choirgirl Hotel
|
|-
| "Raspberry Swirl"
| rowspan=2|Best Female Rock Vocal Performance
|
|-
| rowspan=2|2000
| "Bliss"
|
|-
| To Venus and Back
| rowspan=2|Best Alternative Music Album
|
|-
| rowspan=2|2002
| Strange Little Girls
|
|-
| "Strange Little Girl"
| Best Female Rock Vocal Performance
|
|-
! scope="row"|Hollywood Music in Media Awards
| 2016
| "Flicker"
| Best Original Song in a Documentary
|
|
|-
! scope="row"|Hungarian Music Awards
| 2010
| Abnormally Attracted to Sin
| Best Foreign Alternative Album
|
|
|-
! scope="row"|MTV Europe Music Awards
| 1994
| Herself
| Best Female
|
|
|-
! scope="row" rowspan=4|MTV Video Music Awards
| rowspan=4|1992
| rowspan=4|"Silent All These Years"
| Best Female Video
|
|rowspan=4|
|-
| Best New Artist in a Video
|
|-
| Breakthrough Video
|
|-
| Best Cinematography in a Video
|
|-
! scope="row"|NME Awards
| 2016
| Under the Pink
| Best Reissue
|
|
|-
! scope="row"|North Carolina Music Hall of Fame
| 2012
| Herself
| Inducted
|
|
|-
!scope="row" rowspan=5|Pollstar Concert Industry Awards
| rowspan=2|1993
| rowspan=2|Little Earthquakes Tour
| Best New Rock Artist
|
| rowspan=2|
|-
| Club Tour Of The Year
|
|-
| 1995
| Under the Pink Tour
| rowspan=3|Small Hall Tour Of The Year
|
|
|-
| 1997
| Dew Drop Inn Tour
|
|
|-
| 1999
| 5 ½ Weeks Tour
|
|
|-
! scope="row"|Q Awards
| 1992
| Herself
| Best New Act
|
|
|-
! scope="row" rowspan=2|WhatsOnStage Awards
| rowspan=2|2014
| rowspan=2|The Light Princess
| Best New Musical
|
| rowspan=2|
|-
| Best London Newcomer of the Year
|
|-
!scope="row"|Žebřík Music Awards
| 2001
| Herself
| Best International Female
|
|
1999: Spin Readers' Poll Awards (Won)
On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony. Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel.
Film appearances
Tori appears as a wedding singer in the film Mona Lisa Smile.
References
Citations
Works cited
External links
1963 births
20th-century American composers
20th-century American keyboardists
20th-century American women pianists
20th-century American pianists
20th-century American women singers
21st-century American keyboardists
21st-century American women pianists
21st-century American pianists
21st-century American women singers
Alternative rock keyboardists
Alternative rock pianists
Alternative rock singers
American alternative rock musicians
American expatriates in the Republic of Ireland
American expatriates in the United Kingdom
American women composers
American women singer-songwriters
American feminist writers
American harpsichordists
American mezzo-sopranos
American organists
American people who self-identify as being of Native American descent
American pop pianists
American rock pianists
American women rock singers
American rock songwriters
Articles containing video clips
Art rock musicians
Atlantic Records artists
Child classical musicians
Clavichordists
Deutsche Grammophon artists
Electronica musicians
Epic Records artists
Feminist musicians
Harmonium players
Island Records artists
Living people
Montgomery College alumni
Musicians from Baltimore
Musicians from County Cork
Musicians from Rockville, Maryland
People from Georgetown (Washington, D.C.)
People from Newton, North Carolina
People from Sewall's Point, Florida
Republic Records artists
Sexual abuse victim advocates
Singer-songwriters from Maryland
Singer-songwriters from North Carolina
Women organists
20th-century women composers
American women in electronic music
20th-century American singers
21st-century American singers
Singer-songwriters from Washington, D.C. | true | [
"The 54th Academy of Country Music Awards was held at the MGM Grand Garden Arena in Las Vegas, Nevada on April 7, 2019. Nominations were announced on February 20, 2019 by Reba McEntire during CBS This Morning, with Chris Stapleton and Dan + Shay leading with six nominations each. McEntire returned to host the awards for the sixteenth time.\n\nJason Aldean was presented with the ACM's rare honor \"Artist of the Decade\" by previous holder George Strait.\n\nWinners and Nominees \nThe winners are shown in bold.\n\nPerformances\n\nPresenters\n\nReception \nIn its review of the event, Rolling Stone Country praised that the ACMs took the opportunity to bring seasoned musicians Amanda Shires and Charlie Worsham \"into the fold\" by having them appear alongside Luke Combs and Keith Urban respectively but criticised that the ACMs did not introduce either of them or even feature them on screen. Worsham, who the reviewer believed should have been nominated for his own awards, performed \"mostly in the shadows\" and Shires, who \"helped transform [Combs' performance] with her lyrical playing\" was barely seen. Rolling Stone also praised Reba McEntire's hosting and the performances by Dierks Bentley and Brandi Carlile, Little Big Town, Miranda Lambert and Ashley McBryde but stated that it was \"baffling\" that Kacey Musgraves, who had five nominations and won the CMA Award for Album of the Year and four Grammy Awards including Best Country Album and the all-genre Album of the Year for Golden Hour, did not perform. Musgraves' win made her only the third artist (after Taylor Swift and the artists that appeared on Oh Brother, Where Art Thou?) to win the ACM, CMA and Grammy Awards for Best Country Album as well as the all-genre Grammy for Album of the Year.\n\nSee also\nAcademy of Country Music Awards\n\nReferences\n\nAcademy of Country Music Awards\nAcademy of Country Music Awards\nAcademy of Country Music Awards\nAcademy of Country Music Awards\nAcademy of Country Music Awards\nAcademy of Country Music Awards\nAcademy of Country Music Awards",
"Iz*One was a twelve-member South Korean and Japanese girl group formed in 2018 through Produce 48, a music competition reality show. The group achieved significant commercial success with its debut extended play Color*Iz (2018), released under Off the Record Entertainment, and won several new artist awards, including Best New Artist at the 20th Mnet Asian Music Awards, Rookie of the Year at the 33rd Golden Disc Awards, and the New Artist Award at the 28th Seoul Music Awards. The group's second EP, Heart*Iz (2019), was released to greater commercial success than its predecessor, and received Disc Bonsang nominations at the 34th Golden Disc Awards and the 29th Seoul Music Awards respectively. The EP's lead single, \"Violeta\", received a nomination for Song of the Year at the 21st Mnet Asian Music Awards.\n\nThe group earned its first ever daesang award nominations for its first studio album Bloom*Iz, released in February 2020. The album was nominated for Album of the Year at both the 12th Melon Music Awards and the 10th Gaon Chart Music Awards, while its lead single \"Fiesta\" was also nominated at both ceremonies for Best Dance – Female and Song of the Year – February respectively. Iz*One did not win any of the nominations but the group received its second Artist of the Year bonsang at the Melon Music Awards. Bloom*Iz garnered an additional Bonsang Award nomination at the 30th Seoul Music Awards. The group's follow-up EP, Oneiric Diary, released in June 2020, was also nominated alongside its predecessor at the Gaon Awards, for Album of the Year – 3rd Quarter. The group won its third Artist of the Year bonsang at the 3rd Fact Music Awards in December 2020.\n\nAwards and nominations\n\nNotes\n\nReferences \n\nIz*One\nAwards"
] | [
"Tori Amos (born Myra Ellen Amos; August 22, 1963) is an American singer-songwriter and pianist. She is a classically trained musician with a mezzo-soprano vocal range.",
"She is a classically trained musician with a mezzo-soprano vocal range. Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted.",
"Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted. She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \"musical insubordination\".",
"She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \"musical insubordination\". Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s.",
"Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s. Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion.",
"Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion. Her charting singles include \"Crucify\", \"Silent All These Years\", \"God\", \"Cornflake Girl\", \"Caught a Lite Sneeze\", \"Professional Widow\", \"Spark\", \"1000 Oceans\", \"Flavor\" and \"A Sorta Fairytale\", her most commercially successful single in the U.S. to date.",
"Her charting singles include \"Crucify\", \"Silent All These Years\", \"God\", \"Cornflake Girl\", \"Caught a Lite Sneeze\", \"Professional Widow\", \"Spark\", \"1000 Oceans\", \"Flavor\" and \"A Sorta Fairytale\", her most commercially successful single in the U.S. to date. Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album.",
"Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album. She is listed on VH1's 1999 \"100 Greatest Women of Rock and Roll\" at number 71.",
"She is listed on VH1's 1999 \"100 Greatest Women of Rock and Roll\" at number 71. Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos.",
"Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos. She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity.",
"She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity. When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C.",
"When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C. Her older brother and sister took piano lessons, but Tori did not need them.",
"Her older brother and sister took piano lessons, but Tori did not need them. From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs.",
"From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs. She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music.",
"She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music. She studied classical piano at Peabody from 1968 to 1974.",
"She studied classical piano at Peabody from 1968 to 1974. In 1974, when she was eleven, her scholarship was discontinued, and she was asked to leave. Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music.",
"Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music. In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church.",
"In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church. At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father.",
"At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father. Amos won a county teen talent contest in 1977, singing a song called \"More Than Just a Friend\".",
"Amos won a county teen talent contest in 1977, singing a song called \"More Than Just a Friend\". As a senior at Richard Montgomery High School, she co-wrote \"Baltimore\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles.",
"As a senior at Richard Montgomery High School, she co-wrote \"Baltimore\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles. The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \"Walking With You\".",
"The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \"Walking With You\". Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast.",
"Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast. Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers.",
"Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers. Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released.",
"Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released. Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her.",
"Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her. In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area.",
"In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area. In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading.",
"In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading. In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber.",
"In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber. The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time.",
"The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time. Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released.",
"Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released. Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \"The only good thing about that album is my ankle high boots.\"",
"Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \"The only good thing about that album is my ankle high boots.\" Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist.",
"Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist. She also recorded a song called \"Distant Storm\" for the film China O'Brien.",
"She also recorded a song called \"Distant Storm\" for the film China O'Brien. In the credits, the song is attributed to a band called Tess Makes Good.",
"In the credits, the song is attributed to a band called Tess Makes Good. 1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990.",
"1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990. The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented.",
"The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented. The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault.",
"The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault. This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15.",
"This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15. Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \"Silent All These Years\".",
"Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \"Silent All These Years\". Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink.",
"Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink. The album was received with mostly favorable reviews and sold enough copies to chart at No. 12 on the Billboard 200, a significantly higher position than the preceding album's position at No.",
"12 on the Billboard 200, a significantly higher position than the preceding album's position at No. 54 on the same chart. However, the album found its biggest success in the UK, debuting at number one upon release in February 1994.",
"However, the album found its biggest success in the UK, debuting at number one upon release in February 1994. 1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996.",
"1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996. Prior to its release, the first single, \"Caught a Lite Sneeze\" became the first full song released for streaming online prior to an album's release.",
"Prior to its release, the first single, \"Caught a Lite Sneeze\" became the first full song released for streaming online prior to an album's release. The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics.",
"The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics. For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano.",
"For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano. The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability.",
"The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability. Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No.",
"Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No. 2 on the UK Top 40 and No. 2 on the Billboard 200 upon its release.",
"2 on the Billboard 200 upon its release. Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios.",
"Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios. From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums.",
"From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums. Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes.",
"Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes. The underlying themes of both albums deal with womanhood and Amos's own miscarriages and marriage. Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality.",
"Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality. Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week.",
"Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week. To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download.",
"To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download. 2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective.",
"2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective. That became Strange Little Girls, released in September 2001.",
"That became Strange Little Girls, released in September 2001. The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song.",
"The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song. Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label.",
"Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label. With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001.",
"With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11.",
"Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny.",
"Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA.",
"Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA. Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003.",
"Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group.",
"Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline.",
"Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline. 2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007).",
"2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment.",
"The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics.",
"Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No.",
"The album debuted at No. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts.",
"5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it.",
"While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's.",
"American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No.",
"Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200.",
"5 on the Billboard 200. 5 on the Billboard 200. During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records.",
"During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records. 2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work.",
"2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work. In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes.",
"In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes. By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \"joint venture\" deal with Universal Republic Records.",
"By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \"joint venture\" deal with Universal Republic Records. Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews.",
"Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews. The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so.",
"The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so. Abnormally Attracted to Sin, admitted Amos, is a \"personal album\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin.",
"Abnormally Attracted to Sin, admitted Amos, is a \"personal album\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin. Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year.",
"Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year. The album features reworked versions of traditional carols, as well as original songs written by Amos.",
"The album features reworked versions of traditional carols, as well as original songs written by Amos. During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010.",
"During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010. In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble.",
"In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble. After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010.",
"After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010. The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow.",
"The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow. The set was released exclusively through her website and only 2000 copies were produced.",
"The set was released exclusively through her website and only 2000 copies were produced. 2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group.",
"2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group. Amos recorded the album with several musicians, including the Apollon Musagète string quartet.",
"Amos recorded the album with several musicians, including the Apollon Musagète string quartet. To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra.",
"To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra. The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon.",
"The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon. On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists.",
"On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists. In 2013, Amos collaborated with the Bullitts on the track \"Wait Until Tomorrow\" from their debut album, They Die by Dawn & Other Short Stories.",
"In 2013, Amos collaborated with the Bullitts on the track \"Wait Until Tomorrow\" from their debut album, They Die by Dawn & Other Short Stories. She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \"return to contemporary music\".",
"She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \"return to contemporary music\". September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott.",
"September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott. It premiered at London's Royal National Theatre and ended in February 2014.",
"It premiered at London's Royal National Theatre and ended in February 2014. The Light Princess and its lead actress, Rosalie Craig, were nominated for Best Musical and Best Musical Performance respectively at the Evening Standard Award. Craig won the Best Musical Performance category.",
"Craig won the Best Musical Performance category. Amos's 14th studio album, Unrepentant Geraldines, was released on May 13, 2014, via Mercury Classics/Universal Music Classics in the US. Its first single, \"Trouble's Lament\", was released on March 28.",
"Its first single, \"Trouble's Lament\", was released on March 28. The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014.",
"The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014. In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House.",
"In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House. According to a press release, Unrepentant Geraldines was a \"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years.",
"According to a press release, Unrepentant Geraldines was a \"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years. [It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\"",
"[It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\" The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics.",
"The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics. Apart from the original cast performances, the recording also includes two songs from the musical (\"Highness in the Sky\" and \"Darkest Hour') performed by Amos.",
"Apart from the original cast performances, the recording also includes two songs from the musical (\"Highness in the Sky\" and \"Darkest Hour') performed by Amos. 2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release.",
"2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release. This follows the deluxe re-releases of her first two albums in 2015.",
"This follows the deluxe re-releases of her first two albums in 2015. On September 8, 2017, Amos released Native Invader, accompanied by a world tour.",
"On September 8, 2017, Amos released Native Invader, accompanied by a world tour. During the summer of 2017, Amos launched three songs from the album: \"Cloud Riders\", \"Up the Creek\" and \"Reindeer King\", the latter featuring string arrangements by John Philip Shenale.",
"During the summer of 2017, Amos launched three songs from the album: \"Cloud Riders\", \"Up the Creek\" and \"Reindeer King\", the latter featuring string arrangements by John Philip Shenale. Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations.",
"Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations. The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak.",
"The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak. Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader.",
"Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader. The album, released on September 8, 2017, has been presented in two formats: standard and deluxe.",
"The album, released on September 8, 2017, has been presented in two formats: standard and deluxe. The standard version includes 13 songs, while the deluxe edition adds two extra songs to the tracklist: \"Upside Down 2\" and \"Russia\". Native Invader has been well received by most music critics upon release.",
"Native Invader has been well received by most music critics upon release. The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \"generally favorable reviews\".",
"The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \"generally favorable reviews\". On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl.",
"On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl. The EP consists of four original songs and features her first work with bandmates Matt Chamberlain and Jon Evans since 2009. Amos recorded the EP remotely due to the impact of the COVID-19 pandemic.",
"Amos recorded the EP remotely due to the impact of the COVID-19 pandemic. On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29.",
"On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29. The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \"a universal story of going to rock bottom and renewing yourself all over again\".",
"The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \"a universal story of going to rock bottom and renewing yourself all over again\". Amos will embark on a European tour in support of the album in 2022.",
"Amos will embark on a European tour in support of the album in 2022. Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces.",
"Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces. In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005).",
"In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005). The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records.",
"The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records. Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos.",
"Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos. Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore.",
"Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore. Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996).",
"Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996). Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process.",
"Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process. Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020.",
"Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020. Personal life Amos married English sound engineer Mark Hawley on February 22, 1998. Their daughter was born in 2000.",
"Their daughter was born in 2000. The family divides their time between Sewall's Point in Florida, US, and Bude, Cornwall in the UK. Amos' mother, Mary Ellen, died on May 11, 2019.",
"Amos' mother, Mary Ellen, died on May 11, 2019. Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \"Tear in Your Hand\" and also in print interviews.",
"Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \"Tear in Your Hand\" and also in print interviews. Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \"steal shamelessly from each other\".",
"Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \"steal shamelessly from each other\". She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo.",
"She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo. Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009.",
"Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009. In 2019, Amos performed the British standard \"A Nightingale Sang in Berkeley Square\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett.",
"In 2019, Amos performed the British standard \"A Nightingale Sang in Berkeley Square\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett. Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded.",
"Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded. Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline.",
"Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline. She was the first national spokesperson for the organization and has continued to be closely associated with RAINN.",
"She was the first national spokesperson for the organization and has continued to be closely associated with RAINN. On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN.",
"On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN. On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA.",
"On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA. Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992.",
"Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992. In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine.",
"In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine. Her concerts are notable for their changing set lists from night to night. Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland.",
"Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland. She performed solo with a Yamaha CP-70 unless the venue was able to provide a piano. The tour included 142 concerts around the globe.",
"The tour included 142 concerts around the globe. Under the Pink Tour Amos's second world tour began on February 24, 1994 in Newcastle upon Tyne and ended on December 13, 1994 in Perth, Western Australia. Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \"Bells for Her\".",
"Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \"Bells for Her\". The tour included 181 concerts. Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder.",
"Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder. Amos performed each night on piano, harpsichord, and harmonium, with Steve Caton on guitar on some songs. The tour included 187 concerts.",
"The tour included 187 concerts. The tour included 187 concerts. Plugged '98 Tour Amos's first band tour. Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass.",
"Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass. The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts.",
"The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts. 5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only.",
"5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only. The first part of the tour was co-headlining with Alanis Morissette and featured the same band and equipment line-up as in 1998. Amos and the band continued for eight shows before Amos embarked on a series of solo shows.",
"Amos and the band continued for eight shows before Amos embarked on a series of solo shows. The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts.",
"The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts. Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996).",
"Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996). It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented.",
"It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented. Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months.",
"Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months. It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts.",
"It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts. On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton.",
"On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton. The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening.",
"The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening. The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts.",
"The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts. The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album).",
"The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album). Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes.",
"Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes. The tour also encompassed Australia for the first time since 1994.",
"The tour also encompassed Australia for the first time since 1994. Amos announced at a concert on this tour that she would never stop touring but would scale down the tours. Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles.",
"Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles. The tour featured \"Tori's Piano Bar\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show.",
"The tour featured \"Tori's Piano Bar\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show. One of the songs chosen was the Kylie Minogue hit \"Can't Get You Out of My Head\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public.",
"One of the songs chosen was the Kylie Minogue hit \"Can't Get You Out of My Head\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public. Other songs performed by Amos include The Doors' \"People are Strange\", Depeche Mode's \"Personal Jesus\", Joni Mitchell's \"The Circle Game\", Madonna's \"Live to Tell\" and \"Like a Prayer\", Björk's \"Hyperballad\", Led Zeppelin's \"When the Levee Breaks\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \"And Dream of Sheep\" and Crowded House's \"Don't Dream It's Over\", dedicating it to drummer Paul Hester who had died a week before.",
"Other songs performed by Amos include The Doors' \"People are Strange\", Depeche Mode's \"Personal Jesus\", Joni Mitchell's \"The Circle Game\", Madonna's \"Live to Tell\" and \"Like a Prayer\", Björk's \"Hyperballad\", Led Zeppelin's \"When the Levee Breaks\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \"And Dream of Sheep\" and Crowded House's \"Don't Dream It's Over\", dedicating it to drummer Paul Hester who had died a week before. The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs.",
"The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs. American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band.",
"American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band. Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards.",
"Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards. The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles.",
"The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles. Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show.",
"Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show. The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series.",
"The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series. Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard.",
"Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard. The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009.",
"The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009. A solo leg through Australia began in Melbourne on November 12, 2009 and ended in Brisbane on November 24, 2009. The entire tour featured 63 concerts.",
"The entire tour featured 63 concerts. Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa.",
"Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa. It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas.",
"It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas. Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1.",
"Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1. Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts.",
"Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts. Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October.",
"Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October. Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland.",
"Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland. Awards and nominations {| class=\"wikitable sortable plainrowheaders\" |- ! scope=\"col\" | Award !",
"scope=\"col\" | Award ! scope=\"col\" | Year ! scope=\"col\" | Nominee(s) ! scope=\"col\" | Category ! scope=\"col\" | Result ! scope=\"col\" class=\"unsortable\"| |- !",
"scope=\"col\" class=\"unsortable\"| |- ! scope=\"row\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- !",
"scope=\"row\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- ! scope=\"row\"|Critics' Choice Documentary Awards | 2016 | \"Flicker\" | Best Song in a Documentary | | |- !scope=\"row\"|ECHO Awards | 1995 | Herself | Best International Female | | |- !",
"scope=\"row\"|Critics' Choice Documentary Awards | 2016 | \"Flicker\" | Best Song in a Documentary | | |- !scope=\"row\"|ECHO Awards | 1995 | Herself | Best International Female | | |- ! scope=\"row\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- !",
"scope=\"row\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- ! scope=\"row\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- !",
"scope=\"row\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- ! scope=\"row\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- !",
"scope=\"row\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- ! scope=\"row\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- !",
"scope=\"row\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- ! scope=\"row\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \"Raspberry Swirl\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \"Bliss\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \"Strange Little Girl\" | Best Female Rock Vocal Performance | |- !",
"scope=\"row\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \"Raspberry Swirl\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \"Bliss\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \"Strange Little Girl\" | Best Female Rock Vocal Performance | |- ! scope=\"row\"|Hollywood Music in Media Awards | 2016 | \"Flicker\" | Best Original Song in a Documentary | | |- !",
"scope=\"row\"|Hollywood Music in Media Awards | 2016 | \"Flicker\" | Best Original Song in a Documentary | | |- ! scope=\"row\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- !",
"scope=\"row\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- ! scope=\"row\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- !",
"scope=\"row\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- ! scope=\"row\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\"Silent All These Years\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- !",
"scope=\"row\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\"Silent All These Years\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- ! scope=\"row\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- !",
"scope=\"row\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- ! scope=\"row\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\"row\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- !",
"scope=\"row\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\"row\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- ! scope=\"row\"|Q Awards | 1992 | Herself | Best New Act | | |- !",
"scope=\"row\"|Q Awards | 1992 | Herself | Best New Act | | |- ! scope=\"row\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\"row\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony.",
"scope=\"row\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\"row\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony. Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel.",
"Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel. Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile.",
"Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile. References Citations Works cited External links 1963 births 20th-century American composers 20th-century American keyboardists 20th-century American women pianists 20th-century American pianists 20th-century American women singers 21st-century American keyboardists 21st-century American women pianists 21st-century American pianists 21st-century American women singers Alternative rock keyboardists Alternative rock pianists Alternative rock singers American alternative rock musicians American expatriates in the Republic of Ireland American expatriates in the United Kingdom American women composers American women singer-songwriters American feminist writers American harpsichordists American mezzo-sopranos American organists American people who self-identify as being of Native American descent American pop pianists American rock pianists American women rock singers American rock songwriters Articles containing video clips Art rock musicians Atlantic Records artists Child classical musicians Clavichordists Deutsche Grammophon artists Electronica musicians Epic Records artists Feminist musicians Harmonium players Island Records artists Living people Montgomery College alumni Musicians from Baltimore Musicians from County Cork Musicians from Rockville, Maryland People from Georgetown (Washington, D.C.) People from Newton, North Carolina People from Sewall's Point, Florida Republic Records artists Sexual abuse victim advocates Singer-songwriters from Maryland Singer-songwriters from North Carolina Women organists 20th-century women composers American women in electronic music 20th-century American singers 21st-century American singers Singer-songwriters from Washington, D.C."
] |
[
"Tori Amos",
"The Epic Records years (2002-07)",
"Did Amos release any albums during these years?",
"In October 2002, Amos released Scarlet's Walk, another concept album.",
"Was the album successful?",
"strong debut at No. 7 on the Billboard 200.",
"Did Amos release any albums after Scarlet's Walk?",
"The Beekeeper (2005) and American Doll Posse (2007).",
"What can you tell me about The Beekeeper?",
"The Beekeeper was conceptually influenced by the ancient art of beekeeping,",
"Did either album win any awards?",
"Both albums received generally favorable reviews.",
"Did she collaborate with anyone else on her albums?",
"I don't know."
] | C_f2c7f26de77949ff80c91a7bd337fb42_1 | Are there any other interesting aspects about this article? | 7 | Are there any other interesting aspects about this article, along with Tori Amos's The Beekeeper being conceptually influenced by the ancient art of beekeeping? | Tori Amos | With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a "sonic novel", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA. Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline. Amos would later hint in interviews that during the creation of her next album, those in charge at the label following the aforementioned merger were interested "only in making money", the effects of which on the album have not been disclosed. Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the "posse") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200. During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records. CANNOTANSWER | Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned | Tori Amos (born Myra Ellen Amos; August 22, 1963) is an American singer-songwriter and pianist. She is a classically trained musician with a mezzo-soprano vocal range. Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted. She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as "musical insubordination". Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s. Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion.
Her charting singles include "Crucify", "Silent All These Years", "God", "Cornflake Girl", "Caught a Lite Sneeze", "Professional Widow", "Spark", "1000 Oceans", "Flavor" and "A Sorta Fairytale", her most commercially successful single in the U.S. to date. Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album. She is listed on VH1's 1999 "100 Greatest Women of Rock and Roll" at number 71.
Early life and education
Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos. She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity.
When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C. Her older brother and sister took piano lessons, but Tori did not need them. From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs. She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia:
At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music. She studied classical piano at Peabody from 1968 to 1974. In 1974, when she was eleven, her scholarship was discontinued, and she was asked to leave. Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music.
In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church. At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father.
Amos won a county teen talent contest in 1977, singing a song called "More Than Just a Friend". As a senior at Richard Montgomery High School, she co-wrote "Baltimore" with her brother, Mike Amos, for a competition involving the Baltimore Orioles. The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, "Walking With You". Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast.
Career
1979–1989: Career beginnings and Y Kant Tori Read
By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers. Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released. Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her.
In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area.
In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading. In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber. The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time. Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released. Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: "The only good thing about that album is my ankle high boots."
Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist. She also recorded a song called "Distant Storm" for the film China O'Brien. In the credits, the song is attributed to a band called Tess Makes Good.
1990–1995: Little Earthquakes and Under the Pink
Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990. The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented. The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault. This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15. Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single "Silent All These Years".
Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink. The album was received with mostly favorable reviews and sold enough copies to chart at No. 12 on the Billboard 200, a significantly higher position than the preceding album's position at No. 54 on the same chart. However, the album found its biggest success in the UK, debuting at number one upon release in February 1994.
1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back
Her third solo album, Boys for Pele, was released in January 1996. Prior to its release, the first single, "Caught a Lite Sneeze" became the first full song released for streaming online prior to an album's release.
The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics. For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano. The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability. Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No. 2 on the UK Top 40 and No. 2 on the Billboard 200 upon its release.
Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios.
From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums. Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes. The underlying themes of both albums deal with womanhood and Amos's own miscarriages and marriage. Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality. Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week. To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download.
2001–2004: Strange Little Girls and Scarlet's Walk
Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective. That became Strange Little Girls, released in September 2001. The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song. Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label.
With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a "sonic novel", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA.
Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline.
2005–2008: The Beekeeper and American Doll Posse
Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the "posse") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200.
During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records.
2008–2011: Abnormally Attracted to Sin and Midwinter Graces
In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work. In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes. By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a "joint venture" deal with Universal Republic Records.
Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews. The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so. Abnormally Attracted to Sin, admitted Amos, is a "personal album", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin. Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year. The album features reworked versions of traditional carols, as well as original songs written by Amos.
During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010. In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble.
After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010. The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow. The set was released exclusively through her website and only 2000 copies were produced.
2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines
In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group. Amos recorded the album with several musicians, including the Apollon Musagète string quartet.
To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra. The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon.
On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists.
In 2013, Amos collaborated with the Bullitts on the track "Wait Until Tomorrow" from their debut album, They Die by Dawn & Other Short Stories. She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a "return to contemporary music".
September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott. It premiered at London's Royal National Theatre and ended in February 2014. The Light Princess and its lead actress, Rosalie Craig, were nominated for Best Musical and Best Musical Performance respectively at the Evening Standard Award. Craig won the Best Musical Performance category.
Amos's 14th studio album, Unrepentant Geraldines, was released on May 13, 2014, via Mercury Classics/Universal Music Classics in the US. Its first single, "Trouble's Lament", was released on March 28. The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014. In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House.
According to a press release, Unrepentant Geraldines was a "return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years. [It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world."
The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics. Apart from the original cast performances, the recording also includes two songs from the musical ("Highness in the Sky" and "Darkest Hour') performed by Amos.
2016–present: Native Invader, Christmastide and Ocean to Ocean
On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release. This follows the deluxe re-releases of her first two albums in 2015.
On September 8, 2017, Amos released Native Invader, accompanied by a world tour. During the summer of 2017, Amos launched three songs from the album: "Cloud Riders", "Up the Creek" and "Reindeer King", the latter featuring string arrangements by John Philip Shenale. Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations.
The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak. Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader. The album, released on September 8, 2017, has been presented in two formats: standard and deluxe. The standard version includes 13 songs, while the deluxe edition adds two extra songs to the tracklist: "Upside Down 2" and "Russia". Native Invader has been well received by most music critics upon release. The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating "generally favorable reviews".
On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl. The EP consists of four original songs and features her first work with bandmates Matt Chamberlain and Jon Evans since 2009. Amos recorded the EP remotely due to the impact of the COVID-19 pandemic.
On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29. The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores "a universal story of going to rock bottom and renewing yourself all over again". Amos will embark on a European tour in support of the album in 2022. Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces.
In print
Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005). The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records.
Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos. Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore.
Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996).
Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process.
Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020.
Personal life
Amos married English sound engineer Mark Hawley on February 22, 1998. Their daughter was born in 2000. The family divides their time between Sewall's Point in Florida, US, and Bude, Cornwall in the UK.
Amos' mother, Mary Ellen, died on May 11, 2019.
Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song "Tear in Your Hand" and also in print interviews. Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they "steal shamelessly from each other". She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo. Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009. In 2019, Amos performed the British standard "A Nightingale Sang in Berkeley Square" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett.
Activism
In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded. Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline. She was the first national spokesperson for the organization and has continued to be closely associated with RAINN. On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN. On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA.
Discography
Studio albums
Little Earthquakes (1992)
Under the Pink (1994)
Boys for Pele (1996)
From the Choirgirl Hotel (1998)
To Venus and Back (1999)
Strange Little Girls (2001)
Scarlet's Walk (2002)
The Beekeeper (2005)
American Doll Posse (2007)
Abnormally Attracted to Sin (2009)
Midwinter Graces (2009)
Night of Hunters (2011)
Gold Dust (2012)
Unrepentant Geraldines (2014)
Native Invader (2017)
Ocean to Ocean (2021)
Tours
Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992. In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine. Her concerts are notable for their changing set lists from night to night.
Little Earthquakes Tour
Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland. She performed solo with a Yamaha CP-70 unless the venue was able to provide a piano. The tour included 142 concerts around the globe.
Under the Pink Tour
Amos's second world tour began on February 24, 1994 in Newcastle upon Tyne and ended on December 13, 1994 in Perth, Western Australia. Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during "Bells for Her". The tour included 181 concerts.
Dew Drop Inn Tour
The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder. Amos performed each night on piano, harpsichord, and harmonium, with Steve Caton on guitar on some songs. The tour included 187 concerts.
Plugged '98 Tour
Amos's first band tour. Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass. The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts.
5 ½ Weeks Tour / To Dallas and Back
Amos's fifth tour was North America–only. The first part of the tour was co-headlining with Alanis Morissette and featured the same band and equipment line-up as in 1998. Amos and the band continued for eight shows before Amos embarked on a series of solo shows. The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts.
Strange Little Tour
This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996). It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented. Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months. It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts.
On Scarlet's Walk / Lottapianos Tour
Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton. The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening. The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts. The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album).
Original Sinsuality Tour / Summer of Sin
This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes. The tour also encompassed Australia for the first time since 1994. Amos announced at a concert on this tour that she would never stop touring but would scale down the tours. Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles. The tour featured "Tori's Piano Bar", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show. One of the songs chosen was the Kylie Minogue hit "Can't Get You Out of My Head", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public. Other songs performed by Amos include The Doors' "People are Strange", Depeche Mode's "Personal Jesus", Joni Mitchell's "The Circle Game", Madonna's "Live to Tell" and "Like a Prayer", Björk's "Hyperballad", Led Zeppelin's "When the Levee Breaks" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's "And Dream of Sheep" and Crowded House's "Don't Dream It's Over", dedicating it to drummer Paul Hester who had died a week before. The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs.
American Doll Posse World Tour
This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band. Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards. The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles. Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show. The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series.
Sinful Attraction Tour
For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard. The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009. A solo leg through Australia began in Melbourne on November 12, 2009 and ended in Brisbane on November 24, 2009. The entire tour featured 63 concerts.
Night of Hunters tour
Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa. It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas.
Gold Dust Orchestral Tour
Amos began her 2012 tour in Rotterdam on October 1.
Unrepentant Geraldines Tour
Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts.
Native Invader Tour
Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October.
Ocean to Ocean Tour
Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland.
Awards and nominations
{| class="wikitable sortable plainrowheaders"
|-
! scope="col" | Award
! scope="col" | Year
! scope="col" | Nominee(s)
! scope="col" | Category
! scope="col" | Result
! scope="col" class="unsortable"|
|-
! scope="row" rowspan=3|Brit Awards
| rowspan=2|1993
| rowspan=3|Herself
| International Breakthrough Act
|
| rowspan=2|
|-
| International Solo Artist
|
|-
| 1995
| International Female Solo Artist
|
|
|-
! scope="row"|Critics' Choice Documentary Awards
| 2016
| "Flicker"
| Best Song in a Documentary
|
|
|-
!scope="row"|ECHO Awards
| 1995
| Herself
| Best International Female
|
|
|-
! scope="row"|ECHO Klassik Awards
| rowspan=1|2012
| Night of Hunters
| The Klassik-ohne-Grenzen Prize
|
|
|-
! scope="row" rowspan=4|GAFFA Awards
| 2000
| rowspan=3|Herself
| rowspan=2|Best Foreign Female Act
|
| rowspan=2|
|-
| 2003
|
|-
| rowspan=2|2022
| Best Foreign Solo Act
|
|
|-
| Ocean to Ocean
| Best Foreign Album
|
|-
! scope="row"|George Peabody Medal
| 2019
| Herself
| Outstanding Contributions to Music
|
|
|-
! scope="row"|Glamour Awards
| 1998
| Herself
| Woman of the Year
|
|
|-
! scope="row" rowspan=8|Grammy Awards
| 1995
| Under the Pink
| rowspan=3|Best Alternative Music Album
|
| rowspan=8|
|-
| 1997
| Boys for Pele
|
|-
| rowspan=2|1999
| From the Choirgirl Hotel
|
|-
| "Raspberry Swirl"
| rowspan=2|Best Female Rock Vocal Performance
|
|-
| rowspan=2|2000
| "Bliss"
|
|-
| To Venus and Back
| rowspan=2|Best Alternative Music Album
|
|-
| rowspan=2|2002
| Strange Little Girls
|
|-
| "Strange Little Girl"
| Best Female Rock Vocal Performance
|
|-
! scope="row"|Hollywood Music in Media Awards
| 2016
| "Flicker"
| Best Original Song in a Documentary
|
|
|-
! scope="row"|Hungarian Music Awards
| 2010
| Abnormally Attracted to Sin
| Best Foreign Alternative Album
|
|
|-
! scope="row"|MTV Europe Music Awards
| 1994
| Herself
| Best Female
|
|
|-
! scope="row" rowspan=4|MTV Video Music Awards
| rowspan=4|1992
| rowspan=4|"Silent All These Years"
| Best Female Video
|
|rowspan=4|
|-
| Best New Artist in a Video
|
|-
| Breakthrough Video
|
|-
| Best Cinematography in a Video
|
|-
! scope="row"|NME Awards
| 2016
| Under the Pink
| Best Reissue
|
|
|-
! scope="row"|North Carolina Music Hall of Fame
| 2012
| Herself
| Inducted
|
|
|-
!scope="row" rowspan=5|Pollstar Concert Industry Awards
| rowspan=2|1993
| rowspan=2|Little Earthquakes Tour
| Best New Rock Artist
|
| rowspan=2|
|-
| Club Tour Of The Year
|
|-
| 1995
| Under the Pink Tour
| rowspan=3|Small Hall Tour Of The Year
|
|
|-
| 1997
| Dew Drop Inn Tour
|
|
|-
| 1999
| 5 ½ Weeks Tour
|
|
|-
! scope="row"|Q Awards
| 1992
| Herself
| Best New Act
|
|
|-
! scope="row" rowspan=2|WhatsOnStage Awards
| rowspan=2|2014
| rowspan=2|The Light Princess
| Best New Musical
|
| rowspan=2|
|-
| Best London Newcomer of the Year
|
|-
!scope="row"|Žebřík Music Awards
| 2001
| Herself
| Best International Female
|
|
1999: Spin Readers' Poll Awards (Won)
On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony. Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel.
Film appearances
Tori appears as a wedding singer in the film Mona Lisa Smile.
References
Citations
Works cited
External links
1963 births
20th-century American composers
20th-century American keyboardists
20th-century American women pianists
20th-century American pianists
20th-century American women singers
21st-century American keyboardists
21st-century American women pianists
21st-century American pianists
21st-century American women singers
Alternative rock keyboardists
Alternative rock pianists
Alternative rock singers
American alternative rock musicians
American expatriates in the Republic of Ireland
American expatriates in the United Kingdom
American women composers
American women singer-songwriters
American feminist writers
American harpsichordists
American mezzo-sopranos
American organists
American people who self-identify as being of Native American descent
American pop pianists
American rock pianists
American women rock singers
American rock songwriters
Articles containing video clips
Art rock musicians
Atlantic Records artists
Child classical musicians
Clavichordists
Deutsche Grammophon artists
Electronica musicians
Epic Records artists
Feminist musicians
Harmonium players
Island Records artists
Living people
Montgomery College alumni
Musicians from Baltimore
Musicians from County Cork
Musicians from Rockville, Maryland
People from Georgetown (Washington, D.C.)
People from Newton, North Carolina
People from Sewall's Point, Florida
Republic Records artists
Sexual abuse victim advocates
Singer-songwriters from Maryland
Singer-songwriters from North Carolina
Women organists
20th-century women composers
American women in electronic music
20th-century American singers
21st-century American singers
Singer-songwriters from Washington, D.C. | true | [
"Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\n\nKobylinec and Ptáčovský kopeček\n\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\n\nPonds\n\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\n\nSyenitové skály near Pocoucov\n\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\n\nExternal links\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\n\nReferences\n\nExternal links\nNature near the village Trnava which is there\n\nTřebíč\nParks in the Czech Republic\nTourist attractions in the Vysočina Region",
"Damn Interesting is an independent website founded by Alan Bellows in 2005. The website presents true stories from science, history, and psychology, primarily as long-form articles, often illustrated with original artwork. Works are written by various authors, and published at irregular intervals. The website openly rejects advertising, relying on reader and listener donations to cover operating costs.\n\nAs of October 2012, each article is also published as a podcast under the same name. In November 2019, a second podcast was launched under the title Damn Interesting Week, featuring unscripted commentary on an assortment of news articles featured on the website's \"Curated Links\" section that week. In mid-2020, a third podcast called Damn Interesting Curio Cabinet began highlighting the website's periodic short-form articles in the same radioplay format as the original podcast.\n\nIn July 2009, Damn Interesting published the print book Alien Hand Syndrome through Workman Publishing. It contains some favorites from the site and some exclusive content.\n\nAwards and recognition \nIn August 2007, PC Magazine named Damn Interesting one of the \"Top 100 Undiscovered Web Sites\".\nThe article \"The Zero-Armed Bandit\" by Alan Bellows won a 2015 Sidney Award from David Brooks in The New York Times.\nThe article \"Ghoulish Acts and Dastardly Deeds\" by Alan Bellows was cited as \"nonfiction journalism from 2017 that will stand the test of time\" by Conor Friedersdorf in The Atlantic.\nThe article \"Dupes and Duplicity\" by Jennifer Lee Noonan won a 2020 Sidney Award from David Brooks in the New York Times.\n\nAccusing The Dollop of plagiarism \n\nOn July 9, 2015, Bellows posted an open letter accusing The Dollop, a comedy podcast about history, of plagiarism due to their repeated use of verbatim text from Damn Interesting articles without permission or attribution. Dave Anthony, the writer of The Dollop, responded on reddit, admitting to using Damn Interesting content, but claiming that the use was protected by fair use, and that \"historical facts are not copyrightable.\" In an article about the controversy on Plagiarism Today, Jonathan Bailey concluded, \"Any way one looks at it, The Dollop failed its ethical obligations to all of the people, not just those writing for Damn Interesting, who put in the time, energy and expertise into writing the original content upon which their show is based.\"\n\nReferences\n\nExternal links \n Official website\n\n2005 podcast debuts"
] | [
"Tori Amos (born Myra Ellen Amos; August 22, 1963) is an American singer-songwriter and pianist. She is a classically trained musician with a mezzo-soprano vocal range.",
"She is a classically trained musician with a mezzo-soprano vocal range. Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted.",
"Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted. She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \"musical insubordination\".",
"She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \"musical insubordination\". Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s.",
"Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s. Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion.",
"Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion. Her charting singles include \"Crucify\", \"Silent All These Years\", \"God\", \"Cornflake Girl\", \"Caught a Lite Sneeze\", \"Professional Widow\", \"Spark\", \"1000 Oceans\", \"Flavor\" and \"A Sorta Fairytale\", her most commercially successful single in the U.S. to date.",
"Her charting singles include \"Crucify\", \"Silent All These Years\", \"God\", \"Cornflake Girl\", \"Caught a Lite Sneeze\", \"Professional Widow\", \"Spark\", \"1000 Oceans\", \"Flavor\" and \"A Sorta Fairytale\", her most commercially successful single in the U.S. to date. Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album.",
"Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album. She is listed on VH1's 1999 \"100 Greatest Women of Rock and Roll\" at number 71.",
"She is listed on VH1's 1999 \"100 Greatest Women of Rock and Roll\" at number 71. Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos.",
"Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos. She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity.",
"She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity. When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C.",
"When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C. Her older brother and sister took piano lessons, but Tori did not need them.",
"Her older brother and sister took piano lessons, but Tori did not need them. From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs.",
"From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs. She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music.",
"She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music. She studied classical piano at Peabody from 1968 to 1974.",
"She studied classical piano at Peabody from 1968 to 1974. In 1974, when she was eleven, her scholarship was discontinued, and she was asked to leave. Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music.",
"Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music. In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church.",
"In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church. At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father.",
"At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father. Amos won a county teen talent contest in 1977, singing a song called \"More Than Just a Friend\".",
"Amos won a county teen talent contest in 1977, singing a song called \"More Than Just a Friend\". As a senior at Richard Montgomery High School, she co-wrote \"Baltimore\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles.",
"As a senior at Richard Montgomery High School, she co-wrote \"Baltimore\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles. The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \"Walking With You\".",
"The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \"Walking With You\". Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast.",
"Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast. Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers.",
"Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers. Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released.",
"Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released. Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her.",
"Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her. In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area.",
"In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area. In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading.",
"In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading. In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber.",
"In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber. The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time.",
"The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time. Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released.",
"Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released. Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \"The only good thing about that album is my ankle high boots.\"",
"Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \"The only good thing about that album is my ankle high boots.\" Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist.",
"Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist. She also recorded a song called \"Distant Storm\" for the film China O'Brien.",
"She also recorded a song called \"Distant Storm\" for the film China O'Brien. In the credits, the song is attributed to a band called Tess Makes Good.",
"In the credits, the song is attributed to a band called Tess Makes Good. 1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990.",
"1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990. The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented.",
"The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented. The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault.",
"The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault. This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15.",
"This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15. Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \"Silent All These Years\".",
"Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \"Silent All These Years\". Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink.",
"Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink. The album was received with mostly favorable reviews and sold enough copies to chart at No. 12 on the Billboard 200, a significantly higher position than the preceding album's position at No.",
"12 on the Billboard 200, a significantly higher position than the preceding album's position at No. 54 on the same chart. However, the album found its biggest success in the UK, debuting at number one upon release in February 1994.",
"However, the album found its biggest success in the UK, debuting at number one upon release in February 1994. 1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996.",
"1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996. Prior to its release, the first single, \"Caught a Lite Sneeze\" became the first full song released for streaming online prior to an album's release.",
"Prior to its release, the first single, \"Caught a Lite Sneeze\" became the first full song released for streaming online prior to an album's release. The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics.",
"The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics. For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano.",
"For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano. The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability.",
"The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability. Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No.",
"Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No. 2 on the UK Top 40 and No. 2 on the Billboard 200 upon its release.",
"2 on the Billboard 200 upon its release. Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios.",
"Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios. From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums.",
"From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums. Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes.",
"Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes. The underlying themes of both albums deal with womanhood and Amos's own miscarriages and marriage. Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality.",
"Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality. Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week.",
"Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week. To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download.",
"To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download. 2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective.",
"2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective. That became Strange Little Girls, released in September 2001.",
"That became Strange Little Girls, released in September 2001. The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song.",
"The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song. Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label.",
"Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label. With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001.",
"With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11.",
"Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny.",
"Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA.",
"Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA. Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003.",
"Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group.",
"Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline.",
"Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline. 2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007).",
"2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment.",
"The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics.",
"Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No.",
"The album debuted at No. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts.",
"5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it.",
"While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's.",
"American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No.",
"Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200.",
"5 on the Billboard 200. 5 on the Billboard 200. During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records.",
"During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records. 2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work.",
"2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work. In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes.",
"In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes. By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \"joint venture\" deal with Universal Republic Records.",
"By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \"joint venture\" deal with Universal Republic Records. Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews.",
"Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews. The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so.",
"The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so. Abnormally Attracted to Sin, admitted Amos, is a \"personal album\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin.",
"Abnormally Attracted to Sin, admitted Amos, is a \"personal album\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin. Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year.",
"Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year. The album features reworked versions of traditional carols, as well as original songs written by Amos.",
"The album features reworked versions of traditional carols, as well as original songs written by Amos. During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010.",
"During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010. In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble.",
"In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble. After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010.",
"After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010. The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow.",
"The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow. The set was released exclusively through her website and only 2000 copies were produced.",
"The set was released exclusively through her website and only 2000 copies were produced. 2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group.",
"2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group. Amos recorded the album with several musicians, including the Apollon Musagète string quartet.",
"Amos recorded the album with several musicians, including the Apollon Musagète string quartet. To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra.",
"To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra. The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon.",
"The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon. On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists.",
"On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists. In 2013, Amos collaborated with the Bullitts on the track \"Wait Until Tomorrow\" from their debut album, They Die by Dawn & Other Short Stories.",
"In 2013, Amos collaborated with the Bullitts on the track \"Wait Until Tomorrow\" from their debut album, They Die by Dawn & Other Short Stories. She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \"return to contemporary music\".",
"She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \"return to contemporary music\". September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott.",
"September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott. It premiered at London's Royal National Theatre and ended in February 2014.",
"It premiered at London's Royal National Theatre and ended in February 2014. The Light Princess and its lead actress, Rosalie Craig, were nominated for Best Musical and Best Musical Performance respectively at the Evening Standard Award. Craig won the Best Musical Performance category.",
"Craig won the Best Musical Performance category. Amos's 14th studio album, Unrepentant Geraldines, was released on May 13, 2014, via Mercury Classics/Universal Music Classics in the US. Its first single, \"Trouble's Lament\", was released on March 28.",
"Its first single, \"Trouble's Lament\", was released on March 28. The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014.",
"The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014. In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House.",
"In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House. According to a press release, Unrepentant Geraldines was a \"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years.",
"According to a press release, Unrepentant Geraldines was a \"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years. [It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\"",
"[It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\" The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics.",
"The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics. Apart from the original cast performances, the recording also includes two songs from the musical (\"Highness in the Sky\" and \"Darkest Hour') performed by Amos.",
"Apart from the original cast performances, the recording also includes two songs from the musical (\"Highness in the Sky\" and \"Darkest Hour') performed by Amos. 2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release.",
"2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release. This follows the deluxe re-releases of her first two albums in 2015.",
"This follows the deluxe re-releases of her first two albums in 2015. On September 8, 2017, Amos released Native Invader, accompanied by a world tour.",
"On September 8, 2017, Amos released Native Invader, accompanied by a world tour. During the summer of 2017, Amos launched three songs from the album: \"Cloud Riders\", \"Up the Creek\" and \"Reindeer King\", the latter featuring string arrangements by John Philip Shenale.",
"During the summer of 2017, Amos launched three songs from the album: \"Cloud Riders\", \"Up the Creek\" and \"Reindeer King\", the latter featuring string arrangements by John Philip Shenale. Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations.",
"Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations. The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak.",
"The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak. Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader.",
"Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader. The album, released on September 8, 2017, has been presented in two formats: standard and deluxe.",
"The album, released on September 8, 2017, has been presented in two formats: standard and deluxe. The standard version includes 13 songs, while the deluxe edition adds two extra songs to the tracklist: \"Upside Down 2\" and \"Russia\". Native Invader has been well received by most music critics upon release.",
"Native Invader has been well received by most music critics upon release. The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \"generally favorable reviews\".",
"The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \"generally favorable reviews\". On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl.",
"On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl. The EP consists of four original songs and features her first work with bandmates Matt Chamberlain and Jon Evans since 2009. Amos recorded the EP remotely due to the impact of the COVID-19 pandemic.",
"Amos recorded the EP remotely due to the impact of the COVID-19 pandemic. On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29.",
"On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29. The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \"a universal story of going to rock bottom and renewing yourself all over again\".",
"The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \"a universal story of going to rock bottom and renewing yourself all over again\". Amos will embark on a European tour in support of the album in 2022.",
"Amos will embark on a European tour in support of the album in 2022. Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces.",
"Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces. In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005).",
"In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005). The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records.",
"The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records. Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos.",
"Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos. Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore.",
"Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore. Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996).",
"Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996). Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process.",
"Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process. Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020.",
"Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020. Personal life Amos married English sound engineer Mark Hawley on February 22, 1998. Their daughter was born in 2000.",
"Their daughter was born in 2000. The family divides their time between Sewall's Point in Florida, US, and Bude, Cornwall in the UK. Amos' mother, Mary Ellen, died on May 11, 2019.",
"Amos' mother, Mary Ellen, died on May 11, 2019. Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \"Tear in Your Hand\" and also in print interviews.",
"Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \"Tear in Your Hand\" and also in print interviews. Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \"steal shamelessly from each other\".",
"Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \"steal shamelessly from each other\". She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo.",
"She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo. Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009.",
"Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009. In 2019, Amos performed the British standard \"A Nightingale Sang in Berkeley Square\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett.",
"In 2019, Amos performed the British standard \"A Nightingale Sang in Berkeley Square\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett. Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded.",
"Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded. Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline.",
"Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline. She was the first national spokesperson for the organization and has continued to be closely associated with RAINN.",
"She was the first national spokesperson for the organization and has continued to be closely associated with RAINN. On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN.",
"On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN. On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA.",
"On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA. Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992.",
"Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992. In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine.",
"In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine. Her concerts are notable for their changing set lists from night to night. Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland.",
"Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland. She performed solo with a Yamaha CP-70 unless the venue was able to provide a piano. The tour included 142 concerts around the globe.",
"The tour included 142 concerts around the globe. Under the Pink Tour Amos's second world tour began on February 24, 1994 in Newcastle upon Tyne and ended on December 13, 1994 in Perth, Western Australia. Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \"Bells for Her\".",
"Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \"Bells for Her\". The tour included 181 concerts. Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder.",
"Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder. Amos performed each night on piano, harpsichord, and harmonium, with Steve Caton on guitar on some songs. The tour included 187 concerts.",
"The tour included 187 concerts. The tour included 187 concerts. Plugged '98 Tour Amos's first band tour. Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass.",
"Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass. The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts.",
"The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts. 5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only.",
"5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only. The first part of the tour was co-headlining with Alanis Morissette and featured the same band and equipment line-up as in 1998. Amos and the band continued for eight shows before Amos embarked on a series of solo shows.",
"Amos and the band continued for eight shows before Amos embarked on a series of solo shows. The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts.",
"The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts. Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996).",
"Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996). It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented.",
"It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented. Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months.",
"Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months. It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts.",
"It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts. On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton.",
"On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton. The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening.",
"The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening. The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts.",
"The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts. The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album).",
"The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album). Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes.",
"Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes. The tour also encompassed Australia for the first time since 1994.",
"The tour also encompassed Australia for the first time since 1994. Amos announced at a concert on this tour that she would never stop touring but would scale down the tours. Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles.",
"Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles. The tour featured \"Tori's Piano Bar\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show.",
"The tour featured \"Tori's Piano Bar\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show. One of the songs chosen was the Kylie Minogue hit \"Can't Get You Out of My Head\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public.",
"One of the songs chosen was the Kylie Minogue hit \"Can't Get You Out of My Head\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public. Other songs performed by Amos include The Doors' \"People are Strange\", Depeche Mode's \"Personal Jesus\", Joni Mitchell's \"The Circle Game\", Madonna's \"Live to Tell\" and \"Like a Prayer\", Björk's \"Hyperballad\", Led Zeppelin's \"When the Levee Breaks\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \"And Dream of Sheep\" and Crowded House's \"Don't Dream It's Over\", dedicating it to drummer Paul Hester who had died a week before.",
"Other songs performed by Amos include The Doors' \"People are Strange\", Depeche Mode's \"Personal Jesus\", Joni Mitchell's \"The Circle Game\", Madonna's \"Live to Tell\" and \"Like a Prayer\", Björk's \"Hyperballad\", Led Zeppelin's \"When the Levee Breaks\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \"And Dream of Sheep\" and Crowded House's \"Don't Dream It's Over\", dedicating it to drummer Paul Hester who had died a week before. The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs.",
"The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs. American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band.",
"American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band. Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards.",
"Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards. The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles.",
"The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles. Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show.",
"Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show. The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series.",
"The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series. Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard.",
"Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard. The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009.",
"The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009. A solo leg through Australia began in Melbourne on November 12, 2009 and ended in Brisbane on November 24, 2009. The entire tour featured 63 concerts.",
"The entire tour featured 63 concerts. Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa.",
"Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa. It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas.",
"It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas. Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1.",
"Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1. Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts.",
"Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts. Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October.",
"Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October. Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland.",
"Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland. Awards and nominations {| class=\"wikitable sortable plainrowheaders\" |- ! scope=\"col\" | Award !",
"scope=\"col\" | Award ! scope=\"col\" | Year ! scope=\"col\" | Nominee(s) ! scope=\"col\" | Category ! scope=\"col\" | Result ! scope=\"col\" class=\"unsortable\"| |- !",
"scope=\"col\" class=\"unsortable\"| |- ! scope=\"row\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- !",
"scope=\"row\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- ! scope=\"row\"|Critics' Choice Documentary Awards | 2016 | \"Flicker\" | Best Song in a Documentary | | |- !scope=\"row\"|ECHO Awards | 1995 | Herself | Best International Female | | |- !",
"scope=\"row\"|Critics' Choice Documentary Awards | 2016 | \"Flicker\" | Best Song in a Documentary | | |- !scope=\"row\"|ECHO Awards | 1995 | Herself | Best International Female | | |- ! scope=\"row\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- !",
"scope=\"row\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- ! scope=\"row\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- !",
"scope=\"row\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- ! scope=\"row\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- !",
"scope=\"row\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- ! scope=\"row\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- !",
"scope=\"row\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- ! scope=\"row\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \"Raspberry Swirl\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \"Bliss\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \"Strange Little Girl\" | Best Female Rock Vocal Performance | |- !",
"scope=\"row\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \"Raspberry Swirl\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \"Bliss\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \"Strange Little Girl\" | Best Female Rock Vocal Performance | |- ! scope=\"row\"|Hollywood Music in Media Awards | 2016 | \"Flicker\" | Best Original Song in a Documentary | | |- !",
"scope=\"row\"|Hollywood Music in Media Awards | 2016 | \"Flicker\" | Best Original Song in a Documentary | | |- ! scope=\"row\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- !",
"scope=\"row\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- ! scope=\"row\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- !",
"scope=\"row\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- ! scope=\"row\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\"Silent All These Years\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- !",
"scope=\"row\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\"Silent All These Years\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- ! scope=\"row\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- !",
"scope=\"row\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- ! scope=\"row\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\"row\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- !",
"scope=\"row\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\"row\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- ! scope=\"row\"|Q Awards | 1992 | Herself | Best New Act | | |- !",
"scope=\"row\"|Q Awards | 1992 | Herself | Best New Act | | |- ! scope=\"row\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\"row\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony.",
"scope=\"row\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\"row\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony. Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel.",
"Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel. Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile.",
"Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile. References Citations Works cited External links 1963 births 20th-century American composers 20th-century American keyboardists 20th-century American women pianists 20th-century American pianists 20th-century American women singers 21st-century American keyboardists 21st-century American women pianists 21st-century American pianists 21st-century American women singers Alternative rock keyboardists Alternative rock pianists Alternative rock singers American alternative rock musicians American expatriates in the Republic of Ireland American expatriates in the United Kingdom American women composers American women singer-songwriters American feminist writers American harpsichordists American mezzo-sopranos American organists American people who self-identify as being of Native American descent American pop pianists American rock pianists American women rock singers American rock songwriters Articles containing video clips Art rock musicians Atlantic Records artists Child classical musicians Clavichordists Deutsche Grammophon artists Electronica musicians Epic Records artists Feminist musicians Harmonium players Island Records artists Living people Montgomery College alumni Musicians from Baltimore Musicians from County Cork Musicians from Rockville, Maryland People from Georgetown (Washington, D.C.) People from Newton, North Carolina People from Sewall's Point, Florida Republic Records artists Sexual abuse victim advocates Singer-songwriters from Maryland Singer-songwriters from North Carolina Women organists 20th-century women composers American women in electronic music 20th-century American singers 21st-century American singers Singer-songwriters from Washington, D.C."
] |
[
"Tori Amos",
"The Epic Records years (2002-07)",
"Did Amos release any albums during these years?",
"In October 2002, Amos released Scarlet's Walk, another concept album.",
"Was the album successful?",
"strong debut at No. 7 on the Billboard 200.",
"Did Amos release any albums after Scarlet's Walk?",
"The Beekeeper (2005) and American Doll Posse (2007).",
"What can you tell me about The Beekeeper?",
"The Beekeeper was conceptually influenced by the ancient art of beekeeping,",
"Did either album win any awards?",
"Both albums received generally favorable reviews.",
"Did she collaborate with anyone else on her albums?",
"I don't know.",
"Are there any other interesting aspects about this article?",
"Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned",
"Why did Polly Anthony resign?",
"I don't know."
] | C_f2c7f26de77949ff80c91a7bd337fb42_1 | Why was the news of her resignation unsettling? | 9 | Why was the news of Polly Anthony's resignation unsettling for Tori Amos? | Tori Amos | With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a "sonic novel", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA. Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline. Amos would later hint in interviews that during the creation of her next album, those in charge at the label following the aforementioned merger were interested "only in making money", the effects of which on the album have not been disclosed. Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the "posse") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200. During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records. CANNOTANSWER | Anthony had been one of the primary reasons Amos signed with the label | Tori Amos (born Myra Ellen Amos; August 22, 1963) is an American singer-songwriter and pianist. She is a classically trained musician with a mezzo-soprano vocal range. Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted. She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as "musical insubordination". Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s. Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion.
Her charting singles include "Crucify", "Silent All These Years", "God", "Cornflake Girl", "Caught a Lite Sneeze", "Professional Widow", "Spark", "1000 Oceans", "Flavor" and "A Sorta Fairytale", her most commercially successful single in the U.S. to date. Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album. She is listed on VH1's 1999 "100 Greatest Women of Rock and Roll" at number 71.
Early life and education
Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos. She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity.
When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C. Her older brother and sister took piano lessons, but Tori did not need them. From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs. She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia:
At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music. She studied classical piano at Peabody from 1968 to 1974. In 1974, when she was eleven, her scholarship was discontinued, and she was asked to leave. Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music.
In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church. At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father.
Amos won a county teen talent contest in 1977, singing a song called "More Than Just a Friend". As a senior at Richard Montgomery High School, she co-wrote "Baltimore" with her brother, Mike Amos, for a competition involving the Baltimore Orioles. The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, "Walking With You". Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast.
Career
1979–1989: Career beginnings and Y Kant Tori Read
By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers. Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released. Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her.
In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area.
In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading. In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber. The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time. Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released. Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: "The only good thing about that album is my ankle high boots."
Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist. She also recorded a song called "Distant Storm" for the film China O'Brien. In the credits, the song is attributed to a band called Tess Makes Good.
1990–1995: Little Earthquakes and Under the Pink
Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990. The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented. The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault. This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15. Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single "Silent All These Years".
Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink. The album was received with mostly favorable reviews and sold enough copies to chart at No. 12 on the Billboard 200, a significantly higher position than the preceding album's position at No. 54 on the same chart. However, the album found its biggest success in the UK, debuting at number one upon release in February 1994.
1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back
Her third solo album, Boys for Pele, was released in January 1996. Prior to its release, the first single, "Caught a Lite Sneeze" became the first full song released for streaming online prior to an album's release.
The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics. For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano. The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability. Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No. 2 on the UK Top 40 and No. 2 on the Billboard 200 upon its release.
Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios.
From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums. Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes. The underlying themes of both albums deal with womanhood and Amos's own miscarriages and marriage. Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality. Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week. To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download.
2001–2004: Strange Little Girls and Scarlet's Walk
Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective. That became Strange Little Girls, released in September 2001. The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song. Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label.
With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a "sonic novel", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA.
Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline.
2005–2008: The Beekeeper and American Doll Posse
Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the "posse") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200.
During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records.
2008–2011: Abnormally Attracted to Sin and Midwinter Graces
In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work. In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes. By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a "joint venture" deal with Universal Republic Records.
Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews. The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so. Abnormally Attracted to Sin, admitted Amos, is a "personal album", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin. Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year. The album features reworked versions of traditional carols, as well as original songs written by Amos.
During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010. In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble.
After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010. The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow. The set was released exclusively through her website and only 2000 copies were produced.
2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines
In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group. Amos recorded the album with several musicians, including the Apollon Musagète string quartet.
To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra. The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon.
On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists.
In 2013, Amos collaborated with the Bullitts on the track "Wait Until Tomorrow" from their debut album, They Die by Dawn & Other Short Stories. She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a "return to contemporary music".
September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott. It premiered at London's Royal National Theatre and ended in February 2014. The Light Princess and its lead actress, Rosalie Craig, were nominated for Best Musical and Best Musical Performance respectively at the Evening Standard Award. Craig won the Best Musical Performance category.
Amos's 14th studio album, Unrepentant Geraldines, was released on May 13, 2014, via Mercury Classics/Universal Music Classics in the US. Its first single, "Trouble's Lament", was released on March 28. The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014. In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House.
According to a press release, Unrepentant Geraldines was a "return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years. [It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world."
The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics. Apart from the original cast performances, the recording also includes two songs from the musical ("Highness in the Sky" and "Darkest Hour') performed by Amos.
2016–present: Native Invader, Christmastide and Ocean to Ocean
On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release. This follows the deluxe re-releases of her first two albums in 2015.
On September 8, 2017, Amos released Native Invader, accompanied by a world tour. During the summer of 2017, Amos launched three songs from the album: "Cloud Riders", "Up the Creek" and "Reindeer King", the latter featuring string arrangements by John Philip Shenale. Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations.
The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak. Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader. The album, released on September 8, 2017, has been presented in two formats: standard and deluxe. The standard version includes 13 songs, while the deluxe edition adds two extra songs to the tracklist: "Upside Down 2" and "Russia". Native Invader has been well received by most music critics upon release. The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating "generally favorable reviews".
On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl. The EP consists of four original songs and features her first work with bandmates Matt Chamberlain and Jon Evans since 2009. Amos recorded the EP remotely due to the impact of the COVID-19 pandemic.
On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29. The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores "a universal story of going to rock bottom and renewing yourself all over again". Amos will embark on a European tour in support of the album in 2022. Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces.
In print
Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005). The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records.
Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos. Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore.
Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996).
Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process.
Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020.
Personal life
Amos married English sound engineer Mark Hawley on February 22, 1998. Their daughter was born in 2000. The family divides their time between Sewall's Point in Florida, US, and Bude, Cornwall in the UK.
Amos' mother, Mary Ellen, died on May 11, 2019.
Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song "Tear in Your Hand" and also in print interviews. Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they "steal shamelessly from each other". She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo. Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009. In 2019, Amos performed the British standard "A Nightingale Sang in Berkeley Square" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett.
Activism
In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded. Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline. She was the first national spokesperson for the organization and has continued to be closely associated with RAINN. On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN. On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA.
Discography
Studio albums
Little Earthquakes (1992)
Under the Pink (1994)
Boys for Pele (1996)
From the Choirgirl Hotel (1998)
To Venus and Back (1999)
Strange Little Girls (2001)
Scarlet's Walk (2002)
The Beekeeper (2005)
American Doll Posse (2007)
Abnormally Attracted to Sin (2009)
Midwinter Graces (2009)
Night of Hunters (2011)
Gold Dust (2012)
Unrepentant Geraldines (2014)
Native Invader (2017)
Ocean to Ocean (2021)
Tours
Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992. In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine. Her concerts are notable for their changing set lists from night to night.
Little Earthquakes Tour
Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland. She performed solo with a Yamaha CP-70 unless the venue was able to provide a piano. The tour included 142 concerts around the globe.
Under the Pink Tour
Amos's second world tour began on February 24, 1994 in Newcastle upon Tyne and ended on December 13, 1994 in Perth, Western Australia. Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during "Bells for Her". The tour included 181 concerts.
Dew Drop Inn Tour
The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder. Amos performed each night on piano, harpsichord, and harmonium, with Steve Caton on guitar on some songs. The tour included 187 concerts.
Plugged '98 Tour
Amos's first band tour. Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass. The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts.
5 ½ Weeks Tour / To Dallas and Back
Amos's fifth tour was North America–only. The first part of the tour was co-headlining with Alanis Morissette and featured the same band and equipment line-up as in 1998. Amos and the band continued for eight shows before Amos embarked on a series of solo shows. The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts.
Strange Little Tour
This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996). It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented. Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months. It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts.
On Scarlet's Walk / Lottapianos Tour
Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton. The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening. The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts. The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album).
Original Sinsuality Tour / Summer of Sin
This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes. The tour also encompassed Australia for the first time since 1994. Amos announced at a concert on this tour that she would never stop touring but would scale down the tours. Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles. The tour featured "Tori's Piano Bar", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show. One of the songs chosen was the Kylie Minogue hit "Can't Get You Out of My Head", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public. Other songs performed by Amos include The Doors' "People are Strange", Depeche Mode's "Personal Jesus", Joni Mitchell's "The Circle Game", Madonna's "Live to Tell" and "Like a Prayer", Björk's "Hyperballad", Led Zeppelin's "When the Levee Breaks" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's "And Dream of Sheep" and Crowded House's "Don't Dream It's Over", dedicating it to drummer Paul Hester who had died a week before. The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs.
American Doll Posse World Tour
This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band. Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards. The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles. Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show. The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series.
Sinful Attraction Tour
For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard. The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009. A solo leg through Australia began in Melbourne on November 12, 2009 and ended in Brisbane on November 24, 2009. The entire tour featured 63 concerts.
Night of Hunters tour
Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa. It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas.
Gold Dust Orchestral Tour
Amos began her 2012 tour in Rotterdam on October 1.
Unrepentant Geraldines Tour
Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts.
Native Invader Tour
Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October.
Ocean to Ocean Tour
Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland.
Awards and nominations
{| class="wikitable sortable plainrowheaders"
|-
! scope="col" | Award
! scope="col" | Year
! scope="col" | Nominee(s)
! scope="col" | Category
! scope="col" | Result
! scope="col" class="unsortable"|
|-
! scope="row" rowspan=3|Brit Awards
| rowspan=2|1993
| rowspan=3|Herself
| International Breakthrough Act
|
| rowspan=2|
|-
| International Solo Artist
|
|-
| 1995
| International Female Solo Artist
|
|
|-
! scope="row"|Critics' Choice Documentary Awards
| 2016
| "Flicker"
| Best Song in a Documentary
|
|
|-
!scope="row"|ECHO Awards
| 1995
| Herself
| Best International Female
|
|
|-
! scope="row"|ECHO Klassik Awards
| rowspan=1|2012
| Night of Hunters
| The Klassik-ohne-Grenzen Prize
|
|
|-
! scope="row" rowspan=4|GAFFA Awards
| 2000
| rowspan=3|Herself
| rowspan=2|Best Foreign Female Act
|
| rowspan=2|
|-
| 2003
|
|-
| rowspan=2|2022
| Best Foreign Solo Act
|
|
|-
| Ocean to Ocean
| Best Foreign Album
|
|-
! scope="row"|George Peabody Medal
| 2019
| Herself
| Outstanding Contributions to Music
|
|
|-
! scope="row"|Glamour Awards
| 1998
| Herself
| Woman of the Year
|
|
|-
! scope="row" rowspan=8|Grammy Awards
| 1995
| Under the Pink
| rowspan=3|Best Alternative Music Album
|
| rowspan=8|
|-
| 1997
| Boys for Pele
|
|-
| rowspan=2|1999
| From the Choirgirl Hotel
|
|-
| "Raspberry Swirl"
| rowspan=2|Best Female Rock Vocal Performance
|
|-
| rowspan=2|2000
| "Bliss"
|
|-
| To Venus and Back
| rowspan=2|Best Alternative Music Album
|
|-
| rowspan=2|2002
| Strange Little Girls
|
|-
| "Strange Little Girl"
| Best Female Rock Vocal Performance
|
|-
! scope="row"|Hollywood Music in Media Awards
| 2016
| "Flicker"
| Best Original Song in a Documentary
|
|
|-
! scope="row"|Hungarian Music Awards
| 2010
| Abnormally Attracted to Sin
| Best Foreign Alternative Album
|
|
|-
! scope="row"|MTV Europe Music Awards
| 1994
| Herself
| Best Female
|
|
|-
! scope="row" rowspan=4|MTV Video Music Awards
| rowspan=4|1992
| rowspan=4|"Silent All These Years"
| Best Female Video
|
|rowspan=4|
|-
| Best New Artist in a Video
|
|-
| Breakthrough Video
|
|-
| Best Cinematography in a Video
|
|-
! scope="row"|NME Awards
| 2016
| Under the Pink
| Best Reissue
|
|
|-
! scope="row"|North Carolina Music Hall of Fame
| 2012
| Herself
| Inducted
|
|
|-
!scope="row" rowspan=5|Pollstar Concert Industry Awards
| rowspan=2|1993
| rowspan=2|Little Earthquakes Tour
| Best New Rock Artist
|
| rowspan=2|
|-
| Club Tour Of The Year
|
|-
| 1995
| Under the Pink Tour
| rowspan=3|Small Hall Tour Of The Year
|
|
|-
| 1997
| Dew Drop Inn Tour
|
|
|-
| 1999
| 5 ½ Weeks Tour
|
|
|-
! scope="row"|Q Awards
| 1992
| Herself
| Best New Act
|
|
|-
! scope="row" rowspan=2|WhatsOnStage Awards
| rowspan=2|2014
| rowspan=2|The Light Princess
| Best New Musical
|
| rowspan=2|
|-
| Best London Newcomer of the Year
|
|-
!scope="row"|Žebřík Music Awards
| 2001
| Herself
| Best International Female
|
|
1999: Spin Readers' Poll Awards (Won)
On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony. Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel.
Film appearances
Tori appears as a wedding singer in the film Mona Lisa Smile.
References
Citations
Works cited
External links
1963 births
20th-century American composers
20th-century American keyboardists
20th-century American women pianists
20th-century American pianists
20th-century American women singers
21st-century American keyboardists
21st-century American women pianists
21st-century American pianists
21st-century American women singers
Alternative rock keyboardists
Alternative rock pianists
Alternative rock singers
American alternative rock musicians
American expatriates in the Republic of Ireland
American expatriates in the United Kingdom
American women composers
American women singer-songwriters
American feminist writers
American harpsichordists
American mezzo-sopranos
American organists
American people who self-identify as being of Native American descent
American pop pianists
American rock pianists
American women rock singers
American rock songwriters
Articles containing video clips
Art rock musicians
Atlantic Records artists
Child classical musicians
Clavichordists
Deutsche Grammophon artists
Electronica musicians
Epic Records artists
Feminist musicians
Harmonium players
Island Records artists
Living people
Montgomery College alumni
Musicians from Baltimore
Musicians from County Cork
Musicians from Rockville, Maryland
People from Georgetown (Washington, D.C.)
People from Newton, North Carolina
People from Sewall's Point, Florida
Republic Records artists
Sexual abuse victim advocates
Singer-songwriters from Maryland
Singer-songwriters from North Carolina
Women organists
20th-century women composers
American women in electronic music
20th-century American singers
21st-century American singers
Singer-songwriters from Washington, D.C. | true | [
"Hélène Casimir-Perier (1854–1912) was the wife of Jean Casimir-Perier, who was the President of France from 1894 to 1895.\n\nBiography\nHélène Perier-Vitet was born in Grosley-sur-Risle in Eure. She married Jean Casimir-Perier, a distant cousin, on 17 April 1873. He was the grandson of Casimir Pierre Périer, president of the Council of Ministers under Louis Philippe I. Her influence on him was strong; she was the driving force behind his run for the presidency.\n\nWife of the President of the Republic\nThe presidential couple, Jean and Hélène, and their two children Claude and Germaine, moved into the Élysée Palace from the family home, Château de Vizille, on 27 June 1894. Jean Casimir-Perier resigned just seven months after coming to power, giving him the shortest presidency in the history of the French Republic. His wife did not welcome the news of his resignation. She told him, \"If you had consulted me, I would have prevented you from such foolishness!\" () to which he responded, \"That's why I did not tell you.\" ()\n\nReferences\n\n1854 births\n1912 deaths\nSpouses of French presidents\nSpouses of prime ministers of France",
"Just Take My Heart is a romantic suspense novel by Mary Higgins Clark and her daughter, Carol. It was released in print and Audio CD on April 7, 2009.\n\nCritical reception\nTerri Schlichenmeyer of the Savannah Morning News said that the \"'bad guy' is one of the creepiest, most unsettling killers I've seen in a long time.\"\n\nReferences\n\nNovels by Mary Higgins Clark\nAmerican thriller novels\nAmerican romance novels\n\n2009 American novels\nSimon & Schuster books"
] | [
"Tori Amos (born Myra Ellen Amos; August 22, 1963) is an American singer-songwriter and pianist. She is a classically trained musician with a mezzo-soprano vocal range.",
"She is a classically trained musician with a mezzo-soprano vocal range. Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted.",
"Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted. She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \"musical insubordination\".",
"She had to leave at the age of eleven when her scholarship was discontinued for what Rolling Stone described as \"musical insubordination\". Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s.",
"Amos was the lead singer of the short-lived 1980s synth-pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s. Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion.",
"Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion. Her charting singles include \"Crucify\", \"Silent All These Years\", \"God\", \"Cornflake Girl\", \"Caught a Lite Sneeze\", \"Professional Widow\", \"Spark\", \"1000 Oceans\", \"Flavor\" and \"A Sorta Fairytale\", her most commercially successful single in the U.S. to date.",
"Her charting singles include \"Crucify\", \"Silent All These Years\", \"God\", \"Cornflake Girl\", \"Caught a Lite Sneeze\", \"Professional Widow\", \"Spark\", \"1000 Oceans\", \"Flavor\" and \"A Sorta Fairytale\", her most commercially successful single in the U.S. to date. Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album.",
"Amos has received five MTV VMA nominations and eight Grammy Award nominations, and won an Echo Klassik award for her Night of Hunters classical crossover album. She is listed on VH1's 1999 \"100 Greatest Women of Rock and Roll\" at number 71.",
"She is listed on VH1's 1999 \"100 Greatest Women of Rock and Roll\" at number 71. Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos.",
"Early life and education Amos is the third child of Mary Ellen (Copeland) and Edison McKinley Amos. She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity.",
"She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity. When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C.",
"When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C. Her older brother and sister took piano lessons, but Tori did not need them.",
"Her older brother and sister took piano lessons, but Tori did not need them. From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs.",
"From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once, and, by the age of three, she was composing her own songs. She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music.",
"She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia: At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music. She studied classical piano at Peabody from 1968 to 1974.",
"She studied classical piano at Peabody from 1968 to 1974. In 1974, when she was eleven, her scholarship was discontinued, and she was asked to leave. Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music.",
"Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music. In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church.",
"In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church. At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father.",
"At thirteen, Amos began playing at gay bars and piano bars, chaperoned by her father. Amos won a county teen talent contest in 1977, singing a song called \"More Than Just a Friend\".",
"Amos won a county teen talent contest in 1977, singing a song called \"More Than Just a Friend\". As a senior at Richard Montgomery High School, she co-wrote \"Baltimore\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles.",
"As a senior at Richard Montgomery High School, she co-wrote \"Baltimore\" with her brother, Mike Amos, for a competition involving the Baltimore Orioles. The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \"Walking With You\".",
"The song did not win the contest but became her first single, released as a 7-inch single pressed locally for family and friends in 1980 with another Amos-penned composition as a B-side, \"Walking With You\". Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast.",
"Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast. Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers.",
"Career 1979–1989: Career beginnings and Y Kant Tori Read By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers. Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released.",
"Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released. Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her.",
"Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her. In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area.",
"In 1984, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit in the D.C. area. In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading.",
"In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight-reading. In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber.",
"In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber. The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time.",
"The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time. Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released.",
"Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released. Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \"The only good thing about that album is my ankle high boots.\"",
"Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time, Amos has since criticized it, once remarking: \"The only good thing about that album is my ankle high boots.\" Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist.",
"Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist. She also recorded a song called \"Distant Storm\" for the film China O'Brien.",
"She also recorded a song called \"Distant Storm\" for the film China O'Brien. In the credits, the song is attributed to a band called Tess Makes Good.",
"In the credits, the song is attributed to a band called Tess Makes Good. 1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990.",
"1990–1995: Little Earthquakes and Under the Pink Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990. The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented.",
"The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented. The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault.",
"The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault. This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15.",
"This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15. Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \"Silent All These Years\".",
"Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single \"Silent All These Years\". Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink.",
"Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink. The album was received with mostly favorable reviews and sold enough copies to chart at No. 12 on the Billboard 200, a significantly higher position than the preceding album's position at No.",
"12 on the Billboard 200, a significantly higher position than the preceding album's position at No. 54 on the same chart. However, the album found its biggest success in the UK, debuting at number one upon release in February 1994.",
"However, the album found its biggest success in the UK, debuting at number one upon release in February 1994. 1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996.",
"1996–2000: Boys for Pele, From the Choirgirl Hotel, and To Venus and Back Her third solo album, Boys for Pele, was released in January 1996. Prior to its release, the first single, \"Caught a Lite Sneeze\" became the first full song released for streaming online prior to an album's release.",
"Prior to its release, the first single, \"Caught a Lite Sneeze\" became the first full song released for streaming online prior to an album's release. The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics.",
"The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics. For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano.",
"For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano. The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability.",
"The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability. Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No.",
"Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No. 2 on the UK Top 40 and No. 2 on the Billboard 200 upon its release.",
"2 on the Billboard 200 upon its release. Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios.",
"Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio of Martian Engineering Studios. From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums.",
"From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums. Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes.",
"Amos's trademark acoustic, piano-based sound is largely replaced with arrangements that include elements of electronica and dance music with vocal washes. The underlying themes of both albums deal with womanhood and Amos's own miscarriages and marriage. Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality.",
"Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality. Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week.",
"Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week. To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download.",
"To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download. 2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective.",
"2001–2004: Strange Little Girls and Scarlet's Walk Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective. That became Strange Little Girls, released in September 2001.",
"That became Strange Little Girls, released in September 2001. The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song.",
"The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song. Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label.",
"Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label. With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001.",
"With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11.",
"Described as a \"sonic novel\", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny.",
"Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA.",
"Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA. Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003.",
"Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group.",
"Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline.",
"Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline. 2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007).",
"2005–2008: The Beekeeper and American Doll Posse Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment.",
"The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics.",
"Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No.",
"The album debuted at No. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts.",
"5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it.",
"While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's.",
"American Doll Posse, another concept album, is fashioned around a group of girls (the \"posse\") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No.",
"Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200.",
"5 on the Billboard 200. 5 on the Billboard 200. During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records.",
"During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records. 2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work.",
"2008–2011: Abnormally Attracted to Sin and Midwinter Graces In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work. In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes.",
"In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes. By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \"joint venture\" deal with Universal Republic Records.",
"By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a \"joint venture\" deal with Universal Republic Records. Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews.",
"Abnormally Attracted to Sin, Amos's tenth solo studio album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews. The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so.",
"The album debuted in the top 10 of the Billboard 200, making it Amos's seventh album to do so. Abnormally Attracted to Sin, admitted Amos, is a \"personal album\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin.",
"Abnormally Attracted to Sin, admitted Amos, is a \"personal album\", not a conceptual one, with the album exploring themes of power, boundaries, and the subjective view of sin. Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year.",
"Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year. The album features reworked versions of traditional carols, as well as original songs written by Amos.",
"The album features reworked versions of traditional carols, as well as original songs written by Amos. During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010.",
"During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, titled Here Lies Love, which was released in April 2010. In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble.",
"In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble. After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010.",
"After a brief tour from June to September 2010, Amos released a live album From Russia With Love in December the same year, recorded in Moscow on September 3, 2010. The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow.",
"The limited edition set included a signature edition Lomography Diana F+ camera, along with two lenses, a roll of film and one of five photographs taken of Amos during her time in Moscow. The set was released exclusively through her website and only 2000 copies were produced.",
"The set was released exclusively through her website and only 2000 copies were produced. 2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group.",
"2011–2015: Night of Hunters, Gold Dust, and Unrepentant Geraldines In September 2011, Amos released her first classical-style music album, Night of Hunters, featuring variations on a theme to pay tribute to composers such as Bach, Chopin, Debussy, Granados, Satie and Schubert, on the Deutsche Grammophon label, a division of Universal Music Group. Amos recorded the album with several musicians, including the Apollon Musagète string quartet.",
"Amos recorded the album with several musicians, including the Apollon Musagète string quartet. To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra.",
"To mark the 20th anniversary of her debut album, Little Earthquakes (1992), Amos released an album of songs from her back catalogue re-worked and re-recorded with the Metropole Orchestra. The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon.",
"The album, titled Gold Dust, was released in October 2012 through Deutsche Grammophon. On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists.",
"On May 1, 2012, Amos announced the formation of her own record label, Transmission Galactic, which she intends to use to develop new artists. In 2013, Amos collaborated with the Bullitts on the track \"Wait Until Tomorrow\" from their debut album, They Die by Dawn & Other Short Stories.",
"In 2013, Amos collaborated with the Bullitts on the track \"Wait Until Tomorrow\" from their debut album, They Die by Dawn & Other Short Stories. She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \"return to contemporary music\".",
"She also stated in an interview that a new album and tour would materialize in 2014 and that it would be a \"return to contemporary music\". September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott.",
"September 2013 saw the launch of Amos's musical project adaptation of George MacDonald's The Light Princess, along with book writer Samuel Adamson and Marianne Elliott. It premiered at London's Royal National Theatre and ended in February 2014.",
"It premiered at London's Royal National Theatre and ended in February 2014. The Light Princess and its lead actress, Rosalie Craig, were nominated for Best Musical and Best Musical Performance respectively at the Evening Standard Award. Craig won the Best Musical Performance category.",
"Craig won the Best Musical Performance category. Amos's 14th studio album, Unrepentant Geraldines, was released on May 13, 2014, via Mercury Classics/Universal Music Classics in the US. Its first single, \"Trouble's Lament\", was released on March 28.",
"Its first single, \"Trouble's Lament\", was released on March 28. The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014.",
"The album was supported by the Unrepentant Geraldines Tour which began May 5, 2014, in Cork and continued across Europe, Africa, North America, and Australia, ending in Brisbane on November 21, 2014. In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House.",
"In Sydney, Amos performed two orchestral concerts, reminiscent of the Gold Dust Orchestral Tour, with the Sydney Symphony Orchestra at the Sydney Opera House. According to a press release, Unrepentant Geraldines was a \"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years.",
"According to a press release, Unrepentant Geraldines was a \"return to her core identity as a creator of contemporary songs of exquisite beauty following a series of more classically-inspired and innovative musical projects of the last four years. [It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\"",
"[It is] both one further step in the artistic evolution of one of the most successful and influential artists of her generation, and a return to the inspiring and personal music that Amos is known for all around the world.\" The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics.",
"The 2-CD set The Light Princess (Original Cast Recording) was released on October 9, 2015 via Universal/Mercury Classics. Apart from the original cast performances, the recording also includes two songs from the musical (\"Highness in the Sky\" and \"Darkest Hour') performed by Amos.",
"Apart from the original cast performances, the recording also includes two songs from the musical (\"Highness in the Sky\" and \"Darkest Hour') performed by Amos. 2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release.",
"2016–present: Native Invader, Christmastide and Ocean to Ocean On November 18, 2016, Amos released a deluxe version of the album Boys for Pele to commemorate the 20th anniversary of the original release. This follows the deluxe re-releases of her first two albums in 2015.",
"This follows the deluxe re-releases of her first two albums in 2015. On September 8, 2017, Amos released Native Invader, accompanied by a world tour.",
"On September 8, 2017, Amos released Native Invader, accompanied by a world tour. During the summer of 2017, Amos launched three songs from the album: \"Cloud Riders\", \"Up the Creek\" and \"Reindeer King\", the latter featuring string arrangements by John Philip Shenale.",
"During the summer of 2017, Amos launched three songs from the album: \"Cloud Riders\", \"Up the Creek\" and \"Reindeer King\", the latter featuring string arrangements by John Philip Shenale. Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations.",
"Produced by Amos, the album explores topics like American politics and environmental issues, mixed with mythological elements and first-person narrations. The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak.",
"The initial inspiration for the album came from a trip that Amos took to the Great Smoky Mountains (Tennessee-North Carolina), home of her alleged Native American ancestors; however, two events deeply influenced the final record: in November 2016, Donald Trump was elected President of the United States of America; two months later, in January 2017, Amos's mother, Mary Ellen, suffered a stroke that left her unable to speak. Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader.",
"Shocked by both events, Amos spent the first half of 2017 writing and recording the songs that would eventually form Native Invader. The album, released on September 8, 2017, has been presented in two formats: standard and deluxe.",
"The album, released on September 8, 2017, has been presented in two formats: standard and deluxe. The standard version includes 13 songs, while the deluxe edition adds two extra songs to the tracklist: \"Upside Down 2\" and \"Russia\". Native Invader has been well received by most music critics upon release.",
"Native Invader has been well received by most music critics upon release. The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \"generally favorable reviews\".",
"The album obtained a score of 76 out of 100 on the review aggregator website Metacritic, based on 17 reviews, indicating \"generally favorable reviews\". On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl.",
"On November 9, 2020, Amos announced the release of a holiday-themed EP entitled Christmastide on December 4, digitally and on limited-edition vinyl. The EP consists of four original songs and features her first work with bandmates Matt Chamberlain and Jon Evans since 2009. Amos recorded the EP remotely due to the impact of the COVID-19 pandemic.",
"Amos recorded the EP remotely due to the impact of the COVID-19 pandemic. On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29.",
"On September 20, 2021, Amos announced her sixteenth studio album, Ocean to Ocean, which was released on October 29. The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \"a universal story of going to rock bottom and renewing yourself all over again\".",
"The album was written and recorded in Cornwall during lockdown as a result of the COVID-19 pandemic and explores \"a universal story of going to rock bottom and renewing yourself all over again\". Amos will embark on a European tour in support of the album in 2022.",
"Amos will embark on a European tour in support of the album in 2022. Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces.",
"Matt Chamberlain and Jon Evans will again feature on drums and bass guitar respectively, their first collaboration with Amos on an album since 2009's Midwinter Graces. In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005).",
"In print Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers titled Piece by Piece (2005). The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records.",
"The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records. Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos.",
"Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos. Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore.",
"Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore. Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996).",
"Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996). Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process.",
"Tori Amos: In the Studio (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process. Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020.",
"Amos released her second memoir called Resistance: A Songwriter’s Story of Hope, Change, and Courage on 5 May 2020. Personal life Amos married English sound engineer Mark Hawley on February 22, 1998. Their daughter was born in 2000.",
"Their daughter was born in 2000. The family divides their time between Sewall's Point in Florida, US, and Bude, Cornwall in the UK. Amos' mother, Mary Ellen, died on May 11, 2019.",
"Amos' mother, Mary Ellen, died on May 11, 2019. Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \"Tear in Your Hand\" and also in print interviews.",
"Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referred to him in the song \"Tear in Your Hand\" and also in print interviews. Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \"steal shamelessly from each other\".",
"Although created before the two met, the character Delirium from Gaiman's The Sandman series is inspired by Amos; Gaiman has stated that they \"steal shamelessly from each other\". She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo.",
"She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo. Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009.",
"Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009. In 2019, Amos performed the British standard \"A Nightingale Sang in Berkeley Square\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett.",
"In 2019, Amos performed the British standard \"A Nightingale Sang in Berkeley Square\" over the closing credits of Gaiman's TV series Good Omens, based on the novel of the same name written by Gaiman and Terry Pratchett. Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded.",
"Activism In June 1994, the Rape, Abuse & Incest National Network (RAINN), a toll-free help line in the US connecting callers with their local rape crisis center, was founded. Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline.",
"Amos, who was raped at knifepoint when she was 22, answered the ceremonial first call to launch the hotline. She was the first national spokesperson for the organization and has continued to be closely associated with RAINN.",
"She was the first national spokesperson for the organization and has continued to be closely associated with RAINN. On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN.",
"On August 18, 2013, a concert in honor of her 50th birthday was held, an event which raised money for RAINN. On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA.",
"On August 22, 2020, Amos appeared on a panel called Artistry & Activism at the diversity and inclusion digital global conference CARLA. Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992.",
"Discography Studio albums Little Earthquakes (1992) Under the Pink (1994) Boys for Pele (1996) From the Choirgirl Hotel (1998) To Venus and Back (1999) Strange Little Girls (2001) Scarlet's Walk (2002) The Beekeeper (2005) American Doll Posse (2007) Abnormally Attracted to Sin (2009) Midwinter Graces (2009) Night of Hunters (2011) Gold Dust (2012) Unrepentant Geraldines (2014) Native Invader (2017) Ocean to Ocean (2021) Tours Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992. In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine.",
"In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine. Her concerts are notable for their changing set lists from night to night. Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland.",
"Little Earthquakes Tour Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland. She performed solo with a Yamaha CP-70 unless the venue was able to provide a piano. The tour included 142 concerts around the globe.",
"The tour included 142 concerts around the globe. Under the Pink Tour Amos's second world tour began on February 24, 1994 in Newcastle upon Tyne and ended on December 13, 1994 in Perth, Western Australia. Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \"Bells for Her\".",
"Amos performed solo each night on her iconic Bösendorfer piano, and on a prepared piano during \"Bells for Her\". The tour included 181 concerts. Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder.",
"Dew Drop Inn Tour The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder. Amos performed each night on piano, harpsichord, and harmonium, with Steve Caton on guitar on some songs. The tour included 187 concerts.",
"The tour included 187 concerts. The tour included 187 concerts. Plugged '98 Tour Amos's first band tour. Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass.",
"Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass. The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts.",
"The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts. 5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only.",
"5 ½ Weeks Tour / To Dallas and Back Amos's fifth tour was North America–only. The first part of the tour was co-headlining with Alanis Morissette and featured the same band and equipment line-up as in 1998. Amos and the band continued for eight shows before Amos embarked on a series of solo shows.",
"Amos and the band continued for eight shows before Amos embarked on a series of solo shows. The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts.",
"The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts. Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996).",
"Strange Little Tour This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996). It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented.",
"It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented. Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months.",
"Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months. It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts.",
"It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts. On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton.",
"On Scarlet's Walk / Lottapianos Tour Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton. The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening.",
"The first part of the tour, which featured Amos on piano, Kurzweil, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening. The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts.",
"The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts. The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album).",
"The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album). Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes.",
"Original Sinsuality Tour / Summer of Sin This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes. The tour also encompassed Australia for the first time since 1994.",
"The tour also encompassed Australia for the first time since 1994. Amos announced at a concert on this tour that she would never stop touring but would scale down the tours. Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles.",
"Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles. The tour featured \"Tori's Piano Bar\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show.",
"The tour featured \"Tori's Piano Bar\", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show. One of the songs chosen was the Kylie Minogue hit \"Can't Get You Out of My Head\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public.",
"One of the songs chosen was the Kylie Minogue hit \"Can't Get You Out of My Head\", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public. Other songs performed by Amos include The Doors' \"People are Strange\", Depeche Mode's \"Personal Jesus\", Joni Mitchell's \"The Circle Game\", Madonna's \"Live to Tell\" and \"Like a Prayer\", Björk's \"Hyperballad\", Led Zeppelin's \"When the Levee Breaks\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \"And Dream of Sheep\" and Crowded House's \"Don't Dream It's Over\", dedicating it to drummer Paul Hester who had died a week before.",
"Other songs performed by Amos include The Doors' \"People are Strange\", Depeche Mode's \"Personal Jesus\", Joni Mitchell's \"The Circle Game\", Madonna's \"Live to Tell\" and \"Like a Prayer\", Björk's \"Hyperballad\", Led Zeppelin's \"When the Levee Breaks\" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's \"And Dream of Sheep\" and Crowded House's \"Don't Dream It's Over\", dedicating it to drummer Paul Hester who had died a week before. The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs.",
"The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs. American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band.",
"American Doll Posse World Tour This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time bandmates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band. Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards.",
"Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards. The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles.",
"The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles. Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show.",
"Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show. The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series.",
"The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series. Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard.",
"Sinful Attraction Tour For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard. The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009.",
"The North American and European band tour began on July 10, 2009 in Seattle, Washington and ended in Warsaw on October 10, 2009. A solo leg through Australia began in Melbourne on November 12, 2009 and ended in Brisbane on November 24, 2009. The entire tour featured 63 concerts.",
"The entire tour featured 63 concerts. Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa.",
"Night of Hunters tour Amos's eleventh tour was her first with a string quartet, Apollon Musagète, (Amos's equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa. It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas.",
"It kicked off on September 28, 2011 in Finland, Helsinki Ice Hall and ended on December 22, 2011 in Dallas, Texas. Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1.",
"Gold Dust Orchestral Tour Amos began her 2012 tour in Rotterdam on October 1. Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts.",
"Unrepentant Geraldines Tour Amos began her 2014 world tour on May 5, 2014 in Cork, Ireland, and concluded it in Brisbane, Australia on November 21, after playing 73 concerts. Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October.",
"Native Invader Tour Amos's 2017 tour in support of the Native Invader album kicked off on September 6, 2017, with a series of European shows in Cork, Ireland, moving on to North America in October. Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland.",
"Ocean to Ocean Tour Amos is to embark on a European tour in the spring of 2022 in support of her upcoming sixteenth studio album, Ocean to Ocean, beginning in Berlin, Germany and ending in Dublin, Ireland. Awards and nominations {| class=\"wikitable sortable plainrowheaders\" |- ! scope=\"col\" | Award !",
"scope=\"col\" | Award ! scope=\"col\" | Year ! scope=\"col\" | Nominee(s) ! scope=\"col\" | Category ! scope=\"col\" | Result ! scope=\"col\" class=\"unsortable\"| |- !",
"scope=\"col\" class=\"unsortable\"| |- ! scope=\"row\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- !",
"scope=\"row\" rowspan=3|Brit Awards | rowspan=2|1993 | rowspan=3|Herself | International Breakthrough Act | | rowspan=2| |- | International Solo Artist | |- | 1995 | International Female Solo Artist | | |- ! scope=\"row\"|Critics' Choice Documentary Awards | 2016 | \"Flicker\" | Best Song in a Documentary | | |- !scope=\"row\"|ECHO Awards | 1995 | Herself | Best International Female | | |- !",
"scope=\"row\"|Critics' Choice Documentary Awards | 2016 | \"Flicker\" | Best Song in a Documentary | | |- !scope=\"row\"|ECHO Awards | 1995 | Herself | Best International Female | | |- ! scope=\"row\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- !",
"scope=\"row\"|ECHO Klassik Awards | rowspan=1|2012 | Night of Hunters | The Klassik-ohne-Grenzen Prize | | |- ! scope=\"row\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- !",
"scope=\"row\" rowspan=4|GAFFA Awards | 2000 | rowspan=3|Herself | rowspan=2|Best Foreign Female Act | | rowspan=2| |- | 2003 | |- | rowspan=2|2022 | Best Foreign Solo Act | | |- | Ocean to Ocean | Best Foreign Album | |- ! scope=\"row\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- !",
"scope=\"row\"|George Peabody Medal | 2019 | Herself | Outstanding Contributions to Music | | |- ! scope=\"row\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- !",
"scope=\"row\"|Glamour Awards | 1998 | Herself | Woman of the Year | | |- ! scope=\"row\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \"Raspberry Swirl\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \"Bliss\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \"Strange Little Girl\" | Best Female Rock Vocal Performance | |- !",
"scope=\"row\" rowspan=8|Grammy Awards | 1995 | Under the Pink | rowspan=3|Best Alternative Music Album | | rowspan=8| |- | 1997 | Boys for Pele | |- | rowspan=2|1999 | From the Choirgirl Hotel | |- | \"Raspberry Swirl\" | rowspan=2|Best Female Rock Vocal Performance | |- | rowspan=2|2000 | \"Bliss\" | |- | To Venus and Back | rowspan=2|Best Alternative Music Album | |- | rowspan=2|2002 | Strange Little Girls | |- | \"Strange Little Girl\" | Best Female Rock Vocal Performance | |- ! scope=\"row\"|Hollywood Music in Media Awards | 2016 | \"Flicker\" | Best Original Song in a Documentary | | |- !",
"scope=\"row\"|Hollywood Music in Media Awards | 2016 | \"Flicker\" | Best Original Song in a Documentary | | |- ! scope=\"row\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- !",
"scope=\"row\"|Hungarian Music Awards | 2010 | Abnormally Attracted to Sin | Best Foreign Alternative Album | | |- ! scope=\"row\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- !",
"scope=\"row\"|MTV Europe Music Awards | 1994 | Herself | Best Female | | |- ! scope=\"row\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\"Silent All These Years\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- !",
"scope=\"row\" rowspan=4|MTV Video Music Awards | rowspan=4|1992 | rowspan=4|\"Silent All These Years\" | Best Female Video | |rowspan=4| |- | Best New Artist in a Video | |- | Breakthrough Video | |- | Best Cinematography in a Video | |- ! scope=\"row\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- !",
"scope=\"row\"|NME Awards | 2016 | Under the Pink | Best Reissue | | |- ! scope=\"row\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\"row\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- !",
"scope=\"row\"|North Carolina Music Hall of Fame | 2012 | Herself | Inducted | | |- !scope=\"row\" rowspan=5|Pollstar Concert Industry Awards | rowspan=2|1993 | rowspan=2|Little Earthquakes Tour | Best New Rock Artist | | rowspan=2| |- | Club Tour Of The Year | |- | 1995 | Under the Pink Tour | rowspan=3|Small Hall Tour Of The Year | | |- | 1997 | Dew Drop Inn Tour | | |- | 1999 | 5 ½ Weeks Tour | | |- ! scope=\"row\"|Q Awards | 1992 | Herself | Best New Act | | |- !",
"scope=\"row\"|Q Awards | 1992 | Herself | Best New Act | | |- ! scope=\"row\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\"row\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony.",
"scope=\"row\" rowspan=2|WhatsOnStage Awards | rowspan=2|2014 | rowspan=2|The Light Princess | Best New Musical | | rowspan=2| |- | Best London Newcomer of the Year | |- !scope=\"row\"|Žebřík Music Awards | 2001 | Herself | Best International Female | | 1999: Spin Readers' Poll Awards (Won) On May 21, 2020, Amos was invited to and gave special remarks at her alma mater Johns Hopkins University's 2020 Commencement ceremony. Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel.",
"Other notable guest speakers during the virtual ceremony included Reddit co-founder and commencement speaker Alexis Ohanian; philanthropist and former New York City Mayor Michael Bloomberg; Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a leading member of the White House Coronavirus Task Force; and senior class president Pavan Patel. Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile.",
"Film appearances Tori appears as a wedding singer in the film Mona Lisa Smile. References Citations Works cited External links 1963 births 20th-century American composers 20th-century American keyboardists 20th-century American women pianists 20th-century American pianists 20th-century American women singers 21st-century American keyboardists 21st-century American women pianists 21st-century American pianists 21st-century American women singers Alternative rock keyboardists Alternative rock pianists Alternative rock singers American alternative rock musicians American expatriates in the Republic of Ireland American expatriates in the United Kingdom American women composers American women singer-songwriters American feminist writers American harpsichordists American mezzo-sopranos American organists American people who self-identify as being of Native American descent American pop pianists American rock pianists American women rock singers American rock songwriters Articles containing video clips Art rock musicians Atlantic Records artists Child classical musicians Clavichordists Deutsche Grammophon artists Electronica musicians Epic Records artists Feminist musicians Harmonium players Island Records artists Living people Montgomery College alumni Musicians from Baltimore Musicians from County Cork Musicians from Rockville, Maryland People from Georgetown (Washington, D.C.) People from Newton, North Carolina People from Sewall's Point, Florida Republic Records artists Sexual abuse victim advocates Singer-songwriters from Maryland Singer-songwriters from North Carolina Women organists 20th-century women composers American women in electronic music 20th-century American singers 21st-century American singers Singer-songwriters from Washington, D.C."
] |
[
"Four Tops",
"ABC Records and Casablanca Records"
] | C_a9ee71dcf4f84b50b0677e63a645e03c_1 | Did they move from ABC to Casablanca? | 1 | Did Four Tops move from ABC to Casablanca? | Four Tops | Motown as a company began to change during the early 1970s. Older acts such as Martha and the Vandellas and The Marvelettes were slowly moved aside or dropped to focus on newer acts, such as Michael Jackson and The Jackson 5, Rare Earth, and the now-solo Diana Ross. In addition, the company moved its operations from Detroit to Los Angeles, California, where Berry Gordy planned to break into the motion picture and television industries. In 1972, it was announced that the entire company would move west and that all its artists had to move as well. Many of the older Motown acts, already neglected by the label, opted to stay in Detroit, including The Funk Brothers studio backing band, Martha Reeves, and the Four Tops. The Tops departed Motown for ABC-Dunhill, where they were assigned to writer-producers Dennis Lambert and Brian Potter and the label's head of A&R, Steve Barri as producer, with The Tops' own Lawrence Payton later also serving as a producer and writer. He also took over lead vocal duties on several tracks. The group's first release on the label, "Keeper of the Castle" was their first pop Top 10 hit since "Bernadette" in 1967. Follow-ups included the million-selling "Ain't No Woman (Like the One I've Got)", also a top 10 pop hit and their third R&B number 1, and the Top 20 hit, "Are You Man Enough", (from the movie "Shaft in Africa"). "Sweet Understanding Love"; "Midnight Flower"; and "One Chain Don't Make No Prison" all reached the R&B Top 10 between 1972 and 1974. Two ABC/Dunhill singles, 1974's "I Just Can't Get You Out of My Mind" and 1975's "Seven Lonely Nights" have become popular tunes in the southeast Beach/Shag Club Dance circuit. After the release of "Catfish" (a top 10 R&B hit) in 1976, the major hits started to dry up and the Tops left ABC after an album recorded in Philadelphia with the MFSB musicians resulted in only minor chart success in 1978. The group disappeared from the recording scene until the early 1980s. Signing a deal with Casablanca Records, the Tops made a comeback in 1981 with the #1 R&B hit "When She Was My Girl". Produced by David Wolfert, it just missed the Billboard pop Top 10, peaking at #11. The group also scored a UK Top 10 hit with the song and had another hit there with the follow-up, "Don't Walk Away". CANNOTANSWER | The Tops departed Motown for ABC-Dunhill, | The Four Tops are an American vocal quartet from Detroit who helped to define the city's Motown sound of the 1960s. The group's repertoire has included soul music, R&B, disco, adult contemporary, doo-wop, jazz, and show tunes.
Founded as the Four Aims, lead singer Levi Stubbs, Abdul "Duke" Fakir, Renaldo "Obie" Benson and Lawrence Payton remained together for over four decades, performing from 1953 until 1997 without a change in personnel. The Four Tops were among a number of groups, including the Miracles, the Marvelettes, Martha and the Vandellas, the Temptations, and the Supremes, who established the Motown Sound heard around the world during the 1960s. They were notable for having Stubbs, a baritone, as their lead singer, whereas most other male and mixed vocal groups of the time were fronted by tenors.
The group was the main male vocal group for the highly successful songwriting and production team of Holland–Dozier–Holland, who crafted a stream of hit singles for Motown. These included two Billboard Hot 100 number-one hits for the Tops: "I Can't Help Myself (Sugar Pie Honey Bunch)" in 1965 and "Reach Out I'll Be There" in 1966. The group continued to have chart singles into the 1970s, including the million-seller "Ain't No Woman" (1973).
The group was inducted into the Rock and Roll Hall of Fame in 1990 and into the Vocal Group Hall of Fame in 1999. In 2004, Rolling Stone ranked them #79 on its list of the 100 Greatest Artists of All Time.
The Four Tops continue to perform with Fakir as the last surviving original member.
History
Early years
All four members of the group began their careers together while they were high-school students in Detroit. At the insistence of their friends, Pershing High students Levi Stubbs and Abdul "Duke" Fakir performed with Renaldo "Obie" Benson and Lawrence Payton from Northern High at a local birthday party. The quartet decided to remain together and named the group the Four Aims. With the help of Payton's songwriter cousin Roquel Davis, the Aims signed to Chess Records in 1956, changing their name to the Four Tops to avoid confusion with the Ames Brothers.
Over the next seven years, the Tops had unsuccessful tenures at Chess, Red Top, Riverside Records and Columbia Records. Without any hit records to their name, they toured frequently, developing a polished stage presence and an experienced supper club act, as well as supporting Billy Eckstine. In 1963, Berry Gordy, Jr., who had worked with Roquel "Billy" Davis as a songwriter in the late 1950s, convinced the Tops to join the roster of his growing Motown record company.
Joining Motown
During their early Motown years, the Four Tops recorded jazz standards for the company's Workshop Jazz Records label. In addition, they sang backup on Motown singles by the Supremes ("Run, Run, Run", 1964), Martha and the Vandellas (on the 1966 hit "My Baby Loves Me") and others.
In 1964, Motown's main songwriting and production team, Holland–Dozier–Holland, created a complete instrumental track without any idea of what to do with it. They decided to craft the song as a more mainstream pop song for the Four Tops and proceeded to create "Baby I Need Your Loving" from the instrumental track. On its release in mid-1964, "Baby I Need Your Loving" made it to number 11 on the Billboard Hot 100.
The first follow-up single, "Without the One You Love (Life's Not Worth While)" (1964), just missed both the pop and R&B Top 40 charts, but "Ask the Lonely" (1965), written and produced by Motown A&R head William "Mickey" Stevenson with Ivy Jo Hunter, was a Top 30 pop hit and a Top 10 R&B hit in early 1965.
Success
After their first number 1 hit, "I Can't Help Myself (Sugar Pie, Honey Bunch)" in June 1965, the Four Tops released a long series of successful hit singles. Among the first wave of these hits were the Top 10 "It's the Same Old Song" (1965), "Something About You" (1965), "Shake Me, Wake Me (When It's Over)" (1966), and "Loving You Is Sweeter Than Ever" (1966).
Holland-Dozier-Holland wrote most of Levi Stubbs's vocals in a tenor range, near the top of his range, in order to get a sense of strained urgency in his gospel preacher-inspired leads. They also wrote additional background vocals for a female group, the Andantes, on many of the songs, to add a high end to the low-voiced harmony of the Tops. Ivy Jo Hunter's "Loving You Is Sweeter Than Ever" (1966) was one of a few exceptions.
August 1966 brought the release of the Four Tops' all-time biggest hit and one of the most popular Motown songs ever. "Reach Out I'll Be There" reached number 1 on the U.S. pop and R&B charts and the UK chart and soon became the Tops' signature song. It was almost immediately followed by the similar-sounding "Standing in the Shadows of Love"; its depiction of heartbreak reflecting the opposite of the optimism in "Reach Out". It was another Top 10 hit for the Tops.
The Top 10 U.S. hit "Bernadette" centered around a man's all-consuming obsession with his lover, continued the Four Tops' successful run into April 1967, followed by the Top 20 hits "7-Rooms of Gloom", and "You Keep Running Away". By now, the Tops were the most successful male Motown act in the United Kingdom (in the United States, they were second to the Temptations), and began experimenting with more mainstream pop hits. They scored hits with their versions of Tim Hardin's "If I Were a Carpenter" in late 1967 (mid-1968 in the U.S.) and the Left Banke's "Walk Away Renée" in early 1968. These singles and the original "I'm in a Different World" were their last hits produced by Holland-Dozier-Holland, who left Motown in 1967 after disputes with Berry Gordy, Jr.
Late Motown period
Without Holland-Dozier-Holland, the hits became less frequent. The group worked with a wide array of Motown producers during the late 1960s, including Ivy Jo Hunter, Nickolas Ashford & Valerie Simpson, Norman Whitfield and Johnny Bristol, without significant chart success.
Their first major hit in a long time came in the form of 1970's "It's All in the Game", a pop Top 30/R&B Top Ten hit produced by Frank Wilson. Wilson and the Tops began working on a number of innovative tracks and albums together, echoing Whitfield's psychedelic soul work with the Temptations. Their 1970 album Still Waters Run Deep was a forerunner of the concept album. It also served as an inspiration for Marvin Gaye's 1971 classic album What's Going On, the title track of which was co-written by the Tops' Renaldo "Obie" Benson.
In addition to their own albums, the Tops were paired with The Supremes, who had just replaced lead singer Diana Ross with Jean Terrell, for a series of albums billed under the joint title The Magnificent 7 in 1970, and The Return of the Magnificent Seven and Dynamite! in 1971. Whilst the albums themselves did not perform really well on the charts, The Magnificent Seven featured a Top 20 version of Ike & Tina Turner's "River Deep - Mountain High", produced by Ashford & Simpson.
The 1971 single "A Simple Game" featured backing vocals from members of The Moody Blues. The song did not fare well on the U.S. charts, but reached number three on the UK chart.
ABC/Dunhill Records and Casablanca Records
Motown as a company began to change during the early 1970s. Older acts such as Martha and the Vandellas and The Marvelettes were slowly moved aside or dropped to focus on newer acts, such as Michael Jackson and The Jackson 5, Rare Earth, and the now-solo Diana Ross. In addition, the company moved its operations from Detroit to Los Angeles, California, where Berry Gordy, Jr. planned to break into the motion picture and television industries. In 1972, it was announced that the entire company would move west and that all its artists had to move as well. Many of the older Motown acts, already neglected by the label, opted to stay in Detroit, including The Funk Brothers studio backing band, Martha Reeves, and the Four Tops.
The Tops departed Motown for ABC-Dunhill, where they were assigned to writer-producers Dennis Lambert and Brian Potter and the label's head of A&R, Steve Barri as producer, with The Tops' own Lawrence Payton later also serving as a producer and writer. He also took over lead vocal duties on several tracks.
The group's first release on the label, "Keeper of the Castle" (1972) was their first pop Top 10 hit since "Bernadette" in 1967. Follow-ups included the 1973 million-selling "Ain't No Woman (Like the One I've Got)", also a top 10 pop hit and their third R&B number 1, and the Top 20 hit, "Are You Man Enough" (1973), (from the 1973 movie Shaft in Africa). "Sweet Understanding Love" (1973); "Midnight Flower (1974); and "One Chain Don't Make No Prison" (1974) all reached the R&B Top 10 between 1972 and 1974. Two ABC/Dunhill singles, 1974's "I Just Can't Get You Out of My Mind" and 1975's "Seven Lonely Nights" have become popular tunes in the southeast Beach/Shag Club Dance circuit.
After the release of "Catfish" (a top 10 R&B hit) in 1976, the major hits started to dry up and the Tops left ABC after an album recorded in Philadelphia with the MFSB musicians resulted in only minor chart success in 1978. The group disappeared from the recording scene until the early 1980s. Signing a deal with Casablanca Records, the Tops made a comeback in 1981 with the number 1 R&B hit "When She Was My Girl". Produced by David Wolfert, it just missed the Billboard pop Top 10, peaking at number 11. The group also scored a UK Top 10 hit with the song and had another hit there with the follow-up, "Don't Walk Away". In 1982, their song "Back to School Again" appeared in both the movie Grease 2 and its soundtrack.
Return to Motown
By 1983, The Tops had rejoined Motown, where their former ABC-Dunhill producer, Barri was vice-president of A&R. They were featured on the company's 1983 television special Motown 25: Yesterday, Today, Forever, taking part in one of the highlights of the show - a battle of the bands between The Tops and The Temptations, patterned after similar competitions Berry Gordy, Jr. had staged during the 1960s. Levi Stubbs and Temptation Otis Williams decided the Temptations/Tops battle would be a good one to take on the road, and both groups began semi-regular joint tours.
The first of The Tops' albums under their new Motown contract was Back Where I Belong (1983). A whole side of the album was produced by the Holland-Dozier-Holland production team, including the R&B Top 40 single "I Just Can't Walk Away". Only one more Tops album would be released by Motown, Magic in 1985. The lead single from that album, "Sexy Ways", was almost a Top 20 R&B hit, peaking at number 21 in mid-1985. In July of that year, the group performed at the Live Aid concert, singing five of their hit songs.
The title track of 1988's Indestructible was the group's final Top 40 hit, reaching No. 35. It was also featured in the 1988 science-fiction cop film Alien Nation. Another track, "Loco in Acapulco", written and produced by British pop musician Phil Collins and former Motown composer-producer Lamont Dozier, climbed into the UK Top 10 and made number 7 in early 1989. The Arista contract provided an opportunity to pair Levi Stubbs with fellow Arista artist, another R&B vocalist from Detroit, Aretha Franklin, who was at the height of her own 1980s hit streak. This pairing resulted in the 1988 song "If Ever a Love There Was", which became a popular R&B and Adult Contemporary hit, as well as being featured on the soundtrack of the 1988 motion picture I'm Gonna Git You Sucka.
In December 1988, Pan Am Flight 103 (a disaster known as the Lockerbie bombing) became the group's scheduled return flight to the U.S. for Christmas after completing their European tour. A prolonged recording session and a performance at the British television show Top of the Pops caused them to oversleep and miss the ill-fated flight which crashed in Lockerbie, Scotland, after a terrorist bomb was detonated on board. They left London on a later British Airways flight.
Later years
From the late 1980s, the Four Tops focused on touring and live performances. They recorded only one album, returning again to Motown for 1995's Christmas Here with You. On June 20, 1997, 59-year-old Lawrence Payton died as a result of liver cancer, after singing for 44 years with the Four Tops who, unlike many other Motown groups, never had a single lineup change until then. At first, Levi Stubbs, Renaldo "Obie" Benson, and Abdul "Duke" Fakir toured as a trio called The Tops. In 1998, they recruited former member of the Temptations Theo Peoples to restore the group to a quartet. By the turn of the century, Stubbs had become ill from cancer; Ronnie McNeir was recruited to fill the Lawrence Payton position and Theo Peoples stepped into Stubbs' shoes as lead singer. Stubbs later died on October 17, 2008 at his home in Detroit.
The group was featured in several television specials during this time, including Motown 45, and several by PBS, including a 50th-anniversary concert dedicated to the group (available on DVD). The concert turned out to be bittersweet; it featured a brief appearance of Levi Stubbs using a wheelchair, and a memorial to Lawrence Payton, announced by Renaldo "Obie" Benson. Benson appeared on one more PBS special and died on July 1, 2005, from lung cancer. The final PBS special, titled Motown: The Early Years, featured a message of Benson's passing following the credits.
The group was inducted into the Rock and Roll Hall of Fame in 1990, and into the Vocal Group Hall of Fame in 1999. In 2004, Rolling Stone ranked them #79 on their list of the 100 Greatest Artists of All Time. The Four Tops were inducted into the Michigan Rock and Roll Legends Hall of Fame in 2005.
The Four Tops sang the National Anthem before the start of game 5 for the 2011 baseball American League Championship Series (ALCS) between the Texas Rangers & Detroit Tigers on October 13, 2011 in Detroit, MI. When singing the last line of "The Star-Spangled Banner", "... and the home of the brave", they quickly sang the words "Ain't No country Like the One I Got", before singing the last word, "brave". The Four Tops were honored with an induction into the R&B Music Hall of Fame at the Inaugural ceremony held at Cleveland State University's Waetejen Auditorium on Saturday August 17, 2013.
The Four Tops were among hundreds of artists whose material was destroyed in the 2008 Universal fire.
The Four Tops career awards
The Four Tops have won many awards, including the following:
Rock and Roll Hall of Fame (1990)
Vocal Group Hall of Fame (1999)
Hollywood Walk of Fame (1997)
Grammy Hall of Fame (Reach Out I'll Be There-1998)("I Can't Help Myself (Sugar Pie Honey Bunch-2018)
Grammy Lifetime Achievement Award (2009-51st Annual Grammy Awards)
Rhythm and Blues Foundation Pioneer Award (1997)
Billboard magazine Top 100 Artists of All Time(#77)
R&B Music Hall of Fame Induction (2013)
100 Greatest Artists of All Time (#79-Rolling Stone)
Rolling Stone's 500 Greatest Songs of All Time (2003)
Michigan Rock and Roll Legends Hall of Fame
Grammy Lifetime Achievement Award
In early 2018, The Four Tops' 1965 #1 Pop Hit, "I Can't Help Myself (Sugar Pie Honey Bunch)" became their second song to be inducted into The Grammy Hall of Fame.
Personnel
Current Members
Abdul “Duke” Fakir (1953-present)
Ronnie McNeir (1999-present)
Lawrence Payton Jr. (2005-present)
Alexander Morris (2019-present)
Former Members
Levi Stubbs (1953-2000, 2004) (d. 2008)
Renaldo “Obie” Benson (1953-2005) (d. 2005)
Lawrence Payton (1953-1997) (d. 1997)
Theo Peoples (1998-2010)
Harold Bonhart (2010-2018)
Discography
Albums
Motown releases
1965: Four Tops (US #63; UK #2)
1965: Four Tops' Second Album (US #20)
1966: Four Tops Live! (US #17; UK #4)
1966: On Top (US #32; UK #9)
1967: Four Tops' Greatest Hits (US #4; UK #1)
1967: Reach Out (US #11; UK #6)
1967: Four Tops on Broadway (US #79)
1968: Yesterday's Dreams (US #91)
1969: Four Tops Now! (US #74)
1969: Soul Spin (US #163)
1970: Still Waters Run Deep (US #21)
1970: Changing Times (US #109)
1970: The Magnificent 7 (with The Supremes) (US #113; UK #6)
1971: The Return of the Magnificent Seven (with The Supremes) (US #154)
1971: Dynamite (with the Supremes) (US #160)
1971: Mac Arthur Park
1972: Nature Planned It (US #50)
1973: The Best of the 4 Tops (US #103)
ABC releases
1972: Keeper of the Castle (US #33)
1973: Main Street People (US #66)
1974: Meeting of the Minds (US #118)
1974: Live & in Concert (US #92)
1975: Night Lights Harmony (US #148)
1976: Catfish (US #124)
1977: The Show Must Go On
1978: At the Top
Casablanca releases
1981: Tonight! (US #37)
1982: One More Mountain
Motown releases
1983: Back Where I Belong
1985: Magic (US #140)
1986: Hot Nights (unreleased)
Arista releases
1988: Indestructible (US #149)
Motown releases
1995: Christmas Here with You
Prism Leisure releases
2000: The Four Tops Collection (recorded live at the MGM grand 1996)
U.S. Billboard Hot 100 and UK singles
The following singles reached the top 30 of the U.S. and UK singles charts.
DVDs
The Four Tops: Live at the MGM Grand: 40th Anniversary Special (1996)
The Four Tops: The Four Tops (semi-documentary/concert rehearsal, recorded live for French TV in 1971) (2004)
The Four Tops: From the Heart: The 50th Anniversary Concert (2006)
The Four Tops: Reach Out: Definitive Performances 1965-1973 (2008), Motown/Universal
See also
List of best-selling music artists
References
External links
Four Tops biography by John Bush, discography and album reviews, credits & releases at AllMusic
Four Tops discography, album releases & credits at Discogs
Four Tops filmography on IMDb
Four Tops Broadway musical productions at the Internet Broadway Database
Four Tops discography at MusicBrainz
Four Tops albums to be listened as stream on Spotify
Vocal Group Hall of Fame page on the Four Tops
Levi Stubbs/The Four Tops interview by Pete Lewis, 'Blues & Soul' October 1992 (republished November 2008)
History of Rock article
Four Tops on MySpace
Four Tops appearances on The Ed Sullivan Show
Ronnie McNeir 2012 Interview at Soulinterviews.com.
Musical groups established in 1953
Musical groups from Detroit
African-American musical groups
American soul musical groups
Motown artists
Northern soul musicians
ABC Records artists
Dunhill Records artists
Chess Records artists
Vocal quartets
Columbia Records artists
Casablanca Records artists
Arista Records artists
1953 establishments in Michigan | true | [
"Rail transport in Morocco is operated by the national railway operator ONCF. It was initially developed during the protectorate.\n\nHigh speed rail\n\nOn 26 November 2018, the first high-speed rail line linking Casablanca and Tangier was launched. It is called Al-Boraq (البُراق) in reference to the mythical creature that transported the Islamic prophets. This 323-kilometer-long (201 mi) high-speed rail service is operated by the ONCF. The first of its kind on the African continent, the line was inaugurated on 15 November 2018, by King Mohammed VI of Morocco following over a decade of planning and construction.\n\nThe line is constructed in two sections—a new route from Tangier to Kenitra and an upgrade of the existing route from Kenitra to Casablanca.\nThe Tangier–Kenitra line has a top speed of , while the Kenitra–Casablanca line was rated for when service began, with a planned upgrade to . The trackage from Kenitra to Casablanca is planned to be eventually replaced by a new high-speed right of way, with construction scheduled to begin in 2020.\n\nAt the launch of service in 2018, the travel time between Casablanca and Tangier was reduced from 4 hours and 45 minutes to 2 hours and 10 minutes. The completion of dedicated high-speed trackage into Casablanca would further reduce the end-to-end travel time to 1 hour and 30 minutes. Al-Boraq trains are scheduled to depart Casablanca and Tangier every hour from 06:00 until 21:00 (from 07:00 on Sundays).\n\nAs of 2019, the rolling stock operating on the line consists of 12 Alstom Euroduplex trainsets, with each set comprising two power cars and eight bilevel passenger cars. The passenger capacity is 533 across two first-class cars, five second-class cars, and a food-service car.\n\nThe Tangier - Casablanca line is the first phase of what is planned to eventually be a 1,500 kilometers (930 mi) high-speed rail network in Morocco.\n\nMain connections\nThe main network for passenger-transport consists of a North–South link from Tangier via Rabat and Casablanca to Marrakech and the East–West connection linking Oujda in the East via Fes to Rabat. The North–South and East–West links interconnect at Sidi-Kacem. Major destinations currently not linked by rail are usually served by Supratours, a bus company operated by the ONCF.\n\nThe most important long-distance train services are:\n\nNight trains\nThe ONCF operates special night-trains on the long-distance main-line links. The following routes offer night-trains:\n Marrakech–Tangier section\n Casablanca–Oujda section\n Casablanca–Nador section\n Tangier–Nador section\n\nThese long-distance trains operate with non-motorized passenger cars that have individual compartments. Second class compartments have two couches opposite each other, each couch offering 4 places. In first-class cars each compartment offers 2 × 3 places and foldable arm-rests divides the places. In 1st class, each passenger has a reserved assigned seat.\n\nEach compartment has its own door to the aisle and curtains can be drawn to keep the compartment dark. In the night-trains, passengers in a 2nd class compartment tend to draw the curtains, switch off the lights and close the sliding door, hoping that no passengers will enter their compartment so the existing cabin passengers might have more space. In 1st class, however, each seat is manually assigned. Thus, the system is not used.\n\nWhen trains are not busy, couches are usually empty, so passengers can lie down at times.\n\nBesides these 'normal' compartments (that are also used on day-time trains and special night-trains) they also offer sleeper-cars with bedrooms/compartments or couchettes. A bed or couchette has fixed price, regardless of the travelling route or distance. Beds and couchettes have to be reserved when tickets are brought.\n\nMarrakech–Tangier section\nOn each day, there is only one train on the Marrakech-Tangier section in each direction. On this route the standard 6 or 8 person compartments are available as well as the 4 person couchette-compartments.\n\nTimetable for this section:\nNorthbound: Marrakech (21:00), Casablanca Voyageurs (0:45), Rabat-Ville (1:57), Kentira (2:37), Sidi-Kacem (3:33), Tangier (7:25).\nSouthbound: Tangier (21:05), Sidi-Kacem (1:30), Kentira (2:35), Rabat (3:15), Casablanca (4:30), Marrakech (08:05).\n\nCasablanca–Oujda section\nBesides normal running trains, this section also runs a special hotel train service. This train only offers reserved sleeping compartments, compared to other normal services. The train service opened on 29 June 2010. It was also featured in the James Bond film Spectre.\n\nTimetable for this section:\nWestbound: Oujda 21:00, Taourirt (22:43), Fez (3:00), Kentira (4:30), Rabat (6:15), Casablanca-Voyageurs (7:15)\nEastbound: Casablanca-Voyageurs (21:15), Rabat (22:23), Kentira (22:51), Fez (1:30), Taourirt (5:03), Oujda (7:00).\nHotel train service timetable:\nNorthbound: 21:00 Oujda-Casablanca\nSouthbound: 21:15 Casablanca-Oujda\n\nCasablanca–Nador section \n\nNador is not the start or terminus; trains run from/to nearby Bin Anşār or Nador Port.\nThe night-train on this route only offers 2 person sleeping compartments with full beds. No couchettes are available.\nAs the train does not go to Taourirt, there is no need to change driving-direction and thus no need to move the engine. The day trains all stop at Taourirt and as the link to Nador is actually before the station of Taourirt (coming from Fes) the direction of travel has to change, including moving the locomotive from one end to the other.\n\nTimetable for this section:\nWestbound: Nador (19:43), Fez (1:00), Casablanca (06:15).\nEastbound: Casablanca (19:45), Fez (0:15), Nador (06:00).\n\nTangier–Nador section\nTrains on this section normally run to and from Bin Anşār or Nador Port.\n\nTimetable for this section:\nNorthbound: Nador (17:43), Fes (23:00), Tangier (07:00)\nSouthbound: Tangier (21:35), Fes (2:30), Nador(09:32).\n\nUrban\n\nLight rail \n Casablanca tramway\n Rabat–Salé tramway\n Marrakech Tramway (proposed) Page in French\n Tangier Tramway (2 lines project, 25 km, 8.4 billion MAD)\n\nHeavy rail \n Train Navette Rapide : Rapid transit rail (since 1984) from Rabat to Casablanca extended to Kenitra and Settat (200 km);\n Casablanca Airport rail link (30 km, since 1993);\n Casablanca – El Jadida Rapid transit line (100 km, since 2002);\n Al Bidaoui : Casablanca overground rail (since 2002);\n Casablanca RER line (RER 63 km mass transit rail including 9 km underground rail, planned for 2020)\n Le Bouregreg : Rabat overground rail (since 2012);\n\nProjects\n\nThe national railway-operator ONCF is working on several projects. The largest project is a high-speed railway from Tangier via Rabat and Casablanca to Marrakech. Also a (passenger) rail connection between Tangier and Tangier MED, the port on the Mediterranean near Tangier, will give passengers arriving by ferry a connection to the main lines. A train will operate every 2 hours between the port and Tangier city. A freight-line from the Renault factory at Tangier MED is already operational The Marrakech to Agadir railway is also planned to be completed by 2025, becoming the first rail line to reach the southern Souss-Massa region.\n\nHistory\n\nRailway links to adjacent countries\n Algeria, route has been closed since the 1990s. – tracks use same gauge \n Gibraltar (UK), no connection; a ferry service connects Gibraltar to the Tanger-Med port and railway station\n Spain: Since 2003 there are studies being done about the creation of a direct link with Spain via a railway tunnel under the Strait of Gibraltar. This tunnel will connect the Moroccan rail-infrastructure with the European via Spain. In Tangier the tunnel would connect to the currently-being-built High Speed Line Tangier-Marrakech.\n Western Sahara: Via the proposed network-extension from Marrakech via Guelmim to El Aaiún would connect Morocco to the Western Sahara. Currently ONCF daughter-company Supratours operate bus-routes from Marrakech to Western-Sahara such as Tan-Tan or Laâyoune. Morocco claims Western Sahara as part of Morocco and thus as national routes.\nMauritania: A section of the Mauritania Railway; which (since the closure of the Choum Tunnel), cuts across the extreme south-eastern corner of the Western Sahara.\n\nSee also \n\n Economy of Morocco\n History of rail transport in Morocco\n Transport in Morocco\n For more information on the Taourirt-Nador branch line, see Nador Railway stations\n\nReferences\n\nNotes\n\nFurther reading\n\nExternal links",
"Suburgatory is an American television sitcom that aired from September 28, 2011 to May 14, 2014, on ABC. The series follows a single father who decides to get away from New York City to the suburbs so he can give his teenage daughter a better life. However, the move to suburbs has the daughter wondering if they just entered the world of The Stepford Wives after they see how \"perfect\" their new locale is, right down to the neighbors who welcome them into the cul-de-sac.\n\nSeries overview\n{| class=\"wikitable plainrowheaders\" style=\"text-align:center;\"\n|-\n! colspan=\"2\" rowspan=\"2\" |Season\n! rowspan=\"2\" |Episodes\n! colspan=\"2\" |Originally aired\n|-\n! First aired\n! Last aired\n |-\n |style=\"background: #1158A9;\"|\n |1\n |22\n | \n | \n |-\n |style=\"background: #FF579D;\"|\n |2\n | 22\n | \n | \n |-\n |style=\"background: #03C03C;\"|\n |3\n | 13\n | \n | \n|}\n\nEpisodes\n\nSeason 1 (2011–12)\n\nSeason 2 (2012–13)\n\nSeason 3 (2014)\nOn May 10, 2013, ABC renewed Suburgatory for a thirteen-episode third season, which premiered on January 15, 2014. Former regular cast member Rex Lee did not appear in season three, while Alan Tudyk was demoted to recurring status.\n\nReferences\n\nExternal links\n \n \n\nLists of American sitcom episodes"
] | [
"The Four Tops are an American vocal quartet from Detroit who helped to define the city's Motown sound of the 1960s. The group's repertoire has included soul music, R&B, disco, adult contemporary, doo-wop, jazz, and show tunes.",
"The group's repertoire has included soul music, R&B, disco, adult contemporary, doo-wop, jazz, and show tunes. Founded as the Four Aims, lead singer Levi Stubbs, Abdul \"Duke\" Fakir, Renaldo \"Obie\" Benson and Lawrence Payton remained together for over four decades, performing from 1953 until 1997 without a change in personnel.",
"Founded as the Four Aims, lead singer Levi Stubbs, Abdul \"Duke\" Fakir, Renaldo \"Obie\" Benson and Lawrence Payton remained together for over four decades, performing from 1953 until 1997 without a change in personnel. The Four Tops were among a number of groups, including the Miracles, the Marvelettes, Martha and the Vandellas, the Temptations, and the Supremes, who established the Motown Sound heard around the world during the 1960s.",
"The Four Tops were among a number of groups, including the Miracles, the Marvelettes, Martha and the Vandellas, the Temptations, and the Supremes, who established the Motown Sound heard around the world during the 1960s. They were notable for having Stubbs, a baritone, as their lead singer, whereas most other male and mixed vocal groups of the time were fronted by tenors.",
"They were notable for having Stubbs, a baritone, as their lead singer, whereas most other male and mixed vocal groups of the time were fronted by tenors. The group was the main male vocal group for the highly successful songwriting and production team of Holland–Dozier–Holland, who crafted a stream of hit singles for Motown.",
"The group was the main male vocal group for the highly successful songwriting and production team of Holland–Dozier–Holland, who crafted a stream of hit singles for Motown. These included two Billboard Hot 100 number-one hits for the Tops: \"I Can't Help Myself (Sugar Pie Honey Bunch)\" in 1965 and \"Reach Out I'll Be There\" in 1966.",
"These included two Billboard Hot 100 number-one hits for the Tops: \"I Can't Help Myself (Sugar Pie Honey Bunch)\" in 1965 and \"Reach Out I'll Be There\" in 1966. The group continued to have chart singles into the 1970s, including the million-seller \"Ain't No Woman\" (1973).",
"The group continued to have chart singles into the 1970s, including the million-seller \"Ain't No Woman\" (1973). The group was inducted into the Rock and Roll Hall of Fame in 1990 and into the Vocal Group Hall of Fame in 1999.",
"The group was inducted into the Rock and Roll Hall of Fame in 1990 and into the Vocal Group Hall of Fame in 1999. In 2004, Rolling Stone ranked them #79 on its list of the 100 Greatest Artists of All Time. The Four Tops continue to perform with Fakir as the last surviving original member.",
"The Four Tops continue to perform with Fakir as the last surviving original member. History Early years All four members of the group began their careers together while they were high-school students in Detroit.",
"History Early years All four members of the group began their careers together while they were high-school students in Detroit. At the insistence of their friends, Pershing High students Levi Stubbs and Abdul \"Duke\" Fakir performed with Renaldo \"Obie\" Benson and Lawrence Payton from Northern High at a local birthday party.",
"At the insistence of their friends, Pershing High students Levi Stubbs and Abdul \"Duke\" Fakir performed with Renaldo \"Obie\" Benson and Lawrence Payton from Northern High at a local birthday party. The quartet decided to remain together and named the group the Four Aims.",
"The quartet decided to remain together and named the group the Four Aims. With the help of Payton's songwriter cousin Roquel Davis, the Aims signed to Chess Records in 1956, changing their name to the Four Tops to avoid confusion with the Ames Brothers.",
"With the help of Payton's songwriter cousin Roquel Davis, the Aims signed to Chess Records in 1956, changing their name to the Four Tops to avoid confusion with the Ames Brothers. Over the next seven years, the Tops had unsuccessful tenures at Chess, Red Top, Riverside Records and Columbia Records.",
"Over the next seven years, the Tops had unsuccessful tenures at Chess, Red Top, Riverside Records and Columbia Records. Without any hit records to their name, they toured frequently, developing a polished stage presence and an experienced supper club act, as well as supporting Billy Eckstine.",
"Without any hit records to their name, they toured frequently, developing a polished stage presence and an experienced supper club act, as well as supporting Billy Eckstine. In 1963, Berry Gordy, Jr., who had worked with Roquel \"Billy\" Davis as a songwriter in the late 1950s, convinced the Tops to join the roster of his growing Motown record company.",
"In 1963, Berry Gordy, Jr., who had worked with Roquel \"Billy\" Davis as a songwriter in the late 1950s, convinced the Tops to join the roster of his growing Motown record company. Joining Motown During their early Motown years, the Four Tops recorded jazz standards for the company's Workshop Jazz Records label.",
"Joining Motown During their early Motown years, the Four Tops recorded jazz standards for the company's Workshop Jazz Records label. In addition, they sang backup on Motown singles by the Supremes (\"Run, Run, Run\", 1964), Martha and the Vandellas (on the 1966 hit \"My Baby Loves Me\") and others.",
"In addition, they sang backup on Motown singles by the Supremes (\"Run, Run, Run\", 1964), Martha and the Vandellas (on the 1966 hit \"My Baby Loves Me\") and others. In 1964, Motown's main songwriting and production team, Holland–Dozier–Holland, created a complete instrumental track without any idea of what to do with it.",
"In 1964, Motown's main songwriting and production team, Holland–Dozier–Holland, created a complete instrumental track without any idea of what to do with it. They decided to craft the song as a more mainstream pop song for the Four Tops and proceeded to create \"Baby I Need Your Loving\" from the instrumental track.",
"They decided to craft the song as a more mainstream pop song for the Four Tops and proceeded to create \"Baby I Need Your Loving\" from the instrumental track. On its release in mid-1964, \"Baby I Need Your Loving\" made it to number 11 on the Billboard Hot 100.",
"On its release in mid-1964, \"Baby I Need Your Loving\" made it to number 11 on the Billboard Hot 100. The first follow-up single, \"Without the One You Love (Life's Not Worth While)\" (1964), just missed both the pop and R&B Top 40 charts, but \"Ask the Lonely\" (1965), written and produced by Motown A&R head William \"Mickey\" Stevenson with Ivy Jo Hunter, was a Top 30 pop hit and a Top 10 R&B hit in early 1965.",
"The first follow-up single, \"Without the One You Love (Life's Not Worth While)\" (1964), just missed both the pop and R&B Top 40 charts, but \"Ask the Lonely\" (1965), written and produced by Motown A&R head William \"Mickey\" Stevenson with Ivy Jo Hunter, was a Top 30 pop hit and a Top 10 R&B hit in early 1965. Success After their first number 1 hit, \"I Can't Help Myself (Sugar Pie, Honey Bunch)\" in June 1965, the Four Tops released a long series of successful hit singles.",
"Success After their first number 1 hit, \"I Can't Help Myself (Sugar Pie, Honey Bunch)\" in June 1965, the Four Tops released a long series of successful hit singles. Among the first wave of these hits were the Top 10 \"It's the Same Old Song\" (1965), \"Something About You\" (1965), \"Shake Me, Wake Me (When It's Over)\" (1966), and \"Loving You Is Sweeter Than Ever\" (1966).",
"Among the first wave of these hits were the Top 10 \"It's the Same Old Song\" (1965), \"Something About You\" (1965), \"Shake Me, Wake Me (When It's Over)\" (1966), and \"Loving You Is Sweeter Than Ever\" (1966). Holland-Dozier-Holland wrote most of Levi Stubbs's vocals in a tenor range, near the top of his range, in order to get a sense of strained urgency in his gospel preacher-inspired leads.",
"Holland-Dozier-Holland wrote most of Levi Stubbs's vocals in a tenor range, near the top of his range, in order to get a sense of strained urgency in his gospel preacher-inspired leads. They also wrote additional background vocals for a female group, the Andantes, on many of the songs, to add a high end to the low-voiced harmony of the Tops.",
"They also wrote additional background vocals for a female group, the Andantes, on many of the songs, to add a high end to the low-voiced harmony of the Tops. Ivy Jo Hunter's \"Loving You Is Sweeter Than Ever\" (1966) was one of a few exceptions.",
"Ivy Jo Hunter's \"Loving You Is Sweeter Than Ever\" (1966) was one of a few exceptions. August 1966 brought the release of the Four Tops' all-time biggest hit and one of the most popular Motown songs ever.",
"August 1966 brought the release of the Four Tops' all-time biggest hit and one of the most popular Motown songs ever. \"Reach Out I'll Be There\" reached number 1 on the U.S. pop and R&B charts and the UK chart and soon became the Tops' signature song.",
"\"Reach Out I'll Be There\" reached number 1 on the U.S. pop and R&B charts and the UK chart and soon became the Tops' signature song. It was almost immediately followed by the similar-sounding \"Standing in the Shadows of Love\"; its depiction of heartbreak reflecting the opposite of the optimism in \"Reach Out\".",
"It was almost immediately followed by the similar-sounding \"Standing in the Shadows of Love\"; its depiction of heartbreak reflecting the opposite of the optimism in \"Reach Out\". It was another Top 10 hit for the Tops.",
"It was another Top 10 hit for the Tops. The Top 10 U.S. hit \"Bernadette\" centered around a man's all-consuming obsession with his lover, continued the Four Tops' successful run into April 1967, followed by the Top 20 hits \"7-Rooms of Gloom\", and \"You Keep Running Away\".",
"The Top 10 U.S. hit \"Bernadette\" centered around a man's all-consuming obsession with his lover, continued the Four Tops' successful run into April 1967, followed by the Top 20 hits \"7-Rooms of Gloom\", and \"You Keep Running Away\". By now, the Tops were the most successful male Motown act in the United Kingdom (in the United States, they were second to the Temptations), and began experimenting with more mainstream pop hits.",
"By now, the Tops were the most successful male Motown act in the United Kingdom (in the United States, they were second to the Temptations), and began experimenting with more mainstream pop hits. They scored hits with their versions of Tim Hardin's \"If I Were a Carpenter\" in late 1967 (mid-1968 in the U.S.) and the Left Banke's \"Walk Away Renée\" in early 1968.",
"They scored hits with their versions of Tim Hardin's \"If I Were a Carpenter\" in late 1967 (mid-1968 in the U.S.) and the Left Banke's \"Walk Away Renée\" in early 1968. These singles and the original \"I'm in a Different World\" were their last hits produced by Holland-Dozier-Holland, who left Motown in 1967 after disputes with Berry Gordy, Jr. Late Motown period Without Holland-Dozier-Holland, the hits became less frequent.",
"These singles and the original \"I'm in a Different World\" were their last hits produced by Holland-Dozier-Holland, who left Motown in 1967 after disputes with Berry Gordy, Jr. Late Motown period Without Holland-Dozier-Holland, the hits became less frequent. The group worked with a wide array of Motown producers during the late 1960s, including Ivy Jo Hunter, Nickolas Ashford & Valerie Simpson, Norman Whitfield and Johnny Bristol, without significant chart success.",
"The group worked with a wide array of Motown producers during the late 1960s, including Ivy Jo Hunter, Nickolas Ashford & Valerie Simpson, Norman Whitfield and Johnny Bristol, without significant chart success. Their first major hit in a long time came in the form of 1970's \"It's All in the Game\", a pop Top 30/R&B Top Ten hit produced by Frank Wilson.",
"Their first major hit in a long time came in the form of 1970's \"It's All in the Game\", a pop Top 30/R&B Top Ten hit produced by Frank Wilson. Wilson and the Tops began working on a number of innovative tracks and albums together, echoing Whitfield's psychedelic soul work with the Temptations.",
"Wilson and the Tops began working on a number of innovative tracks and albums together, echoing Whitfield's psychedelic soul work with the Temptations. Their 1970 album Still Waters Run Deep was a forerunner of the concept album.",
"Their 1970 album Still Waters Run Deep was a forerunner of the concept album. It also served as an inspiration for Marvin Gaye's 1971 classic album What's Going On, the title track of which was co-written by the Tops' Renaldo \"Obie\" Benson.",
"It also served as an inspiration for Marvin Gaye's 1971 classic album What's Going On, the title track of which was co-written by the Tops' Renaldo \"Obie\" Benson. In addition to their own albums, the Tops were paired with The Supremes, who had just replaced lead singer Diana Ross with Jean Terrell, for a series of albums billed under the joint title The Magnificent 7 in 1970, and The Return of the Magnificent Seven and Dynamite!",
"In addition to their own albums, the Tops were paired with The Supremes, who had just replaced lead singer Diana Ross with Jean Terrell, for a series of albums billed under the joint title The Magnificent 7 in 1970, and The Return of the Magnificent Seven and Dynamite! in 1971.",
"in 1971. in 1971. Whilst the albums themselves did not perform really well on the charts, The Magnificent Seven featured a Top 20 version of Ike & Tina Turner's \"River Deep - Mountain High\", produced by Ashford & Simpson. The 1971 single \"A Simple Game\" featured backing vocals from members of The Moody Blues.",
"The 1971 single \"A Simple Game\" featured backing vocals from members of The Moody Blues. The song did not fare well on the U.S. charts, but reached number three on the UK chart. ABC/Dunhill Records and Casablanca Records Motown as a company began to change during the early 1970s.",
"ABC/Dunhill Records and Casablanca Records Motown as a company began to change during the early 1970s. Older acts such as Martha and the Vandellas and The Marvelettes were slowly moved aside or dropped to focus on newer acts, such as Michael Jackson and The Jackson 5, Rare Earth, and the now-solo Diana Ross.",
"Older acts such as Martha and the Vandellas and The Marvelettes were slowly moved aside or dropped to focus on newer acts, such as Michael Jackson and The Jackson 5, Rare Earth, and the now-solo Diana Ross. In addition, the company moved its operations from Detroit to Los Angeles, California, where Berry Gordy, Jr. planned to break into the motion picture and television industries.",
"In addition, the company moved its operations from Detroit to Los Angeles, California, where Berry Gordy, Jr. planned to break into the motion picture and television industries. In 1972, it was announced that the entire company would move west and that all its artists had to move as well.",
"In 1972, it was announced that the entire company would move west and that all its artists had to move as well. Many of the older Motown acts, already neglected by the label, opted to stay in Detroit, including The Funk Brothers studio backing band, Martha Reeves, and the Four Tops.",
"Many of the older Motown acts, already neglected by the label, opted to stay in Detroit, including The Funk Brothers studio backing band, Martha Reeves, and the Four Tops. The Tops departed Motown for ABC-Dunhill, where they were assigned to writer-producers Dennis Lambert and Brian Potter and the label's head of A&R, Steve Barri as producer, with The Tops' own Lawrence Payton later also serving as a producer and writer.",
"The Tops departed Motown for ABC-Dunhill, where they were assigned to writer-producers Dennis Lambert and Brian Potter and the label's head of A&R, Steve Barri as producer, with The Tops' own Lawrence Payton later also serving as a producer and writer. He also took over lead vocal duties on several tracks.",
"He also took over lead vocal duties on several tracks. The group's first release on the label, \"Keeper of the Castle\" (1972) was their first pop Top 10 hit since \"Bernadette\" in 1967.",
"The group's first release on the label, \"Keeper of the Castle\" (1972) was their first pop Top 10 hit since \"Bernadette\" in 1967. Follow-ups included the 1973 million-selling \"Ain't No Woman (Like the One I've Got)\", also a top 10 pop hit and their third R&B number 1, and the Top 20 hit, \"Are You Man Enough\" (1973), (from the 1973 movie Shaft in Africa).",
"Follow-ups included the 1973 million-selling \"Ain't No Woman (Like the One I've Got)\", also a top 10 pop hit and their third R&B number 1, and the Top 20 hit, \"Are You Man Enough\" (1973), (from the 1973 movie Shaft in Africa). \"Sweet Understanding Love\" (1973); \"Midnight Flower (1974); and \"One Chain Don't Make No Prison\" (1974) all reached the R&B Top 10 between 1972 and 1974.",
"\"Sweet Understanding Love\" (1973); \"Midnight Flower (1974); and \"One Chain Don't Make No Prison\" (1974) all reached the R&B Top 10 between 1972 and 1974. Two ABC/Dunhill singles, 1974's \"I Just Can't Get You Out of My Mind\" and 1975's \"Seven Lonely Nights\" have become popular tunes in the southeast Beach/Shag Club Dance circuit.",
"Two ABC/Dunhill singles, 1974's \"I Just Can't Get You Out of My Mind\" and 1975's \"Seven Lonely Nights\" have become popular tunes in the southeast Beach/Shag Club Dance circuit. After the release of \"Catfish\" (a top 10 R&B hit) in 1976, the major hits started to dry up and the Tops left ABC after an album recorded in Philadelphia with the MFSB musicians resulted in only minor chart success in 1978.",
"After the release of \"Catfish\" (a top 10 R&B hit) in 1976, the major hits started to dry up and the Tops left ABC after an album recorded in Philadelphia with the MFSB musicians resulted in only minor chart success in 1978. The group disappeared from the recording scene until the early 1980s.",
"The group disappeared from the recording scene until the early 1980s. Signing a deal with Casablanca Records, the Tops made a comeback in 1981 with the number 1 R&B hit \"When She Was My Girl\". Produced by David Wolfert, it just missed the Billboard pop Top 10, peaking at number 11.",
"Produced by David Wolfert, it just missed the Billboard pop Top 10, peaking at number 11. The group also scored a UK Top 10 hit with the song and had another hit there with the follow-up, \"Don't Walk Away\".",
"The group also scored a UK Top 10 hit with the song and had another hit there with the follow-up, \"Don't Walk Away\". In 1982, their song \"Back to School Again\" appeared in both the movie Grease 2 and its soundtrack.",
"In 1982, their song \"Back to School Again\" appeared in both the movie Grease 2 and its soundtrack. Return to Motown By 1983, The Tops had rejoined Motown, where their former ABC-Dunhill producer, Barri was vice-president of A&R.",
"Return to Motown By 1983, The Tops had rejoined Motown, where their former ABC-Dunhill producer, Barri was vice-president of A&R. They were featured on the company's 1983 television special Motown 25: Yesterday, Today, Forever, taking part in one of the highlights of the show - a battle of the bands between The Tops and The Temptations, patterned after similar competitions Berry Gordy, Jr. had staged during the 1960s.",
"They were featured on the company's 1983 television special Motown 25: Yesterday, Today, Forever, taking part in one of the highlights of the show - a battle of the bands between The Tops and The Temptations, patterned after similar competitions Berry Gordy, Jr. had staged during the 1960s. Levi Stubbs and Temptation Otis Williams decided the Temptations/Tops battle would be a good one to take on the road, and both groups began semi-regular joint tours.",
"Levi Stubbs and Temptation Otis Williams decided the Temptations/Tops battle would be a good one to take on the road, and both groups began semi-regular joint tours. The first of The Tops' albums under their new Motown contract was Back Where I Belong (1983).",
"The first of The Tops' albums under their new Motown contract was Back Where I Belong (1983). A whole side of the album was produced by the Holland-Dozier-Holland production team, including the R&B Top 40 single \"I Just Can't Walk Away\".",
"A whole side of the album was produced by the Holland-Dozier-Holland production team, including the R&B Top 40 single \"I Just Can't Walk Away\". Only one more Tops album would be released by Motown, Magic in 1985.",
"Only one more Tops album would be released by Motown, Magic in 1985. The lead single from that album, \"Sexy Ways\", was almost a Top 20 R&B hit, peaking at number 21 in mid-1985.",
"The lead single from that album, \"Sexy Ways\", was almost a Top 20 R&B hit, peaking at number 21 in mid-1985. In July of that year, the group performed at the Live Aid concert, singing five of their hit songs.",
"In July of that year, the group performed at the Live Aid concert, singing five of their hit songs. The title track of 1988's Indestructible was the group's final Top 40 hit, reaching No. 35. It was also featured in the 1988 science-fiction cop film Alien Nation.",
"It was also featured in the 1988 science-fiction cop film Alien Nation. Another track, \"Loco in Acapulco\", written and produced by British pop musician Phil Collins and former Motown composer-producer Lamont Dozier, climbed into the UK Top 10 and made number 7 in early 1989.",
"Another track, \"Loco in Acapulco\", written and produced by British pop musician Phil Collins and former Motown composer-producer Lamont Dozier, climbed into the UK Top 10 and made number 7 in early 1989. The Arista contract provided an opportunity to pair Levi Stubbs with fellow Arista artist, another R&B vocalist from Detroit, Aretha Franklin, who was at the height of her own 1980s hit streak.",
"The Arista contract provided an opportunity to pair Levi Stubbs with fellow Arista artist, another R&B vocalist from Detroit, Aretha Franklin, who was at the height of her own 1980s hit streak. This pairing resulted in the 1988 song \"If Ever a Love There Was\", which became a popular R&B and Adult Contemporary hit, as well as being featured on the soundtrack of the 1988 motion picture I'm Gonna Git You Sucka.",
"This pairing resulted in the 1988 song \"If Ever a Love There Was\", which became a popular R&B and Adult Contemporary hit, as well as being featured on the soundtrack of the 1988 motion picture I'm Gonna Git You Sucka. In December 1988, Pan Am Flight 103 (a disaster known as the Lockerbie bombing) became the group's scheduled return flight to the U.S. for Christmas after completing their European tour.",
"In December 1988, Pan Am Flight 103 (a disaster known as the Lockerbie bombing) became the group's scheduled return flight to the U.S. for Christmas after completing their European tour. A prolonged recording session and a performance at the British television show Top of the Pops caused them to oversleep and miss the ill-fated flight which crashed in Lockerbie, Scotland, after a terrorist bomb was detonated on board.",
"A prolonged recording session and a performance at the British television show Top of the Pops caused them to oversleep and miss the ill-fated flight which crashed in Lockerbie, Scotland, after a terrorist bomb was detonated on board. They left London on a later British Airways flight.",
"They left London on a later British Airways flight. Later years From the late 1980s, the Four Tops focused on touring and live performances. They recorded only one album, returning again to Motown for 1995's Christmas Here with You.",
"They recorded only one album, returning again to Motown for 1995's Christmas Here with You. On June 20, 1997, 59-year-old Lawrence Payton died as a result of liver cancer, after singing for 44 years with the Four Tops who, unlike many other Motown groups, never had a single lineup change until then.",
"On June 20, 1997, 59-year-old Lawrence Payton died as a result of liver cancer, after singing for 44 years with the Four Tops who, unlike many other Motown groups, never had a single lineup change until then. At first, Levi Stubbs, Renaldo \"Obie\" Benson, and Abdul \"Duke\" Fakir toured as a trio called The Tops.",
"At first, Levi Stubbs, Renaldo \"Obie\" Benson, and Abdul \"Duke\" Fakir toured as a trio called The Tops. In 1998, they recruited former member of the Temptations Theo Peoples to restore the group to a quartet.",
"In 1998, they recruited former member of the Temptations Theo Peoples to restore the group to a quartet. By the turn of the century, Stubbs had become ill from cancer; Ronnie McNeir was recruited to fill the Lawrence Payton position and Theo Peoples stepped into Stubbs' shoes as lead singer.",
"By the turn of the century, Stubbs had become ill from cancer; Ronnie McNeir was recruited to fill the Lawrence Payton position and Theo Peoples stepped into Stubbs' shoes as lead singer. Stubbs later died on October 17, 2008 at his home in Detroit.",
"Stubbs later died on October 17, 2008 at his home in Detroit. The group was featured in several television specials during this time, including Motown 45, and several by PBS, including a 50th-anniversary concert dedicated to the group (available on DVD).",
"The group was featured in several television specials during this time, including Motown 45, and several by PBS, including a 50th-anniversary concert dedicated to the group (available on DVD). The concert turned out to be bittersweet; it featured a brief appearance of Levi Stubbs using a wheelchair, and a memorial to Lawrence Payton, announced by Renaldo \"Obie\" Benson.",
"The concert turned out to be bittersweet; it featured a brief appearance of Levi Stubbs using a wheelchair, and a memorial to Lawrence Payton, announced by Renaldo \"Obie\" Benson. Benson appeared on one more PBS special and died on July 1, 2005, from lung cancer.",
"Benson appeared on one more PBS special and died on July 1, 2005, from lung cancer. The final PBS special, titled Motown: The Early Years, featured a message of Benson's passing following the credits.",
"The final PBS special, titled Motown: The Early Years, featured a message of Benson's passing following the credits. The group was inducted into the Rock and Roll Hall of Fame in 1990, and into the Vocal Group Hall of Fame in 1999.",
"The group was inducted into the Rock and Roll Hall of Fame in 1990, and into the Vocal Group Hall of Fame in 1999. In 2004, Rolling Stone ranked them #79 on their list of the 100 Greatest Artists of All Time.",
"In 2004, Rolling Stone ranked them #79 on their list of the 100 Greatest Artists of All Time. The Four Tops were inducted into the Michigan Rock and Roll Legends Hall of Fame in 2005.",
"The Four Tops were inducted into the Michigan Rock and Roll Legends Hall of Fame in 2005. The Four Tops sang the National Anthem before the start of game 5 for the 2011 baseball American League Championship Series (ALCS) between the Texas Rangers & Detroit Tigers on October 13, 2011 in Detroit, MI.",
"The Four Tops sang the National Anthem before the start of game 5 for the 2011 baseball American League Championship Series (ALCS) between the Texas Rangers & Detroit Tigers on October 13, 2011 in Detroit, MI. When singing the last line of \"The Star-Spangled Banner\", \"... and the home of the brave\", they quickly sang the words \"Ain't No country Like the One I Got\", before singing the last word, \"brave\".",
"When singing the last line of \"The Star-Spangled Banner\", \"... and the home of the brave\", they quickly sang the words \"Ain't No country Like the One I Got\", before singing the last word, \"brave\". The Four Tops were honored with an induction into the R&B Music Hall of Fame at the Inaugural ceremony held at Cleveland State University's Waetejen Auditorium on Saturday August 17, 2013.",
"The Four Tops were honored with an induction into the R&B Music Hall of Fame at the Inaugural ceremony held at Cleveland State University's Waetejen Auditorium on Saturday August 17, 2013. The Four Tops were among hundreds of artists whose material was destroyed in the 2008 Universal fire.",
"The Four Tops were among hundreds of artists whose material was destroyed in the 2008 Universal fire. The Four Tops career awards The Four Tops have won many awards, including the following: Rock and Roll Hall of Fame (1990) Vocal Group Hall of Fame (1999) Hollywood Walk of Fame (1997) Grammy Hall of Fame (Reach Out I'll Be There-1998)(\"I Can't Help Myself (Sugar Pie Honey Bunch-2018) Grammy Lifetime Achievement Award (2009-51st Annual Grammy Awards) Rhythm and Blues Foundation Pioneer Award (1997) Billboard magazine Top 100 Artists of All Time(#77) R&B Music Hall of Fame Induction (2013) 100 Greatest Artists of All Time (#79-Rolling Stone) Rolling Stone's 500 Greatest Songs of All Time (2003) Michigan Rock and Roll Legends Hall of Fame Grammy Lifetime Achievement Award In early 2018, The Four Tops' 1965 #1 Pop Hit, \"I Can't Help Myself (Sugar Pie Honey Bunch)\" became their second song to be inducted into The Grammy Hall of Fame.",
"The Four Tops career awards The Four Tops have won many awards, including the following: Rock and Roll Hall of Fame (1990) Vocal Group Hall of Fame (1999) Hollywood Walk of Fame (1997) Grammy Hall of Fame (Reach Out I'll Be There-1998)(\"I Can't Help Myself (Sugar Pie Honey Bunch-2018) Grammy Lifetime Achievement Award (2009-51st Annual Grammy Awards) Rhythm and Blues Foundation Pioneer Award (1997) Billboard magazine Top 100 Artists of All Time(#77) R&B Music Hall of Fame Induction (2013) 100 Greatest Artists of All Time (#79-Rolling Stone) Rolling Stone's 500 Greatest Songs of All Time (2003) Michigan Rock and Roll Legends Hall of Fame Grammy Lifetime Achievement Award In early 2018, The Four Tops' 1965 #1 Pop Hit, \"I Can't Help Myself (Sugar Pie Honey Bunch)\" became their second song to be inducted into The Grammy Hall of Fame. Personnel Current Members Abdul “Duke” Fakir (1953-present) Ronnie McNeir (1999-present) Lawrence Payton Jr. (2005-present) Alexander Morris (2019-present) Former Members Levi Stubbs (1953-2000, 2004) (d. 2008) Renaldo “Obie” Benson (1953-2005) (d. 2005) Lawrence Payton (1953-1997) (d. 1997) Theo Peoples (1998-2010) Harold Bonhart (2010-2018) Discography Albums Motown releases 1965: Four Tops (US #63; UK #2) 1965: Four Tops' Second Album (US #20) 1966: Four Tops Live!",
"Personnel Current Members Abdul “Duke” Fakir (1953-present) Ronnie McNeir (1999-present) Lawrence Payton Jr. (2005-present) Alexander Morris (2019-present) Former Members Levi Stubbs (1953-2000, 2004) (d. 2008) Renaldo “Obie” Benson (1953-2005) (d. 2005) Lawrence Payton (1953-1997) (d. 1997) Theo Peoples (1998-2010) Harold Bonhart (2010-2018) Discography Albums Motown releases 1965: Four Tops (US #63; UK #2) 1965: Four Tops' Second Album (US #20) 1966: Four Tops Live! (US #17; UK #4) 1966: On Top (US #32; UK #9) 1967: Four Tops' Greatest Hits (US #4; UK #1) 1967: Reach Out (US #11; UK #6) 1967: Four Tops on Broadway (US #79) 1968: Yesterday's Dreams (US #91) 1969: Four Tops Now!",
"(US #17; UK #4) 1966: On Top (US #32; UK #9) 1967: Four Tops' Greatest Hits (US #4; UK #1) 1967: Reach Out (US #11; UK #6) 1967: Four Tops on Broadway (US #79) 1968: Yesterday's Dreams (US #91) 1969: Four Tops Now! (US #74) 1969: Soul Spin (US #163) 1970: Still Waters Run Deep (US #21) 1970: Changing Times (US #109) 1970: The Magnificent 7 (with The Supremes) (US #113; UK #6) 1971: The Return of the Magnificent Seven (with The Supremes) (US #154) 1971: Dynamite (with the Supremes) (US #160) 1971: Mac Arthur Park 1972: Nature Planned It (US #50) 1973: The Best of the 4 Tops (US #103) ABC releases 1972: Keeper of the Castle (US #33) 1973: Main Street People (US #66) 1974: Meeting of the Minds (US #118) 1974: Live & in Concert (US #92) 1975: Night Lights Harmony (US #148) 1976: Catfish (US #124) 1977: The Show Must Go On 1978: At the Top Casablanca releases 1981: Tonight!",
"(US #74) 1969: Soul Spin (US #163) 1970: Still Waters Run Deep (US #21) 1970: Changing Times (US #109) 1970: The Magnificent 7 (with The Supremes) (US #113; UK #6) 1971: The Return of the Magnificent Seven (with The Supremes) (US #154) 1971: Dynamite (with the Supremes) (US #160) 1971: Mac Arthur Park 1972: Nature Planned It (US #50) 1973: The Best of the 4 Tops (US #103) ABC releases 1972: Keeper of the Castle (US #33) 1973: Main Street People (US #66) 1974: Meeting of the Minds (US #118) 1974: Live & in Concert (US #92) 1975: Night Lights Harmony (US #148) 1976: Catfish (US #124) 1977: The Show Must Go On 1978: At the Top Casablanca releases 1981: Tonight! (US #37) 1982: One More Mountain Motown releases 1983: Back Where I Belong 1985: Magic (US #140) 1986: Hot Nights (unreleased) Arista releases 1988: Indestructible (US #149) Motown releases 1995: Christmas Here with You Prism Leisure releases 2000: The Four Tops Collection (recorded live at the MGM grand 1996) U.S.",
"(US #37) 1982: One More Mountain Motown releases 1983: Back Where I Belong 1985: Magic (US #140) 1986: Hot Nights (unreleased) Arista releases 1988: Indestructible (US #149) Motown releases 1995: Christmas Here with You Prism Leisure releases 2000: The Four Tops Collection (recorded live at the MGM grand 1996) U.S. Billboard Hot 100 and UK singles The following singles reached the top 30 of the U.S. and UK singles charts.",
"Billboard Hot 100 and UK singles The following singles reached the top 30 of the U.S. and UK singles charts. DVDs The Four Tops: Live at the MGM Grand: 40th Anniversary Special (1996) The Four Tops: The Four Tops (semi-documentary/concert rehearsal, recorded live for French TV in 1971) (2004) The Four Tops: From the Heart: The 50th Anniversary Concert (2006) The Four Tops: Reach Out: Definitive Performances 1965-1973 (2008), Motown/Universal See also List of best-selling music artists References External links Four Tops biography by John Bush, discography and album reviews, credits & releases at AllMusic Four Tops discography, album releases & credits at Discogs Four Tops filmography on IMDb Four Tops Broadway musical productions at the Internet Broadway Database Four Tops discography at MusicBrainz Four Tops albums to be listened as stream on Spotify Vocal Group Hall of Fame page on the Four Tops Levi Stubbs/The Four Tops interview by Pete Lewis, 'Blues & Soul' October 1992 (republished November 2008) History of Rock article Four Tops on MySpace Four Tops appearances on The Ed Sullivan Show Ronnie McNeir 2012 Interview at Soulinterviews.com.",
"DVDs The Four Tops: Live at the MGM Grand: 40th Anniversary Special (1996) The Four Tops: The Four Tops (semi-documentary/concert rehearsal, recorded live for French TV in 1971) (2004) The Four Tops: From the Heart: The 50th Anniversary Concert (2006) The Four Tops: Reach Out: Definitive Performances 1965-1973 (2008), Motown/Universal See also List of best-selling music artists References External links Four Tops biography by John Bush, discography and album reviews, credits & releases at AllMusic Four Tops discography, album releases & credits at Discogs Four Tops filmography on IMDb Four Tops Broadway musical productions at the Internet Broadway Database Four Tops discography at MusicBrainz Four Tops albums to be listened as stream on Spotify Vocal Group Hall of Fame page on the Four Tops Levi Stubbs/The Four Tops interview by Pete Lewis, 'Blues & Soul' October 1992 (republished November 2008) History of Rock article Four Tops on MySpace Four Tops appearances on The Ed Sullivan Show Ronnie McNeir 2012 Interview at Soulinterviews.com. Musical groups established in 1953 Musical groups from Detroit African-American musical groups American soul musical groups Motown artists Northern soul musicians ABC Records artists Dunhill Records artists Chess Records artists Vocal quartets Columbia Records artists Casablanca Records artists Arista Records artists 1953 establishments in Michigan"
] |
[
"Four Tops",
"ABC Records and Casablanca Records",
"Did they move from ABC to Casablanca?",
"The Tops departed Motown for ABC-Dunhill,"
] | C_a9ee71dcf4f84b50b0677e63a645e03c_1 | Why did they depart motown? | 2 | Why did the Tops depart motown? | Four Tops | Motown as a company began to change during the early 1970s. Older acts such as Martha and the Vandellas and The Marvelettes were slowly moved aside or dropped to focus on newer acts, such as Michael Jackson and The Jackson 5, Rare Earth, and the now-solo Diana Ross. In addition, the company moved its operations from Detroit to Los Angeles, California, where Berry Gordy planned to break into the motion picture and television industries. In 1972, it was announced that the entire company would move west and that all its artists had to move as well. Many of the older Motown acts, already neglected by the label, opted to stay in Detroit, including The Funk Brothers studio backing band, Martha Reeves, and the Four Tops. The Tops departed Motown for ABC-Dunhill, where they were assigned to writer-producers Dennis Lambert and Brian Potter and the label's head of A&R, Steve Barri as producer, with The Tops' own Lawrence Payton later also serving as a producer and writer. He also took over lead vocal duties on several tracks. The group's first release on the label, "Keeper of the Castle" was their first pop Top 10 hit since "Bernadette" in 1967. Follow-ups included the million-selling "Ain't No Woman (Like the One I've Got)", also a top 10 pop hit and their third R&B number 1, and the Top 20 hit, "Are You Man Enough", (from the movie "Shaft in Africa"). "Sweet Understanding Love"; "Midnight Flower"; and "One Chain Don't Make No Prison" all reached the R&B Top 10 between 1972 and 1974. Two ABC/Dunhill singles, 1974's "I Just Can't Get You Out of My Mind" and 1975's "Seven Lonely Nights" have become popular tunes in the southeast Beach/Shag Club Dance circuit. After the release of "Catfish" (a top 10 R&B hit) in 1976, the major hits started to dry up and the Tops left ABC after an album recorded in Philadelphia with the MFSB musicians resulted in only minor chart success in 1978. The group disappeared from the recording scene until the early 1980s. Signing a deal with Casablanca Records, the Tops made a comeback in 1981 with the #1 R&B hit "When She Was My Girl". Produced by David Wolfert, it just missed the Billboard pop Top 10, peaking at #11. The group also scored a UK Top 10 hit with the song and had another hit there with the follow-up, "Don't Walk Away". CANNOTANSWER | In 1972, it was announced that the entire company would move west and that all its artists had to move as well. | The Four Tops are an American vocal quartet from Detroit who helped to define the city's Motown sound of the 1960s. The group's repertoire has included soul music, R&B, disco, adult contemporary, doo-wop, jazz, and show tunes.
Founded as the Four Aims, lead singer Levi Stubbs, Abdul "Duke" Fakir, Renaldo "Obie" Benson and Lawrence Payton remained together for over four decades, performing from 1953 until 1997 without a change in personnel. The Four Tops were among a number of groups, including the Miracles, the Marvelettes, Martha and the Vandellas, the Temptations, and the Supremes, who established the Motown Sound heard around the world during the 1960s. They were notable for having Stubbs, a baritone, as their lead singer, whereas most other male and mixed vocal groups of the time were fronted by tenors.
The group was the main male vocal group for the highly successful songwriting and production team of Holland–Dozier–Holland, who crafted a stream of hit singles for Motown. These included two Billboard Hot 100 number-one hits for the Tops: "I Can't Help Myself (Sugar Pie Honey Bunch)" in 1965 and "Reach Out I'll Be There" in 1966. The group continued to have chart singles into the 1970s, including the million-seller "Ain't No Woman" (1973).
The group was inducted into the Rock and Roll Hall of Fame in 1990 and into the Vocal Group Hall of Fame in 1999. In 2004, Rolling Stone ranked them #79 on its list of the 100 Greatest Artists of All Time.
The Four Tops continue to perform with Fakir as the last surviving original member.
History
Early years
All four members of the group began their careers together while they were high-school students in Detroit. At the insistence of their friends, Pershing High students Levi Stubbs and Abdul "Duke" Fakir performed with Renaldo "Obie" Benson and Lawrence Payton from Northern High at a local birthday party. The quartet decided to remain together and named the group the Four Aims. With the help of Payton's songwriter cousin Roquel Davis, the Aims signed to Chess Records in 1956, changing their name to the Four Tops to avoid confusion with the Ames Brothers.
Over the next seven years, the Tops had unsuccessful tenures at Chess, Red Top, Riverside Records and Columbia Records. Without any hit records to their name, they toured frequently, developing a polished stage presence and an experienced supper club act, as well as supporting Billy Eckstine. In 1963, Berry Gordy, Jr., who had worked with Roquel "Billy" Davis as a songwriter in the late 1950s, convinced the Tops to join the roster of his growing Motown record company.
Joining Motown
During their early Motown years, the Four Tops recorded jazz standards for the company's Workshop Jazz Records label. In addition, they sang backup on Motown singles by the Supremes ("Run, Run, Run", 1964), Martha and the Vandellas (on the 1966 hit "My Baby Loves Me") and others.
In 1964, Motown's main songwriting and production team, Holland–Dozier–Holland, created a complete instrumental track without any idea of what to do with it. They decided to craft the song as a more mainstream pop song for the Four Tops and proceeded to create "Baby I Need Your Loving" from the instrumental track. On its release in mid-1964, "Baby I Need Your Loving" made it to number 11 on the Billboard Hot 100.
The first follow-up single, "Without the One You Love (Life's Not Worth While)" (1964), just missed both the pop and R&B Top 40 charts, but "Ask the Lonely" (1965), written and produced by Motown A&R head William "Mickey" Stevenson with Ivy Jo Hunter, was a Top 30 pop hit and a Top 10 R&B hit in early 1965.
Success
After their first number 1 hit, "I Can't Help Myself (Sugar Pie, Honey Bunch)" in June 1965, the Four Tops released a long series of successful hit singles. Among the first wave of these hits were the Top 10 "It's the Same Old Song" (1965), "Something About You" (1965), "Shake Me, Wake Me (When It's Over)" (1966), and "Loving You Is Sweeter Than Ever" (1966).
Holland-Dozier-Holland wrote most of Levi Stubbs's vocals in a tenor range, near the top of his range, in order to get a sense of strained urgency in his gospel preacher-inspired leads. They also wrote additional background vocals for a female group, the Andantes, on many of the songs, to add a high end to the low-voiced harmony of the Tops. Ivy Jo Hunter's "Loving You Is Sweeter Than Ever" (1966) was one of a few exceptions.
August 1966 brought the release of the Four Tops' all-time biggest hit and one of the most popular Motown songs ever. "Reach Out I'll Be There" reached number 1 on the U.S. pop and R&B charts and the UK chart and soon became the Tops' signature song. It was almost immediately followed by the similar-sounding "Standing in the Shadows of Love"; its depiction of heartbreak reflecting the opposite of the optimism in "Reach Out". It was another Top 10 hit for the Tops.
The Top 10 U.S. hit "Bernadette" centered around a man's all-consuming obsession with his lover, continued the Four Tops' successful run into April 1967, followed by the Top 20 hits "7-Rooms of Gloom", and "You Keep Running Away". By now, the Tops were the most successful male Motown act in the United Kingdom (in the United States, they were second to the Temptations), and began experimenting with more mainstream pop hits. They scored hits with their versions of Tim Hardin's "If I Were a Carpenter" in late 1967 (mid-1968 in the U.S.) and the Left Banke's "Walk Away Renée" in early 1968. These singles and the original "I'm in a Different World" were their last hits produced by Holland-Dozier-Holland, who left Motown in 1967 after disputes with Berry Gordy, Jr.
Late Motown period
Without Holland-Dozier-Holland, the hits became less frequent. The group worked with a wide array of Motown producers during the late 1960s, including Ivy Jo Hunter, Nickolas Ashford & Valerie Simpson, Norman Whitfield and Johnny Bristol, without significant chart success.
Their first major hit in a long time came in the form of 1970's "It's All in the Game", a pop Top 30/R&B Top Ten hit produced by Frank Wilson. Wilson and the Tops began working on a number of innovative tracks and albums together, echoing Whitfield's psychedelic soul work with the Temptations. Their 1970 album Still Waters Run Deep was a forerunner of the concept album. It also served as an inspiration for Marvin Gaye's 1971 classic album What's Going On, the title track of which was co-written by the Tops' Renaldo "Obie" Benson.
In addition to their own albums, the Tops were paired with The Supremes, who had just replaced lead singer Diana Ross with Jean Terrell, for a series of albums billed under the joint title The Magnificent 7 in 1970, and The Return of the Magnificent Seven and Dynamite! in 1971. Whilst the albums themselves did not perform really well on the charts, The Magnificent Seven featured a Top 20 version of Ike & Tina Turner's "River Deep - Mountain High", produced by Ashford & Simpson.
The 1971 single "A Simple Game" featured backing vocals from members of The Moody Blues. The song did not fare well on the U.S. charts, but reached number three on the UK chart.
ABC/Dunhill Records and Casablanca Records
Motown as a company began to change during the early 1970s. Older acts such as Martha and the Vandellas and The Marvelettes were slowly moved aside or dropped to focus on newer acts, such as Michael Jackson and The Jackson 5, Rare Earth, and the now-solo Diana Ross. In addition, the company moved its operations from Detroit to Los Angeles, California, where Berry Gordy, Jr. planned to break into the motion picture and television industries. In 1972, it was announced that the entire company would move west and that all its artists had to move as well. Many of the older Motown acts, already neglected by the label, opted to stay in Detroit, including The Funk Brothers studio backing band, Martha Reeves, and the Four Tops.
The Tops departed Motown for ABC-Dunhill, where they were assigned to writer-producers Dennis Lambert and Brian Potter and the label's head of A&R, Steve Barri as producer, with The Tops' own Lawrence Payton later also serving as a producer and writer. He also took over lead vocal duties on several tracks.
The group's first release on the label, "Keeper of the Castle" (1972) was their first pop Top 10 hit since "Bernadette" in 1967. Follow-ups included the 1973 million-selling "Ain't No Woman (Like the One I've Got)", also a top 10 pop hit and their third R&B number 1, and the Top 20 hit, "Are You Man Enough" (1973), (from the 1973 movie Shaft in Africa). "Sweet Understanding Love" (1973); "Midnight Flower (1974); and "One Chain Don't Make No Prison" (1974) all reached the R&B Top 10 between 1972 and 1974. Two ABC/Dunhill singles, 1974's "I Just Can't Get You Out of My Mind" and 1975's "Seven Lonely Nights" have become popular tunes in the southeast Beach/Shag Club Dance circuit.
After the release of "Catfish" (a top 10 R&B hit) in 1976, the major hits started to dry up and the Tops left ABC after an album recorded in Philadelphia with the MFSB musicians resulted in only minor chart success in 1978. The group disappeared from the recording scene until the early 1980s. Signing a deal with Casablanca Records, the Tops made a comeback in 1981 with the number 1 R&B hit "When She Was My Girl". Produced by David Wolfert, it just missed the Billboard pop Top 10, peaking at number 11. The group also scored a UK Top 10 hit with the song and had another hit there with the follow-up, "Don't Walk Away". In 1982, their song "Back to School Again" appeared in both the movie Grease 2 and its soundtrack.
Return to Motown
By 1983, The Tops had rejoined Motown, where their former ABC-Dunhill producer, Barri was vice-president of A&R. They were featured on the company's 1983 television special Motown 25: Yesterday, Today, Forever, taking part in one of the highlights of the show - a battle of the bands between The Tops and The Temptations, patterned after similar competitions Berry Gordy, Jr. had staged during the 1960s. Levi Stubbs and Temptation Otis Williams decided the Temptations/Tops battle would be a good one to take on the road, and both groups began semi-regular joint tours.
The first of The Tops' albums under their new Motown contract was Back Where I Belong (1983). A whole side of the album was produced by the Holland-Dozier-Holland production team, including the R&B Top 40 single "I Just Can't Walk Away". Only one more Tops album would be released by Motown, Magic in 1985. The lead single from that album, "Sexy Ways", was almost a Top 20 R&B hit, peaking at number 21 in mid-1985. In July of that year, the group performed at the Live Aid concert, singing five of their hit songs.
The title track of 1988's Indestructible was the group's final Top 40 hit, reaching No. 35. It was also featured in the 1988 science-fiction cop film Alien Nation. Another track, "Loco in Acapulco", written and produced by British pop musician Phil Collins and former Motown composer-producer Lamont Dozier, climbed into the UK Top 10 and made number 7 in early 1989. The Arista contract provided an opportunity to pair Levi Stubbs with fellow Arista artist, another R&B vocalist from Detroit, Aretha Franklin, who was at the height of her own 1980s hit streak. This pairing resulted in the 1988 song "If Ever a Love There Was", which became a popular R&B and Adult Contemporary hit, as well as being featured on the soundtrack of the 1988 motion picture I'm Gonna Git You Sucka.
In December 1988, Pan Am Flight 103 (a disaster known as the Lockerbie bombing) became the group's scheduled return flight to the U.S. for Christmas after completing their European tour. A prolonged recording session and a performance at the British television show Top of the Pops caused them to oversleep and miss the ill-fated flight which crashed in Lockerbie, Scotland, after a terrorist bomb was detonated on board. They left London on a later British Airways flight.
Later years
From the late 1980s, the Four Tops focused on touring and live performances. They recorded only one album, returning again to Motown for 1995's Christmas Here with You. On June 20, 1997, 59-year-old Lawrence Payton died as a result of liver cancer, after singing for 44 years with the Four Tops who, unlike many other Motown groups, never had a single lineup change until then. At first, Levi Stubbs, Renaldo "Obie" Benson, and Abdul "Duke" Fakir toured as a trio called The Tops. In 1998, they recruited former member of the Temptations Theo Peoples to restore the group to a quartet. By the turn of the century, Stubbs had become ill from cancer; Ronnie McNeir was recruited to fill the Lawrence Payton position and Theo Peoples stepped into Stubbs' shoes as lead singer. Stubbs later died on October 17, 2008 at his home in Detroit.
The group was featured in several television specials during this time, including Motown 45, and several by PBS, including a 50th-anniversary concert dedicated to the group (available on DVD). The concert turned out to be bittersweet; it featured a brief appearance of Levi Stubbs using a wheelchair, and a memorial to Lawrence Payton, announced by Renaldo "Obie" Benson. Benson appeared on one more PBS special and died on July 1, 2005, from lung cancer. The final PBS special, titled Motown: The Early Years, featured a message of Benson's passing following the credits.
The group was inducted into the Rock and Roll Hall of Fame in 1990, and into the Vocal Group Hall of Fame in 1999. In 2004, Rolling Stone ranked them #79 on their list of the 100 Greatest Artists of All Time. The Four Tops were inducted into the Michigan Rock and Roll Legends Hall of Fame in 2005.
The Four Tops sang the National Anthem before the start of game 5 for the 2011 baseball American League Championship Series (ALCS) between the Texas Rangers & Detroit Tigers on October 13, 2011 in Detroit, MI. When singing the last line of "The Star-Spangled Banner", "... and the home of the brave", they quickly sang the words "Ain't No country Like the One I Got", before singing the last word, "brave". The Four Tops were honored with an induction into the R&B Music Hall of Fame at the Inaugural ceremony held at Cleveland State University's Waetejen Auditorium on Saturday August 17, 2013.
The Four Tops were among hundreds of artists whose material was destroyed in the 2008 Universal fire.
The Four Tops career awards
The Four Tops have won many awards, including the following:
Rock and Roll Hall of Fame (1990)
Vocal Group Hall of Fame (1999)
Hollywood Walk of Fame (1997)
Grammy Hall of Fame (Reach Out I'll Be There-1998)("I Can't Help Myself (Sugar Pie Honey Bunch-2018)
Grammy Lifetime Achievement Award (2009-51st Annual Grammy Awards)
Rhythm and Blues Foundation Pioneer Award (1997)
Billboard magazine Top 100 Artists of All Time(#77)
R&B Music Hall of Fame Induction (2013)
100 Greatest Artists of All Time (#79-Rolling Stone)
Rolling Stone's 500 Greatest Songs of All Time (2003)
Michigan Rock and Roll Legends Hall of Fame
Grammy Lifetime Achievement Award
In early 2018, The Four Tops' 1965 #1 Pop Hit, "I Can't Help Myself (Sugar Pie Honey Bunch)" became their second song to be inducted into The Grammy Hall of Fame.
Personnel
Current Members
Abdul “Duke” Fakir (1953-present)
Ronnie McNeir (1999-present)
Lawrence Payton Jr. (2005-present)
Alexander Morris (2019-present)
Former Members
Levi Stubbs (1953-2000, 2004) (d. 2008)
Renaldo “Obie” Benson (1953-2005) (d. 2005)
Lawrence Payton (1953-1997) (d. 1997)
Theo Peoples (1998-2010)
Harold Bonhart (2010-2018)
Discography
Albums
Motown releases
1965: Four Tops (US #63; UK #2)
1965: Four Tops' Second Album (US #20)
1966: Four Tops Live! (US #17; UK #4)
1966: On Top (US #32; UK #9)
1967: Four Tops' Greatest Hits (US #4; UK #1)
1967: Reach Out (US #11; UK #6)
1967: Four Tops on Broadway (US #79)
1968: Yesterday's Dreams (US #91)
1969: Four Tops Now! (US #74)
1969: Soul Spin (US #163)
1970: Still Waters Run Deep (US #21)
1970: Changing Times (US #109)
1970: The Magnificent 7 (with The Supremes) (US #113; UK #6)
1971: The Return of the Magnificent Seven (with The Supremes) (US #154)
1971: Dynamite (with the Supremes) (US #160)
1971: Mac Arthur Park
1972: Nature Planned It (US #50)
1973: The Best of the 4 Tops (US #103)
ABC releases
1972: Keeper of the Castle (US #33)
1973: Main Street People (US #66)
1974: Meeting of the Minds (US #118)
1974: Live & in Concert (US #92)
1975: Night Lights Harmony (US #148)
1976: Catfish (US #124)
1977: The Show Must Go On
1978: At the Top
Casablanca releases
1981: Tonight! (US #37)
1982: One More Mountain
Motown releases
1983: Back Where I Belong
1985: Magic (US #140)
1986: Hot Nights (unreleased)
Arista releases
1988: Indestructible (US #149)
Motown releases
1995: Christmas Here with You
Prism Leisure releases
2000: The Four Tops Collection (recorded live at the MGM grand 1996)
U.S. Billboard Hot 100 and UK singles
The following singles reached the top 30 of the U.S. and UK singles charts.
DVDs
The Four Tops: Live at the MGM Grand: 40th Anniversary Special (1996)
The Four Tops: The Four Tops (semi-documentary/concert rehearsal, recorded live for French TV in 1971) (2004)
The Four Tops: From the Heart: The 50th Anniversary Concert (2006)
The Four Tops: Reach Out: Definitive Performances 1965-1973 (2008), Motown/Universal
See also
List of best-selling music artists
References
External links
Four Tops biography by John Bush, discography and album reviews, credits & releases at AllMusic
Four Tops discography, album releases & credits at Discogs
Four Tops filmography on IMDb
Four Tops Broadway musical productions at the Internet Broadway Database
Four Tops discography at MusicBrainz
Four Tops albums to be listened as stream on Spotify
Vocal Group Hall of Fame page on the Four Tops
Levi Stubbs/The Four Tops interview by Pete Lewis, 'Blues & Soul' October 1992 (republished November 2008)
History of Rock article
Four Tops on MySpace
Four Tops appearances on The Ed Sullivan Show
Ronnie McNeir 2012 Interview at Soulinterviews.com.
Musical groups established in 1953
Musical groups from Detroit
African-American musical groups
American soul musical groups
Motown artists
Northern soul musicians
ABC Records artists
Dunhill Records artists
Chess Records artists
Vocal quartets
Columbia Records artists
Casablanca Records artists
Arista Records artists
1953 establishments in Michigan | true | [
"Reba Jeanette Smith (February 1, 1928 – February 17, 2001), known professionally as Debbie Dean, was an American singer who was the first white solo artist to record for Motown.\n\nBiography\n\nBorn Reba Jeanette Smith on February 1, 1928, in Corbin, Kentucky. She was the fourth child of Walter B. Smith, a railroad engineer by his wife, Alma, a housewife. Debbie Dean recorded as Penny Smith and Debbie Stevens at various labels before arriving at Motown in the early 1960s, and was Motown's first white female solo recording artist, signed by Berry Gordy.\n\nUnlike most of the early Motown recording artists, she was neither an R&B or blues singer. Her first single at Motown was \"Don't Let Him Shop Around,\" (1961) an answer record to the Miracles #1 R&B and #2 pop hit, \"Shop Around.\" Dean's perky vocals with a noticeable southern twang barely reached Billboard's Hot 100 charts with the song.\n\nSubsequent singles were even less successful and at the age of 34 (significantly older than most Motown acts at the time), she was dropped from the label. Several years later, after a meeting with Motown producer/writer Deke Richards, Dean rejoined the Motown roster as a writer/singer, and collaborated with Richards (born Dennis Lussier) on songs for the Supremes, Temptations, Smokey Robinson, Martha and the Vandellas, Edwin Starr, and other Motown artists. She also co-wrote and recorded \"Why Am I Lovin' You\", which was released as a single on Motown's V.I.P. label. The song has since become a Northern Soul favourite. Dean also recorded several tracks that remained unreleased at the time, but have since seen release on various \"unreleased\" Motown compilations.\n\nShe died on February 17, 2001 in Ojai, California.\n\nSelected discography\n\nMotown Singles\n \"Don't Let Him Shop Around\" b/w \"A New Girl\" (M 1007)\n \"Itsy Bity Pity Love\" b/w \"But I'm Afraid\" (M 1014)\n \"Everybody's Talkin' About My Baby\" b/w \"I Cried All Night\" (M 1025)\n \"Why Am I Lovin' You\" b/w \"Stay My Love\" (V.I.P. 25044)\n\nReferences\n\n1928 births\n2001 deaths\nAmerican women pop singers\nMotown artists\nPeople from Corbin, Kentucky\nKentucky women singers\nMusicians from Appalachia\nSingers from Kentucky\nSongwriters from Kentucky\n20th-century American women singers\n20th-century American singers",
"\"Your Old Standby\" is a song written by Motown songwriters Smokey Robinson and Janie Bradford and released as a single by Motown star Mary Wells in 1963. The record marked her third top forty pop single to come out in 1963.\n\nSong information\nIn the song, the narrator opens up about a man who is still in a troubling relationship with one woman while having a relationship with another woman. The other woman struggles to comprehend why her lover refuses to leave his past flame so she could \"be with him permanently\" as she puts it in the end.\n\nChart positions\nAfter the successful but modest response to \"Laughing Boy\", this song was rushed trying to compete with that record's top 15 peak. However, this song got as high as number 40 on the Billboard Hot 100 (it did however made number 8 on the U.S. R&B charts). Wells' next Robinson-penned hit, \"What's So Easy for Two is Hard for One\" would fare better for Wells.\n\nPersonnel\nLead vocal by Mary Wells\nBackground vocals by The Andantes (Jackie Hicks, Louvain Demps, and Marlene Barrow)\nInstrumentation by The Funk Brothers\n\nReferences\n\n1963 singles\nMary Wells songs\nSongs written by Smokey Robinson\nSongs written by Janie Bradford\nSong recordings produced by Smokey Robinson\n1963 songs\nMotown singles"
] | [
"The Four Tops are an American vocal quartet from Detroit who helped to define the city's Motown sound of the 1960s. The group's repertoire has included soul music, R&B, disco, adult contemporary, doo-wop, jazz, and show tunes.",
"The group's repertoire has included soul music, R&B, disco, adult contemporary, doo-wop, jazz, and show tunes. Founded as the Four Aims, lead singer Levi Stubbs, Abdul \"Duke\" Fakir, Renaldo \"Obie\" Benson and Lawrence Payton remained together for over four decades, performing from 1953 until 1997 without a change in personnel.",
"Founded as the Four Aims, lead singer Levi Stubbs, Abdul \"Duke\" Fakir, Renaldo \"Obie\" Benson and Lawrence Payton remained together for over four decades, performing from 1953 until 1997 without a change in personnel. The Four Tops were among a number of groups, including the Miracles, the Marvelettes, Martha and the Vandellas, the Temptations, and the Supremes, who established the Motown Sound heard around the world during the 1960s.",
"The Four Tops were among a number of groups, including the Miracles, the Marvelettes, Martha and the Vandellas, the Temptations, and the Supremes, who established the Motown Sound heard around the world during the 1960s. They were notable for having Stubbs, a baritone, as their lead singer, whereas most other male and mixed vocal groups of the time were fronted by tenors.",
"They were notable for having Stubbs, a baritone, as their lead singer, whereas most other male and mixed vocal groups of the time were fronted by tenors. The group was the main male vocal group for the highly successful songwriting and production team of Holland–Dozier–Holland, who crafted a stream of hit singles for Motown.",
"The group was the main male vocal group for the highly successful songwriting and production team of Holland–Dozier–Holland, who crafted a stream of hit singles for Motown. These included two Billboard Hot 100 number-one hits for the Tops: \"I Can't Help Myself (Sugar Pie Honey Bunch)\" in 1965 and \"Reach Out I'll Be There\" in 1966.",
"These included two Billboard Hot 100 number-one hits for the Tops: \"I Can't Help Myself (Sugar Pie Honey Bunch)\" in 1965 and \"Reach Out I'll Be There\" in 1966. The group continued to have chart singles into the 1970s, including the million-seller \"Ain't No Woman\" (1973).",
"The group continued to have chart singles into the 1970s, including the million-seller \"Ain't No Woman\" (1973). The group was inducted into the Rock and Roll Hall of Fame in 1990 and into the Vocal Group Hall of Fame in 1999.",
"The group was inducted into the Rock and Roll Hall of Fame in 1990 and into the Vocal Group Hall of Fame in 1999. In 2004, Rolling Stone ranked them #79 on its list of the 100 Greatest Artists of All Time. The Four Tops continue to perform with Fakir as the last surviving original member.",
"The Four Tops continue to perform with Fakir as the last surviving original member. History Early years All four members of the group began their careers together while they were high-school students in Detroit.",
"History Early years All four members of the group began their careers together while they were high-school students in Detroit. At the insistence of their friends, Pershing High students Levi Stubbs and Abdul \"Duke\" Fakir performed with Renaldo \"Obie\" Benson and Lawrence Payton from Northern High at a local birthday party.",
"At the insistence of their friends, Pershing High students Levi Stubbs and Abdul \"Duke\" Fakir performed with Renaldo \"Obie\" Benson and Lawrence Payton from Northern High at a local birthday party. The quartet decided to remain together and named the group the Four Aims.",
"The quartet decided to remain together and named the group the Four Aims. With the help of Payton's songwriter cousin Roquel Davis, the Aims signed to Chess Records in 1956, changing their name to the Four Tops to avoid confusion with the Ames Brothers.",
"With the help of Payton's songwriter cousin Roquel Davis, the Aims signed to Chess Records in 1956, changing their name to the Four Tops to avoid confusion with the Ames Brothers. Over the next seven years, the Tops had unsuccessful tenures at Chess, Red Top, Riverside Records and Columbia Records.",
"Over the next seven years, the Tops had unsuccessful tenures at Chess, Red Top, Riverside Records and Columbia Records. Without any hit records to their name, they toured frequently, developing a polished stage presence and an experienced supper club act, as well as supporting Billy Eckstine.",
"Without any hit records to their name, they toured frequently, developing a polished stage presence and an experienced supper club act, as well as supporting Billy Eckstine. In 1963, Berry Gordy, Jr., who had worked with Roquel \"Billy\" Davis as a songwriter in the late 1950s, convinced the Tops to join the roster of his growing Motown record company.",
"In 1963, Berry Gordy, Jr., who had worked with Roquel \"Billy\" Davis as a songwriter in the late 1950s, convinced the Tops to join the roster of his growing Motown record company. Joining Motown During their early Motown years, the Four Tops recorded jazz standards for the company's Workshop Jazz Records label.",
"Joining Motown During their early Motown years, the Four Tops recorded jazz standards for the company's Workshop Jazz Records label. In addition, they sang backup on Motown singles by the Supremes (\"Run, Run, Run\", 1964), Martha and the Vandellas (on the 1966 hit \"My Baby Loves Me\") and others.",
"In addition, they sang backup on Motown singles by the Supremes (\"Run, Run, Run\", 1964), Martha and the Vandellas (on the 1966 hit \"My Baby Loves Me\") and others. In 1964, Motown's main songwriting and production team, Holland–Dozier–Holland, created a complete instrumental track without any idea of what to do with it.",
"In 1964, Motown's main songwriting and production team, Holland–Dozier–Holland, created a complete instrumental track without any idea of what to do with it. They decided to craft the song as a more mainstream pop song for the Four Tops and proceeded to create \"Baby I Need Your Loving\" from the instrumental track.",
"They decided to craft the song as a more mainstream pop song for the Four Tops and proceeded to create \"Baby I Need Your Loving\" from the instrumental track. On its release in mid-1964, \"Baby I Need Your Loving\" made it to number 11 on the Billboard Hot 100.",
"On its release in mid-1964, \"Baby I Need Your Loving\" made it to number 11 on the Billboard Hot 100. The first follow-up single, \"Without the One You Love (Life's Not Worth While)\" (1964), just missed both the pop and R&B Top 40 charts, but \"Ask the Lonely\" (1965), written and produced by Motown A&R head William \"Mickey\" Stevenson with Ivy Jo Hunter, was a Top 30 pop hit and a Top 10 R&B hit in early 1965.",
"The first follow-up single, \"Without the One You Love (Life's Not Worth While)\" (1964), just missed both the pop and R&B Top 40 charts, but \"Ask the Lonely\" (1965), written and produced by Motown A&R head William \"Mickey\" Stevenson with Ivy Jo Hunter, was a Top 30 pop hit and a Top 10 R&B hit in early 1965. Success After their first number 1 hit, \"I Can't Help Myself (Sugar Pie, Honey Bunch)\" in June 1965, the Four Tops released a long series of successful hit singles.",
"Success After their first number 1 hit, \"I Can't Help Myself (Sugar Pie, Honey Bunch)\" in June 1965, the Four Tops released a long series of successful hit singles. Among the first wave of these hits were the Top 10 \"It's the Same Old Song\" (1965), \"Something About You\" (1965), \"Shake Me, Wake Me (When It's Over)\" (1966), and \"Loving You Is Sweeter Than Ever\" (1966).",
"Among the first wave of these hits were the Top 10 \"It's the Same Old Song\" (1965), \"Something About You\" (1965), \"Shake Me, Wake Me (When It's Over)\" (1966), and \"Loving You Is Sweeter Than Ever\" (1966). Holland-Dozier-Holland wrote most of Levi Stubbs's vocals in a tenor range, near the top of his range, in order to get a sense of strained urgency in his gospel preacher-inspired leads.",
"Holland-Dozier-Holland wrote most of Levi Stubbs's vocals in a tenor range, near the top of his range, in order to get a sense of strained urgency in his gospel preacher-inspired leads. They also wrote additional background vocals for a female group, the Andantes, on many of the songs, to add a high end to the low-voiced harmony of the Tops.",
"They also wrote additional background vocals for a female group, the Andantes, on many of the songs, to add a high end to the low-voiced harmony of the Tops. Ivy Jo Hunter's \"Loving You Is Sweeter Than Ever\" (1966) was one of a few exceptions.",
"Ivy Jo Hunter's \"Loving You Is Sweeter Than Ever\" (1966) was one of a few exceptions. August 1966 brought the release of the Four Tops' all-time biggest hit and one of the most popular Motown songs ever.",
"August 1966 brought the release of the Four Tops' all-time biggest hit and one of the most popular Motown songs ever. \"Reach Out I'll Be There\" reached number 1 on the U.S. pop and R&B charts and the UK chart and soon became the Tops' signature song.",
"\"Reach Out I'll Be There\" reached number 1 on the U.S. pop and R&B charts and the UK chart and soon became the Tops' signature song. It was almost immediately followed by the similar-sounding \"Standing in the Shadows of Love\"; its depiction of heartbreak reflecting the opposite of the optimism in \"Reach Out\".",
"It was almost immediately followed by the similar-sounding \"Standing in the Shadows of Love\"; its depiction of heartbreak reflecting the opposite of the optimism in \"Reach Out\". It was another Top 10 hit for the Tops.",
"It was another Top 10 hit for the Tops. The Top 10 U.S. hit \"Bernadette\" centered around a man's all-consuming obsession with his lover, continued the Four Tops' successful run into April 1967, followed by the Top 20 hits \"7-Rooms of Gloom\", and \"You Keep Running Away\".",
"The Top 10 U.S. hit \"Bernadette\" centered around a man's all-consuming obsession with his lover, continued the Four Tops' successful run into April 1967, followed by the Top 20 hits \"7-Rooms of Gloom\", and \"You Keep Running Away\". By now, the Tops were the most successful male Motown act in the United Kingdom (in the United States, they were second to the Temptations), and began experimenting with more mainstream pop hits.",
"By now, the Tops were the most successful male Motown act in the United Kingdom (in the United States, they were second to the Temptations), and began experimenting with more mainstream pop hits. They scored hits with their versions of Tim Hardin's \"If I Were a Carpenter\" in late 1967 (mid-1968 in the U.S.) and the Left Banke's \"Walk Away Renée\" in early 1968.",
"They scored hits with their versions of Tim Hardin's \"If I Were a Carpenter\" in late 1967 (mid-1968 in the U.S.) and the Left Banke's \"Walk Away Renée\" in early 1968. These singles and the original \"I'm in a Different World\" were their last hits produced by Holland-Dozier-Holland, who left Motown in 1967 after disputes with Berry Gordy, Jr. Late Motown period Without Holland-Dozier-Holland, the hits became less frequent.",
"These singles and the original \"I'm in a Different World\" were their last hits produced by Holland-Dozier-Holland, who left Motown in 1967 after disputes with Berry Gordy, Jr. Late Motown period Without Holland-Dozier-Holland, the hits became less frequent. The group worked with a wide array of Motown producers during the late 1960s, including Ivy Jo Hunter, Nickolas Ashford & Valerie Simpson, Norman Whitfield and Johnny Bristol, without significant chart success.",
"The group worked with a wide array of Motown producers during the late 1960s, including Ivy Jo Hunter, Nickolas Ashford & Valerie Simpson, Norman Whitfield and Johnny Bristol, without significant chart success. Their first major hit in a long time came in the form of 1970's \"It's All in the Game\", a pop Top 30/R&B Top Ten hit produced by Frank Wilson.",
"Their first major hit in a long time came in the form of 1970's \"It's All in the Game\", a pop Top 30/R&B Top Ten hit produced by Frank Wilson. Wilson and the Tops began working on a number of innovative tracks and albums together, echoing Whitfield's psychedelic soul work with the Temptations.",
"Wilson and the Tops began working on a number of innovative tracks and albums together, echoing Whitfield's psychedelic soul work with the Temptations. Their 1970 album Still Waters Run Deep was a forerunner of the concept album.",
"Their 1970 album Still Waters Run Deep was a forerunner of the concept album. It also served as an inspiration for Marvin Gaye's 1971 classic album What's Going On, the title track of which was co-written by the Tops' Renaldo \"Obie\" Benson.",
"It also served as an inspiration for Marvin Gaye's 1971 classic album What's Going On, the title track of which was co-written by the Tops' Renaldo \"Obie\" Benson. In addition to their own albums, the Tops were paired with The Supremes, who had just replaced lead singer Diana Ross with Jean Terrell, for a series of albums billed under the joint title The Magnificent 7 in 1970, and The Return of the Magnificent Seven and Dynamite!",
"In addition to their own albums, the Tops were paired with The Supremes, who had just replaced lead singer Diana Ross with Jean Terrell, for a series of albums billed under the joint title The Magnificent 7 in 1970, and The Return of the Magnificent Seven and Dynamite! in 1971.",
"in 1971. in 1971. Whilst the albums themselves did not perform really well on the charts, The Magnificent Seven featured a Top 20 version of Ike & Tina Turner's \"River Deep - Mountain High\", produced by Ashford & Simpson. The 1971 single \"A Simple Game\" featured backing vocals from members of The Moody Blues.",
"The 1971 single \"A Simple Game\" featured backing vocals from members of The Moody Blues. The song did not fare well on the U.S. charts, but reached number three on the UK chart. ABC/Dunhill Records and Casablanca Records Motown as a company began to change during the early 1970s.",
"ABC/Dunhill Records and Casablanca Records Motown as a company began to change during the early 1970s. Older acts such as Martha and the Vandellas and The Marvelettes were slowly moved aside or dropped to focus on newer acts, such as Michael Jackson and The Jackson 5, Rare Earth, and the now-solo Diana Ross.",
"Older acts such as Martha and the Vandellas and The Marvelettes were slowly moved aside or dropped to focus on newer acts, such as Michael Jackson and The Jackson 5, Rare Earth, and the now-solo Diana Ross. In addition, the company moved its operations from Detroit to Los Angeles, California, where Berry Gordy, Jr. planned to break into the motion picture and television industries.",
"In addition, the company moved its operations from Detroit to Los Angeles, California, where Berry Gordy, Jr. planned to break into the motion picture and television industries. In 1972, it was announced that the entire company would move west and that all its artists had to move as well.",
"In 1972, it was announced that the entire company would move west and that all its artists had to move as well. Many of the older Motown acts, already neglected by the label, opted to stay in Detroit, including The Funk Brothers studio backing band, Martha Reeves, and the Four Tops.",
"Many of the older Motown acts, already neglected by the label, opted to stay in Detroit, including The Funk Brothers studio backing band, Martha Reeves, and the Four Tops. The Tops departed Motown for ABC-Dunhill, where they were assigned to writer-producers Dennis Lambert and Brian Potter and the label's head of A&R, Steve Barri as producer, with The Tops' own Lawrence Payton later also serving as a producer and writer.",
"The Tops departed Motown for ABC-Dunhill, where they were assigned to writer-producers Dennis Lambert and Brian Potter and the label's head of A&R, Steve Barri as producer, with The Tops' own Lawrence Payton later also serving as a producer and writer. He also took over lead vocal duties on several tracks.",
"He also took over lead vocal duties on several tracks. The group's first release on the label, \"Keeper of the Castle\" (1972) was their first pop Top 10 hit since \"Bernadette\" in 1967.",
"The group's first release on the label, \"Keeper of the Castle\" (1972) was their first pop Top 10 hit since \"Bernadette\" in 1967. Follow-ups included the 1973 million-selling \"Ain't No Woman (Like the One I've Got)\", also a top 10 pop hit and their third R&B number 1, and the Top 20 hit, \"Are You Man Enough\" (1973), (from the 1973 movie Shaft in Africa).",
"Follow-ups included the 1973 million-selling \"Ain't No Woman (Like the One I've Got)\", also a top 10 pop hit and their third R&B number 1, and the Top 20 hit, \"Are You Man Enough\" (1973), (from the 1973 movie Shaft in Africa). \"Sweet Understanding Love\" (1973); \"Midnight Flower (1974); and \"One Chain Don't Make No Prison\" (1974) all reached the R&B Top 10 between 1972 and 1974.",
"\"Sweet Understanding Love\" (1973); \"Midnight Flower (1974); and \"One Chain Don't Make No Prison\" (1974) all reached the R&B Top 10 between 1972 and 1974. Two ABC/Dunhill singles, 1974's \"I Just Can't Get You Out of My Mind\" and 1975's \"Seven Lonely Nights\" have become popular tunes in the southeast Beach/Shag Club Dance circuit.",
"Two ABC/Dunhill singles, 1974's \"I Just Can't Get You Out of My Mind\" and 1975's \"Seven Lonely Nights\" have become popular tunes in the southeast Beach/Shag Club Dance circuit. After the release of \"Catfish\" (a top 10 R&B hit) in 1976, the major hits started to dry up and the Tops left ABC after an album recorded in Philadelphia with the MFSB musicians resulted in only minor chart success in 1978.",
"After the release of \"Catfish\" (a top 10 R&B hit) in 1976, the major hits started to dry up and the Tops left ABC after an album recorded in Philadelphia with the MFSB musicians resulted in only minor chart success in 1978. The group disappeared from the recording scene until the early 1980s.",
"The group disappeared from the recording scene until the early 1980s. Signing a deal with Casablanca Records, the Tops made a comeback in 1981 with the number 1 R&B hit \"When She Was My Girl\". Produced by David Wolfert, it just missed the Billboard pop Top 10, peaking at number 11.",
"Produced by David Wolfert, it just missed the Billboard pop Top 10, peaking at number 11. The group also scored a UK Top 10 hit with the song and had another hit there with the follow-up, \"Don't Walk Away\".",
"The group also scored a UK Top 10 hit with the song and had another hit there with the follow-up, \"Don't Walk Away\". In 1982, their song \"Back to School Again\" appeared in both the movie Grease 2 and its soundtrack.",
"In 1982, their song \"Back to School Again\" appeared in both the movie Grease 2 and its soundtrack. Return to Motown By 1983, The Tops had rejoined Motown, where their former ABC-Dunhill producer, Barri was vice-president of A&R.",
"Return to Motown By 1983, The Tops had rejoined Motown, where their former ABC-Dunhill producer, Barri was vice-president of A&R. They were featured on the company's 1983 television special Motown 25: Yesterday, Today, Forever, taking part in one of the highlights of the show - a battle of the bands between The Tops and The Temptations, patterned after similar competitions Berry Gordy, Jr. had staged during the 1960s.",
"They were featured on the company's 1983 television special Motown 25: Yesterday, Today, Forever, taking part in one of the highlights of the show - a battle of the bands between The Tops and The Temptations, patterned after similar competitions Berry Gordy, Jr. had staged during the 1960s. Levi Stubbs and Temptation Otis Williams decided the Temptations/Tops battle would be a good one to take on the road, and both groups began semi-regular joint tours.",
"Levi Stubbs and Temptation Otis Williams decided the Temptations/Tops battle would be a good one to take on the road, and both groups began semi-regular joint tours. The first of The Tops' albums under their new Motown contract was Back Where I Belong (1983).",
"The first of The Tops' albums under their new Motown contract was Back Where I Belong (1983). A whole side of the album was produced by the Holland-Dozier-Holland production team, including the R&B Top 40 single \"I Just Can't Walk Away\".",
"A whole side of the album was produced by the Holland-Dozier-Holland production team, including the R&B Top 40 single \"I Just Can't Walk Away\". Only one more Tops album would be released by Motown, Magic in 1985.",
"Only one more Tops album would be released by Motown, Magic in 1985. The lead single from that album, \"Sexy Ways\", was almost a Top 20 R&B hit, peaking at number 21 in mid-1985.",
"The lead single from that album, \"Sexy Ways\", was almost a Top 20 R&B hit, peaking at number 21 in mid-1985. In July of that year, the group performed at the Live Aid concert, singing five of their hit songs.",
"In July of that year, the group performed at the Live Aid concert, singing five of their hit songs. The title track of 1988's Indestructible was the group's final Top 40 hit, reaching No. 35. It was also featured in the 1988 science-fiction cop film Alien Nation.",
"It was also featured in the 1988 science-fiction cop film Alien Nation. Another track, \"Loco in Acapulco\", written and produced by British pop musician Phil Collins and former Motown composer-producer Lamont Dozier, climbed into the UK Top 10 and made number 7 in early 1989.",
"Another track, \"Loco in Acapulco\", written and produced by British pop musician Phil Collins and former Motown composer-producer Lamont Dozier, climbed into the UK Top 10 and made number 7 in early 1989. The Arista contract provided an opportunity to pair Levi Stubbs with fellow Arista artist, another R&B vocalist from Detroit, Aretha Franklin, who was at the height of her own 1980s hit streak.",
"The Arista contract provided an opportunity to pair Levi Stubbs with fellow Arista artist, another R&B vocalist from Detroit, Aretha Franklin, who was at the height of her own 1980s hit streak. This pairing resulted in the 1988 song \"If Ever a Love There Was\", which became a popular R&B and Adult Contemporary hit, as well as being featured on the soundtrack of the 1988 motion picture I'm Gonna Git You Sucka.",
"This pairing resulted in the 1988 song \"If Ever a Love There Was\", which became a popular R&B and Adult Contemporary hit, as well as being featured on the soundtrack of the 1988 motion picture I'm Gonna Git You Sucka. In December 1988, Pan Am Flight 103 (a disaster known as the Lockerbie bombing) became the group's scheduled return flight to the U.S. for Christmas after completing their European tour.",
"In December 1988, Pan Am Flight 103 (a disaster known as the Lockerbie bombing) became the group's scheduled return flight to the U.S. for Christmas after completing their European tour. A prolonged recording session and a performance at the British television show Top of the Pops caused them to oversleep and miss the ill-fated flight which crashed in Lockerbie, Scotland, after a terrorist bomb was detonated on board.",
"A prolonged recording session and a performance at the British television show Top of the Pops caused them to oversleep and miss the ill-fated flight which crashed in Lockerbie, Scotland, after a terrorist bomb was detonated on board. They left London on a later British Airways flight.",
"They left London on a later British Airways flight. Later years From the late 1980s, the Four Tops focused on touring and live performances. They recorded only one album, returning again to Motown for 1995's Christmas Here with You.",
"They recorded only one album, returning again to Motown for 1995's Christmas Here with You. On June 20, 1997, 59-year-old Lawrence Payton died as a result of liver cancer, after singing for 44 years with the Four Tops who, unlike many other Motown groups, never had a single lineup change until then.",
"On June 20, 1997, 59-year-old Lawrence Payton died as a result of liver cancer, after singing for 44 years with the Four Tops who, unlike many other Motown groups, never had a single lineup change until then. At first, Levi Stubbs, Renaldo \"Obie\" Benson, and Abdul \"Duke\" Fakir toured as a trio called The Tops.",
"At first, Levi Stubbs, Renaldo \"Obie\" Benson, and Abdul \"Duke\" Fakir toured as a trio called The Tops. In 1998, they recruited former member of the Temptations Theo Peoples to restore the group to a quartet.",
"In 1998, they recruited former member of the Temptations Theo Peoples to restore the group to a quartet. By the turn of the century, Stubbs had become ill from cancer; Ronnie McNeir was recruited to fill the Lawrence Payton position and Theo Peoples stepped into Stubbs' shoes as lead singer.",
"By the turn of the century, Stubbs had become ill from cancer; Ronnie McNeir was recruited to fill the Lawrence Payton position and Theo Peoples stepped into Stubbs' shoes as lead singer. Stubbs later died on October 17, 2008 at his home in Detroit.",
"Stubbs later died on October 17, 2008 at his home in Detroit. The group was featured in several television specials during this time, including Motown 45, and several by PBS, including a 50th-anniversary concert dedicated to the group (available on DVD).",
"The group was featured in several television specials during this time, including Motown 45, and several by PBS, including a 50th-anniversary concert dedicated to the group (available on DVD). The concert turned out to be bittersweet; it featured a brief appearance of Levi Stubbs using a wheelchair, and a memorial to Lawrence Payton, announced by Renaldo \"Obie\" Benson.",
"The concert turned out to be bittersweet; it featured a brief appearance of Levi Stubbs using a wheelchair, and a memorial to Lawrence Payton, announced by Renaldo \"Obie\" Benson. Benson appeared on one more PBS special and died on July 1, 2005, from lung cancer.",
"Benson appeared on one more PBS special and died on July 1, 2005, from lung cancer. The final PBS special, titled Motown: The Early Years, featured a message of Benson's passing following the credits.",
"The final PBS special, titled Motown: The Early Years, featured a message of Benson's passing following the credits. The group was inducted into the Rock and Roll Hall of Fame in 1990, and into the Vocal Group Hall of Fame in 1999.",
"The group was inducted into the Rock and Roll Hall of Fame in 1990, and into the Vocal Group Hall of Fame in 1999. In 2004, Rolling Stone ranked them #79 on their list of the 100 Greatest Artists of All Time.",
"In 2004, Rolling Stone ranked them #79 on their list of the 100 Greatest Artists of All Time. The Four Tops were inducted into the Michigan Rock and Roll Legends Hall of Fame in 2005.",
"The Four Tops were inducted into the Michigan Rock and Roll Legends Hall of Fame in 2005. The Four Tops sang the National Anthem before the start of game 5 for the 2011 baseball American League Championship Series (ALCS) between the Texas Rangers & Detroit Tigers on October 13, 2011 in Detroit, MI.",
"The Four Tops sang the National Anthem before the start of game 5 for the 2011 baseball American League Championship Series (ALCS) between the Texas Rangers & Detroit Tigers on October 13, 2011 in Detroit, MI. When singing the last line of \"The Star-Spangled Banner\", \"... and the home of the brave\", they quickly sang the words \"Ain't No country Like the One I Got\", before singing the last word, \"brave\".",
"When singing the last line of \"The Star-Spangled Banner\", \"... and the home of the brave\", they quickly sang the words \"Ain't No country Like the One I Got\", before singing the last word, \"brave\". The Four Tops were honored with an induction into the R&B Music Hall of Fame at the Inaugural ceremony held at Cleveland State University's Waetejen Auditorium on Saturday August 17, 2013.",
"The Four Tops were honored with an induction into the R&B Music Hall of Fame at the Inaugural ceremony held at Cleveland State University's Waetejen Auditorium on Saturday August 17, 2013. The Four Tops were among hundreds of artists whose material was destroyed in the 2008 Universal fire.",
"The Four Tops were among hundreds of artists whose material was destroyed in the 2008 Universal fire. The Four Tops career awards The Four Tops have won many awards, including the following: Rock and Roll Hall of Fame (1990) Vocal Group Hall of Fame (1999) Hollywood Walk of Fame (1997) Grammy Hall of Fame (Reach Out I'll Be There-1998)(\"I Can't Help Myself (Sugar Pie Honey Bunch-2018) Grammy Lifetime Achievement Award (2009-51st Annual Grammy Awards) Rhythm and Blues Foundation Pioneer Award (1997) Billboard magazine Top 100 Artists of All Time(#77) R&B Music Hall of Fame Induction (2013) 100 Greatest Artists of All Time (#79-Rolling Stone) Rolling Stone's 500 Greatest Songs of All Time (2003) Michigan Rock and Roll Legends Hall of Fame Grammy Lifetime Achievement Award In early 2018, The Four Tops' 1965 #1 Pop Hit, \"I Can't Help Myself (Sugar Pie Honey Bunch)\" became their second song to be inducted into The Grammy Hall of Fame.",
"The Four Tops career awards The Four Tops have won many awards, including the following: Rock and Roll Hall of Fame (1990) Vocal Group Hall of Fame (1999) Hollywood Walk of Fame (1997) Grammy Hall of Fame (Reach Out I'll Be There-1998)(\"I Can't Help Myself (Sugar Pie Honey Bunch-2018) Grammy Lifetime Achievement Award (2009-51st Annual Grammy Awards) Rhythm and Blues Foundation Pioneer Award (1997) Billboard magazine Top 100 Artists of All Time(#77) R&B Music Hall of Fame Induction (2013) 100 Greatest Artists of All Time (#79-Rolling Stone) Rolling Stone's 500 Greatest Songs of All Time (2003) Michigan Rock and Roll Legends Hall of Fame Grammy Lifetime Achievement Award In early 2018, The Four Tops' 1965 #1 Pop Hit, \"I Can't Help Myself (Sugar Pie Honey Bunch)\" became their second song to be inducted into The Grammy Hall of Fame. Personnel Current Members Abdul “Duke” Fakir (1953-present) Ronnie McNeir (1999-present) Lawrence Payton Jr. (2005-present) Alexander Morris (2019-present) Former Members Levi Stubbs (1953-2000, 2004) (d. 2008) Renaldo “Obie” Benson (1953-2005) (d. 2005) Lawrence Payton (1953-1997) (d. 1997) Theo Peoples (1998-2010) Harold Bonhart (2010-2018) Discography Albums Motown releases 1965: Four Tops (US #63; UK #2) 1965: Four Tops' Second Album (US #20) 1966: Four Tops Live!",
"Personnel Current Members Abdul “Duke” Fakir (1953-present) Ronnie McNeir (1999-present) Lawrence Payton Jr. (2005-present) Alexander Morris (2019-present) Former Members Levi Stubbs (1953-2000, 2004) (d. 2008) Renaldo “Obie” Benson (1953-2005) (d. 2005) Lawrence Payton (1953-1997) (d. 1997) Theo Peoples (1998-2010) Harold Bonhart (2010-2018) Discography Albums Motown releases 1965: Four Tops (US #63; UK #2) 1965: Four Tops' Second Album (US #20) 1966: Four Tops Live! (US #17; UK #4) 1966: On Top (US #32; UK #9) 1967: Four Tops' Greatest Hits (US #4; UK #1) 1967: Reach Out (US #11; UK #6) 1967: Four Tops on Broadway (US #79) 1968: Yesterday's Dreams (US #91) 1969: Four Tops Now!",
"(US #17; UK #4) 1966: On Top (US #32; UK #9) 1967: Four Tops' Greatest Hits (US #4; UK #1) 1967: Reach Out (US #11; UK #6) 1967: Four Tops on Broadway (US #79) 1968: Yesterday's Dreams (US #91) 1969: Four Tops Now! (US #74) 1969: Soul Spin (US #163) 1970: Still Waters Run Deep (US #21) 1970: Changing Times (US #109) 1970: The Magnificent 7 (with The Supremes) (US #113; UK #6) 1971: The Return of the Magnificent Seven (with The Supremes) (US #154) 1971: Dynamite (with the Supremes) (US #160) 1971: Mac Arthur Park 1972: Nature Planned It (US #50) 1973: The Best of the 4 Tops (US #103) ABC releases 1972: Keeper of the Castle (US #33) 1973: Main Street People (US #66) 1974: Meeting of the Minds (US #118) 1974: Live & in Concert (US #92) 1975: Night Lights Harmony (US #148) 1976: Catfish (US #124) 1977: The Show Must Go On 1978: At the Top Casablanca releases 1981: Tonight!",
"(US #74) 1969: Soul Spin (US #163) 1970: Still Waters Run Deep (US #21) 1970: Changing Times (US #109) 1970: The Magnificent 7 (with The Supremes) (US #113; UK #6) 1971: The Return of the Magnificent Seven (with The Supremes) (US #154) 1971: Dynamite (with the Supremes) (US #160) 1971: Mac Arthur Park 1972: Nature Planned It (US #50) 1973: The Best of the 4 Tops (US #103) ABC releases 1972: Keeper of the Castle (US #33) 1973: Main Street People (US #66) 1974: Meeting of the Minds (US #118) 1974: Live & in Concert (US #92) 1975: Night Lights Harmony (US #148) 1976: Catfish (US #124) 1977: The Show Must Go On 1978: At the Top Casablanca releases 1981: Tonight! (US #37) 1982: One More Mountain Motown releases 1983: Back Where I Belong 1985: Magic (US #140) 1986: Hot Nights (unreleased) Arista releases 1988: Indestructible (US #149) Motown releases 1995: Christmas Here with You Prism Leisure releases 2000: The Four Tops Collection (recorded live at the MGM grand 1996) U.S.",
"(US #37) 1982: One More Mountain Motown releases 1983: Back Where I Belong 1985: Magic (US #140) 1986: Hot Nights (unreleased) Arista releases 1988: Indestructible (US #149) Motown releases 1995: Christmas Here with You Prism Leisure releases 2000: The Four Tops Collection (recorded live at the MGM grand 1996) U.S. Billboard Hot 100 and UK singles The following singles reached the top 30 of the U.S. and UK singles charts.",
"Billboard Hot 100 and UK singles The following singles reached the top 30 of the U.S. and UK singles charts. DVDs The Four Tops: Live at the MGM Grand: 40th Anniversary Special (1996) The Four Tops: The Four Tops (semi-documentary/concert rehearsal, recorded live for French TV in 1971) (2004) The Four Tops: From the Heart: The 50th Anniversary Concert (2006) The Four Tops: Reach Out: Definitive Performances 1965-1973 (2008), Motown/Universal See also List of best-selling music artists References External links Four Tops biography by John Bush, discography and album reviews, credits & releases at AllMusic Four Tops discography, album releases & credits at Discogs Four Tops filmography on IMDb Four Tops Broadway musical productions at the Internet Broadway Database Four Tops discography at MusicBrainz Four Tops albums to be listened as stream on Spotify Vocal Group Hall of Fame page on the Four Tops Levi Stubbs/The Four Tops interview by Pete Lewis, 'Blues & Soul' October 1992 (republished November 2008) History of Rock article Four Tops on MySpace Four Tops appearances on The Ed Sullivan Show Ronnie McNeir 2012 Interview at Soulinterviews.com.",
"DVDs The Four Tops: Live at the MGM Grand: 40th Anniversary Special (1996) The Four Tops: The Four Tops (semi-documentary/concert rehearsal, recorded live for French TV in 1971) (2004) The Four Tops: From the Heart: The 50th Anniversary Concert (2006) The Four Tops: Reach Out: Definitive Performances 1965-1973 (2008), Motown/Universal See also List of best-selling music artists References External links Four Tops biography by John Bush, discography and album reviews, credits & releases at AllMusic Four Tops discography, album releases & credits at Discogs Four Tops filmography on IMDb Four Tops Broadway musical productions at the Internet Broadway Database Four Tops discography at MusicBrainz Four Tops albums to be listened as stream on Spotify Vocal Group Hall of Fame page on the Four Tops Levi Stubbs/The Four Tops interview by Pete Lewis, 'Blues & Soul' October 1992 (republished November 2008) History of Rock article Four Tops on MySpace Four Tops appearances on The Ed Sullivan Show Ronnie McNeir 2012 Interview at Soulinterviews.com. Musical groups established in 1953 Musical groups from Detroit African-American musical groups American soul musical groups Motown artists Northern soul musicians ABC Records artists Dunhill Records artists Chess Records artists Vocal quartets Columbia Records artists Casablanca Records artists Arista Records artists 1953 establishments in Michigan"
] |
[
"Four Tops",
"ABC Records and Casablanca Records",
"Did they move from ABC to Casablanca?",
"The Tops departed Motown for ABC-Dunhill,",
"Why did they depart motown?",
"In 1972, it was announced that the entire company would move west and that all its artists had to move as well."
] | C_a9ee71dcf4f84b50b0677e63a645e03c_1 | So the tops moved west then? | 3 | So the tops moved west in 1972? | Four Tops | Motown as a company began to change during the early 1970s. Older acts such as Martha and the Vandellas and The Marvelettes were slowly moved aside or dropped to focus on newer acts, such as Michael Jackson and The Jackson 5, Rare Earth, and the now-solo Diana Ross. In addition, the company moved its operations from Detroit to Los Angeles, California, where Berry Gordy planned to break into the motion picture and television industries. In 1972, it was announced that the entire company would move west and that all its artists had to move as well. Many of the older Motown acts, already neglected by the label, opted to stay in Detroit, including The Funk Brothers studio backing band, Martha Reeves, and the Four Tops. The Tops departed Motown for ABC-Dunhill, where they were assigned to writer-producers Dennis Lambert and Brian Potter and the label's head of A&R, Steve Barri as producer, with The Tops' own Lawrence Payton later also serving as a producer and writer. He also took over lead vocal duties on several tracks. The group's first release on the label, "Keeper of the Castle" was their first pop Top 10 hit since "Bernadette" in 1967. Follow-ups included the million-selling "Ain't No Woman (Like the One I've Got)", also a top 10 pop hit and their third R&B number 1, and the Top 20 hit, "Are You Man Enough", (from the movie "Shaft in Africa"). "Sweet Understanding Love"; "Midnight Flower"; and "One Chain Don't Make No Prison" all reached the R&B Top 10 between 1972 and 1974. Two ABC/Dunhill singles, 1974's "I Just Can't Get You Out of My Mind" and 1975's "Seven Lonely Nights" have become popular tunes in the southeast Beach/Shag Club Dance circuit. After the release of "Catfish" (a top 10 R&B hit) in 1976, the major hits started to dry up and the Tops left ABC after an album recorded in Philadelphia with the MFSB musicians resulted in only minor chart success in 1978. The group disappeared from the recording scene until the early 1980s. Signing a deal with Casablanca Records, the Tops made a comeback in 1981 with the #1 R&B hit "When She Was My Girl". Produced by David Wolfert, it just missed the Billboard pop Top 10, peaking at #11. The group also scored a UK Top 10 hit with the song and had another hit there with the follow-up, "Don't Walk Away". CANNOTANSWER | The Tops departed Motown for ABC-Dunhill, | The Four Tops are an American vocal quartet from Detroit who helped to define the city's Motown sound of the 1960s. The group's repertoire has included soul music, R&B, disco, adult contemporary, doo-wop, jazz, and show tunes.
Founded as the Four Aims, lead singer Levi Stubbs, Abdul "Duke" Fakir, Renaldo "Obie" Benson and Lawrence Payton remained together for over four decades, performing from 1953 until 1997 without a change in personnel. The Four Tops were among a number of groups, including the Miracles, the Marvelettes, Martha and the Vandellas, the Temptations, and the Supremes, who established the Motown Sound heard around the world during the 1960s. They were notable for having Stubbs, a baritone, as their lead singer, whereas most other male and mixed vocal groups of the time were fronted by tenors.
The group was the main male vocal group for the highly successful songwriting and production team of Holland–Dozier–Holland, who crafted a stream of hit singles for Motown. These included two Billboard Hot 100 number-one hits for the Tops: "I Can't Help Myself (Sugar Pie Honey Bunch)" in 1965 and "Reach Out I'll Be There" in 1966. The group continued to have chart singles into the 1970s, including the million-seller "Ain't No Woman" (1973).
The group was inducted into the Rock and Roll Hall of Fame in 1990 and into the Vocal Group Hall of Fame in 1999. In 2004, Rolling Stone ranked them #79 on its list of the 100 Greatest Artists of All Time.
The Four Tops continue to perform with Fakir as the last surviving original member.
History
Early years
All four members of the group began their careers together while they were high-school students in Detroit. At the insistence of their friends, Pershing High students Levi Stubbs and Abdul "Duke" Fakir performed with Renaldo "Obie" Benson and Lawrence Payton from Northern High at a local birthday party. The quartet decided to remain together and named the group the Four Aims. With the help of Payton's songwriter cousin Roquel Davis, the Aims signed to Chess Records in 1956, changing their name to the Four Tops to avoid confusion with the Ames Brothers.
Over the next seven years, the Tops had unsuccessful tenures at Chess, Red Top, Riverside Records and Columbia Records. Without any hit records to their name, they toured frequently, developing a polished stage presence and an experienced supper club act, as well as supporting Billy Eckstine. In 1963, Berry Gordy, Jr., who had worked with Roquel "Billy" Davis as a songwriter in the late 1950s, convinced the Tops to join the roster of his growing Motown record company.
Joining Motown
During their early Motown years, the Four Tops recorded jazz standards for the company's Workshop Jazz Records label. In addition, they sang backup on Motown singles by the Supremes ("Run, Run, Run", 1964), Martha and the Vandellas (on the 1966 hit "My Baby Loves Me") and others.
In 1964, Motown's main songwriting and production team, Holland–Dozier–Holland, created a complete instrumental track without any idea of what to do with it. They decided to craft the song as a more mainstream pop song for the Four Tops and proceeded to create "Baby I Need Your Loving" from the instrumental track. On its release in mid-1964, "Baby I Need Your Loving" made it to number 11 on the Billboard Hot 100.
The first follow-up single, "Without the One You Love (Life's Not Worth While)" (1964), just missed both the pop and R&B Top 40 charts, but "Ask the Lonely" (1965), written and produced by Motown A&R head William "Mickey" Stevenson with Ivy Jo Hunter, was a Top 30 pop hit and a Top 10 R&B hit in early 1965.
Success
After their first number 1 hit, "I Can't Help Myself (Sugar Pie, Honey Bunch)" in June 1965, the Four Tops released a long series of successful hit singles. Among the first wave of these hits were the Top 10 "It's the Same Old Song" (1965), "Something About You" (1965), "Shake Me, Wake Me (When It's Over)" (1966), and "Loving You Is Sweeter Than Ever" (1966).
Holland-Dozier-Holland wrote most of Levi Stubbs's vocals in a tenor range, near the top of his range, in order to get a sense of strained urgency in his gospel preacher-inspired leads. They also wrote additional background vocals for a female group, the Andantes, on many of the songs, to add a high end to the low-voiced harmony of the Tops. Ivy Jo Hunter's "Loving You Is Sweeter Than Ever" (1966) was one of a few exceptions.
August 1966 brought the release of the Four Tops' all-time biggest hit and one of the most popular Motown songs ever. "Reach Out I'll Be There" reached number 1 on the U.S. pop and R&B charts and the UK chart and soon became the Tops' signature song. It was almost immediately followed by the similar-sounding "Standing in the Shadows of Love"; its depiction of heartbreak reflecting the opposite of the optimism in "Reach Out". It was another Top 10 hit for the Tops.
The Top 10 U.S. hit "Bernadette" centered around a man's all-consuming obsession with his lover, continued the Four Tops' successful run into April 1967, followed by the Top 20 hits "7-Rooms of Gloom", and "You Keep Running Away". By now, the Tops were the most successful male Motown act in the United Kingdom (in the United States, they were second to the Temptations), and began experimenting with more mainstream pop hits. They scored hits with their versions of Tim Hardin's "If I Were a Carpenter" in late 1967 (mid-1968 in the U.S.) and the Left Banke's "Walk Away Renée" in early 1968. These singles and the original "I'm in a Different World" were their last hits produced by Holland-Dozier-Holland, who left Motown in 1967 after disputes with Berry Gordy, Jr.
Late Motown period
Without Holland-Dozier-Holland, the hits became less frequent. The group worked with a wide array of Motown producers during the late 1960s, including Ivy Jo Hunter, Nickolas Ashford & Valerie Simpson, Norman Whitfield and Johnny Bristol, without significant chart success.
Their first major hit in a long time came in the form of 1970's "It's All in the Game", a pop Top 30/R&B Top Ten hit produced by Frank Wilson. Wilson and the Tops began working on a number of innovative tracks and albums together, echoing Whitfield's psychedelic soul work with the Temptations. Their 1970 album Still Waters Run Deep was a forerunner of the concept album. It also served as an inspiration for Marvin Gaye's 1971 classic album What's Going On, the title track of which was co-written by the Tops' Renaldo "Obie" Benson.
In addition to their own albums, the Tops were paired with The Supremes, who had just replaced lead singer Diana Ross with Jean Terrell, for a series of albums billed under the joint title The Magnificent 7 in 1970, and The Return of the Magnificent Seven and Dynamite! in 1971. Whilst the albums themselves did not perform really well on the charts, The Magnificent Seven featured a Top 20 version of Ike & Tina Turner's "River Deep - Mountain High", produced by Ashford & Simpson.
The 1971 single "A Simple Game" featured backing vocals from members of The Moody Blues. The song did not fare well on the U.S. charts, but reached number three on the UK chart.
ABC/Dunhill Records and Casablanca Records
Motown as a company began to change during the early 1970s. Older acts such as Martha and the Vandellas and The Marvelettes were slowly moved aside or dropped to focus on newer acts, such as Michael Jackson and The Jackson 5, Rare Earth, and the now-solo Diana Ross. In addition, the company moved its operations from Detroit to Los Angeles, California, where Berry Gordy, Jr. planned to break into the motion picture and television industries. In 1972, it was announced that the entire company would move west and that all its artists had to move as well. Many of the older Motown acts, already neglected by the label, opted to stay in Detroit, including The Funk Brothers studio backing band, Martha Reeves, and the Four Tops.
The Tops departed Motown for ABC-Dunhill, where they were assigned to writer-producers Dennis Lambert and Brian Potter and the label's head of A&R, Steve Barri as producer, with The Tops' own Lawrence Payton later also serving as a producer and writer. He also took over lead vocal duties on several tracks.
The group's first release on the label, "Keeper of the Castle" (1972) was their first pop Top 10 hit since "Bernadette" in 1967. Follow-ups included the 1973 million-selling "Ain't No Woman (Like the One I've Got)", also a top 10 pop hit and their third R&B number 1, and the Top 20 hit, "Are You Man Enough" (1973), (from the 1973 movie Shaft in Africa). "Sweet Understanding Love" (1973); "Midnight Flower (1974); and "One Chain Don't Make No Prison" (1974) all reached the R&B Top 10 between 1972 and 1974. Two ABC/Dunhill singles, 1974's "I Just Can't Get You Out of My Mind" and 1975's "Seven Lonely Nights" have become popular tunes in the southeast Beach/Shag Club Dance circuit.
After the release of "Catfish" (a top 10 R&B hit) in 1976, the major hits started to dry up and the Tops left ABC after an album recorded in Philadelphia with the MFSB musicians resulted in only minor chart success in 1978. The group disappeared from the recording scene until the early 1980s. Signing a deal with Casablanca Records, the Tops made a comeback in 1981 with the number 1 R&B hit "When She Was My Girl". Produced by David Wolfert, it just missed the Billboard pop Top 10, peaking at number 11. The group also scored a UK Top 10 hit with the song and had another hit there with the follow-up, "Don't Walk Away". In 1982, their song "Back to School Again" appeared in both the movie Grease 2 and its soundtrack.
Return to Motown
By 1983, The Tops had rejoined Motown, where their former ABC-Dunhill producer, Barri was vice-president of A&R. They were featured on the company's 1983 television special Motown 25: Yesterday, Today, Forever, taking part in one of the highlights of the show - a battle of the bands between The Tops and The Temptations, patterned after similar competitions Berry Gordy, Jr. had staged during the 1960s. Levi Stubbs and Temptation Otis Williams decided the Temptations/Tops battle would be a good one to take on the road, and both groups began semi-regular joint tours.
The first of The Tops' albums under their new Motown contract was Back Where I Belong (1983). A whole side of the album was produced by the Holland-Dozier-Holland production team, including the R&B Top 40 single "I Just Can't Walk Away". Only one more Tops album would be released by Motown, Magic in 1985. The lead single from that album, "Sexy Ways", was almost a Top 20 R&B hit, peaking at number 21 in mid-1985. In July of that year, the group performed at the Live Aid concert, singing five of their hit songs.
The title track of 1988's Indestructible was the group's final Top 40 hit, reaching No. 35. It was also featured in the 1988 science-fiction cop film Alien Nation. Another track, "Loco in Acapulco", written and produced by British pop musician Phil Collins and former Motown composer-producer Lamont Dozier, climbed into the UK Top 10 and made number 7 in early 1989. The Arista contract provided an opportunity to pair Levi Stubbs with fellow Arista artist, another R&B vocalist from Detroit, Aretha Franklin, who was at the height of her own 1980s hit streak. This pairing resulted in the 1988 song "If Ever a Love There Was", which became a popular R&B and Adult Contemporary hit, as well as being featured on the soundtrack of the 1988 motion picture I'm Gonna Git You Sucka.
In December 1988, Pan Am Flight 103 (a disaster known as the Lockerbie bombing) became the group's scheduled return flight to the U.S. for Christmas after completing their European tour. A prolonged recording session and a performance at the British television show Top of the Pops caused them to oversleep and miss the ill-fated flight which crashed in Lockerbie, Scotland, after a terrorist bomb was detonated on board. They left London on a later British Airways flight.
Later years
From the late 1980s, the Four Tops focused on touring and live performances. They recorded only one album, returning again to Motown for 1995's Christmas Here with You. On June 20, 1997, 59-year-old Lawrence Payton died as a result of liver cancer, after singing for 44 years with the Four Tops who, unlike many other Motown groups, never had a single lineup change until then. At first, Levi Stubbs, Renaldo "Obie" Benson, and Abdul "Duke" Fakir toured as a trio called The Tops. In 1998, they recruited former member of the Temptations Theo Peoples to restore the group to a quartet. By the turn of the century, Stubbs had become ill from cancer; Ronnie McNeir was recruited to fill the Lawrence Payton position and Theo Peoples stepped into Stubbs' shoes as lead singer. Stubbs later died on October 17, 2008 at his home in Detroit.
The group was featured in several television specials during this time, including Motown 45, and several by PBS, including a 50th-anniversary concert dedicated to the group (available on DVD). The concert turned out to be bittersweet; it featured a brief appearance of Levi Stubbs using a wheelchair, and a memorial to Lawrence Payton, announced by Renaldo "Obie" Benson. Benson appeared on one more PBS special and died on July 1, 2005, from lung cancer. The final PBS special, titled Motown: The Early Years, featured a message of Benson's passing following the credits.
The group was inducted into the Rock and Roll Hall of Fame in 1990, and into the Vocal Group Hall of Fame in 1999. In 2004, Rolling Stone ranked them #79 on their list of the 100 Greatest Artists of All Time. The Four Tops were inducted into the Michigan Rock and Roll Legends Hall of Fame in 2005.
The Four Tops sang the National Anthem before the start of game 5 for the 2011 baseball American League Championship Series (ALCS) between the Texas Rangers & Detroit Tigers on October 13, 2011 in Detroit, MI. When singing the last line of "The Star-Spangled Banner", "... and the home of the brave", they quickly sang the words "Ain't No country Like the One I Got", before singing the last word, "brave". The Four Tops were honored with an induction into the R&B Music Hall of Fame at the Inaugural ceremony held at Cleveland State University's Waetejen Auditorium on Saturday August 17, 2013.
The Four Tops were among hundreds of artists whose material was destroyed in the 2008 Universal fire.
The Four Tops career awards
The Four Tops have won many awards, including the following:
Rock and Roll Hall of Fame (1990)
Vocal Group Hall of Fame (1999)
Hollywood Walk of Fame (1997)
Grammy Hall of Fame (Reach Out I'll Be There-1998)("I Can't Help Myself (Sugar Pie Honey Bunch-2018)
Grammy Lifetime Achievement Award (2009-51st Annual Grammy Awards)
Rhythm and Blues Foundation Pioneer Award (1997)
Billboard magazine Top 100 Artists of All Time(#77)
R&B Music Hall of Fame Induction (2013)
100 Greatest Artists of All Time (#79-Rolling Stone)
Rolling Stone's 500 Greatest Songs of All Time (2003)
Michigan Rock and Roll Legends Hall of Fame
Grammy Lifetime Achievement Award
In early 2018, The Four Tops' 1965 #1 Pop Hit, "I Can't Help Myself (Sugar Pie Honey Bunch)" became their second song to be inducted into The Grammy Hall of Fame.
Personnel
Current Members
Abdul “Duke” Fakir (1953-present)
Ronnie McNeir (1999-present)
Lawrence Payton Jr. (2005-present)
Alexander Morris (2019-present)
Former Members
Levi Stubbs (1953-2000, 2004) (d. 2008)
Renaldo “Obie” Benson (1953-2005) (d. 2005)
Lawrence Payton (1953-1997) (d. 1997)
Theo Peoples (1998-2010)
Harold Bonhart (2010-2018)
Discography
Albums
Motown releases
1965: Four Tops (US #63; UK #2)
1965: Four Tops' Second Album (US #20)
1966: Four Tops Live! (US #17; UK #4)
1966: On Top (US #32; UK #9)
1967: Four Tops' Greatest Hits (US #4; UK #1)
1967: Reach Out (US #11; UK #6)
1967: Four Tops on Broadway (US #79)
1968: Yesterday's Dreams (US #91)
1969: Four Tops Now! (US #74)
1969: Soul Spin (US #163)
1970: Still Waters Run Deep (US #21)
1970: Changing Times (US #109)
1970: The Magnificent 7 (with The Supremes) (US #113; UK #6)
1971: The Return of the Magnificent Seven (with The Supremes) (US #154)
1971: Dynamite (with the Supremes) (US #160)
1971: Mac Arthur Park
1972: Nature Planned It (US #50)
1973: The Best of the 4 Tops (US #103)
ABC releases
1972: Keeper of the Castle (US #33)
1973: Main Street People (US #66)
1974: Meeting of the Minds (US #118)
1974: Live & in Concert (US #92)
1975: Night Lights Harmony (US #148)
1976: Catfish (US #124)
1977: The Show Must Go On
1978: At the Top
Casablanca releases
1981: Tonight! (US #37)
1982: One More Mountain
Motown releases
1983: Back Where I Belong
1985: Magic (US #140)
1986: Hot Nights (unreleased)
Arista releases
1988: Indestructible (US #149)
Motown releases
1995: Christmas Here with You
Prism Leisure releases
2000: The Four Tops Collection (recorded live at the MGM grand 1996)
U.S. Billboard Hot 100 and UK singles
The following singles reached the top 30 of the U.S. and UK singles charts.
DVDs
The Four Tops: Live at the MGM Grand: 40th Anniversary Special (1996)
The Four Tops: The Four Tops (semi-documentary/concert rehearsal, recorded live for French TV in 1971) (2004)
The Four Tops: From the Heart: The 50th Anniversary Concert (2006)
The Four Tops: Reach Out: Definitive Performances 1965-1973 (2008), Motown/Universal
See also
List of best-selling music artists
References
External links
Four Tops biography by John Bush, discography and album reviews, credits & releases at AllMusic
Four Tops discography, album releases & credits at Discogs
Four Tops filmography on IMDb
Four Tops Broadway musical productions at the Internet Broadway Database
Four Tops discography at MusicBrainz
Four Tops albums to be listened as stream on Spotify
Vocal Group Hall of Fame page on the Four Tops
Levi Stubbs/The Four Tops interview by Pete Lewis, 'Blues & Soul' October 1992 (republished November 2008)
History of Rock article
Four Tops on MySpace
Four Tops appearances on The Ed Sullivan Show
Ronnie McNeir 2012 Interview at Soulinterviews.com.
Musical groups established in 1953
Musical groups from Detroit
African-American musical groups
American soul musical groups
Motown artists
Northern soul musicians
ABC Records artists
Dunhill Records artists
Chess Records artists
Vocal quartets
Columbia Records artists
Casablanca Records artists
Arista Records artists
1953 establishments in Michigan | true | [
"TOPS (Transcendental OPerating System) is a peer-to-peer LAN-based file sharing system best known in its Macintosh implementation, but also available for DOS and able to interoperate with Unix's NFS. Originally written by Centram Systems West, the company was purchased by Sun Microsystems as part of Sun's development of the NFS ecosystem. The Centram company was renamed to TOPS after its acquisition by Sun. Sales of TOPS dried up after the introduction of System 7, which featured a similar file sharing system built-in, and Sun spun off their NFS developments to Sitka.\n\nEarly versions\nTOPS was implemented in the 1980s, an era where each computer system featured its own networking protocol and were generally unable to talk to each other. At the time Apple was in the midst of the Macintosh Office effort, and was working with two external companies to develop the Apple Filing Protocol (AFP), built on top of AppleTalk. The Macintosh Office effort ultimately failed, and one of the two companies, Centram, decided to implement a similar system on their own. This became the first version of TOPS.\n\nWhen TOPS was originally released there was no peer-to-peer file sharing solution on the Mac. According to PC Magazine, connecting a Mac to an Apple LaserWriter printer was the initial intended function of AppleTalk. Apple's own file sharing solution, AppleShare, was not released until later, and unlike TOPS it required a dedicated server machine to run on, at least a Mac Plus. For smaller offices TOPS was an attractive low-cost solution, and saw relatively widespread use. Even after the introduction of AppleShare, TOPS managed to hold on to an estimated 600,000 client installs.\n\nTOPS was initially a protocol using a custom set of remote procedure calls and able to talk only between TOPS clients. PCs generally lacked networking of any sort, and Centram addressed this problem by introducing a line of LocalTalk cards for the PC, along with a TOPS client. Files could be exchanged between the two computers, with filename conversion as required.\n\nFlashTalk\nCentram later introduced the \"FlashTalk\" networking system that used external clocking to improve LocalTalk performance. The Zilog SCC powering the serial ports on the Mac used an internal 3.6864 MHz clock that could then be divided down to provide different standard bit rates. The fastest rate available internally was 230.4 kbit/s, used by LocalTalk. However, the system also allowed the clock to be read from a pin in the serial port, giving rise to the possibility of faster speeds with the right external equipment.\n\nFlashTalk combined a conventional LocalTalk-like dongle with a clocking source and an external power supply. Using these connectors, and the associated software, TOPS could run at 770 kbit/s. This was not only a fairly dramatic improvement over LocalTalk, but also relatively speedy overall in an era when 1 Mbit/s networks were still common.\n\nTCP/IP Support\nAfter the Sun purchase, TOPS was given the problem of making a client that could also access Sun file shares using NFS. Centram solved this problem by porting their file sharing protocol to TCP/IP. This was not trivial; neither Mac OS nor Windows supported TCP/IP \"out of the box\", so what was now the TOPS Division of Sun had to write a complete IP stack for the Mac and Windows. Centram had already written such a stack for their \"TOPS Terminal\", a freeware (but not open source) Telnet terminal for the Mac.\n\nAdditionally, the majority of Macintosh systems used LocalTalk (or PhoneNet) for connectivity, and could not be directly connected to the Ethernet-based Unix LANs. They worked around this problem by supporting an emerging LocalTalk-to-Ethernet bridging standard known as \"KIP\", short for Kinetics Internet Protocol. KIP encapsulated TCP/IP packets inside AppleTalk packets, allowing them to be sent over existing LocalTalk connections. Dedicated KIP-supporting network bridges were available that stripped off the AppleTalk packaging, re-formed the IP packets inside, and sent them out over Ethernet.\n\nOne limitation of the TCP stack was that it did not support DNS, requiring users to type in IP addresses of the peers they wanted to communicate with. In a network of mostly Macs or Windows PCs this was not an issue, as DNS was not widely used with these systems at that time. KIP also reduced the need for DNS, as it allowed a Mac's existing Address Resolution Protocol (AARP) code within AppleTalk to look up the AppleTalk address of the remote peer, and then communicate with the TOPS stack on that machine to find the corresponding IP address.\n\nTOPS also added the new \"InBox Personal Connection\" e-mail system, first developed by Symantec.\n\nDecline\nTOPS' attractiveness was seriously eroded with the introduction of System 7 in 1991. TOPS had initially competed against the dedicated-server AppleShare, but System 7 included a file sharing server built-in, one that proved to be much faster than then-current versions of TOPS. TOPS sales dwindled and Sun spun off the division as Sitka, before closing it entirely in 1993.\n\nSee also\n MacServe\n Macintosh Office\n\nReferences\n\nNetwork file systems\nSun Microsystems software\nMacintosh platform\n1986 software\nComputer-related introductions in 1986",
"A spar tree is the tree used as the highest anchor point in a high lead cable logging setup. The spar tree is selected based on height, location and especially strength and lack of rot in order to withstand the weight and pressure required. Once a spar tree is selected, a climber would remove the tree's limbs and top the tree (a logging term for cutting off the top of the tree). Block and tackle is then affixed to the tree and cabling is run.\n\nA \"high climber\" is the member of the logging crew who scales the tree, limbs it, and tops it.\n\nSelecting a tree as a spar is a particularly important task, so the strength and importance of the spar came to hold symbolic meaning for early loggers of the West.\n\nThe use of spar trees in logging is now rare, having been replaced since the 1970s by portable towers, called yarders, which can be erected on logging sites and moved as needed.\n\nExternal links \n High Climbing\n\nLogging"
] | [
"The Four Tops are an American vocal quartet from Detroit who helped to define the city's Motown sound of the 1960s. The group's repertoire has included soul music, R&B, disco, adult contemporary, doo-wop, jazz, and show tunes.",
"The group's repertoire has included soul music, R&B, disco, adult contemporary, doo-wop, jazz, and show tunes. Founded as the Four Aims, lead singer Levi Stubbs, Abdul \"Duke\" Fakir, Renaldo \"Obie\" Benson and Lawrence Payton remained together for over four decades, performing from 1953 until 1997 without a change in personnel.",
"Founded as the Four Aims, lead singer Levi Stubbs, Abdul \"Duke\" Fakir, Renaldo \"Obie\" Benson and Lawrence Payton remained together for over four decades, performing from 1953 until 1997 without a change in personnel. The Four Tops were among a number of groups, including the Miracles, the Marvelettes, Martha and the Vandellas, the Temptations, and the Supremes, who established the Motown Sound heard around the world during the 1960s.",
"The Four Tops were among a number of groups, including the Miracles, the Marvelettes, Martha and the Vandellas, the Temptations, and the Supremes, who established the Motown Sound heard around the world during the 1960s. They were notable for having Stubbs, a baritone, as their lead singer, whereas most other male and mixed vocal groups of the time were fronted by tenors.",
"They were notable for having Stubbs, a baritone, as their lead singer, whereas most other male and mixed vocal groups of the time were fronted by tenors. The group was the main male vocal group for the highly successful songwriting and production team of Holland–Dozier–Holland, who crafted a stream of hit singles for Motown.",
"The group was the main male vocal group for the highly successful songwriting and production team of Holland–Dozier–Holland, who crafted a stream of hit singles for Motown. These included two Billboard Hot 100 number-one hits for the Tops: \"I Can't Help Myself (Sugar Pie Honey Bunch)\" in 1965 and \"Reach Out I'll Be There\" in 1966.",
"These included two Billboard Hot 100 number-one hits for the Tops: \"I Can't Help Myself (Sugar Pie Honey Bunch)\" in 1965 and \"Reach Out I'll Be There\" in 1966. The group continued to have chart singles into the 1970s, including the million-seller \"Ain't No Woman\" (1973).",
"The group continued to have chart singles into the 1970s, including the million-seller \"Ain't No Woman\" (1973). The group was inducted into the Rock and Roll Hall of Fame in 1990 and into the Vocal Group Hall of Fame in 1999.",
"The group was inducted into the Rock and Roll Hall of Fame in 1990 and into the Vocal Group Hall of Fame in 1999. In 2004, Rolling Stone ranked them #79 on its list of the 100 Greatest Artists of All Time. The Four Tops continue to perform with Fakir as the last surviving original member.",
"The Four Tops continue to perform with Fakir as the last surviving original member. History Early years All four members of the group began their careers together while they were high-school students in Detroit.",
"History Early years All four members of the group began their careers together while they were high-school students in Detroit. At the insistence of their friends, Pershing High students Levi Stubbs and Abdul \"Duke\" Fakir performed with Renaldo \"Obie\" Benson and Lawrence Payton from Northern High at a local birthday party.",
"At the insistence of their friends, Pershing High students Levi Stubbs and Abdul \"Duke\" Fakir performed with Renaldo \"Obie\" Benson and Lawrence Payton from Northern High at a local birthday party. The quartet decided to remain together and named the group the Four Aims.",
"The quartet decided to remain together and named the group the Four Aims. With the help of Payton's songwriter cousin Roquel Davis, the Aims signed to Chess Records in 1956, changing their name to the Four Tops to avoid confusion with the Ames Brothers.",
"With the help of Payton's songwriter cousin Roquel Davis, the Aims signed to Chess Records in 1956, changing their name to the Four Tops to avoid confusion with the Ames Brothers. Over the next seven years, the Tops had unsuccessful tenures at Chess, Red Top, Riverside Records and Columbia Records.",
"Over the next seven years, the Tops had unsuccessful tenures at Chess, Red Top, Riverside Records and Columbia Records. Without any hit records to their name, they toured frequently, developing a polished stage presence and an experienced supper club act, as well as supporting Billy Eckstine.",
"Without any hit records to their name, they toured frequently, developing a polished stage presence and an experienced supper club act, as well as supporting Billy Eckstine. In 1963, Berry Gordy, Jr., who had worked with Roquel \"Billy\" Davis as a songwriter in the late 1950s, convinced the Tops to join the roster of his growing Motown record company.",
"In 1963, Berry Gordy, Jr., who had worked with Roquel \"Billy\" Davis as a songwriter in the late 1950s, convinced the Tops to join the roster of his growing Motown record company. Joining Motown During their early Motown years, the Four Tops recorded jazz standards for the company's Workshop Jazz Records label.",
"Joining Motown During their early Motown years, the Four Tops recorded jazz standards for the company's Workshop Jazz Records label. In addition, they sang backup on Motown singles by the Supremes (\"Run, Run, Run\", 1964), Martha and the Vandellas (on the 1966 hit \"My Baby Loves Me\") and others.",
"In addition, they sang backup on Motown singles by the Supremes (\"Run, Run, Run\", 1964), Martha and the Vandellas (on the 1966 hit \"My Baby Loves Me\") and others. In 1964, Motown's main songwriting and production team, Holland–Dozier–Holland, created a complete instrumental track without any idea of what to do with it.",
"In 1964, Motown's main songwriting and production team, Holland–Dozier–Holland, created a complete instrumental track without any idea of what to do with it. They decided to craft the song as a more mainstream pop song for the Four Tops and proceeded to create \"Baby I Need Your Loving\" from the instrumental track.",
"They decided to craft the song as a more mainstream pop song for the Four Tops and proceeded to create \"Baby I Need Your Loving\" from the instrumental track. On its release in mid-1964, \"Baby I Need Your Loving\" made it to number 11 on the Billboard Hot 100.",
"On its release in mid-1964, \"Baby I Need Your Loving\" made it to number 11 on the Billboard Hot 100. The first follow-up single, \"Without the One You Love (Life's Not Worth While)\" (1964), just missed both the pop and R&B Top 40 charts, but \"Ask the Lonely\" (1965), written and produced by Motown A&R head William \"Mickey\" Stevenson with Ivy Jo Hunter, was a Top 30 pop hit and a Top 10 R&B hit in early 1965.",
"The first follow-up single, \"Without the One You Love (Life's Not Worth While)\" (1964), just missed both the pop and R&B Top 40 charts, but \"Ask the Lonely\" (1965), written and produced by Motown A&R head William \"Mickey\" Stevenson with Ivy Jo Hunter, was a Top 30 pop hit and a Top 10 R&B hit in early 1965. Success After their first number 1 hit, \"I Can't Help Myself (Sugar Pie, Honey Bunch)\" in June 1965, the Four Tops released a long series of successful hit singles.",
"Success After their first number 1 hit, \"I Can't Help Myself (Sugar Pie, Honey Bunch)\" in June 1965, the Four Tops released a long series of successful hit singles. Among the first wave of these hits were the Top 10 \"It's the Same Old Song\" (1965), \"Something About You\" (1965), \"Shake Me, Wake Me (When It's Over)\" (1966), and \"Loving You Is Sweeter Than Ever\" (1966).",
"Among the first wave of these hits were the Top 10 \"It's the Same Old Song\" (1965), \"Something About You\" (1965), \"Shake Me, Wake Me (When It's Over)\" (1966), and \"Loving You Is Sweeter Than Ever\" (1966). Holland-Dozier-Holland wrote most of Levi Stubbs's vocals in a tenor range, near the top of his range, in order to get a sense of strained urgency in his gospel preacher-inspired leads.",
"Holland-Dozier-Holland wrote most of Levi Stubbs's vocals in a tenor range, near the top of his range, in order to get a sense of strained urgency in his gospel preacher-inspired leads. They also wrote additional background vocals for a female group, the Andantes, on many of the songs, to add a high end to the low-voiced harmony of the Tops.",
"They also wrote additional background vocals for a female group, the Andantes, on many of the songs, to add a high end to the low-voiced harmony of the Tops. Ivy Jo Hunter's \"Loving You Is Sweeter Than Ever\" (1966) was one of a few exceptions.",
"Ivy Jo Hunter's \"Loving You Is Sweeter Than Ever\" (1966) was one of a few exceptions. August 1966 brought the release of the Four Tops' all-time biggest hit and one of the most popular Motown songs ever.",
"August 1966 brought the release of the Four Tops' all-time biggest hit and one of the most popular Motown songs ever. \"Reach Out I'll Be There\" reached number 1 on the U.S. pop and R&B charts and the UK chart and soon became the Tops' signature song.",
"\"Reach Out I'll Be There\" reached number 1 on the U.S. pop and R&B charts and the UK chart and soon became the Tops' signature song. It was almost immediately followed by the similar-sounding \"Standing in the Shadows of Love\"; its depiction of heartbreak reflecting the opposite of the optimism in \"Reach Out\".",
"It was almost immediately followed by the similar-sounding \"Standing in the Shadows of Love\"; its depiction of heartbreak reflecting the opposite of the optimism in \"Reach Out\". It was another Top 10 hit for the Tops.",
"It was another Top 10 hit for the Tops. The Top 10 U.S. hit \"Bernadette\" centered around a man's all-consuming obsession with his lover, continued the Four Tops' successful run into April 1967, followed by the Top 20 hits \"7-Rooms of Gloom\", and \"You Keep Running Away\".",
"The Top 10 U.S. hit \"Bernadette\" centered around a man's all-consuming obsession with his lover, continued the Four Tops' successful run into April 1967, followed by the Top 20 hits \"7-Rooms of Gloom\", and \"You Keep Running Away\". By now, the Tops were the most successful male Motown act in the United Kingdom (in the United States, they were second to the Temptations), and began experimenting with more mainstream pop hits.",
"By now, the Tops were the most successful male Motown act in the United Kingdom (in the United States, they were second to the Temptations), and began experimenting with more mainstream pop hits. They scored hits with their versions of Tim Hardin's \"If I Were a Carpenter\" in late 1967 (mid-1968 in the U.S.) and the Left Banke's \"Walk Away Renée\" in early 1968.",
"They scored hits with their versions of Tim Hardin's \"If I Were a Carpenter\" in late 1967 (mid-1968 in the U.S.) and the Left Banke's \"Walk Away Renée\" in early 1968. These singles and the original \"I'm in a Different World\" were their last hits produced by Holland-Dozier-Holland, who left Motown in 1967 after disputes with Berry Gordy, Jr. Late Motown period Without Holland-Dozier-Holland, the hits became less frequent.",
"These singles and the original \"I'm in a Different World\" were their last hits produced by Holland-Dozier-Holland, who left Motown in 1967 after disputes with Berry Gordy, Jr. Late Motown period Without Holland-Dozier-Holland, the hits became less frequent. The group worked with a wide array of Motown producers during the late 1960s, including Ivy Jo Hunter, Nickolas Ashford & Valerie Simpson, Norman Whitfield and Johnny Bristol, without significant chart success.",
"The group worked with a wide array of Motown producers during the late 1960s, including Ivy Jo Hunter, Nickolas Ashford & Valerie Simpson, Norman Whitfield and Johnny Bristol, without significant chart success. Their first major hit in a long time came in the form of 1970's \"It's All in the Game\", a pop Top 30/R&B Top Ten hit produced by Frank Wilson.",
"Their first major hit in a long time came in the form of 1970's \"It's All in the Game\", a pop Top 30/R&B Top Ten hit produced by Frank Wilson. Wilson and the Tops began working on a number of innovative tracks and albums together, echoing Whitfield's psychedelic soul work with the Temptations.",
"Wilson and the Tops began working on a number of innovative tracks and albums together, echoing Whitfield's psychedelic soul work with the Temptations. Their 1970 album Still Waters Run Deep was a forerunner of the concept album.",
"Their 1970 album Still Waters Run Deep was a forerunner of the concept album. It also served as an inspiration for Marvin Gaye's 1971 classic album What's Going On, the title track of which was co-written by the Tops' Renaldo \"Obie\" Benson.",
"It also served as an inspiration for Marvin Gaye's 1971 classic album What's Going On, the title track of which was co-written by the Tops' Renaldo \"Obie\" Benson. In addition to their own albums, the Tops were paired with The Supremes, who had just replaced lead singer Diana Ross with Jean Terrell, for a series of albums billed under the joint title The Magnificent 7 in 1970, and The Return of the Magnificent Seven and Dynamite!",
"In addition to their own albums, the Tops were paired with The Supremes, who had just replaced lead singer Diana Ross with Jean Terrell, for a series of albums billed under the joint title The Magnificent 7 in 1970, and The Return of the Magnificent Seven and Dynamite! in 1971.",
"in 1971. in 1971. Whilst the albums themselves did not perform really well on the charts, The Magnificent Seven featured a Top 20 version of Ike & Tina Turner's \"River Deep - Mountain High\", produced by Ashford & Simpson. The 1971 single \"A Simple Game\" featured backing vocals from members of The Moody Blues.",
"The 1971 single \"A Simple Game\" featured backing vocals from members of The Moody Blues. The song did not fare well on the U.S. charts, but reached number three on the UK chart. ABC/Dunhill Records and Casablanca Records Motown as a company began to change during the early 1970s.",
"ABC/Dunhill Records and Casablanca Records Motown as a company began to change during the early 1970s. Older acts such as Martha and the Vandellas and The Marvelettes were slowly moved aside or dropped to focus on newer acts, such as Michael Jackson and The Jackson 5, Rare Earth, and the now-solo Diana Ross.",
"Older acts such as Martha and the Vandellas and The Marvelettes were slowly moved aside or dropped to focus on newer acts, such as Michael Jackson and The Jackson 5, Rare Earth, and the now-solo Diana Ross. In addition, the company moved its operations from Detroit to Los Angeles, California, where Berry Gordy, Jr. planned to break into the motion picture and television industries.",
"In addition, the company moved its operations from Detroit to Los Angeles, California, where Berry Gordy, Jr. planned to break into the motion picture and television industries. In 1972, it was announced that the entire company would move west and that all its artists had to move as well.",
"In 1972, it was announced that the entire company would move west and that all its artists had to move as well. Many of the older Motown acts, already neglected by the label, opted to stay in Detroit, including The Funk Brothers studio backing band, Martha Reeves, and the Four Tops.",
"Many of the older Motown acts, already neglected by the label, opted to stay in Detroit, including The Funk Brothers studio backing band, Martha Reeves, and the Four Tops. The Tops departed Motown for ABC-Dunhill, where they were assigned to writer-producers Dennis Lambert and Brian Potter and the label's head of A&R, Steve Barri as producer, with The Tops' own Lawrence Payton later also serving as a producer and writer.",
"The Tops departed Motown for ABC-Dunhill, where they were assigned to writer-producers Dennis Lambert and Brian Potter and the label's head of A&R, Steve Barri as producer, with The Tops' own Lawrence Payton later also serving as a producer and writer. He also took over lead vocal duties on several tracks.",
"He also took over lead vocal duties on several tracks. The group's first release on the label, \"Keeper of the Castle\" (1972) was their first pop Top 10 hit since \"Bernadette\" in 1967.",
"The group's first release on the label, \"Keeper of the Castle\" (1972) was their first pop Top 10 hit since \"Bernadette\" in 1967. Follow-ups included the 1973 million-selling \"Ain't No Woman (Like the One I've Got)\", also a top 10 pop hit and their third R&B number 1, and the Top 20 hit, \"Are You Man Enough\" (1973), (from the 1973 movie Shaft in Africa).",
"Follow-ups included the 1973 million-selling \"Ain't No Woman (Like the One I've Got)\", also a top 10 pop hit and their third R&B number 1, and the Top 20 hit, \"Are You Man Enough\" (1973), (from the 1973 movie Shaft in Africa). \"Sweet Understanding Love\" (1973); \"Midnight Flower (1974); and \"One Chain Don't Make No Prison\" (1974) all reached the R&B Top 10 between 1972 and 1974.",
"\"Sweet Understanding Love\" (1973); \"Midnight Flower (1974); and \"One Chain Don't Make No Prison\" (1974) all reached the R&B Top 10 between 1972 and 1974. Two ABC/Dunhill singles, 1974's \"I Just Can't Get You Out of My Mind\" and 1975's \"Seven Lonely Nights\" have become popular tunes in the southeast Beach/Shag Club Dance circuit.",
"Two ABC/Dunhill singles, 1974's \"I Just Can't Get You Out of My Mind\" and 1975's \"Seven Lonely Nights\" have become popular tunes in the southeast Beach/Shag Club Dance circuit. After the release of \"Catfish\" (a top 10 R&B hit) in 1976, the major hits started to dry up and the Tops left ABC after an album recorded in Philadelphia with the MFSB musicians resulted in only minor chart success in 1978.",
"After the release of \"Catfish\" (a top 10 R&B hit) in 1976, the major hits started to dry up and the Tops left ABC after an album recorded in Philadelphia with the MFSB musicians resulted in only minor chart success in 1978. The group disappeared from the recording scene until the early 1980s.",
"The group disappeared from the recording scene until the early 1980s. Signing a deal with Casablanca Records, the Tops made a comeback in 1981 with the number 1 R&B hit \"When She Was My Girl\". Produced by David Wolfert, it just missed the Billboard pop Top 10, peaking at number 11.",
"Produced by David Wolfert, it just missed the Billboard pop Top 10, peaking at number 11. The group also scored a UK Top 10 hit with the song and had another hit there with the follow-up, \"Don't Walk Away\".",
"The group also scored a UK Top 10 hit with the song and had another hit there with the follow-up, \"Don't Walk Away\". In 1982, their song \"Back to School Again\" appeared in both the movie Grease 2 and its soundtrack.",
"In 1982, their song \"Back to School Again\" appeared in both the movie Grease 2 and its soundtrack. Return to Motown By 1983, The Tops had rejoined Motown, where their former ABC-Dunhill producer, Barri was vice-president of A&R.",
"Return to Motown By 1983, The Tops had rejoined Motown, where their former ABC-Dunhill producer, Barri was vice-president of A&R. They were featured on the company's 1983 television special Motown 25: Yesterday, Today, Forever, taking part in one of the highlights of the show - a battle of the bands between The Tops and The Temptations, patterned after similar competitions Berry Gordy, Jr. had staged during the 1960s.",
"They were featured on the company's 1983 television special Motown 25: Yesterday, Today, Forever, taking part in one of the highlights of the show - a battle of the bands between The Tops and The Temptations, patterned after similar competitions Berry Gordy, Jr. had staged during the 1960s. Levi Stubbs and Temptation Otis Williams decided the Temptations/Tops battle would be a good one to take on the road, and both groups began semi-regular joint tours.",
"Levi Stubbs and Temptation Otis Williams decided the Temptations/Tops battle would be a good one to take on the road, and both groups began semi-regular joint tours. The first of The Tops' albums under their new Motown contract was Back Where I Belong (1983).",
"The first of The Tops' albums under their new Motown contract was Back Where I Belong (1983). A whole side of the album was produced by the Holland-Dozier-Holland production team, including the R&B Top 40 single \"I Just Can't Walk Away\".",
"A whole side of the album was produced by the Holland-Dozier-Holland production team, including the R&B Top 40 single \"I Just Can't Walk Away\". Only one more Tops album would be released by Motown, Magic in 1985.",
"Only one more Tops album would be released by Motown, Magic in 1985. The lead single from that album, \"Sexy Ways\", was almost a Top 20 R&B hit, peaking at number 21 in mid-1985.",
"The lead single from that album, \"Sexy Ways\", was almost a Top 20 R&B hit, peaking at number 21 in mid-1985. In July of that year, the group performed at the Live Aid concert, singing five of their hit songs.",
"In July of that year, the group performed at the Live Aid concert, singing five of their hit songs. The title track of 1988's Indestructible was the group's final Top 40 hit, reaching No. 35. It was also featured in the 1988 science-fiction cop film Alien Nation.",
"It was also featured in the 1988 science-fiction cop film Alien Nation. Another track, \"Loco in Acapulco\", written and produced by British pop musician Phil Collins and former Motown composer-producer Lamont Dozier, climbed into the UK Top 10 and made number 7 in early 1989.",
"Another track, \"Loco in Acapulco\", written and produced by British pop musician Phil Collins and former Motown composer-producer Lamont Dozier, climbed into the UK Top 10 and made number 7 in early 1989. The Arista contract provided an opportunity to pair Levi Stubbs with fellow Arista artist, another R&B vocalist from Detroit, Aretha Franklin, who was at the height of her own 1980s hit streak.",
"The Arista contract provided an opportunity to pair Levi Stubbs with fellow Arista artist, another R&B vocalist from Detroit, Aretha Franklin, who was at the height of her own 1980s hit streak. This pairing resulted in the 1988 song \"If Ever a Love There Was\", which became a popular R&B and Adult Contemporary hit, as well as being featured on the soundtrack of the 1988 motion picture I'm Gonna Git You Sucka.",
"This pairing resulted in the 1988 song \"If Ever a Love There Was\", which became a popular R&B and Adult Contemporary hit, as well as being featured on the soundtrack of the 1988 motion picture I'm Gonna Git You Sucka. In December 1988, Pan Am Flight 103 (a disaster known as the Lockerbie bombing) became the group's scheduled return flight to the U.S. for Christmas after completing their European tour.",
"In December 1988, Pan Am Flight 103 (a disaster known as the Lockerbie bombing) became the group's scheduled return flight to the U.S. for Christmas after completing their European tour. A prolonged recording session and a performance at the British television show Top of the Pops caused them to oversleep and miss the ill-fated flight which crashed in Lockerbie, Scotland, after a terrorist bomb was detonated on board.",
"A prolonged recording session and a performance at the British television show Top of the Pops caused them to oversleep and miss the ill-fated flight which crashed in Lockerbie, Scotland, after a terrorist bomb was detonated on board. They left London on a later British Airways flight.",
"They left London on a later British Airways flight. Later years From the late 1980s, the Four Tops focused on touring and live performances. They recorded only one album, returning again to Motown for 1995's Christmas Here with You.",
"They recorded only one album, returning again to Motown for 1995's Christmas Here with You. On June 20, 1997, 59-year-old Lawrence Payton died as a result of liver cancer, after singing for 44 years with the Four Tops who, unlike many other Motown groups, never had a single lineup change until then.",
"On June 20, 1997, 59-year-old Lawrence Payton died as a result of liver cancer, after singing for 44 years with the Four Tops who, unlike many other Motown groups, never had a single lineup change until then. At first, Levi Stubbs, Renaldo \"Obie\" Benson, and Abdul \"Duke\" Fakir toured as a trio called The Tops.",
"At first, Levi Stubbs, Renaldo \"Obie\" Benson, and Abdul \"Duke\" Fakir toured as a trio called The Tops. In 1998, they recruited former member of the Temptations Theo Peoples to restore the group to a quartet.",
"In 1998, they recruited former member of the Temptations Theo Peoples to restore the group to a quartet. By the turn of the century, Stubbs had become ill from cancer; Ronnie McNeir was recruited to fill the Lawrence Payton position and Theo Peoples stepped into Stubbs' shoes as lead singer.",
"By the turn of the century, Stubbs had become ill from cancer; Ronnie McNeir was recruited to fill the Lawrence Payton position and Theo Peoples stepped into Stubbs' shoes as lead singer. Stubbs later died on October 17, 2008 at his home in Detroit.",
"Stubbs later died on October 17, 2008 at his home in Detroit. The group was featured in several television specials during this time, including Motown 45, and several by PBS, including a 50th-anniversary concert dedicated to the group (available on DVD).",
"The group was featured in several television specials during this time, including Motown 45, and several by PBS, including a 50th-anniversary concert dedicated to the group (available on DVD). The concert turned out to be bittersweet; it featured a brief appearance of Levi Stubbs using a wheelchair, and a memorial to Lawrence Payton, announced by Renaldo \"Obie\" Benson.",
"The concert turned out to be bittersweet; it featured a brief appearance of Levi Stubbs using a wheelchair, and a memorial to Lawrence Payton, announced by Renaldo \"Obie\" Benson. Benson appeared on one more PBS special and died on July 1, 2005, from lung cancer.",
"Benson appeared on one more PBS special and died on July 1, 2005, from lung cancer. The final PBS special, titled Motown: The Early Years, featured a message of Benson's passing following the credits.",
"The final PBS special, titled Motown: The Early Years, featured a message of Benson's passing following the credits. The group was inducted into the Rock and Roll Hall of Fame in 1990, and into the Vocal Group Hall of Fame in 1999.",
"The group was inducted into the Rock and Roll Hall of Fame in 1990, and into the Vocal Group Hall of Fame in 1999. In 2004, Rolling Stone ranked them #79 on their list of the 100 Greatest Artists of All Time.",
"In 2004, Rolling Stone ranked them #79 on their list of the 100 Greatest Artists of All Time. The Four Tops were inducted into the Michigan Rock and Roll Legends Hall of Fame in 2005.",
"The Four Tops were inducted into the Michigan Rock and Roll Legends Hall of Fame in 2005. The Four Tops sang the National Anthem before the start of game 5 for the 2011 baseball American League Championship Series (ALCS) between the Texas Rangers & Detroit Tigers on October 13, 2011 in Detroit, MI.",
"The Four Tops sang the National Anthem before the start of game 5 for the 2011 baseball American League Championship Series (ALCS) between the Texas Rangers & Detroit Tigers on October 13, 2011 in Detroit, MI. When singing the last line of \"The Star-Spangled Banner\", \"... and the home of the brave\", they quickly sang the words \"Ain't No country Like the One I Got\", before singing the last word, \"brave\".",
"When singing the last line of \"The Star-Spangled Banner\", \"... and the home of the brave\", they quickly sang the words \"Ain't No country Like the One I Got\", before singing the last word, \"brave\". The Four Tops were honored with an induction into the R&B Music Hall of Fame at the Inaugural ceremony held at Cleveland State University's Waetejen Auditorium on Saturday August 17, 2013.",
"The Four Tops were honored with an induction into the R&B Music Hall of Fame at the Inaugural ceremony held at Cleveland State University's Waetejen Auditorium on Saturday August 17, 2013. The Four Tops were among hundreds of artists whose material was destroyed in the 2008 Universal fire.",
"The Four Tops were among hundreds of artists whose material was destroyed in the 2008 Universal fire. The Four Tops career awards The Four Tops have won many awards, including the following: Rock and Roll Hall of Fame (1990) Vocal Group Hall of Fame (1999) Hollywood Walk of Fame (1997) Grammy Hall of Fame (Reach Out I'll Be There-1998)(\"I Can't Help Myself (Sugar Pie Honey Bunch-2018) Grammy Lifetime Achievement Award (2009-51st Annual Grammy Awards) Rhythm and Blues Foundation Pioneer Award (1997) Billboard magazine Top 100 Artists of All Time(#77) R&B Music Hall of Fame Induction (2013) 100 Greatest Artists of All Time (#79-Rolling Stone) Rolling Stone's 500 Greatest Songs of All Time (2003) Michigan Rock and Roll Legends Hall of Fame Grammy Lifetime Achievement Award In early 2018, The Four Tops' 1965 #1 Pop Hit, \"I Can't Help Myself (Sugar Pie Honey Bunch)\" became their second song to be inducted into The Grammy Hall of Fame.",
"The Four Tops career awards The Four Tops have won many awards, including the following: Rock and Roll Hall of Fame (1990) Vocal Group Hall of Fame (1999) Hollywood Walk of Fame (1997) Grammy Hall of Fame (Reach Out I'll Be There-1998)(\"I Can't Help Myself (Sugar Pie Honey Bunch-2018) Grammy Lifetime Achievement Award (2009-51st Annual Grammy Awards) Rhythm and Blues Foundation Pioneer Award (1997) Billboard magazine Top 100 Artists of All Time(#77) R&B Music Hall of Fame Induction (2013) 100 Greatest Artists of All Time (#79-Rolling Stone) Rolling Stone's 500 Greatest Songs of All Time (2003) Michigan Rock and Roll Legends Hall of Fame Grammy Lifetime Achievement Award In early 2018, The Four Tops' 1965 #1 Pop Hit, \"I Can't Help Myself (Sugar Pie Honey Bunch)\" became their second song to be inducted into The Grammy Hall of Fame. Personnel Current Members Abdul “Duke” Fakir (1953-present) Ronnie McNeir (1999-present) Lawrence Payton Jr. (2005-present) Alexander Morris (2019-present) Former Members Levi Stubbs (1953-2000, 2004) (d. 2008) Renaldo “Obie” Benson (1953-2005) (d. 2005) Lawrence Payton (1953-1997) (d. 1997) Theo Peoples (1998-2010) Harold Bonhart (2010-2018) Discography Albums Motown releases 1965: Four Tops (US #63; UK #2) 1965: Four Tops' Second Album (US #20) 1966: Four Tops Live!",
"Personnel Current Members Abdul “Duke” Fakir (1953-present) Ronnie McNeir (1999-present) Lawrence Payton Jr. (2005-present) Alexander Morris (2019-present) Former Members Levi Stubbs (1953-2000, 2004) (d. 2008) Renaldo “Obie” Benson (1953-2005) (d. 2005) Lawrence Payton (1953-1997) (d. 1997) Theo Peoples (1998-2010) Harold Bonhart (2010-2018) Discography Albums Motown releases 1965: Four Tops (US #63; UK #2) 1965: Four Tops' Second Album (US #20) 1966: Four Tops Live! (US #17; UK #4) 1966: On Top (US #32; UK #9) 1967: Four Tops' Greatest Hits (US #4; UK #1) 1967: Reach Out (US #11; UK #6) 1967: Four Tops on Broadway (US #79) 1968: Yesterday's Dreams (US #91) 1969: Four Tops Now!",
"(US #17; UK #4) 1966: On Top (US #32; UK #9) 1967: Four Tops' Greatest Hits (US #4; UK #1) 1967: Reach Out (US #11; UK #6) 1967: Four Tops on Broadway (US #79) 1968: Yesterday's Dreams (US #91) 1969: Four Tops Now! (US #74) 1969: Soul Spin (US #163) 1970: Still Waters Run Deep (US #21) 1970: Changing Times (US #109) 1970: The Magnificent 7 (with The Supremes) (US #113; UK #6) 1971: The Return of the Magnificent Seven (with The Supremes) (US #154) 1971: Dynamite (with the Supremes) (US #160) 1971: Mac Arthur Park 1972: Nature Planned It (US #50) 1973: The Best of the 4 Tops (US #103) ABC releases 1972: Keeper of the Castle (US #33) 1973: Main Street People (US #66) 1974: Meeting of the Minds (US #118) 1974: Live & in Concert (US #92) 1975: Night Lights Harmony (US #148) 1976: Catfish (US #124) 1977: The Show Must Go On 1978: At the Top Casablanca releases 1981: Tonight!",
"(US #74) 1969: Soul Spin (US #163) 1970: Still Waters Run Deep (US #21) 1970: Changing Times (US #109) 1970: The Magnificent 7 (with The Supremes) (US #113; UK #6) 1971: The Return of the Magnificent Seven (with The Supremes) (US #154) 1971: Dynamite (with the Supremes) (US #160) 1971: Mac Arthur Park 1972: Nature Planned It (US #50) 1973: The Best of the 4 Tops (US #103) ABC releases 1972: Keeper of the Castle (US #33) 1973: Main Street People (US #66) 1974: Meeting of the Minds (US #118) 1974: Live & in Concert (US #92) 1975: Night Lights Harmony (US #148) 1976: Catfish (US #124) 1977: The Show Must Go On 1978: At the Top Casablanca releases 1981: Tonight! (US #37) 1982: One More Mountain Motown releases 1983: Back Where I Belong 1985: Magic (US #140) 1986: Hot Nights (unreleased) Arista releases 1988: Indestructible (US #149) Motown releases 1995: Christmas Here with You Prism Leisure releases 2000: The Four Tops Collection (recorded live at the MGM grand 1996) U.S.",
"(US #37) 1982: One More Mountain Motown releases 1983: Back Where I Belong 1985: Magic (US #140) 1986: Hot Nights (unreleased) Arista releases 1988: Indestructible (US #149) Motown releases 1995: Christmas Here with You Prism Leisure releases 2000: The Four Tops Collection (recorded live at the MGM grand 1996) U.S. Billboard Hot 100 and UK singles The following singles reached the top 30 of the U.S. and UK singles charts.",
"Billboard Hot 100 and UK singles The following singles reached the top 30 of the U.S. and UK singles charts. DVDs The Four Tops: Live at the MGM Grand: 40th Anniversary Special (1996) The Four Tops: The Four Tops (semi-documentary/concert rehearsal, recorded live for French TV in 1971) (2004) The Four Tops: From the Heart: The 50th Anniversary Concert (2006) The Four Tops: Reach Out: Definitive Performances 1965-1973 (2008), Motown/Universal See also List of best-selling music artists References External links Four Tops biography by John Bush, discography and album reviews, credits & releases at AllMusic Four Tops discography, album releases & credits at Discogs Four Tops filmography on IMDb Four Tops Broadway musical productions at the Internet Broadway Database Four Tops discography at MusicBrainz Four Tops albums to be listened as stream on Spotify Vocal Group Hall of Fame page on the Four Tops Levi Stubbs/The Four Tops interview by Pete Lewis, 'Blues & Soul' October 1992 (republished November 2008) History of Rock article Four Tops on MySpace Four Tops appearances on The Ed Sullivan Show Ronnie McNeir 2012 Interview at Soulinterviews.com.",
"DVDs The Four Tops: Live at the MGM Grand: 40th Anniversary Special (1996) The Four Tops: The Four Tops (semi-documentary/concert rehearsal, recorded live for French TV in 1971) (2004) The Four Tops: From the Heart: The 50th Anniversary Concert (2006) The Four Tops: Reach Out: Definitive Performances 1965-1973 (2008), Motown/Universal See also List of best-selling music artists References External links Four Tops biography by John Bush, discography and album reviews, credits & releases at AllMusic Four Tops discography, album releases & credits at Discogs Four Tops filmography on IMDb Four Tops Broadway musical productions at the Internet Broadway Database Four Tops discography at MusicBrainz Four Tops albums to be listened as stream on Spotify Vocal Group Hall of Fame page on the Four Tops Levi Stubbs/The Four Tops interview by Pete Lewis, 'Blues & Soul' October 1992 (republished November 2008) History of Rock article Four Tops on MySpace Four Tops appearances on The Ed Sullivan Show Ronnie McNeir 2012 Interview at Soulinterviews.com. Musical groups established in 1953 Musical groups from Detroit African-American musical groups American soul musical groups Motown artists Northern soul musicians ABC Records artists Dunhill Records artists Chess Records artists Vocal quartets Columbia Records artists Casablanca Records artists Arista Records artists 1953 establishments in Michigan"
] |
[
"Four Tops",
"ABC Records and Casablanca Records",
"Did they move from ABC to Casablanca?",
"The Tops departed Motown for ABC-Dunhill,",
"Why did they depart motown?",
"In 1972, it was announced that the entire company would move west and that all its artists had to move as well.",
"So the tops moved west then?",
"The Tops departed Motown for ABC-Dunhill,",
"How did they do with ABC?",
"The group's first release on the label, \"Keeper of the Castle\" was their first pop Top 10 hit since \"Bernadette\" in 1967.",
"Did any singles come from this album?",
"Follow-ups included the million-selling \"Ain't No Woman (Like the One I've Got)\", also a top 10 pop hit",
"Were there any other singles?",
"and their third R&B number 1, and the Top 20 hit, \"Are You Man Enough\", (",
"Were those the only singles?",
"\"). \"Sweet Understanding Love\"; \"Midnight Flower\"; and \"One Chain Don't Make No Prison\""
] | C_a9ee71dcf4f84b50b0677e63a645e03c_1 | When did they move to Casanblanca? | 8 | When did the Tops move to Casanblanca? | Four Tops | Motown as a company began to change during the early 1970s. Older acts such as Martha and the Vandellas and The Marvelettes were slowly moved aside or dropped to focus on newer acts, such as Michael Jackson and The Jackson 5, Rare Earth, and the now-solo Diana Ross. In addition, the company moved its operations from Detroit to Los Angeles, California, where Berry Gordy planned to break into the motion picture and television industries. In 1972, it was announced that the entire company would move west and that all its artists had to move as well. Many of the older Motown acts, already neglected by the label, opted to stay in Detroit, including The Funk Brothers studio backing band, Martha Reeves, and the Four Tops. The Tops departed Motown for ABC-Dunhill, where they were assigned to writer-producers Dennis Lambert and Brian Potter and the label's head of A&R, Steve Barri as producer, with The Tops' own Lawrence Payton later also serving as a producer and writer. He also took over lead vocal duties on several tracks. The group's first release on the label, "Keeper of the Castle" was their first pop Top 10 hit since "Bernadette" in 1967. Follow-ups included the million-selling "Ain't No Woman (Like the One I've Got)", also a top 10 pop hit and their third R&B number 1, and the Top 20 hit, "Are You Man Enough", (from the movie "Shaft in Africa"). "Sweet Understanding Love"; "Midnight Flower"; and "One Chain Don't Make No Prison" all reached the R&B Top 10 between 1972 and 1974. Two ABC/Dunhill singles, 1974's "I Just Can't Get You Out of My Mind" and 1975's "Seven Lonely Nights" have become popular tunes in the southeast Beach/Shag Club Dance circuit. After the release of "Catfish" (a top 10 R&B hit) in 1976, the major hits started to dry up and the Tops left ABC after an album recorded in Philadelphia with the MFSB musicians resulted in only minor chart success in 1978. The group disappeared from the recording scene until the early 1980s. Signing a deal with Casablanca Records, the Tops made a comeback in 1981 with the #1 R&B hit "When She Was My Girl". Produced by David Wolfert, it just missed the Billboard pop Top 10, peaking at #11. The group also scored a UK Top 10 hit with the song and had another hit there with the follow-up, "Don't Walk Away". CANNOTANSWER | The group disappeared from the recording scene until the early 1980s. Signing a deal with Casablanca Records, the Tops made a comeback in 1981 | The Four Tops are an American vocal quartet from Detroit who helped to define the city's Motown sound of the 1960s. The group's repertoire has included soul music, R&B, disco, adult contemporary, doo-wop, jazz, and show tunes.
Founded as the Four Aims, lead singer Levi Stubbs, Abdul "Duke" Fakir, Renaldo "Obie" Benson and Lawrence Payton remained together for over four decades, performing from 1953 until 1997 without a change in personnel. The Four Tops were among a number of groups, including the Miracles, the Marvelettes, Martha and the Vandellas, the Temptations, and the Supremes, who established the Motown Sound heard around the world during the 1960s. They were notable for having Stubbs, a baritone, as their lead singer, whereas most other male and mixed vocal groups of the time were fronted by tenors.
The group was the main male vocal group for the highly successful songwriting and production team of Holland–Dozier–Holland, who crafted a stream of hit singles for Motown. These included two Billboard Hot 100 number-one hits for the Tops: "I Can't Help Myself (Sugar Pie Honey Bunch)" in 1965 and "Reach Out I'll Be There" in 1966. The group continued to have chart singles into the 1970s, including the million-seller "Ain't No Woman" (1973).
The group was inducted into the Rock and Roll Hall of Fame in 1990 and into the Vocal Group Hall of Fame in 1999. In 2004, Rolling Stone ranked them #79 on its list of the 100 Greatest Artists of All Time.
The Four Tops continue to perform with Fakir as the last surviving original member.
History
Early years
All four members of the group began their careers together while they were high-school students in Detroit. At the insistence of their friends, Pershing High students Levi Stubbs and Abdul "Duke" Fakir performed with Renaldo "Obie" Benson and Lawrence Payton from Northern High at a local birthday party. The quartet decided to remain together and named the group the Four Aims. With the help of Payton's songwriter cousin Roquel Davis, the Aims signed to Chess Records in 1956, changing their name to the Four Tops to avoid confusion with the Ames Brothers.
Over the next seven years, the Tops had unsuccessful tenures at Chess, Red Top, Riverside Records and Columbia Records. Without any hit records to their name, they toured frequently, developing a polished stage presence and an experienced supper club act, as well as supporting Billy Eckstine. In 1963, Berry Gordy, Jr., who had worked with Roquel "Billy" Davis as a songwriter in the late 1950s, convinced the Tops to join the roster of his growing Motown record company.
Joining Motown
During their early Motown years, the Four Tops recorded jazz standards for the company's Workshop Jazz Records label. In addition, they sang backup on Motown singles by the Supremes ("Run, Run, Run", 1964), Martha and the Vandellas (on the 1966 hit "My Baby Loves Me") and others.
In 1964, Motown's main songwriting and production team, Holland–Dozier–Holland, created a complete instrumental track without any idea of what to do with it. They decided to craft the song as a more mainstream pop song for the Four Tops and proceeded to create "Baby I Need Your Loving" from the instrumental track. On its release in mid-1964, "Baby I Need Your Loving" made it to number 11 on the Billboard Hot 100.
The first follow-up single, "Without the One You Love (Life's Not Worth While)" (1964), just missed both the pop and R&B Top 40 charts, but "Ask the Lonely" (1965), written and produced by Motown A&R head William "Mickey" Stevenson with Ivy Jo Hunter, was a Top 30 pop hit and a Top 10 R&B hit in early 1965.
Success
After their first number 1 hit, "I Can't Help Myself (Sugar Pie, Honey Bunch)" in June 1965, the Four Tops released a long series of successful hit singles. Among the first wave of these hits were the Top 10 "It's the Same Old Song" (1965), "Something About You" (1965), "Shake Me, Wake Me (When It's Over)" (1966), and "Loving You Is Sweeter Than Ever" (1966).
Holland-Dozier-Holland wrote most of Levi Stubbs's vocals in a tenor range, near the top of his range, in order to get a sense of strained urgency in his gospel preacher-inspired leads. They also wrote additional background vocals for a female group, the Andantes, on many of the songs, to add a high end to the low-voiced harmony of the Tops. Ivy Jo Hunter's "Loving You Is Sweeter Than Ever" (1966) was one of a few exceptions.
August 1966 brought the release of the Four Tops' all-time biggest hit and one of the most popular Motown songs ever. "Reach Out I'll Be There" reached number 1 on the U.S. pop and R&B charts and the UK chart and soon became the Tops' signature song. It was almost immediately followed by the similar-sounding "Standing in the Shadows of Love"; its depiction of heartbreak reflecting the opposite of the optimism in "Reach Out". It was another Top 10 hit for the Tops.
The Top 10 U.S. hit "Bernadette" centered around a man's all-consuming obsession with his lover, continued the Four Tops' successful run into April 1967, followed by the Top 20 hits "7-Rooms of Gloom", and "You Keep Running Away". By now, the Tops were the most successful male Motown act in the United Kingdom (in the United States, they were second to the Temptations), and began experimenting with more mainstream pop hits. They scored hits with their versions of Tim Hardin's "If I Were a Carpenter" in late 1967 (mid-1968 in the U.S.) and the Left Banke's "Walk Away Renée" in early 1968. These singles and the original "I'm in a Different World" were their last hits produced by Holland-Dozier-Holland, who left Motown in 1967 after disputes with Berry Gordy, Jr.
Late Motown period
Without Holland-Dozier-Holland, the hits became less frequent. The group worked with a wide array of Motown producers during the late 1960s, including Ivy Jo Hunter, Nickolas Ashford & Valerie Simpson, Norman Whitfield and Johnny Bristol, without significant chart success.
Their first major hit in a long time came in the form of 1970's "It's All in the Game", a pop Top 30/R&B Top Ten hit produced by Frank Wilson. Wilson and the Tops began working on a number of innovative tracks and albums together, echoing Whitfield's psychedelic soul work with the Temptations. Their 1970 album Still Waters Run Deep was a forerunner of the concept album. It also served as an inspiration for Marvin Gaye's 1971 classic album What's Going On, the title track of which was co-written by the Tops' Renaldo "Obie" Benson.
In addition to their own albums, the Tops were paired with The Supremes, who had just replaced lead singer Diana Ross with Jean Terrell, for a series of albums billed under the joint title The Magnificent 7 in 1970, and The Return of the Magnificent Seven and Dynamite! in 1971. Whilst the albums themselves did not perform really well on the charts, The Magnificent Seven featured a Top 20 version of Ike & Tina Turner's "River Deep - Mountain High", produced by Ashford & Simpson.
The 1971 single "A Simple Game" featured backing vocals from members of The Moody Blues. The song did not fare well on the U.S. charts, but reached number three on the UK chart.
ABC/Dunhill Records and Casablanca Records
Motown as a company began to change during the early 1970s. Older acts such as Martha and the Vandellas and The Marvelettes were slowly moved aside or dropped to focus on newer acts, such as Michael Jackson and The Jackson 5, Rare Earth, and the now-solo Diana Ross. In addition, the company moved its operations from Detroit to Los Angeles, California, where Berry Gordy, Jr. planned to break into the motion picture and television industries. In 1972, it was announced that the entire company would move west and that all its artists had to move as well. Many of the older Motown acts, already neglected by the label, opted to stay in Detroit, including The Funk Brothers studio backing band, Martha Reeves, and the Four Tops.
The Tops departed Motown for ABC-Dunhill, where they were assigned to writer-producers Dennis Lambert and Brian Potter and the label's head of A&R, Steve Barri as producer, with The Tops' own Lawrence Payton later also serving as a producer and writer. He also took over lead vocal duties on several tracks.
The group's first release on the label, "Keeper of the Castle" (1972) was their first pop Top 10 hit since "Bernadette" in 1967. Follow-ups included the 1973 million-selling "Ain't No Woman (Like the One I've Got)", also a top 10 pop hit and their third R&B number 1, and the Top 20 hit, "Are You Man Enough" (1973), (from the 1973 movie Shaft in Africa). "Sweet Understanding Love" (1973); "Midnight Flower (1974); and "One Chain Don't Make No Prison" (1974) all reached the R&B Top 10 between 1972 and 1974. Two ABC/Dunhill singles, 1974's "I Just Can't Get You Out of My Mind" and 1975's "Seven Lonely Nights" have become popular tunes in the southeast Beach/Shag Club Dance circuit.
After the release of "Catfish" (a top 10 R&B hit) in 1976, the major hits started to dry up and the Tops left ABC after an album recorded in Philadelphia with the MFSB musicians resulted in only minor chart success in 1978. The group disappeared from the recording scene until the early 1980s. Signing a deal with Casablanca Records, the Tops made a comeback in 1981 with the number 1 R&B hit "When She Was My Girl". Produced by David Wolfert, it just missed the Billboard pop Top 10, peaking at number 11. The group also scored a UK Top 10 hit with the song and had another hit there with the follow-up, "Don't Walk Away". In 1982, their song "Back to School Again" appeared in both the movie Grease 2 and its soundtrack.
Return to Motown
By 1983, The Tops had rejoined Motown, where their former ABC-Dunhill producer, Barri was vice-president of A&R. They were featured on the company's 1983 television special Motown 25: Yesterday, Today, Forever, taking part in one of the highlights of the show - a battle of the bands between The Tops and The Temptations, patterned after similar competitions Berry Gordy, Jr. had staged during the 1960s. Levi Stubbs and Temptation Otis Williams decided the Temptations/Tops battle would be a good one to take on the road, and both groups began semi-regular joint tours.
The first of The Tops' albums under their new Motown contract was Back Where I Belong (1983). A whole side of the album was produced by the Holland-Dozier-Holland production team, including the R&B Top 40 single "I Just Can't Walk Away". Only one more Tops album would be released by Motown, Magic in 1985. The lead single from that album, "Sexy Ways", was almost a Top 20 R&B hit, peaking at number 21 in mid-1985. In July of that year, the group performed at the Live Aid concert, singing five of their hit songs.
The title track of 1988's Indestructible was the group's final Top 40 hit, reaching No. 35. It was also featured in the 1988 science-fiction cop film Alien Nation. Another track, "Loco in Acapulco", written and produced by British pop musician Phil Collins and former Motown composer-producer Lamont Dozier, climbed into the UK Top 10 and made number 7 in early 1989. The Arista contract provided an opportunity to pair Levi Stubbs with fellow Arista artist, another R&B vocalist from Detroit, Aretha Franklin, who was at the height of her own 1980s hit streak. This pairing resulted in the 1988 song "If Ever a Love There Was", which became a popular R&B and Adult Contemporary hit, as well as being featured on the soundtrack of the 1988 motion picture I'm Gonna Git You Sucka.
In December 1988, Pan Am Flight 103 (a disaster known as the Lockerbie bombing) became the group's scheduled return flight to the U.S. for Christmas after completing their European tour. A prolonged recording session and a performance at the British television show Top of the Pops caused them to oversleep and miss the ill-fated flight which crashed in Lockerbie, Scotland, after a terrorist bomb was detonated on board. They left London on a later British Airways flight.
Later years
From the late 1980s, the Four Tops focused on touring and live performances. They recorded only one album, returning again to Motown for 1995's Christmas Here with You. On June 20, 1997, 59-year-old Lawrence Payton died as a result of liver cancer, after singing for 44 years with the Four Tops who, unlike many other Motown groups, never had a single lineup change until then. At first, Levi Stubbs, Renaldo "Obie" Benson, and Abdul "Duke" Fakir toured as a trio called The Tops. In 1998, they recruited former member of the Temptations Theo Peoples to restore the group to a quartet. By the turn of the century, Stubbs had become ill from cancer; Ronnie McNeir was recruited to fill the Lawrence Payton position and Theo Peoples stepped into Stubbs' shoes as lead singer. Stubbs later died on October 17, 2008 at his home in Detroit.
The group was featured in several television specials during this time, including Motown 45, and several by PBS, including a 50th-anniversary concert dedicated to the group (available on DVD). The concert turned out to be bittersweet; it featured a brief appearance of Levi Stubbs using a wheelchair, and a memorial to Lawrence Payton, announced by Renaldo "Obie" Benson. Benson appeared on one more PBS special and died on July 1, 2005, from lung cancer. The final PBS special, titled Motown: The Early Years, featured a message of Benson's passing following the credits.
The group was inducted into the Rock and Roll Hall of Fame in 1990, and into the Vocal Group Hall of Fame in 1999. In 2004, Rolling Stone ranked them #79 on their list of the 100 Greatest Artists of All Time. The Four Tops were inducted into the Michigan Rock and Roll Legends Hall of Fame in 2005.
The Four Tops sang the National Anthem before the start of game 5 for the 2011 baseball American League Championship Series (ALCS) between the Texas Rangers & Detroit Tigers on October 13, 2011 in Detroit, MI. When singing the last line of "The Star-Spangled Banner", "... and the home of the brave", they quickly sang the words "Ain't No country Like the One I Got", before singing the last word, "brave". The Four Tops were honored with an induction into the R&B Music Hall of Fame at the Inaugural ceremony held at Cleveland State University's Waetejen Auditorium on Saturday August 17, 2013.
The Four Tops were among hundreds of artists whose material was destroyed in the 2008 Universal fire.
The Four Tops career awards
The Four Tops have won many awards, including the following:
Rock and Roll Hall of Fame (1990)
Vocal Group Hall of Fame (1999)
Hollywood Walk of Fame (1997)
Grammy Hall of Fame (Reach Out I'll Be There-1998)("I Can't Help Myself (Sugar Pie Honey Bunch-2018)
Grammy Lifetime Achievement Award (2009-51st Annual Grammy Awards)
Rhythm and Blues Foundation Pioneer Award (1997)
Billboard magazine Top 100 Artists of All Time(#77)
R&B Music Hall of Fame Induction (2013)
100 Greatest Artists of All Time (#79-Rolling Stone)
Rolling Stone's 500 Greatest Songs of All Time (2003)
Michigan Rock and Roll Legends Hall of Fame
Grammy Lifetime Achievement Award
In early 2018, The Four Tops' 1965 #1 Pop Hit, "I Can't Help Myself (Sugar Pie Honey Bunch)" became their second song to be inducted into The Grammy Hall of Fame.
Personnel
Current Members
Abdul “Duke” Fakir (1953-present)
Ronnie McNeir (1999-present)
Lawrence Payton Jr. (2005-present)
Alexander Morris (2019-present)
Former Members
Levi Stubbs (1953-2000, 2004) (d. 2008)
Renaldo “Obie” Benson (1953-2005) (d. 2005)
Lawrence Payton (1953-1997) (d. 1997)
Theo Peoples (1998-2010)
Harold Bonhart (2010-2018)
Discography
Albums
Motown releases
1965: Four Tops (US #63; UK #2)
1965: Four Tops' Second Album (US #20)
1966: Four Tops Live! (US #17; UK #4)
1966: On Top (US #32; UK #9)
1967: Four Tops' Greatest Hits (US #4; UK #1)
1967: Reach Out (US #11; UK #6)
1967: Four Tops on Broadway (US #79)
1968: Yesterday's Dreams (US #91)
1969: Four Tops Now! (US #74)
1969: Soul Spin (US #163)
1970: Still Waters Run Deep (US #21)
1970: Changing Times (US #109)
1970: The Magnificent 7 (with The Supremes) (US #113; UK #6)
1971: The Return of the Magnificent Seven (with The Supremes) (US #154)
1971: Dynamite (with the Supremes) (US #160)
1971: Mac Arthur Park
1972: Nature Planned It (US #50)
1973: The Best of the 4 Tops (US #103)
ABC releases
1972: Keeper of the Castle (US #33)
1973: Main Street People (US #66)
1974: Meeting of the Minds (US #118)
1974: Live & in Concert (US #92)
1975: Night Lights Harmony (US #148)
1976: Catfish (US #124)
1977: The Show Must Go On
1978: At the Top
Casablanca releases
1981: Tonight! (US #37)
1982: One More Mountain
Motown releases
1983: Back Where I Belong
1985: Magic (US #140)
1986: Hot Nights (unreleased)
Arista releases
1988: Indestructible (US #149)
Motown releases
1995: Christmas Here with You
Prism Leisure releases
2000: The Four Tops Collection (recorded live at the MGM grand 1996)
U.S. Billboard Hot 100 and UK singles
The following singles reached the top 30 of the U.S. and UK singles charts.
DVDs
The Four Tops: Live at the MGM Grand: 40th Anniversary Special (1996)
The Four Tops: The Four Tops (semi-documentary/concert rehearsal, recorded live for French TV in 1971) (2004)
The Four Tops: From the Heart: The 50th Anniversary Concert (2006)
The Four Tops: Reach Out: Definitive Performances 1965-1973 (2008), Motown/Universal
See also
List of best-selling music artists
References
External links
Four Tops biography by John Bush, discography and album reviews, credits & releases at AllMusic
Four Tops discography, album releases & credits at Discogs
Four Tops filmography on IMDb
Four Tops Broadway musical productions at the Internet Broadway Database
Four Tops discography at MusicBrainz
Four Tops albums to be listened as stream on Spotify
Vocal Group Hall of Fame page on the Four Tops
Levi Stubbs/The Four Tops interview by Pete Lewis, 'Blues & Soul' October 1992 (republished November 2008)
History of Rock article
Four Tops on MySpace
Four Tops appearances on The Ed Sullivan Show
Ronnie McNeir 2012 Interview at Soulinterviews.com.
Musical groups established in 1953
Musical groups from Detroit
African-American musical groups
American soul musical groups
Motown artists
Northern soul musicians
ABC Records artists
Dunhill Records artists
Chess Records artists
Vocal quartets
Columbia Records artists
Casablanca Records artists
Arista Records artists
1953 establishments in Michigan | true | [
"The Treaty of Payne's Landing (Treaty with the Seminole, 1832) was an agreement signed on 9 May 1832 between the government of the United States and several chiefs of the Seminole Indians in the Territory of Florida, before it acquired statehood.\n\nBackground \n\nBy the Treaty of Moultrie Creek in 1823, the Seminoles had relinquished all claims to land in the Florida Territory in return for a reservation in the center of the Florida peninsula and certain payments, supplies and services to be provided by the U.S. government, guaranteed for twenty years. After the election of Andrew Jackson as President of the United States in 1828, the movement to transfer all Indians in the United States to west of the Mississippi River grew, and in 1830 the United States Congress passed the Indian Removal Act.\n\nDetermined to move the Seminoles west, the United States Department of War appointed James Gadsden to negotiate a new treaty with them. In the spring of 1832 the Seminoles on the reservation were called to a meeting at Payne's Landing on the Oklawaha River. The negotiations were conducted in obscurity, if not secrecy. No minutes were taken, nor were any detailed accounts of the negotiations ever published. This was to lead to trouble later.\n\nThe U.S. government wanted the Seminoles to move to the Creek Reservation in what was then part of the Arkansas Territory (which later became part of the Indian Territory), to become part of the Creek Nation, and to return all runaway slaves to their lawful owners. None of these demands were agreeable to the Seminoles. They had heard that the climate at the Creek Reservation was harsher than in Florida. The Seminoles of Florida did not consider themselves part of the Creeks. Although many of the groups in Florida had come from what whites called Creek tribes, they did not feel any connection. Some of the groups in Florida, such as the Choctaw, Yamasees and the Yuchis had never been grouped with the Creeks. Finally, runaway slaves, while often held as slaves by the Seminoles (under much milder conditions than with whites), were fairly well integrated into the bands, often inter-marrying, and rising to positions of influence and leadership.\n\nTreaty contents\nThe treaty negotiated at Payne's Landing called for the Seminoles to move west if the land were found to be suitable. The delegation of seven chiefs who were to inspect the new reservation did not leave Florida until October 1832. After touring the area for several months and conferring with the Creeks who had already been settled there, the seven chiefs signed on March 28, 1833 at Fort Gibson, Arkansas Territory a statement that the new land was acceptable. Upon their return to Florida, however, most of the chiefs renounced the statement, claiming that they had not signed it, or that they had been forced to sign it, and in any case, that they did not have the power to decide for all the tribes and bands that resided on the reservation. Even some U.S. Army officers observed that the chiefs \"had been wheedled and bullied into signing.\" Furthermore, \"there is evidence of trickery by the whites in the way the treaty is phrased.\"\n\nSeveral villages had been allowed to stay in the area of the Apalachicola River after 1823 when the rest of the Seminoles had been forced into the new reservation. Gadsden was able to persuade the chiefs of these villages to move, however, and they went west in 1834. The United States Senate finally ratified the Treaty of Payne's Landing in April 1834.\n\nRefusal to move\nThe treaty had given the Seminoles three years to move west of the Mississippi River. The government interpreted the three years as starting in 1832, and expected the Seminoles to move in 1835. Fort King, in what is now Ocala was reopened in 1834. A new Seminole agent, Wiley Thompson, was appointed in 1834, and the task of persuading the Seminoles to move fell to him. He called the chiefs together at Fort King in October 1834 to talk to them about the removal to the west. The Seminoles informed Thompson that they had no intention of moving, and that they did not feel bound by the Treaty of Payne's Landing. Thompson then requested reinforcements for Fort King and Fort Brooke, reporting that, \"the Indians after they had received the Annuity, purchased an unusually large quantity of Powder & Lead.\" Brigadier General Duncan L. Clinch, United States Army commander for Florida, also warned Washington that the Seminoles did not intend to move, and that more troops would be needed to force them to move. In March 1835 Thompson called the chiefs together to read a letter from Andrew Jackson to them. In his letter, Jackson said, \"Should you ... refuse to move, I have then directed the Commanding officer to remove you by force.\" The chiefs asked for thirty days to respond. A month later the Seminole chiefs told Thompson that they would not move west. Thompson and the chiefs began arguing, and General Clinch had to intervene to prevent bloodshed. Eventually, eight of the chiefs agreed to move west, but asked to delay the move until the end of the year, and Thompson and Clinch agreed.\n\nFive of the most important of the Seminole chiefs, including Micanopy of the Alachua Seminoles, had not agreed to the move. In retaliation, Thompson declared that those chiefs were removed from their positions. As relations with the Seminoles deteriorated, Thompson forbid the sale of guns and ammunition to the Seminoles. Osceola, a young warrior beginning to be noticed by the whites, was particularly upset by the ban, feeling that it equated Seminoles with slaves and said, \"The white man shall not make me black. I will make the white man red with blood; and then blacken him in the sun and rain ... and the buzzard live upon his flesh.\" In spite of this, Thompson considered Osceola to be a friend, and gave him a rifle. Later, though, when Osceola was causing trouble, Thompson had him locked up at Fort King for a night. The next day, in order to secure his release, Osceola agreed to abide by the Treaty of Payne's Landing and to bring his followers in.\n\nThe situation grew worse. In August 1835 Private Kinsley Dalton (for whom Dalton, Georgia is named) was killed by Seminoles as he was carrying the mail from Fort Brooke to Fort King. In November Chief Charley Emathla, wanting no part of a war, led his people towards Fort Brooke where they were to board ships to go west. This was considered a betrayal by other Seminoles. Osceola met Emathla on the trail and killed him. The Second Seminole War was beginning.\n\nSignatories \n\nJames Gadsden\nHolati Emartla, his x mark\nJumper, his x mark\nFuch-ta-lus-ta-Hadjo, his x mark\nCharley Emartla, his x mark\nCoa Hadjo, his x mark\nAr-pi-uck-i, or Sam Jones, his x mark\nYa-ha Hadjo, his x mark\nMico-Noha, his x mark\nTokose-Emartla, or Jno. Hicks. his x mark\nCat-sha-Tusta-nuck-i, his x mark\nHola-at-a-Mico, his x mark (aka Billy Bowlegs)\nHitch-it-i-Mico, his x mark\nE-ne-hah, his x mark\nYa- ha- emartla Chup- ko, his mark\nMoke-his-she-lar-ni, his x mark\n\nWitnesses:\nDouglas Vass, Secretary to Commissioner,\nJohn Phagan, Agent,\nStephen Richards, Interpreter,\nAbraham, Interpreter, his x mark,\nCudjo, Interpreter, his x mark,\nErastus Rogers,\nB. Joscan.\n\nNotes and references\n\nReferences \n Missal, John and Mary Lou Missal. 2004. Seminole Wars: America's Longest Indian Conflict. Gainesville, Florida: University Press of Florida.\n\nFurther reading\n Knetsch, Joe. 2003. Florida's Seminole Wars 18171858. Charleston, South Carolina: Arcadia Publishing. \n Mahon, John K. 1992 (Second paperback edition) [1967]. History of the Second Seminole War 18351842. Gainesville, Florida: University of Florida Press.\n\nExternal links \nTreaty of Payne's Landing original text from johnhorse.com\nTreaty of Payne's Landing original text from the Oklahoma State University Library\nRatified Indian Treaty 185 Indigenous Digital Archives \n\nPayne's Landing\nSeminole Wars\n1832 treaties\n1832 in the United States\nMay 1832 events",
"was a Japanese professional shogi player, ranked 9-dan.\n\nPromotion history\nManabe's promotion history is as follows:\n 1967: 6-kyū\n April 1, 1973: 4-dan\n April 1, 1976: 5-dan\n April 1, 1978: 6-dan\n April 1, 1980: 7-dan\n April 1, 1988: 8-dan\n November 24, 2007: Died as an active player\n November 24, 2007: 9-dan (conferred posthumously)\n\nThe B-42 \"Phantom\" move and Masuda Special Prize\n\nManabe is widely remembered for a move he theorized but did not play contesting his last professional game, on October 30, 2007, against Masayuki Toyoshima in a C2 ranking match. Manabe, in poor health, resigned after the 33rd move. Later that day, he confided to his colleague Hiroshi Kobayashi that he had come up with the B-42 move and believed he might have won had he played it. However, he feared this would extend the match against Toyoshima and felt he could not endure a longer game. When he was later interviewed, Toyoshima acknowledged that the move would indeed have required a long time to formulate a response. Kobayashi did not appreciate the move at the time, but his conversations with Isao Nakata about the potential move began to draw public attention.\n\nOn November 27, a wake was held for Manabe. Simultaneously, a game position identical to Toyishima's match was reached in the C2 ranking match between Yasuaki Murayama and Nobuyuki Ōuchi. Ōuchi, playing White (gote), played Manabe's ... B-42. Ōuchi would later claim he was not aware of the move's relationship to Manabe's last game. Much as Manabe had predicted, Murayama took over 110 minutes to respond to B-42. Though Murayama ultimately won the match, when Ōuchi was later told about Manabe's game with Toyoshima, he said \"I should have won.\" Amazed at the move's recurrence during Manabe's wake, Kobayashi claimed it was a kind of miracle. The coincidence quickly became a topic of conversation in the Shogi world, and the move soon became known as the \"splendid, phantom move\" (幻の妙手, Maboroshi no myōshu).\n\nThe move was proposed for consideration for the then-upcoming Masuda Special Award, which was granted to Manabe posthumously in 2008.\n\nReferences\n\nJapanese shogi players\nDeceased professional shogi players\n1952 births\n2007 deaths\nProfessional shogi players from Tokyo\nPeople from Arakawa, Tokyo"
] | [
"The Four Tops are an American vocal quartet from Detroit who helped to define the city's Motown sound of the 1960s. The group's repertoire has included soul music, R&B, disco, adult contemporary, doo-wop, jazz, and show tunes.",
"The group's repertoire has included soul music, R&B, disco, adult contemporary, doo-wop, jazz, and show tunes. Founded as the Four Aims, lead singer Levi Stubbs, Abdul \"Duke\" Fakir, Renaldo \"Obie\" Benson and Lawrence Payton remained together for over four decades, performing from 1953 until 1997 without a change in personnel.",
"Founded as the Four Aims, lead singer Levi Stubbs, Abdul \"Duke\" Fakir, Renaldo \"Obie\" Benson and Lawrence Payton remained together for over four decades, performing from 1953 until 1997 without a change in personnel. The Four Tops were among a number of groups, including the Miracles, the Marvelettes, Martha and the Vandellas, the Temptations, and the Supremes, who established the Motown Sound heard around the world during the 1960s.",
"The Four Tops were among a number of groups, including the Miracles, the Marvelettes, Martha and the Vandellas, the Temptations, and the Supremes, who established the Motown Sound heard around the world during the 1960s. They were notable for having Stubbs, a baritone, as their lead singer, whereas most other male and mixed vocal groups of the time were fronted by tenors.",
"They were notable for having Stubbs, a baritone, as their lead singer, whereas most other male and mixed vocal groups of the time were fronted by tenors. The group was the main male vocal group for the highly successful songwriting and production team of Holland–Dozier–Holland, who crafted a stream of hit singles for Motown.",
"The group was the main male vocal group for the highly successful songwriting and production team of Holland–Dozier–Holland, who crafted a stream of hit singles for Motown. These included two Billboard Hot 100 number-one hits for the Tops: \"I Can't Help Myself (Sugar Pie Honey Bunch)\" in 1965 and \"Reach Out I'll Be There\" in 1966.",
"These included two Billboard Hot 100 number-one hits for the Tops: \"I Can't Help Myself (Sugar Pie Honey Bunch)\" in 1965 and \"Reach Out I'll Be There\" in 1966. The group continued to have chart singles into the 1970s, including the million-seller \"Ain't No Woman\" (1973).",
"The group continued to have chart singles into the 1970s, including the million-seller \"Ain't No Woman\" (1973). The group was inducted into the Rock and Roll Hall of Fame in 1990 and into the Vocal Group Hall of Fame in 1999.",
"The group was inducted into the Rock and Roll Hall of Fame in 1990 and into the Vocal Group Hall of Fame in 1999. In 2004, Rolling Stone ranked them #79 on its list of the 100 Greatest Artists of All Time. The Four Tops continue to perform with Fakir as the last surviving original member.",
"The Four Tops continue to perform with Fakir as the last surviving original member. History Early years All four members of the group began their careers together while they were high-school students in Detroit.",
"History Early years All four members of the group began their careers together while they were high-school students in Detroit. At the insistence of their friends, Pershing High students Levi Stubbs and Abdul \"Duke\" Fakir performed with Renaldo \"Obie\" Benson and Lawrence Payton from Northern High at a local birthday party.",
"At the insistence of their friends, Pershing High students Levi Stubbs and Abdul \"Duke\" Fakir performed with Renaldo \"Obie\" Benson and Lawrence Payton from Northern High at a local birthday party. The quartet decided to remain together and named the group the Four Aims.",
"The quartet decided to remain together and named the group the Four Aims. With the help of Payton's songwriter cousin Roquel Davis, the Aims signed to Chess Records in 1956, changing their name to the Four Tops to avoid confusion with the Ames Brothers.",
"With the help of Payton's songwriter cousin Roquel Davis, the Aims signed to Chess Records in 1956, changing their name to the Four Tops to avoid confusion with the Ames Brothers. Over the next seven years, the Tops had unsuccessful tenures at Chess, Red Top, Riverside Records and Columbia Records.",
"Over the next seven years, the Tops had unsuccessful tenures at Chess, Red Top, Riverside Records and Columbia Records. Without any hit records to their name, they toured frequently, developing a polished stage presence and an experienced supper club act, as well as supporting Billy Eckstine.",
"Without any hit records to their name, they toured frequently, developing a polished stage presence and an experienced supper club act, as well as supporting Billy Eckstine. In 1963, Berry Gordy, Jr., who had worked with Roquel \"Billy\" Davis as a songwriter in the late 1950s, convinced the Tops to join the roster of his growing Motown record company.",
"In 1963, Berry Gordy, Jr., who had worked with Roquel \"Billy\" Davis as a songwriter in the late 1950s, convinced the Tops to join the roster of his growing Motown record company. Joining Motown During their early Motown years, the Four Tops recorded jazz standards for the company's Workshop Jazz Records label.",
"Joining Motown During their early Motown years, the Four Tops recorded jazz standards for the company's Workshop Jazz Records label. In addition, they sang backup on Motown singles by the Supremes (\"Run, Run, Run\", 1964), Martha and the Vandellas (on the 1966 hit \"My Baby Loves Me\") and others.",
"In addition, they sang backup on Motown singles by the Supremes (\"Run, Run, Run\", 1964), Martha and the Vandellas (on the 1966 hit \"My Baby Loves Me\") and others. In 1964, Motown's main songwriting and production team, Holland–Dozier–Holland, created a complete instrumental track without any idea of what to do with it.",
"In 1964, Motown's main songwriting and production team, Holland–Dozier–Holland, created a complete instrumental track without any idea of what to do with it. They decided to craft the song as a more mainstream pop song for the Four Tops and proceeded to create \"Baby I Need Your Loving\" from the instrumental track.",
"They decided to craft the song as a more mainstream pop song for the Four Tops and proceeded to create \"Baby I Need Your Loving\" from the instrumental track. On its release in mid-1964, \"Baby I Need Your Loving\" made it to number 11 on the Billboard Hot 100.",
"On its release in mid-1964, \"Baby I Need Your Loving\" made it to number 11 on the Billboard Hot 100. The first follow-up single, \"Without the One You Love (Life's Not Worth While)\" (1964), just missed both the pop and R&B Top 40 charts, but \"Ask the Lonely\" (1965), written and produced by Motown A&R head William \"Mickey\" Stevenson with Ivy Jo Hunter, was a Top 30 pop hit and a Top 10 R&B hit in early 1965.",
"The first follow-up single, \"Without the One You Love (Life's Not Worth While)\" (1964), just missed both the pop and R&B Top 40 charts, but \"Ask the Lonely\" (1965), written and produced by Motown A&R head William \"Mickey\" Stevenson with Ivy Jo Hunter, was a Top 30 pop hit and a Top 10 R&B hit in early 1965. Success After their first number 1 hit, \"I Can't Help Myself (Sugar Pie, Honey Bunch)\" in June 1965, the Four Tops released a long series of successful hit singles.",
"Success After their first number 1 hit, \"I Can't Help Myself (Sugar Pie, Honey Bunch)\" in June 1965, the Four Tops released a long series of successful hit singles. Among the first wave of these hits were the Top 10 \"It's the Same Old Song\" (1965), \"Something About You\" (1965), \"Shake Me, Wake Me (When It's Over)\" (1966), and \"Loving You Is Sweeter Than Ever\" (1966).",
"Among the first wave of these hits were the Top 10 \"It's the Same Old Song\" (1965), \"Something About You\" (1965), \"Shake Me, Wake Me (When It's Over)\" (1966), and \"Loving You Is Sweeter Than Ever\" (1966). Holland-Dozier-Holland wrote most of Levi Stubbs's vocals in a tenor range, near the top of his range, in order to get a sense of strained urgency in his gospel preacher-inspired leads.",
"Holland-Dozier-Holland wrote most of Levi Stubbs's vocals in a tenor range, near the top of his range, in order to get a sense of strained urgency in his gospel preacher-inspired leads. They also wrote additional background vocals for a female group, the Andantes, on many of the songs, to add a high end to the low-voiced harmony of the Tops.",
"They also wrote additional background vocals for a female group, the Andantes, on many of the songs, to add a high end to the low-voiced harmony of the Tops. Ivy Jo Hunter's \"Loving You Is Sweeter Than Ever\" (1966) was one of a few exceptions.",
"Ivy Jo Hunter's \"Loving You Is Sweeter Than Ever\" (1966) was one of a few exceptions. August 1966 brought the release of the Four Tops' all-time biggest hit and one of the most popular Motown songs ever.",
"August 1966 brought the release of the Four Tops' all-time biggest hit and one of the most popular Motown songs ever. \"Reach Out I'll Be There\" reached number 1 on the U.S. pop and R&B charts and the UK chart and soon became the Tops' signature song.",
"\"Reach Out I'll Be There\" reached number 1 on the U.S. pop and R&B charts and the UK chart and soon became the Tops' signature song. It was almost immediately followed by the similar-sounding \"Standing in the Shadows of Love\"; its depiction of heartbreak reflecting the opposite of the optimism in \"Reach Out\".",
"It was almost immediately followed by the similar-sounding \"Standing in the Shadows of Love\"; its depiction of heartbreak reflecting the opposite of the optimism in \"Reach Out\". It was another Top 10 hit for the Tops.",
"It was another Top 10 hit for the Tops. The Top 10 U.S. hit \"Bernadette\" centered around a man's all-consuming obsession with his lover, continued the Four Tops' successful run into April 1967, followed by the Top 20 hits \"7-Rooms of Gloom\", and \"You Keep Running Away\".",
"The Top 10 U.S. hit \"Bernadette\" centered around a man's all-consuming obsession with his lover, continued the Four Tops' successful run into April 1967, followed by the Top 20 hits \"7-Rooms of Gloom\", and \"You Keep Running Away\". By now, the Tops were the most successful male Motown act in the United Kingdom (in the United States, they were second to the Temptations), and began experimenting with more mainstream pop hits.",
"By now, the Tops were the most successful male Motown act in the United Kingdom (in the United States, they were second to the Temptations), and began experimenting with more mainstream pop hits. They scored hits with their versions of Tim Hardin's \"If I Were a Carpenter\" in late 1967 (mid-1968 in the U.S.) and the Left Banke's \"Walk Away Renée\" in early 1968.",
"They scored hits with their versions of Tim Hardin's \"If I Were a Carpenter\" in late 1967 (mid-1968 in the U.S.) and the Left Banke's \"Walk Away Renée\" in early 1968. These singles and the original \"I'm in a Different World\" were their last hits produced by Holland-Dozier-Holland, who left Motown in 1967 after disputes with Berry Gordy, Jr. Late Motown period Without Holland-Dozier-Holland, the hits became less frequent.",
"These singles and the original \"I'm in a Different World\" were their last hits produced by Holland-Dozier-Holland, who left Motown in 1967 after disputes with Berry Gordy, Jr. Late Motown period Without Holland-Dozier-Holland, the hits became less frequent. The group worked with a wide array of Motown producers during the late 1960s, including Ivy Jo Hunter, Nickolas Ashford & Valerie Simpson, Norman Whitfield and Johnny Bristol, without significant chart success.",
"The group worked with a wide array of Motown producers during the late 1960s, including Ivy Jo Hunter, Nickolas Ashford & Valerie Simpson, Norman Whitfield and Johnny Bristol, without significant chart success. Their first major hit in a long time came in the form of 1970's \"It's All in the Game\", a pop Top 30/R&B Top Ten hit produced by Frank Wilson.",
"Their first major hit in a long time came in the form of 1970's \"It's All in the Game\", a pop Top 30/R&B Top Ten hit produced by Frank Wilson. Wilson and the Tops began working on a number of innovative tracks and albums together, echoing Whitfield's psychedelic soul work with the Temptations.",
"Wilson and the Tops began working on a number of innovative tracks and albums together, echoing Whitfield's psychedelic soul work with the Temptations. Their 1970 album Still Waters Run Deep was a forerunner of the concept album.",
"Their 1970 album Still Waters Run Deep was a forerunner of the concept album. It also served as an inspiration for Marvin Gaye's 1971 classic album What's Going On, the title track of which was co-written by the Tops' Renaldo \"Obie\" Benson.",
"It also served as an inspiration for Marvin Gaye's 1971 classic album What's Going On, the title track of which was co-written by the Tops' Renaldo \"Obie\" Benson. In addition to their own albums, the Tops were paired with The Supremes, who had just replaced lead singer Diana Ross with Jean Terrell, for a series of albums billed under the joint title The Magnificent 7 in 1970, and The Return of the Magnificent Seven and Dynamite!",
"In addition to their own albums, the Tops were paired with The Supremes, who had just replaced lead singer Diana Ross with Jean Terrell, for a series of albums billed under the joint title The Magnificent 7 in 1970, and The Return of the Magnificent Seven and Dynamite! in 1971.",
"in 1971. in 1971. Whilst the albums themselves did not perform really well on the charts, The Magnificent Seven featured a Top 20 version of Ike & Tina Turner's \"River Deep - Mountain High\", produced by Ashford & Simpson. The 1971 single \"A Simple Game\" featured backing vocals from members of The Moody Blues.",
"The 1971 single \"A Simple Game\" featured backing vocals from members of The Moody Blues. The song did not fare well on the U.S. charts, but reached number three on the UK chart. ABC/Dunhill Records and Casablanca Records Motown as a company began to change during the early 1970s.",
"ABC/Dunhill Records and Casablanca Records Motown as a company began to change during the early 1970s. Older acts such as Martha and the Vandellas and The Marvelettes were slowly moved aside or dropped to focus on newer acts, such as Michael Jackson and The Jackson 5, Rare Earth, and the now-solo Diana Ross.",
"Older acts such as Martha and the Vandellas and The Marvelettes were slowly moved aside or dropped to focus on newer acts, such as Michael Jackson and The Jackson 5, Rare Earth, and the now-solo Diana Ross. In addition, the company moved its operations from Detroit to Los Angeles, California, where Berry Gordy, Jr. planned to break into the motion picture and television industries.",
"In addition, the company moved its operations from Detroit to Los Angeles, California, where Berry Gordy, Jr. planned to break into the motion picture and television industries. In 1972, it was announced that the entire company would move west and that all its artists had to move as well.",
"In 1972, it was announced that the entire company would move west and that all its artists had to move as well. Many of the older Motown acts, already neglected by the label, opted to stay in Detroit, including The Funk Brothers studio backing band, Martha Reeves, and the Four Tops.",
"Many of the older Motown acts, already neglected by the label, opted to stay in Detroit, including The Funk Brothers studio backing band, Martha Reeves, and the Four Tops. The Tops departed Motown for ABC-Dunhill, where they were assigned to writer-producers Dennis Lambert and Brian Potter and the label's head of A&R, Steve Barri as producer, with The Tops' own Lawrence Payton later also serving as a producer and writer.",
"The Tops departed Motown for ABC-Dunhill, where they were assigned to writer-producers Dennis Lambert and Brian Potter and the label's head of A&R, Steve Barri as producer, with The Tops' own Lawrence Payton later also serving as a producer and writer. He also took over lead vocal duties on several tracks.",
"He also took over lead vocal duties on several tracks. The group's first release on the label, \"Keeper of the Castle\" (1972) was their first pop Top 10 hit since \"Bernadette\" in 1967.",
"The group's first release on the label, \"Keeper of the Castle\" (1972) was their first pop Top 10 hit since \"Bernadette\" in 1967. Follow-ups included the 1973 million-selling \"Ain't No Woman (Like the One I've Got)\", also a top 10 pop hit and their third R&B number 1, and the Top 20 hit, \"Are You Man Enough\" (1973), (from the 1973 movie Shaft in Africa).",
"Follow-ups included the 1973 million-selling \"Ain't No Woman (Like the One I've Got)\", also a top 10 pop hit and their third R&B number 1, and the Top 20 hit, \"Are You Man Enough\" (1973), (from the 1973 movie Shaft in Africa). \"Sweet Understanding Love\" (1973); \"Midnight Flower (1974); and \"One Chain Don't Make No Prison\" (1974) all reached the R&B Top 10 between 1972 and 1974.",
"\"Sweet Understanding Love\" (1973); \"Midnight Flower (1974); and \"One Chain Don't Make No Prison\" (1974) all reached the R&B Top 10 between 1972 and 1974. Two ABC/Dunhill singles, 1974's \"I Just Can't Get You Out of My Mind\" and 1975's \"Seven Lonely Nights\" have become popular tunes in the southeast Beach/Shag Club Dance circuit.",
"Two ABC/Dunhill singles, 1974's \"I Just Can't Get You Out of My Mind\" and 1975's \"Seven Lonely Nights\" have become popular tunes in the southeast Beach/Shag Club Dance circuit. After the release of \"Catfish\" (a top 10 R&B hit) in 1976, the major hits started to dry up and the Tops left ABC after an album recorded in Philadelphia with the MFSB musicians resulted in only minor chart success in 1978.",
"After the release of \"Catfish\" (a top 10 R&B hit) in 1976, the major hits started to dry up and the Tops left ABC after an album recorded in Philadelphia with the MFSB musicians resulted in only minor chart success in 1978. The group disappeared from the recording scene until the early 1980s.",
"The group disappeared from the recording scene until the early 1980s. Signing a deal with Casablanca Records, the Tops made a comeback in 1981 with the number 1 R&B hit \"When She Was My Girl\". Produced by David Wolfert, it just missed the Billboard pop Top 10, peaking at number 11.",
"Produced by David Wolfert, it just missed the Billboard pop Top 10, peaking at number 11. The group also scored a UK Top 10 hit with the song and had another hit there with the follow-up, \"Don't Walk Away\".",
"The group also scored a UK Top 10 hit with the song and had another hit there with the follow-up, \"Don't Walk Away\". In 1982, their song \"Back to School Again\" appeared in both the movie Grease 2 and its soundtrack.",
"In 1982, their song \"Back to School Again\" appeared in both the movie Grease 2 and its soundtrack. Return to Motown By 1983, The Tops had rejoined Motown, where their former ABC-Dunhill producer, Barri was vice-president of A&R.",
"Return to Motown By 1983, The Tops had rejoined Motown, where their former ABC-Dunhill producer, Barri was vice-president of A&R. They were featured on the company's 1983 television special Motown 25: Yesterday, Today, Forever, taking part in one of the highlights of the show - a battle of the bands between The Tops and The Temptations, patterned after similar competitions Berry Gordy, Jr. had staged during the 1960s.",
"They were featured on the company's 1983 television special Motown 25: Yesterday, Today, Forever, taking part in one of the highlights of the show - a battle of the bands between The Tops and The Temptations, patterned after similar competitions Berry Gordy, Jr. had staged during the 1960s. Levi Stubbs and Temptation Otis Williams decided the Temptations/Tops battle would be a good one to take on the road, and both groups began semi-regular joint tours.",
"Levi Stubbs and Temptation Otis Williams decided the Temptations/Tops battle would be a good one to take on the road, and both groups began semi-regular joint tours. The first of The Tops' albums under their new Motown contract was Back Where I Belong (1983).",
"The first of The Tops' albums under their new Motown contract was Back Where I Belong (1983). A whole side of the album was produced by the Holland-Dozier-Holland production team, including the R&B Top 40 single \"I Just Can't Walk Away\".",
"A whole side of the album was produced by the Holland-Dozier-Holland production team, including the R&B Top 40 single \"I Just Can't Walk Away\". Only one more Tops album would be released by Motown, Magic in 1985.",
"Only one more Tops album would be released by Motown, Magic in 1985. The lead single from that album, \"Sexy Ways\", was almost a Top 20 R&B hit, peaking at number 21 in mid-1985.",
"The lead single from that album, \"Sexy Ways\", was almost a Top 20 R&B hit, peaking at number 21 in mid-1985. In July of that year, the group performed at the Live Aid concert, singing five of their hit songs.",
"In July of that year, the group performed at the Live Aid concert, singing five of their hit songs. The title track of 1988's Indestructible was the group's final Top 40 hit, reaching No. 35. It was also featured in the 1988 science-fiction cop film Alien Nation.",
"It was also featured in the 1988 science-fiction cop film Alien Nation. Another track, \"Loco in Acapulco\", written and produced by British pop musician Phil Collins and former Motown composer-producer Lamont Dozier, climbed into the UK Top 10 and made number 7 in early 1989.",
"Another track, \"Loco in Acapulco\", written and produced by British pop musician Phil Collins and former Motown composer-producer Lamont Dozier, climbed into the UK Top 10 and made number 7 in early 1989. The Arista contract provided an opportunity to pair Levi Stubbs with fellow Arista artist, another R&B vocalist from Detroit, Aretha Franklin, who was at the height of her own 1980s hit streak.",
"The Arista contract provided an opportunity to pair Levi Stubbs with fellow Arista artist, another R&B vocalist from Detroit, Aretha Franklin, who was at the height of her own 1980s hit streak. This pairing resulted in the 1988 song \"If Ever a Love There Was\", which became a popular R&B and Adult Contemporary hit, as well as being featured on the soundtrack of the 1988 motion picture I'm Gonna Git You Sucka.",
"This pairing resulted in the 1988 song \"If Ever a Love There Was\", which became a popular R&B and Adult Contemporary hit, as well as being featured on the soundtrack of the 1988 motion picture I'm Gonna Git You Sucka. In December 1988, Pan Am Flight 103 (a disaster known as the Lockerbie bombing) became the group's scheduled return flight to the U.S. for Christmas after completing their European tour.",
"In December 1988, Pan Am Flight 103 (a disaster known as the Lockerbie bombing) became the group's scheduled return flight to the U.S. for Christmas after completing their European tour. A prolonged recording session and a performance at the British television show Top of the Pops caused them to oversleep and miss the ill-fated flight which crashed in Lockerbie, Scotland, after a terrorist bomb was detonated on board.",
"A prolonged recording session and a performance at the British television show Top of the Pops caused them to oversleep and miss the ill-fated flight which crashed in Lockerbie, Scotland, after a terrorist bomb was detonated on board. They left London on a later British Airways flight.",
"They left London on a later British Airways flight. Later years From the late 1980s, the Four Tops focused on touring and live performances. They recorded only one album, returning again to Motown for 1995's Christmas Here with You.",
"They recorded only one album, returning again to Motown for 1995's Christmas Here with You. On June 20, 1997, 59-year-old Lawrence Payton died as a result of liver cancer, after singing for 44 years with the Four Tops who, unlike many other Motown groups, never had a single lineup change until then.",
"On June 20, 1997, 59-year-old Lawrence Payton died as a result of liver cancer, after singing for 44 years with the Four Tops who, unlike many other Motown groups, never had a single lineup change until then. At first, Levi Stubbs, Renaldo \"Obie\" Benson, and Abdul \"Duke\" Fakir toured as a trio called The Tops.",
"At first, Levi Stubbs, Renaldo \"Obie\" Benson, and Abdul \"Duke\" Fakir toured as a trio called The Tops. In 1998, they recruited former member of the Temptations Theo Peoples to restore the group to a quartet.",
"In 1998, they recruited former member of the Temptations Theo Peoples to restore the group to a quartet. By the turn of the century, Stubbs had become ill from cancer; Ronnie McNeir was recruited to fill the Lawrence Payton position and Theo Peoples stepped into Stubbs' shoes as lead singer.",
"By the turn of the century, Stubbs had become ill from cancer; Ronnie McNeir was recruited to fill the Lawrence Payton position and Theo Peoples stepped into Stubbs' shoes as lead singer. Stubbs later died on October 17, 2008 at his home in Detroit.",
"Stubbs later died on October 17, 2008 at his home in Detroit. The group was featured in several television specials during this time, including Motown 45, and several by PBS, including a 50th-anniversary concert dedicated to the group (available on DVD).",
"The group was featured in several television specials during this time, including Motown 45, and several by PBS, including a 50th-anniversary concert dedicated to the group (available on DVD). The concert turned out to be bittersweet; it featured a brief appearance of Levi Stubbs using a wheelchair, and a memorial to Lawrence Payton, announced by Renaldo \"Obie\" Benson.",
"The concert turned out to be bittersweet; it featured a brief appearance of Levi Stubbs using a wheelchair, and a memorial to Lawrence Payton, announced by Renaldo \"Obie\" Benson. Benson appeared on one more PBS special and died on July 1, 2005, from lung cancer.",
"Benson appeared on one more PBS special and died on July 1, 2005, from lung cancer. The final PBS special, titled Motown: The Early Years, featured a message of Benson's passing following the credits.",
"The final PBS special, titled Motown: The Early Years, featured a message of Benson's passing following the credits. The group was inducted into the Rock and Roll Hall of Fame in 1990, and into the Vocal Group Hall of Fame in 1999.",
"The group was inducted into the Rock and Roll Hall of Fame in 1990, and into the Vocal Group Hall of Fame in 1999. In 2004, Rolling Stone ranked them #79 on their list of the 100 Greatest Artists of All Time.",
"In 2004, Rolling Stone ranked them #79 on their list of the 100 Greatest Artists of All Time. The Four Tops were inducted into the Michigan Rock and Roll Legends Hall of Fame in 2005.",
"The Four Tops were inducted into the Michigan Rock and Roll Legends Hall of Fame in 2005. The Four Tops sang the National Anthem before the start of game 5 for the 2011 baseball American League Championship Series (ALCS) between the Texas Rangers & Detroit Tigers on October 13, 2011 in Detroit, MI.",
"The Four Tops sang the National Anthem before the start of game 5 for the 2011 baseball American League Championship Series (ALCS) between the Texas Rangers & Detroit Tigers on October 13, 2011 in Detroit, MI. When singing the last line of \"The Star-Spangled Banner\", \"... and the home of the brave\", they quickly sang the words \"Ain't No country Like the One I Got\", before singing the last word, \"brave\".",
"When singing the last line of \"The Star-Spangled Banner\", \"... and the home of the brave\", they quickly sang the words \"Ain't No country Like the One I Got\", before singing the last word, \"brave\". The Four Tops were honored with an induction into the R&B Music Hall of Fame at the Inaugural ceremony held at Cleveland State University's Waetejen Auditorium on Saturday August 17, 2013.",
"The Four Tops were honored with an induction into the R&B Music Hall of Fame at the Inaugural ceremony held at Cleveland State University's Waetejen Auditorium on Saturday August 17, 2013. The Four Tops were among hundreds of artists whose material was destroyed in the 2008 Universal fire.",
"The Four Tops were among hundreds of artists whose material was destroyed in the 2008 Universal fire. The Four Tops career awards The Four Tops have won many awards, including the following: Rock and Roll Hall of Fame (1990) Vocal Group Hall of Fame (1999) Hollywood Walk of Fame (1997) Grammy Hall of Fame (Reach Out I'll Be There-1998)(\"I Can't Help Myself (Sugar Pie Honey Bunch-2018) Grammy Lifetime Achievement Award (2009-51st Annual Grammy Awards) Rhythm and Blues Foundation Pioneer Award (1997) Billboard magazine Top 100 Artists of All Time(#77) R&B Music Hall of Fame Induction (2013) 100 Greatest Artists of All Time (#79-Rolling Stone) Rolling Stone's 500 Greatest Songs of All Time (2003) Michigan Rock and Roll Legends Hall of Fame Grammy Lifetime Achievement Award In early 2018, The Four Tops' 1965 #1 Pop Hit, \"I Can't Help Myself (Sugar Pie Honey Bunch)\" became their second song to be inducted into The Grammy Hall of Fame.",
"The Four Tops career awards The Four Tops have won many awards, including the following: Rock and Roll Hall of Fame (1990) Vocal Group Hall of Fame (1999) Hollywood Walk of Fame (1997) Grammy Hall of Fame (Reach Out I'll Be There-1998)(\"I Can't Help Myself (Sugar Pie Honey Bunch-2018) Grammy Lifetime Achievement Award (2009-51st Annual Grammy Awards) Rhythm and Blues Foundation Pioneer Award (1997) Billboard magazine Top 100 Artists of All Time(#77) R&B Music Hall of Fame Induction (2013) 100 Greatest Artists of All Time (#79-Rolling Stone) Rolling Stone's 500 Greatest Songs of All Time (2003) Michigan Rock and Roll Legends Hall of Fame Grammy Lifetime Achievement Award In early 2018, The Four Tops' 1965 #1 Pop Hit, \"I Can't Help Myself (Sugar Pie Honey Bunch)\" became their second song to be inducted into The Grammy Hall of Fame. Personnel Current Members Abdul “Duke” Fakir (1953-present) Ronnie McNeir (1999-present) Lawrence Payton Jr. (2005-present) Alexander Morris (2019-present) Former Members Levi Stubbs (1953-2000, 2004) (d. 2008) Renaldo “Obie” Benson (1953-2005) (d. 2005) Lawrence Payton (1953-1997) (d. 1997) Theo Peoples (1998-2010) Harold Bonhart (2010-2018) Discography Albums Motown releases 1965: Four Tops (US #63; UK #2) 1965: Four Tops' Second Album (US #20) 1966: Four Tops Live!",
"Personnel Current Members Abdul “Duke” Fakir (1953-present) Ronnie McNeir (1999-present) Lawrence Payton Jr. (2005-present) Alexander Morris (2019-present) Former Members Levi Stubbs (1953-2000, 2004) (d. 2008) Renaldo “Obie” Benson (1953-2005) (d. 2005) Lawrence Payton (1953-1997) (d. 1997) Theo Peoples (1998-2010) Harold Bonhart (2010-2018) Discography Albums Motown releases 1965: Four Tops (US #63; UK #2) 1965: Four Tops' Second Album (US #20) 1966: Four Tops Live! (US #17; UK #4) 1966: On Top (US #32; UK #9) 1967: Four Tops' Greatest Hits (US #4; UK #1) 1967: Reach Out (US #11; UK #6) 1967: Four Tops on Broadway (US #79) 1968: Yesterday's Dreams (US #91) 1969: Four Tops Now!",
"(US #17; UK #4) 1966: On Top (US #32; UK #9) 1967: Four Tops' Greatest Hits (US #4; UK #1) 1967: Reach Out (US #11; UK #6) 1967: Four Tops on Broadway (US #79) 1968: Yesterday's Dreams (US #91) 1969: Four Tops Now! (US #74) 1969: Soul Spin (US #163) 1970: Still Waters Run Deep (US #21) 1970: Changing Times (US #109) 1970: The Magnificent 7 (with The Supremes) (US #113; UK #6) 1971: The Return of the Magnificent Seven (with The Supremes) (US #154) 1971: Dynamite (with the Supremes) (US #160) 1971: Mac Arthur Park 1972: Nature Planned It (US #50) 1973: The Best of the 4 Tops (US #103) ABC releases 1972: Keeper of the Castle (US #33) 1973: Main Street People (US #66) 1974: Meeting of the Minds (US #118) 1974: Live & in Concert (US #92) 1975: Night Lights Harmony (US #148) 1976: Catfish (US #124) 1977: The Show Must Go On 1978: At the Top Casablanca releases 1981: Tonight!",
"(US #74) 1969: Soul Spin (US #163) 1970: Still Waters Run Deep (US #21) 1970: Changing Times (US #109) 1970: The Magnificent 7 (with The Supremes) (US #113; UK #6) 1971: The Return of the Magnificent Seven (with The Supremes) (US #154) 1971: Dynamite (with the Supremes) (US #160) 1971: Mac Arthur Park 1972: Nature Planned It (US #50) 1973: The Best of the 4 Tops (US #103) ABC releases 1972: Keeper of the Castle (US #33) 1973: Main Street People (US #66) 1974: Meeting of the Minds (US #118) 1974: Live & in Concert (US #92) 1975: Night Lights Harmony (US #148) 1976: Catfish (US #124) 1977: The Show Must Go On 1978: At the Top Casablanca releases 1981: Tonight! (US #37) 1982: One More Mountain Motown releases 1983: Back Where I Belong 1985: Magic (US #140) 1986: Hot Nights (unreleased) Arista releases 1988: Indestructible (US #149) Motown releases 1995: Christmas Here with You Prism Leisure releases 2000: The Four Tops Collection (recorded live at the MGM grand 1996) U.S.",
"(US #37) 1982: One More Mountain Motown releases 1983: Back Where I Belong 1985: Magic (US #140) 1986: Hot Nights (unreleased) Arista releases 1988: Indestructible (US #149) Motown releases 1995: Christmas Here with You Prism Leisure releases 2000: The Four Tops Collection (recorded live at the MGM grand 1996) U.S. Billboard Hot 100 and UK singles The following singles reached the top 30 of the U.S. and UK singles charts.",
"Billboard Hot 100 and UK singles The following singles reached the top 30 of the U.S. and UK singles charts. DVDs The Four Tops: Live at the MGM Grand: 40th Anniversary Special (1996) The Four Tops: The Four Tops (semi-documentary/concert rehearsal, recorded live for French TV in 1971) (2004) The Four Tops: From the Heart: The 50th Anniversary Concert (2006) The Four Tops: Reach Out: Definitive Performances 1965-1973 (2008), Motown/Universal See also List of best-selling music artists References External links Four Tops biography by John Bush, discography and album reviews, credits & releases at AllMusic Four Tops discography, album releases & credits at Discogs Four Tops filmography on IMDb Four Tops Broadway musical productions at the Internet Broadway Database Four Tops discography at MusicBrainz Four Tops albums to be listened as stream on Spotify Vocal Group Hall of Fame page on the Four Tops Levi Stubbs/The Four Tops interview by Pete Lewis, 'Blues & Soul' October 1992 (republished November 2008) History of Rock article Four Tops on MySpace Four Tops appearances on The Ed Sullivan Show Ronnie McNeir 2012 Interview at Soulinterviews.com.",
"DVDs The Four Tops: Live at the MGM Grand: 40th Anniversary Special (1996) The Four Tops: The Four Tops (semi-documentary/concert rehearsal, recorded live for French TV in 1971) (2004) The Four Tops: From the Heart: The 50th Anniversary Concert (2006) The Four Tops: Reach Out: Definitive Performances 1965-1973 (2008), Motown/Universal See also List of best-selling music artists References External links Four Tops biography by John Bush, discography and album reviews, credits & releases at AllMusic Four Tops discography, album releases & credits at Discogs Four Tops filmography on IMDb Four Tops Broadway musical productions at the Internet Broadway Database Four Tops discography at MusicBrainz Four Tops albums to be listened as stream on Spotify Vocal Group Hall of Fame page on the Four Tops Levi Stubbs/The Four Tops interview by Pete Lewis, 'Blues & Soul' October 1992 (republished November 2008) History of Rock article Four Tops on MySpace Four Tops appearances on The Ed Sullivan Show Ronnie McNeir 2012 Interview at Soulinterviews.com. Musical groups established in 1953 Musical groups from Detroit African-American musical groups American soul musical groups Motown artists Northern soul musicians ABC Records artists Dunhill Records artists Chess Records artists Vocal quartets Columbia Records artists Casablanca Records artists Arista Records artists 1953 establishments in Michigan"
] |
[
"Good Vibrations",
"Historical reception"
] | C_3511c60eb57b41c2bebf1299ed0caeeb_0 | What historical reception did the song get? | 1 | What historical reception did the song Good Vibrations get? | Good Vibrations | Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat. Sound on Sound highlights this change as the "most savage edit in the track ... most people would go straight into a big splash hook-line section. Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ... Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian." Harrison says: The appearance of episode 1 was unusual enough but could be explained as an extended break between verse and refrain sections. Episode 2 however, makes that interpretation untenable, and both listener and analyst must entertain the idea that "Good Vibrations" develops under its own power, as it were, without the guidance of overdetermined formal patterns. Brian's [sic] own description of the song--a three-and-a-half-minute 'pocket symphony'--is a telling clue about his formal ambitions here. The slowed pace is complemented by the lyric ("Gotta keep those loving good vibrations a-happening with her"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony. This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2. The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats. Lambert calls it the song's "wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments. As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say." Virtually every pop music critic recognizes "Good Vibrations" as one of the most important compositions and recordings of the entire rock era. It is a regular fixture on "greatest of all-time" song lists and is frequently hailed as one of the finest pop productions of all time. In 2004, Rolling Stone magazine ranked "Good Vibrations" at number 6 in "The 500 Greatest Songs of All Time", the highest position of seven Beach Boys songs cited in the list. In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list. As of 2016, "Good Vibrations" is ranked as the number four song of all time in an aggregation of critics' lists at Acclaimed Music. The song served as an anthem for the counterculture of the 1960s. According to Noel Murray of The A.V. Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's "un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do." Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for "Good Vibrations". "Heroes and Villains", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967. In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of "Good Vibrations". When asked about the song in 1990, Paul McCartney responded: "I thought it was a great record. It didn't quite have the emotional thing that Pet Sounds had for me. I've often played Pet Sounds and cried. It's that kind of an album for me." Pete Townshend of the Who was quoted in the 1960s as saying, "'Good Vibrations' was probably a good record but who's to know? You had to play it about 90 bloody times to even hear what they were singing about." Townshend feared that the single would lead to a trend of overproduction. In a 1966 issue of Arts Magazine, Jonathan King said: "With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art. Computerized pop, mechanized music. Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons. It is long and split. ... impressive, fantastic, commercial--yes. Emotional, soul-destroying, shattering--no." In the 2000s, record producer Phil Spector criticized the single for depending too much on tape manipulation, negatively referring to it as an "edit record ... It's like Psycho is a great film, but it's an 'edit film.' Without edits, it's not a film; with edits, it's a great film. But it's not Rebecca ... it's not a beautiful story." CANNOTANSWER | Virtually every pop music critic recognizes "Good Vibrations" as one of the most important compositions and recordings of the entire rock era. | "Good Vibrations" is a song by the American rock band the Beach Boys that was composed by Brian Wilson with lyrics by Mike Love. It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping record charts in several countries including the United States and the United Kingdom. Characterized by its complex soundscapes, episodic structure and subversions of pop music formula, it was the most expensive single ever recorded. "Good Vibrations" later became widely acclaimed as one of the finest and most important works of the rock era.
Also produced by Wilson, the title derived from his fascination with cosmic vibrations, as his mother would tell him as a child that dogs sometimes bark at people in response to their "bad vibrations". He used the concept to suggest extrasensory perception, while Love's lyrics were inspired by the nascent Flower Power movement. The song was written as it was recorded and in a similar fashion to other compositions from Wilson's Smile period. It was issued as a standalone single, backed with "Let's Go Away for Awhile", and was to be included on the never-finished album Smile. Instead, the track appeared on the September 1967 release Smiley Smile.
The making of "Good Vibrations" was unprecedented for any kind of recording. Building on his approach for Pet Sounds, Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of session musicians at four different Hollywood studios from February to September 1966, a process reflected in the song's several dramatic shifts in key, texture, instrumentation and mood. Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars. Band publicist Derek Taylor dubbed the unusual work a "pocket symphony". It helped develop the use of the studio as an instrument and heralded a wave of pop experimentation and the onset of psychedelic and progressive rock. The track featured a novel mix of instruments, including jaw harp and Electro-Theremin, and although the latter is not a true theremin, the song's success led to a renewed interest and sales of theremins and synthesizers.
"Good Vibrations" received a Grammy nomination for Best Vocal Group performance in 1966 and was inducted into the Grammy Hall of Fame in 1994. The song was voted number one in Mojos "Top 100 Records of All Time" and number six on Rolling Stones "500 Greatest Songs of All Time", and it was included in the Rock and Roll Hall of Fame's "500 Songs that Shaped Rock and Roll". In later years, the song has been cited as a forerunner to the Beatles' "A Day in the Life" (1967) and Queen's "Bohemian Rhapsody" (1975). A 1976 cover version by Todd Rundgren peaked at number 34 on the Billboard Hot 100. The Beach Boys followed up "Good Vibrations" with another single pieced from sections, "Heroes and Villains" (1967), but it was less successful.
Inspiration and writing
Concept and early lyrics
The Beach Boys' leader, Brian Wilson, was responsible for the musical composition and virtually all of the arrangement for "Good Vibrations". Most of the song's structure and arrangement was written as it was recorded. During the recording sessions for the 1966 album Pet Sounds, Wilson began changing his writing process. For "Good Vibrations", Wilson said, "I had a lot of unfinished ideas, fragments of music I called 'feels.' Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic." Engineer Chuck Britz is quoted saying that Wilson considered the song to be "his whole life performance in one track". Wilson stated: "I was an energetic 23-year-old. ... I said: 'This is going to be better than [the Phil Spector production] "You've Lost That Lovin' Feelin'.
Wilson said that "Good Vibrations" was inspired by his mother: "[She] used to tell me about vibrations. I didn't really understand too much of what it meant when I was just a boy. It scared me, the word 'vibrations.' She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel." Brian first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea. When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style. Asher remembered:
Wilson wanted to call the song "Good Vibes", but Asher advised that it was "lightweight use of the language", and suggested that "Good Vibrations" would sound less "trendy". The two proceeded to write lyrics for the verses that were ultimately discarded.
Theremin and cello
From the start, Wilson envisioned a theremin for the track. AllMusic reviewer John Bush pointed out: "Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel—between the single's theme and its use of an instrument the player never even touched."
"Good Vibrations" does not technically feature a theremin, but rather an Electro-Theremin, which is physically controlled by a knob on the side of the instrument. It was dubbed a "theremin" simply for convenience. At that time, theremins were most often associated with the 1945 Alfred Hitchcock film Spellbound, but their most common presence was in the theme music for the television sitcom My Favorite Martian, which ran from 1963 to 1966. Britz speculates: "He just walked in and said, 'I have this new sound for you.' I think he must have heard the sound somewhere and loved it, and built a song around it." It is unclear whether Wilson knew that the instrument was not a real theremin.
Brian credited his brother and bandmate Carl for suggesting the use of a cello on the track. He further stated that its triplet beat on the chorus was his own idea and that it was based on the Crystals' "Da Doo Ron Ron" (1963), produced by Spector. Conversely, arranger and session musician Van Dyke Parks said that it was himself who suggested having the cellist play triplets to Brian. Parks believed that having Brian exploit the cello "to such a hyperbolic degree" was what encouraged the duo to immediately collaborate on the never-finished album Smile. At some point, Wilson asked Parks to pen lyrics for "Good Vibrations", although Parks declined.
Influences and final lyrics
Wilson's cousin and bandmate Mike Love submitted the final lyrics for "Good Vibrations" and contributed its bass-baritone vocals in the chorus. He recalled that when he heard the unfinished backing track: "[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it. How's this going to go over in the Midwest or Birmingham? It was such a departure from 'Surfin' U.S.A.' or 'Help Me, Rhonda.'"
Love said that he wrote the words while on the drive to the studio. Feeling that the song could be "the Beach Boys' psychedelic anthem or flower power offering," he based the lyrics on the burgeoning psychedelic music and Flower Power movements occurring in San Francisco and some parts of the Los Angeles area. He described the lyrics as "just a flowery poem. Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair.'" Writing in his 1975 book The Beach Boys: Southern California Pastoral, Bruce Golden observed:
Capitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his LSD experiences. Brian clarified that the song was written under the influence of marijuana, not LSD. He explained: "I made ‘Good Vibrations’ on drugs; I used drugs to make that. ... I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity." In Steven Gaines's 1986 biography, Wilson is quoted on the lyrics: "We talked about good vibrations with the song and the idea, and we decided on one hand that you could say ... those are sensual things. And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have. That's what we're really talking about."
Wilson said in 2012 that the song's "gotta keep those good vibrations" bridge was inspired by Stephen Foster. Bandmate Al Jardine compared that section to Foster and the Negro spiritual "Down by the Riverside". According to Love, the lyric "'she goes with me to a blossom world' was originally meant to be followed by the words 'we find'", but Wilson elected to cut off the line to highlight the bass track linking into the chorus.
Recording and production
Modular approach
"Good Vibrations" established a new method of operation for Wilson. Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or "modules"). Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time. This was the same modular approach used during the sessions for Smile and Smiley Smile. To mask each tape edit, vast reverb decays were added at the mixing and sub-mixing stages.
For instrumentation, Wilson employed the services of "the Wrecking Crew", the nickname for a conglomerate of session musicians active in Los Angeles at that time. Production for "Good Vibrations" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two. It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands, making it the costliest single recorded to that date. Biographer Peter Ames Carlin wrote that Wilson was so puzzled by the arranging of "Good Vibrations" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs.
One estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to $ and $ in ), By comparison, the whole of Pet Sounds had cost $70,000 ($), itself an unusually high cost for an album. In 2018, Wilson disputed the $50,000 figure for "Good Vibrations", saying that the overall expenses were closer to $25,000.
Contemporary advertisements reported $10,000 ($) as the track's total production costs. Domenic Priore wrote that the track cost between $10,000 and $15,000 ($). When asked in a 2005 interview if it was true that the Electro-Theremin work alone cost $100,000, Wilson replied "No. $15,000."
Development
The instrumental of the first version of the song was recorded on February 17, 1966, at Gold Star Studios and was logged as a Pet Sounds session. On that day's session log, it was given the name "#1 Untitled" or "Good, Good, Good Vibrations", but on its master tape, Wilson distinctly states: "'Good Vibrations' ... take one." After twenty-six takes, a rough mono mix completed the session. Some additional instruments and rough guide vocals were overdubbed on February 23. Brian and Carl shared vocals for this mix.
The original version of "Good Vibrations" contained the characteristics of a "funky rhythm and blues number" and would not yet resemble a "pocket symphony". There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor, Paul Tanner. It was Brian's second ever recorded use of the instrument, just three days after the Pet Sounds track "I Just Wasn't Made for These Times". Brian then placed "Good Vibrations" on hold in order to devote attention to the Pet Sounds album, which saw release on May 16. More instrumental sections for "Good Vibrations" were recorded between April and June. Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs.
According to Brian's then-new friend David Anderle, during an early stage, Brian considered giving "Good Vibrations" to one of the black R&B groups signed with Warner Bros. Records such as Wilson Pickett, and then at Anderle's suggestion to singer Danny Hutton. He thought about abandoning the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single. In the meantime, he worked on writing and recording material for the group's forthcoming album, Smile.
The first Beach Boy to hear "Good Vibrations" in a semi-completed form, other than Brian, was Carl. Following a performance with the touring group in North Dakota, he remembered: "I came back up into my hotel room one night and the phone rang. It was Brian on the other end. He called me from the recording studio and played this really bizarre sounding music over the phone. There were drums smashing, that kind of stuff, and then it refined itself and got into the cello. It was a real funky track." In 1976, Brian revealed that before the final mixdown, he had been confronted with resistance by members of the group, whom Brian declined to name. The subject of their worries and complaints was the song's length and "modern" sound: "I said no, it's not going to be too long a record, it's going to be just right. ... They didn't quite understand what this jumping from studio to studio was all about. And they couldn't conceive of the record as I did. I saw the record as a totality piece."
The vocals for "Good Vibrations" were recorded at CBS Columbia Square, starting on August 24 and continuing sporadically until the very last day of assembly on September 21. The episodic structure of the composition was continuously revised as the group experimented with different ideas. Brian remembers that he began recording the "bop bop good vibrations" parts first, and that he came up with "the high parts" a week later. Mike Love recalled: "I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long." Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute. In early September, the master tapes for "Good Vibrations" were stolen. Mysteriously, they reappeared inside Brian's home two days later.
On September 21, Brian completed the track after Tanner added a final Electro-Theremin overdub. In 1976 he elaborated on the event: "It was at Columbia. I remember I had it right in the sack. I could just feel it when I dubbed it down, made the final mix from the 16-track down to mono. It was a feeling of power, it was a rush. A feeling of exaltation. Artistic beauty. It was everything ... I remember saying, 'Oh my God. Sit back and listen to this!'"
Composition and analysis
Genre and dynamics
There are six unique sections to the piece. Music theorist Daniel Harrison refers to these sections individually as the verse, the refrain (or chorus), the "first episodic digression", the "second episodic digression", the "retro-refrain", and the coda. Each has a distinct musical texture, partly due to the nature of the song's recording. The track's instrumentation changes radically from section to section, and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a "very long" duration. Wilson is quoted in 1979:
He characterized the song as "advanced rhythm and blues". Tom Roland of American Songwriter described the piece, "with its interlocking segments—a sort of pop version of the classical sonata, consisting of a series of musical movements". New York Magazine compared it to "a fugue with a rhythmic beat". John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs. Music journal Sound on Sound argued that the song "has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour". It explained that the song subverts pop forms to a considerable degree:
According to historian Lorenzo Candelaria, "Good Vibrations" has since been marketed as pop music "possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know." Uncut called the song "three minutes and thirty-six seconds of avant-garde pop". Mixdown described it as a "masterpiece of avant-pop". The theremin and cello has been called the song's "psychedelic ingredient". In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin. Professor of American history John Robert Greene named "Good Vibrations" among examples of psychedelic or acid rock. Stebbins wrote that the song was "replete with sunshine [and] psychedelia". Steve Valdez says that, like Pet Sounds, Brian was attempting a more experimental rock style.
Comparing "Good Vibrations" to Wilson's previous work Pet Sounds, biographer Andrew Hickey said that the "best way of thinking about [the song] is that it's taking the lowest common denominator of 'Here Today' and 'God Only Knows' and turned the result into an R&B track. We have the same minor-key change between verse and chorus we've seen throughout Pet Sounds, the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to funky." Author Jon Stebbins adds that "unlike Pet Sounds the chorus of 'Good Vibrations' projects a definite 'rock and roll' energy and feel."
According to academic Rikky Rooksby, "Good Vibrations" is an example of Brian Wilson's growing interest in musical development within a composition, something antithetical to popular music of the time. Suppressing tonic strength and cadential drive, the song makes use of descending harmonic motions through scale degrees controlled by a single tonic and "radical disjunctions" in key, texture, instrumentation, and mood while refusing to develop into a predictable formal pattern. It instead develops "under its own power" and "luxuriates in harmonic variety" exemplified by beginning and ending not only in different keys but also in different modes.
Verses and refrains (0:00–1:40)
"Good Vibrations" begins without introduction in a traditional verse/refrain format, opening with Carl Wilson singing the word "I", a triplet eighth note before the downbeat. The sparse first verse contains a repetition of chords played on a Hammond organ filtered through a Leslie speaker; underneath is a two-bar Fender bass melody. This sequence repeats once (0:15), but with the addition of two piccolos sustaining over a falling flute line. For percussion, bongo drums double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation. The beat projects a triplet feel despite being in time; this is sometimes called a "shuffle beat" or "threes over fours". The chord progression used is i–VII–VI–V, also called an Andalusian cadence. Although the verses begin in the minor mode of E, the mode is not used to express sadness or drudgery. Occurring at the very end of these verses is a passing chord, D.
The refrain (0:25) begins in the newly tonicized relative major G, which suggests III. Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music. The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat. This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals. The first section consists of only the couplet "I'm picking up good vibrations/she's giving me the excitation" sung by Mike Love in his bass-baritone register; the second repeats the lines and adds an "ooo bop bop" figure, sung in multiple-part harmony; the third time also adds a "good, good, good, good vibrations" in yet a higher harmony. This type of polyphony (counterpoint) is also rare in contemporary popular styles. Each repeat of the vocal lines also transposes up by a whole step, ascending from G to A and then B. It then returns to the verse, thus making a perfect cadence back into E minor. The verse and refrain then repeat without any changes to the patterns of its instrumentation and harmony. This is unusual, in that normally, a song's arrangement adds something once it reaches the second verse.
Episodic digressions
First episode (1:41–2:13)
The first episode (1:41+) begins disjunctively with an abrupt tape splice. The refrain's B, which had received a dominant (V) charge, is now maintained as a tonic (I). There is harmonic ambiguity, in that the chord progression may be either interpreted as I–IV–I (in B) or V–I–V (in E). Stebbins says that this section "might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply." A new sound is created by tack piano, jaw harp, and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, bass harmonica, and sleigh bells shaken on every beat. The lone line of vocals (aside from non-lexical harmonies) is "I don't know where, but she sends me there" sung in Mike Love's upper-register baritone. This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns.
Second episode (2:13–2:56)
Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat. Sound on Sound highlights this change as the "most savage edit in the track ... most people would go straight into a big splash hook-line section. Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ... Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian." Harrison says:
The slowed pace is complemented by the lyric ("Gotta keep those loving good vibrations a-happening with her"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony. This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2. The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats. Lambert calls it the song's "wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments. As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say."
Retro-refrain and coda (2:57–3:35)
A brief break at the end of the second musical digression creates tension which leads into the final sequence of the song. The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B, repeats at A, and then ends at G for an unexpectedly short single measure. The section uses a descending progression, which mirrors the ascending progression of the previous two refrains. There follows a short section of vocalizing in three-part counterpoint that references the original refrain by reproducing upward transposition. However, this time it settles on A, the concluding key of the song. By the end of "Good Vibrations," all seven scale degrees of the opening E-minor tonic are activated on some level.
Release and promotion
In a July 1966 advertisement for Pet Sounds in Billboard magazine, the band thanked the music industry for the sales of their album, and said that "We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations." This was the first public hint of the new single. Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was "about a guy who picks up good vibrations from a girl" and that it would be a "monster". He then suggested: "It's still sticking pretty close to that same boy-girl thing, you know, but with a difference. And it's a start, it's definitely a start." Derek Taylor, who had recently been engaged as the band's publicist, is credited for coining the term a "pocket symphony" to describe the song. In a press release for the single, he stated: "Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils. And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else."
To promote the single, four different music videos were shot. The first of these—which had Caleb Deschanel as cameraman—features the group at a fire station, sliding down its pole, and roaming the streets of Los Angeles in a fashion comparable to The Monkees. The second features the group during vocal rehearsals at United Western Recorders. The third contains footage recorded during the making of The Beach Boys in London, a documentary by Peter Whitehead of their concert performances. The fourth clip is an alternative edit of the third. Brian also made a rare television appearance on local station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record.
On October 15, 1966, Billboard predicted that the single would reach the top 20 in the Billboard Hot 100 chart. "Good Vibrations" was the Beach Boys' third US number one hit, after "I Get Around" and "Help Me, Rhonda", reaching the top of the Hot 100 in December. It was also their first number one in Britain. The single sold over 230,000 copies in the US within four days of its release and entered the Cash Box chart at number 61 on October 22. In the UK, the song sold over 50,000 copies in the first 15 days of its release. "Good Vibrations" quickly became the Beach Boys' first million-selling single. In December 1966, the record was their first single certified gold by the RIAA for sales of one million copies. On March 30, 2016, the digital single was certified platinum by the RIAA for the same sales level.
In the US, Cash Box said that it is a "catchy, easy-driving ditty loaded with the Boys’ money-making sound." In Britain, the single received favorable reviews from the New Musical Express and Melody Maker. Soon after, the Beach Boys were voted the number one band in the world in the NME readers' poll, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops. Billboard said that this result was probably influenced by the success of "Good Vibrations" when the votes were cast, together with the band's recent tour, whereas the Beatles had neither a recent single nor had they toured the UK throughout 1966; the reporter added that "The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak." In a readers' poll conducted by a Danish newspaper, Brian Wilson won the "best foreign-produced recording award", marking the first time that an American had won in that category.
The single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc.
Influence and legacy
Historical reception
Virtually every pop music critic recognizes "Good Vibrations" as one of the most important compositions and recordings of the entire rock era. It is a regular fixture on "greatest of all-time" song lists and is frequently hailed as one of the finest pop productions of all time. In 2004, Rolling Stone magazine ranked "Good Vibrations" at number 6 in "The 500 Greatest Songs of All Time", the highest position of seven Beach Boys songs cited in the list. In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list. As of 2016, "Good Vibrations" is ranked as the number four song of all time in an aggregation of critics' lists at Acclaimed Music.
The song served as an anthem for the counterculture of the 1960s. According to Noel Murray of The A.V. Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's "un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do." Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for "Good Vibrations". "Heroes and Villains", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967.
In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of "Good Vibrations". When asked about the song in 1990, Paul McCartney responded: "I thought it was a great record. It didn't quite have the emotional thing that Pet Sounds had for me. I've often played Pet Sounds and cried. It's that kind of an album for me." Pete Townshend of the Who was quoted in the 1960s as saying, "'Good Vibrations' was probably a good record but who's to know? You had to play it about 90 bloody times to even hear what they were singing about." Townshend feared that the single would lead to a trend of overproduction. In a 1966 issue of Arts Magazine, Jonathan King said: "With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art. Computerized pop, mechanized music. Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons. It is long and split. ... impressive, fantastic, commercial—yes. Emotional, soul-destroying, shattering—no." In the 2000s, record producer Phil Spector criticized the single for depending too much on tape manipulation, negatively referring to it as an "edit record ... It's like Psycho is a great film, but it's an 'edit film.' Without edits, it's not a film; with edits, it's a great film. But it's not Rebecca ... it's not a beautiful story."
Advancements
Recording and popular music
"Good Vibrations" is credited for having further developed the use of recording studios as a musical instrument. Author Domenic Priore commented that the song's making was "unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording". A milestone in the development of rock music, the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record. Musicologist Charlie Gillett called it "one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance". In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted:
Writing for Popmatters in 2015, Scott Interrante stated: "'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have." The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm. Microtonal composer Frank Oteri said that it "sounds like no other pop song recorded up to that point". According to Stebbins: "This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original. But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century." He added that the single "vaulted nearly every other rock act in their delivery of a Flower Power classic. It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop." John Bush wrote that the single "announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies". Gillett noted: "For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording."
Priore says that the song was a forerunner to works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes. In his appraisal for American Songwriter, Roland cites the song's "format" as the model for recordings by Wings ("Band on the Run"), the Beatles ("A Day in the Life"), and Elton John ("Funeral for a Friend/Love Lies Bleeding"). The song's approach was repeated in Queen's 1975 single "Bohemian Rhapsody", which was similarly pieced together using different sections. Wilson praised Queen's effort, calling it "the most competitive thing that's come along in ages" and "a fulfillment and an answer to a teenage prayer—of artistic music".
Psychedelic and progressive rock
With "Good Vibrations", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages. Writing in 2009, Barney Hoskyns deemed it to be the era's "ultimate psychedelic pop record" from Los Angeles. Interrante adds: "Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated, but its legacy as a pop hit is impressive as well." Former Atlantic Records executive Phillip Rauls recalled: "I was in the music business at the time, and my very first recognition of acid rock—we didn't call it progressive rock then—was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [theremin] sent so many musicians back to the studio to create this music on acid." Author Bill Martin suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: "The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life.'"
Use of theremin
Although the song does not technically contain a theremin, "Good Vibrations" is the most frequently cited example of the instrument's use in pop music. Upon release, the single prompted an unexpected revival in theremins and increased the awareness of analog synthesizers. The notion that "Good Vibrations" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants. While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin.
When the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments. Tanner recalls saying to Wilson, "I've got the wrong sort of hair to be on stage with you fellas", to which Wilson replied: "We'll give you a Prince Valiant wig." The Beach Boys then requested the services of Walter Sear, who asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar. Sear remembers marking fretboard-like lines on the ribbon "so they could play the damn thing." Moog began manufacturing his own models of theremins. He later noted: "The pop record scene cleaned us out of our stock which we expected to last through Christmas."
In Steven M. Martin's 1993 documentary Theremin: An Electronic Odyssey, in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin due to "Good Vibrations" caused Russian authorities to exile its inventor, Leon Theremin.
Cover versions
The song has been covered by artists such as Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV. John Bush commented: "'Good Vibrations' was rarely reprised by other acts, even during the cover-happy '60s. Its fragmented style made it essentially cover-proof." In 1976, a nearly identical cover version was released as a single by Todd Rundgren for his album Faithful. When asked for his opinion, Brian said: "Oh, he did a marvelous job, he did a great job. I was very proud of his version." Rundgren's single peaked at number 34 on the Billboard Hot 100. Rundgren explained: "I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting—like around Pet Sounds and 'Good Vibrations' ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal. ... I tried to do [the song] as literally as I could because in the intervening 10 years, radio had changed so much. Radio had become so formatted and so structured that that whole experience was already gone."
In 2004, Wilson re-recorded the song as a solo artist for his album Brian Wilson Presents Smile. It was sequenced as the album's closing track, following "In Blue Hawaii". In this version, "Good Vibrations" was the project's only track that eschewed the modular recording method. The song's verses and chorus were recorded as part of one whole take, and were not spliced together.
In 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated. Their version of "Good Vibrations", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on Billboards A/C chart.
In popular culture
The song's parody is used for the jingle of the Australian consumer electronics retailer The Good Guys.
In 1996, experimental rock group His Name Is Alive released an homage titled "Universal Frequencies" on their album Stars on E.S.P. Warren Defever reportedly listened to "Good Vibrations" repeatedly for a week before deciding that the song "needed a sequel"; he added: "'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful."
In 1997, the movie Vegas Vacation used the song for the opening credits, with Clark Griswold (Chevy Chase) singing the song.
The song's lyrics "I'm picking up good vibrations" are quoted in Cyndi Lauper's 1984 single "She Bop".
A live version of the song, from the album Live in London, appears as a playable track in the 2010 video game Rock Band 3.
In 2019, the song was used prominently in a scene for Jordan Peele's psychological horror thriller film Us.
In 2018, The song was featured in the animated film Hotel Transylvania 3: Summer Vacation.
Release history
In early 2011, the single was remastered and reissued as a four-sided 78 rpm vinyl for Record Store Day, as a teaser for the forthcoming The Smile Sessions box set. It contained "Heroes and Villains" as a B-side, along with previously released alternate takes and mixes.
Stereo version
Due to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile. The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett. Fitzgerald's software extracted individual instrumental and vocal stems from the original mono master—as the multi-track vocals remained missing—to construct the stereo version that appears on the 2012 reissue of Smiley Smile.
40th Anniversary Edition
In celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released. The EP includes "Good Vibrations", four alternate versions of the song, and the stereo mix of "Let's Go Away for Awhile". The EP artwork recreates that of the original 7-inch single sleeve. In 2016, the EP was reissued as a 12" record for the single's 50th anniversary.
Personnel
The following people are identified as players on the "Good Vibrations" single.
The Beach Boys
Mike Love – lead vocals in chorus
Brian Wilson – vocals, tack piano, tambourine, production, mixing
Carl Wilson – lead vocals in verses, guitar, shaker
Dennis Wilson – Hammond organ during 2:13–2:56
Additional musicians and production staff
Hal Blaine – drums, timpani, other percussion
Al De Lory – piano, harpsichord
Jesse Ehrlich – cello
Larry Knechtel – organ in verses and choruses
Tommy Morgan – harmonica
Al Casey – guitar
Ray Pohlman – electric bass
Lyle Ritz – double bass
Jim Horn – piccolo
Paul Tanner – Electro-Theremin
Bassist Carol Kaye played on several of the "Good Vibrations" sessions, and has been identified as a prominent contributor to the track. However, analysis by Beach Boys archivist Craig Slowinski indicates that none of those recordings made the final edit as released on the single.
Charts
Weekly charts
Original release
1976 reissue
Todd Rundgren version (1976)
Year-end charts
Certifications
Awards and accolades
Footnotes
References
Bibliography
External links
Greg Panfile's Musical Analysis of "Good Vibrations"
1966 singles
1966 songs
2004 singles
2011 singles
Brian Wilson songs
Psychic TV songs
The Beach Boys songs
Todd Rundgren songs
Capitol Records singles
Grammy Hall of Fame Award recipients
Billboard Hot 100 number-one singles
Cashbox number-one singles
Number-one singles in Australia
Number-one singles in New Zealand
UK Singles Chart number-one singles
Songs written by Brian Wilson
Songs written by Mike Love
Songs written by Tony Asher
Song recordings produced by Brian Wilson
Song recordings with Wall of Sound arrangements
Art pop songs
Avant-pop songs
Psychedelic pop songs
American psychedelic rock songs
Songs used as jingles
Songs composed in E-flat minor | true | [
"What You See Is What You Get or WYSIWYG is where computer editing software allows content to be edited in a form that resembles its final appearance.\n\nWhat You See Is What You Get may also refer to:\n\nMusic\n What You See Is What You Get (EP), a 1998 EP by Pitchshifter\n What You See Is What You Get (Glen Goldsmith album), 1988\n What You See Is What You Get (Luke Combs album), 2019\n Whatcha See Is Whatcha Get (album), a 1971 debut album by the band The Dramatics\n\"Whatcha See Is Whatcha Get\" (song), title song from the above The Dramatics album\n \"What You See Is What You Get\" (song), a 1971 song by Stoney & Meatloaf\n \"What U See Is What U Get\", a 1998 song by rapper Xzibit\n \"What U See (Is What U Get)\", a song by Britney Spears from the 2000 album Oops!... I Did It Again\n\nOthers\n What you see is what you get, a term popularized by Geraldine Jones, a character from the television show The Flip Wilson Show\n What You See Is What You Get (book), a 2010 book written by Alan Sugar\n\nSee also\nWYSIWYG (disambiguation)\nWhatcha See Is Whatcha Get (disambiguation)\n\"What You Get Is What You See\", a song by Tina Turner from her 1987 album Break Every Rule\n Stand by Me (Whatcha See Is Whatcha Get), 1971 album by Pretty Purdie and The Playboys",
"\"What a Waster\" is the first single from The Libertines. The song received little airplay because it contains frequent profanity. \"What a Waster\" was initially left off the UK edition of the band's debut album Up the Bracket but was later included as the 13th track on a subsequent re-issue.\n\nThe song was used in the film The Football Factory.\n\nReception\nNME included the song at number 96 in their list of 500 Greatest Songs of All Time, writing that the song \"subscribed to all the classic pop single rules: under three minutes, catchy-as-hell, five chords max and instantly banned by broadcasters the world over.\"\n\nTrack listing \nAll songs written by Pete Doherty and Carl Barât.\n7\"\n \"What a Waster\" - 2:58 \n \"I Get Along\" - 2:53\n\nCD\n \"What a Waster\" - 2:58\n \"I Get Along\" - 2:53\n \"Mayday\" - 1:03\n\nChart performance\n\nReferences\n\n2002 debut singles\nThe Libertines songs\n2002 songs"
] | [
"\"Good Vibrations\" is a song by the American rock band the Beach Boys that was composed by Brian Wilson with lyrics by Mike Love. It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping record charts in several countries including the United States and the United Kingdom.",
"It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping record charts in several countries including the United States and the United Kingdom. Characterized by its complex soundscapes, episodic structure and subversions of pop music formula, it was the most expensive single ever recorded.",
"Characterized by its complex soundscapes, episodic structure and subversions of pop music formula, it was the most expensive single ever recorded. \"Good Vibrations\" later became widely acclaimed as one of the finest and most important works of the rock era.",
"\"Good Vibrations\" later became widely acclaimed as one of the finest and most important works of the rock era. Also produced by Wilson, the title derived from his fascination with cosmic vibrations, as his mother would tell him as a child that dogs sometimes bark at people in response to their \"bad vibrations\".",
"Also produced by Wilson, the title derived from his fascination with cosmic vibrations, as his mother would tell him as a child that dogs sometimes bark at people in response to their \"bad vibrations\". He used the concept to suggest extrasensory perception, while Love's lyrics were inspired by the nascent Flower Power movement.",
"He used the concept to suggest extrasensory perception, while Love's lyrics were inspired by the nascent Flower Power movement. The song was written as it was recorded and in a similar fashion to other compositions from Wilson's Smile period.",
"The song was written as it was recorded and in a similar fashion to other compositions from Wilson's Smile period. It was issued as a standalone single, backed with \"Let's Go Away for Awhile\", and was to be included on the never-finished album Smile.",
"It was issued as a standalone single, backed with \"Let's Go Away for Awhile\", and was to be included on the never-finished album Smile. Instead, the track appeared on the September 1967 release Smiley Smile. The making of \"Good Vibrations\" was unprecedented for any kind of recording.",
"The making of \"Good Vibrations\" was unprecedented for any kind of recording. Building on his approach for Pet Sounds, Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of session musicians at four different Hollywood studios from February to September 1966, a process reflected in the song's several dramatic shifts in key, texture, instrumentation and mood.",
"Building on his approach for Pet Sounds, Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of session musicians at four different Hollywood studios from February to September 1966, a process reflected in the song's several dramatic shifts in key, texture, instrumentation and mood. Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars.",
"Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars. Band publicist Derek Taylor dubbed the unusual work a \"pocket symphony\".",
"Band publicist Derek Taylor dubbed the unusual work a \"pocket symphony\". It helped develop the use of the studio as an instrument and heralded a wave of pop experimentation and the onset of psychedelic and progressive rock.",
"It helped develop the use of the studio as an instrument and heralded a wave of pop experimentation and the onset of psychedelic and progressive rock. The track featured a novel mix of instruments, including jaw harp and Electro-Theremin, and although the latter is not a true theremin, the song's success led to a renewed interest and sales of theremins and synthesizers.",
"The track featured a novel mix of instruments, including jaw harp and Electro-Theremin, and although the latter is not a true theremin, the song's success led to a renewed interest and sales of theremins and synthesizers. \"Good Vibrations\" received a Grammy nomination for Best Vocal Group performance in 1966 and was inducted into the Grammy Hall of Fame in 1994.",
"\"Good Vibrations\" received a Grammy nomination for Best Vocal Group performance in 1966 and was inducted into the Grammy Hall of Fame in 1994. The song was voted number one in Mojos \"Top 100 Records of All Time\" and number six on Rolling Stones \"500 Greatest Songs of All Time\", and it was included in the Rock and Roll Hall of Fame's \"500 Songs that Shaped Rock and Roll\".",
"The song was voted number one in Mojos \"Top 100 Records of All Time\" and number six on Rolling Stones \"500 Greatest Songs of All Time\", and it was included in the Rock and Roll Hall of Fame's \"500 Songs that Shaped Rock and Roll\". In later years, the song has been cited as a forerunner to the Beatles' \"A Day in the Life\" (1967) and Queen's \"Bohemian Rhapsody\" (1975).",
"In later years, the song has been cited as a forerunner to the Beatles' \"A Day in the Life\" (1967) and Queen's \"Bohemian Rhapsody\" (1975). A 1976 cover version by Todd Rundgren peaked at number 34 on the Billboard Hot 100.",
"A 1976 cover version by Todd Rundgren peaked at number 34 on the Billboard Hot 100. The Beach Boys followed up \"Good Vibrations\" with another single pieced from sections, \"Heroes and Villains\" (1967), but it was less successful.",
"The Beach Boys followed up \"Good Vibrations\" with another single pieced from sections, \"Heroes and Villains\" (1967), but it was less successful. Inspiration and writing Concept and early lyrics The Beach Boys' leader, Brian Wilson, was responsible for the musical composition and virtually all of the arrangement for \"Good Vibrations\".",
"Inspiration and writing Concept and early lyrics The Beach Boys' leader, Brian Wilson, was responsible for the musical composition and virtually all of the arrangement for \"Good Vibrations\". Most of the song's structure and arrangement was written as it was recorded.",
"Most of the song's structure and arrangement was written as it was recorded. During the recording sessions for the 1966 album Pet Sounds, Wilson began changing his writing process. For \"Good Vibrations\", Wilson said, \"I had a lot of unfinished ideas, fragments of music I called 'feels.'",
"For \"Good Vibrations\", Wilson said, \"I had a lot of unfinished ideas, fragments of music I called 'feels.' Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic.\"",
"Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic.\" Engineer Chuck Britz is quoted saying that Wilson considered the song to be \"his whole life performance in one track\". Wilson stated: \"I was an energetic 23-year-old. ...",
"Wilson stated: \"I was an energetic 23-year-old. ... ... I said: 'This is going to be better than [the Phil Spector production] \"You've Lost That Lovin' Feelin'. Wilson said that \"Good Vibrations\" was inspired by his mother: \"[She] used to tell me about vibrations.",
"Wilson said that \"Good Vibrations\" was inspired by his mother: \"[She] used to tell me about vibrations. I didn't really understand too much of what it meant when I was just a boy. It scared me, the word 'vibrations.'",
"It scared me, the word 'vibrations.' She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel.\"",
"She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel.\" Brian first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea.",
"Brian first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea. When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style.",
"When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style. Asher remembered: Wilson wanted to call the song \"Good Vibes\", but Asher advised that it was \"lightweight use of the language\", and suggested that \"Good Vibrations\" would sound less \"trendy\".",
"Asher remembered: Wilson wanted to call the song \"Good Vibes\", but Asher advised that it was \"lightweight use of the language\", and suggested that \"Good Vibrations\" would sound less \"trendy\". The two proceeded to write lyrics for the verses that were ultimately discarded.",
"The two proceeded to write lyrics for the verses that were ultimately discarded. Theremin and cello From the start, Wilson envisioned a theremin for the track.",
"Theremin and cello From the start, Wilson envisioned a theremin for the track. AllMusic reviewer John Bush pointed out: \"Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel—between the single's theme and its use of an instrument the player never even touched.\"",
"AllMusic reviewer John Bush pointed out: \"Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel—between the single's theme and its use of an instrument the player never even touched.\" \"Good Vibrations\" does not technically feature a theremin, but rather an Electro-Theremin, which is physically controlled by a knob on the side of the instrument.",
"\"Good Vibrations\" does not technically feature a theremin, but rather an Electro-Theremin, which is physically controlled by a knob on the side of the instrument. It was dubbed a \"theremin\" simply for convenience.",
"It was dubbed a \"theremin\" simply for convenience. At that time, theremins were most often associated with the 1945 Alfred Hitchcock film Spellbound, but their most common presence was in the theme music for the television sitcom My Favorite Martian, which ran from 1963 to 1966.",
"At that time, theremins were most often associated with the 1945 Alfred Hitchcock film Spellbound, but their most common presence was in the theme music for the television sitcom My Favorite Martian, which ran from 1963 to 1966. Britz speculates: \"He just walked in and said, 'I have this new sound for you.'",
"Britz speculates: \"He just walked in and said, 'I have this new sound for you.' I think he must have heard the sound somewhere and loved it, and built a song around it.\" It is unclear whether Wilson knew that the instrument was not a real theremin.",
"It is unclear whether Wilson knew that the instrument was not a real theremin. Brian credited his brother and bandmate Carl for suggesting the use of a cello on the track.",
"Brian credited his brother and bandmate Carl for suggesting the use of a cello on the track. He further stated that its triplet beat on the chorus was his own idea and that it was based on the Crystals' \"Da Doo Ron Ron\" (1963), produced by Spector.",
"He further stated that its triplet beat on the chorus was his own idea and that it was based on the Crystals' \"Da Doo Ron Ron\" (1963), produced by Spector. Conversely, arranger and session musician Van Dyke Parks said that it was himself who suggested having the cellist play triplets to Brian.",
"Conversely, arranger and session musician Van Dyke Parks said that it was himself who suggested having the cellist play triplets to Brian. Parks believed that having Brian exploit the cello \"to such a hyperbolic degree\" was what encouraged the duo to immediately collaborate on the never-finished album Smile.",
"Parks believed that having Brian exploit the cello \"to such a hyperbolic degree\" was what encouraged the duo to immediately collaborate on the never-finished album Smile. At some point, Wilson asked Parks to pen lyrics for \"Good Vibrations\", although Parks declined.",
"At some point, Wilson asked Parks to pen lyrics for \"Good Vibrations\", although Parks declined. Influences and final lyrics Wilson's cousin and bandmate Mike Love submitted the final lyrics for \"Good Vibrations\" and contributed its bass-baritone vocals in the chorus.",
"Influences and final lyrics Wilson's cousin and bandmate Mike Love submitted the final lyrics for \"Good Vibrations\" and contributed its bass-baritone vocals in the chorus. He recalled that when he heard the unfinished backing track: \"[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it.",
"He recalled that when he heard the unfinished backing track: \"[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it. How's this going to go over in the Midwest or Birmingham?",
"How's this going to go over in the Midwest or Birmingham? It was such a departure from 'Surfin' U.S.A.' or 'Help Me, Rhonda.'\" Love said that he wrote the words while on the drive to the studio.",
"Love said that he wrote the words while on the drive to the studio. Feeling that the song could be \"the Beach Boys' psychedelic anthem or flower power offering,\" he based the lyrics on the burgeoning psychedelic music and Flower Power movements occurring in San Francisco and some parts of the Los Angeles area.",
"Feeling that the song could be \"the Beach Boys' psychedelic anthem or flower power offering,\" he based the lyrics on the burgeoning psychedelic music and Flower Power movements occurring in San Francisco and some parts of the Los Angeles area. He described the lyrics as \"just a flowery poem.",
"He described the lyrics as \"just a flowery poem. Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair.'\"",
"Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair.'\" Writing in his 1975 book The Beach Boys: Southern California Pastoral, Bruce Golden observed: Capitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his LSD experiences.",
"Writing in his 1975 book The Beach Boys: Southern California Pastoral, Bruce Golden observed: Capitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his LSD experiences. Brian clarified that the song was written under the influence of marijuana, not LSD.",
"Brian clarified that the song was written under the influence of marijuana, not LSD. He explained: \"I made ‘Good Vibrations’ on drugs; I used drugs to make that. ... I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity.\"",
"I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity.\" In Steven Gaines's 1986 biography, Wilson is quoted on the lyrics: \"We talked about good vibrations with the song and the idea, and we decided on one hand that you could say ... those are sensual things.",
"In Steven Gaines's 1986 biography, Wilson is quoted on the lyrics: \"We talked about good vibrations with the song and the idea, and we decided on one hand that you could say ... those are sensual things. And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have.",
"And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have. That's what we're really talking about.\" Wilson said in 2012 that the song's \"gotta keep those good vibrations\" bridge was inspired by Stephen Foster.",
"Wilson said in 2012 that the song's \"gotta keep those good vibrations\" bridge was inspired by Stephen Foster. Bandmate Al Jardine compared that section to Foster and the Negro spiritual \"Down by the Riverside\".",
"Bandmate Al Jardine compared that section to Foster and the Negro spiritual \"Down by the Riverside\". According to Love, the lyric \"'she goes with me to a blossom world' was originally meant to be followed by the words 'we find'\", but Wilson elected to cut off the line to highlight the bass track linking into the chorus.",
"According to Love, the lyric \"'she goes with me to a blossom world' was originally meant to be followed by the words 'we find'\", but Wilson elected to cut off the line to highlight the bass track linking into the chorus. Recording and production Modular approach \"Good Vibrations\" established a new method of operation for Wilson.",
"Recording and production Modular approach \"Good Vibrations\" established a new method of operation for Wilson. Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or \"modules\").",
"Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or \"modules\"). Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time.",
"Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time. This was the same modular approach used during the sessions for Smile and Smiley Smile.",
"This was the same modular approach used during the sessions for Smile and Smiley Smile. To mask each tape edit, vast reverb decays were added at the mixing and sub-mixing stages. For instrumentation, Wilson employed the services of \"the Wrecking Crew\", the nickname for a conglomerate of session musicians active in Los Angeles at that time.",
"For instrumentation, Wilson employed the services of \"the Wrecking Crew\", the nickname for a conglomerate of session musicians active in Los Angeles at that time. Production for \"Good Vibrations\" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two.",
"Production for \"Good Vibrations\" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two. It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands, making it the costliest single recorded to that date.",
"It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands, making it the costliest single recorded to that date. Biographer Peter Ames Carlin wrote that Wilson was so puzzled by the arranging of \"Good Vibrations\" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs.",
"Biographer Peter Ames Carlin wrote that Wilson was so puzzled by the arranging of \"Good Vibrations\" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs. One estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to $ and $ in ), By comparison, the whole of Pet Sounds had cost $70,000 ($), itself an unusually high cost for an album.",
"One estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to $ and $ in ), By comparison, the whole of Pet Sounds had cost $70,000 ($), itself an unusually high cost for an album. In 2018, Wilson disputed the $50,000 figure for \"Good Vibrations\", saying that the overall expenses were closer to $25,000.",
"In 2018, Wilson disputed the $50,000 figure for \"Good Vibrations\", saying that the overall expenses were closer to $25,000. Contemporary advertisements reported $10,000 ($) as the track's total production costs. Domenic Priore wrote that the track cost between $10,000 and $15,000 ($).",
"Domenic Priore wrote that the track cost between $10,000 and $15,000 ($). When asked in a 2005 interview if it was true that the Electro-Theremin work alone cost $100,000, Wilson replied \"No. $15,000.\"",
"$15,000.\" $15,000.\" Development The instrumental of the first version of the song was recorded on February 17, 1966, at Gold Star Studios and was logged as a Pet Sounds session.",
"Development The instrumental of the first version of the song was recorded on February 17, 1966, at Gold Star Studios and was logged as a Pet Sounds session. On that day's session log, it was given the name \"#1 Untitled\" or \"Good, Good, Good Vibrations\", but on its master tape, Wilson distinctly states: \"'Good Vibrations' ... take one.\"",
"On that day's session log, it was given the name \"#1 Untitled\" or \"Good, Good, Good Vibrations\", but on its master tape, Wilson distinctly states: \"'Good Vibrations' ... take one.\" After twenty-six takes, a rough mono mix completed the session.",
"After twenty-six takes, a rough mono mix completed the session. Some additional instruments and rough guide vocals were overdubbed on February 23. Brian and Carl shared vocals for this mix.",
"Brian and Carl shared vocals for this mix. The original version of \"Good Vibrations\" contained the characteristics of a \"funky rhythm and blues number\" and would not yet resemble a \"pocket symphony\". There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor, Paul Tanner.",
"There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor, Paul Tanner. It was Brian's second ever recorded use of the instrument, just three days after the Pet Sounds track \"I Just Wasn't Made for These Times\".",
"It was Brian's second ever recorded use of the instrument, just three days after the Pet Sounds track \"I Just Wasn't Made for These Times\". Brian then placed \"Good Vibrations\" on hold in order to devote attention to the Pet Sounds album, which saw release on May 16.",
"Brian then placed \"Good Vibrations\" on hold in order to devote attention to the Pet Sounds album, which saw release on May 16. More instrumental sections for \"Good Vibrations\" were recorded between April and June.",
"More instrumental sections for \"Good Vibrations\" were recorded between April and June. Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs.",
"Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs. According to Brian's then-new friend David Anderle, during an early stage, Brian considered giving \"Good Vibrations\" to one of the black R&B groups signed with Warner Bros. Records such as Wilson Pickett, and then at Anderle's suggestion to singer Danny Hutton.",
"According to Brian's then-new friend David Anderle, during an early stage, Brian considered giving \"Good Vibrations\" to one of the black R&B groups signed with Warner Bros. Records such as Wilson Pickett, and then at Anderle's suggestion to singer Danny Hutton. He thought about abandoning the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single.",
"He thought about abandoning the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single. In the meantime, he worked on writing and recording material for the group's forthcoming album, Smile.",
"In the meantime, he worked on writing and recording material for the group's forthcoming album, Smile. The first Beach Boy to hear \"Good Vibrations\" in a semi-completed form, other than Brian, was Carl.",
"The first Beach Boy to hear \"Good Vibrations\" in a semi-completed form, other than Brian, was Carl. Following a performance with the touring group in North Dakota, he remembered: \"I came back up into my hotel room one night and the phone rang. It was Brian on the other end.",
"It was Brian on the other end. He called me from the recording studio and played this really bizarre sounding music over the phone. There were drums smashing, that kind of stuff, and then it refined itself and got into the cello. It was a real funky track.\"",
"It was a real funky track.\" In 1976, Brian revealed that before the final mixdown, he had been confronted with resistance by members of the group, whom Brian declined to name.",
"In 1976, Brian revealed that before the final mixdown, he had been confronted with resistance by members of the group, whom Brian declined to name. The subject of their worries and complaints was the song's length and \"modern\" sound: \"I said no, it's not going to be too long a record, it's going to be just right.",
"The subject of their worries and complaints was the song's length and \"modern\" sound: \"I said no, it's not going to be too long a record, it's going to be just right. ... They didn't quite understand what this jumping from studio to studio was all about.",
"They didn't quite understand what this jumping from studio to studio was all about. And they couldn't conceive of the record as I did. I saw the record as a totality piece.\"",
"I saw the record as a totality piece.\" The vocals for \"Good Vibrations\" were recorded at CBS Columbia Square, starting on August 24 and continuing sporadically until the very last day of assembly on September 21. The episodic structure of the composition was continuously revised as the group experimented with different ideas.",
"The episodic structure of the composition was continuously revised as the group experimented with different ideas. Brian remembers that he began recording the \"bop bop good vibrations\" parts first, and that he came up with \"the high parts\" a week later.",
"Brian remembers that he began recording the \"bop bop good vibrations\" parts first, and that he came up with \"the high parts\" a week later. Mike Love recalled: \"I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long.\"",
"Mike Love recalled: \"I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long.\" Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute.",
"Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute. In early September, the master tapes for \"Good Vibrations\" were stolen. Mysteriously, they reappeared inside Brian's home two days later.",
"Mysteriously, they reappeared inside Brian's home two days later. On September 21, Brian completed the track after Tanner added a final Electro-Theremin overdub. In 1976 he elaborated on the event: \"It was at Columbia. I remember I had it right in the sack.",
"I remember I had it right in the sack. I could just feel it when I dubbed it down, made the final mix from the 16-track down to mono. It was a feeling of power, it was a rush. A feeling of exaltation. Artistic beauty. It was everything ... I remember saying, 'Oh my God.",
"I remember saying, 'Oh my God. Sit back and listen to this!'\" Composition and analysis Genre and dynamics There are six unique sections to the piece.",
"Composition and analysis Genre and dynamics There are six unique sections to the piece. Music theorist Daniel Harrison refers to these sections individually as the verse, the refrain (or chorus), the \"first episodic digression\", the \"second episodic digression\", the \"retro-refrain\", and the coda.",
"Music theorist Daniel Harrison refers to these sections individually as the verse, the refrain (or chorus), the \"first episodic digression\", the \"second episodic digression\", the \"retro-refrain\", and the coda. Each has a distinct musical texture, partly due to the nature of the song's recording.",
"Each has a distinct musical texture, partly due to the nature of the song's recording. The track's instrumentation changes radically from section to section, and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a \"very long\" duration.",
"The track's instrumentation changes radically from section to section, and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a \"very long\" duration. Wilson is quoted in 1979: He characterized the song as \"advanced rhythm and blues\".",
"Wilson is quoted in 1979: He characterized the song as \"advanced rhythm and blues\". Tom Roland of American Songwriter described the piece, \"with its interlocking segments—a sort of pop version of the classical sonata, consisting of a series of musical movements\".",
"Tom Roland of American Songwriter described the piece, \"with its interlocking segments—a sort of pop version of the classical sonata, consisting of a series of musical movements\". New York Magazine compared it to \"a fugue with a rhythmic beat\".",
"New York Magazine compared it to \"a fugue with a rhythmic beat\". John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs.",
"John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs. Music journal Sound on Sound argued that the song \"has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour\".",
"Music journal Sound on Sound argued that the song \"has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour\". It explained that the song subverts pop forms to a considerable degree: According to historian Lorenzo Candelaria, \"Good Vibrations\" has since been marketed as pop music \"possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know.\"",
"It explained that the song subverts pop forms to a considerable degree: According to historian Lorenzo Candelaria, \"Good Vibrations\" has since been marketed as pop music \"possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know.\" Uncut called the song \"three minutes and thirty-six seconds of avant-garde pop\".",
"Uncut called the song \"three minutes and thirty-six seconds of avant-garde pop\". Mixdown described it as a \"masterpiece of avant-pop\". The theremin and cello has been called the song's \"psychedelic ingredient\".",
"The theremin and cello has been called the song's \"psychedelic ingredient\". In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin.",
"In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin. Professor of American history John Robert Greene named \"Good Vibrations\" among examples of psychedelic or acid rock.",
"Professor of American history John Robert Greene named \"Good Vibrations\" among examples of psychedelic or acid rock. Stebbins wrote that the song was \"replete with sunshine [and] psychedelia\". Steve Valdez says that, like Pet Sounds, Brian was attempting a more experimental rock style.",
"Steve Valdez says that, like Pet Sounds, Brian was attempting a more experimental rock style. Comparing \"Good Vibrations\" to Wilson's previous work Pet Sounds, biographer Andrew Hickey said that the \"best way of thinking about [the song] is that it's taking the lowest common denominator of 'Here Today' and 'God Only Knows' and turned the result into an R&B track.",
"Comparing \"Good Vibrations\" to Wilson's previous work Pet Sounds, biographer Andrew Hickey said that the \"best way of thinking about [the song] is that it's taking the lowest common denominator of 'Here Today' and 'God Only Knows' and turned the result into an R&B track. We have the same minor-key change between verse and chorus we've seen throughout Pet Sounds, the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to funky.\"",
"We have the same minor-key change between verse and chorus we've seen throughout Pet Sounds, the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to funky.\" Author Jon Stebbins adds that \"unlike Pet Sounds the chorus of 'Good Vibrations' projects a definite 'rock and roll' energy and feel.\"",
"Author Jon Stebbins adds that \"unlike Pet Sounds the chorus of 'Good Vibrations' projects a definite 'rock and roll' energy and feel.\" According to academic Rikky Rooksby, \"Good Vibrations\" is an example of Brian Wilson's growing interest in musical development within a composition, something antithetical to popular music of the time.",
"According to academic Rikky Rooksby, \"Good Vibrations\" is an example of Brian Wilson's growing interest in musical development within a composition, something antithetical to popular music of the time. Suppressing tonic strength and cadential drive, the song makes use of descending harmonic motions through scale degrees controlled by a single tonic and \"radical disjunctions\" in key, texture, instrumentation, and mood while refusing to develop into a predictable formal pattern.",
"Suppressing tonic strength and cadential drive, the song makes use of descending harmonic motions through scale degrees controlled by a single tonic and \"radical disjunctions\" in key, texture, instrumentation, and mood while refusing to develop into a predictable formal pattern. It instead develops \"under its own power\" and \"luxuriates in harmonic variety\" exemplified by beginning and ending not only in different keys but also in different modes.",
"It instead develops \"under its own power\" and \"luxuriates in harmonic variety\" exemplified by beginning and ending not only in different keys but also in different modes. Verses and refrains (0:00–1:40) \"Good Vibrations\" begins without introduction in a traditional verse/refrain format, opening with Carl Wilson singing the word \"I\", a triplet eighth note before the downbeat.",
"Verses and refrains (0:00–1:40) \"Good Vibrations\" begins without introduction in a traditional verse/refrain format, opening with Carl Wilson singing the word \"I\", a triplet eighth note before the downbeat. The sparse first verse contains a repetition of chords played on a Hammond organ filtered through a Leslie speaker; underneath is a two-bar Fender bass melody.",
"The sparse first verse contains a repetition of chords played on a Hammond organ filtered through a Leslie speaker; underneath is a two-bar Fender bass melody. This sequence repeats once (0:15), but with the addition of two piccolos sustaining over a falling flute line.",
"This sequence repeats once (0:15), but with the addition of two piccolos sustaining over a falling flute line. For percussion, bongo drums double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation.",
"For percussion, bongo drums double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation. The beat projects a triplet feel despite being in time; this is sometimes called a \"shuffle beat\" or \"threes over fours\".",
"The beat projects a triplet feel despite being in time; this is sometimes called a \"shuffle beat\" or \"threes over fours\". The chord progression used is i–VII–VI–V, also called an Andalusian cadence. Although the verses begin in the minor mode of E, the mode is not used to express sadness or drudgery.",
"Although the verses begin in the minor mode of E, the mode is not used to express sadness or drudgery. Occurring at the very end of these verses is a passing chord, D. The refrain (0:25) begins in the newly tonicized relative major G, which suggests III.",
"Occurring at the very end of these verses is a passing chord, D. The refrain (0:25) begins in the newly tonicized relative major G, which suggests III. Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music.",
"Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music. The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat.",
"The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat. This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals.",
"This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals. The first section consists of only the couplet \"I'm picking up good vibrations/she's giving me the excitation\" sung by Mike Love in his bass-baritone register; the second repeats the lines and adds an \"ooo bop bop\" figure, sung in multiple-part harmony; the third time also adds a \"good, good, good, good vibrations\" in yet a higher harmony.",
"The first section consists of only the couplet \"I'm picking up good vibrations/she's giving me the excitation\" sung by Mike Love in his bass-baritone register; the second repeats the lines and adds an \"ooo bop bop\" figure, sung in multiple-part harmony; the third time also adds a \"good, good, good, good vibrations\" in yet a higher harmony. This type of polyphony (counterpoint) is also rare in contemporary popular styles.",
"This type of polyphony (counterpoint) is also rare in contemporary popular styles. Each repeat of the vocal lines also transposes up by a whole step, ascending from G to A and then B. It then returns to the verse, thus making a perfect cadence back into E minor.",
"It then returns to the verse, thus making a perfect cadence back into E minor. The verse and refrain then repeat without any changes to the patterns of its instrumentation and harmony. This is unusual, in that normally, a song's arrangement adds something once it reaches the second verse.",
"This is unusual, in that normally, a song's arrangement adds something once it reaches the second verse. Episodic digressions First episode (1:41–2:13) The first episode (1:41+) begins disjunctively with an abrupt tape splice.",
"Episodic digressions First episode (1:41–2:13) The first episode (1:41+) begins disjunctively with an abrupt tape splice. The refrain's B, which had received a dominant (V) charge, is now maintained as a tonic (I).",
"The refrain's B, which had received a dominant (V) charge, is now maintained as a tonic (I). There is harmonic ambiguity, in that the chord progression may be either interpreted as I–IV–I (in B) or V–I–V (in E).",
"There is harmonic ambiguity, in that the chord progression may be either interpreted as I–IV–I (in B) or V–I–V (in E). Stebbins says that this section \"might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply.\"",
"Stebbins says that this section \"might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply.\" A new sound is created by tack piano, jaw harp, and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, bass harmonica, and sleigh bells shaken on every beat.",
"A new sound is created by tack piano, jaw harp, and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, bass harmonica, and sleigh bells shaken on every beat. The lone line of vocals (aside from non-lexical harmonies) is \"I don't know where, but she sends me there\" sung in Mike Love's upper-register baritone.",
"The lone line of vocals (aside from non-lexical harmonies) is \"I don't know where, but she sends me there\" sung in Mike Love's upper-register baritone. This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns.",
"This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns. Second episode (2:13–2:56) Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat.",
"Second episode (2:13–2:56) Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat. Sound on Sound highlights this change as the \"most savage edit in the track ... most people would go straight into a big splash hook-line section.",
"Sound on Sound highlights this change as the \"most savage edit in the track ... most people would go straight into a big splash hook-line section. Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ...",
"Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ... Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian.\"",
"Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian.\" Harrison says: The slowed pace is complemented by the lyric (\"Gotta keep those loving good vibrations a-happening with her\"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony.",
"Harrison says: The slowed pace is complemented by the lyric (\"Gotta keep those loving good vibrations a-happening with her\"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony. This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2.",
"This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2. The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats.",
"The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats. Lambert calls it the song's \"wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments.",
"Lambert calls it the song's \"wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments. As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say.\"",
"As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say.\" Retro-refrain and coda (2:57–3:35) A brief break at the end of the second musical digression creates tension which leads into the final sequence of the song.",
"Retro-refrain and coda (2:57–3:35) A brief break at the end of the second musical digression creates tension which leads into the final sequence of the song. The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B, repeats at A, and then ends at G for an unexpectedly short single measure.",
"The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B, repeats at A, and then ends at G for an unexpectedly short single measure. The section uses a descending progression, which mirrors the ascending progression of the previous two refrains.",
"The section uses a descending progression, which mirrors the ascending progression of the previous two refrains. There follows a short section of vocalizing in three-part counterpoint that references the original refrain by reproducing upward transposition. However, this time it settles on A, the concluding key of the song.",
"However, this time it settles on A, the concluding key of the song. By the end of \"Good Vibrations,\" all seven scale degrees of the opening E-minor tonic are activated on some level.",
"By the end of \"Good Vibrations,\" all seven scale degrees of the opening E-minor tonic are activated on some level. Release and promotion In a July 1966 advertisement for Pet Sounds in Billboard magazine, the band thanked the music industry for the sales of their album, and said that \"We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations.\"",
"Release and promotion In a July 1966 advertisement for Pet Sounds in Billboard magazine, the band thanked the music industry for the sales of their album, and said that \"We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations.\" This was the first public hint of the new single.",
"This was the first public hint of the new single. Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was \"about a guy who picks up good vibrations from a girl\" and that it would be a \"monster\".",
"Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was \"about a guy who picks up good vibrations from a girl\" and that it would be a \"monster\". He then suggested: \"It's still sticking pretty close to that same boy-girl thing, you know, but with a difference.",
"He then suggested: \"It's still sticking pretty close to that same boy-girl thing, you know, but with a difference. And it's a start, it's definitely a start.\"",
"And it's a start, it's definitely a start.\" Derek Taylor, who had recently been engaged as the band's publicist, is credited for coining the term a \"pocket symphony\" to describe the song.",
"Derek Taylor, who had recently been engaged as the band's publicist, is credited for coining the term a \"pocket symphony\" to describe the song. In a press release for the single, he stated: \"Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils.",
"In a press release for the single, he stated: \"Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils. And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else.\"",
"And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else.\" To promote the single, four different music videos were shot.",
"To promote the single, four different music videos were shot. The first of these—which had Caleb Deschanel as cameraman—features the group at a fire station, sliding down its pole, and roaming the streets of Los Angeles in a fashion comparable to The Monkees. The second features the group during vocal rehearsals at United Western Recorders.",
"The second features the group during vocal rehearsals at United Western Recorders. The third contains footage recorded during the making of The Beach Boys in London, a documentary by Peter Whitehead of their concert performances. The fourth clip is an alternative edit of the third.",
"The fourth clip is an alternative edit of the third. Brian also made a rare television appearance on local station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record.",
"Brian also made a rare television appearance on local station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record. On October 15, 1966, Billboard predicted that the single would reach the top 20 in the Billboard Hot 100 chart.",
"On October 15, 1966, Billboard predicted that the single would reach the top 20 in the Billboard Hot 100 chart. \"Good Vibrations\" was the Beach Boys' third US number one hit, after \"I Get Around\" and \"Help Me, Rhonda\", reaching the top of the Hot 100 in December.",
"\"Good Vibrations\" was the Beach Boys' third US number one hit, after \"I Get Around\" and \"Help Me, Rhonda\", reaching the top of the Hot 100 in December. It was also their first number one in Britain.",
"It was also their first number one in Britain. The single sold over 230,000 copies in the US within four days of its release and entered the Cash Box chart at number 61 on October 22. In the UK, the song sold over 50,000 copies in the first 15 days of its release.",
"In the UK, the song sold over 50,000 copies in the first 15 days of its release. \"Good Vibrations\" quickly became the Beach Boys' first million-selling single. In December 1966, the record was their first single certified gold by the RIAA for sales of one million copies.",
"In December 1966, the record was their first single certified gold by the RIAA for sales of one million copies. On March 30, 2016, the digital single was certified platinum by the RIAA for the same sales level.",
"On March 30, 2016, the digital single was certified platinum by the RIAA for the same sales level. In the US, Cash Box said that it is a \"catchy, easy-driving ditty loaded with the Boys’ money-making sound.\" In Britain, the single received favorable reviews from the New Musical Express and Melody Maker.",
"In Britain, the single received favorable reviews from the New Musical Express and Melody Maker. Soon after, the Beach Boys were voted the number one band in the world in the NME readers' poll, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops.",
"Soon after, the Beach Boys were voted the number one band in the world in the NME readers' poll, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops. Billboard said that this result was probably influenced by the success of \"Good Vibrations\" when the votes were cast, together with the band's recent tour, whereas the Beatles had neither a recent single nor had they toured the UK throughout 1966; the reporter added that \"The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak.\"",
"Billboard said that this result was probably influenced by the success of \"Good Vibrations\" when the votes were cast, together with the band's recent tour, whereas the Beatles had neither a recent single nor had they toured the UK throughout 1966; the reporter added that \"The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak.\" In a readers' poll conducted by a Danish newspaper, Brian Wilson won the \"best foreign-produced recording award\", marking the first time that an American had won in that category.",
"In a readers' poll conducted by a Danish newspaper, Brian Wilson won the \"best foreign-produced recording award\", marking the first time that an American had won in that category. The single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc.",
"The single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc. Influence and legacy Historical reception Virtually every pop music critic recognizes \"Good Vibrations\" as one of the most important compositions and recordings of the entire rock era.",
"Influence and legacy Historical reception Virtually every pop music critic recognizes \"Good Vibrations\" as one of the most important compositions and recordings of the entire rock era. It is a regular fixture on \"greatest of all-time\" song lists and is frequently hailed as one of the finest pop productions of all time.",
"It is a regular fixture on \"greatest of all-time\" song lists and is frequently hailed as one of the finest pop productions of all time. In 2004, Rolling Stone magazine ranked \"Good Vibrations\" at number 6 in \"The 500 Greatest Songs of All Time\", the highest position of seven Beach Boys songs cited in the list.",
"In 2004, Rolling Stone magazine ranked \"Good Vibrations\" at number 6 in \"The 500 Greatest Songs of All Time\", the highest position of seven Beach Boys songs cited in the list. In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list.",
"In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list. As of 2016, \"Good Vibrations\" is ranked as the number four song of all time in an aggregation of critics' lists at Acclaimed Music. The song served as an anthem for the counterculture of the 1960s.",
"The song served as an anthem for the counterculture of the 1960s. According to Noel Murray of The A.V.",
"According to Noel Murray of The A.V. Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's \"un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do.\"",
"Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's \"un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do.\" Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for \"Good Vibrations\".",
"Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for \"Good Vibrations\". \"Heroes and Villains\", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967.",
"\"Heroes and Villains\", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967. In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of \"Good Vibrations\".",
"In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of \"Good Vibrations\". When asked about the song in 1990, Paul McCartney responded: \"I thought it was a great record.",
"When asked about the song in 1990, Paul McCartney responded: \"I thought it was a great record. It didn't quite have the emotional thing that Pet Sounds had for me. I've often played Pet Sounds and cried. It's that kind of an album for me.\"",
"It's that kind of an album for me.\" Pete Townshend of the Who was quoted in the 1960s as saying, \"'Good Vibrations' was probably a good record but who's to know? You had to play it about 90 bloody times to even hear what they were singing about.\"",
"You had to play it about 90 bloody times to even hear what they were singing about.\" Townshend feared that the single would lead to a trend of overproduction. In a 1966 issue of Arts Magazine, Jonathan King said: \"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art.",
"In a 1966 issue of Arts Magazine, Jonathan King said: \"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art. Computerized pop, mechanized music. Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons.",
"Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons. It is long and split. ... impressive, fantastic, commercial—yes. Emotional, soul-destroying, shattering—no.\"",
"Emotional, soul-destroying, shattering—no.\" In the 2000s, record producer Phil Spector criticized the single for depending too much on tape manipulation, negatively referring to it as an \"edit record ... It's like Psycho is a great film, but it's an 'edit film.'",
"It's like Psycho is a great film, but it's an 'edit film.' Without edits, it's not a film; with edits, it's a great film. But it's not Rebecca ... it's not a beautiful story.\"",
"But it's not Rebecca ... it's not a beautiful story.\" Advancements Recording and popular music \"Good Vibrations\" is credited for having further developed the use of recording studios as a musical instrument.",
"Advancements Recording and popular music \"Good Vibrations\" is credited for having further developed the use of recording studios as a musical instrument. Author Domenic Priore commented that the song's making was \"unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording\".",
"Author Domenic Priore commented that the song's making was \"unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording\". A milestone in the development of rock music, the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record.",
"A milestone in the development of rock music, the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record. Musicologist Charlie Gillett called it \"one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance\".",
"Musicologist Charlie Gillett called it \"one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance\". In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted: Writing for Popmatters in 2015, Scott Interrante stated: \"'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have.\"",
"In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted: Writing for Popmatters in 2015, Scott Interrante stated: \"'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have.\" The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm.",
"The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm. Microtonal composer Frank Oteri said that it \"sounds like no other pop song recorded up to that point\".",
"Microtonal composer Frank Oteri said that it \"sounds like no other pop song recorded up to that point\". According to Stebbins: \"This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original.",
"According to Stebbins: \"This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original. But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century.\"",
"But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century.\" He added that the single \"vaulted nearly every other rock act in their delivery of a Flower Power classic. It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop.\"",
"It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop.\" John Bush wrote that the single \"announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies\".",
"John Bush wrote that the single \"announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies\". Gillett noted: \"For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording.\"",
"Gillett noted: \"For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording.\" Priore says that the song was a forerunner to works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes.",
"Priore says that the song was a forerunner to works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes. In his appraisal for American Songwriter, Roland cites the song's \"format\" as the model for recordings by Wings (\"Band on the Run\"), the Beatles (\"A Day in the Life\"), and Elton John (\"Funeral for a Friend/Love Lies Bleeding\").",
"In his appraisal for American Songwriter, Roland cites the song's \"format\" as the model for recordings by Wings (\"Band on the Run\"), the Beatles (\"A Day in the Life\"), and Elton John (\"Funeral for a Friend/Love Lies Bleeding\"). The song's approach was repeated in Queen's 1975 single \"Bohemian Rhapsody\", which was similarly pieced together using different sections.",
"The song's approach was repeated in Queen's 1975 single \"Bohemian Rhapsody\", which was similarly pieced together using different sections. Wilson praised Queen's effort, calling it \"the most competitive thing that's come along in ages\" and \"a fulfillment and an answer to a teenage prayer—of artistic music\".",
"Wilson praised Queen's effort, calling it \"the most competitive thing that's come along in ages\" and \"a fulfillment and an answer to a teenage prayer—of artistic music\". Psychedelic and progressive rock With \"Good Vibrations\", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages.",
"Psychedelic and progressive rock With \"Good Vibrations\", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages. Writing in 2009, Barney Hoskyns deemed it to be the era's \"ultimate psychedelic pop record\" from Los Angeles.",
"Writing in 2009, Barney Hoskyns deemed it to be the era's \"ultimate psychedelic pop record\" from Los Angeles. Interrante adds: \"Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated, but its legacy as a pop hit is impressive as well.\"",
"Interrante adds: \"Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated, but its legacy as a pop hit is impressive as well.\" Former Atlantic Records executive Phillip Rauls recalled: \"I was in the music business at the time, and my very first recognition of acid rock—we didn't call it progressive rock then—was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [theremin] sent so many musicians back to the studio to create this music on acid.\"",
"Former Atlantic Records executive Phillip Rauls recalled: \"I was in the music business at the time, and my very first recognition of acid rock—we didn't call it progressive rock then—was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [theremin] sent so many musicians back to the studio to create this music on acid.\" Author Bill Martin suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: \"The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life.'\"",
"Author Bill Martin suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: \"The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life.'\" Use of theremin Although the song does not technically contain a theremin, \"Good Vibrations\" is the most frequently cited example of the instrument's use in pop music.",
"Use of theremin Although the song does not technically contain a theremin, \"Good Vibrations\" is the most frequently cited example of the instrument's use in pop music. Upon release, the single prompted an unexpected revival in theremins and increased the awareness of analog synthesizers.",
"Upon release, the single prompted an unexpected revival in theremins and increased the awareness of analog synthesizers. The notion that \"Good Vibrations\" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants.",
"The notion that \"Good Vibrations\" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants. While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin.",
"While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin. When the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments.",
"When the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments. Tanner recalls saying to Wilson, \"I've got the wrong sort of hair to be on stage with you fellas\", to which Wilson replied: \"We'll give you a Prince Valiant wig.\"",
"Tanner recalls saying to Wilson, \"I've got the wrong sort of hair to be on stage with you fellas\", to which Wilson replied: \"We'll give you a Prince Valiant wig.\" The Beach Boys then requested the services of Walter Sear, who asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar.",
"The Beach Boys then requested the services of Walter Sear, who asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar. Sear remembers marking fretboard-like lines on the ribbon \"so they could play the damn thing.\" Moog began manufacturing his own models of theremins.",
"Moog began manufacturing his own models of theremins. He later noted: \"The pop record scene cleaned us out of our stock which we expected to last through Christmas.\"",
"He later noted: \"The pop record scene cleaned us out of our stock which we expected to last through Christmas.\" In Steven M. Martin's 1993 documentary Theremin: An Electronic Odyssey, in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin due to \"Good Vibrations\" caused Russian authorities to exile its inventor, Leon Theremin.",
"In Steven M. Martin's 1993 documentary Theremin: An Electronic Odyssey, in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin due to \"Good Vibrations\" caused Russian authorities to exile its inventor, Leon Theremin. Cover versions The song has been covered by artists such as Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV.",
"Cover versions The song has been covered by artists such as Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV. John Bush commented: \"'Good Vibrations' was rarely reprised by other acts, even during the cover-happy '60s. Its fragmented style made it essentially cover-proof.\"",
"Its fragmented style made it essentially cover-proof.\" In 1976, a nearly identical cover version was released as a single by Todd Rundgren for his album Faithful. When asked for his opinion, Brian said: \"Oh, he did a marvelous job, he did a great job. I was very proud of his version.\"",
"I was very proud of his version.\" Rundgren's single peaked at number 34 on the Billboard Hot 100.",
"Rundgren's single peaked at number 34 on the Billboard Hot 100. Rundgren explained: \"I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting—like around Pet Sounds and 'Good Vibrations' ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal.",
"Rundgren explained: \"I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting—like around Pet Sounds and 'Good Vibrations' ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal. ...",
"... ... I tried to do [the song] as literally as I could because in the intervening 10 years, radio had changed so much. Radio had become so formatted and so structured that that whole experience was already gone.\" In 2004, Wilson re-recorded the song as a solo artist for his album Brian Wilson Presents Smile.",
"In 2004, Wilson re-recorded the song as a solo artist for his album Brian Wilson Presents Smile. It was sequenced as the album's closing track, following \"In Blue Hawaii\". In this version, \"Good Vibrations\" was the project's only track that eschewed the modular recording method.",
"In this version, \"Good Vibrations\" was the project's only track that eschewed the modular recording method. The song's verses and chorus were recorded as part of one whole take, and were not spliced together.",
"The song's verses and chorus were recorded as part of one whole take, and were not spliced together. In 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated.",
"In 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated. Their version of \"Good Vibrations\", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on Billboards A/C chart.",
"Their version of \"Good Vibrations\", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on Billboards A/C chart. In popular culture The song's parody is used for the jingle of the Australian consumer electronics retailer The Good Guys.",
"In popular culture The song's parody is used for the jingle of the Australian consumer electronics retailer The Good Guys. In 1996, experimental rock group His Name Is Alive released an homage titled \"Universal Frequencies\" on their album Stars on E.S.P.",
"In 1996, experimental rock group His Name Is Alive released an homage titled \"Universal Frequencies\" on their album Stars on E.S.P. Warren Defever reportedly listened to \"Good Vibrations\" repeatedly for a week before deciding that the song \"needed a sequel\"; he added: \"'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful.\"",
"Warren Defever reportedly listened to \"Good Vibrations\" repeatedly for a week before deciding that the song \"needed a sequel\"; he added: \"'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful.\" In 1997, the movie Vegas Vacation used the song for the opening credits, with Clark Griswold (Chevy Chase) singing the song.",
"In 1997, the movie Vegas Vacation used the song for the opening credits, with Clark Griswold (Chevy Chase) singing the song. The song's lyrics \"I'm picking up good vibrations\" are quoted in Cyndi Lauper's 1984 single \"She Bop\".",
"The song's lyrics \"I'm picking up good vibrations\" are quoted in Cyndi Lauper's 1984 single \"She Bop\". A live version of the song, from the album Live in London, appears as a playable track in the 2010 video game Rock Band 3.",
"A live version of the song, from the album Live in London, appears as a playable track in the 2010 video game Rock Band 3. In 2019, the song was used prominently in a scene for Jordan Peele's psychological horror thriller film Us.",
"In 2019, the song was used prominently in a scene for Jordan Peele's psychological horror thriller film Us. In 2018, The song was featured in the animated film Hotel Transylvania 3: Summer Vacation.",
"In 2018, The song was featured in the animated film Hotel Transylvania 3: Summer Vacation. Release history In early 2011, the single was remastered and reissued as a four-sided 78 rpm vinyl for Record Store Day, as a teaser for the forthcoming The Smile Sessions box set.",
"Release history In early 2011, the single was remastered and reissued as a four-sided 78 rpm vinyl for Record Store Day, as a teaser for the forthcoming The Smile Sessions box set. It contained \"Heroes and Villains\" as a B-side, along with previously released alternate takes and mixes.",
"It contained \"Heroes and Villains\" as a B-side, along with previously released alternate takes and mixes. Stereo version Due to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile.",
"Stereo version Due to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile. The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett.",
"The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett. Fitzgerald's software extracted individual instrumental and vocal stems from the original mono master—as the multi-track vocals remained missing—to construct the stereo version that appears on the 2012 reissue of Smiley Smile.",
"Fitzgerald's software extracted individual instrumental and vocal stems from the original mono master—as the multi-track vocals remained missing—to construct the stereo version that appears on the 2012 reissue of Smiley Smile. 40th Anniversary Edition In celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released.",
"40th Anniversary Edition In celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released. The EP includes \"Good Vibrations\", four alternate versions of the song, and the stereo mix of \"Let's Go Away for Awhile\". The EP artwork recreates that of the original 7-inch single sleeve.",
"The EP artwork recreates that of the original 7-inch single sleeve. In 2016, the EP was reissued as a 12\" record for the single's 50th anniversary. Personnel The following people are identified as players on the \"Good Vibrations\" single.",
"Personnel The following people are identified as players on the \"Good Vibrations\" single. The Beach Boys Mike Love – lead vocals in chorus Brian Wilson – vocals, tack piano, tambourine, production, mixing Carl Wilson – lead vocals in verses, guitar, shaker Dennis Wilson – Hammond organ during 2:13–2:56 Additional musicians and production staff Hal Blaine – drums, timpani, other percussion Al De Lory – piano, harpsichord Jesse Ehrlich – cello Larry Knechtel – organ in verses and choruses Tommy Morgan – harmonica Al Casey – guitar Ray Pohlman – electric bass Lyle Ritz – double bass Jim Horn – piccolo Paul Tanner – Electro-Theremin Bassist Carol Kaye played on several of the \"Good Vibrations\" sessions, and has been identified as a prominent contributor to the track.",
"The Beach Boys Mike Love – lead vocals in chorus Brian Wilson – vocals, tack piano, tambourine, production, mixing Carl Wilson – lead vocals in verses, guitar, shaker Dennis Wilson – Hammond organ during 2:13–2:56 Additional musicians and production staff Hal Blaine – drums, timpani, other percussion Al De Lory – piano, harpsichord Jesse Ehrlich – cello Larry Knechtel – organ in verses and choruses Tommy Morgan – harmonica Al Casey – guitar Ray Pohlman – electric bass Lyle Ritz – double bass Jim Horn – piccolo Paul Tanner – Electro-Theremin Bassist Carol Kaye played on several of the \"Good Vibrations\" sessions, and has been identified as a prominent contributor to the track. However, analysis by Beach Boys archivist Craig Slowinski indicates that none of those recordings made the final edit as released on the single.",
"However, analysis by Beach Boys archivist Craig Slowinski indicates that none of those recordings made the final edit as released on the single. Charts Weekly charts Original release 1976 reissue Todd Rundgren version (1976) Year-end charts Certifications Awards and accolades Footnotes References Bibliography External links Greg Panfile's Musical Analysis of \"Good Vibrations\" 1966 singles 1966 songs 2004 singles 2011 singles Brian Wilson songs Psychic TV songs The Beach Boys songs Todd Rundgren songs Capitol Records singles Grammy Hall of Fame Award recipients Billboard Hot 100 number-one singles Cashbox number-one singles Number-one singles in Australia Number-one singles in New Zealand UK Singles Chart number-one singles Songs written by Brian Wilson Songs written by Mike Love Songs written by Tony Asher Song recordings produced by Brian Wilson Song recordings with Wall of Sound arrangements Art pop songs Avant-pop songs Psychedelic pop songs American psychedelic rock songs Songs used as jingles Songs composed in E-flat minor"
] |
[
"Good Vibrations",
"Historical reception",
"What historical reception did the song get?",
"Virtually every pop music critic recognizes \"Good Vibrations\" as one of the most important compositions and recordings of the entire rock era."
] | C_3511c60eb57b41c2bebf1299ed0caeeb_0 | Why is it such an important song? | 2 | Why is Good Vibrations such an important song? | Good Vibrations | Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat. Sound on Sound highlights this change as the "most savage edit in the track ... most people would go straight into a big splash hook-line section. Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ... Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian." Harrison says: The appearance of episode 1 was unusual enough but could be explained as an extended break between verse and refrain sections. Episode 2 however, makes that interpretation untenable, and both listener and analyst must entertain the idea that "Good Vibrations" develops under its own power, as it were, without the guidance of overdetermined formal patterns. Brian's [sic] own description of the song--a three-and-a-half-minute 'pocket symphony'--is a telling clue about his formal ambitions here. The slowed pace is complemented by the lyric ("Gotta keep those loving good vibrations a-happening with her"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony. This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2. The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats. Lambert calls it the song's "wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments. As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say." Virtually every pop music critic recognizes "Good Vibrations" as one of the most important compositions and recordings of the entire rock era. It is a regular fixture on "greatest of all-time" song lists and is frequently hailed as one of the finest pop productions of all time. In 2004, Rolling Stone magazine ranked "Good Vibrations" at number 6 in "The 500 Greatest Songs of All Time", the highest position of seven Beach Boys songs cited in the list. In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list. As of 2016, "Good Vibrations" is ranked as the number four song of all time in an aggregation of critics' lists at Acclaimed Music. The song served as an anthem for the counterculture of the 1960s. According to Noel Murray of The A.V. Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's "un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do." Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for "Good Vibrations". "Heroes and Villains", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967. In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of "Good Vibrations". When asked about the song in 1990, Paul McCartney responded: "I thought it was a great record. It didn't quite have the emotional thing that Pet Sounds had for me. I've often played Pet Sounds and cried. It's that kind of an album for me." Pete Townshend of the Who was quoted in the 1960s as saying, "'Good Vibrations' was probably a good record but who's to know? You had to play it about 90 bloody times to even hear what they were singing about." Townshend feared that the single would lead to a trend of overproduction. In a 1966 issue of Arts Magazine, Jonathan King said: "With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art. Computerized pop, mechanized music. Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons. It is long and split. ... impressive, fantastic, commercial--yes. Emotional, soul-destroying, shattering--no." In the 2000s, record producer Phil Spector criticized the single for depending too much on tape manipulation, negatively referring to it as an "edit record ... It's like Psycho is a great film, but it's an 'edit film.' Without edits, it's not a film; with edits, it's a great film. But it's not Rebecca ... it's not a beautiful story." CANNOTANSWER | The song served as an anthem for the counterculture of the 1960s. | "Good Vibrations" is a song by the American rock band the Beach Boys that was composed by Brian Wilson with lyrics by Mike Love. It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping record charts in several countries including the United States and the United Kingdom. Characterized by its complex soundscapes, episodic structure and subversions of pop music formula, it was the most expensive single ever recorded. "Good Vibrations" later became widely acclaimed as one of the finest and most important works of the rock era.
Also produced by Wilson, the title derived from his fascination with cosmic vibrations, as his mother would tell him as a child that dogs sometimes bark at people in response to their "bad vibrations". He used the concept to suggest extrasensory perception, while Love's lyrics were inspired by the nascent Flower Power movement. The song was written as it was recorded and in a similar fashion to other compositions from Wilson's Smile period. It was issued as a standalone single, backed with "Let's Go Away for Awhile", and was to be included on the never-finished album Smile. Instead, the track appeared on the September 1967 release Smiley Smile.
The making of "Good Vibrations" was unprecedented for any kind of recording. Building on his approach for Pet Sounds, Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of session musicians at four different Hollywood studios from February to September 1966, a process reflected in the song's several dramatic shifts in key, texture, instrumentation and mood. Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars. Band publicist Derek Taylor dubbed the unusual work a "pocket symphony". It helped develop the use of the studio as an instrument and heralded a wave of pop experimentation and the onset of psychedelic and progressive rock. The track featured a novel mix of instruments, including jaw harp and Electro-Theremin, and although the latter is not a true theremin, the song's success led to a renewed interest and sales of theremins and synthesizers.
"Good Vibrations" received a Grammy nomination for Best Vocal Group performance in 1966 and was inducted into the Grammy Hall of Fame in 1994. The song was voted number one in Mojos "Top 100 Records of All Time" and number six on Rolling Stones "500 Greatest Songs of All Time", and it was included in the Rock and Roll Hall of Fame's "500 Songs that Shaped Rock and Roll". In later years, the song has been cited as a forerunner to the Beatles' "A Day in the Life" (1967) and Queen's "Bohemian Rhapsody" (1975). A 1976 cover version by Todd Rundgren peaked at number 34 on the Billboard Hot 100. The Beach Boys followed up "Good Vibrations" with another single pieced from sections, "Heroes and Villains" (1967), but it was less successful.
Inspiration and writing
Concept and early lyrics
The Beach Boys' leader, Brian Wilson, was responsible for the musical composition and virtually all of the arrangement for "Good Vibrations". Most of the song's structure and arrangement was written as it was recorded. During the recording sessions for the 1966 album Pet Sounds, Wilson began changing his writing process. For "Good Vibrations", Wilson said, "I had a lot of unfinished ideas, fragments of music I called 'feels.' Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic." Engineer Chuck Britz is quoted saying that Wilson considered the song to be "his whole life performance in one track". Wilson stated: "I was an energetic 23-year-old. ... I said: 'This is going to be better than [the Phil Spector production] "You've Lost That Lovin' Feelin'.
Wilson said that "Good Vibrations" was inspired by his mother: "[She] used to tell me about vibrations. I didn't really understand too much of what it meant when I was just a boy. It scared me, the word 'vibrations.' She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel." Brian first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea. When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style. Asher remembered:
Wilson wanted to call the song "Good Vibes", but Asher advised that it was "lightweight use of the language", and suggested that "Good Vibrations" would sound less "trendy". The two proceeded to write lyrics for the verses that were ultimately discarded.
Theremin and cello
From the start, Wilson envisioned a theremin for the track. AllMusic reviewer John Bush pointed out: "Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel—between the single's theme and its use of an instrument the player never even touched."
"Good Vibrations" does not technically feature a theremin, but rather an Electro-Theremin, which is physically controlled by a knob on the side of the instrument. It was dubbed a "theremin" simply for convenience. At that time, theremins were most often associated with the 1945 Alfred Hitchcock film Spellbound, but their most common presence was in the theme music for the television sitcom My Favorite Martian, which ran from 1963 to 1966. Britz speculates: "He just walked in and said, 'I have this new sound for you.' I think he must have heard the sound somewhere and loved it, and built a song around it." It is unclear whether Wilson knew that the instrument was not a real theremin.
Brian credited his brother and bandmate Carl for suggesting the use of a cello on the track. He further stated that its triplet beat on the chorus was his own idea and that it was based on the Crystals' "Da Doo Ron Ron" (1963), produced by Spector. Conversely, arranger and session musician Van Dyke Parks said that it was himself who suggested having the cellist play triplets to Brian. Parks believed that having Brian exploit the cello "to such a hyperbolic degree" was what encouraged the duo to immediately collaborate on the never-finished album Smile. At some point, Wilson asked Parks to pen lyrics for "Good Vibrations", although Parks declined.
Influences and final lyrics
Wilson's cousin and bandmate Mike Love submitted the final lyrics for "Good Vibrations" and contributed its bass-baritone vocals in the chorus. He recalled that when he heard the unfinished backing track: "[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it. How's this going to go over in the Midwest or Birmingham? It was such a departure from 'Surfin' U.S.A.' or 'Help Me, Rhonda.'"
Love said that he wrote the words while on the drive to the studio. Feeling that the song could be "the Beach Boys' psychedelic anthem or flower power offering," he based the lyrics on the burgeoning psychedelic music and Flower Power movements occurring in San Francisco and some parts of the Los Angeles area. He described the lyrics as "just a flowery poem. Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair.'" Writing in his 1975 book The Beach Boys: Southern California Pastoral, Bruce Golden observed:
Capitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his LSD experiences. Brian clarified that the song was written under the influence of marijuana, not LSD. He explained: "I made ‘Good Vibrations’ on drugs; I used drugs to make that. ... I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity." In Steven Gaines's 1986 biography, Wilson is quoted on the lyrics: "We talked about good vibrations with the song and the idea, and we decided on one hand that you could say ... those are sensual things. And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have. That's what we're really talking about."
Wilson said in 2012 that the song's "gotta keep those good vibrations" bridge was inspired by Stephen Foster. Bandmate Al Jardine compared that section to Foster and the Negro spiritual "Down by the Riverside". According to Love, the lyric "'she goes with me to a blossom world' was originally meant to be followed by the words 'we find'", but Wilson elected to cut off the line to highlight the bass track linking into the chorus.
Recording and production
Modular approach
"Good Vibrations" established a new method of operation for Wilson. Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or "modules"). Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time. This was the same modular approach used during the sessions for Smile and Smiley Smile. To mask each tape edit, vast reverb decays were added at the mixing and sub-mixing stages.
For instrumentation, Wilson employed the services of "the Wrecking Crew", the nickname for a conglomerate of session musicians active in Los Angeles at that time. Production for "Good Vibrations" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two. It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands, making it the costliest single recorded to that date. Biographer Peter Ames Carlin wrote that Wilson was so puzzled by the arranging of "Good Vibrations" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs.
One estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to $ and $ in ), By comparison, the whole of Pet Sounds had cost $70,000 ($), itself an unusually high cost for an album. In 2018, Wilson disputed the $50,000 figure for "Good Vibrations", saying that the overall expenses were closer to $25,000.
Contemporary advertisements reported $10,000 ($) as the track's total production costs. Domenic Priore wrote that the track cost between $10,000 and $15,000 ($). When asked in a 2005 interview if it was true that the Electro-Theremin work alone cost $100,000, Wilson replied "No. $15,000."
Development
The instrumental of the first version of the song was recorded on February 17, 1966, at Gold Star Studios and was logged as a Pet Sounds session. On that day's session log, it was given the name "#1 Untitled" or "Good, Good, Good Vibrations", but on its master tape, Wilson distinctly states: "'Good Vibrations' ... take one." After twenty-six takes, a rough mono mix completed the session. Some additional instruments and rough guide vocals were overdubbed on February 23. Brian and Carl shared vocals for this mix.
The original version of "Good Vibrations" contained the characteristics of a "funky rhythm and blues number" and would not yet resemble a "pocket symphony". There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor, Paul Tanner. It was Brian's second ever recorded use of the instrument, just three days after the Pet Sounds track "I Just Wasn't Made for These Times". Brian then placed "Good Vibrations" on hold in order to devote attention to the Pet Sounds album, which saw release on May 16. More instrumental sections for "Good Vibrations" were recorded between April and June. Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs.
According to Brian's then-new friend David Anderle, during an early stage, Brian considered giving "Good Vibrations" to one of the black R&B groups signed with Warner Bros. Records such as Wilson Pickett, and then at Anderle's suggestion to singer Danny Hutton. He thought about abandoning the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single. In the meantime, he worked on writing and recording material for the group's forthcoming album, Smile.
The first Beach Boy to hear "Good Vibrations" in a semi-completed form, other than Brian, was Carl. Following a performance with the touring group in North Dakota, he remembered: "I came back up into my hotel room one night and the phone rang. It was Brian on the other end. He called me from the recording studio and played this really bizarre sounding music over the phone. There were drums smashing, that kind of stuff, and then it refined itself and got into the cello. It was a real funky track." In 1976, Brian revealed that before the final mixdown, he had been confronted with resistance by members of the group, whom Brian declined to name. The subject of their worries and complaints was the song's length and "modern" sound: "I said no, it's not going to be too long a record, it's going to be just right. ... They didn't quite understand what this jumping from studio to studio was all about. And they couldn't conceive of the record as I did. I saw the record as a totality piece."
The vocals for "Good Vibrations" were recorded at CBS Columbia Square, starting on August 24 and continuing sporadically until the very last day of assembly on September 21. The episodic structure of the composition was continuously revised as the group experimented with different ideas. Brian remembers that he began recording the "bop bop good vibrations" parts first, and that he came up with "the high parts" a week later. Mike Love recalled: "I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long." Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute. In early September, the master tapes for "Good Vibrations" were stolen. Mysteriously, they reappeared inside Brian's home two days later.
On September 21, Brian completed the track after Tanner added a final Electro-Theremin overdub. In 1976 he elaborated on the event: "It was at Columbia. I remember I had it right in the sack. I could just feel it when I dubbed it down, made the final mix from the 16-track down to mono. It was a feeling of power, it was a rush. A feeling of exaltation. Artistic beauty. It was everything ... I remember saying, 'Oh my God. Sit back and listen to this!'"
Composition and analysis
Genre and dynamics
There are six unique sections to the piece. Music theorist Daniel Harrison refers to these sections individually as the verse, the refrain (or chorus), the "first episodic digression", the "second episodic digression", the "retro-refrain", and the coda. Each has a distinct musical texture, partly due to the nature of the song's recording. The track's instrumentation changes radically from section to section, and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a "very long" duration. Wilson is quoted in 1979:
He characterized the song as "advanced rhythm and blues". Tom Roland of American Songwriter described the piece, "with its interlocking segments—a sort of pop version of the classical sonata, consisting of a series of musical movements". New York Magazine compared it to "a fugue with a rhythmic beat". John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs. Music journal Sound on Sound argued that the song "has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour". It explained that the song subverts pop forms to a considerable degree:
According to historian Lorenzo Candelaria, "Good Vibrations" has since been marketed as pop music "possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know." Uncut called the song "three minutes and thirty-six seconds of avant-garde pop". Mixdown described it as a "masterpiece of avant-pop". The theremin and cello has been called the song's "psychedelic ingredient". In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin. Professor of American history John Robert Greene named "Good Vibrations" among examples of psychedelic or acid rock. Stebbins wrote that the song was "replete with sunshine [and] psychedelia". Steve Valdez says that, like Pet Sounds, Brian was attempting a more experimental rock style.
Comparing "Good Vibrations" to Wilson's previous work Pet Sounds, biographer Andrew Hickey said that the "best way of thinking about [the song] is that it's taking the lowest common denominator of 'Here Today' and 'God Only Knows' and turned the result into an R&B track. We have the same minor-key change between verse and chorus we've seen throughout Pet Sounds, the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to funky." Author Jon Stebbins adds that "unlike Pet Sounds the chorus of 'Good Vibrations' projects a definite 'rock and roll' energy and feel."
According to academic Rikky Rooksby, "Good Vibrations" is an example of Brian Wilson's growing interest in musical development within a composition, something antithetical to popular music of the time. Suppressing tonic strength and cadential drive, the song makes use of descending harmonic motions through scale degrees controlled by a single tonic and "radical disjunctions" in key, texture, instrumentation, and mood while refusing to develop into a predictable formal pattern. It instead develops "under its own power" and "luxuriates in harmonic variety" exemplified by beginning and ending not only in different keys but also in different modes.
Verses and refrains (0:00–1:40)
"Good Vibrations" begins without introduction in a traditional verse/refrain format, opening with Carl Wilson singing the word "I", a triplet eighth note before the downbeat. The sparse first verse contains a repetition of chords played on a Hammond organ filtered through a Leslie speaker; underneath is a two-bar Fender bass melody. This sequence repeats once (0:15), but with the addition of two piccolos sustaining over a falling flute line. For percussion, bongo drums double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation. The beat projects a triplet feel despite being in time; this is sometimes called a "shuffle beat" or "threes over fours". The chord progression used is i–VII–VI–V, also called an Andalusian cadence. Although the verses begin in the minor mode of E, the mode is not used to express sadness or drudgery. Occurring at the very end of these verses is a passing chord, D.
The refrain (0:25) begins in the newly tonicized relative major G, which suggests III. Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music. The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat. This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals. The first section consists of only the couplet "I'm picking up good vibrations/she's giving me the excitation" sung by Mike Love in his bass-baritone register; the second repeats the lines and adds an "ooo bop bop" figure, sung in multiple-part harmony; the third time also adds a "good, good, good, good vibrations" in yet a higher harmony. This type of polyphony (counterpoint) is also rare in contemporary popular styles. Each repeat of the vocal lines also transposes up by a whole step, ascending from G to A and then B. It then returns to the verse, thus making a perfect cadence back into E minor. The verse and refrain then repeat without any changes to the patterns of its instrumentation and harmony. This is unusual, in that normally, a song's arrangement adds something once it reaches the second verse.
Episodic digressions
First episode (1:41–2:13)
The first episode (1:41+) begins disjunctively with an abrupt tape splice. The refrain's B, which had received a dominant (V) charge, is now maintained as a tonic (I). There is harmonic ambiguity, in that the chord progression may be either interpreted as I–IV–I (in B) or V–I–V (in E). Stebbins says that this section "might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply." A new sound is created by tack piano, jaw harp, and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, bass harmonica, and sleigh bells shaken on every beat. The lone line of vocals (aside from non-lexical harmonies) is "I don't know where, but she sends me there" sung in Mike Love's upper-register baritone. This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns.
Second episode (2:13–2:56)
Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat. Sound on Sound highlights this change as the "most savage edit in the track ... most people would go straight into a big splash hook-line section. Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ... Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian." Harrison says:
The slowed pace is complemented by the lyric ("Gotta keep those loving good vibrations a-happening with her"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony. This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2. The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats. Lambert calls it the song's "wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments. As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say."
Retro-refrain and coda (2:57–3:35)
A brief break at the end of the second musical digression creates tension which leads into the final sequence of the song. The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B, repeats at A, and then ends at G for an unexpectedly short single measure. The section uses a descending progression, which mirrors the ascending progression of the previous two refrains. There follows a short section of vocalizing in three-part counterpoint that references the original refrain by reproducing upward transposition. However, this time it settles on A, the concluding key of the song. By the end of "Good Vibrations," all seven scale degrees of the opening E-minor tonic are activated on some level.
Release and promotion
In a July 1966 advertisement for Pet Sounds in Billboard magazine, the band thanked the music industry for the sales of their album, and said that "We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations." This was the first public hint of the new single. Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was "about a guy who picks up good vibrations from a girl" and that it would be a "monster". He then suggested: "It's still sticking pretty close to that same boy-girl thing, you know, but with a difference. And it's a start, it's definitely a start." Derek Taylor, who had recently been engaged as the band's publicist, is credited for coining the term a "pocket symphony" to describe the song. In a press release for the single, he stated: "Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils. And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else."
To promote the single, four different music videos were shot. The first of these—which had Caleb Deschanel as cameraman—features the group at a fire station, sliding down its pole, and roaming the streets of Los Angeles in a fashion comparable to The Monkees. The second features the group during vocal rehearsals at United Western Recorders. The third contains footage recorded during the making of The Beach Boys in London, a documentary by Peter Whitehead of their concert performances. The fourth clip is an alternative edit of the third. Brian also made a rare television appearance on local station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record.
On October 15, 1966, Billboard predicted that the single would reach the top 20 in the Billboard Hot 100 chart. "Good Vibrations" was the Beach Boys' third US number one hit, after "I Get Around" and "Help Me, Rhonda", reaching the top of the Hot 100 in December. It was also their first number one in Britain. The single sold over 230,000 copies in the US within four days of its release and entered the Cash Box chart at number 61 on October 22. In the UK, the song sold over 50,000 copies in the first 15 days of its release. "Good Vibrations" quickly became the Beach Boys' first million-selling single. In December 1966, the record was their first single certified gold by the RIAA for sales of one million copies. On March 30, 2016, the digital single was certified platinum by the RIAA for the same sales level.
In the US, Cash Box said that it is a "catchy, easy-driving ditty loaded with the Boys’ money-making sound." In Britain, the single received favorable reviews from the New Musical Express and Melody Maker. Soon after, the Beach Boys were voted the number one band in the world in the NME readers' poll, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops. Billboard said that this result was probably influenced by the success of "Good Vibrations" when the votes were cast, together with the band's recent tour, whereas the Beatles had neither a recent single nor had they toured the UK throughout 1966; the reporter added that "The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak." In a readers' poll conducted by a Danish newspaper, Brian Wilson won the "best foreign-produced recording award", marking the first time that an American had won in that category.
The single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc.
Influence and legacy
Historical reception
Virtually every pop music critic recognizes "Good Vibrations" as one of the most important compositions and recordings of the entire rock era. It is a regular fixture on "greatest of all-time" song lists and is frequently hailed as one of the finest pop productions of all time. In 2004, Rolling Stone magazine ranked "Good Vibrations" at number 6 in "The 500 Greatest Songs of All Time", the highest position of seven Beach Boys songs cited in the list. In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list. As of 2016, "Good Vibrations" is ranked as the number four song of all time in an aggregation of critics' lists at Acclaimed Music.
The song served as an anthem for the counterculture of the 1960s. According to Noel Murray of The A.V. Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's "un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do." Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for "Good Vibrations". "Heroes and Villains", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967.
In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of "Good Vibrations". When asked about the song in 1990, Paul McCartney responded: "I thought it was a great record. It didn't quite have the emotional thing that Pet Sounds had for me. I've often played Pet Sounds and cried. It's that kind of an album for me." Pete Townshend of the Who was quoted in the 1960s as saying, "'Good Vibrations' was probably a good record but who's to know? You had to play it about 90 bloody times to even hear what they were singing about." Townshend feared that the single would lead to a trend of overproduction. In a 1966 issue of Arts Magazine, Jonathan King said: "With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art. Computerized pop, mechanized music. Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons. It is long and split. ... impressive, fantastic, commercial—yes. Emotional, soul-destroying, shattering—no." In the 2000s, record producer Phil Spector criticized the single for depending too much on tape manipulation, negatively referring to it as an "edit record ... It's like Psycho is a great film, but it's an 'edit film.' Without edits, it's not a film; with edits, it's a great film. But it's not Rebecca ... it's not a beautiful story."
Advancements
Recording and popular music
"Good Vibrations" is credited for having further developed the use of recording studios as a musical instrument. Author Domenic Priore commented that the song's making was "unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording". A milestone in the development of rock music, the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record. Musicologist Charlie Gillett called it "one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance". In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted:
Writing for Popmatters in 2015, Scott Interrante stated: "'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have." The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm. Microtonal composer Frank Oteri said that it "sounds like no other pop song recorded up to that point". According to Stebbins: "This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original. But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century." He added that the single "vaulted nearly every other rock act in their delivery of a Flower Power classic. It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop." John Bush wrote that the single "announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies". Gillett noted: "For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording."
Priore says that the song was a forerunner to works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes. In his appraisal for American Songwriter, Roland cites the song's "format" as the model for recordings by Wings ("Band on the Run"), the Beatles ("A Day in the Life"), and Elton John ("Funeral for a Friend/Love Lies Bleeding"). The song's approach was repeated in Queen's 1975 single "Bohemian Rhapsody", which was similarly pieced together using different sections. Wilson praised Queen's effort, calling it "the most competitive thing that's come along in ages" and "a fulfillment and an answer to a teenage prayer—of artistic music".
Psychedelic and progressive rock
With "Good Vibrations", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages. Writing in 2009, Barney Hoskyns deemed it to be the era's "ultimate psychedelic pop record" from Los Angeles. Interrante adds: "Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated, but its legacy as a pop hit is impressive as well." Former Atlantic Records executive Phillip Rauls recalled: "I was in the music business at the time, and my very first recognition of acid rock—we didn't call it progressive rock then—was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [theremin] sent so many musicians back to the studio to create this music on acid." Author Bill Martin suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: "The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life.'"
Use of theremin
Although the song does not technically contain a theremin, "Good Vibrations" is the most frequently cited example of the instrument's use in pop music. Upon release, the single prompted an unexpected revival in theremins and increased the awareness of analog synthesizers. The notion that "Good Vibrations" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants. While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin.
When the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments. Tanner recalls saying to Wilson, "I've got the wrong sort of hair to be on stage with you fellas", to which Wilson replied: "We'll give you a Prince Valiant wig." The Beach Boys then requested the services of Walter Sear, who asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar. Sear remembers marking fretboard-like lines on the ribbon "so they could play the damn thing." Moog began manufacturing his own models of theremins. He later noted: "The pop record scene cleaned us out of our stock which we expected to last through Christmas."
In Steven M. Martin's 1993 documentary Theremin: An Electronic Odyssey, in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin due to "Good Vibrations" caused Russian authorities to exile its inventor, Leon Theremin.
Cover versions
The song has been covered by artists such as Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV. John Bush commented: "'Good Vibrations' was rarely reprised by other acts, even during the cover-happy '60s. Its fragmented style made it essentially cover-proof." In 1976, a nearly identical cover version was released as a single by Todd Rundgren for his album Faithful. When asked for his opinion, Brian said: "Oh, he did a marvelous job, he did a great job. I was very proud of his version." Rundgren's single peaked at number 34 on the Billboard Hot 100. Rundgren explained: "I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting—like around Pet Sounds and 'Good Vibrations' ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal. ... I tried to do [the song] as literally as I could because in the intervening 10 years, radio had changed so much. Radio had become so formatted and so structured that that whole experience was already gone."
In 2004, Wilson re-recorded the song as a solo artist for his album Brian Wilson Presents Smile. It was sequenced as the album's closing track, following "In Blue Hawaii". In this version, "Good Vibrations" was the project's only track that eschewed the modular recording method. The song's verses and chorus were recorded as part of one whole take, and were not spliced together.
In 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated. Their version of "Good Vibrations", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on Billboards A/C chart.
In popular culture
The song's parody is used for the jingle of the Australian consumer electronics retailer The Good Guys.
In 1996, experimental rock group His Name Is Alive released an homage titled "Universal Frequencies" on their album Stars on E.S.P. Warren Defever reportedly listened to "Good Vibrations" repeatedly for a week before deciding that the song "needed a sequel"; he added: "'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful."
In 1997, the movie Vegas Vacation used the song for the opening credits, with Clark Griswold (Chevy Chase) singing the song.
The song's lyrics "I'm picking up good vibrations" are quoted in Cyndi Lauper's 1984 single "She Bop".
A live version of the song, from the album Live in London, appears as a playable track in the 2010 video game Rock Band 3.
In 2019, the song was used prominently in a scene for Jordan Peele's psychological horror thriller film Us.
In 2018, The song was featured in the animated film Hotel Transylvania 3: Summer Vacation.
Release history
In early 2011, the single was remastered and reissued as a four-sided 78 rpm vinyl for Record Store Day, as a teaser for the forthcoming The Smile Sessions box set. It contained "Heroes and Villains" as a B-side, along with previously released alternate takes and mixes.
Stereo version
Due to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile. The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett. Fitzgerald's software extracted individual instrumental and vocal stems from the original mono master—as the multi-track vocals remained missing—to construct the stereo version that appears on the 2012 reissue of Smiley Smile.
40th Anniversary Edition
In celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released. The EP includes "Good Vibrations", four alternate versions of the song, and the stereo mix of "Let's Go Away for Awhile". The EP artwork recreates that of the original 7-inch single sleeve. In 2016, the EP was reissued as a 12" record for the single's 50th anniversary.
Personnel
The following people are identified as players on the "Good Vibrations" single.
The Beach Boys
Mike Love – lead vocals in chorus
Brian Wilson – vocals, tack piano, tambourine, production, mixing
Carl Wilson – lead vocals in verses, guitar, shaker
Dennis Wilson – Hammond organ during 2:13–2:56
Additional musicians and production staff
Hal Blaine – drums, timpani, other percussion
Al De Lory – piano, harpsichord
Jesse Ehrlich – cello
Larry Knechtel – organ in verses and choruses
Tommy Morgan – harmonica
Al Casey – guitar
Ray Pohlman – electric bass
Lyle Ritz – double bass
Jim Horn – piccolo
Paul Tanner – Electro-Theremin
Bassist Carol Kaye played on several of the "Good Vibrations" sessions, and has been identified as a prominent contributor to the track. However, analysis by Beach Boys archivist Craig Slowinski indicates that none of those recordings made the final edit as released on the single.
Charts
Weekly charts
Original release
1976 reissue
Todd Rundgren version (1976)
Year-end charts
Certifications
Awards and accolades
Footnotes
References
Bibliography
External links
Greg Panfile's Musical Analysis of "Good Vibrations"
1966 singles
1966 songs
2004 singles
2011 singles
Brian Wilson songs
Psychic TV songs
The Beach Boys songs
Todd Rundgren songs
Capitol Records singles
Grammy Hall of Fame Award recipients
Billboard Hot 100 number-one singles
Cashbox number-one singles
Number-one singles in Australia
Number-one singles in New Zealand
UK Singles Chart number-one singles
Songs written by Brian Wilson
Songs written by Mike Love
Songs written by Tony Asher
Song recordings produced by Brian Wilson
Song recordings with Wall of Sound arrangements
Art pop songs
Avant-pop songs
Psychedelic pop songs
American psychedelic rock songs
Songs used as jingles
Songs composed in E-flat minor | true | [
"This Is Why We Can't Have Nice Things may refer to:\n\nMusic\n This Is Why We Can't Have Nice Things, an album by Leland Stanford Junior University Marching Band, 2003\n This is Why We Can’t Have Nice Things, an album by Alter Der Ruine, 2010\n \"I Don't Care (This Is Why We Can't Have Nice Things)\", a song by The Blackout from the album The Best in Town\n \"This Is Why We Can't Have Nice Things\", a song by Taylor Swift from the album Reputation, 2017\n\nOther\nThis is Why We Can't Have Nice Things, a book by David Carol (2011)",
"\"Why I Am\" is a song by Dave Matthews Band from their album Big Whiskey & the GrooGrux King\n\nWhy I Am and Why I Am Not may refer to:\n\nWhy I Am\nWhy I Am an Atheist, an essay by Indian revolutionary Bhagat Singh, published in 1930.\nWhy I Am Still a Christian is a book by Catholic theologian Hans Küng, published in 1987.\nWhy I Am a Christian, is a 2003 book by English author John Stott.\n Why I Am an Atheist is an essay by Indian revolutionary Bhagat Singh, published in 1930.\n\nWhy I Am Not\n Why I Am Not a Conservative, an essay by Austrian School economist Friedrich Hayek, published in 1960.\n Why I Am Not a Christian, by historian and philosopher Richard Carrier\n Why I Am Not a Communist, by Karel Čapek, a 1924 essay in Přítomnost magazine.\n Why I Am Not a Conservative is an essay by Austrian School economist Friedrich Hayek, published in 1960.\n Why I Am Not a Hindu, a 1996 book in a similar vein by Kancha Ilaiah, an activist opposed to the Indian caste system.\n Why I Am Not a Muslim, by Ibn Warraq, is a 1995 book also critical of the religion in which the author was brought up — in this case, Islam. The author mentions Why I Am Not a Christian towards the end of the first chapter, stating that many of its arguments also apply to Islam.\n Why I Am Not a Property Dualist, an essay by John Searle in which he criticises the philosophical position of property dualism.\n Why I Am Not a Scientist (2009) , by biological anthropologist Jonathan M. Marks\n\nSimilar titles\n How I Stopped Being a Jew, is a 2014 book by Israeli historian Shlomo Sand."
] | [
"\"Good Vibrations\" is a song by the American rock band the Beach Boys that was composed by Brian Wilson with lyrics by Mike Love. It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping record charts in several countries including the United States and the United Kingdom.",
"It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping record charts in several countries including the United States and the United Kingdom. Characterized by its complex soundscapes, episodic structure and subversions of pop music formula, it was the most expensive single ever recorded.",
"Characterized by its complex soundscapes, episodic structure and subversions of pop music formula, it was the most expensive single ever recorded. \"Good Vibrations\" later became widely acclaimed as one of the finest and most important works of the rock era.",
"\"Good Vibrations\" later became widely acclaimed as one of the finest and most important works of the rock era. Also produced by Wilson, the title derived from his fascination with cosmic vibrations, as his mother would tell him as a child that dogs sometimes bark at people in response to their \"bad vibrations\".",
"Also produced by Wilson, the title derived from his fascination with cosmic vibrations, as his mother would tell him as a child that dogs sometimes bark at people in response to their \"bad vibrations\". He used the concept to suggest extrasensory perception, while Love's lyrics were inspired by the nascent Flower Power movement.",
"He used the concept to suggest extrasensory perception, while Love's lyrics were inspired by the nascent Flower Power movement. The song was written as it was recorded and in a similar fashion to other compositions from Wilson's Smile period.",
"The song was written as it was recorded and in a similar fashion to other compositions from Wilson's Smile period. It was issued as a standalone single, backed with \"Let's Go Away for Awhile\", and was to be included on the never-finished album Smile.",
"It was issued as a standalone single, backed with \"Let's Go Away for Awhile\", and was to be included on the never-finished album Smile. Instead, the track appeared on the September 1967 release Smiley Smile. The making of \"Good Vibrations\" was unprecedented for any kind of recording.",
"The making of \"Good Vibrations\" was unprecedented for any kind of recording. Building on his approach for Pet Sounds, Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of session musicians at four different Hollywood studios from February to September 1966, a process reflected in the song's several dramatic shifts in key, texture, instrumentation and mood.",
"Building on his approach for Pet Sounds, Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of session musicians at four different Hollywood studios from February to September 1966, a process reflected in the song's several dramatic shifts in key, texture, instrumentation and mood. Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars.",
"Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars. Band publicist Derek Taylor dubbed the unusual work a \"pocket symphony\".",
"Band publicist Derek Taylor dubbed the unusual work a \"pocket symphony\". It helped develop the use of the studio as an instrument and heralded a wave of pop experimentation and the onset of psychedelic and progressive rock.",
"It helped develop the use of the studio as an instrument and heralded a wave of pop experimentation and the onset of psychedelic and progressive rock. The track featured a novel mix of instruments, including jaw harp and Electro-Theremin, and although the latter is not a true theremin, the song's success led to a renewed interest and sales of theremins and synthesizers.",
"The track featured a novel mix of instruments, including jaw harp and Electro-Theremin, and although the latter is not a true theremin, the song's success led to a renewed interest and sales of theremins and synthesizers. \"Good Vibrations\" received a Grammy nomination for Best Vocal Group performance in 1966 and was inducted into the Grammy Hall of Fame in 1994.",
"\"Good Vibrations\" received a Grammy nomination for Best Vocal Group performance in 1966 and was inducted into the Grammy Hall of Fame in 1994. The song was voted number one in Mojos \"Top 100 Records of All Time\" and number six on Rolling Stones \"500 Greatest Songs of All Time\", and it was included in the Rock and Roll Hall of Fame's \"500 Songs that Shaped Rock and Roll\".",
"The song was voted number one in Mojos \"Top 100 Records of All Time\" and number six on Rolling Stones \"500 Greatest Songs of All Time\", and it was included in the Rock and Roll Hall of Fame's \"500 Songs that Shaped Rock and Roll\". In later years, the song has been cited as a forerunner to the Beatles' \"A Day in the Life\" (1967) and Queen's \"Bohemian Rhapsody\" (1975).",
"In later years, the song has been cited as a forerunner to the Beatles' \"A Day in the Life\" (1967) and Queen's \"Bohemian Rhapsody\" (1975). A 1976 cover version by Todd Rundgren peaked at number 34 on the Billboard Hot 100.",
"A 1976 cover version by Todd Rundgren peaked at number 34 on the Billboard Hot 100. The Beach Boys followed up \"Good Vibrations\" with another single pieced from sections, \"Heroes and Villains\" (1967), but it was less successful.",
"The Beach Boys followed up \"Good Vibrations\" with another single pieced from sections, \"Heroes and Villains\" (1967), but it was less successful. Inspiration and writing Concept and early lyrics The Beach Boys' leader, Brian Wilson, was responsible for the musical composition and virtually all of the arrangement for \"Good Vibrations\".",
"Inspiration and writing Concept and early lyrics The Beach Boys' leader, Brian Wilson, was responsible for the musical composition and virtually all of the arrangement for \"Good Vibrations\". Most of the song's structure and arrangement was written as it was recorded.",
"Most of the song's structure and arrangement was written as it was recorded. During the recording sessions for the 1966 album Pet Sounds, Wilson began changing his writing process. For \"Good Vibrations\", Wilson said, \"I had a lot of unfinished ideas, fragments of music I called 'feels.'",
"For \"Good Vibrations\", Wilson said, \"I had a lot of unfinished ideas, fragments of music I called 'feels.' Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic.\"",
"Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic.\" Engineer Chuck Britz is quoted saying that Wilson considered the song to be \"his whole life performance in one track\". Wilson stated: \"I was an energetic 23-year-old. ...",
"Wilson stated: \"I was an energetic 23-year-old. ... ... I said: 'This is going to be better than [the Phil Spector production] \"You've Lost That Lovin' Feelin'. Wilson said that \"Good Vibrations\" was inspired by his mother: \"[She] used to tell me about vibrations.",
"Wilson said that \"Good Vibrations\" was inspired by his mother: \"[She] used to tell me about vibrations. I didn't really understand too much of what it meant when I was just a boy. It scared me, the word 'vibrations.'",
"It scared me, the word 'vibrations.' She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel.\"",
"She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel.\" Brian first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea.",
"Brian first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea. When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style.",
"When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style. Asher remembered: Wilson wanted to call the song \"Good Vibes\", but Asher advised that it was \"lightweight use of the language\", and suggested that \"Good Vibrations\" would sound less \"trendy\".",
"Asher remembered: Wilson wanted to call the song \"Good Vibes\", but Asher advised that it was \"lightweight use of the language\", and suggested that \"Good Vibrations\" would sound less \"trendy\". The two proceeded to write lyrics for the verses that were ultimately discarded.",
"The two proceeded to write lyrics for the verses that were ultimately discarded. Theremin and cello From the start, Wilson envisioned a theremin for the track.",
"Theremin and cello From the start, Wilson envisioned a theremin for the track. AllMusic reviewer John Bush pointed out: \"Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel—between the single's theme and its use of an instrument the player never even touched.\"",
"AllMusic reviewer John Bush pointed out: \"Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel—between the single's theme and its use of an instrument the player never even touched.\" \"Good Vibrations\" does not technically feature a theremin, but rather an Electro-Theremin, which is physically controlled by a knob on the side of the instrument.",
"\"Good Vibrations\" does not technically feature a theremin, but rather an Electro-Theremin, which is physically controlled by a knob on the side of the instrument. It was dubbed a \"theremin\" simply for convenience.",
"It was dubbed a \"theremin\" simply for convenience. At that time, theremins were most often associated with the 1945 Alfred Hitchcock film Spellbound, but their most common presence was in the theme music for the television sitcom My Favorite Martian, which ran from 1963 to 1966.",
"At that time, theremins were most often associated with the 1945 Alfred Hitchcock film Spellbound, but their most common presence was in the theme music for the television sitcom My Favorite Martian, which ran from 1963 to 1966. Britz speculates: \"He just walked in and said, 'I have this new sound for you.'",
"Britz speculates: \"He just walked in and said, 'I have this new sound for you.' I think he must have heard the sound somewhere and loved it, and built a song around it.\" It is unclear whether Wilson knew that the instrument was not a real theremin.",
"It is unclear whether Wilson knew that the instrument was not a real theremin. Brian credited his brother and bandmate Carl for suggesting the use of a cello on the track.",
"Brian credited his brother and bandmate Carl for suggesting the use of a cello on the track. He further stated that its triplet beat on the chorus was his own idea and that it was based on the Crystals' \"Da Doo Ron Ron\" (1963), produced by Spector.",
"He further stated that its triplet beat on the chorus was his own idea and that it was based on the Crystals' \"Da Doo Ron Ron\" (1963), produced by Spector. Conversely, arranger and session musician Van Dyke Parks said that it was himself who suggested having the cellist play triplets to Brian.",
"Conversely, arranger and session musician Van Dyke Parks said that it was himself who suggested having the cellist play triplets to Brian. Parks believed that having Brian exploit the cello \"to such a hyperbolic degree\" was what encouraged the duo to immediately collaborate on the never-finished album Smile.",
"Parks believed that having Brian exploit the cello \"to such a hyperbolic degree\" was what encouraged the duo to immediately collaborate on the never-finished album Smile. At some point, Wilson asked Parks to pen lyrics for \"Good Vibrations\", although Parks declined.",
"At some point, Wilson asked Parks to pen lyrics for \"Good Vibrations\", although Parks declined. Influences and final lyrics Wilson's cousin and bandmate Mike Love submitted the final lyrics for \"Good Vibrations\" and contributed its bass-baritone vocals in the chorus.",
"Influences and final lyrics Wilson's cousin and bandmate Mike Love submitted the final lyrics for \"Good Vibrations\" and contributed its bass-baritone vocals in the chorus. He recalled that when he heard the unfinished backing track: \"[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it.",
"He recalled that when he heard the unfinished backing track: \"[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it. How's this going to go over in the Midwest or Birmingham?",
"How's this going to go over in the Midwest or Birmingham? It was such a departure from 'Surfin' U.S.A.' or 'Help Me, Rhonda.'\" Love said that he wrote the words while on the drive to the studio.",
"Love said that he wrote the words while on the drive to the studio. Feeling that the song could be \"the Beach Boys' psychedelic anthem or flower power offering,\" he based the lyrics on the burgeoning psychedelic music and Flower Power movements occurring in San Francisco and some parts of the Los Angeles area.",
"Feeling that the song could be \"the Beach Boys' psychedelic anthem or flower power offering,\" he based the lyrics on the burgeoning psychedelic music and Flower Power movements occurring in San Francisco and some parts of the Los Angeles area. He described the lyrics as \"just a flowery poem.",
"He described the lyrics as \"just a flowery poem. Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair.'\"",
"Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair.'\" Writing in his 1975 book The Beach Boys: Southern California Pastoral, Bruce Golden observed: Capitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his LSD experiences.",
"Writing in his 1975 book The Beach Boys: Southern California Pastoral, Bruce Golden observed: Capitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his LSD experiences. Brian clarified that the song was written under the influence of marijuana, not LSD.",
"Brian clarified that the song was written under the influence of marijuana, not LSD. He explained: \"I made ‘Good Vibrations’ on drugs; I used drugs to make that. ... I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity.\"",
"I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity.\" In Steven Gaines's 1986 biography, Wilson is quoted on the lyrics: \"We talked about good vibrations with the song and the idea, and we decided on one hand that you could say ... those are sensual things.",
"In Steven Gaines's 1986 biography, Wilson is quoted on the lyrics: \"We talked about good vibrations with the song and the idea, and we decided on one hand that you could say ... those are sensual things. And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have.",
"And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have. That's what we're really talking about.\" Wilson said in 2012 that the song's \"gotta keep those good vibrations\" bridge was inspired by Stephen Foster.",
"Wilson said in 2012 that the song's \"gotta keep those good vibrations\" bridge was inspired by Stephen Foster. Bandmate Al Jardine compared that section to Foster and the Negro spiritual \"Down by the Riverside\".",
"Bandmate Al Jardine compared that section to Foster and the Negro spiritual \"Down by the Riverside\". According to Love, the lyric \"'she goes with me to a blossom world' was originally meant to be followed by the words 'we find'\", but Wilson elected to cut off the line to highlight the bass track linking into the chorus.",
"According to Love, the lyric \"'she goes with me to a blossom world' was originally meant to be followed by the words 'we find'\", but Wilson elected to cut off the line to highlight the bass track linking into the chorus. Recording and production Modular approach \"Good Vibrations\" established a new method of operation for Wilson.",
"Recording and production Modular approach \"Good Vibrations\" established a new method of operation for Wilson. Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or \"modules\").",
"Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or \"modules\"). Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time.",
"Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time. This was the same modular approach used during the sessions for Smile and Smiley Smile.",
"This was the same modular approach used during the sessions for Smile and Smiley Smile. To mask each tape edit, vast reverb decays were added at the mixing and sub-mixing stages. For instrumentation, Wilson employed the services of \"the Wrecking Crew\", the nickname for a conglomerate of session musicians active in Los Angeles at that time.",
"For instrumentation, Wilson employed the services of \"the Wrecking Crew\", the nickname for a conglomerate of session musicians active in Los Angeles at that time. Production for \"Good Vibrations\" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two.",
"Production for \"Good Vibrations\" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two. It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands, making it the costliest single recorded to that date.",
"It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands, making it the costliest single recorded to that date. Biographer Peter Ames Carlin wrote that Wilson was so puzzled by the arranging of \"Good Vibrations\" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs.",
"Biographer Peter Ames Carlin wrote that Wilson was so puzzled by the arranging of \"Good Vibrations\" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs. One estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to $ and $ in ), By comparison, the whole of Pet Sounds had cost $70,000 ($), itself an unusually high cost for an album.",
"One estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to $ and $ in ), By comparison, the whole of Pet Sounds had cost $70,000 ($), itself an unusually high cost for an album. In 2018, Wilson disputed the $50,000 figure for \"Good Vibrations\", saying that the overall expenses were closer to $25,000.",
"In 2018, Wilson disputed the $50,000 figure for \"Good Vibrations\", saying that the overall expenses were closer to $25,000. Contemporary advertisements reported $10,000 ($) as the track's total production costs. Domenic Priore wrote that the track cost between $10,000 and $15,000 ($).",
"Domenic Priore wrote that the track cost between $10,000 and $15,000 ($). When asked in a 2005 interview if it was true that the Electro-Theremin work alone cost $100,000, Wilson replied \"No. $15,000.\"",
"$15,000.\" $15,000.\" Development The instrumental of the first version of the song was recorded on February 17, 1966, at Gold Star Studios and was logged as a Pet Sounds session.",
"Development The instrumental of the first version of the song was recorded on February 17, 1966, at Gold Star Studios and was logged as a Pet Sounds session. On that day's session log, it was given the name \"#1 Untitled\" or \"Good, Good, Good Vibrations\", but on its master tape, Wilson distinctly states: \"'Good Vibrations' ... take one.\"",
"On that day's session log, it was given the name \"#1 Untitled\" or \"Good, Good, Good Vibrations\", but on its master tape, Wilson distinctly states: \"'Good Vibrations' ... take one.\" After twenty-six takes, a rough mono mix completed the session.",
"After twenty-six takes, a rough mono mix completed the session. Some additional instruments and rough guide vocals were overdubbed on February 23. Brian and Carl shared vocals for this mix.",
"Brian and Carl shared vocals for this mix. The original version of \"Good Vibrations\" contained the characteristics of a \"funky rhythm and blues number\" and would not yet resemble a \"pocket symphony\". There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor, Paul Tanner.",
"There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor, Paul Tanner. It was Brian's second ever recorded use of the instrument, just three days after the Pet Sounds track \"I Just Wasn't Made for These Times\".",
"It was Brian's second ever recorded use of the instrument, just three days after the Pet Sounds track \"I Just Wasn't Made for These Times\". Brian then placed \"Good Vibrations\" on hold in order to devote attention to the Pet Sounds album, which saw release on May 16.",
"Brian then placed \"Good Vibrations\" on hold in order to devote attention to the Pet Sounds album, which saw release on May 16. More instrumental sections for \"Good Vibrations\" were recorded between April and June.",
"More instrumental sections for \"Good Vibrations\" were recorded between April and June. Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs.",
"Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs. According to Brian's then-new friend David Anderle, during an early stage, Brian considered giving \"Good Vibrations\" to one of the black R&B groups signed with Warner Bros. Records such as Wilson Pickett, and then at Anderle's suggestion to singer Danny Hutton.",
"According to Brian's then-new friend David Anderle, during an early stage, Brian considered giving \"Good Vibrations\" to one of the black R&B groups signed with Warner Bros. Records such as Wilson Pickett, and then at Anderle's suggestion to singer Danny Hutton. He thought about abandoning the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single.",
"He thought about abandoning the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single. In the meantime, he worked on writing and recording material for the group's forthcoming album, Smile.",
"In the meantime, he worked on writing and recording material for the group's forthcoming album, Smile. The first Beach Boy to hear \"Good Vibrations\" in a semi-completed form, other than Brian, was Carl.",
"The first Beach Boy to hear \"Good Vibrations\" in a semi-completed form, other than Brian, was Carl. Following a performance with the touring group in North Dakota, he remembered: \"I came back up into my hotel room one night and the phone rang. It was Brian on the other end.",
"It was Brian on the other end. He called me from the recording studio and played this really bizarre sounding music over the phone. There were drums smashing, that kind of stuff, and then it refined itself and got into the cello. It was a real funky track.\"",
"It was a real funky track.\" In 1976, Brian revealed that before the final mixdown, he had been confronted with resistance by members of the group, whom Brian declined to name.",
"In 1976, Brian revealed that before the final mixdown, he had been confronted with resistance by members of the group, whom Brian declined to name. The subject of their worries and complaints was the song's length and \"modern\" sound: \"I said no, it's not going to be too long a record, it's going to be just right.",
"The subject of their worries and complaints was the song's length and \"modern\" sound: \"I said no, it's not going to be too long a record, it's going to be just right. ... They didn't quite understand what this jumping from studio to studio was all about.",
"They didn't quite understand what this jumping from studio to studio was all about. And they couldn't conceive of the record as I did. I saw the record as a totality piece.\"",
"I saw the record as a totality piece.\" The vocals for \"Good Vibrations\" were recorded at CBS Columbia Square, starting on August 24 and continuing sporadically until the very last day of assembly on September 21. The episodic structure of the composition was continuously revised as the group experimented with different ideas.",
"The episodic structure of the composition was continuously revised as the group experimented with different ideas. Brian remembers that he began recording the \"bop bop good vibrations\" parts first, and that he came up with \"the high parts\" a week later.",
"Brian remembers that he began recording the \"bop bop good vibrations\" parts first, and that he came up with \"the high parts\" a week later. Mike Love recalled: \"I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long.\"",
"Mike Love recalled: \"I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long.\" Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute.",
"Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute. In early September, the master tapes for \"Good Vibrations\" were stolen. Mysteriously, they reappeared inside Brian's home two days later.",
"Mysteriously, they reappeared inside Brian's home two days later. On September 21, Brian completed the track after Tanner added a final Electro-Theremin overdub. In 1976 he elaborated on the event: \"It was at Columbia. I remember I had it right in the sack.",
"I remember I had it right in the sack. I could just feel it when I dubbed it down, made the final mix from the 16-track down to mono. It was a feeling of power, it was a rush. A feeling of exaltation. Artistic beauty. It was everything ... I remember saying, 'Oh my God.",
"I remember saying, 'Oh my God. Sit back and listen to this!'\" Composition and analysis Genre and dynamics There are six unique sections to the piece.",
"Composition and analysis Genre and dynamics There are six unique sections to the piece. Music theorist Daniel Harrison refers to these sections individually as the verse, the refrain (or chorus), the \"first episodic digression\", the \"second episodic digression\", the \"retro-refrain\", and the coda.",
"Music theorist Daniel Harrison refers to these sections individually as the verse, the refrain (or chorus), the \"first episodic digression\", the \"second episodic digression\", the \"retro-refrain\", and the coda. Each has a distinct musical texture, partly due to the nature of the song's recording.",
"Each has a distinct musical texture, partly due to the nature of the song's recording. The track's instrumentation changes radically from section to section, and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a \"very long\" duration.",
"The track's instrumentation changes radically from section to section, and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a \"very long\" duration. Wilson is quoted in 1979: He characterized the song as \"advanced rhythm and blues\".",
"Wilson is quoted in 1979: He characterized the song as \"advanced rhythm and blues\". Tom Roland of American Songwriter described the piece, \"with its interlocking segments—a sort of pop version of the classical sonata, consisting of a series of musical movements\".",
"Tom Roland of American Songwriter described the piece, \"with its interlocking segments—a sort of pop version of the classical sonata, consisting of a series of musical movements\". New York Magazine compared it to \"a fugue with a rhythmic beat\".",
"New York Magazine compared it to \"a fugue with a rhythmic beat\". John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs.",
"John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs. Music journal Sound on Sound argued that the song \"has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour\".",
"Music journal Sound on Sound argued that the song \"has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour\". It explained that the song subverts pop forms to a considerable degree: According to historian Lorenzo Candelaria, \"Good Vibrations\" has since been marketed as pop music \"possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know.\"",
"It explained that the song subverts pop forms to a considerable degree: According to historian Lorenzo Candelaria, \"Good Vibrations\" has since been marketed as pop music \"possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know.\" Uncut called the song \"three minutes and thirty-six seconds of avant-garde pop\".",
"Uncut called the song \"three minutes and thirty-six seconds of avant-garde pop\". Mixdown described it as a \"masterpiece of avant-pop\". The theremin and cello has been called the song's \"psychedelic ingredient\".",
"The theremin and cello has been called the song's \"psychedelic ingredient\". In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin.",
"In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin. Professor of American history John Robert Greene named \"Good Vibrations\" among examples of psychedelic or acid rock.",
"Professor of American history John Robert Greene named \"Good Vibrations\" among examples of psychedelic or acid rock. Stebbins wrote that the song was \"replete with sunshine [and] psychedelia\". Steve Valdez says that, like Pet Sounds, Brian was attempting a more experimental rock style.",
"Steve Valdez says that, like Pet Sounds, Brian was attempting a more experimental rock style. Comparing \"Good Vibrations\" to Wilson's previous work Pet Sounds, biographer Andrew Hickey said that the \"best way of thinking about [the song] is that it's taking the lowest common denominator of 'Here Today' and 'God Only Knows' and turned the result into an R&B track.",
"Comparing \"Good Vibrations\" to Wilson's previous work Pet Sounds, biographer Andrew Hickey said that the \"best way of thinking about [the song] is that it's taking the lowest common denominator of 'Here Today' and 'God Only Knows' and turned the result into an R&B track. We have the same minor-key change between verse and chorus we've seen throughout Pet Sounds, the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to funky.\"",
"We have the same minor-key change between verse and chorus we've seen throughout Pet Sounds, the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to funky.\" Author Jon Stebbins adds that \"unlike Pet Sounds the chorus of 'Good Vibrations' projects a definite 'rock and roll' energy and feel.\"",
"Author Jon Stebbins adds that \"unlike Pet Sounds the chorus of 'Good Vibrations' projects a definite 'rock and roll' energy and feel.\" According to academic Rikky Rooksby, \"Good Vibrations\" is an example of Brian Wilson's growing interest in musical development within a composition, something antithetical to popular music of the time.",
"According to academic Rikky Rooksby, \"Good Vibrations\" is an example of Brian Wilson's growing interest in musical development within a composition, something antithetical to popular music of the time. Suppressing tonic strength and cadential drive, the song makes use of descending harmonic motions through scale degrees controlled by a single tonic and \"radical disjunctions\" in key, texture, instrumentation, and mood while refusing to develop into a predictable formal pattern.",
"Suppressing tonic strength and cadential drive, the song makes use of descending harmonic motions through scale degrees controlled by a single tonic and \"radical disjunctions\" in key, texture, instrumentation, and mood while refusing to develop into a predictable formal pattern. It instead develops \"under its own power\" and \"luxuriates in harmonic variety\" exemplified by beginning and ending not only in different keys but also in different modes.",
"It instead develops \"under its own power\" and \"luxuriates in harmonic variety\" exemplified by beginning and ending not only in different keys but also in different modes. Verses and refrains (0:00–1:40) \"Good Vibrations\" begins without introduction in a traditional verse/refrain format, opening with Carl Wilson singing the word \"I\", a triplet eighth note before the downbeat.",
"Verses and refrains (0:00–1:40) \"Good Vibrations\" begins without introduction in a traditional verse/refrain format, opening with Carl Wilson singing the word \"I\", a triplet eighth note before the downbeat. The sparse first verse contains a repetition of chords played on a Hammond organ filtered through a Leslie speaker; underneath is a two-bar Fender bass melody.",
"The sparse first verse contains a repetition of chords played on a Hammond organ filtered through a Leslie speaker; underneath is a two-bar Fender bass melody. This sequence repeats once (0:15), but with the addition of two piccolos sustaining over a falling flute line.",
"This sequence repeats once (0:15), but with the addition of two piccolos sustaining over a falling flute line. For percussion, bongo drums double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation.",
"For percussion, bongo drums double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation. The beat projects a triplet feel despite being in time; this is sometimes called a \"shuffle beat\" or \"threes over fours\".",
"The beat projects a triplet feel despite being in time; this is sometimes called a \"shuffle beat\" or \"threes over fours\". The chord progression used is i–VII–VI–V, also called an Andalusian cadence. Although the verses begin in the minor mode of E, the mode is not used to express sadness or drudgery.",
"Although the verses begin in the minor mode of E, the mode is not used to express sadness or drudgery. Occurring at the very end of these verses is a passing chord, D. The refrain (0:25) begins in the newly tonicized relative major G, which suggests III.",
"Occurring at the very end of these verses is a passing chord, D. The refrain (0:25) begins in the newly tonicized relative major G, which suggests III. Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music.",
"Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music. The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat.",
"The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat. This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals.",
"This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals. The first section consists of only the couplet \"I'm picking up good vibrations/she's giving me the excitation\" sung by Mike Love in his bass-baritone register; the second repeats the lines and adds an \"ooo bop bop\" figure, sung in multiple-part harmony; the third time also adds a \"good, good, good, good vibrations\" in yet a higher harmony.",
"The first section consists of only the couplet \"I'm picking up good vibrations/she's giving me the excitation\" sung by Mike Love in his bass-baritone register; the second repeats the lines and adds an \"ooo bop bop\" figure, sung in multiple-part harmony; the third time also adds a \"good, good, good, good vibrations\" in yet a higher harmony. This type of polyphony (counterpoint) is also rare in contemporary popular styles.",
"This type of polyphony (counterpoint) is also rare in contemporary popular styles. Each repeat of the vocal lines also transposes up by a whole step, ascending from G to A and then B. It then returns to the verse, thus making a perfect cadence back into E minor.",
"It then returns to the verse, thus making a perfect cadence back into E minor. The verse and refrain then repeat without any changes to the patterns of its instrumentation and harmony. This is unusual, in that normally, a song's arrangement adds something once it reaches the second verse.",
"This is unusual, in that normally, a song's arrangement adds something once it reaches the second verse. Episodic digressions First episode (1:41–2:13) The first episode (1:41+) begins disjunctively with an abrupt tape splice.",
"Episodic digressions First episode (1:41–2:13) The first episode (1:41+) begins disjunctively with an abrupt tape splice. The refrain's B, which had received a dominant (V) charge, is now maintained as a tonic (I).",
"The refrain's B, which had received a dominant (V) charge, is now maintained as a tonic (I). There is harmonic ambiguity, in that the chord progression may be either interpreted as I–IV–I (in B) or V–I–V (in E).",
"There is harmonic ambiguity, in that the chord progression may be either interpreted as I–IV–I (in B) or V–I–V (in E). Stebbins says that this section \"might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply.\"",
"Stebbins says that this section \"might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply.\" A new sound is created by tack piano, jaw harp, and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, bass harmonica, and sleigh bells shaken on every beat.",
"A new sound is created by tack piano, jaw harp, and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, bass harmonica, and sleigh bells shaken on every beat. The lone line of vocals (aside from non-lexical harmonies) is \"I don't know where, but she sends me there\" sung in Mike Love's upper-register baritone.",
"The lone line of vocals (aside from non-lexical harmonies) is \"I don't know where, but she sends me there\" sung in Mike Love's upper-register baritone. This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns.",
"This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns. Second episode (2:13–2:56) Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat.",
"Second episode (2:13–2:56) Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat. Sound on Sound highlights this change as the \"most savage edit in the track ... most people would go straight into a big splash hook-line section.",
"Sound on Sound highlights this change as the \"most savage edit in the track ... most people would go straight into a big splash hook-line section. Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ...",
"Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ... Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian.\"",
"Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian.\" Harrison says: The slowed pace is complemented by the lyric (\"Gotta keep those loving good vibrations a-happening with her\"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony.",
"Harrison says: The slowed pace is complemented by the lyric (\"Gotta keep those loving good vibrations a-happening with her\"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony. This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2.",
"This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2. The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats.",
"The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats. Lambert calls it the song's \"wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments.",
"Lambert calls it the song's \"wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments. As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say.\"",
"As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say.\" Retro-refrain and coda (2:57–3:35) A brief break at the end of the second musical digression creates tension which leads into the final sequence of the song.",
"Retro-refrain and coda (2:57–3:35) A brief break at the end of the second musical digression creates tension which leads into the final sequence of the song. The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B, repeats at A, and then ends at G for an unexpectedly short single measure.",
"The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B, repeats at A, and then ends at G for an unexpectedly short single measure. The section uses a descending progression, which mirrors the ascending progression of the previous two refrains.",
"The section uses a descending progression, which mirrors the ascending progression of the previous two refrains. There follows a short section of vocalizing in three-part counterpoint that references the original refrain by reproducing upward transposition. However, this time it settles on A, the concluding key of the song.",
"However, this time it settles on A, the concluding key of the song. By the end of \"Good Vibrations,\" all seven scale degrees of the opening E-minor tonic are activated on some level.",
"By the end of \"Good Vibrations,\" all seven scale degrees of the opening E-minor tonic are activated on some level. Release and promotion In a July 1966 advertisement for Pet Sounds in Billboard magazine, the band thanked the music industry for the sales of their album, and said that \"We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations.\"",
"Release and promotion In a July 1966 advertisement for Pet Sounds in Billboard magazine, the band thanked the music industry for the sales of their album, and said that \"We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations.\" This was the first public hint of the new single.",
"This was the first public hint of the new single. Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was \"about a guy who picks up good vibrations from a girl\" and that it would be a \"monster\".",
"Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was \"about a guy who picks up good vibrations from a girl\" and that it would be a \"monster\". He then suggested: \"It's still sticking pretty close to that same boy-girl thing, you know, but with a difference.",
"He then suggested: \"It's still sticking pretty close to that same boy-girl thing, you know, but with a difference. And it's a start, it's definitely a start.\"",
"And it's a start, it's definitely a start.\" Derek Taylor, who had recently been engaged as the band's publicist, is credited for coining the term a \"pocket symphony\" to describe the song.",
"Derek Taylor, who had recently been engaged as the band's publicist, is credited for coining the term a \"pocket symphony\" to describe the song. In a press release for the single, he stated: \"Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils.",
"In a press release for the single, he stated: \"Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils. And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else.\"",
"And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else.\" To promote the single, four different music videos were shot.",
"To promote the single, four different music videos were shot. The first of these—which had Caleb Deschanel as cameraman—features the group at a fire station, sliding down its pole, and roaming the streets of Los Angeles in a fashion comparable to The Monkees. The second features the group during vocal rehearsals at United Western Recorders.",
"The second features the group during vocal rehearsals at United Western Recorders. The third contains footage recorded during the making of The Beach Boys in London, a documentary by Peter Whitehead of their concert performances. The fourth clip is an alternative edit of the third.",
"The fourth clip is an alternative edit of the third. Brian also made a rare television appearance on local station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record.",
"Brian also made a rare television appearance on local station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record. On October 15, 1966, Billboard predicted that the single would reach the top 20 in the Billboard Hot 100 chart.",
"On October 15, 1966, Billboard predicted that the single would reach the top 20 in the Billboard Hot 100 chart. \"Good Vibrations\" was the Beach Boys' third US number one hit, after \"I Get Around\" and \"Help Me, Rhonda\", reaching the top of the Hot 100 in December.",
"\"Good Vibrations\" was the Beach Boys' third US number one hit, after \"I Get Around\" and \"Help Me, Rhonda\", reaching the top of the Hot 100 in December. It was also their first number one in Britain.",
"It was also their first number one in Britain. The single sold over 230,000 copies in the US within four days of its release and entered the Cash Box chart at number 61 on October 22. In the UK, the song sold over 50,000 copies in the first 15 days of its release.",
"In the UK, the song sold over 50,000 copies in the first 15 days of its release. \"Good Vibrations\" quickly became the Beach Boys' first million-selling single. In December 1966, the record was their first single certified gold by the RIAA for sales of one million copies.",
"In December 1966, the record was their first single certified gold by the RIAA for sales of one million copies. On March 30, 2016, the digital single was certified platinum by the RIAA for the same sales level.",
"On March 30, 2016, the digital single was certified platinum by the RIAA for the same sales level. In the US, Cash Box said that it is a \"catchy, easy-driving ditty loaded with the Boys’ money-making sound.\" In Britain, the single received favorable reviews from the New Musical Express and Melody Maker.",
"In Britain, the single received favorable reviews from the New Musical Express and Melody Maker. Soon after, the Beach Boys were voted the number one band in the world in the NME readers' poll, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops.",
"Soon after, the Beach Boys were voted the number one band in the world in the NME readers' poll, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops. Billboard said that this result was probably influenced by the success of \"Good Vibrations\" when the votes were cast, together with the band's recent tour, whereas the Beatles had neither a recent single nor had they toured the UK throughout 1966; the reporter added that \"The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak.\"",
"Billboard said that this result was probably influenced by the success of \"Good Vibrations\" when the votes were cast, together with the band's recent tour, whereas the Beatles had neither a recent single nor had they toured the UK throughout 1966; the reporter added that \"The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak.\" In a readers' poll conducted by a Danish newspaper, Brian Wilson won the \"best foreign-produced recording award\", marking the first time that an American had won in that category.",
"In a readers' poll conducted by a Danish newspaper, Brian Wilson won the \"best foreign-produced recording award\", marking the first time that an American had won in that category. The single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc.",
"The single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc. Influence and legacy Historical reception Virtually every pop music critic recognizes \"Good Vibrations\" as one of the most important compositions and recordings of the entire rock era.",
"Influence and legacy Historical reception Virtually every pop music critic recognizes \"Good Vibrations\" as one of the most important compositions and recordings of the entire rock era. It is a regular fixture on \"greatest of all-time\" song lists and is frequently hailed as one of the finest pop productions of all time.",
"It is a regular fixture on \"greatest of all-time\" song lists and is frequently hailed as one of the finest pop productions of all time. In 2004, Rolling Stone magazine ranked \"Good Vibrations\" at number 6 in \"The 500 Greatest Songs of All Time\", the highest position of seven Beach Boys songs cited in the list.",
"In 2004, Rolling Stone magazine ranked \"Good Vibrations\" at number 6 in \"The 500 Greatest Songs of All Time\", the highest position of seven Beach Boys songs cited in the list. In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list.",
"In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list. As of 2016, \"Good Vibrations\" is ranked as the number four song of all time in an aggregation of critics' lists at Acclaimed Music. The song served as an anthem for the counterculture of the 1960s.",
"The song served as an anthem for the counterculture of the 1960s. According to Noel Murray of The A.V.",
"According to Noel Murray of The A.V. Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's \"un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do.\"",
"Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's \"un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do.\" Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for \"Good Vibrations\".",
"Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for \"Good Vibrations\". \"Heroes and Villains\", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967.",
"\"Heroes and Villains\", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967. In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of \"Good Vibrations\".",
"In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of \"Good Vibrations\". When asked about the song in 1990, Paul McCartney responded: \"I thought it was a great record.",
"When asked about the song in 1990, Paul McCartney responded: \"I thought it was a great record. It didn't quite have the emotional thing that Pet Sounds had for me. I've often played Pet Sounds and cried. It's that kind of an album for me.\"",
"It's that kind of an album for me.\" Pete Townshend of the Who was quoted in the 1960s as saying, \"'Good Vibrations' was probably a good record but who's to know? You had to play it about 90 bloody times to even hear what they were singing about.\"",
"You had to play it about 90 bloody times to even hear what they were singing about.\" Townshend feared that the single would lead to a trend of overproduction. In a 1966 issue of Arts Magazine, Jonathan King said: \"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art.",
"In a 1966 issue of Arts Magazine, Jonathan King said: \"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art. Computerized pop, mechanized music. Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons.",
"Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons. It is long and split. ... impressive, fantastic, commercial—yes. Emotional, soul-destroying, shattering—no.\"",
"Emotional, soul-destroying, shattering—no.\" In the 2000s, record producer Phil Spector criticized the single for depending too much on tape manipulation, negatively referring to it as an \"edit record ... It's like Psycho is a great film, but it's an 'edit film.'",
"It's like Psycho is a great film, but it's an 'edit film.' Without edits, it's not a film; with edits, it's a great film. But it's not Rebecca ... it's not a beautiful story.\"",
"But it's not Rebecca ... it's not a beautiful story.\" Advancements Recording and popular music \"Good Vibrations\" is credited for having further developed the use of recording studios as a musical instrument.",
"Advancements Recording and popular music \"Good Vibrations\" is credited for having further developed the use of recording studios as a musical instrument. Author Domenic Priore commented that the song's making was \"unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording\".",
"Author Domenic Priore commented that the song's making was \"unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording\". A milestone in the development of rock music, the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record.",
"A milestone in the development of rock music, the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record. Musicologist Charlie Gillett called it \"one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance\".",
"Musicologist Charlie Gillett called it \"one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance\". In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted: Writing for Popmatters in 2015, Scott Interrante stated: \"'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have.\"",
"In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted: Writing for Popmatters in 2015, Scott Interrante stated: \"'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have.\" The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm.",
"The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm. Microtonal composer Frank Oteri said that it \"sounds like no other pop song recorded up to that point\".",
"Microtonal composer Frank Oteri said that it \"sounds like no other pop song recorded up to that point\". According to Stebbins: \"This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original.",
"According to Stebbins: \"This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original. But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century.\"",
"But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century.\" He added that the single \"vaulted nearly every other rock act in their delivery of a Flower Power classic. It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop.\"",
"It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop.\" John Bush wrote that the single \"announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies\".",
"John Bush wrote that the single \"announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies\". Gillett noted: \"For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording.\"",
"Gillett noted: \"For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording.\" Priore says that the song was a forerunner to works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes.",
"Priore says that the song was a forerunner to works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes. In his appraisal for American Songwriter, Roland cites the song's \"format\" as the model for recordings by Wings (\"Band on the Run\"), the Beatles (\"A Day in the Life\"), and Elton John (\"Funeral for a Friend/Love Lies Bleeding\").",
"In his appraisal for American Songwriter, Roland cites the song's \"format\" as the model for recordings by Wings (\"Band on the Run\"), the Beatles (\"A Day in the Life\"), and Elton John (\"Funeral for a Friend/Love Lies Bleeding\"). The song's approach was repeated in Queen's 1975 single \"Bohemian Rhapsody\", which was similarly pieced together using different sections.",
"The song's approach was repeated in Queen's 1975 single \"Bohemian Rhapsody\", which was similarly pieced together using different sections. Wilson praised Queen's effort, calling it \"the most competitive thing that's come along in ages\" and \"a fulfillment and an answer to a teenage prayer—of artistic music\".",
"Wilson praised Queen's effort, calling it \"the most competitive thing that's come along in ages\" and \"a fulfillment and an answer to a teenage prayer—of artistic music\". Psychedelic and progressive rock With \"Good Vibrations\", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages.",
"Psychedelic and progressive rock With \"Good Vibrations\", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages. Writing in 2009, Barney Hoskyns deemed it to be the era's \"ultimate psychedelic pop record\" from Los Angeles.",
"Writing in 2009, Barney Hoskyns deemed it to be the era's \"ultimate psychedelic pop record\" from Los Angeles. Interrante adds: \"Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated, but its legacy as a pop hit is impressive as well.\"",
"Interrante adds: \"Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated, but its legacy as a pop hit is impressive as well.\" Former Atlantic Records executive Phillip Rauls recalled: \"I was in the music business at the time, and my very first recognition of acid rock—we didn't call it progressive rock then—was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [theremin] sent so many musicians back to the studio to create this music on acid.\"",
"Former Atlantic Records executive Phillip Rauls recalled: \"I was in the music business at the time, and my very first recognition of acid rock—we didn't call it progressive rock then—was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [theremin] sent so many musicians back to the studio to create this music on acid.\" Author Bill Martin suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: \"The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life.'\"",
"Author Bill Martin suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: \"The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life.'\" Use of theremin Although the song does not technically contain a theremin, \"Good Vibrations\" is the most frequently cited example of the instrument's use in pop music.",
"Use of theremin Although the song does not technically contain a theremin, \"Good Vibrations\" is the most frequently cited example of the instrument's use in pop music. Upon release, the single prompted an unexpected revival in theremins and increased the awareness of analog synthesizers.",
"Upon release, the single prompted an unexpected revival in theremins and increased the awareness of analog synthesizers. The notion that \"Good Vibrations\" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants.",
"The notion that \"Good Vibrations\" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants. While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin.",
"While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin. When the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments.",
"When the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments. Tanner recalls saying to Wilson, \"I've got the wrong sort of hair to be on stage with you fellas\", to which Wilson replied: \"We'll give you a Prince Valiant wig.\"",
"Tanner recalls saying to Wilson, \"I've got the wrong sort of hair to be on stage with you fellas\", to which Wilson replied: \"We'll give you a Prince Valiant wig.\" The Beach Boys then requested the services of Walter Sear, who asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar.",
"The Beach Boys then requested the services of Walter Sear, who asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar. Sear remembers marking fretboard-like lines on the ribbon \"so they could play the damn thing.\" Moog began manufacturing his own models of theremins.",
"Moog began manufacturing his own models of theremins. He later noted: \"The pop record scene cleaned us out of our stock which we expected to last through Christmas.\"",
"He later noted: \"The pop record scene cleaned us out of our stock which we expected to last through Christmas.\" In Steven M. Martin's 1993 documentary Theremin: An Electronic Odyssey, in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin due to \"Good Vibrations\" caused Russian authorities to exile its inventor, Leon Theremin.",
"In Steven M. Martin's 1993 documentary Theremin: An Electronic Odyssey, in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin due to \"Good Vibrations\" caused Russian authorities to exile its inventor, Leon Theremin. Cover versions The song has been covered by artists such as Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV.",
"Cover versions The song has been covered by artists such as Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV. John Bush commented: \"'Good Vibrations' was rarely reprised by other acts, even during the cover-happy '60s. Its fragmented style made it essentially cover-proof.\"",
"Its fragmented style made it essentially cover-proof.\" In 1976, a nearly identical cover version was released as a single by Todd Rundgren for his album Faithful. When asked for his opinion, Brian said: \"Oh, he did a marvelous job, he did a great job. I was very proud of his version.\"",
"I was very proud of his version.\" Rundgren's single peaked at number 34 on the Billboard Hot 100.",
"Rundgren's single peaked at number 34 on the Billboard Hot 100. Rundgren explained: \"I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting—like around Pet Sounds and 'Good Vibrations' ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal.",
"Rundgren explained: \"I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting—like around Pet Sounds and 'Good Vibrations' ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal. ...",
"... ... I tried to do [the song] as literally as I could because in the intervening 10 years, radio had changed so much. Radio had become so formatted and so structured that that whole experience was already gone.\" In 2004, Wilson re-recorded the song as a solo artist for his album Brian Wilson Presents Smile.",
"In 2004, Wilson re-recorded the song as a solo artist for his album Brian Wilson Presents Smile. It was sequenced as the album's closing track, following \"In Blue Hawaii\". In this version, \"Good Vibrations\" was the project's only track that eschewed the modular recording method.",
"In this version, \"Good Vibrations\" was the project's only track that eschewed the modular recording method. The song's verses and chorus were recorded as part of one whole take, and were not spliced together.",
"The song's verses and chorus were recorded as part of one whole take, and were not spliced together. In 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated.",
"In 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated. Their version of \"Good Vibrations\", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on Billboards A/C chart.",
"Their version of \"Good Vibrations\", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on Billboards A/C chart. In popular culture The song's parody is used for the jingle of the Australian consumer electronics retailer The Good Guys.",
"In popular culture The song's parody is used for the jingle of the Australian consumer electronics retailer The Good Guys. In 1996, experimental rock group His Name Is Alive released an homage titled \"Universal Frequencies\" on their album Stars on E.S.P.",
"In 1996, experimental rock group His Name Is Alive released an homage titled \"Universal Frequencies\" on their album Stars on E.S.P. Warren Defever reportedly listened to \"Good Vibrations\" repeatedly for a week before deciding that the song \"needed a sequel\"; he added: \"'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful.\"",
"Warren Defever reportedly listened to \"Good Vibrations\" repeatedly for a week before deciding that the song \"needed a sequel\"; he added: \"'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful.\" In 1997, the movie Vegas Vacation used the song for the opening credits, with Clark Griswold (Chevy Chase) singing the song.",
"In 1997, the movie Vegas Vacation used the song for the opening credits, with Clark Griswold (Chevy Chase) singing the song. The song's lyrics \"I'm picking up good vibrations\" are quoted in Cyndi Lauper's 1984 single \"She Bop\".",
"The song's lyrics \"I'm picking up good vibrations\" are quoted in Cyndi Lauper's 1984 single \"She Bop\". A live version of the song, from the album Live in London, appears as a playable track in the 2010 video game Rock Band 3.",
"A live version of the song, from the album Live in London, appears as a playable track in the 2010 video game Rock Band 3. In 2019, the song was used prominently in a scene for Jordan Peele's psychological horror thriller film Us.",
"In 2019, the song was used prominently in a scene for Jordan Peele's psychological horror thriller film Us. In 2018, The song was featured in the animated film Hotel Transylvania 3: Summer Vacation.",
"In 2018, The song was featured in the animated film Hotel Transylvania 3: Summer Vacation. Release history In early 2011, the single was remastered and reissued as a four-sided 78 rpm vinyl for Record Store Day, as a teaser for the forthcoming The Smile Sessions box set.",
"Release history In early 2011, the single was remastered and reissued as a four-sided 78 rpm vinyl for Record Store Day, as a teaser for the forthcoming The Smile Sessions box set. It contained \"Heroes and Villains\" as a B-side, along with previously released alternate takes and mixes.",
"It contained \"Heroes and Villains\" as a B-side, along with previously released alternate takes and mixes. Stereo version Due to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile.",
"Stereo version Due to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile. The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett.",
"The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett. Fitzgerald's software extracted individual instrumental and vocal stems from the original mono master—as the multi-track vocals remained missing—to construct the stereo version that appears on the 2012 reissue of Smiley Smile.",
"Fitzgerald's software extracted individual instrumental and vocal stems from the original mono master—as the multi-track vocals remained missing—to construct the stereo version that appears on the 2012 reissue of Smiley Smile. 40th Anniversary Edition In celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released.",
"40th Anniversary Edition In celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released. The EP includes \"Good Vibrations\", four alternate versions of the song, and the stereo mix of \"Let's Go Away for Awhile\". The EP artwork recreates that of the original 7-inch single sleeve.",
"The EP artwork recreates that of the original 7-inch single sleeve. In 2016, the EP was reissued as a 12\" record for the single's 50th anniversary. Personnel The following people are identified as players on the \"Good Vibrations\" single.",
"Personnel The following people are identified as players on the \"Good Vibrations\" single. The Beach Boys Mike Love – lead vocals in chorus Brian Wilson – vocals, tack piano, tambourine, production, mixing Carl Wilson – lead vocals in verses, guitar, shaker Dennis Wilson – Hammond organ during 2:13–2:56 Additional musicians and production staff Hal Blaine – drums, timpani, other percussion Al De Lory – piano, harpsichord Jesse Ehrlich – cello Larry Knechtel – organ in verses and choruses Tommy Morgan – harmonica Al Casey – guitar Ray Pohlman – electric bass Lyle Ritz – double bass Jim Horn – piccolo Paul Tanner – Electro-Theremin Bassist Carol Kaye played on several of the \"Good Vibrations\" sessions, and has been identified as a prominent contributor to the track.",
"The Beach Boys Mike Love – lead vocals in chorus Brian Wilson – vocals, tack piano, tambourine, production, mixing Carl Wilson – lead vocals in verses, guitar, shaker Dennis Wilson – Hammond organ during 2:13–2:56 Additional musicians and production staff Hal Blaine – drums, timpani, other percussion Al De Lory – piano, harpsichord Jesse Ehrlich – cello Larry Knechtel – organ in verses and choruses Tommy Morgan – harmonica Al Casey – guitar Ray Pohlman – electric bass Lyle Ritz – double bass Jim Horn – piccolo Paul Tanner – Electro-Theremin Bassist Carol Kaye played on several of the \"Good Vibrations\" sessions, and has been identified as a prominent contributor to the track. However, analysis by Beach Boys archivist Craig Slowinski indicates that none of those recordings made the final edit as released on the single.",
"However, analysis by Beach Boys archivist Craig Slowinski indicates that none of those recordings made the final edit as released on the single. Charts Weekly charts Original release 1976 reissue Todd Rundgren version (1976) Year-end charts Certifications Awards and accolades Footnotes References Bibliography External links Greg Panfile's Musical Analysis of \"Good Vibrations\" 1966 singles 1966 songs 2004 singles 2011 singles Brian Wilson songs Psychic TV songs The Beach Boys songs Todd Rundgren songs Capitol Records singles Grammy Hall of Fame Award recipients Billboard Hot 100 number-one singles Cashbox number-one singles Number-one singles in Australia Number-one singles in New Zealand UK Singles Chart number-one singles Songs written by Brian Wilson Songs written by Mike Love Songs written by Tony Asher Song recordings produced by Brian Wilson Song recordings with Wall of Sound arrangements Art pop songs Avant-pop songs Psychedelic pop songs American psychedelic rock songs Songs used as jingles Songs composed in E-flat minor"
] |
[
"Good Vibrations",
"Historical reception",
"What historical reception did the song get?",
"Virtually every pop music critic recognizes \"Good Vibrations\" as one of the most important compositions and recordings of the entire rock era.",
"Why is it such an important song?",
"The song served as an anthem for the counterculture of the 1960s."
] | C_3511c60eb57b41c2bebf1299ed0caeeb_0 | Did the song influence other artist? | 3 | Did Good Vibrations influence other artist? | Good Vibrations | Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat. Sound on Sound highlights this change as the "most savage edit in the track ... most people would go straight into a big splash hook-line section. Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ... Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian." Harrison says: The appearance of episode 1 was unusual enough but could be explained as an extended break between verse and refrain sections. Episode 2 however, makes that interpretation untenable, and both listener and analyst must entertain the idea that "Good Vibrations" develops under its own power, as it were, without the guidance of overdetermined formal patterns. Brian's [sic] own description of the song--a three-and-a-half-minute 'pocket symphony'--is a telling clue about his formal ambitions here. The slowed pace is complemented by the lyric ("Gotta keep those loving good vibrations a-happening with her"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony. This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2. The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats. Lambert calls it the song's "wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments. As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say." Virtually every pop music critic recognizes "Good Vibrations" as one of the most important compositions and recordings of the entire rock era. It is a regular fixture on "greatest of all-time" song lists and is frequently hailed as one of the finest pop productions of all time. In 2004, Rolling Stone magazine ranked "Good Vibrations" at number 6 in "The 500 Greatest Songs of All Time", the highest position of seven Beach Boys songs cited in the list. In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list. As of 2016, "Good Vibrations" is ranked as the number four song of all time in an aggregation of critics' lists at Acclaimed Music. The song served as an anthem for the counterculture of the 1960s. According to Noel Murray of The A.V. Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's "un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do." Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for "Good Vibrations". "Heroes and Villains", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967. In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of "Good Vibrations". When asked about the song in 1990, Paul McCartney responded: "I thought it was a great record. It didn't quite have the emotional thing that Pet Sounds had for me. I've often played Pet Sounds and cried. It's that kind of an album for me." Pete Townshend of the Who was quoted in the 1960s as saying, "'Good Vibrations' was probably a good record but who's to know? You had to play it about 90 bloody times to even hear what they were singing about." Townshend feared that the single would lead to a trend of overproduction. In a 1966 issue of Arts Magazine, Jonathan King said: "With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art. Computerized pop, mechanized music. Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons. It is long and split. ... impressive, fantastic, commercial--yes. Emotional, soul-destroying, shattering--no." In the 2000s, record producer Phil Spector criticized the single for depending too much on tape manipulation, negatively referring to it as an "edit record ... It's like Psycho is a great film, but it's an 'edit film.' Without edits, it's not a film; with edits, it's a great film. But it's not Rebecca ... it's not a beautiful story." CANNOTANSWER | Noel Murray | "Good Vibrations" is a song by the American rock band the Beach Boys that was composed by Brian Wilson with lyrics by Mike Love. It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping record charts in several countries including the United States and the United Kingdom. Characterized by its complex soundscapes, episodic structure and subversions of pop music formula, it was the most expensive single ever recorded. "Good Vibrations" later became widely acclaimed as one of the finest and most important works of the rock era.
Also produced by Wilson, the title derived from his fascination with cosmic vibrations, as his mother would tell him as a child that dogs sometimes bark at people in response to their "bad vibrations". He used the concept to suggest extrasensory perception, while Love's lyrics were inspired by the nascent Flower Power movement. The song was written as it was recorded and in a similar fashion to other compositions from Wilson's Smile period. It was issued as a standalone single, backed with "Let's Go Away for Awhile", and was to be included on the never-finished album Smile. Instead, the track appeared on the September 1967 release Smiley Smile.
The making of "Good Vibrations" was unprecedented for any kind of recording. Building on his approach for Pet Sounds, Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of session musicians at four different Hollywood studios from February to September 1966, a process reflected in the song's several dramatic shifts in key, texture, instrumentation and mood. Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars. Band publicist Derek Taylor dubbed the unusual work a "pocket symphony". It helped develop the use of the studio as an instrument and heralded a wave of pop experimentation and the onset of psychedelic and progressive rock. The track featured a novel mix of instruments, including jaw harp and Electro-Theremin, and although the latter is not a true theremin, the song's success led to a renewed interest and sales of theremins and synthesizers.
"Good Vibrations" received a Grammy nomination for Best Vocal Group performance in 1966 and was inducted into the Grammy Hall of Fame in 1994. The song was voted number one in Mojos "Top 100 Records of All Time" and number six on Rolling Stones "500 Greatest Songs of All Time", and it was included in the Rock and Roll Hall of Fame's "500 Songs that Shaped Rock and Roll". In later years, the song has been cited as a forerunner to the Beatles' "A Day in the Life" (1967) and Queen's "Bohemian Rhapsody" (1975). A 1976 cover version by Todd Rundgren peaked at number 34 on the Billboard Hot 100. The Beach Boys followed up "Good Vibrations" with another single pieced from sections, "Heroes and Villains" (1967), but it was less successful.
Inspiration and writing
Concept and early lyrics
The Beach Boys' leader, Brian Wilson, was responsible for the musical composition and virtually all of the arrangement for "Good Vibrations". Most of the song's structure and arrangement was written as it was recorded. During the recording sessions for the 1966 album Pet Sounds, Wilson began changing his writing process. For "Good Vibrations", Wilson said, "I had a lot of unfinished ideas, fragments of music I called 'feels.' Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic." Engineer Chuck Britz is quoted saying that Wilson considered the song to be "his whole life performance in one track". Wilson stated: "I was an energetic 23-year-old. ... I said: 'This is going to be better than [the Phil Spector production] "You've Lost That Lovin' Feelin'.
Wilson said that "Good Vibrations" was inspired by his mother: "[She] used to tell me about vibrations. I didn't really understand too much of what it meant when I was just a boy. It scared me, the word 'vibrations.' She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel." Brian first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea. When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style. Asher remembered:
Wilson wanted to call the song "Good Vibes", but Asher advised that it was "lightweight use of the language", and suggested that "Good Vibrations" would sound less "trendy". The two proceeded to write lyrics for the verses that were ultimately discarded.
Theremin and cello
From the start, Wilson envisioned a theremin for the track. AllMusic reviewer John Bush pointed out: "Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel—between the single's theme and its use of an instrument the player never even touched."
"Good Vibrations" does not technically feature a theremin, but rather an Electro-Theremin, which is physically controlled by a knob on the side of the instrument. It was dubbed a "theremin" simply for convenience. At that time, theremins were most often associated with the 1945 Alfred Hitchcock film Spellbound, but their most common presence was in the theme music for the television sitcom My Favorite Martian, which ran from 1963 to 1966. Britz speculates: "He just walked in and said, 'I have this new sound for you.' I think he must have heard the sound somewhere and loved it, and built a song around it." It is unclear whether Wilson knew that the instrument was not a real theremin.
Brian credited his brother and bandmate Carl for suggesting the use of a cello on the track. He further stated that its triplet beat on the chorus was his own idea and that it was based on the Crystals' "Da Doo Ron Ron" (1963), produced by Spector. Conversely, arranger and session musician Van Dyke Parks said that it was himself who suggested having the cellist play triplets to Brian. Parks believed that having Brian exploit the cello "to such a hyperbolic degree" was what encouraged the duo to immediately collaborate on the never-finished album Smile. At some point, Wilson asked Parks to pen lyrics for "Good Vibrations", although Parks declined.
Influences and final lyrics
Wilson's cousin and bandmate Mike Love submitted the final lyrics for "Good Vibrations" and contributed its bass-baritone vocals in the chorus. He recalled that when he heard the unfinished backing track: "[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it. How's this going to go over in the Midwest or Birmingham? It was such a departure from 'Surfin' U.S.A.' or 'Help Me, Rhonda.'"
Love said that he wrote the words while on the drive to the studio. Feeling that the song could be "the Beach Boys' psychedelic anthem or flower power offering," he based the lyrics on the burgeoning psychedelic music and Flower Power movements occurring in San Francisco and some parts of the Los Angeles area. He described the lyrics as "just a flowery poem. Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair.'" Writing in his 1975 book The Beach Boys: Southern California Pastoral, Bruce Golden observed:
Capitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his LSD experiences. Brian clarified that the song was written under the influence of marijuana, not LSD. He explained: "I made ‘Good Vibrations’ on drugs; I used drugs to make that. ... I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity." In Steven Gaines's 1986 biography, Wilson is quoted on the lyrics: "We talked about good vibrations with the song and the idea, and we decided on one hand that you could say ... those are sensual things. And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have. That's what we're really talking about."
Wilson said in 2012 that the song's "gotta keep those good vibrations" bridge was inspired by Stephen Foster. Bandmate Al Jardine compared that section to Foster and the Negro spiritual "Down by the Riverside". According to Love, the lyric "'she goes with me to a blossom world' was originally meant to be followed by the words 'we find'", but Wilson elected to cut off the line to highlight the bass track linking into the chorus.
Recording and production
Modular approach
"Good Vibrations" established a new method of operation for Wilson. Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or "modules"). Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time. This was the same modular approach used during the sessions for Smile and Smiley Smile. To mask each tape edit, vast reverb decays were added at the mixing and sub-mixing stages.
For instrumentation, Wilson employed the services of "the Wrecking Crew", the nickname for a conglomerate of session musicians active in Los Angeles at that time. Production for "Good Vibrations" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two. It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands, making it the costliest single recorded to that date. Biographer Peter Ames Carlin wrote that Wilson was so puzzled by the arranging of "Good Vibrations" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs.
One estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to $ and $ in ), By comparison, the whole of Pet Sounds had cost $70,000 ($), itself an unusually high cost for an album. In 2018, Wilson disputed the $50,000 figure for "Good Vibrations", saying that the overall expenses were closer to $25,000.
Contemporary advertisements reported $10,000 ($) as the track's total production costs. Domenic Priore wrote that the track cost between $10,000 and $15,000 ($). When asked in a 2005 interview if it was true that the Electro-Theremin work alone cost $100,000, Wilson replied "No. $15,000."
Development
The instrumental of the first version of the song was recorded on February 17, 1966, at Gold Star Studios and was logged as a Pet Sounds session. On that day's session log, it was given the name "#1 Untitled" or "Good, Good, Good Vibrations", but on its master tape, Wilson distinctly states: "'Good Vibrations' ... take one." After twenty-six takes, a rough mono mix completed the session. Some additional instruments and rough guide vocals were overdubbed on February 23. Brian and Carl shared vocals for this mix.
The original version of "Good Vibrations" contained the characteristics of a "funky rhythm and blues number" and would not yet resemble a "pocket symphony". There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor, Paul Tanner. It was Brian's second ever recorded use of the instrument, just three days after the Pet Sounds track "I Just Wasn't Made for These Times". Brian then placed "Good Vibrations" on hold in order to devote attention to the Pet Sounds album, which saw release on May 16. More instrumental sections for "Good Vibrations" were recorded between April and June. Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs.
According to Brian's then-new friend David Anderle, during an early stage, Brian considered giving "Good Vibrations" to one of the black R&B groups signed with Warner Bros. Records such as Wilson Pickett, and then at Anderle's suggestion to singer Danny Hutton. He thought about abandoning the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single. In the meantime, he worked on writing and recording material for the group's forthcoming album, Smile.
The first Beach Boy to hear "Good Vibrations" in a semi-completed form, other than Brian, was Carl. Following a performance with the touring group in North Dakota, he remembered: "I came back up into my hotel room one night and the phone rang. It was Brian on the other end. He called me from the recording studio and played this really bizarre sounding music over the phone. There were drums smashing, that kind of stuff, and then it refined itself and got into the cello. It was a real funky track." In 1976, Brian revealed that before the final mixdown, he had been confronted with resistance by members of the group, whom Brian declined to name. The subject of their worries and complaints was the song's length and "modern" sound: "I said no, it's not going to be too long a record, it's going to be just right. ... They didn't quite understand what this jumping from studio to studio was all about. And they couldn't conceive of the record as I did. I saw the record as a totality piece."
The vocals for "Good Vibrations" were recorded at CBS Columbia Square, starting on August 24 and continuing sporadically until the very last day of assembly on September 21. The episodic structure of the composition was continuously revised as the group experimented with different ideas. Brian remembers that he began recording the "bop bop good vibrations" parts first, and that he came up with "the high parts" a week later. Mike Love recalled: "I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long." Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute. In early September, the master tapes for "Good Vibrations" were stolen. Mysteriously, they reappeared inside Brian's home two days later.
On September 21, Brian completed the track after Tanner added a final Electro-Theremin overdub. In 1976 he elaborated on the event: "It was at Columbia. I remember I had it right in the sack. I could just feel it when I dubbed it down, made the final mix from the 16-track down to mono. It was a feeling of power, it was a rush. A feeling of exaltation. Artistic beauty. It was everything ... I remember saying, 'Oh my God. Sit back and listen to this!'"
Composition and analysis
Genre and dynamics
There are six unique sections to the piece. Music theorist Daniel Harrison refers to these sections individually as the verse, the refrain (or chorus), the "first episodic digression", the "second episodic digression", the "retro-refrain", and the coda. Each has a distinct musical texture, partly due to the nature of the song's recording. The track's instrumentation changes radically from section to section, and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a "very long" duration. Wilson is quoted in 1979:
He characterized the song as "advanced rhythm and blues". Tom Roland of American Songwriter described the piece, "with its interlocking segments—a sort of pop version of the classical sonata, consisting of a series of musical movements". New York Magazine compared it to "a fugue with a rhythmic beat". John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs. Music journal Sound on Sound argued that the song "has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour". It explained that the song subverts pop forms to a considerable degree:
According to historian Lorenzo Candelaria, "Good Vibrations" has since been marketed as pop music "possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know." Uncut called the song "three minutes and thirty-six seconds of avant-garde pop". Mixdown described it as a "masterpiece of avant-pop". The theremin and cello has been called the song's "psychedelic ingredient". In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin. Professor of American history John Robert Greene named "Good Vibrations" among examples of psychedelic or acid rock. Stebbins wrote that the song was "replete with sunshine [and] psychedelia". Steve Valdez says that, like Pet Sounds, Brian was attempting a more experimental rock style.
Comparing "Good Vibrations" to Wilson's previous work Pet Sounds, biographer Andrew Hickey said that the "best way of thinking about [the song] is that it's taking the lowest common denominator of 'Here Today' and 'God Only Knows' and turned the result into an R&B track. We have the same minor-key change between verse and chorus we've seen throughout Pet Sounds, the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to funky." Author Jon Stebbins adds that "unlike Pet Sounds the chorus of 'Good Vibrations' projects a definite 'rock and roll' energy and feel."
According to academic Rikky Rooksby, "Good Vibrations" is an example of Brian Wilson's growing interest in musical development within a composition, something antithetical to popular music of the time. Suppressing tonic strength and cadential drive, the song makes use of descending harmonic motions through scale degrees controlled by a single tonic and "radical disjunctions" in key, texture, instrumentation, and mood while refusing to develop into a predictable formal pattern. It instead develops "under its own power" and "luxuriates in harmonic variety" exemplified by beginning and ending not only in different keys but also in different modes.
Verses and refrains (0:00–1:40)
"Good Vibrations" begins without introduction in a traditional verse/refrain format, opening with Carl Wilson singing the word "I", a triplet eighth note before the downbeat. The sparse first verse contains a repetition of chords played on a Hammond organ filtered through a Leslie speaker; underneath is a two-bar Fender bass melody. This sequence repeats once (0:15), but with the addition of two piccolos sustaining over a falling flute line. For percussion, bongo drums double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation. The beat projects a triplet feel despite being in time; this is sometimes called a "shuffle beat" or "threes over fours". The chord progression used is i–VII–VI–V, also called an Andalusian cadence. Although the verses begin in the minor mode of E, the mode is not used to express sadness or drudgery. Occurring at the very end of these verses is a passing chord, D.
The refrain (0:25) begins in the newly tonicized relative major G, which suggests III. Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music. The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat. This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals. The first section consists of only the couplet "I'm picking up good vibrations/she's giving me the excitation" sung by Mike Love in his bass-baritone register; the second repeats the lines and adds an "ooo bop bop" figure, sung in multiple-part harmony; the third time also adds a "good, good, good, good vibrations" in yet a higher harmony. This type of polyphony (counterpoint) is also rare in contemporary popular styles. Each repeat of the vocal lines also transposes up by a whole step, ascending from G to A and then B. It then returns to the verse, thus making a perfect cadence back into E minor. The verse and refrain then repeat without any changes to the patterns of its instrumentation and harmony. This is unusual, in that normally, a song's arrangement adds something once it reaches the second verse.
Episodic digressions
First episode (1:41–2:13)
The first episode (1:41+) begins disjunctively with an abrupt tape splice. The refrain's B, which had received a dominant (V) charge, is now maintained as a tonic (I). There is harmonic ambiguity, in that the chord progression may be either interpreted as I–IV–I (in B) or V–I–V (in E). Stebbins says that this section "might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply." A new sound is created by tack piano, jaw harp, and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, bass harmonica, and sleigh bells shaken on every beat. The lone line of vocals (aside from non-lexical harmonies) is "I don't know where, but she sends me there" sung in Mike Love's upper-register baritone. This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns.
Second episode (2:13–2:56)
Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat. Sound on Sound highlights this change as the "most savage edit in the track ... most people would go straight into a big splash hook-line section. Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ... Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian." Harrison says:
The slowed pace is complemented by the lyric ("Gotta keep those loving good vibrations a-happening with her"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony. This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2. The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats. Lambert calls it the song's "wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments. As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say."
Retro-refrain and coda (2:57–3:35)
A brief break at the end of the second musical digression creates tension which leads into the final sequence of the song. The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B, repeats at A, and then ends at G for an unexpectedly short single measure. The section uses a descending progression, which mirrors the ascending progression of the previous two refrains. There follows a short section of vocalizing in three-part counterpoint that references the original refrain by reproducing upward transposition. However, this time it settles on A, the concluding key of the song. By the end of "Good Vibrations," all seven scale degrees of the opening E-minor tonic are activated on some level.
Release and promotion
In a July 1966 advertisement for Pet Sounds in Billboard magazine, the band thanked the music industry for the sales of their album, and said that "We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations." This was the first public hint of the new single. Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was "about a guy who picks up good vibrations from a girl" and that it would be a "monster". He then suggested: "It's still sticking pretty close to that same boy-girl thing, you know, but with a difference. And it's a start, it's definitely a start." Derek Taylor, who had recently been engaged as the band's publicist, is credited for coining the term a "pocket symphony" to describe the song. In a press release for the single, he stated: "Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils. And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else."
To promote the single, four different music videos were shot. The first of these—which had Caleb Deschanel as cameraman—features the group at a fire station, sliding down its pole, and roaming the streets of Los Angeles in a fashion comparable to The Monkees. The second features the group during vocal rehearsals at United Western Recorders. The third contains footage recorded during the making of The Beach Boys in London, a documentary by Peter Whitehead of their concert performances. The fourth clip is an alternative edit of the third. Brian also made a rare television appearance on local station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record.
On October 15, 1966, Billboard predicted that the single would reach the top 20 in the Billboard Hot 100 chart. "Good Vibrations" was the Beach Boys' third US number one hit, after "I Get Around" and "Help Me, Rhonda", reaching the top of the Hot 100 in December. It was also their first number one in Britain. The single sold over 230,000 copies in the US within four days of its release and entered the Cash Box chart at number 61 on October 22. In the UK, the song sold over 50,000 copies in the first 15 days of its release. "Good Vibrations" quickly became the Beach Boys' first million-selling single. In December 1966, the record was their first single certified gold by the RIAA for sales of one million copies. On March 30, 2016, the digital single was certified platinum by the RIAA for the same sales level.
In the US, Cash Box said that it is a "catchy, easy-driving ditty loaded with the Boys’ money-making sound." In Britain, the single received favorable reviews from the New Musical Express and Melody Maker. Soon after, the Beach Boys were voted the number one band in the world in the NME readers' poll, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops. Billboard said that this result was probably influenced by the success of "Good Vibrations" when the votes were cast, together with the band's recent tour, whereas the Beatles had neither a recent single nor had they toured the UK throughout 1966; the reporter added that "The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak." In a readers' poll conducted by a Danish newspaper, Brian Wilson won the "best foreign-produced recording award", marking the first time that an American had won in that category.
The single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc.
Influence and legacy
Historical reception
Virtually every pop music critic recognizes "Good Vibrations" as one of the most important compositions and recordings of the entire rock era. It is a regular fixture on "greatest of all-time" song lists and is frequently hailed as one of the finest pop productions of all time. In 2004, Rolling Stone magazine ranked "Good Vibrations" at number 6 in "The 500 Greatest Songs of All Time", the highest position of seven Beach Boys songs cited in the list. In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list. As of 2016, "Good Vibrations" is ranked as the number four song of all time in an aggregation of critics' lists at Acclaimed Music.
The song served as an anthem for the counterculture of the 1960s. According to Noel Murray of The A.V. Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's "un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do." Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for "Good Vibrations". "Heroes and Villains", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967.
In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of "Good Vibrations". When asked about the song in 1990, Paul McCartney responded: "I thought it was a great record. It didn't quite have the emotional thing that Pet Sounds had for me. I've often played Pet Sounds and cried. It's that kind of an album for me." Pete Townshend of the Who was quoted in the 1960s as saying, "'Good Vibrations' was probably a good record but who's to know? You had to play it about 90 bloody times to even hear what they were singing about." Townshend feared that the single would lead to a trend of overproduction. In a 1966 issue of Arts Magazine, Jonathan King said: "With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art. Computerized pop, mechanized music. Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons. It is long and split. ... impressive, fantastic, commercial—yes. Emotional, soul-destroying, shattering—no." In the 2000s, record producer Phil Spector criticized the single for depending too much on tape manipulation, negatively referring to it as an "edit record ... It's like Psycho is a great film, but it's an 'edit film.' Without edits, it's not a film; with edits, it's a great film. But it's not Rebecca ... it's not a beautiful story."
Advancements
Recording and popular music
"Good Vibrations" is credited for having further developed the use of recording studios as a musical instrument. Author Domenic Priore commented that the song's making was "unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording". A milestone in the development of rock music, the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record. Musicologist Charlie Gillett called it "one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance". In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted:
Writing for Popmatters in 2015, Scott Interrante stated: "'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have." The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm. Microtonal composer Frank Oteri said that it "sounds like no other pop song recorded up to that point". According to Stebbins: "This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original. But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century." He added that the single "vaulted nearly every other rock act in their delivery of a Flower Power classic. It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop." John Bush wrote that the single "announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies". Gillett noted: "For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording."
Priore says that the song was a forerunner to works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes. In his appraisal for American Songwriter, Roland cites the song's "format" as the model for recordings by Wings ("Band on the Run"), the Beatles ("A Day in the Life"), and Elton John ("Funeral for a Friend/Love Lies Bleeding"). The song's approach was repeated in Queen's 1975 single "Bohemian Rhapsody", which was similarly pieced together using different sections. Wilson praised Queen's effort, calling it "the most competitive thing that's come along in ages" and "a fulfillment and an answer to a teenage prayer—of artistic music".
Psychedelic and progressive rock
With "Good Vibrations", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages. Writing in 2009, Barney Hoskyns deemed it to be the era's "ultimate psychedelic pop record" from Los Angeles. Interrante adds: "Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated, but its legacy as a pop hit is impressive as well." Former Atlantic Records executive Phillip Rauls recalled: "I was in the music business at the time, and my very first recognition of acid rock—we didn't call it progressive rock then—was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [theremin] sent so many musicians back to the studio to create this music on acid." Author Bill Martin suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: "The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life.'"
Use of theremin
Although the song does not technically contain a theremin, "Good Vibrations" is the most frequently cited example of the instrument's use in pop music. Upon release, the single prompted an unexpected revival in theremins and increased the awareness of analog synthesizers. The notion that "Good Vibrations" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants. While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin.
When the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments. Tanner recalls saying to Wilson, "I've got the wrong sort of hair to be on stage with you fellas", to which Wilson replied: "We'll give you a Prince Valiant wig." The Beach Boys then requested the services of Walter Sear, who asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar. Sear remembers marking fretboard-like lines on the ribbon "so they could play the damn thing." Moog began manufacturing his own models of theremins. He later noted: "The pop record scene cleaned us out of our stock which we expected to last through Christmas."
In Steven M. Martin's 1993 documentary Theremin: An Electronic Odyssey, in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin due to "Good Vibrations" caused Russian authorities to exile its inventor, Leon Theremin.
Cover versions
The song has been covered by artists such as Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV. John Bush commented: "'Good Vibrations' was rarely reprised by other acts, even during the cover-happy '60s. Its fragmented style made it essentially cover-proof." In 1976, a nearly identical cover version was released as a single by Todd Rundgren for his album Faithful. When asked for his opinion, Brian said: "Oh, he did a marvelous job, he did a great job. I was very proud of his version." Rundgren's single peaked at number 34 on the Billboard Hot 100. Rundgren explained: "I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting—like around Pet Sounds and 'Good Vibrations' ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal. ... I tried to do [the song] as literally as I could because in the intervening 10 years, radio had changed so much. Radio had become so formatted and so structured that that whole experience was already gone."
In 2004, Wilson re-recorded the song as a solo artist for his album Brian Wilson Presents Smile. It was sequenced as the album's closing track, following "In Blue Hawaii". In this version, "Good Vibrations" was the project's only track that eschewed the modular recording method. The song's verses and chorus were recorded as part of one whole take, and were not spliced together.
In 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated. Their version of "Good Vibrations", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on Billboards A/C chart.
In popular culture
The song's parody is used for the jingle of the Australian consumer electronics retailer The Good Guys.
In 1996, experimental rock group His Name Is Alive released an homage titled "Universal Frequencies" on their album Stars on E.S.P. Warren Defever reportedly listened to "Good Vibrations" repeatedly for a week before deciding that the song "needed a sequel"; he added: "'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful."
In 1997, the movie Vegas Vacation used the song for the opening credits, with Clark Griswold (Chevy Chase) singing the song.
The song's lyrics "I'm picking up good vibrations" are quoted in Cyndi Lauper's 1984 single "She Bop".
A live version of the song, from the album Live in London, appears as a playable track in the 2010 video game Rock Band 3.
In 2019, the song was used prominently in a scene for Jordan Peele's psychological horror thriller film Us.
In 2018, The song was featured in the animated film Hotel Transylvania 3: Summer Vacation.
Release history
In early 2011, the single was remastered and reissued as a four-sided 78 rpm vinyl for Record Store Day, as a teaser for the forthcoming The Smile Sessions box set. It contained "Heroes and Villains" as a B-side, along with previously released alternate takes and mixes.
Stereo version
Due to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile. The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett. Fitzgerald's software extracted individual instrumental and vocal stems from the original mono master—as the multi-track vocals remained missing—to construct the stereo version that appears on the 2012 reissue of Smiley Smile.
40th Anniversary Edition
In celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released. The EP includes "Good Vibrations", four alternate versions of the song, and the stereo mix of "Let's Go Away for Awhile". The EP artwork recreates that of the original 7-inch single sleeve. In 2016, the EP was reissued as a 12" record for the single's 50th anniversary.
Personnel
The following people are identified as players on the "Good Vibrations" single.
The Beach Boys
Mike Love – lead vocals in chorus
Brian Wilson – vocals, tack piano, tambourine, production, mixing
Carl Wilson – lead vocals in verses, guitar, shaker
Dennis Wilson – Hammond organ during 2:13–2:56
Additional musicians and production staff
Hal Blaine – drums, timpani, other percussion
Al De Lory – piano, harpsichord
Jesse Ehrlich – cello
Larry Knechtel – organ in verses and choruses
Tommy Morgan – harmonica
Al Casey – guitar
Ray Pohlman – electric bass
Lyle Ritz – double bass
Jim Horn – piccolo
Paul Tanner – Electro-Theremin
Bassist Carol Kaye played on several of the "Good Vibrations" sessions, and has been identified as a prominent contributor to the track. However, analysis by Beach Boys archivist Craig Slowinski indicates that none of those recordings made the final edit as released on the single.
Charts
Weekly charts
Original release
1976 reissue
Todd Rundgren version (1976)
Year-end charts
Certifications
Awards and accolades
Footnotes
References
Bibliography
External links
Greg Panfile's Musical Analysis of "Good Vibrations"
1966 singles
1966 songs
2004 singles
2011 singles
Brian Wilson songs
Psychic TV songs
The Beach Boys songs
Todd Rundgren songs
Capitol Records singles
Grammy Hall of Fame Award recipients
Billboard Hot 100 number-one singles
Cashbox number-one singles
Number-one singles in Australia
Number-one singles in New Zealand
UK Singles Chart number-one singles
Songs written by Brian Wilson
Songs written by Mike Love
Songs written by Tony Asher
Song recordings produced by Brian Wilson
Song recordings with Wall of Sound arrangements
Art pop songs
Avant-pop songs
Psychedelic pop songs
American psychedelic rock songs
Songs used as jingles
Songs composed in E-flat minor | true | [
"Influence or influencer may refer to:\n\nSocial influence, in social psychology, influence in interpersonal relationships\nMinority influence, when the minority affect the behavior or beliefs of the majority\nInfluencer marketing, through individuals that have influence over potential buyers\n\nScience and technology\nSphere of influence (astrodynamics), the region around a celestial body in which it is the primary gravitational influence on orbiting objects\nSphere of influence (black hole), a region around a black hole in which the gravity of the black hole dominates that of the host galaxy's bulge\n\nPolitics\nUndue influence, in contract law, where one person takes advantage of a position of power over another person\nSphere of influence, in political science, an area over which a state or organization has some indirect control\nAgent of influence, an agent of some stature who uses his or her position to influence public opinion or decision making to produce results beneficial to the country whose intelligence service operates the agent\nOffice of Strategic Influence, a short-lived U.S. government department\n\nFilm and theatre\nThe Influence (2010 film), 2010 South Korean film\nThe Influence (2019 film), 2019 Spanish horror film \nLa Influencia (2007 film), 2007 Spanish drama film also known as The Influence in literal translation \nInfluence (play), a 2005 play by David Williamson\n\"Influence\" (Law & Order: Special Victims Unit), a 2006 American television episode\n\nMusic\nInfluence (band), a rock band formed in the 1960s\n\nAlbums\n The Influence (album), an album by jazz artist Jimmy Raney.\n Influences (album), a 1984 album by Mark King\n Influence (Ardijah album), a 1996 album by the New Zealand group Ardijah\n Influence (Sister Machine Gun album), a 2003 album by Sister Machine Gun\n Influence, a 1992 album by Little Caesar\n\nSongs\n\"Influence\", a song by Tove Lo from Lady Wood\n\"Influence\" (Sister Machine Gun song), a song by Sister Machine Gun from the album Influence (Sister Machine Gun album)\nInfluencer (song), a 2017 single from Japanese group Nogizaka46\n\nOther uses\nDriving under the influence, the criminal act of driving while intoxicated\nInfluence: Science and Practice, and Influence: The Psychology of Persuasion; two books by Robert Cialdini\nThe Influence (Monhegan, Maine), a house in the United States\n\nSee also\n\nPersuasion\nManipulation (disambiguation)\n Influenza (disambiguation)",
"\"America\" is the second studio-release single from American artist Deuce and is a politically themed song with a stronger metal influence than some of Deuce's other music. It was released on January 10, 2012, a week earlier than originally planned due to a leak of the full music video in late December 2011. The song is the third track on Deuce's debut album titled Nine Lives.\n\nTrack listing\nSingle\n\nAmerica(n) Pride\n\nCharts\n\nReferences\n\n2012 singles\n2012 songs\nDeuce (musician) songs\nPolitical songs"
] | [
"\"Good Vibrations\" is a song by the American rock band the Beach Boys that was composed by Brian Wilson with lyrics by Mike Love. It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping record charts in several countries including the United States and the United Kingdom.",
"It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping record charts in several countries including the United States and the United Kingdom. Characterized by its complex soundscapes, episodic structure and subversions of pop music formula, it was the most expensive single ever recorded.",
"Characterized by its complex soundscapes, episodic structure and subversions of pop music formula, it was the most expensive single ever recorded. \"Good Vibrations\" later became widely acclaimed as one of the finest and most important works of the rock era.",
"\"Good Vibrations\" later became widely acclaimed as one of the finest and most important works of the rock era. Also produced by Wilson, the title derived from his fascination with cosmic vibrations, as his mother would tell him as a child that dogs sometimes bark at people in response to their \"bad vibrations\".",
"Also produced by Wilson, the title derived from his fascination with cosmic vibrations, as his mother would tell him as a child that dogs sometimes bark at people in response to their \"bad vibrations\". He used the concept to suggest extrasensory perception, while Love's lyrics were inspired by the nascent Flower Power movement.",
"He used the concept to suggest extrasensory perception, while Love's lyrics were inspired by the nascent Flower Power movement. The song was written as it was recorded and in a similar fashion to other compositions from Wilson's Smile period.",
"The song was written as it was recorded and in a similar fashion to other compositions from Wilson's Smile period. It was issued as a standalone single, backed with \"Let's Go Away for Awhile\", and was to be included on the never-finished album Smile.",
"It was issued as a standalone single, backed with \"Let's Go Away for Awhile\", and was to be included on the never-finished album Smile. Instead, the track appeared on the September 1967 release Smiley Smile. The making of \"Good Vibrations\" was unprecedented for any kind of recording.",
"The making of \"Good Vibrations\" was unprecedented for any kind of recording. Building on his approach for Pet Sounds, Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of session musicians at four different Hollywood studios from February to September 1966, a process reflected in the song's several dramatic shifts in key, texture, instrumentation and mood.",
"Building on his approach for Pet Sounds, Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of session musicians at four different Hollywood studios from February to September 1966, a process reflected in the song's several dramatic shifts in key, texture, instrumentation and mood. Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars.",
"Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars. Band publicist Derek Taylor dubbed the unusual work a \"pocket symphony\".",
"Band publicist Derek Taylor dubbed the unusual work a \"pocket symphony\". It helped develop the use of the studio as an instrument and heralded a wave of pop experimentation and the onset of psychedelic and progressive rock.",
"It helped develop the use of the studio as an instrument and heralded a wave of pop experimentation and the onset of psychedelic and progressive rock. The track featured a novel mix of instruments, including jaw harp and Electro-Theremin, and although the latter is not a true theremin, the song's success led to a renewed interest and sales of theremins and synthesizers.",
"The track featured a novel mix of instruments, including jaw harp and Electro-Theremin, and although the latter is not a true theremin, the song's success led to a renewed interest and sales of theremins and synthesizers. \"Good Vibrations\" received a Grammy nomination for Best Vocal Group performance in 1966 and was inducted into the Grammy Hall of Fame in 1994.",
"\"Good Vibrations\" received a Grammy nomination for Best Vocal Group performance in 1966 and was inducted into the Grammy Hall of Fame in 1994. The song was voted number one in Mojos \"Top 100 Records of All Time\" and number six on Rolling Stones \"500 Greatest Songs of All Time\", and it was included in the Rock and Roll Hall of Fame's \"500 Songs that Shaped Rock and Roll\".",
"The song was voted number one in Mojos \"Top 100 Records of All Time\" and number six on Rolling Stones \"500 Greatest Songs of All Time\", and it was included in the Rock and Roll Hall of Fame's \"500 Songs that Shaped Rock and Roll\". In later years, the song has been cited as a forerunner to the Beatles' \"A Day in the Life\" (1967) and Queen's \"Bohemian Rhapsody\" (1975).",
"In later years, the song has been cited as a forerunner to the Beatles' \"A Day in the Life\" (1967) and Queen's \"Bohemian Rhapsody\" (1975). A 1976 cover version by Todd Rundgren peaked at number 34 on the Billboard Hot 100.",
"A 1976 cover version by Todd Rundgren peaked at number 34 on the Billboard Hot 100. The Beach Boys followed up \"Good Vibrations\" with another single pieced from sections, \"Heroes and Villains\" (1967), but it was less successful.",
"The Beach Boys followed up \"Good Vibrations\" with another single pieced from sections, \"Heroes and Villains\" (1967), but it was less successful. Inspiration and writing Concept and early lyrics The Beach Boys' leader, Brian Wilson, was responsible for the musical composition and virtually all of the arrangement for \"Good Vibrations\".",
"Inspiration and writing Concept and early lyrics The Beach Boys' leader, Brian Wilson, was responsible for the musical composition and virtually all of the arrangement for \"Good Vibrations\". Most of the song's structure and arrangement was written as it was recorded.",
"Most of the song's structure and arrangement was written as it was recorded. During the recording sessions for the 1966 album Pet Sounds, Wilson began changing his writing process. For \"Good Vibrations\", Wilson said, \"I had a lot of unfinished ideas, fragments of music I called 'feels.'",
"For \"Good Vibrations\", Wilson said, \"I had a lot of unfinished ideas, fragments of music I called 'feels.' Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic.\"",
"Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic.\" Engineer Chuck Britz is quoted saying that Wilson considered the song to be \"his whole life performance in one track\". Wilson stated: \"I was an energetic 23-year-old. ...",
"Wilson stated: \"I was an energetic 23-year-old. ... ... I said: 'This is going to be better than [the Phil Spector production] \"You've Lost That Lovin' Feelin'. Wilson said that \"Good Vibrations\" was inspired by his mother: \"[She] used to tell me about vibrations.",
"Wilson said that \"Good Vibrations\" was inspired by his mother: \"[She] used to tell me about vibrations. I didn't really understand too much of what it meant when I was just a boy. It scared me, the word 'vibrations.'",
"It scared me, the word 'vibrations.' She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel.\"",
"She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel.\" Brian first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea.",
"Brian first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea. When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style.",
"When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style. Asher remembered: Wilson wanted to call the song \"Good Vibes\", but Asher advised that it was \"lightweight use of the language\", and suggested that \"Good Vibrations\" would sound less \"trendy\".",
"Asher remembered: Wilson wanted to call the song \"Good Vibes\", but Asher advised that it was \"lightweight use of the language\", and suggested that \"Good Vibrations\" would sound less \"trendy\". The two proceeded to write lyrics for the verses that were ultimately discarded.",
"The two proceeded to write lyrics for the verses that were ultimately discarded. Theremin and cello From the start, Wilson envisioned a theremin for the track.",
"Theremin and cello From the start, Wilson envisioned a theremin for the track. AllMusic reviewer John Bush pointed out: \"Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel—between the single's theme and its use of an instrument the player never even touched.\"",
"AllMusic reviewer John Bush pointed out: \"Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel—between the single's theme and its use of an instrument the player never even touched.\" \"Good Vibrations\" does not technically feature a theremin, but rather an Electro-Theremin, which is physically controlled by a knob on the side of the instrument.",
"\"Good Vibrations\" does not technically feature a theremin, but rather an Electro-Theremin, which is physically controlled by a knob on the side of the instrument. It was dubbed a \"theremin\" simply for convenience.",
"It was dubbed a \"theremin\" simply for convenience. At that time, theremins were most often associated with the 1945 Alfred Hitchcock film Spellbound, but their most common presence was in the theme music for the television sitcom My Favorite Martian, which ran from 1963 to 1966.",
"At that time, theremins were most often associated with the 1945 Alfred Hitchcock film Spellbound, but their most common presence was in the theme music for the television sitcom My Favorite Martian, which ran from 1963 to 1966. Britz speculates: \"He just walked in and said, 'I have this new sound for you.'",
"Britz speculates: \"He just walked in and said, 'I have this new sound for you.' I think he must have heard the sound somewhere and loved it, and built a song around it.\" It is unclear whether Wilson knew that the instrument was not a real theremin.",
"It is unclear whether Wilson knew that the instrument was not a real theremin. Brian credited his brother and bandmate Carl for suggesting the use of a cello on the track.",
"Brian credited his brother and bandmate Carl for suggesting the use of a cello on the track. He further stated that its triplet beat on the chorus was his own idea and that it was based on the Crystals' \"Da Doo Ron Ron\" (1963), produced by Spector.",
"He further stated that its triplet beat on the chorus was his own idea and that it was based on the Crystals' \"Da Doo Ron Ron\" (1963), produced by Spector. Conversely, arranger and session musician Van Dyke Parks said that it was himself who suggested having the cellist play triplets to Brian.",
"Conversely, arranger and session musician Van Dyke Parks said that it was himself who suggested having the cellist play triplets to Brian. Parks believed that having Brian exploit the cello \"to such a hyperbolic degree\" was what encouraged the duo to immediately collaborate on the never-finished album Smile.",
"Parks believed that having Brian exploit the cello \"to such a hyperbolic degree\" was what encouraged the duo to immediately collaborate on the never-finished album Smile. At some point, Wilson asked Parks to pen lyrics for \"Good Vibrations\", although Parks declined.",
"At some point, Wilson asked Parks to pen lyrics for \"Good Vibrations\", although Parks declined. Influences and final lyrics Wilson's cousin and bandmate Mike Love submitted the final lyrics for \"Good Vibrations\" and contributed its bass-baritone vocals in the chorus.",
"Influences and final lyrics Wilson's cousin and bandmate Mike Love submitted the final lyrics for \"Good Vibrations\" and contributed its bass-baritone vocals in the chorus. He recalled that when he heard the unfinished backing track: \"[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it.",
"He recalled that when he heard the unfinished backing track: \"[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it. How's this going to go over in the Midwest or Birmingham?",
"How's this going to go over in the Midwest or Birmingham? It was such a departure from 'Surfin' U.S.A.' or 'Help Me, Rhonda.'\" Love said that he wrote the words while on the drive to the studio.",
"Love said that he wrote the words while on the drive to the studio. Feeling that the song could be \"the Beach Boys' psychedelic anthem or flower power offering,\" he based the lyrics on the burgeoning psychedelic music and Flower Power movements occurring in San Francisco and some parts of the Los Angeles area.",
"Feeling that the song could be \"the Beach Boys' psychedelic anthem or flower power offering,\" he based the lyrics on the burgeoning psychedelic music and Flower Power movements occurring in San Francisco and some parts of the Los Angeles area. He described the lyrics as \"just a flowery poem.",
"He described the lyrics as \"just a flowery poem. Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair.'\"",
"Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair.'\" Writing in his 1975 book The Beach Boys: Southern California Pastoral, Bruce Golden observed: Capitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his LSD experiences.",
"Writing in his 1975 book The Beach Boys: Southern California Pastoral, Bruce Golden observed: Capitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his LSD experiences. Brian clarified that the song was written under the influence of marijuana, not LSD.",
"Brian clarified that the song was written under the influence of marijuana, not LSD. He explained: \"I made ‘Good Vibrations’ on drugs; I used drugs to make that. ... I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity.\"",
"I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity.\" In Steven Gaines's 1986 biography, Wilson is quoted on the lyrics: \"We talked about good vibrations with the song and the idea, and we decided on one hand that you could say ... those are sensual things.",
"In Steven Gaines's 1986 biography, Wilson is quoted on the lyrics: \"We talked about good vibrations with the song and the idea, and we decided on one hand that you could say ... those are sensual things. And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have.",
"And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have. That's what we're really talking about.\" Wilson said in 2012 that the song's \"gotta keep those good vibrations\" bridge was inspired by Stephen Foster.",
"Wilson said in 2012 that the song's \"gotta keep those good vibrations\" bridge was inspired by Stephen Foster. Bandmate Al Jardine compared that section to Foster and the Negro spiritual \"Down by the Riverside\".",
"Bandmate Al Jardine compared that section to Foster and the Negro spiritual \"Down by the Riverside\". According to Love, the lyric \"'she goes with me to a blossom world' was originally meant to be followed by the words 'we find'\", but Wilson elected to cut off the line to highlight the bass track linking into the chorus.",
"According to Love, the lyric \"'she goes with me to a blossom world' was originally meant to be followed by the words 'we find'\", but Wilson elected to cut off the line to highlight the bass track linking into the chorus. Recording and production Modular approach \"Good Vibrations\" established a new method of operation for Wilson.",
"Recording and production Modular approach \"Good Vibrations\" established a new method of operation for Wilson. Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or \"modules\").",
"Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or \"modules\"). Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time.",
"Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time. This was the same modular approach used during the sessions for Smile and Smiley Smile.",
"This was the same modular approach used during the sessions for Smile and Smiley Smile. To mask each tape edit, vast reverb decays were added at the mixing and sub-mixing stages. For instrumentation, Wilson employed the services of \"the Wrecking Crew\", the nickname for a conglomerate of session musicians active in Los Angeles at that time.",
"For instrumentation, Wilson employed the services of \"the Wrecking Crew\", the nickname for a conglomerate of session musicians active in Los Angeles at that time. Production for \"Good Vibrations\" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two.",
"Production for \"Good Vibrations\" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two. It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands, making it the costliest single recorded to that date.",
"It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands, making it the costliest single recorded to that date. Biographer Peter Ames Carlin wrote that Wilson was so puzzled by the arranging of \"Good Vibrations\" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs.",
"Biographer Peter Ames Carlin wrote that Wilson was so puzzled by the arranging of \"Good Vibrations\" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs. One estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to $ and $ in ), By comparison, the whole of Pet Sounds had cost $70,000 ($), itself an unusually high cost for an album.",
"One estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to $ and $ in ), By comparison, the whole of Pet Sounds had cost $70,000 ($), itself an unusually high cost for an album. In 2018, Wilson disputed the $50,000 figure for \"Good Vibrations\", saying that the overall expenses were closer to $25,000.",
"In 2018, Wilson disputed the $50,000 figure for \"Good Vibrations\", saying that the overall expenses were closer to $25,000. Contemporary advertisements reported $10,000 ($) as the track's total production costs. Domenic Priore wrote that the track cost between $10,000 and $15,000 ($).",
"Domenic Priore wrote that the track cost between $10,000 and $15,000 ($). When asked in a 2005 interview if it was true that the Electro-Theremin work alone cost $100,000, Wilson replied \"No. $15,000.\"",
"$15,000.\" $15,000.\" Development The instrumental of the first version of the song was recorded on February 17, 1966, at Gold Star Studios and was logged as a Pet Sounds session.",
"Development The instrumental of the first version of the song was recorded on February 17, 1966, at Gold Star Studios and was logged as a Pet Sounds session. On that day's session log, it was given the name \"#1 Untitled\" or \"Good, Good, Good Vibrations\", but on its master tape, Wilson distinctly states: \"'Good Vibrations' ... take one.\"",
"On that day's session log, it was given the name \"#1 Untitled\" or \"Good, Good, Good Vibrations\", but on its master tape, Wilson distinctly states: \"'Good Vibrations' ... take one.\" After twenty-six takes, a rough mono mix completed the session.",
"After twenty-six takes, a rough mono mix completed the session. Some additional instruments and rough guide vocals were overdubbed on February 23. Brian and Carl shared vocals for this mix.",
"Brian and Carl shared vocals for this mix. The original version of \"Good Vibrations\" contained the characteristics of a \"funky rhythm and blues number\" and would not yet resemble a \"pocket symphony\". There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor, Paul Tanner.",
"There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor, Paul Tanner. It was Brian's second ever recorded use of the instrument, just three days after the Pet Sounds track \"I Just Wasn't Made for These Times\".",
"It was Brian's second ever recorded use of the instrument, just three days after the Pet Sounds track \"I Just Wasn't Made for These Times\". Brian then placed \"Good Vibrations\" on hold in order to devote attention to the Pet Sounds album, which saw release on May 16.",
"Brian then placed \"Good Vibrations\" on hold in order to devote attention to the Pet Sounds album, which saw release on May 16. More instrumental sections for \"Good Vibrations\" were recorded between April and June.",
"More instrumental sections for \"Good Vibrations\" were recorded between April and June. Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs.",
"Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs. According to Brian's then-new friend David Anderle, during an early stage, Brian considered giving \"Good Vibrations\" to one of the black R&B groups signed with Warner Bros. Records such as Wilson Pickett, and then at Anderle's suggestion to singer Danny Hutton.",
"According to Brian's then-new friend David Anderle, during an early stage, Brian considered giving \"Good Vibrations\" to one of the black R&B groups signed with Warner Bros. Records such as Wilson Pickett, and then at Anderle's suggestion to singer Danny Hutton. He thought about abandoning the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single.",
"He thought about abandoning the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single. In the meantime, he worked on writing and recording material for the group's forthcoming album, Smile.",
"In the meantime, he worked on writing and recording material for the group's forthcoming album, Smile. The first Beach Boy to hear \"Good Vibrations\" in a semi-completed form, other than Brian, was Carl.",
"The first Beach Boy to hear \"Good Vibrations\" in a semi-completed form, other than Brian, was Carl. Following a performance with the touring group in North Dakota, he remembered: \"I came back up into my hotel room one night and the phone rang. It was Brian on the other end.",
"It was Brian on the other end. He called me from the recording studio and played this really bizarre sounding music over the phone. There were drums smashing, that kind of stuff, and then it refined itself and got into the cello. It was a real funky track.\"",
"It was a real funky track.\" In 1976, Brian revealed that before the final mixdown, he had been confronted with resistance by members of the group, whom Brian declined to name.",
"In 1976, Brian revealed that before the final mixdown, he had been confronted with resistance by members of the group, whom Brian declined to name. The subject of their worries and complaints was the song's length and \"modern\" sound: \"I said no, it's not going to be too long a record, it's going to be just right.",
"The subject of their worries and complaints was the song's length and \"modern\" sound: \"I said no, it's not going to be too long a record, it's going to be just right. ... They didn't quite understand what this jumping from studio to studio was all about.",
"They didn't quite understand what this jumping from studio to studio was all about. And they couldn't conceive of the record as I did. I saw the record as a totality piece.\"",
"I saw the record as a totality piece.\" The vocals for \"Good Vibrations\" were recorded at CBS Columbia Square, starting on August 24 and continuing sporadically until the very last day of assembly on September 21. The episodic structure of the composition was continuously revised as the group experimented with different ideas.",
"The episodic structure of the composition was continuously revised as the group experimented with different ideas. Brian remembers that he began recording the \"bop bop good vibrations\" parts first, and that he came up with \"the high parts\" a week later.",
"Brian remembers that he began recording the \"bop bop good vibrations\" parts first, and that he came up with \"the high parts\" a week later. Mike Love recalled: \"I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long.\"",
"Mike Love recalled: \"I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long.\" Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute.",
"Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute. In early September, the master tapes for \"Good Vibrations\" were stolen. Mysteriously, they reappeared inside Brian's home two days later.",
"Mysteriously, they reappeared inside Brian's home two days later. On September 21, Brian completed the track after Tanner added a final Electro-Theremin overdub. In 1976 he elaborated on the event: \"It was at Columbia. I remember I had it right in the sack.",
"I remember I had it right in the sack. I could just feel it when I dubbed it down, made the final mix from the 16-track down to mono. It was a feeling of power, it was a rush. A feeling of exaltation. Artistic beauty. It was everything ... I remember saying, 'Oh my God.",
"I remember saying, 'Oh my God. Sit back and listen to this!'\" Composition and analysis Genre and dynamics There are six unique sections to the piece.",
"Composition and analysis Genre and dynamics There are six unique sections to the piece. Music theorist Daniel Harrison refers to these sections individually as the verse, the refrain (or chorus), the \"first episodic digression\", the \"second episodic digression\", the \"retro-refrain\", and the coda.",
"Music theorist Daniel Harrison refers to these sections individually as the verse, the refrain (or chorus), the \"first episodic digression\", the \"second episodic digression\", the \"retro-refrain\", and the coda. Each has a distinct musical texture, partly due to the nature of the song's recording.",
"Each has a distinct musical texture, partly due to the nature of the song's recording. The track's instrumentation changes radically from section to section, and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a \"very long\" duration.",
"The track's instrumentation changes radically from section to section, and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a \"very long\" duration. Wilson is quoted in 1979: He characterized the song as \"advanced rhythm and blues\".",
"Wilson is quoted in 1979: He characterized the song as \"advanced rhythm and blues\". Tom Roland of American Songwriter described the piece, \"with its interlocking segments—a sort of pop version of the classical sonata, consisting of a series of musical movements\".",
"Tom Roland of American Songwriter described the piece, \"with its interlocking segments—a sort of pop version of the classical sonata, consisting of a series of musical movements\". New York Magazine compared it to \"a fugue with a rhythmic beat\".",
"New York Magazine compared it to \"a fugue with a rhythmic beat\". John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs.",
"John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs. Music journal Sound on Sound argued that the song \"has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour\".",
"Music journal Sound on Sound argued that the song \"has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour\". It explained that the song subverts pop forms to a considerable degree: According to historian Lorenzo Candelaria, \"Good Vibrations\" has since been marketed as pop music \"possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know.\"",
"It explained that the song subverts pop forms to a considerable degree: According to historian Lorenzo Candelaria, \"Good Vibrations\" has since been marketed as pop music \"possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know.\" Uncut called the song \"three minutes and thirty-six seconds of avant-garde pop\".",
"Uncut called the song \"three minutes and thirty-six seconds of avant-garde pop\". Mixdown described it as a \"masterpiece of avant-pop\". The theremin and cello has been called the song's \"psychedelic ingredient\".",
"The theremin and cello has been called the song's \"psychedelic ingredient\". In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin.",
"In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin. Professor of American history John Robert Greene named \"Good Vibrations\" among examples of psychedelic or acid rock.",
"Professor of American history John Robert Greene named \"Good Vibrations\" among examples of psychedelic or acid rock. Stebbins wrote that the song was \"replete with sunshine [and] psychedelia\". Steve Valdez says that, like Pet Sounds, Brian was attempting a more experimental rock style.",
"Steve Valdez says that, like Pet Sounds, Brian was attempting a more experimental rock style. Comparing \"Good Vibrations\" to Wilson's previous work Pet Sounds, biographer Andrew Hickey said that the \"best way of thinking about [the song] is that it's taking the lowest common denominator of 'Here Today' and 'God Only Knows' and turned the result into an R&B track.",
"Comparing \"Good Vibrations\" to Wilson's previous work Pet Sounds, biographer Andrew Hickey said that the \"best way of thinking about [the song] is that it's taking the lowest common denominator of 'Here Today' and 'God Only Knows' and turned the result into an R&B track. We have the same minor-key change between verse and chorus we've seen throughout Pet Sounds, the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to funky.\"",
"We have the same minor-key change between verse and chorus we've seen throughout Pet Sounds, the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to funky.\" Author Jon Stebbins adds that \"unlike Pet Sounds the chorus of 'Good Vibrations' projects a definite 'rock and roll' energy and feel.\"",
"Author Jon Stebbins adds that \"unlike Pet Sounds the chorus of 'Good Vibrations' projects a definite 'rock and roll' energy and feel.\" According to academic Rikky Rooksby, \"Good Vibrations\" is an example of Brian Wilson's growing interest in musical development within a composition, something antithetical to popular music of the time.",
"According to academic Rikky Rooksby, \"Good Vibrations\" is an example of Brian Wilson's growing interest in musical development within a composition, something antithetical to popular music of the time. Suppressing tonic strength and cadential drive, the song makes use of descending harmonic motions through scale degrees controlled by a single tonic and \"radical disjunctions\" in key, texture, instrumentation, and mood while refusing to develop into a predictable formal pattern.",
"Suppressing tonic strength and cadential drive, the song makes use of descending harmonic motions through scale degrees controlled by a single tonic and \"radical disjunctions\" in key, texture, instrumentation, and mood while refusing to develop into a predictable formal pattern. It instead develops \"under its own power\" and \"luxuriates in harmonic variety\" exemplified by beginning and ending not only in different keys but also in different modes.",
"It instead develops \"under its own power\" and \"luxuriates in harmonic variety\" exemplified by beginning and ending not only in different keys but also in different modes. Verses and refrains (0:00–1:40) \"Good Vibrations\" begins without introduction in a traditional verse/refrain format, opening with Carl Wilson singing the word \"I\", a triplet eighth note before the downbeat.",
"Verses and refrains (0:00–1:40) \"Good Vibrations\" begins without introduction in a traditional verse/refrain format, opening with Carl Wilson singing the word \"I\", a triplet eighth note before the downbeat. The sparse first verse contains a repetition of chords played on a Hammond organ filtered through a Leslie speaker; underneath is a two-bar Fender bass melody.",
"The sparse first verse contains a repetition of chords played on a Hammond organ filtered through a Leslie speaker; underneath is a two-bar Fender bass melody. This sequence repeats once (0:15), but with the addition of two piccolos sustaining over a falling flute line.",
"This sequence repeats once (0:15), but with the addition of two piccolos sustaining over a falling flute line. For percussion, bongo drums double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation.",
"For percussion, bongo drums double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation. The beat projects a triplet feel despite being in time; this is sometimes called a \"shuffle beat\" or \"threes over fours\".",
"The beat projects a triplet feel despite being in time; this is sometimes called a \"shuffle beat\" or \"threes over fours\". The chord progression used is i–VII–VI–V, also called an Andalusian cadence. Although the verses begin in the minor mode of E, the mode is not used to express sadness or drudgery.",
"Although the verses begin in the minor mode of E, the mode is not used to express sadness or drudgery. Occurring at the very end of these verses is a passing chord, D. The refrain (0:25) begins in the newly tonicized relative major G, which suggests III.",
"Occurring at the very end of these verses is a passing chord, D. The refrain (0:25) begins in the newly tonicized relative major G, which suggests III. Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music.",
"Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music. The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat.",
"The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat. This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals.",
"This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals. The first section consists of only the couplet \"I'm picking up good vibrations/she's giving me the excitation\" sung by Mike Love in his bass-baritone register; the second repeats the lines and adds an \"ooo bop bop\" figure, sung in multiple-part harmony; the third time also adds a \"good, good, good, good vibrations\" in yet a higher harmony.",
"The first section consists of only the couplet \"I'm picking up good vibrations/she's giving me the excitation\" sung by Mike Love in his bass-baritone register; the second repeats the lines and adds an \"ooo bop bop\" figure, sung in multiple-part harmony; the third time also adds a \"good, good, good, good vibrations\" in yet a higher harmony. This type of polyphony (counterpoint) is also rare in contemporary popular styles.",
"This type of polyphony (counterpoint) is also rare in contemporary popular styles. Each repeat of the vocal lines also transposes up by a whole step, ascending from G to A and then B. It then returns to the verse, thus making a perfect cadence back into E minor.",
"It then returns to the verse, thus making a perfect cadence back into E minor. The verse and refrain then repeat without any changes to the patterns of its instrumentation and harmony. This is unusual, in that normally, a song's arrangement adds something once it reaches the second verse.",
"This is unusual, in that normally, a song's arrangement adds something once it reaches the second verse. Episodic digressions First episode (1:41–2:13) The first episode (1:41+) begins disjunctively with an abrupt tape splice.",
"Episodic digressions First episode (1:41–2:13) The first episode (1:41+) begins disjunctively with an abrupt tape splice. The refrain's B, which had received a dominant (V) charge, is now maintained as a tonic (I).",
"The refrain's B, which had received a dominant (V) charge, is now maintained as a tonic (I). There is harmonic ambiguity, in that the chord progression may be either interpreted as I–IV–I (in B) or V–I–V (in E).",
"There is harmonic ambiguity, in that the chord progression may be either interpreted as I–IV–I (in B) or V–I–V (in E). Stebbins says that this section \"might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply.\"",
"Stebbins says that this section \"might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply.\" A new sound is created by tack piano, jaw harp, and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, bass harmonica, and sleigh bells shaken on every beat.",
"A new sound is created by tack piano, jaw harp, and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, bass harmonica, and sleigh bells shaken on every beat. The lone line of vocals (aside from non-lexical harmonies) is \"I don't know where, but she sends me there\" sung in Mike Love's upper-register baritone.",
"The lone line of vocals (aside from non-lexical harmonies) is \"I don't know where, but she sends me there\" sung in Mike Love's upper-register baritone. This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns.",
"This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns. Second episode (2:13–2:56) Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat.",
"Second episode (2:13–2:56) Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat. Sound on Sound highlights this change as the \"most savage edit in the track ... most people would go straight into a big splash hook-line section.",
"Sound on Sound highlights this change as the \"most savage edit in the track ... most people would go straight into a big splash hook-line section. Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ...",
"Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ... Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian.\"",
"Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian.\" Harrison says: The slowed pace is complemented by the lyric (\"Gotta keep those loving good vibrations a-happening with her\"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony.",
"Harrison says: The slowed pace is complemented by the lyric (\"Gotta keep those loving good vibrations a-happening with her\"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony. This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2.",
"This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2. The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats.",
"The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats. Lambert calls it the song's \"wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments.",
"Lambert calls it the song's \"wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments. As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say.\"",
"As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say.\" Retro-refrain and coda (2:57–3:35) A brief break at the end of the second musical digression creates tension which leads into the final sequence of the song.",
"Retro-refrain and coda (2:57–3:35) A brief break at the end of the second musical digression creates tension which leads into the final sequence of the song. The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B, repeats at A, and then ends at G for an unexpectedly short single measure.",
"The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B, repeats at A, and then ends at G for an unexpectedly short single measure. The section uses a descending progression, which mirrors the ascending progression of the previous two refrains.",
"The section uses a descending progression, which mirrors the ascending progression of the previous two refrains. There follows a short section of vocalizing in three-part counterpoint that references the original refrain by reproducing upward transposition. However, this time it settles on A, the concluding key of the song.",
"However, this time it settles on A, the concluding key of the song. By the end of \"Good Vibrations,\" all seven scale degrees of the opening E-minor tonic are activated on some level.",
"By the end of \"Good Vibrations,\" all seven scale degrees of the opening E-minor tonic are activated on some level. Release and promotion In a July 1966 advertisement for Pet Sounds in Billboard magazine, the band thanked the music industry for the sales of their album, and said that \"We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations.\"",
"Release and promotion In a July 1966 advertisement for Pet Sounds in Billboard magazine, the band thanked the music industry for the sales of their album, and said that \"We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations.\" This was the first public hint of the new single.",
"This was the first public hint of the new single. Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was \"about a guy who picks up good vibrations from a girl\" and that it would be a \"monster\".",
"Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was \"about a guy who picks up good vibrations from a girl\" and that it would be a \"monster\". He then suggested: \"It's still sticking pretty close to that same boy-girl thing, you know, but with a difference.",
"He then suggested: \"It's still sticking pretty close to that same boy-girl thing, you know, but with a difference. And it's a start, it's definitely a start.\"",
"And it's a start, it's definitely a start.\" Derek Taylor, who had recently been engaged as the band's publicist, is credited for coining the term a \"pocket symphony\" to describe the song.",
"Derek Taylor, who had recently been engaged as the band's publicist, is credited for coining the term a \"pocket symphony\" to describe the song. In a press release for the single, he stated: \"Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils.",
"In a press release for the single, he stated: \"Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils. And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else.\"",
"And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else.\" To promote the single, four different music videos were shot.",
"To promote the single, four different music videos were shot. The first of these—which had Caleb Deschanel as cameraman—features the group at a fire station, sliding down its pole, and roaming the streets of Los Angeles in a fashion comparable to The Monkees. The second features the group during vocal rehearsals at United Western Recorders.",
"The second features the group during vocal rehearsals at United Western Recorders. The third contains footage recorded during the making of The Beach Boys in London, a documentary by Peter Whitehead of their concert performances. The fourth clip is an alternative edit of the third.",
"The fourth clip is an alternative edit of the third. Brian also made a rare television appearance on local station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record.",
"Brian also made a rare television appearance on local station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record. On October 15, 1966, Billboard predicted that the single would reach the top 20 in the Billboard Hot 100 chart.",
"On October 15, 1966, Billboard predicted that the single would reach the top 20 in the Billboard Hot 100 chart. \"Good Vibrations\" was the Beach Boys' third US number one hit, after \"I Get Around\" and \"Help Me, Rhonda\", reaching the top of the Hot 100 in December.",
"\"Good Vibrations\" was the Beach Boys' third US number one hit, after \"I Get Around\" and \"Help Me, Rhonda\", reaching the top of the Hot 100 in December. It was also their first number one in Britain.",
"It was also their first number one in Britain. The single sold over 230,000 copies in the US within four days of its release and entered the Cash Box chart at number 61 on October 22. In the UK, the song sold over 50,000 copies in the first 15 days of its release.",
"In the UK, the song sold over 50,000 copies in the first 15 days of its release. \"Good Vibrations\" quickly became the Beach Boys' first million-selling single. In December 1966, the record was their first single certified gold by the RIAA for sales of one million copies.",
"In December 1966, the record was their first single certified gold by the RIAA for sales of one million copies. On March 30, 2016, the digital single was certified platinum by the RIAA for the same sales level.",
"On March 30, 2016, the digital single was certified platinum by the RIAA for the same sales level. In the US, Cash Box said that it is a \"catchy, easy-driving ditty loaded with the Boys’ money-making sound.\" In Britain, the single received favorable reviews from the New Musical Express and Melody Maker.",
"In Britain, the single received favorable reviews from the New Musical Express and Melody Maker. Soon after, the Beach Boys were voted the number one band in the world in the NME readers' poll, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops.",
"Soon after, the Beach Boys were voted the number one band in the world in the NME readers' poll, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops. Billboard said that this result was probably influenced by the success of \"Good Vibrations\" when the votes were cast, together with the band's recent tour, whereas the Beatles had neither a recent single nor had they toured the UK throughout 1966; the reporter added that \"The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak.\"",
"Billboard said that this result was probably influenced by the success of \"Good Vibrations\" when the votes were cast, together with the band's recent tour, whereas the Beatles had neither a recent single nor had they toured the UK throughout 1966; the reporter added that \"The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak.\" In a readers' poll conducted by a Danish newspaper, Brian Wilson won the \"best foreign-produced recording award\", marking the first time that an American had won in that category.",
"In a readers' poll conducted by a Danish newspaper, Brian Wilson won the \"best foreign-produced recording award\", marking the first time that an American had won in that category. The single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc.",
"The single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc. Influence and legacy Historical reception Virtually every pop music critic recognizes \"Good Vibrations\" as one of the most important compositions and recordings of the entire rock era.",
"Influence and legacy Historical reception Virtually every pop music critic recognizes \"Good Vibrations\" as one of the most important compositions and recordings of the entire rock era. It is a regular fixture on \"greatest of all-time\" song lists and is frequently hailed as one of the finest pop productions of all time.",
"It is a regular fixture on \"greatest of all-time\" song lists and is frequently hailed as one of the finest pop productions of all time. In 2004, Rolling Stone magazine ranked \"Good Vibrations\" at number 6 in \"The 500 Greatest Songs of All Time\", the highest position of seven Beach Boys songs cited in the list.",
"In 2004, Rolling Stone magazine ranked \"Good Vibrations\" at number 6 in \"The 500 Greatest Songs of All Time\", the highest position of seven Beach Boys songs cited in the list. In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list.",
"In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list. As of 2016, \"Good Vibrations\" is ranked as the number four song of all time in an aggregation of critics' lists at Acclaimed Music. The song served as an anthem for the counterculture of the 1960s.",
"The song served as an anthem for the counterculture of the 1960s. According to Noel Murray of The A.V.",
"According to Noel Murray of The A.V. Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's \"un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do.\"",
"Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's \"un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do.\" Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for \"Good Vibrations\".",
"Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for \"Good Vibrations\". \"Heroes and Villains\", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967.",
"\"Heroes and Villains\", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967. In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of \"Good Vibrations\".",
"In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of \"Good Vibrations\". When asked about the song in 1990, Paul McCartney responded: \"I thought it was a great record.",
"When asked about the song in 1990, Paul McCartney responded: \"I thought it was a great record. It didn't quite have the emotional thing that Pet Sounds had for me. I've often played Pet Sounds and cried. It's that kind of an album for me.\"",
"It's that kind of an album for me.\" Pete Townshend of the Who was quoted in the 1960s as saying, \"'Good Vibrations' was probably a good record but who's to know? You had to play it about 90 bloody times to even hear what they were singing about.\"",
"You had to play it about 90 bloody times to even hear what they were singing about.\" Townshend feared that the single would lead to a trend of overproduction. In a 1966 issue of Arts Magazine, Jonathan King said: \"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art.",
"In a 1966 issue of Arts Magazine, Jonathan King said: \"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art. Computerized pop, mechanized music. Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons.",
"Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons. It is long and split. ... impressive, fantastic, commercial—yes. Emotional, soul-destroying, shattering—no.\"",
"Emotional, soul-destroying, shattering—no.\" In the 2000s, record producer Phil Spector criticized the single for depending too much on tape manipulation, negatively referring to it as an \"edit record ... It's like Psycho is a great film, but it's an 'edit film.'",
"It's like Psycho is a great film, but it's an 'edit film.' Without edits, it's not a film; with edits, it's a great film. But it's not Rebecca ... it's not a beautiful story.\"",
"But it's not Rebecca ... it's not a beautiful story.\" Advancements Recording and popular music \"Good Vibrations\" is credited for having further developed the use of recording studios as a musical instrument.",
"Advancements Recording and popular music \"Good Vibrations\" is credited for having further developed the use of recording studios as a musical instrument. Author Domenic Priore commented that the song's making was \"unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording\".",
"Author Domenic Priore commented that the song's making was \"unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording\". A milestone in the development of rock music, the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record.",
"A milestone in the development of rock music, the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record. Musicologist Charlie Gillett called it \"one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance\".",
"Musicologist Charlie Gillett called it \"one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance\". In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted: Writing for Popmatters in 2015, Scott Interrante stated: \"'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have.\"",
"In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted: Writing for Popmatters in 2015, Scott Interrante stated: \"'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have.\" The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm.",
"The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm. Microtonal composer Frank Oteri said that it \"sounds like no other pop song recorded up to that point\".",
"Microtonal composer Frank Oteri said that it \"sounds like no other pop song recorded up to that point\". According to Stebbins: \"This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original.",
"According to Stebbins: \"This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original. But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century.\"",
"But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century.\" He added that the single \"vaulted nearly every other rock act in their delivery of a Flower Power classic. It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop.\"",
"It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop.\" John Bush wrote that the single \"announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies\".",
"John Bush wrote that the single \"announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies\". Gillett noted: \"For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording.\"",
"Gillett noted: \"For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording.\" Priore says that the song was a forerunner to works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes.",
"Priore says that the song was a forerunner to works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes. In his appraisal for American Songwriter, Roland cites the song's \"format\" as the model for recordings by Wings (\"Band on the Run\"), the Beatles (\"A Day in the Life\"), and Elton John (\"Funeral for a Friend/Love Lies Bleeding\").",
"In his appraisal for American Songwriter, Roland cites the song's \"format\" as the model for recordings by Wings (\"Band on the Run\"), the Beatles (\"A Day in the Life\"), and Elton John (\"Funeral for a Friend/Love Lies Bleeding\"). The song's approach was repeated in Queen's 1975 single \"Bohemian Rhapsody\", which was similarly pieced together using different sections.",
"The song's approach was repeated in Queen's 1975 single \"Bohemian Rhapsody\", which was similarly pieced together using different sections. Wilson praised Queen's effort, calling it \"the most competitive thing that's come along in ages\" and \"a fulfillment and an answer to a teenage prayer—of artistic music\".",
"Wilson praised Queen's effort, calling it \"the most competitive thing that's come along in ages\" and \"a fulfillment and an answer to a teenage prayer—of artistic music\". Psychedelic and progressive rock With \"Good Vibrations\", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages.",
"Psychedelic and progressive rock With \"Good Vibrations\", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages. Writing in 2009, Barney Hoskyns deemed it to be the era's \"ultimate psychedelic pop record\" from Los Angeles.",
"Writing in 2009, Barney Hoskyns deemed it to be the era's \"ultimate psychedelic pop record\" from Los Angeles. Interrante adds: \"Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated, but its legacy as a pop hit is impressive as well.\"",
"Interrante adds: \"Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated, but its legacy as a pop hit is impressive as well.\" Former Atlantic Records executive Phillip Rauls recalled: \"I was in the music business at the time, and my very first recognition of acid rock—we didn't call it progressive rock then—was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [theremin] sent so many musicians back to the studio to create this music on acid.\"",
"Former Atlantic Records executive Phillip Rauls recalled: \"I was in the music business at the time, and my very first recognition of acid rock—we didn't call it progressive rock then—was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [theremin] sent so many musicians back to the studio to create this music on acid.\" Author Bill Martin suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: \"The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life.'\"",
"Author Bill Martin suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: \"The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life.'\" Use of theremin Although the song does not technically contain a theremin, \"Good Vibrations\" is the most frequently cited example of the instrument's use in pop music.",
"Use of theremin Although the song does not technically contain a theremin, \"Good Vibrations\" is the most frequently cited example of the instrument's use in pop music. Upon release, the single prompted an unexpected revival in theremins and increased the awareness of analog synthesizers.",
"Upon release, the single prompted an unexpected revival in theremins and increased the awareness of analog synthesizers. The notion that \"Good Vibrations\" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants.",
"The notion that \"Good Vibrations\" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants. While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin.",
"While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin. When the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments.",
"When the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments. Tanner recalls saying to Wilson, \"I've got the wrong sort of hair to be on stage with you fellas\", to which Wilson replied: \"We'll give you a Prince Valiant wig.\"",
"Tanner recalls saying to Wilson, \"I've got the wrong sort of hair to be on stage with you fellas\", to which Wilson replied: \"We'll give you a Prince Valiant wig.\" The Beach Boys then requested the services of Walter Sear, who asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar.",
"The Beach Boys then requested the services of Walter Sear, who asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar. Sear remembers marking fretboard-like lines on the ribbon \"so they could play the damn thing.\" Moog began manufacturing his own models of theremins.",
"Moog began manufacturing his own models of theremins. He later noted: \"The pop record scene cleaned us out of our stock which we expected to last through Christmas.\"",
"He later noted: \"The pop record scene cleaned us out of our stock which we expected to last through Christmas.\" In Steven M. Martin's 1993 documentary Theremin: An Electronic Odyssey, in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin due to \"Good Vibrations\" caused Russian authorities to exile its inventor, Leon Theremin.",
"In Steven M. Martin's 1993 documentary Theremin: An Electronic Odyssey, in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin due to \"Good Vibrations\" caused Russian authorities to exile its inventor, Leon Theremin. Cover versions The song has been covered by artists such as Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV.",
"Cover versions The song has been covered by artists such as Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV. John Bush commented: \"'Good Vibrations' was rarely reprised by other acts, even during the cover-happy '60s. Its fragmented style made it essentially cover-proof.\"",
"Its fragmented style made it essentially cover-proof.\" In 1976, a nearly identical cover version was released as a single by Todd Rundgren for his album Faithful. When asked for his opinion, Brian said: \"Oh, he did a marvelous job, he did a great job. I was very proud of his version.\"",
"I was very proud of his version.\" Rundgren's single peaked at number 34 on the Billboard Hot 100.",
"Rundgren's single peaked at number 34 on the Billboard Hot 100. Rundgren explained: \"I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting—like around Pet Sounds and 'Good Vibrations' ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal.",
"Rundgren explained: \"I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting—like around Pet Sounds and 'Good Vibrations' ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal. ...",
"... ... I tried to do [the song] as literally as I could because in the intervening 10 years, radio had changed so much. Radio had become so formatted and so structured that that whole experience was already gone.\" In 2004, Wilson re-recorded the song as a solo artist for his album Brian Wilson Presents Smile.",
"In 2004, Wilson re-recorded the song as a solo artist for his album Brian Wilson Presents Smile. It was sequenced as the album's closing track, following \"In Blue Hawaii\". In this version, \"Good Vibrations\" was the project's only track that eschewed the modular recording method.",
"In this version, \"Good Vibrations\" was the project's only track that eschewed the modular recording method. The song's verses and chorus were recorded as part of one whole take, and were not spliced together.",
"The song's verses and chorus were recorded as part of one whole take, and were not spliced together. In 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated.",
"In 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated. Their version of \"Good Vibrations\", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on Billboards A/C chart.",
"Their version of \"Good Vibrations\", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on Billboards A/C chart. In popular culture The song's parody is used for the jingle of the Australian consumer electronics retailer The Good Guys.",
"In popular culture The song's parody is used for the jingle of the Australian consumer electronics retailer The Good Guys. In 1996, experimental rock group His Name Is Alive released an homage titled \"Universal Frequencies\" on their album Stars on E.S.P.",
"In 1996, experimental rock group His Name Is Alive released an homage titled \"Universal Frequencies\" on their album Stars on E.S.P. Warren Defever reportedly listened to \"Good Vibrations\" repeatedly for a week before deciding that the song \"needed a sequel\"; he added: \"'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful.\"",
"Warren Defever reportedly listened to \"Good Vibrations\" repeatedly for a week before deciding that the song \"needed a sequel\"; he added: \"'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful.\" In 1997, the movie Vegas Vacation used the song for the opening credits, with Clark Griswold (Chevy Chase) singing the song.",
"In 1997, the movie Vegas Vacation used the song for the opening credits, with Clark Griswold (Chevy Chase) singing the song. The song's lyrics \"I'm picking up good vibrations\" are quoted in Cyndi Lauper's 1984 single \"She Bop\".",
"The song's lyrics \"I'm picking up good vibrations\" are quoted in Cyndi Lauper's 1984 single \"She Bop\". A live version of the song, from the album Live in London, appears as a playable track in the 2010 video game Rock Band 3.",
"A live version of the song, from the album Live in London, appears as a playable track in the 2010 video game Rock Band 3. In 2019, the song was used prominently in a scene for Jordan Peele's psychological horror thriller film Us.",
"In 2019, the song was used prominently in a scene for Jordan Peele's psychological horror thriller film Us. In 2018, The song was featured in the animated film Hotel Transylvania 3: Summer Vacation.",
"In 2018, The song was featured in the animated film Hotel Transylvania 3: Summer Vacation. Release history In early 2011, the single was remastered and reissued as a four-sided 78 rpm vinyl for Record Store Day, as a teaser for the forthcoming The Smile Sessions box set.",
"Release history In early 2011, the single was remastered and reissued as a four-sided 78 rpm vinyl for Record Store Day, as a teaser for the forthcoming The Smile Sessions box set. It contained \"Heroes and Villains\" as a B-side, along with previously released alternate takes and mixes.",
"It contained \"Heroes and Villains\" as a B-side, along with previously released alternate takes and mixes. Stereo version Due to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile.",
"Stereo version Due to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile. The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett.",
"The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett. Fitzgerald's software extracted individual instrumental and vocal stems from the original mono master—as the multi-track vocals remained missing—to construct the stereo version that appears on the 2012 reissue of Smiley Smile.",
"Fitzgerald's software extracted individual instrumental and vocal stems from the original mono master—as the multi-track vocals remained missing—to construct the stereo version that appears on the 2012 reissue of Smiley Smile. 40th Anniversary Edition In celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released.",
"40th Anniversary Edition In celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released. The EP includes \"Good Vibrations\", four alternate versions of the song, and the stereo mix of \"Let's Go Away for Awhile\". The EP artwork recreates that of the original 7-inch single sleeve.",
"The EP artwork recreates that of the original 7-inch single sleeve. In 2016, the EP was reissued as a 12\" record for the single's 50th anniversary. Personnel The following people are identified as players on the \"Good Vibrations\" single.",
"Personnel The following people are identified as players on the \"Good Vibrations\" single. The Beach Boys Mike Love – lead vocals in chorus Brian Wilson – vocals, tack piano, tambourine, production, mixing Carl Wilson – lead vocals in verses, guitar, shaker Dennis Wilson – Hammond organ during 2:13–2:56 Additional musicians and production staff Hal Blaine – drums, timpani, other percussion Al De Lory – piano, harpsichord Jesse Ehrlich – cello Larry Knechtel – organ in verses and choruses Tommy Morgan – harmonica Al Casey – guitar Ray Pohlman – electric bass Lyle Ritz – double bass Jim Horn – piccolo Paul Tanner – Electro-Theremin Bassist Carol Kaye played on several of the \"Good Vibrations\" sessions, and has been identified as a prominent contributor to the track.",
"The Beach Boys Mike Love – lead vocals in chorus Brian Wilson – vocals, tack piano, tambourine, production, mixing Carl Wilson – lead vocals in verses, guitar, shaker Dennis Wilson – Hammond organ during 2:13–2:56 Additional musicians and production staff Hal Blaine – drums, timpani, other percussion Al De Lory – piano, harpsichord Jesse Ehrlich – cello Larry Knechtel – organ in verses and choruses Tommy Morgan – harmonica Al Casey – guitar Ray Pohlman – electric bass Lyle Ritz – double bass Jim Horn – piccolo Paul Tanner – Electro-Theremin Bassist Carol Kaye played on several of the \"Good Vibrations\" sessions, and has been identified as a prominent contributor to the track. However, analysis by Beach Boys archivist Craig Slowinski indicates that none of those recordings made the final edit as released on the single.",
"However, analysis by Beach Boys archivist Craig Slowinski indicates that none of those recordings made the final edit as released on the single. Charts Weekly charts Original release 1976 reissue Todd Rundgren version (1976) Year-end charts Certifications Awards and accolades Footnotes References Bibliography External links Greg Panfile's Musical Analysis of \"Good Vibrations\" 1966 singles 1966 songs 2004 singles 2011 singles Brian Wilson songs Psychic TV songs The Beach Boys songs Todd Rundgren songs Capitol Records singles Grammy Hall of Fame Award recipients Billboard Hot 100 number-one singles Cashbox number-one singles Number-one singles in Australia Number-one singles in New Zealand UK Singles Chart number-one singles Songs written by Brian Wilson Songs written by Mike Love Songs written by Tony Asher Song recordings produced by Brian Wilson Song recordings with Wall of Sound arrangements Art pop songs Avant-pop songs Psychedelic pop songs American psychedelic rock songs Songs used as jingles Songs composed in E-flat minor"
] |
[
"Good Vibrations",
"Historical reception",
"What historical reception did the song get?",
"Virtually every pop music critic recognizes \"Good Vibrations\" as one of the most important compositions and recordings of the entire rock era.",
"Why is it such an important song?",
"The song served as an anthem for the counterculture of the 1960s.",
"Did the song influence other artist?",
"Noel Murray"
] | C_3511c60eb57b41c2bebf1299ed0caeeb_0 | What are some other thoughts people had about the song? | 4 | What are some other thoughts people had about Good Vibrations other than Noel Murray? | Good Vibrations | Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat. Sound on Sound highlights this change as the "most savage edit in the track ... most people would go straight into a big splash hook-line section. Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ... Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian." Harrison says: The appearance of episode 1 was unusual enough but could be explained as an extended break between verse and refrain sections. Episode 2 however, makes that interpretation untenable, and both listener and analyst must entertain the idea that "Good Vibrations" develops under its own power, as it were, without the guidance of overdetermined formal patterns. Brian's [sic] own description of the song--a three-and-a-half-minute 'pocket symphony'--is a telling clue about his formal ambitions here. The slowed pace is complemented by the lyric ("Gotta keep those loving good vibrations a-happening with her"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony. This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2. The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats. Lambert calls it the song's "wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments. As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say." Virtually every pop music critic recognizes "Good Vibrations" as one of the most important compositions and recordings of the entire rock era. It is a regular fixture on "greatest of all-time" song lists and is frequently hailed as one of the finest pop productions of all time. In 2004, Rolling Stone magazine ranked "Good Vibrations" at number 6 in "The 500 Greatest Songs of All Time", the highest position of seven Beach Boys songs cited in the list. In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list. As of 2016, "Good Vibrations" is ranked as the number four song of all time in an aggregation of critics' lists at Acclaimed Music. The song served as an anthem for the counterculture of the 1960s. According to Noel Murray of The A.V. Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's "un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do." Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for "Good Vibrations". "Heroes and Villains", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967. In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of "Good Vibrations". When asked about the song in 1990, Paul McCartney responded: "I thought it was a great record. It didn't quite have the emotional thing that Pet Sounds had for me. I've often played Pet Sounds and cried. It's that kind of an album for me." Pete Townshend of the Who was quoted in the 1960s as saying, "'Good Vibrations' was probably a good record but who's to know? You had to play it about 90 bloody times to even hear what they were singing about." Townshend feared that the single would lead to a trend of overproduction. In a 1966 issue of Arts Magazine, Jonathan King said: "With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art. Computerized pop, mechanized music. Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons. It is long and split. ... impressive, fantastic, commercial--yes. Emotional, soul-destroying, shattering--no." In the 2000s, record producer Phil Spector criticized the single for depending too much on tape manipulation, negatively referring to it as an "edit record ... It's like Psycho is a great film, but it's an 'edit film.' Without edits, it's not a film; with edits, it's a great film. But it's not Rebecca ... it's not a beautiful story." CANNOTANSWER | In a 1966 issue of Arts Magazine, Jonathan King said: "With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art. | "Good Vibrations" is a song by the American rock band the Beach Boys that was composed by Brian Wilson with lyrics by Mike Love. It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping record charts in several countries including the United States and the United Kingdom. Characterized by its complex soundscapes, episodic structure and subversions of pop music formula, it was the most expensive single ever recorded. "Good Vibrations" later became widely acclaimed as one of the finest and most important works of the rock era.
Also produced by Wilson, the title derived from his fascination with cosmic vibrations, as his mother would tell him as a child that dogs sometimes bark at people in response to their "bad vibrations". He used the concept to suggest extrasensory perception, while Love's lyrics were inspired by the nascent Flower Power movement. The song was written as it was recorded and in a similar fashion to other compositions from Wilson's Smile period. It was issued as a standalone single, backed with "Let's Go Away for Awhile", and was to be included on the never-finished album Smile. Instead, the track appeared on the September 1967 release Smiley Smile.
The making of "Good Vibrations" was unprecedented for any kind of recording. Building on his approach for Pet Sounds, Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of session musicians at four different Hollywood studios from February to September 1966, a process reflected in the song's several dramatic shifts in key, texture, instrumentation and mood. Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars. Band publicist Derek Taylor dubbed the unusual work a "pocket symphony". It helped develop the use of the studio as an instrument and heralded a wave of pop experimentation and the onset of psychedelic and progressive rock. The track featured a novel mix of instruments, including jaw harp and Electro-Theremin, and although the latter is not a true theremin, the song's success led to a renewed interest and sales of theremins and synthesizers.
"Good Vibrations" received a Grammy nomination for Best Vocal Group performance in 1966 and was inducted into the Grammy Hall of Fame in 1994. The song was voted number one in Mojos "Top 100 Records of All Time" and number six on Rolling Stones "500 Greatest Songs of All Time", and it was included in the Rock and Roll Hall of Fame's "500 Songs that Shaped Rock and Roll". In later years, the song has been cited as a forerunner to the Beatles' "A Day in the Life" (1967) and Queen's "Bohemian Rhapsody" (1975). A 1976 cover version by Todd Rundgren peaked at number 34 on the Billboard Hot 100. The Beach Boys followed up "Good Vibrations" with another single pieced from sections, "Heroes and Villains" (1967), but it was less successful.
Inspiration and writing
Concept and early lyrics
The Beach Boys' leader, Brian Wilson, was responsible for the musical composition and virtually all of the arrangement for "Good Vibrations". Most of the song's structure and arrangement was written as it was recorded. During the recording sessions for the 1966 album Pet Sounds, Wilson began changing his writing process. For "Good Vibrations", Wilson said, "I had a lot of unfinished ideas, fragments of music I called 'feels.' Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic." Engineer Chuck Britz is quoted saying that Wilson considered the song to be "his whole life performance in one track". Wilson stated: "I was an energetic 23-year-old. ... I said: 'This is going to be better than [the Phil Spector production] "You've Lost That Lovin' Feelin'.
Wilson said that "Good Vibrations" was inspired by his mother: "[She] used to tell me about vibrations. I didn't really understand too much of what it meant when I was just a boy. It scared me, the word 'vibrations.' She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel." Brian first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea. When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style. Asher remembered:
Wilson wanted to call the song "Good Vibes", but Asher advised that it was "lightweight use of the language", and suggested that "Good Vibrations" would sound less "trendy". The two proceeded to write lyrics for the verses that were ultimately discarded.
Theremin and cello
From the start, Wilson envisioned a theremin for the track. AllMusic reviewer John Bush pointed out: "Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel—between the single's theme and its use of an instrument the player never even touched."
"Good Vibrations" does not technically feature a theremin, but rather an Electro-Theremin, which is physically controlled by a knob on the side of the instrument. It was dubbed a "theremin" simply for convenience. At that time, theremins were most often associated with the 1945 Alfred Hitchcock film Spellbound, but their most common presence was in the theme music for the television sitcom My Favorite Martian, which ran from 1963 to 1966. Britz speculates: "He just walked in and said, 'I have this new sound for you.' I think he must have heard the sound somewhere and loved it, and built a song around it." It is unclear whether Wilson knew that the instrument was not a real theremin.
Brian credited his brother and bandmate Carl for suggesting the use of a cello on the track. He further stated that its triplet beat on the chorus was his own idea and that it was based on the Crystals' "Da Doo Ron Ron" (1963), produced by Spector. Conversely, arranger and session musician Van Dyke Parks said that it was himself who suggested having the cellist play triplets to Brian. Parks believed that having Brian exploit the cello "to such a hyperbolic degree" was what encouraged the duo to immediately collaborate on the never-finished album Smile. At some point, Wilson asked Parks to pen lyrics for "Good Vibrations", although Parks declined.
Influences and final lyrics
Wilson's cousin and bandmate Mike Love submitted the final lyrics for "Good Vibrations" and contributed its bass-baritone vocals in the chorus. He recalled that when he heard the unfinished backing track: "[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it. How's this going to go over in the Midwest or Birmingham? It was such a departure from 'Surfin' U.S.A.' or 'Help Me, Rhonda.'"
Love said that he wrote the words while on the drive to the studio. Feeling that the song could be "the Beach Boys' psychedelic anthem or flower power offering," he based the lyrics on the burgeoning psychedelic music and Flower Power movements occurring in San Francisco and some parts of the Los Angeles area. He described the lyrics as "just a flowery poem. Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair.'" Writing in his 1975 book The Beach Boys: Southern California Pastoral, Bruce Golden observed:
Capitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his LSD experiences. Brian clarified that the song was written under the influence of marijuana, not LSD. He explained: "I made ‘Good Vibrations’ on drugs; I used drugs to make that. ... I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity." In Steven Gaines's 1986 biography, Wilson is quoted on the lyrics: "We talked about good vibrations with the song and the idea, and we decided on one hand that you could say ... those are sensual things. And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have. That's what we're really talking about."
Wilson said in 2012 that the song's "gotta keep those good vibrations" bridge was inspired by Stephen Foster. Bandmate Al Jardine compared that section to Foster and the Negro spiritual "Down by the Riverside". According to Love, the lyric "'she goes with me to a blossom world' was originally meant to be followed by the words 'we find'", but Wilson elected to cut off the line to highlight the bass track linking into the chorus.
Recording and production
Modular approach
"Good Vibrations" established a new method of operation for Wilson. Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or "modules"). Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time. This was the same modular approach used during the sessions for Smile and Smiley Smile. To mask each tape edit, vast reverb decays were added at the mixing and sub-mixing stages.
For instrumentation, Wilson employed the services of "the Wrecking Crew", the nickname for a conglomerate of session musicians active in Los Angeles at that time. Production for "Good Vibrations" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two. It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands, making it the costliest single recorded to that date. Biographer Peter Ames Carlin wrote that Wilson was so puzzled by the arranging of "Good Vibrations" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs.
One estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to $ and $ in ), By comparison, the whole of Pet Sounds had cost $70,000 ($), itself an unusually high cost for an album. In 2018, Wilson disputed the $50,000 figure for "Good Vibrations", saying that the overall expenses were closer to $25,000.
Contemporary advertisements reported $10,000 ($) as the track's total production costs. Domenic Priore wrote that the track cost between $10,000 and $15,000 ($). When asked in a 2005 interview if it was true that the Electro-Theremin work alone cost $100,000, Wilson replied "No. $15,000."
Development
The instrumental of the first version of the song was recorded on February 17, 1966, at Gold Star Studios and was logged as a Pet Sounds session. On that day's session log, it was given the name "#1 Untitled" or "Good, Good, Good Vibrations", but on its master tape, Wilson distinctly states: "'Good Vibrations' ... take one." After twenty-six takes, a rough mono mix completed the session. Some additional instruments and rough guide vocals were overdubbed on February 23. Brian and Carl shared vocals for this mix.
The original version of "Good Vibrations" contained the characteristics of a "funky rhythm and blues number" and would not yet resemble a "pocket symphony". There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor, Paul Tanner. It was Brian's second ever recorded use of the instrument, just three days after the Pet Sounds track "I Just Wasn't Made for These Times". Brian then placed "Good Vibrations" on hold in order to devote attention to the Pet Sounds album, which saw release on May 16. More instrumental sections for "Good Vibrations" were recorded between April and June. Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs.
According to Brian's then-new friend David Anderle, during an early stage, Brian considered giving "Good Vibrations" to one of the black R&B groups signed with Warner Bros. Records such as Wilson Pickett, and then at Anderle's suggestion to singer Danny Hutton. He thought about abandoning the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single. In the meantime, he worked on writing and recording material for the group's forthcoming album, Smile.
The first Beach Boy to hear "Good Vibrations" in a semi-completed form, other than Brian, was Carl. Following a performance with the touring group in North Dakota, he remembered: "I came back up into my hotel room one night and the phone rang. It was Brian on the other end. He called me from the recording studio and played this really bizarre sounding music over the phone. There were drums smashing, that kind of stuff, and then it refined itself and got into the cello. It was a real funky track." In 1976, Brian revealed that before the final mixdown, he had been confronted with resistance by members of the group, whom Brian declined to name. The subject of their worries and complaints was the song's length and "modern" sound: "I said no, it's not going to be too long a record, it's going to be just right. ... They didn't quite understand what this jumping from studio to studio was all about. And they couldn't conceive of the record as I did. I saw the record as a totality piece."
The vocals for "Good Vibrations" were recorded at CBS Columbia Square, starting on August 24 and continuing sporadically until the very last day of assembly on September 21. The episodic structure of the composition was continuously revised as the group experimented with different ideas. Brian remembers that he began recording the "bop bop good vibrations" parts first, and that he came up with "the high parts" a week later. Mike Love recalled: "I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long." Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute. In early September, the master tapes for "Good Vibrations" were stolen. Mysteriously, they reappeared inside Brian's home two days later.
On September 21, Brian completed the track after Tanner added a final Electro-Theremin overdub. In 1976 he elaborated on the event: "It was at Columbia. I remember I had it right in the sack. I could just feel it when I dubbed it down, made the final mix from the 16-track down to mono. It was a feeling of power, it was a rush. A feeling of exaltation. Artistic beauty. It was everything ... I remember saying, 'Oh my God. Sit back and listen to this!'"
Composition and analysis
Genre and dynamics
There are six unique sections to the piece. Music theorist Daniel Harrison refers to these sections individually as the verse, the refrain (or chorus), the "first episodic digression", the "second episodic digression", the "retro-refrain", and the coda. Each has a distinct musical texture, partly due to the nature of the song's recording. The track's instrumentation changes radically from section to section, and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a "very long" duration. Wilson is quoted in 1979:
He characterized the song as "advanced rhythm and blues". Tom Roland of American Songwriter described the piece, "with its interlocking segments—a sort of pop version of the classical sonata, consisting of a series of musical movements". New York Magazine compared it to "a fugue with a rhythmic beat". John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs. Music journal Sound on Sound argued that the song "has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour". It explained that the song subverts pop forms to a considerable degree:
According to historian Lorenzo Candelaria, "Good Vibrations" has since been marketed as pop music "possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know." Uncut called the song "three minutes and thirty-six seconds of avant-garde pop". Mixdown described it as a "masterpiece of avant-pop". The theremin and cello has been called the song's "psychedelic ingredient". In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin. Professor of American history John Robert Greene named "Good Vibrations" among examples of psychedelic or acid rock. Stebbins wrote that the song was "replete with sunshine [and] psychedelia". Steve Valdez says that, like Pet Sounds, Brian was attempting a more experimental rock style.
Comparing "Good Vibrations" to Wilson's previous work Pet Sounds, biographer Andrew Hickey said that the "best way of thinking about [the song] is that it's taking the lowest common denominator of 'Here Today' and 'God Only Knows' and turned the result into an R&B track. We have the same minor-key change between verse and chorus we've seen throughout Pet Sounds, the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to funky." Author Jon Stebbins adds that "unlike Pet Sounds the chorus of 'Good Vibrations' projects a definite 'rock and roll' energy and feel."
According to academic Rikky Rooksby, "Good Vibrations" is an example of Brian Wilson's growing interest in musical development within a composition, something antithetical to popular music of the time. Suppressing tonic strength and cadential drive, the song makes use of descending harmonic motions through scale degrees controlled by a single tonic and "radical disjunctions" in key, texture, instrumentation, and mood while refusing to develop into a predictable formal pattern. It instead develops "under its own power" and "luxuriates in harmonic variety" exemplified by beginning and ending not only in different keys but also in different modes.
Verses and refrains (0:00–1:40)
"Good Vibrations" begins without introduction in a traditional verse/refrain format, opening with Carl Wilson singing the word "I", a triplet eighth note before the downbeat. The sparse first verse contains a repetition of chords played on a Hammond organ filtered through a Leslie speaker; underneath is a two-bar Fender bass melody. This sequence repeats once (0:15), but with the addition of two piccolos sustaining over a falling flute line. For percussion, bongo drums double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation. The beat projects a triplet feel despite being in time; this is sometimes called a "shuffle beat" or "threes over fours". The chord progression used is i–VII–VI–V, also called an Andalusian cadence. Although the verses begin in the minor mode of E, the mode is not used to express sadness or drudgery. Occurring at the very end of these verses is a passing chord, D.
The refrain (0:25) begins in the newly tonicized relative major G, which suggests III. Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music. The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat. This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals. The first section consists of only the couplet "I'm picking up good vibrations/she's giving me the excitation" sung by Mike Love in his bass-baritone register; the second repeats the lines and adds an "ooo bop bop" figure, sung in multiple-part harmony; the third time also adds a "good, good, good, good vibrations" in yet a higher harmony. This type of polyphony (counterpoint) is also rare in contemporary popular styles. Each repeat of the vocal lines also transposes up by a whole step, ascending from G to A and then B. It then returns to the verse, thus making a perfect cadence back into E minor. The verse and refrain then repeat without any changes to the patterns of its instrumentation and harmony. This is unusual, in that normally, a song's arrangement adds something once it reaches the second verse.
Episodic digressions
First episode (1:41–2:13)
The first episode (1:41+) begins disjunctively with an abrupt tape splice. The refrain's B, which had received a dominant (V) charge, is now maintained as a tonic (I). There is harmonic ambiguity, in that the chord progression may be either interpreted as I–IV–I (in B) or V–I–V (in E). Stebbins says that this section "might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply." A new sound is created by tack piano, jaw harp, and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, bass harmonica, and sleigh bells shaken on every beat. The lone line of vocals (aside from non-lexical harmonies) is "I don't know where, but she sends me there" sung in Mike Love's upper-register baritone. This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns.
Second episode (2:13–2:56)
Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat. Sound on Sound highlights this change as the "most savage edit in the track ... most people would go straight into a big splash hook-line section. Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ... Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian." Harrison says:
The slowed pace is complemented by the lyric ("Gotta keep those loving good vibrations a-happening with her"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony. This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2. The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats. Lambert calls it the song's "wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments. As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say."
Retro-refrain and coda (2:57–3:35)
A brief break at the end of the second musical digression creates tension which leads into the final sequence of the song. The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B, repeats at A, and then ends at G for an unexpectedly short single measure. The section uses a descending progression, which mirrors the ascending progression of the previous two refrains. There follows a short section of vocalizing in three-part counterpoint that references the original refrain by reproducing upward transposition. However, this time it settles on A, the concluding key of the song. By the end of "Good Vibrations," all seven scale degrees of the opening E-minor tonic are activated on some level.
Release and promotion
In a July 1966 advertisement for Pet Sounds in Billboard magazine, the band thanked the music industry for the sales of their album, and said that "We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations." This was the first public hint of the new single. Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was "about a guy who picks up good vibrations from a girl" and that it would be a "monster". He then suggested: "It's still sticking pretty close to that same boy-girl thing, you know, but with a difference. And it's a start, it's definitely a start." Derek Taylor, who had recently been engaged as the band's publicist, is credited for coining the term a "pocket symphony" to describe the song. In a press release for the single, he stated: "Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils. And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else."
To promote the single, four different music videos were shot. The first of these—which had Caleb Deschanel as cameraman—features the group at a fire station, sliding down its pole, and roaming the streets of Los Angeles in a fashion comparable to The Monkees. The second features the group during vocal rehearsals at United Western Recorders. The third contains footage recorded during the making of The Beach Boys in London, a documentary by Peter Whitehead of their concert performances. The fourth clip is an alternative edit of the third. Brian also made a rare television appearance on local station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record.
On October 15, 1966, Billboard predicted that the single would reach the top 20 in the Billboard Hot 100 chart. "Good Vibrations" was the Beach Boys' third US number one hit, after "I Get Around" and "Help Me, Rhonda", reaching the top of the Hot 100 in December. It was also their first number one in Britain. The single sold over 230,000 copies in the US within four days of its release and entered the Cash Box chart at number 61 on October 22. In the UK, the song sold over 50,000 copies in the first 15 days of its release. "Good Vibrations" quickly became the Beach Boys' first million-selling single. In December 1966, the record was their first single certified gold by the RIAA for sales of one million copies. On March 30, 2016, the digital single was certified platinum by the RIAA for the same sales level.
In the US, Cash Box said that it is a "catchy, easy-driving ditty loaded with the Boys’ money-making sound." In Britain, the single received favorable reviews from the New Musical Express and Melody Maker. Soon after, the Beach Boys were voted the number one band in the world in the NME readers' poll, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops. Billboard said that this result was probably influenced by the success of "Good Vibrations" when the votes were cast, together with the band's recent tour, whereas the Beatles had neither a recent single nor had they toured the UK throughout 1966; the reporter added that "The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak." In a readers' poll conducted by a Danish newspaper, Brian Wilson won the "best foreign-produced recording award", marking the first time that an American had won in that category.
The single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc.
Influence and legacy
Historical reception
Virtually every pop music critic recognizes "Good Vibrations" as one of the most important compositions and recordings of the entire rock era. It is a regular fixture on "greatest of all-time" song lists and is frequently hailed as one of the finest pop productions of all time. In 2004, Rolling Stone magazine ranked "Good Vibrations" at number 6 in "The 500 Greatest Songs of All Time", the highest position of seven Beach Boys songs cited in the list. In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list. As of 2016, "Good Vibrations" is ranked as the number four song of all time in an aggregation of critics' lists at Acclaimed Music.
The song served as an anthem for the counterculture of the 1960s. According to Noel Murray of The A.V. Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's "un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do." Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for "Good Vibrations". "Heroes and Villains", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967.
In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of "Good Vibrations". When asked about the song in 1990, Paul McCartney responded: "I thought it was a great record. It didn't quite have the emotional thing that Pet Sounds had for me. I've often played Pet Sounds and cried. It's that kind of an album for me." Pete Townshend of the Who was quoted in the 1960s as saying, "'Good Vibrations' was probably a good record but who's to know? You had to play it about 90 bloody times to even hear what they were singing about." Townshend feared that the single would lead to a trend of overproduction. In a 1966 issue of Arts Magazine, Jonathan King said: "With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art. Computerized pop, mechanized music. Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons. It is long and split. ... impressive, fantastic, commercial—yes. Emotional, soul-destroying, shattering—no." In the 2000s, record producer Phil Spector criticized the single for depending too much on tape manipulation, negatively referring to it as an "edit record ... It's like Psycho is a great film, but it's an 'edit film.' Without edits, it's not a film; with edits, it's a great film. But it's not Rebecca ... it's not a beautiful story."
Advancements
Recording and popular music
"Good Vibrations" is credited for having further developed the use of recording studios as a musical instrument. Author Domenic Priore commented that the song's making was "unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording". A milestone in the development of rock music, the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record. Musicologist Charlie Gillett called it "one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance". In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted:
Writing for Popmatters in 2015, Scott Interrante stated: "'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have." The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm. Microtonal composer Frank Oteri said that it "sounds like no other pop song recorded up to that point". According to Stebbins: "This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original. But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century." He added that the single "vaulted nearly every other rock act in their delivery of a Flower Power classic. It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop." John Bush wrote that the single "announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies". Gillett noted: "For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording."
Priore says that the song was a forerunner to works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes. In his appraisal for American Songwriter, Roland cites the song's "format" as the model for recordings by Wings ("Band on the Run"), the Beatles ("A Day in the Life"), and Elton John ("Funeral for a Friend/Love Lies Bleeding"). The song's approach was repeated in Queen's 1975 single "Bohemian Rhapsody", which was similarly pieced together using different sections. Wilson praised Queen's effort, calling it "the most competitive thing that's come along in ages" and "a fulfillment and an answer to a teenage prayer—of artistic music".
Psychedelic and progressive rock
With "Good Vibrations", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages. Writing in 2009, Barney Hoskyns deemed it to be the era's "ultimate psychedelic pop record" from Los Angeles. Interrante adds: "Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated, but its legacy as a pop hit is impressive as well." Former Atlantic Records executive Phillip Rauls recalled: "I was in the music business at the time, and my very first recognition of acid rock—we didn't call it progressive rock then—was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [theremin] sent so many musicians back to the studio to create this music on acid." Author Bill Martin suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: "The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life.'"
Use of theremin
Although the song does not technically contain a theremin, "Good Vibrations" is the most frequently cited example of the instrument's use in pop music. Upon release, the single prompted an unexpected revival in theremins and increased the awareness of analog synthesizers. The notion that "Good Vibrations" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants. While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin.
When the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments. Tanner recalls saying to Wilson, "I've got the wrong sort of hair to be on stage with you fellas", to which Wilson replied: "We'll give you a Prince Valiant wig." The Beach Boys then requested the services of Walter Sear, who asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar. Sear remembers marking fretboard-like lines on the ribbon "so they could play the damn thing." Moog began manufacturing his own models of theremins. He later noted: "The pop record scene cleaned us out of our stock which we expected to last through Christmas."
In Steven M. Martin's 1993 documentary Theremin: An Electronic Odyssey, in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin due to "Good Vibrations" caused Russian authorities to exile its inventor, Leon Theremin.
Cover versions
The song has been covered by artists such as Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV. John Bush commented: "'Good Vibrations' was rarely reprised by other acts, even during the cover-happy '60s. Its fragmented style made it essentially cover-proof." In 1976, a nearly identical cover version was released as a single by Todd Rundgren for his album Faithful. When asked for his opinion, Brian said: "Oh, he did a marvelous job, he did a great job. I was very proud of his version." Rundgren's single peaked at number 34 on the Billboard Hot 100. Rundgren explained: "I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting—like around Pet Sounds and 'Good Vibrations' ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal. ... I tried to do [the song] as literally as I could because in the intervening 10 years, radio had changed so much. Radio had become so formatted and so structured that that whole experience was already gone."
In 2004, Wilson re-recorded the song as a solo artist for his album Brian Wilson Presents Smile. It was sequenced as the album's closing track, following "In Blue Hawaii". In this version, "Good Vibrations" was the project's only track that eschewed the modular recording method. The song's verses and chorus were recorded as part of one whole take, and were not spliced together.
In 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated. Their version of "Good Vibrations", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on Billboards A/C chart.
In popular culture
The song's parody is used for the jingle of the Australian consumer electronics retailer The Good Guys.
In 1996, experimental rock group His Name Is Alive released an homage titled "Universal Frequencies" on their album Stars on E.S.P. Warren Defever reportedly listened to "Good Vibrations" repeatedly for a week before deciding that the song "needed a sequel"; he added: "'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful."
In 1997, the movie Vegas Vacation used the song for the opening credits, with Clark Griswold (Chevy Chase) singing the song.
The song's lyrics "I'm picking up good vibrations" are quoted in Cyndi Lauper's 1984 single "She Bop".
A live version of the song, from the album Live in London, appears as a playable track in the 2010 video game Rock Band 3.
In 2019, the song was used prominently in a scene for Jordan Peele's psychological horror thriller film Us.
In 2018, The song was featured in the animated film Hotel Transylvania 3: Summer Vacation.
Release history
In early 2011, the single was remastered and reissued as a four-sided 78 rpm vinyl for Record Store Day, as a teaser for the forthcoming The Smile Sessions box set. It contained "Heroes and Villains" as a B-side, along with previously released alternate takes and mixes.
Stereo version
Due to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile. The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett. Fitzgerald's software extracted individual instrumental and vocal stems from the original mono master—as the multi-track vocals remained missing—to construct the stereo version that appears on the 2012 reissue of Smiley Smile.
40th Anniversary Edition
In celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released. The EP includes "Good Vibrations", four alternate versions of the song, and the stereo mix of "Let's Go Away for Awhile". The EP artwork recreates that of the original 7-inch single sleeve. In 2016, the EP was reissued as a 12" record for the single's 50th anniversary.
Personnel
The following people are identified as players on the "Good Vibrations" single.
The Beach Boys
Mike Love – lead vocals in chorus
Brian Wilson – vocals, tack piano, tambourine, production, mixing
Carl Wilson – lead vocals in verses, guitar, shaker
Dennis Wilson – Hammond organ during 2:13–2:56
Additional musicians and production staff
Hal Blaine – drums, timpani, other percussion
Al De Lory – piano, harpsichord
Jesse Ehrlich – cello
Larry Knechtel – organ in verses and choruses
Tommy Morgan – harmonica
Al Casey – guitar
Ray Pohlman – electric bass
Lyle Ritz – double bass
Jim Horn – piccolo
Paul Tanner – Electro-Theremin
Bassist Carol Kaye played on several of the "Good Vibrations" sessions, and has been identified as a prominent contributor to the track. However, analysis by Beach Boys archivist Craig Slowinski indicates that none of those recordings made the final edit as released on the single.
Charts
Weekly charts
Original release
1976 reissue
Todd Rundgren version (1976)
Year-end charts
Certifications
Awards and accolades
Footnotes
References
Bibliography
External links
Greg Panfile's Musical Analysis of "Good Vibrations"
1966 singles
1966 songs
2004 singles
2011 singles
Brian Wilson songs
Psychic TV songs
The Beach Boys songs
Todd Rundgren songs
Capitol Records singles
Grammy Hall of Fame Award recipients
Billboard Hot 100 number-one singles
Cashbox number-one singles
Number-one singles in Australia
Number-one singles in New Zealand
UK Singles Chart number-one singles
Songs written by Brian Wilson
Songs written by Mike Love
Songs written by Tony Asher
Song recordings produced by Brian Wilson
Song recordings with Wall of Sound arrangements
Art pop songs
Avant-pop songs
Psychedelic pop songs
American psychedelic rock songs
Songs used as jingles
Songs composed in E-flat minor | true | [
"\"\" (Thoughts are free) is a German song about freedom of thought. The original lyricist and the composer are unknown, though the most popular version was rendered by Hoffmann von Fallersleben in 1842.\n\nText\nThe idea represented in the title—that thoughts are free—was expressed in antiquity and became prominent again in the Middle Ages, when Walther von der Vogelweide (c.1170–1230) wrote: (\"yet still thoughts are free\"). In the 12th century, it is thought that Austrian minnesinger Dietmar von Aist composed the song \"\" (\"only thoughts are free\"). About 1229, Freidank wrote: (\"this band may no one twine, that will my thoughts confine\").\n\nThe text as it first occurred on leaflets about 1780 originally had four strophes, to which a fifth was later added. Today, their order may vary. An early version in the shape of a dialogue between a captive and his beloved was published under the title \"\" (\"Song of the persecuted in the tower. After Swiss songs\") in Achim von Arnim and Clemens Brentano's circa 1805 folk poetry collection , Vol. III.\n\nThe text and the melody can be found in (songs of the girls from Brienz), printed in Bern, Switzerland, between 1810 and 1820. It was adopted by Hoffmann von Fallersleben in his (Silesian folk songs with melodies) collection published by Breitkopf & Härtel in 1842, who referred to it as \"from Neukirch bei Schönau\".\n\nLyrics \nDie Gedanken sind frei, wer kann sie erraten,\nsie fliehen vorbei wie nächtliche Schatten.\nKein Mensch kann sie wissen, kein Jäger sie schießen\nes bleibet dabei: Die Gedanken sind frei!\n\nIch denke was ich will und was mich beglücket,\ndoch alles in der Still', und wie es sich schicket.\nMein Wunsch und Begehren kann niemand verwehren,\nes bleibet dabei: Die Gedanken sind frei!\n\nIch liebe den Wein, mein Mädchen vor allen,\nsie tut mir allein am besten gefallen.\nIch bin nicht alleine bei meinem Glas Weine,\nmein Mädchen dabei: die Gedanken sind frei.\n\nUnd sperrt man mich ein im finsteren Kerker,\ndas alles sind rein vergebliche Werke;\ndenn meine Gedanken zerreißen die Schranken\nund Mauern entzwei: die Gedanken sind frei.\n\nDrum will ich auf immer den Sorgen entsagen\nund will mich auch nimmer mit Grillen mehr plagen.\nMan kann ja im Herzen stets lachen und scherzen\nund denken dabei: die Gedanken sind frei.\nThoughts are free, who can guess them?\nThey fly by like nocturnal shadows.\nNo person can know them, no hunter can shoot them\nand so it'll always be: Thoughts are free!\n\nI think what I want, and what delights me,\nstill always reticent, and as it is suitable.\nMy wish and desire, no one can deny me\nand so it'll always be: Thoughts are free!\n\nI love wine, and my girl even more,\nOnly her I like best of all.\nI'm not alone with my glass of wine,\nmy girl is with me: Thoughts are free!\n\nAnd if I am thrown into the darkest dungeon,\nall these are futile works,\nbecause my thoughts tear all gates\nand walls apart: Thoughts are free!\n\nSo I will renounce my sorrows forever,\nand never again will torture myself with whimsies.\nIn one's heart, one can always laugh and joke\nand think at the same time: Thoughts are free!\n\nThe rhyme scheme of the lyrics is a – B / a – B / C – C / d – d where capital letters indicate two-syllable feminine rhymes.\n\nMelody\n\nAdaptations\nSince the days of the Carlsbad Decrees and the Age of Metternich, \"Die Gedanken sind frei\" was a popular protest song against political repression and censorship, especially among the banned Burschenschaften student fraternities. In the aftermath of the failed 1848 German Revolution the song was banned. The Achim/Brentano text was given a new musical setting for voice and orchestra by Gustav Mahler in his 1898 Des Knaben Wunderhorn collection.\n\nThe song was important to certain anti-Nazi resistance movements in Germany. In 1942, Sophie Scholl, a member of the White Rose resistance group, played the song on her flute outside the walls of Ulm prison, where her father Robert had been detained for calling the Nazi dictator Adolf Hitler a \"scourge of God\". Earlier, in 1935, the guards at the Lichtenburg concentration camp had ordered prisoners to stage a performance in celebration of Hitler's 46th birthday; the imprisoned lawyer Hans Litten recited \"Die Gedanken sind frei\" in response.\n\nNotes\n\nExternal links \n\n \n Variant German lyrics and English translation\n \"Die Gedanken sind frei\", ingeb.org\n \n \n\nVolkslied\nPolitical songs\nFreedom of expression\n1780s songs\n1842 songs",
"\"When It Was Me\" is Paula DeAnda's third single on her debut album Paula DeAnda. Paula's pensive thoughts are expressed, nonetheless sung, about how her ex-boyfriend shows much affection to his new love, when that person used to be her. According to Paula, the way he treats his girlfriend is better than the way he treated her. Paula says throughout the first and second verses that she's not jealous, but overall she really is aware of the changes, and really wants what her ex-boyfriend is giving to the other girl.\n\nThis song was co-written by Ne-Yo. The song received some very minor airplay on a few Top 40/pop stations in Texas, but it didn't make the Mainstream Top 40 or Pop 100 Airplay charts. The song received moderate airplay on some rhythmic radio stations causing it to chart on the Rhythmic Top 40; it peaked at number 25 on the chart.\n\nChart performance\n\nReferences\n\n2007 singles\nPaula DeAnda songs\nPop ballads\nSongs written by Ne-Yo\n2005 songs\nSongs written by Shea Taylor\nSong recordings produced by Shea Taylor"
] | [
"\"Good Vibrations\" is a song by the American rock band the Beach Boys that was composed by Brian Wilson with lyrics by Mike Love. It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping record charts in several countries including the United States and the United Kingdom.",
"It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping record charts in several countries including the United States and the United Kingdom. Characterized by its complex soundscapes, episodic structure and subversions of pop music formula, it was the most expensive single ever recorded.",
"Characterized by its complex soundscapes, episodic structure and subversions of pop music formula, it was the most expensive single ever recorded. \"Good Vibrations\" later became widely acclaimed as one of the finest and most important works of the rock era.",
"\"Good Vibrations\" later became widely acclaimed as one of the finest and most important works of the rock era. Also produced by Wilson, the title derived from his fascination with cosmic vibrations, as his mother would tell him as a child that dogs sometimes bark at people in response to their \"bad vibrations\".",
"Also produced by Wilson, the title derived from his fascination with cosmic vibrations, as his mother would tell him as a child that dogs sometimes bark at people in response to their \"bad vibrations\". He used the concept to suggest extrasensory perception, while Love's lyrics were inspired by the nascent Flower Power movement.",
"He used the concept to suggest extrasensory perception, while Love's lyrics were inspired by the nascent Flower Power movement. The song was written as it was recorded and in a similar fashion to other compositions from Wilson's Smile period.",
"The song was written as it was recorded and in a similar fashion to other compositions from Wilson's Smile period. It was issued as a standalone single, backed with \"Let's Go Away for Awhile\", and was to be included on the never-finished album Smile.",
"It was issued as a standalone single, backed with \"Let's Go Away for Awhile\", and was to be included on the never-finished album Smile. Instead, the track appeared on the September 1967 release Smiley Smile. The making of \"Good Vibrations\" was unprecedented for any kind of recording.",
"The making of \"Good Vibrations\" was unprecedented for any kind of recording. Building on his approach for Pet Sounds, Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of session musicians at four different Hollywood studios from February to September 1966, a process reflected in the song's several dramatic shifts in key, texture, instrumentation and mood.",
"Building on his approach for Pet Sounds, Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of session musicians at four different Hollywood studios from February to September 1966, a process reflected in the song's several dramatic shifts in key, texture, instrumentation and mood. Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars.",
"Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars. Band publicist Derek Taylor dubbed the unusual work a \"pocket symphony\".",
"Band publicist Derek Taylor dubbed the unusual work a \"pocket symphony\". It helped develop the use of the studio as an instrument and heralded a wave of pop experimentation and the onset of psychedelic and progressive rock.",
"It helped develop the use of the studio as an instrument and heralded a wave of pop experimentation and the onset of psychedelic and progressive rock. The track featured a novel mix of instruments, including jaw harp and Electro-Theremin, and although the latter is not a true theremin, the song's success led to a renewed interest and sales of theremins and synthesizers.",
"The track featured a novel mix of instruments, including jaw harp and Electro-Theremin, and although the latter is not a true theremin, the song's success led to a renewed interest and sales of theremins and synthesizers. \"Good Vibrations\" received a Grammy nomination for Best Vocal Group performance in 1966 and was inducted into the Grammy Hall of Fame in 1994.",
"\"Good Vibrations\" received a Grammy nomination for Best Vocal Group performance in 1966 and was inducted into the Grammy Hall of Fame in 1994. The song was voted number one in Mojos \"Top 100 Records of All Time\" and number six on Rolling Stones \"500 Greatest Songs of All Time\", and it was included in the Rock and Roll Hall of Fame's \"500 Songs that Shaped Rock and Roll\".",
"The song was voted number one in Mojos \"Top 100 Records of All Time\" and number six on Rolling Stones \"500 Greatest Songs of All Time\", and it was included in the Rock and Roll Hall of Fame's \"500 Songs that Shaped Rock and Roll\". In later years, the song has been cited as a forerunner to the Beatles' \"A Day in the Life\" (1967) and Queen's \"Bohemian Rhapsody\" (1975).",
"In later years, the song has been cited as a forerunner to the Beatles' \"A Day in the Life\" (1967) and Queen's \"Bohemian Rhapsody\" (1975). A 1976 cover version by Todd Rundgren peaked at number 34 on the Billboard Hot 100.",
"A 1976 cover version by Todd Rundgren peaked at number 34 on the Billboard Hot 100. The Beach Boys followed up \"Good Vibrations\" with another single pieced from sections, \"Heroes and Villains\" (1967), but it was less successful.",
"The Beach Boys followed up \"Good Vibrations\" with another single pieced from sections, \"Heroes and Villains\" (1967), but it was less successful. Inspiration and writing Concept and early lyrics The Beach Boys' leader, Brian Wilson, was responsible for the musical composition and virtually all of the arrangement for \"Good Vibrations\".",
"Inspiration and writing Concept and early lyrics The Beach Boys' leader, Brian Wilson, was responsible for the musical composition and virtually all of the arrangement for \"Good Vibrations\". Most of the song's structure and arrangement was written as it was recorded.",
"Most of the song's structure and arrangement was written as it was recorded. During the recording sessions for the 1966 album Pet Sounds, Wilson began changing his writing process. For \"Good Vibrations\", Wilson said, \"I had a lot of unfinished ideas, fragments of music I called 'feels.'",
"For \"Good Vibrations\", Wilson said, \"I had a lot of unfinished ideas, fragments of music I called 'feels.' Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic.\"",
"Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic.\" Engineer Chuck Britz is quoted saying that Wilson considered the song to be \"his whole life performance in one track\". Wilson stated: \"I was an energetic 23-year-old. ...",
"Wilson stated: \"I was an energetic 23-year-old. ... ... I said: 'This is going to be better than [the Phil Spector production] \"You've Lost That Lovin' Feelin'. Wilson said that \"Good Vibrations\" was inspired by his mother: \"[She] used to tell me about vibrations.",
"Wilson said that \"Good Vibrations\" was inspired by his mother: \"[She] used to tell me about vibrations. I didn't really understand too much of what it meant when I was just a boy. It scared me, the word 'vibrations.'",
"It scared me, the word 'vibrations.' She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel.\"",
"She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel.\" Brian first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea.",
"Brian first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea. When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style.",
"When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style. Asher remembered: Wilson wanted to call the song \"Good Vibes\", but Asher advised that it was \"lightweight use of the language\", and suggested that \"Good Vibrations\" would sound less \"trendy\".",
"Asher remembered: Wilson wanted to call the song \"Good Vibes\", but Asher advised that it was \"lightweight use of the language\", and suggested that \"Good Vibrations\" would sound less \"trendy\". The two proceeded to write lyrics for the verses that were ultimately discarded.",
"The two proceeded to write lyrics for the verses that were ultimately discarded. Theremin and cello From the start, Wilson envisioned a theremin for the track.",
"Theremin and cello From the start, Wilson envisioned a theremin for the track. AllMusic reviewer John Bush pointed out: \"Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel—between the single's theme and its use of an instrument the player never even touched.\"",
"AllMusic reviewer John Bush pointed out: \"Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel—between the single's theme and its use of an instrument the player never even touched.\" \"Good Vibrations\" does not technically feature a theremin, but rather an Electro-Theremin, which is physically controlled by a knob on the side of the instrument.",
"\"Good Vibrations\" does not technically feature a theremin, but rather an Electro-Theremin, which is physically controlled by a knob on the side of the instrument. It was dubbed a \"theremin\" simply for convenience.",
"It was dubbed a \"theremin\" simply for convenience. At that time, theremins were most often associated with the 1945 Alfred Hitchcock film Spellbound, but their most common presence was in the theme music for the television sitcom My Favorite Martian, which ran from 1963 to 1966.",
"At that time, theremins were most often associated with the 1945 Alfred Hitchcock film Spellbound, but their most common presence was in the theme music for the television sitcom My Favorite Martian, which ran from 1963 to 1966. Britz speculates: \"He just walked in and said, 'I have this new sound for you.'",
"Britz speculates: \"He just walked in and said, 'I have this new sound for you.' I think he must have heard the sound somewhere and loved it, and built a song around it.\" It is unclear whether Wilson knew that the instrument was not a real theremin.",
"It is unclear whether Wilson knew that the instrument was not a real theremin. Brian credited his brother and bandmate Carl for suggesting the use of a cello on the track.",
"Brian credited his brother and bandmate Carl for suggesting the use of a cello on the track. He further stated that its triplet beat on the chorus was his own idea and that it was based on the Crystals' \"Da Doo Ron Ron\" (1963), produced by Spector.",
"He further stated that its triplet beat on the chorus was his own idea and that it was based on the Crystals' \"Da Doo Ron Ron\" (1963), produced by Spector. Conversely, arranger and session musician Van Dyke Parks said that it was himself who suggested having the cellist play triplets to Brian.",
"Conversely, arranger and session musician Van Dyke Parks said that it was himself who suggested having the cellist play triplets to Brian. Parks believed that having Brian exploit the cello \"to such a hyperbolic degree\" was what encouraged the duo to immediately collaborate on the never-finished album Smile.",
"Parks believed that having Brian exploit the cello \"to such a hyperbolic degree\" was what encouraged the duo to immediately collaborate on the never-finished album Smile. At some point, Wilson asked Parks to pen lyrics for \"Good Vibrations\", although Parks declined.",
"At some point, Wilson asked Parks to pen lyrics for \"Good Vibrations\", although Parks declined. Influences and final lyrics Wilson's cousin and bandmate Mike Love submitted the final lyrics for \"Good Vibrations\" and contributed its bass-baritone vocals in the chorus.",
"Influences and final lyrics Wilson's cousin and bandmate Mike Love submitted the final lyrics for \"Good Vibrations\" and contributed its bass-baritone vocals in the chorus. He recalled that when he heard the unfinished backing track: \"[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it.",
"He recalled that when he heard the unfinished backing track: \"[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it. How's this going to go over in the Midwest or Birmingham?",
"How's this going to go over in the Midwest or Birmingham? It was such a departure from 'Surfin' U.S.A.' or 'Help Me, Rhonda.'\" Love said that he wrote the words while on the drive to the studio.",
"Love said that he wrote the words while on the drive to the studio. Feeling that the song could be \"the Beach Boys' psychedelic anthem or flower power offering,\" he based the lyrics on the burgeoning psychedelic music and Flower Power movements occurring in San Francisco and some parts of the Los Angeles area.",
"Feeling that the song could be \"the Beach Boys' psychedelic anthem or flower power offering,\" he based the lyrics on the burgeoning psychedelic music and Flower Power movements occurring in San Francisco and some parts of the Los Angeles area. He described the lyrics as \"just a flowery poem.",
"He described the lyrics as \"just a flowery poem. Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair.'\"",
"Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair.'\" Writing in his 1975 book The Beach Boys: Southern California Pastoral, Bruce Golden observed: Capitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his LSD experiences.",
"Writing in his 1975 book The Beach Boys: Southern California Pastoral, Bruce Golden observed: Capitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his LSD experiences. Brian clarified that the song was written under the influence of marijuana, not LSD.",
"Brian clarified that the song was written under the influence of marijuana, not LSD. He explained: \"I made ‘Good Vibrations’ on drugs; I used drugs to make that. ... I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity.\"",
"I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity.\" In Steven Gaines's 1986 biography, Wilson is quoted on the lyrics: \"We talked about good vibrations with the song and the idea, and we decided on one hand that you could say ... those are sensual things.",
"In Steven Gaines's 1986 biography, Wilson is quoted on the lyrics: \"We talked about good vibrations with the song and the idea, and we decided on one hand that you could say ... those are sensual things. And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have.",
"And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have. That's what we're really talking about.\" Wilson said in 2012 that the song's \"gotta keep those good vibrations\" bridge was inspired by Stephen Foster.",
"Wilson said in 2012 that the song's \"gotta keep those good vibrations\" bridge was inspired by Stephen Foster. Bandmate Al Jardine compared that section to Foster and the Negro spiritual \"Down by the Riverside\".",
"Bandmate Al Jardine compared that section to Foster and the Negro spiritual \"Down by the Riverside\". According to Love, the lyric \"'she goes with me to a blossom world' was originally meant to be followed by the words 'we find'\", but Wilson elected to cut off the line to highlight the bass track linking into the chorus.",
"According to Love, the lyric \"'she goes with me to a blossom world' was originally meant to be followed by the words 'we find'\", but Wilson elected to cut off the line to highlight the bass track linking into the chorus. Recording and production Modular approach \"Good Vibrations\" established a new method of operation for Wilson.",
"Recording and production Modular approach \"Good Vibrations\" established a new method of operation for Wilson. Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or \"modules\").",
"Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or \"modules\"). Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time.",
"Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time. This was the same modular approach used during the sessions for Smile and Smiley Smile.",
"This was the same modular approach used during the sessions for Smile and Smiley Smile. To mask each tape edit, vast reverb decays were added at the mixing and sub-mixing stages. For instrumentation, Wilson employed the services of \"the Wrecking Crew\", the nickname for a conglomerate of session musicians active in Los Angeles at that time.",
"For instrumentation, Wilson employed the services of \"the Wrecking Crew\", the nickname for a conglomerate of session musicians active in Los Angeles at that time. Production for \"Good Vibrations\" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two.",
"Production for \"Good Vibrations\" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two. It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands, making it the costliest single recorded to that date.",
"It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands, making it the costliest single recorded to that date. Biographer Peter Ames Carlin wrote that Wilson was so puzzled by the arranging of \"Good Vibrations\" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs.",
"Biographer Peter Ames Carlin wrote that Wilson was so puzzled by the arranging of \"Good Vibrations\" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs. One estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to $ and $ in ), By comparison, the whole of Pet Sounds had cost $70,000 ($), itself an unusually high cost for an album.",
"One estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to $ and $ in ), By comparison, the whole of Pet Sounds had cost $70,000 ($), itself an unusually high cost for an album. In 2018, Wilson disputed the $50,000 figure for \"Good Vibrations\", saying that the overall expenses were closer to $25,000.",
"In 2018, Wilson disputed the $50,000 figure for \"Good Vibrations\", saying that the overall expenses were closer to $25,000. Contemporary advertisements reported $10,000 ($) as the track's total production costs. Domenic Priore wrote that the track cost between $10,000 and $15,000 ($).",
"Domenic Priore wrote that the track cost between $10,000 and $15,000 ($). When asked in a 2005 interview if it was true that the Electro-Theremin work alone cost $100,000, Wilson replied \"No. $15,000.\"",
"$15,000.\" $15,000.\" Development The instrumental of the first version of the song was recorded on February 17, 1966, at Gold Star Studios and was logged as a Pet Sounds session.",
"Development The instrumental of the first version of the song was recorded on February 17, 1966, at Gold Star Studios and was logged as a Pet Sounds session. On that day's session log, it was given the name \"#1 Untitled\" or \"Good, Good, Good Vibrations\", but on its master tape, Wilson distinctly states: \"'Good Vibrations' ... take one.\"",
"On that day's session log, it was given the name \"#1 Untitled\" or \"Good, Good, Good Vibrations\", but on its master tape, Wilson distinctly states: \"'Good Vibrations' ... take one.\" After twenty-six takes, a rough mono mix completed the session.",
"After twenty-six takes, a rough mono mix completed the session. Some additional instruments and rough guide vocals were overdubbed on February 23. Brian and Carl shared vocals for this mix.",
"Brian and Carl shared vocals for this mix. The original version of \"Good Vibrations\" contained the characteristics of a \"funky rhythm and blues number\" and would not yet resemble a \"pocket symphony\". There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor, Paul Tanner.",
"There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor, Paul Tanner. It was Brian's second ever recorded use of the instrument, just three days after the Pet Sounds track \"I Just Wasn't Made for These Times\".",
"It was Brian's second ever recorded use of the instrument, just three days after the Pet Sounds track \"I Just Wasn't Made for These Times\". Brian then placed \"Good Vibrations\" on hold in order to devote attention to the Pet Sounds album, which saw release on May 16.",
"Brian then placed \"Good Vibrations\" on hold in order to devote attention to the Pet Sounds album, which saw release on May 16. More instrumental sections for \"Good Vibrations\" were recorded between April and June.",
"More instrumental sections for \"Good Vibrations\" were recorded between April and June. Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs.",
"Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs. According to Brian's then-new friend David Anderle, during an early stage, Brian considered giving \"Good Vibrations\" to one of the black R&B groups signed with Warner Bros. Records such as Wilson Pickett, and then at Anderle's suggestion to singer Danny Hutton.",
"According to Brian's then-new friend David Anderle, during an early stage, Brian considered giving \"Good Vibrations\" to one of the black R&B groups signed with Warner Bros. Records such as Wilson Pickett, and then at Anderle's suggestion to singer Danny Hutton. He thought about abandoning the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single.",
"He thought about abandoning the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single. In the meantime, he worked on writing and recording material for the group's forthcoming album, Smile.",
"In the meantime, he worked on writing and recording material for the group's forthcoming album, Smile. The first Beach Boy to hear \"Good Vibrations\" in a semi-completed form, other than Brian, was Carl.",
"The first Beach Boy to hear \"Good Vibrations\" in a semi-completed form, other than Brian, was Carl. Following a performance with the touring group in North Dakota, he remembered: \"I came back up into my hotel room one night and the phone rang. It was Brian on the other end.",
"It was Brian on the other end. He called me from the recording studio and played this really bizarre sounding music over the phone. There were drums smashing, that kind of stuff, and then it refined itself and got into the cello. It was a real funky track.\"",
"It was a real funky track.\" In 1976, Brian revealed that before the final mixdown, he had been confronted with resistance by members of the group, whom Brian declined to name.",
"In 1976, Brian revealed that before the final mixdown, he had been confronted with resistance by members of the group, whom Brian declined to name. The subject of their worries and complaints was the song's length and \"modern\" sound: \"I said no, it's not going to be too long a record, it's going to be just right.",
"The subject of their worries and complaints was the song's length and \"modern\" sound: \"I said no, it's not going to be too long a record, it's going to be just right. ... They didn't quite understand what this jumping from studio to studio was all about.",
"They didn't quite understand what this jumping from studio to studio was all about. And they couldn't conceive of the record as I did. I saw the record as a totality piece.\"",
"I saw the record as a totality piece.\" The vocals for \"Good Vibrations\" were recorded at CBS Columbia Square, starting on August 24 and continuing sporadically until the very last day of assembly on September 21. The episodic structure of the composition was continuously revised as the group experimented with different ideas.",
"The episodic structure of the composition was continuously revised as the group experimented with different ideas. Brian remembers that he began recording the \"bop bop good vibrations\" parts first, and that he came up with \"the high parts\" a week later.",
"Brian remembers that he began recording the \"bop bop good vibrations\" parts first, and that he came up with \"the high parts\" a week later. Mike Love recalled: \"I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long.\"",
"Mike Love recalled: \"I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long.\" Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute.",
"Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute. In early September, the master tapes for \"Good Vibrations\" were stolen. Mysteriously, they reappeared inside Brian's home two days later.",
"Mysteriously, they reappeared inside Brian's home two days later. On September 21, Brian completed the track after Tanner added a final Electro-Theremin overdub. In 1976 he elaborated on the event: \"It was at Columbia. I remember I had it right in the sack.",
"I remember I had it right in the sack. I could just feel it when I dubbed it down, made the final mix from the 16-track down to mono. It was a feeling of power, it was a rush. A feeling of exaltation. Artistic beauty. It was everything ... I remember saying, 'Oh my God.",
"I remember saying, 'Oh my God. Sit back and listen to this!'\" Composition and analysis Genre and dynamics There are six unique sections to the piece.",
"Composition and analysis Genre and dynamics There are six unique sections to the piece. Music theorist Daniel Harrison refers to these sections individually as the verse, the refrain (or chorus), the \"first episodic digression\", the \"second episodic digression\", the \"retro-refrain\", and the coda.",
"Music theorist Daniel Harrison refers to these sections individually as the verse, the refrain (or chorus), the \"first episodic digression\", the \"second episodic digression\", the \"retro-refrain\", and the coda. Each has a distinct musical texture, partly due to the nature of the song's recording.",
"Each has a distinct musical texture, partly due to the nature of the song's recording. The track's instrumentation changes radically from section to section, and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a \"very long\" duration.",
"The track's instrumentation changes radically from section to section, and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a \"very long\" duration. Wilson is quoted in 1979: He characterized the song as \"advanced rhythm and blues\".",
"Wilson is quoted in 1979: He characterized the song as \"advanced rhythm and blues\". Tom Roland of American Songwriter described the piece, \"with its interlocking segments—a sort of pop version of the classical sonata, consisting of a series of musical movements\".",
"Tom Roland of American Songwriter described the piece, \"with its interlocking segments—a sort of pop version of the classical sonata, consisting of a series of musical movements\". New York Magazine compared it to \"a fugue with a rhythmic beat\".",
"New York Magazine compared it to \"a fugue with a rhythmic beat\". John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs.",
"John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs. Music journal Sound on Sound argued that the song \"has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour\".",
"Music journal Sound on Sound argued that the song \"has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour\". It explained that the song subverts pop forms to a considerable degree: According to historian Lorenzo Candelaria, \"Good Vibrations\" has since been marketed as pop music \"possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know.\"",
"It explained that the song subverts pop forms to a considerable degree: According to historian Lorenzo Candelaria, \"Good Vibrations\" has since been marketed as pop music \"possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know.\" Uncut called the song \"three minutes and thirty-six seconds of avant-garde pop\".",
"Uncut called the song \"three minutes and thirty-six seconds of avant-garde pop\". Mixdown described it as a \"masterpiece of avant-pop\". The theremin and cello has been called the song's \"psychedelic ingredient\".",
"The theremin and cello has been called the song's \"psychedelic ingredient\". In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin.",
"In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin. Professor of American history John Robert Greene named \"Good Vibrations\" among examples of psychedelic or acid rock.",
"Professor of American history John Robert Greene named \"Good Vibrations\" among examples of psychedelic or acid rock. Stebbins wrote that the song was \"replete with sunshine [and] psychedelia\". Steve Valdez says that, like Pet Sounds, Brian was attempting a more experimental rock style.",
"Steve Valdez says that, like Pet Sounds, Brian was attempting a more experimental rock style. Comparing \"Good Vibrations\" to Wilson's previous work Pet Sounds, biographer Andrew Hickey said that the \"best way of thinking about [the song] is that it's taking the lowest common denominator of 'Here Today' and 'God Only Knows' and turned the result into an R&B track.",
"Comparing \"Good Vibrations\" to Wilson's previous work Pet Sounds, biographer Andrew Hickey said that the \"best way of thinking about [the song] is that it's taking the lowest common denominator of 'Here Today' and 'God Only Knows' and turned the result into an R&B track. We have the same minor-key change between verse and chorus we've seen throughout Pet Sounds, the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to funky.\"",
"We have the same minor-key change between verse and chorus we've seen throughout Pet Sounds, the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to funky.\" Author Jon Stebbins adds that \"unlike Pet Sounds the chorus of 'Good Vibrations' projects a definite 'rock and roll' energy and feel.\"",
"Author Jon Stebbins adds that \"unlike Pet Sounds the chorus of 'Good Vibrations' projects a definite 'rock and roll' energy and feel.\" According to academic Rikky Rooksby, \"Good Vibrations\" is an example of Brian Wilson's growing interest in musical development within a composition, something antithetical to popular music of the time.",
"According to academic Rikky Rooksby, \"Good Vibrations\" is an example of Brian Wilson's growing interest in musical development within a composition, something antithetical to popular music of the time. Suppressing tonic strength and cadential drive, the song makes use of descending harmonic motions through scale degrees controlled by a single tonic and \"radical disjunctions\" in key, texture, instrumentation, and mood while refusing to develop into a predictable formal pattern.",
"Suppressing tonic strength and cadential drive, the song makes use of descending harmonic motions through scale degrees controlled by a single tonic and \"radical disjunctions\" in key, texture, instrumentation, and mood while refusing to develop into a predictable formal pattern. It instead develops \"under its own power\" and \"luxuriates in harmonic variety\" exemplified by beginning and ending not only in different keys but also in different modes.",
"It instead develops \"under its own power\" and \"luxuriates in harmonic variety\" exemplified by beginning and ending not only in different keys but also in different modes. Verses and refrains (0:00–1:40) \"Good Vibrations\" begins without introduction in a traditional verse/refrain format, opening with Carl Wilson singing the word \"I\", a triplet eighth note before the downbeat.",
"Verses and refrains (0:00–1:40) \"Good Vibrations\" begins without introduction in a traditional verse/refrain format, opening with Carl Wilson singing the word \"I\", a triplet eighth note before the downbeat. The sparse first verse contains a repetition of chords played on a Hammond organ filtered through a Leslie speaker; underneath is a two-bar Fender bass melody.",
"The sparse first verse contains a repetition of chords played on a Hammond organ filtered through a Leslie speaker; underneath is a two-bar Fender bass melody. This sequence repeats once (0:15), but with the addition of two piccolos sustaining over a falling flute line.",
"This sequence repeats once (0:15), but with the addition of two piccolos sustaining over a falling flute line. For percussion, bongo drums double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation.",
"For percussion, bongo drums double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation. The beat projects a triplet feel despite being in time; this is sometimes called a \"shuffle beat\" or \"threes over fours\".",
"The beat projects a triplet feel despite being in time; this is sometimes called a \"shuffle beat\" or \"threes over fours\". The chord progression used is i–VII–VI–V, also called an Andalusian cadence. Although the verses begin in the minor mode of E, the mode is not used to express sadness or drudgery.",
"Although the verses begin in the minor mode of E, the mode is not used to express sadness or drudgery. Occurring at the very end of these verses is a passing chord, D. The refrain (0:25) begins in the newly tonicized relative major G, which suggests III.",
"Occurring at the very end of these verses is a passing chord, D. The refrain (0:25) begins in the newly tonicized relative major G, which suggests III. Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music.",
"Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music. The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat.",
"The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat. This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals.",
"This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals. The first section consists of only the couplet \"I'm picking up good vibrations/she's giving me the excitation\" sung by Mike Love in his bass-baritone register; the second repeats the lines and adds an \"ooo bop bop\" figure, sung in multiple-part harmony; the third time also adds a \"good, good, good, good vibrations\" in yet a higher harmony.",
"The first section consists of only the couplet \"I'm picking up good vibrations/she's giving me the excitation\" sung by Mike Love in his bass-baritone register; the second repeats the lines and adds an \"ooo bop bop\" figure, sung in multiple-part harmony; the third time also adds a \"good, good, good, good vibrations\" in yet a higher harmony. This type of polyphony (counterpoint) is also rare in contemporary popular styles.",
"This type of polyphony (counterpoint) is also rare in contemporary popular styles. Each repeat of the vocal lines also transposes up by a whole step, ascending from G to A and then B. It then returns to the verse, thus making a perfect cadence back into E minor.",
"It then returns to the verse, thus making a perfect cadence back into E minor. The verse and refrain then repeat without any changes to the patterns of its instrumentation and harmony. This is unusual, in that normally, a song's arrangement adds something once it reaches the second verse.",
"This is unusual, in that normally, a song's arrangement adds something once it reaches the second verse. Episodic digressions First episode (1:41–2:13) The first episode (1:41+) begins disjunctively with an abrupt tape splice.",
"Episodic digressions First episode (1:41–2:13) The first episode (1:41+) begins disjunctively with an abrupt tape splice. The refrain's B, which had received a dominant (V) charge, is now maintained as a tonic (I).",
"The refrain's B, which had received a dominant (V) charge, is now maintained as a tonic (I). There is harmonic ambiguity, in that the chord progression may be either interpreted as I–IV–I (in B) or V–I–V (in E).",
"There is harmonic ambiguity, in that the chord progression may be either interpreted as I–IV–I (in B) or V–I–V (in E). Stebbins says that this section \"might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply.\"",
"Stebbins says that this section \"might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply.\" A new sound is created by tack piano, jaw harp, and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, bass harmonica, and sleigh bells shaken on every beat.",
"A new sound is created by tack piano, jaw harp, and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, bass harmonica, and sleigh bells shaken on every beat. The lone line of vocals (aside from non-lexical harmonies) is \"I don't know where, but she sends me there\" sung in Mike Love's upper-register baritone.",
"The lone line of vocals (aside from non-lexical harmonies) is \"I don't know where, but she sends me there\" sung in Mike Love's upper-register baritone. This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns.",
"This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns. Second episode (2:13–2:56) Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat.",
"Second episode (2:13–2:56) Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat. Sound on Sound highlights this change as the \"most savage edit in the track ... most people would go straight into a big splash hook-line section.",
"Sound on Sound highlights this change as the \"most savage edit in the track ... most people would go straight into a big splash hook-line section. Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ...",
"Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ... Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian.\"",
"Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian.\" Harrison says: The slowed pace is complemented by the lyric (\"Gotta keep those loving good vibrations a-happening with her\"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony.",
"Harrison says: The slowed pace is complemented by the lyric (\"Gotta keep those loving good vibrations a-happening with her\"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony. This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2.",
"This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2. The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats.",
"The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats. Lambert calls it the song's \"wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments.",
"Lambert calls it the song's \"wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments. As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say.\"",
"As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say.\" Retro-refrain and coda (2:57–3:35) A brief break at the end of the second musical digression creates tension which leads into the final sequence of the song.",
"Retro-refrain and coda (2:57–3:35) A brief break at the end of the second musical digression creates tension which leads into the final sequence of the song. The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B, repeats at A, and then ends at G for an unexpectedly short single measure.",
"The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B, repeats at A, and then ends at G for an unexpectedly short single measure. The section uses a descending progression, which mirrors the ascending progression of the previous two refrains.",
"The section uses a descending progression, which mirrors the ascending progression of the previous two refrains. There follows a short section of vocalizing in three-part counterpoint that references the original refrain by reproducing upward transposition. However, this time it settles on A, the concluding key of the song.",
"However, this time it settles on A, the concluding key of the song. By the end of \"Good Vibrations,\" all seven scale degrees of the opening E-minor tonic are activated on some level.",
"By the end of \"Good Vibrations,\" all seven scale degrees of the opening E-minor tonic are activated on some level. Release and promotion In a July 1966 advertisement for Pet Sounds in Billboard magazine, the band thanked the music industry for the sales of their album, and said that \"We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations.\"",
"Release and promotion In a July 1966 advertisement for Pet Sounds in Billboard magazine, the band thanked the music industry for the sales of their album, and said that \"We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations.\" This was the first public hint of the new single.",
"This was the first public hint of the new single. Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was \"about a guy who picks up good vibrations from a girl\" and that it would be a \"monster\".",
"Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was \"about a guy who picks up good vibrations from a girl\" and that it would be a \"monster\". He then suggested: \"It's still sticking pretty close to that same boy-girl thing, you know, but with a difference.",
"He then suggested: \"It's still sticking pretty close to that same boy-girl thing, you know, but with a difference. And it's a start, it's definitely a start.\"",
"And it's a start, it's definitely a start.\" Derek Taylor, who had recently been engaged as the band's publicist, is credited for coining the term a \"pocket symphony\" to describe the song.",
"Derek Taylor, who had recently been engaged as the band's publicist, is credited for coining the term a \"pocket symphony\" to describe the song. In a press release for the single, he stated: \"Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils.",
"In a press release for the single, he stated: \"Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils. And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else.\"",
"And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else.\" To promote the single, four different music videos were shot.",
"To promote the single, four different music videos were shot. The first of these—which had Caleb Deschanel as cameraman—features the group at a fire station, sliding down its pole, and roaming the streets of Los Angeles in a fashion comparable to The Monkees. The second features the group during vocal rehearsals at United Western Recorders.",
"The second features the group during vocal rehearsals at United Western Recorders. The third contains footage recorded during the making of The Beach Boys in London, a documentary by Peter Whitehead of their concert performances. The fourth clip is an alternative edit of the third.",
"The fourth clip is an alternative edit of the third. Brian also made a rare television appearance on local station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record.",
"Brian also made a rare television appearance on local station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record. On October 15, 1966, Billboard predicted that the single would reach the top 20 in the Billboard Hot 100 chart.",
"On October 15, 1966, Billboard predicted that the single would reach the top 20 in the Billboard Hot 100 chart. \"Good Vibrations\" was the Beach Boys' third US number one hit, after \"I Get Around\" and \"Help Me, Rhonda\", reaching the top of the Hot 100 in December.",
"\"Good Vibrations\" was the Beach Boys' third US number one hit, after \"I Get Around\" and \"Help Me, Rhonda\", reaching the top of the Hot 100 in December. It was also their first number one in Britain.",
"It was also their first number one in Britain. The single sold over 230,000 copies in the US within four days of its release and entered the Cash Box chart at number 61 on October 22. In the UK, the song sold over 50,000 copies in the first 15 days of its release.",
"In the UK, the song sold over 50,000 copies in the first 15 days of its release. \"Good Vibrations\" quickly became the Beach Boys' first million-selling single. In December 1966, the record was their first single certified gold by the RIAA for sales of one million copies.",
"In December 1966, the record was their first single certified gold by the RIAA for sales of one million copies. On March 30, 2016, the digital single was certified platinum by the RIAA for the same sales level.",
"On March 30, 2016, the digital single was certified platinum by the RIAA for the same sales level. In the US, Cash Box said that it is a \"catchy, easy-driving ditty loaded with the Boys’ money-making sound.\" In Britain, the single received favorable reviews from the New Musical Express and Melody Maker.",
"In Britain, the single received favorable reviews from the New Musical Express and Melody Maker. Soon after, the Beach Boys were voted the number one band in the world in the NME readers' poll, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops.",
"Soon after, the Beach Boys were voted the number one band in the world in the NME readers' poll, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops. Billboard said that this result was probably influenced by the success of \"Good Vibrations\" when the votes were cast, together with the band's recent tour, whereas the Beatles had neither a recent single nor had they toured the UK throughout 1966; the reporter added that \"The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak.\"",
"Billboard said that this result was probably influenced by the success of \"Good Vibrations\" when the votes were cast, together with the band's recent tour, whereas the Beatles had neither a recent single nor had they toured the UK throughout 1966; the reporter added that \"The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak.\" In a readers' poll conducted by a Danish newspaper, Brian Wilson won the \"best foreign-produced recording award\", marking the first time that an American had won in that category.",
"In a readers' poll conducted by a Danish newspaper, Brian Wilson won the \"best foreign-produced recording award\", marking the first time that an American had won in that category. The single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc.",
"The single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc. Influence and legacy Historical reception Virtually every pop music critic recognizes \"Good Vibrations\" as one of the most important compositions and recordings of the entire rock era.",
"Influence and legacy Historical reception Virtually every pop music critic recognizes \"Good Vibrations\" as one of the most important compositions and recordings of the entire rock era. It is a regular fixture on \"greatest of all-time\" song lists and is frequently hailed as one of the finest pop productions of all time.",
"It is a regular fixture on \"greatest of all-time\" song lists and is frequently hailed as one of the finest pop productions of all time. In 2004, Rolling Stone magazine ranked \"Good Vibrations\" at number 6 in \"The 500 Greatest Songs of All Time\", the highest position of seven Beach Boys songs cited in the list.",
"In 2004, Rolling Stone magazine ranked \"Good Vibrations\" at number 6 in \"The 500 Greatest Songs of All Time\", the highest position of seven Beach Boys songs cited in the list. In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list.",
"In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list. As of 2016, \"Good Vibrations\" is ranked as the number four song of all time in an aggregation of critics' lists at Acclaimed Music. The song served as an anthem for the counterculture of the 1960s.",
"The song served as an anthem for the counterculture of the 1960s. According to Noel Murray of The A.V.",
"According to Noel Murray of The A.V. Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's \"un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do.\"",
"Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's \"un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do.\" Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for \"Good Vibrations\".",
"Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for \"Good Vibrations\". \"Heroes and Villains\", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967.",
"\"Heroes and Villains\", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967. In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of \"Good Vibrations\".",
"In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of \"Good Vibrations\". When asked about the song in 1990, Paul McCartney responded: \"I thought it was a great record.",
"When asked about the song in 1990, Paul McCartney responded: \"I thought it was a great record. It didn't quite have the emotional thing that Pet Sounds had for me. I've often played Pet Sounds and cried. It's that kind of an album for me.\"",
"It's that kind of an album for me.\" Pete Townshend of the Who was quoted in the 1960s as saying, \"'Good Vibrations' was probably a good record but who's to know? You had to play it about 90 bloody times to even hear what they were singing about.\"",
"You had to play it about 90 bloody times to even hear what they were singing about.\" Townshend feared that the single would lead to a trend of overproduction. In a 1966 issue of Arts Magazine, Jonathan King said: \"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art.",
"In a 1966 issue of Arts Magazine, Jonathan King said: \"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art. Computerized pop, mechanized music. Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons.",
"Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons. It is long and split. ... impressive, fantastic, commercial—yes. Emotional, soul-destroying, shattering—no.\"",
"Emotional, soul-destroying, shattering—no.\" In the 2000s, record producer Phil Spector criticized the single for depending too much on tape manipulation, negatively referring to it as an \"edit record ... It's like Psycho is a great film, but it's an 'edit film.'",
"It's like Psycho is a great film, but it's an 'edit film.' Without edits, it's not a film; with edits, it's a great film. But it's not Rebecca ... it's not a beautiful story.\"",
"But it's not Rebecca ... it's not a beautiful story.\" Advancements Recording and popular music \"Good Vibrations\" is credited for having further developed the use of recording studios as a musical instrument.",
"Advancements Recording and popular music \"Good Vibrations\" is credited for having further developed the use of recording studios as a musical instrument. Author Domenic Priore commented that the song's making was \"unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording\".",
"Author Domenic Priore commented that the song's making was \"unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording\". A milestone in the development of rock music, the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record.",
"A milestone in the development of rock music, the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record. Musicologist Charlie Gillett called it \"one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance\".",
"Musicologist Charlie Gillett called it \"one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance\". In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted: Writing for Popmatters in 2015, Scott Interrante stated: \"'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have.\"",
"In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted: Writing for Popmatters in 2015, Scott Interrante stated: \"'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have.\" The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm.",
"The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm. Microtonal composer Frank Oteri said that it \"sounds like no other pop song recorded up to that point\".",
"Microtonal composer Frank Oteri said that it \"sounds like no other pop song recorded up to that point\". According to Stebbins: \"This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original.",
"According to Stebbins: \"This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original. But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century.\"",
"But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century.\" He added that the single \"vaulted nearly every other rock act in their delivery of a Flower Power classic. It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop.\"",
"It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop.\" John Bush wrote that the single \"announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies\".",
"John Bush wrote that the single \"announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies\". Gillett noted: \"For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording.\"",
"Gillett noted: \"For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording.\" Priore says that the song was a forerunner to works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes.",
"Priore says that the song was a forerunner to works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes. In his appraisal for American Songwriter, Roland cites the song's \"format\" as the model for recordings by Wings (\"Band on the Run\"), the Beatles (\"A Day in the Life\"), and Elton John (\"Funeral for a Friend/Love Lies Bleeding\").",
"In his appraisal for American Songwriter, Roland cites the song's \"format\" as the model for recordings by Wings (\"Band on the Run\"), the Beatles (\"A Day in the Life\"), and Elton John (\"Funeral for a Friend/Love Lies Bleeding\"). The song's approach was repeated in Queen's 1975 single \"Bohemian Rhapsody\", which was similarly pieced together using different sections.",
"The song's approach was repeated in Queen's 1975 single \"Bohemian Rhapsody\", which was similarly pieced together using different sections. Wilson praised Queen's effort, calling it \"the most competitive thing that's come along in ages\" and \"a fulfillment and an answer to a teenage prayer—of artistic music\".",
"Wilson praised Queen's effort, calling it \"the most competitive thing that's come along in ages\" and \"a fulfillment and an answer to a teenage prayer—of artistic music\". Psychedelic and progressive rock With \"Good Vibrations\", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages.",
"Psychedelic and progressive rock With \"Good Vibrations\", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages. Writing in 2009, Barney Hoskyns deemed it to be the era's \"ultimate psychedelic pop record\" from Los Angeles.",
"Writing in 2009, Barney Hoskyns deemed it to be the era's \"ultimate psychedelic pop record\" from Los Angeles. Interrante adds: \"Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated, but its legacy as a pop hit is impressive as well.\"",
"Interrante adds: \"Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated, but its legacy as a pop hit is impressive as well.\" Former Atlantic Records executive Phillip Rauls recalled: \"I was in the music business at the time, and my very first recognition of acid rock—we didn't call it progressive rock then—was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [theremin] sent so many musicians back to the studio to create this music on acid.\"",
"Former Atlantic Records executive Phillip Rauls recalled: \"I was in the music business at the time, and my very first recognition of acid rock—we didn't call it progressive rock then—was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [theremin] sent so many musicians back to the studio to create this music on acid.\" Author Bill Martin suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: \"The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life.'\"",
"Author Bill Martin suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: \"The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life.'\" Use of theremin Although the song does not technically contain a theremin, \"Good Vibrations\" is the most frequently cited example of the instrument's use in pop music.",
"Use of theremin Although the song does not technically contain a theremin, \"Good Vibrations\" is the most frequently cited example of the instrument's use in pop music. Upon release, the single prompted an unexpected revival in theremins and increased the awareness of analog synthesizers.",
"Upon release, the single prompted an unexpected revival in theremins and increased the awareness of analog synthesizers. The notion that \"Good Vibrations\" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants.",
"The notion that \"Good Vibrations\" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants. While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin.",
"While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin. When the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments.",
"When the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments. Tanner recalls saying to Wilson, \"I've got the wrong sort of hair to be on stage with you fellas\", to which Wilson replied: \"We'll give you a Prince Valiant wig.\"",
"Tanner recalls saying to Wilson, \"I've got the wrong sort of hair to be on stage with you fellas\", to which Wilson replied: \"We'll give you a Prince Valiant wig.\" The Beach Boys then requested the services of Walter Sear, who asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar.",
"The Beach Boys then requested the services of Walter Sear, who asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar. Sear remembers marking fretboard-like lines on the ribbon \"so they could play the damn thing.\" Moog began manufacturing his own models of theremins.",
"Moog began manufacturing his own models of theremins. He later noted: \"The pop record scene cleaned us out of our stock which we expected to last through Christmas.\"",
"He later noted: \"The pop record scene cleaned us out of our stock which we expected to last through Christmas.\" In Steven M. Martin's 1993 documentary Theremin: An Electronic Odyssey, in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin due to \"Good Vibrations\" caused Russian authorities to exile its inventor, Leon Theremin.",
"In Steven M. Martin's 1993 documentary Theremin: An Electronic Odyssey, in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin due to \"Good Vibrations\" caused Russian authorities to exile its inventor, Leon Theremin. Cover versions The song has been covered by artists such as Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV.",
"Cover versions The song has been covered by artists such as Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV. John Bush commented: \"'Good Vibrations' was rarely reprised by other acts, even during the cover-happy '60s. Its fragmented style made it essentially cover-proof.\"",
"Its fragmented style made it essentially cover-proof.\" In 1976, a nearly identical cover version was released as a single by Todd Rundgren for his album Faithful. When asked for his opinion, Brian said: \"Oh, he did a marvelous job, he did a great job. I was very proud of his version.\"",
"I was very proud of his version.\" Rundgren's single peaked at number 34 on the Billboard Hot 100.",
"Rundgren's single peaked at number 34 on the Billboard Hot 100. Rundgren explained: \"I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting—like around Pet Sounds and 'Good Vibrations' ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal.",
"Rundgren explained: \"I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting—like around Pet Sounds and 'Good Vibrations' ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal. ...",
"... ... I tried to do [the song] as literally as I could because in the intervening 10 years, radio had changed so much. Radio had become so formatted and so structured that that whole experience was already gone.\" In 2004, Wilson re-recorded the song as a solo artist for his album Brian Wilson Presents Smile.",
"In 2004, Wilson re-recorded the song as a solo artist for his album Brian Wilson Presents Smile. It was sequenced as the album's closing track, following \"In Blue Hawaii\". In this version, \"Good Vibrations\" was the project's only track that eschewed the modular recording method.",
"In this version, \"Good Vibrations\" was the project's only track that eschewed the modular recording method. The song's verses and chorus were recorded as part of one whole take, and were not spliced together.",
"The song's verses and chorus were recorded as part of one whole take, and were not spliced together. In 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated.",
"In 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated. Their version of \"Good Vibrations\", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on Billboards A/C chart.",
"Their version of \"Good Vibrations\", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on Billboards A/C chart. In popular culture The song's parody is used for the jingle of the Australian consumer electronics retailer The Good Guys.",
"In popular culture The song's parody is used for the jingle of the Australian consumer electronics retailer The Good Guys. In 1996, experimental rock group His Name Is Alive released an homage titled \"Universal Frequencies\" on their album Stars on E.S.P.",
"In 1996, experimental rock group His Name Is Alive released an homage titled \"Universal Frequencies\" on their album Stars on E.S.P. Warren Defever reportedly listened to \"Good Vibrations\" repeatedly for a week before deciding that the song \"needed a sequel\"; he added: \"'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful.\"",
"Warren Defever reportedly listened to \"Good Vibrations\" repeatedly for a week before deciding that the song \"needed a sequel\"; he added: \"'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful.\" In 1997, the movie Vegas Vacation used the song for the opening credits, with Clark Griswold (Chevy Chase) singing the song.",
"In 1997, the movie Vegas Vacation used the song for the opening credits, with Clark Griswold (Chevy Chase) singing the song. The song's lyrics \"I'm picking up good vibrations\" are quoted in Cyndi Lauper's 1984 single \"She Bop\".",
"The song's lyrics \"I'm picking up good vibrations\" are quoted in Cyndi Lauper's 1984 single \"She Bop\". A live version of the song, from the album Live in London, appears as a playable track in the 2010 video game Rock Band 3.",
"A live version of the song, from the album Live in London, appears as a playable track in the 2010 video game Rock Band 3. In 2019, the song was used prominently in a scene for Jordan Peele's psychological horror thriller film Us.",
"In 2019, the song was used prominently in a scene for Jordan Peele's psychological horror thriller film Us. In 2018, The song was featured in the animated film Hotel Transylvania 3: Summer Vacation.",
"In 2018, The song was featured in the animated film Hotel Transylvania 3: Summer Vacation. Release history In early 2011, the single was remastered and reissued as a four-sided 78 rpm vinyl for Record Store Day, as a teaser for the forthcoming The Smile Sessions box set.",
"Release history In early 2011, the single was remastered and reissued as a four-sided 78 rpm vinyl for Record Store Day, as a teaser for the forthcoming The Smile Sessions box set. It contained \"Heroes and Villains\" as a B-side, along with previously released alternate takes and mixes.",
"It contained \"Heroes and Villains\" as a B-side, along with previously released alternate takes and mixes. Stereo version Due to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile.",
"Stereo version Due to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile. The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett.",
"The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett. Fitzgerald's software extracted individual instrumental and vocal stems from the original mono master—as the multi-track vocals remained missing—to construct the stereo version that appears on the 2012 reissue of Smiley Smile.",
"Fitzgerald's software extracted individual instrumental and vocal stems from the original mono master—as the multi-track vocals remained missing—to construct the stereo version that appears on the 2012 reissue of Smiley Smile. 40th Anniversary Edition In celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released.",
"40th Anniversary Edition In celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released. The EP includes \"Good Vibrations\", four alternate versions of the song, and the stereo mix of \"Let's Go Away for Awhile\". The EP artwork recreates that of the original 7-inch single sleeve.",
"The EP artwork recreates that of the original 7-inch single sleeve. In 2016, the EP was reissued as a 12\" record for the single's 50th anniversary. Personnel The following people are identified as players on the \"Good Vibrations\" single.",
"Personnel The following people are identified as players on the \"Good Vibrations\" single. The Beach Boys Mike Love – lead vocals in chorus Brian Wilson – vocals, tack piano, tambourine, production, mixing Carl Wilson – lead vocals in verses, guitar, shaker Dennis Wilson – Hammond organ during 2:13–2:56 Additional musicians and production staff Hal Blaine – drums, timpani, other percussion Al De Lory – piano, harpsichord Jesse Ehrlich – cello Larry Knechtel – organ in verses and choruses Tommy Morgan – harmonica Al Casey – guitar Ray Pohlman – electric bass Lyle Ritz – double bass Jim Horn – piccolo Paul Tanner – Electro-Theremin Bassist Carol Kaye played on several of the \"Good Vibrations\" sessions, and has been identified as a prominent contributor to the track.",
"The Beach Boys Mike Love – lead vocals in chorus Brian Wilson – vocals, tack piano, tambourine, production, mixing Carl Wilson – lead vocals in verses, guitar, shaker Dennis Wilson – Hammond organ during 2:13–2:56 Additional musicians and production staff Hal Blaine – drums, timpani, other percussion Al De Lory – piano, harpsichord Jesse Ehrlich – cello Larry Knechtel – organ in verses and choruses Tommy Morgan – harmonica Al Casey – guitar Ray Pohlman – electric bass Lyle Ritz – double bass Jim Horn – piccolo Paul Tanner – Electro-Theremin Bassist Carol Kaye played on several of the \"Good Vibrations\" sessions, and has been identified as a prominent contributor to the track. However, analysis by Beach Boys archivist Craig Slowinski indicates that none of those recordings made the final edit as released on the single.",
"However, analysis by Beach Boys archivist Craig Slowinski indicates that none of those recordings made the final edit as released on the single. Charts Weekly charts Original release 1976 reissue Todd Rundgren version (1976) Year-end charts Certifications Awards and accolades Footnotes References Bibliography External links Greg Panfile's Musical Analysis of \"Good Vibrations\" 1966 singles 1966 songs 2004 singles 2011 singles Brian Wilson songs Psychic TV songs The Beach Boys songs Todd Rundgren songs Capitol Records singles Grammy Hall of Fame Award recipients Billboard Hot 100 number-one singles Cashbox number-one singles Number-one singles in Australia Number-one singles in New Zealand UK Singles Chart number-one singles Songs written by Brian Wilson Songs written by Mike Love Songs written by Tony Asher Song recordings produced by Brian Wilson Song recordings with Wall of Sound arrangements Art pop songs Avant-pop songs Psychedelic pop songs American psychedelic rock songs Songs used as jingles Songs composed in E-flat minor"
] |
[
"Good Vibrations",
"Historical reception",
"What historical reception did the song get?",
"Virtually every pop music critic recognizes \"Good Vibrations\" as one of the most important compositions and recordings of the entire rock era.",
"Why is it such an important song?",
"The song served as an anthem for the counterculture of the 1960s.",
"Did the song influence other artist?",
"Noel Murray",
"What are some other thoughts people had about the song?",
"In a 1966 issue of Arts Magazine, Jonathan King said: \"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art."
] | C_3511c60eb57b41c2bebf1299ed0caeeb_0 | Was the song popular when it was released or did it gain popularity over time? | 5 | Was the Good Vibrations popular when it was released or did Good Vibrations gain popularity over time? | Good Vibrations | Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat. Sound on Sound highlights this change as the "most savage edit in the track ... most people would go straight into a big splash hook-line section. Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ... Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian." Harrison says: The appearance of episode 1 was unusual enough but could be explained as an extended break between verse and refrain sections. Episode 2 however, makes that interpretation untenable, and both listener and analyst must entertain the idea that "Good Vibrations" develops under its own power, as it were, without the guidance of overdetermined formal patterns. Brian's [sic] own description of the song--a three-and-a-half-minute 'pocket symphony'--is a telling clue about his formal ambitions here. The slowed pace is complemented by the lyric ("Gotta keep those loving good vibrations a-happening with her"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony. This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2. The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats. Lambert calls it the song's "wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments. As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say." Virtually every pop music critic recognizes "Good Vibrations" as one of the most important compositions and recordings of the entire rock era. It is a regular fixture on "greatest of all-time" song lists and is frequently hailed as one of the finest pop productions of all time. In 2004, Rolling Stone magazine ranked "Good Vibrations" at number 6 in "The 500 Greatest Songs of All Time", the highest position of seven Beach Boys songs cited in the list. In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list. As of 2016, "Good Vibrations" is ranked as the number four song of all time in an aggregation of critics' lists at Acclaimed Music. The song served as an anthem for the counterculture of the 1960s. According to Noel Murray of The A.V. Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's "un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do." Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for "Good Vibrations". "Heroes and Villains", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967. In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of "Good Vibrations". When asked about the song in 1990, Paul McCartney responded: "I thought it was a great record. It didn't quite have the emotional thing that Pet Sounds had for me. I've often played Pet Sounds and cried. It's that kind of an album for me." Pete Townshend of the Who was quoted in the 1960s as saying, "'Good Vibrations' was probably a good record but who's to know? You had to play it about 90 bloody times to even hear what they were singing about." Townshend feared that the single would lead to a trend of overproduction. In a 1966 issue of Arts Magazine, Jonathan King said: "With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art. Computerized pop, mechanized music. Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons. It is long and split. ... impressive, fantastic, commercial--yes. Emotional, soul-destroying, shattering--no." In the 2000s, record producer Phil Spector criticized the single for depending too much on tape manipulation, negatively referring to it as an "edit record ... It's like Psycho is a great film, but it's an 'edit film.' Without edits, it's not a film; with edits, it's a great film. But it's not Rebecca ... it's not a beautiful story." CANNOTANSWER | Pete Townshend of the Who was quoted in the 1960s as saying, "'Good Vibrations' was probably a good record but who's to know? | "Good Vibrations" is a song by the American rock band the Beach Boys that was composed by Brian Wilson with lyrics by Mike Love. It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping record charts in several countries including the United States and the United Kingdom. Characterized by its complex soundscapes, episodic structure and subversions of pop music formula, it was the most expensive single ever recorded. "Good Vibrations" later became widely acclaimed as one of the finest and most important works of the rock era.
Also produced by Wilson, the title derived from his fascination with cosmic vibrations, as his mother would tell him as a child that dogs sometimes bark at people in response to their "bad vibrations". He used the concept to suggest extrasensory perception, while Love's lyrics were inspired by the nascent Flower Power movement. The song was written as it was recorded and in a similar fashion to other compositions from Wilson's Smile period. It was issued as a standalone single, backed with "Let's Go Away for Awhile", and was to be included on the never-finished album Smile. Instead, the track appeared on the September 1967 release Smiley Smile.
The making of "Good Vibrations" was unprecedented for any kind of recording. Building on his approach for Pet Sounds, Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of session musicians at four different Hollywood studios from February to September 1966, a process reflected in the song's several dramatic shifts in key, texture, instrumentation and mood. Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars. Band publicist Derek Taylor dubbed the unusual work a "pocket symphony". It helped develop the use of the studio as an instrument and heralded a wave of pop experimentation and the onset of psychedelic and progressive rock. The track featured a novel mix of instruments, including jaw harp and Electro-Theremin, and although the latter is not a true theremin, the song's success led to a renewed interest and sales of theremins and synthesizers.
"Good Vibrations" received a Grammy nomination for Best Vocal Group performance in 1966 and was inducted into the Grammy Hall of Fame in 1994. The song was voted number one in Mojos "Top 100 Records of All Time" and number six on Rolling Stones "500 Greatest Songs of All Time", and it was included in the Rock and Roll Hall of Fame's "500 Songs that Shaped Rock and Roll". In later years, the song has been cited as a forerunner to the Beatles' "A Day in the Life" (1967) and Queen's "Bohemian Rhapsody" (1975). A 1976 cover version by Todd Rundgren peaked at number 34 on the Billboard Hot 100. The Beach Boys followed up "Good Vibrations" with another single pieced from sections, "Heroes and Villains" (1967), but it was less successful.
Inspiration and writing
Concept and early lyrics
The Beach Boys' leader, Brian Wilson, was responsible for the musical composition and virtually all of the arrangement for "Good Vibrations". Most of the song's structure and arrangement was written as it was recorded. During the recording sessions for the 1966 album Pet Sounds, Wilson began changing his writing process. For "Good Vibrations", Wilson said, "I had a lot of unfinished ideas, fragments of music I called 'feels.' Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic." Engineer Chuck Britz is quoted saying that Wilson considered the song to be "his whole life performance in one track". Wilson stated: "I was an energetic 23-year-old. ... I said: 'This is going to be better than [the Phil Spector production] "You've Lost That Lovin' Feelin'.
Wilson said that "Good Vibrations" was inspired by his mother: "[She] used to tell me about vibrations. I didn't really understand too much of what it meant when I was just a boy. It scared me, the word 'vibrations.' She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel." Brian first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea. When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style. Asher remembered:
Wilson wanted to call the song "Good Vibes", but Asher advised that it was "lightweight use of the language", and suggested that "Good Vibrations" would sound less "trendy". The two proceeded to write lyrics for the verses that were ultimately discarded.
Theremin and cello
From the start, Wilson envisioned a theremin for the track. AllMusic reviewer John Bush pointed out: "Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel—between the single's theme and its use of an instrument the player never even touched."
"Good Vibrations" does not technically feature a theremin, but rather an Electro-Theremin, which is physically controlled by a knob on the side of the instrument. It was dubbed a "theremin" simply for convenience. At that time, theremins were most often associated with the 1945 Alfred Hitchcock film Spellbound, but their most common presence was in the theme music for the television sitcom My Favorite Martian, which ran from 1963 to 1966. Britz speculates: "He just walked in and said, 'I have this new sound for you.' I think he must have heard the sound somewhere and loved it, and built a song around it." It is unclear whether Wilson knew that the instrument was not a real theremin.
Brian credited his brother and bandmate Carl for suggesting the use of a cello on the track. He further stated that its triplet beat on the chorus was his own idea and that it was based on the Crystals' "Da Doo Ron Ron" (1963), produced by Spector. Conversely, arranger and session musician Van Dyke Parks said that it was himself who suggested having the cellist play triplets to Brian. Parks believed that having Brian exploit the cello "to such a hyperbolic degree" was what encouraged the duo to immediately collaborate on the never-finished album Smile. At some point, Wilson asked Parks to pen lyrics for "Good Vibrations", although Parks declined.
Influences and final lyrics
Wilson's cousin and bandmate Mike Love submitted the final lyrics for "Good Vibrations" and contributed its bass-baritone vocals in the chorus. He recalled that when he heard the unfinished backing track: "[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it. How's this going to go over in the Midwest or Birmingham? It was such a departure from 'Surfin' U.S.A.' or 'Help Me, Rhonda.'"
Love said that he wrote the words while on the drive to the studio. Feeling that the song could be "the Beach Boys' psychedelic anthem or flower power offering," he based the lyrics on the burgeoning psychedelic music and Flower Power movements occurring in San Francisco and some parts of the Los Angeles area. He described the lyrics as "just a flowery poem. Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair.'" Writing in his 1975 book The Beach Boys: Southern California Pastoral, Bruce Golden observed:
Capitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his LSD experiences. Brian clarified that the song was written under the influence of marijuana, not LSD. He explained: "I made ‘Good Vibrations’ on drugs; I used drugs to make that. ... I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity." In Steven Gaines's 1986 biography, Wilson is quoted on the lyrics: "We talked about good vibrations with the song and the idea, and we decided on one hand that you could say ... those are sensual things. And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have. That's what we're really talking about."
Wilson said in 2012 that the song's "gotta keep those good vibrations" bridge was inspired by Stephen Foster. Bandmate Al Jardine compared that section to Foster and the Negro spiritual "Down by the Riverside". According to Love, the lyric "'she goes with me to a blossom world' was originally meant to be followed by the words 'we find'", but Wilson elected to cut off the line to highlight the bass track linking into the chorus.
Recording and production
Modular approach
"Good Vibrations" established a new method of operation for Wilson. Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or "modules"). Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time. This was the same modular approach used during the sessions for Smile and Smiley Smile. To mask each tape edit, vast reverb decays were added at the mixing and sub-mixing stages.
For instrumentation, Wilson employed the services of "the Wrecking Crew", the nickname for a conglomerate of session musicians active in Los Angeles at that time. Production for "Good Vibrations" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two. It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands, making it the costliest single recorded to that date. Biographer Peter Ames Carlin wrote that Wilson was so puzzled by the arranging of "Good Vibrations" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs.
One estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to $ and $ in ), By comparison, the whole of Pet Sounds had cost $70,000 ($), itself an unusually high cost for an album. In 2018, Wilson disputed the $50,000 figure for "Good Vibrations", saying that the overall expenses were closer to $25,000.
Contemporary advertisements reported $10,000 ($) as the track's total production costs. Domenic Priore wrote that the track cost between $10,000 and $15,000 ($). When asked in a 2005 interview if it was true that the Electro-Theremin work alone cost $100,000, Wilson replied "No. $15,000."
Development
The instrumental of the first version of the song was recorded on February 17, 1966, at Gold Star Studios and was logged as a Pet Sounds session. On that day's session log, it was given the name "#1 Untitled" or "Good, Good, Good Vibrations", but on its master tape, Wilson distinctly states: "'Good Vibrations' ... take one." After twenty-six takes, a rough mono mix completed the session. Some additional instruments and rough guide vocals were overdubbed on February 23. Brian and Carl shared vocals for this mix.
The original version of "Good Vibrations" contained the characteristics of a "funky rhythm and blues number" and would not yet resemble a "pocket symphony". There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor, Paul Tanner. It was Brian's second ever recorded use of the instrument, just three days after the Pet Sounds track "I Just Wasn't Made for These Times". Brian then placed "Good Vibrations" on hold in order to devote attention to the Pet Sounds album, which saw release on May 16. More instrumental sections for "Good Vibrations" were recorded between April and June. Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs.
According to Brian's then-new friend David Anderle, during an early stage, Brian considered giving "Good Vibrations" to one of the black R&B groups signed with Warner Bros. Records such as Wilson Pickett, and then at Anderle's suggestion to singer Danny Hutton. He thought about abandoning the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single. In the meantime, he worked on writing and recording material for the group's forthcoming album, Smile.
The first Beach Boy to hear "Good Vibrations" in a semi-completed form, other than Brian, was Carl. Following a performance with the touring group in North Dakota, he remembered: "I came back up into my hotel room one night and the phone rang. It was Brian on the other end. He called me from the recording studio and played this really bizarre sounding music over the phone. There were drums smashing, that kind of stuff, and then it refined itself and got into the cello. It was a real funky track." In 1976, Brian revealed that before the final mixdown, he had been confronted with resistance by members of the group, whom Brian declined to name. The subject of their worries and complaints was the song's length and "modern" sound: "I said no, it's not going to be too long a record, it's going to be just right. ... They didn't quite understand what this jumping from studio to studio was all about. And they couldn't conceive of the record as I did. I saw the record as a totality piece."
The vocals for "Good Vibrations" were recorded at CBS Columbia Square, starting on August 24 and continuing sporadically until the very last day of assembly on September 21. The episodic structure of the composition was continuously revised as the group experimented with different ideas. Brian remembers that he began recording the "bop bop good vibrations" parts first, and that he came up with "the high parts" a week later. Mike Love recalled: "I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long." Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute. In early September, the master tapes for "Good Vibrations" were stolen. Mysteriously, they reappeared inside Brian's home two days later.
On September 21, Brian completed the track after Tanner added a final Electro-Theremin overdub. In 1976 he elaborated on the event: "It was at Columbia. I remember I had it right in the sack. I could just feel it when I dubbed it down, made the final mix from the 16-track down to mono. It was a feeling of power, it was a rush. A feeling of exaltation. Artistic beauty. It was everything ... I remember saying, 'Oh my God. Sit back and listen to this!'"
Composition and analysis
Genre and dynamics
There are six unique sections to the piece. Music theorist Daniel Harrison refers to these sections individually as the verse, the refrain (or chorus), the "first episodic digression", the "second episodic digression", the "retro-refrain", and the coda. Each has a distinct musical texture, partly due to the nature of the song's recording. The track's instrumentation changes radically from section to section, and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a "very long" duration. Wilson is quoted in 1979:
He characterized the song as "advanced rhythm and blues". Tom Roland of American Songwriter described the piece, "with its interlocking segments—a sort of pop version of the classical sonata, consisting of a series of musical movements". New York Magazine compared it to "a fugue with a rhythmic beat". John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs. Music journal Sound on Sound argued that the song "has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour". It explained that the song subverts pop forms to a considerable degree:
According to historian Lorenzo Candelaria, "Good Vibrations" has since been marketed as pop music "possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know." Uncut called the song "three minutes and thirty-six seconds of avant-garde pop". Mixdown described it as a "masterpiece of avant-pop". The theremin and cello has been called the song's "psychedelic ingredient". In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin. Professor of American history John Robert Greene named "Good Vibrations" among examples of psychedelic or acid rock. Stebbins wrote that the song was "replete with sunshine [and] psychedelia". Steve Valdez says that, like Pet Sounds, Brian was attempting a more experimental rock style.
Comparing "Good Vibrations" to Wilson's previous work Pet Sounds, biographer Andrew Hickey said that the "best way of thinking about [the song] is that it's taking the lowest common denominator of 'Here Today' and 'God Only Knows' and turned the result into an R&B track. We have the same minor-key change between verse and chorus we've seen throughout Pet Sounds, the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to funky." Author Jon Stebbins adds that "unlike Pet Sounds the chorus of 'Good Vibrations' projects a definite 'rock and roll' energy and feel."
According to academic Rikky Rooksby, "Good Vibrations" is an example of Brian Wilson's growing interest in musical development within a composition, something antithetical to popular music of the time. Suppressing tonic strength and cadential drive, the song makes use of descending harmonic motions through scale degrees controlled by a single tonic and "radical disjunctions" in key, texture, instrumentation, and mood while refusing to develop into a predictable formal pattern. It instead develops "under its own power" and "luxuriates in harmonic variety" exemplified by beginning and ending not only in different keys but also in different modes.
Verses and refrains (0:00–1:40)
"Good Vibrations" begins without introduction in a traditional verse/refrain format, opening with Carl Wilson singing the word "I", a triplet eighth note before the downbeat. The sparse first verse contains a repetition of chords played on a Hammond organ filtered through a Leslie speaker; underneath is a two-bar Fender bass melody. This sequence repeats once (0:15), but with the addition of two piccolos sustaining over a falling flute line. For percussion, bongo drums double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation. The beat projects a triplet feel despite being in time; this is sometimes called a "shuffle beat" or "threes over fours". The chord progression used is i–VII–VI–V, also called an Andalusian cadence. Although the verses begin in the minor mode of E, the mode is not used to express sadness or drudgery. Occurring at the very end of these verses is a passing chord, D.
The refrain (0:25) begins in the newly tonicized relative major G, which suggests III. Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music. The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat. This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals. The first section consists of only the couplet "I'm picking up good vibrations/she's giving me the excitation" sung by Mike Love in his bass-baritone register; the second repeats the lines and adds an "ooo bop bop" figure, sung in multiple-part harmony; the third time also adds a "good, good, good, good vibrations" in yet a higher harmony. This type of polyphony (counterpoint) is also rare in contemporary popular styles. Each repeat of the vocal lines also transposes up by a whole step, ascending from G to A and then B. It then returns to the verse, thus making a perfect cadence back into E minor. The verse and refrain then repeat without any changes to the patterns of its instrumentation and harmony. This is unusual, in that normally, a song's arrangement adds something once it reaches the second verse.
Episodic digressions
First episode (1:41–2:13)
The first episode (1:41+) begins disjunctively with an abrupt tape splice. The refrain's B, which had received a dominant (V) charge, is now maintained as a tonic (I). There is harmonic ambiguity, in that the chord progression may be either interpreted as I–IV–I (in B) or V–I–V (in E). Stebbins says that this section "might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply." A new sound is created by tack piano, jaw harp, and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, bass harmonica, and sleigh bells shaken on every beat. The lone line of vocals (aside from non-lexical harmonies) is "I don't know where, but she sends me there" sung in Mike Love's upper-register baritone. This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns.
Second episode (2:13–2:56)
Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat. Sound on Sound highlights this change as the "most savage edit in the track ... most people would go straight into a big splash hook-line section. Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ... Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian." Harrison says:
The slowed pace is complemented by the lyric ("Gotta keep those loving good vibrations a-happening with her"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony. This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2. The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats. Lambert calls it the song's "wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments. As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say."
Retro-refrain and coda (2:57–3:35)
A brief break at the end of the second musical digression creates tension which leads into the final sequence of the song. The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B, repeats at A, and then ends at G for an unexpectedly short single measure. The section uses a descending progression, which mirrors the ascending progression of the previous two refrains. There follows a short section of vocalizing in three-part counterpoint that references the original refrain by reproducing upward transposition. However, this time it settles on A, the concluding key of the song. By the end of "Good Vibrations," all seven scale degrees of the opening E-minor tonic are activated on some level.
Release and promotion
In a July 1966 advertisement for Pet Sounds in Billboard magazine, the band thanked the music industry for the sales of their album, and said that "We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations." This was the first public hint of the new single. Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was "about a guy who picks up good vibrations from a girl" and that it would be a "monster". He then suggested: "It's still sticking pretty close to that same boy-girl thing, you know, but with a difference. And it's a start, it's definitely a start." Derek Taylor, who had recently been engaged as the band's publicist, is credited for coining the term a "pocket symphony" to describe the song. In a press release for the single, he stated: "Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils. And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else."
To promote the single, four different music videos were shot. The first of these—which had Caleb Deschanel as cameraman—features the group at a fire station, sliding down its pole, and roaming the streets of Los Angeles in a fashion comparable to The Monkees. The second features the group during vocal rehearsals at United Western Recorders. The third contains footage recorded during the making of The Beach Boys in London, a documentary by Peter Whitehead of their concert performances. The fourth clip is an alternative edit of the third. Brian also made a rare television appearance on local station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record.
On October 15, 1966, Billboard predicted that the single would reach the top 20 in the Billboard Hot 100 chart. "Good Vibrations" was the Beach Boys' third US number one hit, after "I Get Around" and "Help Me, Rhonda", reaching the top of the Hot 100 in December. It was also their first number one in Britain. The single sold over 230,000 copies in the US within four days of its release and entered the Cash Box chart at number 61 on October 22. In the UK, the song sold over 50,000 copies in the first 15 days of its release. "Good Vibrations" quickly became the Beach Boys' first million-selling single. In December 1966, the record was their first single certified gold by the RIAA for sales of one million copies. On March 30, 2016, the digital single was certified platinum by the RIAA for the same sales level.
In the US, Cash Box said that it is a "catchy, easy-driving ditty loaded with the Boys’ money-making sound." In Britain, the single received favorable reviews from the New Musical Express and Melody Maker. Soon after, the Beach Boys were voted the number one band in the world in the NME readers' poll, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops. Billboard said that this result was probably influenced by the success of "Good Vibrations" when the votes were cast, together with the band's recent tour, whereas the Beatles had neither a recent single nor had they toured the UK throughout 1966; the reporter added that "The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak." In a readers' poll conducted by a Danish newspaper, Brian Wilson won the "best foreign-produced recording award", marking the first time that an American had won in that category.
The single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc.
Influence and legacy
Historical reception
Virtually every pop music critic recognizes "Good Vibrations" as one of the most important compositions and recordings of the entire rock era. It is a regular fixture on "greatest of all-time" song lists and is frequently hailed as one of the finest pop productions of all time. In 2004, Rolling Stone magazine ranked "Good Vibrations" at number 6 in "The 500 Greatest Songs of All Time", the highest position of seven Beach Boys songs cited in the list. In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list. As of 2016, "Good Vibrations" is ranked as the number four song of all time in an aggregation of critics' lists at Acclaimed Music.
The song served as an anthem for the counterculture of the 1960s. According to Noel Murray of The A.V. Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's "un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do." Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for "Good Vibrations". "Heroes and Villains", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967.
In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of "Good Vibrations". When asked about the song in 1990, Paul McCartney responded: "I thought it was a great record. It didn't quite have the emotional thing that Pet Sounds had for me. I've often played Pet Sounds and cried. It's that kind of an album for me." Pete Townshend of the Who was quoted in the 1960s as saying, "'Good Vibrations' was probably a good record but who's to know? You had to play it about 90 bloody times to even hear what they were singing about." Townshend feared that the single would lead to a trend of overproduction. In a 1966 issue of Arts Magazine, Jonathan King said: "With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art. Computerized pop, mechanized music. Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons. It is long and split. ... impressive, fantastic, commercial—yes. Emotional, soul-destroying, shattering—no." In the 2000s, record producer Phil Spector criticized the single for depending too much on tape manipulation, negatively referring to it as an "edit record ... It's like Psycho is a great film, but it's an 'edit film.' Without edits, it's not a film; with edits, it's a great film. But it's not Rebecca ... it's not a beautiful story."
Advancements
Recording and popular music
"Good Vibrations" is credited for having further developed the use of recording studios as a musical instrument. Author Domenic Priore commented that the song's making was "unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording". A milestone in the development of rock music, the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record. Musicologist Charlie Gillett called it "one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance". In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted:
Writing for Popmatters in 2015, Scott Interrante stated: "'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have." The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm. Microtonal composer Frank Oteri said that it "sounds like no other pop song recorded up to that point". According to Stebbins: "This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original. But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century." He added that the single "vaulted nearly every other rock act in their delivery of a Flower Power classic. It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop." John Bush wrote that the single "announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies". Gillett noted: "For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording."
Priore says that the song was a forerunner to works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes. In his appraisal for American Songwriter, Roland cites the song's "format" as the model for recordings by Wings ("Band on the Run"), the Beatles ("A Day in the Life"), and Elton John ("Funeral for a Friend/Love Lies Bleeding"). The song's approach was repeated in Queen's 1975 single "Bohemian Rhapsody", which was similarly pieced together using different sections. Wilson praised Queen's effort, calling it "the most competitive thing that's come along in ages" and "a fulfillment and an answer to a teenage prayer—of artistic music".
Psychedelic and progressive rock
With "Good Vibrations", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages. Writing in 2009, Barney Hoskyns deemed it to be the era's "ultimate psychedelic pop record" from Los Angeles. Interrante adds: "Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated, but its legacy as a pop hit is impressive as well." Former Atlantic Records executive Phillip Rauls recalled: "I was in the music business at the time, and my very first recognition of acid rock—we didn't call it progressive rock then—was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [theremin] sent so many musicians back to the studio to create this music on acid." Author Bill Martin suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: "The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life.'"
Use of theremin
Although the song does not technically contain a theremin, "Good Vibrations" is the most frequently cited example of the instrument's use in pop music. Upon release, the single prompted an unexpected revival in theremins and increased the awareness of analog synthesizers. The notion that "Good Vibrations" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants. While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin.
When the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments. Tanner recalls saying to Wilson, "I've got the wrong sort of hair to be on stage with you fellas", to which Wilson replied: "We'll give you a Prince Valiant wig." The Beach Boys then requested the services of Walter Sear, who asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar. Sear remembers marking fretboard-like lines on the ribbon "so they could play the damn thing." Moog began manufacturing his own models of theremins. He later noted: "The pop record scene cleaned us out of our stock which we expected to last through Christmas."
In Steven M. Martin's 1993 documentary Theremin: An Electronic Odyssey, in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin due to "Good Vibrations" caused Russian authorities to exile its inventor, Leon Theremin.
Cover versions
The song has been covered by artists such as Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV. John Bush commented: "'Good Vibrations' was rarely reprised by other acts, even during the cover-happy '60s. Its fragmented style made it essentially cover-proof." In 1976, a nearly identical cover version was released as a single by Todd Rundgren for his album Faithful. When asked for his opinion, Brian said: "Oh, he did a marvelous job, he did a great job. I was very proud of his version." Rundgren's single peaked at number 34 on the Billboard Hot 100. Rundgren explained: "I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting—like around Pet Sounds and 'Good Vibrations' ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal. ... I tried to do [the song] as literally as I could because in the intervening 10 years, radio had changed so much. Radio had become so formatted and so structured that that whole experience was already gone."
In 2004, Wilson re-recorded the song as a solo artist for his album Brian Wilson Presents Smile. It was sequenced as the album's closing track, following "In Blue Hawaii". In this version, "Good Vibrations" was the project's only track that eschewed the modular recording method. The song's verses and chorus were recorded as part of one whole take, and were not spliced together.
In 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated. Their version of "Good Vibrations", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on Billboards A/C chart.
In popular culture
The song's parody is used for the jingle of the Australian consumer electronics retailer The Good Guys.
In 1996, experimental rock group His Name Is Alive released an homage titled "Universal Frequencies" on their album Stars on E.S.P. Warren Defever reportedly listened to "Good Vibrations" repeatedly for a week before deciding that the song "needed a sequel"; he added: "'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful."
In 1997, the movie Vegas Vacation used the song for the opening credits, with Clark Griswold (Chevy Chase) singing the song.
The song's lyrics "I'm picking up good vibrations" are quoted in Cyndi Lauper's 1984 single "She Bop".
A live version of the song, from the album Live in London, appears as a playable track in the 2010 video game Rock Band 3.
In 2019, the song was used prominently in a scene for Jordan Peele's psychological horror thriller film Us.
In 2018, The song was featured in the animated film Hotel Transylvania 3: Summer Vacation.
Release history
In early 2011, the single was remastered and reissued as a four-sided 78 rpm vinyl for Record Store Day, as a teaser for the forthcoming The Smile Sessions box set. It contained "Heroes and Villains" as a B-side, along with previously released alternate takes and mixes.
Stereo version
Due to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile. The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett. Fitzgerald's software extracted individual instrumental and vocal stems from the original mono master—as the multi-track vocals remained missing—to construct the stereo version that appears on the 2012 reissue of Smiley Smile.
40th Anniversary Edition
In celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released. The EP includes "Good Vibrations", four alternate versions of the song, and the stereo mix of "Let's Go Away for Awhile". The EP artwork recreates that of the original 7-inch single sleeve. In 2016, the EP was reissued as a 12" record for the single's 50th anniversary.
Personnel
The following people are identified as players on the "Good Vibrations" single.
The Beach Boys
Mike Love – lead vocals in chorus
Brian Wilson – vocals, tack piano, tambourine, production, mixing
Carl Wilson – lead vocals in verses, guitar, shaker
Dennis Wilson – Hammond organ during 2:13–2:56
Additional musicians and production staff
Hal Blaine – drums, timpani, other percussion
Al De Lory – piano, harpsichord
Jesse Ehrlich – cello
Larry Knechtel – organ in verses and choruses
Tommy Morgan – harmonica
Al Casey – guitar
Ray Pohlman – electric bass
Lyle Ritz – double bass
Jim Horn – piccolo
Paul Tanner – Electro-Theremin
Bassist Carol Kaye played on several of the "Good Vibrations" sessions, and has been identified as a prominent contributor to the track. However, analysis by Beach Boys archivist Craig Slowinski indicates that none of those recordings made the final edit as released on the single.
Charts
Weekly charts
Original release
1976 reissue
Todd Rundgren version (1976)
Year-end charts
Certifications
Awards and accolades
Footnotes
References
Bibliography
External links
Greg Panfile's Musical Analysis of "Good Vibrations"
1966 singles
1966 songs
2004 singles
2011 singles
Brian Wilson songs
Psychic TV songs
The Beach Boys songs
Todd Rundgren songs
Capitol Records singles
Grammy Hall of Fame Award recipients
Billboard Hot 100 number-one singles
Cashbox number-one singles
Number-one singles in Australia
Number-one singles in New Zealand
UK Singles Chart number-one singles
Songs written by Brian Wilson
Songs written by Mike Love
Songs written by Tony Asher
Song recordings produced by Brian Wilson
Song recordings with Wall of Sound arrangements
Art pop songs
Avant-pop songs
Psychedelic pop songs
American psychedelic rock songs
Songs used as jingles
Songs composed in E-flat minor | true | [
"\"Skrt\" (stylized in all caps; pronounced \"skirt\") is a song by American rapper Kodak Black. It was released in December 2014 and is the third single from his mixtape Heart of the Projects (2014). It was produced by SkipOnDaBeat. In October 2015, the song helped Kodak Black gain recognition, when a video of Canadian rapper Drake dancing to it went viral.\n\nBackground\nThe single was released on December 25, 2014, and a music video for the song was released on October 19, 2015. Five days later, on October 24, 2015, Canadian musician Drake posted a video on Instagram of him dancing to the song in his private jet. The video became popular, leading to Kodak Black achieving national popularity.\n\nComposition\nElias Leight wrote in The Fader that the song's beat \"combines a stream of percussion and a few floating keyboard notes\", and noted \"fierce, distressed qualities to Kodak's loneliness\". Zara Golden called the track melancholy.\n\nRemix\nCanadian rapper Roy Woods released a remix of the song on January 30, 2016.\n\nCharts\n\nCertifications\n\nReferences\n\n2014 songs\n2015 singles\nKodak Black songs\nSongs written by Kodak Black",
"\"Desire\" is a song by Ryan Adams from his 2002 album Demolition. The song, at the length of 3:41, was not released as a single from the album. It originally attracted little attention, and even though the review site Music Box described it as crossing \"U2 with Bob Dylan\", several major reviews – like Rolling Stone and The A.V. Club – did not even mention the song.\n\nThe song did however gain popularity later on, as a soundtrack for various popular television series. On 26 January 2005 the song was featured on the West Wing episode \"King Corn\". A year later, on 20 February 2006, it was also used for the House, M.D. episode \"Skin Deep\". It also played at the TV series John Doe (Episode 9), originally aired 12/6/2002. More recently, it was used on Beauty & the Beast episode 1x16 \"Insatiable\" aired on 21 March 2013. The song also features in the Nicholas Sparks film The Longest Ride.\n\nInstruments\nRyan Adams - Vocals, Guitar, Harmonica\nSheldon Gomberg - Bass\nEthan Johns - Drums, Ukulele\nGreg Leisz - Steel Guitar\nJulianna Raye - Background vocals\nChris Stills - B3\n\nReferences\n\nExternal links\nRyan Adams performing Desire at BBC4 Sessions.\n\n2002 songs\nRyan Adams songs\nSongs written by Ryan Adams"
] | [
"\"Good Vibrations\" is a song by the American rock band the Beach Boys that was composed by Brian Wilson with lyrics by Mike Love. It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping record charts in several countries including the United States and the United Kingdom.",
"It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping record charts in several countries including the United States and the United Kingdom. Characterized by its complex soundscapes, episodic structure and subversions of pop music formula, it was the most expensive single ever recorded.",
"Characterized by its complex soundscapes, episodic structure and subversions of pop music formula, it was the most expensive single ever recorded. \"Good Vibrations\" later became widely acclaimed as one of the finest and most important works of the rock era.",
"\"Good Vibrations\" later became widely acclaimed as one of the finest and most important works of the rock era. Also produced by Wilson, the title derived from his fascination with cosmic vibrations, as his mother would tell him as a child that dogs sometimes bark at people in response to their \"bad vibrations\".",
"Also produced by Wilson, the title derived from his fascination with cosmic vibrations, as his mother would tell him as a child that dogs sometimes bark at people in response to their \"bad vibrations\". He used the concept to suggest extrasensory perception, while Love's lyrics were inspired by the nascent Flower Power movement.",
"He used the concept to suggest extrasensory perception, while Love's lyrics were inspired by the nascent Flower Power movement. The song was written as it was recorded and in a similar fashion to other compositions from Wilson's Smile period.",
"The song was written as it was recorded and in a similar fashion to other compositions from Wilson's Smile period. It was issued as a standalone single, backed with \"Let's Go Away for Awhile\", and was to be included on the never-finished album Smile.",
"It was issued as a standalone single, backed with \"Let's Go Away for Awhile\", and was to be included on the never-finished album Smile. Instead, the track appeared on the September 1967 release Smiley Smile. The making of \"Good Vibrations\" was unprecedented for any kind of recording.",
"The making of \"Good Vibrations\" was unprecedented for any kind of recording. Building on his approach for Pet Sounds, Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of session musicians at four different Hollywood studios from February to September 1966, a process reflected in the song's several dramatic shifts in key, texture, instrumentation and mood.",
"Building on his approach for Pet Sounds, Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of session musicians at four different Hollywood studios from February to September 1966, a process reflected in the song's several dramatic shifts in key, texture, instrumentation and mood. Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars.",
"Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars. Band publicist Derek Taylor dubbed the unusual work a \"pocket symphony\".",
"Band publicist Derek Taylor dubbed the unusual work a \"pocket symphony\". It helped develop the use of the studio as an instrument and heralded a wave of pop experimentation and the onset of psychedelic and progressive rock.",
"It helped develop the use of the studio as an instrument and heralded a wave of pop experimentation and the onset of psychedelic and progressive rock. The track featured a novel mix of instruments, including jaw harp and Electro-Theremin, and although the latter is not a true theremin, the song's success led to a renewed interest and sales of theremins and synthesizers.",
"The track featured a novel mix of instruments, including jaw harp and Electro-Theremin, and although the latter is not a true theremin, the song's success led to a renewed interest and sales of theremins and synthesizers. \"Good Vibrations\" received a Grammy nomination for Best Vocal Group performance in 1966 and was inducted into the Grammy Hall of Fame in 1994.",
"\"Good Vibrations\" received a Grammy nomination for Best Vocal Group performance in 1966 and was inducted into the Grammy Hall of Fame in 1994. The song was voted number one in Mojos \"Top 100 Records of All Time\" and number six on Rolling Stones \"500 Greatest Songs of All Time\", and it was included in the Rock and Roll Hall of Fame's \"500 Songs that Shaped Rock and Roll\".",
"The song was voted number one in Mojos \"Top 100 Records of All Time\" and number six on Rolling Stones \"500 Greatest Songs of All Time\", and it was included in the Rock and Roll Hall of Fame's \"500 Songs that Shaped Rock and Roll\". In later years, the song has been cited as a forerunner to the Beatles' \"A Day in the Life\" (1967) and Queen's \"Bohemian Rhapsody\" (1975).",
"In later years, the song has been cited as a forerunner to the Beatles' \"A Day in the Life\" (1967) and Queen's \"Bohemian Rhapsody\" (1975). A 1976 cover version by Todd Rundgren peaked at number 34 on the Billboard Hot 100.",
"A 1976 cover version by Todd Rundgren peaked at number 34 on the Billboard Hot 100. The Beach Boys followed up \"Good Vibrations\" with another single pieced from sections, \"Heroes and Villains\" (1967), but it was less successful.",
"The Beach Boys followed up \"Good Vibrations\" with another single pieced from sections, \"Heroes and Villains\" (1967), but it was less successful. Inspiration and writing Concept and early lyrics The Beach Boys' leader, Brian Wilson, was responsible for the musical composition and virtually all of the arrangement for \"Good Vibrations\".",
"Inspiration and writing Concept and early lyrics The Beach Boys' leader, Brian Wilson, was responsible for the musical composition and virtually all of the arrangement for \"Good Vibrations\". Most of the song's structure and arrangement was written as it was recorded.",
"Most of the song's structure and arrangement was written as it was recorded. During the recording sessions for the 1966 album Pet Sounds, Wilson began changing his writing process. For \"Good Vibrations\", Wilson said, \"I had a lot of unfinished ideas, fragments of music I called 'feels.'",
"For \"Good Vibrations\", Wilson said, \"I had a lot of unfinished ideas, fragments of music I called 'feels.' Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic.\"",
"Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic.\" Engineer Chuck Britz is quoted saying that Wilson considered the song to be \"his whole life performance in one track\". Wilson stated: \"I was an energetic 23-year-old. ...",
"Wilson stated: \"I was an energetic 23-year-old. ... ... I said: 'This is going to be better than [the Phil Spector production] \"You've Lost That Lovin' Feelin'. Wilson said that \"Good Vibrations\" was inspired by his mother: \"[She] used to tell me about vibrations.",
"Wilson said that \"Good Vibrations\" was inspired by his mother: \"[She] used to tell me about vibrations. I didn't really understand too much of what it meant when I was just a boy. It scared me, the word 'vibrations.'",
"It scared me, the word 'vibrations.' She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel.\"",
"She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel.\" Brian first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea.",
"Brian first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea. When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style.",
"When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style. Asher remembered: Wilson wanted to call the song \"Good Vibes\", but Asher advised that it was \"lightweight use of the language\", and suggested that \"Good Vibrations\" would sound less \"trendy\".",
"Asher remembered: Wilson wanted to call the song \"Good Vibes\", but Asher advised that it was \"lightweight use of the language\", and suggested that \"Good Vibrations\" would sound less \"trendy\". The two proceeded to write lyrics for the verses that were ultimately discarded.",
"The two proceeded to write lyrics for the verses that were ultimately discarded. Theremin and cello From the start, Wilson envisioned a theremin for the track.",
"Theremin and cello From the start, Wilson envisioned a theremin for the track. AllMusic reviewer John Bush pointed out: \"Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel—between the single's theme and its use of an instrument the player never even touched.\"",
"AllMusic reviewer John Bush pointed out: \"Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel—between the single's theme and its use of an instrument the player never even touched.\" \"Good Vibrations\" does not technically feature a theremin, but rather an Electro-Theremin, which is physically controlled by a knob on the side of the instrument.",
"\"Good Vibrations\" does not technically feature a theremin, but rather an Electro-Theremin, which is physically controlled by a knob on the side of the instrument. It was dubbed a \"theremin\" simply for convenience.",
"It was dubbed a \"theremin\" simply for convenience. At that time, theremins were most often associated with the 1945 Alfred Hitchcock film Spellbound, but their most common presence was in the theme music for the television sitcom My Favorite Martian, which ran from 1963 to 1966.",
"At that time, theremins were most often associated with the 1945 Alfred Hitchcock film Spellbound, but their most common presence was in the theme music for the television sitcom My Favorite Martian, which ran from 1963 to 1966. Britz speculates: \"He just walked in and said, 'I have this new sound for you.'",
"Britz speculates: \"He just walked in and said, 'I have this new sound for you.' I think he must have heard the sound somewhere and loved it, and built a song around it.\" It is unclear whether Wilson knew that the instrument was not a real theremin.",
"It is unclear whether Wilson knew that the instrument was not a real theremin. Brian credited his brother and bandmate Carl for suggesting the use of a cello on the track.",
"Brian credited his brother and bandmate Carl for suggesting the use of a cello on the track. He further stated that its triplet beat on the chorus was his own idea and that it was based on the Crystals' \"Da Doo Ron Ron\" (1963), produced by Spector.",
"He further stated that its triplet beat on the chorus was his own idea and that it was based on the Crystals' \"Da Doo Ron Ron\" (1963), produced by Spector. Conversely, arranger and session musician Van Dyke Parks said that it was himself who suggested having the cellist play triplets to Brian.",
"Conversely, arranger and session musician Van Dyke Parks said that it was himself who suggested having the cellist play triplets to Brian. Parks believed that having Brian exploit the cello \"to such a hyperbolic degree\" was what encouraged the duo to immediately collaborate on the never-finished album Smile.",
"Parks believed that having Brian exploit the cello \"to such a hyperbolic degree\" was what encouraged the duo to immediately collaborate on the never-finished album Smile. At some point, Wilson asked Parks to pen lyrics for \"Good Vibrations\", although Parks declined.",
"At some point, Wilson asked Parks to pen lyrics for \"Good Vibrations\", although Parks declined. Influences and final lyrics Wilson's cousin and bandmate Mike Love submitted the final lyrics for \"Good Vibrations\" and contributed its bass-baritone vocals in the chorus.",
"Influences and final lyrics Wilson's cousin and bandmate Mike Love submitted the final lyrics for \"Good Vibrations\" and contributed its bass-baritone vocals in the chorus. He recalled that when he heard the unfinished backing track: \"[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it.",
"He recalled that when he heard the unfinished backing track: \"[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it. How's this going to go over in the Midwest or Birmingham?",
"How's this going to go over in the Midwest or Birmingham? It was such a departure from 'Surfin' U.S.A.' or 'Help Me, Rhonda.'\" Love said that he wrote the words while on the drive to the studio.",
"Love said that he wrote the words while on the drive to the studio. Feeling that the song could be \"the Beach Boys' psychedelic anthem or flower power offering,\" he based the lyrics on the burgeoning psychedelic music and Flower Power movements occurring in San Francisco and some parts of the Los Angeles area.",
"Feeling that the song could be \"the Beach Boys' psychedelic anthem or flower power offering,\" he based the lyrics on the burgeoning psychedelic music and Flower Power movements occurring in San Francisco and some parts of the Los Angeles area. He described the lyrics as \"just a flowery poem.",
"He described the lyrics as \"just a flowery poem. Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair.'\"",
"Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair.'\" Writing in his 1975 book The Beach Boys: Southern California Pastoral, Bruce Golden observed: Capitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his LSD experiences.",
"Writing in his 1975 book The Beach Boys: Southern California Pastoral, Bruce Golden observed: Capitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his LSD experiences. Brian clarified that the song was written under the influence of marijuana, not LSD.",
"Brian clarified that the song was written under the influence of marijuana, not LSD. He explained: \"I made ‘Good Vibrations’ on drugs; I used drugs to make that. ... I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity.\"",
"I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity.\" In Steven Gaines's 1986 biography, Wilson is quoted on the lyrics: \"We talked about good vibrations with the song and the idea, and we decided on one hand that you could say ... those are sensual things.",
"In Steven Gaines's 1986 biography, Wilson is quoted on the lyrics: \"We talked about good vibrations with the song and the idea, and we decided on one hand that you could say ... those are sensual things. And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have.",
"And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have. That's what we're really talking about.\" Wilson said in 2012 that the song's \"gotta keep those good vibrations\" bridge was inspired by Stephen Foster.",
"Wilson said in 2012 that the song's \"gotta keep those good vibrations\" bridge was inspired by Stephen Foster. Bandmate Al Jardine compared that section to Foster and the Negro spiritual \"Down by the Riverside\".",
"Bandmate Al Jardine compared that section to Foster and the Negro spiritual \"Down by the Riverside\". According to Love, the lyric \"'she goes with me to a blossom world' was originally meant to be followed by the words 'we find'\", but Wilson elected to cut off the line to highlight the bass track linking into the chorus.",
"According to Love, the lyric \"'she goes with me to a blossom world' was originally meant to be followed by the words 'we find'\", but Wilson elected to cut off the line to highlight the bass track linking into the chorus. Recording and production Modular approach \"Good Vibrations\" established a new method of operation for Wilson.",
"Recording and production Modular approach \"Good Vibrations\" established a new method of operation for Wilson. Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or \"modules\").",
"Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or \"modules\"). Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time.",
"Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time. This was the same modular approach used during the sessions for Smile and Smiley Smile.",
"This was the same modular approach used during the sessions for Smile and Smiley Smile. To mask each tape edit, vast reverb decays were added at the mixing and sub-mixing stages. For instrumentation, Wilson employed the services of \"the Wrecking Crew\", the nickname for a conglomerate of session musicians active in Los Angeles at that time.",
"For instrumentation, Wilson employed the services of \"the Wrecking Crew\", the nickname for a conglomerate of session musicians active in Los Angeles at that time. Production for \"Good Vibrations\" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two.",
"Production for \"Good Vibrations\" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two. It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands, making it the costliest single recorded to that date.",
"It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands, making it the costliest single recorded to that date. Biographer Peter Ames Carlin wrote that Wilson was so puzzled by the arranging of \"Good Vibrations\" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs.",
"Biographer Peter Ames Carlin wrote that Wilson was so puzzled by the arranging of \"Good Vibrations\" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs. One estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to $ and $ in ), By comparison, the whole of Pet Sounds had cost $70,000 ($), itself an unusually high cost for an album.",
"One estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to $ and $ in ), By comparison, the whole of Pet Sounds had cost $70,000 ($), itself an unusually high cost for an album. In 2018, Wilson disputed the $50,000 figure for \"Good Vibrations\", saying that the overall expenses were closer to $25,000.",
"In 2018, Wilson disputed the $50,000 figure for \"Good Vibrations\", saying that the overall expenses were closer to $25,000. Contemporary advertisements reported $10,000 ($) as the track's total production costs. Domenic Priore wrote that the track cost between $10,000 and $15,000 ($).",
"Domenic Priore wrote that the track cost between $10,000 and $15,000 ($). When asked in a 2005 interview if it was true that the Electro-Theremin work alone cost $100,000, Wilson replied \"No. $15,000.\"",
"$15,000.\" $15,000.\" Development The instrumental of the first version of the song was recorded on February 17, 1966, at Gold Star Studios and was logged as a Pet Sounds session.",
"Development The instrumental of the first version of the song was recorded on February 17, 1966, at Gold Star Studios and was logged as a Pet Sounds session. On that day's session log, it was given the name \"#1 Untitled\" or \"Good, Good, Good Vibrations\", but on its master tape, Wilson distinctly states: \"'Good Vibrations' ... take one.\"",
"On that day's session log, it was given the name \"#1 Untitled\" or \"Good, Good, Good Vibrations\", but on its master tape, Wilson distinctly states: \"'Good Vibrations' ... take one.\" After twenty-six takes, a rough mono mix completed the session.",
"After twenty-six takes, a rough mono mix completed the session. Some additional instruments and rough guide vocals were overdubbed on February 23. Brian and Carl shared vocals for this mix.",
"Brian and Carl shared vocals for this mix. The original version of \"Good Vibrations\" contained the characteristics of a \"funky rhythm and blues number\" and would not yet resemble a \"pocket symphony\". There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor, Paul Tanner.",
"There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor, Paul Tanner. It was Brian's second ever recorded use of the instrument, just three days after the Pet Sounds track \"I Just Wasn't Made for These Times\".",
"It was Brian's second ever recorded use of the instrument, just three days after the Pet Sounds track \"I Just Wasn't Made for These Times\". Brian then placed \"Good Vibrations\" on hold in order to devote attention to the Pet Sounds album, which saw release on May 16.",
"Brian then placed \"Good Vibrations\" on hold in order to devote attention to the Pet Sounds album, which saw release on May 16. More instrumental sections for \"Good Vibrations\" were recorded between April and June.",
"More instrumental sections for \"Good Vibrations\" were recorded between April and June. Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs.",
"Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs. According to Brian's then-new friend David Anderle, during an early stage, Brian considered giving \"Good Vibrations\" to one of the black R&B groups signed with Warner Bros. Records such as Wilson Pickett, and then at Anderle's suggestion to singer Danny Hutton.",
"According to Brian's then-new friend David Anderle, during an early stage, Brian considered giving \"Good Vibrations\" to one of the black R&B groups signed with Warner Bros. Records such as Wilson Pickett, and then at Anderle's suggestion to singer Danny Hutton. He thought about abandoning the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single.",
"He thought about abandoning the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single. In the meantime, he worked on writing and recording material for the group's forthcoming album, Smile.",
"In the meantime, he worked on writing and recording material for the group's forthcoming album, Smile. The first Beach Boy to hear \"Good Vibrations\" in a semi-completed form, other than Brian, was Carl.",
"The first Beach Boy to hear \"Good Vibrations\" in a semi-completed form, other than Brian, was Carl. Following a performance with the touring group in North Dakota, he remembered: \"I came back up into my hotel room one night and the phone rang. It was Brian on the other end.",
"It was Brian on the other end. He called me from the recording studio and played this really bizarre sounding music over the phone. There were drums smashing, that kind of stuff, and then it refined itself and got into the cello. It was a real funky track.\"",
"It was a real funky track.\" In 1976, Brian revealed that before the final mixdown, he had been confronted with resistance by members of the group, whom Brian declined to name.",
"In 1976, Brian revealed that before the final mixdown, he had been confronted with resistance by members of the group, whom Brian declined to name. The subject of their worries and complaints was the song's length and \"modern\" sound: \"I said no, it's not going to be too long a record, it's going to be just right.",
"The subject of their worries and complaints was the song's length and \"modern\" sound: \"I said no, it's not going to be too long a record, it's going to be just right. ... They didn't quite understand what this jumping from studio to studio was all about.",
"They didn't quite understand what this jumping from studio to studio was all about. And they couldn't conceive of the record as I did. I saw the record as a totality piece.\"",
"I saw the record as a totality piece.\" The vocals for \"Good Vibrations\" were recorded at CBS Columbia Square, starting on August 24 and continuing sporadically until the very last day of assembly on September 21. The episodic structure of the composition was continuously revised as the group experimented with different ideas.",
"The episodic structure of the composition was continuously revised as the group experimented with different ideas. Brian remembers that he began recording the \"bop bop good vibrations\" parts first, and that he came up with \"the high parts\" a week later.",
"Brian remembers that he began recording the \"bop bop good vibrations\" parts first, and that he came up with \"the high parts\" a week later. Mike Love recalled: \"I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long.\"",
"Mike Love recalled: \"I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long.\" Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute.",
"Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute. In early September, the master tapes for \"Good Vibrations\" were stolen. Mysteriously, they reappeared inside Brian's home two days later.",
"Mysteriously, they reappeared inside Brian's home two days later. On September 21, Brian completed the track after Tanner added a final Electro-Theremin overdub. In 1976 he elaborated on the event: \"It was at Columbia. I remember I had it right in the sack.",
"I remember I had it right in the sack. I could just feel it when I dubbed it down, made the final mix from the 16-track down to mono. It was a feeling of power, it was a rush. A feeling of exaltation. Artistic beauty. It was everything ... I remember saying, 'Oh my God.",
"I remember saying, 'Oh my God. Sit back and listen to this!'\" Composition and analysis Genre and dynamics There are six unique sections to the piece.",
"Composition and analysis Genre and dynamics There are six unique sections to the piece. Music theorist Daniel Harrison refers to these sections individually as the verse, the refrain (or chorus), the \"first episodic digression\", the \"second episodic digression\", the \"retro-refrain\", and the coda.",
"Music theorist Daniel Harrison refers to these sections individually as the verse, the refrain (or chorus), the \"first episodic digression\", the \"second episodic digression\", the \"retro-refrain\", and the coda. Each has a distinct musical texture, partly due to the nature of the song's recording.",
"Each has a distinct musical texture, partly due to the nature of the song's recording. The track's instrumentation changes radically from section to section, and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a \"very long\" duration.",
"The track's instrumentation changes radically from section to section, and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a \"very long\" duration. Wilson is quoted in 1979: He characterized the song as \"advanced rhythm and blues\".",
"Wilson is quoted in 1979: He characterized the song as \"advanced rhythm and blues\". Tom Roland of American Songwriter described the piece, \"with its interlocking segments—a sort of pop version of the classical sonata, consisting of a series of musical movements\".",
"Tom Roland of American Songwriter described the piece, \"with its interlocking segments—a sort of pop version of the classical sonata, consisting of a series of musical movements\". New York Magazine compared it to \"a fugue with a rhythmic beat\".",
"New York Magazine compared it to \"a fugue with a rhythmic beat\". John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs.",
"John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs. Music journal Sound on Sound argued that the song \"has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour\".",
"Music journal Sound on Sound argued that the song \"has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour\". It explained that the song subverts pop forms to a considerable degree: According to historian Lorenzo Candelaria, \"Good Vibrations\" has since been marketed as pop music \"possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know.\"",
"It explained that the song subverts pop forms to a considerable degree: According to historian Lorenzo Candelaria, \"Good Vibrations\" has since been marketed as pop music \"possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know.\" Uncut called the song \"three minutes and thirty-six seconds of avant-garde pop\".",
"Uncut called the song \"three minutes and thirty-six seconds of avant-garde pop\". Mixdown described it as a \"masterpiece of avant-pop\". The theremin and cello has been called the song's \"psychedelic ingredient\".",
"The theremin and cello has been called the song's \"psychedelic ingredient\". In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin.",
"In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin. Professor of American history John Robert Greene named \"Good Vibrations\" among examples of psychedelic or acid rock.",
"Professor of American history John Robert Greene named \"Good Vibrations\" among examples of psychedelic or acid rock. Stebbins wrote that the song was \"replete with sunshine [and] psychedelia\". Steve Valdez says that, like Pet Sounds, Brian was attempting a more experimental rock style.",
"Steve Valdez says that, like Pet Sounds, Brian was attempting a more experimental rock style. Comparing \"Good Vibrations\" to Wilson's previous work Pet Sounds, biographer Andrew Hickey said that the \"best way of thinking about [the song] is that it's taking the lowest common denominator of 'Here Today' and 'God Only Knows' and turned the result into an R&B track.",
"Comparing \"Good Vibrations\" to Wilson's previous work Pet Sounds, biographer Andrew Hickey said that the \"best way of thinking about [the song] is that it's taking the lowest common denominator of 'Here Today' and 'God Only Knows' and turned the result into an R&B track. We have the same minor-key change between verse and chorus we've seen throughout Pet Sounds, the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to funky.\"",
"We have the same minor-key change between verse and chorus we've seen throughout Pet Sounds, the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to funky.\" Author Jon Stebbins adds that \"unlike Pet Sounds the chorus of 'Good Vibrations' projects a definite 'rock and roll' energy and feel.\"",
"Author Jon Stebbins adds that \"unlike Pet Sounds the chorus of 'Good Vibrations' projects a definite 'rock and roll' energy and feel.\" According to academic Rikky Rooksby, \"Good Vibrations\" is an example of Brian Wilson's growing interest in musical development within a composition, something antithetical to popular music of the time.",
"According to academic Rikky Rooksby, \"Good Vibrations\" is an example of Brian Wilson's growing interest in musical development within a composition, something antithetical to popular music of the time. Suppressing tonic strength and cadential drive, the song makes use of descending harmonic motions through scale degrees controlled by a single tonic and \"radical disjunctions\" in key, texture, instrumentation, and mood while refusing to develop into a predictable formal pattern.",
"Suppressing tonic strength and cadential drive, the song makes use of descending harmonic motions through scale degrees controlled by a single tonic and \"radical disjunctions\" in key, texture, instrumentation, and mood while refusing to develop into a predictable formal pattern. It instead develops \"under its own power\" and \"luxuriates in harmonic variety\" exemplified by beginning and ending not only in different keys but also in different modes.",
"It instead develops \"under its own power\" and \"luxuriates in harmonic variety\" exemplified by beginning and ending not only in different keys but also in different modes. Verses and refrains (0:00–1:40) \"Good Vibrations\" begins without introduction in a traditional verse/refrain format, opening with Carl Wilson singing the word \"I\", a triplet eighth note before the downbeat.",
"Verses and refrains (0:00–1:40) \"Good Vibrations\" begins without introduction in a traditional verse/refrain format, opening with Carl Wilson singing the word \"I\", a triplet eighth note before the downbeat. The sparse first verse contains a repetition of chords played on a Hammond organ filtered through a Leslie speaker; underneath is a two-bar Fender bass melody.",
"The sparse first verse contains a repetition of chords played on a Hammond organ filtered through a Leslie speaker; underneath is a two-bar Fender bass melody. This sequence repeats once (0:15), but with the addition of two piccolos sustaining over a falling flute line.",
"This sequence repeats once (0:15), but with the addition of two piccolos sustaining over a falling flute line. For percussion, bongo drums double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation.",
"For percussion, bongo drums double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation. The beat projects a triplet feel despite being in time; this is sometimes called a \"shuffle beat\" or \"threes over fours\".",
"The beat projects a triplet feel despite being in time; this is sometimes called a \"shuffle beat\" or \"threes over fours\". The chord progression used is i–VII–VI–V, also called an Andalusian cadence. Although the verses begin in the minor mode of E, the mode is not used to express sadness or drudgery.",
"Although the verses begin in the minor mode of E, the mode is not used to express sadness or drudgery. Occurring at the very end of these verses is a passing chord, D. The refrain (0:25) begins in the newly tonicized relative major G, which suggests III.",
"Occurring at the very end of these verses is a passing chord, D. The refrain (0:25) begins in the newly tonicized relative major G, which suggests III. Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music.",
"Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music. The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat.",
"The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat. This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals.",
"This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals. The first section consists of only the couplet \"I'm picking up good vibrations/she's giving me the excitation\" sung by Mike Love in his bass-baritone register; the second repeats the lines and adds an \"ooo bop bop\" figure, sung in multiple-part harmony; the third time also adds a \"good, good, good, good vibrations\" in yet a higher harmony.",
"The first section consists of only the couplet \"I'm picking up good vibrations/she's giving me the excitation\" sung by Mike Love in his bass-baritone register; the second repeats the lines and adds an \"ooo bop bop\" figure, sung in multiple-part harmony; the third time also adds a \"good, good, good, good vibrations\" in yet a higher harmony. This type of polyphony (counterpoint) is also rare in contemporary popular styles.",
"This type of polyphony (counterpoint) is also rare in contemporary popular styles. Each repeat of the vocal lines also transposes up by a whole step, ascending from G to A and then B. It then returns to the verse, thus making a perfect cadence back into E minor.",
"It then returns to the verse, thus making a perfect cadence back into E minor. The verse and refrain then repeat without any changes to the patterns of its instrumentation and harmony. This is unusual, in that normally, a song's arrangement adds something once it reaches the second verse.",
"This is unusual, in that normally, a song's arrangement adds something once it reaches the second verse. Episodic digressions First episode (1:41–2:13) The first episode (1:41+) begins disjunctively with an abrupt tape splice.",
"Episodic digressions First episode (1:41–2:13) The first episode (1:41+) begins disjunctively with an abrupt tape splice. The refrain's B, which had received a dominant (V) charge, is now maintained as a tonic (I).",
"The refrain's B, which had received a dominant (V) charge, is now maintained as a tonic (I). There is harmonic ambiguity, in that the chord progression may be either interpreted as I–IV–I (in B) or V–I–V (in E).",
"There is harmonic ambiguity, in that the chord progression may be either interpreted as I–IV–I (in B) or V–I–V (in E). Stebbins says that this section \"might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply.\"",
"Stebbins says that this section \"might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply.\" A new sound is created by tack piano, jaw harp, and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, bass harmonica, and sleigh bells shaken on every beat.",
"A new sound is created by tack piano, jaw harp, and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, bass harmonica, and sleigh bells shaken on every beat. The lone line of vocals (aside from non-lexical harmonies) is \"I don't know where, but she sends me there\" sung in Mike Love's upper-register baritone.",
"The lone line of vocals (aside from non-lexical harmonies) is \"I don't know where, but she sends me there\" sung in Mike Love's upper-register baritone. This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns.",
"This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns. Second episode (2:13–2:56) Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat.",
"Second episode (2:13–2:56) Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat. Sound on Sound highlights this change as the \"most savage edit in the track ... most people would go straight into a big splash hook-line section.",
"Sound on Sound highlights this change as the \"most savage edit in the track ... most people would go straight into a big splash hook-line section. Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ...",
"Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ... Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian.\"",
"Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian.\" Harrison says: The slowed pace is complemented by the lyric (\"Gotta keep those loving good vibrations a-happening with her\"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony.",
"Harrison says: The slowed pace is complemented by the lyric (\"Gotta keep those loving good vibrations a-happening with her\"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony. This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2.",
"This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2. The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats.",
"The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats. Lambert calls it the song's \"wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments.",
"Lambert calls it the song's \"wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments. As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say.\"",
"As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say.\" Retro-refrain and coda (2:57–3:35) A brief break at the end of the second musical digression creates tension which leads into the final sequence of the song.",
"Retro-refrain and coda (2:57–3:35) A brief break at the end of the second musical digression creates tension which leads into the final sequence of the song. The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B, repeats at A, and then ends at G for an unexpectedly short single measure.",
"The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B, repeats at A, and then ends at G for an unexpectedly short single measure. The section uses a descending progression, which mirrors the ascending progression of the previous two refrains.",
"The section uses a descending progression, which mirrors the ascending progression of the previous two refrains. There follows a short section of vocalizing in three-part counterpoint that references the original refrain by reproducing upward transposition. However, this time it settles on A, the concluding key of the song.",
"However, this time it settles on A, the concluding key of the song. By the end of \"Good Vibrations,\" all seven scale degrees of the opening E-minor tonic are activated on some level.",
"By the end of \"Good Vibrations,\" all seven scale degrees of the opening E-minor tonic are activated on some level. Release and promotion In a July 1966 advertisement for Pet Sounds in Billboard magazine, the band thanked the music industry for the sales of their album, and said that \"We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations.\"",
"Release and promotion In a July 1966 advertisement for Pet Sounds in Billboard magazine, the band thanked the music industry for the sales of their album, and said that \"We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations.\" This was the first public hint of the new single.",
"This was the first public hint of the new single. Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was \"about a guy who picks up good vibrations from a girl\" and that it would be a \"monster\".",
"Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was \"about a guy who picks up good vibrations from a girl\" and that it would be a \"monster\". He then suggested: \"It's still sticking pretty close to that same boy-girl thing, you know, but with a difference.",
"He then suggested: \"It's still sticking pretty close to that same boy-girl thing, you know, but with a difference. And it's a start, it's definitely a start.\"",
"And it's a start, it's definitely a start.\" Derek Taylor, who had recently been engaged as the band's publicist, is credited for coining the term a \"pocket symphony\" to describe the song.",
"Derek Taylor, who had recently been engaged as the band's publicist, is credited for coining the term a \"pocket symphony\" to describe the song. In a press release for the single, he stated: \"Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils.",
"In a press release for the single, he stated: \"Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils. And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else.\"",
"And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else.\" To promote the single, four different music videos were shot.",
"To promote the single, four different music videos were shot. The first of these—which had Caleb Deschanel as cameraman—features the group at a fire station, sliding down its pole, and roaming the streets of Los Angeles in a fashion comparable to The Monkees. The second features the group during vocal rehearsals at United Western Recorders.",
"The second features the group during vocal rehearsals at United Western Recorders. The third contains footage recorded during the making of The Beach Boys in London, a documentary by Peter Whitehead of their concert performances. The fourth clip is an alternative edit of the third.",
"The fourth clip is an alternative edit of the third. Brian also made a rare television appearance on local station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record.",
"Brian also made a rare television appearance on local station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record. On October 15, 1966, Billboard predicted that the single would reach the top 20 in the Billboard Hot 100 chart.",
"On October 15, 1966, Billboard predicted that the single would reach the top 20 in the Billboard Hot 100 chart. \"Good Vibrations\" was the Beach Boys' third US number one hit, after \"I Get Around\" and \"Help Me, Rhonda\", reaching the top of the Hot 100 in December.",
"\"Good Vibrations\" was the Beach Boys' third US number one hit, after \"I Get Around\" and \"Help Me, Rhonda\", reaching the top of the Hot 100 in December. It was also their first number one in Britain.",
"It was also their first number one in Britain. The single sold over 230,000 copies in the US within four days of its release and entered the Cash Box chart at number 61 on October 22. In the UK, the song sold over 50,000 copies in the first 15 days of its release.",
"In the UK, the song sold over 50,000 copies in the first 15 days of its release. \"Good Vibrations\" quickly became the Beach Boys' first million-selling single. In December 1966, the record was their first single certified gold by the RIAA for sales of one million copies.",
"In December 1966, the record was their first single certified gold by the RIAA for sales of one million copies. On March 30, 2016, the digital single was certified platinum by the RIAA for the same sales level.",
"On March 30, 2016, the digital single was certified platinum by the RIAA for the same sales level. In the US, Cash Box said that it is a \"catchy, easy-driving ditty loaded with the Boys’ money-making sound.\" In Britain, the single received favorable reviews from the New Musical Express and Melody Maker.",
"In Britain, the single received favorable reviews from the New Musical Express and Melody Maker. Soon after, the Beach Boys were voted the number one band in the world in the NME readers' poll, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops.",
"Soon after, the Beach Boys were voted the number one band in the world in the NME readers' poll, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops. Billboard said that this result was probably influenced by the success of \"Good Vibrations\" when the votes were cast, together with the band's recent tour, whereas the Beatles had neither a recent single nor had they toured the UK throughout 1966; the reporter added that \"The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak.\"",
"Billboard said that this result was probably influenced by the success of \"Good Vibrations\" when the votes were cast, together with the band's recent tour, whereas the Beatles had neither a recent single nor had they toured the UK throughout 1966; the reporter added that \"The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak.\" In a readers' poll conducted by a Danish newspaper, Brian Wilson won the \"best foreign-produced recording award\", marking the first time that an American had won in that category.",
"In a readers' poll conducted by a Danish newspaper, Brian Wilson won the \"best foreign-produced recording award\", marking the first time that an American had won in that category. The single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc.",
"The single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc. Influence and legacy Historical reception Virtually every pop music critic recognizes \"Good Vibrations\" as one of the most important compositions and recordings of the entire rock era.",
"Influence and legacy Historical reception Virtually every pop music critic recognizes \"Good Vibrations\" as one of the most important compositions and recordings of the entire rock era. It is a regular fixture on \"greatest of all-time\" song lists and is frequently hailed as one of the finest pop productions of all time.",
"It is a regular fixture on \"greatest of all-time\" song lists and is frequently hailed as one of the finest pop productions of all time. In 2004, Rolling Stone magazine ranked \"Good Vibrations\" at number 6 in \"The 500 Greatest Songs of All Time\", the highest position of seven Beach Boys songs cited in the list.",
"In 2004, Rolling Stone magazine ranked \"Good Vibrations\" at number 6 in \"The 500 Greatest Songs of All Time\", the highest position of seven Beach Boys songs cited in the list. In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list.",
"In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list. As of 2016, \"Good Vibrations\" is ranked as the number four song of all time in an aggregation of critics' lists at Acclaimed Music. The song served as an anthem for the counterculture of the 1960s.",
"The song served as an anthem for the counterculture of the 1960s. According to Noel Murray of The A.V.",
"According to Noel Murray of The A.V. Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's \"un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do.\"",
"Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's \"un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do.\" Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for \"Good Vibrations\".",
"Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for \"Good Vibrations\". \"Heroes and Villains\", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967.",
"\"Heroes and Villains\", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967. In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of \"Good Vibrations\".",
"In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of \"Good Vibrations\". When asked about the song in 1990, Paul McCartney responded: \"I thought it was a great record.",
"When asked about the song in 1990, Paul McCartney responded: \"I thought it was a great record. It didn't quite have the emotional thing that Pet Sounds had for me. I've often played Pet Sounds and cried. It's that kind of an album for me.\"",
"It's that kind of an album for me.\" Pete Townshend of the Who was quoted in the 1960s as saying, \"'Good Vibrations' was probably a good record but who's to know? You had to play it about 90 bloody times to even hear what they were singing about.\"",
"You had to play it about 90 bloody times to even hear what they were singing about.\" Townshend feared that the single would lead to a trend of overproduction. In a 1966 issue of Arts Magazine, Jonathan King said: \"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art.",
"In a 1966 issue of Arts Magazine, Jonathan King said: \"With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art. Computerized pop, mechanized music. Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons.",
"Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons. It is long and split. ... impressive, fantastic, commercial—yes. Emotional, soul-destroying, shattering—no.\"",
"Emotional, soul-destroying, shattering—no.\" In the 2000s, record producer Phil Spector criticized the single for depending too much on tape manipulation, negatively referring to it as an \"edit record ... It's like Psycho is a great film, but it's an 'edit film.'",
"It's like Psycho is a great film, but it's an 'edit film.' Without edits, it's not a film; with edits, it's a great film. But it's not Rebecca ... it's not a beautiful story.\"",
"But it's not Rebecca ... it's not a beautiful story.\" Advancements Recording and popular music \"Good Vibrations\" is credited for having further developed the use of recording studios as a musical instrument.",
"Advancements Recording and popular music \"Good Vibrations\" is credited for having further developed the use of recording studios as a musical instrument. Author Domenic Priore commented that the song's making was \"unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording\".",
"Author Domenic Priore commented that the song's making was \"unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording\". A milestone in the development of rock music, the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record.",
"A milestone in the development of rock music, the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record. Musicologist Charlie Gillett called it \"one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance\".",
"Musicologist Charlie Gillett called it \"one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance\". In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted: Writing for Popmatters in 2015, Scott Interrante stated: \"'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have.\"",
"In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted: Writing for Popmatters in 2015, Scott Interrante stated: \"'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have.\" The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm.",
"The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm. Microtonal composer Frank Oteri said that it \"sounds like no other pop song recorded up to that point\".",
"Microtonal composer Frank Oteri said that it \"sounds like no other pop song recorded up to that point\". According to Stebbins: \"This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original.",
"According to Stebbins: \"This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original. But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century.\"",
"But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century.\" He added that the single \"vaulted nearly every other rock act in their delivery of a Flower Power classic. It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop.\"",
"It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop.\" John Bush wrote that the single \"announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies\".",
"John Bush wrote that the single \"announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies\". Gillett noted: \"For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording.\"",
"Gillett noted: \"For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording.\" Priore says that the song was a forerunner to works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes.",
"Priore says that the song was a forerunner to works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes. In his appraisal for American Songwriter, Roland cites the song's \"format\" as the model for recordings by Wings (\"Band on the Run\"), the Beatles (\"A Day in the Life\"), and Elton John (\"Funeral for a Friend/Love Lies Bleeding\").",
"In his appraisal for American Songwriter, Roland cites the song's \"format\" as the model for recordings by Wings (\"Band on the Run\"), the Beatles (\"A Day in the Life\"), and Elton John (\"Funeral for a Friend/Love Lies Bleeding\"). The song's approach was repeated in Queen's 1975 single \"Bohemian Rhapsody\", which was similarly pieced together using different sections.",
"The song's approach was repeated in Queen's 1975 single \"Bohemian Rhapsody\", which was similarly pieced together using different sections. Wilson praised Queen's effort, calling it \"the most competitive thing that's come along in ages\" and \"a fulfillment and an answer to a teenage prayer—of artistic music\".",
"Wilson praised Queen's effort, calling it \"the most competitive thing that's come along in ages\" and \"a fulfillment and an answer to a teenage prayer—of artistic music\". Psychedelic and progressive rock With \"Good Vibrations\", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages.",
"Psychedelic and progressive rock With \"Good Vibrations\", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages. Writing in 2009, Barney Hoskyns deemed it to be the era's \"ultimate psychedelic pop record\" from Los Angeles.",
"Writing in 2009, Barney Hoskyns deemed it to be the era's \"ultimate psychedelic pop record\" from Los Angeles. Interrante adds: \"Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated, but its legacy as a pop hit is impressive as well.\"",
"Interrante adds: \"Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated, but its legacy as a pop hit is impressive as well.\" Former Atlantic Records executive Phillip Rauls recalled: \"I was in the music business at the time, and my very first recognition of acid rock—we didn't call it progressive rock then—was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [theremin] sent so many musicians back to the studio to create this music on acid.\"",
"Former Atlantic Records executive Phillip Rauls recalled: \"I was in the music business at the time, and my very first recognition of acid rock—we didn't call it progressive rock then—was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [theremin] sent so many musicians back to the studio to create this music on acid.\" Author Bill Martin suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: \"The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life.'\"",
"Author Bill Martin suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: \"The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life.'\" Use of theremin Although the song does not technically contain a theremin, \"Good Vibrations\" is the most frequently cited example of the instrument's use in pop music.",
"Use of theremin Although the song does not technically contain a theremin, \"Good Vibrations\" is the most frequently cited example of the instrument's use in pop music. Upon release, the single prompted an unexpected revival in theremins and increased the awareness of analog synthesizers.",
"Upon release, the single prompted an unexpected revival in theremins and increased the awareness of analog synthesizers. The notion that \"Good Vibrations\" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants.",
"The notion that \"Good Vibrations\" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants. While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin.",
"While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin. When the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments.",
"When the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments. Tanner recalls saying to Wilson, \"I've got the wrong sort of hair to be on stage with you fellas\", to which Wilson replied: \"We'll give you a Prince Valiant wig.\"",
"Tanner recalls saying to Wilson, \"I've got the wrong sort of hair to be on stage with you fellas\", to which Wilson replied: \"We'll give you a Prince Valiant wig.\" The Beach Boys then requested the services of Walter Sear, who asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar.",
"The Beach Boys then requested the services of Walter Sear, who asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar. Sear remembers marking fretboard-like lines on the ribbon \"so they could play the damn thing.\" Moog began manufacturing his own models of theremins.",
"Moog began manufacturing his own models of theremins. He later noted: \"The pop record scene cleaned us out of our stock which we expected to last through Christmas.\"",
"He later noted: \"The pop record scene cleaned us out of our stock which we expected to last through Christmas.\" In Steven M. Martin's 1993 documentary Theremin: An Electronic Odyssey, in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin due to \"Good Vibrations\" caused Russian authorities to exile its inventor, Leon Theremin.",
"In Steven M. Martin's 1993 documentary Theremin: An Electronic Odyssey, in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin due to \"Good Vibrations\" caused Russian authorities to exile its inventor, Leon Theremin. Cover versions The song has been covered by artists such as Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV.",
"Cover versions The song has been covered by artists such as Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV. John Bush commented: \"'Good Vibrations' was rarely reprised by other acts, even during the cover-happy '60s. Its fragmented style made it essentially cover-proof.\"",
"Its fragmented style made it essentially cover-proof.\" In 1976, a nearly identical cover version was released as a single by Todd Rundgren for his album Faithful. When asked for his opinion, Brian said: \"Oh, he did a marvelous job, he did a great job. I was very proud of his version.\"",
"I was very proud of his version.\" Rundgren's single peaked at number 34 on the Billboard Hot 100.",
"Rundgren's single peaked at number 34 on the Billboard Hot 100. Rundgren explained: \"I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting—like around Pet Sounds and 'Good Vibrations' ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal.",
"Rundgren explained: \"I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting—like around Pet Sounds and 'Good Vibrations' ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal. ...",
"... ... I tried to do [the song] as literally as I could because in the intervening 10 years, radio had changed so much. Radio had become so formatted and so structured that that whole experience was already gone.\" In 2004, Wilson re-recorded the song as a solo artist for his album Brian Wilson Presents Smile.",
"In 2004, Wilson re-recorded the song as a solo artist for his album Brian Wilson Presents Smile. It was sequenced as the album's closing track, following \"In Blue Hawaii\". In this version, \"Good Vibrations\" was the project's only track that eschewed the modular recording method.",
"In this version, \"Good Vibrations\" was the project's only track that eschewed the modular recording method. The song's verses and chorus were recorded as part of one whole take, and were not spliced together.",
"The song's verses and chorus were recorded as part of one whole take, and were not spliced together. In 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated.",
"In 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated. Their version of \"Good Vibrations\", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on Billboards A/C chart.",
"Their version of \"Good Vibrations\", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on Billboards A/C chart. In popular culture The song's parody is used for the jingle of the Australian consumer electronics retailer The Good Guys.",
"In popular culture The song's parody is used for the jingle of the Australian consumer electronics retailer The Good Guys. In 1996, experimental rock group His Name Is Alive released an homage titled \"Universal Frequencies\" on their album Stars on E.S.P.",
"In 1996, experimental rock group His Name Is Alive released an homage titled \"Universal Frequencies\" on their album Stars on E.S.P. Warren Defever reportedly listened to \"Good Vibrations\" repeatedly for a week before deciding that the song \"needed a sequel\"; he added: \"'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful.\"",
"Warren Defever reportedly listened to \"Good Vibrations\" repeatedly for a week before deciding that the song \"needed a sequel\"; he added: \"'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful.\" In 1997, the movie Vegas Vacation used the song for the opening credits, with Clark Griswold (Chevy Chase) singing the song.",
"In 1997, the movie Vegas Vacation used the song for the opening credits, with Clark Griswold (Chevy Chase) singing the song. The song's lyrics \"I'm picking up good vibrations\" are quoted in Cyndi Lauper's 1984 single \"She Bop\".",
"The song's lyrics \"I'm picking up good vibrations\" are quoted in Cyndi Lauper's 1984 single \"She Bop\". A live version of the song, from the album Live in London, appears as a playable track in the 2010 video game Rock Band 3.",
"A live version of the song, from the album Live in London, appears as a playable track in the 2010 video game Rock Band 3. In 2019, the song was used prominently in a scene for Jordan Peele's psychological horror thriller film Us.",
"In 2019, the song was used prominently in a scene for Jordan Peele's psychological horror thriller film Us. In 2018, The song was featured in the animated film Hotel Transylvania 3: Summer Vacation.",
"In 2018, The song was featured in the animated film Hotel Transylvania 3: Summer Vacation. Release history In early 2011, the single was remastered and reissued as a four-sided 78 rpm vinyl for Record Store Day, as a teaser for the forthcoming The Smile Sessions box set.",
"Release history In early 2011, the single was remastered and reissued as a four-sided 78 rpm vinyl for Record Store Day, as a teaser for the forthcoming The Smile Sessions box set. It contained \"Heroes and Villains\" as a B-side, along with previously released alternate takes and mixes.",
"It contained \"Heroes and Villains\" as a B-side, along with previously released alternate takes and mixes. Stereo version Due to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile.",
"Stereo version Due to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile. The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett.",
"The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett. Fitzgerald's software extracted individual instrumental and vocal stems from the original mono master—as the multi-track vocals remained missing—to construct the stereo version that appears on the 2012 reissue of Smiley Smile.",
"Fitzgerald's software extracted individual instrumental and vocal stems from the original mono master—as the multi-track vocals remained missing—to construct the stereo version that appears on the 2012 reissue of Smiley Smile. 40th Anniversary Edition In celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released.",
"40th Anniversary Edition In celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released. The EP includes \"Good Vibrations\", four alternate versions of the song, and the stereo mix of \"Let's Go Away for Awhile\". The EP artwork recreates that of the original 7-inch single sleeve.",
"The EP artwork recreates that of the original 7-inch single sleeve. In 2016, the EP was reissued as a 12\" record for the single's 50th anniversary. Personnel The following people are identified as players on the \"Good Vibrations\" single.",
"Personnel The following people are identified as players on the \"Good Vibrations\" single. The Beach Boys Mike Love – lead vocals in chorus Brian Wilson – vocals, tack piano, tambourine, production, mixing Carl Wilson – lead vocals in verses, guitar, shaker Dennis Wilson – Hammond organ during 2:13–2:56 Additional musicians and production staff Hal Blaine – drums, timpani, other percussion Al De Lory – piano, harpsichord Jesse Ehrlich – cello Larry Knechtel – organ in verses and choruses Tommy Morgan – harmonica Al Casey – guitar Ray Pohlman – electric bass Lyle Ritz – double bass Jim Horn – piccolo Paul Tanner – Electro-Theremin Bassist Carol Kaye played on several of the \"Good Vibrations\" sessions, and has been identified as a prominent contributor to the track.",
"The Beach Boys Mike Love – lead vocals in chorus Brian Wilson – vocals, tack piano, tambourine, production, mixing Carl Wilson – lead vocals in verses, guitar, shaker Dennis Wilson – Hammond organ during 2:13–2:56 Additional musicians and production staff Hal Blaine – drums, timpani, other percussion Al De Lory – piano, harpsichord Jesse Ehrlich – cello Larry Knechtel – organ in verses and choruses Tommy Morgan – harmonica Al Casey – guitar Ray Pohlman – electric bass Lyle Ritz – double bass Jim Horn – piccolo Paul Tanner – Electro-Theremin Bassist Carol Kaye played on several of the \"Good Vibrations\" sessions, and has been identified as a prominent contributor to the track. However, analysis by Beach Boys archivist Craig Slowinski indicates that none of those recordings made the final edit as released on the single.",
"However, analysis by Beach Boys archivist Craig Slowinski indicates that none of those recordings made the final edit as released on the single. Charts Weekly charts Original release 1976 reissue Todd Rundgren version (1976) Year-end charts Certifications Awards and accolades Footnotes References Bibliography External links Greg Panfile's Musical Analysis of \"Good Vibrations\" 1966 singles 1966 songs 2004 singles 2011 singles Brian Wilson songs Psychic TV songs The Beach Boys songs Todd Rundgren songs Capitol Records singles Grammy Hall of Fame Award recipients Billboard Hot 100 number-one singles Cashbox number-one singles Number-one singles in Australia Number-one singles in New Zealand UK Singles Chart number-one singles Songs written by Brian Wilson Songs written by Mike Love Songs written by Tony Asher Song recordings produced by Brian Wilson Song recordings with Wall of Sound arrangements Art pop songs Avant-pop songs Psychedelic pop songs American psychedelic rock songs Songs used as jingles Songs composed in E-flat minor"
] |
[
"Hack Wilson",
"Early life and minor leagues"
] | C_caf876f084ed435aae7dfb1e41e6fe73_1 | what was Wilson's early life like? | 1 | what was Wilson's early life like? | Hack Wilson | Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker. His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24. In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week. Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes. Sportswriter Shirley Povich later observed that he was "built along the lines of a beer keg, and was not wholly unfamiliar with its contents." While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of the Fetal Alcohol Syndrome. In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class "D" Blue Ridge League. After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield. In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year. In 1923, playing for the "B" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average. Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500. CANNOTANSWER | Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker. | Lewis Robert "Hack" Wilson (April 26, 1900 – November 23, 1948) was an American Major League Baseball player who played 12 seasons for the New York Giants, Chicago Cubs, Brooklyn Dodgers and Philadelphia Phillies. Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s. His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history. Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed. "For a brief span of a few years", wrote a sportswriter of the day, "this hammered down little strongman actually rivaled the mighty Ruth."
While Wilson's combativeness and excessive alcohol consumption made him one of the most colorful sports personalities of his era, his drinking and fighting undoubtedly contributed to a premature end to his athletic career and, ultimately, his premature death. He was inducted into the Baseball Hall of Fame in 1979.
Baseball career
Early life and minor leagues
Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker. His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24.
In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week. Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes. Sportswriter Shirley Povich later observed that he was "built along the lines of a beer keg, and was not wholly unfamiliar with its contents." While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of Fetal Alcohol Syndrome.
In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class "D" Blue Ridge League. After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield. In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year. In 1923, playing for the "B" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average. Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500 ($ in current dollar terms).
New York Giants
Wilson made his major league debut with the Giants on September 29, 1923, at the age of 23, and became the starting left fielder the following season. By mid-July he was ranked second in the National League (NL) in hitting. He ended the season with a .295 average, 10 home runs, and 57 runs batted in (RBIs) as New York won the NL pennant. In the 1924 World Series he averaged only .233 in a seven-game loss to the Washington Senators.
Multiple stories exist to explain the origin of Wilson's nickname: By one account, a New York newspaper held a nicknaming contest; the winning entry was "Hack" because he reminded many fans of another stocky athlete, the popular wrestler Georg Hackenschmidt. In another version, McGraw is said to have remarked that Wilson's physique was reminiscent of a "hack" (slang for taxicab in that era). Giants teammate Bill Cunningham claimed that the nickname was based on Wilson's resemblance to Hack Miller, an outfielder with the Chicago Cubs. The New York Times printed the first documented usage of "Hack" on June 10, 1924.
Early in the 1925 season Wilson hit the longest home run on record at Ebbets Field against the Brooklyn Robins, but fell into a slump in May, and was replaced in left field by Irish Meusel. On July 2 he hit two home runs in one inning, tying Ken Williams' major league record set in 1922, but his hitting slump continued. In August McGraw told reporters that he had "... made the mistake of rushing [Wilson] along," and sent him to the Giants' minor league affiliate, the Toledo Mud Hens of the American Association. At season's end, a front office oversight—or possibly, deliberate inaction—left him unprotected on the Toledo roster, and the last-place Chicago Cubs acquired him on waivers. "They let go the best outfielder I ever played alongside", said Giants right fielder Ross Youngs, "and they're going to regret it."
During the 1925 World Series — between the Senators and the Pittsburgh Pirates — Wilson's son, Robert, was born.
Glory years with the Cubs
Wilson regained his form as the Cubs' center fielder in 1926, and he quickly became a favorite of Chicago fans. On May 24 he hit the center field scoreboard with one of the longest home runs in Wrigley Field history as the Cubs came from behind to defeat the Boston Braves. Later that evening he made news again when he was arrested during a police raid of a Prohibition-era speakeasy while trying to escape through the rear window, and was fined one dollar. He ended the season with a league-leading 21 home runs along with 36 doubles, 109 RBIs, a .321 batting average, and a .406 on-base percentage. The Cubs improved to fourth place, and Wilson ended the year ranked fifth in voting for the NL's Most Valuable Player (MVP) Award.
Another strong performance followed in 1927 as Wilson once again led the league in home runs. Although the Cubs were in first place heading into the final month of the season, the team faltered and again finished fourth. Wilson posted a .318 average with 30 home runs and 129 RBIs, and led NL outfielders with 400 putouts. He led the NL in home runs for a third consecutive year in 1928 with 31, along with 120 RBIs and a .313 average as the Cubs improved to third place.
Wilson had a combative streak and sometimes initiated fights with opposing players and fans. On June 22, 1928, a near-riot broke out in the ninth inning at Wrigley Field against the St. Louis Cardinals when Wilson jumped into the box seats to attack a heckling fan. An estimated 5,000 spectators swarmed the field before police could separate the combatants and restore order. The fan sued Wilson for $20,000, but a jury ruled in his favor. The following year he took offense at a remark by Cincinnati Reds pitcher Ray Kolp, and – upon reaching first base after hitting a single – he charged into the Reds dugout, punching Kolp several times before they could be separated. Later that evening at the train station, Wilson exchanged words and blows with Cincinnati player Pete Donohue. In late 1929 he signed a contract to fight Art Shires of the Chicago White Sox in a boxing match, but reneged after Cubs president William Veeck, Sr. enlisted Hack's wife Virginia to dissuade him, and then Shires lost a fight to George Trafton of the Chicago Bears. There was nothing to gain, Wilson said, by fighting a defeated boxer.
Wilson's "penchant for festivities" is also well documented. Biographer Clifton Blue Parker described him as "... the Roaring '20s epitome of a baseball player, primed for an age of American excess ... at a time when baseball was America's favorite sport." His love of drinking and partying did not endear him to Cubs owner William Wrigley, who abhorred alcohol consumption. (Wilson always insisted that he never played drunk; "hung over, yes; drunk, no.") Manager Joe McCarthy worked hard to shield Wilson from Wrigley, and to keep him on an even keel. "Better than any other manager," wrote sportswriter Frank Graham, "Joe understood Hack, made allowances for him when he failed, and rewarded him with praise when he did well. Joe could be strict and stern with his players ... but he never was with Hack, and Hack repaid him by playing as he never had before, nor would again."
In 1929 Wilson hit .345 with 39 home runs and a league-record 159 RBIs. He and new teammate Rogers Hornsby (who also contributed 39 home runs) led the Cubs to their first NL pennant in eleven years. In the World Series against Connie Mack's Philadelphia Athletics, Wilson's .471 hitting performance was eclipsed by two fielding errors at Shibe Park. Though trailing the Series two games to one, the Cubs were leading by a score of 8–0 in the fourth game when the Athletics mounted a 10-run rally in the seventh inning. Wilson lost two fly balls in the sun; the second, with two runners on base, led to an inside-the-park home run by Mule Haas as the Athletics won 10–8. After the game, McCarthy reportedly told a boy asking for a souvenir baseball, "Come back tomorrow and stand behind Wilson, and you'll be able to pick up all the balls you want!" The Athletics won again the next day to take the Series in five games.
1930 peak
Wilson's 1930 season, aided by a lively ball wound with special Australian wool, is considered one of the best single-season hitting performances in baseball history. By the middle of July he had accumulated 82 RBIs. In August he hit 13 home runs and 53 RBIs, and by September 17 he had reached 174 RBIs, breaking Lou Gehrig's major league record established three years earlier. He finished the season with 190 RBIs, along with an NL-record 56 home runs, .356 batting average, .454 on-base percentage, and league-leading .723 slugging percentage. He was unofficially voted the NL's most "useful" player by the Baseball Writers' Association of America (which did not inaugurate its official MVP award until 1931).
In 1999 the Commissioner of Baseball officially increased Wilson's 1930 RBI total to 191 after a box score analysis by baseball historian Jerome Holtzman revealed that Charlie Grimm had been mistakenly credited with an RBI actually driven home by Wilson during the second game of a doubleheader on July 28. Wilson's 191 RBIs remains one of baseball's most enduring records; only Gehrig (185) and Hank Greenberg (184) ever came close, and there have been no serious challenges in the last 75 years. (The best recent effort was 165 by Manny Ramirez in 1999.)
Reds catcher Clyde Sukeforth asserted that Wilson should have been credited with an additional home run in 1930 as well. "He hit one in Cincinnati one day", he said, "way up in the seats, hit it so hard that it bounced right back onto the field. The umpire had a bad angle on it and ruled that it had hit the screen and bounced back. I was sitting in the Cincinnati bullpen, and of course, we weren't going to say anything. But Hack really hit 57 that year." Wilson's official total of 56 stood as the NL record until the 1998 season, when it was broken by Sammy Sosa (66) and Mark McGwire (70).
Decline
Wilson's success in the 1930 season served only to fuel his drinking habits, and in 1931 he reported to spring training 20 pounds overweight. In addition, the NL responded to the prodigious offensive statistics of the previous year (the only season, other than 1894, in which the league as a whole batted over .300) by introducing a heavier ball with raised stitching to allow pitchers to gain a better grip and throw sharper curveballs. Wilson complained that the new Cubs manager, Hornsby, did not allow him to "swing away" as much as Joe McCarthy had. He hit his 200th career home run at Ebbets Field on June 18 — only the fourth player ever to do so, behind Ruth, Cy Williams, and Hornsby — but then fell into a protracted slump, and was benched in late May. By late August Wrigley publicly expressed his desire to trade him. On September 6 he was suspended without pay for the remainder of the season after a fight with reporters aboard a train in Cincinnati. He was hitting .261 with only 13 home runs (his 1930 production during August alone) at the time.
In December 1931, the Cubs traded Wilson, along with Bud Teachout, to the St. Louis Cardinals for Burleigh Grimes. Less than a month later, the Cardinals sent him to the Brooklyn Dodgers for minor league outfielder Bob Parham and $25,000 ($ in current dollar terms). Wilson hit .297 with 23 home runs and 123 RBIs for Brooklyn in 1932. He began 1933 with a ninth-inning game-winning pinch-hit inside-the-park grand slam home run at Ebbets Field—the first pinch-hit grand slam in Dodger history, and only the third inside-the-park pinch-hit grand slam in MLB history. By season's end his offensive totals had dropped substantially, and he was hitting .262 when the Dodgers released him mid-season in 1934. The Philadelphia Phillies signed him immediately, but after just two hits in 20 at bats he was released again a month later. After a final season with the Albany Senators of the Class "A" New York–Pennsylvania League, Wilson retired at the age of 35.
Career statistics
In a 12-year major league career, Wilson played in 1,348 games and accumulated 1,461 hits in 4,760 at-bats for a .307 career batting average and a .395 on-base percentage. He hit 244 home runs and batted in 1,063 runs, led the NL in home runs four times, and surpassed 100 RBIs six times. Defensively, he finished his career with a .965 fielding percentage.
Life after baseball
Wilson returned to Martinsburg where he opened a pool hall, but encountered financial problems due to a failed sporting goods business venture, and then a rancorous divorce from Virginia. By 1938 he was working as a bartender near Brooklyn's Ebbets Field where he sang for drinks, but had to quit when customers became too abusive. A night club venture in suburban Chicago was another financial failure. In 1944 he took a job as a good will ambassador for a professional basketball team in Washington, D.C., where he lamented that fans remembered his two dropped fly balls in the 1929 World Series far more vividly than his 56 home runs and 191 RBIs in 1930. Unable to find work in professional baseball, he moved to Baltimore where he worked as a tool checker in an airplane manufacturing plant and later as a laborer for the City of Baltimore. When municipal authorities realized who he was, he was made the manager of a Baltimore public swimming pool.
On October 4, 1948 Wilson was discovered unconscious after a fall in his home. Though the accident did not appear serious at first, pneumonia and other complications developed and he died of internal hemorrhaging on November 23, 1948, at the age of 48.
Wilson — once the highest-paid player in the National League — died penniless; his son, Robert, refused to claim his remains. NL President Ford Frick finally sent money to cover his funeral expenses. His gray burial suit was donated by the undertaker. In marked contrast to Babe Ruth's funeral, which had been attended by thousands just three months earlier, only a few hundred people were present for Wilson's services. He was buried in Rosedale Cemetery in the town where he made his professional playing debut, Martinsburg, West Virginia.
Ten months later Joe McCarthy organized a second, more complete memorial service, attended by Kiki Cuyler, Charlie Grimm, Nick Altrock and other players from the Cubs and the Martinsburg team (by then renamed the Blue Sox). A granite tombstone was unveiled, with the inscription, "One of Baseball's Immortals, Lewis R. (Hack) Wilson, Rests Here."
One week before his death, Wilson gave an interview to CBS Radio which was reprinted in Chicago newspapers. In 1949 Charlie Grimm, the Cubs' new manager, posted a framed excerpt from that interview in the Cubs clubhouse, where it remains. It reads, in part:
Talent isn't enough. You need common sense and good advice. If anyone tries to tell you different, tell them the story of Hack Wilson. ... Kids in and out of baseball who think because they have talent they have the world by the tail. It isn't so. Kids, don't be too big to accept advice. Don't let what happened to me happen to you.
In 1979 Wilson was inducted into the Baseball Hall of Fame by the Veterans Committee. A Martinsburg street is named Hack Wilson Way in his honor, and the access road to a large city park within his home town, Ellwood City, Pennsylvania, is known as Hack Wilson Drive.
See also
50 home run club
List of Major League Baseball annual home run leaders
List of Major League Baseball annual runs batted in leaders
List of Major League Baseball players to hit for the cycle
List of Major League Baseball career runs batted in leaders
List of Major League Baseball career slugging percentage leaders
List of Major League Baseball career OPS leaders
List of Major League Baseball career home run leaders
References
Further reading
Subscription required.
Subscription required.
External links
, or Retrosheet
National Baseball Hall of Fame inductees
Major League Baseball center fielders
Chicago Cubs players
Brooklyn Dodgers players
New York Giants (NL) players
Philadelphia Phillies players
National League home run champions
National League RBI champions
Martinsburg Mountaineers players
Martinsburg Blue Sox players
Portsmouth Truckers players
Toledo Mud Hens players
Albany Senators players
Baseball players from Pennsylvania
Sportspeople from Martinsburg, West Virginia
People from Ellwood City, Pennsylvania
People from Lawrence County, Pennsylvania
1900 births
1948 deaths | true | [
"Thomas Wilson was a southern American business entrepreneur and magnate. He was active from the early 1850s until his death in the early 20th century.\n\nEarly life and work\nWilson immigrated to the United States in the 1850s from Scotland, where he had been raised by his grandfather, a Scottish laird. Although he came from an aristocratic family, Wilson had little education. He and his wife arrived in New York City with less than one pound. He hired on as an apprentice boilermaker and rose quickly along the corporate ladder.\n\nBy the end of the American Civil War, Wilson owned a chain of foundries. He and his family moved to Sumter, South Carolina and established a number of companies throughout the South.\n\nWilson developed the Northwestern Railroad of South Carolina and later served as head of the Atlantic Coast Line Railroad, the St. Charles Hotel and the First National Bank of Sumter, among others.\n\nLater life, work, and death\nBy 1864 he had fathered several children, one of whom had died. He owned large swathes of land throughout the South; with especially large ones in Florida. His land holdings included all of what is now Myrtle Beach, South Carolina. By the end of his life, he was the wealthiest person in South Carolina.\n\nReferences\n\nAmerican manufacturing businesspeople\nAmerican boilermakers\nYear of death missing\nYear of birth missing",
"The Beach Boys: An American Family is a 2000 miniseries written by Kirk Ellis and directed by Jeff Bleckner. It is a dramatization of the early years of The Beach Boys, from their formation in the early 1960s to their peak of popularity as musical innovators, through their late-1960s decline (and Brian Wilson's beginning battle with mental illness), to their re-emergence in 1974 as a nostalgia and \"goodtime\" act.\n\nThe movie was shown in two parts on ABC Television, and featured a good deal of original studio and session material by the band, which forms the backdrop to the story. Music that couldn't be licensed for the production, but was important to the story (such as the Smile album sessions, and music by criminal Charles Manson, who had collaborated with Dennis Wilson), was filled in with sound-alikes, reminiscent of the original recordings.\n\nIn 2000, Brian Wilson stated of the film: \"I didn't like it, I thought it was in poor taste. ... And it stunk. I thought it stunk!\" He elaborated further: \"I didn't like the second part. It wasn't really true to the way things were. I'd like to see another movie if it was done right. But I just sort of turned my back to this one, or my other cheek, or whatever you wanna call it. It was best just to ignore it because it really wasn't true to life.\" Wilson also felt that he was poorly portrayed by actor Frederick Weller (\"He was a little more rough than me\") and that there was too much coverage of Charles Manson (\"That was a commercial fuckup\").\n\nCast\n\nAwards \nThe Beach Boys: An American Family was nominated in nine individual categories at different award ceremonies.\n\nThe film won three out of those 8 categories that it was nominated in. Listed below is the categories that the movie was nominated in as well as for what award:\n\n2000\nEmmy Awards\nOutstanding Mini-series\nSingle-Camera Picture Editing For A Mini-series, Movie Or A Special\nSingle-Camera Sound Mixing For A Mini-series Or A Movie\nArtios Awards\nBest Casting For TV Mini-Series\n2001\nEddie Awards\nBest Edited Miniseries or Motion Picture for Commercial Television (won)\nExcellence In Production Design Awards\nBest Television Movie or Mini-Series\nC.A.S. Awards\nOutstanding Achievement In Sound Mixing For A Television Movie-of-the-Week, Mini-Series (won)\nDGA Awards\nOutstanding Directorial Achievement In Movies For Television (won)\nGolden Satellite Awards\nBest Mini-series (nom)\n\nReferences\n\nExternal links\n \n\n2000s American television miniseries\nAmerican Broadcasting Company original programming\nEnglish-language television shows\nFilms directed by Jeff Bleckner\nCultural depictions of Charles Manson"
] | [
"Lewis Robert \"Hack\" Wilson (April 26, 1900 – November 23, 1948) was an American Major League Baseball player who played 12 seasons for the New York Giants, Chicago Cubs, Brooklyn Dodgers and Philadelphia Phillies. Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s.",
"Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s. His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history.",
"His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history. Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed.",
"Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed. \"For a brief span of a few years\", wrote a sportswriter of the day, \"this hammered down little strongman actually rivaled the mighty Ruth.\"",
"\"For a brief span of a few years\", wrote a sportswriter of the day, \"this hammered down little strongman actually rivaled the mighty Ruth.\" While Wilson's combativeness and excessive alcohol consumption made him one of the most colorful sports personalities of his era, his drinking and fighting undoubtedly contributed to a premature end to his athletic career and, ultimately, his premature death.",
"While Wilson's combativeness and excessive alcohol consumption made him one of the most colorful sports personalities of his era, his drinking and fighting undoubtedly contributed to a premature end to his athletic career and, ultimately, his premature death. He was inducted into the Baseball Hall of Fame in 1979.",
"He was inducted into the Baseball Hall of Fame in 1979. Baseball career Early life and minor leagues Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh.",
"Baseball career Early life and minor leagues Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker.",
"His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker. His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24.",
"His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24. In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week.",
"In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week. Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes.",
"Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes. Sportswriter Shirley Povich later observed that he was \"built along the lines of a beer keg, and was not wholly unfamiliar with its contents.\"",
"Sportswriter Shirley Povich later observed that he was \"built along the lines of a beer keg, and was not wholly unfamiliar with its contents.\" While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of Fetal Alcohol Syndrome.",
"While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of Fetal Alcohol Syndrome. In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \"D\" Blue Ridge League.",
"In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \"D\" Blue Ridge League. After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield.",
"After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield. In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year.",
"In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year. In 1923, playing for the \"B\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average.",
"In 1923, playing for the \"B\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average. Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500 ($ in current dollar terms).",
"Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500 ($ in current dollar terms). New York Giants Wilson made his major league debut with the Giants on September 29, 1923, at the age of 23, and became the starting left fielder the following season.",
"New York Giants Wilson made his major league debut with the Giants on September 29, 1923, at the age of 23, and became the starting left fielder the following season. By mid-July he was ranked second in the National League (NL) in hitting.",
"By mid-July he was ranked second in the National League (NL) in hitting. He ended the season with a .295 average, 10 home runs, and 57 runs batted in (RBIs) as New York won the NL pennant. In the 1924 World Series he averaged only .233 in a seven-game loss to the Washington Senators.",
"In the 1924 World Series he averaged only .233 in a seven-game loss to the Washington Senators. Multiple stories exist to explain the origin of Wilson's nickname: By one account, a New York newspaper held a nicknaming contest; the winning entry was \"Hack\" because he reminded many fans of another stocky athlete, the popular wrestler Georg Hackenschmidt.",
"Multiple stories exist to explain the origin of Wilson's nickname: By one account, a New York newspaper held a nicknaming contest; the winning entry was \"Hack\" because he reminded many fans of another stocky athlete, the popular wrestler Georg Hackenschmidt. In another version, McGraw is said to have remarked that Wilson's physique was reminiscent of a \"hack\" (slang for taxicab in that era).",
"In another version, McGraw is said to have remarked that Wilson's physique was reminiscent of a \"hack\" (slang for taxicab in that era). Giants teammate Bill Cunningham claimed that the nickname was based on Wilson's resemblance to Hack Miller, an outfielder with the Chicago Cubs.",
"Giants teammate Bill Cunningham claimed that the nickname was based on Wilson's resemblance to Hack Miller, an outfielder with the Chicago Cubs. The New York Times printed the first documented usage of \"Hack\" on June 10, 1924.",
"The New York Times printed the first documented usage of \"Hack\" on June 10, 1924. Early in the 1925 season Wilson hit the longest home run on record at Ebbets Field against the Brooklyn Robins, but fell into a slump in May, and was replaced in left field by Irish Meusel.",
"Early in the 1925 season Wilson hit the longest home run on record at Ebbets Field against the Brooklyn Robins, but fell into a slump in May, and was replaced in left field by Irish Meusel. On July 2 he hit two home runs in one inning, tying Ken Williams' major league record set in 1922, but his hitting slump continued.",
"On July 2 he hit two home runs in one inning, tying Ken Williams' major league record set in 1922, but his hitting slump continued. In August McGraw told reporters that he had \"... made the mistake of rushing [Wilson] along,\" and sent him to the Giants' minor league affiliate, the Toledo Mud Hens of the American Association.",
"In August McGraw told reporters that he had \"... made the mistake of rushing [Wilson] along,\" and sent him to the Giants' minor league affiliate, the Toledo Mud Hens of the American Association. At season's end, a front office oversight—or possibly, deliberate inaction—left him unprotected on the Toledo roster, and the last-place Chicago Cubs acquired him on waivers.",
"At season's end, a front office oversight—or possibly, deliberate inaction—left him unprotected on the Toledo roster, and the last-place Chicago Cubs acquired him on waivers. \"They let go the best outfielder I ever played alongside\", said Giants right fielder Ross Youngs, \"and they're going to regret it.\"",
"\"They let go the best outfielder I ever played alongside\", said Giants right fielder Ross Youngs, \"and they're going to regret it.\" During the 1925 World Series — between the Senators and the Pittsburgh Pirates — Wilson's son, Robert, was born.",
"During the 1925 World Series — between the Senators and the Pittsburgh Pirates — Wilson's son, Robert, was born. Glory years with the Cubs Wilson regained his form as the Cubs' center fielder in 1926, and he quickly became a favorite of Chicago fans.",
"Glory years with the Cubs Wilson regained his form as the Cubs' center fielder in 1926, and he quickly became a favorite of Chicago fans. On May 24 he hit the center field scoreboard with one of the longest home runs in Wrigley Field history as the Cubs came from behind to defeat the Boston Braves.",
"On May 24 he hit the center field scoreboard with one of the longest home runs in Wrigley Field history as the Cubs came from behind to defeat the Boston Braves. Later that evening he made news again when he was arrested during a police raid of a Prohibition-era speakeasy while trying to escape through the rear window, and was fined one dollar.",
"Later that evening he made news again when he was arrested during a police raid of a Prohibition-era speakeasy while trying to escape through the rear window, and was fined one dollar. He ended the season with a league-leading 21 home runs along with 36 doubles, 109 RBIs, a .321 batting average, and a .406 on-base percentage.",
"He ended the season with a league-leading 21 home runs along with 36 doubles, 109 RBIs, a .321 batting average, and a .406 on-base percentage. The Cubs improved to fourth place, and Wilson ended the year ranked fifth in voting for the NL's Most Valuable Player (MVP) Award.",
"The Cubs improved to fourth place, and Wilson ended the year ranked fifth in voting for the NL's Most Valuable Player (MVP) Award. Another strong performance followed in 1927 as Wilson once again led the league in home runs.",
"Another strong performance followed in 1927 as Wilson once again led the league in home runs. Although the Cubs were in first place heading into the final month of the season, the team faltered and again finished fourth. Wilson posted a .318 average with 30 home runs and 129 RBIs, and led NL outfielders with 400 putouts.",
"Wilson posted a .318 average with 30 home runs and 129 RBIs, and led NL outfielders with 400 putouts. He led the NL in home runs for a third consecutive year in 1928 with 31, along with 120 RBIs and a .313 average as the Cubs improved to third place.",
"He led the NL in home runs for a third consecutive year in 1928 with 31, along with 120 RBIs and a .313 average as the Cubs improved to third place. Wilson had a combative streak and sometimes initiated fights with opposing players and fans.",
"Wilson had a combative streak and sometimes initiated fights with opposing players and fans. On June 22, 1928, a near-riot broke out in the ninth inning at Wrigley Field against the St. Louis Cardinals when Wilson jumped into the box seats to attack a heckling fan.",
"On June 22, 1928, a near-riot broke out in the ninth inning at Wrigley Field against the St. Louis Cardinals when Wilson jumped into the box seats to attack a heckling fan. An estimated 5,000 spectators swarmed the field before police could separate the combatants and restore order.",
"An estimated 5,000 spectators swarmed the field before police could separate the combatants and restore order. The fan sued Wilson for $20,000, but a jury ruled in his favor.",
"The fan sued Wilson for $20,000, but a jury ruled in his favor. The following year he took offense at a remark by Cincinnati Reds pitcher Ray Kolp, and – upon reaching first base after hitting a single – he charged into the Reds dugout, punching Kolp several times before they could be separated.",
"The following year he took offense at a remark by Cincinnati Reds pitcher Ray Kolp, and – upon reaching first base after hitting a single – he charged into the Reds dugout, punching Kolp several times before they could be separated. Later that evening at the train station, Wilson exchanged words and blows with Cincinnati player Pete Donohue.",
"Later that evening at the train station, Wilson exchanged words and blows with Cincinnati player Pete Donohue. In late 1929 he signed a contract to fight Art Shires of the Chicago White Sox in a boxing match, but reneged after Cubs president William Veeck, Sr. enlisted Hack's wife Virginia to dissuade him, and then Shires lost a fight to George Trafton of the Chicago Bears.",
"In late 1929 he signed a contract to fight Art Shires of the Chicago White Sox in a boxing match, but reneged after Cubs president William Veeck, Sr. enlisted Hack's wife Virginia to dissuade him, and then Shires lost a fight to George Trafton of the Chicago Bears. There was nothing to gain, Wilson said, by fighting a defeated boxer.",
"There was nothing to gain, Wilson said, by fighting a defeated boxer. Wilson's \"penchant for festivities\" is also well documented.",
"Wilson's \"penchant for festivities\" is also well documented. Biographer Clifton Blue Parker described him as \"... the Roaring '20s epitome of a baseball player, primed for an age of American excess ... at a time when baseball was America's favorite sport.\"",
"Biographer Clifton Blue Parker described him as \"... the Roaring '20s epitome of a baseball player, primed for an age of American excess ... at a time when baseball was America's favorite sport.\" His love of drinking and partying did not endear him to Cubs owner William Wrigley, who abhorred alcohol consumption.",
"His love of drinking and partying did not endear him to Cubs owner William Wrigley, who abhorred alcohol consumption. (Wilson always insisted that he never played drunk; \"hung over, yes; drunk, no.\") Manager Joe McCarthy worked hard to shield Wilson from Wrigley, and to keep him on an even keel.",
"Manager Joe McCarthy worked hard to shield Wilson from Wrigley, and to keep him on an even keel. \"Better than any other manager,\" wrote sportswriter Frank Graham, \"Joe understood Hack, made allowances for him when he failed, and rewarded him with praise when he did well.",
"\"Better than any other manager,\" wrote sportswriter Frank Graham, \"Joe understood Hack, made allowances for him when he failed, and rewarded him with praise when he did well. Joe could be strict and stern with his players ... but he never was with Hack, and Hack repaid him by playing as he never had before, nor would again.\"",
"Joe could be strict and stern with his players ... but he never was with Hack, and Hack repaid him by playing as he never had before, nor would again.\" In 1929 Wilson hit .345 with 39 home runs and a league-record 159 RBIs.",
"In 1929 Wilson hit .345 with 39 home runs and a league-record 159 RBIs. He and new teammate Rogers Hornsby (who also contributed 39 home runs) led the Cubs to their first NL pennant in eleven years.",
"He and new teammate Rogers Hornsby (who also contributed 39 home runs) led the Cubs to their first NL pennant in eleven years. In the World Series against Connie Mack's Philadelphia Athletics, Wilson's .471 hitting performance was eclipsed by two fielding errors at Shibe Park.",
"In the World Series against Connie Mack's Philadelphia Athletics, Wilson's .471 hitting performance was eclipsed by two fielding errors at Shibe Park. Though trailing the Series two games to one, the Cubs were leading by a score of 8–0 in the fourth game when the Athletics mounted a 10-run rally in the seventh inning.",
"Though trailing the Series two games to one, the Cubs were leading by a score of 8–0 in the fourth game when the Athletics mounted a 10-run rally in the seventh inning. Wilson lost two fly balls in the sun; the second, with two runners on base, led to an inside-the-park home run by Mule Haas as the Athletics won 10–8.",
"Wilson lost two fly balls in the sun; the second, with two runners on base, led to an inside-the-park home run by Mule Haas as the Athletics won 10–8. After the game, McCarthy reportedly told a boy asking for a souvenir baseball, \"Come back tomorrow and stand behind Wilson, and you'll be able to pick up all the balls you want!\"",
"After the game, McCarthy reportedly told a boy asking for a souvenir baseball, \"Come back tomorrow and stand behind Wilson, and you'll be able to pick up all the balls you want!\" The Athletics won again the next day to take the Series in five games.",
"The Athletics won again the next day to take the Series in five games. 1930 peak Wilson's 1930 season, aided by a lively ball wound with special Australian wool, is considered one of the best single-season hitting performances in baseball history. By the middle of July he had accumulated 82 RBIs.",
"By the middle of July he had accumulated 82 RBIs. In August he hit 13 home runs and 53 RBIs, and by September 17 he had reached 174 RBIs, breaking Lou Gehrig's major league record established three years earlier.",
"In August he hit 13 home runs and 53 RBIs, and by September 17 he had reached 174 RBIs, breaking Lou Gehrig's major league record established three years earlier. He finished the season with 190 RBIs, along with an NL-record 56 home runs, .356 batting average, .454 on-base percentage, and league-leading .723 slugging percentage.",
"He finished the season with 190 RBIs, along with an NL-record 56 home runs, .356 batting average, .454 on-base percentage, and league-leading .723 slugging percentage. He was unofficially voted the NL's most \"useful\" player by the Baseball Writers' Association of America (which did not inaugurate its official MVP award until 1931).",
"He was unofficially voted the NL's most \"useful\" player by the Baseball Writers' Association of America (which did not inaugurate its official MVP award until 1931). In 1999 the Commissioner of Baseball officially increased Wilson's 1930 RBI total to 191 after a box score analysis by baseball historian Jerome Holtzman revealed that Charlie Grimm had been mistakenly credited with an RBI actually driven home by Wilson during the second game of a doubleheader on July 28.",
"In 1999 the Commissioner of Baseball officially increased Wilson's 1930 RBI total to 191 after a box score analysis by baseball historian Jerome Holtzman revealed that Charlie Grimm had been mistakenly credited with an RBI actually driven home by Wilson during the second game of a doubleheader on July 28. Wilson's 191 RBIs remains one of baseball's most enduring records; only Gehrig (185) and Hank Greenberg (184) ever came close, and there have been no serious challenges in the last 75 years.",
"Wilson's 191 RBIs remains one of baseball's most enduring records; only Gehrig (185) and Hank Greenberg (184) ever came close, and there have been no serious challenges in the last 75 years. (The best recent effort was 165 by Manny Ramirez in 1999.)",
"(The best recent effort was 165 by Manny Ramirez in 1999.) Reds catcher Clyde Sukeforth asserted that Wilson should have been credited with an additional home run in 1930 as well.",
"Reds catcher Clyde Sukeforth asserted that Wilson should have been credited with an additional home run in 1930 as well. \"He hit one in Cincinnati one day\", he said, \"way up in the seats, hit it so hard that it bounced right back onto the field.",
"\"He hit one in Cincinnati one day\", he said, \"way up in the seats, hit it so hard that it bounced right back onto the field. The umpire had a bad angle on it and ruled that it had hit the screen and bounced back.",
"The umpire had a bad angle on it and ruled that it had hit the screen and bounced back. I was sitting in the Cincinnati bullpen, and of course, we weren't going to say anything. But Hack really hit 57 that year.\"",
"But Hack really hit 57 that year.\" Wilson's official total of 56 stood as the NL record until the 1998 season, when it was broken by Sammy Sosa (66) and Mark McGwire (70).",
"Wilson's official total of 56 stood as the NL record until the 1998 season, when it was broken by Sammy Sosa (66) and Mark McGwire (70). Decline Wilson's success in the 1930 season served only to fuel his drinking habits, and in 1931 he reported to spring training 20 pounds overweight.",
"Decline Wilson's success in the 1930 season served only to fuel his drinking habits, and in 1931 he reported to spring training 20 pounds overweight. In addition, the NL responded to the prodigious offensive statistics of the previous year (the only season, other than 1894, in which the league as a whole batted over .300) by introducing a heavier ball with raised stitching to allow pitchers to gain a better grip and throw sharper curveballs.",
"In addition, the NL responded to the prodigious offensive statistics of the previous year (the only season, other than 1894, in which the league as a whole batted over .300) by introducing a heavier ball with raised stitching to allow pitchers to gain a better grip and throw sharper curveballs. Wilson complained that the new Cubs manager, Hornsby, did not allow him to \"swing away\" as much as Joe McCarthy had.",
"Wilson complained that the new Cubs manager, Hornsby, did not allow him to \"swing away\" as much as Joe McCarthy had. He hit his 200th career home run at Ebbets Field on June 18 — only the fourth player ever to do so, behind Ruth, Cy Williams, and Hornsby — but then fell into a protracted slump, and was benched in late May.",
"He hit his 200th career home run at Ebbets Field on June 18 — only the fourth player ever to do so, behind Ruth, Cy Williams, and Hornsby — but then fell into a protracted slump, and was benched in late May. By late August Wrigley publicly expressed his desire to trade him.",
"By late August Wrigley publicly expressed his desire to trade him. On September 6 he was suspended without pay for the remainder of the season after a fight with reporters aboard a train in Cincinnati. He was hitting .261 with only 13 home runs (his 1930 production during August alone) at the time.",
"He was hitting .261 with only 13 home runs (his 1930 production during August alone) at the time. In December 1931, the Cubs traded Wilson, along with Bud Teachout, to the St. Louis Cardinals for Burleigh Grimes.",
"In December 1931, the Cubs traded Wilson, along with Bud Teachout, to the St. Louis Cardinals for Burleigh Grimes. Less than a month later, the Cardinals sent him to the Brooklyn Dodgers for minor league outfielder Bob Parham and $25,000 ($ in current dollar terms).",
"Less than a month later, the Cardinals sent him to the Brooklyn Dodgers for minor league outfielder Bob Parham and $25,000 ($ in current dollar terms). Wilson hit .297 with 23 home runs and 123 RBIs for Brooklyn in 1932.",
"Wilson hit .297 with 23 home runs and 123 RBIs for Brooklyn in 1932. He began 1933 with a ninth-inning game-winning pinch-hit inside-the-park grand slam home run at Ebbets Field—the first pinch-hit grand slam in Dodger history, and only the third inside-the-park pinch-hit grand slam in MLB history.",
"He began 1933 with a ninth-inning game-winning pinch-hit inside-the-park grand slam home run at Ebbets Field—the first pinch-hit grand slam in Dodger history, and only the third inside-the-park pinch-hit grand slam in MLB history. By season's end his offensive totals had dropped substantially, and he was hitting .262 when the Dodgers released him mid-season in 1934.",
"By season's end his offensive totals had dropped substantially, and he was hitting .262 when the Dodgers released him mid-season in 1934. The Philadelphia Phillies signed him immediately, but after just two hits in 20 at bats he was released again a month later.",
"The Philadelphia Phillies signed him immediately, but after just two hits in 20 at bats he was released again a month later. After a final season with the Albany Senators of the Class \"A\" New York–Pennsylvania League, Wilson retired at the age of 35.",
"After a final season with the Albany Senators of the Class \"A\" New York–Pennsylvania League, Wilson retired at the age of 35. Career statistics In a 12-year major league career, Wilson played in 1,348 games and accumulated 1,461 hits in 4,760 at-bats for a .307 career batting average and a .395 on-base percentage.",
"Career statistics In a 12-year major league career, Wilson played in 1,348 games and accumulated 1,461 hits in 4,760 at-bats for a .307 career batting average and a .395 on-base percentage. He hit 244 home runs and batted in 1,063 runs, led the NL in home runs four times, and surpassed 100 RBIs six times.",
"He hit 244 home runs and batted in 1,063 runs, led the NL in home runs four times, and surpassed 100 RBIs six times. Defensively, he finished his career with a .965 fielding percentage.",
"Defensively, he finished his career with a .965 fielding percentage. Life after baseball Wilson returned to Martinsburg where he opened a pool hall, but encountered financial problems due to a failed sporting goods business venture, and then a rancorous divorce from Virginia.",
"Life after baseball Wilson returned to Martinsburg where he opened a pool hall, but encountered financial problems due to a failed sporting goods business venture, and then a rancorous divorce from Virginia. By 1938 he was working as a bartender near Brooklyn's Ebbets Field where he sang for drinks, but had to quit when customers became too abusive.",
"By 1938 he was working as a bartender near Brooklyn's Ebbets Field where he sang for drinks, but had to quit when customers became too abusive. A night club venture in suburban Chicago was another financial failure.",
"A night club venture in suburban Chicago was another financial failure. In 1944 he took a job as a good will ambassador for a professional basketball team in Washington, D.C., where he lamented that fans remembered his two dropped fly balls in the 1929 World Series far more vividly than his 56 home runs and 191 RBIs in 1930.",
"In 1944 he took a job as a good will ambassador for a professional basketball team in Washington, D.C., where he lamented that fans remembered his two dropped fly balls in the 1929 World Series far more vividly than his 56 home runs and 191 RBIs in 1930. Unable to find work in professional baseball, he moved to Baltimore where he worked as a tool checker in an airplane manufacturing plant and later as a laborer for the City of Baltimore.",
"Unable to find work in professional baseball, he moved to Baltimore where he worked as a tool checker in an airplane manufacturing plant and later as a laborer for the City of Baltimore. When municipal authorities realized who he was, he was made the manager of a Baltimore public swimming pool.",
"When municipal authorities realized who he was, he was made the manager of a Baltimore public swimming pool. On October 4, 1948 Wilson was discovered unconscious after a fall in his home.",
"On October 4, 1948 Wilson was discovered unconscious after a fall in his home. Though the accident did not appear serious at first, pneumonia and other complications developed and he died of internal hemorrhaging on November 23, 1948, at the age of 48.",
"Though the accident did not appear serious at first, pneumonia and other complications developed and he died of internal hemorrhaging on November 23, 1948, at the age of 48. Wilson — once the highest-paid player in the National League — died penniless; his son, Robert, refused to claim his remains.",
"Wilson — once the highest-paid player in the National League — died penniless; his son, Robert, refused to claim his remains. NL President Ford Frick finally sent money to cover his funeral expenses. His gray burial suit was donated by the undertaker.",
"His gray burial suit was donated by the undertaker. In marked contrast to Babe Ruth's funeral, which had been attended by thousands just three months earlier, only a few hundred people were present for Wilson's services. He was buried in Rosedale Cemetery in the town where he made his professional playing debut, Martinsburg, West Virginia.",
"He was buried in Rosedale Cemetery in the town where he made his professional playing debut, Martinsburg, West Virginia. Ten months later Joe McCarthy organized a second, more complete memorial service, attended by Kiki Cuyler, Charlie Grimm, Nick Altrock and other players from the Cubs and the Martinsburg team (by then renamed the Blue Sox).",
"Ten months later Joe McCarthy organized a second, more complete memorial service, attended by Kiki Cuyler, Charlie Grimm, Nick Altrock and other players from the Cubs and the Martinsburg team (by then renamed the Blue Sox). A granite tombstone was unveiled, with the inscription, \"One of Baseball's Immortals, Lewis R. (Hack) Wilson, Rests Here.\"",
"A granite tombstone was unveiled, with the inscription, \"One of Baseball's Immortals, Lewis R. (Hack) Wilson, Rests Here.\" One week before his death, Wilson gave an interview to CBS Radio which was reprinted in Chicago newspapers.",
"One week before his death, Wilson gave an interview to CBS Radio which was reprinted in Chicago newspapers. In 1949 Charlie Grimm, the Cubs' new manager, posted a framed excerpt from that interview in the Cubs clubhouse, where it remains. It reads, in part: Talent isn't enough.",
"It reads, in part: Talent isn't enough. You need common sense and good advice. If anyone tries to tell you different, tell them the story of Hack Wilson. ... Kids in and out of baseball who think because they have talent they have the world by the tail. It isn't so.",
"It isn't so. It isn't so. Kids, don't be too big to accept advice. Don't let what happened to me happen to you. In 1979 Wilson was inducted into the Baseball Hall of Fame by the Veterans Committee.",
"In 1979 Wilson was inducted into the Baseball Hall of Fame by the Veterans Committee. A Martinsburg street is named Hack Wilson Way in his honor, and the access road to a large city park within his home town, Ellwood City, Pennsylvania, is known as Hack Wilson Drive.",
"A Martinsburg street is named Hack Wilson Way in his honor, and the access road to a large city park within his home town, Ellwood City, Pennsylvania, is known as Hack Wilson Drive. See also 50 home run club List of Major League Baseball annual home run leaders List of Major League Baseball annual runs batted in leaders List of Major League Baseball players to hit for the cycle List of Major League Baseball career runs batted in leaders List of Major League Baseball career slugging percentage leaders List of Major League Baseball career OPS leaders List of Major League Baseball career home run leaders References Further reading Subscription required.",
"See also 50 home run club List of Major League Baseball annual home run leaders List of Major League Baseball annual runs batted in leaders List of Major League Baseball players to hit for the cycle List of Major League Baseball career runs batted in leaders List of Major League Baseball career slugging percentage leaders List of Major League Baseball career OPS leaders List of Major League Baseball career home run leaders References Further reading Subscription required. Subscription required.",
"Subscription required. Subscription required. External links , or Retrosheet National Baseball Hall of Fame inductees Major League Baseball center fielders Chicago Cubs players Brooklyn Dodgers players New York Giants (NL) players Philadelphia Phillies players National League home run champions National League RBI champions Martinsburg Mountaineers players Martinsburg Blue Sox players Portsmouth Truckers players Toledo Mud Hens players Albany Senators players Baseball players from Pennsylvania Sportspeople from Martinsburg, West Virginia People from Ellwood City, Pennsylvania People from Lawrence County, Pennsylvania 1900 births 1948 deaths"
] |
[
"Hack Wilson",
"Early life and minor leagues",
"what was Wilson's early life like?",
"Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker."
] | C_caf876f084ed435aae7dfb1e41e6fe73_1 | did he stay in Ellwood City his whole childhood? | 2 | did Wilsonstay in Ellwood City his whole childhood? | Hack Wilson | Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker. His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24. In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week. Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes. Sportswriter Shirley Povich later observed that he was "built along the lines of a beer keg, and was not wholly unfamiliar with its contents." While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of the Fetal Alcohol Syndrome. In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class "D" Blue Ridge League. After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield. In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year. In 1923, playing for the "B" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average. Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500. CANNOTANSWER | In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class "D" Blue Ridge League. | Lewis Robert "Hack" Wilson (April 26, 1900 – November 23, 1948) was an American Major League Baseball player who played 12 seasons for the New York Giants, Chicago Cubs, Brooklyn Dodgers and Philadelphia Phillies. Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s. His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history. Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed. "For a brief span of a few years", wrote a sportswriter of the day, "this hammered down little strongman actually rivaled the mighty Ruth."
While Wilson's combativeness and excessive alcohol consumption made him one of the most colorful sports personalities of his era, his drinking and fighting undoubtedly contributed to a premature end to his athletic career and, ultimately, his premature death. He was inducted into the Baseball Hall of Fame in 1979.
Baseball career
Early life and minor leagues
Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker. His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24.
In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week. Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes. Sportswriter Shirley Povich later observed that he was "built along the lines of a beer keg, and was not wholly unfamiliar with its contents." While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of Fetal Alcohol Syndrome.
In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class "D" Blue Ridge League. After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield. In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year. In 1923, playing for the "B" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average. Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500 ($ in current dollar terms).
New York Giants
Wilson made his major league debut with the Giants on September 29, 1923, at the age of 23, and became the starting left fielder the following season. By mid-July he was ranked second in the National League (NL) in hitting. He ended the season with a .295 average, 10 home runs, and 57 runs batted in (RBIs) as New York won the NL pennant. In the 1924 World Series he averaged only .233 in a seven-game loss to the Washington Senators.
Multiple stories exist to explain the origin of Wilson's nickname: By one account, a New York newspaper held a nicknaming contest; the winning entry was "Hack" because he reminded many fans of another stocky athlete, the popular wrestler Georg Hackenschmidt. In another version, McGraw is said to have remarked that Wilson's physique was reminiscent of a "hack" (slang for taxicab in that era). Giants teammate Bill Cunningham claimed that the nickname was based on Wilson's resemblance to Hack Miller, an outfielder with the Chicago Cubs. The New York Times printed the first documented usage of "Hack" on June 10, 1924.
Early in the 1925 season Wilson hit the longest home run on record at Ebbets Field against the Brooklyn Robins, but fell into a slump in May, and was replaced in left field by Irish Meusel. On July 2 he hit two home runs in one inning, tying Ken Williams' major league record set in 1922, but his hitting slump continued. In August McGraw told reporters that he had "... made the mistake of rushing [Wilson] along," and sent him to the Giants' minor league affiliate, the Toledo Mud Hens of the American Association. At season's end, a front office oversight—or possibly, deliberate inaction—left him unprotected on the Toledo roster, and the last-place Chicago Cubs acquired him on waivers. "They let go the best outfielder I ever played alongside", said Giants right fielder Ross Youngs, "and they're going to regret it."
During the 1925 World Series — between the Senators and the Pittsburgh Pirates — Wilson's son, Robert, was born.
Glory years with the Cubs
Wilson regained his form as the Cubs' center fielder in 1926, and he quickly became a favorite of Chicago fans. On May 24 he hit the center field scoreboard with one of the longest home runs in Wrigley Field history as the Cubs came from behind to defeat the Boston Braves. Later that evening he made news again when he was arrested during a police raid of a Prohibition-era speakeasy while trying to escape through the rear window, and was fined one dollar. He ended the season with a league-leading 21 home runs along with 36 doubles, 109 RBIs, a .321 batting average, and a .406 on-base percentage. The Cubs improved to fourth place, and Wilson ended the year ranked fifth in voting for the NL's Most Valuable Player (MVP) Award.
Another strong performance followed in 1927 as Wilson once again led the league in home runs. Although the Cubs were in first place heading into the final month of the season, the team faltered and again finished fourth. Wilson posted a .318 average with 30 home runs and 129 RBIs, and led NL outfielders with 400 putouts. He led the NL in home runs for a third consecutive year in 1928 with 31, along with 120 RBIs and a .313 average as the Cubs improved to third place.
Wilson had a combative streak and sometimes initiated fights with opposing players and fans. On June 22, 1928, a near-riot broke out in the ninth inning at Wrigley Field against the St. Louis Cardinals when Wilson jumped into the box seats to attack a heckling fan. An estimated 5,000 spectators swarmed the field before police could separate the combatants and restore order. The fan sued Wilson for $20,000, but a jury ruled in his favor. The following year he took offense at a remark by Cincinnati Reds pitcher Ray Kolp, and – upon reaching first base after hitting a single – he charged into the Reds dugout, punching Kolp several times before they could be separated. Later that evening at the train station, Wilson exchanged words and blows with Cincinnati player Pete Donohue. In late 1929 he signed a contract to fight Art Shires of the Chicago White Sox in a boxing match, but reneged after Cubs president William Veeck, Sr. enlisted Hack's wife Virginia to dissuade him, and then Shires lost a fight to George Trafton of the Chicago Bears. There was nothing to gain, Wilson said, by fighting a defeated boxer.
Wilson's "penchant for festivities" is also well documented. Biographer Clifton Blue Parker described him as "... the Roaring '20s epitome of a baseball player, primed for an age of American excess ... at a time when baseball was America's favorite sport." His love of drinking and partying did not endear him to Cubs owner William Wrigley, who abhorred alcohol consumption. (Wilson always insisted that he never played drunk; "hung over, yes; drunk, no.") Manager Joe McCarthy worked hard to shield Wilson from Wrigley, and to keep him on an even keel. "Better than any other manager," wrote sportswriter Frank Graham, "Joe understood Hack, made allowances for him when he failed, and rewarded him with praise when he did well. Joe could be strict and stern with his players ... but he never was with Hack, and Hack repaid him by playing as he never had before, nor would again."
In 1929 Wilson hit .345 with 39 home runs and a league-record 159 RBIs. He and new teammate Rogers Hornsby (who also contributed 39 home runs) led the Cubs to their first NL pennant in eleven years. In the World Series against Connie Mack's Philadelphia Athletics, Wilson's .471 hitting performance was eclipsed by two fielding errors at Shibe Park. Though trailing the Series two games to one, the Cubs were leading by a score of 8–0 in the fourth game when the Athletics mounted a 10-run rally in the seventh inning. Wilson lost two fly balls in the sun; the second, with two runners on base, led to an inside-the-park home run by Mule Haas as the Athletics won 10–8. After the game, McCarthy reportedly told a boy asking for a souvenir baseball, "Come back tomorrow and stand behind Wilson, and you'll be able to pick up all the balls you want!" The Athletics won again the next day to take the Series in five games.
1930 peak
Wilson's 1930 season, aided by a lively ball wound with special Australian wool, is considered one of the best single-season hitting performances in baseball history. By the middle of July he had accumulated 82 RBIs. In August he hit 13 home runs and 53 RBIs, and by September 17 he had reached 174 RBIs, breaking Lou Gehrig's major league record established three years earlier. He finished the season with 190 RBIs, along with an NL-record 56 home runs, .356 batting average, .454 on-base percentage, and league-leading .723 slugging percentage. He was unofficially voted the NL's most "useful" player by the Baseball Writers' Association of America (which did not inaugurate its official MVP award until 1931).
In 1999 the Commissioner of Baseball officially increased Wilson's 1930 RBI total to 191 after a box score analysis by baseball historian Jerome Holtzman revealed that Charlie Grimm had been mistakenly credited with an RBI actually driven home by Wilson during the second game of a doubleheader on July 28. Wilson's 191 RBIs remains one of baseball's most enduring records; only Gehrig (185) and Hank Greenberg (184) ever came close, and there have been no serious challenges in the last 75 years. (The best recent effort was 165 by Manny Ramirez in 1999.)
Reds catcher Clyde Sukeforth asserted that Wilson should have been credited with an additional home run in 1930 as well. "He hit one in Cincinnati one day", he said, "way up in the seats, hit it so hard that it bounced right back onto the field. The umpire had a bad angle on it and ruled that it had hit the screen and bounced back. I was sitting in the Cincinnati bullpen, and of course, we weren't going to say anything. But Hack really hit 57 that year." Wilson's official total of 56 stood as the NL record until the 1998 season, when it was broken by Sammy Sosa (66) and Mark McGwire (70).
Decline
Wilson's success in the 1930 season served only to fuel his drinking habits, and in 1931 he reported to spring training 20 pounds overweight. In addition, the NL responded to the prodigious offensive statistics of the previous year (the only season, other than 1894, in which the league as a whole batted over .300) by introducing a heavier ball with raised stitching to allow pitchers to gain a better grip and throw sharper curveballs. Wilson complained that the new Cubs manager, Hornsby, did not allow him to "swing away" as much as Joe McCarthy had. He hit his 200th career home run at Ebbets Field on June 18 — only the fourth player ever to do so, behind Ruth, Cy Williams, and Hornsby — but then fell into a protracted slump, and was benched in late May. By late August Wrigley publicly expressed his desire to trade him. On September 6 he was suspended without pay for the remainder of the season after a fight with reporters aboard a train in Cincinnati. He was hitting .261 with only 13 home runs (his 1930 production during August alone) at the time.
In December 1931, the Cubs traded Wilson, along with Bud Teachout, to the St. Louis Cardinals for Burleigh Grimes. Less than a month later, the Cardinals sent him to the Brooklyn Dodgers for minor league outfielder Bob Parham and $25,000 ($ in current dollar terms). Wilson hit .297 with 23 home runs and 123 RBIs for Brooklyn in 1932. He began 1933 with a ninth-inning game-winning pinch-hit inside-the-park grand slam home run at Ebbets Field—the first pinch-hit grand slam in Dodger history, and only the third inside-the-park pinch-hit grand slam in MLB history. By season's end his offensive totals had dropped substantially, and he was hitting .262 when the Dodgers released him mid-season in 1934. The Philadelphia Phillies signed him immediately, but after just two hits in 20 at bats he was released again a month later. After a final season with the Albany Senators of the Class "A" New York–Pennsylvania League, Wilson retired at the age of 35.
Career statistics
In a 12-year major league career, Wilson played in 1,348 games and accumulated 1,461 hits in 4,760 at-bats for a .307 career batting average and a .395 on-base percentage. He hit 244 home runs and batted in 1,063 runs, led the NL in home runs four times, and surpassed 100 RBIs six times. Defensively, he finished his career with a .965 fielding percentage.
Life after baseball
Wilson returned to Martinsburg where he opened a pool hall, but encountered financial problems due to a failed sporting goods business venture, and then a rancorous divorce from Virginia. By 1938 he was working as a bartender near Brooklyn's Ebbets Field where he sang for drinks, but had to quit when customers became too abusive. A night club venture in suburban Chicago was another financial failure. In 1944 he took a job as a good will ambassador for a professional basketball team in Washington, D.C., where he lamented that fans remembered his two dropped fly balls in the 1929 World Series far more vividly than his 56 home runs and 191 RBIs in 1930. Unable to find work in professional baseball, he moved to Baltimore where he worked as a tool checker in an airplane manufacturing plant and later as a laborer for the City of Baltimore. When municipal authorities realized who he was, he was made the manager of a Baltimore public swimming pool.
On October 4, 1948 Wilson was discovered unconscious after a fall in his home. Though the accident did not appear serious at first, pneumonia and other complications developed and he died of internal hemorrhaging on November 23, 1948, at the age of 48.
Wilson — once the highest-paid player in the National League — died penniless; his son, Robert, refused to claim his remains. NL President Ford Frick finally sent money to cover his funeral expenses. His gray burial suit was donated by the undertaker. In marked contrast to Babe Ruth's funeral, which had been attended by thousands just three months earlier, only a few hundred people were present for Wilson's services. He was buried in Rosedale Cemetery in the town where he made his professional playing debut, Martinsburg, West Virginia.
Ten months later Joe McCarthy organized a second, more complete memorial service, attended by Kiki Cuyler, Charlie Grimm, Nick Altrock and other players from the Cubs and the Martinsburg team (by then renamed the Blue Sox). A granite tombstone was unveiled, with the inscription, "One of Baseball's Immortals, Lewis R. (Hack) Wilson, Rests Here."
One week before his death, Wilson gave an interview to CBS Radio which was reprinted in Chicago newspapers. In 1949 Charlie Grimm, the Cubs' new manager, posted a framed excerpt from that interview in the Cubs clubhouse, where it remains. It reads, in part:
Talent isn't enough. You need common sense and good advice. If anyone tries to tell you different, tell them the story of Hack Wilson. ... Kids in and out of baseball who think because they have talent they have the world by the tail. It isn't so. Kids, don't be too big to accept advice. Don't let what happened to me happen to you.
In 1979 Wilson was inducted into the Baseball Hall of Fame by the Veterans Committee. A Martinsburg street is named Hack Wilson Way in his honor, and the access road to a large city park within his home town, Ellwood City, Pennsylvania, is known as Hack Wilson Drive.
See also
50 home run club
List of Major League Baseball annual home run leaders
List of Major League Baseball annual runs batted in leaders
List of Major League Baseball players to hit for the cycle
List of Major League Baseball career runs batted in leaders
List of Major League Baseball career slugging percentage leaders
List of Major League Baseball career OPS leaders
List of Major League Baseball career home run leaders
References
Further reading
Subscription required.
Subscription required.
External links
, or Retrosheet
National Baseball Hall of Fame inductees
Major League Baseball center fielders
Chicago Cubs players
Brooklyn Dodgers players
New York Giants (NL) players
Philadelphia Phillies players
National League home run champions
National League RBI champions
Martinsburg Mountaineers players
Martinsburg Blue Sox players
Portsmouth Truckers players
Toledo Mud Hens players
Albany Senators players
Baseball players from Pennsylvania
Sportspeople from Martinsburg, West Virginia
People from Ellwood City, Pennsylvania
People from Lawrence County, Pennsylvania
1900 births
1948 deaths | true | [
"Doug Ellwood is a New Zealand former rugby league footballer who represented New Zealand in the 1968 World Cup.\n\nPlaying career\nEllwood originally played for Ellerslie. During the Auckland Rugby League's \"district era\" he represented Eastern United, a combination that included the Ellerslie club. In 1967, while playing for City-Newton, Ellwood won both the Lipscombe Cup and Rothville Trophy, Auckland's sportsman of the year and player of the year awards.\n\nEllwood represented Auckland. He was involved in several notable victories with Auckland, including being part of the sides that defeated Australia 13-8 in 1961, Great Britain 46-13 in 1962 and South Africa 10-4 in 1963.\n\nEllwood was first selected for the New Zealand national rugby league team in 1963 and went on to play in seven test matches for New Zealand, starting at both fullback and stand off. Ellwood was part of the 1968 World Cup squad. The team did not win a match at the tournament.\n\nCoaching career\nEllwood later coached the Mount Wellington Warriors to a Phelan Shield victory.\n\nReferences\n\nLiving people\nNew Zealand rugby league players\nNew Zealand national rugby league team players\nAuckland rugby league team players\nEllerslie Eagles players\nCity Newton Dragons players\nRugby league fullbacks\nRugby league five-eighths\nNew Zealand rugby league coaches\nMount Wellington Warriors coaches\nYear of birth missing (living people)",
"Isaac Leonard Ellwood (August 3, 1833 – September 11, 1910) was an American rancher, businessman and barbed wire entrepreneur.\n\nEarly life\nEllwood was born in Salt Springville, New York. His first taste of business came as a young boy when he began selling sauerkraut. In 1851, Ellwood, like many others, headed west to the California Gold Rush.\n\nDeKalb, Illinois\n\nEllwood found some success in California and returned east in 1855, to DeKalb, Illinois, where he opened a hardware and implements store. On January 27, 1859, Ellwood married Harriet Augusta Miller; the couple would ultimately have seven children. As Ellwood rose to prominence he began acquiring farm properties in and around DeKalb, Illinois. After the Civil War ended he began to import Percheron draft horses, many from France. Eventually, this resulted in a stock farm near DeKalb.\n\nBirth of barbed wire\n\nIn late 1872, Waterman, Illinois farmer Henry Rose developed a wire fence with an attached wooden strip containing projecting wire points to dissuade encroaching livestock. He patented his fence in May, 1873 and exhibited it at the DeKalb County Fair that summer. This prompted Ellwood along with other DeKalb area residents Jacob Haish and Joseph Glidden to work on improving the concept. Ellwood patented a type of barbed wire in February 1874, but ever the businessman, concluded that Joseph Glidden's design was superior to his. He purchased one-half interest in Glidden's invention in July 1874. Glidden's patent issued in November, and together they formed the Barb Fence Company. In a few years, Glidden sold his half of that business to others, while retaining royalties from his patent. \n\nEllwood continued in the manufacture of barbed wire as I.L. Ellwood Manufacturing Company. In the beginning they produced two-strand, twisted barbed wire in the back of Ellwood's hardware store. The business was quickly successful. Ellwood's hiring of John Warne Gates as a salesman propelled sales of barbed wire in Texas. \n\nRanchers in the west found barbed wire fencing useful and much needed. As demand rose sharply, the company expanded, reorganized and merged and a successful Ellwood began construction on his Victorian mansion, the Ellwood House.\n\nIn 1881, I.L. Ellwood Manufacturing became Superior Barbed Wire Company under an expansion and reorganization plan. Seventeen years later the company would merge in the creation of John Warne Gates' American Steel and Wire monopoly, which was a predecessor of United States Steel.\n\nSupport for higher education\nDeKalb is home to Northern Illinois University and Ellwood played a major role in making it a reality. It was Clinton Rosette who helped persuade Ellwood that the new Northern Illinois State Normal School should be in DeKalb. So convinced was Ellwood that he used all methods at his disposal to support the cause. His own capital, his time and his political influence were all used to gain DeKalb the new college.\n\nGovernor John Altgeld appointed Ellwood to the Board of Trustees, who were responsible for selecting a site for the normal school. This allowed him to assert all the more political influence. In the name of securing the future school for DeKalb Ellwood reportedly donated $20,000 and fronted another $50,000 in a non-interest bearing loan, along with of land for the new school. The bid was ultimately successful and the normal school eventually became NIU.\n\nTexas ranching\n\nIn the ensuing time Ellwood's interest in ranching grew. On a trip to Texas in 1889 he purchased the 130,000 acre (530 km²) Renderbrook Ranch in Mitchell County. In 1891 he purchased an additional northwest of Lubbock, Texas. He acquired more area in 1902 and 1906 bringing his total holdings in Texas to . In all, at its height Spade Ranch and Ellwood's other Texas land holdings encompassed .\n\nHe built a ten-room \"cottage\" in Port Arthur, Texas which was an authentic copy of a Pompeiian villa from 74 CE.\n\nEllwood continued to acquire ranch land until almost the time he died, in Dekalb, Illinois in 1910.\n\nTrivia\n\nThe borough of Ellwood City, Pennsylvania is named after Isaac L. Ellwood.\nHe is the brother of United States Representative Reuben Ellwood\n\nNotes\n\nReferences\nEllwood biography: from the University of Texas at Austin\n\nExternal links\nBiographical timeline\nEllwood House and Museum\nEllwood Pompeiian villa: Port Arthur Chamber of Commerce\nBarbed Wire Museum\n – Isaac Ellwood, DeKalb, Illinois Improvement in Barbed Fences – \"single piece of metal with four points, attached to a flat rail\" (February, 1874)\nEllwood papers at Southwest Collection/Special Collections Library, Texas Tech University\n\n19th-century American inventors\n1833 births\n1910 deaths\nPeople from DeKalb, Illinois"
] | [
"Lewis Robert \"Hack\" Wilson (April 26, 1900 – November 23, 1948) was an American Major League Baseball player who played 12 seasons for the New York Giants, Chicago Cubs, Brooklyn Dodgers and Philadelphia Phillies. Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s.",
"Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s. His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history.",
"His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history. Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed.",
"Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed. \"For a brief span of a few years\", wrote a sportswriter of the day, \"this hammered down little strongman actually rivaled the mighty Ruth.\"",
"\"For a brief span of a few years\", wrote a sportswriter of the day, \"this hammered down little strongman actually rivaled the mighty Ruth.\" While Wilson's combativeness and excessive alcohol consumption made him one of the most colorful sports personalities of his era, his drinking and fighting undoubtedly contributed to a premature end to his athletic career and, ultimately, his premature death.",
"While Wilson's combativeness and excessive alcohol consumption made him one of the most colorful sports personalities of his era, his drinking and fighting undoubtedly contributed to a premature end to his athletic career and, ultimately, his premature death. He was inducted into the Baseball Hall of Fame in 1979.",
"He was inducted into the Baseball Hall of Fame in 1979. Baseball career Early life and minor leagues Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh.",
"Baseball career Early life and minor leagues Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker.",
"His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker. His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24.",
"His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24. In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week.",
"In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week. Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes.",
"Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes. Sportswriter Shirley Povich later observed that he was \"built along the lines of a beer keg, and was not wholly unfamiliar with its contents.\"",
"Sportswriter Shirley Povich later observed that he was \"built along the lines of a beer keg, and was not wholly unfamiliar with its contents.\" While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of Fetal Alcohol Syndrome.",
"While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of Fetal Alcohol Syndrome. In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \"D\" Blue Ridge League.",
"In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \"D\" Blue Ridge League. After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield.",
"After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield. In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year.",
"In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year. In 1923, playing for the \"B\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average.",
"In 1923, playing for the \"B\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average. Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500 ($ in current dollar terms).",
"Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500 ($ in current dollar terms). New York Giants Wilson made his major league debut with the Giants on September 29, 1923, at the age of 23, and became the starting left fielder the following season.",
"New York Giants Wilson made his major league debut with the Giants on September 29, 1923, at the age of 23, and became the starting left fielder the following season. By mid-July he was ranked second in the National League (NL) in hitting.",
"By mid-July he was ranked second in the National League (NL) in hitting. He ended the season with a .295 average, 10 home runs, and 57 runs batted in (RBIs) as New York won the NL pennant. In the 1924 World Series he averaged only .233 in a seven-game loss to the Washington Senators.",
"In the 1924 World Series he averaged only .233 in a seven-game loss to the Washington Senators. Multiple stories exist to explain the origin of Wilson's nickname: By one account, a New York newspaper held a nicknaming contest; the winning entry was \"Hack\" because he reminded many fans of another stocky athlete, the popular wrestler Georg Hackenschmidt.",
"Multiple stories exist to explain the origin of Wilson's nickname: By one account, a New York newspaper held a nicknaming contest; the winning entry was \"Hack\" because he reminded many fans of another stocky athlete, the popular wrestler Georg Hackenschmidt. In another version, McGraw is said to have remarked that Wilson's physique was reminiscent of a \"hack\" (slang for taxicab in that era).",
"In another version, McGraw is said to have remarked that Wilson's physique was reminiscent of a \"hack\" (slang for taxicab in that era). Giants teammate Bill Cunningham claimed that the nickname was based on Wilson's resemblance to Hack Miller, an outfielder with the Chicago Cubs.",
"Giants teammate Bill Cunningham claimed that the nickname was based on Wilson's resemblance to Hack Miller, an outfielder with the Chicago Cubs. The New York Times printed the first documented usage of \"Hack\" on June 10, 1924.",
"The New York Times printed the first documented usage of \"Hack\" on June 10, 1924. Early in the 1925 season Wilson hit the longest home run on record at Ebbets Field against the Brooklyn Robins, but fell into a slump in May, and was replaced in left field by Irish Meusel.",
"Early in the 1925 season Wilson hit the longest home run on record at Ebbets Field against the Brooklyn Robins, but fell into a slump in May, and was replaced in left field by Irish Meusel. On July 2 he hit two home runs in one inning, tying Ken Williams' major league record set in 1922, but his hitting slump continued.",
"On July 2 he hit two home runs in one inning, tying Ken Williams' major league record set in 1922, but his hitting slump continued. In August McGraw told reporters that he had \"... made the mistake of rushing [Wilson] along,\" and sent him to the Giants' minor league affiliate, the Toledo Mud Hens of the American Association.",
"In August McGraw told reporters that he had \"... made the mistake of rushing [Wilson] along,\" and sent him to the Giants' minor league affiliate, the Toledo Mud Hens of the American Association. At season's end, a front office oversight—or possibly, deliberate inaction—left him unprotected on the Toledo roster, and the last-place Chicago Cubs acquired him on waivers.",
"At season's end, a front office oversight—or possibly, deliberate inaction—left him unprotected on the Toledo roster, and the last-place Chicago Cubs acquired him on waivers. \"They let go the best outfielder I ever played alongside\", said Giants right fielder Ross Youngs, \"and they're going to regret it.\"",
"\"They let go the best outfielder I ever played alongside\", said Giants right fielder Ross Youngs, \"and they're going to regret it.\" During the 1925 World Series — between the Senators and the Pittsburgh Pirates — Wilson's son, Robert, was born.",
"During the 1925 World Series — between the Senators and the Pittsburgh Pirates — Wilson's son, Robert, was born. Glory years with the Cubs Wilson regained his form as the Cubs' center fielder in 1926, and he quickly became a favorite of Chicago fans.",
"Glory years with the Cubs Wilson regained his form as the Cubs' center fielder in 1926, and he quickly became a favorite of Chicago fans. On May 24 he hit the center field scoreboard with one of the longest home runs in Wrigley Field history as the Cubs came from behind to defeat the Boston Braves.",
"On May 24 he hit the center field scoreboard with one of the longest home runs in Wrigley Field history as the Cubs came from behind to defeat the Boston Braves. Later that evening he made news again when he was arrested during a police raid of a Prohibition-era speakeasy while trying to escape through the rear window, and was fined one dollar.",
"Later that evening he made news again when he was arrested during a police raid of a Prohibition-era speakeasy while trying to escape through the rear window, and was fined one dollar. He ended the season with a league-leading 21 home runs along with 36 doubles, 109 RBIs, a .321 batting average, and a .406 on-base percentage.",
"He ended the season with a league-leading 21 home runs along with 36 doubles, 109 RBIs, a .321 batting average, and a .406 on-base percentage. The Cubs improved to fourth place, and Wilson ended the year ranked fifth in voting for the NL's Most Valuable Player (MVP) Award.",
"The Cubs improved to fourth place, and Wilson ended the year ranked fifth in voting for the NL's Most Valuable Player (MVP) Award. Another strong performance followed in 1927 as Wilson once again led the league in home runs.",
"Another strong performance followed in 1927 as Wilson once again led the league in home runs. Although the Cubs were in first place heading into the final month of the season, the team faltered and again finished fourth. Wilson posted a .318 average with 30 home runs and 129 RBIs, and led NL outfielders with 400 putouts.",
"Wilson posted a .318 average with 30 home runs and 129 RBIs, and led NL outfielders with 400 putouts. He led the NL in home runs for a third consecutive year in 1928 with 31, along with 120 RBIs and a .313 average as the Cubs improved to third place.",
"He led the NL in home runs for a third consecutive year in 1928 with 31, along with 120 RBIs and a .313 average as the Cubs improved to third place. Wilson had a combative streak and sometimes initiated fights with opposing players and fans.",
"Wilson had a combative streak and sometimes initiated fights with opposing players and fans. On June 22, 1928, a near-riot broke out in the ninth inning at Wrigley Field against the St. Louis Cardinals when Wilson jumped into the box seats to attack a heckling fan.",
"On June 22, 1928, a near-riot broke out in the ninth inning at Wrigley Field against the St. Louis Cardinals when Wilson jumped into the box seats to attack a heckling fan. An estimated 5,000 spectators swarmed the field before police could separate the combatants and restore order.",
"An estimated 5,000 spectators swarmed the field before police could separate the combatants and restore order. The fan sued Wilson for $20,000, but a jury ruled in his favor.",
"The fan sued Wilson for $20,000, but a jury ruled in his favor. The following year he took offense at a remark by Cincinnati Reds pitcher Ray Kolp, and – upon reaching first base after hitting a single – he charged into the Reds dugout, punching Kolp several times before they could be separated.",
"The following year he took offense at a remark by Cincinnati Reds pitcher Ray Kolp, and – upon reaching first base after hitting a single – he charged into the Reds dugout, punching Kolp several times before they could be separated. Later that evening at the train station, Wilson exchanged words and blows with Cincinnati player Pete Donohue.",
"Later that evening at the train station, Wilson exchanged words and blows with Cincinnati player Pete Donohue. In late 1929 he signed a contract to fight Art Shires of the Chicago White Sox in a boxing match, but reneged after Cubs president William Veeck, Sr. enlisted Hack's wife Virginia to dissuade him, and then Shires lost a fight to George Trafton of the Chicago Bears.",
"In late 1929 he signed a contract to fight Art Shires of the Chicago White Sox in a boxing match, but reneged after Cubs president William Veeck, Sr. enlisted Hack's wife Virginia to dissuade him, and then Shires lost a fight to George Trafton of the Chicago Bears. There was nothing to gain, Wilson said, by fighting a defeated boxer.",
"There was nothing to gain, Wilson said, by fighting a defeated boxer. Wilson's \"penchant for festivities\" is also well documented.",
"Wilson's \"penchant for festivities\" is also well documented. Biographer Clifton Blue Parker described him as \"... the Roaring '20s epitome of a baseball player, primed for an age of American excess ... at a time when baseball was America's favorite sport.\"",
"Biographer Clifton Blue Parker described him as \"... the Roaring '20s epitome of a baseball player, primed for an age of American excess ... at a time when baseball was America's favorite sport.\" His love of drinking and partying did not endear him to Cubs owner William Wrigley, who abhorred alcohol consumption.",
"His love of drinking and partying did not endear him to Cubs owner William Wrigley, who abhorred alcohol consumption. (Wilson always insisted that he never played drunk; \"hung over, yes; drunk, no.\") Manager Joe McCarthy worked hard to shield Wilson from Wrigley, and to keep him on an even keel.",
"Manager Joe McCarthy worked hard to shield Wilson from Wrigley, and to keep him on an even keel. \"Better than any other manager,\" wrote sportswriter Frank Graham, \"Joe understood Hack, made allowances for him when he failed, and rewarded him with praise when he did well.",
"\"Better than any other manager,\" wrote sportswriter Frank Graham, \"Joe understood Hack, made allowances for him when he failed, and rewarded him with praise when he did well. Joe could be strict and stern with his players ... but he never was with Hack, and Hack repaid him by playing as he never had before, nor would again.\"",
"Joe could be strict and stern with his players ... but he never was with Hack, and Hack repaid him by playing as he never had before, nor would again.\" In 1929 Wilson hit .345 with 39 home runs and a league-record 159 RBIs.",
"In 1929 Wilson hit .345 with 39 home runs and a league-record 159 RBIs. He and new teammate Rogers Hornsby (who also contributed 39 home runs) led the Cubs to their first NL pennant in eleven years.",
"He and new teammate Rogers Hornsby (who also contributed 39 home runs) led the Cubs to their first NL pennant in eleven years. In the World Series against Connie Mack's Philadelphia Athletics, Wilson's .471 hitting performance was eclipsed by two fielding errors at Shibe Park.",
"In the World Series against Connie Mack's Philadelphia Athletics, Wilson's .471 hitting performance was eclipsed by two fielding errors at Shibe Park. Though trailing the Series two games to one, the Cubs were leading by a score of 8–0 in the fourth game when the Athletics mounted a 10-run rally in the seventh inning.",
"Though trailing the Series two games to one, the Cubs were leading by a score of 8–0 in the fourth game when the Athletics mounted a 10-run rally in the seventh inning. Wilson lost two fly balls in the sun; the second, with two runners on base, led to an inside-the-park home run by Mule Haas as the Athletics won 10–8.",
"Wilson lost two fly balls in the sun; the second, with two runners on base, led to an inside-the-park home run by Mule Haas as the Athletics won 10–8. After the game, McCarthy reportedly told a boy asking for a souvenir baseball, \"Come back tomorrow and stand behind Wilson, and you'll be able to pick up all the balls you want!\"",
"After the game, McCarthy reportedly told a boy asking for a souvenir baseball, \"Come back tomorrow and stand behind Wilson, and you'll be able to pick up all the balls you want!\" The Athletics won again the next day to take the Series in five games.",
"The Athletics won again the next day to take the Series in five games. 1930 peak Wilson's 1930 season, aided by a lively ball wound with special Australian wool, is considered one of the best single-season hitting performances in baseball history. By the middle of July he had accumulated 82 RBIs.",
"By the middle of July he had accumulated 82 RBIs. In August he hit 13 home runs and 53 RBIs, and by September 17 he had reached 174 RBIs, breaking Lou Gehrig's major league record established three years earlier.",
"In August he hit 13 home runs and 53 RBIs, and by September 17 he had reached 174 RBIs, breaking Lou Gehrig's major league record established three years earlier. He finished the season with 190 RBIs, along with an NL-record 56 home runs, .356 batting average, .454 on-base percentage, and league-leading .723 slugging percentage.",
"He finished the season with 190 RBIs, along with an NL-record 56 home runs, .356 batting average, .454 on-base percentage, and league-leading .723 slugging percentage. He was unofficially voted the NL's most \"useful\" player by the Baseball Writers' Association of America (which did not inaugurate its official MVP award until 1931).",
"He was unofficially voted the NL's most \"useful\" player by the Baseball Writers' Association of America (which did not inaugurate its official MVP award until 1931). In 1999 the Commissioner of Baseball officially increased Wilson's 1930 RBI total to 191 after a box score analysis by baseball historian Jerome Holtzman revealed that Charlie Grimm had been mistakenly credited with an RBI actually driven home by Wilson during the second game of a doubleheader on July 28.",
"In 1999 the Commissioner of Baseball officially increased Wilson's 1930 RBI total to 191 after a box score analysis by baseball historian Jerome Holtzman revealed that Charlie Grimm had been mistakenly credited with an RBI actually driven home by Wilson during the second game of a doubleheader on July 28. Wilson's 191 RBIs remains one of baseball's most enduring records; only Gehrig (185) and Hank Greenberg (184) ever came close, and there have been no serious challenges in the last 75 years.",
"Wilson's 191 RBIs remains one of baseball's most enduring records; only Gehrig (185) and Hank Greenberg (184) ever came close, and there have been no serious challenges in the last 75 years. (The best recent effort was 165 by Manny Ramirez in 1999.)",
"(The best recent effort was 165 by Manny Ramirez in 1999.) Reds catcher Clyde Sukeforth asserted that Wilson should have been credited with an additional home run in 1930 as well.",
"Reds catcher Clyde Sukeforth asserted that Wilson should have been credited with an additional home run in 1930 as well. \"He hit one in Cincinnati one day\", he said, \"way up in the seats, hit it so hard that it bounced right back onto the field.",
"\"He hit one in Cincinnati one day\", he said, \"way up in the seats, hit it so hard that it bounced right back onto the field. The umpire had a bad angle on it and ruled that it had hit the screen and bounced back.",
"The umpire had a bad angle on it and ruled that it had hit the screen and bounced back. I was sitting in the Cincinnati bullpen, and of course, we weren't going to say anything. But Hack really hit 57 that year.\"",
"But Hack really hit 57 that year.\" Wilson's official total of 56 stood as the NL record until the 1998 season, when it was broken by Sammy Sosa (66) and Mark McGwire (70).",
"Wilson's official total of 56 stood as the NL record until the 1998 season, when it was broken by Sammy Sosa (66) and Mark McGwire (70). Decline Wilson's success in the 1930 season served only to fuel his drinking habits, and in 1931 he reported to spring training 20 pounds overweight.",
"Decline Wilson's success in the 1930 season served only to fuel his drinking habits, and in 1931 he reported to spring training 20 pounds overweight. In addition, the NL responded to the prodigious offensive statistics of the previous year (the only season, other than 1894, in which the league as a whole batted over .300) by introducing a heavier ball with raised stitching to allow pitchers to gain a better grip and throw sharper curveballs.",
"In addition, the NL responded to the prodigious offensive statistics of the previous year (the only season, other than 1894, in which the league as a whole batted over .300) by introducing a heavier ball with raised stitching to allow pitchers to gain a better grip and throw sharper curveballs. Wilson complained that the new Cubs manager, Hornsby, did not allow him to \"swing away\" as much as Joe McCarthy had.",
"Wilson complained that the new Cubs manager, Hornsby, did not allow him to \"swing away\" as much as Joe McCarthy had. He hit his 200th career home run at Ebbets Field on June 18 — only the fourth player ever to do so, behind Ruth, Cy Williams, and Hornsby — but then fell into a protracted slump, and was benched in late May.",
"He hit his 200th career home run at Ebbets Field on June 18 — only the fourth player ever to do so, behind Ruth, Cy Williams, and Hornsby — but then fell into a protracted slump, and was benched in late May. By late August Wrigley publicly expressed his desire to trade him.",
"By late August Wrigley publicly expressed his desire to trade him. On September 6 he was suspended without pay for the remainder of the season after a fight with reporters aboard a train in Cincinnati. He was hitting .261 with only 13 home runs (his 1930 production during August alone) at the time.",
"He was hitting .261 with only 13 home runs (his 1930 production during August alone) at the time. In December 1931, the Cubs traded Wilson, along with Bud Teachout, to the St. Louis Cardinals for Burleigh Grimes.",
"In December 1931, the Cubs traded Wilson, along with Bud Teachout, to the St. Louis Cardinals for Burleigh Grimes. Less than a month later, the Cardinals sent him to the Brooklyn Dodgers for minor league outfielder Bob Parham and $25,000 ($ in current dollar terms).",
"Less than a month later, the Cardinals sent him to the Brooklyn Dodgers for minor league outfielder Bob Parham and $25,000 ($ in current dollar terms). Wilson hit .297 with 23 home runs and 123 RBIs for Brooklyn in 1932.",
"Wilson hit .297 with 23 home runs and 123 RBIs for Brooklyn in 1932. He began 1933 with a ninth-inning game-winning pinch-hit inside-the-park grand slam home run at Ebbets Field—the first pinch-hit grand slam in Dodger history, and only the third inside-the-park pinch-hit grand slam in MLB history.",
"He began 1933 with a ninth-inning game-winning pinch-hit inside-the-park grand slam home run at Ebbets Field—the first pinch-hit grand slam in Dodger history, and only the third inside-the-park pinch-hit grand slam in MLB history. By season's end his offensive totals had dropped substantially, and he was hitting .262 when the Dodgers released him mid-season in 1934.",
"By season's end his offensive totals had dropped substantially, and he was hitting .262 when the Dodgers released him mid-season in 1934. The Philadelphia Phillies signed him immediately, but after just two hits in 20 at bats he was released again a month later.",
"The Philadelphia Phillies signed him immediately, but after just two hits in 20 at bats he was released again a month later. After a final season with the Albany Senators of the Class \"A\" New York–Pennsylvania League, Wilson retired at the age of 35.",
"After a final season with the Albany Senators of the Class \"A\" New York–Pennsylvania League, Wilson retired at the age of 35. Career statistics In a 12-year major league career, Wilson played in 1,348 games and accumulated 1,461 hits in 4,760 at-bats for a .307 career batting average and a .395 on-base percentage.",
"Career statistics In a 12-year major league career, Wilson played in 1,348 games and accumulated 1,461 hits in 4,760 at-bats for a .307 career batting average and a .395 on-base percentage. He hit 244 home runs and batted in 1,063 runs, led the NL in home runs four times, and surpassed 100 RBIs six times.",
"He hit 244 home runs and batted in 1,063 runs, led the NL in home runs four times, and surpassed 100 RBIs six times. Defensively, he finished his career with a .965 fielding percentage.",
"Defensively, he finished his career with a .965 fielding percentage. Life after baseball Wilson returned to Martinsburg where he opened a pool hall, but encountered financial problems due to a failed sporting goods business venture, and then a rancorous divorce from Virginia.",
"Life after baseball Wilson returned to Martinsburg where he opened a pool hall, but encountered financial problems due to a failed sporting goods business venture, and then a rancorous divorce from Virginia. By 1938 he was working as a bartender near Brooklyn's Ebbets Field where he sang for drinks, but had to quit when customers became too abusive.",
"By 1938 he was working as a bartender near Brooklyn's Ebbets Field where he sang for drinks, but had to quit when customers became too abusive. A night club venture in suburban Chicago was another financial failure.",
"A night club venture in suburban Chicago was another financial failure. In 1944 he took a job as a good will ambassador for a professional basketball team in Washington, D.C., where he lamented that fans remembered his two dropped fly balls in the 1929 World Series far more vividly than his 56 home runs and 191 RBIs in 1930.",
"In 1944 he took a job as a good will ambassador for a professional basketball team in Washington, D.C., where he lamented that fans remembered his two dropped fly balls in the 1929 World Series far more vividly than his 56 home runs and 191 RBIs in 1930. Unable to find work in professional baseball, he moved to Baltimore where he worked as a tool checker in an airplane manufacturing plant and later as a laborer for the City of Baltimore.",
"Unable to find work in professional baseball, he moved to Baltimore where he worked as a tool checker in an airplane manufacturing plant and later as a laborer for the City of Baltimore. When municipal authorities realized who he was, he was made the manager of a Baltimore public swimming pool.",
"When municipal authorities realized who he was, he was made the manager of a Baltimore public swimming pool. On October 4, 1948 Wilson was discovered unconscious after a fall in his home.",
"On October 4, 1948 Wilson was discovered unconscious after a fall in his home. Though the accident did not appear serious at first, pneumonia and other complications developed and he died of internal hemorrhaging on November 23, 1948, at the age of 48.",
"Though the accident did not appear serious at first, pneumonia and other complications developed and he died of internal hemorrhaging on November 23, 1948, at the age of 48. Wilson — once the highest-paid player in the National League — died penniless; his son, Robert, refused to claim his remains.",
"Wilson — once the highest-paid player in the National League — died penniless; his son, Robert, refused to claim his remains. NL President Ford Frick finally sent money to cover his funeral expenses. His gray burial suit was donated by the undertaker.",
"His gray burial suit was donated by the undertaker. In marked contrast to Babe Ruth's funeral, which had been attended by thousands just three months earlier, only a few hundred people were present for Wilson's services. He was buried in Rosedale Cemetery in the town where he made his professional playing debut, Martinsburg, West Virginia.",
"He was buried in Rosedale Cemetery in the town where he made his professional playing debut, Martinsburg, West Virginia. Ten months later Joe McCarthy organized a second, more complete memorial service, attended by Kiki Cuyler, Charlie Grimm, Nick Altrock and other players from the Cubs and the Martinsburg team (by then renamed the Blue Sox).",
"Ten months later Joe McCarthy organized a second, more complete memorial service, attended by Kiki Cuyler, Charlie Grimm, Nick Altrock and other players from the Cubs and the Martinsburg team (by then renamed the Blue Sox). A granite tombstone was unveiled, with the inscription, \"One of Baseball's Immortals, Lewis R. (Hack) Wilson, Rests Here.\"",
"A granite tombstone was unveiled, with the inscription, \"One of Baseball's Immortals, Lewis R. (Hack) Wilson, Rests Here.\" One week before his death, Wilson gave an interview to CBS Radio which was reprinted in Chicago newspapers.",
"One week before his death, Wilson gave an interview to CBS Radio which was reprinted in Chicago newspapers. In 1949 Charlie Grimm, the Cubs' new manager, posted a framed excerpt from that interview in the Cubs clubhouse, where it remains. It reads, in part: Talent isn't enough.",
"It reads, in part: Talent isn't enough. You need common sense and good advice. If anyone tries to tell you different, tell them the story of Hack Wilson. ... Kids in and out of baseball who think because they have talent they have the world by the tail. It isn't so.",
"It isn't so. It isn't so. Kids, don't be too big to accept advice. Don't let what happened to me happen to you. In 1979 Wilson was inducted into the Baseball Hall of Fame by the Veterans Committee.",
"In 1979 Wilson was inducted into the Baseball Hall of Fame by the Veterans Committee. A Martinsburg street is named Hack Wilson Way in his honor, and the access road to a large city park within his home town, Ellwood City, Pennsylvania, is known as Hack Wilson Drive.",
"A Martinsburg street is named Hack Wilson Way in his honor, and the access road to a large city park within his home town, Ellwood City, Pennsylvania, is known as Hack Wilson Drive. See also 50 home run club List of Major League Baseball annual home run leaders List of Major League Baseball annual runs batted in leaders List of Major League Baseball players to hit for the cycle List of Major League Baseball career runs batted in leaders List of Major League Baseball career slugging percentage leaders List of Major League Baseball career OPS leaders List of Major League Baseball career home run leaders References Further reading Subscription required.",
"See also 50 home run club List of Major League Baseball annual home run leaders List of Major League Baseball annual runs batted in leaders List of Major League Baseball players to hit for the cycle List of Major League Baseball career runs batted in leaders List of Major League Baseball career slugging percentage leaders List of Major League Baseball career OPS leaders List of Major League Baseball career home run leaders References Further reading Subscription required. Subscription required.",
"Subscription required. Subscription required. External links , or Retrosheet National Baseball Hall of Fame inductees Major League Baseball center fielders Chicago Cubs players Brooklyn Dodgers players New York Giants (NL) players Philadelphia Phillies players National League home run champions National League RBI champions Martinsburg Mountaineers players Martinsburg Blue Sox players Portsmouth Truckers players Toledo Mud Hens players Albany Senators players Baseball players from Pennsylvania Sportspeople from Martinsburg, West Virginia People from Ellwood City, Pennsylvania People from Lawrence County, Pennsylvania 1900 births 1948 deaths"
] |
[
"Hack Wilson",
"Early life and minor leagues",
"what was Wilson's early life like?",
"Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker.",
"did he stay in Ellwood City his whole childhood?",
"In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \"D\" Blue Ridge League."
] | C_caf876f084ed435aae7dfb1e41e6fe73_1 | how long did he stay in West Virginia? | 3 | how long did Wilsonstay in West Virginia? | Hack Wilson | Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker. His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24. In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week. Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes. Sportswriter Shirley Povich later observed that he was "built along the lines of a beer keg, and was not wholly unfamiliar with its contents." While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of the Fetal Alcohol Syndrome. In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class "D" Blue Ridge League. After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield. In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year. In 1923, playing for the "B" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average. Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500. CANNOTANSWER | In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year. | Lewis Robert "Hack" Wilson (April 26, 1900 – November 23, 1948) was an American Major League Baseball player who played 12 seasons for the New York Giants, Chicago Cubs, Brooklyn Dodgers and Philadelphia Phillies. Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s. His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history. Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed. "For a brief span of a few years", wrote a sportswriter of the day, "this hammered down little strongman actually rivaled the mighty Ruth."
While Wilson's combativeness and excessive alcohol consumption made him one of the most colorful sports personalities of his era, his drinking and fighting undoubtedly contributed to a premature end to his athletic career and, ultimately, his premature death. He was inducted into the Baseball Hall of Fame in 1979.
Baseball career
Early life and minor leagues
Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker. His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24.
In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week. Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes. Sportswriter Shirley Povich later observed that he was "built along the lines of a beer keg, and was not wholly unfamiliar with its contents." While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of Fetal Alcohol Syndrome.
In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class "D" Blue Ridge League. After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield. In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year. In 1923, playing for the "B" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average. Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500 ($ in current dollar terms).
New York Giants
Wilson made his major league debut with the Giants on September 29, 1923, at the age of 23, and became the starting left fielder the following season. By mid-July he was ranked second in the National League (NL) in hitting. He ended the season with a .295 average, 10 home runs, and 57 runs batted in (RBIs) as New York won the NL pennant. In the 1924 World Series he averaged only .233 in a seven-game loss to the Washington Senators.
Multiple stories exist to explain the origin of Wilson's nickname: By one account, a New York newspaper held a nicknaming contest; the winning entry was "Hack" because he reminded many fans of another stocky athlete, the popular wrestler Georg Hackenschmidt. In another version, McGraw is said to have remarked that Wilson's physique was reminiscent of a "hack" (slang for taxicab in that era). Giants teammate Bill Cunningham claimed that the nickname was based on Wilson's resemblance to Hack Miller, an outfielder with the Chicago Cubs. The New York Times printed the first documented usage of "Hack" on June 10, 1924.
Early in the 1925 season Wilson hit the longest home run on record at Ebbets Field against the Brooklyn Robins, but fell into a slump in May, and was replaced in left field by Irish Meusel. On July 2 he hit two home runs in one inning, tying Ken Williams' major league record set in 1922, but his hitting slump continued. In August McGraw told reporters that he had "... made the mistake of rushing [Wilson] along," and sent him to the Giants' minor league affiliate, the Toledo Mud Hens of the American Association. At season's end, a front office oversight—or possibly, deliberate inaction—left him unprotected on the Toledo roster, and the last-place Chicago Cubs acquired him on waivers. "They let go the best outfielder I ever played alongside", said Giants right fielder Ross Youngs, "and they're going to regret it."
During the 1925 World Series — between the Senators and the Pittsburgh Pirates — Wilson's son, Robert, was born.
Glory years with the Cubs
Wilson regained his form as the Cubs' center fielder in 1926, and he quickly became a favorite of Chicago fans. On May 24 he hit the center field scoreboard with one of the longest home runs in Wrigley Field history as the Cubs came from behind to defeat the Boston Braves. Later that evening he made news again when he was arrested during a police raid of a Prohibition-era speakeasy while trying to escape through the rear window, and was fined one dollar. He ended the season with a league-leading 21 home runs along with 36 doubles, 109 RBIs, a .321 batting average, and a .406 on-base percentage. The Cubs improved to fourth place, and Wilson ended the year ranked fifth in voting for the NL's Most Valuable Player (MVP) Award.
Another strong performance followed in 1927 as Wilson once again led the league in home runs. Although the Cubs were in first place heading into the final month of the season, the team faltered and again finished fourth. Wilson posted a .318 average with 30 home runs and 129 RBIs, and led NL outfielders with 400 putouts. He led the NL in home runs for a third consecutive year in 1928 with 31, along with 120 RBIs and a .313 average as the Cubs improved to third place.
Wilson had a combative streak and sometimes initiated fights with opposing players and fans. On June 22, 1928, a near-riot broke out in the ninth inning at Wrigley Field against the St. Louis Cardinals when Wilson jumped into the box seats to attack a heckling fan. An estimated 5,000 spectators swarmed the field before police could separate the combatants and restore order. The fan sued Wilson for $20,000, but a jury ruled in his favor. The following year he took offense at a remark by Cincinnati Reds pitcher Ray Kolp, and – upon reaching first base after hitting a single – he charged into the Reds dugout, punching Kolp several times before they could be separated. Later that evening at the train station, Wilson exchanged words and blows with Cincinnati player Pete Donohue. In late 1929 he signed a contract to fight Art Shires of the Chicago White Sox in a boxing match, but reneged after Cubs president William Veeck, Sr. enlisted Hack's wife Virginia to dissuade him, and then Shires lost a fight to George Trafton of the Chicago Bears. There was nothing to gain, Wilson said, by fighting a defeated boxer.
Wilson's "penchant for festivities" is also well documented. Biographer Clifton Blue Parker described him as "... the Roaring '20s epitome of a baseball player, primed for an age of American excess ... at a time when baseball was America's favorite sport." His love of drinking and partying did not endear him to Cubs owner William Wrigley, who abhorred alcohol consumption. (Wilson always insisted that he never played drunk; "hung over, yes; drunk, no.") Manager Joe McCarthy worked hard to shield Wilson from Wrigley, and to keep him on an even keel. "Better than any other manager," wrote sportswriter Frank Graham, "Joe understood Hack, made allowances for him when he failed, and rewarded him with praise when he did well. Joe could be strict and stern with his players ... but he never was with Hack, and Hack repaid him by playing as he never had before, nor would again."
In 1929 Wilson hit .345 with 39 home runs and a league-record 159 RBIs. He and new teammate Rogers Hornsby (who also contributed 39 home runs) led the Cubs to their first NL pennant in eleven years. In the World Series against Connie Mack's Philadelphia Athletics, Wilson's .471 hitting performance was eclipsed by two fielding errors at Shibe Park. Though trailing the Series two games to one, the Cubs were leading by a score of 8–0 in the fourth game when the Athletics mounted a 10-run rally in the seventh inning. Wilson lost two fly balls in the sun; the second, with two runners on base, led to an inside-the-park home run by Mule Haas as the Athletics won 10–8. After the game, McCarthy reportedly told a boy asking for a souvenir baseball, "Come back tomorrow and stand behind Wilson, and you'll be able to pick up all the balls you want!" The Athletics won again the next day to take the Series in five games.
1930 peak
Wilson's 1930 season, aided by a lively ball wound with special Australian wool, is considered one of the best single-season hitting performances in baseball history. By the middle of July he had accumulated 82 RBIs. In August he hit 13 home runs and 53 RBIs, and by September 17 he had reached 174 RBIs, breaking Lou Gehrig's major league record established three years earlier. He finished the season with 190 RBIs, along with an NL-record 56 home runs, .356 batting average, .454 on-base percentage, and league-leading .723 slugging percentage. He was unofficially voted the NL's most "useful" player by the Baseball Writers' Association of America (which did not inaugurate its official MVP award until 1931).
In 1999 the Commissioner of Baseball officially increased Wilson's 1930 RBI total to 191 after a box score analysis by baseball historian Jerome Holtzman revealed that Charlie Grimm had been mistakenly credited with an RBI actually driven home by Wilson during the second game of a doubleheader on July 28. Wilson's 191 RBIs remains one of baseball's most enduring records; only Gehrig (185) and Hank Greenberg (184) ever came close, and there have been no serious challenges in the last 75 years. (The best recent effort was 165 by Manny Ramirez in 1999.)
Reds catcher Clyde Sukeforth asserted that Wilson should have been credited with an additional home run in 1930 as well. "He hit one in Cincinnati one day", he said, "way up in the seats, hit it so hard that it bounced right back onto the field. The umpire had a bad angle on it and ruled that it had hit the screen and bounced back. I was sitting in the Cincinnati bullpen, and of course, we weren't going to say anything. But Hack really hit 57 that year." Wilson's official total of 56 stood as the NL record until the 1998 season, when it was broken by Sammy Sosa (66) and Mark McGwire (70).
Decline
Wilson's success in the 1930 season served only to fuel his drinking habits, and in 1931 he reported to spring training 20 pounds overweight. In addition, the NL responded to the prodigious offensive statistics of the previous year (the only season, other than 1894, in which the league as a whole batted over .300) by introducing a heavier ball with raised stitching to allow pitchers to gain a better grip and throw sharper curveballs. Wilson complained that the new Cubs manager, Hornsby, did not allow him to "swing away" as much as Joe McCarthy had. He hit his 200th career home run at Ebbets Field on June 18 — only the fourth player ever to do so, behind Ruth, Cy Williams, and Hornsby — but then fell into a protracted slump, and was benched in late May. By late August Wrigley publicly expressed his desire to trade him. On September 6 he was suspended without pay for the remainder of the season after a fight with reporters aboard a train in Cincinnati. He was hitting .261 with only 13 home runs (his 1930 production during August alone) at the time.
In December 1931, the Cubs traded Wilson, along with Bud Teachout, to the St. Louis Cardinals for Burleigh Grimes. Less than a month later, the Cardinals sent him to the Brooklyn Dodgers for minor league outfielder Bob Parham and $25,000 ($ in current dollar terms). Wilson hit .297 with 23 home runs and 123 RBIs for Brooklyn in 1932. He began 1933 with a ninth-inning game-winning pinch-hit inside-the-park grand slam home run at Ebbets Field—the first pinch-hit grand slam in Dodger history, and only the third inside-the-park pinch-hit grand slam in MLB history. By season's end his offensive totals had dropped substantially, and he was hitting .262 when the Dodgers released him mid-season in 1934. The Philadelphia Phillies signed him immediately, but after just two hits in 20 at bats he was released again a month later. After a final season with the Albany Senators of the Class "A" New York–Pennsylvania League, Wilson retired at the age of 35.
Career statistics
In a 12-year major league career, Wilson played in 1,348 games and accumulated 1,461 hits in 4,760 at-bats for a .307 career batting average and a .395 on-base percentage. He hit 244 home runs and batted in 1,063 runs, led the NL in home runs four times, and surpassed 100 RBIs six times. Defensively, he finished his career with a .965 fielding percentage.
Life after baseball
Wilson returned to Martinsburg where he opened a pool hall, but encountered financial problems due to a failed sporting goods business venture, and then a rancorous divorce from Virginia. By 1938 he was working as a bartender near Brooklyn's Ebbets Field where he sang for drinks, but had to quit when customers became too abusive. A night club venture in suburban Chicago was another financial failure. In 1944 he took a job as a good will ambassador for a professional basketball team in Washington, D.C., where he lamented that fans remembered his two dropped fly balls in the 1929 World Series far more vividly than his 56 home runs and 191 RBIs in 1930. Unable to find work in professional baseball, he moved to Baltimore where he worked as a tool checker in an airplane manufacturing plant and later as a laborer for the City of Baltimore. When municipal authorities realized who he was, he was made the manager of a Baltimore public swimming pool.
On October 4, 1948 Wilson was discovered unconscious after a fall in his home. Though the accident did not appear serious at first, pneumonia and other complications developed and he died of internal hemorrhaging on November 23, 1948, at the age of 48.
Wilson — once the highest-paid player in the National League — died penniless; his son, Robert, refused to claim his remains. NL President Ford Frick finally sent money to cover his funeral expenses. His gray burial suit was donated by the undertaker. In marked contrast to Babe Ruth's funeral, which had been attended by thousands just three months earlier, only a few hundred people were present for Wilson's services. He was buried in Rosedale Cemetery in the town where he made his professional playing debut, Martinsburg, West Virginia.
Ten months later Joe McCarthy organized a second, more complete memorial service, attended by Kiki Cuyler, Charlie Grimm, Nick Altrock and other players from the Cubs and the Martinsburg team (by then renamed the Blue Sox). A granite tombstone was unveiled, with the inscription, "One of Baseball's Immortals, Lewis R. (Hack) Wilson, Rests Here."
One week before his death, Wilson gave an interview to CBS Radio which was reprinted in Chicago newspapers. In 1949 Charlie Grimm, the Cubs' new manager, posted a framed excerpt from that interview in the Cubs clubhouse, where it remains. It reads, in part:
Talent isn't enough. You need common sense and good advice. If anyone tries to tell you different, tell them the story of Hack Wilson. ... Kids in and out of baseball who think because they have talent they have the world by the tail. It isn't so. Kids, don't be too big to accept advice. Don't let what happened to me happen to you.
In 1979 Wilson was inducted into the Baseball Hall of Fame by the Veterans Committee. A Martinsburg street is named Hack Wilson Way in his honor, and the access road to a large city park within his home town, Ellwood City, Pennsylvania, is known as Hack Wilson Drive.
See also
50 home run club
List of Major League Baseball annual home run leaders
List of Major League Baseball annual runs batted in leaders
List of Major League Baseball players to hit for the cycle
List of Major League Baseball career runs batted in leaders
List of Major League Baseball career slugging percentage leaders
List of Major League Baseball career OPS leaders
List of Major League Baseball career home run leaders
References
Further reading
Subscription required.
Subscription required.
External links
, or Retrosheet
National Baseball Hall of Fame inductees
Major League Baseball center fielders
Chicago Cubs players
Brooklyn Dodgers players
New York Giants (NL) players
Philadelphia Phillies players
National League home run champions
National League RBI champions
Martinsburg Mountaineers players
Martinsburg Blue Sox players
Portsmouth Truckers players
Toledo Mud Hens players
Albany Senators players
Baseball players from Pennsylvania
Sportspeople from Martinsburg, West Virginia
People from Ellwood City, Pennsylvania
People from Lawrence County, Pennsylvania
1900 births
1948 deaths | true | [
"Robert Page Sims (1872-1944) was an early African American academic, civil rights leader, scientist, and college president who held positions at Virginia University of Lynchburg and Bluefield State College.\n\nSims was born in Meyerstown, West Virginia, to Charles and Lucy (Page) Sims and grew up working on a farm. Sims graduated from Storer College, a Freewill Baptist school, in Harpers Ferry, West Virginia, in 1893 and then Hillsdale College, a Free Will Baptist school in Michigan, in 1897. He also did post-graduate work at the University of Pennsylvania. In 1901 Sims married Professor Stella James Sims, a graduate of Bates College, whom he knew from Storer, and they had six children together.\n\nSims taught first at the Virginia Seminary (Virginia University of Lynchburg) as a science professor. Next he taught at the Douglass School in Huntington, West Virginia. He then served five years as assistant principal of Bluefield State College under President Hamilton Hatter before becoming president himself in 1906. While serving as president he maintained a correspondence and professional relationship with W.E.B. Dubois regarding civil rights issues for African Americans and attended the Pan-African Congress in Europe in 1921. Sims stepped down as president of Bluefield in 1936 but continued to stay involved with the school. He died in 1944. He was buried at the Cedar Hill Cemetery in Bolivar, West Virginia, near Harpers Ferry.\n\nReferences\n\n1872 births\n1944 deaths\nHillsdale College alumni\nUniversity of Pennsylvania alumni\nFree Will Baptists\nHeads of universities and colleges in the United States\nActivists from New Hampshire\nPeople from Jefferson County, West Virginia\nActivists for African-American civil rights\nAmerican academic administrators\nAfrican-American scientists\nStorer College alumni\nBluefield State College faculty",
"The U.S. state of West Virginia reported its first confirmed case relating to the COVID-19 pandemic on March 17, 2020, becoming the last state to do so. The patient had shown symptoms for several days prior. On March 29, 2020, the state reported its first COVID-19 death.\n\nAs of March 2022 West Virginia had 490,554 confirmed cases of COVID-19 and 6,339 deaths from the disease. The National Center for Health Statistics estimates that between 99 and 434 excess deaths have occurred in the state through May 9, 2020. West Virginia has administered 1,189,041 COVID-19 vaccine doses, equivalent to 660 doses per 1000 people. 64% of the population have received at least one dose of the vaccine, and 57% are fully vaccinated.\n\nTimeline\n\n2020 \nBy March 16, 2020, West Virginia had tested 84 suspected cases of COVID-19. The state announced its first case, in Shepherdstown, on March 17. On March 18, the second case was announced. Also on that date, 148 West Virginians had been tested for the virus. On March 20, West Virginia had confirmed 8 cases of COVID-19. And on March 22, there were 16 confirmed cases.\n\nWest Virginia's first death occurred on March 29 in Marion County. The state's first death due to COVID-19 was an 88-year-old woman. At the end of March, there were 4,143 persons in West Virginia tested, of which 162 were positive and 3,981 were negative, alongside this one death. Counties with the highest number of positive cases were in Kanawha and Monongalia counties.\n\nAt the end of April 2020, there were 44,700 COVID-19 lab results received in West Virginia, of which 1,125 were positive. The death tally stood at 44.\n\nAt the end of May 2020, there were a total of 97,622 COVID-19 laboratory results received, of which 2,010 were positive. The death tally stood at 75.\n\nAt the end of June 2020, there were a total of 171,663 COVID-19 laboratory results received, of which 2,905 were positive. The death tally stood at 93.\n\nOn July 1, 2020, the cumulative COVID-19 positive test rate was 1.69 percent.\n\nOn July 16, an employee who worked for the West Virginia House of Delegates tested positive for the virus according to Speaker Roger Hanshaw, which resulted in closure of the clerk's office until further notice.\n\nOn July 25, Doddridge County became the last county in the state to report a positive COVID-19 case.\n\n2021\n\n2022 \nOn January 11, Governor Jim Justice said he had tested positive for COVID-19 and felt \"extremely unwell\". He had been vaccinated and boosted.\n\nGovernment responses\nOn March 13, Governor Jim Justice announced all schools across the state would close indefinitely beginning on March 16, 2020, as a proactive measure.\n\nOn March 15, the mayor of Charleston, West Virginia, declared a state of emergency. Then, March 16, the Governor declared a state of emergency.\n\nOn March 17, Justice ordered restaurant dining rooms, bars, and casinos to close until March 31.\n\nBy March 21, several Mid-Ohio Valley counties had closed their courthouses to the public or limited access.\n\nBy March 22, Justice urged West Virginians to stay home as much as possible. Justice was joined by Dr. Clay Marsh, vice president of West Virginia University and executive dean for Health Sciences. Marsh said that New York was being hit by \"a tsunami wave of coronavirus cases\" and if West Virginians could stay home as much as possible for the next few weeks, the \"tsunami wave\" can become more \"like a stream\" for West Virginia.\n\nClay Marsh, vice president of West Virginia University and executive dean of Health Sciences, stated: \"We are faced with a pandemic by a virus that we have no immune system that responds to, so we can’t fight it ... If we do these things, we’ll continue to be the leaders. We have demonstrated how we too, as a state pulling together, can protect each other and protect our health care workers. Once this window of opportunity is gone, it won’t matter what we do then.\"\n\nOn March 23, Governor Justice ordered non-essential businesses to be closed immediately, and issued a stay-at-home order effective March 24 at 8 p.m.\n\nOn March 25, WV held a statewide Day of Prayer, a 45-minute service dedicated to the people affected with Coronavirus disease. It was held by Governor Jim Justice and moderator Dr. Dan Anderson.\n\nOn April 17, the West Virginia Department of Health and Human Resources announced it would work with the National Guard to test individuals for COVID-19 who resided or worked in the state's nursing homes.\n\nOn April 30, Justice announced \"West Virginia Strong: The Comeback\", a lifting of the present stay-at-home order that would transition to a safer-at-home plan. Specific sector businesses would be allowed to re-open over a month and a half after May 3, 2020, if certain parameters of COVID-19 testing were met. West Virginia's stay-at-home order would be lifted at 12:01 a.m. Monday, May 4 and be replaced with a safer-at-home program, which would strongly encourage residents to stay home but not make it mandatory to do so.\n\nOn May 14, the WV Governor and Dept. of Health and Human Resources announced plans to increase testing among minorities and otherwise vulnerable populations in counties with large populations and evidence of transmission. The next day, they announced free testing in WV counties that were medically underserved.\n\nReligious entities have been excluded from the virus closures in the state. The WV Dept. of Health and Human Resources reported on June 13, a fifth outbreak at churches in the state had occurred. This time it was in Greenbrier County, which followed prior outbreaks at churches in Boone, Hampshire, Jefferson and Marshall counties. The Graystone Baptist Church in Greenbrier County had some 33 COVID-19 cases.\n\nBy July 1, some 115 COVID-19 cases were reported across West Virginia, the Governor stated, were traced to residents traveling to Myrtle Beach, South Carolina. \"I strongly urge anybody that's been to Myrtle Beach to please get tested\" Justice said. In a July 1 press release, Justice reported testing over 10,000 inmates and 4,000 employees in the state's correctional system showed one active COVID-19 case in an inmate at the Huttonsville Correctional Center and Jail and two employees.\n\nOn July 2, Justice announced that he was considering making masks mandatory in indoor spaces where social distancing isn't possible. He issued an order on July 6 mandating masks in indoor public spaces outside of the home to reduce the spread of COVID-19.\n\nOn December 11, the governor announced that Pfizer vaccine will come soon for West Virginia. The vaccine deployment would be prioritized for hospital and long-term care facility workers, teachers, first responders, and essential sector workers in Phase One. Phase Two, planned to begin in March, are for the general populace that wanted to take the vaccine.\n\nFederal response \nWest Virginia would receive $5.6 million of federal money to fight COVID-19.\n\nOn July 1, 2020, in his press release, Justice reported that West Virginia had been awarded over $24 million through the federal CARES Act.\n\nImpact on sports and the economy\n\nOn March 12, the National Collegiate Athletic Association cancelled all winter and spring tournaments, most notably the Division I men's and women's basketball tournaments, affecting colleges and universities statewide. On March 16, the National Junior College Athletic Association also canceled the remainder of the winter seasons as well as the spring seasons.\n\nThe governor's reopening plan required the state's cumulative positive test rate for COVID-19 to stay below three percent for three days, in contrast to the prior benchmark of having cases decline for two weeks.\n\nThe Associated Press reported over 250,000 unemployment claims were processed in West Virginia since the pandemic shutdown in March. Workforce West Virginia surpassed $1 billion in unemployment benefits to West Virginia residents. The unemployment rate in the state fell two points to 12.9 percent in May as the state started its reopening. West Virginia received over 35,000 fraudulent pandemic claims in June.\n\nJustice, in his July 1 press release, announced \"historic revenue surplus\" in West Virginia for fiscal year 2020 amidst the COVID-19 pandemic. He also stated that overall consumer spending in the state returned to pre-pandemic levels in June, according to a state-by-state analysis he said was conduced by the Harvard-based research group Opportunity Insights.\n\nThe West Virginia Strong—The Comeback plan to restart the state's economy saw July 1 reopenings include fairs, festivals, amusement parks, and rides, along with outdoor open air concerts.\n\nStatistics\n\nSee also\n Timeline of the COVID-19 pandemic in the United States\n COVID-19 pandemic in the United States – for impact on the country\n COVID-19 pandemic – for impact on other countries\n\nReferences\n\nExternal links \n\n Information from the West Virginia Department of Health & Human Resources\n\ncoronavirus pandemic\ncoronavirus pandemic\nWest Virginia\nDisasters in West Virginia\nHealth in West Virginia"
] | [
"Lewis Robert \"Hack\" Wilson (April 26, 1900 – November 23, 1948) was an American Major League Baseball player who played 12 seasons for the New York Giants, Chicago Cubs, Brooklyn Dodgers and Philadelphia Phillies. Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s.",
"Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s. His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history.",
"His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history. Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed.",
"Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed. \"For a brief span of a few years\", wrote a sportswriter of the day, \"this hammered down little strongman actually rivaled the mighty Ruth.\"",
"\"For a brief span of a few years\", wrote a sportswriter of the day, \"this hammered down little strongman actually rivaled the mighty Ruth.\" While Wilson's combativeness and excessive alcohol consumption made him one of the most colorful sports personalities of his era, his drinking and fighting undoubtedly contributed to a premature end to his athletic career and, ultimately, his premature death.",
"While Wilson's combativeness and excessive alcohol consumption made him one of the most colorful sports personalities of his era, his drinking and fighting undoubtedly contributed to a premature end to his athletic career and, ultimately, his premature death. He was inducted into the Baseball Hall of Fame in 1979.",
"He was inducted into the Baseball Hall of Fame in 1979. Baseball career Early life and minor leagues Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh.",
"Baseball career Early life and minor leagues Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker.",
"His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker. His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24.",
"His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24. In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week.",
"In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week. Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes.",
"Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes. Sportswriter Shirley Povich later observed that he was \"built along the lines of a beer keg, and was not wholly unfamiliar with its contents.\"",
"Sportswriter Shirley Povich later observed that he was \"built along the lines of a beer keg, and was not wholly unfamiliar with its contents.\" While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of Fetal Alcohol Syndrome.",
"While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of Fetal Alcohol Syndrome. In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \"D\" Blue Ridge League.",
"In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \"D\" Blue Ridge League. After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield.",
"After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield. In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year.",
"In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year. In 1923, playing for the \"B\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average.",
"In 1923, playing for the \"B\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average. Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500 ($ in current dollar terms).",
"Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500 ($ in current dollar terms). New York Giants Wilson made his major league debut with the Giants on September 29, 1923, at the age of 23, and became the starting left fielder the following season.",
"New York Giants Wilson made his major league debut with the Giants on September 29, 1923, at the age of 23, and became the starting left fielder the following season. By mid-July he was ranked second in the National League (NL) in hitting.",
"By mid-July he was ranked second in the National League (NL) in hitting. He ended the season with a .295 average, 10 home runs, and 57 runs batted in (RBIs) as New York won the NL pennant. In the 1924 World Series he averaged only .233 in a seven-game loss to the Washington Senators.",
"In the 1924 World Series he averaged only .233 in a seven-game loss to the Washington Senators. Multiple stories exist to explain the origin of Wilson's nickname: By one account, a New York newspaper held a nicknaming contest; the winning entry was \"Hack\" because he reminded many fans of another stocky athlete, the popular wrestler Georg Hackenschmidt.",
"Multiple stories exist to explain the origin of Wilson's nickname: By one account, a New York newspaper held a nicknaming contest; the winning entry was \"Hack\" because he reminded many fans of another stocky athlete, the popular wrestler Georg Hackenschmidt. In another version, McGraw is said to have remarked that Wilson's physique was reminiscent of a \"hack\" (slang for taxicab in that era).",
"In another version, McGraw is said to have remarked that Wilson's physique was reminiscent of a \"hack\" (slang for taxicab in that era). Giants teammate Bill Cunningham claimed that the nickname was based on Wilson's resemblance to Hack Miller, an outfielder with the Chicago Cubs.",
"Giants teammate Bill Cunningham claimed that the nickname was based on Wilson's resemblance to Hack Miller, an outfielder with the Chicago Cubs. The New York Times printed the first documented usage of \"Hack\" on June 10, 1924.",
"The New York Times printed the first documented usage of \"Hack\" on June 10, 1924. Early in the 1925 season Wilson hit the longest home run on record at Ebbets Field against the Brooklyn Robins, but fell into a slump in May, and was replaced in left field by Irish Meusel.",
"Early in the 1925 season Wilson hit the longest home run on record at Ebbets Field against the Brooklyn Robins, but fell into a slump in May, and was replaced in left field by Irish Meusel. On July 2 he hit two home runs in one inning, tying Ken Williams' major league record set in 1922, but his hitting slump continued.",
"On July 2 he hit two home runs in one inning, tying Ken Williams' major league record set in 1922, but his hitting slump continued. In August McGraw told reporters that he had \"... made the mistake of rushing [Wilson] along,\" and sent him to the Giants' minor league affiliate, the Toledo Mud Hens of the American Association.",
"In August McGraw told reporters that he had \"... made the mistake of rushing [Wilson] along,\" and sent him to the Giants' minor league affiliate, the Toledo Mud Hens of the American Association. At season's end, a front office oversight—or possibly, deliberate inaction—left him unprotected on the Toledo roster, and the last-place Chicago Cubs acquired him on waivers.",
"At season's end, a front office oversight—or possibly, deliberate inaction—left him unprotected on the Toledo roster, and the last-place Chicago Cubs acquired him on waivers. \"They let go the best outfielder I ever played alongside\", said Giants right fielder Ross Youngs, \"and they're going to regret it.\"",
"\"They let go the best outfielder I ever played alongside\", said Giants right fielder Ross Youngs, \"and they're going to regret it.\" During the 1925 World Series — between the Senators and the Pittsburgh Pirates — Wilson's son, Robert, was born.",
"During the 1925 World Series — between the Senators and the Pittsburgh Pirates — Wilson's son, Robert, was born. Glory years with the Cubs Wilson regained his form as the Cubs' center fielder in 1926, and he quickly became a favorite of Chicago fans.",
"Glory years with the Cubs Wilson regained his form as the Cubs' center fielder in 1926, and he quickly became a favorite of Chicago fans. On May 24 he hit the center field scoreboard with one of the longest home runs in Wrigley Field history as the Cubs came from behind to defeat the Boston Braves.",
"On May 24 he hit the center field scoreboard with one of the longest home runs in Wrigley Field history as the Cubs came from behind to defeat the Boston Braves. Later that evening he made news again when he was arrested during a police raid of a Prohibition-era speakeasy while trying to escape through the rear window, and was fined one dollar.",
"Later that evening he made news again when he was arrested during a police raid of a Prohibition-era speakeasy while trying to escape through the rear window, and was fined one dollar. He ended the season with a league-leading 21 home runs along with 36 doubles, 109 RBIs, a .321 batting average, and a .406 on-base percentage.",
"He ended the season with a league-leading 21 home runs along with 36 doubles, 109 RBIs, a .321 batting average, and a .406 on-base percentage. The Cubs improved to fourth place, and Wilson ended the year ranked fifth in voting for the NL's Most Valuable Player (MVP) Award.",
"The Cubs improved to fourth place, and Wilson ended the year ranked fifth in voting for the NL's Most Valuable Player (MVP) Award. Another strong performance followed in 1927 as Wilson once again led the league in home runs.",
"Another strong performance followed in 1927 as Wilson once again led the league in home runs. Although the Cubs were in first place heading into the final month of the season, the team faltered and again finished fourth. Wilson posted a .318 average with 30 home runs and 129 RBIs, and led NL outfielders with 400 putouts.",
"Wilson posted a .318 average with 30 home runs and 129 RBIs, and led NL outfielders with 400 putouts. He led the NL in home runs for a third consecutive year in 1928 with 31, along with 120 RBIs and a .313 average as the Cubs improved to third place.",
"He led the NL in home runs for a third consecutive year in 1928 with 31, along with 120 RBIs and a .313 average as the Cubs improved to third place. Wilson had a combative streak and sometimes initiated fights with opposing players and fans.",
"Wilson had a combative streak and sometimes initiated fights with opposing players and fans. On June 22, 1928, a near-riot broke out in the ninth inning at Wrigley Field against the St. Louis Cardinals when Wilson jumped into the box seats to attack a heckling fan.",
"On June 22, 1928, a near-riot broke out in the ninth inning at Wrigley Field against the St. Louis Cardinals when Wilson jumped into the box seats to attack a heckling fan. An estimated 5,000 spectators swarmed the field before police could separate the combatants and restore order.",
"An estimated 5,000 spectators swarmed the field before police could separate the combatants and restore order. The fan sued Wilson for $20,000, but a jury ruled in his favor.",
"The fan sued Wilson for $20,000, but a jury ruled in his favor. The following year he took offense at a remark by Cincinnati Reds pitcher Ray Kolp, and – upon reaching first base after hitting a single – he charged into the Reds dugout, punching Kolp several times before they could be separated.",
"The following year he took offense at a remark by Cincinnati Reds pitcher Ray Kolp, and – upon reaching first base after hitting a single – he charged into the Reds dugout, punching Kolp several times before they could be separated. Later that evening at the train station, Wilson exchanged words and blows with Cincinnati player Pete Donohue.",
"Later that evening at the train station, Wilson exchanged words and blows with Cincinnati player Pete Donohue. In late 1929 he signed a contract to fight Art Shires of the Chicago White Sox in a boxing match, but reneged after Cubs president William Veeck, Sr. enlisted Hack's wife Virginia to dissuade him, and then Shires lost a fight to George Trafton of the Chicago Bears.",
"In late 1929 he signed a contract to fight Art Shires of the Chicago White Sox in a boxing match, but reneged after Cubs president William Veeck, Sr. enlisted Hack's wife Virginia to dissuade him, and then Shires lost a fight to George Trafton of the Chicago Bears. There was nothing to gain, Wilson said, by fighting a defeated boxer.",
"There was nothing to gain, Wilson said, by fighting a defeated boxer. Wilson's \"penchant for festivities\" is also well documented.",
"Wilson's \"penchant for festivities\" is also well documented. Biographer Clifton Blue Parker described him as \"... the Roaring '20s epitome of a baseball player, primed for an age of American excess ... at a time when baseball was America's favorite sport.\"",
"Biographer Clifton Blue Parker described him as \"... the Roaring '20s epitome of a baseball player, primed for an age of American excess ... at a time when baseball was America's favorite sport.\" His love of drinking and partying did not endear him to Cubs owner William Wrigley, who abhorred alcohol consumption.",
"His love of drinking and partying did not endear him to Cubs owner William Wrigley, who abhorred alcohol consumption. (Wilson always insisted that he never played drunk; \"hung over, yes; drunk, no.\") Manager Joe McCarthy worked hard to shield Wilson from Wrigley, and to keep him on an even keel.",
"Manager Joe McCarthy worked hard to shield Wilson from Wrigley, and to keep him on an even keel. \"Better than any other manager,\" wrote sportswriter Frank Graham, \"Joe understood Hack, made allowances for him when he failed, and rewarded him with praise when he did well.",
"\"Better than any other manager,\" wrote sportswriter Frank Graham, \"Joe understood Hack, made allowances for him when he failed, and rewarded him with praise when he did well. Joe could be strict and stern with his players ... but he never was with Hack, and Hack repaid him by playing as he never had before, nor would again.\"",
"Joe could be strict and stern with his players ... but he never was with Hack, and Hack repaid him by playing as he never had before, nor would again.\" In 1929 Wilson hit .345 with 39 home runs and a league-record 159 RBIs.",
"In 1929 Wilson hit .345 with 39 home runs and a league-record 159 RBIs. He and new teammate Rogers Hornsby (who also contributed 39 home runs) led the Cubs to their first NL pennant in eleven years.",
"He and new teammate Rogers Hornsby (who also contributed 39 home runs) led the Cubs to their first NL pennant in eleven years. In the World Series against Connie Mack's Philadelphia Athletics, Wilson's .471 hitting performance was eclipsed by two fielding errors at Shibe Park.",
"In the World Series against Connie Mack's Philadelphia Athletics, Wilson's .471 hitting performance was eclipsed by two fielding errors at Shibe Park. Though trailing the Series two games to one, the Cubs were leading by a score of 8–0 in the fourth game when the Athletics mounted a 10-run rally in the seventh inning.",
"Though trailing the Series two games to one, the Cubs were leading by a score of 8–0 in the fourth game when the Athletics mounted a 10-run rally in the seventh inning. Wilson lost two fly balls in the sun; the second, with two runners on base, led to an inside-the-park home run by Mule Haas as the Athletics won 10–8.",
"Wilson lost two fly balls in the sun; the second, with two runners on base, led to an inside-the-park home run by Mule Haas as the Athletics won 10–8. After the game, McCarthy reportedly told a boy asking for a souvenir baseball, \"Come back tomorrow and stand behind Wilson, and you'll be able to pick up all the balls you want!\"",
"After the game, McCarthy reportedly told a boy asking for a souvenir baseball, \"Come back tomorrow and stand behind Wilson, and you'll be able to pick up all the balls you want!\" The Athletics won again the next day to take the Series in five games.",
"The Athletics won again the next day to take the Series in five games. 1930 peak Wilson's 1930 season, aided by a lively ball wound with special Australian wool, is considered one of the best single-season hitting performances in baseball history. By the middle of July he had accumulated 82 RBIs.",
"By the middle of July he had accumulated 82 RBIs. In August he hit 13 home runs and 53 RBIs, and by September 17 he had reached 174 RBIs, breaking Lou Gehrig's major league record established three years earlier.",
"In August he hit 13 home runs and 53 RBIs, and by September 17 he had reached 174 RBIs, breaking Lou Gehrig's major league record established three years earlier. He finished the season with 190 RBIs, along with an NL-record 56 home runs, .356 batting average, .454 on-base percentage, and league-leading .723 slugging percentage.",
"He finished the season with 190 RBIs, along with an NL-record 56 home runs, .356 batting average, .454 on-base percentage, and league-leading .723 slugging percentage. He was unofficially voted the NL's most \"useful\" player by the Baseball Writers' Association of America (which did not inaugurate its official MVP award until 1931).",
"He was unofficially voted the NL's most \"useful\" player by the Baseball Writers' Association of America (which did not inaugurate its official MVP award until 1931). In 1999 the Commissioner of Baseball officially increased Wilson's 1930 RBI total to 191 after a box score analysis by baseball historian Jerome Holtzman revealed that Charlie Grimm had been mistakenly credited with an RBI actually driven home by Wilson during the second game of a doubleheader on July 28.",
"In 1999 the Commissioner of Baseball officially increased Wilson's 1930 RBI total to 191 after a box score analysis by baseball historian Jerome Holtzman revealed that Charlie Grimm had been mistakenly credited with an RBI actually driven home by Wilson during the second game of a doubleheader on July 28. Wilson's 191 RBIs remains one of baseball's most enduring records; only Gehrig (185) and Hank Greenberg (184) ever came close, and there have been no serious challenges in the last 75 years.",
"Wilson's 191 RBIs remains one of baseball's most enduring records; only Gehrig (185) and Hank Greenberg (184) ever came close, and there have been no serious challenges in the last 75 years. (The best recent effort was 165 by Manny Ramirez in 1999.)",
"(The best recent effort was 165 by Manny Ramirez in 1999.) Reds catcher Clyde Sukeforth asserted that Wilson should have been credited with an additional home run in 1930 as well.",
"Reds catcher Clyde Sukeforth asserted that Wilson should have been credited with an additional home run in 1930 as well. \"He hit one in Cincinnati one day\", he said, \"way up in the seats, hit it so hard that it bounced right back onto the field.",
"\"He hit one in Cincinnati one day\", he said, \"way up in the seats, hit it so hard that it bounced right back onto the field. The umpire had a bad angle on it and ruled that it had hit the screen and bounced back.",
"The umpire had a bad angle on it and ruled that it had hit the screen and bounced back. I was sitting in the Cincinnati bullpen, and of course, we weren't going to say anything. But Hack really hit 57 that year.\"",
"But Hack really hit 57 that year.\" Wilson's official total of 56 stood as the NL record until the 1998 season, when it was broken by Sammy Sosa (66) and Mark McGwire (70).",
"Wilson's official total of 56 stood as the NL record until the 1998 season, when it was broken by Sammy Sosa (66) and Mark McGwire (70). Decline Wilson's success in the 1930 season served only to fuel his drinking habits, and in 1931 he reported to spring training 20 pounds overweight.",
"Decline Wilson's success in the 1930 season served only to fuel his drinking habits, and in 1931 he reported to spring training 20 pounds overweight. In addition, the NL responded to the prodigious offensive statistics of the previous year (the only season, other than 1894, in which the league as a whole batted over .300) by introducing a heavier ball with raised stitching to allow pitchers to gain a better grip and throw sharper curveballs.",
"In addition, the NL responded to the prodigious offensive statistics of the previous year (the only season, other than 1894, in which the league as a whole batted over .300) by introducing a heavier ball with raised stitching to allow pitchers to gain a better grip and throw sharper curveballs. Wilson complained that the new Cubs manager, Hornsby, did not allow him to \"swing away\" as much as Joe McCarthy had.",
"Wilson complained that the new Cubs manager, Hornsby, did not allow him to \"swing away\" as much as Joe McCarthy had. He hit his 200th career home run at Ebbets Field on June 18 — only the fourth player ever to do so, behind Ruth, Cy Williams, and Hornsby — but then fell into a protracted slump, and was benched in late May.",
"He hit his 200th career home run at Ebbets Field on June 18 — only the fourth player ever to do so, behind Ruth, Cy Williams, and Hornsby — but then fell into a protracted slump, and was benched in late May. By late August Wrigley publicly expressed his desire to trade him.",
"By late August Wrigley publicly expressed his desire to trade him. On September 6 he was suspended without pay for the remainder of the season after a fight with reporters aboard a train in Cincinnati. He was hitting .261 with only 13 home runs (his 1930 production during August alone) at the time.",
"He was hitting .261 with only 13 home runs (his 1930 production during August alone) at the time. In December 1931, the Cubs traded Wilson, along with Bud Teachout, to the St. Louis Cardinals for Burleigh Grimes.",
"In December 1931, the Cubs traded Wilson, along with Bud Teachout, to the St. Louis Cardinals for Burleigh Grimes. Less than a month later, the Cardinals sent him to the Brooklyn Dodgers for minor league outfielder Bob Parham and $25,000 ($ in current dollar terms).",
"Less than a month later, the Cardinals sent him to the Brooklyn Dodgers for minor league outfielder Bob Parham and $25,000 ($ in current dollar terms). Wilson hit .297 with 23 home runs and 123 RBIs for Brooklyn in 1932.",
"Wilson hit .297 with 23 home runs and 123 RBIs for Brooklyn in 1932. He began 1933 with a ninth-inning game-winning pinch-hit inside-the-park grand slam home run at Ebbets Field—the first pinch-hit grand slam in Dodger history, and only the third inside-the-park pinch-hit grand slam in MLB history.",
"He began 1933 with a ninth-inning game-winning pinch-hit inside-the-park grand slam home run at Ebbets Field—the first pinch-hit grand slam in Dodger history, and only the third inside-the-park pinch-hit grand slam in MLB history. By season's end his offensive totals had dropped substantially, and he was hitting .262 when the Dodgers released him mid-season in 1934.",
"By season's end his offensive totals had dropped substantially, and he was hitting .262 when the Dodgers released him mid-season in 1934. The Philadelphia Phillies signed him immediately, but after just two hits in 20 at bats he was released again a month later.",
"The Philadelphia Phillies signed him immediately, but after just two hits in 20 at bats he was released again a month later. After a final season with the Albany Senators of the Class \"A\" New York–Pennsylvania League, Wilson retired at the age of 35.",
"After a final season with the Albany Senators of the Class \"A\" New York–Pennsylvania League, Wilson retired at the age of 35. Career statistics In a 12-year major league career, Wilson played in 1,348 games and accumulated 1,461 hits in 4,760 at-bats for a .307 career batting average and a .395 on-base percentage.",
"Career statistics In a 12-year major league career, Wilson played in 1,348 games and accumulated 1,461 hits in 4,760 at-bats for a .307 career batting average and a .395 on-base percentage. He hit 244 home runs and batted in 1,063 runs, led the NL in home runs four times, and surpassed 100 RBIs six times.",
"He hit 244 home runs and batted in 1,063 runs, led the NL in home runs four times, and surpassed 100 RBIs six times. Defensively, he finished his career with a .965 fielding percentage.",
"Defensively, he finished his career with a .965 fielding percentage. Life after baseball Wilson returned to Martinsburg where he opened a pool hall, but encountered financial problems due to a failed sporting goods business venture, and then a rancorous divorce from Virginia.",
"Life after baseball Wilson returned to Martinsburg where he opened a pool hall, but encountered financial problems due to a failed sporting goods business venture, and then a rancorous divorce from Virginia. By 1938 he was working as a bartender near Brooklyn's Ebbets Field where he sang for drinks, but had to quit when customers became too abusive.",
"By 1938 he was working as a bartender near Brooklyn's Ebbets Field where he sang for drinks, but had to quit when customers became too abusive. A night club venture in suburban Chicago was another financial failure.",
"A night club venture in suburban Chicago was another financial failure. In 1944 he took a job as a good will ambassador for a professional basketball team in Washington, D.C., where he lamented that fans remembered his two dropped fly balls in the 1929 World Series far more vividly than his 56 home runs and 191 RBIs in 1930.",
"In 1944 he took a job as a good will ambassador for a professional basketball team in Washington, D.C., where he lamented that fans remembered his two dropped fly balls in the 1929 World Series far more vividly than his 56 home runs and 191 RBIs in 1930. Unable to find work in professional baseball, he moved to Baltimore where he worked as a tool checker in an airplane manufacturing plant and later as a laborer for the City of Baltimore.",
"Unable to find work in professional baseball, he moved to Baltimore where he worked as a tool checker in an airplane manufacturing plant and later as a laborer for the City of Baltimore. When municipal authorities realized who he was, he was made the manager of a Baltimore public swimming pool.",
"When municipal authorities realized who he was, he was made the manager of a Baltimore public swimming pool. On October 4, 1948 Wilson was discovered unconscious after a fall in his home.",
"On October 4, 1948 Wilson was discovered unconscious after a fall in his home. Though the accident did not appear serious at first, pneumonia and other complications developed and he died of internal hemorrhaging on November 23, 1948, at the age of 48.",
"Though the accident did not appear serious at first, pneumonia and other complications developed and he died of internal hemorrhaging on November 23, 1948, at the age of 48. Wilson — once the highest-paid player in the National League — died penniless; his son, Robert, refused to claim his remains.",
"Wilson — once the highest-paid player in the National League — died penniless; his son, Robert, refused to claim his remains. NL President Ford Frick finally sent money to cover his funeral expenses. His gray burial suit was donated by the undertaker.",
"His gray burial suit was donated by the undertaker. In marked contrast to Babe Ruth's funeral, which had been attended by thousands just three months earlier, only a few hundred people were present for Wilson's services. He was buried in Rosedale Cemetery in the town where he made his professional playing debut, Martinsburg, West Virginia.",
"He was buried in Rosedale Cemetery in the town where he made his professional playing debut, Martinsburg, West Virginia. Ten months later Joe McCarthy organized a second, more complete memorial service, attended by Kiki Cuyler, Charlie Grimm, Nick Altrock and other players from the Cubs and the Martinsburg team (by then renamed the Blue Sox).",
"Ten months later Joe McCarthy organized a second, more complete memorial service, attended by Kiki Cuyler, Charlie Grimm, Nick Altrock and other players from the Cubs and the Martinsburg team (by then renamed the Blue Sox). A granite tombstone was unveiled, with the inscription, \"One of Baseball's Immortals, Lewis R. (Hack) Wilson, Rests Here.\"",
"A granite tombstone was unveiled, with the inscription, \"One of Baseball's Immortals, Lewis R. (Hack) Wilson, Rests Here.\" One week before his death, Wilson gave an interview to CBS Radio which was reprinted in Chicago newspapers.",
"One week before his death, Wilson gave an interview to CBS Radio which was reprinted in Chicago newspapers. In 1949 Charlie Grimm, the Cubs' new manager, posted a framed excerpt from that interview in the Cubs clubhouse, where it remains. It reads, in part: Talent isn't enough.",
"It reads, in part: Talent isn't enough. You need common sense and good advice. If anyone tries to tell you different, tell them the story of Hack Wilson. ... Kids in and out of baseball who think because they have talent they have the world by the tail. It isn't so.",
"It isn't so. It isn't so. Kids, don't be too big to accept advice. Don't let what happened to me happen to you. In 1979 Wilson was inducted into the Baseball Hall of Fame by the Veterans Committee.",
"In 1979 Wilson was inducted into the Baseball Hall of Fame by the Veterans Committee. A Martinsburg street is named Hack Wilson Way in his honor, and the access road to a large city park within his home town, Ellwood City, Pennsylvania, is known as Hack Wilson Drive.",
"A Martinsburg street is named Hack Wilson Way in his honor, and the access road to a large city park within his home town, Ellwood City, Pennsylvania, is known as Hack Wilson Drive. See also 50 home run club List of Major League Baseball annual home run leaders List of Major League Baseball annual runs batted in leaders List of Major League Baseball players to hit for the cycle List of Major League Baseball career runs batted in leaders List of Major League Baseball career slugging percentage leaders List of Major League Baseball career OPS leaders List of Major League Baseball career home run leaders References Further reading Subscription required.",
"See also 50 home run club List of Major League Baseball annual home run leaders List of Major League Baseball annual runs batted in leaders List of Major League Baseball players to hit for the cycle List of Major League Baseball career runs batted in leaders List of Major League Baseball career slugging percentage leaders List of Major League Baseball career OPS leaders List of Major League Baseball career home run leaders References Further reading Subscription required. Subscription required.",
"Subscription required. Subscription required. External links , or Retrosheet National Baseball Hall of Fame inductees Major League Baseball center fielders Chicago Cubs players Brooklyn Dodgers players New York Giants (NL) players Philadelphia Phillies players National League home run champions National League RBI champions Martinsburg Mountaineers players Martinsburg Blue Sox players Portsmouth Truckers players Toledo Mud Hens players Albany Senators players Baseball players from Pennsylvania Sportspeople from Martinsburg, West Virginia People from Ellwood City, Pennsylvania People from Lawrence County, Pennsylvania 1900 births 1948 deaths"
] |
[
"Hack Wilson",
"Early life and minor leagues",
"what was Wilson's early life like?",
"Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker.",
"did he stay in Ellwood City his whole childhood?",
"In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \"D\" Blue Ridge League.",
"how long did he stay in West Virginia?",
"In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year."
] | C_caf876f084ed435aae7dfb1e41e6fe73_1 | What was his minor leagues like? | 4 | What was Wilson minor leagues like? | Hack Wilson | Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker. His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24. In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week. Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes. Sportswriter Shirley Povich later observed that he was "built along the lines of a beer keg, and was not wholly unfamiliar with its contents." While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of the Fetal Alcohol Syndrome. In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class "D" Blue Ridge League. After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield. In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year. In 1923, playing for the "B" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average. Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500. CANNOTANSWER | In 1923, playing for the "B" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average. | Lewis Robert "Hack" Wilson (April 26, 1900 – November 23, 1948) was an American Major League Baseball player who played 12 seasons for the New York Giants, Chicago Cubs, Brooklyn Dodgers and Philadelphia Phillies. Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s. His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history. Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed. "For a brief span of a few years", wrote a sportswriter of the day, "this hammered down little strongman actually rivaled the mighty Ruth."
While Wilson's combativeness and excessive alcohol consumption made him one of the most colorful sports personalities of his era, his drinking and fighting undoubtedly contributed to a premature end to his athletic career and, ultimately, his premature death. He was inducted into the Baseball Hall of Fame in 1979.
Baseball career
Early life and minor leagues
Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker. His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24.
In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week. Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes. Sportswriter Shirley Povich later observed that he was "built along the lines of a beer keg, and was not wholly unfamiliar with its contents." While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of Fetal Alcohol Syndrome.
In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class "D" Blue Ridge League. After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield. In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year. In 1923, playing for the "B" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average. Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500 ($ in current dollar terms).
New York Giants
Wilson made his major league debut with the Giants on September 29, 1923, at the age of 23, and became the starting left fielder the following season. By mid-July he was ranked second in the National League (NL) in hitting. He ended the season with a .295 average, 10 home runs, and 57 runs batted in (RBIs) as New York won the NL pennant. In the 1924 World Series he averaged only .233 in a seven-game loss to the Washington Senators.
Multiple stories exist to explain the origin of Wilson's nickname: By one account, a New York newspaper held a nicknaming contest; the winning entry was "Hack" because he reminded many fans of another stocky athlete, the popular wrestler Georg Hackenschmidt. In another version, McGraw is said to have remarked that Wilson's physique was reminiscent of a "hack" (slang for taxicab in that era). Giants teammate Bill Cunningham claimed that the nickname was based on Wilson's resemblance to Hack Miller, an outfielder with the Chicago Cubs. The New York Times printed the first documented usage of "Hack" on June 10, 1924.
Early in the 1925 season Wilson hit the longest home run on record at Ebbets Field against the Brooklyn Robins, but fell into a slump in May, and was replaced in left field by Irish Meusel. On July 2 he hit two home runs in one inning, tying Ken Williams' major league record set in 1922, but his hitting slump continued. In August McGraw told reporters that he had "... made the mistake of rushing [Wilson] along," and sent him to the Giants' minor league affiliate, the Toledo Mud Hens of the American Association. At season's end, a front office oversight—or possibly, deliberate inaction—left him unprotected on the Toledo roster, and the last-place Chicago Cubs acquired him on waivers. "They let go the best outfielder I ever played alongside", said Giants right fielder Ross Youngs, "and they're going to regret it."
During the 1925 World Series — between the Senators and the Pittsburgh Pirates — Wilson's son, Robert, was born.
Glory years with the Cubs
Wilson regained his form as the Cubs' center fielder in 1926, and he quickly became a favorite of Chicago fans. On May 24 he hit the center field scoreboard with one of the longest home runs in Wrigley Field history as the Cubs came from behind to defeat the Boston Braves. Later that evening he made news again when he was arrested during a police raid of a Prohibition-era speakeasy while trying to escape through the rear window, and was fined one dollar. He ended the season with a league-leading 21 home runs along with 36 doubles, 109 RBIs, a .321 batting average, and a .406 on-base percentage. The Cubs improved to fourth place, and Wilson ended the year ranked fifth in voting for the NL's Most Valuable Player (MVP) Award.
Another strong performance followed in 1927 as Wilson once again led the league in home runs. Although the Cubs were in first place heading into the final month of the season, the team faltered and again finished fourth. Wilson posted a .318 average with 30 home runs and 129 RBIs, and led NL outfielders with 400 putouts. He led the NL in home runs for a third consecutive year in 1928 with 31, along with 120 RBIs and a .313 average as the Cubs improved to third place.
Wilson had a combative streak and sometimes initiated fights with opposing players and fans. On June 22, 1928, a near-riot broke out in the ninth inning at Wrigley Field against the St. Louis Cardinals when Wilson jumped into the box seats to attack a heckling fan. An estimated 5,000 spectators swarmed the field before police could separate the combatants and restore order. The fan sued Wilson for $20,000, but a jury ruled in his favor. The following year he took offense at a remark by Cincinnati Reds pitcher Ray Kolp, and – upon reaching first base after hitting a single – he charged into the Reds dugout, punching Kolp several times before they could be separated. Later that evening at the train station, Wilson exchanged words and blows with Cincinnati player Pete Donohue. In late 1929 he signed a contract to fight Art Shires of the Chicago White Sox in a boxing match, but reneged after Cubs president William Veeck, Sr. enlisted Hack's wife Virginia to dissuade him, and then Shires lost a fight to George Trafton of the Chicago Bears. There was nothing to gain, Wilson said, by fighting a defeated boxer.
Wilson's "penchant for festivities" is also well documented. Biographer Clifton Blue Parker described him as "... the Roaring '20s epitome of a baseball player, primed for an age of American excess ... at a time when baseball was America's favorite sport." His love of drinking and partying did not endear him to Cubs owner William Wrigley, who abhorred alcohol consumption. (Wilson always insisted that he never played drunk; "hung over, yes; drunk, no.") Manager Joe McCarthy worked hard to shield Wilson from Wrigley, and to keep him on an even keel. "Better than any other manager," wrote sportswriter Frank Graham, "Joe understood Hack, made allowances for him when he failed, and rewarded him with praise when he did well. Joe could be strict and stern with his players ... but he never was with Hack, and Hack repaid him by playing as he never had before, nor would again."
In 1929 Wilson hit .345 with 39 home runs and a league-record 159 RBIs. He and new teammate Rogers Hornsby (who also contributed 39 home runs) led the Cubs to their first NL pennant in eleven years. In the World Series against Connie Mack's Philadelphia Athletics, Wilson's .471 hitting performance was eclipsed by two fielding errors at Shibe Park. Though trailing the Series two games to one, the Cubs were leading by a score of 8–0 in the fourth game when the Athletics mounted a 10-run rally in the seventh inning. Wilson lost two fly balls in the sun; the second, with two runners on base, led to an inside-the-park home run by Mule Haas as the Athletics won 10–8. After the game, McCarthy reportedly told a boy asking for a souvenir baseball, "Come back tomorrow and stand behind Wilson, and you'll be able to pick up all the balls you want!" The Athletics won again the next day to take the Series in five games.
1930 peak
Wilson's 1930 season, aided by a lively ball wound with special Australian wool, is considered one of the best single-season hitting performances in baseball history. By the middle of July he had accumulated 82 RBIs. In August he hit 13 home runs and 53 RBIs, and by September 17 he had reached 174 RBIs, breaking Lou Gehrig's major league record established three years earlier. He finished the season with 190 RBIs, along with an NL-record 56 home runs, .356 batting average, .454 on-base percentage, and league-leading .723 slugging percentage. He was unofficially voted the NL's most "useful" player by the Baseball Writers' Association of America (which did not inaugurate its official MVP award until 1931).
In 1999 the Commissioner of Baseball officially increased Wilson's 1930 RBI total to 191 after a box score analysis by baseball historian Jerome Holtzman revealed that Charlie Grimm had been mistakenly credited with an RBI actually driven home by Wilson during the second game of a doubleheader on July 28. Wilson's 191 RBIs remains one of baseball's most enduring records; only Gehrig (185) and Hank Greenberg (184) ever came close, and there have been no serious challenges in the last 75 years. (The best recent effort was 165 by Manny Ramirez in 1999.)
Reds catcher Clyde Sukeforth asserted that Wilson should have been credited with an additional home run in 1930 as well. "He hit one in Cincinnati one day", he said, "way up in the seats, hit it so hard that it bounced right back onto the field. The umpire had a bad angle on it and ruled that it had hit the screen and bounced back. I was sitting in the Cincinnati bullpen, and of course, we weren't going to say anything. But Hack really hit 57 that year." Wilson's official total of 56 stood as the NL record until the 1998 season, when it was broken by Sammy Sosa (66) and Mark McGwire (70).
Decline
Wilson's success in the 1930 season served only to fuel his drinking habits, and in 1931 he reported to spring training 20 pounds overweight. In addition, the NL responded to the prodigious offensive statistics of the previous year (the only season, other than 1894, in which the league as a whole batted over .300) by introducing a heavier ball with raised stitching to allow pitchers to gain a better grip and throw sharper curveballs. Wilson complained that the new Cubs manager, Hornsby, did not allow him to "swing away" as much as Joe McCarthy had. He hit his 200th career home run at Ebbets Field on June 18 — only the fourth player ever to do so, behind Ruth, Cy Williams, and Hornsby — but then fell into a protracted slump, and was benched in late May. By late August Wrigley publicly expressed his desire to trade him. On September 6 he was suspended without pay for the remainder of the season after a fight with reporters aboard a train in Cincinnati. He was hitting .261 with only 13 home runs (his 1930 production during August alone) at the time.
In December 1931, the Cubs traded Wilson, along with Bud Teachout, to the St. Louis Cardinals for Burleigh Grimes. Less than a month later, the Cardinals sent him to the Brooklyn Dodgers for minor league outfielder Bob Parham and $25,000 ($ in current dollar terms). Wilson hit .297 with 23 home runs and 123 RBIs for Brooklyn in 1932. He began 1933 with a ninth-inning game-winning pinch-hit inside-the-park grand slam home run at Ebbets Field—the first pinch-hit grand slam in Dodger history, and only the third inside-the-park pinch-hit grand slam in MLB history. By season's end his offensive totals had dropped substantially, and he was hitting .262 when the Dodgers released him mid-season in 1934. The Philadelphia Phillies signed him immediately, but after just two hits in 20 at bats he was released again a month later. After a final season with the Albany Senators of the Class "A" New York–Pennsylvania League, Wilson retired at the age of 35.
Career statistics
In a 12-year major league career, Wilson played in 1,348 games and accumulated 1,461 hits in 4,760 at-bats for a .307 career batting average and a .395 on-base percentage. He hit 244 home runs and batted in 1,063 runs, led the NL in home runs four times, and surpassed 100 RBIs six times. Defensively, he finished his career with a .965 fielding percentage.
Life after baseball
Wilson returned to Martinsburg where he opened a pool hall, but encountered financial problems due to a failed sporting goods business venture, and then a rancorous divorce from Virginia. By 1938 he was working as a bartender near Brooklyn's Ebbets Field where he sang for drinks, but had to quit when customers became too abusive. A night club venture in suburban Chicago was another financial failure. In 1944 he took a job as a good will ambassador for a professional basketball team in Washington, D.C., where he lamented that fans remembered his two dropped fly balls in the 1929 World Series far more vividly than his 56 home runs and 191 RBIs in 1930. Unable to find work in professional baseball, he moved to Baltimore where he worked as a tool checker in an airplane manufacturing plant and later as a laborer for the City of Baltimore. When municipal authorities realized who he was, he was made the manager of a Baltimore public swimming pool.
On October 4, 1948 Wilson was discovered unconscious after a fall in his home. Though the accident did not appear serious at first, pneumonia and other complications developed and he died of internal hemorrhaging on November 23, 1948, at the age of 48.
Wilson — once the highest-paid player in the National League — died penniless; his son, Robert, refused to claim his remains. NL President Ford Frick finally sent money to cover his funeral expenses. His gray burial suit was donated by the undertaker. In marked contrast to Babe Ruth's funeral, which had been attended by thousands just three months earlier, only a few hundred people were present for Wilson's services. He was buried in Rosedale Cemetery in the town where he made his professional playing debut, Martinsburg, West Virginia.
Ten months later Joe McCarthy organized a second, more complete memorial service, attended by Kiki Cuyler, Charlie Grimm, Nick Altrock and other players from the Cubs and the Martinsburg team (by then renamed the Blue Sox). A granite tombstone was unveiled, with the inscription, "One of Baseball's Immortals, Lewis R. (Hack) Wilson, Rests Here."
One week before his death, Wilson gave an interview to CBS Radio which was reprinted in Chicago newspapers. In 1949 Charlie Grimm, the Cubs' new manager, posted a framed excerpt from that interview in the Cubs clubhouse, where it remains. It reads, in part:
Talent isn't enough. You need common sense and good advice. If anyone tries to tell you different, tell them the story of Hack Wilson. ... Kids in and out of baseball who think because they have talent they have the world by the tail. It isn't so. Kids, don't be too big to accept advice. Don't let what happened to me happen to you.
In 1979 Wilson was inducted into the Baseball Hall of Fame by the Veterans Committee. A Martinsburg street is named Hack Wilson Way in his honor, and the access road to a large city park within his home town, Ellwood City, Pennsylvania, is known as Hack Wilson Drive.
See also
50 home run club
List of Major League Baseball annual home run leaders
List of Major League Baseball annual runs batted in leaders
List of Major League Baseball players to hit for the cycle
List of Major League Baseball career runs batted in leaders
List of Major League Baseball career slugging percentage leaders
List of Major League Baseball career OPS leaders
List of Major League Baseball career home run leaders
References
Further reading
Subscription required.
Subscription required.
External links
, or Retrosheet
National Baseball Hall of Fame inductees
Major League Baseball center fielders
Chicago Cubs players
Brooklyn Dodgers players
New York Giants (NL) players
Philadelphia Phillies players
National League home run champions
National League RBI champions
Martinsburg Mountaineers players
Martinsburg Blue Sox players
Portsmouth Truckers players
Toledo Mud Hens players
Albany Senators players
Baseball players from Pennsylvania
Sportspeople from Martinsburg, West Virginia
People from Ellwood City, Pennsylvania
People from Lawrence County, Pennsylvania
1900 births
1948 deaths | true | [
"Howard \"Ben\" or \"Lefty\" Bennett Mallonee (March 31, 1894 – February 19, 1978) was an American professional baseball player who played in seven games for the Philadelphia Athletics during the season.\nHe was born in Baltimore, Maryland and died there at the age of 83.\n\nHe began his professional career in 1916 with the class D Blue Ridge League playing for the Chambersburg Maroons and the Hanover Hornets. After his time in the major leagues, he returned to the minor leagues, playing for several more years. His overall batting average in the minor leagues was .322. His best year was in 1924 with the Richmond Colts of the class B Virginia League, when he had an batting average of .368 in 546 at bats. He played his last season in the minor leagues with the Spartanburg, Greenville and Asheville of the South Atlantic League in 1929.\n\nExternal links\n\nBaseball players from Baltimore\nPhiladelphia Athletics players\nHanover Raiders players\n1894 births\n1978 deaths",
"Leo Meyer (March 29, 1888, in Iowa City, Iowa – September 2, 1968, in Smyrna, Delaware), was a Major League Baseball player who played shortstop for the Brooklyn Superbas in .\n\nAfter his year with the Superbas, he played several more years in the minor leagues. His best year in the minor leagues was with the Trenton Tigers of the Tri-State League. That year he had a .273 average 431 at bats. He also hit four home runs that year in the \"dead ball\" era. His last year in the minor leagues was with the Nashville Volunteers of the Southern Association in 1919.\n\nExternal links\n\n1888 births\n1968 deaths\nMajor League Baseball shortstops\nBrooklyn Superbas players\nBaseball players from Iowa\nSyracuse Stars (minor league baseball) players\nTrenton Tigers players\nFrederick Champs players\nHagerstown Terriers players\nChambersburg Maroons players\nCumberland Colts players\nNashville Vols players"
] | [
"Lewis Robert \"Hack\" Wilson (April 26, 1900 – November 23, 1948) was an American Major League Baseball player who played 12 seasons for the New York Giants, Chicago Cubs, Brooklyn Dodgers and Philadelphia Phillies. Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s.",
"Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s. His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history.",
"His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history. Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed.",
"Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed. \"For a brief span of a few years\", wrote a sportswriter of the day, \"this hammered down little strongman actually rivaled the mighty Ruth.\"",
"\"For a brief span of a few years\", wrote a sportswriter of the day, \"this hammered down little strongman actually rivaled the mighty Ruth.\" While Wilson's combativeness and excessive alcohol consumption made him one of the most colorful sports personalities of his era, his drinking and fighting undoubtedly contributed to a premature end to his athletic career and, ultimately, his premature death.",
"While Wilson's combativeness and excessive alcohol consumption made him one of the most colorful sports personalities of his era, his drinking and fighting undoubtedly contributed to a premature end to his athletic career and, ultimately, his premature death. He was inducted into the Baseball Hall of Fame in 1979.",
"He was inducted into the Baseball Hall of Fame in 1979. Baseball career Early life and minor leagues Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh.",
"Baseball career Early life and minor leagues Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker.",
"His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker. His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24.",
"His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24. In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week.",
"In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week. Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes.",
"Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes. Sportswriter Shirley Povich later observed that he was \"built along the lines of a beer keg, and was not wholly unfamiliar with its contents.\"",
"Sportswriter Shirley Povich later observed that he was \"built along the lines of a beer keg, and was not wholly unfamiliar with its contents.\" While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of Fetal Alcohol Syndrome.",
"While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of Fetal Alcohol Syndrome. In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \"D\" Blue Ridge League.",
"In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \"D\" Blue Ridge League. After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield.",
"After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield. In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year.",
"In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year. In 1923, playing for the \"B\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average.",
"In 1923, playing for the \"B\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average. Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500 ($ in current dollar terms).",
"Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500 ($ in current dollar terms). New York Giants Wilson made his major league debut with the Giants on September 29, 1923, at the age of 23, and became the starting left fielder the following season.",
"New York Giants Wilson made his major league debut with the Giants on September 29, 1923, at the age of 23, and became the starting left fielder the following season. By mid-July he was ranked second in the National League (NL) in hitting.",
"By mid-July he was ranked second in the National League (NL) in hitting. He ended the season with a .295 average, 10 home runs, and 57 runs batted in (RBIs) as New York won the NL pennant. In the 1924 World Series he averaged only .233 in a seven-game loss to the Washington Senators.",
"In the 1924 World Series he averaged only .233 in a seven-game loss to the Washington Senators. Multiple stories exist to explain the origin of Wilson's nickname: By one account, a New York newspaper held a nicknaming contest; the winning entry was \"Hack\" because he reminded many fans of another stocky athlete, the popular wrestler Georg Hackenschmidt.",
"Multiple stories exist to explain the origin of Wilson's nickname: By one account, a New York newspaper held a nicknaming contest; the winning entry was \"Hack\" because he reminded many fans of another stocky athlete, the popular wrestler Georg Hackenschmidt. In another version, McGraw is said to have remarked that Wilson's physique was reminiscent of a \"hack\" (slang for taxicab in that era).",
"In another version, McGraw is said to have remarked that Wilson's physique was reminiscent of a \"hack\" (slang for taxicab in that era). Giants teammate Bill Cunningham claimed that the nickname was based on Wilson's resemblance to Hack Miller, an outfielder with the Chicago Cubs.",
"Giants teammate Bill Cunningham claimed that the nickname was based on Wilson's resemblance to Hack Miller, an outfielder with the Chicago Cubs. The New York Times printed the first documented usage of \"Hack\" on June 10, 1924.",
"The New York Times printed the first documented usage of \"Hack\" on June 10, 1924. Early in the 1925 season Wilson hit the longest home run on record at Ebbets Field against the Brooklyn Robins, but fell into a slump in May, and was replaced in left field by Irish Meusel.",
"Early in the 1925 season Wilson hit the longest home run on record at Ebbets Field against the Brooklyn Robins, but fell into a slump in May, and was replaced in left field by Irish Meusel. On July 2 he hit two home runs in one inning, tying Ken Williams' major league record set in 1922, but his hitting slump continued.",
"On July 2 he hit two home runs in one inning, tying Ken Williams' major league record set in 1922, but his hitting slump continued. In August McGraw told reporters that he had \"... made the mistake of rushing [Wilson] along,\" and sent him to the Giants' minor league affiliate, the Toledo Mud Hens of the American Association.",
"In August McGraw told reporters that he had \"... made the mistake of rushing [Wilson] along,\" and sent him to the Giants' minor league affiliate, the Toledo Mud Hens of the American Association. At season's end, a front office oversight—or possibly, deliberate inaction—left him unprotected on the Toledo roster, and the last-place Chicago Cubs acquired him on waivers.",
"At season's end, a front office oversight—or possibly, deliberate inaction—left him unprotected on the Toledo roster, and the last-place Chicago Cubs acquired him on waivers. \"They let go the best outfielder I ever played alongside\", said Giants right fielder Ross Youngs, \"and they're going to regret it.\"",
"\"They let go the best outfielder I ever played alongside\", said Giants right fielder Ross Youngs, \"and they're going to regret it.\" During the 1925 World Series — between the Senators and the Pittsburgh Pirates — Wilson's son, Robert, was born.",
"During the 1925 World Series — between the Senators and the Pittsburgh Pirates — Wilson's son, Robert, was born. Glory years with the Cubs Wilson regained his form as the Cubs' center fielder in 1926, and he quickly became a favorite of Chicago fans.",
"Glory years with the Cubs Wilson regained his form as the Cubs' center fielder in 1926, and he quickly became a favorite of Chicago fans. On May 24 he hit the center field scoreboard with one of the longest home runs in Wrigley Field history as the Cubs came from behind to defeat the Boston Braves.",
"On May 24 he hit the center field scoreboard with one of the longest home runs in Wrigley Field history as the Cubs came from behind to defeat the Boston Braves. Later that evening he made news again when he was arrested during a police raid of a Prohibition-era speakeasy while trying to escape through the rear window, and was fined one dollar.",
"Later that evening he made news again when he was arrested during a police raid of a Prohibition-era speakeasy while trying to escape through the rear window, and was fined one dollar. He ended the season with a league-leading 21 home runs along with 36 doubles, 109 RBIs, a .321 batting average, and a .406 on-base percentage.",
"He ended the season with a league-leading 21 home runs along with 36 doubles, 109 RBIs, a .321 batting average, and a .406 on-base percentage. The Cubs improved to fourth place, and Wilson ended the year ranked fifth in voting for the NL's Most Valuable Player (MVP) Award.",
"The Cubs improved to fourth place, and Wilson ended the year ranked fifth in voting for the NL's Most Valuable Player (MVP) Award. Another strong performance followed in 1927 as Wilson once again led the league in home runs.",
"Another strong performance followed in 1927 as Wilson once again led the league in home runs. Although the Cubs were in first place heading into the final month of the season, the team faltered and again finished fourth. Wilson posted a .318 average with 30 home runs and 129 RBIs, and led NL outfielders with 400 putouts.",
"Wilson posted a .318 average with 30 home runs and 129 RBIs, and led NL outfielders with 400 putouts. He led the NL in home runs for a third consecutive year in 1928 with 31, along with 120 RBIs and a .313 average as the Cubs improved to third place.",
"He led the NL in home runs for a third consecutive year in 1928 with 31, along with 120 RBIs and a .313 average as the Cubs improved to third place. Wilson had a combative streak and sometimes initiated fights with opposing players and fans.",
"Wilson had a combative streak and sometimes initiated fights with opposing players and fans. On June 22, 1928, a near-riot broke out in the ninth inning at Wrigley Field against the St. Louis Cardinals when Wilson jumped into the box seats to attack a heckling fan.",
"On June 22, 1928, a near-riot broke out in the ninth inning at Wrigley Field against the St. Louis Cardinals when Wilson jumped into the box seats to attack a heckling fan. An estimated 5,000 spectators swarmed the field before police could separate the combatants and restore order.",
"An estimated 5,000 spectators swarmed the field before police could separate the combatants and restore order. The fan sued Wilson for $20,000, but a jury ruled in his favor.",
"The fan sued Wilson for $20,000, but a jury ruled in his favor. The following year he took offense at a remark by Cincinnati Reds pitcher Ray Kolp, and – upon reaching first base after hitting a single – he charged into the Reds dugout, punching Kolp several times before they could be separated.",
"The following year he took offense at a remark by Cincinnati Reds pitcher Ray Kolp, and – upon reaching first base after hitting a single – he charged into the Reds dugout, punching Kolp several times before they could be separated. Later that evening at the train station, Wilson exchanged words and blows with Cincinnati player Pete Donohue.",
"Later that evening at the train station, Wilson exchanged words and blows with Cincinnati player Pete Donohue. In late 1929 he signed a contract to fight Art Shires of the Chicago White Sox in a boxing match, but reneged after Cubs president William Veeck, Sr. enlisted Hack's wife Virginia to dissuade him, and then Shires lost a fight to George Trafton of the Chicago Bears.",
"In late 1929 he signed a contract to fight Art Shires of the Chicago White Sox in a boxing match, but reneged after Cubs president William Veeck, Sr. enlisted Hack's wife Virginia to dissuade him, and then Shires lost a fight to George Trafton of the Chicago Bears. There was nothing to gain, Wilson said, by fighting a defeated boxer.",
"There was nothing to gain, Wilson said, by fighting a defeated boxer. Wilson's \"penchant for festivities\" is also well documented.",
"Wilson's \"penchant for festivities\" is also well documented. Biographer Clifton Blue Parker described him as \"... the Roaring '20s epitome of a baseball player, primed for an age of American excess ... at a time when baseball was America's favorite sport.\"",
"Biographer Clifton Blue Parker described him as \"... the Roaring '20s epitome of a baseball player, primed for an age of American excess ... at a time when baseball was America's favorite sport.\" His love of drinking and partying did not endear him to Cubs owner William Wrigley, who abhorred alcohol consumption.",
"His love of drinking and partying did not endear him to Cubs owner William Wrigley, who abhorred alcohol consumption. (Wilson always insisted that he never played drunk; \"hung over, yes; drunk, no.\") Manager Joe McCarthy worked hard to shield Wilson from Wrigley, and to keep him on an even keel.",
"Manager Joe McCarthy worked hard to shield Wilson from Wrigley, and to keep him on an even keel. \"Better than any other manager,\" wrote sportswriter Frank Graham, \"Joe understood Hack, made allowances for him when he failed, and rewarded him with praise when he did well.",
"\"Better than any other manager,\" wrote sportswriter Frank Graham, \"Joe understood Hack, made allowances for him when he failed, and rewarded him with praise when he did well. Joe could be strict and stern with his players ... but he never was with Hack, and Hack repaid him by playing as he never had before, nor would again.\"",
"Joe could be strict and stern with his players ... but he never was with Hack, and Hack repaid him by playing as he never had before, nor would again.\" In 1929 Wilson hit .345 with 39 home runs and a league-record 159 RBIs.",
"In 1929 Wilson hit .345 with 39 home runs and a league-record 159 RBIs. He and new teammate Rogers Hornsby (who also contributed 39 home runs) led the Cubs to their first NL pennant in eleven years.",
"He and new teammate Rogers Hornsby (who also contributed 39 home runs) led the Cubs to their first NL pennant in eleven years. In the World Series against Connie Mack's Philadelphia Athletics, Wilson's .471 hitting performance was eclipsed by two fielding errors at Shibe Park.",
"In the World Series against Connie Mack's Philadelphia Athletics, Wilson's .471 hitting performance was eclipsed by two fielding errors at Shibe Park. Though trailing the Series two games to one, the Cubs were leading by a score of 8–0 in the fourth game when the Athletics mounted a 10-run rally in the seventh inning.",
"Though trailing the Series two games to one, the Cubs were leading by a score of 8–0 in the fourth game when the Athletics mounted a 10-run rally in the seventh inning. Wilson lost two fly balls in the sun; the second, with two runners on base, led to an inside-the-park home run by Mule Haas as the Athletics won 10–8.",
"Wilson lost two fly balls in the sun; the second, with two runners on base, led to an inside-the-park home run by Mule Haas as the Athletics won 10–8. After the game, McCarthy reportedly told a boy asking for a souvenir baseball, \"Come back tomorrow and stand behind Wilson, and you'll be able to pick up all the balls you want!\"",
"After the game, McCarthy reportedly told a boy asking for a souvenir baseball, \"Come back tomorrow and stand behind Wilson, and you'll be able to pick up all the balls you want!\" The Athletics won again the next day to take the Series in five games.",
"The Athletics won again the next day to take the Series in five games. 1930 peak Wilson's 1930 season, aided by a lively ball wound with special Australian wool, is considered one of the best single-season hitting performances in baseball history. By the middle of July he had accumulated 82 RBIs.",
"By the middle of July he had accumulated 82 RBIs. In August he hit 13 home runs and 53 RBIs, and by September 17 he had reached 174 RBIs, breaking Lou Gehrig's major league record established three years earlier.",
"In August he hit 13 home runs and 53 RBIs, and by September 17 he had reached 174 RBIs, breaking Lou Gehrig's major league record established three years earlier. He finished the season with 190 RBIs, along with an NL-record 56 home runs, .356 batting average, .454 on-base percentage, and league-leading .723 slugging percentage.",
"He finished the season with 190 RBIs, along with an NL-record 56 home runs, .356 batting average, .454 on-base percentage, and league-leading .723 slugging percentage. He was unofficially voted the NL's most \"useful\" player by the Baseball Writers' Association of America (which did not inaugurate its official MVP award until 1931).",
"He was unofficially voted the NL's most \"useful\" player by the Baseball Writers' Association of America (which did not inaugurate its official MVP award until 1931). In 1999 the Commissioner of Baseball officially increased Wilson's 1930 RBI total to 191 after a box score analysis by baseball historian Jerome Holtzman revealed that Charlie Grimm had been mistakenly credited with an RBI actually driven home by Wilson during the second game of a doubleheader on July 28.",
"In 1999 the Commissioner of Baseball officially increased Wilson's 1930 RBI total to 191 after a box score analysis by baseball historian Jerome Holtzman revealed that Charlie Grimm had been mistakenly credited with an RBI actually driven home by Wilson during the second game of a doubleheader on July 28. Wilson's 191 RBIs remains one of baseball's most enduring records; only Gehrig (185) and Hank Greenberg (184) ever came close, and there have been no serious challenges in the last 75 years.",
"Wilson's 191 RBIs remains one of baseball's most enduring records; only Gehrig (185) and Hank Greenberg (184) ever came close, and there have been no serious challenges in the last 75 years. (The best recent effort was 165 by Manny Ramirez in 1999.)",
"(The best recent effort was 165 by Manny Ramirez in 1999.) Reds catcher Clyde Sukeforth asserted that Wilson should have been credited with an additional home run in 1930 as well.",
"Reds catcher Clyde Sukeforth asserted that Wilson should have been credited with an additional home run in 1930 as well. \"He hit one in Cincinnati one day\", he said, \"way up in the seats, hit it so hard that it bounced right back onto the field.",
"\"He hit one in Cincinnati one day\", he said, \"way up in the seats, hit it so hard that it bounced right back onto the field. The umpire had a bad angle on it and ruled that it had hit the screen and bounced back.",
"The umpire had a bad angle on it and ruled that it had hit the screen and bounced back. I was sitting in the Cincinnati bullpen, and of course, we weren't going to say anything. But Hack really hit 57 that year.\"",
"But Hack really hit 57 that year.\" Wilson's official total of 56 stood as the NL record until the 1998 season, when it was broken by Sammy Sosa (66) and Mark McGwire (70).",
"Wilson's official total of 56 stood as the NL record until the 1998 season, when it was broken by Sammy Sosa (66) and Mark McGwire (70). Decline Wilson's success in the 1930 season served only to fuel his drinking habits, and in 1931 he reported to spring training 20 pounds overweight.",
"Decline Wilson's success in the 1930 season served only to fuel his drinking habits, and in 1931 he reported to spring training 20 pounds overweight. In addition, the NL responded to the prodigious offensive statistics of the previous year (the only season, other than 1894, in which the league as a whole batted over .300) by introducing a heavier ball with raised stitching to allow pitchers to gain a better grip and throw sharper curveballs.",
"In addition, the NL responded to the prodigious offensive statistics of the previous year (the only season, other than 1894, in which the league as a whole batted over .300) by introducing a heavier ball with raised stitching to allow pitchers to gain a better grip and throw sharper curveballs. Wilson complained that the new Cubs manager, Hornsby, did not allow him to \"swing away\" as much as Joe McCarthy had.",
"Wilson complained that the new Cubs manager, Hornsby, did not allow him to \"swing away\" as much as Joe McCarthy had. He hit his 200th career home run at Ebbets Field on June 18 — only the fourth player ever to do so, behind Ruth, Cy Williams, and Hornsby — but then fell into a protracted slump, and was benched in late May.",
"He hit his 200th career home run at Ebbets Field on June 18 — only the fourth player ever to do so, behind Ruth, Cy Williams, and Hornsby — but then fell into a protracted slump, and was benched in late May. By late August Wrigley publicly expressed his desire to trade him.",
"By late August Wrigley publicly expressed his desire to trade him. On September 6 he was suspended without pay for the remainder of the season after a fight with reporters aboard a train in Cincinnati. He was hitting .261 with only 13 home runs (his 1930 production during August alone) at the time.",
"He was hitting .261 with only 13 home runs (his 1930 production during August alone) at the time. In December 1931, the Cubs traded Wilson, along with Bud Teachout, to the St. Louis Cardinals for Burleigh Grimes.",
"In December 1931, the Cubs traded Wilson, along with Bud Teachout, to the St. Louis Cardinals for Burleigh Grimes. Less than a month later, the Cardinals sent him to the Brooklyn Dodgers for minor league outfielder Bob Parham and $25,000 ($ in current dollar terms).",
"Less than a month later, the Cardinals sent him to the Brooklyn Dodgers for minor league outfielder Bob Parham and $25,000 ($ in current dollar terms). Wilson hit .297 with 23 home runs and 123 RBIs for Brooklyn in 1932.",
"Wilson hit .297 with 23 home runs and 123 RBIs for Brooklyn in 1932. He began 1933 with a ninth-inning game-winning pinch-hit inside-the-park grand slam home run at Ebbets Field—the first pinch-hit grand slam in Dodger history, and only the third inside-the-park pinch-hit grand slam in MLB history.",
"He began 1933 with a ninth-inning game-winning pinch-hit inside-the-park grand slam home run at Ebbets Field—the first pinch-hit grand slam in Dodger history, and only the third inside-the-park pinch-hit grand slam in MLB history. By season's end his offensive totals had dropped substantially, and he was hitting .262 when the Dodgers released him mid-season in 1934.",
"By season's end his offensive totals had dropped substantially, and he was hitting .262 when the Dodgers released him mid-season in 1934. The Philadelphia Phillies signed him immediately, but after just two hits in 20 at bats he was released again a month later.",
"The Philadelphia Phillies signed him immediately, but after just two hits in 20 at bats he was released again a month later. After a final season with the Albany Senators of the Class \"A\" New York–Pennsylvania League, Wilson retired at the age of 35.",
"After a final season with the Albany Senators of the Class \"A\" New York–Pennsylvania League, Wilson retired at the age of 35. Career statistics In a 12-year major league career, Wilson played in 1,348 games and accumulated 1,461 hits in 4,760 at-bats for a .307 career batting average and a .395 on-base percentage.",
"Career statistics In a 12-year major league career, Wilson played in 1,348 games and accumulated 1,461 hits in 4,760 at-bats for a .307 career batting average and a .395 on-base percentage. He hit 244 home runs and batted in 1,063 runs, led the NL in home runs four times, and surpassed 100 RBIs six times.",
"He hit 244 home runs and batted in 1,063 runs, led the NL in home runs four times, and surpassed 100 RBIs six times. Defensively, he finished his career with a .965 fielding percentage.",
"Defensively, he finished his career with a .965 fielding percentage. Life after baseball Wilson returned to Martinsburg where he opened a pool hall, but encountered financial problems due to a failed sporting goods business venture, and then a rancorous divorce from Virginia.",
"Life after baseball Wilson returned to Martinsburg where he opened a pool hall, but encountered financial problems due to a failed sporting goods business venture, and then a rancorous divorce from Virginia. By 1938 he was working as a bartender near Brooklyn's Ebbets Field where he sang for drinks, but had to quit when customers became too abusive.",
"By 1938 he was working as a bartender near Brooklyn's Ebbets Field where he sang for drinks, but had to quit when customers became too abusive. A night club venture in suburban Chicago was another financial failure.",
"A night club venture in suburban Chicago was another financial failure. In 1944 he took a job as a good will ambassador for a professional basketball team in Washington, D.C., where he lamented that fans remembered his two dropped fly balls in the 1929 World Series far more vividly than his 56 home runs and 191 RBIs in 1930.",
"In 1944 he took a job as a good will ambassador for a professional basketball team in Washington, D.C., where he lamented that fans remembered his two dropped fly balls in the 1929 World Series far more vividly than his 56 home runs and 191 RBIs in 1930. Unable to find work in professional baseball, he moved to Baltimore where he worked as a tool checker in an airplane manufacturing plant and later as a laborer for the City of Baltimore.",
"Unable to find work in professional baseball, he moved to Baltimore where he worked as a tool checker in an airplane manufacturing plant and later as a laborer for the City of Baltimore. When municipal authorities realized who he was, he was made the manager of a Baltimore public swimming pool.",
"When municipal authorities realized who he was, he was made the manager of a Baltimore public swimming pool. On October 4, 1948 Wilson was discovered unconscious after a fall in his home.",
"On October 4, 1948 Wilson was discovered unconscious after a fall in his home. Though the accident did not appear serious at first, pneumonia and other complications developed and he died of internal hemorrhaging on November 23, 1948, at the age of 48.",
"Though the accident did not appear serious at first, pneumonia and other complications developed and he died of internal hemorrhaging on November 23, 1948, at the age of 48. Wilson — once the highest-paid player in the National League — died penniless; his son, Robert, refused to claim his remains.",
"Wilson — once the highest-paid player in the National League — died penniless; his son, Robert, refused to claim his remains. NL President Ford Frick finally sent money to cover his funeral expenses. His gray burial suit was donated by the undertaker.",
"His gray burial suit was donated by the undertaker. In marked contrast to Babe Ruth's funeral, which had been attended by thousands just three months earlier, only a few hundred people were present for Wilson's services. He was buried in Rosedale Cemetery in the town where he made his professional playing debut, Martinsburg, West Virginia.",
"He was buried in Rosedale Cemetery in the town where he made his professional playing debut, Martinsburg, West Virginia. Ten months later Joe McCarthy organized a second, more complete memorial service, attended by Kiki Cuyler, Charlie Grimm, Nick Altrock and other players from the Cubs and the Martinsburg team (by then renamed the Blue Sox).",
"Ten months later Joe McCarthy organized a second, more complete memorial service, attended by Kiki Cuyler, Charlie Grimm, Nick Altrock and other players from the Cubs and the Martinsburg team (by then renamed the Blue Sox). A granite tombstone was unveiled, with the inscription, \"One of Baseball's Immortals, Lewis R. (Hack) Wilson, Rests Here.\"",
"A granite tombstone was unveiled, with the inscription, \"One of Baseball's Immortals, Lewis R. (Hack) Wilson, Rests Here.\" One week before his death, Wilson gave an interview to CBS Radio which was reprinted in Chicago newspapers.",
"One week before his death, Wilson gave an interview to CBS Radio which was reprinted in Chicago newspapers. In 1949 Charlie Grimm, the Cubs' new manager, posted a framed excerpt from that interview in the Cubs clubhouse, where it remains. It reads, in part: Talent isn't enough.",
"It reads, in part: Talent isn't enough. You need common sense and good advice. If anyone tries to tell you different, tell them the story of Hack Wilson. ... Kids in and out of baseball who think because they have talent they have the world by the tail. It isn't so.",
"It isn't so. It isn't so. Kids, don't be too big to accept advice. Don't let what happened to me happen to you. In 1979 Wilson was inducted into the Baseball Hall of Fame by the Veterans Committee.",
"In 1979 Wilson was inducted into the Baseball Hall of Fame by the Veterans Committee. A Martinsburg street is named Hack Wilson Way in his honor, and the access road to a large city park within his home town, Ellwood City, Pennsylvania, is known as Hack Wilson Drive.",
"A Martinsburg street is named Hack Wilson Way in his honor, and the access road to a large city park within his home town, Ellwood City, Pennsylvania, is known as Hack Wilson Drive. See also 50 home run club List of Major League Baseball annual home run leaders List of Major League Baseball annual runs batted in leaders List of Major League Baseball players to hit for the cycle List of Major League Baseball career runs batted in leaders List of Major League Baseball career slugging percentage leaders List of Major League Baseball career OPS leaders List of Major League Baseball career home run leaders References Further reading Subscription required.",
"See also 50 home run club List of Major League Baseball annual home run leaders List of Major League Baseball annual runs batted in leaders List of Major League Baseball players to hit for the cycle List of Major League Baseball career runs batted in leaders List of Major League Baseball career slugging percentage leaders List of Major League Baseball career OPS leaders List of Major League Baseball career home run leaders References Further reading Subscription required. Subscription required.",
"Subscription required. Subscription required. External links , or Retrosheet National Baseball Hall of Fame inductees Major League Baseball center fielders Chicago Cubs players Brooklyn Dodgers players New York Giants (NL) players Philadelphia Phillies players National League home run champions National League RBI champions Martinsburg Mountaineers players Martinsburg Blue Sox players Portsmouth Truckers players Toledo Mud Hens players Albany Senators players Baseball players from Pennsylvania Sportspeople from Martinsburg, West Virginia People from Ellwood City, Pennsylvania People from Lawrence County, Pennsylvania 1900 births 1948 deaths"
] |
[
"Hack Wilson",
"Early life and minor leagues",
"what was Wilson's early life like?",
"Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker.",
"did he stay in Ellwood City his whole childhood?",
"In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \"D\" Blue Ridge League.",
"how long did he stay in West Virginia?",
"In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year.",
"What was his minor leagues like?",
"In 1923, playing for the \"B\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average.",
"did he play for them long?",
"Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500.",
"How long did he play for the New York Giants?",
"I don't know."
] | C_caf876f084ed435aae7dfb1e41e6fe73_1 | is there any other interesting fact in the article that you liked? | 7 | is there any other interesting fact in the article that you liked other than wilson professional career? | Hack Wilson | Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker. His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24. In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week. Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes. Sportswriter Shirley Povich later observed that he was "built along the lines of a beer keg, and was not wholly unfamiliar with its contents." While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of the Fetal Alcohol Syndrome. In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class "D" Blue Ridge League. After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield. In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year. In 1923, playing for the "B" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average. Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500. CANNOTANSWER | Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes. | Lewis Robert "Hack" Wilson (April 26, 1900 – November 23, 1948) was an American Major League Baseball player who played 12 seasons for the New York Giants, Chicago Cubs, Brooklyn Dodgers and Philadelphia Phillies. Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s. His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history. Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed. "For a brief span of a few years", wrote a sportswriter of the day, "this hammered down little strongman actually rivaled the mighty Ruth."
While Wilson's combativeness and excessive alcohol consumption made him one of the most colorful sports personalities of his era, his drinking and fighting undoubtedly contributed to a premature end to his athletic career and, ultimately, his premature death. He was inducted into the Baseball Hall of Fame in 1979.
Baseball career
Early life and minor leagues
Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker. His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24.
In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week. Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes. Sportswriter Shirley Povich later observed that he was "built along the lines of a beer keg, and was not wholly unfamiliar with its contents." While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of Fetal Alcohol Syndrome.
In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class "D" Blue Ridge League. After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield. In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year. In 1923, playing for the "B" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average. Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500 ($ in current dollar terms).
New York Giants
Wilson made his major league debut with the Giants on September 29, 1923, at the age of 23, and became the starting left fielder the following season. By mid-July he was ranked second in the National League (NL) in hitting. He ended the season with a .295 average, 10 home runs, and 57 runs batted in (RBIs) as New York won the NL pennant. In the 1924 World Series he averaged only .233 in a seven-game loss to the Washington Senators.
Multiple stories exist to explain the origin of Wilson's nickname: By one account, a New York newspaper held a nicknaming contest; the winning entry was "Hack" because he reminded many fans of another stocky athlete, the popular wrestler Georg Hackenschmidt. In another version, McGraw is said to have remarked that Wilson's physique was reminiscent of a "hack" (slang for taxicab in that era). Giants teammate Bill Cunningham claimed that the nickname was based on Wilson's resemblance to Hack Miller, an outfielder with the Chicago Cubs. The New York Times printed the first documented usage of "Hack" on June 10, 1924.
Early in the 1925 season Wilson hit the longest home run on record at Ebbets Field against the Brooklyn Robins, but fell into a slump in May, and was replaced in left field by Irish Meusel. On July 2 he hit two home runs in one inning, tying Ken Williams' major league record set in 1922, but his hitting slump continued. In August McGraw told reporters that he had "... made the mistake of rushing [Wilson] along," and sent him to the Giants' minor league affiliate, the Toledo Mud Hens of the American Association. At season's end, a front office oversight—or possibly, deliberate inaction—left him unprotected on the Toledo roster, and the last-place Chicago Cubs acquired him on waivers. "They let go the best outfielder I ever played alongside", said Giants right fielder Ross Youngs, "and they're going to regret it."
During the 1925 World Series — between the Senators and the Pittsburgh Pirates — Wilson's son, Robert, was born.
Glory years with the Cubs
Wilson regained his form as the Cubs' center fielder in 1926, and he quickly became a favorite of Chicago fans. On May 24 he hit the center field scoreboard with one of the longest home runs in Wrigley Field history as the Cubs came from behind to defeat the Boston Braves. Later that evening he made news again when he was arrested during a police raid of a Prohibition-era speakeasy while trying to escape through the rear window, and was fined one dollar. He ended the season with a league-leading 21 home runs along with 36 doubles, 109 RBIs, a .321 batting average, and a .406 on-base percentage. The Cubs improved to fourth place, and Wilson ended the year ranked fifth in voting for the NL's Most Valuable Player (MVP) Award.
Another strong performance followed in 1927 as Wilson once again led the league in home runs. Although the Cubs were in first place heading into the final month of the season, the team faltered and again finished fourth. Wilson posted a .318 average with 30 home runs and 129 RBIs, and led NL outfielders with 400 putouts. He led the NL in home runs for a third consecutive year in 1928 with 31, along with 120 RBIs and a .313 average as the Cubs improved to third place.
Wilson had a combative streak and sometimes initiated fights with opposing players and fans. On June 22, 1928, a near-riot broke out in the ninth inning at Wrigley Field against the St. Louis Cardinals when Wilson jumped into the box seats to attack a heckling fan. An estimated 5,000 spectators swarmed the field before police could separate the combatants and restore order. The fan sued Wilson for $20,000, but a jury ruled in his favor. The following year he took offense at a remark by Cincinnati Reds pitcher Ray Kolp, and – upon reaching first base after hitting a single – he charged into the Reds dugout, punching Kolp several times before they could be separated. Later that evening at the train station, Wilson exchanged words and blows with Cincinnati player Pete Donohue. In late 1929 he signed a contract to fight Art Shires of the Chicago White Sox in a boxing match, but reneged after Cubs president William Veeck, Sr. enlisted Hack's wife Virginia to dissuade him, and then Shires lost a fight to George Trafton of the Chicago Bears. There was nothing to gain, Wilson said, by fighting a defeated boxer.
Wilson's "penchant for festivities" is also well documented. Biographer Clifton Blue Parker described him as "... the Roaring '20s epitome of a baseball player, primed for an age of American excess ... at a time when baseball was America's favorite sport." His love of drinking and partying did not endear him to Cubs owner William Wrigley, who abhorred alcohol consumption. (Wilson always insisted that he never played drunk; "hung over, yes; drunk, no.") Manager Joe McCarthy worked hard to shield Wilson from Wrigley, and to keep him on an even keel. "Better than any other manager," wrote sportswriter Frank Graham, "Joe understood Hack, made allowances for him when he failed, and rewarded him with praise when he did well. Joe could be strict and stern with his players ... but he never was with Hack, and Hack repaid him by playing as he never had before, nor would again."
In 1929 Wilson hit .345 with 39 home runs and a league-record 159 RBIs. He and new teammate Rogers Hornsby (who also contributed 39 home runs) led the Cubs to their first NL pennant in eleven years. In the World Series against Connie Mack's Philadelphia Athletics, Wilson's .471 hitting performance was eclipsed by two fielding errors at Shibe Park. Though trailing the Series two games to one, the Cubs were leading by a score of 8–0 in the fourth game when the Athletics mounted a 10-run rally in the seventh inning. Wilson lost two fly balls in the sun; the second, with two runners on base, led to an inside-the-park home run by Mule Haas as the Athletics won 10–8. After the game, McCarthy reportedly told a boy asking for a souvenir baseball, "Come back tomorrow and stand behind Wilson, and you'll be able to pick up all the balls you want!" The Athletics won again the next day to take the Series in five games.
1930 peak
Wilson's 1930 season, aided by a lively ball wound with special Australian wool, is considered one of the best single-season hitting performances in baseball history. By the middle of July he had accumulated 82 RBIs. In August he hit 13 home runs and 53 RBIs, and by September 17 he had reached 174 RBIs, breaking Lou Gehrig's major league record established three years earlier. He finished the season with 190 RBIs, along with an NL-record 56 home runs, .356 batting average, .454 on-base percentage, and league-leading .723 slugging percentage. He was unofficially voted the NL's most "useful" player by the Baseball Writers' Association of America (which did not inaugurate its official MVP award until 1931).
In 1999 the Commissioner of Baseball officially increased Wilson's 1930 RBI total to 191 after a box score analysis by baseball historian Jerome Holtzman revealed that Charlie Grimm had been mistakenly credited with an RBI actually driven home by Wilson during the second game of a doubleheader on July 28. Wilson's 191 RBIs remains one of baseball's most enduring records; only Gehrig (185) and Hank Greenberg (184) ever came close, and there have been no serious challenges in the last 75 years. (The best recent effort was 165 by Manny Ramirez in 1999.)
Reds catcher Clyde Sukeforth asserted that Wilson should have been credited with an additional home run in 1930 as well. "He hit one in Cincinnati one day", he said, "way up in the seats, hit it so hard that it bounced right back onto the field. The umpire had a bad angle on it and ruled that it had hit the screen and bounced back. I was sitting in the Cincinnati bullpen, and of course, we weren't going to say anything. But Hack really hit 57 that year." Wilson's official total of 56 stood as the NL record until the 1998 season, when it was broken by Sammy Sosa (66) and Mark McGwire (70).
Decline
Wilson's success in the 1930 season served only to fuel his drinking habits, and in 1931 he reported to spring training 20 pounds overweight. In addition, the NL responded to the prodigious offensive statistics of the previous year (the only season, other than 1894, in which the league as a whole batted over .300) by introducing a heavier ball with raised stitching to allow pitchers to gain a better grip and throw sharper curveballs. Wilson complained that the new Cubs manager, Hornsby, did not allow him to "swing away" as much as Joe McCarthy had. He hit his 200th career home run at Ebbets Field on June 18 — only the fourth player ever to do so, behind Ruth, Cy Williams, and Hornsby — but then fell into a protracted slump, and was benched in late May. By late August Wrigley publicly expressed his desire to trade him. On September 6 he was suspended without pay for the remainder of the season after a fight with reporters aboard a train in Cincinnati. He was hitting .261 with only 13 home runs (his 1930 production during August alone) at the time.
In December 1931, the Cubs traded Wilson, along with Bud Teachout, to the St. Louis Cardinals for Burleigh Grimes. Less than a month later, the Cardinals sent him to the Brooklyn Dodgers for minor league outfielder Bob Parham and $25,000 ($ in current dollar terms). Wilson hit .297 with 23 home runs and 123 RBIs for Brooklyn in 1932. He began 1933 with a ninth-inning game-winning pinch-hit inside-the-park grand slam home run at Ebbets Field—the first pinch-hit grand slam in Dodger history, and only the third inside-the-park pinch-hit grand slam in MLB history. By season's end his offensive totals had dropped substantially, and he was hitting .262 when the Dodgers released him mid-season in 1934. The Philadelphia Phillies signed him immediately, but after just two hits in 20 at bats he was released again a month later. After a final season with the Albany Senators of the Class "A" New York–Pennsylvania League, Wilson retired at the age of 35.
Career statistics
In a 12-year major league career, Wilson played in 1,348 games and accumulated 1,461 hits in 4,760 at-bats for a .307 career batting average and a .395 on-base percentage. He hit 244 home runs and batted in 1,063 runs, led the NL in home runs four times, and surpassed 100 RBIs six times. Defensively, he finished his career with a .965 fielding percentage.
Life after baseball
Wilson returned to Martinsburg where he opened a pool hall, but encountered financial problems due to a failed sporting goods business venture, and then a rancorous divorce from Virginia. By 1938 he was working as a bartender near Brooklyn's Ebbets Field where he sang for drinks, but had to quit when customers became too abusive. A night club venture in suburban Chicago was another financial failure. In 1944 he took a job as a good will ambassador for a professional basketball team in Washington, D.C., where he lamented that fans remembered his two dropped fly balls in the 1929 World Series far more vividly than his 56 home runs and 191 RBIs in 1930. Unable to find work in professional baseball, he moved to Baltimore where he worked as a tool checker in an airplane manufacturing plant and later as a laborer for the City of Baltimore. When municipal authorities realized who he was, he was made the manager of a Baltimore public swimming pool.
On October 4, 1948 Wilson was discovered unconscious after a fall in his home. Though the accident did not appear serious at first, pneumonia and other complications developed and he died of internal hemorrhaging on November 23, 1948, at the age of 48.
Wilson — once the highest-paid player in the National League — died penniless; his son, Robert, refused to claim his remains. NL President Ford Frick finally sent money to cover his funeral expenses. His gray burial suit was donated by the undertaker. In marked contrast to Babe Ruth's funeral, which had been attended by thousands just three months earlier, only a few hundred people were present for Wilson's services. He was buried in Rosedale Cemetery in the town where he made his professional playing debut, Martinsburg, West Virginia.
Ten months later Joe McCarthy organized a second, more complete memorial service, attended by Kiki Cuyler, Charlie Grimm, Nick Altrock and other players from the Cubs and the Martinsburg team (by then renamed the Blue Sox). A granite tombstone was unveiled, with the inscription, "One of Baseball's Immortals, Lewis R. (Hack) Wilson, Rests Here."
One week before his death, Wilson gave an interview to CBS Radio which was reprinted in Chicago newspapers. In 1949 Charlie Grimm, the Cubs' new manager, posted a framed excerpt from that interview in the Cubs clubhouse, where it remains. It reads, in part:
Talent isn't enough. You need common sense and good advice. If anyone tries to tell you different, tell them the story of Hack Wilson. ... Kids in and out of baseball who think because they have talent they have the world by the tail. It isn't so. Kids, don't be too big to accept advice. Don't let what happened to me happen to you.
In 1979 Wilson was inducted into the Baseball Hall of Fame by the Veterans Committee. A Martinsburg street is named Hack Wilson Way in his honor, and the access road to a large city park within his home town, Ellwood City, Pennsylvania, is known as Hack Wilson Drive.
See also
50 home run club
List of Major League Baseball annual home run leaders
List of Major League Baseball annual runs batted in leaders
List of Major League Baseball players to hit for the cycle
List of Major League Baseball career runs batted in leaders
List of Major League Baseball career slugging percentage leaders
List of Major League Baseball career OPS leaders
List of Major League Baseball career home run leaders
References
Further reading
Subscription required.
Subscription required.
External links
, or Retrosheet
National Baseball Hall of Fame inductees
Major League Baseball center fielders
Chicago Cubs players
Brooklyn Dodgers players
New York Giants (NL) players
Philadelphia Phillies players
National League home run champions
National League RBI champions
Martinsburg Mountaineers players
Martinsburg Blue Sox players
Portsmouth Truckers players
Toledo Mud Hens players
Albany Senators players
Baseball players from Pennsylvania
Sportspeople from Martinsburg, West Virginia
People from Ellwood City, Pennsylvania
People from Lawrence County, Pennsylvania
1900 births
1948 deaths | true | [
"Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\n\nKobylinec and Ptáčovský kopeček\n\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\n\nPonds\n\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\n\nSyenitové skály near Pocoucov\n\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\n\nExternal links\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\n\nReferences\n\nExternal links\nNature near the village Trnava which is there\n\nTřebíč\nParks in the Czech Republic\nTourist attractions in the Vysočina Region",
"\"May you live in interesting times\" is an English expression that is claimed to be a translation of a traditional Chinese curse. While seemingly a blessing, the expression is normally used ironically; life is better in \"uninteresting times\" of peace and tranquility than in \"interesting\" ones, which are usually times of trouble.\n\nDespite being so common in English as to be known as the \"Chinese curse\", the saying is apocryphal, and no actual Chinese source has ever been produced. The most likely connection to Chinese culture may be deduced from analysis of the late-19th-century speeches of Joseph Chamberlain, probably erroneously transmitted and revised through his son Austen Chamberlain.\n\nOrigins\nDespite being widely attributed as a Chinese curse, there is no known equivalent expression in Chinese. The nearest related Chinese expression translates as \"Better to be a dog in times of tranquility than a human in times of chaos.\" () The expression originates from Volume 3 of the 1627 short story collection by Feng Menglong, Stories to Awaken the World.\n\nEvidence that the phrase was in use as early as 1936 is provided in a memoir written by Hughe Knatchbull-Hugessen, the British Ambassador to China in 1936 and 1937, and published in 1949. He mentions that before he left England for China in 1936, a friend told him of a Chinese curse, \"May you live in interesting times.\"\n\nThe phrase is again described as a \"Chinese curse\" in an article published in Child Study: A Journal of Parent Education in 1943.\n\nFrederic René Coudert Jr. also recounts having heard the phrase at the time:\n\nSome years ago, in 1936, I had to write to a very dear and honoured friend of mine, who has since died, Sir Austen Chamberlain, brother of the present Prime Minister, and I concluded my letter with a rather banal remark \"that we were living in an interesting age\". Evidently he read the whole letter, because by return mail he wrote to me and concluded as follows: \"Many years ago I learned from one of our diplomats in China that one of the principal Chinese curses heaped upon an enemy is, 'May you live in an interesting age. \"Surely\", he said, \"no age has been more fraught with insecurity than our own present time.\" That was three years ago.\n\n\"Chamberlain curse\" theory\nResearch by philologist Garson O'Toole shows a probable origin in the mind of Austen Chamberlain's father Joseph Chamberlain dating around the late-19th and early 20th centuries. Specifically, O'Toole cites the following statement Joseph made during a speech in 1898:\n\nI think that you will all agree that we are living in most interesting times. (Hear, hear.) I never remember myself a time in which our history was so full, in which day by day brought us new objects of interest, and, let me say also, new objects for anxiety. (Hear, hear.) [emphasis added]\n\nOver time, the Chamberlain family may have come to believe that the elder Chamberlain had not used his own phrase, but had repeated a phrase from Chinese.\n\n\"U-Turn\" by Eric Frank Russell \nThe supposed curse was described in a science-fiction story titled \"U-Turn\", credited to \"Duncan Munro\", in the April 1950 issue of Astounding Science Fiction. The text from the story is as follows:\n\nFor centuries the Chinese used an ancient curse: \"May you live in interesting times!\" It isn't a curse any more. It's a blessing. We're scientific and civilized. We've got so many rights and liberties and freedoms that one can yearn for chains for the sheer pleasure of busting them and shaking them off. Reckon life would be more livable if there were any chains left to bust.\n\n\"Duncan Munro\" was a pseudonym of Eric Frank Russell, Over the years since this has led many people to believe, almost certainly incorrectly, that Russell originated the myth.\n\nSee also\nChinese word for \"crisis\"\nInteresting Times, a Terry Pratchett novel\n\nReferences\n\nExternal links\n \n \n\nEnglish words and phrases\nUrban legends\nChinese folklore\nChinese words and phrases\nFakelore"
] | [
"Lewis Robert \"Hack\" Wilson (April 26, 1900 – November 23, 1948) was an American Major League Baseball player who played 12 seasons for the New York Giants, Chicago Cubs, Brooklyn Dodgers and Philadelphia Phillies. Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s.",
"Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s. His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history.",
"His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history. Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed.",
"Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed. \"For a brief span of a few years\", wrote a sportswriter of the day, \"this hammered down little strongman actually rivaled the mighty Ruth.\"",
"\"For a brief span of a few years\", wrote a sportswriter of the day, \"this hammered down little strongman actually rivaled the mighty Ruth.\" While Wilson's combativeness and excessive alcohol consumption made him one of the most colorful sports personalities of his era, his drinking and fighting undoubtedly contributed to a premature end to his athletic career and, ultimately, his premature death.",
"While Wilson's combativeness and excessive alcohol consumption made him one of the most colorful sports personalities of his era, his drinking and fighting undoubtedly contributed to a premature end to his athletic career and, ultimately, his premature death. He was inducted into the Baseball Hall of Fame in 1979.",
"He was inducted into the Baseball Hall of Fame in 1979. Baseball career Early life and minor leagues Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh.",
"Baseball career Early life and minor leagues Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker.",
"His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker. His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24.",
"His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24. In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week.",
"In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week. Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes.",
"Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes. Sportswriter Shirley Povich later observed that he was \"built along the lines of a beer keg, and was not wholly unfamiliar with its contents.\"",
"Sportswriter Shirley Povich later observed that he was \"built along the lines of a beer keg, and was not wholly unfamiliar with its contents.\" While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of Fetal Alcohol Syndrome.",
"While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of Fetal Alcohol Syndrome. In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \"D\" Blue Ridge League.",
"In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class \"D\" Blue Ridge League. After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield.",
"After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield. In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year.",
"In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year. In 1923, playing for the \"B\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average.",
"In 1923, playing for the \"B\" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average. Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500 ($ in current dollar terms).",
"Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500 ($ in current dollar terms). New York Giants Wilson made his major league debut with the Giants on September 29, 1923, at the age of 23, and became the starting left fielder the following season.",
"New York Giants Wilson made his major league debut with the Giants on September 29, 1923, at the age of 23, and became the starting left fielder the following season. By mid-July he was ranked second in the National League (NL) in hitting.",
"By mid-July he was ranked second in the National League (NL) in hitting. He ended the season with a .295 average, 10 home runs, and 57 runs batted in (RBIs) as New York won the NL pennant. In the 1924 World Series he averaged only .233 in a seven-game loss to the Washington Senators.",
"In the 1924 World Series he averaged only .233 in a seven-game loss to the Washington Senators. Multiple stories exist to explain the origin of Wilson's nickname: By one account, a New York newspaper held a nicknaming contest; the winning entry was \"Hack\" because he reminded many fans of another stocky athlete, the popular wrestler Georg Hackenschmidt.",
"Multiple stories exist to explain the origin of Wilson's nickname: By one account, a New York newspaper held a nicknaming contest; the winning entry was \"Hack\" because he reminded many fans of another stocky athlete, the popular wrestler Georg Hackenschmidt. In another version, McGraw is said to have remarked that Wilson's physique was reminiscent of a \"hack\" (slang for taxicab in that era).",
"In another version, McGraw is said to have remarked that Wilson's physique was reminiscent of a \"hack\" (slang for taxicab in that era). Giants teammate Bill Cunningham claimed that the nickname was based on Wilson's resemblance to Hack Miller, an outfielder with the Chicago Cubs.",
"Giants teammate Bill Cunningham claimed that the nickname was based on Wilson's resemblance to Hack Miller, an outfielder with the Chicago Cubs. The New York Times printed the first documented usage of \"Hack\" on June 10, 1924.",
"The New York Times printed the first documented usage of \"Hack\" on June 10, 1924. Early in the 1925 season Wilson hit the longest home run on record at Ebbets Field against the Brooklyn Robins, but fell into a slump in May, and was replaced in left field by Irish Meusel.",
"Early in the 1925 season Wilson hit the longest home run on record at Ebbets Field against the Brooklyn Robins, but fell into a slump in May, and was replaced in left field by Irish Meusel. On July 2 he hit two home runs in one inning, tying Ken Williams' major league record set in 1922, but his hitting slump continued.",
"On July 2 he hit two home runs in one inning, tying Ken Williams' major league record set in 1922, but his hitting slump continued. In August McGraw told reporters that he had \"... made the mistake of rushing [Wilson] along,\" and sent him to the Giants' minor league affiliate, the Toledo Mud Hens of the American Association.",
"In August McGraw told reporters that he had \"... made the mistake of rushing [Wilson] along,\" and sent him to the Giants' minor league affiliate, the Toledo Mud Hens of the American Association. At season's end, a front office oversight—or possibly, deliberate inaction—left him unprotected on the Toledo roster, and the last-place Chicago Cubs acquired him on waivers.",
"At season's end, a front office oversight—or possibly, deliberate inaction—left him unprotected on the Toledo roster, and the last-place Chicago Cubs acquired him on waivers. \"They let go the best outfielder I ever played alongside\", said Giants right fielder Ross Youngs, \"and they're going to regret it.\"",
"\"They let go the best outfielder I ever played alongside\", said Giants right fielder Ross Youngs, \"and they're going to regret it.\" During the 1925 World Series — between the Senators and the Pittsburgh Pirates — Wilson's son, Robert, was born.",
"During the 1925 World Series — between the Senators and the Pittsburgh Pirates — Wilson's son, Robert, was born. Glory years with the Cubs Wilson regained his form as the Cubs' center fielder in 1926, and he quickly became a favorite of Chicago fans.",
"Glory years with the Cubs Wilson regained his form as the Cubs' center fielder in 1926, and he quickly became a favorite of Chicago fans. On May 24 he hit the center field scoreboard with one of the longest home runs in Wrigley Field history as the Cubs came from behind to defeat the Boston Braves.",
"On May 24 he hit the center field scoreboard with one of the longest home runs in Wrigley Field history as the Cubs came from behind to defeat the Boston Braves. Later that evening he made news again when he was arrested during a police raid of a Prohibition-era speakeasy while trying to escape through the rear window, and was fined one dollar.",
"Later that evening he made news again when he was arrested during a police raid of a Prohibition-era speakeasy while trying to escape through the rear window, and was fined one dollar. He ended the season with a league-leading 21 home runs along with 36 doubles, 109 RBIs, a .321 batting average, and a .406 on-base percentage.",
"He ended the season with a league-leading 21 home runs along with 36 doubles, 109 RBIs, a .321 batting average, and a .406 on-base percentage. The Cubs improved to fourth place, and Wilson ended the year ranked fifth in voting for the NL's Most Valuable Player (MVP) Award.",
"The Cubs improved to fourth place, and Wilson ended the year ranked fifth in voting for the NL's Most Valuable Player (MVP) Award. Another strong performance followed in 1927 as Wilson once again led the league in home runs.",
"Another strong performance followed in 1927 as Wilson once again led the league in home runs. Although the Cubs were in first place heading into the final month of the season, the team faltered and again finished fourth. Wilson posted a .318 average with 30 home runs and 129 RBIs, and led NL outfielders with 400 putouts.",
"Wilson posted a .318 average with 30 home runs and 129 RBIs, and led NL outfielders with 400 putouts. He led the NL in home runs for a third consecutive year in 1928 with 31, along with 120 RBIs and a .313 average as the Cubs improved to third place.",
"He led the NL in home runs for a third consecutive year in 1928 with 31, along with 120 RBIs and a .313 average as the Cubs improved to third place. Wilson had a combative streak and sometimes initiated fights with opposing players and fans.",
"Wilson had a combative streak and sometimes initiated fights with opposing players and fans. On June 22, 1928, a near-riot broke out in the ninth inning at Wrigley Field against the St. Louis Cardinals when Wilson jumped into the box seats to attack a heckling fan.",
"On June 22, 1928, a near-riot broke out in the ninth inning at Wrigley Field against the St. Louis Cardinals when Wilson jumped into the box seats to attack a heckling fan. An estimated 5,000 spectators swarmed the field before police could separate the combatants and restore order.",
"An estimated 5,000 spectators swarmed the field before police could separate the combatants and restore order. The fan sued Wilson for $20,000, but a jury ruled in his favor.",
"The fan sued Wilson for $20,000, but a jury ruled in his favor. The following year he took offense at a remark by Cincinnati Reds pitcher Ray Kolp, and – upon reaching first base after hitting a single – he charged into the Reds dugout, punching Kolp several times before they could be separated.",
"The following year he took offense at a remark by Cincinnati Reds pitcher Ray Kolp, and – upon reaching first base after hitting a single – he charged into the Reds dugout, punching Kolp several times before they could be separated. Later that evening at the train station, Wilson exchanged words and blows with Cincinnati player Pete Donohue.",
"Later that evening at the train station, Wilson exchanged words and blows with Cincinnati player Pete Donohue. In late 1929 he signed a contract to fight Art Shires of the Chicago White Sox in a boxing match, but reneged after Cubs president William Veeck, Sr. enlisted Hack's wife Virginia to dissuade him, and then Shires lost a fight to George Trafton of the Chicago Bears.",
"In late 1929 he signed a contract to fight Art Shires of the Chicago White Sox in a boxing match, but reneged after Cubs president William Veeck, Sr. enlisted Hack's wife Virginia to dissuade him, and then Shires lost a fight to George Trafton of the Chicago Bears. There was nothing to gain, Wilson said, by fighting a defeated boxer.",
"There was nothing to gain, Wilson said, by fighting a defeated boxer. Wilson's \"penchant for festivities\" is also well documented.",
"Wilson's \"penchant for festivities\" is also well documented. Biographer Clifton Blue Parker described him as \"... the Roaring '20s epitome of a baseball player, primed for an age of American excess ... at a time when baseball was America's favorite sport.\"",
"Biographer Clifton Blue Parker described him as \"... the Roaring '20s epitome of a baseball player, primed for an age of American excess ... at a time when baseball was America's favorite sport.\" His love of drinking and partying did not endear him to Cubs owner William Wrigley, who abhorred alcohol consumption.",
"His love of drinking and partying did not endear him to Cubs owner William Wrigley, who abhorred alcohol consumption. (Wilson always insisted that he never played drunk; \"hung over, yes; drunk, no.\") Manager Joe McCarthy worked hard to shield Wilson from Wrigley, and to keep him on an even keel.",
"Manager Joe McCarthy worked hard to shield Wilson from Wrigley, and to keep him on an even keel. \"Better than any other manager,\" wrote sportswriter Frank Graham, \"Joe understood Hack, made allowances for him when he failed, and rewarded him with praise when he did well.",
"\"Better than any other manager,\" wrote sportswriter Frank Graham, \"Joe understood Hack, made allowances for him when he failed, and rewarded him with praise when he did well. Joe could be strict and stern with his players ... but he never was with Hack, and Hack repaid him by playing as he never had before, nor would again.\"",
"Joe could be strict and stern with his players ... but he never was with Hack, and Hack repaid him by playing as he never had before, nor would again.\" In 1929 Wilson hit .345 with 39 home runs and a league-record 159 RBIs.",
"In 1929 Wilson hit .345 with 39 home runs and a league-record 159 RBIs. He and new teammate Rogers Hornsby (who also contributed 39 home runs) led the Cubs to their first NL pennant in eleven years.",
"He and new teammate Rogers Hornsby (who also contributed 39 home runs) led the Cubs to their first NL pennant in eleven years. In the World Series against Connie Mack's Philadelphia Athletics, Wilson's .471 hitting performance was eclipsed by two fielding errors at Shibe Park.",
"In the World Series against Connie Mack's Philadelphia Athletics, Wilson's .471 hitting performance was eclipsed by two fielding errors at Shibe Park. Though trailing the Series two games to one, the Cubs were leading by a score of 8–0 in the fourth game when the Athletics mounted a 10-run rally in the seventh inning.",
"Though trailing the Series two games to one, the Cubs were leading by a score of 8–0 in the fourth game when the Athletics mounted a 10-run rally in the seventh inning. Wilson lost two fly balls in the sun; the second, with two runners on base, led to an inside-the-park home run by Mule Haas as the Athletics won 10–8.",
"Wilson lost two fly balls in the sun; the second, with two runners on base, led to an inside-the-park home run by Mule Haas as the Athletics won 10–8. After the game, McCarthy reportedly told a boy asking for a souvenir baseball, \"Come back tomorrow and stand behind Wilson, and you'll be able to pick up all the balls you want!\"",
"After the game, McCarthy reportedly told a boy asking for a souvenir baseball, \"Come back tomorrow and stand behind Wilson, and you'll be able to pick up all the balls you want!\" The Athletics won again the next day to take the Series in five games.",
"The Athletics won again the next day to take the Series in five games. 1930 peak Wilson's 1930 season, aided by a lively ball wound with special Australian wool, is considered one of the best single-season hitting performances in baseball history. By the middle of July he had accumulated 82 RBIs.",
"By the middle of July he had accumulated 82 RBIs. In August he hit 13 home runs and 53 RBIs, and by September 17 he had reached 174 RBIs, breaking Lou Gehrig's major league record established three years earlier.",
"In August he hit 13 home runs and 53 RBIs, and by September 17 he had reached 174 RBIs, breaking Lou Gehrig's major league record established three years earlier. He finished the season with 190 RBIs, along with an NL-record 56 home runs, .356 batting average, .454 on-base percentage, and league-leading .723 slugging percentage.",
"He finished the season with 190 RBIs, along with an NL-record 56 home runs, .356 batting average, .454 on-base percentage, and league-leading .723 slugging percentage. He was unofficially voted the NL's most \"useful\" player by the Baseball Writers' Association of America (which did not inaugurate its official MVP award until 1931).",
"He was unofficially voted the NL's most \"useful\" player by the Baseball Writers' Association of America (which did not inaugurate its official MVP award until 1931). In 1999 the Commissioner of Baseball officially increased Wilson's 1930 RBI total to 191 after a box score analysis by baseball historian Jerome Holtzman revealed that Charlie Grimm had been mistakenly credited with an RBI actually driven home by Wilson during the second game of a doubleheader on July 28.",
"In 1999 the Commissioner of Baseball officially increased Wilson's 1930 RBI total to 191 after a box score analysis by baseball historian Jerome Holtzman revealed that Charlie Grimm had been mistakenly credited with an RBI actually driven home by Wilson during the second game of a doubleheader on July 28. Wilson's 191 RBIs remains one of baseball's most enduring records; only Gehrig (185) and Hank Greenberg (184) ever came close, and there have been no serious challenges in the last 75 years.",
"Wilson's 191 RBIs remains one of baseball's most enduring records; only Gehrig (185) and Hank Greenberg (184) ever came close, and there have been no serious challenges in the last 75 years. (The best recent effort was 165 by Manny Ramirez in 1999.)",
"(The best recent effort was 165 by Manny Ramirez in 1999.) Reds catcher Clyde Sukeforth asserted that Wilson should have been credited with an additional home run in 1930 as well.",
"Reds catcher Clyde Sukeforth asserted that Wilson should have been credited with an additional home run in 1930 as well. \"He hit one in Cincinnati one day\", he said, \"way up in the seats, hit it so hard that it bounced right back onto the field.",
"\"He hit one in Cincinnati one day\", he said, \"way up in the seats, hit it so hard that it bounced right back onto the field. The umpire had a bad angle on it and ruled that it had hit the screen and bounced back.",
"The umpire had a bad angle on it and ruled that it had hit the screen and bounced back. I was sitting in the Cincinnati bullpen, and of course, we weren't going to say anything. But Hack really hit 57 that year.\"",
"But Hack really hit 57 that year.\" Wilson's official total of 56 stood as the NL record until the 1998 season, when it was broken by Sammy Sosa (66) and Mark McGwire (70).",
"Wilson's official total of 56 stood as the NL record until the 1998 season, when it was broken by Sammy Sosa (66) and Mark McGwire (70). Decline Wilson's success in the 1930 season served only to fuel his drinking habits, and in 1931 he reported to spring training 20 pounds overweight.",
"Decline Wilson's success in the 1930 season served only to fuel his drinking habits, and in 1931 he reported to spring training 20 pounds overweight. In addition, the NL responded to the prodigious offensive statistics of the previous year (the only season, other than 1894, in which the league as a whole batted over .300) by introducing a heavier ball with raised stitching to allow pitchers to gain a better grip and throw sharper curveballs.",
"In addition, the NL responded to the prodigious offensive statistics of the previous year (the only season, other than 1894, in which the league as a whole batted over .300) by introducing a heavier ball with raised stitching to allow pitchers to gain a better grip and throw sharper curveballs. Wilson complained that the new Cubs manager, Hornsby, did not allow him to \"swing away\" as much as Joe McCarthy had.",
"Wilson complained that the new Cubs manager, Hornsby, did not allow him to \"swing away\" as much as Joe McCarthy had. He hit his 200th career home run at Ebbets Field on June 18 — only the fourth player ever to do so, behind Ruth, Cy Williams, and Hornsby — but then fell into a protracted slump, and was benched in late May.",
"He hit his 200th career home run at Ebbets Field on June 18 — only the fourth player ever to do so, behind Ruth, Cy Williams, and Hornsby — but then fell into a protracted slump, and was benched in late May. By late August Wrigley publicly expressed his desire to trade him.",
"By late August Wrigley publicly expressed his desire to trade him. On September 6 he was suspended without pay for the remainder of the season after a fight with reporters aboard a train in Cincinnati. He was hitting .261 with only 13 home runs (his 1930 production during August alone) at the time.",
"He was hitting .261 with only 13 home runs (his 1930 production during August alone) at the time. In December 1931, the Cubs traded Wilson, along with Bud Teachout, to the St. Louis Cardinals for Burleigh Grimes.",
"In December 1931, the Cubs traded Wilson, along with Bud Teachout, to the St. Louis Cardinals for Burleigh Grimes. Less than a month later, the Cardinals sent him to the Brooklyn Dodgers for minor league outfielder Bob Parham and $25,000 ($ in current dollar terms).",
"Less than a month later, the Cardinals sent him to the Brooklyn Dodgers for minor league outfielder Bob Parham and $25,000 ($ in current dollar terms). Wilson hit .297 with 23 home runs and 123 RBIs for Brooklyn in 1932.",
"Wilson hit .297 with 23 home runs and 123 RBIs for Brooklyn in 1932. He began 1933 with a ninth-inning game-winning pinch-hit inside-the-park grand slam home run at Ebbets Field—the first pinch-hit grand slam in Dodger history, and only the third inside-the-park pinch-hit grand slam in MLB history.",
"He began 1933 with a ninth-inning game-winning pinch-hit inside-the-park grand slam home run at Ebbets Field—the first pinch-hit grand slam in Dodger history, and only the third inside-the-park pinch-hit grand slam in MLB history. By season's end his offensive totals had dropped substantially, and he was hitting .262 when the Dodgers released him mid-season in 1934.",
"By season's end his offensive totals had dropped substantially, and he was hitting .262 when the Dodgers released him mid-season in 1934. The Philadelphia Phillies signed him immediately, but after just two hits in 20 at bats he was released again a month later.",
"The Philadelphia Phillies signed him immediately, but after just two hits in 20 at bats he was released again a month later. After a final season with the Albany Senators of the Class \"A\" New York–Pennsylvania League, Wilson retired at the age of 35.",
"After a final season with the Albany Senators of the Class \"A\" New York–Pennsylvania League, Wilson retired at the age of 35. Career statistics In a 12-year major league career, Wilson played in 1,348 games and accumulated 1,461 hits in 4,760 at-bats for a .307 career batting average and a .395 on-base percentage.",
"Career statistics In a 12-year major league career, Wilson played in 1,348 games and accumulated 1,461 hits in 4,760 at-bats for a .307 career batting average and a .395 on-base percentage. He hit 244 home runs and batted in 1,063 runs, led the NL in home runs four times, and surpassed 100 RBIs six times.",
"He hit 244 home runs and batted in 1,063 runs, led the NL in home runs four times, and surpassed 100 RBIs six times. Defensively, he finished his career with a .965 fielding percentage.",
"Defensively, he finished his career with a .965 fielding percentage. Life after baseball Wilson returned to Martinsburg where he opened a pool hall, but encountered financial problems due to a failed sporting goods business venture, and then a rancorous divorce from Virginia.",
"Life after baseball Wilson returned to Martinsburg where he opened a pool hall, but encountered financial problems due to a failed sporting goods business venture, and then a rancorous divorce from Virginia. By 1938 he was working as a bartender near Brooklyn's Ebbets Field where he sang for drinks, but had to quit when customers became too abusive.",
"By 1938 he was working as a bartender near Brooklyn's Ebbets Field where he sang for drinks, but had to quit when customers became too abusive. A night club venture in suburban Chicago was another financial failure.",
"A night club venture in suburban Chicago was another financial failure. In 1944 he took a job as a good will ambassador for a professional basketball team in Washington, D.C., where he lamented that fans remembered his two dropped fly balls in the 1929 World Series far more vividly than his 56 home runs and 191 RBIs in 1930.",
"In 1944 he took a job as a good will ambassador for a professional basketball team in Washington, D.C., where he lamented that fans remembered his two dropped fly balls in the 1929 World Series far more vividly than his 56 home runs and 191 RBIs in 1930. Unable to find work in professional baseball, he moved to Baltimore where he worked as a tool checker in an airplane manufacturing plant and later as a laborer for the City of Baltimore.",
"Unable to find work in professional baseball, he moved to Baltimore where he worked as a tool checker in an airplane manufacturing plant and later as a laborer for the City of Baltimore. When municipal authorities realized who he was, he was made the manager of a Baltimore public swimming pool.",
"When municipal authorities realized who he was, he was made the manager of a Baltimore public swimming pool. On October 4, 1948 Wilson was discovered unconscious after a fall in his home.",
"On October 4, 1948 Wilson was discovered unconscious after a fall in his home. Though the accident did not appear serious at first, pneumonia and other complications developed and he died of internal hemorrhaging on November 23, 1948, at the age of 48.",
"Though the accident did not appear serious at first, pneumonia and other complications developed and he died of internal hemorrhaging on November 23, 1948, at the age of 48. Wilson — once the highest-paid player in the National League — died penniless; his son, Robert, refused to claim his remains.",
"Wilson — once the highest-paid player in the National League — died penniless; his son, Robert, refused to claim his remains. NL President Ford Frick finally sent money to cover his funeral expenses. His gray burial suit was donated by the undertaker.",
"His gray burial suit was donated by the undertaker. In marked contrast to Babe Ruth's funeral, which had been attended by thousands just three months earlier, only a few hundred people were present for Wilson's services. He was buried in Rosedale Cemetery in the town where he made his professional playing debut, Martinsburg, West Virginia.",
"He was buried in Rosedale Cemetery in the town where he made his professional playing debut, Martinsburg, West Virginia. Ten months later Joe McCarthy organized a second, more complete memorial service, attended by Kiki Cuyler, Charlie Grimm, Nick Altrock and other players from the Cubs and the Martinsburg team (by then renamed the Blue Sox).",
"Ten months later Joe McCarthy organized a second, more complete memorial service, attended by Kiki Cuyler, Charlie Grimm, Nick Altrock and other players from the Cubs and the Martinsburg team (by then renamed the Blue Sox). A granite tombstone was unveiled, with the inscription, \"One of Baseball's Immortals, Lewis R. (Hack) Wilson, Rests Here.\"",
"A granite tombstone was unveiled, with the inscription, \"One of Baseball's Immortals, Lewis R. (Hack) Wilson, Rests Here.\" One week before his death, Wilson gave an interview to CBS Radio which was reprinted in Chicago newspapers.",
"One week before his death, Wilson gave an interview to CBS Radio which was reprinted in Chicago newspapers. In 1949 Charlie Grimm, the Cubs' new manager, posted a framed excerpt from that interview in the Cubs clubhouse, where it remains. It reads, in part: Talent isn't enough.",
"It reads, in part: Talent isn't enough. You need common sense and good advice. If anyone tries to tell you different, tell them the story of Hack Wilson. ... Kids in and out of baseball who think because they have talent they have the world by the tail. It isn't so.",
"It isn't so. It isn't so. Kids, don't be too big to accept advice. Don't let what happened to me happen to you. In 1979 Wilson was inducted into the Baseball Hall of Fame by the Veterans Committee.",
"In 1979 Wilson was inducted into the Baseball Hall of Fame by the Veterans Committee. A Martinsburg street is named Hack Wilson Way in his honor, and the access road to a large city park within his home town, Ellwood City, Pennsylvania, is known as Hack Wilson Drive.",
"A Martinsburg street is named Hack Wilson Way in his honor, and the access road to a large city park within his home town, Ellwood City, Pennsylvania, is known as Hack Wilson Drive. See also 50 home run club List of Major League Baseball annual home run leaders List of Major League Baseball annual runs batted in leaders List of Major League Baseball players to hit for the cycle List of Major League Baseball career runs batted in leaders List of Major League Baseball career slugging percentage leaders List of Major League Baseball career OPS leaders List of Major League Baseball career home run leaders References Further reading Subscription required.",
"See also 50 home run club List of Major League Baseball annual home run leaders List of Major League Baseball annual runs batted in leaders List of Major League Baseball players to hit for the cycle List of Major League Baseball career runs batted in leaders List of Major League Baseball career slugging percentage leaders List of Major League Baseball career OPS leaders List of Major League Baseball career home run leaders References Further reading Subscription required. Subscription required.",
"Subscription required. Subscription required. External links , or Retrosheet National Baseball Hall of Fame inductees Major League Baseball center fielders Chicago Cubs players Brooklyn Dodgers players New York Giants (NL) players Philadelphia Phillies players National League home run champions National League RBI champions Martinsburg Mountaineers players Martinsburg Blue Sox players Portsmouth Truckers players Toledo Mud Hens players Albany Senators players Baseball players from Pennsylvania Sportspeople from Martinsburg, West Virginia People from Ellwood City, Pennsylvania People from Lawrence County, Pennsylvania 1900 births 1948 deaths"
] |
[
"Sinhalese people",
"Language and literature",
"what language did the sinhalese people use?",
"The Sinhalese speak Sinhala, also known as \"Helabasa\";",
"is it a widely known language?",
"I don't know."
] | C_6531bbbb4dba4483bed9d12220555c4f_1 | Are there any other interesting aspects about this article? | 3 | Other than the language of the Sinhalese people, Are there any other interesting aspects about this article? | Sinhalese people | The Sinhalese speak Sinhala, also known as "Helabasa"; this language has two varieties, spoken and written. Sinhala is an Indo-Aryan language within the broader group of Indo-European languages. The language was brought to Sri Lanka by the ancestors of the Sinhalese from northern India who settled on the island in the 6th century BCE. Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages. Sinhala was influenced by many languages, prominently Pali, the sacred language of Southern Buddhism, and Sanskrit. Many early Sinhala texts such as the Hela Atuwa were lost after their translation into Pali. Other significant Sinhala texts include Amavatura, Kavu Silumina, Jathaka Potha and Sala Liheeniya. Sinhala has also adopted many loanwords of foreign origin, including from many Indian languages and colonial languages Portuguese, Dutch, and English. Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world. The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages. Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and Hollywood movies. Additionally many Dutch and Portuguese words can be seen in the coastal areas. Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today. Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance. Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son. In the modern period, Sinhala writers such as Martin Wickremasinghe and G. B. Senanayake have drawn widespread acclaim. Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake. Martin Wickramasinghe wrote the immensely popular children's novel Madol Duwa. Munadasa Cumaratunga's Hath Pana is also widely known. CANNOTANSWER | Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today. | Sinhalese people () are an Indo-Aryan ethnic group native to the island of Sri Lanka. They were historically known as Hela people (). They constitute about 75% of the Sri Lankan population and number greater than 16.2 million. The Sinhalese identity is based on language, cultural heritage and nationality. The Sinhalese people speak Sinhala, an insular Indo-Aryan language, and are predominantly Theravada Buddhists, although a minority of Sinhalese follow branches of Christianity and
other religions. Since 1815, they were broadly divided into two respective groups: The 'Up-country Sinhalese' in the central mountainous regions, and the 'Low-country Sinhalese' in the coastal regions; although both groups speak the same language, they are distinguished as they observe different cultural customs.
According to the Mahavamsa and the Dipavamsa, a 3rd–5th century treatise written in Pali by Buddhist monks of the Anuradhapura Maha Viharaya in Sri Lanka, the Sinhalese descend from settlers who came to the island in 543 BCE from Sinhapura led by Prince Vijaya who mixed with the indigenous Yakka and later settlers from the Pandya kingdom.
Etymology
From the Sanskrit word Sinhala, meaning literally "of lions".
The Mahavamsa records the origin of the Sinhalese people and related historical events. It traces the historical origin of the Sinhalese people back to the first king who mentioned in the documentary history of Sri Lanka, Vijaya, who is the son of Sinhabahu (Sanskrit meaning 'Sinha' (lion) + 'bahu' (hands, feet), the ruler of Sinhapura. Some versions suggest Vijaya is the grandson of Sinhabahu. According to the Mahavamsa, Sinhabahu was the son of princess Suppadevi of Vanga, who copulated with a lion and gave birth to a daughter called Sinhasivali and to a son, Sinhabahu, whose hands and feet were like the paws of a lion and who had the strength of a lion. King Vijaya, the lineage of Sinhabahu, according to the Mahavamsa and other historical sources, arrived on the island of Tambapanni (Sri Lanka) and gave origin to the lion people, Sinhalese.
The story of the arrival of Prince Vijaya in Sri Lanka and the origin of the Sinhalese people is also depicted in the Ajanta caves, in a mural of cave number 17. According to Arisen Ahubudu, there were four major clans of "hela" in ancient Sri Lanka even before the arrival of Prince Vijaya, and that Sri Lanka was called as "Siv hela" (siv=four in the Sinhala language) and later it was changed into "Sinhala".
History
The early recorded history of the Sinhalese is chronicled in two documents, the Mahavamsa, written in Pāli around the 4th century CE, and the later Culavamsa (the first segment probably penned in the 13th century CE by the Buddhist monk Dhammakitti). These are ancient sources that cover the histories of the powerful ancient Sinhalese kingdoms of Anuradhapura and Polonnaruwa which lasted for 1500 years. The Mahavamsa describes the existence of fields of rice and reservoirs, indicating a well-developed agrarian society.
Pre Anuradhapura period
According to Mahavamsa, Prince Vijaya and his 700 followers left Suppāraka, landed on the island at a site believed by historians to be in the district of Puttalam, south of modern-day Mannar and founded the Kingdom of Thambapanni. It is recorded the Vijaya made his landing on the day of Buddha's Parinirvana. Vijaya claimed Tambapanni his capital and soon the whole island come under this name. Tambapanni was originally inhabited and governed by Yakkhas, having their capital at Sirīsavatthu and their queen Kuveni. According to the Samyutta Commentary, Tambapanni was one hundred leagues in extent.
At the end of his reign, Vijaya, having trouble choosing a successor, sent a letter to the city of his ancestors, Sinhapura, in order to invite his brother Sumitta to take over the throne. However, Vijaya had died before the letter had reached its destination, so the elected minister of the people Upatissa, the Chief government minister or prime minister and leading chief among the Sinhalese became regent and acted as regent for a year. After his coronation, which was held in the Kingdom of Tambapanni, he left it, building another one, bearing his own name. While he was king, Upatissa established the new capital Upatissa, in which the kingdom was moved to from the Kingdom of Tambapanni. When Vijaya's letter arrived, Sumitta had already succeeded his father as king of his country, and so he sent his son Panduvasdeva to rule Upatissa Nuwara.
Upatissa Nuwara was seven or eight miles further north of the Kingdom of Tambapanni.
It was named after the regent king Upatissa, who was the prime minister of Vijaya, and was founded in 505 BC after the death of Vijaya and the end of the Kingdom of Tambapanni.
Anuradhapura period
In 377 BC, King Pandukabhaya (437–367 BC) moved the capital to Anuradhapura and developed it into a prosperous city. Anuradhapura (Anurapura) was named after the minister who first established the village and after a grandfather of Pandukabhaya who lived there. The name was also derived from the city's establishment on the auspicious asterism called Anura. Anuradhapura was the capital of all the monarchs who ruled from the dynasty.
Rulers such as Dutthagamani, Valagamba, and Dhatusena are noted for defeating the South Indians and regaining control of the kingdom. Other rulers who are notable for military achievements include Gajabahu I, who launched an invasion against the invaders, and Sena II, who sent his armies to assist a Pandyan prince.
Polonnaruwa period
During the Middle Ages Sri Lanka was well known for its agricultural prosperity under king Parakramabahu in Polonnaruwa during which period the island was famous around the world as the rice mill of the east.
Transitional period
Later in the 13th century the country's administrative provinces were divided into independent kingdoms and chieftaincies: Kingdom of Sitawaka, Kingdom of Kotte, Jaffna Kingdom and the Kandyan kingdom. The invasion by the Hindu king Magha in the 13th century led to migrations by the Buddhists (mostly Sinhalese) to areas not under his control. This migration was followed by a period of conflict among the Sinhalese chiefs who tried to exert political supremacy. Parakramabahu VI, a Sinhalese king invaded the Jaffna Kingdom and conquered it, bringing the entire country back under the Sinhalese kingdom. Trade also increased during this period, as Sri Lanka began to trade cinnamon and a large number of Muslim traders were bought into the island.
In the 15th century a Kandyan Kingdom formed which divided the Sinhalese politically into low-country and up-country. In this period, the Sinhalese caste structure absorbed recent Dravidian Hindu immigrants from South India leading to the emergence of three new Sinhalese caste groups - the Salagama, the Durava and the Karava.
Modern history
The Sinhalese have a stable birth rate and a population that has been growing at a slow pace relative to India and other Asian countries.
Society
Demographics
Sri Lanka
Within Sri Lanka the majority of the Sinhalese reside in the South, Central, Sabaragamuwa and Western parts of the country. This coincides with the largest Sinhalese populations areas in Sri Lanka. Cities with more than 90% Sinhalese population include Hambantota, Galle, Gampaha, Kurunegala, Monaragala, Anuradhapura and Polonnaruwa.
Diaspora
Sinhalese people have emigrated out to many countries for a variety of reasons. The larger diaspora communities are situated in the United Kingdom, Australia, United States and Canada among others. In addition to this there are many Sinhalese, who reside in the Middle East, Southeast Asia and Europe, temporarily in connection with employment and/or education. They are often employed as guest workers in the Middle East and professionals in the other regions.
The largest population centres of the Sinhalese diaspora are mainly situated in Europe, North America and Australia. The city of Melbourne contains just under half of the Sri Lankan Australians. The 2011 census recorded 86,412 Sri Lanka born in Australia. There are 73,849 Australians (0.4 of the population) who reported having Sinhalese ancestry in 2006. Sinhala was also reported to be the 29th-fastest-growing language in Australia (ranking above Somali but behind Hindi and Belarusian). Sinhalese Australians have an exceptionally low rate of return migration to Sri Lanka. In the 2011 Canadian Census, 7,220 people identified themselves as of Sinhalese ancestry, out of 139,415 Sri Lankans. There are a small number of Sinhalese people in India, scattered around the country, but mainly living in and around the northern and southern regions. Sri Lankan New Zealanders comprised 3% of the Asian population of New Zealand in 2001. The numbers arriving continued to increase, and at the 2018 census there were over 16,000 Sri Lankans living in New Zealand among those 9,171 were Sinhalese.
In the U.S, the Sinhalese number about 12,000 people. The New York City Metropolitan Area contains the largest Sri Lankan community in the United States, receiving the highest legal permanent resident Sri Lankan immigrant population, followed by Central New Jersey and the Los Angeles metropolitan area. Many Sinhalese have migrated to Italy since the 1970s. Italy was attractive to the Sinhalese due to perceived easier employment opportunities and entry, compared to other European countries. It is estimated that there are 30,000-33,000 Sinhalese in Italy. The major Sinhalese communities in Italy are located in Lombardia (In the districts Loreto and Lazzaretto), Milan, Lazio, Rome, Naples, and Southern Italy (Particularly Palermo, Messina and Catania). It should be noted however that many countries census list Sri Lankan which also includes Sri Lankan Tamils so the numbers of just Sinhalese are not as accurate when the census states Sri Lankan and not Sinhalese. Though Sinhalese people in particular and Sri Lankans in general have migrated to the UK over the centuries beginning from the colonial times, the number of Sinhalese people in the UK cannot be estimated accurately due to inadequacies of census in the UK. The UK government does not record statistics on the basis of language or ethnicity and all Sri Lankans are classified into one group as Asian British or Asian Other.
Language and literature
Sinhalese people speak Sinhala, also known as "Helabasa"; this language has two varieties, spoken and written. Sinhala is an Indo-Aryan language within the broader group of Indo-European languages. The early form of the language was brought to Sri Lanka by the ancestors of the Sinhalese people from northern India who settled on the island in the 6th century BCE. Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages. It was influenced by many languages, prominently Pali, the sacred language of Southern Buddhism, Telugu and Sanskrit. Many early texts in the language such as the Hela Atuwa were lost after their translation into Pali. Other significant Sinhala texts include Amāvatura, Kavu Silumina, Jathaka Potha and Sala Liheeniya. Sinhala has also adopted many loanwords of foreign origin, including from many Indian such as Tamil and European languages such as Portuguese, Dutch, and English.
Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world. The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages. Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and foreign films. Additionally many Dutch and Portuguese words can be seen in the coastal areas. Sinhalese people, depending on where they live in Sri Lanka, may also additionally speak English and or Tamil. According to the 2012 Census 23.8% or 3,033,659 Sinhalese people also spoke English and 6.4% or 812,738 Sinhalese people also spoke Tamil. In the Negombo area bilingual fishermen who generally identify themselves as Sinhalese also speak the Negombo Tamil dialect. This dialect has undergone considerable convergence with spoken Sinhala.
Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today. Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance. Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son.
In the modern period, Sinhala writers such as Martin Wickremasinghe and G. B. Senanayake have drawn widespread acclaim. Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake. Martin Wickramasinghe wrote the immensely popular children's novel Madol Duwa. Munadasa Cumaratunga's Hath Pana is also widely known.
Religion
The form of Buddhism in Sri Lanka is known as Theravada (school of elders). The Pali chronicles (e.g., the Mahavansa) claim that the Sinhalese as an ethnic group are destined to preserve and protect Buddhism. In 1988 almost 93% of the Sinhala speaking population in Sri Lanka were Buddhist. Observations of current religious beliefs and practices demonstrate that the Sinhalese, as a religious community, have a complex worldview as Buddhists. Due to the proximity and on some occasions similarity of certain doctrines, there are many areas where Buddhists and Hindus share religious views and practices. Sinhalese Buddhists have adopted religious elements from Hindu traditions in their religious practices. Some of these practices may relate to ancient indigenous beliefs and traditions on spirits (folk religion), and the worship of Hindu deities. Some of these figures are used in healing rituals and may be native to the island. Gods and goddess derived from Hindu deities are worshiped by Sinhalese. Kataragama Deviyo from Kartikeya, Upulvan from Vishnu and Ayyanayake from Aiyanar can be named as examples. Though these gods take the same place as their Hindu counterparts in mythology, some of their aspects are different compared to the original gods.
Prominent Sri Lankan anthropologists Gananath Obeyesekere and Kitsiri Malalgoda used the term "Protestant Buddhism" to describe a type of Buddhism that appeared among the Sinhalese in Sri Lanka as a response to Protestant Christian missionaries and their evangelical activities during the British colonial period. This kind of Buddhism involved emulating the Protestant strategies of organising religious practices. They saw the need to establish Buddhist schools for educating Buddhist youth and organising Buddhists with new organisations such as the Young Men's Buddhist Association, as well as printing pamphlets to encourage people to participate in debates and religious controversies to defend Buddhism.
Christianity
There is a significant Sinhalese Christian community, in the maritime provinces of Sri Lanka. Christianity was brought to the Sinhalese by Portuguese, Dutch, and British missionary groups during their respective periods of rule. Most Sinhalese Christians are Roman Catholic; a minority are Protestant. Their cultural centre is Negombo.
Religion is considered very important among the Sinhalese. According to a 2008 Gallup poll, 99% of Sri Lankans considered religion an important aspect of their daily lives.
Genetics
Modern studies point towards a predominantly Bengali contribution and a minor Tamil influence. Gujarati and Punjabi lineages are also visible. In relation to the former, other studies also show the Sinhalese possess some genetic admixture from Southeast Asian populations, especially from Austroasiatic groups. Certain Y-DNA and mtDNA haplogroups and genetic markers of immunoglobulin among the Sinhalese, for example, show Southeast Asian genetic influences many of which are also found among certain Northeast Indian populations to whom the Sinhalese are genetically related.
Culture
Sinhalese culture is a unique one dating as far back as 2600 years and has been nourished by Theravada Buddhism. Its main domains are sculpture, fine arts, literature, dancing, poetry and a wide variety of folk beliefs and rituals traditionally. Ancient Sinhala stone sculpture and inscriptions are known worldwide and is a main foreign attraction in modern tourism. Sigirirya is famous for its frescoes. Folk poems were sung by workers to accompany their work and narrate the story of their lives. Ideally these poems consisted of four lines and, in the composition of these poems, special attention had been paid to the rhyming patterns. Buddhist festivals are dotted by unique music using traditionally Sinhalese instruments. More ancient rituals like (devil exorcism) continue to enthrall audiences today and often praised and invoked the good powers of the Buddha and the gods in order to exorcise the demons.
Folklore and national mythology
According to the Mahavamsa, the Sinhalese are descended from the exiled Prince Vijaya and his party of seven hundred followers who arrived on the island in 543 BCE. Vijaya and his followers were said to have arrived in Sri Lanka after being exiled from the city of Sinhapura in Bengal. The modern Sinhalese people were found genetically to be most closely related to the people of North-East India (Bengal). It is thought throughout Sri Lanka's history, since the founding of the Sinhalese in the 5th century BC that an influx of Indians from North India came to the island. This is further supported from Sinhala being part of the Indo-Aryan language group.
Traditionally during recreation the Sinhalese wear a sarong (sarama in Sinhala). Men may wear a long-sleeved shirt with a sarong. Clothing varies by region for women. Low country Sinhalese women wear a white Long sleeved jacket, and a tight wrap around skirt, which usually is embedded with a floral or pattern design. As for the up country Sinhalese, women wear a similar outfit, but with a puffed up shoulder jacket, and a tucked in frill that lines the top of the skirt (Reda and Hatte in Sinhala). Traditionally, high caste Kandyan women wear a Kandyan style sari, which is similar to the Maharashtrian sari, with the drape but with a frill lining the bottom half and sometimes puffed up sleeves. It’s also called an Osariya. The low country high caste women wear a South Indian style saree. Within the more populated areas, Sinhalese men also wear Western-style clothing — wearing suits while the women wear skirts and blouses. For formal and ceremonial occasions women wear the traditional Kandyan (Osariya) style, which consists of a full blouse which covers the midriff completely, and is partially tucked in at the front. However, modern intermingling of styles has led to most wearers baring the midriff. The Kandyan style is considered as the national dress of Sinhalese women. In many occasions and functions, even the saree plays an important role in women's clothing and has become the de facto clothing for female office workers especially in government sector. An example of its use is the uniform of air hostesses of Sri Lankan Airlines.
Cuisine
Sinhalese cuisine is one of the most complex cuisines of South Asia. As a major trade hub, it draws influence from colonial powers that were involved in Sri Lanka and by foreign traders. Rice, which is consumed daily, can be found at any occasion, while spicy curries are favourite dishes for lunch and dinner. Some of the Sri Lankan dishes have striking resemblance to Kerala cuisine, which could be due to the similar geographic and agricultural features with Kerala. A well-known rice dish with Sinhalese is Kiribath, meaning ‘milk rice’. In addition to , Sinhalese eat , chopped leaves mixed with grated coconut and red onions. Coconut milk is found in most Sri Lankan dishes to give the cuisine its unique flavour.
Sri Lanka has long been renowned for its spices. The best known is cinnamon which is native to Sri Lanka. In the 15th and 16th centuries, spice and ivory traders from all over the world who came to Sri Lanka brought their native cuisines to the island, resulting in a rich diversity of cooking styles and techniques. Lamprais, rice boiled in stock with a special curry, accompanied by frikkadels (meatballs), all of which is then wrapped in a banana leaf and baked as a Dutch-influenced Sri Lankan dish. Dutch and Portuguese sweets also continue to be popular. British influences include roast beef and roast chicken. Also, the influence of the Indian cooking methods and food have played a major role in what Sri Lankans eat.
The island nation's cuisine mainly consists of boiled or steamed rice served with curry. This usually consists of a main curry of fish or chicken, as well as several other curries made with vegetables, lentils and even fruit curries. Side-dishes include pickles, chutneys and . The most famous of these is the coconut sambol, made of ground coconut mixed with chili peppers, dried Maldive fish and lime juice. This is ground to a paste and eaten with rice, as it gives zest to the meal and is believed to increase appetite.
Art and architecture
Many forms of Sri Lankan arts and crafts take inspiration from the island's long and lasting Buddhist culture which in turn has absorbed and adopted countless regional and local traditions. In most instances Sri Lankan art originates from religious beliefs, and is represented in many forms such as painting, sculpture, and architecture. One of the most notable aspects of Sri Lankan art are caves and temple paintings, such as the frescoes found at Sigiriya, and religious paintings found in temples in Dambulla and Temple of the Tooth Relic in Kandy. Other popular forms of art have been influenced by both natives as well as outside settlers. For example, traditional wooden handicrafts and clay pottery are found around the hill country while Portuguese-inspired lacework and Indonesian-inspired Batik have become notable. It has many different and beautiful drawings.
Developed upon Indo-Aryan architectural skills in the late 6th century BCE Sinhalese people who lived upon greater kingdoms such as Anuradhapura and Polonnaruwa have built so many architectural examples such as Ruwanwelisaya, Jetavanaramaya - second tallest brick building in the ancient world after Great Pyramid of Giza, and Abayagiriya - third tallest brick building in the ancient world. And also with the ancient hydraulic technology which is also unique to Sinhalese people to build ancient tanks, systematic ponds with fountains moats and Irrigational reservoirs such as Parakrama Samudra, Kaudulla and Kandalama. Sigiriya which is considered by many as the 8th wonder of the world, it is a combination of natural and man made fortress, which consists so many architectural aspects.
Music
There are extensive folk poems relating to specific jobs of the ancient society. These poems were communal songs which had a rhythm that were sung when performing day-to-day tasks like harvesting and sowing.
Concerning popular music, Ananda Samarakoon developed the reflective and poignant Sarala gee style with his work in the late 1930s/early 1940s. He has been followed by artists of repute such as Sunil Shantha, W. D. Amaradeva, Premasiri Khemadasa, Nanda Malini, Victor Ratnayake, Austin Munasinghe, T. M. Jayaratne, Sanath Nandasiri, Sunil Edirisinghe, Neela Wickremasinghe, Gunadasa Kapuge, Malini Bulathsinghala and Edward Jayakody.
Film and theatre
Dramatist Ediriweera Sarachchandra revitalised the drama form with Maname in 1956. The same year, film director Lester James Peries created the artistic masterwork Rekava which sought to create a uniquely Sinhalese cinema with artistic integrity. Since then, Peries and other directors like Vasantha Obeysekera, Dharmasena Pathiraja, Mahagama Sekera, W. A. B. de Silva, Dharmasiri Bandaranayake, Sunil Ariyaratne, Siri Gunasinghe, G. D. L. Perera, Piyasiri Gunaratne, Titus Thotawatte, D. B. Nihalsinghe, Ranjith Lal, Dayananda Gunawardena, Mudalinayake Somaratne, Asoka Handagama, and Prasanna Vithanage have developed an artistic Sinhalese cinema. Sinhala cinema is often made colourful with the incorporation of songs and dance adding more uniqueness to the industry.
In the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success.
Performing arts
Performing arts of the Sinhalese people can be categorised into few groups:
Kandyan dance consist of 18 Wannam (dance routines) featuring behaviours of various animals such as elephant, eagle, cobra, monkey, peacock and rabbit, mainly performing in the annual Perahara pageant in Sri Dalada Maligawa Kandy.
Pahatharata dance have a significant dancing style which is used to cure illnesses and spiritual clarification. The main feature of these dances is dancers wear masks representing various gods and demons, and use elements such as fire and water to bless people.
Sabaragamuwa dances have also a significant dancing style, mainly to entertain people.
Folk music and dances differ according to the casts of Sinhalese people and also some times regionally—mainly popular among small children, especially girls. These arts are widely performed during the Sinhalese New Year period.
Martial arts
Angampora is the traditional martial art of the Sinhalese people. It combines combat techniques, self-defence, sport, exercise and meditation. Key techniques observed in Angampora are: Angam, which incorporates hand-to-hand fighting, and Illangam, which uses indigenous weapons such as Velayudaya, staves, knives and swords. Its most distinct feature is the use of pressure point attacks to inflict pain or permanently paralyse the opponent. Fighters usually make use of both striking and grappling techniques, and fight until the opponent is caught in a submission lock that they cannot escape. Usage of weapons is discretionary. Perimeters of fighting are defined in advance, and in some of the cases is a pit. Angampora became nearly extinct after the country came under British rule in 1815, but survived in a few families until the country regained independence.
Science and education
The Sinhalese have a long history of literacy and formal learning. Instruction in basic fields like writing and reading by Buddhist Monks pre-date the birth of Christ. This traditional system followed religious rule and was meant to foster Buddhist understanding. Training of officials in such skills as keeping track of revenue and other records for administrative purposes occurred under this institution.
Technical education such as the building of reservoirs and canals was passed down from generation to generation through home training and outside craft apprenticeships.
The arrival of the Portuguese and Dutch and the subsequent colonisation maintained religion as the centre of education though in certain communities under Catholic and Presbyterian hierarchy. The British in the 1800s initially followed the same course. Following 1870 however they began a campaign for better education facilities in the region. Christian missionary groups were at the forefront of this development contributing to a high literacy among Christians.
By 1901 schools in the South and the North were well tended. The inner regions lagged behind however. Also, English education facilities presented hurdles for the general populace through fees and lack of access.
Medicine
Traditional Sinhalese villages in early days had at least one chief Medical personnel called Weda Mahaththaya (Doctor). These people practice their clinical activities by inheritance. Sinhalese Medicine resembles some of Ayurvedic practices in contrast for some treatments they use Buddhist Chantings (Pirith) in order to strengthen the effectiveness.
According to the Mahavamsa, the ancient chronicle, Pandukabhaya of Sri Lanka (437 BC – 367 BC) had lying-in-homes and Ayurvedic hospitals (Sivikasotthi-Sala) built in various parts of the country. This is the earliest documentary evidence we have of institutions specifically dedicated to the care of the sick anywhere in the world. Mihintale Hospital is the oldest in the world.
See also
List of Sinhalese people
Sinhalese Buddhist nationalism
References
Citations
Sources
De Silva, K. M. History of Sri Lanka (Univ. of Calif. Press, 1981)
Gunasekera, Tamara. Hierarchy and Egalitarianism: Caste, Class, and Power in Sinhalese Peasant Society (Athlone, 1994).
Roberts, Michael. Sri Lanka: Collective Identities Revisited (Colombo-Marga Institute, 1997).
Wickremeratne, Ananda. Buddhism and Ethnicity in Sri Lanka: A Historical Analysis (New Delhi-Vikas Publishing House, 1995).
External links
CIA Factbook-Sri Lanka
Department of Census and Statistics-Sri Lanka
Ethnologue-Sinhala, a language of Sri Lanka
CIA Factbook-Sri Lanka
Sinhalese
Who are the Sinhalese
Buddhist communities of Sri Lanka
Ethnic groups in Sri Lanka
Ethnic groups in the Indian Ocean
Indo-Aryan peoples
Sinhalese diaspora
Sinhalese culture | true | [
"Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\n\nKobylinec and Ptáčovský kopeček\n\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\n\nPonds\n\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\n\nSyenitové skály near Pocoucov\n\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\n\nExternal links\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\n\nReferences\n\nExternal links\nNature near the village Trnava which is there\n\nTřebíč\nParks in the Czech Republic\nTourist attractions in the Vysočina Region",
"Damn Interesting is an independent website founded by Alan Bellows in 2005. The website presents true stories from science, history, and psychology, primarily as long-form articles, often illustrated with original artwork. Works are written by various authors, and published at irregular intervals. The website openly rejects advertising, relying on reader and listener donations to cover operating costs.\n\nAs of October 2012, each article is also published as a podcast under the same name. In November 2019, a second podcast was launched under the title Damn Interesting Week, featuring unscripted commentary on an assortment of news articles featured on the website's \"Curated Links\" section that week. In mid-2020, a third podcast called Damn Interesting Curio Cabinet began highlighting the website's periodic short-form articles in the same radioplay format as the original podcast.\n\nIn July 2009, Damn Interesting published the print book Alien Hand Syndrome through Workman Publishing. It contains some favorites from the site and some exclusive content.\n\nAwards and recognition \nIn August 2007, PC Magazine named Damn Interesting one of the \"Top 100 Undiscovered Web Sites\".\nThe article \"The Zero-Armed Bandit\" by Alan Bellows won a 2015 Sidney Award from David Brooks in The New York Times.\nThe article \"Ghoulish Acts and Dastardly Deeds\" by Alan Bellows was cited as \"nonfiction journalism from 2017 that will stand the test of time\" by Conor Friedersdorf in The Atlantic.\nThe article \"Dupes and Duplicity\" by Jennifer Lee Noonan won a 2020 Sidney Award from David Brooks in the New York Times.\n\nAccusing The Dollop of plagiarism \n\nOn July 9, 2015, Bellows posted an open letter accusing The Dollop, a comedy podcast about history, of plagiarism due to their repeated use of verbatim text from Damn Interesting articles without permission or attribution. Dave Anthony, the writer of The Dollop, responded on reddit, admitting to using Damn Interesting content, but claiming that the use was protected by fair use, and that \"historical facts are not copyrightable.\" In an article about the controversy on Plagiarism Today, Jonathan Bailey concluded, \"Any way one looks at it, The Dollop failed its ethical obligations to all of the people, not just those writing for Damn Interesting, who put in the time, energy and expertise into writing the original content upon which their show is based.\"\n\nReferences\n\nExternal links \n Official website\n\n2005 podcast debuts"
] | [
"Sinhalese people () are an Indo-Aryan ethnic group native to the island of Sri Lanka. They were historically known as Hela people (). They constitute about 75% of the Sri Lankan population and number greater than 16.2 million. The Sinhalese identity is based on language, cultural heritage and nationality.",
"The Sinhalese identity is based on language, cultural heritage and nationality. The Sinhalese people speak Sinhala, an insular Indo-Aryan language, and are predominantly Theravada Buddhists, although a minority of Sinhalese follow branches of Christianity and other religions.",
"The Sinhalese people speak Sinhala, an insular Indo-Aryan language, and are predominantly Theravada Buddhists, although a minority of Sinhalese follow branches of Christianity and other religions. Since 1815, they were broadly divided into two respective groups: The 'Up-country Sinhalese' in the central mountainous regions, and the 'Low-country Sinhalese' in the coastal regions; although both groups speak the same language, they are distinguished as they observe different cultural customs.",
"Since 1815, they were broadly divided into two respective groups: The 'Up-country Sinhalese' in the central mountainous regions, and the 'Low-country Sinhalese' in the coastal regions; although both groups speak the same language, they are distinguished as they observe different cultural customs. According to the Mahavamsa and the Dipavamsa, a 3rd–5th century treatise written in Pali by Buddhist monks of the Anuradhapura Maha Viharaya in Sri Lanka, the Sinhalese descend from settlers who came to the island in 543 BCE from Sinhapura led by Prince Vijaya who mixed with the indigenous Yakka and later settlers from the Pandya kingdom.",
"According to the Mahavamsa and the Dipavamsa, a 3rd–5th century treatise written in Pali by Buddhist monks of the Anuradhapura Maha Viharaya in Sri Lanka, the Sinhalese descend from settlers who came to the island in 543 BCE from Sinhapura led by Prince Vijaya who mixed with the indigenous Yakka and later settlers from the Pandya kingdom. Etymology From the Sanskrit word Sinhala, meaning literally \"of lions\".",
"Etymology From the Sanskrit word Sinhala, meaning literally \"of lions\". The Mahavamsa records the origin of the Sinhalese people and related historical events.",
"The Mahavamsa records the origin of the Sinhalese people and related historical events. It traces the historical origin of the Sinhalese people back to the first king who mentioned in the documentary history of Sri Lanka, Vijaya, who is the son of Sinhabahu (Sanskrit meaning 'Sinha' (lion) + 'bahu' (hands, feet), the ruler of Sinhapura.",
"It traces the historical origin of the Sinhalese people back to the first king who mentioned in the documentary history of Sri Lanka, Vijaya, who is the son of Sinhabahu (Sanskrit meaning 'Sinha' (lion) + 'bahu' (hands, feet), the ruler of Sinhapura. Some versions suggest Vijaya is the grandson of Sinhabahu.",
"Some versions suggest Vijaya is the grandson of Sinhabahu. According to the Mahavamsa, Sinhabahu was the son of princess Suppadevi of Vanga, who copulated with a lion and gave birth to a daughter called Sinhasivali and to a son, Sinhabahu, whose hands and feet were like the paws of a lion and who had the strength of a lion.",
"According to the Mahavamsa, Sinhabahu was the son of princess Suppadevi of Vanga, who copulated with a lion and gave birth to a daughter called Sinhasivali and to a son, Sinhabahu, whose hands and feet were like the paws of a lion and who had the strength of a lion. King Vijaya, the lineage of Sinhabahu, according to the Mahavamsa and other historical sources, arrived on the island of Tambapanni (Sri Lanka) and gave origin to the lion people, Sinhalese.",
"King Vijaya, the lineage of Sinhabahu, according to the Mahavamsa and other historical sources, arrived on the island of Tambapanni (Sri Lanka) and gave origin to the lion people, Sinhalese. The story of the arrival of Prince Vijaya in Sri Lanka and the origin of the Sinhalese people is also depicted in the Ajanta caves, in a mural of cave number 17.",
"The story of the arrival of Prince Vijaya in Sri Lanka and the origin of the Sinhalese people is also depicted in the Ajanta caves, in a mural of cave number 17. According to Arisen Ahubudu, there were four major clans of \"hela\" in ancient Sri Lanka even before the arrival of Prince Vijaya, and that Sri Lanka was called as \"Siv hela\" (siv=four in the Sinhala language) and later it was changed into \"Sinhala\".",
"According to Arisen Ahubudu, there were four major clans of \"hela\" in ancient Sri Lanka even before the arrival of Prince Vijaya, and that Sri Lanka was called as \"Siv hela\" (siv=four in the Sinhala language) and later it was changed into \"Sinhala\". History The early recorded history of the Sinhalese is chronicled in two documents, the Mahavamsa, written in Pāli around the 4th century CE, and the later Culavamsa (the first segment probably penned in the 13th century CE by the Buddhist monk Dhammakitti).",
"History The early recorded history of the Sinhalese is chronicled in two documents, the Mahavamsa, written in Pāli around the 4th century CE, and the later Culavamsa (the first segment probably penned in the 13th century CE by the Buddhist monk Dhammakitti). These are ancient sources that cover the histories of the powerful ancient Sinhalese kingdoms of Anuradhapura and Polonnaruwa which lasted for 1500 years.",
"These are ancient sources that cover the histories of the powerful ancient Sinhalese kingdoms of Anuradhapura and Polonnaruwa which lasted for 1500 years. The Mahavamsa describes the existence of fields of rice and reservoirs, indicating a well-developed agrarian society.",
"The Mahavamsa describes the existence of fields of rice and reservoirs, indicating a well-developed agrarian society. Pre Anuradhapura period According to Mahavamsa, Prince Vijaya and his 700 followers left Suppāraka, landed on the island at a site believed by historians to be in the district of Puttalam, south of modern-day Mannar and founded the Kingdom of Thambapanni.",
"Pre Anuradhapura period According to Mahavamsa, Prince Vijaya and his 700 followers left Suppāraka, landed on the island at a site believed by historians to be in the district of Puttalam, south of modern-day Mannar and founded the Kingdom of Thambapanni. It is recorded the Vijaya made his landing on the day of Buddha's Parinirvana.",
"It is recorded the Vijaya made his landing on the day of Buddha's Parinirvana. Vijaya claimed Tambapanni his capital and soon the whole island come under this name. Tambapanni was originally inhabited and governed by Yakkhas, having their capital at Sirīsavatthu and their queen Kuveni. According to the Samyutta Commentary, Tambapanni was one hundred leagues in extent.",
"According to the Samyutta Commentary, Tambapanni was one hundred leagues in extent. At the end of his reign, Vijaya, having trouble choosing a successor, sent a letter to the city of his ancestors, Sinhapura, in order to invite his brother Sumitta to take over the throne.",
"At the end of his reign, Vijaya, having trouble choosing a successor, sent a letter to the city of his ancestors, Sinhapura, in order to invite his brother Sumitta to take over the throne. However, Vijaya had died before the letter had reached its destination, so the elected minister of the people Upatissa, the Chief government minister or prime minister and leading chief among the Sinhalese became regent and acted as regent for a year.",
"However, Vijaya had died before the letter had reached its destination, so the elected minister of the people Upatissa, the Chief government minister or prime minister and leading chief among the Sinhalese became regent and acted as regent for a year. After his coronation, which was held in the Kingdom of Tambapanni, he left it, building another one, bearing his own name.",
"After his coronation, which was held in the Kingdom of Tambapanni, he left it, building another one, bearing his own name. While he was king, Upatissa established the new capital Upatissa, in which the kingdom was moved to from the Kingdom of Tambapanni.",
"While he was king, Upatissa established the new capital Upatissa, in which the kingdom was moved to from the Kingdom of Tambapanni. When Vijaya's letter arrived, Sumitta had already succeeded his father as king of his country, and so he sent his son Panduvasdeva to rule Upatissa Nuwara.",
"When Vijaya's letter arrived, Sumitta had already succeeded his father as king of his country, and so he sent his son Panduvasdeva to rule Upatissa Nuwara. Upatissa Nuwara was seven or eight miles further north of the Kingdom of Tambapanni.",
"Upatissa Nuwara was seven or eight miles further north of the Kingdom of Tambapanni. It was named after the regent king Upatissa, who was the prime minister of Vijaya, and was founded in 505 BC after the death of Vijaya and the end of the Kingdom of Tambapanni.",
"It was named after the regent king Upatissa, who was the prime minister of Vijaya, and was founded in 505 BC after the death of Vijaya and the end of the Kingdom of Tambapanni. Anuradhapura period In 377 BC, King Pandukabhaya (437–367 BC) moved the capital to Anuradhapura and developed it into a prosperous city.",
"Anuradhapura period In 377 BC, King Pandukabhaya (437–367 BC) moved the capital to Anuradhapura and developed it into a prosperous city. Anuradhapura (Anurapura) was named after the minister who first established the village and after a grandfather of Pandukabhaya who lived there.",
"Anuradhapura (Anurapura) was named after the minister who first established the village and after a grandfather of Pandukabhaya who lived there. The name was also derived from the city's establishment on the auspicious asterism called Anura. Anuradhapura was the capital of all the monarchs who ruled from the dynasty.",
"Anuradhapura was the capital of all the monarchs who ruled from the dynasty. Rulers such as Dutthagamani, Valagamba, and Dhatusena are noted for defeating the South Indians and regaining control of the kingdom.",
"Rulers such as Dutthagamani, Valagamba, and Dhatusena are noted for defeating the South Indians and regaining control of the kingdom. Other rulers who are notable for military achievements include Gajabahu I, who launched an invasion against the invaders, and Sena II, who sent his armies to assist a Pandyan prince.",
"Other rulers who are notable for military achievements include Gajabahu I, who launched an invasion against the invaders, and Sena II, who sent his armies to assist a Pandyan prince. Polonnaruwa period During the Middle Ages Sri Lanka was well known for its agricultural prosperity under king Parakramabahu in Polonnaruwa during which period the island was famous around the world as the rice mill of the east.",
"Polonnaruwa period During the Middle Ages Sri Lanka was well known for its agricultural prosperity under king Parakramabahu in Polonnaruwa during which period the island was famous around the world as the rice mill of the east. Transitional period Later in the 13th century the country's administrative provinces were divided into independent kingdoms and chieftaincies: Kingdom of Sitawaka, Kingdom of Kotte, Jaffna Kingdom and the Kandyan kingdom.",
"Transitional period Later in the 13th century the country's administrative provinces were divided into independent kingdoms and chieftaincies: Kingdom of Sitawaka, Kingdom of Kotte, Jaffna Kingdom and the Kandyan kingdom. The invasion by the Hindu king Magha in the 13th century led to migrations by the Buddhists (mostly Sinhalese) to areas not under his control.",
"The invasion by the Hindu king Magha in the 13th century led to migrations by the Buddhists (mostly Sinhalese) to areas not under his control. This migration was followed by a period of conflict among the Sinhalese chiefs who tried to exert political supremacy.",
"This migration was followed by a period of conflict among the Sinhalese chiefs who tried to exert political supremacy. Parakramabahu VI, a Sinhalese king invaded the Jaffna Kingdom and conquered it, bringing the entire country back under the Sinhalese kingdom.",
"Parakramabahu VI, a Sinhalese king invaded the Jaffna Kingdom and conquered it, bringing the entire country back under the Sinhalese kingdom. Trade also increased during this period, as Sri Lanka began to trade cinnamon and a large number of Muslim traders were bought into the island.",
"Trade also increased during this period, as Sri Lanka began to trade cinnamon and a large number of Muslim traders were bought into the island. In the 15th century a Kandyan Kingdom formed which divided the Sinhalese politically into low-country and up-country.",
"In the 15th century a Kandyan Kingdom formed which divided the Sinhalese politically into low-country and up-country. In this period, the Sinhalese caste structure absorbed recent Dravidian Hindu immigrants from South India leading to the emergence of three new Sinhalese caste groups - the Salagama, the Durava and the Karava.",
"In this period, the Sinhalese caste structure absorbed recent Dravidian Hindu immigrants from South India leading to the emergence of three new Sinhalese caste groups - the Salagama, the Durava and the Karava. Modern history The Sinhalese have a stable birth rate and a population that has been growing at a slow pace relative to India and other Asian countries.",
"Modern history The Sinhalese have a stable birth rate and a population that has been growing at a slow pace relative to India and other Asian countries. Society Demographics Sri Lanka Within Sri Lanka the majority of the Sinhalese reside in the South, Central, Sabaragamuwa and Western parts of the country.",
"Society Demographics Sri Lanka Within Sri Lanka the majority of the Sinhalese reside in the South, Central, Sabaragamuwa and Western parts of the country. This coincides with the largest Sinhalese populations areas in Sri Lanka. Cities with more than 90% Sinhalese population include Hambantota, Galle, Gampaha, Kurunegala, Monaragala, Anuradhapura and Polonnaruwa.",
"Cities with more than 90% Sinhalese population include Hambantota, Galle, Gampaha, Kurunegala, Monaragala, Anuradhapura and Polonnaruwa. Diaspora Sinhalese people have emigrated out to many countries for a variety of reasons. The larger diaspora communities are situated in the United Kingdom, Australia, United States and Canada among others.",
"The larger diaspora communities are situated in the United Kingdom, Australia, United States and Canada among others. In addition to this there are many Sinhalese, who reside in the Middle East, Southeast Asia and Europe, temporarily in connection with employment and/or education.",
"In addition to this there are many Sinhalese, who reside in the Middle East, Southeast Asia and Europe, temporarily in connection with employment and/or education. They are often employed as guest workers in the Middle East and professionals in the other regions.",
"They are often employed as guest workers in the Middle East and professionals in the other regions. The largest population centres of the Sinhalese diaspora are mainly situated in Europe, North America and Australia. The city of Melbourne contains just under half of the Sri Lankan Australians. The 2011 census recorded 86,412 Sri Lanka born in Australia.",
"The 2011 census recorded 86,412 Sri Lanka born in Australia. There are 73,849 Australians (0.4 of the population) who reported having Sinhalese ancestry in 2006. Sinhala was also reported to be the 29th-fastest-growing language in Australia (ranking above Somali but behind Hindi and Belarusian).",
"Sinhala was also reported to be the 29th-fastest-growing language in Australia (ranking above Somali but behind Hindi and Belarusian). Sinhalese Australians have an exceptionally low rate of return migration to Sri Lanka. In the 2011 Canadian Census, 7,220 people identified themselves as of Sinhalese ancestry, out of 139,415 Sri Lankans.",
"In the 2011 Canadian Census, 7,220 people identified themselves as of Sinhalese ancestry, out of 139,415 Sri Lankans. There are a small number of Sinhalese people in India, scattered around the country, but mainly living in and around the northern and southern regions.",
"There are a small number of Sinhalese people in India, scattered around the country, but mainly living in and around the northern and southern regions. Sri Lankan New Zealanders comprised 3% of the Asian population of New Zealand in 2001.",
"Sri Lankan New Zealanders comprised 3% of the Asian population of New Zealand in 2001. The numbers arriving continued to increase, and at the 2018 census there were over 16,000 Sri Lankans living in New Zealand among those 9,171 were Sinhalese. In the U.S, the Sinhalese number about 12,000 people.",
"In the U.S, the Sinhalese number about 12,000 people. The New York City Metropolitan Area contains the largest Sri Lankan community in the United States, receiving the highest legal permanent resident Sri Lankan immigrant population, followed by Central New Jersey and the Los Angeles metropolitan area. Many Sinhalese have migrated to Italy since the 1970s.",
"Many Sinhalese have migrated to Italy since the 1970s. Italy was attractive to the Sinhalese due to perceived easier employment opportunities and entry, compared to other European countries. It is estimated that there are 30,000-33,000 Sinhalese in Italy.",
"It is estimated that there are 30,000-33,000 Sinhalese in Italy. The major Sinhalese communities in Italy are located in Lombardia (In the districts Loreto and Lazzaretto), Milan, Lazio, Rome, Naples, and Southern Italy (Particularly Palermo, Messina and Catania).",
"The major Sinhalese communities in Italy are located in Lombardia (In the districts Loreto and Lazzaretto), Milan, Lazio, Rome, Naples, and Southern Italy (Particularly Palermo, Messina and Catania). It should be noted however that many countries census list Sri Lankan which also includes Sri Lankan Tamils so the numbers of just Sinhalese are not as accurate when the census states Sri Lankan and not Sinhalese.",
"It should be noted however that many countries census list Sri Lankan which also includes Sri Lankan Tamils so the numbers of just Sinhalese are not as accurate when the census states Sri Lankan and not Sinhalese. Though Sinhalese people in particular and Sri Lankans in general have migrated to the UK over the centuries beginning from the colonial times, the number of Sinhalese people in the UK cannot be estimated accurately due to inadequacies of census in the UK.",
"Though Sinhalese people in particular and Sri Lankans in general have migrated to the UK over the centuries beginning from the colonial times, the number of Sinhalese people in the UK cannot be estimated accurately due to inadequacies of census in the UK. The UK government does not record statistics on the basis of language or ethnicity and all Sri Lankans are classified into one group as Asian British or Asian Other.",
"The UK government does not record statistics on the basis of language or ethnicity and all Sri Lankans are classified into one group as Asian British or Asian Other. Language and literature Sinhalese people speak Sinhala, also known as \"Helabasa\"; this language has two varieties, spoken and written.",
"Language and literature Sinhalese people speak Sinhala, also known as \"Helabasa\"; this language has two varieties, spoken and written. Sinhala is an Indo-Aryan language within the broader group of Indo-European languages.",
"Sinhala is an Indo-Aryan language within the broader group of Indo-European languages. The early form of the language was brought to Sri Lanka by the ancestors of the Sinhalese people from northern India who settled on the island in the 6th century BCE.",
"The early form of the language was brought to Sri Lanka by the ancestors of the Sinhalese people from northern India who settled on the island in the 6th century BCE. Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages.",
"Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages. It was influenced by many languages, prominently Pali, the sacred language of Southern Buddhism, Telugu and Sanskrit. Many early texts in the language such as the Hela Atuwa were lost after their translation into Pali.",
"Many early texts in the language such as the Hela Atuwa were lost after their translation into Pali. Other significant Sinhala texts include Amāvatura, Kavu Silumina, Jathaka Potha and Sala Liheeniya. Sinhala has also adopted many loanwords of foreign origin, including from many Indian such as Tamil and European languages such as Portuguese, Dutch, and English.",
"Sinhala has also adopted many loanwords of foreign origin, including from many Indian such as Tamil and European languages such as Portuguese, Dutch, and English. Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world.",
"Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world. The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages.",
"The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages. Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and foreign films.",
"Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and foreign films. Additionally many Dutch and Portuguese words can be seen in the coastal areas.",
"Additionally many Dutch and Portuguese words can be seen in the coastal areas. Sinhalese people, depending on where they live in Sri Lanka, may also additionally speak English and or Tamil. According to the 2012 Census 23.8% or 3,033,659 Sinhalese people also spoke English and 6.4% or 812,738 Sinhalese people also spoke Tamil.",
"According to the 2012 Census 23.8% or 3,033,659 Sinhalese people also spoke English and 6.4% or 812,738 Sinhalese people also spoke Tamil. In the Negombo area bilingual fishermen who generally identify themselves as Sinhalese also speak the Negombo Tamil dialect. This dialect has undergone considerable convergence with spoken Sinhala.",
"This dialect has undergone considerable convergence with spoken Sinhala. Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today. Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance.",
"Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance. Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son.",
"Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son. In the modern period, Sinhala writers such as Martin Wickremasinghe and G. B. Senanayake have drawn widespread acclaim. Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake.",
"Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake. Martin Wickramasinghe wrote the immensely popular children's novel Madol Duwa. Munadasa Cumaratunga's Hath Pana is also widely known. Religion The form of Buddhism in Sri Lanka is known as Theravada (school of elders).",
"Religion The form of Buddhism in Sri Lanka is known as Theravada (school of elders). The Pali chronicles (e.g., the Mahavansa) claim that the Sinhalese as an ethnic group are destined to preserve and protect Buddhism. In 1988 almost 93% of the Sinhala speaking population in Sri Lanka were Buddhist.",
"In 1988 almost 93% of the Sinhala speaking population in Sri Lanka were Buddhist. Observations of current religious beliefs and practices demonstrate that the Sinhalese, as a religious community, have a complex worldview as Buddhists.",
"Observations of current religious beliefs and practices demonstrate that the Sinhalese, as a religious community, have a complex worldview as Buddhists. Due to the proximity and on some occasions similarity of certain doctrines, there are many areas where Buddhists and Hindus share religious views and practices.",
"Due to the proximity and on some occasions similarity of certain doctrines, there are many areas where Buddhists and Hindus share religious views and practices. Sinhalese Buddhists have adopted religious elements from Hindu traditions in their religious practices.",
"Sinhalese Buddhists have adopted religious elements from Hindu traditions in their religious practices. Some of these practices may relate to ancient indigenous beliefs and traditions on spirits (folk religion), and the worship of Hindu deities. Some of these figures are used in healing rituals and may be native to the island.",
"Some of these figures are used in healing rituals and may be native to the island. Gods and goddess derived from Hindu deities are worshiped by Sinhalese. Kataragama Deviyo from Kartikeya, Upulvan from Vishnu and Ayyanayake from Aiyanar can be named as examples.",
"Kataragama Deviyo from Kartikeya, Upulvan from Vishnu and Ayyanayake from Aiyanar can be named as examples. Though these gods take the same place as their Hindu counterparts in mythology, some of their aspects are different compared to the original gods.",
"Though these gods take the same place as their Hindu counterparts in mythology, some of their aspects are different compared to the original gods. Prominent Sri Lankan anthropologists Gananath Obeyesekere and Kitsiri Malalgoda used the term \"Protestant Buddhism\" to describe a type of Buddhism that appeared among the Sinhalese in Sri Lanka as a response to Protestant Christian missionaries and their evangelical activities during the British colonial period.",
"Prominent Sri Lankan anthropologists Gananath Obeyesekere and Kitsiri Malalgoda used the term \"Protestant Buddhism\" to describe a type of Buddhism that appeared among the Sinhalese in Sri Lanka as a response to Protestant Christian missionaries and their evangelical activities during the British colonial period. This kind of Buddhism involved emulating the Protestant strategies of organising religious practices.",
"This kind of Buddhism involved emulating the Protestant strategies of organising religious practices. They saw the need to establish Buddhist schools for educating Buddhist youth and organising Buddhists with new organisations such as the Young Men's Buddhist Association, as well as printing pamphlets to encourage people to participate in debates and religious controversies to defend Buddhism.",
"They saw the need to establish Buddhist schools for educating Buddhist youth and organising Buddhists with new organisations such as the Young Men's Buddhist Association, as well as printing pamphlets to encourage people to participate in debates and religious controversies to defend Buddhism. Christianity There is a significant Sinhalese Christian community, in the maritime provinces of Sri Lanka.",
"Christianity There is a significant Sinhalese Christian community, in the maritime provinces of Sri Lanka. Christianity was brought to the Sinhalese by Portuguese, Dutch, and British missionary groups during their respective periods of rule. Most Sinhalese Christians are Roman Catholic; a minority are Protestant. Their cultural centre is Negombo.",
"Their cultural centre is Negombo. Their cultural centre is Negombo. Religion is considered very important among the Sinhalese. According to a 2008 Gallup poll, 99% of Sri Lankans considered religion an important aspect of their daily lives. Genetics Modern studies point towards a predominantly Bengali contribution and a minor Tamil influence.",
"Genetics Modern studies point towards a predominantly Bengali contribution and a minor Tamil influence. Gujarati and Punjabi lineages are also visible. In relation to the former, other studies also show the Sinhalese possess some genetic admixture from Southeast Asian populations, especially from Austroasiatic groups.",
"In relation to the former, other studies also show the Sinhalese possess some genetic admixture from Southeast Asian populations, especially from Austroasiatic groups. Certain Y-DNA and mtDNA haplogroups and genetic markers of immunoglobulin among the Sinhalese, for example, show Southeast Asian genetic influences many of which are also found among certain Northeast Indian populations to whom the Sinhalese are genetically related.",
"Certain Y-DNA and mtDNA haplogroups and genetic markers of immunoglobulin among the Sinhalese, for example, show Southeast Asian genetic influences many of which are also found among certain Northeast Indian populations to whom the Sinhalese are genetically related. Culture Sinhalese culture is a unique one dating as far back as 2600 years and has been nourished by Theravada Buddhism.",
"Culture Sinhalese culture is a unique one dating as far back as 2600 years and has been nourished by Theravada Buddhism. Its main domains are sculpture, fine arts, literature, dancing, poetry and a wide variety of folk beliefs and rituals traditionally.",
"Its main domains are sculpture, fine arts, literature, dancing, poetry and a wide variety of folk beliefs and rituals traditionally. Ancient Sinhala stone sculpture and inscriptions are known worldwide and is a main foreign attraction in modern tourism. Sigirirya is famous for its frescoes.",
"Sigirirya is famous for its frescoes. Folk poems were sung by workers to accompany their work and narrate the story of their lives. Ideally these poems consisted of four lines and, in the composition of these poems, special attention had been paid to the rhyming patterns. Buddhist festivals are dotted by unique music using traditionally Sinhalese instruments.",
"Buddhist festivals are dotted by unique music using traditionally Sinhalese instruments. More ancient rituals like (devil exorcism) continue to enthrall audiences today and often praised and invoked the good powers of the Buddha and the gods in order to exorcise the demons.",
"More ancient rituals like (devil exorcism) continue to enthrall audiences today and often praised and invoked the good powers of the Buddha and the gods in order to exorcise the demons. Folklore and national mythology According to the Mahavamsa, the Sinhalese are descended from the exiled Prince Vijaya and his party of seven hundred followers who arrived on the island in 543 BCE.",
"Folklore and national mythology According to the Mahavamsa, the Sinhalese are descended from the exiled Prince Vijaya and his party of seven hundred followers who arrived on the island in 543 BCE. Vijaya and his followers were said to have arrived in Sri Lanka after being exiled from the city of Sinhapura in Bengal.",
"Vijaya and his followers were said to have arrived in Sri Lanka after being exiled from the city of Sinhapura in Bengal. The modern Sinhalese people were found genetically to be most closely related to the people of North-East India (Bengal).",
"The modern Sinhalese people were found genetically to be most closely related to the people of North-East India (Bengal). It is thought throughout Sri Lanka's history, since the founding of the Sinhalese in the 5th century BC that an influx of Indians from North India came to the island.",
"It is thought throughout Sri Lanka's history, since the founding of the Sinhalese in the 5th century BC that an influx of Indians from North India came to the island. This is further supported from Sinhala being part of the Indo-Aryan language group. Traditionally during recreation the Sinhalese wear a sarong (sarama in Sinhala).",
"Traditionally during recreation the Sinhalese wear a sarong (sarama in Sinhala). Men may wear a long-sleeved shirt with a sarong. Clothing varies by region for women. Low country Sinhalese women wear a white Long sleeved jacket, and a tight wrap around skirt, which usually is embedded with a floral or pattern design.",
"Low country Sinhalese women wear a white Long sleeved jacket, and a tight wrap around skirt, which usually is embedded with a floral or pattern design. As for the up country Sinhalese, women wear a similar outfit, but with a puffed up shoulder jacket, and a tucked in frill that lines the top of the skirt (Reda and Hatte in Sinhala).",
"As for the up country Sinhalese, women wear a similar outfit, but with a puffed up shoulder jacket, and a tucked in frill that lines the top of the skirt (Reda and Hatte in Sinhala). Traditionally, high caste Kandyan women wear a Kandyan style sari, which is similar to the Maharashtrian sari, with the drape but with a frill lining the bottom half and sometimes puffed up sleeves.",
"Traditionally, high caste Kandyan women wear a Kandyan style sari, which is similar to the Maharashtrian sari, with the drape but with a frill lining the bottom half and sometimes puffed up sleeves. It’s also called an Osariya. The low country high caste women wear a South Indian style saree.",
"The low country high caste women wear a South Indian style saree. Within the more populated areas, Sinhalese men also wear Western-style clothing — wearing suits while the women wear skirts and blouses.",
"Within the more populated areas, Sinhalese men also wear Western-style clothing — wearing suits while the women wear skirts and blouses. For formal and ceremonial occasions women wear the traditional Kandyan (Osariya) style, which consists of a full blouse which covers the midriff completely, and is partially tucked in at the front.",
"For formal and ceremonial occasions women wear the traditional Kandyan (Osariya) style, which consists of a full blouse which covers the midriff completely, and is partially tucked in at the front. However, modern intermingling of styles has led to most wearers baring the midriff. The Kandyan style is considered as the national dress of Sinhalese women.",
"The Kandyan style is considered as the national dress of Sinhalese women. In many occasions and functions, even the saree plays an important role in women's clothing and has become the de facto clothing for female office workers especially in government sector. An example of its use is the uniform of air hostesses of Sri Lankan Airlines.",
"An example of its use is the uniform of air hostesses of Sri Lankan Airlines. Cuisine Sinhalese cuisine is one of the most complex cuisines of South Asia. As a major trade hub, it draws influence from colonial powers that were involved in Sri Lanka and by foreign traders.",
"As a major trade hub, it draws influence from colonial powers that were involved in Sri Lanka and by foreign traders. Rice, which is consumed daily, can be found at any occasion, while spicy curries are favourite dishes for lunch and dinner.",
"Rice, which is consumed daily, can be found at any occasion, while spicy curries are favourite dishes for lunch and dinner. Some of the Sri Lankan dishes have striking resemblance to Kerala cuisine, which could be due to the similar geographic and agricultural features with Kerala.",
"Some of the Sri Lankan dishes have striking resemblance to Kerala cuisine, which could be due to the similar geographic and agricultural features with Kerala. A well-known rice dish with Sinhalese is Kiribath, meaning ‘milk rice’. In addition to , Sinhalese eat , chopped leaves mixed with grated coconut and red onions.",
"In addition to , Sinhalese eat , chopped leaves mixed with grated coconut and red onions. Coconut milk is found in most Sri Lankan dishes to give the cuisine its unique flavour. Sri Lanka has long been renowned for its spices. The best known is cinnamon which is native to Sri Lanka.",
"The best known is cinnamon which is native to Sri Lanka. In the 15th and 16th centuries, spice and ivory traders from all over the world who came to Sri Lanka brought their native cuisines to the island, resulting in a rich diversity of cooking styles and techniques.",
"In the 15th and 16th centuries, spice and ivory traders from all over the world who came to Sri Lanka brought their native cuisines to the island, resulting in a rich diversity of cooking styles and techniques. Lamprais, rice boiled in stock with a special curry, accompanied by frikkadels (meatballs), all of which is then wrapped in a banana leaf and baked as a Dutch-influenced Sri Lankan dish.",
"Lamprais, rice boiled in stock with a special curry, accompanied by frikkadels (meatballs), all of which is then wrapped in a banana leaf and baked as a Dutch-influenced Sri Lankan dish. Dutch and Portuguese sweets also continue to be popular. British influences include roast beef and roast chicken.",
"British influences include roast beef and roast chicken. Also, the influence of the Indian cooking methods and food have played a major role in what Sri Lankans eat. The island nation's cuisine mainly consists of boiled or steamed rice served with curry.",
"The island nation's cuisine mainly consists of boiled or steamed rice served with curry. This usually consists of a main curry of fish or chicken, as well as several other curries made with vegetables, lentils and even fruit curries. Side-dishes include pickles, chutneys and .",
"Side-dishes include pickles, chutneys and . The most famous of these is the coconut sambol, made of ground coconut mixed with chili peppers, dried Maldive fish and lime juice. This is ground to a paste and eaten with rice, as it gives zest to the meal and is believed to increase appetite.",
"This is ground to a paste and eaten with rice, as it gives zest to the meal and is believed to increase appetite. Art and architecture Many forms of Sri Lankan arts and crafts take inspiration from the island's long and lasting Buddhist culture which in turn has absorbed and adopted countless regional and local traditions.",
"Art and architecture Many forms of Sri Lankan arts and crafts take inspiration from the island's long and lasting Buddhist culture which in turn has absorbed and adopted countless regional and local traditions. In most instances Sri Lankan art originates from religious beliefs, and is represented in many forms such as painting, sculpture, and architecture.",
"In most instances Sri Lankan art originates from religious beliefs, and is represented in many forms such as painting, sculpture, and architecture. One of the most notable aspects of Sri Lankan art are caves and temple paintings, such as the frescoes found at Sigiriya, and religious paintings found in temples in Dambulla and Temple of the Tooth Relic in Kandy.",
"One of the most notable aspects of Sri Lankan art are caves and temple paintings, such as the frescoes found at Sigiriya, and religious paintings found in temples in Dambulla and Temple of the Tooth Relic in Kandy. Other popular forms of art have been influenced by both natives as well as outside settlers.",
"Other popular forms of art have been influenced by both natives as well as outside settlers. For example, traditional wooden handicrafts and clay pottery are found around the hill country while Portuguese-inspired lacework and Indonesian-inspired Batik have become notable. It has many different and beautiful drawings.",
"It has many different and beautiful drawings. Developed upon Indo-Aryan architectural skills in the late 6th century BCE Sinhalese people who lived upon greater kingdoms such as Anuradhapura and Polonnaruwa have built so many architectural examples such as Ruwanwelisaya, Jetavanaramaya - second tallest brick building in the ancient world after Great Pyramid of Giza, and Abayagiriya - third tallest brick building in the ancient world.",
"Developed upon Indo-Aryan architectural skills in the late 6th century BCE Sinhalese people who lived upon greater kingdoms such as Anuradhapura and Polonnaruwa have built so many architectural examples such as Ruwanwelisaya, Jetavanaramaya - second tallest brick building in the ancient world after Great Pyramid of Giza, and Abayagiriya - third tallest brick building in the ancient world. And also with the ancient hydraulic technology which is also unique to Sinhalese people to build ancient tanks, systematic ponds with fountains moats and Irrigational reservoirs such as Parakrama Samudra, Kaudulla and Kandalama.",
"And also with the ancient hydraulic technology which is also unique to Sinhalese people to build ancient tanks, systematic ponds with fountains moats and Irrigational reservoirs such as Parakrama Samudra, Kaudulla and Kandalama. Sigiriya which is considered by many as the 8th wonder of the world, it is a combination of natural and man made fortress, which consists so many architectural aspects.",
"Sigiriya which is considered by many as the 8th wonder of the world, it is a combination of natural and man made fortress, which consists so many architectural aspects. Music There are extensive folk poems relating to specific jobs of the ancient society.",
"Music There are extensive folk poems relating to specific jobs of the ancient society. These poems were communal songs which had a rhythm that were sung when performing day-to-day tasks like harvesting and sowing. Concerning popular music, Ananda Samarakoon developed the reflective and poignant Sarala gee style with his work in the late 1930s/early 1940s.",
"Concerning popular music, Ananda Samarakoon developed the reflective and poignant Sarala gee style with his work in the late 1930s/early 1940s. He has been followed by artists of repute such as Sunil Shantha, W. D. Amaradeva, Premasiri Khemadasa, Nanda Malini, Victor Ratnayake, Austin Munasinghe, T. M. Jayaratne, Sanath Nandasiri, Sunil Edirisinghe, Neela Wickremasinghe, Gunadasa Kapuge, Malini Bulathsinghala and Edward Jayakody.",
"He has been followed by artists of repute such as Sunil Shantha, W. D. Amaradeva, Premasiri Khemadasa, Nanda Malini, Victor Ratnayake, Austin Munasinghe, T. M. Jayaratne, Sanath Nandasiri, Sunil Edirisinghe, Neela Wickremasinghe, Gunadasa Kapuge, Malini Bulathsinghala and Edward Jayakody. Film and theatre Dramatist Ediriweera Sarachchandra revitalised the drama form with Maname in 1956.",
"Film and theatre Dramatist Ediriweera Sarachchandra revitalised the drama form with Maname in 1956. The same year, film director Lester James Peries created the artistic masterwork Rekava which sought to create a uniquely Sinhalese cinema with artistic integrity. Since then, Peries and other directors like Vasantha Obeysekera, Dharmasena Pathiraja, Mahagama Sekera, W. A.",
"Since then, Peries and other directors like Vasantha Obeysekera, Dharmasena Pathiraja, Mahagama Sekera, W. A. B. de Silva, Dharmasiri Bandaranayake, Sunil Ariyaratne, Siri Gunasinghe, G. D. L. Perera, Piyasiri Gunaratne, Titus Thotawatte, D. B. Nihalsinghe, Ranjith Lal, Dayananda Gunawardena, Mudalinayake Somaratne, Asoka Handagama, and Prasanna Vithanage have developed an artistic Sinhalese cinema.",
"B. de Silva, Dharmasiri Bandaranayake, Sunil Ariyaratne, Siri Gunasinghe, G. D. L. Perera, Piyasiri Gunaratne, Titus Thotawatte, D. B. Nihalsinghe, Ranjith Lal, Dayananda Gunawardena, Mudalinayake Somaratne, Asoka Handagama, and Prasanna Vithanage have developed an artistic Sinhalese cinema. Sinhala cinema is often made colourful with the incorporation of songs and dance adding more uniqueness to the industry.",
"Sinhala cinema is often made colourful with the incorporation of songs and dance adding more uniqueness to the industry. In the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success.",
"In the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success. Performing arts Performing arts of the Sinhalese people can be categorised into few groups: Kandyan dance consist of 18 Wannam (dance routines) featuring behaviours of various animals such as elephant, eagle, cobra, monkey, peacock and rabbit, mainly performing in the annual Perahara pageant in Sri Dalada Maligawa Kandy.",
"Performing arts Performing arts of the Sinhalese people can be categorised into few groups: Kandyan dance consist of 18 Wannam (dance routines) featuring behaviours of various animals such as elephant, eagle, cobra, monkey, peacock and rabbit, mainly performing in the annual Perahara pageant in Sri Dalada Maligawa Kandy. Pahatharata dance have a significant dancing style which is used to cure illnesses and spiritual clarification.",
"Pahatharata dance have a significant dancing style which is used to cure illnesses and spiritual clarification. The main feature of these dances is dancers wear masks representing various gods and demons, and use elements such as fire and water to bless people. Sabaragamuwa dances have also a significant dancing style, mainly to entertain people.",
"Sabaragamuwa dances have also a significant dancing style, mainly to entertain people. Folk music and dances differ according to the casts of Sinhalese people and also some times regionally—mainly popular among small children, especially girls. These arts are widely performed during the Sinhalese New Year period. Martial arts Angampora is the traditional martial art of the Sinhalese people.",
"Martial arts Angampora is the traditional martial art of the Sinhalese people. It combines combat techniques, self-defence, sport, exercise and meditation. Key techniques observed in Angampora are: Angam, which incorporates hand-to-hand fighting, and Illangam, which uses indigenous weapons such as Velayudaya, staves, knives and swords.",
"Key techniques observed in Angampora are: Angam, which incorporates hand-to-hand fighting, and Illangam, which uses indigenous weapons such as Velayudaya, staves, knives and swords. Its most distinct feature is the use of pressure point attacks to inflict pain or permanently paralyse the opponent.",
"Its most distinct feature is the use of pressure point attacks to inflict pain or permanently paralyse the opponent. Fighters usually make use of both striking and grappling techniques, and fight until the opponent is caught in a submission lock that they cannot escape. Usage of weapons is discretionary.",
"Usage of weapons is discretionary. Usage of weapons is discretionary. Perimeters of fighting are defined in advance, and in some of the cases is a pit. Angampora became nearly extinct after the country came under British rule in 1815, but survived in a few families until the country regained independence.",
"Angampora became nearly extinct after the country came under British rule in 1815, but survived in a few families until the country regained independence. Science and education The Sinhalese have a long history of literacy and formal learning. Instruction in basic fields like writing and reading by Buddhist Monks pre-date the birth of Christ.",
"Instruction in basic fields like writing and reading by Buddhist Monks pre-date the birth of Christ. This traditional system followed religious rule and was meant to foster Buddhist understanding. Training of officials in such skills as keeping track of revenue and other records for administrative purposes occurred under this institution.",
"Training of officials in such skills as keeping track of revenue and other records for administrative purposes occurred under this institution. Technical education such as the building of reservoirs and canals was passed down from generation to generation through home training and outside craft apprenticeships.",
"Technical education such as the building of reservoirs and canals was passed down from generation to generation through home training and outside craft apprenticeships. The arrival of the Portuguese and Dutch and the subsequent colonisation maintained religion as the centre of education though in certain communities under Catholic and Presbyterian hierarchy. The British in the 1800s initially followed the same course.",
"The British in the 1800s initially followed the same course. Following 1870 however they began a campaign for better education facilities in the region. Christian missionary groups were at the forefront of this development contributing to a high literacy among Christians. By 1901 schools in the South and the North were well tended. The inner regions lagged behind however.",
"The inner regions lagged behind however. Also, English education facilities presented hurdles for the general populace through fees and lack of access. Medicine Traditional Sinhalese villages in early days had at least one chief Medical personnel called Weda Mahaththaya (Doctor). These people practice their clinical activities by inheritance.",
"These people practice their clinical activities by inheritance. Sinhalese Medicine resembles some of Ayurvedic practices in contrast for some treatments they use Buddhist Chantings (Pirith) in order to strengthen the effectiveness.",
"Sinhalese Medicine resembles some of Ayurvedic practices in contrast for some treatments they use Buddhist Chantings (Pirith) in order to strengthen the effectiveness. According to the Mahavamsa, the ancient chronicle, Pandukabhaya of Sri Lanka (437 BC – 367 BC) had lying-in-homes and Ayurvedic hospitals (Sivikasotthi-Sala) built in various parts of the country.",
"According to the Mahavamsa, the ancient chronicle, Pandukabhaya of Sri Lanka (437 BC – 367 BC) had lying-in-homes and Ayurvedic hospitals (Sivikasotthi-Sala) built in various parts of the country. This is the earliest documentary evidence we have of institutions specifically dedicated to the care of the sick anywhere in the world.",
"This is the earliest documentary evidence we have of institutions specifically dedicated to the care of the sick anywhere in the world. Mihintale Hospital is the oldest in the world. See also List of Sinhalese people Sinhalese Buddhist nationalism References Citations Sources De Silva, K. M. History of Sri Lanka (Univ.",
"See also List of Sinhalese people Sinhalese Buddhist nationalism References Citations Sources De Silva, K. M. History of Sri Lanka (Univ. of Calif. Press, 1981) Gunasekera, Tamara. Hierarchy and Egalitarianism: Caste, Class, and Power in Sinhalese Peasant Society (Athlone, 1994). Roberts, Michael.",
"Roberts, Michael. Roberts, Michael. Sri Lanka: Collective Identities Revisited (Colombo-Marga Institute, 1997). Wickremeratne, Ananda. Buddhism and Ethnicity in Sri Lanka: A Historical Analysis (New Delhi-Vikas Publishing House, 1995).",
"Buddhism and Ethnicity in Sri Lanka: A Historical Analysis (New Delhi-Vikas Publishing House, 1995). External links CIA Factbook-Sri Lanka Department of Census and Statistics-Sri Lanka Ethnologue-Sinhala, a language of Sri Lanka CIA Factbook-Sri Lanka Sinhalese Who are the Sinhalese Buddhist communities of Sri Lanka Ethnic groups in Sri Lanka Ethnic groups in the Indian Ocean Indo-Aryan peoples Sinhalese diaspora Sinhalese culture"
] |
[
"Sinhalese people",
"Language and literature",
"what language did the sinhalese people use?",
"The Sinhalese speak Sinhala, also known as \"Helabasa\";",
"is it a widely known language?",
"I don't know.",
"Are there any other interesting aspects about this article?",
"Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today."
] | C_6531bbbb4dba4483bed9d12220555c4f_1 | what were the folk tales about? | 4 | what were the folk tales of the Sinhalese people about? | Sinhalese people | The Sinhalese speak Sinhala, also known as "Helabasa"; this language has two varieties, spoken and written. Sinhala is an Indo-Aryan language within the broader group of Indo-European languages. The language was brought to Sri Lanka by the ancestors of the Sinhalese from northern India who settled on the island in the 6th century BCE. Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages. Sinhala was influenced by many languages, prominently Pali, the sacred language of Southern Buddhism, and Sanskrit. Many early Sinhala texts such as the Hela Atuwa were lost after their translation into Pali. Other significant Sinhala texts include Amavatura, Kavu Silumina, Jathaka Potha and Sala Liheeniya. Sinhala has also adopted many loanwords of foreign origin, including from many Indian languages and colonial languages Portuguese, Dutch, and English. Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world. The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages. Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and Hollywood movies. Additionally many Dutch and Portuguese words can be seen in the coastal areas. Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today. Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance. Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son. In the modern period, Sinhala writers such as Martin Wickremasinghe and G. B. Senanayake have drawn widespread acclaim. Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake. Martin Wickramasinghe wrote the immensely popular children's novel Madol Duwa. Munadasa Cumaratunga's Hath Pana is also widely known. CANNOTANSWER | Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance. | Sinhalese people () are an Indo-Aryan ethnic group native to the island of Sri Lanka. They were historically known as Hela people (). They constitute about 75% of the Sri Lankan population and number greater than 16.2 million. The Sinhalese identity is based on language, cultural heritage and nationality. The Sinhalese people speak Sinhala, an insular Indo-Aryan language, and are predominantly Theravada Buddhists, although a minority of Sinhalese follow branches of Christianity and
other religions. Since 1815, they were broadly divided into two respective groups: The 'Up-country Sinhalese' in the central mountainous regions, and the 'Low-country Sinhalese' in the coastal regions; although both groups speak the same language, they are distinguished as they observe different cultural customs.
According to the Mahavamsa and the Dipavamsa, a 3rd–5th century treatise written in Pali by Buddhist monks of the Anuradhapura Maha Viharaya in Sri Lanka, the Sinhalese descend from settlers who came to the island in 543 BCE from Sinhapura led by Prince Vijaya who mixed with the indigenous Yakka and later settlers from the Pandya kingdom.
Etymology
From the Sanskrit word Sinhala, meaning literally "of lions".
The Mahavamsa records the origin of the Sinhalese people and related historical events. It traces the historical origin of the Sinhalese people back to the first king who mentioned in the documentary history of Sri Lanka, Vijaya, who is the son of Sinhabahu (Sanskrit meaning 'Sinha' (lion) + 'bahu' (hands, feet), the ruler of Sinhapura. Some versions suggest Vijaya is the grandson of Sinhabahu. According to the Mahavamsa, Sinhabahu was the son of princess Suppadevi of Vanga, who copulated with a lion and gave birth to a daughter called Sinhasivali and to a son, Sinhabahu, whose hands and feet were like the paws of a lion and who had the strength of a lion. King Vijaya, the lineage of Sinhabahu, according to the Mahavamsa and other historical sources, arrived on the island of Tambapanni (Sri Lanka) and gave origin to the lion people, Sinhalese.
The story of the arrival of Prince Vijaya in Sri Lanka and the origin of the Sinhalese people is also depicted in the Ajanta caves, in a mural of cave number 17. According to Arisen Ahubudu, there were four major clans of "hela" in ancient Sri Lanka even before the arrival of Prince Vijaya, and that Sri Lanka was called as "Siv hela" (siv=four in the Sinhala language) and later it was changed into "Sinhala".
History
The early recorded history of the Sinhalese is chronicled in two documents, the Mahavamsa, written in Pāli around the 4th century CE, and the later Culavamsa (the first segment probably penned in the 13th century CE by the Buddhist monk Dhammakitti). These are ancient sources that cover the histories of the powerful ancient Sinhalese kingdoms of Anuradhapura and Polonnaruwa which lasted for 1500 years. The Mahavamsa describes the existence of fields of rice and reservoirs, indicating a well-developed agrarian society.
Pre Anuradhapura period
According to Mahavamsa, Prince Vijaya and his 700 followers left Suppāraka, landed on the island at a site believed by historians to be in the district of Puttalam, south of modern-day Mannar and founded the Kingdom of Thambapanni. It is recorded the Vijaya made his landing on the day of Buddha's Parinirvana. Vijaya claimed Tambapanni his capital and soon the whole island come under this name. Tambapanni was originally inhabited and governed by Yakkhas, having their capital at Sirīsavatthu and their queen Kuveni. According to the Samyutta Commentary, Tambapanni was one hundred leagues in extent.
At the end of his reign, Vijaya, having trouble choosing a successor, sent a letter to the city of his ancestors, Sinhapura, in order to invite his brother Sumitta to take over the throne. However, Vijaya had died before the letter had reached its destination, so the elected minister of the people Upatissa, the Chief government minister or prime minister and leading chief among the Sinhalese became regent and acted as regent for a year. After his coronation, which was held in the Kingdom of Tambapanni, he left it, building another one, bearing his own name. While he was king, Upatissa established the new capital Upatissa, in which the kingdom was moved to from the Kingdom of Tambapanni. When Vijaya's letter arrived, Sumitta had already succeeded his father as king of his country, and so he sent his son Panduvasdeva to rule Upatissa Nuwara.
Upatissa Nuwara was seven or eight miles further north of the Kingdom of Tambapanni.
It was named after the regent king Upatissa, who was the prime minister of Vijaya, and was founded in 505 BC after the death of Vijaya and the end of the Kingdom of Tambapanni.
Anuradhapura period
In 377 BC, King Pandukabhaya (437–367 BC) moved the capital to Anuradhapura and developed it into a prosperous city. Anuradhapura (Anurapura) was named after the minister who first established the village and after a grandfather of Pandukabhaya who lived there. The name was also derived from the city's establishment on the auspicious asterism called Anura. Anuradhapura was the capital of all the monarchs who ruled from the dynasty.
Rulers such as Dutthagamani, Valagamba, and Dhatusena are noted for defeating the South Indians and regaining control of the kingdom. Other rulers who are notable for military achievements include Gajabahu I, who launched an invasion against the invaders, and Sena II, who sent his armies to assist a Pandyan prince.
Polonnaruwa period
During the Middle Ages Sri Lanka was well known for its agricultural prosperity under king Parakramabahu in Polonnaruwa during which period the island was famous around the world as the rice mill of the east.
Transitional period
Later in the 13th century the country's administrative provinces were divided into independent kingdoms and chieftaincies: Kingdom of Sitawaka, Kingdom of Kotte, Jaffna Kingdom and the Kandyan kingdom. The invasion by the Hindu king Magha in the 13th century led to migrations by the Buddhists (mostly Sinhalese) to areas not under his control. This migration was followed by a period of conflict among the Sinhalese chiefs who tried to exert political supremacy. Parakramabahu VI, a Sinhalese king invaded the Jaffna Kingdom and conquered it, bringing the entire country back under the Sinhalese kingdom. Trade also increased during this period, as Sri Lanka began to trade cinnamon and a large number of Muslim traders were bought into the island.
In the 15th century a Kandyan Kingdom formed which divided the Sinhalese politically into low-country and up-country. In this period, the Sinhalese caste structure absorbed recent Dravidian Hindu immigrants from South India leading to the emergence of three new Sinhalese caste groups - the Salagama, the Durava and the Karava.
Modern history
The Sinhalese have a stable birth rate and a population that has been growing at a slow pace relative to India and other Asian countries.
Society
Demographics
Sri Lanka
Within Sri Lanka the majority of the Sinhalese reside in the South, Central, Sabaragamuwa and Western parts of the country. This coincides with the largest Sinhalese populations areas in Sri Lanka. Cities with more than 90% Sinhalese population include Hambantota, Galle, Gampaha, Kurunegala, Monaragala, Anuradhapura and Polonnaruwa.
Diaspora
Sinhalese people have emigrated out to many countries for a variety of reasons. The larger diaspora communities are situated in the United Kingdom, Australia, United States and Canada among others. In addition to this there are many Sinhalese, who reside in the Middle East, Southeast Asia and Europe, temporarily in connection with employment and/or education. They are often employed as guest workers in the Middle East and professionals in the other regions.
The largest population centres of the Sinhalese diaspora are mainly situated in Europe, North America and Australia. The city of Melbourne contains just under half of the Sri Lankan Australians. The 2011 census recorded 86,412 Sri Lanka born in Australia. There are 73,849 Australians (0.4 of the population) who reported having Sinhalese ancestry in 2006. Sinhala was also reported to be the 29th-fastest-growing language in Australia (ranking above Somali but behind Hindi and Belarusian). Sinhalese Australians have an exceptionally low rate of return migration to Sri Lanka. In the 2011 Canadian Census, 7,220 people identified themselves as of Sinhalese ancestry, out of 139,415 Sri Lankans. There are a small number of Sinhalese people in India, scattered around the country, but mainly living in and around the northern and southern regions. Sri Lankan New Zealanders comprised 3% of the Asian population of New Zealand in 2001. The numbers arriving continued to increase, and at the 2018 census there were over 16,000 Sri Lankans living in New Zealand among those 9,171 were Sinhalese.
In the U.S, the Sinhalese number about 12,000 people. The New York City Metropolitan Area contains the largest Sri Lankan community in the United States, receiving the highest legal permanent resident Sri Lankan immigrant population, followed by Central New Jersey and the Los Angeles metropolitan area. Many Sinhalese have migrated to Italy since the 1970s. Italy was attractive to the Sinhalese due to perceived easier employment opportunities and entry, compared to other European countries. It is estimated that there are 30,000-33,000 Sinhalese in Italy. The major Sinhalese communities in Italy are located in Lombardia (In the districts Loreto and Lazzaretto), Milan, Lazio, Rome, Naples, and Southern Italy (Particularly Palermo, Messina and Catania). It should be noted however that many countries census list Sri Lankan which also includes Sri Lankan Tamils so the numbers of just Sinhalese are not as accurate when the census states Sri Lankan and not Sinhalese. Though Sinhalese people in particular and Sri Lankans in general have migrated to the UK over the centuries beginning from the colonial times, the number of Sinhalese people in the UK cannot be estimated accurately due to inadequacies of census in the UK. The UK government does not record statistics on the basis of language or ethnicity and all Sri Lankans are classified into one group as Asian British or Asian Other.
Language and literature
Sinhalese people speak Sinhala, also known as "Helabasa"; this language has two varieties, spoken and written. Sinhala is an Indo-Aryan language within the broader group of Indo-European languages. The early form of the language was brought to Sri Lanka by the ancestors of the Sinhalese people from northern India who settled on the island in the 6th century BCE. Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages. It was influenced by many languages, prominently Pali, the sacred language of Southern Buddhism, Telugu and Sanskrit. Many early texts in the language such as the Hela Atuwa were lost after their translation into Pali. Other significant Sinhala texts include Amāvatura, Kavu Silumina, Jathaka Potha and Sala Liheeniya. Sinhala has also adopted many loanwords of foreign origin, including from many Indian such as Tamil and European languages such as Portuguese, Dutch, and English.
Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world. The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages. Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and foreign films. Additionally many Dutch and Portuguese words can be seen in the coastal areas. Sinhalese people, depending on where they live in Sri Lanka, may also additionally speak English and or Tamil. According to the 2012 Census 23.8% or 3,033,659 Sinhalese people also spoke English and 6.4% or 812,738 Sinhalese people also spoke Tamil. In the Negombo area bilingual fishermen who generally identify themselves as Sinhalese also speak the Negombo Tamil dialect. This dialect has undergone considerable convergence with spoken Sinhala.
Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today. Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance. Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son.
In the modern period, Sinhala writers such as Martin Wickremasinghe and G. B. Senanayake have drawn widespread acclaim. Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake. Martin Wickramasinghe wrote the immensely popular children's novel Madol Duwa. Munadasa Cumaratunga's Hath Pana is also widely known.
Religion
The form of Buddhism in Sri Lanka is known as Theravada (school of elders). The Pali chronicles (e.g., the Mahavansa) claim that the Sinhalese as an ethnic group are destined to preserve and protect Buddhism. In 1988 almost 93% of the Sinhala speaking population in Sri Lanka were Buddhist. Observations of current religious beliefs and practices demonstrate that the Sinhalese, as a religious community, have a complex worldview as Buddhists. Due to the proximity and on some occasions similarity of certain doctrines, there are many areas where Buddhists and Hindus share religious views and practices. Sinhalese Buddhists have adopted religious elements from Hindu traditions in their religious practices. Some of these practices may relate to ancient indigenous beliefs and traditions on spirits (folk religion), and the worship of Hindu deities. Some of these figures are used in healing rituals and may be native to the island. Gods and goddess derived from Hindu deities are worshiped by Sinhalese. Kataragama Deviyo from Kartikeya, Upulvan from Vishnu and Ayyanayake from Aiyanar can be named as examples. Though these gods take the same place as their Hindu counterparts in mythology, some of their aspects are different compared to the original gods.
Prominent Sri Lankan anthropologists Gananath Obeyesekere and Kitsiri Malalgoda used the term "Protestant Buddhism" to describe a type of Buddhism that appeared among the Sinhalese in Sri Lanka as a response to Protestant Christian missionaries and their evangelical activities during the British colonial period. This kind of Buddhism involved emulating the Protestant strategies of organising religious practices. They saw the need to establish Buddhist schools for educating Buddhist youth and organising Buddhists with new organisations such as the Young Men's Buddhist Association, as well as printing pamphlets to encourage people to participate in debates and religious controversies to defend Buddhism.
Christianity
There is a significant Sinhalese Christian community, in the maritime provinces of Sri Lanka. Christianity was brought to the Sinhalese by Portuguese, Dutch, and British missionary groups during their respective periods of rule. Most Sinhalese Christians are Roman Catholic; a minority are Protestant. Their cultural centre is Negombo.
Religion is considered very important among the Sinhalese. According to a 2008 Gallup poll, 99% of Sri Lankans considered religion an important aspect of their daily lives.
Genetics
Modern studies point towards a predominantly Bengali contribution and a minor Tamil influence. Gujarati and Punjabi lineages are also visible. In relation to the former, other studies also show the Sinhalese possess some genetic admixture from Southeast Asian populations, especially from Austroasiatic groups. Certain Y-DNA and mtDNA haplogroups and genetic markers of immunoglobulin among the Sinhalese, for example, show Southeast Asian genetic influences many of which are also found among certain Northeast Indian populations to whom the Sinhalese are genetically related.
Culture
Sinhalese culture is a unique one dating as far back as 2600 years and has been nourished by Theravada Buddhism. Its main domains are sculpture, fine arts, literature, dancing, poetry and a wide variety of folk beliefs and rituals traditionally. Ancient Sinhala stone sculpture and inscriptions are known worldwide and is a main foreign attraction in modern tourism. Sigirirya is famous for its frescoes. Folk poems were sung by workers to accompany their work and narrate the story of their lives. Ideally these poems consisted of four lines and, in the composition of these poems, special attention had been paid to the rhyming patterns. Buddhist festivals are dotted by unique music using traditionally Sinhalese instruments. More ancient rituals like (devil exorcism) continue to enthrall audiences today and often praised and invoked the good powers of the Buddha and the gods in order to exorcise the demons.
Folklore and national mythology
According to the Mahavamsa, the Sinhalese are descended from the exiled Prince Vijaya and his party of seven hundred followers who arrived on the island in 543 BCE. Vijaya and his followers were said to have arrived in Sri Lanka after being exiled from the city of Sinhapura in Bengal. The modern Sinhalese people were found genetically to be most closely related to the people of North-East India (Bengal). It is thought throughout Sri Lanka's history, since the founding of the Sinhalese in the 5th century BC that an influx of Indians from North India came to the island. This is further supported from Sinhala being part of the Indo-Aryan language group.
Traditionally during recreation the Sinhalese wear a sarong (sarama in Sinhala). Men may wear a long-sleeved shirt with a sarong. Clothing varies by region for women. Low country Sinhalese women wear a white Long sleeved jacket, and a tight wrap around skirt, which usually is embedded with a floral or pattern design. As for the up country Sinhalese, women wear a similar outfit, but with a puffed up shoulder jacket, and a tucked in frill that lines the top of the skirt (Reda and Hatte in Sinhala). Traditionally, high caste Kandyan women wear a Kandyan style sari, which is similar to the Maharashtrian sari, with the drape but with a frill lining the bottom half and sometimes puffed up sleeves. It’s also called an Osariya. The low country high caste women wear a South Indian style saree. Within the more populated areas, Sinhalese men also wear Western-style clothing — wearing suits while the women wear skirts and blouses. For formal and ceremonial occasions women wear the traditional Kandyan (Osariya) style, which consists of a full blouse which covers the midriff completely, and is partially tucked in at the front. However, modern intermingling of styles has led to most wearers baring the midriff. The Kandyan style is considered as the national dress of Sinhalese women. In many occasions and functions, even the saree plays an important role in women's clothing and has become the de facto clothing for female office workers especially in government sector. An example of its use is the uniform of air hostesses of Sri Lankan Airlines.
Cuisine
Sinhalese cuisine is one of the most complex cuisines of South Asia. As a major trade hub, it draws influence from colonial powers that were involved in Sri Lanka and by foreign traders. Rice, which is consumed daily, can be found at any occasion, while spicy curries are favourite dishes for lunch and dinner. Some of the Sri Lankan dishes have striking resemblance to Kerala cuisine, which could be due to the similar geographic and agricultural features with Kerala. A well-known rice dish with Sinhalese is Kiribath, meaning ‘milk rice’. In addition to , Sinhalese eat , chopped leaves mixed with grated coconut and red onions. Coconut milk is found in most Sri Lankan dishes to give the cuisine its unique flavour.
Sri Lanka has long been renowned for its spices. The best known is cinnamon which is native to Sri Lanka. In the 15th and 16th centuries, spice and ivory traders from all over the world who came to Sri Lanka brought their native cuisines to the island, resulting in a rich diversity of cooking styles and techniques. Lamprais, rice boiled in stock with a special curry, accompanied by frikkadels (meatballs), all of which is then wrapped in a banana leaf and baked as a Dutch-influenced Sri Lankan dish. Dutch and Portuguese sweets also continue to be popular. British influences include roast beef and roast chicken. Also, the influence of the Indian cooking methods and food have played a major role in what Sri Lankans eat.
The island nation's cuisine mainly consists of boiled or steamed rice served with curry. This usually consists of a main curry of fish or chicken, as well as several other curries made with vegetables, lentils and even fruit curries. Side-dishes include pickles, chutneys and . The most famous of these is the coconut sambol, made of ground coconut mixed with chili peppers, dried Maldive fish and lime juice. This is ground to a paste and eaten with rice, as it gives zest to the meal and is believed to increase appetite.
Art and architecture
Many forms of Sri Lankan arts and crafts take inspiration from the island's long and lasting Buddhist culture which in turn has absorbed and adopted countless regional and local traditions. In most instances Sri Lankan art originates from religious beliefs, and is represented in many forms such as painting, sculpture, and architecture. One of the most notable aspects of Sri Lankan art are caves and temple paintings, such as the frescoes found at Sigiriya, and religious paintings found in temples in Dambulla and Temple of the Tooth Relic in Kandy. Other popular forms of art have been influenced by both natives as well as outside settlers. For example, traditional wooden handicrafts and clay pottery are found around the hill country while Portuguese-inspired lacework and Indonesian-inspired Batik have become notable. It has many different and beautiful drawings.
Developed upon Indo-Aryan architectural skills in the late 6th century BCE Sinhalese people who lived upon greater kingdoms such as Anuradhapura and Polonnaruwa have built so many architectural examples such as Ruwanwelisaya, Jetavanaramaya - second tallest brick building in the ancient world after Great Pyramid of Giza, and Abayagiriya - third tallest brick building in the ancient world. And also with the ancient hydraulic technology which is also unique to Sinhalese people to build ancient tanks, systematic ponds with fountains moats and Irrigational reservoirs such as Parakrama Samudra, Kaudulla and Kandalama. Sigiriya which is considered by many as the 8th wonder of the world, it is a combination of natural and man made fortress, which consists so many architectural aspects.
Music
There are extensive folk poems relating to specific jobs of the ancient society. These poems were communal songs which had a rhythm that were sung when performing day-to-day tasks like harvesting and sowing.
Concerning popular music, Ananda Samarakoon developed the reflective and poignant Sarala gee style with his work in the late 1930s/early 1940s. He has been followed by artists of repute such as Sunil Shantha, W. D. Amaradeva, Premasiri Khemadasa, Nanda Malini, Victor Ratnayake, Austin Munasinghe, T. M. Jayaratne, Sanath Nandasiri, Sunil Edirisinghe, Neela Wickremasinghe, Gunadasa Kapuge, Malini Bulathsinghala and Edward Jayakody.
Film and theatre
Dramatist Ediriweera Sarachchandra revitalised the drama form with Maname in 1956. The same year, film director Lester James Peries created the artistic masterwork Rekava which sought to create a uniquely Sinhalese cinema with artistic integrity. Since then, Peries and other directors like Vasantha Obeysekera, Dharmasena Pathiraja, Mahagama Sekera, W. A. B. de Silva, Dharmasiri Bandaranayake, Sunil Ariyaratne, Siri Gunasinghe, G. D. L. Perera, Piyasiri Gunaratne, Titus Thotawatte, D. B. Nihalsinghe, Ranjith Lal, Dayananda Gunawardena, Mudalinayake Somaratne, Asoka Handagama, and Prasanna Vithanage have developed an artistic Sinhalese cinema. Sinhala cinema is often made colourful with the incorporation of songs and dance adding more uniqueness to the industry.
In the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success.
Performing arts
Performing arts of the Sinhalese people can be categorised into few groups:
Kandyan dance consist of 18 Wannam (dance routines) featuring behaviours of various animals such as elephant, eagle, cobra, monkey, peacock and rabbit, mainly performing in the annual Perahara pageant in Sri Dalada Maligawa Kandy.
Pahatharata dance have a significant dancing style which is used to cure illnesses and spiritual clarification. The main feature of these dances is dancers wear masks representing various gods and demons, and use elements such as fire and water to bless people.
Sabaragamuwa dances have also a significant dancing style, mainly to entertain people.
Folk music and dances differ according to the casts of Sinhalese people and also some times regionally—mainly popular among small children, especially girls. These arts are widely performed during the Sinhalese New Year period.
Martial arts
Angampora is the traditional martial art of the Sinhalese people. It combines combat techniques, self-defence, sport, exercise and meditation. Key techniques observed in Angampora are: Angam, which incorporates hand-to-hand fighting, and Illangam, which uses indigenous weapons such as Velayudaya, staves, knives and swords. Its most distinct feature is the use of pressure point attacks to inflict pain or permanently paralyse the opponent. Fighters usually make use of both striking and grappling techniques, and fight until the opponent is caught in a submission lock that they cannot escape. Usage of weapons is discretionary. Perimeters of fighting are defined in advance, and in some of the cases is a pit. Angampora became nearly extinct after the country came under British rule in 1815, but survived in a few families until the country regained independence.
Science and education
The Sinhalese have a long history of literacy and formal learning. Instruction in basic fields like writing and reading by Buddhist Monks pre-date the birth of Christ. This traditional system followed religious rule and was meant to foster Buddhist understanding. Training of officials in such skills as keeping track of revenue and other records for administrative purposes occurred under this institution.
Technical education such as the building of reservoirs and canals was passed down from generation to generation through home training and outside craft apprenticeships.
The arrival of the Portuguese and Dutch and the subsequent colonisation maintained religion as the centre of education though in certain communities under Catholic and Presbyterian hierarchy. The British in the 1800s initially followed the same course. Following 1870 however they began a campaign for better education facilities in the region. Christian missionary groups were at the forefront of this development contributing to a high literacy among Christians.
By 1901 schools in the South and the North were well tended. The inner regions lagged behind however. Also, English education facilities presented hurdles for the general populace through fees and lack of access.
Medicine
Traditional Sinhalese villages in early days had at least one chief Medical personnel called Weda Mahaththaya (Doctor). These people practice their clinical activities by inheritance. Sinhalese Medicine resembles some of Ayurvedic practices in contrast for some treatments they use Buddhist Chantings (Pirith) in order to strengthen the effectiveness.
According to the Mahavamsa, the ancient chronicle, Pandukabhaya of Sri Lanka (437 BC – 367 BC) had lying-in-homes and Ayurvedic hospitals (Sivikasotthi-Sala) built in various parts of the country. This is the earliest documentary evidence we have of institutions specifically dedicated to the care of the sick anywhere in the world. Mihintale Hospital is the oldest in the world.
See also
List of Sinhalese people
Sinhalese Buddhist nationalism
References
Citations
Sources
De Silva, K. M. History of Sri Lanka (Univ. of Calif. Press, 1981)
Gunasekera, Tamara. Hierarchy and Egalitarianism: Caste, Class, and Power in Sinhalese Peasant Society (Athlone, 1994).
Roberts, Michael. Sri Lanka: Collective Identities Revisited (Colombo-Marga Institute, 1997).
Wickremeratne, Ananda. Buddhism and Ethnicity in Sri Lanka: A Historical Analysis (New Delhi-Vikas Publishing House, 1995).
External links
CIA Factbook-Sri Lanka
Department of Census and Statistics-Sri Lanka
Ethnologue-Sinhala, a language of Sri Lanka
CIA Factbook-Sri Lanka
Sinhalese
Who are the Sinhalese
Buddhist communities of Sri Lanka
Ethnic groups in Sri Lanka
Ethnic groups in the Indian Ocean
Indo-Aryan peoples
Sinhalese diaspora
Sinhalese culture | true | [
"A region-by-region list of fairy and folk tales collected and retold by Ruth Manning-Sanders (1886–1988). Regions (or cultural groups) are as listed by Manning-Sanders in either the table of contents, the forewords or the introductions of her various fairy tale anthologies. This list contains most of the fairy-tale titles that have links from Manning-Sanders' biography page. Exceptions are Stories from the English and Scottish Ballads and A Book of Magical Beasts, an anthology of others' works that she edited.\n\nAfrica\nThe Kindly Ghost, A Book of Ghosts and Goblins\nMainu the Frog, A Book of Magic Animals\nNiassa and the Ogre, A Book of Princes and Princesses\nThe Pick Handle, A Book of Enchantments and Curses\nThe Seven Monsters, A Book of Monsters\nThe spirits in the rat-hole, The Haunted Castle\nTerry Gong-Gong, Fox Tales\nThe Two Wizards, A Book of Wizards and A Choice of Magic\nWalker by Moonlight, The Three Witch Maidens\nWhat Came of Quarreling, A Book of Magic Horses\nWhat did you do? Fox Tales\n\nAlaska\nThe Caribou Wife, Folk and Fairy Tales\n\nAlsace\nThe Kittle-Kittle Car, A Book of Devils and Demons\n\nAmerican Indian\nAdventures of Coyote, Red Indian Folk and Fairy Tales\nAdventures of Rabbit, Red Indian Folk and Fairy Tales\nBeautiful Girl, Red Indian Folk and Fairy Tales\nBeaver and Porcupine, Red Indian Folk and Fairy Tales\nThe Fat Grandmother, Red Indian Folk and Fairy Tales\nThe Forbidden Valley, The Haunted Castle\nGood Man and Bad Man, Red Indian Folk and Fairy Tales\nGrasshopper and Fox, Tortoise Tales\nHare Running, Tortoise Tales\nThe Magic Pebble, Red Indian Folk and Fairy Tales\nMicabo's Island, Red Indian Folk and Fairy Tales\nNapi and Nip, Red Indian Folk and Fairy Tales\nThe Ogre, the Sun, and the Raven, A Book of Charms and Changelings\nOtter Heart and the Magic Kettle, Red Indian Folk and Fairy Tales\nProud Girl and Bold Eagle, Red Indian Folk and Fairy Tales\nRabbit and the Wolves, Tortoise Tales\nRaven and the Wicked One, Red Indian Folk and Fairy Tales\nRaven Boy and Little Hawk, Red Indian Folk and Fairy Tales\nSmoke Bones, Folk and Fairy Tales\nSnake Ogre, Red Indian Folk and Fairy Tales\nStar Maiden, Red Indian Folk and Fairy Tales\nSun Arrow, Red Indian Folk and Fairy Tales\nTortoise and the Children, Tortoise Tales\nTortoise and Ogre, Tortoise Tales\nUgly Thing, Red Indian Folk and Fairy Tales\nYoung Mouse, Red Indian Folk and Fairy Tales\nZini and the Witches, Red Indian Folk and Fairy Tales\n\nArabia\nAladdin, A Book of Wizards and A Choice of Magic\nThe Four Abdallahs, A Book of Mermaids\nHassan the Ropemaker, Sir Green Hat and the Wizard\nLittle Mukra, A Book of Dwarfs\n\nArchangel\nThe Leeshy Cat, A Book of Cats and Creatures\nThe Princess's Slippers, A Book of Princes and Princesses and A Choice of Magic\n\nAustralia\nThe Bunyip, Old Witch Boneyleg\nCrow and the Pelicans, The Haunted Castle\nGoralasi and the Spectres, A Book of Spooks and Spectres\n\nAustria\nOda and the Snake, A Book of Sorcerers and Spells\nThe Tailor and the Hunter, Sir Green Hat and the Wizard\n\nBavaria\nPlain Peter, Sir Green Hat and the Wizard\n\nBohemia\nDunber, A Book of Monsters\nThe Giants in the Valley, The Three Witch Maidens\nJohnny and the Witch-Maidens, A Book of Witches and A Choice of Magic\nLong, Broad and Sharpsight, A Book of Wizards and Folk and Fairy Tales\nThe Princess in the Iron Tower, A Book of Magic Horses\nRubizal and the Miller's Daughter, A Book of Spooks and Spectres\nRubizal's Black Horse, A Book of Magic Horses\nThe Spook and the Pigs, A Book of Spooks and Spectres\n\nBosnia\nThe Magic Bridle, A Book of Charms and Changelings\nWhat Happened to Ivan, A Book of Kings and Queens\n\nBrittany\nThe Groach of the Isle of Lok, A Book of Mermaids\nLittle Barbette, A Book of Magic Animals\nThe Magic Belt, A Book of Princes and Princesses\nMargrette, A Book of Mermaids\nThe North-west Wind, A Book of Magic Animals\nPippi Menou and the Hanging Palace, Sir Green Hat and the Wizard\nThe White Cat and the Green Snake, A Book of Princes and Princesses\nThe White Lamb, A Book of Charms and Changelings\n\nBukovina\nThe Hazel-Nut Child, A Book of Dwarfs\n\nCarpathian Mountains\nThe Little Red Mannikin, A Book of Devils and Demons\n\nCaucasus\nThe little cake, Fox Tales\n\nChina\nBaskets in a Little Cart, A Book of Dragons\nChien Tang, A Book of Dragons\nChien-Nang, A Book of Charms and Changelings\nFootball on a Lake, A Book of Spooks and Spectres\nThe Yellow Dragon, A Book of Dragons\n\nCornwall\nBarker's Knee, Peter and the Piskies: Cornish Folk and Fairy Tales\nBetty Stogs' Baby, Peter and the Piskies: Cornish Folk and Fairy Tales\nThe Boy and the Bull, Peter and the Piskies: Cornish Folk and Fairy Tales\nBucca Dhu and Bucca Gwidden, Peter and the Piskies: Cornish Folk and Fairy Tales\nCherry, Peter and the Piskies: Cornish Folk and Fairy Tales\nThe Cock-Crow Stone, Peter and the Piskies: Cornish Folk and Fairy Tales\nThe Crowza Stones, Peter and the Piskies: Cornish Folk and Fairy Tales\nThe Demon Mason, Peter and the Piskies: Cornish Folk and Fairy Tales\nDuffy and the Devil, Peter and the Piskies: Cornish Folk and Fairy Tales\nFairies on the Gump, Peter and the Piskies: Cornish Folk and Fairy Tales\nFrom the Head Downward, Peter and the Piskies: Cornish Folk and Fairy Tales\nThe Giant Holiburn, Peter and the Piskies: Cornish Folk and Fairy Tales\nThe Giant of the Mount, Peter and the Piskies: Cornish Folk and Fairy Tales\nHow Jack Made His Fortune, A Book of Magic Horses\nJack the Giant-Killer, A Book of Giants\nThe Knockers of Ballowal, Peter and the Piskies: Cornish Folk and Fairy Tales\nLutey and the Mermaid, Peter and the Piskies: Cornish Folk and Fairy Tales\nLyonesse, Peter and the Piskies: Cornish Folk and Fairy Tales\nMadgy Figgey and the Sow, Peter and the Piskies: Cornish Folk and Fairy Tales\nMaster Billy, A Book of Magic Horses\nThe Mermaid in Church, Peter and the Piskies: Cornish Folk and Fairy Tales\nMr Noy, Peter and the Piskies: Cornish Folk and Fairy Tales\nParson Wood and the Devil, Peter and the Piskies: Cornish Folk and Fairy Tales\nPeepan Pee, Peter and the Piskies: Cornish Folk and Fairy Tales\nPeter and the Piskies, Peter and the Piskies: Cornish Folk and Fairy Tales\nThe Piskie Thresher, Peter and the Piskies: Cornish Folk and Fairy Tales\nSaint Margery Daw, Peter and the Piskies: Cornish Folk and Fairy Tales\nSaint Neot, Peter and the Piskies: Cornish Folk and Fairy Tales\nSkillywidden, Peter and the Piskies: Cornish Folk and Fairy Tales\nThe Small People's Cow, Peter and the Piskies: Cornish Folk and Fairy Tales\nSneezy Snatcher and Sammy Small, A Book of Giants\nThe Spriggans' Treasure, Peter and the Piskies: Cornish Folk and Fairy Tales\nThe Tinner, the Dog, the Jew, and the Cake, Peter and the Piskies: Cornish Folk and Fairy Tales\nTom and Giant Blunderbus, Peter and the Piskies: Cornish Folk and Fairy Tales\nTredrill, A Book of Charms and Changelings\nTregeagle, Peter and the Piskies: Cornish Folk and Fairy Tales\nThe Two Sillies, Peter and the Piskies: Cornish Folk and Fairy Tales\nThe Wish-hound, Peter and the Piskies: Cornish Folk and Fairy Tales\nThe Witch of Fraddam, Peter and the Piskies: Cornish Folk and Fairy Tales\n\nCorsica\nGolden Hair, A Book of Ghosts and Goblins and A Choice of Magic\n\nCreole\nHyena and Hare, Tortoise Tales\n\nCzechoslovakia\nKing Josef, A Book of Kings and Queens and Folk and Fairy Tales\nLittle pot, cook!, The Haunted Castle\nThe Tailor, the Devil, and the Frogs, The Three Witch Maidens\nThe Water Nick, A Book of Cats and Creatures\n\nDenmark\nEsben and the Witch, A Book of Witches and A Choice of Magic\nFranz the Garden Boy, A Book of Magic Horses\nHeaven Forbid!, A Book of Spooks and Spectres\nLittle Wonder, A Book of Cats and Creatures\nMons Tro, A Choice of Magic\nNils in the Forest, A Book of Ogres and Trolls\nRake Up!, A Book of Mermaids and A Choice of Magic\nA Ride to Hell, A Book of Devils and Demons\nSir Green Hat and the Wizard, Sir Green Hat and the Wizard\nThe Spook and the Beer Barrel, A Book of Spooks and Spectres\nThe Story of Maia, A Book of Dwarfs\nSven and Lilli, A Book of Mermaids and A Choice of Magic\nTossen the Fool, Old Witch Boneyleg\nTripple-Trapple, A Book of Devils and Demons\nThe Troll's Little Daughter, A Book of Ogres and Trolls\nThe White Dove, A Book of Witches\n\nEast Africa\nFox and Weasel, Fox Tales\nTortoise and Elephant, Tortoise Tales\n\nEgypt\nFox and Crow, Fox Tales\n\nEngland\nThe Cauld Lad of Hilton, Old Witch Boneyleg\nThe Golden Ball, A Book of Ghosts and Goblins\nJack and the Beanstalk, A Book of Giants and A Choice of Magic\nLittle Jip, A Book of Ghosts and Goblins\nOld Tommy and the Spectre, A Book of Spooks and Spectres\nThe Old Witch, A Book of Witches and Folk and Fairy Tales\nThe Small-tooth Dog, A Book of Magic Animals\nSneezy Snatcher and Sammy Small, A Choice of Magic\n\nEstonia\nThe Cook and the House Goblin, A Book of Ghosts and Goblins\nFox the gooseherd, Fox Tales\nThe Goblins at the Bath House, A Book of Ghosts and Goblins and A Choice of Magic\nThe Hat, A Book of Charms and Changelings\nThe Haunted Castle, The Haunted Castle\nThe Lake, A Book of Spooks and Spectres\nWater Drops, A Book of Ghosts and Goblins\n\nEthiopia\nHare's Ears, Tortoise Tales\n\nFinland\nThe fish cart, Fox Tales\nThe Flute Player, A Book of Charms and Changelings\nRabbit and Our Old Woman, Tortoise Tales\nSomething Wonderful, A Book of Devils and Demons and Folk and Fairy Tales\nThe well, Fox Tales\n\nFlanders\nRich Woman, Poor Woman, A Book of Wizards\n\nFrance\nThe Antmolly Birds, Jonnikin and the Flying Basket: French Folk and Fairy Tales\nThe Beauty and Her Gallant, A Book of Ghosts and Goblins\nThe Broken Pitcher, Old Witch Boneyleg\nThe Dapple Horse, A Book of Magic Horses\nThe Gold Dragoon, Jonnikin and the Flying Basket: French Folk and Fairy Tales\nThe Handsome Apprentice, Jonnikin and the Flying Basket: French Folk and Fairy Tales\nJonnikin and the Flying Basket, Jonnikin and the Flying Basket: French Folk and Fairy Tales\nThe King of the Crows, Jonnikin and the Flying Basket: French Folk and Fairy Tales\nThe Leg of Gold, A Book of Ghosts and Goblins\nThe Little Milleress, Jonnikin and the Flying Basket: French Folk and Fairy Tales\nThe Magic Wand, Jonnikin and the Flying Basket: French Folk and Fairy Tales\nThe Night of Four Times, Jonnikin and the Flying Basket: French Folk and Fairy Tales\nThe Nine White Sheep, Jonnikin and the Flying Basket: French Folk and Fairy Tales\nPappa Greatnose, A Book of Ghosts and Goblins\nThe Prince of the Seven Golden Cows, Jonnikin and the Flying Basket: French Folk and Fairy Tales\nPrincess Felicity, A Book of Princes and Princesses\nThe Small Men and the Weaver, Jonnikin and the Flying Basket: French Folk and Fairy Tales\nThe Snake Monster, Jonnikin and the Flying Basket: French Folk and Fairy Tales\nThe Son of the King of Spain, Jonnikin and the Flying Basket: French Folk and Fairy Tales\nThe Sword of the Stone, Jonnikin and the Flying Basket: French Folk and Fairy Tales\nTam and Tessa, Jonnikin and the Flying Basket: French Folk and Fairy Tales\nThe Thirteen Flies, Jonnikin and the Flying Basket: French Folk and Fairy Tales\nThe Young Shepherd, Jonnikin and the Flying Basket: French Folk and Fairy Tales\n\nFrench Canada\nJon and his Brothers, A Book of Magic Animals and Folk and Fairy Tales\n\nGascony\nThe Blacksmith and the Devil, A Book of Devils and Demons\n\nGeorgia\nThe Giant and the Dwarf, A Book of Giants\n\nGermany\nThe Brave Little Tailor, A Book of Giants\nThe Cobbler and the Dwarfs, A Book of Dwarfs\nThe Comb, the Flute and the Spinning Wheel, A Book of Mermaids\nThe Curse of the Very Small Man, A Book of Enchantments and Curses\nThe Dancing Pigs, Old Witch Boneyleg\nThe Donkey Lettuce, A Book of Witches\nThe Dragon and His Grandmother, A Book of Dragons\nElsa and the Bear, A Book of Magic Animals\nFir Cones, A Book of Dwarfs\nThe Girl Who Picked Strawberries, A Book of Dwarfs and A Choice of Magic\nThe Gold Stag, Old Witch Boneyleg\nThe Golden Kingdom, The Haunted Castle\nHa! ha! ha!, A Book of Spooks and Spectres\nHansel and Gretel, A Book of Witches\nThe Imp Cat, A Book of Cats and Creatures\nThe Inn of the Stone and Spectre, A Book of Spooks and Spectres\nKatchen the Cat, A Book of Cats and Creatures\nLazy Hans, A Book of Witches\nThe Little Tailor and the Three Dogs, A Book of Ogres and Trolls and Folk and Fairy Tales\nMannikin Spanalong, A Book of Sorcerers and Spells\nPeter, A Book of Enchantments and Curses\nThe queen in the garden, The Haunted Castle\nRapunzel, A Book of Witches\nSnow White and the Seven Dwarfs, A Book of Dwarfs\nTangletop, A Book of Spooks and Spectres\nThe Three Dogs, A Book of Dragons\nThe Three Golden Hairs of the King of the Cave Giants, A Book of Giants\nThe Three Little Men in the Wood, A Book of Dwarfs\nThumbkin, A Book of Dwarfs\nThe very little man, Fox Tales\n\nGreece\nAlas!, Damian and the Dragon: Modern Greek Folk-Tales\nThe Bay-Tree Maiden, Damian and the Dragon: Modern Greek Folk-Tales\nThe Beardless One, Damian and the Dragon: Modern Greek Folk-Tales\nBig Matsiko, Damian and the Dragon: Modern Greek Folk-Tales\nThe Cats, Damian and the Dragon: Modern Greek Folk-Tales\nConstantes and the Dragon, A Book of Dragons and A Choice of Magic\nThe Cunning Old Man and the Three Rogues, Damian and the Dragon: Modern Greek Folk-Tales\nDamian and the Dragon, Damian and the Dragon: Modern Greek Folk-Tales\nThe Dragon of the Well, A Book of Dragons\nThe Four Fishes, Damian and the Dragon: Modern Greek Folk-Tales\nThe Golden Casket, Damian and the Dragon: Modern Greek Folk-Tales\nThe King's Beard, Old Witch Boneyleg\nThe Lion, the Tiger and the Eagle, Damian and the Dragon: Modern Greek Folk-Tales\nLuck, Damian and the Dragon: Modern Greek Folk-Tales\nThe Melodious Napkin, Damian and the Dragon: Modern Greek Folk-Tales\nMy Candlestick, Damian and the Dragon: Modern Greek Folk-Tales\nMy Lady Sea, Damian and the Dragon: Modern Greek Folk-Tales\nThe Nine Doves, A Book of Dragons and A Choice of Magic\nPenteclemas and the Pea, Damian and the Dragon: Modern Greek Folk-Tales\nPepito, A Book of Dragons\nThe Prince and the Vizier's Son, Damian and the Dragon: Modern Greek Folk-Tales\nThe Sleeping Prince, Damian and the Dragon: Modern Greek Folk-Tales\nThe Sneezing Ring, The Three Witch Maidens\nThe Three Precepts, Damian and the Dragon: Modern Greek Folk-Tales\nThe Twins, Damian and the Dragon: Modern Greek Folk-Tales\nThe Wild Man, Damian and the Dragon: Modern Greek Folk-Tales\nYiankos, Damian and the Dragon: Modern Greek Folk-Tales\n\nGreek Isles\nSelim and the Snake Queen, A Book of Kings and Queens and Folk and Fairy Tales\n\nGypsy\nBald Pate, The Red King and the Witch: Gypsy Folk and Fairy Tales\nThe Black Dog of the Wild Forest, The Red King and the Witch: Gypsy Folk and Fairy Tales\nBrian and the Fox, The Red King and the Witch: Gypsy Folk and Fairy Tales\nThe Brigands and the Miller's Daughter, The Red King and the Witch: Gypsy Folk and Fairy Tales\nThe Deluded Dragon, The Red King and the Witch: Gypsy Folk and Fairy Tales\nThe Dog and the Maiden, The Red King and the Witch: Gypsy Folk and Fairy Tales\nThe Dragon and the Stepmother, The Red King and the Witch: Gypsy Folk and Fairy Tales\nFedor and the Fairy, A Book of Charms and Changelings\nThe Foam Maiden, A Book of Sorcerers and Spells\nHappy Boz'll, The Red King and the Witch: Gypsy Folk and Fairy Tales\nThe Hen That Laid Diamond Eggs, The Red King and the Witch: Gypsy Folk and Fairy Tales\nIt All Comes To Light, The Red King and the Witch: Gypsy Folk and Fairy Tales\nJack and His Golden Snuff-Box, The Red King and the Witch: Gypsy Folk and Fairy Tales\nJankyn and the Witch, The Red King and the Witch: Gypsy Folk and Fairy Tales\nThe Little Bull-Calf, The Red King and the Witch: Gypsy Folk and Fairy Tales\nThe Little Fox, The Red King and the Witch: Gypsy Folk and Fairy Tales\nThe Little Nobleman, The Red King and the Witch: Gypsy Folk and Fairy Tales\nAn Old King and His Three Sons of England, The Red King and the Witch: Gypsy Folk and Fairy Tales\nThe Old Soldier and the Mischief, The Red King and the Witch: Gypsy Folk and Fairy Tales\nThe Red King and the Witch, The Red King and the Witch: Gypsy Folk and Fairy Tales\nThe Riddle, The Red King and the Witch: Gypsy Folk and Fairy Tales\nThe Snake, The Red King and the Witch: Gypsy Folk and Fairy Tales\nSylvester, The Red King and the Witch: Gypsy Folk and Fairy Tales\nThe Tale of a Foolish Brother and of a Wonderful Bush, The Red King and the Witch: Gypsy Folk and Fairy Tales\nThe Three Princesses and the Unclean Spirit, The Red King and the Witch: Gypsy Folk and Fairy Tales\nThe Tinker and His Wife, The Red King and the Witch: Gypsy Folk and Fairy Tales\nTropsyn, The Red King and the Witch: Gypsy Folk and Fairy Tales\n\nHanover\nThe Porridge Pot, Sir Green Hat and the Wizard\n\nHartz Mountains\nThe Eighteen Soldiers, The Three Witch Maidens\n\nHolland\nThe Sailor and the Devil, Folk and Fairy Tales\n\nHungary\nThe Adventures of Pengo, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\nThe Cock and the Hen, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\nDummling, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\nThe Enchanted Prince, A Book of Princes and Princesses and A Choice of Magic\nThe Fairy Helena, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\nThe Fiddle, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\nGiant Babolna, Old Witch Boneyleg\nGisella and the Goat, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\nThe Glass Man and the Golden Bird, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\nA Handful of Hay, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\nHans and His Master, A Book of Ghosts and Goblins and A Choice of Magic\nIn the wolf pit, Fox Tales\nIronhead, A Book of Devils and Demons\nJack at Hell Gate, A Book of Devils and Demons\nKate Contrary, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\nLittle Firenko, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\nThe Lost Children, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\nMelitsa the Beautiful, The Haunted Castle\nThe Nine Peahens and the Golden Apples, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\nThe Nine Ravens, The Three Witch Maidens\nThe Peppercorn Oxen, A Book of Devils and Demons\nPrince Mirko, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\nThe Ram with the Golden Fleece, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\nThe Secret-Keeping Boy, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\nThe Seven Simons, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\nThe Silver Penny, A Book of Wizards and Folk and Fairy Tales\nThe Spotted Cow, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\nThe Three Lemons, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\nUletka, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\nThe Witch and the Swan Maiden, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\nThe Wonderful Tree, The Glass Man and the Golden Bird: Hungarian Folk and Fairy Tales\n\nIceland\nCow Bu-cola, A Book of Ogres and Trolls\nDilly-dilly-doh!, A Book of Spooks and Spectres\nThe Farmer and the Water Fairies, Old Witch Boneyleg\nThe Gold Knob, A Book of Ogres and Trolls\nThe Headless Horseman, A Book of Ghosts and Goblins\nJon and the Troll Wife, A Book of Ogres and Trolls\nThe Lost Prince, A Book of Mermaids and Folk and Fairy Tales\nSigurd the King's Son, A Book of Ogres and Trolls\n\nIndia\nFox and Crocodile, Fox Tales\nA Game of Cards with the King of Demons, The Three Witch Maidens\nThe good old man, the thief, and the ghost, The Haunted Castle\nThe Kingdom of Ocean, A Book of Mermaids\nLittle Hiram, A Choice of Magic\nLucky or unlucky? Fox Tales\nThe Monkey Nursemaid, A Book of Devils and Demons\n\nIreland\nThe Adventures of Billy MacDaniel, A Choice of Magic\nThe Blackstairs Mountain, A Book of Witches\nBottle Hill, A Book of Dwarfs and A Choice of Magic\nConall Yellowclaw, A Book of Giants\nThe Field of Ragwort, A Book of Dwarfs\nFin M'Coul and Cucullin, A Book of Giants and Folk and Fairy Tales\nThe Good Woman, A Book of Ghosts and Goblins\nThe Great Bear of Orange, A Book of Sorcerers and Spells\nThe Magic Lake, A Book of Mermaids and A Choice of Magic\nThe Magical Tune, A Book of Mermaids\nThe Palace of the Seven Little Hills, A Book of Sorcerers and Spells\nThe Sleeper, A Book of Sorcerers and Spells\nThe Strange Adventure of Paddy O'Toole, A Book of Ghosts and Goblins\nThe Teapot Spout, A Book of Kings and Queens\nThe Thirteenth Son of the King of Erin, A Book of Dragons\nTritil, Litil, and the Birds, A Book of Ogres and Trolls\n\nItaly\nThe Black Spectre, A Book of Spooks and Spectres (in South Tyrol)\nCannetella, A Book of Wizards\nThe Girl in the Basket, A Book of Ogres and Trolls and Folk and Fairy Tales\nThe Magic Monkeys, A Book of Sorcerers and Spells\nPrunella, A Book of Witches\nThe She-Bear, A Book of Princes and Princesses\nThe Three Mermaids, A Book of Mermaids and A Choice of Magic\nThe Three Silver Balls, A Book of Ghosts and Goblins\n\nJamaica\nBeedul-a-bup!, A Book of Magic Horses\nGar-room!, Tortoise Tales\nSarah Winyan, A Book of Enchantments and Curses\n\nJapan\nThe Little Jizo, Sir Green Hat and the Wizard\nMy Lord Bag of Rice, A Book of Dragons and Folk and Fairy Tales\nTimimoto, A Book of Dwarfs\n\nJutland\nHans, the Horn, and the Magic Sword, A Book of Giants\nThe Skipper and the Dwarfs, A Book of Dwarfs and Folk and Fairy Tales\n\nKashmir\nStupid Head, A Book of Princes and Princesses\n\nKorea\nThe Enchanted Wine Jug, A Book of Charms and Changelings\nStrange Visitors, A Book of Spooks and Spectres\nYi Chang and the Spectres, A Book of Spooks and Spectres\n\nLatvia\nMonster Grabber and the King's Daughter, A Book of Magic Horses\n\nMacedonia\nThe Monster in the Mill, A Book of Monsters and Folk and Fairy Tales\nPentalina, A Book of Monsters\nYanni, A Book of Dragons\n\nMadagascar\nThe Monster with Seven Heads, A Book of Kings and Queens and Folk and Fairy Tales\nOh Mr Crocodile, A Book of Cats and Creatures\n\nMajorca\nA Box on the Ear, A Book of Ghosts and Goblins\nThe Dolphin, A Book of Magic Animals\n\nMediterranean Sea\nA-tishoo!, Gianni and the Ogre\nBardiello, Gianni and the Ogre\nThe Bean Tree, Gianni and the Ogre\nCelery, Gianni and the Ogre\nThe Daughter of the Dwarf, Gianni and the Ogre\nThe Doll, Gianni and the Ogre\nThe Fiddler Going Home, Gianni and the Ogre\nGianni and the Ogre, Gianni and the Ogre\nGrillo, Gianni and the Ogre\nKabadaluk, Gianni and the Ogre\nKing Fox, Gianni and the Ogre\nLittle Finger, Gianni and the Ogre\nMother Sunday, Gianni and the Ogre\nOudelette, Gianni and the Ogre\nPeppino, Gianni and the Ogre\nThe Spider, Gianni and the Ogre\nThe Three Ravens, Gianni and the Ogre\nTrim Tram Turvey, Gianni and the Ogre\n\nMongolia\nThe Blue-grey Fleece, Sir Green Hat and the Wizard\n\nNetherlands\nMalegy's Palfrey, A Book of Magic Horses\n\nNew Zealand\nTawhaki, The Three Witch Maidens\n\nNorse and/or Norway\nFarmer Weathersky, A Book of Wizards\nFreddy and his Fiddle, A Book of Dwarfs\nThe Giant Who Had No Heart in His Body, A Book of Giants and Folk and Fairy Tales\nThe Hill Demon, A Book of Devils and Demons\nTatterhood, A Book of Witches and A Choice of Magic\n\nNorth Africa\nThe Mossy Rock, A Book of Sorcerers and Spells\n\nNova Scotia\nFox and Hare, Fox Tales\n\nPoland\nThe Adventures of Gregor, A Book of Magic Horses\nThe Cat Johann, A Book of Cats and Creatures\n\nPomerania\nThe Cow, The Three Witch Maidens\nDear Grey, The Haunted Castle\nFather Wren and King Tiger, A Book of Cats and Creatures\nThe Glassy Bridge, Sir Green Hat and the Wizard\nThe gold spinner, The Haunted Castle\nA Lying Story, A Book of Enchantments and Curses\nThe Two Enemy Kings, A Book of Kings and Queens\nThe Queen's Ring, A Book of Enchantments and Curses\n\nPortugal\nThe Geese and the Golden Chain, A Book of Mermaids\n\nRomania\nPrince Loaf, A Book of Giants and A Choice of Magic\nStan Bolovan, A Book of Dragons and A Choice of Magic\n\nRügen\nThe Silver Bell, A Book of Dwarfs\n\nRussia\nBull's Winter House, A Book of Magic Animals\nCatrinella, Come up Higher!, A Book of Enchantments and Curses\nThe Children on the Pillar, A Book of Ogres and Trolls\nThe Crane's Purse, Sir Green Hat and the Wizard\nEh! Eh! Tralala!, A Book of Magic Animals\nGo I Know Not Whither and Fetch I Know Not What, A Book of Sorcerers and Spells\nThe Goat in the Sky, A Book of Cats and Creatures\nThe Good Ogre, A Book of Ogres and Trolls\nThe Great Golloping Wolf, A Book of Monsters\nKing Eagle, A Book of Kings and Queens\nKojata, A Book of Wizards\nLittle Cat and Little Hen, Tortoise Tales\nThe Little Humpbacked Horse, A Book of Magic Animals\nLittle Sister Fox, Tortoise Tales\nMonster Copper Forehead, A Book of Monsters\nNanny Goat with Nuts, Tortoise Tales\nNatasha Most Lovely, Old Witch Boneyleg\nOld Man Zackery and the Cranes, A Book of Cats and Creatures\nOld Verlooka, A Choice of Magic\nOld Witch Boneyleg, Old Witch Boneyleg\nPancakes and Pies, A Book of Charms and Changelings\nA Pool of Bright Water, A Book of Cats and Creatures\nThe Queen's Children, A Book of Kings and Queens\nThe Silver Dish, The Three Witch Maidens\nThe Spooks' Party, A Book of Spooks and Spectres\nThe Straw Horse, A Book of Magic Horses\nThe Three Ivans, A Book of Sorcerers and Spells\nTwo Minutes, Old Witch Boneyleg\nThe Twins and the Snarling Witch, A Book of Witches\nUmbrella, Fox Tales\nVanka, Sir Green Hat and the Wizard\nVasilissa Most Lovely, A Book of Enchantments and Curses and Folk and Fairy Tales\nVanooshka, A Book of Kings and Queens\nWhoa-ho!, A Book of Magic Horses\nWits But No Money, A Book of Magic Horses\nThe Wizard King, A Book of Princes and Princesses\nA Wonderful Bird, A Book of Cats and Creatures\nThe Wonderful Shirt, A Choice of Magic\n\nSavoy\nThe Dance of the Spectres, A Book of Spooks and Spectres\n\nSchleswig-Holstein\nThe New Horse, A Book of Magic Horses\nTummeldink, A Book of Spooks and Spectres\n\nScotland\nThe Black Bull of Norroway, Scottish Folk Tales\nConall Yellowclaw, A Book of Giants\nFlitting, Scottish Folk Tales\nThe Giant in the Cave, A Book of Giants\nGreen caps, Scottish Folk Tales\nIn a sack, Scottish Folk Tales\nThe Laird of Co, Scottish Folk Tales\nThe little wee man, Scottish Folk Tales\nThe Loch Ness Kelpie, Scottish Folk Tales\nMester Stoorworm, Scottish Folk Tales\nMerman Rosmer, A Book of Mermaids and Folk and Fairy Tales\nMy own self, Scottish Folk Tales\nThe seal-hunter and the mermen, Scottish Folk Tales\nThe seal-wife, Scottish Folk Tales\nSeven Inches, Scottish Folk Tales\nThe shadow, Scottish Folk Tales\nShort Hoggers, Scottish Folk Tales\nThe Strange Visitor, Scottish Folk Tales\nThe Tailor in the Church, A Book of Ghosts and Goblins\nThe Untidy Mermaid, A Book of Mermaids\nThe wee bit mousikie, Scottish Folk Tales\nThe Well at the World's End, Scottish Folk Tales\nWhirra whirra bump!, Scottish Folk Tales\n\nSerbia\nThe Prince and the Dragons, A Book of Princes and Princesses\n\nSiberia\nThe Bird Wife, A Book of Cats and Creatures\nThe Maiden Suvarna, A Book of Ghosts and Goblins\n\nSicily\nThe All-seeing Sun, Sir Green Hat and the Wizard\nAniello, A Book of Wizards and A Choice of Magic\nThe Beauty of the Golden Star, A Book of Magic Horses\nDough, A Book of Kings and Queens\nThe Goat in Bed, The Three Witch Maidens\nThe Golden Valley, A Book of Monsters\nThe Green Bird, A Book of Ogres and Trolls\nThe Ogre's Breath, A Book of Ogres and Trolls\nPeppi, A Book of Charms and Changelings\nRags and Tatters, A Book of Princes and Princesses\nUnfortunate, A Book of Enchantments and Curses\n\nSilesia\nRubizal, A Book of Charms and Changelings\n\nSlavic\nThe Dwarf with the Long Beard, A Book of Charms and Changelings\nGold Lambs and Silver Lambs, Sir Green Hat and the Wizard\nKing Johnny, A Book of Giants and A Choice of Magic\nThe Prince with the Golden Hand, A Book of Dragons\n\nSlavonia\nThe old woman and the oak tree, The Haunted Castle\n\nSouth Africa\nVoo-too-koo, Sir Green Hat and the Wizard (also listed as a Zulu tale)\n\nSouth America\nThe King of the Vultures, The Three Witch Maidens\nThe Magic Roots, Folk and Fairy Tales\n\nSpain\nBlack, Red, and Gold, A Book of Enchantments and Curses\nBring me a Light, A Book of Ghosts and Goblins\nThe Knights of the Fish, A Book of Enchantments and Curses and Folk and Fairy Tales\nThe Ring, A Book of Ghosts and Goblins\n\nSudan\nFoni and Fotia, A Book of Sorcerers and Spells\n\nSweden\nThe Juniper Bush, A Book of Cats and Creatures\nLassy my Boy!, The Three Witch Maidens\nLilla Rosa, A Book of Magic Animals and Folk and Fairy Tales\nPrince Lindworm, A Book of Monsters\n\nSwitzerland\nThe Enchanted Candle, A Book of Enchantments and Curses\nThe Owl, A Book of Spooks and Spectres\nPussy Cat Twinkle, A Book of Cats and Creatures\n\nTadjakistan\nThe Big Bird Katchka, A Book of Cats and Creatures\n\nTartary\nThe Golden Knucklebone, A Book of Cats and Creatures\nUbir, A Book of Monsters\n\nTransylvania\nThe Demon's Daughter, A Book of Devils and Demons\nIron Hans, Old Witch Boneyleg\nThe Princess in the Mountain, A Book of Enchantments and Curses\nSausages, Folk and Fairy Tales\nSorcerer Kaldoon, A Book of Sorcerers and Spells\nThe Story of the Three Young Shepherds, A Book of Monsters\nThe Sun Mother, A Book of Charms and Changelings\nThe Three Witch Maidens, The Three Witch Maidens\n\nTurkey\nBuns and honey, Fox Tales\nOver the wall, Fox Tales\n\nTyrol\nGold, A Book of Wizards\nThe Singing Leaves, A Book of Monsters\nThe Skull, A Book of Ghosts and Goblins\nSpooks a-hunting, A Book of Spooks and Spectres\n\nUkraine\nThe Frog, A Book of Princes and Princesses and A Choice of Magic\n\nUnited States\nLa-lee-lu, A Book of Spooks and Spectres\nLong John and the Mermaid, A Book of Mermaids\nThe Small, Small Cat, A Book of Cats and Creatures\nThe Spectre Wolf, A Book of Spooks and Spectres\n\nValley of the Nile\nThe Forty Goats, A Book of Charms and Changelings\nThe Good Oum-Aly, The Three Witch Maidens\n\nWales\nJack and the Wizard, A Book of Wizards and A Choice of Magic\nThe Lake Maiden, A Book of Mermaids\n\nWest Africa\nLu-bo-bo, A Book of Monsters\n\nYugoslavia\nThe Little Old Man in the Tree, A Book of Spooks and Spectres\nThe Prince and the Sky-Blue Filly, A Book of Princes and Princesses\n\nZeeland\nKnurremurre, A Book of Dwarfs and A Choice of Magic\n\nZulu\nVoo-too-koo, Sir Green Hat and the Wizard (also listed as a South African tale)",
"Petre Ispirescu (; January 1830 – 21 November 1887) was a Romanian editor, folklorist, printer, and publicist. He is best known for his work as a gatherer of Romanian folk tales, recounting them with a remarkable talent.\n\nCareer \nPetre Ispirescu was born in Bucharest, the son of Gheorghe Ispirescu, a barber, and Elena Ispirescu, a remarkable story teller. He grew up listening to countless folk tales told by his parents and his father's customers and apprentices. His parents wanted him to be a priest and he was entrusted to study with a monk at the Metropolitan Church, after which he studied with a priest at the Domnița Bălașa Church.\n\nHe dropped out in 1844 at age fourteen and became an apprentice at the printing house headed by Zaharia Carcalechi, hoping to further his education by reading the books printed there. Working 14 hours a day, he became a qualified printer in 1848. In 1854, he was hired at the Copainie typography. In 1858, within the context of talks about the unification of the Romanian Principalities, the printing house accepted to publish the secret correspondence of Prince Nicolae Vogoride, without the accord of the censors. The police arrested all those involved and Petre Ispirescu was jailed for a month, losing his job. By the end of the year, Vasile Boerescu - a supporter of the union of the Romanian Principalities and future Foreign Minister - offered him the manager position of a modern typography that owned the first mechanical printing press in Bucharest and published the Naționalul newspaper. His position introduced him to contemporary politicians and writers like \nIon Ionescu de la Brad, Nicolae Filimon, Ion Ghica, and Dimitrie Bolintineanu. In 1863, Vasile Boerescu sold the typography and Petre Ispirescu became the manager of the typography publishing the Liberal Party newspaper Romanul. At the time, the Liberal Party was the main opposition party. The newspaper was suppressed in 1864. Ispirescu, together with Walter Scarlat and Frederick Gobl, then founded the United Workers Typography. A year later, Ispirescu published the Romanian Typographer pamphlet. The abdication in 1866 of the first ruler of the United Principalities of Moldavia and Wallachia, Alexandru Ioan Cuza, is recorded with sadness there. After becoming the sole associate of the printing house, he renamed it Romanian Academy Publishing House in 1878.\n\nInvited by the Interior Minister Ion Ghica, Ispirescu became the head of the State Printing House in 1866. He resigned two years later.\n\nIspirescu left Bucharest for the first time in his life in 1880 for a short trip to Roșiorii de Vede, a small town 74.5 miles away. In 1883 he had a first stroke; he suffered a second stroke while sitting at his desk, and died on 21 November 1887. He is buried at Bellu Cemetery in Bucharest along many other famous Romanians.\n\nIspirescu began to publish Romanian folk stories in 1862, at the incentive of Nicolae Filimon. His first collection of six folk tales appeared in Țăranul Român and later as a booklet. Subsequently, these tales were added to his renowned collection, Romanian Fairy Tales, today a bibliographic rarity. He resumed his publishing work in 1872 with the collection Romanian Folk Tales. Riddles and Proverbs with a preface by Bogdan Petriceicu Hasdeu, followed by Folk Anecdotes and Folk Tales in 1874, and The Life and Feats of Mihai Viteazu in 1876. He was praised for the deep and invaluable knowledge of the Romanian folk works. In 1879 he published Tales of the Wise Old Man - a retelling in an accessible language for children of universal myths and fragments of Greek mythology - with a preface by Alexandru Odobescu.\n\nHis major work, Romanian Fairy Tales, was published in 1882 with a preface by Vasile Alecsandri.\n\nWorks\n\nIspirescu is especially known for his collections of Romanian folk tales.\n\nColecție de șase basme in Țăranul Român (1862, a collection of six folk tales published in Țăranul Român)\nLegende sau basmele românilor. Ghicitori și Proverburi (1872, \"Romanian Legends and Folk Tales. Riddles and Proverbs\")\nSnoave și Povești populare (1874, \"Folk Anecdotes and Folk Tales\")\nIsprăvile și viața lui Mihai Viteazu (1876, \"The Life and Feats of Mihai Viteazu\")\nPoveștele unchiașului sfătos (1879, \"Tales of the Wise Old Man\")\nPilde și ghicitori (1880, \"Parables and riddles\")\nLegendele sau basmele Românilor (1882, \"Romanian Fairy Tales\")\nBasme, snoave și glume (1883, \"Tales, Anecdotes, and Jests\")\nJucării şi jocuri de copil (1885, \"Children's Toys and Games\")\nPovești morale. Despre pomul Crăciunului (1886, \"Moral Stories. About the Christmas Tree\")\n\nSee also\n Kingdom in the Clouds (a 1969 film directed by Elisabeta Bostan)\n Dan Petrescu, Romanian businessman, nicknamed \"Petre Ispirescu\" by his friends in honor to Ispirescu\n\nReferences\n\nDimitrie R Rosetti (1897) Dicţionarul contimporanilor, Editura Lito-Tipografiei \"Populara\"\n\nExternal links\n \n \n\nRomanian collectors of fairy tales\nRomanian folklorists\nRomanian printers\nWriters from Bucharest\nBurials at Bellu Cemetery\n1830 births\n1887 deaths\n19th-century Romanian writers"
] | [
"Sinhalese people () are an Indo-Aryan ethnic group native to the island of Sri Lanka. They were historically known as Hela people (). They constitute about 75% of the Sri Lankan population and number greater than 16.2 million. The Sinhalese identity is based on language, cultural heritage and nationality.",
"The Sinhalese identity is based on language, cultural heritage and nationality. The Sinhalese people speak Sinhala, an insular Indo-Aryan language, and are predominantly Theravada Buddhists, although a minority of Sinhalese follow branches of Christianity and other religions.",
"The Sinhalese people speak Sinhala, an insular Indo-Aryan language, and are predominantly Theravada Buddhists, although a minority of Sinhalese follow branches of Christianity and other religions. Since 1815, they were broadly divided into two respective groups: The 'Up-country Sinhalese' in the central mountainous regions, and the 'Low-country Sinhalese' in the coastal regions; although both groups speak the same language, they are distinguished as they observe different cultural customs.",
"Since 1815, they were broadly divided into two respective groups: The 'Up-country Sinhalese' in the central mountainous regions, and the 'Low-country Sinhalese' in the coastal regions; although both groups speak the same language, they are distinguished as they observe different cultural customs. According to the Mahavamsa and the Dipavamsa, a 3rd–5th century treatise written in Pali by Buddhist monks of the Anuradhapura Maha Viharaya in Sri Lanka, the Sinhalese descend from settlers who came to the island in 543 BCE from Sinhapura led by Prince Vijaya who mixed with the indigenous Yakka and later settlers from the Pandya kingdom.",
"According to the Mahavamsa and the Dipavamsa, a 3rd–5th century treatise written in Pali by Buddhist monks of the Anuradhapura Maha Viharaya in Sri Lanka, the Sinhalese descend from settlers who came to the island in 543 BCE from Sinhapura led by Prince Vijaya who mixed with the indigenous Yakka and later settlers from the Pandya kingdom. Etymology From the Sanskrit word Sinhala, meaning literally \"of lions\".",
"Etymology From the Sanskrit word Sinhala, meaning literally \"of lions\". The Mahavamsa records the origin of the Sinhalese people and related historical events.",
"The Mahavamsa records the origin of the Sinhalese people and related historical events. It traces the historical origin of the Sinhalese people back to the first king who mentioned in the documentary history of Sri Lanka, Vijaya, who is the son of Sinhabahu (Sanskrit meaning 'Sinha' (lion) + 'bahu' (hands, feet), the ruler of Sinhapura.",
"It traces the historical origin of the Sinhalese people back to the first king who mentioned in the documentary history of Sri Lanka, Vijaya, who is the son of Sinhabahu (Sanskrit meaning 'Sinha' (lion) + 'bahu' (hands, feet), the ruler of Sinhapura. Some versions suggest Vijaya is the grandson of Sinhabahu.",
"Some versions suggest Vijaya is the grandson of Sinhabahu. According to the Mahavamsa, Sinhabahu was the son of princess Suppadevi of Vanga, who copulated with a lion and gave birth to a daughter called Sinhasivali and to a son, Sinhabahu, whose hands and feet were like the paws of a lion and who had the strength of a lion.",
"According to the Mahavamsa, Sinhabahu was the son of princess Suppadevi of Vanga, who copulated with a lion and gave birth to a daughter called Sinhasivali and to a son, Sinhabahu, whose hands and feet were like the paws of a lion and who had the strength of a lion. King Vijaya, the lineage of Sinhabahu, according to the Mahavamsa and other historical sources, arrived on the island of Tambapanni (Sri Lanka) and gave origin to the lion people, Sinhalese.",
"King Vijaya, the lineage of Sinhabahu, according to the Mahavamsa and other historical sources, arrived on the island of Tambapanni (Sri Lanka) and gave origin to the lion people, Sinhalese. The story of the arrival of Prince Vijaya in Sri Lanka and the origin of the Sinhalese people is also depicted in the Ajanta caves, in a mural of cave number 17.",
"The story of the arrival of Prince Vijaya in Sri Lanka and the origin of the Sinhalese people is also depicted in the Ajanta caves, in a mural of cave number 17. According to Arisen Ahubudu, there were four major clans of \"hela\" in ancient Sri Lanka even before the arrival of Prince Vijaya, and that Sri Lanka was called as \"Siv hela\" (siv=four in the Sinhala language) and later it was changed into \"Sinhala\".",
"According to Arisen Ahubudu, there were four major clans of \"hela\" in ancient Sri Lanka even before the arrival of Prince Vijaya, and that Sri Lanka was called as \"Siv hela\" (siv=four in the Sinhala language) and later it was changed into \"Sinhala\". History The early recorded history of the Sinhalese is chronicled in two documents, the Mahavamsa, written in Pāli around the 4th century CE, and the later Culavamsa (the first segment probably penned in the 13th century CE by the Buddhist monk Dhammakitti).",
"History The early recorded history of the Sinhalese is chronicled in two documents, the Mahavamsa, written in Pāli around the 4th century CE, and the later Culavamsa (the first segment probably penned in the 13th century CE by the Buddhist monk Dhammakitti). These are ancient sources that cover the histories of the powerful ancient Sinhalese kingdoms of Anuradhapura and Polonnaruwa which lasted for 1500 years.",
"These are ancient sources that cover the histories of the powerful ancient Sinhalese kingdoms of Anuradhapura and Polonnaruwa which lasted for 1500 years. The Mahavamsa describes the existence of fields of rice and reservoirs, indicating a well-developed agrarian society.",
"The Mahavamsa describes the existence of fields of rice and reservoirs, indicating a well-developed agrarian society. Pre Anuradhapura period According to Mahavamsa, Prince Vijaya and his 700 followers left Suppāraka, landed on the island at a site believed by historians to be in the district of Puttalam, south of modern-day Mannar and founded the Kingdom of Thambapanni.",
"Pre Anuradhapura period According to Mahavamsa, Prince Vijaya and his 700 followers left Suppāraka, landed on the island at a site believed by historians to be in the district of Puttalam, south of modern-day Mannar and founded the Kingdom of Thambapanni. It is recorded the Vijaya made his landing on the day of Buddha's Parinirvana.",
"It is recorded the Vijaya made his landing on the day of Buddha's Parinirvana. Vijaya claimed Tambapanni his capital and soon the whole island come under this name. Tambapanni was originally inhabited and governed by Yakkhas, having their capital at Sirīsavatthu and their queen Kuveni. According to the Samyutta Commentary, Tambapanni was one hundred leagues in extent.",
"According to the Samyutta Commentary, Tambapanni was one hundred leagues in extent. At the end of his reign, Vijaya, having trouble choosing a successor, sent a letter to the city of his ancestors, Sinhapura, in order to invite his brother Sumitta to take over the throne.",
"At the end of his reign, Vijaya, having trouble choosing a successor, sent a letter to the city of his ancestors, Sinhapura, in order to invite his brother Sumitta to take over the throne. However, Vijaya had died before the letter had reached its destination, so the elected minister of the people Upatissa, the Chief government minister or prime minister and leading chief among the Sinhalese became regent and acted as regent for a year.",
"However, Vijaya had died before the letter had reached its destination, so the elected minister of the people Upatissa, the Chief government minister or prime minister and leading chief among the Sinhalese became regent and acted as regent for a year. After his coronation, which was held in the Kingdom of Tambapanni, he left it, building another one, bearing his own name.",
"After his coronation, which was held in the Kingdom of Tambapanni, he left it, building another one, bearing his own name. While he was king, Upatissa established the new capital Upatissa, in which the kingdom was moved to from the Kingdom of Tambapanni.",
"While he was king, Upatissa established the new capital Upatissa, in which the kingdom was moved to from the Kingdom of Tambapanni. When Vijaya's letter arrived, Sumitta had already succeeded his father as king of his country, and so he sent his son Panduvasdeva to rule Upatissa Nuwara.",
"When Vijaya's letter arrived, Sumitta had already succeeded his father as king of his country, and so he sent his son Panduvasdeva to rule Upatissa Nuwara. Upatissa Nuwara was seven or eight miles further north of the Kingdom of Tambapanni.",
"Upatissa Nuwara was seven or eight miles further north of the Kingdom of Tambapanni. It was named after the regent king Upatissa, who was the prime minister of Vijaya, and was founded in 505 BC after the death of Vijaya and the end of the Kingdom of Tambapanni.",
"It was named after the regent king Upatissa, who was the prime minister of Vijaya, and was founded in 505 BC after the death of Vijaya and the end of the Kingdom of Tambapanni. Anuradhapura period In 377 BC, King Pandukabhaya (437–367 BC) moved the capital to Anuradhapura and developed it into a prosperous city.",
"Anuradhapura period In 377 BC, King Pandukabhaya (437–367 BC) moved the capital to Anuradhapura and developed it into a prosperous city. Anuradhapura (Anurapura) was named after the minister who first established the village and after a grandfather of Pandukabhaya who lived there.",
"Anuradhapura (Anurapura) was named after the minister who first established the village and after a grandfather of Pandukabhaya who lived there. The name was also derived from the city's establishment on the auspicious asterism called Anura. Anuradhapura was the capital of all the monarchs who ruled from the dynasty.",
"Anuradhapura was the capital of all the monarchs who ruled from the dynasty. Rulers such as Dutthagamani, Valagamba, and Dhatusena are noted for defeating the South Indians and regaining control of the kingdom.",
"Rulers such as Dutthagamani, Valagamba, and Dhatusena are noted for defeating the South Indians and regaining control of the kingdom. Other rulers who are notable for military achievements include Gajabahu I, who launched an invasion against the invaders, and Sena II, who sent his armies to assist a Pandyan prince.",
"Other rulers who are notable for military achievements include Gajabahu I, who launched an invasion against the invaders, and Sena II, who sent his armies to assist a Pandyan prince. Polonnaruwa period During the Middle Ages Sri Lanka was well known for its agricultural prosperity under king Parakramabahu in Polonnaruwa during which period the island was famous around the world as the rice mill of the east.",
"Polonnaruwa period During the Middle Ages Sri Lanka was well known for its agricultural prosperity under king Parakramabahu in Polonnaruwa during which period the island was famous around the world as the rice mill of the east. Transitional period Later in the 13th century the country's administrative provinces were divided into independent kingdoms and chieftaincies: Kingdom of Sitawaka, Kingdom of Kotte, Jaffna Kingdom and the Kandyan kingdom.",
"Transitional period Later in the 13th century the country's administrative provinces were divided into independent kingdoms and chieftaincies: Kingdom of Sitawaka, Kingdom of Kotte, Jaffna Kingdom and the Kandyan kingdom. The invasion by the Hindu king Magha in the 13th century led to migrations by the Buddhists (mostly Sinhalese) to areas not under his control.",
"The invasion by the Hindu king Magha in the 13th century led to migrations by the Buddhists (mostly Sinhalese) to areas not under his control. This migration was followed by a period of conflict among the Sinhalese chiefs who tried to exert political supremacy.",
"This migration was followed by a period of conflict among the Sinhalese chiefs who tried to exert political supremacy. Parakramabahu VI, a Sinhalese king invaded the Jaffna Kingdom and conquered it, bringing the entire country back under the Sinhalese kingdom.",
"Parakramabahu VI, a Sinhalese king invaded the Jaffna Kingdom and conquered it, bringing the entire country back under the Sinhalese kingdom. Trade also increased during this period, as Sri Lanka began to trade cinnamon and a large number of Muslim traders were bought into the island.",
"Trade also increased during this period, as Sri Lanka began to trade cinnamon and a large number of Muslim traders were bought into the island. In the 15th century a Kandyan Kingdom formed which divided the Sinhalese politically into low-country and up-country.",
"In the 15th century a Kandyan Kingdom formed which divided the Sinhalese politically into low-country and up-country. In this period, the Sinhalese caste structure absorbed recent Dravidian Hindu immigrants from South India leading to the emergence of three new Sinhalese caste groups - the Salagama, the Durava and the Karava.",
"In this period, the Sinhalese caste structure absorbed recent Dravidian Hindu immigrants from South India leading to the emergence of three new Sinhalese caste groups - the Salagama, the Durava and the Karava. Modern history The Sinhalese have a stable birth rate and a population that has been growing at a slow pace relative to India and other Asian countries.",
"Modern history The Sinhalese have a stable birth rate and a population that has been growing at a slow pace relative to India and other Asian countries. Society Demographics Sri Lanka Within Sri Lanka the majority of the Sinhalese reside in the South, Central, Sabaragamuwa and Western parts of the country.",
"Society Demographics Sri Lanka Within Sri Lanka the majority of the Sinhalese reside in the South, Central, Sabaragamuwa and Western parts of the country. This coincides with the largest Sinhalese populations areas in Sri Lanka. Cities with more than 90% Sinhalese population include Hambantota, Galle, Gampaha, Kurunegala, Monaragala, Anuradhapura and Polonnaruwa.",
"Cities with more than 90% Sinhalese population include Hambantota, Galle, Gampaha, Kurunegala, Monaragala, Anuradhapura and Polonnaruwa. Diaspora Sinhalese people have emigrated out to many countries for a variety of reasons. The larger diaspora communities are situated in the United Kingdom, Australia, United States and Canada among others.",
"The larger diaspora communities are situated in the United Kingdom, Australia, United States and Canada among others. In addition to this there are many Sinhalese, who reside in the Middle East, Southeast Asia and Europe, temporarily in connection with employment and/or education.",
"In addition to this there are many Sinhalese, who reside in the Middle East, Southeast Asia and Europe, temporarily in connection with employment and/or education. They are often employed as guest workers in the Middle East and professionals in the other regions.",
"They are often employed as guest workers in the Middle East and professionals in the other regions. The largest population centres of the Sinhalese diaspora are mainly situated in Europe, North America and Australia. The city of Melbourne contains just under half of the Sri Lankan Australians. The 2011 census recorded 86,412 Sri Lanka born in Australia.",
"The 2011 census recorded 86,412 Sri Lanka born in Australia. There are 73,849 Australians (0.4 of the population) who reported having Sinhalese ancestry in 2006. Sinhala was also reported to be the 29th-fastest-growing language in Australia (ranking above Somali but behind Hindi and Belarusian).",
"Sinhala was also reported to be the 29th-fastest-growing language in Australia (ranking above Somali but behind Hindi and Belarusian). Sinhalese Australians have an exceptionally low rate of return migration to Sri Lanka. In the 2011 Canadian Census, 7,220 people identified themselves as of Sinhalese ancestry, out of 139,415 Sri Lankans.",
"In the 2011 Canadian Census, 7,220 people identified themselves as of Sinhalese ancestry, out of 139,415 Sri Lankans. There are a small number of Sinhalese people in India, scattered around the country, but mainly living in and around the northern and southern regions.",
"There are a small number of Sinhalese people in India, scattered around the country, but mainly living in and around the northern and southern regions. Sri Lankan New Zealanders comprised 3% of the Asian population of New Zealand in 2001.",
"Sri Lankan New Zealanders comprised 3% of the Asian population of New Zealand in 2001. The numbers arriving continued to increase, and at the 2018 census there were over 16,000 Sri Lankans living in New Zealand among those 9,171 were Sinhalese. In the U.S, the Sinhalese number about 12,000 people.",
"In the U.S, the Sinhalese number about 12,000 people. The New York City Metropolitan Area contains the largest Sri Lankan community in the United States, receiving the highest legal permanent resident Sri Lankan immigrant population, followed by Central New Jersey and the Los Angeles metropolitan area. Many Sinhalese have migrated to Italy since the 1970s.",
"Many Sinhalese have migrated to Italy since the 1970s. Italy was attractive to the Sinhalese due to perceived easier employment opportunities and entry, compared to other European countries. It is estimated that there are 30,000-33,000 Sinhalese in Italy.",
"It is estimated that there are 30,000-33,000 Sinhalese in Italy. The major Sinhalese communities in Italy are located in Lombardia (In the districts Loreto and Lazzaretto), Milan, Lazio, Rome, Naples, and Southern Italy (Particularly Palermo, Messina and Catania).",
"The major Sinhalese communities in Italy are located in Lombardia (In the districts Loreto and Lazzaretto), Milan, Lazio, Rome, Naples, and Southern Italy (Particularly Palermo, Messina and Catania). It should be noted however that many countries census list Sri Lankan which also includes Sri Lankan Tamils so the numbers of just Sinhalese are not as accurate when the census states Sri Lankan and not Sinhalese.",
"It should be noted however that many countries census list Sri Lankan which also includes Sri Lankan Tamils so the numbers of just Sinhalese are not as accurate when the census states Sri Lankan and not Sinhalese. Though Sinhalese people in particular and Sri Lankans in general have migrated to the UK over the centuries beginning from the colonial times, the number of Sinhalese people in the UK cannot be estimated accurately due to inadequacies of census in the UK.",
"Though Sinhalese people in particular and Sri Lankans in general have migrated to the UK over the centuries beginning from the colonial times, the number of Sinhalese people in the UK cannot be estimated accurately due to inadequacies of census in the UK. The UK government does not record statistics on the basis of language or ethnicity and all Sri Lankans are classified into one group as Asian British or Asian Other.",
"The UK government does not record statistics on the basis of language or ethnicity and all Sri Lankans are classified into one group as Asian British or Asian Other. Language and literature Sinhalese people speak Sinhala, also known as \"Helabasa\"; this language has two varieties, spoken and written.",
"Language and literature Sinhalese people speak Sinhala, also known as \"Helabasa\"; this language has two varieties, spoken and written. Sinhala is an Indo-Aryan language within the broader group of Indo-European languages.",
"Sinhala is an Indo-Aryan language within the broader group of Indo-European languages. The early form of the language was brought to Sri Lanka by the ancestors of the Sinhalese people from northern India who settled on the island in the 6th century BCE.",
"The early form of the language was brought to Sri Lanka by the ancestors of the Sinhalese people from northern India who settled on the island in the 6th century BCE. Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages.",
"Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages. It was influenced by many languages, prominently Pali, the sacred language of Southern Buddhism, Telugu and Sanskrit. Many early texts in the language such as the Hela Atuwa were lost after their translation into Pali.",
"Many early texts in the language such as the Hela Atuwa were lost after their translation into Pali. Other significant Sinhala texts include Amāvatura, Kavu Silumina, Jathaka Potha and Sala Liheeniya. Sinhala has also adopted many loanwords of foreign origin, including from many Indian such as Tamil and European languages such as Portuguese, Dutch, and English.",
"Sinhala has also adopted many loanwords of foreign origin, including from many Indian such as Tamil and European languages such as Portuguese, Dutch, and English. Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world.",
"Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world. The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages.",
"The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages. Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and foreign films.",
"Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and foreign films. Additionally many Dutch and Portuguese words can be seen in the coastal areas.",
"Additionally many Dutch and Portuguese words can be seen in the coastal areas. Sinhalese people, depending on where they live in Sri Lanka, may also additionally speak English and or Tamil. According to the 2012 Census 23.8% or 3,033,659 Sinhalese people also spoke English and 6.4% or 812,738 Sinhalese people also spoke Tamil.",
"According to the 2012 Census 23.8% or 3,033,659 Sinhalese people also spoke English and 6.4% or 812,738 Sinhalese people also spoke Tamil. In the Negombo area bilingual fishermen who generally identify themselves as Sinhalese also speak the Negombo Tamil dialect. This dialect has undergone considerable convergence with spoken Sinhala.",
"This dialect has undergone considerable convergence with spoken Sinhala. Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today. Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance.",
"Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance. Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son.",
"Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son. In the modern period, Sinhala writers such as Martin Wickremasinghe and G. B. Senanayake have drawn widespread acclaim. Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake.",
"Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake. Martin Wickramasinghe wrote the immensely popular children's novel Madol Duwa. Munadasa Cumaratunga's Hath Pana is also widely known. Religion The form of Buddhism in Sri Lanka is known as Theravada (school of elders).",
"Religion The form of Buddhism in Sri Lanka is known as Theravada (school of elders). The Pali chronicles (e.g., the Mahavansa) claim that the Sinhalese as an ethnic group are destined to preserve and protect Buddhism. In 1988 almost 93% of the Sinhala speaking population in Sri Lanka were Buddhist.",
"In 1988 almost 93% of the Sinhala speaking population in Sri Lanka were Buddhist. Observations of current religious beliefs and practices demonstrate that the Sinhalese, as a religious community, have a complex worldview as Buddhists.",
"Observations of current religious beliefs and practices demonstrate that the Sinhalese, as a religious community, have a complex worldview as Buddhists. Due to the proximity and on some occasions similarity of certain doctrines, there are many areas where Buddhists and Hindus share religious views and practices.",
"Due to the proximity and on some occasions similarity of certain doctrines, there are many areas where Buddhists and Hindus share religious views and practices. Sinhalese Buddhists have adopted religious elements from Hindu traditions in their religious practices.",
"Sinhalese Buddhists have adopted religious elements from Hindu traditions in their religious practices. Some of these practices may relate to ancient indigenous beliefs and traditions on spirits (folk religion), and the worship of Hindu deities. Some of these figures are used in healing rituals and may be native to the island.",
"Some of these figures are used in healing rituals and may be native to the island. Gods and goddess derived from Hindu deities are worshiped by Sinhalese. Kataragama Deviyo from Kartikeya, Upulvan from Vishnu and Ayyanayake from Aiyanar can be named as examples.",
"Kataragama Deviyo from Kartikeya, Upulvan from Vishnu and Ayyanayake from Aiyanar can be named as examples. Though these gods take the same place as their Hindu counterparts in mythology, some of their aspects are different compared to the original gods.",
"Though these gods take the same place as their Hindu counterparts in mythology, some of their aspects are different compared to the original gods. Prominent Sri Lankan anthropologists Gananath Obeyesekere and Kitsiri Malalgoda used the term \"Protestant Buddhism\" to describe a type of Buddhism that appeared among the Sinhalese in Sri Lanka as a response to Protestant Christian missionaries and their evangelical activities during the British colonial period.",
"Prominent Sri Lankan anthropologists Gananath Obeyesekere and Kitsiri Malalgoda used the term \"Protestant Buddhism\" to describe a type of Buddhism that appeared among the Sinhalese in Sri Lanka as a response to Protestant Christian missionaries and their evangelical activities during the British colonial period. This kind of Buddhism involved emulating the Protestant strategies of organising religious practices.",
"This kind of Buddhism involved emulating the Protestant strategies of organising religious practices. They saw the need to establish Buddhist schools for educating Buddhist youth and organising Buddhists with new organisations such as the Young Men's Buddhist Association, as well as printing pamphlets to encourage people to participate in debates and religious controversies to defend Buddhism.",
"They saw the need to establish Buddhist schools for educating Buddhist youth and organising Buddhists with new organisations such as the Young Men's Buddhist Association, as well as printing pamphlets to encourage people to participate in debates and religious controversies to defend Buddhism. Christianity There is a significant Sinhalese Christian community, in the maritime provinces of Sri Lanka.",
"Christianity There is a significant Sinhalese Christian community, in the maritime provinces of Sri Lanka. Christianity was brought to the Sinhalese by Portuguese, Dutch, and British missionary groups during their respective periods of rule. Most Sinhalese Christians are Roman Catholic; a minority are Protestant. Their cultural centre is Negombo.",
"Their cultural centre is Negombo. Their cultural centre is Negombo. Religion is considered very important among the Sinhalese. According to a 2008 Gallup poll, 99% of Sri Lankans considered religion an important aspect of their daily lives. Genetics Modern studies point towards a predominantly Bengali contribution and a minor Tamil influence.",
"Genetics Modern studies point towards a predominantly Bengali contribution and a minor Tamil influence. Gujarati and Punjabi lineages are also visible. In relation to the former, other studies also show the Sinhalese possess some genetic admixture from Southeast Asian populations, especially from Austroasiatic groups.",
"In relation to the former, other studies also show the Sinhalese possess some genetic admixture from Southeast Asian populations, especially from Austroasiatic groups. Certain Y-DNA and mtDNA haplogroups and genetic markers of immunoglobulin among the Sinhalese, for example, show Southeast Asian genetic influences many of which are also found among certain Northeast Indian populations to whom the Sinhalese are genetically related.",
"Certain Y-DNA and mtDNA haplogroups and genetic markers of immunoglobulin among the Sinhalese, for example, show Southeast Asian genetic influences many of which are also found among certain Northeast Indian populations to whom the Sinhalese are genetically related. Culture Sinhalese culture is a unique one dating as far back as 2600 years and has been nourished by Theravada Buddhism.",
"Culture Sinhalese culture is a unique one dating as far back as 2600 years and has been nourished by Theravada Buddhism. Its main domains are sculpture, fine arts, literature, dancing, poetry and a wide variety of folk beliefs and rituals traditionally.",
"Its main domains are sculpture, fine arts, literature, dancing, poetry and a wide variety of folk beliefs and rituals traditionally. Ancient Sinhala stone sculpture and inscriptions are known worldwide and is a main foreign attraction in modern tourism. Sigirirya is famous for its frescoes.",
"Sigirirya is famous for its frescoes. Folk poems were sung by workers to accompany their work and narrate the story of their lives. Ideally these poems consisted of four lines and, in the composition of these poems, special attention had been paid to the rhyming patterns. Buddhist festivals are dotted by unique music using traditionally Sinhalese instruments.",
"Buddhist festivals are dotted by unique music using traditionally Sinhalese instruments. More ancient rituals like (devil exorcism) continue to enthrall audiences today and often praised and invoked the good powers of the Buddha and the gods in order to exorcise the demons.",
"More ancient rituals like (devil exorcism) continue to enthrall audiences today and often praised and invoked the good powers of the Buddha and the gods in order to exorcise the demons. Folklore and national mythology According to the Mahavamsa, the Sinhalese are descended from the exiled Prince Vijaya and his party of seven hundred followers who arrived on the island in 543 BCE.",
"Folklore and national mythology According to the Mahavamsa, the Sinhalese are descended from the exiled Prince Vijaya and his party of seven hundred followers who arrived on the island in 543 BCE. Vijaya and his followers were said to have arrived in Sri Lanka after being exiled from the city of Sinhapura in Bengal.",
"Vijaya and his followers were said to have arrived in Sri Lanka after being exiled from the city of Sinhapura in Bengal. The modern Sinhalese people were found genetically to be most closely related to the people of North-East India (Bengal).",
"The modern Sinhalese people were found genetically to be most closely related to the people of North-East India (Bengal). It is thought throughout Sri Lanka's history, since the founding of the Sinhalese in the 5th century BC that an influx of Indians from North India came to the island.",
"It is thought throughout Sri Lanka's history, since the founding of the Sinhalese in the 5th century BC that an influx of Indians from North India came to the island. This is further supported from Sinhala being part of the Indo-Aryan language group. Traditionally during recreation the Sinhalese wear a sarong (sarama in Sinhala).",
"Traditionally during recreation the Sinhalese wear a sarong (sarama in Sinhala). Men may wear a long-sleeved shirt with a sarong. Clothing varies by region for women. Low country Sinhalese women wear a white Long sleeved jacket, and a tight wrap around skirt, which usually is embedded with a floral or pattern design.",
"Low country Sinhalese women wear a white Long sleeved jacket, and a tight wrap around skirt, which usually is embedded with a floral or pattern design. As for the up country Sinhalese, women wear a similar outfit, but with a puffed up shoulder jacket, and a tucked in frill that lines the top of the skirt (Reda and Hatte in Sinhala).",
"As for the up country Sinhalese, women wear a similar outfit, but with a puffed up shoulder jacket, and a tucked in frill that lines the top of the skirt (Reda and Hatte in Sinhala). Traditionally, high caste Kandyan women wear a Kandyan style sari, which is similar to the Maharashtrian sari, with the drape but with a frill lining the bottom half and sometimes puffed up sleeves.",
"Traditionally, high caste Kandyan women wear a Kandyan style sari, which is similar to the Maharashtrian sari, with the drape but with a frill lining the bottom half and sometimes puffed up sleeves. It’s also called an Osariya. The low country high caste women wear a South Indian style saree.",
"The low country high caste women wear a South Indian style saree. Within the more populated areas, Sinhalese men also wear Western-style clothing — wearing suits while the women wear skirts and blouses.",
"Within the more populated areas, Sinhalese men also wear Western-style clothing — wearing suits while the women wear skirts and blouses. For formal and ceremonial occasions women wear the traditional Kandyan (Osariya) style, which consists of a full blouse which covers the midriff completely, and is partially tucked in at the front.",
"For formal and ceremonial occasions women wear the traditional Kandyan (Osariya) style, which consists of a full blouse which covers the midriff completely, and is partially tucked in at the front. However, modern intermingling of styles has led to most wearers baring the midriff. The Kandyan style is considered as the national dress of Sinhalese women.",
"The Kandyan style is considered as the national dress of Sinhalese women. In many occasions and functions, even the saree plays an important role in women's clothing and has become the de facto clothing for female office workers especially in government sector. An example of its use is the uniform of air hostesses of Sri Lankan Airlines.",
"An example of its use is the uniform of air hostesses of Sri Lankan Airlines. Cuisine Sinhalese cuisine is one of the most complex cuisines of South Asia. As a major trade hub, it draws influence from colonial powers that were involved in Sri Lanka and by foreign traders.",
"As a major trade hub, it draws influence from colonial powers that were involved in Sri Lanka and by foreign traders. Rice, which is consumed daily, can be found at any occasion, while spicy curries are favourite dishes for lunch and dinner.",
"Rice, which is consumed daily, can be found at any occasion, while spicy curries are favourite dishes for lunch and dinner. Some of the Sri Lankan dishes have striking resemblance to Kerala cuisine, which could be due to the similar geographic and agricultural features with Kerala.",
"Some of the Sri Lankan dishes have striking resemblance to Kerala cuisine, which could be due to the similar geographic and agricultural features with Kerala. A well-known rice dish with Sinhalese is Kiribath, meaning ‘milk rice’. In addition to , Sinhalese eat , chopped leaves mixed with grated coconut and red onions.",
"In addition to , Sinhalese eat , chopped leaves mixed with grated coconut and red onions. Coconut milk is found in most Sri Lankan dishes to give the cuisine its unique flavour. Sri Lanka has long been renowned for its spices. The best known is cinnamon which is native to Sri Lanka.",
"The best known is cinnamon which is native to Sri Lanka. In the 15th and 16th centuries, spice and ivory traders from all over the world who came to Sri Lanka brought their native cuisines to the island, resulting in a rich diversity of cooking styles and techniques.",
"In the 15th and 16th centuries, spice and ivory traders from all over the world who came to Sri Lanka brought their native cuisines to the island, resulting in a rich diversity of cooking styles and techniques. Lamprais, rice boiled in stock with a special curry, accompanied by frikkadels (meatballs), all of which is then wrapped in a banana leaf and baked as a Dutch-influenced Sri Lankan dish.",
"Lamprais, rice boiled in stock with a special curry, accompanied by frikkadels (meatballs), all of which is then wrapped in a banana leaf and baked as a Dutch-influenced Sri Lankan dish. Dutch and Portuguese sweets also continue to be popular. British influences include roast beef and roast chicken.",
"British influences include roast beef and roast chicken. Also, the influence of the Indian cooking methods and food have played a major role in what Sri Lankans eat. The island nation's cuisine mainly consists of boiled or steamed rice served with curry.",
"The island nation's cuisine mainly consists of boiled or steamed rice served with curry. This usually consists of a main curry of fish or chicken, as well as several other curries made with vegetables, lentils and even fruit curries. Side-dishes include pickles, chutneys and .",
"Side-dishes include pickles, chutneys and . The most famous of these is the coconut sambol, made of ground coconut mixed with chili peppers, dried Maldive fish and lime juice. This is ground to a paste and eaten with rice, as it gives zest to the meal and is believed to increase appetite.",
"This is ground to a paste and eaten with rice, as it gives zest to the meal and is believed to increase appetite. Art and architecture Many forms of Sri Lankan arts and crafts take inspiration from the island's long and lasting Buddhist culture which in turn has absorbed and adopted countless regional and local traditions.",
"Art and architecture Many forms of Sri Lankan arts and crafts take inspiration from the island's long and lasting Buddhist culture which in turn has absorbed and adopted countless regional and local traditions. In most instances Sri Lankan art originates from religious beliefs, and is represented in many forms such as painting, sculpture, and architecture.",
"In most instances Sri Lankan art originates from religious beliefs, and is represented in many forms such as painting, sculpture, and architecture. One of the most notable aspects of Sri Lankan art are caves and temple paintings, such as the frescoes found at Sigiriya, and religious paintings found in temples in Dambulla and Temple of the Tooth Relic in Kandy.",
"One of the most notable aspects of Sri Lankan art are caves and temple paintings, such as the frescoes found at Sigiriya, and religious paintings found in temples in Dambulla and Temple of the Tooth Relic in Kandy. Other popular forms of art have been influenced by both natives as well as outside settlers.",
"Other popular forms of art have been influenced by both natives as well as outside settlers. For example, traditional wooden handicrafts and clay pottery are found around the hill country while Portuguese-inspired lacework and Indonesian-inspired Batik have become notable. It has many different and beautiful drawings.",
"It has many different and beautiful drawings. Developed upon Indo-Aryan architectural skills in the late 6th century BCE Sinhalese people who lived upon greater kingdoms such as Anuradhapura and Polonnaruwa have built so many architectural examples such as Ruwanwelisaya, Jetavanaramaya - second tallest brick building in the ancient world after Great Pyramid of Giza, and Abayagiriya - third tallest brick building in the ancient world.",
"Developed upon Indo-Aryan architectural skills in the late 6th century BCE Sinhalese people who lived upon greater kingdoms such as Anuradhapura and Polonnaruwa have built so many architectural examples such as Ruwanwelisaya, Jetavanaramaya - second tallest brick building in the ancient world after Great Pyramid of Giza, and Abayagiriya - third tallest brick building in the ancient world. And also with the ancient hydraulic technology which is also unique to Sinhalese people to build ancient tanks, systematic ponds with fountains moats and Irrigational reservoirs such as Parakrama Samudra, Kaudulla and Kandalama.",
"And also with the ancient hydraulic technology which is also unique to Sinhalese people to build ancient tanks, systematic ponds with fountains moats and Irrigational reservoirs such as Parakrama Samudra, Kaudulla and Kandalama. Sigiriya which is considered by many as the 8th wonder of the world, it is a combination of natural and man made fortress, which consists so many architectural aspects.",
"Sigiriya which is considered by many as the 8th wonder of the world, it is a combination of natural and man made fortress, which consists so many architectural aspects. Music There are extensive folk poems relating to specific jobs of the ancient society.",
"Music There are extensive folk poems relating to specific jobs of the ancient society. These poems were communal songs which had a rhythm that were sung when performing day-to-day tasks like harvesting and sowing. Concerning popular music, Ananda Samarakoon developed the reflective and poignant Sarala gee style with his work in the late 1930s/early 1940s.",
"Concerning popular music, Ananda Samarakoon developed the reflective and poignant Sarala gee style with his work in the late 1930s/early 1940s. He has been followed by artists of repute such as Sunil Shantha, W. D. Amaradeva, Premasiri Khemadasa, Nanda Malini, Victor Ratnayake, Austin Munasinghe, T. M. Jayaratne, Sanath Nandasiri, Sunil Edirisinghe, Neela Wickremasinghe, Gunadasa Kapuge, Malini Bulathsinghala and Edward Jayakody.",
"He has been followed by artists of repute such as Sunil Shantha, W. D. Amaradeva, Premasiri Khemadasa, Nanda Malini, Victor Ratnayake, Austin Munasinghe, T. M. Jayaratne, Sanath Nandasiri, Sunil Edirisinghe, Neela Wickremasinghe, Gunadasa Kapuge, Malini Bulathsinghala and Edward Jayakody. Film and theatre Dramatist Ediriweera Sarachchandra revitalised the drama form with Maname in 1956.",
"Film and theatre Dramatist Ediriweera Sarachchandra revitalised the drama form with Maname in 1956. The same year, film director Lester James Peries created the artistic masterwork Rekava which sought to create a uniquely Sinhalese cinema with artistic integrity. Since then, Peries and other directors like Vasantha Obeysekera, Dharmasena Pathiraja, Mahagama Sekera, W. A.",
"Since then, Peries and other directors like Vasantha Obeysekera, Dharmasena Pathiraja, Mahagama Sekera, W. A. B. de Silva, Dharmasiri Bandaranayake, Sunil Ariyaratne, Siri Gunasinghe, G. D. L. Perera, Piyasiri Gunaratne, Titus Thotawatte, D. B. Nihalsinghe, Ranjith Lal, Dayananda Gunawardena, Mudalinayake Somaratne, Asoka Handagama, and Prasanna Vithanage have developed an artistic Sinhalese cinema.",
"B. de Silva, Dharmasiri Bandaranayake, Sunil Ariyaratne, Siri Gunasinghe, G. D. L. Perera, Piyasiri Gunaratne, Titus Thotawatte, D. B. Nihalsinghe, Ranjith Lal, Dayananda Gunawardena, Mudalinayake Somaratne, Asoka Handagama, and Prasanna Vithanage have developed an artistic Sinhalese cinema. Sinhala cinema is often made colourful with the incorporation of songs and dance adding more uniqueness to the industry.",
"Sinhala cinema is often made colourful with the incorporation of songs and dance adding more uniqueness to the industry. In the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success.",
"In the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success. Performing arts Performing arts of the Sinhalese people can be categorised into few groups: Kandyan dance consist of 18 Wannam (dance routines) featuring behaviours of various animals such as elephant, eagle, cobra, monkey, peacock and rabbit, mainly performing in the annual Perahara pageant in Sri Dalada Maligawa Kandy.",
"Performing arts Performing arts of the Sinhalese people can be categorised into few groups: Kandyan dance consist of 18 Wannam (dance routines) featuring behaviours of various animals such as elephant, eagle, cobra, monkey, peacock and rabbit, mainly performing in the annual Perahara pageant in Sri Dalada Maligawa Kandy. Pahatharata dance have a significant dancing style which is used to cure illnesses and spiritual clarification.",
"Pahatharata dance have a significant dancing style which is used to cure illnesses and spiritual clarification. The main feature of these dances is dancers wear masks representing various gods and demons, and use elements such as fire and water to bless people. Sabaragamuwa dances have also a significant dancing style, mainly to entertain people.",
"Sabaragamuwa dances have also a significant dancing style, mainly to entertain people. Folk music and dances differ according to the casts of Sinhalese people and also some times regionally—mainly popular among small children, especially girls. These arts are widely performed during the Sinhalese New Year period. Martial arts Angampora is the traditional martial art of the Sinhalese people.",
"Martial arts Angampora is the traditional martial art of the Sinhalese people. It combines combat techniques, self-defence, sport, exercise and meditation. Key techniques observed in Angampora are: Angam, which incorporates hand-to-hand fighting, and Illangam, which uses indigenous weapons such as Velayudaya, staves, knives and swords.",
"Key techniques observed in Angampora are: Angam, which incorporates hand-to-hand fighting, and Illangam, which uses indigenous weapons such as Velayudaya, staves, knives and swords. Its most distinct feature is the use of pressure point attacks to inflict pain or permanently paralyse the opponent.",
"Its most distinct feature is the use of pressure point attacks to inflict pain or permanently paralyse the opponent. Fighters usually make use of both striking and grappling techniques, and fight until the opponent is caught in a submission lock that they cannot escape. Usage of weapons is discretionary.",
"Usage of weapons is discretionary. Usage of weapons is discretionary. Perimeters of fighting are defined in advance, and in some of the cases is a pit. Angampora became nearly extinct after the country came under British rule in 1815, but survived in a few families until the country regained independence.",
"Angampora became nearly extinct after the country came under British rule in 1815, but survived in a few families until the country regained independence. Science and education The Sinhalese have a long history of literacy and formal learning. Instruction in basic fields like writing and reading by Buddhist Monks pre-date the birth of Christ.",
"Instruction in basic fields like writing and reading by Buddhist Monks pre-date the birth of Christ. This traditional system followed religious rule and was meant to foster Buddhist understanding. Training of officials in such skills as keeping track of revenue and other records for administrative purposes occurred under this institution.",
"Training of officials in such skills as keeping track of revenue and other records for administrative purposes occurred under this institution. Technical education such as the building of reservoirs and canals was passed down from generation to generation through home training and outside craft apprenticeships.",
"Technical education such as the building of reservoirs and canals was passed down from generation to generation through home training and outside craft apprenticeships. The arrival of the Portuguese and Dutch and the subsequent colonisation maintained religion as the centre of education though in certain communities under Catholic and Presbyterian hierarchy. The British in the 1800s initially followed the same course.",
"The British in the 1800s initially followed the same course. Following 1870 however they began a campaign for better education facilities in the region. Christian missionary groups were at the forefront of this development contributing to a high literacy among Christians. By 1901 schools in the South and the North were well tended. The inner regions lagged behind however.",
"The inner regions lagged behind however. Also, English education facilities presented hurdles for the general populace through fees and lack of access. Medicine Traditional Sinhalese villages in early days had at least one chief Medical personnel called Weda Mahaththaya (Doctor). These people practice their clinical activities by inheritance.",
"These people practice their clinical activities by inheritance. Sinhalese Medicine resembles some of Ayurvedic practices in contrast for some treatments they use Buddhist Chantings (Pirith) in order to strengthen the effectiveness.",
"Sinhalese Medicine resembles some of Ayurvedic practices in contrast for some treatments they use Buddhist Chantings (Pirith) in order to strengthen the effectiveness. According to the Mahavamsa, the ancient chronicle, Pandukabhaya of Sri Lanka (437 BC – 367 BC) had lying-in-homes and Ayurvedic hospitals (Sivikasotthi-Sala) built in various parts of the country.",
"According to the Mahavamsa, the ancient chronicle, Pandukabhaya of Sri Lanka (437 BC – 367 BC) had lying-in-homes and Ayurvedic hospitals (Sivikasotthi-Sala) built in various parts of the country. This is the earliest documentary evidence we have of institutions specifically dedicated to the care of the sick anywhere in the world.",
"This is the earliest documentary evidence we have of institutions specifically dedicated to the care of the sick anywhere in the world. Mihintale Hospital is the oldest in the world. See also List of Sinhalese people Sinhalese Buddhist nationalism References Citations Sources De Silva, K. M. History of Sri Lanka (Univ.",
"See also List of Sinhalese people Sinhalese Buddhist nationalism References Citations Sources De Silva, K. M. History of Sri Lanka (Univ. of Calif. Press, 1981) Gunasekera, Tamara. Hierarchy and Egalitarianism: Caste, Class, and Power in Sinhalese Peasant Society (Athlone, 1994). Roberts, Michael.",
"Roberts, Michael. Roberts, Michael. Sri Lanka: Collective Identities Revisited (Colombo-Marga Institute, 1997). Wickremeratne, Ananda. Buddhism and Ethnicity in Sri Lanka: A Historical Analysis (New Delhi-Vikas Publishing House, 1995).",
"Buddhism and Ethnicity in Sri Lanka: A Historical Analysis (New Delhi-Vikas Publishing House, 1995). External links CIA Factbook-Sri Lanka Department of Census and Statistics-Sri Lanka Ethnologue-Sinhala, a language of Sri Lanka CIA Factbook-Sri Lanka Sinhalese Who are the Sinhalese Buddhist communities of Sri Lanka Ethnic groups in Sri Lanka Ethnic groups in the Indian Ocean Indo-Aryan peoples Sinhalese diaspora Sinhalese culture"
] |
[
"Sinhalese people",
"Language and literature",
"what language did the sinhalese people use?",
"The Sinhalese speak Sinhala, also known as \"Helabasa\";",
"is it a widely known language?",
"I don't know.",
"Are there any other interesting aspects about this article?",
"Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today.",
"what were the folk tales about?",
"Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance."
] | C_6531bbbb4dba4483bed9d12220555c4f_1 | are any of these folks books to this day? | 5 | are any of the Sinhalese folks books people today? | Sinhalese people | The Sinhalese speak Sinhala, also known as "Helabasa"; this language has two varieties, spoken and written. Sinhala is an Indo-Aryan language within the broader group of Indo-European languages. The language was brought to Sri Lanka by the ancestors of the Sinhalese from northern India who settled on the island in the 6th century BCE. Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages. Sinhala was influenced by many languages, prominently Pali, the sacred language of Southern Buddhism, and Sanskrit. Many early Sinhala texts such as the Hela Atuwa were lost after their translation into Pali. Other significant Sinhala texts include Amavatura, Kavu Silumina, Jathaka Potha and Sala Liheeniya. Sinhala has also adopted many loanwords of foreign origin, including from many Indian languages and colonial languages Portuguese, Dutch, and English. Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world. The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages. Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and Hollywood movies. Additionally many Dutch and Portuguese words can be seen in the coastal areas. Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today. Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance. Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son. In the modern period, Sinhala writers such as Martin Wickremasinghe and G. B. Senanayake have drawn widespread acclaim. Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake. Martin Wickramasinghe wrote the immensely popular children's novel Madol Duwa. Munadasa Cumaratunga's Hath Pana is also widely known. CANNOTANSWER | continue to entertain children today. | Sinhalese people () are an Indo-Aryan ethnic group native to the island of Sri Lanka. They were historically known as Hela people (). They constitute about 75% of the Sri Lankan population and number greater than 16.2 million. The Sinhalese identity is based on language, cultural heritage and nationality. The Sinhalese people speak Sinhala, an insular Indo-Aryan language, and are predominantly Theravada Buddhists, although a minority of Sinhalese follow branches of Christianity and
other religions. Since 1815, they were broadly divided into two respective groups: The 'Up-country Sinhalese' in the central mountainous regions, and the 'Low-country Sinhalese' in the coastal regions; although both groups speak the same language, they are distinguished as they observe different cultural customs.
According to the Mahavamsa and the Dipavamsa, a 3rd–5th century treatise written in Pali by Buddhist monks of the Anuradhapura Maha Viharaya in Sri Lanka, the Sinhalese descend from settlers who came to the island in 543 BCE from Sinhapura led by Prince Vijaya who mixed with the indigenous Yakka and later settlers from the Pandya kingdom.
Etymology
From the Sanskrit word Sinhala, meaning literally "of lions".
The Mahavamsa records the origin of the Sinhalese people and related historical events. It traces the historical origin of the Sinhalese people back to the first king who mentioned in the documentary history of Sri Lanka, Vijaya, who is the son of Sinhabahu (Sanskrit meaning 'Sinha' (lion) + 'bahu' (hands, feet), the ruler of Sinhapura. Some versions suggest Vijaya is the grandson of Sinhabahu. According to the Mahavamsa, Sinhabahu was the son of princess Suppadevi of Vanga, who copulated with a lion and gave birth to a daughter called Sinhasivali and to a son, Sinhabahu, whose hands and feet were like the paws of a lion and who had the strength of a lion. King Vijaya, the lineage of Sinhabahu, according to the Mahavamsa and other historical sources, arrived on the island of Tambapanni (Sri Lanka) and gave origin to the lion people, Sinhalese.
The story of the arrival of Prince Vijaya in Sri Lanka and the origin of the Sinhalese people is also depicted in the Ajanta caves, in a mural of cave number 17. According to Arisen Ahubudu, there were four major clans of "hela" in ancient Sri Lanka even before the arrival of Prince Vijaya, and that Sri Lanka was called as "Siv hela" (siv=four in the Sinhala language) and later it was changed into "Sinhala".
History
The early recorded history of the Sinhalese is chronicled in two documents, the Mahavamsa, written in Pāli around the 4th century CE, and the later Culavamsa (the first segment probably penned in the 13th century CE by the Buddhist monk Dhammakitti). These are ancient sources that cover the histories of the powerful ancient Sinhalese kingdoms of Anuradhapura and Polonnaruwa which lasted for 1500 years. The Mahavamsa describes the existence of fields of rice and reservoirs, indicating a well-developed agrarian society.
Pre Anuradhapura period
According to Mahavamsa, Prince Vijaya and his 700 followers left Suppāraka, landed on the island at a site believed by historians to be in the district of Puttalam, south of modern-day Mannar and founded the Kingdom of Thambapanni. It is recorded the Vijaya made his landing on the day of Buddha's Parinirvana. Vijaya claimed Tambapanni his capital and soon the whole island come under this name. Tambapanni was originally inhabited and governed by Yakkhas, having their capital at Sirīsavatthu and their queen Kuveni. According to the Samyutta Commentary, Tambapanni was one hundred leagues in extent.
At the end of his reign, Vijaya, having trouble choosing a successor, sent a letter to the city of his ancestors, Sinhapura, in order to invite his brother Sumitta to take over the throne. However, Vijaya had died before the letter had reached its destination, so the elected minister of the people Upatissa, the Chief government minister or prime minister and leading chief among the Sinhalese became regent and acted as regent for a year. After his coronation, which was held in the Kingdom of Tambapanni, he left it, building another one, bearing his own name. While he was king, Upatissa established the new capital Upatissa, in which the kingdom was moved to from the Kingdom of Tambapanni. When Vijaya's letter arrived, Sumitta had already succeeded his father as king of his country, and so he sent his son Panduvasdeva to rule Upatissa Nuwara.
Upatissa Nuwara was seven or eight miles further north of the Kingdom of Tambapanni.
It was named after the regent king Upatissa, who was the prime minister of Vijaya, and was founded in 505 BC after the death of Vijaya and the end of the Kingdom of Tambapanni.
Anuradhapura period
In 377 BC, King Pandukabhaya (437–367 BC) moved the capital to Anuradhapura and developed it into a prosperous city. Anuradhapura (Anurapura) was named after the minister who first established the village and after a grandfather of Pandukabhaya who lived there. The name was also derived from the city's establishment on the auspicious asterism called Anura. Anuradhapura was the capital of all the monarchs who ruled from the dynasty.
Rulers such as Dutthagamani, Valagamba, and Dhatusena are noted for defeating the South Indians and regaining control of the kingdom. Other rulers who are notable for military achievements include Gajabahu I, who launched an invasion against the invaders, and Sena II, who sent his armies to assist a Pandyan prince.
Polonnaruwa period
During the Middle Ages Sri Lanka was well known for its agricultural prosperity under king Parakramabahu in Polonnaruwa during which period the island was famous around the world as the rice mill of the east.
Transitional period
Later in the 13th century the country's administrative provinces were divided into independent kingdoms and chieftaincies: Kingdom of Sitawaka, Kingdom of Kotte, Jaffna Kingdom and the Kandyan kingdom. The invasion by the Hindu king Magha in the 13th century led to migrations by the Buddhists (mostly Sinhalese) to areas not under his control. This migration was followed by a period of conflict among the Sinhalese chiefs who tried to exert political supremacy. Parakramabahu VI, a Sinhalese king invaded the Jaffna Kingdom and conquered it, bringing the entire country back under the Sinhalese kingdom. Trade also increased during this period, as Sri Lanka began to trade cinnamon and a large number of Muslim traders were bought into the island.
In the 15th century a Kandyan Kingdom formed which divided the Sinhalese politically into low-country and up-country. In this period, the Sinhalese caste structure absorbed recent Dravidian Hindu immigrants from South India leading to the emergence of three new Sinhalese caste groups - the Salagama, the Durava and the Karava.
Modern history
The Sinhalese have a stable birth rate and a population that has been growing at a slow pace relative to India and other Asian countries.
Society
Demographics
Sri Lanka
Within Sri Lanka the majority of the Sinhalese reside in the South, Central, Sabaragamuwa and Western parts of the country. This coincides with the largest Sinhalese populations areas in Sri Lanka. Cities with more than 90% Sinhalese population include Hambantota, Galle, Gampaha, Kurunegala, Monaragala, Anuradhapura and Polonnaruwa.
Diaspora
Sinhalese people have emigrated out to many countries for a variety of reasons. The larger diaspora communities are situated in the United Kingdom, Australia, United States and Canada among others. In addition to this there are many Sinhalese, who reside in the Middle East, Southeast Asia and Europe, temporarily in connection with employment and/or education. They are often employed as guest workers in the Middle East and professionals in the other regions.
The largest population centres of the Sinhalese diaspora are mainly situated in Europe, North America and Australia. The city of Melbourne contains just under half of the Sri Lankan Australians. The 2011 census recorded 86,412 Sri Lanka born in Australia. There are 73,849 Australians (0.4 of the population) who reported having Sinhalese ancestry in 2006. Sinhala was also reported to be the 29th-fastest-growing language in Australia (ranking above Somali but behind Hindi and Belarusian). Sinhalese Australians have an exceptionally low rate of return migration to Sri Lanka. In the 2011 Canadian Census, 7,220 people identified themselves as of Sinhalese ancestry, out of 139,415 Sri Lankans. There are a small number of Sinhalese people in India, scattered around the country, but mainly living in and around the northern and southern regions. Sri Lankan New Zealanders comprised 3% of the Asian population of New Zealand in 2001. The numbers arriving continued to increase, and at the 2018 census there were over 16,000 Sri Lankans living in New Zealand among those 9,171 were Sinhalese.
In the U.S, the Sinhalese number about 12,000 people. The New York City Metropolitan Area contains the largest Sri Lankan community in the United States, receiving the highest legal permanent resident Sri Lankan immigrant population, followed by Central New Jersey and the Los Angeles metropolitan area. Many Sinhalese have migrated to Italy since the 1970s. Italy was attractive to the Sinhalese due to perceived easier employment opportunities and entry, compared to other European countries. It is estimated that there are 30,000-33,000 Sinhalese in Italy. The major Sinhalese communities in Italy are located in Lombardia (In the districts Loreto and Lazzaretto), Milan, Lazio, Rome, Naples, and Southern Italy (Particularly Palermo, Messina and Catania). It should be noted however that many countries census list Sri Lankan which also includes Sri Lankan Tamils so the numbers of just Sinhalese are not as accurate when the census states Sri Lankan and not Sinhalese. Though Sinhalese people in particular and Sri Lankans in general have migrated to the UK over the centuries beginning from the colonial times, the number of Sinhalese people in the UK cannot be estimated accurately due to inadequacies of census in the UK. The UK government does not record statistics on the basis of language or ethnicity and all Sri Lankans are classified into one group as Asian British or Asian Other.
Language and literature
Sinhalese people speak Sinhala, also known as "Helabasa"; this language has two varieties, spoken and written. Sinhala is an Indo-Aryan language within the broader group of Indo-European languages. The early form of the language was brought to Sri Lanka by the ancestors of the Sinhalese people from northern India who settled on the island in the 6th century BCE. Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages. It was influenced by many languages, prominently Pali, the sacred language of Southern Buddhism, Telugu and Sanskrit. Many early texts in the language such as the Hela Atuwa were lost after their translation into Pali. Other significant Sinhala texts include Amāvatura, Kavu Silumina, Jathaka Potha and Sala Liheeniya. Sinhala has also adopted many loanwords of foreign origin, including from many Indian such as Tamil and European languages such as Portuguese, Dutch, and English.
Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world. The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages. Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and foreign films. Additionally many Dutch and Portuguese words can be seen in the coastal areas. Sinhalese people, depending on where they live in Sri Lanka, may also additionally speak English and or Tamil. According to the 2012 Census 23.8% or 3,033,659 Sinhalese people also spoke English and 6.4% or 812,738 Sinhalese people also spoke Tamil. In the Negombo area bilingual fishermen who generally identify themselves as Sinhalese also speak the Negombo Tamil dialect. This dialect has undergone considerable convergence with spoken Sinhala.
Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today. Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance. Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son.
In the modern period, Sinhala writers such as Martin Wickremasinghe and G. B. Senanayake have drawn widespread acclaim. Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake. Martin Wickramasinghe wrote the immensely popular children's novel Madol Duwa. Munadasa Cumaratunga's Hath Pana is also widely known.
Religion
The form of Buddhism in Sri Lanka is known as Theravada (school of elders). The Pali chronicles (e.g., the Mahavansa) claim that the Sinhalese as an ethnic group are destined to preserve and protect Buddhism. In 1988 almost 93% of the Sinhala speaking population in Sri Lanka were Buddhist. Observations of current religious beliefs and practices demonstrate that the Sinhalese, as a religious community, have a complex worldview as Buddhists. Due to the proximity and on some occasions similarity of certain doctrines, there are many areas where Buddhists and Hindus share religious views and practices. Sinhalese Buddhists have adopted religious elements from Hindu traditions in their religious practices. Some of these practices may relate to ancient indigenous beliefs and traditions on spirits (folk religion), and the worship of Hindu deities. Some of these figures are used in healing rituals and may be native to the island. Gods and goddess derived from Hindu deities are worshiped by Sinhalese. Kataragama Deviyo from Kartikeya, Upulvan from Vishnu and Ayyanayake from Aiyanar can be named as examples. Though these gods take the same place as their Hindu counterparts in mythology, some of their aspects are different compared to the original gods.
Prominent Sri Lankan anthropologists Gananath Obeyesekere and Kitsiri Malalgoda used the term "Protestant Buddhism" to describe a type of Buddhism that appeared among the Sinhalese in Sri Lanka as a response to Protestant Christian missionaries and their evangelical activities during the British colonial period. This kind of Buddhism involved emulating the Protestant strategies of organising religious practices. They saw the need to establish Buddhist schools for educating Buddhist youth and organising Buddhists with new organisations such as the Young Men's Buddhist Association, as well as printing pamphlets to encourage people to participate in debates and religious controversies to defend Buddhism.
Christianity
There is a significant Sinhalese Christian community, in the maritime provinces of Sri Lanka. Christianity was brought to the Sinhalese by Portuguese, Dutch, and British missionary groups during their respective periods of rule. Most Sinhalese Christians are Roman Catholic; a minority are Protestant. Their cultural centre is Negombo.
Religion is considered very important among the Sinhalese. According to a 2008 Gallup poll, 99% of Sri Lankans considered religion an important aspect of their daily lives.
Genetics
Modern studies point towards a predominantly Bengali contribution and a minor Tamil influence. Gujarati and Punjabi lineages are also visible. In relation to the former, other studies also show the Sinhalese possess some genetic admixture from Southeast Asian populations, especially from Austroasiatic groups. Certain Y-DNA and mtDNA haplogroups and genetic markers of immunoglobulin among the Sinhalese, for example, show Southeast Asian genetic influences many of which are also found among certain Northeast Indian populations to whom the Sinhalese are genetically related.
Culture
Sinhalese culture is a unique one dating as far back as 2600 years and has been nourished by Theravada Buddhism. Its main domains are sculpture, fine arts, literature, dancing, poetry and a wide variety of folk beliefs and rituals traditionally. Ancient Sinhala stone sculpture and inscriptions are known worldwide and is a main foreign attraction in modern tourism. Sigirirya is famous for its frescoes. Folk poems were sung by workers to accompany their work and narrate the story of their lives. Ideally these poems consisted of four lines and, in the composition of these poems, special attention had been paid to the rhyming patterns. Buddhist festivals are dotted by unique music using traditionally Sinhalese instruments. More ancient rituals like (devil exorcism) continue to enthrall audiences today and often praised and invoked the good powers of the Buddha and the gods in order to exorcise the demons.
Folklore and national mythology
According to the Mahavamsa, the Sinhalese are descended from the exiled Prince Vijaya and his party of seven hundred followers who arrived on the island in 543 BCE. Vijaya and his followers were said to have arrived in Sri Lanka after being exiled from the city of Sinhapura in Bengal. The modern Sinhalese people were found genetically to be most closely related to the people of North-East India (Bengal). It is thought throughout Sri Lanka's history, since the founding of the Sinhalese in the 5th century BC that an influx of Indians from North India came to the island. This is further supported from Sinhala being part of the Indo-Aryan language group.
Traditionally during recreation the Sinhalese wear a sarong (sarama in Sinhala). Men may wear a long-sleeved shirt with a sarong. Clothing varies by region for women. Low country Sinhalese women wear a white Long sleeved jacket, and a tight wrap around skirt, which usually is embedded with a floral or pattern design. As for the up country Sinhalese, women wear a similar outfit, but with a puffed up shoulder jacket, and a tucked in frill that lines the top of the skirt (Reda and Hatte in Sinhala). Traditionally, high caste Kandyan women wear a Kandyan style sari, which is similar to the Maharashtrian sari, with the drape but with a frill lining the bottom half and sometimes puffed up sleeves. It’s also called an Osariya. The low country high caste women wear a South Indian style saree. Within the more populated areas, Sinhalese men also wear Western-style clothing — wearing suits while the women wear skirts and blouses. For formal and ceremonial occasions women wear the traditional Kandyan (Osariya) style, which consists of a full blouse which covers the midriff completely, and is partially tucked in at the front. However, modern intermingling of styles has led to most wearers baring the midriff. The Kandyan style is considered as the national dress of Sinhalese women. In many occasions and functions, even the saree plays an important role in women's clothing and has become the de facto clothing for female office workers especially in government sector. An example of its use is the uniform of air hostesses of Sri Lankan Airlines.
Cuisine
Sinhalese cuisine is one of the most complex cuisines of South Asia. As a major trade hub, it draws influence from colonial powers that were involved in Sri Lanka and by foreign traders. Rice, which is consumed daily, can be found at any occasion, while spicy curries are favourite dishes for lunch and dinner. Some of the Sri Lankan dishes have striking resemblance to Kerala cuisine, which could be due to the similar geographic and agricultural features with Kerala. A well-known rice dish with Sinhalese is Kiribath, meaning ‘milk rice’. In addition to , Sinhalese eat , chopped leaves mixed with grated coconut and red onions. Coconut milk is found in most Sri Lankan dishes to give the cuisine its unique flavour.
Sri Lanka has long been renowned for its spices. The best known is cinnamon which is native to Sri Lanka. In the 15th and 16th centuries, spice and ivory traders from all over the world who came to Sri Lanka brought their native cuisines to the island, resulting in a rich diversity of cooking styles and techniques. Lamprais, rice boiled in stock with a special curry, accompanied by frikkadels (meatballs), all of which is then wrapped in a banana leaf and baked as a Dutch-influenced Sri Lankan dish. Dutch and Portuguese sweets also continue to be popular. British influences include roast beef and roast chicken. Also, the influence of the Indian cooking methods and food have played a major role in what Sri Lankans eat.
The island nation's cuisine mainly consists of boiled or steamed rice served with curry. This usually consists of a main curry of fish or chicken, as well as several other curries made with vegetables, lentils and even fruit curries. Side-dishes include pickles, chutneys and . The most famous of these is the coconut sambol, made of ground coconut mixed with chili peppers, dried Maldive fish and lime juice. This is ground to a paste and eaten with rice, as it gives zest to the meal and is believed to increase appetite.
Art and architecture
Many forms of Sri Lankan arts and crafts take inspiration from the island's long and lasting Buddhist culture which in turn has absorbed and adopted countless regional and local traditions. In most instances Sri Lankan art originates from religious beliefs, and is represented in many forms such as painting, sculpture, and architecture. One of the most notable aspects of Sri Lankan art are caves and temple paintings, such as the frescoes found at Sigiriya, and religious paintings found in temples in Dambulla and Temple of the Tooth Relic in Kandy. Other popular forms of art have been influenced by both natives as well as outside settlers. For example, traditional wooden handicrafts and clay pottery are found around the hill country while Portuguese-inspired lacework and Indonesian-inspired Batik have become notable. It has many different and beautiful drawings.
Developed upon Indo-Aryan architectural skills in the late 6th century BCE Sinhalese people who lived upon greater kingdoms such as Anuradhapura and Polonnaruwa have built so many architectural examples such as Ruwanwelisaya, Jetavanaramaya - second tallest brick building in the ancient world after Great Pyramid of Giza, and Abayagiriya - third tallest brick building in the ancient world. And also with the ancient hydraulic technology which is also unique to Sinhalese people to build ancient tanks, systematic ponds with fountains moats and Irrigational reservoirs such as Parakrama Samudra, Kaudulla and Kandalama. Sigiriya which is considered by many as the 8th wonder of the world, it is a combination of natural and man made fortress, which consists so many architectural aspects.
Music
There are extensive folk poems relating to specific jobs of the ancient society. These poems were communal songs which had a rhythm that were sung when performing day-to-day tasks like harvesting and sowing.
Concerning popular music, Ananda Samarakoon developed the reflective and poignant Sarala gee style with his work in the late 1930s/early 1940s. He has been followed by artists of repute such as Sunil Shantha, W. D. Amaradeva, Premasiri Khemadasa, Nanda Malini, Victor Ratnayake, Austin Munasinghe, T. M. Jayaratne, Sanath Nandasiri, Sunil Edirisinghe, Neela Wickremasinghe, Gunadasa Kapuge, Malini Bulathsinghala and Edward Jayakody.
Film and theatre
Dramatist Ediriweera Sarachchandra revitalised the drama form with Maname in 1956. The same year, film director Lester James Peries created the artistic masterwork Rekava which sought to create a uniquely Sinhalese cinema with artistic integrity. Since then, Peries and other directors like Vasantha Obeysekera, Dharmasena Pathiraja, Mahagama Sekera, W. A. B. de Silva, Dharmasiri Bandaranayake, Sunil Ariyaratne, Siri Gunasinghe, G. D. L. Perera, Piyasiri Gunaratne, Titus Thotawatte, D. B. Nihalsinghe, Ranjith Lal, Dayananda Gunawardena, Mudalinayake Somaratne, Asoka Handagama, and Prasanna Vithanage have developed an artistic Sinhalese cinema. Sinhala cinema is often made colourful with the incorporation of songs and dance adding more uniqueness to the industry.
In the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success.
Performing arts
Performing arts of the Sinhalese people can be categorised into few groups:
Kandyan dance consist of 18 Wannam (dance routines) featuring behaviours of various animals such as elephant, eagle, cobra, monkey, peacock and rabbit, mainly performing in the annual Perahara pageant in Sri Dalada Maligawa Kandy.
Pahatharata dance have a significant dancing style which is used to cure illnesses and spiritual clarification. The main feature of these dances is dancers wear masks representing various gods and demons, and use elements such as fire and water to bless people.
Sabaragamuwa dances have also a significant dancing style, mainly to entertain people.
Folk music and dances differ according to the casts of Sinhalese people and also some times regionally—mainly popular among small children, especially girls. These arts are widely performed during the Sinhalese New Year period.
Martial arts
Angampora is the traditional martial art of the Sinhalese people. It combines combat techniques, self-defence, sport, exercise and meditation. Key techniques observed in Angampora are: Angam, which incorporates hand-to-hand fighting, and Illangam, which uses indigenous weapons such as Velayudaya, staves, knives and swords. Its most distinct feature is the use of pressure point attacks to inflict pain or permanently paralyse the opponent. Fighters usually make use of both striking and grappling techniques, and fight until the opponent is caught in a submission lock that they cannot escape. Usage of weapons is discretionary. Perimeters of fighting are defined in advance, and in some of the cases is a pit. Angampora became nearly extinct after the country came under British rule in 1815, but survived in a few families until the country regained independence.
Science and education
The Sinhalese have a long history of literacy and formal learning. Instruction in basic fields like writing and reading by Buddhist Monks pre-date the birth of Christ. This traditional system followed religious rule and was meant to foster Buddhist understanding. Training of officials in such skills as keeping track of revenue and other records for administrative purposes occurred under this institution.
Technical education such as the building of reservoirs and canals was passed down from generation to generation through home training and outside craft apprenticeships.
The arrival of the Portuguese and Dutch and the subsequent colonisation maintained religion as the centre of education though in certain communities under Catholic and Presbyterian hierarchy. The British in the 1800s initially followed the same course. Following 1870 however they began a campaign for better education facilities in the region. Christian missionary groups were at the forefront of this development contributing to a high literacy among Christians.
By 1901 schools in the South and the North were well tended. The inner regions lagged behind however. Also, English education facilities presented hurdles for the general populace through fees and lack of access.
Medicine
Traditional Sinhalese villages in early days had at least one chief Medical personnel called Weda Mahaththaya (Doctor). These people practice their clinical activities by inheritance. Sinhalese Medicine resembles some of Ayurvedic practices in contrast for some treatments they use Buddhist Chantings (Pirith) in order to strengthen the effectiveness.
According to the Mahavamsa, the ancient chronicle, Pandukabhaya of Sri Lanka (437 BC – 367 BC) had lying-in-homes and Ayurvedic hospitals (Sivikasotthi-Sala) built in various parts of the country. This is the earliest documentary evidence we have of institutions specifically dedicated to the care of the sick anywhere in the world. Mihintale Hospital is the oldest in the world.
See also
List of Sinhalese people
Sinhalese Buddhist nationalism
References
Citations
Sources
De Silva, K. M. History of Sri Lanka (Univ. of Calif. Press, 1981)
Gunasekera, Tamara. Hierarchy and Egalitarianism: Caste, Class, and Power in Sinhalese Peasant Society (Athlone, 1994).
Roberts, Michael. Sri Lanka: Collective Identities Revisited (Colombo-Marga Institute, 1997).
Wickremeratne, Ananda. Buddhism and Ethnicity in Sri Lanka: A Historical Analysis (New Delhi-Vikas Publishing House, 1995).
External links
CIA Factbook-Sri Lanka
Department of Census and Statistics-Sri Lanka
Ethnologue-Sinhala, a language of Sri Lanka
CIA Factbook-Sri Lanka
Sinhalese
Who are the Sinhalese
Buddhist communities of Sri Lanka
Ethnic groups in Sri Lanka
Ethnic groups in the Indian Ocean
Indo-Aryan peoples
Sinhalese diaspora
Sinhalese culture | true | [
"Eighth Day Books is an independent bookstore founded in 1988 and located in Wichita, Kansas. It is known for its books that are classics of their genres, or else modern or contemporary works linked to the intellectual, artistic, and religious traditions of the East and West.\n\nHistory\nWarren Farha, the founder of the bookstore, has written on the notion of bookselling as a vocation, citing a personal tragedy as the turning point in his life that led him to devote his life to the trade. The name of the store is drawn from the Patristic notion of the Eighth Day, referring literally to Sunday, and metaphorically to the eternal \"day\" of Jesus' resurrection.\n\nPhilosophy\nAccording to their website, Eighth Day \"offer[s] an eccentric community of books based on this organizing principle: if a book—be it literary, scientific, historical, or theological—sheds light on ultimate questions in an excellent way, then it's a worthy candidate for inclusion in our catalog.\" The writer Lauren Winner reports that Farha defines the store's specialty as \"the 'lasting' books...perennially important books.\" Mark Oppenheimer suggests that is \"filled only with books Mr. Farha would read.\"\n\nIn addition, Eighth Day Books are known for their collection of religious—especially but not exclusively Christian—texts, particularly Roman Catholic and Eastern Orthodox works. Farha, who is Antiochian Orthodox, has summarized his vision for the bookstore as \"about the unbreakable connections between all things that are true and good and beautiful. We'll live and die for Fr. Schmemann's insistence that you can't compartmentalize reality — separating things into 'religious' and 'secular, not religious.' We believe that doing so is a denial of God's 'very good' creation.\"\n\nEighth Day Press\nTo date, Eighth Day Press has published seven books, focused primarily on works exploring or emanating from Catholic and Orthodox spirituality. The Press publishes the two most significant works of German writer Max Picard, Flight From God and The World of Silence; Recovered Body, a collection of poetry by Scott Cairns; Discerning the Mystery: An Essay on the Nature of Theology, by Andrew Louth; Clinging:The Experience of Prayer, by Emilie Griffin; Orthodox Spirituality and the Philokalia, by Placide Deseille; and The Feast of Friendship, by Fr. Paul O'Callaghan.\n\nInfluence\nEighth Day Books is well-known within Christian intellectual and artistic circles, having been called by the writer Harold Fickett \"surely the most idealistic (and one of the best) bookstores in America\". Former Dallas Morning News columnist and religion author Rod Dreher has written that Eighth Day Books is \"the best bookstore in the world\" and the \"Garden of Eden for Christian intellectuals–Catholic, Protestant, and Orthodox–interested in the Permanent Things\". Image Journal, which invites Eighth Day Books to host a book table at its Glen Workshop each year, has dubbed Eighth Day Books the \"Miracle of Wichita\" and \"Heaven's Bookstore\". Other conferences at which Eighth Day Books' traveling book table is a regular fixture include Calvin College's Festival of Faith and Writing, Trinity Arts Conference in Dallas, Texas, Notre Dame's Center for Ethics and Culture Fall Conference, Baylor University's Symposium on Faith and Culture, and The CIRCE Institute.\n\nCatalog\nEighth Day Books previously published an annual catalog following the model made famous by A Common Reader, annotating each book with intimate, often whimsical, reviews. Writer, theologian and activist Jim Forest, in a blog entry titled \"the vocational bookseller,\" singles out the book descriptions written for the catalog in saying \"I know of no book shop so likely to have books -- new and used -- of special interest to Orthodox or Catholic Christians.\". Eric Scheske, a lawyer and writer who keeps the noted Daily Eudemon blog says, \"Their annual catalog isn't just a catalog: it's a piece of literature. Anyone who loves books and wisdom as much as these folks, anyone who passes along excellent reading advice by the shelf-load like these folks, merits patronage\". James Kushiner, Executive Editor of Touchstone Magazine has also singled out the writing of Eighth Day's catalog as worthy of mention, saying it's \"the most fun I've had reading a catalog in a while\".\n\nAt its height, the catalog was mailed to 25,000 recipients per year. After its suspension in 2012, the publication was revived in 2020.\n\nReferences\n\nExternal links\nEighth Day Books\nThe Enduring Niche of Eighth Day Books (CIRCE Institute)\n\"Local Booksellers Hopeful,\" from the Wichita Eagle, December 9, 2010\n\nIndependent bookstores of the United States\nCompanies based in Wichita, Kansas\nChristian publishing companies\nRetail companies established in 1988\n1988 establishments in the United States",
"Li'l Folks, the first comic strip by Peanuts creator Charles M. Schulz, was a weekly panel that appeared mainly in Schulz's hometown paper, the St. Paul Pioneer Press, from June 22, 1947, to January 22, 1950. Schulz's first regular cartoon, Li'l Folks can be regarded as an embryonic version of Peanuts, containing characters and themes which were to reappear in the later strip: a well-dressed young boy with a fondness for Beethoven, à la Schroeder; a dog with a resemblance to Snoopy; and a boy named Charlie Brown.\n\nPublication history \nSchulz was 24 at the time he began drawing Li'l Folks, and he was living with his father in a four-bedroom apartment above his father's barber shop. He earned $10 for each submission to the paper.\n\nThe first two installments of Li'l Folks ran June 8 and 15, 1947, in the Minneapolis Tribune. It then moved to the St. Paul Pioneer Press; Li'l Folks ran in the women's section of the paper.\n\nIn 1948, Schulz tried to have Li'l Folks syndicated through the Newspaper Enterprise Association (a Scripps Company). He would have been an independent contractor for the syndicate, unheard of in the 1940s, but the deal fell through.\n\nSchulz quit two years into the strip after the editor turned down his requests for a pay increase and a move of Li'l Folks from the women's section to the comics pages.\n\nLater that year, Schulz approached the United Feature Syndicate (also a Scripps Company) with Li'l Folks, and the syndicate became interested. However, by that time Schulz had also developed a comic strip (also called Li'l Folks), typically using four panels rather than one. The strip was similar in spirit to the panel comic, but it had a set cast of characters, rather than different nameless little folk for each page. The syndicate preferred the strip; however, the name Li'l Folks was too close to the names of two other comics of the time: Al Capp's Li'l Abner and a strip titled Little Folks. To avoid confusion, the syndicate chose the name Peanuts, after the peanut gallery featured in the Howdy Doody TV show. Peanuts made its first appearance on October 2, 1950, in seven newspapers.\n\nCharacters and story \nLi'l Folks saw the first use of the name Charlie Brown on May 30, 1948, although Schulz applied the name in four gags to three different boys, as well as one buried in sand, during 1948–1949. The strip also featured a dog named Rover that looked much like Snoopy. Like most of Peanuts, adult characters were not shown in the strip.\n\nCollected editions \nThe newspaper never returned Schulz's original artwork, so he clipped each week's strip from the paper and placed it in his scrapbook, which eventually housed over 7,000 pieces of artwork.\n\nIn 2004, the complete run of the strip was collected by the Charles M. Schulz Museum and Research Center (Santa Rosa, California) in a book, Li'l Beginnings, by Derrick Bang with a foreword by Jean Schulz. It is available from the Museum and distributed by Fantagraphics Books. The complete run of the strip was also included in the penultimate volume of The Complete Peanuts, published in May 2016 by Fantagraphics Books.\n\nReferences\n\nAmerican comic strips\n1947 comics debuts\n1950 comics endings\nCharles M. Schulz\nChild characters in comics\nGag cartoon comics"
] | [
"Sinhalese people () are an Indo-Aryan ethnic group native to the island of Sri Lanka. They were historically known as Hela people (). They constitute about 75% of the Sri Lankan population and number greater than 16.2 million. The Sinhalese identity is based on language, cultural heritage and nationality.",
"The Sinhalese identity is based on language, cultural heritage and nationality. The Sinhalese people speak Sinhala, an insular Indo-Aryan language, and are predominantly Theravada Buddhists, although a minority of Sinhalese follow branches of Christianity and other religions.",
"The Sinhalese people speak Sinhala, an insular Indo-Aryan language, and are predominantly Theravada Buddhists, although a minority of Sinhalese follow branches of Christianity and other religions. Since 1815, they were broadly divided into two respective groups: The 'Up-country Sinhalese' in the central mountainous regions, and the 'Low-country Sinhalese' in the coastal regions; although both groups speak the same language, they are distinguished as they observe different cultural customs.",
"Since 1815, they were broadly divided into two respective groups: The 'Up-country Sinhalese' in the central mountainous regions, and the 'Low-country Sinhalese' in the coastal regions; although both groups speak the same language, they are distinguished as they observe different cultural customs. According to the Mahavamsa and the Dipavamsa, a 3rd–5th century treatise written in Pali by Buddhist monks of the Anuradhapura Maha Viharaya in Sri Lanka, the Sinhalese descend from settlers who came to the island in 543 BCE from Sinhapura led by Prince Vijaya who mixed with the indigenous Yakka and later settlers from the Pandya kingdom.",
"According to the Mahavamsa and the Dipavamsa, a 3rd–5th century treatise written in Pali by Buddhist monks of the Anuradhapura Maha Viharaya in Sri Lanka, the Sinhalese descend from settlers who came to the island in 543 BCE from Sinhapura led by Prince Vijaya who mixed with the indigenous Yakka and later settlers from the Pandya kingdom. Etymology From the Sanskrit word Sinhala, meaning literally \"of lions\".",
"Etymology From the Sanskrit word Sinhala, meaning literally \"of lions\". The Mahavamsa records the origin of the Sinhalese people and related historical events.",
"The Mahavamsa records the origin of the Sinhalese people and related historical events. It traces the historical origin of the Sinhalese people back to the first king who mentioned in the documentary history of Sri Lanka, Vijaya, who is the son of Sinhabahu (Sanskrit meaning 'Sinha' (lion) + 'bahu' (hands, feet), the ruler of Sinhapura.",
"It traces the historical origin of the Sinhalese people back to the first king who mentioned in the documentary history of Sri Lanka, Vijaya, who is the son of Sinhabahu (Sanskrit meaning 'Sinha' (lion) + 'bahu' (hands, feet), the ruler of Sinhapura. Some versions suggest Vijaya is the grandson of Sinhabahu.",
"Some versions suggest Vijaya is the grandson of Sinhabahu. According to the Mahavamsa, Sinhabahu was the son of princess Suppadevi of Vanga, who copulated with a lion and gave birth to a daughter called Sinhasivali and to a son, Sinhabahu, whose hands and feet were like the paws of a lion and who had the strength of a lion.",
"According to the Mahavamsa, Sinhabahu was the son of princess Suppadevi of Vanga, who copulated with a lion and gave birth to a daughter called Sinhasivali and to a son, Sinhabahu, whose hands and feet were like the paws of a lion and who had the strength of a lion. King Vijaya, the lineage of Sinhabahu, according to the Mahavamsa and other historical sources, arrived on the island of Tambapanni (Sri Lanka) and gave origin to the lion people, Sinhalese.",
"King Vijaya, the lineage of Sinhabahu, according to the Mahavamsa and other historical sources, arrived on the island of Tambapanni (Sri Lanka) and gave origin to the lion people, Sinhalese. The story of the arrival of Prince Vijaya in Sri Lanka and the origin of the Sinhalese people is also depicted in the Ajanta caves, in a mural of cave number 17.",
"The story of the arrival of Prince Vijaya in Sri Lanka and the origin of the Sinhalese people is also depicted in the Ajanta caves, in a mural of cave number 17. According to Arisen Ahubudu, there were four major clans of \"hela\" in ancient Sri Lanka even before the arrival of Prince Vijaya, and that Sri Lanka was called as \"Siv hela\" (siv=four in the Sinhala language) and later it was changed into \"Sinhala\".",
"According to Arisen Ahubudu, there were four major clans of \"hela\" in ancient Sri Lanka even before the arrival of Prince Vijaya, and that Sri Lanka was called as \"Siv hela\" (siv=four in the Sinhala language) and later it was changed into \"Sinhala\". History The early recorded history of the Sinhalese is chronicled in two documents, the Mahavamsa, written in Pāli around the 4th century CE, and the later Culavamsa (the first segment probably penned in the 13th century CE by the Buddhist monk Dhammakitti).",
"History The early recorded history of the Sinhalese is chronicled in two documents, the Mahavamsa, written in Pāli around the 4th century CE, and the later Culavamsa (the first segment probably penned in the 13th century CE by the Buddhist monk Dhammakitti). These are ancient sources that cover the histories of the powerful ancient Sinhalese kingdoms of Anuradhapura and Polonnaruwa which lasted for 1500 years.",
"These are ancient sources that cover the histories of the powerful ancient Sinhalese kingdoms of Anuradhapura and Polonnaruwa which lasted for 1500 years. The Mahavamsa describes the existence of fields of rice and reservoirs, indicating a well-developed agrarian society.",
"The Mahavamsa describes the existence of fields of rice and reservoirs, indicating a well-developed agrarian society. Pre Anuradhapura period According to Mahavamsa, Prince Vijaya and his 700 followers left Suppāraka, landed on the island at a site believed by historians to be in the district of Puttalam, south of modern-day Mannar and founded the Kingdom of Thambapanni.",
"Pre Anuradhapura period According to Mahavamsa, Prince Vijaya and his 700 followers left Suppāraka, landed on the island at a site believed by historians to be in the district of Puttalam, south of modern-day Mannar and founded the Kingdom of Thambapanni. It is recorded the Vijaya made his landing on the day of Buddha's Parinirvana.",
"It is recorded the Vijaya made his landing on the day of Buddha's Parinirvana. Vijaya claimed Tambapanni his capital and soon the whole island come under this name. Tambapanni was originally inhabited and governed by Yakkhas, having their capital at Sirīsavatthu and their queen Kuveni. According to the Samyutta Commentary, Tambapanni was one hundred leagues in extent.",
"According to the Samyutta Commentary, Tambapanni was one hundred leagues in extent. At the end of his reign, Vijaya, having trouble choosing a successor, sent a letter to the city of his ancestors, Sinhapura, in order to invite his brother Sumitta to take over the throne.",
"At the end of his reign, Vijaya, having trouble choosing a successor, sent a letter to the city of his ancestors, Sinhapura, in order to invite his brother Sumitta to take over the throne. However, Vijaya had died before the letter had reached its destination, so the elected minister of the people Upatissa, the Chief government minister or prime minister and leading chief among the Sinhalese became regent and acted as regent for a year.",
"However, Vijaya had died before the letter had reached its destination, so the elected minister of the people Upatissa, the Chief government minister or prime minister and leading chief among the Sinhalese became regent and acted as regent for a year. After his coronation, which was held in the Kingdom of Tambapanni, he left it, building another one, bearing his own name.",
"After his coronation, which was held in the Kingdom of Tambapanni, he left it, building another one, bearing his own name. While he was king, Upatissa established the new capital Upatissa, in which the kingdom was moved to from the Kingdom of Tambapanni.",
"While he was king, Upatissa established the new capital Upatissa, in which the kingdom was moved to from the Kingdom of Tambapanni. When Vijaya's letter arrived, Sumitta had already succeeded his father as king of his country, and so he sent his son Panduvasdeva to rule Upatissa Nuwara.",
"When Vijaya's letter arrived, Sumitta had already succeeded his father as king of his country, and so he sent his son Panduvasdeva to rule Upatissa Nuwara. Upatissa Nuwara was seven or eight miles further north of the Kingdom of Tambapanni.",
"Upatissa Nuwara was seven or eight miles further north of the Kingdom of Tambapanni. It was named after the regent king Upatissa, who was the prime minister of Vijaya, and was founded in 505 BC after the death of Vijaya and the end of the Kingdom of Tambapanni.",
"It was named after the regent king Upatissa, who was the prime minister of Vijaya, and was founded in 505 BC after the death of Vijaya and the end of the Kingdom of Tambapanni. Anuradhapura period In 377 BC, King Pandukabhaya (437–367 BC) moved the capital to Anuradhapura and developed it into a prosperous city.",
"Anuradhapura period In 377 BC, King Pandukabhaya (437–367 BC) moved the capital to Anuradhapura and developed it into a prosperous city. Anuradhapura (Anurapura) was named after the minister who first established the village and after a grandfather of Pandukabhaya who lived there.",
"Anuradhapura (Anurapura) was named after the minister who first established the village and after a grandfather of Pandukabhaya who lived there. The name was also derived from the city's establishment on the auspicious asterism called Anura. Anuradhapura was the capital of all the monarchs who ruled from the dynasty.",
"Anuradhapura was the capital of all the monarchs who ruled from the dynasty. Rulers such as Dutthagamani, Valagamba, and Dhatusena are noted for defeating the South Indians and regaining control of the kingdom.",
"Rulers such as Dutthagamani, Valagamba, and Dhatusena are noted for defeating the South Indians and regaining control of the kingdom. Other rulers who are notable for military achievements include Gajabahu I, who launched an invasion against the invaders, and Sena II, who sent his armies to assist a Pandyan prince.",
"Other rulers who are notable for military achievements include Gajabahu I, who launched an invasion against the invaders, and Sena II, who sent his armies to assist a Pandyan prince. Polonnaruwa period During the Middle Ages Sri Lanka was well known for its agricultural prosperity under king Parakramabahu in Polonnaruwa during which period the island was famous around the world as the rice mill of the east.",
"Polonnaruwa period During the Middle Ages Sri Lanka was well known for its agricultural prosperity under king Parakramabahu in Polonnaruwa during which period the island was famous around the world as the rice mill of the east. Transitional period Later in the 13th century the country's administrative provinces were divided into independent kingdoms and chieftaincies: Kingdom of Sitawaka, Kingdom of Kotte, Jaffna Kingdom and the Kandyan kingdom.",
"Transitional period Later in the 13th century the country's administrative provinces were divided into independent kingdoms and chieftaincies: Kingdom of Sitawaka, Kingdom of Kotte, Jaffna Kingdom and the Kandyan kingdom. The invasion by the Hindu king Magha in the 13th century led to migrations by the Buddhists (mostly Sinhalese) to areas not under his control.",
"The invasion by the Hindu king Magha in the 13th century led to migrations by the Buddhists (mostly Sinhalese) to areas not under his control. This migration was followed by a period of conflict among the Sinhalese chiefs who tried to exert political supremacy.",
"This migration was followed by a period of conflict among the Sinhalese chiefs who tried to exert political supremacy. Parakramabahu VI, a Sinhalese king invaded the Jaffna Kingdom and conquered it, bringing the entire country back under the Sinhalese kingdom.",
"Parakramabahu VI, a Sinhalese king invaded the Jaffna Kingdom and conquered it, bringing the entire country back under the Sinhalese kingdom. Trade also increased during this period, as Sri Lanka began to trade cinnamon and a large number of Muslim traders were bought into the island.",
"Trade also increased during this period, as Sri Lanka began to trade cinnamon and a large number of Muslim traders were bought into the island. In the 15th century a Kandyan Kingdom formed which divided the Sinhalese politically into low-country and up-country.",
"In the 15th century a Kandyan Kingdom formed which divided the Sinhalese politically into low-country and up-country. In this period, the Sinhalese caste structure absorbed recent Dravidian Hindu immigrants from South India leading to the emergence of three new Sinhalese caste groups - the Salagama, the Durava and the Karava.",
"In this period, the Sinhalese caste structure absorbed recent Dravidian Hindu immigrants from South India leading to the emergence of three new Sinhalese caste groups - the Salagama, the Durava and the Karava. Modern history The Sinhalese have a stable birth rate and a population that has been growing at a slow pace relative to India and other Asian countries.",
"Modern history The Sinhalese have a stable birth rate and a population that has been growing at a slow pace relative to India and other Asian countries. Society Demographics Sri Lanka Within Sri Lanka the majority of the Sinhalese reside in the South, Central, Sabaragamuwa and Western parts of the country.",
"Society Demographics Sri Lanka Within Sri Lanka the majority of the Sinhalese reside in the South, Central, Sabaragamuwa and Western parts of the country. This coincides with the largest Sinhalese populations areas in Sri Lanka. Cities with more than 90% Sinhalese population include Hambantota, Galle, Gampaha, Kurunegala, Monaragala, Anuradhapura and Polonnaruwa.",
"Cities with more than 90% Sinhalese population include Hambantota, Galle, Gampaha, Kurunegala, Monaragala, Anuradhapura and Polonnaruwa. Diaspora Sinhalese people have emigrated out to many countries for a variety of reasons. The larger diaspora communities are situated in the United Kingdom, Australia, United States and Canada among others.",
"The larger diaspora communities are situated in the United Kingdom, Australia, United States and Canada among others. In addition to this there are many Sinhalese, who reside in the Middle East, Southeast Asia and Europe, temporarily in connection with employment and/or education.",
"In addition to this there are many Sinhalese, who reside in the Middle East, Southeast Asia and Europe, temporarily in connection with employment and/or education. They are often employed as guest workers in the Middle East and professionals in the other regions.",
"They are often employed as guest workers in the Middle East and professionals in the other regions. The largest population centres of the Sinhalese diaspora are mainly situated in Europe, North America and Australia. The city of Melbourne contains just under half of the Sri Lankan Australians. The 2011 census recorded 86,412 Sri Lanka born in Australia.",
"The 2011 census recorded 86,412 Sri Lanka born in Australia. There are 73,849 Australians (0.4 of the population) who reported having Sinhalese ancestry in 2006. Sinhala was also reported to be the 29th-fastest-growing language in Australia (ranking above Somali but behind Hindi and Belarusian).",
"Sinhala was also reported to be the 29th-fastest-growing language in Australia (ranking above Somali but behind Hindi and Belarusian). Sinhalese Australians have an exceptionally low rate of return migration to Sri Lanka. In the 2011 Canadian Census, 7,220 people identified themselves as of Sinhalese ancestry, out of 139,415 Sri Lankans.",
"In the 2011 Canadian Census, 7,220 people identified themselves as of Sinhalese ancestry, out of 139,415 Sri Lankans. There are a small number of Sinhalese people in India, scattered around the country, but mainly living in and around the northern and southern regions.",
"There are a small number of Sinhalese people in India, scattered around the country, but mainly living in and around the northern and southern regions. Sri Lankan New Zealanders comprised 3% of the Asian population of New Zealand in 2001.",
"Sri Lankan New Zealanders comprised 3% of the Asian population of New Zealand in 2001. The numbers arriving continued to increase, and at the 2018 census there were over 16,000 Sri Lankans living in New Zealand among those 9,171 were Sinhalese. In the U.S, the Sinhalese number about 12,000 people.",
"In the U.S, the Sinhalese number about 12,000 people. The New York City Metropolitan Area contains the largest Sri Lankan community in the United States, receiving the highest legal permanent resident Sri Lankan immigrant population, followed by Central New Jersey and the Los Angeles metropolitan area. Many Sinhalese have migrated to Italy since the 1970s.",
"Many Sinhalese have migrated to Italy since the 1970s. Italy was attractive to the Sinhalese due to perceived easier employment opportunities and entry, compared to other European countries. It is estimated that there are 30,000-33,000 Sinhalese in Italy.",
"It is estimated that there are 30,000-33,000 Sinhalese in Italy. The major Sinhalese communities in Italy are located in Lombardia (In the districts Loreto and Lazzaretto), Milan, Lazio, Rome, Naples, and Southern Italy (Particularly Palermo, Messina and Catania).",
"The major Sinhalese communities in Italy are located in Lombardia (In the districts Loreto and Lazzaretto), Milan, Lazio, Rome, Naples, and Southern Italy (Particularly Palermo, Messina and Catania). It should be noted however that many countries census list Sri Lankan which also includes Sri Lankan Tamils so the numbers of just Sinhalese are not as accurate when the census states Sri Lankan and not Sinhalese.",
"It should be noted however that many countries census list Sri Lankan which also includes Sri Lankan Tamils so the numbers of just Sinhalese are not as accurate when the census states Sri Lankan and not Sinhalese. Though Sinhalese people in particular and Sri Lankans in general have migrated to the UK over the centuries beginning from the colonial times, the number of Sinhalese people in the UK cannot be estimated accurately due to inadequacies of census in the UK.",
"Though Sinhalese people in particular and Sri Lankans in general have migrated to the UK over the centuries beginning from the colonial times, the number of Sinhalese people in the UK cannot be estimated accurately due to inadequacies of census in the UK. The UK government does not record statistics on the basis of language or ethnicity and all Sri Lankans are classified into one group as Asian British or Asian Other.",
"The UK government does not record statistics on the basis of language or ethnicity and all Sri Lankans are classified into one group as Asian British or Asian Other. Language and literature Sinhalese people speak Sinhala, also known as \"Helabasa\"; this language has two varieties, spoken and written.",
"Language and literature Sinhalese people speak Sinhala, also known as \"Helabasa\"; this language has two varieties, spoken and written. Sinhala is an Indo-Aryan language within the broader group of Indo-European languages.",
"Sinhala is an Indo-Aryan language within the broader group of Indo-European languages. The early form of the language was brought to Sri Lanka by the ancestors of the Sinhalese people from northern India who settled on the island in the 6th century BCE.",
"The early form of the language was brought to Sri Lanka by the ancestors of the Sinhalese people from northern India who settled on the island in the 6th century BCE. Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages.",
"Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages. It was influenced by many languages, prominently Pali, the sacred language of Southern Buddhism, Telugu and Sanskrit. Many early texts in the language such as the Hela Atuwa were lost after their translation into Pali.",
"Many early texts in the language such as the Hela Atuwa were lost after their translation into Pali. Other significant Sinhala texts include Amāvatura, Kavu Silumina, Jathaka Potha and Sala Liheeniya. Sinhala has also adopted many loanwords of foreign origin, including from many Indian such as Tamil and European languages such as Portuguese, Dutch, and English.",
"Sinhala has also adopted many loanwords of foreign origin, including from many Indian such as Tamil and European languages such as Portuguese, Dutch, and English. Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world.",
"Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world. The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages.",
"The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages. Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and foreign films.",
"Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and foreign films. Additionally many Dutch and Portuguese words can be seen in the coastal areas.",
"Additionally many Dutch and Portuguese words can be seen in the coastal areas. Sinhalese people, depending on where they live in Sri Lanka, may also additionally speak English and or Tamil. According to the 2012 Census 23.8% or 3,033,659 Sinhalese people also spoke English and 6.4% or 812,738 Sinhalese people also spoke Tamil.",
"According to the 2012 Census 23.8% or 3,033,659 Sinhalese people also spoke English and 6.4% or 812,738 Sinhalese people also spoke Tamil. In the Negombo area bilingual fishermen who generally identify themselves as Sinhalese also speak the Negombo Tamil dialect. This dialect has undergone considerable convergence with spoken Sinhala.",
"This dialect has undergone considerable convergence with spoken Sinhala. Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today. Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance.",
"Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance. Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son.",
"Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son. In the modern period, Sinhala writers such as Martin Wickremasinghe and G. B. Senanayake have drawn widespread acclaim. Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake.",
"Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake. Martin Wickramasinghe wrote the immensely popular children's novel Madol Duwa. Munadasa Cumaratunga's Hath Pana is also widely known. Religion The form of Buddhism in Sri Lanka is known as Theravada (school of elders).",
"Religion The form of Buddhism in Sri Lanka is known as Theravada (school of elders). The Pali chronicles (e.g., the Mahavansa) claim that the Sinhalese as an ethnic group are destined to preserve and protect Buddhism. In 1988 almost 93% of the Sinhala speaking population in Sri Lanka were Buddhist.",
"In 1988 almost 93% of the Sinhala speaking population in Sri Lanka were Buddhist. Observations of current religious beliefs and practices demonstrate that the Sinhalese, as a religious community, have a complex worldview as Buddhists.",
"Observations of current religious beliefs and practices demonstrate that the Sinhalese, as a religious community, have a complex worldview as Buddhists. Due to the proximity and on some occasions similarity of certain doctrines, there are many areas where Buddhists and Hindus share religious views and practices.",
"Due to the proximity and on some occasions similarity of certain doctrines, there are many areas where Buddhists and Hindus share religious views and practices. Sinhalese Buddhists have adopted religious elements from Hindu traditions in their religious practices.",
"Sinhalese Buddhists have adopted religious elements from Hindu traditions in their religious practices. Some of these practices may relate to ancient indigenous beliefs and traditions on spirits (folk religion), and the worship of Hindu deities. Some of these figures are used in healing rituals and may be native to the island.",
"Some of these figures are used in healing rituals and may be native to the island. Gods and goddess derived from Hindu deities are worshiped by Sinhalese. Kataragama Deviyo from Kartikeya, Upulvan from Vishnu and Ayyanayake from Aiyanar can be named as examples.",
"Kataragama Deviyo from Kartikeya, Upulvan from Vishnu and Ayyanayake from Aiyanar can be named as examples. Though these gods take the same place as their Hindu counterparts in mythology, some of their aspects are different compared to the original gods.",
"Though these gods take the same place as their Hindu counterparts in mythology, some of their aspects are different compared to the original gods. Prominent Sri Lankan anthropologists Gananath Obeyesekere and Kitsiri Malalgoda used the term \"Protestant Buddhism\" to describe a type of Buddhism that appeared among the Sinhalese in Sri Lanka as a response to Protestant Christian missionaries and their evangelical activities during the British colonial period.",
"Prominent Sri Lankan anthropologists Gananath Obeyesekere and Kitsiri Malalgoda used the term \"Protestant Buddhism\" to describe a type of Buddhism that appeared among the Sinhalese in Sri Lanka as a response to Protestant Christian missionaries and their evangelical activities during the British colonial period. This kind of Buddhism involved emulating the Protestant strategies of organising religious practices.",
"This kind of Buddhism involved emulating the Protestant strategies of organising religious practices. They saw the need to establish Buddhist schools for educating Buddhist youth and organising Buddhists with new organisations such as the Young Men's Buddhist Association, as well as printing pamphlets to encourage people to participate in debates and religious controversies to defend Buddhism.",
"They saw the need to establish Buddhist schools for educating Buddhist youth and organising Buddhists with new organisations such as the Young Men's Buddhist Association, as well as printing pamphlets to encourage people to participate in debates and religious controversies to defend Buddhism. Christianity There is a significant Sinhalese Christian community, in the maritime provinces of Sri Lanka.",
"Christianity There is a significant Sinhalese Christian community, in the maritime provinces of Sri Lanka. Christianity was brought to the Sinhalese by Portuguese, Dutch, and British missionary groups during their respective periods of rule. Most Sinhalese Christians are Roman Catholic; a minority are Protestant. Their cultural centre is Negombo.",
"Their cultural centre is Negombo. Their cultural centre is Negombo. Religion is considered very important among the Sinhalese. According to a 2008 Gallup poll, 99% of Sri Lankans considered religion an important aspect of their daily lives. Genetics Modern studies point towards a predominantly Bengali contribution and a minor Tamil influence.",
"Genetics Modern studies point towards a predominantly Bengali contribution and a minor Tamil influence. Gujarati and Punjabi lineages are also visible. In relation to the former, other studies also show the Sinhalese possess some genetic admixture from Southeast Asian populations, especially from Austroasiatic groups.",
"In relation to the former, other studies also show the Sinhalese possess some genetic admixture from Southeast Asian populations, especially from Austroasiatic groups. Certain Y-DNA and mtDNA haplogroups and genetic markers of immunoglobulin among the Sinhalese, for example, show Southeast Asian genetic influences many of which are also found among certain Northeast Indian populations to whom the Sinhalese are genetically related.",
"Certain Y-DNA and mtDNA haplogroups and genetic markers of immunoglobulin among the Sinhalese, for example, show Southeast Asian genetic influences many of which are also found among certain Northeast Indian populations to whom the Sinhalese are genetically related. Culture Sinhalese culture is a unique one dating as far back as 2600 years and has been nourished by Theravada Buddhism.",
"Culture Sinhalese culture is a unique one dating as far back as 2600 years and has been nourished by Theravada Buddhism. Its main domains are sculpture, fine arts, literature, dancing, poetry and a wide variety of folk beliefs and rituals traditionally.",
"Its main domains are sculpture, fine arts, literature, dancing, poetry and a wide variety of folk beliefs and rituals traditionally. Ancient Sinhala stone sculpture and inscriptions are known worldwide and is a main foreign attraction in modern tourism. Sigirirya is famous for its frescoes.",
"Sigirirya is famous for its frescoes. Folk poems were sung by workers to accompany their work and narrate the story of their lives. Ideally these poems consisted of four lines and, in the composition of these poems, special attention had been paid to the rhyming patterns. Buddhist festivals are dotted by unique music using traditionally Sinhalese instruments.",
"Buddhist festivals are dotted by unique music using traditionally Sinhalese instruments. More ancient rituals like (devil exorcism) continue to enthrall audiences today and often praised and invoked the good powers of the Buddha and the gods in order to exorcise the demons.",
"More ancient rituals like (devil exorcism) continue to enthrall audiences today and often praised and invoked the good powers of the Buddha and the gods in order to exorcise the demons. Folklore and national mythology According to the Mahavamsa, the Sinhalese are descended from the exiled Prince Vijaya and his party of seven hundred followers who arrived on the island in 543 BCE.",
"Folklore and national mythology According to the Mahavamsa, the Sinhalese are descended from the exiled Prince Vijaya and his party of seven hundred followers who arrived on the island in 543 BCE. Vijaya and his followers were said to have arrived in Sri Lanka after being exiled from the city of Sinhapura in Bengal.",
"Vijaya and his followers were said to have arrived in Sri Lanka after being exiled from the city of Sinhapura in Bengal. The modern Sinhalese people were found genetically to be most closely related to the people of North-East India (Bengal).",
"The modern Sinhalese people were found genetically to be most closely related to the people of North-East India (Bengal). It is thought throughout Sri Lanka's history, since the founding of the Sinhalese in the 5th century BC that an influx of Indians from North India came to the island.",
"It is thought throughout Sri Lanka's history, since the founding of the Sinhalese in the 5th century BC that an influx of Indians from North India came to the island. This is further supported from Sinhala being part of the Indo-Aryan language group. Traditionally during recreation the Sinhalese wear a sarong (sarama in Sinhala).",
"Traditionally during recreation the Sinhalese wear a sarong (sarama in Sinhala). Men may wear a long-sleeved shirt with a sarong. Clothing varies by region for women. Low country Sinhalese women wear a white Long sleeved jacket, and a tight wrap around skirt, which usually is embedded with a floral or pattern design.",
"Low country Sinhalese women wear a white Long sleeved jacket, and a tight wrap around skirt, which usually is embedded with a floral or pattern design. As for the up country Sinhalese, women wear a similar outfit, but with a puffed up shoulder jacket, and a tucked in frill that lines the top of the skirt (Reda and Hatte in Sinhala).",
"As for the up country Sinhalese, women wear a similar outfit, but with a puffed up shoulder jacket, and a tucked in frill that lines the top of the skirt (Reda and Hatte in Sinhala). Traditionally, high caste Kandyan women wear a Kandyan style sari, which is similar to the Maharashtrian sari, with the drape but with a frill lining the bottom half and sometimes puffed up sleeves.",
"Traditionally, high caste Kandyan women wear a Kandyan style sari, which is similar to the Maharashtrian sari, with the drape but with a frill lining the bottom half and sometimes puffed up sleeves. It’s also called an Osariya. The low country high caste women wear a South Indian style saree.",
"The low country high caste women wear a South Indian style saree. Within the more populated areas, Sinhalese men also wear Western-style clothing — wearing suits while the women wear skirts and blouses.",
"Within the more populated areas, Sinhalese men also wear Western-style clothing — wearing suits while the women wear skirts and blouses. For formal and ceremonial occasions women wear the traditional Kandyan (Osariya) style, which consists of a full blouse which covers the midriff completely, and is partially tucked in at the front.",
"For formal and ceremonial occasions women wear the traditional Kandyan (Osariya) style, which consists of a full blouse which covers the midriff completely, and is partially tucked in at the front. However, modern intermingling of styles has led to most wearers baring the midriff. The Kandyan style is considered as the national dress of Sinhalese women.",
"The Kandyan style is considered as the national dress of Sinhalese women. In many occasions and functions, even the saree plays an important role in women's clothing and has become the de facto clothing for female office workers especially in government sector. An example of its use is the uniform of air hostesses of Sri Lankan Airlines.",
"An example of its use is the uniform of air hostesses of Sri Lankan Airlines. Cuisine Sinhalese cuisine is one of the most complex cuisines of South Asia. As a major trade hub, it draws influence from colonial powers that were involved in Sri Lanka and by foreign traders.",
"As a major trade hub, it draws influence from colonial powers that were involved in Sri Lanka and by foreign traders. Rice, which is consumed daily, can be found at any occasion, while spicy curries are favourite dishes for lunch and dinner.",
"Rice, which is consumed daily, can be found at any occasion, while spicy curries are favourite dishes for lunch and dinner. Some of the Sri Lankan dishes have striking resemblance to Kerala cuisine, which could be due to the similar geographic and agricultural features with Kerala.",
"Some of the Sri Lankan dishes have striking resemblance to Kerala cuisine, which could be due to the similar geographic and agricultural features with Kerala. A well-known rice dish with Sinhalese is Kiribath, meaning ‘milk rice’. In addition to , Sinhalese eat , chopped leaves mixed with grated coconut and red onions.",
"In addition to , Sinhalese eat , chopped leaves mixed with grated coconut and red onions. Coconut milk is found in most Sri Lankan dishes to give the cuisine its unique flavour. Sri Lanka has long been renowned for its spices. The best known is cinnamon which is native to Sri Lanka.",
"The best known is cinnamon which is native to Sri Lanka. In the 15th and 16th centuries, spice and ivory traders from all over the world who came to Sri Lanka brought their native cuisines to the island, resulting in a rich diversity of cooking styles and techniques.",
"In the 15th and 16th centuries, spice and ivory traders from all over the world who came to Sri Lanka brought their native cuisines to the island, resulting in a rich diversity of cooking styles and techniques. Lamprais, rice boiled in stock with a special curry, accompanied by frikkadels (meatballs), all of which is then wrapped in a banana leaf and baked as a Dutch-influenced Sri Lankan dish.",
"Lamprais, rice boiled in stock with a special curry, accompanied by frikkadels (meatballs), all of which is then wrapped in a banana leaf and baked as a Dutch-influenced Sri Lankan dish. Dutch and Portuguese sweets also continue to be popular. British influences include roast beef and roast chicken.",
"British influences include roast beef and roast chicken. Also, the influence of the Indian cooking methods and food have played a major role in what Sri Lankans eat. The island nation's cuisine mainly consists of boiled or steamed rice served with curry.",
"The island nation's cuisine mainly consists of boiled or steamed rice served with curry. This usually consists of a main curry of fish or chicken, as well as several other curries made with vegetables, lentils and even fruit curries. Side-dishes include pickles, chutneys and .",
"Side-dishes include pickles, chutneys and . The most famous of these is the coconut sambol, made of ground coconut mixed with chili peppers, dried Maldive fish and lime juice. This is ground to a paste and eaten with rice, as it gives zest to the meal and is believed to increase appetite.",
"This is ground to a paste and eaten with rice, as it gives zest to the meal and is believed to increase appetite. Art and architecture Many forms of Sri Lankan arts and crafts take inspiration from the island's long and lasting Buddhist culture which in turn has absorbed and adopted countless regional and local traditions.",
"Art and architecture Many forms of Sri Lankan arts and crafts take inspiration from the island's long and lasting Buddhist culture which in turn has absorbed and adopted countless regional and local traditions. In most instances Sri Lankan art originates from religious beliefs, and is represented in many forms such as painting, sculpture, and architecture.",
"In most instances Sri Lankan art originates from religious beliefs, and is represented in many forms such as painting, sculpture, and architecture. One of the most notable aspects of Sri Lankan art are caves and temple paintings, such as the frescoes found at Sigiriya, and religious paintings found in temples in Dambulla and Temple of the Tooth Relic in Kandy.",
"One of the most notable aspects of Sri Lankan art are caves and temple paintings, such as the frescoes found at Sigiriya, and religious paintings found in temples in Dambulla and Temple of the Tooth Relic in Kandy. Other popular forms of art have been influenced by both natives as well as outside settlers.",
"Other popular forms of art have been influenced by both natives as well as outside settlers. For example, traditional wooden handicrafts and clay pottery are found around the hill country while Portuguese-inspired lacework and Indonesian-inspired Batik have become notable. It has many different and beautiful drawings.",
"It has many different and beautiful drawings. Developed upon Indo-Aryan architectural skills in the late 6th century BCE Sinhalese people who lived upon greater kingdoms such as Anuradhapura and Polonnaruwa have built so many architectural examples such as Ruwanwelisaya, Jetavanaramaya - second tallest brick building in the ancient world after Great Pyramid of Giza, and Abayagiriya - third tallest brick building in the ancient world.",
"Developed upon Indo-Aryan architectural skills in the late 6th century BCE Sinhalese people who lived upon greater kingdoms such as Anuradhapura and Polonnaruwa have built so many architectural examples such as Ruwanwelisaya, Jetavanaramaya - second tallest brick building in the ancient world after Great Pyramid of Giza, and Abayagiriya - third tallest brick building in the ancient world. And also with the ancient hydraulic technology which is also unique to Sinhalese people to build ancient tanks, systematic ponds with fountains moats and Irrigational reservoirs such as Parakrama Samudra, Kaudulla and Kandalama.",
"And also with the ancient hydraulic technology which is also unique to Sinhalese people to build ancient tanks, systematic ponds with fountains moats and Irrigational reservoirs such as Parakrama Samudra, Kaudulla and Kandalama. Sigiriya which is considered by many as the 8th wonder of the world, it is a combination of natural and man made fortress, which consists so many architectural aspects.",
"Sigiriya which is considered by many as the 8th wonder of the world, it is a combination of natural and man made fortress, which consists so many architectural aspects. Music There are extensive folk poems relating to specific jobs of the ancient society.",
"Music There are extensive folk poems relating to specific jobs of the ancient society. These poems were communal songs which had a rhythm that were sung when performing day-to-day tasks like harvesting and sowing. Concerning popular music, Ananda Samarakoon developed the reflective and poignant Sarala gee style with his work in the late 1930s/early 1940s.",
"Concerning popular music, Ananda Samarakoon developed the reflective and poignant Sarala gee style with his work in the late 1930s/early 1940s. He has been followed by artists of repute such as Sunil Shantha, W. D. Amaradeva, Premasiri Khemadasa, Nanda Malini, Victor Ratnayake, Austin Munasinghe, T. M. Jayaratne, Sanath Nandasiri, Sunil Edirisinghe, Neela Wickremasinghe, Gunadasa Kapuge, Malini Bulathsinghala and Edward Jayakody.",
"He has been followed by artists of repute such as Sunil Shantha, W. D. Amaradeva, Premasiri Khemadasa, Nanda Malini, Victor Ratnayake, Austin Munasinghe, T. M. Jayaratne, Sanath Nandasiri, Sunil Edirisinghe, Neela Wickremasinghe, Gunadasa Kapuge, Malini Bulathsinghala and Edward Jayakody. Film and theatre Dramatist Ediriweera Sarachchandra revitalised the drama form with Maname in 1956.",
"Film and theatre Dramatist Ediriweera Sarachchandra revitalised the drama form with Maname in 1956. The same year, film director Lester James Peries created the artistic masterwork Rekava which sought to create a uniquely Sinhalese cinema with artistic integrity. Since then, Peries and other directors like Vasantha Obeysekera, Dharmasena Pathiraja, Mahagama Sekera, W. A.",
"Since then, Peries and other directors like Vasantha Obeysekera, Dharmasena Pathiraja, Mahagama Sekera, W. A. B. de Silva, Dharmasiri Bandaranayake, Sunil Ariyaratne, Siri Gunasinghe, G. D. L. Perera, Piyasiri Gunaratne, Titus Thotawatte, D. B. Nihalsinghe, Ranjith Lal, Dayananda Gunawardena, Mudalinayake Somaratne, Asoka Handagama, and Prasanna Vithanage have developed an artistic Sinhalese cinema.",
"B. de Silva, Dharmasiri Bandaranayake, Sunil Ariyaratne, Siri Gunasinghe, G. D. L. Perera, Piyasiri Gunaratne, Titus Thotawatte, D. B. Nihalsinghe, Ranjith Lal, Dayananda Gunawardena, Mudalinayake Somaratne, Asoka Handagama, and Prasanna Vithanage have developed an artistic Sinhalese cinema. Sinhala cinema is often made colourful with the incorporation of songs and dance adding more uniqueness to the industry.",
"Sinhala cinema is often made colourful with the incorporation of songs and dance adding more uniqueness to the industry. In the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success.",
"In the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success. Performing arts Performing arts of the Sinhalese people can be categorised into few groups: Kandyan dance consist of 18 Wannam (dance routines) featuring behaviours of various animals such as elephant, eagle, cobra, monkey, peacock and rabbit, mainly performing in the annual Perahara pageant in Sri Dalada Maligawa Kandy.",
"Performing arts Performing arts of the Sinhalese people can be categorised into few groups: Kandyan dance consist of 18 Wannam (dance routines) featuring behaviours of various animals such as elephant, eagle, cobra, monkey, peacock and rabbit, mainly performing in the annual Perahara pageant in Sri Dalada Maligawa Kandy. Pahatharata dance have a significant dancing style which is used to cure illnesses and spiritual clarification.",
"Pahatharata dance have a significant dancing style which is used to cure illnesses and spiritual clarification. The main feature of these dances is dancers wear masks representing various gods and demons, and use elements such as fire and water to bless people. Sabaragamuwa dances have also a significant dancing style, mainly to entertain people.",
"Sabaragamuwa dances have also a significant dancing style, mainly to entertain people. Folk music and dances differ according to the casts of Sinhalese people and also some times regionally—mainly popular among small children, especially girls. These arts are widely performed during the Sinhalese New Year period. Martial arts Angampora is the traditional martial art of the Sinhalese people.",
"Martial arts Angampora is the traditional martial art of the Sinhalese people. It combines combat techniques, self-defence, sport, exercise and meditation. Key techniques observed in Angampora are: Angam, which incorporates hand-to-hand fighting, and Illangam, which uses indigenous weapons such as Velayudaya, staves, knives and swords.",
"Key techniques observed in Angampora are: Angam, which incorporates hand-to-hand fighting, and Illangam, which uses indigenous weapons such as Velayudaya, staves, knives and swords. Its most distinct feature is the use of pressure point attacks to inflict pain or permanently paralyse the opponent.",
"Its most distinct feature is the use of pressure point attacks to inflict pain or permanently paralyse the opponent. Fighters usually make use of both striking and grappling techniques, and fight until the opponent is caught in a submission lock that they cannot escape. Usage of weapons is discretionary.",
"Usage of weapons is discretionary. Usage of weapons is discretionary. Perimeters of fighting are defined in advance, and in some of the cases is a pit. Angampora became nearly extinct after the country came under British rule in 1815, but survived in a few families until the country regained independence.",
"Angampora became nearly extinct after the country came under British rule in 1815, but survived in a few families until the country regained independence. Science and education The Sinhalese have a long history of literacy and formal learning. Instruction in basic fields like writing and reading by Buddhist Monks pre-date the birth of Christ.",
"Instruction in basic fields like writing and reading by Buddhist Monks pre-date the birth of Christ. This traditional system followed religious rule and was meant to foster Buddhist understanding. Training of officials in such skills as keeping track of revenue and other records for administrative purposes occurred under this institution.",
"Training of officials in such skills as keeping track of revenue and other records for administrative purposes occurred under this institution. Technical education such as the building of reservoirs and canals was passed down from generation to generation through home training and outside craft apprenticeships.",
"Technical education such as the building of reservoirs and canals was passed down from generation to generation through home training and outside craft apprenticeships. The arrival of the Portuguese and Dutch and the subsequent colonisation maintained religion as the centre of education though in certain communities under Catholic and Presbyterian hierarchy. The British in the 1800s initially followed the same course.",
"The British in the 1800s initially followed the same course. Following 1870 however they began a campaign for better education facilities in the region. Christian missionary groups were at the forefront of this development contributing to a high literacy among Christians. By 1901 schools in the South and the North were well tended. The inner regions lagged behind however.",
"The inner regions lagged behind however. Also, English education facilities presented hurdles for the general populace through fees and lack of access. Medicine Traditional Sinhalese villages in early days had at least one chief Medical personnel called Weda Mahaththaya (Doctor). These people practice their clinical activities by inheritance.",
"These people practice their clinical activities by inheritance. Sinhalese Medicine resembles some of Ayurvedic practices in contrast for some treatments they use Buddhist Chantings (Pirith) in order to strengthen the effectiveness.",
"Sinhalese Medicine resembles some of Ayurvedic practices in contrast for some treatments they use Buddhist Chantings (Pirith) in order to strengthen the effectiveness. According to the Mahavamsa, the ancient chronicle, Pandukabhaya of Sri Lanka (437 BC – 367 BC) had lying-in-homes and Ayurvedic hospitals (Sivikasotthi-Sala) built in various parts of the country.",
"According to the Mahavamsa, the ancient chronicle, Pandukabhaya of Sri Lanka (437 BC – 367 BC) had lying-in-homes and Ayurvedic hospitals (Sivikasotthi-Sala) built in various parts of the country. This is the earliest documentary evidence we have of institutions specifically dedicated to the care of the sick anywhere in the world.",
"This is the earliest documentary evidence we have of institutions specifically dedicated to the care of the sick anywhere in the world. Mihintale Hospital is the oldest in the world. See also List of Sinhalese people Sinhalese Buddhist nationalism References Citations Sources De Silva, K. M. History of Sri Lanka (Univ.",
"See also List of Sinhalese people Sinhalese Buddhist nationalism References Citations Sources De Silva, K. M. History of Sri Lanka (Univ. of Calif. Press, 1981) Gunasekera, Tamara. Hierarchy and Egalitarianism: Caste, Class, and Power in Sinhalese Peasant Society (Athlone, 1994). Roberts, Michael.",
"Roberts, Michael. Roberts, Michael. Sri Lanka: Collective Identities Revisited (Colombo-Marga Institute, 1997). Wickremeratne, Ananda. Buddhism and Ethnicity in Sri Lanka: A Historical Analysis (New Delhi-Vikas Publishing House, 1995).",
"Buddhism and Ethnicity in Sri Lanka: A Historical Analysis (New Delhi-Vikas Publishing House, 1995). External links CIA Factbook-Sri Lanka Department of Census and Statistics-Sri Lanka Ethnologue-Sinhala, a language of Sri Lanka CIA Factbook-Sri Lanka Sinhalese Who are the Sinhalese Buddhist communities of Sri Lanka Ethnic groups in Sri Lanka Ethnic groups in the Indian Ocean Indo-Aryan peoples Sinhalese diaspora Sinhalese culture"
] |
[
"Sinhalese people",
"Language and literature",
"what language did the sinhalese people use?",
"The Sinhalese speak Sinhala, also known as \"Helabasa\";",
"is it a widely known language?",
"I don't know.",
"Are there any other interesting aspects about this article?",
"Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today.",
"what were the folk tales about?",
"Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance.",
"are any of these folks books to this day?",
"continue to entertain children today.",
"who created these folks?",
"I don't know."
] | C_6531bbbb4dba4483bed9d12220555c4f_1 | what's the most interesting part of the article, to you? | 7 | what's the most interesting part of the article on Sinhalese people, to you? | Sinhalese people | The Sinhalese speak Sinhala, also known as "Helabasa"; this language has two varieties, spoken and written. Sinhala is an Indo-Aryan language within the broader group of Indo-European languages. The language was brought to Sri Lanka by the ancestors of the Sinhalese from northern India who settled on the island in the 6th century BCE. Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages. Sinhala was influenced by many languages, prominently Pali, the sacred language of Southern Buddhism, and Sanskrit. Many early Sinhala texts such as the Hela Atuwa were lost after their translation into Pali. Other significant Sinhala texts include Amavatura, Kavu Silumina, Jathaka Potha and Sala Liheeniya. Sinhala has also adopted many loanwords of foreign origin, including from many Indian languages and colonial languages Portuguese, Dutch, and English. Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world. The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages. Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and Hollywood movies. Additionally many Dutch and Portuguese words can be seen in the coastal areas. Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today. Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance. Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son. In the modern period, Sinhala writers such as Martin Wickremasinghe and G. B. Senanayake have drawn widespread acclaim. Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake. Martin Wickramasinghe wrote the immensely popular children's novel Madol Duwa. Munadasa Cumaratunga's Hath Pana is also widely known. CANNOTANSWER | The Sinhala language was mainly inspired by Sanskrit and Pali, | Sinhalese people () are an Indo-Aryan ethnic group native to the island of Sri Lanka. They were historically known as Hela people (). They constitute about 75% of the Sri Lankan population and number greater than 16.2 million. The Sinhalese identity is based on language, cultural heritage and nationality. The Sinhalese people speak Sinhala, an insular Indo-Aryan language, and are predominantly Theravada Buddhists, although a minority of Sinhalese follow branches of Christianity and
other religions. Since 1815, they were broadly divided into two respective groups: The 'Up-country Sinhalese' in the central mountainous regions, and the 'Low-country Sinhalese' in the coastal regions; although both groups speak the same language, they are distinguished as they observe different cultural customs.
According to the Mahavamsa and the Dipavamsa, a 3rd–5th century treatise written in Pali by Buddhist monks of the Anuradhapura Maha Viharaya in Sri Lanka, the Sinhalese descend from settlers who came to the island in 543 BCE from Sinhapura led by Prince Vijaya who mixed with the indigenous Yakka and later settlers from the Pandya kingdom.
Etymology
From the Sanskrit word Sinhala, meaning literally "of lions".
The Mahavamsa records the origin of the Sinhalese people and related historical events. It traces the historical origin of the Sinhalese people back to the first king who mentioned in the documentary history of Sri Lanka, Vijaya, who is the son of Sinhabahu (Sanskrit meaning 'Sinha' (lion) + 'bahu' (hands, feet), the ruler of Sinhapura. Some versions suggest Vijaya is the grandson of Sinhabahu. According to the Mahavamsa, Sinhabahu was the son of princess Suppadevi of Vanga, who copulated with a lion and gave birth to a daughter called Sinhasivali and to a son, Sinhabahu, whose hands and feet were like the paws of a lion and who had the strength of a lion. King Vijaya, the lineage of Sinhabahu, according to the Mahavamsa and other historical sources, arrived on the island of Tambapanni (Sri Lanka) and gave origin to the lion people, Sinhalese.
The story of the arrival of Prince Vijaya in Sri Lanka and the origin of the Sinhalese people is also depicted in the Ajanta caves, in a mural of cave number 17. According to Arisen Ahubudu, there were four major clans of "hela" in ancient Sri Lanka even before the arrival of Prince Vijaya, and that Sri Lanka was called as "Siv hela" (siv=four in the Sinhala language) and later it was changed into "Sinhala".
History
The early recorded history of the Sinhalese is chronicled in two documents, the Mahavamsa, written in Pāli around the 4th century CE, and the later Culavamsa (the first segment probably penned in the 13th century CE by the Buddhist monk Dhammakitti). These are ancient sources that cover the histories of the powerful ancient Sinhalese kingdoms of Anuradhapura and Polonnaruwa which lasted for 1500 years. The Mahavamsa describes the existence of fields of rice and reservoirs, indicating a well-developed agrarian society.
Pre Anuradhapura period
According to Mahavamsa, Prince Vijaya and his 700 followers left Suppāraka, landed on the island at a site believed by historians to be in the district of Puttalam, south of modern-day Mannar and founded the Kingdom of Thambapanni. It is recorded the Vijaya made his landing on the day of Buddha's Parinirvana. Vijaya claimed Tambapanni his capital and soon the whole island come under this name. Tambapanni was originally inhabited and governed by Yakkhas, having their capital at Sirīsavatthu and their queen Kuveni. According to the Samyutta Commentary, Tambapanni was one hundred leagues in extent.
At the end of his reign, Vijaya, having trouble choosing a successor, sent a letter to the city of his ancestors, Sinhapura, in order to invite his brother Sumitta to take over the throne. However, Vijaya had died before the letter had reached its destination, so the elected minister of the people Upatissa, the Chief government minister or prime minister and leading chief among the Sinhalese became regent and acted as regent for a year. After his coronation, which was held in the Kingdom of Tambapanni, he left it, building another one, bearing his own name. While he was king, Upatissa established the new capital Upatissa, in which the kingdom was moved to from the Kingdom of Tambapanni. When Vijaya's letter arrived, Sumitta had already succeeded his father as king of his country, and so he sent his son Panduvasdeva to rule Upatissa Nuwara.
Upatissa Nuwara was seven or eight miles further north of the Kingdom of Tambapanni.
It was named after the regent king Upatissa, who was the prime minister of Vijaya, and was founded in 505 BC after the death of Vijaya and the end of the Kingdom of Tambapanni.
Anuradhapura period
In 377 BC, King Pandukabhaya (437–367 BC) moved the capital to Anuradhapura and developed it into a prosperous city. Anuradhapura (Anurapura) was named after the minister who first established the village and after a grandfather of Pandukabhaya who lived there. The name was also derived from the city's establishment on the auspicious asterism called Anura. Anuradhapura was the capital of all the monarchs who ruled from the dynasty.
Rulers such as Dutthagamani, Valagamba, and Dhatusena are noted for defeating the South Indians and regaining control of the kingdom. Other rulers who are notable for military achievements include Gajabahu I, who launched an invasion against the invaders, and Sena II, who sent his armies to assist a Pandyan prince.
Polonnaruwa period
During the Middle Ages Sri Lanka was well known for its agricultural prosperity under king Parakramabahu in Polonnaruwa during which period the island was famous around the world as the rice mill of the east.
Transitional period
Later in the 13th century the country's administrative provinces were divided into independent kingdoms and chieftaincies: Kingdom of Sitawaka, Kingdom of Kotte, Jaffna Kingdom and the Kandyan kingdom. The invasion by the Hindu king Magha in the 13th century led to migrations by the Buddhists (mostly Sinhalese) to areas not under his control. This migration was followed by a period of conflict among the Sinhalese chiefs who tried to exert political supremacy. Parakramabahu VI, a Sinhalese king invaded the Jaffna Kingdom and conquered it, bringing the entire country back under the Sinhalese kingdom. Trade also increased during this period, as Sri Lanka began to trade cinnamon and a large number of Muslim traders were bought into the island.
In the 15th century a Kandyan Kingdom formed which divided the Sinhalese politically into low-country and up-country. In this period, the Sinhalese caste structure absorbed recent Dravidian Hindu immigrants from South India leading to the emergence of three new Sinhalese caste groups - the Salagama, the Durava and the Karava.
Modern history
The Sinhalese have a stable birth rate and a population that has been growing at a slow pace relative to India and other Asian countries.
Society
Demographics
Sri Lanka
Within Sri Lanka the majority of the Sinhalese reside in the South, Central, Sabaragamuwa and Western parts of the country. This coincides with the largest Sinhalese populations areas in Sri Lanka. Cities with more than 90% Sinhalese population include Hambantota, Galle, Gampaha, Kurunegala, Monaragala, Anuradhapura and Polonnaruwa.
Diaspora
Sinhalese people have emigrated out to many countries for a variety of reasons. The larger diaspora communities are situated in the United Kingdom, Australia, United States and Canada among others. In addition to this there are many Sinhalese, who reside in the Middle East, Southeast Asia and Europe, temporarily in connection with employment and/or education. They are often employed as guest workers in the Middle East and professionals in the other regions.
The largest population centres of the Sinhalese diaspora are mainly situated in Europe, North America and Australia. The city of Melbourne contains just under half of the Sri Lankan Australians. The 2011 census recorded 86,412 Sri Lanka born in Australia. There are 73,849 Australians (0.4 of the population) who reported having Sinhalese ancestry in 2006. Sinhala was also reported to be the 29th-fastest-growing language in Australia (ranking above Somali but behind Hindi and Belarusian). Sinhalese Australians have an exceptionally low rate of return migration to Sri Lanka. In the 2011 Canadian Census, 7,220 people identified themselves as of Sinhalese ancestry, out of 139,415 Sri Lankans. There are a small number of Sinhalese people in India, scattered around the country, but mainly living in and around the northern and southern regions. Sri Lankan New Zealanders comprised 3% of the Asian population of New Zealand in 2001. The numbers arriving continued to increase, and at the 2018 census there were over 16,000 Sri Lankans living in New Zealand among those 9,171 were Sinhalese.
In the U.S, the Sinhalese number about 12,000 people. The New York City Metropolitan Area contains the largest Sri Lankan community in the United States, receiving the highest legal permanent resident Sri Lankan immigrant population, followed by Central New Jersey and the Los Angeles metropolitan area. Many Sinhalese have migrated to Italy since the 1970s. Italy was attractive to the Sinhalese due to perceived easier employment opportunities and entry, compared to other European countries. It is estimated that there are 30,000-33,000 Sinhalese in Italy. The major Sinhalese communities in Italy are located in Lombardia (In the districts Loreto and Lazzaretto), Milan, Lazio, Rome, Naples, and Southern Italy (Particularly Palermo, Messina and Catania). It should be noted however that many countries census list Sri Lankan which also includes Sri Lankan Tamils so the numbers of just Sinhalese are not as accurate when the census states Sri Lankan and not Sinhalese. Though Sinhalese people in particular and Sri Lankans in general have migrated to the UK over the centuries beginning from the colonial times, the number of Sinhalese people in the UK cannot be estimated accurately due to inadequacies of census in the UK. The UK government does not record statistics on the basis of language or ethnicity and all Sri Lankans are classified into one group as Asian British or Asian Other.
Language and literature
Sinhalese people speak Sinhala, also known as "Helabasa"; this language has two varieties, spoken and written. Sinhala is an Indo-Aryan language within the broader group of Indo-European languages. The early form of the language was brought to Sri Lanka by the ancestors of the Sinhalese people from northern India who settled on the island in the 6th century BCE. Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages. It was influenced by many languages, prominently Pali, the sacred language of Southern Buddhism, Telugu and Sanskrit. Many early texts in the language such as the Hela Atuwa were lost after their translation into Pali. Other significant Sinhala texts include Amāvatura, Kavu Silumina, Jathaka Potha and Sala Liheeniya. Sinhala has also adopted many loanwords of foreign origin, including from many Indian such as Tamil and European languages such as Portuguese, Dutch, and English.
Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world. The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages. Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and foreign films. Additionally many Dutch and Portuguese words can be seen in the coastal areas. Sinhalese people, depending on where they live in Sri Lanka, may also additionally speak English and or Tamil. According to the 2012 Census 23.8% or 3,033,659 Sinhalese people also spoke English and 6.4% or 812,738 Sinhalese people also spoke Tamil. In the Negombo area bilingual fishermen who generally identify themselves as Sinhalese also speak the Negombo Tamil dialect. This dialect has undergone considerable convergence with spoken Sinhala.
Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today. Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance. Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son.
In the modern period, Sinhala writers such as Martin Wickremasinghe and G. B. Senanayake have drawn widespread acclaim. Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake. Martin Wickramasinghe wrote the immensely popular children's novel Madol Duwa. Munadasa Cumaratunga's Hath Pana is also widely known.
Religion
The form of Buddhism in Sri Lanka is known as Theravada (school of elders). The Pali chronicles (e.g., the Mahavansa) claim that the Sinhalese as an ethnic group are destined to preserve and protect Buddhism. In 1988 almost 93% of the Sinhala speaking population in Sri Lanka were Buddhist. Observations of current religious beliefs and practices demonstrate that the Sinhalese, as a religious community, have a complex worldview as Buddhists. Due to the proximity and on some occasions similarity of certain doctrines, there are many areas where Buddhists and Hindus share religious views and practices. Sinhalese Buddhists have adopted religious elements from Hindu traditions in their religious practices. Some of these practices may relate to ancient indigenous beliefs and traditions on spirits (folk religion), and the worship of Hindu deities. Some of these figures are used in healing rituals and may be native to the island. Gods and goddess derived from Hindu deities are worshiped by Sinhalese. Kataragama Deviyo from Kartikeya, Upulvan from Vishnu and Ayyanayake from Aiyanar can be named as examples. Though these gods take the same place as their Hindu counterparts in mythology, some of their aspects are different compared to the original gods.
Prominent Sri Lankan anthropologists Gananath Obeyesekere and Kitsiri Malalgoda used the term "Protestant Buddhism" to describe a type of Buddhism that appeared among the Sinhalese in Sri Lanka as a response to Protestant Christian missionaries and their evangelical activities during the British colonial period. This kind of Buddhism involved emulating the Protestant strategies of organising religious practices. They saw the need to establish Buddhist schools for educating Buddhist youth and organising Buddhists with new organisations such as the Young Men's Buddhist Association, as well as printing pamphlets to encourage people to participate in debates and religious controversies to defend Buddhism.
Christianity
There is a significant Sinhalese Christian community, in the maritime provinces of Sri Lanka. Christianity was brought to the Sinhalese by Portuguese, Dutch, and British missionary groups during their respective periods of rule. Most Sinhalese Christians are Roman Catholic; a minority are Protestant. Their cultural centre is Negombo.
Religion is considered very important among the Sinhalese. According to a 2008 Gallup poll, 99% of Sri Lankans considered religion an important aspect of their daily lives.
Genetics
Modern studies point towards a predominantly Bengali contribution and a minor Tamil influence. Gujarati and Punjabi lineages are also visible. In relation to the former, other studies also show the Sinhalese possess some genetic admixture from Southeast Asian populations, especially from Austroasiatic groups. Certain Y-DNA and mtDNA haplogroups and genetic markers of immunoglobulin among the Sinhalese, for example, show Southeast Asian genetic influences many of which are also found among certain Northeast Indian populations to whom the Sinhalese are genetically related.
Culture
Sinhalese culture is a unique one dating as far back as 2600 years and has been nourished by Theravada Buddhism. Its main domains are sculpture, fine arts, literature, dancing, poetry and a wide variety of folk beliefs and rituals traditionally. Ancient Sinhala stone sculpture and inscriptions are known worldwide and is a main foreign attraction in modern tourism. Sigirirya is famous for its frescoes. Folk poems were sung by workers to accompany their work and narrate the story of their lives. Ideally these poems consisted of four lines and, in the composition of these poems, special attention had been paid to the rhyming patterns. Buddhist festivals are dotted by unique music using traditionally Sinhalese instruments. More ancient rituals like (devil exorcism) continue to enthrall audiences today and often praised and invoked the good powers of the Buddha and the gods in order to exorcise the demons.
Folklore and national mythology
According to the Mahavamsa, the Sinhalese are descended from the exiled Prince Vijaya and his party of seven hundred followers who arrived on the island in 543 BCE. Vijaya and his followers were said to have arrived in Sri Lanka after being exiled from the city of Sinhapura in Bengal. The modern Sinhalese people were found genetically to be most closely related to the people of North-East India (Bengal). It is thought throughout Sri Lanka's history, since the founding of the Sinhalese in the 5th century BC that an influx of Indians from North India came to the island. This is further supported from Sinhala being part of the Indo-Aryan language group.
Traditionally during recreation the Sinhalese wear a sarong (sarama in Sinhala). Men may wear a long-sleeved shirt with a sarong. Clothing varies by region for women. Low country Sinhalese women wear a white Long sleeved jacket, and a tight wrap around skirt, which usually is embedded with a floral or pattern design. As for the up country Sinhalese, women wear a similar outfit, but with a puffed up shoulder jacket, and a tucked in frill that lines the top of the skirt (Reda and Hatte in Sinhala). Traditionally, high caste Kandyan women wear a Kandyan style sari, which is similar to the Maharashtrian sari, with the drape but with a frill lining the bottom half and sometimes puffed up sleeves. It’s also called an Osariya. The low country high caste women wear a South Indian style saree. Within the more populated areas, Sinhalese men also wear Western-style clothing — wearing suits while the women wear skirts and blouses. For formal and ceremonial occasions women wear the traditional Kandyan (Osariya) style, which consists of a full blouse which covers the midriff completely, and is partially tucked in at the front. However, modern intermingling of styles has led to most wearers baring the midriff. The Kandyan style is considered as the national dress of Sinhalese women. In many occasions and functions, even the saree plays an important role in women's clothing and has become the de facto clothing for female office workers especially in government sector. An example of its use is the uniform of air hostesses of Sri Lankan Airlines.
Cuisine
Sinhalese cuisine is one of the most complex cuisines of South Asia. As a major trade hub, it draws influence from colonial powers that were involved in Sri Lanka and by foreign traders. Rice, which is consumed daily, can be found at any occasion, while spicy curries are favourite dishes for lunch and dinner. Some of the Sri Lankan dishes have striking resemblance to Kerala cuisine, which could be due to the similar geographic and agricultural features with Kerala. A well-known rice dish with Sinhalese is Kiribath, meaning ‘milk rice’. In addition to , Sinhalese eat , chopped leaves mixed with grated coconut and red onions. Coconut milk is found in most Sri Lankan dishes to give the cuisine its unique flavour.
Sri Lanka has long been renowned for its spices. The best known is cinnamon which is native to Sri Lanka. In the 15th and 16th centuries, spice and ivory traders from all over the world who came to Sri Lanka brought their native cuisines to the island, resulting in a rich diversity of cooking styles and techniques. Lamprais, rice boiled in stock with a special curry, accompanied by frikkadels (meatballs), all of which is then wrapped in a banana leaf and baked as a Dutch-influenced Sri Lankan dish. Dutch and Portuguese sweets also continue to be popular. British influences include roast beef and roast chicken. Also, the influence of the Indian cooking methods and food have played a major role in what Sri Lankans eat.
The island nation's cuisine mainly consists of boiled or steamed rice served with curry. This usually consists of a main curry of fish or chicken, as well as several other curries made with vegetables, lentils and even fruit curries. Side-dishes include pickles, chutneys and . The most famous of these is the coconut sambol, made of ground coconut mixed with chili peppers, dried Maldive fish and lime juice. This is ground to a paste and eaten with rice, as it gives zest to the meal and is believed to increase appetite.
Art and architecture
Many forms of Sri Lankan arts and crafts take inspiration from the island's long and lasting Buddhist culture which in turn has absorbed and adopted countless regional and local traditions. In most instances Sri Lankan art originates from religious beliefs, and is represented in many forms such as painting, sculpture, and architecture. One of the most notable aspects of Sri Lankan art are caves and temple paintings, such as the frescoes found at Sigiriya, and religious paintings found in temples in Dambulla and Temple of the Tooth Relic in Kandy. Other popular forms of art have been influenced by both natives as well as outside settlers. For example, traditional wooden handicrafts and clay pottery are found around the hill country while Portuguese-inspired lacework and Indonesian-inspired Batik have become notable. It has many different and beautiful drawings.
Developed upon Indo-Aryan architectural skills in the late 6th century BCE Sinhalese people who lived upon greater kingdoms such as Anuradhapura and Polonnaruwa have built so many architectural examples such as Ruwanwelisaya, Jetavanaramaya - second tallest brick building in the ancient world after Great Pyramid of Giza, and Abayagiriya - third tallest brick building in the ancient world. And also with the ancient hydraulic technology which is also unique to Sinhalese people to build ancient tanks, systematic ponds with fountains moats and Irrigational reservoirs such as Parakrama Samudra, Kaudulla and Kandalama. Sigiriya which is considered by many as the 8th wonder of the world, it is a combination of natural and man made fortress, which consists so many architectural aspects.
Music
There are extensive folk poems relating to specific jobs of the ancient society. These poems were communal songs which had a rhythm that were sung when performing day-to-day tasks like harvesting and sowing.
Concerning popular music, Ananda Samarakoon developed the reflective and poignant Sarala gee style with his work in the late 1930s/early 1940s. He has been followed by artists of repute such as Sunil Shantha, W. D. Amaradeva, Premasiri Khemadasa, Nanda Malini, Victor Ratnayake, Austin Munasinghe, T. M. Jayaratne, Sanath Nandasiri, Sunil Edirisinghe, Neela Wickremasinghe, Gunadasa Kapuge, Malini Bulathsinghala and Edward Jayakody.
Film and theatre
Dramatist Ediriweera Sarachchandra revitalised the drama form with Maname in 1956. The same year, film director Lester James Peries created the artistic masterwork Rekava which sought to create a uniquely Sinhalese cinema with artistic integrity. Since then, Peries and other directors like Vasantha Obeysekera, Dharmasena Pathiraja, Mahagama Sekera, W. A. B. de Silva, Dharmasiri Bandaranayake, Sunil Ariyaratne, Siri Gunasinghe, G. D. L. Perera, Piyasiri Gunaratne, Titus Thotawatte, D. B. Nihalsinghe, Ranjith Lal, Dayananda Gunawardena, Mudalinayake Somaratne, Asoka Handagama, and Prasanna Vithanage have developed an artistic Sinhalese cinema. Sinhala cinema is often made colourful with the incorporation of songs and dance adding more uniqueness to the industry.
In the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success.
Performing arts
Performing arts of the Sinhalese people can be categorised into few groups:
Kandyan dance consist of 18 Wannam (dance routines) featuring behaviours of various animals such as elephant, eagle, cobra, monkey, peacock and rabbit, mainly performing in the annual Perahara pageant in Sri Dalada Maligawa Kandy.
Pahatharata dance have a significant dancing style which is used to cure illnesses and spiritual clarification. The main feature of these dances is dancers wear masks representing various gods and demons, and use elements such as fire and water to bless people.
Sabaragamuwa dances have also a significant dancing style, mainly to entertain people.
Folk music and dances differ according to the casts of Sinhalese people and also some times regionally—mainly popular among small children, especially girls. These arts are widely performed during the Sinhalese New Year period.
Martial arts
Angampora is the traditional martial art of the Sinhalese people. It combines combat techniques, self-defence, sport, exercise and meditation. Key techniques observed in Angampora are: Angam, which incorporates hand-to-hand fighting, and Illangam, which uses indigenous weapons such as Velayudaya, staves, knives and swords. Its most distinct feature is the use of pressure point attacks to inflict pain or permanently paralyse the opponent. Fighters usually make use of both striking and grappling techniques, and fight until the opponent is caught in a submission lock that they cannot escape. Usage of weapons is discretionary. Perimeters of fighting are defined in advance, and in some of the cases is a pit. Angampora became nearly extinct after the country came under British rule in 1815, but survived in a few families until the country regained independence.
Science and education
The Sinhalese have a long history of literacy and formal learning. Instruction in basic fields like writing and reading by Buddhist Monks pre-date the birth of Christ. This traditional system followed religious rule and was meant to foster Buddhist understanding. Training of officials in such skills as keeping track of revenue and other records for administrative purposes occurred under this institution.
Technical education such as the building of reservoirs and canals was passed down from generation to generation through home training and outside craft apprenticeships.
The arrival of the Portuguese and Dutch and the subsequent colonisation maintained religion as the centre of education though in certain communities under Catholic and Presbyterian hierarchy. The British in the 1800s initially followed the same course. Following 1870 however they began a campaign for better education facilities in the region. Christian missionary groups were at the forefront of this development contributing to a high literacy among Christians.
By 1901 schools in the South and the North were well tended. The inner regions lagged behind however. Also, English education facilities presented hurdles for the general populace through fees and lack of access.
Medicine
Traditional Sinhalese villages in early days had at least one chief Medical personnel called Weda Mahaththaya (Doctor). These people practice their clinical activities by inheritance. Sinhalese Medicine resembles some of Ayurvedic practices in contrast for some treatments they use Buddhist Chantings (Pirith) in order to strengthen the effectiveness.
According to the Mahavamsa, the ancient chronicle, Pandukabhaya of Sri Lanka (437 BC – 367 BC) had lying-in-homes and Ayurvedic hospitals (Sivikasotthi-Sala) built in various parts of the country. This is the earliest documentary evidence we have of institutions specifically dedicated to the care of the sick anywhere in the world. Mihintale Hospital is the oldest in the world.
See also
List of Sinhalese people
Sinhalese Buddhist nationalism
References
Citations
Sources
De Silva, K. M. History of Sri Lanka (Univ. of Calif. Press, 1981)
Gunasekera, Tamara. Hierarchy and Egalitarianism: Caste, Class, and Power in Sinhalese Peasant Society (Athlone, 1994).
Roberts, Michael. Sri Lanka: Collective Identities Revisited (Colombo-Marga Institute, 1997).
Wickremeratne, Ananda. Buddhism and Ethnicity in Sri Lanka: A Historical Analysis (New Delhi-Vikas Publishing House, 1995).
External links
CIA Factbook-Sri Lanka
Department of Census and Statistics-Sri Lanka
Ethnologue-Sinhala, a language of Sri Lanka
CIA Factbook-Sri Lanka
Sinhalese
Who are the Sinhalese
Buddhist communities of Sri Lanka
Ethnic groups in Sri Lanka
Ethnic groups in the Indian Ocean
Indo-Aryan peoples
Sinhalese diaspora
Sinhalese culture | true | [
"Andrew Dornenburg (born December 18, 1958, in Concord, California) along with his wife Karen A. Page, is a James Beard Award-winning author of a number of culinary-themed books. Among their books are Becoming a Chef (1995; 2003, 2nd ed.), Culinary Artistry (1996), Dining Out (1998), Chef's Night Out (2001), The New American Chef (2003), What to Drink With What You Eat (2006), The Flavor Bible (2008), and The Food Lover's Guide to Wine (2011).\n\nAndrew Dornenburg married Karen Page in 1990; the couple lives in New York City.\n\nAwards\nReceived Completion Medal for the Montreal International Marathon, 1990.\nReceived the James Beard Foundation Book Award for Best Writing on Food for Becoming a Chef, 1996.\nReceived the Gourmand World Cookbook Award for Dining Out, 1998.\nReceived Completion Medal for the New York City Marathon, 1998.\nNamed Finalist for the International Association of Culinary Professionals (IACP) Book Award for Dining Out, 1999.\nNamed Finalist for the James Beard Book Award for Dining Out, 1999.\nReceived Completion Medal for the New York City Marathon, 1999.\nReceived Completion Medal for the Chicago Marathon (3:23:13), 2002.\nNamed Finalist for the International Association of Culinary Professionals (IACP) Book Award for The New American Chef, 2004.\nNamed honorary Culinary Ambassador at The Culinary Institute of America, 2006.\nReceived the Georges Duboeuf \"Wine Book of the Year\" Award for What to Drink with What You Eat, 2006.\nReceived the Gourmand World Cookbook Award for What to Drink with What You Eat, 2006.\nReceived the International Association of Culinary Professionals \"Best Book on Wine, Beer or Spirits\" Award for What to Drink with What You Eat, 2007.\nReceived the International Association of Culinary Professionals \"Book of the Year\" Award for What to Drink with What You Eat, 2007.\nReceived the James Beard Book Award for The Flavor Bible, 2009.\nReceived the Nautilus Book Award for The Flavor Bible, 2010.\nThe Flavor Bible named one of \"The 10 Best Cookbooks in the World of the last 100 years\" by Alex Munipov in Forbes, April 2011.\nReceived the 2011 Gourmand Wine Book Award - USA for The Food Lover's Guide to Wine, December 2011.\nThe Food Lover's Guide to Wine named \"The #1 Wine Book of the Year\" as chosen by 195 \"best of\" lists (including those of the Chicago Tribune, Huffington Post, LA Weekly, Minneapolis Star Tribune, San Francisco Chronicle, Vancouver Sun, and Wall Street Journal) compiled by the website Eat Your Books, December 2011.\nThe Food Lover's Guide to Wine named \"Best in the World\" in its category at the 2011 Gourmand World Cookbook Awards in Paris, March 2012.\nThe Food Lover's Guide to Wine one of three books named a Finalist for the 2012 IACP Book Award in the category of \"Wine, Beer or Spirits,\" 2012.\nThe Food Lover's Guide to Wine one of three books named a Finalist for the 2012 James Beard Book Award in the category of \"Reference & Scholarship,\" 2012.\n\nReferences\n The New York Times wedding announcement \"Karen Page Wed in Boston\" (August 26, 1990)\n The New York Times Business section article \"Can't Stand the Heat? Get in the Kitchen and Learn How to Manage,\" on Becoming a Chef as \"A Chef's Guide for Executives\" (August 11, 1996)\n U.S. News & World Report article \"Secrets of the Restaurant Critics,\" on Dining Out (November 29, 1998)\n FabulousFoods.com's \"Top 10 Cookbooks of 2001,\" which lists Chef's Night Out as #1 (December 2001)\n The Washington Post citation of Dining Out as \"the single best book on the field\" (June 11, 2003)\n Restaurants & Institutions magazine article \"CEOs in White,\" on Becoming a Chef's status as a \"cult classic\" (March 1, 2004)\n Publishers Weekly'''s \"highly recommended\" review of What to Drink with What You Eat'' (June 19, 2006)\n MegNut.com article on \"The Meaning of Celebrity\" by Michael Ruhlman, which cites Becoming a Chef (July 19, 2006)\n Chicago magazine article \"The Innovators,\" in which chef Grant Achatz cites Culinary Artistry as his \"most-used cookbook\" (November 2006)\n Copley News Service wine columnist Robert Whitley on What to Drink with What You Eat (December 16, 2006)\n The Los Angeles Times \"Hot List\" of bestselling books on food and wine, which mentions What to Drink with What You Eat (January 24, 2007)\n The New York Post \"Page Six\" article \"Burger Benefits,\" on McDonald's \"10 Most Famous Former Employees,\" who include Shania Twain, Sharon Stone, Jay Leno, Jeff Bezos, Pink, and Andrew Dornenburg (February 15, 2007)\n The Toronto Star article \"Cookbook Store Cookin' After 25 Years,\" which named Culinary Artistry one of the store's \"Top 10 must-have\" cookbook picks (June 18, 2008)\n Newsweek \"Book Pick of the Week: The Flavor Bible\" (September 9, 2008)\n Publishers Weekly starred review of The Flavor Bible (September 15, 2008)\n Chicago Sun-Times article \"Savor the Flavor,\" on The Flavor Bible (October 1, 2008)\n People magazine article recommending The Flavor Bible as one of the year's best cookbooks (Holidays 2008)\n KCRW's Ellen Rose on her list of 19 \"must-have food books,\" which includes The Flavor Bible (December 3, 2008)\n \"Good Morning America\" on \"The Best Cookbooks of 2008,\" which mentions The Flavor Bible (December 23, 2008)\n Publishers Weekly article \"Cooking the Books with Ellen Clark,\" on ''The Flavor Bible'''s surprisingly strong holiday sales (January 20, 2009)\n Chicago Tribune article \"Flavor First,\" on The Flavor Bible (January 28, 2009)\n Runner's World article \"The Athlete's Palate: Andrew Dornenburg and Karen Page\" (April 2009)\n Oprah Winfrey's O magazine article \"The Creative Cook,\" on The Flavor Bible (April 2009)\n 2009 James Beard Foundation Award winners (May 4, 2009)\n\nExternal links\nOfficial website\nBiography and timeline\n\nAmerican food writers\nAmerican male bloggers\nAmerican bloggers\nLiving people\n1958 births\nJames Beard Foundation Award winners\n21st-century American non-fiction writers",
"The 'Good Wife's Guide\" is a magazine article rumored to have been published in the May 13, 1955 issue of Housekeeping Monthly, describing how a good wife should act, containing material that reflects a very different role assignment from contemporary American society. The text and supposed scan of the article have been widely circulated via email. Lack of confirming evidence has cast significant doubt on its origins. The list is very similar to the advice written in the book, 'Fascinating Womanhood' by Helen B. Andelin, published in 1963 (9780911094008). An interesting quote from the author is, \"It is not always possible or even right for a man to make his wife number one in his life. This is due to the nature of his life. His number one responsibility is to provide the living.\" (https://quotesgram.com/helen-andelin-quotes/)\n\nAuthenticity\nInvestigations found this to be a hoax. According to snopes.com, the wording \"The Advertising Archives\" located on the right side of the image suggests a fraud, since the Archives itself was not started until 1990. Additionally, the image used is claimed to be from a 1957 cover of John Bull magazine. The \"Good Wife\" version of this image appears to be cropped just below where the textbox containing the words \"WOMAN AT THE WHEEL\" appeared on the John Bull cover image. Finally, when viewed with increased contrast, square boxes are seen around all the listed points. This would only be made if created digitally and then selectively copied into the seen \"magazine\" format. One source claims that the text of this article has been circulating since at least the 1980s via fax. Others have claimed that the article is real. However, there was no magazine called Housekeeping Monthly; also, the fact that the article mentions \"light him a fire\" questions its authenticity; even in 1950 many houses did not have open fires.\n\nThe text of the article is as follows:\n\n Have dinner ready. Plan ahead, even the night before, to have a delicious meal ready on time for his return. This is a way of letting him know that you have been thinking about him and are concerned about his needs. Most men are hungry when they get home and the prospect of a good meal is part of the warm welcome needed.\n Prepare yourself. Take 15 minutes to rest so you'll be refreshed when he arrives. Touch up your make-up, put a ribbon in your hair and be fresh-looking. He has just been with a lot of work-weary people.\n Be a little gay and a little more interesting for him. His boring day may need a lift and one of your duties is to provide it.\n Clear away the clutter. Make one last trip through the main part of the house just before your husband arrives. Run a dustcloth over the tables.\n During the cooler months of the year you should prepare and light a fire for him to unwind by. Your husband will feel he has reached a haven of rest and order, and it will give you a lift too. After all, catering to his comfort will provide you with immense personal satisfaction.\n Minimize all noise. At the time of his arrival, eliminate all noise of the washer, dryer or vacuum. Encourage the children to be quiet.\n Be happy to see him.\n Greet him with a warm smile and show sincerity in your desire to please him.\n Listen to him. You may have a dozen important things to tell him, but the moment of his arrival is not the time. Let him talk first – remember his topics of conversation are more important than yours.\n Don't greet him with complaints and problems.\n Don't complain if he's late for dinner or even if he stays out all night. Count this as minor compared to what he might have gone through at work.\n Make him comfortable. Have him lean back in a comfortable chair or lie him down in the bedroom. Have a cool or warm drink ready for him.\n Arrange his pillow and offer to take off his shoes. Speak in a low, soothing and pleasant voice.\n Don't ask him questions about his actions or question his judgment or integrity. Remember, he is the master of the house and as such will always exercise his will with fairness and truthfulness. You have no right to question him.\n A good wife always knows her place.\n\nCultural usage\n\nNCIS Season 2 Episode 2 \"The Good Wives Club\" makes extensive reference to this alleged document.\n\nSee also\nCulture of Domesticity\n The Compleat Housewife or Accomplish'd Gentlewoman's Companion, an actual English cookbook and how to manual\nThe Stepford Wives\nUrban Legends Reference Pages\n\nReferences\n\nExternal links\nThe Good Wife's Guide \nA copy of the original John Bull cover\n\nUrban legends\n1950s hoaxes\nFeminism and history\nFeminism and the family\nMagazine articles"
] | [
"Sinhalese people () are an Indo-Aryan ethnic group native to the island of Sri Lanka. They were historically known as Hela people (). They constitute about 75% of the Sri Lankan population and number greater than 16.2 million. The Sinhalese identity is based on language, cultural heritage and nationality.",
"The Sinhalese identity is based on language, cultural heritage and nationality. The Sinhalese people speak Sinhala, an insular Indo-Aryan language, and are predominantly Theravada Buddhists, although a minority of Sinhalese follow branches of Christianity and other religions.",
"The Sinhalese people speak Sinhala, an insular Indo-Aryan language, and are predominantly Theravada Buddhists, although a minority of Sinhalese follow branches of Christianity and other religions. Since 1815, they were broadly divided into two respective groups: The 'Up-country Sinhalese' in the central mountainous regions, and the 'Low-country Sinhalese' in the coastal regions; although both groups speak the same language, they are distinguished as they observe different cultural customs.",
"Since 1815, they were broadly divided into two respective groups: The 'Up-country Sinhalese' in the central mountainous regions, and the 'Low-country Sinhalese' in the coastal regions; although both groups speak the same language, they are distinguished as they observe different cultural customs. According to the Mahavamsa and the Dipavamsa, a 3rd–5th century treatise written in Pali by Buddhist monks of the Anuradhapura Maha Viharaya in Sri Lanka, the Sinhalese descend from settlers who came to the island in 543 BCE from Sinhapura led by Prince Vijaya who mixed with the indigenous Yakka and later settlers from the Pandya kingdom.",
"According to the Mahavamsa and the Dipavamsa, a 3rd–5th century treatise written in Pali by Buddhist monks of the Anuradhapura Maha Viharaya in Sri Lanka, the Sinhalese descend from settlers who came to the island in 543 BCE from Sinhapura led by Prince Vijaya who mixed with the indigenous Yakka and later settlers from the Pandya kingdom. Etymology From the Sanskrit word Sinhala, meaning literally \"of lions\".",
"Etymology From the Sanskrit word Sinhala, meaning literally \"of lions\". The Mahavamsa records the origin of the Sinhalese people and related historical events.",
"The Mahavamsa records the origin of the Sinhalese people and related historical events. It traces the historical origin of the Sinhalese people back to the first king who mentioned in the documentary history of Sri Lanka, Vijaya, who is the son of Sinhabahu (Sanskrit meaning 'Sinha' (lion) + 'bahu' (hands, feet), the ruler of Sinhapura.",
"It traces the historical origin of the Sinhalese people back to the first king who mentioned in the documentary history of Sri Lanka, Vijaya, who is the son of Sinhabahu (Sanskrit meaning 'Sinha' (lion) + 'bahu' (hands, feet), the ruler of Sinhapura. Some versions suggest Vijaya is the grandson of Sinhabahu.",
"Some versions suggest Vijaya is the grandson of Sinhabahu. According to the Mahavamsa, Sinhabahu was the son of princess Suppadevi of Vanga, who copulated with a lion and gave birth to a daughter called Sinhasivali and to a son, Sinhabahu, whose hands and feet were like the paws of a lion and who had the strength of a lion.",
"According to the Mahavamsa, Sinhabahu was the son of princess Suppadevi of Vanga, who copulated with a lion and gave birth to a daughter called Sinhasivali and to a son, Sinhabahu, whose hands and feet were like the paws of a lion and who had the strength of a lion. King Vijaya, the lineage of Sinhabahu, according to the Mahavamsa and other historical sources, arrived on the island of Tambapanni (Sri Lanka) and gave origin to the lion people, Sinhalese.",
"King Vijaya, the lineage of Sinhabahu, according to the Mahavamsa and other historical sources, arrived on the island of Tambapanni (Sri Lanka) and gave origin to the lion people, Sinhalese. The story of the arrival of Prince Vijaya in Sri Lanka and the origin of the Sinhalese people is also depicted in the Ajanta caves, in a mural of cave number 17.",
"The story of the arrival of Prince Vijaya in Sri Lanka and the origin of the Sinhalese people is also depicted in the Ajanta caves, in a mural of cave number 17. According to Arisen Ahubudu, there were four major clans of \"hela\" in ancient Sri Lanka even before the arrival of Prince Vijaya, and that Sri Lanka was called as \"Siv hela\" (siv=four in the Sinhala language) and later it was changed into \"Sinhala\".",
"According to Arisen Ahubudu, there were four major clans of \"hela\" in ancient Sri Lanka even before the arrival of Prince Vijaya, and that Sri Lanka was called as \"Siv hela\" (siv=four in the Sinhala language) and later it was changed into \"Sinhala\". History The early recorded history of the Sinhalese is chronicled in two documents, the Mahavamsa, written in Pāli around the 4th century CE, and the later Culavamsa (the first segment probably penned in the 13th century CE by the Buddhist monk Dhammakitti).",
"History The early recorded history of the Sinhalese is chronicled in two documents, the Mahavamsa, written in Pāli around the 4th century CE, and the later Culavamsa (the first segment probably penned in the 13th century CE by the Buddhist monk Dhammakitti). These are ancient sources that cover the histories of the powerful ancient Sinhalese kingdoms of Anuradhapura and Polonnaruwa which lasted for 1500 years.",
"These are ancient sources that cover the histories of the powerful ancient Sinhalese kingdoms of Anuradhapura and Polonnaruwa which lasted for 1500 years. The Mahavamsa describes the existence of fields of rice and reservoirs, indicating a well-developed agrarian society.",
"The Mahavamsa describes the existence of fields of rice and reservoirs, indicating a well-developed agrarian society. Pre Anuradhapura period According to Mahavamsa, Prince Vijaya and his 700 followers left Suppāraka, landed on the island at a site believed by historians to be in the district of Puttalam, south of modern-day Mannar and founded the Kingdom of Thambapanni.",
"Pre Anuradhapura period According to Mahavamsa, Prince Vijaya and his 700 followers left Suppāraka, landed on the island at a site believed by historians to be in the district of Puttalam, south of modern-day Mannar and founded the Kingdom of Thambapanni. It is recorded the Vijaya made his landing on the day of Buddha's Parinirvana.",
"It is recorded the Vijaya made his landing on the day of Buddha's Parinirvana. Vijaya claimed Tambapanni his capital and soon the whole island come under this name. Tambapanni was originally inhabited and governed by Yakkhas, having their capital at Sirīsavatthu and their queen Kuveni. According to the Samyutta Commentary, Tambapanni was one hundred leagues in extent.",
"According to the Samyutta Commentary, Tambapanni was one hundred leagues in extent. At the end of his reign, Vijaya, having trouble choosing a successor, sent a letter to the city of his ancestors, Sinhapura, in order to invite his brother Sumitta to take over the throne.",
"At the end of his reign, Vijaya, having trouble choosing a successor, sent a letter to the city of his ancestors, Sinhapura, in order to invite his brother Sumitta to take over the throne. However, Vijaya had died before the letter had reached its destination, so the elected minister of the people Upatissa, the Chief government minister or prime minister and leading chief among the Sinhalese became regent and acted as regent for a year.",
"However, Vijaya had died before the letter had reached its destination, so the elected minister of the people Upatissa, the Chief government minister or prime minister and leading chief among the Sinhalese became regent and acted as regent for a year. After his coronation, which was held in the Kingdom of Tambapanni, he left it, building another one, bearing his own name.",
"After his coronation, which was held in the Kingdom of Tambapanni, he left it, building another one, bearing his own name. While he was king, Upatissa established the new capital Upatissa, in which the kingdom was moved to from the Kingdom of Tambapanni.",
"While he was king, Upatissa established the new capital Upatissa, in which the kingdom was moved to from the Kingdom of Tambapanni. When Vijaya's letter arrived, Sumitta had already succeeded his father as king of his country, and so he sent his son Panduvasdeva to rule Upatissa Nuwara.",
"When Vijaya's letter arrived, Sumitta had already succeeded his father as king of his country, and so he sent his son Panduvasdeva to rule Upatissa Nuwara. Upatissa Nuwara was seven or eight miles further north of the Kingdom of Tambapanni.",
"Upatissa Nuwara was seven or eight miles further north of the Kingdom of Tambapanni. It was named after the regent king Upatissa, who was the prime minister of Vijaya, and was founded in 505 BC after the death of Vijaya and the end of the Kingdom of Tambapanni.",
"It was named after the regent king Upatissa, who was the prime minister of Vijaya, and was founded in 505 BC after the death of Vijaya and the end of the Kingdom of Tambapanni. Anuradhapura period In 377 BC, King Pandukabhaya (437–367 BC) moved the capital to Anuradhapura and developed it into a prosperous city.",
"Anuradhapura period In 377 BC, King Pandukabhaya (437–367 BC) moved the capital to Anuradhapura and developed it into a prosperous city. Anuradhapura (Anurapura) was named after the minister who first established the village and after a grandfather of Pandukabhaya who lived there.",
"Anuradhapura (Anurapura) was named after the minister who first established the village and after a grandfather of Pandukabhaya who lived there. The name was also derived from the city's establishment on the auspicious asterism called Anura. Anuradhapura was the capital of all the monarchs who ruled from the dynasty.",
"Anuradhapura was the capital of all the monarchs who ruled from the dynasty. Rulers such as Dutthagamani, Valagamba, and Dhatusena are noted for defeating the South Indians and regaining control of the kingdom.",
"Rulers such as Dutthagamani, Valagamba, and Dhatusena are noted for defeating the South Indians and regaining control of the kingdom. Other rulers who are notable for military achievements include Gajabahu I, who launched an invasion against the invaders, and Sena II, who sent his armies to assist a Pandyan prince.",
"Other rulers who are notable for military achievements include Gajabahu I, who launched an invasion against the invaders, and Sena II, who sent his armies to assist a Pandyan prince. Polonnaruwa period During the Middle Ages Sri Lanka was well known for its agricultural prosperity under king Parakramabahu in Polonnaruwa during which period the island was famous around the world as the rice mill of the east.",
"Polonnaruwa period During the Middle Ages Sri Lanka was well known for its agricultural prosperity under king Parakramabahu in Polonnaruwa during which period the island was famous around the world as the rice mill of the east. Transitional period Later in the 13th century the country's administrative provinces were divided into independent kingdoms and chieftaincies: Kingdom of Sitawaka, Kingdom of Kotte, Jaffna Kingdom and the Kandyan kingdom.",
"Transitional period Later in the 13th century the country's administrative provinces were divided into independent kingdoms and chieftaincies: Kingdom of Sitawaka, Kingdom of Kotte, Jaffna Kingdom and the Kandyan kingdom. The invasion by the Hindu king Magha in the 13th century led to migrations by the Buddhists (mostly Sinhalese) to areas not under his control.",
"The invasion by the Hindu king Magha in the 13th century led to migrations by the Buddhists (mostly Sinhalese) to areas not under his control. This migration was followed by a period of conflict among the Sinhalese chiefs who tried to exert political supremacy.",
"This migration was followed by a period of conflict among the Sinhalese chiefs who tried to exert political supremacy. Parakramabahu VI, a Sinhalese king invaded the Jaffna Kingdom and conquered it, bringing the entire country back under the Sinhalese kingdom.",
"Parakramabahu VI, a Sinhalese king invaded the Jaffna Kingdom and conquered it, bringing the entire country back under the Sinhalese kingdom. Trade also increased during this period, as Sri Lanka began to trade cinnamon and a large number of Muslim traders were bought into the island.",
"Trade also increased during this period, as Sri Lanka began to trade cinnamon and a large number of Muslim traders were bought into the island. In the 15th century a Kandyan Kingdom formed which divided the Sinhalese politically into low-country and up-country.",
"In the 15th century a Kandyan Kingdom formed which divided the Sinhalese politically into low-country and up-country. In this period, the Sinhalese caste structure absorbed recent Dravidian Hindu immigrants from South India leading to the emergence of three new Sinhalese caste groups - the Salagama, the Durava and the Karava.",
"In this period, the Sinhalese caste structure absorbed recent Dravidian Hindu immigrants from South India leading to the emergence of three new Sinhalese caste groups - the Salagama, the Durava and the Karava. Modern history The Sinhalese have a stable birth rate and a population that has been growing at a slow pace relative to India and other Asian countries.",
"Modern history The Sinhalese have a stable birth rate and a population that has been growing at a slow pace relative to India and other Asian countries. Society Demographics Sri Lanka Within Sri Lanka the majority of the Sinhalese reside in the South, Central, Sabaragamuwa and Western parts of the country.",
"Society Demographics Sri Lanka Within Sri Lanka the majority of the Sinhalese reside in the South, Central, Sabaragamuwa and Western parts of the country. This coincides with the largest Sinhalese populations areas in Sri Lanka. Cities with more than 90% Sinhalese population include Hambantota, Galle, Gampaha, Kurunegala, Monaragala, Anuradhapura and Polonnaruwa.",
"Cities with more than 90% Sinhalese population include Hambantota, Galle, Gampaha, Kurunegala, Monaragala, Anuradhapura and Polonnaruwa. Diaspora Sinhalese people have emigrated out to many countries for a variety of reasons. The larger diaspora communities are situated in the United Kingdom, Australia, United States and Canada among others.",
"The larger diaspora communities are situated in the United Kingdom, Australia, United States and Canada among others. In addition to this there are many Sinhalese, who reside in the Middle East, Southeast Asia and Europe, temporarily in connection with employment and/or education.",
"In addition to this there are many Sinhalese, who reside in the Middle East, Southeast Asia and Europe, temporarily in connection with employment and/or education. They are often employed as guest workers in the Middle East and professionals in the other regions.",
"They are often employed as guest workers in the Middle East and professionals in the other regions. The largest population centres of the Sinhalese diaspora are mainly situated in Europe, North America and Australia. The city of Melbourne contains just under half of the Sri Lankan Australians. The 2011 census recorded 86,412 Sri Lanka born in Australia.",
"The 2011 census recorded 86,412 Sri Lanka born in Australia. There are 73,849 Australians (0.4 of the population) who reported having Sinhalese ancestry in 2006. Sinhala was also reported to be the 29th-fastest-growing language in Australia (ranking above Somali but behind Hindi and Belarusian).",
"Sinhala was also reported to be the 29th-fastest-growing language in Australia (ranking above Somali but behind Hindi and Belarusian). Sinhalese Australians have an exceptionally low rate of return migration to Sri Lanka. In the 2011 Canadian Census, 7,220 people identified themselves as of Sinhalese ancestry, out of 139,415 Sri Lankans.",
"In the 2011 Canadian Census, 7,220 people identified themselves as of Sinhalese ancestry, out of 139,415 Sri Lankans. There are a small number of Sinhalese people in India, scattered around the country, but mainly living in and around the northern and southern regions.",
"There are a small number of Sinhalese people in India, scattered around the country, but mainly living in and around the northern and southern regions. Sri Lankan New Zealanders comprised 3% of the Asian population of New Zealand in 2001.",
"Sri Lankan New Zealanders comprised 3% of the Asian population of New Zealand in 2001. The numbers arriving continued to increase, and at the 2018 census there were over 16,000 Sri Lankans living in New Zealand among those 9,171 were Sinhalese. In the U.S, the Sinhalese number about 12,000 people.",
"In the U.S, the Sinhalese number about 12,000 people. The New York City Metropolitan Area contains the largest Sri Lankan community in the United States, receiving the highest legal permanent resident Sri Lankan immigrant population, followed by Central New Jersey and the Los Angeles metropolitan area. Many Sinhalese have migrated to Italy since the 1970s.",
"Many Sinhalese have migrated to Italy since the 1970s. Italy was attractive to the Sinhalese due to perceived easier employment opportunities and entry, compared to other European countries. It is estimated that there are 30,000-33,000 Sinhalese in Italy.",
"It is estimated that there are 30,000-33,000 Sinhalese in Italy. The major Sinhalese communities in Italy are located in Lombardia (In the districts Loreto and Lazzaretto), Milan, Lazio, Rome, Naples, and Southern Italy (Particularly Palermo, Messina and Catania).",
"The major Sinhalese communities in Italy are located in Lombardia (In the districts Loreto and Lazzaretto), Milan, Lazio, Rome, Naples, and Southern Italy (Particularly Palermo, Messina and Catania). It should be noted however that many countries census list Sri Lankan which also includes Sri Lankan Tamils so the numbers of just Sinhalese are not as accurate when the census states Sri Lankan and not Sinhalese.",
"It should be noted however that many countries census list Sri Lankan which also includes Sri Lankan Tamils so the numbers of just Sinhalese are not as accurate when the census states Sri Lankan and not Sinhalese. Though Sinhalese people in particular and Sri Lankans in general have migrated to the UK over the centuries beginning from the colonial times, the number of Sinhalese people in the UK cannot be estimated accurately due to inadequacies of census in the UK.",
"Though Sinhalese people in particular and Sri Lankans in general have migrated to the UK over the centuries beginning from the colonial times, the number of Sinhalese people in the UK cannot be estimated accurately due to inadequacies of census in the UK. The UK government does not record statistics on the basis of language or ethnicity and all Sri Lankans are classified into one group as Asian British or Asian Other.",
"The UK government does not record statistics on the basis of language or ethnicity and all Sri Lankans are classified into one group as Asian British or Asian Other. Language and literature Sinhalese people speak Sinhala, also known as \"Helabasa\"; this language has two varieties, spoken and written.",
"Language and literature Sinhalese people speak Sinhala, also known as \"Helabasa\"; this language has two varieties, spoken and written. Sinhala is an Indo-Aryan language within the broader group of Indo-European languages.",
"Sinhala is an Indo-Aryan language within the broader group of Indo-European languages. The early form of the language was brought to Sri Lanka by the ancestors of the Sinhalese people from northern India who settled on the island in the 6th century BCE.",
"The early form of the language was brought to Sri Lanka by the ancestors of the Sinhalese people from northern India who settled on the island in the 6th century BCE. Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages.",
"Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages. It was influenced by many languages, prominently Pali, the sacred language of Southern Buddhism, Telugu and Sanskrit. Many early texts in the language such as the Hela Atuwa were lost after their translation into Pali.",
"Many early texts in the language such as the Hela Atuwa were lost after their translation into Pali. Other significant Sinhala texts include Amāvatura, Kavu Silumina, Jathaka Potha and Sala Liheeniya. Sinhala has also adopted many loanwords of foreign origin, including from many Indian such as Tamil and European languages such as Portuguese, Dutch, and English.",
"Sinhala has also adopted many loanwords of foreign origin, including from many Indian such as Tamil and European languages such as Portuguese, Dutch, and English. Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world.",
"Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world. The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages.",
"The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages. Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and foreign films.",
"Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and foreign films. Additionally many Dutch and Portuguese words can be seen in the coastal areas.",
"Additionally many Dutch and Portuguese words can be seen in the coastal areas. Sinhalese people, depending on where they live in Sri Lanka, may also additionally speak English and or Tamil. According to the 2012 Census 23.8% or 3,033,659 Sinhalese people also spoke English and 6.4% or 812,738 Sinhalese people also spoke Tamil.",
"According to the 2012 Census 23.8% or 3,033,659 Sinhalese people also spoke English and 6.4% or 812,738 Sinhalese people also spoke Tamil. In the Negombo area bilingual fishermen who generally identify themselves as Sinhalese also speak the Negombo Tamil dialect. This dialect has undergone considerable convergence with spoken Sinhala.",
"This dialect has undergone considerable convergence with spoken Sinhala. Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today. Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance.",
"Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance. Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son.",
"Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son. In the modern period, Sinhala writers such as Martin Wickremasinghe and G. B. Senanayake have drawn widespread acclaim. Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake.",
"Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake. Martin Wickramasinghe wrote the immensely popular children's novel Madol Duwa. Munadasa Cumaratunga's Hath Pana is also widely known. Religion The form of Buddhism in Sri Lanka is known as Theravada (school of elders).",
"Religion The form of Buddhism in Sri Lanka is known as Theravada (school of elders). The Pali chronicles (e.g., the Mahavansa) claim that the Sinhalese as an ethnic group are destined to preserve and protect Buddhism. In 1988 almost 93% of the Sinhala speaking population in Sri Lanka were Buddhist.",
"In 1988 almost 93% of the Sinhala speaking population in Sri Lanka were Buddhist. Observations of current religious beliefs and practices demonstrate that the Sinhalese, as a religious community, have a complex worldview as Buddhists.",
"Observations of current religious beliefs and practices demonstrate that the Sinhalese, as a religious community, have a complex worldview as Buddhists. Due to the proximity and on some occasions similarity of certain doctrines, there are many areas where Buddhists and Hindus share religious views and practices.",
"Due to the proximity and on some occasions similarity of certain doctrines, there are many areas where Buddhists and Hindus share religious views and practices. Sinhalese Buddhists have adopted religious elements from Hindu traditions in their religious practices.",
"Sinhalese Buddhists have adopted religious elements from Hindu traditions in their religious practices. Some of these practices may relate to ancient indigenous beliefs and traditions on spirits (folk religion), and the worship of Hindu deities. Some of these figures are used in healing rituals and may be native to the island.",
"Some of these figures are used in healing rituals and may be native to the island. Gods and goddess derived from Hindu deities are worshiped by Sinhalese. Kataragama Deviyo from Kartikeya, Upulvan from Vishnu and Ayyanayake from Aiyanar can be named as examples.",
"Kataragama Deviyo from Kartikeya, Upulvan from Vishnu and Ayyanayake from Aiyanar can be named as examples. Though these gods take the same place as their Hindu counterparts in mythology, some of their aspects are different compared to the original gods.",
"Though these gods take the same place as their Hindu counterparts in mythology, some of their aspects are different compared to the original gods. Prominent Sri Lankan anthropologists Gananath Obeyesekere and Kitsiri Malalgoda used the term \"Protestant Buddhism\" to describe a type of Buddhism that appeared among the Sinhalese in Sri Lanka as a response to Protestant Christian missionaries and their evangelical activities during the British colonial period.",
"Prominent Sri Lankan anthropologists Gananath Obeyesekere and Kitsiri Malalgoda used the term \"Protestant Buddhism\" to describe a type of Buddhism that appeared among the Sinhalese in Sri Lanka as a response to Protestant Christian missionaries and their evangelical activities during the British colonial period. This kind of Buddhism involved emulating the Protestant strategies of organising religious practices.",
"This kind of Buddhism involved emulating the Protestant strategies of organising religious practices. They saw the need to establish Buddhist schools for educating Buddhist youth and organising Buddhists with new organisations such as the Young Men's Buddhist Association, as well as printing pamphlets to encourage people to participate in debates and religious controversies to defend Buddhism.",
"They saw the need to establish Buddhist schools for educating Buddhist youth and organising Buddhists with new organisations such as the Young Men's Buddhist Association, as well as printing pamphlets to encourage people to participate in debates and religious controversies to defend Buddhism. Christianity There is a significant Sinhalese Christian community, in the maritime provinces of Sri Lanka.",
"Christianity There is a significant Sinhalese Christian community, in the maritime provinces of Sri Lanka. Christianity was brought to the Sinhalese by Portuguese, Dutch, and British missionary groups during their respective periods of rule. Most Sinhalese Christians are Roman Catholic; a minority are Protestant. Their cultural centre is Negombo.",
"Their cultural centre is Negombo. Their cultural centre is Negombo. Religion is considered very important among the Sinhalese. According to a 2008 Gallup poll, 99% of Sri Lankans considered religion an important aspect of their daily lives. Genetics Modern studies point towards a predominantly Bengali contribution and a minor Tamil influence.",
"Genetics Modern studies point towards a predominantly Bengali contribution and a minor Tamil influence. Gujarati and Punjabi lineages are also visible. In relation to the former, other studies also show the Sinhalese possess some genetic admixture from Southeast Asian populations, especially from Austroasiatic groups.",
"In relation to the former, other studies also show the Sinhalese possess some genetic admixture from Southeast Asian populations, especially from Austroasiatic groups. Certain Y-DNA and mtDNA haplogroups and genetic markers of immunoglobulin among the Sinhalese, for example, show Southeast Asian genetic influences many of which are also found among certain Northeast Indian populations to whom the Sinhalese are genetically related.",
"Certain Y-DNA and mtDNA haplogroups and genetic markers of immunoglobulin among the Sinhalese, for example, show Southeast Asian genetic influences many of which are also found among certain Northeast Indian populations to whom the Sinhalese are genetically related. Culture Sinhalese culture is a unique one dating as far back as 2600 years and has been nourished by Theravada Buddhism.",
"Culture Sinhalese culture is a unique one dating as far back as 2600 years and has been nourished by Theravada Buddhism. Its main domains are sculpture, fine arts, literature, dancing, poetry and a wide variety of folk beliefs and rituals traditionally.",
"Its main domains are sculpture, fine arts, literature, dancing, poetry and a wide variety of folk beliefs and rituals traditionally. Ancient Sinhala stone sculpture and inscriptions are known worldwide and is a main foreign attraction in modern tourism. Sigirirya is famous for its frescoes.",
"Sigirirya is famous for its frescoes. Folk poems were sung by workers to accompany their work and narrate the story of their lives. Ideally these poems consisted of four lines and, in the composition of these poems, special attention had been paid to the rhyming patterns. Buddhist festivals are dotted by unique music using traditionally Sinhalese instruments.",
"Buddhist festivals are dotted by unique music using traditionally Sinhalese instruments. More ancient rituals like (devil exorcism) continue to enthrall audiences today and often praised and invoked the good powers of the Buddha and the gods in order to exorcise the demons.",
"More ancient rituals like (devil exorcism) continue to enthrall audiences today and often praised and invoked the good powers of the Buddha and the gods in order to exorcise the demons. Folklore and national mythology According to the Mahavamsa, the Sinhalese are descended from the exiled Prince Vijaya and his party of seven hundred followers who arrived on the island in 543 BCE.",
"Folklore and national mythology According to the Mahavamsa, the Sinhalese are descended from the exiled Prince Vijaya and his party of seven hundred followers who arrived on the island in 543 BCE. Vijaya and his followers were said to have arrived in Sri Lanka after being exiled from the city of Sinhapura in Bengal.",
"Vijaya and his followers were said to have arrived in Sri Lanka after being exiled from the city of Sinhapura in Bengal. The modern Sinhalese people were found genetically to be most closely related to the people of North-East India (Bengal).",
"The modern Sinhalese people were found genetically to be most closely related to the people of North-East India (Bengal). It is thought throughout Sri Lanka's history, since the founding of the Sinhalese in the 5th century BC that an influx of Indians from North India came to the island.",
"It is thought throughout Sri Lanka's history, since the founding of the Sinhalese in the 5th century BC that an influx of Indians from North India came to the island. This is further supported from Sinhala being part of the Indo-Aryan language group. Traditionally during recreation the Sinhalese wear a sarong (sarama in Sinhala).",
"Traditionally during recreation the Sinhalese wear a sarong (sarama in Sinhala). Men may wear a long-sleeved shirt with a sarong. Clothing varies by region for women. Low country Sinhalese women wear a white Long sleeved jacket, and a tight wrap around skirt, which usually is embedded with a floral or pattern design.",
"Low country Sinhalese women wear a white Long sleeved jacket, and a tight wrap around skirt, which usually is embedded with a floral or pattern design. As for the up country Sinhalese, women wear a similar outfit, but with a puffed up shoulder jacket, and a tucked in frill that lines the top of the skirt (Reda and Hatte in Sinhala).",
"As for the up country Sinhalese, women wear a similar outfit, but with a puffed up shoulder jacket, and a tucked in frill that lines the top of the skirt (Reda and Hatte in Sinhala). Traditionally, high caste Kandyan women wear a Kandyan style sari, which is similar to the Maharashtrian sari, with the drape but with a frill lining the bottom half and sometimes puffed up sleeves.",
"Traditionally, high caste Kandyan women wear a Kandyan style sari, which is similar to the Maharashtrian sari, with the drape but with a frill lining the bottom half and sometimes puffed up sleeves. It’s also called an Osariya. The low country high caste women wear a South Indian style saree.",
"The low country high caste women wear a South Indian style saree. Within the more populated areas, Sinhalese men also wear Western-style clothing — wearing suits while the women wear skirts and blouses.",
"Within the more populated areas, Sinhalese men also wear Western-style clothing — wearing suits while the women wear skirts and blouses. For formal and ceremonial occasions women wear the traditional Kandyan (Osariya) style, which consists of a full blouse which covers the midriff completely, and is partially tucked in at the front.",
"For formal and ceremonial occasions women wear the traditional Kandyan (Osariya) style, which consists of a full blouse which covers the midriff completely, and is partially tucked in at the front. However, modern intermingling of styles has led to most wearers baring the midriff. The Kandyan style is considered as the national dress of Sinhalese women.",
"The Kandyan style is considered as the national dress of Sinhalese women. In many occasions and functions, even the saree plays an important role in women's clothing and has become the de facto clothing for female office workers especially in government sector. An example of its use is the uniform of air hostesses of Sri Lankan Airlines.",
"An example of its use is the uniform of air hostesses of Sri Lankan Airlines. Cuisine Sinhalese cuisine is one of the most complex cuisines of South Asia. As a major trade hub, it draws influence from colonial powers that were involved in Sri Lanka and by foreign traders.",
"As a major trade hub, it draws influence from colonial powers that were involved in Sri Lanka and by foreign traders. Rice, which is consumed daily, can be found at any occasion, while spicy curries are favourite dishes for lunch and dinner.",
"Rice, which is consumed daily, can be found at any occasion, while spicy curries are favourite dishes for lunch and dinner. Some of the Sri Lankan dishes have striking resemblance to Kerala cuisine, which could be due to the similar geographic and agricultural features with Kerala.",
"Some of the Sri Lankan dishes have striking resemblance to Kerala cuisine, which could be due to the similar geographic and agricultural features with Kerala. A well-known rice dish with Sinhalese is Kiribath, meaning ‘milk rice’. In addition to , Sinhalese eat , chopped leaves mixed with grated coconut and red onions.",
"In addition to , Sinhalese eat , chopped leaves mixed with grated coconut and red onions. Coconut milk is found in most Sri Lankan dishes to give the cuisine its unique flavour. Sri Lanka has long been renowned for its spices. The best known is cinnamon which is native to Sri Lanka.",
"The best known is cinnamon which is native to Sri Lanka. In the 15th and 16th centuries, spice and ivory traders from all over the world who came to Sri Lanka brought their native cuisines to the island, resulting in a rich diversity of cooking styles and techniques.",
"In the 15th and 16th centuries, spice and ivory traders from all over the world who came to Sri Lanka brought their native cuisines to the island, resulting in a rich diversity of cooking styles and techniques. Lamprais, rice boiled in stock with a special curry, accompanied by frikkadels (meatballs), all of which is then wrapped in a banana leaf and baked as a Dutch-influenced Sri Lankan dish.",
"Lamprais, rice boiled in stock with a special curry, accompanied by frikkadels (meatballs), all of which is then wrapped in a banana leaf and baked as a Dutch-influenced Sri Lankan dish. Dutch and Portuguese sweets also continue to be popular. British influences include roast beef and roast chicken.",
"British influences include roast beef and roast chicken. Also, the influence of the Indian cooking methods and food have played a major role in what Sri Lankans eat. The island nation's cuisine mainly consists of boiled or steamed rice served with curry.",
"The island nation's cuisine mainly consists of boiled or steamed rice served with curry. This usually consists of a main curry of fish or chicken, as well as several other curries made with vegetables, lentils and even fruit curries. Side-dishes include pickles, chutneys and .",
"Side-dishes include pickles, chutneys and . The most famous of these is the coconut sambol, made of ground coconut mixed with chili peppers, dried Maldive fish and lime juice. This is ground to a paste and eaten with rice, as it gives zest to the meal and is believed to increase appetite.",
"This is ground to a paste and eaten with rice, as it gives zest to the meal and is believed to increase appetite. Art and architecture Many forms of Sri Lankan arts and crafts take inspiration from the island's long and lasting Buddhist culture which in turn has absorbed and adopted countless regional and local traditions.",
"Art and architecture Many forms of Sri Lankan arts and crafts take inspiration from the island's long and lasting Buddhist culture which in turn has absorbed and adopted countless regional and local traditions. In most instances Sri Lankan art originates from religious beliefs, and is represented in many forms such as painting, sculpture, and architecture.",
"In most instances Sri Lankan art originates from religious beliefs, and is represented in many forms such as painting, sculpture, and architecture. One of the most notable aspects of Sri Lankan art are caves and temple paintings, such as the frescoes found at Sigiriya, and religious paintings found in temples in Dambulla and Temple of the Tooth Relic in Kandy.",
"One of the most notable aspects of Sri Lankan art are caves and temple paintings, such as the frescoes found at Sigiriya, and religious paintings found in temples in Dambulla and Temple of the Tooth Relic in Kandy. Other popular forms of art have been influenced by both natives as well as outside settlers.",
"Other popular forms of art have been influenced by both natives as well as outside settlers. For example, traditional wooden handicrafts and clay pottery are found around the hill country while Portuguese-inspired lacework and Indonesian-inspired Batik have become notable. It has many different and beautiful drawings.",
"It has many different and beautiful drawings. Developed upon Indo-Aryan architectural skills in the late 6th century BCE Sinhalese people who lived upon greater kingdoms such as Anuradhapura and Polonnaruwa have built so many architectural examples such as Ruwanwelisaya, Jetavanaramaya - second tallest brick building in the ancient world after Great Pyramid of Giza, and Abayagiriya - third tallest brick building in the ancient world.",
"Developed upon Indo-Aryan architectural skills in the late 6th century BCE Sinhalese people who lived upon greater kingdoms such as Anuradhapura and Polonnaruwa have built so many architectural examples such as Ruwanwelisaya, Jetavanaramaya - second tallest brick building in the ancient world after Great Pyramid of Giza, and Abayagiriya - third tallest brick building in the ancient world. And also with the ancient hydraulic technology which is also unique to Sinhalese people to build ancient tanks, systematic ponds with fountains moats and Irrigational reservoirs such as Parakrama Samudra, Kaudulla and Kandalama.",
"And also with the ancient hydraulic technology which is also unique to Sinhalese people to build ancient tanks, systematic ponds with fountains moats and Irrigational reservoirs such as Parakrama Samudra, Kaudulla and Kandalama. Sigiriya which is considered by many as the 8th wonder of the world, it is a combination of natural and man made fortress, which consists so many architectural aspects.",
"Sigiriya which is considered by many as the 8th wonder of the world, it is a combination of natural and man made fortress, which consists so many architectural aspects. Music There are extensive folk poems relating to specific jobs of the ancient society.",
"Music There are extensive folk poems relating to specific jobs of the ancient society. These poems were communal songs which had a rhythm that were sung when performing day-to-day tasks like harvesting and sowing. Concerning popular music, Ananda Samarakoon developed the reflective and poignant Sarala gee style with his work in the late 1930s/early 1940s.",
"Concerning popular music, Ananda Samarakoon developed the reflective and poignant Sarala gee style with his work in the late 1930s/early 1940s. He has been followed by artists of repute such as Sunil Shantha, W. D. Amaradeva, Premasiri Khemadasa, Nanda Malini, Victor Ratnayake, Austin Munasinghe, T. M. Jayaratne, Sanath Nandasiri, Sunil Edirisinghe, Neela Wickremasinghe, Gunadasa Kapuge, Malini Bulathsinghala and Edward Jayakody.",
"He has been followed by artists of repute such as Sunil Shantha, W. D. Amaradeva, Premasiri Khemadasa, Nanda Malini, Victor Ratnayake, Austin Munasinghe, T. M. Jayaratne, Sanath Nandasiri, Sunil Edirisinghe, Neela Wickremasinghe, Gunadasa Kapuge, Malini Bulathsinghala and Edward Jayakody. Film and theatre Dramatist Ediriweera Sarachchandra revitalised the drama form with Maname in 1956.",
"Film and theatre Dramatist Ediriweera Sarachchandra revitalised the drama form with Maname in 1956. The same year, film director Lester James Peries created the artistic masterwork Rekava which sought to create a uniquely Sinhalese cinema with artistic integrity. Since then, Peries and other directors like Vasantha Obeysekera, Dharmasena Pathiraja, Mahagama Sekera, W. A.",
"Since then, Peries and other directors like Vasantha Obeysekera, Dharmasena Pathiraja, Mahagama Sekera, W. A. B. de Silva, Dharmasiri Bandaranayake, Sunil Ariyaratne, Siri Gunasinghe, G. D. L. Perera, Piyasiri Gunaratne, Titus Thotawatte, D. B. Nihalsinghe, Ranjith Lal, Dayananda Gunawardena, Mudalinayake Somaratne, Asoka Handagama, and Prasanna Vithanage have developed an artistic Sinhalese cinema.",
"B. de Silva, Dharmasiri Bandaranayake, Sunil Ariyaratne, Siri Gunasinghe, G. D. L. Perera, Piyasiri Gunaratne, Titus Thotawatte, D. B. Nihalsinghe, Ranjith Lal, Dayananda Gunawardena, Mudalinayake Somaratne, Asoka Handagama, and Prasanna Vithanage have developed an artistic Sinhalese cinema. Sinhala cinema is often made colourful with the incorporation of songs and dance adding more uniqueness to the industry.",
"Sinhala cinema is often made colourful with the incorporation of songs and dance adding more uniqueness to the industry. In the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success.",
"In the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success. Performing arts Performing arts of the Sinhalese people can be categorised into few groups: Kandyan dance consist of 18 Wannam (dance routines) featuring behaviours of various animals such as elephant, eagle, cobra, monkey, peacock and rabbit, mainly performing in the annual Perahara pageant in Sri Dalada Maligawa Kandy.",
"Performing arts Performing arts of the Sinhalese people can be categorised into few groups: Kandyan dance consist of 18 Wannam (dance routines) featuring behaviours of various animals such as elephant, eagle, cobra, monkey, peacock and rabbit, mainly performing in the annual Perahara pageant in Sri Dalada Maligawa Kandy. Pahatharata dance have a significant dancing style which is used to cure illnesses and spiritual clarification.",
"Pahatharata dance have a significant dancing style which is used to cure illnesses and spiritual clarification. The main feature of these dances is dancers wear masks representing various gods and demons, and use elements such as fire and water to bless people. Sabaragamuwa dances have also a significant dancing style, mainly to entertain people.",
"Sabaragamuwa dances have also a significant dancing style, mainly to entertain people. Folk music and dances differ according to the casts of Sinhalese people and also some times regionally—mainly popular among small children, especially girls. These arts are widely performed during the Sinhalese New Year period. Martial arts Angampora is the traditional martial art of the Sinhalese people.",
"Martial arts Angampora is the traditional martial art of the Sinhalese people. It combines combat techniques, self-defence, sport, exercise and meditation. Key techniques observed in Angampora are: Angam, which incorporates hand-to-hand fighting, and Illangam, which uses indigenous weapons such as Velayudaya, staves, knives and swords.",
"Key techniques observed in Angampora are: Angam, which incorporates hand-to-hand fighting, and Illangam, which uses indigenous weapons such as Velayudaya, staves, knives and swords. Its most distinct feature is the use of pressure point attacks to inflict pain or permanently paralyse the opponent.",
"Its most distinct feature is the use of pressure point attacks to inflict pain or permanently paralyse the opponent. Fighters usually make use of both striking and grappling techniques, and fight until the opponent is caught in a submission lock that they cannot escape. Usage of weapons is discretionary.",
"Usage of weapons is discretionary. Usage of weapons is discretionary. Perimeters of fighting are defined in advance, and in some of the cases is a pit. Angampora became nearly extinct after the country came under British rule in 1815, but survived in a few families until the country regained independence.",
"Angampora became nearly extinct after the country came under British rule in 1815, but survived in a few families until the country regained independence. Science and education The Sinhalese have a long history of literacy and formal learning. Instruction in basic fields like writing and reading by Buddhist Monks pre-date the birth of Christ.",
"Instruction in basic fields like writing and reading by Buddhist Monks pre-date the birth of Christ. This traditional system followed religious rule and was meant to foster Buddhist understanding. Training of officials in such skills as keeping track of revenue and other records for administrative purposes occurred under this institution.",
"Training of officials in such skills as keeping track of revenue and other records for administrative purposes occurred under this institution. Technical education such as the building of reservoirs and canals was passed down from generation to generation through home training and outside craft apprenticeships.",
"Technical education such as the building of reservoirs and canals was passed down from generation to generation through home training and outside craft apprenticeships. The arrival of the Portuguese and Dutch and the subsequent colonisation maintained religion as the centre of education though in certain communities under Catholic and Presbyterian hierarchy. The British in the 1800s initially followed the same course.",
"The British in the 1800s initially followed the same course. Following 1870 however they began a campaign for better education facilities in the region. Christian missionary groups were at the forefront of this development contributing to a high literacy among Christians. By 1901 schools in the South and the North were well tended. The inner regions lagged behind however.",
"The inner regions lagged behind however. Also, English education facilities presented hurdles for the general populace through fees and lack of access. Medicine Traditional Sinhalese villages in early days had at least one chief Medical personnel called Weda Mahaththaya (Doctor). These people practice their clinical activities by inheritance.",
"These people practice their clinical activities by inheritance. Sinhalese Medicine resembles some of Ayurvedic practices in contrast for some treatments they use Buddhist Chantings (Pirith) in order to strengthen the effectiveness.",
"Sinhalese Medicine resembles some of Ayurvedic practices in contrast for some treatments they use Buddhist Chantings (Pirith) in order to strengthen the effectiveness. According to the Mahavamsa, the ancient chronicle, Pandukabhaya of Sri Lanka (437 BC – 367 BC) had lying-in-homes and Ayurvedic hospitals (Sivikasotthi-Sala) built in various parts of the country.",
"According to the Mahavamsa, the ancient chronicle, Pandukabhaya of Sri Lanka (437 BC – 367 BC) had lying-in-homes and Ayurvedic hospitals (Sivikasotthi-Sala) built in various parts of the country. This is the earliest documentary evidence we have of institutions specifically dedicated to the care of the sick anywhere in the world.",
"This is the earliest documentary evidence we have of institutions specifically dedicated to the care of the sick anywhere in the world. Mihintale Hospital is the oldest in the world. See also List of Sinhalese people Sinhalese Buddhist nationalism References Citations Sources De Silva, K. M. History of Sri Lanka (Univ.",
"See also List of Sinhalese people Sinhalese Buddhist nationalism References Citations Sources De Silva, K. M. History of Sri Lanka (Univ. of Calif. Press, 1981) Gunasekera, Tamara. Hierarchy and Egalitarianism: Caste, Class, and Power in Sinhalese Peasant Society (Athlone, 1994). Roberts, Michael.",
"Roberts, Michael. Roberts, Michael. Sri Lanka: Collective Identities Revisited (Colombo-Marga Institute, 1997). Wickremeratne, Ananda. Buddhism and Ethnicity in Sri Lanka: A Historical Analysis (New Delhi-Vikas Publishing House, 1995).",
"Buddhism and Ethnicity in Sri Lanka: A Historical Analysis (New Delhi-Vikas Publishing House, 1995). External links CIA Factbook-Sri Lanka Department of Census and Statistics-Sri Lanka Ethnologue-Sinhala, a language of Sri Lanka CIA Factbook-Sri Lanka Sinhalese Who are the Sinhalese Buddhist communities of Sri Lanka Ethnic groups in Sri Lanka Ethnic groups in the Indian Ocean Indo-Aryan peoples Sinhalese diaspora Sinhalese culture"
] |
[
"Sinhalese people",
"Language and literature",
"what language did the sinhalese people use?",
"The Sinhalese speak Sinhala, also known as \"Helabasa\";",
"is it a widely known language?",
"I don't know.",
"Are there any other interesting aspects about this article?",
"Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today.",
"what were the folk tales about?",
"Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance.",
"are any of these folks books to this day?",
"continue to entertain children today.",
"who created these folks?",
"I don't know.",
"what's the most interesting part of the article, to you?",
"The Sinhala language was mainly inspired by Sanskrit and Pali,"
] | C_6531bbbb4dba4483bed9d12220555c4f_1 | what was the language like? | 8 | what was the language of the Sinhalese people like? | Sinhalese people | The Sinhalese speak Sinhala, also known as "Helabasa"; this language has two varieties, spoken and written. Sinhala is an Indo-Aryan language within the broader group of Indo-European languages. The language was brought to Sri Lanka by the ancestors of the Sinhalese from northern India who settled on the island in the 6th century BCE. Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages. Sinhala was influenced by many languages, prominently Pali, the sacred language of Southern Buddhism, and Sanskrit. Many early Sinhala texts such as the Hela Atuwa were lost after their translation into Pali. Other significant Sinhala texts include Amavatura, Kavu Silumina, Jathaka Potha and Sala Liheeniya. Sinhala has also adopted many loanwords of foreign origin, including from many Indian languages and colonial languages Portuguese, Dutch, and English. Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world. The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages. Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and Hollywood movies. Additionally many Dutch and Portuguese words can be seen in the coastal areas. Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today. Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance. Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son. In the modern period, Sinhala writers such as Martin Wickremasinghe and G. B. Senanayake have drawn widespread acclaim. Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake. Martin Wickramasinghe wrote the immensely popular children's novel Madol Duwa. Munadasa Cumaratunga's Hath Pana is also widely known. CANNOTANSWER | Today some English words too have come in as a result of the British occupation during colonial times, | Sinhalese people () are an Indo-Aryan ethnic group native to the island of Sri Lanka. They were historically known as Hela people (). They constitute about 75% of the Sri Lankan population and number greater than 16.2 million. The Sinhalese identity is based on language, cultural heritage and nationality. The Sinhalese people speak Sinhala, an insular Indo-Aryan language, and are predominantly Theravada Buddhists, although a minority of Sinhalese follow branches of Christianity and
other religions. Since 1815, they were broadly divided into two respective groups: The 'Up-country Sinhalese' in the central mountainous regions, and the 'Low-country Sinhalese' in the coastal regions; although both groups speak the same language, they are distinguished as they observe different cultural customs.
According to the Mahavamsa and the Dipavamsa, a 3rd–5th century treatise written in Pali by Buddhist monks of the Anuradhapura Maha Viharaya in Sri Lanka, the Sinhalese descend from settlers who came to the island in 543 BCE from Sinhapura led by Prince Vijaya who mixed with the indigenous Yakka and later settlers from the Pandya kingdom.
Etymology
From the Sanskrit word Sinhala, meaning literally "of lions".
The Mahavamsa records the origin of the Sinhalese people and related historical events. It traces the historical origin of the Sinhalese people back to the first king who mentioned in the documentary history of Sri Lanka, Vijaya, who is the son of Sinhabahu (Sanskrit meaning 'Sinha' (lion) + 'bahu' (hands, feet), the ruler of Sinhapura. Some versions suggest Vijaya is the grandson of Sinhabahu. According to the Mahavamsa, Sinhabahu was the son of princess Suppadevi of Vanga, who copulated with a lion and gave birth to a daughter called Sinhasivali and to a son, Sinhabahu, whose hands and feet were like the paws of a lion and who had the strength of a lion. King Vijaya, the lineage of Sinhabahu, according to the Mahavamsa and other historical sources, arrived on the island of Tambapanni (Sri Lanka) and gave origin to the lion people, Sinhalese.
The story of the arrival of Prince Vijaya in Sri Lanka and the origin of the Sinhalese people is also depicted in the Ajanta caves, in a mural of cave number 17. According to Arisen Ahubudu, there were four major clans of "hela" in ancient Sri Lanka even before the arrival of Prince Vijaya, and that Sri Lanka was called as "Siv hela" (siv=four in the Sinhala language) and later it was changed into "Sinhala".
History
The early recorded history of the Sinhalese is chronicled in two documents, the Mahavamsa, written in Pāli around the 4th century CE, and the later Culavamsa (the first segment probably penned in the 13th century CE by the Buddhist monk Dhammakitti). These are ancient sources that cover the histories of the powerful ancient Sinhalese kingdoms of Anuradhapura and Polonnaruwa which lasted for 1500 years. The Mahavamsa describes the existence of fields of rice and reservoirs, indicating a well-developed agrarian society.
Pre Anuradhapura period
According to Mahavamsa, Prince Vijaya and his 700 followers left Suppāraka, landed on the island at a site believed by historians to be in the district of Puttalam, south of modern-day Mannar and founded the Kingdom of Thambapanni. It is recorded the Vijaya made his landing on the day of Buddha's Parinirvana. Vijaya claimed Tambapanni his capital and soon the whole island come under this name. Tambapanni was originally inhabited and governed by Yakkhas, having their capital at Sirīsavatthu and their queen Kuveni. According to the Samyutta Commentary, Tambapanni was one hundred leagues in extent.
At the end of his reign, Vijaya, having trouble choosing a successor, sent a letter to the city of his ancestors, Sinhapura, in order to invite his brother Sumitta to take over the throne. However, Vijaya had died before the letter had reached its destination, so the elected minister of the people Upatissa, the Chief government minister or prime minister and leading chief among the Sinhalese became regent and acted as regent for a year. After his coronation, which was held in the Kingdom of Tambapanni, he left it, building another one, bearing his own name. While he was king, Upatissa established the new capital Upatissa, in which the kingdom was moved to from the Kingdom of Tambapanni. When Vijaya's letter arrived, Sumitta had already succeeded his father as king of his country, and so he sent his son Panduvasdeva to rule Upatissa Nuwara.
Upatissa Nuwara was seven or eight miles further north of the Kingdom of Tambapanni.
It was named after the regent king Upatissa, who was the prime minister of Vijaya, and was founded in 505 BC after the death of Vijaya and the end of the Kingdom of Tambapanni.
Anuradhapura period
In 377 BC, King Pandukabhaya (437–367 BC) moved the capital to Anuradhapura and developed it into a prosperous city. Anuradhapura (Anurapura) was named after the minister who first established the village and after a grandfather of Pandukabhaya who lived there. The name was also derived from the city's establishment on the auspicious asterism called Anura. Anuradhapura was the capital of all the monarchs who ruled from the dynasty.
Rulers such as Dutthagamani, Valagamba, and Dhatusena are noted for defeating the South Indians and regaining control of the kingdom. Other rulers who are notable for military achievements include Gajabahu I, who launched an invasion against the invaders, and Sena II, who sent his armies to assist a Pandyan prince.
Polonnaruwa period
During the Middle Ages Sri Lanka was well known for its agricultural prosperity under king Parakramabahu in Polonnaruwa during which period the island was famous around the world as the rice mill of the east.
Transitional period
Later in the 13th century the country's administrative provinces were divided into independent kingdoms and chieftaincies: Kingdom of Sitawaka, Kingdom of Kotte, Jaffna Kingdom and the Kandyan kingdom. The invasion by the Hindu king Magha in the 13th century led to migrations by the Buddhists (mostly Sinhalese) to areas not under his control. This migration was followed by a period of conflict among the Sinhalese chiefs who tried to exert political supremacy. Parakramabahu VI, a Sinhalese king invaded the Jaffna Kingdom and conquered it, bringing the entire country back under the Sinhalese kingdom. Trade also increased during this period, as Sri Lanka began to trade cinnamon and a large number of Muslim traders were bought into the island.
In the 15th century a Kandyan Kingdom formed which divided the Sinhalese politically into low-country and up-country. In this period, the Sinhalese caste structure absorbed recent Dravidian Hindu immigrants from South India leading to the emergence of three new Sinhalese caste groups - the Salagama, the Durava and the Karava.
Modern history
The Sinhalese have a stable birth rate and a population that has been growing at a slow pace relative to India and other Asian countries.
Society
Demographics
Sri Lanka
Within Sri Lanka the majority of the Sinhalese reside in the South, Central, Sabaragamuwa and Western parts of the country. This coincides with the largest Sinhalese populations areas in Sri Lanka. Cities with more than 90% Sinhalese population include Hambantota, Galle, Gampaha, Kurunegala, Monaragala, Anuradhapura and Polonnaruwa.
Diaspora
Sinhalese people have emigrated out to many countries for a variety of reasons. The larger diaspora communities are situated in the United Kingdom, Australia, United States and Canada among others. In addition to this there are many Sinhalese, who reside in the Middle East, Southeast Asia and Europe, temporarily in connection with employment and/or education. They are often employed as guest workers in the Middle East and professionals in the other regions.
The largest population centres of the Sinhalese diaspora are mainly situated in Europe, North America and Australia. The city of Melbourne contains just under half of the Sri Lankan Australians. The 2011 census recorded 86,412 Sri Lanka born in Australia. There are 73,849 Australians (0.4 of the population) who reported having Sinhalese ancestry in 2006. Sinhala was also reported to be the 29th-fastest-growing language in Australia (ranking above Somali but behind Hindi and Belarusian). Sinhalese Australians have an exceptionally low rate of return migration to Sri Lanka. In the 2011 Canadian Census, 7,220 people identified themselves as of Sinhalese ancestry, out of 139,415 Sri Lankans. There are a small number of Sinhalese people in India, scattered around the country, but mainly living in and around the northern and southern regions. Sri Lankan New Zealanders comprised 3% of the Asian population of New Zealand in 2001. The numbers arriving continued to increase, and at the 2018 census there were over 16,000 Sri Lankans living in New Zealand among those 9,171 were Sinhalese.
In the U.S, the Sinhalese number about 12,000 people. The New York City Metropolitan Area contains the largest Sri Lankan community in the United States, receiving the highest legal permanent resident Sri Lankan immigrant population, followed by Central New Jersey and the Los Angeles metropolitan area. Many Sinhalese have migrated to Italy since the 1970s. Italy was attractive to the Sinhalese due to perceived easier employment opportunities and entry, compared to other European countries. It is estimated that there are 30,000-33,000 Sinhalese in Italy. The major Sinhalese communities in Italy are located in Lombardia (In the districts Loreto and Lazzaretto), Milan, Lazio, Rome, Naples, and Southern Italy (Particularly Palermo, Messina and Catania). It should be noted however that many countries census list Sri Lankan which also includes Sri Lankan Tamils so the numbers of just Sinhalese are not as accurate when the census states Sri Lankan and not Sinhalese. Though Sinhalese people in particular and Sri Lankans in general have migrated to the UK over the centuries beginning from the colonial times, the number of Sinhalese people in the UK cannot be estimated accurately due to inadequacies of census in the UK. The UK government does not record statistics on the basis of language or ethnicity and all Sri Lankans are classified into one group as Asian British or Asian Other.
Language and literature
Sinhalese people speak Sinhala, also known as "Helabasa"; this language has two varieties, spoken and written. Sinhala is an Indo-Aryan language within the broader group of Indo-European languages. The early form of the language was brought to Sri Lanka by the ancestors of the Sinhalese people from northern India who settled on the island in the 6th century BCE. Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages. It was influenced by many languages, prominently Pali, the sacred language of Southern Buddhism, Telugu and Sanskrit. Many early texts in the language such as the Hela Atuwa were lost after their translation into Pali. Other significant Sinhala texts include Amāvatura, Kavu Silumina, Jathaka Potha and Sala Liheeniya. Sinhala has also adopted many loanwords of foreign origin, including from many Indian such as Tamil and European languages such as Portuguese, Dutch, and English.
Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world. The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages. Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and foreign films. Additionally many Dutch and Portuguese words can be seen in the coastal areas. Sinhalese people, depending on where they live in Sri Lanka, may also additionally speak English and or Tamil. According to the 2012 Census 23.8% or 3,033,659 Sinhalese people also spoke English and 6.4% or 812,738 Sinhalese people also spoke Tamil. In the Negombo area bilingual fishermen who generally identify themselves as Sinhalese also speak the Negombo Tamil dialect. This dialect has undergone considerable convergence with spoken Sinhala.
Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today. Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance. Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son.
In the modern period, Sinhala writers such as Martin Wickremasinghe and G. B. Senanayake have drawn widespread acclaim. Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake. Martin Wickramasinghe wrote the immensely popular children's novel Madol Duwa. Munadasa Cumaratunga's Hath Pana is also widely known.
Religion
The form of Buddhism in Sri Lanka is known as Theravada (school of elders). The Pali chronicles (e.g., the Mahavansa) claim that the Sinhalese as an ethnic group are destined to preserve and protect Buddhism. In 1988 almost 93% of the Sinhala speaking population in Sri Lanka were Buddhist. Observations of current religious beliefs and practices demonstrate that the Sinhalese, as a religious community, have a complex worldview as Buddhists. Due to the proximity and on some occasions similarity of certain doctrines, there are many areas where Buddhists and Hindus share religious views and practices. Sinhalese Buddhists have adopted religious elements from Hindu traditions in their religious practices. Some of these practices may relate to ancient indigenous beliefs and traditions on spirits (folk religion), and the worship of Hindu deities. Some of these figures are used in healing rituals and may be native to the island. Gods and goddess derived from Hindu deities are worshiped by Sinhalese. Kataragama Deviyo from Kartikeya, Upulvan from Vishnu and Ayyanayake from Aiyanar can be named as examples. Though these gods take the same place as their Hindu counterparts in mythology, some of their aspects are different compared to the original gods.
Prominent Sri Lankan anthropologists Gananath Obeyesekere and Kitsiri Malalgoda used the term "Protestant Buddhism" to describe a type of Buddhism that appeared among the Sinhalese in Sri Lanka as a response to Protestant Christian missionaries and their evangelical activities during the British colonial period. This kind of Buddhism involved emulating the Protestant strategies of organising religious practices. They saw the need to establish Buddhist schools for educating Buddhist youth and organising Buddhists with new organisations such as the Young Men's Buddhist Association, as well as printing pamphlets to encourage people to participate in debates and religious controversies to defend Buddhism.
Christianity
There is a significant Sinhalese Christian community, in the maritime provinces of Sri Lanka. Christianity was brought to the Sinhalese by Portuguese, Dutch, and British missionary groups during their respective periods of rule. Most Sinhalese Christians are Roman Catholic; a minority are Protestant. Their cultural centre is Negombo.
Religion is considered very important among the Sinhalese. According to a 2008 Gallup poll, 99% of Sri Lankans considered religion an important aspect of their daily lives.
Genetics
Modern studies point towards a predominantly Bengali contribution and a minor Tamil influence. Gujarati and Punjabi lineages are also visible. In relation to the former, other studies also show the Sinhalese possess some genetic admixture from Southeast Asian populations, especially from Austroasiatic groups. Certain Y-DNA and mtDNA haplogroups and genetic markers of immunoglobulin among the Sinhalese, for example, show Southeast Asian genetic influences many of which are also found among certain Northeast Indian populations to whom the Sinhalese are genetically related.
Culture
Sinhalese culture is a unique one dating as far back as 2600 years and has been nourished by Theravada Buddhism. Its main domains are sculpture, fine arts, literature, dancing, poetry and a wide variety of folk beliefs and rituals traditionally. Ancient Sinhala stone sculpture and inscriptions are known worldwide and is a main foreign attraction in modern tourism. Sigirirya is famous for its frescoes. Folk poems were sung by workers to accompany their work and narrate the story of their lives. Ideally these poems consisted of four lines and, in the composition of these poems, special attention had been paid to the rhyming patterns. Buddhist festivals are dotted by unique music using traditionally Sinhalese instruments. More ancient rituals like (devil exorcism) continue to enthrall audiences today and often praised and invoked the good powers of the Buddha and the gods in order to exorcise the demons.
Folklore and national mythology
According to the Mahavamsa, the Sinhalese are descended from the exiled Prince Vijaya and his party of seven hundred followers who arrived on the island in 543 BCE. Vijaya and his followers were said to have arrived in Sri Lanka after being exiled from the city of Sinhapura in Bengal. The modern Sinhalese people were found genetically to be most closely related to the people of North-East India (Bengal). It is thought throughout Sri Lanka's history, since the founding of the Sinhalese in the 5th century BC that an influx of Indians from North India came to the island. This is further supported from Sinhala being part of the Indo-Aryan language group.
Traditionally during recreation the Sinhalese wear a sarong (sarama in Sinhala). Men may wear a long-sleeved shirt with a sarong. Clothing varies by region for women. Low country Sinhalese women wear a white Long sleeved jacket, and a tight wrap around skirt, which usually is embedded with a floral or pattern design. As for the up country Sinhalese, women wear a similar outfit, but with a puffed up shoulder jacket, and a tucked in frill that lines the top of the skirt (Reda and Hatte in Sinhala). Traditionally, high caste Kandyan women wear a Kandyan style sari, which is similar to the Maharashtrian sari, with the drape but with a frill lining the bottom half and sometimes puffed up sleeves. It’s also called an Osariya. The low country high caste women wear a South Indian style saree. Within the more populated areas, Sinhalese men also wear Western-style clothing — wearing suits while the women wear skirts and blouses. For formal and ceremonial occasions women wear the traditional Kandyan (Osariya) style, which consists of a full blouse which covers the midriff completely, and is partially tucked in at the front. However, modern intermingling of styles has led to most wearers baring the midriff. The Kandyan style is considered as the national dress of Sinhalese women. In many occasions and functions, even the saree plays an important role in women's clothing and has become the de facto clothing for female office workers especially in government sector. An example of its use is the uniform of air hostesses of Sri Lankan Airlines.
Cuisine
Sinhalese cuisine is one of the most complex cuisines of South Asia. As a major trade hub, it draws influence from colonial powers that were involved in Sri Lanka and by foreign traders. Rice, which is consumed daily, can be found at any occasion, while spicy curries are favourite dishes for lunch and dinner. Some of the Sri Lankan dishes have striking resemblance to Kerala cuisine, which could be due to the similar geographic and agricultural features with Kerala. A well-known rice dish with Sinhalese is Kiribath, meaning ‘milk rice’. In addition to , Sinhalese eat , chopped leaves mixed with grated coconut and red onions. Coconut milk is found in most Sri Lankan dishes to give the cuisine its unique flavour.
Sri Lanka has long been renowned for its spices. The best known is cinnamon which is native to Sri Lanka. In the 15th and 16th centuries, spice and ivory traders from all over the world who came to Sri Lanka brought their native cuisines to the island, resulting in a rich diversity of cooking styles and techniques. Lamprais, rice boiled in stock with a special curry, accompanied by frikkadels (meatballs), all of which is then wrapped in a banana leaf and baked as a Dutch-influenced Sri Lankan dish. Dutch and Portuguese sweets also continue to be popular. British influences include roast beef and roast chicken. Also, the influence of the Indian cooking methods and food have played a major role in what Sri Lankans eat.
The island nation's cuisine mainly consists of boiled or steamed rice served with curry. This usually consists of a main curry of fish or chicken, as well as several other curries made with vegetables, lentils and even fruit curries. Side-dishes include pickles, chutneys and . The most famous of these is the coconut sambol, made of ground coconut mixed with chili peppers, dried Maldive fish and lime juice. This is ground to a paste and eaten with rice, as it gives zest to the meal and is believed to increase appetite.
Art and architecture
Many forms of Sri Lankan arts and crafts take inspiration from the island's long and lasting Buddhist culture which in turn has absorbed and adopted countless regional and local traditions. In most instances Sri Lankan art originates from religious beliefs, and is represented in many forms such as painting, sculpture, and architecture. One of the most notable aspects of Sri Lankan art are caves and temple paintings, such as the frescoes found at Sigiriya, and religious paintings found in temples in Dambulla and Temple of the Tooth Relic in Kandy. Other popular forms of art have been influenced by both natives as well as outside settlers. For example, traditional wooden handicrafts and clay pottery are found around the hill country while Portuguese-inspired lacework and Indonesian-inspired Batik have become notable. It has many different and beautiful drawings.
Developed upon Indo-Aryan architectural skills in the late 6th century BCE Sinhalese people who lived upon greater kingdoms such as Anuradhapura and Polonnaruwa have built so many architectural examples such as Ruwanwelisaya, Jetavanaramaya - second tallest brick building in the ancient world after Great Pyramid of Giza, and Abayagiriya - third tallest brick building in the ancient world. And also with the ancient hydraulic technology which is also unique to Sinhalese people to build ancient tanks, systematic ponds with fountains moats and Irrigational reservoirs such as Parakrama Samudra, Kaudulla and Kandalama. Sigiriya which is considered by many as the 8th wonder of the world, it is a combination of natural and man made fortress, which consists so many architectural aspects.
Music
There are extensive folk poems relating to specific jobs of the ancient society. These poems were communal songs which had a rhythm that were sung when performing day-to-day tasks like harvesting and sowing.
Concerning popular music, Ananda Samarakoon developed the reflective and poignant Sarala gee style with his work in the late 1930s/early 1940s. He has been followed by artists of repute such as Sunil Shantha, W. D. Amaradeva, Premasiri Khemadasa, Nanda Malini, Victor Ratnayake, Austin Munasinghe, T. M. Jayaratne, Sanath Nandasiri, Sunil Edirisinghe, Neela Wickremasinghe, Gunadasa Kapuge, Malini Bulathsinghala and Edward Jayakody.
Film and theatre
Dramatist Ediriweera Sarachchandra revitalised the drama form with Maname in 1956. The same year, film director Lester James Peries created the artistic masterwork Rekava which sought to create a uniquely Sinhalese cinema with artistic integrity. Since then, Peries and other directors like Vasantha Obeysekera, Dharmasena Pathiraja, Mahagama Sekera, W. A. B. de Silva, Dharmasiri Bandaranayake, Sunil Ariyaratne, Siri Gunasinghe, G. D. L. Perera, Piyasiri Gunaratne, Titus Thotawatte, D. B. Nihalsinghe, Ranjith Lal, Dayananda Gunawardena, Mudalinayake Somaratne, Asoka Handagama, and Prasanna Vithanage have developed an artistic Sinhalese cinema. Sinhala cinema is often made colourful with the incorporation of songs and dance adding more uniqueness to the industry.
In the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success.
Performing arts
Performing arts of the Sinhalese people can be categorised into few groups:
Kandyan dance consist of 18 Wannam (dance routines) featuring behaviours of various animals such as elephant, eagle, cobra, monkey, peacock and rabbit, mainly performing in the annual Perahara pageant in Sri Dalada Maligawa Kandy.
Pahatharata dance have a significant dancing style which is used to cure illnesses and spiritual clarification. The main feature of these dances is dancers wear masks representing various gods and demons, and use elements such as fire and water to bless people.
Sabaragamuwa dances have also a significant dancing style, mainly to entertain people.
Folk music and dances differ according to the casts of Sinhalese people and also some times regionally—mainly popular among small children, especially girls. These arts are widely performed during the Sinhalese New Year period.
Martial arts
Angampora is the traditional martial art of the Sinhalese people. It combines combat techniques, self-defence, sport, exercise and meditation. Key techniques observed in Angampora are: Angam, which incorporates hand-to-hand fighting, and Illangam, which uses indigenous weapons such as Velayudaya, staves, knives and swords. Its most distinct feature is the use of pressure point attacks to inflict pain or permanently paralyse the opponent. Fighters usually make use of both striking and grappling techniques, and fight until the opponent is caught in a submission lock that they cannot escape. Usage of weapons is discretionary. Perimeters of fighting are defined in advance, and in some of the cases is a pit. Angampora became nearly extinct after the country came under British rule in 1815, but survived in a few families until the country regained independence.
Science and education
The Sinhalese have a long history of literacy and formal learning. Instruction in basic fields like writing and reading by Buddhist Monks pre-date the birth of Christ. This traditional system followed religious rule and was meant to foster Buddhist understanding. Training of officials in such skills as keeping track of revenue and other records for administrative purposes occurred under this institution.
Technical education such as the building of reservoirs and canals was passed down from generation to generation through home training and outside craft apprenticeships.
The arrival of the Portuguese and Dutch and the subsequent colonisation maintained religion as the centre of education though in certain communities under Catholic and Presbyterian hierarchy. The British in the 1800s initially followed the same course. Following 1870 however they began a campaign for better education facilities in the region. Christian missionary groups were at the forefront of this development contributing to a high literacy among Christians.
By 1901 schools in the South and the North were well tended. The inner regions lagged behind however. Also, English education facilities presented hurdles for the general populace through fees and lack of access.
Medicine
Traditional Sinhalese villages in early days had at least one chief Medical personnel called Weda Mahaththaya (Doctor). These people practice their clinical activities by inheritance. Sinhalese Medicine resembles some of Ayurvedic practices in contrast for some treatments they use Buddhist Chantings (Pirith) in order to strengthen the effectiveness.
According to the Mahavamsa, the ancient chronicle, Pandukabhaya of Sri Lanka (437 BC – 367 BC) had lying-in-homes and Ayurvedic hospitals (Sivikasotthi-Sala) built in various parts of the country. This is the earliest documentary evidence we have of institutions specifically dedicated to the care of the sick anywhere in the world. Mihintale Hospital is the oldest in the world.
See also
List of Sinhalese people
Sinhalese Buddhist nationalism
References
Citations
Sources
De Silva, K. M. History of Sri Lanka (Univ. of Calif. Press, 1981)
Gunasekera, Tamara. Hierarchy and Egalitarianism: Caste, Class, and Power in Sinhalese Peasant Society (Athlone, 1994).
Roberts, Michael. Sri Lanka: Collective Identities Revisited (Colombo-Marga Institute, 1997).
Wickremeratne, Ananda. Buddhism and Ethnicity in Sri Lanka: A Historical Analysis (New Delhi-Vikas Publishing House, 1995).
External links
CIA Factbook-Sri Lanka
Department of Census and Statistics-Sri Lanka
Ethnologue-Sinhala, a language of Sri Lanka
CIA Factbook-Sri Lanka
Sinhalese
Who are the Sinhalese
Buddhist communities of Sri Lanka
Ethnic groups in Sri Lanka
Ethnic groups in the Indian Ocean
Indo-Aryan peoples
Sinhalese diaspora
Sinhalese culture | true | [
"What Was Before () is a 2010 novel by the German writer Martin Mosebach. Through a series of vignettes, it tells the story of a man from the affluent suburbs of Frankfurt, who is asked by his girlfriend what his life was like before they met. An English translation by Kári Driscoll was published in 2014.\n\nReception\nPublishers Weekly wrote: \"Mosebach's charming, exuberant narrator is not be trusted, and the novel calls into question our notions of memory. Mosebach's writing is florid, tinged with a biting wit. ... Irreverent, playful, and intricate, Mosebach's book is a deconstruction of how we choose to tell stories.\"\n\nReferences\n\nExternal links\n What Was Before at the German publisher's website \n What Was Before at the British publisher's website\n\n2010 German novels\nFrankfurt in fiction\nGerman-language novels",
"Percy Greg (7 January 1836 Bury – 24 December 1889, Chelsea), son of William Rathbone Greg, was an English writer.\n\nPercy Greg, like his father, wrote about politics, but his views were violently reactionary: his History of the United States to the Reconstruction of the Union (1887) can be said to be more of a polemic, rather than a history.\n\nHis Across the Zodiac (1880) is an early science fiction novel, said to be the progenitor of the sword-and-planet genre. For that novel, Greg created what may have been the first artistic language that was described with linguistic and grammatical terminology. It also contained what is possibly the first instance in the English language of the word \"Astronaut\".\n\nIn 2010 a crater on Mars was named Greg in recognition of his contribution to the lore of Mars.\n\nBibliography\n\nAcross the Zodiac (1880)\nHistory of the United States to the Reconstruction of the Union (1887)\n\nReferences\n\nExternal links \n \n \n\n1836 births\n1889 deaths\nPeople from Bury, Greater Manchester"
] | [
"Sinhalese people () are an Indo-Aryan ethnic group native to the island of Sri Lanka. They were historically known as Hela people (). They constitute about 75% of the Sri Lankan population and number greater than 16.2 million. The Sinhalese identity is based on language, cultural heritage and nationality.",
"The Sinhalese identity is based on language, cultural heritage and nationality. The Sinhalese people speak Sinhala, an insular Indo-Aryan language, and are predominantly Theravada Buddhists, although a minority of Sinhalese follow branches of Christianity and other religions.",
"The Sinhalese people speak Sinhala, an insular Indo-Aryan language, and are predominantly Theravada Buddhists, although a minority of Sinhalese follow branches of Christianity and other religions. Since 1815, they were broadly divided into two respective groups: The 'Up-country Sinhalese' in the central mountainous regions, and the 'Low-country Sinhalese' in the coastal regions; although both groups speak the same language, they are distinguished as they observe different cultural customs.",
"Since 1815, they were broadly divided into two respective groups: The 'Up-country Sinhalese' in the central mountainous regions, and the 'Low-country Sinhalese' in the coastal regions; although both groups speak the same language, they are distinguished as they observe different cultural customs. According to the Mahavamsa and the Dipavamsa, a 3rd–5th century treatise written in Pali by Buddhist monks of the Anuradhapura Maha Viharaya in Sri Lanka, the Sinhalese descend from settlers who came to the island in 543 BCE from Sinhapura led by Prince Vijaya who mixed with the indigenous Yakka and later settlers from the Pandya kingdom.",
"According to the Mahavamsa and the Dipavamsa, a 3rd–5th century treatise written in Pali by Buddhist monks of the Anuradhapura Maha Viharaya in Sri Lanka, the Sinhalese descend from settlers who came to the island in 543 BCE from Sinhapura led by Prince Vijaya who mixed with the indigenous Yakka and later settlers from the Pandya kingdom. Etymology From the Sanskrit word Sinhala, meaning literally \"of lions\".",
"Etymology From the Sanskrit word Sinhala, meaning literally \"of lions\". The Mahavamsa records the origin of the Sinhalese people and related historical events.",
"The Mahavamsa records the origin of the Sinhalese people and related historical events. It traces the historical origin of the Sinhalese people back to the first king who mentioned in the documentary history of Sri Lanka, Vijaya, who is the son of Sinhabahu (Sanskrit meaning 'Sinha' (lion) + 'bahu' (hands, feet), the ruler of Sinhapura.",
"It traces the historical origin of the Sinhalese people back to the first king who mentioned in the documentary history of Sri Lanka, Vijaya, who is the son of Sinhabahu (Sanskrit meaning 'Sinha' (lion) + 'bahu' (hands, feet), the ruler of Sinhapura. Some versions suggest Vijaya is the grandson of Sinhabahu.",
"Some versions suggest Vijaya is the grandson of Sinhabahu. According to the Mahavamsa, Sinhabahu was the son of princess Suppadevi of Vanga, who copulated with a lion and gave birth to a daughter called Sinhasivali and to a son, Sinhabahu, whose hands and feet were like the paws of a lion and who had the strength of a lion.",
"According to the Mahavamsa, Sinhabahu was the son of princess Suppadevi of Vanga, who copulated with a lion and gave birth to a daughter called Sinhasivali and to a son, Sinhabahu, whose hands and feet were like the paws of a lion and who had the strength of a lion. King Vijaya, the lineage of Sinhabahu, according to the Mahavamsa and other historical sources, arrived on the island of Tambapanni (Sri Lanka) and gave origin to the lion people, Sinhalese.",
"King Vijaya, the lineage of Sinhabahu, according to the Mahavamsa and other historical sources, arrived on the island of Tambapanni (Sri Lanka) and gave origin to the lion people, Sinhalese. The story of the arrival of Prince Vijaya in Sri Lanka and the origin of the Sinhalese people is also depicted in the Ajanta caves, in a mural of cave number 17.",
"The story of the arrival of Prince Vijaya in Sri Lanka and the origin of the Sinhalese people is also depicted in the Ajanta caves, in a mural of cave number 17. According to Arisen Ahubudu, there were four major clans of \"hela\" in ancient Sri Lanka even before the arrival of Prince Vijaya, and that Sri Lanka was called as \"Siv hela\" (siv=four in the Sinhala language) and later it was changed into \"Sinhala\".",
"According to Arisen Ahubudu, there were four major clans of \"hela\" in ancient Sri Lanka even before the arrival of Prince Vijaya, and that Sri Lanka was called as \"Siv hela\" (siv=four in the Sinhala language) and later it was changed into \"Sinhala\". History The early recorded history of the Sinhalese is chronicled in two documents, the Mahavamsa, written in Pāli around the 4th century CE, and the later Culavamsa (the first segment probably penned in the 13th century CE by the Buddhist monk Dhammakitti).",
"History The early recorded history of the Sinhalese is chronicled in two documents, the Mahavamsa, written in Pāli around the 4th century CE, and the later Culavamsa (the first segment probably penned in the 13th century CE by the Buddhist monk Dhammakitti). These are ancient sources that cover the histories of the powerful ancient Sinhalese kingdoms of Anuradhapura and Polonnaruwa which lasted for 1500 years.",
"These are ancient sources that cover the histories of the powerful ancient Sinhalese kingdoms of Anuradhapura and Polonnaruwa which lasted for 1500 years. The Mahavamsa describes the existence of fields of rice and reservoirs, indicating a well-developed agrarian society.",
"The Mahavamsa describes the existence of fields of rice and reservoirs, indicating a well-developed agrarian society. Pre Anuradhapura period According to Mahavamsa, Prince Vijaya and his 700 followers left Suppāraka, landed on the island at a site believed by historians to be in the district of Puttalam, south of modern-day Mannar and founded the Kingdom of Thambapanni.",
"Pre Anuradhapura period According to Mahavamsa, Prince Vijaya and his 700 followers left Suppāraka, landed on the island at a site believed by historians to be in the district of Puttalam, south of modern-day Mannar and founded the Kingdom of Thambapanni. It is recorded the Vijaya made his landing on the day of Buddha's Parinirvana.",
"It is recorded the Vijaya made his landing on the day of Buddha's Parinirvana. Vijaya claimed Tambapanni his capital and soon the whole island come under this name. Tambapanni was originally inhabited and governed by Yakkhas, having their capital at Sirīsavatthu and their queen Kuveni. According to the Samyutta Commentary, Tambapanni was one hundred leagues in extent.",
"According to the Samyutta Commentary, Tambapanni was one hundred leagues in extent. At the end of his reign, Vijaya, having trouble choosing a successor, sent a letter to the city of his ancestors, Sinhapura, in order to invite his brother Sumitta to take over the throne.",
"At the end of his reign, Vijaya, having trouble choosing a successor, sent a letter to the city of his ancestors, Sinhapura, in order to invite his brother Sumitta to take over the throne. However, Vijaya had died before the letter had reached its destination, so the elected minister of the people Upatissa, the Chief government minister or prime minister and leading chief among the Sinhalese became regent and acted as regent for a year.",
"However, Vijaya had died before the letter had reached its destination, so the elected minister of the people Upatissa, the Chief government minister or prime minister and leading chief among the Sinhalese became regent and acted as regent for a year. After his coronation, which was held in the Kingdom of Tambapanni, he left it, building another one, bearing his own name.",
"After his coronation, which was held in the Kingdom of Tambapanni, he left it, building another one, bearing his own name. While he was king, Upatissa established the new capital Upatissa, in which the kingdom was moved to from the Kingdom of Tambapanni.",
"While he was king, Upatissa established the new capital Upatissa, in which the kingdom was moved to from the Kingdom of Tambapanni. When Vijaya's letter arrived, Sumitta had already succeeded his father as king of his country, and so he sent his son Panduvasdeva to rule Upatissa Nuwara.",
"When Vijaya's letter arrived, Sumitta had already succeeded his father as king of his country, and so he sent his son Panduvasdeva to rule Upatissa Nuwara. Upatissa Nuwara was seven or eight miles further north of the Kingdom of Tambapanni.",
"Upatissa Nuwara was seven or eight miles further north of the Kingdom of Tambapanni. It was named after the regent king Upatissa, who was the prime minister of Vijaya, and was founded in 505 BC after the death of Vijaya and the end of the Kingdom of Tambapanni.",
"It was named after the regent king Upatissa, who was the prime minister of Vijaya, and was founded in 505 BC after the death of Vijaya and the end of the Kingdom of Tambapanni. Anuradhapura period In 377 BC, King Pandukabhaya (437–367 BC) moved the capital to Anuradhapura and developed it into a prosperous city.",
"Anuradhapura period In 377 BC, King Pandukabhaya (437–367 BC) moved the capital to Anuradhapura and developed it into a prosperous city. Anuradhapura (Anurapura) was named after the minister who first established the village and after a grandfather of Pandukabhaya who lived there.",
"Anuradhapura (Anurapura) was named after the minister who first established the village and after a grandfather of Pandukabhaya who lived there. The name was also derived from the city's establishment on the auspicious asterism called Anura. Anuradhapura was the capital of all the monarchs who ruled from the dynasty.",
"Anuradhapura was the capital of all the monarchs who ruled from the dynasty. Rulers such as Dutthagamani, Valagamba, and Dhatusena are noted for defeating the South Indians and regaining control of the kingdom.",
"Rulers such as Dutthagamani, Valagamba, and Dhatusena are noted for defeating the South Indians and regaining control of the kingdom. Other rulers who are notable for military achievements include Gajabahu I, who launched an invasion against the invaders, and Sena II, who sent his armies to assist a Pandyan prince.",
"Other rulers who are notable for military achievements include Gajabahu I, who launched an invasion against the invaders, and Sena II, who sent his armies to assist a Pandyan prince. Polonnaruwa period During the Middle Ages Sri Lanka was well known for its agricultural prosperity under king Parakramabahu in Polonnaruwa during which period the island was famous around the world as the rice mill of the east.",
"Polonnaruwa period During the Middle Ages Sri Lanka was well known for its agricultural prosperity under king Parakramabahu in Polonnaruwa during which period the island was famous around the world as the rice mill of the east. Transitional period Later in the 13th century the country's administrative provinces were divided into independent kingdoms and chieftaincies: Kingdom of Sitawaka, Kingdom of Kotte, Jaffna Kingdom and the Kandyan kingdom.",
"Transitional period Later in the 13th century the country's administrative provinces were divided into independent kingdoms and chieftaincies: Kingdom of Sitawaka, Kingdom of Kotte, Jaffna Kingdom and the Kandyan kingdom. The invasion by the Hindu king Magha in the 13th century led to migrations by the Buddhists (mostly Sinhalese) to areas not under his control.",
"The invasion by the Hindu king Magha in the 13th century led to migrations by the Buddhists (mostly Sinhalese) to areas not under his control. This migration was followed by a period of conflict among the Sinhalese chiefs who tried to exert political supremacy.",
"This migration was followed by a period of conflict among the Sinhalese chiefs who tried to exert political supremacy. Parakramabahu VI, a Sinhalese king invaded the Jaffna Kingdom and conquered it, bringing the entire country back under the Sinhalese kingdom.",
"Parakramabahu VI, a Sinhalese king invaded the Jaffna Kingdom and conquered it, bringing the entire country back under the Sinhalese kingdom. Trade also increased during this period, as Sri Lanka began to trade cinnamon and a large number of Muslim traders were bought into the island.",
"Trade also increased during this period, as Sri Lanka began to trade cinnamon and a large number of Muslim traders were bought into the island. In the 15th century a Kandyan Kingdom formed which divided the Sinhalese politically into low-country and up-country.",
"In the 15th century a Kandyan Kingdom formed which divided the Sinhalese politically into low-country and up-country. In this period, the Sinhalese caste structure absorbed recent Dravidian Hindu immigrants from South India leading to the emergence of three new Sinhalese caste groups - the Salagama, the Durava and the Karava.",
"In this period, the Sinhalese caste structure absorbed recent Dravidian Hindu immigrants from South India leading to the emergence of three new Sinhalese caste groups - the Salagama, the Durava and the Karava. Modern history The Sinhalese have a stable birth rate and a population that has been growing at a slow pace relative to India and other Asian countries.",
"Modern history The Sinhalese have a stable birth rate and a population that has been growing at a slow pace relative to India and other Asian countries. Society Demographics Sri Lanka Within Sri Lanka the majority of the Sinhalese reside in the South, Central, Sabaragamuwa and Western parts of the country.",
"Society Demographics Sri Lanka Within Sri Lanka the majority of the Sinhalese reside in the South, Central, Sabaragamuwa and Western parts of the country. This coincides with the largest Sinhalese populations areas in Sri Lanka. Cities with more than 90% Sinhalese population include Hambantota, Galle, Gampaha, Kurunegala, Monaragala, Anuradhapura and Polonnaruwa.",
"Cities with more than 90% Sinhalese population include Hambantota, Galle, Gampaha, Kurunegala, Monaragala, Anuradhapura and Polonnaruwa. Diaspora Sinhalese people have emigrated out to many countries for a variety of reasons. The larger diaspora communities are situated in the United Kingdom, Australia, United States and Canada among others.",
"The larger diaspora communities are situated in the United Kingdom, Australia, United States and Canada among others. In addition to this there are many Sinhalese, who reside in the Middle East, Southeast Asia and Europe, temporarily in connection with employment and/or education.",
"In addition to this there are many Sinhalese, who reside in the Middle East, Southeast Asia and Europe, temporarily in connection with employment and/or education. They are often employed as guest workers in the Middle East and professionals in the other regions.",
"They are often employed as guest workers in the Middle East and professionals in the other regions. The largest population centres of the Sinhalese diaspora are mainly situated in Europe, North America and Australia. The city of Melbourne contains just under half of the Sri Lankan Australians. The 2011 census recorded 86,412 Sri Lanka born in Australia.",
"The 2011 census recorded 86,412 Sri Lanka born in Australia. There are 73,849 Australians (0.4 of the population) who reported having Sinhalese ancestry in 2006. Sinhala was also reported to be the 29th-fastest-growing language in Australia (ranking above Somali but behind Hindi and Belarusian).",
"Sinhala was also reported to be the 29th-fastest-growing language in Australia (ranking above Somali but behind Hindi and Belarusian). Sinhalese Australians have an exceptionally low rate of return migration to Sri Lanka. In the 2011 Canadian Census, 7,220 people identified themselves as of Sinhalese ancestry, out of 139,415 Sri Lankans.",
"In the 2011 Canadian Census, 7,220 people identified themselves as of Sinhalese ancestry, out of 139,415 Sri Lankans. There are a small number of Sinhalese people in India, scattered around the country, but mainly living in and around the northern and southern regions.",
"There are a small number of Sinhalese people in India, scattered around the country, but mainly living in and around the northern and southern regions. Sri Lankan New Zealanders comprised 3% of the Asian population of New Zealand in 2001.",
"Sri Lankan New Zealanders comprised 3% of the Asian population of New Zealand in 2001. The numbers arriving continued to increase, and at the 2018 census there were over 16,000 Sri Lankans living in New Zealand among those 9,171 were Sinhalese. In the U.S, the Sinhalese number about 12,000 people.",
"In the U.S, the Sinhalese number about 12,000 people. The New York City Metropolitan Area contains the largest Sri Lankan community in the United States, receiving the highest legal permanent resident Sri Lankan immigrant population, followed by Central New Jersey and the Los Angeles metropolitan area. Many Sinhalese have migrated to Italy since the 1970s.",
"Many Sinhalese have migrated to Italy since the 1970s. Italy was attractive to the Sinhalese due to perceived easier employment opportunities and entry, compared to other European countries. It is estimated that there are 30,000-33,000 Sinhalese in Italy.",
"It is estimated that there are 30,000-33,000 Sinhalese in Italy. The major Sinhalese communities in Italy are located in Lombardia (In the districts Loreto and Lazzaretto), Milan, Lazio, Rome, Naples, and Southern Italy (Particularly Palermo, Messina and Catania).",
"The major Sinhalese communities in Italy are located in Lombardia (In the districts Loreto and Lazzaretto), Milan, Lazio, Rome, Naples, and Southern Italy (Particularly Palermo, Messina and Catania). It should be noted however that many countries census list Sri Lankan which also includes Sri Lankan Tamils so the numbers of just Sinhalese are not as accurate when the census states Sri Lankan and not Sinhalese.",
"It should be noted however that many countries census list Sri Lankan which also includes Sri Lankan Tamils so the numbers of just Sinhalese are not as accurate when the census states Sri Lankan and not Sinhalese. Though Sinhalese people in particular and Sri Lankans in general have migrated to the UK over the centuries beginning from the colonial times, the number of Sinhalese people in the UK cannot be estimated accurately due to inadequacies of census in the UK.",
"Though Sinhalese people in particular and Sri Lankans in general have migrated to the UK over the centuries beginning from the colonial times, the number of Sinhalese people in the UK cannot be estimated accurately due to inadequacies of census in the UK. The UK government does not record statistics on the basis of language or ethnicity and all Sri Lankans are classified into one group as Asian British or Asian Other.",
"The UK government does not record statistics on the basis of language or ethnicity and all Sri Lankans are classified into one group as Asian British or Asian Other. Language and literature Sinhalese people speak Sinhala, also known as \"Helabasa\"; this language has two varieties, spoken and written.",
"Language and literature Sinhalese people speak Sinhala, also known as \"Helabasa\"; this language has two varieties, spoken and written. Sinhala is an Indo-Aryan language within the broader group of Indo-European languages.",
"Sinhala is an Indo-Aryan language within the broader group of Indo-European languages. The early form of the language was brought to Sri Lanka by the ancestors of the Sinhalese people from northern India who settled on the island in the 6th century BCE.",
"The early form of the language was brought to Sri Lanka by the ancestors of the Sinhalese people from northern India who settled on the island in the 6th century BCE. Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages.",
"Sinhala developed in a way different from the other Indo-Aryan languages because of the geographic separation from its Indo-Aryan sister languages. It was influenced by many languages, prominently Pali, the sacred language of Southern Buddhism, Telugu and Sanskrit. Many early texts in the language such as the Hela Atuwa were lost after their translation into Pali.",
"Many early texts in the language such as the Hela Atuwa were lost after their translation into Pali. Other significant Sinhala texts include Amāvatura, Kavu Silumina, Jathaka Potha and Sala Liheeniya. Sinhala has also adopted many loanwords of foreign origin, including from many Indian such as Tamil and European languages such as Portuguese, Dutch, and English.",
"Sinhala has also adopted many loanwords of foreign origin, including from many Indian such as Tamil and European languages such as Portuguese, Dutch, and English. Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world.",
"Sandesha Kavyas written by Buddhist priests of Sri Lanka are regarded as some of the most sophisticated and versatile works of literature in the world. The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages.",
"The Sinhala language was mainly inspired by Sanskrit and Pali, and many words of the Sinhala language derive from these languages. Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and foreign films.",
"Today some English words too have come in as a result of the British occupation during colonial times, and the exposure to foreign cultures through television and foreign films. Additionally many Dutch and Portuguese words can be seen in the coastal areas.",
"Additionally many Dutch and Portuguese words can be seen in the coastal areas. Sinhalese people, depending on where they live in Sri Lanka, may also additionally speak English and or Tamil. According to the 2012 Census 23.8% or 3,033,659 Sinhalese people also spoke English and 6.4% or 812,738 Sinhalese people also spoke Tamil.",
"According to the 2012 Census 23.8% or 3,033,659 Sinhalese people also spoke English and 6.4% or 812,738 Sinhalese people also spoke Tamil. In the Negombo area bilingual fishermen who generally identify themselves as Sinhalese also speak the Negombo Tamil dialect. This dialect has undergone considerable convergence with spoken Sinhala.",
"This dialect has undergone considerable convergence with spoken Sinhala. Folk tales like Mahadana Muttha saha Golayo and Kawate Andare continue to entertain children today. Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance.",
"Mahadana Muttha tells the tale of a fool cum Pundit who travels around the country with his followers (Golayo) creating mischief through his ignorance. Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son.",
"Kawate Andare tells the tale of a witty court jester and his interactions with the royal court and his son. In the modern period, Sinhala writers such as Martin Wickremasinghe and G. B. Senanayake have drawn widespread acclaim. Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake.",
"Other writers of repute include Mahagama Sekera and Madewela S. Ratnayake. Martin Wickramasinghe wrote the immensely popular children's novel Madol Duwa. Munadasa Cumaratunga's Hath Pana is also widely known. Religion The form of Buddhism in Sri Lanka is known as Theravada (school of elders).",
"Religion The form of Buddhism in Sri Lanka is known as Theravada (school of elders). The Pali chronicles (e.g., the Mahavansa) claim that the Sinhalese as an ethnic group are destined to preserve and protect Buddhism. In 1988 almost 93% of the Sinhala speaking population in Sri Lanka were Buddhist.",
"In 1988 almost 93% of the Sinhala speaking population in Sri Lanka were Buddhist. Observations of current religious beliefs and practices demonstrate that the Sinhalese, as a religious community, have a complex worldview as Buddhists.",
"Observations of current religious beliefs and practices demonstrate that the Sinhalese, as a religious community, have a complex worldview as Buddhists. Due to the proximity and on some occasions similarity of certain doctrines, there are many areas where Buddhists and Hindus share religious views and practices.",
"Due to the proximity and on some occasions similarity of certain doctrines, there are many areas where Buddhists and Hindus share religious views and practices. Sinhalese Buddhists have adopted religious elements from Hindu traditions in their religious practices.",
"Sinhalese Buddhists have adopted religious elements from Hindu traditions in their religious practices. Some of these practices may relate to ancient indigenous beliefs and traditions on spirits (folk religion), and the worship of Hindu deities. Some of these figures are used in healing rituals and may be native to the island.",
"Some of these figures are used in healing rituals and may be native to the island. Gods and goddess derived from Hindu deities are worshiped by Sinhalese. Kataragama Deviyo from Kartikeya, Upulvan from Vishnu and Ayyanayake from Aiyanar can be named as examples.",
"Kataragama Deviyo from Kartikeya, Upulvan from Vishnu and Ayyanayake from Aiyanar can be named as examples. Though these gods take the same place as their Hindu counterparts in mythology, some of their aspects are different compared to the original gods.",
"Though these gods take the same place as their Hindu counterparts in mythology, some of their aspects are different compared to the original gods. Prominent Sri Lankan anthropologists Gananath Obeyesekere and Kitsiri Malalgoda used the term \"Protestant Buddhism\" to describe a type of Buddhism that appeared among the Sinhalese in Sri Lanka as a response to Protestant Christian missionaries and their evangelical activities during the British colonial period.",
"Prominent Sri Lankan anthropologists Gananath Obeyesekere and Kitsiri Malalgoda used the term \"Protestant Buddhism\" to describe a type of Buddhism that appeared among the Sinhalese in Sri Lanka as a response to Protestant Christian missionaries and their evangelical activities during the British colonial period. This kind of Buddhism involved emulating the Protestant strategies of organising religious practices.",
"This kind of Buddhism involved emulating the Protestant strategies of organising religious practices. They saw the need to establish Buddhist schools for educating Buddhist youth and organising Buddhists with new organisations such as the Young Men's Buddhist Association, as well as printing pamphlets to encourage people to participate in debates and religious controversies to defend Buddhism.",
"They saw the need to establish Buddhist schools for educating Buddhist youth and organising Buddhists with new organisations such as the Young Men's Buddhist Association, as well as printing pamphlets to encourage people to participate in debates and religious controversies to defend Buddhism. Christianity There is a significant Sinhalese Christian community, in the maritime provinces of Sri Lanka.",
"Christianity There is a significant Sinhalese Christian community, in the maritime provinces of Sri Lanka. Christianity was brought to the Sinhalese by Portuguese, Dutch, and British missionary groups during their respective periods of rule. Most Sinhalese Christians are Roman Catholic; a minority are Protestant. Their cultural centre is Negombo.",
"Their cultural centre is Negombo. Their cultural centre is Negombo. Religion is considered very important among the Sinhalese. According to a 2008 Gallup poll, 99% of Sri Lankans considered religion an important aspect of their daily lives. Genetics Modern studies point towards a predominantly Bengali contribution and a minor Tamil influence.",
"Genetics Modern studies point towards a predominantly Bengali contribution and a minor Tamil influence. Gujarati and Punjabi lineages are also visible. In relation to the former, other studies also show the Sinhalese possess some genetic admixture from Southeast Asian populations, especially from Austroasiatic groups.",
"In relation to the former, other studies also show the Sinhalese possess some genetic admixture from Southeast Asian populations, especially from Austroasiatic groups. Certain Y-DNA and mtDNA haplogroups and genetic markers of immunoglobulin among the Sinhalese, for example, show Southeast Asian genetic influences many of which are also found among certain Northeast Indian populations to whom the Sinhalese are genetically related.",
"Certain Y-DNA and mtDNA haplogroups and genetic markers of immunoglobulin among the Sinhalese, for example, show Southeast Asian genetic influences many of which are also found among certain Northeast Indian populations to whom the Sinhalese are genetically related. Culture Sinhalese culture is a unique one dating as far back as 2600 years and has been nourished by Theravada Buddhism.",
"Culture Sinhalese culture is a unique one dating as far back as 2600 years and has been nourished by Theravada Buddhism. Its main domains are sculpture, fine arts, literature, dancing, poetry and a wide variety of folk beliefs and rituals traditionally.",
"Its main domains are sculpture, fine arts, literature, dancing, poetry and a wide variety of folk beliefs and rituals traditionally. Ancient Sinhala stone sculpture and inscriptions are known worldwide and is a main foreign attraction in modern tourism. Sigirirya is famous for its frescoes.",
"Sigirirya is famous for its frescoes. Folk poems were sung by workers to accompany their work and narrate the story of their lives. Ideally these poems consisted of four lines and, in the composition of these poems, special attention had been paid to the rhyming patterns. Buddhist festivals are dotted by unique music using traditionally Sinhalese instruments.",
"Buddhist festivals are dotted by unique music using traditionally Sinhalese instruments. More ancient rituals like (devil exorcism) continue to enthrall audiences today and often praised and invoked the good powers of the Buddha and the gods in order to exorcise the demons.",
"More ancient rituals like (devil exorcism) continue to enthrall audiences today and often praised and invoked the good powers of the Buddha and the gods in order to exorcise the demons. Folklore and national mythology According to the Mahavamsa, the Sinhalese are descended from the exiled Prince Vijaya and his party of seven hundred followers who arrived on the island in 543 BCE.",
"Folklore and national mythology According to the Mahavamsa, the Sinhalese are descended from the exiled Prince Vijaya and his party of seven hundred followers who arrived on the island in 543 BCE. Vijaya and his followers were said to have arrived in Sri Lanka after being exiled from the city of Sinhapura in Bengal.",
"Vijaya and his followers were said to have arrived in Sri Lanka after being exiled from the city of Sinhapura in Bengal. The modern Sinhalese people were found genetically to be most closely related to the people of North-East India (Bengal).",
"The modern Sinhalese people were found genetically to be most closely related to the people of North-East India (Bengal). It is thought throughout Sri Lanka's history, since the founding of the Sinhalese in the 5th century BC that an influx of Indians from North India came to the island.",
"It is thought throughout Sri Lanka's history, since the founding of the Sinhalese in the 5th century BC that an influx of Indians from North India came to the island. This is further supported from Sinhala being part of the Indo-Aryan language group. Traditionally during recreation the Sinhalese wear a sarong (sarama in Sinhala).",
"Traditionally during recreation the Sinhalese wear a sarong (sarama in Sinhala). Men may wear a long-sleeved shirt with a sarong. Clothing varies by region for women. Low country Sinhalese women wear a white Long sleeved jacket, and a tight wrap around skirt, which usually is embedded with a floral or pattern design.",
"Low country Sinhalese women wear a white Long sleeved jacket, and a tight wrap around skirt, which usually is embedded with a floral or pattern design. As for the up country Sinhalese, women wear a similar outfit, but with a puffed up shoulder jacket, and a tucked in frill that lines the top of the skirt (Reda and Hatte in Sinhala).",
"As for the up country Sinhalese, women wear a similar outfit, but with a puffed up shoulder jacket, and a tucked in frill that lines the top of the skirt (Reda and Hatte in Sinhala). Traditionally, high caste Kandyan women wear a Kandyan style sari, which is similar to the Maharashtrian sari, with the drape but with a frill lining the bottom half and sometimes puffed up sleeves.",
"Traditionally, high caste Kandyan women wear a Kandyan style sari, which is similar to the Maharashtrian sari, with the drape but with a frill lining the bottom half and sometimes puffed up sleeves. It’s also called an Osariya. The low country high caste women wear a South Indian style saree.",
"The low country high caste women wear a South Indian style saree. Within the more populated areas, Sinhalese men also wear Western-style clothing — wearing suits while the women wear skirts and blouses.",
"Within the more populated areas, Sinhalese men also wear Western-style clothing — wearing suits while the women wear skirts and blouses. For formal and ceremonial occasions women wear the traditional Kandyan (Osariya) style, which consists of a full blouse which covers the midriff completely, and is partially tucked in at the front.",
"For formal and ceremonial occasions women wear the traditional Kandyan (Osariya) style, which consists of a full blouse which covers the midriff completely, and is partially tucked in at the front. However, modern intermingling of styles has led to most wearers baring the midriff. The Kandyan style is considered as the national dress of Sinhalese women.",
"The Kandyan style is considered as the national dress of Sinhalese women. In many occasions and functions, even the saree plays an important role in women's clothing and has become the de facto clothing for female office workers especially in government sector. An example of its use is the uniform of air hostesses of Sri Lankan Airlines.",
"An example of its use is the uniform of air hostesses of Sri Lankan Airlines. Cuisine Sinhalese cuisine is one of the most complex cuisines of South Asia. As a major trade hub, it draws influence from colonial powers that were involved in Sri Lanka and by foreign traders.",
"As a major trade hub, it draws influence from colonial powers that were involved in Sri Lanka and by foreign traders. Rice, which is consumed daily, can be found at any occasion, while spicy curries are favourite dishes for lunch and dinner.",
"Rice, which is consumed daily, can be found at any occasion, while spicy curries are favourite dishes for lunch and dinner. Some of the Sri Lankan dishes have striking resemblance to Kerala cuisine, which could be due to the similar geographic and agricultural features with Kerala.",
"Some of the Sri Lankan dishes have striking resemblance to Kerala cuisine, which could be due to the similar geographic and agricultural features with Kerala. A well-known rice dish with Sinhalese is Kiribath, meaning ‘milk rice’. In addition to , Sinhalese eat , chopped leaves mixed with grated coconut and red onions.",
"In addition to , Sinhalese eat , chopped leaves mixed with grated coconut and red onions. Coconut milk is found in most Sri Lankan dishes to give the cuisine its unique flavour. Sri Lanka has long been renowned for its spices. The best known is cinnamon which is native to Sri Lanka.",
"The best known is cinnamon which is native to Sri Lanka. In the 15th and 16th centuries, spice and ivory traders from all over the world who came to Sri Lanka brought their native cuisines to the island, resulting in a rich diversity of cooking styles and techniques.",
"In the 15th and 16th centuries, spice and ivory traders from all over the world who came to Sri Lanka brought their native cuisines to the island, resulting in a rich diversity of cooking styles and techniques. Lamprais, rice boiled in stock with a special curry, accompanied by frikkadels (meatballs), all of which is then wrapped in a banana leaf and baked as a Dutch-influenced Sri Lankan dish.",
"Lamprais, rice boiled in stock with a special curry, accompanied by frikkadels (meatballs), all of which is then wrapped in a banana leaf and baked as a Dutch-influenced Sri Lankan dish. Dutch and Portuguese sweets also continue to be popular. British influences include roast beef and roast chicken.",
"British influences include roast beef and roast chicken. Also, the influence of the Indian cooking methods and food have played a major role in what Sri Lankans eat. The island nation's cuisine mainly consists of boiled or steamed rice served with curry.",
"The island nation's cuisine mainly consists of boiled or steamed rice served with curry. This usually consists of a main curry of fish or chicken, as well as several other curries made with vegetables, lentils and even fruit curries. Side-dishes include pickles, chutneys and .",
"Side-dishes include pickles, chutneys and . The most famous of these is the coconut sambol, made of ground coconut mixed with chili peppers, dried Maldive fish and lime juice. This is ground to a paste and eaten with rice, as it gives zest to the meal and is believed to increase appetite.",
"This is ground to a paste and eaten with rice, as it gives zest to the meal and is believed to increase appetite. Art and architecture Many forms of Sri Lankan arts and crafts take inspiration from the island's long and lasting Buddhist culture which in turn has absorbed and adopted countless regional and local traditions.",
"Art and architecture Many forms of Sri Lankan arts and crafts take inspiration from the island's long and lasting Buddhist culture which in turn has absorbed and adopted countless regional and local traditions. In most instances Sri Lankan art originates from religious beliefs, and is represented in many forms such as painting, sculpture, and architecture.",
"In most instances Sri Lankan art originates from religious beliefs, and is represented in many forms such as painting, sculpture, and architecture. One of the most notable aspects of Sri Lankan art are caves and temple paintings, such as the frescoes found at Sigiriya, and religious paintings found in temples in Dambulla and Temple of the Tooth Relic in Kandy.",
"One of the most notable aspects of Sri Lankan art are caves and temple paintings, such as the frescoes found at Sigiriya, and religious paintings found in temples in Dambulla and Temple of the Tooth Relic in Kandy. Other popular forms of art have been influenced by both natives as well as outside settlers.",
"Other popular forms of art have been influenced by both natives as well as outside settlers. For example, traditional wooden handicrafts and clay pottery are found around the hill country while Portuguese-inspired lacework and Indonesian-inspired Batik have become notable. It has many different and beautiful drawings.",
"It has many different and beautiful drawings. Developed upon Indo-Aryan architectural skills in the late 6th century BCE Sinhalese people who lived upon greater kingdoms such as Anuradhapura and Polonnaruwa have built so many architectural examples such as Ruwanwelisaya, Jetavanaramaya - second tallest brick building in the ancient world after Great Pyramid of Giza, and Abayagiriya - third tallest brick building in the ancient world.",
"Developed upon Indo-Aryan architectural skills in the late 6th century BCE Sinhalese people who lived upon greater kingdoms such as Anuradhapura and Polonnaruwa have built so many architectural examples such as Ruwanwelisaya, Jetavanaramaya - second tallest brick building in the ancient world after Great Pyramid of Giza, and Abayagiriya - third tallest brick building in the ancient world. And also with the ancient hydraulic technology which is also unique to Sinhalese people to build ancient tanks, systematic ponds with fountains moats and Irrigational reservoirs such as Parakrama Samudra, Kaudulla and Kandalama.",
"And also with the ancient hydraulic technology which is also unique to Sinhalese people to build ancient tanks, systematic ponds with fountains moats and Irrigational reservoirs such as Parakrama Samudra, Kaudulla and Kandalama. Sigiriya which is considered by many as the 8th wonder of the world, it is a combination of natural and man made fortress, which consists so many architectural aspects.",
"Sigiriya which is considered by many as the 8th wonder of the world, it is a combination of natural and man made fortress, which consists so many architectural aspects. Music There are extensive folk poems relating to specific jobs of the ancient society.",
"Music There are extensive folk poems relating to specific jobs of the ancient society. These poems were communal songs which had a rhythm that were sung when performing day-to-day tasks like harvesting and sowing. Concerning popular music, Ananda Samarakoon developed the reflective and poignant Sarala gee style with his work in the late 1930s/early 1940s.",
"Concerning popular music, Ananda Samarakoon developed the reflective and poignant Sarala gee style with his work in the late 1930s/early 1940s. He has been followed by artists of repute such as Sunil Shantha, W. D. Amaradeva, Premasiri Khemadasa, Nanda Malini, Victor Ratnayake, Austin Munasinghe, T. M. Jayaratne, Sanath Nandasiri, Sunil Edirisinghe, Neela Wickremasinghe, Gunadasa Kapuge, Malini Bulathsinghala and Edward Jayakody.",
"He has been followed by artists of repute such as Sunil Shantha, W. D. Amaradeva, Premasiri Khemadasa, Nanda Malini, Victor Ratnayake, Austin Munasinghe, T. M. Jayaratne, Sanath Nandasiri, Sunil Edirisinghe, Neela Wickremasinghe, Gunadasa Kapuge, Malini Bulathsinghala and Edward Jayakody. Film and theatre Dramatist Ediriweera Sarachchandra revitalised the drama form with Maname in 1956.",
"Film and theatre Dramatist Ediriweera Sarachchandra revitalised the drama form with Maname in 1956. The same year, film director Lester James Peries created the artistic masterwork Rekava which sought to create a uniquely Sinhalese cinema with artistic integrity. Since then, Peries and other directors like Vasantha Obeysekera, Dharmasena Pathiraja, Mahagama Sekera, W. A.",
"Since then, Peries and other directors like Vasantha Obeysekera, Dharmasena Pathiraja, Mahagama Sekera, W. A. B. de Silva, Dharmasiri Bandaranayake, Sunil Ariyaratne, Siri Gunasinghe, G. D. L. Perera, Piyasiri Gunaratne, Titus Thotawatte, D. B. Nihalsinghe, Ranjith Lal, Dayananda Gunawardena, Mudalinayake Somaratne, Asoka Handagama, and Prasanna Vithanage have developed an artistic Sinhalese cinema.",
"B. de Silva, Dharmasiri Bandaranayake, Sunil Ariyaratne, Siri Gunasinghe, G. D. L. Perera, Piyasiri Gunaratne, Titus Thotawatte, D. B. Nihalsinghe, Ranjith Lal, Dayananda Gunawardena, Mudalinayake Somaratne, Asoka Handagama, and Prasanna Vithanage have developed an artistic Sinhalese cinema. Sinhala cinema is often made colourful with the incorporation of songs and dance adding more uniqueness to the industry.",
"Sinhala cinema is often made colourful with the incorporation of songs and dance adding more uniqueness to the industry. In the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success.",
"In the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success. Performing arts Performing arts of the Sinhalese people can be categorised into few groups: Kandyan dance consist of 18 Wannam (dance routines) featuring behaviours of various animals such as elephant, eagle, cobra, monkey, peacock and rabbit, mainly performing in the annual Perahara pageant in Sri Dalada Maligawa Kandy.",
"Performing arts Performing arts of the Sinhalese people can be categorised into few groups: Kandyan dance consist of 18 Wannam (dance routines) featuring behaviours of various animals such as elephant, eagle, cobra, monkey, peacock and rabbit, mainly performing in the annual Perahara pageant in Sri Dalada Maligawa Kandy. Pahatharata dance have a significant dancing style which is used to cure illnesses and spiritual clarification.",
"Pahatharata dance have a significant dancing style which is used to cure illnesses and spiritual clarification. The main feature of these dances is dancers wear masks representing various gods and demons, and use elements such as fire and water to bless people. Sabaragamuwa dances have also a significant dancing style, mainly to entertain people.",
"Sabaragamuwa dances have also a significant dancing style, mainly to entertain people. Folk music and dances differ according to the casts of Sinhalese people and also some times regionally—mainly popular among small children, especially girls. These arts are widely performed during the Sinhalese New Year period. Martial arts Angampora is the traditional martial art of the Sinhalese people.",
"Martial arts Angampora is the traditional martial art of the Sinhalese people. It combines combat techniques, self-defence, sport, exercise and meditation. Key techniques observed in Angampora are: Angam, which incorporates hand-to-hand fighting, and Illangam, which uses indigenous weapons such as Velayudaya, staves, knives and swords.",
"Key techniques observed in Angampora are: Angam, which incorporates hand-to-hand fighting, and Illangam, which uses indigenous weapons such as Velayudaya, staves, knives and swords. Its most distinct feature is the use of pressure point attacks to inflict pain or permanently paralyse the opponent.",
"Its most distinct feature is the use of pressure point attacks to inflict pain or permanently paralyse the opponent. Fighters usually make use of both striking and grappling techniques, and fight until the opponent is caught in a submission lock that they cannot escape. Usage of weapons is discretionary.",
"Usage of weapons is discretionary. Usage of weapons is discretionary. Perimeters of fighting are defined in advance, and in some of the cases is a pit. Angampora became nearly extinct after the country came under British rule in 1815, but survived in a few families until the country regained independence.",
"Angampora became nearly extinct after the country came under British rule in 1815, but survived in a few families until the country regained independence. Science and education The Sinhalese have a long history of literacy and formal learning. Instruction in basic fields like writing and reading by Buddhist Monks pre-date the birth of Christ.",
"Instruction in basic fields like writing and reading by Buddhist Monks pre-date the birth of Christ. This traditional system followed religious rule and was meant to foster Buddhist understanding. Training of officials in such skills as keeping track of revenue and other records for administrative purposes occurred under this institution.",
"Training of officials in such skills as keeping track of revenue and other records for administrative purposes occurred under this institution. Technical education such as the building of reservoirs and canals was passed down from generation to generation through home training and outside craft apprenticeships.",
"Technical education such as the building of reservoirs and canals was passed down from generation to generation through home training and outside craft apprenticeships. The arrival of the Portuguese and Dutch and the subsequent colonisation maintained religion as the centre of education though in certain communities under Catholic and Presbyterian hierarchy. The British in the 1800s initially followed the same course.",
"The British in the 1800s initially followed the same course. Following 1870 however they began a campaign for better education facilities in the region. Christian missionary groups were at the forefront of this development contributing to a high literacy among Christians. By 1901 schools in the South and the North were well tended. The inner regions lagged behind however.",
"The inner regions lagged behind however. Also, English education facilities presented hurdles for the general populace through fees and lack of access. Medicine Traditional Sinhalese villages in early days had at least one chief Medical personnel called Weda Mahaththaya (Doctor). These people practice their clinical activities by inheritance.",
"These people practice their clinical activities by inheritance. Sinhalese Medicine resembles some of Ayurvedic practices in contrast for some treatments they use Buddhist Chantings (Pirith) in order to strengthen the effectiveness.",
"Sinhalese Medicine resembles some of Ayurvedic practices in contrast for some treatments they use Buddhist Chantings (Pirith) in order to strengthen the effectiveness. According to the Mahavamsa, the ancient chronicle, Pandukabhaya of Sri Lanka (437 BC – 367 BC) had lying-in-homes and Ayurvedic hospitals (Sivikasotthi-Sala) built in various parts of the country.",
"According to the Mahavamsa, the ancient chronicle, Pandukabhaya of Sri Lanka (437 BC – 367 BC) had lying-in-homes and Ayurvedic hospitals (Sivikasotthi-Sala) built in various parts of the country. This is the earliest documentary evidence we have of institutions specifically dedicated to the care of the sick anywhere in the world.",
"This is the earliest documentary evidence we have of institutions specifically dedicated to the care of the sick anywhere in the world. Mihintale Hospital is the oldest in the world. See also List of Sinhalese people Sinhalese Buddhist nationalism References Citations Sources De Silva, K. M. History of Sri Lanka (Univ.",
"See also List of Sinhalese people Sinhalese Buddhist nationalism References Citations Sources De Silva, K. M. History of Sri Lanka (Univ. of Calif. Press, 1981) Gunasekera, Tamara. Hierarchy and Egalitarianism: Caste, Class, and Power in Sinhalese Peasant Society (Athlone, 1994). Roberts, Michael.",
"Roberts, Michael. Roberts, Michael. Sri Lanka: Collective Identities Revisited (Colombo-Marga Institute, 1997). Wickremeratne, Ananda. Buddhism and Ethnicity in Sri Lanka: A Historical Analysis (New Delhi-Vikas Publishing House, 1995).",
"Buddhism and Ethnicity in Sri Lanka: A Historical Analysis (New Delhi-Vikas Publishing House, 1995). External links CIA Factbook-Sri Lanka Department of Census and Statistics-Sri Lanka Ethnologue-Sinhala, a language of Sri Lanka CIA Factbook-Sri Lanka Sinhalese Who are the Sinhalese Buddhist communities of Sri Lanka Ethnic groups in Sri Lanka Ethnic groups in the Indian Ocean Indo-Aryan peoples Sinhalese diaspora Sinhalese culture"
] |
[
"Count Dracula",
"Vampire's Baptism of Blood"
] | C_520ea2c01e0d4e02bbbe6ce2ae3c1a09_0 | What's important about Vampire's Baptism of Blood? | 1 | What's important about Vampire's Baptism of Blood? | Count Dracula | Count Dracula is depicted as the "King Vampire", and can control other vampires. To punish Mina and the party for their efforts against him, Dracula bites her on at least three occasions. He also forces her to drink his blood; this act curses her with the effects of vampirism and gives him a telepathic link to her thoughts. However, hypnotism was only able to be done before dawn. Van Helsing refers to the act of drinking blood by both the vampire and the victim "the Vampire's Baptism of Blood". The effects changes Mina' physically and mentally over time. A few moments after Dracula attacks her, Van Helsing takes a wafer of sacramental bread and places it on her forehead to bless her; when the bread touches her skin, it burns her and leaves a scar on her forehead. Her teeth start growing longer but do not grow sharper. She begins to lose her appetite, feeling repulsed by normal food, begins to sleep more and more during the day; cannot wake unless at sunset and stops writing in her diary. When Van Helsing later crumbles the same bread in a circle around her, she is unable to cross or leave the circle, discovering a new form of protection. Dracula's death can release the curse on any living victim of eventual transformation into vampire. However, Van Helsing reveals that were he to successfully escape, his continued existence would ensure that even if he did not victimize Mina further, she would transform into a vampire upon her eventual natural death. CANNOTANSWER | Van Helsing refers to the act of drinking blood by both the vampire and the victim "the Vampire's Baptism of Blood". | Count Dracula () is the title character of Bram Stoker's 1897 gothic horror novel Dracula. He is considered to be both the prototypical and the archetypal vampire in subsequent works of fiction. Some aspects of the character are believed to have been inspired by the 15th-century Wallachian Prince Vlad the Impaler, who was also known as Dracula, and by Sir Henry Irving, an actor for whom Stoker was a personal assistant.
One of Dracula's most iconic powers is his ability to turn others into vampires by biting them and infecting them with the vampiric disease. Other character aspects have been added or altered in subsequent popular fictional works. The character has appeared frequently in popular culture, from films to animated media to breakfast cereals.
Stoker's creation
Bram Stoker's novel takes the form of an epistolary tale, in which Count Dracula's characteristics, powers, abilities and weaknesses are narrated by multiple narrators, from different perspectives.
Count Dracula is an undead, centuries-old vampire, and a Transylvanian nobleman who claims to be a Székely descended from Attila the Hun. He inhabits a decaying castle in the Carpathian Mountains near the Borgo Pass. Unlike the vampires of Eastern European folklore, which are portrayed as repulsive, corpse-like creatures, Dracula is handsome and charismatic, with a veneer of aristocratic charm. In his conversations with Jonathan Harker, he reveals himself as deeply proud of his boyar heritage and nostalgic for the past, which he admits has become only a memory of heroism, honour and valour in modern times.
Early life
Details of his early life are undisclosed, but it is mentioned that
Dracula studied the black arts at the academy of Scholomance in the Carpathian Mountains, overlooking the town of Sibiu (also known as Hermannstadt) and has a deep knowledge of alchemy and magic. Taking up arms, as befitting his rank and status as a voivode, he led troops against the Turks across the Danube. According to his nemesis Abraham Van Helsing, "He must indeed have been that Voivode Dracula who won his name against the Turk, over the great river on the very frontier of Turkey-land. If it be so, then was he no common man: for in that time, and for centuries after, he was spoken of as the cleverest and the most cunning, as well as the bravest of the sons of the land beyond the forest." Dead and buried in a great tomb in the chapel of his castle, Dracula returns from death as a vampire and lives for several centuries in his castle with three terrifyingly beautiful female vampires beside him.
Narrative
Short story
In "Dracula's Guest", the narrative follows an unnamed Englishman traveller as he wanders around Munich before leaving for Transylvania. It is Walpurgis Night and the young Englishman foolishly leaves his hotel, in spite of the coachman's warnings, and wanders through a dense forest alone. Along the way, he feels that he is being watched by a tall and thin stranger.
The short story climaxes in an old graveyard, where the Englishman encounters a sleeping female vampire called Countess Dolingen in a marble tomb with a large iron stake driven into it. This malevolent and beautiful vampire awakens from her marble bier to conjure a snowstorm before being struck by lightning and returning to her eternal prison. However, the Englishman's troubles are not quite over, as he is dragged away by an unseen force and rendered unconscious. He awakens to find a "gigantic" wolf lying on his chest and licking at his throat; however, the wolf merely keeps him warm and protects him until help arrives. When the Englishman is finally taken back to his hotel, a telegram awaits him from his expectant host Dracula, with a warning about "dangers from snow and wolves and night".
Novel
In Dracula, the eponymous vampire has decided to move from Transylvania to London. He summons Jonathan Harker, a newly qualified English solicitor, to provide legal support for a real estate transaction overseen by Harker's employer. Dracula at first charms Harker with his cordiality and historical knowledge, and even rescues him from the clutches of the three female vampires in the castle. In truth, however, Dracula merely wishes to keep Harker alive long enough to complete the legal transaction and to learn as much as possible about England.
Dracula leaves his castle and boards a Russian ship, the Demeter, taking along with him 50 boxes of Transylvanian soil, which he needs to regain his strength and rest during daylight. During the voyage to Whitby, a coastal town in northern England, he sustains himself on the ship's crew members. Only one body is later found, that of the captain, who is found tied up to the ship's helm. The captain's log is recovered and tells of strange events that had taken place during the ship's journey. Dracula leaves the ship in the form of a dog and runs up the 199 steps to the graveyard of St Mary's Church in the shadow of the Whitby Abbey ruins.
Soon the Count begins menacing Harker's fiancée, Wilhelmina "Mina" Murray, and her friend, Lucy Westenra. There is also a notable link between Dracula and Renfield, a patient in an insane asylum overseen by John Seward, who is compelled to consume spiders, birds, and other creatures—in ascending order of size—to absorb their "life force". Renfield acts as a kind of sensor, reacting to Dracula's proximity and supplying clues accordingly. Dracula visits Lucy's bed chamber on a nightly basis, draining her of blood while simultaneously infecting her with the curse of vampirism. Not knowing the cause for Lucy's deterioration, her three suitors – Seward, Arthur Holmwood and Quincey Morris – call upon Seward's mentor, the Dutch doctor Abraham Van Helsing. Van Helsing soon deduces her condition's supernatural origins, and tries to keep the vampire at bay with garlic. Nevertheless, Dracula attacks Lucy's house one final time, killing her mother and transforming Lucy herself into one of the undead.
Harker escapes Dracula's castle and returns to England, barely alive and deeply traumatized. On Seward's suggestion, Mina seeks Van Helsing's assistance in assessing Harker's health. She reads his journal and passes it along to Van Helsing. This unfolds the first clue to the identity of Lucy's assailant, which later prompts Mina to collect all of the events of Dracula's appearance in news articles, saved letters, newspaper clippings and the journals of each member of the group. This assists the group in investigating Dracula's movements and later discovering that Renfield's behaviour is directly influenced by Dracula. They then discover that Dracula has purchased a residence next door to Seward's. The group gathers intelligence to track down Dracula and destroy him.
After the undead Lucy attacks several children, Van Helsing, Seward, Holmwood and Morris enter her crypt and destroy her to save her soul. Later, Harker joins them and the party work to discover Dracula's intentions. Harker aids the party in tracking down the locations of the boxes to the various residences of Dracula and discovers that Dracula purchased multiple real estate properties throughout London under the alias 'Count De Ville'. Dracula's main plan was to move each of his 50 boxes of earth to his various properties in order to arrange multiple lairs throughout and around the perimeter of London.
The party pries open each of the graves, places sacramental wafers within each of them, and seals them shut. This deprives Dracula of his ability to seek safety in those boxes. Dracula gains entry into Seward's residence by coercing an invitation out of Renfield. As he attempts to enter the room in which Harker and Mina are staying, Renfield tries to stop him; Dracula then mortally wounds him. With his dying breath, Renfield tells Seward and Van Helsing that Dracula is after Mina. Van Helsing and Seward discover Dracula biting Mina and forcing her to drink his blood. The group repel Dracula using crucifixes and sacramental bread, forcing him to flee by turning into a dark vapour. The party continue to hunt Dracula to search for his remaining lairs. Although Dracula's 'baptism' of Mina grants him a telepathic link to her, it backfires when Van Helsing hypnotizes Mina and uses her supernatural link with Dracula to track him as he flees back to Transylvania.
The heroes follow Dracula back to Transylvania, and in a climactic battle with Dracula's Romani bodyguards, finally destroy him. Despite the popular image of Dracula having a stake driven through his heart to kill him, Mina's narrative describes his decapitation by Harker's kukri while Morris simultaneously pierces his heart with a Bowie knife (Mina Harker's Journal, 6 November, Dracula Chapter 27). His body then turns into dust, but not before Mina sees an expression of peace on his face.
Characteristics
Although early in the novel Dracula dons a mask of cordiality, he often flies into fits of rage when his plans are frustrated. When Dracula's brides attempt to seduce Jonathan Harker, Dracula physically assaults one and ferociously berates them for their insubordination.
He has an appreciation for ancient architecture, and when purchasing a home he prefers them to be aged, saying "A new home would kill me", and that to make a new home habitable to him would take a century.
Dracula is very proud of his warrior heritage, proclaiming his pride to Harker on how the Székely people are infused with the blood of heroes. He also expresses an interest in the history of the British Empire, speaking admiringly of its people. He has a somewhat primal and predatory worldview; he pities ordinary humans for their revulsion to their darker impulses. He is not without human emotions, however; he often says that he too can love.
Though usually portrayed as having a strong Eastern European accent, the original novel only specifies that his spoken English is excellent, though strangely toned.
His appearance varies in age. He is described early in the novel as thin, with a long white moustache, pointed ears and sharp teeth. It is also noted later in the novel (Chapter 11 subsection "The Escaped Wolf") by a zookeeper who sees him that he has a hooked nose and a pointed beard with a streak of white in it. He is dressed all in black and has hair on his palms. Harker describes him as an old man, "cruel looking" and giving an effect of "extraordinary pallor".
As the novel progresses, Dracula is described as taking on a more and more youthful appearance. After Harker strikes him with a shovel, he is left with a scar on his forehead which he bears throughout the course of the novel.
Dracula also possesses great wealth, and has Romani people in his homeland who are loyal to him as servants and protectors.
Powers and weaknesses
Count Dracula is portrayed in the novel using many different supernatural abilities, and is believed to have gained his abilities through dealings with the Devil. Chapter 18 of the novel describes many of the abilities, limitations and weaknesses of vampires and Dracula in particular. Dracula has superhuman strength which, according to Van Helsing, is equivalent to that of 20 strong men. He does not cast a shadow or have a reflection from mirrors. He is immune to conventional means of attack; a sailor tries to stab him in the back with a knife, but the blade goes through his body as though it is air. He can defy gravity to a certain extent and possesses superhuman agility, able to climb vertical surfaces upside down in a reptilian manner. He can travel onto "unhallowed" ground, such as the graves of suicides and those of his victims. He has powerful hypnotic, telepathic and illusionary abilities. He also has the ability to "within limitations" vanish and reappear elsewhere at will. If he knows the path, he can come out from anything or into anything regardless of how close it is bound or even if it is soldered shut.
He has amassed cunning and wisdom throughout centuries, and he is unable to die by the mere passing of time alone.
He can command animals such as rats, owls, bats, moths, foxes and wolves. However, his control over these animals is limited, as seen when the party first enters his house in London. Although Dracula is able to summon thousands of rats to swarm and attack the group, Holmwood summons his trio of terriers to do battle with the rats. The dogs prove very efficient rat killers, suggesting they are Manchester Terriers trained for that purpose. Terrified by the dogs' onslaught, the rats flee, and any control which Dracula had over them is gone.
Dracula can also manipulate the weather and, within his range, is able to direct the elements, such as storms, fog and mist.
Shapeshifting
Dracula can change form at will, able to grow and become small, his featured forms in the novel being that of a bat, a wolf, a large dog and a fog or mist. When the moonlight is shining, he can travel as elemental dust within its rays. He is able to pass through tiny cracks or crevices while retaining his human form or in the form of a vapour; described by Van Helsing as the ability to slip through a hairbreadth space of a tomb door or coffin. This is also an ability used by his victim Lucy as a vampire. When the party breaks into her tomb, they open the sealed coffin to find her corpse is no longer located within.
Vampirism
One of Dracula's powers is the ability to turn others into vampires by biting them. According to Van Helsing:
The vampire bite itself does not cause death. It is the method vampires use to drain blood of the victim and to increase their influence over them. This is described by Van Helsing:
Victims who are bitten by a vampire and do not die, are hypnotically influenced by them:
Van Helsing later describes the aftermath of a bitten victim when the vampire has been killed:
As Dracula slowly drains Lucy's blood, she dies from acute blood loss and later transforms into a vampire, despite the efforts of Seward and Van Helsing to provide her with blood transfusions.
He is aided by powers of necromancy and divination of the dead, that all who die by his hand may reanimate and do his bidding.
Bloodletting
Dracula requires no other sustenance but fresh human blood, which has the effect of rejuvenating him and allowing him to grow younger. His power is drawn from the blood of others, and he cannot survive without it. Although drinking blood can rejuvenate his youth and strength, it does not give him the ability to regenerate; months after being struck on the head by a shovel, he still bears a scar from the impact.
Dracula's preferred victims are women. Harker states that he believes Dracula has a state of fasting as well as a state of feeding. Dracula does state to Mina, however, that exerting his abilities causes a desire to feed.
Vampire's Baptism of Blood
Count Dracula is depicted as the "King Vampire", and can control other vampires. To punish Mina and the party for their efforts against him, Dracula bites her on at least three occasions. He also forces her to drink his blood; this act curses her with the effects of vampirism and gives him a telepathic link to her thoughts. However, hypnotism was only able to be done before dawn. Van Helsing refers to the act of drinking blood by both the vampire and the victim "the Vampire's Baptism of Blood".
The effects changes Mina physically and mentally over time. A few moments after Dracula attacks her, Van Helsing takes a wafer of sacramental bread and places it on her forehead to bless her; when the bread touches her skin, it burns her and leaves a scar on her forehead. Her teeth start growing longer but do not grow sharper. She begins to lose her appetite, feeling repulsed by normal food, begins to sleep more and more during the day; cannot wake unless at sunset and stops writing in her diary. When Van Helsing later crumbles the same bread in a circle around her, she is unable to cross or leave the circle, discovering a new form of protection.
Dracula's death can release the curse on any living victim of eventual transformation into vampire. However, Van Helsing reveals that were he to escape, his continued existence would ensure that even if he did not victimize Mina further, she would transform into a vampire upon her eventual natural death.
Limitations of his powers
Dracula is much less powerful in daylight and is only able to shift his form at dawn, noon, and dusk (he can shift his form freely at night or if he is at his grave). The sun is not fatal to him, as sunlight does not burn and destroy him upon contact, though most of his abilities cease.
Later interpretations of the character, and vampires in general, would amplify this trait into an outright fatal weakness, making it so that even the first rays of sunrise are capable of reducing a vampire to ash.
He is also limited in his ability to travel, as he can only cross running water at low or high tide. Owing to this, he is unable to fly across a river in the form of a bat or mist or even by himself board a boat or step off a boat onto a dock unless he is physically carried over with assistance. He is also unable to enter a place unless invited to do so by someone of the household, even a visitor; once invited, he can enter and leave the premises at will.
Weaknesses
Thirst
Dracula is commonly depicted with a bloodlust which he is seemingly unable to control. Adaptations sometimes call this uncontrollable state 'the thirst'.
Religious symbolism
There are items which afflict him to the point he has no power and can even calm him from his insatiable appetite for blood. He is repulsed by garlic, as well as sacred items and symbols such as crucifixes, and sacramental bread.
Placing the branch of a wild rose upon the top of his coffin will render him unable to escape it; a sacred bullet fired into the coffin could kill him so that he remain true-dead.
Mountain Ash is also described as a form of protection from a vampire although the effects are unknown. This was believed to be used as protection against evil spirits and witches during the Victorian era.
Death-sleep
The state of rest to which vampires are prone during the day is described in the novel as a deathlike sleep in which the vampire sleeps open-eyed, is unable to awaken or move, and also may be unaware of any presence of individuals who may be trespassing. Dracula is portrayed as being active in daylight at least once to pursue a victim. Dracula also purchases many properties throughout London 'over the counter' which shows that he does have the ability to have some type of presence in daylight.
He requires Transylvanian soil to be nearby to him in a foreign land or to be entombed within his coffin within Transylvania in order to successfully rest; otherwise, he will be unable to recover his strength. This has forced him to transport many boxes of Transylvanian earth to each of his residences in London. He is most powerful when he is within his Earth-Home, Coffin-Home, Hell-Home, or any place unhallowed.
Further, if Dracula or any vampire has had their fill in blood upon feeding, they will be caused to rest in this dead state even longer than usual.
Other abilities
While universally feared by the local people of Transylvania and even beyond, Dracula commands the loyalty of Gypsies and a band of Slovaks who transport his boxes on their way to London and to serve as an armed convoy bringing his coffin back to his castle. The Slovaks and Gypsies appear to know his true nature, for they laugh at Harker when he tries to communicate his plight, and betray Harker's attempt to send a letter through them by giving it to the Count.
Dracula seems to be able to hold influence over people with mental disorders, such as Renfield, who is never bitten but who worships Dracula, referring to him over the course of the novel as "Master" and "Lord". Dracula also afflicts Lucy with chronic sleepwalking, putting her into a trance-like state that allows them not only to submit to his will but also seek him and satisfy his need to feed.
Dracula's powers and weaknesses vary greatly in the many adaptations. Previous and subsequent vampires from different legends have had similar vampire characteristics.
Character development subsequent to the novel
Dracula has been portrayed by more actors in more visual media adaptations of the novel than any other horror character. Actors who have played him include Max Schreck, Bela Lugosi, John Carradine, Lon Chaney Jr., Christopher Lee, Francis Lederer, Denholm Elliott, Jack Palance, Louis Jourdan, Rudolf Martin, Frank Langella, Klaus Kinski, Gary Oldman, Leslie Nielsen, George Hamilton, David Niven, Charles Macaulay, Keith-Lee Castle, Gerard Butler, Duncan Regehr, Richard Roxburgh, Marc Warren, Rutger Hauer, Stephen Billington, Thomas Kretschmann, Dominic Purcell, Luke Evans and Claes Bang.
In 2003, Count Dracula, as portrayed by Lugosi in the 1931 film, was named as the 33rd greatest movie villain by the AFI. In 2013, Empire magazine ranked Lee's portrayal as Dracula the 7th Greatest Horror Movie Character of All Time.
The character is closely associated with the western cultural archetype of the vampire, and remains a popular Halloween costume.
Count Dracula appears in Mad Monster Party? voiced by Allen Swift. This version is shown to be wearing a monocle. Count Dracula is among the monsters that Baron Boris von Frankenstein invites to the Isle of Evil to show off the secret of total destruction and announce his retirement from the Worldwide Organization of Monsters.
Sesame Street character Count von Count is based on Bela Lugosi's interpretation of Count Dracula and Jack Davis' design for Dracula from Mad Monster Party?.
Count Dracula appears in Mad Mad Mad Monsters (a "prequel of sorts" to Mad Monster Party?) voiced again by Allen Swift. He and his son are invited by Baron Henry von Frankenstein to attend the wedding of Frankenstein's monster and its mate at the Transylvania Astoria Hotel.
Dracula is the primary antagonist of the Castlevania video game series and the main protagonist of the Lords of Shadow reboot series.
Count Dracula appears in the Attack of the Killer Tomatoes episode "Spatula, Prinze of Dorkness", voiced by S. Scott Bullock. He relates a tale of how he once gave Dr. Putrid T. Gangreen a serum to transform tomatoes into vampire tomatoes. Though the Doctor refused, Zoltan overheard their conversation and, mistaking the word serum for syrup, ingests the serum himself and renaming himself "Spatula, Prinze of Dorkness" who can turn people into vampires by kissing them in the neck (a stipulation that the Censor Lady put into place in fear of showing the biting and bloodshed associated with vampires on a Saturday morning cartoon). This spread to the other tomatoes and the entire town. When the sun came up and disabled the vampires, Count Dracula in sunblock appears and deemed that the town is not worthy to be vampires. He then gives Chad Finletter the antidote to the vampirism and advises that the tomatoes be squashed immediately.
Dracula appears as the lead character of Dracula the Un-dead, a novel by Stoker's great-grand nephew Dacre presented as a sequel to the original.
In the Supernatural episode "Monster Monster", a shapeshifter that Sam and Dean Winchester fight considers his form of Count Dracula (portrayed by Todd Stashwick) his favourite form. It is in this form that Jamie killed him with Sam's gun loaded with silver bullets.
Count Dracula is the main character of the Hotel Transylvania franchise, voiced by Adam Sandler in the first three movies and by Brian Hull in the fourth movie.
Dracula, going by an inversion of his name, "Alucard," serves as the main character of the anime and manga series Hellsing and Hellsing Ultimate where he serves Integra Hellsing, Abraham's great-granddaughter, as an anti-vampire warrior devoted to the British Crown.
Dracula is the primary antagonist of the Showtime series Penny Dreadful, portrayed by Christian Camargo. This version of the character is the brother of Lucifer and, thus, a fallen angel.
Modern and postmodern analyses of the character
Already in 1958, Cecil Kirtly proposed that Count Dracula shared his personal past with the historical Transylvanian-born Voivode Vlad III Dracula of Wallachia, also known as Vlad the Impaler or Vlad Țepeș. Following the publication of In Search of Dracula by Radu Florescu and Raymond McNally in 1972, this supposed connection attracted much popular attention. This work argued that Bram Stoker based his Dracula on Vlad the Impaler.
Historically, the name "Dracula" is the family name of Vlad Țepeș' family, a name derived from a fraternal order of knights called the Order of the Dragon, founded by Sigismund of Luxembourg (king of Hungary and Bohemia, and Holy Roman Emperor) to uphold Christianity and defend the Empire against the Ottoman Turks. Vlad II Dracul, father of Vlad III, was admitted to the order around 1431 because of his bravery in fighting the Turks and was dubbed Dracul (dragon or devil) thus his son became Dracula (son of the dragon). From 1431 onward, Vlad II wore the emblem of the order and later, as ruler of Wallachia, his coinage bore the dragon symbol.
Stoker came across the name Dracula in his reading on Romanian history, and chose this to replace the name (Count Wampyr) that he had originally intended to use for his villain. However, some Dracula scholars, led by Elizabeth Miller, have questioned the depth of this connection as early as 1998. They argue that Stoker in fact knew little of the historic Vlad III, Vlad the Impaler, and that he used only the name "Dracula" and some miscellaneous scraps of Romanian history. Also, there are no comments about Vlad III in the author's working notes.
While having a conversation with Jonathan Harker in Chapter 3, Dracula refers to his own background, and these speeches show elements which Stoker directly copied from An Account of the Principalities of Wallachia and Moldavia: With Various Political Observations Relating to Them by William Wilkinson. Stoker mentions the Voivode of the Dracula race who fought against the Turks after the defeat in the Battle of Kosovo, and was later betrayed by his brother, historical facts which unequivocally point to Vlad III, described as "Voïvode Dracula" by Wilkinson:
The Count's intended identity is later commented by Professor Van Helsing, referring to a letter from his friend Arminius:
This indeed encourages the reader to identify the Count with the Voivode Dracula first mentioned by him in Chapter 3, the one betrayed by his brother: Vlad III Dracula, betrayed by his brother Radu the Handsome, who had chosen the side of the Turks. But as noted by the Dutch author Hans Corneel de Roos, in Chapter 25, Van Helsing and Mina drop this rudimentary connection to Vlad III and instead describe the Count's personal past as that of "that other of his race" who lived "in a later age". By smoothly exchanging Vlad III for a nameless double, Stoker avoided his main character being unambiguously linked to a historical person traceable in any history book.
Similarly, the novelist did not want to disclose the precise site of the Count's residence, Castle Dracula. As confirmed by Stoker's own handwritten research notes, the novelist had a specific location for the Castle in mind while writing the narrative: an empty mountain top in the Transylvanian Kelemen alps near the former border with Moldavia. Efforts to promote the Poenari Castle (ca. 200 km away from the novel's place of action near the Borgo Pass) as the "real Castle Dracula" have no basis in Stoker's writing; although it bears much similarity to the fictional Castle Dracula, no written evidence shows Stoker to have heard of it. Regarding the Bran Castle near Brașov, Stoker possibly saw an illustration of Castle Bran (Törzburg) in Charles Boner's 1865 book on Transylvania, Transylvania: Its Products and Its People. Although Stoker may have been inspired by its romantic appearance, neither Boner, nor Mazuchelli nor Crosse (who also mention Terzburg or Törzburg) associate it with Vlad III; for the site of his fictitious Castle Dracula, Stoker preferred an empty mountain top.
Furthermore, Stoker's detailed notes reveal that the novelist was very well aware of the ethnic and geo-political differences between the "Roumanians" or "Wallachs"/"Wallachians", descendants of the Dacians, and the Székelys or Szeklers, allies of the Magyars or Hungarians, whose interests were opposed to that of the Wallachians. In the novel's original typewritten manuscript, the Count speaks of throwing off the "Austrian yoke", which corresponds to the Szekler political point of view. This expression is crossed out, however, and replaced by "Hungarian yoke" (as appearing in the printed version), which matches the historical perspective of the Wallachians. This has been interpreted by some to mean that Stoker opted for the Wallachian, not the Szekler interpretation, thus lending more consistency to the Romanian identity of his Count: although not identical with Vlad III, the Vampire is portrayed as one of the "Dracula race". However, despite this, Stoker chose the Count to have revealed himself to be a Székely, and not a Wallachian nobleman (the region where the real "Draculas" ruled over).
Screen portrayals
See also
Elizabeth Báthory
Carmilla
Clinical vampirism
List of fictional vampires
List of horror film antagonists
References
Bibliography
Clive Leatherdale (1985) Dracula: the Novel and the Legend. Desert Island Books.
Bram Stoker (1897) Dracula. Norton Critical Edition (1997) edited by Nina Auerbach and David J. Skal.
Senf, Carol. Dracula: Between Tradition and Modernism (Twayne, 1998).
Senf, Carol A. Bram Stoker. University of Wales Press, 2010.
External links
Bram Stoker Online Full text, PDF and audio versions of Dracula.
Vlad the Impaler
Literary characters introduced in 1897
Fictional characters with immortality
Fictional characters with superhuman strength
Fictional characters with weather abilities
Fictional counts and countesses
Fictional Hungarian people
Fictional characters based on real people
Fictional hypnotists and indoctrinators
Fictional therianthropes
Fictional telepaths
Fictional vampires
Male characters in literature
Male characters in film
Male characters in television
Male horror film villains
Male literary villains
Supervillains with their own comic book titles
Mythopoeia | true | [
"In Christian theology, baptism of blood () or baptism by blood, also called martyred baptism, is a doctrine which holds that a Christian is able to attain through martyrdom the grace of justification normally attained through baptism by water, without needing to receive baptism by water.\n\nPatristic period \n\nCyprian of Carthage in a letter of 256 regarding the question of whether a catechumen seized and killed due to his belief in Jesus Christ \"would lose the hope of salvation and the reward of confession, because he had not previously been born again of water\", answers that \"they certainly are not deprived of the sacrament of baptism who are baptized with the most glorious and greatest baptism of blood.\"\n\nCyril of Jerusalem states in his Catechetical Lectures delivered in Lent of 348 that \"if any man receive not Baptism, he hath not salvation; except only Martyrs, who even without the water receive the kingdom.\"\n\nDenominations \nThis doctrine is held by the Catholic Church, the Oriental Orthodox Churches, the Eastern Orthodox Church, and the American Association of Lutheran Churches.\n\nSimilarly, those who die as Christian martyrs in a persecution of Christians are also judged by Anabaptists and Lutherans as having acquired the benefits of baptism without actually undergoing the ritual.\n\nThe Augsburg Confession of Lutheranism affirms that \"Baptism is normally necessary for salvation\". Citing the teaching of the early Church Fathers, Lutherans acknowledge a baptism of blood (martyrdom) in \"the circumstances of persecution\".\n\nFeeneyism denies baptism of blood as well as baptism of desire.\n\nSee also \n\n Baptism of desire\n\nReferences \n\nChristian terminology\nBaptism\nCatholic theology and doctrine",
"The Lord Ruthven Award is an annual award presented by the Lord Ruthven Assembly, a group of academic scholars specialising in vampire literature and affiliated with the International Association for the Fantastic in the Arts (IAFA).\n\nThe award is presented for the best fiction on vampires and the best academic work on the study of the vampire figure in culture and literature. The award is presented each March at the International Conference on the Fantastic in the Arts (ICFA) in Orlando. The award is named after Lord Ruthven, one of the first vampires in English literature.\n\nLord Ruthven Award: Non-Fiction\n\n1994: David J. Skal, The Monster Show: A Cultural History of Horror \n1995: J. Gordon Melton, The Vampire Book: The Encyclopedia of the Undead\n1996: Nina Auerbach, Our Vampires, Ourselves\n1997: David J. Skal, V is for Vampire: An A to Z Guide to everything Undead\n1998: Carol Margaret Davison & Paul Simpson-Housley, Eds., Bram Stoker's Dracula: Sucking Through the Century\n1999: Carol A. Senf, Dracula: Between Tradition and Modernism\n2001: Elizabeth Miller, Dracula: Sense and Nonsense\n2002: Michael Bell, Food for the Dead: on the Trail of New England's Vampires\n2003: William Patrick Day, Vampire Legends in Contemporary American Culture: What Becomes a Legend Most\n2004: James B. South, Ed., Buffy the Vampire Slayer and Philosophy: Fear and Trembling in Sunnydale.\n2005: Richard Dalby & William Hughes: Bram Stoker: A Bibliography\n2006: Jorg Waltje, Blood Obsession: Vampires, Serial Murder, and the Popular Imagination.\n2007: Bruce A. McClelland, Slayers and their Vampires: A Cultural History of Killing the Dead\n2008: David Keyworth, Troublesome Corpses: Vampires and Revenants from Antiquity to the Present\n2009: Elizabeth Miller & Robert Eighteen-Bisang, Eds., Bram Stoker's Notes for Dracula\n2010: Mary Y. Hallab, Vampire God: The Allure of the Undead in Western Culture\n2011: John Edgar Browning & Caroline Joan Picart, Dracula in Visual Media: Film, Television, Comic Book and Electronic Game Appearances\n2012: Susannah Clements, The Vampire Defanged: How the Embodiment of Evil Became a Romantic Hero\n2013: Jeffrey Weinstock, The Vampire Film: Undead Cinema\n2014: Maria Lindgren Leavenworth & Malin Isaksson, Fanged Fan Fiction: Variations on Twilight, True Blood and The Vampire Diaries\n2015: Margot Adler, Vampires Are Us: Understanding Our Love Affair with the Immortal Dark Side\n2016: J. Gordon Melton & Alysa Hornick, The Vampire in Folklore, History, Literature, Film, and Television: A Comprehensive Bibliography\n2017: David J. Skal, Something in the Blood: The Untold Story of Bram Stoker, the Man Who Wrote Dracula\n2018: Gary A. Smith, Vampire Films of the 1970s\n2019: Amy J. Ransom, I Am Legend as American Myth\n2020: Sorcha Ni Fhlainn, Postmodern Vampires: Film, Fiction, and Popular Culture.\n2021: Cait Coker, The Global Vampire: Essays on the Undead in Popular Culture Around the World.\n\nLord Ruthven Award: Fiction\n\n1989: Brian Stableford, The Empire of Fear\n1990: Nancy A. Collins, Sunglasses After Dark\n1993: Kim Newman, Anno Dracula\n1996: Barbara Hambly, Traveling with the Dead\n1997: Jonathan Nasaw, The World on Blood\n1998: Chelsea Quinn Yarbro, Writ in Blood\n1999: P. N. Elrod, The Vampire Files: A Chill in the Blood\n2000: Terry Pratchett, Carpe Jugulum\n2001: Elaine Bergstrom, Blood to Blood: The Dracula Story Continues\n2002: Jean Lorrah, Blood Will Tell\n2003: Charlaine Harris, Living Dead in Dallas\n2004: Andrew Fox, Fat White Vampire Blues\n2005: David Sosnowski, Vamped\n2006: Elizabeth Kostova, The Historian\n2007: Barbara Hambly, Renfield: Slave of Dracula\n2008: Joel H. Emerson, The Undead\n2009: James Reese, The Dracula Dossier\n2010: Guillermo del Toro and Chuck Hogan, The Strain\n2011: S. M. Stirling, A Taint in the Blood\n2012: Glen Duncan, The Last Werewolf\n2013: Tim Powers, Hide Me Among the Graves\n2014: Joe Hill, NOS4A2\n2015: Lauren Owen, The Quick\n2016: David Gerrold, Jacob\n2017: Anne Rice, Prince Lestat and the Realms of Atlantis\n2018: Charlaine Harris: The Complete Sookie Stackhouse Stories\n2019: Theodora Goss, European Travel for the Monstrous Gentlewoman\n2020: Marge Simon & Bryan D. Dietrich, The Demeter Diaries\n\nLord Ruthven Award: Media/Popular Culture\n\n2003: Diary of a Virgin\n2004: Dracula\n2005: Vampire Dreams\n2008: Anthony Bourdain, No Reservations: Romania\n2009: True Blood\n2011: Being Human\n2015: Only Lovers Left Alive\n2016: What We Do in the Shadows\n2017: Vamped / The Vampire Historian\n2018: Midnight, Texas Season 1\n2020: What We Do in The Shadows\n\nLord Ruthven Special Award \n\n1997: Raymond T. McNally\n2018: Hans Corneel de Roos for his translation of, and research on Makt Myrkranna (Powers of Darkness)\n\nReferences\n\nExternal links\nThe International Association for the Fantastic in the Arts\n\nVampires in written fiction\nHorror fiction awards"
] | [
"Count Dracula () is the title character of Bram Stoker's 1897 gothic horror novel Dracula. He is considered to be both the prototypical and the archetypal vampire in subsequent works of fiction.",
"He is considered to be both the prototypical and the archetypal vampire in subsequent works of fiction. Some aspects of the character are believed to have been inspired by the 15th-century Wallachian Prince Vlad the Impaler, who was also known as Dracula, and by Sir Henry Irving, an actor for whom Stoker was a personal assistant.",
"Some aspects of the character are believed to have been inspired by the 15th-century Wallachian Prince Vlad the Impaler, who was also known as Dracula, and by Sir Henry Irving, an actor for whom Stoker was a personal assistant. One of Dracula's most iconic powers is his ability to turn others into vampires by biting them and infecting them with the vampiric disease.",
"One of Dracula's most iconic powers is his ability to turn others into vampires by biting them and infecting them with the vampiric disease. Other character aspects have been added or altered in subsequent popular fictional works. The character has appeared frequently in popular culture, from films to animated media to breakfast cereals.",
"The character has appeared frequently in popular culture, from films to animated media to breakfast cereals. Stoker's creation Bram Stoker's novel takes the form of an epistolary tale, in which Count Dracula's characteristics, powers, abilities and weaknesses are narrated by multiple narrators, from different perspectives.",
"Stoker's creation Bram Stoker's novel takes the form of an epistolary tale, in which Count Dracula's characteristics, powers, abilities and weaknesses are narrated by multiple narrators, from different perspectives. Count Dracula is an undead, centuries-old vampire, and a Transylvanian nobleman who claims to be a Székely descended from Attila the Hun.",
"Count Dracula is an undead, centuries-old vampire, and a Transylvanian nobleman who claims to be a Székely descended from Attila the Hun. He inhabits a decaying castle in the Carpathian Mountains near the Borgo Pass.",
"He inhabits a decaying castle in the Carpathian Mountains near the Borgo Pass. Unlike the vampires of Eastern European folklore, which are portrayed as repulsive, corpse-like creatures, Dracula is handsome and charismatic, with a veneer of aristocratic charm.",
"Unlike the vampires of Eastern European folklore, which are portrayed as repulsive, corpse-like creatures, Dracula is handsome and charismatic, with a veneer of aristocratic charm. In his conversations with Jonathan Harker, he reveals himself as deeply proud of his boyar heritage and nostalgic for the past, which he admits has become only a memory of heroism, honour and valour in modern times.",
"In his conversations with Jonathan Harker, he reveals himself as deeply proud of his boyar heritage and nostalgic for the past, which he admits has become only a memory of heroism, honour and valour in modern times. Early life Details of his early life are undisclosed, but it is mentioned that Dracula studied the black arts at the academy of Scholomance in the Carpathian Mountains, overlooking the town of Sibiu (also known as Hermannstadt) and has a deep knowledge of alchemy and magic.",
"Early life Details of his early life are undisclosed, but it is mentioned that Dracula studied the black arts at the academy of Scholomance in the Carpathian Mountains, overlooking the town of Sibiu (also known as Hermannstadt) and has a deep knowledge of alchemy and magic. Taking up arms, as befitting his rank and status as a voivode, he led troops against the Turks across the Danube.",
"Taking up arms, as befitting his rank and status as a voivode, he led troops against the Turks across the Danube. According to his nemesis Abraham Van Helsing, \"He must indeed have been that Voivode Dracula who won his name against the Turk, over the great river on the very frontier of Turkey-land.",
"According to his nemesis Abraham Van Helsing, \"He must indeed have been that Voivode Dracula who won his name against the Turk, over the great river on the very frontier of Turkey-land. If it be so, then was he no common man: for in that time, and for centuries after, he was spoken of as the cleverest and the most cunning, as well as the bravest of the sons of the land beyond the forest.\"",
"If it be so, then was he no common man: for in that time, and for centuries after, he was spoken of as the cleverest and the most cunning, as well as the bravest of the sons of the land beyond the forest.\" Dead and buried in a great tomb in the chapel of his castle, Dracula returns from death as a vampire and lives for several centuries in his castle with three terrifyingly beautiful female vampires beside him.",
"Dead and buried in a great tomb in the chapel of his castle, Dracula returns from death as a vampire and lives for several centuries in his castle with three terrifyingly beautiful female vampires beside him. Narrative Short story In \"Dracula's Guest\", the narrative follows an unnamed Englishman traveller as he wanders around Munich before leaving for Transylvania.",
"Narrative Short story In \"Dracula's Guest\", the narrative follows an unnamed Englishman traveller as he wanders around Munich before leaving for Transylvania. It is Walpurgis Night and the young Englishman foolishly leaves his hotel, in spite of the coachman's warnings, and wanders through a dense forest alone.",
"It is Walpurgis Night and the young Englishman foolishly leaves his hotel, in spite of the coachman's warnings, and wanders through a dense forest alone. Along the way, he feels that he is being watched by a tall and thin stranger.",
"Along the way, he feels that he is being watched by a tall and thin stranger. The short story climaxes in an old graveyard, where the Englishman encounters a sleeping female vampire called Countess Dolingen in a marble tomb with a large iron stake driven into it.",
"The short story climaxes in an old graveyard, where the Englishman encounters a sleeping female vampire called Countess Dolingen in a marble tomb with a large iron stake driven into it. This malevolent and beautiful vampire awakens from her marble bier to conjure a snowstorm before being struck by lightning and returning to her eternal prison.",
"This malevolent and beautiful vampire awakens from her marble bier to conjure a snowstorm before being struck by lightning and returning to her eternal prison. However, the Englishman's troubles are not quite over, as he is dragged away by an unseen force and rendered unconscious.",
"However, the Englishman's troubles are not quite over, as he is dragged away by an unseen force and rendered unconscious. He awakens to find a \"gigantic\" wolf lying on his chest and licking at his throat; however, the wolf merely keeps him warm and protects him until help arrives.",
"He awakens to find a \"gigantic\" wolf lying on his chest and licking at his throat; however, the wolf merely keeps him warm and protects him until help arrives. When the Englishman is finally taken back to his hotel, a telegram awaits him from his expectant host Dracula, with a warning about \"dangers from snow and wolves and night\".",
"When the Englishman is finally taken back to his hotel, a telegram awaits him from his expectant host Dracula, with a warning about \"dangers from snow and wolves and night\". Novel In Dracula, the eponymous vampire has decided to move from Transylvania to London.",
"Novel In Dracula, the eponymous vampire has decided to move from Transylvania to London. He summons Jonathan Harker, a newly qualified English solicitor, to provide legal support for a real estate transaction overseen by Harker's employer.",
"He summons Jonathan Harker, a newly qualified English solicitor, to provide legal support for a real estate transaction overseen by Harker's employer. Dracula at first charms Harker with his cordiality and historical knowledge, and even rescues him from the clutches of the three female vampires in the castle.",
"Dracula at first charms Harker with his cordiality and historical knowledge, and even rescues him from the clutches of the three female vampires in the castle. In truth, however, Dracula merely wishes to keep Harker alive long enough to complete the legal transaction and to learn as much as possible about England.",
"In truth, however, Dracula merely wishes to keep Harker alive long enough to complete the legal transaction and to learn as much as possible about England. Dracula leaves his castle and boards a Russian ship, the Demeter, taking along with him 50 boxes of Transylvanian soil, which he needs to regain his strength and rest during daylight.",
"Dracula leaves his castle and boards a Russian ship, the Demeter, taking along with him 50 boxes of Transylvanian soil, which he needs to regain his strength and rest during daylight. During the voyage to Whitby, a coastal town in northern England, he sustains himself on the ship's crew members.",
"During the voyage to Whitby, a coastal town in northern England, he sustains himself on the ship's crew members. Only one body is later found, that of the captain, who is found tied up to the ship's helm.",
"Only one body is later found, that of the captain, who is found tied up to the ship's helm. The captain's log is recovered and tells of strange events that had taken place during the ship's journey.",
"The captain's log is recovered and tells of strange events that had taken place during the ship's journey. Dracula leaves the ship in the form of a dog and runs up the 199 steps to the graveyard of St Mary's Church in the shadow of the Whitby Abbey ruins.",
"Dracula leaves the ship in the form of a dog and runs up the 199 steps to the graveyard of St Mary's Church in the shadow of the Whitby Abbey ruins. Soon the Count begins menacing Harker's fiancée, Wilhelmina \"Mina\" Murray, and her friend, Lucy Westenra.",
"Soon the Count begins menacing Harker's fiancée, Wilhelmina \"Mina\" Murray, and her friend, Lucy Westenra. There is also a notable link between Dracula and Renfield, a patient in an insane asylum overseen by John Seward, who is compelled to consume spiders, birds, and other creatures—in ascending order of size—to absorb their \"life force\".",
"There is also a notable link between Dracula and Renfield, a patient in an insane asylum overseen by John Seward, who is compelled to consume spiders, birds, and other creatures—in ascending order of size—to absorb their \"life force\". Renfield acts as a kind of sensor, reacting to Dracula's proximity and supplying clues accordingly.",
"Renfield acts as a kind of sensor, reacting to Dracula's proximity and supplying clues accordingly. Dracula visits Lucy's bed chamber on a nightly basis, draining her of blood while simultaneously infecting her with the curse of vampirism.",
"Dracula visits Lucy's bed chamber on a nightly basis, draining her of blood while simultaneously infecting her with the curse of vampirism. Not knowing the cause for Lucy's deterioration, her three suitors – Seward, Arthur Holmwood and Quincey Morris – call upon Seward's mentor, the Dutch doctor Abraham Van Helsing.",
"Not knowing the cause for Lucy's deterioration, her three suitors – Seward, Arthur Holmwood and Quincey Morris – call upon Seward's mentor, the Dutch doctor Abraham Van Helsing. Van Helsing soon deduces her condition's supernatural origins, and tries to keep the vampire at bay with garlic.",
"Van Helsing soon deduces her condition's supernatural origins, and tries to keep the vampire at bay with garlic. Nevertheless, Dracula attacks Lucy's house one final time, killing her mother and transforming Lucy herself into one of the undead. Harker escapes Dracula's castle and returns to England, barely alive and deeply traumatized.",
"Harker escapes Dracula's castle and returns to England, barely alive and deeply traumatized. On Seward's suggestion, Mina seeks Van Helsing's assistance in assessing Harker's health. She reads his journal and passes it along to Van Helsing.",
"She reads his journal and passes it along to Van Helsing. This unfolds the first clue to the identity of Lucy's assailant, which later prompts Mina to collect all of the events of Dracula's appearance in news articles, saved letters, newspaper clippings and the journals of each member of the group.",
"This unfolds the first clue to the identity of Lucy's assailant, which later prompts Mina to collect all of the events of Dracula's appearance in news articles, saved letters, newspaper clippings and the journals of each member of the group. This assists the group in investigating Dracula's movements and later discovering that Renfield's behaviour is directly influenced by Dracula.",
"This assists the group in investigating Dracula's movements and later discovering that Renfield's behaviour is directly influenced by Dracula. They then discover that Dracula has purchased a residence next door to Seward's. The group gathers intelligence to track down Dracula and destroy him.",
"The group gathers intelligence to track down Dracula and destroy him. After the undead Lucy attacks several children, Van Helsing, Seward, Holmwood and Morris enter her crypt and destroy her to save her soul. Later, Harker joins them and the party work to discover Dracula's intentions.",
"Later, Harker joins them and the party work to discover Dracula's intentions. Harker aids the party in tracking down the locations of the boxes to the various residences of Dracula and discovers that Dracula purchased multiple real estate properties throughout London under the alias 'Count De Ville'.",
"Harker aids the party in tracking down the locations of the boxes to the various residences of Dracula and discovers that Dracula purchased multiple real estate properties throughout London under the alias 'Count De Ville'. Dracula's main plan was to move each of his 50 boxes of earth to his various properties in order to arrange multiple lairs throughout and around the perimeter of London.",
"Dracula's main plan was to move each of his 50 boxes of earth to his various properties in order to arrange multiple lairs throughout and around the perimeter of London. The party pries open each of the graves, places sacramental wafers within each of them, and seals them shut.",
"The party pries open each of the graves, places sacramental wafers within each of them, and seals them shut. This deprives Dracula of his ability to seek safety in those boxes. Dracula gains entry into Seward's residence by coercing an invitation out of Renfield.",
"Dracula gains entry into Seward's residence by coercing an invitation out of Renfield. As he attempts to enter the room in which Harker and Mina are staying, Renfield tries to stop him; Dracula then mortally wounds him. With his dying breath, Renfield tells Seward and Van Helsing that Dracula is after Mina.",
"With his dying breath, Renfield tells Seward and Van Helsing that Dracula is after Mina. Van Helsing and Seward discover Dracula biting Mina and forcing her to drink his blood. The group repel Dracula using crucifixes and sacramental bread, forcing him to flee by turning into a dark vapour.",
"The group repel Dracula using crucifixes and sacramental bread, forcing him to flee by turning into a dark vapour. The party continue to hunt Dracula to search for his remaining lairs.",
"The party continue to hunt Dracula to search for his remaining lairs. Although Dracula's 'baptism' of Mina grants him a telepathic link to her, it backfires when Van Helsing hypnotizes Mina and uses her supernatural link with Dracula to track him as he flees back to Transylvania.",
"Although Dracula's 'baptism' of Mina grants him a telepathic link to her, it backfires when Van Helsing hypnotizes Mina and uses her supernatural link with Dracula to track him as he flees back to Transylvania. The heroes follow Dracula back to Transylvania, and in a climactic battle with Dracula's Romani bodyguards, finally destroy him.",
"The heroes follow Dracula back to Transylvania, and in a climactic battle with Dracula's Romani bodyguards, finally destroy him. Despite the popular image of Dracula having a stake driven through his heart to kill him, Mina's narrative describes his decapitation by Harker's kukri while Morris simultaneously pierces his heart with a Bowie knife (Mina Harker's Journal, 6 November, Dracula Chapter 27).",
"Despite the popular image of Dracula having a stake driven through his heart to kill him, Mina's narrative describes his decapitation by Harker's kukri while Morris simultaneously pierces his heart with a Bowie knife (Mina Harker's Journal, 6 November, Dracula Chapter 27). His body then turns into dust, but not before Mina sees an expression of peace on his face.",
"His body then turns into dust, but not before Mina sees an expression of peace on his face. Characteristics Although early in the novel Dracula dons a mask of cordiality, he often flies into fits of rage when his plans are frustrated.",
"Characteristics Although early in the novel Dracula dons a mask of cordiality, he often flies into fits of rage when his plans are frustrated. When Dracula's brides attempt to seduce Jonathan Harker, Dracula physically assaults one and ferociously berates them for their insubordination.",
"When Dracula's brides attempt to seduce Jonathan Harker, Dracula physically assaults one and ferociously berates them for their insubordination. He has an appreciation for ancient architecture, and when purchasing a home he prefers them to be aged, saying \"A new home would kill me\", and that to make a new home habitable to him would take a century.",
"He has an appreciation for ancient architecture, and when purchasing a home he prefers them to be aged, saying \"A new home would kill me\", and that to make a new home habitable to him would take a century. Dracula is very proud of his warrior heritage, proclaiming his pride to Harker on how the Székely people are infused with the blood of heroes.",
"Dracula is very proud of his warrior heritage, proclaiming his pride to Harker on how the Székely people are infused with the blood of heroes. He also expresses an interest in the history of the British Empire, speaking admiringly of its people.",
"He also expresses an interest in the history of the British Empire, speaking admiringly of its people. He has a somewhat primal and predatory worldview; he pities ordinary humans for their revulsion to their darker impulses. He is not without human emotions, however; he often says that he too can love.",
"He is not without human emotions, however; he often says that he too can love. Though usually portrayed as having a strong Eastern European accent, the original novel only specifies that his spoken English is excellent, though strangely toned. His appearance varies in age.",
"His appearance varies in age. His appearance varies in age. He is described early in the novel as thin, with a long white moustache, pointed ears and sharp teeth.",
"He is described early in the novel as thin, with a long white moustache, pointed ears and sharp teeth. It is also noted later in the novel (Chapter 11 subsection \"The Escaped Wolf\") by a zookeeper who sees him that he has a hooked nose and a pointed beard with a streak of white in it.",
"It is also noted later in the novel (Chapter 11 subsection \"The Escaped Wolf\") by a zookeeper who sees him that he has a hooked nose and a pointed beard with a streak of white in it. He is dressed all in black and has hair on his palms.",
"He is dressed all in black and has hair on his palms. Harker describes him as an old man, \"cruel looking\" and giving an effect of \"extraordinary pallor\". As the novel progresses, Dracula is described as taking on a more and more youthful appearance.",
"As the novel progresses, Dracula is described as taking on a more and more youthful appearance. After Harker strikes him with a shovel, he is left with a scar on his forehead which he bears throughout the course of the novel.",
"After Harker strikes him with a shovel, he is left with a scar on his forehead which he bears throughout the course of the novel. Dracula also possesses great wealth, and has Romani people in his homeland who are loyal to him as servants and protectors.",
"Dracula also possesses great wealth, and has Romani people in his homeland who are loyal to him as servants and protectors. Powers and weaknesses Count Dracula is portrayed in the novel using many different supernatural abilities, and is believed to have gained his abilities through dealings with the Devil.",
"Powers and weaknesses Count Dracula is portrayed in the novel using many different supernatural abilities, and is believed to have gained his abilities through dealings with the Devil. Chapter 18 of the novel describes many of the abilities, limitations and weaknesses of vampires and Dracula in particular.",
"Chapter 18 of the novel describes many of the abilities, limitations and weaknesses of vampires and Dracula in particular. Dracula has superhuman strength which, according to Van Helsing, is equivalent to that of 20 strong men. He does not cast a shadow or have a reflection from mirrors.",
"He does not cast a shadow or have a reflection from mirrors. He is immune to conventional means of attack; a sailor tries to stab him in the back with a knife, but the blade goes through his body as though it is air.",
"He is immune to conventional means of attack; a sailor tries to stab him in the back with a knife, but the blade goes through his body as though it is air. He can defy gravity to a certain extent and possesses superhuman agility, able to climb vertical surfaces upside down in a reptilian manner.",
"He can defy gravity to a certain extent and possesses superhuman agility, able to climb vertical surfaces upside down in a reptilian manner. He can travel onto \"unhallowed\" ground, such as the graves of suicides and those of his victims. He has powerful hypnotic, telepathic and illusionary abilities.",
"He has powerful hypnotic, telepathic and illusionary abilities. He also has the ability to \"within limitations\" vanish and reappear elsewhere at will. If he knows the path, he can come out from anything or into anything regardless of how close it is bound or even if it is soldered shut.",
"If he knows the path, he can come out from anything or into anything regardless of how close it is bound or even if it is soldered shut. He has amassed cunning and wisdom throughout centuries, and he is unable to die by the mere passing of time alone.",
"He has amassed cunning and wisdom throughout centuries, and he is unable to die by the mere passing of time alone. He can command animals such as rats, owls, bats, moths, foxes and wolves. However, his control over these animals is limited, as seen when the party first enters his house in London.",
"However, his control over these animals is limited, as seen when the party first enters his house in London. Although Dracula is able to summon thousands of rats to swarm and attack the group, Holmwood summons his trio of terriers to do battle with the rats.",
"Although Dracula is able to summon thousands of rats to swarm and attack the group, Holmwood summons his trio of terriers to do battle with the rats. The dogs prove very efficient rat killers, suggesting they are Manchester Terriers trained for that purpose.",
"The dogs prove very efficient rat killers, suggesting they are Manchester Terriers trained for that purpose. Terrified by the dogs' onslaught, the rats flee, and any control which Dracula had over them is gone.",
"Terrified by the dogs' onslaught, the rats flee, and any control which Dracula had over them is gone. Dracula can also manipulate the weather and, within his range, is able to direct the elements, such as storms, fog and mist.",
"Dracula can also manipulate the weather and, within his range, is able to direct the elements, such as storms, fog and mist. Shapeshifting Dracula can change form at will, able to grow and become small, his featured forms in the novel being that of a bat, a wolf, a large dog and a fog or mist.",
"Shapeshifting Dracula can change form at will, able to grow and become small, his featured forms in the novel being that of a bat, a wolf, a large dog and a fog or mist. When the moonlight is shining, he can travel as elemental dust within its rays.",
"When the moonlight is shining, he can travel as elemental dust within its rays. He is able to pass through tiny cracks or crevices while retaining his human form or in the form of a vapour; described by Van Helsing as the ability to slip through a hairbreadth space of a tomb door or coffin.",
"He is able to pass through tiny cracks or crevices while retaining his human form or in the form of a vapour; described by Van Helsing as the ability to slip through a hairbreadth space of a tomb door or coffin. This is also an ability used by his victim Lucy as a vampire.",
"This is also an ability used by his victim Lucy as a vampire. When the party breaks into her tomb, they open the sealed coffin to find her corpse is no longer located within. Vampirism One of Dracula's powers is the ability to turn others into vampires by biting them.",
"Vampirism One of Dracula's powers is the ability to turn others into vampires by biting them. According to Van Helsing: The vampire bite itself does not cause death. It is the method vampires use to drain blood of the victim and to increase their influence over them.",
"It is the method vampires use to drain blood of the victim and to increase their influence over them. This is described by Van Helsing: Victims who are bitten by a vampire and do not die, are hypnotically influenced by them: Van Helsing later describes the aftermath of a bitten victim when the vampire has been killed: As Dracula slowly drains Lucy's blood, she dies from acute blood loss and later transforms into a vampire, despite the efforts of Seward and Van Helsing to provide her with blood transfusions.",
"This is described by Van Helsing: Victims who are bitten by a vampire and do not die, are hypnotically influenced by them: Van Helsing later describes the aftermath of a bitten victim when the vampire has been killed: As Dracula slowly drains Lucy's blood, she dies from acute blood loss and later transforms into a vampire, despite the efforts of Seward and Van Helsing to provide her with blood transfusions. He is aided by powers of necromancy and divination of the dead, that all who die by his hand may reanimate and do his bidding.",
"He is aided by powers of necromancy and divination of the dead, that all who die by his hand may reanimate and do his bidding. Bloodletting Dracula requires no other sustenance but fresh human blood, which has the effect of rejuvenating him and allowing him to grow younger.",
"Bloodletting Dracula requires no other sustenance but fresh human blood, which has the effect of rejuvenating him and allowing him to grow younger. His power is drawn from the blood of others, and he cannot survive without it.",
"His power is drawn from the blood of others, and he cannot survive without it. Although drinking blood can rejuvenate his youth and strength, it does not give him the ability to regenerate; months after being struck on the head by a shovel, he still bears a scar from the impact.",
"Although drinking blood can rejuvenate his youth and strength, it does not give him the ability to regenerate; months after being struck on the head by a shovel, he still bears a scar from the impact. Dracula's preferred victims are women.",
"Dracula's preferred victims are women. Harker states that he believes Dracula has a state of fasting as well as a state of feeding. Dracula does state to Mina, however, that exerting his abilities causes a desire to feed.",
"Dracula does state to Mina, however, that exerting his abilities causes a desire to feed. Vampire's Baptism of Blood Count Dracula is depicted as the \"King Vampire\", and can control other vampires. To punish Mina and the party for their efforts against him, Dracula bites her on at least three occasions.",
"To punish Mina and the party for their efforts against him, Dracula bites her on at least three occasions. He also forces her to drink his blood; this act curses her with the effects of vampirism and gives him a telepathic link to her thoughts. However, hypnotism was only able to be done before dawn.",
"However, hypnotism was only able to be done before dawn. Van Helsing refers to the act of drinking blood by both the vampire and the victim \"the Vampire's Baptism of Blood\". The effects changes Mina physically and mentally over time.",
"The effects changes Mina physically and mentally over time. A few moments after Dracula attacks her, Van Helsing takes a wafer of sacramental bread and places it on her forehead to bless her; when the bread touches her skin, it burns her and leaves a scar on her forehead.",
"A few moments after Dracula attacks her, Van Helsing takes a wafer of sacramental bread and places it on her forehead to bless her; when the bread touches her skin, it burns her and leaves a scar on her forehead. Her teeth start growing longer but do not grow sharper.",
"Her teeth start growing longer but do not grow sharper. She begins to lose her appetite, feeling repulsed by normal food, begins to sleep more and more during the day; cannot wake unless at sunset and stops writing in her diary.",
"She begins to lose her appetite, feeling repulsed by normal food, begins to sleep more and more during the day; cannot wake unless at sunset and stops writing in her diary. When Van Helsing later crumbles the same bread in a circle around her, she is unable to cross or leave the circle, discovering a new form of protection.",
"When Van Helsing later crumbles the same bread in a circle around her, she is unable to cross or leave the circle, discovering a new form of protection. Dracula's death can release the curse on any living victim of eventual transformation into vampire.",
"Dracula's death can release the curse on any living victim of eventual transformation into vampire. However, Van Helsing reveals that were he to escape, his continued existence would ensure that even if he did not victimize Mina further, she would transform into a vampire upon her eventual natural death.",
"However, Van Helsing reveals that were he to escape, his continued existence would ensure that even if he did not victimize Mina further, she would transform into a vampire upon her eventual natural death. Limitations of his powers Dracula is much less powerful in daylight and is only able to shift his form at dawn, noon, and dusk (he can shift his form freely at night or if he is at his grave).",
"Limitations of his powers Dracula is much less powerful in daylight and is only able to shift his form at dawn, noon, and dusk (he can shift his form freely at night or if he is at his grave). The sun is not fatal to him, as sunlight does not burn and destroy him upon contact, though most of his abilities cease.",
"The sun is not fatal to him, as sunlight does not burn and destroy him upon contact, though most of his abilities cease. Later interpretations of the character, and vampires in general, would amplify this trait into an outright fatal weakness, making it so that even the first rays of sunrise are capable of reducing a vampire to ash.",
"Later interpretations of the character, and vampires in general, would amplify this trait into an outright fatal weakness, making it so that even the first rays of sunrise are capable of reducing a vampire to ash. He is also limited in his ability to travel, as he can only cross running water at low or high tide.",
"He is also limited in his ability to travel, as he can only cross running water at low or high tide. Owing to this, he is unable to fly across a river in the form of a bat or mist or even by himself board a boat or step off a boat onto a dock unless he is physically carried over with assistance.",
"Owing to this, he is unable to fly across a river in the form of a bat or mist or even by himself board a boat or step off a boat onto a dock unless he is physically carried over with assistance. He is also unable to enter a place unless invited to do so by someone of the household, even a visitor; once invited, he can enter and leave the premises at will.",
"He is also unable to enter a place unless invited to do so by someone of the household, even a visitor; once invited, he can enter and leave the premises at will. Weaknesses Thirst Dracula is commonly depicted with a bloodlust which he is seemingly unable to control. Adaptations sometimes call this uncontrollable state 'the thirst'.",
"Adaptations sometimes call this uncontrollable state 'the thirst'. Religious symbolism There are items which afflict him to the point he has no power and can even calm him from his insatiable appetite for blood. He is repulsed by garlic, as well as sacred items and symbols such as crucifixes, and sacramental bread.",
"He is repulsed by garlic, as well as sacred items and symbols such as crucifixes, and sacramental bread. Placing the branch of a wild rose upon the top of his coffin will render him unable to escape it; a sacred bullet fired into the coffin could kill him so that he remain true-dead.",
"Placing the branch of a wild rose upon the top of his coffin will render him unable to escape it; a sacred bullet fired into the coffin could kill him so that he remain true-dead. Mountain Ash is also described as a form of protection from a vampire although the effects are unknown.",
"Mountain Ash is also described as a form of protection from a vampire although the effects are unknown. This was believed to be used as protection against evil spirits and witches during the Victorian era.",
"This was believed to be used as protection against evil spirits and witches during the Victorian era. Death-sleep The state of rest to which vampires are prone during the day is described in the novel as a deathlike sleep in which the vampire sleeps open-eyed, is unable to awaken or move, and also may be unaware of any presence of individuals who may be trespassing.",
"Death-sleep The state of rest to which vampires are prone during the day is described in the novel as a deathlike sleep in which the vampire sleeps open-eyed, is unable to awaken or move, and also may be unaware of any presence of individuals who may be trespassing. Dracula is portrayed as being active in daylight at least once to pursue a victim.",
"Dracula is portrayed as being active in daylight at least once to pursue a victim. Dracula also purchases many properties throughout London 'over the counter' which shows that he does have the ability to have some type of presence in daylight.",
"Dracula also purchases many properties throughout London 'over the counter' which shows that he does have the ability to have some type of presence in daylight. He requires Transylvanian soil to be nearby to him in a foreign land or to be entombed within his coffin within Transylvania in order to successfully rest; otherwise, he will be unable to recover his strength.",
"He requires Transylvanian soil to be nearby to him in a foreign land or to be entombed within his coffin within Transylvania in order to successfully rest; otherwise, he will be unable to recover his strength. This has forced him to transport many boxes of Transylvanian earth to each of his residences in London.",
"This has forced him to transport many boxes of Transylvanian earth to each of his residences in London. He is most powerful when he is within his Earth-Home, Coffin-Home, Hell-Home, or any place unhallowed.",
"He is most powerful when he is within his Earth-Home, Coffin-Home, Hell-Home, or any place unhallowed. Further, if Dracula or any vampire has had their fill in blood upon feeding, they will be caused to rest in this dead state even longer than usual.",
"Further, if Dracula or any vampire has had their fill in blood upon feeding, they will be caused to rest in this dead state even longer than usual. Other abilities While universally feared by the local people of Transylvania and even beyond, Dracula commands the loyalty of Gypsies and a band of Slovaks who transport his boxes on their way to London and to serve as an armed convoy bringing his coffin back to his castle.",
"Other abilities While universally feared by the local people of Transylvania and even beyond, Dracula commands the loyalty of Gypsies and a band of Slovaks who transport his boxes on their way to London and to serve as an armed convoy bringing his coffin back to his castle. The Slovaks and Gypsies appear to know his true nature, for they laugh at Harker when he tries to communicate his plight, and betray Harker's attempt to send a letter through them by giving it to the Count.",
"The Slovaks and Gypsies appear to know his true nature, for they laugh at Harker when he tries to communicate his plight, and betray Harker's attempt to send a letter through them by giving it to the Count. Dracula seems to be able to hold influence over people with mental disorders, such as Renfield, who is never bitten but who worships Dracula, referring to him over the course of the novel as \"Master\" and \"Lord\".",
"Dracula seems to be able to hold influence over people with mental disorders, such as Renfield, who is never bitten but who worships Dracula, referring to him over the course of the novel as \"Master\" and \"Lord\". Dracula also afflicts Lucy with chronic sleepwalking, putting her into a trance-like state that allows them not only to submit to his will but also seek him and satisfy his need to feed.",
"Dracula also afflicts Lucy with chronic sleepwalking, putting her into a trance-like state that allows them not only to submit to his will but also seek him and satisfy his need to feed. Dracula's powers and weaknesses vary greatly in the many adaptations. Previous and subsequent vampires from different legends have had similar vampire characteristics.",
"Previous and subsequent vampires from different legends have had similar vampire characteristics. Character development subsequent to the novel Dracula has been portrayed by more actors in more visual media adaptations of the novel than any other horror character.",
"Character development subsequent to the novel Dracula has been portrayed by more actors in more visual media adaptations of the novel than any other horror character. Actors who have played him include Max Schreck, Bela Lugosi, John Carradine, Lon Chaney Jr., Christopher Lee, Francis Lederer, Denholm Elliott, Jack Palance, Louis Jourdan, Rudolf Martin, Frank Langella, Klaus Kinski, Gary Oldman, Leslie Nielsen, George Hamilton, David Niven, Charles Macaulay, Keith-Lee Castle, Gerard Butler, Duncan Regehr, Richard Roxburgh, Marc Warren, Rutger Hauer, Stephen Billington, Thomas Kretschmann, Dominic Purcell, Luke Evans and Claes Bang.",
"Actors who have played him include Max Schreck, Bela Lugosi, John Carradine, Lon Chaney Jr., Christopher Lee, Francis Lederer, Denholm Elliott, Jack Palance, Louis Jourdan, Rudolf Martin, Frank Langella, Klaus Kinski, Gary Oldman, Leslie Nielsen, George Hamilton, David Niven, Charles Macaulay, Keith-Lee Castle, Gerard Butler, Duncan Regehr, Richard Roxburgh, Marc Warren, Rutger Hauer, Stephen Billington, Thomas Kretschmann, Dominic Purcell, Luke Evans and Claes Bang. In 2003, Count Dracula, as portrayed by Lugosi in the 1931 film, was named as the 33rd greatest movie villain by the AFI.",
"In 2003, Count Dracula, as portrayed by Lugosi in the 1931 film, was named as the 33rd greatest movie villain by the AFI. In 2013, Empire magazine ranked Lee's portrayal as Dracula the 7th Greatest Horror Movie Character of All Time.",
"In 2013, Empire magazine ranked Lee's portrayal as Dracula the 7th Greatest Horror Movie Character of All Time. The character is closely associated with the western cultural archetype of the vampire, and remains a popular Halloween costume. Count Dracula appears in Mad Monster Party? voiced by Allen Swift.",
"voiced by Allen Swift. voiced by Allen Swift. This version is shown to be wearing a monocle. Count Dracula is among the monsters that Baron Boris von Frankenstein invites to the Isle of Evil to show off the secret of total destruction and announce his retirement from the Worldwide Organization of Monsters.",
"Count Dracula is among the monsters that Baron Boris von Frankenstein invites to the Isle of Evil to show off the secret of total destruction and announce his retirement from the Worldwide Organization of Monsters. Sesame Street character Count von Count is based on Bela Lugosi's interpretation of Count Dracula and Jack Davis' design for Dracula from Mad Monster Party?.",
"Sesame Street character Count von Count is based on Bela Lugosi's interpretation of Count Dracula and Jack Davis' design for Dracula from Mad Monster Party?. Count Dracula appears in Mad Mad Mad Monsters (a \"prequel of sorts\" to Mad Monster Party?) voiced again by Allen Swift.",
"voiced again by Allen Swift. voiced again by Allen Swift. He and his son are invited by Baron Henry von Frankenstein to attend the wedding of Frankenstein's monster and its mate at the Transylvania Astoria Hotel. Dracula is the primary antagonist of the Castlevania video game series and the main protagonist of the Lords of Shadow reboot series.",
"Dracula is the primary antagonist of the Castlevania video game series and the main protagonist of the Lords of Shadow reboot series. Count Dracula appears in the Attack of the Killer Tomatoes episode \"Spatula, Prinze of Dorkness\", voiced by S. Scott Bullock.",
"Count Dracula appears in the Attack of the Killer Tomatoes episode \"Spatula, Prinze of Dorkness\", voiced by S. Scott Bullock. He relates a tale of how he once gave Dr. Putrid T. Gangreen a serum to transform tomatoes into vampire tomatoes.",
"He relates a tale of how he once gave Dr. Putrid T. Gangreen a serum to transform tomatoes into vampire tomatoes. Though the Doctor refused, Zoltan overheard their conversation and, mistaking the word serum for syrup, ingests the serum himself and renaming himself \"Spatula, Prinze of Dorkness\" who can turn people into vampires by kissing them in the neck (a stipulation that the Censor Lady put into place in fear of showing the biting and bloodshed associated with vampires on a Saturday morning cartoon).",
"Though the Doctor refused, Zoltan overheard their conversation and, mistaking the word serum for syrup, ingests the serum himself and renaming himself \"Spatula, Prinze of Dorkness\" who can turn people into vampires by kissing them in the neck (a stipulation that the Censor Lady put into place in fear of showing the biting and bloodshed associated with vampires on a Saturday morning cartoon). This spread to the other tomatoes and the entire town.",
"This spread to the other tomatoes and the entire town. When the sun came up and disabled the vampires, Count Dracula in sunblock appears and deemed that the town is not worthy to be vampires. He then gives Chad Finletter the antidote to the vampirism and advises that the tomatoes be squashed immediately.",
"He then gives Chad Finletter the antidote to the vampirism and advises that the tomatoes be squashed immediately. Dracula appears as the lead character of Dracula the Un-dead, a novel by Stoker's great-grand nephew Dacre presented as a sequel to the original.",
"Dracula appears as the lead character of Dracula the Un-dead, a novel by Stoker's great-grand nephew Dacre presented as a sequel to the original. In the Supernatural episode \"Monster Monster\", a shapeshifter that Sam and Dean Winchester fight considers his form of Count Dracula (portrayed by Todd Stashwick) his favourite form.",
"In the Supernatural episode \"Monster Monster\", a shapeshifter that Sam and Dean Winchester fight considers his form of Count Dracula (portrayed by Todd Stashwick) his favourite form. It is in this form that Jamie killed him with Sam's gun loaded with silver bullets.",
"It is in this form that Jamie killed him with Sam's gun loaded with silver bullets. Count Dracula is the main character of the Hotel Transylvania franchise, voiced by Adam Sandler in the first three movies and by Brian Hull in the fourth movie.",
"Count Dracula is the main character of the Hotel Transylvania franchise, voiced by Adam Sandler in the first three movies and by Brian Hull in the fourth movie. Dracula, going by an inversion of his name, \"Alucard,\" serves as the main character of the anime and manga series Hellsing and Hellsing Ultimate where he serves Integra Hellsing, Abraham's great-granddaughter, as an anti-vampire warrior devoted to the British Crown.",
"Dracula, going by an inversion of his name, \"Alucard,\" serves as the main character of the anime and manga series Hellsing and Hellsing Ultimate where he serves Integra Hellsing, Abraham's great-granddaughter, as an anti-vampire warrior devoted to the British Crown. Dracula is the primary antagonist of the Showtime series Penny Dreadful, portrayed by Christian Camargo.",
"Dracula is the primary antagonist of the Showtime series Penny Dreadful, portrayed by Christian Camargo. This version of the character is the brother of Lucifer and, thus, a fallen angel.",
"This version of the character is the brother of Lucifer and, thus, a fallen angel. Modern and postmodern analyses of the character Already in 1958, Cecil Kirtly proposed that Count Dracula shared his personal past with the historical Transylvanian-born Voivode Vlad III Dracula of Wallachia, also known as Vlad the Impaler or Vlad Țepeș.",
"Modern and postmodern analyses of the character Already in 1958, Cecil Kirtly proposed that Count Dracula shared his personal past with the historical Transylvanian-born Voivode Vlad III Dracula of Wallachia, also known as Vlad the Impaler or Vlad Țepeș. Following the publication of In Search of Dracula by Radu Florescu and Raymond McNally in 1972, this supposed connection attracted much popular attention.",
"Following the publication of In Search of Dracula by Radu Florescu and Raymond McNally in 1972, this supposed connection attracted much popular attention. This work argued that Bram Stoker based his Dracula on Vlad the Impaler.",
"This work argued that Bram Stoker based his Dracula on Vlad the Impaler. Historically, the name \"Dracula\" is the family name of Vlad Țepeș' family, a name derived from a fraternal order of knights called the Order of the Dragon, founded by Sigismund of Luxembourg (king of Hungary and Bohemia, and Holy Roman Emperor) to uphold Christianity and defend the Empire against the Ottoman Turks.",
"Historically, the name \"Dracula\" is the family name of Vlad Țepeș' family, a name derived from a fraternal order of knights called the Order of the Dragon, founded by Sigismund of Luxembourg (king of Hungary and Bohemia, and Holy Roman Emperor) to uphold Christianity and defend the Empire against the Ottoman Turks. Vlad II Dracul, father of Vlad III, was admitted to the order around 1431 because of his bravery in fighting the Turks and was dubbed Dracul (dragon or devil) thus his son became Dracula (son of the dragon).",
"Vlad II Dracul, father of Vlad III, was admitted to the order around 1431 because of his bravery in fighting the Turks and was dubbed Dracul (dragon or devil) thus his son became Dracula (son of the dragon). From 1431 onward, Vlad II wore the emblem of the order and later, as ruler of Wallachia, his coinage bore the dragon symbol.",
"From 1431 onward, Vlad II wore the emblem of the order and later, as ruler of Wallachia, his coinage bore the dragon symbol. Stoker came across the name Dracula in his reading on Romanian history, and chose this to replace the name (Count Wampyr) that he had originally intended to use for his villain.",
"Stoker came across the name Dracula in his reading on Romanian history, and chose this to replace the name (Count Wampyr) that he had originally intended to use for his villain. However, some Dracula scholars, led by Elizabeth Miller, have questioned the depth of this connection as early as 1998.",
"However, some Dracula scholars, led by Elizabeth Miller, have questioned the depth of this connection as early as 1998. They argue that Stoker in fact knew little of the historic Vlad III, Vlad the Impaler, and that he used only the name \"Dracula\" and some miscellaneous scraps of Romanian history.",
"They argue that Stoker in fact knew little of the historic Vlad III, Vlad the Impaler, and that he used only the name \"Dracula\" and some miscellaneous scraps of Romanian history. Also, there are no comments about Vlad III in the author's working notes.",
"Also, there are no comments about Vlad III in the author's working notes. While having a conversation with Jonathan Harker in Chapter 3, Dracula refers to his own background, and these speeches show elements which Stoker directly copied from An Account of the Principalities of Wallachia and Moldavia: With Various Political Observations Relating to Them by William Wilkinson.",
"While having a conversation with Jonathan Harker in Chapter 3, Dracula refers to his own background, and these speeches show elements which Stoker directly copied from An Account of the Principalities of Wallachia and Moldavia: With Various Political Observations Relating to Them by William Wilkinson. Stoker mentions the Voivode of the Dracula race who fought against the Turks after the defeat in the Battle of Kosovo, and was later betrayed by his brother, historical facts which unequivocally point to Vlad III, described as \"Voïvode Dracula\" by Wilkinson: The Count's intended identity is later commented by Professor Van Helsing, referring to a letter from his friend Arminius: This indeed encourages the reader to identify the Count with the Voivode Dracula first mentioned by him in Chapter 3, the one betrayed by his brother: Vlad III Dracula, betrayed by his brother Radu the Handsome, who had chosen the side of the Turks.",
"Stoker mentions the Voivode of the Dracula race who fought against the Turks after the defeat in the Battle of Kosovo, and was later betrayed by his brother, historical facts which unequivocally point to Vlad III, described as \"Voïvode Dracula\" by Wilkinson: The Count's intended identity is later commented by Professor Van Helsing, referring to a letter from his friend Arminius: This indeed encourages the reader to identify the Count with the Voivode Dracula first mentioned by him in Chapter 3, the one betrayed by his brother: Vlad III Dracula, betrayed by his brother Radu the Handsome, who had chosen the side of the Turks. But as noted by the Dutch author Hans Corneel de Roos, in Chapter 25, Van Helsing and Mina drop this rudimentary connection to Vlad III and instead describe the Count's personal past as that of \"that other of his race\" who lived \"in a later age\".",
"But as noted by the Dutch author Hans Corneel de Roos, in Chapter 25, Van Helsing and Mina drop this rudimentary connection to Vlad III and instead describe the Count's personal past as that of \"that other of his race\" who lived \"in a later age\". By smoothly exchanging Vlad III for a nameless double, Stoker avoided his main character being unambiguously linked to a historical person traceable in any history book.",
"By smoothly exchanging Vlad III for a nameless double, Stoker avoided his main character being unambiguously linked to a historical person traceable in any history book. Similarly, the novelist did not want to disclose the precise site of the Count's residence, Castle Dracula.",
"Similarly, the novelist did not want to disclose the precise site of the Count's residence, Castle Dracula. As confirmed by Stoker's own handwritten research notes, the novelist had a specific location for the Castle in mind while writing the narrative: an empty mountain top in the Transylvanian Kelemen alps near the former border with Moldavia.",
"As confirmed by Stoker's own handwritten research notes, the novelist had a specific location for the Castle in mind while writing the narrative: an empty mountain top in the Transylvanian Kelemen alps near the former border with Moldavia. Efforts to promote the Poenari Castle (ca.",
"Efforts to promote the Poenari Castle (ca. 200 km away from the novel's place of action near the Borgo Pass) as the \"real Castle Dracula\" have no basis in Stoker's writing; although it bears much similarity to the fictional Castle Dracula, no written evidence shows Stoker to have heard of it.",
"200 km away from the novel's place of action near the Borgo Pass) as the \"real Castle Dracula\" have no basis in Stoker's writing; although it bears much similarity to the fictional Castle Dracula, no written evidence shows Stoker to have heard of it. Regarding the Bran Castle near Brașov, Stoker possibly saw an illustration of Castle Bran (Törzburg) in Charles Boner's 1865 book on Transylvania, Transylvania: Its Products and Its People.",
"Regarding the Bran Castle near Brașov, Stoker possibly saw an illustration of Castle Bran (Törzburg) in Charles Boner's 1865 book on Transylvania, Transylvania: Its Products and Its People. Although Stoker may have been inspired by its romantic appearance, neither Boner, nor Mazuchelli nor Crosse (who also mention Terzburg or Törzburg) associate it with Vlad III; for the site of his fictitious Castle Dracula, Stoker preferred an empty mountain top.",
"Although Stoker may have been inspired by its romantic appearance, neither Boner, nor Mazuchelli nor Crosse (who also mention Terzburg or Törzburg) associate it with Vlad III; for the site of his fictitious Castle Dracula, Stoker preferred an empty mountain top. Furthermore, Stoker's detailed notes reveal that the novelist was very well aware of the ethnic and geo-political differences between the \"Roumanians\" or \"Wallachs\"/\"Wallachians\", descendants of the Dacians, and the Székelys or Szeklers, allies of the Magyars or Hungarians, whose interests were opposed to that of the Wallachians.",
"Furthermore, Stoker's detailed notes reveal that the novelist was very well aware of the ethnic and geo-political differences between the \"Roumanians\" or \"Wallachs\"/\"Wallachians\", descendants of the Dacians, and the Székelys or Szeklers, allies of the Magyars or Hungarians, whose interests were opposed to that of the Wallachians. In the novel's original typewritten manuscript, the Count speaks of throwing off the \"Austrian yoke\", which corresponds to the Szekler political point of view.",
"In the novel's original typewritten manuscript, the Count speaks of throwing off the \"Austrian yoke\", which corresponds to the Szekler political point of view. This expression is crossed out, however, and replaced by \"Hungarian yoke\" (as appearing in the printed version), which matches the historical perspective of the Wallachians.",
"This expression is crossed out, however, and replaced by \"Hungarian yoke\" (as appearing in the printed version), which matches the historical perspective of the Wallachians. This has been interpreted by some to mean that Stoker opted for the Wallachian, not the Szekler interpretation, thus lending more consistency to the Romanian identity of his Count: although not identical with Vlad III, the Vampire is portrayed as one of the \"Dracula race\".",
"This has been interpreted by some to mean that Stoker opted for the Wallachian, not the Szekler interpretation, thus lending more consistency to the Romanian identity of his Count: although not identical with Vlad III, the Vampire is portrayed as one of the \"Dracula race\". However, despite this, Stoker chose the Count to have revealed himself to be a Székely, and not a Wallachian nobleman (the region where the real \"Draculas\" ruled over).",
"However, despite this, Stoker chose the Count to have revealed himself to be a Székely, and not a Wallachian nobleman (the region where the real \"Draculas\" ruled over). Screen portrayals See also Elizabeth Báthory Carmilla Clinical vampirism List of fictional vampires List of horror film antagonists References Bibliography Clive Leatherdale (1985) Dracula: the Novel and the Legend.",
"Screen portrayals See also Elizabeth Báthory Carmilla Clinical vampirism List of fictional vampires List of horror film antagonists References Bibliography Clive Leatherdale (1985) Dracula: the Novel and the Legend. Desert Island Books. Bram Stoker (1897) Dracula. Norton Critical Edition (1997) edited by Nina Auerbach and David J. Skal. Senf, Carol.",
"Senf, Carol. Senf, Carol. Dracula: Between Tradition and Modernism (Twayne, 1998). Senf, Carol A. Bram Stoker. University of Wales Press, 2010. External links Bram Stoker Online Full text, PDF and audio versions of Dracula.",
"External links Bram Stoker Online Full text, PDF and audio versions of Dracula. Vlad the Impaler Literary characters introduced in 1897 Fictional characters with immortality Fictional characters with superhuman strength Fictional characters with weather abilities Fictional counts and countesses Fictional Hungarian people Fictional characters based on real people Fictional hypnotists and indoctrinators Fictional therianthropes Fictional telepaths Fictional vampires Male characters in literature Male characters in film Male characters in television Male horror film villains Male literary villains Supervillains with their own comic book titles Mythopoeia"
] |
[
"Count Dracula",
"Vampire's Baptism of Blood",
"What's important about Vampire's Baptism of Blood?",
"Van Helsing refers to the act of drinking blood by both the vampire and the victim \"the Vampire's Baptism of Blood\"."
] | C_520ea2c01e0d4e02bbbe6ce2ae3c1a09_0 | Is there anything else important regarding this? | 2 | Besides Van Helsing's reference, is there anything else important regarding Count Dracula, Vampire's Baptism of Blood? | Count Dracula | Count Dracula is depicted as the "King Vampire", and can control other vampires. To punish Mina and the party for their efforts against him, Dracula bites her on at least three occasions. He also forces her to drink his blood; this act curses her with the effects of vampirism and gives him a telepathic link to her thoughts. However, hypnotism was only able to be done before dawn. Van Helsing refers to the act of drinking blood by both the vampire and the victim "the Vampire's Baptism of Blood". The effects changes Mina' physically and mentally over time. A few moments after Dracula attacks her, Van Helsing takes a wafer of sacramental bread and places it on her forehead to bless her; when the bread touches her skin, it burns her and leaves a scar on her forehead. Her teeth start growing longer but do not grow sharper. She begins to lose her appetite, feeling repulsed by normal food, begins to sleep more and more during the day; cannot wake unless at sunset and stops writing in her diary. When Van Helsing later crumbles the same bread in a circle around her, she is unable to cross or leave the circle, discovering a new form of protection. Dracula's death can release the curse on any living victim of eventual transformation into vampire. However, Van Helsing reveals that were he to successfully escape, his continued existence would ensure that even if he did not victimize Mina further, she would transform into a vampire upon her eventual natural death. CANNOTANSWER | Dracula's death can release the curse on any living victim of eventual transformation into vampire. | Count Dracula () is the title character of Bram Stoker's 1897 gothic horror novel Dracula. He is considered to be both the prototypical and the archetypal vampire in subsequent works of fiction. Some aspects of the character are believed to have been inspired by the 15th-century Wallachian Prince Vlad the Impaler, who was also known as Dracula, and by Sir Henry Irving, an actor for whom Stoker was a personal assistant.
One of Dracula's most iconic powers is his ability to turn others into vampires by biting them and infecting them with the vampiric disease. Other character aspects have been added or altered in subsequent popular fictional works. The character has appeared frequently in popular culture, from films to animated media to breakfast cereals.
Stoker's creation
Bram Stoker's novel takes the form of an epistolary tale, in which Count Dracula's characteristics, powers, abilities and weaknesses are narrated by multiple narrators, from different perspectives.
Count Dracula is an undead, centuries-old vampire, and a Transylvanian nobleman who claims to be a Székely descended from Attila the Hun. He inhabits a decaying castle in the Carpathian Mountains near the Borgo Pass. Unlike the vampires of Eastern European folklore, which are portrayed as repulsive, corpse-like creatures, Dracula is handsome and charismatic, with a veneer of aristocratic charm. In his conversations with Jonathan Harker, he reveals himself as deeply proud of his boyar heritage and nostalgic for the past, which he admits has become only a memory of heroism, honour and valour in modern times.
Early life
Details of his early life are undisclosed, but it is mentioned that
Dracula studied the black arts at the academy of Scholomance in the Carpathian Mountains, overlooking the town of Sibiu (also known as Hermannstadt) and has a deep knowledge of alchemy and magic. Taking up arms, as befitting his rank and status as a voivode, he led troops against the Turks across the Danube. According to his nemesis Abraham Van Helsing, "He must indeed have been that Voivode Dracula who won his name against the Turk, over the great river on the very frontier of Turkey-land. If it be so, then was he no common man: for in that time, and for centuries after, he was spoken of as the cleverest and the most cunning, as well as the bravest of the sons of the land beyond the forest." Dead and buried in a great tomb in the chapel of his castle, Dracula returns from death as a vampire and lives for several centuries in his castle with three terrifyingly beautiful female vampires beside him.
Narrative
Short story
In "Dracula's Guest", the narrative follows an unnamed Englishman traveller as he wanders around Munich before leaving for Transylvania. It is Walpurgis Night and the young Englishman foolishly leaves his hotel, in spite of the coachman's warnings, and wanders through a dense forest alone. Along the way, he feels that he is being watched by a tall and thin stranger.
The short story climaxes in an old graveyard, where the Englishman encounters a sleeping female vampire called Countess Dolingen in a marble tomb with a large iron stake driven into it. This malevolent and beautiful vampire awakens from her marble bier to conjure a snowstorm before being struck by lightning and returning to her eternal prison. However, the Englishman's troubles are not quite over, as he is dragged away by an unseen force and rendered unconscious. He awakens to find a "gigantic" wolf lying on his chest and licking at his throat; however, the wolf merely keeps him warm and protects him until help arrives. When the Englishman is finally taken back to his hotel, a telegram awaits him from his expectant host Dracula, with a warning about "dangers from snow and wolves and night".
Novel
In Dracula, the eponymous vampire has decided to move from Transylvania to London. He summons Jonathan Harker, a newly qualified English solicitor, to provide legal support for a real estate transaction overseen by Harker's employer. Dracula at first charms Harker with his cordiality and historical knowledge, and even rescues him from the clutches of the three female vampires in the castle. In truth, however, Dracula merely wishes to keep Harker alive long enough to complete the legal transaction and to learn as much as possible about England.
Dracula leaves his castle and boards a Russian ship, the Demeter, taking along with him 50 boxes of Transylvanian soil, which he needs to regain his strength and rest during daylight. During the voyage to Whitby, a coastal town in northern England, he sustains himself on the ship's crew members. Only one body is later found, that of the captain, who is found tied up to the ship's helm. The captain's log is recovered and tells of strange events that had taken place during the ship's journey. Dracula leaves the ship in the form of a dog and runs up the 199 steps to the graveyard of St Mary's Church in the shadow of the Whitby Abbey ruins.
Soon the Count begins menacing Harker's fiancée, Wilhelmina "Mina" Murray, and her friend, Lucy Westenra. There is also a notable link between Dracula and Renfield, a patient in an insane asylum overseen by John Seward, who is compelled to consume spiders, birds, and other creatures—in ascending order of size—to absorb their "life force". Renfield acts as a kind of sensor, reacting to Dracula's proximity and supplying clues accordingly. Dracula visits Lucy's bed chamber on a nightly basis, draining her of blood while simultaneously infecting her with the curse of vampirism. Not knowing the cause for Lucy's deterioration, her three suitors – Seward, Arthur Holmwood and Quincey Morris – call upon Seward's mentor, the Dutch doctor Abraham Van Helsing. Van Helsing soon deduces her condition's supernatural origins, and tries to keep the vampire at bay with garlic. Nevertheless, Dracula attacks Lucy's house one final time, killing her mother and transforming Lucy herself into one of the undead.
Harker escapes Dracula's castle and returns to England, barely alive and deeply traumatized. On Seward's suggestion, Mina seeks Van Helsing's assistance in assessing Harker's health. She reads his journal and passes it along to Van Helsing. This unfolds the first clue to the identity of Lucy's assailant, which later prompts Mina to collect all of the events of Dracula's appearance in news articles, saved letters, newspaper clippings and the journals of each member of the group. This assists the group in investigating Dracula's movements and later discovering that Renfield's behaviour is directly influenced by Dracula. They then discover that Dracula has purchased a residence next door to Seward's. The group gathers intelligence to track down Dracula and destroy him.
After the undead Lucy attacks several children, Van Helsing, Seward, Holmwood and Morris enter her crypt and destroy her to save her soul. Later, Harker joins them and the party work to discover Dracula's intentions. Harker aids the party in tracking down the locations of the boxes to the various residences of Dracula and discovers that Dracula purchased multiple real estate properties throughout London under the alias 'Count De Ville'. Dracula's main plan was to move each of his 50 boxes of earth to his various properties in order to arrange multiple lairs throughout and around the perimeter of London.
The party pries open each of the graves, places sacramental wafers within each of them, and seals them shut. This deprives Dracula of his ability to seek safety in those boxes. Dracula gains entry into Seward's residence by coercing an invitation out of Renfield. As he attempts to enter the room in which Harker and Mina are staying, Renfield tries to stop him; Dracula then mortally wounds him. With his dying breath, Renfield tells Seward and Van Helsing that Dracula is after Mina. Van Helsing and Seward discover Dracula biting Mina and forcing her to drink his blood. The group repel Dracula using crucifixes and sacramental bread, forcing him to flee by turning into a dark vapour. The party continue to hunt Dracula to search for his remaining lairs. Although Dracula's 'baptism' of Mina grants him a telepathic link to her, it backfires when Van Helsing hypnotizes Mina and uses her supernatural link with Dracula to track him as he flees back to Transylvania.
The heroes follow Dracula back to Transylvania, and in a climactic battle with Dracula's Romani bodyguards, finally destroy him. Despite the popular image of Dracula having a stake driven through his heart to kill him, Mina's narrative describes his decapitation by Harker's kukri while Morris simultaneously pierces his heart with a Bowie knife (Mina Harker's Journal, 6 November, Dracula Chapter 27). His body then turns into dust, but not before Mina sees an expression of peace on his face.
Characteristics
Although early in the novel Dracula dons a mask of cordiality, he often flies into fits of rage when his plans are frustrated. When Dracula's brides attempt to seduce Jonathan Harker, Dracula physically assaults one and ferociously berates them for their insubordination.
He has an appreciation for ancient architecture, and when purchasing a home he prefers them to be aged, saying "A new home would kill me", and that to make a new home habitable to him would take a century.
Dracula is very proud of his warrior heritage, proclaiming his pride to Harker on how the Székely people are infused with the blood of heroes. He also expresses an interest in the history of the British Empire, speaking admiringly of its people. He has a somewhat primal and predatory worldview; he pities ordinary humans for their revulsion to their darker impulses. He is not without human emotions, however; he often says that he too can love.
Though usually portrayed as having a strong Eastern European accent, the original novel only specifies that his spoken English is excellent, though strangely toned.
His appearance varies in age. He is described early in the novel as thin, with a long white moustache, pointed ears and sharp teeth. It is also noted later in the novel (Chapter 11 subsection "The Escaped Wolf") by a zookeeper who sees him that he has a hooked nose and a pointed beard with a streak of white in it. He is dressed all in black and has hair on his palms. Harker describes him as an old man, "cruel looking" and giving an effect of "extraordinary pallor".
As the novel progresses, Dracula is described as taking on a more and more youthful appearance. After Harker strikes him with a shovel, he is left with a scar on his forehead which he bears throughout the course of the novel.
Dracula also possesses great wealth, and has Romani people in his homeland who are loyal to him as servants and protectors.
Powers and weaknesses
Count Dracula is portrayed in the novel using many different supernatural abilities, and is believed to have gained his abilities through dealings with the Devil. Chapter 18 of the novel describes many of the abilities, limitations and weaknesses of vampires and Dracula in particular. Dracula has superhuman strength which, according to Van Helsing, is equivalent to that of 20 strong men. He does not cast a shadow or have a reflection from mirrors. He is immune to conventional means of attack; a sailor tries to stab him in the back with a knife, but the blade goes through his body as though it is air. He can defy gravity to a certain extent and possesses superhuman agility, able to climb vertical surfaces upside down in a reptilian manner. He can travel onto "unhallowed" ground, such as the graves of suicides and those of his victims. He has powerful hypnotic, telepathic and illusionary abilities. He also has the ability to "within limitations" vanish and reappear elsewhere at will. If he knows the path, he can come out from anything or into anything regardless of how close it is bound or even if it is soldered shut.
He has amassed cunning and wisdom throughout centuries, and he is unable to die by the mere passing of time alone.
He can command animals such as rats, owls, bats, moths, foxes and wolves. However, his control over these animals is limited, as seen when the party first enters his house in London. Although Dracula is able to summon thousands of rats to swarm and attack the group, Holmwood summons his trio of terriers to do battle with the rats. The dogs prove very efficient rat killers, suggesting they are Manchester Terriers trained for that purpose. Terrified by the dogs' onslaught, the rats flee, and any control which Dracula had over them is gone.
Dracula can also manipulate the weather and, within his range, is able to direct the elements, such as storms, fog and mist.
Shapeshifting
Dracula can change form at will, able to grow and become small, his featured forms in the novel being that of a bat, a wolf, a large dog and a fog or mist. When the moonlight is shining, he can travel as elemental dust within its rays. He is able to pass through tiny cracks or crevices while retaining his human form or in the form of a vapour; described by Van Helsing as the ability to slip through a hairbreadth space of a tomb door or coffin. This is also an ability used by his victim Lucy as a vampire. When the party breaks into her tomb, they open the sealed coffin to find her corpse is no longer located within.
Vampirism
One of Dracula's powers is the ability to turn others into vampires by biting them. According to Van Helsing:
The vampire bite itself does not cause death. It is the method vampires use to drain blood of the victim and to increase their influence over them. This is described by Van Helsing:
Victims who are bitten by a vampire and do not die, are hypnotically influenced by them:
Van Helsing later describes the aftermath of a bitten victim when the vampire has been killed:
As Dracula slowly drains Lucy's blood, she dies from acute blood loss and later transforms into a vampire, despite the efforts of Seward and Van Helsing to provide her with blood transfusions.
He is aided by powers of necromancy and divination of the dead, that all who die by his hand may reanimate and do his bidding.
Bloodletting
Dracula requires no other sustenance but fresh human blood, which has the effect of rejuvenating him and allowing him to grow younger. His power is drawn from the blood of others, and he cannot survive without it. Although drinking blood can rejuvenate his youth and strength, it does not give him the ability to regenerate; months after being struck on the head by a shovel, he still bears a scar from the impact.
Dracula's preferred victims are women. Harker states that he believes Dracula has a state of fasting as well as a state of feeding. Dracula does state to Mina, however, that exerting his abilities causes a desire to feed.
Vampire's Baptism of Blood
Count Dracula is depicted as the "King Vampire", and can control other vampires. To punish Mina and the party for their efforts against him, Dracula bites her on at least three occasions. He also forces her to drink his blood; this act curses her with the effects of vampirism and gives him a telepathic link to her thoughts. However, hypnotism was only able to be done before dawn. Van Helsing refers to the act of drinking blood by both the vampire and the victim "the Vampire's Baptism of Blood".
The effects changes Mina physically and mentally over time. A few moments after Dracula attacks her, Van Helsing takes a wafer of sacramental bread and places it on her forehead to bless her; when the bread touches her skin, it burns her and leaves a scar on her forehead. Her teeth start growing longer but do not grow sharper. She begins to lose her appetite, feeling repulsed by normal food, begins to sleep more and more during the day; cannot wake unless at sunset and stops writing in her diary. When Van Helsing later crumbles the same bread in a circle around her, she is unable to cross or leave the circle, discovering a new form of protection.
Dracula's death can release the curse on any living victim of eventual transformation into vampire. However, Van Helsing reveals that were he to escape, his continued existence would ensure that even if he did not victimize Mina further, she would transform into a vampire upon her eventual natural death.
Limitations of his powers
Dracula is much less powerful in daylight and is only able to shift his form at dawn, noon, and dusk (he can shift his form freely at night or if he is at his grave). The sun is not fatal to him, as sunlight does not burn and destroy him upon contact, though most of his abilities cease.
Later interpretations of the character, and vampires in general, would amplify this trait into an outright fatal weakness, making it so that even the first rays of sunrise are capable of reducing a vampire to ash.
He is also limited in his ability to travel, as he can only cross running water at low or high tide. Owing to this, he is unable to fly across a river in the form of a bat or mist or even by himself board a boat or step off a boat onto a dock unless he is physically carried over with assistance. He is also unable to enter a place unless invited to do so by someone of the household, even a visitor; once invited, he can enter and leave the premises at will.
Weaknesses
Thirst
Dracula is commonly depicted with a bloodlust which he is seemingly unable to control. Adaptations sometimes call this uncontrollable state 'the thirst'.
Religious symbolism
There are items which afflict him to the point he has no power and can even calm him from his insatiable appetite for blood. He is repulsed by garlic, as well as sacred items and symbols such as crucifixes, and sacramental bread.
Placing the branch of a wild rose upon the top of his coffin will render him unable to escape it; a sacred bullet fired into the coffin could kill him so that he remain true-dead.
Mountain Ash is also described as a form of protection from a vampire although the effects are unknown. This was believed to be used as protection against evil spirits and witches during the Victorian era.
Death-sleep
The state of rest to which vampires are prone during the day is described in the novel as a deathlike sleep in which the vampire sleeps open-eyed, is unable to awaken or move, and also may be unaware of any presence of individuals who may be trespassing. Dracula is portrayed as being active in daylight at least once to pursue a victim. Dracula also purchases many properties throughout London 'over the counter' which shows that he does have the ability to have some type of presence in daylight.
He requires Transylvanian soil to be nearby to him in a foreign land or to be entombed within his coffin within Transylvania in order to successfully rest; otherwise, he will be unable to recover his strength. This has forced him to transport many boxes of Transylvanian earth to each of his residences in London. He is most powerful when he is within his Earth-Home, Coffin-Home, Hell-Home, or any place unhallowed.
Further, if Dracula or any vampire has had their fill in blood upon feeding, they will be caused to rest in this dead state even longer than usual.
Other abilities
While universally feared by the local people of Transylvania and even beyond, Dracula commands the loyalty of Gypsies and a band of Slovaks who transport his boxes on their way to London and to serve as an armed convoy bringing his coffin back to his castle. The Slovaks and Gypsies appear to know his true nature, for they laugh at Harker when he tries to communicate his plight, and betray Harker's attempt to send a letter through them by giving it to the Count.
Dracula seems to be able to hold influence over people with mental disorders, such as Renfield, who is never bitten but who worships Dracula, referring to him over the course of the novel as "Master" and "Lord". Dracula also afflicts Lucy with chronic sleepwalking, putting her into a trance-like state that allows them not only to submit to his will but also seek him and satisfy his need to feed.
Dracula's powers and weaknesses vary greatly in the many adaptations. Previous and subsequent vampires from different legends have had similar vampire characteristics.
Character development subsequent to the novel
Dracula has been portrayed by more actors in more visual media adaptations of the novel than any other horror character. Actors who have played him include Max Schreck, Bela Lugosi, John Carradine, Lon Chaney Jr., Christopher Lee, Francis Lederer, Denholm Elliott, Jack Palance, Louis Jourdan, Rudolf Martin, Frank Langella, Klaus Kinski, Gary Oldman, Leslie Nielsen, George Hamilton, David Niven, Charles Macaulay, Keith-Lee Castle, Gerard Butler, Duncan Regehr, Richard Roxburgh, Marc Warren, Rutger Hauer, Stephen Billington, Thomas Kretschmann, Dominic Purcell, Luke Evans and Claes Bang.
In 2003, Count Dracula, as portrayed by Lugosi in the 1931 film, was named as the 33rd greatest movie villain by the AFI. In 2013, Empire magazine ranked Lee's portrayal as Dracula the 7th Greatest Horror Movie Character of All Time.
The character is closely associated with the western cultural archetype of the vampire, and remains a popular Halloween costume.
Count Dracula appears in Mad Monster Party? voiced by Allen Swift. This version is shown to be wearing a monocle. Count Dracula is among the monsters that Baron Boris von Frankenstein invites to the Isle of Evil to show off the secret of total destruction and announce his retirement from the Worldwide Organization of Monsters.
Sesame Street character Count von Count is based on Bela Lugosi's interpretation of Count Dracula and Jack Davis' design for Dracula from Mad Monster Party?.
Count Dracula appears in Mad Mad Mad Monsters (a "prequel of sorts" to Mad Monster Party?) voiced again by Allen Swift. He and his son are invited by Baron Henry von Frankenstein to attend the wedding of Frankenstein's monster and its mate at the Transylvania Astoria Hotel.
Dracula is the primary antagonist of the Castlevania video game series and the main protagonist of the Lords of Shadow reboot series.
Count Dracula appears in the Attack of the Killer Tomatoes episode "Spatula, Prinze of Dorkness", voiced by S. Scott Bullock. He relates a tale of how he once gave Dr. Putrid T. Gangreen a serum to transform tomatoes into vampire tomatoes. Though the Doctor refused, Zoltan overheard their conversation and, mistaking the word serum for syrup, ingests the serum himself and renaming himself "Spatula, Prinze of Dorkness" who can turn people into vampires by kissing them in the neck (a stipulation that the Censor Lady put into place in fear of showing the biting and bloodshed associated with vampires on a Saturday morning cartoon). This spread to the other tomatoes and the entire town. When the sun came up and disabled the vampires, Count Dracula in sunblock appears and deemed that the town is not worthy to be vampires. He then gives Chad Finletter the antidote to the vampirism and advises that the tomatoes be squashed immediately.
Dracula appears as the lead character of Dracula the Un-dead, a novel by Stoker's great-grand nephew Dacre presented as a sequel to the original.
In the Supernatural episode "Monster Monster", a shapeshifter that Sam and Dean Winchester fight considers his form of Count Dracula (portrayed by Todd Stashwick) his favourite form. It is in this form that Jamie killed him with Sam's gun loaded with silver bullets.
Count Dracula is the main character of the Hotel Transylvania franchise, voiced by Adam Sandler in the first three movies and by Brian Hull in the fourth movie.
Dracula, going by an inversion of his name, "Alucard," serves as the main character of the anime and manga series Hellsing and Hellsing Ultimate where he serves Integra Hellsing, Abraham's great-granddaughter, as an anti-vampire warrior devoted to the British Crown.
Dracula is the primary antagonist of the Showtime series Penny Dreadful, portrayed by Christian Camargo. This version of the character is the brother of Lucifer and, thus, a fallen angel.
Modern and postmodern analyses of the character
Already in 1958, Cecil Kirtly proposed that Count Dracula shared his personal past with the historical Transylvanian-born Voivode Vlad III Dracula of Wallachia, also known as Vlad the Impaler or Vlad Țepeș. Following the publication of In Search of Dracula by Radu Florescu and Raymond McNally in 1972, this supposed connection attracted much popular attention. This work argued that Bram Stoker based his Dracula on Vlad the Impaler.
Historically, the name "Dracula" is the family name of Vlad Țepeș' family, a name derived from a fraternal order of knights called the Order of the Dragon, founded by Sigismund of Luxembourg (king of Hungary and Bohemia, and Holy Roman Emperor) to uphold Christianity and defend the Empire against the Ottoman Turks. Vlad II Dracul, father of Vlad III, was admitted to the order around 1431 because of his bravery in fighting the Turks and was dubbed Dracul (dragon or devil) thus his son became Dracula (son of the dragon). From 1431 onward, Vlad II wore the emblem of the order and later, as ruler of Wallachia, his coinage bore the dragon symbol.
Stoker came across the name Dracula in his reading on Romanian history, and chose this to replace the name (Count Wampyr) that he had originally intended to use for his villain. However, some Dracula scholars, led by Elizabeth Miller, have questioned the depth of this connection as early as 1998. They argue that Stoker in fact knew little of the historic Vlad III, Vlad the Impaler, and that he used only the name "Dracula" and some miscellaneous scraps of Romanian history. Also, there are no comments about Vlad III in the author's working notes.
While having a conversation with Jonathan Harker in Chapter 3, Dracula refers to his own background, and these speeches show elements which Stoker directly copied from An Account of the Principalities of Wallachia and Moldavia: With Various Political Observations Relating to Them by William Wilkinson. Stoker mentions the Voivode of the Dracula race who fought against the Turks after the defeat in the Battle of Kosovo, and was later betrayed by his brother, historical facts which unequivocally point to Vlad III, described as "Voïvode Dracula" by Wilkinson:
The Count's intended identity is later commented by Professor Van Helsing, referring to a letter from his friend Arminius:
This indeed encourages the reader to identify the Count with the Voivode Dracula first mentioned by him in Chapter 3, the one betrayed by his brother: Vlad III Dracula, betrayed by his brother Radu the Handsome, who had chosen the side of the Turks. But as noted by the Dutch author Hans Corneel de Roos, in Chapter 25, Van Helsing and Mina drop this rudimentary connection to Vlad III and instead describe the Count's personal past as that of "that other of his race" who lived "in a later age". By smoothly exchanging Vlad III for a nameless double, Stoker avoided his main character being unambiguously linked to a historical person traceable in any history book.
Similarly, the novelist did not want to disclose the precise site of the Count's residence, Castle Dracula. As confirmed by Stoker's own handwritten research notes, the novelist had a specific location for the Castle in mind while writing the narrative: an empty mountain top in the Transylvanian Kelemen alps near the former border with Moldavia. Efforts to promote the Poenari Castle (ca. 200 km away from the novel's place of action near the Borgo Pass) as the "real Castle Dracula" have no basis in Stoker's writing; although it bears much similarity to the fictional Castle Dracula, no written evidence shows Stoker to have heard of it. Regarding the Bran Castle near Brașov, Stoker possibly saw an illustration of Castle Bran (Törzburg) in Charles Boner's 1865 book on Transylvania, Transylvania: Its Products and Its People. Although Stoker may have been inspired by its romantic appearance, neither Boner, nor Mazuchelli nor Crosse (who also mention Terzburg or Törzburg) associate it with Vlad III; for the site of his fictitious Castle Dracula, Stoker preferred an empty mountain top.
Furthermore, Stoker's detailed notes reveal that the novelist was very well aware of the ethnic and geo-political differences between the "Roumanians" or "Wallachs"/"Wallachians", descendants of the Dacians, and the Székelys or Szeklers, allies of the Magyars or Hungarians, whose interests were opposed to that of the Wallachians. In the novel's original typewritten manuscript, the Count speaks of throwing off the "Austrian yoke", which corresponds to the Szekler political point of view. This expression is crossed out, however, and replaced by "Hungarian yoke" (as appearing in the printed version), which matches the historical perspective of the Wallachians. This has been interpreted by some to mean that Stoker opted for the Wallachian, not the Szekler interpretation, thus lending more consistency to the Romanian identity of his Count: although not identical with Vlad III, the Vampire is portrayed as one of the "Dracula race". However, despite this, Stoker chose the Count to have revealed himself to be a Székely, and not a Wallachian nobleman (the region where the real "Draculas" ruled over).
Screen portrayals
See also
Elizabeth Báthory
Carmilla
Clinical vampirism
List of fictional vampires
List of horror film antagonists
References
Bibliography
Clive Leatherdale (1985) Dracula: the Novel and the Legend. Desert Island Books.
Bram Stoker (1897) Dracula. Norton Critical Edition (1997) edited by Nina Auerbach and David J. Skal.
Senf, Carol. Dracula: Between Tradition and Modernism (Twayne, 1998).
Senf, Carol A. Bram Stoker. University of Wales Press, 2010.
External links
Bram Stoker Online Full text, PDF and audio versions of Dracula.
Vlad the Impaler
Literary characters introduced in 1897
Fictional characters with immortality
Fictional characters with superhuman strength
Fictional characters with weather abilities
Fictional counts and countesses
Fictional Hungarian people
Fictional characters based on real people
Fictional hypnotists and indoctrinators
Fictional therianthropes
Fictional telepaths
Fictional vampires
Male characters in literature
Male characters in film
Male characters in television
Male horror film villains
Male literary villains
Supervillains with their own comic book titles
Mythopoeia | true | [
"In baseball, a fair ball is a batted ball that entitles the batter to attempt to reach first base. By contrast, a foul ball is a batted ball that does not entitle the batter to attempt to reach first base. Whether a batted ball is fair or foul is determined by the location of the ball at the appropriate reference point, as follows:\n\n if the ball leaves the playing field without touching anything, the point where the ball leaves the field;\n else, if the ball first lands past first or third base without touching anything, the point where the ball lands;\n else, if the ball rolls or bounces past first or third base without touching anything other than the ground, the point where the ball passes the base;\n else, if the ball touches anything other than the ground (such as an umpire, a player, or any equipment left on the field) before any of the above happens, the point of such touching;\n else (the ball comes to a rest before reaching first or third base), the point where the ball comes to a rest.\n\nIf any part of the ball is on or above fair territory at the appropriate reference point, it is fair; else it is foul. Fair territory or fair ground is defined as the area of the playing field between the two foul lines, and includes the foul lines themselves and the foul poles. However, certain exceptions exist:\n\n A ball that touches first, second, or third base is always fair.\n Under Rule 5.09(a)(7)-(8), if a batted ball touches the batter or his bat while the batter is in the batter's box and not intentionally interfering with the course of the ball, the ball is foul.\n A ball that hits the foul pole without first having touched anything else off the bat is fair.\n Ground rules may provide whether a ball hitting specific objects (e.g. roof, overhead speaker) is fair or foul.\n\nOn a fair ball, the batter attempts to reach first base or any subsequent base, runners attempt to advance and fielders try to record outs. A fair ball is considered a live ball until the ball becomes dead by leaving the field or any other method.\n\nReferences\n\nBaseball rules",
"Landscapes is the second studio album by the American recording act Ducktails, released on August 6, 2009 on Olde English Spelling Bee. The album was recorded entirely by Matt Mondanile, and was the second full-length Ducktails album to be released in 2009.\n\nArtwork\nRegarding the album's artwork, Mondanile noted: \"[It has] this purple palm tree imagery, kind of two images, it’s kind of just like: each of my record covers I want to be pop art that goes along with the record. Cartoon to pop. That’s kind of my style. Taking that and seeing what you can do with it to make it weird.\"\n\nReception\n\nFact Magazine characterized Landscapes as a series of \"soft-focus aural polaroids,\" calling it \"a breathtakingly pretty album\" whose \"sense of place is open and plural: it can conjure or complement whatever landscape you will it to, from a verdant forest to a sun-scorched desert; from an overcrowded city to an empty beach.\" In a positive review for Pitchfork, David Bevan praised Matt Mondanile's layered recording techniques, writing: \"Landscapes is rarely anything but engaging. \"Wishes\" in particular is a slacker standout more harmonically rich, more sweetly and appropriately lonesome than anything else here.\"\n\nTrack listing\n\nReferences\n\n2009 albums\nDucktails (band) albums"
] | [
"Count Dracula () is the title character of Bram Stoker's 1897 gothic horror novel Dracula. He is considered to be both the prototypical and the archetypal vampire in subsequent works of fiction.",
"He is considered to be both the prototypical and the archetypal vampire in subsequent works of fiction. Some aspects of the character are believed to have been inspired by the 15th-century Wallachian Prince Vlad the Impaler, who was also known as Dracula, and by Sir Henry Irving, an actor for whom Stoker was a personal assistant.",
"Some aspects of the character are believed to have been inspired by the 15th-century Wallachian Prince Vlad the Impaler, who was also known as Dracula, and by Sir Henry Irving, an actor for whom Stoker was a personal assistant. One of Dracula's most iconic powers is his ability to turn others into vampires by biting them and infecting them with the vampiric disease.",
"One of Dracula's most iconic powers is his ability to turn others into vampires by biting them and infecting them with the vampiric disease. Other character aspects have been added or altered in subsequent popular fictional works. The character has appeared frequently in popular culture, from films to animated media to breakfast cereals.",
"The character has appeared frequently in popular culture, from films to animated media to breakfast cereals. Stoker's creation Bram Stoker's novel takes the form of an epistolary tale, in which Count Dracula's characteristics, powers, abilities and weaknesses are narrated by multiple narrators, from different perspectives.",
"Stoker's creation Bram Stoker's novel takes the form of an epistolary tale, in which Count Dracula's characteristics, powers, abilities and weaknesses are narrated by multiple narrators, from different perspectives. Count Dracula is an undead, centuries-old vampire, and a Transylvanian nobleman who claims to be a Székely descended from Attila the Hun.",
"Count Dracula is an undead, centuries-old vampire, and a Transylvanian nobleman who claims to be a Székely descended from Attila the Hun. He inhabits a decaying castle in the Carpathian Mountains near the Borgo Pass.",
"He inhabits a decaying castle in the Carpathian Mountains near the Borgo Pass. Unlike the vampires of Eastern European folklore, which are portrayed as repulsive, corpse-like creatures, Dracula is handsome and charismatic, with a veneer of aristocratic charm.",
"Unlike the vampires of Eastern European folklore, which are portrayed as repulsive, corpse-like creatures, Dracula is handsome and charismatic, with a veneer of aristocratic charm. In his conversations with Jonathan Harker, he reveals himself as deeply proud of his boyar heritage and nostalgic for the past, which he admits has become only a memory of heroism, honour and valour in modern times.",
"In his conversations with Jonathan Harker, he reveals himself as deeply proud of his boyar heritage and nostalgic for the past, which he admits has become only a memory of heroism, honour and valour in modern times. Early life Details of his early life are undisclosed, but it is mentioned that Dracula studied the black arts at the academy of Scholomance in the Carpathian Mountains, overlooking the town of Sibiu (also known as Hermannstadt) and has a deep knowledge of alchemy and magic.",
"Early life Details of his early life are undisclosed, but it is mentioned that Dracula studied the black arts at the academy of Scholomance in the Carpathian Mountains, overlooking the town of Sibiu (also known as Hermannstadt) and has a deep knowledge of alchemy and magic. Taking up arms, as befitting his rank and status as a voivode, he led troops against the Turks across the Danube.",
"Taking up arms, as befitting his rank and status as a voivode, he led troops against the Turks across the Danube. According to his nemesis Abraham Van Helsing, \"He must indeed have been that Voivode Dracula who won his name against the Turk, over the great river on the very frontier of Turkey-land.",
"According to his nemesis Abraham Van Helsing, \"He must indeed have been that Voivode Dracula who won his name against the Turk, over the great river on the very frontier of Turkey-land. If it be so, then was he no common man: for in that time, and for centuries after, he was spoken of as the cleverest and the most cunning, as well as the bravest of the sons of the land beyond the forest.\"",
"If it be so, then was he no common man: for in that time, and for centuries after, he was spoken of as the cleverest and the most cunning, as well as the bravest of the sons of the land beyond the forest.\" Dead and buried in a great tomb in the chapel of his castle, Dracula returns from death as a vampire and lives for several centuries in his castle with three terrifyingly beautiful female vampires beside him.",
"Dead and buried in a great tomb in the chapel of his castle, Dracula returns from death as a vampire and lives for several centuries in his castle with three terrifyingly beautiful female vampires beside him. Narrative Short story In \"Dracula's Guest\", the narrative follows an unnamed Englishman traveller as he wanders around Munich before leaving for Transylvania.",
"Narrative Short story In \"Dracula's Guest\", the narrative follows an unnamed Englishman traveller as he wanders around Munich before leaving for Transylvania. It is Walpurgis Night and the young Englishman foolishly leaves his hotel, in spite of the coachman's warnings, and wanders through a dense forest alone.",
"It is Walpurgis Night and the young Englishman foolishly leaves his hotel, in spite of the coachman's warnings, and wanders through a dense forest alone. Along the way, he feels that he is being watched by a tall and thin stranger.",
"Along the way, he feels that he is being watched by a tall and thin stranger. The short story climaxes in an old graveyard, where the Englishman encounters a sleeping female vampire called Countess Dolingen in a marble tomb with a large iron stake driven into it.",
"The short story climaxes in an old graveyard, where the Englishman encounters a sleeping female vampire called Countess Dolingen in a marble tomb with a large iron stake driven into it. This malevolent and beautiful vampire awakens from her marble bier to conjure a snowstorm before being struck by lightning and returning to her eternal prison.",
"This malevolent and beautiful vampire awakens from her marble bier to conjure a snowstorm before being struck by lightning and returning to her eternal prison. However, the Englishman's troubles are not quite over, as he is dragged away by an unseen force and rendered unconscious.",
"However, the Englishman's troubles are not quite over, as he is dragged away by an unseen force and rendered unconscious. He awakens to find a \"gigantic\" wolf lying on his chest and licking at his throat; however, the wolf merely keeps him warm and protects him until help arrives.",
"He awakens to find a \"gigantic\" wolf lying on his chest and licking at his throat; however, the wolf merely keeps him warm and protects him until help arrives. When the Englishman is finally taken back to his hotel, a telegram awaits him from his expectant host Dracula, with a warning about \"dangers from snow and wolves and night\".",
"When the Englishman is finally taken back to his hotel, a telegram awaits him from his expectant host Dracula, with a warning about \"dangers from snow and wolves and night\". Novel In Dracula, the eponymous vampire has decided to move from Transylvania to London.",
"Novel In Dracula, the eponymous vampire has decided to move from Transylvania to London. He summons Jonathan Harker, a newly qualified English solicitor, to provide legal support for a real estate transaction overseen by Harker's employer.",
"He summons Jonathan Harker, a newly qualified English solicitor, to provide legal support for a real estate transaction overseen by Harker's employer. Dracula at first charms Harker with his cordiality and historical knowledge, and even rescues him from the clutches of the three female vampires in the castle.",
"Dracula at first charms Harker with his cordiality and historical knowledge, and even rescues him from the clutches of the three female vampires in the castle. In truth, however, Dracula merely wishes to keep Harker alive long enough to complete the legal transaction and to learn as much as possible about England.",
"In truth, however, Dracula merely wishes to keep Harker alive long enough to complete the legal transaction and to learn as much as possible about England. Dracula leaves his castle and boards a Russian ship, the Demeter, taking along with him 50 boxes of Transylvanian soil, which he needs to regain his strength and rest during daylight.",
"Dracula leaves his castle and boards a Russian ship, the Demeter, taking along with him 50 boxes of Transylvanian soil, which he needs to regain his strength and rest during daylight. During the voyage to Whitby, a coastal town in northern England, he sustains himself on the ship's crew members.",
"During the voyage to Whitby, a coastal town in northern England, he sustains himself on the ship's crew members. Only one body is later found, that of the captain, who is found tied up to the ship's helm.",
"Only one body is later found, that of the captain, who is found tied up to the ship's helm. The captain's log is recovered and tells of strange events that had taken place during the ship's journey.",
"The captain's log is recovered and tells of strange events that had taken place during the ship's journey. Dracula leaves the ship in the form of a dog and runs up the 199 steps to the graveyard of St Mary's Church in the shadow of the Whitby Abbey ruins.",
"Dracula leaves the ship in the form of a dog and runs up the 199 steps to the graveyard of St Mary's Church in the shadow of the Whitby Abbey ruins. Soon the Count begins menacing Harker's fiancée, Wilhelmina \"Mina\" Murray, and her friend, Lucy Westenra.",
"Soon the Count begins menacing Harker's fiancée, Wilhelmina \"Mina\" Murray, and her friend, Lucy Westenra. There is also a notable link between Dracula and Renfield, a patient in an insane asylum overseen by John Seward, who is compelled to consume spiders, birds, and other creatures—in ascending order of size—to absorb their \"life force\".",
"There is also a notable link between Dracula and Renfield, a patient in an insane asylum overseen by John Seward, who is compelled to consume spiders, birds, and other creatures—in ascending order of size—to absorb their \"life force\". Renfield acts as a kind of sensor, reacting to Dracula's proximity and supplying clues accordingly.",
"Renfield acts as a kind of sensor, reacting to Dracula's proximity and supplying clues accordingly. Dracula visits Lucy's bed chamber on a nightly basis, draining her of blood while simultaneously infecting her with the curse of vampirism.",
"Dracula visits Lucy's bed chamber on a nightly basis, draining her of blood while simultaneously infecting her with the curse of vampirism. Not knowing the cause for Lucy's deterioration, her three suitors – Seward, Arthur Holmwood and Quincey Morris – call upon Seward's mentor, the Dutch doctor Abraham Van Helsing.",
"Not knowing the cause for Lucy's deterioration, her three suitors – Seward, Arthur Holmwood and Quincey Morris – call upon Seward's mentor, the Dutch doctor Abraham Van Helsing. Van Helsing soon deduces her condition's supernatural origins, and tries to keep the vampire at bay with garlic.",
"Van Helsing soon deduces her condition's supernatural origins, and tries to keep the vampire at bay with garlic. Nevertheless, Dracula attacks Lucy's house one final time, killing her mother and transforming Lucy herself into one of the undead. Harker escapes Dracula's castle and returns to England, barely alive and deeply traumatized.",
"Harker escapes Dracula's castle and returns to England, barely alive and deeply traumatized. On Seward's suggestion, Mina seeks Van Helsing's assistance in assessing Harker's health. She reads his journal and passes it along to Van Helsing.",
"She reads his journal and passes it along to Van Helsing. This unfolds the first clue to the identity of Lucy's assailant, which later prompts Mina to collect all of the events of Dracula's appearance in news articles, saved letters, newspaper clippings and the journals of each member of the group.",
"This unfolds the first clue to the identity of Lucy's assailant, which later prompts Mina to collect all of the events of Dracula's appearance in news articles, saved letters, newspaper clippings and the journals of each member of the group. This assists the group in investigating Dracula's movements and later discovering that Renfield's behaviour is directly influenced by Dracula.",
"This assists the group in investigating Dracula's movements and later discovering that Renfield's behaviour is directly influenced by Dracula. They then discover that Dracula has purchased a residence next door to Seward's. The group gathers intelligence to track down Dracula and destroy him.",
"The group gathers intelligence to track down Dracula and destroy him. After the undead Lucy attacks several children, Van Helsing, Seward, Holmwood and Morris enter her crypt and destroy her to save her soul. Later, Harker joins them and the party work to discover Dracula's intentions.",
"Later, Harker joins them and the party work to discover Dracula's intentions. Harker aids the party in tracking down the locations of the boxes to the various residences of Dracula and discovers that Dracula purchased multiple real estate properties throughout London under the alias 'Count De Ville'.",
"Harker aids the party in tracking down the locations of the boxes to the various residences of Dracula and discovers that Dracula purchased multiple real estate properties throughout London under the alias 'Count De Ville'. Dracula's main plan was to move each of his 50 boxes of earth to his various properties in order to arrange multiple lairs throughout and around the perimeter of London.",
"Dracula's main plan was to move each of his 50 boxes of earth to his various properties in order to arrange multiple lairs throughout and around the perimeter of London. The party pries open each of the graves, places sacramental wafers within each of them, and seals them shut.",
"The party pries open each of the graves, places sacramental wafers within each of them, and seals them shut. This deprives Dracula of his ability to seek safety in those boxes. Dracula gains entry into Seward's residence by coercing an invitation out of Renfield.",
"Dracula gains entry into Seward's residence by coercing an invitation out of Renfield. As he attempts to enter the room in which Harker and Mina are staying, Renfield tries to stop him; Dracula then mortally wounds him. With his dying breath, Renfield tells Seward and Van Helsing that Dracula is after Mina.",
"With his dying breath, Renfield tells Seward and Van Helsing that Dracula is after Mina. Van Helsing and Seward discover Dracula biting Mina and forcing her to drink his blood. The group repel Dracula using crucifixes and sacramental bread, forcing him to flee by turning into a dark vapour.",
"The group repel Dracula using crucifixes and sacramental bread, forcing him to flee by turning into a dark vapour. The party continue to hunt Dracula to search for his remaining lairs.",
"The party continue to hunt Dracula to search for his remaining lairs. Although Dracula's 'baptism' of Mina grants him a telepathic link to her, it backfires when Van Helsing hypnotizes Mina and uses her supernatural link with Dracula to track him as he flees back to Transylvania.",
"Although Dracula's 'baptism' of Mina grants him a telepathic link to her, it backfires when Van Helsing hypnotizes Mina and uses her supernatural link with Dracula to track him as he flees back to Transylvania. The heroes follow Dracula back to Transylvania, and in a climactic battle with Dracula's Romani bodyguards, finally destroy him.",
"The heroes follow Dracula back to Transylvania, and in a climactic battle with Dracula's Romani bodyguards, finally destroy him. Despite the popular image of Dracula having a stake driven through his heart to kill him, Mina's narrative describes his decapitation by Harker's kukri while Morris simultaneously pierces his heart with a Bowie knife (Mina Harker's Journal, 6 November, Dracula Chapter 27).",
"Despite the popular image of Dracula having a stake driven through his heart to kill him, Mina's narrative describes his decapitation by Harker's kukri while Morris simultaneously pierces his heart with a Bowie knife (Mina Harker's Journal, 6 November, Dracula Chapter 27). His body then turns into dust, but not before Mina sees an expression of peace on his face.",
"His body then turns into dust, but not before Mina sees an expression of peace on his face. Characteristics Although early in the novel Dracula dons a mask of cordiality, he often flies into fits of rage when his plans are frustrated.",
"Characteristics Although early in the novel Dracula dons a mask of cordiality, he often flies into fits of rage when his plans are frustrated. When Dracula's brides attempt to seduce Jonathan Harker, Dracula physically assaults one and ferociously berates them for their insubordination.",
"When Dracula's brides attempt to seduce Jonathan Harker, Dracula physically assaults one and ferociously berates them for their insubordination. He has an appreciation for ancient architecture, and when purchasing a home he prefers them to be aged, saying \"A new home would kill me\", and that to make a new home habitable to him would take a century.",
"He has an appreciation for ancient architecture, and when purchasing a home he prefers them to be aged, saying \"A new home would kill me\", and that to make a new home habitable to him would take a century. Dracula is very proud of his warrior heritage, proclaiming his pride to Harker on how the Székely people are infused with the blood of heroes.",
"Dracula is very proud of his warrior heritage, proclaiming his pride to Harker on how the Székely people are infused with the blood of heroes. He also expresses an interest in the history of the British Empire, speaking admiringly of its people.",
"He also expresses an interest in the history of the British Empire, speaking admiringly of its people. He has a somewhat primal and predatory worldview; he pities ordinary humans for their revulsion to their darker impulses. He is not without human emotions, however; he often says that he too can love.",
"He is not without human emotions, however; he often says that he too can love. Though usually portrayed as having a strong Eastern European accent, the original novel only specifies that his spoken English is excellent, though strangely toned. His appearance varies in age.",
"His appearance varies in age. His appearance varies in age. He is described early in the novel as thin, with a long white moustache, pointed ears and sharp teeth.",
"He is described early in the novel as thin, with a long white moustache, pointed ears and sharp teeth. It is also noted later in the novel (Chapter 11 subsection \"The Escaped Wolf\") by a zookeeper who sees him that he has a hooked nose and a pointed beard with a streak of white in it.",
"It is also noted later in the novel (Chapter 11 subsection \"The Escaped Wolf\") by a zookeeper who sees him that he has a hooked nose and a pointed beard with a streak of white in it. He is dressed all in black and has hair on his palms.",
"He is dressed all in black and has hair on his palms. Harker describes him as an old man, \"cruel looking\" and giving an effect of \"extraordinary pallor\". As the novel progresses, Dracula is described as taking on a more and more youthful appearance.",
"As the novel progresses, Dracula is described as taking on a more and more youthful appearance. After Harker strikes him with a shovel, he is left with a scar on his forehead which he bears throughout the course of the novel.",
"After Harker strikes him with a shovel, he is left with a scar on his forehead which he bears throughout the course of the novel. Dracula also possesses great wealth, and has Romani people in his homeland who are loyal to him as servants and protectors.",
"Dracula also possesses great wealth, and has Romani people in his homeland who are loyal to him as servants and protectors. Powers and weaknesses Count Dracula is portrayed in the novel using many different supernatural abilities, and is believed to have gained his abilities through dealings with the Devil.",
"Powers and weaknesses Count Dracula is portrayed in the novel using many different supernatural abilities, and is believed to have gained his abilities through dealings with the Devil. Chapter 18 of the novel describes many of the abilities, limitations and weaknesses of vampires and Dracula in particular.",
"Chapter 18 of the novel describes many of the abilities, limitations and weaknesses of vampires and Dracula in particular. Dracula has superhuman strength which, according to Van Helsing, is equivalent to that of 20 strong men. He does not cast a shadow or have a reflection from mirrors.",
"He does not cast a shadow or have a reflection from mirrors. He is immune to conventional means of attack; a sailor tries to stab him in the back with a knife, but the blade goes through his body as though it is air.",
"He is immune to conventional means of attack; a sailor tries to stab him in the back with a knife, but the blade goes through his body as though it is air. He can defy gravity to a certain extent and possesses superhuman agility, able to climb vertical surfaces upside down in a reptilian manner.",
"He can defy gravity to a certain extent and possesses superhuman agility, able to climb vertical surfaces upside down in a reptilian manner. He can travel onto \"unhallowed\" ground, such as the graves of suicides and those of his victims. He has powerful hypnotic, telepathic and illusionary abilities.",
"He has powerful hypnotic, telepathic and illusionary abilities. He also has the ability to \"within limitations\" vanish and reappear elsewhere at will. If he knows the path, he can come out from anything or into anything regardless of how close it is bound or even if it is soldered shut.",
"If he knows the path, he can come out from anything or into anything regardless of how close it is bound or even if it is soldered shut. He has amassed cunning and wisdom throughout centuries, and he is unable to die by the mere passing of time alone.",
"He has amassed cunning and wisdom throughout centuries, and he is unable to die by the mere passing of time alone. He can command animals such as rats, owls, bats, moths, foxes and wolves. However, his control over these animals is limited, as seen when the party first enters his house in London.",
"However, his control over these animals is limited, as seen when the party first enters his house in London. Although Dracula is able to summon thousands of rats to swarm and attack the group, Holmwood summons his trio of terriers to do battle with the rats.",
"Although Dracula is able to summon thousands of rats to swarm and attack the group, Holmwood summons his trio of terriers to do battle with the rats. The dogs prove very efficient rat killers, suggesting they are Manchester Terriers trained for that purpose.",
"The dogs prove very efficient rat killers, suggesting they are Manchester Terriers trained for that purpose. Terrified by the dogs' onslaught, the rats flee, and any control which Dracula had over them is gone.",
"Terrified by the dogs' onslaught, the rats flee, and any control which Dracula had over them is gone. Dracula can also manipulate the weather and, within his range, is able to direct the elements, such as storms, fog and mist.",
"Dracula can also manipulate the weather and, within his range, is able to direct the elements, such as storms, fog and mist. Shapeshifting Dracula can change form at will, able to grow and become small, his featured forms in the novel being that of a bat, a wolf, a large dog and a fog or mist.",
"Shapeshifting Dracula can change form at will, able to grow and become small, his featured forms in the novel being that of a bat, a wolf, a large dog and a fog or mist. When the moonlight is shining, he can travel as elemental dust within its rays.",
"When the moonlight is shining, he can travel as elemental dust within its rays. He is able to pass through tiny cracks or crevices while retaining his human form or in the form of a vapour; described by Van Helsing as the ability to slip through a hairbreadth space of a tomb door or coffin.",
"He is able to pass through tiny cracks or crevices while retaining his human form or in the form of a vapour; described by Van Helsing as the ability to slip through a hairbreadth space of a tomb door or coffin. This is also an ability used by his victim Lucy as a vampire.",
"This is also an ability used by his victim Lucy as a vampire. When the party breaks into her tomb, they open the sealed coffin to find her corpse is no longer located within. Vampirism One of Dracula's powers is the ability to turn others into vampires by biting them.",
"Vampirism One of Dracula's powers is the ability to turn others into vampires by biting them. According to Van Helsing: The vampire bite itself does not cause death. It is the method vampires use to drain blood of the victim and to increase their influence over them.",
"It is the method vampires use to drain blood of the victim and to increase their influence over them. This is described by Van Helsing: Victims who are bitten by a vampire and do not die, are hypnotically influenced by them: Van Helsing later describes the aftermath of a bitten victim when the vampire has been killed: As Dracula slowly drains Lucy's blood, she dies from acute blood loss and later transforms into a vampire, despite the efforts of Seward and Van Helsing to provide her with blood transfusions.",
"This is described by Van Helsing: Victims who are bitten by a vampire and do not die, are hypnotically influenced by them: Van Helsing later describes the aftermath of a bitten victim when the vampire has been killed: As Dracula slowly drains Lucy's blood, she dies from acute blood loss and later transforms into a vampire, despite the efforts of Seward and Van Helsing to provide her with blood transfusions. He is aided by powers of necromancy and divination of the dead, that all who die by his hand may reanimate and do his bidding.",
"He is aided by powers of necromancy and divination of the dead, that all who die by his hand may reanimate and do his bidding. Bloodletting Dracula requires no other sustenance but fresh human blood, which has the effect of rejuvenating him and allowing him to grow younger.",
"Bloodletting Dracula requires no other sustenance but fresh human blood, which has the effect of rejuvenating him and allowing him to grow younger. His power is drawn from the blood of others, and he cannot survive without it.",
"His power is drawn from the blood of others, and he cannot survive without it. Although drinking blood can rejuvenate his youth and strength, it does not give him the ability to regenerate; months after being struck on the head by a shovel, he still bears a scar from the impact.",
"Although drinking blood can rejuvenate his youth and strength, it does not give him the ability to regenerate; months after being struck on the head by a shovel, he still bears a scar from the impact. Dracula's preferred victims are women.",
"Dracula's preferred victims are women. Harker states that he believes Dracula has a state of fasting as well as a state of feeding. Dracula does state to Mina, however, that exerting his abilities causes a desire to feed.",
"Dracula does state to Mina, however, that exerting his abilities causes a desire to feed. Vampire's Baptism of Blood Count Dracula is depicted as the \"King Vampire\", and can control other vampires. To punish Mina and the party for their efforts against him, Dracula bites her on at least three occasions.",
"To punish Mina and the party for their efforts against him, Dracula bites her on at least three occasions. He also forces her to drink his blood; this act curses her with the effects of vampirism and gives him a telepathic link to her thoughts. However, hypnotism was only able to be done before dawn.",
"However, hypnotism was only able to be done before dawn. Van Helsing refers to the act of drinking blood by both the vampire and the victim \"the Vampire's Baptism of Blood\". The effects changes Mina physically and mentally over time.",
"The effects changes Mina physically and mentally over time. A few moments after Dracula attacks her, Van Helsing takes a wafer of sacramental bread and places it on her forehead to bless her; when the bread touches her skin, it burns her and leaves a scar on her forehead.",
"A few moments after Dracula attacks her, Van Helsing takes a wafer of sacramental bread and places it on her forehead to bless her; when the bread touches her skin, it burns her and leaves a scar on her forehead. Her teeth start growing longer but do not grow sharper.",
"Her teeth start growing longer but do not grow sharper. She begins to lose her appetite, feeling repulsed by normal food, begins to sleep more and more during the day; cannot wake unless at sunset and stops writing in her diary.",
"She begins to lose her appetite, feeling repulsed by normal food, begins to sleep more and more during the day; cannot wake unless at sunset and stops writing in her diary. When Van Helsing later crumbles the same bread in a circle around her, she is unable to cross or leave the circle, discovering a new form of protection.",
"When Van Helsing later crumbles the same bread in a circle around her, she is unable to cross or leave the circle, discovering a new form of protection. Dracula's death can release the curse on any living victim of eventual transformation into vampire.",
"Dracula's death can release the curse on any living victim of eventual transformation into vampire. However, Van Helsing reveals that were he to escape, his continued existence would ensure that even if he did not victimize Mina further, she would transform into a vampire upon her eventual natural death.",
"However, Van Helsing reveals that were he to escape, his continued existence would ensure that even if he did not victimize Mina further, she would transform into a vampire upon her eventual natural death. Limitations of his powers Dracula is much less powerful in daylight and is only able to shift his form at dawn, noon, and dusk (he can shift his form freely at night or if he is at his grave).",
"Limitations of his powers Dracula is much less powerful in daylight and is only able to shift his form at dawn, noon, and dusk (he can shift his form freely at night or if he is at his grave). The sun is not fatal to him, as sunlight does not burn and destroy him upon contact, though most of his abilities cease.",
"The sun is not fatal to him, as sunlight does not burn and destroy him upon contact, though most of his abilities cease. Later interpretations of the character, and vampires in general, would amplify this trait into an outright fatal weakness, making it so that even the first rays of sunrise are capable of reducing a vampire to ash.",
"Later interpretations of the character, and vampires in general, would amplify this trait into an outright fatal weakness, making it so that even the first rays of sunrise are capable of reducing a vampire to ash. He is also limited in his ability to travel, as he can only cross running water at low or high tide.",
"He is also limited in his ability to travel, as he can only cross running water at low or high tide. Owing to this, he is unable to fly across a river in the form of a bat or mist or even by himself board a boat or step off a boat onto a dock unless he is physically carried over with assistance.",
"Owing to this, he is unable to fly across a river in the form of a bat or mist or even by himself board a boat or step off a boat onto a dock unless he is physically carried over with assistance. He is also unable to enter a place unless invited to do so by someone of the household, even a visitor; once invited, he can enter and leave the premises at will.",
"He is also unable to enter a place unless invited to do so by someone of the household, even a visitor; once invited, he can enter and leave the premises at will. Weaknesses Thirst Dracula is commonly depicted with a bloodlust which he is seemingly unable to control. Adaptations sometimes call this uncontrollable state 'the thirst'.",
"Adaptations sometimes call this uncontrollable state 'the thirst'. Religious symbolism There are items which afflict him to the point he has no power and can even calm him from his insatiable appetite for blood. He is repulsed by garlic, as well as sacred items and symbols such as crucifixes, and sacramental bread.",
"He is repulsed by garlic, as well as sacred items and symbols such as crucifixes, and sacramental bread. Placing the branch of a wild rose upon the top of his coffin will render him unable to escape it; a sacred bullet fired into the coffin could kill him so that he remain true-dead.",
"Placing the branch of a wild rose upon the top of his coffin will render him unable to escape it; a sacred bullet fired into the coffin could kill him so that he remain true-dead. Mountain Ash is also described as a form of protection from a vampire although the effects are unknown.",
"Mountain Ash is also described as a form of protection from a vampire although the effects are unknown. This was believed to be used as protection against evil spirits and witches during the Victorian era.",
"This was believed to be used as protection against evil spirits and witches during the Victorian era. Death-sleep The state of rest to which vampires are prone during the day is described in the novel as a deathlike sleep in which the vampire sleeps open-eyed, is unable to awaken or move, and also may be unaware of any presence of individuals who may be trespassing.",
"Death-sleep The state of rest to which vampires are prone during the day is described in the novel as a deathlike sleep in which the vampire sleeps open-eyed, is unable to awaken or move, and also may be unaware of any presence of individuals who may be trespassing. Dracula is portrayed as being active in daylight at least once to pursue a victim.",
"Dracula is portrayed as being active in daylight at least once to pursue a victim. Dracula also purchases many properties throughout London 'over the counter' which shows that he does have the ability to have some type of presence in daylight.",
"Dracula also purchases many properties throughout London 'over the counter' which shows that he does have the ability to have some type of presence in daylight. He requires Transylvanian soil to be nearby to him in a foreign land or to be entombed within his coffin within Transylvania in order to successfully rest; otherwise, he will be unable to recover his strength.",
"He requires Transylvanian soil to be nearby to him in a foreign land or to be entombed within his coffin within Transylvania in order to successfully rest; otherwise, he will be unable to recover his strength. This has forced him to transport many boxes of Transylvanian earth to each of his residences in London.",
"This has forced him to transport many boxes of Transylvanian earth to each of his residences in London. He is most powerful when he is within his Earth-Home, Coffin-Home, Hell-Home, or any place unhallowed.",
"He is most powerful when he is within his Earth-Home, Coffin-Home, Hell-Home, or any place unhallowed. Further, if Dracula or any vampire has had their fill in blood upon feeding, they will be caused to rest in this dead state even longer than usual.",
"Further, if Dracula or any vampire has had their fill in blood upon feeding, they will be caused to rest in this dead state even longer than usual. Other abilities While universally feared by the local people of Transylvania and even beyond, Dracula commands the loyalty of Gypsies and a band of Slovaks who transport his boxes on their way to London and to serve as an armed convoy bringing his coffin back to his castle.",
"Other abilities While universally feared by the local people of Transylvania and even beyond, Dracula commands the loyalty of Gypsies and a band of Slovaks who transport his boxes on their way to London and to serve as an armed convoy bringing his coffin back to his castle. The Slovaks and Gypsies appear to know his true nature, for they laugh at Harker when he tries to communicate his plight, and betray Harker's attempt to send a letter through them by giving it to the Count.",
"The Slovaks and Gypsies appear to know his true nature, for they laugh at Harker when he tries to communicate his plight, and betray Harker's attempt to send a letter through them by giving it to the Count. Dracula seems to be able to hold influence over people with mental disorders, such as Renfield, who is never bitten but who worships Dracula, referring to him over the course of the novel as \"Master\" and \"Lord\".",
"Dracula seems to be able to hold influence over people with mental disorders, such as Renfield, who is never bitten but who worships Dracula, referring to him over the course of the novel as \"Master\" and \"Lord\". Dracula also afflicts Lucy with chronic sleepwalking, putting her into a trance-like state that allows them not only to submit to his will but also seek him and satisfy his need to feed.",
"Dracula also afflicts Lucy with chronic sleepwalking, putting her into a trance-like state that allows them not only to submit to his will but also seek him and satisfy his need to feed. Dracula's powers and weaknesses vary greatly in the many adaptations. Previous and subsequent vampires from different legends have had similar vampire characteristics.",
"Previous and subsequent vampires from different legends have had similar vampire characteristics. Character development subsequent to the novel Dracula has been portrayed by more actors in more visual media adaptations of the novel than any other horror character.",
"Character development subsequent to the novel Dracula has been portrayed by more actors in more visual media adaptations of the novel than any other horror character. Actors who have played him include Max Schreck, Bela Lugosi, John Carradine, Lon Chaney Jr., Christopher Lee, Francis Lederer, Denholm Elliott, Jack Palance, Louis Jourdan, Rudolf Martin, Frank Langella, Klaus Kinski, Gary Oldman, Leslie Nielsen, George Hamilton, David Niven, Charles Macaulay, Keith-Lee Castle, Gerard Butler, Duncan Regehr, Richard Roxburgh, Marc Warren, Rutger Hauer, Stephen Billington, Thomas Kretschmann, Dominic Purcell, Luke Evans and Claes Bang.",
"Actors who have played him include Max Schreck, Bela Lugosi, John Carradine, Lon Chaney Jr., Christopher Lee, Francis Lederer, Denholm Elliott, Jack Palance, Louis Jourdan, Rudolf Martin, Frank Langella, Klaus Kinski, Gary Oldman, Leslie Nielsen, George Hamilton, David Niven, Charles Macaulay, Keith-Lee Castle, Gerard Butler, Duncan Regehr, Richard Roxburgh, Marc Warren, Rutger Hauer, Stephen Billington, Thomas Kretschmann, Dominic Purcell, Luke Evans and Claes Bang. In 2003, Count Dracula, as portrayed by Lugosi in the 1931 film, was named as the 33rd greatest movie villain by the AFI.",
"In 2003, Count Dracula, as portrayed by Lugosi in the 1931 film, was named as the 33rd greatest movie villain by the AFI. In 2013, Empire magazine ranked Lee's portrayal as Dracula the 7th Greatest Horror Movie Character of All Time.",
"In 2013, Empire magazine ranked Lee's portrayal as Dracula the 7th Greatest Horror Movie Character of All Time. The character is closely associated with the western cultural archetype of the vampire, and remains a popular Halloween costume. Count Dracula appears in Mad Monster Party? voiced by Allen Swift.",
"voiced by Allen Swift. voiced by Allen Swift. This version is shown to be wearing a monocle. Count Dracula is among the monsters that Baron Boris von Frankenstein invites to the Isle of Evil to show off the secret of total destruction and announce his retirement from the Worldwide Organization of Monsters.",
"Count Dracula is among the monsters that Baron Boris von Frankenstein invites to the Isle of Evil to show off the secret of total destruction and announce his retirement from the Worldwide Organization of Monsters. Sesame Street character Count von Count is based on Bela Lugosi's interpretation of Count Dracula and Jack Davis' design for Dracula from Mad Monster Party?.",
"Sesame Street character Count von Count is based on Bela Lugosi's interpretation of Count Dracula and Jack Davis' design for Dracula from Mad Monster Party?. Count Dracula appears in Mad Mad Mad Monsters (a \"prequel of sorts\" to Mad Monster Party?) voiced again by Allen Swift.",
"voiced again by Allen Swift. voiced again by Allen Swift. He and his son are invited by Baron Henry von Frankenstein to attend the wedding of Frankenstein's monster and its mate at the Transylvania Astoria Hotel. Dracula is the primary antagonist of the Castlevania video game series and the main protagonist of the Lords of Shadow reboot series.",
"Dracula is the primary antagonist of the Castlevania video game series and the main protagonist of the Lords of Shadow reboot series. Count Dracula appears in the Attack of the Killer Tomatoes episode \"Spatula, Prinze of Dorkness\", voiced by S. Scott Bullock.",
"Count Dracula appears in the Attack of the Killer Tomatoes episode \"Spatula, Prinze of Dorkness\", voiced by S. Scott Bullock. He relates a tale of how he once gave Dr. Putrid T. Gangreen a serum to transform tomatoes into vampire tomatoes.",
"He relates a tale of how he once gave Dr. Putrid T. Gangreen a serum to transform tomatoes into vampire tomatoes. Though the Doctor refused, Zoltan overheard their conversation and, mistaking the word serum for syrup, ingests the serum himself and renaming himself \"Spatula, Prinze of Dorkness\" who can turn people into vampires by kissing them in the neck (a stipulation that the Censor Lady put into place in fear of showing the biting and bloodshed associated with vampires on a Saturday morning cartoon).",
"Though the Doctor refused, Zoltan overheard their conversation and, mistaking the word serum for syrup, ingests the serum himself and renaming himself \"Spatula, Prinze of Dorkness\" who can turn people into vampires by kissing them in the neck (a stipulation that the Censor Lady put into place in fear of showing the biting and bloodshed associated with vampires on a Saturday morning cartoon). This spread to the other tomatoes and the entire town.",
"This spread to the other tomatoes and the entire town. When the sun came up and disabled the vampires, Count Dracula in sunblock appears and deemed that the town is not worthy to be vampires. He then gives Chad Finletter the antidote to the vampirism and advises that the tomatoes be squashed immediately.",
"He then gives Chad Finletter the antidote to the vampirism and advises that the tomatoes be squashed immediately. Dracula appears as the lead character of Dracula the Un-dead, a novel by Stoker's great-grand nephew Dacre presented as a sequel to the original.",
"Dracula appears as the lead character of Dracula the Un-dead, a novel by Stoker's great-grand nephew Dacre presented as a sequel to the original. In the Supernatural episode \"Monster Monster\", a shapeshifter that Sam and Dean Winchester fight considers his form of Count Dracula (portrayed by Todd Stashwick) his favourite form.",
"In the Supernatural episode \"Monster Monster\", a shapeshifter that Sam and Dean Winchester fight considers his form of Count Dracula (portrayed by Todd Stashwick) his favourite form. It is in this form that Jamie killed him with Sam's gun loaded with silver bullets.",
"It is in this form that Jamie killed him with Sam's gun loaded with silver bullets. Count Dracula is the main character of the Hotel Transylvania franchise, voiced by Adam Sandler in the first three movies and by Brian Hull in the fourth movie.",
"Count Dracula is the main character of the Hotel Transylvania franchise, voiced by Adam Sandler in the first three movies and by Brian Hull in the fourth movie. Dracula, going by an inversion of his name, \"Alucard,\" serves as the main character of the anime and manga series Hellsing and Hellsing Ultimate where he serves Integra Hellsing, Abraham's great-granddaughter, as an anti-vampire warrior devoted to the British Crown.",
"Dracula, going by an inversion of his name, \"Alucard,\" serves as the main character of the anime and manga series Hellsing and Hellsing Ultimate where he serves Integra Hellsing, Abraham's great-granddaughter, as an anti-vampire warrior devoted to the British Crown. Dracula is the primary antagonist of the Showtime series Penny Dreadful, portrayed by Christian Camargo.",
"Dracula is the primary antagonist of the Showtime series Penny Dreadful, portrayed by Christian Camargo. This version of the character is the brother of Lucifer and, thus, a fallen angel.",
"This version of the character is the brother of Lucifer and, thus, a fallen angel. Modern and postmodern analyses of the character Already in 1958, Cecil Kirtly proposed that Count Dracula shared his personal past with the historical Transylvanian-born Voivode Vlad III Dracula of Wallachia, also known as Vlad the Impaler or Vlad Țepeș.",
"Modern and postmodern analyses of the character Already in 1958, Cecil Kirtly proposed that Count Dracula shared his personal past with the historical Transylvanian-born Voivode Vlad III Dracula of Wallachia, also known as Vlad the Impaler or Vlad Țepeș. Following the publication of In Search of Dracula by Radu Florescu and Raymond McNally in 1972, this supposed connection attracted much popular attention.",
"Following the publication of In Search of Dracula by Radu Florescu and Raymond McNally in 1972, this supposed connection attracted much popular attention. This work argued that Bram Stoker based his Dracula on Vlad the Impaler.",
"This work argued that Bram Stoker based his Dracula on Vlad the Impaler. Historically, the name \"Dracula\" is the family name of Vlad Țepeș' family, a name derived from a fraternal order of knights called the Order of the Dragon, founded by Sigismund of Luxembourg (king of Hungary and Bohemia, and Holy Roman Emperor) to uphold Christianity and defend the Empire against the Ottoman Turks.",
"Historically, the name \"Dracula\" is the family name of Vlad Țepeș' family, a name derived from a fraternal order of knights called the Order of the Dragon, founded by Sigismund of Luxembourg (king of Hungary and Bohemia, and Holy Roman Emperor) to uphold Christianity and defend the Empire against the Ottoman Turks. Vlad II Dracul, father of Vlad III, was admitted to the order around 1431 because of his bravery in fighting the Turks and was dubbed Dracul (dragon or devil) thus his son became Dracula (son of the dragon).",
"Vlad II Dracul, father of Vlad III, was admitted to the order around 1431 because of his bravery in fighting the Turks and was dubbed Dracul (dragon or devil) thus his son became Dracula (son of the dragon). From 1431 onward, Vlad II wore the emblem of the order and later, as ruler of Wallachia, his coinage bore the dragon symbol.",
"From 1431 onward, Vlad II wore the emblem of the order and later, as ruler of Wallachia, his coinage bore the dragon symbol. Stoker came across the name Dracula in his reading on Romanian history, and chose this to replace the name (Count Wampyr) that he had originally intended to use for his villain.",
"Stoker came across the name Dracula in his reading on Romanian history, and chose this to replace the name (Count Wampyr) that he had originally intended to use for his villain. However, some Dracula scholars, led by Elizabeth Miller, have questioned the depth of this connection as early as 1998.",
"However, some Dracula scholars, led by Elizabeth Miller, have questioned the depth of this connection as early as 1998. They argue that Stoker in fact knew little of the historic Vlad III, Vlad the Impaler, and that he used only the name \"Dracula\" and some miscellaneous scraps of Romanian history.",
"They argue that Stoker in fact knew little of the historic Vlad III, Vlad the Impaler, and that he used only the name \"Dracula\" and some miscellaneous scraps of Romanian history. Also, there are no comments about Vlad III in the author's working notes.",
"Also, there are no comments about Vlad III in the author's working notes. While having a conversation with Jonathan Harker in Chapter 3, Dracula refers to his own background, and these speeches show elements which Stoker directly copied from An Account of the Principalities of Wallachia and Moldavia: With Various Political Observations Relating to Them by William Wilkinson.",
"While having a conversation with Jonathan Harker in Chapter 3, Dracula refers to his own background, and these speeches show elements which Stoker directly copied from An Account of the Principalities of Wallachia and Moldavia: With Various Political Observations Relating to Them by William Wilkinson. Stoker mentions the Voivode of the Dracula race who fought against the Turks after the defeat in the Battle of Kosovo, and was later betrayed by his brother, historical facts which unequivocally point to Vlad III, described as \"Voïvode Dracula\" by Wilkinson: The Count's intended identity is later commented by Professor Van Helsing, referring to a letter from his friend Arminius: This indeed encourages the reader to identify the Count with the Voivode Dracula first mentioned by him in Chapter 3, the one betrayed by his brother: Vlad III Dracula, betrayed by his brother Radu the Handsome, who had chosen the side of the Turks.",
"Stoker mentions the Voivode of the Dracula race who fought against the Turks after the defeat in the Battle of Kosovo, and was later betrayed by his brother, historical facts which unequivocally point to Vlad III, described as \"Voïvode Dracula\" by Wilkinson: The Count's intended identity is later commented by Professor Van Helsing, referring to a letter from his friend Arminius: This indeed encourages the reader to identify the Count with the Voivode Dracula first mentioned by him in Chapter 3, the one betrayed by his brother: Vlad III Dracula, betrayed by his brother Radu the Handsome, who had chosen the side of the Turks. But as noted by the Dutch author Hans Corneel de Roos, in Chapter 25, Van Helsing and Mina drop this rudimentary connection to Vlad III and instead describe the Count's personal past as that of \"that other of his race\" who lived \"in a later age\".",
"But as noted by the Dutch author Hans Corneel de Roos, in Chapter 25, Van Helsing and Mina drop this rudimentary connection to Vlad III and instead describe the Count's personal past as that of \"that other of his race\" who lived \"in a later age\". By smoothly exchanging Vlad III for a nameless double, Stoker avoided his main character being unambiguously linked to a historical person traceable in any history book.",
"By smoothly exchanging Vlad III for a nameless double, Stoker avoided his main character being unambiguously linked to a historical person traceable in any history book. Similarly, the novelist did not want to disclose the precise site of the Count's residence, Castle Dracula.",
"Similarly, the novelist did not want to disclose the precise site of the Count's residence, Castle Dracula. As confirmed by Stoker's own handwritten research notes, the novelist had a specific location for the Castle in mind while writing the narrative: an empty mountain top in the Transylvanian Kelemen alps near the former border with Moldavia.",
"As confirmed by Stoker's own handwritten research notes, the novelist had a specific location for the Castle in mind while writing the narrative: an empty mountain top in the Transylvanian Kelemen alps near the former border with Moldavia. Efforts to promote the Poenari Castle (ca.",
"Efforts to promote the Poenari Castle (ca. 200 km away from the novel's place of action near the Borgo Pass) as the \"real Castle Dracula\" have no basis in Stoker's writing; although it bears much similarity to the fictional Castle Dracula, no written evidence shows Stoker to have heard of it.",
"200 km away from the novel's place of action near the Borgo Pass) as the \"real Castle Dracula\" have no basis in Stoker's writing; although it bears much similarity to the fictional Castle Dracula, no written evidence shows Stoker to have heard of it. Regarding the Bran Castle near Brașov, Stoker possibly saw an illustration of Castle Bran (Törzburg) in Charles Boner's 1865 book on Transylvania, Transylvania: Its Products and Its People.",
"Regarding the Bran Castle near Brașov, Stoker possibly saw an illustration of Castle Bran (Törzburg) in Charles Boner's 1865 book on Transylvania, Transylvania: Its Products and Its People. Although Stoker may have been inspired by its romantic appearance, neither Boner, nor Mazuchelli nor Crosse (who also mention Terzburg or Törzburg) associate it with Vlad III; for the site of his fictitious Castle Dracula, Stoker preferred an empty mountain top.",
"Although Stoker may have been inspired by its romantic appearance, neither Boner, nor Mazuchelli nor Crosse (who also mention Terzburg or Törzburg) associate it with Vlad III; for the site of his fictitious Castle Dracula, Stoker preferred an empty mountain top. Furthermore, Stoker's detailed notes reveal that the novelist was very well aware of the ethnic and geo-political differences between the \"Roumanians\" or \"Wallachs\"/\"Wallachians\", descendants of the Dacians, and the Székelys or Szeklers, allies of the Magyars or Hungarians, whose interests were opposed to that of the Wallachians.",
"Furthermore, Stoker's detailed notes reveal that the novelist was very well aware of the ethnic and geo-political differences between the \"Roumanians\" or \"Wallachs\"/\"Wallachians\", descendants of the Dacians, and the Székelys or Szeklers, allies of the Magyars or Hungarians, whose interests were opposed to that of the Wallachians. In the novel's original typewritten manuscript, the Count speaks of throwing off the \"Austrian yoke\", which corresponds to the Szekler political point of view.",
"In the novel's original typewritten manuscript, the Count speaks of throwing off the \"Austrian yoke\", which corresponds to the Szekler political point of view. This expression is crossed out, however, and replaced by \"Hungarian yoke\" (as appearing in the printed version), which matches the historical perspective of the Wallachians.",
"This expression is crossed out, however, and replaced by \"Hungarian yoke\" (as appearing in the printed version), which matches the historical perspective of the Wallachians. This has been interpreted by some to mean that Stoker opted for the Wallachian, not the Szekler interpretation, thus lending more consistency to the Romanian identity of his Count: although not identical with Vlad III, the Vampire is portrayed as one of the \"Dracula race\".",
"This has been interpreted by some to mean that Stoker opted for the Wallachian, not the Szekler interpretation, thus lending more consistency to the Romanian identity of his Count: although not identical with Vlad III, the Vampire is portrayed as one of the \"Dracula race\". However, despite this, Stoker chose the Count to have revealed himself to be a Székely, and not a Wallachian nobleman (the region where the real \"Draculas\" ruled over).",
"However, despite this, Stoker chose the Count to have revealed himself to be a Székely, and not a Wallachian nobleman (the region where the real \"Draculas\" ruled over). Screen portrayals See also Elizabeth Báthory Carmilla Clinical vampirism List of fictional vampires List of horror film antagonists References Bibliography Clive Leatherdale (1985) Dracula: the Novel and the Legend.",
"Screen portrayals See also Elizabeth Báthory Carmilla Clinical vampirism List of fictional vampires List of horror film antagonists References Bibliography Clive Leatherdale (1985) Dracula: the Novel and the Legend. Desert Island Books. Bram Stoker (1897) Dracula. Norton Critical Edition (1997) edited by Nina Auerbach and David J. Skal. Senf, Carol.",
"Senf, Carol. Senf, Carol. Dracula: Between Tradition and Modernism (Twayne, 1998). Senf, Carol A. Bram Stoker. University of Wales Press, 2010. External links Bram Stoker Online Full text, PDF and audio versions of Dracula.",
"External links Bram Stoker Online Full text, PDF and audio versions of Dracula. Vlad the Impaler Literary characters introduced in 1897 Fictional characters with immortality Fictional characters with superhuman strength Fictional characters with weather abilities Fictional counts and countesses Fictional Hungarian people Fictional characters based on real people Fictional hypnotists and indoctrinators Fictional therianthropes Fictional telepaths Fictional vampires Male characters in literature Male characters in film Male characters in television Male horror film villains Male literary villains Supervillains with their own comic book titles Mythopoeia"
] |
[
"Anton Rubinstein",
"Programs"
] | C_abfaf1bc5d7a4878916e69b3dc8922b2_0 | What programs was he apart of? | 1 | What programs was Anton Rubinstein a part of? | Anton Rubinstein | Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note. Rubinstein was most famous for his series of historical recitals--seven consecutive concerts covering the history of piano music. Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert. Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873. Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge. CANNOTANSWER | Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, | Anton Grigoryevich Rubinstein (; ) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein, who founded the Moscow Conservatory.
As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals—seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.
Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life. He wrote 20 operas, the best known of which is The Demon. He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble.
Early life and education
Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa. Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy. Although he was raised as a Christian, Rubinstein would later become an atheist.
Rubinstein's father opened a pencil factory in Moscow. His mother, a competent musician, began giving him piano lessons at five, until the teacher heard and accepted Rubinstein as a non-paying student. Rubinstein made his first public appearance at a charity benefit concert at the age of nine. Later that year Rubinstein's mother sent him, accompanied by Villoing, to Paris where he sought unsuccessfully to enroll at the Paris Conservatoire.
Rubinstein and Villoing remained in Paris for a year. In December 1840, Rubinstein played in the Salle Érard for an audience that included Frédéric Chopin and Franz Liszt. Chopin invited Rubinstein to his studio and played for him. Liszt advised Villoing to take him to Germany to study composition; however, Villoing took Rubinstein on an extended concert tour of Europe and Western Russia. They finally returned to Moscow in June 1843. Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace. Anton was 14 years old; Nikolai was eight.
Travel and performance
Berlin
In spring 1844, Rubinstein, Nikolai, his mother and his sister Luba travelled to Berlin. Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer.
Mendelssohn, who had heard Rubinstein when he had toured with Villoing, said he needed no further piano study but sent Nikolai to Theodor Kullak for instruction. Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory.
Word came in the summer of 1846 that Rubinstein's father was gravely ill. Rubinstein was left in Berlin while his mother, sister and brother returned to Russia. At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest. Now 17, he knew he could no longer pass as a child prodigy. He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil. However, after Rubinstein had played his audition, Liszt is reported to have said, "A talented man must win the goal of his ambition by his own unassisted efforts." At this point, Rubinstein was living in acute poverty. Liszt did nothing to help him. Other calls Rubinstein made to potential patrons came to no avail. After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons.
Back to Russia
The Revolution of 1848 forced Rubinstein back to Russia. Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court. The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness. By 1852, he had become a leading figure in Saint Petersburg's musical life, performing as a soloist and collaborating with some of the outstanding instrumentalists and vocalists who came to the Russian capital.
He also composed assiduously. After a number of delays, including some difficulties with the censor, Rubinstein's first opera, Dmitry Donskoy (now lost except for the overture), was performed at the Bolshoy Theater in Saint Petersburg in 1852. Three one-act operas written for Elena Pavlovna followed. He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works. It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist.
Abroad once more
In 1854, Rubinstein began a four-year concert tour of Europe. This was his first major concert tour in a decade. Now 24, he felt ready to offer himself to the public as a fully developed pianist as well as a composer of worth. He very shortly reestablished his reputation as a virtuoso. Ignaz Moscheles wrote in 1855 what would become a widespread opinion about Rubinstein: "In power and execution he is inferior to no one."
As was the penchant at the time, much of what Rubinstein played were his own compositions. At several concerts, Rubinstein alternated between conducting his orchestral works and playing as soloist in one of his piano concertos. One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854. Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later.
Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice. Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859.
Opening the St. Petersburg Conservatory
The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862. Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty.
Some in Russian society were surprised that a Russian music school would actually attempt to be Russian. One "fashionable lady", when told by Rubinstein that classes would be taught in Russian and not a foreign language, exclaimed, "What, music in Russian! That is an original idea!" Rubinstein adds, And surely it was surprising that the theory of Music was to be taught for the first time in the Russian language at our Conservatory... Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany.
There were also those who feared the school would not be Russian enough. Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five. Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world. Actually the Conservatory raise the level of musical culture in Russia. The unconventional way chosen by Balakirev and his friends was not necessarily the right one for everybody else.
It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871. Between these two works are the orchestral works Don Quixote, which Tchaikovsky found "interesting and well done," though "episodic," and the opera Ivan IV Grozniy, which was premiered by Balakirev. Borodin commented on Ivan IV that "the music is good, you just cannot recognize that it is Rubinstein. There is nothing that is Mendelssohnian, nothing as he used to write formerly."
The American tour
By 1867, ongoing tensions with the Balakirev camp, along with related matters, led to intense dissension within the Conservatory's faculty. Rubinstein resigned and returned to touring throughout Europe. Unlike his previous tours, he began increasingly featuring the works of other composers. In previous tours, Rubinstein had played primarily his own works.
At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season. Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid. Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities.
Rubinstein wrote of his American experience, May Heaven preserve us from such slavery! Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost... The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art. So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank...
Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life. Upon his return to Russia, he "hastened to invest in real estate", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family.
Later life
Rubinstein continued to make tours as a pianist and give appearances as a conductor. In 1887, he returned to the Saint Petersburg Conservatory with the goal of improving overall standards. He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum. He led semi-weekly teachers' classes through the whole keyboard literature and gave some of the more gifted piano students personal coaching. During the 1889–90 academic year he gave weekly lecture-recitals for the students. He resigned again—and left Russia—in 1891 over Imperial demands that Conservatory admittance, and later annual prizes to students, be awarded along ethnic quotas instead of purely by merit. These quotas were designed to effectively disadvantage Jews. Rubinstein resettled in Dresden and started giving concerts again in Germany and Austria. Nearly all of these concerts were charity benefit events.
Rubinstein also coached a few pianists and taught his only private piano student, Josef Hofmann. Hofmann would become one of the finest keyboard artists of the 20th century.
Despite his sentiments on ethnic politics in Russia, Rubinstein returned there occasionally to visit friends and family. He gave his final concert in Saint Petersburg on 14 January 1894. With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894. He died there on 20 November of that year, having suffered from heart disease for some time.
The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him.
Pianism
"Van II"
Many contemporaries felt he bore a striking resemblance to Ludwig van Beethoven. Ignaz Moscheles, who had known Beethoven intimately, wrote, "Rubinstein's features and short, irrepressible hair remind me of Beethoven." Liszt referred to Rubinstein as "Van II." This resemblance was also felt to be in Rubinstein's keyboard playing. Under his hands, it was said, the piano erupted volcanically. Audience members wrote of going home limp after one of his recitals, knowing they had witnessed a force of nature.
Sometimes Rubinstein's playing was too much for listeners to handle. American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein "has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much. Give me Rubinstein for a few pieces, but Tausig for a whole evening." She heard Rubinstein play "a terrific piece by Schubert," reportedly the Wanderer Fantasie. The performance gave her such a violent headache that the rest of the recital was ruined for her.
Clara Schumann proved especially vehement. After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that "he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them." Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau. She noted in her diary, "I was furious, for he no longer plays. Either there is a perfectly wild noise or else a whisper with the soft pedal down. And a would-be cultured audience puts up with a performance like that!"
On the other hand, when Rubinstein played Beethoven's "Archduke" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls:
It was the first time I had heard this great artist play. He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme... It seemed to me I had never before heard the piano really played. The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ...
Violinist and composer Henri Vieuxtemps adds:
His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten. I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op. 57 [Appassionata], which Rubinstein executed for us with unimagined mastery.
Viennese music critic Eduard Hanslick expressed what Schonberg calls "the majority point of view" in an 1884 review. After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners. Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness. "Yes, he plays like a god", Hanslick writes in closing, "and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull".
Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm. His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall. In playing, Rubinstein created, and he created inimitably and with genius. He often treated the same program absolutely differently when he played it the second time, but, more astoundingly still, everything came out wonderfully on both occasions.
Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled. Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song. He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable. It was superb."
Technique
Villoing had worked with Rubinstein on hand position and finger dexterity. From watching Liszt, Rubinstein had learned about freedom of arm movement. Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing. He would remark to his students about "what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses."
In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that "of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself." When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through. Rubinstein himself admitted, after a concert in Berlin in 1875, "If I could gather up all the notes that I let fall under the piano, I could give a second concert with them."
Part of the problem might have been the sheer size of Rubinstein's hands. They were huge, and many observers commented on them. Josef Hofmann observed that Rubinstein's fifth finger "was as thick as my thumb—think of it! Then his fingers were square at the ends, with cushions on them. It was a wonderful hand." Pianist Josef Lhévinne described them as "fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once." The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: "Nothing cramped about him! He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!"
Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness. Those who valued interpretation as much or more than pure technique found much to praise. Pianist and conductor Hans von Bülow called Rubinstein "the Michelangelo of music." The German critic Ludwig Rellstab called him "the Hercules of the piano; the Jupiter Tonans of the instrument."
Tone
Pressman attested to the singing quality of Rubinstein's playing, and much more: "His tone was strikingly full and deep. With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres. With him, the piano sang as Patti sang, as Rubini sang."
Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists. Fellow pianist Rafael Joseffy compared it to "a golden French horn." Rubinstein himself told an interviewer, "Strength with lightness, that is one secret of my touch... I have sat hours trying to imitate the timbre of Rubini's voice in my playing."
Rubinstein told the young Rachmaninoff how he achieved that tone. "Just press upon the keys until the blood oozes from your fingertips". When he wanted to, Rubinstein could play with extreme lightness, grace and delicacy. He rarely displayed that side of his nature, however. He had learned quickly that audiences came to hear him thunder, so he accommodated them. Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before. During this tour, Rubinstein received more press attention than any other figure until the appearance of Ignacy Jan Paderewski a generation later.
Programs
Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note.
Rubinstein was most famous for his series of historical recitals—seven consecutive concerts covering the history of piano music. Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert.
Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873.
Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge.
Rachmaninoff on Rubinstein
Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student. Forty-four years later he told his biographer Oscar von Riesemann, "[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist."
Rachmaninoff explained to von Riesemann, "It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world."
Rachmaninoff's detailed description to von Riesemann is of interest:
Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished. One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone... I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the "fluttering away of the little bird" would be hopelessly inadequate. Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner. One of Rubinstein's greatest secrets was his use of the pedal. He himself very happily expressed his ideas on the subject when he said, "The pedal is the soul of the piano." No pianist should ever forget this.
Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's "Funeral March" Sonata—both became cornerstones of Rachmaninoff's own recital programs. Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work.
Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later. In Rubinstein's defense, however, Rachmaninoff said that "for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes."
Conducting
Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867. He also did his share of guest conducting both before and after his tenure with the RMS. Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences.
Teacher
As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work. He could also be exacting and expected as much from them as he gave to them. According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference. This assignment would be due the following day. At other times, he would expect students to improvise a minuet, a rondo, a polonaise or some other musical form.
Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead. He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano. Notable students include pianists Josef Hofmann and Sandra Drouker.
Composition
By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, "but as a composer performing his symphonies, concertos, operas, trios, etc." Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote). Edward Garden writes in the New Grove,
Rubinstein composed assiduously during all periods of his life. He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved.
Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn. Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music. Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching. Robert Schumann and Felix Mendelssohn were the strongest influences on Rubinstein's music.
Consequently, Rubinstein's music demonstrates none of the nationalism of The Five. Rubinstein also had a tendency to rush in composing his pieces, resulting in good ideas such as those in his Ocean Symphony being developed in less-than-exemplary ways. As Paderewski was later to remark, "He had not the necessary concentration of patience for a composer... He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces." Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ... The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s.
After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire. Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev.
Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism. Amongst his better known works are the opera The Demon, his Piano Concerto No. 4, and his Symphony No. 2, known as The Ocean.
Rubinstein's repartee
Rubinstein was as well known during his lifetime for his sarcasm as well as his sometimes penetrating insight. During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him. After a long silence, Rubinstein told Cortot, "My boy, don't you ever forget what I am going to tell you. Beethoven's music must not be studied. It must be reincarnated." Cortot reportedly never forgot those words.
Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase. His manner with them was a combination of raw, sometimes violent criticism and good humor. Hofmann wrote of one such lesson:
Once I played a Liszt rhapsody pretty badly. After a little of it, Rubinstein said, "The way you play this piece would be all right for Auntie or Mamma." Then rising and coming toward me, he said, "Now let us see how play such things."
... I began again, but I had not played more than a few measures when Rubinstein said loudly, "Have you begun?" "Yes, Master, I certainly have." "Oh," said Rubinstein vaguely, "I didn't notice." ... Rubinstein did not so much instruct me. Merely he let me learn from him ... If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do.
Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts. When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, "When you are as old as I am, you may do as I do." Then Rubinstein added, "If you can".
Nor did Rubinstein adjust the tenor of his comments for those of high rank. After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility. At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift. Rubinstein replied bluntly, to the crowd's horror, "Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?"
Rubinstein's voice
The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison. Rubinstein is heard to make a complimentary remark about the phonograph recorder.
References
Sources
In Russian
(2 vol.)
In German
(3 vol.)
In English
(29 vols.)
Further reading
Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995)
Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997)
Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991)
Rubinstein, Anton Grigorevich, ed. L. Barenboim, Literaturnoye Naslediye (3 vol.), (in Russian), (Moscow, 1983)
External links
Networking Rubinstein – his contacts in his early career
Soundbites from String Quartet No.1 in G, Op.17 No.1
Anton Rubinstein recordings at the Discography of American Historical Recordings.
1829 births
1894 deaths
19th-century classical composers
19th-century classical pianists
19th-century conductors (music)
19th-century male conductors (music)
Burials at Tikhvin Cemetery
Composers for piano
Converts to Eastern Orthodoxy from Judaism
Founders of Russian educational institutions
Jewish atheists
Jewish classical composers
Jewish classical pianists
Jewish opera composers
Male classical pianists
Male opera composers
People from Baltsky Uyezd
People from Rîbnița District
Pupils of Siegfried Dehn
Pyotr Ilyich Tchaikovsky
Recipients of the Pour le Mérite (civil class)
Royal Philharmonic Society Gold Medallists
Russian atheists
Russian classical pianists
Russian conductors (music)
Russian male conductors (music)
Russian Jews
Russian male classical composers
Russian music educators
Russian opera composers
Russian Romantic composers | true | [
"The Yamagata International Documentary Film Festival is a documentary film festival held biennially in Yamagata, Japan ( ).\n\nIt was first held in October 1989, which makes it one of the longest running documentary film festivals in the world and the most distinguished such festival in Asia. Its emphasis is on showcasing best achievements in documentary filmmaking, as well as promoting and popularizing the genre and documentary filmmaking in the region.\n\nThe festival was most recently held in October 2007. 1,633 films from 109 countries were submitted, with 238 films screened as part of the international and regional competitions. The festival attracted an audience of around 23,000 people. Since 2001, the competition includes films shot in DV. In 1991, a Young Asian Talents section was established.\n\nAwards\nA number of prizes are awarded at the festival, including:\n For films in the international competition:\n Robert and Frances Flaherty Prize (The Grand Prize)\n Mayor's Prize (Prize of Excellence)\n Special Jury Prize\n Runner-up Prize\n For films in the regional competition:\nShinsuke Ogawa Award, for new up-and-coming Asian filmmakers\n Overall:\nCitizens' Prize, voted for by the festival audiences\n\nAward winners\n\n1989 YIDFF\n\nThe first festival edition was held 10–15 October 1989. \nAlong with the competition screenings, the festival hosted a retrospective of films by Robert and Frances Flaherty and a comprehensive screening of Japanese documentaries from the first half of the 20th century. In total, 80 films were seen by an audience of around 12,000.\n\n1991 YIDFF\n\nThe second festival edition was held 7–13 October 1991. \nAlong with the competition screenings, the festival hosted a program devoted solely to Asian films, as well as a selection of Japanese films from the post-WWII period. In total, 153 films were shown, which attracted an audience of around 14,000.\n\n1993 YIDFF\n\nThe third festival edition was held 5–11 October 1993. \nAlong with the competition screenings, the festival hosted a selection of Asian films, as well as a selection of films focusing on native peoples from North and South America, New Zealand, Australia and Japan. The Shinsuke Ogawa Award for most promising Asian film director in the New Asian Currents program was introduced. In total, 139 films were shown. As an illustrative example, one of the official selections, Le pays des sourds (In the Land of the Deaf) focused primarily on Deaf communities in France; but the documentary also featured a brief segment identifying commonalities in French Sign Language and Japanese Sign Language. The event attracted an audience of around 20,000 people.\n\n1995 YIDFF\n\nThe fourth festival edition was held 3–9 October 1995. \nAlong with the competition screenings, the festival hosted a retrospective of films from the early days of cinema in honor of the Lumière brothers' cinematograph centennial. In total, 278 films were shown, which attracted an audience of around 21,000 people.\n\n1997 YIDFF\n\nThe fifth festival edition was held 6–13 October 1997. \nIn all competitions and programs 187 films were shown, and attendance was around 23,000.\n\n1999 YIDFF\n\nThe sixth festival edition was held 19–25 October 1999.\nApart from the usual international and regional competition programs, a retrospective of films by Joris Ivens was shown. \nIn total 188 films were shown, and attendance was around 20,000.\n\n2001 YIDFF\n\nThe seventh festival edition was held 3–9 October 2001.\nApart from the usual international and regional competition programs, retrospectives of films by Robert Kramer and Fumio Kamei were shown. \nIn total 183 films were shown, and attendance was around 18,000.\n\n2003 YIDFF\n\nThe eighth festival edition was held 10–16 October 2003.\nIn total 177 films were shown, and attendance was around 19,000.\n\n2005 YIDFF\n\nThe ninth festival edition was held 7–13 October 2005. Apart from the usual regional and international competition programs, the festival screened a selection of films about Zainichi Koreans, as well as screenings of personal documentaries in collaboration with Visions du réel. \nIn total 145 films were shown, and attendance was around 20,000.\n\n2007 YIDFF\n\nThe tenth festival edition was held 4–11 October 2007. Apart from the usual regional and international competition programs, the festival also screened a program devoted to German documentaries focused on German history. In total 238 films were shown, and attendance was around 23,000.\n\n2009 YIDFF \nOctober 8–15, 2009\n\n2011 YIDFF \nOctober 6–13, 2011\n\n2013 YIDFF \nOctober 10–17, 2013\n\n2015 YIDFF \nOctober 8–15, 2015\n\n2017 YIDFF\nOctober 5–12, 2017\n\nReferences\n\nExternal links\nYamagata IDFF official website\n\nJapanese film awards\nYamagata IDFF\nTourist attractions in Yamagata Prefecture\nFilm festivals established in 1989",
"Six Apart Ltd., sometimes abbreviated 6A, is a software company known for creating the Movable Type blogware, TypePad blog hosting service, and Vox (the blogging platform). The company also is the former owner of LiveJournal. Six Apart is headquartered in Tokyo. The name is a reference to the six-day age difference between its married co-founders, Ben and Mena Trott.\n\nHistory\nThe company was founded in September 2001 after Ben, during a period of unemployment, wrote what became Movable Type to allow Mena to easily produce her weblog. When version 1.0 was put on the web, it was downloaded over 100 times in the first hour.\n\n2003–2006\nIn 2003, Six Apart received initial venture capital funding from a group led by Joi Ito and his Neoteny Co., which allowed the company to hire additional employees, acquire a French weblog publishing company, and unveil plans for what was to become its hosted weblog publishing system, TypePad. In 2004, Six Apart completed a second round of funding with August Capital, which allowed it to make acquisitions of other companies. In January 2005, Six Apart purchased Danga Interactive, parent company of LiveJournal, from owner Brad Fitzpatrick, who was named Six Apart's chief architect. In March 2006, Six Apart announced the acquisition of the SplashBlog camera phone blogging service. June 2006 saw the release of their new Web 2.0 blogging platform, Vox.\n\nIts CEO is Chris Alden. Prominent weblogger Anil Dash joined the company in 2003, as did former head of Wired Digital Andrew Anker. Six Apart's board of directors consists of Barak Berkowitz, Mena Trott, David Marquardt, David Hornik, Reid Hoffman, and Jun Makihara.\n\nOn September 6, 2006, Six Apart bought Rojo.com. President Chris Alden became executive vice president of Six Apart and general manager of Movable Type. CTO Aaron Emigh became executive vice president and general manager of core technologies.\n\n2007\nOn September 15, 2007, chairman and chief executive Barak Berkowitz stepped aside and was replaced by Chris Alden, who had run the company's professional software unit.\n\nOn December 2, 2007, Six Apart announced it was selling LiveJournal to SUP Fabrik, a Russian media company that had licensed the LiveJournal brand and software for use in Russia.\n\n2008\nOn April 21, 2008, Six Apart said it acquired Apperceptive, a New York social media agency, as part of its new strategy. It declined to disclose financial terms of the deal. It is also partnering with advertising agency Adify. Just as in an advertising network, bloggers will be able to sign up and participate in advertising campaigns managed by Six Apart.\n\nOn December 1, 2008, Six Apart announced the acquisition of micro blogging website Pownce. The Pownce website was shut down on December 15. The key developers of Pownce (Leah Culver and Mike Malone) stayed on at Six Apart through early 2010, with Pownce technology being integrated into TypePad and TypePad Conversations.\n\n2010\nOn September 2, 2010 Six Apart announced that they would be shutting down their blogging/social networking site Vox with a final termination date set for September 30, 2010.\n\nBeginning from September 15, 2010 Vox users would not be able to post new blog posts.\n\nOn September 22, Six Apart announced its intention to join forces with VideoEgg to create a modern media company called SAY Media.\n\n2011\n\nOn January 21, 2011, SAY Media announced that it was selling the Six Apart brand and the worldwide Movable Type business to Infocom, a Japanese information technology company. As a result of this transaction, the headquarters of Six Apart is now Tokyo, Japan.\n\nNobuhiro Seki, who was general manager of Six Apart, K.K. prior to this announcement, became president and CEO of Six Apart.\n\nReferences\n\nExternal links\n\nSoftware companies of Japan\n2001 establishments in California\nSoftware companies established in 2001\nLivejournal\nSoftware companies based in Tokyo\nBlog software\nEmployee-owned companies\nInternet technology companies of Japan"
] | [
"Anton Grigoryevich Rubinstein (; ) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein, who founded the Moscow Conservatory. As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos.",
"As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals—seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.",
"Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there. Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life.",
"Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life. He wrote 20 operas, the best known of which is The Demon.",
"He wrote 20 operas, the best known of which is The Demon. He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble.",
"He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble. Early life and education Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa.",
"Early life and education Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa. Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy.",
"Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy. Although he was raised as a Christian, Rubinstein would later become an atheist. Rubinstein's father opened a pencil factory in Moscow.",
"Rubinstein's father opened a pencil factory in Moscow. His mother, a competent musician, began giving him piano lessons at five, until the teacher heard and accepted Rubinstein as a non-paying student. Rubinstein made his first public appearance at a charity benefit concert at the age of nine.",
"Rubinstein made his first public appearance at a charity benefit concert at the age of nine. Later that year Rubinstein's mother sent him, accompanied by Villoing, to Paris where he sought unsuccessfully to enroll at the Paris Conservatoire. Rubinstein and Villoing remained in Paris for a year.",
"Rubinstein and Villoing remained in Paris for a year. In December 1840, Rubinstein played in the Salle Érard for an audience that included Frédéric Chopin and Franz Liszt. Chopin invited Rubinstein to his studio and played for him.",
"Chopin invited Rubinstein to his studio and played for him. Liszt advised Villoing to take him to Germany to study composition; however, Villoing took Rubinstein on an extended concert tour of Europe and Western Russia. They finally returned to Moscow in June 1843.",
"They finally returned to Moscow in June 1843. Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace.",
"Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace. Anton was 14 years old; Nikolai was eight.",
"Anton was 14 years old; Nikolai was eight. Travel and performance Berlin In spring 1844, Rubinstein, Nikolai, his mother and his sister Luba travelled to Berlin. Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer.",
"Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer. Mendelssohn, who had heard Rubinstein when he had toured with Villoing, said he needed no further piano study but sent Nikolai to Theodor Kullak for instruction. Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory.",
"Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory. Word came in the summer of 1846 that Rubinstein's father was gravely ill. Rubinstein was left in Berlin while his mother, sister and brother returned to Russia. At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest.",
"At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest. Now 17, he knew he could no longer pass as a child prodigy. He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil.",
"He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil. However, after Rubinstein had played his audition, Liszt is reported to have said, \"A talented man must win the goal of his ambition by his own unassisted efforts.\" At this point, Rubinstein was living in acute poverty.",
"At this point, Rubinstein was living in acute poverty. Liszt did nothing to help him. Other calls Rubinstein made to potential patrons came to no avail. After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons.",
"After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons. Back to Russia The Revolution of 1848 forced Rubinstein back to Russia. Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court.",
"Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court. The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness.",
"The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness. By 1852, he had become a leading figure in Saint Petersburg's musical life, performing as a soloist and collaborating with some of the outstanding instrumentalists and vocalists who came to the Russian capital. He also composed assiduously.",
"He also composed assiduously. He also composed assiduously. After a number of delays, including some difficulties with the censor, Rubinstein's first opera, Dmitry Donskoy (now lost except for the overture), was performed at the Bolshoy Theater in Saint Petersburg in 1852. Three one-act operas written for Elena Pavlovna followed.",
"Three one-act operas written for Elena Pavlovna followed. He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works.",
"He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works. It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist.",
"It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist. Abroad once more In 1854, Rubinstein began a four-year concert tour of Europe. This was his first major concert tour in a decade.",
"This was his first major concert tour in a decade. Now 24, he felt ready to offer himself to the public as a fully developed pianist as well as a composer of worth. He very shortly reestablished his reputation as a virtuoso.",
"He very shortly reestablished his reputation as a virtuoso. Ignaz Moscheles wrote in 1855 what would become a widespread opinion about Rubinstein: \"In power and execution he is inferior to no one.\" As was the penchant at the time, much of what Rubinstein played were his own compositions.",
"As was the penchant at the time, much of what Rubinstein played were his own compositions. At several concerts, Rubinstein alternated between conducting his orchestral works and playing as soloist in one of his piano concertos. One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854.",
"One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854. Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later.",
"Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later. Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice.",
"Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice. Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859.",
"Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859. Opening the St. Petersburg Conservatory The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862.",
"Opening the St. Petersburg Conservatory The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862. Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty.",
"Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty. Some in Russian society were surprised that a Russian music school would actually attempt to be Russian.",
"Some in Russian society were surprised that a Russian music school would actually attempt to be Russian. One \"fashionable lady\", when told by Rubinstein that classes would be taught in Russian and not a foreign language, exclaimed, \"What, music in Russian! That is an original idea!\"",
"That is an original idea!\" Rubinstein adds, And surely it was surprising that the theory of Music was to be taught for the first time in the Russian language at our Conservatory... Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany.",
"Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany. There were also those who feared the school would not be Russian enough. Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five.",
"Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five. Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world.",
"Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world. Actually the Conservatory raise the level of musical culture in Russia.",
"Actually the Conservatory raise the level of musical culture in Russia. The unconventional way chosen by Balakirev and his friends was not necessarily the right one for everybody else. It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871.",
"It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871. Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \"interesting and well done,\" though \"episodic,\" and the opera Ivan IV Grozniy, which was premiered by Balakirev.",
"Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \"interesting and well done,\" though \"episodic,\" and the opera Ivan IV Grozniy, which was premiered by Balakirev. Borodin commented on Ivan IV that \"the music is good, you just cannot recognize that it is Rubinstein.",
"Borodin commented on Ivan IV that \"the music is good, you just cannot recognize that it is Rubinstein. There is nothing that is Mendelssohnian, nothing as he used to write formerly.\"",
"There is nothing that is Mendelssohnian, nothing as he used to write formerly.\" The American tour By 1867, ongoing tensions with the Balakirev camp, along with related matters, led to intense dissension within the Conservatory's faculty. Rubinstein resigned and returned to touring throughout Europe.",
"Rubinstein resigned and returned to touring throughout Europe. Unlike his previous tours, he began increasingly featuring the works of other composers. In previous tours, Rubinstein had played primarily his own works. At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season.",
"At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season. Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid.",
"Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid. Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities.",
"Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities. Rubinstein wrote of his American experience, May Heaven preserve us from such slavery!",
"Rubinstein wrote of his American experience, May Heaven preserve us from such slavery! Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost...",
"Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost... The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art.",
"The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art. So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank...",
"So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank... Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life.",
"Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life. Upon his return to Russia, he \"hastened to invest in real estate\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family.",
"Upon his return to Russia, he \"hastened to invest in real estate\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family. Later life Rubinstein continued to make tours as a pianist and give appearances as a conductor.",
"Later life Rubinstein continued to make tours as a pianist and give appearances as a conductor. In 1887, he returned to the Saint Petersburg Conservatory with the goal of improving overall standards. He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum.",
"He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum. He led semi-weekly teachers' classes through the whole keyboard literature and gave some of the more gifted piano students personal coaching. During the 1889–90 academic year he gave weekly lecture-recitals for the students.",
"During the 1889–90 academic year he gave weekly lecture-recitals for the students. He resigned again—and left Russia—in 1891 over Imperial demands that Conservatory admittance, and later annual prizes to students, be awarded along ethnic quotas instead of purely by merit. These quotas were designed to effectively disadvantage Jews.",
"These quotas were designed to effectively disadvantage Jews. Rubinstein resettled in Dresden and started giving concerts again in Germany and Austria. Nearly all of these concerts were charity benefit events. Rubinstein also coached a few pianists and taught his only private piano student, Josef Hofmann. Hofmann would become one of the finest keyboard artists of the 20th century.",
"Hofmann would become one of the finest keyboard artists of the 20th century. Despite his sentiments on ethnic politics in Russia, Rubinstein returned there occasionally to visit friends and family. He gave his final concert in Saint Petersburg on 14 January 1894. With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894.",
"With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894. He died there on 20 November of that year, having suffered from heart disease for some time. The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him.",
"The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him. Pianism \"Van II\" Many contemporaries felt he bore a striking resemblance to Ludwig van Beethoven. Ignaz Moscheles, who had known Beethoven intimately, wrote, \"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\"",
"Ignaz Moscheles, who had known Beethoven intimately, wrote, \"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\" Liszt referred to Rubinstein as \"Van II.\" This resemblance was also felt to be in Rubinstein's keyboard playing. Under his hands, it was said, the piano erupted volcanically.",
"Under his hands, it was said, the piano erupted volcanically. Audience members wrote of going home limp after one of his recitals, knowing they had witnessed a force of nature. Sometimes Rubinstein's playing was too much for listeners to handle.",
"Sometimes Rubinstein's playing was too much for listeners to handle. American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much.",
"American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much. Give me Rubinstein for a few pieces, but Tausig for a whole evening.\"",
"Give me Rubinstein for a few pieces, but Tausig for a whole evening.\" She heard Rubinstein play \"a terrific piece by Schubert,\" reportedly the Wanderer Fantasie. The performance gave her such a violent headache that the rest of the recital was ruined for her. Clara Schumann proved especially vehement.",
"Clara Schumann proved especially vehement. Clara Schumann proved especially vehement. After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\"",
"After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\" Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau.",
"Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau. She noted in her diary, \"I was furious, for he no longer plays. Either there is a perfectly wild noise or else a whisper with the soft pedal down.",
"Either there is a perfectly wild noise or else a whisper with the soft pedal down. And a would-be cultured audience puts up with a performance like that!\"",
"And a would-be cultured audience puts up with a performance like that!\" On the other hand, when Rubinstein played Beethoven's \"Archduke\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls: It was the first time I had heard this great artist play.",
"On the other hand, when Rubinstein played Beethoven's \"Archduke\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls: It was the first time I had heard this great artist play. He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme...",
"He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme... It seemed to me I had never before heard the piano really played.",
"It seemed to me I had never before heard the piano really played. The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ... Violinist and composer Henri Vieuxtemps adds: His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten.",
"The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ... Violinist and composer Henri Vieuxtemps adds: His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten. I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op.",
"I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op. 57 [Appassionata], which Rubinstein executed for us with unimagined mastery. Viennese music critic Eduard Hanslick expressed what Schonberg calls \"the majority point of view\" in an 1884 review.",
"Viennese music critic Eduard Hanslick expressed what Schonberg calls \"the majority point of view\" in an 1884 review. After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners.",
"After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners. Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness.",
"Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness. \"Yes, he plays like a god\", Hanslick writes in closing, \"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\".",
"\"Yes, he plays like a god\", Hanslick writes in closing, \"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\". Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm.",
"Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm. His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall.",
"His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall. In playing, Rubinstein created, and he created inimitably and with genius.",
"In playing, Rubinstein created, and he created inimitably and with genius. He often treated the same program absolutely differently when he played it the second time, but, more astoundingly still, everything came out wonderfully on both occasions. Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled.",
"Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled. Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song.",
"Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song. He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable.",
"He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable. It was superb.\"",
"It was superb.\" It was superb.\" Technique Villoing had worked with Rubinstein on hand position and finger dexterity. From watching Liszt, Rubinstein had learned about freedom of arm movement. Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing.",
"Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing. He would remark to his students about \"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\"",
"He would remark to his students about \"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\" In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\"",
"In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\" When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through.",
"When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through. Rubinstein himself admitted, after a concert in Berlin in 1875, \"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\"",
"Rubinstein himself admitted, after a concert in Berlin in 1875, \"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\" Part of the problem might have been the sheer size of Rubinstein's hands.",
"Part of the problem might have been the sheer size of Rubinstein's hands. They were huge, and many observers commented on them. Josef Hofmann observed that Rubinstein's fifth finger \"was as thick as my thumb—think of it! Then his fingers were square at the ends, with cushions on them.",
"Then his fingers were square at the ends, with cushions on them. It was a wonderful hand.\" Pianist Josef Lhévinne described them as \"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\"",
"Pianist Josef Lhévinne described them as \"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\" The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \"Nothing cramped about him!",
"The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \"Nothing cramped about him! He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\"",
"He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\" Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness.",
"Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness. Those who valued interpretation as much or more than pure technique found much to praise. Pianist and conductor Hans von Bülow called Rubinstein \"the Michelangelo of music.\"",
"Pianist and conductor Hans von Bülow called Rubinstein \"the Michelangelo of music.\" The German critic Ludwig Rellstab called him \"the Hercules of the piano; the Jupiter Tonans of the instrument.\" Tone Pressman attested to the singing quality of Rubinstein's playing, and much more: \"His tone was strikingly full and deep.",
"Tone Pressman attested to the singing quality of Rubinstein's playing, and much more: \"His tone was strikingly full and deep. With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres.",
"With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres. With him, the piano sang as Patti sang, as Rubini sang.\" Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists.",
"Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists. Fellow pianist Rafael Joseffy compared it to \"a golden French horn.\" Rubinstein himself told an interviewer, \"Strength with lightness, that is one secret of my touch...",
"Rubinstein himself told an interviewer, \"Strength with lightness, that is one secret of my touch... I have sat hours trying to imitate the timbre of Rubini's voice in my playing.\" Rubinstein told the young Rachmaninoff how he achieved that tone. \"Just press upon the keys until the blood oozes from your fingertips\".",
"\"Just press upon the keys until the blood oozes from your fingertips\". When he wanted to, Rubinstein could play with extreme lightness, grace and delicacy. He rarely displayed that side of his nature, however. He had learned quickly that audiences came to hear him thunder, so he accommodated them.",
"He had learned quickly that audiences came to hear him thunder, so he accommodated them. Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before.",
"Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before. During this tour, Rubinstein received more press attention than any other figure until the appearance of Ignacy Jan Paderewski a generation later. Programs Rubinstein's concert programs were often gargantuan.",
"Programs Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A).",
"101 in A). 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman.",
"Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note.",
"He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note. Rubinstein was most famous for his series of historical recitals—seven consecutive concerts covering the history of piano music. Each of these programs was enormous.",
"Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital.",
"Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert.",
"This did not include encores, which Rubinstein sprayed liberally at every concert. Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873. Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe.",
"Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge.",
"In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge. Rachmaninoff on Rubinstein Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student.",
"Rachmaninoff on Rubinstein Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student. Forty-four years later he told his biographer Oscar von Riesemann, \"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\"",
"Forty-four years later he told his biographer Oscar von Riesemann, \"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\" Rachmaninoff explained to von Riesemann, \"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\"",
"Rachmaninoff explained to von Riesemann, \"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\" Rachmaninoff's detailed description to von Riesemann is of interest: Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished.",
"Rachmaninoff's detailed description to von Riesemann is of interest: Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished. One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone...",
"One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone... I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \"fluttering away of the little bird\" would be hopelessly inadequate.",
"I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \"fluttering away of the little bird\" would be hopelessly inadequate. Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner.",
"Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner. One of Rubinstein's greatest secrets was his use of the pedal.",
"One of Rubinstein's greatest secrets was his use of the pedal. He himself very happily expressed his ideas on the subject when he said, \"The pedal is the soul of the piano.\" No pianist should ever forget this.",
"No pianist should ever forget this. Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \"Funeral March\" Sonata—both became cornerstones of Rachmaninoff's own recital programs.",
"Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \"Funeral March\" Sonata—both became cornerstones of Rachmaninoff's own recital programs. Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work.",
"Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work. Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later.",
"Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later. In Rubinstein's defense, however, Rachmaninoff said that \"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\"",
"In Rubinstein's defense, however, Rachmaninoff said that \"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\" Conducting Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867.",
"Conducting Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867. He also did his share of guest conducting both before and after his tenure with the RMS.",
"He also did his share of guest conducting both before and after his tenure with the RMS. Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences.",
"Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences. Teacher As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work.",
"Teacher As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work. He could also be exacting and expected as much from them as he gave to them.",
"He could also be exacting and expected as much from them as he gave to them. According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference.",
"According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference. This assignment would be due the following day.",
"This assignment would be due the following day. At other times, he would expect students to improvise a minuet, a rondo, a polonaise or some other musical form. Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead.",
"Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead. He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano.",
"He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano. Notable students include pianists Josef Hofmann and Sandra Drouker.",
"Notable students include pianists Josef Hofmann and Sandra Drouker. Composition By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \"but as a composer performing his symphonies, concertos, operas, trios, etc.\"",
"Composition By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \"but as a composer performing his symphonies, concertos, operas, trios, etc.\" Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote).",
"Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote). Edward Garden writes in the New Grove, Rubinstein composed assiduously during all periods of his life.",
"Edward Garden writes in the New Grove, Rubinstein composed assiduously during all periods of his life. He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved.",
"He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved. Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn.",
"Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn. Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music.",
"Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music. Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching.",
"Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching. Robert Schumann and Felix Mendelssohn were the strongest influences on Rubinstein's music. Consequently, Rubinstein's music demonstrates none of the nationalism of The Five.",
"Consequently, Rubinstein's music demonstrates none of the nationalism of The Five. Rubinstein also had a tendency to rush in composing his pieces, resulting in good ideas such as those in his Ocean Symphony being developed in less-than-exemplary ways. As Paderewski was later to remark, \"He had not the necessary concentration of patience for a composer...",
"As Paderewski was later to remark, \"He had not the necessary concentration of patience for a composer... He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\"",
"He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\" Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ...",
"Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ... The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s.",
"The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s. After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire.",
"After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire. Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev.",
"Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev. Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism.",
"Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism. Amongst his better known works are the opera The Demon, his Piano Concerto No. 4, and his Symphony No. 2, known as The Ocean.",
"2, known as The Ocean. Rubinstein's repartee Rubinstein was as well known during his lifetime for his sarcasm as well as his sometimes penetrating insight. During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him.",
"During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him. After a long silence, Rubinstein told Cortot, \"My boy, don't you ever forget what I am going to tell you. Beethoven's music must not be studied. It must be reincarnated.\"",
"It must be reincarnated.\" It must be reincarnated.\" Cortot reportedly never forgot those words. Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase.",
"Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase. His manner with them was a combination of raw, sometimes violent criticism and good humor.",
"His manner with them was a combination of raw, sometimes violent criticism and good humor. Hofmann wrote of one such lesson: Once I played a Liszt rhapsody pretty badly. After a little of it, Rubinstein said, \"The way you play this piece would be all right for Auntie or Mamma.\"",
"After a little of it, Rubinstein said, \"The way you play this piece would be all right for Auntie or Mamma.\" Then rising and coming toward me, he said, \"Now let us see how play such things.\" ...",
"... ... I began again, but I had not played more than a few measures when Rubinstein said loudly, \"Have you begun?\" \"Yes, Master, I certainly have.\" \"Oh,\" said Rubinstein vaguely, \"I didn't notice.\" ... Rubinstein did not so much instruct me.",
"... Rubinstein did not so much instruct me. Merely he let me learn from him ...",
"Merely he let me learn from him ... If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do.",
"If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do. Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts.",
"Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts. When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \"When you are as old as I am, you may do as I do.\"",
"When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \"When you are as old as I am, you may do as I do.\" Then Rubinstein added, \"If you can\". Nor did Rubinstein adjust the tenor of his comments for those of high rank.",
"Nor did Rubinstein adjust the tenor of his comments for those of high rank. After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility.",
"After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility. At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift.",
"At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift. Rubinstein replied bluntly, to the crowd's horror, \"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\"",
"Rubinstein replied bluntly, to the crowd's horror, \"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\" Rubinstein's voice The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison.",
"Rubinstein's voice The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison. Rubinstein is heard to make a complimentary remark about the phonograph recorder. References Sources In Russian (2 vol.) In German (3 vol.) In English (29 vols.)",
"In English (29 vols.) Further reading Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995) Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991) Rubinstein, Anton Grigorevich, ed.",
"Further reading Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995) Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991) Rubinstein, Anton Grigorevich, ed. L. Barenboim, Literaturnoye Naslediye (3 vol.",
"L. Barenboim, Literaturnoye Naslediye (3 vol. ), (in Russian), (Moscow, 1983) External links Networking Rubinstein – his contacts in his early career Soundbites from String Quartet No.1 in G, Op.17 No.1 Anton Rubinstein recordings at the Discography of American Historical Recordings.",
"), (in Russian), (Moscow, 1983) External links Networking Rubinstein – his contacts in his early career Soundbites from String Quartet No.1 in G, Op.17 No.1 Anton Rubinstein recordings at the Discography of American Historical Recordings. 1829 births 1894 deaths 19th-century classical composers 19th-century classical pianists 19th-century conductors (music) 19th-century male conductors (music) Burials at Tikhvin Cemetery Composers for piano Converts to Eastern Orthodoxy from Judaism Founders of Russian educational institutions Jewish atheists Jewish classical composers Jewish classical pianists Jewish opera composers Male classical pianists Male opera composers People from Baltsky Uyezd People from Rîbnița District Pupils of Siegfried Dehn Pyotr Ilyich Tchaikovsky Recipients of the Pour le Mérite (civil class) Royal Philharmonic Society Gold Medallists Russian atheists Russian classical pianists Russian conductors (music) Russian male conductors (music) Russian Jews Russian male classical composers Russian music educators Russian opera composers Russian Romantic composers"
] |
[
"Anton Rubinstein",
"Programs",
"What programs was he apart of?",
"Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna,",
"Are there any other interesting aspects about this article?",
"Rubinstein was most famous for his series of historical recitals--seven consecutive concerts covering the history of piano music.",
"What was the name of his series?",
"I don't know."
] | C_abfaf1bc5d7a4878916e69b3dc8922b2_0 | What was some of his concerts? | 4 | What were some of Anton Rubinstein's concerts? | Anton Rubinstein | Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note. Rubinstein was most famous for his series of historical recitals--seven consecutive concerts covering the history of piano music. Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert. Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873. Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge. CANNOTANSWER | Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873. | Anton Grigoryevich Rubinstein (; ) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein, who founded the Moscow Conservatory.
As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals—seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.
Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life. He wrote 20 operas, the best known of which is The Demon. He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble.
Early life and education
Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa. Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy. Although he was raised as a Christian, Rubinstein would later become an atheist.
Rubinstein's father opened a pencil factory in Moscow. His mother, a competent musician, began giving him piano lessons at five, until the teacher heard and accepted Rubinstein as a non-paying student. Rubinstein made his first public appearance at a charity benefit concert at the age of nine. Later that year Rubinstein's mother sent him, accompanied by Villoing, to Paris where he sought unsuccessfully to enroll at the Paris Conservatoire.
Rubinstein and Villoing remained in Paris for a year. In December 1840, Rubinstein played in the Salle Érard for an audience that included Frédéric Chopin and Franz Liszt. Chopin invited Rubinstein to his studio and played for him. Liszt advised Villoing to take him to Germany to study composition; however, Villoing took Rubinstein on an extended concert tour of Europe and Western Russia. They finally returned to Moscow in June 1843. Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace. Anton was 14 years old; Nikolai was eight.
Travel and performance
Berlin
In spring 1844, Rubinstein, Nikolai, his mother and his sister Luba travelled to Berlin. Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer.
Mendelssohn, who had heard Rubinstein when he had toured with Villoing, said he needed no further piano study but sent Nikolai to Theodor Kullak for instruction. Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory.
Word came in the summer of 1846 that Rubinstein's father was gravely ill. Rubinstein was left in Berlin while his mother, sister and brother returned to Russia. At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest. Now 17, he knew he could no longer pass as a child prodigy. He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil. However, after Rubinstein had played his audition, Liszt is reported to have said, "A talented man must win the goal of his ambition by his own unassisted efforts." At this point, Rubinstein was living in acute poverty. Liszt did nothing to help him. Other calls Rubinstein made to potential patrons came to no avail. After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons.
Back to Russia
The Revolution of 1848 forced Rubinstein back to Russia. Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court. The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness. By 1852, he had become a leading figure in Saint Petersburg's musical life, performing as a soloist and collaborating with some of the outstanding instrumentalists and vocalists who came to the Russian capital.
He also composed assiduously. After a number of delays, including some difficulties with the censor, Rubinstein's first opera, Dmitry Donskoy (now lost except for the overture), was performed at the Bolshoy Theater in Saint Petersburg in 1852. Three one-act operas written for Elena Pavlovna followed. He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works. It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist.
Abroad once more
In 1854, Rubinstein began a four-year concert tour of Europe. This was his first major concert tour in a decade. Now 24, he felt ready to offer himself to the public as a fully developed pianist as well as a composer of worth. He very shortly reestablished his reputation as a virtuoso. Ignaz Moscheles wrote in 1855 what would become a widespread opinion about Rubinstein: "In power and execution he is inferior to no one."
As was the penchant at the time, much of what Rubinstein played were his own compositions. At several concerts, Rubinstein alternated between conducting his orchestral works and playing as soloist in one of his piano concertos. One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854. Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later.
Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice. Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859.
Opening the St. Petersburg Conservatory
The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862. Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty.
Some in Russian society were surprised that a Russian music school would actually attempt to be Russian. One "fashionable lady", when told by Rubinstein that classes would be taught in Russian and not a foreign language, exclaimed, "What, music in Russian! That is an original idea!" Rubinstein adds, And surely it was surprising that the theory of Music was to be taught for the first time in the Russian language at our Conservatory... Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany.
There were also those who feared the school would not be Russian enough. Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five. Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world. Actually the Conservatory raise the level of musical culture in Russia. The unconventional way chosen by Balakirev and his friends was not necessarily the right one for everybody else.
It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871. Between these two works are the orchestral works Don Quixote, which Tchaikovsky found "interesting and well done," though "episodic," and the opera Ivan IV Grozniy, which was premiered by Balakirev. Borodin commented on Ivan IV that "the music is good, you just cannot recognize that it is Rubinstein. There is nothing that is Mendelssohnian, nothing as he used to write formerly."
The American tour
By 1867, ongoing tensions with the Balakirev camp, along with related matters, led to intense dissension within the Conservatory's faculty. Rubinstein resigned and returned to touring throughout Europe. Unlike his previous tours, he began increasingly featuring the works of other composers. In previous tours, Rubinstein had played primarily his own works.
At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season. Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid. Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities.
Rubinstein wrote of his American experience, May Heaven preserve us from such slavery! Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost... The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art. So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank...
Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life. Upon his return to Russia, he "hastened to invest in real estate", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family.
Later life
Rubinstein continued to make tours as a pianist and give appearances as a conductor. In 1887, he returned to the Saint Petersburg Conservatory with the goal of improving overall standards. He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum. He led semi-weekly teachers' classes through the whole keyboard literature and gave some of the more gifted piano students personal coaching. During the 1889–90 academic year he gave weekly lecture-recitals for the students. He resigned again—and left Russia—in 1891 over Imperial demands that Conservatory admittance, and later annual prizes to students, be awarded along ethnic quotas instead of purely by merit. These quotas were designed to effectively disadvantage Jews. Rubinstein resettled in Dresden and started giving concerts again in Germany and Austria. Nearly all of these concerts were charity benefit events.
Rubinstein also coached a few pianists and taught his only private piano student, Josef Hofmann. Hofmann would become one of the finest keyboard artists of the 20th century.
Despite his sentiments on ethnic politics in Russia, Rubinstein returned there occasionally to visit friends and family. He gave his final concert in Saint Petersburg on 14 January 1894. With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894. He died there on 20 November of that year, having suffered from heart disease for some time.
The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him.
Pianism
"Van II"
Many contemporaries felt he bore a striking resemblance to Ludwig van Beethoven. Ignaz Moscheles, who had known Beethoven intimately, wrote, "Rubinstein's features and short, irrepressible hair remind me of Beethoven." Liszt referred to Rubinstein as "Van II." This resemblance was also felt to be in Rubinstein's keyboard playing. Under his hands, it was said, the piano erupted volcanically. Audience members wrote of going home limp after one of his recitals, knowing they had witnessed a force of nature.
Sometimes Rubinstein's playing was too much for listeners to handle. American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein "has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much. Give me Rubinstein for a few pieces, but Tausig for a whole evening." She heard Rubinstein play "a terrific piece by Schubert," reportedly the Wanderer Fantasie. The performance gave her such a violent headache that the rest of the recital was ruined for her.
Clara Schumann proved especially vehement. After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that "he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them." Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau. She noted in her diary, "I was furious, for he no longer plays. Either there is a perfectly wild noise or else a whisper with the soft pedal down. And a would-be cultured audience puts up with a performance like that!"
On the other hand, when Rubinstein played Beethoven's "Archduke" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls:
It was the first time I had heard this great artist play. He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme... It seemed to me I had never before heard the piano really played. The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ...
Violinist and composer Henri Vieuxtemps adds:
His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten. I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op. 57 [Appassionata], which Rubinstein executed for us with unimagined mastery.
Viennese music critic Eduard Hanslick expressed what Schonberg calls "the majority point of view" in an 1884 review. After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners. Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness. "Yes, he plays like a god", Hanslick writes in closing, "and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull".
Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm. His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall. In playing, Rubinstein created, and he created inimitably and with genius. He often treated the same program absolutely differently when he played it the second time, but, more astoundingly still, everything came out wonderfully on both occasions.
Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled. Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song. He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable. It was superb."
Technique
Villoing had worked with Rubinstein on hand position and finger dexterity. From watching Liszt, Rubinstein had learned about freedom of arm movement. Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing. He would remark to his students about "what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses."
In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that "of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself." When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through. Rubinstein himself admitted, after a concert in Berlin in 1875, "If I could gather up all the notes that I let fall under the piano, I could give a second concert with them."
Part of the problem might have been the sheer size of Rubinstein's hands. They were huge, and many observers commented on them. Josef Hofmann observed that Rubinstein's fifth finger "was as thick as my thumb—think of it! Then his fingers were square at the ends, with cushions on them. It was a wonderful hand." Pianist Josef Lhévinne described them as "fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once." The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: "Nothing cramped about him! He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!"
Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness. Those who valued interpretation as much or more than pure technique found much to praise. Pianist and conductor Hans von Bülow called Rubinstein "the Michelangelo of music." The German critic Ludwig Rellstab called him "the Hercules of the piano; the Jupiter Tonans of the instrument."
Tone
Pressman attested to the singing quality of Rubinstein's playing, and much more: "His tone was strikingly full and deep. With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres. With him, the piano sang as Patti sang, as Rubini sang."
Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists. Fellow pianist Rafael Joseffy compared it to "a golden French horn." Rubinstein himself told an interviewer, "Strength with lightness, that is one secret of my touch... I have sat hours trying to imitate the timbre of Rubini's voice in my playing."
Rubinstein told the young Rachmaninoff how he achieved that tone. "Just press upon the keys until the blood oozes from your fingertips". When he wanted to, Rubinstein could play with extreme lightness, grace and delicacy. He rarely displayed that side of his nature, however. He had learned quickly that audiences came to hear him thunder, so he accommodated them. Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before. During this tour, Rubinstein received more press attention than any other figure until the appearance of Ignacy Jan Paderewski a generation later.
Programs
Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note.
Rubinstein was most famous for his series of historical recitals—seven consecutive concerts covering the history of piano music. Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert.
Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873.
Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge.
Rachmaninoff on Rubinstein
Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student. Forty-four years later he told his biographer Oscar von Riesemann, "[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist."
Rachmaninoff explained to von Riesemann, "It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world."
Rachmaninoff's detailed description to von Riesemann is of interest:
Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished. One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone... I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the "fluttering away of the little bird" would be hopelessly inadequate. Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner. One of Rubinstein's greatest secrets was his use of the pedal. He himself very happily expressed his ideas on the subject when he said, "The pedal is the soul of the piano." No pianist should ever forget this.
Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's "Funeral March" Sonata—both became cornerstones of Rachmaninoff's own recital programs. Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work.
Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later. In Rubinstein's defense, however, Rachmaninoff said that "for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes."
Conducting
Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867. He also did his share of guest conducting both before and after his tenure with the RMS. Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences.
Teacher
As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work. He could also be exacting and expected as much from them as he gave to them. According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference. This assignment would be due the following day. At other times, he would expect students to improvise a minuet, a rondo, a polonaise or some other musical form.
Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead. He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano. Notable students include pianists Josef Hofmann and Sandra Drouker.
Composition
By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, "but as a composer performing his symphonies, concertos, operas, trios, etc." Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote). Edward Garden writes in the New Grove,
Rubinstein composed assiduously during all periods of his life. He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved.
Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn. Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music. Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching. Robert Schumann and Felix Mendelssohn were the strongest influences on Rubinstein's music.
Consequently, Rubinstein's music demonstrates none of the nationalism of The Five. Rubinstein also had a tendency to rush in composing his pieces, resulting in good ideas such as those in his Ocean Symphony being developed in less-than-exemplary ways. As Paderewski was later to remark, "He had not the necessary concentration of patience for a composer... He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces." Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ... The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s.
After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire. Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev.
Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism. Amongst his better known works are the opera The Demon, his Piano Concerto No. 4, and his Symphony No. 2, known as The Ocean.
Rubinstein's repartee
Rubinstein was as well known during his lifetime for his sarcasm as well as his sometimes penetrating insight. During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him. After a long silence, Rubinstein told Cortot, "My boy, don't you ever forget what I am going to tell you. Beethoven's music must not be studied. It must be reincarnated." Cortot reportedly never forgot those words.
Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase. His manner with them was a combination of raw, sometimes violent criticism and good humor. Hofmann wrote of one such lesson:
Once I played a Liszt rhapsody pretty badly. After a little of it, Rubinstein said, "The way you play this piece would be all right for Auntie or Mamma." Then rising and coming toward me, he said, "Now let us see how play such things."
... I began again, but I had not played more than a few measures when Rubinstein said loudly, "Have you begun?" "Yes, Master, I certainly have." "Oh," said Rubinstein vaguely, "I didn't notice." ... Rubinstein did not so much instruct me. Merely he let me learn from him ... If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do.
Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts. When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, "When you are as old as I am, you may do as I do." Then Rubinstein added, "If you can".
Nor did Rubinstein adjust the tenor of his comments for those of high rank. After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility. At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift. Rubinstein replied bluntly, to the crowd's horror, "Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?"
Rubinstein's voice
The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison. Rubinstein is heard to make a complimentary remark about the phonograph recorder.
References
Sources
In Russian
(2 vol.)
In German
(3 vol.)
In English
(29 vols.)
Further reading
Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995)
Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997)
Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991)
Rubinstein, Anton Grigorevich, ed. L. Barenboim, Literaturnoye Naslediye (3 vol.), (in Russian), (Moscow, 1983)
External links
Networking Rubinstein – his contacts in his early career
Soundbites from String Quartet No.1 in G, Op.17 No.1
Anton Rubinstein recordings at the Discography of American Historical Recordings.
1829 births
1894 deaths
19th-century classical composers
19th-century classical pianists
19th-century conductors (music)
19th-century male conductors (music)
Burials at Tikhvin Cemetery
Composers for piano
Converts to Eastern Orthodoxy from Judaism
Founders of Russian educational institutions
Jewish atheists
Jewish classical composers
Jewish classical pianists
Jewish opera composers
Male classical pianists
Male opera composers
People from Baltsky Uyezd
People from Rîbnița District
Pupils of Siegfried Dehn
Pyotr Ilyich Tchaikovsky
Recipients of the Pour le Mérite (civil class)
Royal Philharmonic Society Gold Medallists
Russian atheists
Russian classical pianists
Russian conductors (music)
Russian male conductors (music)
Russian Jews
Russian male classical composers
Russian music educators
Russian opera composers
Russian Romantic composers | true | [
"Samuel Harrison (8 September 1760 – 25 June 1812) was an English singer. A tenor, he sang in notable concerts of the day, including the Concerts of Antient Music and the Three Choirs Festival.\n\nEarly life\nHarrison was born in Belper, Derbyshire, on 8 September 1760. Burton, a bass singer, was his earliest instructor. Harrison was trained as a boy soprano to sing solos at the Concerts of Antient Music and at the Society of Sacred Music in 1776. His voice did not break until he was eighteen; he then cultivated his tenor voice with the utmost care. George III, hearing him at one of the Queen's musical parties, had him engaged for the Handel Commemoration of 1784, where he sang \"Rend' il sereno al ciglio\" from Sosarme, and the opening recitative and air from Messiah; he thus sprang into the notice of musicians and fashionable people.\n\nEarly career, and marriage\nHe made his first appearance at the Three Choirs Festival as principal tenor in 1781, at Gloucester; from 1786 until 1808 he sang at each of the Hereford meetings, and from 1801 till 1808 was a principal also at Gloucester and Worcester. The meeting of 1811 was managed by Harrison with others. In London he was a member of the Noblemen and Gentlemen's Catch Club, and he performed at the Professional Concerts from about 1783, and at the Society of Sacred Music from 1785 until 1790, when Michael Kelly succeeded him. In conjunction with John Ashley, Harrison conducted, and sang in, oratorios at Covent Garden Theatre during Lent of 1791; he sang in the Drury Lane oratorios in 1794, and at the concerts during Lent at the King's Theatre in 1795.\n\nHarrison married, on 6 December 1790, Miss Cantelo. Before the marriage her musical career ran in parallel lines with his; she was a favourite at the Concerts of Antient Music and at the Three Choirs Festivals, and earned praise for her performance at the Handel Commemoration of 1784.\n\nThe Vocal Concerts, and later\nHarrison was principal tenor at the Concerts of Antient Music from 1785 until 1791, when he withdrew, and with Charles Knyvett the elder, established the Vocal Concerts. The first was given on 11 February 1792 at Willis's Rooms, and they continued until 1794, when they had ceased to attract; Harrison and the chief promoters of the enterprise then returned to the Antient Concerts. In 1801 the Vocal Concerts were revived on a larger scale, with an orchestra, and were very successful until newer musical attractions drew the public away.\n\nHarrison repeated some of his most popular performances at his benefit concert on 8 May 1812, which was his last appearance in public. He died on the following 25 June at his home in Percy Street in London, and was buried at St Pancras Old Church. His widow died in 1831.\n\nHis voice\nHarrison's voice was described in The Harmonicon in 1830: \"In tone it was at once the weakest and the most pure and equal that has, perhaps, ever been heard in England – its very existence was a proof of how far determination and perseverance can triumph over natural deficiencies.... Voice (we speak of the natural organ) he had really little; it was the high polish, the minute and exquisite finish of his style, that made the charm....\"\n\nReferences\n\nAttribution\n\n \n\n1760 births\n1812 deaths\nPeople from Belper\n18th-century British male singers\n19th-century British male singers\nEnglish tenors",
"Hertz Grosbard (1892−1994) performed recitations of Yiddish literature during the 20th century. He was born in Lodz to a religious family. During the 1920s he began performing what came to be known as his “word concerts” to great critical acclaim. During the \"word concerts\" he recited classics of Yiddish literature such as works of Itsik Manger and Scholem Aleichem. He was very popular and performed extensively both in Europe, the Americas, and in Israel, e.g. in Vilnius he performed more than 50 times between 1928 and 1940. Ten albums with selections of his word concerts were issued in the 1950s and 1960s. He held his last concert in 1992 in Holon, Israel, in conjunction with his 100th birthday.\n\nFurther reading\nThe Grosbard Project - Online Archive of Grosbard’s Word Concerts Includes additional information on Grosbard and recordings of his recitations.\n\nReferences\n\nYiddish culture\nPolish centenarians\nMen centenarians\n1892 births\n1994 deaths\nYiddish-language literature\nYiddish theatre\nJewish theatre"
] | [
"Anton Grigoryevich Rubinstein (; ) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein, who founded the Moscow Conservatory. As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos.",
"As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals—seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.",
"Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there. Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life.",
"Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life. He wrote 20 operas, the best known of which is The Demon.",
"He wrote 20 operas, the best known of which is The Demon. He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble.",
"He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble. Early life and education Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa.",
"Early life and education Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa. Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy.",
"Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy. Although he was raised as a Christian, Rubinstein would later become an atheist. Rubinstein's father opened a pencil factory in Moscow.",
"Rubinstein's father opened a pencil factory in Moscow. His mother, a competent musician, began giving him piano lessons at five, until the teacher heard and accepted Rubinstein as a non-paying student. Rubinstein made his first public appearance at a charity benefit concert at the age of nine.",
"Rubinstein made his first public appearance at a charity benefit concert at the age of nine. Later that year Rubinstein's mother sent him, accompanied by Villoing, to Paris where he sought unsuccessfully to enroll at the Paris Conservatoire. Rubinstein and Villoing remained in Paris for a year.",
"Rubinstein and Villoing remained in Paris for a year. In December 1840, Rubinstein played in the Salle Érard for an audience that included Frédéric Chopin and Franz Liszt. Chopin invited Rubinstein to his studio and played for him.",
"Chopin invited Rubinstein to his studio and played for him. Liszt advised Villoing to take him to Germany to study composition; however, Villoing took Rubinstein on an extended concert tour of Europe and Western Russia. They finally returned to Moscow in June 1843.",
"They finally returned to Moscow in June 1843. Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace.",
"Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace. Anton was 14 years old; Nikolai was eight.",
"Anton was 14 years old; Nikolai was eight. Travel and performance Berlin In spring 1844, Rubinstein, Nikolai, his mother and his sister Luba travelled to Berlin. Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer.",
"Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer. Mendelssohn, who had heard Rubinstein when he had toured with Villoing, said he needed no further piano study but sent Nikolai to Theodor Kullak for instruction. Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory.",
"Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory. Word came in the summer of 1846 that Rubinstein's father was gravely ill. Rubinstein was left in Berlin while his mother, sister and brother returned to Russia. At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest.",
"At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest. Now 17, he knew he could no longer pass as a child prodigy. He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil.",
"He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil. However, after Rubinstein had played his audition, Liszt is reported to have said, \"A talented man must win the goal of his ambition by his own unassisted efforts.\" At this point, Rubinstein was living in acute poverty.",
"At this point, Rubinstein was living in acute poverty. Liszt did nothing to help him. Other calls Rubinstein made to potential patrons came to no avail. After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons.",
"After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons. Back to Russia The Revolution of 1848 forced Rubinstein back to Russia. Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court.",
"Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court. The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness.",
"The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness. By 1852, he had become a leading figure in Saint Petersburg's musical life, performing as a soloist and collaborating with some of the outstanding instrumentalists and vocalists who came to the Russian capital. He also composed assiduously.",
"He also composed assiduously. He also composed assiduously. After a number of delays, including some difficulties with the censor, Rubinstein's first opera, Dmitry Donskoy (now lost except for the overture), was performed at the Bolshoy Theater in Saint Petersburg in 1852. Three one-act operas written for Elena Pavlovna followed.",
"Three one-act operas written for Elena Pavlovna followed. He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works.",
"He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works. It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist.",
"It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist. Abroad once more In 1854, Rubinstein began a four-year concert tour of Europe. This was his first major concert tour in a decade.",
"This was his first major concert tour in a decade. Now 24, he felt ready to offer himself to the public as a fully developed pianist as well as a composer of worth. He very shortly reestablished his reputation as a virtuoso.",
"He very shortly reestablished his reputation as a virtuoso. Ignaz Moscheles wrote in 1855 what would become a widespread opinion about Rubinstein: \"In power and execution he is inferior to no one.\" As was the penchant at the time, much of what Rubinstein played were his own compositions.",
"As was the penchant at the time, much of what Rubinstein played were his own compositions. At several concerts, Rubinstein alternated between conducting his orchestral works and playing as soloist in one of his piano concertos. One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854.",
"One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854. Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later.",
"Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later. Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice.",
"Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice. Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859.",
"Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859. Opening the St. Petersburg Conservatory The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862.",
"Opening the St. Petersburg Conservatory The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862. Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty.",
"Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty. Some in Russian society were surprised that a Russian music school would actually attempt to be Russian.",
"Some in Russian society were surprised that a Russian music school would actually attempt to be Russian. One \"fashionable lady\", when told by Rubinstein that classes would be taught in Russian and not a foreign language, exclaimed, \"What, music in Russian! That is an original idea!\"",
"That is an original idea!\" Rubinstein adds, And surely it was surprising that the theory of Music was to be taught for the first time in the Russian language at our Conservatory... Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany.",
"Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany. There were also those who feared the school would not be Russian enough. Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five.",
"Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five. Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world.",
"Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world. Actually the Conservatory raise the level of musical culture in Russia.",
"Actually the Conservatory raise the level of musical culture in Russia. The unconventional way chosen by Balakirev and his friends was not necessarily the right one for everybody else. It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871.",
"It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871. Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \"interesting and well done,\" though \"episodic,\" and the opera Ivan IV Grozniy, which was premiered by Balakirev.",
"Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \"interesting and well done,\" though \"episodic,\" and the opera Ivan IV Grozniy, which was premiered by Balakirev. Borodin commented on Ivan IV that \"the music is good, you just cannot recognize that it is Rubinstein.",
"Borodin commented on Ivan IV that \"the music is good, you just cannot recognize that it is Rubinstein. There is nothing that is Mendelssohnian, nothing as he used to write formerly.\"",
"There is nothing that is Mendelssohnian, nothing as he used to write formerly.\" The American tour By 1867, ongoing tensions with the Balakirev camp, along with related matters, led to intense dissension within the Conservatory's faculty. Rubinstein resigned and returned to touring throughout Europe.",
"Rubinstein resigned and returned to touring throughout Europe. Unlike his previous tours, he began increasingly featuring the works of other composers. In previous tours, Rubinstein had played primarily his own works. At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season.",
"At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season. Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid.",
"Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid. Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities.",
"Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities. Rubinstein wrote of his American experience, May Heaven preserve us from such slavery!",
"Rubinstein wrote of his American experience, May Heaven preserve us from such slavery! Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost...",
"Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost... The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art.",
"The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art. So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank...",
"So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank... Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life.",
"Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life. Upon his return to Russia, he \"hastened to invest in real estate\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family.",
"Upon his return to Russia, he \"hastened to invest in real estate\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family. Later life Rubinstein continued to make tours as a pianist and give appearances as a conductor.",
"Later life Rubinstein continued to make tours as a pianist and give appearances as a conductor. In 1887, he returned to the Saint Petersburg Conservatory with the goal of improving overall standards. He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum.",
"He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum. He led semi-weekly teachers' classes through the whole keyboard literature and gave some of the more gifted piano students personal coaching. During the 1889–90 academic year he gave weekly lecture-recitals for the students.",
"During the 1889–90 academic year he gave weekly lecture-recitals for the students. He resigned again—and left Russia—in 1891 over Imperial demands that Conservatory admittance, and later annual prizes to students, be awarded along ethnic quotas instead of purely by merit. These quotas were designed to effectively disadvantage Jews.",
"These quotas were designed to effectively disadvantage Jews. Rubinstein resettled in Dresden and started giving concerts again in Germany and Austria. Nearly all of these concerts were charity benefit events. Rubinstein also coached a few pianists and taught his only private piano student, Josef Hofmann. Hofmann would become one of the finest keyboard artists of the 20th century.",
"Hofmann would become one of the finest keyboard artists of the 20th century. Despite his sentiments on ethnic politics in Russia, Rubinstein returned there occasionally to visit friends and family. He gave his final concert in Saint Petersburg on 14 January 1894. With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894.",
"With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894. He died there on 20 November of that year, having suffered from heart disease for some time. The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him.",
"The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him. Pianism \"Van II\" Many contemporaries felt he bore a striking resemblance to Ludwig van Beethoven. Ignaz Moscheles, who had known Beethoven intimately, wrote, \"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\"",
"Ignaz Moscheles, who had known Beethoven intimately, wrote, \"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\" Liszt referred to Rubinstein as \"Van II.\" This resemblance was also felt to be in Rubinstein's keyboard playing. Under his hands, it was said, the piano erupted volcanically.",
"Under his hands, it was said, the piano erupted volcanically. Audience members wrote of going home limp after one of his recitals, knowing they had witnessed a force of nature. Sometimes Rubinstein's playing was too much for listeners to handle.",
"Sometimes Rubinstein's playing was too much for listeners to handle. American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much.",
"American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much. Give me Rubinstein for a few pieces, but Tausig for a whole evening.\"",
"Give me Rubinstein for a few pieces, but Tausig for a whole evening.\" She heard Rubinstein play \"a terrific piece by Schubert,\" reportedly the Wanderer Fantasie. The performance gave her such a violent headache that the rest of the recital was ruined for her. Clara Schumann proved especially vehement.",
"Clara Schumann proved especially vehement. Clara Schumann proved especially vehement. After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\"",
"After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\" Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau.",
"Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau. She noted in her diary, \"I was furious, for he no longer plays. Either there is a perfectly wild noise or else a whisper with the soft pedal down.",
"Either there is a perfectly wild noise or else a whisper with the soft pedal down. And a would-be cultured audience puts up with a performance like that!\"",
"And a would-be cultured audience puts up with a performance like that!\" On the other hand, when Rubinstein played Beethoven's \"Archduke\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls: It was the first time I had heard this great artist play.",
"On the other hand, when Rubinstein played Beethoven's \"Archduke\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls: It was the first time I had heard this great artist play. He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme...",
"He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme... It seemed to me I had never before heard the piano really played.",
"It seemed to me I had never before heard the piano really played. The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ... Violinist and composer Henri Vieuxtemps adds: His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten.",
"The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ... Violinist and composer Henri Vieuxtemps adds: His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten. I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op.",
"I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op. 57 [Appassionata], which Rubinstein executed for us with unimagined mastery. Viennese music critic Eduard Hanslick expressed what Schonberg calls \"the majority point of view\" in an 1884 review.",
"Viennese music critic Eduard Hanslick expressed what Schonberg calls \"the majority point of view\" in an 1884 review. After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners.",
"After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners. Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness.",
"Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness. \"Yes, he plays like a god\", Hanslick writes in closing, \"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\".",
"\"Yes, he plays like a god\", Hanslick writes in closing, \"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\". Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm.",
"Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm. His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall.",
"His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall. In playing, Rubinstein created, and he created inimitably and with genius.",
"In playing, Rubinstein created, and he created inimitably and with genius. He often treated the same program absolutely differently when he played it the second time, but, more astoundingly still, everything came out wonderfully on both occasions. Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled.",
"Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled. Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song.",
"Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song. He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable.",
"He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable. It was superb.\"",
"It was superb.\" It was superb.\" Technique Villoing had worked with Rubinstein on hand position and finger dexterity. From watching Liszt, Rubinstein had learned about freedom of arm movement. Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing.",
"Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing. He would remark to his students about \"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\"",
"He would remark to his students about \"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\" In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\"",
"In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\" When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through.",
"When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through. Rubinstein himself admitted, after a concert in Berlin in 1875, \"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\"",
"Rubinstein himself admitted, after a concert in Berlin in 1875, \"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\" Part of the problem might have been the sheer size of Rubinstein's hands.",
"Part of the problem might have been the sheer size of Rubinstein's hands. They were huge, and many observers commented on them. Josef Hofmann observed that Rubinstein's fifth finger \"was as thick as my thumb—think of it! Then his fingers were square at the ends, with cushions on them.",
"Then his fingers were square at the ends, with cushions on them. It was a wonderful hand.\" Pianist Josef Lhévinne described them as \"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\"",
"Pianist Josef Lhévinne described them as \"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\" The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \"Nothing cramped about him!",
"The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \"Nothing cramped about him! He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\"",
"He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\" Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness.",
"Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness. Those who valued interpretation as much or more than pure technique found much to praise. Pianist and conductor Hans von Bülow called Rubinstein \"the Michelangelo of music.\"",
"Pianist and conductor Hans von Bülow called Rubinstein \"the Michelangelo of music.\" The German critic Ludwig Rellstab called him \"the Hercules of the piano; the Jupiter Tonans of the instrument.\" Tone Pressman attested to the singing quality of Rubinstein's playing, and much more: \"His tone was strikingly full and deep.",
"Tone Pressman attested to the singing quality of Rubinstein's playing, and much more: \"His tone was strikingly full and deep. With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres.",
"With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres. With him, the piano sang as Patti sang, as Rubini sang.\" Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists.",
"Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists. Fellow pianist Rafael Joseffy compared it to \"a golden French horn.\" Rubinstein himself told an interviewer, \"Strength with lightness, that is one secret of my touch...",
"Rubinstein himself told an interviewer, \"Strength with lightness, that is one secret of my touch... I have sat hours trying to imitate the timbre of Rubini's voice in my playing.\" Rubinstein told the young Rachmaninoff how he achieved that tone. \"Just press upon the keys until the blood oozes from your fingertips\".",
"\"Just press upon the keys until the blood oozes from your fingertips\". When he wanted to, Rubinstein could play with extreme lightness, grace and delicacy. He rarely displayed that side of his nature, however. He had learned quickly that audiences came to hear him thunder, so he accommodated them.",
"He had learned quickly that audiences came to hear him thunder, so he accommodated them. Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before.",
"Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before. During this tour, Rubinstein received more press attention than any other figure until the appearance of Ignacy Jan Paderewski a generation later. Programs Rubinstein's concert programs were often gargantuan.",
"Programs Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A).",
"101 in A). 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman.",
"Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note.",
"He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note. Rubinstein was most famous for his series of historical recitals—seven consecutive concerts covering the history of piano music. Each of these programs was enormous.",
"Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital.",
"Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert.",
"This did not include encores, which Rubinstein sprayed liberally at every concert. Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873. Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe.",
"Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge.",
"In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge. Rachmaninoff on Rubinstein Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student.",
"Rachmaninoff on Rubinstein Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student. Forty-four years later he told his biographer Oscar von Riesemann, \"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\"",
"Forty-four years later he told his biographer Oscar von Riesemann, \"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\" Rachmaninoff explained to von Riesemann, \"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\"",
"Rachmaninoff explained to von Riesemann, \"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\" Rachmaninoff's detailed description to von Riesemann is of interest: Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished.",
"Rachmaninoff's detailed description to von Riesemann is of interest: Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished. One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone...",
"One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone... I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \"fluttering away of the little bird\" would be hopelessly inadequate.",
"I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \"fluttering away of the little bird\" would be hopelessly inadequate. Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner.",
"Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner. One of Rubinstein's greatest secrets was his use of the pedal.",
"One of Rubinstein's greatest secrets was his use of the pedal. He himself very happily expressed his ideas on the subject when he said, \"The pedal is the soul of the piano.\" No pianist should ever forget this.",
"No pianist should ever forget this. Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \"Funeral March\" Sonata—both became cornerstones of Rachmaninoff's own recital programs.",
"Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \"Funeral March\" Sonata—both became cornerstones of Rachmaninoff's own recital programs. Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work.",
"Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work. Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later.",
"Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later. In Rubinstein's defense, however, Rachmaninoff said that \"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\"",
"In Rubinstein's defense, however, Rachmaninoff said that \"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\" Conducting Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867.",
"Conducting Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867. He also did his share of guest conducting both before and after his tenure with the RMS.",
"He also did his share of guest conducting both before and after his tenure with the RMS. Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences.",
"Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences. Teacher As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work.",
"Teacher As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work. He could also be exacting and expected as much from them as he gave to them.",
"He could also be exacting and expected as much from them as he gave to them. According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference.",
"According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference. This assignment would be due the following day.",
"This assignment would be due the following day. At other times, he would expect students to improvise a minuet, a rondo, a polonaise or some other musical form. Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead.",
"Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead. He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano.",
"He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano. Notable students include pianists Josef Hofmann and Sandra Drouker.",
"Notable students include pianists Josef Hofmann and Sandra Drouker. Composition By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \"but as a composer performing his symphonies, concertos, operas, trios, etc.\"",
"Composition By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \"but as a composer performing his symphonies, concertos, operas, trios, etc.\" Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote).",
"Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote). Edward Garden writes in the New Grove, Rubinstein composed assiduously during all periods of his life.",
"Edward Garden writes in the New Grove, Rubinstein composed assiduously during all periods of his life. He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved.",
"He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved. Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn.",
"Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn. Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music.",
"Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music. Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching.",
"Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching. Robert Schumann and Felix Mendelssohn were the strongest influences on Rubinstein's music. Consequently, Rubinstein's music demonstrates none of the nationalism of The Five.",
"Consequently, Rubinstein's music demonstrates none of the nationalism of The Five. Rubinstein also had a tendency to rush in composing his pieces, resulting in good ideas such as those in his Ocean Symphony being developed in less-than-exemplary ways. As Paderewski was later to remark, \"He had not the necessary concentration of patience for a composer...",
"As Paderewski was later to remark, \"He had not the necessary concentration of patience for a composer... He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\"",
"He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\" Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ...",
"Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ... The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s.",
"The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s. After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire.",
"After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire. Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev.",
"Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev. Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism.",
"Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism. Amongst his better known works are the opera The Demon, his Piano Concerto No. 4, and his Symphony No. 2, known as The Ocean.",
"2, known as The Ocean. Rubinstein's repartee Rubinstein was as well known during his lifetime for his sarcasm as well as his sometimes penetrating insight. During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him.",
"During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him. After a long silence, Rubinstein told Cortot, \"My boy, don't you ever forget what I am going to tell you. Beethoven's music must not be studied. It must be reincarnated.\"",
"It must be reincarnated.\" It must be reincarnated.\" Cortot reportedly never forgot those words. Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase.",
"Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase. His manner with them was a combination of raw, sometimes violent criticism and good humor.",
"His manner with them was a combination of raw, sometimes violent criticism and good humor. Hofmann wrote of one such lesson: Once I played a Liszt rhapsody pretty badly. After a little of it, Rubinstein said, \"The way you play this piece would be all right for Auntie or Mamma.\"",
"After a little of it, Rubinstein said, \"The way you play this piece would be all right for Auntie or Mamma.\" Then rising and coming toward me, he said, \"Now let us see how play such things.\" ...",
"... ... I began again, but I had not played more than a few measures when Rubinstein said loudly, \"Have you begun?\" \"Yes, Master, I certainly have.\" \"Oh,\" said Rubinstein vaguely, \"I didn't notice.\" ... Rubinstein did not so much instruct me.",
"... Rubinstein did not so much instruct me. Merely he let me learn from him ...",
"Merely he let me learn from him ... If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do.",
"If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do. Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts.",
"Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts. When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \"When you are as old as I am, you may do as I do.\"",
"When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \"When you are as old as I am, you may do as I do.\" Then Rubinstein added, \"If you can\". Nor did Rubinstein adjust the tenor of his comments for those of high rank.",
"Nor did Rubinstein adjust the tenor of his comments for those of high rank. After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility.",
"After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility. At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift.",
"At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift. Rubinstein replied bluntly, to the crowd's horror, \"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\"",
"Rubinstein replied bluntly, to the crowd's horror, \"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\" Rubinstein's voice The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison.",
"Rubinstein's voice The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison. Rubinstein is heard to make a complimentary remark about the phonograph recorder. References Sources In Russian (2 vol.) In German (3 vol.) In English (29 vols.)",
"In English (29 vols.) Further reading Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995) Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991) Rubinstein, Anton Grigorevich, ed.",
"Further reading Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995) Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991) Rubinstein, Anton Grigorevich, ed. L. Barenboim, Literaturnoye Naslediye (3 vol.",
"L. Barenboim, Literaturnoye Naslediye (3 vol. ), (in Russian), (Moscow, 1983) External links Networking Rubinstein – his contacts in his early career Soundbites from String Quartet No.1 in G, Op.17 No.1 Anton Rubinstein recordings at the Discography of American Historical Recordings.",
"), (in Russian), (Moscow, 1983) External links Networking Rubinstein – his contacts in his early career Soundbites from String Quartet No.1 in G, Op.17 No.1 Anton Rubinstein recordings at the Discography of American Historical Recordings. 1829 births 1894 deaths 19th-century classical composers 19th-century classical pianists 19th-century conductors (music) 19th-century male conductors (music) Burials at Tikhvin Cemetery Composers for piano Converts to Eastern Orthodoxy from Judaism Founders of Russian educational institutions Jewish atheists Jewish classical composers Jewish classical pianists Jewish opera composers Male classical pianists Male opera composers People from Baltsky Uyezd People from Rîbnița District Pupils of Siegfried Dehn Pyotr Ilyich Tchaikovsky Recipients of the Pour le Mérite (civil class) Royal Philharmonic Society Gold Medallists Russian atheists Russian classical pianists Russian conductors (music) Russian male conductors (music) Russian Jews Russian male classical composers Russian music educators Russian opera composers Russian Romantic composers"
] |
[
"Anton Rubinstein",
"Programs",
"What programs was he apart of?",
"Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna,",
"Are there any other interesting aspects about this article?",
"Rubinstein was most famous for his series of historical recitals--seven consecutive concerts covering the history of piano music.",
"What was the name of his series?",
"I don't know.",
"What was some of his concerts?",
"Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873."
] | C_abfaf1bc5d7a4878916e69b3dc8922b2_0 | did he tour again? | 5 | Other than his American tour, did Anton Rubinstein tour again? | Anton Rubinstein | Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note. Rubinstein was most famous for his series of historical recitals--seven consecutive concerts covering the history of piano music. Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert. Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873. Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge. CANNOTANSWER | Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, | Anton Grigoryevich Rubinstein (; ) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein, who founded the Moscow Conservatory.
As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals—seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.
Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life. He wrote 20 operas, the best known of which is The Demon. He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble.
Early life and education
Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa. Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy. Although he was raised as a Christian, Rubinstein would later become an atheist.
Rubinstein's father opened a pencil factory in Moscow. His mother, a competent musician, began giving him piano lessons at five, until the teacher heard and accepted Rubinstein as a non-paying student. Rubinstein made his first public appearance at a charity benefit concert at the age of nine. Later that year Rubinstein's mother sent him, accompanied by Villoing, to Paris where he sought unsuccessfully to enroll at the Paris Conservatoire.
Rubinstein and Villoing remained in Paris for a year. In December 1840, Rubinstein played in the Salle Érard for an audience that included Frédéric Chopin and Franz Liszt. Chopin invited Rubinstein to his studio and played for him. Liszt advised Villoing to take him to Germany to study composition; however, Villoing took Rubinstein on an extended concert tour of Europe and Western Russia. They finally returned to Moscow in June 1843. Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace. Anton was 14 years old; Nikolai was eight.
Travel and performance
Berlin
In spring 1844, Rubinstein, Nikolai, his mother and his sister Luba travelled to Berlin. Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer.
Mendelssohn, who had heard Rubinstein when he had toured with Villoing, said he needed no further piano study but sent Nikolai to Theodor Kullak for instruction. Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory.
Word came in the summer of 1846 that Rubinstein's father was gravely ill. Rubinstein was left in Berlin while his mother, sister and brother returned to Russia. At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest. Now 17, he knew he could no longer pass as a child prodigy. He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil. However, after Rubinstein had played his audition, Liszt is reported to have said, "A talented man must win the goal of his ambition by his own unassisted efforts." At this point, Rubinstein was living in acute poverty. Liszt did nothing to help him. Other calls Rubinstein made to potential patrons came to no avail. After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons.
Back to Russia
The Revolution of 1848 forced Rubinstein back to Russia. Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court. The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness. By 1852, he had become a leading figure in Saint Petersburg's musical life, performing as a soloist and collaborating with some of the outstanding instrumentalists and vocalists who came to the Russian capital.
He also composed assiduously. After a number of delays, including some difficulties with the censor, Rubinstein's first opera, Dmitry Donskoy (now lost except for the overture), was performed at the Bolshoy Theater in Saint Petersburg in 1852. Three one-act operas written for Elena Pavlovna followed. He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works. It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist.
Abroad once more
In 1854, Rubinstein began a four-year concert tour of Europe. This was his first major concert tour in a decade. Now 24, he felt ready to offer himself to the public as a fully developed pianist as well as a composer of worth. He very shortly reestablished his reputation as a virtuoso. Ignaz Moscheles wrote in 1855 what would become a widespread opinion about Rubinstein: "In power and execution he is inferior to no one."
As was the penchant at the time, much of what Rubinstein played were his own compositions. At several concerts, Rubinstein alternated between conducting his orchestral works and playing as soloist in one of his piano concertos. One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854. Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later.
Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice. Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859.
Opening the St. Petersburg Conservatory
The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862. Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty.
Some in Russian society were surprised that a Russian music school would actually attempt to be Russian. One "fashionable lady", when told by Rubinstein that classes would be taught in Russian and not a foreign language, exclaimed, "What, music in Russian! That is an original idea!" Rubinstein adds, And surely it was surprising that the theory of Music was to be taught for the first time in the Russian language at our Conservatory... Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany.
There were also those who feared the school would not be Russian enough. Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five. Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world. Actually the Conservatory raise the level of musical culture in Russia. The unconventional way chosen by Balakirev and his friends was not necessarily the right one for everybody else.
It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871. Between these two works are the orchestral works Don Quixote, which Tchaikovsky found "interesting and well done," though "episodic," and the opera Ivan IV Grozniy, which was premiered by Balakirev. Borodin commented on Ivan IV that "the music is good, you just cannot recognize that it is Rubinstein. There is nothing that is Mendelssohnian, nothing as he used to write formerly."
The American tour
By 1867, ongoing tensions with the Balakirev camp, along with related matters, led to intense dissension within the Conservatory's faculty. Rubinstein resigned and returned to touring throughout Europe. Unlike his previous tours, he began increasingly featuring the works of other composers. In previous tours, Rubinstein had played primarily his own works.
At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season. Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid. Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities.
Rubinstein wrote of his American experience, May Heaven preserve us from such slavery! Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost... The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art. So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank...
Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life. Upon his return to Russia, he "hastened to invest in real estate", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family.
Later life
Rubinstein continued to make tours as a pianist and give appearances as a conductor. In 1887, he returned to the Saint Petersburg Conservatory with the goal of improving overall standards. He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum. He led semi-weekly teachers' classes through the whole keyboard literature and gave some of the more gifted piano students personal coaching. During the 1889–90 academic year he gave weekly lecture-recitals for the students. He resigned again—and left Russia—in 1891 over Imperial demands that Conservatory admittance, and later annual prizes to students, be awarded along ethnic quotas instead of purely by merit. These quotas were designed to effectively disadvantage Jews. Rubinstein resettled in Dresden and started giving concerts again in Germany and Austria. Nearly all of these concerts were charity benefit events.
Rubinstein also coached a few pianists and taught his only private piano student, Josef Hofmann. Hofmann would become one of the finest keyboard artists of the 20th century.
Despite his sentiments on ethnic politics in Russia, Rubinstein returned there occasionally to visit friends and family. He gave his final concert in Saint Petersburg on 14 January 1894. With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894. He died there on 20 November of that year, having suffered from heart disease for some time.
The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him.
Pianism
"Van II"
Many contemporaries felt he bore a striking resemblance to Ludwig van Beethoven. Ignaz Moscheles, who had known Beethoven intimately, wrote, "Rubinstein's features and short, irrepressible hair remind me of Beethoven." Liszt referred to Rubinstein as "Van II." This resemblance was also felt to be in Rubinstein's keyboard playing. Under his hands, it was said, the piano erupted volcanically. Audience members wrote of going home limp after one of his recitals, knowing they had witnessed a force of nature.
Sometimes Rubinstein's playing was too much for listeners to handle. American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein "has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much. Give me Rubinstein for a few pieces, but Tausig for a whole evening." She heard Rubinstein play "a terrific piece by Schubert," reportedly the Wanderer Fantasie. The performance gave her such a violent headache that the rest of the recital was ruined for her.
Clara Schumann proved especially vehement. After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that "he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them." Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau. She noted in her diary, "I was furious, for he no longer plays. Either there is a perfectly wild noise or else a whisper with the soft pedal down. And a would-be cultured audience puts up with a performance like that!"
On the other hand, when Rubinstein played Beethoven's "Archduke" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls:
It was the first time I had heard this great artist play. He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme... It seemed to me I had never before heard the piano really played. The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ...
Violinist and composer Henri Vieuxtemps adds:
His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten. I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op. 57 [Appassionata], which Rubinstein executed for us with unimagined mastery.
Viennese music critic Eduard Hanslick expressed what Schonberg calls "the majority point of view" in an 1884 review. After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners. Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness. "Yes, he plays like a god", Hanslick writes in closing, "and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull".
Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm. His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall. In playing, Rubinstein created, and he created inimitably and with genius. He often treated the same program absolutely differently when he played it the second time, but, more astoundingly still, everything came out wonderfully on both occasions.
Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled. Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song. He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable. It was superb."
Technique
Villoing had worked with Rubinstein on hand position and finger dexterity. From watching Liszt, Rubinstein had learned about freedom of arm movement. Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing. He would remark to his students about "what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses."
In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that "of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself." When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through. Rubinstein himself admitted, after a concert in Berlin in 1875, "If I could gather up all the notes that I let fall under the piano, I could give a second concert with them."
Part of the problem might have been the sheer size of Rubinstein's hands. They were huge, and many observers commented on them. Josef Hofmann observed that Rubinstein's fifth finger "was as thick as my thumb—think of it! Then his fingers were square at the ends, with cushions on them. It was a wonderful hand." Pianist Josef Lhévinne described them as "fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once." The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: "Nothing cramped about him! He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!"
Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness. Those who valued interpretation as much or more than pure technique found much to praise. Pianist and conductor Hans von Bülow called Rubinstein "the Michelangelo of music." The German critic Ludwig Rellstab called him "the Hercules of the piano; the Jupiter Tonans of the instrument."
Tone
Pressman attested to the singing quality of Rubinstein's playing, and much more: "His tone was strikingly full and deep. With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres. With him, the piano sang as Patti sang, as Rubini sang."
Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists. Fellow pianist Rafael Joseffy compared it to "a golden French horn." Rubinstein himself told an interviewer, "Strength with lightness, that is one secret of my touch... I have sat hours trying to imitate the timbre of Rubini's voice in my playing."
Rubinstein told the young Rachmaninoff how he achieved that tone. "Just press upon the keys until the blood oozes from your fingertips". When he wanted to, Rubinstein could play with extreme lightness, grace and delicacy. He rarely displayed that side of his nature, however. He had learned quickly that audiences came to hear him thunder, so he accommodated them. Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before. During this tour, Rubinstein received more press attention than any other figure until the appearance of Ignacy Jan Paderewski a generation later.
Programs
Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note.
Rubinstein was most famous for his series of historical recitals—seven consecutive concerts covering the history of piano music. Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert.
Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873.
Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge.
Rachmaninoff on Rubinstein
Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student. Forty-four years later he told his biographer Oscar von Riesemann, "[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist."
Rachmaninoff explained to von Riesemann, "It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world."
Rachmaninoff's detailed description to von Riesemann is of interest:
Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished. One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone... I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the "fluttering away of the little bird" would be hopelessly inadequate. Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner. One of Rubinstein's greatest secrets was his use of the pedal. He himself very happily expressed his ideas on the subject when he said, "The pedal is the soul of the piano." No pianist should ever forget this.
Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's "Funeral March" Sonata—both became cornerstones of Rachmaninoff's own recital programs. Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work.
Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later. In Rubinstein's defense, however, Rachmaninoff said that "for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes."
Conducting
Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867. He also did his share of guest conducting both before and after his tenure with the RMS. Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences.
Teacher
As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work. He could also be exacting and expected as much from them as he gave to them. According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference. This assignment would be due the following day. At other times, he would expect students to improvise a minuet, a rondo, a polonaise or some other musical form.
Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead. He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano. Notable students include pianists Josef Hofmann and Sandra Drouker.
Composition
By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, "but as a composer performing his symphonies, concertos, operas, trios, etc." Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote). Edward Garden writes in the New Grove,
Rubinstein composed assiduously during all periods of his life. He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved.
Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn. Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music. Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching. Robert Schumann and Felix Mendelssohn were the strongest influences on Rubinstein's music.
Consequently, Rubinstein's music demonstrates none of the nationalism of The Five. Rubinstein also had a tendency to rush in composing his pieces, resulting in good ideas such as those in his Ocean Symphony being developed in less-than-exemplary ways. As Paderewski was later to remark, "He had not the necessary concentration of patience for a composer... He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces." Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ... The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s.
After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire. Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev.
Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism. Amongst his better known works are the opera The Demon, his Piano Concerto No. 4, and his Symphony No. 2, known as The Ocean.
Rubinstein's repartee
Rubinstein was as well known during his lifetime for his sarcasm as well as his sometimes penetrating insight. During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him. After a long silence, Rubinstein told Cortot, "My boy, don't you ever forget what I am going to tell you. Beethoven's music must not be studied. It must be reincarnated." Cortot reportedly never forgot those words.
Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase. His manner with them was a combination of raw, sometimes violent criticism and good humor. Hofmann wrote of one such lesson:
Once I played a Liszt rhapsody pretty badly. After a little of it, Rubinstein said, "The way you play this piece would be all right for Auntie or Mamma." Then rising and coming toward me, he said, "Now let us see how play such things."
... I began again, but I had not played more than a few measures when Rubinstein said loudly, "Have you begun?" "Yes, Master, I certainly have." "Oh," said Rubinstein vaguely, "I didn't notice." ... Rubinstein did not so much instruct me. Merely he let me learn from him ... If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do.
Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts. When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, "When you are as old as I am, you may do as I do." Then Rubinstein added, "If you can".
Nor did Rubinstein adjust the tenor of his comments for those of high rank. After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility. At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift. Rubinstein replied bluntly, to the crowd's horror, "Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?"
Rubinstein's voice
The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison. Rubinstein is heard to make a complimentary remark about the phonograph recorder.
References
Sources
In Russian
(2 vol.)
In German
(3 vol.)
In English
(29 vols.)
Further reading
Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995)
Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997)
Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991)
Rubinstein, Anton Grigorevich, ed. L. Barenboim, Literaturnoye Naslediye (3 vol.), (in Russian), (Moscow, 1983)
External links
Networking Rubinstein – his contacts in his early career
Soundbites from String Quartet No.1 in G, Op.17 No.1
Anton Rubinstein recordings at the Discography of American Historical Recordings.
1829 births
1894 deaths
19th-century classical composers
19th-century classical pianists
19th-century conductors (music)
19th-century male conductors (music)
Burials at Tikhvin Cemetery
Composers for piano
Converts to Eastern Orthodoxy from Judaism
Founders of Russian educational institutions
Jewish atheists
Jewish classical composers
Jewish classical pianists
Jewish opera composers
Male classical pianists
Male opera composers
People from Baltsky Uyezd
People from Rîbnița District
Pupils of Siegfried Dehn
Pyotr Ilyich Tchaikovsky
Recipients of the Pour le Mérite (civil class)
Royal Philharmonic Society Gold Medallists
Russian atheists
Russian classical pianists
Russian conductors (music)
Russian male conductors (music)
Russian Jews
Russian male classical composers
Russian music educators
Russian opera composers
Russian Romantic composers | true | [
"Oops!... I Did It Again may refer to:\n Oops!... I Did It Again (album) (2000)\n \"Oops!... I Did It Again\" (song) (2000)\n Oops!... I Did It Again Tour\n Oops! I Did It Again: The Best of Britney Spears (2012)\n Oops, I Did It Again! (Cex album) (2001)",
"David Haynes Mathis (born February 22, 1974) is an American professional golfer.\n\nMathis was born in Winston-Salem, North Carolina. He played college golf at Campbell University. He turned professional in 1997.\n\nMathis played on the mini-tours and then on the Canadian Tour from 2001 to 2005. He played on the Nationwide Tour from 2006 to 2008, winning once at the 2008 BMW Charity Pro-Am and earning his PGA Tour card for 2009. He played the PGA Tour in 2009 but did not earn enough to retain his card. He played the Nationwide Tour again in 2010, winning again at the Winn-Dixie Jacksonville Open and finishing 13th on the money list to regain his PGA Tour card for 2011.\n\nProfessional wins (4)\n\nNationwide Tour wins (2)\n\nOther wins (2)\n2004 one TarHeel Tour win\n2005 Michelin Morelia Classic (Canadian Tour)\n\nSee also\n2008 Nationwide Tour graduates\n2010 Nationwide Tour graduates\n\nReferences\n\nExternal links\n\nAmerican male golfers\nPGA Tour golfers\nKorn Ferry Tour graduates\nGolfers from North Carolina\nCampbell University alumni\nSportspeople from Winston-Salem, North Carolina\nPeople from Wake Forest, North Carolina\n1974 births\nLiving people"
] | [
"Anton Grigoryevich Rubinstein (; ) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein, who founded the Moscow Conservatory. As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos.",
"As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals—seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.",
"Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there. Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life.",
"Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life. He wrote 20 operas, the best known of which is The Demon.",
"He wrote 20 operas, the best known of which is The Demon. He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble.",
"He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble. Early life and education Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa.",
"Early life and education Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa. Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy.",
"Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy. Although he was raised as a Christian, Rubinstein would later become an atheist. Rubinstein's father opened a pencil factory in Moscow.",
"Rubinstein's father opened a pencil factory in Moscow. His mother, a competent musician, began giving him piano lessons at five, until the teacher heard and accepted Rubinstein as a non-paying student. Rubinstein made his first public appearance at a charity benefit concert at the age of nine.",
"Rubinstein made his first public appearance at a charity benefit concert at the age of nine. Later that year Rubinstein's mother sent him, accompanied by Villoing, to Paris where he sought unsuccessfully to enroll at the Paris Conservatoire. Rubinstein and Villoing remained in Paris for a year.",
"Rubinstein and Villoing remained in Paris for a year. In December 1840, Rubinstein played in the Salle Érard for an audience that included Frédéric Chopin and Franz Liszt. Chopin invited Rubinstein to his studio and played for him.",
"Chopin invited Rubinstein to his studio and played for him. Liszt advised Villoing to take him to Germany to study composition; however, Villoing took Rubinstein on an extended concert tour of Europe and Western Russia. They finally returned to Moscow in June 1843.",
"They finally returned to Moscow in June 1843. Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace.",
"Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace. Anton was 14 years old; Nikolai was eight.",
"Anton was 14 years old; Nikolai was eight. Travel and performance Berlin In spring 1844, Rubinstein, Nikolai, his mother and his sister Luba travelled to Berlin. Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer.",
"Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer. Mendelssohn, who had heard Rubinstein when he had toured with Villoing, said he needed no further piano study but sent Nikolai to Theodor Kullak for instruction. Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory.",
"Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory. Word came in the summer of 1846 that Rubinstein's father was gravely ill. Rubinstein was left in Berlin while his mother, sister and brother returned to Russia. At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest.",
"At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest. Now 17, he knew he could no longer pass as a child prodigy. He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil.",
"He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil. However, after Rubinstein had played his audition, Liszt is reported to have said, \"A talented man must win the goal of his ambition by his own unassisted efforts.\" At this point, Rubinstein was living in acute poverty.",
"At this point, Rubinstein was living in acute poverty. Liszt did nothing to help him. Other calls Rubinstein made to potential patrons came to no avail. After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons.",
"After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons. Back to Russia The Revolution of 1848 forced Rubinstein back to Russia. Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court.",
"Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court. The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness.",
"The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness. By 1852, he had become a leading figure in Saint Petersburg's musical life, performing as a soloist and collaborating with some of the outstanding instrumentalists and vocalists who came to the Russian capital. He also composed assiduously.",
"He also composed assiduously. He also composed assiduously. After a number of delays, including some difficulties with the censor, Rubinstein's first opera, Dmitry Donskoy (now lost except for the overture), was performed at the Bolshoy Theater in Saint Petersburg in 1852. Three one-act operas written for Elena Pavlovna followed.",
"Three one-act operas written for Elena Pavlovna followed. He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works.",
"He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works. It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist.",
"It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist. Abroad once more In 1854, Rubinstein began a four-year concert tour of Europe. This was his first major concert tour in a decade.",
"This was his first major concert tour in a decade. Now 24, he felt ready to offer himself to the public as a fully developed pianist as well as a composer of worth. He very shortly reestablished his reputation as a virtuoso.",
"He very shortly reestablished his reputation as a virtuoso. Ignaz Moscheles wrote in 1855 what would become a widespread opinion about Rubinstein: \"In power and execution he is inferior to no one.\" As was the penchant at the time, much of what Rubinstein played were his own compositions.",
"As was the penchant at the time, much of what Rubinstein played were his own compositions. At several concerts, Rubinstein alternated between conducting his orchestral works and playing as soloist in one of his piano concertos. One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854.",
"One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854. Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later.",
"Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later. Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice.",
"Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice. Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859.",
"Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859. Opening the St. Petersburg Conservatory The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862.",
"Opening the St. Petersburg Conservatory The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862. Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty.",
"Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty. Some in Russian society were surprised that a Russian music school would actually attempt to be Russian.",
"Some in Russian society were surprised that a Russian music school would actually attempt to be Russian. One \"fashionable lady\", when told by Rubinstein that classes would be taught in Russian and not a foreign language, exclaimed, \"What, music in Russian! That is an original idea!\"",
"That is an original idea!\" Rubinstein adds, And surely it was surprising that the theory of Music was to be taught for the first time in the Russian language at our Conservatory... Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany.",
"Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany. There were also those who feared the school would not be Russian enough. Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five.",
"Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five. Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world.",
"Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world. Actually the Conservatory raise the level of musical culture in Russia.",
"Actually the Conservatory raise the level of musical culture in Russia. The unconventional way chosen by Balakirev and his friends was not necessarily the right one for everybody else. It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871.",
"It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871. Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \"interesting and well done,\" though \"episodic,\" and the opera Ivan IV Grozniy, which was premiered by Balakirev.",
"Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \"interesting and well done,\" though \"episodic,\" and the opera Ivan IV Grozniy, which was premiered by Balakirev. Borodin commented on Ivan IV that \"the music is good, you just cannot recognize that it is Rubinstein.",
"Borodin commented on Ivan IV that \"the music is good, you just cannot recognize that it is Rubinstein. There is nothing that is Mendelssohnian, nothing as he used to write formerly.\"",
"There is nothing that is Mendelssohnian, nothing as he used to write formerly.\" The American tour By 1867, ongoing tensions with the Balakirev camp, along with related matters, led to intense dissension within the Conservatory's faculty. Rubinstein resigned and returned to touring throughout Europe.",
"Rubinstein resigned and returned to touring throughout Europe. Unlike his previous tours, he began increasingly featuring the works of other composers. In previous tours, Rubinstein had played primarily his own works. At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season.",
"At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season. Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid.",
"Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid. Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities.",
"Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities. Rubinstein wrote of his American experience, May Heaven preserve us from such slavery!",
"Rubinstein wrote of his American experience, May Heaven preserve us from such slavery! Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost...",
"Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost... The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art.",
"The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art. So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank...",
"So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank... Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life.",
"Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life. Upon his return to Russia, he \"hastened to invest in real estate\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family.",
"Upon his return to Russia, he \"hastened to invest in real estate\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family. Later life Rubinstein continued to make tours as a pianist and give appearances as a conductor.",
"Later life Rubinstein continued to make tours as a pianist and give appearances as a conductor. In 1887, he returned to the Saint Petersburg Conservatory with the goal of improving overall standards. He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum.",
"He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum. He led semi-weekly teachers' classes through the whole keyboard literature and gave some of the more gifted piano students personal coaching. During the 1889–90 academic year he gave weekly lecture-recitals for the students.",
"During the 1889–90 academic year he gave weekly lecture-recitals for the students. He resigned again—and left Russia—in 1891 over Imperial demands that Conservatory admittance, and later annual prizes to students, be awarded along ethnic quotas instead of purely by merit. These quotas were designed to effectively disadvantage Jews.",
"These quotas were designed to effectively disadvantage Jews. Rubinstein resettled in Dresden and started giving concerts again in Germany and Austria. Nearly all of these concerts were charity benefit events. Rubinstein also coached a few pianists and taught his only private piano student, Josef Hofmann. Hofmann would become one of the finest keyboard artists of the 20th century.",
"Hofmann would become one of the finest keyboard artists of the 20th century. Despite his sentiments on ethnic politics in Russia, Rubinstein returned there occasionally to visit friends and family. He gave his final concert in Saint Petersburg on 14 January 1894. With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894.",
"With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894. He died there on 20 November of that year, having suffered from heart disease for some time. The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him.",
"The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him. Pianism \"Van II\" Many contemporaries felt he bore a striking resemblance to Ludwig van Beethoven. Ignaz Moscheles, who had known Beethoven intimately, wrote, \"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\"",
"Ignaz Moscheles, who had known Beethoven intimately, wrote, \"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\" Liszt referred to Rubinstein as \"Van II.\" This resemblance was also felt to be in Rubinstein's keyboard playing. Under his hands, it was said, the piano erupted volcanically.",
"Under his hands, it was said, the piano erupted volcanically. Audience members wrote of going home limp after one of his recitals, knowing they had witnessed a force of nature. Sometimes Rubinstein's playing was too much for listeners to handle.",
"Sometimes Rubinstein's playing was too much for listeners to handle. American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much.",
"American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much. Give me Rubinstein for a few pieces, but Tausig for a whole evening.\"",
"Give me Rubinstein for a few pieces, but Tausig for a whole evening.\" She heard Rubinstein play \"a terrific piece by Schubert,\" reportedly the Wanderer Fantasie. The performance gave her such a violent headache that the rest of the recital was ruined for her. Clara Schumann proved especially vehement.",
"Clara Schumann proved especially vehement. Clara Schumann proved especially vehement. After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\"",
"After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\" Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau.",
"Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau. She noted in her diary, \"I was furious, for he no longer plays. Either there is a perfectly wild noise or else a whisper with the soft pedal down.",
"Either there is a perfectly wild noise or else a whisper with the soft pedal down. And a would-be cultured audience puts up with a performance like that!\"",
"And a would-be cultured audience puts up with a performance like that!\" On the other hand, when Rubinstein played Beethoven's \"Archduke\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls: It was the first time I had heard this great artist play.",
"On the other hand, when Rubinstein played Beethoven's \"Archduke\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls: It was the first time I had heard this great artist play. He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme...",
"He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme... It seemed to me I had never before heard the piano really played.",
"It seemed to me I had never before heard the piano really played. The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ... Violinist and composer Henri Vieuxtemps adds: His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten.",
"The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ... Violinist and composer Henri Vieuxtemps adds: His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten. I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op.",
"I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op. 57 [Appassionata], which Rubinstein executed for us with unimagined mastery. Viennese music critic Eduard Hanslick expressed what Schonberg calls \"the majority point of view\" in an 1884 review.",
"Viennese music critic Eduard Hanslick expressed what Schonberg calls \"the majority point of view\" in an 1884 review. After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners.",
"After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners. Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness.",
"Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness. \"Yes, he plays like a god\", Hanslick writes in closing, \"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\".",
"\"Yes, he plays like a god\", Hanslick writes in closing, \"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\". Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm.",
"Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm. His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall.",
"His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall. In playing, Rubinstein created, and he created inimitably and with genius.",
"In playing, Rubinstein created, and he created inimitably and with genius. He often treated the same program absolutely differently when he played it the second time, but, more astoundingly still, everything came out wonderfully on both occasions. Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled.",
"Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled. Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song.",
"Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song. He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable.",
"He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable. It was superb.\"",
"It was superb.\" It was superb.\" Technique Villoing had worked with Rubinstein on hand position and finger dexterity. From watching Liszt, Rubinstein had learned about freedom of arm movement. Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing.",
"Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing. He would remark to his students about \"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\"",
"He would remark to his students about \"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\" In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\"",
"In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\" When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through.",
"When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through. Rubinstein himself admitted, after a concert in Berlin in 1875, \"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\"",
"Rubinstein himself admitted, after a concert in Berlin in 1875, \"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\" Part of the problem might have been the sheer size of Rubinstein's hands.",
"Part of the problem might have been the sheer size of Rubinstein's hands. They were huge, and many observers commented on them. Josef Hofmann observed that Rubinstein's fifth finger \"was as thick as my thumb—think of it! Then his fingers were square at the ends, with cushions on them.",
"Then his fingers were square at the ends, with cushions on them. It was a wonderful hand.\" Pianist Josef Lhévinne described them as \"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\"",
"Pianist Josef Lhévinne described them as \"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\" The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \"Nothing cramped about him!",
"The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \"Nothing cramped about him! He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\"",
"He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\" Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness.",
"Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness. Those who valued interpretation as much or more than pure technique found much to praise. Pianist and conductor Hans von Bülow called Rubinstein \"the Michelangelo of music.\"",
"Pianist and conductor Hans von Bülow called Rubinstein \"the Michelangelo of music.\" The German critic Ludwig Rellstab called him \"the Hercules of the piano; the Jupiter Tonans of the instrument.\" Tone Pressman attested to the singing quality of Rubinstein's playing, and much more: \"His tone was strikingly full and deep.",
"Tone Pressman attested to the singing quality of Rubinstein's playing, and much more: \"His tone was strikingly full and deep. With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres.",
"With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres. With him, the piano sang as Patti sang, as Rubini sang.\" Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists.",
"Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists. Fellow pianist Rafael Joseffy compared it to \"a golden French horn.\" Rubinstein himself told an interviewer, \"Strength with lightness, that is one secret of my touch...",
"Rubinstein himself told an interviewer, \"Strength with lightness, that is one secret of my touch... I have sat hours trying to imitate the timbre of Rubini's voice in my playing.\" Rubinstein told the young Rachmaninoff how he achieved that tone. \"Just press upon the keys until the blood oozes from your fingertips\".",
"\"Just press upon the keys until the blood oozes from your fingertips\". When he wanted to, Rubinstein could play with extreme lightness, grace and delicacy. He rarely displayed that side of his nature, however. He had learned quickly that audiences came to hear him thunder, so he accommodated them.",
"He had learned quickly that audiences came to hear him thunder, so he accommodated them. Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before.",
"Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before. During this tour, Rubinstein received more press attention than any other figure until the appearance of Ignacy Jan Paderewski a generation later. Programs Rubinstein's concert programs were often gargantuan.",
"Programs Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A).",
"101 in A). 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman.",
"Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note.",
"He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note. Rubinstein was most famous for his series of historical recitals—seven consecutive concerts covering the history of piano music. Each of these programs was enormous.",
"Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital.",
"Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert.",
"This did not include encores, which Rubinstein sprayed liberally at every concert. Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873. Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe.",
"Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge.",
"In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge. Rachmaninoff on Rubinstein Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student.",
"Rachmaninoff on Rubinstein Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student. Forty-four years later he told his biographer Oscar von Riesemann, \"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\"",
"Forty-four years later he told his biographer Oscar von Riesemann, \"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\" Rachmaninoff explained to von Riesemann, \"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\"",
"Rachmaninoff explained to von Riesemann, \"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\" Rachmaninoff's detailed description to von Riesemann is of interest: Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished.",
"Rachmaninoff's detailed description to von Riesemann is of interest: Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished. One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone...",
"One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone... I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \"fluttering away of the little bird\" would be hopelessly inadequate.",
"I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \"fluttering away of the little bird\" would be hopelessly inadequate. Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner.",
"Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner. One of Rubinstein's greatest secrets was his use of the pedal.",
"One of Rubinstein's greatest secrets was his use of the pedal. He himself very happily expressed his ideas on the subject when he said, \"The pedal is the soul of the piano.\" No pianist should ever forget this.",
"No pianist should ever forget this. Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \"Funeral March\" Sonata—both became cornerstones of Rachmaninoff's own recital programs.",
"Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \"Funeral March\" Sonata—both became cornerstones of Rachmaninoff's own recital programs. Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work.",
"Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work. Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later.",
"Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later. In Rubinstein's defense, however, Rachmaninoff said that \"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\"",
"In Rubinstein's defense, however, Rachmaninoff said that \"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\" Conducting Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867.",
"Conducting Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867. He also did his share of guest conducting both before and after his tenure with the RMS.",
"He also did his share of guest conducting both before and after his tenure with the RMS. Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences.",
"Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences. Teacher As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work.",
"Teacher As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work. He could also be exacting and expected as much from them as he gave to them.",
"He could also be exacting and expected as much from them as he gave to them. According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference.",
"According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference. This assignment would be due the following day.",
"This assignment would be due the following day. At other times, he would expect students to improvise a minuet, a rondo, a polonaise or some other musical form. Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead.",
"Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead. He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano.",
"He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano. Notable students include pianists Josef Hofmann and Sandra Drouker.",
"Notable students include pianists Josef Hofmann and Sandra Drouker. Composition By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \"but as a composer performing his symphonies, concertos, operas, trios, etc.\"",
"Composition By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \"but as a composer performing his symphonies, concertos, operas, trios, etc.\" Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote).",
"Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote). Edward Garden writes in the New Grove, Rubinstein composed assiduously during all periods of his life.",
"Edward Garden writes in the New Grove, Rubinstein composed assiduously during all periods of his life. He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved.",
"He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved. Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn.",
"Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn. Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music.",
"Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music. Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching.",
"Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching. Robert Schumann and Felix Mendelssohn were the strongest influences on Rubinstein's music. Consequently, Rubinstein's music demonstrates none of the nationalism of The Five.",
"Consequently, Rubinstein's music demonstrates none of the nationalism of The Five. Rubinstein also had a tendency to rush in composing his pieces, resulting in good ideas such as those in his Ocean Symphony being developed in less-than-exemplary ways. As Paderewski was later to remark, \"He had not the necessary concentration of patience for a composer...",
"As Paderewski was later to remark, \"He had not the necessary concentration of patience for a composer... He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\"",
"He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\" Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ...",
"Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ... The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s.",
"The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s. After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire.",
"After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire. Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev.",
"Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev. Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism.",
"Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism. Amongst his better known works are the opera The Demon, his Piano Concerto No. 4, and his Symphony No. 2, known as The Ocean.",
"2, known as The Ocean. Rubinstein's repartee Rubinstein was as well known during his lifetime for his sarcasm as well as his sometimes penetrating insight. During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him.",
"During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him. After a long silence, Rubinstein told Cortot, \"My boy, don't you ever forget what I am going to tell you. Beethoven's music must not be studied. It must be reincarnated.\"",
"It must be reincarnated.\" It must be reincarnated.\" Cortot reportedly never forgot those words. Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase.",
"Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase. His manner with them was a combination of raw, sometimes violent criticism and good humor.",
"His manner with them was a combination of raw, sometimes violent criticism and good humor. Hofmann wrote of one such lesson: Once I played a Liszt rhapsody pretty badly. After a little of it, Rubinstein said, \"The way you play this piece would be all right for Auntie or Mamma.\"",
"After a little of it, Rubinstein said, \"The way you play this piece would be all right for Auntie or Mamma.\" Then rising and coming toward me, he said, \"Now let us see how play such things.\" ...",
"... ... I began again, but I had not played more than a few measures when Rubinstein said loudly, \"Have you begun?\" \"Yes, Master, I certainly have.\" \"Oh,\" said Rubinstein vaguely, \"I didn't notice.\" ... Rubinstein did not so much instruct me.",
"... Rubinstein did not so much instruct me. Merely he let me learn from him ...",
"Merely he let me learn from him ... If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do.",
"If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do. Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts.",
"Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts. When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \"When you are as old as I am, you may do as I do.\"",
"When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \"When you are as old as I am, you may do as I do.\" Then Rubinstein added, \"If you can\". Nor did Rubinstein adjust the tenor of his comments for those of high rank.",
"Nor did Rubinstein adjust the tenor of his comments for those of high rank. After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility.",
"After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility. At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift.",
"At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift. Rubinstein replied bluntly, to the crowd's horror, \"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\"",
"Rubinstein replied bluntly, to the crowd's horror, \"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\" Rubinstein's voice The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison.",
"Rubinstein's voice The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison. Rubinstein is heard to make a complimentary remark about the phonograph recorder. References Sources In Russian (2 vol.) In German (3 vol.) In English (29 vols.)",
"In English (29 vols.) Further reading Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995) Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991) Rubinstein, Anton Grigorevich, ed.",
"Further reading Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995) Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991) Rubinstein, Anton Grigorevich, ed. L. Barenboim, Literaturnoye Naslediye (3 vol.",
"L. Barenboim, Literaturnoye Naslediye (3 vol. ), (in Russian), (Moscow, 1983) External links Networking Rubinstein – his contacts in his early career Soundbites from String Quartet No.1 in G, Op.17 No.1 Anton Rubinstein recordings at the Discography of American Historical Recordings.",
"), (in Russian), (Moscow, 1983) External links Networking Rubinstein – his contacts in his early career Soundbites from String Quartet No.1 in G, Op.17 No.1 Anton Rubinstein recordings at the Discography of American Historical Recordings. 1829 births 1894 deaths 19th-century classical composers 19th-century classical pianists 19th-century conductors (music) 19th-century male conductors (music) Burials at Tikhvin Cemetery Composers for piano Converts to Eastern Orthodoxy from Judaism Founders of Russian educational institutions Jewish atheists Jewish classical composers Jewish classical pianists Jewish opera composers Male classical pianists Male opera composers People from Baltsky Uyezd People from Rîbnița District Pupils of Siegfried Dehn Pyotr Ilyich Tchaikovsky Recipients of the Pour le Mérite (civil class) Royal Philharmonic Society Gold Medallists Russian atheists Russian classical pianists Russian conductors (music) Russian male conductors (music) Russian Jews Russian male classical composers Russian music educators Russian opera composers Russian Romantic composers"
] |
[
"Anton Rubinstein",
"Programs",
"What programs was he apart of?",
"Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna,",
"Are there any other interesting aspects about this article?",
"Rubinstein was most famous for his series of historical recitals--seven consecutive concerts covering the history of piano music.",
"What was the name of his series?",
"I don't know.",
"What was some of his concerts?",
"Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873.",
"did he tour again?",
"Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility,",
"When was his last concert?",
"I don't know."
] | C_abfaf1bc5d7a4878916e69b3dc8922b2_0 | what was his most famous concert? | 7 | What was Anton Rubinstein's most famous concert? | Anton Rubinstein | Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note. Rubinstein was most famous for his series of historical recitals--seven consecutive concerts covering the history of piano music. Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert. Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873. Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge. CANNOTANSWER | the pianist played more than 20 pieces in one concert in Vienna, including three sonatas | Anton Grigoryevich Rubinstein (; ) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein, who founded the Moscow Conservatory.
As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals—seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.
Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life. He wrote 20 operas, the best known of which is The Demon. He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble.
Early life and education
Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa. Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy. Although he was raised as a Christian, Rubinstein would later become an atheist.
Rubinstein's father opened a pencil factory in Moscow. His mother, a competent musician, began giving him piano lessons at five, until the teacher heard and accepted Rubinstein as a non-paying student. Rubinstein made his first public appearance at a charity benefit concert at the age of nine. Later that year Rubinstein's mother sent him, accompanied by Villoing, to Paris where he sought unsuccessfully to enroll at the Paris Conservatoire.
Rubinstein and Villoing remained in Paris for a year. In December 1840, Rubinstein played in the Salle Érard for an audience that included Frédéric Chopin and Franz Liszt. Chopin invited Rubinstein to his studio and played for him. Liszt advised Villoing to take him to Germany to study composition; however, Villoing took Rubinstein on an extended concert tour of Europe and Western Russia. They finally returned to Moscow in June 1843. Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace. Anton was 14 years old; Nikolai was eight.
Travel and performance
Berlin
In spring 1844, Rubinstein, Nikolai, his mother and his sister Luba travelled to Berlin. Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer.
Mendelssohn, who had heard Rubinstein when he had toured with Villoing, said he needed no further piano study but sent Nikolai to Theodor Kullak for instruction. Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory.
Word came in the summer of 1846 that Rubinstein's father was gravely ill. Rubinstein was left in Berlin while his mother, sister and brother returned to Russia. At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest. Now 17, he knew he could no longer pass as a child prodigy. He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil. However, after Rubinstein had played his audition, Liszt is reported to have said, "A talented man must win the goal of his ambition by his own unassisted efforts." At this point, Rubinstein was living in acute poverty. Liszt did nothing to help him. Other calls Rubinstein made to potential patrons came to no avail. After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons.
Back to Russia
The Revolution of 1848 forced Rubinstein back to Russia. Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court. The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness. By 1852, he had become a leading figure in Saint Petersburg's musical life, performing as a soloist and collaborating with some of the outstanding instrumentalists and vocalists who came to the Russian capital.
He also composed assiduously. After a number of delays, including some difficulties with the censor, Rubinstein's first opera, Dmitry Donskoy (now lost except for the overture), was performed at the Bolshoy Theater in Saint Petersburg in 1852. Three one-act operas written for Elena Pavlovna followed. He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works. It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist.
Abroad once more
In 1854, Rubinstein began a four-year concert tour of Europe. This was his first major concert tour in a decade. Now 24, he felt ready to offer himself to the public as a fully developed pianist as well as a composer of worth. He very shortly reestablished his reputation as a virtuoso. Ignaz Moscheles wrote in 1855 what would become a widespread opinion about Rubinstein: "In power and execution he is inferior to no one."
As was the penchant at the time, much of what Rubinstein played were his own compositions. At several concerts, Rubinstein alternated between conducting his orchestral works and playing as soloist in one of his piano concertos. One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854. Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later.
Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice. Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859.
Opening the St. Petersburg Conservatory
The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862. Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty.
Some in Russian society were surprised that a Russian music school would actually attempt to be Russian. One "fashionable lady", when told by Rubinstein that classes would be taught in Russian and not a foreign language, exclaimed, "What, music in Russian! That is an original idea!" Rubinstein adds, And surely it was surprising that the theory of Music was to be taught for the first time in the Russian language at our Conservatory... Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany.
There were also those who feared the school would not be Russian enough. Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five. Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world. Actually the Conservatory raise the level of musical culture in Russia. The unconventional way chosen by Balakirev and his friends was not necessarily the right one for everybody else.
It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871. Between these two works are the orchestral works Don Quixote, which Tchaikovsky found "interesting and well done," though "episodic," and the opera Ivan IV Grozniy, which was premiered by Balakirev. Borodin commented on Ivan IV that "the music is good, you just cannot recognize that it is Rubinstein. There is nothing that is Mendelssohnian, nothing as he used to write formerly."
The American tour
By 1867, ongoing tensions with the Balakirev camp, along with related matters, led to intense dissension within the Conservatory's faculty. Rubinstein resigned and returned to touring throughout Europe. Unlike his previous tours, he began increasingly featuring the works of other composers. In previous tours, Rubinstein had played primarily his own works.
At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season. Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid. Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities.
Rubinstein wrote of his American experience, May Heaven preserve us from such slavery! Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost... The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art. So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank...
Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life. Upon his return to Russia, he "hastened to invest in real estate", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family.
Later life
Rubinstein continued to make tours as a pianist and give appearances as a conductor. In 1887, he returned to the Saint Petersburg Conservatory with the goal of improving overall standards. He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum. He led semi-weekly teachers' classes through the whole keyboard literature and gave some of the more gifted piano students personal coaching. During the 1889–90 academic year he gave weekly lecture-recitals for the students. He resigned again—and left Russia—in 1891 over Imperial demands that Conservatory admittance, and later annual prizes to students, be awarded along ethnic quotas instead of purely by merit. These quotas were designed to effectively disadvantage Jews. Rubinstein resettled in Dresden and started giving concerts again in Germany and Austria. Nearly all of these concerts were charity benefit events.
Rubinstein also coached a few pianists and taught his only private piano student, Josef Hofmann. Hofmann would become one of the finest keyboard artists of the 20th century.
Despite his sentiments on ethnic politics in Russia, Rubinstein returned there occasionally to visit friends and family. He gave his final concert in Saint Petersburg on 14 January 1894. With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894. He died there on 20 November of that year, having suffered from heart disease for some time.
The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him.
Pianism
"Van II"
Many contemporaries felt he bore a striking resemblance to Ludwig van Beethoven. Ignaz Moscheles, who had known Beethoven intimately, wrote, "Rubinstein's features and short, irrepressible hair remind me of Beethoven." Liszt referred to Rubinstein as "Van II." This resemblance was also felt to be in Rubinstein's keyboard playing. Under his hands, it was said, the piano erupted volcanically. Audience members wrote of going home limp after one of his recitals, knowing they had witnessed a force of nature.
Sometimes Rubinstein's playing was too much for listeners to handle. American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein "has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much. Give me Rubinstein for a few pieces, but Tausig for a whole evening." She heard Rubinstein play "a terrific piece by Schubert," reportedly the Wanderer Fantasie. The performance gave her such a violent headache that the rest of the recital was ruined for her.
Clara Schumann proved especially vehement. After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that "he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them." Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau. She noted in her diary, "I was furious, for he no longer plays. Either there is a perfectly wild noise or else a whisper with the soft pedal down. And a would-be cultured audience puts up with a performance like that!"
On the other hand, when Rubinstein played Beethoven's "Archduke" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls:
It was the first time I had heard this great artist play. He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme... It seemed to me I had never before heard the piano really played. The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ...
Violinist and composer Henri Vieuxtemps adds:
His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten. I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op. 57 [Appassionata], which Rubinstein executed for us with unimagined mastery.
Viennese music critic Eduard Hanslick expressed what Schonberg calls "the majority point of view" in an 1884 review. After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners. Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness. "Yes, he plays like a god", Hanslick writes in closing, "and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull".
Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm. His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall. In playing, Rubinstein created, and he created inimitably and with genius. He often treated the same program absolutely differently when he played it the second time, but, more astoundingly still, everything came out wonderfully on both occasions.
Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled. Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song. He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable. It was superb."
Technique
Villoing had worked with Rubinstein on hand position and finger dexterity. From watching Liszt, Rubinstein had learned about freedom of arm movement. Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing. He would remark to his students about "what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses."
In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that "of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself." When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through. Rubinstein himself admitted, after a concert in Berlin in 1875, "If I could gather up all the notes that I let fall under the piano, I could give a second concert with them."
Part of the problem might have been the sheer size of Rubinstein's hands. They were huge, and many observers commented on them. Josef Hofmann observed that Rubinstein's fifth finger "was as thick as my thumb—think of it! Then his fingers were square at the ends, with cushions on them. It was a wonderful hand." Pianist Josef Lhévinne described them as "fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once." The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: "Nothing cramped about him! He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!"
Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness. Those who valued interpretation as much or more than pure technique found much to praise. Pianist and conductor Hans von Bülow called Rubinstein "the Michelangelo of music." The German critic Ludwig Rellstab called him "the Hercules of the piano; the Jupiter Tonans of the instrument."
Tone
Pressman attested to the singing quality of Rubinstein's playing, and much more: "His tone was strikingly full and deep. With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres. With him, the piano sang as Patti sang, as Rubini sang."
Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists. Fellow pianist Rafael Joseffy compared it to "a golden French horn." Rubinstein himself told an interviewer, "Strength with lightness, that is one secret of my touch... I have sat hours trying to imitate the timbre of Rubini's voice in my playing."
Rubinstein told the young Rachmaninoff how he achieved that tone. "Just press upon the keys until the blood oozes from your fingertips". When he wanted to, Rubinstein could play with extreme lightness, grace and delicacy. He rarely displayed that side of his nature, however. He had learned quickly that audiences came to hear him thunder, so he accommodated them. Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before. During this tour, Rubinstein received more press attention than any other figure until the appearance of Ignacy Jan Paderewski a generation later.
Programs
Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note.
Rubinstein was most famous for his series of historical recitals—seven consecutive concerts covering the history of piano music. Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert.
Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873.
Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge.
Rachmaninoff on Rubinstein
Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student. Forty-four years later he told his biographer Oscar von Riesemann, "[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist."
Rachmaninoff explained to von Riesemann, "It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world."
Rachmaninoff's detailed description to von Riesemann is of interest:
Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished. One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone... I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the "fluttering away of the little bird" would be hopelessly inadequate. Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner. One of Rubinstein's greatest secrets was his use of the pedal. He himself very happily expressed his ideas on the subject when he said, "The pedal is the soul of the piano." No pianist should ever forget this.
Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's "Funeral March" Sonata—both became cornerstones of Rachmaninoff's own recital programs. Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work.
Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later. In Rubinstein's defense, however, Rachmaninoff said that "for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes."
Conducting
Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867. He also did his share of guest conducting both before and after his tenure with the RMS. Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences.
Teacher
As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work. He could also be exacting and expected as much from them as he gave to them. According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference. This assignment would be due the following day. At other times, he would expect students to improvise a minuet, a rondo, a polonaise or some other musical form.
Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead. He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano. Notable students include pianists Josef Hofmann and Sandra Drouker.
Composition
By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, "but as a composer performing his symphonies, concertos, operas, trios, etc." Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote). Edward Garden writes in the New Grove,
Rubinstein composed assiduously during all periods of his life. He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved.
Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn. Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music. Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching. Robert Schumann and Felix Mendelssohn were the strongest influences on Rubinstein's music.
Consequently, Rubinstein's music demonstrates none of the nationalism of The Five. Rubinstein also had a tendency to rush in composing his pieces, resulting in good ideas such as those in his Ocean Symphony being developed in less-than-exemplary ways. As Paderewski was later to remark, "He had not the necessary concentration of patience for a composer... He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces." Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ... The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s.
After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire. Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev.
Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism. Amongst his better known works are the opera The Demon, his Piano Concerto No. 4, and his Symphony No. 2, known as The Ocean.
Rubinstein's repartee
Rubinstein was as well known during his lifetime for his sarcasm as well as his sometimes penetrating insight. During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him. After a long silence, Rubinstein told Cortot, "My boy, don't you ever forget what I am going to tell you. Beethoven's music must not be studied. It must be reincarnated." Cortot reportedly never forgot those words.
Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase. His manner with them was a combination of raw, sometimes violent criticism and good humor. Hofmann wrote of one such lesson:
Once I played a Liszt rhapsody pretty badly. After a little of it, Rubinstein said, "The way you play this piece would be all right for Auntie or Mamma." Then rising and coming toward me, he said, "Now let us see how play such things."
... I began again, but I had not played more than a few measures when Rubinstein said loudly, "Have you begun?" "Yes, Master, I certainly have." "Oh," said Rubinstein vaguely, "I didn't notice." ... Rubinstein did not so much instruct me. Merely he let me learn from him ... If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do.
Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts. When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, "When you are as old as I am, you may do as I do." Then Rubinstein added, "If you can".
Nor did Rubinstein adjust the tenor of his comments for those of high rank. After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility. At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift. Rubinstein replied bluntly, to the crowd's horror, "Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?"
Rubinstein's voice
The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison. Rubinstein is heard to make a complimentary remark about the phonograph recorder.
References
Sources
In Russian
(2 vol.)
In German
(3 vol.)
In English
(29 vols.)
Further reading
Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995)
Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997)
Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991)
Rubinstein, Anton Grigorevich, ed. L. Barenboim, Literaturnoye Naslediye (3 vol.), (in Russian), (Moscow, 1983)
External links
Networking Rubinstein – his contacts in his early career
Soundbites from String Quartet No.1 in G, Op.17 No.1
Anton Rubinstein recordings at the Discography of American Historical Recordings.
1829 births
1894 deaths
19th-century classical composers
19th-century classical pianists
19th-century conductors (music)
19th-century male conductors (music)
Burials at Tikhvin Cemetery
Composers for piano
Converts to Eastern Orthodoxy from Judaism
Founders of Russian educational institutions
Jewish atheists
Jewish classical composers
Jewish classical pianists
Jewish opera composers
Male classical pianists
Male opera composers
People from Baltsky Uyezd
People from Rîbnița District
Pupils of Siegfried Dehn
Pyotr Ilyich Tchaikovsky
Recipients of the Pour le Mérite (civil class)
Royal Philharmonic Society Gold Medallists
Russian atheists
Russian classical pianists
Russian conductors (music)
Russian male conductors (music)
Russian Jews
Russian male classical composers
Russian music educators
Russian opera composers
Russian Romantic composers | true | [
"The See What You Started Tour was a concert tour headlined by American rock band Collective Soul, in support of their ninth studio album, See What You Started by Continuing.\n\nBackground\nThe tour was announced by the band through a video posted to Facebook on July 27, 2015. Tickets for most early dates went on sale to the public two days later.\n\nTour dates\n\nAdditional notes\n A This concert was aired live on Yahoo! Screen.\n\nRescheduled show\n\nPersonnel\nCollective Soul\n Ed Roland – lead vocals, guitar, keyboards \n Dean Roland – rhythm guitar, keyboards \n Will Turpin – bass, backing vocals \n Jesse Triplett – lead guitar\n Johnny Rabb – drums, percussion\n\nReferences\n\n2015 concert tours\n2016 concert tours\nCollective Soul concert tours\nConcert tours of Canada\nConcert tours of South America\nConcert tours of the United States",
"Ernst Grenzebach (14 February 1871 – 29 May 1936) was a German concert baritone and voice teacher. He taught, among others, two of the most famous European heroic tenors: Max Lorenz and Lauritz Melchior.\n\nLife and career \nBorn in Berlin, Grenzebach was the son of a Berlin merchant. From 1900 to 1904 he studied opera and concert singing at the Stern Conservatory. Although he was also active as a concert soloist, from 1904 he devoted himself primarily to teaching. He conducted the Grenzebach'sche Frauenchor which consisted of his students. In the 1920s he lived in Nassauische Strasse in Berlin-Wilmersdorf. He was the principal teacher of opera and concert singing at the Klindworth-Scharwenka-Konservatorium, which for decades enjoyed the reputation of an internationally renowned training institution. He was regarded as the vocal pedagogue of Berlin and was a professor at the Staatliche Hochschule für Musik und Darstellende Kunst Berlin from 1928 to 1934. Else Prausnitz (1885-1976) was the piano accompanist during his lessons for many years.\n\nThe later record producer, manager and composer (1897–1992) was his nephew whose musical education was supported by his uncle.\n\nGrenzebach died in Berlin aged 65.\n\nStudents\n\nLiterature \n Karl-Josef Kutsch, Leo Riemens: Großes Sängerlexikon. Fourth, extended and updated edition. K. G. Saur, Munich 2003, vol. 4.\n\nReferences\n\nExternal links \n Grenzebach, Ernst on Operissimo\n\n1871 births\n1936 deaths\nMusicians from Berlin\nGerman baritones\nVoice teachers"
] | [
"Anton Grigoryevich Rubinstein (; ) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein, who founded the Moscow Conservatory. As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos.",
"As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals—seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.",
"Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there. Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life.",
"Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life. He wrote 20 operas, the best known of which is The Demon.",
"He wrote 20 operas, the best known of which is The Demon. He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble.",
"He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble. Early life and education Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa.",
"Early life and education Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa. Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy.",
"Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy. Although he was raised as a Christian, Rubinstein would later become an atheist. Rubinstein's father opened a pencil factory in Moscow.",
"Rubinstein's father opened a pencil factory in Moscow. His mother, a competent musician, began giving him piano lessons at five, until the teacher heard and accepted Rubinstein as a non-paying student. Rubinstein made his first public appearance at a charity benefit concert at the age of nine.",
"Rubinstein made his first public appearance at a charity benefit concert at the age of nine. Later that year Rubinstein's mother sent him, accompanied by Villoing, to Paris where he sought unsuccessfully to enroll at the Paris Conservatoire. Rubinstein and Villoing remained in Paris for a year.",
"Rubinstein and Villoing remained in Paris for a year. In December 1840, Rubinstein played in the Salle Érard for an audience that included Frédéric Chopin and Franz Liszt. Chopin invited Rubinstein to his studio and played for him.",
"Chopin invited Rubinstein to his studio and played for him. Liszt advised Villoing to take him to Germany to study composition; however, Villoing took Rubinstein on an extended concert tour of Europe and Western Russia. They finally returned to Moscow in June 1843.",
"They finally returned to Moscow in June 1843. Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace.",
"Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace. Anton was 14 years old; Nikolai was eight.",
"Anton was 14 years old; Nikolai was eight. Travel and performance Berlin In spring 1844, Rubinstein, Nikolai, his mother and his sister Luba travelled to Berlin. Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer.",
"Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer. Mendelssohn, who had heard Rubinstein when he had toured with Villoing, said he needed no further piano study but sent Nikolai to Theodor Kullak for instruction. Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory.",
"Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory. Word came in the summer of 1846 that Rubinstein's father was gravely ill. Rubinstein was left in Berlin while his mother, sister and brother returned to Russia. At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest.",
"At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest. Now 17, he knew he could no longer pass as a child prodigy. He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil.",
"He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil. However, after Rubinstein had played his audition, Liszt is reported to have said, \"A talented man must win the goal of his ambition by his own unassisted efforts.\" At this point, Rubinstein was living in acute poverty.",
"At this point, Rubinstein was living in acute poverty. Liszt did nothing to help him. Other calls Rubinstein made to potential patrons came to no avail. After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons.",
"After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons. Back to Russia The Revolution of 1848 forced Rubinstein back to Russia. Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court.",
"Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court. The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness.",
"The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness. By 1852, he had become a leading figure in Saint Petersburg's musical life, performing as a soloist and collaborating with some of the outstanding instrumentalists and vocalists who came to the Russian capital. He also composed assiduously.",
"He also composed assiduously. He also composed assiduously. After a number of delays, including some difficulties with the censor, Rubinstein's first opera, Dmitry Donskoy (now lost except for the overture), was performed at the Bolshoy Theater in Saint Petersburg in 1852. Three one-act operas written for Elena Pavlovna followed.",
"Three one-act operas written for Elena Pavlovna followed. He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works.",
"He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works. It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist.",
"It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist. Abroad once more In 1854, Rubinstein began a four-year concert tour of Europe. This was his first major concert tour in a decade.",
"This was his first major concert tour in a decade. Now 24, he felt ready to offer himself to the public as a fully developed pianist as well as a composer of worth. He very shortly reestablished his reputation as a virtuoso.",
"He very shortly reestablished his reputation as a virtuoso. Ignaz Moscheles wrote in 1855 what would become a widespread opinion about Rubinstein: \"In power and execution he is inferior to no one.\" As was the penchant at the time, much of what Rubinstein played were his own compositions.",
"As was the penchant at the time, much of what Rubinstein played were his own compositions. At several concerts, Rubinstein alternated between conducting his orchestral works and playing as soloist in one of his piano concertos. One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854.",
"One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854. Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later.",
"Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later. Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice.",
"Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice. Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859.",
"Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859. Opening the St. Petersburg Conservatory The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862.",
"Opening the St. Petersburg Conservatory The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862. Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty.",
"Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty. Some in Russian society were surprised that a Russian music school would actually attempt to be Russian.",
"Some in Russian society were surprised that a Russian music school would actually attempt to be Russian. One \"fashionable lady\", when told by Rubinstein that classes would be taught in Russian and not a foreign language, exclaimed, \"What, music in Russian! That is an original idea!\"",
"That is an original idea!\" Rubinstein adds, And surely it was surprising that the theory of Music was to be taught for the first time in the Russian language at our Conservatory... Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany.",
"Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany. There were also those who feared the school would not be Russian enough. Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five.",
"Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five. Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world.",
"Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world. Actually the Conservatory raise the level of musical culture in Russia.",
"Actually the Conservatory raise the level of musical culture in Russia. The unconventional way chosen by Balakirev and his friends was not necessarily the right one for everybody else. It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871.",
"It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871. Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \"interesting and well done,\" though \"episodic,\" and the opera Ivan IV Grozniy, which was premiered by Balakirev.",
"Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \"interesting and well done,\" though \"episodic,\" and the opera Ivan IV Grozniy, which was premiered by Balakirev. Borodin commented on Ivan IV that \"the music is good, you just cannot recognize that it is Rubinstein.",
"Borodin commented on Ivan IV that \"the music is good, you just cannot recognize that it is Rubinstein. There is nothing that is Mendelssohnian, nothing as he used to write formerly.\"",
"There is nothing that is Mendelssohnian, nothing as he used to write formerly.\" The American tour By 1867, ongoing tensions with the Balakirev camp, along with related matters, led to intense dissension within the Conservatory's faculty. Rubinstein resigned and returned to touring throughout Europe.",
"Rubinstein resigned and returned to touring throughout Europe. Unlike his previous tours, he began increasingly featuring the works of other composers. In previous tours, Rubinstein had played primarily his own works. At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season.",
"At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season. Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid.",
"Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid. Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities.",
"Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities. Rubinstein wrote of his American experience, May Heaven preserve us from such slavery!",
"Rubinstein wrote of his American experience, May Heaven preserve us from such slavery! Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost...",
"Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost... The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art.",
"The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art. So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank...",
"So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank... Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life.",
"Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life. Upon his return to Russia, he \"hastened to invest in real estate\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family.",
"Upon his return to Russia, he \"hastened to invest in real estate\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family. Later life Rubinstein continued to make tours as a pianist and give appearances as a conductor.",
"Later life Rubinstein continued to make tours as a pianist and give appearances as a conductor. In 1887, he returned to the Saint Petersburg Conservatory with the goal of improving overall standards. He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum.",
"He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum. He led semi-weekly teachers' classes through the whole keyboard literature and gave some of the more gifted piano students personal coaching. During the 1889–90 academic year he gave weekly lecture-recitals for the students.",
"During the 1889–90 academic year he gave weekly lecture-recitals for the students. He resigned again—and left Russia—in 1891 over Imperial demands that Conservatory admittance, and later annual prizes to students, be awarded along ethnic quotas instead of purely by merit. These quotas were designed to effectively disadvantage Jews.",
"These quotas were designed to effectively disadvantage Jews. Rubinstein resettled in Dresden and started giving concerts again in Germany and Austria. Nearly all of these concerts were charity benefit events. Rubinstein also coached a few pianists and taught his only private piano student, Josef Hofmann. Hofmann would become one of the finest keyboard artists of the 20th century.",
"Hofmann would become one of the finest keyboard artists of the 20th century. Despite his sentiments on ethnic politics in Russia, Rubinstein returned there occasionally to visit friends and family. He gave his final concert in Saint Petersburg on 14 January 1894. With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894.",
"With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894. He died there on 20 November of that year, having suffered from heart disease for some time. The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him.",
"The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him. Pianism \"Van II\" Many contemporaries felt he bore a striking resemblance to Ludwig van Beethoven. Ignaz Moscheles, who had known Beethoven intimately, wrote, \"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\"",
"Ignaz Moscheles, who had known Beethoven intimately, wrote, \"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\" Liszt referred to Rubinstein as \"Van II.\" This resemblance was also felt to be in Rubinstein's keyboard playing. Under his hands, it was said, the piano erupted volcanically.",
"Under his hands, it was said, the piano erupted volcanically. Audience members wrote of going home limp after one of his recitals, knowing they had witnessed a force of nature. Sometimes Rubinstein's playing was too much for listeners to handle.",
"Sometimes Rubinstein's playing was too much for listeners to handle. American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much.",
"American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much. Give me Rubinstein for a few pieces, but Tausig for a whole evening.\"",
"Give me Rubinstein for a few pieces, but Tausig for a whole evening.\" She heard Rubinstein play \"a terrific piece by Schubert,\" reportedly the Wanderer Fantasie. The performance gave her such a violent headache that the rest of the recital was ruined for her. Clara Schumann proved especially vehement.",
"Clara Schumann proved especially vehement. Clara Schumann proved especially vehement. After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\"",
"After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\" Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau.",
"Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau. She noted in her diary, \"I was furious, for he no longer plays. Either there is a perfectly wild noise or else a whisper with the soft pedal down.",
"Either there is a perfectly wild noise or else a whisper with the soft pedal down. And a would-be cultured audience puts up with a performance like that!\"",
"And a would-be cultured audience puts up with a performance like that!\" On the other hand, when Rubinstein played Beethoven's \"Archduke\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls: It was the first time I had heard this great artist play.",
"On the other hand, when Rubinstein played Beethoven's \"Archduke\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls: It was the first time I had heard this great artist play. He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme...",
"He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme... It seemed to me I had never before heard the piano really played.",
"It seemed to me I had never before heard the piano really played. The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ... Violinist and composer Henri Vieuxtemps adds: His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten.",
"The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ... Violinist and composer Henri Vieuxtemps adds: His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten. I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op.",
"I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op. 57 [Appassionata], which Rubinstein executed for us with unimagined mastery. Viennese music critic Eduard Hanslick expressed what Schonberg calls \"the majority point of view\" in an 1884 review.",
"Viennese music critic Eduard Hanslick expressed what Schonberg calls \"the majority point of view\" in an 1884 review. After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners.",
"After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners. Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness.",
"Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness. \"Yes, he plays like a god\", Hanslick writes in closing, \"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\".",
"\"Yes, he plays like a god\", Hanslick writes in closing, \"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\". Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm.",
"Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm. His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall.",
"His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall. In playing, Rubinstein created, and he created inimitably and with genius.",
"In playing, Rubinstein created, and he created inimitably and with genius. He often treated the same program absolutely differently when he played it the second time, but, more astoundingly still, everything came out wonderfully on both occasions. Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled.",
"Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled. Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song.",
"Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song. He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable.",
"He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable. It was superb.\"",
"It was superb.\" It was superb.\" Technique Villoing had worked with Rubinstein on hand position and finger dexterity. From watching Liszt, Rubinstein had learned about freedom of arm movement. Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing.",
"Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing. He would remark to his students about \"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\"",
"He would remark to his students about \"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\" In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\"",
"In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\" When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through.",
"When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through. Rubinstein himself admitted, after a concert in Berlin in 1875, \"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\"",
"Rubinstein himself admitted, after a concert in Berlin in 1875, \"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\" Part of the problem might have been the sheer size of Rubinstein's hands.",
"Part of the problem might have been the sheer size of Rubinstein's hands. They were huge, and many observers commented on them. Josef Hofmann observed that Rubinstein's fifth finger \"was as thick as my thumb—think of it! Then his fingers were square at the ends, with cushions on them.",
"Then his fingers were square at the ends, with cushions on them. It was a wonderful hand.\" Pianist Josef Lhévinne described them as \"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\"",
"Pianist Josef Lhévinne described them as \"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\" The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \"Nothing cramped about him!",
"The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \"Nothing cramped about him! He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\"",
"He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\" Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness.",
"Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness. Those who valued interpretation as much or more than pure technique found much to praise. Pianist and conductor Hans von Bülow called Rubinstein \"the Michelangelo of music.\"",
"Pianist and conductor Hans von Bülow called Rubinstein \"the Michelangelo of music.\" The German critic Ludwig Rellstab called him \"the Hercules of the piano; the Jupiter Tonans of the instrument.\" Tone Pressman attested to the singing quality of Rubinstein's playing, and much more: \"His tone was strikingly full and deep.",
"Tone Pressman attested to the singing quality of Rubinstein's playing, and much more: \"His tone was strikingly full and deep. With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres.",
"With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres. With him, the piano sang as Patti sang, as Rubini sang.\" Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists.",
"Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists. Fellow pianist Rafael Joseffy compared it to \"a golden French horn.\" Rubinstein himself told an interviewer, \"Strength with lightness, that is one secret of my touch...",
"Rubinstein himself told an interviewer, \"Strength with lightness, that is one secret of my touch... I have sat hours trying to imitate the timbre of Rubini's voice in my playing.\" Rubinstein told the young Rachmaninoff how he achieved that tone. \"Just press upon the keys until the blood oozes from your fingertips\".",
"\"Just press upon the keys until the blood oozes from your fingertips\". When he wanted to, Rubinstein could play with extreme lightness, grace and delicacy. He rarely displayed that side of his nature, however. He had learned quickly that audiences came to hear him thunder, so he accommodated them.",
"He had learned quickly that audiences came to hear him thunder, so he accommodated them. Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before.",
"Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before. During this tour, Rubinstein received more press attention than any other figure until the appearance of Ignacy Jan Paderewski a generation later. Programs Rubinstein's concert programs were often gargantuan.",
"Programs Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A).",
"101 in A). 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman.",
"Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note.",
"He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note. Rubinstein was most famous for his series of historical recitals—seven consecutive concerts covering the history of piano music. Each of these programs was enormous.",
"Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital.",
"Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert.",
"This did not include encores, which Rubinstein sprayed liberally at every concert. Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873. Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe.",
"Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge.",
"In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge. Rachmaninoff on Rubinstein Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student.",
"Rachmaninoff on Rubinstein Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student. Forty-four years later he told his biographer Oscar von Riesemann, \"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\"",
"Forty-four years later he told his biographer Oscar von Riesemann, \"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\" Rachmaninoff explained to von Riesemann, \"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\"",
"Rachmaninoff explained to von Riesemann, \"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\" Rachmaninoff's detailed description to von Riesemann is of interest: Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished.",
"Rachmaninoff's detailed description to von Riesemann is of interest: Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished. One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone...",
"One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone... I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \"fluttering away of the little bird\" would be hopelessly inadequate.",
"I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \"fluttering away of the little bird\" would be hopelessly inadequate. Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner.",
"Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner. One of Rubinstein's greatest secrets was his use of the pedal.",
"One of Rubinstein's greatest secrets was his use of the pedal. He himself very happily expressed his ideas on the subject when he said, \"The pedal is the soul of the piano.\" No pianist should ever forget this.",
"No pianist should ever forget this. Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \"Funeral March\" Sonata—both became cornerstones of Rachmaninoff's own recital programs.",
"Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \"Funeral March\" Sonata—both became cornerstones of Rachmaninoff's own recital programs. Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work.",
"Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work. Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later.",
"Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later. In Rubinstein's defense, however, Rachmaninoff said that \"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\"",
"In Rubinstein's defense, however, Rachmaninoff said that \"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\" Conducting Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867.",
"Conducting Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867. He also did his share of guest conducting both before and after his tenure with the RMS.",
"He also did his share of guest conducting both before and after his tenure with the RMS. Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences.",
"Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences. Teacher As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work.",
"Teacher As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work. He could also be exacting and expected as much from them as he gave to them.",
"He could also be exacting and expected as much from them as he gave to them. According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference.",
"According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference. This assignment would be due the following day.",
"This assignment would be due the following day. At other times, he would expect students to improvise a minuet, a rondo, a polonaise or some other musical form. Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead.",
"Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead. He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano.",
"He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano. Notable students include pianists Josef Hofmann and Sandra Drouker.",
"Notable students include pianists Josef Hofmann and Sandra Drouker. Composition By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \"but as a composer performing his symphonies, concertos, operas, trios, etc.\"",
"Composition By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \"but as a composer performing his symphonies, concertos, operas, trios, etc.\" Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote).",
"Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote). Edward Garden writes in the New Grove, Rubinstein composed assiduously during all periods of his life.",
"Edward Garden writes in the New Grove, Rubinstein composed assiduously during all periods of his life. He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved.",
"He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved. Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn.",
"Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn. Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music.",
"Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music. Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching.",
"Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching. Robert Schumann and Felix Mendelssohn were the strongest influences on Rubinstein's music. Consequently, Rubinstein's music demonstrates none of the nationalism of The Five.",
"Consequently, Rubinstein's music demonstrates none of the nationalism of The Five. Rubinstein also had a tendency to rush in composing his pieces, resulting in good ideas such as those in his Ocean Symphony being developed in less-than-exemplary ways. As Paderewski was later to remark, \"He had not the necessary concentration of patience for a composer...",
"As Paderewski was later to remark, \"He had not the necessary concentration of patience for a composer... He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\"",
"He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\" Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ...",
"Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ... The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s.",
"The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s. After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire.",
"After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire. Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev.",
"Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev. Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism.",
"Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism. Amongst his better known works are the opera The Demon, his Piano Concerto No. 4, and his Symphony No. 2, known as The Ocean.",
"2, known as The Ocean. Rubinstein's repartee Rubinstein was as well known during his lifetime for his sarcasm as well as his sometimes penetrating insight. During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him.",
"During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him. After a long silence, Rubinstein told Cortot, \"My boy, don't you ever forget what I am going to tell you. Beethoven's music must not be studied. It must be reincarnated.\"",
"It must be reincarnated.\" It must be reincarnated.\" Cortot reportedly never forgot those words. Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase.",
"Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase. His manner with them was a combination of raw, sometimes violent criticism and good humor.",
"His manner with them was a combination of raw, sometimes violent criticism and good humor. Hofmann wrote of one such lesson: Once I played a Liszt rhapsody pretty badly. After a little of it, Rubinstein said, \"The way you play this piece would be all right for Auntie or Mamma.\"",
"After a little of it, Rubinstein said, \"The way you play this piece would be all right for Auntie or Mamma.\" Then rising and coming toward me, he said, \"Now let us see how play such things.\" ...",
"... ... I began again, but I had not played more than a few measures when Rubinstein said loudly, \"Have you begun?\" \"Yes, Master, I certainly have.\" \"Oh,\" said Rubinstein vaguely, \"I didn't notice.\" ... Rubinstein did not so much instruct me.",
"... Rubinstein did not so much instruct me. Merely he let me learn from him ...",
"Merely he let me learn from him ... If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do.",
"If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do. Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts.",
"Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts. When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \"When you are as old as I am, you may do as I do.\"",
"When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \"When you are as old as I am, you may do as I do.\" Then Rubinstein added, \"If you can\". Nor did Rubinstein adjust the tenor of his comments for those of high rank.",
"Nor did Rubinstein adjust the tenor of his comments for those of high rank. After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility.",
"After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility. At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift.",
"At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift. Rubinstein replied bluntly, to the crowd's horror, \"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\"",
"Rubinstein replied bluntly, to the crowd's horror, \"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\" Rubinstein's voice The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison.",
"Rubinstein's voice The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison. Rubinstein is heard to make a complimentary remark about the phonograph recorder. References Sources In Russian (2 vol.) In German (3 vol.) In English (29 vols.)",
"In English (29 vols.) Further reading Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995) Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991) Rubinstein, Anton Grigorevich, ed.",
"Further reading Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995) Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991) Rubinstein, Anton Grigorevich, ed. L. Barenboim, Literaturnoye Naslediye (3 vol.",
"L. Barenboim, Literaturnoye Naslediye (3 vol. ), (in Russian), (Moscow, 1983) External links Networking Rubinstein – his contacts in his early career Soundbites from String Quartet No.1 in G, Op.17 No.1 Anton Rubinstein recordings at the Discography of American Historical Recordings.",
"), (in Russian), (Moscow, 1983) External links Networking Rubinstein – his contacts in his early career Soundbites from String Quartet No.1 in G, Op.17 No.1 Anton Rubinstein recordings at the Discography of American Historical Recordings. 1829 births 1894 deaths 19th-century classical composers 19th-century classical pianists 19th-century conductors (music) 19th-century male conductors (music) Burials at Tikhvin Cemetery Composers for piano Converts to Eastern Orthodoxy from Judaism Founders of Russian educational institutions Jewish atheists Jewish classical composers Jewish classical pianists Jewish opera composers Male classical pianists Male opera composers People from Baltsky Uyezd People from Rîbnița District Pupils of Siegfried Dehn Pyotr Ilyich Tchaikovsky Recipients of the Pour le Mérite (civil class) Royal Philharmonic Society Gold Medallists Russian atheists Russian classical pianists Russian conductors (music) Russian male conductors (music) Russian Jews Russian male classical composers Russian music educators Russian opera composers Russian Romantic composers"
] |
[
"Anton Rubinstein",
"Programs",
"What programs was he apart of?",
"Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna,",
"Are there any other interesting aspects about this article?",
"Rubinstein was most famous for his series of historical recitals--seven consecutive concerts covering the history of piano music.",
"What was the name of his series?",
"I don't know.",
"What was some of his concerts?",
"Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873.",
"did he tour again?",
"Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility,",
"When was his last concert?",
"I don't know.",
"what was his most famous concert?",
"the pianist played more than 20 pieces in one concert in Vienna, including three sonatas"
] | C_abfaf1bc5d7a4878916e69b3dc8922b2_0 | Did he write the sonatas? | 8 | Did Anton Rubinstein write the three sonatas? | Anton Rubinstein | Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note. Rubinstein was most famous for his series of historical recitals--seven consecutive concerts covering the history of piano music. Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert. Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873. Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge. CANNOTANSWER | the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A | Anton Grigoryevich Rubinstein (; ) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein, who founded the Moscow Conservatory.
As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals—seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.
Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life. He wrote 20 operas, the best known of which is The Demon. He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble.
Early life and education
Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa. Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy. Although he was raised as a Christian, Rubinstein would later become an atheist.
Rubinstein's father opened a pencil factory in Moscow. His mother, a competent musician, began giving him piano lessons at five, until the teacher heard and accepted Rubinstein as a non-paying student. Rubinstein made his first public appearance at a charity benefit concert at the age of nine. Later that year Rubinstein's mother sent him, accompanied by Villoing, to Paris where he sought unsuccessfully to enroll at the Paris Conservatoire.
Rubinstein and Villoing remained in Paris for a year. In December 1840, Rubinstein played in the Salle Érard for an audience that included Frédéric Chopin and Franz Liszt. Chopin invited Rubinstein to his studio and played for him. Liszt advised Villoing to take him to Germany to study composition; however, Villoing took Rubinstein on an extended concert tour of Europe and Western Russia. They finally returned to Moscow in June 1843. Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace. Anton was 14 years old; Nikolai was eight.
Travel and performance
Berlin
In spring 1844, Rubinstein, Nikolai, his mother and his sister Luba travelled to Berlin. Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer.
Mendelssohn, who had heard Rubinstein when he had toured with Villoing, said he needed no further piano study but sent Nikolai to Theodor Kullak for instruction. Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory.
Word came in the summer of 1846 that Rubinstein's father was gravely ill. Rubinstein was left in Berlin while his mother, sister and brother returned to Russia. At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest. Now 17, he knew he could no longer pass as a child prodigy. He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil. However, after Rubinstein had played his audition, Liszt is reported to have said, "A talented man must win the goal of his ambition by his own unassisted efforts." At this point, Rubinstein was living in acute poverty. Liszt did nothing to help him. Other calls Rubinstein made to potential patrons came to no avail. After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons.
Back to Russia
The Revolution of 1848 forced Rubinstein back to Russia. Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court. The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness. By 1852, he had become a leading figure in Saint Petersburg's musical life, performing as a soloist and collaborating with some of the outstanding instrumentalists and vocalists who came to the Russian capital.
He also composed assiduously. After a number of delays, including some difficulties with the censor, Rubinstein's first opera, Dmitry Donskoy (now lost except for the overture), was performed at the Bolshoy Theater in Saint Petersburg in 1852. Three one-act operas written for Elena Pavlovna followed. He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works. It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist.
Abroad once more
In 1854, Rubinstein began a four-year concert tour of Europe. This was his first major concert tour in a decade. Now 24, he felt ready to offer himself to the public as a fully developed pianist as well as a composer of worth. He very shortly reestablished his reputation as a virtuoso. Ignaz Moscheles wrote in 1855 what would become a widespread opinion about Rubinstein: "In power and execution he is inferior to no one."
As was the penchant at the time, much of what Rubinstein played were his own compositions. At several concerts, Rubinstein alternated between conducting his orchestral works and playing as soloist in one of his piano concertos. One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854. Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later.
Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice. Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859.
Opening the St. Petersburg Conservatory
The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862. Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty.
Some in Russian society were surprised that a Russian music school would actually attempt to be Russian. One "fashionable lady", when told by Rubinstein that classes would be taught in Russian and not a foreign language, exclaimed, "What, music in Russian! That is an original idea!" Rubinstein adds, And surely it was surprising that the theory of Music was to be taught for the first time in the Russian language at our Conservatory... Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany.
There were also those who feared the school would not be Russian enough. Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five. Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world. Actually the Conservatory raise the level of musical culture in Russia. The unconventional way chosen by Balakirev and his friends was not necessarily the right one for everybody else.
It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871. Between these two works are the orchestral works Don Quixote, which Tchaikovsky found "interesting and well done," though "episodic," and the opera Ivan IV Grozniy, which was premiered by Balakirev. Borodin commented on Ivan IV that "the music is good, you just cannot recognize that it is Rubinstein. There is nothing that is Mendelssohnian, nothing as he used to write formerly."
The American tour
By 1867, ongoing tensions with the Balakirev camp, along with related matters, led to intense dissension within the Conservatory's faculty. Rubinstein resigned and returned to touring throughout Europe. Unlike his previous tours, he began increasingly featuring the works of other composers. In previous tours, Rubinstein had played primarily his own works.
At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season. Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid. Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities.
Rubinstein wrote of his American experience, May Heaven preserve us from such slavery! Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost... The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art. So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank...
Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life. Upon his return to Russia, he "hastened to invest in real estate", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family.
Later life
Rubinstein continued to make tours as a pianist and give appearances as a conductor. In 1887, he returned to the Saint Petersburg Conservatory with the goal of improving overall standards. He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum. He led semi-weekly teachers' classes through the whole keyboard literature and gave some of the more gifted piano students personal coaching. During the 1889–90 academic year he gave weekly lecture-recitals for the students. He resigned again—and left Russia—in 1891 over Imperial demands that Conservatory admittance, and later annual prizes to students, be awarded along ethnic quotas instead of purely by merit. These quotas were designed to effectively disadvantage Jews. Rubinstein resettled in Dresden and started giving concerts again in Germany and Austria. Nearly all of these concerts were charity benefit events.
Rubinstein also coached a few pianists and taught his only private piano student, Josef Hofmann. Hofmann would become one of the finest keyboard artists of the 20th century.
Despite his sentiments on ethnic politics in Russia, Rubinstein returned there occasionally to visit friends and family. He gave his final concert in Saint Petersburg on 14 January 1894. With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894. He died there on 20 November of that year, having suffered from heart disease for some time.
The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him.
Pianism
"Van II"
Many contemporaries felt he bore a striking resemblance to Ludwig van Beethoven. Ignaz Moscheles, who had known Beethoven intimately, wrote, "Rubinstein's features and short, irrepressible hair remind me of Beethoven." Liszt referred to Rubinstein as "Van II." This resemblance was also felt to be in Rubinstein's keyboard playing. Under his hands, it was said, the piano erupted volcanically. Audience members wrote of going home limp after one of his recitals, knowing they had witnessed a force of nature.
Sometimes Rubinstein's playing was too much for listeners to handle. American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein "has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much. Give me Rubinstein for a few pieces, but Tausig for a whole evening." She heard Rubinstein play "a terrific piece by Schubert," reportedly the Wanderer Fantasie. The performance gave her such a violent headache that the rest of the recital was ruined for her.
Clara Schumann proved especially vehement. After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that "he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them." Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau. She noted in her diary, "I was furious, for he no longer plays. Either there is a perfectly wild noise or else a whisper with the soft pedal down. And a would-be cultured audience puts up with a performance like that!"
On the other hand, when Rubinstein played Beethoven's "Archduke" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls:
It was the first time I had heard this great artist play. He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme... It seemed to me I had never before heard the piano really played. The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ...
Violinist and composer Henri Vieuxtemps adds:
His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten. I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op. 57 [Appassionata], which Rubinstein executed for us with unimagined mastery.
Viennese music critic Eduard Hanslick expressed what Schonberg calls "the majority point of view" in an 1884 review. After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners. Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness. "Yes, he plays like a god", Hanslick writes in closing, "and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull".
Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm. His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall. In playing, Rubinstein created, and he created inimitably and with genius. He often treated the same program absolutely differently when he played it the second time, but, more astoundingly still, everything came out wonderfully on both occasions.
Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled. Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song. He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable. It was superb."
Technique
Villoing had worked with Rubinstein on hand position and finger dexterity. From watching Liszt, Rubinstein had learned about freedom of arm movement. Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing. He would remark to his students about "what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses."
In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that "of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself." When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through. Rubinstein himself admitted, after a concert in Berlin in 1875, "If I could gather up all the notes that I let fall under the piano, I could give a second concert with them."
Part of the problem might have been the sheer size of Rubinstein's hands. They were huge, and many observers commented on them. Josef Hofmann observed that Rubinstein's fifth finger "was as thick as my thumb—think of it! Then his fingers were square at the ends, with cushions on them. It was a wonderful hand." Pianist Josef Lhévinne described them as "fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once." The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: "Nothing cramped about him! He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!"
Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness. Those who valued interpretation as much or more than pure technique found much to praise. Pianist and conductor Hans von Bülow called Rubinstein "the Michelangelo of music." The German critic Ludwig Rellstab called him "the Hercules of the piano; the Jupiter Tonans of the instrument."
Tone
Pressman attested to the singing quality of Rubinstein's playing, and much more: "His tone was strikingly full and deep. With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres. With him, the piano sang as Patti sang, as Rubini sang."
Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists. Fellow pianist Rafael Joseffy compared it to "a golden French horn." Rubinstein himself told an interviewer, "Strength with lightness, that is one secret of my touch... I have sat hours trying to imitate the timbre of Rubini's voice in my playing."
Rubinstein told the young Rachmaninoff how he achieved that tone. "Just press upon the keys until the blood oozes from your fingertips". When he wanted to, Rubinstein could play with extreme lightness, grace and delicacy. He rarely displayed that side of his nature, however. He had learned quickly that audiences came to hear him thunder, so he accommodated them. Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before. During this tour, Rubinstein received more press attention than any other figure until the appearance of Ignacy Jan Paderewski a generation later.
Programs
Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note.
Rubinstein was most famous for his series of historical recitals—seven consecutive concerts covering the history of piano music. Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert.
Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873.
Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge.
Rachmaninoff on Rubinstein
Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student. Forty-four years later he told his biographer Oscar von Riesemann, "[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist."
Rachmaninoff explained to von Riesemann, "It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world."
Rachmaninoff's detailed description to von Riesemann is of interest:
Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished. One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone... I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the "fluttering away of the little bird" would be hopelessly inadequate. Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner. One of Rubinstein's greatest secrets was his use of the pedal. He himself very happily expressed his ideas on the subject when he said, "The pedal is the soul of the piano." No pianist should ever forget this.
Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's "Funeral March" Sonata—both became cornerstones of Rachmaninoff's own recital programs. Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work.
Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later. In Rubinstein's defense, however, Rachmaninoff said that "for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes."
Conducting
Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867. He also did his share of guest conducting both before and after his tenure with the RMS. Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences.
Teacher
As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work. He could also be exacting and expected as much from them as he gave to them. According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference. This assignment would be due the following day. At other times, he would expect students to improvise a minuet, a rondo, a polonaise or some other musical form.
Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead. He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano. Notable students include pianists Josef Hofmann and Sandra Drouker.
Composition
By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, "but as a composer performing his symphonies, concertos, operas, trios, etc." Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote). Edward Garden writes in the New Grove,
Rubinstein composed assiduously during all periods of his life. He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved.
Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn. Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music. Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching. Robert Schumann and Felix Mendelssohn were the strongest influences on Rubinstein's music.
Consequently, Rubinstein's music demonstrates none of the nationalism of The Five. Rubinstein also had a tendency to rush in composing his pieces, resulting in good ideas such as those in his Ocean Symphony being developed in less-than-exemplary ways. As Paderewski was later to remark, "He had not the necessary concentration of patience for a composer... He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces." Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ... The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s.
After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire. Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev.
Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism. Amongst his better known works are the opera The Demon, his Piano Concerto No. 4, and his Symphony No. 2, known as The Ocean.
Rubinstein's repartee
Rubinstein was as well known during his lifetime for his sarcasm as well as his sometimes penetrating insight. During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him. After a long silence, Rubinstein told Cortot, "My boy, don't you ever forget what I am going to tell you. Beethoven's music must not be studied. It must be reincarnated." Cortot reportedly never forgot those words.
Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase. His manner with them was a combination of raw, sometimes violent criticism and good humor. Hofmann wrote of one such lesson:
Once I played a Liszt rhapsody pretty badly. After a little of it, Rubinstein said, "The way you play this piece would be all right for Auntie or Mamma." Then rising and coming toward me, he said, "Now let us see how play such things."
... I began again, but I had not played more than a few measures when Rubinstein said loudly, "Have you begun?" "Yes, Master, I certainly have." "Oh," said Rubinstein vaguely, "I didn't notice." ... Rubinstein did not so much instruct me. Merely he let me learn from him ... If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do.
Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts. When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, "When you are as old as I am, you may do as I do." Then Rubinstein added, "If you can".
Nor did Rubinstein adjust the tenor of his comments for those of high rank. After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility. At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift. Rubinstein replied bluntly, to the crowd's horror, "Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?"
Rubinstein's voice
The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison. Rubinstein is heard to make a complimentary remark about the phonograph recorder.
References
Sources
In Russian
(2 vol.)
In German
(3 vol.)
In English
(29 vols.)
Further reading
Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995)
Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997)
Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991)
Rubinstein, Anton Grigorevich, ed. L. Barenboim, Literaturnoye Naslediye (3 vol.), (in Russian), (Moscow, 1983)
External links
Networking Rubinstein – his contacts in his early career
Soundbites from String Quartet No.1 in G, Op.17 No.1
Anton Rubinstein recordings at the Discography of American Historical Recordings.
1829 births
1894 deaths
19th-century classical composers
19th-century classical pianists
19th-century conductors (music)
19th-century male conductors (music)
Burials at Tikhvin Cemetery
Composers for piano
Converts to Eastern Orthodoxy from Judaism
Founders of Russian educational institutions
Jewish atheists
Jewish classical composers
Jewish classical pianists
Jewish opera composers
Male classical pianists
Male opera composers
People from Baltsky Uyezd
People from Rîbnița District
Pupils of Siegfried Dehn
Pyotr Ilyich Tchaikovsky
Recipients of the Pour le Mérite (civil class)
Royal Philharmonic Society Gold Medallists
Russian atheists
Russian classical pianists
Russian conductors (music)
Russian male conductors (music)
Russian Jews
Russian male classical composers
Russian music educators
Russian opera composers
Russian Romantic composers | true | [
"Antonio Vivaldi composed several sonatas for cello and continuo. A set of six cello sonatas, written between 1720 and 1730, was published in Paris in 1740. He wrote at least four other cello sonatas, with two manuscripts kept in Naples, another in Wiesentheid, and one known to be lost.\n\nHistory \nWhen Vivaldi worked in Venice, the cello sonata became a popular genre. Benedetto Marcello had composed six cello sonatas in a similar style shortly before Vivaldi. Eleanor Selfridge-Field writes: \"the impetus for Vivaldi to write these works at such a late age may have come from the general popularity of the cello sonatas of the 1730s, or perhaps from the specific example of Marcello, who wrote two collections of cello sonatas published in that decade\".\n\nVivaldi wrote his at least ten cello sonatas between 1720 and 1730, of which nine are extant. The manuscripts of six of them (RV 40, 41, 43, 45, 46 and 47) are held by the Bibliothèque nationale in Paris. Manuscripts of three sonatas (RV 39, 44 and 47) are kept at the Conservatorio di S. Pietro a Majella in Naples. Three manuscripts of cello sonatas are held by the library of , Bavaria): RV 42, 44 and 46.\n\nThe six cello sonatas held in Paris were copied around 1725, for a French client, possibly Count Gergy, the French ambassador in Venice who commissioned music by Vivaldi for noble customers in Paris. Three of the sonatas (RV 40, 42 and 43) seem to be pasticcios from earlier compositions, based on their style. They appear to be a collection for a single customer rather than to be printed, by monotony in key and no numbering.\n\nThe three sonatas held in Naples were most probably copied for Count Maddaloni, an amateur cellist for whom Pergolesi composed a cello sonata, and Leonardo Leo six cello concertos. These sonatas are part-autographs, with all verbal markings by the composer which assures the authenticity of these compositions. Count Rudolf Franz Erwein von Schönborn Wiesentheid, also an amateur cellist, ordered three Vivaldi cello sonatas.\n\nThe Paris sonatas were published in 1740 by Leclerc and Boivin, titled VI Sonates Violoncello Solo col Basso. They appeared without an opus number, but are sometimes improperly called Op. 14. The print obviously happened without the composer's permission; music for cello was in increasing demand in Paris at the time, and Vivaldi's name popular.\n\nThe three sonatas RV 39, 44 and 42, were published by Amadeus Verlag in Winterthur in 1975, edited by Walter Kolneder who assumed that it was their first publication.\n\nMusic \nThe sonatas are all in four movements, typical for late Baroque sonatas. The tempos follow a pattern of slow-fast-slow-fast consistently.\n\nPublished in Paris, 1740 \n\n Sonata No. 1 in B flat major, RV 47\n Largo\n Allegro\n Largo\n Allegro\n Sonata No. 2 in F major, RV 41\n Largo\n Allegro\n Largo\n Allegro\n Sonata No. 3 in A minor, RV 43\n Largo\n Allegro\n Largo\n Allegro\n Sonata No. 4 in B flat major, RV 45\n Largo\n Allegro\n Largo\n Allegro\n Sonata No. 5 in E minor, RV 40\n Largo\n Allegro\n Largo\n Allegro\n Sonata No. 6 in B flat major, RV 46\n Largo\n Allegro\n Largo\n Allegro\n\nOther cello sonatas \n\n Sonata No. 7 in A minor, RV 44\n Largo\n Allegro poco\n Largo\n Allegro\n\n Sonata No. 8 in E flat major, RV 39\n Larghetto\n Allegro\n Andante\n Allegro\n\n Sonata No. 9 in G minor, RV 42\n Preludio: Largo\n Allemanda: Andante\n Sarabanda: Largo\n Giga: Allegro\n\n Sonata in D minor, RV 38\n Lost\n\nRecordings \nThe nine extant cello sonatas were recorded in 1993 by David Watkin as the soloist and a continuo group of cellist Helen Gough, David Miller (playing theorbo or archlute or guitar), and Robert King on harpsichord or organ.\n\nReferences\n\nExternal links \n\n Scores of Cello Sonatas RV 39, RV 42, RV 44, IMSLP\n\nCompositions by Antonio Vivaldi\nVivaldi",
"Six sonatas for various instruments, composed by Claude Debussy, French musician () was a projected cycle of sonatas that was interrupted by the composer's death in 1918, after he had composed only half of the projected sonatas. He left behind his sonatas for cello and piano (1915), flute, viola and harp (1915), and violin and piano (1916–1917).\n\nHistory \nFrom 1914, the composer, encouraged by the music publisher Jacques Durand, intended to write a set of six sonatas for various instruments, in homage to the French composers of the 18th century. The First World War, along with the composers Couperin and Rameau, inspired Debussy as he was writing the sonatas.\n\nDurand, in his memoirs entitled Quelques souvenirs d'un éditeur de musique, wrote the following about the sonatas' origin:\nAfter his famous String Quartet, Debussy had not written any more chamber music. Then, at the Concerts Durand, he heard again the Septet with trumpet by Saint-Saëns and his sympathy for this means of musical expression was reawoken. He admitted the fact to me and I warmly encouraged him to follow his inclination. And that is how the idea of the six sonatas for various instruments came about.\n \nIn a letter to the conductor Bernard Molinari, Debussy explained that the set should include \"different combinations, with the last sonata combining the previously used instruments\". His death on 25 March 1918 prevented him from carrying out his plan, and only three of the six sonatas were completed and published by Durand, with a dedication to his second wife, Emma Bardac.\n\nSonatas\n\nSonata for cello and piano\n\nThe sonata for cello and piano, L. 135, was written in 1915, and is notable for its brevity, most performances not exceeding 11 minutes. It is a staple of the modern cello repertoire and is commonly regarded as one of the finest masterpieces written for the instrument.\n\nThe work has three movements:\n\nThe two final movements are joined by an attacca. Instead of sonata form, Debussy structures the piece in the style of the eighteenth-century monothematic sonata, and was particularly influenced by the music of François Couperin.\n\nThe piece makes use of modes and whole-tone and pentatonic scales, as is typical of Debussy's style. It also uses many types of extended cello technique, including left-hand pizzicato, spiccato and flautando bowing, false harmonics and portamenti. The piece is considered technically demanding.\n\nWhether descriptive comments related to characters of the Commedia dell'arte were actually given by Debussy to cellist Louis Rosoor remains unclear.\n\nSonata for flute, viola and harp (or Piano)\nThe sonata for flute, viola, and harp (or Piano), L. 137, was also written in 1915.\n\nThe first performance of the Sonata took place in Boston, at Jordan Hall in the New England Conservatory, on 7 November 1916. The performers were members of a wind ensemble called the Longy Club, which had been founded by the principal oboist of the Boston Symphony Orchestra, George Longy. The first performance in France was a private one that occurred on 10 December 1916, at the home of Debussy's publisher, Jacques Durand. The first public performance in France was thought to be at a charity concert on 9 March 1917. However, Thompson (1968) reported a performance of the sonata at London's Aeolian Hall by Albert Fransella, Harry Waldo Warner and Miriam Timothy on 2 February 1917 as part of a concert otherwise given by the London String Quartet. A typical performance lasts between 17 and 18 minutes.\n\nAccording to Léon Vallas (1929), Debussy initially planned this as a piece for flute, oboe and harp. He subsequently decided that the viola's timbre would be a better combination for the flute than the oboe's, so he changed the instrumentation to flute, viola and harp. The instrumentation would later become a standard ensemble instrumentation.\n\nThe work has three movements:\n\nSonata for violin and piano\n\nThe sonata for violin and piano in G minor, L. 140, was written in 1917. It was the composer's last major composition and is notable for its brevity; a typical performance lasts about 13 minutes. The premiere took place on 5 May 1917, the violin part played by Gaston Poulet, with Debussy himself at the piano. It was his last public performance.\n\nThe work has three movements:\n\nThe unfinished sonatas\n\nDebussy wrote in the manuscript of his violin sonata that the fourth sonata should be written for oboe, horn, and harpsichord, and the fifth for trumpet, clarinet, bassoon and piano.\n\nFor the final and sixth sonata, Debussy envisioned a concerto where the sonorities of the \"various instruments\" combine, with the gracious assistance of the double bass, making the instrumentation:\n\nFlute\nOboe\nClarinet\nBassoon\nHorn\nTrumpet\nHarp\nPiano\nHarpsichord\nViolin\nViola\nCello\nDouble bass\n\nThe idea of combining the instruments oboe, horn, and harpsichord, inspired Thomas Adès to write his Sonata da Caccia, and the combination of the instruments trumpet, clarinet, bassoon and piano, inspired Marc-André Dalbavie to write his Axiom.\n\nThe Australian composer Lyle Chan has written three sonatas for the same combinations of instruments as in the three unfinished Debussy sonatas.\n\nBibliography\n\nReferences\nNotes\n\nSources\n\nThompson, K.L. (Oct 1968). First performance? The Musical Times, 109 (1508), 914–15.\n\nExternal links\nPerformance of Cello Sonata by David Requiro (cello) and Elizabeth DeMio (piano) from the Isabella Stewart Gardner Museum in MP3 format\n \nRecording performed by Nicola Benedetti, violin and Julien Quentin, piano from the Isabella Stewart Gardner Museum in MP3 format\n\nSheet music\n\nChamber music by Claude Debussy\nDebussy\nDebussy\n1917 compositions"
] | [
"Anton Grigoryevich Rubinstein (; ) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein, who founded the Moscow Conservatory. As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos.",
"As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals—seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.",
"Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there. Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life.",
"Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life. He wrote 20 operas, the best known of which is The Demon.",
"He wrote 20 operas, the best known of which is The Demon. He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble.",
"He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble. Early life and education Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa.",
"Early life and education Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa. Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy.",
"Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy. Although he was raised as a Christian, Rubinstein would later become an atheist. Rubinstein's father opened a pencil factory in Moscow.",
"Rubinstein's father opened a pencil factory in Moscow. His mother, a competent musician, began giving him piano lessons at five, until the teacher heard and accepted Rubinstein as a non-paying student. Rubinstein made his first public appearance at a charity benefit concert at the age of nine.",
"Rubinstein made his first public appearance at a charity benefit concert at the age of nine. Later that year Rubinstein's mother sent him, accompanied by Villoing, to Paris where he sought unsuccessfully to enroll at the Paris Conservatoire. Rubinstein and Villoing remained in Paris for a year.",
"Rubinstein and Villoing remained in Paris for a year. In December 1840, Rubinstein played in the Salle Érard for an audience that included Frédéric Chopin and Franz Liszt. Chopin invited Rubinstein to his studio and played for him.",
"Chopin invited Rubinstein to his studio and played for him. Liszt advised Villoing to take him to Germany to study composition; however, Villoing took Rubinstein on an extended concert tour of Europe and Western Russia. They finally returned to Moscow in June 1843.",
"They finally returned to Moscow in June 1843. Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace.",
"Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace. Anton was 14 years old; Nikolai was eight.",
"Anton was 14 years old; Nikolai was eight. Travel and performance Berlin In spring 1844, Rubinstein, Nikolai, his mother and his sister Luba travelled to Berlin. Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer.",
"Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer. Mendelssohn, who had heard Rubinstein when he had toured with Villoing, said he needed no further piano study but sent Nikolai to Theodor Kullak for instruction. Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory.",
"Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory. Word came in the summer of 1846 that Rubinstein's father was gravely ill. Rubinstein was left in Berlin while his mother, sister and brother returned to Russia. At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest.",
"At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest. Now 17, he knew he could no longer pass as a child prodigy. He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil.",
"He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil. However, after Rubinstein had played his audition, Liszt is reported to have said, \"A talented man must win the goal of his ambition by his own unassisted efforts.\" At this point, Rubinstein was living in acute poverty.",
"At this point, Rubinstein was living in acute poverty. Liszt did nothing to help him. Other calls Rubinstein made to potential patrons came to no avail. After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons.",
"After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons. Back to Russia The Revolution of 1848 forced Rubinstein back to Russia. Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court.",
"Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court. The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness.",
"The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness. By 1852, he had become a leading figure in Saint Petersburg's musical life, performing as a soloist and collaborating with some of the outstanding instrumentalists and vocalists who came to the Russian capital. He also composed assiduously.",
"He also composed assiduously. He also composed assiduously. After a number of delays, including some difficulties with the censor, Rubinstein's first opera, Dmitry Donskoy (now lost except for the overture), was performed at the Bolshoy Theater in Saint Petersburg in 1852. Three one-act operas written for Elena Pavlovna followed.",
"Three one-act operas written for Elena Pavlovna followed. He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works.",
"He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works. It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist.",
"It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist. Abroad once more In 1854, Rubinstein began a four-year concert tour of Europe. This was his first major concert tour in a decade.",
"This was his first major concert tour in a decade. Now 24, he felt ready to offer himself to the public as a fully developed pianist as well as a composer of worth. He very shortly reestablished his reputation as a virtuoso.",
"He very shortly reestablished his reputation as a virtuoso. Ignaz Moscheles wrote in 1855 what would become a widespread opinion about Rubinstein: \"In power and execution he is inferior to no one.\" As was the penchant at the time, much of what Rubinstein played were his own compositions.",
"As was the penchant at the time, much of what Rubinstein played were his own compositions. At several concerts, Rubinstein alternated between conducting his orchestral works and playing as soloist in one of his piano concertos. One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854.",
"One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854. Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later.",
"Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later. Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice.",
"Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice. Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859.",
"Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859. Opening the St. Petersburg Conservatory The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862.",
"Opening the St. Petersburg Conservatory The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862. Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty.",
"Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty. Some in Russian society were surprised that a Russian music school would actually attempt to be Russian.",
"Some in Russian society were surprised that a Russian music school would actually attempt to be Russian. One \"fashionable lady\", when told by Rubinstein that classes would be taught in Russian and not a foreign language, exclaimed, \"What, music in Russian! That is an original idea!\"",
"That is an original idea!\" Rubinstein adds, And surely it was surprising that the theory of Music was to be taught for the first time in the Russian language at our Conservatory... Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany.",
"Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany. There were also those who feared the school would not be Russian enough. Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five.",
"Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five. Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world.",
"Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world. Actually the Conservatory raise the level of musical culture in Russia.",
"Actually the Conservatory raise the level of musical culture in Russia. The unconventional way chosen by Balakirev and his friends was not necessarily the right one for everybody else. It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871.",
"It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871. Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \"interesting and well done,\" though \"episodic,\" and the opera Ivan IV Grozniy, which was premiered by Balakirev.",
"Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \"interesting and well done,\" though \"episodic,\" and the opera Ivan IV Grozniy, which was premiered by Balakirev. Borodin commented on Ivan IV that \"the music is good, you just cannot recognize that it is Rubinstein.",
"Borodin commented on Ivan IV that \"the music is good, you just cannot recognize that it is Rubinstein. There is nothing that is Mendelssohnian, nothing as he used to write formerly.\"",
"There is nothing that is Mendelssohnian, nothing as he used to write formerly.\" The American tour By 1867, ongoing tensions with the Balakirev camp, along with related matters, led to intense dissension within the Conservatory's faculty. Rubinstein resigned and returned to touring throughout Europe.",
"Rubinstein resigned and returned to touring throughout Europe. Unlike his previous tours, he began increasingly featuring the works of other composers. In previous tours, Rubinstein had played primarily his own works. At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season.",
"At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season. Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid.",
"Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid. Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities.",
"Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities. Rubinstein wrote of his American experience, May Heaven preserve us from such slavery!",
"Rubinstein wrote of his American experience, May Heaven preserve us from such slavery! Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost...",
"Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost... The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art.",
"The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art. So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank...",
"So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank... Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life.",
"Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life. Upon his return to Russia, he \"hastened to invest in real estate\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family.",
"Upon his return to Russia, he \"hastened to invest in real estate\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family. Later life Rubinstein continued to make tours as a pianist and give appearances as a conductor.",
"Later life Rubinstein continued to make tours as a pianist and give appearances as a conductor. In 1887, he returned to the Saint Petersburg Conservatory with the goal of improving overall standards. He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum.",
"He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum. He led semi-weekly teachers' classes through the whole keyboard literature and gave some of the more gifted piano students personal coaching. During the 1889–90 academic year he gave weekly lecture-recitals for the students.",
"During the 1889–90 academic year he gave weekly lecture-recitals for the students. He resigned again—and left Russia—in 1891 over Imperial demands that Conservatory admittance, and later annual prizes to students, be awarded along ethnic quotas instead of purely by merit. These quotas were designed to effectively disadvantage Jews.",
"These quotas were designed to effectively disadvantage Jews. Rubinstein resettled in Dresden and started giving concerts again in Germany and Austria. Nearly all of these concerts were charity benefit events. Rubinstein also coached a few pianists and taught his only private piano student, Josef Hofmann. Hofmann would become one of the finest keyboard artists of the 20th century.",
"Hofmann would become one of the finest keyboard artists of the 20th century. Despite his sentiments on ethnic politics in Russia, Rubinstein returned there occasionally to visit friends and family. He gave his final concert in Saint Petersburg on 14 January 1894. With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894.",
"With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894. He died there on 20 November of that year, having suffered from heart disease for some time. The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him.",
"The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him. Pianism \"Van II\" Many contemporaries felt he bore a striking resemblance to Ludwig van Beethoven. Ignaz Moscheles, who had known Beethoven intimately, wrote, \"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\"",
"Ignaz Moscheles, who had known Beethoven intimately, wrote, \"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\" Liszt referred to Rubinstein as \"Van II.\" This resemblance was also felt to be in Rubinstein's keyboard playing. Under his hands, it was said, the piano erupted volcanically.",
"Under his hands, it was said, the piano erupted volcanically. Audience members wrote of going home limp after one of his recitals, knowing they had witnessed a force of nature. Sometimes Rubinstein's playing was too much for listeners to handle.",
"Sometimes Rubinstein's playing was too much for listeners to handle. American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much.",
"American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much. Give me Rubinstein for a few pieces, but Tausig for a whole evening.\"",
"Give me Rubinstein for a few pieces, but Tausig for a whole evening.\" She heard Rubinstein play \"a terrific piece by Schubert,\" reportedly the Wanderer Fantasie. The performance gave her such a violent headache that the rest of the recital was ruined for her. Clara Schumann proved especially vehement.",
"Clara Schumann proved especially vehement. Clara Schumann proved especially vehement. After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\"",
"After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\" Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau.",
"Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau. She noted in her diary, \"I was furious, for he no longer plays. Either there is a perfectly wild noise or else a whisper with the soft pedal down.",
"Either there is a perfectly wild noise or else a whisper with the soft pedal down. And a would-be cultured audience puts up with a performance like that!\"",
"And a would-be cultured audience puts up with a performance like that!\" On the other hand, when Rubinstein played Beethoven's \"Archduke\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls: It was the first time I had heard this great artist play.",
"On the other hand, when Rubinstein played Beethoven's \"Archduke\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls: It was the first time I had heard this great artist play. He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme...",
"He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme... It seemed to me I had never before heard the piano really played.",
"It seemed to me I had never before heard the piano really played. The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ... Violinist and composer Henri Vieuxtemps adds: His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten.",
"The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ... Violinist and composer Henri Vieuxtemps adds: His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten. I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op.",
"I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op. 57 [Appassionata], which Rubinstein executed for us with unimagined mastery. Viennese music critic Eduard Hanslick expressed what Schonberg calls \"the majority point of view\" in an 1884 review.",
"Viennese music critic Eduard Hanslick expressed what Schonberg calls \"the majority point of view\" in an 1884 review. After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners.",
"After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners. Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness.",
"Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness. \"Yes, he plays like a god\", Hanslick writes in closing, \"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\".",
"\"Yes, he plays like a god\", Hanslick writes in closing, \"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\". Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm.",
"Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm. His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall.",
"His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall. In playing, Rubinstein created, and he created inimitably and with genius.",
"In playing, Rubinstein created, and he created inimitably and with genius. He often treated the same program absolutely differently when he played it the second time, but, more astoundingly still, everything came out wonderfully on both occasions. Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled.",
"Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled. Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song.",
"Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song. He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable.",
"He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable. It was superb.\"",
"It was superb.\" It was superb.\" Technique Villoing had worked with Rubinstein on hand position and finger dexterity. From watching Liszt, Rubinstein had learned about freedom of arm movement. Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing.",
"Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing. He would remark to his students about \"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\"",
"He would remark to his students about \"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\" In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\"",
"In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\" When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through.",
"When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through. Rubinstein himself admitted, after a concert in Berlin in 1875, \"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\"",
"Rubinstein himself admitted, after a concert in Berlin in 1875, \"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\" Part of the problem might have been the sheer size of Rubinstein's hands.",
"Part of the problem might have been the sheer size of Rubinstein's hands. They were huge, and many observers commented on them. Josef Hofmann observed that Rubinstein's fifth finger \"was as thick as my thumb—think of it! Then his fingers were square at the ends, with cushions on them.",
"Then his fingers were square at the ends, with cushions on them. It was a wonderful hand.\" Pianist Josef Lhévinne described them as \"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\"",
"Pianist Josef Lhévinne described them as \"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\" The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \"Nothing cramped about him!",
"The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \"Nothing cramped about him! He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\"",
"He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\" Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness.",
"Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness. Those who valued interpretation as much or more than pure technique found much to praise. Pianist and conductor Hans von Bülow called Rubinstein \"the Michelangelo of music.\"",
"Pianist and conductor Hans von Bülow called Rubinstein \"the Michelangelo of music.\" The German critic Ludwig Rellstab called him \"the Hercules of the piano; the Jupiter Tonans of the instrument.\" Tone Pressman attested to the singing quality of Rubinstein's playing, and much more: \"His tone was strikingly full and deep.",
"Tone Pressman attested to the singing quality of Rubinstein's playing, and much more: \"His tone was strikingly full and deep. With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres.",
"With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres. With him, the piano sang as Patti sang, as Rubini sang.\" Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists.",
"Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists. Fellow pianist Rafael Joseffy compared it to \"a golden French horn.\" Rubinstein himself told an interviewer, \"Strength with lightness, that is one secret of my touch...",
"Rubinstein himself told an interviewer, \"Strength with lightness, that is one secret of my touch... I have sat hours trying to imitate the timbre of Rubini's voice in my playing.\" Rubinstein told the young Rachmaninoff how he achieved that tone. \"Just press upon the keys until the blood oozes from your fingertips\".",
"\"Just press upon the keys until the blood oozes from your fingertips\". When he wanted to, Rubinstein could play with extreme lightness, grace and delicacy. He rarely displayed that side of his nature, however. He had learned quickly that audiences came to hear him thunder, so he accommodated them.",
"He had learned quickly that audiences came to hear him thunder, so he accommodated them. Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before.",
"Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before. During this tour, Rubinstein received more press attention than any other figure until the appearance of Ignacy Jan Paderewski a generation later. Programs Rubinstein's concert programs were often gargantuan.",
"Programs Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A).",
"101 in A). 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman.",
"Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note.",
"He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note. Rubinstein was most famous for his series of historical recitals—seven consecutive concerts covering the history of piano music. Each of these programs was enormous.",
"Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital.",
"Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert.",
"This did not include encores, which Rubinstein sprayed liberally at every concert. Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873. Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe.",
"Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge.",
"In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge. Rachmaninoff on Rubinstein Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student.",
"Rachmaninoff on Rubinstein Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student. Forty-four years later he told his biographer Oscar von Riesemann, \"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\"",
"Forty-four years later he told his biographer Oscar von Riesemann, \"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\" Rachmaninoff explained to von Riesemann, \"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\"",
"Rachmaninoff explained to von Riesemann, \"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\" Rachmaninoff's detailed description to von Riesemann is of interest: Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished.",
"Rachmaninoff's detailed description to von Riesemann is of interest: Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished. One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone...",
"One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone... I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \"fluttering away of the little bird\" would be hopelessly inadequate.",
"I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \"fluttering away of the little bird\" would be hopelessly inadequate. Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner.",
"Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner. One of Rubinstein's greatest secrets was his use of the pedal.",
"One of Rubinstein's greatest secrets was his use of the pedal. He himself very happily expressed his ideas on the subject when he said, \"The pedal is the soul of the piano.\" No pianist should ever forget this.",
"No pianist should ever forget this. Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \"Funeral March\" Sonata—both became cornerstones of Rachmaninoff's own recital programs.",
"Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \"Funeral March\" Sonata—both became cornerstones of Rachmaninoff's own recital programs. Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work.",
"Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work. Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later.",
"Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later. In Rubinstein's defense, however, Rachmaninoff said that \"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\"",
"In Rubinstein's defense, however, Rachmaninoff said that \"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\" Conducting Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867.",
"Conducting Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867. He also did his share of guest conducting both before and after his tenure with the RMS.",
"He also did his share of guest conducting both before and after his tenure with the RMS. Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences.",
"Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences. Teacher As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work.",
"Teacher As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work. He could also be exacting and expected as much from them as he gave to them.",
"He could also be exacting and expected as much from them as he gave to them. According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference.",
"According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference. This assignment would be due the following day.",
"This assignment would be due the following day. At other times, he would expect students to improvise a minuet, a rondo, a polonaise or some other musical form. Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead.",
"Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead. He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano.",
"He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano. Notable students include pianists Josef Hofmann and Sandra Drouker.",
"Notable students include pianists Josef Hofmann and Sandra Drouker. Composition By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \"but as a composer performing his symphonies, concertos, operas, trios, etc.\"",
"Composition By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \"but as a composer performing his symphonies, concertos, operas, trios, etc.\" Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote).",
"Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote). Edward Garden writes in the New Grove, Rubinstein composed assiduously during all periods of his life.",
"Edward Garden writes in the New Grove, Rubinstein composed assiduously during all periods of his life. He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved.",
"He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved. Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn.",
"Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn. Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music.",
"Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music. Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching.",
"Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching. Robert Schumann and Felix Mendelssohn were the strongest influences on Rubinstein's music. Consequently, Rubinstein's music demonstrates none of the nationalism of The Five.",
"Consequently, Rubinstein's music demonstrates none of the nationalism of The Five. Rubinstein also had a tendency to rush in composing his pieces, resulting in good ideas such as those in his Ocean Symphony being developed in less-than-exemplary ways. As Paderewski was later to remark, \"He had not the necessary concentration of patience for a composer...",
"As Paderewski was later to remark, \"He had not the necessary concentration of patience for a composer... He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\"",
"He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\" Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ...",
"Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ... The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s.",
"The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s. After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire.",
"After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire. Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev.",
"Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev. Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism.",
"Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism. Amongst his better known works are the opera The Demon, his Piano Concerto No. 4, and his Symphony No. 2, known as The Ocean.",
"2, known as The Ocean. Rubinstein's repartee Rubinstein was as well known during his lifetime for his sarcasm as well as his sometimes penetrating insight. During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him.",
"During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him. After a long silence, Rubinstein told Cortot, \"My boy, don't you ever forget what I am going to tell you. Beethoven's music must not be studied. It must be reincarnated.\"",
"It must be reincarnated.\" It must be reincarnated.\" Cortot reportedly never forgot those words. Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase.",
"Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase. His manner with them was a combination of raw, sometimes violent criticism and good humor.",
"His manner with them was a combination of raw, sometimes violent criticism and good humor. Hofmann wrote of one such lesson: Once I played a Liszt rhapsody pretty badly. After a little of it, Rubinstein said, \"The way you play this piece would be all right for Auntie or Mamma.\"",
"After a little of it, Rubinstein said, \"The way you play this piece would be all right for Auntie or Mamma.\" Then rising and coming toward me, he said, \"Now let us see how play such things.\" ...",
"... ... I began again, but I had not played more than a few measures when Rubinstein said loudly, \"Have you begun?\" \"Yes, Master, I certainly have.\" \"Oh,\" said Rubinstein vaguely, \"I didn't notice.\" ... Rubinstein did not so much instruct me.",
"... Rubinstein did not so much instruct me. Merely he let me learn from him ...",
"Merely he let me learn from him ... If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do.",
"If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do. Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts.",
"Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts. When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \"When you are as old as I am, you may do as I do.\"",
"When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \"When you are as old as I am, you may do as I do.\" Then Rubinstein added, \"If you can\". Nor did Rubinstein adjust the tenor of his comments for those of high rank.",
"Nor did Rubinstein adjust the tenor of his comments for those of high rank. After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility.",
"After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility. At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift.",
"At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift. Rubinstein replied bluntly, to the crowd's horror, \"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\"",
"Rubinstein replied bluntly, to the crowd's horror, \"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\" Rubinstein's voice The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison.",
"Rubinstein's voice The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison. Rubinstein is heard to make a complimentary remark about the phonograph recorder. References Sources In Russian (2 vol.) In German (3 vol.) In English (29 vols.)",
"In English (29 vols.) Further reading Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995) Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991) Rubinstein, Anton Grigorevich, ed.",
"Further reading Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995) Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991) Rubinstein, Anton Grigorevich, ed. L. Barenboim, Literaturnoye Naslediye (3 vol.",
"L. Barenboim, Literaturnoye Naslediye (3 vol. ), (in Russian), (Moscow, 1983) External links Networking Rubinstein – his contacts in his early career Soundbites from String Quartet No.1 in G, Op.17 No.1 Anton Rubinstein recordings at the Discography of American Historical Recordings.",
"), (in Russian), (Moscow, 1983) External links Networking Rubinstein – his contacts in his early career Soundbites from String Quartet No.1 in G, Op.17 No.1 Anton Rubinstein recordings at the Discography of American Historical Recordings. 1829 births 1894 deaths 19th-century classical composers 19th-century classical pianists 19th-century conductors (music) 19th-century male conductors (music) Burials at Tikhvin Cemetery Composers for piano Converts to Eastern Orthodoxy from Judaism Founders of Russian educational institutions Jewish atheists Jewish classical composers Jewish classical pianists Jewish opera composers Male classical pianists Male opera composers People from Baltsky Uyezd People from Rîbnița District Pupils of Siegfried Dehn Pyotr Ilyich Tchaikovsky Recipients of the Pour le Mérite (civil class) Royal Philharmonic Society Gold Medallists Russian atheists Russian classical pianists Russian conductors (music) Russian male conductors (music) Russian Jews Russian male classical composers Russian music educators Russian opera composers Russian Romantic composers"
] |
[
"Anton Rubinstein",
"Programs",
"What programs was he apart of?",
"Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna,",
"Are there any other interesting aspects about this article?",
"Rubinstein was most famous for his series of historical recitals--seven consecutive concerts covering the history of piano music.",
"What was the name of his series?",
"I don't know.",
"What was some of his concerts?",
"Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873.",
"did he tour again?",
"Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility,",
"When was his last concert?",
"I don't know.",
"what was his most famous concert?",
"the pianist played more than 20 pieces in one concert in Vienna, including three sonatas",
"Did he write the sonatas?",
"the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A"
] | C_abfaf1bc5d7a4878916e69b3dc8922b2_0 | What other pieces did he play? | 9 | Other than Schumann's F sharp minor, Beethoven's D minor and Op. 101 in A, what other pieces did Anton Rubinstein play in Vienna? | Anton Rubinstein | Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note. Rubinstein was most famous for his series of historical recitals--seven consecutive concerts covering the history of piano music. Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert. Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873. Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge. CANNOTANSWER | The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). | Anton Grigoryevich Rubinstein (; ) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein, who founded the Moscow Conservatory.
As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals—seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.
Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life. He wrote 20 operas, the best known of which is The Demon. He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble.
Early life and education
Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa. Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy. Although he was raised as a Christian, Rubinstein would later become an atheist.
Rubinstein's father opened a pencil factory in Moscow. His mother, a competent musician, began giving him piano lessons at five, until the teacher heard and accepted Rubinstein as a non-paying student. Rubinstein made his first public appearance at a charity benefit concert at the age of nine. Later that year Rubinstein's mother sent him, accompanied by Villoing, to Paris where he sought unsuccessfully to enroll at the Paris Conservatoire.
Rubinstein and Villoing remained in Paris for a year. In December 1840, Rubinstein played in the Salle Érard for an audience that included Frédéric Chopin and Franz Liszt. Chopin invited Rubinstein to his studio and played for him. Liszt advised Villoing to take him to Germany to study composition; however, Villoing took Rubinstein on an extended concert tour of Europe and Western Russia. They finally returned to Moscow in June 1843. Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace. Anton was 14 years old; Nikolai was eight.
Travel and performance
Berlin
In spring 1844, Rubinstein, Nikolai, his mother and his sister Luba travelled to Berlin. Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer.
Mendelssohn, who had heard Rubinstein when he had toured with Villoing, said he needed no further piano study but sent Nikolai to Theodor Kullak for instruction. Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory.
Word came in the summer of 1846 that Rubinstein's father was gravely ill. Rubinstein was left in Berlin while his mother, sister and brother returned to Russia. At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest. Now 17, he knew he could no longer pass as a child prodigy. He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil. However, after Rubinstein had played his audition, Liszt is reported to have said, "A talented man must win the goal of his ambition by his own unassisted efforts." At this point, Rubinstein was living in acute poverty. Liszt did nothing to help him. Other calls Rubinstein made to potential patrons came to no avail. After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons.
Back to Russia
The Revolution of 1848 forced Rubinstein back to Russia. Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court. The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness. By 1852, he had become a leading figure in Saint Petersburg's musical life, performing as a soloist and collaborating with some of the outstanding instrumentalists and vocalists who came to the Russian capital.
He also composed assiduously. After a number of delays, including some difficulties with the censor, Rubinstein's first opera, Dmitry Donskoy (now lost except for the overture), was performed at the Bolshoy Theater in Saint Petersburg in 1852. Three one-act operas written for Elena Pavlovna followed. He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works. It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist.
Abroad once more
In 1854, Rubinstein began a four-year concert tour of Europe. This was his first major concert tour in a decade. Now 24, he felt ready to offer himself to the public as a fully developed pianist as well as a composer of worth. He very shortly reestablished his reputation as a virtuoso. Ignaz Moscheles wrote in 1855 what would become a widespread opinion about Rubinstein: "In power and execution he is inferior to no one."
As was the penchant at the time, much of what Rubinstein played were his own compositions. At several concerts, Rubinstein alternated between conducting his orchestral works and playing as soloist in one of his piano concertos. One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854. Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later.
Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice. Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859.
Opening the St. Petersburg Conservatory
The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862. Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty.
Some in Russian society were surprised that a Russian music school would actually attempt to be Russian. One "fashionable lady", when told by Rubinstein that classes would be taught in Russian and not a foreign language, exclaimed, "What, music in Russian! That is an original idea!" Rubinstein adds, And surely it was surprising that the theory of Music was to be taught for the first time in the Russian language at our Conservatory... Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany.
There were also those who feared the school would not be Russian enough. Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five. Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world. Actually the Conservatory raise the level of musical culture in Russia. The unconventional way chosen by Balakirev and his friends was not necessarily the right one for everybody else.
It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871. Between these two works are the orchestral works Don Quixote, which Tchaikovsky found "interesting and well done," though "episodic," and the opera Ivan IV Grozniy, which was premiered by Balakirev. Borodin commented on Ivan IV that "the music is good, you just cannot recognize that it is Rubinstein. There is nothing that is Mendelssohnian, nothing as he used to write formerly."
The American tour
By 1867, ongoing tensions with the Balakirev camp, along with related matters, led to intense dissension within the Conservatory's faculty. Rubinstein resigned and returned to touring throughout Europe. Unlike his previous tours, he began increasingly featuring the works of other composers. In previous tours, Rubinstein had played primarily his own works.
At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season. Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid. Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities.
Rubinstein wrote of his American experience, May Heaven preserve us from such slavery! Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost... The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art. So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank...
Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life. Upon his return to Russia, he "hastened to invest in real estate", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family.
Later life
Rubinstein continued to make tours as a pianist and give appearances as a conductor. In 1887, he returned to the Saint Petersburg Conservatory with the goal of improving overall standards. He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum. He led semi-weekly teachers' classes through the whole keyboard literature and gave some of the more gifted piano students personal coaching. During the 1889–90 academic year he gave weekly lecture-recitals for the students. He resigned again—and left Russia—in 1891 over Imperial demands that Conservatory admittance, and later annual prizes to students, be awarded along ethnic quotas instead of purely by merit. These quotas were designed to effectively disadvantage Jews. Rubinstein resettled in Dresden and started giving concerts again in Germany and Austria. Nearly all of these concerts were charity benefit events.
Rubinstein also coached a few pianists and taught his only private piano student, Josef Hofmann. Hofmann would become one of the finest keyboard artists of the 20th century.
Despite his sentiments on ethnic politics in Russia, Rubinstein returned there occasionally to visit friends and family. He gave his final concert in Saint Petersburg on 14 January 1894. With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894. He died there on 20 November of that year, having suffered from heart disease for some time.
The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him.
Pianism
"Van II"
Many contemporaries felt he bore a striking resemblance to Ludwig van Beethoven. Ignaz Moscheles, who had known Beethoven intimately, wrote, "Rubinstein's features and short, irrepressible hair remind me of Beethoven." Liszt referred to Rubinstein as "Van II." This resemblance was also felt to be in Rubinstein's keyboard playing. Under his hands, it was said, the piano erupted volcanically. Audience members wrote of going home limp after one of his recitals, knowing they had witnessed a force of nature.
Sometimes Rubinstein's playing was too much for listeners to handle. American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein "has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much. Give me Rubinstein for a few pieces, but Tausig for a whole evening." She heard Rubinstein play "a terrific piece by Schubert," reportedly the Wanderer Fantasie. The performance gave her such a violent headache that the rest of the recital was ruined for her.
Clara Schumann proved especially vehement. After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that "he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them." Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau. She noted in her diary, "I was furious, for he no longer plays. Either there is a perfectly wild noise or else a whisper with the soft pedal down. And a would-be cultured audience puts up with a performance like that!"
On the other hand, when Rubinstein played Beethoven's "Archduke" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls:
It was the first time I had heard this great artist play. He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme... It seemed to me I had never before heard the piano really played. The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ...
Violinist and composer Henri Vieuxtemps adds:
His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten. I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op. 57 [Appassionata], which Rubinstein executed for us with unimagined mastery.
Viennese music critic Eduard Hanslick expressed what Schonberg calls "the majority point of view" in an 1884 review. After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners. Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness. "Yes, he plays like a god", Hanslick writes in closing, "and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull".
Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm. His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall. In playing, Rubinstein created, and he created inimitably and with genius. He often treated the same program absolutely differently when he played it the second time, but, more astoundingly still, everything came out wonderfully on both occasions.
Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled. Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song. He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable. It was superb."
Technique
Villoing had worked with Rubinstein on hand position and finger dexterity. From watching Liszt, Rubinstein had learned about freedom of arm movement. Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing. He would remark to his students about "what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses."
In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that "of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself." When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through. Rubinstein himself admitted, after a concert in Berlin in 1875, "If I could gather up all the notes that I let fall under the piano, I could give a second concert with them."
Part of the problem might have been the sheer size of Rubinstein's hands. They were huge, and many observers commented on them. Josef Hofmann observed that Rubinstein's fifth finger "was as thick as my thumb—think of it! Then his fingers were square at the ends, with cushions on them. It was a wonderful hand." Pianist Josef Lhévinne described them as "fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once." The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: "Nothing cramped about him! He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!"
Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness. Those who valued interpretation as much or more than pure technique found much to praise. Pianist and conductor Hans von Bülow called Rubinstein "the Michelangelo of music." The German critic Ludwig Rellstab called him "the Hercules of the piano; the Jupiter Tonans of the instrument."
Tone
Pressman attested to the singing quality of Rubinstein's playing, and much more: "His tone was strikingly full and deep. With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres. With him, the piano sang as Patti sang, as Rubini sang."
Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists. Fellow pianist Rafael Joseffy compared it to "a golden French horn." Rubinstein himself told an interviewer, "Strength with lightness, that is one secret of my touch... I have sat hours trying to imitate the timbre of Rubini's voice in my playing."
Rubinstein told the young Rachmaninoff how he achieved that tone. "Just press upon the keys until the blood oozes from your fingertips". When he wanted to, Rubinstein could play with extreme lightness, grace and delicacy. He rarely displayed that side of his nature, however. He had learned quickly that audiences came to hear him thunder, so he accommodated them. Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before. During this tour, Rubinstein received more press attention than any other figure until the appearance of Ignacy Jan Paderewski a generation later.
Programs
Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note.
Rubinstein was most famous for his series of historical recitals—seven consecutive concerts covering the history of piano music. Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert.
Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873.
Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge.
Rachmaninoff on Rubinstein
Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student. Forty-four years later he told his biographer Oscar von Riesemann, "[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist."
Rachmaninoff explained to von Riesemann, "It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world."
Rachmaninoff's detailed description to von Riesemann is of interest:
Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished. One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone... I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the "fluttering away of the little bird" would be hopelessly inadequate. Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner. One of Rubinstein's greatest secrets was his use of the pedal. He himself very happily expressed his ideas on the subject when he said, "The pedal is the soul of the piano." No pianist should ever forget this.
Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's "Funeral March" Sonata—both became cornerstones of Rachmaninoff's own recital programs. Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work.
Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later. In Rubinstein's defense, however, Rachmaninoff said that "for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes."
Conducting
Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867. He also did his share of guest conducting both before and after his tenure with the RMS. Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences.
Teacher
As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work. He could also be exacting and expected as much from them as he gave to them. According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference. This assignment would be due the following day. At other times, he would expect students to improvise a minuet, a rondo, a polonaise or some other musical form.
Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead. He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano. Notable students include pianists Josef Hofmann and Sandra Drouker.
Composition
By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, "but as a composer performing his symphonies, concertos, operas, trios, etc." Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote). Edward Garden writes in the New Grove,
Rubinstein composed assiduously during all periods of his life. He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved.
Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn. Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music. Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching. Robert Schumann and Felix Mendelssohn were the strongest influences on Rubinstein's music.
Consequently, Rubinstein's music demonstrates none of the nationalism of The Five. Rubinstein also had a tendency to rush in composing his pieces, resulting in good ideas such as those in his Ocean Symphony being developed in less-than-exemplary ways. As Paderewski was later to remark, "He had not the necessary concentration of patience for a composer... He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces." Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ... The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s.
After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire. Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev.
Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism. Amongst his better known works are the opera The Demon, his Piano Concerto No. 4, and his Symphony No. 2, known as The Ocean.
Rubinstein's repartee
Rubinstein was as well known during his lifetime for his sarcasm as well as his sometimes penetrating insight. During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him. After a long silence, Rubinstein told Cortot, "My boy, don't you ever forget what I am going to tell you. Beethoven's music must not be studied. It must be reincarnated." Cortot reportedly never forgot those words.
Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase. His manner with them was a combination of raw, sometimes violent criticism and good humor. Hofmann wrote of one such lesson:
Once I played a Liszt rhapsody pretty badly. After a little of it, Rubinstein said, "The way you play this piece would be all right for Auntie or Mamma." Then rising and coming toward me, he said, "Now let us see how play such things."
... I began again, but I had not played more than a few measures when Rubinstein said loudly, "Have you begun?" "Yes, Master, I certainly have." "Oh," said Rubinstein vaguely, "I didn't notice." ... Rubinstein did not so much instruct me. Merely he let me learn from him ... If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do.
Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts. When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, "When you are as old as I am, you may do as I do." Then Rubinstein added, "If you can".
Nor did Rubinstein adjust the tenor of his comments for those of high rank. After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility. At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift. Rubinstein replied bluntly, to the crowd's horror, "Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?"
Rubinstein's voice
The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison. Rubinstein is heard to make a complimentary remark about the phonograph recorder.
References
Sources
In Russian
(2 vol.)
In German
(3 vol.)
In English
(29 vols.)
Further reading
Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995)
Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997)
Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991)
Rubinstein, Anton Grigorevich, ed. L. Barenboim, Literaturnoye Naslediye (3 vol.), (in Russian), (Moscow, 1983)
External links
Networking Rubinstein – his contacts in his early career
Soundbites from String Quartet No.1 in G, Op.17 No.1
Anton Rubinstein recordings at the Discography of American Historical Recordings.
1829 births
1894 deaths
19th-century classical composers
19th-century classical pianists
19th-century conductors (music)
19th-century male conductors (music)
Burials at Tikhvin Cemetery
Composers for piano
Converts to Eastern Orthodoxy from Judaism
Founders of Russian educational institutions
Jewish atheists
Jewish classical composers
Jewish classical pianists
Jewish opera composers
Male classical pianists
Male opera composers
People from Baltsky Uyezd
People from Rîbnița District
Pupils of Siegfried Dehn
Pyotr Ilyich Tchaikovsky
Recipients of the Pour le Mérite (civil class)
Royal Philharmonic Society Gold Medallists
Russian atheists
Russian classical pianists
Russian conductors (music)
Russian male conductors (music)
Russian Jews
Russian male classical composers
Russian music educators
Russian opera composers
Russian Romantic composers | true | [
"Giog is a multi-trick game played by two to four players. It is similar to the card games of Tam cúc, Chēmǎbāo and Zhìhǔ.\n\nEquipment\nLike Banqi, Giog uses Xiangqi pieces. For Giog, it is important that the backs as well as the rims of the pieces be indistinguishable from each other so the pieces cannot be identified when face down. There are seven piece types in the game: Pawns, Cannons, Horses (or Knights), Chariots (or Rooks), Advisors (or Elephants), Guards, Generals (or Kings). There are altogether 32 pieces and 2 colors such as Red and Black.\n\nThe ranking of pieces in Giog is identical to Banqi's ranking. That is, in ascending order: \n\n Pawns < Cannons < Horses < Chariots < Advisors < Guards < Generals.\n\nThe exceptions are: firstly, a black piece is always inferior than a red piece of the type.\n\n Black < Red.\n\nFor example, Red Horse beats Black Horse.\n\nDistribution\nAll players help to scramble the 32 pieces face down and distribute the pieces evenly to themselves. If the number of players is three, the winner of the previous game or a volunteer receives 12 pieces and the other two players receive 10 pieces each. Each player arranges his/her pieces into one line with half of the pieces on top of the other half.\n\nEach of the players now reveals (turns up) any one lower piece not in his/her own line. He/she then places the revealed piece face up on top of the other face down piece. The ranking of the 4 revealed pieces determines the order of the players who revealed them. Should there be a tie among some players, they apply the same procedures again by revealing more lower pieces until the order is finally determined.\n\nThe first player (who revealed or subsequently revealed the strongest piece in the previous process) starts to choose his pieces. He/she may only choose his pieces starting from a left or right head duo in any player's profile. He/she therefore has as many choices as twice the number of players. Following the first player, the second, third and fourth players consecutively collect their pieces, two at one time. The process is repeated until no piece (4-player game), 2 pieces (3-player game), 8 pieces (2-player game) are remained. These pieces are kept face down at a side and do not enter the game.\n\nRules\nThe first player leads the first trick. He/she or any player who starts a new trick or multi-trick may play the following 6 valid combinations of a same color:\n\n \"Liab\": Single. Any piece.\n \"Dui\": Double. Any 2 identical pieces.\n \"Giog\": A triple of a certain combination:\n 1 Chariot + 1 Horse + 1 Cannon\n 1 Cannon + 1 Advisor + 1 Guard\n 1 General + 1 Guard + 1 Advisor\n \"Sam Mui\": 3 identical pieces.\n \"Si Mui\": 4 identical pieces.\n \"Wu Mui\": 5 identical pieces.\n\nEach of the other players must play the same number of pieces. A player may play any pieces regardless of color or rank if he/she does not have the above valid combinations. The ranking of \"Liab\" is as before. Bear in mind that Black < Red. The ranking of \"Dui\" is same as the ranking of \"Liab\". The ranking of \"Giog\" is as follows: \n\nChariot, Horse, Cannon < Cannon, Advisor, Guard < General, Guard, Advisor.\n\nThe ranking of \"Sam Mui\", \"Si Mui\" and \"Wu Mui\" are according to color, since only pawns are possible to form them.\n\nThe player who played the strongest combinations of a same type (as what the trick-starter played) wins that trick. If there is a tie, the trick-starter always wins, or the order of players determines the winner. For example, if the first and fourth player play the same combinations, first player wins unless fourth player is the trick-starter. The winner of a trick collects the won pieces and starts a new trick. The hand continues until all pieces are exhausted. The winner is the player who wins the most pieces.\n\nBeheading the Cock\nIt is forbidden to play a General in the first or last trick, either as a single piece or as part of a valid or non-valid combination. If a player is forced or deceived into playing a general in the first or last trick, then it is said that a cock is beheaded, and that player is considered the ultimate loser of the hand even if he wins most pieces.\n\nReferences\n\nExternal links\nGiog at BoardGameGeek\nGiog at pagat.com\n\nChess variants\nChinese games\nXiangqi variants\nTrick-taking tile games",
"Tsoro Yematatu is a two-player abstract strategy game from Zimbabwe. Players first drop their three pieces onto the board, and then move them to create a 3 in-a-row which wins the game. It is similar to games like Tapatan, Achi, Nine Holes, Shisima, and Tant Fant. However, what makes this game unique is that pieces can jump over each other (without capture) which adds an extra dimension in the maneuverability of the pieces.\n\nThere is some uncertainty about the correct name as Tsoro YeMaMutatu is also used; 'Ma' or 'Mai' being the chiKaranga for 'mother'...hence 'MaMutatu' means 'Mother Mutatu'.\n\nGoal \n\nTo be first to create a 3 in-a-row with one's pieces\n\nEquipment \n\nThe board is an isosceles triangle with one line across its breadth, and another line running down the length of the board down its central axis. This creates for seven intersection points of which the pieces can be played upon. Other variations of the board are also used, such as a square board divided by 4 lines, creating an asterisk-style pattern with 8 triangle spaces for pieces to be placed on. \n\nEach player has 3 pieces. One plays the black pieces, and the other player plays the white pieces.\n\nGame Play and Rules \n\n1. The board is empty in the beginning. Players decide what color pieces to play, and who starts first. \n\n2. Each player drops one piece per turn on any vacant point on the board. Players alternate their turns. Pieces cannot be moved until all six pieces have been dropped. Observe that after all pieces have been dropped, there is only one vacant point on the board.\n\n3. A piece can be moved one of two ways: a) A piece can move one space per turn onto a vacant point following the pattern on the board, or b) a piece can jump over another piece (friend or foe) adjacent to it, and land on a vacant point on the other side; the jump must be in a straight line and follow the pattern on the board. There are no captures in this game.\n\n4. The game can last a very long time, and if no one is still able to create the 3 in-a-row, the players can agree to a draw.\n\nRelated Games \n\nTapatan, Achi, Nine Holes, Tant Fant, Shisima, Tic-tac-toe, Tsoro, Tsoro YemuTwelve\n\nExternal links \n Tsoro Yematatu (Cincinnati Art Museum)\n Online version of Tsoro Yematatu (without jumping)\n\nAbstract strategy games\nTraditional board games\nZimbabwean culture\nAfrican games"
] | [
"Anton Grigoryevich Rubinstein (; ) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein, who founded the Moscow Conservatory. As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos.",
"As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals—seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.",
"Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there. Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life.",
"Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life. He wrote 20 operas, the best known of which is The Demon.",
"He wrote 20 operas, the best known of which is The Demon. He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble.",
"He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble. Early life and education Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa.",
"Early life and education Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolian Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about northwest of Odessa. Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy.",
"Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy. Although he was raised as a Christian, Rubinstein would later become an atheist. Rubinstein's father opened a pencil factory in Moscow.",
"Rubinstein's father opened a pencil factory in Moscow. His mother, a competent musician, began giving him piano lessons at five, until the teacher heard and accepted Rubinstein as a non-paying student. Rubinstein made his first public appearance at a charity benefit concert at the age of nine.",
"Rubinstein made his first public appearance at a charity benefit concert at the age of nine. Later that year Rubinstein's mother sent him, accompanied by Villoing, to Paris where he sought unsuccessfully to enroll at the Paris Conservatoire. Rubinstein and Villoing remained in Paris for a year.",
"Rubinstein and Villoing remained in Paris for a year. In December 1840, Rubinstein played in the Salle Érard for an audience that included Frédéric Chopin and Franz Liszt. Chopin invited Rubinstein to his studio and played for him.",
"Chopin invited Rubinstein to his studio and played for him. Liszt advised Villoing to take him to Germany to study composition; however, Villoing took Rubinstein on an extended concert tour of Europe and Western Russia. They finally returned to Moscow in June 1843.",
"They finally returned to Moscow in June 1843. Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace.",
"Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace. Anton was 14 years old; Nikolai was eight.",
"Anton was 14 years old; Nikolai was eight. Travel and performance Berlin In spring 1844, Rubinstein, Nikolai, his mother and his sister Luba travelled to Berlin. Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer.",
"Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer. Mendelssohn, who had heard Rubinstein when he had toured with Villoing, said he needed no further piano study but sent Nikolai to Theodor Kullak for instruction. Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory.",
"Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory. Word came in the summer of 1846 that Rubinstein's father was gravely ill. Rubinstein was left in Berlin while his mother, sister and brother returned to Russia. At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest.",
"At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest. Now 17, he knew he could no longer pass as a child prodigy. He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil.",
"He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil. However, after Rubinstein had played his audition, Liszt is reported to have said, \"A talented man must win the goal of his ambition by his own unassisted efforts.\" At this point, Rubinstein was living in acute poverty.",
"At this point, Rubinstein was living in acute poverty. Liszt did nothing to help him. Other calls Rubinstein made to potential patrons came to no avail. After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons.",
"After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons. Back to Russia The Revolution of 1848 forced Rubinstein back to Russia. Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court.",
"Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court. The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness.",
"The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness. By 1852, he had become a leading figure in Saint Petersburg's musical life, performing as a soloist and collaborating with some of the outstanding instrumentalists and vocalists who came to the Russian capital. He also composed assiduously.",
"He also composed assiduously. He also composed assiduously. After a number of delays, including some difficulties with the censor, Rubinstein's first opera, Dmitry Donskoy (now lost except for the overture), was performed at the Bolshoy Theater in Saint Petersburg in 1852. Three one-act operas written for Elena Pavlovna followed.",
"Three one-act operas written for Elena Pavlovna followed. He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works.",
"He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works. It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist.",
"It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist. Abroad once more In 1854, Rubinstein began a four-year concert tour of Europe. This was his first major concert tour in a decade.",
"This was his first major concert tour in a decade. Now 24, he felt ready to offer himself to the public as a fully developed pianist as well as a composer of worth. He very shortly reestablished his reputation as a virtuoso.",
"He very shortly reestablished his reputation as a virtuoso. Ignaz Moscheles wrote in 1855 what would become a widespread opinion about Rubinstein: \"In power and execution he is inferior to no one.\" As was the penchant at the time, much of what Rubinstein played were his own compositions.",
"As was the penchant at the time, much of what Rubinstein played were his own compositions. At several concerts, Rubinstein alternated between conducting his orchestral works and playing as soloist in one of his piano concertos. One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854.",
"One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854. Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later.",
"Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later. Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice.",
"Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice. Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859.",
"Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859. Opening the St. Petersburg Conservatory The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862.",
"Opening the St. Petersburg Conservatory The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862. Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty.",
"Rubinstein not only founded it and was its first director but also recruited an imposing pool of talent for its faculty. Some in Russian society were surprised that a Russian music school would actually attempt to be Russian.",
"Some in Russian society were surprised that a Russian music school would actually attempt to be Russian. One \"fashionable lady\", when told by Rubinstein that classes would be taught in Russian and not a foreign language, exclaimed, \"What, music in Russian! That is an original idea!\"",
"That is an original idea!\" Rubinstein adds, And surely it was surprising that the theory of Music was to be taught for the first time in the Russian language at our Conservatory... Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany.",
"Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany. There were also those who feared the school would not be Russian enough. Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five.",
"Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five. Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world.",
"Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world. Actually the Conservatory raise the level of musical culture in Russia.",
"Actually the Conservatory raise the level of musical culture in Russia. The unconventional way chosen by Balakirev and his friends was not necessarily the right one for everybody else. It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871.",
"It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871. Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \"interesting and well done,\" though \"episodic,\" and the opera Ivan IV Grozniy, which was premiered by Balakirev.",
"Between these two works are the orchestral works Don Quixote, which Tchaikovsky found \"interesting and well done,\" though \"episodic,\" and the opera Ivan IV Grozniy, which was premiered by Balakirev. Borodin commented on Ivan IV that \"the music is good, you just cannot recognize that it is Rubinstein.",
"Borodin commented on Ivan IV that \"the music is good, you just cannot recognize that it is Rubinstein. There is nothing that is Mendelssohnian, nothing as he used to write formerly.\"",
"There is nothing that is Mendelssohnian, nothing as he used to write formerly.\" The American tour By 1867, ongoing tensions with the Balakirev camp, along with related matters, led to intense dissension within the Conservatory's faculty. Rubinstein resigned and returned to touring throughout Europe.",
"Rubinstein resigned and returned to touring throughout Europe. Unlike his previous tours, he began increasingly featuring the works of other composers. In previous tours, Rubinstein had played primarily his own works. At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season.",
"At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season. Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid.",
"Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid. Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities.",
"Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities. Rubinstein wrote of his American experience, May Heaven preserve us from such slavery!",
"Rubinstein wrote of his American experience, May Heaven preserve us from such slavery! Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost...",
"Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost... The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art.",
"The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art. So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank...",
"So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank... Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life.",
"Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life. Upon his return to Russia, he \"hastened to invest in real estate\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family.",
"Upon his return to Russia, he \"hastened to invest in real estate\", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family. Later life Rubinstein continued to make tours as a pianist and give appearances as a conductor.",
"Later life Rubinstein continued to make tours as a pianist and give appearances as a conductor. In 1887, he returned to the Saint Petersburg Conservatory with the goal of improving overall standards. He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum.",
"He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent and revised the curriculum. He led semi-weekly teachers' classes through the whole keyboard literature and gave some of the more gifted piano students personal coaching. During the 1889–90 academic year he gave weekly lecture-recitals for the students.",
"During the 1889–90 academic year he gave weekly lecture-recitals for the students. He resigned again—and left Russia—in 1891 over Imperial demands that Conservatory admittance, and later annual prizes to students, be awarded along ethnic quotas instead of purely by merit. These quotas were designed to effectively disadvantage Jews.",
"These quotas were designed to effectively disadvantage Jews. Rubinstein resettled in Dresden and started giving concerts again in Germany and Austria. Nearly all of these concerts were charity benefit events. Rubinstein also coached a few pianists and taught his only private piano student, Josef Hofmann. Hofmann would become one of the finest keyboard artists of the 20th century.",
"Hofmann would become one of the finest keyboard artists of the 20th century. Despite his sentiments on ethnic politics in Russia, Rubinstein returned there occasionally to visit friends and family. He gave his final concert in Saint Petersburg on 14 January 1894. With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894.",
"With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894. He died there on 20 November of that year, having suffered from heart disease for some time. The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him.",
"The former Troitskaya Street in Saint Petersburg where he lived is now named Rubinstein Street after him. Pianism \"Van II\" Many contemporaries felt he bore a striking resemblance to Ludwig van Beethoven. Ignaz Moscheles, who had known Beethoven intimately, wrote, \"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\"",
"Ignaz Moscheles, who had known Beethoven intimately, wrote, \"Rubinstein's features and short, irrepressible hair remind me of Beethoven.\" Liszt referred to Rubinstein as \"Van II.\" This resemblance was also felt to be in Rubinstein's keyboard playing. Under his hands, it was said, the piano erupted volcanically.",
"Under his hands, it was said, the piano erupted volcanically. Audience members wrote of going home limp after one of his recitals, knowing they had witnessed a force of nature. Sometimes Rubinstein's playing was too much for listeners to handle.",
"Sometimes Rubinstein's playing was too much for listeners to handle. American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much.",
"American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein \"has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much. Give me Rubinstein for a few pieces, but Tausig for a whole evening.\"",
"Give me Rubinstein for a few pieces, but Tausig for a whole evening.\" She heard Rubinstein play \"a terrific piece by Schubert,\" reportedly the Wanderer Fantasie. The performance gave her such a violent headache that the rest of the recital was ruined for her. Clara Schumann proved especially vehement.",
"Clara Schumann proved especially vehement. Clara Schumann proved especially vehement. After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\"",
"After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that \"he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them.\" Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau.",
"Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau. She noted in her diary, \"I was furious, for he no longer plays. Either there is a perfectly wild noise or else a whisper with the soft pedal down.",
"Either there is a perfectly wild noise or else a whisper with the soft pedal down. And a would-be cultured audience puts up with a performance like that!\"",
"And a would-be cultured audience puts up with a performance like that!\" On the other hand, when Rubinstein played Beethoven's \"Archduke\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls: It was the first time I had heard this great artist play.",
"On the other hand, when Rubinstein played Beethoven's \"Archduke\" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls: It was the first time I had heard this great artist play. He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme...",
"He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme... It seemed to me I had never before heard the piano really played.",
"It seemed to me I had never before heard the piano really played. The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ... Violinist and composer Henri Vieuxtemps adds: His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten.",
"The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ... Violinist and composer Henri Vieuxtemps adds: His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten. I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op.",
"I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op. 57 [Appassionata], which Rubinstein executed for us with unimagined mastery. Viennese music critic Eduard Hanslick expressed what Schonberg calls \"the majority point of view\" in an 1884 review.",
"Viennese music critic Eduard Hanslick expressed what Schonberg calls \"the majority point of view\" in an 1884 review. After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners.",
"After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners. Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness.",
"Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness. \"Yes, he plays like a god\", Hanslick writes in closing, \"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\".",
"\"Yes, he plays like a god\", Hanslick writes in closing, \"and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull\". Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm.",
"Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm. His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall.",
"His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall. In playing, Rubinstein created, and he created inimitably and with genius.",
"In playing, Rubinstein created, and he created inimitably and with genius. He often treated the same program absolutely differently when he played it the second time, but, more astoundingly still, everything came out wonderfully on both occasions. Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled.",
"Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled. Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song.",
"Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song. He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable.",
"He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable. It was superb.\"",
"It was superb.\" It was superb.\" Technique Villoing had worked with Rubinstein on hand position and finger dexterity. From watching Liszt, Rubinstein had learned about freedom of arm movement. Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing.",
"Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing. He would remark to his students about \"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\"",
"He would remark to his students about \"what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses.\" In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\"",
"In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that \"of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.\" When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through.",
"When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through. Rubinstein himself admitted, after a concert in Berlin in 1875, \"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\"",
"Rubinstein himself admitted, after a concert in Berlin in 1875, \"If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.\" Part of the problem might have been the sheer size of Rubinstein's hands.",
"Part of the problem might have been the sheer size of Rubinstein's hands. They were huge, and many observers commented on them. Josef Hofmann observed that Rubinstein's fifth finger \"was as thick as my thumb—think of it! Then his fingers were square at the ends, with cushions on them.",
"Then his fingers were square at the ends, with cushions on them. It was a wonderful hand.\" Pianist Josef Lhévinne described them as \"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\"",
"Pianist Josef Lhévinne described them as \"fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once.\" The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \"Nothing cramped about him!",
"The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: \"Nothing cramped about him! He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\"",
"He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!\" Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness.",
"Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness. Those who valued interpretation as much or more than pure technique found much to praise. Pianist and conductor Hans von Bülow called Rubinstein \"the Michelangelo of music.\"",
"Pianist and conductor Hans von Bülow called Rubinstein \"the Michelangelo of music.\" The German critic Ludwig Rellstab called him \"the Hercules of the piano; the Jupiter Tonans of the instrument.\" Tone Pressman attested to the singing quality of Rubinstein's playing, and much more: \"His tone was strikingly full and deep.",
"Tone Pressman attested to the singing quality of Rubinstein's playing, and much more: \"His tone was strikingly full and deep. With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres.",
"With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres. With him, the piano sang as Patti sang, as Rubini sang.\" Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists.",
"Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists. Fellow pianist Rafael Joseffy compared it to \"a golden French horn.\" Rubinstein himself told an interviewer, \"Strength with lightness, that is one secret of my touch...",
"Rubinstein himself told an interviewer, \"Strength with lightness, that is one secret of my touch... I have sat hours trying to imitate the timbre of Rubini's voice in my playing.\" Rubinstein told the young Rachmaninoff how he achieved that tone. \"Just press upon the keys until the blood oozes from your fingertips\".",
"\"Just press upon the keys until the blood oozes from your fingertips\". When he wanted to, Rubinstein could play with extreme lightness, grace and delicacy. He rarely displayed that side of his nature, however. He had learned quickly that audiences came to hear him thunder, so he accommodated them.",
"He had learned quickly that audiences came to hear him thunder, so he accommodated them. Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before.",
"Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before. During this tour, Rubinstein received more press attention than any other figure until the appearance of Ignacy Jan Paderewski a generation later. Programs Rubinstein's concert programs were often gargantuan.",
"Programs Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor plus Beethoven's D minor and Op. 101 in A).",
"101 in A). 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman.",
"Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note.",
"He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note. Rubinstein was most famous for his series of historical recitals—seven consecutive concerts covering the history of piano music. Each of these programs was enormous.",
"Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital.",
"Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert.",
"This did not include encores, which Rubinstein sprayed liberally at every concert. Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873. Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe.",
"Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge.",
"In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge. Rachmaninoff on Rubinstein Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student.",
"Rachmaninoff on Rubinstein Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student. Forty-four years later he told his biographer Oscar von Riesemann, \"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\"",
"Forty-four years later he told his biographer Oscar von Riesemann, \"[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist.\" Rachmaninoff explained to von Riesemann, \"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\"",
"Rachmaninoff explained to von Riesemann, \"It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world.\" Rachmaninoff's detailed description to von Riesemann is of interest: Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished.",
"Rachmaninoff's detailed description to von Riesemann is of interest: Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished. One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone...",
"One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone... I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \"fluttering away of the little bird\" would be hopelessly inadequate.",
"I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the \"fluttering away of the little bird\" would be hopelessly inadequate. Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner.",
"Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner. One of Rubinstein's greatest secrets was his use of the pedal.",
"One of Rubinstein's greatest secrets was his use of the pedal. He himself very happily expressed his ideas on the subject when he said, \"The pedal is the soul of the piano.\" No pianist should ever forget this.",
"No pianist should ever forget this. Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \"Funeral March\" Sonata—both became cornerstones of Rachmaninoff's own recital programs.",
"Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's \"Funeral March\" Sonata—both became cornerstones of Rachmaninoff's own recital programs. Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work.",
"Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work. Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later.",
"Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later. In Rubinstein's defense, however, Rachmaninoff said that \"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\"",
"In Rubinstein's defense, however, Rachmaninoff said that \"for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.\" Conducting Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867.",
"Conducting Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867. He also did his share of guest conducting both before and after his tenure with the RMS.",
"He also did his share of guest conducting both before and after his tenure with the RMS. Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences.",
"Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences. Teacher As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work.",
"Teacher As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work. He could also be exacting and expected as much from them as he gave to them.",
"He could also be exacting and expected as much from them as he gave to them. According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference.",
"According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference. This assignment would be due the following day.",
"This assignment would be due the following day. At other times, he would expect students to improvise a minuet, a rondo, a polonaise or some other musical form. Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead.",
"Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead. He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano.",
"He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano. Notable students include pianists Josef Hofmann and Sandra Drouker.",
"Notable students include pianists Josef Hofmann and Sandra Drouker. Composition By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \"but as a composer performing his symphonies, concertos, operas, trios, etc.\"",
"Composition By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, \"but as a composer performing his symphonies, concertos, operas, trios, etc.\" Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote).",
"Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote). Edward Garden writes in the New Grove, Rubinstein composed assiduously during all periods of his life.",
"Edward Garden writes in the New Grove, Rubinstein composed assiduously during all periods of his life. He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved.",
"He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved. Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn.",
"Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn. Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music.",
"Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music. Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching.",
"Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching. Robert Schumann and Felix Mendelssohn were the strongest influences on Rubinstein's music. Consequently, Rubinstein's music demonstrates none of the nationalism of The Five.",
"Consequently, Rubinstein's music demonstrates none of the nationalism of The Five. Rubinstein also had a tendency to rush in composing his pieces, resulting in good ideas such as those in his Ocean Symphony being developed in less-than-exemplary ways. As Paderewski was later to remark, \"He had not the necessary concentration of patience for a composer...",
"As Paderewski was later to remark, \"He had not the necessary concentration of patience for a composer... He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\"",
"He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces.\" Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ...",
"Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ... The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s.",
"The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s. After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire.",
"After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire. Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev.",
"Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev. Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism.",
"Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism. Amongst his better known works are the opera The Demon, his Piano Concerto No. 4, and his Symphony No. 2, known as The Ocean.",
"2, known as The Ocean. Rubinstein's repartee Rubinstein was as well known during his lifetime for his sarcasm as well as his sometimes penetrating insight. During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him.",
"During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him. After a long silence, Rubinstein told Cortot, \"My boy, don't you ever forget what I am going to tell you. Beethoven's music must not be studied. It must be reincarnated.\"",
"It must be reincarnated.\" It must be reincarnated.\" Cortot reportedly never forgot those words. Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase.",
"Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase. His manner with them was a combination of raw, sometimes violent criticism and good humor.",
"His manner with them was a combination of raw, sometimes violent criticism and good humor. Hofmann wrote of one such lesson: Once I played a Liszt rhapsody pretty badly. After a little of it, Rubinstein said, \"The way you play this piece would be all right for Auntie or Mamma.\"",
"After a little of it, Rubinstein said, \"The way you play this piece would be all right for Auntie or Mamma.\" Then rising and coming toward me, he said, \"Now let us see how play such things.\" ...",
"... ... I began again, but I had not played more than a few measures when Rubinstein said loudly, \"Have you begun?\" \"Yes, Master, I certainly have.\" \"Oh,\" said Rubinstein vaguely, \"I didn't notice.\" ... Rubinstein did not so much instruct me.",
"... Rubinstein did not so much instruct me. Merely he let me learn from him ...",
"Merely he let me learn from him ... If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do.",
"If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do. Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts.",
"Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts. When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \"When you are as old as I am, you may do as I do.\"",
"When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, \"When you are as old as I am, you may do as I do.\" Then Rubinstein added, \"If you can\". Nor did Rubinstein adjust the tenor of his comments for those of high rank.",
"Nor did Rubinstein adjust the tenor of his comments for those of high rank. After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility.",
"After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility. At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift.",
"At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift. Rubinstein replied bluntly, to the crowd's horror, \"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\"",
"Rubinstein replied bluntly, to the crowd's horror, \"Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?\" Rubinstein's voice The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison.",
"Rubinstein's voice The following recording was made in Moscow in January 1890, by (1858–1934) on behalf of Thomas Edison. Rubinstein is heard to make a complimentary remark about the phonograph recorder. References Sources In Russian (2 vol.) In German (3 vol.) In English (29 vols.)",
"In English (29 vols.) Further reading Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995) Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991) Rubinstein, Anton Grigorevich, ed.",
"Further reading Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995) Khoprova, Tatyana ed., Anton Grigorevich Rubinstein, (in Russian), (Saint Petersburg, 1997) Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York, Schirmer Books, 1991) Rubinstein, Anton Grigorevich, ed. L. Barenboim, Literaturnoye Naslediye (3 vol.",
"L. Barenboim, Literaturnoye Naslediye (3 vol. ), (in Russian), (Moscow, 1983) External links Networking Rubinstein – his contacts in his early career Soundbites from String Quartet No.1 in G, Op.17 No.1 Anton Rubinstein recordings at the Discography of American Historical Recordings.",
"), (in Russian), (Moscow, 1983) External links Networking Rubinstein – his contacts in his early career Soundbites from String Quartet No.1 in G, Op.17 No.1 Anton Rubinstein recordings at the Discography of American Historical Recordings. 1829 births 1894 deaths 19th-century classical composers 19th-century classical pianists 19th-century conductors (music) 19th-century male conductors (music) Burials at Tikhvin Cemetery Composers for piano Converts to Eastern Orthodoxy from Judaism Founders of Russian educational institutions Jewish atheists Jewish classical composers Jewish classical pianists Jewish opera composers Male classical pianists Male opera composers People from Baltsky Uyezd People from Rîbnița District Pupils of Siegfried Dehn Pyotr Ilyich Tchaikovsky Recipients of the Pour le Mérite (civil class) Royal Philharmonic Society Gold Medallists Russian atheists Russian classical pianists Russian conductors (music) Russian male conductors (music) Russian Jews Russian male classical composers Russian music educators Russian opera composers Russian Romantic composers"
] |